BHASA’S PRATIMA-NATAKAM. WITH AN ORIGINAL SANSKRIT COMMEN- TARY, ENGLISH & BENGALI TRANSLATIONS, CRITICAL AND EXPLANATORY NOTES, and Test & University questions, etc, etc, Also Containing an elaborate Introduction and Copious word-notes of — SARADARANJAN RAY, M.A, Vidyavinode, Siddhanta-Vachaspati. Late Principal, Vidyasagar College. SECOND EDITION aited and revised by KUMUDRANJAN RAY M.A., Ph.D, Author of Siddhanta-Kaumudi, Meghadutam, Evolution of Gita, ete. ete. GRY dager 8 iePublished by K. Ray, M. A. at 176 Vivekananda Road, Calcutta. Dedicated to the ever-green memory of my father Late PRINCIPAL Saradaranjan Ray. Printed by S. K. Mitra at the Nalanda Press, 159-160, Cornwallis Street, Calcutta—6,PREFACE This edition of Bhasa’s Pratimanatakam is intended for the students of the B, A, classes of our Indian universities. The plan is that adopted in our Sakuntalam, Swapnavasava- dattam or uttara-charitam etc, The Introduction gives all about the post and an estimate of the Book with its contents. My father’s Introduction on Bhasa and his word-notes collected from his various works are here copiously utilised ‘by me. The Tika is my own. In editing the book I have consulted Pandit Ganapati Shastri’s edition, Mr. Kale’s edition also the edition of Mr. Paranjape, with immense benefit, and I acknowledge my indebtedness to these authors; readings—are discussed and inserted in the proper places of the Text. And I hope this our present edition will be found very usefal and up-to” date to our students. Test questions are also added at the end for ready reference, I shall be thankful to those of our esteemed readers who will kindly suggest errors and defeciencies if any, to be rectified in the next edition. Caucurra KUMUDRANJAN RAY April, 1942.INTRODUCTICN Section—I. (A lecture by Principal 8. Ray ) THE POET BHASA. Thave been desired by the University to address you on some topic relating to Sanskrit Literature. The call does me high honour, and, however much I wish the task were entrusted to abler hands, I respond to the call with great pleasure, T have chosen the poet Bhasa for my subject. The recovery of the lost works of this poet has been for the past few years uppermost in the minds of Sanskrit scholars, This poet had a great reputation in ancient India. Poots like Kalidasa, Bana and Jayadeva speak of him with appreciation, The last calls him @fagaya—the inspirer of the Muse of posts, The recent publication of the long lost works of this ancient poet by Pandit Ganapati Sastri is therefore a notable event in the history of the study of Sanskrit Literature. To day I propose to lay before you a few remarks on Bhasa and his works. Some time ago I read two papers at the Calcutta University Institute on the age and birth-place of Bhasa. ~ I shall nct, therefore, re-enter into consideration of the details under these two heads here, but, to avoid incomplete- ness shall briefly state the contents of those papers. 1, THE AGE OF BHASA On this point, as is natural, opinions differ, Iam no& prepared to go so far as to say that Bhasa’s poetry is olderii than or even asold as, the Mahabharata in the recension now current. But there can be no doubt that the poet is consi. derably older than any of our better known lay poets, Kalidasa mentions him by name in the prologue to his Malavikegnimitra, There the wiftafa'a remarke—ar araqt seqatet wedleeafagaeat arate a atad, afew amt fe wat agara:— “No! No! Works by such far-famed poets as ww, aifax, ‘afaga &o. being available why have you set your heart on the production of a post who is still living?” It is true, the Bengali edition here read wraardtfaw instead of aredtfae of the Bombay version. But eta was the court poetof aa in whose name he wrote the tarae?t and the armae as we learn from wuz who says “ateal@staméiafaa wrq’’—wealth as of "aa &e, from itee and others. Prof. Macdonell assigns the ‘7th century A.D, to Wed! He and raw are therefore posterior to Kalidasa and yaa is a misreading here. Pandit Ganapati Sastri, who recovered and edited the works of Bhasa thinks Bhasa as anterior to the 4th century B.C, His reasons are briefly these :— In Chanakya’s Arthasastra we meet with this verse— aa aud afad: gy” que a waaay | wae a aReaS Tee A ae ewe #3 aZaq | ‘The sense is— “A new pitcher filled with water, consecrated and strewn over with Kusa grass, will not be the lot of the man who will noé fight for his master in return for his bread. Such a person is destined for hell”. This verse is seen in Bhasa’s nfsmmea also where it is not treated asa quotation. Supposing then shat Ohanakya has quoted from Bhasa the latter must be alder than Chanakya. Now Chanakya was contemporary ofiii Chandra-Gupta who flourished in the 4th century B. CO. This therefore is the inferior limit to the age of Bhasa, I have shown in the papers referred to above that Pt. Sastri’s arguments may be refuted. There are reasons to think that the verse is an interpolation in Bhasa. It has also been shown in the said papers that the question can be approached from another side leading to about the same result. Bhasa may be reached through Kalidasa. If the medallion, recently discovered by the Archaeological Survey Department, by excavation at Bhita, be genuine, then Kalidasa has to be placed a good deal before Christ. And Bhasa being consi- derably anterior to Kalidasa, is much older. (So 4th century B, 0. for Bhasa may be probable—See infra ; also our Intro, in Sakuntalam and Ey. of Gita—Kalidasa’s Date). I, THE BIRTH-PLACE OF BHASA The country of Bhasa’s birth is as yet undetermined. ‘The poet lies now as unclaimed property. But he is such a treasure that any country that will have him as its own, ‘will at once rise in the estimation of the learned world. It is therefore natural that there should be a clambering among different countries for the possession of this treasure. I am fold that the south has been adjudged as the birth place of the poet. But the question can not be considered as @ closed one yet, and I am tempted to enter a claim on behalf of nothern India. IfI am not mistaken, the poot himself can be cited to back this claim. Sanskrit dramas end with a benedictory verse called the acaaray which is read by the principal actor and generally embodies the poet’s personal views and opinions, The Htqaret of Bhasa’s qyaraaanq and arraftay is this :—iv sat erread rat fenafeargrery aettaracaret cafe: 90rg 7 This may be freely rendered thus:—May His Majesty, our king, rule over this earth that extends from sea to sea, and has the Himalaya and the Vindhya for her ear-drops. Here Bhasa compares his earth to a lady, wearing the Vindhya hills and the Himalayan range as pendant to her ears. Now the ear-drops of a lady hang parallel to her body. Vindhya and Himalaya are therefore parallel to the body of Bhasa’s earth. But these hills stretch east to west. Hence Bhasa’s earth stretched east to west from sea tosea. Also remember- ing that the ear-drops are worn one to the right and the other to the left of the wearer, it may be presumed with some amo- unt of certainty, provided, of course, that the poet is not guilty of confusion in the metaphor of bis verse, that the w¥i—the earth—in the verse in question, is Northern India, Again, the scenes of the dramas of Bhasa all lie in Northern India and not a single one of his characters comes from the South. It is not easy to reconcile these two facts with the nationality of the post if he really belongs to tne South, Ill, THE FAME OF BHASA. We next propose to inquire about the source of Bhasa’s fame. It seems Bhasa wrote dramas only. If he wrote epics also, these would have been of little value and were soon forgotten ; but the dramas were of such superior excellence, that the poe came to be known as a dramatist only. On this point we have Bana’s testimony as contained in his off quoted verse :— aaareanel sizer a gate: 1 wate DAR are SemaiCa aTo seo clearly fo what this verse attributes the fame of Bhasa as a dramatist, it is necessary to ascertain *the signi- ficance of the epithet qaurraarta:, begun by the qau—thaé occurs in it. This epithes has been taken differently by different scholars. Pandit Ganapati Sastri understands this to imply that Bhasa’s dramas are introduced by the qe#, while those of other poets are not so introduced. Says he :— These Natakas are thus seen to be the work of Bhasa as the epithet qawaare: by which Bhatta Bana in the above qualifies Bhasa’s Natakas applies to these plays, for every one of them begins with the stage direction—"arera? aa: wfanft aur: ? Pandit Sastri here means to say that qa¥remarcy refers toe special feature of Bhasa’s drames: To facilitate comparison we shall place the opening lines coftwo of Bhasa’s dramas side by side with those of two modern posts as representatives of later dramas. Bhasa’s Urubhanga opens thus :— (arerat? aa: afanfa gaunt: ) dane — ahadwazt aagenat arearcteet aiatuane aanact gaftaraaaa | AS; waaa cerefesat 24 eA: ma,at acay 3 8 ATaTTY ga: are; ana ifaare, freaanfat &o. The sense is ;—"( After Nandi enters the Sntradhara } Sutradhara—may that almighty Kesava be your raft in cross ing your adversaries, the vety same raft in which Arjuna crossed his stream having Bhisma and Drona for its banks; TJayadratha for its waters. Sakuni, the king of Gandhar, for its pools; Karna for ita billows; Asvathaman for alligators. Kripa for sharks and Duryodhana for its floods. T beg to announes this to the honourable gentlemen here preseng”»vi In his Duta-Vakyam we find :—are? aa: nfanfa gaat: | waut—ae; Wagtee eeMalqes: Ta! ania waled a aqaeq@y @ yu cama ifn fasmanfa &e. This is the senre—“(After the Nandi enters Sutradhara) Sutradhara—may Upendra’s foot, the delight of all the world, guard you—the foot with coppery nails thet flung Namuchi up into the air. I beg to announce” &e, Similar is the opening of his other dramas also. Kalidasa’s Vikramorvasiya begins—@era guargtagay’ Ta faa’ ded afasiae samariena: wal anetec | wads gEaae faamrurfefad at 3 wae: fecafedagent fev aeerg a0 AIT Amat: - weafafaata ke, This means :—"May Sthanu grant you salvation—Sthanu who is easily reached by steady devotion, whom the Vedantas style as the One Soul that pervades all space who alone is truly called Isvara, whom people longing for beatitude seek by restraining their senses within. (After the Nandi) Sutra- dbara—Away with great prolixity” de. Bhavabbuti'’s Viracharita has—wa @arg Qara fama FaTIg AA | maaniaurna Sams fad aH: | AEA? Gaart—weafateate ge, This may be rendered thus—‘‘Salutation to the self-con- tained resplendent, eternal sin-removing, stageless, Light of knowledge. {After the Nandi) Sutradhara—away with much prolizity’’&c. ‘The opening of other modern dramas also is of a like charac ter, From these it will appear that in both Bhasa and the later poets the drama opens with a benediction, with this difference, that with Bhasa it is the Sutradhara that utters the benediction. with Kalidasa and others, the speaker is not directly mentioned, the stage direction és absent, But in themvii immediately after the benedictory verse we have the stage direction werwt qae:—Sutradbara says after the Nandi. Ié is significant that this direction omits the verb; It does not say qaart: sfaaia Sutradhara enters His nq (entry) is taken for granted ; It has already taken place. Well when ? We say, at the very commencement. He tt was who uttered the benediction. For, if it was some other person, then the entry and exit of that person would have been announced. This view is confirmed by the Sage Bharata who requtres the Sutradhara to pronounce the benedsction—qaat: Tart WeA- wacatfaa:—The Sutradhara should recite the benediction in the note known as the aaa which is midway between 433 and fasre | Bharata’s pat is only a benediction the indispen- sable part of what he calls yt¥—the preliminaries to the staging. We read in Bharata—aoaw'™ qatfe yeerer A241 aera aden at famtouad Gaferqurdtmntaterran | carafe Qaat Terma watfe aT Which means this—In a drama though many are the details of the y¥tw, the indispensable element to ensure & successful staging, is the arti Being solely benedictory with reference to gods brabmanes and kings, it secrred the favour of the gods and is thence called arett Thus wm modern dramas; inspite of the absence of siage- direction the qaur: 13 the first to enter the stage, pronounce the benediction and introduce the drama just as in the works of Bhaso, Tarawa therefore ceases to be a distinctive characteristic of Bhasa’s dramas. Tt sooms Pandit Ganapati Sastri has been led into this in- terpretation of the epithet gaurtaareal: by the absence of stage- direction before the benedictory verse in modern dramas. But why should modern writers all omit the stage direc-viii tion here ? Chance will not explain a universal practice, We shall try to obtain an answer from ® comparison of the ops- ning of Bhasa’s dramas with the teaching of Bharata. Bhasa commences with the stage-direction avers wa: ufanfa dant: 1 Then follows the benedictory verse. This verse being aver —arier the Nandi—Bhasa's Nands does not include the benedictory verse. It is performed outside the stage and is identical with what ata calls yate—the preliminaries to the staging. So mera with wre means yttriet —after the preli- minaries are over. But when the preliozinaries are over, the Staging of the drama commences stage-direction becomes necessary and Bhasa supplies the direction arera aa: afanta "qa; The benedictory verse becomes included in the drama. Again, as explained above, Bharate’s y¥tr has many details, the most important of them being the Nandiie, the benedictory verse. This verse being thus included in the yatw—the preliminaries to the etaging—it is no part of the drama, and, strictly speaking, ought to he gone through outside the stage and no stage-direction for itis necessary. Indeed ‘stage direction for preliminaries to staging’ is a contradiction in terms. Consequently stage direction at this point is omitted in modern dramas which here all follow Bharat. We must remember that qe, srari, &c are also stage-directions In modern dramas the yt tw és over with the wrdt after which the staging of the drama commences and accordingly we have the stage-direction qa? qu: | The benedictory verse is thus excluded in the drama. Thus owing to the different senses in which Bhasa and Bharata take the word art, the stage-direction naturally pree cedes the benedictory verse in the former while it succeedsin in the latter. I¢ may be asked ‘How is it that modern dramasix recite the benedictory verse on the stage 2” Let me guess an answer. The benedictory verse, with the exception perhaps of Bhavabhuti’s Viracharita and Uttaracharita only,pronounces blessings on the audience, and blessings sound odd when uttered in the absence of those that are blessed. Hence in modern dramas the Sutradhara enters the stage faces the audience and recites the benediction. ‘The divergence of Bhasa from Bharata does not neccessa- rily argue the priority of the former to the latter, because, the same argument, pushed the other way, will bring down Bharata to quite recent times. For modern dramas too do not conform to Bharata, because Bharata would not have wast to introduce the dramas. His qast< pronounce the benediction and leaves the stage, and then a different actor, named wua enters and announces the drama, Thus :—nga aaa ay EAA: SergM: | eTTa: afates qaeTToTaa: 1 — “Having pronounced benediction the Sutradhara should leave the stage with his train and the waa who looks very like the qauiz, should enter.” In support of his interpretation of the epithet qaaraarct :, Pandit Ganapati Sastri confines himself to » comparison of Bhasa with modern dramatists only. He ignores dramas older than Bhasa. To this he was forced by cireumstances— dramas older than those of Bhasa not being available. ‘A question now arises for solution :—Did any drama ‘exist in India before the days of Bhasa ? If not mey it nob be that in this verse Bana wants fo say that the fame of Bhasa lies in the invention of Sanskrit drama with all the paraphernalia for staging it? If however Sanskrit dramas were in existence prior to Bhasa, may ‘we not infer from Bane’s verse that when Bhasa came he saw that there was no qa, no mara; the first actor that entered the stagex iutroduced himself and explained to the andience what he ‘was about ; and Bhasa’s merit lay in devising the aut and planning a new chapter, viz :~the weraml to introduce the drama ? This veiw too of Bana’s verse does not seem to be tenable, I think we have evidence to believe that dramas were staged in India before the days of Bhasa, and further that these dramas were announced by the qwrt and hada waraat just like the dramas of Bhasa and of modern times. In other words, these dramas also were qauttaateu! For proof we moay refer to the #argqia of Bharat to satisfy those who believe in the great antiquity of this sage. Internal evidence from Bhasa himself may be adduced for others of a more sceptical turn of mind. The word ata means a #2, an actor, as in—ay fafafa seraa acat: ~ why then are the actors sitting idle ? There is no satisfactory derivation for this meaning, The supposition seems irresistible that the sage aca who cultivated acting has given us this word. In course of time any actor got the name ata because the sage was a renowned actor. Witness the word gwtea which also means a azas in aq fafafa arate gad: ae aetanq—why then don’t you commence singing with the actors ? This word is supposed to have come from Rama’s sons gq and wa who were exqui- site singers of the Ramayana. Now arg uses the word ava for a wz in the compound wta-araq at the end of his dramas. This may be taken to show that wza and his wama preceded Bhasas, In the yfaarnza Bhasa speaks of the staging of » wiza at the coronation of Rams. Thus—“atema qies wmreree feats arrinieer argue gat deft i—Go to the coneeré room and tell the actors to be ready with come suitable drama.” He sees no anachronism in such a state- ment. Again in Bhasa’s gawéiqaey the opening lines are:—xi (were? wa: afeaf aaare: ) are — ayerraferg at BaEG & oeTeMETaghnare: TATE | Saaahamsaaaaguaranasamagaen: o This is the substance of the benedictory verse here—“May Narayana guard you all. He is the sole resort of the whole creation and opens the way ont when the gods are in a fix. Tt is He who is the qaurt for the waraat and sfaearcat of the ceaseless staging of the #1za of the three worlds.” Here the three words with which we are concerned, viz 72%, qaut wear, all occur in the sense which they still carry with us. They could not have been coined by Bhasa for the occasion, for then benediction would have been unitelligible te the audience and would bave lost its point. The three words aust have been taken from current vocabulary, consequently the things they denote must have been in existence. Two possible objections tothe above must noi be left unnoticed. The verse reads area and not wena! This is immaterial. The words must have been wertm and Hfraarvar | The latter does not suit the metre. It is therefore changed into yfaata4 which means the same thing. Next for unifor- mity wera is written as aera! After all we are concerned with the thing and not with the name we chose for it. Secondly, it may be urged, that the qaeaaaey which employs these three words in its benediction, was staged long after the appearance of the first drama by Bhasa. The ger though an invention of the poet himself bas become @ familiar word with the audience by this t'me and the poet treats it ss long-current, as it already was taken then. The facts,however, are against this supposition. There is no attempt on the part of the post to familiarise the audience with the word eraar!aii 16 remains now to see how wqara; will fare, yarat ina 42a is another technical term denoting a certain kind of dramatic trick, Suppose a general sends his orderly to take a letter to Some one and while the orderly is away he is thinking if a certain strong-hold of the enemy which is under siege will be taken or not. If just then the orderly returns ard says ‘tazen’ meaning of course the Jadter, the general considers this as a happy augury because the wordis spoken at the rightmoment and he takes it applying to the stronghold. This is yarat | “aera fafeasafa afavisn: age’ 1 MTT AA HTT TARTRATE J ATU” ‘If when thought is occupied with a certain matter, ano- ther matter of a like character turns up incidentally itis called a vararerm” | Thusinthe ufasaza king aeréa of Ujjayini is discussing with his queen the eligibility of certain suitors for the hand of his daughter. He asks— eae are: aifeeh ae: SOA afew a8: 1 wa aa aaa aWat we Past caat safe car —We are connected by marriage already with the kings -of Magadha, Kasi, Vanga Saurastra, Mithila and Surasena, ‘They are again tempting me, each has his special qualifica- tions and I am bewildered. Which of these do you deem suitable ?’’ Before the queen could answer the poet has ufiwa are aita:—aqeca: | The Kanchukin enters on a certain alien matter and unceremoniously utters the word aqeua:— ‘The king of Vatsa. Here chance supplies an answer to the King’s query. This isa uarati Asa matter or fact, aqutro: -did marry the king’s daughter. It is unnecessary to multiply instances ; suffice it to say +hat yatat abounds in the dramas of Bhasa. Bhasa’s dramas sare therefore agara. But this again is not « speciality with 2xiv Bhasa, It is a favourite trick of posts and is seen in almost el] modern dramas also. Thus in Kalidasa’s wfasaugaq king Dushyanta, after the repudiation of Sakuntala wished her a second time and exclaims wanaghtaa, wqaaTeeaara- eqararatad aa: gaesaa— “T haye wantonly discarded you and am now being con- sumed by remorse. I beseech yon to favour me with a glim- pse of yourself again.” Just then the hand maid Chaturika who was but on an errand suddenly enters and holds before the king a painting of Sakuntala saying—xd feaner ufeat— here is the queen on canyas, Thus a glimpse of Sakuntala is granted to the king no sooner he prays for it, ‘ais is & qarat presaging speedy reunion of the king with his heloved, Hence eum refers to no distinctive feature of Bhasa’s dramas, and eaar#; too in the verse above, lends no point to the statement aTeeesh@e 1 If then qaurtaaree’:, aFyfHF: and ward: give us ne infor- mation as to the source of Bhasa’s fame two questions natu- rally oocur.— (a) First, what purpose do these epithet serve in Bana's verse ? (2) Secondly, what else is there in‘the verse to infcrm us of the source ef Bhasa’s fame ? In answer to the first question we say that the epithets are by no means puryoseless. They have a double ranse each so as tz apply to both aiz3: and @ag%#; and thus establish resemblance between wiz%and Zagqi Thus whea . plied to 234% a temple, gamit is “the holder of the tape”, is.a car- penter, a mason. A @agq is qaurvaaret commenced by a car- penter, or a mason which is a fact. For a ae, the aaMt is of course the stagemanager who commences the drama So both wen and Zagq are GATaItHale commenced by a qat! Thisxv is a point of resemblance between the two. ‘floor’ with reference to 2aqqi A age is ay ried, which also is true. It is true of eq above. Hence ax and 2agm are arate Bhumikas. This Bives US ® second point of resemblance, Lastly sare isa fog when taken with fagq, A @aga is aaata furnished with a flag which it really is. A arz@ is also ‘aaara as already explained. This is a third pcint of resem- blance between 12% and @agq. With three characteristics in common we have a tolerably complete resemblance between area and @age@! Thus the threo epithets TRIGA, Tyra and eqarq justify the fourth one in the verse, viz 2agafea ag by so many temples. This then is the “Purpose” the epithets serve. Bana’s verse may now be freely rendered thus :— “Bhasa attained fame by his dramas, which begun by the Sutradbara endowed with many Bhumikas and furnished with Patakas, as they were—were like so many temples.” Tha comparison thus established is nota mere piece of Poetic ju, glery. It supplies the answer to the second question above, By comparing the dramas of Bhasa to so many tem- ples Bana perhaps means to say that the dramas ni Bossa were entitled to the same amount of veneration as is ordira- rily reserved for a 2a¢q ; the memory of the writer of these dramas will be cherished with reverence like that of a builder of temples. Again as temples in these days, were usually, celebrated seats of lear.ing, it is like that by the comporsicn Bana also implies that iater poets received their inspiration from the dramas of Bhasa. If the letter be the view cf Pana; Jaysdera shares it with him. We have said at the cntset that the latter calls Bhasa afagaqa—the inspirer of poets. His words are given thus in his aairaa— Agnin aan iss afa—many sto- too as explained ™%—contain manyxvi wardktfageirat, ae go aatt mare: afagage: anfeare feere: | sited? veaaefa: veareg aru: aut Far wala afaaranfeet agate tl —Poetry is a strange lady that delights every one, alcafa is her locks, a;taf4 her ear-drops, ata the inspirer of poets her smile, afar her grace, tei her joy and atu her inmost desire. . I take afageaa in the above as qualifying ara not arfaera though the context admits of either construction. The word aa has different senses. When ‘meaning best’ we may say aifaerq is afageqa—the best of posts—(justas fedta is called gud TuiH—the best of kings by Kalidasa), If the meaning is ‘teacher’ it is more appropriately taken with ara as will shortly appear, though later poets have learnt a good deal from atfezta also. When we say one poet is the teacher of another we mean that the older of the two has influenced the thought or the style or the language of the younger. In glaring cases the younger is an abject imitator, a pirate. Here is an illustration :— A few chapters of the duva'y of the ayrarca go by the name of the tat and from time immemorial exist as a separ rate book. Owing to the sacred character of the book, some laudatory verses have heen added to it as introduction under the name Wemetez by some one with considerable poetic powers. Therein we find the following verse :— Weare sare wach TAT sarrareadl to awit aoe Parga | wrerafead deere gaifearate st ariel ay wed card Fara: Fa: 1xvii “What a pilot Kesava is! The Pandavas have indeed crossed that dire stream of eremies of which #u and aa are the banks, aaza is the water, weft is the rock, we the alligator. ay the current, aw the surge, waeraq and faaw are grim shaiks, gaifea the whirl-pool.”” The verse bears a striking resemblance to the benedictory verse of Bhasa’s wadz7 given above. Viz, — Aateaet sazeset Trae aidford tment gat erty | at; xa wet werafenat a7 sta a: wat at@y a: @ aay ge: Bae y The poet of the ‘tararetau, whoever be was; has here adop- ted the language, style and the thought of Bhasa’s verse. The alterations are trivial and made only to suit altered circumstances and to avoid certain criticisms to which Bha- sa’s verse is open. It is an instance of abject imitation, and in polite language we may describe this poet a pupil and Bhaca the teacher. We cannot say that the arerm slokas also are due to Vyasa and Bhasa is the imitator, because the author of the area distinguishes himself from Vyasa saying :— Waisg @ are fanege qanfeeraadaa | aa war arradege: neafedd arama: wea: 4 “O lotus-eyed Vyasa of mighty intellect, I salute thee: thou hast lighted the lamp of wisdom fed by the oil of the Mahabharat.” There is another reason to suppose that Bhasa, is the teacher here, It is a well-known fact that an imita- tion shows improvements over the original. The gemis rough in the mine and receives polish after it is taken out of it, Bhasa’s verse above is rough while the other one bears polish.SECTION—II Bhasa—the dramatist, ( HIS WORKS—AGE—COUNTRY, RELIGION, de. ) Scholars have shown that the thirteen books [which are:— (1) aera (2) gave (3) aeqaeneta (4) gawztqare (5) wala (6) ‘sawa—based on Mahabharat; (7) Balacharit—based on Krishna legend , (8) afaaraiza (9) afta—based on Waray; (10) euaraszaq (11) wfastinacrza (12) ofanca (18) arazn* supposed to be based on historical facts &c] unearthed by Pandit Ganapati Shastri at Trivandrum have come from the hand of Bahasa the senior of Kalidasa. Owing to similarity of expressions and ideas (e. g.) (i) “fe zea! wurwist uid erawa” Balehorit. 1. IL. “agaarraan qee@a ana” Dutaghatotkacha VII, “treat wea 18°—Pratigna-Yaugan- dharayana I. 16; (ii) “ante wler aitqa aa” Pratimanataka and Abhisheka, (iii) “fa venta tea’ oftafed &” Swapnavasava- datta VI. and Abbisheka IV ; (iv) ‘aearat g@ sna:”’in Swapna vasavadatta VI and Yaugandharayano VI etc.), owing to similar scenes in these [e. g. (a) Vasudeva’s counting on Arjuna’s deeds of valour—his singlehanded victory over the Kurus in Virata rastra ete. of Dutavakya occurs in Duta- ghatotkacha as well; (b) Ravana’s lament over Indrajit’s death in Abhisekha resembles Dasaratha’s wailings inPratima nataka due to Rama’s separation etc] and Prof, Winternitz’s citing of the epithet watagar (in Datavakya Abimaraka I-1, Pratima VIL. 1, Swapna VI. 19); and expressions like a- wary aaaatq in Pratrjna-yaugandbarayana, Swapna, Oharu- datta ; and ar afe:, wea: wen, Garand’ fafer in Prat. Yang, Swapra V ete and “3 wef Ga axfagu” &c in Prat. Abhi &c. prove common authorship of these dramas. These very nabu- * Some scholars try to attribute TaGeq &c also to Bhasa but we disagree, Some even disagresing to attribute all these even to Bhasa,xxi ral expressions (viz qqaTaea in Swapna and Sakuntala,yfrer- wat in Part I and Raghu VI. 20 ete. waifawra in Prat I. dand Rag. XIII 1, gata in Prat and Sak. VI,seg%: in Prat II and Sak V; sfvadt #é@ in Pattand Sak) occuring in Kalidasa also, show the proximity of Bhasa with Kalidasa in point of age. Over and above these Prof. Devadhar also proves the common authorship of these plays from certain dramatic devices. |Again common authorship of the above 13 plays seem certain acc. to Mr Pushalkar, from above similarities and the ides of attainment of etm and wish for its stability, ep avaa awimag]. Prof. Devadhar says—the entrance of » person of high rank is announced with the words “sqaure, Baas, Wall Sqate (compare—Part. Yang IV, Urubhanga. Swapna I, and Pratima III). The Prologues of Bhasa’s plays are shorter and similar and no mention is made of the author as is common with later dramas; then again mention of high important personages by puns are seen in Pratima, Pancharatra Swapna, Prat-Yaug ; the Bharata- vakya in several. of these plays are alike; so also these belong to one author. Pt. Ganapati Shastri also shows the special characteristics of these plays in the stagedirection “are? aa; afaafa gaare:” * Bhasa’s plays have wraat for , (*But from Bana’s “qaarnagralaizae gyfad: acartanet wre} 2aqGfea" (Haraacharit I), is is clear that qaertaatcar eta, are not special characteristics of Bhasa, but the epithets were chosen to apply to both Bhasa’s dramas and Gaya; for as is seen in wifeaeta one of Kalidasa’s manuscripts of Vikramorvasi begins like Bhasa’s dramas, Further in all dramas modern and old, the qawmv enters, utters srfae and introduce the drama ; but in Bhasa the 1} was included in yee whereas in modern dramas the #1 is recited on stages (See Sec. I also)].xxii sera for the preparatory scene. Dr. Max Lindeau in his *“Bhasa Studies” hag also given these arguments in favour of ecmmon aushorship and also in favour of Bhasa’s priority to later dramatists of the Christian Era, Similarly the compli- mentary relation existing between Swapna-vasavadatta and Yangendharayana,and between the two Rama— dramas { Pratima and Abbisheka ) and the same nature af deviations from Panini (e, g. ater et use of I+aeH, sfa~ai; uses hike amttis, ata: ggaiasa &c in these dramis} prove their common authorship as also their antigaity in a period when Panini-grammar did bind language hand and foot; and their common out p goes to wa as és clear from the, slokas of Bana, Bajsekhara ete.~Now Pandit Ganapati Shastri,Max Lindeau {*Ps.G, Sastri also holds that as Rajshekhara in the sloka “maranee sy BF fad qafagy eee car TeaeTe eee gtaz.” ascribes ayneaza to Bhasa, so all the other works of this group showing common anthorship belong to bim also. It 's remembered that from Rajshekhara’s Kavyamimansa by Extinghausen) we seo that two Bhasaa—only exis- ted ; ore Dnavaka Bhasa author of Ratnavali &e and the other the au:nor of Syapnavasavadattam &¢. Rajshekhura however confounded these two in the sloka quoted above ; we quote the clokas for elucidation :—“areeq aftaa a ama getaar: rane fe ame: saterasionay natal area cfwar arfza faa Feat fcde ese wea fraedary o@ carat ge cara wae RET WERT ATM UM ae ek A) TRA: ae afa SETTER wagzitge- rem: wiammen aferatenfa ou aeadrserare Aare ner i wages wera aearie a faetfaq | aramcaeet she fei febsOhem armeee ceaisys gaa” After all (taless further light comes out) two Bhasas are found inxxiii etc.place Bhasa in 5th Century B.C.; others place him inA.D. Thus Prof Keith places Bhasa in 3rd Century A. D. on the strength of Kalidasa’s date and on the strength of Bhasa’s Prakrit showing a later date than Aswaghosh’s Prakrits (and sanskrit, one MARNE being author of the group of plays Nagananda, Rainavali &c, the other must be the author of the group of plays Svapnavasavadattom &c. Again the quotation of Bhasas-slokas by Vamana the Rhetorician in his Kavyalanakarasutra (e.g arataf &c) and by Anandavardhana in his Dhyanyaloka as suggestive of common authorship of these plays is doubtful. For the slokas of Kavyalankara— sutra are from Sudraka’s Mrichhakatika which perhaps is based on Bhasa’s Charudatta. Mr. P. V. Kane has pointed ont that the line ‘ga f ara guaeifegras mq” &c. in Vamana (IV. 3. 23) is not found in Charudatta but in e@afea (cp. Vamana’s remarks also—“uentfettaay oaaPg qarre eet em”); so also WIMRTEA does not verbally quote @¥4 GeeTy though wfrraqante (his commentator) does. I think these prove on the other hand, that at that time (.e. in some 8th Century A.D.) when Vamana wrote, Bhasa’s works where outsed off the field by Kalidasa’s and perhaps by Bhava- bhuti’s dramas as #¥4T™ drove off Vyadi’s wee 5 and that after Kalidasa Bhasa’s works were being gradually (as cen- turies rolled on) unheeded to, and these then for some time found popularity with south-Indian people, as once W¥T#IS was current in Deccan only (cp.“a: qrefafaer 8} aviaracora: arg 3 afamraty ward safen: | ad arent aa sraremrergerichs; ama agg sareraii-fel ??—in areggta ); hence the South-Indian characteristics in Bhasa’s works as beginning with ‘aa: afanfa were? qaurt:” &c ; for Sahityadarpana quotes ‘one of Kalidasa’s manuscripts of faavia'st whose beginningxxiv Aswagzesha wrote in Ist century A. D. during Kanishka’s \. Prof, Winternitz rightly says that generalisation on and language etc. 1s shaky indeed.He however places 2 4th Century A.D.on the strength of Kalidasa’s date wy :s also sumzlar to those of Bhasa’s plays, and Sahityadarpana cailsitasan old use (cp. “Sava simagaag ‘aer=d qaere: seaacia Sardg varie ema” S.D.VI. 24-24 &c.), I think this 18 an old custom im south Indian plays specially. So also Bhasa’s plays gained a South-Indian characteristics even in oid days, for it was an old fashion. Again the flow of verses and characters in Charudatta is dispensed with in w=aafes, s0 Charudatta is the earlier work ;some(e.g. Prof. Dewadhar. Mr.Barnett &c.) try to prove the reverse from other facts of these two dramas; but we differ as potent reasons place Bhasa in B.C. George Morgenstiene place Bhasa’s works as earlier than Sudraka’s while Dr. Sukthankar places Charudatta as later than agafea though the latter scholar admits that Charudatta is more crude than ewalee, the former rather incomplete and the latter complete. It must be temembered here that these writers being biassed against te high antiquity of Bhasa did not remember that the great also sometimes takes nap specially in later ages; and that be original is naturally defective and crude. Again the facts revealed by Mr. K. Rama Pisherodi (B.S.0.S.3. 112f; 8 641) tha! plays of Bhasa form a part of the repertoire of Casyars—the traditional actors of Kerala” support us, Cakyars did never act a drama in full, but only its scenes and for every act they stage, they have torm of interlogue” &c. so also the Prologues of popular in South-India were changed ged through s of Kerala theatre 3 these actors even changed the crg.nai: so perhaps we find Bhasa’s incompleteness inxxv as 6th Century A.D. Some also hold that as Bhasa speaks of Pataliputra, which was not founded at the time of Kalasoka long after Buddha's reign, and as one of Bhasa’s slokas in Pratijna-yaug. is based on one of Aswaghosha so also Bhasa is later than Aswagosha. But these are weak hypothesis ; for these may be due to the changes brought on Bhasa’s plays by the Cakyars (Kerala-actors) or others. Prof. Sylvan Levi holds that Bhasa conforms to the classical laws of Indian Aristotle (ie. Bharata), so he was after it. Dr. Barnett has questioned the authenticity of Bhasa and places these works ascribed to Bhasa in 7th Century A. D., for he says that Charudatta-manuscript unearthed in Trivandrum. These Cakyars the actors of Kerala were plagiarists and as such can not produce finished plays like @yareazuq or ufanwea | And no Rhetorical works after 10th Century named these works as preparation of Kerala actors, so we emphasise that Bhasa’s works were only revised by Kerala actors to suit their purpose and taste. Mr. Paranjape has also shown that Bhasa’s uses and imitations of Ramayana’s words &c., (several deviating from Panini and idiom) as faadta, eitafam, ‘‘wETTay, Tile, 74,87 in Pratima-nataka, if attributed to the authorship of Kerala actors, then what excuse can these of 10th Century A. D., bring forward to support unpardonable mistakes. Such blunders are never found in middle-age writers. Thus he remarks—‘This peculiar phraseology also therefore, detects and discloses that the Chakkyars (?) can never be the author of these plays except by stealth.” (Intro, to Pratima pp. XYXII). As (seen above) once #8TaT] was popular only in S, Innia, so in course of time Bhasa’s dramas ‘were famous with Kerala’s theatres. Further the epic slokas in Bhasa’s works, the many deviations from Panini, the prakrit in his dramas coinciding with that of Kalidasa, theirxxvi ‘tayilas-Prahasana of Pallava prince Mahendra-vikrama- -armac of 620 A. D, has close characteristics with Bhasa’s. lays beg.omag with “area? aa afenia qauwre:’ | Prof. Deva- farther says that the depiction of death etc. 1s not an but found in the manuscripts of Katyayana- adhisa where we have “ot ge wea”, “sit gfefin: Btz_ waar”: Further, he says that as Bhasa’s Prakrits in ints coincide with the drama Mattavilasa and i:adhananjay so Bhasa follows south Indian practice fmidde ages, Thus 7th Century is his probable date. t reverse 1s the case when we remember as noted in footnote that these are south Indian characteristics ‘ton Bhasa’s works by Cakyars of Kerala, and any ‘sation on these 1s weak indeed. And as Bhasa was in S. India alone, so south Indian characteristics ed in his works ; the S. Indians following Bhasa as i wrote in this strain in middle and other ages. ¥ Les: also 1s in our favour, he quotes Ramchandra and a handra’s Natyadarpan where Bhasa is connected with eH cp “EET MIAwA @TaTeaee,, aqatre:— “arena SUiw eeH avy 8z fwarae” ), and this verse not being found tion of @¥78az, he holds that the present ‘ouzn Indian revision of the drama ; so perhaps s cf Bhasa also underwent revisions, Prof “Plays ascribed to Bhasa—their authenti- * donk ther Bhasa mentioned by Kali- a Bai we have seen in Sec. I and in ohgious faith and other strong battle and death m Bhasa’s dramas in *a's Natrasutcas) place all these works to asa {as we will see) flourished in B. C,xxvii Sanskri works andone being W%HAt anthor of Ratnavali &c. posterior to Kalidasa, the other author of @UT8%e4 Ec. is the Bhasa referred to by Kalidasa in his work. Now let us determine this senior Bhasa’s date referred to by Kalidasa ; and we have seen that Bhasa’s religious faith contribute to the development of Gita’s philosophical ideas, so Bhasa was perhaps a bit before Gita (see our Evolution of Gita). Bhasa’s antiquity with reference to his #¥araa@ua, being. source of Gunadya’s Brihatkatha of 1st Century A. D. (as advocated by Pandit Shastri) does not commend itself. For wena also refers to a#8@et under Sutra 4. 3. 87 (cp. aframaad waa senha aga ya amar! aTeaear ; GAA wma” &c.) showing that a book named waaee (other than Subandhu’s surely) was current and popular in his time, but that Vasavadatta is now lost tous; so itis possible that Bhasa’s @vareagay and the W8az"T known to Patanjali had some commen origin unknown to us. Another argument in this direction of Pandit Ganapati Sastri is that Chanakya quotes one of Bhasa’s sloka from afastatwatraw (cp. afy waa aaregieur asraraTTay “ar @ afaduefate’) wie aa waa: —'arq aneg agar fear: @iifee; Waele art) ate ararafeaifa ar ater gga Gea: 1 AaTe Sragye Toes edadnitay) cae aga Tez 7 an, fawe aa 7 gay’ —sfe afeagafearargaateagatary’—Chanakya’s Arthasastra quoted by Ganapati Sastri). Now the sfanratza has the second sloka only “7a 7t144%” etc. But the construction and 39st, metre of thesetwoslokas, their negative and positive proofs towards those dying in battle, show that these were works of one hand ; so we think that both Bhasa and Chanakva quote these slokas from some third man; thus Chanakya says ‘ wf =z grit waa.” in dual. If these were from different authors, then Chanakya would have said fas’, “sf” or “w=” afterxxvii zhe first sloka and “wit ce dtai:” before the first “aTqarey” etc, So this also does not prove Bhasa’s antiquity. The only oof of establising Bhasa’s antiquity 1s that Kalidasa Javikagnimitra names Bhasa asa famous poet (cp. req afaeaet wredifaaafayardiat waerafame ad ara: cava zat fe wat agara:), Now Kalidasa having flourished rn 2nd Century B.C. (see Appendix at the end of our ‘ution of Gita and our Sakuntalam). Bhasa was surely about some two centuries earlier than Kalidasa ; for in his time ke was #faaam: (widely famous) ; and establishment of fame in such a hoary past age required more than a century. So we plade Bhasa in 4th century B. C. The Bengali editions of arafearfufta read “wraadtfaw” instead of wradifera of the Bombay version. But #1a% was the Court. Poet of tei in whose name (scholars say) he wrote the Ratnavalt and the Nagananda as we learn from Mammata whoin his Kavyaprakasa says “Rentetandnteraeaa” | Prof. Macdonell assigns 7th Century A.D. toate! He azé Dhavaka are therefore posterior to Kalidasa, so 417 here is a misreading in the Bengali editions. Again from the #taare of Bhasa’s eraTeaeay and aaah. (eg. ‘rat aint feaahersear! adaerarset uate: 387] 7”), a guess as to the seat of culture in Bhasa’s time may be hazarded (this uafee not being identified, Bhasa’s date with reference to it 1s out of the question*). Here * It has been found out that a Pandya king named Rajasimba flourished in 3rd. Century A.D. in Southern India; from this some argue that Bhasa was a poet of that Period ; but we think that here watis is not a name—fii¥ indicating ‘greatest'—(—it is Terres ); for in Pancharatra Drona says ‘ cara aeqet crafe'y: aug a" with reference to kingxxix Bhasa compares his earth to a lady, wearing the Vindhya hills and the Himalayan Tange as pendants to her ears. Duryodhana and not to Rajsimha of 3rd Century A.D. If it be argued that it is poet's own patron who uttered through his Drona, then we say that this very sloka as ataater of @R- wraaen &c. if refers to a particular king then after the death of the said king the #taare will lose its significance and the drama cannot win public applause ; whereas a poetwishes unhampered success of his dramas through age after age. So Usitey is not a name here. Further the opening benedic- tory verse of avaraaen (e. g- ‘aquanq------gatarary’”? ) pointing to the king or the king-like person as the object of wufaq, shows that Bhasa’s patron was before him ; (witness ‘alm’ in the singular here) ; Avimaraka’s benedictory verse Ce. g. “itary areata? afemg squats, Jaragai”) clearly shows Bhasa’s king seated before him during the acting of his dramas (witness “&” here). Then if before his patron his dramas read merely ‘tifa ¥” directly referring to his patron- king without any qualifying epithet, then surely it will insult his patron. And Bhasa cannot be guilty of this gross incivi- lity. For he makes (in nfasvre™) ¥e% hesitate to say merely away without any qualifying epithet, though te= was narrating master’s words—alratra appreciates thisand says “a eafadtany erfaarwaaq” &c. And he was aware how to use the name of a high personage. So mere Uafé¥ in Bhasa can- not refer to his patron. Lastly if Uaife¥ is a name, then ‘7: wafde:” making "terfde” exclusively their own, uttered by a subordinate is an outrageous incivility. So tafe's in Bhasa is not a name but a mere word which by sufan aera means ‘the lion-like (best) king. So Bhasa’s connection with ‘afe'y of 3rd Century A.D. is impossible. Mr. Jayswal's connecting 3XIX Now the ear drops of a lady hang parallel to her body, ‘Vinchya and Himalaya are therefore parallel to the body of nasa's earth. But these hills stretch east to west. Hence Béasa’s earth stretched east to west from sea to sea. Also, remembering that the ear-drops are worn one to the right and tke other to the left ear of the wearer, it may be pressmed with some amount of certainty (provided of course that ine poet is not guilty of confusion in the metaphor of the verse), that the earth ( @gt) in the verse is Northern India, Aga'a the scenes in Bhasa’s dramas almost all he in northern India. So it is sure that he wasa man of Northern India and he flourished in some hoary past when the seat of learning was there with his patron king as well there ; and as we see. that marnage witha maternal uncle's daughter is sanctioned in Bhasa’s Avimaraka, so he was perhaps some time after Makabharat (where Arjuna marnes q¥21, daughter of Vasu. deva who was his maternal uncle) and after the time of king Ajatasatru (5th Century B.C.) who marries his maternal uncle's (Prasenajit of Kosala) daughter. Yet another argument suggests us. Gita, incorporated in the shuaa’g of amarea was during its popularity considered as ‘separate sacred book ; and to maintain its sacredness some laudatory verses were then added by some one other than Vyasa (for #tararwimr belauds Vyasa there), under the name ———. of Bhasa with Kenva Narayana (53-41 3, C.) is also baseless. Vaishnava Poet’s use of Narayana to refer to some other than Lord Vishnu is impossible and intolerable ; further “afeng” in stamce as quoted above cannot mean “to rule” as Mr. Jayswal says, Tt here means ‘to give’, and Rowhere it is used in the sense of “to tule”. So we reject Mr, Jayswal’s argument also,xxxi of Warmer! Therein we find the following verse :— Madeat sages Tacheqge wars Teal Flay aa tage samafiad ater gates A Atel agaed coms ada: &u2:”.1—(meaning ‘what a pilot Kesava is! The Pandavas have indeed crossed that dire stream of enemies of which 414 and 9 are the banks, 744 is the water uaft is the rock, W@ the alligator, #9 the current, #w' the shore, waara and fawa are grim sharks, @aifet the whirpool”). This verse bears a striking resemblance to the benenictory verse of Bhasa’s& ae, which runs thus :—Wwatvazt sazasat manerataet (or—seat) aw gitandiiamantt gaiterenaad | aa’: xa wét qosfesat de gamete: aqat Taye: w ATTA CTA Bag; 1— (meaning “May that Almighty Kesava be your raft in crossing your adversaries, the very same raft in which Aryuna crossed his stream of enemies. That was indeed an extraordinary stream having #W and #19 for its bank, 4424 for its waters, 28f" the king of Gandhara for its stones, ww for its billows, "warAq] for alligators, #7 for sharks and @aitet for its floods”). The sloka of ataraera is an adaptation of the language, style, metaphor, thought of Bhasa’s verse—only it has polished and remedied the origmal (e. g. Bhasa compares #824 with water and guifen with @aq! And how can #aq be thought separate from a@ ; in Bhasa’s 3rd line of the verse 4, appears as "@t and 4 as o%4; in the fourth line however 44, is introduced in its own character while #14 is still regarded as a 34, which is a blemish and so on). So Bhasa is the mine, and the author of atarateiam the miner. *leT@#I (majesty) of a sacred "book as is usual was written when the book was being thought as sacred ; so Gita was at least a century earlier than the writer of this ( @tararerar) 1 Again this writer by imitating Bhasa shows that Bhasa was the popular and standard author in this line before Kalidasa; for afterxxzii Kalidasa, his muse alone was sung by all. Thus Bhasa being already a standard author, eras preceded Gite by some after Ramayana, Narayana ae aches, ena Rama and Krishna were His incarnations. But after ¥ratta only @W was being regarded as the highest God, and Bhakticult already in the process of development highly advanced ; in ¥ft#™, #W is said as @"% (he being) regarded as lord or producer of @ ie. Brahman and €& i. e. Siva); and during this period the Bhakticult of the Pancharatra also was in evidence as seen in Mahabharata. So Bhasa’s Vaishnava views with @mIaW (see auraenaia, gaRIqTT &c.), STZ (as in yaar &c.) and sometime @W as the highest god (see a@efta) and he having the title @"@ as well (as above), and the title of TaUI@ in one of his dramas show that in his time 4@awia was much in progress and @W in the way of being regarded as the lughest god. But after Gita or at the time of Gita ww alone is the highest god of a vaishnava, so indeed Vyasa put the idea of personal god with #W there. Hence also Bhasa was perhaps a little earlier than ater! Bhasa has no Protest against Buddhism, whereas Gita stoutly protests against this as will be seen there, so also Bhasa Preceded Gita and in his time Buddhists did not make any headway against Brahmanism Bhasa’s Vaishnavism also is unlike that of Magha’s or others of middle ages 3 so also his high antiquity is certain. His epic style, deviations from Panm &c. also Support this. The main argument however, of Bhasa’s high antiquity is based on Kalidasa’s date as 2nd Century B. C. (See Introduction of our Sakuntalam), Bhasa was a believer in the philosophical creed of the Bhasa’s Sutra (literatures) combined with Bhakti of the Vaishnavas as seen in Ramayana, Purana, Mahabharata or Pancharatra &, Though he has notsaid anything about creation or relation of #f%and aw directly, still we infer this from his Bhakti on @rcraw or @W as the highest god, and trom his helief in the Brahmanical systems of power of sacrificial oblation (Bal. Char. V 7), of Sradheult (Prat. V &.) as in Manu and Puranas. Similarly he refers to Brahmanical rites and customs and the promi- nent position gained thereby in Pancharatra I, 6 and in Madhbyamavyayoga, 9. Time and again he shows familiarty with the sastras (vide Swapna. VI. 16 &c.), with the power of ##i (karnabhar 1 19), In Balacharit through chamberlain’s mouth and in Pratima I. through Sita Bhasa revolts against lies even on jest and soon. He has great resignation on Fate which he takes as Provident’s dispensation like a true Bhakta (cp, “aremae aaa: vitae ara earcae fafta aeefaarea- wefw:”—Swapna I. 4), belief on the power of God (cp. “S#% fa sq” —Bal I). He also believed in the force of 4 of this life (ge9%") and of previous lives ( 4) and knew that the prevalance of one over the other was due to the strength of FRANK or Za (cp, SF gerard searay ¥ ay” —Balcharit If 14 and “aafeaaa” in Abhishea). But our poet seems to attach greater power and force on 2a (cp. “ad: ga: genat wate eet! ae faurnagereefa arafafe:” Avi. II). Thus ne was alsoa believer in swirraH’ with aff on ancestors (Bal. I, 5) on THY (Karna I) or areoaea ( arawea’ a am areaya’a ), on ATTY or & as the means of highest good for st*, had strong resignation on his lord, struggled hard for uplift of self and men relying on #¥,and followed the ethics of Dharma Sastras (cp. Bal II. 25 &c). In all these points Bhasa helped Gita’s development, he had also helped Gita’s development by taking @1#et as the highest god and all being his incar- * (See areafta V. 18, 19, 1, 6,7; quel, 43, wade IV etc).xxiv nations ; and indeed his e1#tet took births in several yngas for protection of the good and destruction of the evil as in Gita IV. Cp. ‘ xxeitag: ger wag? aTaT G acawe arat facrarfta- gn) faa: gavew | galerafrn: @ Tawag Ta gh wet fare aiseafaw: afagit #: og erie w”—*Balacharit I. 1). Thus as said before though to him "114 is the highest god, still here his 41129 1s a representation of @#1@t or #W as the highest one—all (including “1 in Pratima &c), being thus his incar- nations. Those who belittle Bhasa’s antiquity say “neither the herd-god Krishna nor Rama is known to us as incarna- tions of fav in mscriptions dating before the christian era” But the quotation of Ramayana, referred to in our Evolu- tion of Gita pp 71 where 774 is said as Wart of Tay—he is BV &c, vitiates this remark. Again some (like Prof. ‘Winternitz) say that to Bhasa $74 and U4 are incarnations * We analyse the above sloka of balacharit to support our pont. The main sentence is—ermer: 3: fre’ tg! Who is erates -—afag? seafaw: | Is this all ? “awdteag: gar ang?” —he was white like conch and milk in Satyayuga. What was his name then? weg *raa:! Anything more of him ? gaa'wa: Parma: His name then ? faverfa'ayaet fry: 1 Any other incarnation of him (1. e. of Damodara)? Yes— war gt gtieraag:! what his name then? Tavad wa) IN. B.—Bhasa’s 12% is #79, for in #faga he is himself wea: | Here the epithet “1#@t is chosen to represent Bhasa the Bhakta’s highest god, for the incarnations are named in point of change of colour—and ¢1et giving no idea of colour, is colourless]. Bhagavat's (x. 8.9.) sloka (e.g. “orey subwetere axatsagi aq! wartaaerdta eer wy wat wa: ) is also in favour of'our alove Exposition.XEXxV of the highest god few; his sfiie 41ew speaks of THas geaita and aq; but as seen above to Bhasa ermete is the highest one—all others being his Watt! So we may also say that Bhasa was in a period when &W was just being regarded as an incarnation i. e. just after our Maha- bharata.”” Bhasa’s salvation though not mentioned explicitly was surely like a Bhakta’s Mukti. All later authors have eulogised Bhasa as a well-known author or dramatist (as we have seen Personalaccounts _ of Bhasa before), but none not even traditicn or the poet give any account of his own self. However from a study of his works we conclude and summarise that Bhasa seems to be an orthodox W#*, a staunch supporter of awhwawi a firm believer in the practice and efficacy of 4%, of social rites and customs as seen in the smritis, of political measures as depicted in Manu VII. VIII &c. an ardent worshipper of ata and of superiors. He was also a true vaishnaya and a scholar of the northern countries, as seen before. His ignorance and reticence about south and perfect knowledge of the northern countries also proclaim the poet to be a northerner where be carried on his literary career under the benign patronship of a king. This much only wecan gather from his works. ® Gita’s and Bhasa’s proximity is also borne out from language, style &e—cp wefet in Part I and in Gita XI, also cp. "9eg:@7 Mita” of Bhasa with Gita’s '¥* arta ATTA arae:” ; ger gat use as Mfranfta: etc in both, &c.xxzvi II. THE STORY IN BRIEF. (a) Bhasa’s Pratimanataka’s story here is as follows :— when Rama’s coronation was going to be celebrated, Dasa- ratha was told something by Manthara (the maid servant of Kaikeyi). Then coronation was withheld, and instead at the instigation of Kaikeyi Dasaratha was compelled to banish Rama to the forest (for a period of 14 years). Lakshmana and Sita being mformed of this followed him as thier Tsai | Dasaratha however died due to the bereave- ment of his favourite son Rama. Now Bharata was inform- ed to comeback here and he having returned to Ayodhya form his maternal uncle’s house saw his father’s portrait hungup along with his ancestors in the picture-hall ( afee- wze)*, This led him to believe of his father’s death and he now having known the cause of this took Kaikeyi to task. Then along with Sumantra (the charioteer) Bharata went to the forest to meet his elder brother Rama and returned therefrom after getting Rama’s permission to coronate his ‘gat (sandals) and himself to act asa mere deputy. During Rama’s exile in the forest Ravana the Rakshasa King of ‘Lanka, abducted Sita under the guise of a mendicant, and Jatayu who approached to Sita’s rescue fell down and yielded to the attack of the Rakshasa (Ravana). Then Jatayu dies and Bharata being informed of this by Sumantra tesolves to go to Lamka to help Rama. Rama, however in the meantime defeated and killed Ravana through the help ee *From this the drama owes its name as fares | This is because importance is attached to this fact—But this has no very serious connection with the development of the plot here. See under the title also.xxxvii of the monkey legions, rescued Sita and returns to his 474 (his original #774 at his T71G )1 Having come to know this Bharata, the mothers and subjects all go out to meet him. Then after the meeting Rama takes back his kingdom and is duly coronated, and becomes ready to go to Ayodhya by the guata! (b) THE SUBSTANCE OF THE STORY ACT BY ACT. In Act I, Sita out of curiosity adorns herself with ata accidentally got. Then (when arrangements for Rama’s coronation were being made) she and Lakshmana were in- formed of Rama’s Wate (exile in the forest) at his father’s words (and under imstigation of Kaikeyi), At this Lakshmana was furious against Kaikeyi, Rama appeased him, And he and Sita too followed Rama in his WaT@ as their duty. Act II then speaks of Dasaratha’s pitiable last condition at the departure of Rama. Act III describes Bharata’s arrival at Ayodhya from his 4 @@a7) and he having seen of his father’s portrait hung up at afaanee along with his ancestors infers father’s death. He then knows everything from @agfaa and meets the mothers (and chides Kaikeyi), Act IV records the incidents of Bharata’s going over to Rama along with Sumantra and his return to Ayodhya therefrom after takmg Rama’s T¢a#T and his permission to coronate these during his absence. Act V states Sita’s abduction by Ravana in the guise of a mendicant ( firg ) and Jatayu’s encounter in obstructing and opposing Ravana.xxviii Act VI informs us of Jatayu’s fight and death and Bharata knowing this calamity from Sumantra resolves to go to Lamka to help Rama. Act VII then narrates Rama’s victory over Ravana and his return to his *3# (made during are) with his consort Sita. Now being informed of this news Bharata his mothers and the subjects all go out to meet him. Then Rama takes back his kingdom ( 1%) from Bharata and is duly coronated and lastly g44<® appears there to take all over to Ayodhya. IV THE SOURCE OF THE STORY OR THE DRAMA This Pratimanataka is based on the Ramayana, mainly on the facts of Walun and W@aTe, just as Bhasa’s wfata- wea is based on the materials of faw fear yeu (get and gem! The following however are deviations from the Ramayana— (1) Seniority of Lakshman is a deviation from Ramayana but based on 9Wyt10 1 (2) Order of lineage (e.g. fecha, vy war eace &c. as seen in whee) is also based on fax and aagTy (sree); (and both these points are adopted by, Kalidasa in his Raghuvamsam), (3) Knowing of dasaratha’s death from the portrait in the mftwew is also perhaps taken from some vw In original Ramayana, Bharata assumed of @at@a147 from the vacancy of his room and then knew of the whole fact from Kaikeyi and then took her to task. (a) Bharata’s knowlede of daa¥ew from’ qt and his teaolve to go to help Rama is also a deviation from thexxxix Ramayana. This seems to be our poets own creation to heighten the pathos of the drama, so also is his invention of @1eae7 toabduct Sita. It is to simplify development of the drama. . (5) Rama’s re-assumption of tet from Bharata and his coronation in the forest hermitage where he resided during- exile is also our poet’s own invention to raise Bharata in the estimation of all and to relieve Bharata of his UaTaIt and to glorify the hero (Rama) for fulfilling the order of his father, just as creation of ¢@f#: avin Sakuntala by Kalidasa is to continue the drama and to purify his heroine Sakuntala (See Intro. on Sakuntalam). Thus mainly Ramayana and secondarily T#yU% with the poet's own additions are the sources of this drama. Similarly the #4i%—incident, Satrughna’s presence at the coronation, Dasaratha’s vision of his ancestors in Act II, are our poet’s own, for his dramatic purposes. V. MERITS OF BHASA WITH SPECIAL REF. TO HIS PRATIMA AND SWAPNANATAKA. The merits of Bhasa that go to make him the teacher of poets and dramatists are his lofty ideas, witty sayings cou- ehed in simple but appealing languages, natural descriptions high social and religious views, characters and ideas in forceful lucid languages (see also sec. I Bhasa’s fame). Thus Mm. Ganapati Sastri observes “Bhasa’s unrivalled merit lies in the delineation of the real nature of things in their varied conditions by sweet apt lucid words suggestive of lofty ideas. Andof his 13 natakas, Swapna and Pratima-natakas are the best. The former is full of fanew xwrtta and the latter is full of Karuna Rasa and Rama the Wem hero here isa painted as a Dharmavira also carrying out the mandates of his royal father. Again the life-like reality and high ideas of these dramas are quite unparallelled and the characters as if move before the very eyes of the reader. The Pratima shows all the characters in a more elevated atmosphere than their portrayal in Ramayana. Here in Sita we have an ideal wife. In one word, all his characters are human beings and portrayed in a life-like manner as in our Sarat Chatterjee’s novels. The plot is wellknown and suited to serve the purpose of the drama. The style is natural flowing and simple. Inspite of some few obscure sentences and grammatical anomalies, the sense never suffers. And inspite of violation of the laws or canons of dramaturgy Bhasa’s dramas, are full of appealing conversations, simple but natural descriptions as in Svapna I. 16, Pratima III. gat wea &c., and full of lofty ideals and life-like noble characters, and everything go to help the development of the plot. Hence, as also being full of 4fr and yararerr etc. (see sec I ante), Bhasa’s drama have won him great fame and later sanskrit dramatists including Kalidasa were influenced by his writings. These two dramas can rank with the best of Indian dramas. The plans are well conceived and arranged. The plays and the characters are coherently noble. From tense tragedy comes out smooth real comedy. In both the heroines suffer and sacrifice for their husbands, For these reasons and for ennobling ideas and feelings (as already said), these are the best of Bhasa’s dramas. Thus as Swapnanataka became the source of Ratnavali, so Pratima and the others too perhaps supplied imageries to some incidents in our Sakuntalam and Uttaracharitam, (See our Uttracharita and heading VII below). IN.B.—As regards the merits of Pratima-nataka, Mr. te Pusalker remarks making a survey of the Pratima, act byadi act one will be wonder-stuck by the artistic development of the plot by skilfully Tepresenting the familiar incidents in a different light and by the talent of the poet in bringing various dramatic incidents and ironies, and in raising the Passions and pathos to high tensions and then giving them a new turn; compare the pathos and dramatic effect in “aaa fat aqar aay, we fearet..... wyala a7 wan” here. Mr. Keith calls this as a dull scenery of tata! But we disagree ; for it differs from ‘aT74 in very many points to bring about dramatic effect. Dr. winternitz agrees with us]. VI. DEFECIENCY OF THE PRATIMA- NATAKA. This drama is named Pratima-nataka, for from the sight of afawize, Bharata was aware of his father’s death and made up his mind to meet Rama in his exile, and thus this contributes to the development of the plot to some extent. But it is not a turning point to make the name aptly significant. Bharata could have gone out to meet Rama after hearing of his father’s death &c. Another deficiency here is that no clue is given when this sfaare was erected and who hung up Dasaratha’s portrait there and when was it done ? We are to assume that wfaaree was erected by Dasaratha when Bharata was in his #1s@zw and his portrait was later hung up there by his trusted officers. Want of unity in time is a great blemish in this Bhasa’s drama. Thus here the period of 14 years is made to cover here a period of a few days only. When the first act is over in Chaitra—See Ram. Ayodhya, as Mr. Kale says, Bharata retumed to Ayodhya within a few daysi.e, in 447@ Yar and atrives at the mftm@e at’noon when the Devakulika wasxii taking his day meal. He then in Act IV expresses his inten- tion to go out for Rama without going to ¥#¥mt in direct violation of Ramayana incidents, indeed he starts in the evening. This is closely followed by Sita’s abduction in Act V. though Ramayana hints that this took place in the 13th. year of Rama’s exile. Similarly Act VI and VII cover one day each (see VII “wera arenfa gaaatena’—sl, 14) though acc. to Ramayan these incidents are separated by several months. Again the object ' a1) of the drama 1s Rama’s uweafefai Thus chamberlain says “Uae Wea saat wriaea” But it ismade to stand in the first act, lies dormant in later acts-in acts II, III, IV. Bharata plays the main part, being quite friendly to Rama the principal hero of thedrama. Thus the a in III here is 4¥9' only revived by Bharata’s refusal to himself accept the ™9+ In IV Rama refuses it and prefers to observe faes1st by remaining in the forest for 14 years. Then “sis thus dormant and 's made complete in Act VI only when circumstances were avourable in this direction. Thus the development of the dlot is rather defective. Further there are grammatical momahes and obscure sentences. But in spite of these lefects in the construction, the drama succeeds owing to ree flow of ideas and Rasa (T#) or sentiment (i.e. #4 ta ), mportant terseness of the events, proper delineations in imple free lucid languages, proper succession of matters, nd noble portrayal of characters &c. VII. PROBABLE INDEBTEDNESS OF SAKUN- TALAM TO PRATIMA-NATAKA OR THEIR SIMILARITY. As already said Kalidasa seems to be indebted to Bhasa m several ideas and imageries etc. But Mr. Pusalker hasxiii rightly pointed ont that though Kalidasa may take ideas from Bhasa still he presents these in quite a different garb owns to his superior genius. Thus im Sakuntala we have the ee. wafeg Cutuadt aaa’, “sem: ae? “sel wage aware aa aaiat ata” etc, as in Whasa’s Pratima. Also note Baloo Us ue of (BINT and washed as in ar—the row tot Rata and Dushvanta as lovers, and Sita and . ved wites, ‘Phe intention to observe and socom darian both Then the imagery of st towed hy a sanulur one in Sakuntala T ‘ 6 Saker Se siuaror act anaatany”? and aa‘mrdt aye ) The anedent of ar is found in both, boas Wo bearable see Pratmie Vish3) and Kalidasa, me doa. urheaable by Sukuntala ik 1 16 58 Sams femme ay nk ad natan weta ve), In both caf ue iyo decubid Ouak, and Part TED, trees are reed & clablren ind are addressed during departure vel bovis tawoe and creepers express sorrow at the deo set thet tearers Apo in Pratima (VIL) Sita says cntilenes on Bharata by the deer herd, just Luntala cars of this to the bewilderes Teta end om raretine atter separation and vi the we ai the wyatt Lastly the prakrit and natural fy Oe bE ne Matte, Ion ah tegaid to Kahdant's indebtedn Bee Me Gananat huts further remarks “the ine the et area gente the happy reanion of the lovers ate og ot Matera found an Sakuntala, follow the Ae ee othe cute of Chandabhargava and the meeii, again oof the Insect at the dour of Narada are denned aa tie sane manner”),aliv VIII. THE LESSON (INCLUDING THE SOCIAL CONDITIONS ETC.) HERE AND IN BHASA’S DRAMAS. From Bhasa’s dramas we learn that political and social interests were at the time given preference to self-interest. Hence in Swapnanataka for Udayana’s sake and kingdom Vasavadatta sacrificed her personal interest and happiness. The king too brooked this when he learnt of all this plan from yaugandharayana (cp ‘Nera Tarmteet qaafeana’ arafe wa Rar” —Sv. VI. sl. 15). In pratima too we find sacrifice of Rama and Bharata; people at this time preferred gautea and warvet &c. to self interest, cultured martial and heroic spirit, followed truth, sacrificed self to society and kingdom, Love for husband, brother, son etc was pure, respectful, divine and not pessionate only as in later and present age {compare Bharata’s love for Rama and his observance of duty all along; also mark Rama’s faawuarem here). Then relation of husband and wife and their love too were pure ; men appriciated adv, ders, wifasre (see Pratima VI V 20) and these won merit for the persons cultiving these ; veulture of various shastras (see prat), also resignation on Providence, faith on shastras and samtly utterings, and on testimony (see Sv. I. 4 and 11) aid on inevitable force of destiny (see Sv. VI. 10) were taught to men ; and so these germinated in men’s mind in general to make them eligiously disposed. But then they had belief on gunart and wren; (see Pratijna I. 18), All actions and -worldly affairs were based on religion and virtue as well (see Sv. IV. sl. 9 Avi. I 12&c). The kings regarded Protection of kingdom and subjects (as in Pratima) as a duty and did it by all means by resorting on #3 even, and also by destroying the invading enemies (see Sv. V.xv 12. Pancha I. 3 and 4 &.) and they are to find the stability of their own tm—cp “aves amraq and “cer amg a.” do. Thus tho kings were highly reepected by all as it sheuld be (reo azaarer of Sy. Pratima de), In short people had faith on parents (ep auTHaTEita I, 37), on ancestors, on Brahmans on araddha rites (seo Prat. V.; Avi VIL), on Dharma shastras (seo Prat V); they sacrificed for cows ( gavta, II. 5). They holieved that am, ¥4,#@ keep in men and society (see Pancha- ratra ITI. and 1 23, Avi VI. 19 &c). As the poet demanded thero from all, so ho advisod culture of @z, af, Hama dc, (Prat. 8). Lo also for proper upkeep of family, society and nation demanded monarchical form of government (see Prat. NT 23). In one word society went on smooth being based on 44 as in Ramnyana and Mahabharata period. Hence also we like to pliee onr poot in a very hoary past age of relgious snd moral cultures and upheavals, 1X. CHARAOTERS OF THE PLAY Dasurathu—This King of Ayodhys, the father of Rama, Kharata and other brothers, is reepresonted as full of morits Cop “a wy traaitery feat q’—Act IV. 21), a heroic fightor equalling the great gods even (op “amar qa aad alata aie a aaa ayaa” Act IV 17 &o ), dutiful to the ily ehound atl, a well ax affectionate to his sons, specially to Rano ‘Thiet ewinyt to his promixe he sends Ramo te a ata ne donbt huitodiew out af aa for thin his most faveurite nor (op yaacenertuat commen "ee amen aq ating i taaten:”, nnd “aagle, ag ade Aant Hata” &o), perhups out of gaa ¥, he oven homtited to xand ame te an oxile and koop his promise fo Peat (op. SMM geUe RRC AT we mgataM fagRaM -eyxe 4xvi ‘wea uaa,” ); bué it is Rama who won’s hear anything bué deliver his father from a wrong step, by following fazwat! Dasaratha had @ proper estimate of his sons eto (cp. et az Ue saat variate wr awe eamaEa aa | oT aria a fafa ofa featanad”); be was so unnerved in sending Rama to amare that he thinks himself as ill-famed ( cp “waw afte: quia y afga: sadturaa’ seq”), and on the other hand hence he villifies Kaikeyi as‘ a@ ans} = 44 As a pious wiso king he rightly apprehended Sita’s danger in the forest (cp aezaravenfa area afeafa )i His climax of filial affeo- tion is seen by extreme affection in return from Rama and others on him (op “arvafmaawarq sqa a aq’ aa: ) Sumantra—He is the charioteer of King Dasaratha. He fakes Rima ete to the forest and reports the sorrowful attitude of Rams and others while they alighted from the car in wratgt on the Ganges and proceeded towards the forest. He had a love for Rama and his brothers, so Ramwas departure shocked him to the quick (op. “aa wa. waitsea'y sitfad:”” III), He is broad-minded (see III. 14), @ good adviser and well. wisher to Bharata and others, and obedient and devoted on Dasaratha (op aferq aadh face stare gaa cae gn:” IIL. 16), He is also represented as gras and an upholder of monarchical form of government (op “alayta aut ara}...va' afetavtar fame anfey dya:”—TIIT. 24), He is s shrewd observer of human nature and so rightly estimates the merits of Ruma, Bharats and his ancestors (op “Seana aa Yat aiagnfenae, wre dha ara fag: frawte amafaae THe TATE qenmeartey IV. 2). Thus his description as well of Rums, Site and Laksbmana is vivid (op oar ste’ 9 wna Go faayantran:— Ty, 4). He is noble as well and advises the princes to bo so (op “gar wa qermancafingy” )1 He wishes Prouperity to his master’s family (op “afe atarfa meq natawi”” ) and everxvii avoids to become an ill-reporter (see IV.15 “we tay na- anf” &e). Rema,—Rama is the hero of the drama and is represen- tod as a high valiant prince ever ready to follow truth to the letters (op “ga: gaa afe faqee: aeer fama:” Act 1) and to punish the wicked. He is obedient to his parents and supor- iors, sacrifices his own interest for brothers, wife ete He is an unrivalled warrior, the killer of Ravana ‘ep daar q AAt). He is lovely in appearance and in morits and dresdful inter. nally to his foes and the wicked (op ‘ trarfayia’ Steet anya falesat' ‘aaat mamifacra:” and “fatwarar’, &e also comp “quae family fanqac gaafias yarratgm—" Act IT ce), He very aptly gives vent to his feelings and has o keen observation over haman nature (ep w#iz; ayefa tea anne”) He is a fine observer of nature as well (ep wal anragnane- quer). Ho is ever dutiful as well and avoids faerary of hig superiors (op ‘4 #t4: afeare’ afewsfA ) and supports #4820 for hor prayer to send him to an exile fora peried of 14 years (op “aatfaafod crnz gare gfe araR 1 wear mailer mas aor aeifeein”—Act 1), oven at first he can’t believe all this as due to Kaikeyi’s moanness (ep “aan: umadt anfga mfg we sie: Omreralmfeufa”—Aot I). He delights in hia se because it will save a lot of troubles in various sphoros ond his brothore will be able to enjoy ata (op "anaen mete: cifdaer some agate, Bowe aw afahisfer wind #1). Rome thus ever sticky to au and wa (“meade aa ata ataat ZAR! 1. 24 and "wwat waarete:” I 28 do); and ho ia endowed with shaxtrio knowledge (see #1. 29. Act. 1), In apite cf oll his qualities of bady and ron! he is painted an hesitating to take teaare from his father and this lowers him aw an ohe- dient and dutifal son (op ratsracwarey wyATy wreeeneretts ats are'ehe milan: Act I); bis thinking as relieved of arf arexviii by his exile is not in good taste (ep feen a uafa wa: AYTCR ws ayitn: )1 Again he goes to forest by not taking facia from his father, This is alsoa lapse of duty with him (ep “ag Gig Us a: facswanfa wag”); but his other noble qualities make up for this defect. Thus he bes great regard and affec- tion for his father as is seen in Act II. sl. 17. To him his wife Sita is a loving friend, a efea—a war (ep “arafeeat af iqat qanfa” )t And he discharges his duties for wife by killing Ravana. His fraternal affiction is unparalleled (see sl 16 in Act IV) and takes Bharata as equal to his father and himself and never minds for Bharata’s wammfa, ao he is overjoyed when Bharata meets him in the forest. He is calm in judg- ment and remains unperturbed even when sifu was sud- denly stopped and thus he was able to pacify enraged Lakshmana in a nice way (see Act I. sl. 22 dc). He also takes mua as his gqywW and does everything on the line of wa (op “sau Hagfrauy VyTIaH” Act VID. In one word his obedience to father, his self abnegation, his love for wife brothers and subjects, his readiness to follow a# and his noble mindedness will make him an ideal and popular hero of the play. Tatshmane—He has great love and devotion for his bro- ther. This natural love for Rama made him indignant to- wards Kaikeyi when he heard of his wfasia being stopped by Dasaraths, at the instigation of Kaikeyi—(cp gataviea wa ‘atq” L 18), Thus his love for Rama is sincere and deep {op via ee'an frarcarafeaaaae’ de aH—VI). He steadfastly follows Rama in his aqarg as well like his eat (op ‘gaa areq- aary’—Act I. 27 wraargaa® Il)—He felt joy in serving ! Bama and Gita, and in good deeds. Thus he approves of Sita’s following of Rama in his ware (op “wyeefa amie UEP TAT TET fern’? 1.25) and appreciates Bharata’s great deedsu in the various spheres of his life. Thus he is s recogniser of merits in others, In fact his implicit faith or resignation on Bama alone will make him famous for all times. Bharata—Next to Rama comes the character of Bharsts and in some respects he is mora skillfully drawn by the post. His reverence and love for his father and brother Rama is unique and unparallelled (cp sarentazatyat {oar erat = afsrara”? ITD 11, efi aad at qn:, “arden 4 fear aren aa waa” TIL 25, “fe aataif 4 ya:””), He is enraged and full of shame when he learns that it was his mother who did all this (ep TIL 12) and for this act of his mother, he disowns ber as such and says that @ mother abould be warer if she is unfaithful to her husband (see aragiereq araraarat in Act II. sl. 19). But his attitude to qwem is always reverential (ep 7 wal Je waraftmratga 7) and his devotion on deities firm (cp av daafaea ga wafaq’ fac: III 6), He like Rama is a keen observer of facts (ep gar stevia taaraeyd vafa yea aTgaafa” &c IIT. 2), and hence takes Rama as lovely-like the moon. (cp uanfirnay sd qaTeq”—IV. I.)—to him his elder brother is a god indeed (op “aay’ zefawsifa Zaq uw wa”), and he sympathetically feels for his brother in his bereavement (ep aftqawa sa @ yaar farm: VI. 12). For all these yarious qualities of Bharata and specially for his aizufs, sumantra says “aret fag: fraace aaafize wae casts ger varfa’’? (Act. IV. 2), he out of duty acts as Rama’s deputy and rightly protects used and zefaaea (op “aqat’ sofarawafiaarq arafen:?—IV. T, also see V. 1). With all these noble qualities of the heart, being a yafafa (see v. 1) he was majestic in appearance as well (op “acaftead 25 at ws ayaT:"—Ac IV 8); moreover our poet makes Bharata as equal to Rama (see above) and #o Dasaratha as well (op “a fawafa aifa qretaataq’”’ IV. 22). To such a person Sumantra.Rams, Lekshmana and Sita hadI thus profound affection. In short Bharata’s self-sacrifice, his devotion and love for Rama and his shame for mother’s shame- ful act have made him an ideal brother of our hero. He accepts his mother as such only when in Act VI he learns that this step of his mother was due to @famrg and so a dis- pensation of providence. He then begs pardon of his mother (op wa az area eq aRaaAAgIT wat gearaaaat aa wt AW fan aq—Act VI), Sita—Sita the heroine of the play is the post’s ideal creation; abe is really devotion and character incarnate. She has no fault at all She is endowed with all the qualities of the body and the mind (cp wftfa afwiadta qua’ ara I &c), To her bueband is all-in-all (op sqafa @ arerz:) | Thus Sumantra and Dasaratba say of her as “site fareaq Seen” and “et afefaatafern- fost” ; and understanding this firmness of her Lakshmana approves of her amguam with Rama saying “at arat fe Hel: She isa pure chaste and an all-honest lady who does not brook injustice even on jest (op “ace wa’ we faaqtaa” &c). Not only this Sita is knower of worldly ways here (cp ‘ ageurarfit aegera ara’—Act I) and understands coming events before- hand and as if for this she wore 3@i@ accidentally got before Rama’ exile is declared (also compare—“sfaafat ea stal'- gee ware'aa & afer” ). This is because she is pure like Gre and holy like ganges water. Hence she rightly recognises Bama’s inplicit obedience for his father (op “atata wigd'a aeraer wet: afaafafa” Act I &c). Being her-self full of truth or merits, abe takes others as such (cp “ated aves 4 waa” I &c). For these qualities she is a afeaa wa of TH! For this reason also she likes w# to be a prince ever, and Dasaratha as king (cp “fad @1 AWS Ta AVE, Wh IEe ‘waa’ ga:”), and in her simple way, she takes the aaravtrat of Bama as only s sorrowful incident and not more. Hor be-Hi haviour is ever just ; as Bharata bas high regard for her, she takes him as o gon as if (op ‘wa’ wa’ TeEq aMeaaiaa are aAR faery” IV, 18 dc), Being full of all merits, she is represented a8 9 tlaa Aaa (op “ee aq tay aat IV, 14); and Bharata rightly says of her as “wfq ee’ fauranagéter'taq” and Rema remarks “aafa quaaat wig dat farerq’ VII. 2 she is here all-tender all-beautiful and all-noble and ever sweet-tempered and is a glory of womanhood. Kaikeyi—She is » Queen apparently full of selfish and cruel motives (cp “a@ amity 4a” &e ), To make her son a King she takes full advantage of boons from her husband and does » deed which makes herself, her son and husband too as ill-famed, not only this which causes death even of her husband. For son she can do anything and everything. But the action being unjust, ber son too chides her for this and resolves not to recoguise her as his mother. But the poet to relieve the readers of having such a base character gives a great redeeming feature in her character and makes her take this step owing to nature’s ordain in aff- ‘arg on Dasaratha and not for selfish motives or out of greed. Besides the poet says that it met the approval of Vasistha Vamadeva and others. In this way Bharata is made attracted to his mother and prays for pardon for being rude on her by knowing her motives. But such defence of Kaikeyi by our poet is indeed weak, Anyway she is not a great lady but better portrayed like other characters than in TTHraw |L 1 2 sons. li DRAMATIS PERSONAE Males— King Dasaratha ( King of Kosala or Ayodhya ). Rama, Lakshmana, Bharata, Satrughna—Dasaratha’s 3. Sumantra—Dasaratha’s Charioteer. 4 5, 6. Ravana—Rakshasa King of Lanka (as a mendicant ) }. Charmberlain, . The guard of ufaarze called 2agfaa! 7. ‘aa of ata ; wz (guard or officer), quit (a white-was- her), aga (an ascetic ), searget (wo old asceties who des- cribe fight of way and sig), afeaa (an attendant of the ascetic or arya ) 1 IL Fomales— Wtat—The heroine of the play—Bama’s wife. whwer—BRama’s mother, gfaat—Lakshmana’s mother, d@t—Bharata’s ” ‘wacifient—a female friend of dat! ‘82i—an attendant of drat! faeri—a female door-keeper. fart} I —female attendants of &@it ate rat ‘amdt—a female asceticThe Title of the Book. sfererenzary uferar here refers to the afaarze (the Hall where portraits were hung up) by aaat! And az ( waae® gue )+ag a@uft=menqe drama, ‘@aarmt agent ust Me aera! geenrgafes manderrrany! aaaateg werarfefa: afafaciaag arrarecacig area’ gen fag.” 1 nfewrafed areaq—The drama which hes the sfraree a wfanrmead'a: « mramfdafeaq sauemivere:! «mzafaiquar gaa at ona Ta meaq sf nfsaraeaq, wacfiafeaq | The drama named or known as afar! Or—sfeer a wreae ee! sarertaay by “gat we fanrd mag wadlfa aay” and “a ay'eaq 1” The w12a* *Sanskrit literature (#"@aeifee) is broadly divided either as Te7 (poetry) or as wa (prose), Ya again may be divided into wa are (0. g. wean, aff, arcana, rare Ha. fayoeaw &e,) and emaray (oe. g. varieties of miz# and a¥ams ); also compare “ana varaa’ Brag” | Again in nateka the matter or plot is usually adopted-from Ramayana or Mahabharate or some drama or from historical and traditional facts,—one of the Te (sentiment) is prominent, others contribute to its develop- ment, and there are heroes and heroines ( 47a and *faat ) 1 areas begin with s benedictory verse ( aret), are divided into acts end with prayer and is @aaraa in Sanskrit. *N, B.—To make however the title have a greater bearing to the drama Prof Devadhar observes ‘the drama may have been named ufaaras Bharata is represented as the very ufaat of zavq and very similar to Rama, so asto create illusions on various occasions in the minds of Devakulika, sumantra, Lakshmana, Sita dc.ay and the nfami or afraree | Thus both the drama and the in- eident whence the drama owed its name, are emphasised. As already said under “‘defeciency of the Pratima-nataka’ the neme of the drama after the incident of the wane (whence Bharata knew of his father’s death from his portrait there) is not very appropriate, though defendable no doubt. This has though no serious and important bearing in the development ef the drama, still helps the development of the plot in as much as from Pratima-griha Bharata full of grief remon- strates bis mother and goes direct to the forest (if possible) to bring back Rama. Mm. Ganapati Shastri remarks— aU STS MAM TTMEeTeTgaTA Meares ade | SeargAY ARRTATTT aaITTITETy favafy aiierq | Maa wees weraAe aura area areqarent gael B va: TA: | smace @ fame vlami aa Gaza: 0 aeae' ea’ a afaaleaqaay | FR: TRAATTATATTT HTAG Baaera fat aremmtay c AITATAE HA, — ei TITNSE ( arena aa: afanfa aaare ) Raat — Sawa: wg GaagE: aTaTA: BEAT | & vaudafaas Gan faalearea weasaaTiy vgn (Then enters the stage-manager after the Nands i.e, the preliminary benedictory rites) Stage-manager or manager— May fine-necked Rams (or Rama the friend of Sugriva) protect you in every creation—Rama who is the lord (or hus- band) of Sita, who delights in good (or right) counsels (or who was pleased on account of Sumantra, the charioteer), who is a tolerator (or—sufferer) and full of good marks (or— ‘who was accompanied by Lakshmana his brother), who is a killer of Ravana on account of her ladyship Sita, and an unrivalled one, who is ofa terrible nature (to the foes or sinners) [or—of whom Bibhishana is a devotee), and who is & ‘bearer of burden (or—who goes along with Bharata),g afaarnzay Beng.—( atta aca eaaITaR ae) -aAtI—CtteA- age ( or—zahaag ) Aatave—fah ays ace GB (or— ata gacey citpica Ge ), FAR Tota af, Aft wae att SARIS (or—F’ Sterns EF fa sgte ), AH At orate ea Fate aT Fears @ afects Te, FRR eT a attra ef achtatel (or—fafa staserer factacny Bcns ), AR ctavel (or—eqeze, Fah eatatcas (or—eat As ) efeeca ae] Sra | Tike. — ‘men? we tr qatar: Ara waran: (ae wetted edgar’? sfaata: ] ‘wer? waert q@ata metfnat gag, ages wa’ ufsat ved: ‘aay array wag fafecaa 8 arerarafenda ‘Gaare.” aa aera aererarag urcaatfe aes: aeret Aa, Cazaeret: yar: sed [ “qaare: daretq” sfa wea: ] ‘nfeate’ Cammarata | sire aus: avasare—atarera Seale 1 saat dae: Garage: 4 awa: gilt: wget ( a: ) Te, a: Gant ( Saar ) creer afew: fawterorart @ ata: ( aTge: ) (wafs ) aa—a: Ger caura'afas: -fadtroren = (a) drama: qaage: ayewe: aca qitaaa: eget (a) ag) aen—'g;’ gaa; ‘2a’ Paar tau ‘wawdafaa,’ cats wa: sufaay wafaete fet uaere afaa: [ fadquereare: ] i darecur@a aaa: waa: ace wie disney t 'fattcora’ fated waet: (arfaae warag: cee:) We aT ae, set faeteg: qer|ar: Tawaren Ta way WTRATTT: ae [ “aang amar eaq” sa seata ] 1 aun wea? at ava ara aifa aca: [wee e:]—aer ¢ mga@—“aea sfa Mae acarq”s aeT ~ aye: aareE wan We ae sf’ [Td sae ] weagm: sf de) ww ‘drama,’ dara: aa: 2a; ah wey, ‘qaage! aaa w ge, aTTeale: R aereneanfen satmfeera feemueraaay Rom ge: | ‘avaqaay ave sfaae: [away] saéqataniqrmarefea wee ae aRHay NaAeTgas, Ter VaR AeTSaTAT Sy TT aA: sf BE MERU | aE QiaTe: Tewtaga ca: aer—gdta? aererart aa: aqeiea: ‘tay’ ata: ‘aged’ afaet, wePaaat a ‘aia’ tae! xeraafla ca sat gay aria a wagi [va ato feet arent wafa) Perse ge— "fae: we: wReTaTreTa waE:”? eft Ra Aranda: Ffaq abera: seas ea areata: wy watathe asf wai; agaet—“aet dae fariweeae aga cate andar are) cared ¢ ar) craaft-afeudara cas sida Gets ae TawueTadsagareay! aera daegaa ane eseuae-fegercnant azaleas genie gqeeete afamfa “aedqatger naathgy: 92: 1 sree ae 'afaanet afaae atfeae sfanareae me aitaq ja evenia: ee—( GAS Ware Cel, ats RENT) k Notes, L. aver? ae ae; rejoicing, mF eq) Tea GET TIE arg tne Stam: + Ha faa =A 8 bénediction. “Zaiexzad- ararmtateqeraet | afar Qaat aera war waitfe'ar® | The object of the ait (benediction uttered through a sloka) is to secure a happy termination of the acting and perhaps of the drama as woll—“awieraay aa arr aret fawaareaa”? | wer: Ws, gaa | aferA| ‘afa’ eat 1 Here in Bhase’s works #ret will refer to the bene- ictory rites and sloka included in the yam which is perfor- med outside the stage by the qa¥it! compare “aTerTqA: yg8 afeerareana apfaticuraa | giter: sgt fa gate: @ eee’) Hence mere” =qicrre? here. This present sloke thus is outside Bhass’s Nandi—it is a swags, whereas later dramas open with the Nandi on the stage (see our Sakuntalam). This was perhaps an old south Indian practice, for south Indian drames later too retain this characteristic (see Intro- Aueticn, sectiors I and II), and not a special characteristic of Biases dramas as Pt. Ganapati Shastrisays. Also ccmpare —‘In beth Bbasa and later pcets the drama opens with a benedicticn, with this difference that while with Bhara it is the qawt that utters the benediction, with Kalidasa and others, the speaker is not directly mentioned, the stage-direc- tion is absent. But then immediately after the benedictory verse we have the stage-direction aera! Gault: ete.------Bhaga. commences with the stage direction “aera aa; mimmfa qawte:” in all the works, then follows the benedictory verse ( a¥a- Ha)» This verse being are, Bhasa’s Nandi does not include the benedictory verse. It is performed outside the stage and is identical with what Bharata calls qatw---+--80 ‘arerai with #1g means ys twist —after the preliminaries are over: (see Intrcduction Section I under “the fame of Bhasa” pp VI—VIII). 2 wt we wef! CMTE segura aqEe ery aanaq | wereaaryeea Teer: sta aa:’ 1 He is the first actor to enter the stage, thus he may be called the stage- manager. Nom. to afanta n aqwit is wzmatweratog: y 3. dare —ateran: ( arate: ) a BaET: ), eT By transference it means “the cause of Sita’s good”, Qual. aac: ; or wtarar: wa: (Wz or HETfe:) Taq, afeag—i Oragain —aadifa wa: ( wef w=): It means “God” or “sansar”, Thus Kasika says‘ aa 23: saree” | dara: wa ( Ba or wre ) 1 aa dan; aa: ( ware; ) aay, afeag—1 Qual. quiaua:! The poet in this awagia speaks of Rama, whois the husband or God of Sita. ° N B—Note that it is only a awagie uttered by the sutradbara to indicate the “1zare and give hint of its matter and name op. “sii? Wares: ta: atadesa:” | This sloke is named as qatae}, for here the root ( “ta ) of the dramae.g. stoppage of sfata, aay and taqqy etc. is woven through Wu(see Tika). Again this sloka introduces the names of the principal characters here by gzraxtt which is defined as “qareqea gst wearect: a2: ee Tika). Also see below. 4. aq—at ( cet ware )+ete gq) sifafe ez) Nom. a. Ta, | U1 to drink is wrfe and gives fafa etc. Its obj. is either iq (said with reference to the patron king of the poet and secondly to others) op. “aaa aly yall army” — Swapnanataka, “atta antase afeng” Avi &c; or 4; (referring to the all audience present there) understood. N.B—In this ayeaqa the invocation of dtarafa ca is ndéde perhaps bebatse in this drama Rams will gain powera aferararzary ever Ravana and protect all and because he as a xe24 of Bhasa will deliver all at all times. 6. gamaqe:—gqaa is good counsel and also the name of Dasaratha’s charioteer, quei'w ge:, Xaq— 1 Seo also Tike. If however the aalat is @i here then we may say yuu for ace. to majority of opinion @q datai does not enter.into aq ; only Toanendra says “@qadarfa gare waa” | 6. gasca:—y Man Hale, ay—1 eM Ta, TAT | Such developed neck indicates power and vigour in a perso- nage; or—qilaefea: ( azrerrmrtaatea: ) tm, srerarfiafenq Nom tomq1 This epithet like others is chosen to keep up the pun( we)! 7, ae RaRa:—aEA sft ae: (TTR), tolerator i.e. tolerator of ararafead do eee is fax ; then @qau means one having good signs. ayy GaRGY Geganfzaq aHT—1 or—qqnta { aererargy ) ay faaara; 2% BAGAT:, TANT E— 1 GUQUT: is also correct by the rule “aqeaime” ; Qual qweca: | 8. gan—Refers to dare) Sd adtat: Owing to Sita’s cause Rama was the killer of Ravana. So construe—éat ( @axear ) caerinfen: (-aa0e s ory) fatgatan 1 9. awe ft, ga i—ateaarar afer ( ‘ae. areay ) ae, sf saafaa: unequalled, 4y—by the varttike “‘aciiseratat =giifeat Tech waa’) cafes (wet) safaae, aien— 1 Qual. or Pred. toa:! He'being waeife was an unrivalled hero (atxyin the three worlds. The word further hints that he will ha litinsmeratse: 0 long as the dramatic matter is concerned, for he will have no sfaat (portrait) hung up of himself like his father and forefather. Thus herein is suggested the name of the drama, See Tika also. 10. faitqaren—fa faitta Waa xf fatdh+foq+gr { watz) =faiteq; terrible, also the name of Ravana’s brother. faetew: ran ( orfard ) ae, ag—1 at favitra: ( agrey: cawerat) sat ( sae, awery) ae, a—! Qual. or Pred. toa: Being Rama's Bhakta, faitya was like his own self. See ‘Tike. LL, wea ahd att att © adie aTyeaty —aeA: the bearer of burden. ~Qual qataum: or Pred to a: 1 or—ara is Bame’s brother. 3: wfe ae tfa wat wa’ safe we ( aadila )= awa:, having ata as bis companion or associate, Ganapati Shastri here takes faaitwarqarweq as one word and explains— fated & sran® ca: delighting in favtqu who was like his own self, But ours is a simple construction and so preferred. 12, wastq—atis creation. ef ef sfa xfa wqeiq in every erestion. @4erarq wadteta: | Adverb qual. ag! 13. Bemark.—Among the ten waat of Sri Vishnu both waa and his elder brother aera (also called u#) are counted as one Haat of the gatyT! Fata contractedly called ua {comp “arta aaa awa Tat: waitfe'at:” ) is said in Puranas 28 come down to inaugurate ¥anaem by killing oppressors or sinners or tyrants in the way. Now the sloka may refer to him as well in the following way—dtarda: qrage: eyeqas: « 5« afeararzary qiece: wget a Ft Gen uredinfae; faiteerqar ata: | Now iar is the name of wa a1 vaNefa, so Stara: ( wa) wa, (AWS weaqeqe: a) aay who caused welfare of ploughing,—will well refer to tetra as well. He was gawav: (for on several oceasions, Krishna's or Uddhava’s good counsel prevailed on him), he was tolerator ( #e: ), and of good signe( wwu; ), he was a stout plougher, strong and fine-necked and a high personage ( q#}str#: ); such a divine incarnation may well protect all. Again owing to 2} tadt (Balarama’s wife) i. e. to please her, he drank on and became waw: ( craaatfa ‘au—a terrible one), but at the same time he was wrerafaa: (the representative of a good one —op ‘ arn marety aTAAeT sy woraca farefa mararert a: @ siey sf wa: ); he wereta was also Famtaa to the wrong doer, and wa: as well being bearer of the heavy task of inaugurating good afy or peaceful prosperity and protection to all. Thus the sloka also refers to 34a (fewsaarz) as well—one of the incarnation of Bhasa’s rea { Bas if the reading dtarwa: is changed to tara: (ag in ary ‘warat; &c.), then the sloke will refer to c# only. In this case construe—quage: ewawe: giieca: og a stare: get wy esr iafee: felbearpat 9 wawtq wea: ( wafe mm ( aoanfegeuaatea ) sta seraraq | (Looking towards the dressing-room) Ho noble lady, come this way. (afer ) aat—war cater [ wth, crafts ]mealse: @ (Entering) Lady actor or manager—My noble Lord, here Iam, qanc—wel wkaet aqaeafaae adtaai araq | ‘ Manager—Gentle Lady. Do then sing touching this antumn seasen, azl—san, ag [ ate aa] | ( arafa) 1 Lady manager—Noble Lord, Very well (Sings). gant —afaq fe a— avfa gfaag gat arntgaarfeat qaeer | Manager—during this season, the femsleswan residing im cloth-like (white) kasa flowers (or—on river-beds white like kasa flowers), roams on sandy river-banks quite delighted. (avert) say, wa, | staf, 27 ] (In the dressing room) Ho Lord, Ho noble Lord, ( svadz ) qant—aag fasaq— afer atquad afin afaereeta uh 4 (fanned ) uv eataat U (Hearing) Manager—well, I understand—like a female warder ‘or gate-keeper) in royal palace moving quick in full glee. (They both go out). (Here ends the Prologue). Beng. —( cragren fice Staten) ait afice omy Ceres afta) a sicd, et eff fare) zata—te afaarncary aed, Scr ae aeata aay Shea TA Fz Beg, wie CUE) WAN maT eaeITARAA ( or—sires- aaah ) eA atafeel Veal Ac Faogy Bez— | (Cares) ath, at (ea) waetz—ete yfeeta— ategce atafeol fremfe ataxia ate ( Secay farted ) 1 ereTea I Tika—va aren stant wild aagan tev ar qwrt: oe” axcememe ‘wikganee’ er wetararefag’ aeaa—'sre” @ ania ‘ea? what wrt AQUA Cae ‘araq? [ aU weraiag ] mraary aa sf Pe: | nia’ Teeny Cea AY qaMTETE wee vat se eaafe— sree” are erfng ‘see SEA STAT wfe | aa, WaeG Weta? “TRA? ee ‘TETeAfeRE” ‘faaitam semtagar ‘Haat araq’i wat ow fae we sf eam ‘mata’ ara Feria! aa: ae aEaTETe ary we sfery fe ae? mqaTe va—“ainteaeran eat queer (wat) gfety ata” arnigeaq: Tetaantet, a—aeafegihat ( amgegars) ea areaMy ‘qeeer wafer wl ‘gfery wig add aay feat) vara mmtagald om ofa weaenytaw argues wert TYReUTERfAETA- * rafeat sfreer Caamrmae Taam ace “ard, wee” Lama feafie:] sft eee are” ger, gaat: ‘Hag famrany venom Frere Cafe witanante quay eat’ weet | Geta aan ve St “free Caer siete [ “Frere Fre tam ofa ‘fo aah (gary fen’ sehen) | ae —freaaielt fran ort sf area | RT aT we set “Prem: ea” sft eae! ‘fremrn: eT afer aT oon sa aS ae eee) | ‘aaq fasta” wen eaarea: | fewer whara’ wet nfs eum eazy aemerase a qefa—“atagrad geet (wet) & after ( aréramy aeum ) ufserecet xa” afaere ere cafe aren af [weifan? ae Rarer wat fearta ]1 csaat gercgat * qeremnfon nfrerceet aur fawefa, ger aeqare gfear caw aT aera wa wit aatgierg free u ua adteraead afee ademas aaa aa gieaR | wa sre" fre ae | TT”? wETaMT WTASR Tea: [ cas ae — “gaa ca fafeaa geet ae gaatq aeenraay” ] a wert ee: [aweue “a qftatnfegara”’ saa erga zee] Notes. 1, Auenfa &e—aoe means “Dressing” also “Dressing Boom”, “ager a gaa Cagit aqae” sfa a1 Hore it is dressing room. aume sfigay, eaq1 aq! obj. or wats (wa +eta+eq)! 2. siti—exiea of the base wart: The qu here adresses his wife i.e. the person who appears in the character of his wife. “wit wicrf euren” | And wra'r or wrirga is the form of aidress by 72 to qaui< | For the definition of an wT compare “ad araret] aHHaT Taaaty | faefs aeerent a: “grag aft aa: an wera eae Gerla Seva’ se EET Tie ‘way one of noble character. 8. aTqaay—Ae: aTa:, the time autumn. aq! obj. of wfeam i It was perhaps a afearereay itself graceful and adorns all others and as such aq is made golden here. 9. wa—Hore and is swapnanataka the Prakrit “tau” is reudered as 9%, but it should be #¢@ and Prakrit of aa or omaq is 2a or 2aGz dc; comp—” sar taa..aeWt Wea wat sea saat wieefe”—Sak. IV. Construe—Fafirerit wa —fevfarertt weve atw8 st aT 10. dtafday—gae gold. aa dueq [ eatqag or dfray |] sf gaa'+3e ( by "a'ee” )...dtafe'aq with gold or golden, Pred. to seraq | Usually the form used is daw with we by the role “facnarfewtssr” or wu by “arastva: afen@” in the sense of qaa'frert | ‘Thus Malli in Meghduta writes “atwaw fase: atet daa sreafe:” | But here the form being dtafe'a we have recourse to above deriv. Sita’s @— was of golden colour, it made the aeae also 60, hence her wu decorated wae even—it was aa‘shwha | In this active sense we can slo derive—stritfa wat faqs sta ane gear =the deeorstor. 38 ay Mata, enq | «We say areaara (irregularly) beeause wy is enjoined in the we’ and wreara only; the rule for au/amq wita as here is “weer agen”? Comp ‘arenanritan: in Bhatti. IL, and “srafatwtar” in Rag VI ko Posts speak of Site as “fecaet areata awa” and “arated. aufat” ; indeed beautiful ladies are so descibed, cp “a'wifewt Safe” and “deaterdtcafe:” in Rag VI &e. Li, wefenfa agevift—Nom to weal at wata ad i= wefea or sve horripilated [ yafaa]; in this sense «zisseals: By optional in firet after #4 by the rule “ghafag’ | &e: a feat a1 Ga: is also correct by the varitika “fafaranfraraae” 1 Thus in Gite XI we have “weega’ = fuatfa ee” | Qual. agawtt Both agor aq means body. ary ef sf aqtavt a ave =aqaet: that grow on bodies i.e. hairs. Better avoid the deriv.—adefa sfa wer: ( xaTeaee: wr) 5 ARTE TT afa aqeer 5 for in that case the rule “waeerq awat: esata” should retain Wqa of ov here yielding aatey ; aque (like weilee etc) being # ws of hair. In the case of wae, exfaag otc. Tutt sometimes irregularly is retained by the rule “aqyed afa ayaq” | But even then the words are derived as suggested above by us. Commentators of Amara all derive such words in the way we have adopted. These being all instances of squzaq! The Cheti says that her borripilated heirs speak of the joy and approval of what Avadatika has said, so she can’t see the necessity of saying any thing, nor out of excess of joy has she the power to speak anything. 12, ‘am aTA—aa+ geT HAHA means wa! Then a, (asa &o ) arm: wer: at afeag—1 Qual. aq! Here = of aq clides in ay by the dictum “getawraicfa”: For further details of gram. here see our notes under aw,ara: in Sak. Act I (just befere sl. 28 ). Sita as a clever one divines Cheti’s motive in speaking out something else, while here giving over to her the ses’ wanted by her ( to see how che lake now by aeae ) 1 18. aft wat way wfeafi—Sita is of placid and noble8 ufaararcary mentality. She knows Dasaratha to be a wat and tm her husband, a prince. Unless something unusual happens no change can take place therein, so she takes the wfaam as heard by Oheti to be of some one in some other Kingdom. Comp “aa garfe uetr a: aife wquasfafeat wfawfa Sz wag aTAR | aT aaraaaTE”—Shastri. 14. faavenfaaq—Nom. to faa& ete understood. frre sTenaq) aq wife afer xf aie: sae) aaah faq 15. sdta—nfa+ 19+ 9 1 Taking, referring to, accepting &e. Comp—“arit Tawa cararad’ wéte”’—Sak, VI. and “miter a aq ae, erftar—Swapna II, &. 16. aviaca: vfufira—aut is master, King +48, aWR=zcH: a son. waieita: refers to the prince Rama. Similarly king’a daughters are addressed as wa‘erfem in dramas by persons of lower ranks, saw of wfafraat ( wfir+ fea+aa aa'fa ) 1 17, aff gaat ara:—Site is startled at the utterance of Roma’s sfaya1 She does not understand how‘can it be possible without Dasaratha’s demise. So she asks this, This foreshadows death of Dasaratha very soon due to gafandta This also shows Sita’s loveand regard for Dasaratha. She does not like her husband to be king by the death of her father-in-law. She wants all to be living and to leadan ideal life (with wae and enétliving ). Comp “faa'@ aera va Aerie: | wedge va sarge: infra, Her anxiety however is removed when @2t says “wgroaa ea sfafqma”: This issepals: ge however a good news to her. Hence she exclaims ‘ad frdta’ @ faa’ gow’?! ‘This reveals her character in true light. She Rot only hails Rama’s sfuia, but also hails Dasarstha’s Swe! So she rightly says "feeta’ fray gay here. NN. B.—We propose that fray here should be a better reading, for fraaq emphasises both the good news better. ward} wa gives fe-+aa9 = frag, or fe+waa="ai Then the meaning is—] have heard fry having two 444 or divisions. And this suits us very well. Perhaps this was the poet's reading here, changed by the scribers Comp—“safa faea raftaq way’—Kalidesa, Hore @ has either waaf ww} being related to fray ; or # has yet inplace of adler; Mr. shastri says “@ sf ada waraq”! Op “wife &@ ee: (aq)” &o Sek. VI. 18. fameacgqer’ ga—Sita says this to Cheti, so that she out of joy for frava4 may give sufficient uftatfrn to the Cheti. Thon again here all the texts reads fta—(wtacerTagy zerfa ) which should be a stage direction only and be read as —( aa: dar sacaresge zzrft)1 Indeed Prof Devadhar here reads (dtar stacarTaqe dc ) asa stagedirection va+qut T= wa_y putting off, 4g" means wearing. Comp “wrater- "sige" in Malavikegnimitram. ‘The post here very skillfully makes Sita freed of all her ornaments and wear barks instead and foreshadows the future event of her qwa#a with Rama in such a dress. This is a step to the development of the plot. 19, waq@—An saa meaning forthwith or simultaneously Comp "freantty waaz” &o,ac afereneary 20. wauefeaqdte:—Qual. cewme:1 wa+ucctH ad fa =wayzfen: struck i, e. sounding. gust means silent and may be used es an adj. in all the genders, Amara says asaite: qaaate: | But qastq in a similar sense is an aaa | saazfeastat an ates sfa saaafen qa ta: | failgarre aaur ween; has ceased ( fart: ) as soon as struck. How can this be in an “fifatqea i So Cheti is at e loss to understand this. Then Site says “aig wy sree: wintwe waq” and cleverly anticipates the incident of obstruction or fay in Rama’s coronation, eEt+ert+wa=szem: blow, here it means fay: ! She then however accounts for this sudden stoppage of qeN= to some unknown cause by “aywareft ‘cragarfa”—See Tika also. N.B.—This is also our poet’s experience for he has repea- ted this phrase infra. also. 22, agra: aa’ afrafa—By this the incident of amaa is clearly indicated by our poet in this drama. 28. Faq wfad Meany &c.—construe—ada aq (wir arate) awfad ence’ ( fay) aq ara ( fafaata) q@ien’ ufemiss See also Tika. Here the construction is tortuous. aq is to be made to refer to the ufeg wea required in wfiw'# (see sl, 3 ante ). Hence az is afeerie here, qetenqy= qarereaq semy=qeieaq by wanfiufeaq: Water to wash the mouth with, The sense is—If Dasaraths retires just after Rama's coronation, it will strike Rama to the quick and- he will weap oven during wf! So sfawamnft will serve theSeTaISIG: 82 purpose of this qarmeaarit! Here also Sita shows tbat neither she nor Rama wants this happening. See next para and infra. and note 17 above. (arer: aftrsnfar erat: ) cra:— (arate ) wat HY uta uz fed gaa aged aed Balarama ang we ange frafsa aly oat Rare @ fafaaat Ga: ged fagafe ae: aa at fear: myn faxarnfaertt ga sfa ea’ os faaftiaereta- artkefeafas @ aa) fee a cafe ca: agro wa mers: | (sary) arafeert Afeet onnfart ( Then enters Rama ) Rama ( within himself )—Hol Ho! when the (auspicious) drum was beat, my superiors were ‘present there ( to watch the coronation )and I mounted up the royal throne and water was just falling (on me) from the mouth of the jar that was raised up to the shoulder and then lowered down, King (Dasaratha ) himself dismised me (from this), after sommoning ; and people were astonished at my mental equanimity or fortitude; but ho! Wherein ies surprise if one’s own son obeys his father’s order. As the King himself dismissed me (from this coronation ) saying let the coronation ceremony be held in abeyance or stopped, tmy mind felt relieved owing to the removal of the burden of Kingdom, Luckily indeed I am that self-same Rama, andae afeerareay Dasaratha is the Paramount Lord. (Aloud) Now I will meet. Maithilee ( Sita ). Beng. — (Stata a1cTH eta) any Caryte al, WRRTs wifes eifece, (aRafieR afta oe) eFER Bo Fre them ext ene Fieetaca wisp zee @ ve ote Bretae SRT tea BAAS Rye RECS (Hees) wT afecs efece, Wel (wtat) Ficee oifies ater (ek uferee e¥ce ) fadfew aficas, caterers wtata teres cate be, fae fren Prova ater otter ears ace fimcay fr aifece otter aon Few’ ‘oe aa, afecee ateg’ ot wualfa ( wafer ) 1 mren—arat | faa ga aifed ag erat Gal at) aa: aA ena ava aft afer; (ame) worm ara fa ‘ag qam ‘aur det que’ ‘qaafe’ ayseemte woffa 1 aera wre Tage” fed [me: a nea: ] cer erg aa ‘ae: fame: sfe ‘saat’ quia: 1 Notes 1. aeitra—construe—aereta: Bhat | 2. famate—aantet is limit. frara: water: sf fréarte: sifeaq (or face aatter we, sf miferd agi Qual. aa) As the ory is limitlessly high and it is both of art and yaa, hence I infer this. 8. qa—wfr ot) qagEe! 4. quatfa—I master over all i.e. My ego which causes my avert leads me to this supreme and right discrimination. Then plainly it meane—I having egoism infer this.3 ufaaranzay 3. -maata—the order was evidently given to waerfaat or “to the Cnetis that were present there. Just at this moment Chamberlain appears at the scene to call Rama, for Dasarathe day unconscious. ( afar) antatta- aftanraat afearaat gare: | (Entering) Chmberlain - Let the Prince save, save. Ta—arar, a oftaraan | Rama—Noble one, who is to be saved or protected. ar ata: — AST | Cham.—This King Dasaratha ( is to be saved ). aa:—aeras sfir1 ae, ag amy WANT dfamr efrat cfanen sfal sa ga squad ate: | Rama—The great King. Ho noble one, then say that the whole world concentrated in one (i. e. in Dasaratha) is to be saved. But whence has this mishap befallen ? aigqata:— aaara | Cham—from the relative. wai—asarfefa) saa afer natant | waists: ned geteate | Ae MATS] F wengaurefaefa Ul ez Il Rama—It is from a relative. Then Ho! there is no re- medy. For an emeny strikes at our body, but a relative at our heart. To whom will this word “relative (@9)” refer to and thus cause my shame ?seats: ee. Beng.— etcas sfial ) Feet—aaty feats see, nfs HY Fe4) Aa, ce ANAT) Wes —aVtaE | a wea Med! atk, Sew WAS aetaterars matgw ARH wires TB | ate, cate Rew Meaty IPA RA waas CCS) Tea CS | STA, Ate Te! sie ACH SINS cre, fea TER BUR HCA BINT RICH | TER ogy ts ARTS ATS CEM NTT MEwTa BTR CATT Tika.—agria: ofaaraea: saat =practiced (afea) 1 None of SF154H practised Wt at sel being 7qwatat 1 So Rama's saying is justified here. wafa =(@-+eeft) svecfe—shall practise. Thus to Rama wt is highest aud most meritorious of all. Comp. “wi aretaaae” op. “Target FaTEETRERT waa—ete. 4, Romark—wa tee stance Tike are: 2a erage! gre | SB Ga ada a Bre: Ea aa? carvemray safe Tan OA we STR FEAT Grae F sATeT sega e wales as aT gam SFT Sfafea” aaa | wat aa fre: ga: fa aware OF ge! aay? gat Te sat waaae— ‘gfiaga!) Ta fan a wae e gaa! BF ata ag ae ‘ee, yar cm, BA 1 ATR Re Fea a fa re, Tansee | aaa vetane Seer a ofa aaweATa! (saT) e rage gaa | oa STE, ga: TSA Bare 2 yeaa gatas afers eres, feria” sgerermfet “ar faeeray? fateerary ‘ay? TET ‘anne geet (ot) eae? alfa yfeanga: wae: tay “NTE ew Frazee BAS MA ay ‘Beet? fafeectarat agree atotee fremiay ‘vattaad’ gauraaae a cate firm [ wa seat ] wht 8 cTerea: few fa ( aR) TE: TAT wags? fa 2 aa gaa are Siem salt we AR wfeaTR Hfe wre: | frafealry u 1, @re:—amatse; alternative form Fei! “sea a” vfa ere venerefe cevaa Frenzy eae | 2, sfafeaq ah tert a+ wate 9, faaga—vocetive case, fia: qa: wa a sfaee! By “qq fe” we may bave an alternative form as qafia | Dasae athe attributes fathership of Rama on Sumantrs. For he himself wes ernel on his gon and Sumantra was on the other hand affectionate on Rama. qv was Dasaratha’s chariotecr so the reading fraga ( fia: ea: aqem. et) seers better here, ‘The address fraga then will be rather abrupt bere.fectate: ree 5. facfanaafe:—adj. to efear) whats + 99 = sfara:— excessive ; surpassing. fava; wfana: aur er farfaxat! ae from which excess has been drained out, which has not been surpassed. @afacty wafaarar seas) faxfawat wfster: et aff ae, 1 Just see that the feminine faxfawat has been changed to masculine form in the Babubrihi ( y'a¢w1a); but this is not allowed when the word af forms the second member. Hence according to strict Grammar, we cannot call this form correct ; the correct form is facfaarafin: ; but the rule disallowing the change of feminine to masculine with reference to af form- ing the second member is often violated by standard authors ; for example’ssake we may name Kalidasa writing eeafentarer! (Moeghadutam), fafzaufarq atq (Sakuntala), faceufa (Raghu). Hence some commentators e. g. Bhoja etc (as seen in Tut ) save the situation by arguing that the rule holds good, when the word afm in question is derived in the a#are ; and con- sequently this rule does not apply to afm derived in wraara! Thus wut saq sf aay + faq ( ware? ) Se sade geraraa aay: gay: xa shale gaeitd wage: sf wa afar flea atseq aaa uaa adda adda aaa ftaq— aur safes afaq aCOToR aa: HUTA A | Notes Yaa—yat+ ay aR! Case of address. wanaq—ok+ea tee aq! Nom. aq ‘eaA—AAa ; meaning once, Tay: aa aan’ sig: ae e sf ae) ‘wait—aei ga By transference of epithet it implies seaami1 As a dying one( war: ) eurvives (sfafa) by ‘aaa, so I dying by gaface will live by seeing or touching TP © DH Boma. BRA — BEIT caeadtay satanfigan: fear wa ua Aes farcar nT fasnafaqaran: | anag fed aman am” weg fearamr: asrauaH aaa, a aA AAT: ti Lo Il Eng.—Having alighted from the car at the city of Sringvera and turning their faces towards Ayodhya they allfediatse: Beh stood to speak something—after having saluted your Majesty with their heads. But as they opened their quiver- ing lps to utter something after having long thought over it, then their throats became choked with tears, and thus without speaking anything they turned towards the forest. Beng. —4acqaaca 3% BETS ATEN RRR SLAs HATAR acatanta face fefan tigre qetatece aes aS sfaal ety sae: (fg) sface atae Vaatecaa | Pe—ctae aed) Fern ecard aftai Bal what sfasia ow cae Stata aaqeu fre sfacam, aafy am Steery 5 ufew efam cofta—are Seta FR at Tas Ta ofa CATHAL Tike.—gpacgt yariat awazefa is ate faq we Se ofa area afeg we wa fameuse gear caer witi aa, fanrafaaq: waaay weM: Sam: 1 uC a faety wa fanaq fac atel- ere erat vara wafer aay aaa we seer weTefaaT we fea wa: afaarett: (aa: 8) aTTararwany VaagawBenary (fray) waa waalaer va a art wer: feet: | gat: ga: fafa ¥ eTaH Sfimaq warfagy aHa 8 THT We aa: aaa ear TE SETS aot wer we a4 aa ferfag eae As: | oe fafa em ea a aaa’ afer 1 Notes 1. xyatgt—This is identified with Sringvera on the Ganges, 22 miles N- West of Allahabad. 2 saenfiqer—adj. to @i safaris gar set 4 sfag wavaran: sfagar: sfa eaq! Qual. wa")ae afaarnzaq 3. aen—st+ca_ + sifeme feat afead implies commencement of an action from prior time. 4, anet—iz+ are; having thought over. 5 wa frarat:—ad to 4 understood. Rta TF wre, 1 area sae: Get 3 sfe ag 6. arate amar —eat wat) ata gear efada wet wun: frag: Raa ae: wer: ast gsi ay! aw 7. aqga—as+7atars! Out of extreme affection for father, Rama and others could not speak anything. waaay saa, saa at | ( xfer fed ateq sama ) | ara waaay) areas! saa wa: audlarcrat emary ada wets efa | araa—aat | ( fasarea: ) 1 Satay, wafefy enafafe! [ wera, aanafaty aateafate J] Eng. King—How is it! they have left for the forest without speaking anything ( falls in a deeper swoon ). Sumantra. (Hurriedly) Valak: ! please tell the ministers that His Majesty lies in an unremediable condition. Chamberlain,—Let it be so ( exit ). Queens.—Be consoled your Majesty ' be consoled. Beng—siei—fe vea! feg a aad aca oem coat | (Peed ote atte Rac) | BII—(SIGTwTTS or vara ARE)fectaise: 25g wertfe ) afirece vt aelticea See etisiay wee RANTS] BSA H—wIS eBs | (Bia CATA) | CRD wetate | are eta) apie aba Tika, wart; afera: [ are eat) 1 omdtarcare’ sfaa- art waa: Ter er wader) ae! afafierrcfeatany wae err ‘warsfefe’ seve) aa Pal” area Notes. 1, samq—aq a Tet siz ary wate | The root is fread a 1 2, swarefe:—edf1 The construction is peculiar. It is really the indirect object of swata and hence should be put in the first case ending on account of its right of being 3a But the author puts here sdf perhaps thinking 44, identical with =a, which usually governs the indirect object in the fourth case ending. smart etfacc. to wreaiti See Tike, See wala wtaaz fraearfa also in Sak. 8, anctarcrarq—adj to emai aeaife:—see Tika. 4, warafefe—aqt ort ae + he fei as—( fafaq career ) a & aa aaa a at cenit agar | wat ofa aan afecenfa a fra’ vest Prose.—(@) atuel @ we at; at egtaaaar ca ofa wat ( @ ) afecenia a rae a Eng. King—(Being a little consoled) Oh Kauslya, do touch my person ; I do not see you with my eyes. My mind is fixed on Ram wherefrom it has not yet come back (or— it has not yet been withdrawn). 16ese afaarncay Beng.—siet ( #osbi ate veal ceca! Efe ing ee orien) oti cotaice coice care attface he ail (cea) etary foe were s1cR Blam face—Sl cae CATs BRE Fafa TEA ATR | Tika—‘aiue?, @ aa oy 2eq OW fae & wreuT'y aa We ‘saa fanigg we aaatfal aay? aa—ae aI TTT AAT wary [ act gat] a aia a saeteatia) aeq aI a OUTTA Ba? sedi xieafe fe wisquefa) wae arera’ fae arf wae aefaga seafo: af gaa awAsyn ada? wo—aa gfe: aa ofa var) [ wa areeaga’ aa: Sey MTT afer Tay safaaaq i] arg senfa waraar aft aada a Prada cara 7 AeTTTT wafai syaisia ar cara fawia sad | Notes 1. afg:—gu_+ faq; it means “mind” here. 2. frawa—fat ent eet! UI—Ja TH! aa GE aT weal Faferery | Eng. Kmg—My son! Ram! what I have always pondered over (is as follows) — Notes 1, aaaq—aqt aq+a; always; adverb. @aaq is also correet by “ait at cafe.” 1 Gren) ua arafafee aacadabag warat ast Bat aaavarq sarafawargy qatar: aaay | wenfem = @ aglaafadl ameafaal aa Sian fe agarn aaaet faseAaag ll ve.feciatse: aay Prose.—at tat wfriee aacaaeiary sen: aeret: war, “aed BYE WIAA: aarafawary a” sf ga sifee saaiad’ ( AAT ) wrafafa ; aH wae fe Sha waee frie ewer way | Eng.—Having installed thee in the kingdom (or having crowned you king) and (thereby) making the subjects con- tent due to their gaining a very good ruler (in thee), and having directed you to make your brothers always equally prospersous (or having dictated you to share your prosperity always in common with your brothers), I should retire to the forest ; (but) alas ! all these have been totally upset by this Kaikeyi. Beng. —cermice aicar wfefie ze: Seagafe ates aatges sort sfaa eat “HRMS colTta mateaTATT fires gar Gehaty BCs ( Taal COTTA Gey cwraty BYG- aera aide mmVICT Cort sfacT/—akaa ato cotaty frat atti eats VRcw wretisa TRA ( Roi fear) 1 (fea) MH! wz Care oe gree wig feoie afin fre (a—wote segdacae Rortye wefan fret ) | Tika —( faq war aaa fafed aqagi FuaeZ!) aqua wfafesy crag? ofasrer—( aaa fe ) eatga: aTgATa: eTATA TTTTTT aot; aarat: dagen: fegericar: ager: fa araq, wer, ‘aaa’ aa Sa Aqaeay aa VeIeUy WIHT: TAA? ada ae Caan: “ae fatis sf rie) ( aaraa aay cra: sarafanaTy TENT aia ve aenfwanfea: ge waa sfa) @ aa sifem fate ar 4, raraufaygma—aarery We: CAA gaga 1 Seen through the tree i. e, sitcate? 5, @aga—earar ge aa sie ean! ot 6. gen aware aa Rat: 7. fenfae?’—fataq+ez, §1- axetada wey! For yas fear sen at In Swapnanataka however we have wat faw_qzér is somehow 8. fasa—faragtax: Eeve rule‘ agitaeae aTrRRTS FL” | 9. aqagzae—aq ETT: oe ees oar sera s% ay) SHEATH 10, Remark—oa+sa%ma= sam Fr fluous, So stigfar 1s also an irregcler nse. the purpose equally well. So tois is az = Ramayana has this #17! LL, ereamq—art fag ez om F aei—aarsiaafa sige | (7 macafa ) | neai—( ames } aa! Ua fat aay | war— aareraafa argang ( fasten: ylRBs afaararcary avai -(faPaq wat saater) arggagerarsn- facmat aaa:, eaTeaoge at MI, saaMATET aamttifa srofa, vata: azar! faq ee matalsy’ fain, saat aifgaafena! seq aa aaa wrt Wikeia! Fe fafaq awed wal ar afefas’ em@i wag, nfant sre | (afamr sreratan) el ferargal” crear) sel AeTafacracitara | gamfeerrafa araufasarsaret ofamarql = fra ea, Tqgaatsa’ qlee! seat arama waay | af aaa aafa ago: | Eng. Charioteer—As the long-lived one commands ; (stops the car). Bh,—(Having alighted from the car), Ho Charioteer ! Let the horses take rest in a corner (or alone). Ch.—As the long-lived one commands. (Exit). Bh.—(Going a little and looking), the offerings ( to the gods) are (easily) noticeable by the flowers and fried rices profusely (properly) strewn. (ga#@4 etc—Translated before) .-..uls this speciality due to some festival ? Or it is the daily performed rite? To which god may this temple be dedicated ! there is no outer sign—neither the weapon or the staff is visible (or present) here. However let me enter and know (Having entered and looking) ho, there is artistic grace upon these stones (or images) ! Oh ! How impressiveaaatse: RY are their appearances! Though consecrated to gods, yet ‘these images lead one to believe them as human beings | Is it that there is a group of four deities ! Or let it be any- thing ; my mind is but full of ( excessive ) joy. Beng. —VS—IMITAT CLAY HB aa AT ATECA) | WIS—( at RVCw ATM) VS! aatcw (AVA Pra) ere eface fate sate Z-caices (ety) e— fears Firat e wtet¥at) staraca gm Te 88 felbea tera atcHTER MES sal BATE CHA fB)---- (NB. WE etc— 8 GOH SRIF WAS Fa VETTE)...uF% coin A fersa fore ast ate Se eatery tenia) edi CaIR crAwIE EA RCT? SUNT Cte Ae az, ae Hels qeEe & cHfeceis a - Wess cowed fara STATS aTaT | (aca Shaw aa cRfeR) cartel) nated fe fae-cle sy | ote: Teelas fe Cateye! 4 cifearefe crvotcra feral fated etcme acaats aTEy AE ATH BCR THT CHET TIRE ATaE Fey eA |e crate Bt crea mA] WITTE Rte) SIRE ATA GY OTA TR | Tika —ayga vanfe—ary qe gai wenfe ania gaife car Qe d: ofaswat: warfaar: wamear: sed: ‘aea:’ gsiaeie: (wa fea? i ea serfe-ee” areata ma! ‘Tet wise’ oer fead- seat we ‘fade: fatae’ waerra |S ualfeceq sae sa UaTENy fafaed Gage BAR? cea! wear “siisaq Zfraq sieaa, yonfafafean | dene Saar SAR ATH AEC SaaL-eer as BIE ah cree: oT afefarg armies ay aes aafeuiess gedaq 18Ree ufaararzany faafes’ fauey wefes’ eet a aca, a4 ve afear en ae afecfafa 4 fat arg aaa sfa ecard: | afar afecwrad war ‘sar saafaenfa sarat afa” eer santa wer caq it faaTarga 7? iamaw dhe yl wranfay’ wiaeeata: Zaaraer wate: Tad gataa “Saaieerna’ Saat fate emafa srat afaaraq ‘age tana? —uar; ara wa ag oare-caaifa afa fam are: alfa: aaaqrat aaa “age’aatea” safe: Sad: (24: ) gafaa: wal ea: vif: @aaafe: | ae7—arenfa: af fi: aafar azeaan: wate, aRy faq sa Gear qaefe: vafear? [aereta=am] 1 sae ada ait aq sign freafes: sa as: 2 net: —sraaRR | Norzs 1. ferma—fa+antfoy az fel The rule “faat ga.” demands ¥@ in fox of ara root. But still we have afg or zis" in fagraafa This is due to a or fixed optionality got in this rule by dragging down “st” from the rule “at faafaua” | ‘Thus the result is some *T= roots do not take ¥@ when faq tollows. 4, 44 ete are such due tofmendia1 Comp. ‘ yamq saraaiq @:”? in Rag. 1, SL. 54. 2. ayga setfe—ery quraer gut: well placed sfa a¥qait WNT SANA YUMA: or Jaa with oifafarar and applying ‘sifeamiema’? | eryga: svete: sf ater) a; srfaagen; sia gaq! Adj. to aeq:; aaa: plural of af@:i nom. to lar? &e. 3. ura'w:—adj. to fader) wea: saq sft wet sa waq=festival usually of the full-moon and the new-moon. days, We here get af'wand not wife's by the rule “arenaataisg: Ree za” for here the general rule “aw” 2a” sfa wu is made applicable in supercession of the special rule. Thus Kalidasa uses “ara ve anal fafaea” | 4. sifreq—aeqtaa) sei wet wre taq smd: 1 Qual. siferaaq 1 5. sifama—wifee: taeferet; awara: sf eee afer’ ( waaart san) tacferreqeaa serra gaiface: sea: | 6. Saae—@aar va Zeer + ae! aw! 7, aewwH—u+ Et ge ature? | way! By these signs one is able to know to which goda temple is consecrated. 8. fra-argtry—faaran: fee vaa'e; aiygéza sfa gay! The skill of seulpture. 9. waafas—araer afa: sanfe: ofrerfe:—naim: serd:, cag! wraet=@autaat! Bharata is startled with the expressions of internal feehngs exactly represented on the faces of these images. 10. dadfeerny-Pant (var @aar) sfa sfeernqy fate ernq xfa aegat: Qual. wfaata! Though apparently the nfaar seem to be with regard to gods, still these appear to be of argu: Or ¢8@ Sfeet etc. LL. agquferaa—arge agvemata: (va 4 waar afta wrgm: a) fears: ( eatarar watfa: ) xf weet | weTaIa: sf ae wea:1 The compound word is somewhat peculiar. The ufaat appeared to be of aIgy | 19, wad" aa—warft Caaf ware: wait TET ofa afeard fea: 1 [ afeaneaer aia: gay: sftaq i ]RUe aiaararzay 13. @a=ufe: aafe:! wfeareqe: xee':—this collection of statues ; or S# means ass! A ast to 4 gods 1s done here. [.N.B, Alternative exposition—waft: 2a8: freer sfa afeard: fe) “feitg'aagel” sfa sifearar maar gat atem aa a: du arg gaafaera ga’ vafag fire | araagaaa: wean aca ty u Prose.—ana’ Z aaq sfa ws (aa) fie: aafaaq gay; ( fey) anena'ad aa: wora: aes: eta Oras: HATA: BTA | Eng.—True, I should bend down my head because of its being a deity ; but the salutation—in which the god is not adored with a mantra, is Cas good as) the reverence done by a Sudra. : ‘ Beng. —aey “awl —a8 ay TSE AAAS Fq BS acd; fee crawice quate Sal al sire ( ataty) ety ste sw-astcaa’ gay BACT | Tike. —arayq (sarargaét araq seq] wel "eae? sa afer Qa wa waa ada fan aaa aafag’ 2aarecd crafagy gaq sfeaq; ac ‘wamftadaa: ama —aateaa aaa adat a get wefta: a sam: og ‘ate: aeifea: aq way waar —aarat weleas Sagara vfrart ale; 8 Saat Faaq waafs ca; ee g afta: aa war waReey weay faete ware: sraftar: | wag Hat aq a way whe g Saeq qeTRAE weary Ba fe wer wat Ba: UTA: WRRUTAART waa |aalatsy: Ree 1. Ganq—sfe aR mua by the dictom—afafaara- wifaeraa 2. swqafe'ad aa:—adj. to evar) sfaemrm: wet afer aq aa war sfa waaa! watfeay (adverb). sway ( zara ) sie afafe vega) swanfe'aq ¢anq oa a sia ay! 3. ar'a:—Predicative or adj. to wara!1 3a@: UR) ae safafa exe+ su =ais'e—qzeeat! Bharata now offers a wata here as Sudras do, for he was not sure of the praticular deity there, or because later on he will perform framura after knowing the details. Bharata however is af@arq on all Gods, (ofan )@agfae:—ah Seared feed aaq- fasfa afa aq ewamet faarmrurcatata afaaney nfae:) wag ufaar sre! ( afanfa )1 WE —AAISE | Ragfan:—a ga a ae gua: ars | BT —AT aay Eng.—Priest.— Well who is it—that bears an appearance slightly different from that of the images here—and that has entered the temple, while I, after having finished my daily rites, was engaged in the affairs (meant) for the subsistence of hfe ? However—let me enter and then learn. (Enters). Bharat.—I Salute (thee). Priest.—Well—Sir, do not salute (me)—please don't. Bharat—Why not, Ho ?Re afaaranzay Beng —afearfeert—afe | stata frosfeat cit efiay coreatte anfierty aRsica IVS MMs CH a afea- ee oct afeatte! aa ateta & etfentren afe vere a eq oa | Stoel cet SIME af ( fesra ae ) | BISA (— afeeth—ai av, Aly sfacsa AL) SIE Cra CR TTT SIRE ALT Tike,—@agfaa:—aga faga:, fagaar afew Tee: —go fea: wea, | “aa faga”? sfa sa! froranra sereta: | et were aq J faaraet fame fread: yatta: wae we) ‘nfo stage”? sheaves sracdtaq wan Aenfeaq walaeie veaie ate searaafa: afaana: taza fanrafa:, odo nfeaie: aesty va arty ate ofeagy ced: [ ny sft sqaet an, arfatatmarne wraagey ] 1 Notes 1. fmaaert—and ott ; frere seq or fae Aaa req shh fra + 9a = Faq 1 ada ofa fae + aq art —Faaq! Also Compare “daar fafy amaaeay”—Kulluka under Manu II. Sl. 104 aaq freafear ae weary afer xfs gq | 2. mifaed q—obj. to wafasta, wifaat wa: sfa eng! 3. sgfasfa—wg+ert+ae+om caa—adj. to afi— which is an instance of ar? emt 1 4. saarartafa;—ad) to m1 saaq keg ware Be: oTdaee fafa araq ver er wera) kata fear) mda geet sds ate stafide © sfa agi The 2agfea noticed the similarity of srafa between wx and the statues there.aatatse: RRL aan fafecarg fafae: afaarara | fai ga: afatatsaq frranufargar ll © Eng.—Do you want to tell me anything ? (or is it that) ‘you are waiting for some distinguished person ? What for is this prohibition ; or 1s it persuant to some rule (custom) ? [Or—due to arrogance of power of penance]. Prose.—serg fafaq amaq (safe)? fa fafee: (am) sftiorena 1 far wa: va wfada: ? ( fr ) sam fraanfagar (ura) 2) Beng—eaice fe fay afarw ory cota Rea ler eats, wer fer « faced fers oe? oat eal fe fraatesfewt® ( cea camqetefas Sae7 | Tika.—‘serg’ faxd ary nfa fafeq famia emer sate as fe ? safe ary famig amjarat war sea: 21 (wear) fate: aa: Aa ae aes om: wfaere’ war waere ? faq yea: am eT met nufe faarefa aqaata sala Gero wera: ater: fe fate fe aq wfeq gaat aaa see y sf ara: | fe was’ Rar safe: areal Or FF ara mIcay ifs fafea: Td afate”, vet AR GUT. weed faves (aaa ae Gat: eat ay’ frariea: sf eee: | a aa ‘faamufaqar saa’ aa attgernitte: faq ? Notes 1, serg—fareramrg areafa sfa faaerary aie oF | TET sige sala 9a: 1 2, fafqe:—An adj, used substantively, Some distinguish ed person, Sa aaifa tat! 3, wfacteat—afet 1+ faqt+aca we'fa i Is being waited on by you.RR aferaratzany 4, fe aa—farq Ga ( Ba Gam ) wa: sf raga! Or these. are two separate words. 5. faaasafagat—subj. to sfe understood. 9+ 4+ sy =THfaw marae: | ae ara: sfa a@_1 This is a vedic usage by the rule “gaa? ) See Sak—“aq qafeg? Gea”! faawa faurre gafeqat maradiaar sfa ¢aq! Persuance to some custom; or due to arroganes of power. This sloka is an instance of Bhasa’s illiptical use of sentences, Sagfaa—a aa, va: aret: Sfataanfa waraq | fang dzone ares ward ofeufa | faa Waar: | waat—yaq | afar wea | we F aTaTa- waa | ag fae: —searaa: | aear—(agiq) semana: sf | aa Ssitararae | Eng. Priest—It is not that I prohibit you for these reasons ; but I (want to) avoid the salutation by a Brahman mistaking these for gods, these are (the images of ) kshattriyas, Bharat.—Oh I see ; these are kshattriyas., Then, who are these ? - Priest—These are born in the line of Ikshvaku. Bh.—(With joy) These are of the Ikshvaku dynasty ; these are the rulers of Oudh, Beng.—afaatfrera—a 1a ward atsaice oh facesaatatse: RRR Fee CHATS CHAI ATH BFA CHIN BTR IR aatt scam—obie fiatay sfacefé ; aa fae) we ‘ej —aat ear | aiei—eal sist p cHTEfere—eml Be TE- ae) SIS ( eeafew am BTATTTT AF | Tike.—'nfaduarfa’ fatwarfa 1 ‘fag Zaangar’ varia Samia ca sfa ara ‘amuse woray fad: araiq gofay ‘ofteuie’ aearfa ; wed aro aE 2agfan: swaafa—"“afaq area; varie Paani sfa wer waft wuafefa mata faeaeay eerenfa’ 1 aa aad: BR gure aaa: ef vue Gals—alaat fe same” Arita: ct afar vai 4 mmeT: wal Sam: ; efaarary qa: war Sfa wa: t ‘Sfaard a? fal aera ara aie ar) xe area; ea aTga'siat: wa Notes, 1. daqmga—edt gat) aaq sfa wer sfa equ! or ge ae wet ( wa: ) eaqt 2. ara; am: sfa weer aa! AF ew related to naTAq! 3. wfatearfa—nfat feat ara foo +acia afaterfa serves the purpose equally well. 4. SSH: AA Sq: | CMeTaT TATU: Tear aaa: sqrt: Aarveq sai’ sgw.”1 This is after Bhattoyi Dikshit—compare “we area’ 487 sf g aeuel qauar’ 1 Cons- true xqaraa: wale | (aq) wa 8 daarragytaa aegarfiad— 84 @ aeatS agrarae aia wewi | ua @ ata: ayRaafaat aqaat agaal- 8a 8 warn 2 fecmaafaare’ aaa utyRRB ofan tarzan Prose,—a& & (8) Saaary HaTITAg Vay (efaace’) TET Wa FF wyrame aque: mAs ah TA a ayraaleary saat squat mae: (waft 1 wa aR ee Aue Agra farH samafeat: ( afeatftet ) 1 Eng.— These are they who lead the van of the gods in destroying the cities of the demons ; it is they who repair to the domain of Indra through their own merits with all the citizens and villagers ; these are the persons that enjoyed the entire earth by the prowess of their own arms; and it is for these that death wait persuant to their own wills. Beng.—@eini® ayaand SAAR CHRBTATTS BAST ama aca RerMe Ficer gals sa AIT @ ensTatintIAE Recaics VA aaa | Ratst’ aces tesca xg TETCT wa wafecom, aie Sxtcrae Sotgawt eeu ayT Fetes aT Meare ATA BFF | Tika—‘aa’ var: gra: ‘va a? Aura are B'S aarara’ wETEPTA ‘aqrgta®’ Sayre ¥ ‘afrata’ cage fu fefaq wefe wafer Ta Vara araa; wAl: oe Sarat TALETa Sadere yea wa afkarfat | AAT wee, WHT YTS VE TATTTAGhaT: GE coarniy wat wie ata ez qaafe waa a ‘ayeragen? dieafefe: ae aaeafefirs wae wa ‘wand? wywas: ‘waa’ eee aia weft sia waa fadya: cgentadh: ower) ‘va 8 a eyssefnera’ srararz- aaa fafnara ‘aqat fafeerq agua’ afta ‘ay ae: eaar: afer sfai sf aa atfecitardtar ag ari wa & @ ‘eq ean’ "wate: & safes. —aeal ACaRAe ay Sawa’ wag” sia TaWAIy ASIA Ta wed carq ( whkotaq) aaeer sfaqet ‘Agr’ aATsa ‘fet Stelachatse RRL req sateen? safer: (waca) watfear: fa wra:) arse Sat efe Acasa Mela sag ae: ara a farraata AoT Be NateATAfeEKA, saya 8 Paracay: ae ee aaa car: she wra: | [GazaTeTA, wav ae—“siar aa arenefe: aeMMagen: aft: qazaT” J} Notes 1 sargreg—favareace art at ont) getter sfa wget aga | Sut geq sfa eaq | The base is gt here. aw au: sfa eat B+ =e: | Tecan not be of setgt but of saTyeafers So agrgt=segeafeq: Or vy=destruction, Then "qt ytae=destraction of demon city. Anyhow the compound is somewhat queer and is adopted from Ramayana by Bhasa. 2. sfwety—obj. to weft saafaq xed sfitate Rarie =sfaafe a sfred (optional) Sty by “afearera faq (” meaning sfwavq for helping another ; comp wfweft in IV 17. 8. egtamue—ady. to ca) gt Saea gaarfans | aa aq province ada amaaafen: | Gey esau: a sf genet ee ware; | AA BE aM aTAT aa sa ay 4. @qad:—at@ ear ae way fe wifeaq! guy sa t @ ea a yang sia aw aT or gaq! 5, wmdhe—farer oti awe daafey se eaq! aacte anf should be more proper here, 6. eymaaimary—ob). to agama! we Eat sf esq; (or aaa as before); aatdafafa eqat Aafsar arfafi eaqt To MYA AS TT +S TAT AETET 5 adj, fo Wat 8. eey—teyIT; obj to aT7aT! FRA is also correct.RRE afaararzay 9, snaai—aa ( quiz )+a2 aitar vases; adj to egret; aa, gute is usually sreicet; op “wa aaaa anefasg” &c ; so wazara should bave been proper here, An irregular use. 10, waaieai—a vefeer sfa asaq) watd+a—usully ‘wad ai But here it is used transitively. Bharata feels deli- ghted for his race. (aaa) ah aeseer SY wat aeq warafzagy t afiaaary aerazasarq | Zea 8G araq wlafsaadcae farafaat awe wad fret neafaradnetat feta: | Wea —aastg ware | aftearsy areas ararg t Qa—aa oY crag, e aaataaaanar TTA BEAMYAGITSAATA TY: | Eng. Bh.—well ! I have accidentally come across a very great gain or merit. Please tell me who is this revered one ? Priest—This is Dilipa who having collected all the jewels performed the Viswajit ceremony and thereby burnt the light of religion. Bharat—Bow to this pious one. Then please tell me who is that ? Priest—This 1s Raghu uttering whose name thousands of brahmans call the day an auspicions one (to them or to- him) at the time of going to bed and rising up.adtatse: RRe Beng, sqe—ete Betas eaten ati «eat VBatece a arefewwice fire ) if aes we ete eqtT | eatse TH at Thea SH ey cB mates feat fH we agatfe read sian ferfee area oaea sae: ecia att emtfrs since | exe—aisatad feettace eaty Te es yaaa wie cep cP a—treta Beart 7a TRE ares MATA eter YaTRatEA FA (Wate Sra yey fey Rae afer UTA ) | Tika.—'aseeay’ Pema FAI FEY; UT ASSET Sq! GA saad sfaraq wat ‘afafeasdteae’ ucdt fafa weaffae- wre ‘feufind’ feafafefe arar afege ‘ame vad far aarefaar age ‘erat sf araq ‘asafaaea wala: ated wdtea usar fem eater: aeraret seed cafem: esaat: feats fers: feeta: 1 ‘wa aueaa’ wal. wana! way senfe—'a aaa’ cel Pagers cet ‘eeTaa’ nate, RAT: TAMAS se awATE ATES: WATT aaT : TYATTTENZ: wa, Santa: GUIEMR: Fe FUER VE CAME: Cate aifae S weit tet Gq cat: gaalfe arita'a wat saad s aee, ua fam; ae Ae BMA Fae PAIVAG ae ws a gUreAG sfa aT Notes, 1 aeeen—at wet (ata) xfs cee, aater! acd or waenfet att 2. sarfena—wi + ee + fos tm aaa 8, aims feaaa casl—adj to farsa: eatin waif sfa weeny afafeantt aa cara afaq ae xfs ag, In raufry sacrifice firat all ta of the agut are collected and then gifted in the sacrifice to allsuitors éc. See Raghu. IV and V.Re afaarazay 4. gadiaai—ateqtfoetag Inawar sav fat, aver has azaii aa fa set 1 5, ssaienua'ngig'—ed wa sda: sfa aa'er) at eaten: wala: ofa arawiftaaan: qoreare: | weaiea: udle: wel wale: aB7 am ata sf ae, 1 Note that it was Raghu and not Dilipa who first performed faafaq Sacrifice ; see Ramayana and Raghu IV “a feafaanra?, etaziecq” | This statement of Bhasa 1s a deviation from these, Hence to support our post we take a"'faai to mean a helper ; thus fedia was a helper by promoting the ag through his son, 6. a earererd—arefaace oft) aaa’ ( fama) = searaa ( kana: aTaet saaae’ s ) sfa eeaArE: | SqaRTaT should denote both rising and rousing from fagt 1. SamaMOTTERaRQRyETEMRTA—adj, to Ti! - AIG Ta aaa eT) ea sa aaaq) Saag Wass saae sia wae afia;: Seo Kirat XIV, s8@ arama: sfa aaa) ast avert aq! wgA: Ray) GMA TE: sa GUNA “UmeEfeREe” cia ara: | Guisy and gfearey—these two are used in the neuter gender, gureq sfa a sega WaaAMONTTANgA: yorrens: tia aaa) ( ea) > cred faararar agate gent: stor wefafic nee ( ateqama: ) Prose,—a' Weigle’ aT HA Ya Cla wad sha afaeaR (AAT)! ada re saat (aat Han) “ya! aa’ aa”? fa staifsta fated: | aw ae'ae eer en weeny fema mat agi nafafa: Sat; eer: Fer ganar: afr gree? ay? Eng. Taking advantage of the liability (or remembering of the King’s liability to herself), she (Kaikeyi, my mother) said “let my son be the king” ; and then being assured, because of his(Rama’s) patience, she addressed my venerable brother saying “my boy, retire to the forest.” Then finding his son in the attire of rags, the king embraced an inglorious death ; and what remamed, namely legitimately crying of shame, was done by the subjects with reference to me yeh ? Beng. —oe wqcate aad aia efi ( atara amt ) FAST ae etal VBa" | Stata sacar Haety (tat icy) PTE weal ( PSafee! Rea) CareH aTheTE wa “ce ws BA aA Te" gare stataee *fRfeS cata ated ngs ( ateta tc age ) ayy Tad SACHA. ait age Tat aot Waifw feeta cata nate Baz 344 fiw aifia—ak wp ( caTRRATS BACAR ) | » Dike, — ca Teeth Gar — Tat a ae aq Sea Ie aa Saat wed a: Ae we: SATA iH AAs Hale Be, Aa NAIA THA vitae we ete aed, wae qyaretaga, saat enfafa safe fear He Bray Kae: |. HR GR: AMAT, AC: Tat weR ahs SfafeaR! OTadtatse: BBR afaaq! ‘agate’ gar cael baie dteaar ered sft Tena THEE wae: sfagieanrag dar ted: sTrEArTTER aaa “AR ATT wisi far: afeed aq aq ae zante aq eta nfaqrefed” sera wares framed ane aa aa "8 ga! wal (a) ae art ana | sf sta’: goritat @ erar afafen:” fasifia: | (waa_) Ga atad ua wader! oftfeanierasa’ eer ‘cant sees! suenfaan, wgafafa © araq fawa’ aca’ ah ag aa: sae aa Wer: 2 ay walter: wraq a aa (87?) ag ee: wag aaa: wyET: feqmETTT: fea fre sel aa sot freer: nefae: caries fe amet cat fafa, a fataq a awa? [ gaat gaa] Notes 1, wedaq-—aeatqaa: Ba: | ser Tesh: Aa: fe araarfe'- aafe; or wearer Ge: ; obj. of wat! 2, afau—aer & at gaql Sat eat 3. SreeeI— AT + Bata =fem, ; 2a; adj, toam (a Fan) 4, aad —ag’ SW Pa aa sia ag, ! Se = aTTATTTA | 6. ae Waa ae TR Aaa wre: sf AeAT | 6. ar—ew aa fa war! 1. wefafa;—senfie—agar aah gat! 8. fra ware: —fen sf mera: @ 1 SwETT | Tara: = faeerare: t Same case with Ou: 1 or sat: xaar fa aaeA | 9. caaf—aq+for+az sat adie! N.B,—Here the stage direction should be “#lwquaa:”” | Next sloka shows this, (aoe ) cate vat! sare! [ squat sant: saat |!Ree afearnzay Fagan faeter ) wt! ae Garnet tay Gar ategarra | weualfe memaaee saree: tl Prose,—ar@ wy Gan strats) fe ( aa ) AegITg ya yaTa, wt want fe waeer srerefe: ( afeefe ) 1 Eng.—(Behind the scene or in the dressing-room) Away or make way, venerable sirs ! away or make away. Priest.—(Looking) Ho, The queens have reached here in time. The son has fallen in a swoon and the touch of their hands will be like sprinkling of water in absence of the same. Beng.—( cy) aicHa aata were afta TEAL Cote cefeat) craattre—orttat sai mace’ atfiatce | carat aa eee eRatcen, ata Tig come aaa ates acm watafing ote ett sfica | Exp.—sqara’ wary wry EX aa! Suga ca wae ‘Sat: West; strat’ aa Safa | fe aa: AeguTd gd gfe’ wy ace ‘mem waa: waeEl wiefeaer Terehe:’ qeee; wfaefa sft senda: afelad varamafa, ota wa aa’ fear sfe aqua, soantd a aca Garremed afm: wa wa wequd oa smeraferentay afaefa | Notes 1, gf —wd oft by the role “gay 4 aaa araTTTH” | 2 waqad:—wea aaa: sff aaq i) get eaqi Nom, to afeufa &c. understood. 8, saeer—afecare oe gay car ae, | Tae TAT aCTaT Beraramtatse: age xe’: Though there was no water near Bharata for his revival, still his mother’s touch will act like a palmful of water and will revive him. 4, serefe:—aaar wafafef enq! Subject complement. Cac: afanfer da: qaere ) Fae — ea TA Aa — se ae aq nfamare + see ae aE eae safadutrerfarndta at vara ofateared ugsn Prose,—s@' aq a: nfaereter Ze dere eH A wees: | wafad: wafewricarra: afaat: mara feat eareTa | Eng. Sumantra—To this side, Madams to this side. ‘This is the house of the images of our kings ; 1ts height is hardly equalled by the palace—mansions ; wayfarers come here without any restriction and without any permission from the gate-keepers and pay their respects without saluting. Beng.— gracias, wt free ek fice STA ae onitera qafeacdta efearge | Teta AS Bow! TeetteME eet TA) aetcr aise agai ai facae faa state sft ecm BAe etry a frat ae Satya (<1 whe) sisal SCs 1 Tike. —ce aq a: wera sfaarere’ nftaed ade, ae sifaferny saa “ze” ‘ge zee aAes: SET ‘waiete: Sag Cramrariatag aay wie ade: gare | wafer gs? saferatia &: saufeeticarra:? afaericarat eremrerat fre’ farsfa wa ates Safad: fart were” amare faariy ‘eos’ Gua) Ame’ waR TH 20Rat afcarareara Notes. 1. sfawrager—aferar=sfegfe: | mfserarar: aon: sfa rerarfel = afe sq: aritesagi: The king remained in the form of picture or images /statues) there. 2 sqea—aateetftad: The wa of uz fa is specially provided for by the rule “efegafadtfagga:” 1 So wat+eet fy will also take w= by the aftam—“saaae® aarq ‘a fafa: ner a azaal a agaq!” Hence agua with wa isan irregular use here—a fagsaa of Bhasa. Thus Bhattoji says ‘qa’ quan: agwat sf ? are mata” 1 The defence that sefa is to take wand not wqefa also, is not very sound and is against the spirit of ara 3. eelige’a:—eairg cela: ef gegTT! e_+eMt|@e! Pred. to wea: | . 4. safad:—ara ( afe )-+m aefa afar frafe,a: checked. a afaan: &:—a8 gare: | Qual, afrat: 1 5. safaerfcarag:—atererd va sf nfaericer | @ra” aemara: | faa: afreftar: afiay ag get aur sf wnfagifeay | adverb modifying the verb stmaai seme siaaa ( stra’) Pat a, wealfest G1 Qual. sfeatii aq sad afaeifcan: vate fara) aa arta afererfehre’s: aaterd sf ara: Remark.—Such is the great-ness of the place that here every one isallowed to enter~none is checked—all here enter without any restriction i. e. without being stopped by eIctet an in the case of palaces and harems—here one may pay his espects in any way he likes withcut being compelled:toaatatse: Ree salute ; for these were humap images or statues, Thus ga speaks of the difference of this wfaare and Wantare t (fag water) ae, 4 ey a BY ae | aa fe ofae: atsfa aaqe-ecause there is none to dispute your authority) and thereby he thinks himself accused (or charged) by Kausalya. Sara —ea agua wares saat Sat afar | wana | aentenfrafaatsenfiared | gaa—are! sett vfe! (sa! antaait aq ]l waa ose onafaer | = squettsfag | aaa: | gaea—ea a saat | Eng. Sumantra.—This 1s the mother of venerable Laks- man, Queen Sumitra, Bh.—Mother I have been befooled by Lak. I salute thee. Sumitra—Earn fame my boy. Bh.—Mother! I shall try for it; I have been graced (by you) ; then what then. Sumantra,—This is your mother. Beng. Raa—Ofh aimata acy oN afai CV) wae TAY met ater Sif fit Praca) ersaice ete afta ser | eHTEH BE WIE—a] | akaAE CORI Shy t sea eT CET! RAB COMny aaa | Tike.—‘wfeefea:’ ante: cadafesd warfta: we ware: |aatdtse: aye Sfaear warty, aT we ara: ef sae) aT Sentai wet GAA: tra Seaisgaa: sfeera: ‘atari’ cenmrats eq arent wa | ‘xe? 7g, ame: GR eae: | ‘wafeee? Sfewe | Notes 1, wfraferr:—Seo Tika. wfra'fea: would have been more usual, Lak. accompanied Rama and had the advantage of serving him. Thus in this he deceived Bharata. 2. aatarA—astarfry—are: | am wae sf ae + aay + raz | ‘fat also wishes him a prosperous kingdom and reign. 3, se—Vocative case ; “errendtat sq.” or “waders a.” sft au aeataa we sf aaa, 4q Tu seq means the matter of acquring aq by proper wanurea and Sreerard at 4, Remark—gnm, uses 24 before ater and yfaar but not before #4 the at of ava! She was Bharata’s saat only by giving birth to him but not his guide as well like good mother, This reflects general apathy of almost all the subjects on &&a¥ ara atteqqara ) sm: or | aa aga aga waren a a gaa | apraqaaraar gata wafizar nee tt Prose.—ma aga Qe Ware ay a MHF! (aa) aR apageaa se gadta s8fier) Or aa ras aga Aare a AFT agrany a wafaar gedta 7 twa | Eng.—Your position between these two mothers of mine does not appear well, just like a polluted river, thrust etween the Ganges and the Jamuna.tt ufeararzary Beng. 9H @ Wate wy acahiel gata ote atatT Trea wastes cerata (arate) eefefe cite te a1] Tike.—aa arga ahrerem: ( wet) area yfaara: AereT wET- wea a aagTae eT wETaeE aga: was wai afaehaar greet gofeat sofas ae, a1 ta a hada cae qukaNtada a Bereerararas war TEMA sfeeTA: | Notes 1 waren—wef fei sft aeterta; fear) Qual, aq! 2. TRG — T AgAT o afta satacee: 1) Horo is no TaT¥W as the gender of the two words is the same and the rule “fafeefawt vét2etsaret:”? does not apply here, 3. wafian—a+ fam + few + are fia a; fom. 4 gr—gafear ad sfa frame: ag in wywa P. 414, sl. 18.1 wafeadter wt) This reflects how lowly Kaikeyi was being villified by all and even by her son. Seo al. 19, 5. Remark—We have vara before, and here stage again shows that Bharata did not as yet fully rose up from mara when qm, ssid “sa' 8 wait” | Saat—ane fa ay fae’ [ ora fe war way? ] wen— fe wafafa aefe | saaaret Starnt eat eager vamefea: aqeaiten wa: ay aaa: | afar: heaven: equraufe’- fafafe ae Stet aren erat aa afer: wesuadtalsy: gue Proso—7q Bal BRATS, WIAA, TWieewaAt, BIST saan waaelea:, @SU: aT! ae, eaaara: WaT: Da, EIT Tae afert;, sar fefafe eta quar aifaan: | Eng. Kai—My boy ! What have I done ? Bh.—You ask what you have done. You have cast inglory on me ; put bark-clothing on (the person of) of my venerable brother ; caused His Majesty’s death at home ; set the whole city of Ayodhya on incessant wailing ; united Lakshman with the wild beasts; united the son-loving mothers with grief ; threw the the daughter-in-law in way- weariness, and made your own self the target of the inglorious (heart-rending) word “Shame”. Beng. tacemt—aer| atft fe aaa! e—fe caR BIR aq! (Sra CHa) BA ataITs eACMTSteR TeIW ; OTT arpace veastht erry; stata Ways WeTeAtEs Tel ain wics aaewanafas ain afaad sfrate amice ay te macy adteatel slats aTEATHA CTS Seoten Bie, aA Mets wecacs EE ahhaTE Te Frcace “faq”? o@ Batatcara ata ge Thawte | Tike.—aq a, ata: ‘war aay’ VER sed: ‘sama wes, eTQaTCTATa eete, Aisa: | aq wae wT Gee Pafeafer aaa Reforma: | ‘ade gerta: ca: ee’ aeada afar: | aha Be: re tema: afeeaay! we sres: oe wale aTaaT amHaiT fay eared ee cae: afel TA TTR ETAT ATT TAT ‘Qeeq aa frwgqaray & UE Cae, 88 ATCTY SG TT a AH fafeaadt |Ree afanrazay ‘aqer fafeat sain naceled:’ etarq va wferamee: al Aaa! aa gad: ta: cam aad sie Aiea) aeae; at: vacate, aealinn: ata Gat; Ta AMAT waTERTT Uy faaela | ‘efeaTTAT: faagar: wer Arat.” ateeargiad’, shee Afsar; Taaafear wale ‘aa aia areem | aT gaa: Star wanted, arama e: aardfrar a athenwa magaaia | ‘ara’ aa wat @ “lea” ala eae TCR weal aia, searraiy ay fears’ waa y eicdteay Notes 1. aa—nisarrat ; originally sam: sram’ af becomes in foe —aq saver srmia’ ataafe! In Voice Ch. it becomes war FAME WAT afsa: do. 2, suse —aiten ae'fe ater: we eas eH! 3, Sa—werdt) (Bark clothing). 4. agqaa—ataaa a tfe eega | 5, Raaafed:—aaay wfeaq ata awe) ataqta anit, TAHT 6, efacaaat:—ad). to Fen; | Sfaen; frat: aaa; aret ats; AEE T. qm—gangei Refers to Sita. 8, we-gfer:—sem: ( weug samara: ) afer: sft are wifetarig) Or warm: witam, eaq1 8:1 9. fafafa—fea+-vfas A. ye_gat compound, 10. ei w—adj. to weer! 11, a@faer—gatfaetaadfar It qualifies aay, wer, WH: THAT, TAAW;, Fer, EAT and wat! And hence it is used in the plaral ; As there is no neuter noun—so the masculinewanaise: Rat gender predominates and the word @fmat: has been used in the masculine, 12, Remark—Your single ill-conceived step has led to so many evils all around. For your sake all suffer, even I. You are wat ( a +s aadta wasife ) and like a g7@ not fit to stand on equal status with aitwen or gfaat! Yet you ask “wat fa’ aay’: Your heinous work has brought infamy on me as well. Comp. “ae faawara:’’—ante. Bharata was so angry that even now he did not bow down to his mother. aiaa—sre | warederaasana fa w afar mem (aa! wiaderaanecfe a ant arawq | aen—arafaft | sway ata Raa! wal ara aftared | aimen—afe afel xa ze areal! [ af afe! wa @ seit ] 1 aaa: — rele YU, AG Tete aMTG Had! Eng. Kausalya—My boy! You obey the rules of courtesy (decorum); then why don’t you pay respect to your mother. Bh.—To my mother 2. Mother ! Thou art my mother ; I salute thee. Kau.—No—no ! this is your mother. Bh.—Yes! Formerly she was ; but not now ; behold mother—RAR afeararcary Beng. a7! ft meq etete PBIETEe atts afea Ms Sra certs agers seal sfarwen cep SHOT CH pA AE w Stata aL! cOtTICe eisty, A celal al, BAR cotaty Gat) sae —ee fears Te fee cen acen | ata ceya— Tika—ataquarmare:—st ay agers feererrey mare: aerwaerel, aat ofeqaa ta: aq wees) Bay ereTTTTATATT we ae a aa Tay gTAT Notes 1 a@egernwere:—adj. to aq wyter+ wt + a et agen: sf waar! aut ware sf eaqi Har frets afa a terta ante; seq 2, wWa—Vocative of wat! You are my real mother, but Kaikeyi was my ait and that isa past action now. So she is to me an Frat now. WHT AS where Brats: gararraagar: frag | @Rsgel wraaaza we ad gtereg araararan ge. Prose.—ag itae araae: Pe" aT gat: ara wyaT: fina | ease GF Tye" wa" ef—ararf ae ery SaTATSE | Eng.—Sons are rendered unworthy by mothers whose characters become infested by flaws (or defects) and thereby who give up their (inborn) affection. Now I am going to establish a new order or dispensation that—even a mother will turn out into no-mother if she ge against her husband.adtatse: RQ Beng.—3stcy CHIT MGS Vests, ( W714), HE TNT Sha qaree erie shea cotter) aif mene ew BAS (99574, 1A) ef ste shaa—ca, TIE aificate Shae ante! Beraa—( ate yate aye! feral stey eBeam aL) 1 Tike.—ag fit qiteaaradtay’ Ae wak aa waqeTTy, seuaVTTUET Sarat: @ Sor: Pears: Ste ad: ‘ey gaia’ war’ fasta ( arafa: ) gar asa: eraq gan: frat 5 sree gag Umaal a Bay saga yas aa whe wa fa | aeTAAT: aurag afanalsary gag Seer: wa: ary Gey SGA] Safe, wz @ gat waet dea nat candle safe fatenq a gti aya stad. gd Pedi: ea: an yd: we ama” often seq caerte: waft SER? Tey aaa Ave MAGE eff ara) oa: sense AR Tat syle saad a’ wea qeaq ea? eras, wiafaenfa ; aafawe ofaet afeenfal aq ae came: ? (ow aaa ) ‘arafa’ eafefe edt ser sft ar ner serery aor ‘aa Dera’ wifafaderq Har Ga Uae earefedd ate’ sed: waTAT Sama Tat WaTa Ysa wet ef wey Magi weer QaTaTeTAfT sat af erfasifest eq afe ar warty qomanfreh a afeerta sed: 1 : Notes. 1, Mea arnde:—hg eng a are sha steam: GegaT | aqtaqtat stem: der afeia ae edt ear: That is, the flaw which is acquired by mothers through contact with others &c. The exp. here as “sons are disowned for faults which they catch from bad company” of Mr. Shastri and Prof. Devadhar is not sound. Or—su@e@ aati at; saalqe arf; ara fiz: | 21R88 afaarenza 2 syar—samear: yar sf awa! ae yaw: wa se mS aq! aad RG garet alem: waa aE SE AMAT! WH UA yar: Aaaey wat ae gAfead sera cigar: fa, waTa a agar: TA WAT BS HAT 3. wytq—a ada efeacaa; ger sfecar’ tq ae afte ay! Adj. to waqt 4, wafer fow tae fa alamqarite az 5. wader —an!: ae: sa ena, arr anhae fa gaa! wea qe: aria) aalq—Fat uxt: 6. FAIA —ARTRT FIAT — Aer AIQUAT | we AANA ATGTAT

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