T HE

G R E AT E P I C O F I N D I A

[ts C lea
‘
ra c z e r a n d Ori gi n

E WA S H B U R N H O P K I N S
.
, MA
. .
, PH D
. .

P r ofe s s o r f
c Sa n s b rz t a t Ya le

NE W Y O RK

C H AR L E S SC RI B NE R S SON S ’
 Copy r n 1 9 01 ,
‘
z ,

B Y YA L E UNI VE RS IT Y
P u bli s /z e d , j une
,
1 90 1

I I
U N V E R S T Y P R E SS JO HN W I LSO N
AN D SO N CA MB R IDGE ,
U s
. . A .
 P R E FA C E .

THE sub ti tle of thi s

-
bo ok
pl a ces a n a lysis b efo re specul a
tion I n re c e n t s t u di e s o f the gre a t epic this order h a s b ee n
.

re v e rs e d for a m e t h o d c a lli n g i t s e lf sy n thesis h a s dev o te d

,

i tself chiefly to dwe lli n g o n epic un iformity a n d h a s either ,

disc a r de d a n a lysis a lto gether or m a de i t subject to the

res u l ts of syn thetic specul a tio n
“
.

Th e best wa y o f course to ta ke up the hi sto ric a l i n vestiga

, ,

tion of a litera ry pro duct the o rigin of which is well kn o wn

is to begi n with the so urce a n d a fterwa rds t o study t h e
cha ra cter of the co m plete d who le B u t if the origin be .

un kn o wn a n d we wish t o disc o ver it we m ust in vert the

, ,

process a n d begin our study with a n ex a m in a tion o f th e

,

cha ra cter o f the w o rk When the results o f o u r a n a lysis

.

become pla in we m a y group to gether those ele m en ts which

,

a ppe a r to ha ve existe d from the fi rst a n d thus o n the b a sis , ,

of a n a lysis reco n struct the p a st To be gin with a syn thesi s

, .

so c a lle d) o f wh a tever is preserve d i n the pr o duct a n d s o

( ,

t o postul a te for the be gi n n i n g ex a ctly wh a t we fi n d t o be the

complete d who le is a pr o cess tha t le a ds us o n ly t o the p o in t
,

from which we sta rte d As va guely i n correct a s is the de s

.

i gn a t i o n syn thesis for the metho d s o c a lle d is the m etho d

itself which thus do es a wa y with a ll a n a lysis A n a lysis is
, .

a n ex a m i n a ti o n of co n stitue n ts As a metho d it is like a n y

.
,

o ther ,obn oxi o us to erro r but it is n o t o n tha t a cc o un t a n

,

erro n e o us m etho d I t is i n fa ct a s turn e d up o n histo ry

.
, ,

n othi n
g but i n evita ble critique ; a n d syn thesis without such
critique becomes m erely the expl o ita ti o n o f in divi dua l o pin
i o n which selects wh a t ple a ses i t a n d rejects w ithout visible
, ,

c a use wha t is in co m p a tible with the syn thetic schem e

, .
vii i P R E F A CE .

In the c a se of the gre a t epic of I n di a the peremptory ,

dem a n d th a t we shoul d reject the test o f a n a lysis is the more

re m a rka ble a s the poe m h a s n ever bee n co m pletely a n a lyze d .

Th e litera ture me n ti o n e d i n it h a s bee n a bly collecte d i n the

wel l kn o wn memoirs of Professor Holtzma n n who h a s a lso
-
,

i n dic a te d wha t i n his opi n io n m a y be supplie d from a ll u sion s ;

but the poem h a s n o t bee n thoroughl y exa min e d to see wha t
litera ture it reflects fro m the a ge of the l a ter Up a n isha ds or
V e dic schools ; it h a s n o t receive d a c a reful i n vesti ga tio n
from the metric a l si de ; its philosophy h a s bee n reviewe d
o n ly i n the mo st ha pha z a r d fa shion ; a n d its in n er rela tion to
other epic poe t ry h a s bee n a lm o st ign ore d Yet critic a fter .

critic h a s p a sse d ju dgmen t o n the questio n o f the da te a n d

origin o f this poem of which we k n ow a s yet sc a rcely m ore
,

tha n tha t before a defi n itive a n swer c a n be give n the who le

, ,

huge structure must be studie d fro m m a n y poin ts o f view .

A n d l a st o f a ll the sy n thesist c o m es a ls o with hi s re a dy m a de ,

-

a n swer t o a pro ble m the co n diti o n s o f whi ch h a ve n o t yet

been cle a rly sta te d .

Thus fa r i n dee d the syn thetic the o ry h a s n o t succee de d

, ,

i n wi n n i n g over a si n gle sch o l a r to a ccept its c hi ef c o n

elus io n s either a s rega rds the co n ten tion tha t the epic wa s
,

c o m pose d 5 00 B C or i n respect of the ma sse d b o o ks of

. .
,

di da ctic m a teri a l a n d their origi n a l c o here n ce with the n a r

ra t i ve . Tho ugh the results o f the metho d h a ve n o t prove d
to be e n tirely n uga to ry yet they a re i n the ma in i rre c o n
,

c i l a b l e with a sober esti m a te o f the da te a n d ori gin of the

epic ; but the hyp o thesis is i n truth o n ly a c a ric a ture of

, ,

B ii hl e r s i de a tha t the epic wa s o l der th a n it wa s th o u ght

’
,

to be I n i t s in siste n ce up o n the di da ctic eleme n t a s the

.

ba se o f the who le epic t a le it be a rs a curious rese m bl a n ce

to a m e di aeva l do gm a the epita ph of which wa s writte n
,

lon g a go Fo r there were o n ce certa in i n ge n i o us a lche m ists

.

who ma in ta in e d tha t the L e ge n d of the G olde n Fleece wa s a

 PR EFA C E . ix

legen d on ly to the mul titude where a s to the ill um in a ti it ,

wa s a di da cti c n a rra tive te a chi n g the permuta tion of other

meta ls in to gol d ; o n the tomb o f which brilli a n t but fa l
l a c i o u s theory wa s fi n a lly in scribe d : xdy o e é s £0 71 733 p év
’
f
.

kp y p e m? 33 31 7 0 86 5561 69 1
’
3
'
To r 7 . fe e l/ .

B utthough this theory h a s fa ile d a s a wh ole yet owin g to , ,

the brillia n t ma n n er i n which it wa s fi rst presen te d by its

clever in ve n tor a n d perha ps a lso t o its sha rin g i n the cha rm
,

whi ch a tta ches to a ll works of the im a gin a tion it h a s h a d ,

a certa in success with those who ha ve n o t cle a rly disti n

u i s h e d betwee n wha t wa s esse n ti a l a n d a dve n titious i n the
g
hypothesis Th e Re v Mr D a hl m a n n to whom we owe the
. . .
,

theory h a s shown tha t epic le ge n ds a n d di da ctic motif a re

,

closely un ite d i n the epic a s it is to da y ; but thi s is a very -

di fle re n t proposition from tha t of his ma i n thesis whi ch is ,

tha t complete books of di da ctic c o n te n t were p a rts of the

o ri gin a l epic On e of these sta te m en ts is a n in dubita ble
.

fa ct ; the o ther a n histo ric a l a bsurdi ty

,
.

This his toric a l a bsurdi ty uphel d by the Re v M r D a hl , . .

ma n n i n a ra pi dl y a ppe a rin g series o f somewha t ta utologic a l

v o lu m es is of m uch wider a pplic a tion tha n h a s perha ps
,

o ccurre d to the a uthor Fo r i n the l a ter a ddi tio n s which

.
,

the R e v Mr D a hl m a n n rega rds a s prim itive pa rts of the

. .

epic a re foun d tho se section s whi ch reflect most cle a rly the
,

in fluen ce o f B uddhi sm I f these sect ion s revert to 5 00 B C

. . .
,

a ll tha t B u ddh a a s a perso n a lity sta n ds fo r i n th e history

of Hin du religious thought a n d pra cti ce be lon gs n o t to hi m
but t o hi s a n tece de n ts a n d therewith va n ishes much of the,

l o ry of B u ddh a Thou h the a uthor h a s n o t publicly rec

g g .

o gn i z e d this obvi ous result of his theory yet sin ce it is , ,

o bvious it m a h a ve a ppe a re d to some tha t such a da rke n

y
,

1 A lm o s t i de n ti c a l i n fa c t i s t h e ve r d i c t o n t h e s yn th e ti c a r gu m e n t
, ,

d e li ve re d b y t h e v e te ra n Fre n c h c ritic M B a rth : “ c o n c lu s i o n a u da c i e u s e

, .

th e o ri e a b s o lu me n t m a n qu e e ( Jo u rn a l de s Sa va n t s 1 8 9 7 p p 3 3 7
’ ’

, , .
,
X PR E FA CE .

in g of the L ight of Asia a dde d glory to the L ight of the

Worl d a n d this is possibly the re a son why the syn thetic
,

theory h a s been receive d with most a ppl a use by the reviewers

of religio us j o urn a ls who a re n o t bli n d to its be a ri n gs B u t
, .

however im porta n t i n fere n ti a lly this is a side issue a n d the

,
-
,

histori a n s fi rst duty is to presen t the fa cts irrespective of

’

their i mplic a ti o n .

On certa in peculia rities ( a lre a dy a dversely criticise d by

disin tereste d schola rs ) cha ra cteristic less o f the m etho d of
i n vestiga tion tha n of the metho d o f dia lectics w hich it h a s
suite d the Re v Mr D a h l m a n n t o a do pt it is superfluous to
. . ,

a n im a dver t i n deta il E vide n ce suppresse d by o n e seeker

.
,

i n his ze a l for truth a s he sees it is pretty sure to be turn e d ,

u p by a n o ther wh o h a s a s much ze a l a n d a n o ther metho d ;

n o r h a s i n vective ever pr o ve d t o be a s a tisfa ctory substitute

fo r l o gic .As rega rds the cla ims of syn thesis a n d a n a lysis ,

e a ch metho d h a s its pl a ce but a n a lysis will a lwa ys ha ve the

,

fi rst pl a ce After it h a s do n e its wo rk there will be ti me

.

for hon est syn thesis .

Th e m a teri a l here offere d is by wa y o f be gi n n i n g n o t by ,

wa y of completi n g the lo n g ta sk of a n a lyzin g the gre a t

,

epic I t is t o o va rie d for o n e volume a n d this v o lu m e h a s

.
,

s u fle re d a cc o r di n gly especi a lly i n the ch a pters o n phil o s o phy

,

a n d the i n te rrel a ti o n of the epics B u t the l a tter ch a pter wa s

.

me a n t o n ly a s a sketch a n d i ts worth if it h a s a n y lies i n

, , ,

its a ppen di x ; while the fo rm er coul d be ha n dle d a dequa tely

o n ly by a phil o s o pher Th e o bject of these a n d other cha p
.

ters wa s p a rtly t o see i n how fa r the a ctua l da ta re n dere d

proba ble the cla i m s of the syn thetic metho d but more p a r ,

t i c u l a rl y t o give the da ta with o ut c o n ce a l m e n t or m issta te

me n t Fo r this re a son while a gre a t de a l o f the book is
.
,

n ecess a rily directe d a a i n st wh a t a ppe a re d to be errors of

g
o n e sort o r a n o ther the co n troversia l p o in t o f View h a s
,

n o t sel dom bee n ign ore d Pe n din g the prep a ra tion o f a

.
 PR EPA C E . xi
better text tha n is a t prese n t a va ila ble though D r Win ter
,
.

n itz e n cour a ges the hope o f its eve n tu a l a ppe a r a n ce the

,

prese n t studies a re in ten de d merely a s sign b o a rds to a i d

the journ ey towa rd historic a l truth B u t eve n if a s is
.
,

hope d they serve to direct thither they will be ren dere d

, ,

useless a s they a re p a sse d by Whether they a re de fi cien t

.

i n their pri m a ry object will be for tra vellers o n the s a me

ro a d to s a y .

JAN UA RY , 1 901 .
 C ON TE N TS .

PREFACE

CHAP TER ON E .

L I TE R ATURE KN O WN TO THE E PIC P E TS O

Th e V e da s
D ivi s i o s o f Ve da
n

Up a n is h a d s
Up a ve da s a nd Up a n ga s
Sii t ra s
D h a rm a c a s t ra s
Ve dic ita tio
c ns in t h e E pic

Up a i s h a d s i
n n th e Ep ic
Th e Cve t a c va t a ra Up a n is h a d
Th e K a th a ka or Ka tha Up a n i s h a d
Th e Ma itri Up i h d an s a i n t h e E p ic
Th e A t h a rva c i ra s fl p a n i s h a d
Acva l a y a n a Grh y a Sutra
r nas
Pu i a nd I t i h a sa s
D ra ma

C HA P T E R TW O .

IN TE RREL ATI N OF THE TW O E PIC S

O

CHAP TE R THRE E .

EPI C PHIL O S O PHY

E p i c Syst e ms
He re tic s
A u tho ri ty
xi v C N EN S
O T T .

E PIC PHIL O S O PHY Co n t i n u e d .

Ve d a t a
n

Ny a ya
v a i c e s i ka
Th e Fo u r Philo s o p hi e s
K a p il a a d h i s Sys t e m
n

s a mkhya a n d Y g a
. o

F a t e a d F r e e Wi l l
n -

Sa mkhya i s a th e is ti c
Y o g a a s d e i s ti c a d b a h ma i s t ic
n r

D i fl e e n c e b e t we e n s a mkhy a a n d Yo g a
r

Se c t s
Th e d iffe re n t Sc h e ma t a
Th e G una s

P lu ra lity o f Sp irit s
T h e Twe ty fi ft h Pri c i p l e
n -
n

s a mkhya i s Sa mkh y a a n

T h e Sa mkhya Sc h e m e
Th e Twe ty s i th Pri n c i p l e
n -
x

Ma ya Se l f D e lus io n
,
-

P a fi c a c i kh a s Sys t e m
’

T h e Thirty o n e E l e m e n t s ( Pa fi c a c i kh a )
-

Th e Se c re t o f t h e Ve d a t a n

D e ta il s o f p hilo s o p hi c a l s p e c u l a ti o n

Th e Si x ty C o s tit u e n t s o f I n te ll e c t
n

Th e Se ve n t e e n
Th e Si t e e n ( A ) Pa rti c l e s
x

Th e Si t e e n ( B ) o r E l e ve n Mo d i fic a ti o n s
x

Th e E i g ht So u r c e s
Th e V it a l A irs a n d Se s e s n

Th e Fi ve Su b til e E l e me n t s Gro s s a n d Su b tile B o die s

.

Th e C o l o rs o f t h e So u l
Th e Five Fa u lt s o f a Yo g i n
D i s c i p li n e o f t h e Yo g i n
Th e D e s tr u c ti b l e a d I d e s tru c ti b l e
n n

Th e Go d s a n d t h e R e li g i o u s L i fe
He a ve n a n d He ll D e a th

Th e Co s mi c E gg a n d Cre a t i o n s

Th e Gra c e o f Go d
 C ONTE N TS .
xv

CHAP TER F O UR .

PA G E

EPIC VE RSIFICATI N O 1 91

Ep ic V e rs i fi c a t i o n 191

Clo ka a nd Tri s t u b h . Th e Pa da s 1 94

h
R ym e 2 00

Al l it e r a ti o n 2 02

Si m il e s a nd Mt ph r
e a o s . Pa the tic Re p e titi o n 20 5

Ca d e nce in Clo ka a nd Tri s t u b h . 20 7

T a gs 21 1

C o mmo n fo r ms -
of Clo ka a nd Tri s t u b h 21 4

Th e E p ic Clo ka . Th e P rio r P a d a of th e Cl o ka . Th e Pa t h y a 21 9

Th e Vi p u l a s 220

T h e Po s t e ri o r P a da of t he Cl o ka 23 9

Th e D iia m b u s 242

Po e ti c L i c e n c e 244

Th e Hyp e rm e tri c Clo ka 2 52

D i a l e c ti c Sa s krit n 2 61

Pr o s e Po e try Ta l e s
-
2 66

Th e E p i c Tri s tu b h i Th e R e gu l a r Tri s tu bh.

,
in t h e Ma h a b h a ra t a 2 73

B ird s—e ye Vie w o f Tri s t u b h Pa da s

’
2 75

Th e R a m a ya n a Tn s t u bh 2 76

Th e Sc o li u s 2 77

Ca t a l e cti c and Hyp e rme tri c Tri s tu b hs 28 1

ii—iii ,
ta l e c tic Tri s tu b h
Th e Ca 28 2

i v—i x Th e Hyp e rm e tri c Tri s tu b h i v—vi Si mp l e Hyp e rm e t e rs

, .
,
28 6

VI i x D o u b l e Hyp e rm e t e rs o r Tri s t u b hs o f Thirt e e n Sy ll a b l e s

I- ,
298

D e fe c ti ve Tri s tu b h s 29 9

v, b, a n d ix ,
M o ra ‘
Tri s tu b h s 3 01

Th e Tri s tu b h -S a n t za . Up a j a t i s . Up e n dra va j ras and I n dra va j ra s 3 09

Th e S ylla b a A n c e p s 3 14

E m e rge t Sta n z a sn 3 17

Th e Fi x e d Sylla b i c M e tr e s 3 21

R a t h o ddh a t a 3 22

B h u j a mga p ra y a t a 3 23

D ru t a vi l a mb i t a 3 24

v a i c va de vi 3 25

A t i j a ga t i s . R u c i ra 3 26
xvi C N E NTS
O T .

EPIC VE R SIFIC ATI N O C o n ti n u e d .

PA GE

Th e F ix e d Syll b i M tr
a c e es ( c o nt in u e d)
Pra h a rs i n i 3 29

Mg r en dra mu kh a 33 1

A s a m b a dh a 332

V a s a n t a t ila ka 333

Ma li ni 334

Ca rdfil a vi kri di t a 33 6

A rdh a s a m a vrt t a ( Ma t rac h a n da s ) . A Pu s p i t a gra a n d A p a ra va kt ra 3 3 6

B A u p a c c h a n da s ika a nd V a i t a li y a 3 41

Ma t ra c h a n da s in the M ha b ha r t
a a a

Ma t '

ra s a m a ka s
Ga na c c h a n da s

Th e D i s trib u tio n of Fa n c y Me tre s in the Ep ic

CHAP TER FI V E .

ORI GIN AN D D E VE L O PMENT OF THE E PIC

C HAP T E R SI X .

D ATE OF THE E PIC

APPENDIX A . PA R A LLE L PH R A S E S IN TH E TW O EPIC S

B . ILLU S T R A TI ON S OF EPIC Q L OKA FO R MS

C . ILL U S TR A TI ON S or E PI C TR I STUB H FO R MS

FIN AL N O TE S
I NDICE S
 THE GREAT EPI C OF IN DI A .

C H AP TE R ONE .

LITE R A TURE KN O WN TO THE E PI C P ETS O .

P A R AD OXI CAL as it m a y see m the gre a t epic me n tio n s post

,

epic a l a s well a s pra e epic a l works To s o lve the pa ra dox

- .

i t is n ecess a ry to a ssu m e tha t the text h a s been i n t e rp o

l a te d a fa ct a dmitte d a s a l a st recourse eve n by hi m who
,

ho l ds tha t the epic wa s origin a lly wha t it is to da y B u t -

.

i n te rpol a tion s to be referre d to when everythin g else f a ils

will n o t suffi ce A l a rge p a rt of the prese n t epic is i n ter
.

o l a t i o n so m e of it self i n terpol a te d so to spe a k For n ot

p
- .
, , ,

co n te n t with receivi n g a ccretion s of a ll sorts n a rra tive a n d ,

di da ctic the B h a ra ta i n defa ult of other sources of i n ter

, ,

p o l a t i
, o n copie d itself T hus the
. s a me sto ry hy mn a n d , ,

co n tin ua tio n a re fo un d i n iii 8 3 1 1 6 ff a n d ix 3 8 3 9 ff

, , .
, , .

Th e m a tter of xii 223 is Simply e n l a rge d i n 22 7 whi le xii

, , ,

248 —9 repe a ts xii 1 9 4 a n d the n re a ppe a rs a ga i n i n xii 2 8 6

, , .

A n ex a mple of repro ductio n with va ri a tio n s is foun d i n ix 5 1 , ,

5 0 a s co m p a re d wi th iii 1 3 3 1 2 if
, , I n o n e c a se a youthf ul
, .

pro digy en coun ters ve n era ble s a ges a n d te a ches them the
V e da ; i n the o ther a priest a n d kin g a re i n structe d but with ,

the s a m e settin g of proverbia l l o re So xii 1 8 5 is a repro .

,

duction o f iii 21 3 1 —1 9 ; xii 277

, , o f xii 1 7
, 5 etc , , .

I t is n o t stra n ge therefore th a t a work thus m ech a n ic a lly

, ,

i n fla te d shoul d ha ve a bsorbe d older litera ture B u t to un der .

sta n d the rela tion betwee n the epic a n d the ol der litera ture
copie d by the epic it is esse n tia l to k n o w the wh o le litera ture
referre d to a s well a s cite d I n this cha pter the n be gin n in g
.
, ,

with the Ve da s I sha ll follow the course of reve a le d a n d

,
2 THE GRE A T E P I C OF IND IA .

profa n e litera t u re a s fa r a s it is n otice d i n the e pic its elf ,

reservin g however for the two followin g cha pters the Ra

, ,

m a y a n a a n d the phi losophica l systems .

Th e V e d a s .

Allusion s to V e dic litera ture ve da cha n da s ma n tra gru t i , , , , ,

a re n a tura lly commo n i n every p a rt o f the M a h a bh a r a ta but ,

except i n the di da ctic or la ter epic these a re usu a lly of a ge n

era l cha ra cter I t m a y be a ssume d tha t the bulk of Cru t i or
.

reve a le d works if n o t a l l of it wa s co m p o se d befo re the epic

, ,

bega n Nevertheless it is in teresti n g to see which portion s

.
,

of this here di ta ry litera ture a re especia lly men tio n e d a n d ,

p a rticul a rly importa n t to observe h o w the epic cites from

ol der works E ve n the fa ct tha t it do es cite verba tim the
.

words of the holy texts is of hist o ric a l mom e n t when it is

remembere d tha t i n other pl a ces eve n wome n a n d sl a ves a re
1
exhorte d to he a r the recita l of the epic We fi n d in dee d i n .

the course of the epic n a rra tive tha t a wom a n is ta ught V e dic
m a n tra s but the ma n tra s a re fro m the A t h a rva V e da whi ch
,
2
, ,

without bein g p a rticula rly slighte d is less rega rde d tha n the ,

ol der V e da s a s is shown by this i n ci de n t ; for n o wo m a n

,

would ha ve been ta ught Ri g V e da verses for exa m ple , .

Th e V e da s a re a l l m e n ti o n e d by n a m e thou gh the A th a rva ,

V e da is n o t a lwa ys reco gn ize d i n the form a l e n umera tio n .

Th e o r der o f prece de n ce is n o t fi xe d tho u gh its peculi a r ,

holin ess vim a la is n o t the re a so n why the Sa m a Ve da i n the

, ,

i ta a n d A n u c a s a n a he a ds the list 3
Usu a lly the R i g V e da .

sta n ds a t the he a d a n d the A th a rva if me n ti o n e d a t the fo o t , , ,

thou gh t h e order Rk Ya ju s Atha rva n Sa m a n a n d eve n , , , ,

Atha rva n Sa m a n Rk Ya j u s is fo un d ; but the l a st order

, , ,

occurs o n ly i n the di da ctic o r l a te r epic Th e fo u r together .

comprise the ve da c c a t u rm fi rt ih or fourfo l d Ve da which i n , , ,

1 C o m p a r e i , 62 , 22 ; 95, 8 7; iii ,
8 5, 1 03 ; x ii , 3 41 1 1 6,, e tc .

2 Ta t a s t a m gra h a y a m a s a sa dvi j a h Ma n t ra gra m a m a t h a rva c i ra s i

c ru t a m ( v 1 . . a t h a rv a ii gi ra s i ) ,
'

iii 3 05 20
, , .

3 Fo r i n v, 44, 2 8 , it ha s thi s e p ith e t , ye t s a n t d s l a s t i n t h e li s t : “

No t i n
R V . .
, nor in Y V . .
, nor i n A t h a rv a s , nor i n t h e sp o tl e s s s a ma n s .
”
 L I E RA T T URE K N O WN TO THE E P I C P OE TS . 3

distin ction from the threefol d V e da is ofte n j oin e d with the ,

V e da of the bow Th e epic eve n h a s c a t u rve da a s a n .

”
epithet of a m a n one tha t kn ows the four Ve da s ,

c a t u rva i dy a ) — a s e a rlier t ri ve da t ra i vi dy a is us e d i n
, , ,

the s a me wa y of o n e le a rn e d i n the three ( c a t u rvi dy a m is a

pseu do epic term for the Ve da s ) - 1
.

” 2
Th e tr a ditio n of “
lost Ve da s and
“
divi de d V e da s is
well kn own There wa s a t fi r st but o n e V e da but a fter the
.
,

Krta a ge m e n bec a me m e n of three m e n of two m e n of o n e , , ,

a n d m e n Of n o V e da s t ri ve da dvi ve da e ka v e da a n rk iii 1 49 , , , , , , ,

1 4—29 a n d v 43 42 ga s t re su b h i n n e su bei n g V e da s ; b hi n n a s
, , , ,

ta da ve da h xii 3 5 0 42 ( by A p a n t a ra t a m a s ) Th e l a st p a s
, , , .

s a ge is peculia r i n the use ( 91 41 —4 7) of ve da kky a n e cru t ih .

ka ry a a n d i n the n a me of K a li a s krs n a ( a s well a s t i sy a ) 3

, .

Th e V e da is either recite d decl a re d or m a de s rsta krt a , , , , .

Th e l a tter word co n tra dicts the do gm a decl a re d i n the well

kn own words : n a hi c c h a n da ns i kri y a n t e n i t y a n i c c h a n da fi s i ,

the Ve da s a re n o t m a de they a re etern a l ; but the sen se is ,

Th w r d t i d r m i
1 e th o l f rm ( t i t y h i t m
r ve a m i
e a ns e u su a o r a a r se v a s a rv a , x ,

64 ,
B id t d p ith t f
es g d ( i ll tr t d i P W ) w fi d
es ca u rv e a a s a n e e o a o us a e n . e n

in th l t p e g i ii 3 1 3 1 1 0 fi p th ka h p a th k a c a i
a e a ssa e y ,
a y ,
. z a a a c
’
va e c
’
n e

c a s t ra c i n t a ka h sa r ve vy a s a s i n o m a rkh a , y a h kri y a v a n p a n di t a h ; c a u
sa t r
ve d p i du rvrtt a h s a c fi dra d a t i ri c y a t e , y o gn i h o t ra p a ro
o
‘ ‘
da n t a h s a b a m a n a r h
iti s m rta h rd r r rr d
On t h e o e o f n a m e s e fe e t o a b o ve : t h e
. l e a d o f t h e A t h a rva
i s fo u d a l s o i n t h e Ma h a b h a sy a ( I S x i ii p 43 2 ) t h e e p i c p a s s a g e i s x i ii 1 7
n .
,
.
, ,

91 . Th e n a m e i s h e r e a t h a rv a n a o r a t h a rva a x i i i 93 1 3 6 ; 94 44 Ex a m n , , , , .

p l e s o f t h e u s u a l o r d e r a re rc o y a j fi ns i S a m a n i i 1 66 ; i x 3 6 3 4 ; x u 252 2 , , , , , , ,

( re c y a j fi ns i S a m a n i y o v e d a n a s a v a i dvi j a h ) rgv e da h s a m a v e da c c a y a j u r
v e da c c a a t h a rva v e da c c a ii 1 1 3 2 ; iii 1 8 9 1 4 a t h a rv a n a h , ,
I n v 1 8 6—
, 7 , , ,
.
, , ,

it i s s a i d th a t t h e n a m e A t h a v a fi gi ra s will e ve n t u a lly b e l o n g t o t h e A t h a rv a
r

Ve d a Th e wo r d S a m a n i i s n o t r e s tri c t e d t o this Ve d a Th u s D h a u m y a a
. .
,

Pu ro h i t a a n d th e r e fo r e a s W e b e r h a s s h o wn p r e s u m a b ly a n A th a r va n
, , ,

p ri e s t s i n g s i n c a n t a ti o n s o f d e s tr u c ti o n S a m a n i ra u dra ni y a my a i ( g a y a n ) ii
, , n , ,

80 8 , On t h e e x p r e s s i o n a t h a rv a ve de ve d e c a s e e b e l o w F o r t h e o r d e r o f
.
,
.

n a m e s c o m p a r e m y R u li n g C a s t e p 1 1 2 ; a n d s e e Ho ltz m a n n D a s M
,
a h abh a
, .
,

r a ta i v p 5 ; fo r fu rth e r p a s s a ge s ( fo r t h e A V i n p a rti c u l a r ) B l o o m fie l d
, , . .
, ,

SB E x i ii p liii .
, . .

3 On thi s a
e o n i c o c c u rr e n c e ( x u 21 0 1 6 c o m p a r e v e da c ru t i h p ra n a s ta
, , ,

m i 3 46 9 t h e s t o ry i n 3 48 a n d t h e qu o t a ti o n i n t h e t e x t b e l o w Th e m o d i
, , , ,
.

fi e d vr a t a ru l e s vikri y a n t e v e da v a da h a re r e fe rr e d t o i n x ii 2 3 3 3 8
, , , , , .

3 Th e fo m
r e r a s Ka li i s s till s t a rre d i n p w Th e l a tt e r i s m a s c u li n e i n R . .

vi 3 5 1 4 ( a l s o s t a rr e d a s s u c h i n
, , Th e wo r d o c c u r s a l s o i n x i i 3 41 8 6 , , .
4 THE GR E A T E P IC OF IN D IA .

n ot ppose d a s the m a ker is G o d ( ve da ka rt a ve da fi go ve da

o ,

v a h a n a h iii 3 wh o o n ly e m its the V e da s a s he does a ll

, , ,
,

else whe n the e w e be gi s

n a o n n T h e more deci de d
“
ma ke .

is fo un d of seers h o wever i n the Ha ri va nc a m a n tra b ra h m a n a , , ,

l
ka rt a ra h m a n t ra krt a h seers a n d desce n da n ts of seers just
, , ,

a s there is a M a h a b h a ra t a kr t a n d I t i h as a s y a k a rt a o r n a t ur ns ,

2
é vr bv thou gh he too is divi n e Th e go ds who a re cre dite d
'

c ,
.

with the m a kin g o f t h e Ve da s a re Fire a n d Su n a s All G o d

3
,
-

b ve especi lly B r h m a n a n d i n the l a ter epic V ishn u

( a o ) o r a ,
a , .

”
I t wa s B ra hm a n who fi rst recite d the V e da s
“
ve da m j a ga u , ,

v 1 08 1 0 With a n a tura l in version

, ,
B ra h m a n cre a te d ,

bra hm a n ( where a s i n re a lity bra hm a n cre a te d B ra hma n ) a o ,

cordin g to a n o ther p a ss a ge xii 1 8 8 1 —2 C o mp a re : y a i me , , ,

.

bra hm a n a p ro kt a ma n tr a va i p ro ksa n e ga y a m e t e p ra m a n a m
b h a va t a u ta h o n a v 7 9—1 0 Th e Self—existe n t a ccordin g
’
, , , .
,

to xii 3 28 5 0 cre a te d the Ve da s to pra ise the go ds s t u ty a r

, , , ,

tha m i h a de v a n a mve da h s rst a h s va y a mb h u va K rsna wh o is .

,

krt a ga m a i n xiii 1 49 9 7 ta kes the pl a ce of the more ge n era l

, , ,

term C o m p a re xii 3 40 1 05
.
, ,

y a da ve da c ru t i r na s ta m a ya p ra t y a h rt a p u n a h
s a ve da h
cru t i ka c c a sa kr t d h p u rva mkrt e y u ge

( a t ikra n t a h p u ra n e s u
c ru t a s t e ya di va kva c i t ) ,

an d n i rmi tii ve da y j c
fi a a c au
’
sa dh i b h ih s a ha , i h 3 41 , 66,
. with
xiii 1 45 , , 61 , a
g m a
a l o ka dh a rm a n a m m a ry a da h p fi rva n i r
4
mit ah .

1 j a y a n ti ’
ha p un a h pun a h Ma n t ra b ra h m a n a ka rt a ra h d h a rm e p ra c i t hi l e
t a th a ,
H 1 , 7 56
.
,
.

2 Krsn a D va i p a y a n a ,
a ls o ca lle d K u ru v a nc a ka ra , xi i, 3 47, 1 3 ; x ii i , 1 8,
43 —44 r e c it a ti o n o f t h e Ve d a s i s a m tt e r o f s c i e n ti fi c s t u dy W h e n
. Th e a .

th e y a re l o u d ly r e c it e d i n t h e p ro p e r wa y s a c a iksy a th e y fi ll ( o th e r ) wi d s
“
,
”
, n

with fe a r a n d th e r e fo r e Sh o u l d n o t b e r e c it e d wh e n a hi g h wi n d i s b l o wi n g
, ,

x ii, 3 2 9 , 23 —56 .

8 Fo r t h e g d
i lly fo r t h e p a rt o f B ra h m a n i n c r e a ti n g t h e Ve d a s
o s a n d e sp e c a

a n d t h e tr a n s fe r o f h i s o ffi c e t o V i s h n u i n t h e e p i c s e e B o l t z m a n n Z D M G , ,
.

x x x v iii p 1 8 8 a n d D a s M
,
. a h a b h a ra t a
,
iv p 6 , ,
. .

4
Th e v 1 s a r va i s wr o n g . Th e wo r d a g a m a u s u a lly r e fe r s t o Ve d a b u t n o t
. .
,

a l wa y s C o mp a r e x iii 1 04 1 56 a ga m a n a mhi s a rve s a m a c a ra h c re s th a u c y a t e ;

.
, , ,

i 2 3 6 i t i h a sa h c re s th a h s a rv a ga m e s v a y a m ; x ii 59 1 3 9 a g a m a np u r a n a
, , , , , ,

n am I t m e a n s a n y r e c e i ve d wo rk p a rti c u la rly th e Ve d a s
.
,
.
 L I E RA T T UR E KN O WN TO THE E P IC P OE TS . 5

In l a te p a ss a ges the two e a rliest fo rm s of the text ( the

l a te st form s a re un kn own ) together with the a cce n t s of the
1
texts a re especi a lly m en ti o n e d .

I n the i m porta n t n um eric a l a n a lysis of xii 3 43 9 7—98 the , , ,

Ri g V e da is s a i d to h a ve twe n ty o n e thous a n d
“
whi le the -

“ ”
Sa ma V e da h a s o n e th o us a n d br a n ches ; a n d the a dh va
r a va
y or Y a us ha s
j
“
fi ft y six a n d ei ht a n d thi rty seve n
g
- -

”
( o n e hun dre d a n d o n e ) bra n ches Pro b a bly twe n ty o n e .
-

”
bra n ches is the re a l m e a n in g i n the c a se of the Ri g V e da .

Here too a re m e n ti o n e d the gi tis so n gs or verses ( a r a ther ,

un usua l wor d) fo un d in the bra n ches i n their n umerous divi

2
sio n s c akh a b h e da h c a kh as u gi t a y a h
, , .

I t is evi de n t fr o m this sta teme n t tha t a s Weber s a ys of the ,

p a ssa ge i n the Ma h a b h a sy a we a re de a li n g with a perio d ,

whe n the n um ber of Ya jur V e da schools is gre a ter tha n tha t

reco gn ize d i n the C a ra n a vyfi h a whi ch gives o n ly eighty s i x ,
-
.

A n other verse of this bo o k recogni z es t e n tho us a n d rc a s

This a m brosia churn e d from the we a lth o f a ll the dh a rm a
”
kh y a n a s the s a t y a kh y a n a a n d the t e n tho us a n d rc a s xii
, , , ,

1 rgv e da h p a da kr a m a vib h fi s i t a h , x i ii , 8 5, 90 ; a t h a rv a v e da p ra v a ra h p a a g
y a j fi i y a s a m a g a h s a mhi t a m i ra y a n t i s m a p a da kra m a y u t a m t u t e , i , 70, 40 .

G g
a l a v a , B a b h ra vy a go t ra , P aa c a l a , t h e r a m m a ri a n , thr o u h t h e e s p e c i a l r a c e g g
o f th e d ity e an d b e in g i tr t d
ns uc e in th e m e th o d of V a m a de v a , b e c a m e a

s h i i g l i ght
n n a s a kr a m a sp e c a i li s t ,
xi i, 3 43 , 1 00 ff ; l a k s a n a n i s v a ra s t o b h a
.

n i ru kt a m s u ra p a fi k t a y a h ,
x iii ,
8 5, 9 1 ( t o g e th r e w ith
n i gra h a a n d p ra gra h a ) ;

s v a ra k s a ra vy a fi j a n a h e t u y u kt a y a ( gir a ) i ii 29 7 , , , 26 .

2 Th e r s e tra n s l a t e d a b o ve i s e k vi nc a t i s a h a s ra m ( rgve da m m a m p ra
ve a

c a k sa t e ) .Twe n ty o e th o u s a n d wh a t
- n N o t s t a n z a s fo r t h e R i g Ve d a h a s
?
,

o n ly h a l f s o m a n y ( M ii ll e A SL p On t h e o th e r h a n d t h e p a s s a g e
r, . .
,

a g r e e s c l o s e ly with o n e i n t h e M a h a b h a s y a ( I S x iii p wh e r e t h e c o r .
,
.

r e s p o n d in g wo r d s a e twe n ty o e fo l d a ft e r v t m ( s c h o o l ) e ka c a t a m
r
“ - n
”
,
a r a :

a dh v a ry u a kh a h
c s a h a s ra v a rt m
,
a s a m a ve da h e ka v i nga t i dh a b a h v c y a m ( a ,
r

wo r d i mp li e d i n M bh x v 10 1 1 . s a mb a t h e
, , ,
n a v a dh a a t h a rv a n o

v e da h . Th e e p i c t e x t c l o s e ly c o rr e s p o n d i n g i s : e ka vifi c a t i s a h a s ra m gve da m
, ,
r

s a h a s ra c a kh a m y a t S a m a s a tp a fi c a c a t a m a s ta n c a s a p t a t ri nc a t a m

ity u t a y a s m i n ga kh a y a j u rve de s o h a m a dh v a ry a ve s m t a h p a fi c a ka lp a m
,
‘
r ,

a t h a rv a a rh kr
n t y a b hi h p a rib rrhhi t a m ka l p a y a n t i hi m a m vi p ra a t h a rv a a n

v i d a s t a th a Th e re c a n s c a r c e ly b e a d o u b t th a t fo r t h e t e x t a b o v e we
.

Sh o ul d r e a d e ka vi nc a t i c a kh a my a m a s t h e p a ra ll e l s u gge s ts fo r t h e t e x t a s
, ,

it s ta n d s i s u ni n t e lli gib l e I r e gr e t th a t W e b e r h a s n o t n o ti c e d t h e e p i c p a s
.

s a g e s o th a t I c a n n o t c it e hi s o p in i o n
, .
6 THE GR E A T E PI C OF IND IA .

247, 1 4, where the comme n ta tor s a ys tha t this is a gen era l

n umber i m plyi n g a fra ctio n over
,

I n the a cc o un t of the l a ter epic we h a ve a p a ra llel t o tha t

of the Va yu Pura n a where the l a tte r lxi 1 20 ff is a ccoun t , , , .
,

i n g for the successi ve e di t io n s of the V e da s

a va rt a m a n a y o yu ga kh y a s u p u n a h p u n a h
rs a

ku rva n t i s a rnh i t d h y ete j a y a m a n a h p a ra s p a ra m

a s t a a t i s a h a sr a n i ru t a rs i na ms m rt a n i va i
c c
t a e va s a mhita h y e t e a va rt a n t e p u n a h p un a h
da ks t n a m p a n t h d n a n n y e 9 m a 9a n a n i b h ey c re
'

c ri td
yuge yu ge t u t a h c a kh a vy a s y a n t e t a i h pun a h p u n a h
dva p a re s v i h a s a rve s u s a mh i t a c c a c ru t a rs i b h i h
te sa mgo t re s v i m a h ga kha b h a va n t i h a pu a h pu n a h ’
n

ta h c a kh a s t a tra ka rt a ro b h a va n t i h a
y u ga ks a y a t
’

Th e eighty thous a n d V e dic seers here men tion e d a re those

of the Ha ri va nc a ( loc ye gru y a n t e di va m p ra p t a rsa y o .

by u rdh va re t a s a h ma n t ra b ra h ma n a ka rt a ro j a y a n t e h a yuga
ksa y e They a re me n tion e d els ewhere i n the V a yu Pur a n a
.
,

viii 1 8 4 a n d i n the epic itself ii 1 1 5 4 i n the s a me words

, , , , , ,

a nt a c i t i s a h a s ra n i rs i n a m urdh va re t a s a m,

a verse foun d a lso in the M h a b h a sy

a a ( IS xiii p .
, .

1 C o m p a re fu rth e r t h e d c p
l e a rn e d fr o m Ark a b y t h e
a a a aca (c a ) y a j fi ns i,
a u th o r o f t h e Ca t a p a t h a a n a in B ra hm
Th e wo r d c a r a a i n t h e , x i i , 3 1 9, 2 1 . n ,

s e n s e o f s c h o o l o c c u r s i n x ii 1 71 2 p re ta c c a go t ra c a a a m s va dh y a y a m
, , , ,
r n

b ra h m a c a rika m ; x iii 63 1 8 n a p rc c h e d go t ra c a ra n a m
, , ,
Th e m a n tr a s o f t h e .

s p e c i a l s e p t s a re r e fe rr e d t o i n t h e l a t e hy m n t o t h e Su n ( M i hi ra ) i ii 3 3 9 , , , :

( t va m b ra h m a n a ms v a c a kh a vih i t a i r m a n t ra i r a rc a n ti Th e c o mm e n t a t o r
‘

c it e d a b o v e g i v e s a s h i s u th o rity fo r t h e n u m b e r o f s t a n z a s i n t h e R i g V e d a
a

a l a m e c o u p l e t o f t h e Ca ka l a ka : r o a m d ga s a h a sra ni r o a m p a nc a c a t a n i c a
‘

nc a m a ci t i h p a d a e c a i t a t p a ra y a n a m u c y a t a iti
’
- .
,

2 Th e y a re r e fe rr e d t o b u t n o t a s V e d a m a k e r s i n Ya
, j iii 1 86 a n d i n Ap -
, .
, , .

D h S ii 9 23 3 — 5 ( a s b e i n g m e n ti o n e d i n a Ya j a a va lky a c a ll s
“
. .
, , , ,

th e m t h e a s t a ci t i s a h a sra m u n a y a h p u n a ra va rt i n a h dh a rm a p ra v a rt a ka h .

Th e Pu r a n a r e fe rr e d t o b y Ap a s t a mb a m a y b e t h e o n e c it e d a b o ve th o u g h ,

i n a n o th e r fo r m s i n c e t h e wo r d s h a ve a d iffe r e n t a p p li c a ti o n
, Th e r e i s h e r e a .

p ra ca ms a o f t h e II rdh v a re t a s a s : spa fi t i s h s a ni y e p r a j a m i s ir a rs a y a h d k i
'

a a a r a s

C o m p a r e Pra c n a Up i 9 t a
’
ne a y a mn l p
n r th ii i t gm cii d i bk j i e e t c
a z a n na n e a n n e r , . .
, , .

e va p u n a ra va rt a n t e t a s m a d e t e r s a y a p ra j a ka m a da k s i n a m p ra t i p a dy a n t e .
 8 THE GR E A T E P IC OF IND IA .

list t 3 3
a i
7, 7 ,f T
xii, a ndy , K tha , K a va , Ta i t t i ri
a a n
l As .

“
prose wo rks , ga dya , this cla ss of works is perha ps recog
ni z e d in iii , 26, 3 , in the words :
thrillin g soun d of “
Th e
a fi ns i rc a h Sa m a n i a n d
y j , , a d ani
g y ( a s they ,w ere recite d ) .

Whether p ra va c a n a exposition me a n s A fi ga s or B r a hma , ,

n a s or perha ps Sii t ra s I do n o t kn o w Th e ( Up a n isha d)

, .

wo rd occurs i n a verse foun d a lso i n Ma n u where the com ,

m e n t a t o r expla in s it a s A fi ga to which the objection m a y be ,

m a de tha t the A fi ga s ha ve a lre a dy been m e n tio n e d B u t the .

p a ss a ge is n o t without i m porta n ce a s showi n g how the di da o

tic o r l a ter epic a dds ele m e n ts to the Simpler sta te m en t of
the e a rlier l a w books I n xiii 90 3 6 the p a fi kt e y a s or m e n
-
.
, , , ,

who m a y be in vite d to sit i n the row a t a fun era l fe a st a re ,

n o t o n ly the a r ah s a rve su v e de su s a rva ra v a c a n e su c a o f

g y p
Ma n u iii 1 8 4 a n d the list of iii 1 8 5 t rin a c i ke t a h p a fi c a gm s
, , , ,

t ri s u p a rn a h sa da ii ga v i d ( v 1 b ra h m a de y a n u s a n t a n a c c h a n do go
. .

j y e s ta s a m a ga h) i n 9 0 26 but a m on g o thers the a t h a rva gi

'
, , , ,

r a s o dh y e t a 29 ( a ra re wo rd) ; those who c a use the I t ih a s a

,

to be re d t o the rege era te

a n 3 3 h
; th o se w o a e r
“
a cqu a i n te d
,

with comm e n ta ries b h a s y a vi da s ( or kn ow the Ma h a b h a s y a

”
,

a n d a re delighte d with gra m ma r v y a ka ra n e r a t a h 34; , ,

those who study the Pur a na a n d the D h a rm a c a s t ra s tho se

”
wh o “
b a the i n ho ly p o o ls ye c a p u n y e s u ti rt h e s u a b h i s e ,

ka krt a cra m a h 3 0 ( a pra ctice n o t extolle d by Ma n u wh o se

, ,

view seem s to be tha t o f A ga sty a a s t i m e ka c c i t t i rth e b h y o ,

dh a rm a s a mga y a h l xiii 25 Th e b h a ra t e vi dva n xiii 76

, , , , ,

1 8 is n a tura lly exto lle d i n the epic a n d yet eve n with this
, ,

l a titu de we must see i n the lis t a bo ve a distin ct a dva n ce o n

the p o sitio n hel d by the e a rly l a w m a kers t o who m it wa s -
,

n o t e n o u h fo r a
g m a n to recite the epic ( n o t t o spe a k o f

g ra m m a r a n d b h a s y a kn owers a s bei n g ips o f a ct o p a fi kt e a s )

-
y
to be dee m e d wo rthy o f in vita ti o n E ve n Vishn u s Sm rti is .
’

here excee de d a n d Ma n n a n d the Sfi t ra s ha ve n othi n g i n a n y

,

de gree p a ra llel E ve n if we s a y th a t the l i s t is o n a p a r with

.

1 Th e Ta i t t i ri di sp u te r e fe rr e d t o i n x i i
is ,
3 1 9, 1 7if .

2 B ut b h a sy a m a y me a n a n y re a s o n e d e x po s iti o n ,
b h a s y a n i t a rka y u k t a n i ,
II, 1 1, 3 5 .
 L I E RA T
T UR E K NO WN TO THE E P I C P OE TS . 9
[

V is h n u lon e a lthough it re a lly excee ds it i n l ibera lity we

a , ,

thereby put this epic p a ss a ge o n a p a r with a l a w book l a ter -

tha n a n y tha t c a n be referre d t o the Sa tra perio d l a ter tha n ,

Ma n u a lso a n d proba bly Ya jri a va lkya 1 ‘

Almost a s ra re a s the m e n tion o f B r a h ma n a s is tha t of Ara

ny a ka s I n the p a s s a ge cite d a bove xii 3 43 st a n z a 9 8 h a s
.
, , ,

a s els ewhere the sin gul a r ga y a n t y a ra n a ke v i ra m a db h a

y p ,

kt a h So i b 3 40 8 :
.
“
Ha ri sin gs the four V e da s a n d the
.
,

Ara n ya k a ( a s forest e g i b 3 3 7 1 1 a ra n y a ka p a do db h fi t a , . .
, .
, ,

b h a ga h) ; a n d i n xii 3 49 29—3 1 the Krishn a re li gio n h a s , , ,

mysteries a bstra cts a n d Ara n ya ka

, C o mp a re a lso v 1 75
, .
”
, ,

3 8 c a stre c a ra n y a ke guru h a m a n of wei ht i n co de a n d

’
, g ,

esoteric wis do m ; xii 3 44 1 3 a ra n y a ka m c a ve de b h y a h

”
, , ,

y th where the k a t h a m rt a m or esse n ce of story of the

( a a ) ,

exp a n de d B h a ra ta B h a ra t a kh y a n a vi s t a ra o f , gl o ka s
2
,

is c o m p a re d to the Ara n ya ka a s the essen ce of the V e da s ( a

simile repe a te d a t i 1 Th e word is i n fa ct g e n er a l
, ,

i z e d like Up a n ish a d
,
B u t a s a litera ry cl a ss it is foun d i n
.

the plura l i n xii 1 9 1 7 ve da va da n a t i kra my a ca s t ra n y

, , ,

a ra n y a ka n i c a s a ra m da drci re n a te they ra n over the ,

w o rds of the Ve da s the Ca stra s a n d the Ara n y a ka s with o ut , , ,

disc o verin g their in n er truth

”
Here V e da does n o t co n n ote .

Ara n ya k a .

U p a n i s h a ds .

Th e Up a n isha ds a re a ll ude d to in the sin gul a r c o ll e c ,

t i ve l y o r distributively i n the plura l

,
They a re ge n era lly .

r o upe d wi th the A fi ga s a n d a re c a lle d Up a n isha ds ra h a s y a s

g , ,

mysteries B ra hm a V e da a n d V e da n ta ; whi le like the Ara

, ,

n a ka s they a re lo ic a lly exclu de d fro m the V e da of which

y g
3
they a re suppose d i n ordi n a ry p a rla n ce to form p a rt Th e .

1 Vi h u c h 83 ; M u l o c c i t Y a j i 21 9 ; Zi p ii 1 7; Ga t x v ; V a s x i
s n ,
. a n , . . .
, .
,
u . , . .

I d o b t W h e th e r t h e A t h a rv c i ra r e d e r c
u i m p ly t h e Ci a S vo w b u t e ve n
a s- a a n r -
,

thi i a c m p r a ti ve ly l a t e t o c h B a d h ii 1 4 2 i thi r e g r d
s s o a u ,
u .
, , ,
n s a .

2 N
t e th a t t h e m b e r o f v e r Sh o w th t t h e Ha i v a nc a a lr e a dy e x i s t e d
o nu se s a r

wh e thi p a
n ge wa writt e C m p r ih 3 40 2 8
s s sa s n . o a e .
,
.

3
Im th t i n t h e c rr e t p hr e v e da h s g h o s o p i da h t h e s a
ea n a u n a s a n a r a n sa

s h o u l d d iffe r e ti t e m ch n it d o e s i n t h e p a r a lle l p hra s e gv e da h s a ya

a a s u a s r
10 THE GRE A T E P I C OF IND I A .

wor d up a n z s a d h a s two distin ct but curren t me a n in gs i n the

‘

epic I t me a n s o n the o n e ha n d mystery secret wi s dom

. , ,

essen tia l truth esse n ce a s i n xiii 78 4 ga va m u p a n i sa dvi d

, , , , ,
.

”
va n
“
wise i n cow mysteries a n d in iii 207 67 xii 25 2
,
-
, , , , ,
’
1 1 ve da s y o p a n i sa t s a t y
,
a m s
’
a t a s
y y po a n i s d da m a h
a “
truth , ,

is the secret wis dom ( esse n ce) of the Ve da p a tie n ce the ,

essen ce of trut So i n the commo n phra se v e da c c a s o p a ,

n i sa da h xiii 8 5 9 2 etc
, the word m a y me a n m ysteries This
, , , .
, .

I thi n k is the expl a n a tio n o f the e m ploym e n t o f the word

m a h o p a n i sa d i n vii 1 43 3 4—3 5 where B h fi ri c ra va s dev o tes , , ,

hims el f to p rdy a befo re de a th i n b a ttle He is a mun i here .

a n d desires to a sce n d to the worl d of B ra hm a n s o he si t s ,

do wn i n Yo ga c o n te m pl a ti o n a n d me dita tes the re a t Up a

g
dh y a y a n m a h o p a n i sa da m y o ga y u kt o bha va n m u n ih
” ‘

n i s ha d ,
.

On co m p a ri n g the sce n e where D ro n a is in the s a me situa

ti o n VI I 1 9 2 5 2 we fin d tha t he s a ys o m a n d this mystery
, , , , ,

of o m i s prob a bly the m e a n in g Of m a h o p a u i sa d which c a n n ot ,

be a work here a s is m a h o p a n i sa da m i n xii 3 40 1 1 1 B u t in

, , , .

other c a ses Up a n isha d is cle a rly a l itera ry work even sta n d ,

i n g i n a n tithesis t o the myste ries with which it is sometimes

1
i de n tic a l a s it is i n the form u p a n i sa I n the P a li scriptures
,
.

j u rve da h , or in y a d e ta d u c ya te ca s tre se
’
t ih a se ca c h a n da s i , x iii ,
1 1 1 , 42 .

B ut it i s ve ry like ly th a t t h e t e r m wa s u se d to me a n
“
i n c l u d in g ”
( a s p a rt o f
th e Ve d a ) On t h e u s e o f s in g u la r a
. n d p u l ra l re fe rre d t o a b o ve c o m p a r e s a ,

ra j a ra j a dh a rm a nc ca b ra h m o p a n i sa da m a t th a a v a p t a v a n x v 3 5 2 ; s a a g o , , ,

i F o r Ve d a n t a a n d V e da t a h
’
pa n i sa da n ve da n vi p ra c c a dh i y a t e , ,
64, 1 9 e tc ,
. n ,

p u ra t a n a m x iii ,
1 6, 43 , ( Gi v a ) ya mc a ve da dy a ri) v e d a n t e c a p ra t i s th i
v i do v e

ta m ya m vi c a n t i j a p a n t i ca ; H 3 .
,
1 0, 67, p u ra n e s u v e da n t e c a ma y . I
m e n ti o n h e re a l s o t h e wo rk s c a lle d N i s a ds whi h a re r e fe rre d t o ( o in ve n t e d ) ,
c r

o n ly i f I m i s t a k e n o t in x i i 47 26 y a mv a ke s v a n u va ke s u n i s a t s fi p a i s a t s u
, , , , , n

c a gr na n t i s a t y a ka rm a n a m s a ty a h s a t y e s u s a m a s u r .

p 3 1 7 C o m p a r e fo r t h e u s e o f t h e wo r d x i I 245 1 5
1 K e rn SB E x x i . .
, , .
, , , ,

wh e re it i s s a i d th a t t h e Up a i s h a d s in c u l c a t e t h e fo u r m o d e s o f li fe c a t u rt h a c
n ,

p a n i s a do d h a r m h s a dh a ra a h s m rt a h ; a n d x iii 84 5 wh e r e it i s s a i d
’
c au a n , , ,

th a t Ve do p a n i s a da s i n c u l c a t e th a t e a rth c o ws o r go l d m u s t b e t h e s a c ri fic i a l , ,

fe e . A s we fi n d ve da h s a ra h a sy a h s a sa mgra h a h a n d ve da ve d a fi ga b h a s y a vi t ,

22— re n c e i s m a d e t o a l l t h e Ve d a s with
iii r “
xii, 3 25 , 23 ,
so in v , 8 7, 42, e fe ,

Ta l e s a s t h e fif th Ve d a t o g e th e r with Up a ve da s Up a i s h a d s m y s t e ri e s a n d
, ,
n , ,

a b s tr a c t s ( s a mgra h a ) N a r a d a i s s a i d t o b e ve do p a n i da m v e tt a i t i h a s a
. sa p

p ur a n a j fi a h s a da fi ga vi t a n d s m rt i m a n ii 5 2 if Th e u s e i n i ii 25 1 2 3 , , ,
.
, , ,
 L I E RAT T UR E KN O WN TO THE E P IC P OE TS . 11

Up a ve da s a n d U p a n ga s .

Th e Up a ve da s or subsidia ry V e da s a re three i n n um ber ,

Ayur V e da , D ha n ur V e da , a n d G a n dha rva Ve da To these .

is a dde d i n other wo rks St ha p a ty a V e da but thi s term is n o t ,

recogn ize d i n the epic a n d the com me n ta to r o n vii 202 75 , , , ,

rec o gn izes on ly three tho se just give n or Me dicin e Archery , , , ,

and M usic ; but the f o urth Archi tecture is kn o wn ( on ly , ,

i n the epic i n tro ducti o n ) a s Va s t u vi dy a 1

Autho rs a re a s ,
.

sign e d to these a n d o ther w o rks i n xii 21 0 20 B rh a s p a t i , , ,

bein g the origin a tor o f a ll the V e da ii ga s ; B h rgu s s o n of ’

,

N i t i c a s t ra l a w ; N a ra da of m usic ; B h a ra dva j a of the sci

, , ,

e n ce of a rm s ( pa rticul a rly a rchery ) ; Ga rgy a of ta les of ,

the do in gs of seers ( de va rsi c a ri t a ) a n d Krs n a t re y a of m e d ,

i c i n e ( c i ki t s i t a ) They a re a ll co n tra ste d with other Nya ya

.

t a n t ra ni which like these were cre a te d a t the be gi n n i n g of

,

the a e o n a s a n a i d i n un dersta n di n g B ra hma n ( expo un de d by

hetu a ga ma a n d s a da c a ra or re a so n fa ith a n d co mm on c o n
, , , , ,

se n t o f goo d m e n i b I t is n oteworthy tha t N a ra da n o t

, .
,

B ha r a t a is fo u n d i n this con n ectio n a n d tha t Krsn a t re y a

, ,

ta kes the pla ce elsewhere given to B h a ra dva j a .

O f the fi rst of these subsi dia ry V e da s the epic n a tura lly ,

ives little i n for m a ti o n th o u h bur de n e d with much me dic i

g g ,

n a l k n o wle dge which m a y be referre d to some u n cite d work

o n me di cin e Na tive scho l a rs ima gin e tha t the corresp o n d

.

i n g Up a n i sha d p a ss a ges i m ply the circ u la ti o n of the bl o o d ,

a lso thought to be rec o r de d i n xii s t h i t a h rda a t

p ra
y ,

va h a n t i a n n a ra s a n n a dy a h : Th e vei n s co n vey ( a ll over

d gg t th t Up i h d i
wo u l s u rtes a an s a s a so of Sa tr a , fo r irit i s s u m m o n e d
h e re a sp

b y me a n sf m t d l r d by B h
o a n ra s ec a e r a s p a t i a n d Uga n s ; b y th o e d e c l r e da s a

in th Ath e V d ; d b y rit i t h
a rv a e a an es n e Up a ni h a d s y a c c o p a i a di kriy a n
,
” ’
n s .

I a m no t ce rta in h o w to in t e rp r e t p a th y a se s tu t ib hi c c ai
’
va ve do p a n i s a da n l
'

ga na i lz x i i, 28 5 , 1 2 6 .

1 T hu s the a rc hit e c t , sfi t ra dh a ra ,
s th a p a t i , i s v a s t u vi dy a vi c a ra da , , 5 1 , 1 5 i
( th e sfi t ra k a rm a vi c a ra da o f r hit t l G ii tr
.
,
8 7,ti d A c e c u ra Ca s a s a re m e n o n e
i n i 1 3 4 1 0—
, 11 ,
A s a fo u rth t o t h e thr e e i s e l s e wh e r e s e t t h e A rt h a c a s t ra
. .

Th e s e a s a g r o u p a re a dd e d t o t h e o th e r v i dy a s ( s e e n o t e b e l o w o n t h e Si ty x

fo u r a rt s a d fo u rt e e n s c i e n c e s )
n B u t in t h e e p i c Art h a c a s t ra i s n o t g r o u p e d
.
,

with t h e Up a v e da s .
12 THE GR E A T E P IC OF IND I A .

the bo dy ) the foo d esse n ces sta rtin g from the h rda y a ( he a rt-
,

or chest) B u t a direct cita tio n is the a llusi o n un der the

.
,
“
cover o f a n it is s a i d to the con stituen ts pitta c l e sma n , , ,

va yu ( a ls o va ta pitta k a pha ) which m a ke the threefo ld

, , ,

b o dy t ri dh a t u a cc o rdin g to the Aryu rve di n s l I n the epic

, , .

K hi la a n d i n the Ka c c i t a n d eleven th cha pters of Sa bha both ,

2
l a te a dditio n s to the epic the scie n ce of me di cin e is s a i d to ,

ha ve eight bra n ches ( ii 5 9 0 ; 1 1 Possibly i n iii 71 , , , , ,

2 7 Ca lih o t ra m a y represe n t the veteri n a ry scie n ce of iv 1 2 7

, , , .

Th e D h a n ur V e da liter a lly V e da of the bow is ofte n , ,

join e d with the re gula r Ve da s a s is to be expecte d i n epic ,

poetry ix 44 21 —22 etc I t is c a lle d a lso i sva s t ra we a p o n s

, , , , .
, ,

a n d is s a i d to be f o urfol d a n d to ha ve t e n divisio n s I n the .

Ka c c i t cha pter just referre d to it is s a i d to h a ve a Sa tra like

other V e da s a n d a t the ti m e this wa s written it is very prob
,

a ble tha t such w a s the c a se thou h a s I h a ve shown e l se

g , ,

where the k n ight s stu dy of D ha n ur V e da con sists i n p ra c

,
’

tice n o t i n study o f books This B o w V e da a rchery is .

-
, ,

oppose d someti m es to the four Ve da s a lo n e sometim es to ,

the Up a n ish a ds a n d B ra hma Ve da while o n the o ther ha n d ,

it is a ss o ci a te d with v a ri o us Sfi t ra s a rts a n d Ni t i ca s t ra s , , .

Th e priority of D h a n ur Ve da i n the phra se dh a n u rv e de c a

Ve de c a f o un d i n both epics is du e p a rtly to metric a l c o n
, ,

v e n i e n c e a n d p a rtly to the g re a ter i m porta n ce of this V e da

i n the w a rrior s e duc a ti o n 3 na t a sya ve da dh y a y a n e ta tha

’

b u ddh i r a ja y a t a ya tha s y a b u ddh i r a b h a va d dh a n u rve de

’
,
“
Hi s i n telli ge n ce wa s m o re develope d i n le a rn in g h o w to
”
use a bow tha n i n perusin g holy texts i 1 3 0 3 ; dha n ur , , ,

1 xu ,
3 43 , 8 6—8 7: p itt a m c le s m a ca va y u c c a e sa sa mgh a t a u c ya te , e ta I c
ca dh a ry a t e j a n tu r e t a i n ksi n a i c caks i y a t e , a y u rv e da v i da s a sma t t tri d h a
t u m m a m p ra ca ksa t e . C o m p a re l xi v 1 2
vi , 84, 41 , c e i n PW , a n d a s o
it d .
, ,

v a y u c c a gu n a h c a i ra j a h wh o s e e q u a lity i s h e a lth
’
3 , c it o sn e c a i va r ,

( N k p h a p i t t e ) So m e n o t e s o n e p i c a n a t o m y will b e g i ve n l a t e r
. a . .

2 Th
e l a t e e s s o f t h e Ka c c i t c h a p t e r I h a ve d i s c u s s e d e l s e wh e r e A m
n ,
.

J o u rn Phil v o l x i x p 1 47ff A n o t e wo rthy s t a t e m e n t o n d i s e a s e i s th a t

. .
, .
,
. .

o f x i i 1 6 9 whi c h a ttrib u t e s a l l m e n t a l d i s e a s e t o t h e b o d y a n d a ll b o d ily

, , ,

d i s e a s e t o t h e m in d m a n a s a j j a y a te c a ri ra h ( vy a dh i h ) b o d ily a ilm e n t a ri s e s
, ,
“

fr o m m e n t a l
p a rti a lly tr u e o f a t h a rva ve de ve d e c a x i i i 1 0 3 7 e t c
3 Th e s a m e i s
, , , ,
.
 L I T R A T UR E E KNO WN T O THE E P IC P O ’
E TS . 13

ve da p a ra t v a t , is the Ksa t ra V e da or kn ightly scien ce

ib . It
a r excelle n ce R i 65 2 3 ( with B ra h m a V e da )
p , .
, , .

Th e scie n ce of m usic G a n dh a rva V e da c o n sists a ccor din g , ,

to iii 9 1 1 4 i n the kn owle dge of sin gi n g da n cin g cha n ti n g

, , , , , ,

a n d pl a yi n o n music a l i n strume n ts gi t a m n r t a m c a sa m a
g y ,

c a va di t ra m c a n o t in clu di n
g a pp a re n tly the N a ta s ii tra or
,

m a n ua l fo r a ctors m en tio n e d by P a ni n i Th e seven m us ic a l .

sc a les va n i s a p t a vi dh a ii 1 1 3 4 a re a bra n ch of study

, , , , , .

2
Th e three n otes of the rum d a re spoke n of a n d the n a m es
of the n otes o f the regula r sc a le ga m ut a re given Further , , .

cita tion s i n thi s rega rd will be m a de here a fter .

These Up a v e da s a re a ssoci a te d with the chief V e da s ( v e da h

'

a n d u p a v e da h vii 2 02 7 5 much a s a re the Ve da nga s

, , , , ,

Up a n isha ds a n d Ta les a n d a re distin guishe d a s well from the

, ,

s t ra s a n d Sii t ra s m e n tio n e d i n the p a ss a ge a lre a dy n otice d

g a ,

ii 1 1 3 2 3 3 though Q a s t ra 1 8 a ge n era l term i n clu din g Up a

, , ,

ve da Th e A n ga s a re the custo m a ry six me n ti o n e d a b o ve

.
,

a n d a re ge n era lly referre d to a s i n i 1 04 1 2 ve da msa da n a m

g , , ,

ra t a dh i a t a ; or without n u m ber a s i n i 1 5 6 5 b ra h m a m
p y y , , , ,

ve da m a dh i y a n a v e da fi ga n i c a s a rva c a h n i t i ca s t ra mc a s a rva ,

a i n h a ve their subsi di a ry br a n ches Up a n a s

fi
j fi a h T hese a
g g , ,

v e da h s a ngo p a nga h s a vi s t a ra h iii 64 1 7 U ga n a s a n d B rh a

’
, , ,

Sp a t i s c a stra with A n a s a n d Up a n a s i 1 00 3 6—3 8

’

g g Th e , , , .

simi la rity of phra se i n iii 9 9 26 a n d elsewhere ve da h s a ngo , , ,

p a n i sa da h mi ght suggest th a t Up a nga s w ere Up a n ish a ds but

, ,

they a re more proba bly a species of Up a v e da s Th e term is .

Thi V d i
1 t tly m ti d g i 1 3 0 21 ; 221 72 ; iii 3 7 4 ; i
s e a s c ons a n en on e , e . .
, , , , ,
x ,
—
6 1 4 d c a ii g my c
, , a t pad m i a t m d t t t t h i ng n t
a ca t us a s v a s ra ve a a va a ,
s ei s u ca u ro

ve da m y g a kh y a
n sa p fi maa Th p hr dh d d na a
‘

ca n. e a se a n u rve e c a ve e ca o c c u rs ,

m p l i i 1 09 1 9 3 5 1 4 Ram i d ri b d tr i d i “
for exa I e, R n , , . n . v, , , a s e sc e a s a ne n

th Y j r V d
e a u d kill d i dh
e a d d da fi g a n(th s e n a n u rv e e ca ve e c a ve e su c a e

Y j r V d
a u ly t whi h Va l m iki b l g d i h r m ti d ) E l wh r
e a on , o c e on e , s e e en o ne . se e e

th e i
sc e n c e t a ke s its p r o p e r p l a c e a s i n M iii 277 4 , .
, , , ve de s u s a ra ha s re s u dh a f
n u rv e de s u p a ra g a h, w h e r e t h e p l u ra l i s n o t e wo rthy .

iii
2
,
20, 1 0, t ri h s a m a h a n y a t a m
' '

e sa dun du b h i h . Th e v ina '

. m a dh u ra l a p a ,
s we e t v o i c e d lyr e
-
,
is sp o ke n f
g a n dh a rva
o a s m s a d h u m fi rc h a t i mfi rc h a
y a n t i ) , i v , 1 7, 1 4 . Th e ga n dh a rva m i s t h e thir d n o te o f t h e s e ve n , x ii , 1 8 4, 3 9
x i v, 50, 53 .

3
Co m p a re b ra h m e ve d e c a p a ra ga h c on tra s t e d with a s t ra n a mca dh a
n u rv e de , vi i , 23 , 3 9 . So B r hm V d a a e a , R . i ,
65, 23 ( a b o ve ) , not a s AV .
14 THE GR E A T E P IC OF IND IA .

one ssocia te d with J a in ra th er tha n e a rly B ra hma n ic litera

a

ture a n d is n o t expl a in e d by the co mm en ta tor V e da s

,
1
.
,

P a ra n a s A nga s a n d Up a nga s a re so m etimes groupe d to

, ,

ether a s i n xii 3 3 5 2 5 ( e de su s a p u ra n e su s a n Op a n ge su
'

g , v , g ,

gyi a se the ,prior p a da f o u nd a

g a in e g i n 3 42 Th e , . .
,

Anga s c o m m o n ly me n tion e d i n pa rticul a r a re the c a len da r

kn owle dge Jyo t i sa a n d etymolo gy Niru kt a m Th e l a tter
, , , .

word in dee d gen era lly m e a n s o n ly a n expl a n a tio n of the

, ,

me a n in g o f a word but it occurs a lso a s the title o f a specifi c,

litera ry wo rk i n xii 3 43 73 where we fi n d m en ti o n e d n o t , , ,

”
on ly Ya s ka s N i ru kta together with N a i gh a n tu ka but
’
, ,

voc a bula ri es a n d lexic o gra phies A curious con te m pl a tio n

2
.

of Krishn a a s the divin e so un d i n xii 47 46 a n a lyzes h i m , ,

r a m m a tic a lly with j o i n t s o f euph o n y a n d a dorn e d with

g ,

3 ”
vowels a n d con son a n ts .

Astron o mic a l si m iles a re n o t i n frequen t Thus Arju n a .

storm s a bout like Ma rs i n his orbit

“ ” 4
A n i n dic a ti o n th a t .

o n e scie n ce a s a speci a lty is n o t m uch re a r de d is see n i n the

g
1 Th e l a t e r Up a nga s a re t h e Pu r a n a s ( a d u p a L o gi c n y a y a a n d v a i n ,

ge s i ka P hil o s o p hy ( i n c l u d i n g a n d L a w b o o ks ( i c l d i g - n u n

Sa m k hy a y o g a a n d e p i c s ) dh rm a c a s t ra
- Th e e p i c u s e a s will b e s e e n fr o m
,
a .
,

t h e c it a ti o n a b o v e d i ffe r e n ti a t e s P u r e ma s fr o m A ng a s a n d Up a nga s
-

, Fo r t h e .

l a te r m e a n in g s e e W e b e r I S i p 1 3
, .
, . .

: n a i gh a n tu ka p a da kh y a e n i ru kt a mve da vi du s o v e da c a b da rt h a
2 ih 8 3 8 8
. n
, ,

Th e c o mm o n m e a n i g e p l a n a ti o n m a y b e s rm i s e d i n x ii 3 40
”
c i n t a ka h . n ,
x ,
u , ,

50 c a t u rva kt ro n i ru kt a ga h ( i n b o th e d iti o s ) wh e r e t h e a v a gra h a i s c e rt a i n ly

,
n ,

r e qui r e d i e x p li c a b l e d e s p it e Ta itt Up ii 6
,
“
n ,
”
. .
,
.

3 I n x iii 1 7 1 1 1
, ( wh e re Si dd h a rth a a c c o r d i n g t o Ni l a ka n th a i s s i dd h a n t a )
, , , ,

i a i s s i ddh i rt h a ka i s i ddh fi rt h a c c h a n do vy a ka ra n o t t a ra h
r K lp a a n d . a

Jy o ti s a a re u ite d ka l p a p ra y o ga a n d j y o t i s a i n x i i i 1 0 3 7 I n ii 4 1 8
n , , , ,
.
, , ,

K a l a p a a n d K a th a a re m e n ti o n e d ; i n R ( n o t G ) ii 3 2 1 8 t h e K a t h k a l a p a s . .
, , ,
a

( a fte r t h e a c a ry a s t a i t t i ri y a a m i n M a n d G ( o n ly ) h a ve Ci di ly a a n d
n . . n

Ka u c ika ( with Ga rgy a i n G ) i n t h e s a m e li s t a n d M h a s Ti tt i ri ( with Yfi j fi a

.
, .

va lky a ) I n M th e y a re v e da ve da fi ga p a ra g a h ; i n R v e da p a ra g a h
. . R c a ll s .
,
. .

Tri j a ta ( Pi ng a l a ) a G a rgy a i n 29 ( Afi gi a s a i n G ; c f R r . . .

4 viii 1 9 1 v a kra t i v kra a m a n a d a fi a ra ka 1 v a g r a b a

, , , g g a h C o m p a re b u d h .

i fi ga ra ka y o r i v a ( a b a ttl e p hr a s e ) Th e Ve d a ng a s a n d Up a ve da s a re o ft e n
- .

gr o u p e d t o ge th e r a s in i 1 67 wh e re c ik s a p h o n e tic s i s gro u p e d with n ya ya

, , , , , , ,

r u le s a n d c iki t s a m e d i c in e I n i 70 40—44 th e s a me p a s s a ge wh e r e p a d a
, , .
, , ,

a n d kr a m a a re m e n ti o n e d ( a b o v e ) c a b d a ( s a m s k a r a ) c ik s a c h a n d a s n i ru kt a
, , , ,

a n d ka l a j fi a n a a re fo u n d with p hil o s o p hy A p ri e s t wh o i s c ik a k a a m a n t ra . s s r

vi t g e t s g o l d mi k a s e t c iii 23 2 3 6 42
s ,
.
, , , , .
16 THE GR E A T E P I C OF I N D I A .

the thirtee n th bo ok where a Sfi t ra ka ra i n o n e verse corre

,

s p o n ds to V e da s i n the n ext i n a p a ss a ge cite d fr o m the ,

Ma it Sa mhita a n d L a w bo o ks ( see below) ; a n d i n a n other

.
-
,

where a c a kn u va n t a c c a ri t u m ki mc i d dh a rm e s u s ii t ri t a m u n
“
,
”
a ble to do wha t is s u trifi e d i n the l a ws xii 270 3 6 must , , , ,

refer to the ge n era l cl a ss o f le ga l Sutra s Th e G i ta 1 3 4 .

, , ,

m e n tion s the B ra h m a s fi tra which is prob a bly n o thi n g but ,

a n equiv a le n t of Ve da s fi t ra tha t is equiva le n t to Ve da i n , ,

g e n era l ; but it m a
y be o n e of the l a te m a rks of this p o em

the B ra h m a s fi t ra bei n therwise u n kn o wn befo re the Ha ri

( g o

v a nc a ) a n d m e a n the phil o s o phic a l Sfi t r a

1
Sfi t ra ka ra s a n d .

”
Sfi t ra ka rt a rs who will a rise a re me n tion e d prophetic a lly
, ,

2
a few times i n d d
the i ctic epic
a .

Profa n e Sutra s a re jum ble d together i n o n e of the la test

sta n z a s o f the Ka c c i t cha pter ii 5 1 20 to which I ha ve , , , ,

a llu de d before
“
D ost tho u u n dersta n d the Sutra s o n
a

eleph a n ts horses cha ri ots c a ta pults a n d the D h a n u rve da

, , , ,

Sfi t ra ?
As e a rly a s P a n in i there were Sutra s o f a l l sorts a n d the
men tion of such works h a s on ly the specia l va lue o f i n di c a t
i n g th a t the epic bel o n gs to a ti m e whe n Sutra me a n t w o rks
which were proba bly p o pul a r a n d n o t wr itte n i n a pho ristic
style They were doubtless the s a me a s the va rious ga s tra
.

a n d other tre a tises to which refere n ce is ofte n m a de So m e .

of these works a re c a lle d ga s t ra s a n d a re groupe d with the

fi n e a r t s me n tion e d a b o ve a s k n o wn to G a rga A rt h a c a s t ra .

a n d Ka m a c a s t ra b y n a mes of the epic itself a re me n tio n e d

,
-
,

i n the l a te i n tro ductio n t o the whole w o rk Th e fi n e a rts .

,

k a la s a re me n tio n e d or i m plie d i n three pl a ces First the

, .

s l a ve girls of Yu dh i sth i ra
-
a re s a i d a t ii 61 9—1 0 to be , , , ,
”
verse d i n da n cin g a n d son gs s a m a s u a n d skille d i n the , ,

1 In x 11 , th e re i s m e n ti o n e d a Mo k s a c a s t ra i n s p ire d b y g a t h a h p u r a
3 27, 3 1 , ,

gi t i h a tr e a ti s e whi c h i s b a s e d o n v e r s e s r e c it e d ( b y Ya y a t i ) i n r e g a r d t o
,

p r o p e r b e h a vi o r a n d it i s p a rtly p hil o s o p hi c a l
,
.

x iii 1 4 1 01 1 04 gra n t h a ka ra s fi t ra ka rt a ( b h a vi sy a t i ) gra n th a krt ; 1 6 7

2
, ,
-
, , 0 , , ,

s fi t ra ka rt a r . In x ii, 245 , 3 0, s va c a s t ra s fi t ra h u t i m a n t ra w kra m a h , s fi t ra ma y

b e th e thr e a d ( a b ra h m a —s fi t ra a l h r
s e se w e e ) , b u t i n th e c o n n e c ti o n se e ms

m o r e lik e ly t o me a n Sutr a .
 L I E RA T T UR E KNO WN TO THE E P IC P O E TS . 17

s ixty four which mus t imply the sixty four ka la s ; Then

- -
,

G a rga who kn ows ka l a jfi a n a a n d ome n s u tp a t a s is a lso

, , ,

a cqua in te d with ka l a j ii a n a c a t u hsa sty a fi ga xiii 1 8 3 8 which ‘

, , , ,

sh o ws tha t the fi n e a rts were n o t exclusively fo r wom en

a n d sl a ves ; a s is a lso in di c a te d by the p a ss a ge xiii 1 04 , ,

1 49 E where a s be fi ttin g a kin g to kn ow a re me n tion e d

, , ,

tre a tises o n logic ( or beha vior o n gra mm a r on music , ,

a n d the fi n e a rt s ; a n d to he a r L e e n ds Ta les a n d a dve n

g , , ,

1
tures of the s a in ts I t is in terestin g to see tha t these .

”
“
sixty fo ur a rt s still typic a l of culture a re proverbia l in
-
, ,

I n di a t o da y A Ma ra thi proverb s a ys c a uda vi dya va c a u

-
.

“ ” 2
s a sta ka l a fourteen scien ces a n d sixty four a rts
,
- .

D h a rm a gfi s t ra s .

Bif Sutra litera ture except i n the few in sta n ces cite d
ut ,

a bove is pra ctic a lly ign o re d a ll the more fu ly is g

,
l a s t ra
3
,

a n d p a rticul a rly D h a rm a ga s t ra litera ture reco gn ize d ; whi ch

I m a y s a y a t the outset shows tha t the l a ter epic wa s

com p o se d un der the in fl u e n ce of Dh a rm a ga s t ra s ra ther tha n
of D h a rm a s fi t ra s .

Th e ge n era l ter m Ni t i ga s t ra co de o f polity h a s a lre a dy , ,

been n otice d A n um ber o f such co des is rec o gn iz e d xii.

, ,

1 3 8 1 9 6 a n d D h a rm a ( ga s tra s ) a re cite d n o t in frequen tly ;

, ,

1
y u kt i c a s t ra mc a b da c a s t ra mc a B h a ra t a ga n dh a rv a c a s tra m
c a te j fi e ya m , ,

ca k l p u r a n a m i t i h a s a c c a t a th a kh y a n §n i y a n i c a
’
a a h p a ri j fi e y a , n a ra dh i p a .
,

m a h a t m a n a mc a c a ri t a mc ro t a vy a mn i ty a m e v a t e Th e y u k t i c a s t ra m i s n o t .

e x p l a in e d A c c o r d in g t o P W it i s a m a n u a l o f e tiqu e tt e b u t p e rh a p s l o g i c ;
. .
, ,

p o s s i b ly t h e u n i qu e s y s t e m o f l o g i c a n d rh e t o ri c d e ve l o p e d b y Su l a b h a i n
x ii , 3 2 1 , 78 if .

M wa ri n g Ma ra thi Pr o v e rb N o 1 1 75 Thi i s l t e Cf Y a j fi i 3 ;
2 a n ,
s, . . s a . . .
,

a d V a yu P i a l i 78 79
n I n t h e l tt e r p s ge t h e fo r Ve d
ur n ,
x ,
i Afi g
-
. a a sa ,
u a s, s x a s,

Mi m a n a N y a y D h a m c a t
s ,
d P i na m k t h e
a ,
f rt vi dy a s
r a or s ra a n ur a e
“
ou een

e i ght e e i c l d in g t h e thr e e Up v e d s a d t h e Arth c a t

“
n n u a a n a s ra .

3 O
Sm rt i b t thi wo r d s e m o f wi d e b e a ri g
r ,
u J t s a g m ( b o ve )
s e s n . us a a a a

i c l de m o r e th a Ve d a o Sm t i i l d e s a ll tra d iti
n u s n In i i 2 00 3 0
,
s r nc u on . x , , ,

m h a m ti
a da
s s m t i e e m t o b e i t e rp r e t e d b y t h e c o m m
r a n nu t t o r s S mhi
r s n en a a a

ta s d V da fi g
a n ( with M e d o th e r ) r e p e c ti ve ly b t h i fi r t wo r d s
a s a nu a n s s ,
u s s

m y r e fe r t o t h e i fe rr e d Ve d o f t h e p r e c e d i g j p k a ( t h e r e c it e r
a n f b o th a n a a s o

go i p o f c t o t o h e v e )
s B e i d e M ( b v e ) Y m A fi gi B h a s p a ti
a a n . s s a nu a o ,
a a ,
ra s , r ,

Uga s a d P a ra c r a e p e c i lly c it e d
na ,
n l w g i ve r a a r s a a s a -
s.

2
18 THE GRE A T E P I C OF I N D I A .

whil e a ge n era l rule is

give n as a Dh a rma ga s a n a , e .
g .
,
i ,

72, 1 5
Three fa thers ha ve we fo r e e n thus ,
’

L a w s s t a t u t e s a ys t is m eet
’ ’
,

To c a ll o u r sire a n d wh o s a ves li fe , ,

An d h i m who se fo o d we e a t .

M u s Dh
an
’
a rma
is referre d to un der tha t n a me on ly
c a s t ra

i n o n e of the l a test books of the pseu do epic I n the e a rly -

.

books hi s Ra ja dh a rm a s a re o n ce me ntion e d iii 3 5 21 which , , , ,

mi ght imply a cha pter of our prese n t co de but otherwi se ,

on ly hi s D ha rm a s a re referre d to though gen era lly merely a n ,

ipse dixit of Ma n u is cite d which however is o ften a di c , , ,

tum o ppose d to the a ctu a l words o f the exta n t Ma n u text .

Th e epic poets do n o t a lwa ys recogn ize M a n u a s in a n

y wise
supre m e ofte n n o t eve n a s pr o min e n t A typic a l exa m ple i s
, .

furn is h e d by iii 1 5 0 29 : G o ds a re uphel d by Ve di c s a cri

“
, ,

fi c e s ; m e n a re uphel d by the l a ws ( n o t of M a n u but) of

B u t i n x i 1 3 3 6 3 9—45 a primeva l
” 1
Uga n a s a n d B rh a s p a t i .
, , ,

co de a n u ga s a a of
,
n
c l o k as
gives rise t o the
,
“
l a ws ,

which Ma n u the self existe n t will decl a re a n d Uga n a s a n d -

”
B rh a s p a t i where there is a cle a r refere n ce to the co de of
,

Ma n u ; a s i n the n ext sta n z a where a re men tio n e d the la ws “

,

of the Self existe n t the ga s t ra m a de by Uga n a s a n d the Opin

-
,

ion s o f B rh a s p a t i ( a c a stra ms a fi go p a n i s a da m
”
,

Th e mere or der of n a m es h o wever is n o more i n di c a tive , ,

of priority tha n i n the c a se o f the Ve da s me n ti o n e d a bove .

An o ther list of Ra j a ga s t ra p ra n e t a ra s a t xii 5 8 1 —3 1 3 -

, , , ,

begin s with B rh a s p a t i a n d Uga n a s ( Ka vya cite d with two ,

t h a t xii 1 3 9 a n d the n f o llows Pra c e t a s a M anu

'

g a a s , , ,

B h a ra dva j a a n d G a u ra c i ra s with the go ds betwee n

, So i n , .

the n ext secti o n 5 9 8 1 ff i a re duces B ra hm a n s w o rk , , . ,

’
,

1 S i o i 58 6 B h a d a j w
n v, ,
q l t Uc ,
i i t lli g
ra t B h
v a a s e ua o a na s n n e ence , o r a

s p ti i
a p lity
n y ; i 61 48
o ,
”
H nay t h r d t h i tr ti
a x, , :
“
a ve ou no ea e ns uc o n s,

u p d c
a e f B h p ti
a , o d Ug r ii 1 22 1 1
a s Y
a h a np r d th a na s? x , , : ou a ve e u se e

i i
Op n o n s , m a t a m o f B rh a s p a t i a n d t h e Ca s tr a o f U ga n a s a s t h e a u th o riti e s
, , ,
”

g e n e r lly re c o gn ize d B h a ra dva j a h a s thre e é l i n t h e e p i c a s a r c h e typ i c a l

a . r es ,

j u ri s t p hy s i c i a n a n d t e a c h e r o f a r ms a c c o r di n g t o t h e p a s s a g e
, , , .

2 C o m a r e x ii 5 9 8 0 ff
p , , ,
.
 L I E R A T UR E
T KNO WN TO THE E P IC P O E TS . 19

which i n turn is re duce d by I n dra a s the b a h u da n ta ka a n d , ,

the n by Ka vya Yo ga c a ry a a w o rk whi ch embra ces I ti h a s a s, ,

Ve da s a n d Ny a y a ( 1 41 ) or l a ws
,
.

More importa n t is the fa ct tha t referen ces to Ma n u s l a ws ’

i n the e a rly books a re sel do m veri fi a ble in our prese n t c o de ,

while refere n ces i n the di da ctic epic more ofte n tha n n o t cor
resp o d to p ss ges of the ext t text He n ce it m a y be
n a a a n 1
.

in ferre d tha t tha t p a rt of the epic which a grees most cl o sely

i n its cita tion s with our co de is l a ter th a n tha t portio n which
does n o t coi n ci de or c o n versely tha t the text of Ma n u wa s
, , ,

sha pe d in to its prese n t fo rm betwee n the ti m e of the e a rly

epic a n d tha t of the di da ctic epic I n the fi rst perio d when .
,

Ma n u s D h a rm a ga s t ra wa s un kn o wn Ma n u wa s merely a
’
,

n a me to co n jure with Th e verses thus a scribe d t o Ma n u

.

were n o t a ll put in to the c o de when it wa s form e d a n d fo r

this re a son the e a rlier cita tion s a re n o t gen era lly foun d i n
o u r text So m e of them were a dopte d h o wever a n d the
.
, ,

l a ter epic writers therefore a gree m o re closely with the ga s

t ra a s it is to da y ; th o u gh n o o n e who un derst a n ds how
-

works a re enl a rge d i n I n di a will expect to fi n d a ll the quota

tio n s veri fi e d eve n i n the l a ter epic fo r there is n o re a s o n
, ,

to suppose tha t the co de wa s ex a ctly the s a m e two thous a n d

ye a rs a go a s it is to da y B u t i n fa ct out of eleve n quota
-
.
,

tion s from Ma n u i n the thi rtee n th bo o k there i s on ly o n e ,

which does n o t correspo n d with our Ma n u text a n d thi s is , .

of a ge n era l cha ra cter t o the e ffect tha t a c ra ddh a with til a

,

is un dec a yin g s a i d Ma n u
“
,
”
.

1 So i n t h e R a m a y a n a th e r e i d e n tly in t e rp o l a t e d c h a p t e r s a t i v
a re t wo ev ,

17a nd 18 . R a m a i n t h e s u b s e qu e n t c h a p t e r s i s i n c i d e n t a lly c h a r g e d ( with

gre a t tru th ) with h a vi g vi o la t e d e ve ry kn i ghtly r l e i n s la yi n g va n To
n u .

o ffs e t thi s c l e a r c a s e o f s i n o n t h e p a rt o f t h e d i v i n e h e r o a fo rm a l c h a r g e
,

a n d d e fe n c e i s i n s e rt e d ( j u s t t h e
p r o c e d u r e i n t h e Ma h a b h a r a t a i n c ha p te rs
whi c h m e tri c a lly b e l o n g t o t h e c l a s s i c a l p e ri o d s o c l o s e i s t h e a d h e r e n c e t o
,

vi p u l a ru l e .J s t h e r e it i s th a t M é gi té c l ké a re c ite d vi z Ma n n
u a nun u o
'

u ,
.
, ,

v iii 3 1 8 a n d 3 1 6 ( in v e rt e d o r d e r ) a l m o s t v e r b a ti m
, , E l s e wh e r e Ma n u i s a .

s a g e m e r e ly n o t a c it e d l a w g i v e r a s h e r e i v 1 8 3 0 3 1
,
-
, , ( wi th o u t r e fe r e n c e t o
-

Ma n u i n
, ,

Th e s e c h a p t e rs n e e d n o fu rth e r p r o o f th a n t h e r e a di n g t o s h o w
th e ir tru e c h a r a c t e r Th e y a re s im p ly b a n l e s p e c i a lly R a m a s s p e e c h a s
. a ,
’
,

we ll a s c o n tr a d i c t o ry i n s u b s t a n c e t o t h e p r e c e d in g a n d fo ll o wi n g c h a p t e r s .
20 THE GR E A T E P IC OF I N DI A .

previ ous dis c ussi o n of thi s subject i n the Jo u rn a l Am

In a .

Or So c xi p 23 9 ff ( where will be f o un d more da ta o n the

. .
, . .
-

1
subject o f le ga l litera ture i n the epic ) i n order n o t t o f o rce ,

my a rgum e n t I in clu de d a s u n veri fi e d a quo ta t ion a t xiii 65 , ,

3 ,
“
Ma n u s a id tha t the highest gift is somethin g to dri n k ”
,

a ni a m a ra m a mda n a m bec a use it wa s i n c o n n ecti o n with

p y p ,

Ti rt h a s I n this I wa s certa i n ly over scrupul ous for the

.
-
,

wo rds coul d e a sily refer to the p a ss a ge I there cite d fr o m

Ma n u iii 202 va ry a p i cra ddh a ya da t t a m a ks a ya y o p a ka lp a t e
, , ,
’
,
”
“
eve n wa ter give n with fa ith fi t s fo r im m orta lity I can .

n o w a dd to this a n other quota ti o n xiii 67 1 9 toya do , , , ,

a ksa a n s a m a va p n o t i lok a n ity a b ra vi n M a n uh iver f “

a
y g o ,

”
wa ter obta in s imperisha ble worl ds Further I rejecte d a s .
,

u n ve ri fi a b l e the sta teme n t th a t M a n u s a i d the ki n ets a

g g
fourth p a rt o f the s i n of the pe o ple ( in ste a d of the usu a l
sixth) a lthough a s I p oin te d out thi s prop o rtion a ctu a lly
, , ,

o ccurs i n M a n u o n ly it is fo r a speci fi c occ a sio n , N e ve rt h e .

less a s Ma n u viii 1 8 s a ys p a do ra ja n a m a rh a ti ( or rc c h a t i )
, , , ,

it is cle a r tha t the quota tion c a t u rt h a m etc i n xiii 61 3 4 .

, ,
”
c a n n ot be s a id to be u n ve ri fi a b l e
“
I t is si m ply a free re n .

derin g verb a lly of a sta teme n t a ctua lly fou n d i n Ma n u 2 .

We ha ve here t h e in c o n tro vertible fa ct tha t while the ,

other books of the epic before the thirteen th i n givi n g quo

F 1 mp l th f b lor exa b k f di i e ri gi f
,
59 80 ff ( li k t h
e a u ous oo s o v ne o n o x11, , . e e

o ri g i f N a d l w b k ) ll d B a h p ty t
n o ra a s
’
r di g t t h d i
a -
oo ,
ca e r a s a a , e c .
, a cco n o e ap

d h oc ; th l w
os d mm t ry e
“
vii i y a kh
a dh rm h f i i 3 7 1 0 t
a n c o en a , sa o a a ,
o x , , , e c .

( p p 254 d . d th r p i t t whi h I m y r f r t h r d r with

a n an o t e o n s o c a e e e ea e ou

f rth r r m rk th
u e th r f r e lr dy g i
a a n e e e enc e s a ea ve n .

B i d t h q t ti gi
2
es b es fr m t h thirt
e uo th b k d v ri fi b l
a on ve n a o ve o e een oo a n e a e

in pro ur t d I m y dd iii 9 2 1 0 B y M
e se n c o e .d th r ( it i a id a , ,
:
“
a nu a n o e s s sa

th t ) g i g t Ti t h r m
a ?
o n f r m o a dib h i m h a r a j
r ti t h y a t a
a s e o ve s ea ,
a nv r a a r a r

b h y a p h a i f thi b
a th m
a i g whi h i r th r d b tf l I
,
s e y e ea n n ,
c s a e ou u . n a n c a se

it ly ddon m r t th a ri fi d it ti
s one fr m t h
o rly b k b t
e o e u n ve e c a ons o e ea oo s, u

it m y m aly th t M d th r h
ea n on j r y d t Ti th a C mp r a nu a n o e s a ve ou ne e o r a s . o a e

a lso x ii , 266, 5 , hi dh a rm a t m a Ma u r a b ra vi t Ma n u
s a rv a ka rm a sv a h i ns a n ,
“

t h e ri g ht e o u s p r o c l a i m e d th a t o n e s h o u l d n o t i n j u r e ( a n i m a l s ) a t a n y c e r e
mon y F r o m t h e c o n te x t killi n g c a ttl e a t a s a c ri fi c e i s h e r e r e p r o b a t e d
.
, .

Thi s i s a p e r ve r s i o n fo r s e c t a ri a n p u rp o s e s o f Ma n u s r u l e v 43 n a v e da vi ’ ’
, ,

hit a mb i ns a m a p a dy a p i s a m a c a re t t o whi c h p e rve r s i o n s o m e c o l o r m i ght b e ,

g ive n b y t h e fo llo win g ve rs e s whic h s p e a k h a rs hly o f a ll i j u ry t o li vin g , n

c re a tu re s I thi n k n o o th e r qu o t a ti o n s fr o m M
. a n u will b e fo u n d i n t h e e p i c .
 LI TE RA T URE KNO WN TO THE E P IC P O E TS . 21

t a tio n s from Ma n u a gree with our prese n t text of Ma n u on ly

i n o n e third t o o n e h a lf the i n st a n ces t h e thirtee n th bo o k h a s
,

eleve n cita ti o n s of which t e n a gree with the sta te m en ts o f

,

our co de To this must be a dde d the fa ct tha t o n ly the t h i 1

.

t e e n t h book reco gn izes the ga s t ra decl a re d by M anu I do .

n o t kn o w a n y other liter a ture where such fa cts woul d n o t be

a ccepte d a s of h istoric a l i m port a n ce a n d they h a ve bee n so ,

rega rde d here by co m pete n t schola rs I n the Opin i o n which .

I fi rst set forth i n 1 8 8 5 the l a te Professor B ii hl e r i n ge n er a l

,

co n c u rre d though in clin e d to believe tha t the a uthors o f the

,

twelfth a n d thi rtee n th books di d n o t kn ow the i de n t ic a l

s t ra which we h a ve to da y As Pr o fess o r B ii hl e r s p o sitio n
’

g a -
.

h a s n o t a lwa ys bee n cite d with the reserv a ti o n s m a de by h i m ,

I will cite hi s o wn wor ds : I t rem a in s in disputa ble th a t

the a uthor or a uthors of the fi rst twelfth a n d thi rtee n th , ,

P a rva n s of the M a ha bha ra t a k n ew a Ma n a va D ha rma ga s tra

whi ch wa s closely c o n n ecte d but n o t ide n tic a l with the ex
i s t i n g text Ma n u p lxxix a n d a ga in : Th e a n swer which
,
.
,

we a re thus oblige d to give to the question whe n ce the a uthor

o f our M a n u Sm rt i took his a ddi tio n a l m a teri a ls a
-
g rees very
closely wi th Pro fess o r Hopkins hypothesis p xci Never ’
,
”
. .

t h e l e s s despite this a dmi ssio n Profess o r B ii hl e r by a li n e o f

, , ,

a r ume n t which is b a se d chiefly o n the l a ck of a bs o lute

g
“
i de n tity a ssum es fi n a lly tha t the a uthors of the epic kn e w
,

on ly the D h a rm a s ii t ra i b p xcviii Th e a rgume n ts other

, . . .

tha n the l a ck of tota l i de n tity a re fi rst tha t Ma n u shows a n , ,

a cqu a i n t a n ce with the epic bec a use he s a ys th a t i n a for m er

k a lpa the vice of ga m blin g h a s bee n see n to c a use gre a t e n

mity ; i n re ga rd to which Professor B ii hl e r s a ys : Thi s a sser
tion c a n o nl y poin t i n the fi rst i n sta n ce t o the m a tch pla ye d
”
between Yu dh i s th i ra a n d D uryo dha n a p lxxx B u t why ,
. .

n o t to the sto ry of N a l a a s Professor B ii h l e r hi m self su ggests

, ,

or a n y other sto ry of dicin g resultin g i n e n m ity which m a y

ha ve prece de d our epic ? An other a rgum e n t is tha t lege n ds ,

referre d t o i n the ga s t ra a re foun d i n the epic i b B u t it is , .

o f the very ch a r a cter of the epic tha t it co n t a i n s m a n y a n cie n t

lege n d ga there d from a ll s o urces I t do es n o t foll o w in the

'

s
, .
 22 THE GRE A T E P I C OF I N D I A .

le a st tha t Ma n u took them fro m the epic On the other ha n d .

it is import a n t to observe tha t i n n o such p a ss a ge does Ma n u

refer a si n gle o n e of them to a n epic source Thir dly it is .
,

cl a ime d tha t the p a ss a ges p a ra llel i n epic a n d ga s tra ofte n

ha ve verses i n a differe n t order with omission s etc tha t i n , , .
, ,

short they a re n o t a c t ua l copies o n e of the other B u t Pro

,
.

“
fe s s o r B ii hl e r hi m self h a s shown tha t the existin g text of
Ma n u h a s suffere d ma n y rec a sts p x c n so tha t we do n o t
”
, .
,

k n ow the for m o f the ga s t ra to which the epic explicitly refers

s t ra set f o rth by M
a n d from whi ch it cites a s the
g a anu F or .

my pa rt it still is im possible fo r me to believe tha t whe n the

,

pseu do epic i n p a rt icul a r the A n u ca s a n a refers to Oa s t ra s }

-
, ,

a n d cites correctly fro m

“
Ma n n s Oa s t ra it re a lly k n o ws
” ’
,

o n ly Sfi tra s .

A Ma n a va D h a rm a ca s t ra specifi c a lly must from the evi , ,

de n ce be re ga r de d a s ol der th a n the l a ter epic but l a ter tha n

the e a rly epic which kn ew o n ly a m a ss of roya l a n d ge n era l
,

rules dha rma s ge n era lly a scribe d to Fa ther Ma n u but di ffer

, ,

e n t fro m those i n our exta n t

g a s t ra With thi s result too .

a rees the f a ct th a t the metric a l f o rm of the ext a n t co de is

g
disti n ctly e a rlier th a n tha t of the l a ter epic N o t u n i mp o r .

ta n t fi n a lly is the circumsta n ce tha t the exta n t co de o n ly

, ,

va guely refers to epic Ta les but recogn izes n either o f the ,

epics on ly lege n ds tha t a re foun d i n the epics I n a ll prob

, .

a bility the co de k n o wn to the l a ter epic wa s n o t quite our

1 I 3 41 74
n x 11, m ti
, d t h r i Dh m ca t
,
a re en a a y a d h rm
one ea c e s n ar a s ra s , c r a a

iii
c a s t re s u ; i n x , 61 , 3 4, M ’
iii 47 3 5 t h e Ca s tra c o m
a nn s a nu ca sa n a ; in x , , ,

p o se d M by a nu,
”
ma n un a b h ih i t a m tr ’
iii 45 1 7 th o s e th a t kn o w
c a s a m in x , , ,

l a w i n th e la w b o o ks dh a rm a c a s t re s u dh a rm a j ri a h i n r e fe r e n c e t o t h e s u b
” '

-
,

j c e t d i s c u s s e d i n Ma n u iii 52—53 ; i v 8 8 Si m il a rly x iii 1 9 8 9 I m o s t c a s e s

,

, ,
.
, , ,
. n

h e r e Ca s tr a s a re t h e a u th o rity whi c h i n iii 3 1 3 1 05 a re s e t b e s i d e t h e Ve d a s

, , , ,

a s t wo s t a n d a r d a u th o riti e s I n t h e fa c e o f th e s e c it a ti o n s it i s d i ffi c u lt t o
.

u n d e r s t a n d B ii h l e r s wo r d s t h e a u th o r s kn e w o n ly t h e D h a rm a s utr a s
’ ”
, ,

e s p e c i a lly a s t h e wo r d s c o n tr a d i c t wh a t h e s a ys i n th e s a m e e ssa y o n a
diffe re n t p a g e th e a u th o r s
,
“
kn e w a Ma n a va D h a rm a c a s tra ( l o c c i t ”
. .

a b o ve ) .I t h a s s e e m e d t o m e th a t t h e gr e a t s c h o l a r wa s u n d u ly i n flu e n c e d
i n h i s fi n a l wo r d b y h i s g e n e ra l d e s ir e t o p u t b a c k t h e e p i c a s fa r a s p o s s i
b l e Pr o fe s s o r Ho ltz m a n n wh o h a s c o ll e c t e d t h e m a t e ri a l 10 0 c i t p 1 1 5 ft
.
, , . .
,
.
,

i s o f t h e o p i n i o n th a t our M a n a va a dh a rm a c a s t ra i s c e rt a i n ly m u c h l a t e r
“

th a n t h e o l d e r p a rt s o f t h e Ma h a b h a r a ta ”
.
24 THE GRE A T E P I C OF I N DI A .

Mb h . v , 1 2, 20,
m o gh a m a nn a mvi n da t i c a
’
py a c e ta h
B o h t li n gk, Spruch 4980 .

Ri g Ve da . VI I , 8 9, 2,
drt i r na dh ma t o , a dri va h

Mb h iii .
, 207, 47; xii , 9 5 , 21 ,
m a h a drt i r i va dh ma t a h ’

( pa p o b h a va t i n it
y a da , iii , 207, 47)
Ri g V e da i , 1 0, 1 ,

ga y a n t i t va ga y a t ri n o a rca n ti a rka m a rki n a h

a ma na
br h t va q a t a kra t o s u d va nq a m i va y e m i re

Mb h . x 1l , 2 8 5 , 78 ,

ga y a n t i t va ga y a t ri n o a a n rc ti a rka m a rki n a h
b ra h ma n a m
t va q a t a kra t u m u rdh va m kh a m i va
m e n ire
B o ltz m a n n , Da s Ma h a bha ra ta ,
i v, p . 12; a ls o for the follo win g
p a ra llel p , . 13

Ri g V e da x , 1 29, 1 —3 ,
d a si n d a si d t a da n i m
’
n a sa n o sa

no ra tri a a hn a a s i t p ra ke t a h
ta ma a s i t t a m a s a gfi lh a m a gre

Mb h . x 11, 3 43 , 8 ,

( n i da rq a n a m a pi hy a tra ) n s
a id a ho na ra t ri r a ins na sa d asin
na
’
sa d a si t, ta m a e va p u ra s t a d a b h a va d vi q va ru p a m

Co mp a re a ls o with B i g Ve da i , , 1 3 , 4, a si ho ta m a n u rh i t a h Mb h , .

i h 1 0—1 1 ,
.

t va m a gn e y a j fi a n a mho ta vi q ve s a mhito de va n a m m a n u s a n a m
iti n i da rq a n a rn c a t ra b h a va t i v i qve s a m a gn e
ya j fi an am
’
’

ca j a ga ta , ,

t va mh o te ti t va mhito de va i r ma n u sy a i r j a ga ta iti
’
,

Ri g V e da x ,
1 4, 1 ,
va i va s va t a ms a mga ma n a mj a n a n a m
Mb h . xii i , 1 02, 1 6,
v a i va s va t i s a my a ma n i j a n a n a m
 L I E RA T T URE KNO WN TO THE E P IC P O E TS . 25

Further, with Ri g Ve da ba hu i , 1 64, 46, e ka rh sa d vi p ra

dh a va da n t i a n d x 1 1 4 5 vi p ra h ,
eka m s a n t a m b a hu
, , ,

dh a ka l p a y a n t i m a y be comp a re d M bh ( v 1 6 2 a n d) i
,
.
, , , ,

1 3 m a n i s i n a s t va mj a n a n t i b a h u dh a c a i k a dha pi c a
’ ’
,
I n xv .
,

3 4 1 1 de v a y a n a hi p a n t h a n a h gruta s t e y a j i i a s a m 1
is a n ‘

, ,
s t a re

a llusio n t o R i g V e da x 1 8 1 ; while i n xii 3 1 2 5 dy a va , , , , ,

t h i iti v d s u a th a t e the cit tio n of a V e dic

pr vy o r e sa e e p y a ,

phr a se is a ckn owle dge d ; where a s i n the epic phra ses m a

ri ri sa h a n d b h u va n a m vi e va vii 201 77 n o in dic a tion of , , , ,

V e di c ori gin is give n .

Ta itt Sa mhi ta i 1 6 1 1 1 ; O
. at B r i 5 2 16 , , ,
. .
, , , ,

ye y a j a ma h e
Mb h iii 1 8 0 3 3 .
, , ,

i da m a rs a m p ra ma n a mc a ye y a j a ma h a ity a p i
’
C o m p a re 3 1 , 22, y a s y a n a rsa m p ra m a n a m
iii , sya t etc , .

Aufrecht M , a
p ud uir , O ST 1 , 1 3 7 Also T a itt S . . . .ii 5 1 1
, , ,

is repe a te d verba tim Mb h xii .

, 3 43 , 28 , as shown by Weber ,

I n d Stu d i p 41 0
. .
, . .

Ma it . Sa mhi ta i ,

stry a n rt a m
Mb h xiii .
, 40, 1 2 an d 1 9, 6- 7,

s t ri y o
‘
n rt a m iti q ru t i h ; a nrta h s t ri y a ity s va m ve de s v a pi
hi pa th y a te ; a n rt a h s t ri y a ity e va m s u t ra ka ro v y a va s a
y ti .

C omp a re B a u dh Dh S 3 , 46,
’
. . . ii , with B uhler s ote n , an d
M u ix
.

‘
an , 1 8, s t ri
y o n rt a m i ti s t h i t ih ( v . 1 .
c ru t ih
) . Th e
double refere n ce i n the e pl e Sfi t ra ka ra a n d V e da h m a y p o in t , ,

to the s a me pl a ce or the writer m a y ha ve h a d i n m in d a ,

Sii t ra p a ss a ge p a ra llel to B a u dh a y a n a if n o t B a u dh a y a n a
’

hi mself whose text here is corrupt

, .

1 I n th e p r e c e d in g ve r s e it e d
c va m e dh a c ru t i , a p o p o s o f t h e a c va
is c a n a r
sa mj a a p a n a : l o k a n t a ra ga t a n i t y a m p a n a n i t y a m c a ri ri n a m W r th e e x . ith t t
c it e d a b o v e r c o m p a e dva v e a u t
, p re t y a p a n t h a n a u , e t c , x ii , 3 2 9, 3 0 Th e . .

Up a n i s h a d s wo u l d s u ffi c e to exp a l in s o me o f th e s e p hr a s e s .
26 THE GR E A T E P I C OF I N D I A .

A t h a rva Ve da ? Mb h xiii .
, 9 8 , 3 0,
o sa dh y o ra kt a p u s p a q ca ka tu ka h
ka n ta ka n vi t a h c a t ru n a m
a b h i c a ra rt h a m a t h a rve s u n i da rq i t a h ; viii, 69 , 8 3 — 8 6, t va m ity
a tr a b h a va n t a m hi b ru b i t va m ity ukto hi n i h a t o gurus
b h a va t i a t h a rva fi gi ra s i h y e sa q ru t i n a m m a q ru t ih
u tt a

a va dh e n a va dh a h p ro kto y a d gurus t va m iti p ra b h u h

1
.

Ai t B ra h . . i , 1,
a gn i r va i sa rva de va t a h

Mb h xiv .
, 24, 1 0 ( re a d v e da s y a

a gn i r va i de va t a h s a rva h , iti de va sy a qa s a n a m

Mb h xiii .
, 8 4, 5 6,
hi s a rva b t a da t ma ka m
’

a gn i r de va t a h , s u va rn a rn c a

Holtzm a n n , lo o . cit . p . 14 .

O t B
a r a hm.a n a in Mb h xii .
,
3 43 , 1 3 - 1 5 ,

y a j as
fi te deva ns t a rp a y a n t i de va h p rt h i vi m b h a va y a n t i , ( Qa a t
p a the pi ‘
b ra h ma n a mu kh e b h a va t i , a gn a u s a mi ddh e j u h o t i y o
vi dva n b ra h m a n a m u kh e n a h u t i
’
j u h o t i , s a m a py a g n i b h umt a v
bra hm a n a vi dva ns o
‘

gn i m b h a va y a n t i .

On this a n d o t her cita tio n s from Sa mhi ta s a n d B ra hm a na s ,

compa re Holtzma n n lé c c i t p 1 4 if with especi a l refere n ce , .

, .
,

to verses cite d by Weber L ectures p 1 3 7—1 3 8 ; I S i p 277 , , . .

, . .

To these I m a y a dd a p a ss a ge reflecti n g the B rh a d Ar a n Up . .

of this B ra hma n a Up 1 5 1 4 ( where the chief verba l i den

, .
, ,

tity is i n so da ca ya k a l a ya ) expressly s a id to be from the ,

: vi ddh i
’

E s i s m ore exte n de d expositi o n of the subject

can dra m a s a mda rge y d s a ks ma
ka la
y d s t h i t a m ,
t a d a ta d r a i mi

p ro kt a m vi s t a re n d n u mi y a t e ,
’
bh ,
2 4 2, 1 5 —1 6
( M xii . compa re
so da c a ka l o de h a h ; an d 3 05 , Th e comme n ta tor refers the
p a ss a ge to this Up a n isha d , as cite d .

1 Ac c o r in d g
iii 1 63 53 t va rhka ra ( t o s u p e ri o r s ) i s va dh a a n d i s e m
to x , , , ,

p l o y e d o n ly i n s p e a ki n g t o e q u a l s i n t e ri o rs p u p il s e t c Co mp a r e C h a n d
, , ,
. .

Up vii
.
, E c h o a r o s e i n t h e m o u n t a i n s ( c o mp a r e Ca lli m a c h u s E p x x viii ) ,
.

fr o m t h e c a r e wi th wh i c h Q u k a a d dr e s s e d h i s s u p e ri o r Vy a s a wi th bho bh x i i , o, ,

3 3 4, 25—26 .
 L I E RA T T URE KNO WN TO THE E PI C P O E TS . 27

cita tion s in the Ra ma ya n a I ha ve n o t ex a m i n e d but

Th e ,

ha ve n ote d by cha n ce two ; Ri g Ve da i 22 20 ; Ka tha Up , , .

iii 9 ; Ma itri vi 26 : t a d vi sn o h p a ra m a m p a da m ( s a da
, , ,

a c a n t i s fi ra y a h )
p y G vi 41 2 5 t a d vi sn o h
p a ra m a m p a da m
.
, , ,

( n iha t o ga n t u m i c c h a m i ) a n d sa m p ra t i s thi t a m i n
ty e s a rva

M a ha n a r Up 2 2, 1 ; s a t y e
. . loka h p ra ti sth i t a h, R ii, 1 09, 1 0 . .

U p a n i s h a ds in th e E p ic .

Spora di c p a ra llels between the epic ge n era lly the Gi ta , ,

An u gi ta a n d Q a n t i a n d va rious Up a n isha ds h a ve often bee n

, ,

n otice d As illustra tive m a teria l a ll these p a ss a ges a re va l

.

u a b l e but they give n o evi de n ce tha t the epic h a s C opie d if

, ,

the mutua l resembla n ce is o n ly of ge n era l co n te n t or is give n

by simi la r or even i de n tic a l verses whe n these a re n o t c o n ,

n e c t e d a s i n the suppose d mo del As thi s ma te ria l h a s been .

put to gether by Holtz m a n n lo c c i t p 21 ff I m a y refer the , .

, . .
,

1
re a der to his p a ra llels while poin tin g out tha t it is h is t o r ,

i c a ll y of little i m port a n ce whether the ol dest Up a n isha ds a re

cite d if we c a n s a tisfy ourselves tha t the epic dra ws o n Up a
n i s h a ds of the seco n d a n d thir d perio d n o t o n ly spor a dic a lly ,

but con n ecte dly I n re ga r d to the e a rliest works it is e n o ugh

.
,

to refer to the p a ss a ge con den se d from the B rh a da ra ny a ka a n d

cite d a bove This is the o n ly o n e of the ol dest Up a n isha ds
.

certa in ly cite d though the C h a n do gy a Ai t a re y a a n d Ka u

, , ,

si t a ki ha ve m a n y p a r a llels with the epic a s h a ve a m o n g the ,

l a ter works of thi s cla ss the Ke n a Mu n da ka Fr a gn a a n d a , , ,

few others Oddl y en ough the Ma i t ra y a na h a s bee n sc a rcely

.
,

2
com p a re d but I purpose to show tha t this a n d the e a rlier
,

Ka th a ka were certa in ly copie d by the l a ter epic poets .

1 No t a Ve d i c ve r s e s a re h e re ve ri fie d g Ta itt iii 7 h a s p ra o
ll t h e “
, e . .
,
.
, , n

va a n n m a Thi s i s c it e d i n t h e e p i c s Ve d i c a n a m p r a n a iti y a th a v e de u
. a : n s

p a ri p a th y a t e iii 9 5 22 Th e Git a d i s trib u t e s o l d e r m a t e ri a l g Gve t iii

,
x , , .
,
e . .
, .
,

1 7 Git a 1 3 1 4 b u t t h e fo ll o win g p a d a n a va dv a re p u r e d e hi i s fo
, , , ,
d in ,
un

Git a 5 1 3 e t c
, , , .

e v e r s e dv e b r a h m a ni ( a s d u ly r e c o r d e d b y B o l t z m a n n ) wa s l o c a t e d b y
2 Th

Ha ll a n d B ii h l e r h a s c o m p a r e d t wo m o r e v e r s e s wi th x i i 3 3 0 42—
, 43 ( M a nu , , ,

p . wh il e Te l a n g h a s ill u s tr a t e d t h e Gi t a wi th g e n e r a l p a r a ll e l s .
28 THE GR E A T E P IC OF I N DI A .

Th e (g
v e t a v a t a ra
g U p a n is h a d .

This m a y be loosely copie d but except for o n e p a ra llel , , ,

the mutua l p a ss a ges a re common t o this a n d o ther s o urces .

I cite a s exe m plifyi n g a possible copy ( though the Up a n ish a d

itself is a c o py o f the ol der Ka th a ka )
UP AN I SHA D E P IC . .

iii , 8 V S 3 1 , 1 8,
. . 44, 29 an d 24,
ta ma sa h p a ra s t a t n a
’
n ya h pa n ta ma sa h p a ra s t a t ; n a
’
n ya h p a n
t h a vi dy a t e a y a n aya . th a a ya n ay a v i dy a te .

iii , 1 0, 44, 3 1 ,
t a to y a d u t t a ra t a ra mt a d a rfi p a m a n a ma y a m ta n ma ha d udy a t a m
a n ama y a m, ya e t a d vi dur a m rt a s ya c o ( K a th a vi , ,
2, m a h a d b h a ya m
te b h a va n t i . va j ra m u dy a ta m) va c o vik a ra m
ka va yo ya s m i n
va da n t i j a ga t
iii , 13, s a rv a m i d a m p ra t i s t h i t a my e ta d
a ngu s th a m a t ra h p u ru s a h, se e be vi du r a m rt a s t e b h a va n t i (c om
lo w . r
p a e B A U , 5, 1 ; C a n . i h d iii .
, 1 2,
2 ; K a t a , vi , h
iii , 1 8,
n a va dva re p u r e d e hi h a ns a h , se e

be l ow .

1 9—20, 43 , 5 3 ; 46, 3 1 ( e m , 10
sa v e t ti ve dy a m a no r a ni

yan , e tc .
yo ve d a ve dy a m n a sa ve d a sa

ty a m ; a no r
ni y a n ( K a t a , 2 ,
a h i
2 an d 19
In 44, 29, a ni y o rfi p a rii k su
m a m ( K a th a , i ii ,
c u kra m t a d b a m a
dh a ra y a
ta d e va r h ra sa

y a sy a n a ma ma a h d
y a ca h , s e e
be owl .

44, 25 an d 26,
iv , 5,
abb a tic u kl a m i va lo h i ta m i va
a j am e ka rh l o h i t a eu kla krs n a m .
krsn a m ( fo o we ll d by aya sa m
iv 6, a rka v a rn a m with v . l .
, a th a fi j a
’

mka dra v a m v a ) ; Ma h a ma r
,
na
Bi d r s a nd i
p pp a l , se e th e p a ssa g e
i x 2 ; a l s o C h a n d v iii 6 1 On
.
,

fr o m D r o n a , ite d h e re a fte r , . .
, ,
c
a c c o u n t o f t h e v a ri e d r e a d i n g i n
.

t h e s a m e v e r s e t h e thr e e fi r s t
iv 1 7 a n d 20,
c o l o r s m a y b e t h e o n ly o ri g i n a l
,

mdrce ; hr d a m a n i s a
,
na sa , se e be b u t e ve n h e r e t h e r e fe r e n c e i s t o
lo w .
Pra krt i i n t h e Up a ni s h a d a n d t o
B ra h m a n i n th e e p i c .
 L I E RA T T URE KNO WN TO THE E PI C P O E TS .

These the best ex a m ples of sp o ra di c p a ra llels to be

a re

foun d i n the Upa n ish a ds I turn n o w to the Ka th a ka . .

Th e K ath a ka or K a th a Up a n is h a d .

From the K a tha iii 1 0 i n dri y e b h y a h p a ra h y a rtha a rth e

, , , ,

b h y a c c a p a ra m m a n a h m a n a s a s tu p a ra b u ddhi r b u ddh e r
, ,

a tma m a ha n p a ra h a n d ii 1 9 n a y a mha n ti n a h a n y a t e the

’
, , , ,

G i ta 3 42 h a s i n dri y a ni p a ra n y a hur i n dri y e b h y a h p a ra m

, , ,

ma n a h m a n a s a s tu p a ra b u ddh i r yo b u ddh e h p a ra t a s tu s a h
, ,

the S is hi her th a n i n tellect) ; a n d i n 2 1 9—20 it i n ver t s

( a g , ,

a n d m o di fi es the n a j a y a t e a n d ha n ta c e n m a n y a te ha n t u m

sta n z a s L ess precise i n ren derin g but importa n t o n a ccoun t

.
,

of the Gi ta mo di fi c a tion s a re t wo other sta n z a s K a tha i 22 , .

, ,

h a s va kta c a s y a t va drg a n yo n a l a b h y a h e t c
’
a t ri stu b h , .
, ,

where a s Gi ta 6 3 9 h a s t va d a n ya h s a mca y a s y a s y a c h e t ta
, , ,
’

na h u p a p a d a te a c l o ka ( co m p a re M ii 1 5 1 s a m a nam
y y , c y a .
, , ,
’
hi n i rm o kt a t va n n a n y o vi dy a t e b h u vi a ddresse d t o Kris hn a ) , .

Th e K a th a is ol der a lso i n the sta n z a ii 1 5 , ,

sa rve ve da ya t p a da m a ma n a n t i , t a p a ns i s a rva n i
ca ya d va da n t i
y a d i c c h a n t o b ra h m a c a ry a m c a ra n t i , ta t te pa da m
s a ngra h e n a b ra vi m i ,

as comp a re d with G i ta 8 1 1 , ,

y a d a ks a ra m v e da vi do va da n t i , vi c a n t i ya d ya ta y o
v i t a ra ga h

ya d i c c h a n t o b ra h m a c a ry a m c a ra n t i , t a t te p a da m
sa ngra h e n a p ra va ksy e .

Other p a ra llels will be foun d between Ka tha 11, 7,

kt a ku ca l o l a b dh a , a q c a ry o j a a ta
‘
a q c a ry o va sy a

ku ca l a n u qi s ta h ,

a nd Gi ta , 2, 29 ,
a q c a ry a va t p a qy a t i ka c c i d ena m , a qc a ry a va d va da t i
ta th a i ’
va ca
’
n ya h , e tc .

betwee n K a th a vi 1 d Gi ta 1 5, 1
the i de a devel o pe d i n
, a n ,(
xii 25 5 1
, and
, in a few m o re in sta n ces such a s ta sya ,
30 THE GR E A T E PI C OF I N DI A .

bha s a i da m vi b h a t i Ka tha v 1 5 a n d e ka h s u ry a h
s a rva m , , ,

s a rva m i da mvi b h a t i M b h iii 1 3 4 ,

.
, ,

B u t it is n o t n ecess a ry to dwell upo n these a s the thir d ,

cha pter o f the Up a n isha d is epitom ize d i n a section of Q a n t i .

Th e l a ter fe a ture be gi n s a t the sta rt xii 247 1 if Th e , , , .

vi ka ra s mo di fi c a tio n s of Pra krt i do n o t k n ow the kse t ra j ii a

‘

, , ,

or spirit but he kn ows them The n foll o ws the ima ge of the

, .

Up a n isha d iii 2 E Th e sen ses a re subservie n t stee ds a n d

, .
,

the spirit is the driver wh o con trols the m s a my a n t a After , .

this ge n era l imita tio n follow the three sta n z a s of K a tha iii ,

1 0 1 1 1 2 o n e of which a ppe a rs i n the G i ta ( a bove ) but

, , ,
2
,

with the substituti o n of a m rta fo r p u ru sa i n the sec o n d

sta n z a a n d e va m for e sa i n the thi rd Then a ge n era l like
, .

’
n ess follows betwee n the Up a n ish a d s n ext st a n z a
( restra in
“

”
min d i n kn owle dge i n self ) a n d the epic which s a ys sin k
, ,
”
i n g the se n ses with mi n d a s the sixth i n the i n n er self ,

“ ” “
e n dowi n g the min d wit h wis do m o n e tha t is n o t m a s ,

t e re d ( by the se n ses ) gets the imm o rta l pl a ce Th e in stru o .

tion is a mystery to be repe a te d t o Sn a t a ka s ( co m pa re K a tha

, ,

iii a n d besi des co n ta i n i n g the gist of for m er wis do m is

“
, ,
”
recite d i n the Upa n isha ds ve da n t e su c a gi y a t e 247 1 6 1 9 , , , ,

21 . I thin k there c a n be n o doubt th a t the epic sectio n is a n

a bbrevi a tio n of K a th a iii perha ps u n der the i n flue n ce of the ,

Ma i t ra ya n a a s sho wn belo w A prece din g section m a y be

,
.

co m p a re d with Ka tha v 1 —2 where the city of eleven doors , ,

is fo ll owe d by a refere n ce to the h a fi s a lord R V iv 40 5 , , . .

, ,
.

Th e epic ( see u n der the group of seve n tee n like the l a ter
”
Upa n isha d a dm its o n ly n in e do ors a n d s a y s i n xii 240 3 2
, , , , ,

the ha ns a lord i ga a n d co n troller va ci e n ters the city of

, , , ,

n i n e doors bec a us e it is c o n trolle d n i y a t a h by the se n ses

, , ,
.

O ther sta n z a s reflectin g the l a st cha pters of this Up a ni sha d

1 C o m p a re i n t h e Up , i b 9 . . a nd 1 2, a gn i r y a t h a i ka h a n d e
’
k a m ra p a m
b a h u dh a y a h k a r o ti , with e ka e v a gn i r b a h u dh a s a m i dh y a t e , u s j t p re c e d i n g
in th e ep c i . Gt
i a , 1 3 , 3 0, m a y b e a m o d i fi ti
ca on o f K a th a vi 6 Th e Git a , .

t z
s an r
a , b y t h e wa y , i s t d r ti
epea e ve b a m in x ii 1 7 23 , , .

2 l t
Th e a s o f t h e thr r it d ga i n i n Va n a i n a
e e ve s e s i s c e a cop y o f t h e Ma i
t ra y a a Up a n i s h a d whi c h s u b s tit u t e s b h fi t a t m a fo r g a d h o t ma , a n d
‘
n , j fi a n a ~

ve dib h i h fo r s fi ks m a da rc i b h i h Se e t h e n e x t p a r a g ra p h
. .
32 TH E G R E A T E PI C OF I N DI A .

t a s ma d va l va y ur a y a ta h t a s mi fi c ca pra n a a t a t a h is , a

p a ra llel to K a tha vi , The n follows , in the epi c 91 1 5

, .

ngu s t h a m a t ra h p u ru s o n t a ra t m a ,
‘
a l i fi ga s y a y o ge n a
s a ya ti n i t y a m

t a m i q a m i dy a ma n u ka l p a m a dy a m, p a cy a n t i m u dh a
na vi ra a j m a n a m,

which a ppe a rs i b 27 a s
.

ngu s t h a m a t ra h p u ru s o m a ha t ma ,
‘
a na drcy a t e sa u

h rdi s a mn i vi s t a h
a j a q c a ro di va ra t ra m a ta n dri t a
q ca , sa ta m ma t va
ka vir a ste p ra s a n n a h ,

with which Ka tha iv 4 ( m a t va , dhi ro na

co c a t i ) ma y be com
pa re d a n d especi a lly iv 1 2 :
, ,

a ngu s t h a m a t ra h p u ru so m a dhy a a t m a n i t i s t h a t i
i c a n o b h u t a b h a vy a s y a n a t a t o vi j u gu p s a t e ,

a nd Ka tha vi , 17
a ngu s t h a m a t ra h p u ru so n t a ra t ma ,
¢
s a da j a n a n a m
h rda y e s a mn i vi s ta h
ta ms va c c h a ri ra t p ra v rh e n mu fi j a d i va -i s i ka mdha ir
yen a ( t a mvi dy a c c h u kra m)
Th e la st words fo u n d i n the epic
a re ,
44, 7, as

a t m a n a mn i rh a ra n t i h a deh a n mu ri j a d i s i ka m i va
’ ‘

ta ,

s a t t va s a m s th a h ,

whi le j us t before 46 27 is foun d i n 91 25 , , .

e va my a h s a rva b h u t e s u a t m a n a m a n u p a q y a t i

a n y a t ra n y a t ra y u kt e s u ki m s a q o c e t t a t a h p a ra m
’
,

whi ch is like I ca 6 7i n -
con tra cte d form .

1 T h e re is h e re a g
ra l r e s e mb l a n c e n o ti c e a b l e c hi e fly b e c a u s e o f th e
ene ,

c o rr e l a ti o n o f one i d e a with t h e n e x t fo ll o wi n g i n t e rr u p t e d in t h e e p i c b y
,

t h e p fi rn a t za
s an . W ith 44 27 Hi s fo rm i s n o t i n s t a r s li g ht n i g c l o u d s
, ,
“
, n , ,

win d , mo o n , su n , c o m p a r e K a th a v 1 5
“
N o t th e r e t h e s u n s hi n e s m o o n
, , , ,

t rs
s a , n or li ghtn i n g s .
”
 E
L I T R A T UR E K N O WN TO THE EP I C PO E TS . 33

Th e Ma i t ri Up a n is h a d in th e E p ic .

E specia lly in structive is the form i n which the Ma itri or

Ma i tra ya n a Up a ni sh a d a ppe a rs i n the epic I n the c a se of .

m a n y of the Up a n ish a ds there is l a cki n g a n y cha ra cteristic

ma rk suffi cie n tly peculi a r to i de n tify the Up a n isha d when it
a ppe a rs i n epic for m B u t the M a itri a s is well k n own c o n
.
, ,

ta in s som e specia l sta n z a s a n d a bove a ll so m e specia l term s

n o t fou n d elsewhere except i n still l a ter Up a n ish a ds I t is .
,

therefore more e a sily ide n tifi e d a n d the possibility tha t we

, ,

a re de a lin g with m a teri a l commo n to the a ge of the o l der

Upa n isha ds is n o t so gre a t I n a ll proba bility it is a la ter .

Up a n isha d D e u s s e n Sechzig Upa n isha ds p 3 1 2 success

.
, , .
,

fully ma in ta in s thi s view a n d i n h i s G eschichte de r Phil o ,

Sop hi e i
2
p 24 gro ups it with the Pra gn a a n d Ma n dfi ky a
, .
,
”
a s belo n gi n g to the group of l a ter Prose Up a n isha ds
“
,

rega rdi n g it n o t on ly a s la ter tha n t h e o l d prose but eve n ,

a s l a ter tha n the metric a l Up a n ish a ds from both of which ,

e a rlier gr o ups I ha ve give n epic p a ra llels i n the list a bove .

This M a itri Up a n is ha d is f o un d reflecte d i n the epic a t

iii 21 3 a n d i n a l a ter imi ta tion i n the twelfth book Th e
, , .

fo rm er epic sectio n is b a se d en tirely o n the Upa n isha d a n d ,

the prece din g sectio n s a ppe a r to be du e to a n exp a n sion of

the s a me m a teri a l Th e or der followe d is i n ge n era l th a t
.

of the Upa n isha d .

Th e te a chi n g is c a lle d bra hmi vi dy a iii 21 0 1 5 There , , , .

is a n in tro ductory system a tiz a tio n the a ssumptio n o f the ,

1
un iverse ( a s B ra hm a n ) c o n sistin g of fi ve ele m e n t s e a rth , ,

wa ter light win d a i r which ha ve a s their cha ra cteristics ( i n

, , , ,

i n verte d order ) soun d touch color ta ste smell so rela te d

, , , , , ,

tha t e a rth h a s a ll fi v e ; w a ter four ; light three ; win d t wO ; , , ,

sou m a ki n lt o ether fi fte e n i n c o mbi n a ti o n

a ir o n e
, ( nd
) g a g,

i n a ll cre a te d thin gs ( 21 0 1 7; 21 1 With t h ese fi ve , ,

”
u nas b e i s roup of seve tee : c e t a n a or m a n a s m i n d
g g n a
g n n , ,

1 I n 2 1 0, 1 7 , th e s e a re i ve n i n r e ve r s e o r d e r b u t i n 2 1 1 3 i n th e i r u s u a l
g , , ,

e i
p c o rde r b h ii m ir a p a s
,
'

t a th a j y o t i r v a yu r a ka c a m e va c a ( re ve r s e d kh a m ,

va y u r a gn i r a p a s a a t th ca b h uh ) .
34 THE GR EA T EP I C OF I N D I A .

a s sixth ; i n tellect a s seven th ; e goism a s eighth ; the fi ve

se n ses ; a tma n soul the fo urteen th ; a n d the three gun a s
, , ,

“ ”
ra j a s s a t t va m ta m a s This is the group of seven tee n
, ,
.
,

which h a s a s its design a tio n the Un ma n ifest ( a vy a kt a ) ; to

which a re a dde d o bjects o f the se n ses a n d the m a n ifest a n d
un m a n ifest m a ki n g the c a tego ry o f t wen ty four
,
1 -
.

Thi s is the i n tro ductory ch a pter of the discourse a n d its ,

like n ess t o the Ma itri Up a n isha d c o n sists i n the i n itia l di s

c u ssio n o f the eleme n ts ( which however a re n o t c a lle d , ,

fi n e ele m e n ts t a n m a t ra a s they a re i n t h e Up a n ish a d ii i

, , , ,

2
2 m a h a b h fi t a n i a n d gu n a s )
,
a n d the sta teme n t tha t thi s is ,

a br a h m i vi dy a li ke M U 1 1 3 b ra h m a vi dy a , As a n in dic a .
, , .

tio n o f the a ge of the discourse it m a y be observe d i n p a ss ,

i n g th a t i n 21 1 9 the fi ftee n gun a s a re s a i d to be properly

, , ,

correla te d i n the re m a rk a ble verse :

a n y o n y a mn a t i va rt a n t e s a my a k c a b h a va t i dvi j a
’
,

where the use of b h a va t i fo r b h a va n t i ( subject p a ii c a da ga ,

gu n a h) thou gh decl a re d by t h e comme n ta tor to be a n a rch a

,

1 Oth e rwi s e t h e c o mme n ta to r ti o n o r ga n s a re n o t

. Ob j e c t s o f s e n se a n d a c -

i n c l u d e d i n t h e s e ve n t e e n : i t y e a s a p t a da c a ko ra c i r a vy a kt a s a mj i a ka h s
‘

x ,

s a rv a i r i h e n dri y a t h a i s t u vy a k t a vy a kt a i h s u s a m v rt a i h c a t u rvi nc a ka ity e s a

’
r

v y a kt a vy a kt a m a y o g a h ( 2 1 0 20 un Gu a i s o b s c u r e Th e e n tire ly d iffe r
,
n .

e n t g r o u p o f s e v e n t e e n i n x ii 2 7 6 28 c a s t s n o li g ht o n t h e s u b j e c t b u t i n x ii
, , , , ,

3 3 0 46 a s i m il a r v e r s e h a s ( i n B ) s a va i r i h e n dri y a rt h a i c c a vy a kt a vy a kt a i r
’
, , r

hi s a mh i t a h ( v 1 s a mj ii i t a h ) c a t u rvi n e a ka ity e s a vy a kt a vy a kt a m a y o g a a h
. . n ,

whi c h g i v e s t h e e e de d ga a h fo r g u a h a
n d m a k e s t h e c o n s tr u c ti o n s o m e
n n n

wh a t c l e a r e r th o u g h t h e l a tt e r p a s s a g e i s s u c h a c a r e l e s s i m it a ti o n o f t h e
,

o n e a b o v e th t i n m a ki n g u p t h e p r e v i o u s li s t o f s e v e n t e e n a t m a n a h a m
a k a ra , , ,

a n d ma a sn e a l l o m itt e d fr o m t h e li s t ( b u dd hi b e i n g r e p r e s e
a r te d b y m a h a d n

y a t p ra m a c a y a t ) a n d 5
a r 1 5 3 1 7! Th e fi r s t g r o u p i s s i m il a r t o
t h e g r o u p o f s e v e n t e e n i n t h e Ve d a n t a S a r a th o u g h th e r e t h e o r g a s o f a c ti o n -
,
n

a n d t h e b r e a th s a e i n c l u d e d with t h e o r g a n s o f s e n s e
r b u dd hi a n d m a n a s , .

Th e fo r m a l d e fi n iti o n o f vy a kt a a n d a vy a kt a i n i ii 2 1 1 1 2 r e p e a t e d i n i i , , ,
x ,

3 3 0 49 with gt h y a t e fo r s rj y a t e a n d with s li g ht v 1 i n x ii 1 8 9 1 5 i s th a t
, ,
. .
, , ,

v y a kt a t h e m a n i fe s t i s wh a t i s c o m p r e h e d e d b y t h e s e n s e s whil e a vy a ka
, , n ,

i s wh a t i s s u p e r s e n s u o u c o m p r e h e n d e d o n ly b fi n e o rga n s “
y th e ( li ga
‘

s, xi

gra h y a m a t i n dri y a m ) I f t h e r e a d i n g g u n a b e r e t a i n e d a b o v e it wi ll i mp ly
.
,

t h e i n t e r p r e t a ti o n o f a l l t h e c o n s tit u e n t s a s g u n a s .

s h e r e a s s y n o n y m o f d h a t u o r t h e e l e m e n t s w hi c h a ft e r t h e di s
2 Th a t i
, , ,

s o l u ti o n o f t h e u n i ve r s e a p p e a r i n e v e ry n e wly fo r m e d b o d y dh a t a va h p a a c a ,

b h a u t ika h iii 2 1 1 1 1 ; x i i 1 84 1
, , , , , .
 L I T RA T UR E E K N O WN TO THE EP I C PO E TS . 35

ism is re a lly a la te c a relessn ess I t is further to be observe d

,
.

tha t tho ugh i n this in tro ductio n a n d in ci de n ta l ly i n a pre ,

ce din g sectio n iii 207 72 the o rga n s o f sen se a re give n a s

, , , ,

1
fi ve yet i n iii 21 1 24 they a re Spoke n of a s six i n a fi gure
, , , , ,

whi ch n o t on ly repro duces the exa ct la n gua ge of the G i ta ,

2 60 a n d 67 but co n ta in s the ima gery o f the Ma itri Up a

, ,

ni s h a d ( ii 6 ra th a h c a ri ra m m a n o n i y a n ta p ra krt i m a yo s y a
‘

, , , ,

p ra t o da h )
sa n n a m a t m a n i y u kt a n a m i n dri y a n a m p ra m a t h i n a m
y o dh i r o dh a ra y e d ra c m i n s a s y a t p a ra m a s a ra t h ih

i n dri y a n a m p ra s rs t a n a mh a y a n a m i va va rt ma s u
i n dri y a n a mvi c a ra t a m etc ,
.

This ima ge of the se n ses to be kept un der co n trol like ho rses

held i n check by a cha ri o teer is in dee d too gen era l to ha ve
a n y be a ri n o n the rel a tio n of the epic t o the Up a n ish a d ( it
g
occurs a s s a i d a bove i n the K a th a Upa n ish a d for in sta n ce
, , , ,

a n d a ga i n i n the epic i n purely B u ddhi stic form a t i 79 2—3 , ,

D ha mm a p a da 222—223 ) a n d m i ght p a ss u n n otice d were it ,

n o t th a t the correspo n di n sectio n of the twel fth bo o k bri n s

g g
the two in t o so m ewha t clo ser rela tio n sh ip As a lre a dy o h .

serve d the te a chin g of the Va n a i n 21 0 a n d 21 1 is m ore or

,

less closely repro duce d i n xii 3 3 0 which however o m itti n g , , , ,

the sta n z a s i n re ga rd to the six se n ses co n de n ses them i n the ,

“ ”
sta teme n t tha t o n e is to sse d a b o ut by the e fle c t s of evil
a c t io n s but the n closes with a sta n z a 5 8 which h a s direct
, , ,

refere n ce to tra n s m igra t ion a n d is i n turn omitte d from the

e n d of iii 21 1 p a ri b h ra m a t i s a m
, s a ra mc a kra va d b a h u v e da n a h
, ,

1 So b o th gr oups of o r ga n s th o s e o f s e n s e a n d o f a c ti o n a re s o m e ti m e s
, ,

c o un e t d a s m a ki n g n o t t e n b u t e l e ve n in c l u d i n g t h e thi n ki g fa c u lty a s i n
,
n ,

x i v, 42 , 1 2 . C o m p a r e t h e s a m e i m a g e a n d n u m b e r i n x ii 247 2 ( a b o ve ) m a , , ,

na h s a s ta i r i h e ’
n dri y a i h su da n t a i r i v a s a rhy a n ta, e tc . In th e p a s sa e g a b o ve ,
iii ,
21 1 , 1 3 , t h e s e n s e -o rg a n s i n dri y a n i a re d e fi n e d a s
, , a p p re h e n de rs o f o b j e c ts
o f se n se gra h a k a n y
, e s a m c a b da di n a m Th e wo r d . is d ri d fr
e ve om I n d ra ,
.

xi i, 21 4, 23 , t ri b i j a m ja m) i n dra da i va t y a n 1 t a s m a d i n dri y a m
'

( a p a p a th a n rb i ,

u c ya ith a p r e c e d in g d e s c rip ti o n
te , w d hi o f th e se e s, th e t e n c e f dh a m a n y a h ,

t h e thr e e h u m o r s v a t a p itt a k a p h a a n d o th e r m e d i c i n a l i n t e lli g e n c e with

, , , , ,

e s p e c i a l we i g ht o n t h e h e a rt a rt e ry m a n o va h a a n d i t s a c t i o n a s kn o wn t o
-
, ,

A tri .
36 THE GR EA T EP I C OF I N D I A .

tha t is “ like a wheel he revolves thr ough tra n smigra tion s

,

J ust so the Ma itri Up a n isha d ii 6 s a ys fi rst tha t the se n ses

.

, , ,

a re horses a n d the n a fter developi n

g the fi gure co n clu des
, ,

with a n e n a ( p ra t o de n a ) kh a l v i ri ta h p a rib h ra m a t i da m c a ri ’

ra ru c a kra m i va m rtp a c e n a thus go a de d he revolves i n b o d

'

,
’
ily fo rm like a potter s wheel .

Th e n ext ch a pter of the te a chin g iii 2 1 2 discusses the , , ,

three gun a s a s ( i n ge n era l ) i n Ma itri iii 5 Th e section , , .

befo re thi s i n the Up a n isha d iii 4 is a close pro se pro totype , , ,

of the Q a n ti verses ( o m itte d i n iii ) just prece din g the gro up

of seve n tee n ( the rest of the secti o n xii 3 3 0 be in g p a ra llel , ,

to iii ,
This ( xii 3 3 0 42 ) verse begins a s t hi s t h ii n a m
, ,

s n a yu y u t a m c a rm a va n a ddh a m ( just a s i n the Up a n isha d ,

c a rm a n a va n a ddh a m ) a n d i n 28 —9 ko s a ka ra i va suggests
’
, ,

( g
a a i n st the co m me n ta tor a n d D e u s s e n
) th a t i n the Up a n i
sha d the en din g ko s a i va va s u n a sh o uld be in terprete d
,

a ccor din ly lle d like cocoo with ( d e a dly we lth

“
g fi ,
a n
) a .

Th e n ext ch a pter of Va n a the speci a l ch a pter un der c o n s i d ,

e ra t i o n be gin s with the questi o n how the vita l fla me c a n

,

combin e with e a rth stuff t o ma ke the i n c o rpora te cre a ture

-
,

a n d how a i r c a uses a ctivity To which the a n swer is th a t .

the fla m e e n ters the he a d a n d directs the bo dy while a i r a cts ,

by bein g i n the he a d a n d i n the vita l fla me This is like the .

o pe n i n of the Up a n ish a d where it s a ys ii 6 tha t the spirit

g , , ,

“
is fi re Th e a n swer c o n tin ues : All is esta blishe d upon
.

bre a th ; which is i de n ti fi e d with Spirit Purusha in tellect , , ,

bu ddhi a n d ego ism The n follows a di squisiti o n up o n the

,
.

differe n t ki n ds of bo di ly a irs or bre a thi n gs These a re .

n a m e d a s the us u a l fi v e but a re i n ci de n t a lly referre d to a s ,

t e n which ma kes it n ecess a ry to u n dersta n d with the c o m

,

m e n ta t o r tha t the o ther fi ve a re th o se c a lle d n a ga kurm a , ,

krka l a ( sic ) de va da t t a a n d dh a n a mja y a besi des the usu a l

, , ,

i bre a thi n g with bre a thi n g o ff bre a thi n g bre thi

( n ,
-
u
p a n
g ,
-
,
-
,

a n d thr o u h bre a thi g

g n wh i ch-
a r e speci fi c a l ly, me n tio n e d 1
.

1 iii
2 1 3 , 1 6, da ga p ra n a p ra c o di t a h
,
Th e t e n a re n a m e . d a s a b o ve i n t h e
Ve da n t a s a ra o f Sa da n a n da , 99 , B 6h t l i n gk s C e s p 264
’
hr t . . . Th e ( u su a l ) fi ve
a re p ana , r sa ma n a , a p a n a , u da na ,
v ya n a . Th e sa me thin g occu rs in x ii , 1 8 5,
 L I T RA T UR E E KN OWN TO THE EP I C PO E TS . 37

This a lso c o rresp o n ds to Ma itri 1 1 6 where the fi ve bre a ths , ,

a re a ssoci a te d with the vita l fl a m e ( A gn i Va i c va n a ra as

P u ru sa ) .

After the bre a ths a re dis cusse d there is a p a ssin g refer ,

e n ce to the eleve n ( n o t sixteen ) vika ra s o r tra n sforma tion s ,

1
by w hi ch the spirit is co n diti o n e d like fi re in a pot ; just
as M a itri iii 3 h a s fi rst ya tha gn i n a y a s p i n do n y o va b hi
’ ’ ‘ ’

, ,

b h ii t a h etc a n d the n the tra n sforma tio n s guh a n i

, .
,
vika ,

ra s ) Th e correspon di n g p a ss a ge i n C a n ti here 242 1 7 h a s

. , , ,

ka rm a gu n a t m a ka m for n i ty a my o ga j i t a t m a ka m but the n both ,

pa ss a ges co n tin ue with the sta n z a :

devo 2
ms t h i t a s ( v 1 s a mq i t a s ) t a s mi n n a h
ya h sa . . r ,

bin du r i va p u ska re
ks e t ra j fi a m t a m vi j a n i h i ( v 1 i y a t) n i t y a m yoga
°
. . .

j i t a t m a ka m,

Kn ow tha t the di vin e bein g who sta n ds i n the bo dy like a

dro p of wa ter o n a l o tus is the Spirit etern a l but overcome ,
”
by its a s socia tion Th e epic texts va ry i n the n ext sta n z a
.
,

but the se n se is the s a m e to the effect tha t the i n di vidua l ,

li fe s p i ri t j i v a thou gh co n dition e d by the three gun a s h a s the

, , ,

cha ra cteristics ( gun a s) of the a tma n while a tm a n a ga in is o n e ,

with the Supre m e Atm a n ( p a ra t m a ka m 21 3 Th e thi r d , ,

version of the pa ss a ge foun d i n xii 1 8 7 23 —25 expl a ins the , , , ,

in divi dua l spirit ks e t ra j fi a a s a tm a n con di tion e d by the gu

, ,

n a s of P ra krt i a n d a s Supreme Atm a n whe n free d from

,

1 5, w h e re hr a s e a b o v e r e a p p e a r s i n a c o p y o f thi s s e c ti o n I n x 1 1 3 29
th e p .
, ,

3 1 if ( a n d e l s e wh e r e ) t h e p r a a s a re s e ve n p e r s o n i fi e d c r e a t u r e s Ud a n a b o rn
. n ,

o f Sa m a ri a e t c a s win d s p ra a u d s a m vi p a ri a n d p a r a ( va h a s ) Co m
"
.
,
.
, , , , , , , ,

p a r e a l s o x ii 1 8 4 2 4 b e l o w
, , ,
.

1 e k a da a vik a ra t m a ka l a s a m b h a ra s a m b h t a h m fi rt i m a n t a m hi t a mvi ddh i

c r
n i ty a m y o g a j i t a t m a k a m t a s m i n y a h s a m s t h i t o h y a gn ir n i ty a m s t h a ly a m
,

i v a h i t a h a t m a n a m t a m vi j a n ih i n i ty a m y o ga j i t a t m a ka m 2 1 3 1 8 —1 9
’
.
, ,

y b e ji va d e va m t ri dh a t u m t i v t t a m s u p a rn a m
2 I n x ii 2 46 29 d e v a m a r
, , , ,

y e vi dy u r a gry a m p a ra m a t m a t a m c a b u t o n t h e o th e r h a n d th e r e m a y b e a ,

t e x tu a l e rr o r h e re o f d e vo fo r d e h e C o mp a r e x i i 1 8 7 24 t a smi n y a h s a mgri t o .
, , ,

d e h e h y a b b i n du r i va p u ska re Th e Su p re m e Sp irit i s d e v o ( n i rgu n a h) x ii .

, ,

3 41 1 01 a s i n Cve t Up i 8 ( h e r e c a ll e d 9 9 y a j fi e s v a gra h a ra h )
, ,
. .
, , ,
.
38 THE GR EA T EP I C OF I N DI A .

them ; with 1
va rie d re a di n g of n i ty a ml o ka hi ta t ma ka m a n d
a

vi ddh i ji va gu na n i n the f o ll o wi n g verses ; 26 however bei n g , ,

a lmost the s a m e a s iii 21 3 22 , ,

s a c e t a n a m j i va gu n a m va da n t i

s a c e sta t e c e s ta y a t e c a s a rva m
( t) a ta l1 _ pa ra m ks e t ra vi do va da n t i
p ra ka l p a y a d (v . 1 .
p ra va rt a y a d) yo b h u va n a n i
sa pt a ,

They tha t the i n di vi dua l spirit is cha ra cterize d by in tel

sa y
2
li ge n c e ; it moves a n d c a uses a l l to move Th e wise s a y .
,

tha t he wh o c a use d the ma n y cre a tion s to form is still

hi gher ( or the
Th e re a di n g i n xii 1 8 7 23 bri n gs the p a ss a ge i n to still , ,

closer co n n ectio n with the Up a n isha d Th e la tter a t iii 2 .

, , ,
‘
ra re foll o we d by s a va e s o bkz bhfi t a t
’

h a s a tma bi n du r i va p u s /
‘
ra krtdz r gu n a i fi while the epic h a s a bbi n du r i va u s ka r e
’

p , p
prece de d by a tma kse t ra j fi a ity u kt a h s mit y u kta lz p rdkz t a i r ‘
'

y a n c i k where the Va n a versio n keeps ( wha t is here lost )

,

the im a ge of the fi re i n the pot The n the sta n z a a bove .

,

3
s a c e ta n a m etc closely repro duces the wo rds a s well a s the
, .
,

thought of the Up a n isha d ii 5 : c e t a n e n e da m ga n ra m ceta , ,

’

’ '
n a va t ra t i s th a i t a m ra c o da i i sy c mp re
p p p y ta v a so p y a a ( o a

a c e t a n a m c a ri ra m ii Th e fa ct th a t the epic Va n a is
, ,

n o t b a se d o n the l o tus phr a se o f e a rlier Up a n ish a ds but is -

follo wi n g the Ma itri is show n even more cle a rly i n the phra
s e o lo
gy of the follo w i n
g st a n za 2 1 3 23 which a t this p o i n t , , ,

does n o t correspo n d t o Q a n t i a bove but to a l a ter cha pter , ,

1 Fo r t h e t e x t s e e t h e e n d o f t h e l a s t n o te A p a s s a ge i n x i i 3 1 6 1 5—1 7
,
.
, ,

c o mb i n e s fr e e ly t h e t wo tr a it s m e n ti o n e d a b o ve : Th e fi e i s d iffe r e n t fr o m r

t h e p o t u kh a ; t h e l o t u s i s d i ffe r e n t fr o m t h e wa t e r n o r i s it s o il e d b y t o u c h
, ,

o f wa t e r e t c — a fa c t whi c h i s s a i d t o b e n o t u n de rs t o o d b y c o m m o n
” “
.
,

p e o p le a s in t h e e x a m p le b e l o w
”
.
,

e c o mm e n t a t o r s a y s th a t a s i n d i v i d u a l s o u l t h e a t m a n i s a c ti v e a n d
2 Th
,

a s t h e L o r d s o u l c a u s e s a c ti vity ( c o m p a r e x ii 47 65 y a c c e s ta y a t i b h ut a n i
-
, , ,

t a s m a i v a y v a t m a n e n a m a h ) ; b u t t h e Hi g h e s t i s a b o ve b o th th e s e I n xi i .
,

242 20 j i v a y a t e t a k e s t h e p l a c e o f c e s ta y a t e
, , .

e V a n a p a s s a g e b u t b o th t e x t s i n b o th t h e G a n ti
8 C h a s a c ta n a m i n t h
. e ,

p a s sa g e s h a ve s a c e t a n a m x i i 1 8 7 26 ; 242 20 , , , , .
40 THE GR EA T EPI C OF I N DI A .

or three deserve p a rtic ul a r a tte n tion I n x 1 i 240 21 it .

, , ,

a ppe a rs i n a sta n z a like o n e to be cite d presen tly where ,

a n other M a itri word is fou n d but here the text s a ys merely ,

tha t the b h fi ta t m a n ( ce a ses to be co n di tio n e d a n d) e n ters

B a r hm an where it “
,
sees self i n a ll bein gs a n d a ll bein gs i n
”
self .I n 91 1 1 of the s a me ch a pter the b h fi ta t m a n a ppe a rs
.

a s the co n troller of mi n d i n the s a me simile of the wil d horses

n otice d a bove but with a di ffere n t tur n : ,

“
Min d a s a cha r ,

i o t e e r his horses direc t s the se ns es ; a n d the b h fi ta t m a n

,

whi ch is se a te d i n the bre a st di rects mi n d ; a s the min d ,

restra in in g a n d lettin g out the se n ses is thei r lord so the , ,

”
b h fi t a t m a n i n respect to the mi n d I n xiv 5 1 1 o n the .
, , ,

other ha n d the m i n d itself is c a lle d b h fi ta t ma n bec a use it

, ,

rules the m a h a b h fi t a s Fin a lly the s a me term is use d of .

Vishn u i n xiii 1 49 1 40 where it is s a i d : ,

1
, ,

e ko Vi s n ur m a ha d b h u t a m p rt h a g b h u t a n y a n e ka q a h

tri n lo ka n vy a p y a b h u t a t ma b h u nkt e vi q va b h u g
a vy a y a b,

“
Vi s hn u a s one is a gre a t
spirit ( b huta ) a n d sep a ra t e ly is a ll ,

be i n gs ; h e p e r m ea tin g e n j o ys the three wo rlds a s b h ut a t ma n

, , ,
”
h e t h e a l l e n j o y e r i n de stru c ti b le
-
,
.

It
is cle a r from these p a ss a ges tha t b h ii t a t m a n is n o t us e d
i n o n e strict se n se i n the epic but its si gn i fi c a tio n va ries ,

a ccor di n g to dif fere n t p a ss a ges I n o n e c a se it is a free Spirit .

2
of eleme n ts but i n a n other the co n di tion e d spirit i n the
,

1 q o t a ti o n h e r e g i ve n m a y b e t h e o n e c it e d i n PW fr o m CKD r s
Th e u . . .

b h ii t a t m a n I 1 B u t c o m p a r e a l s o x ii 207 8 wh e r e t h e L o r d Go v i n d a i s
,
.
, , ,

b h fi t a t m a m a h a tm a Se c r e t o f t h e Ve d a n t a s ( Up a n i s h a d s ) t h e
“
In t h e .

In te lli ge n c e a s L o r d b h fi t a kt t m a ke r o f e l e m e n t s i s c a ll e d B h fi t a t m a n x i i
, , , ,

1 94 7 ,
248 4 a n d 1 4 a s B u dd hi
, ,
.

2 He n c e c a ll e d s fi k s m a fi n e Thi s s e e m s t o b e t he s e n s e i n x 1 i 203 6—7

, .
, ,

A s n o o n e h a s s e e n t h e b a c k o f Hi m a l a y a o r o f t h e m o o n b u t c a n n o t s a y ,

it i s n o n e x i s t e n t s o t h e fi n e b h fi t a t ma n whi c h i n c r e a tu r e s h a s a k n o wl
-
,

e dg e s o u l j n a
-
,
a t m a v a n c a n n o t b e s a i d n o t t o e x i s t b e c a u s e it h a s n o t b e e n
n ,

se e n . W ith thi s j fi a n a t m a n c o m p a re b y t h e wa y wh a t i s a i d o f t h e s o u l
”
, ,
s ,

ih 240 22 y a v a n a t m a n i ve da t m a t a v a n a t m a p a ra t m a n i ( j u s t a fte r t h e ve r s e
.
, ,

c it e d i n t h e t e t 2 40 21 a b o v e o n b h fi t a t m a n )
x , , Th e s o u l i s a s m u c h i n th e
,

A ll s o u l a s th e r e i s k n o wl e dg e s o u l i n it s e l f
”
- -
.
 L I TER A T UR E KJVOWN TO THE E P I C P O TS E . 41

bo dy 1 I t is the l a tter me a ni n g whi ch a ppli es both i n the

.

Up a n isha d a n d i n the epic i m ita tion of it I n these c a s es .

b h fi ta t m a n is the a tm a n spirit n o t a s bein g pure F ur a s a , , ,

but a s bein g i n co n n ection with a n d con ditio n e d by b h ii t a ,

tha t is im priso n e d i n ma tter I t is a pp a re n tly a popul a r ( n o t

,
.

phi l o sophic a l ) term for spiri t i n ge n era l a n d when u se d in ,

philos o phy a n swers to the ordi n a ry phi losophic a l j i va in cor ,

o ra t e spirit I t is n o t fou n d i n other ( o l d) Up a n ish a ds

p . .

B u t there is stil l a closer p a ra llel betwee n the epic a n d the

Upa n isha d After the verse cite d a bove it is s a i d ii i 21 3
.
, , , ,

24—27 th a t s a lva tio n is a tta in e d by pe a ce of mi n d a n d by per

,

c e i vi n g self i n self a n d th a t this puri fi e d Spirit by the a i d ,

of the lighte d la m p ( of kn owle dge ) see in g self a s fre e of s e lf , ,

bec o m es rele a se d Here a ga in we h a ve a peculi a rly Ma itri

2
.

“ ”
word i n n i ra tma n free of self tha t is free from the de , , ,

l u s i o n of subjectivity B u t the two works a re here evi de n tly .

i de n t ic a l First just a s the epic s a ys th a t o n e must ha ve

.
,

pe a ce of min d pra s a da a n d be pure a n d then beco m es n i ra t

, , ,

m a n so i n ii 2—4 the Up a n isha d a fter a n a llusi o n to s a m

, , , ,

pra s a da the s a m e pe a ce of m in d s a ys tha t o n e becomes pure

, ,

a n d n i ra tm a n ( gu ddh a h p fi t a h c a n y a h c a n to p ra n o n i ra t m a )
‘
.

Th e Sign o f thi s pe a ce is expl a i n e d a s whe n o n e sleeps sweetly ,

iii 21 3 25 xii 247

, , I n the epic the wor d n i ra t m a n
, ,

occurs a ga in i n much the s a m e wa y xii 1 9 9 1 23 ca n t i bh fi t o , , , ,

n ira t m a va n like the c o lloc a tion a bove i n the Up a n isha d

, .

1 C m p r wh t i
o i d Ma it Up iii 2
a e Th b h fi t a t m
a s i ff t d b y
sa ,
. .
, .
“
e a n s a ec e

ig r
no a nced g iv it lf p t b j t f
,
a n so it i i d i i i 204 5
es se u o o ec s o se n se , s sa n x , ,
.

2 F lf i t h fri d f lf d
o r se s lf i t h f f lf V 3 4
e en o se ,
a n e ve n s o s e s e oe o se ,
”
, ,

64 ; Git a 6 5 , ,
.

3
Sa m p ra s a da i s su s u p ti , u n c o n s c o u s i
r Un c o n s c i o u s e x i s t e n c e i s l
s u mb e .

t h e g o a l o f t h e s o u l fo r t h e c o n d iti o e d s p irit ji va g l o ri o u s i m m o rt a l a n “
, n , , , ,

c ie n t i s a p a rt o f thi s u n c o n s c i o u s n e s s a n d o n b e c o m i n g p u r e e n t e r s it
”
In ,
.

a p r e c e d in g s e c ti o n thi s s a m p ra s a da o r u n c o n s c io u s e xi s te n c e i s d e c la re d t o
, ,

b e t h e b o d y o f t h e u n i v e r s e : Ya h s a mp ra s a do ( a m C ) j a ga t a h c a i ra m s a r v a n , . r ,

s a l o k a n a dhi ga c c h a ti h a t a s m i n hi t a m ( hi s m C ) t a rp a y a t i h a d e v a ns
’ ’
,
a , .
,

t e v a i t tp t as t a rp a y a n t y a s y a m a s y a x i i 246 3 3 wh e r e t h e s e n s e s e e m s t o , , , ,

b e th a t t h e r e a b s o rp ti o n o f t h e u n i v e r s e p l e a s e s t h e m o u th o f u n c o n s c i o u s
n e s s ; th a t i s t h e m o u th o f Ti m e a s L o r d o f a l l a m e t a p h o r fr o m t h e p e
, ,
r

c e di g v e rs e s
n So s a mp ra s a da i s a s p irit a t p e a c e i n C h a n d Up
. c it e d ,
. .
,

o n t h e n e x t p a ge .
42 THE GREA T EP I C OF I N D I A .

A n other p a ss a ge re a ds : Th e spirit ( a tma n but co n di tio n e d) ,

k n ows n o t whi th er it goes or whe n ce but the i n n er spirit ,

-
,

a n t a ra t m a n is di ffere n t ; it sees a l l thi n s ; with the li hte d

, g g
1
l a mp o f kn owle dge it sees self i n self D o tho u t oo seein g .
, ,

self i n ( or with) self beco m e free d from self beco m e a ll wise

, ,
-

( n i ra t m a bh a va s a rva vi t x 1 1 25 1 9 This verse is i n fa ct

, , , , ,

o n ly a differe n t versi o n o f the lighte d l a m p verse a bove

“
.

This la tter i n turn with its e n viro n me n t must be co m p a re d

, ,

i n the origin a l with the Up a n is h a d to see h o w close a re the

two B u t fo r this purp o se I ta ke n o t the s a m p ra s a da p a ssa ge
.
,

referre d to a bove which is p a ra llel to C ha n d Up viii 3 4

, . .
, , ,

but o n e from t h e sixth b o ok where the Up a n isha d vi 20 , , , ,

ha s
ta da ’
t ma nd
’
t m d n a fit d rs t vci
'

n i rd t m d b h a va t i,

whereup on follows a sta n z a cite d ity e va mh y a h a a s , ,

c i t t a s y a hi p ra s a de n a h a n ti ka r m a q u b h a q u b h a m

p ra s a n n a t m a t m a n i s t h i t va s u kh a m m
’
a vy a a a n u te
y c

In the epic iii 21 3 24 th is whole sta n z a ( eloka ) a ppe a rs

, , , , ,

c i tt a s y a hi p ra s a de n a etc i n e x a c tly the s a me wo rds a n d

2
, .
, ,

the n a fter the defi n iti o n o f pra s a da a n d the i n jun ctio n th a t

,

o n e must be v i cu ddh a t m a of puri fi e d soul a s expl a i n e d a b o ve , , ,

com e the w o rds 91 27 drs tvd t mdn a nt n i rdtmdn a m s a ta da ’ ’

.
, ,

vi p ra mu c ya te .

Whe n this sta n z a is repe a te d i n the Up a n isha d a t vi 3 4 it , ,

is prece de d by the verse ya c c i tta s t a n m a y o b h a va t i so tha t ,

together we ha ve
a c c i t t a s t a n ma o b h v a t i h a m et a t s a n a ta n a m
y y a g u y
i h h m f h mm d 1 m e t t h a m a n o ma y a ;
( e .t e u
g y
.
,
a o D a a p a a a n o s ,

co m pa re P ra q n a Up iii 1 0 y a c c i t t a s ten a i s a p ra n a m a y a t i)
.
, ,
’

1 He r e j fi a n a di p e n a ( c o m p a r e Git a ,
1 0, 1 1 ) di p t e n a a b o v e , p ra di p t e n e va
’

di p e n a m a n o di p e n a . C o mp a r e di p a va d y a h s t h i t o h t di , a , vi M itri
3 0 (a n d .

2 I n th e co rre s p o n di n g ti c h a p te r i n whi c h I p o i n t e d o u t a b o ve t h e
Ga n ,

i m il e s i x s e n s e s a s h o r s e s a n d g a d h o t m a fo r b h fi t a t m a thi s v e r s e
‘
s o f th e , ,

i s fo u n d in a di ffe r e n t fo rm c i t t a p ra s a de n a y a ti r j a h a ti h a c u b h a c u b h a m
,
’
,

vii , 247, 1 0 .
 E
L I T R A T UR E K N O WN TO THE EP I C PO E TS . 43

hi p ra s a de n a ha n ti ka rm a qu b h a qu b h a m
c it t a sy a
which the A n u gi ta ta kes up xiv 5 1 27 a n d 3 6 i n in verse , , , ,

or der :
27 y a c c i t t a m t a n ma y o va qy a m gu h y a m e ta t s a n a
‘

ta n a m
3 6 p ra s a de c a i va s a t t va s y a p ra s a da m s a ma va
’
,

p n uya t

If these poin t s be comp a re d fi rst the ge n era l order of

a ll ,

disc us sio n the n the pecul i a r words which a re use d i n the

,

s a me wa y i n both text a n d fi n a lly the i den tic a l p a ss a ge just s

ive n it is cle a r th a t o n e of these texts m ust h a ve f o ll o we d

g ,

the o ther Th e dispersio n of the epic cha pter over di fle re n t

.

books certa in ly m a kes it seem more likely tha t it is a c o py

tha n a n o rigin a l Th is opin io n is stren gthe n e d by the la te
.

fe a tur es a dde d i n the epic the free do m i n m etre a l m o st , ,

exclus ively cha ra cteristic of the la ter epic a n d the la te V e ,

da n ta gro upin g of seve n tee n a t the begi n n in g Fo r thi s .

r o up is n o t the o l d Sa m khy a roup which occurs ofte

g g n ,

e n ough elsewhere i n the epic but a mo di fi c a tion of it a s i n ,

the Ve da n t a s a ra .

Th e cita tio n i n the M a i t ra y a n a of the sta n z a c i tt a s y a hi

ra s a de n a from so m e so ur ce mi ht be referre d to the epic
p g ,

but it seems m o re likely tha t thi s like a do zen other s o m e “

,
”
o n e s a ys verses i n the s a me Up a n isha d is a ge n era l refer ,

e n ce a n d it is quite coun terba la n ce d by the f a ct tha t the

,

Va n a versi o n i n the epic a dds a hi dde n refere n ce to its

s o urce i n the words m a ttra y a a a ga ta p c a re t a stra n ge expres -
,

sion which is foun d o n ly i n this verse a n d i n its repetiti o n i n

,

1
the twelfth bo o k ; while the spe a ker i n the la st verse of the _
,

V a n a cha pter co n fesses tha t wha t he h a s bee n te a chi n g “ is

” 2
a l l a co n de n se d a ccoun t of wha t he h a s he a rd .

1
iii 21 3 3 4 , 2 79 5 ; with
, li ght ri d r d i g i i i 1 8 9 1 3
x 11, ,
a s va e ea n n x , ,
.

2
y th a c t m i d m
a m ma
ru a at tt m a kh y a t m iii
s a rv a sa se n a e a e s a rva a , ,

2 1 3 40
,
I pp . suwill l y y w i g ht
o se no th t t m t f ii 247
o ne a a n e on e s a e en o x , ,

whi h c pi V h r (
c o es b ) th t ( 1 2 1 4) thi i
a na e e r t th d d
se e a o ve ,
a -
s s a se c e no a n e

d w b y tr di ti t y y i k m c a tr m ) b t
”
o n a i t ih y m
a a g m m ( a tm p
on, a n a a n a a a ra a a s a ,
u

an mb r i
a h r d fr m dh m a kh y a
os a
“
c u ne ty a kh y a o d th t n ar n a s, sa na , a n e e
44 THE GR EA T EPI C OF I N DI A .

Itis perha ps worth n otin g further tha t i n the Up a ni sha d

vi 20—21 o n e sees the re a l sou l a n d becomes isol a te d ( where
, ,

the go a l is ke va l a t va ) where a s i n iii 21 1 1 5 of the epic the

, , , ,

result o f this s a me seein g of self truly is b ra h m a n a h s a myo

a h un io n with B r a hm a n ; which c a rries o n the a n tithesis
g ,

a lre a dy n otice d betwee n the Sa mkhya t a n m a tra s of the

Up a n isha d a n d the omission of the s a m e i n the epic This .

specia l design a ti o n of t a n m a t ra i n iii 2 is co m pleme n te d by ,

the vi ge s a s me n t ion e d i n vi 1 0 a n d is importa n t a s showi n g , ,

tha t the Up a n isha d a s a Up a n isha d is la te for n o n e of the

, , ,

ol der Upa n isha ds h a s either o f these terms I t s priority to .

the epic however m a y be urge d o n still a n o ther gro un d

, ,

tha n tho se me n tio n e d a bove Th e Up a n isha d quotes sta n z a s .

freely a n d it is sc a rcely possible tha t if the epic a n d Ma n a vi c

,

verse cite d a bove o n p 27 h a d existe d i n verse the prose f o r m

.

of the Up a n isha d woul d ha ve bee n us e d As Mii ll e r s a ys i n .

“
his n ote o n the Up a n isha d p a ss a ge : Pa rt of this p a ss a ge
( of Ma n u together
”
h a s bee n before the mi n d of the a uthor
with the epic poet) So perha ps t o o wi th the recogn ition
.
, ,

o f the eleve n ( vi ka ra s ) i n v 2 Th e epic h a s both groups , .

,

eleve n vi ka ra s a n d a lso the syste m s sixtee n a s I sha ll Sho w ’

,

i n a l a ter ch a pter As co m p a re d with the epic moreover

.
, ,

the Up a n isha d is di sti n ctly e a rlier i n kn o win g Yo ga a s six

“ ”
fol d vi 1 8 where a s the epic ma kes it eightfol d xii 3 1 7
, , , , , ,

7ff a s do es Pa t a fi j a li ii 29
.
, , .

I thi n k a n other circum sta n ce m a y p o i n t to the fa ct tha t

the epic refers directly to the sixth cha pter of the Up a n ish a d .

Th e word t a ts tha is n o t i n dee d use d i n a pre gn a n t se n se i n

, ,

the Up a n isha d I t is simply a n ordin a ry gra m m a tic a l com

.

plex i n the se n ten ce vi 1 0 p u ru s a c ceta p ra dh a n a n t a hs t h a h

, , ,

“
sa e va b h o kta b h o j ya p ra krt i s , t a ts t h o b h u fi kt e , Pra krti
”
is fo o d ; whe n s t a n di n g i n i t P ra krt i ) , the P u ru s a
e n joys
( .

B u t i n the epic xii 3 1 5 1 1 we re a d s a e s a ( p u ru sa h) p ra

, , , ,

krti s th o hi t a ts t h a ity a b h i dh i y a t e Purusha is design a te d a s ,

”
t a t s t h a whe n he is i n Pra krt i As the expressi o n t a ts th a .

th o u sa nd B k f thi p p li o ly t o p cy ty a t ma m a t m i
s, or s a i g
es n a a na an , se e n

se lf in se lf
, not to th e e xp o s iti o n .
 L I T R A TUR E E KN O WN TO THE EP I C PO E TS . 45

o ccurs o n ly i n this Up a n isha d a ccordin g t o C o l J a cob s C o n , .

’

c o rda n c e it see m s very likely th a t the epic verse a llu des t o

,

the t a t s th a p ra krti s t h a of the Up a n ish a d where P u ru sa is ,

expressly p u ru s a c ceta a n d the epic a ls o fo ll o ws 1 4 with , , ,

’
c e t a n a va ns t a tha c a i ka h ks e t ra j fi a iti b h a si t a h }

I n Up vi 1 5 a n d M . b h xi 2 24 occurs K a la h p a c a ti b h a
. .
, ,

ta n i ; a n d i n the co m p a n i o n piece t o the im a ge o f the bo dy a s -

a house cite d a bove fro m Up iii 4 a s the s a m e with xii 3 3 0

,
.
, , , ,

4 2 n a m ely Up i 3 o ccurs a n i s ta s a mp ra y o ga
, , .
, Mb h xi 2
, .
, ,

2 8 but I do n o t thi n k th a t these u n ivers a l expression s ta ke n

,

by themselves a re of a n y sign ifi c a n ce .

On the other h a n d I c a n n ot re ga r d a s un importa n t the fo l .

lowin g sta n z a s be gin n in g with the extra ordi n a ry u n s y n t a c

, ,

tica l verse foun d i n the epic xii 241 3 2

, , , , ,

ma sa n n it y u kt a s y a c a b da b ra h m a t i va rt a t e
’
sa n y a

comp a re d with 23 7, 8 ( G i ta 6 44 jj
i fi a s ur , , a i
p y o ga s y a ,
a pi i
jj fi a s a m a no
‘
pi ga b da b ra h m a ’
t i va rt a t e

a n d with xiv , 1 9, 66,

sa n ma s a n n i ty a y u kt a sy a y o ga h , P a rtha , p ra va rt a t e
a nd with Ma i t Up vi r . .
,
28 ,
sa db h i r m a s a is tu y u kt a s y a n i ty a y u kt a sy a de h i n a h
a n a n ta h p a ra m o g u h y a h sa my a g y o ga h p ra va rt a t e
and with Ma i t Up vi r . .
,
22 Mb h xii .
, 23 3 , 3 0,
dve b ra h m a n i di t a vy e c a b da b ra h m a p a ra m c a y a t
ve

c a b da b ra h m a n i n i s n a t a h
p a r a m br a h m a
’
dh i ga c c h a t i .

Th e l a st sta n z a occurs on ly here a n d i n this Up a n isha d ( ex

2
c e p t in g l a ter copies ) Th e fi rst is a m e a n i n gless compoun d of
.

1 It m a ti d h e r e a l s o th a t i n d t ya t h e v o c a b u l a ry o f t h e p s e u d o
y be no c e c
’

z a n

e p i c i s th t a i s h a d i n i t s l a t e r p a rt vi 1 0 a n d 3 8 ( t h e wo r d i s fo u n d
o f t h e Up a n , ,

e l s e o n ly l t i h a d s ) C o m p a r e : a c a i t a n y a mn a vi dy a t e ( t h e tr e e h a s
i n a e Up a n s .

a ji v a ) x ii 1 8 4 1 7; c e t a a va t s u c a i t a n y a ms a m a m b h fi t e s u p a cy a t i t h e s a ge
“
, , , n ,

se e s o n e a d t h e s a m e s o u l i n a ll c o n s c i o u s c r e a t u r e s
n x iv 1 8 3 3 Th e t e r m
”
, , ,
.

i s u n kn o wn t o t h e Git a a n d e a rly e p i c .

2 W
ith th e va r l e c dve v i dye ve di t a vy e Mu n d Up i 4 ; B ra h m a b in du
. .
, , . . ,

Up i 1 7 C o m p a r e a s o rt o f p a r o d y i n x i i 1 00 5 u b b e p ra j fi e v e di t a vy e
.
,
.

, , ,

rj vi v a kra c a B h a r a t a , Th e dve v a va b r a h m a n o r a p e o f B A U ii 3 l a re
. .
, , ,

p e rh a p s t h e fir s t p a ir th o u g h th e r e it i s hi g h e r a n d l o we r B r a h m a n i n a m e t a
,

p hy s i c a l s e n s e .
 46 THE GR E A T EP I C OF I N D I A .

“
the six mon ths sta n z a a n d the t wo bra hm a n sta n z a Th e
“ .

seco n d is a theoretic a l a dva n ce o n the l a tter which s a ys tha t ,

whe n o n e is thoroughly c o n vers a n t with the wor d bra h m a n h e -

g ets t o the highest B r a hm a n Th e l a ter Yo i n d oes n o t thi n k

g .

this n ecess a ry a n d e m e n ds to eve n o n e desirous o f kn owl

,
”
e dge ( o f Yoga i n G i ta ) surp a sses the word bra hm a n whi le
,
-
,

the six m o n ths sta n z a i n the epic is a djuste d to the o cc a

“

sion ( n i ty a yu kt a s y a of the MSS is to be re a d i n the Up a n i .

sha d a s i n the epic ) Here a ga i n the Ma i tra y a n a a lo n e h a s .

,

this sta n z a n o r do es n i t y a y u kt a occur else where except i n

,

the s a m e w a y i n the Gi ta 8 1 4 n i t ya y u kt a s y a y o gi n a h , , , .

I n my Opi n ion these p a ra llels t o gether with the c i t t a s y a hi

ra s a de n a st a n z a a bove i n dic a te th a t the epic h a s copie d fro m
p
the sixth cha pter of the Up a n isha d a s well a s from the e a rlier
1
portio s n .

Th e Ve di c
perio d the n is represen te d i n the epic down to a , ,

pretty l a te sta ge o f Up a n isha ds Th e t a n m a t ra e ra of phi los .

o p h y the tri n ita ri a n e ra of p hi losophy these a re represe n te d

, ,

by the Up a n isha d a n d by the epic ; but o n ly the l a test phi lo

sophic a l a n d reli gious cha pters of the epic recogn ize t a n ma
tra s ( the n a m e ) a n d the tri n ity a s o n ly the l a ter Upa n isha ds ,

reco gn ize the m .

Of still l a ter Up a n ish a ds it is possible tha t the pseu do epic ,

-

m a y k n ow

Th e A t h a rv a q i ra s Up a n is h a d .

Th e
title is a pplie d to N a ra ya n a x i l 3 3 9 1 1 3 a n d the , , , ,

co mm e t tor expl i s it s referri g to the Up a ni sh a d B u t

n a a n a n
2
.

we must I thin k rest con ten t with t h e certa in ty tha t the

, ,

epic cites ( a ) the B rh a da ra n ya ka Up ( 6) the Ka th a ka ( c ) the .

, ,

1 Th e g r a l l a t e n e s s o f t h e Up a n i s h a d i s s h o wn b y i t s r e c o gn iti o n v 2
e ne , , ,

of th e trin ity ( Mu ir a p Ho ltz m a n n ) whi c h i s a l s o r e c o gn iz e d i n t h e l a t e r

.
,

e p ic .

2
On thi s an d on i , 70, 3 9—
40 i n t h e Q a ku n t a l a e p is o de , b h a ru n da s a m a gi t a
b hir a t h a rva c i ra so
’
dga t a i l1 _
a t h a rva ve da p ra v a ra h , c o mp a re We b e r , I S,.

vo l . i , pp 3 8.3 —4 . Se e a lso a b o ve , p p . 8 a nd 9 ( n o te
48 THE GR EA T EPI C OF I N DI A .

ext a n t Pura n a s a re i n their prese n t sha pe certa i nl y l a ter tha n

the epic Nevertheless be fore the gre a t epic wa s complete d
.
,

the eighteen Pura n a s were kn own sin ce they a re me n tion e d ,

a s a gr o up xviii 5 46 ( n o t i n C ) a n d 6 9 7
, Further a Va yu
, .
, .
,

P ura n a is referre d to i n iii 1 91 1 6 , ,

e ta t t e s a rva m a kh a t a m a t i t a n a a t a mt a th a
y g
Va y u p ro kt a m a n u s m t t y a P a ra n a m rs i s a ms t u t a m .

Thi s sta temen t however implyin g tha t the Pura n a tre a ts

, ,

of future eve n ts though illus tra te d i n this i n sta n ce by the

,
’
epic s a ccoun t of l a te r a ges sc a rcely ta llies with the e a rly ,

epic u s e of the word which re gula rly con n otes a ti ta the , ,

p a st but n o t a n a ga ta ( a ccoun t of) thi n gs to be ; yet it corre

, ,

s p o n ds ex a ctly to the or di n a ry co n te n ts of the l a ter Pur a n a s .

On the other ha n d the pseudo epic co n ta in s thi s l a ter sort of

,
-

Pura n a k n o wn a s Pura n a a s well a s a khya n a a n d m a h o p a

,

n i s a da 1
where future eve n t s a re describe d I t is to be re
, .

ma rke d moreover tha t this re m in iscen ce o f Va yu s Pura n a

, ,
’
,

a w o rk which is referre d to a a i n i n the Ha ri va fi a is c o n

g c ,

t a i n e d i n the M a rka n de y a episo de which lo n g i n terpol a tio n ,

is itself virtua lly a Pura n a Tha t some of the verses i n the .

exta n t Va yu a re like some i n t h e epic proves n othin g i n

2
rega rd to the rel a tive a ge of either There is n o re a l i de n .

th a n th a t i n Ap D h S 1 1 9 24 6 wh e re a B h a vi sy a t Pur a n a i s c it e d t h e wo r d s
. . .
, , , , , ,

h a vi n g a n e p i c s tr a i n p e rh a p s t o b e fil l e d o u t with vi j a rt h a h s v a rge ( j i va n t i
,

ga a d ) a b h fi t a s a mp l a v a t
c Se e a l s o a b o v e p 6 On t h e P u r a n a s a s de p o s i
.
,
. .

t o ri e s o f Ve d i c Cru t i s e e t h e qu o t a ti o n a b o v e p 4 a n d c o m p a r e H 3 3 3 5
, , .
,
.
, , ,

e t a t t e ka t h a y i s y a m i p u ra n a m b ra h m a s a rh m i t a m n a n a c ru t i s a m a y u kt a m .

1 x ii 3 40 9 5—
, 1 25 fu t u r e a v a t a r s c o n q u e s t o f K a l a y a v a a e t c
, ,
c a ll e d
,
n , .
,

m a h o p a n i s a da m ( s i c n e u t e r ) i n 9 1 1 1 1 p u ra a m i n 1 1 8 a n d 1 24 a kh y a n a m i n
, ,
.
,
n ,

1 25 . C l o s e ly u n it e d a re p r a i s e a n d P u r a n a s ( k n o wn t o Sfi t a s ) i n x ii 53 3 , ,

( n o t lik e t h e s t u t i c a s t ra p r a i s e tr e a ti s e s o f t h e l a t e p a s s a g e ii 452 wh e r e
,
-
, , , , ,

h o we ve r B 1 1 3 5 h a s s t t iga t a ni )
,
.
, , u s r
'

e G a r u d a a n d V a ra h a Pu r a n a s m a y p r e c e d e t h e fin a l r e vi s i o n o f
2 E v n th
e

t h e wh o l e e p i c th o u g h t h e e vi d e n c e fo r r e fe r e n c e s i s fa r fr o m c o n c l u s i ve ;
,

b u t o n t h e o th e r h a n d o u r p r e s e n t Pu r a n a s m a y h a ve b e e n s o c h a n g e d a s
n o t t o a g r e e i n a n y d e t a il with Pu r a n a s th a t o n c e b o r e th e s e n a m e s Th e .

a r g u m e n t s a re g i ve n b y Ho ltz m a n n l o c c i t Th e e p i c p a s s a g e s s u p p o s e d t o
,
. .

r e fe r t o t h e Pu r a n a s a re H 3 3 3 5 ( a b o ve ) a n d i 3 1 3 Th e e p i c d e c l a ra ti o n
.
, , , , , .

i 2 3 86 th a t it i s t h e b a s e o f a ll Pu r a n a s p r e s u p p o s e s a g o o d ly n u m b e r
, , , ,

a lr e a d y i n e x i s t e n c e ; b u t thi s s t a t e m e n t i s a s l a t e a n a dd iti o n t o t h e p o e m
 E
L I T R A T UR E K N OWN TO THE EP I C PO E TS . 49

ti ty i n the a ccoun t ci te d from the Va yu Pura n a a n d t h e

exta n t Va yu Pura n a I n the descriptio n of the K a li a ge .
,

fo r in sta n ce where the epic ( i n the p a rt s a i d to be fr o m the

,

V a yu Pura n a ) h a s 1 9 0 64 Q a dra dh a rm a m p ra va ks y a n t i
, , , ,

b ra h m a n a h p a ryu p a s a ka h the Va yu lviii 41 s a ys O fi dra c a r

, , , ,

a c a b ra h m a n a h a n d where the epic i b 9 7 h a s u t s a da yi

y c , , .
,

sy a ti ml e c c h a
ga n an the V a y u i h 78 h a s ml e c c h a n h a n ti
, , .
, ,

but here there is n o thi n g cha ra cteris tic On the o ther ha n d .

,

the m o st strikin g fe a tures i n the epic a ccoun t the e dii k a s , ,

a n d K a l ki with the he a vy ta xes la id upon priests cl 62

, ,
.

65—67 93 if a re n o t f o u n d i n the Va yu a t a l l
, ,
N o tice a ble .

a lso is the f a ct tha t the epic a cco u n t n o t o n ly h a s m ore

tha n the va yu but h a s co n tra di cto ry sta te m e n ts Thus in

,
.

9 1 5
. 8 the
, V a yu d ecl a res o n e o f the sign s of the evil a ge t o

be tha t girls less tha n sixtee n will be a r chil dr en ; whi le i n the

epic the sign is tha t girls of fi ve o r six will be a r a n d boys of
seve n or eight will beget chil dren : p a fi c a m e va t h a s a s te va ’

va rs e k a n ya p ra s ii y a t e s a p t a va rs a sta va rsa c c a p ra j a s y a n t i
,
’

n a ra s ta da 1 90 49 , Ta ke n a lt o gether the epic a ccoun t

, .
,

see m s t o be a n exten de d a n d ex a ggera te d repro duction of

tha t i n the Va yu Pura n a but it is im p o ssible to s a y whether ,

it is re a lly ba se d o n the exta n t text o r n o t Th e Pura n ic .

version h o wever does n o t seem to be ta ke n from the epic

, ,

a ccoun t a n d a s the l a tter is expressly s a i d to be fr o m the

,

Pura n a it is re a s o n a ble to suppose tha t the Ma rka n de y a

epi so de wa s i n serte d in to the epic a fter the Va yu Pura n a
wa s writte n tho u gh this must re m a i n o n ly a suppositi o n
, .

A n o ther l o n g in trusio n i n the s a m e thi r d b o ok o f the epic ,

thi s ti m e i n the Ti rt h a sto ries iii 1 1 0 ff le a ds to a result , , .

,

s o mewha t m ore defi n ite i n respect of the rel a tion between

the p a rtic u l a r sto ry i n trude d in to the epic a n d the P a dm a
a s i s th e m e n ti o ni g ht e e n I s u p p o se m o s t s c h o l a r s will a c c e p t t h e
o f th e e .

e i g ht e e n P ur a a s a s a c t u a lly r e fe rri n g t o e i g ht e e n d I a m i c li n e d t o
“ ”
n a , n n

do s o m y e lf s A t t h e s a m e ti m e t h e n u m b e r i s m o r e o r l e s s c o v e n ti o a l i n
. n n

t h e e p i c ( e e t h e g r o u p s o f e i g ht e e n s p o k e
s o f b e l o w) a n d e v e i n t h e p e ri o d
n ,
n

o f t h e Up a i s h a d s lit e ra ry wo rk s m a y h a ve b e e n g r o u p e d i n e i ght e e n y a j fi a
n s

rii p a a s ta da c kt m a v a r a m y e s u k a r m a with D e u s se n s r e m a rk o n kt a n d
’
o a u a
,

a tt e m p t t o e x p l a i n t h e n u m b e r M u n d Up 1 2 7 ,
. .
, , .
50 THE G R EA T EP I C OF I N D I A .

P ura n a . Here ,
ccordi n g to the a cut e in vesti ga tion of D r
a .

L ii de rs D i e Sa ge v o n R sy a grn ga the epic a ccoun t i n its

, ,

prese n t form is ba se d upon tha t of the P u ra n a D r L ii de rs . .

thi n ks in dee d p 1 03 tha t there wa s a n e a rlier epic form of

, .
,

the story whi ch a n te da te d the Pura ni c a ccoun t B u t it is a t .

le a st cert a i n th a t the prese n t epic form is subseque n t to the

prese n t Pura n ic form a n d tha t the ta le is dra wn from p o p u ,

l a r sources tha t a n te da te i n a ll proba bili ty a ll the litera ry

version s i n Sa n skri t .

L e a vi n g the m o dern Pura n a a s it is describe d e g i n , , . .

,

Va yu Pura n a iv 1 0 , , ,

s a r ga c c a p ra t i s a rga c c a va nq o ma n va n t a ra n i c a

va nc a n u c a ri t a mc e ti p a ra n a m p a fi c a l a ks a n a m
’
,

a n d turn i n g to the me a n i n g o f the wor d i n the epic there ,

is n o esse n tia l differe n ce bet wee n a ti ta a kh ya n a pura na 1

, ,

a n d i ti h a s a Together with the m ore ge n era l ka th a a ll these

.
,

wo rds me a n ordi n a rily a n o l d ta le story lege n d or in ci de n t , , .

R a rel y is Pura n a itse l f u se d of cos m o go n y but a c a se occurs ,

i n xii 201 6 where the phra se t a d u c y a ta m p u ra n a m refers

, , ,

t o the o ri gi n of e a rth he a ve n cre a tures wi n d sky wa ter , , , , , ,

etc Th e birth o f Asura s a n d Sura s is a Pura n ic to pic i n i

.
,

65 3 8 , When n o t a n a djective to a khya n a which is a com

.
,

m o n fun cti o n o f the wor d it is a n equiva le n t s u bsta n tive , .

Thus the N a n di n i t a le is a n a kh ya n a m p u ra n a m i 1 75 2 , , , ,

while i n xii 3 43 2 h a n ta te va rt a y i sya m i p u ra n a m the wor d

, , , ,

i n the phr a se t a kes the pl a ce of I t i h a s a ; a s it does i n i 1 96 , ,

1 4 c rii y a t e hi pura n e pi Ja tila n a m a G a u t a mi

'

, .

Fro m re m o te a n tiq ui ty these Pura n a s o r ta les of o l d were

a ssoci a te d with I t i h a s a s le ge n ds whether c o s m o logic a l or , ,

n o t ( the disti n cti o n is quite a rti fi ci a l ) They were n a rra ti o n s .

,

k a tha s c o m p o se d p a rtly i n pro se a n d p a rtly i n verse ga t h a s

, , .

K a tha itself is e n tirely n o n s p e c i fi c a n d m a y be a c a us erie -

,

ra ther tha n a ta le a s i n ix 3 8 1 6 where a re me n tio n e d reli

, , , ,

1 thi s i s t h e wo r d u p a kh y a n a Th u s t h e Ca ku n t a la
Sy n o n y m o u s with .

e p i s o d e a d N a m u c i m yth i x
n 43 3 3 b e a r t h e n a m e u p a kh y a
, , a n d in v
, ,
na , ,

1 8 1 6 a n d 1 9 it i s s y o y m o u s with a khy a n a Th e F o wl e r s t a l e i s a d h a r m a
’
, , n n .

kh y a n a iii 21 6 3 6 ( c o m p a r e a r e fe r e n c e t o m a n y s u c h p 5 a b o ve )
, , , ,
.
,
.
 E
L I T R A TUR E K N OWN TO THE EP I C PO E TS . 51

gi o us con vers a tion s c i t ra h ka tha ve da m pra ti A legen d ,

1 .
,

such a s tha t of A ga stya is a ka tha divya iii 1 00 2 Th e , , , , .

m a h Op a n i sa da m a llu de d to a bove is a ka t h a m rta m the essen ce , ,

Sa ra o f hun dre ds of u p a kh ya n a s xii 3 40 1 27

,
So the O ve , , , .

t a dvi p a story i s a ka t h a s a ra xii 3 3 6 1 6 , , , .

B u t the especi a l ch a ra cteristic of the o l d le ge n d is th a t it

2
rel a tes the story of gre a t kin gs or go ds a n d their a ct s i n the
p a st I n iii 298 7 yu
. D m a t s,
e n a o ,
“
is s la ce d by the help of
,

ta les of former kin gs c i tra rt h a i h p u rva ra jfi a mka t h a c ra y a i h , ,

a cc o r di n g to the rec o mme n da tio n i n the epic itself : C o m fo rt

“

”
th o se a ffli cte d i n m in d with ta les of the p a st y a s y a b u ddh ih ,

a ri b h a ve t t a m a t i t e n a s a n t va y e t i 1 4 0 7 4 ; a n i n sta n ce
p , , ,

bein g the sto ry of N a la ki rt a n a i tih a s a i t ih a s a h p u ra n a h , , , ,

a s it is in di ffere n tly c a lle d iii 7 9 10 11 13 16 , , , , , , .

Th e word i t ih a s a m a y a lso h a ve the me a n i n g “

s a yi n g ,
“ ”
r a ther tha n le ge n d Thus i n iii 3 0 21 .
, ,

a tr a p y u da h a ra n t i m a m i t ih a s a m p u ra t a n a m
’ ’

i c va ra s y a v a q e l o ka s t i s t h a n t e n a t m a n o y a th a
’
,

where i t i h a s a is equiva len t to pra va da a proverbia l s a yin g ,

i thi s i n sta n ce repe a te d i n gl 25 a n d i n o ther p a r t s of the

( n .

epic ) B u t ordi n a rily the word me a n s a ta le of whi ch the

. ,

he m istich just cite d is the stere o type d i n tro ductio n a s i n iii , ,

2 8 1 a n d p a ssi
,
m 3
I t is i m p o rta n t to n o tice tha t a s i t ih a s a i s
.
,

use d for proverb a n d gi ta ga tha is a lso use d i n the s a m e wa y ,

1 So a p hi l o s o p hi c a l d i s c o u rs e of r e li g i o u s te n t c on ,
m o k s a dh a rm a , i s a n

I ti h a s a , xii, 3 3 4, 42 ; a n d th e t a le of a g o o d B ra h m a n is a k a th a on d ty u ,

x ii ,
3 54 ff .

2 Th e ta le of A th a rv a n fi d i g A g i wh
n n n en th e l a tt e r d i s a p p e a r e d i s an Iti
ha sa p u ra t a n a ,
iii 21 7 a n d 222 I n iii
,
. 1 83 , 46, p u ra vrtt a h k a t h a h p u n y a h,
,

a re
“
t l
a e s of kin g s wo m e n a n d s e e rs
, ,
W . ith
p u ra vrt t a a s a dj c o m p a e . r
k a t h a y a n t i p u ra vrt t a m i t i h a s a m , x i i, 1 8, 2 ; a s a n o u n i s n o t u n c o mm o n , it
ra j fi a m p ur a v rt t a m ,
‘

a a e of n illu s tra t e d s ufli c i e n t ly i n PW

t l ki g s ,
”
e tc .
, a s is
‘
.

( c o m p a r e vtt t a n t a ) K h a n da v a s b ur n i n g i s a p a u a n i k a th a rs i s a ms t u t a i
’
. r , ,

2 23 1 6 ,
Me n s n a k e s a n d d e m o n s i s t h e s u b j e c t o f a d ivin e t a l e ka th a
.
, , ,
”

di vy a i n iii 201 4 , , , .

3 A wo
r d o f a n a l o g o u s fo rm a ti o n i s a i tih y a e qu i va le n t t o tra di ti o n a l t e ,

p o rt V e d a ,
I t i s fo u n d e g i n x ii 21 8 2 7 a n d 247 1 3 a n d G v 8 7 2 3 a s
.
, . .
, , , , , .
, , ,

o n e o f a gr o u p o f s o u r c e s o f k n o wl e dg e b e s i d e s a n u m a n a a n d p ra t y a ks a .

C o m p a r e i t i vt t t a a s l e g e n d i n i 1 1 6 , , , , .
52 THE GR EA T EP I C OF I N D I A .

for ex a mple the n a j a tu ka ma h proverb i 75 49—5 0 so the

, , , , ,

phra se t o in tro duce a ta le I t i ha s a ma y substitute ga t h a s a s , , ,

’ ’
i n iii 29 3 5 a tra p y u da h a ra n ti m a ga t h a h
, , , gi t a h .

Such ga t h a s refer to a ctio n or t o ethic a l te a chi n g ( comp a re

the s a m e fo rmul a for both 1 0 0 cit a n d ii 68 A di ffer
, . .
, ,

e n ce m a y be i m a gin e d i n the elemen t of son g o f the ga th a ,

but this is illus o ry Th e ga th a s a re in dee d s a i d to be sun g

.
,

a s i n the c a se just cite d ( 91 3 4— 44 a re the gi ta ga t h a h ) but .

,

sin gin g is too precise a tra n sla ti o n As sh o wn a bove eve n .

,
”
the Ara n y a ka s a re sun g a n d i n poin t of fa ct the ga th a s
“
,

a re syn on ym o us with ql o ka s a n d a re recite d Sta n z a s of .

1
Pura n a s a re thus s a i d to be sun g C on versely ga t h a s a re .
,
’
n o t a lwa ys su n iii 5 4 5 a tra m
’
1 3 u da h a ra n t i a ga tha
'

g , py , , ,

de va i r u da h rt a h ; while i b 5 4 is a n other illustra tio n of the .

wor d ga tha me a n in g on ly a curre n t pro verbi a l e l o ka B u t i n .

this c a se it is wove n together with the lege n d of Dh a n u sa ksa ,

w hose direct curse n o t succee din g i n sl a yi n g his e n e m y he ,

destr o ye d the m oun ta i n i n the life of which wa s b o un d up ,

the life of the i vul er ble foe

n n a H e ce they s y m a n c a n
n a
“
.

”
n ever esc a pe his fa te :

u c u r ve da vi da h s a r ve ga th a m y a mt a mn i b o dh a m e
n a dista m a rt h a m a t y e t u m i q o m a rt y a h ka t h a mc a n a 2

m a h i s a i r b h e da y a m a s a D h a n u s a kso m a h i dh a ra n

3
Such ga t h even in corpora te d i n to the l a w books
as a re -

”
V erses recite d by Ya m a a re cite d
( by th o se tha t k n ow
”
a n tiquity a n d the l a w )
“
i n the l a w books o n the s i n of -

sellin g a s o n or da ughter xiii 45 , , ,

1 C o mp a r e Ti rt h a g th a
a a n d Ti rt h a c l o ka , iii
88 , 22 ; 8 9 , 1 7; 90, 6 ;
, th e
“

g
c l o ka s u n i n a Pu a n ar , r
p u a n e c rfi y a t e gi t a h c l o ka h , v , 1 78 , 47; p u ra n a h
c l o ko gi t a h,iii 3 00 3 3 ( a r r
, , ) Ho ltz m a
p o v e b o n fa m e
l o c c rt p 29 fi nn ,
. .
, . .

2 Th e r d i n g a m a rt y a h i n B wo u l d r e q u i r e a p i C h a s m a rty a h Th e
e a . . . .

p r o v e rb a p p e a r s i n a d iffe r e n t fo rm v 40 3 2 n a d i s t a m a b h y a t i kra n t u m
, , , ,

c a ky a m b h fi t e n a k e n a c i t .

2 In y l
t h e R a m a a n a a s o , e t i j i va n t a m a n a n d o na ra m va rs a c a t a d a p i is gi ve n

a s a k a ly a n i o r p a u ra i g a th a l a u kiki v 3 4 6 ; vi 1 26 2 ( G 1 1 0
n , , , , ,
.
,

a tr a g a th a Ya m o dgi t a h ki rt a y a n t i p u r a vi da h dh a rm a j fi a dh a rm a c a s t re s u
4

n ib a ddh a dh a rm a s e t u su y o m a n u s y a h s va ka m p u t ra mv ikri y a dh a n a m i c c h a t i
,

ka n y a rii va j i vi t a rt h a y a y a h gu lke n a p ra y a c cha ti, sa p t a va re , e tc .

 L I T R A T UR E E KN O WN T O THE EPI C PO E TS . 53

Th e best kn o wn ex a m ple of the l a st c a se ga t h a s recite d ,

by a di vi n ity is fo un d i n the Ha ri gi t a s ( plura l) xii 3 47

, , , ,

1 1 th a t is the B h a ga va d Gi ta ( Up a n ish a d)
,
1
Here the sin g“
.

i n g is th a t of the Ara n ya ka s As V e da n ta s a re Up a ni sha ds .

bove p so we fi n d i n xii 2 47 21 a t t a n m a h a rsi

( a , .
y , , ,

bhir drsta m V e da ) ve da n t e s u c a gi y a t e wha t is re

'

, ,
”
ve a le d i n the Ve da a n d sun g i n the Up a n isha ds .

Such t a les a n d le ge n ds a re s a i d to be the epic itself whi ch ,

is c a lle d i n di ffere n tly a n I t i h a s a a Pura n a or Krsn a s Ve da ?

, ,
’

”
As the C h a n do gy a Upa n isha d a pplies the title fi fth Ve da “

t o the I t ih a s a p u ra n a so the epic cl a ims the s a m e title ,

i t ih a s a p u ra n a h p a fi c a m o ve da n a m Cha n d U p vii 1 2 4 , . .
, , , ,

o e a ch i s a Ve da i n Ca t B r xiii 4 3 2
( S 1 . .
, , ,

a dh i t y a ca t a r o ve da m s a fi ga n a kh y a n a p a fi c a m a n vii 9 2 9 , , ,

v e da nc ca t u r a kh y a n a p a fi c a m a n iii 45 8
3
s a fi go p a n i s a da n , , ,

veda m a dh y a p a y a ma s a Ma h a b h a ra t a p a fi c a m a n i 63 8 9 a n d , , ,

xii 3 41 , ,

5
Inthe ope n in g sta n z a s of the gre a t epic it is describe d a s
a Sa m hita collectio n a gra n tha book a Pura n a a n a khya n a
, , , , , ,

a n I t ih a s a a K a vy a a poem co n ta i n i n v a r1 o u s C a stra s full

, g , ,

of Vya kh ya s ( va i ya kh ya ) o r n a rra tion s a n d Up a n isha ds I t , .

is true tha t it is a lso c a ll e d a D h a rm a c a s t ra yet this re p re ,

sen ts but o n e si de of its e n cyclo pae dic n a ture a s it is besi des ,

A rt h a c a s t ra D h a rm a ga s t ra a n d Ka m a ea s t ra i 2 3 8 3
, Whe n , , , , .

the cha ra cter o f the work a s a wh o le is describe d it is i n ,

1 b h a ga v a da kh y a n a m , i b 2 ; h e r e a r e c it a ti o n a b o u t t h e L o r d n o t b y t h e
.
,

Lo rd . B u t th e a is a ec a Git r it ti o n b y t h e L o r d git a b h a g a va t a s va y a m i h
, ,
.

3 49 , 8 .

2 i , 62 1 6—1 8 ,
, i da m p u ra n a m i t i h a sa m m ve d a m vi dv a n
k a rs n a .

So t h e i m ita ti o n Gt t lto f th e k is
i a i n t h e we f h b o o c a ll e d K rs n a s R e li g i o n ” ’
,

s a t v a t o d h a r m a h ( s e e b e l o w) .

3 Th e o th r f r m
e o o c c u rs e g iii 206 2 s a fi go p a n i s a do v e d a m a dh i t e
,
. .
, , , , .

p r e a l so v 43 41 ; i x 6 1 4 ( a s a b o ve ) a n d ve da nc c a dhi j a ge s a fi g a n
4 Co m a ’
, , , , ,

s e ti h a s a n i 60 3 ; i t a h a s a p u ra e su n a n a giks a s u b o dh i t a h ve da ve da ga t a t
, , n ri
'

t v a j a a h 1 1 09 2 0 ; v e de s u s a p u ra n e s u t gve de s a y a j urv e de
, , , p u ra n e s o
p a n i s a de t a t h a i v a j y o t i s e a y u rv e de t a t h a i v a c a , x i i , 3 42, 6 9 ; y e dh i y a t e
’ ’ ‘
-

s e t i h a s a m p u ra na m , x i , 1 02, 21 ;
ya d s a ii
u c y a t e ga s t d
e s e t i h a s e c a c h a n da s i , tr
xi ii ,
1 1 1 , 42 .

5 i ,
1 , 1 6, 49 , 5 5, 61 , 72 .
54 THE GR EA T EP I C OF I N DI A .

terms of epic story n o t o f di da ctic co de E ven the Ha ri

, .

va nc a p o s t does n o t fa il to distin guish the two eleme n ts .

He bo a sts tha t the epic is a n a kh y a n a m b a h v a rt h a m c ru t i

vi s ta ra m but still s a ys tha t it is the B ha r a ti k a tha B ha ra ta
, ,

story the root of which is the dra ma tic episo de of the Ra j a

,

Sa y a which l e d to the developme n t of the story ( H 3 2

, . , ,
“
13 So a n other poet procla ims : I will rel a te the gre a t
oo d fortu n e of th a t re a t he a rte d ki n g the B ha r a ta wh o se
g g
-
,

brillia n t I t ih a s a sto ry is c a lle d the Ma ha bha ra t a i 9 9 49

,
”
, , , , .

Th e re a s o n tha t Kr sn a D va i p a y a n a spe n t three ye a rs i n m a k

i n g the epic wa s n o t on ly tha t he wishe d to do a g o o d thi n g
but tha t he wishe d to exten d the glory of the Pa n du s a n d
other wa rriors ” .

C o n stituti n g a sm a ll but i m port a n t p a rt of the va rious

ta les t o l d i n the epic a re foun d gen e a logic a l verses a n u ,

v a rrc a el o ka s ( or ga t h a s ) which co m me m o ra te the hi sto ry of

’

-
,

the ra ce of va lia n t kin gs a n d gre a t seers of the p a st I .

sh a ll spe a k of them a ga in here a fter Here it suffi ces to s a y .

tha t such verses a re either sun g by profession a l rha ps o des ,

or recite d by n a rr a tors Th e rha pso des however were quite .

, ,

disti n ct fro m the B ra hm a n s wh o recite d the epic s to ries , .

Fo r a priest to be a professio n a l story teller o r a rha pso de wa s -

?
a s ba d for him s to be juggler or physici
a a a a n

D ra m a .

There rema in s o n ly o n e cla ss of litera ture which m a y

doubtfully be i n clude d u n der the he a d o f li tera ture kn own
to the epic poets the dra ma Whether there wa s a lre a dy a
, .

litera ry dra m a is however chiefly a m a tter of defi n itio n

, , .

I t is co n ceiva ble tha t the st o ry tellers a n d rha pso des m a y -

ha ve develope d dra ma tic wo rks before a n y such works were

writte n tha t is bec a me litera ture i n a strict sen se a n d tha t
, , ,

1 i ,
62, 2 7—28 .

2 x iii ,
23 , 1 5, ga y a na n a rt a ka c c ai
’
va p la va k a v a da ka s t a th a ka t h a ka
y o dh a ka g c a i
’
va ra j a n n a
’
rh a n ti ke t a na m ; ib . 90 , 1 1 , a mo n g a p a rrkt e y a s
‘

a re k u c i l a va s , rh a p s o d e s a n d i d o l m a k e r s ( a b o ve p
,
-
A p ri e s t , . i s n su e i lt d
on b e i n g c a ll e d a p r o fe s s i o n a l e u l o g i s t b a n di n i 78 9—10 , , , , .
56 THE GR EA T EP I C OF I N D I A .

others elsewhere m e n tion e d a s a ctors a n d of the dra ma tic vi ta s , ,

k ra s a n d vi dii sa ka s whe n
c a a , groups of people of this gra de ,
1
a re give n eve n the gra n t h i ka a ppe a rs o n ly a s a rha pso de
,

pro cessio n a l sin ger a n d the cha ra cters a re describe d m erely ,

“ ”
as sein g p a cy a n t o n a ta n a rt a ka n ii 3 3 49 ; i 21 8 1 0 etc
, , , , , , , .

”
Th e expression “
sta ge a n d the va rious va gue terms for
a ctors c a n be referre d to mi m es with perfect propriety a n d

i n the a bse n ce of everythi n g th a t woul d i n dic a te re a l dra m a

ought perha ps to be so referre d I n the expression “ G o d .

”
tre a ts m e n a s m e n do a doll o n a strin g iii 3 0 23 the refer , , , ,

e n ce m ust be to the sort of Pun ch a n d Ju dy show which is

still perform e d i n town a n d villa ge E ve n i n xii 3 6 25 .
, , ,
”
ra fi a s t ri
g
“
st a
ge w o ma n
, m a
y perh a ps most re a s o n a bly be
-
,

expl a i n e d a s the equiva le n t of the a ctress me n ti o n e d a bove .

L ike the Ha ri va nc a the Ra m a ya n a spe a ks of the a tri c a l e x h i ,

biti o n s n a ta ka n y a h u h ( or c a kru h ) R ii 69 4 ; G 71 4
, , .
, , .
, .

Rha ps o di c dra m a is a llu de d to a lso i n the Ma h a b h a sy a where , ,

a s Weber h a s shown the a ctors a re see n a n d he a rd a n d t ra ,

g e di e s a re prese n te d i n costu m e B ut the M a h a bh a ra t a .

n either a llu des to such dra m a tic pl a ys n o r do es it n otice the

N a ta s fi t ra 2
All tha t is he a rd seems to be s o n gs a n d i n s t ru
.

1 Su c h gr re qu e n tly fo u n d i n li s ts o f p e r s o n s wh o a re n o t e li g ib l e
o u p s a re f ,

a n d a re g e n e r a lly r e g a r d e d a s v u l g a r o r d a n g e r o u s b u t i n a ll th e s e gr o u p s ,

a m o n g da c e rs s i n g e r s rh a p s o d e s e t c
n ,
n o t e c h n i c a l wo r d o f t h e r e g u l a r
, , .
,

d ra m a i s fo u n d .

2
C o m p a r e W e b e r I S x iii p 48 7; Ho ltz m a n n l o c c i t p 78 ff Th e l a tt e r
,
.
, .
, .
,
. .

s c h o l a r s a ys di e g a n z e d ra m a ti s c h e L it e r a t u r i s t s p a t e a l s da s Ma h a b h a
“
r

ra t a .
”
He m e a n s th e r e with I p r e s u m e t h e r e c e i ve d d r a m a o f K a li d a s a a n d
, ,

o th e r s Th e r e i s c e rt a i n ly i n t h e e p i c n o thi n g lik e t h e n a t a kik rt a R a m a y a n a

.

o f t h e Ha ri v a r i ca Th e c hr o n o l o g i c a l v a l u e o f t h e Ma h a b h a s y a da t a wo u l d
.

b e g r e a t e r i f o e k n e w t o whi c h c e n t u ry th e y r e ve rt e d b u t W e b e r hi m s e l f
n ,

wa rn s a g a i n s t t a ki n g th e m a s o f c e rt a i n wo rth fo r a n y ti m e e a rli e r th a n t h e
e n d o f t h e e i g hth c e n t u ry A 1 0 0 c i t p 3 20 A Pu n c h a n d J u d y s h o w
. . .
,
. .

i s i m p li e d i n v 3 9 1 s fi t ra p ro t a d a ru m a y i va y o s a Th e Sfi t ra dh a a a p p e a r s
’
, , , . r

o n ly i i 51 1 5 wh e re h e i s a s t h a p a t i o a r c hit e c t a n d a Sfi t a h p a u ra ni ka h
n , , , ,
r , .

Th e a p p li c a ti o n o f t h e n a m e h e r e i s a p p a r e n tly t o t h e s a tr a li n e s o r p l a s , n ,

d ra wn u p b y t h e a rc hit e c t ( x ii b u t B h a s m u d r a fo r s a tra 29 9
,
.
, ,

L i s t s o f n a ta n a rt a ka g a y a n a s a re fo u n d i n iii 1 5 1 4 ; x i i 69 60 ; ra fi g a va t a , , , ,

r a a i h 295 5 I n i 1 8 4 1 6 th o u g h n a ta s a n d Sfi t a s c o m e with d a n c e rs a n d
n , .
,
.
, , ,

p ra i s e r s a n d b o e r s n i y o dh a ka s o n ly p r a i s e r s a re h e a r d ( Sa t a s 1 88
x , ,
So , ,
 L I T R A T UR E E K N O WN To THE EP I C PO E TS . 57

me n ts : Th e musicia n s soun de d their in strume n ts together ;

the da n cers da n ce d a ls o ; the sin gers s a n g s o n gs n a n rt u r ,
’
n a rt a ka c c a i va j a gur geya n i ga y a n a h i 2 1 9 4 , , , .

Th e c o n clusio n seems i n evita ble tha t the techn ic a l n a t a k a

with i t s vi dii s a ka etc th a t is the dr a m a i n its full f o rm wa s ,
.
, , ,

u n kn o wn t o the epic proper Wha t w a s kn o wn wa s cle a rly .

p a n to m i m e D ra m a tic recita ti o n like tha t o f the B h a sy a m a y

.

be in ferre d o n ly if o n e ign ores the fa cts m e n ti o n e d a bove ,

whi ch is possible if t h e ( n o n he a ri n g but) seein g o f sh o ws -

be ta ke n a s a ge n era l expressio n On the o ther ha n d the .

,

a khya n a reciters m a y h a ve bee n dra m a tic with o ut the set

-

tin g n otice d i n the B h a sy a They a re he a r d r a ther tha n .

see n I ha ve a lre a dy n otice d the f a ct th a t N a ra da is the

.

represe n ta tive of B ha ra ta a s the ge n ius o f m usic a n d tha t ,

1
the l a tter is n o t kn own t o the epic i n h i s l a ter c a p a city .

in ii ,
4, 7, ( w ith v a i t a lika s ) a n hi c h i s
d i n t h e da n a m a h a kra t u a t x v, 1 4, 1 7, w
n a ta n a rt ka l a y a dh y a h a A d a n c e h a ll n a t n a c a l a
s .a t a n a g a ra i s m e n ti o n e d-
,
r a ,
n r ,

h a ll fo r s e e i g i s m a de a c c o rdin g t o
“ ”
i n i v 22 3 1 6 a n d a p re k s a g a ra
, , , , ,
n ,

C a s tr a r u l e i n i 1 3 4 1 0 — 1 1 a t e m p o r a ry a ffa ir fo r a j o u s t h e lp e d o u t Wi th
, , , ,

m a fi c a s a s a m a j a v a ta ( m o r e e l a b o r a t e ) i n 1 8 5 1 6 ; whil e s p e c ta to rs a t a n ,
“

a re n a ,
”
p re k s a k a h ra ri g a v a ta i v a iii 20 2 7 a re a ll u d e d t o Oth e r s t a g e
'

, , , .

wo r d s g b h um i e t c o c c u r o c c a s i o n a lly with o u t s p e c i fi c a p p li c a ti o n t o
‘

, r a ri a , .
,

a c tin g Th e u s e t o whi c h p re k s a a n d s a m a j a a re p u t wh e n th e y a e e x p l a i e d
.
, r n

i n t h e e p i c s h o u l d m a k e o n e h e s it a t e t o tr a n s l a t e t h e s m e wo r d s i n Ma n u
, a

m o r e s p e c i fi c a lly th a n s h o w s a n d m e e ti n g s a n d t h e s a m e i s t ru e o f p re kkh a ,
”

i n P a li .

p s e u d o e p i c x iii 3 3 1 2 s a y s th a t s o m e p ri e s t s a re thi e v e s s o m e a re
1 Th e -
, , , , ,

li a r s a d s o m e a re n a ta n a rt a ka s whi c h t h e c o m m e n t a ry illu s tra t e s b y s a yi n g

,
n ,

th a t V a lm i ki a n d Vi c v a mi t ra a re e x a m p l e s o f t h e thi e f wh il e B h a ra t a a n d ,

o th e r s a re e x a m p l e s o f a ta n a rt a ka s ( N a r a d a i s a n e x a m p l e o f t h e li a r a s
n ,

h e i s ka l a h a p i y a h ) He r e a n d i n t h e qu o t a ti o n a b o v e n a ta n a rt a ka i s o n e
r .
, , ,

a c to r da n c e r F o r t h e p a rt p l a y e d b y d o ll s i n t h e e a rly Hi n d u d r a m a s e e
“ -
”
.
,

Pr o fe s s o r Pi s c h e l s ill u m i n a tin g e s s a y D i e He im a t de s P u p p e n s p i e l s
’
,

He a l so g i v e s r e fe r e n c e s t o p r e vi o u s li t e r a t u r e o n t h e dr a m a .
 C HAP TE R TW O .

I N TE RRE L A TI ON OF THE TWO EPI CS .

OF the two e a rly epics o f I n di a the Ma ha bha ra ta the gre a t

, ,

epic is tra di tion a lly a ttributed to a di stributor vy a s a who is

, , ,

a lso cre di te d with the di stributi o n or edi tin g of the V e da s

a n d of severa l other w o rks D ifferen t e di tion s a n d former
.

decla rers a re a lso n otice d I n other words there wa s n o o n e

.
,

a uthor of the re a t epic thou h with a n o t un comm o n c o n fu

g g ,

sio n of edi to r wi th a uthor a n a uthor wa s recogn ized c a ll ed

, ,

Vy a s a . Mo dern schola rshi p c a lls hi m Th e Un kn own or ,

Vy a s a for c o n ven i e n ce .

B u t if the gre a t epic l a cks a n a uthor wi th a re a l n a m e the ,

little epic the Ra m a y a n a is the work of a de fi n i te pers o n a lity

, , .

Here there is n o questio n of dispute d a uthorshi p o nl y of ,

more or less pl a in l y m a rked in terpol a tion a n d a ddi tio n Th e .

g re a t
, m a ha B ha r
, a t a epic is- re a lly a s it is d esi
, gn a te d a col ,

lection Sa mh i ta the reputed a uthor o f whi ch correspon din g

, , ,

e n er a ll y to the p a ra llel fi ure i n G reece yet out Ho m ers Ho

g
-
g ,

mer ; whil e beside the huge a n d motley pile th a t go es by

Vy a s a s n a me sta n ds cle a r a n d de fi n e d the lit tle Ra m a y a n a of
’

Va lmi ki a s ( i n thi s respect) besides Ho m er s v a gue Ho m e ri c a

’
,

sta n ds the distin ct A rgo n a u t ika of Apollon i us .

As the rela tio n betwee n the two Hin du epics especi a ll y in ,

poin t of a ge h a s often been di scussed I do n o t purpose to

, ,

repe a t a ll the deta ils here but to t a ke up the study of the

,

re a t epic from a n e w poi n t of vi ew F o r the re a so n why so

g .

much theorizin g i n rega rd to rela tive a ge h a s been spen t o n

the epics without s a tisfa ctory result — a dh u c sub judi ce — is
tha t hitherto tha i e h a s been n o reco gn i tion of the un derlyin g
un i ty of epic speech Hen ce di scussio n s i n rega rd to the pos
.

s i b ili t y of tot a lly di fle re n t origin s of the two epics a n d the

 I N TE RR E L A TI ON OF THE T WO EP I CS . 9

di fle re n t ges they
a represe nt w hil e their com m,o n b a se h a s

been ign o re d .

I n re ga rd to the fi n a l growth of e a ch it m a y be s a i d a t o n ce ,

tha t n either epic wa s developed quite in depen den tly o f the

other Th e la ter Ra ma y a n a impli es the Ma ha bha ra ta a s the
.
,

la ter Ma ha bha ra ta reco gn iz es the Ra m a ya n a of Va lmi ki I t .

is n o t then a questio n o f a bs o lute sep a ra tion but o nl y of the

, , ,

len gth we m a y go in sep a ra tin g .

Neither epic h a s a defi ni tive text Th e question therefore .

n a tura ll y a rises whether there is a n y use i n a rguin g a bout the

/ origin a l form of either poem I n re ga rd to the Ma ha bha ra ta

.
,

thi s questi o n h a s been a n swere d n e ga tively by D r Win tern i tz .

,

wh o holds tha t a ll work o n the epic is useless till we h a ve the

text of the Southern recen sio n of which he h a s la tely pub ,

li s h e d i n the I n di a n An tiqu a ry som e in terestin g specimen s

, , .

B u t it is doubtful whether the public a t io n of the whole

Southern version would resu l t i n a text a n y more de fi n i tive
tha n tha t of the Ra ma ya n a At most we shoul d ha ve two
.

versio n s more or less in depen den t o f e a ch other e a ch showi n g

, ,

omission s a n d in terpola tion s a s vi ewed in the li ght of the

other Thi s would be of con sidera ble va lue in dee d a s provi n g
.
,

tha t the text h a s been freely a ltered a con clusion in evi ta ble ,

even without this support but ba se d with its a i d o n objective

,

rea li ty Nevertheless though the Southern recen sio n would

.
,

be thus va lu a ble its a bsen ce does n o t preclude the possibili ty

,

of obta in i n g provisio n a l da ta o f importa n ce from the N o rthern

recen sio n a lo n e either i n re ga rd to its rela tion to the Ra m a
,

y a n a or in respect o f its o wn developm en t Such da ta m ust .

fi n a lly be checke d in det a il by a comp a rison with th o se of the

a ltern a te text ; but a s a whole they su ffi ce to c a st much li ht
g
o n sever a l m oot p o i n ts a n d i n them selves a re useful in de
,

m o n s t ra t in g tha t the gre a t epic is the result of the l a bors of

di fferen t wri ters belon gi n g to di ffere n t schools of style a n d
thought ; a resul t di a metric a lly o pposed to the vi ew of the
metho d c a lli n g itself syn thetic a n d li kely to b e ra ther twice
,
 0 THE GR E A T EP I C OF I N D I A .

proven tha n di sproven by the even tua l public a tion of the

So uthern text .

I n rega rd t o the texts of the Ra m a y a n a I n ee d o n ly refer ,

to the in va lua ble ess a ys of Professor J a cobi secon de d by the ,

recen t a n a lyses of D r Wirtz a n d D r L ii de rs 1 especi a ll y a s

. .
,

this epic is n o t the chi ef object of co n sidera tio n i n thi s vol

ume I t is however o bvi ous tha t ex a ctly the s a m e c o n ditio n s
.
, ,

obta in here a s i n the c a se of the gre a t epic a n d it m a y be ,

a dde d tha t if there were a thi rd epic the s a me co n diti o n s

woul d obta in there There is n o fi xed epic text bec a use Hin du
.

epic poetry wa s n ever fi xed All epic poems were tra n smitted .

a t fi rst or a lly a n d the v a rious rewriters tre a te d the m ex a ctly

,

a s the rh a pso des h a d previously do n e a ltere d a n d a dde d a s they ,

ple a sed R econ structio n of the origin a l text is therefo re out

.

of the questio n All tha t c a n be do n e is to excise the m ost

.

p a lp a ble in terpola tion s i n e a ch tra ditio n a l ren deri n g .

Neither of the epics a s such is recogni zed befo re the l a te

, ,

perio d of the Grh y a s fi tra s a n d the fi rst epic reco gn i ze d here

,

a n d i n o ther Sii t ra s is the B ha r a t a Th e questio n h a s often .

been ra ise d which epic is the o lder I n our prese n t sta te o f .

kn owle dge it m a y be sa id th a t thi s questio n c a n n ot n o w a n d

proba bly n ever c a n be a n swere d i n o n e wo rd I n the fi r st
“
.

pla ce it will a lwa ys be idle to spe a k of either epic a s the older

,

wi thout specifyin g whether o n e m e a n s the prese n t text o r the

origin a l text ; for th a t these i n the c a se of either epic a re , ,

con vertible terms is a n ide a refute d by eve n a superfi ci a l

a cqu a in t a n ce wi th the poems Assum in g however tha t the .
, ,

question im pli es priority o f epic q u a epic a s a n e w ge n us o f

li tera ture a n d whether thi s form fi rst a rose a s Ra m a y a n a or
,

( M a h a ) B ha r a t a thi s too c a n n ot be a n swere d c a te oric a lly

, g ,

bec a use p a rts of the la tter a re older tha n the form er a n d the ,

former is o lder tha n the m a ss of the l a tter a s will be Shown , .

Person a lly I ha ve n o doubt tha t the P a n du ( p a n da v a ) fo rm of

the gre a t epic is l a ter th a n the Ra m a epic ; but sin ce o n e w a s ,

1 Da s ya n a ( t o g e th e r wi th s p e c i a l s tu d i e s
R ama m e n ti o n e dhr e ft e r ) , b y
ea

Pr o fe s s o r J a c o b i ; D i e W e s tli c h e R e z e n s i o n de s R .
, by Dr . Ha n s W irtz D i e
Sa g e vo n Rsy a c t fi g a b y D r He i n ri c h L ii de rs GOt t
,
.
,
. Na c h r 1 8 9 7, p 8 7
. . .
 I N T RR E EL A TI ON OF THE T WO EP I C S . 61

a slow outgrowth fro m a P u ri j ab Kuru epic a n d the other of '

, ,

u n kn o wn a n tece de n ts wa s develope d fa r t o the E a st i n much , ,

more polished fo rm whil e on ly the B ha ra ta is rec o gn i zed i n ,

V e di c li tera ture I h a ve a s little d oubt tha t there wa s a B h a

,

ra ta epic before there wa s a Ra ma y a n a ; whereof a lso I sha ll

spe a k a ga in i n a subsequen t cha pter Here I wish merely to .

n o tice i n p a ssin g the ri di culous cl a i m th a t the R a m a y a n a da tes

, ,

from the twelfth or thi rteen th cen tury B C Thi s cla i m . .

h a s been m a de n o t o n ly by Hin dus but by O cci de n t a l schol a rs .

Whether there wa s a Ra ma story a t tha t pe ri o d or ( just a s

well) twelve o r thirteen cen turies e a rlier n o m a n c a n kn ow .

B u t th a t Va l mi ki s Ra m a y a n a c a n l a y cl a im to n o such a ge
’

the sli ghtest hi storic a l co n sidera tio n will Sh o w n o t to spe a k ,

of a n exa mi n a ti o n of the a l most cla ssic a l m etre of the p o em .

Th e Ma ha bha ra ta besides givin g the R a m a story a s a n epi ,

so de Ra m a u p a kh y a n a h a s four di rect referen ces to the Ra m a

,
-
,

y a n a ( a p a rt fro m a n a llusion to G re a t I t ih a s a s ) Th e fi rst is .

the cita tio n o f a verse a ctua lly foun d a s Professor J a cobi h a s ,

shown i n the exta n t p o em o f Va lmi ki a p i c a y a m pura gi ta n

, ,
’

c l o k o V a l mi ki n a b h u vi vii 1 43 67 ( R vi 8 1 Th e , , , .
, ,

seco n d is the cita tio n of a verse from B h a rga v a s Ra m a c a ri t a ’

B h r v bei a s Pr o fessor Weber h a s shown a title of

( a ga a n
g , ,

Va l mi ki ) whi ch a grees in sen se a n d w o rds cl o sely e n ough

,

with R ii 67 1 1 to in dic a te tha t the Ma ha bha ra ta p o et o f thi s

.
, , ,

p a ss a ge x ii 5 7 40 h a d in mi n d this or the o ri gin a l f o rm ( for

, , , ,

it is to be n oticed tha t the n a me is n o t fi xed ) o f thi s verse

2
i n the R a m a y a n a a n d to m a ke im prob a ble the syn chr o n ous
,

coll ection of the form er epic a t xii 67 a n d 68 ( cf 91 1 5) , , . .

M.
ql o ka q c a y a m p u ra gi t o B h a rga v e n a m a h a t m a n a
’

a kh y a t e R a m a c a ri t e n rp a t i m pra ti, B h a ra ta ,
ra ja na m p ra t h a ma m vi n de t ta to b h a ry a m ta to
dh a n a m
ra a n y j a sa t i l o ka s y a kuto b h a ry a ku to dh a n a m

1 na ha n t a vy a h s t ri y a iti ,
“
Wo me n ma y no t be l in
s a . Th e g ene r a l ru l e
i s fo u n d l a so in R . ii , 78 , 2 1 , a va dh y a h s a rva b h fi t a n a m p ra m a da h k s a m y a
tam iti .

2 Ra th e r th a n a c o mmo n s o u rc e , a s I th g ht p r i
ou e v ous ly , A JP . xx , p 34
. .
62 THE GR EA T EP I C OF I N DI A .

R . a ra a ke
j dh a n a m n a ’
s ti n a
’
sti b h a ry a ’
py a ra a ke
j
i da m a ty a hi t a m c a n ya t ku to s a t y a m a ra j a ke ’

Th e thi rd a n d fourth c a ses refer t o the Ra m a y a n a wi thout

men tion of the poet : iii 1 47 1 1 Ha n u m a t is very ren own e d , , ,

in the Ra m a y a n a ; xvii i 6 93 ( repe a te d i n the Ha ri va nga ) : , ,

I n the V e da ( whi ch is) the be gin n i n g ( of litera ture ) in the ,

holy Ra ma ya n a ( whi ch is) the e n d a n d in the B ha ra ta ( which ,

” 1
is) the m iddle i n a ll ( litera tures) Vishn u is besun g
, Th e , .

Ha ri v a nc a a dds three more refere n ces two to Va l mi ki a n d , ,

o n e to a dr a m a tic represe n t a tio n of the Ra m a y a n a Va lmi ki .

i n these p a ss a ges a n d perh a ps i n i 55 1 4 a s Professor Holtz , , ,

m a n n surmi ses is credite d with bein g a poet This is a lso

, .

implied i n xiii 1 8 8 —1 0 E verywhere else a n d he is m e n

, , .
,

t i o n e d sever a l times ii 7 1 6 ; iii 8 5 1 1 9 v 8 3 2 7; xii 2 07

, , , , , , , , ,

4 he is recogn i ze d o n ly a s a s a in t
, .

I n thi s m a teri a l which I rec a pitu l a te here o nl y for a vi ew

,

2
of the chief da ta the most strikin g fa ct is the a n tithesis b e
,

tween the n otices o f the Ra ma y a n a a s foun d i n the e a rly a n d

l a ter Ma ha bha ra ta Th e Ra m a story is referre d to over a n d
.

over a n d the whole ta le is told i n depen den tly a t iii 2 73 H

, , , .
,

but un til we com e to the much exp a n ded D ro n a a n d the

di da ctic epic refere n ces to the poem a re m erely to the Ra m a
,

ta le referen ces to the repute d a uthor a re m erely to a s a i n t

,

reco gn i ze d a s a n a scetic but n o t a s a poet E ven a s a s a in t .

the eviden ce is con flictin g fo r though usua ll y a Vishn u a dh e , ,

ren t in the p a ss a ge cited a b o ve fro m the An u ca s a n a Va lmi ki

'

, ,

is a Ci va i t e Th e in dividua l a llusi o n s pro ve therefore n oth

.
, ,

i n g in rega rd t o the gen era l priority of Va l mi ki a s the fi r st

epic poet They pro ve onl y tha t the Ma ha bha ra ta wa s n o t
.

complete d before Va lmi ki wrote just a s the m en tion of the ,

1 ve d e R a m a y a n e p u n e ( m a y go w y
t h e n e x wo ith
) B h a ra t e , a a a t rd Bh r t !

rs a bha ,
d
a a u c a n t e c a m a dh y e c a . Ha ri h s a rva t ra gi y a t e
’
Th e a s c a u s e . l t l
ma y b e t k r i a it ly
e n mo e n e n e ,
“
dfi M
in V , R , a n d i i
; i n t h e b e n n n , e n d, a n d
. . . g g
dd
m i l e e v e rywh e r e
,
”
B u t s u c h c o rre l a ti o n i s c o mm o n ( e g , v e e l o k e e r u t a n
. . . d
s m rt a h , R ii , 24, 2 8 ) a n d s e e m s t o m e t o b e i m p li e
. h e re d .

2 W b r U b r da s R a m a y a n a fi
rs t c o lle c t e it ; Ja c o b i , D a s R a m a ya n a , d
e e , e e ,

a dd d
e t o it ; Ho ltz m a n n , D a s M a h a b h a ra t a i v, p 60 if , h a s b ri e fly s u mm e , . d
i t, w ith o th e r r e fe r e n c e s ( o mi tte d h e re ) a n d i n d e p e n de n t a dditi o n s .
64 THE GR EA T EP I C OF I N D I A .

the N a i sa dh a in tha t it is a n e a rly ta le of un kn own a uthor

,

ship whi ch a p o et m a de hi s o wn L o n g befo re there is a n y .

a ll usio n t o Va l mi ki s R a ma y a n a
’
the ba se of the gre a t epic , ,

the substa n ce of the B ha ra ti K a tha is rec o gn i ze d i n Hin du

'

liter a ture ; whi le the l a te st a dditio n to the gre a t epic refers to

Va lmi ki hi m self a s a m a n who is to be th a t is wh o is a lre a dy , , ,

fa mous y a c a s te gry a m b h a vi s y a t i xiii 1 8 8 —1 0 B etween

,
‘

, , , .

these ext rem es li es the Ra ma y a n a .

Th e Ra m a y a n a reco gn i zes J a n a m e j a y a a s a n a n cien t hero ,

a n d kn o ws K ur us a n d Pa r i c a l a s a n d the town of Ha stin a pur

‘

ii 68 Th e st o ry of the P a n du s the gist of the prese n t

( , , ,

epic is presum a bly la ter tha n the story of Ra m a ; the form er

,

1
everywhere reco gn i zi g the l tter a s a
n a n a n cie t ta le We
n .

must therefore o n these da ta m a ke the followi n g di sti n ctio n s

1 Th story of R m a is older th a n the story of the
( ) e a
P a n du s .

( 2) Th e P a n du sto ry h a s a bsorbed the B ha ra ti K a th a .

B ha ra ti K a tha is older th a n Va l mi ki s p o em
’

( )
3 Th e .

Although we ha ve but two a n cien t Sa n skri t epics there is ,

n o re a so n to suppose th a t epic poetry be ga n with the exta n t

poem s i n o u r p o ssession As wa s rem a rke d a bove the Ma ha .

,
”
bha ra ta a ll udes t o the G re a t I t ih a s a s whi ch m a y perha ps ,

f 2
i mply other p o e s o epic ch a r a c ter a n d co n sidera ble exte n t
m .

N o r c a n it be supp o se d th a t epic poetry w a s sudden l y

1 11, 76, 5 , a sa j t o s t a th a p i R a m o l u l u b h e
m b h a ve h e m a m a y a sy a a n
’

m t g a y a ; iii 1 1 48 Va li y a th a s t ri ka iik s i n o h p u r a ; i x
Su gri va y o r b h ra t ro r
'
-
, , , ,

3 1 1 1 R a va n o n a m a ra k s a s a h R a m e n a n i h a t o r a j a n s a n b a n dh a h s a b a n u
, , ,
u

g a h ; s o i x 5 5 3 1 ; s o m e ti m e s i n t e rp o l a t e d a s wh e n R a va a a n d I n d a j i t
, , , n r

a e m e n ti o n e d i n i 1 5 5 44 b u t n o t i n C
r , whi c h o m it s a ll 41 —
, , 44 ( a ft e r
Oth e r r e fe r e n c e s will b e fo u n d i n iii 2 5 8 ; 8 5 65 e t c C o m p a r e Ho ltz m a n n
, , , , .
,

l o c c i t p 62 if A c c o r d in g t o x ii 3 40 8 5 if R a m a c o m e s a t t h e b e g i n n i n g
. .
,
. .
, , ,

o f t h e l a s t e ra ; Kri s h n a a t t h e b e g i n i g o f t h e p r e s e n t e ra ( R a m a s t wo
’
,
n n

a d j u t a n t m o n k e y s a re h e r e E k a t a a n d D vi t a ) R a m a i s r e c o g n iz e d h e r e a s .

a n i n c a rn a ti o n o f Vi s h n u a n d a l s o i n iii 99 40 , , ,
.

2 I gr e a t i s a wo r d o fte n u s e d with o t r e fe re n c e
s a y p e rh a p s o n ly fo r
“ ”
, u

t o e x te n t Th u s t h e m a h a d a kh y a n a m o f x iii 2 1 i s o n ly a p hil o s o p hi c a l
.
, , ,

fa b l e ( a b o u t a s n a k e a n d K a r m a ) 8 3 c lo ka s l o n g ,
.
 I N TE RR E L A TI ON OF THE T WO EP I C S . 65

in ven ted by o n e poet Th e n um erous a n cien t ta les of .

epic cha ra cter m ust ha ve furn i she d a l a rge b o dy of epic phr a se

a s we ll a s fa ble out o f whi ch a n d o n the b a sis o f whi ch a rose
,

o u r prese n t epics Thi s is re n dere d prob a ble a ls o by the fa ct

.

tha t such bri ef epic verses a s a re preserve d in other wo rks ,

a lthough n o t a lwa ys from the ext a n t epics yet h a ve the s a m e ,

cha ra cter a s the verses of the B ha ra ta a n d Ra m a y a n a Fu r .

t h e rm o re a s s a id a bove the epic itse l f a dmi ts tha t the prese n t

, ,

1
text is n o t a n origin a l work .

We c a n n o t supp o se then even if o n e epic could be sho wn ,

to be pri or to the other tha t thi s prior epic wa s the fi rst work ,

in epic v e rs ifi c a t i o n We must let p a ss the sta temen t o f the

.

Ra m a y a n a itself th a t Va l mi ki in ven te d the cl o ka verse for , ,

though Va lmi ki m a y ha ve been the fi rst to set out t o wri te a n

epic i n cl o ka s it is sc a rcely worth whi le to di scuss such a
,

p a l p a ble bit o f self gl o ri fi c a t i o n a s tha t in which the l a ter

-

d 2
R a m a y a n a here in ulges As the two Greek epics were both .

b a se d to a cert a in exten t o n the gen era l rha pso di c phra se o l o gy

of the da y so the t wo Hin du epics though there w a s without
, ,

do ubt b o rr o win g i n speci a l in sta n ces were yet in thi s rega rd ,

in depen den t of e a ch other bein g both depen den t o n previ o us ,

rh a psodi c a n d n a rr a tive phra seol o gy .

I c a n n ot in short thi n k th a t such a very l a rge n umber of

, ,

iden tic a l phr a ses a s I sha ll en li st belo w c a n o we their iden t ity

’
si mply to o n e poet s copyi n g o f a n o ther Fo r the simil a rity .

o es t o o deep in t o the very r a in o f the verse Th si

g g , e e x
p o .

ti on I fe a r will be tires o m e i n its study of mi n ute deta il but

, , ,

it is n ecessa ry to a full u n dersta n di n g of the con di tion s of the

problem .

1 i , 1 , 26 : a c a kh y u h ka v a y a h ke c i t m p ra t y a c a k s a t e p a r e a kh y a s y a n t i
sa

t a th a i
’
va
’
n ye i t ih a s a m i m a m b h u v i ( c it e b y Ho ltz m a n n ) d .

2
So with t h e t a l e o f t h e t wo rh a p s o d e s wh o s a g t h e p o e m with m u s i n
”

c a l a c c o m p a n i m e t a ft e r it h a d b e e n c o m p o s e d a
n ,
d t a u g ht t o th e m ( o th a t n s

i n t h e fi r t i n s t a n c e it wa s r e c it e d a s a n a rr a ti ve )
s B u t a l l thi s i s t h e p r o d u c t .

o f a l a t e r a ge m ki n g u p i t s o wn fi c ti o n s a n d m yth s s u c h a s t h e s i g i g s o n s
a ,
n n

K c a a n d L a v a m a d e o u t o f k gi l v a n o r d i n a ry w o r d fo r rh a p s o d e
u u a a ,
Th a t .

Va lm iki c o u l d n o t h a ve i v e n t e d t h e e lo k a i s s h o wn b y t h e p re s e n c e o f
n
”

a n e a rli e r fo r m o f c l o ka s i n t h e B r a h m a n i c lit e r a t u r e r e t a i n e d i n Mbh .

5
66 THE GR EA T EP I C OF I N D I A .

A cha ra cteristic o f the common b a sis o f epic verse m a y be

t ra ce d b a ck to the Ri g V e da Thi s co n sists i n a rhetori c a l .

duplic a ti o n of a di ssyll a bic i a mbic n oun whi ch fa v o rs the ,

di i a m b i c close of the octo syll a bic p a da o r verse a s i n these ,

fi rst three ex a mples or o f the twelve syll a ble p a da a s in the ,

-
,

l a st ex a m ple
rt a va n a j a n e j a n e R V v 65 2 -
, .
, ,

y a c c i d dh i t va m grh e
grh e i h i 2 8 5
-
, .
, ,

h a s ka rt a a rn da m e da m e i h iv 7 3
'

r vn 1 5 2
-
, .
, , , ,

sa da rq a t a q ri r t i t h i r grh e -gt h e
a

va n e va n e -
i ri e t a kva vi r i va
q q y
j a n a mj a n a mj a n i o n a t i m a n y a t e
-

v i q a a ks e t i vi gi o vi c a m vi c a m i b x -
91 , 2
, .
,

With the l a st com p a re a lso RV i 1 23 4 where grh, .

, , ,

rh a m di ve di ve a r a m — r
-
m st d a t the sta rt n o t a t the
g , g a
g a a n , ,

end Som etimes a wh o le p a da c o n sists of o n l y such c o m

.

posita a s in x 9 7 1 2 a fi ga m a n ga m p a rus p a rus ( cf v 5 3

, , , ,
- -
.
, ,

1 1 ; x 1 63 , I n the R i g V e da a ga in p ur e a dverbs thus

, , ,

duplic a ted a re n ever foun d a t the e n d o f the p a da ; o n l y such

n o mi n a l a dverbs a s th o se a bove the n e a rest a ppr o a ch to pure ,

a dverbs so use d bein g i da m ida m a pro n omi n a l a dverb closin

g
-
,

a p a da a t vn 5 9 I n the epic however the f o rm s a re usu

, , , ,

2
a lly a dverbs usu a ll y a t the e n d ,
usu a ll y i n c l o ka s ; in the Ri g ,

V eda n ever pure a dverbs usu a lly a t the be gin n i n g or in the

, ,

mi ddle seldo m a t the e n d of the p a da a n d usu a lly n o t i n

, ,

l k but i a y tr i d especi a ll y i n j a a ti or t ri stu b h

e o a s n
g
, a a n g
verses Th e fi rst ex a m ples given a b o ve a re therefo re ra ther
.
, ,

the exceptio n th a n the rule a s fa r a s their p o sitio n go es B u t .

I thi n k we m a y see i n the m the precurs o rs of the epic fo r

m ul ae use d i n cl o sin g the hem istich Th e V e da puts the form .

where it best sho ws the itera t ive in ten sity ; the epic puts it
where it best helps the m etre Thus .

Co m p a r e t h e
li s t o f s u c h c o m p o s it a i Pro fe s s o r C o lli tz s p a p e r Ab h a n dl ’
1 n .
,

d V Ori e n t C o n gre s s 1 8 8 1 p 28 7
.
, , . .

E x c e p ti o s o f c o u r s e o c c u r a s i n M vn 7 53 p u n a h p un a r a b h a j y a n t a
. .

2 n .
, , , ,

s i h e n e v e t a r e m r g a n ; R i v 43 53 a h a n y a h a i va rdh a n t e So u p a ry u p a ri
’
’ ’
rr .
, , ,
n .

s a rv e s a m a n d s a n fi n a m N a l a 1 2 ; a n d R v 1 3 1 0 r e s p e c ti v e ly
, , .
, , ,
.
 I N TE R RE L A TI ON OF THE T WO EP I C S . 67

pun a h—pu n a r m a ta ra n a vy a s i ka h R V iii 5 7 ,

.
, ,

pu n a h—pu n a r j a y a m a n a p u ra ni R V i 9 2 1 0 ,
.
, ,

n i h q va s y a c a p u n a h p u n a h R i 5 4 5 .
, ,

v e ks y a p u n a h p u n a h M ix 29 49
( n i h va s a
q y ) p ra t y a , .
, ,

Th e epic uses thi s m etric a l co n ven i e n ce co n st a n tly some ,

t im es t o o o fte n a s i n ix 3 2 6 8 9 where pun a h pun a h is

, , , , , ,

repe a te d three tim es Other a dverbs o f the s a me sort i n b o th .

epics a re p rt h a k p rth a k m uh u r m u h u h c a n a ih c a n a i h I n a , , .

wo rd both epics close the hemi stich in this a n tique V e di c

,

m a n n er th o ugh the epic sty le h a s som ewha t cha n ged the

,

1
rel a ti o n o f the phra se to the p a da .

Lik e these stere o type d term in a ls i n their epic a ppli c a ti o n is

the c o un tless n um ber o f verses en din g with the s a m e di i a m b i c
form v o c a tive n o mi n a t ive or o blique c a se of o n e com p o un d
, , , , ,

a n d the less freque n t ( bec a use less n ee de d) comm o n f o rm o f

the prio r p a da s p a t h y a e n di n g such a s m a h a b a l a p a ra mt a p a

’
, , ,

a ri ni da m a ( pri r m p j m h r j
'

o a h a b a h o r a fi, a v i ry a a a a a r a ,
°
,
°
, ,

j e n dra
) p ; ra t a p a v a n
p a ra v i ra h a m a h a m r,dh e ra n a j re ra n a
i , , ,

m fi rdh a n i ra n a ka rka c a h the obli que c a ses o f m a ha t m a n

, ,

( c o n st a n tly use d) a n d such dii a m b i c phra ses a s ba la d b a li

, ,

suto ba li A ll o f these a re used i n the s a m e wa y in b o th epics

.
,

most o f the m repe a te dl y I n s o m e the word p a sses b a ck o f .

,

the dii a m bus a n d le a ds us towa rd the wh o le p a da phra se -

tho ugh n o t q ui te re a chi n g it Of such sort a re ra n a ka rka .

c a n ( a bove ) y dh a du rm a da s a mgra m a m fi rdh a ni ( V a ru n a h)

u d , , ,

s a t y a s a m a ra h n ama n a m a ta h t u n i s ii da n a a ku t o b h a y a h
g , c a r , , ,

kro dh a m fi rc c hi t a h I n o thers the wo rd f a lls short but the

.
, ,

positio n o f the a djective is fi xe d a n d it is ge n era lly precede d

by the sa m e com bin a ti o n a s i n ( ca p a m ga da m o r dha n ur) , ,

u dy a m y a vi ry a va n a n d the commo n fi n a l m a n a da 2
, .

1 An d a ls o t e n d e d it i n t h e
ex fo mr g t g t
a e a e ( in s te a d of th e noun ) in
da c a h e va i g a t e g a t e x ii i 1 07 43 , , te d a l o g h e Of e p i c p hra s e s I h a v e no s t

g r M ii 1 5 2 ; R v 26 20 a d ( p a s i m ) p a d e p d e y o ge y o ge r a e r a e
.
, ,

be, .
, , . n s a n n

a n d in M ja
.
, , ,

e j a n e a n d i n t h e m o r e u n u s a l i iti a l
p o s iti o m a si m a sr
.
,
n u n n
,

( Ve d i c a d M i x 3 7
,

n k a l e k a l e i 3 7 23 Of t h e p hr a s e s q u o t e d a b o ve
.
, , ,
x , , .
,

m u h u r m u h u h o c c u r s o ft e ; c a n a i h c a a i h e g M ix 2 9 1 04 R ii 40 22
n n ,
. .
, .
, , .
, ,

a n d G vi 1 1 1 1 3 ; p r
.
, t h a k p rt h a k e g M i
, 3 7 2 3 ; G v i 54 59 ; 77 1 ,
. .
, . x , ,
.
, , ,
.

2 Amo n
g th o e m e n ti o e d p a ra vi ra h a i s c o n ve rt e d i n t o h a n t a i n t r s t u b h
s n , r ,
68 THE G R EA T EP I C OF I N D I A .

these co m poun ds n o t on l y i n form but in fix ed posi

From ,

tion commo n to b o th epics we m a y p a ss to c a ses li ke ( sva te ,

j a sa often ) sven a t e j a s a where the p a da e n ds wi th two words

, ,

whi ch ta ke in more tha n the diia m bus for ex a mple b i b hra , ,

i msve n a t e j a s a jva l a n t i msve n a t e j a s a the form er i n M xii

, , .
,

3 25 2 ; the l a tter i n R vi 1 07 1 1 a n d G 8 0 3 3
, .
, , .
, .

Th e fi xe d form is shown m ost con spicuously i n Similes th a t

a re co mm o n to both epics a n d a re of the mecha ni c a l form ,

in sta n ce d i n the la st two sorts of ex a m ples n a mely i n dii a m ,

bic or m ore tha n di i a m b i c termi n a ls Thus there a re fi xe d .

phr a ses whi ch a re di fferen t except for the termi n a l whi ch ,

a ga i n is comm o n ( a s a fi xed termi n a l) to both epics for ,

ex a mple
da n da h a t a i vo ’
ra ga h in Ma nd in R .

fi c a q ir s a i vo h,
’
ra
pa ga

da n da h a s t a i va ’
u ta ka h ,

t a ka h ,
’
a a h
p q a s t a i va n

m i va ka m,
’
vy a tt a n a n a n ta

j va l a n t a m i va p a va ka m
di dh a ks u r i va p a va ka h ,
vi dh u ma i va p a va ka h ,
p a t a mga i va p a va ka m,
q a b h a i va p a va ka m,
a l

Such
phra ses a re common n o t o n ly to the two epics but to
outside litera ture Thus the i va p a va ka h formula a ppe a rs in
.

the D ha mm a p a da 71 a s b h a s ma c c h a n n o va p a va ko ( epic
, , ,

b h a s m a p a n n o rva a n d the s a m e is true of a li mite d

n um ber of whole p a da p hr a ses n o t o n l y i n pure proverbs but -

, ,

R i v, 3 1 , 5
.
( O
gh na is a c o mm o n s id e fo m ) r
p ra t a p a v a n i s p e
- aps ea s c om rh l t
mo n in R . it s e rve s with
, but l v i ry a v a n ; fo r e x a m p e , i n R v i , 69 , 1 09 ; 76, 21 , .

2 7 if wh e r e fo ll o w a qu a n tity
, ,
ik o f m a h a b a la s ith
L e vi ry a v a n i s v e ga v a n w
.

v e gi t a h ( v e ge n a i n t h e p ri o r p a d a ) M h a s a t i vi y a v a n a s i n iii 28 3 7 . . r , , , .

Th e s i m p l e fo rm i s r a r e i n a n y o th e r p o s iti o n e g G v 2 23 ; 3 71 As ,
. .
,
.
, , ,
.

a t e r m i n a l it o c c u r s i n R a b o u t fo rty ti m e s i n t h e s i x th b o o k u n c o u n t e d
. ,

o ft e n i M Th e c o m m o n Ma h a b h a r a ta t e rm i n a l ma i I h a v e n o t n o ti c e d
n . r ga ,

i n t h e R a m a ya n a It a p p e a r s t o b e l o n g t o l a t e r d i c ti o n a n d i n di c a te s a n
.

e p i c r e c a s ti n g a s d o e s e g t h e l a t e t a t ra b h a va n t o f R i i 1 06 3 0
, , . .
,
.
, , .
 I N T RR E EL A TI ON OF THE T WO EP I C S . 69

in curren t si mil es a n d meta phors like ka la mn a rh a n t i s o da ,

’

c i m xii ,
2 77 6 ; ,
M a n u ii ,8 6 ; a n d B uddhi stic Dh , P 70 , , . .
, ,

ka l a m n a ggh a t i s o la s im ; or m a ns a c o ni t a l e p a n a m D h P
’
, . .
,

1 50; M a n u vi 7 6; M bh x ii 3 3 0 42 ( M
, , a it Up iii .
, , . .
,

I n some c a ses the v a riety of p a da s con structe d o n a com

m o n termi n a l is very l a rge such a s the v a rious form s of wha t ,

a ppe a rs most simply a s ga n ta si Ya m a s a da n a m y a to si Y a m a

’ '

s a da n a m Thus both epics h a ve yi y a s u r Y a m a s a da n a m a n d

.

a n a y a d Ya m a s a da n a m a l o n g with other form s m o re peculi a r

, ,

Ya m a sy a s a da n a m pra ti R vii 2 1 1 ; p ra h i no d Ya m a sa da n a m , .
, , ,

p ra hi n o n m r t y u l o k a y a
2
c a ra i r n i n y e Y a m a ks a
y
, a m M ix 26 , .
, ,

2 9 n i n y e v a i v a s va t a ksa y a m M vii 26 53 ga to va i v a s v a t a
, , .
, , ,

ksa y a m G vi 8 2 1 8 3 ya mi va 1 gra v a na l a y a m G vi 8 2
, .
, , , , .
, ,

n a y a mi l o ka m ( wi th Y a m a s y a o mi tte d t ri stu b h ) M viii 8 5 , , .

, ,

3 1 n a ya mi Ya m a s y a ge h a b hi m u kh a m R vii 68 20 ; ga mi , .
, ,

sya mi Ya m a sy a m fi l a m R v 28 1 7; m rty u p a t h a m n a ya m i , .
, , ,

G vi 3 6 1 1 8 m rty u m u kh a m n a yi sy e M vi ii 42 1 1 ;
.
, , , .
, ,

m rty u m u kh a ga ta m ( a n e s y a ma h) G iv 45 9 E vi de n tly in , .
, , .

these c a ses the a n cien t phra ses Ya m a s a da n a m Ya m a ksa y a m , ,

a re built upo n i n sever a l w a ys a n d the n the desire for v a ri ety ,

le a ds to the pulli n g a wa y of the b a se of the o l d fa shi on e d -

phra se a n d the superstructure is shi fte d to a n e w ba se ge n

, ,

e ra ll y i n the l a ter epic the double me a n i n g of ksa y a helpin g ,

i n a n a y a t ksa y a m ix 27 48 L ike ch a n ges occur i n the

, , , .

1 h e re a re a l s o c l e a r tra c e s o f d i a l e c ti c i n flu e n c e i n t h e a da p ta ti o n o f
T
s o m e o f th e s e s t a n di n g p hra s e s On thi s s u b j e c t I s h a ll s p e a k m o r e fu lly
.

b e lo w He r e I will ill u s tr a t e wh a t I m e a n b y o n e e x a m p l e fr o m t h e R a m a
.

y a n a Th e re i s a c o m m o n p hra s e whi c h b e gi n s t a m a p a t a n t a m s a b a s a o r
.
,

s o m e s i m il a r fin a l wo r d t h e fi r s t t wo r e fe rri n g t o a m a s c u l i n e n o u n ( we a p o n )
, .

W h e n we fi n d i n R vi 67 47 thi s s a m e p hra s e u s e d o f a n e u t e r n o u n t a d
,
.
, , , ,

a p a t a n t a m we a re j u s ti fi e d n e ith e r i n a s s u m i n g th a t t h e p o e t wa s wh o lly
,

i n diffe re n t t o gr a mm a r n o r i n a gr e e in g with t h e c o mm e n t a t o r th a t t h e m a s
c u lin e fo rm i s a n a r c h a i s m c o u n t e n a n c e d b y Ve d i c u s a g e p u rns t v a m a r ga m
’

, .

I t i s s imp ly a c a s e o f b o rr o wi n g a c o n ve n i e n t g ra m m a ti c a l fo rm ( n o t Sa n
s kri t b u t Pr a krit ) fo r a p a t a n t a m i s a r e g u l a r p a t o i s n e u t e r p a rti c i p l e
, , F o rm s .

o f thi s s o rt a re a d o p t e d in t o t h e e p i c m e r e ly fo r m e tri c a l r e a s o n s s h o wi n g ,

th a t th e y we re b o rr o we d fr o m t h e c o mm o n s p e e c h o f t h e da y wh e n c o n
ve n i e n t whi c h s h o ws a g a i n th a t t h e e p i c s ( b o th a re a lik e i n thi s p a rti c u l a r )
we re writte n i n Sa n s krit a n d n o t m a d e o v e r fr o m Pr a krit o ri g i n a l s .

e e fo r r e fe r e n c e s A p p e n d ix A s v
2 S .
, ,
.
 70 THE GR EA T EP I C OF I N D I A .

s u t u mu la m y u ddh a m phra ses gen era lly en di n g wi th l o m a h a r ,

s a n a m but occ a sio n a lly i n a n e w settin g Ya m a ra s tra vi va rdh

, ,

a n a m a s i n M vi 79 60
,
ix 1 0 61 ; 1 1 5 etc ; i n t ri stu b h
.
, , , , , , .
,

v a rdh a n a h vii 1 45 9 7
°
.
, , ,

E speci a lly is the mo n oto n y v a rie d i n the co n ven ti o n a l

phra ses of c o n vers a tion B oth epics h a ve e t a c c h ru t va tu .

v a c a n a m t a s y a i t a d v a c a n a m c ru t va ida m v a c a n a m a b ra vi t
’
, , ,

ru t va tu v a c a n a m t a sy a ; a n d a ga in the p hr a ses a re shi fte d

c ,

ta ta s t a d va c a n a m cru t va t a d e t a d v a c a n a m gru tv a ( o ld a n d ,

ra re ) G iv 3 8 46 ; c ru t va ta sa m tu va c a n a m M ix 3 5 5 2 ;
, .
, , , .
, ,

ida m v a c a n a m u kt a va n G v 68 24 ; a n d i n m a n y other wa ys , .
, , ,

too tedi o us to recoun t .

Herewi th we com e to the p a da phra se which fi ll s the whole ,

ha lf verse with the s a me locution a s i n p a l a y a n a p a ra y a n a h

-
, ,

a ra s a ra r h a ns a v a h I n the A m Jo u rn a l of Phil o l o y xix

p p j g .
g .
, ,

p 1 3 8 ff I cite d verses of the Ma ha bha r a ta which a re full of

. .
,

such phr a ses Such p a ss a ges a re a lso e a sily foun d i n the Ra ma

.

y a n a o f which I wi ll gi ve but o n e in sta n ce vi 71 where 91

, , , , .

67 a l o n e co n t a in s four such phra se s : t a m a p a t a n t a m ni gi t a rn

’

c a ra m a ci vi so p a m a m a rdh a o a n dre n a c i c c h e da L a ksm a n a h p a ra

,

vi ra h a ( with others fo llowi n g) Here the whole gl o ka with .

the exceptio n of the proper n a m e co n sists of it era t a I n the .

Ra m a y a n a too we fi n d a s often i n the Ma ha bha ra t a two

, , , ,

itera ta en closin g a verse tha t is n e w a s in iv 1 1 1 8 where , , , ,

the i n depen den t verse is s a n dwiched between the itera ta

t a sy a t a d v a c a n a m cru t va a n d kro dh a t s a mra kt a l o c a n a h ,

whi ch a rra n gem en t is foun d a ga in i b 73 I n G iii 5 7 1 5 , . . .

, , ,

the hemi stich co n sists of two whole phra ses ro sa s a mra kt a n a ,

y a n a ida m v a c a n a m a b ra vi t I n G vi 27 there a re n i n e ite . .

, ,

ra ta i n the fi rst eighteen cl o ka s I men tio n thi s tha t there .

m a y n o t see m t o be a n y di stin ctio n i n this rega rd i n the two

epics B oth h a ve m a n y cha pters whi ch teem with verba l or
.

1
whole p a da itera ta the la ter the ore N o ti c e a b l e a re their
m
-
, .

1 Th e l ti ve s tyl e i s c h a r a c t e ri s ti c n a t u r a lly o f l a t e r s e c ti o n s So
c u mu a , , .
,

fo r i n s t a n c e i n t h e l a t e fo u rt e e n th c h a p t e r o f t h e thirt e e n th b o o k withi n
, ,

t h e c o m p a s s o f a b o u t thirty c l o ka s 249 ii we fi n d s a rv a b h a ra n a b h fl s i t a m
, .
, ,

s a rva b h fi t a b h a y a va h a m c a kra t u ly a p a ra kra m a h t ri gi kh a m b hr fi ku ti mkt t v a

, , ,
72 THE GR EA T EP I C OF I N DI A .

Those I ha ve coll ecte d were gle a n ed in cide n ta ll y from a fi el d

whi ch I t ra verse d with other objects i n view a n d I ha ve n o ,

d oubt th a t these p a ra llels c o uld be l a rgely i n cre a se d by a

close a n d system a tic com p a rison of the two epics thr ougho ut .

Th e a lph a beti c a l a rr a n gem e n t followe d is merely for c o n ve n

i e n c e of refere n ce I sh o uld h a ve been gl a d to group the
.

ex a mples a ccordi n g to their con ten t a lso tha t I mi ght h a ve ,

shown more fully the va ried fi eld s they occupy but a s thi s , ,

wo ul d ha ve ta ke n too much sp a ce the re m a rks m a de a b o ve o n ,

this subject a n d the fo rm er groupin g m a de i n a prelimin a ry

1
study of the questio two ye rs g must suffi ce
n a a o .

I wil l suppose tha t the re a der h a s re a d Appen di x A now .

He will h a ve n otice d i n s o doin g th a t just a s the Utta ra Ra m ,

a y a n a a s well a s the re a l p o e m of Va lmi ki is reco gn i ze d in

, ,

2
the pseudo B ha ra ta s o i n the expression s a si d ra j a N im ir
-
,

na ma , e ka n t a bh a va n u ga ta h, and y a sy a
p ra s a da m ku ru t e sa

va i ta m dra stu m we ha ve a di rect copy o n the p a rt of

a rh a ti ,
3
the Utta ra Ra m a ya n a n o t o n ly of the e a rly epic but of the
pseudo epic s episo de of the Whi te C oun try a n d even of
-
’

the very words employe d i n the description of the Whi tes

I sl a n ders to ret a in the usu a l n a m e thou h o n ly coun try is
( , g ,

re a lly me a n t ; K a shmere I thin k) There a re severa l such ,

.

p a ss a ges i n the Utta ra reflecti n g the gre a t epic i n its e a rlier

A JP p 1 3 8 ff , 1 898
1 . xi x , . . .

2 h
T u s th e s o t ry
o f R a m a c fi dra gh a t i n , t o l d i n R vn 75 76 ( G 8 2 a s .
,
- .

killi g n r g iz d with a n I h a ve h e a r d c fi y a t e
Ca m b a ka o r Ca m b fi ka i s e c o n e
“
,
r ,

x i i 1 5 3 67 ( wh e r e J a m b ii ka t a k e s t h e p l a c e o f Ca m b fi ka )
, ,
.

p ra ks i p t a p s s a g e a ft e r R iii 5 6 wh e r e Sit a d e m a n d s s i gn s o f
3 So i n t h e a .
, ,

t h e go d I n d ra a n d h e a p p e a r s with t h e de v a li g a n i : He t o u c h e d n o t e a rth
‘
“
,
ri

with h i s fe e t wi n k e d n o t h a d d u s tl e s s g a rm e n t s a n d u n fa d e d g a rl a n d s a s
”
, , ,

i n N a l a 5 1 2—24 whi c h t h e p a k s i p t a c l e a rly c o p i e s

, ,
So t o o i n t h e s a m e
r .
, ,

b o o k iii 60 n o t i n G e vi d e n tly a n a rti s ti c i m p r o v e m e n t o n t h e p r e c e d i n g

, , , .
,

s a r g a i n 9 1 26 R a m a s a y s : ( dy s ta s i ) v t kga i r a c c h a dy a c a t m a n a n i ki m m a m
'
’ ’
.
, ,

a s D a m a y a n ti s a y s ( N a l a 1 1 9 : ( l t s to s i ) a v a ry a gu l m a ir
‘
n a p ra t i b h a s a s e , ,

a t m a n a m ki m m a m n a p ra t i b h a s a s e ; a n d i n 9 1 1 7 R a m a c ri e s o u t : a c o ka .
,

k a da t va n n a m a n a m k u r u k s i p ra m p ri y a s a m da rc a n e n a m a m a s
c o p a n u ,

D a m a y a n ti 1 2 1 04 a n d 1 07 vi go ka rii k u ru m a mks i p ra m a c o ka p ri y a da rc a n a
, , ,

s a ty a n a m a b h a v a g :o k a a go k a n
’
.
 I N TE RR E L A TI ON OF THE T WO EPI C S . 73

par ts well C om p a re for in sta n ce the di vi sio n of I n dra s

as .
’

si n a s rel a te d i n M v 1 3 with R vii 8 5 a n d 8 6

.
, I t will be .
, .

n ecess a ry o nl y t o cite M v 1 3 12 .
, , ,

ra ks a rt h a m s a rva b h u t a n a mvi s n u t va m u p a j a gm i va n

and from i h 1 3 —1 5 ,
.

mt a d va c a n a mq ru t va de va n a mVi s n ur a b ra vi t
t e sa
m a m e va y a j a t a mCa kra h p a va y i sy a m i va j rrn a m
p u n y e n a h a y a m e dh e n a m a m i s tva p a ka q a s a n a h
n a r e s y a t i de va n a m i n dra t va m a ku t o b h a y a h
p u

a s comp a red with R vn 8 5 1 8 20—21 whi ch give ex a ctly the

.
, , , ,

s a me wo rds .

B u t this correl a tio n exists n o t o n ly i n the l a ter p a rts of

both epics a n d i n the la ter p a rt of the Ra m a y a n a a n d a n
e a rlier p a rt of the B ha ra ta I t is just a s e a sy to reverse the .

p o sition s a s for in sta n ce in the a ccoun t of cre a tion a t R iii 1 4

, .
,

G 20 nd M i 66 T his p ss e is i s ructive ex
( .
) a a. a,g n t . a s a n

a m ple o f the wa y complete p a ss a ges were roughly remem

bere d a n d ha n de d down wi th shiftin g phra ses omissio n s a n d , ,

in sertio n s
M 66 .
, 58,
dh rt a ra s tri t u h a ns a ri q ca ka l a h a ri s a ri q c a s a rva qa h
R 1 4, 1 9 ,
.

dh rt a ra s t ri t u b a ns a ng c a ka l a h a ns a nq ca s a rva qa h
M ib. .

c a kra va ka ri q c a bha dra tu j a n a y a ma s a sai

’
va tu

ca kra va ka nq ca b h a dra rh te vij a j fi e sa

’
pi b h a mi n i
G 20.
, 20,
dh rt a ra s tri t v a j a n a y a d dh a ns a n j a l a vi h a ri n a h
ca kra va ka nq ca b h a dra mt e sa ra s a ng c a i ’
va s a rva q a h
M 59.
,

cu ki ca j a n a y a ma s a q u ka n e va y a q a s vin i
ka ly a n a gu n a s a m p a n n a s a rva l a ks a na p uj i t a

q u ki q u ka n a j a n a y a t ta n a y a n vi n a y a n vi ta n
ka l y a n a gu n a s a m p a n n a n s a rva l a ks a n a p uj i t a n
74 THE GR EA T EPI C OF I N D I A .

guki ta m j jfi e vi n a ta suta ]
'

na vi a tu na t a y a rn

n a va kro dh a va q a n a ri n p ra j a j fi e kro dh a sa m b h a va h
m rgi ca m rga m a n da ca h a ri b h a dra m a n a a pi
R 21 ,
.

da q a kro dh a va q a , R a m a j j fi e p y a t ma s a mb h a va h
’
,
vi a

m rgi mc a m rga m a n da mc a h a ri m b h a dra ma da m a p i

G . 22,
ta tha kro dh a va q a n a ma j a jfi e sa c a
’
t ma sa mb h a va n
m rgi m m rga va t i mc a i ’
va ga rdul i mkro s t u ki mt a tha
M 61 .
,

m a ta n gi t v a tha c a rdul i q ve t a s u ra b h i r e va c a

s a rva l a ks a n a s a m p a n n a s u ra s a c ai
’
va b h a mi n i
R 22.
( a nd G ) . a , do .
, but a cc . b ,

s a rva l a ks a n a s a m p a n n a s u ra s a mka d u ka m a p i r

M 62
. R 23
lmost ex a ctly
. a , a nd the foll o win g verses a gree
much i n the s a m e wa y un til , one p a ssa ge whi ch I will cite
en tire a s follows
,

MA HAB HAR A TA ( 1, 66, 67 RAMAYAN A ( iii , 1 4, 27—28 )

t a th a du hi t a ra u ra ja n ta to du hi t a ra u , Ra ma ,

s u ra b h ir v a i vy a j aya ta s ura b h ir d yev a j a ya ta

r o hi i c a i
n
’
va b h a dra rii t e 1 mn a m a b h a dra mt e
ro hi ni

ga n dh a rvi t u y a c a s vin i ga n dh a rvi mc a y a ga s vi n i m

vi m a l a m a p i b h a dra te m
a n a l a m a p i , B h a ra ta ,

ro h i n y a mj a j fi i re g a vo ro h i n y aj a n a y a d g a vo
ga n dh a rvy a n i
'

va j in a h su ta h g a n dh a rvi v a j i n a h s u t a n
sa p t a p i n da p h a l a n vrk s a n
l’
a n a a p i vy a j a y a t a ( se e 3 1 , b e l o w)
( 70 b )
,
’
s u ra s a j a n a y a n n a a n g s u ra s a
’
j a n a ya n n g
a an,
ka drfi h p u t ra ns t u p a n n a ga n R a ma ,
ka drfi c c a p a n n a ga n
( 29 ) ma n u r m a n u sy a n j a n a y a t
(3 1 ) sa rva n p u n y a p h a l a n vrks a n

a n a l a p i vy a j a y a t a
’

Th e l a st verse in R gives the origin of the four c a stes .

R uli C ste p 74 n ote ) where G h a s m a n ur m a n u sy a n

( n
g a , .
, , .

1 b h a d ra t u , in C .
 I N TE R R E L A TI ON OF THE T WO EP I CS . 75

ja n a ya ma s a vir
, t u R a gh a v a
a lly t h e s a m e tex t i n sert . G . ha s ,

in g R a m a a n d o mittin g the m e n tio n o f An a la s birth gi vin g

’
,

o n l y her pro gen y I n the la st verse G lik e M h a s s a p t a . .

, .
,

da h a l a n v rksa n ( but) l a l a n a ( sic ) pi v a a a t a

’

p i n p y j y T here is .

here the s a m e substi tution of Ra ma a n d B ha ra ta o bserv a ble in

1
the la te Ka c c i t ch a pter .

2
I n m y Proverbs a n d Ta les I ha ve Shown tha t a scen e of
the Ra m a y a n a is ex a ctly dupl ic a te d i n the Ha ri v a nc a A n .

other Simi l a r c a se is foun d i n H ff G vi 1 9 1 2 ff . . .

, , .

( both fu l l of iter a ta )
HAR I VA NQ A
( see verses below ) t u ra mg a kh u ra vi dh va s t a m
ra th a ne m i s a m u ddh a t a m
v a rt a m a n e m a h a gh o re
ma n e ,
sa mgra m e l o m a h a rs a n e
v a rt a e tc .

m a h a b h e rrm rda n g a n a m ta to b h e ri m t da fi g a n a m
p a n a v a n a m t a t h a i va c a p a t a h a n a m c a m s va n a h
c a fikh a n a m p a ta h a n a m c a
sa m b a b h a v a m a h a s va n a h
h a tan a ms va n a t a m t a tra h a t a n a ms t a n a m a n a n a m
da i ty a n a m 0 5 p i n i s v a n a h .
’
ra k s a s a n a mc a n i s va n a h

a ls o ,

13 1 3 1 11 2 3 3 kh u r ° t k1 ma m
3
3
( see the fi rst verse ,
a bove )
ra t h a n e m i s a m u ddh a t a m

a n d fur ther , an d further ,

c a s t ra p u s p o p a h a ra s a c a s t ra p u s p o p a h a ra s a ( v 1 . . ca )
t t
a r a s i d y u ddh a m e di n i
’
t tr
a a s i d y u ddh a m e di n i
’

du rda rc a du rvi ga h y a ca du s p re ks y a dur vi ga c ai

’
va

m a ns a c o ni t a ka rda m a m a nc a go ni t a ka rda m a

R here ( sa rga 44) h a s s a m u t thi t a m in 91 1 0 but i n the

. .
,

fo ll o win g p a n a va n a m c a ni ( h) s va n a h a s in H a n d h a y a n a m
, , .
,

s t a n a m a n a n a m ( with c a for s a i n the fi r st p a da of the l a st

sta n z a ) Th e o nl y i mport a n t va ri a n t is i n the la st verse 1 5

.
, ,

where in ste a d of the stereo t yped p a da of G a n d H sta n ds

,
. .
,

du rj fi e y a du rn i ve q a ca ge n i t a s r a va ka rda m a

1 A JP p 1 49
. vo l . x ix , . .

2 ih
, vo
l x , p 35
. . s o we . . I h dhr e e re o f p r o ve rb s c o mm o n t o b o th
a sc o

i
e p c s, m o s of w c t
ha d b een p hi h r e v i o u s ly n o ti c e d A n o th e r n o t n o ti c e d i s
.
, ,

ahir e va a h
e n p a a n vi j a n a t i n a d s a mc a y a h R v 42 9 ; a h i r e v a h y a h e h
,
.
, ,

d ti hi c ru t a m M x ii 203 1 3 Se e a l s o t h e n o t e b e l o w
’
p a a n p a c y a ti na h , .
, ,
.
,

p 83 , n o e 2
. t .
76 THE GR EA T EPI C OF I N D I A .

HB few slight cha n ges 3 5 8 66 ff with s a mu tt hi ta m

. ha s a , , , .
,

like R ( R in di c a tes the B o mba y te xt o nl y )

. . .

Th e ide n tity of R iv 40 20 ff with the geo gr a phi c a l p a s .

, , .
,

s a ge H 3 46 42 if . ff c a n be esta bli she d O

, n Si ht :
, g . .
,

G 1 9 n a di m b h a ga ra t h i mc a i va s a ra y fi mka u giki m a p i H
’ '

.
, .
,

where R 20 h a s ra mya m for c a i va in G a n d H ; but for a p i

.
,
’
. .
,

R a n d H h a ve ta tha
. Th e n ext sta n z a G 20 m e ka l a p ra b h a
. .
, .
,

v a m go n a m a grees o n ly i n this text with H 44 , Th e n ext . .

verse in H gom a ti go ku la ki rn a ta tha p a rva s a ra sv a ti is i n

.
,
‘

G 24 ( i n a c c ) i b b i n G re a ds : n a di m ka l a m a si m c a i
. . . .

v a t a m a s a m c a m a h a n a di m where HC a n d R both ha ve
’
.
, .

m a hi ( m) ka l a m a h i ( m) c a pi ( c a i va HB So
’ ’
, .

R a n d HC give the M
. a ga dh a s the epithet m a h a gra m a n a n d
.

’
a dd p a u n d ra v a fi a s t a t h a i
g v a ca where G h a s m a a dh a n
g , .

’
da n da kfi l a nc c a v a n ga n a n ga n s t a th a i va ca G .

a nd HB .
, 91 49 , . Ma g a dh a ri gc a m a h a gra ma n
'

a n
ga n v a n ga ns

t a t h a i va b c a re iden tic a l with H

’
ca . c d
,
G . 26, a , , .
, ,

and a ; with a slight v 1 in HB 48 There a re here . . . .

the usua l a berra tion s from a n y fi xed text but o n the whole ,

the t wo p a ssa ges a re ide n tic a l .

An other p a ssa ge G i 24 9 1 1 —1 2 a ppe a rs to be o n e with , .

, , , ,

M iii 5 2 1 5 a n d) M iv 7 0 1 0—1 2 a fter the fi r st verse it

(
( .
, ,
.
, , ,

agrees wi th R 2 1 1 0—1 2) .
,

MAHAB HAR ATA RA MA YA N A (G .

)
a nt ta m m a va c a n k a r si t
m a dh a rmy a n nin a ga h pa th a n1 m a dh a rm y a n n in a c a h p a th a h
e s a vi gra ha va n d h rm
a a e sa v i gra ha va n d h rm a a.

e s a vi ry a v a ta mva ra h e sa v e da mv a ra h
vi da

dh iko l o k e vi ry a va t a mc re s th o
’
e sa b u ddh y a e sa

ta p a sa mc a p a ra y a n a m (v I . .
0
a h) v i dy a fi a n a t a p o n i dh i h
j
e so
'
s t ra ri1 vi vi dh a mve tt i di vy a n y a s t ra n y a c e s e n a
t ra il o ky e s a c a ra c a re ve da i ’
sa K u gika t ma j a b
na c ai
’
va
’
n ya h p u man ve tti de v a c ca na vi du r ya n i
na ve t s y a t i ka da c a na ku t o ‘
nye b h u vi m a n a va h
na d e va n a
’
su r a h k e c in
na m a n u sy a na ra k s a s a h
ga n dh a rva y a k s a p ra v a ra h
s a ki mn a ra m a h o ra g a h

hi s p a d a a l o n e a p p e a r s i n iii 52
1 T , ,
i v, 70, 1 0 h a s t h e fo ll o wi n g ve r se s ;
G h a s b o th R o m its G s 9 e n tire ly
. . . .
’
.
 I N TE RR E L A TI ON OF THE T WO EP I C S . 77

Here R in the B omb a y e ditio n h a s i n gen era l the re a di n g

.

of M but it om its the fir st verse a n d Ku cika t m a ja h while it

.
, ,

ha s the la te a s t ra n for a s t ra n i , with other va ria tio n s

e s a vi gra h a va n dh a r m a e s a vi ry a va t a mva r a h

e sa vidya ’
dh i ko l o ke q c a p a ra y a n a m
ta p a sa

s tra n vi v i dh a n v e t t i t ra i l o k e s a c a ra c a re
‘
e so y
n ai
’
ya h p um a n ve t t i n a c a ve t sy a n t i ke c a n a
na m 1
a n

n a de va n a rs a y a h keci n n a m a r a n a c a ra ks a s a h
’ ’

g a n d h a rv a y a k s a p ra v a ra h s a ki mn a ra m a h o ra a h
g

esides these p a r a llels I ha ve previously 2 comp a re d the

B
exten ded iden tity of H 3 60 2 ii a n d R vi 5 8 24 ff ; a n d .
, , .
, .
, , .

three p a ssa ges a lre a dy n oticed by others where the gre a t epic ,

seems to ha ve a n older form viz i 1 8 1 3 a n d G 1 46 21 ; , .

, , , .
, ,

iii 9 4 a n d R ii 74 ( G
, , i 1 75 a n d R i 5 4 ( comp a re
.
, .
, .
,

Holtzm a n n loc cit ) Other p a ra ll els n otice d by Holtzm a n n

, . .

a re : the cre a tio n xii 1 66 a n d R ii 1 1 0 ; G a n es iii 1 06 a n d

g , , .
, , ,

R i 3 9 ( l a ter)
.
, I lv a l a iii 9 6 4 a n d R iii 1 1 5 5 ; Rsy a c rfi ga , , , , .
, , ,

iii 1 1 0 a n d R i 1 9 ( see n o w L uder s essa y) ; a lso a couple of

, .
,
’

p a ssa ges i n both la ter epics ori gin of poem i 1 5 7 a n d R , , , , .

i 2 26 ; Ska n da xiii 8 5 a n d R i 3 7 whi ch a ppro xim a te

, , , , .
, ,

closely wi th i 1 3 6 1 a n d R vii 65 1 0 a n d a few more less , , .

, , ,

3
striki n g c a ses i n both l a ter epics .

A review of these p a ra llels proverbs a n d ta les shows tha t , ,

where a s the former m a y be s a id to occur un i vers

p a rt of either epic of the l a tter ( a p a rt fro m the Ra m a ta le ,

itself) a s fa r a s fo rm a l iden tity goes by fa r the gre a ter p a rt

, ,

is foun d where either o n e or both version s occur i n l a te r a ddi

tion s to the poem ( R i a n d vi i M i a n d xii thus : .
, .

M . R . M . R .

i , 1 , 5 7, and i , 2, 23 v , 13 a n d vn , 85
i , 18 a nd i , 46 (G .
) v , 1 41 and i , 2

1 He r e ena m is a s tra ( ga n a m) un drt d(

e s oo C
l
) .

2 A JP . xx , p 3 4 ff. lre a d y c it e d b o th a dd s
. Ho l t z m a n n ’
s Da s M hab ha r t
a a a , a ,

t o a n d i s c o m p l e m e n t e d b y t h e m a tt e r g i ve n th e r e a n d h e r e .

3 I do n o t i n c l u d
e p a r a ll e l t a l e s with o u t p a r a ll e l p hr a s e o l o g y a s fo r , ,

e x a m p l e t h e a ll u s i o n i n x ii 5 7 9 t o t h e t a l e o f A s a m a ii j a s t o l d i n i ii 1 07
, , , , ,
,

3 9 ff . a n d i n R ii 3 6, 1 9 fi . . .
78 THE GR EA T EP I C OF I N D I A .

M . R . M . R .

i , 66 and iii , 14 xu , 1 27 a n d
vii 3 7 ,

i , 1 75 and i , 54 xii 1 53 a n d vii 76

, ,

( ii , 1 05 and ii , 1 00, Ka c c i t ) xii 1 66 a n d ii 1 1 0

, ,

iii , 9 and ii , 74 xiii 8 5 a n d i 3 7

, ,

iii , 53 a n d v1 1 , 55 H . R .

iii , 96 iii 1 1 and , iv , 40

iii 1 06 a n d i 3 9 vi 19
Kh fla
, , ,

iii n o a n d i 1 9
, , vi , 44
iv 70 a n d i 24 ( G )
, , . vi , 58

Th a t is p a ra llel ta les a re ra re in the older thr ee ti mes a s

, ,

frequen t in the l a ter books of e a ch Th e a ddi tion s t o o n e .

epic a re thus o n a p a r with the a ddition s to the other i n their

1
m utu a l obliga tio n s Thi s illustra tes a ga in the fa cts pre
.

vi o u s ly observe d i n re ga rd to the two epics by J a cobi a n d

myself respectively n a m ely tha t the Ut t a ra ka n da h a s m a n y ,

ta les of the middle di stri ct ( Ja cobi R p a n d th a t the , . .

e a rly Ma ha bha ra ta shows fa m ilia rity with the customs of the

P u ri ja b whi le the di da ctic p a rts Show n o fa m ilia rity with
‘

the holy l a n d but a ll the n um erous ta les with sc a rcely a n

,

exceptio n a re l a id i n Ko s a l a a n d Vide h a a n d o n the b a n ks o f

the lower G a n ges ( A JP xix p I n other words the .
, , .
,

two epics i n their l a ter devel o p m en t belo n g to the s a m e

loc a li ty a n d proba bly t o a b o ut the sa me time I t is in thi s .

l a ter developm en t the n tha t the t wo epics c o py e a ch o ther ,

2
, .

Th e comm on t a les th a t rem a in a p a rt fro m this ph a se of the ,

p o em s a re few a n d such a s m a y be e a sily a ttributed to the

, ,

e n er a l stock of le e n da ry tr a di tio n
g g .

1 It mu s t r g o tte n h o we ve r th a t t h e R a m a y a n a a p a rt fro m t h e
no t b e fo , , ,

firs t a n d l a s t b o o k re fe r s t o e p i s o d e s kn o wn o ly fr o m t h e Ma h a b h a r a t a
s, n .

F o r e x a m p l e wh e n Sit a s a y s s h e i s a s d e vo t e d t o R a m a
,
“
a s D a m a y a n ti

B h a i m i t o N a i s a dh a N a i s a dh a rh D a m y a n ti va B h a i mi p a ti m a n u v a t a
, a
’
r ,

R v 24 1 2
.
, ,
Th e n wh e n ih 3 4 2 8 —
. 3 0 R a m a i s d e s c ri b e d a s s a t y a v a di a di
,
.
, , ,

t y a i va t e j a s vi a n d k a n d a r p a i v a m fi rt i m a n ( a l l i n o n e de s c ri p ti o n a s i n N a l a )
, , ,

whi c h i s p r o b a b ly t h e b o rr o we r 7

e l a t e r G a g r e e s m o r e c l o s e ly with M i n m a n y o f t h e c a s e s i n
2 So t h . .

A p p e n d ix A B u t th e r e i s n o u n i fo rm ity i n thi s r e g a r d a n d R h a s p a r a ll e l s
.
, .

e n o u g h t o r e fu t e t h e i d e a th a t s i m il a rity i s du e s o l e ly t o G s l a t e r c o p yi n g
’
. .
80 THE GR EA T EP I C OF I N D I A .

tha n does tha t of the Ra m a y a n a Th e Pura n a s a lso a re e a stern .

a n d their v e rs i fi c a t i o n is i n e n er a l r a ther th a t o f the re t

g g a

epic Th e di stin ctio n then is n o t s u fli c i e n t ly expl a in e d by

.

g geo r a p hi c a l rel a tio n s On the other h a n d the m etric a l re .

fi n e m e n t of U the Up a n ish a ds B the e a rly B ha ra ta B 2 the

.
, .
, .

la te B ha ra ta R the Ra m a ya n a a n d K K a lida s a is in the

, .
, .

2=
order U B B R 2
.
, K with B R i n some c a ses whi ch
.
, .
, .
, . .
,

looks to a pro gressive developm en t 1

.

A n other m o o t p o in t i n con n ectio n wi th thi s geogra phic a l

in q ui ry is whether the Ra m a y a n a wa s written by a poet who
re a l ly kn ew a n ythi n g a b o ut C eylon where L a ii ka the se a t of , ,

a c t io n i n the Ra ma y a n a wa r is usu a lly suppose d to be Pro , .

fe s s o r J a cobi h a s expresse d the opin i o n th a t L a a ka is n o t

C eylon a n d th a t further Va l mi ki di d n o t kn o w the littor a l
, , ,

a t a ll but he wa s a rip a ri a n poet

, U n less the a llusion s i n the .

poem a re a ll in terpol a tio n s I c a n n ot a ccept this view I n the , .

fi rst pl a ce the l a n gu a ge of both poem s o n this poin t is i de n t i

,

cal the im a ges a re the s a m e a n d they a re couched in the

, ,

s a me words I f then they a re a ll l a ter a ddi tio n s to Va lmi ki s

.
, ,
’

poem they must be copied from the Ma ha bha ra ta ; whi ch open s

,

a vi st a ( of l a ter R a m a y a n a i m it a tin g a n e a rlier epic ) whi ch

Professor J a cobi would sc a rcely a ccept B u t a ccepti n g som e .

copyin g there still rem a in s e n o ugh s e a sca pe i n the Ra m a y a n a

,
-

to show tha t n o poet who did n o t kn ow oce a n co ul d write a s

does V a l mi ki I n both texts fo r ex a m ple o ccurs thi s Sple n di d
.
, ,

o n om a topoetic description of the risin g wa ves of ful l floo d ,

whi ch a s the poet repe a tedl y s a ys a ccomp a n ies the fil lin g of

, ,

the moo n
va n i h s va n a h
’ ’
p a rva s u di rn a ve ga s y a s a ga ra s y e

where the swell a n d fill in g a n d very hiss of the combin g

bre a kers is repro duce d with a power tha t it is ha rd to a scribe
to a rip a ria n poet B u t I must refer the re a der to a specia l .

1 Va lmiki s h o l d s i n d i sp u t a b l e ri ght t o t h e titl e a di ka vy a o r fi rs t

’
wo rk ,
“

e le g a n t p o e m titl e whi c h t h e gr e a t e p i c i m it a t e s i n c l a i m i n g t o b e a
”
a ,

ka vy a m p a ra m a p fi j i t a m
“
hi ghly re ve r e d e l e g a n t p o e m t o whi c h c l a i m it
, ,
”

wo n a ri g ht a fte r t h e m o r e r e fi n e d ve rs i fi c a t i o n o f t h e p s e u d o e p i c h a d b e e n -

a dd e d t o it .
 I N TE RR E L A TI ON OF THE T WO EP I CS . 81

p a per o n thi s subject fo r further illustra tio n of o u r Va l mi ki s ’

n m
i ti a te a cqu i t ce with the sight a n d soun d of oce a n
a n a n 1

or if n o t our Va lmi ki to whom sha ll we a ssign t h e double

, ,

text ?
A ga in from the fir st da wn of critique it h a s been urged
,

tha t wi do w burn i n g is n o t pra ctise d or kn o wn ( a s s o m etimes

-

sta ted) i n the Ra m a y a n a but it is pra ct ised in the Ma h a b h a ,

ra ta Yes i n the fi rst book a n d the t welfth a n d f o llo win g

.
,

books j u st a s co n versely in the Ra m a y a n a the queen s a n

, , ,

n oun ce th a t they a re devote d a n d wil l di e o n the pyre with

thei husb
r a n d ii 66 1 2 or l me t tha t bei n g n o t suttee
a n ,
“
, ,

they li ve a n evil life in n o t thus dyin g v 26 7 D oes this

“
, , , .

n o t im ply wi do w burn in g ? A n d if it be s a id ( with truth )

-

tha t these a re i n terp o l a tio n s — well a n d goo d but so a re Adi ,

a n d C a n ti in terp o l a tio s
n B oth epics ign ore the custom ex 2 .
,

cept in their la ter form .

On e m ore o bserva tio n is n ecess a ry i n thi s summ a ry a ccoun t

o f the m utu a l rel a tio n s of the two epics I h a ve in st a n ce d .

the use of the word m a ri s a in the Ma ha bha ra ta a s typic a l of

“

in fluen ces n o t so often to be see n i n the R a m a y a n a I n the .

fo rm er a s a con sta n t term of a ddr ess it is a li n k c o n n ectin g

, ,

thi s epic with the cl a ssic a l peri o d ; a n d yet it wi ll n o t do

t o bui ld too much o n the fa ct th a t thi s li n k is wa n tin g i n the

1 A JP . vo l . x x i, p . 3 78 . Am o n g th e trib u t a ri e s o f A yo dhy a a re me n
ti o n e d th e in h a b it a n t s of Ma l a h e re t h e
ba r , a n d
“
se a me n ,
-
”
in R . ii ,
8 2, 8 , w
s e n s e l e s s ke v a l a h m u s t b e c o rr e c t e d t o t h e r e a di n g o f G 8 8 7 Ke ra l a h .
, ,
.

Th e s e a m e n s a m u d a h m a y b e m e r c h a n t s o r t h e n a m e o f a p e o p l e
-
,
r ,
Th e .

K e a l a s o r Ma l a b a r p e o p l e a re h e r e e x p r e s s ly So u th e r n e r s Th e y a re
“
r , , .

m e n ti o n e d a l s o a m o g t h e li s t s o f p e o p l e i n R i v 40 11 whi c h t a k e s i n
n .
, ,

t h e wh o l e o f I nd i a ( 41 1 2 Pu n d a s C o l a s Pa n dy a s K e ra l a s ) a n d m e n ti o s
, ,
r , , ,
n

t h e Y a v a n a s a n d o th e r o u t e r tri b e s L o o k a m o n g t h e Ml e c c h a s P u li n da s “
: , ,

Chi ra s e n a s Pra s t h a l a s B h a r a t a s K r u s with Ma dra ka s K a m b o j a Y a v a s

, , ,
u ,
-
na

a n d t h e t o wn s p a t t a n a i o f Ca ka s 43 1 1 —1 2 ( c o m p a r e M vi 8 7
”
,
n , , ,
.
, ,

A l s o Ya v a dvi p a R i v 40 3 1 th a t i s J a v a i s m e n ti o n e d
,
.
, ,
I fa il t o s e e th a t t h e
, ,
.

R a m a y a n a with o u t s u c h a p ri o ri e x c i s i o n a s m a y a l s o b e a p p li e d t o t h e Ma h a
,

b h a r a t a s h o ws l e s s g e o g r a p hi c a l k n o wl e dg e o r h e a r s a y th a n d o e s t h e l a tt e r
,

poe m .

2 E ls e wh e r e i d o w i s a s m u c h r e c o gn iz e d a s i n Ma n u wh o
i n th e ep c i , th e w ,

a l s o kn o ws n o s u tt e e C o m p a r e R u li g C a s t e p p 1 72 3 71 a n d a p a p e r On
. n ,
.
, ,

t h e Hi n d u C u s t o m o f D yi n g t o r e d r e s s a Gri e va n c e J A OS x x i p 1 46 E ,
.
,
. .

6
82 THE GR EA T EP I C OF I N DI A .

Ra ma y a n a ex a mple shows onl y tha t the Ma h a b ha

. Such an

ra ta h a s bee n i n this in sta n ce retouched Simil a r c a ses a re .

foun d i n the Ra ma ya n a o n e of which I h a ve a lrea d y cite d ,

.

Fo r ex a mple l a ter Sa n skrit poetry describes wo m e n

,

a do rn e d n o t o n l y with the n ii p u ra or a n klet ( a llude d t o i n

both epics ) but a lso wi th the ka ii c i or go ld girdl e set o fl

,

with bells Prob a ble a s wa s the a dorn m en t i n e a rly times

.
,

thi s n a me for it does n o t occur i n e a rly litera ture a n d so ,

fa r a s I kn ow it do es n o t occur i n the gre a t epic ( frequen tly

a s wo m e n s a do rn m e n t is describe d) till the time of the
’

pseudo epic where xiii 1 06 5 6 a n d 1 07 67 we fi n d ka ri c m u

-
, , , , , ,
‘

u ra a b da just a s we fi n d the s a m e coll oc a tio n i n R for

p c ,
.
,

ex a m ple v 4 1 1 ; 1 8 20 ; G iii 5 8 26 ( gu cu b h e ka ii c a n i
, , , , .
, ,
‘

ka i i c i ) ; v 1 2 44 Th e l a ter epics must h a ve suffere d thi s

, , .

experien ce in ma n y c a ses a n other bein g o ffered just here by ,

the use of the ra re va ll a ki xiii 1 06 49 a n d i n vi i but , , , , ,

n o t here i n B 1 5 4 25 where jh a rjh a ra ta kes its pl a ce

.
, Just
, .

so i n G iv 3 3 26 is foun d thi s s a m e v a ll a ki ( sic ) but it is

.
, , ,

n o t foun d i n the correspo n di n g verse of R iv 3 3 21 I n .

, , .

sum cha n ce l a ten ess of thi s sort is e vi den ce o nl y for the epic
,

a s we h a ve it ta mpere d with by a thous a n d di a do c h o i

, It c an .

n ever Show th a t o n e epic wa s pr o duce d before the other So .

”
n i ry a n a for
“
de a th xv 3 7 40 is i n di c a tive of the a ge or
, , , ,

origin of xv 3 7 n o t of the Ma ha bha ra ta ; 1 of R v ( 1 3

, , .
,

but n o t o f the epic a s a whole .

So whi le we m ust a dmi t tha t Va lm i ki s men tio n of Kurus

'
’
, ,

J a n a m e j a y a a n d Ha s t i n a p u ra a s a ga in st his n o n m en ti o n of
, ,
-

P a n du s a n d I n dra pr a sth a looks a s if he kn ew n o t the l a tter , ,

we must remember a t the s a me time tha t Va lm i ki s p o em i n '

’

turn h a s quite a p a rt fro m voc a bula ry certa in in di c a tio n s of

, ,

a n a ge n o t reco n ize d by the poets of the la tter epic of whi ch

g ,

I will m en tio n p a rticul a rly two 2

.

H r
1 e 3 7 43 t th a g t
e ,
x v, m t m ,
d d b t it m y b t k i
,
a a a se e s o ean ea ,
”
u a e a en n

l h t t 1 09 3 4 dd ly r th B d
“ ”
it
s u su a f i se n se o i R n su c a s a e , a s n . 11, , , o nea e u

dh i t y th a hi
s : r h t th a hi b dd h t t h a gt m a i k m tr i ddhi
a co a sa a u a s a a n st a a a v .

2Mi o r p o i ts o f l a t e e s ( i e ith e r e p ic ) a e fre q e tly p p a re t Th o e

n n n s n r u n a n . s

in Mb h a e p e rh a p m re c o m m o n b t n o t i p r o p o rti n t o i t s e t e t I
. r s o ,
u n o x n . n

R . m y b e n o ti c e d s hi p s h o l d i g o n e h u d r e d m e n e c h a d p a l a c e s h a vin g
a n n a n
84 THE GR EA T EPI C OF I N D I A .

with the precedin g s a ms krt a mva da n the fo rm er i n the Ma ha ,

bha ra ta versio n bein g co o kin g ( s a ms krt y a

“
p a kt va ) a n d
the l a tter n o t use d whi ch lo oks a s if the Ra m a y a n a versio n
,

were la ter Severa l c a ses in the Ra m a y a n a do i n deed Show the

.

older sen se but there a re others such a s v 3 0 1 7 cited by

, , , , ,

Weber a n d a ga in by Muir Origin a l Sa n skrit Texts ii p 1 5 7

, , , , .
,

i n whi ch s a t irs krt a v a k me a n s Sa n skrit in th a t it is the c ul ti ,

1 ”
va t e d speech I n th is c a se a lso the R a m a y a n a is l a ter th a n
.

the Ma ha bha ra ta tho ugh the l a tter epic recogni zes di a lects
, ,

de c a b h a s a s iv 1 0 1 ; ix 45 1 03 etc a n d see m s ( in its i n

, , , , , , .
,

t ro du c t i o n ) to use the expressio n bra hm i va k or ho ly '

”
Speech , ex a ctly in the se n se of the Ra m a y a n a s s a rirskrta va k ’
.

Fo r in thi s in st a n ce a woma n reco gn izes a ki n g bec a use his

”
“
form a n d clothes a re re ga l a n d hi s speech is the holy speech ,

ra j a va d rfi p a v e sa u te b ra h m i m v a c a m b i bh a rsi c a 1 81 1 3 , , , .

B u t these c a ses Show o n ly th a t when the I l v a l a t a le wa s re

written a n d the much a dorn e d fi fth book of the Ra m a y a n a
wa s c o m pose d s a mskrt a m va d a n d s a ms krt a va k were used
,

n e a rly i n t h e m o de rn se n se ; yet in Sh o wm g thi s they i n di c a te

'

a ga in th a t i n our estim a te a s to the rel a tive a ge of the epics

n othin c n be a bsolute or un i vers a l but a ll m ust be st a te d

g a ,

rela tively a n d p a rti a ll y I f it be s a id tha t thi s judgmen t .

l a cks de fi ni t i v e n e s s the reply is tha t it a ccords with the fa cts

, ,

wh ch o n o t a dmit Of sweepi g st te e ts
i d n a m n
2
.

1 A ls o J a c ob y a n a p 1 1 5 ( PW s s a m ka r ) Oth e r c a s e s s h o w
i ,
Ra ma , . . .
-
.

re g a r d fo r g r a m m a ti c a l i c e ty i n t h e u s e o f l a n g a g e ( Ja c o b i l o c c i t )
n u , . .

2 F o r t h e m tri c a l
e p o s iti o n o f t h e t wo p o e m s s e e C h a p t e r F o u r I re gre t , .

th a t Pr o fe s s o r Ja c o b i s l o n g e x p e c te d b o o k o n t h e e p i c s i s n o t y e t o u t a s it i s
’
-
,

s u r e t o c o t a i n m u c h v a l u a b l e m a tt e r
n A s it i s I h a v e h a d t o r e ly i n c iti n g
.
, ,

h i s Op i n i o n s o n t h e wo rk c it e d a b o ve a n d a r e vi e w i n t h e GGA 1 8 9 9 p
, ,
.
, ,
.

869 ff .
 C HAP TER THREE .

E PI C PHI L OSOPHY .

Su kh a d b a h u t a ra mdu hkh a mj i vi t e n a
’
mc a y a h x i 1 3 3 1
t ra sa , , ,
16

The re is no d o ub t th a t th e r e is m o r e s o rr o w th a n j o y i n li fe .

E p ic Sy s t e m s .

IN the precedi n g ch a pters I h a ve sho wn tha t from a syn

thetic p o in t o f view the epic a s we h a ve it judge d s o lely by ,

the li tera tur e it reco gn izes m ust be the pro duct of a c o m p a r a

,

t i v e ly l a te peri o d I n thi s ch a pter it is m y purp o se t o sketch

.

a s briefly a s p o ssible the s a lie n t fe a tures o f the gre a t syste m s

of phil o so phy exp o un de d in the l a ter epic To re ga rd them .

a s ide n tic a l is i mp o ssible To see i n the m a phil o sophic ch a o s

.
,

out of whi ch a re to a rise future system s is equa ll y imp o ssible ,

.

So m e o f them belon g t o the l a test epic a n d they h a ve their

un ity o n ly i n the fa ct tha t they a re a ll col o re d by the do m i
n a n t deistic view of a n a ge th a t h a vin
g p a sse d fro m pure ,

ide a lism in to dua lism s o ught to iden tify the spiri t of m a n

,

with th a t of a pers o n a l G o d a n d equ a te thi s go d with the

t w o sep a r a te f a ct o rs o f du a lism ; a du a lism whi ch w a s n o t
tha t of Spirit a n d m a tter but of co n ditio n ed bein g co n scio us ,

in telli gen ce a s o pp o se d t o pure bein g o r spirit ( s o ul ) c o n

, ,

scious in telli gen ce bein g itself the o n ly origin of m a tt er whi ch ,

is m erely a f o rm o f mi n d 1
.

Th e i mp o rt a n ce of a revi ew of thi s s o rt lies in the hist o ric a l

b a ckgro un d it furni shes to the epic whi ch represe n ts the l a st ,

o f six a pprove d syste m s tr a ce a ble i n it :

( 1 ) V e di sm o r o r
t h o do x B r a hm a n i sm ; ( 2) a t m a n i s m or B ra h m a i s m ( pr o perly

1 Se e on thi s p o i n t s o m e p e rtin e n t r e m a rk s b y D r E v e r e tt i t h e twe n ti e th . n

v o l u m e o f t h e Jo u rn a l o f t h e A OS p 3 09 I t i s a c o mm o e rro r t o s p e a k o f
.
,
. . n

s a mkhy a d u a li m a s s e tti g s p irit a d m a tt e r i n a tith e s i s wh e r e a s a c c o r d

s n n n , ,

i n g t o t h e s y s t e m m a tt e r i s o ly a d e v e l o p m e n t o f s e lf c o n s c i o u s n e s s
,
n - .
 86 THE GR EA T EP I C OF I N DI A .

B ra hm a ni sm but thi s term co n n otes a di fle re n t ide a ) tha t is

, , ,

a n ide a listic in terpret a tio n of l i fe ;

( 3 ) s a mkhy a the du a lism ,

spoken of a bove ; ( 4) Yoga the deistic in terpreta tion of Sa m ,

kh y a ; ( 5 ) B ha ga va t a or P a c up a t a di fferen t but both sect a ri a n ,

in terpreta tion s of Yoga ; ( 6) V e da n ta or I ll usi o n ide a lism -

.

Some of the epic writers support Sa m khy a ; some Yo ga ; some , ,

the secta ri a n in terpreta tion ; some the Ma ya I llusio n theory , ,

-
.

B esides these a re a pprove d spora di c a lly V e di sm a n d B ra hm a

ism n o t to spe a k of a n umber of theories n o t a pprove d
, .

H e re t i c s .

In the Gi ta it is s a id 4 40 : Th e ign ora n t a n d un beli evi n g

, ,

m a n who h a s a soul o f do ubt is destro yed ; n e i t h e r t hi s wo rld

n o r t h e n e x t e x i s t s } n o r h a ppin ess fo r hi m who h a s a soul o f ,
”
d oubt Th e ita licize d words a re those whi ch a t xii 1 3 3 1 4
.
, , , ,

a re put i n to the mouth of the N a stik a the n ega tor or repu ,

di a t o r of scriptur e Spirit or duties Accordi n g to epic in te r

, , .

re t a t i o n n e s a yi n n a sti i n refusi n a ift to a priest is a

p o ,g g g , ,

n e a tor n o less th a n he who refuses a sse n t t o the ortho dox

g
belief B u t ordi n a ril y Na stika is used i n the l a tter sen se a n d
.

con n otes a di ssen ter from receive d Opin i on in re ga rd either t o

the existen ce of tra n sce n den ta l thi n gs or to the a utho rity o f
2
h a llo we d tra di tion Such a n un believer is thre a te n e d with a
.

sudden e n li ghte n m en t here a fter : I f your Opin i o n is th a t this

world do es n o t exist a n d tha t there is n o wo rld beyo n d the ,

3 ”
d evils i n he ll will s oo n ch n
a g e your i de a s o n th a t subject .

A n y n um ber o f these un believers is kn own wh o de n y every ,

thi n g there is to den y I n ii 3 1 70 a n un beli evin g o r heretic .

, , ,

1 n a ya
’
m l o ko s t i ‘
na pa ro na mc a y a t m a n a h C o m p a re K a th a
s u kh a rh sa .

Up .
,
ii ,
6, a ya m l o k o n a s ti p a r a iti m a n i p u n a h p u n a r v a c a m a p a dy a t e m e
-
,

( Ya m a ) .

2 Ne gl t f V di rdi
ec o e c o na nc e s or d i l
en a Ve d i s a s t iky a p a r e c e l
o f a n , x

le n c e ,
a cco r d i g t i i 2 70 67
n o x , , ,
a n d x ii , 1 2 5 ( t h e l tt e r ) v e d v a da p a vi ddh a ns
, a a

( a ls o fo r r e j e c ti g t h e V e d a
“
t u t a n vi ddh i b h t c a n a s t i ka n a n a t ika i b
s ,
. n

a p ri e t c a n n o t a tta i n h e a v e n i b
s ,
”
.

3 L it r a lly will m a ke y o u re m e mb e r ; y a d i da m ma n y a s e ra j a n a ya m
“ ’
e , ,
n
,

a s ti k u t a h p a r a h p ra t i s m a ra yi t a ra s t v a mYa m a dfi t a Ya m a ks a y e x i i
, , , 1 50, 1 9 .
88 THE GR EA T EP I C OF I N D I A .

1
in clothe d lik e a m a dm a n ;
a ir, but we must be c a reful n o t
to iden tify the cha ra cters o f the epic too q ui ckly with speci a l
n a m es Thi s m a dm a n p ri est for ex a mple wo u l d see m t o be
. , ,

ra ther a Ci va i t e B ra hm a n tha n a Ja in a n d digva s a s is a ppli e d ,

2
to Vi du ra i n hi s la st sta te a n d to N a l a i n his distress I n the .

s a m e wa y the brown a n d yell o w robe do es n o t n ecess a rily refer

,

to a B uddhi st a n y m o re tha n do es the sta tem en t tha t o n e

,

o es t o he a ve n who builds a Viha r a xiii 2 3 9 9 ; f o r these

g , , ,
”
term s a re comm on property Wha t m a kes you s o glori ous ? .

a sks o n e wo m a n of a n o ther who rep li es : I di d n o t we a r the ,

yellow r o be n o r b a rk ga rm en ts n o r go shorn or with m a tte d

,
-
,

h a ir xiii 1 23 8 Here q uite p o ssibly B uddh ists m a y be re

,
”
, , .

ferre d t o ; but when I re a d tha t Olva s devotees a re of two ’

s o rts h o useholders a n d those whose Sign is ton sure a n d the

, ,

yellow robe m a u n dy a m ka s a y a g c a xiii 1 42 22 ; a n d see

,
”
, , ,

th a t the yell ow ro be is a lso worn a s a Sign of gri ef N a l a 24 , , ,

9 ; R vi 1 25 3 4 a n d th a t
. . the we a rer of the yell ow robe
, ,

is exclude d fro m Cra ddh a xi ii 9 1 43 I a m by n o m e a n s sur e , , , ,

tha t even i n the m ost tem ptin g p a ss a ge this robe in di c a tes a

B uddhi st u n less i n dee d fo r some of these p a ssa ges we ma y
, , ,

a ssum e tha t v a i t e a n d B uddhi st were a lre a dy con fused

Ci B ut .

xii 1 8 3 2 th o se who c a s t of t he Ve da s a n d wa n der a bout a s

, , ,
”
begga rs sha ve d a n d we a ri n g the yellow robe refers di stin ctly ,

t o B uddh i sts a s I o pin e Sim il a rly the rem a rk they th a t a re

,
.
,
”
bu dh a s e n li ghten e d a re devote d t o Nirva n a
, xii 1 67 46 m a y , , , , ,

be put beside the buddh a s of xii 1 60 3 3 who h a ve n o fe a r “

, , ,

of return t o this world a n d n o dre a d o f a n o ther ; but i n the

la tter sectio n a n d i n m a n y o thers en l ighte n e d budh a a n d
, , ,

buddh a refers t o B ra h m a n s ; a n d Nirv a n a i n epic te le o l o gy

,

usua lly me a n s bliss fo r ex a m ple the bliss o f drin kin g whe n ,

f 3
o e is thirsty
n o r the bliss o he ve
a n I n short we see here
, .
,

1 ca fi kra m i t i di n h a sa rva ( l i gv a s a m o h a y a n p ra j a h u n m a t t a ve s a m

fi k ra m i t i y a t h a s u kh a V a ra n a s y a m , x i v, 6, 1 8 , a n d 22 ; c o m
'

b i b h ra t sa ca ni

pa re 5, 6 .

2 To t h e th o r o f D a s Mb h a l s E p o s e t c di gv a sa s n e c e s s a rily i m p li e s
a u .
,
.
,

di g a m b a r a ( a s Ja i n ) p 2 24 , . .

e e p i c n ir v a a i s u s e d i n b o th o f i t s l a t e r s e n s e s b li s s a n d e x ti n e
3 I n th n
, ,

ti o n b ra h m a n i rv a n a b li s s o f B r a h m a n lik e t h e n ir va n a b li s s a tt a i n e d b y
, , , , ,
 EP I C P HI L OSOP H Y 89

and p a ss a ge cite d fur ther o n tha t B uddhi sts a re som e

in a ,

tim es referre d to but we must n o t c a ll every be gga r a B u d ,

dh i s t Th e la te p a ss a ge xiv 4 9 3 —1 2 shows th a t whe n the

.
, , ,

A n u gi ta wa s written pro b a bly n o t bef o re our e ra these in fi , ,

dels were fa irly ra mp a n t Th e li st of the m is quite a pp a lli n g .

a n d we m a y perh a ps be li eve th a t the beli ever i n n o thi n g

is a B uddh i st a n d the sha ven a n d n a ke d m e n ti o n e d i n the
s a m e pla ce is a Ja i n ; whil e the s v a b h a va m b h fi t a c in t a ka h a re
perha ps m a teria lists Th e c o urse of right is v a ried a n d the .

view o f the a uthor is here tha t of tolera n ce So m e of these .

phi l o so phers den y a here a fter som e do ubt a ll thi n gs s o m e , ,

ho ld the vy a mi cra do ctrin e o f revoluti o n ( often m istra n sl a te d

a s evolutio n ) of the un iverse a n d a ccor di n g to the o o mm e n ,

ta tor so m e a re a dheren ts o f the a tomi stic theory b a h u t va m , .

C o n tests of these h e t u va di n s r a ti o n a li sts a re n o t di s c o u n t e , ,

’
n a n c e d but e n joye d a s a phil o s o phi c tre a t a t the kin g s c o urt
,

or a t a gre a t s a crifi ce a s i n xiv 8 5 27 where t a lka tive phi lo , , , ,

s o phers e a ger to outdo e a ch o ther discusse d m a n y ra ti on a l

, ,
”
i s t i c a rgum e n ts .

With a ll thi s libera lity there is often n o qu a rter given to

1
the heretic especia ll y the P a s a n da who a ppe a rs t o be pre
, ,

emi n en tly a despiser of the V eda s Th e re a s o n is the n a tura l .

o n e th a t he wh o despises the priest s a uth o rity n a tur a ll y de

’

s p i s e s the priest Th e re a so n why I wa s b o rn a j a ck a l

. s a ys ,

a ch a r a cter i n xii 1 8 0 47 4 8
“
is th a t I wa s a P un di t kin p a n
, ,
-
, ,

di t a ka wh o wa s a ra tio n a list h a i t u ka a n d bla m er of the V e da s

, , , ,

bein g devo te d t o logic a n d the useless Scien ce of re a so n i n g ( a

te llin g phra se repe a te d i n xiii 3 7 1 2 , a pr o cl a i mer o f , ,

l o gic a l a rgum e n ts a ta lker in a ssem bli es a reviler a n d o pposer

, ,

o f priests i n a r ume n ts a bout B r a hm a n an un believer a

g .
, ,
”
do ubter of a ll who thought m yself a Pu n di t 2 Th e P a s a n da
, .

d ri ki g O thi b j t m h th t i mi l di g h l t ly b p b li h d
n n . n s su ec uc a s s ea n a s a e een u s e ,

o wi g t f l
n hi t ri l p i t f i w B t t h g l f ti ti i l
o a a se s o c a o n o v e . u e oa o ex nc on s a so

l d d Th i ii 242 1 1 —1 2
a u e . tt i t th t wh r g i g h g ri
u s, n x , , , one a a ns o a e e o n e e ve s

no t di
, t i t b r rb r
e s no d it
, t t t
s no o n , nor e o n , an ex s s no , na va r a e .

1 v . 1 in
. x ii, 21 8 , 4 ; xi ii ,
23 th e r r e fe re n c e s i n
, 67 ( o a ppa r e n tly a

fo r e i g n or di l ti
a ec c wo r d ; e s p e c i a lly B u dd hi s t s a c c o r d in g ,
to N .

2 a kro s t a b ra h m a m fi rkh a h p a n di
’
c a b h i v a kt a ca v a ky e s u ca dvi j a n
90 THE GR EA T EPI C OF I N D I A .

a nd reviler of the Ve da s a re closely a ssocia ted a s in xiii 23 , , ,

67 a n d 72 a n d li ke tho se who here “ sell or write down the

, ,

Ve da s they go to hell
, I n Short a n y den i a l is usu a lly per
.
,

mi t t e d s a ve the de ni a l o f the Ve da s Th e more surprisin g is .

it tha t elsewhere ( see below) the Ve da s a re openl y repudi a te d ;

but thi s is onl y o n e of the in con sisten cies with whi ch the epic
teem s .

A u t h o ri t y .

Wh a t then wa s a uthorita tive ? C ha ra cteristic of the c o n

t ra di c t o ry vi ews prese n te d i n the epic is the f a ct th a t i n o n e
pla ce the very a uthority p ra m a n a m whi ch is in sisted upon , ,

a s the o n l y va li d a uthority is in a n o ther rejecte d a s a lto ether

g ,

delusive a n d thi s n o t by here t ics but by the a uthors of the

, ,

respective ess a ys whose combin e d public a tio n s issue d i n o n e

volume form the pot pourri of the co m plete epic -
.

Th e re a son for thi s is obvi ous Severa l forms of religio n .

a re a dvoc a te d i n the epic a n d e a ch h a s its o wn test Oldest .

a n d m ost widely represe n te d is the biblic a l test O ver a n d .

over a ga in we a re a ssure d tha t scripture is a uthorita tive a n d

those who will n o t a ccept scripture a s the p ra m a n a m or test
ston e of phi loso phy a re da mn e d B u t beside these vigorous .

expressio n s of ortho doxy sta n ds the n e w fa ith whi ch di sc a rd s ,

a lto gether the o l d scripture a s a n a uthority Fo r s a c ri fi ces .

a n d rites the V e da s a re well e n ou gh ; they a re there a u t h o ri

t a t ive I f o n e wi shes to perf o rm rites o n e m ust n a tur a lly

.

o to the ritu a l S uch a s t ra ra m a n a a n d v e da ra m a n a

g g .
p y p y
1
rules a dmittin g the n ecessity of rites a t a ll rem a i n v a li d
, , ,

simply bec a use there a re n o others B u t i n a ll hi gher m a tters .

,

a s for o n e who sees n o use i n rites the scriptures a re but a ,

3
m a ss of co tra ctio s
n di n .

t a m a n i ka h ( h e n c e r e b o rn a s a kro s ta r) Co m p a r e Ka th a Up 1 1
,
. .
,
5, s va

ya mdh i ra h p a n di t a mm a n y a m a n a h ; Mu n d Up i 2 8 ; M a i tr Up vii
. .
, ,
. .
, 9 . Th e
pa s sa g e in An u c a s a n a cit e d a b o ve i s a r e p e titio n o f a ll th e s e e
p ith t
e s in

c h a ra c t e ri s ti c a lly fre e fo rm
C o m p a r e e g 91 1 3 a kro s ta c
.
,
. .
, .
,
’
a t i v a kt a c a
b ra h m a n a n a m s a d a i va hi ( h e r e p a n di t a m a n i )
’
.

1 x iii 84 20 a n d 3 7 .
, , ,

e o f t h e m in o r e p i c c o n tr a d i c ti o n s i s th a t r e fe rr e d t o a b o ve p 46, i n
2 On .
,

re g a r d t o t h e t wo b r a h m a n s Th e o rth o d o x b u t n o t t o o li b e r a l m a n ys :
”
.
, , sa
92 THE GR EA T EPI C OF I N D I A .

in these ? An swer : There is ma n y a text to in cre a se doubt .

R a tion a lists s a y th a t percepti o n is the o n ly pro of They a re .

chil dren wh o thin k themselves wi se a n d believe o nl y i n

’ ” ’
de n i a l n a sti
, R ec o urse to c a use a m o un ts t o n o thin g
.
‘
.

B u t thou gh phi l o sophy is re a lly in terwove n wi th reli gi o n we ,

m a y le a ve fo r the prese n t the B h a ga v a t a s a n d Ci v a i t e s t o

”
their religi o n which is free d fro m phil o sophy xii i 1 4 1 9 8 “
, , , ,

a n d co n sists i n iden tifyin g the A ll go d with their specia l -

o d s viii 3 3 5 1 o n e G o d of v a rious form s to co si der

g ( , , n

the more strictly philo so phi c view of a uthority .

On l y o n e vi ew is held by the re a l philo s o pher : Thr ough

1 ”
in feren ce we le a rn the truth Tr a di tio n a l wisdom a m n a y a .
, ,

a s w a s shown a b o ve is n o t a lwa ys reco gn ize d tho ugh it is

, ,

g e n er a ll y a d m itte d I n a m n a a a re est a blishe d the V e da s ;

y .

fr o m a m n a y a c o m e the Ve da s 2
U n ivers a l Opin ion s a ys tha t .

a n a mn a y a d ecl a ra tio n is truth a n d there is n o a uth o rity a t

-
,

a ll ga s t ra t a whe n th a t which is n o t a uthorit a tive is a ll o we d

, ,
”
to sta n d a ga in st the rec o gn ize d a utho rity of the Ve da s xii , ,

269 3 3 ; 261 9 1 0 — Thus “

in feren ce together with scrip
.
, ,

ture a n u m a n a a n d cruta a re the two most substa n tia l tests

, ,

of truth x ii 205 1 9 a n d 21 0 23 h e t va ga m a ; for a ll tha t is

, , , , ,

V e dic is the wo rd of G o d xii 269 , , ,

Th e thi rd a uthority is the o n e scorn e d a bove percepti o n , ,

k xiv 2 8 1 8 ra t a ksa t a h Sa dh a a m a h a n d o fte n

p ra t y a s a ( p y , , y , , ,

a s cite d bel o w i n the c o urse o f this ch a pter ) I n the m ystic .

religio n of the Yo gin thi s p ra t y a ksa bec o m es the in tuitive

in sight of the seer a n d is the o nl y test o f truth a n swerin g ,

Th e Ha ri va ri ga in veighs a ga in st the
” 4
to sec o n d sight
'
“
.

“
doubters a n d curious specul a to rs wh o a ccept a n y a uthority
s a ve fa ith 3 4 8 ff , , , .

1 a numan ad vi m m i 48 6 x i i , 206, 2 3
j a n i a h p u ru s a ,
x v , , ; .

2
Th e c o mm e n a o t t r
b e c o m e s c o n fu s e , a n d e n e n d r d ri g a mn a y a b y Ve d a
re n de rs veda n b y s m rt a y a h !
3 s a rva m a rs a m vy a h t t a m v i di t a t m a n a h pa ra m e e v a ra s y a ) . Th e c o m
me n ta to r ite s B h Up ii 4 1 0 n i h c va s i t a m i n s u p p o rt o f p l e n a ry i n s p ir a ti o n
c t . .
, , , ,

a s h e re i n c lc a t e d
u .

4 Th e c ri o u s r e s u lt i s th u s r a c h d th a t t h e c r a s s e s t m a t e ri a li s t a n d
u e e

m o s t e a lt e d m y s ti c r e j e c t a ll p r o o fs s a v e p ra ty a k s a
x On ly o n e m e a n s b y .

a u to p sy ( p hy s i c a l ) p e r c e p ti o n a n d t h e o th e r m e a n s i n s i g ht
“ ”
.
 EP I C P HI L OSOP H Y . 93

Besides these three t o wit biblic a l a uthority inferen ce

, , , ,

a n d direct observ a ti o n the f o urth pro of by a n a lo gy m a y “

,

be im plied in the l a te con vers a tio n o f D ra u p a di where a fter , ,

a p a s sin g refere n ce t o the a rsa m ra m a n a m a n d ra t a ksa is

p p y ,

a dde d a n d thy o wn birt h is the proof by a n a lo y

“
u p a ma
g ,

nam iii 3 1 1 1 —3 3
, E lsewhere the epic st a n ds p hil OSOp hi
, , .

c a lly o n the Sa mkh y y o ga b a sis of th ree relia ble pro o fs o nl y

-
.

This resul t is fully b o rn e o u t by the term in o l o gy Th e .

V e da n ta phil osophy o f the epic is n o t c a lle d by th a t n a m e .

Nya y a m a y possibly be kn own but it is do ubtfu l whether the ,

word ever refers to the system or the syste m except perh a ps , ,

i n o n e o r t wo l a te p a ss a ges is ever rec o gn iz e d A brief s u r , .

vey of the fa c t s will m a ke this cle a rer .

Ve da n ta .

If the phil o sophi c a l system were kn own a s such the use o f

the n a m e w o u l d o ccur a s such B u t V eda n ta seems every .

where to me a n Up a n ish a ds or wh a t is the s a m e thi n g Ara n ,

y a k a s 1 No V e da n ta system i s a llude d to Ve da n ta m a y refer

.
,

to Sa mkh ya in x ii 1 96 7 ( where it ta kes the pla ce o f the

, ,

l a tter i n a n tithesis t o Y o ga a s the c o mm en ta tor thin ks ) but , ,

the word m o re n a tura lly me a n s the te a chin g of the Up a u

2
i s h a ds a s u s u a l ,
Th e p a ss a ges cite d a b o ve i n the ch a pter o n
.

litera ture ex hibit the ch a ra cteristic us a ge Thus i n Gi ta 1 5 .

,

1 5 v e da n t a krd v e da vi d e v a c a h a m where T el a n g rightly

’

, ,

ta kes the referen ce t o be t o the Ara n y a ka s So in viii 9 0 .

, ,

1 1 4 v e da n ta v a b h rt h a p l u t a h where K a rn a a ppe a ls to Arjun a

, ,

1
So , fo r m p l e , i n y a d u kt a m v e da v a de s u g a h a n a m v e da da rgi b h i h ,
exa

t a da n t e su y a th a y u kt a m kra m a ( ka rm a ) y o ge n a l a k sy a t e , x i i , 2 3 3 , 2 8 ta d
u k t a m v e da v a d e s u ve da n te s u p u n a r vy a kt a m , 2 3 9 , a m y s t e ry ( vi z , .

g a m b h i ra m ga h a n a m b r a h m a , 224,
2
sa mkh y a y o g a u tu y a v u kt a u m u n i b h i r m o k s a da rc ib h i h , sa n n y a sa e va

ve da n t e v a rt a te ja pa na m p ra ti ,
ve da v a da r h
n y
c a n i rvrt t a h t
ga n a b a m a n
a v a s t h i t a h thr e e h e m i s ti c h s o f whi c h t h e fi r s t i s r e e a t e d t i n t h e n e x c l o ka ,
, , p
wh e r e a l o e it s e e m s t o b e l o n g
n C o n ve r s e ly i n Gi t a 1 8
. rd , , 1 3 , t h e wo sam
kh y a i s t a k e n b y t h e c o m m e t a t o r t o m e a n Ve d a n t a b e c u s e h e r e we h a v e a
n ,
a

g ro p i g o f fi ve ka rm a h e t a v a h o t re c o gn ize d i n s a mkhya I t m a y b e s a i d
u n n .

o n c e fo r a ll th a t t h e c o m m e n t a t o r i s o ft e s e l e s s i n p hil o s o p hi c a l s e c ti o n s
n u ,

a s h e wi s h e s t o c o n v e rt s a m khy a i n t o Ve d a ta o a ll o c c a s i o n s n n .
94 THE GREA T EP I C OF I N DI A .

to ob serve the l a w of fi ghtin g sin ce the la tter kn ows the l a w ,

of fi ghtin g a n d is thoroughl y a cqua in te d with the holy scrip

tur es i e he is a mora l ma n ( n o t a V eda n ta philos o pher)
, . .
, .

So in ii 53 1 kin gs who a re decl a rers of a ll the V e da s a n d

, , ,

versed in the V eda n ta p a rya p t a vi dy a va kta ro ve da n ta v a ,

b h rth a p l u ta h D urga is Sa vitri v e da ma ta t a tha v e da n t a

.
,

u c a te
y
“
mother
, of the V e da s a n d fa me d
( n o t in phi losophy
”
but) in the Up a ni sha ds vi 23 1 2 A G a n dh a rv a is wi s e “
, , , .

i n the kn owledge of Ve da n ta x ii 3 1 9 2 7 a n d a s ks ques , , , ,

tio ns a bout V eda a n d logic whi ch a re a n swered in Sa mkh y a ,

terms ( ve dy a is p u ru sa for ex a m ple) Th e priest who a t , .

x ii , 3 49 5 6 i s s a id to tra n s mi t the kn owle dge of the Gi ta

, ,

kn ows the Jy e s th a Sa ma n a n d the Veda n ta ; a n d he who

kn o ws the n a mes of Vishn u is Ve da n ta le a rn ed xiii 1 49 1 23 -
, , , .

A ga in i n xiv 1 3 1 5 : Whoso wo uld kill me ( Ka m a ) by

, ,

ve da ir v e da n t a s a dh a n a ih power derive d from the mysteries ,

”
of the V eda I kn ow i n fa ct o nl y tw o p a s s a ges where per
.
,

h a ps Ve da n ta might be fa irly ta ke n as referrin g to the phi l

,

os o phy On e of these is in a t ri stu b h verse whi ch h a s been

.

in terpola ted ( out of a ll syn ta ctic a l co n n ection ) in xiii 69 20 , , ,

a n d eve n here l a te a s is the verse it is perh a ps more prob

, ,

1
a ble tha t the word is to be t a ke n i n its u s u a l se ns e Th e .

other is foun d a t x ii 3 02 71 where the is l a n d of V e da n ta

“
, , ,

is a refuge to the s a in t s Th e Secret of the Veda n ta cite d .

“
below is cle a rly Up a n is ha ds Th e B ra hm a Sa tra I ha ve .

sp o ken of a bove p 1 6 , . .

Mi m a ri s a does n o t occur a s the n a me of a phil os o phi c a l

'

system I ha ve referre d to the P ii rva ca s t ra vi ds a bove but

.
,

the word is o bviously too ge n er a l to m a ke m uch of though ,

it is us ed a s if it a pplied to the P ii rva m rma ns a fo r the Fa r -

,

v a ga s t ra vi da h a re here xii 1 9 22 kri y a s u mi r a ta n i ty a mda n e

, , , ,

ya j i l e c a ka rma n i Thi s implica tio n is n o t a bs o lutely n e c e s

.

sa ry however Th e o ld n a m e for the system Nya ya does

, .
, ,

n o t seem to be use d i n the se n se of P fi rva m i m a ns a .

1 veda n t a n i s th a s y a b a h u cru t a sy a , s u p p o s e to d be g o ve r e d n by vt t t i m

( dvi j a y a ) t i s tj e t a ( t a s m a i ) i n t h e n e x s a n a !
’
t t z
 THE GR EA T EPI C OF I N D I A .

We ma y
c o m p a re further i n the la te li st of Pun dits a t i ,

70 42 th o se with n y a y a t a tt va t m a vi jri a n a p o ssibly “ verse d i n

‘

, , ,

psych o logy a cc o rdi n g to the Ny a y a ta ttva ; a n d i 1 67 -

, , ,

n y a y a gi ksa Ny a y a s y s t e m o ppose d to V e da dh a t m a but a lso to

, y ,

c iki t s a etc, Also xii 1 9 1 8 referre d t o a bove p 8 7: So m e

.
, , , , .
,
”
rejectin g un ity a ttri bute to the a tm a n desire a n d di slik e a
, ,

Nya y a view Fin a lly i n x ii 21 0 22 n y a y a t a n t ra n y a n e ka n i

.
, , , ,
”
( d ecl a re d by v a rious people ) system s of l o gic is typic a l of , ,

a ll rem a i n i n g c a ses N y a y a the n usu a lly m e a n s lo gi c but

.
, , ,

occ a si o n a lly i n the pseudo epic the speci a l L o gic system

,
-
,
-

1
kn own to us s Ny a yaa .

v a i ge s i k a .

Thi s word is use d a s a n a djective of gun a s e tc i n the , , .

,

sen se of excellen t ; but the system is un k n own i n the m a in

epic though it is referre d t o i n the p a ss a ge cite d a bove i n ,

i 70 43 —44 a n d a ls o i n ii 5 5 ( va ky a ) p a ri c a va y a va y u kt a
, , , , ,
‘

a n o ther pro o f of the l a te n ess of the K a c c i t sectio n whether

2
,

the fi v e a va y a va s here m en tio n e d h e terms implyin g Nya y a or

Va i ge si ka K a n a da s n a m e a ppe a rs fi rst i n the Ha ri v a ri q a ( see
’ '

below p 9 8 a n d a bove p
, .
, , .

Th e P o u r P h il o s o p h i e s .

In xii, 3 5 0, 64 ff .
( c o m p a re
it is s a id 3 5 0, 1 , p ra c a ra n t i )
th a t there a re four curren t the Sa m philosophi es , jfi a n a ni ,
kh y a y o ga P a ii c a ra t ra Ve da ra n y a ka ( or Ve da h ) a n d P a gu
‘

, , ,

p a ta .K a pila decl a re d the Sa mkh y a Hi ra n y a ga rb h a th e ,

1 Fo r th e r d i n a ry u s e c o m p a r e t a i s t a ir n y a y a i h s u c h a r g u m e n t s p s i m
o , , , a s .

A l l s p e c u l a ti o n i s Ta rk a C o m p a r e t h e r e m a rk a b l e s t a t e m e n t x i i 1 5 26
. , , ,

“
Th e r e a re m i n u t e c r e a t u r e s wh o s e e i s t e n c e c a n b e a r g u e d b y t ka ( s o x a r

s m a ll th a t ) a n e y e li d s fa ll wo u l d b e t h e d e a th o f a n u m b e r o f th e m
’ ”
.

e fo r m e r p a s s a g e a ft e r m e n ti o i g th o s e e n d o we d with n y a y a t a t t v a
2 Th n n
,

t m a vi j fi a n a a dd s n a n a v a ky a sa m a h a ra sa m a v a y a v i ga ra da i h , vi c e s a ka ry a vi db h i c
c a sth a p a n a ks e p a s i ddh a n t a p a ra m a rt h a j ri a t a
'

m ga t a i h ka ry a ka ra n a
ve hi c h m a y re fe r t o e ith e r s y s t e m Th e p a s s a g e s h a ve b e e n c it e d
di b h i h , w .

b y t h e a u th o r o f D a s Ma h a b h a r a t a a l s E p o s e t c p 226 wh o a d m it s th a t th e , .
, .
,

a s h e c a ll th e m t wi c e i m p ly t h e va i ge s ika s y s t e m
”
fi ve a va y a s , ,
.
 E PI C P HI L OSOP H Y .

Yoga ; Ap a n t a ra t a m a s is c a lled the Te a cher of the V e da s

1

terme d by some Pra c i n a ga rb h a Olv a decl a re d the P a c u

p a ta religi o n ; Vishn u the whole Pa ri c a ra t ra I n a ll these ,

‘

”
philosophies Vishn u is the st a or chi ef thi n g
n i h 2
, .

K a p ila a n d h is Sy s t e m .

Al though it is s a id a s quoted a bove tha t there is n o se e r , ,

whose a uthority is a uthorita tive this is merely a te a chi n g of ,

tem pora ry desp a ir K a pila is a uthorita tive i n a ll phil o sophi c a l .

m a tters a n d hi s n a me covers every sort of do ctrin e He is in .

fa ct the onl y foun der of a phi losophic a l system kn o wn to

the epic Other n a mes of foun ders a re either those of m ere
.

3
g o d s or di sciples of K a pil a B a da ra y a n a a n d P at a i i j a li a re .

un kn own even a s n a m es a n d Ja imi n i a n d Ga uta m a a ppe a r onl y ,

a s s a es n o t a s le a ders of Specul a t io n
g , C a nd i l y a ( otherwise .

s a id to be kn own i n the epic) is respectfu lly cited o n Yoga ,

4
n o t a s foun der but a s reco mm e n di n g Yo ga co ce tr a tio n n n As .

1
S th t ee thi r j t b l w A Y g t h r f D a i ty C kr
e no e on s ve se us e o . s o a -
ea c e o a s, u a

i m ti
s d i 66 43 B th Vi h
en o ne ,
d Ci, ,
r dit d with b i g Y g
. o s nu a n va a re c e e e n o a

l rd ( l
o si t b y H ltz m
oc . D
c Mb h i m O t
. d W to p a nn , a s . s en un e s en, .

2
I th Va d
n r li g i
e p hil p hy f K ri h
su im
e va p
e ddi ous o so o s na s ,
a s ex o un e n

xii, 3 45 7 if m p pl
,
ft r d th b
.
,
som p ema b hfi t
eo v ry fi
e ,
a e ea , e co e a ra nu a s, e ne

rite s a n d e n te r A n i ru ddh a ; th e n a s m a n o b h ut a s o r m e n t a l e n titi e s th e y

sp , , ,

e n t e r Pra dy u m n a ; th e n c e th e y g o t o J i v a ( Sa m ka rsa n a ) Su c h p e o p l e a re .

t h e b e s t p ri e s t s a n d s a m khya s a n d B h a ga va t a s Fi n a lly d e v o i d o f a ll
“ ”
.
,

u n s p irit u a l c o n s tit u e t s t ra i gu n y a h i n a th e y e n t e r Pa r a m a tm a n ( K s e t ra j fi a
n , , ,

n i rgu n a t m a ka ) o r V a s u d e v a Th e s e a re t h e fo u r fo rm s o f Go d
, .Th e n a m e .

o f Go d i s i m m a t e ri a l R u dr a a n d V i s h n u a re o n e b e i n g s a t t va m e k a m
.
, ,

di v i d e d in t wo x i i 3 42 27 ( the y a re s yn o n ym s lik e b t h a d b ra h m a a n d m a h a t
, , , ,

3 3 7 2 p a ry a y a v a c a ka h ga b d a n ; Vi s h n u m a y b e c a ll e d Ci v a a n d B r a h m a n
,

m a y b e c a ll e d In t e ll e c t ) .

3 I n t h e Sa rva da r a n a s a m
c gra h a it i s s a i d th a t Pa t a fi j a l i m a d e ( a th a y o g a
n u ca sa n a m i 1 ) a n a n u ca sa n a , , o r s e c o n d a ry c o ll e c ti o n ( a s i s e x p la in e d )
, a nu

b a s e d o n e a rli e r P u r a n i c m a t e ri a l s Th e v e r s e a ttri b u t e d i n thi s c o n n e c ti o n .

t o t h e Y a j a a va lky a Sm rt i ( 1 5 8 1 7; p 2 3 9 o f C o we ll s tr a n s l a ti o n ) h a s c a u s e d , .
’

t h e P e t e r s b u r g L e x i c o n t o p o s t u l a t e s v a n o th e r Sm rt i o f t h e s a m e n a m e , . .
, .

I thin k it i s a m e re l a p s u s fo r Vy a s a s Sm rt i fo r t h e ve r s e c ite d ( Hi ra n y a ’
,
“

g a b h a a n d n o o th e r a n c i e n t i s t h e d e c l a re r o f Yo g a ) o c c u r s x i i 3 5 0 65
”
r , , , , .

I t h a s o c c u rr e d t o m e th a t thi s ve r s e m i g ht i mp ly Pa t a j a li a d t h e “
‘'

no ri ,
n

o th e r b e a d i s ti n c t r e fu t a ti o n o f h i s c l a i m t h e e p i c p r e fe rri n g di vi e
”
,
n

a u th o rity ; b u t thi s i s
p e rh a p s t o o p r e g n a n t .

4
p t t h a gb h fi t e s u s y s te s u c a t u rt h a c ra m a ka rm a s u s a m a dh a u y o ga m e va i

( ma dukt a m v a ky a m) c h a n di ly a h ga m a m a b ra vi t, x ii , 2 54, 1 4
’
ta c .

7
98 THE GR EA T EP I C OF I N D I A .

a te a cher of un con di tion e d B ra hm a n ,Atre y a is la uded in xiii ,

1 3 7 3 ; a n d i n xii 3 1 9 5 9 a list of te a chers of the twe n ty

, , , ,

fift h ( spiri tu a l) prin ciple is give n a s h a vin g i n structe d the

G a n dh a rva Vi cva va s u : Ja i gi s a vy a Asita D ev a la P a ra ga ra , , ,

Va rsa ga n y a B h rgu P a n c a q i kh a , K a pil a Cu ka G a uta m a , , , ,

Arsti se n a
_

G a rga N a ra da A suri P u l a s t y a Sa n a t ku m a ra
, , , , , ,

Cukra Ka cy a p a seven teen mixe d go ds s a in ts a n d p hil o s o

, , , ,

p h e rs of whom two a re im porta n t besides K a pil a n a m ely

, ,

Asuri a n d P a ri c a gikh a hi s pupils ; whi le o n e system ( expl a in e d

‘

below) is referre d a lso to Asita D eva la .

There seems to be n o re a so n to doubt th a t K a pil a wa s a

re a l ( hum a n ) phi losopher a n d n o t a mere sha do w of a divin ,

ity Th e fa ct tha t his n a me is a ls o given to di vin i ties proves

.

the Opp o site a s li ttle a s does his de i fi c a ti o n for it is custo m a ry ,

t o deify s a ges a n d for divin i ties t o h a ve s a ges n a m es

’
A per .

feet p a ra llel to the use of K a pila i n thi s wa y is a fforded by

Ka n a da whi ch a s fa r a s I kn o w occurs fi r st a s a n epithet of
, , ,

va a s suprem e go d in the Ha ri v a rrga 3

C i 8 5 1 5 1 6
’

-
, , ,

y a m a hu r a r
g y a m p u ru s a m m a h a n t a m
p u ra t a n a m s a mkh y a n ib a ddh a drs t a y a h
y a s y a pi de va s y a gu n a n s a m a gra ns
’

t a tt va nq c a t u rv i nga t i m a hu r e ke

y a m a h u r e ka m p u ru s a m p u ra t a n a m
Ka n a da -n a m a na m a j a m m a h e qva ra m
da ks a s y a y a j fi a mvi n ih a t y a y o v a i
v i n a q a deva n a s u ra n s a n a t a n a h
y

K a pila s tre a tise is repe a tedly decl a red to be oldest but he

’
,

is n o t o n ly the oldest he is the suprem e seer ide n t ic a l wi th , ,

Agni with Civ a a lso a n d with Vishn u He is s a id to ha ve

, , .

go t hi s wis o d m fro Ci va
m 1
.

1Of t h tr ti
“
d l r d b y m t p hy i i th t b y K p il i th
e ea se s ec a e e a s c ans a a a s e e ar

li t i i 3 51 6 ; g i n K p il a m a mkh y y g p
es ,
x , ,
t k h iii 22 1 21
a n sa a o n a ,
s a o a ra v a r a a , , , .

H ll g i
a l t r l a mkh y ga t p
ve s a t k h s a n kh y
a e a vp 1 8 wh r
. .
,
s a s ra ra v a r a a ,
i a s ra , .
, e e

m t f th
os o pi ll i ll t d A
e e pr m c a r i i 3 50 65 ; Ci
u s o n s a re co ec e . s su e e se e ,
x , ,
va ,

x i i 2 8 5 1 1 4 wh r t h
, ,
m m t t r i t rp r t s a mkhy
, e V da t (
e e co en a o n e e s a a s e n a a s

ft iii 1 7 98 d iii 1 4 3 23 Ci v k p l K p il i i d ti fi d with

’

o )en x , , ,
a n x , , , a a s a i a . a a s en e

Vi h i iii 47 1 8 ; Git a 1 0 26 t ; with Pr j a p ti i i i 2 1 8 9—1 0 wh r

s nu n , , , , , e c . a a n x , , , e e
 1 00 THE GR EA T EPI C OF I N DI A .

o bserve d the s a me but a s ,

the system of K a pil a , goo d as .
1

Amid a list of heroes in xiii 75 24—25 we fi n d pl a ce d beside , , ,

ba ttle heroes gift hero es mora l—heroes etc o n l y s a mkhy a

-
,
-
, , .
,

2
a n d Yo ga heroes en ro lled to represen t phi losophy As b e , .

tween the two the implic a tion con ta in ed in the words a t ,

Gi ta 5 5 the Yo ga gets a s goo d a pla ce a s the Sa mkhya is

, , ,
”

tha t it is the Sa mkhya whi ch is the n orm Sa mkhya is cited .

a lo n e a s the o n e system of s a l v a tio n i n i 7 5 7: Sa lva tio n he , ,

studie d the un equ a lled system of Sa mkh ya

,
I n co n tra st .

with V e da a n d V e da fi ga it is the o n e type of philosophy ,

He bec a me le a rn e d in the At h a rv a V e da a n d the V e da i n ,

the ritua l a lso a n d a p a st m a ster in a stron om y ta kin g the ,

-
,

n Sa m
”
g re a test ple a sure i kh y a xiii 1 0 3 7 ;
“
V e d a s A fi g a s , , , , ,

Sa mkhy a a n d Pura n a
”
xiii 22 1 2
, , , , .

Th e two system s a re o ften sep a r a te d Y o ga p ra da rgin a h .

sta n ds p a ra llel to Sa mkh ya n a da rci n a h x ii 3 1 4 3 —4 Th e , , , .

rules both of Sa mkhya a n d Yoga a re m en tio n e d x n 5 0 ”

, , ,

33 .N a ra da kn ew the di fl e re n c e between Sa mkhy a a n d

“

”
Y o ga ii 5 7 (j a u n a ka is ra pt with meta physics a dh y a t m a
, , , .
, ,

Skil le d i n Yo ga a n d i n Sa m
”
kh ya iii 2 1 5 Th e differen ce is , , , .

expla in e d in the Gi ta a s : Th e double p o in t of view ni sth a , ,

of the Sa mkhy a s who ha ve jri a n a y o ga ; of the Yogin s who ,

‘

So m etimes Sa m
”
ha ve ka rm a y o ga kh y a jii a n a o n the o n e ha n d
.

is opposed to Yoga a lo n e o n the other x ii 3 1 5 So m e , , ,

times the Ca stra is tha t of the Yo ga a s oppose d to j n a n a of ,

the Sa mkhya xii 3 1 9 67; y o ga ga s t re su 3 40 69 etc Never , , , , , , .

t h e l e s s they a re s a ys the G i ta esse n ti a lly o n e syste m

, , An d , .

so often we fi n d th a t V e dic pra ctices a n d the existen ce o f G o d

a re cl a ime d for Sa m khy a a n d Yoga a s if they were o n e system , .

Th e s a m e is true of the pr a ctice of a usterities or a sceticism .

Th e m a n y n a mes of G o d a re decl a re d in the Ri g V e da with

1 s a mkh y y g t l y hi d h rm a ka t oit h ena 3 49 74 u o a a e n a se v a , xii , ,
.

2
S i v iii 3 3 49 Y g
o n d s a mkhy ( a t m
, h ) r pr
, t p hil p hy
, o a a n a ana e e se n o so .

3
C mp r iii 1 49 1 3 9 y g j fi a m t th a a mkh y m vi dy a h c i lp a di
o a e x , , : o o na a s a

k rm
a Ia th ca
p g it d b
. n th i t r ti g i ta i t t t a i
e a ssa e c e a o ve , e n e es n a r s n a v n a re

g r p d with y g
ou e d am kh y j fi a ( bj t
o f r a r h ) Th y
a n s a na a s o ec s o e se a c . e a re

ex pl i d l wh r i i 3 1 8 8
a ne e ig
se f d th ep p ri g t
e , if h
x , , , a s
“
s ns o ea , a ea n o one e

c a nn o t se e th e p o l e s ta r
-
or h is r e fle c ti o n in a no th e r s ’
e y e , e tc .
 E PI C P HI L OSOP H Y . 1 01

the Y a jur Ve da in A t h a rva ( a n d) Sa m a n s i n Pura n a with

, ,

Up a n i sha ds in a st ro n o m y a l so i n Sa mkhy a a n d in Yo ga
, ,

c a stra a n d in Ayur Ve da t o give the biz a rre group of xii

, ,
”
,

3 42 8 , B oth go ds a n d dem o n s pr a ctise a usterity t a p a s

.
, ,

whi ch h a s been a rgued out y u kt i t a h of V eda a n d Sa m , ,

”
kh y a y o ga xii 28 5 , , ,

s a mk h y a a nd Y o ga .

B ut it must be n oticed tha t the cla im for the iden tity of

Sa m kh y a a n d Yo ga comes fro m the Yo ga side whi ch is deistic ,

a n d seeks to m a ke the Sa m kh y a so ex a ctly in the w a y the ,

V e da n ta commen ta tor seeks to m a ke the Yo ga p a ss a ges Ve

'

da n t i c Th e distin ctive m a rk of the Yo ga a s give n a bove

.
,

from the Gi ta 3 3 i s if we tra ns l a te it in the n a tura l origin a l

, , , ,

sen s e a pplic a tion to work a s oppose d to a pplic a tion to un der

,

sta n di n g ; in other words the Yoga la id stress o n reli gi o us

pra ctices the Sa m kh , a n n d 2
y o k owle ge I t m a y be tha t Y o ga .

a l so , li ke Sa mkhya wa s origin a lly a theistic a n d th a t deistic

,

Yo ga wa s a specia l developm en t Nothi n g co u l d be fa lser .

,

however tha n the suppositio n th a t the Yo ga a n d Sa mkhy a

,

di fl e r onl y i n m etho d o r the epic a ssumption th a t b o th a re a ,

sort of V e da n ta in culc a tin g belief in B ra hm a n a s the A ll soul - .

E ve n the Gi ta reco gn izes the di stin ctio n between the two

schools i n s a yin g th a t the system tha t reco gn i zes the A ll s o ul -

o n e e n tity etern a l u n divide d in a l l divi de d existe n ces , ,

is better tha n the o n e tha t reco gn izes sep a ra te a n d di stin ct

”
en tities i n a ll existen t bein gs 1 8 21 —22 cle a rly referrin g , , ,

to the fun da men ta l di fferen ce between B ra hm a is m a n d Sa m

3

1 It m a rve d o f t h e t e rm i n o l o gy th a t a s Yo g a m e a n s Yo gi n a s we ll
y be o b se

a s th e s ys t e m s o s a m k hy a m e a n s s y s t e m o r a p hil o s o p h e r o f th a t s y s t e m
,
.

Typ i c a l o f t h e p s e u d o e p i c i s t h e c ir c u m s t a n c e th a t h e r e s a mkh y a y o g a u a re
-

p e r s o n i fie d a s t wo b e i n g s a l o n g with N a r a d a a n d D u rva s a s x i ii 1 5 1 45 , , , .

p a r e t h e u s e i n x iii 84 40 wh e r e i t i s a s k e d k e a v a ka m a y o g e n a
2 C m
o , , ,
: n r

p ra da e n e h a k e n a v a ( c a n I b e p u ri fi e d ) i e b y a p p li c a ti o n t o h o ly wo rk s
’ ”
n . .
, .
,

C o m p a r e kt s i y o ga x iii 8 3 1 8 , , , .

3 As
Ve d a t a i s c o mm o n ly u s e d o f Ca mka ra s in t e rp re t a ti o n I e mp l o y
n
’
,

B r h m a i s m t o c o n n o t e a b e li e f i
a t h e A l l s o ul with o u t n e c e s s a rily i m p lyi n g
n -

a c o n c o mit a n t d o c tri e o f I ll u s i o n
Ma y a
n
, .
1 02 THE GR EA T EPI C OF I N DI A .

kh y a i s m . pra ctic a l difle re n c e is th a t form ul a te d a t x n

Th e ,

3 1 7 2 ff where it is s a id :
, .
, There is n o kn owle dge lik e the
Sa rn kh y a n o power lik e the Yo ga ; these a re both o n e in
'

pra ctice e ka c a ry a u bec a use both destroy de a th Fo olis h

, , .

people rega rd them a s distin ct but we recogni ze them a s o n e , .

Wha t the Yo ga s see is seen by Sa mk hy a s ; wh o sees Sa mkhy a

a n d Yo ga a s o n e sees trul y a p a ss a e copie d from the G i ta
g , ,

5 4— 5 a n d repe a te d with v a ried re a di n gs i n x ii 3 06 1 9 .

, , , ,

Tho u gh the pseudo epic is so li ke the Gi ta its rel a tive l a te

-
,

n ess I m a y observe i n p a ssin

, g is shown in ter a li a by the use ,

i n this p a ss a ge of y o ga m a s a n euter n oun x ii 3 1 7 27 e t a d , , , ,

dh i y o ga my o ga n a m a s i n xiii 1 7 1 9 ; o n e o f the m a n y little

1
, , ,

poin ts ign ore d in the unh ist o ric a l syn thetic a l meth o d .

Thi s p a ss a ge in its a dmi ssion un der cover of fools Opin i o n

’
, ,

shows cle a rly tha t the two systems coul d be re ga rde d a s iden
tic a l o n ly by in sistin g o n the objective of e a ch B oth sys .

tem s ga ve em a n cip a tio n therefore they were o n e B u t o n e

, .

wa y wa s th a t of pure scien ce or kn owle dge the other wa s ,

tha t of pious work ( yoga ta p a s ) a dded to this scien ce a p ra c t i

, ,

c a l di verge n ce tha t exis te d quite a p a rt from the questio n

whether the go a l w a s re a lly the sa me .

B u t the epic i n o ther p a ss a ges despite its br a ve preten ce , ,

is n o t con ten t wi th Sa mkh ya scien ce or eve n with Y o ga work .

On the c o n tra ry the religious devotees n a m e d a bove thr o w

,

over both syste m s I t is true they keep the n a m e just a s

.
,

these philosophic a l systems them selves preten d t o depen d o n

the V e da s or a s E ur ope a n philos o phers used t o cla i m tha t
,

their systems were ba se d o n ortho do xy B u t thi s o n ly sho ws .

how im port a n t a n d fully esta blished were these p hil o s o p hi

c a l syste m s whe n the sects a r o se th a t b a se d s a lv a tio n on

fa ith a n d the gra ce of a m a n go d whil e still prete n din g to -

,

philosophy They coul d n o t uni te for the true Sa mkhy a di d

.
,

n o t te a ch B ra hm a is m but ke v a l a t v a m or a bs o lute sep a r a tio n

, ,

o f the i n dividu a l spirit fr o m everythi n g else an a s t i t va m ,

ke va la m or existe n ce a p a rt from a ll n o t a p a rt i n B ra hm a n
, , .

1 R e p e a ti n gy g o a e sa h i y o ga n a m i n 3 07, 25 .
1 04 THE GR EA T EPI C OF I N D I A .

E lsewhere Fa te is the D ivin e power, da iva opposed to ,

hum a n e flo rt a n d to n a ture s va b h a va the la tter ha vin g the , ,

i mplica tion of the K a rm a doctrin e E a ch of these f a c to rs is .

upheld by o n e or a n other theorist while others cla im tha t they ,

a ll w o rk to ge ther x ii 23 3 1 9 repe a te d a t 23 9 4—5 I n other

, , , , , .

pl a ces the s a me Fa te th a t is elsewhere m a de respons ible is

scorn e d da i va mkli ha u p a sa t e on ly eu n uchs worship Fa te ;
, ,

and there is n o Fa te a ll depen ds o n on e s o wn n a ture ; ,

’

the K a rma doctrin e s va b h a va t a h xii 1 3 9 8 2 ; 29 1 , , , , ,

s a mkh y a is A t h e is t i c .

In the just referre d to Go d him sel f is

one- so ul do ctrin e ,

en ergy ka ry a t m a n the sou l of a ll the s a vio ur the L ight

,
“
, , ,
”
which Yo gin s see the E go etern a l without ch a ra cteristics , , ,

of a n y sort a ha m c a n irgu n a h xii 47 54 63 69 —70 ; xiv

, , , , , , ,

25 7 He exis t s
, .
“
a lo n e with wis do m till he m a kes the ,

worlds e a ch succee din g aeon xii 3 40 71 —72 just a s sun rise

, , , , ,

a n d sun set follow e a ch other i h 7 5 On the o ther h a n d the , . .

,

epic decl a res with a ll pl a in n ess th a t the Sa mkhy a system is

d evoid of a beli ef in a pers o n a l suprem e Go d I n xii 3 01 1 ii .
, , .
,

the questio n is ra ise d Wha t is the differen ce between Sa m ,

kh y a a n d Yo ga Th e a n swer is : Sa mkhy a s pr a ise the Sa m

1 Ac c o r di g t
n o x ii , ri g i n a d c o n tro ll e r o f a l l thi g s
23 9 , 20, Ti m e i s t h e o n n ,

p ra b h v a h a a m y a m o y a m a h a n d a l l thi g s p r o d u c e d b y d a lity e x i s t
s ,
n u

a c c o r d i n g t o th e ir o wn n a t u r e s va b h a v e n a Th e n a t u r e o f t h e i n d i v i d u a l
,
.

s p irit i s o ft e n r e de r e d b y thi s wo r d a s s u c h a Sp irit i s c o n d iti o n e d b y i t s

n ,

fo r m e r a c t s B e l o w i s c it e d a c a s e wh e re it i s a fa c t o r o f t h e b o d y d i s tin c t
.
,

fr o m o r g a s m i d a n d s p irit
n ,
n A i n t e r e s ti g c ritiq u e o f h e r e ti c s l e a d s u p t o
, . n n

x ii 2 3 8 3 ff ( wh e r e t h e wo r d c o n n o t e s n a t u r e a s u d e r s t o o d b y B dd hi s t s
, ,
. n u

a n d m a t e ri a li s t s ) y a s t u p a gy a n s va b h a v e n a v i n a b h a v a m a c e t a n a h p u s y a t e
s a p u n a h s a r v a n p a j fi a y a m u kt a h e t u k a n y e s a m c a i
’
r ka n t a b h a v e n a s v a b h a ,

v a t k a ra m m a t a m p fi t v a t n a m i i k a mv a t e l a b h a n t e n a ki mc a n a
na , r s s va ,

b h a va m ka a n a m j fi a t v a n a c re y a h p ra p n u v a n t i t e s v a b h a v o hi vi n a c a y a
r ,

m o h a ka rm a m a n o b h a va h He i s a fo o l wh o t e a c h e s th a t n a t u r e a l o n e e x i s t s
, ,

o r th a t c a u s e o f c h a n g e i s i h e r e n t i n n a t u r e l o n e ( n a tu r e i s with o u t i n
n a

t e l l i ge n c e a n d c l 9 o n ly i n t e lli g e n c e g i v e s s u c c e s s ; h e n c e n a t u r e with o u t
,
.
,

i n t e lli g e n c e wo l d r e s u lt i n n o thi g ; t h e fi a l Op i n i o n g i v e n i n 91 6 o n
u n n .

s va b h a va a n d p a ri b h a va ) C h a s a c u ri o u s v 1 ( fo r p fi t v a e t c ) gru t v a
. . . .
,
.

n n a m r i n a mv a
r s .
 EPI C P HI L OSOP H Y . 1 05

kh y a system ; Yoga s the Yo ga system Th e p i ous Yo gas s a y .

,

Ho w c a n o n e be free d whe n o n e is without a pers o n a l G o d

ra h ; whil e the Sa m k hy s th t who k ws
( a n i gv a ) a s a y a o n e n o

trul y a ll e a rthly cou rses becomes u n a ffected by objects a n d ,

wo u l d cle a rly ge t rele a sed from the b o dy in thi s w a y a lo n e .

Thi s is the expositio n of rele a s e given by the very in telli gen t

Sa mkhy a s B u t o n e shoul d t a ke a s the m e a ns o f rele a s e th a t
.

expl a n a tion which is given a gree a bly to h is o wn p a rty .

Th e Yo ga s rely o n imm e di a te perceptio n ( of truth) whi le ,

the Sa mkhy a s determin e a cc o rdin g t o their co de Fo r m y .

1
p a rt I a pprove of both fo r either system followe d a ccordi n g
, ,

to its c o de woul d le a d to the hi ghest c o urse ( em a n cip a tio n ) .

P urity pen a n ce com p a s sion t o wa rd a ll cre a tur es a n d keepin g

, , ,

vows a re fo un d equa lly i n both ( systems ) but the ( phi lo

, ,
”
sophi c) expositio n is n o t the s a me in both Th e l a st w o rds .
,

da rga n a m n a s a m a mt a yon the expositio n is n o t the s a me

“ ”
, ,

c a n poin t here o n l y to the esse n tia l d iffere n ce just in dic a te d

by the spe a ker n a mely tha t o n e a dm its a n d o n e den i es G o d

, ,
.

A n d it is to be n otice d th a t this is the e n d o f the expl a n a tio n .

There is n o t the slightest hi n t th a t the a n i cv a ra or a theis tic

Sa m khy a s believe i n G o d ( a perso n a l L ord I gv a ra ) , .

I t mus t a lso be remembere d th a t the very term here used

to describe the Sa mkhy a belief fa r from bein g a dmitte d a s ,

o n e th a t co nn otes a beli ef i n B r a hm a n is reprehen de d n o t , ,

o n l y in the pietistic question a b o ve ( whi ch m a y fa irly be put

c te goric a lly a s it is impossible to be s a ve d if o n e do es n o t
a
“

believe in a person a l but a ls o in the Gi ta whi ch ,

li n ks to gether a s a creed o f devils the deni a l of re a li ty

“ “
,

b a sis a n d perso n a l Go d a s a ty a m a p ra t i s th a mte j a ga d a hur

, ,
”

a n i cv a ra m Gi ta 1 6 8 a n expressio n whi ch woul d h a ve bee n

, , , ,

im p o ssible h a d the a n i gv a ra doctrin e been a ccepted a s s i m ply

'

a f o rm a l m o di fi c a tio n of deism implyin g a beli ef i n a ba ck ,

gro un d o f B ra hm a n .

I do n o t thi n k th a t a n i gva ra c a n p o ssibly me a n here n o t

1 Th e Yo g a ha s th e i mm e di a t e pe r c e p ti o n o f th e m y s ti c : p ra t y a k s a h e t a v o
yo g a n sa mkh y a h c a s t ra vi n i c c a y a h
, ub be c ai
’
te m a t e t a t t ve m a m a ( B h i s
m a sy a ) , cl 7
. .
1 06 THE GR EA T EPI C OF I N DI A .

h a vin g the sens es a s m a ster a s it does in x i i 247 7 where , , , ,

it is o pposed t o in dri ya na mva gya t m a ; a p a ss a ge mi stra n sla ted

by the a uthor of Nirv a n a p 96 a s Without the L ord o n e , .
,
”
a tta in s the pla ce of immort a lity though it clea rly mea n s ,

“
Not ha vin g ( the sen ses a s ) a ma ster o n e a tta in s the im
m orta l sta te but bein g subject to the sen ses o n e obt a i n s
,

de a th .

I n the theistic religion the perso n a l G o d n o t o nl y suppl a n ts

,

the o l d expl a n a tio n of Spirit but even ta kes the pla ce o f Pra ,

krti the un m a n ifest un kn o wn Source of the Sa mkhy a a n d

, ,

cre a tes everythin g a s do es egois m in the pure do gma of the

,

Sa mkhy a a s the n a me ma de by e go i sm whi ch is s yn o n y

, ,

ah a mka ra krt a m c a i v a n a m a p a ry a y a va c a ka m xii

” ’
m ous , , ,

3 40 62
, So to the secta ry the n a m e is ever in differen t
. .

As to—da y he a ccepts C hrist a s his o wn di vin ity un der a n other

n a me so he di d of o l d Th e p a ss a ge i n the Gi ta is well
,
.

kn own whi ch esta bli shes the prin ciple I n xiii 1 4 3 1 8 it

,
.
, , ,

is s a id : I n the Sa mkhya system the All so u l is c a ll ed Puru

“ -

sh a,
”
i e the Sa mkhya s recogn i ze on ly Purush a but we s a y
. .
,

tha t their Purusha is our Al l soul Th e twen ty fift h Puru - .

-
,

sh a, is thus iden tifi ed with wis do m vidya xii 3 08 7K I n , , , , .

a prece din g sectio n 3 03 1 1 9 Hira n y a ga rb h a is in tell ect a n d

, , , ,

is c a ll ed Virii i c a A ja etc c a ll e d by m a n y n a m es in the

, , .
,

sa m
”
khy a Ca stra .

Y o ga a s De is tic a n d B ra h ma is tic .

Th e cien t Yogin ta les in the epic Sho w tha t there a re

an

i mport a n t differen ces between the o lder a n d l a ter view o f

Yo ga To sta n d o n o n e l e g for ye a rs a n d keep quiet l o n g
.

en o ugh for birds to n est in o n e s ma tte d lo cks wa s the di s ci ’

”
p l in e of the primi tive Yo gin a s he is represe n ted i n these
ta les B u t the Yo gin of the la ter epic rega rds a ll such pra ctices
.

a s crude a n d un s a tisf a cto ry Hi s di scipli n e is a n el a bora te

.

course o f bre a thi n gs a n d m en ta l c o n fi n emen t in bo dily p o stures

describe d a s custom a ry in the Y o ga C a stra s So m a n y bre a th .

in gs a t such a tim e a n d so m a n y a t a n other mi n ute a tten tion ,

( in a sittin
g posture ) to c o n ce n tr a tio n a n d m e dita tio n the ,
1 08 THE GR EA T EPI C OF I N D I A

moun ta in pe a k ( com p a re kfi ta s t h a ) he beholds B ra hm a n , ,

”
whi ch is li ke a fi re i n gre a t da rkn ess The n o n a b a n do n in
g .

hi s bo dy without a witn ess thi s Yogin a fter a tta in in g i n life

, ,

hi s powers over the bre a thi n gs a n d elemen ts ru dra p ra dh a n a s , ,

”
a n d w a n derin g a bout with the bo dy of eight cha ra cteristics ,

en ters in to the L ord Spirit who is isola te d ke va l a na ya ti for

'

, ,
’
this is the Yogin s Yoga ; wh a t else would ha ve the sign of
” 1
Yo ga ? So e n ds the cha pter without a suggestio n tha t the ,

Yo gin is to be iden tifi ed wi th Vishn u .

I n the imi t a tio n a n d improvemen t of thi s p a ss a ge thrust ,

’
before it i n the text the Yogin s rele a se does n o t e n d m a tters
, ,

though Vishn uism is in serte d ra ther clumsily a s will be seen ,

from a n a n a lysis of the whole section 3 01 1 1 fl C uttin g , , .

o ff the fi ve f a ults by Y o ga people free d of sin s obt a in tha t

,

pl a ce ( or con di tion ) t a t p a da m like a s b i g fi shes cut thr ough

, ,

a n e t a n d ge t the w a ter ( the fi s h is n o t ide n tic a l with the

wa ter t a t p a da m is pla ce or co n di tio n free do m ) E ven a s

, , .

stron g a n i m a ls m rga n cut the n e t so they would ge t a cle a n

, , ,

ro a d when they a re freed from a ll their bon ds E n due d wi th .

stren gth Y o ga s o n cuttin g thus the bon ds m a de by greed go

, , ,

the cle a n wa y th a t is hi ghest a n d a uspicious Th o se wi th .

out power a re destroyed tho se tha t ha ve power a re rele a se d

, ,

m u c y a n t e b a l a n vi t a h On a cq ui rin g Yo ga power o n e c a n
.
-

Oppose the m a n y objects of se n se vy fi h a t e vi s a y a n a s a n ele , ,

pha n t o pposes a gre a t stre a m B y Yoga power m a de in de .

-

pe n den t a va ca h Yo gin s e n ter Pra j a p a tis a n d seers a n d go ds

, ,

a n d the ele m e n ts a s their lords

, Not Ya ma n o r the E n d .

m a ker ( di fferen tia ted here often a s o n e ) tho ugh a n gere d, , ,

n o r D e a th fe a rful i n prowess n o t a ll these lord it o ver a

, ,

Yo ga of un m e a sure d en ergy A Yo ga could m a ke him self .

.

m a n y tho usa n ds when he h a s go t hi s power a n d with these ,

co ul d wa n der over e a rth Such a n o n e could ta ke the objects

.

of sen se a n d then perform h a rd a usterity a n d a ga in re duce it ,

a s the s un does his be a ms of li ght t e j o gu n a s Th e Yo ga who , .

holds to the p o wer a n d is lord of bon ds obta in s i n rele a se ,

vim o ks e the fullest lordship p ra b h a vi sn u t v a

, These powers
, .

1 e ta d hi y o ga my o ga n a mki m a n y a d y o ga la ks a n a m , 3 1 7, 2 7 .
 EP I C P HI L OSOP H Y . 1 09

obta in e d through Yo ga ha ve been obta in e d by me Fo r elu .

c i da t i o n I will n o w tell thee a ga in 0 Kin g a lso a b o ut the , ,

subtile powers He a r from m e O B ha ra ta the subtile sign s

1
.
, ,

o f the s o ul i n co n ce n tr a tio n s a m a dh a n a a n d in respect to c o n , ,

t e m p l a t i o n dh a ra n a 0 l o rd
, As a n a rcher by bein g a tten tive
, .
,

a p ra m a tt a wi th c o n cen tra tion hi ts the m a rk so the Yo gin

, , ,

pro perly in ten t doubtless obta in s rele a se m o ksa As a m a n

, , .

in ten t yu kta wi th in ten t m in d would go up a la dder ste a dil y

, , ,

fi xin g hi s thoughts o n the vessel ful l of o il ( i n his h a n ds) so ,

the Yo ga here in ten t 0 Kin g ste a dil y m a kes sp o tless hi s

, , ,

2
soul ( till ) it looks lik e the i m a ge of the s u n As the steers .

m a n wi th co n cen tra tion s a m a hi t a woul d guide a shi p o n the , ,

oce a n s o by a pplyin g self c o n ce n tra ti on with in ten tn ess a tm a

,
-
,

s a m a dh a n a m y u k t va y o ge n a he th a t kn ows the true t a tt va , , ,

ets pl ce h rd to tt a in du r a m a s th a n a m fter le vi
g a a a a g a a n
g , ,

hi s bo dy here As a cha ri o teer with co n cen t ra tio n yokin g

.
,

u kt va oo d horses q u i ckl y brin s the k n i ht to the d esire d

y g , g g
,

pla ce de ga m i s ta m s o 0 Kin g the Yo gin with hi s min d c o n

, , , ,

c e n t ra t e d in co n te m pla tio n quickly gets the highest pla ce ,

p a r a m s t h a n a n just a s the a rro w when rele a se d m u kt a fi n ds

, , ,

its m a rk Th e Yo gin who sta n ds ste a di ly seein g self in self

.

destroys s i n a n d ga in s the un a lter a ble pl a ce p a d a m of th o se , ,

who a re pure Th e Yo gin wh o pro perly joi n s y u fi kt e with

.
, ,

hi s so u l ( self) the subtile sel f i n the n a vel thro a t he a d he a rt , , , ,

chest sides eye e a r a n d n o se quickly c o n sumin g his K a rm a

, , , , , ,

o o d a n d b a d th o u h m o u n t a in ous ( i n size ) h a vin recourse

g g , g ,
”
t o hi ghest Yo ga is rele a se d if he wishes , .

This is the e n d of the di scourse for the prese n t Nothi n g .

’
is sa id of the Yo gin s em a n cip a tio n bein g other tha n a rele a se
from bon ds Th e con vers a t io n turn s t o the questio n of fo o d
.

a n d me a n s of restr a in t of the se n ses the h a rd p a th of a uster ,

1 h e s e wo r d s a re p e rh a p s t h e m a rk o f i n t e rp o l a ti o n h e r e
T .

c h a p a r n e y a th a
p a tr e m a n a a dh a y a n i c c a l a m p u ru so yu kta a ro h e t
2 su -
,

SOp a n a rii y u kt a m a n a s a h
y u kt a s t a th a y a m a t m a n a my o g a n p a rt hi va n i c c a l a m
’

ka ro t y a m a l a m a t m a n a m b h a s ka ro p a m a da rc a n a m In t a i l a p a tra m .

y a th a p rna mka ra b h y a mgrh y a p a ru s a n s o p a n a m a ru h e d b h i t a s t a rj y a m a n o

u

s i p a ni b h i h sa my a t a t m a b h a y at te sam na p a t ra d b i n du m u t sr e t j t a th a i
’
vo
’
tt a ra m a ga my a e ka gra ma n a s a s t a th a , e tc .
110 THE GR EA T EP I C OF I N D I A .

ities which ma kes the subtile soul shi n e fo rth but he who ,
”
follo ws it is rele a se d fro m birth a n d de a th ill a n d we a l
“
, .

”
This it is then s a id is wha t h a s been set forth in v a ri o us
,
“
,

Yo ga Ca s t ra s i n the twice born is a dmi tte dly the hi ghest -

”
Yoga pra ctice krt y a m 91 5 7 , , . .

Thus fa r the cl o ka s a n d the fi n a l st a n z a seems to Show th a t

this is the e n d B u t to thi s a re t a gge d o n fi ve t ri stu b h sta n
.

z as , with whi ch the ch a pter n o w con cludes : Tha t hi ghest “

B r a hm a n m a de B ra hm a n a n d L o rd Vishn u the boon giver O

-
,
-
,

re a t so ul ed o n e n d B h a va a n d D ha rm a n d the six fa ce d
g a a
- -
, , ,

(g ) o d a n d the so n s of B ra hm a n t a m a s r a j a s s a ttv a a n d hi h
, g , , , ,

est Pra krt i a n d Siddhi the go ddess wife o f Va runa a n d a ll

, ,

e n ergy tej a s a n d p a tien ce a n d the pure l o rd of sta rs in the

, , ,

Sky with the sta rs a ll the a ll go ds the sn a kes a n d m a n es

,
-
, , ,

a n d a ll m o un ta in s the terrible se a s a ll rivers with f o rests a n d

, ,

clouds Na ga s a n d n a ga s troops of ge n ii sp a ces the a n gel

, , , ,

hosts m a les a n d fem a les — o n e a fter the other a tta in in g the

, ,

re at re a t s o u l e d Yo in w o ul d e n ter soo n a fter he is rele a se d

g g g .

An d this n a rra tio n 0 Kin g is a uspicious i n tha t it rests o n

, ,

the go d who h a s gre a t vigor a n d in telli gen ce Such a gre a t .

soule d Y o gi n o verp o werin g a ll morta ls a cts h a vin g the sel f of

, , ,

Na ra y a n a ( a ccordin g to the commen ta to r m a kes a ll thin gs ,

1
a s bein g ide n tic a l with N a ra y a na ) .

I t is true th a t a view whi ch ign ores every in di c a tio n of i n

t e rp o l a t i o n m a y in sist th a t litera tur e is to be tre a te d with o ut
critique overlook the p a tchwork a n d c o n cen tra te em pha sis
, ,

o n thi s l a st n a ra y a n a t m a to o ffset the whole te a c hi n g prece d

i n g whi ch is th a t the s o ul gets isol a tio n n o t a bsorptio n in t o

, ,

B ra hm a n B u t eve n the n N a ra y a n a is n o t phil os o phic a l

.

B ra hm a n I n the fo llowin g ch a pter whi ch is a n e w di scus

.
,

sion 3 02 55 the Ka p il a h Sa mkh y a h a re a lso l e d to em a n cip a

, , ,

tio n i n which te a chi n g a tm a n rests o n N a ra y a n a N a ra y a n a

, ,

rests o n em a n cip a tio n but em a n cip a tion h a s n o support ( the

,

s a m e word a s a bove of the n a rra tion which rests o n N a ra y a n a ) ,

m o ks a m s a kt a m tu n a kva c i t ; though the Sa mkhy a p h il o s o

1 y gi o rva b hi b h fi y m ty a a a y a tm a k t m h a tm a 3 01
sa sa n a a a r n n r a n uru e a , ,
 112 THE GR EA T EPI C OF I N DI A .

belief of the Yo gin A further di fle re n c e is fo un d by the .

comm en t a tor in the words of xii 240 8 where it is sa id , , ,

Vishn u i n steppin g C a kra in power Agn i in the d igestive , ,

orga n ( etc ) wishes to en joy bh o kt u m i c c h a t i a sta n za

.
, ,

wedged between the sta tem e n ts tha t bodies come from e a rth ,

e tc a n d th a t c a rs etc
.
, a re orga n s of se n se Wha t is a pp a r
, .
, .

e n t is th a t experie n ce is here shi fte d from pure spirit to the

corresp o n di n g divin ity 1

.

So fa r a s I kn ow the differen ce of Opini on is n owhere i n the ,

epic sta ted t o in volve a distin ctio n between the two systems ,

a n d i n this ch a pter the subject of a c t ive a n d experie n cin

g
spirit is n o t further touche d upon I doubt therefore the .
, ,

va lidity of the com men ta tor s expl a n a tion a s a pplie d to the ’

epic but his words a re worth citin g : I n the Y o ga system

,
“

the spiri t is n o t a ctive but experien ces onl y whil e i n the ,

Sa mkhy a system the spirit n either a cts n o r experie n ces In .

thi s p a ssa ge the poet repudi a tes the fi rst doctrin e a n d ex ,

presses a pprova l of the seco n d ( by n a min g dev a s a s e n joy

ers a n d thus showin g tha t it is o n ly a fa lse Ma gma t i o n of
”
,

the spirit when it thi n ks itself a n en joyer

Accordin g to the epic a ll a ctivity resides i n Pra krti the , ,

Source a lo n e while experie n ce resides i n spirit but o n ly a s the

,

la tter is con ditio n e d by its en viron m en t p ra krt i s t h a h so tha t , ,

when it is i n the bo dy the hi ghest spirit is c a ll e d en joyer a n d

a ctive but it is n o t re a lly so ku rv a n n a p i n a li p y a t e n a
, , ,

ka ro ti n a li p y a t e This is the expl a n a tio n of the Gi ta .

3

( which de n ies tha t there is a n y specul a tive di fferen ce be t ween

the two system s) a n d is foun d often en ough elsewhere ‘ So , .

G o d a s a co n ditio n e d bein g spiri t e n joys the gun a s a s i n , , ,

xii 3 40 where the twen ty fift h pri n ciple though without

, ,
-
,

1 Ma it Up vi 1 0 b h o kt a p u ru s o b h o j y a p r k t i h e j o y i s s o m e
As in . .
, ,
a t ,
n

ti me s e o ly r e d e re d Sp irit i s th e e a t e r Pra k ti t h e fo o d Or di n a rily

s n su us n , ,
r .
”

enjoy i s e p e ri e n c e x .

y o g m a t e a t m a b h o kt a i va n a t u k a rt a ; Sa m kh y a m a t e t u n a b h o kt a
2 a
’
, ,

n a p i k a rt e t i ; t a tr a d y a ri1 dfi
’ ’ ’
y a ti e t c . sa ,
.

3 G it a 3 2 7 5 7 1 3 20 e t c
; , ; , , , , .

Co m p re x i i 247 1 —2 T he s p irit su p e r vi s e s m o d i fic a t i o n s ( h e k n o ws
4 “
a , , :

th e m th e y do n o t kn o w h i m ) h e d o e s wh a t i s t o b e d o n e ( o n ly ) i n c o n j u n c
, ,

ti o n with t h e s e n s e s a n d m i n d t h e s i x th ( lik e a c h a ri o t e e r a s a b o ve )
, ,
.
 EP I C P HI L OSOP H Y . 113

cha ra cteristics is gu n a b h u j or en joyer of guna s a s well a s the

,

superior cre a to r of guna s gu na s ra sta gu n a dhika h 91 , So , .

va is sa sti bh a ga ( bel o w) L ik e a l a mp givin g li ght kn ow

C i .

the jri a n a t m a n kn o wle dge spirit Purusha to be i n a ll cre a

‘

,
-
, ,

tures I t ma kes the e a r he a r ; it he a rs ; it sees Th e body is

. .

the c a u s e ( o f perceptio n ) but thi s ( so ul ) is the doer of a ll ,

a c ts , xii 21 0 40 Here the l a st cl a use s a ka rta s a rva ka r

”
, , .
,

m a na m m e a n s tha t so ul a cts on l y a s mo difi ed by Pra krt i I n

, .

x ii 222 1 7if :
, ,
“
Who so thin ks hi msel f a n a c t or fa ul ty is hi s ,
”
judgmen t Acti vity is n a ture o n ly the onl y fa ctor s va b h a v a
.
, ,

e va t a t s a rv a m ( o n e beco m es v i t rsn a 91 3 0 whe n o n e kn ows , .

,

the differen ce between the Source a n d its mo di fi c a tio n s) I n .

x ii 3 04 45 the So urce does every a c t

, , , a n d it a l o n e e n j o ys , ,

a gn a ti Oppose d to thi s is the B ra hm a i s t i c view which h o lds

.
,
”
tha t the inn er soul a n t a ra t m a n a lon e smells ta stes etc
“
, , , , .
,

a s a n e n tity sep a r a te from eleme n ts ( below) .

A pra ctic a l di ffere n ce m a y be fou n d in the a ttitude of the

t wo system s t o wa rd a usterities though it is st a te d th a t thi s ,

exercise is comm on to bo th Nevertheless it c a n n ot be s u p .

”
p o se d tha t the kn owledge phi losopher a dm itte d a s much -

ta p a s a s di d the Yo gin whose pra ctic a l di sciplin e wa s a l most

,
”
wholly a ra zor e dge d p a th of a usterity Th e pra ctice is
-
.

occ a sio n a lly reprehen de d a s in x ii 221 4 where it is s a id , , , ,

tha t fa stin g is n o t m eritori o us a s it is in jurious to the sou l s ,

’

di scipli n e a t m a t a n tro p a gh a t a h a view whi ch is o f course c o n

, ,

t ra di c t o ry t o the m a ss o f te a chi n g i n the epic fo r ex a m ple i b , , .

23 3 23 where pe n a n ce is the m e a n s of a tta in in g t o the bein g

, ,

Th e di fferen ce betwee n Sa m
”
tha t cre a tes the uni verse . khy a
”
a n d Y o ga a s a dmitte d a n d expl a in e d i n the l a te p a ss a ge xii
, ,

3
2 7 29 , fl is m i y a pra ctic a l o n e in tha t the Sa mkh ya
a
. n l,
“
,

keeps a lo o f fro m o bjects of sen se con tro ls the sen ses a n d is , ,

2
a like to a ll cre a tu r es fri e n dl y to a ll in di ffere n t t o a ll thi n gs
, , ,

in jures n o cre a tures a n d s o a t ta in s t o B ra h m a n , where a s

tha t Y o ga is rele a sed wh o tra n scen di n g supern a tu r a l power , ,
”
ce a ses ( fro m a ctivity) Th e Yoga is thus describe d in o n e .

1 Th e twe n ty fi ft h-
,
no t th e twe n ty s ix th p ri n c i p l e
-
,
is h e re Go d .

2 s a rv a b h fi t a s a drri m a i t ra h
'

sa m a l o s t a gzm a ka fi c a n a h, 3 8 , a s ant d in g e p ith e t .

8
1 14 THE GREA T EP I C OF I N DI A .

verse : o a
y g gi v a ryyo n i skra m a t i mu c y a t e 2 3 7
a m a t i kra n t o , ,

40 Th e depen de n ce of the Sa mkhy a o n kn owle dge a lo n e is

.

here m erely im plied though the followin g im a ge of the s a vin g ,

ship of kn owle dge m a kes it cle a rer but the whole p a ssa ge ,

is a la te a ttem pt to in terpret Sa mkh y a by a n other n orm 1 .

On e further pra ctic a l differen ce between the systems is

p o in ted out by the commen ta tor a t xii 241 3 4 where a fter , , , ,

a sceticism is describe d it is s a id tha t a m a n of low c a ste or a ,

wom a n seeki n g virtue m a y a tta in the hi ghest course by thi s

p a t ( of the Yo g )
a Th e com me n ta tor t a kes p a in s to re .

m a rk th a t thi s a pp l ies o n l y to the Yoga a n d n o t to the ,

Sa m kh ya A little fa rther o n i n 247 1 6 where the s a me

.
, , ,

system is still ta ught but o n the in tellectua l side n o t o n the , ,

a scetic side it is expressly sta te d tha t the Ca stra shoul d be

, ,

told on ly to m e n of the hi gher c a stes Sn a t a ka s

,
2
, .

I t is expressly cha rge d a ga in st the P a q u p a t a sect th a t it is

subversive of c a ste : I R udra formerly fo r the fi rst t irn e
“
, ,

in ven ted the m ysterious P a c up a ta reli gion b e n e fi c e n t to a ll , ,

fa cin g i n a ll di rection s o n e tha t ta kes ye a rs or o n ly t e n da ys 3 ,

to le a rn o n e whi ch though bla med by the u n in telli gen t ( b e

, ,

c a use i t is) here a n d there oppose d to the rules of the Ca stra

a n d those of the Orders v a rn a c ra m a krta ir dh a rm a ir v i p a ri t a m ,

b h ma
1 m bhi
ra t t l t na r l r p t d with
a dh i g h
va r a e, a a e ca e e s sn e s s, e ea e ca
’
a cc

a t i 91 3 6
,
d 41
. Th f r f d B r hma
a n d t h hi g h t B ra h m
. e ou -
a ce a n a n e es a n , re

sp tiec ly i t h ve mm t t r ,
r d y p l ti ( m
s e co li b y V di en a o
’
s ea ex a na on
“
a sc u ne e c

Th m rt f thi g i f d i e sa th r l t r pe so g wh r o n s oun n a no e a e a ssa e, e e

a d bl r l
ou epp r b h m a m dh i g t a ( i )
ca e e ssn e s s iii 8 3 73 a ea s, ra na a a v s c ca , , ,
.

P rt f t h
a b
o d rip ti i e a p y f t h G it a
o ve i m m c a e sc h i ka on s a co o e ,
n r a a c
’
na a r1 ro

i d
n r d c hi
va n mg y h a i
va k dh y ti
c d ti 23 7 3 4 i Git a
n n a sa a a n
’
va ru a na ve s , , , a s n ,

5 , 3 ; 1 2, 1 3 ( z 2, 71 ) 1 8 , 5 3 , b ra h m a b h fi y a y a ka lp a t e .

2
Se e b e l o w t h e p a s s a e i n c u l c a ti n p u r e Yo a g
twe n ty s ix th p ri n g g ( th e -

c i p l e ) wh e r e it i s s a i d x i i 3 1 9 8 9 th a t it i s a d o c tri e o f e m a n c i p a ti o n fo r
, , , , ,
n

a ll a n d k n o wl e dg e i s t o b e g o t fr o m a ll fo r a l l c a s t e s a re B r a h m a n s a l l a re
, , ,

b o rn o f B r a h m a n d a ll c s t e s a re e q u a l ; a n d c o m p a r e ih 1 88
a n ,
10 fi na a .
,
.
,

vi c e s o s t i va rn a n a m e t c I n 2 51 2 1 a t m a j fi a n a m i d a m gu y h a m a s i n t h e
'
.
, , , ,

e a rli e s t Up a n i s h a d s G o d with o u t c h a r a c t e ri s ti c s i s r e s p o s i b l e fo r
“ ”
A . n

t h e d e m o c r a ti c e qu a lity o f t h e n o c a ste vi e w So Ci va i s m t e a c h e s th a t “
.

c a s t e s a re o n ly i d i c a ti o n s o f p o s iti o n b r a h m a n s va b h a v a h i s e v e ry wh e r e
n ,

e qu a l a n d a ll m e n a re c hil d r e n o f t h e o n e G o d wh o c r e a t e d th e m x iii 1 43
, , , ,

50—
3 .

3 I t d
ns ea of te n dy a s, sa ys th e c o m me n a t to r ,
t h e G a u da s re a d “
fi ve dy a s .
116 THE GR EA T EPI C OF I N D I A .

ra re . l a st for ex a mple is foun d in i 21 4 2 ( with

Th e , , , ,

b h a iksa s or c a u ksa s ) Th e s a me p a ss a ge th a t c a ll s V ishn u

.

i c a m a h a ka lp a gives hi m the titles of P ra c i n a ga rb h a ( b elow)

‘

ar
p
a n d Ka u c ika a n d i de n tifi es hi m with the A t h a rv a gi ra s Up a n i

sha d xii 3 3 9 1 1 3 —1 25 Though the go d is here Vishn u I

, , , .
,

ve n ture to thi n k the l a st epithets were origin a lly a ppli ed to

Civa Th e
. whi te m e n of the White I sla n d or ra ther ,

coun try ( dvi p a the di g utta ra or more ex a ctly u tt a ra p a gc i

‘

”
men a in the Northwest 3 3 6 8 —1 0 ; 3 3 7 2 1 ff ) must be
“
, , , , .

K a shm ere B ra hm a n s who a re often a lmo st a s whi t e a s E uro ,

pe a n s a n d whose reli gio n wa s the worship of Ci va ( a s a go d o f

c u l ture a n d letters) i n m o n otheistic f o rm whi ch is here per ,

verte d Th e loc a tion Northwest a n d fa r North c a n

.
“

sc a rcely be a n yw here else tha n K a shm ere where a lon e n orth “

,
”
e rn whi te m e n cve ta p u m a nsa h
h 3 3 6 1 0 were to be seen 1
, , , , .

Th e D iffe re n t Sc h e m a t a .

Th ephi losophi c a l schemes el a bora te d i n the epic show three

distin ct groupin gs whi ch must bel o n g to di fl e re n t sys t ems
, .

These a re the Sa m khya the Yo ga a n d a thi rd system whi ch , , ,

foll ows a di fle re n t series of to pics All three differ essen tia lly .

from V e di sm a n d B ra hm a i sm a s this l a tter i n turn differs , , ,

from wha t we c a ll V e da n ta B oth of the l a tter a re re p re .

sen te d m a kin g six syste ms a s s a id a bove ; but of these there

, ,

2
a e full schem a ta o r topic a i n three c a ses a t le a st
r in di c a tin g ,

wha t for con ven ien ce I sha ll c a ll schol a stic di fferen ces the ,

three schem a tiz i n g syste ms bein g here term e d scho ols I t is .

unn ecessa ry t o p o in t out tha t n o o n e set o f tea chers much ,

less the o n e poet o f the un hi sto rica l m ethod wo ul d ha ve in eul ,

c a t e d six syste m s or ela b o r a ted three schools especia lly a s the

, ,

topics of t wo of these schools im ply a fun da men ta l di fferen ce

bet ween them .

1 Th S f m ilk
e
“
i th P ra
ea i
o id t rr d Hi m a l y
”
n e u na s s sa o su o un a a a n

m oun t i Ka fi a n,Th d ( rli r)

r u cat f t h whit m
. i th
e se c o n ea e a c c o un o e e en
”
n e

e p ic q u i te Sa mkh y a n Go d i s Pu r u s h a e t c
is , , .

2
C o mp a r e a l s o t h e r a th e r r a r e r e c o gn iti o n o f p u r e Ve d a n t a Ma y a
B ra h m a i s m a n d a b o v e i n t h e fi r s t c h a p t e r t h e p hil o s o p hy c o p i e d fro m t h e
,

Up a n i s h a d s with o u t i d e n ti fi c a ti o n o f s o u l wi th s e c t a ri a n g o d .
 EPI C P HI L OSOP H Y . 117

C omm o n to a ll thr ee schools is the di stin ctio n betwee n

the First C a use o r Source a s m a n ifest a n d un m a n i fest Th e .

m a n ifest or kn own is a ll th a t is bo rn gro ws a ges a n d di es

, , , , , ,
”
whil e the un m a n i fest o r u n kn o wn is the opposite 1 tha t
“
, , ,

is it is dev o id of these four m a rks l a ksa n a s Further Sa m

, , .
,

kh y a a n d Yo ga both a dmit two selves a tm a n s it is s a id which , , ,

in the V e s
”
a re decl a re d
“
d a a n d i n the Siddha n t a s 2
Th e .

fi rst is th a t born with the four m a rks th a t is those of the , ,

ma n ifest a n d h a s four objects ( c a t u rva rga virtue ple a su re

, , , ,

g a in e m a n cip a tio n )
,
Thi s is the m a n ifest self b o rn of the .
,

u n m a ni fest ; it is a wa ke n e d bu ddh a but h a s n o t the hi ghest , ,

in telli gen ce c e t a n a ; it is the c o n dition e d s a ttva sou l in di s

, ,

tin ctio n from the pure kn owin g s o ul kse t ra jri a thoug h both ,
‘

a re a tt a che d to objects of se n se B oth syste m s a dmi t twe n ty .

fi ve topics a sta teme n t to be reviewed bel o w , .

Th e U n m a n ifest is th a t which c a n n ot be kn o wn a v e dy a m , ,

which h a s n o p a da n y a s a le a ve s n o tra ck a n d is therefore , ,

be yo n d kn owle dge xii 205 1 8 ; a ve dy a m a vy a kt a m xii 3 1 9 , , , , , ,

42 . K a pil a c a ll s it the a m a dy a a n d s a ys he uses the term , ,

First C a use Source P ra krti m erely to esc a pe a re gre s s u s

, , ,

a d in fi n it u m I t is therefore m erely a n a m e s a mjfi a m a t ra m

.
, .

I t is use d of the Th a t : “
On e coul d n ever re a ch the e n d of
c a usa tion n a i va n ta m ka ra na sy e y a t even if o n e wen t
,
’ ’ ’
,

un ce a sin gly l ike a n a rrow from the cord y a tha ba n o gu na c y u ,

t a b a n d sw i ft a s thou ght
, Nothin g is more subtil e tha n the .

1
S i 2 1 7 9—
o 1 0 it i
n xiii d th t P k t i r t
, ,
d h thr g , s sa a .
_
ra t c ea es a n a s ee u n a s,

whil p irit m rk p p it ( f t h thr f l d g ly h i

’
e s th s a s a re e o os e or e ee o u n a s a re on s

tu rb a n ,
”
91 .

2 x ii , 23 7, 2 7, 3 1 , Si ddh a n t e su . i 70 44 Si ddh a t n a is me n ti o n e d a l s o in , ,
.

I n t h e p r e s e n t p a s s a g e t h e c o mm e n t a t o r t a k e s t h e V e d a s a n d Si dd h a n t a s a s
Pfi rv a m i m a ns a a n d Ut t a ra mi m a s a A n o th e r l a t e e x p r e s s i o n i n thi s s e c ti o n
‘ '

ri .

d e s c rib e s t h e e ffu l g e n t ji va y o ke d c a r a s h a vin g a ll t h e Ta n tra s a s i t s g o a d

-

( s a v a t a n t ra p ra t o da h x ii 23 7 1 1 s tr a dd l e s t h e p a d a s ) wh e r e t h e c o m m e n t a t o r
r , , , , ,

s a y s Ca s tr a a n d i s p r o b a b ly ri g ht a s we h a v e N y a y a t a n t ra s m e n ti o e d whi c h
, ,
n ,

a re d o u b tl e s s wo rk s o n l o g i c C o mp a r e with t h e p a s s a g e a b o v e x ii 206 2 8
.
, , , ,

a vy a kt a t m a p u r s o vy a kt a ka rm a s o vy a kt a t v a m ga c c h a t i h y a n t a k a l e ; x ii
‘
u ,

1 99 1 25 c a t u rb h i r l a ks a n a i r hi n a m t a th a s a db h i h s a s o da c a i h p u ru s a m t a m
, ,

a t ikra m y a a ka c a m p ra t i p a dy a t e
( t h e s i x a re ill s a n d t h e s ix t e e n a re b r e a th s ,

o r g a n s a n d m i n d a c c o r d i n g t o t h e c o mm e n t a t o r
, , ) b u t t h e fo u r a re h e re s a i d ,

t o b e c e t a s a n d thr e e p r o o fs .
 118 THE GR EA T EP I C OF I N DI A .

un m a n ifest Tha t n othin

g is c o a rser F in er th a n fi n e .
,
”
re a ter th a n gre a t is Th a t the in visible e n d of a l l thi n gs
g , ,

x ii 240 2 8 ( 29
, , C ve t Up iii 1 6 Gi ta 1 3 . I t is a term
.
, , ,

use d in both philoso phi es a n d is simply eq uiv a l en t to the o

,

in visible un kn own First C a u s e From its syn on ym Pra krti .

,

First C a use it m a y be c a ll e d sim ply the Source

, So a lso .

B r a hm a n is a vy a kt a m Usua ll y thi s term is defi n ed i n such

.

n e a tives a s i n n e t i n e t i a super a bu n da n ce o f whi ch a ppe a rs

g ,

i n this de fi n itio n : B ra h m a n h a s n o t be e n expl a in e d by

m a n tra s ; with the world of experien ce it h a s n o t a n yt hi n g
i n co mm o n ; it h a s n o t soun d t o uch n o t fo rm ; it is n o t com , ,

prehen ded ; n o t ma n ife s t n o t fe m a le n o t m a le n o t n euter , ,

i 25 1 n o t bein n o t n o t bein g n o t bein g a n d n o t

( a s n , g ,
-
,
- -

”
a n imita tio n of older m a tter
1
bein g n o t perish a ble , .

”
This “
Un kn own whi ch f o rms the c o mm on b a sis of the
,

re a t philosoph i c a l syste m s in the s a m kh y a co n n otes pote n tia l

g ,

e goism becomes kn own fi rst a s E go o r self co n scious in tellect

,
-
,

a n d o u t of this e oism is develope d the whole cre a te d u n i

g
verse ; over a ga in st whi ch sta n ds the p u r e u n co n scious spiri t ,

the re a l E go Thi s i n outli n e is the whole pla n of the Sa m

.
, ,

kh y a philos o phy which a dm its n othi n g outside of pure E go

,

a n d self c o n sci o us E o
-
a n d a scribes a ll a pp a re n t other to
g ,

mo difi c a tion s o f egoism There a re here twen ty four prin .

-

c i p l e s over a a i n st the pure spirit E o a s the twe n ty fi ft h 2

g g
-
.

On the other h a n d besides these the Yo gin s syste m super

’
, ,

a dd s o n e ex a lte d spirit a s Supreme Spirit or G o d the twe n ty , ,

sixth prin ciple .

Th e Pa gu p a t a s a n d B h a ga v a t a s h a ve a differe n t system of
c a te gories but te a ch tha t the Suprem e Spirit a s a perso n a l Go d
,

becom es ma n ifest ; i n the la tter sect a s a go d m a n ,

-
.

C ommo n to the three sch o ols is the belief i n the three c o n

s t i t u e n t s of the U n m a ni fest c a lled
gu n a s ; but these a re some ,

times trea ted a s co n stituen ts a n d sometimes a s a ttri butes .

1 n a sa n n a c a
’
sa t sa d-a sa c c a ta n nati vi ddh i ta d a k s a ra mn a ks a ra ti ’
.

I n 25 1 22 B r a h m a n i s a s u kh a m a s we ll a s a du h kh a m
, ,
n o t j o y n o t s o rr o w , , .
”

s d e v o i d o f t h e hi g h e s t i n t e lli g e n c e a n d o n ly wh e n
2 Pra k t i i t a c e ta n a , ,

s u p e r v i s e d b y s p irit c r e a t e s a n d d e s tr o y s Pur u s h a h a s mi lli o n s o r .

c o u r se s x i i 3 1 5 1 2
, ,
i b 2 28 1 3 6
,
.
, .
1 20 THE GREA T EP I C OF I N D I A .

3 42, 1 3 , eighteen guna s while i n 3 1 4 1 7 ff n e a rly double , , .

,

thi s n umber a re given it in cludin g most of the former gro up ,

but pla ced i n a di fferen t a rra n geme n t Aga i n i n xii 3 02 1 4 .

, ,

1 6 s a ttva h a s t e n ( un expla in ed) gun a s ; r a j a s n in e ; t a m a s

, , ,

e ight ; buddhi seve n ; m a n a s six ; n a bb a s fi ve ; but then

, , , ,

a ga in buddh i h a s fourteen ; ta m a s three ; r a j a s two ; s a ttva

, , , ,

one
1
.This m erely m e a n s th a t e a ch stra n d h a s cert a in a t t ri
2
b utes Th e s a me list for in sta n ce is give n i n the An u gi ta
.
, , ,

xiv 3 8 2 ff a s i n di c a t i o n s of s a ttv a I t seem s u n n ecess a ry

, , .
, .

to en umer a te these v a ryin g cha ra cteristics Th e gist of them .

a ll is foun d i n Gi ta 1 4 9 if : s a ttv a bel o n gs t o ple a s a n t , ,

thi n gs ra j a s to a ctivity ta m a s to a p a thy So in xii 1 9 4 3 0

, , .
, , ,

a to uch o f joy is ch a ra cteristic of s a ttv a and if a n ythin g is

“
,
”
join e d to j o y there is the con di tion bha va o f s a ttva ( o n l y , ,

fi v e a re given here ) while in 3 5 there a re fi v e li fi ga s or sign s

of en ergy r a j a s a n d in 3 6 fi ve guna s of ta m a s
, , 2 8 6 25 ff , , .
,

with v 1 248 1 9 ff )
. As tej a s e n ergy is a ttribute d to
.
z :
,
.
, ,

B r a hm a n the term f a lls in t o co m p a ra tive desuetude bein g

, ,

repl a ce d by the less mora l ra j a s whi le tej a s is left a s a ,

virtuo us cha ra cteristic : dh ii t a p a p m a tu t e j a svi n in i s e d

b ra hm a n a h p a da m ( s a id of the go o d m a n ) a n d B r a hm a n is ,

t e j o m a y a m xii 241 9 a n d 1 3 ,
So tej a s is a go o d qua lity
, ,
.
,

Gi ta 1 6 , ,

I n this c o n ception s a ttva is a s much of a bo n d a s a re the ,

other t wo gun a s Kn owle dge a n d ple a sur e a re the a tta ch .

men ts with whi ch it bin ds the s o ul ; while ra j a s bin ds wi th

a ctio n a n d t a m a s with hee dless n ess l a zin ess sleep the sign s , , ,

of in ertia Gi ta 1 4 6—8 , , , .

1 Th i ght eg ef tt t g i een mp l p i t i h p kdg m

un a s o sa va ,
o ve an exa e , a re r ra a

u dre ko l a gh u t a s a kh a m e va c a , a kdrp a n y a m a s a mra mbha h s a n to s a h gra dda dhd

n a t a , ks a md dh z t i r a h i ns a c a ga u c a m a kr o dh a e va c a , drj a va rh s a ma ta s a rga m
'

y
a n a s u a t a th a i va c a (
’
o se in a c s e a pp e a th
i n th e o n e l g r li t it li
s , 3 1 4, 1 7 r r
i d
2 Th e H n u c o n c e
p o n i s n o t u e u n fo m i n e a ti r g rd
to th e g q it
u n a s, b u t i r
th e re i s I thi n k o r e a s o n fo r c o n fo d i g e s s e n ti a l c o s tit u e n t s with a t tri
, ,
n un n n

b u te s Jo y a d s o rr o w a re n o t t h e g u n a s th e m s e l v e s b u t th e ir o b j e c ti v e s i g n s
. n

i n t h e m o r a l wo rl d Th e tr u e o p p o s it e s a re t e j a s a d t a m a s li g ht a n d d rk
. n , a

n e s s a s e n e r g y a n d i n e rti a p hy s i c a lly a
,
d a s g o o d n e s s a n d b a d e s s m o r a lly
,
n n .

3 B u t r a j a s o ft e n k e e
p s i t s p u r e t e j a s s e n s e a s i n x i v 3 6 9 r a j a h p a ry a , , , ,

y a ka ra ka m r a j a s i s e n e r g y
,
.
 EP I C P HI L OSOP H Y . 1 21

Th e Sour ce , Pra krt i , is the com bin a tio n of the three gun a s ,

represen ted a s a fem a le pro ductive power As a l a m p lights .

tho us a n ds so the Source mo difi es herself in to the m a n y gu n a s

( ch a r a cteristics ) of Spirit S h e d o es it of her o wn will a n d .

1
desire a n d fo r the s a ke of sport
,
.

Accordi n g t o the proportion of gun a s in a cre a ture it h a s ,

a hi g h m i dd l e o r low pl a ce xii 3 1 5 3 —4 ; G i ta 1 4 1 8 E vi , , , , , .
, ,

de n t ly therefore the Yo ga go d must be without gu na s so

, , ,

n i r u na is pre dic a te d of hi m a n d of B r a hm a n n i rgu n a s y a kuto

g ,

xii 3 06 29 the da rgi n a h but a s G o d must

gun n a , ,
a s s a
y g u,n a , ,

be everythi n g he is a lso with gun a s a s well a s wi thout

“ “

” ’
u n a s a co n tr a dictio n which is o n a p a r with G o d s bein g
g ,

bein g a n d n o t bein g bein g a n d be i n g n either bein g n o r n o t

2
bein g the comm o n ta n gle of meta physics I n fa ct religio us
,
.
,

phil osophy is ho pele ssly a t s e a n o t o n l y in rega rd t o the ,

question o f a co n di tio n ed G o d but a lso in re ga rd to the gun a s

of the spirit I t is un ivers a lly a dmitte d tha t en ergy a n d
.

i n ertia must be dis pen sed with in order to a fu l l a tta in me n t

of p u r e spiritho o d xiv 5 1 25 B u t when spirit h a s s a tt va , , , .

a l o n e or is i n s a ttv a a lo n e s a tt v a m a s t h a y a ke v a l a m is it o n e , ,
”
with thi s bein g or n o t ? Some s a y a n d they a re wi se tha t , ,

Spiri t a n d s a ttv a h a ve un ity kse t ra jii a s a t t v a y o r a iky a m but

‘

, ,

this is wr o n g Still they c a n n o t exist a p a rt There is u n i ty

.
, .

a n d di versity a s i n the c a se of the lotus a n d w a ter drop the

,
-
,

fi sh in w a ter the fly i n the Udu mb a ra pl a n t e ka t v a n a n a t v a m

, , ,
”
xiv 48 9, ,
I n xiii 1 08 7 s a ttva m ust be wa she d out“
, , ,

1
p ra krt i r u n a n g v i ku ru t e s v a c c h a n de n a
’
t m a k a my a y a kri da rt h e t u , 10 1 ,

3 1 4, 1 5—1 6 ( p ra kt t i s t a th a viku ru t e
p u ru s a s y a u n an b a hfi n ) g .

2
Go d i s n i rg u n a a n d gu n a t m a n a n d n i rg u n a a o n e a n d tr i gu n a l , e tc .
, x1 i,

3 3 9 , 3 ff ; iii 1 3 7 3 Gu n a m a d e re a l l e x i s t e c e s Git a 7 1 3 ; Go d i s n o t
. x , , .
-
a n , , ,

in th e m, th e y a e i h i m i b 1 2 Th e y do n o t a ffe c t Go d x ii 3 40 22 ( i n 20 it
r n ,
.
, .
, , ,

i s s a i d th a t th o s e d e v o i d o f r a j a s a n d t a m a s a tt a i n t o Go d p r e s u m a b ly r e t a in ,

i n g s a tt v a ; b u t e l s e wh e r e s a tt va m u s t a l s o b e l o s t e g 3 3 5 vi ddh i , . .
, ,

b h a v a n m a da gra y a n x i v 54 2 ; a vy a kt a t u t p a n n o m a h a n a tm a a d ir g u n a n a m
, , , ,

40, 1 .

3 He r e Te l a n g i s ob li ge d
r e n de r s a ttva a s g o o d n e s s a n d a s n a tu r e a o
to ,

c o r di n g t o t h e v e r s e e g u n i n t e lli g e n t s a tt v a 49 9 a n d 1 2 wh e r e t h e s p irit
,
. .
, , , , ,

en o
j y sa ttv a Sa tt v a h o we v e r i s a lwa y s c o n d iti o n e d e x i s t e n c e o r a c o d i
s .
, ,
n

t i o n e d b e i n g a b s tr a c t o r c o n c r e t e
, I t i s t h e hi gh e s t b e c a u s e it ma y b e fre e
.
,
1 22 THE GR EA T EP I C OF I N DI A .

of the so ul of pure Yo gin s a lon g wi th r a j a s a n d ta m a s I n , .

these ca ses we ha ve simply a n a ttempt o n the pa rt of theology

t o utili ze the term s of a theistic phi losophy whi ch n a tura ll y ,

lea ds to con fusio n Fo r the terms ( a pplica bl e to P ra krt i ) of

.

Sa mkhya a re in compa tible with the phi losophy whi ch s u b s t i

tuts s G o d fo r both Purusha a n d Pra krt i .

When the gun a s a re c a lle d a t m a gu na s a s in xiv 1 2 4 it is , , , ,

to di stin guish them a s m en ta l fro m the bodily c o n stituen ts ,

u n a h na ri ra ja h with which they a re com p a re d As the three

g , .

con stituen t s of the bo dy ci t o sn e va y u r; c a ka pha pitta

, , ,

va ta ) give a he a lthy con diti o n when in equi librium so the ,

three a t m a gu n a s when equ a l pro duce a he a l thy con di tion

, , .

Here the three a re m erely essen tia l elem e n ts in a t ri dh a t u or

threefold e n tity Thus elemen ts a re c a lle d a s the c o n s t i t
.
,

n euts or f a ctors dh a t a va h in heren t in the So urce dh a t a va h

, , ,

b h ik h iii 21 1 9 ff just a s the essen ti a l co n stitue n ts

‘

p a ii c a a u t a , , , .
,

of a kin g s con cern a re c a lled gun a s xv 6 6

’
, , , .

P l u ra l i t y o f Sp i ri t s .

Th e p a ss a ge just cite d from the A n u gi ta o n un i ty a n d

di versity reflects a n import a n t sectio n i n Ca n ti Here xii .
, ,

3 1 6 3 ff a di fferen ce is est a blishe d betwee n U n m a n ifest

, .
,

Pra krt i a n d spirit the former bein g a fle c t e d by gun a s in c a

, ,

p a b l e of esc a pin g fro m them a n d inh eren tly ign ora n t ; the ,

la tter bein g b o th pure a n d co n ta m in a ted bec a use he is a sso ,

c i a t e d with the U n m a n ifest C a usin g cre a tion he is c a lle d .

cre a tor B ec a use of hi s observin g a s a specta tor a n d of hi s

.

fr o m t a m a s b u t i s i ts e l f th o u gh g o o d n o t b e s t Thi s i s wh a t
ra j a s an d , , , .

i s i n t h e Hi n d u s m i n d b u t t h e d i s ti n c ti o n b e t we e n thi s e x i s t e n c e a n d th a t o f
’
,

Go d o r B ra h m a n i s m u c h lik e th a t b e t we e n t h e hi g h e s t k n o wl e dg e o f m a n
a n d th a t n o n k n o wl e dg e k n o wl e dg e o f Go d
-
B o th a re a tt e m p t s t o re le a s e t h e
.

i n fin it e fr o m t h e li m it a ti o n o f a n y d e fi n iti o n To s a y H e i s i s t o p u t Hi m .

i n a c l a s s h e n c e we c a n n o t s a y He i s b u t o f c o u r s e we c a n n o t s a y
, ,
He i s
not . He i s p u r e k n o wl e dg e b u t thi s i s a li m it a ti o n ; h e n c e He k n o ws with
”

o u t k n o wi n g a n d e x i s t s with o u t e x i s t i n g t o t a lly i n de fi n a b l e Th e d i ffe r e n c e

,
.

b e t we e n t h e e a ly Up a n i s h a d a n d e p i c p hil o s o p hy i n r e s p e c t o f c o n d iti o n e d
r

At m a n i s th a t o n ly t h e l a tt e r u s e s t e c h n i c a l s a mkhya t e rm s j u s t a s t h e l a t e r
, ,

Up a n i s h a d s u se th e m .
1 24 THE GR EA T EP I C OF I N D I A .

this I S a mere a ssum pti o n ) a n d a s a s o le source of m a n y ,

Spirits is decl a re d ( t o exist ) so will I expl a in th a t spirit whi ch ,

is superior to co n dition s ( or h a s superio r ch a ra cteristics) t o

be the All This hymn [Ri g V e da x
. the P urus ha , ,

Sukta expoun de d i n a ll the V e da s a s right a n d true h a s been ,

con sidere d by ( Vy a s a ) the lio n a m on g s a ges ga s t ra s with

,
.

ru les a n d excepti o n s u t s a rge n a p a va de n a h a ve been procl a ime d

, ,

by s a ge meta physicia n s begin n i n g with K a pil a B u t Vy a s a .

h a s p ro c la i me d sp i r i t u n i ty p u ru sa ika t va m a n d hi s te a c hi n g
-
, ,
”
i n brief will I d ecl a re .

Nothin g c o uld sho w m ore cle a rly the a bsurdi ty of den yin g
the v a riega te d beliefs reflecte d in the epic o r the a n cien t ,

fo un da tio n of the K a pil a n o t i n B ra hm a n but i n a plura lity

,

o f spirits dev o id o f a comm o n source I n Vy a s a we h a ve a .

revo lt a ga in st K a pil a n o t i n a bsolute rebutta l but i n a deni a l

, ,

of his chief prin ciples a n d i n a n a ttem pt to s ho w tha t the

ti me ho n ore d system c o uld be in terpreted i n a cc o rda n ce wi th
-

}
a belief i n a perso n a l Go d
An o ther p o in t o f imp o rta n ce is the decisio n with whi ch the
heretic a l view is a tta cke d : Un ity is a proper view sep a ra te
“
,

e ka t v a md a rga n a rh n a n a tv a m a da r
”
n ess is a n in correct view ,
'

ga n a m ; a ga in :
“
Th e view th a t the Suprem e So u l is o n e
with the in dividua l s o ul is the correct view ; the view tha t
”
they a re sep a ra te is a n in c o rrect V iew a n ida rga n a m ( the c o m ,

m e n t a t o r s a ys there is a n o ther re a din g a n u da rc a n a m which ,

he in terprets a s a followin g or l a ter view x ii 3 06 3 5 , , ,

1 He r e th e th o r o f Nirva n a p 9 7 s u p p r e s s e s t h e fa c t th a t Vy a s a s v i e w
a u , .
’

i s p l a c e d i n a n tith e s i s t o K p il a s a d l e p i n g o v e r t h e i t e r v e n i n g v e r s e s
’
a , n , a n ,

s a y s th a t s a m khya Yo g a i n thi s p a s s a g e t e a c h e s o n ly a c o m m o n s o u r c e o f
-

so u ls I t i s i d e e d s a i d a t t h e e d o f t h e t e t th a t s a mkhya Yo g a i s Vi s hn u
. n n x -

i s m ( s e e j u s t b e l o w) b u t n o n o ti c e i s t a k e n o f t h e fa c t i n N ir va n a th a t t h e
,

s p e c i a l p a s s a g e u n d e r c o n s i d e r a ti o n
p r e e n t s t h e m a tt e r qu it e d iffe r e n tly
s .

Th e p a s s a g e a b o ve a l m o s t s e e m s t o i m p ly t h a t Vy a s a i s t o b e r e g a r d e d a s
a p hil o s o p hi c a l t e a c h e r e s p e c i a lly p e rh a p s a s t h e a u th o r o f a p hil o s o p hi c a l
,

wo rk ( Ho ltz ma n n o p p o s e d i v p , , p o s s i b ly o f t h e Vy a s a g ra n t h a o f i
.
,

70 45 ( c o m m e n t a t o r o p p o s e d ) I n a n y c a s e V y a s a s t e a c hi n g th o u g h n o t
’
.
, , ,

th a t o f B a da ra y a n a c l a i m s t o i m p r o v e o n K p il s v i e w
, a a
’
.

C o m p a r e K a th a i v 1 1 : ( He p e ri s h e s ) wh o s e e s a s it we r e s e p a r a t e n e s s
2 “
, , , ,

h e r e y a i h a n a n e va p a cy a t i ( t h e s e p a r a t e n e s s i s h e re th a t o f a n y p a rt o f
,
’
 EPI C P HI L OSOP H Y .

Ofcourse the Sa mkh y a Yo ga s bein g the mo dels a re cred , ,

i t e d with the view expressly s a id to be n o t theirs So i n the .

exp o sitio n a bove from xii 3 51 a fter Vy a s a h a s been di stin ctly , ,

opp o se d t o the Sa mkhy a Yo ga s a n d his view is expla in ed to -

b e tha t the differen t so ul s ( cre a ted by B ra hm a n ) a t la st a re

a bsorbe d in to their o n e source the subtile en tity a ppe a rin g a s ,

fo u r ( An i ru ddh a it is c a lml y s a id tha t thi s is Sa mkhy a

,

a d Y o a x ii 3 5 2 1 2— 1 3 2 3 B u t occ a sio n a lly thi s fla t self

n
g , , , , .

c o n t ra di ction is a voided a s it is in the seco n d p a ss a ge cited ,

a b o ve by s a yin th a t while Sa m kh a Y o
ga s e n er a lly h o ld a
g , y g
vie w n o t qui te o rtho dox the wise a mo n g them thi n k o ther ,

wi se Thus :
. Th a t twe n ty fifth prin ciple which the Si m -

kh y a Yo ga s a s a wh o le s a rv a ga h procla i m to be h ig h e r tha n
-
, ,

i n t e ll e c t b u ddh e h p a r a m the wise decl a re is a ( perso n a l)

, ,

L ord c o n di tio n e d a n d n o t co n di tio n e d ide n tic a l b o th with

, ,

P urusha a n d with the Un m a n ifest a n d t h i s i s a ls o t h e

op i n i o n o f t ho s ewho b e i n g s ki lle d i n Sa mkhy a Yo ga s e e k a ft e r

a Su p re me , a ra m a i s ina h , xii , 3 06, 3 1 —3 3 I n o ther wo rds,
p .

s u ch Sa mkhy a Yo ga s a s a dmi t tha t the t wen ty fift h topic is

- -

a Supreme B ein g s a y th a t he is our pers o n a l G o d .

Th e Tw e n t y -fi ft h P ri n c i p l e .

In
the p a ssa ge cite d a bove xii 3 06 3 3 the spirit is de n o mi , , , ,

n a t e d P a fi c a vi nc a t ika the twen ty fi fth prin ciple Thi s is the ,

-
.

la st s a mkh y a topic B u t : Th e wi se s a y tha t the twen ty

“
.

fift h cre a tio n is a topic a n d th a t there is som ethi n g a p a rt fro m

the t o pics a n d higher ”
Here sta n ds the im pli c a tio n o f the .

twen t y sixth prin ciple i n c o n tra di ction t o the prece di n g a s

-
, ,

a ppe a rs still m ore pl a i n ly i n the n ext secti o n where 3 07 43 , ,

ff it is expressly s a id :
.
, C oun tin g up the fo ur a n d twe n ty - -

to pics with Pra krt i the Sa mkh ya s rec o gn i ze a twen ty fifth ,

-

prin ciple which is a p a rt fro m the topics ; thi s twen ty fifth -

prin ciple is s a id t o be the sou l witho ut So urce o r u n Pra krti -

s o ul a p ra krty a t ma when it is enli ghten e d b u dh y a m a n a h ;

' '

, , ,

a n d whe n it thus rec o n izes self it bec o m es p ur e a n d a p a rt

g , ,

B r h m fr m t h wh l ) O t h Y g
a an o d qe m o eth t b ve
. n e o a a nu a r a na ,
se e e no e a o ,

p 97. .
1 26 THE GR EA T EPI C OF I N D I A .

ya da to b u dh ya te tm a n a rh ta da b h a va t i ke va l a h Thi s is the
'
.

correct view a cc o rdi n g to the to pics Tho se kn owin g thi s .

a tta in equ a ble n ess From direct perception o n e co ul d un der

.

sta n d Pra krt i from guna a n d topic a n d so o n e c a n judge from

thin gs without guna s There is s o m ethi n g hi gher tha n the
.

destructible They who do n o t a gree to thi s h a ve a fa lse

.

view a n d do n o t become ema n cip a te d but a re bo rn a ga in in

m a n i fest form Th e un m a ni fest is sa id to be the All B u t
. .

the twen ty fifth prin ciple is n o t p a rt of thi s a ll a s a rva h

-
,
’

”
p a ii c a vi nc a ka h They th a t rec o gn i ze hi m h a ve n o fe a r
‘

. .

Here there is n o t a n in dic a tio n o f a n y prin ciple hi gher tha n

the Sa mkhya twen ty fift h except a s the commen ta tor re a ds
-
,
”
B ra hm a n in to the word self a s so u l “
but the word is used of ,

j i va in the prece din g verse a n d of B ra hm a n there is n o t a word

, .

” “
Th e “
thin g to be kn own is the twen ty fi fth pri n ciple a s -

Oppose d to the U n m a n i fest whi ch is here the , fi eld of

kn o wle dge Th e V iew of a L ord prin ciple is distin ctly o p
.
-

posed : I t is sa id tha t the U n m a n ifest comprehen ds n o t o n l y

the fi eld o f kn owledge ( a s h a s just been sta te d in 91 3 8 ) but .

a lso s a tt va a n d L ord ; the Sa m kli y a sy s t e m holds however r

, ,

tha t the twen ty fift h prin ciple h a s n o L ord a n d is itself the

-

to pic th a t is a p a rt fro m topics ( tha t is the twen ty fi fth p ,

-

c i p l e is the supre m e prin ciple ) 3 07 41 —4 2 , , .

This whole ch a pter xii 3 07 26 if gives a s close a n a p

, , , ,

pro a ch to Sa mkhya a s is foun d i n the epic I t is c a lle d 91 .

, .

42 the Sa m
, kh y a da rga n a p a ri s a mkh y a n u da rga n a
, Th a t is .

to s a y ,

S a mkh y amk h y é n a is Sa .

E ven i n the A n u gi ta xiv 46 5 4 5 6 we re—,

a,
d :
“
Th e o r
, ,

g ans , the objects of se n se the fi v e g ross eleme

,
n ts m i nd , ,

in tellect e goism the Un m a n ifest a n d Spirit ( these a re given

, , ,

in n o m in a tive a n d a ccus a tive ) on c o un tin g up a ll tha t

properly a ccordi n g to the distin ction of topics t a tt va o n e
, , ,

g ets to he a ve n rele a se d from a ll b o n d s

, C ou n ti n
g them o ver .
,
’
o n e sho u l d reflect o n them a t the time of o n e s e n d Thus o n e .

th a t kn ows the topics is rele a sed if o n e a bide by the e ka n t a , ,

 1 28 THE GR EA T EPI C OF I N D I A .

sta n din g beyon d da rkn ess a n d he is c a lle d t a m o n u da vita , ,

”
m a ska the smi ter of da rkn ess 24 So much for the Yo ga
, , .

do c t ri e where the i
n n,n er so ul is tha t whi ch surp a sses the
“

”
twen ty fourth a n d is then tre a ted ( a s given a bove) a s n euter
-
,

t a d o r m a sc uli n e but without reco gn itio n of the L o rd Soul a s ,

-

twen ty sixth 1
Then foll o ws the Sa m
-
. kh y a jfi a n a ( p a ri s a rh
kh y a n a da rga n a m ) 3 07 26 ff : “
I t is the syste m of the Pra , , .

krt i va di n s a n d st a rts with hi ghest P ra krt i whi ch is the ,

U n m a n i fest From thi s is produce d the G re a t On e ( n euter)

.
,

in tell ect a s the sec o n d ; from the G re a t On e egoism a s the

, , ,

third ; a n d the Sa mkh y a t m a da rcin a h s a y tha t the fi ve e l e

men ts com e from egoism These to gether a re the eight .

( forms of ) the Source c a lle d the ei ht sources

g ( bec a use pro ,

du c t i ve ) Th e mo di fi c a ti o n s a re sixtee n
. There a re fi v e .

ross ele m e n ts v i c e sa h a n d fi v e se n ses ( or the sixtee n a re

g , ,

the fi ve gross elem en ts a n d t e n orga n s with min d) 2

These .

twe n ty four ) a re a ll the topics t a tt va s a s expl a in e d in the

( -
, ,

en u m era tio n of the Sa mkhya s I n versely a s it cre a ted them .

the in n er sou l a n t a ra t m a n a lso a bsorbs them a s the s e a , , ,

a bsorbs its w a ves Th e Source is a un it a t a bsorptio n a n d .

a plur a lity a t cre a tio n e ka t va b a h u t va Th e Source itself , , .

3
h a s the prin ciple of pro ductivity p ra s a va Over thi s fi e l d , .

Thi 1 ti lik t h s se c it d b ( t whi h it i

on , p r ll l ) ed with e one c e a o ve o c s a a a e , en s

y g o hi y ga a m Th
a e so t v r ( th gh i t h m i dd l f h p t r ) h
o n . e nex e se ou n e e o a c a e a s

t h Up e i h d m rk f an s l d a t y g d c m t a t ( i K th
a o a c o se a c c o un ,
O a a r a na e va a s n a a ,

e t a va d a nu da r c a n a m ) k e l e s s fi re vi dh fi m a a s i n
. Th e so u l a p p e a rs a s a smo , ,

K a th a i v 1 3 a dh fi m a ka ; it i s a n u b h y o a rm a s K a th a ii 20 e t c
, , ,
Th e p o i n t , , , , .

o f v i e w i s wh o lly th a t o f At m a i s m t o t h e v e ry e d with o u t a tr a c e o f Vi s h u n n

i sm I t i s h o we v e r a n i n tr u d e d s e c ti o n fo r t h e o p e n i g o f t h e c h a p t e r
.
, , ,
n

m a rk s a r e p e titi o n t h e q u e s ti o n e r s a yin g N o w y o u h a v e t o l d m e a ll a b o u t
,

o n e n e s s a n d s e p a r a t e n e s s b u t I s h o u l d lik e t o h e a r it a ll a g a in ( j u s t a s th e
,

A n u gi t a i s m a rk e d ) .

2 So t h —
e c o m m e n t a t o r e p l a i n s 91 2 9 3 0 e t a p ra kt t a y a c c a s ta u v i ka ra c
x .
,
’

0 5 p i s o da c a p a fi c a c a i v a v i ge s a va i t a th a p a ri c e n d i y a ni c a e t a va d e va
’ ’
'
’
r ,
,

t a tt v a n a mSa m kh y a m a h u r m a n i s i n a h B u t s e e b e lo w . .

8 I s te a d o f n fie l d we fi n d a l s o t h e p a s tu re : W h e n t h e s e n s e s ( ih
“ “ ” “ ”

dri y a n i p ra m a t h i n i a s i n t h e Git a ) r e t u rn fr o m t h e p a s t u re g o c a ra h a n d
, , ,

r e t a t h o m e th e n s h a lt th o u s e e t h e hi g h e s t s e lf with t h e s e lf t h e gre a t a ll
s ,
,

so u l ( s e l ”
f) x i i 251 6 ,
Th e p ri n c i p,
l e o f p r o d u c ti v ity p ra s a v a
,
.
i s sy n o n y , ,
.

m o u s with Pra krt i Th u s we h a ve p ra krt i j a g u n a h ( Git a ) a n d p ra s a va j a

. ,

gu a h x iii 8 5 1 05
n , , ,
.
 EP I C P HI L OSOP H Y . 1 29

sta n ds the G re a t Soul a s the twen ty fi fth c a lled the kse -

,

t ra jfi a fi e l d kn o wer a lso the m a le Purush a ( a vy a kt ike p ra

,
-
, ,

vi ga t e , Th e fi eld is the U n m a n ifest the kn ower o f the ,

”
fi eld is the twe n ty fift h prin ciple Then foll ows the extra ct
-
.

g ive n a bove I t is
. cle a r th a t here the twe n ty fift h pri n ciple -

( Pu r ush a ) is n o t a lowe r prin ciple th a n a twe n ty sixth ( n o t -

reco gn i zed a t a ll ) Still more rem a rka ble is the foll o wi n g

.

exposition
I n xii 3 1 1 8 fi x
,
“
,There a re eight so ur ces a n d sixteen
mo difi c a tion s Meta physicia n s expl a i n the eight a s the Un
.

m a n ifest the G re a t On e
, egoism a n d e a rth win d a ir , , , ,

w a ter a n d l ight These a re the eight sources Th e m o di

,
. .

fi c a t i o n s a re ( the fi v e perceptive orga n s) e a r skin eye t o n gue , , , ,

a n d n ose ; the fi ve ( gre a t eleme n ts ) s o un d touch c o lor ta ste , , , , ,

sm ell ; the fi ve ( orga n s of a ctio n ) v o ice ha n ds feet a n d t wo , , ,

orga n s of excretion [These di fferen ces vi ge sa h a re i n the

.
, ,

fi v e gre a t elemen ts m a h a b h fi t a s ; a n d those orga n s of per

,

c e p t i o n a re s a vi c e s a n i tha t is di ffere n ti a te d ],Min d s a y the , ,

” 1
meta physici s is the sixtee th
a n ,
n T h e a d
br ckete sta z a in
n .

t e rru p t s the descriptio n ( a s in the scheme a bo ve ) with a

sta temen t of the di fferen ces a pperta in i n g to the gross
elemen ts ( a s di stin ct fro m the fi n e elemen ts whi ch ha ve ,

o n ly o n e cha ra cteristic a piece a n d a re a v i c e s a ) , .

2 ’
B oth these schemes give the Aphorism s list whereby the ,

t a t t va s of the Sa m khy a ( the Yoga is here expressly in cluded ,

1 ppe a r a s fo ll ows
9 . 8 ) a

Th e Un m a ni fest
I
I n tellect
I
E goism

Five fi
( e)
n elemen ts ( n o t here n a me d col
l e c t i ve ly ; c a lle d t a n ma t ra s elsewhere ) .

1 e tc vi ge s a r a j e n dr a m a h a b h fi t e s u p a fi c a su b u ddh i n dri y a n y a th a i
’
ta ni
s a vi c e s a ni , Ma i t hi l a ,
3 11, 14 .

2 C o mp a r e x i v, 40, 1 ff , w . h e re th e sa me c re a ti o n s a p p e a r .

9
 130 THE GREA T EPI C OF I N D I A .

5 Orga n s of Perception ( b u ddh i n dri y a s , 91 .

5 Orga n s of Action ( n o t here n a me d c o ll ee

t i v e ly c a lled ka rm e n driy a s elsewhere ) .

1 Mi n d .

5 G ross eleme n ts ( v i c e sa s m a h a b h ii t a s ) , .

B ut to the scheme a t x i i 3 1 1 there is a ppen ded the followin g , ,

i n con gruous a cc o un t thus 91 1 6 ff : From the Un m a n ifest , ,

. .
“

is pro duce d the G re a t So u l m a ha n a tm a which the wise s a y , ,

is the fi rst cre a tion a n d c a ll the p ra dh a n ik a From the G re a t

'

.
,

On e is pro duce d ego ism the seco n d cre a tio n whi ch is c a ll e d , ,

b u ddh y a t m a ka tha t is ide n tic a l with in tell ect

,
Fr o m e go ism
, .

is pro duce d min d b h ii t a gu n a t m a ka iden tic a l with the ele

, ,

m en t a l c o n stituen ts c a lle d a h a m ka ri ka tha t is ego istic the

, , , ,

thi rd cre a tio n s a rga h From m in d a re pro duce d the gre a t ele
,
.

men ts m a h a b h fi t a h ( sic ) the fourth cre a tion c a lle d m a n a sa

,
1
, , ,

men ta l Th e fifth cre a tion com prises soun d touch color

.
, , ,

t a ste a n d smell which is c a lle d elem en ta l b h a u t ika Th e

, , , .

sixth cre a tio n is the e a r skin eye to n gue n ose c a lled ba hu , , , , ,

c in t a t m a ka tha t is iden tic a l with much tho ught ( m a tter is

, ,

o n ly a fo rm of min d) Th e seven th cre a tio n is the group .

of orga n s ( of a ction ) a fter the e a r c a lled orga n cre a tion ,

-
,

a i n dri y a Th e eighth cre a tio n is the u p a n d a cro ss stre a m

.
- -

( of bre a ths) c a ll e d a rj a v a ka th a t is upright Th e n in th is , , .

the down a n d a cross a lso c a lle d a rja va ka These a re the n i n e

- -
, .

cre a tio n s s a rga ni a n d the twen ty four topics t a tt va n i de

, ,
-
, ,

c l a re d a ccordin g to the syste m of revel a tio n ( gru t in i da rga p

n at) . So thi s schem e e n ds without hi n t of a twe n ty sixth -

prin ciple but with productive min d a n d a substitution of

,

a tm a n s o ul fo r in tellect
, , .

A more strikin g substitutio n is foun d i n xii 204 1 0—1 1 , , ,

where in ste a d of the receive d order a s give n a bove the li st

, ,

fro m Source to the se n ses is a s follows :

1 As r e m a rk e d a b o ve o r ga n s a n d e l e m e n t s a re c a ll e d i n d i ffe r e n tly i n dri y a h
,

o r i n d i y a n i m a h a b h fi t a h o r m a h a b h fi t a n i a s s h o wn h e r e a d e l s e wh e r e
r , , So n .

i n thi s p a s s a g e s a r g a h a n d s a r g a ni
,
C o m p a re t a t tv a n a b o ve p 9 8.
, , . .
132 THE GR EA T EP I C OF I N DI A .

the source of the So urce a n d of P urusha a lik e is B ra hm a n a ,

view utterly o pposed t o the pa ssa ges cited a bove .

Th e A n u gi ta whi ch a s a lre a dy in dic a te d a lso h a s the

, , ,

sch em es a bove co n tin ues i n xiv 42 with a p a ra ll el to xii

, , , ,

3 1 4 o n the rel a tio n of the elemen ts to the in dividu a l a s

, ,

orga n to the o bject a n d to the specia l deity co n cern e d with

, ,

e a ch a ction At the Open in g of the eighth cha pte r of the

.

Gi t et a dh y a t m a is c a lle d the in dividu a l m a ni festa tio n I t is

‘

li tera lly tha t con n ecte d with the self or soul a n d is ofte n ,

use d a s a n oun i n the se n se of meta physics ( x ii 1 94 a n d 248 , ,

I n xii 3 1 4 4 a n d 1 4 it is s a id th a t a n expl a n a tio n a s

, , ,

the Sa mkhy a s represen t it y a th a s a mkh y a n a da rci n a h is gi ve n , ,

of the m a ni festa tion s a ccordi n g to the in dividu a l vy a kt i t o ,

v i b h ii t i whi ch differs s o mewh a t from th a t i n the An u gi ta

, .

Th e scheme is a s follows sta rtin g with the eleme n ts a n d ,

with a ka c a a i r a s the fi rst b h ii t a i n the l a tter a ccoun t

, ,

Ai r Wi n d Wa te r t
Ea r h
a dh yi t ma ear s ki n to n gu e n o se

a dh i b h i i t a
'

so u n d t t as e s me ll

a dhi da i va t a D ica s Wi n d

a dh ya t m a u p a st h a vo i c e

a dhib h fi t a e x c re ti on n a n da ( c ukra ) do in g, s p e a kin g

ac t s

a dhi da i va t a Vi s h n u Mi tra I n dra t

di vi n i i e s

a dh y é t m a
'

Mi n d I n te ll e c t 1 me n tl a

p o we rs
a dh i b h fi t a thi n kin g a b h i ma n a u n de rs a n di n t g, t t
a c i vi i e s

( m a n t a vya , or th i n ki n g

s a rh ka l p a )

a dh i dfi i va t a Mo o n R u dra , or In di vi ni t i e s
t e ll e c t

1 C o m p a re t h e u se of th e s e t e rm s i n B AU . iii ,
7, 1 4 . On a dh y a t m a i n
thi s se n se ,
c o mp a re a l s o x ii , 3 3 1 , 3 0, a dh y a t ma ra t i r a s i n o n i ra p e ks a h
a tma n a i
’
h ay e n a y a c c a e sa
va sa r t khi b h a v e t
su .

2 b u ddh i h s a di n dri y a vi c a ri n i , d ire c tin g t h e s i x se n se s ( u s u a lly a fu n c ti o n

of m in d ,
whi c h i s
h e re p a h c a b h fi t a t m a c a ra ka m ) x i v 42 29 a n d 3 1 Th e , , , , .

fu n c ti o n o f i n t e ll e c t i s h e r e m a n t a vy a m whi c h i n Q a n t i i s g i v e n t o m i n d , .

R u d ra i n t h e p r e c e d i n g g r o u p i n A n u gi t a i s r e p l a c e d b y b u dd h i i n Q a t i n ,

wh e r e b u dd hi i s b o th a dh y a t m a a n d a dh i da i va t a Th e a dh i dai v a t a o f i n t e l .

l e c t i s s p irit k s e tra j ii a i n Ca n ti z B ra h m a n i n t h e A n u gi t a I t i s a p p a r e n t
, , ,
.

th a t we h a ve h e re ( a ) ra th e r la t e m a tte r wo rk e d o ve r b y t wo s e t s o f ,

r e vi s o r s .
 EPI C P HI L OSOP H Y . 133

This scheme is un kn own in the ol der Up a n isha ds E ve n .

egoism thus a ppe a rs fi rst ( with so m e v a ri a tio n s) i n Pra cn a ,

iv 8 ( D e u s s e n ) C o m p a re xii 240 8 a bove where Fire is

,
.
, , , ,

the divin i ty t o di gestion n o t to voice a n d Sa ra sva ti is a s sign e d

, ,

t o the to n gue When a s often ha ppen s n o e goism is m e n

.
, ,
”
t i o n e d it is bec a use the in te ll ect
,
the twelfth a s it is c a lled
i n the very p a ss a ge which gives thirtee n a bove xiv 42 1 6 , , , ,

a n d i n the P a fi c a c ikh a schemes give n b elow ) is held t o i mply

e go ism Th e frequen t omi ssion however see m s to p o in t to

. , ,

the f a ct tha t there wa s origi n a lly n o di stin cti o n or i n o ther , ,

words tha t in tellect wa s pri m a rily rega rde d a s n ecessa rily

,

self co n scious a s soon a s it bec a m e m a n ifest a t a ll

- .

Th e Tw e n t y -Si x t h P ri n c i p l e .

C le a rly most of the schem es given a bove reve a l the fa ct

as

tha t the twe n ty fi fth prin ciple or in other words pure E go

-
, ,

w a s re ga rde d a s the c ul mi n a tio n of the group of system a tize d

c a tegories the in trusion i n to thi s schem e of a n e w prin ciple
, ,

o verl a ppin g the twe n ty fi ft h is here a n d there ma de m a n i

-
,

fest This n e w pri n ciple is the o n e deni e d in the Sa mkh y a n

.

s che m e n a m ely th a t of a
, perso n a l L ord i cv a ra whi ch is , ,

upheld i n the co n tra ste d Y o gin scheme This twe n ty sixth .

-

prin ciple is expl a in e d i n xii 3 08 ; a ft er the spe a ker s a ys he

,

h a s di sp o se d o f the Sa m k hy a syste m Here the m a le c o n di .

t i o n e d spirit bew a ils hi s in tercourse wi th the fem a le Source ,

a n d the f a ct th a t a ss o ci a tin g with her he h a s n o t reco n ize d

g
tha t he h a s been li ke a fi sh in wa ter a foreign elem e n t in
“
,

c o m bin a tion with m a tte r a n d c o n seque n tly is reborn a ga i n

,

a n d a ga in 1 2 4—26 ; but n o w he becomes e n li hte n e d

9 , .
g ,

buddh a a n d will re a ch un i ty a s well a s like n ess wi th the

, ,

L ord spirit the in destructible

-
, 2 7—40 Th e twe n ty sixth
, .
-

prin ciple is thus reco gn i ze d n o t on ly a s the o n e etern a l prin

c i p l e but a s a perso n a l spirit a y a m a tra b h a v e d b a n dh u h 2 7
, , , .

The n foll ows a n o ther exp o siti o n whi ch is b a se d o n the system,

of Na ra da receive d by him fro m Va s 1 s t h a wh o i n turn re

, ,

c e i v e d it fro m Hi ra n y a a rb h a 3 0 9 40 Thi s syste m is both

g , , .

Yoga a n d Sa mkhya the system s bein g double but the te a ch

,
134 THE G R EA T EP I C OF I N DI A .

in g bein g ide n tic a l ( y a d e va ca stra m Sa mkh y a n a m y o ga da r

a n a m e va t a t 3 08 the cl a i m usu a lly m a de whe n Yo a is
g , , g
a dv o c a te d A huge C str is th t of the Sa mkh y a s a s s a y
a. a a “
,
”
v i du so j a n a h a n d o n e to which a lon g wi th the Ve da
, , ,
”
Y o gin s h a ve recourse I n other words the Yo ga te a chin g .
,

is b a se d o n Ve da a n d o n the Sa mkhya a s a prece den t system .

The n fo ll o ws the a dmi ssi o n : I n it ( the Sa m khy a system ) n o

”
prin ciple hi gher tha n the twe n ty fifth is reco gn ize d ( a s mi n -
,

ga stre ) p a ii c a vinc a t p a ra m t a t t va rn p a th y a t e n a n a ra dhi p a

'
‘

, ,

wherea s : Th e Yo ga phi losophers decla re a b u dh y a m a n a o r

in di vidua l Spirit a n d a buddh a or L o rd Spirit to be in a ccord -

a n ce with their prin ciples the la tter bein

g i d e n tic a l with the ,
”
form er except tha t it is full y en l ighten e d 91 48
, , . .

Here a lso is a perfectly cle a r a n d fra n k sta te m e n t whi ch ,

m a y be p a ra phr a se d thus : I n older Sa m khy a phi losophy the

hi ghest prin ciple rec o gn i ze d is th a t of the pure in di vidu a l
E go ; i n the Yo ga philosophy this E go is ide n tifi ed a s in di
vidua l spirit wi th the fully enl ighten ed L ord ”
Hen ce Yo ga s .

d n o t Sa m k hy a s) spe a k of b u dh y a m a n a a n d buddh a a s
( a n

two but iden tic a l b u dh y a ma n a mc a b u ddh a mc a p ra h u r yoga

,

n i da rc a n a m 1 48 E lsewhere the twe n ty fi ft h prin ciple is

9
-
. .
,

itself the L ord : a ha m p u ru sa h p a fi c a vi n ga ka h 1

.

After this in tro ductio n the spe a ker V a s i sth a procee ds to , ,

describe this Yo ga philosophy i n deta il Th e L o rd Spir it .

-

di vides himself i n to m a n y a t m a n a m b a h u dh a krt va a n d , ,

becom es the differen t a b u ddh a s or im perfectly en lighten e d ,

Spirits co n ditio n e d by P ra krt i Thus he beco m es con di tio n e d .

,
”
g u n a n dh a ra
y a te a n d mo d i fi es hi m se l f without true kn owl
,

e dge of him self v iku rva n o b u dh y a m a n o n a b u dh y a t e

, In .

thi s con ditio n then he becomes cre a tor a n d a bsorber of wha t

, ,

1 C o mp a r e 3 40, 43 , p e r s o n a l Go d i s t h e t we n ty-fi ft h
x 11, He i s t h e wit n e s s .

d e vo id of gu n a s , a n d o f k a l a s , ib 23 ; “
t h e t we n ty-fi ft h , b e y o n
. t h e t wi c e d
twe l v e ”
t a t t v a s , i b 24 . . g
I n thi s p a s s a e t h e Un m a n i fe s t i s r e s o l v e i n t o P u r u d
sh a ,
3 40, 3 0—
hi s i s wo rth n o n a s b e in g i n d ire c t c o n tra d i c ti o n o f t h e
31 . T ti g
th e o ry o f u n c h n g i g e t e r l ra krt a s e
a n n a P i n u n c i te d
a i n x i i 21 7 8 :
“
B o th , , ,

P r u s h a a n d t h e u m a i fe s t So u r c e a re e t e r n a l with o u t b e g i n i n g a n d with
u n n ,
n

I n 3 3 5 29 3 1 So u r c e i s b o th b o rn a n d i n d e s tr u c tib l e C o m p a re
”
out e d n .
,
-
,
.

H 3 8 5 1 6 a s c it e d a b o ve p 98
.
, , , ,
. .
 136 THE GREA T EP I C OF I N DI A .

ever brin gs these ima ges i n to ill us tra te the di fferen ce a n y a t

, , f

va m between the in dividua l spirit a n d B ra hm a n : Th e

,

di ffere n ce betwee n the fly a n d pl a n t betwee n the fi s h a n d ,

wa ter is to be un derstoo d a s the combin e d sep a ra ten ess a n d

,
”
uni ty of these two a s if from the hi storic a l co n n ota tio n of , ,

these i ma ges they were essen tia lly differe n t where a s a ccordi n g
, ,

to the exp o sitio n they a re essen tia lly o n e B u t thi s is of a piece .

with the use o f viku rv a n a s a Sa mkhy a term a pplie d to the ,

mo di fi c a tio n s of the Source whe n use d a bove of B ra hm a n , , .

Thi s Yo ga do ctrin e a s expl a in e d a bove is t o be t a ught , ,

n o t to the m a n th a t b a ses hi s philos o phy o n the V e da

1
( na ,

ve da n i sth a sy a j a n a s y a p ra de y a m but) to a n y o n e tha t

“
,

desires it for the s a ke of wis dom a n d receives it with sub

”
missio n 91 3 2 , . .

Th e Yo ga d octrin e a s here represen te d st a n ds mi dwa y

between Sa mkhy a a n d B ra h ma i sm Th e form er side h a s been . .

fully ill ustra te d I n rega rd to the la tter it will ha ve bee n .

n otice d tha t while the perso n a l L ord Spirit is a fo rm of -

B ra hm a n a n d B ra hm a n in turn is iden tifi e d with the pur e

,

esse n ce of every in di vidua l spirit it is merely s a id th a t ,

B ra hm a n is co n n ecte d with the visible a s well a s with the

in visible drcy a drcy e h y a n u ga t a m 3 09 8 Th e B ra hm a n here
, , , .

represen ted is n o t the A ll but a pure Supreme Spirit in to ,

whi ch fra cti o n a l Spirits p a rts of B ra hma n whe n he m a de “

,
”
hi mse lf m a n y a re re a bsorbe d Of the ide n tity of the o b j e c
, .

tive world with thi s B ra hm a n there is n o word ; n either is

there a n y hin t th a t the objective world is ill usion except tha t ,

a t the be gin n i n of the prece di n sectio n 3 08 2 ff the ge n

g g , , .
,

era l o pin io n a h u h is cite d tha t the U n m a n ifest is i gn o

,
“
,
”
ra n ce a vidya a s o pp o se d to the twen ty fi ft h prin ciple a s
'

-
, ,

2 ”
wisdom vidya E lsewhere the So u rce is kn owle dge j na n a
, .
, ,

but a lso a ve dy a m a vy a kt a m a s oppose d to ( jh e y o ) ve dya h ,

p u ru sa h, 3 1 9 , 40 .

1 B ut v . l .
, N .
,
“
to one wi s e i n t h e Ve d it m a y b e i mp a rte d o r t o
a ,

e tc .h o s e e x c l u d e d a re g i ve n i n t h e
T n fo ll o wi g ve r s e s a s li r a n d o th e r e vil a s

d o e rs a l o n g li s t
, .

2 B u t i h 7 t h e So u r c e a s u n m a n i fe s t i s v i d y a hi gh e s t i s Vi d hi
.
, th e (c o m
p a re p ra dh a n a vi dh i y o ga s t h a h o f Gi va x iii 1 4 , , , t h e Cr e a t o r .
 EP I C P HI L OSOP H Y . 137

Thi s doctrin e of the twe n ty sixth prin ciple belo n gs o nl y -

to the l a ter p a rt of the pseudo epic Th e p a ssa ge give n -

.

a b o ve is f o un d v i rtu a lly repe a te d i n x n 3 1 9 5 6 a n d 70 ff , , , .

Here a s P ra krti the chi ef thi n g pra dh a n a does n o t kn ow -

, ,

spirit so Spi rit does n o t kn ow Suprem e Spirit

,
Th e o n e .

tha t is di ffere n t ( Spirit) seein g a n d yet n o t seein g looks

, ,

upon the twen ty—six th the twen ty fift h ( pure spirit) a n d

,
-

twen ty fo urth B u t the t wen ty fift h a lso do es n o t rec o gn i ze

-
.
-

the twen ty sixth who rec o gn i zes him a n d ha vin g a fa lse

-
, ,

opin i o n of him self thi n k s tha t n o o n e is hi gher th a n he ( so

3 16 ,
A n d further : “
Th e twe n ty fourth sho ul d n o t be -

a ccepte d by wise m e n ( a s the twe n ty fift h ) a n y more th a n -

, ,

bec a use of m ere a ss o cia tio n the fi s h should be iden tifi e d wi th

,

the wa ter it h a s e n tere d Th e twe n ty— fift h o n re a lizin g

tha t it is di ffere n t ( fro m the twen ty fo ur th) becomes o n e with -

the twen ty sixth a n d reco gn izes ( the l a tter)

- Fo r th o ugh .

Th e B est a ppe a rs differen t fro m the twe n ty fift h the s a in ts -

,

re ga rd thi s a s du e to the co n ditio n e d n a ture o f the twen ty

fifth a n d decla re th a t the two a re re a lly ide n tic a l Theref o re .
,

bein g a fra id of birth a n d de a th a n d beh o ldi n g the twe n ty ,

Sixth ,n either Yo ga s n o r Sa m khy a s a dmi t tha t the twen ty

fi ft h is the i n destructible .

Here a ga in with the n e w n oti o n th a t j i va i s dest ructible ( i n

,

P a ra ma tm a n ) there is the a t tem pt t o foist o n the Sa mkhy a

the beli ef whi ch h a s been form a lly deni ed to them Sim il a rly .

i n the A n iru ddh a theolo gy o f the perso n a l L o rd G ovin da , ,

”
who is sa id to cre a te the elem en ts xii 207 7 ff it is s a id , , , .
,

Fr o m him whom Sa m kh y a a n d Yo ga phil osophers decla re a s

Highest So ul P a ra m a tm a n a n d who is c a lled the G re a t Spirit
, , ,

m a ha p u ru s a is derive d the un m a n i fest a vy a kt a m of whi ch

, , ,

h e is the b a se p ra dh a n a m , Fro m the un m a n i fest L o rd.

,

I cv a ra c a m e the m a n ifest a n d he is A n i ru ddh a c a ll e d the

, , ,

gre a t So ul .As e go ism he cre a ted B ra hm a n a n d the elemen ts ,

”
a n d the n the u a s xii 3 41 2 8 —3 3
g n , , , .

I n thi s c o py of the prece di n g p a ssa ge there is a lso n o

n otio n of V e da n t a a s i mplyin
g M a y a o r ill usio n S i gni fi c a n t .

is the fa ct tha t the presen t te a chi n g i s represen ted in the fol

138 THE G R EA T EP I C OF I N DI A .

lowin g sta n z a s 3 1 9 8 4—8 6 a s bein g n ewly in c ul c a ted a n d

, , , ,

especia lly design ed fo r those who desire ema n cip a tio n in c o n ,

tra st to the Sa mkhy a s a n d Y o ga s who a re co n ten t with their ,

o wn doctrin es dha rma , .

I t is thus cle a r tha t Sa mkhy a is merely a n a me to a ppe a l to ,

a n d sta n ds i n thi s re ga rd o n a footin g wi th V e da a n a uth o rity ,

cl a ime d for the most divergen t te a chi n g .

Ma y a , S e l f-D e l u s i o n .

Th e ill usio n theory of the u n iverse is a devel o pmen t

“

from the Simple idea o f delusion often self d elusion Th e ,

- .

ordi n a ry ( n o n philos o phi c a l) epic m a ya 1 s a t rick o f delusio n

-
.

G o ds in dulge i n it to overco m e the i r en emy Th e ill usio n .

g o d p a r excelle n ce V ishnu a s Kris hn a thus d,elu des his ,

en emies by m a kin g them thi n k the s u n h a s set when it h a s

n o t or by p a ra ll el m a ic tricks
, g
1
Thi s i n m 2
y opin ion is the .
, ,

o n ly m e a ni n in the older Up a n ish a ds I n dro m a a b hi h puru

g y ,

r up a h B rh ii 5 1 9 ( fro m the R ig V e da )
, .
, ,
“
,
I n dra mul ti ,

form thr ough tricks of delusio n ; n a ye s u jih m a m a n rt a m

n a m a ya c a in whom there is n a u ght crooke d n o r u n true
, , ,

nor a n
y trick ”
F r a gn a i 1 6 M a
gic see
, m s to be the m e,a n, .

i n g ( p a r a llel with m oh a ) i n Ma itri iv 2 where occurs the , , ,

in dra ja l a m a ya of Mbh v 1 60 5 5
-
.
, , .

I n Gi ta 7 1 4—25 m a y a is a di vin e da i vi delusio n c a use d

'

, , , ,

by the gun a s gu n a m a y i cha ra cterizin g people wi cke d a n d

, ,

foolish ; in 4 6 it is a psychic delusi o n a tm a ma y a whi ch

, , , ,

c a uses the un b o rn G o d by m e a n s of Pra krt i to a ppe a r to be

born ( n o t be it n oticed whi ch c a uses the n o t—
, soul t o a ppe a r
,

to be re a l) I t o ccurs i n o n e other p a ssa ge 1 8 61 where it

.
, , ,

is the equiva len t of moha i n the prece di n g sta n z a ( a s in

Ma itri Up a bo ve) I n a ll these p a ss a ges a lthough it is
.
, . ,

p o ssible t o re a d in to ma ya the me a ni n g given it by Ca mka ra ,

for ex a m ple yet the sim pler me a n in g suffi ces of either t ri ck

,

1 Thi i ll d i d iff r tly m a y a ( h dm )

s s ca e y g v 1 60 54—58 ; v
n e en c a a or o a , , ,
n ,

1 46, 68 , e tc .

2 thi s i n t e rp re t a ti o n o f m a y a I a m fo r c e d t o d iffe r fro m th a t o f D e u s s e n

In ,

wh o h o l d s th a t m a y a i s Ve d a ti c Ill u s i o n ( i e t h e n o t s o ul a p p e a r s t h r o u g h
n . .
,
-

d ivin e I ll u s i o n t o b e re a l ) e ve n i n t h e e a rli e s t s c rip tu re s .

1 40 THE GR EA T EPI C OF I N D I A .

and in deludin g m e n gen era lly , m o h a yi t va , the L ord Shows

the power of his delusion , m a y a p ra b h a va , whi ch deludes them
by a t m a ma y a ( the s a me expression a s tha t of the Gi ta cite d ,

a bove ) m a kin g them kill e a ch other a s blin d in strumen ts of

,

hi s will whi ch a c t without volitio n just a s a ston e bre a ks

, ,

a n o ther in the h a n ds of a m a n Ma n proposes but G o d di s .

,

poses by me a n s of a trick c h a dm a krt va 3 0 3 6 pla yin g

1
, , , ,
”
wi th m e n a s childr en pl a y with toys Fi e fi e s a ys her .
, ,

husba n d do n t spe a k so o f the L o rd through whose gra ce

,
’
,

the f a ithful gets immorta lity “

fo r these thin gs a re ,

di vin e m ysteries ( de v a gu h ya n i rewa rds o f goo d a n d evil ) , ,

Sin ce the di vin i ties a re fu l l of secret tricks gudh a m a y a hi ,

de va t a h 3 1 3 5 3 7 Th e Ca stra s a n d fa ith n o t m a gi c ma ya
, , .
, , ,

or Sin ful works give fa ith i n Krishn a v 69 3 —5 , , .

, .

Aga in in the a ccoun t of the P a nc a ka l a jii a s the visitin g

,
‘

Hi n dus who lo o k wi th a we o n the servi ce p a id to the On e

,

G o d s a y th a t they c o uld he a r the hymn but coul d n o t see

, ,

the go d bec a us e a s they supp o se they were deluded by the

,
“
, ,

s t a sy a m a y a y a xii 3 3 7 44—4 8
”
o s m y m hi G o d in
’

g d a a o ta , , , , .

the foll o win g is c a lled the m a ha m a y a dh a ra a s he is a lso c a ll ed ,

by the ra ther m o dern epithets c a t u rm a h a ra jika s a p t a m a h a ,

p

bha ga xii 3 3 9 3 ff Here m a ya is truly ill us io n a s it is s a id

'

2
, , , .
,

i n 3 40 43 —4 5 : ,G o d is he by wh o m this ill us io n ( o f visible

”
G o d) wa s cre a te d m a ya h y e s a m a ya s rsta y a n m a m p a gy a s i
'

, ,

N a ra da ; but it is n o t ill usio n em bra cin g the w o rld Of objective

thi n gs even in this l a te a ccoun t ( c a reless en ough fo r ex a mple
, , ,

to co n st rue iti va i m eni re v a y a m 3 3 7 There is a t le a st , ,

n o p a ss a ge i n the epic whi ch s a ys blun tly th a t P ra krt i is

“

”
ma ya a s do es Cve t Up iv 1 0 On the c o n tra ry the gre a t
,
. .
, .
,

m a ss o f epic phil o s o phy though it tea ches tha t the sin n er is ,

”
delude d by V ishn u s hun dred m a y a s
’
“
3 02 5 9 tea ches a ls o , , ,

tha t thi s delusio n is merely a c o n fusio n o f mi n d i n respect of

the rela tio n o f the pure s o ul t o the con di tio n e d soul I t does .

n o t te a ch tha t th o se thi n gs which c o n di ti o n the s o u l a re a n

1 a n ya th a m a n y a n t e p u ru s a s ta n i ta n i ca a nya th a p ra b h u h k a ro ti
v ika ro t i c a ,
iii , 3 0, 3 4 .

2
He i s a ls o ca ll e d a kh a n da la ,
whi c h i n x ii , 3 3 7, 4, i s s till a n e p ith e t of

In dr a .
 EP I C P HI L OSOP H Y . 1 41

ill usio n but tha t they a re etern a l substa n ce either 111 them
, ,

selves o r a s p a rts of B ra hm a n Ta ke for in sta n ce the lo n g .

a cc o un t i n xii 1 9 6 t o 201 I t is n o t suggeste d tha t the s in

,
.

n e r divest hi m self of illusi o n He go es in to m oha tha t is he .

,

be c o m es c o n fused a n d a ga in he e n ters B ra hma n 1 9 7 1 0 ; o r

, , ,
”
“
e n j o ys bliss ra m a te s uk h a m ( if he does n o t wish the
“
,

hi ghest bec a use hi s so u l is still tin ge d with desire ra ga t m a

, , ,

he a tta in s wha tever he desires K n o wledge is B ra hma n ,

a n d he n ce o n e must be free of a ll delusio n t o be B ra hma n

2
i n deed a n d tru ly immorta l but the objective world is seldom
, ,

a n ill usio n of B ra hm a n Moreover the a vidya of Go d is .

,

clea rly a n a fterthought Accordin g to o n e sectio n in Ca n ti .

,

G o d cre a tes the world a t the p o in t o f da y through a vidy a

or ign ora n ce First ma ha t wa s born whi ch quickly beca m e
.
,

mi n d ( where m i n d a n d n o t in tell ect is v a kt a

y ma n ifest) , ,

3 ”
whi ch is cha ra cterize by esired d a n d d oubt Thi s sa m e .

a ccoun t in its fi rst form is foun d i n 2 3 2 3 2 without a vidy a , ,

Th e L ord I cva ra sleeps durin g the c a ta clysm s un k i n m e d

, ,

i ta t i o n dhya n a ; but when a wa ken e d a t the close of n ight he

, , ,
’
t ra n sforms the etern a l viku ru t e bra hm a ks a yy a m a n d p ro , ,
”
duces the G rea t B ein g whe n ce mi n d o n e with the ma n ifest , , .

Th e fo ll owi n g section s i mply picks up thi s a ccoun t repe a ts ,

it i n a lm ost the sa me words but sli ps in a vidya to expla in the ,

”
expressio n crea tes
“
Th e a ltera tion is the more ma rked a s .

1 So m e y gr o t e s qu e c o n c e p ti o n s a re e x p r e s s e d h e r e I n 200 25 th e ji v a
ve r .
, ,

s o ul g o e s t o A t m a n ; o r g o e s t o h e a v e n a n d li v e s s e p a r a t e ly W h e n a s a fla m e .

t h e s p irit a s c e n d s t o h e a ve B ra h m a n lik e a c o u rt e o u s h o s t s a ys Co m e s t a y
n , ,

with m e m k s i t ( o r h i m ) c s i us a n d th e n s wa ll o ws hi m !
,
a e on c o

2 So rr o w i s t h e e n d o f j o y a s n i g ht i s t h e e n d o f da y j o y i s t h e e n d o f ,

s o rr o w a s da y i s t h e e n d o f ni g ht
( th e s e s u c c e e d e a c h o th e r a n d e a c h h a s i t s
”
,

o n ly k n o wl e dg e e n d s n o t fo r k n o w l e dg e i s B r a h m a
“
e d) ;
n x i v 44 1 8
,
n , , , ,

20— 2 1 47 1 N o t till 52 9 i e a ft e r t h e A n u gi t a i s fi n i s h e d i s Ma y a a fa c t o r
.
, , . .
, , ,

h e r e Pre vi o u s ly th e r e i s o n ly t h e gh o ra m o h a o r h o rrib l e m i s u n d e r s t a n di n g
.

o f tr u th x i v 45 4 e t c I n x viii 3 3 6 In d r a s m a y a i s a n o p ti c a l d e l u s i o n
’
, , , , .
, , , .

ii 23 3 1 ff He r e i s t o b e o ti c e d a c o n tr a d i c ti o n i n e p i c p y c h o l o gy
3 x s
, , . n .

Mi d i n thi s p a s s a ge h a s p ra rt h a n a a n d s i s ks a th a t i s it d e s ire s wh e r e a s
n r , ,

e l s e wh e r e d e s ir e ( t h e u e p l a in e d s e v e n th ii 1 77 52 ) i s a n a ttri b u t e o f“ ”
n x ,
x , ,

e g o i ti c i t e ll e c t
s n D e s ire i s b o r n o f i m a g i n a ti o n s a m
. k a l p a x ii 1 77 2 5 ; it i s , , , ,

d e s tro ye d b y a v o i din g thi s 3 02 56 ; b u t re m o ve m in d fro m s a rhka lp a a n d

, , ,
“

fi x it o n s e lf 241 1 7
”
, , .
 1 42 THE GR EA T EP I C OF I N D I A .

ma n y texts ma ke n o di visio n of cha pters here I n either ca se .

the a cco u n t Of crea tion goes right o n fi rst 23 2 3 2 sta t e d a s , , , ,

I
( cva ra h)
p ra t i b u ddh o vi ku ru t e bra hma ks a y y a mks a p a ks a y e
’

sr aj te ca m a ha d b h u t a m t a s ma d vy a kt a t ma ka m
ma n a h
a nd then as

b ra h m a t e j o ma y a mgu kra rh y a s y a s a rva m i da m j a ga t

e ka s y a b h u t a m b h fi t a s y a dva y a rh s t h a va ra j a fi ga ma m
a h a rmu kh e v i b u ddh a h sa n s ra j te
‘
v i dg a
y a j a ga t
a r
g a e va m a ha d b h u t a m a c u vy a kt a t m a ka m m a n a h .

As the seven crea to rs men tion e d i n the followin g sta n za 1

,

23 3 3 a re expla in e d a s in tellect min d a n d the fi ve elem en ts

, , , , ,

it is clea r a lso tha t e goism a s a di stinct fa ctor is om itte d Th e .

seven c a n n ot crea te a p a rt s o they un ite a n d ma ke the bo dy ,

which the grea t bein gs bhuta ni m a h a n t i en ter with K a rm a

“
, , .

Th e a dika rt a First C rea t o r is Pra j a p a ti who a cts without

, , ,

Ma ya 91 , I n short while som etim es reco gn i zed Ma y a

.
, ,

is gen era lly u nkn own i n the epic beca use the epic la cks un i ty , ,

bein g n o w a n d the n V eda n tic but ge n era ll y Yo ga i s t i c , .

P a ii c i k h Sy s t e m
’
a
g a s .

In the presen ta tion a b o ve I ha ve a n a lyzed the three di ffer

e n t religi o us philosophies a dvoc a te d i n the pseudo epic ; the -

Sa m khya whi ch holds to spirit a n d Source a s distin ct i mm o r

,

t a l e n tities ; the Yo ga which a dds the Suprem e Spirit ; a n d ,

the person a l religion of N a ra da a n d o thers which m a kes o f ,

the P a ra m a tma n o r Supreme Spirit a m o difi e d fo rm o f B ra h

m a n kn own a s A n i ru ddh a etc a n d ide n tifi e d with Krishn a , .
, .

I n xii 3 5 2 1 3 the P a ra m a tm a n doctrin e is decla re d to be the

, , ,

1 ma n a s a ,
m in d r t r -c ith e t a s th a t a p p li e d t o t h e e t e rn a l
ea u e s, th e sa me ep

D e v a i n x ii 1 8 2 1 1 , C o m p a r e B A U ii 5 7; Git a 1 0 6
, . .
, , , , .

2 s r
a v a b h fi t a y u p a da y a t a p a s a c c a ra
n a y a hi a dika rt a s a b h fi t a n a mt a m n

Th e c o mm e n t a t o r e x p l a i n s b y m e a s o f Ma y a
“
h u h p ra j a p a t i m
’
e va . n

( B AU ii 5 .
, b u t th e re i s n o t e v e n t h e s gg e s ti o o f t h e Ma y a d o c tri n e h e r e
,
u n .

Th e e ty m o l o gy i n 91 1 1 ( t e c a ri a c ra y a n m p a p t a s t a t o p u ru a u c y a t e )
. r a r s

s e e m s t o b e o wi n g t o a c o n fu s i o n with p u ri c a y a m p u ru a m i k s a t e P r s c v 5 s , . . .
 1 44 THE GR EA T EPI C OF I N DI A .

the te a chin g of which is here iden tifi ed n o t onl y wi th tha t of

the Sa mkhya Yoga but a lso with tha t of Ve da ra nya ka i h
-
, , .

3 49 8 1 a n d with the reli gion of the white m e n

, ,
“
a n d Ya t i s ,

c ve t a n a m Ya t i n a m c a i b 8 5 C omp a re 3 3 6 1 9 the whi te

, . .
, ,

men s religio n a n d Sa tva t a Vidh i decla red by Sa rya

’
, , .

Th e di fferen ce between religi o n a n d phil o sophy is o b li t e r

a te d i n I n dia a n d the Pa fi c a ra t ra sect is exa lte d a s a d evelop
, ,

men t of the B h a ga va db h a kt a s a s the la tter a re represen ted ,

m the Gi ta clea rly a n in dica tio n of posteriority ; while their

,

philos o phy is ra ther con tra sted tha n iden tifi e d with tha t of
the Sa mkhya .

Three exposition s a re given which embo dy the sa me ter ,

m in o l o gy a n d m a y be ca lle d the Pa fi c a cikh a system

, .

Pa fi c a c ikh a Ka p il e y a ( in terpreted a s a metron ymic l) a p

pea rs i n xii 21 8 6 ff a n d 3 20 2 fl Hi s pun ch n a m e is
.
,
.
, , .
-

ela bora tely a mplifi ed i n the former p a ssa ge where 21 8 1 0 H , , , .

,

he is a n in corpora tion of K a pil a a n d the fi rst pupil of Asuri .

I n P a nc a s ro t a s where there is a K a pila ma n da la he h o l ds a

, ,
” “ ”
lon g session sa tra ha vin g ba the d in the p a nc a s ro ta s
“
, ,

( fi ve rivers of the mi nd cf Cvet 1 a n d bein

g verse .d in .
,

the P a ne a ra t ra ( doctrin e ) a n d bein g c a lled i n con sequen ce ,

n o t o nl y p a ri c a ra t ra vi ca ra da but a lso
‘

p a fi c a j fi a h p a fi c a k t
r p a h o a gu nah
p a fi c a q ikh a h ( s mrt a h )
-
,

epithets which a re dul y in terpreted by the om n iscien t Ni la

ka n tha He a lso ( below) h a s the epithet Pa fi c a ra t ra h whi ch
.
,

is the o nl y o n e tha t n ee d con cern us a s the in terpreta tion of ,

the others is m ere guesswork Pa fi c a cikh a is re ga rde d the n .

, ,

1
a s the te a cher of the n e w sect of P a r i c a ra tra s
‘

Hi s doctrin e rests o n the a cie t foun da tio of di sgust

n n n “

”
with birth di sgust with a cts di sgust with a ll thin gs sa rva
, , ,

n i rv e da a n d is i n short the reli gio n of e n n ui which co n sists

, , , ,

1 Th e s e ve n C i t ra c i kh a n di n s a re r e fe rr e d
t o a s t h e a u th o r o f t h e Pa fi c a
r a tra Ca s tr a in 3 3 6, 2 7 3 3 7, 3 , c a s tr a m c i t ra c i kh a n di j a m Th e s e a re t h e .

s e ve n Pra krt i s , p e rs o n i fie d a s t h e s e ve n o l d s a g e s, w h o s e n a m e s a re gi v e n b e l o w ,

p 1 70, t o w o m i s a
. h
e dd d M a nu to m a ke t h e “
e i g ht s o u r c e s 3 3 6 29
,
”
In , .

th e hy
mn a t x i i , 3 3 9 , t h e go d is c a ll e d Pa fi c a ka l a ka rt rp a t i , Pa ii c a ra tri ka
-

Pa ri c a gn i , Pa fi c a y a j fi a , P a fi c a m a h a ka lp a
'

(a s a l so Ci tra c ikh a n dm ) .
 EP I C P HI L OSOP H Y . 1 45

in little more tha n m ere i n di fle re n c e Th e li tera l mea ni n g

a .

”
is tha t o n e fin ds o n eself out of o r is sick of the roun d of
“
, ,

birth a n d dea th Nirva n a is a tta in e d by n i rve da 1 This di s

. .

g ust a n d the rejectio n of tha t un trustwo rthy delusio n a n a va

q ,

sik o m o h a h which lea ds t o rel igious pra ctices a n d the hope of

,

rewa rds xii 21 8 21 —22 is the sta rtin g poin t o f the system
, , , ,
-
,

which syn thetic a lly con sidered shoul d c ul m in a te in Krishn a

, ,

Vishn u a s the b e a ll a n d e n d a ll a s i n other ca ses

,
- -
, .

Th e a n a lysis of the system is prece de d by a m ost in terest

i n g a n d historic a ll y im porta n t review Of cert a in fa lla cies a s ,

foll ows Th e u n believer sa ys : On e who relies o n tra ditio n

.

the scriptu re ) s a ys tha t there is som eth in

( g beyon d a fter the
destru ction ( of the body ) a s bein g obvious a n d seen by a ll ; ,

but such a n o n e is refute d by the fa ct tha t dea th of self is

n e a ti o n d epriv a tio n of se l f a n a tma h y a t ma n o m rty u h
g , , , .

D ea th is a we a kn ess in duce d by a ge Through delusion o n e .

ima gin es a s o ul a n d this is erro n e o usly re ga rded a s the

,
”
s o m ethi n g beyo n d ( or higher) Fo r pra ctic a l purposes .

o n e m a y a ssum e wha t is n o t true ( tha t there is n o de a th of the

”
soul ) just a s o n e m a y sa y tha t the kin g n ever dies a ja ro
,
“
,
' ’

y a m a m r t u
y c c a ra j a Sa u B u t whe n s o methin g is a sserted .

a n d de n ie d a n d n o evide n ce is give n o n wha t Sh o u l d o n e ba se ,

a judgme n t ? D irect observa tion ( evi de n ce o f the se n ses) is

the ba se of received tea chin g a n d o f in fere n ce R eceive d .

tea chin g is destroyed by direct Observa tion a n d ( a s eviden ce ) ,

”
in feren ce a m o u n ts to n o thi n g .

Th e la st sen te n ce re a ds i n the origin a l 21 8 2 7 , ,

p ra t y a ks a mh y e t a y o r mu l a m krt a n t a i t ih y a y o r a p i
p ra t y a ks e n a ga m o b h i n n a h krt a n t o va n a ki mc a n a
’

Th e commen ta tor ta kes krta n ta a s a n u m a n a a n d a i t ih y a a s

equiva len t to a ga ma ; though i n 240 2 a n a ga t a m a n a i t ih y a m , ,

ka tha m bra hm a dh i ga c c h a t i ( where the comm en ta tor sa ys tha t

’

a ga ta is p ra t y a ksa a n d a n u m a n a ) Ho w c a n a go o d m a n ,

1 C o mp a re xii , 1 8 9, 1 6—1 7: “
On e c a nn o t kn o w th e un kn o wn (if fa ith be
l a c kin g ) ; k e e p t h e mi n d on fa ith ; h o l d it to th e v it a l a ir ; th e v it a l a ir to
B ra h m a n ; n irv a n a is tt a i n e d b y n i rve da ; Gi t a 6 2 3
a , , ,
n ir vi nna c e ta sa yo go
( y o kt a vy o n icc a ye n a ca ) Mu n d Up i 2 1 2 b r a hm a n o
. .
, , ,
n irve da m a a y t .

10
1 46 THE GR EA T EPI C OF I N DI A .

a tta in to B ra hma n n o t kn own to tra dition n o r revea led in the

”
Ve da ? 1
a n d in G v 8 7 23 a it ih y a m a n um a n a m c a pra t
.
, , ,

a ma m m
’
k sa m a p1 c a ye hi sa a k p a ri k sa n t e it is di stin
y a g y , ,

g u i s h e d from the la tter T h e wor d a ga m .a is of su f

f icie n t
importa n ce to n o te the epic s o wn de fin i tio n given in x ii 270 ’
, ,
’
43 : a ga mo v e da va da s tu t a rka c a s t ra ni c a ga ma h “
R eceive d ,

( scriptura l) tea chin g in cludes the words of the Ve da a n d

ph ilos o phica l c o des ; a rema rka ble de fi n itio n i n view of the
fa ct tha t some of the la tter a re hetero dox a n d tha t a ga ma is ,

curren tly used a s eq ui va len t to right tra ditio n Th e t a rka . p

vidya is elsewhere differen tia ted from lo gl e a n vi ksiki though , ,

both a re ca lle d useless xiii 3 7 1 2 when n o t extolled a s , , , , ,

often !
Th e n ext sta n z a co n tin ues : E n ough of m a kin g a s s u m p
tion s ba se d o n this or tha t in feren ce I n the opin i on of ( us) .

”
u n believers there is n o other Spirit tha n the bo dy .

Fo r cle a rer u n dersta n din g of the hi storic a l va lue of this I

must give the exa ct words 21 8 28 , ,

ya tra ya tra n u ma n e s m in krt a m b h a va y a t o p i c a

’ ‘ ‘

j i va h ca ri ra s y a n a s t i ka n a m m a te s t h i t a h
’
n a n yo

Here krt a m b h a va y a t a h i n the me a n in g of b h a va n a y a la m ( N ’

is even m o re c a reless th a n the foll o win g gen itive with ga ri

ra sya ; but both a re in dic a tive o f the Slovenl y style whi ch
bel o n gs a li ke t o the Pura n a s a n d the p s e u do n p i c .

Th e un believer ( a ccordi n g t o the comm en ta t o r ) con tin ues

with a sta n z a a lmo st un in telli gible in its Sa tra lik e con cise -

n ess whi ch c a n be ive n o nl y by the ori i n a l :

, g g
r e to va t a ka n i ka y a mgh rt a p a ka dh i va s a n a m
j a tib s m rt i r a y a s ka n t a h Su ry a ka n t o mb u b h a ks a n a m ‘

Th e see d i n the ba n ya n flo we r ( a ccou n ts for the delusio n of-

so ul ) ; butter ( is on ly a n o ther form o f gra ss ) ; rum ( is but

fermen te d rice ) Mem o ry ( a n d other psychic fun ctio n s a re
.

2
iden tica l with the ) crea ture born ( Th e soul is like the ) .

1 J s t b e lo w 240 3 t h e e p re i o m a n a s c c c n driy a a m c a ai ka g y a m
u , , ,
x ss n a
’
n r

ma y b o ti e d a s a r e p e titi o
e n c p h r a s e o f iii 260 2 5
n , ,
.

2 I ta k dh i va a i the e h o me : ( c s i d e r ) t h e o ri gi n
e a s na e of n dh i va s ns a sa , on

o f g h e e a n d fe r me n t e d ( liqu o r ) ; N p a r a p hra s e s a dhi va s i t a t ( a dd i n

.
,
1 48 THE GR EA T EP I C OF I N D I A .

me n t a ga in st the existen ce of soul : Som e s a y the c a use “

,

ka ra n a of successive rebirth is ign ora n ce a vidy a desire c o n

, , , ,

fusio n of min d a n d the pra ctice Of fa u l ty a cts ; ign ora n ce

,

bein g the fi eld wa tered by thi r st a n d a cts bein g the see d ,

pl a n ted i n it a ll of which c a use rebir th They s a y tha t

, .

i n o r a n ce is co n ce a le d ( in the b o dy ) a n d is burn e d a wa y
( g ) ,

a n d th a t whe n the mort a l p a rt is d estr o ye d a n other bo dy is

, ,

born from it a n d they c a ll thi s the destructi o n of bein g B u t .

i n a n swer to this how n it be just the s a m e m a n i n thi s

( ) , c a

w bo d y si ce he is d iffere t i n form in birth i n go o d

( n e ) n
, n , , ,

a n d in a i ms ? Fo r ( if there is n o soul) a ll would be di sco n

n e c te d .
( F urther ) if thi s is so wh a t ple a
, sure wou l d there be
i n gifts wisdom or the power ga in e d by reli gious pra ctices ?
'

, ,

Fo r a n o ther en tity w o uld ge t the fru i t o f wh a t this m a n p ra c

tises sin ce o n e m a n by me a n s of a n o ther s n a ture p ra krta ih
,
’
, ,

wo ul d be m a de wretche d or blessed here o n e a rth ( I n this .

m a tter) the decisio n in re ga rd t o wha t is i n visible ( m ust rest

o n ) wh a t is visible I f y o u kill a b o dy with a cudgel w o ul d
.

a n other a rise fro m it ? E ve n so the sep a r a te con sciousn ess

would be a differe n t co n sciousn ess n o t the origin a l o n e , .

Thi s destructio n of bein g ( spoke n of a b o ve s a t v a s a rhk sa y a ) ,

wo u l d be repe a te d li ke se a s o n s a n d ye a rs ; [there wo ul d
in dee d be n o e n d to it for if it is a rgue d th a t destruction
,

o f co n sciousn ess ever results i n a n e w co n sciousn ess then ,

destructio n of bei n g wo u l d result n o t a s the B uddhi sts te a ch , , ,

i n a n n ihil a ti o n but i n n e w bein g ; SO there wo ul d be n o

,

esc a pe fro m rebirth I f o n e s a ys ho wever tha t there is a

.
, ,

con ditio n e d s o ul it c a n be o n l y a physic a l bo n d of un ity ] like

,

a h o use g,row in
g g r a d u a ll y we a ker thr o ugh repe a te d a gin g
a n d dyin g ( co n sistin g
’
a s such a Soul m ust) o f ( mort a l)
‘
,

sen ses thoughts bre a th bloo d flesh b o n e a ll o f whi ch perish

, , , , , ,

a n d revert in du e order to their origin a l b a ses A n d further .

, ,

( such a theory ) wo ul d refute the pra ctice of the world in

of r e lyi n g o n t h e c o mm e n t a t o r wh o thi n k s th a t t h e e l e p h a n t in t h e fo ll o win g

,

s t a n z a o f Ca n ti i s Yo g a ! Ya th a n a ga p a de n y a n i p a d a n i p a da ga m i a m s a r
‘
n ,

va n y e v a p i dh i y a n t e p a da j a t a i ka u fi j a e e v a ms a rv a m a h i rrs a y a mdh a rm a r
’ ’

n r ,

th a m a p i dh i y a te ( in x i ii e va ml o ke s v a hi s a t u
,
'

rr
 EP I C P HI L OSOP H Y . 1 49

respect of obta in i n g a dva n ta ge from gift s a n d other religio us

a cts sin ce both the words o f the V e da a n d the pr a ctice o f the
,

wo rld ( sho w tha t a cts a re perform ed) fo r thi s purpose ( of

a in ) T here a re ma n y proofs to be fo un d i n the m i nd
g .
,

but wha t with the itera tion of this a n d tha t ca use n o clea r
light is o bta in ed but m e n do ubt a n d turn to som e o n e e x p la
,

n a tio n till their in tellect bec o m es fi xed o n o n e p o in t a n d rots

,

there like a tree So a ll crea tures m a de wretched thro ugh

.
,

d esiri useless objects re l e d a wa y by received tea chin

( n
g) a g , ,

a ga m a ih li ke elepha n ts l e d by their keepers

, Thus desirin g .
,

objects tha t brin g en dless plea sure the dr ied u p m a n y ge t ,

-

in stea d a grea ter so rr o w o n bein g forced to a ba n do n the ba it

”
a n d e n te r the p o wer o f de a th .

Th e a rgume n t is the fa m ili a r o n e th a t a m a n gets s o rr o w

thro ugh desiri n g hea ven fo r a fter hi s Ka rm a is exha usted he ,

sink s do wn a ga in t o a l o wer leve l So hea ven is a ba it whi ch .

a ttra cts m e n ; but a s it is o nl y a tem p o ra ry plea s u r e f o ll o wed

by p a in o n e suffers fro m it a ll the m ore ( n essun ma ggi o re

,

do l o re che ri corda rsi) All thi s i mpli es u n c o n scious existen ce

.

a s the best go a l .

To thi s it is s a id 21 9 2 i n the wo rds of the grea t Up a n i

, , ,

sha d : I f there is n o c o n sci o usn ess a fter dea th wha t di ffer

“ 1
,

en ce does it ma ke whether o n e h a s wisdo m or n o t o r is ca reful ,

”
or n o t ? The n Pa ri c a cikh a repli es wi th a l o n g exp o siti o n o f
‘

his system 21 9 6 ff o f whi ch I give the chi ef poin ts

, , .
,

I t is n o t a syste m of a n n i hi l a ti o n u c c h e da n i st h a n o r o n e , ,
’
of the s o ul s sep a ra te existen ce b h a va n i s th a Th e ( visible ) , .

m a n co n sists Of b o dy sen ses a n d percepti o n ceta s Th e

, , , .

foun da ti o n s a re the fi ve elem en ts which a re i n depen den t a n d ,

m a ke the b o dy Th e b o dy is n o t o f o n e eleme n t but o f fi ve

.
, .

Th e a ggrega te c a usi n g a ctivity is kn owledge he a t a n d wi n d 2 , ,

.

Fr o m kn owledge com e the se n ses a n d their objects sep a ra te ,

existen ce s va b h a va percepti o n o cta n a a n d min d ; fro m wi n d

, , , ,

c o m e the t wo vi ta l brea ths ; fro m hea t come ga ll a n d o ther

1
ya di na mj fi a b h a v a t i ; c o m p a r e t a n y ( b h fi t a n i )
p re ty a sa e va
’
n u vi n a c ~

ya ti n a p re t y a s a mj fi a s ti ti B AU 1 1 4 1 2
,
’ ’
,
.
, , .

2 2
1 9 9 ; c o mp a re b e lo w
, .
1 50 THE GR EA T EP I C OF I N D I A .

ba ses dh a t u s Th e fi ve sen ses i n driy a s hea rin g touch ta ste

, .
, , , , ,

sight smell deri ve from the min d citta a n d ha ve its cha ra c

, , , ,

t e ri s t i c s E tern a l o cta n a is threefold whe n un ite d with di s

.

c e rn m e n t v i jh a n a Thi s they c a ll s u kh a d u hkh a a n d the

’

, .

o pposite Soun d touch color ta ste smell the forms ( m a r

.
, , , , ,

ta ya h con ta ini n g these a s objects) ma ke a group of six

, ,

co n sta n t c o n stituen ts guna s to ma ke kn owledge perfect , , .

D epen de n t o n these a re a cts a n d visa rga C l

) a n d jud me n t i n
g ,

rega rd to the mea n i n g of a ll to pics Thi s they ca ll the highest .

seed c uk ra it is i n te llect the grea t un dete riora tin g ( s u b

, ,

sta n ce ) This collectio n o f a ttri butes is n o t so u l but is

.

n o t soul a n a tm a n
-
,Th e true te a chi n g is c o n ta in ed i n R e n un
.

c i a t i o n C a stra s whi ch e n join re n u n cia tio n of a ll

-
, Ha vi n g ex .

pla in ed the six jii a n e n driy a s orga n s of kn owledge Pa ri c a gikha

‘

, ,
‘

expla in s the orga n s o f a ctio n whi ch a re fi ve with ba la , , ,

”
power a s the sixth 91 20 There a re twelve orga n s fi v e
, , . .
,

orga n s of kn owledge wi th mi n d a s Sixth a n d fi ve of a ction ,

wi th power a s Sixth Th e eleven orga n s ( wi th mi n d) o n e .

Should ren oun ce by mea n s of the i n tell ect E a r soun d .

, ,

a n d m i n d ( citta i n 23 a n d 3 4 ; m a n a s i n 2 2) a re n ecessa ry i n
,

he a ri n g Thus fo r a ll the sen ses there a re fifte en guna s

1
.

( 3 x T here a re a lso the three g u n a s c a lle d s a ttva ra j a s , ,

ta m a s E a r a n d soun d a re forms of a i r ( sp a ce ) ; s o with the

.

fi ve o thers I n the t e n se n ses there a rises a crea tio n ( e n ti t y )

.

simul ta n eous with their a ctivity ; thi s is ( the eleven th ) m i n d , ,

citta Th e i n tellect is the twelfth I n deep sleep t a ma se

. .
, ,

there is n o a n ni hila tion ( of perso na li ty) a lthough there is ,

con cern ed n o such crea tion simulta n eous with the sen ses ( t h e
c o o pera ti o n bein g a popula r fa lla cy ) I n deep sleep ) i
-
( n .

co n sequen ce of o n e s former wa ki n g experien ce a n d beca use ’

,

o n e is co n ditio n ed b y the th ree gun a s o n e im a gin es tha t o n e ,

h a s m a teri a l se n ses a lthough o n e c a n perceive o n l y subti le ,

sen ses B u t though o n e i m a gin es this o n e does n o t rea lly

.
,

1 C mp r Git a 1 8 1 8 ( thr f l d r g r t
o a e ti ) k wl dg b j t
, , ee o u e s o a c on , no e e , o ec ,

rg a g t k a ra n a m k a rm a k a rt e ti t ri v i dh a h ka rm a in
’
s a rh gra ha
o n , a c t, a en , h;
1 4, t h e fi v e k a ra n a n i or ka rm a n a h h e ta va h a re ob j e c t a dh i s t h a n a a g e n t
, , ,

o rga n ,
a c ti o n , a nd th e da i va ( sa id to b e s a mkhy a , b u t i n t e rp r e t e d a s Ve d a n ta ) .
1 52 THE GR EA T EP I C OF I N DI A .

a nd the orthodox Vedi st Th e terms used a re tho se of the

Sa mkhy a j i va a n d kse t ra j n a ra ther tha n a tm a n ( s t hi t o m a n a si
,

yo b h a va h s a va i kse t ra jii a u c ya t e 91 but thi s spirit is ‘

, .

1
onl y p a rt of B ra hma n .

An other poin t t o be n oticed is the a bsen ce of ta n m a t ra s .

B efore p a ssin g to the n um eric a l a n a lysis of the Pa fi c a ra t ra

scheme in to thirty elem en ts I wo ul d poin t out a lso tha t a s i n ,

Gi ta 7 4 so ib 1 3 5—6 there a re gross elemen ts egoism

, , , .
, , , ,

in tellect a n d mi n d (
, but a lso te n orga n s a n d fi ve o bjects
z

o f se n se plus a vy a kt a 24 t o pics ) to which a re here a dded , ,

Gi ta 1 3 5 —6 desire a versi o n plea sure p a in a n d a lso body

, , , , , , , ,

perception coura ge ( s a mgh a t a c e t a n a dh rt i ) o r thi rty —

, one , ,
”
elem en ts o f modi fi ed Pra krt i
“
.

Th e Th i rt y -o n e E l e m e nts

Here there is fo rma l group of p a rticles c a lled ka la s n o t

a ,

sixtee n but thirty but o n e ( Go d) super a dded ma kes thi rty

,
-

one topics the sa me n umber a scribed by tra di ti o n t o the

,

Pa cu p a t a s A most min ute descriptio n is given i n xii 3 21

.
, ,

—
96 1 1 2 . Thi s schem e is a s foll ows : 2

I n order to a c t the orga n s a wa it the outer con stitue n ts

, ,

g u na s . I n perceptio n col or eye a n d li ht a re

g , the t hre e , ,

c a u se s ,
a n d s o i n a ll c a s e s where a re foun d kn owledge a n d
the object o f perceptio n ( Sim ila r) ca uses of kn owledge exist ; ,

betwee n kn owledge a n d the object in terven es the gun a c o n ,

s t i t u e n t m in d wherewith o n e judges
, , [Th e o r a n s a n d mi n d
g .

ma ke eleve n ] 3
Th e t we lft h i s i n t e l le c t a n other c o n stitue n t
.
, ,

wherewith o n e decides i n the c a se of do ubtful thi n gs to be

1 Th e a ttrib u t e Ja ga t p ra krt i a p p li e
of t o N a r a y a n a i n t h e P a fi c a ra tra d
hym n ,
x 1 1 , 3 3 9, 8 9,
“
t h e g o d wh o i s t h e So u r c e o f t h e wo rl ,
”
d g i ve s t h e
v it a l d g
i ffe re n c e b e twe e n thi s t e a c hin a n d th a t whi c h i n c u l c a t e s a Pra krti
d i s tin c t fro m p u r e s o u l .

2 I it a li c iz
e b e l o w with o u t e x t e n d e d c o mm e n t t h e p o i n t s o f c o n t a c t with

t h e s c h e m e j u s t g i ve n .

p p li e d fr o m t h e c o n t e x t
3 Thi s m u s t b e s u I n th e s c h e me a t x i v .
,

m i n d m u s t b e r e c o g n iz e d a s b e l o n g i n g t o b o th a d i n t e ll e c t i s t h e t we lfth , n ,

o n ly t e n o r g a n s a re r e c o gn iz e d a s h e re a n d b a l a a s a s e p a ra t e o r g a n i s
, ,

u n k n o wn .
 EP I C P HI L OSOP H Y . 1 53

kn own . thi rtee n th con s tituen t is sa ttva ( I t is rea l)

Th e .

fo r o n e is a rgued to be a n i n di vidua l ha vi n g much or little

sa ttva ( he n ce it is a rea l co n stituen t a guna ) Th e fo ur , .

t e e n t h c o n stitue n t is egoism ( whe n o n e s a ys I a m a n a ge n t

wi th whi ch o n e gets the n oti o n of min e a n d n o t mi n e The n - .

there is a fi fteen th cons tituen t whi ch is differen t fro m the ,

others a n d is c a lled the tota lity o f the ma ss of sep a ra te fa ctors ,

p r t h a kk a l a sa m i i h a s y a s a m a g r am
y ( i e t h e g e n e ra l di s o s i
. .
p
,

ti o n ) . Th e Sixtee n th a di fle re n t con stitue n t is a sort o f

, ,

com plex s a mgh a ta i va ( beca use it con sists sa ys the o o mmen

, ,

ta tor i n the un ion of the three fa ctors o f ign o ra n ce ; the six

,

t e e n t h is therefore a vidy a or ign o ra n ce itself) wherei n a re

, ,

com bin ed the Source a n d the in dividu a l m a n ifesta tio n vy a kt i , ,

w hich a re respectively the seve n tee n th a n d eighte en th c o n

s t i t u e n t s gu n a u
,
Th e n i n eteen th is the un i fi c a ti o n of do ub
.

lets ( opp o sites) such a s plea sa n t a n d di sa greea ble a ge a n d

, ,

dea th etc ,
Th e twen tieth c o n stitue n t is Ti me the origi n a n d
.
,

destructio n o f a ll thi n gs Thi s complex s a m

.
g h a t a o f twe ,n ty , ,

a n d i n a ddi tio n the seve n co n stitue n ts c o n sisti n g o f the fi ve

g ross ele m e n ts a dded to

[the ori gi n a n d rela tio n o f bei n
] g a nd

n o t bei n g
-
( m, a ki n
g twe n ty seve n is to-
be a d d,e d a i
g n to )
a

three m o re con stitue ts n v i d h i c u h r,

a b a l a ( c a use seed power)
, ,
1
, , .

Tha t is c a lled the body i n whi ch these twe n ty a n d t e n a re a ll

together Th e Source ( fore c a use ) of these ka la s fa ctors o n e
.
-
, ,

phi l o s o pher recogn izes to be the Un m a ni fest a n other dull of ,

in sight recogn izes ( a s such) the Ma ni fest Meta physicia n s

,
.

rec o gn i ze a So urce of a ll bein gs whether it is the Un m a n i ,

fest o r the Ma n ifest or a do uble or qua druple s o urce This .

un m a n i fest So u r ce becomes ma n i fest by m e a n s of the ka la s

the f ctors just e n um era ted Th i n di vidu a l is the So urce
( a ) e .

s o ma de m a n i fest From con ceptio n to o ld a ge there is a n

.

un in terrupted m o m en ta ry Splittin g up of the fa ctors ( p a r

t i c l e s ) of the bo dy a lthough t o o mi n ute to be observed ( i n
,

deta il ) . B u t thi s p a ssi n g a wa y a n d comin g in t o existe n ce of

1 Ac c o r di g n t o th e t t o r th e s e a re ri ght a n d wr o n g a s o ri gi n a ti n g
c o mm e n a ,

fa l s e i d e a s v a s a n a ; th a t whi c h in c it e s t o wr o g i d e a s ; a n d t h e e ffo rt l e a d in g
, n

t o t h e a tt a in m e n t o f wr o n g i d e a s B u t s e e t h e s c h e m e a b o ve
. .
1 54 THE GR EA T EP I C OF I N D I A .

the sepa ra te p a rticles goes o n from sta ge to st a ge just like the

course o f a la m p s light There is therefore n o con n ection
’
.
, ,

b etwee n the i n di vi dua l existe n t cre a ture a n d hi s mem bers .

All crea tures a re born by the un ion of p a rticles k a la s a s it , ,

were just a s fi re is produced by the un i o n o f sun li ght a n d

1
,

fi re s t
-
o n e m , a ni or by sticks ( rubbed together)
, .

This exposition is given for a pr a ctic a l purpose a s is see n ,

i n the la st p a r a gra ph On e should rec o gn i ze n o o wn a s a ll

.
,

crea tures a re o n e distin ct from the physic a l pa rts Th e

, .

“
bo dy of p a rticles a s it is ca ll ed in xii 3 22 25 reverts to
, , , ,

the un ma ni fest Source but the self or so u l is but p a rt o f the

,

sa m e soul i n a n y other body of p a rticles Th e doctrin e is .

n o n e the less tha t of Pa r i c a cikh a bec a use it is t a ught by

‘

Su l a b h a to Ja n a ka though it is the l a tte r who professes him

,

self the di sciple o f Pa fi c a ci kh a “

the ven era ble begga r who ,

bel o n ged to the fa m ily of P a ra ca ra xii 3 21 24 Fo r Ja n a k a , , , .

do es n o t rea lly un dersta n d a n d so Su l a b h a is e nl ighte ni n g ,

h im P a h c a c ikh a is here sa id to be a Sa m khya le a der There

‘

. .

is a n i mita tio n a n d would b e improveme n t i n this la te di s -

course ( the m etre shows the la ten ess) o f Gi ta 3 3 loke , , ,

‘
sm in dvi vi dh a n i sth a Here 91 3 8 the poin t o f view is
.
“
.
, ,
”

ma de treble t ri vidh a ni sth a drsta ; n o t tha t ema n cip a tion is

,

o t by kn owledge or a ctio n a s i n the G i ta p a ss a e but by

g g , ,

the third ( a n d best vi ew) tha t of Pa ii c a gikh a who rejected ,

‘

,
“

both these two 3 21 40 Th e doctri n e is tha t the va i ce sika m

, , .

n a m or m ost excelle n t wa 1 23 le d s n e to li ve a li fe
j n a y 9 a o , .
,

of ren un cia tio n All depen ds sa ys the kin g o n whether o n e

.
, ,

is b o n d or free ; the pure a n d good devotee m a y still be a ctive ;

a sceticism is n o t req u i site ; a kin g is a s go od a s a begga r .

Th e bo n d of roya lty ( sa ys the ki n g i n co n clusio n ) the bo n d ,

of a ffection I ha ve cut with the sword of re n un cia tion which

, ,
”
h a s bee n sh a rpe n ed o n the a n vil of ema n cipa tio n i b 52 , . .

B u t hi s a n ta go ni st i n tima tes tha t he h a s n o t lea rn ed the true

religio n whi ch is re n un cia tio n i n deed a s well a s i n thought
, .

As a syste m the doctrin e of Pa fi c a cikh a is sa id to b e s 0 p a y a h

,

1 Th e c o mm e n ta to r s a ys th a t thi s e x p re s s i o n ( ka l a n a m ) i va , ,
ha s no me a n
a n d i s m e r e ly u s e d t o fi ll u p t h e v e r s e
”
i n g, 3 2 1 1 24 , , .
 1 56 THE GR EA T EPI C OF I N DI A .

( joy success
, i n si ht
g v i,rtue bei n
g the ca uses of o n e bei n g
, ,

e n dowed with sa ttva ) which a re a ss o cia te d with a ctivity , ,

wha te ver their c a use of a ctivity V idhi a re reta in ed ( i n Sleep ) , ,

by m em ory There is a n a greea ble a n d con sta n t immedi a te

.

p a ssa ge between the t wo sta tes b h a va y o h ( tha t is the p a ssa ge ,

is imme di a tely percept ible between wa kin g a n d Sleepin g) .

Th e orga n s a n d the sta tes a re c a lle d the seven tee n c o n s t i t u

en ts guna s Th e eighteen th is the etern a l in corpora te o n e
, .

i n the bo dy dehi ga ri re ( spirit)

’

.
,

Here fourtee n orga n s a re a dde d to the three guna s sa ttva , ,

etc for there a re eight orga n s of knowle dge a n d six of

.
,
“

a ctio n ( elsewhere there a re o n l y fi ve or a n s of k n owle d e

g g ) .

Of the group o f seve n teen I ha ve a lre a dy spoke n a n d n ote ,

here o nl y the in trusion Of citta between sen ses a n d min d .

Th e a ccoun t proceeds n o t very luci dl y : There c o n c o rp o ra te

con stituen ts boun d up i n body i n the c a se o f a ll in corp o ra te
crea tures cea se to be con corpora te o n the sep a ra tio n o f the
body ; or the body ma de of fi ve elemen ts p a nc a b h a u t ika is a , ,

mere ( tempora ry) un ion s a mn i p a t a Th e o n e a n d the eigh , .

teen gun a s wi th the in corpora te o n e a n d wi th he a t fi sm a n ,

the i n tern a l he a t of t he sto m a ch s a ys the co m me n ta t o r

( ) , ,

m a ke the c o m plex s a mgh a t a of twen ty c o m posed Of fi v e ele

, ,

men ts which ( twe n ty ) the G rea t On e ma ha n wi th wi n d sup

, , ,

ports Th e dea th o f e a ch crea ture is c a used by thi s ( win d)

. .

On destruction the crea ture e n ters the fi ve eleme n ts a n d

, ,

urged by its go o d a n d evil a ssum es a b o dy a ga i n ; a n d so o n ,

fro m b o dy t o b o dy urged by Tim e the kse t ri n ( spirit) goes a s

, ,

1
if fro o e ru e house t o a other
m n i n d n .

Th e vin c o s a rn gh a t a h p a ri c a b h a u t i ka h o r com plex of twen ty

'
‘

c o mp o se d of fi ve elem en ts i n this pa ssa ge is the sa me wi th the

vi nga ka h s a rh gh a ta h of the prece di n g 3 2 1 1 09 B u t there , , .

ent) o r e x i s te n c e a n d so s a t te o fbe i g n . I t ft
thi n g t o t h e m e a n i n g
o en a dd s no .

Fo r e x a m p l e i n x iii b h a va o f s e lf i s t h e s a m e with s e lf a t m a n y
“ ”
1 41 8 5 , , ,
:

e va t m a n o b h a v a ms a m a s a j j e t a v a i dvi j h p u t s e lf i n s e lf
’ ”
a , .

1 vi i r a d v a
g n i v a ) grh a d g rh a m Th e a n a ly s i s a b o ve 2 76
. 3 0 e ka c ,
:

c a d a c a c a s ta u c a 1 9 ) g u n a h s a h a c a t i ri n a ( d e hi n i n 91 2 8 ) fi s m a n a s a h a
’
.
,

( b e s e s h e a t ) v i nc o va s a mgh a t a h p a fi c a b h a u t ika h m a h a n s a mdh a ra y a ty e t a c

i d ”
,

c h a ri ra mv a y un a s a h a C o m p a r e t h e fir s t s c h e m e a b o v e
. .
 EP I C P HI L OSOP H Y .
1 57

Ti me is the twen tieth a n d the twen ty a re the bo dil y gu na s ,

.

Nevertheless the e m plo ymen t i n e a ch n o t onl y of the gr o up

, ,

o f twe n t but a ls o o f ba la a n d Vidhi a s f o un d a b o ve poin ts to

y , ,

a commo n ba sis
1
I n n o n e is there a tra ce of Vish n ui sm
. .

Th e Se c re t o f th e Ve dan ta .

Th e un ite d systems of ph ilosophy ca ll ed Secret of the “

”
V e da n ta a n d exploit e d i n xii 1 9 4 2 48 ff a n d 28 6 whi ch , ,
.
, ,

i n the f o ll o wi n g p a ges I sha ll design a te a s A B C prese n t a , , ,

curious mi xture whi ch o n c a reful a n a lysis Sho w cle a rly tha t

,

they a re three di fferen t version s o f a n o lder Sa mkhya tra ct ,

which is worke d over in t o B ra h m a i s m There is n o clea r .

rec o gni tion Of e goism though the commen ta t o r s o in terprets ,

the m a ker o f b h fi t a s in C 9 a n d a s I ha ve sa id a b o ve I
“
, , ,

thi n k it doubtful b o th from these a n d other pa ssa ges whether

, ,

the e a rli er Sa mkhya recogni zed I n tellect a s o ther tha n self

c o n sci o us On e o f the presen t th ree schem es in tr o duces the
.

B h a t a t m a n a s deus ex ma c h i n a They a ll di ffer sli ghtly a n d .

ha ve the Pa h c a cikh a termi n olo gy t o a certa in exten t I n their

’

th reefold form they o ffer a n in structive exa m ple o f h o w the

epic copies itself They a ll begi n wi th the sa m e request t o
.

the in structor to gi ve a m eta physica l a dh y a t m a lecture Th e , , .

fi rst a n d la st versio n s represe n t B h i sm a a s te a cher a n d Yu dhi

sth i ra a s pup il ; the other Vy a s a a s te a cher a n d Cuk a a s ,

pupil of the sa me lecture Th e two B h i sm a lectures do n o t .

a gree so closely with e a ch o ther throu hout thou h m ore

g ( g
a like a t fi r s t
)
2
a s do the V y a sa a n d seco n d B h i sm a versi o n ,

1 C o mp a r e with thi s s a rh gh a t a o r v it a l c o mp l e x th e j i v gh Pr a gu v 5 a a na , . . .

e c l o s e r a g r e e m e t b e g i n s with A 9 a s c o m p a r e d with B 9 a n d C 1 0
2 Th n

so u n d e a
, r, a n d h o l e s thi s tri a d i s b o r n o f a i r ; t o u c h a c ti o n s ki n a re b o r n
, , , ,

o f wi n d c o lo r e y e di ge s ti o n a e c a ll e d t h e thre e fo l d li g ht t e j a s He r e B ”
, , ,
r , .

a n d C h a ve v it a l a ir s fo r s ki a n d jy o ti s fo r t e j a s I n t h e n e x t gr o u p
“ ”
n , .
,

wh e r e A h a s t a s t e kl e da t o n g u e B a d C b o th h a v e s n e h a
, , ,
A ga i n m in d a s
n .

t h e s i th
x o r g a n a p p e a r s i n A 1 1 b u t i s o m itt e d i n B 1 1 a n d C 1 2 t o r e a p p e a r ,

in B 1 7 C 1 5, . I n a ll th e s e v e r s i o s b o d y wi th s m e ll a n d o b j e c t i s o f e a rth
n , , ,

a l o n e b h fi m i gu a h l o c c i t
, n , B e s i d e s th e s e tri a d B a n d C gi ve s o u n d gb o s a
. . s, , ,

( c a b d a ) fr o m a i r s m e ll a l o e a s b h fi m i gu n a i n B a ll c o mp o s it e m a tt e r s a m
, n , ,

gh a t a a s e a rth g u n a i n C b re a th ( C ) o t o u c h ( B ) fro m win d e t c

,
-
r , .
1 58 THE GR EA T EPI C OF I N D I A .

whi ch lie n ea rer together i n pla ce I t wi ll be n ecessa ry to .

trea t these cha pters ra ther full y if we wish to ge t a clea r idea

o f the ma n ufa cture of epic philos o phy .

C omin g the n to deta ils the gl o ka s a re in termi n gle d i n such

, , ,

a wa y tha t p a rt o f o n e olok a i n o n e discourse is p a rt of a n other

i n a n other versi o n Thus a fter the in troducto ry sta n z a which

.
, ,

n a m es the fi ve ele m e n ts with but tri fli n v ri tio ns A h

g a a a s : ,

When ce they a re crea ted thi ther they go a ga in a n d a ga in the , ,

g re a t b h ii t a s fro m o ther
, b h fi t a s like wa ves o f o ce a n ; a n d a s
,

a tort o ise stretc hi n

, g f o rth limbs retra cts them a ga in s o the , ,
”
B h ii t a t m a n a ga in wi thdra ws the b h ii t a s he h a s crea ted In .

”
B the expressi o n
,
“
like wa ves of ocea n c o m es i n the fi rst
sta n z a repla cin g the expression origin a n d destructi o n in
,

A I n C a s re ga rds thi s expression the rea di n g is a s i n A

.
, , ,

but the im porta n t li n es of the tort oise a n d B h fi t a t ma n a ppea r

“
here thus : As a tortoise here ca usin g hi s li mbs t o stretch ,

fo rth retra cts them so the sma ller b h fi t a s i n respect of gre a ter
, ,
”
b h fi ta s ; while B ha s : As a tortoise here stretc hin g fo rth
“
,

li mbs retra cts them a ga in so the grea t b h fi ta s ma ha n t i bh a

, , ,

ta ni m o di fy themselves i n the sm a ller ( youn ger) ; a n d thi s

,

is repea ted i b 1 4 i n a sta n z a om itte d i n the o ther versi o n s

, .
,

with the m o m en to us a ltera tion : As a tortoise here hi s limbs

“
,

o utstretc hi n with d r ws the m eve n so t h e I n t e l le c t ha vin g

g a, , ,
”
crea ted the group of sen ses withdra ws them ,
.

Th e n ext c h a n ge is i n A 8 where a fter sta tin g tha t the , ,

ma ker o f b h ii t a s put the gross elemen ts di fferen tly i n a ll

bein gs the te a cher here a dds but the j i va spiri t do es n o t
,

”
see tha t di ffere n ce which i n the other versio n s a ppea rs wi th
,

out men tio n o f j i va wi th visa ya n i n C fo r va i sa m y a m Of

, .

the n e w group o f eight sources fo un d here I ha ve Spoke n ,

elsewhere All the versio n s ha ve the followin g sta n z a A 1 7

.
,

B 1 6, C 1 8

gu na n
(A C, gu n a ir )
,
n eni a
y t e b u ddh i r, b u ddhi r eve
’
n dri y a n y a p i C
( , ca )
ma n a h s a s t a n i
rva n i ( A bhuta n i ) buddb y ( A t a d)
sa , , ,

a b h a ve ku t o gu n a h ,

tha t is I n te ll ect di rects the guna s ; the sen ses a re i n te llect

,
1 60 THE G R EA T EP I C OF I N D I A .

which is i n lin e wi th the ten den cies a t work here So i n 249 .

,

20 there is a sta n z a whi ch must be co m p a red ste p fo r step

,

with the pa ra ll el pa ssa ges : So ul a tm a n puts fo rth in te ll ect , , ,

’
but n ever ( rea d n a pi) gun a s the gu na s do n o t kn o w so ul ,

but so ul sa kn o ws guna s a lwa ys a n d it is the o bserver a n d i n

, , ,

proper order occupies itself with them Kn o w tha t thi s is the .

differen ce betwee n in tellect a n d spirit ( kse t ra jii a for the pre

cedi n g a tm a n ) o n e crea tes guna s o n e does n o t crea te guna s ;
, ,

both bein g di ffere n t but join ed by the Source un i ted a s a fi s h ,

to wa ter or fly to u du m b a ra or a s shea th to gra ss bla de

, ,
-
.

I n tellect truly crea tes gu na s but the Spirit the L ord s u p e ri n , , ,

ten ds a s the guna s modi fy them selves ; a ll tha t is pa rt o f its

,

o wn n a ture tha t i n tellect cre a tes guna s

, a s a spider does hi s
”
threa d so tha t crea tes guna s
,
.

I n A 3 8 ff ,
“
Se e the di fle re n c e betwee n i n tellect a n d
spirit ks e t ra jri a ; o n e crea te s guna s o n e does n o t crea te gun a s ;
,
‘

a s the fly a n d u du m b a ra so a re they joi n e d ; both bein g di ffer

e n t but j o i n ed by the So urce ; a s a fi s h a n d wa ter a re j o i n e d

,

so a re they ; the guna s kn ow n o t the so u l a tm a n but the , ,

so ul s a kn ows the gun a s a lwa ys B u t bein g a n Observer of

, , .

the guna s ( the Spirit) im a gin es them crea ted ( by hi mself) .

Th e so ul a tma n wi th the se n ses a n d i n tellect a s the seve n th

, , ,

whi ch a re m oveless a n d ign ora n t illumi n a tes the o bject pa da , , ,

like a la m p I n tellect trul y crea tes the guna s the spirit

.
, ,

kse t ra jii a l o o ks o n ; thi s is their co n n ecti o n

, There is n o .

support fo r the in tellect a n d spirit Jil i n d crea tes in tellect but .

n ever crea tes the una s A Yogin i n hi s pro per n a ture

g
”
cre te s ( ja t e ) guna s a s a spider hi s web
a s r 1
, .

C 3 3 begi s a s i n B Kn o w tha t thi s is the di fferen ce

n “
, ,

do wn to the im a ge of the fi s h ; the n omittin g the fly etc , , .

,

o es o n a s i n A : Th u s k n o w n o t the soul a tm a n but

g e
g n a , ,

the soul kn o ws guna s a lwa ys but bein g a n observer o f the , ,

guna s it im a gin es itself the crea tor

, There is n o support .

2
for the in tellect the in tellect b u ddhi r a n ta ra with the
.
, ,

1 Un iq u e . Mi d h e re
n t
i s fo r a ma n i n B .

2 A se n se e ss a l dditi on i s fo u n dh r e e llo we d b y s rj a t e hi gu n a n s a tt va m
,
fo
kse t ra j fi a h p a ri p a cy a t i (a s in A ) . Sa tt va it s e l f a g u n a r e s t s o n r a j a s x ii
, , , ,
 EP I C P HI L OSOP H Y . 1 61

sen ses which ha ve n o eyes a n d a re ign o ra n t ma kes the sen s es

, ,

lumi n o us like a la mp ( the in tellect a l o n e sees the se n ses a re ,

lik e la m ps) thi s is even the fu l fil m %t o f its n a ture tha t

( i n tellect cre a tes ) g u n a s a s a spi der hi s thre a d ; the guna s
1 ”
d
sho u l d be recogn iz e a s a web .

A Sa mkhya text is here cha n ged in to a la te r phi losophy ,

wi th s o u l substituted for Spirit a n d the Y o gin ma kin g gu n a s , .

Hen ce a lso the in te ll ect is gro uped wi th se n ses a s ign ora n t i n

s t ru m e n t s o f the soul whi le M in d is crea tive sou l E ven a pa rt , .

from the philosophi ca l m o di fi ca tion s here vi sible it is di ffi c ul t ,

to see how t h e syn thetic method c a n a ccoun t for these three

2 1 3 , 1 2, m c a ra j a s i s t hi t a m j n a n a dh l s t h a n a m a vy a kt a m b u dd b y
sa tt va ,

a ha m k a ra l a k s a n a m t a d b ij a m de h i n a m a h u h C o m p a r e 2 1 5 2 5 j fi a n a dh i .
, ,

s th a n a m a j fi a n a m v i j ii a n a n u ga t a m j fi a n a m a j fi a n e n a B u t we
’
p a krs y a t e .

h a ve i n a gra y o n a s t i s a t t va sy a a p hr a s e in whi c h s a tt va i s e qui va l e n t t o

’

c o n s c i o u s b u dd hi Th e v a ri e d r e a di n g s s h o w c l e a rly th a t t h e t e x t h a s b e e n
.

t a m p e r e d with I n a c ra y o n a s t i s a t t v a s y a gu n a h c a b do n a e s t a n a i n 240
.
’
,

1 4 fo ll o we d b y s a t t v a m hi t e j a h s rj a t i n a gu n a n v a i ka t h a mc a n a th e r e i s
,

s till a n o th e r p a r a ll e l t o o u r t e x t So i n 2 41 3 ii s a tt v a i s b u dd hi hi g h e r .
, .
, ,

th a n c itt a a s it i s s a i d m e r ge c itt a i n s a ttva ( 247 5 a n d 9 t h e Yo gi n s

,
“
, ,
’

s fi k s m a b u ddh i h ) E l s e wh e r e c itt a b y t h e wa y i s a n o r g a n
. l o we r th a n , ,
“

m in d Th e v e r s i o n i n 1 9 4 44 i s a c ra y o n a s t i s a t t v a s y a k s e
” ’
,
2 76 1 6 ,
.
, ,

tra j ri a sy a c a k a c c a n a s a t t va m m a n a h s a rh s rj a t e n a g u n a n v a i ka da c a n a
‘

( a ft e r t h e wo r d s s t j a t e hi g u n a n s a t t va m ) wh e r e m a n a s m u s t re p r e s e n t a tm a n ,

i n t h e v e rs i o n a b o v e Th e fo r m g u n a h c a b do n a c e t a n a a p p e a r s a s c ri b e s ’
.
,

e rr o r a p p a r e n tly i n 28 6 3 6 a s g u n a s a rge n a c e t a n a b e fo r e t h e m e a n i n g l e s s
, , , ,

wo r d s : s a tt v a m a s y a s rj a n t y a n y e g u n a n v e d a ka da c a n a Th e e p i c s a tt v a .

i s we ll k n o wn : On e i s fi tt e d fo r B r a h m a n e x i s t e n c e a s s a tt va g r a d u a ll y
“

d e p a rts i e a s c irc u m s c rib e d j i va b e c o m e s p u r e C o mp a re a l s o 2 1 7 2 1 —25

,
. .
,
.
,

( 2 1 0 —2 1 7 a re a p r o fe s s e d a dh y a t m a o f N a r a y a n a ) wh e r e it i s s a i d th a t j i va ,

qui ts ra j a s a n d go e s a b o u t lik e s o u n d b u t i n a b o dy a n d th e n g e t s e s t a b li s h e d ,

i n So u r c e a n d fi n a lly l e a v e s e v e n th a t b o dy a n d e n t e r s
, e n d o f b o d y whi c h
“

re s t s o n n o thi n g n i ra c ra y a ”
,
.

1 O
th e r c o mm o n m e ta p h o r s a n d s i m il e s a re th a t o f t h e c o c o o n ( p p 3 6 .
,

b o n ds o f ho p e a c a p a c a Git a 1 6 1 2 t h e n e t x i i 242 7 ff b u t
“
th e , , , , , , ,
.

u n iqu e i s t h e we a v e r o f x i i 2 1 7 3 6 : A s a we a v e r p a s s e s t h e thr e a d thro u g h

, ,

c l o th wi th a n e e d l e s o t h e thr e a d o f tr a n s m i g r a ti o n i s fa s t e n e d with t h e
,

n e e d l e o f d e s ir e s a rh s a ra C o m p a r e fo a m lik e
y a t i ( s a rh s a ra s ii t ra ) t rs n a s fi c y a
-
.
,

b o d y a n d b ir d lik e s o u l x ii 3 22 7; a s we ll a s t h e e l a b o r a t e ri v e r m e t a p h o r s
-
, , ,
-

( t a k e n fro m t h e b a ttle e p i c ) wh e r e t h e b a n k i s tru th wa v e s a re u n tr u th

-
, , ,

d e s ire i s a c ro c o dil e a n d t h e rive r o f t h e u n m a n i fe s t g o e s in t o t h e s e a o f

,

tra n s m i g ra ti o n i ii 207 72 ; x i i 25 1 1 2 ff ( D h P a d 25 1 n a t t h i m o h a s a m a m
, , , , , . . .
, ,
’

j a la rh n
’
a tt h i t a nh a sa m a na di ) .
1 62 THE GR EA T EP I C OF I N D I A .

co n versa tion s From a n hi storic a l poi n t of view the problem

.

is o f course si mple .

Th e questi o n a sked a bove “

Wha t would become of the ,

a ke n up a n d C
”
u na s i n the a bse n ce of i n tell ect ? is t n tin ued
g o

a t the e n d o f the di scussio n : Whe n the gun a s the stra n ds“

,

Spun by in tellect a re di spers e d p ra dh va s t a h they do n o t ce a se

, , ,

to be n a n i va rt a n t e ; a cessa tion n i vrt t i is n o t perceived

, , , .

Thi s is bey o n d the sphere of wha t is imm edi a tely perceptible

( but ) it is a scerta i n a ble throu gh re a so n i n
g a n u ma n a So som e , .

decide while others s a y they ce a se t o be n i vrt t i

, Le t o n e , .

co n sider both views a n d decide a s o n e thi n ks best l o o sen i n g ,

the fi rm kn ot of the hea rt ( a n Upa ni sha d phra se ) c a used by a

d
di ffere n ce of ju gme t n 1 9 4 —
50 5 2
”
B a n d C ha ve
, ,
“
their .

”
a ctivity p ra vrt t i
, is n o t perceived fo r a cessa ti o n is n o t
, ,
“

”
perceived .

Th e Yogi n who a ccordi n g to the te a chi n g o f thi s lecture

,

c a n overp a ss the gun a s is sa id i n the la st secti o n i n a supple

, ,

men t xii 25 2 ff to surpa ss eve n the des tructio n of guna s

, , , .
, ,

a t ikra n t a gu n a ksa y a a n d re a ch the hi hest

, g g o a l .

D e t a i ls o f P h il o s o p h i c a l Sp e c u la tio n .

I t ha s been shown thus fa r tha t there a re n o t on ly three

religious phil o sophi es in the epic but a lso three forma l sys ,

tem s o n e in cul ca tin g the twen ty fi ve o n e the twen ty Si x a n d

,
-
,
-
,

o n e the thir ty t wo c a te gories

-
.

These broa d di ffere n ces a re suffi cie n t t o Show h o w e n tirely

la ckin g i n a n y un ifo rm pla n or sc o pe is epic philo s o phy a s
a wh o le a n d a ls o to pr o ve tha t the epic do es n o t represe n t a
,

prelim in a ry cha o s o f o pin ion s but reflects a t la st three per ,

fe c t e d a n d syste m a tize d sche m es o f phi l o sophy I turn n o w .

t o s o m e deta ils o f specula ti o n i n c o n gru o us for the most p a rt , ,

reflectin g di fferen t in terpreta ti o n s a n d differe n t views ; but in

som e c a ses n oteworthy n o t s o m uch for their la ck o f ha rmon y
with o ther epic schem es a s for the un ique n ess of views foun d
o nl y in o n e o r two p a ssa ges o f the pseudo epic a m id a m a ss -
,

of theories coverin g the sa m e gen era l subject .

1 64 THE G R E A T EP I C OF I N D I A .

do ubtful ma tte rs a n d the a pplica tio n of other proofs a s well

a s di rect perceptio n I n the light of expla n a tio n s curre n t
.

elsewhere i n the epic where do ubt ma kin g is a n a ttribute

“
,
-

”
o f mi n d a n d judgme n t th a t of i n tell ect doubt whi ch is “
, , ,

here clea rly a ttributed to in tellect must in deed from a sy n , ,

thetica l p oin t o f view be i n terpreted by its opposite or o n e

, ,

m a y fa ll ba ck o n the rema rk cite d below tha t this is a ll ,

n o n se n se Fro m a n his t orica l poi n t o f view however the

.
, ,

sta te m e n t m a y sta n d beside the m a n y other in con siste n cies o f

the epic .

Th e sectio n closes with a query o n the pa rt of the liste n er a s

to h o w in tellect h a s fi ve con stituen ts a n d h o w the fi ve se n ses
a re recko n e d a s a ttributes k a tha m p a h c e n dri a u a h to which
, y g n ;
the a n swer is the sta n za : a h u h sa stim b u ddhi gu n a n va i b h ii t a
v i gi sta n i t y a vi sa kta h b h fi t a v i b h fi t i c
’

;
, c a k sa ra s rsta h putra na

n i ty a m t a d ih a va da n t i They s a y tha t the co n stituen ts o f

,

in te llect a re sixty These a re dist in gu i shed by the elem en ts ; 1

.

( but ) a re a lwa ys a tta ched ( to the in tellect) T h e m a n i festa .

tio n s of the elemen ts a re crea ted by tha t which is i n de s t ru c

” ”
ti ble They s a y tha t tha t is n o n eterna l
. Tha t
-
it is .
,

a dde d , whi ch h a s been decla red to you here is fo o lishn ess ,

c i n ta ka lil a m a n d un o rtho dox a n a ga t a m

,
L ea rn i n g the who le
, .

truth i n rega rd to the mea n i n g of elemen ts ga in pea ce of in tel ,

lect by a cquirin g power over the eleme n ts ( b h ii ta p ra bh a va t ,

Yogi p o wer)
-
.

Th e sixty m a y be go t by a ddi n g the fi ve guna s of in te llect

to the fi ve elem e n ts plus their fi fty cha ra cteristic c o n stituen ts ;
but the comm en ta to r sa ys the true coun t is seven ty o n e fi ve -
,

elem en ts wi th their fi fty co n stituen ts a dded to min d a n d in tel

lect with their n i n e a n d fi ve co n stituen ts respectively .

Two vi ews a re give n On e is tha t there a re fifty a n d n i n e

.

a n d fi ve c o n stitue n ts o f fi ve eleme n ts m i n d) nd o ne
( ) o ne
( a , ,

( i n tellect
) 7 1 T h e other. is th a t i n tell ect h a s S ixty c o n

s t i t u e n t s fi ve of its o wn
, fi fty o f the elem e n ts ( a s p a rts of
,

i n tell ect) a n d the elemen ts them selves ( which a re di fle re n t

,

1 Th e c o m me n a t to r pa apr hra s e s b h fi t a vi c i s t a h with p a h o a b h fi t a n y a pi

b u ddh e r e va g una h
,
“
t h e fi ve e l e m e n t s a re c o s tit u e n t s o f i n t e ll e c t
n .
”
 EP I C P HI L OSOP H Y . 1 65

from the con stituen ts) Th e la tte r view is repudi a ted a s

.

un orthodox a n d the fi na l in jun ct io n is given t o turn fro m

,

thi s c a lc ul a tio n to Y o gi di sciplin e - .

This un orthodox e n umera tion is represe n te d elsewhere by

the title of Civa who is ca lled sa st i b h a ga xiii 1 7 72 a n d per
, , , , ,

ha ps a lso by the m ysterious m a n o vi ru ddh a ni i n the en umera

tion o f the psychi c colors expla in ed bel o w Seven hun dred .

vy fi h a s or f o rm s of a cti vi ty a re tra versed by the soul o n its

, ,

wa y through re d a n d yell o w t o white whe n it courses a bove

, ,

the eight worlds Then follows x ii 28 1 46

.
, , ,

a s ta n c a s a s t i mc a ga ta n i c a i v a
’

m a n o vi ru ddh a n i ma h a dy u t i n a m

Th e eight ( worlds ) a n d the sixty a n d the hun dreds ( of

”
vy fi h a s ) a re im pedimen ts to the min d o f the ill umin a te .

Th e sixty a re here expla i n ed a s c o n stitue n ts o f existe n ce still

a dh eri n
g to the w hi te soul Th e co mm e n ta tor h o wever
.
gives , ,

a n en tirely di ffere n t expla n a tio n fro m the o n e a bove a n d ,

tho ugh much the sa m e i n rega rd t o the la st two ca ses hi s ,

in te rpreta tio n is n o t quite un ifo rm I n the fo rm er c a se the .

,

o d e n j o ys t a tt va s or topics experie n ce d a s st a te d a t the

g ,

b e gi n n i n g Of the Ma n dfi kya i n u n c o n sci o us slumber wa ke

, ,

ful n ess a n d o rdi n a ry sleep e a ch o f the la tter bein g the rea l

, ,

or illusion a ry fi n e a n d gro ss elem en ts a dded t o the n in ete e n

“
do o rs of e n j o ym en t s o ul fi ve brea ths a n d the usua l thi r
, , ,

teen ( te n orga n s mi n d in tellect a n d egoism) ; while tw o of

, , ,

the sixty a re a ttributed to drea m less slumber ceta s so ul a n d , , ,

subtilest c a pa city I n the la tter ca se the three sta te s a re sur

.
,

pa ssed by a fo urth sta te to whi ch the impeded white so ul c a n

,

n o t a tta i n . Th e impedi me n ts a re m uch the s a m e a s th o se

a bove but in clude i n o ra n ce desire a n d a cts ( the tri a d m e n
, g ,

t i o n e d a bove ) a n d the sta tes them selves

, .

Th e Se v e n te e n .

In the expositi o n given in x i i 276 6 ff a b o ve p 1 5 6 there , , .

, ,
.
,

is a gr o up o f seven teen with a n a dded spiri t m a ki n g eighteen ,

”
in a ll F urther there a re
.
“
eight bein gs o f bei n gs whi ch re ,
 1 66 THE GR EA T EP I C OF I N D I A .

mi n d o n e of the eight sources but in stea d of the usua l group ,

we fi n d here the gross elem e n ts Ti me bein g a n d n o t bein g , , ,

-

1
e
( g o is m is n o t a f ctor here a t a ll
a
) .

Th e group of seve n te e n pla ys a n imp o rta n t p a rt i n epic

ca tego ries but it is cle a r fro m a com pa ri s o n of the ca ses th a t
,

there is n o sym metry of system i n the expla n a tio n I t is i n .

short a s is the c a se i n other in sta n ces a Sa mkh ya n term used

, ,

beca use it is a n o ld te rm but expla in ed di fle re n t ly i n di ffere n t ,

ca ses On e fo rm we ha ve just exa m in ed ; a n o ther I ga ve i n

.

the fi rst cha pter a bo ve p 3 3 where wa s sho wn a la te gro up , , .

,

of seven teen con ta in i n g most of the elem en ts o f the sa m e

,

roup i n the V e da n t a s a ra fi ve eleme n ts m i n d i n tell ect e go

g , , , ,

i s m fi ve o rga n s o f se n se spirit a tma n a n d the three guna s or

, , , ,

c o n stituen ts o f a ll tha t is n o t pure spirit .

On the other ha n d the Sa mkh y a n group a s i n Apho risms ,

iii 9 m a y be un derstood of the b o di ly con stituen ts ( te n o rga n s

, , ,

m in d i n tellect a n d fi ve elem e n ts) i n a pr a ise of Ci va who cre

, ,

a te d the seven gua rdi a n s a n d te n others wh o gua rd thi s

”
city v1 1 201 76 Th e city here is the b o dy a s i n the Up a
2
, , , .
,

n i s h a ds a n d G i ta (
”
C ve t 3 1 8 ; G 5 elsewhere c a lled .
, , .
,

“
house a s i n v 3 3 1 00 this house of n in e doors thr ee
,
“
, , , ,
”
pilla rs fi ve wi tn esses un der co n trol of the Spirit 3
, , .

1Thi p iti i ll d illy t lk d t p l a p a h

s ex os 2 80 23 b
on e s ca e s a ,
us a ra ,
xu , , , eca us

it d t r
oes no g iz th t t h r f tr m i g r ti m y b b r ght t
eco n e a e c ou se o a ns a on a e ou o a n

e n d F
. it i t ght i t h f ll wi g h p t r th t t k wl dg p
or s a u n e o o n c a e a no no e e , enan ce ,

a n d ri fi b t ly lf r tr i t
sa c ce ,
r lt i t h tt i m t f Vi h
u on se -
e s a n ,
c a n e su n e a a n en o s nu,

th pr m G d
e su F e g l d m ith p ri fi g l d i fi
e o . th l i p ri or a s a o s u es o n re s o e so u s u

fi e d b y ma n y r e b irth s by l Ha ri c r e a t e s wh o s e s e lf c o n s i s t s o f t h e
or o ne a o ne .
,

e l e v e n m o d i fi c a ti o n s e ka da c a vik a a t m a th e s u n i s h i s e y e h i s mi d i s in
,
r , ,
n

t h e m o o n h i s i n t e ll e c t i s i n k n o wl e dg e e t c
,
a n d t h e g u a s a re e s s e n ti a lly o f ,
.
,
n

G o d 2 8 1 9 1 1 —1 2 1 9—2 1 24
, ,
,
He r e a s I h a ve e ls e wh e r e p o i n t e d o u t e l e ve n
, , .
, ,

m o d i fi c a ti o s t a k e t h e p l a c e o f t h e r e g u l a r s ix t e e n e v i d e n tly t h e o r g a n s a n d
n ,

m i n d with o u t t h e e l e m e n t s .

2 I n c o n j u n c ti o n with t h e t wo b ir d s
( s p irit s ) a n d p i p p a l tr e e s ( vi ka ra s ) ,

m a n a s a n dv a u s u p a rn a u v a c a c a kh a h p i p p a l a h s a p t a go p a h d a c a p y a y e y e ’
n

p r a mdh a ra y a n t i
u C o mp a r e fo r t h e b ir d s a n d p ip p a l tr e e Mu n d Up iii 1 ;
. . .
,

Cve t . i v, 6 .

3 Th e fi ve s e n s e s, m ind i t ll t g i m d
,
n e ec , e o s ,
a n th e gr o ss bo dy ,
m a ke t h e
n in e ; th e p ill a r s a re e s a n s o a nc e esr tr i t i g r
e d ir
a c ti o n ; t h e h o u s e i s t h e
,
n , ,

bo dy th e w itn e s s e s a re t h e s e n s e s s a y s t h e c o m m e n ta t o r wh o a t Git a 5 1 3 , , , , ,

gi ve s a diffe r e n t e x p l a n a tio n o f t h e n in e Th e witn e s s ( a s i n p o p u l a r s tyle i .

, ,
1 68 THE GREA T EPI C OF I N DI A .

Th e ( A ) P a rt i c l e s
Si x t e en .

Wh a t h a s ha ppe n e d i n the mixture jus t described is

obvious e n ough Th e fiftee n ka la s men tio n ed a bove a s
.
,

som ethin g to be a b a n do n e d im ply a sixteen th k a la the , ,

n o t to b e a b a n do n e d psychic e n tity itself

- - -
Th e impe di men ts .

a re c a ll e d in di ffere n tly k a l a s a n d g una s the f o rmer bein the

g ,

o l d design a tio n as i n M u d Up iii 2 7 the fifteen k a l a s

n ,
“
. .
, , ,

di s a ppe a r
”
Here a s i n E rh Ara n i 5 1 5 the sixteen th is
. . .
, , , ,

the soul ; b u t in Pra g Up vi 2—5 the soul is the source o f . .

, ,

the sixteen s a p u ru so y a s m in n eta h so da ga k a l a h p ra b h a va n t i

, ,

P uru sa m a kes the m e a ch from the prece din g : bre a th fa ith

,
“
, ,

fi ve eleme n t s sen se min d foo d e n ergy a usterity hym n s

, , , , , , ,

s a crifi ce the world a n d the n a me ( in di vidua li ty ) a n d they

, , ,

a l l flow b a ck i n t o P u ru sa i n reverse order I n x 1 i 47 5 3 ff .

, , .
,

( where the S a m kh y a t m a n is y o ga t m a n m a a t m a n vi cv a t m a n
y , , ,

g po t ra t m a n
) G o d is the Sa m khy a s Seve n tee n th h a vi n
g three ’
,

fo ld so ul ( t ri dh a t m a n a wa ke dre a mi n g i n dre a m less sleep )

, , , ,
”
sta n din g in soul en velo ped i n the sixteen guna s
, Th e six .

teen i n xii 21 0 3 3 a re the eleven orga n s a n d fi ve o bjects of

, ,

sen se which com e from ( 1 ) the Un m a n i fest pro ducin g ( 2) a c t

, ,

b o m in tellect whi ch pro duces ( 3 ) e goism when ce c o m e o n e

, , ,

out of the other ( 4 ) a i r ( 5) win d ( 6) light ( 7) wa ter ( 8 )

, , , , ,

e a rth the eight fun da m en ta l sources o n which the un iverse is

,

esta bli shed ( vs 29 the sixteen m o di fi c a tio n s t e n orga n s fi ve

.
, , ,

objects o f se n se a n d mi n d) C o m p a re a ls o a bove the freed

,
“
.

”
from six a n d sixteen So i n x ii 242 8 xiv 5 1 3 1 where
.
, , , , ,
”
every cre a ture h a s a bo dy m ii rt i a n d c o n sists o f Sixteen
“
, , ,

m u rt i m a n so da c a t m a ka h Th e Up a n ish a di c k a l a s a n d the
.

Sa mkhy a gr o ups ha ve un ite d a n d i n turn a re a fi e c t e d by ,

other la ter gro ups I n xii 240 1 3 there is a gro up o f six teen
.
, , ,
”
“
a lwa ys i n the bo dies of in corpora te cre a tures the fi ve ,

se n ses a n d the fi ve o bjects of sen se the s va b h a va or in di vidua l ,

n a ture in tell ect o ct a n a a n d m in d a dde d t o two vit a l bre a ths

, , ,

a n d t o spirit itself ; while i n 3 02 24 s v a b h a va a n d o ct a n a a re , ,

a pp a re n tly n o t i n clude d in the sixteen guna s whi ch e n c o m

p a ss the bo dy ; or if the sixtee n be in terprete d a s in cludin g
,
 EPI C P HI L OSOP H Y . 1 69

them then i n both c a ses we h a ve a group of sixteen q u i te

,

distin ct from th a t i n the previ o us secti o n where orga n s a n d ,

o bjects of se n se m a ke the n umber Further i n the form er o f .

,

the two la st sectio n s c e t a n a is di stin ct from m a n a s with which

, ,

it is elsewhere iden tifi e d ( see the sectio n cite d o n p 3 4 fro m .

the thi rd book ) C o m p a re a lso the a ccoun t o f cre a tion i n

.

xii 23 3 1 0 H a lre a dy referre d to where the seven m a ha t

, , .
, ,

m a n s in tellect mi n d a n d the elem en ts un i te to m a ke bo dy

, , , ,

a s a b a se fo r spirit c a ri ra rh c ra y a n a d b h a v a t i m fi rt i m a t s o da
, ,

a t m a k a m 2 3 3 1 2 in to which e n ter m a h a n t i b h fi ta n i Th e
c , , , .

elem en ts a re the gross a s they a re described i n 91 8 ( guna h , .

s a rv a s y a p fi rv a s y a p ra p n u v a n t y u tt a ro t t a ra m ) a n d there see m s ,

no re a s o n for di fferen tia tin g them fro m the G re a t B ein gs ,

though the commen ta to r ta kes them a s in tell ect a n d ta n ma

tra s a n d the sixteen a s gross elem en ts a n d eleven o rga n s
, ,

expl a in i n g the who le pro cess a s the cre a tion of the li ri ga in

’

the s t h fi l a bo dy .

Th e gro up of sixtee n plus a seven teen th a s give n i n the ,

schem e a bove is a c o m bin a tio n of two sche dules o n e the

, ,

regul a r seven teen of the Aphorism s the other a n e a rli er gro up ,

o f six tee n o nl y in whi ch the sixtee n th is the perm a n e n t spir

,

i t u a l p a rt a s c o n tra ste d with the fi ftee n imperm a n en t p a rts ,

li ke those of the m o o n x ii 3 05 4 , , , .

Th e Si x t e en ( B ) o r E le ve n Mo d i fi c a t i o n s .

Th e epic ( a s a lre a dy cite d) gives the m o difi c a tio n s a s eleven

in n umber Ap a rt fro m the usu a l expl a n a tio n s of these
.

eleven there is a p a s sa ge xii 25 3 1 1 : Thr ee hi gher guna s

,
“
, , ,

a re in a ll cre a tures besides the fi v e gr o ss elem e n t s with mi n d

, , ,

whi ch is essen tia lly a n a lytic vy a ka ra n a t m a ka m a s the n i n th , , ,

i n tell ect the te n th a n d the in n er so ul a n t a ra t m a n a s the

, , ,

eleven th Here the co mm en ta to r expl a in s the three a s i gn o

.

ra n ce desire a n d a ction ( a vidya ka m a ka rm a cl

, , tho ugh , , , .

in the text bh a v a a b h a va a n d ka l a a re give n a s thr ee a ddi

, , ,

ti o n s ( 91 with o ther dep a rtures from the schem e a lre a dy

.

rec o gn i zed in wha t precedes B u t a p a rt fro m thi s speci a l .

c a se the fa ct rem a in s th a t i n som e p a rts of the epic a s i n iii

, , ,
1 70 THE GR EA T EP I C OF I N D I A .

21 3 , 1 8 ( p . x 11 , 2 8 1 , 20, on l y eleven modifi c a tio n s a re

a dmi tte d .

On the other ha n d sixteen m o di fi c a tion s eleven orga n s a n d

, ,

fi ve elem e n ts a s in the re gul a r Sa m kh y a n system a re ful ly

, ,

rec o gn ized a s i n x 1i 3 1 1 8 H a n d elsewhere

, , , .
,
.

There is therefore n o un iform epic i n terp ret a ti o n of the

, ,

mo difi c a tio n s .

Th e E i gh t S o u rc e s .

As given bove fro m xii 21 0 28 a n d 3 1 1 1 0 the m al a

a , , , ,

ra krt a a h or ei ht fun da m e n ta l procre a tive powers a re the

p y g
”
U n m a ni fest i n tellect ( b o rn of a ctivity the result of the
,
“
,

eq uil ibrium bein g disturbe d by tej a s e n ergy) e go ism a i r , , , ,

win d li ght w a ter a n d e a rth ; or i n o ther words ( the fi n e ele

, , ,

men ts bein g ign ore d a s usua l ) the fi ve elemen ts a n d self

, ,

co n scio us in tellect a s the fi rst m a ni fest pro duc t ion o f the u n

m a n i fest pro duce everythi n g B u t in Gi ta 7 4 the eight “
.
, , ,

s o urces a re these elem e n ts plus mi n d sel f c on sciousn ess a n d ,

-
,

in tellect Th e termi n olo gy it m a y be observe d is a l re a dy

.
, ,

bro ken up i n the Gi ta I n this p a ss a ge a n other s o urce “

.
,

p ra k rt i is , the j i v a b h ii ta w hi ch is the s a m e with , o n e of the

” ”
two spirits p u ru s a s in 1 5 , o n e o f whi ch is
, a ll be i n s
g , ,
”
with a thi rd spirit the L o rd I cva ra p a ra ma tm a n a dde d i n
, , , ,
”
1 7 who is n o t iden ti fi ed with the a ks a ra but is
,
“
hi gher .

When ho wever e go ism is rejecte d i n fa vo r of spirit a s in the

, , ,
”
Se cret o f the V e da n ta then the gro up of eight a ppe a rs a s
,

the Six sen ses ( the fi ve sen ses whi ch a re perceptive vi jfi a n a ni , ,

with m in d a s the sixth) in tell ect a n d Spirit Other groups , .

of eight like the la st seem t o be b a sed o n thi s e a rly gro upin g

, ,

o f pr o ductive ele m e n ts They a re a ss u m e d in xiii 1 6 5 4

.
, , ,

where Civa is the eight s o urces ( a b o ve eight fo rms a n d he

”
who is a b o ve the s o urces a n d they a re perso n ifi ed in the per ,

s o n a l cre a tio n of x ii 3 41 3 0 H a s eight s a ges who a re

“
,
”
, .
, ,

sources tho ugh cre a te d from the elemen ts

,

Ma ri c i r Afi gi ra c c a t ri h P u l a s t y a h Pu l a h a h K ra t u h
’

Va s 1 s t h a q c a ma ha tm a va i Ma n u h Sva y a mb h u va s .

ta th a
j fi e y a h p ra krt a y o s t a u t a y a su l o ka h p ra t rs th rt a h
‘
 1 72 THE GR EA T EPI C OF I N D I A .

eleme n t in Slime bi le swe a t fa t blood There a re fi ve vita l , , , , .

a irs ( win ds ) whi ch c a use a perso n to move 1 8 4 24—25 : , ,

pra h a t p ra ni y a t e p ra n i vy a n a d vy a y a c c h a t e ta th a
ga c c h a t y a p a n o dh a c c a i va
1
s a m a n o b rdy a va s t h i t a h
‘ ’

u da n a d u c c h va s i t i c a p a
r t i b h e da c ca b h a sa t e
ity e va p va y a va h
c e s t a y a n t i h a de h i n a m a h oa
’

Th e fi ve se n ses belo n g to the fi ve eleme n ts ; o n e smells by

re a s o n of the e a rth e leme n t ; ta stes bec a use o n e h a s the e l e -

men t of wa ter ; kn ows color through the eye a s the fire

elem en t ; kn o ws touch through the wi n d Sm ell is of n i n e .

sorts ; ta ste is of Si x sorts ; color ( a n d form ) of s i x t e e n sorts ,

color di sti n uished from form is of six s o rts whi te bl ck

( a s g a , , ,

bright— re d yellow blue yell o w re d )

, win d h a s a double cha r
, ,
-

a c t e ri s t i c sou n d a n d touch ; touch is the cha ra cteristic o f wi n d

,

a n d is of m a n y sorts viz twelve ; a ir ( spa ce) h a s but o n e , .

,

cha ra cteri stic soun d B u t there a re s e ve n sorts of soun d ( the

,
.

mut c a lled sa dja rsa b h a n dh a ra m dh m dh i

g a ) g a a y a a a v a ta
, , , , ,

p a ii c a m a n i sa da Wha tsoever soun d of drum thun der etc

, .
, , .
,

is hea rd is co n ta in ed i n this group of seve n s o un ds (n otes) 2

.

Th e more exten ded a ccou n t o f a irs i n the n ext cha pter gives
t e n vita l bre a ths or a irs th o ugh it describes but fi v e n a dy o , ,

da ga p ra n a p ra c o di ta h xii 1 8 5 1 5 ( a s n oticed a bove p 3 6 , , , , .

,

with the c o rresp o n de n ce i n the thi rd book ) I n xiv 5 0 42 .

, ,

fi . the s a m e ( duplic a te d) a ccoun t sa ys smell is of t e n sorts ;

,

col o r ( fo rm ) o f twe lve sorts ; soun d of t e n sorts ( the ga m ut

,

a n d a lso soun ds which a re a greea ble di sa greea ble a n d com , ,

Thi i t h l t r vi w th t p a wi d p a y fi p a t h p a m
‘
1 s s i th
e a e e a a na s a nus s na
e n , e ,

Pra c n a Up i ii , 5 . .

2 On t h e s i x c o o l rs V e d n d t h e li ght o f
m e n ti o n e d t g th r i o e e n t h e Ri g a , a

thirty fo u r ki d s e e m y a rti c l e o C o l o r W o r d i t h e R i g Ve d A m J
-
n s, l n s n a ,
. o u rn a

o f Phil i v p 1 9 0 . Se ve n r e c it ti o
,
. o n o te
. e r e c o g iz e d i th e Ch a d a ns r s a r n n n .

Up ii 22 1 ; t h e r o a ri g o t e i t h e A g i o t e ; t h e u n c l e a r i s Pr a j a p a ti s ; ’
.
, ,
n n s n n

t h e l e r o d e fi it e i S m s t h e o ft s m o o th i V a y th e s m o o th s tr o g
’ ’
c a r n s o a s ,
s u s n ,

i s In d r a s ; t h e h e r o n o t e i s B h a s p a t i s ; t h e i h a r m o i o Va r a s
’ ’ ’
-n
i r n n u s, s un .

Th e a me n h e r e a e i n d fi ite a d a p p ly v a gu e ly t o s e v e n d i vi n iti e s Th e y
s r e n n .

a re fo d l o i o th e r e a rly lit e ra t re Th e e p i c n a m e s h ve n o a a lo gy i n
un a s n u . a n

t h e Up a i h d till t h e G b h a
n s a On t h e o th e r h a d t h e e p i c g r a m a g m u t i s
s a r . n ,
a ,

l a te C o m p r e a b o ve p 1 3 v a i ; a l o s p t t t i Vi a iii 1 3 4 1 4 t h e
. a , .
,
n s a a a n r n , , , ,
“

s e v e n s tri g e d lyr e c a ll e d s dg a m a a g a di s a m a dh i y kt a i n H ii 8 9 68
”
- n , a r r u , .
, , .
 EP I C P HI L OSOP H Y . 3

pa ct a lthough the t wo descriptio n s a re a l most ide n tic a l .

E a ch however h a s a dded n e w fa ct o rs Th e A n u gi t a li st
’

, , .

b ette rs the c a reless text a b o ve whereby the s o un d c a lled ,

“
Fifth m st n ds i n the Sixth pl a ce
( xii 1 8 4
‘

p a ii c a a a , , , ,

Th e F i v e Su b t i l e E l e m e n t s . G ro s s a n d Su b t il e B o di e s .

Th e word for subtile elem en t t a n m a t ra is la te a n d a s I , , ,

thi n k its eq ui va len t is n o t ofte n t o be un derstood Th e e a r

, .

lier schem es were co n ten t with elemen ts the la te r or a ,

di vergen t in te rpreta tio n i n troduc e d fin e eleme n ts Sfi ksm a ni , , ,

the la test ha ve the cla ssica l te rm t a n m a t ra n i Of course the .

comm en ta tor ofte n in te rprets fi n e eleme n ts where n o n e is

men tio e d n T hus i n xii 2 0 5 5
. 1 “
a s the eleme n ts di s a ppea r
, , , ,

o n the destructio n of the gun a s so i n te llect ta ki n g the se n ses ,

”
exists i n mi n d where subtil e forms m a y be in ferre d a s , ,

they ma y be in xiv 5 1 1 3 where vi cva s rj is doubtful ( v , , , .

I n xii 25 2 21 a vi c e s a n i b h fi ta n i a n d i n xii 3 1 1 8 ii where

, , , , , , .
,

the mo di fi ca tio n s of the fi ve elemen ts a re a ga in elem en ts

( a bove p ,
fi n e eleme n ts a re reco n i z e d
.
g I n xii i 1 4 .
, ,

423 vi di t va s a p t a
,
s fi ksm a ni sa da fi ga m t va m c a m fi rt i ta h ,

kn owin g thee a s ha vi n g i n bodi ly form the subtil e seven ,

”
a n d ha vin g Si x lim bs the comm en ta to r m a y be ri ght i n ,

a n a lyzi n g the seve n a s i n tellect ego ism a n d fi v e t a n m a t ra ni , , ,

’
a s he does i n the c a se o f the Yo gin s li fi ga soul a lso sa id to , ,
”
ha ve seven s fi ksm a s xii 254 E lsewhere there a re eight , , ,

( powers ? ) cha ra ct e ristics of the subtile bo dy of the Yo gi n ,

xii 3 1 7 6
, , .

B u t it must h a ve c a used surprise i n the ma n y schemes

g i ve n a bove tha t a cle a r in di c a tio n of thi s theory is so Of t e n
,

la ckin g where it woul d be m o st i n pla ce Th e elem en ts a re .

simply ma h a b h fi ta s ( sic or b h fi ta n i ) Onl y the la test pa rt , .

of the epic h a s the techni ca l wo rd i 9 0 1 3 —1 4 where the , , , ,

1P rh p h w v r t h
e a v
s,f l d k wl dg o f t h Y gi i m
e e ,
t i e se en o no e e o e o n s ean a s n

Sa tr ii 27 Th p
a , ,
g b . i ii 1 4 42 3 ie p y f i i 2 54 1 5 wh r
a ssa e a o ve . x , , ,
s a c o o x , , , e e

the s e v e n a re e xpl i d b j t m i d i t ll t m h t t h
a ne m i
a s se n se s, o e c s, n ,
n e ec , a a , e un an

f t
es p irit ( t h
,
s i h r pl i d e ll k wi g
s x t t k wl dge
a re e e ex a ne a s a - no n ,
c on en , no e

with t b g i i g i d p d
ou e v r l
nn n r i g ht d l p w r )
, n e en enc e, e e -c ea s , en e ss o e .
1 74 THE GR EA T EPI C OF I N DI A .

S piri t kse t ra j n a is conn ecte d with the ta n m a t ra s before birth

, ,

in the b o dy ; a n d xii i 1 4 202 where t h e o rde r of Ci va s

'

’
, , ,

cre ti is
a o n m i n d n
1
i tellect egoism the ta n m a t ra s a n d th e , , , ,

2
orga s n

I n x n 202 1 8 H when the soul lea ves the body a n d ta kes

, , .
,

a n other it is sa id : A m a n lea vin g hi s body en ters a n o ther

,

u n see n bo dy Aba n don i n g his body to the fi ve grea t ( gross)

.

elemen ts b h ii t e su m a h a t s u he ta kes up a form a lso depen den t

, ,

3
on these t a da cra ya rh c a i va b i b h a rt i ru p a m
, Th e fi ve
’
.

( sen ses ) exist i n the fi v e grea t elem en ts a n d the fi ve o bjects

of sen se i n the sen ses , Here there is a n other b o dy but it is .
”
,

composed of the sa m e grea t elemen ts a n d n o other elem e n t s

a re rec o n i ze d T n e w bo dy is c a lled a li fi a 4
g h e
g . but so is the ,

o ld gro t ra di yu kt a h s a m a n a h s a b u ddh i r l i a a t ta tha a c h a ti

, g g c

li fi ga m a n ya t possessed of hea ri n g a n d other se n ses a n d

,

ha vi n g m in d a n d in te llect he p a sses out of o n e body to

”
a n other 9 1 1 4 , . .

E lsewhere it is sa id tha t the bein gs t ha t pa ss out of the

ross bo d y p a ss i n to a subtile s fi ksm a b o dy a n d a re c a lled
g , , ,
”
s ii ksm a b lrfi ta n i s a tt v a n i fi n e bei n gs which wa n der a bout , ,
”
li ke sun bea ms superhuma n a t i m a n u s a m x n 254 1 —3 ( sa ttva
, , , , ,

is b h ii ta t ma n ) Th e pa ssa ge i n xii 3 45 1 4 ff h a s a lre a d y

.
, , .

bee n referred t o Here the s u n is the door ( a s i n the I ca ) a n d .

the dea d becom e p a ra m a n u b h ii ta h then m a n o b h fi ta h a n d the n , ,

H r m ti t d f b dd hi it d r a i a i ta i ’
1
e e a i ii 202 21
s an s or u ,
a s oes n x , , , sa v n c n

m a n o n u g a n i , b u ddh i m m a n o
‘
n ve ti m a t ih s va b h a va m,
“
th e se n se s fo ll o w
d
m in , m i n fo ll o ws i n t e ll e c t , d i n t e ll e c t fo ll o ws t h e p ur e e n tity ( h e re e q u i va
le n t t o p a ra m a h s va b h a v a h o f 203 , l ) .

2 rd
Th e wo r ly i n l a t e Up a n i s h a d s a c c o r di n g t o Co l
t a n m a t ra o c c u s o n , .

Ja c o b s Co n c o r d a n c e h i s r e fe r e n c e 8 p a h o a in c lu d e s Ma itri i ii
’
To t h e .
°
, ,

l a s t Ga rb e i n h i s s a mkhya Phil o s o p hi e a dd s ( p 23 9 ) K a th a i v 8 r e fe rrin g

, ,
- .
, , ,

t o B e gn a u d M a t é ri a u x p o u r s e r v ir a l h i s t o i r e de l a p hil o s o p hi e de l I n de ii ’ ’

, , ,

3 1 32
,
Thi s i s a n e rr o r
. Th e K a th a k n o ws n o thi n g o f t a n m a t ra s
. Pr a gu a .

m u s t h e m e a n t wh e r e m a tr a s a e m e n ti o n e d i v 8
,
r , ,
.

8 C o m a r e t a n m a t ra m b u t i n t h e
p a s s a g e c it e d t a d m u s t r e fe r gra mm a t i
p
-
, ,

c a lly t o t h e g r e a t e l e m e n t s .

4
So i n x i i 3 07 1 8 t h e Y o g i n s till i n h i s gr o s s b o d y b e c o m e s qu i e t a s a
, , , , ,

l a mp i n a wi n d l e s s p l a c e Shi n e s lik e a l a m p ( o r i s lik e a s t o n e o r p i e c e o f

,

wo o d ) W h e n h e s hi n e s fo rth a n d i s n i rli fi ga h a n d m o v e l e s s h e wo u l d n o t b e
. ,

r e b o rn He r e l i fi ga s e e m s t o b e m e re ly a d i s ti n gu i s hi n g m a rk
. .
1 76 THE GR EA T EPI C OF I N DI A .

a lo n e is destroyed Th e vita l spirit supporte d by the bo dy

.
,

ri ra c ri t o ji va h is n o t destroyed whe n the bo dy is destroyed ;

'

g a ,

for it is like the fla me when the wo o d is burn ed ( implyi n g

tha t tho ugh in visible it exists ) Just so sa ys the objector .
, ,
“
it is li ke the fla me but n o fla m e is a pprehen ded when the ,

wo od is used up a n d I rega rd such a fi re when the wood is

, ,

used up a s destroyed sin ce it h a s n o visible course n o r proof

, , ,

(p ra m a n a
) n o r thi n
g t,o hold to s a m s t h a n a To this the ,
”
.

a n swer is : Th e fi re is n o t a pprehe n ded beca use it h a s di s ,

a ppe a re d i n to a i r without a support So the vita l spirit o n .

,

1
a ba do n i
n n
g the body exists like a i r but like fi re it is n o t
, ,

a pprehe n ded bec a use of its subtilty s fi ksm a t va t ; the vi ta l

, ,

brea ths a re upheld by fir e a n d this fi re must be rega rded a s the

vita l spiri t When brea thin g is restra in ed the brea th uphold
.
,
-

i n g fi re is destroyed When the bodi ly fi re is destroyed then

.
,

the b o dy ( deh a m becomes sen seless a n d fa ll s a n d becom es

,

ea rth ya ti b h i rmi t va m ; for ea rth is the pla ce it go es to a ya n a

'

.
, ,

B rea th a n d fir e go to a i r for these three a re o n e ; the pa ir ( of ,

other eleme n ts) is fi xed o n ea rth These ( eleme n ts ) a ssum e .

form o nl y i n con n ection wi th bodi es ( either mobile or im

mobile 1 8 7 9 ,
Th e fi ve se n ses a re n o t u n i versa lly
,
’
foun d ( a n d the body s resolution in to eleme n ts does n o t
2

a ffect the soul ) the in n er so ul a l o n e c a rries the body it a lon e ,

smell s ta stes hea rs etc Th e in n er s o ul is ( n o t l o ca l but)

, , , .

foun d i n a ll the pa rts of the bo dy presidi n g o ver tha t ( m in d) ,

whi ch h a s fi ve ( cha ra cte ristics ) i n tha t ( body ) which con sists ,

of fi ve ( elemen ts ) Th e soul does n o t di e whe n the body

3 ”
peri shes .

This is P a ra ma tma n doc t ri n e i b 23 a n d si n ce from the , .

,

1 x1 i ,1 87, 6, j i vo h y a k a c a va t s t h i ta h re mi n d s
( s a rv a ga t o n i ty a c c a , c o mm ) ,

one o f B AU iii
,
2, 1 3 , a ka c a m a t m a , o n
. ly t h e s tra n g e B u dd hi s ti c a s s u m p ti o n
( o f Ka rm a a l o n e r e m a in i g ) i s h e re c a r e fu lly g u a r d e d a g a i n s t th o u g h t h e
n ,

p r e c e d i n g s i m il e s u gg e s t s t h e s o u l s fa t e t o b e th a t i n t h e Up a n i s h a d
’
.

2 L it r a lly :
e I n r e s p e c t t o wh a t y o u a re s a yi n g ( wh e th e r t h e o p e r a ti o n o f
m in d a n d s e n s e s i n di c a t e s a n a g e n t ) th e r e 1 8 n o g e n e r a l a p p li c a ti o n o f t h e
fi ve , 1 8 7, 1 9 .

m i t h y a i t a d a h u r m rt s ity c a ri ra b h e da h,
’
b u dda h : da c a rdh a t a i
’ ’
2 a va sy a

1 8 7, 27 .
 EP I C P HI L OSOP H Y . 1 77

beginn i n g of the di scussio n where the eleme n ts a re in tro duced ,

1 8 4 1 ff to the cl o se a s give n a bove there is every o p p o rt u

, .
, ,

ni t t o in tro duce the fi n e eleme n ts it is evide n t they ha ve n o

y ,

p la ce in thi s system We m ust either a ssume therefore tha t.

, ,

they a re kn o wn i n s o m e pa rts of the epic a n d a re n o t kn own

i n others o wi n g t o a di fi e re n c e hi sto ri c a lly o r tha t they a re
, ,

ta ught a n d n o t ta ught in di fle re n t pa ssa ges owin g to a fun da ,

men ta l do ctri n a l di fle re n c e Th e syn thetic in terpreter is wel .

com e to either horn of thi s di lemm a .

Th e orthodox popu l a r belief whi ch o f course is a lso ta ught ,

”
i n the epic is tha t o n e c a n go to he a ve n with a
, divin e f o rm ,

a s i n xviii 3 42 I n xvii 3 22— 2 8 o n e goes to hea ve n

, , .
, , ,
”
with h i s ( hu m a n ) body Th e re a s o n m a y be tha t expla i n ed.

in the words 1
beca use o f G o d s reside n ce i n them the gros s ’
,
”
elem en ts a re eterna l These life bre a ths a n d so fo rth exist
.
-

etern a ll y even i n the other world for a Cru t i sa ys s o i n the , ,

wo rds : E ven when go n e to the other world the life brea ths -

of in c o rpora te bein gs a lwa ys xv 3 4 1 0 ( text a bove , , , ,

p .

Th e b o dy comes a ccordi n g t o the epic fro m e a rth a lo n e or

, ,

from va ri o us elem en ts Acc o rdi n g to the schem e give n a bove .

fro m xii 1 8 4 4 the b o dy is m a de o f ea rth So the e a r com es

, , , .

fr o m a i r ; the eye fro m the s u n etc xii 276 1 1 ta sya b h i , .

, , , ,

mi ma y o de h a h C om pa re xii 240 7 fr o m e a rth the b o dy

.
“
, , , ,

fro m wa ter the fa t fro m li ght the eyes Here wi n d is the

, .
”

support o f the t wo vi ta l brea ths p ra n a p a n a c ra y o va y u h a n d , ,

a i r ( o r Sp a ce ) is i n the h o les kh e sv a ka ca m of corpora te , ,

be in gs a schem e o f crea tio n whi ch a ttributes the grea t

,
“

bein gs ( elem en ts) to the fi rst crea tion of a person a l

crea to r
I n x i i 3 06 5 the cha ra cteristics o f ma le a n d fe m a le pa re n ts
, , ,

a re tra di tio n a lly

2
thr ee ea ch a s i n herited by the o ffsprin g ,

1 m a h a b h ii t a n i n i ty a n i b h fi t a dh i p a t i s a mc ra y a t ,
x v, 3 4, 5 .

2
cu c ru m a ve d e ca s e tr ca p a th y a t e . It is a dd d e :
“
A u th o rit a ti v e is
wh a t is de l a re d i n ’
o n e s o wn V d v a v d kt m
e a , s d wh t i r e d
e o a ,
a n a s a in th e
Ca s tr a s ,
a r e s tri c ti o n a s to t h e Ve d ot l wh e r e a dm itt e d
a n e se .

12
1 78 THE GR EA T EP I C OF I N DI A .

bon e sin ew ma rrow from the fa ther ; ski n flesh a n d blood

, , , ,

fro m the mother B u t i n 91 24 it is sa id tha t ski n flesh . .

, ,

blo o d fa t bile m a rr o w bon e a n d si n ew a re a ll ei ght p ro

, , , , ,

1
du c e d by the ma le c u kre na p ra krt a ni Here tra ditio n is set , .

a side for the s a ke o f the n e w phil o s o phy .

Th e gr owt h o f the body is describe d i n xii 3 21 1 1 4 H the , , .

,

seed a n d bl o od ma le a n d fem a le un itin g produce a fla ke , , ,

ka la la whi ch bec o m es a bubble b u db u da whi ch develops i n to

, , ,

lum p pe ci From thi s lump come the limbs ; fro m the

’

a ,
.

lim bs n a ils a n d ha ir At the e n d o f the n i n th m o n th n a me

,
.
,

2
a n d f o rm
( i n dividua lity ) a re born .

B esides o n e subtile bo dy the epic ma y rec o gni ze two a s do , ,

the Ve da n t i n s a n d la ter Sa mkhya phi losophers ( Ga rbe Sa m ,

kh y a Phil p B u t the foll o wi n g te xt I thi n k sc a rcely

.
, .
, ,

supp o rts this in terpreta tio n of the comm e n ta to r : When the

spirit i n a b o dy is out with ra ja s it woul d wa n der a b o ut li ke , ,

s o un d with a body ; ha vin g a m in d un a ffected by the res ul t of

,

a ctio n ( the spiri t) is esta blishe d i n P ra krt i beca use of its free
” 3
do m fro m a fle c t i o n Th e co m m e n ta tor thi nk s tha t when the .

Spiri t is i n Pra kr t i it h a s a very mi n ute b o dy di ffere n t from the ,

— 4
spa n l o n g o r thum bkin b o dy Thi s is his expla n a tio n a lso of .

the un fi n i shed sen te n ce i n x u 25 4 1 3 I n 1 2 o n e se n ten ce , , .

e n ds with the sta tem e n t th a t u n c la ri fi e d spirits do n o t see the

”
b h ii ta t m a n i n bo dies The n i n 1 3 “
those who a re devote d .
,

1 A p p a r e n tly tr a d i c ti o n o f t h e p r e c e di n g b u t e x c u s e d b y t h e
a c le a r c on ,

a u th o r o n t h e p l e a o f u n d e r s t a n d i n g t h e i n n e r m e a n i n g a n d n o t t h e wo r d s ,

a lo n e o f Ve d a a
,
d Ca s tr a gra t h a rt h a t a t t va !
n ,
n
2 Th
e a m e p r o c e s s i s d e s c ri b e d i n l a t e
s s a mkhy a t e x t s ( Ga rb e p , .

C o m p r e t h e Ga rb h a Up a i h a d N a m e a n d fo rm i s a p hr a s e s o m e ti m e s
“ ”
a n s .

a m p li fi e d : Th e L o r d c r e a t e s n a m e a n d fo r m a n d a c t s x ii 23 3 25—
”
26 ( a s i n , , ,

B h Up i 6 1 n a m a rfi p a mk a r m a whi c h m a y b e r e fe rr e d t o h e r e y a du kt a m
r . .
, , , , , ,

ve da v a de s u t a da n te su ) .

2 ra
j o v a rj y o
‘
py a y a m d e hi
re t ka ry a i r a vy a h a t a
de h a v a fi c h a b da v a c c a ,

m a tir v a i a gy a t p ra k t a u s t h i t a h x i i 21 7 2 1
r Th e n e t h a lf s t a n z a a de h a d
r , ,
. x -
,

a p a m a da c c a de h a n t a d vi p a m u c y a t e i s 1 n t e rp e t e d b y t h e c o mm e n t a t o r t o
r r ,
r

t h e thr e e b o d i e s ( s t h fi l a s rrk s m a k a r a n a ) b e i n g a b a d o n e d t h e s o u l
“
me a n
'

- -
n ,

( with o t b o d y ) b e c a u s e o f i t s m e n t a l fr e e d o m i s r e l e a s e d d e fin iti v e ly
”
u , .
,

e s b til e b o d y i s s p a n lo n g t h e s iz e o f a th u m b
4 Th “ ” “
u i n x i i 200 22 ; -
, , ,

it wa n d e r s b y r e n o f i t s c o n e c ti o n with t h e li ga v 46 1 5 a n d 2 7; x ii
a so n
'

rr , , , , ,

28 5, 1 75, a fi gu s t h a m a t ra h p u ru s a d e h a s t h a h . Se e a b o ve , p 3 2 . .
1 80 THE GR EA T EP I C OF I N D I A .

o f in te lli gen ce a n d a fter blue a tta in s to re d a n d lives a s a

,
”
hu m a n crea ture Then the spirit a tta in s to yell o w a s a
go d
.
,

return s to hell a n d go es o n i n the sa m e wa y to whi te fi n a ll y

, ,

1
surpa ssin g the three sta tes ( gun a s) Th e i n n er mea n i n g of .

thi s pa ssa ge a ccordi n g to the commen ta tor is th a t when the

, ,

spiri t h a s the three gun a s ta ma s ra j a s sa ttva i n qua n t ita tive , , , ,

proportion t o thi s seque n ce the resu l t is tha t the spirit is ,

bla ck ; but i n the order ta ma s sa ttva ra j a s yellow green ( or , , ,

-

g rey ) ; ra ja s ta ma s s a ttva
, blue ; ra j a s sa ttva ta m a s re d ;, , , , ,

sa ttva ta m a s ra j a s yellow ; sa ttva ra j a s ta m a s whi te Th e

, , , , , , .

whole the o ry which is a lluded to a ga in i n 29 2 4 ff seem s

, , .
,

to be a n ela bora ti o n of the si mple thesis o f the precedi n g

section give n a bo ve I n the pa ssa ge fo ll o wi n g the higher .
,
“

col o r is ga in ed by pure a cts va rn o t ka rsa m a va p n o t i n a ra h ,

p u n e na
y k a rma n a Th e ide n ti fi c a tio n o f li ht wi th hea ve n
g .

”
bright yellow go ds a bove ) is a s n a tura l a s tha t of da rk
-
,

n ess with hell Thus xii 1 9 0 1 ff a fte r it is sa id tha t truth

.
, , .
,
”
is light a n d da rkn ess is li es we rea d : L ight is hea ve n a n d ,

da rkn ess is hell ; m a n gets a mi xture of b o th i n thi s life truth ,

”
j
’
a n d lies C o
. m p re
a P a t a fi a li s o ri
Aph sms iv 7: Yogin s “
, ,
’

”
wo rk is n either whi te n o r bla ck I see n o supp o rt i n the te xt .

fo r the ela bora te expla n a tio n of the comm en ta to r a s rec o rde d ,

a b o ve .

I n xii 3 03 46 there a re three colors whi te re d a n d bla ck

, , , , , , ,

with which a re a fi e c te d a ll thi n gs i n P ra krt i Here these .

”

a re set p a ra llel to the gun a s ( re d a pp a re n tly c o rresp o n di n to

g
en ergy ra ja s ) a s sign s of the so ul whi ch go es t o hell if it is
, , ,

ta m a sa hum a ni ty if ra j a s a hea ve n if s a t t vika ; a ppa re n tly a n

, ,

in term edi a te vi ew between the six colors a n d the simple a n

t i t h e s i s o f pure a n d impure white a n d da rk Th e tric o l o red ,
.

bein g is k n o wn i n a phra se common to epic v 44 25 a n d , , , ,

Up a n i sha d Cve t iv , .
, ,

1Th mm t t r i t d f t ki g t h
e c o en a t t t b g
o ,
t k th m
ns e a o a n e s a es o e u n a s, a es e a s

w ki g l p i g
a n ,
s ee d d p l mb r
n ,
d i g i t g t h f rth t t
a n ee s u e , en n n ur a , e ou s a e .

2 i c t e x t x i i 3 03
Ep , , ,
46 : c u kl a l o h i t a kr s n a n i rii p a n y e a n t i tri n i t u s a rva y n

e t a i rfi p a ni y a i 1 a p
n n
’
1 ra k rt a n i v a i . t
Gv e Up i v , 5 : a j a m e . k a ml o h i ta c u kl a
.

krs n a m b a h vi h p ra j a h j m a n a nr sa fi p a h (Mull e r g i v e s t h e va ri e d r e a d i n g s
'

sr a r

t
i n h i s n o e , SB E , vo l . . ii , p . Fo r v 44 2 5 c o m p a r e a b o v e p 2 8
, , , ,
. .
 EP I C P HI L OSOP H Y .

Th e Piv e Fa u lts o f a Y o gi n .

In xu ,
the fa ults o f Yoga a s kn own to the seers
241 , 3 ff , .
,

Ka vis a re desire wra th greed fea r a n d sleep k a m a kro dh a

, , , , , , , ,

l o b h a bha ya s va p n a two a dded to a n a n cie n t trio

, , , I n xii .
,
”
3 01 1 1 the fi ve Y o ga fa ul ts t o be
, ,
“
cut o ff a re registered
a s r a ga m o ha s n e h a k am a kro dh a
, , I n x i i 3 02 5 5 the
, , .
, , ,

pa th kn o wi n g Ka pil a Sa mkhya s give a s the fi ve fa ults

-
,

ka m a kro dh a bha ya n i dra cva sa I n xii 3 1 7 1 3 the fi ve

, , , ,
.
, , ,

fa ults a re sim ply the a ctio n s of the fi ve sen ses Se e a ls o the .

list a bove p 1 1 9 ,
. .

“
P a t a fi ja li ii 3 recogn i zes fi ve kl e c a s
, , , to be a ba n do n ed
F
’
y s it n i ve a h ive t o be cut
’

( y )
h e a h a vi d
, a m a ra ga d ve s a b hi c
“
.

o ff a nd to b e a ba n do n ed a re a ls o rec o gni zed i n the D ha m

ma p a da 3 70 pa ri ca chi n de p a ii c a j a he I n the epic the fi ve
, ,
‘

,
‘

a re k n o wn a s such but di fle re n t expositio n s expla in them

,

di fferen tly .

D i s c i p li n e o f th e Y o gi n .

Th e perfected Yo gin wh o by m ea n s o f the seven fold dh a , ,

r a n a s m etho ds of fi xin g the m in d h a s overco m e seve n the

, , ,

elem en ts ego ism a n d in tellect a tta in s to c o m plete a n d

,
“
, ,

fa ultless illumin a tio n pra tibha i n whi ch sta te he su rp a sses , ,

the gu n a s a n d perfo rm s mira cles These techn ica l term s of .

the Yo ga a re o n l y two of m a n y foun d i n the l a te r epic .

Pra tibha u p a s a rga s the ei ghtfo ld power the v a ri o us c o m

, , ,
”
fo rt a b l e sittin gs c a lcula ted to in duce c o n ce n tra tio n o f
,
”
tho ught e g vi ra s a n a the c o da n a s urgi n gs ( by whi ch
, . .
, , ,
“

o n e c o n tr o ls the bre a ths

) the pressin g o f bre a ths i n to the
“
,

he a rt c a n a l o r in to the sp a ce between the brows the fi xed

-
, ,

ho urs of exercise i n me n ta l di sciplin e a ll thi s Yo ga m a c hi n -

ery is a s well kn own to the epic rewri ters a s t o P a t a fi j a li .

Th a t the epic here prece des the Sii t ra m a ke r m a y be in ferre d

”
o m
fr the fa ct tha t i n the m a tter o f fa ults ( a bove ) a n d i n
“

o ther techn ic a l term s it do es n o t a lwa ys f o ll o w the l a tter ,

tho ugh it h a s the Sii tra termin o lo gy t o a cert a i n exten t .

B u t o n the o ther h a n d there c a n be little do ubt tha t t h e

, ,

epic writers were steeped i n Yo ga t e rm s a n d use d t o Yo ga

-
r ,
1 82 THE G R EA T E P I C OF I N D I A .

pra ctices of extrem e re fin em en t for they reve a l a very in ti ,

m a te a cqu a in t a n ce with Y o ga techn ique O ver a ga in st these - .

a depts o r scie n ti fi c Y o gin s sta n d the vulga r a sce t ics wh o se

, , ,

pra ctices c o n sist Sim ply i n the a uste ri ty o f pa in ful posturi n g .

Th e l a tter forms a re a n tique a n d c o n tin ue o f course thr ou gh , , ,

the whole epic a s in deed they co n tin ue till n o w i n I n di a ; but

,

i n c o n tra st wi th tho se who pr a ctise the scie n ti fi c rules o f the

Ski ll e d Y o i n the o n e le
g gged u p a rm a scetic belo n s t o
g
- -
, ,

”
the vulga r cult inh erite d a s Ve da e n j o in ed pen a n ce where
,
-
,

the wretch is n o t so much en ga ge d i n co n tro l a n d s a m a dh i ,

g r a du a te d c o n ce n tra ti o n a s i n m o rti fyi n

g hi m % lf t o g e t p o wer ,

o r wi n G o d s gr a c e E ven Vishn u thus st a n ds by his ei ght

’
.

”
fi n ge r— hi gh a lt a r a n d perform s a usterities
-
sta n di n g o n o n e
, ,

l e g with upturn e d a rm a n d f a ce ;
, a n d it is the w o rshi ppers

o f such o ds who reta in a s their s o le m e a n s of win n i n di vine

g g
r a ce the s a me sort of pr a ctices N o sh a rper c o n t ra st c a n be
g .

im a gi n ed tha n the t wo disciplin es tha t o f the vota ry a n d tha t ,

o f the scie n tifi c stude n t o f psych o l o gy ( whose the o lo gy rests

1
i n B ra h m a i s m ) a s prese n te d i n the epic ,
.

Th e D e s t ru c t i b l e a n d I n d e s t ru c t i b l e .

Both spirit a n d the So urce a cc o rdi n g t o the Sa mkhya system

a re ete rn a l a n d i n destructible xii 21 7 8 ; G i ta 1 3 19 They , , , , , .

a re theref o re n o t cre a te d thi n gs B u t Spirit i n o ther p a ssa ges .

is a crea ted thin g a n d s o is the source x 1 1 205 24 Fo r , , , .

a cc o rdi n g to the B ra hm a i s t i c i n terpreta tio n b o th o f these a re ,

destructible so fa r a s their e n tity goes Th e twen ty fift h is .

-

rea bs o rbed a n d the twe n ty fourth is a lso a bso rbed in to B ra h -

m a n xii 3 08 7 ff
, , Se e a b o ve pp 1 3 4 1 3 7
,
L o rd Tim a s
.
,
.
, .
“

R eta ki n g ra t y a h a ra is the n a me ive n t o the c o sm ic re

p g ,

a bs o rptio n a s expla i n ed i n xii 23 4 1 if Th e un i verse becom es , , .

subtile a n d met a physica l a dh ya t ma All thin gs a re fi rst , .

burn ed a n d en ter the co n ditio n o f ea rth till e a rth lo o ks ba re ,

1Th hi f h p t r t b
e c e m p r d will b f
c d Ca ti ( 23 7 241 3 1 7;
a e s o e co a e e oun in n ,

a l p p 44 1 07 b ) b t f d t il I m t r f r t
so .
, ,
a p p r r
o ve ,d t th u or e a s us e e o a a e ea a e

M ti g f t h Ori t l S i ty i A p ril 1 900 ( t b p b li h d i t h J

ee n o e en a oc e n , o e u s e n e o ur

na l, vo l . xx ii ) .
1 84 THE GR EA T EP I C OF I N D I A .

the other two gods i n the t rin ita ria n theosophy whi ch is re p ,

resen ted i h the epic but o n ly sp o ra di ca ll y a n d i n its la test a ddi ,

ti o n s 1 He is som etim es looked up o n a s the chief Of a ll go ds

.
,

b u t his suprem e a ttri bute s a re i n other pa ssa ges ta ke n by hi s

la ter riva ls Thre e sta ges a re clea r with a top sto ry a dded
.
,

la st o f a ll Th e e a rli est ta les received in to the epic kn ow

.

no o d hi her th an B ra hm a n the l a ter pseudo epic kn o ws -

g g ,

n the t wo l ies the

n o go d equa l t o ( a P a c up a ta )
C i va B etwee .

ma ss of the epic tea chin g where suprem a cy is g iven t o a sec ,

ta ri a n Vishn u Th e very la te st a ddi tio n s to the epic a d opt a

.

syn thetic view a n d ma ke of this reli gious o ll a podrida o n e h a r

m o ni o u s whole where a ll three grea t gods a re o n e , .

Arjun a is a fo rm o f Vishn u He is ta ught thi s wi th wo n .

de r a n d grea t a m a ze i n the sixth b o o k B u t our a m a zeme n t .

a t hi s a m a zem e n t is still gre a ter fo r thi s do ctrin e a pp a re n tly , ,

so n e w t o hi m wa s revea led to hi m lon g before i n the thi rd

, ,

book a n d o n tha t e a rlier occa sio n he a ppea red full y t o a pp re

,

cia te the fa ct tha t he wa s divi n e a n d iden tica l with Krishn a ,

fa cts which i n the sixth book he h a s tota lly forgotte n 2 .

He a ve n a n d H e ll . De a th .

is the K a rm a do ctrin e with the n otion of

I n co n siste n t a s

hea ven a n d hell the Hi n du like Pin da r successful ly com bi n es , , ,

the two beli efs by ima gi n i n g tha t metempsycho sis foll ows the
1 Fo r t h e u su a l
r e iii 203 1 5 ; v 29 26 ; x 3 3 5 8
ca t u rm fi r t i , c o mp a , , n , ,
i 1, ,
.

I n ii i 2 72 47 i s fo u n d t h e o n ly de fi it e e x p r e s s i o n o f t h e l a t e tri n it ri a n
, , , n a

b e li e f i n a t i m fi rti a n i n t e r p o l a t e d s e c ti o n ( c o m p a r e m y R e li g i o n s o f I d i a
r ,
n ,

p . th o u g h it m a y b e i mp li e d i n i 1 3 2 a n d x iii 1 6 1 5 b u t o n ly h e r e , , , , ,

till we re a c h t h e Ha ri va i c a 2 1 25 3 1 I t a p p e a r s fir s t i t h e l a t e r Up a i
r , , ,
. n n

s h a d s o r i n l a t e a dd iti o n s a s i n M
, a itri v ( a s d i s ti n g u i s h e d fro m t h e c l o s e o f
,

i v ) a b o v e p 46 A m o n g o th e r r e li g i o u s n o v e lti e s t h e p s e u d o e p i c i tr o d u c e s
, ,
. .
-
n

C i t ra gu p t a D e a th s s e c r e t a ry x iii 1 2 5 6 ; 1 3 0 1 4 ff I n s e v e r l p o i t s s u c h
’
, , , , , . a n ,

a s i n thi s a d i g r mm a ti c l p e c li a riti e s t h e A n u c a sa a s h o ws it s e lf l a te r
n n a a u ,
n

i n s o m e p a rt s e ve n th a n Ca n ti a ll i g o r e d o f c o r s e b y t h e s y n th e s i s t ,
n , u , .

2
C o m p a re iii 1 2 1 6 I n thi s p a s s a g e A rj n a e
, ,
lt s Kri s h n a a s t h e e u
.
,
u xa

p r e m e L o r d o f t h e u n i ve r s e a n d K ri s h a i t r n i d e n ti fi e s t h e t wo : y a s t v a m
,
n n u

d ve s ti s a m a md ve s ti e t c i b 45 ( Vi s h n u s a y s t h e s a m e thin g a l m o s t t o R u d ra
,
.
,
.

i n x i i 3 43 1 3 3 ; y a s t v a m v e t t i s a m a m v e tt i y a s t v a m a n u s a m a m a u )
, , , n .

A rj u n a s g o d h e a d i s p r o c l a i m e d t o h i m i n iii 41 3 5 43 ; 47 7 On t h e hy m n
’
.
, , , , ,

iii 1 2 c o m p a re L a s s e n I n d A l t i p 489
, , , .
, , . .
 EP I C P HI L OSOP H Y . 85

pen a lt y of hell or rewa rd o f hea ve n Th e two views sta n d

, .

som etim es sepa ra te however a n d the hero is promi sed a n

, ,
’
a bo de i n I n dra s hea ve n without a n y a ll usi o n to m e t e m p s y

c h o s i s ; or o n e is pr o m ise d a hi gh or low birth here a fter with

out a llusio n to the o lder tele o l o gica l fa n cy Ordin a ril y i n the .

form er ca se the rule is tha t a go o d m a n goes to hea ve n a n d a

,

b a d m a n go es to hell a s i n the Upa n isha ds e g Mun d i , , . .

, .
,

2 1 0 a n d i n the epic ge n era lly

, ,
B u t i n o n e exegesis q u i te a .

di ffere n t view is ta ke n Th e ide a here is tha t a fa irly go o d

.

ma n go es fi r st o f a ll t o hell ; while a m a n wh o o n the who le is

ra ther Sin ful tha n good goes fi rst of a ll to he a ven Afterwa rds .

the go o d m a n goes to hea ven a n d the b a d m a n go es to hell 1

.

Th e popula r n o tion of the Y o gi n is n o t a t a ll tha t of a b s o rp

tio n in to B ra hm a n G rieve fo r the livin g n o t fo r the de a d ;
.
,

this pio us hero a fter hi s dea th like a Yogin h a s bec o me a b e , ,

2 ”
i n g wi th a hu m a n body a n d shi n es glorious li ke a kin g In .

hea ven there a re c o o l breezes a n d perfum e n o hun ger thi rst , , ,

”
to il o ld a ge n o r s i n but etern a l ha ppin ess i n hea ven which
, , , , ,

is here i n con tra st t o hell the hi ghest pl a ce xii 1 90 1 3

,
“
, , , ,

14 . So i n the Sa b h a s Th e Y o gi n revels in j o y k n ows n o

.
,

s o rrow a n d rides a ro un d o n high i n a hea ve n ly c a r a tten ded

, ,
”
by self lumin ous wo m en xiii 1 07 1 3 0 ( com pa re the r a m a h
-
, , ,

s a ra t h a h o f K a tha Up i This is the ha ppin ess of a Y o gin

.
,

a fter dea th a vi ew of cour se di a m e t rica lly Opp o sed t o tha t o f

,

the phi losophy ta ught elsewhere for it is ta ught a s fi n a l n o t , ,

a s preli mi n a ry .

I n va rious p a ssa ges it is ta ught tha t a go o d m a n should a i m

a t a tta in i n t o he a ve n Thi s t o o is n o t put f o rth a s a ha l f vi ew
g
-
.

wi th a reserva ti o n a s i n the c a se o f the Upa n i sha ds

, B u t in .

other ca ses it is express ly just such a ha lf view Hea ven is 3 -

.

1 b h fi y i s th a m p a p a ka rm a y a h sa p fi rv a rh s v a rga m cn u t e , e t c
a .
,
xv iii ,
3 , 14 .

2 t a m a i n da vi m a t m a t a n u m gt h
a a , v ii , 71 , 1 7 C o m p a e
. r x ii , 3 3 2, 5 3 ,

v a yu b h fi t a h p ra ve k s y a m i t e j o ra c i rii di v a ka ra m (n o t he re to th e m o on, whi c h

c h a n ge s ) i d I h ll t r t h e s u n ( t o li ve with t h e
I n t h e fo rm o f w n s a en e

se e r ) y a tr a n a v a rt a t e p u na h wh e n c e th e r e i s n o r e t u r
’ “ ”
s n .

y b e o b j e c t e d B t thi s i s fo r wa rri o r s a n d e v e n i n t h e Up a u
3 He r e it m a
: u ,

i s h a ds th o s e th a t wo r s hi p Pr a j a p a ti a s m a tt e r i n s t e a d o f s p irit a e m a t e ri a lly r

b le s s e d Thi s r a i s e s t h e qu e s ti o n a g a in whi c h I t o u c h e d u p o n a t t h e o u t s e t
. .
1 86 THE GR EA T EP I C OF I N D I A .

here a good pla ce for good but uni n tellige n t people but it is ,

scorn ed by the philosopher I h a ve do n e with he a ven a wa y .

,
”
with thee he a ve n whither thou ha st c o m e sa ys a n enl ight
, , ,

e n ed kin g ; let the priest receive m y m erit if he wishes

“
,

xii 1 9 9 77—78 Th e priest o rtho do x is reco gn ized a s still

, , .
, ,

strivin g for hea ven a n d likely t o go to hell i n the o ld wa y : ,

Hell is where priests go it is s a i d ra ther blun tly i b 1 4—1 5 , , .

,

n i ra a m n a i v a y a ta t va m ya tr a ya ta dvi ja rsa b h a h
’
y y a s ya s i ,

B ra hm a na h s th a n a m Fo r of a ll the he a ve n s o f a ll t h e go ds .

it i s s a id these a re but hells to the pla ce of the Highest

,
”
Soul x ii 1 98 6 , , , .

’
All kin gs but o n e go to Ya ma s hea ven i n the Sa bha
1
a ccou n t ; i n the ba ttle sce n es m o st of them go to I n dra s
’
-

hea ven B u t i n vi 1 6 20 they go to the B ra hm a world

.
, , ,
-
.

Aga in the hea ven o n e goes to depen ds either o n o n e s guna s

,
’

expl i n e d a b o ve or ccor di to where es

( a s a ) a n
g o n e di T
( i rt h a ) , , ,

or a s a third expla n a tion a ccordi n g to the pla ce i n the bo dy

, ,

through whi ch the soul esca pes a t dea th I f it goes through .

the feet o n e goes to Vishn u s pla ce ; if through the a rms to

,
’
,
’
I n dra s pl a ce ; if throu gh the crown to B ra hm a n etc xii 3 1 8 , , .
, , ,

1 ff ( with v i cv e de va n i n 5 comm o n i n the pseudo—

. epic) ,

D e a th it m a y be o bserve d is usua lly a ma le ; but in v n 5 3

, , , ,

1 7a n d x n 25 8 1 6—21 a fem a le , There a re here two a ccoun ts

, , .

whi ch though to gether Opposed t o the view held everyw here

,

else a re of c ri tica l va lue n o t o n thi s a ccoun t ( for a poet m a y

, ,

perh a ps be a llo wed to un sex de a th) but o n a cc o un t o f their ,

bein g a l most ide n tic a l two versio n s of o n e ta le o n e bea rin g , ,

2
tra ces of gre a ter a n tiquity th a n the other .

I n onep rt t h w rri r dit r

a t ght t h d p t m y t ri i
e a o th r
a u o s a re a u e ee es s e e s, n a no e

th y e t g ht wh t i
a re t t ght i t h Up i h d
a u a pt i t d s no a u n e a n s a s exce a s n ro uc

ti t tr t hi g Sy th ti lly
on o ue ea cid r d t h p i t h
n . thi g n e ca cons e e , e e c ea c es no n

s y t m ti i th
s e a ryi g p iti
c n e s e va n ex os ons .

Y m h m i h r h f d l i g ht l wh r i t h pi it i h ll
’
1 a a s o e s e e a e a ve n o e e se e e n e e c s a e
,

o f h o rr o rs .

2 Th e a c c oun t in D ro n a
h e r e t h e l a t e r o f th e s e two s imil a r s c e n e s a s h a s
is ,

b e e n s h o wn b y Ho ltz m a n n Z D MG x x x viii p 21 8 I n p hil o s o p hy d e a th i s

,
.
, . .
,

t h e di s s yll a b i c E go a s Op p o s e d t o t h e e t e rn a l i mm o rt a l thr e e s yll a b l e n o n , ,

-

e go o r m a m a v e r s u s n a m a m a
,
thi s i s m in e i s a th o u ght d e a d ly t o tr u th ”
,

a n d u n tr u th i s d e a th ) x i i 1 3 4 a n d x i v 1 3 3 ( i d e n ti c a l p a s s a g e s )
, , , , , .
1 88 THE GR EA T EPI C OF I N DI A .

tio n s phi losophy I ha ve a lre a dy

in di scussed . They a re
give n
1
a s n i n e or a ga in a s fi v e
,
.

Th e G ra c e o f God .

Th e beli ef i n the s a vi n g gra ce of Go d is foun d o n l y i n the

la te r Upa n i sha d s I t a sserts tha t o n e sees the Self ( or L ord)
.

by the gra ce of the C rea tor Ka tha Up i 2 20 ff ; Cve t iii ,

.
, , , .
, ,

20 ; vi 21 ; Mun d iii 2 3
, On e is chose n a n d c a n n ot ge t
.
, .
, .
,

sa lva tio n by kn o wledge a lo n e This ge n era l view is tha t .

ma in ta in ed by the epic poet who sa ys : Th e Veda s a n d ,

O rders though esta bli shed o n va ri o us o pini o n s n a n a m a ta s a

, , f

m a s t hi t a h uni te i n worshippi n g Spi ri t a s the pers o n a l G o d

,

by whose gra ce o n e is sa ved So a ga in : Tha t m a n c a n see .

Hi m to wh o m He gives Hi s gra ce y a sy a p ra s a da ri r ku ru te
, ,
”

s a va i t a m dra stu m a rh a t i xii 3 3 7 20 ( a verse f o un d a lso i n

, , , ,

the pseudo Ra m a ya n a ) Th e gra ce of Go d is here the chief

-
.

elemen t o f sa lva ti o n opposed t o wha t is recogni zed a s the

,

severer school of those who a tta in s a lva tion scien ti fi ca lly

either by kn o wledge of soul o r of G o d Thi s older system i n .

t h e Upa n isha ds is represe n te d by those who a re sa ved by

kn owledge a lo n e ; i n the epic by like mi n ded m e n wh o ha ve ,
-
,

worked out a system or scien ce of sa lva tio n a n d depe n d who lly ,

o n this scie n ce jfi a na or ,o n a scetic pra ctices, ta pa s yo ga , , ,

super a dded t o this scien ce B oth of these a re rec o gn i zed a s

- .

older system s i n the epic c o mpa red with the gra ce o f Go d ,

- -

theory a n d pra ctic a lly they a re thrown over by the a dheren ts

,

of the la tte r school wh o however di ffer from their a n cesto rs

, , ,

i n the Upa n isha ds by a cle a r m a rk of la te n ess i n tha t they ,

speci fy tha t the G o d wh o se gra ce sa ves is Krishn a a l o n e .

Sa lva tio n n o t through k n o wledge eve n of G o d n o t thro ugh , ,

the gra ce o f G o d but through the gra ce o f the ma n go d is the

,
-

sa vi n g wa y the ea sier wa y o r a s it is c a lled i n the G i ta the

, , ,
”
“
less troublesom e wa y 1 2 5 , , .

Side by side sta n d i n the epic these two grea t modern mo di

1 Th e s e a re t h e m o d i fic a ti o n s o f Go d a vi dy a s a rga s a n d vi dy a s a rga s , , fi ve
in n u mb e r i n x i i 3 03 b u t wh e n t h e a c c o u n t i s r e p e a t e d i n 3 1 1 n i n e i n a l l
, , , .
 EP I C P HI L OSOP H Y . 1 89

fi c a tio n sof the older Upa ni sha ds : there kn owledge wisdom , , ,

j na n a vidy a co n tra sted with the la ter gra ce o f the C rea tor
, ,

Spiri t ,
”
a t most reco gn ize d a s
C i va H ere the Sa mkhy a .
,

Y o ga syste m c o n tra ste d wi th the la ter Krishna cult

,
“
I .

”
wi ll relea se thee from a ll thy sin s gri eve n o t s a ys the m a n , ,

g o d Gi t a
,
1 8 66 ,
B u t the Y o in repli es :
g , Si.n k or s wi m ,
”
let o n e put his trust i n scie n ce a l o n e xii 23 7 1 a n d , , ,

23 8 1 a n d cla ims tha t he is puri fi ed n o t by Krishn a but

, ,

by Yoga kn o wledge rejectin g even the p ur ity in duced by ,

ba thin g i n the sa cred p o ols ( for his purity is o bta in ed by

kn owledge whi ch elsewhere i n the epic a re sa id t o puri fy
B u t i n a sm uch a s the Y o gi n s scien ce postula te d
’
1
from a ll s i n .

wha t the Sa mkhya den ied a pers o n a l G o d the former beca m e , ,

a b ri dge betwee n the a theist a n d the devote e a bridge h o w , ,

ever o cca sion a ll y repudi a ted by the la tter who do es n o t a lwa ys

, , ,

a s usua ll y cla im tha t he is thus phi lo s o phi c but e x c t

, ,

“
B y Sa mkhya a n d by Y o ga ru l e I m edi ta te the wa y o f G o d
”
a n d fi n d it n o t xii 3 5 2 7—8 , , , .

Th e irreco n cil a ble di fi e re n c e betwee n the Sa ni kh y a a n d the

fa ith of the Krishn a ite c o uld be rem oved o nl y by m odifyi n g
o n e o f these extrem e views E ither the a theisti c ( or even .

B r a hm a n ) philosopher h a d to wi n over the a dh eren ts o f the

m a n —go d t o ren o un ce hi m a n d retu rn to the shi p of s a lva tio n
”
of kn owledge o r the devotee ha vi n g a dm i tted tha t the
, ,

Yo gin s Spirit wa s G o d h a d to ide n ti fy hi s Kri shn a with tha t

’
,

P u r usha I c va ra L a te a s a re a ll the purely philosophi ca l

.

cha pters of the epic they still Sho w which p o wer preva iled , .

1 T h e re i s o f c o u r s e fu rth e r t h e Ci va i t e wh o wo rs hi p p e d n o t K ri s h n a b u t
, , ,

an o th e r a s t h e hi g h e t Go d n o t t o p e k o f th o s e th a t r e m a i n e d tr u e t o
s ,
s a

Ve d i c tra d iti o n d we n t fo r s a lv a ti o n n o f rth e r th a n s a c rifi c e s a d gi ft s

a n u n .

Th e r e a e a l s o withi n t h e g r o p o f p hil o s o p h e r s th o s e wh o r e c o g iz e d o n ly
r ,
u ,
n

t h e e a rlie r t we n ty fi v e p ri n c i p l e s a n d th o s e wh o r e c o g n iz e d t we n ty s i x a s e x
-
,
-
,

p la i e d b o ve
n a Th e r e i s a l o t h e fr a c ti o n a l s e c t a ry wh o r e g a r d e d K ri s h n a
. s ,

a s th e h a lf o f t h e fo u rth o f t h e r o o t a b i di n g Ma h a d e v a ( s t t tb p “ -
”
a a s a ,
.

44 h e c r e a t e s e x i s t e c e s x i i 2 8 1 61
, n A ll th e s e d i v e r g e n t b e li e fs a re
, , ,

r e p r e s e n t e d i s t a rtli n g a n d irr e c o n c il a b l e a n t a go i s m i n a n e p i c c o c e r i g
n n n n n

w hi c h t h e u n hi s t o ri c a l v i e w i s d a s s e s a c ht e z u e i e r e i h e itli c h e n A u fi a s s un g n n

a b g e r u n d e t e E l e m e n t e s i n d we l c h e da s E p o s b i e t e t N ir v a a p 8 4 !
, ,
n ,
.
1 90 THE GR EA T EP I C OF I N D I A .

Fa ith a bsorbed unfa ith Th e reli gious philosophy of the epic

.

is a successful a tte m pt to uphold Krishna ism n o t on ly a ga in st

the scien ce of a theism but a ga in st a deistic scien ce tha t post u
,

la ted Go d but s a w n o go dshi p in Krish n a ; a scien ce whi ch i n

its turn is techn i ca lly ela bora te d a lon g a dva n ce o n the va gue
,

spec ul a tion s of the Upa n i sha ds but n o t yet a s un i form a s i n

,

the complete d system Kri shn a ism sta n ds to Sa mkh ya Yoga

.
-

chron ologica lly a s sta n ds the la te r gra ce Of the C rea tor theory - - -

t o the e a rlier k n owle dge of the Upa n isha d s B u t both epic .

Sa m kh ya Yo ga a n d Krish n a ism a re la ter eve n tha n thi s modi

fi c a t i o n of Upa ni sha d te a chin g L a te st of a ll is trin ita ria n i sm
. .

Side by side sta n d a ll these creeds e a ch prete n di n g to be a

,

defi n i tive a n swer ea ch form in g pa rt of the co n te n ts of a poetic

,

vessel in to which ha ve been poured the vin ega r a n d Oil of

,

doubt a n d fa ith ; but :

"
650 9 dh e t cbd 1 " e yxe a
’
ir e r
"

i
’
1 s fa n t
? fa

M
.

’ i
di xo o v a r o fivr fll o f) ( M : wp o a m
'
e wo c s .
1 92 THE GR EA T EP I C OF I N D I A .

of the chief metres i n the ea rly epic wa s q ui te reduce d to the

la ter stereotype d n orm Th e sta n z a form too of certa in .
-
, ,

metres w a s still in cho a te .

Th e m a ss of the gre a t epic ( a bout n in ety fi ve per ce n t) is -

written i n o n e of the two curren t fo rm s o f free syll a bic

rhythm ; a b o ut fi ve per cen t in a n other form of the s a me
cla ss ; a n d o n l y two ten ths o f a perce n t in a n y o ther metre
-
.

Th e two pre domin a n t rhythms c l e ka a n d t ri stu b h a re in , ,

origin the oldest I n di e or pre I n di c rhythms while of the -

,

others s o m e a re i n turn e a rly devel o pm en ts from the fir st epic

rhythm s Fo r con ve n ien ce o f referen ce before discussin g
.
,

thes e rhythm s in deta il I give a list of a ll t h o s e use d i n o n e ,

or b o t h o f the t wo epics a cc o rdin g a s they a re free sylla bic

,
fi
( cl o ka t ri stu b ) xe sy bic (
h d ll a a ks a, r h
a c c a da s
n
) m o ra m e t re
1
,

m ra c h a n da s a n d gr o up rhythm s ( ga n a c c h a n da s
( a t ) , ) -
.

c l o k a : a st a n z a of t w o verses ( he m i stichs ) of sixtee n

syll a bles e a ch restricte d t o a certa in exten t a s t o the pla ce

,

where he a vy a n d light syll a bles ( or lo n g a n d Sho rt vowels)

a re perm itte d Origin a lly the sta n z a co n siste d of four
.

verses o f eight syll a bles e a ch a n d ma n y tra ces of thi s di

vision by in depen den t qua rters p a da s survive in the
,
“
, ,

Ma h a bha ra ta .

t ri s tu b h : a st a n z a of four verses of eleve n syll a bles e a ch ,

a rr a n e d with very little restrictio n ( a n d co n seque n tly of

g
va rious types) i n the Ma h a bh a ra t a ; re duced to o n e preva il
i n g typ e i n the R a m a y a n a I n cre a se d by o n e he a vy syll a .

ble i n e a ch p a da thi s m etre is c a lled j a ga ti but the t wo

, ,

types a re in tercha n ge a ble in the s a me sta n z a Fixe d types .

of this m etre a re common in verse form but r a re i n sta n z a ,

2
form except a s given in the n ext gr o up ( of four verse -

sta n z a s) .

1 Th fi d yll b i i ll d l v
e xe s a ttc yll b i
s c a e r a so a rn a v r a , s a c ve se

ve rs u s ) .

2 Th a t re i n t h e fo m r
i s, p u (a ) a n d (b ) , V v U v V v

he s e
T
a re ca ll e d ( a ) u p e n dra va j ra ; ( b ) va nga s t h a ( b i l a ( e ) c a li n i ; ( f) v a t o rmi ;
) ;
or (a ) a n d ( b ) with t h e o p e n i n g u c a ll e d ( 0 ) i n dra v a j ra a n d ( d ) i n

dra v a
‘

rga , a s
r th e y h a ve e l e ve n o r t we l ve s yll a b l e s r e s p e c ti ve ly W h e n ( a )
, .

a nd (c ) o r ( b ) a n d ( d ) a re m i n g l e d ,
t h e s t a n z a i s c a ll e d u p a j a t i .
 EP I C VE R SI FI CA TI ON . 1 93
i
w h th e t ve rse fi xe d as

UV U V

b huj a mga p ra y a t a
j a g a ti V , a U
dru t a vil a m b i t a a j a g a t i VV, V , V V ,

v a i gv a de vi a j a g a ti ,

ru c i ra , a n a ti j a g a t i 1 V V

p ra h a rs i ni , a n a t i j a ga t i V V V V ,

m t g e n dra m u kh a , a n a tij a g a ti V V V V , V V
a sa mb a dh a , a ca k va ri 2
z , u u u u v u
va s a n t a t i l a ka , a ga va k ri V VV V , V V V
m a lin i , an a t i c a kv a ri V VV V V V

ga rdi rl a vi kri di t a ti dh rt i
'

,
an a

u u

p u s p i t a gra a nd aupa t z a s o f two v e r s e s

c c h a n da s i ka ,
s an ,

e a c h v e r s e h a v i n g s i x t e e n a n d e i g ht e e n m o r ae i n p ri o r

a n d p o s t e ri o r p a d a r e s p e c ti v e ly t h e m o rae b e i n g a r
, ,

r a n g e d i n s yll a b l e s m o r e ( p u s p i t a gra ) o r l e s s ( a u p a c
m a t ra c h a n da s
c h a n da s i ka ) fi d xe .

( a rdh a s a ma vrt t a ) th e me in t a l e c ti c r
fo m,
a p a ra v a k t ra a n d v a i t a li y a ,
sa ca

ea c h
pa a be n d i g s h o rt e n e d b y t wo m o rac .

m a t ra s a m a ka , a s t a n z a o f fo u r v e r s e s , ea c h ve r s e h a vin g
s i x t e e n m o ra a .

( a ry a ,
a ry a gi t i , upa gi t i ) , s an t za srs e of two v e rs e s , eac h ve

c o n t a i n i n g e i g ht g r o u p s o f m o r w t h e gro u p o f fo u r ,

m o r ae e a c h b u t with t h e r e s tri c ti o n th a t a m p hi b r a c h s
,

a re p r o hib it e d i n t h e o dd g r o u p s b u t m a y m a ke a n y ,

e ve n g r o u p a n d m u s t m a k e t h e s i x th gr o u p u n l e s s i n ,

ga n a c c h a n da s d e e d thi s s ix th gr o u p b e re p re s e n t e d ( i n t h e s e c o n d
h e mi s ti c h ) b y o n ly o n e m o r a o r fo u r b r e v e s ; a n d th a t
t h e e i g hth g r o u p m a y b e r e p r e s e n t e d b y o n ly t wo m o r ae .

Th e m e tr e i s c a ll e d a ry a gi ti wh e n t h e e i g hth fo o t h a s
fo u r m o r a e ; u p a gi t i wh e n t h e s i x th fo o t irr e g u l a rly h a s
,

b u t o n e m o r a i n e a c h h e m i s ti c h 3 .

1 T ha t i s ,
a j a g a t i with one s yll a b l e o ve r , a ti, or with thirt e e n s yll a b l e s i n
th e p a d a . Th e se c o n d a t i j a ga t i a b o ve i s so me ti m e s c a ll e d p ra h a rs a n i .

2 T ha t i s, h a vin g fo urt e e n s ylla b le s i n t h e p a d a fi fty s i x i n t h e s t a n z a ,

- .

Th e a t i ga kv a ri an d a t i dh rt i h a v e fift e e n a n d n i n e t e e n s yll a b l e s i n t h e p a d a ,

re s p e c tiv e ly .

2
B r o wn Pro s o dy p 1 7 p o in t s o u t th a t thi s m e tre i s a lm o s t th a t o f Ho ra c e
, ,
.
, ,

Od e s iii 1 2 : m i s e r a r e s t n e q a I m o ri I d a r e l n I du m n e qu e l du l l c i m a l a l
, ,
- -

vin o , e tc ; a n d s ic t e
. d i va p e I t e n s Cy p ri s i c fra tre s He l e n a e I In
c i d a I s i d e ra e t c s a ve th a t t h e s ix th gr o u p i s h e r e o f t wo m o r ae
,
.
,
.

13
 1 94 THE GR EA T EPI C OF I N D I A .

gl o ka a n d Tri s t u b h .

THE PAD A S .

umber of verses in a cl e ka or tri stu b h sta n z a m a y be

Th e n

decre a sed or i n cre a se d by o n e or two respectively ; but in ,

the gre a t m a jority of c a ses two in a cl o ka a n d four i n a ,

t ri stu b h con stitute a st a n z a Sometimes however where o n e .

, ,

or three hemistichs ma ke a sta n z a it is merely a m a tter of ,

edi tin g C omp a re for in sta n ce i 90 22 ; i 93 1 9—21 with

.
, , , , , ,

—8 3 iii 4 1 7 with 23 4 ; iii 1 1 1 1 4 ff wi th 11

, , , , .
, .

B u t o n the other h a n d n o a rra n gemen t c a n a lwa ys gro up the

, ,

hem ist ichs in to un iform sta n z a s Thus in xii 3 5 0 49 ii fi ve .

, , .
,

t ri s tu bh hemistichs follow thr ee cl e ka he m istichs A sta n z a .

of three hemi stichs is a p t to close a section a s i n vii 54 a n d , ,

1 8 7 I n G vi 49 55 there is o n e hemistich i n excess bec a use

. .
, , ,

5 3 a b were a dde d t o the o ri gin a l a n d thi s is doubtless the

-
,

c a use o f m a n y such c a ses ; though it is a l so true tha t a ha lf

sta n z a is o ften foun d where there is n o re a son to suspect a
l a ter a ddi tion Si x p a da s in a t ri stu b h occu r occ a sion a lly
. .

B u t i n the c a se of the gl o ka the p a da s a re metric a ll y li n ke d ,

i n p a irs while t ri stu b h p a da s a re m etric a ll y i n depen den t

, .

Th e ql e ka therefore is a couplet , I t s t wo h a lves a re m etri , .

c a ll y disjun ct a n d m a y be tre a te d a s in depe n den t wholes .

E a ch hemistich is a c o mplete verse Th e t wo h a lves of this .

verse the qua rters p a da s o f the who le sta n z a a re so m eti mes

, , , ,

kn it to gether in to euphon ic c o m bin a tio n a n d a syn ta ctic a l

whole B u t rel a tively spe a kin g thi s is seldo m the c a se
.
, , .

Th e u n i ty co n sists ra ther in the f a ct th a t o n e h a lf of the verse

is m etric a lly di fferen t fro m the o ther a n d c a n n ot be s u b s t i
t u t e d for it where a s i n the t ri stu b h a n y p a da c a n be s u b s t i
,

t u t e d if the se n se permi ts fo r a n y other

,
1
Th e di fferen t fa ll , .

of the gl o ka p a da s m a y be seen very well when the wo rds a re

a l most i de n tic a l :

I1 m f rm n so f th t i t b h h w e r th r i
o r tri ti i t h fi l
s o e r s u ,
o e ve ,
e e s a es c on n e na

syll b a p af th fir t d thir d p a d
a nc e s t f
o d i the d d s a n a s, no oun n e se c o n an

f rth p a d
ou I h ( d i d
a s.h r ft r ) t h
n su ct i t b h lik t h c
c a se sl k sc u sse e ea e e r s u , e e e a ,

i t f t w p rt ( h mi ti h ) d t h p rf t i d p d
c ons s s o o a s f th p a d i
e s c s a n e e ec n e en ence o e s s

m d i fi d Thi d
o e t ff t t h fr
.
pi t i t bh
s oes no a ec e ee e c r s u .
1 96 T HE GR EA T EP I C OF I N DI A .

m a h a ma n i q i l a p a t ta b a ddh a p a ry a n t a ve di ka m, 1 1, 3, 32
a iky a s a rh y e ga nan a t va s a m a va y a vi q a ra da h , ii , 5, 3
va y a rir hi d e va ga n dh a rva m a n u s y e ra ga rak s a s a n , iii ,
5 3 , 29
j a mb va m ra l e dh ra kh a di ra s a l a vc t ra s a m a ku l a m ,
i h 64, 4
.

rdu l a m a t a rn ga va ra h a rks a m rga u t a m , i h 3 9

'

q inh a q a y .

b a da re fi gu da ka q m a ry a p l a ks a c va t t h a b i b h i t a ka i h , ix , 3 7, 61
ga da mu s a l a n a ra c a q a kt i t o m a ra h a s t a y a , , 46, 66 ix
drqy a t e hi
dh a rm a rup e n a dh a rm a rn p ra krt a c a
’
c ra n ,

xii 261 , , 6
a jaya ta m a h a ra j a va nc e sa ca m a h a dy u t i h , xiii ,
1 0, 3 5
b h a va n e
ge n a n n a h rt a kil b i s a h , G iv 1 7, 58
'
’
sa da n da s a rn y e .
,

b h a va db h i r n l qc a
ya s t a tt va vi j fi a n a ku q a l a i r m a m a , G . i v,
3 2,

hemistich of the gl o ka is a lso gen era lly in dep e n den t of

Th e
the rest of the sta n z a i n sen se a s well a s i n metre but it is n o t ,

in frequen tly un ite d wi th it syn ta ctica ll y a s i n vi 1 9 1 2 , , , ,

na hi s o s t i p u ma nl l o ke y a h s a mkru ddh a rh
‘

Vrke da ra m
dra s tu m a t y u gra ka rma n a mvi s a h e t a n a ra rs a b h a m
No t a m o rt a l on e a rth exists wh o deep i n ce n se d ,
-

Vrke da ra ,
Mi ghty , chi e f o f a wfu l stren gth co ul d
a , a mo
m e n t b e h e l d i n wa r .

So sa m a la mk rt a m c a ta m
: , in the fi rst cha pte r of N a la , 1 1 ;
kro dh a s ya ca vi n i gra h a h : ka rya h, x ii , 3 3 0, 1 0 ; a sa mb h a vy a m

va dh a mta sya V rt ra s ya vi b u dh a dhi p a h: c i n ta y a no

j a ga ma gu ,
’

R . vii , 8 5, 1 5 ,
etc I n side the hem istich the .
, p a da s a re fre
que n tly eupho n i ca lly i n depen den t ( hia tus)
P ra j a fi gh e Va li p u t ra y a a b h i du dra va , R . vi , 76, 22 .

na ki mc i d a b h i dh a t a vy a a ha m ,
R . vi ,
1 1 8, 1 0
111 5. vi n a c a m ga m i sy a ma 2
a p a s a dy a
r
’
dit c h suta m ,

R . vii 3 5 63
, ,

1 R .
( B o mb a y ) h a s c ae su ra t
b e we e n pa d a s an d a vo i d s b o th th e s e fo rm s
( s a my o ga t i n 1 8 , 64, fo r s a riry o ge n a ,

2
Ghr . e e ,
3 8 , 1 1 3 , h a s t h e fu t u r e i mp e ra ti ve
ga m i sy a dh v a m O e , . th r ex
a mp l e s of hi a tu s m a y b e s e e n i n R v, 60, 8 ; vi , 60, 8 ; vii , 1 1 , 42,
.
e tc .
,

b e si d es t h e a mp le c o ec ll ti
o n o f B Oh t li n gk fo r t h e s fo u b o o s fir t r k .
 EP I C VE R SI FI CA TI ON . 97

Sa u mi t ra rn mp a ri s va j y a i da m va c a n a m
'

sa a b ra vi t ,
R . vi ,
23 , 1
ir
n i h a n y a d a n t a ra r l a b dh va uluko va y a s a n i va , R . vi ,

1 7, 1 9

c a ra na n y a c a ra n a n i
y a gra ma ni krt a n i na h, R . vii , 6, 5

In G .hia tus is usua ll y a voided but it is s o meti mes kept

th e ,

h e re a s where R vii 21 1 9 h a s ge ra sa m go p ra da t a ro a n n a m
, .
, ,

c ai va ( a dra ksi t ) a n d G re c t ifi e s the gra mm a r but keeps the

’
.

hi a tus gOp ra da t fng c a a nn a m

,
1
I n the la st bo o k of the poem .
,

hi a tus i n G is m o re common tha n i n the ea rlier epic ; for

.

exa mple G ha s the hi a tus o f R vii 6 40 s va dh i ta mda tta m

, . .
, , ,

i sta ri r c a a l c va ry a m p a ri p a li ta m On the other h a n d wi thi n .

,

the pa da a ttempts a re someti mes ma de to a vo id hi a tus a t the

expen se of form a s i n R vn 1 09 4 b ra h ma m ( cf 8 8 20) , .
, , , .
,

a va rt a ya n p a ra m C on tra st is ofte n the c a use o f hi a tus both

.
,

i n the pa da a s i n a p a y a m va u p a ya m va R iii 40 8 a n d in the

, , .
, , ,

hemi stich a s i n hin a m m a m m a n y a se ken a a h i na m s a rva vikra

,

m a in R vi 3 6 , . So i n the Ma h a bha ra ta s a ty a n am a bha va

, , ,

a c o ka h c o ka n a ca n a h iii 64 1 07 Th e la tte r epic , , , .

otherwise presen ts the sa me phe n omen a

y e s a m mu t ra m u a h
p g a ya a p i
r b a n dh y a p ra s fi y a t e ,
iv , 1 0, 1 4
u p a va rt a s v a ta d bra hma a n t a ra t ma n i vi c ru t a m, v ,

43 , 59
vi ve q a G a n ga m K a u ra vy a Ulupi , x vn ,
1 , 27
d e va pi m a rge mu h y a n t i p a da s y a p a da i s i n a h , xii
’
a ,

2 7O, 22
a n a h ut a h p ra vi ca t i a p rs to b a hu b h a s a t e v , , 3 3 , 3 6, e t c .

There is n othi n g pe culi a rly epic in hia tus I t is foun d in .

prece de n t a n d subsequen t poetry I t s occ urren ce i n the .

1 R i n th e
. se c o n d h m i ti he s c ha s grh a rrc c a gt h a da t a ra h
'

(a c c ) . s va ka rm a
p h a l a m a cn a t a h , z
a g fo r b hu j , a s in M ii i , 3 2 , 6
. .

2 Em
p as s a h i ls o ma y c a u se hi t u
a s, a s i n dh a rm a tm a iti
i 21 7; n a t u
, R .
, ,

kt u m s a m a rt h e h a rh t va y i a t m a ga t a n g 8 5 ; o r it m a y b e e m
‘
va u n a n , R i v, ,
.

l y d li
p o e t o s a ve t h e fe o f a wo , a s i n da ks in a rt h e tlz a
‘
,
rd , rt v i gb h y a h x ii i 9 3 2 5 ,

( th e c o mm o n e s a u s is t hi t thi
s b e fo e r, a s i n s a ve c a rt a v a h ; k a ra y a s va r r rs e

y
a n e rk s a v a t a h ,
1 98 THE GR EA T EPI C OF I N DI A .

Mh a b h a sy
a a , a s i n c a y a n a va rdh a tc durv a a s i n a rh va rdh a tc

vi sa m ,xiii IS, .
, p 461 , m a y b e epic
. .

Th e c a d e n ce of the gl o ka li ke th a t of a ll other poetry de , ,

pe n ds o n the sen se a n d the c aesura c a n n ot be dete rmin ed by

,

rule I n most c a ses there is a c aesura a t the e n d of the p ada

.
,

but it is frequen tly shi fte d a s i n kva rju n a h n rp a t ih ? ci gh ra rir ,

’

s a m ya g a kh y a t u m a rh a t h a R vii 3 1 1 1 A complete se n , .
, , .

te n ce seldo m exceeds the li m it of a sta nz a a n d when it goes fu r ,

ther it m a y be set down a s a m a rk of la te n ess Q uite a n om a lous .

i n epic sty le a re those lon g sen ten ces usu a lly rela tive whi ch , , ,

a s i n G i t a 2 42—44 a n d 6 20—2 3 ru n throu h twelve o r four

, g ,

teen p a da s Still more a wkwa rd a re the sen te n ces foun d i n the

.

la ter epic Thus in xii 3 02 occurs a sen te n ce n o t of four

.
, , ,

te en pa da s a s i n the Gi ta but of fourteen cl o ka s ( 5 , yet

this is surp a sse d i n the sa me section by a sen ten ce of thirty
l o k a s which eve n the n h a s n o fi n i te verb a n d i n re a l ity n ever
g ,

comes to a n e n d a t a ll ( 24 Such mon st rosities however , ,

belon g o n l y to the pseudo epic - .

L ike the cl o ka the t ri stu b h i n eupho n y a n d sen se ma y b e

, , ,

a couplet the fi rst two a n d la st two p a da s ma ki n g a un it a s

, ,

i n iii 1 1 8 20 c
, d a n y a ng c a Vrsn i n u p a ga m ya puj a m : c a kre ;
, ,

vii 2 3 3 a
, , b n a t v e va h a mn a ga mi sy a m i t e sa m : ma dh y e
,
’

a a a m E uph n ic u n i ty is ill ustra te d by the eli sio n i n vi i

g r n e. ,

1 63 1 4 of a i n a drgya n t a a t the begi n n in g of the p ada a fter 0 ;

,

by ta ng c a p y : u p e p a vi sta n between c d i n i 1 9 1 1 9 ; a n d , ,

by the complete hemistichs

ya da gra usa m B h i m a s e n a n u y a t e n a q va tt h a mn a pa ra
’ ’ ’

m a s t ra m p ra y u kt a m i 1 21 3 , , ,

s a K a rn a D u ry o dh a n a Ca l va Ca l y a D ra u na y a n i Kra tha
- - -

Su n i t h a Va kra h i 1 8 7 1 5 ( c o mp a re i n c l o ka ;
-
, , ,

B h i s m a D ro n a K rp a D ra u ni K a rn a rj u n a J a n a r
’ -
- - - -

da n a n viii 2 0 3 ; b a h u qo Vi du ra D ro n a E rpa
, , ,
- -

Ga nge y a Srfi j a y a i h ix 61 20) -

, , ,

u ddh ut a l a ngul a ma h a p a t a ka dh va j o tt a ma ns a ku l a b h i s a n
t
a n a m, i v , 54, 2 7 .

Ordi n a rily,
however di sjun ctio n , a nd n ot con ju n cti on of
p a da s is the ru l e Thus be tween b . 0, iii , 1 3 2, 5 , a a , and
200 THE GREA T EPI C OF I N DI A .

avoid hi a tus irr a tio n a l p a rticles a re ofte n i n serted A go o d

, .

ex a mple is : pura krt a y u ge ta ta hg a si d ra j a hg Aka mp a n a h ,

vi i where B 5 2 2 6 omits the fi rst hi

, .
, , , .

R h y me .

C o n n ectio n
of p a da s by rhyme i s n o t un comm on I t is less .

n otice a ble i n gl o ka s th a n i n t ri stu b h s o n a ccoun t of the a lter

n a te troch a ic a n d i a mbic c a de n ce employe d i n the former a n d ,

s ome for ex a mple m a y thi n k th a t i n iii 65 65 66

, , , ,
-
,

va s a s va m a yi ka lya n i

p ri t i r me p a ra m a t va y i
i b a i va va s a ti bha dre ’

b h a rt a ra m upa l a p sy a s e
‘
th erhymes of the n a meless queen a re pra ctic a lly un felt but ,

this is sc a rcely possible when a ltern a te rhymes occur a s in ,

R ii 8 8 7
.
, ,

p ra s a da va ra va ry e s u
q i t a va t s u s u ga n dh i s u
usitva Me ru ka lp e s u
krt a ka fi c a n a b h i t ti s u

I n 91 1 3 of . the s a me sectio n three successive p a da s ,

-a m
; i n 1 4, two e n d i n a ; a n d i n 23 —25 seve n e n d
-

or -
a m, with some in serte d besides :
b a h u vi ry a b h i ra ks i t d m
u
q yn a sa mva ra n a ra h s a m
a y a n t ri t a h a y a dvip a m
a n a vrt a dv a ra m
'

p u ra
ra a
j dh a n i m a ra ks i t a m
ap ra h rs t a b a l a mn y u n a m
v i s a ma s t h a m a n a vrt a m
'

So i n t ri stu b h s , rhymes a re both irregul a r a n d regula r , as in

R iv , 24, 1 3 ,
.

1 C o m p a re , h o we v e r ,
th e a ffe c t e d i n iti a l a sso n a n c e ( with th e sa me di ff r e

e nc e ) i n R i v, 3 3
.
,
62 :
’
Ta ra y a
'

a pyc a nu j fi a ta s
'
’
t va ra
gci v a p i co di t a h
 EP I C VER SI PI CA TI ON . 201

a c in ta n i ya m
p a ri va rj a n i y a m a n i p sa n i ya m sva na
ve ks a n i y a m

a nd in R . vi , 73 , 5 5 ,
where three p a da s e n d in d h a n i Ji ha n i , ,

Joa n i respectively ; the s a me ( i n t a n z g a n i m a n i ) a ppe a rin g

,
-
, ,

a lso i n a p u sp i ta gra sta n z a R v 20 3 6 I n R iv 2 8 41 we , .

, , . .
, , ,

p ra m a tt a s a mn a di t a b a rh i n a n i
saq a kra gOPa ku l a q a dva l a n i
c a ra n t i n i p a rj u n a va s i t a n i

ga j a h s u ra m g a n i v a n a n t a ra n i
‘

n a va mb u dh a ra h a t a ke c a ra n i
dh ru va m p a ri s va j y a s a ro ru h a n i
ka da mb a p u sp a n i s a ke c a ra n i
‘

n a va n i h rs t a b h ra m a ra h p i b a n t i

In the foll owi n g p a ssa ge the e ffect of rhyme is given by Si mple

repetition of the whole word R iv 2 8 25 ( n o t i n , .
, ,

n i dra ga n a i h ke q a va m a bh y up a i ti
dru t a mn a di s a ga ra m a b h y u p a i t i
‘

h rs t a ba l a ka gh a n a m a bh y up a i ti
ka n ta s a ka ma p ri y a m a bh y up a i t i
words put in to the mouth of love sick Ra ma ( ka m a p ra dh a n a h -
,

a s he is c a lle d) by some l a te poet a ster wh o n o t co n te n t with , ,

the la st sta n z a a dds to it ( 27) ,

va h a n t i v a rsa n t i n a da n t i bh a n ti

dh y a y a n t i nrt ya n ti sa m a q va s a n t i

C omp a re a lso in
the s a me section we a k rhymes i n ta n a m ,
-
,

-va n a m ka n a m ra n a m ( a t the e n d of the p a da i n

,
-
,
-
Thi s
re a ches its height in the ridicu l ous ( l a te) section R v 5 .
, ,

where the s a me word is repe a ted a t the e n d o f e a ch p a da

till even 6 is a relief where o ccurs the a ltern a ti o n : — p a r1 ko
‘

, ,

p a r1 ka h l a i1 ko k h B elsewhere i R e ii 1 6
’ "

-
, c a r
1-
a u t ,
- n .
g .
, . .
, , ,

47 thr ee p a da s of a t ri stu b h e n d i n a m the other i n a rh ( d)

,
-
,
-

a n d i n the prece din st n z a thr ee p a da s e n d i n a i b thou gh -

g a

j a ga ti p a da s a re here in tercha n ged with t ri s tu b h .

Foot m a y rhyme with foot or with a ltern a te foot in the

2 02 THE GR EA T EP I C OF I N DI A .

c l o k just a s p a da rhymes wi th p a da tha t is either with

a, , , a

modi fi ca tion of the prece den t sylla ble thus x 1 5 3 4 , , , , ,

e va mkuru

n a c a n a tu
’
y
or even wi th a ltern a te rhyme a s i n R v 5 9 24 , .
, , ,

p a t i vra t a
ca s u q ro ni

a va s t a b dh a
ca Ja n a ki
but the s a me soun d ma y a lso be repe a te d without a ny such
preceden t differen ce , a s in x 15 14
, , ,

a dh a rm a q ca

en a krt o
‘
n

Such light fun da m e n ta l rhymes c a n n ot be s a id to be pro

du c e d without d esign They a re i n f a ct the vu l ga r rhyme
.
, ,

of the commo n proverb such a s is con spicuous in a ll pop u l a r

,

s a yi n gs C omp a re for in sta n c e the foll owin g Ma ra thi

.

proverbs
i c c h i p a ra

yei gha ra
j y a t s e kude
t y a t s e p u dh e
sva rga l o kI
v a i t a ra n i

z a se zha da
ta se pha l a 1

A l li t e ra t i o n .

Alli tera tion a ccordi n g t o the n a tive rhetoricia n D a n din is

, ,

a ffecte d r a ther by the G a n da s th a n by the Vi da rb h a s the ,

1
( a ) wh a t is w i s h e d fo r a n o th e r will c o m e t o o n e s o wn h o u s e ; ( b ) e vil i s ’

i n fr o n t o f a n e v il m a n ( h o n i s o it q u i m a l y p e n s e ) ; ( c ) i n h e a ve n t h e ri v e r
V a i t a ra n i ( t h e ri ve r o f d e a th p r e c e d e s t h e j o y o f h e a ve n ) ( d ) a s i s t h e tr e e ,

s o t h e fr u i t. Ma n wa rin g Ma ra thi P ro ve rb s Th e e a rlie r a n u s tu b h s h o ws th e

,
.

rhym e b e tte r o n a c c o u n t o f t h e i a mb u s i n t h e p ri o r p a d a e g R V v 86 5 ,
. .
,
.
, ,
:

a rh a n t a c i t p u r e d dhe a

a nge va de v a v a rva te .
204 THE GR EA T EP I C OF I N DI A .

m a n e b h i ra ma ra m a s t a
‘

R a mo ra m a y a t a rh va ra h

ra m a y a ma s a dh a rm a t m a

A go o d de a l of thi s is du e to the la ter revisors Thus . R .

v, 5 6, 5 1 ( a lso a p u n i n s a lil a ri r) n o t i n G , .
,

s a lil a fi gh a y i s u r b h i m a ms a l il a rh l a va n a rn a va m

ka ll e l a s p h a l a ve l a n t a m u tp a p a ta na b h o h a ri h

As it is qu i te impossible to tell wha t pro portion of such .

verses reverts t o the origin a l epic it must suffi ce to Show th a t ,

epic poetry a s we ha ve it while n o t a tta ini n g to the perfected ,

a b o mi n a tio n s of cl a ssic a l works n evertheless em ploys a lli t e r ,

a tio n to portra y situ a tio n s Thus the ra u dra ra s a i n R vi . .

,

65 , 41 ,

ra u dra mn i b h a h
h q a ka t a c a kra ks o m a h a p a rva t a s a

where the ha rsh thun der soun d is well given by c a ka ta c a

“ -
f

kra kso A dmi ra ble too is the p h o n e t i c imi ta tio n of motion

.
, , ,

stumbli n g fa lli n g a n d dyin g in Mb h vii 1 46 8 6

, , .
, ,

b a b h ra m u q c a s h h a lu hp e t u h s e du r m a m l g c a B ha ra ta ,
u ,

Th e rh a pso de s cla y is mo u l de d va riously but it is the s a me

’
,

stu ff the l a st ex a m ple bein g a studie d improvemen t t o suit

, ,

the situa ti on of viii 1 9 2 , , ,

vi c e l u r b a b h ra m u r n e cu h p e tur m a ml u c; c a B h a ra ta , ,

repe a te d i n 21 1 6 with v a rie d re a di n g but le a vin g ( t re s u h )

, , ,

petur m a ml u c c a ( s a in i ka h) a n d va ried i n 1 9 1 5 wi th the , ,

fa ta l m r a i s a of the l a ter poets ( here in pla c e of B ha ra ta ) 1

.

Th e ex a m ples given a b o ve Show both the Northern a n d the

Southern style use d i n b o th epics .

Th a t Va lm i ki wa s copie d by his successors goes without

s a yi n g Th e pseudo Ra ma ya n a Shows e g vii 3 2 64 :
.
-
, . .
, , ,

1 On e of th e i gn s th a t
s l t e d Ma h a b h a ra t a i s p o s t e ri o r t o th e
th e c o m p e
Ra m a ya n a . C o m p a re A J
P hil v o l x i x p 1 42
. . I t i a B u dd hi s ti c t e rm
.
, .
, . . s ,

m a ri s o fo r e i gn t o t h e R a m a y a n a b u t c u rr e n t i n t h e Ma h a b h a r a t a a n d l a t e r
,

Sa n s krit wo rk s Th e wo r d b e it n o t e d i s a s o ld a s o n e p l e a s e s b u t i t s s t e r e o
.
, , ,

typ e d e m p l o yme n t i h t h e B h a ra t a p u t s th a t wh o l e wo rk fr o m a s yn th e ti c
p o in t o f vi e w o n a p a r with o th e r n o n B u dd hi s ti c lit e r a t u r e u s i n g i t
-
.
 EPI C VE R SI FI CA TI ON . 5

sa tu ba h u s a h a s re n a b a l a d grh y a da ga n a n a m
ra a B a li rn N a ra a n o y a th a ,
'

b a ba n dh a ba l a va n j y

and thi s a t rocity in G v .

, 3 2, 45 ( not in B .
)
s u va rna s y a s u va rn a s y a s u va rn a s y a c a b h a vi n i
R a me n a p ra h i t a rn de vi m,
'
’ 1
s u va rn a s y a fi gu ri y a ka

where the poeta ster a lli tera tes the whole word i n a n a ttempt
a t p a theti c repetitio n Though thi s is n o t i n B
. yet the .
,

l a tte r coun ten a n ces iii 3 9 1 8 where words beginn in g with

“
, , ,
’
R frighten Ra m a s victim :
ra ka ra di n i n a m a n i R a m a t ra s t a s y a R a va n a

ra t n a n i c a ra tb a g c a i va v i t ra s a mj a n a y a n t i me
’
.

Si m i l e s a nd Me t a p h o rs . P a th e tic R e p e tit io n .

On epic simi les a n d meta phors a n in terestin g ess a y rem a in s

to be written As these subjects li e qui te a p a rt from a study
.

of the verse itself I Sha ll a t presen t m a ke o nl y o n e or two

,

observ a tion s touchi n g o n the sign i fi c a n ce of these fi gures .

First of a ll the presen ce i n the epic of rfi p a ka s meta phors of

, , ,

thi s or tha t form n o more impli es a cqua in ta n ce wi th a studi e d

,

a rs poetic a tha n do such phen om en a i n other e a rly epic

p o etry Th e pseudo epic h a s a disq ui siti on o n rhetoric a s
.
-
,

it h a s o n every other subject but rheto ric is older tha n Rhet ,

o ri c a n d I c a n n ot see th a t i llustr a tio n s of l a ter n orms foun d

,

in the epic prove a cqu a in t a n ce with those n orms .

I n the rewritte n G i ta u n questio n a bly o n e of the older poems

,

i n the epic though n o t n ecess a rily a n o l d p a rt of the epic we

, ,

fi n d th a t the curren t di po ni va t a s th a h simi le is in tro duce d a s

a
“
tra dition a l simi le u p a m a s mrta 6 1 9 Such stock s im
, , , .

iles b e l o n g to n either epic but to the epic store in ge n era l a s , ,

m a y be seen by co n sultin g the lo n g list of i den tic a l Similes

i n ide n tic a l phr a seolo gy comm on to both epics B u t the .

epics la ck the more com pli c a te d fi gures of cla ssic form just ,

a s they l a ck the l a ter co m plic a te d m a l a s Wh a t they h a ve

y a c .

1 Co mp a r e G i v, 42, 1 2 . 44, 1 2 ( a fi gu l i y a m , s i c , i n t h e l a tt e r ) , wh e r e t h e
ri n g is e n gr a v e d
with t h e m a rk o f R a m a s n a m e
’
( a s a rr o ws a re m a rk e i n d
So R v , 3 6, 2, ( a fi gu li y a ka m ) R a m a n a m a fi ki t a m
. .
 206 THE GR EA T EPI C OF I N D I A .

in bun da n ce is ( a ) the simile ; ( b) the si mple meta phor ;

a

( )
c the d ouble met a phor T hey ha ve a lso a m ost a trocious .

mixtu re of meta phor a n d si mil e a s i n R vi 41 45 te tu , .

, , ,

va n a ra ca rdfi l a h ga rda l a i v a da nstrina h those a p e tigers l ike ,

-

fa n ged t igers Th e sim ile is suffi cie n tly illustr a ted i n A p

.

p e n di x A I n ote o n ly tha t it m a
.
y be d ouble d R a b ur g a tha ,

c a n dra m i va he like Ra hu hi m a s if the moon ( overca me )

, , , , .

I ll ustr a tio n s of the double meta phor a re foun d for ex a mple i n , ,

xiii 1 07 3 3 s a ra s va t i rh go p a y a n a h keepin g Silen ce herdin g

, , , ,

fluen cy xiv 9 0 95 s va rga rga l a rh l o b h a b i ja m he a ven s

, , , ,
’

”
b a r h a s gree d a s i t s see d !
Fo r my presen t purpose it is n ecess a ry o n l y to poin t o u t
th a t the la t er p a rt of the epic excee ds the e a rli er epic in
in volved m eta phor Nothin g for ex a m ple i n the ea rly epic .
, ,

is q ui te equa l to xiii 1 07 26 where a fter men tioni n g bil , , ,

lio n s sa ga ra in 21 the p o e t a dds

, , ,

a va rt a n a n i c a t va ri ta da p a dm a n i dva da q a
m n a mc a t a tr a
’
g a ra g p
n i a ri a s a u va s a t e s u kh a m ,

whi ch me a n s tha t o n e rem a in s in bliss fifty o n e p a dma s of -

ye a rs sixteen plus the a ggrega te o f the ( fi ve ) a rrows ( of

,

1
L ove ) in to the ( seven ) fla mes 3 5 B u t p a ra llels
a l most a s extra v a ga n t ( i n cludi n g the g op a g simile a bove ) h a ve

been n otice d by Professor L a n m a n in the in terestin g ess a y

referred to i n the la st n ote Not so strikin g though i n style .
,

more rhetorica l tha n is foun d i n the love p a ss a ges of the e a rly -

epic is the meta pho r of iv 1 4 25 :

, , ,

a t m a p ra da n a va rs e n a s a rh ga ma mb h o dh a re n a ca

c a m a y a s va va ra ro h e j va l a n t a m m a n m a t h a n a l a m,

O gra c e fu l m a id, q ue n ch
the m in d sha ke r s ( L o ve s ) gl o win g -
’ ’

”
fi re with the ra in o f sel f surre n der a n d the wa ter o f un i o n - .

PW y thr fir mp r y d g
’
1
c ag i .
, s . B t ar n t ci
,
sa i fip s ee es . u co a e a a ne e v a ri r a nr

y t a pt
e ca h t y h i 23 2 1 0
e s d p ta i p
a e im a d M nd Up ii 1 8
a , , , ,
a n sa rc s , a ss : a n u . .
, , .

B i d t h r lt i 3 5 d m ltip l i 5 t h th r m t b 7( fl m )
es e s, e e su s a n one u e s , so e o e us e a es .

Th
2 hi g h mb r whil
e se t fi d t t h p d p i ( I d Str if
nu e s, e no c on ne o e se u o -e c n . e e n,

i p 97
,
. r i fr h dditi th r i m
e c e ve f mb r b f r es a ons e e n na es o nu e s e o e nu

k n o wn C o mp a re x i i i 1 07 63 fo r e x a mp le wh e re o c c u r t h e c a ri ku a n d
. , , , ,
'

p a t a k a : t a th a c a ii ku p a t a ke dve y u g a n t a mka lp a m e v a c a a y u t a y u t a rh t a th a ,

p a dm a rii s a m u d ra mc a t a th a va s e t On s i m il e s c f L a n m a n JA OS x x p 1 6 .
, .
,
.
, . .
2 08 THE GR EA T EP I C OF I N D I A .

c o mm on occurren ce of the repetitio n of the fi n a l foot of the

pri o r a t the begin n i n g of the posterior p a da Thi s ex t rem e .

ex a m ple dupl ic a tes even the syll a bles but i n the p a t h ya fo rm ,

of the gl o ka the duplic a tio n of the whole fe e t while n o t re ,

pro ducin g the sylla bles m a y exten d ba ckwa rd a s well a s for ,

wa rd thus givin g three iden tic a l feet a s in R vii 28 6

, , .
, , ,

na b h e t a vy a rir n a ga n t a vy a rh n i va rt a dh va m ra n e
s u ra h
Such a verse however is ofte n modi fi e d a s in iii 1 68 8 0
, , , ,

n ib o dh a t a m a h a b h a ga h Ci va mc a q a s ta m e n a gh a h
’ ‘

or if the fi rst two a re m a in ta in ed by m a kin g the th ird foot

, ,

V or V Th e di fferen t possibili ties c o n cern us

here on l y a s they a ffect the c a de n ce fo r the mon oton y o f the ,

p a da is va rie d quite a s much by the rhetoric a l c a d en ce a s by

the foot E ven the stere o typed di i a mb i c clo se of the posteri or
.

p a da is con sta n tly broke n by a cho ice of words whi ch fa r from ,

len di n g them selves to ia mbic rhythm impe de it So in stea d , .

of the posterior y the p a da m ust ofte n be

. v , u u

re a d a s s)v u
. while in the prior p a da g u

u x is freque n tly to be re a d a s g Pro u , u u

n o u n c e d cretics a n d da ct ls ofte n cla i m reco n it io n a s at R

y g , .

vi 1 7 1 2
, , ,

R a va n o n a ma du rvrt t o ra ks a s o ra ks a s e cva ra h
, , , , ,
1

i b 1 7, 67,
’
or . vi dy a te t a sya
iti h e va ca s a rh gra h a h ; i b 1 8 , 7, .

Ka ku t s t h o va ky a rii s a t y a p a ra kra m a h , He n ce even i n the .

m o re rigid posterio r p a da the cl o ka presen ts gre a t v a riety .

Th e e ffect fo r ex a m ple of the dii a m b i c e n di n g is q ui te l o s t

, ,

i n the followi n g typic a l ex a m ples

ba la d ad a ya vi ry a va n ,

n a va p a h oa c a sa p ta c a , ,

s a n dh i rir R a m e n a R a va n a ,

re a d such pa da s mecha n ica lly a s if they h a d a pa use

To ,

before the di ia mb ( a s Occiden ta l scho la rs a lmost a lwa ys rea d

1 A s oct k p hra s e ,
th e p a r a ll e l t o R a va n o l o ka ra v a n a h, R . vi , 20, 2 1 , e t c .
 EP I C VE R SI FI CA TI ON . 209

th em) is vicio us Th e cl o ka more tha n a n y other metre

, .
, ,

must be rea d by sen se ra ther tha n by schem e Th e la tter .

metho d is b a d en o ugh i n a ll m etres but peculi a rly s o in the , ,

short cl o ka where u n l ess the stress jibes with the w o rds

, , ,

the res ul t is a peculia rly pa in fu l t u m tum wh ich i n n o wa y -

,

g ives the rhythm ; fo r i n rea lity the c l o ka is a metre of

g re a t subtlety a n d f o rce i n whi ch n either ia mbic n o r t ro

,

o b a io ca den ce h a s ever held swa y but both in te rcha n ge ,

1
with plea sin g va riety even i n p a th y a s ofte n un itin g i n a ,

da ctyli c or choria m bic mea sure a s i n iii 5 6 24 , , , ,

ki m a b ra vi c c a n a h s a rva n ,

va da b h u mi p a t e n a gha , ,
‘

or R vi .
, 65 , 1 1 ,

ga o c h a c a t ru va dh a y a t va rii ,
K u mb h a ka rn a j a y a y a e a . .

or i b . 5 9 , 47,

ta m a b ra vi n m a h a t e j a
R a m a h, sa t y a p a ra kra ma h ,

ga o c h a , y a t n a p a ra q c a p i
’

b v
h a a , L a ks m a n a , s a my u ge
With the sa m e freedo m a t the outset the t ristu b h i n ste a d , ,

of em bra cin g a ll fo rm s a s it m ight h a ve do n e con tin ued o n

, ,

a m o re a n d m o re restricte d p a th I t kept the i a m bic c a den ce .

m uch m o re cl o sely tha n di d the c l o ka a n d c o n tra cte d its

mi ddl e t o a n a lm o st un va ryin g sha pe I t thus grew m ore .

a n d m o re m o n o t o n o us a n d n o t h a vin eve the dv n ta e

g n , a a g
o f he mi stich un ity it bec a m e a m ere c o lloc a tio n of h e n
-

de ka s ylla b i c verses e a ch p a da h a vin g the sa m e un va ryi n g

,

1 S till gr e a t e r v a ri e ty i s gi v e n b y t h e m e l o di o u s V i p u l a s o f whi c h I s h a ll ,

s p e a k b e lo w B u t s e v e e i g hth s o f e p i c v e r s e a re i n p a t h y a fo r m th a t i s
. n- , ,

h a lf t h e yll a b l e s i n t h e v e rs e a re u n a lte r a b ly fix e d a s V
s g a d u2 _
n u ,

s o th t it i s o f i n t e r e s t t o s e e h o w with thi s s e lf im o s e d r e s tri c ti o n t h e Hi n d u

a
p
-

p o e t s till m a a g e s t o m a k e ve r s e s s o m e l o di o u s e n e r g e ti c a d v a ri e d wh e n
n
, ,
n ,

re a d p r o p e rly .
21 0 THE GR EA T EP I C OF I N DI A .

i n Hora c e
’
c lle d a ti )
( a u a
p j , a s s

t ra h u n t q u e s i c c a s ma c h i n a e ca rin a s .
‘

Th e on ly wa y to s a ve from de a d uni formi ty a rhythm s o

stereotyped w a s i
to sh ft the c aesura frequen tly 2
I n the .

Ra m a y a n a where u p a ja t i s a re the rule ( the Ma ha bha ra ta

,

t ri stu b h di d n o t rea ch the s a me level of mo n oto n y) there is ,

o fte n a co n sta n t pl a y from fourth to fi fth or a remoter syl

la ble a s the p l a c e of rest With the usua l p a use a t the

, .

fi fth the da ctylic middle foot is c o n verte d i n to a n a n a

,

p ae s t i c i a m bic S li de a s i n the f o ll o wi n
g ex a mples
, from R .

iv 43 62 ; 44 1 6 ; v 3 2 1 0 the la st t wo ex a mples Showin g

, , , , , ,

a lso the li ghter c aesura n o t of se n se p a use but of bre a thin g -

a ) t a t a h krt a rt h a h
(
sa h ita h sa b a n dh a va
m a ya ’
rc ita h

gu n a i r ma n o ra m a i h
s a rva

c a ri s y a t h o rvi rh
’

p ra t i q a n t a q a t ra va h
sa h a p ri y a
b h ut a dh a ra h p l a va mga ma h
b
( ) sa t a t p ra ka rs a n
h a ri n a m m a h a d ba l a m
b a b h fi va vi ra h
p a va n a t m a j a h ka pih
ga t a m b u de

vy o m n i v i q u ddh a m a n da l a h
’
ga gi va n a ks a t ra ga n o Pa go b h i t a h
c
( ) s va pn o hi n a ’
y a m
na hi m e ¢
s t i n i dra

1 B r w S krit Pr dy p 9 O t h th r h d t h j g t! rr
o n s
’
a ns o so ,
. . n e o e a n e a a co e

sp e n d i t r f r m t t h i m b i tri m t r with tw l yll b l

s n ou e o o e I tr t
a c e e e ve s a es . ea

th e j g ti thr gh t
a a t i t b h wi th
ou ou yll b l dd d ( t h fi l yll b
a s a r s u one s a e a e e na s a a

a nce p f
s ot h f r m r b m
e i g fi
o d ber i ) eco t mni g thi xe a s ev s , V V no a ssu n s

a s a g ti f t b t
ene c a c i th
u m b d y p p ri g i b th
a s a d
c o n ve n e n c e , e sa e o a ea n n o a n

th e p a d b i g
a s i t r h g
e n b l p
n t ie thc k h
a n d ea e exce n e a s a ra c c a n a s.

2 O th n d ri ti e f typ e fi d i r p t f t h i i ti l yll b l ( th
va on o es xe n e s ec o e n a s a e e

upen d r d i d j a b i g d ri d fr m t h p j a t i d t vi
a a n n ra v a r e n r ) e ve o e u a a n no c e ve sa ,

se e be lo w ,
th e se c ti o n on th e S ta n za .
21 2 THE GR EA T EPI C OF I N DI A .

forms On e of its dec a den t uses wa s to furn i sh n e w ta gs for

.

the e n d of cha pte rs of cl o ka s This wa s a n o l d use but it .

,

is exten de d i n the la te r epic Th e di fi e re n t texts Sho w n o .

uniformity in the in sertio n of these t a g t ri stu b h s o n e text -

,

ha vin g severa l where a n other h a s o n e or n on e just a s in

, ,

the c a se of other t a g m etres fo r ex a mple a p u sp i ta gra G iii

-
, , , .
,

3 9 42 two ru c i ra s betwee n G iii 5 6 a n d 5 7 but n o n e in R

,
.
, , .

Pla in l y a la te in sertion for in sta n ce is the i mita tion sta n z a

, ,
-

whi ch serves a s a t a g to G iii 43 42 ( n o t in .

, ,

ka l a s y a k a l a g c a b h a ve t s a R a m a h
sa m ks i p y a l o ka nq c a s rj e d a tha n ya n ’
,

Ma n u ix 3 1 5 ; Mb h ix 3 6 40
, ,
.
, , ,

n y a n deva n a p i m a h a t a a h
s a h i kru ddh a h s r j e d a p
xiii 1 5 2 1 6
, , ,

a da i va mda i va t a mku ry u r da i va t a rir c a p y a da i va t a m

’
,

l o ka n a n ya n s rj e y u s te
Such ta gs m a y in fa ct be m a de of a dj a cen t cl o ka s A n
, , .

in sta n ce is given below where a ru c ira h a s thus bee n cre a te d .

As rega rds t ri stu b h s G iii 62 en ds with a t a g m a de out of

,
.
,

a cl o ka o m itte d i n thi s te xt but kept i n the o ther n a c a rm a ,

l a b h a t e b h i ruh a n d n a vi n da t e t a tra tu c a rm a Ma ithili A .

go od ex a m ple is fo un d i n R vii 75 1 8 ii where a t ri stu b h .

, ,
.
,

t a g is a dde d i n a l most the s a m e words wi th those where wi th

the followi n g cha pter begin s sho win g tha t with the di vision ,

in to two ch a p t ers a t a g wa s sim ply m a n ufa ctured out o f the

n ext sta n z a ; a s is still more cle a rly i n di c a te d by the f a ct tha t

76 2 a n swers the question of 75 1 8 va i gy a s t rt i y o v a rn e va

, , ,
’ '
c a dre va ( si) c ii dra y o n y a m p ra ja t o s m i E vi den tly onl y .

o n e verse in terve n e d the cl o ka : ta sy a t a d va c a n a m c ru t va

’
,

a va kci ra h u va c a ha .
1

1 Th e sa me thi n g occu rs in R . i v, 50, w h e re th e c h a p t e r c l o se s with t h e

c l o ka : p a p ra c c h a Ha n u m a ri s
’

t a tr a ka
’
si t va 1i1 ka s y a va b i la m . T he n fo l
lo ws t h e t a g : a o t t Ha n fi m a n gi ri s a n m ika ga
'

h kt t a fi j a l i s t a m a b h i v a dy a vn

ddh a m , p a p ra c c ha ka t v a m b h a va n a m b i l a r
’

rr c a ra tn a n i c e
’
ma n i va da s va

ka e ya s im p ly re p e a ti n g t h e l a s t c l o ka i n t ri s tu b h fo r m G ve ry p r o p e rly
,
. .

d ro p s t h e c lo ka ; b u t i t i s c le a r th a t o ri g in a lly t h e cl o ka c lo s e d t h e qu e s tio n .
 EP I C VE R SI FI C A TI ON . 21 3

Th e t a g fun ction of the t ri stu b h is a lso kn own i n the Ma h a

-

bha ra ta , n ota bly in the o n e t ri stu b h foun d i n the Na l a iii 76 , , ,

5 3 which h a s been rega rde d a s spurious o n a ccoun t of its

,

isol a tio n B u t the foll o win g section s a fte r the N a l a episo de

.
, ,

Show just the s a m e co n di tio n s the e n d of ch a pters 8 3 a n d ,

1 00 So too a t the e n d of ix 24 a n d 2 8
.
, ,
Ha ri v 2 66 a n d , . .
, ,

69 e n d with o n e j a ga ti e a ch ; 2 68 with three , , .

Th e presen t te xt of the R a m a y a n a shows m a n y c a ses of

t ri stu b h s a n d j a ga t i s i n terpola te d i n to the mi ddle of a cl o ka
'

sect ion Some o f these a t le a st a re clea rly the fin a le of fo rmer

.

c ha pters Thus R vi 69 1 5 looks lik e a n in serte d j a ga ti but

. .
, , ,

its fun cti o n is to close the c ha pter i n G 48 1 3 So R vi 69 .

, . .
, ,

8 8—9 6 a ppe a r a s a group of in terpola te d t ri stu b h s ; but i n G .

the sa me group is a t a g to cha pter 49 Proba bly the brea k .

i n R vi 69 44 G 49 3 1 is the o ri gin a l fi n i s of a cha pter

.
, , , .
, , .

O cc a sio n a ll y whe n o n e edi tion brea ks a cha pter o n l y the n e w

, ,

di visio n is foun d to h a ve t ri stu b h or j a ga ti a s a n a ccepte d ,

Sign of co n clusi o n a s i n R iii 1 1 a fter 70 ; G 1 6 41

, .
, , .
, .

A Specia l fun ctio n of the la ter t ri stu b h is to pro duce pa thet ic

e fi e ct
}
I n thi s gui se it wi n s n e w li fe a n d ma kes wh o le ch a p
ters a s i n R v 28 where the burden o f the cha pter is ex
, .
, ,

pressed by h a Ra ma h a L a ksm a na h a Su mi t re etc o r i n R , . .

iv 24 ( n o t i n a la me n t the do l e ro u s sty le of whi ch ma

, y ,

be ill ustra ted by the remin i sce n t verses 1 3 —1 4 : ,

s mi p a p m a n a m i da m va y a s y a
‘

p ra p t o

v a dh a t Tva s t ra va dh a d i ve dra h
’
b h ra t u r n

a
p p m a n a m I n dra s y a m a hi j a l a m c a
ka m a rn j etc
'

v rks a q c a a grh u h s t ri a
y q ca , .

C los e ly a lli ed is the em plo ymen t of the t ri stu b h to describe

not men ta l c o n di tion s but o pera tio n s of n a ture Th e Vedi c .

p ra va ta va n ti p a ta ya n ti vi dy u ta h RV v 8 3 4 a ppea rs i n , .
, , , ,

1 hi s b e g in s i n t h e Ma h a b h a r a t a a s a n e x t e n s i o n o f t h e t a g fu n c ti o n
T -
.

C o m p a r e t h e ill u s tr a ti o n s gi ve n i n A J Phil vo l x i x p 1 8 ff A g o o d e x . . .
,
.
, . .

a m p l e o f t h e s e n ti m e n t a l e ffe c t i n t e n s ifi c a ti o n o f h o rr o r s e t c
,
de p u te d t o t h e ,
.
,

t ri s tu b h b y p r e di l e c ti o n i s fo u n d i n R v 54 3 0 if
, Th e a c ti o n i s i n glo ka s
.
, , , . .

Th e m o r a l e ffe c t i s g i v e n b y t h e fo ll o wi n g t ri s tu b h s .
 21 4 THE GR E A T EP I C OF I N D I A

R . iv , 28 , 45 a s va rsa p ra ve ga vi p u l a h pa ta n ti p ra va n ti va ta h
m u di rna ve ga h, i n lon g section who ll y descriptive An other
'

sa a .

exa mple is foun d i n R iv 3 0 28 —5 7 .

, , .

o ka s a n d t ri stu b h s a re n o t ofte n comm in gle d sa ve i n a

C l ,

few la te p a ssa ges of the grea t epic i 23 2 1 0 ff ; Ha ri v 3 , , , . .

,

82 3 fl , a n d i n R v 41 ; G 3 7 ( chi efly u p e n dra s )

. . through , .
,

out a sectio n I n R a few lon g pa ssa ges occur in the sixth

. .

book 5 9—61 67 but a pa rt from these books the excha ng e

, , ,

1
of t h e two metres is a vo ided I n the Sa na t s u ja ti ya v 46 .
, , ,

there is i n deed a regul a r cl o ka refra in be sides o ther cl e ka s

, ,

in te rmin gled with t ri stu b h s but this is beca use the a uthor ,

is reducin g Upa n i s ha d sta n z a s a n d a t the sa m e time a ddi n g ,

some o f hi s o wn Th e pra ctice belong s to those scriptures .

,

a n d is n o t
ge n era lly kept up i n the epic though occa si o n ,

a lly a gl o ka or two a ppe a rs a mo n t ri stu b h s a s i n ii 64 9 —1 0

g , , , .

I n x ii 3 50 49 ff two tri stu b h s ( the seco n d h a vi n g thr ee

, ,

hemistichs) a re in serte d between cl e ka s ( a fter a gl o ka of

three verses) .

C o mmo n F o rm s o f Cl o ka a n d Tri s t u b h .

From m ech a n ic a l
poin t of view the p ri o r p a da of the cl o ka
a ,

a n d the t ri s tu b h a re ide n tic a l except for the fa ct tha t t o th e ,

eight sylla bles of the cl o ka pa da the t ri stu b h a ppen ds a s c o li u s

o r a mphi bra ch Th e n a tura l divisio n o f the eight sylla bles in
.

ea ch c a se is in to groups of four or fi ve followed respectively ,

by fo ur or three Fo r co n veni en ce the gro up of fo u r whi ch is

.
,

foun d often est is usua lly ca ll ed a foot a n d to ha ve a n a m e I

, ,

sha ll s o design a te it N o w i n epic ( Ma ha bha ra ta ) p o etry every.

,

foot o f the cl o ka pa da is fo un d i n the t ri stu b h a n d vice vers a , ,

( a s w ill be see n from the fo ll o wi n

g ta ble ) every prior foot a nd ,

every l a st fo ot of the t ri stu b h s eight sylla bles is a lso a corre ’

sp e n di n g cl e ka foot :

1 G . n , 1 1 0, 3 ft i s . no t in R .
,
a n d app e a rs t o be a n i n t e rp o l a t i o n Th e p a r
.

a lle l s to G . v, 89 a re a l s o l a c kin g i n R . Ve r s e 7i n G . vi , 3 4, i s p ra ks i p t a ( t h e
p a s sa g e is not in R .
, but c o mp a re R i v, 3 3 ,
.
21 6 THE GR EA T EPI C OF I N D I A .

It
is however in terestin g to see i n how m a n y c a ses a per
, ,

missible form of both metres is use d s o tha t o n e c a n n ot tell ,

whi ch m etre o n e is re a di n g till the p a da is n e a rly complete .

Ordi n a rily the gen er a l rhythm determin es the a n ticip a tio n

a n d the expecte d metre is dul y met ; but n o t in frequen tly is

the justifi e d a n ticip a tion deceive d a n d the metre still keep in g , ,

o n the lin es o f the prece di n form su d d e l y ch es A

g n a n
g , .

pen ul tim a te verse for ex a m ple i n R ii 3 8 1 4 begin s m a ya

,
-
, .
, , ,

v ih i n a mv a ra da p ra p a n n a m but we n o soo n er le a rn th a t thi s

'

is a gl o ka verse n o t a t ri s tu b h t a g ( a s we might expect from

,

its fo rm a n d p o sitio n ) tha n in 1 5 we re a d ima m m a h e n dro p a

,

ma ja t a ga rdh i n i m the re a l t a g o f the sectio n

'

, .

Th e form just cite d is the usu a l o n e i n which the cl o ka

coin cides with the body of the t ri stu b h Som eti mes a s i n set .
,

phr a ses the s a me words a re use d ; thus in G ii 1 8 3 3 a n d 55

, .
, , , ,

p ra s a da
y e t va m c ir a s a k a ri s y e va c a n a m i
p tu h
p ra s a da
y e t va m c ira s a y a t a vr a t e ( t ri s t u b h )
or i n R . vi , 1 06, 4 a nd 5 9 , 3 6,
ms a h a s a s va n a va n t a m m a h a dh va j a m
ta m a pa ta n ta
ms a b a s a s a mi ksy a ( t ri s t u b h )
ta m a p a ta n ta

With the prev a len t u p a ja t i c aesura a n d a lrn o s t a fter a

'

system o f u p a ja t i s ( o n e cl o ka in terven i n g) a ppea rs i n R vi , .

,

69 1 3 0 s a v a y u s fi n u h ku p i t a c c i kse p a c ikh a ra rh gireh a per

, , ,

feet u p e n dra va jra p a da i n a gl o ka verse Such a lien p a da s .

a re n o t very co mm o n i n the mi dst o f a gl o ka system but

1
,

a re c o mm o n i n close c o n jun cti o n with t ri stu bh s a s if the ,

poet either wi shed to trick o r c o uld n o t hi mself ge t the l a st

metre out of hi s e a r An other in sta n ce like the o n e a b o ve is
.

fo un d i n R v 5 4 48 H where o nl y a gl o ka hem istich in ter

.
, , .
,

ven es between a t ri stu b h system a n d the t ri stu bh like c a den ce -

of the cl o ka : vy a ra j a ta di t y a i va rc i m a li L a h ka ms a m a s ta m
’ ’

s a m p i dy a l a fi gi i l a gn i m m a h a ka p ih m rva p a y a m a s a t a da s a mu
'

dre ( h a ri p u fi ga va h) C a ses where a whole cl o ka is in terpose d

.

1 B ut c o mp a re R . v, 2, 3 1 , a n e na rfi y
p e n a m a a n a ga ky a ra ks a s a m p u ; ri
R . vi , 43 , 1 7, ga rir a sa mgh a ta va h a h p ra s u s ru h ge ni t a p a g a h ; N a l a , 3 , 1 , t e b h y a h

p ra tij fi a y a Na a l h
ka ri s y a i t i , a a a ; Bh r t a nd i b 1 2, b u t
. no mo re c a se s ti ll 6 , 8 .
 EP I C VE R SI PI CA TI ON . 21 7

a re n o t a t a ll ra re . In R . vi , 67, 9 9—1 01 , 9 9 en ds i n a t ri stu b h ,

1 00 is l k t h a 1 01 be i n s a Ku m b h a ka rn a s a c a ra n
ac o a p a y , g s y
ga ri re
( p
s a t a , v i r a va n )
y L ess str ik i n
g is the c
. a se where o nl y

one p a da of a cl o ka of chori a mbic fo rm ( secon d vi p ul a ) corre

Sp e n ds to the t ri s tu b h it fo ll o ws for here the former s c a d e n ce
’
,

is n o t kept up Such a p a da n ee ds n o in terven in g p a t h y a but

.
,

m a y follow dir ectly o n the t ri stu b h a s i n R vi 67 21 —22 , .

, , ,

ra du dru vu h s a m y a t i K u m b h a ka rn a t
p
ta ta s t u Ni le b a l a va n ( p a ry a va s t b a pa ya n ba lam)
Whe n a n un i mporta n t word o r a superfluous a d orn men t ,

a n un n ecess a ry a dverb or epithet is a dde d it a rouses a s u s p i , ,

cion tha t som e o f the gl o ka s m a y be reduced from a n older

fo rm Thus vi dy u n m a li a ppe a rs to ste p a j a ga ti i n R vi
. .
,

43 , 41 a ,

v i dy u n m a l i )
’
ra h a ra b h i h a t o ni
c i l a p ( ga c a ra h

So i n R . vi , 69 , 1 3 8 a ,

kh a dga p ra h a ra b h i h a t o Ha n u m a n ’
( m a ru t a t m a a h
j )
So , too i n the verse cited a bove h a ri p u fi ga va h fi ll s out the ,

verse where m a h a ka p ih precedes a suffi cien t subject I n G , . .

iv 60 2 n i ve da ya ma s a ta da m a h a rsi m ( s a mh a t a fi j a lih) ; i n
, , ,

the other ex a m ple a bove s a p t a vi ry a va n ; a n d i n the fo llowi n g , ,

exa m ple b o th termi n a ls ( even the a ccusa tive) a re un n ecessa ry ,

R vi 71 3 7
.
, , ,

ta t o t ika y o b a l a va n p ra vi qy a ( h a ri va h i n i m )
¢

v i s p h a ra y a m a s a dha n u r n a n a da c a
( pun a h pun a h)
A n d very lik ely sin ce a n in spection of epic phra s eology ,

shows tha t there were m a n y stereotyp e d turn s of expressio n ,

there were phr a ses us ed fi rst in the t ri stu b h which were pre
served in a crysta llize d form i n the gen era l c l o ka so lutio n i n
whi ch the epic wa s immersed B u t to s a y except i n the c a se .
,

of such stere o typed phra ses whether thi s ha ppen e d i n a n y o n e ,

n a n d
i st ce woul be a t best ra ther a n idl e expression o f opin ion 1
, .

1 In sa dh u s a dh v iti ( t e ) ne du c (c a ) drs t v a c a t ru m ( o r ra ks a h) p a ra j i t a m ,
R . vi , 44, 3 1 , G . 1 9 , 3 7, a sto c k p hr a se in e ith r r
e fo m , a n o l d t ri s tu b h ,

V mi ght b e p r e s e rv e d ,
but a v a ri e d r e a di n g i s m o r e lik e ly .
21 8 THE GR EA T EP I C OF I N D I A .

C erta in verba l forms len d themselves best t o o n e c a den ce a n d

it is n o t surprisin g for in sta n ce tha t o n e turn sho uld go to
, ,

m a ke both c l o ka a n d t ri stu b h ( R v 47 1 0 ; vi 1 06 or .
, , , ,

tha t the ex a ct form here is elsewhere G vi 8 9 25 ( R h a s , .

, , .

ha ya n ) used a s p a rt o f a n other t ri s tu b h so tha t we fi n d

, ,

p ra c o da y a m a sa ra tha i n s a s a ra thih

p ra c o da y a ma s a ra t h a rh s u ra s a ra thir u t ta ma h

p ra c o da y a ma s a c i t a i h c a ra i s t ri b h i h
p ra c o da y a m a s a q i t a ih c a ra i r h e m a vi b h fi s i t a ih

On thi s poin t I ha ve o n ly to a dd tha t a com plete j a ga ti

p a da , a s well a s a t ri stu b h p a da m a
y thus a ppe a r i n
, a l
c o ka ,

as in the ex a mple a bove a n d in R v 5 7 1 5 b .

, , ,

sa p u ra y a m a s a ka pir diq o da c a ( s a ma n t a t a h )

a nd tha t , n ext to the chori a mbic form the , o ld t ri stu b h s i n

Oft e n in corpora te i n cl o ka s , a s i n N a l a , 4, 28 , v a rny a m a n e su c a

’
ma ya b h a va t s u ; 9 , 4, vy a di ry a t e va h rda y a rh n a c a i n a m ’

a n d 1 2, 3 9 , p a t a t ri b hi r b a h u vi dh a i h s a m a n ta d, e tc , etc Pro . .

fesse r J a cobi h a s suggeste d tha t the cl o ka h a s borrowe d such

form s from the t ri stu b h Thi s seems to be a re a son a ble s u g
.

g estio n yet , it shoul d be s a id th a t the a r ume n t a dv a n ce d i n

g
fa vor of it is sc a rcely va lid Professor J a cobi ba ses the deri
.

v a tion of the seco n d vi p u l a from the t ri stu b h o n the a ssume d

fa ct tha t in thi s form of the p a da u a lmost n ever t a kes u u

the pla ce of I S vol xvii p 45 0 . Thi s st a tem en t , . .

,

however is ba sed o n a ra ther restricte d a rea of exa m ples

,
.

I n the B ha ra ta gl o ka s is n o t un commo n except in

, u u u

la te p a ssa ges a n d even there two or three c a ses out of

,

twen ty fi ve t o thi rty a re n o t very un usua l All tha t we c a n

- .

s a y is th a t fi n a l brevis is much less fr eque n t th a n in the

fi rst vi p u l a .
 220 THE GR EA T EP I C OF I N D I A .

tro chees a n d pyrrhi cs li e between B u t very often a double .

trochee ) is preferre d to a sp o n dee

u _ u As u

rega rds min o r di fferen ces a s for ex a m ple whether , or g u u

y .
is used m ore frequen tly I ha ve n o t thought it worth
u ,

whil e to ga ther the sta tistics Onl y the curious preferen ce .

i n l a ter writers for three successive i a mbs seeme d worth n e t ic

i n g a s it le a ds to the hemi stich of ei ght i a mbs sometim es
,

2
af fecte d by do ggerel epic poets Such a combin a ti on re gu .

l a rly o ccurs o n l y a t the begin n i n g o f a pri o r p a da bein g ,

t a bo o ed i n the posteri or p a da though occ a sion a lly fo un d there ,

.

Th e gen er a l ( n o t i n viol a te ) ru l e for the p a t h y a is th a t a n y fo ot

m a y st a n d bef o re x whi ch d oes n o t m a ke tribra c h or

a n a p aest a fter the i n i ti a l syll a b a a n ceps of the p a da Th e fi n a l .

syll a ble o f the p a th y a is lon g i n a bou t two thi rds of the c a ses -
.

Mo re im porta n t a re the f a cts in rega rd t o the preferen ce fo r

cert a i n fo rm s com bin ed wi th the vi p u l a s a lthough these m a ke ,

but a sm a ll proportion of prior p a da s .

The Vip u la s .

Th e Vi p u l a s ( syll a bles fi ve to eight) a re fo ur in n umbe r

3 . On l y
the third ( a s in di c a te d) h a s a n a lm o st in va ri a ble c aesura I n .

respect o f the gen er a l rules for these vi p u l a s fro m a n ex a m ,

i n a t i o n o f a co n sidera ble m a ss of m a teri a l I would st a te fi rst ,

tha t the epic c l o ka gen era lly con forms a s fa r a s I c a n fo rm u ,

m
la te the to the followin g co n di tion s
,
3

1 r
Th e p e fe e n c e fo r V r ‘

V ill u s tr a t e d b e l o w
in s te a d o f V is .

d l i
C a s e s o f o u b e a m b u s b e fo r e t h e p a t h y a s e e m t o m e r a th e r c h a r a c t e ri s ti c o f
t h e p o p u l a r a d l a t e s c h o l a s ti c s tyl e th a n a n a r c h a i c s u r v i va l ( t h e l a t e s c h o
n

l a s ti c o fte n c o i n c i d e s with t h e p o p u l a r thro u g h a c o mm o n c a re l e s s n e s o r s

i gn o r a n c e ) To b e c o mp a re d a re Si m o n s D e r Cl o ka i m Pa li Z D MG v o l x li v
.
, , .
, .
,

p 84 if a n d Ol d e n b e r g i b li v p 1 9 4
. .
, , . Th e l a tt e r s e e m s i n c li n e d t o s e e ( with
, . .

du e c a u ti o n ) e v i d e n c e o f a n tiq u ity i n t h e p r e c e d e n t i a mb u s I r e g a r d thi s .

c o m b i n a ti o n r a th e r a s a s i g n th a t t h e writ e r i s m o r e c a r e l e s s .

2 Se e b e l o w fo r a n e x a m l e
p .

2 B side s t h
e e a rti c l e s a b o v e s e e C o l e b r o o k e ,Gi l de rm e i s t e r Z K M v 260 , .
,

W e b e r I S v o l v iii ; Ol d e n b e r g B e m e rk u n g e n z u r Th e o ri e de s Clo ka ZD MG
,
.
,
.
, , .

xxxv p ,
1 8 7 a d Ja c o b i I S v o l x v ii p 443
. n ,
.
,
D a s R a m a y a n a ; a n d Gu ru p fi
.
,
.

j a ka u m u di Pr o fe s s o r Ja c o b i s r u l e s g i ve n fir s t a s va li d fo r t h e o l d e r e p i c s
’
.
 E PI C VE R SI F I CA TI ON . 221

1 . Th e fi rst vi p ul a
usu a lly follows , u u u as u

v or x tho ugh it is suffi cien t to ha ve the pre

. u

cedin g syll a ble lon g ( even thi s restriction is n o t a lwa ys

observe d) Th e l a ter style h a s fewer c a ses of the fi rst of
.

these com bin a tio n s Th e c ae sur a is a fter the ( pa da s) fo urth

.
’

or fi fth sylla ble som etimes a fter the sixth Th e la st syll a ble
,
.

of the vi p ul a is preva ili n gly lon g but n o t in frequen tly Sho rt ,

especia lly a p t to be sho rt a fter the dii a mb i c openi n g When .

the c aesura is a fter the fi fth syll a ble of the p a da the la st

syll a ble of the vi p ul a a s a rul e is lon g ( whi ch wo u l d in dic a te
tha t thi s c aesura is l a ter tha n the o n e a fter the fo u rth) .

2 Th e secon d vi p u la
. v v a usu a lly fe llows , ,

though a prece di n g or is n o t a gre a t

ra ri ty An y other prece den t foot is spora di c onl y Th e
. .

c ae sura is a fter the fourth or fifth syll a ble of the p a da ,

in clin i n g to the l a tter pl a c e ( a t times twice a s frequen t) .

Th e l a st syll a ble of the vi p u l a is sometim es short most often ,

when the c aesura is a fter t h e fo u rth syll a ble of the p a da but ,

is preva ili n gly lo n g especia ll y i n the la ter epic where a short

, ,

1
fi n a l is o fte n r a ther r a re ( r a rer th a n i n the fi rst vi p u l a ) .

3 Th e third vi p u l a
. usu a l ly follows H
, _ .

Th e c aes u ra is very r a rely a fter a n y other syll a ble th a n the

fi fth a n d is sel do m n e glecte d
, Th e l a st syll a ble is i n di ffe r .

en tly short or l o n g This is the most rigid form both in

.
,

we re m o d ifi d
e l a t e r a rti c l e s c ite d ( 1 8 8 4 1 8 93
in th e Pr o fe s s o r Ol d e n
, ,

b e r g s o b s e r va ti o n s g i ve a e x c e ll e n t c o m p a ri s o n o f M a n n s p r a c ti c e with
’ ’
n

th a t o f a n e p i c p a s s a ge Th e s ta t e m e n t s i n C o l e b ro o ke s a n d W e b e r s wo rk s
.
’ ’

m e n ti o n e d a b o v e b a s e d o n t h e ru l e s o f n a ti ve m e tri c i s t s o ft e n c o n fo rm
, , ,

thr o u gh n o fa u lt s a ve th a t o f t h e m e tri c i s t s n e ith e r t o e p i c n o r t o c la s s i c a l

,

u s a g e a n d hi s t o ri c a lly c o n s i d e re d a re u s e l e s a s r e g a r d s t h e e x t a n t e p i c
s
c l o ka .

P r o fe s s o r Ja c o b i s ru l e s a s m o d i fi e d b y h i m th o u g h n o t e x h a u s ti ve a re ge n
’
, , ,

e ra l ly q u it e u n i m p e a c h a b l e a n d g i v e t h e b e s t ( a s d i d Gil de rm e i s t e r s i n h i s
’

da y ) p r e s e n t a ti o n o f e p i c c o n d iti o n s I fo ll o w hi s o r d e r i n n u m b e ri n g t h e
.

fo u r vi p ul a s a n d h i s r u l e s with s o m e re v i s i o n
, , .

1 Th
e a ge o f t h e p i e c e a f fe c t s t h e qu a n tity o f t h e fi n a l s yll a b l e Fo r e x .

a mp l e o f t h e t wo l o t u s th e ft v e r s i o n s t h e p ri o r ( a s i s o ft e n t h e c a s e ) i s t h e
,
-
,

m o re m o d e rn ( x iii , He r e th e r e i s n o c a s e o f V V b u t fo u rt e e n c a s e s V ,

of V V ( o n e hu dre d fo rty n i e c l e k s ) B u t i n 94 i t h e c o m p a s s o f
n - n a .
,
n

fo rt y gl o ka s , V V V o c c u r s s i x ti m e s ( a g a in s t V V fo u r tim e s ) .
222 THE GR EA T EP I C OF I N DI A .

respect of c aesura a n d of preceden t fe e t so tha t the p a da is ,

a lm o st a lwa ys u

4 Th e fo u rth vi p ul a
. v 3 usu a lly follows 3 , v ,

but i n some section s is foun d quite a s ofte n a fter H

a nd z Th e c aesura ra rely ch a n ges from the fo urth
u

sylla ble Th e l a st syll a ble of the vi p u la is gen era lly lo n g

.

5 Th e Ma h a bha ra ta h a s wha t m a y be c a lled a fi fth vi p u l a

.

.
,

u u I t occurs spora di c a lly i n a ll p a rts of the epic a n d

is n o t very un comm on though n o t so curren t a s i n the ,

Up a n i sha ds This form crops up occ a sio n a lly i n the Pura

.

na s but is i gn ore d by Va lmi ki a n d l a ter K a vis

, .

These epic co n di tio n s m a y be co n den sed i n t o o n e short rule

of gen era l us a ge : All Vi p u l a s a re fo un d a fter v but \I
_

with occ a sion a l exception s 1 o n ly the fi rst vi p u l a a fter

a nd z a n d n o o t h e r prece den t feet a re a dm itte d b e
u

fore vi p ul a s Th e c aesura is free ( us ua lly a fter the fourth or

.

fifth syll a ble ) i n the fi rst a n d seco n d vi p u l a ; a fter the fifth

i n the third ; a fter the fourth i n the fourth vi p ul a .

Th e chi ef di fferen ce between the n orm a l type of the epic

p a da a n d tha t of cla ssic a l wri ters li es in the circumsta n ce tha t ,

a s co n tr a ste d with the fa cts st a te d a bove i n cl a ssic a l works ,

there is
1 ) a lmost complete a bse n ce of the fourth vi p u l a ,

2) gre a ter r a rity of the fir st vi p u l a a fter dii a mbus ,

3 ) gre a ter strictn ess i n the c aesur a of the thi rd vi p u la ,

4 ) very ra re exceptio n s i n the em ploymen t of other prece

den t feet ( e g the thi rd vi p u la a fter . .
,
R a gh xii u .
,

5) a l most exclusive use of lon g fi n a ls i n fi rst and secon d

2
vi p ul a s .

Thus it will be seen tha t there is still an a pprecia ble a dva n ce

1 Th e t e x c e p ti o n i s fo un d i n t h e c a s e o f t h e fo u rth vi p u l a On
c o mm o n e s .

a n a ve r a g e h a l f a d o z e n e x c e p ti o n s o c c u r i n t h e c o u r s e o f a th o u s a n d h e m i
- - o

s ti c h s b u t e x c l u di n g t h e fo u rth vi p u l a o n ly o n e o r t wo e x c e p ti o n s g e n e r a lly
, ,

2 On t h e r a rity o f t h e fo u rth vi p u l a i n c l a s s i c a l writ e r s s e e Ja c o b i I S vo l

, ,
.
, .

x vn , pp . 443 . Th e r u l e fo r t h e l o n g fin a l s i s c it e d b y W e b e r I S v o l v iii,
.
,
.
,

p . 3 45 : s a rva s a m vi p u l a n a m c a t u rt h o v a r n a b p ra y e n a g u r u r b h a v a ti .
 2 24 THE GR EA T EP I C OF I N DI A .

to Professor J a c o bi bec a use he wa s a Western er loc cit , . .

p . so tha t i n itself it is n o criterio n of la ten ess .

Th e n um ber of vi p u la s gi ves the gen era l a ver a ge ( o f 1 2 21 -

1
per cen t) a lre a dy n oticed B u t this ra t io is som etim es a l mo st .

ha lve d a n d sometimes n e a rly double d sm a ll sectio n s of two ,

hun dred verses ( hemi stichs) n o t in frequen tly Sho win g from
fourteen to forty six n o n p a t h y a fo rms ; whi le i n specia l c a ses
- -

even gre a ter disproportio n m a y be observed som e of which ,

when ta ken in to co n sidera tio n a lo n g wi th other elemen ts m a y

stil l be worth n otin g Thus a s between the o l d ta le Up a .
,

kh y a n a of N a m uei a s to ld i n ix 43 3 3 H a n d the followin g

, , , , .
,

a ccoun t h a n ta te ka t h a yi sy a mi
, of Ska n da i n 44 5 ff the , , , .
,

weight of pro ba ble seni ority li es with the Vedic ta le Here .

m
there a re vi p u la s en ough to a ke the ra tio 3 3 3 per ce n t 1
, ,

i n ste a d of the a vera ge 1 21 per cen t ; where a s in the Ska n da

ta le there a re onl y h a lf a s m a n y B u t a ga in the list of .
,
’
Ska n da s fo llowers i b 45 8 6 ff shows fourteen vip u l a s i n
, .
, .
,

fi fteen cl o ka s a s the li st of Mothers i n 46 shows forty Si x in

,
-

o n e hun dre d cl o ka s a n d the list of n a tio n s i n xii 1 01

, 3 ii , , .
,

h a s thirteen v i p ul a s i n twen ty c l o ka s a ll of these however , , ,

bein g n a m es a n d therefore exception a l There a re o n the .

,

other ha n d goo d re a son s a p a rt fro m vi p u l a s for con siderin g

, , ,

tha t the con vers a tio n o f Sul a b h a a n d Ja n a ka is n o t a n a n cien t

p a rt of the epic ( b a d gra mm a r is o n e item ) a n d here i n n e a rly ,

four hun dre d c a ses there a re but eight vi p u l a s o r less tha n ,

3 per cen t ; in ste a d of the a ver a ge 1 21 per ce n t .

Not the n um ber o f vi p u la s per se but the use of vip u l a s ,

m a y be a determin i n g f a ct o r Th e re fi n ed cl a ssic a l style .

di ffers however n o t fro m the epic a lo n e but fro m the

, ,

P ura n a s where obta in s even gre a ter freedom th a n i n the

,

epic especi a lly i n the n ice test of the fo urth vi p u l a Thus

, .
,

fi fteen fourth vi p u l a s is n o t a hi gh n u m ber i n a thous a n d

Pura n ic verses e g ex a ctly thi s n um ber is foun d i n Va yu
, . .
,

1 In s i mp l e n a rr a ti v e with n o d i s t u rb i g fa c t o r s t h e c o m p a s s r a n ge s fro m
,
n ,

fo u rt e e n t o thirty vi p u l a s i o e h u n d r e d c l o ka s ( t wo h u n d r e d c a s e s ) thr e e
n n ,

ti m e s m o r e o fte n a b o ve t we n ty th a n b e l o w it a n d s e l d o m e x c e e d i g thi rty,

n ,

fo r i n s t a n c e o n ly o n c e i n t h e fi r s t
,
c a s e s o f t h e n i n th b o o k .
 E PI C VER SI FI CA TI ON . 2 25

Pu ri n a ch 4—9 fi ve hun dre d cl o ka s ; a n d i n the epic sectio n

, .
,

of Q a n t i from the e n d of the pro se i n 243 t o the e n d of 3 51

Th e Agn i Pura n a h a s a s m a n y a s fi fty seve n -

fourth vi p u l a s i n the sa m e n um ber of verses the fi rst twen ty ,

cha pters fi ve hun dre d a n d fi ve cl o ka s B u t if we co m p a re

,
.

the use of the vi p u la s we see a t o n ce a strikin g differen ce i n

these p a ssa ges Th e epic selection h a s fifty sec o n d vi p u l a s
.

a n d thirty two thi rd Vi p u l a s ; the va yu selecti o n thirty three

-
,
-

secon d a n d fi fty o n e thi rd ; the Agn i selectio n twen ty six

-
,
-

secon d a n d fi fty thi rd ; wi tha l despite the c a relessn ess in the ,

l a st which gives four c a ses of the sec o n d a fter bi

, and u _

thr ee of the thi rd a fter Th a t is to s a y eve n the u

,

l a te a n d c a reless P ura n i c style still in clin es to the thi rd in ste a d

of seco n d vi p u l a whi ch is the cl a ssic a l preferen ce I f how
, .
,

ever we revert to a n older selecti o n o f the epic we fi n d fo r

, , ,

in sta n ce i n the he a rt o f the B h a ga va d Gi ta ( 8 3 0

, tha t
the secon d vi p ul a ( i n the s a m e n umber of verses hemistichs , ,

n a m ely o n e thous a n d whi ch i n a ll the ex a m ples n o w to be

,

i ve n is the n u m ber to be a ssum e d) h a s twe n ty ni n e c a ses a n d -

g
the thi rd but eleven ; th a t is the pro portion is n o t o n ly ,

reversed but is i n very striki n g co n tra st both to the n o rm o f

the Ra m a y a n a a n d Ra gh u va nc a o n the o n e ha n d a n d the
Pura n a s o n the o ther C o in ciden t with thi s is the further .

fa ct tha t where a s Va lmi ki a n d K a li da s a ha ve prop o rtio n a lly

,

few fi rst vi p u la s a fter dii a mbus bo th epic selectio n s a bove ,

ha ve m ore fi r st vi p u la s a fter dii a mbus th a n a fter a n y other

com bin a tio n ; whi le the Pura n i c specimen s a re qui te cl a ssic a l
i n thi s re ga rd the Va yu h a vin g o n ly o n e fo urth the A gn i
,
-
,

o n ly o n e third of a ll the fi rst vi p u l a s a fter dii a mbus

-
A n ex .

tr a ct fr o m the A n u ca s a n a P a rv a n of the epic cl , .

shows a ls o a n a ppro a ch to the cl a ssic a l m o del ( t e n fi rst

vi p u l a s a fter dii a m bus twe n ty three a fter 3 , and -

e a ch) Th e l a st c a se h a s thi rty six sec o n d vi p u l a s

.
-

a in st fi ft y four thi rd vi p u la s a n d o nl y seve n fourth vi p ul a s

g
-
a

where a s the Gi ta extr a ct h a s twe n ty two f o urth vi u l a s 1

( p ) -
.

1 Th fi e t t Git a N l A c P ; R a m a y
ve ex s, i , 1 —1 1
a ad R gh
, nu . . ana v, , a n a u

va nc a s ho w a s fo u rth vi p u l a s (in 1 000 ve rs e s ) 22 , 1 0, 7, 2, 0, r e s p e c ti ve ly

15
2 26 THE GR EA T E PI C OF I N D I A .

A curious fa ct is further tha t whi le t hi s extra c t of the , , ,

A n u c a s a n a which is a m e dley o n the gifts o f cows o rigin of

, ,

ol d a n d other l a te stuf
f h a s but seve n fourth vi u la s i n fi ve
p
g , ,

hun dre d cl o ka s the followin g ch a pter o n gra ddh a s the ba sis

,
‘

of which is o ld ( rules exp a n de d from Ma n u s l ist of guests) ’

,

h a s fo ur i n sixty cl o ka s An other in terestin g fa ct is tha t the .

thousa n d verses whi ch le a d up t o a n d fo llo w a fter the extr a ct

from the Gi ta given a bove 495 83 0 do n o t keep ,
-
,

the ra tio between the secon d a n d third vi p u la s but a ppro a ch ,

the la ter n orm ha vin g a n equ a l n umber of e a ch vi p ul a Th e

, .

—
A n u gi ta itself co n ta in s o n ly o n e h a lf a s m a n y “
irregul a r
1
forms a s does the Gi ta i n the s a me a moun t of m a tter ; but
follo wi n g this the epic n a rra tive is exp a n ded i n mo dern form ,

a n d here where the subjects a re the moun t a in festiv a l rec a pit

, ,

u l a t i o n of the B ha ra t a w a r ( xv 61 di ggin g for burie d , ,

tre a sure P a ri ksi t s birth demise a n d restora tio n t o life loos

,
’
, , ,

i n g the whi te horse a n d Arju n a s re n ewe d b a ttles the m etre

’
, ,

becom es a l most cla ssic a l wi th sc a rcely a sin gle vi o la tion of ,

vi p u l a rules a n d wi th o n ly fi ve c a ses of the fourth vi p u la

to the tho usa n d verses C om p a re for in sta n ce the vi p u la s i n .

R a gh u v a nc a the Ra m a y a n a ( iv 1 , a n d A c va m e dhika 3 ,

P a rv 5 9—77 a ccordi n g to vi p u l a s
.
,

1 11

R a gh .
, 33 17
Ra m .
, 62 20
Agv .
, 74 27

Th e vi p u l a s o f th e fir t th s o u sa n d
r s e s ( h e m i s ti c h s ) o f N a l a a re i n th e irve ,

o rde r ,
9 1 3 3 50 1 0
, , Th o u g h m o d e r n iz e d t h e irr e g u l a riti e s i n N a l a a re
, .
,

a n tiq u e : 3 1 3 i va p ra b h a m 1 2 1 05 N a l a mn a m a ri m a rda n a m ( c h a n g e d t o ‘
, , , ,

da m a n a m ) ; 1 6 3 7 k a th a m c a b h ra s ta ( ) j fi a t i b h y a h ; 2 0 1 8 t v a m i va
, ,
C
l
, ,

y a n t a ( o w e va ) ; i n 1 2 55 a n d 9 1 vi la p a t i m m u s t b e r e a d ( gra m m a r i s
n , , ,

o f n o i m p o rt a n c e h e r e a s will b e s h o wn b e l o w) , .

1 Th e y a re thr e e c a s e s o f t h e s e c o n d v i u l a a ft e r
p 3 a nd g V _

re s p e c ti ve ly ; fi ve a n d o n e e a c h o f t h e fo u rth vi p u l a a ft e r t h e s a m e fe e t

r e s p e c ti ve ly .

2
Th e s tri c tn e s s h e r e m a y b e m e a s u r e d b y t h e fa c t th a t th e r e i s o n ly o n e
c a s e o f fin a l b r e vi s i n t h e s e c o n d v i p u l a a n d o n ly thr e e i n t h e fi r s t ; n o c a s e

o f s e c o n d o r thir d v i p u l a a ft e r a n y p r e c e d e n t fo o t s a ve v ( a n d o n ly _ . u

o n e o f t h e fo u rth vi p u l a ) Fu rth e r o n ly o n e thir d o f t h e fir s t vi p u l a s fo ll o w

.
,
-

a d ii a mb u s .
228 THE G R EA T EP I C OF I N D I A .

ber of fir st a n d secon d vi p u l a s with c aesur a a fter the fi fth is

do uble th a t of those wi th c aesura a fter the fo urth a n d there ,

is o n ly o n e fi rst vi p u la a n d n o secon d vi p u la with fi n a l brevis

, , .

Fin a lly there a re o n ly fourt een c a ses of fi r st vi p u l a a ft er

,

u out o f fifty four in a ll Thus fro m every p o in t of

-
.

view the s a m e result is o bta in e d Th e little P a rva n is com .

a ra t i v e ly re fi n e d i n style ( n um ber of vi u l a s 5 4 3 0 3 5
p p , , , ,

No doubt thi s p a ri s a mkh y a phi losophy is tires o me re a din g ,

but a s it is even m ore tiresome t o obta in the fa cts tha n to

l a n ce a t them I sh a ll b e
g , g the re a der to h a ve p a tie n ce while
I gi ve the results of a few m ore recko n i n gs sin ce I beli eve ,

they a re n o t without a certa in v a l ue Wh a t I wa n t to show .

is tha t the tre a tm en t of the fo urth vi p u la goes h a n d i n ha n d - -

wi th tha t of other fa ctors in volvi n g a more o r less re fin e d

style but n o t n ecessa rily wi th a ll of them I will ta ke a s
, .

m y fi r st illustra tio n the te n t sce n e from D ro n a 72—84 a n d -

,

.
—
i h 5 1 71 a group o f a pp a ren tly o l d stories o n the
,
“
sixteen
”
ki n gs tha t die d a n d a lli e d t a les I n the former there a re .

fo ur in the l a tter twen ty o n e fourth vi p ul a s to the thousa n d

,
-

hemi stichs ; i n the former there is but o n e sli ght irreg

u l a ri t
y ( z . u u u i n the l a tter there a re six .

B u t in the former there is o n e m o re seco n d vi p ul a th a n

there is third ; i n the l a tter these sta n d thi rty t o forty
seve n ; whi le a fter dii a mbus i n the f o rm er there a re n i n e
o u t of forty i n a ll a n d i n the l a tter sixtee n out of fift y fi v e
,
-

in a ll I n other words i n the l a st test there is sc a rcely

.
,

a n y di ffere n ce but in th a t of seco n d a n d thi rd vi p u l a s

,

such eviden ce of a n tiqui ty a s is furn ishe d a t a ll by thi s

test is i n fa vor of the fo rm er where a s in the other tests it ,

is i n fa v o r of the l a tter specim e n I h a ve n o t selecte d these .

specimen s however t o sho w tha t a ll these tests a re use

, ,

less On the c o n tra ry I believe they m a y be a pplie d but

.
, ,
'

a ll to gether a n d with co n st a n t refere n ce t o a ll other f a cto rs .

Th e m o di fyi n g f a ctor here fo r ex a mple is th a t though the , ,

ta les o f the kin gs tha t di e d a re un doubte dl y o ld yet they

“
,

a re t o l d ( or retold) i n such mo dern c a reless Sa n skrit tha t

fi n a l i is here kept short n o t o n ly before b r but eve n before
 EP I C VER SI FI CA TI ON
’
. 229

vy . en ough then to s a y tha t a story i n D ron a or

It is not
”
A n u c a s a n a is “
un doubtedl y o ld bec a use perha ps it sm a cks ,

o f a n tiq u i ty o r eve n is foun d i n a B u ddh ist rec o rd I t is n o t .

the a ge of the story but the a ge o f the fo rm i n whi ch it is

c o uched tha t m a rks the a ge of the li te ra ture This specime n .
,

fo r ex a m ple e n um era tes e a rth s isla n ds a s eighteen i n n u m

’

ber a sure m a rk o f la te n ess but here supporte d by other

, ,

da t a An o ther extra ct from D ron a a n o rdi n a ry ba ttle scen e

.
,
-
,

a dh y 9 2—1 00 h a s t o be sure thi rtee n f o urth v i p ul a s but the

.
, , , ,

v i p u l a s i n their o rder ru n 44 1 4 3 7 1 3 with n o t a sin gle

, , , , , ,

irregul a rity of a n y sort whil e o n ly t e n of the forty four a re ,

-

a fter di i a mbus ; i n other word s a s cle a n a scheme a s mi ght be ,

met i n Va lmi ki except for the fo urth vip u la a n d eve n here

, ,

eight of the thi rteen a re i n pro per n a mes L ess cl a ssic i n .

a ppe a ra n ce but still fa r remove d fro m the free epic type

, ,

is the p a ss a ge de a li n g with the de a ths of B h fi ri cra va s a n d

Ja y a dra t h a ( vii 1 41 —1 46 n o t q u i te a th o us a n d verses ) i m
, , ,

p o rta n t bec a use o f its m en tio n of Va lm i ki 1 43 67 Here , , .

the vi p u la s ru n 43 3 3 1 8 1 1 ( four o f these in n o m , , , .

1
with three irre gul a r forms o the seco v p a
f n d i u l A fourth .

of the fi rst vi p u la s fo ll o w i a m bus On the other ha n d i n the .

,

de a th of D ro n a a n d the fo ll o win g sce n e v ii 1 90—1 9 8 , ,

on ly o n e sixth of the fir st vip u l a s foll o w ia m bus a n d

-

there a re n o certa in exceptio n s Th e scheme of v i p u l a s is .

here 3 0 28 43 9 ( t wo i n n o m
, , tha t is a m o re m o dern
, .
,

prepon dera n ce of third vi p u la s Severa l other fe a tur es show .

m o dern touches Thus in 1 9 2 7 R u dra s y e va hi kru ddh a sy a

’
.
, ,

is either a very c a reless vi p u la or c o n ta in s a n ex a m ple o f the

Pura n ic licen ce ( ta ken fro m Pra krit) o f sho rt vo wel befo re
kr ; whi le i n the s a me p a ss a ge c l 1 3 e so o r e sa hi p a rsa t o , .
,

vi ra h we h a ve t o choose between c a reless s a n dh i o r c a reless

,

metre I n 1 9 0 3 3 the a n tiquity of u

.
, is i n a n in herited
, v

n a me Ja m a da n i h where a s i n sim il a r c a ses the o l d lice n ce

g , , , ,

persists even in to P u ra n ic writin gs ? I n 1 9 5 44 ka da rth i , ,

1 I n 1 46, 7, o c c u r s t h e r a re c o mb i n a ti o n u U u V V ,
Th e re a d
in g o fC . 1 46 9 2 i s v i c i o u s a n d i s c o rr e c t e d i n B
, ,
.

2 Na m e s, fo r m u l ae a n d n u m e r a l s o fte n r e t a i n thi s li c e n c e e
, , .
g .
,
rs a ya c ca ,
23 0 THE GREA T EP I C OF I N D I A .

krty a is a la te phra se a n d in 1 9 1 3 7 the ste reotyped ma n

, , ,

oeuvres a re twe n ty o n e i n n um ber ( the e a rlier epic h a vin

-
g
fourt een ) Here the n the v i p u l a s ( 1 1 0 in n umber slightly
.
, , ,

belo w the a vera ge) do n o t ba dl y represen t the perio d of the

selectio n whi ch is a worke d over piece in ten de d to sa ve the
,
-
,

hero es from bla me a n d is often in c o n gruous with the rest of

,

the epic ; a s in the hum bug of the wa r c a r n o t touchi n g the -

ro un d hi therto Whe n Yu dhi sthi ra tells a lie hi s c a r dro ps

g .

”
to the e a rt h for the fi r st ti me ! B u t hi therto there h a s
“

been n o m en tion of this co n scien tious cha riot whi ch here is ,

represen te d a s ha vin g flo a te d just a bove the e a rth .

I n K a rn a we m a y co m p a re the th o us a n d verses o f 1 8 —29 ,

where there is l a te ba ttle a ction ( gun a fo r jy a fo r ex a m ple ) -

,

with the fi ve hun dre d fi fty verses of o ld ta les i n 3 3 —3 4 E a ch .

h a s seven fourth vip u l a s thou gh o n e is o n ly h a lf the le n gth ,

o f the other I n Sa bha the in terest ce n tres o n the ga mbli n g

.

scen e certa in ly the ke rn el o f the o l d ta le Here ii 50 ff for

, .
, , .
,

a thousa n d verses there is the gre a test n um ber of fo urth

,

vi p u l a s ( thirty s i x n in e of whi ch a re i n proper n a mes ) a n d

-
,

the m ost irre gul a r fo rms ; three c a ses of a third vi p u la a fter a

spon dee o n e c a se of a prior p a da en din g in ia m bus two c a ses
, ,

of the fi fth vip ul a v o n e c a se of fi r st vi p u l a a fter a

“
a , u
,

brevis besides six c a ses of ordi n a ry exceptio n s ( secon d

,

vi p u l a n o t a fter a ll of whi ch remove the piece fa r

\J
_

from the a l most cl a s sic a l n o rm foun d i n s o m e o f the c a ses

g ive n a bove I t is i n f.a ct Pur a ni c
1
O f c o urse the scen e is .

in ten se a n d excitin g ; but I opin e tha t n o poet who h a d o n ce

le a rn e d t o wa lk the stra ight a n d n a rro w w a y of the l a ter
sty li sts wo u l d ever ge t so excit e d a s to use thirty s ix fourth -

x u, d
3 49 , 78 ; a c a de v a h , A g P x v ii 6 Th e s a m e c a u s e i n d u c e s t h e fo u rth
. .
, .

vi p u l a i n m a n y
c a s e s o f th e Ra m a ya a Fo r e x a m p l e t h e o ly fo u rth vi p u l a
n .
,
n

i n t h e fi r s t th o u s a n d v e r s e s o f R iii v a ikh a n a s a h v a l a kh i ly a h 6 2
.
, , . .

1 C o m a r e fo r i n s t a n c e t h
p e 505 c l o k s o 1 01 0 v e r s e s i n t h e fir s t twe n tya r

c h a p t e r s o f t h e A g n i Pu r a n a wh e r e t h e v i p l a s i n th e ir o r d e r a re 41 26 50
,
u , , ,

5 7 with s i x irr e g u l r s e c o n d v i p u l a s ( o t a ft e r i a m b u s ) ; fi ve thir d vi p u l a s

,
a n

n o t a ft e r i a m b u s ; a n d o n ly n i n e t e e n o f t h e fi fty s e v e n fo u rth v i p u l a s a ft e r -

i a m b u s Th e firs t vi p u l a i n t h e g a mb li n g s c e n e i s ru n u p b y t h e r e p e titio n
.
-

o f o n e p hr a se Th e y a re i n o r d e r 60 ( o dd) 3 4 5 1 3 6
.
, , , , .
23 2 THE GR EA T EP I C OF I N DI A .

verses v , ,
3 5 , 60 ff , . on the other ha n d there , a re six fourth
vi p u l a s o n ly fi ve cl o ka s
in .

Whether we a re en title d to dra w from these da ta co n clu

sio n s in rega rd to the ti me when the severa l selectio n s were
written m a y b e doubte d i n a ll c a s es when the percen ta ge o f
fourth vip u l a s is n o t susta in e d by other fa ctors B u t it seems .

to m e a s I ha ve s a id tha t it i s n o t un re a s on a ble t o a s sum e a

, ,

m o re m o dern a utho rshi p i n the c a se o f a susta in ed refi n em en t

of style E ven i n c a ses where the da ta a re n o t o f a n extrem e
.

cha ra cter I thin k it is le gitim a te to questio n whether a c o m

t i v e re fi n e m e n t is n o t of si gn i fi c a n ce T a k e for ex a mple
p a ra .

the th o us a n d verses of Udy o ga 1 1 9—1 3 3 Here,

the subject m a tter of the selectio n is t h e B h a ga va dy a n a

- .

Nothi n g i n the a ccoun t seem s a n tique ; o n the con tra ry the ,

wh o le story a ppe a rs o n the s urfa ce to be a l a te a dditio n Now .

,

o i n be n e a th the surfa ce we fi n d th a t the v i p u l a s a re i n or der

g g ,

4 8 2 3 3 9 1 3 but th a t eight of the l a st a re in proper n a m es

, , , , .

Th e coll a ter a l evide n ce a grees with the t wo fa ctors here

shown ( prepon dera n ce of thi rd vi p u la over sec o n d comp a ra ,

tive sc a rcity of fo urth v ip u l a ) ; for of the forty eight onl y -

twelve a re a fter ia m bus ; of the twen ty thr ee n in eteen a re -

,

a fter i a m bu s ; while of the f o ur o rdi n a ry excepti o n s ( a fter

51
. two a re i n the s a m e phra se y a tha B h i sm a h Q a n t a ,

n a va h ; the thi rd v i u l a is perfectly re ul a r or h a s a t m o st

p g
one exceptio n m a n e n a b h ra sta h s va rga s te ( tho ugh a s a
, ,

m a tter of fa ct there c a n n ot be m uch doubt tha t we ha ve here

,

the la te light sylla ble before b h r) ; the fi ve fourth vi p u l a s n o t

i n proper n a m es a re a ll a fter i a m bus except o n e co n t a in e d in ,

a n here di t a ry phr a se e s a dh a rm a h ksa t ri y a n a m

,
Here the n .
,

though there is n o t the strikin g cla s sic a l sm o o thn ess foun d in

p a rts of the pseudo epic the few fourth vi p u l a s a gree wi th the
-
,

other da ta i n m a rkin g the piece a s ra ther refi n ed perha ps ,

mo dern when com p a re d with the oldest epic style

, .

Whe n ho wever the da ta a re co n tra dicto ry a s often

, , ,

ha ppe n s we m a y ima gin e a reha n dlin g a s in the suspecte d 1

, ,

N a ra y a n a expl o ita tio n in Q a n t i fro m the e n d of the prose i n ,

C mp r B hl r i I d i
1 o a St d i e N
e u
p 52e n n an u s, o . 11, . .
 EP I C VER SI FI CA TI ON . 23 3

3 43 to the e n d of 3 51 a b o ut a thous a n d verses

, ,

where the schem e of vip u l a s is i n o rder 8 0 5 0 3 2 1 5 thi rty , , ,

o n e of the ei ghty bein g a fter i a mb us ; with fi ve c a s es of irre g

ula r sec o n d vi p u l a a n d perfectly regul a r third vi p ul a ( s a ve

fo r a sli ghtly n eglecte d c aesura dh a rm a p ra t i s th a h e t u c c a )
, .

Th e f o urth v i p u l a here o wes its l a rge n umber s o lely to n a mes ,

n umbers a n d a n o l d phr a se
,
Thus we fi n d n o t a fter i a mbus
.
, ,

ta smi n ya j il e v a rt a m a n e ( like the regul a r phr a se ta s mi n

‘

u ddh e v a rt a m a n e ) ; Va s u de va m ( sec o n d f o o t) ; s a ni kh y a m
y
Yo ga m P a ii c a ra t ra m ; Sa fi kh y a y o ga m ( seco n d f o o t ) ; P a ri c a
‘ ‘

ra t ra m ( seco n d foot ) ; V a ikh a n a s ah

p h e n a p e b h ya h Sa rv a
krc c h ra m ( n a me of vra ta ) ; a sta da nstra u ; le a vin g two c a ses ,

durv i jii e y o du ska ra c c a a n d ja y a m a n a m ( a s seco n d fo ot)

‘

a fter z with fi ve more a fter ia m bus .

R a ther a striki n g ex a m ple of the mixture of sty les is given

by ix 48 where I n dra a n d the jujube girl a re c o n cern e d
, ,
-
.

Thi s is pl a in ly in terpol a te d with a O iv a p a ro dy Co m p a re .

,
‘
for in sta n ce p ri t o s mi te gubb e b h a kty a t a p a sa n i y a m e n a c a
, ,

in the I n dra di a logue wi th 91 45 ( in the in terpol a ti o n ) p ri t o

, .
,

s m i ta v a dh a rm a jii e t a p a sa n i y a m e n a c a N o w the o rigin a l

‘ ‘

I n dra ta le h a s fiftee n v i p u l a s i n the fi r st thi rty o dd verses ;

but the s a m e n umber of gl o ka s i n the fo llowin g Oi va p a ro dy
sho ws o n ly fi ve vi p u l a s .

Aga in it m ust be remembered tha t som e ra ther mo dern

selecti o ns a re in tersperse d with o ld m a teria l I n the six .

hun dre d o dd verses of the Q a ku n t a l a epis o de fo r in sta n ce , ,

the style is m o dern to a certa in exte n t the fi r st vip u l a bein g ,

less c o mm o n a fter ia m bus tha n a fter spon dee a n d o n l y o n e ,

ordi n a ry exceptio n occu r rin g i n the sec o n d vi p u la whi le ,

there a re n o un usu a l a n om a lies B u t the p a ssa ge h a s thirteen

.

fo urth vi p ul a s whi ch is n o t a re fi n e d r a tio a n d m a y be ex

,

pla in ed o n ly p a rtly by the presen ce of Dh a rm a ca s t ra m a teria l ,

h rdi s t h i t a h ka rm a s a ks i b h a ry a m p a t ih s a m p ra v i cy a ( M
, anu ,

ix , I n m y o pin i o n the episo de is o l d but lik e m a n y , ,

a n cie n t t a les i n the epic it h a s been rewritten a n d in its

,

presen t sha pe is n o t s o o l d a s the va nc a a n d Ya y a t i epis o des

follo win g where there a re a s m a n y fo urth vi p ul a s a n d more
,
23 4 THE GR EA T EP I C OF I N D I A .

an om a lies This episo de h a s rece n tly bee n m a de the subject

.

n n d 1
of a i teresti g stu y by D r Win terni tz who believes tha t
n .
,

it is of very doubtful a n tiquity bec a use it is l a c kin g i n the ,

Southern m a n uscript ex a min e d by him a n d bec a use the kn ot

is un tie d by a di vin e voice in ste a d o f by a rin g On e
“
, .

p o in t n o t n otice d by D r Win tern itz must be rem em bere d

.
,

ho wever n a mely tha t the Ha ri va nc a reco gn i zes the epis o de

,
”
a n d m
cites fro it a prop o s of the divin e voice
,
2
so tha t it ,

existe d in the presen t versio n if n o t i n its ex a ct form before

, ,

the Ha ri v a nc a wa s a dde d t o the poem ; though I should n o t

de n y o n tha t a ccoun t th a t it wa s of doubtful a n tiquity .

I thi n k I h a ve n o w shown su ffi cien tly th a t the difi e re n t

p a rts of the epic c a n n ot revert to o n e perio d still less to o n e ,

poet a n d wi ll le a ve this min ute a n a lysis with a repetition of

,

the sta temen t th a t where a s the p a rts a lre a dy cite d cle a rly
,

reve a l m ore styles tha n we m a y a ttribute to o n e a ge or m a n ,

occ a sion a l free dom of style i n respect of v ip u l a s does n o t i n

itself in di c a te a n tiqui ty ; but when a ll the elemen ts a gree in
refi n em en t this susta in e d re fi n eme n t certa i n l y p o in ts to a dif
,

fe re n t e n viro n m en t a n d m a y imply tha t s o me p a rts of the epic

a re l a ter th a n others There is a re fi n e d style a n d there is a
.

c a reless style but the la tter is l a te Pura n ic a s well a s a n tique

, ,

a n d mere c a reless n ess proves n othin g beyo n d the f a ct th a t the

poet either di d n o t kn ow or di d n o t rega rd cla s sic a l rul es .

On the other ha n d eve n the c a reless Pura n ic writers gen er

,

a ll y show a re a ter n umber of fi rst v i p u l a s a fter spo n dee th a n

g
a fter ia mbus a n d more thi rd th a n seco n d vi p u l a s When .
,

therefo re even these rules a re n o t upheld a n d we fi n d besides

,

other irregul a rities such a s the three c a ses of the fi fth vip ul a
,

i n the G i ta we m a y rest a ss u red th a t the writer was re h a n d

,

lin g m a teri a l more a n tique tha n th a t of other p a ss a ges I s a y .

reha n dlin g bec a use the Gi ta h a s cle a rly bee n rewritte n by a

,

mo dern i zin g ha n d a s is sho wn n o t o n l y by the circumsta n ce

,

a lr e a dy n otice d th a t the he a rt o f the poem dif fers i n style

from its begin n in g a n d en din g but a l so for ex a mple by the , , ,

I di A tiq ry 1 8 98 p p 67 d 1 3 6 if
1 n an n ua , ,
. a n .

2 i , 74, 1 1 1 H i, 3 2 1 2
.
,
.
 THE GR EA T EP I C OF I N D I A .

Th e usua l Ra ma y a n a c l o ka a grees with this la ter scheme ,

except i n a dm ittin g spor a dic c a ses of the fourth vip u la a ft er

1
a n i a m bus .

B u t, com prehen sive n o tio n o f the epic cl o ka i n its

t o ge t a ,

r a rer forms a s well a s i n its n orm a l o r a vera ge a ppe a ra n ce ,

o n e m ust co n tra st these t a bles with the n ext which gives I , ,

believe a bout a l l the B ha ra ta combin a tio n s for the pri or

,

pa da :

u v u fi u u 2

Pa thy 5 F sir t Se c o n d T hir d Fo u rth Mi o r n Mj r a o

Vi p u l a Vi p u l a Vi p u l a Vi p u l a Io icn Io i c n

Ab b re vi a ti o n s p p a s s i m ; c q u it e c o m m o n ; r r a re ; s v e ry r a re s p o ra di c
: , , , , ,
.

Th e i t e rr o g a ti o n m a rk s i n d i c a t e d o u b tf l c a s e s fo r whi c h t h e ill u s tr a ti o n s
n u ,

( a s n m b e r e d i n t h e t a b l e ) m u s t b e c o n s u lt e d i n A p p e n d i x B Fo r t h e c o rr e
u .

s p o n di n g t a b l e o f t r s t u b h fo r m s s e e b e l o w
i ,
.

1 Fo r t h e fe w e xc e p ti o n s to th e s e r e s tri c t e d fo rm s o f t h e
m u c h m o re
Ra ma ya n s e e Ja c o b i s R a m a y a n a Th e r e i s t o thi s u n i fo r m ity n o t a s i n g l e
’
a ,
.

e x c e p ti o n ,
fo r e x a m p l e i n t h e t wo th o s a n d h e m i s ti c h s fo u n d i n R iii 1 —1 6
,
u .
,

i v, 1 - 1 1 . Fi n a l b re vi s i s r a r e i n t h e s e c o n d b u t n o t i n t h e fir s t R vi p u l a
, ,
. .
 EP I C E
V RSI FI CA TI ON . 23 7

Midw y betwee the cl ssic l

a n the n orm a l B ha ra ta elok a
a a an d
sta n ds tha t of the Ra m a y a n a Th e l a tter does n o t a dmit .

m a n y form s foun d i n the Ma ha bha ra t a Som e of these a re .

older so m e a re l a ter B u t i n its a berra tio n s from the s u b s e

.

que n t type o f the cl a ssic a l writers the Ma ha bha r a ta is m uch

,

freer tha n the Ra ma ya n a ; freer n o t o nl y in a dmittin g o ther

types o f clo ka tha n tho se foun d in the Ra m a y a n a but a lso i n ,

the wa y o f h a n dli n g cl o ka s common t o both epics Th e cl o ka .

of the Up a n i sha ds ( K a th a Ken a I ca ) a dmits a s prio r p a da s

, , ,

U U V

U V

U U

V VV U U

Q uite so free the M a h a bh a r a t a c l o k a is n o t but it a dm i ts ,

here a n d there a s secon d foot and and a s

u _ u _ u u _ _

fi rst foot , _ uwhich is a lso fo un d a s fi rst foot of the

u _
,

secon d p a da So free a s thi s the Ra ma ya n a is n o t Fro m the

. .

occurre n ce o f these freer forms we a re en title d ho wever to , ,

s a y o nl y th a t the M a ha bha r a t a is occ a si o n a ll y freer i n its

c l o ka
r fo o t th a n is the R a m a ya n a B u t it is
g e n er a lly fr eer
.
,

a n d m uch freer i n the n o n observ a n ce of vi p ul a ru l es

,
-
Thi s .

cha ra cteristic sta m p of the Ma ha bha ra ta a s Professor ,

1
Ja c o bi c a lls t i n distin ctio n from the R a ma ya n a is o n e th a t
i , ,

it sha res t o a gre a t de gree a s I ha ve s a id a b o ve p 79 with , , .

,

the e a rly B uddhi sti c a n d Up a n i sh a d cl o ka which is s o wi de ,

a provin ce th a t the expl a n a tio n

given by Professor J a cobi
seem s to me to be in a dequ a te .

Yet if a s I thin k the cl o ka of the Ra m a y a n a shows tha t it

, ,

is in its presen t fo rm n o t o n l y m o re re fi n e d ( whi ch is c o n

ce de d) but a lso la ter tha n p a rts o f the Ma ha bha ra ta the la tter ,

n o less is l a ter tha n the R a m a y a n a in other p a rts There a re .

fi v e sorts ( perh a ps sta ges) of cl o ka reflecte d in epic a n d pre

1 Gur u p ii j a ka u m u di , p 53 . .
 THE GR EA T EP I C OF I N D I A .

epic litera ture ( besides its p a ren t Ve di c Th e fi rst

is the free cl o ka of the Up a n i sha ds Th e secon d is the less .

free but stil l un re fi n e d cl o ka of certa in p a rts o f the Ma h a bh a

, ,

r a ta Th e thi rd is the curren t B ha ra ta clo ka Th e fourth is

. .

the cl o ka foun d i n p a rts of the pseudo epic a eloka whi c h -

,

s t a n ds o n a p a r wi t h t h e pl o h a of t h e R a ma y a n a Th e fi fth is .

the con tin uous i a mbic gl o ka whi ch is foun d o n ly i n the ,

Ma ha bha ra ta a n d is c e rt a ml y la ter th a n other epic fo rms of

c l o k a Ne
. a rly forty st a n z a s of thi s type c o n sistin
g of i a m bs ,

o nl y ( a llowin g fi n a l a n ceps) tha t is over six hu n dr e d succes , ,

sive i a m bs eviden tly a la te tour de fo rce occur i n xii 3 22 , ,

3 3 —71 writte n by a poeta ster who prese n ts o l d i de a s i n a n e w

,

1
sty le a s in thi s specimen :
,

pura v rka b h a y a mka ra ma n u sy a de h a go c a ra h

a b h i dra va n t i s a rva to y a ta q ca p u n a
y ci l a n e
p u ra h i ra n m a y a n 2
n i ri ks as e dri m u rdh a u i
‘
na ga n
na m a t rp u t ra b a n dh a va na sa ms t u t a h
p ri y o j a n a h
a n u vra ja n ti sa mka t e v ra j a n t a m e ka p a t i n a m

y a d e v a ka r m a ke va l a m p u ra krt a mc u b h a q u b h a m
t a d e va p u tra s a rt h i ka m b h a va t y a m u t ra ga c c h a t a h
i h a gn i s u ry a va y a va h c a ri ra m a c rita s tra y a n
’

ta e va ta sya s a ks in o b h a va n t i dh a rm a da rc i n a h

So fa r ha ve observe d a lthough the prior p a da m a y e n d

as I ,

either in or i n U V the un io n of both in o n e

l k is u k ow to the epic Th i s is a combin a ti o n o f o n e
c o a n n n .

freedom with a n other Th e form s therefore were felt a s .

, ,

liberties a n d co n sequen tly were n o t m ul tiplied i n n a rrow com

p a ss Such cl o ka s however a re foun d i n the e a rly style a n d
.
, , ,

even the Ma h a b h a sy a gives us a s a m ple a pp a ren tly fro m ,

som e defun ct epic source where o n e prior p a da is a h a ra h a r ,

fi
n a y a m a n o a n d the f o llowi n
g is V a i v a s v a t o n a t rp y a t i This
1 Fo u n d , fo r exa m p l e , i n t h e V e da n t a s a ra o f Sa da n a n da : sa t a t tva t o
‘
ny

a ih a ra ity u di ri t a h 1 62 e t c F o r t h e s i n gl e p a d a di i a m b i c p ri o r
t h a p ra t h a v , ,
.
, ,

s e e v i i 55 49 c it e d b e l o w u n d e r D ii a m b u s
, , ,
A s i g l e p a d a o f thi s s o rt i s b o th
. n

Ve d i c a d Pu r a n i c
n .

2 Se e P r o v e rb s a n d Ta l s i n t h e Sa n s krit E i c s A J Ph i l vo l x x p 24
e p , . . .
,
.
,
. .

3
Cit e d b y W e b e r I n d i s c h e St u d i e n vo l x iii p 483
, ,
.
, . .
240 THE GR EA T EP I C OF I N D I A .

Of the forms o f the fi rst foot ( thi rd of the hemistich) ,

a l l except Nos 1 a n d 7 a re fo un d p a ssim in both epics ; of

.

the fo rm s of the seco n d ( four th) fo o t with r a re exception s ,

o n ly the dii a mbus is foun d Th e com m o n est fo rm s a re Nos . .

2 a n d 3 ( e n din g in sp o n dees) After the fi r st vi p u l a bo th .

of these a re equa ll y comm o n a n d e a ch is a b o ut twice a s

freque n t a s No 4 a n d from t wo to fo ur times a s common
.
,

a s No .5 ( fi n a l tr o chees ) No 6 e n di n g in a pyrrhi c is . .
, ,

som etim es surprisin gly frequen t a fter thi s vip ul a ; but a t

other times is l a cki n g for wh o le test sectio n s of a thousa n d -

verses After the sec o n d v ip u l a wh ich usu a ll y e n ds i n a n

.
,

ia mbus a s a fter the fi rst v ip u la ( a lso ia m bic ) Nos 2 a n d 3

, , .

a re fa v o rites ; N o 3 bein g perh a ps a little m o re frequen t

. .

Here Nos 4 5 6 a re m uch less c o mm o n ; No 6 however

.
, , ,
.
, ,

is ra rest of a l l After the thi rd vip u l a N o 2 som etimes

.
, .

yields i n frequen cy to No 3 ; but i n other sectio n s thi s fo ot .

still h o lds its o wn a n d a s i n the fo rm er ex a mples is even

,

twice a s comm o n a s o ther com bin a tio n s though it p ra c t i ,

c a lly repe a ts the v ip ul a Here Nos 4 , .

a n d 5 a re a bout o n a p a r s o m etim es o n ly a third a s com ,

m o n a s No 2 so m etimes more freque n t with No 6 h a lf

.
, , .

a s co m mo n a s N o s 4 a n d After the fo urt h vi p u la how

.
,

ever No 6 is a s commo n a s a n y other sometimes sli ghtly

, .
,

i n excess with the others a bout o n a p a r ; No 4 bein g per

, .

ha ps the r a rest .

Such v a ryi n g ra tios a re n o t worth t a bul a tin g They show .

tha t while the posterior p a da is n o t a bso lutely u n i n flu e n c e d

by the f o rm of the prior yet the determ i n in g fa ctor is ra ther ,

the in evita ble p rese n ce of the fo rm er s dii a m bus sin ce the ’

,

o n ly m a rke d choice is for spon dees befo re it a s i n the fi rst ,

p a da before a n ia m bus ( p a t h y a ) Th e other c a ses reve a l .

merely a shiftin g pre dilection for o n e of severa l fo rm s a ll ,

of which a re used pretty freely the stro n gest i n flue n ce of ,

the prece din g vi p u la s bein g simply tha t the usu a l prefer

1 Fo r exa mp le i n one te x t c a se o f a th o u s a n d v e r s e s th e re , we r e t we l ve
c a se s o f N o 2 ; fo u e a c
. r h o f No s . 4 d 5 ; a n d t wo o f N o
a n . 6
. In a n o th e r ,

ni n e o f No 2 e e ve n e a c
. l h o f No s . 4 a n d 5 ; fo u o f N o 6 r . .
 EP I C VE R SZP I CA TI ON . 241

en ce for a spon dee before the fi n a l dii a mbus is ch a n ged in to

a n a tur a l a versi o n a fter a sp o n da ic vi p ul a or
but this is w
,

u ha t mi ght ha ve been pre di c a te d i n

a dva n ce . After p a t h y a s o n e fo o t is a s permissible a s a n o ther .

O cc a si o n a l v a ri a tio n s here a re of eve n less sign i fi c a n ce tha n

in the c a se o f prece de n t v ip u l a s .

As a ll the form s of the prior a n d p o sterior p a da s m a y

ha ve sylla b a a n ceps both in i tia l a n d fi n a l e a ch p a da m a y
, ,

a ppe a r i n four for m 1

s Not t o spe a k of the im porta n t m o di
.

fi c a t i o n s in tro duced by a v a ry in g c aesura the syll a bic com ,

b i n a t i o n s resul tin g fro m join in g a n y o n e o f the f o ur kin ds o f

e a ch form o f the posterior p a da with a n y o n e of the fo ur
kin ds of e a ch fo rm of the pri o r p a da results i n a l a rge n u m
ber of p o ssible verse ( hemistich) form s ; wh ile sin ce a n y ,

fo rm o f the fi rst hemi stich m a y be un i te d with a n y fo rm of

the sec o n d hem istich — to ta ke o nl y the common est eighteen
2
fo rm s o f prior p a da a n d the fi v e curren t form s o f poste rior
p a da — the resulta n t v a ria tio n s i n the form o f the verse ( hemi
stich) a re 1 440 ; i n the c a se of the who le sta n z a ( clo ka ) ,

so tha t o n e could write twen ty Ma ha bha ra ta s i n

c l o k a s ( the prese nt one i n the C a lcutt a e di tio n co n ta in s
l k a s ) a n d n ever repe a t the s a m e m etric a l st a n z a
c o .

D espite this l a titude however the poets a re n o t a t a ll shy

, ,

of repe a tin g the s a me syll a bic hemistich in juxta p o sitio n ,

sho win g tha t they were in di ffere n t to the va st p o ssibilities

before them a n d c a re d for c aesur a m ore tha n for syll a bles .

Thus N a l a v 45 b —46 a ,

D a m a y a n t y a s a h a N a l o vi j a h a ra m a ro p a m a h
’

j a n a y a m a s a c a N a l o D a m a y a n t y a m a h a ma n a h
1 In ti o n o f t h e n u m b e r o f e x a m p l e s i n Ap p e n di x B I wo u l d s a y
e x p la n a ,

th a t fo r t h e s a k e o f s h o wi g t h e tru th o f thi s a n c e p s th e o ry I h a ve g i ve n t h e
, n ,

fo u r fo rm s s yll a b a a n c e p s a t b o th e n d s o f t h e p a d a
, .

2 T
h a t i s t h e fir s t s i p a t h y a s t h e fir s t fo u r fo rm s o f t h e fi r s t a n d s e c o n d
,
x ,

vi p u l a s r e s p e c ti v e ly t h e fir s t fo r m o f t h e thir d v i u l a a n d t h e fi r t thr e e fo r m s
s
, p ,

o f t h e fo u rth v i p u l a Th e s e b y t h e wa y a re t h e fo r m s
.
, , a p p r o ve d by mo d
e rn n a ti ve s c h o l a r s a c c o r di n g t o B r o wn P r o s o d y p 6
, , ,
. .

16
242 THE GR EA T EP I C OF I N D I A .

Th e D ii a m b us

Th e rule of dii a mb i c c a den ce a ppe a rs to be viola te d in the

epic Fa r from rega rdi n g this a s a n a rcha ism o n the p a rt
.

o f epic poets o n e sho ul d recogn i ze in such c a ses on ly a

,

P ur a n i c li ce n ce or a da pta tion of the Ga tha free dom c o n

Sp i c u o u s i n a ll pop ul a r a n d therefore loose comp o sitio n .

Not o nl y is tha t rule for Sa n skrit which a llows a syll a ble

to rem a in li ght before kr pr b r b r va lid for the l a ter epic , , , , ,

but the exten ded Pra krit licen ce is a lso foun d whereby a l ,

m o st a n y co n jun ct 1 ma y be tre a te d for metric a l purposes

lik e a sin gle c o n s o n a n t E x a m ples a re fo un d both i n the .

Ma ha bha ra ta a n d the la ter Ra m a ya n a Fo r the la tter epic .

,

J a c obi D a s Ra m a y a n a p 25 ff should be co n su l te d where

, , . .
, ,

a re give n ex a m ples i n b r pr m r m l tr h r kl a n d or e , , g , , , , , , . .
,

ki m tu Ra m a s y a p ri ty a rt h a m R v 5 3 1 3 ; vin a c a y a t i tra i
'

.
, , ,

l o ky a m i b 1 65 1 3 , .
, From the Ma ha bha ra t a ( i n the a p
, .

pen ded ill ustra tion s of epic oloka fo rms) I ha ve dr a wn

severa l ex a m ples whi ch a re doubtful bec a use they m a y be ,

rega rded either a s irregula r ( un usu a l ) fo rm s without this

li cen ce or re gul a r forms with it Such a re da c a p a ii c a c a .

p pra t a n i
( No h.a te B h i sm e c a D r one c a ( N o .

s a rv a c a u c e su B ra bm e n a ( No a b hi ja n a mi b ra h m a n a m
.

( No . m a n e n a b hr a sta h s va rga s te ( No R u dra s y e .

v a hi kru ddh a s y a ( N o
’
B u t further in a few c a ses
.
, ,

r a lso seem to le a ve the syll a ble li ht behi n d the m a s i n R ;

o g , .

e g a dy a p ra b h rt i c ri va t s a h ( N o s 1 5 26
. .
, Nor a re we .
, ,

a ide d a s m uch a s we sh o u l d like to be when turn in g from , ,

these doubtful priors we ex a min e the posterior p a da s Fo r

,
.

though a t fir st it seem s decisive tha t such a p a da a ppe a rs a s

p u t ra m i p s a n t i br a hm a n a n v i i 5 5 2 1 ; t o s a yi s y a mi
, bh ra , ,

ta ra m viii 74 3 0 ; yet it is n o t q u i te settle d whether we ha ve

, , ,

here a syll a ble to be re a d li ght bec a use a s in G reek mute , ,

a n d li q u i d re a ll y m a ke in su ffi cie n t positi o n or whether the ,

sylla ble is he a vy but is a llowed to sta n d fo r a light Fo r .

there a re other c a ses where m ute a n d liquid a re n o t the

1 Co l e b r o o k e , E s s a y s , vo l . 11, p 65,
. no te a ny c on jun c t i n Pr a krit ) .
244 THE GR EA T EP I C OF I N D I A .

We m a y I thin k a ssume tha t the liberty i n respect of

, ,

liquid a n d co n son a n t wa s fi r st in tro duce d in to epic Sa n skrit ,

a n d th a t the n i n the l a ter epic this wa s exte n de d with G a tha ,

free dom t o c a ses where the preceden t sylla ble c a n n o t be li ght

, ,

but is reck o n e d so Therefo re while the e a rly epic h a s o n ly

.
,

di i a m b i c close the l a ter epic ( like the Pura n a s) a dmits

, u

a s a n equiv a le n t ; n o t o f course
gen era lly but spora dic a lly , ,

where the writer is la te a n d c a reless a s is in di ca ted by the ,

ch a r a cter of the secti o n s where such illegitim a te freedom is

foun d So in the t ri s tu b h s c o li u s there a re a few c a ses o f
.
,

c a reless writin g where a he a vy sylla ble sta n ds i n the pla ce

of a li ght o n e To s a y tha t this hea vy syll a ble is light b e
.

c a use i t ought to be is m islea din g Th e weight m a y be

, .

ign ored a s i n Pra krit ( though there m utila tio n exp la i ns

,

m uch th a t a ppe a rs o f this n a ture) but it m ust exist E ve n , .

the G reek poets o cca sio n a lly preten ded tha t a hea vy syll a
ble wa s light I n fi n e . m ust be a dmitted a s a n
, u _

occa sio n a l fo urth fo o t o f the hem istich tho ugh it is a voided ,

1
when ever p o ssible Fo r the foot . I h a ve o n ly the u

hem istich e t a c c h ru t va tu Ka u ra vya h Ci b im p ra da ksina m

krtva iii 1 9 4 7 but thi s is a pp a ren tly a n a cciden t a l verse
, , , ,

in a prose n a rra tio n .

Po e tic Lic enc e .

I n ge n er a l , however, whil e the epic poets a re here there a nd

rough a n d un c o uth i n their ve rs i fi c a t i o n , the n orm a l epic style

s a crifi ces a good de a l t o wha t is re ga rded a s goo d m etric a l
fo rm Such a s a c ri fi ce which culm in a tes i n the cl a ssic a l rule
.
,

tha t o n e m a y use b a n for be a n ( m a sa for ma s a ) if o n e o n ly

follows the m etrica l n o rm is foun d m ost clea rly exem pli fi ed ,

i n thi s very c a se o f the di i a m b i c cl o se ; a proof th a t the dii a m

?
bus wa s rega rded i n gen era l a s obliga tory B u t it is a lso t o be
n otice d i n the observa n ce of preferred vi p u l a f o rm s a t the s a c

1 I ts r e s titu ti o n i n Pra gu a ii 6 re c y a j fi ns i S a m a n i y a j ri a h ks a t ra rh [c a ]
, , ,
‘

b ra h m a c a i s a t le a s t p ro b a b l e
,
.

2
C o m p a r e e v e n i n t h e B i g Ve d a t h e r e g u l a r irr e g u l a rity o f y a vi s th i a m ,

fo r y a vi th a m fo r t h e s a k e o f t h e d ii a m b u s a d s e e n o w a n a rti c l e b y Pro
s ,
n

fe s s o r B l o o m fi e l d o n thi s v e ry p o i n t JA OS x x i p 50 if ,
.
, . .
 EP I C VE R SI FI CA TI ON . 5

ri fi c e of ( Sa n skrit ) gra mm a tica l a c cura cy There a re in deed .

, ,

c a ses where wo rd structure a ppea rs to be n eedl essly s a crifi ced ;

-

but the v a st m a jority o f ca ses i n whi ch Sa n skrit gr a mm a r is

vi o la te d ha ve to do with metrica l n ecessity o r pre di lection .

As a l re a dy sta ted the m o st frequen t c a use of such vi ola tion

,

is the well n i gh obli ga tory dii a m bus a t the clo se o f a verse a s

-
,

i n p h u lla m G om a ti t i ra j a m iv 1 7 1 2 Th e di i a m b i c r u l e a s
‘
-
, , , .
,

ordi n a rily sta ted is in cluded i n this presen tm en t o f c l o ka re

,

stri cti o n s : Th e secon d thi rd a n d fo ur th sylla bles o f a p o s, ,

t e ri o r p a da sho ul d n o t form a tribra ch a n a p aest or a m phi , ,

m a cer a n d the fifth sixth seven th a n d eighth syll a bles shoul d

, , , ,

ma ke a dii a m bus or sec o n d p aeon whil e the tri bra ch a n d ,

a n a p aest r u l e a pply a lso to the pri o r p ad a Obviously in the .

,

posteri or p a da the tribra ch rule fo rbiddi n g

, ,

z u u v u _ u ¥ _

is to a void a successio n o f four or fi ve short syll a bles ; whi le

the a n a p aest a n d a mphi ma cer rul e fo rbiddi n g ,

is to a void the ( j a ga ti ) close o f three fi n a l ia m bs Th e rul e .

the n for the eve n p a da is sim ply : P o sterio r p a da s m ust e n d

wi th dii a m b s but m ust n o t e n d with t riia m b s a n d must n o t
, ,

con ta in a p ro c e le u s m a t i c u s .

Th e f o llowin g ex a mples ill ustra te how sec o n da ry is Sa n

s kri t gr a mm a r t o thi s m etric a l rule : y a c c a c fm y a m u p a s a t e

n a s m a p a cy a m a l a h a va t vii 1 46 5
1
( for u p a ste ) v 3 3
, 3 9 ; , , g , , ,

n ecess a rily prese n t) b h a 1 ga c c h a t i v a n a m R ii 3 2 8

( a r a
y y ; , .
, ,

s e t ih a s e c a c h a n da s i xiii 1 1 1 42 ; ka t h a kh y a y ik a ka rika h ii
, , , , ,

1 1 3 6 a n d sv a db a c a s v a dh a b h o jin a m R vii 23 2 3 ; y a th a
, , , .
, ,

2
k
hi u ru t e ra j a p ra ja s t a m a n u v a rt a t e R vii 43 1 9 m a dh a n i , .
, ,

dro n a m a t ra ni b a h u b hi h p a ri grh y a t e R v 62 9 ( n o t i n G ) , .
, ,
.

a p a kra m a t ix 1 1 , 62 , , .

1 So we fi n d a t th e en d of a t ri s tu b h p a d a ,
u p a sa te y a h , iii ,
5, 1 9 b . L e ss
co mm o n i s t h e se c o n dp r e so n , m o k s a dh a rm a r
n up a sa se ,
x ii , 3 1 5, 1 5 .

2 Thi s i s s i m p ly a c a s e o f s a c ri fi c e t o m e tr e b y a p e d n t wh o i m it a t e s a

Ma n u viii 1 75 wh e r e p ra j a s t a m a u va rt a n t e i s t h e c l o s e o f a p i p a d a
, , n r or .

A n o th e r fo rm o f thi s p r o v e rb b y t h e wa y i s s h o w i R ii 1 09 9 : y a dv rt t a h
, , n n .
, ,

s a n ti ra j a n a s t a dvrt t a h s a n ti hi
p ra j a h ( Sp r .
 246 THE GR EA T EPI C OF I N D I A .

ex a mples comprise di fle re n t cl a s ses where metri

These , ,

c a us a a re cha n ged ( a ) the con juga tio n or mode ; ( b) the

,

tem p o ra l termin a tion ; ( c ) the femi ni n e p a rticiple ( d) the

eupho n i c rule ; ( e ) the ge n der ( f) the syn ta c tic a l combin a
tio n ; ( g) len gth of root vowel a n d other spora di c c a ses
1 -
.

Of these by fa r the commo n est a re irre gul a rities i n the

,

tempora l termin a tio n a n d i n the en din g of the femin in e p a r

,

t ic ip le Of these two the usu a l ch a n ges a re the substitutio n

.
,

o f preterite for prese n t e n din gs a n d a ti for a n ti ; less ofte n ,

presen t for preterite a n d a n ti for a ti Th e p a rticipia l ch a n ge .

is the commo n est of a ll a n d wha t is most import a n t is tha t ,

sc a rcely a n y o f the irre gula r p a rticipia l stems a re irregul a r

from a n y other c a use tha n th a t of metric a l preferen ce a n d ,

the gre a ter n um ber a re fa shi on ed simply to give di ia mbus a t

the e n d o f the hem istich I l a y especia l stress o n this bec a use .

i n the li sts of such ch a n ges o cc a sio n a lly publishe d either n o

weight a t a ll h a s been l a id o n the motive of the cha n ge or ,

the m otive h a s been o n ly in ciden ta ll y a ckn owledge d or thi rdly ,

the lists ha ve been m a de with referen ce to the cl a ss of the

p a rticiple a s if the co n juga tio n were especia lly im porta n t 2
, .

Th e o n ly thi n g of i mport a n ce however is the m etre Wha t , , .

h a s bee n l o st sight o f or n o t seen is th a t n o t o n ly the o b v i

, ,

ous di i a m b i c rule but a lso the vi p u l a preferen ces co m e stro n gly

i n pl a y especi a lly i n the Ra ma y a n a
, A few ex a mples will .

ill ustra te this .

First fo r the dn a m b u s : c a n ya ri1 ga tim a p a cy a t l R vi 47

’
.
, , ,

1 0 ku ra ri m 1 va v a c a t 1 m N a l a so elsewhere l n Mb h , ,
.

b h il a p s a t i , iki rsa t i , n a da a v e ksa ti , ti ; a nd in

’

a c ya ti , a n ve s a

Ra m .
, p a ri
g ar aj ti , ya c a t i , a nu dh a v a t i , j a n a ya ti ma m a , e tc .

L ikewise i n dho ga c c h a m a m e di n i m , i ,
the verb a l en din g : a

1 3 , 1 8 ; du hkh a m p ra p s y a m a da ru n a m , ix , 5 9 , 3 0 y u ddh e
ki mkurm a te p ri y a m , ix , 3 2, 62 ; ka tha dra ks y a m a t a m puri m ,
'

1 d
Se e b e l o w, o n i a l e c ti c Sa n s krit .

2 A t t h e s a m e ti m e I wi s h t o a c k n o wl e i n d e b t e d n e s s t o t h e fo ll o wdg e my
i n g l i s t s a s c o ll e c ti o n s o f m a t e ri a l Fo r fo u r b o o k s o f t h e R a m a y a n a
: ,

B 6h t li n gk B e ri c ht e d p hil o l h i s t o r C l a s se d K6n i gl Sa c h s Ge s e ll d W i s s
'

. . . . . . . . .
,

1 8 8 7 p 2 1 3 ; Ho ltz m a n n Gr a mm a ti s c h e s a u s de m Ma h a b h a r a t a
, .
,
.
248 THE G R EA T EP I C OF I N D I A .

p a rsa t o vira h , vn , 1 9 2, 1 3 the lon g v o wels in Pa sa n a m

a b h y a dra v a t a , vii 202 5 9 ; cru t a v a ti n a m a vi b h o ix 48 2 ; , , , , ,

a n d the ch a n ge o f c o n juga tio n i n da da n t i v a s u dh a ri s h i t a m

rp ,

xiii 62 46 To a v o id dii a m bus a t the close of the prior p a da

, , .

w e fi n d for the ge n itive da da rc a dva i ra t h a rir t a b h y a m vii 98

, , , , ,

2 6 ; the p a rticipi a l exch a n ge n ote d a bove ku s u m a n y a p a c in ,

va n ti R iii 42 3 2 ; ja n a n t i R ii 1 0 3 5 a n d Mb h i 78 6 ;
, .
, , , .
, , .
, ,

a n d v a ri o us sp o r a dic irre gu l a rities i n the l a tter p o em : ra

p
da ksina m a ku rv a n t a viii 72 1 2 ; p u sn a m y a u sa dh a y a h s a rv a h , , , ,

i 78 40 ; D u ry o dh a n a m u p a s a n t e viii 8 4 1 2 ga ya n a m s a m u p
, , , , ,

a s a n ti vii 72 40 ( so G vii 41
, , va l ii ka m p a t ti b hi h etc
,
.
, , , , .
,

R iii 73 1 2 ; iv 25 23 ; c a kti b hi h R V1 71 1 4
.
, , , Fo r a like , , .
, , .

re a so n but to a void a fi n a l m in or I o n i c we fi n d p a cy a t e ra j a
, , ,

R vii 3 2 25 ; dra ks y a s e t a tra i b 3 4 1 0 etc

.
, , , .
, , .

L ess gen er a lly h a ve bee n reco gn i ze d irre gul a ri ties du e to

vi p u l a s B u t here too Sa n skrit gra mm a r yields t o the deci ded
.

te n den cy to ha ve a n ia mbus or dii a mbus prece de i n three of

the four forms a n d a lso to less m a rked ten den cies E ven the .

a t h a shows simil a r c a ses th o ugh i n thi s f o ot more l a titude

p y ,

is a ll o we d B u t there often i s for ex a mple i n the p a t h y a a

.
, ,

deci de d prefere n ce for the ope n in g 1 1 u u ra ther tha n .

v a n d in a ccord a n ce with this we fi n d a rdi ta h s m a

b h rca m Ra m a in R iii 1 0 1 1 a n d a ga t a h s m a i b 1 5 2 ; , .
, , , , .
,

where s m a m ust be for s m a h ( i n s o me c a ses t hi s is doubtful ) 1 .

Of the v i p u l a s the thi rd is n a tura lly chiefly a ffecte d , I n the .

l a st p a ss a ge for e x a m ple 91 1 9 we re a d i ha va t sy a m a Sa u
, , .
,

mitre whi ch is cha n ged a s certa in ly for metric a l re a s o n s a s

,

a re the simil a r c a ses i n the di i a mb i c e n di n g So i n R ii 1 7 . .

, ,

1 0 ; 40 2 2 etc So too loss of a ugme n t i n s a p ra vi cy a c a

, , .
, ,

a
p cy a d v a i ; the p a rticiple i n a n t t a th a ru da n ti rn K a u s a l y a m -
, ,

R ii 40 44 ; du hkh a n y a s a h a t i devi R ii 1 2 8 9 ; ka cic

.
, , , .
, ,

c i n t a y a t i t a tr a R vii 24 1 1 ( a s oppose d t o s a c i n t a y a n t i
, .
, ,

b u ddh y a t h a N a l a 5 a n d shorte n i n of l vowel

’
,g a on
g , , ,

s a p a t n i vrddh a u y a m e t v a m R ii 8 2 6 i i d
’

p t u r fi g u i p y
a n a , .
, ,

1 In u p a s a n t a m a h a ra j a m , i v, 1 8 , 1 6, t h e fo m i s r c h o s e n n o t fr o m a n y

a ve rs i o n to u u , b u t fo r v au e , b e
c a u se s fo o ri ty thi t p re c e d e s i n t h e s a me
c l o ka . In R . i ,
4, 4, a grh i t a m Ve d i c is m e r e ly a n e rr o r .
 EP I C VER SI F I CA TI ON . 249

ka m , R so . 11, R vn 3 3 4
1 04, 8 ; Th e .
, , .

comm o n est fo rm here is the s m a just referre d to : p i t rm a t y a h

s m a b h a dra rn te ; krta p u ny a h s m a b h a dra rh te R i 3 3 3 ; ii
'

.
, , , ,

55, 1 2 . So , a dh a rm a rii vi dm a Ka ku t s t h a a s mi n , R . vi i , 63 , 2 .

O ffe n sive is the he a vy thi rd vi p ul a prece de d by a successi o n

of he a vy sylla bles a n d so we fi n d : a h o t rp t a h s m a b h a dra m ,

te R i 1 4 1 7 n a n a m p ra p t a h s m a s a m b h e da m R ii 5 4 6 ;
, .
, , , .
, ,

vy a kt a m p ra p t a h s m a t a rn de ga m i b 93
'

.
, ,

Th e Ma h a bha ra t a is n o t so strict in its vi p u l a re gul a tio n ,

but even here we fi n d the s a me co n dition o f thin gs tho ugh in ,

less c a reful o bserva n ce Thus t va yy a dh an a h s m a ra jen dra .

, ,

v 8 22 t va da dh i n a h s m a ra jen dra xv 3 5 4 ; u p a ci ks a m a te
, , , , ,

vrt t a m xii 1 6 2
,
2
ib a i va va s a ti bh a dr e N a l a 1 3 66 B oth
, ,
’
, , , .

texts m erely i n a ccorda n ce with the vi p u l a rul e or p re di l e c

,

tio n ha ve kim m a m vi l a p a t i m eka m i n N a l a 1 2 55 a n d 9 1

, , , , ,

which modern e ditors sure o f gr a mm a r but ign o ra n t o f m etre , ,

ch a n ge to vil a p a n t i m ( com pa re R iv 20 22 kim m a m e va m ’

.
, , ,

m m d n am i i 7 8 3 6 Other
'

p ra l a
p a t i ) e va v i l a p a t i rn i v , , , .

ex a m ples a re ta to ru da n t i m ta m drs t va N a l a 1 6 3 3 ( a s i n , , ,

R vii 8 0 1 8 a ra j a pi ru da n ti s a to a void the I o n ic ; but

’
.
, , , ,

vi s a m n a ka l a m ru da t i m vii 7 8 3 9 m m a n u s m a ra t i
'

j p a , , , ,

c ete viii 44 1 7; p a i t i m a n v e sa t i m eka m N a la 1 2 3 4 Most

, , , , , , .

p a rticipi a l ch a n ges o f this sort n o t du e to the dii a mbus

( a vo ide d or sought) a re du e here a s i n the Ra ma y a n a t o the
n a tu r a l di sin clin a ti o n to he a p up lo n g syll a bles a n d the gr a d

Ab 1 t h lf th ou f m f
a m n ed t m tr
c a se s Thi w r d
o s a or s a a re ue o e e . s o

b f r
e o t
e so n a n t f it m yll b l w l d l i t h r t r d f
s on a c co un o s onos a e ou o se s c a a c e ,
a n or

thi r s m t f th
e a so n t d
os t m tr o b f r e t t
c a se s n o id ue o e e a re e o e so n a n s o a vo

s m Of l l t h
o . i a B 6h t l i gk li t
e c a se s ly t w b f r n rd A t t h n
'
’
s s on o a re e o e su s . e

pad d wh r l g th i i d iff r t m
a -e n , e e t den ly b f r s t W ith
n e en , s a s an s on e o e so n a n s .

th e excep ti f m i t h fir t f
on o r b k f th R a m a y
s a , n ( e rdi g t s ou oo s o e a na a c c o n o

B ii h t li gk li t ) t h ly mp l m h whi h p p r t b i d
’
n s s f m f e on exa es o a or a c a ea o e n e

p end t f m tr en o i dm p fi e m d p
e a re k yam v t th b gi i g f
a rv a a n ra ve s a a e e nn n o

p t ri r p a d
os e o Th fi r t i a st i G. th d pp r i G
e s k y a mi
s no n . e se c o n a ea s n . a s ve s .

I m y dd f m a a i d i ti o sf th p a ,d p i th t t h thirt th b k
a s n ca ve o e se u o -e c ,
a e een oo

h a sthr f rm f thi w r d m n m ( p rh p d i l ti ) d m h Th
ee o s o s o , s a ,
s a e a s a ec c ,
a n s a e . e

l t m d r f rm i f d t ly i iii 1 1 3 b t i 9 3 41
a s ,
a o e n o , s oun m h no on n x , , ,
u n , ,
na s a e

m a n da v i j fi a n a na s ma h e m a n da b u ddh a y a h p ra t i b u ddh a sma j a grm a .

2
Ho ltzm a n n , a t 548 ; b u t I h ld s ou t rt i
no t en e a n th e n o ti o n th a t a ny o f

th e s e fo m s r (a s h e re su gg t d ) w
es e a s o th e r th a n i n d i c a ti v e .
25 0 THE GR EA T EP I C OF I N D I A .

cre a tion of the ia m bic ru l e for the thi rd vi p u l a

'

1
ua l Th e .

cha n ge to a n ti illustra ted by m u sn a n t i a n d ku rva n t i i n N a la

, ,

5 8 a n d 1 6 1 1 respectively a n d a y a n t i R vii 26 47; 9 6

, , , , , , .
, , ,

1 1 etc is i n p a rt expl a in e d by preferred co m bin a tio n s a n d i n

, .
,

p a rt by a n a lo gy the gre a t m a ss of verbs m a kin g the fo rm

,

a n ti Th e best c a se of ch a n ge fo r metre is furn ished h o w

.
,

ever by the t ri stu b h i n ii 67 5 3 (

, begi n s a t rl s t u b h , ,
v
u v

on ly before 2 u

ta tha b ru va n t i rn ka ru n a mru da n t i m
'
2

Th e fi rst vi p u l a
is respon sible for the fo rm u p a s a n t a i n ix ,

3 8 5 3 t va m u p a s a n t a va ra da m the seco n d fo r a h o m ii dh a h
, , ,

s m a s u c i ra m xiii 1 6 27; the third fo r vi c a ri sy a m a loke smi n

‘

, , , , ,

viii 3 3 1 2 Fo r the fourth I ha ve n o sure c a se

, , . .

I n re ga rd to the a ugmen t it is omitte d so freely th a t o n ly ,

i n pro n o un ce d c a ses a re we sure th a t it is droppe d for m etre ,

especi a lly a s the e n din gs t a a n d t h a a re in terch a n ge d ( a s they

a re i n the l a ter Up a n ish a ds ) Thus i n R iv 5 3 8 ki m n a . .
, ,

b u dh y a t a m a y be prese n t or a s the co m me n t a tor s a ys sta n d , , ,

for n a b u dh y a t a ( diia m bus ) but a ga in there a ppe a rs to be n o

re a so n for s a m a n ta t p a ri dh a va t a i n R vii 28 1 7 fo r the a u g .
, , ,

m e n t e d fo rm would serve a s well B u t i n this c a te gory .

,

besides the in fluen ce o f p a to is we ha ve a m ore tha n usua l ,

source of pseudo a rcha isms Fo r i n m a n y other c a ses we c a n

- .

but a ssum e th a t copyists ha ve ta m pered with the text cor ,

re c t i n a fter their wo n t s o metimes for r a mm a r a n d so m e

g g ,

times fo r m etre a ccordin g to their in di vidu a l ta ste ; a process

,

tha t expl a in s i n o u r p ri n te d texts the frequen t divergen ces

tha t depen d o n these poin ts B u t wi th the a ugmen t it i
3
.

especia lly e a sy to give a n a rcha ic e ffect sin ce whil e Sa n skrit , ,

1 ltzm a n n s li s t fo r e x a m p l e t h e o n ly c a s e o f a t i fo r a n ti th a t d o e s
In B o
’
, ,

n o t c o m e u n d e r th e s e r u l e s i s c a r a t i i N a l a 1 2 1 0 ; whi c h m a y b e a ttr a c t e d
n , ,

b y a n ve s a t i i n t h e s a m e ve r s e ( t h e l a tt e r c a u s e d b y t h e di i a m b i c r u l e ) .

2 H ltz m a n n r e g i s t e r s ru da n t i fo r i 6 5 wh e r e B h a s ru da t i
o , ,; a n d fo r N a l a
,
.
,

1 7, 1 2 , b u t B . ha s ru da ty a u .

3 thi s r e a so n I h a ve e l s e wh e re c a ll e d th e m u n gu a r d e d t e x t s
Fo r ,
me a n
i n g o f c o u r s e th a t th e y we r e n o t p r o t e c t e d a s we r e t h e p o e m s o f ,
sa c re d
c h a r a c t e r b y a rti fi c i a l m e th o d s o f tr a n s m i s s i o n
,
.
25 2 THE GR EA T EP I C OF I N D I A .

yet obvi ously a ffected certa in p a rts of the epic we c a n see the ,

ru l es themselves i n process of m a kin g Fo r the gre a ter p a rt .

of the B ha ra ta there is n o fi x ed rule but the foun da tion o f the ,

rule is there in popul a r li kin g a n d dislike Thus c a ses do ex .

ist a n d they a re n o t in freque n t of z u

,
before a sec o n d ,

v ip u la but there is a decide d te n de n cy a ga in st such a co m bi

,

n a tio n a n d a s a result we fi n d b h a ksa i s a v a s a hi t a u i 1 5 2 1 3 ;

, y y , , ,

to expla in which we n ee d o nl y s a y th a t the fi rst vi p u l a fa vors ,

while the secon d do es n o t fa v o r thi s preceden t foot ; just a s ,

i b 1 5 4 3 5 c i gh ra m ga c c h a m a b ha dr a mte is m erely a presen t

.
, ,

in dic a tive wi th a preterite ( p a tois) en di n g substituted bec a use ,

the Sa n skrit en din g wo uld o ppose a metric a l com bin a tio n to

which there is a gro win g though n o t yet thoro ughgoin g
a versio n .

Fin a ll y a s a lre a dy a bun da n tly illustra ted the st a temen t

, ,

tha t the la ws of the cl o ka a re the s a m e i n the Ra m a ya n a the ,

Ma ha bha ra ta a n d the cla ssic a l poets is certa in ly m uch too

1 ”

stro n g Wha t is qu i te fi xe d i n the la st is n o t so rigid i n

.

the fir st a n d is much looser i n the B ha ra ta tha n in either of

,

2
the other two .

Th e Hyp e rm e t ri c (fl o k a .
3

A ni n
th sylla ble is often a tta che d to the octosyll a bic prior
c l o ka p a da regul a rly pre fi xed spora dic a lly in corpora te d ; the
, ,

hyperm etric sylla ble in the former c a se bein g with the n ext ,

a lso a brevis while the thi rd is lo n before a n i a m bus the

, g , ,

whole foot precedi n g a p a t h y a o r a n y vip u la thus ,

1 Da s R a ma ya n a
1 8 9 3 , p 24 , . .

2
It i i d d
s n ee enou gh
i f t h e vi p u l a b e p e c e d d by h
y s yll a b l e o r l o n g
r e a eav

v o we l a s , j tlyha s us r rk d J
b e e n e ma e i i n h i s a rti c l e Ue b e r de n Clo ka
by a c ob ,

i m Ma h a b h a r a t a b u t thi s r u l e d o e s n o t m a rk t h e d i s ti c ti o n b e twe e n p r e c e
,
n

d e n t i a mb s a n d s p o n d e e s Th e ru l e i s t o h a ve a p re c e d e n t i a mb a n d a s p o n de e
.
,

i s a l wa y s e x c e p ti o n a l ; b u t i n R it i s a v e ry r a r e e x c e p ti o n ; i n M
. b h a v e ry .

c o m m o n e x c e p ti o n .

3 A n a lo g u s t o t h
o e fr e e d o m i n t ri s tu b h s we mi ght e x p e c t t o fi n d a l s o c a s e s

o f c a t a l e c ti c o r m o r e p r o p e rly a b ri dg e d c l o ka p a d a s s u c h a s e g p u r a c c a kre
, ,
-
, ,
. .
,

dvi p a da h B A U ii 5 1 8 ( c a ka ra
,
.
, b u t I h a v e n o t n o ti c e d a n y s u c h e p i c
,

pa d a s
 EP I C VE R SI FI CA TI ON . 253

a n u b hfi ya t a m a ya m vi ra h Na l a , ,
2, 9
fi rst vi p ul a

p ra krt i r gu n a n viku ru t e , xii , 3 1 4, 1 5

seco n d vi p u l a

ka th a m Ars t i s e n o b h a ga va n , i x , 40, 1
third vip u l a
n a va n i t a p a fi ka h ks i ro da h , x iii , 8 0, 6
fourth vi p u l a
c a ra mn a t y a j e y a m v 1 2 1 6
n a ga ta , , ,

Th e regula r hyperm eter thus co i n cides i n its open in g with

the irre gula r a n d un usua l oct o syll a bic pa da u v , u

Fo r in sta n ce a krt a vra n a h c u b h a i r va ky a i h v 1 8 4 1 4 is

, , , , ,

hyperme t ric while a p a ka ri n a m m a m vi ddh i xiii 9 6 7 is a n

, , , , ,

a c a ta lectic p a da fo r whi ch re a so n prob a bly the l a tter is so , ,

ra re.

Such hypermeters a re n o t un usua l i n the M a ha bha ra t a a n d

R a m a y a n a th o u gh m ore freque n t in the f o rm er n o t o n l y o n

, ,

a ccoun t o f the m a ss but in the s a m e a m oun t o f m a tter

, They .

seem t o be a t tim es ra ther a ffected by the l a ter epic p o ets ;

perh a ps to give a n a ppe a ra n ce of a n tiq ui ty whereby a s ofte n , , ,

the effect is overdo n e I kn o w a t le a st o f n o p a ss a ge in either

.

epic where a s i n Ha ri va nc a 1 3 5 4 a n d 8 7 a n d 9 1 a n d 1 08
, , , , , , , ,

four hyp ermete rs c a n be foun d i n the sp a ce o f fifty o dd gl o ka s .

They a re c o mm o n t o o i n the Pura n a s .

C ert a in phra ses a re a p t t o a ppea r i n this f o rm Th e c o m .

m o n est is a b hi va da y a n t i o r s o m e simila r deriva tive whi ch ,

often in troduces hyperm et ers i n c lo ka s ( a s a lso in t ri stu b h s ) .

Thus fo r exa mple

,

a b h i va da y a n t i b h a v a t i m v 9 0 9 8 , , ,

a b h i va da y a n t i v rddh a nc c a ,
v, 47, 1 6
a b h i va da y e t va mr a j e n dra , iii 29 1 3 7 , ,

a b h i va da y e t va m b h a ga va n iii 2 07 1 3
, , ,
a nd R . i ii ,
1 1 , 72
a b h i va di t a h ka n i y o b h i h , iii ,
2 5 7, 8
a b h i va dy a cai
’
i
n a 1 1 vi dh i va t , v ,
1 79, 1 3
 254 THE GR EA T EP I C OF I N D I A .

a b h i va da y i t va cira s a v, ,
1 76, 2 8
a b h i va da y i t a vrddh a nq c a ,
xiii , 1 04, 65
a b h i va da y i sy e h rs t e ’
ti ,
x i v, 68 , 1 9
b h i va da y a m a s t va rn
vii 49 1 5
'

a s a rva h , R .
, ,

Although a va m a n y a s e ma rn n rp a t e v 1 8 9 22 might su g
'

, , , ,

g est the possibi li ty of pro n o u n cin

g o m a n y a s e a n d a bh i va ,

den ti i n the ex a mples a bove yet thi s expl a n a tio n is a lmost ,

excluded by the fa c t tha t p a ra llel ex a mples in o verwhelmi n g ,

m a jority a dmi t of n o such solutio n

, Ma n y of the c a ses ha ve .

been collected by Gil de rm e i s t e r i n hi s excellen t a rticle i n the

fi fth volum e of the Z eitschrift fii r di e Kun de de s Mo rge n
l a n des p , I t is e a sy to a dd m a n y p a ra llel ex a mples
. .

Thus a b hi s e kt u k a ma s ta rn ra j a G 1 1 74 5 5 is a p a ra ll el t o
'

.
, , , ,

a b hi se kt u ka m a m n rp a t i m Mb h i 8 5 1 9 a n d c a ra n a ga t a m , .
, , ,

is a n open i n g used repe a t e dl y e g v 1 78 9 ; viii 9 0 1 1 2 ; , . .

, , , , ,

xii i 3 2 2 a n d 3 4 ( but i n 3 8 b ga ra a ga t a s a ksa n a m )

, ,
n 2
Som e , .

di fferen ce of texts is to be n otice d Thus i n xiii 93 1 1 9 .

, , ,

ra n a a t a m h a n tu s a v a i C o mi ts va i a n imp o ssible p a da
g a g , .
, .

On the o ther h a n d i n xiii 9 4 27 a n rt a u vra t i j a ti c a i v a

’
, , , , ,
’
of C is con verted in to a n rta u c a vra t i c a i v a So in
. .

G v 63 2 a b h a y a m da da m i te vi ra ; but i n B a b h a y a m
.
, , , .
,

te p ra da s y a mi Th e comm o n est words thus empl o ye d owin g

.
,

perha ps merely to opportun ity a re a b hi va da y a n t i o r a n equiv , ,

a le n t c a ra n a a t a
,g a n d J a n a m e j y
a a
°
T hose
, me n tio n ed by .

B e n fe y i n the n otes t o hi s Chresto m a thi e a re chi efly of the

, ,

s a m e cha ra cter but he a lso a dduces lon g ini tia ls of whi ch

, ,

I sh a ll spe a k prese n tly Although a s sho wn a b o ve a n y .

, ,

form of vi p u l a or a p a t h y a m a y con ta in the hypermetri c p a da ,

a n d the fourth v i p u l a is very co mm o n yet the p a t h y a is the ,

usua l pla ce for it so tha t the l a st m a y be re ga rde d a s itself

,

the p a th ya o r regula r fo rm of thi s irregula rity .

B esides the c a ses n o tice d by o thers t o whi ch refere n ces ,

wi ll be f o un d loc cit J a n a m e j a y a a bhi s a ry a m a na m a di t i r

. .
, , ,

1 C o mp a re a l s o Ja c o b i ,
Da s R a ma ya na ,p 24 a . n d i n t h e Gu ru p ii j a ka u m u di .

2 In v, 1 2, 1 5 . a n d 16 (c it e d a b o ve ) c a ra ,
n a ga t a
’
s mi ra h m a n a n d c a ra a
te b ,
n

gtm a a na ty a j e y a m , r e sp e c ti ve ly B u t i n . v, 1 5, 3 3 , ga ra n a m t v a m p ra p a n n o
s mi
‘
.
25 6 THE GR EA T EP I C OF I N D I A .

1
is o ld ( Up a n i sha ds ) the occurren ce of hypermeters den otes ,

r a ther la ck of re fi n emen t tha n la ck of a n tiquity so tha t the ,

phen omen a a s a cla ss sta n d p a ra ll el to the c a re or c a reless

n ess i n the m a kin of i
g v p ul a s .

When o n t wo short syll a bles a thi rd sho rt foll o ws the

'

phra se is rudely a da pte d to m etric a l n eeds Hen ce a h o .

m a n y a t a fo r a h a r a m a n y a t a i n R iv 3 5 Som e e x c e p .
, ,

tion s occur t o m a r the un i formi ty of the phen o m e n a but fo r ,

the m o st p a rt they a re i n words or phra ses whi ch a re fo rce d

upon the p o ets a n d which they h a ve t o h a n dle a s best they
can . So we fin d a v a ria n t o n the da ga proverbs 3 in the
f o rm da c a cro t ri y a s a m o ra j a ity e va m Ma n ur a b ra vi t i 41 3 1 , , , ,

where there a re two dep a rtures from the n orm a n d the verse
is a hyperm etric fo rm o f the p a t h y a u u A a u ,

sim il a r c a se o ccurs i n R iii 3 5 9 where we fi n d da c a gri vo .

, , ,

v i ri ga t i b h u j a h Here I c a n sc a rcely a gree with Profess o r

.

Ja c o bi i n re ga rdin g da ga a s m o n o sylla bic ( Ra m p So .

,

i n the c a se o f D a c a ka n dh a ra — j
ra a s u n v o h cite d by the s a m e ,

a uth o r
( i n G u ru
p j
fi p 5 2) fr o m iii 290 1 9, wh i ch is lik
. e , , ,

p r a t i b o dh a vi di t a m m a t a m simply hyper m etric but a n swerin g ,

t o the ty pe 2 u _ _

( n o t to be re a d a s D a ga ka n d
u
,
u

h a ra a s Ja cobi suggests) E ither thi s or the expla n a tion

,
.

o fle re d bel o w o f suppresse d a see m s to m e m ost pr o b a ble .

Hyperm eters with l o n g in iti a l syll a ble a re s o m e tim es fo un d .

They a re o f two s o rts a n d sh o uld be c a ref ull y di stin gu i she d .

Th e fi rst is where the p a da c o rresp o n ds ex a ctly to th o se just

discusse d s a ve th a t a l o n g syll a ble t a kes the pl a ce o f the fi rst
brevis So fa r a s I kn ow thi s o ccurs o n ly i n the la ter epic
.
,

p o rtio n s ( a lso Pura n ic ) I t is a clum sy o r c a reless fo rm .

whi ch in duce d gen era lly by proper n a m es rega rds o n l y the

, ,

mech a ni c a ll y c o un ted syll a bles a n d en tirely di srega rds the

1 Fo r exa mp lep ra t ib o dh a vi di t a m m a a m , K e n a ,
,
t 1 1, 4; a b h a y a ri i t i t i r s a t a m
pa ra m th a
Ka ,
ii i, 2 Gi l de rm e i s t e r, l o c c i t , p 2 75
. . . . .

2
C o m p a re B dh t l i n gk, l o c . c it .
, p 21 4
. a d fin So p u n o p i ,
. G a th a a n d Pa li .

3 C o m p a re x i i , 1 08 , 1 6, d a ca i ’
va tu sa d ’
a c a ry a h gro t ri y a n a t ir i c y a t e x i ii ,

1 05, 1 4, d a ga
’
c a ry a n up a dh y a y a h .

4 Th e p a rti a l pa a e , r ll l u t t a ra y a na m fr o m M a nu vi , 1 0, ite d b y Gil d e r

c

me i t r
s e , lo c . c it .
, p 2 72, i s
. a l a t e r t e x t fo r t u ra y a n a m ( s e e J o lly s t e x t )’
.
 EP I C VE R SI FI CA TI ON . 25 7

essen ce of the hyperm etric light dis syll a ble Thi s co n sists i n .

a m or a me a sure m e n t o f t wo breves or light syll a bles a s a , ,

substitute for o n e lo n g vowel or he a vy syll a ble whi ch is im ,

possible in p a da s th a t ha ve such in i tia ls a s

E ka ta D vi t a Tri t a c c o c u h xii 3 3 7 20
- -
’
, , ,

Aq va m e dh ika m s a m a s a dy a xviii 278 c o rrecte d i n , , ,

1
B . 6, 69 t o a s a dy a .

N a i m i s a ra n y e ku l a p a t i h, H 1 , 1 , 4 ( C 1 1 ) . .

da ks i n a y a n a ms m rt a ra t ri h , H 1 , 8 , 9 e 2
.

Where a short vowel follows ( a s in other p a r a llel c a ses

men tio n e d here a fter) it is pra ctic a lly suppressed So a s t h i n y .

B A U iii 9 28 ( a s t h i n y a n t a r to ) 3 ’
a n t a ra t o da rii ni , . a n d in
, ,

the epic
p a k s i va n a ra ru t a j na i c c a i 70 4 5 ( va n ra )
’

, , ,
’
,

or the two breves must be re a d a s a m ora — equi va len t I t is a .

m a rk of the popul a r style a s i n A gn i Pura n a ii i 1 1 b i b h ra t a , , , ,

ka m a n da l a m purn a m ; i h x 28 bra hm a n a D a c a ra t h e n a t v a m
.
, , .

P re fi x e d extra metrum 1 s a u m 1 11 x n 3 48 3 8 a u m n a m a s te , , , ,

b ra h m a h rda y a a n d elsewhere , .

Th e c a ses of lo n g i n i ti a l cited fro m the older epic a re o f

qu i te di fferen t cha ra cter from the fo rm wi th in itia l l o n g .

Th e suppose d p a r a llel from Ma n u vi 1 0 a dduce d by G ilder , ,

meister a n d cited a bove bein g rem o ve d i n the revise d text

, , ,

there rem a in on ly a few p a da s of en tirely di fferen t form a tio n .

I n ste a d of h a vin g a lo n g syll a ble pre fi xe d they foll ow a di s

tin ct type of t ri stu b h Th e pa da do es n o t begin with a l o n g
.

syll a ble a n d then con tin ue with a short but begin s with t wo ,

lon g vowels or he a vy sylla bles or a short foll o we d by a lo n g : ,

( a ) re t o dh a h p u tra u n n a y a t i i 74 1 1 1 ; H 1 3 2 1 2 , , ,
.
, ,

( )
b B h i s rn o va s u n a m a n y a t a ma h , v, 1 8 5, 1 8
c
( ) c ra ddh a m p i t rb h y o na da da t i , 4
v, 33, 35
1 Co m p a r e A m a ra v a t i ms a m a s a dy a , v. I a s a dy a
.
, R . vii , 5 , 26 .

2 In M a nn 1, 67, ra t ri h s ya d im il a r Pur
da k s i n a y a na m . C o m p a re t h e s
“

a n ic v e r s e da k s i e n a ry a m n a l1 p a n t h a n a rn
,
n
’
d _
n o te 2 ,
c it e a b o v e , p 6, . .

p r e t h e s u b s e qu e n t p a d a s : r e t a s a iti m a v o c a t a dh a n a r u h a i va v a i
3 Co m a :

v k a n th o u g h h e r e we m a y r e a d a ( li )
r s , i e a s a l s o o c c a s i o n a lly i n e p i c
_ ,

ve r s e .

1 C it e d b
y Gi l de rm e i s t e r l o c c i t p 2 73 , . .
,
. .

17
25 8 THE GR EA T EPI C OF I N D I A .

On e c a se ( cited like these by J a cobi) is foun d in the

Ra m a y a n a vii 2 1 1 4 , , , ,

ma n a n Va i t a ra n i m
'

s a rn t a ry a

with the fi rst syll a ble short a n d secon d lo n g e , .

g .
, v , 43 ,

( )
d k a th a m s a m rddh a m a s a m rddh a m

Itwill be n oticed tha t the c aesura is a fter the fifth syll a ble .

Th e form s i n the correspo n di n g ( a b c d) t ri stu b h pa da s , , , ,

where the in i tia l len gth is in di fferen t m a y be ill ustra te d by ,

( a ) n a c e n m a mJ i s n u r a h va y i t a s a b h a y a rn
( b ) a ma n t ra y e t va m b ruh i j a y a rn ra n e me
( 0 ) y a s y a vi b h a kta rn va su ra j a n s a h a y a i h
'
’

d ) m n a m mfi rdh n i ra t h a y a n a mvi y a n t i
( s a a

M y c ses of these forms will be show

an a the n ext sectio n n in
o n t ri stu b h s Th e two form a tio n s a re eviden tly iden tic a l ; but
.

wha t occurs p a ssim in the t ri stu b h is spora di c in the gl o ka .

Th e p a da i n e a ch c a se co n sists of a complex of two metric a l

groups , u
A n extra sylla ble i n the posterior p a da is in di c a tive merely
of l a te c a reless n ess un der the p o wer exerted by n a mes a n d
titles whi ch a re ha rd to coerce in to n orm a l m etric a l form ; a s
i n the spuri o us verse cite d by Professor J a cobi fro m R vi .
,

1 05 1 0 Hi ra n y a re ta di va ka ra h
, , Such c a ses a s P u l a s ty o v a c a
.

ra ja n a m or L a ksm a n a s tu t a t o va c a in di c a te n o t a prece de n t

hypermeter but the loosen ess o f epic s a n dhi They a re very .

c o mm o n .

There is however a more re gu l a r in terior hypermeter whi ch

, ,

is o l d Thus i n K a tha Up a n ish a d vi 8 a n d vi 1 1 respect

.
, , , ,

i ve ly we fi n d
,

a vy a kt a t tu p a r a h p u ru s a h

a p ra m a t t a s ta da b h a va t i

1 Th e r e fe re n c e s fo r t h e t ri s tu b h p a da s will b e gi ve n b e l o w Th e p a da .

c i t e d fr o m t h e M a h a b h a sy a I S v o l x iii p 459 a vi dv a ns a h p ra t y a b hi v a de
,
. .
, .
,

i s with o u t p a r a ll e l I b e li e ve i n t h e e p i c
, , Th e s a m e le a p p e a r s i n M
. a n u iiru ,

1 23 with a b h i va da wh i c h m a y h a ve s t o o d h e r e o ri g i n a lly u n l e s s a b hi wa s
, ,

m o n o s yll a b i c .
260 THE GR EA T EPI C OF I N D I A .

3 1 3 , 61 , a nd
from v 43 1 1 the s a me prin ciple is exten ded , , , ,

ex a ctly a s we sha ll see it in t ri stu b h verse where the seco n d ,

fo ot a fter the fi rst di po dy m a y be resolve d from ,

v

in to w u u 1 4 So here ki msvit supta mn a n i mi sa t i .

,

m a y be o n the t ri stu b h mo del vvv whi ch , u

,
V ,

p a sses in to a n d a ppe a rs a s O a s in the ‘ J

u v u ,

t ri stu b h v 1 6 5 p ra p t e k a le p a c a s i pun a h s a m i ddh a h t va m

, , , , ,
’
e va n e b h a v a s i pun a h ra t i sth a So we sh a ll fi n d l a b h a t e
g p .

i n a tri stu b h where it m ust be equ a l to , just a s in the

g l o k a o f the D h a mm a p a da No 1 3 1 we fi n d pecc a so n a , .
,

l a b h a t e s u kh a m where t he two breves must be m ea sure d a s

,

o n e lo n g ( so the M SS but ch a n ge d i n the n e w text) but is .

, ,

n o t co n tr a cte d ( co m p a re in prior p ra ja p a t i g c a ra si ga rb h e , ,

Fr a gn a ii 7; gri n c a p ra jii a m c a vi dh e h i n a h i b
, , .

A very in terestin g ph a se of this questio n i s the rel a tion of

the Sa n skrit to the P a li We ha ve a proverb i n R ii . .
,

1 03 , 3 0,

ya da n n a h p u ru s o b h a va t i t a da n n a s ta sya de va t a h ,

whi ch Professor L a nm a n a t the Meetin g of the Orien ta l Society

i n 1 8 9 9 a rgue d wa s fro m the P a li form bec a us e there hoti
1
a ctu a lly occurs i n the s a me proverb B u t a ga i n s t the cer .

ta in ty ( though n o t the prob a bili ty) of t hi s con clusio n sta n d

the fa cts tha t the form of the verb is un determin ed i n P a li
a n d the hyp ermeter of thi s sort is just a s co mm o n there a s i n

Sa n skrit I t is cle a r for ex a m ple th a t i n such verses a s n a

.
, ,

te n a b h i kkh fi hoti D ha mm a p a da 266 must be re a d ( a s the , ,

text n o w sta n ds) b h a va t i ( comp a re t a t ra y a m a di b h a va t i sic , ,

i n 3 75 a n d i n other verses of the s a me coll ection )

, whil e o n
’
the other h a n d i n 3 8 7 s a nn a ddh o kh a tt iy o t a p a t i
, t a p ti) ,

sta n ds p a ra llel to simil a r un co n tra ctile forms in Sa n skrit gl o ka

is om itt e d , a s it s h o u l d b e h e r e . Th e o th e r c a s e s a re a ll p a ra ll e l t o k e n a sv oi
c h ro t ri y o b h a va t i , c ru t e n a c ro t ri y o b h a v a t i 47—48 , .

1 i
S n c e p ub l s n a n a rti l i hi g r ll l r o ve rb s o f t h e t wo e p i c s i n
c e o n t h e Pa a e P

A J P hil v o l x x p 22 ff I h a v e fo u n d a p a r a ll e l t o thi s y a da n n a h p r o v e rb
. . .
, .
,
.
, .
,

i n t h e Ma h a b h a r a t a vi z y a da n n a hi n a r a ra j a n s t a da n n a s t y de va t a h wh e r e
, . a s a ,

t a s ya i s s till p re s e r ve d th o u gh t h e p l u r a l n o u n p r e c e d e s ! I t i s ( o f c o u r s e )
fr o m t h e c a r e l e s s p s e u d o e p i c x iii 66 61 -
, , ,
.
 EP I C VE R SI FI CA TI ON . 1

a nd forms There is then n o re a l n ecessit y for

t ri stu b h .

cha n gin g the la tte r to kh a t y o ( a possible form ) .

Nevertheless i n the c a se of b h a va t i itself whi ch li ke bhos

, ,

m a y h a ve been curren t a s b h o t i i n Sa ns krit a s well a s i n

di a lectic form the l a tter m a y h a ve bee n used a n d a du a l
, ,

pro n un cia tion m a y be a ccepted a n d given a s a proba ble re a so n

1
for its frequen t recurre ce n i n a pp re t hyper eters I n
a n m .

other words pa da s with t hi s word ma y p o s s i bly n o t be true

,

hyperm eters a s m u s t be other forms whi ch a re n o t thus c o n

,

tra cte d or con tra ctile Th a t a hoti i n P a li m a y sta n d for .

a n origin a l b h a va t i m a y be seen by comp a rin g D h a mm a p

, .

260 with Mb h iii 1 3 3 1 1 .

, ,

n a te n a th ero h o ti [ b h a va t i] y e n a ss a p h a l i t a msiro ’
.

n a ten a s t h a vi ro b h a va t i y e n a s y a p a lita m c i ra h
’

C omp a re Ma n u 11 1 5 6 n a ten a vrddh o b h a va t i ( v 1 s th a viro

, , . .

in som e of the comm en t a t o rs ) An other of these n um erous .

b h a va t i proverbs is foun d i n D h a mm a p 268 n a m o n e n a mun i .

,

hoti Mb h v 43 60 ma n n a n n a s a mun i r b h a va t i
, .
, , ,
2
.

Di a le c tic Sa ns k ri t .

Acceptin g b h o t i hoti) a s a possible di a lectic Sa n skrit

form I h a ve n ext to show th a t the m a s a fo r ma s a prin ciple a s
, ,

ill ustra ted in the p a ra gra ph a bove is subject to a n i mporta n t ,

restrictio n I t would be quite wr o n g to suppose tha t the

.

m a ss o f gra mm a tic a l irregul a rities a re of a form e n tirely

a rbitra ry or th a t i n gen er a l a gr a mm a t ic a l m o difi c a ti o n th a t
, , ,

is f o un d repe a tedl y i n o n e c a tegory m a y be utili z e d for

metric a l purp o ses in a n y other o f the s a me outer a ppe a r a n ce .

I s a y i n gen era l bec a u se I a dm it th a t here a n d there in the

,

epic occur gr a mm a tic a l m on st rosities a n d forms n o t subject to

metre tho ugh irregul a r but wha t is of momen t is tha t m o s t of
, ,

t h e gra mma t i c a l i rre g u la ri t i e s i n t he e

p i c a re me re ly di a le c ti c

1
Thu s xu ,
23 3 , 1 2, c a ri ra n i c ra y a n a d b h a va t i , m fi rt i m a t
'

so da c a t m a ka m ,
a n d o ft e n .

2 On t h e va ri a n t t o t h e y a da nn a h p r o ve rb t i d in
c on a n e t h e wo rds y a c c i tta s
t a n m a y o b h a va t i , se e p 42. .
262 THE GR EA T EPI C OF I N D I A .

va ri a this re a son i n the p a ra gra ph a bove he a ded

ti o n s . Fo r ,

P o etic L icen ce I ha ve been c a reful to sta te th a t the mo di

,

fi c a t i o n s were those of Sa n s krit fo rms n o t th a t they were ,

a bsolute a lte r a tio n s of receive d form s in depen den t of a n y ,

g r a mm a tic a l b a sis I believe the l a tter c a ses t o be ex ces

.

s i ve ly ra re while o n the co n tra ry there is so m e sort of gra m

,

m a t i c a l a uthority for m ost of the ch a n ges so a bun da n tly

in tro duce d Metre surp a sses Sa n skrit gra mm a r but n o t
.

g r a mm a r a lto gether Wh a t then ? Where Sa n skrit

gr a m.

1
m a r f a ils the poets h a d reco se to p a tois
,
u r .

As I ha ve a lr e a dy shown a la rge ma j o rity o f the c a ses ,

un der co n sidera tio n a re comprised un der the he a d o f femin i n e

p a rti ciples a n d fi rst plura ls of verbs with a sm a ller n umber of ,

2
va rious fo rms .

Some o f these li ke bra mi a re a t o n ce di a lectic a n d yet , ,

a ccepte d a s Sa n skrit There is n o re a s o n wh y we sho u l d n o t .

rega rd kurmi Ga tha kurumi i n ta tha kurmi a n d ki mkurm i ti

, ,
’

krta ri j a li h iii 1 42 44 H 3 1 4 1 2 a s o n a p a r with bra mi

‘

. .
, , , , , ,

Th e l a tter occ ur s n o t o n ly i n R vi 9 20 ( where G re a ds .

, , .

b ra vi mi v 8 0 ,
but a lso i n R ii 1 9 4 ; iii 1 3 1 7; iv 7
, ,
.
, , , , , ,

14 . So R ii 1 2 3 6 a fi j a li mkurmi ; vii 78 20 a ha ra mga r

.
, , , , , ,

hi t a rn kurmi So t o o v e dmi a n d da dmi e g R ii 5 3 21 ;

.
, . .
, .
, ,

vi 1 24 1 7 a h a m a py a tra te da dmi whi ch i n the la ter B ha ra ta

, , , ,

is m ore a n d more frequen t Others a ppe a r to be gross vio l a .

tio n s of gra mm a r like n ati a n d v i du sa h n o min a tive a s i n ,

°
, ,

p a ra llel fo rms t a s t h u s a m p u ru sa m xii 3 1 7 1 7 e tc but they

,
3
, , , ,

m a y be n o t o nl y V e di c but dia lectic a s P a li a t i a n d vi dii

°
,

vi dva n ) m a y imply D oubtless some a re p u re a rch a isms .

,

1 So fa r a s Ik n o w, thi s i mp o rta n t j e c t h a s o n ly b e e n t o u c h e d u p o n i n
su b

a te b y Ki e lh o r J RA S 1 8 9 8
no n ,
.
, , p 1 8 wh o s a y s :
.
,
“
I n t h e s o c a ll e d e p i c -

Sa n s krit th e r e a re n o t a fe w fo r m s a n d c o n s tru c ti o n s whi c h s e e m t o m e t o b e

Pa l i r a th e r th a n Sa n s krit
”
.

2 L n g th e n i n g o f a v o we l m e tri g ra ti a i s c a ll e d a r ga m a l m o s t i n v a ri a b ly
e

b y t h e c o mm e n ta to r s So m e o f t h e c a s e s a re r e a lly a r c h a i c ; o th e r s a re
.

c l e a rly a s a c ri fi c e o f fo r m t o m e tr e g e n e r a lly fo r t h e di i a mb u s a s i n R v , ,
.
,

3 6, 2 1 , s u kh a n am uc ito n i ty a m a s u kh a n am a n fi c i ta h .

3 To P ro f . B o ltzm a n n s li s t I ’
a dd ( t h e re d u p li c a t e d fo rm s ,
803 ) t a s th u s i ,
x ,
8 , 70, a nd ne du s a m ( a p s a ra s a m) i x 5 7, 68 , , .
264 THE GR EA T EPI C OF I N D I A .

a nd perfects witho ut re duplic a tion when n ee de d for metre , ,

a ka rsa t u h i b i bh e du h viii 8 2 1 6 ( to a void a brevis

, , , , ,

before a secon d vip u la ) the excha n ge of n omi n a tive a n d

a ccus a tive a u sa dh a y a h ,
though thi s is a lso V edi c .

B u t the epic to ok lon g i n m a kin g a n d while the e a rlier ,

poets drew o n di a lectic fo rms ( thereby cre a ti n g a sort of

Ga tha di a lect tho ugh n o t so gross a s the ge n uin e a rticle ) the
, ,

la ter poets did ex a ctly wha t the la ter G reek hex a meter poets
di d viz c o pie d their predecessors in ste a d of borrowin g fro m
, .
,

the life C on seque n tly they m a de blun ders Th e e a rly poets

. .
,

for ex a m ple used metri c a us a opta tive fo r in di ca t ive viii 8 9

, , , , , ,

2 2 a n d ofte n ( a s i n la te Up a ni sha ds e g O
, ve t v 5 ) a vul ga r , . .
, .
,

c o n fusion ; a n d m a for m a s a n d da da n t i for da da t i ; bec a use

they kn ew tha t these were sp o ken form s if n o t the poli te fo rms ,

( which they use d by prefere n ce when c o n ven ie n t) ; but the

l a ter p o eta ster kn ew on ly tha t the o ld epic poets h a d mixed
u p ma a n d m a s a n d a n ti a n d a t i a n d so he use d the u n ,

Sa n skrit forms n o t o n ly more frequen tly but more i n c o rrectly .

Thus he s a id a p a cy a m a s ix 1 20 a n d di d n o t hesita te to use , , , ,

b h a va t i for b h a v a n t i of course o nl y i n the l a ter epic a s i n iii , , ,

a n y o n y a m n a t i v a rt a n t e
’
21 1 9 ( a l a te ch a pter a bove p
, , ,
.

s a m y a k c a b h a va t i dvi a C o m p a re the wisdo m to be le a rn ed

j , .

at M i t hi la i n the prece di n g copy of Va lmi ki s pro verb s t ri y o

’

, ,

h y a v a dh y a h s a rv e sa m ye dh a rm a m a bhi vi n da t e iii 206 4 6 , , ,

n a h a n t a v a s t ri a iti v ii 1 43 So i n xiii 1 45 20
( y y , , , , ,

( pa l a b u ddh a a h
y ) b u b h fi sa t e ( fo r dii a m bus) , a n d i n the l a ter ,

Ra m a y a n a p ra ja s t a m a n u v a rt a t e R v ii 43 1 9 ( v 62 9
, , . , , .
, ,

in terp o l a ted ? a bove p , .

B th i Mb b p a my a dh y h
1 o n a h i 78 40 ;
.
, u sn dR d k y y u sa a a s a rv , , ,
a n . ra s a s

o sa dh a y o di p t a h , vi , 74, 3 2 . C o mp a r e s a rv a h p ra k rt a y a h c a n a i h sa m

ja h r a a ( Ja tu grh a Pa va n ) a r ith nd ib . 1 45, 4 ; w R vi , 1 1 2, 1 9 , s a n t va y i t va

.

p a k t ya h
r r a C a r e l e s s n e s s i n t h e l g th
. l s i n d e c l e s i o i s a l o a m a rk
en o f v o we n n s

o f p a to i s ( e p i c e x a m p le s a b o ve ) Th e R a m a y a a h a s s o m e g e d e r s whi c h
. n n

m a y b e d i a l e c ti c Th e y c e rt i ly a re n o t Sa s krit : p a rikh a n ( l) p fi ra y a n t a c
. a n n

ca R v i 42 1 6 ; c i k s i p u r vi v i dh a
,
.
, , c a t ra n ( l) R vi 53 20 ( b o th l a c ki g a s n s ,
.
, ,
n

su c h in A s r e m a rk e d a b o ve s o m e o f thi s m a y b e s c ri b e s wo rk
’
e tc .
,
.

Th s y a da v e da c ru t i r n a s ta x i i 3 40 1 05 ; ve da gzru t i n i y a th a G i v 5 4 ; b u t
'

u , , , ,
.
, ,

i n R 6 5 n a s ta mde va gru t i m
.
, ,
a r sa i va B u t m e r e ly fo r m e tr e i s d o sa m .

fo r d o sa h R , . v, 28 , 5 ; G . vi , 33, 30 .
 EP I C VE R SI FI CA TI ON ’
. 265

the c a reless writin g of the pseudo epic Sa n skri t gra mm a r

In -
,

is flun g t o the win ds I do n o t me a n tha t irregu l a r fo rms a re .

n o t f o un d outsi de of it Substitutio n of the a c o n ju ga t i o n is . r

foun d in a da da t iii 1 73 8 ; 275 40 ; ix 5 1 1 0 ; though the la st, , , , , ,

is a n eviden t in terp o l a tion a n d a s the form s a re n o t requi red ,

metric a lly i n the other c a ses it is still open to question

whether they do n o t con ta in just such c o py slips a s a re foun d -
,

e g i n the Va yu Pura n a where viii 1 63 h a s vy a da dh a t p ra

. .
, , ,

bhun whi le 1 65 h a s a d a da t p ra b h u h Th e c a ses i n the older

,
.

epic a re however n o t frequen t ( in xi 25 5 j a h a t i is 3 d

, , , , ,

but i n the la te epic they flo urish lik e reeds ( com p a re ja h a n t i

i n i 1 72 8 ; da da n t i i n xii 25 7; 3 41 1 6 xiii 62 46
, , , , , , , ,

a n d it is just here tha t n e w irre gu l a rities a re foun d Thus .

vi cv e de va n a p n o t i xii 3 1 8 5 ; vi gve de ve b h y a h xii i 9 7 1 4

, , , , , , .

E ven such a syn t a cti c a l mon strosity a s the G a t h a i s m iti v a i

m en ire v a y a m ( with si mil a r c a ses there ) is n o t s hun n e d xii , ,

3 3 7 3 8 to s a y n othi n g of the syn t a ctic a l c o n fusio n i n a nv i

, ,

b h y a m p a t a y e c a i v a m a ru ta m p a t a y e ta tha xii 3 41 1 03
’
In , , , .

t h e t hi rt e e n t h b o o k besides ku rv a na s xiii 1 7 1 3 1 we fi n d
, , , , , ,

s m a h e xiii 1 13 , 93 41 ; sta m for a s ta m i b 98 7; the fi rst

, , , , .
,

in sta n ce o f a fi ni te n e ga tive verb 1 a n other Ga th a i s m ( com p a re ,

a j a n e hi for m a
j a n a y a ) a fterw a rds somewh a t a ffecte d : drcy a t e ,

Here a lso a n other Ga t h a i s m

'

drgy a t e c a pi xiii 1 4 1 60
’
.
, , , , ,

the pop u l a rize d cha n ge of the rdeclen sion a p a h a rt a a n d -

,

ha rta ( to gether with A t h a rva whi ch however is i n l a te Up a , , ,

ni sh ads M un d i 1 epic a th a rva y a n a m a h ) s ra sta ra y a n a m a h

, .
, , , ,

i b 3 09—3 1 0 a n d 3 1 3 —3 1 4
. So eta n for eta ni xiii 62 5 5 .
, , ,
.

Such n e o l o gisms go fa r beyon d the curren t in terch a n ge i n

u p a s a n t e a n d v i la s i n a h lso fou d here xiii 1 04 1 9 ;
y a n , , ,

1 W ith i n fin iti ve e g x v 1 1 1 5 n a d a t m Th e n e ga ti ve fi n i t e v e rb
th e , . .
, , , ,
’
u .

( gi v e n h e re i n C a n d r e qu ir e d b y t h e s e n s e ) i s n o t r e c o gn ize d i n t h e gr a m m a r s
.
,

a s o c c u rri n g b e fo r e t h e c l a s s i c a l p e ri o d .

2 I n G it a 1 0
1 6 a n d 1 9 a t m a vi b h ii t a y a h m a y b e n o m i a ti v e
, ,
Th e fo r m a s n .

a c c c a n s c a r c e ly b e a V e d i c r e v e r s i o n
. Th e G it a s till u s e s n o n a 11 a n d s o .
,

i n ii i 3 4 1 1 b u t i n x iii 51 1 0 y a d e t a d a p i n o m a ly a m
, , , i s s i m p ly l a t e a d
, , ,
no n

c a r e l e s s fo r n a E d ito r s o r c o p yi s t s h a v e tr i e d t o c h a n g e b h a v a t i n d a c c
. a .
,

t h e te x t i n C v 3 7 6 11 . x b u t th e y c a n n o t i n x i ii 62 3 0 a n d i n b h ii mi r
, , , , ,

b h a v a t i b h fi m i da m it s till g o v e rn s t h e a c c u s a tiv e
, .
266 THE GR EA T EPI C OF I N DI A .

1 07, 3 9 , brin g us in to the fi eld of sloven l y a da pta tio n

a nd

from a n y source whi ch cha ra cterizes the slipsho d Sa n skrit of

,

la ter epic a n d Pura n a s a like .

P ro s e -P o e t ry Ta l e s .

In the Ve rh a n dlu n g e n de r P hi lo loy e n ve rs a mmlu n g i n Ge m ,

1 8 78 a tte n tio n wa s c a lle d by Professor Win di sch to a

,
“
pre
”
epic pha se o f poetry con sisti n g of p rose n a rra tio n i n ter ,

sperse d wi th ga t h a s or verses of popul a r fo rm whi ch helped

o n the story On e epic t a le whi ch h a s go n e over in to la ter
. ,

verse form h a s bee n sho wn by Profess o r Olden berg i n hi s

-
, ,

a rticle o n the o l d I n di c Akhy a n a

1
to exist i n a proto type of
-
,

thi s kin d Such min gli n g o f prose a n d verse a s rem a rked

.
,

by t h e la tter writer is foun d i n the epic itself i n i 3 There , , , .

i s a lso though n o t of epic co n te n t a kin d of rhythm ic pr o se

, ,

whi ch is ha lf metric a l a s in x ii 1 90 5 fl : ta tra y a t s a t y a m , , ,

s a dh a rm o yo dh a rm a h s a p ra ka c o y a h p ra ka c a s t a t s u kh a m
, ,
’
iti t a m a s t a d du hkh a m iti a tro c a te ( thr ee c l o ka s ;
y a t y ) ,

t a t kh a lu dvi vi dh a m s u kh a m u c y a t e to s u s u kh a h

p a v a n a h s v a r e
g g a n dh a g c a s u ra b hi s t a tha
,
etc H ere the , .

epic Up a ni s ha d gli des i n a n d out o f metre the la st verse b e ,

fore the resumptio n o f cl o ka bein g a ga in m etric a l in a form ,

o f tri stu b h foun d elsewhere in the epic : n a c a i te do sa h ’

s va rge p ra du r b h a va n t i .

Th e ext cha pters to this ha ve a ltern a te pro se a n d cl o ka s

n ,

the la tter a ppea ri n g either a s a t the e n d o f 1 9 1 witho ut wa rn , ,

’
i n g o r in troduced wi th the words
,
there s a sta n z a a b o ut
tha t b h a va t i c a t ra cl o ka h I n 1 9 2 o n e un a n n o un ced gl o ka
”
,
’
. ,

follows the i n tro ducto ry pro se then m ore pro se a n d with the , ,

words b ha va n t i c a t ra cl o ka h fo ll ow o n e cl o ka a n d two ’

a fter whi ch gl o ka s a re a ga i n resume d

2
t ri s tu b h s .
.

I t ha p p e n s th a t a l a te poet run s o n i n t ri s tu b h s till he

1 ZD MG .
, vo l . xxx v iip 54 if
,
. .

2
Th e c l o ka e h re ,
xi i, 7006, i s a no th e r fo rm o f
p o ve b a r r g i v e n e l s e wh e re
i
i n th e e p c , a b h a y a
'

ni s a rv a b h fi te b hy o da t t v a , a n d m a y b e a dd d t
e o Sp rii c h e ,
48 5 , 486 Cl o ka h
.
h e re s c a r c e ly c o n n o t e s t ri stu b h s (a s in th e Bra hm a na s ) ,
but

in c lu de s th e m with th e c l o ka .
268 THE GR EA T EP I C OF I N DI A .

ka n y a mga y a n t i mc a p u sp a ni c a va c i n va t i m ; a p a gy a d , a tha s a
’

i a h s a m i p a t a h p a ry a kra m a t ; a ll with freedom n o t u n kn own

ra jr
‘

to the epic gl o ka B u t a n y cha n ge wo ul d in the fi r st pl a ce be

.

pure guesswork a n d besides why should gl o ka s ha ve becom e

,

prose ? A ga in these ta les a re bui lt with prose bricks a n d

,

metrica l m o rta r a n d it is n o t stra n ge tha t the morta r occa sio n

a lly run s over the brick
1 I therefore a bsta in except in two
.

or three c a ses ( i n some a s will be see n where the len gth of, ,

prose in vi tes verse) from the tem pta tio n to ma ke cl o ka pa da s

out of cl a uses more or less metri c a l a n d write the story a s it ,

sta n ds ( with prose omi ssion s a s in di c a te d below)

1—4, Ay o dh y a y a m I ks va ku ku l o dva h a h p a rt h i va h Pa ri ks i n n a ma

mrga y a m a ga ma t , t a m e ka q ve n a m rga m a n u s a ra n t a m
m rgo dura m a p a h a ra t 5
( , pro se)
6, ra m a n i y a ms a ro drs t va
s argva e va vy a ga h a t a

7, m a dh u ra mgi t a m a c rno t
c i nta
’
8, sa c t va
ru y a n n e
’
ha
ma n u s y a ga t i m p a cy a m i

ka s y a kh a l v a ya m gi t a c a b da iti .
2
9, a tha ’
p a cy a t ka n y a m pa ra
m a rfi p a da rc a n i y a m p u s p a n y m ca a tha
'

a va c i n va t i rn ga y a n ti , sa

ra j fi a h s a mi p e p a ry a kra m a t . 1 0, t a m a b ra vi d ra j a

ka s y a bha dre ka va t va m ( iti )

’
si
3

ra t y u va c a k a n y a m ( iti )
’
sa p s i

1 Th a t is to sa y, a s i n th e c a se gi i
l a s t n o t e a m o re o r l e s s r e gu l a r
ve n n th e ,

ve r s e m a y i n c i d e n t a lly a n d a c c en a i d t lly
b e s h a p e d i n p r o s e n a rr a ti o n with
o u t i t s b e in g i n t e n d e d a s r e g u l a r v e r s e th o u g h t h e p o e ti c s tyl e o f t h e e n
,

vi ro n m e n t m a y h a v e i n d u c e d s u c h p r o s e p o e try s u b c o n s c i o u s ly
- A s fo r t h e .

m e t a p h o r a b o ve e x c e p t a s ill u s tr a ti n g my m e a n in g v e ry r o u g hly I c a n n o t
, ,

d e fe n d it On t h e c o n tra ry a s t h e v e r s e e l e m e n t i n t a l e s wa s fix e d a n d u s e d
.
,
-

i n m a n y b u i l d i n g s whil e t h e p r o s e wa s c ru mb l e d u p a n d r e n e we d i n e a c h n e w
,

e d i fi c e b u ilt o f t h e s a m e b ri c k it wo u l d n o t b e q u it e u n hi s t o ri c a l t o i n v e rt it
,

a n d s p e a k o f p o e ti c b ri c k s a n d p r o s e m o rt a r .

2 W
a s thi s ka s y a kh a l u a y a m c a b da h
c c a t v a m i s a n o r d i n a ry e p i c ( ve r s e ) fo rmu l a
3 Thi s o r k a s i ka s a k u t a
’
y .

W ith t h e p re c e d in g c o m p a r e ( Sit a ) ku s u m a n y a p a c i n va n t i ( p ri o r p a d a ) a n d
, ,

ku s u m a n i vi c i n va t i , R ii i , 42, 3 2
. 43 , 1 .
 EP I C VERSI PI CA TI ON . 269

mmra j o va ca ’
a rt h i t va y a
’
ha m iti .
1
1 1, a th o
’
va ca ka n ya
sa ma y e n a a ha m c a ky a
t va y a l a b dh u m na a nya tha

iti ra j a ,
ta ms a ma y a m a p rc c h a t, ka n yo va ca ’

da ka m m e da rc a y i t a vy a m ( d r e ta v a m
’
no a c y
iti , 1 2, sa ra j a ta m ba dha m ity u kt va ta m upa y e me , krt o dva h a c
2

ca ra j a Pa ri ks i t kri da m a n o

m uda p a ra m a y a y u t a h 3

t u s ni m sa mga my a ta ya s a ha
ta ta s ta tra i va s i n e ’
s te . 13, ’ ’

r a j a n i sen a 1 4 s a se n o p a vi s ta m ra j a n a m pa ri ,
’

va ry a t i s t b a t p a ry a c va s t a c c a ra j a t a ya i va s a ha ni b i ka y a p ra y a d
’
,
’

a va gh o ti t a y a sva ( n 1 ) n a ga r a m a n u p ra p y a ra h a s i ta ya s a ha s t e
'
’ 4
.

1 5 ta tra b h y a q a s t h o pi ka q c i n n a p a c y a d a th a p ra dh a n a m a t y o
’ ‘
’
,

b h y a q a c a ra s t a sya s t ri y o p rc c h a t 1 6 ki m a tra p ra y o j a n a m fi
‘ ‘

va rt a t e ( va rt a t a ) ity a th a b ru va ns t a h s t ri y a h
’ 6
, .

1 7 a p fi rva m i da m p a cy a m a ,

u da ka mn a t ra n i y a ta e )
(
’

ity a tha ma ty o n u da ka m va n a m ka ra y i t vo da ra vrks a m etc

,
’ ‘ ’
,
.

1 8 va n a m i da m u da ra ka m ,

s a dh v a tra ra my a t a m iti

1 Pe rh a p s sa m a rt h i t va y a b h a dr e
’
ha m ( c o mp a re
2 Mo re na tu ra l wo u l d b e : sa ra j a ba dh a m ity u kt v a ta mka n y a m u p a y e me
3 A r e gu l a r ep c i p hr a s e in va ri o u s r
fo m s , m u a , g d riy a p ri ty a e t c with
, ,
.
,

yu ta n o r y u kt a h t o th e p a da ,
a c c o rd in g
r . C o mp a e t h e r e fe re n c e s a b o v e a n d
ii 53 23 N a l a 20 40 ; i x 27 6 ; 3 6 42 ; p ri ty a p a ra m a y a y u kt a h i x 5 5 4 ; R
, , , , , , , , , , .

i 52 1 1 e t c
, , ,
.

e t e x t s g ive s v a n a ga ra m a n d s v a m
’
n va ga c c h a t a n d n v a ga c c h a t a
’
4 Th
,

n a ga ra m Thi s m a y p o i n t t o a c o rr u p ti o n
. L e a vi n g o u t t h e fi n e p a l a n q u i n .

t a ta s t a tr a i v a s i e ( t n 2 ) r a j a i s e n a n va ga c c h a t a s a ( t u ) s e n o p a vi s ta rh ( h a )
’ ’
n
‘ ’

p a ri v a ry a a t i s th a t a p a ry a c va s t a c c a ( s a ) r a j a a n u p ra p y a s va n a ga ra mra h a s y
’

a s te t y a s a h a a Th e l o n g s tr e t c h o f p r o s e fa v o r s thi s
. C o mp a r e u v a c a c a .

t a y a s a h a a n e p i c p hr a s e e g i 73 20
, ,
. .
, , , .

5 Th e r e i s n o o b j e c t t o t h e fi r s t v e rb W a s it n o t : t a tr a b h y a <; a s th o p i .
’ ‘

ka c c i n aj d mn a a p a cy a t a a th a p ra dh a n a m a t y a s t u t a s y a s t ri y a h a p rc c h a t a
r h a ,

3 Th e m o r e
p r o b a b l e fo rm i s v a rt a t e ki m p ra y o j a n a m ki m p ra y o j a n a m i s
a r e g u l a r e p i c c l o s e o f a h e m i s ti c h C o mp a r e fo r e x a mp l e x iii 93 8 1 ka sy a .
, , , ,

ki m p ra y o j a n a m
’
rt h e , .

7 Si c , B ; C , u da ra m
. . a nu da ka m .
270 THE GR EA T EPI C OF I N DI A .

After thi s prose to , 23 —25 ,

kru ddh o a j fi a p a y a ma s a ( s a ra j a )
ya tha vrt t a mn y a ve da y a n
’
iti gl o ka u c a t ra b h a va t a h ( 28
27, , C omp a re v ,

64 5 where a lthough the whole text is i n gl o ka s o n e sta n z a

, , , ,

is especia lly men tio n ed gl o ke n a n en a Ka u ra vy a p a p ra c c h a,

’
, ,

s a muni s ta da .

3 0, t a m s va m va di u a m 1 s t a j a n a co ka p a ri t a t ma ra j a ’
th o
’
va c a
3 1, na hi ks a my a t e ta n m a ya

h a ni sy a m y eta n e ta i r du ra t m a b hi h , etc . prose to

3 2, sa ta d va ky a m upa l a b h ya

etc prose to 3 3
.
, .

I n the followi n g I om it referen ces to the prose

a n d give the metric a l p a da s i n their order

3 3 , ta m a b ra vi d ra j a ta ya
sa m a rt h i , 1
sa m e di y a t a m

3 4, a tha i ’
na pita da d
m ra j fi e ’ 2

a b ra vi c c a e n a m e n a m

ra j a n a mc u rfi s a s ve ti ’ 3
e

3 5, e va m u kt va du h i t a ra m

3 6, h a rs e n a b a s p a ka l a y a
va c a p ra p a t y a
’
b h i p 11 j y a
'

m a n dfi ka ra j a m a b ra vi d
a n u grh i t o
‘
s mi iti ( s o te o mit iti).
,

3 7 y a t h a ga t a m a ga c c h a t ( a )

1 In C , . a s my a h a m a rth i .

2 In C , . d da
a n . P e rh a p s s a d a d a n .

3 rh a p s a b ra vi c c a du h i t a ra m e n a mra j a n a mgu crfi s a

Pe ,

A s t e r e o typ e d p hr a se e ith e r s tr a dd li n g t h e p a d a s o f a v e r se N a l a 9 25 ;
, , , ,

o r i n a p a d a ( a ft e r o n e s yll a b l e ) a s i n s a i v 20: 2 8 ; R ii 8 2 1 0
, Pe rh a p s, , .
, , .

h e r e : s a b a sp a ka la y a v a c a p ra ni p a ty a b h i p 1i j y a c a ’ '

.
2 72 THE GR EA T EP I C OF I N D I A .

ra ma te n a ( m e ) p ra t i n i ry a t a y a t y , a ho ka s ta m iti ( prose to 48 , if .

t ri s t u b h s ) .

Though fa r from epic verse this is n o t ex a ctly prose 1 , ,

which though ofte n rhythmic a l is n o t metric a l to such a n

, ,

exte n t a s this Further the a ctu a l prese n ce of epic p a da s

.
,

i n the n a rra tive shows beyo n d questio n th a t it is me a n t to

be couche d more or less i n metric a l form Of wha t sort .

the n is this metrica l prose ? I t is I thi n k a n e a rly form , ,

of popul a r verse older th a n the presen t epic nl o ka which

, , ,

a s I h a ve rem a rke d a bove is prob a bly more r e fi n e d th a n it ,

wa s whe n fi rst writ te n a n d is less free eve n tha n the Ma ha

b h a sy a epic cl o ka I t is n o t however n ecess a rily a n tique
.
, , ,

n o r n ecess a rily mo dern I t is i n short the in strume n t of the

.
, ,

perpetua l story teller a n a i ve form run n in g i n a n d out of

-
, ,

2
prose like rhymes i n fa iry ta les .

1 B y , Pa n c a
e n fe h t a n tra ( tra n s l a ti o n ) vo l i p 259 s a y s th a t with t h e e x c e p
,
.
,
.
,

ti o n o f t h e t wo gl o ka s ( 28 t h e r e s t o f t h e n a rra ti v e i s i n p r o s e .

e s a m e t e n d e n c y t o t h e c r e a ti o n o f p a d a v e r s e ( n o t a rr a n g e d i n c l o ka
2 Th

fo rm ) m a y b e s e e n i n t h e p r o s e t a l e o f i 3 wh e r e b e s i d e s t h e r e g u l a r ve r s e s
, , ,

i n t h e p r o s e n a rr a ti o n a re fo u n d s u c h m e tri c a l c o m b i n a ti o n s a s
,

J a na me j a y a e va m u kt o
de v a c u n y a Sa ra m a y a
t r
e t a s m i n n a n a e ka c c i d

t sir D h a u my o n a m a p o d a s ’

s a e k a mc i s y a m Aru n i m

Pa nc a ly a m p re sa y a m a s a
sa u p a dh y a y e n a s a rh di s ta Aru n i h ,

th e la st be in g
r e s p e c t a b l e t ri s tu b h p a da I f h o we ve r thi s a n d t h e t a l e o f
a .
, ,

Su c o b h a n a b e re g a r d e d ( a s B e n fe y s a y s ) a s p u r e p ro s e wh a t di fi e re n c e i s ,

th e re b e twe e n t h e o th e r p a rt s whi c h will n o t g i ve a n y rhyth m i c a l c a d e n c e

a n d s u c h a rhyth m i c a l c o m p l e x a s e g ra m a n i y a rh s a r o dy s tv a s a gva e v a
,
. .
, ,

vy a ga h a t a kru ddh o a j ii a p a y a m a s a a n d y a th a v rt t a m n y a v e da y a n
, , An d ?

h o w d o e s it h a p p e n th a t k a e y a s i b h a d r e ka va t va m a n d m u d a p a ra m a y a
’ ’
,

y u ta n a n d b a s p a ka l a y a v a c a a re a c t u a l v e r s e s fo u n d i n t h e e p i c ?
Th e r e i s a l i t e r a ry p r o d u c t whi c h i s n e ith e r p r o s e n o r p o e try b u t a m i dd l e ,

g e n re a s o rt o f do g tro t b e twe e n wa lkin g a n d ru n n i n g i n t o whi c h a n a rra t o r

,
-
,

m a y d r o p with o u t t h e c o n s c i o u s c a m p ii a lt e r n a ti o n o f p a d y a a n d g a dy a ( p o e try
a n d p r o s e ) fo u n d i n m o r e p r e c i s e lit e r a t u r e I t i s p e rh a p s n o t e x tra va ga n t t o
.

s a y th a t b e n e a th t h e c u lt u r e d v e r s e o f t h e lit e r a ti thi s ki n d o f s tyl e m a y h a v e

e x i s t e d fo r c e n tu ri e s a n d e ve n h a v e b e e n t h e fo u n d a ti o n o f t h e e a r l i e s t lit e r a ry
 EP I C VE R SI FI CA TI ON . 273

Th e E p i c Tri s t u b h

i . THE R EGUL A R TR I STU B H IN TH E MAHAB HE R A TA

Th e ra rest forms of the epic t ristu b h s a re tho se tha t in
the corresp o n din g syll a bles a n swer to the comm o n est forms
of the cl o ka n a mely the p a t h y a a n d fi rst a n d thi rd vip u l a s
, .

Th e co mm o n est form s of t ri stu b h a re those th a t a n swer to

the sec o n d a n d fourth vip ul a s ( dec a de n t i n the m ore re fi n e d
l k a n d to the m in or I o n i c a form o f c l o ka a l m o st extin ct
g o a ) ,

in the la ter epic style B o th metres h a ve besides the dii a m

.

bic a n d m a jor I on ic form s but in both they a re exceptio n a l , .

Me a sured by their prece den t c o m bin a tion s the t ri stu b h ,

fo rm s thus c o rrespo n din g to the gl o ka s i n secon d a n d fo urth

vi p u l a s a n d mi n or I o n i c o utcl a ss the others a s decide dl y a s
,

they do i n the n umber of their occurre n ces ; for where a s

befo re the t ri stu b h feet c o rrespon din g t o the p a t h y a a n d fi rst
vi p u l a f o rm s sta n d o n ly and y befo re the u .

secon d a n d fourth vip u l a f o rms sta n d fi ve a n d befo re the ,

mi n o r I oni c form sta n d seve n co m bin a tio n s respectively , .

I n thus groupi n g the t ri stu b h s gl o ka — wis e I ha ve wishe d

merely t o con tra st the gen era l structure of thi s metre with
1
tha t of the n l o ka a n d h a ve in clude d o n l y the h e n de ka s y ll a
,

bic t ri stu b h Fo r the s a ke of c o n ve n i en ce I sha ll c a ll regu

.
,

l a r a ll fo rm s of the eleve n syll a ble t ri stu bh ( p a da ) h o wever -

,

un usua l in di stin ctio n from other form s a n d will n o w give

, ,

a sche m e of these re ul a r t ri stu b h forms

g ( o mi ttin
g the s c o li u s

or termi n a l a m phi bra ch) 2 .

r d t
p o uc T . ha t a ny of it ha s been p r e s e r ve d i s a m e re a cc ide n t , not a n te c e

d e n t ly t o b e te d
e xp e c .

1 Of c o u r s e a s p r e v i o u s ly e x p l a i n e d
, t h e s yll a b a a n c e p s o f t h e e i g hth
,

s yll a b l e m u s t b e g i ve n u p ; b u t t h e i n iti a l s yll a b l e i s a n c e s a s it i s i n t h e

p ,

nl o ka i n t h e u s u a l fo rm s
, .

e j a g a ti o c c u r s i n t h e s a m e fo r m s a s t h e tri s tu b h a d n e e ds n o sp e c ia l
2 Th n

t a b l e ( th o u g h s e p a r a t e ly d i s c u s s e d b e l o w) Me c h a ni c a lly it i s m e re ly a
.
,

t ri t b h with a n e x tr a s yll a b l e a dd e d m a ki n g t h e c l o s e with di i a mb u s i n s t e a d

s u ,

o f a m p hib r a c h .
 THE GR EA T EP I C OF I N DI A .

Co mm n a rro rz s on T HE R E G UL A R EPI C Tm srUB H IN THE MA HI B HA E ATA .

Fo r th e a re vi a ti o n s c o m p a re t h e t a b l e a b o ve p 23 6 Fo r
bb , , . .
v
u

a s a s e c o n d fo o t i n a hy p e r m e tri c p a d a s e e t h e p a ra gr a p h i
, t h e li s t o f ill u s
n

t ra t i o s i n A p p e d i x C u n d e r N o 1 1
n n ,
Fo r V
. . u a s s e c o d fo o t s e e
V n ,

u n d e r N o 1 5 Th e hyp e rm e tric fo r m s i n di c a t e d i n A p p e n d ix C wh e n re fe r
. .
,

e n c e s a re n o t g i v e n , will b e fo u n d ill u s tr a t e d i n t h e fo ll o wi g p a r a g r a p h s n .

Tri s tu b h s o f c a ta l e c ti c a n d hy p e r m e tri c fo r m a re n o t i n c l u d e d in thi s t a b l e .

Appe n di x C give a full di scussion of

Th e I llustr a tio n s i n
the o ccurre n ces of these fo rm s a s they a ppe a r in co m bin a tion
with the c aesura n o w a fter the fourth n o w a fter the fifth
,

syll a ble Here I will poin t out tha t a s is sh o wn by the ta ble

.
, ,

a ll c a ses o f pyrrhi c a n d m o st c a ses of trochee i n the syll a bles

i mme dia tely prece din g the fo urth syll a ble a re m erely spor a dic ,

wha tever be the c aesura ; but tha t the trochee before the
va t o rm i c middle , is n o t un c o mm o n ; a n d a dd th a t
u v

the c aesur a is here a fter the fourth syll a ble ( No Th e .

preva ili n g types of the gre a t epic a re ( a s is a lso shown by the

t a ble) a n i a m bic or spo n da ic ope n i n g 3 fo ll o wed by ,
 276 THE GR EA T EPI C OF I N DI A .

tha t com plete in t ri stu b h form the story of the Frog girl given -
'

a bove there a re o n ly a doze n of chori a mbic f o rm ; whil e o nl

, y
o n e sta n z a out of the t we n ty fi v e is of u p a ja t i ( x u ) -
u v _

fo rm thr oughout though t wo others ha ve two co n secutive ,

chori a mbic p a da s .

Th e R a m a y a na Tri s t u b h .

V ery differen t is the schem e presen ted by the Ra m a y a n a .

Here the u p a ja t i is a l most exclusively the form of tri stu b h

employe d a n d a ll the va riega ted p a da s of the B ha ra ta a re
,

pra ctic a lly reduced to o n e type I n fa ct the exception s give n .

, ,

u n der N o s 7 1 3 1 9 2 3 of the I llustra tio n s Appen di x C a re

.
, , , , , ,

so few a s sc a rcely to m odi fy the sta tem en t tha t the Ra m a ya n a

em ploys o nl y o n e kin d of t ri stu bh whi ch is x
1
, _ u _ _ u u _ u

with va ri a ble c aes ura a s in ,

R vi 1 28 1 22 .
, ,

a y u s y a m a ro gy a ka ra my a q a s y a rh
s a u b h ra t rka m b u ddh i ka ra mq u b h a mc a

q ro t a vy a m eta n n i y a me n a s a db h i r
a kh y a n a m o
j a s ka ra m rddhi ka m a i h

R . 11 , 8 2, 3 2 :
ta ta h s a mu t t h a y a kule ku l e te

yj
ra a n a v a i
qy a vrs a la q ca vi p ra h

a y fi y u j a n n u s t ra ra t h a n kh a ra nc c a
’
n a ga n h a
y a n c
; c a i va ku l a p ra s u t a n

1 I p a s s o ve r s o m e i o u s e rr o r s n o ti c i n g th e ir p l a c e : typ o gra p h i c a l G
o bv , , .

iv ,
43 , 69, vi c e t u m ; R vi 59 1 2 p a t a k a G vi i 7 48 ( a ga n i i n R ) Th e s e
.
, , , .
, , .

a ffe c t t h e fo u rth s yll a b l e R i v 2 8 66 a ffe c t s t h e e i g hth n i g rh e fo r n i gra h e

. .
, , , , .

Oth e r p a lp a b l e e rr o r s a ffe c tin g t h e m e tre a re : G ii 80 24 ks u dh a c a t a n dry a .

, , ,

( c a ) vi p a n n a t a rii g a t a h n o t i n R G iii 63 28 j a h a u t a d a t rt s a m u db h a va rii

2
,
. .
, , ,

kla m a m ( i n R k su dh a d u hkh a ) i b 29 p a d a e n d s e c a s t a d a ( c o m p a r e e n d °
.
,

o f R iii 63 . 6 b s ty a kle c a m wh e r e h o we v e r kl p r o b a b ly d o e s n o t m a k e
, , , , , ,

p o s iti o n ) G v 1 4 66 p riy a m a viks a m a n o Ra gh u n a n da s y a c o rre c t e d b y R

.
, , , , .
,

p ri y a m a p a cy a n R a gh u n a n da n a s y a t a m ; i h 1 9 3 4 e va m s a t a m h e t u b h i r .
, ,

a n u vik s y a fo r a n va v e ks y a ( t h e fo r m th o u g h with v l i n R ) n a c a t i fo r
, ,
. .
, .

n a c y a t i i n v 8 0 24 i s n o ti c e d u n d e r N o
, , ,
1 9 G v ii 20 44 t a m a rc a y i t v a . .
, , ,

n i ga c a ro j a g a n ( n o t i n R ) h a s a p p a r e n tly l o s t a c a ( c f d ) ; G v i i 40 1 9
. . .
, , ,

Ha n fi ma t a h ka h s t h a sy a t i p u ra s t a t , fo r s th a sy a t i ka h (R . 3 6, In R . vi ,

59, 1 2 , n a n a p a t a ka dh v a j a c h a tra j u s ta m ( ca s tra in G . 3 5, cc h b e c o me s c h

a s in Mb h . i, pt c h a m i t va m . C o n tr a s t s a gva dh va j a c c h a t ra ma h a p a t a ka m ,

R ib 1 3 5
. . .
 EP I C VE R SI FI CA TI ON . 277

R . iv , 1 1 , 93

ya tha hi va ra h s a da ra vir
t e j a h su 1

ya tha h i c a i lo Hi m a va n m a h a dri su
ya th a c a t u s p a t s u c a kes a ri va ra s
ta tha n a ra n a m a s i v ikra m e va ra h
Thi sun ifo rmi ty of metre resultin g i n a n a lmost cl a ssic a l ,

t ri stu b h pl a ces the Ra ma y a n a o n the s a m e pl a n e whe n c o m

, ,

p a re d with the B ha ra ta a s we s a w it o ccupied from the poin t ,

of view of the cl o ka Th e m ore a n tique form s of regul a r .

2
t ri stu b h s a re foun d i n the B ha ra t a .

Yet if thi s is the c a se i n the regul a r t ri s tu b h still more ,

strikin g is the di fferen ce between the two epics i n respect of

the c a ta lectic hyperm etric a n d o ther irre gul a r t ri stu b h s whi ch
, , ,

a re a n tique a n d foun d i n the B ha ra t a but a re un kn own to the ,

Ra m a ya n a B u t before t a kin g up these thr ee cl a sses a s they

.

a ppe a r i n the gre a t epic I h a ve a few words to s a y i n re ga rd ,

to the fi n a l a mphi bra ch or s c o li u s .

Th e Sc o li n e .

m a n y ex a mples given in Appen dix C suffi cien tly

Th e
illustra te the fa ct tha t a fter the lon g eighth syll a ble ( very
3
r rely short) the n in th sylla ble of the t ri stu b h is regul a rly
a

1 In G . 1 1, 1 1, y a th a hi t e j a s vi v a ro di v a ka ro , e tc .
,
ll o we d b y a s ta n z a n o t
fo
in R .
,
with na s a rv a y a k s e ga dh a ne c va ro vib h u h , th e o th e r p a d a s h a v i n g c ae s u r a

a t e r fo u rth o r fi fth
f .

e c a n n o t h o we v e r c l a i m a s e v i d e n c e o f a n tiqu ity t h e a n tiqu e c a li n i

2 On
, ,

a n d v a t o rm i typ e o f p a d a e ith e r p u r e o r i n p a rti fo r m g

, u -
,

a nd u V v with o u t n o ti n g th a t th e s e a re a l s o Pu r a n i c th o u g h
V ,

r a r e h e re a n d c hi e fly l o a n s Th u s i n a p u r e s in gl e ( s e p a r a t e ) u p e n d r a
, .

s t a n z a a t Va yu P v 1 9 s t a ds p ra va rt a t e c o dy a m a n a h s a m a n t a t So ih i x
.
, ,
n . .
,

1 1 3 wh e r e a b d h a v e c a li n i fo rm a n d c h a s di c a h c ro t re c a r a n a n c a s y a
’
, , , , ,

b h fi mi h Mo s t o f thi s i s e p i c e g i b x vii 7 d n a j a y a t e m ri y a t e v a ka
.
, . .
,
.
, ,

da c i t ( Git a 2 Sti l l r a r e r ( a s in Gi t a 8 9 ) i s t h e fo r m i n t h e s a m e
, , , ,

P u r a a x i v 7 c k a vi m p u ra n a m a n u ga s i t a ra m
n , , , I t a k e thi s o p p o rt u ni ty o f .

s t a ti n g th a t I s h a ll h e r e a ft e r u s e u p e n d r a a n d v a ri ga s t h a a s s h o rt e r fo rm s
o f u p e n dra va j ra a n d va nc a s t h a b il a th o u g h I b e li e ve o n ly t h e l a tt e r h a s ,

a u th o rity .

p p e n di x C u n d e r N o 1 5 e k a ms a ma y a j u r e k a m rg e ka x i i 60
3 Se e A
, .
, , , ,
 278 THE GR EA T EPI C OF I N DI A .

short the ten th is lon g a n d the eleven th is a n ceps Thi s rule

, , .

is seldo m viola te d but i n the Ci b i c a ri t a iii 1 9 7 8 we fi n d : , , , , ,

ga da m i ve da n vi c i n o m i c c h a n da h
s a rve v e da a ks a ra s o m e a dh i t a h
n a s a dh u da n a m nro t ri y a s y a p ra da n a m

m a pra da h qy e n a y a n a ka p o t o s m i
‘

Here we fi n d i n pa da a the phen omen o n discusse d a bove

, , , ,

i n rel a ti o n t o the close of the gl o ka B efore c c h a n da h the .

vowel sho ul d weigh he a vy but it is doubtless reckon ed light , .

c
I n b me dh i ta h is m o re pro b a ble th a n the ( hyperm etri c )
,

pa da a s it a ppe a rs in bo th texts ( a bove ) ; but sin ce thi s is a

,

possible fo rm the p a da c a n n ot be cite d for a lo n g ni n th

, .

P a da c is regul a r I n d the p a da m a y be c o rrupt the .

, ,

n ecess a r
y m a m a m ) a pp a re n tly bei n
g lost a ft e r the pro
hi b i t i ve m a thou gh a l o n g n i n th c a n n o t be a vo ide d i n a n y
,

circumsta n ces wi th the rest of the text a s it is I sus pect .

tha t gy e n a y a h a s ta ken the pla ce of a voc a tive a n d tha t the ,

verse re a d origin a ll y : m a m a pra da n a s mi ra j a n ka p o t a h ; ’

but it m a y be a speci men of the gro up o f six befo re c aesur a ,

lik e y a tra devi G a fi ga s a t a t a m p ra s ii t a a n d the o ther ,

c a ses of the sort cited below if the hia tus m a y be a ssum e d ,

t o le a ve a sh o rt v o wel m a pra da h gy e n a y a n a k a pot a a smi , ,

( hypermetric ) a s i n xiv 9 9 a just

, bel o w Th e t a le h o w , , , .
,

ever is a p o pu l a r sto ry doubtless ha n de d do wn i n ro ugh verse

, , ,

a n d si n ce the lo n n i n th is a ctu a ll y foun d i n such verse it is

g ,

n o t n ecess a ry to a ssume tha t the p a da m ust be c o rrect I n the .

followi n g sta n z a s i n the s a m e w a y we fi n d the vo wel a pp a r

, ,

en tly recko n e d a s still sho rt ( li ght) before cy Th e c a ses a re .

iii 1 97 1 5 c ya s m in de ge ra m a s e tiv a c y e n a
, ,
‘

ih 1 8 b s a n m y o h y a ya m ki m n a j a n a s i c y e n a
.
, , ,

ib 2 4 b p rc c h a mi t e
.
,q a ku ne k o n u cy e n a h ,
l
,
2

P rh p
1 e ti a I r f r t C ly wh t h r d i g di ff r
s a c c u sa ve . e e o . on en e ea n e s .

O cy
2
ci
n i 19 ena th p r gr p h
a s ena D f ti n T i t bh b
0, se e e a a a on e ec ve r s u s e

l w
o Ab . Ih it d o ve wh r t h a ve c w li h rt ( li ght yll b l ) b f r
e c a se s e e e vo e s s o s a e e o e

m t u d liq i d i
e a n cl k d l
u gi n mp l i o t i t b h wh r
a s a n a a so ve n exa es n r s u , e e c .

br a hm a ti k s a t ra m a ,
°
,
n d °
mi D ro n a m m a k e t h e s c o li u s . Th e l a tt e r i s a s it ,

we r e s tr e g th e n e d t o
,
n ma ke pos iti o n in vi i , 1 79, 47 b , a n t a rm a n a h k u r u s u

p ra dra v a t s u (C .
p ra ) .
28 0 THE GR EA T EP I C OF I N D I A .

o fB . 2, 74, 3 2, is proba bly correct : p ra h u r vip ra s tva m gu ni

n a m t a t t va vi jr i ah An other a ppa ren t ca se i n H (1
‘

. .
,

where y a da v e 9va ra h en ds a t ri stu b h is a mere misprin t for

’
,

y a d a v e c v a ra h 3 8 2 13 B u t xii 29 2 22 d a n ty e m a dh y e va
, , , .
, , ,

va n a m a gritya s t h e ya m h a s a clea r ca se of u for , u u .

A sec o n da ry c aesura is m ore li kely n o t to be foun d before

the s c o li u s tha n to be foun d there E xa mples of bo th ca ses .

a re give n ( i n cide n ta lly ) i n the ex a mples of the di ffere n t sorts

of t ri stu b h C a lli n g the s c o li u s a n a ddi tion is then merely a

.
, ,

mecha n ica l device to show the p a da fo rms free of their u n i

,

form close I n rea lity the s c o l i u s beca use it is a lwa ys the

.
, ,

sa m e is the m ost im porta n t pa rt of the p a da sin ce it sea ls the

, ,

t ri stu b h To show how the seco n d c aesura do es n o t divi de o ff

.

the s c o li u s a s a sort of ta il tie d o n to the p a da proper m a y b e ,

ta ken vii 1 79 1 3 a —b , ,

a s th a y a t a mka fi c a n a ra t n a c i t ra m
ra t h o t t a m a rn s i nh a v a t s a m n a n a da
'

Th e formis then the onl y form of the epic s c o li u s

V g ,

except fo r a few ca ses of seemin g c a relessn ess a s i n p ra y a c c h a t ,

a n d vi d a t e where speci a l re a s o n s m a y ha ve i n duce d the ex

y ,

ta n t fo rm o r a s in ca ses before k s c c h etc where a dva n ta ge

, , , , .
,

a ppea rs t o ha ve bee n ta ke n o f a G a tha freedom i n reck o n in g

a he a vy sylla ble a s li ht i n certa in c a ses
g O f the s c o li u s type .

u which Fa u sb ii ll ( previously) set up fo r the D ha mma

V ,

pa da the epic h a s pa ra llel ex a mples but I doubt whether

, ,

the sin gle exa m ple to be foun d i n the D ha mm a vs 3 06 , .

’
y o va
’
pi ka t va na ka ro mi ti c a
’
ha

wi ll be foun d o n secon d thought re a lly t o supp o rt thi s in te rp re

ta ti o n . Fo r i n this c a se a s i n a ll sim ila r epic exa m ples th e, ,

di visi o n is n o t a s Fa u s b ti l l a s sumed
, I I , u _ v u _ v u ,

but ( a s a hyperm e t er) u v exa ctly a s v v u ,

i n the c o m m o n hyperm e t ers o f the epic e g s a va i ra j a n n a , . .

,

b h ya dh ika h ka t h y a t e c a where the o nl y di fle re n c e betwee n

’
,

the sca n sio n a n d tha t of the m o re usua l hype rmeter e g , .

va su ra j a n s a h a y a ih is th a t i n the la tter
’
a s y a v i b h a kt a 1i1
y ,
 EP I C VE R SI FI CA TI ON
’
. 28 1

1
ca se t h e c a e sura is n orm a l while i n the fo rm er it is n eglecte d ,
.

On such c a ses see the secti o n just bel o w o n Hype rmeters

, , .

Th e epic the n a s a wh o le h a s pa ssed fa r bey o n d the V edi c

, , ,

sta ge where the fi n a l sylla bles o f a t ri s tu b h a re ( x ) y g 2 ;

, . .

n o r is it likely tha t the few c a ses a bove a re t o b e expla i n e d a s

a rcha ism s ra ther tha n a s further ex a m ples of such slove nli n ess

a s h a s been m e t before i n the ex a mples a l re a dy ive n F o r

g .

even the Ri g Veda p o ets a re a lre a dy te n di n g to a stricte r fo rm ,

v g a s is shown for ex a mple by the substitutio n o f m a si ya

.
, , ,

for ma ri s i y a RV x 53 4 merely to wi n a n a mphi bra ch

, .
, , , .

C a t a le c t ic an d H y p e rm e t ri c Tri s t u b h s .

A sho rt form of t ri stu b h is where a sylla ble is omitted but ,

i n such a wa y a s to preserve the ch a r a cteristic fi n a l c a d en ce ,

g i vi n
g the pe n t a d form f a mili a r to the R i
g V e da ; a s in

Mb h iii 1 9 5 3 t a m t va m p rc c h a mi ka tha m tu ra j a n like

.
, , , ,

RV i 67 8 y a i rn ciketa a n ta m A l though
'

.
, , g u h a,b h a v .

c a ta lectic is a n a me more properly a pplied to a p a da cut o ff

a t the e n d I sh a ll yet c a ll the double pe n ta d a c a t a lectic
,

In j a ga ti by the a ddi t ion of a syll a ble the fi n a l trochee or

a , ,

spon dee of the t ri s tu b h s a m phibra ch is c o n verted in to a di ’

i a mbus ; i n a h ypermetri c t ri s tu b h the fi n a l c a den ce is preserve d ,

’
in ta ct the t ri stu b h s n a ture is n o t lost but a syll a ble is pre
, ,

fi xe d o r in serte d elsewhere I t m a y be s a id tha t a n y do de ka .

is a j a ga ti pa da I sh a ll n o t qua rrel with this ( n a tive) de fi n i

.

tio n but the differe n ce here is o n e of m etric a l cha ra cte r a n d

, ,

mus t be stron gly ma rked i n n a m e Admittin g the n th a t it is .

s o mewha t a rbitra ry I sha ll design a te a s a j a ga ti on l y the ,

di i a mb i c a lly closed p a da ; the other a s a hypermetric tri stu b h , .

1 Thi s i n t e rp r e t a ti o n a n ywa y s e e m s t o b e m e re ly a s li ght o ve r s i ght o n t h e

, ,

p a rt o f t h e l e a rn e d e d it o r I n N o 3 2 9 e ko c a r e m a t a fi g a fi fi e va n a g o th e
’
. .
, ra ,

firs t fo o t i s c o rr e c tly g i ve n a s u Th e c h o ri a m b d o u b tl e s s c a u s e d
t h e di ffe r e n t i t e rp r e t a ti o n ; b u t t h e mi dd l e fo o t
n i s p a ra ll e l t o u

a s s h o wn i n t h e e x a m p l e s c it e d b e l o w
u u [Th e n e w t e t i n 3 06 . x

o m it s iti : b u t I k e e p t h e r e m a rk a b o v e writt e p ri o r t o t h e n e w t e x t s a p p e a r
’
,
n

a n c e a s t h e o ld t e x t h a s a u th o rity a n d n e e d n o t b e c h a n g e d m e tri c a u s a ]
,
28 2 THE GR EA T EP I C OF I N D I A .

B esides the pre fi xed or in serted sylla ble whi ch gives two ,

v a rieties of the hyperm etric t ri stu b h a t ri stu b h p a da m a y ,

ha ve both the prefi xed a n d in serte d syll a bles Th e t ri stu b h .

,
’
then a s shown i n the bird s eye view o n p 275 m a y con sist
,
- .
,

of te n eleven twelve or thirteen sylla bles without losin g its

, , , ,

cha ra cteristic c a den ce U n ique however a n d n o t typica l ( I

.
, ,

m a y a dd) is a fourteen syll a ble tri stu b h Ap a rt fro m a ll these

- .

fo rms lies the m a tra t ri s tu b h of thi rteen syll a bles but with two
-
, ,

breves recko n ed a s equ i va l en t to o n e l o n g syll a ble Post .

p o n in
g the ex a min a t io n of these forms I t a ke up n o w recko n , ,

i n g the re gula r t ri stu b h ( a bove ) a s i the c a ta lectic a n d si mple ,

or do de ka hypermetric t ri s tu b h ii —vi , .

u —iii . Th e C a t a le c ti c Tri s t u b h .

11 . In thi s form the c aesura fa lls a fte r the fifth sylla ble . Th e
p a da is o n e of a t ri stu b h sta n z a E x a mples a re i ii 1 1 3 .
, , 23 :

Aru n dh a t i ga Va s i s t h a rn
'

va s u b h a

L 0p a m u dra va y a t h a h y Aga s t y a m.
N a l a s y a va i D a m a a n i a a b h 11 d
’
y t y th ‘

ya th a C a c i Va j ra dh a ra s y a c a i va ’

Here b can be sca nn ed on ly a s L 0 p a m u dra va ya tha h y

A ga s ty a m . An other c a se referred to a bove is foun d i n the
, ,

sta n z a s a t iii , 1 9 5 , 3 —4

3, v i dv e s a n a m p a ra m a mj i va l o ke
ku ry a n n a ra h p a rt h i va y a c y a m a n a h
ta mt va m p rc c h a m i ka t h a mta ra j a n

da dy a d bh a va n da y i t a m c a m e dy a
‘

’ 1
4, na ca n u ki rt a
y e d a dy a da tt va
a y a c y a m a rt h a mn a c a s a rn cr m i
'

no

m mc a
’

ra a a rt h a s a rn qru t y a
p p y
ta mc a p i da t t va s us u kh i b h a va mi
’

In 3 d a nd 4a , the c a sura is shift e d a n d the p a da s , can be

re a d as

bha va n y i t a mc a m e dy a
‘

da dy a d da
na c a
’
n u ki rt a y e d a d y a da tt va

1 T hi s s e e m s b e tte r th a n a n u ki rt a ye (h e ) da dy a (N
 28 4 THE GR EA T EP I C OF I N D I A .

metric c a ta lectic , , and hyper hypermetric p a da occurs

-
in
H .

y a s ma d b h ut a n a m I b h u t i r a n to t h a ma dhya m
‘

dh rt i r vi b h zi t i h pra t i ; c a B a dra h
g ra h a ( s i c ) ’
b h i b h ut a s y a p u ru s a s y e q va ra s y a ’

C omp a re 1
H .

mku rda m a n a m m a dh u s u da n a h s a
ta
d s t va m a ha t m a h a rs a n vi t a s t a h
r

c u kfi rda s a ty a s a hito m a ha t m a

b a l a s y a dhi ma n h a rs a ga m a rt h a m

iii Thi s p a da is wha t m a y be c a ll e d c ae s u ra ll y c a ta lectic

. .

L ike the l a st it is a n tique in V e da a n d Up a n ish a ds a n d the

, , ,

epic h a s but few ex a mples Th e p a use foll ows the fo u r th .

syll a ble whi ch is usua l ly he a vy Here the c aesura so to

, .
,

spe a k costs a sylla ble a n d un l ess re a d with suffi cie n t time

, ,

a ll o wa n ce the t ri s tu b h a ppe a rs to be cripple d Of t hi s

, .

sort a re :
i 3 61 d ma ya 9vin a u s a ma n a kt i ca rsa n i ( s o 66 c)
, , ,
’

i 9 2 1 4 a p c c h a m i t va m s p h a n i y a rfi p a
, , ,
r ,
r

I n the l a tter exa m ple there m a y be corruption C omp a re .

i 8 8 1 0 c t a t t va m p rc c h a mi s p rh a n i y a rii p a but the o pen

, , , ,

i n g phra se p rc c h a mi t va m is stereoty pe d i 93 21 a ; v 48
, , , , , ,

1 a etc , We m a y com p a re RV i 1 20 4 vi p rc h a mi p a ki a
. .
, , ,

2
n a deva n Th e n ext c a se is
1 1 1 1 9 7 2 7b s u ra rs i n a m a tha s a m m a t o b h q a m
, , ,
r

Although thi s pa da h a s eleve n syll a bles it is n o t a t ri stu b h , ,

but a c a ta lectic j a ga ti a n a l o gous to the t ri stu b h s of the s a me ,

n a tur e Th e whole sta n z a con sists of syll a bles 1 3

. 11 12
1 1 but a is do ubly hyp ermetric ( expl a in e d bel o w) so th a t
, ,

there is n o a ltern a te symm etry but chi a stic symmetry thus : ,

1 I n th e B
y e d iti o n 2 72 59 : dh rt i r b h ii t i r y a c c a gu h a c ru t i c c a
o mb a , , ,

gu h a b h i e t c ( o n thi s s e e b e l o w ) Th e fo ll o win g
’ °
,
.
,
2 8 9 1 7 a ls o .
, ,

a vo i d s t h e s a m e c a d e n c e b y r e a d in g : drs t v a ma h a t m a c a m u da n vi t o b ha t
h a rs a ga m a rt h a m c a b a l a s y a d h i m a n .

2 C in
. ha s p t c h a mi ( si c ) t va m .
 EP I C VE R SI FI CA TI ON . 28 5

It is however possible perha ps to resolve

, , , , th e -a m .

v ,
42, 5 a , p ra m a da d va i a s u ra h p a ra b h a va n ( j a ga ti )
v ,
42 , 2 1 a, va s ta d va b h a ga va n s a n i t y o

In thi s c a se a lthough there is n o possible objec t ion t o

,

re a di n g the p a da a s it sta n ds it is p o ssible tha t a bha ti h a s ,

be en lo st a fter e t a d Th e sen se is y a j ja ga d i v a bha ti s a .

C a re 43 7 j ga d bha ti
‘
n i t o vi ka ri b h a ga va n omp a
y , , .

v ,
46, 3 c , a t a n dri t a h Sa vita r vi va s va n
Th e s a me criticism B efore Sa vi t u r s a m a y ha ve be en .
,

dr o ppe d a s in C viii , c gete p a p a h s u vi b hi n n a ga tra h

.
, , ,

where B restores the m etre with c ete s a p a p a h So 0 o mi ts

. . .

s u i n the a p a ra va kt ra x ii b but corrects it i n repe a t , , ,

i n g the verse a t Nevertheless I prefer the text a s ,

it sta n ds especia ll y a s a n y correctio n wo ul d h a ve to be ex

,

ten ded in to the n ext sta n z a where we fi n d ,

i h 4 b, di q a h q u kro b h u v a n a m b i b h a rti
.

Here it is e a sy to suggest s a m b i bh a rti , but em en da tion is

otiose .

v ,
48 , 3 7 c Ma t s y a i h
, s a rdh a m a n rq a nq a ru p a ih

Th e ext sta n z a h a s jy e s th a m Ma t s y a m a n rga n s a ry a ru p a m

n ,

which m a kes it ra ther doubtful whether thi s fo rm m a y n o t

ha ve stoo d i n 3 70 .

v 67 6 c
, ,
a n a y a s va p i t a ra m m a h a vra t a m ( j a ga ti )

viii 68 7a , , , a py a q i s ma va ya m A rj un a t va y i

C . ha s atha 9i sma Possibly a grs a m a sho u l d b e re a d

’
.

but it is n o t n ecess a ry Th e brevi s is n otice a ble ( c o m p a re

.

a bove i n ii
, , iii 1 9 7 1 7 b)
, , .

xiii 76 7 a
, , ( a fter the in jun ctio n in the h a lf sloka vs 6) -
, .

6, p ra vi qy a c a ga v a m m a dh y e i m a mc ru t i m u da h a re t
7a , ga u r m e m a ta v rs a b h a h p ita m e
di va mc a rma j a ga t i m e p ra t 1 s t h a , etc .
28 6 THE GR EA T EPI C OF I N D I A

xiii , 1 02, 55 d
b u dh y a m i t va mVrt ra h a n a mq a t a kra t u m
vy a t i kra m a n t a m b h u va n a n i vi q va
ka c c i n va c a vrj i n a rh ka da c i d
na

a ka rs a m t e m a n a s o bh i s a n a t
t

iv—ix Th e H y p e rm et ri c Tri s t u b h .
.

iv—vi SI MP L E HYP E R ME TE R S . .

Th e fi rst form iv is the in i tia l hyperm eter ; a light sylla ble

, ,

a ppea rs to be pre fi xe d to a n ia mbic ope n i n Th s me e f fect

g e a .

is produced i n som e ca ses with the s a me w o rds a s tha t a l rea dy

, ,

described i n the a ccoun t of the sloka Th e p a da sta rts with .

a n a na p aestic slide Th e di ffere n ce is o n e of freque n cy sin c e

.
,

i n the c a se of the t ri s tu b h the in i tia l hyperm eter is n o t very

common Most of the c a ses ha ve a brevis a n d i n fa ct t o m y
.
,

c a r the lo n
, g ( he a vy ) i n itia l belo n
g s i n a n o ther c a te o ry
g ( vi )
but I a dmi t tha t i n ya tra devi Ga fi ga s a t a ta m p ra s ii ta a n d
the few sim ila r ca ses it is doubtful h o w we sho ul d rega rd the
extra sylla ble I ha ve n oticed with short ini tia l the foll owin g
.

ca ses ( iv)
1 3 1 47b v a y a t a s ta n tun s a t a t a mva rt a y a n t y a u ( N o 1 3 )
, , ,
.

i 76 5 5 a a s u ra i h s u ra ya m b h a va t o s m i da tta h ( N o 1 )
, , ,
‘

Here the precedin g p a da e n ds i n 1 but it is sca rcely possible ,

th a t the two t ri stu b h s should ha ve bee n rea d a s a un i t The .

sa m e thin g o ccurs occa sion a ll y i n the exa m ples of hyperm etric

gl o ka s .

i, 92, 6 c , ku ta a y a t a h ka t a ra s y a di q i t va mm ( N o . 13)
iii, 5 , 1 0 a , t a ta u t t h a y a Vi du ra m P a n da ve y a h (No . 1 5)
v 42 6 c
, , p i t rl o ke ra j y a m a n u q a s t i de va n ( N o 20)
,
.

v 44 1 8 b
, ,
dh a n a m a c a ry a y a t a d a n u p ra y a c c h e t ( N o 2 0)
, .

xii 63 4 c,
v rs a l i p a t i h p i c u n o n a rt a n a q c a ( N o 1 2 )
, ,
.

xiii 76 1 4 d p ra t i grh n a u v a i go p ra da n e vi dh i j fi a h ( N o 7)
, , , .

xiii 1 02 1 9 a a t i t h i vra t a h s u vra t a y e j a n a v a i ( N O 6)

, , , .

i b 3 5 c ( j a ga ti ) Va ru n a s y a ra j fi a h s a da n e m a h a t m a n a h
.
, ,

xiii 1 26 3 8 a b a h u l e s a m a fi ge h y a ku t o b h a y e c a ( N o 1 )
, , ,
.

H2 . b,
krt i n a m vi ra m ( C ,
dh i ra m) da n a ,
r

va n a m c a ba dha m ( N o 7) .
28 8 THE GR EA T EPI C OF I N D I A .

He a t K a p a t slew i n a wa r the Pa n dya ,

He s m o te K a li n ga s , D a n t a kfi r s m e n el -fi gh t i n g,
’
f

He t o o , th a t he ro , b u rn e d a n d e n s la ve d a lo n g ti me
B en a re s to wn city s a n s he lp un a i de d
, .

It will be observed tha t the fi rst p a rt of thi s m ea sure is tha t

o f the re gul a r t ri s tu b h with the c aesura a fter the fifth a s in ,

Ya m o bra vi n m a m: n a m rt o si s a u m y a xiii 71 1 8 a whi ch

1 ° ‘

, , , ,

form m a y ha ve l e d t o the esta bli shmen t of the hypermeter

o n the o n e ha n d a n d the c ae s u ra lly c a ta lectic p a da o n the

other .

Th e texts sometimes show va ria ti o n s lik e those f o un d i n ,

2
the simple t ri stu b h forms Thus i n vii 1 79 45 d where .
, , ,

C h a s the hypermeter B o mi ts the extra sylla ble : s a mp a q

.
, .

y a n t o ( va i ) Vi a y a j m ra ksa s a sy a .

hypermetric form s the commo n est a re those

Of the di fle re n t ,

i n which the fifth sylla ble is foll owed by v or u v

less ofte n by v All three occur a t i 76 5 0 ifu , ,

5 0, ka c a s y a ma rga m p ra t i p a t s y e na b h o ks y e
53 , gu ro r hi b h i t o vi dy a y a c o p a h 11 t a h ’ '

5 4, s m a ra mi s a rva my a c c a ya th a c a v rt t a m

Th eextra syll a ble lik e the ini tia l m a y be hea vy or light ; , ,

but except when followed by the la tter is ra re Th e u u .

secon d a n d fo urth sylla bles a re ra rely li ght I give bel o w .

exa m ples of the di fi e re n t f o rm s First of the c o mm o n va .

ri e t i e s ( but a s seco n d f o ot is the ra rest of these )

u v v _

ya go na na y a t iii 4 8 a
qy e j , j fi a t i b h e da q ca na s , , ,

va dh a y a r a j a n K a rn a s u t a s y a s a m
,
kh y e viii 8 5 3 6 b , , ,

m a va i dvi t i y a m m a t rt i y a mc a va fi c e ( t) iii 2 9 7 25 c , ,

1 On p a g e 1 8 6, no te 1, Ih
r e fe rr e d t o Ya m a s wo rl d a s p o rtr a y e d i n
a ve
’

Sa b h a i n c o n tr a s t t o e l s e wh e r e Th e r e m a rk i s c o rr e c t b u t e l s e wh e r e i s
“ ”
.
,

n o t e ve rywh e r e e l s e ; e g thi s a c c o u n t o f Na c i ke t a s re p r e s e n t s i t a s b li s sfu l

. .
,
.

Us u a lly o f c o u r s e it i s a h e ll
, ,
.

2 Th s c h a n g
e e e s I h a ve d i s c u s s e d i n A J Phil x x p 1 8 ff a s a ffe c ti n g vn . . .
, ,
. .
,

1 63 I n vi i 1 79 24 a B h a s
.
, , u ,
fo r . u i n C with s e v e r a l u .
,

s i m il a r c h a n g e s c l o s e b y ; s triki n g ly i n 3 2 d wh e r e B h a s n b a b h ii vu h o

(C .
,
na ) .
 EP I C VER SI FI CA TI ON . 28 9

v 44, 24 c ; v1 1 2, 3 3 b ; vi ii 42, 1 70 ; 278

'

So i n , , , x ii

6a , etc .

A c a se of fi fth brevis a n d a lso fourth brevis is fou n d i n i ,

’
1 21 7c dvy u n a vi nga t ir a ha ta ksa u hi ni n a m ; a n d f o urth
, ,

brevis i n iii 1 9 7 1 2 d n a tra na m la b h e t tra na m i c c ha n s a

, , ,
’
ka le ; where however C h a s la b h a t e ( la bh te ) whi ch m a y be
, , .

correct 1 A ll fi ve syll a bles a re hea vy i n ii 77 1 0 b ; ka n

.
, ,

m P a i c a l i m Pa n da ve b h ya h p ra da ya U n i que ( I thi k )
‘

y a r n .

a re breves i n the third a n d fourth syll a bles : da t va n a du h a rn

°
’

s fi ry a l o ka mvra ja n t i
2
iii 1 8 6 8 b ( No , , , .

V u _

Preceded by brevis ( fifth syll a ble )

s a m a n a m m u rdh n i ra t h a y a n a mvi y a n t i i 3 64 b , , ,

ta tha t i t iksu r a t i t iks o r vi c i s ta h i 8 7 6 b xii 3 00 1 5 b , , , , ,

y a s t v e va m br a h m a t a p a s a n ve t i v i dva n iii 1 9 2 5 6 c
’
, , ,

dh a rm a m p u ra na m u p a j i va n t i s a n t a h viii 45 1 6 c , , ,

t a mva i m a n y e t a p i t a ra m m a t a ra rh 0 a xii 1 08 22 0 , , ,

m s y a j a ga t o s y a p ra t 1s t h a xiii 76 1 0 b
‘ ‘

g a rb h o rt a , , ,

So i 1 21 2 0 ; 1 21 3 0 ; 8 9 6 c ; 23 2 1 6 0 ; iii 4 1 3 a ;
, , , , , , ,

42, 1 6 b ; e tc .

Preceded by hea vy sylla ble a

h a t a m s a mgra m e Sa h a de ve n a p a p a m i 1 208 c , , ,

i da m c a ra j a n hita m u kt a mn a c e t t va m iii 4 1 2 c , , ,

t a tha c a kt i r a p y a dh a ma mgh o ra ru p a h v 1 8 1 9 d , , ,

ta tha v a y va gu i p ra mi m a n a mj a ga c c a vi i 201 67b , , ,

a kt a mva s u ra j a n s a h a a ih iii 5 2 0 a
’
y ya s a v i b h y , , ,

t a n a h a s a rva n rs i m u kh y a n A ga s t y a h xiii 9 4 9 a , , ,

So iii 5 1 8 b ; 1 1 3 6 b ; v 42 1 5 a ; 48 46 0 ; vn 1 79
, , , , , , ,

42 a ; viii 3 7 3 0 b ; 42 9 d etc , , , , .

C a ses of fourth brevi s a re ii 5 6 1 5 c p a sc a t t a p s y a se t a d , , ,

u p a kra m y a va k a m ; a n d i 1 21 6 b t th a b a n dh u b hih pit t

y a , , ,

1
Co m p a r e ya th a m a m hi va i s a dh u v a da i h p ra s a n n a h
a l s o iii ,
a , ,

wh e r e h o we v e r B 1 9 7 1 9 o m it s hi whi c h m a k e s wh e n r e t a i e d a b h u j a m
, ,
.
, , , ,
n ,

ga p a y a t a p a d a ; q v b e l o w u n d e r t h e h e a d o f A k s a ra c c h a n da s
r . .
, .

2
C o m p a r e R V v iii 5 9 7 i n dra va ru n a l s a u m a n a s a m a drp t a m c it e d b y
.
, , , ,

Ol d e n b e r g l o c c i t p 68
,
. .
, . .
290 THE GR EA T EP I C OF I N D I A .

Fo r 5 1 v
6 h m h a m b h a va t s a hy a mka ri sye , B 1 6
, , p ra y a c c a a
y , .

’
3 2 d, h a s ta va s a h ya m I n vii , 200, 8 2 a , B h a s ta sya s y a t a s
. .

ta n n i gi ta n p i t a dh a ra n , where C h a s s u n i gi ta n All fi ve . .

sylla bles a re hea vy i n ii , 77, 7a ; citran sa mn a h a n a va m u fi c

a i sa m
’
an tu c .

_ V V

Preceded by brevis
n a c e n m a mJ i s n u r a h va y i t a s a b h a y a m ii , ,
58, 1 6 b
ta ns t e da da n i m a p ra p a t a p ra p a t a m i 9 2 ,
11 a 93 , 3

Preceded by a hea vy sylla ble

go ma yu r ucc a i r vy a h a ra d a g n ih o t re ,
1 1, 71 , 2 2 b
a m a n y a m a n a h ks a t ri y a ki mc i d a n ya t v , ,
42 , 1 5 0

a m a n t ra y e t v a m j iii 6 7 22 c
b rfi h i a ya mr a n e me , v , ,

a n a rt h a ka m m e da rq i t a va n a s i t va m viii 68 8 c , , ,

n di va m s t a d a dya viii 68 2 8 a
l
ra
p y a c c h a n
y a s m a i G a
’
, , ,

n a i ko b a h u b h y o Ga u t a mi ra k s i t a vy a h xiii 1 3 0b
’
, , ,

There is I believe o n ly o n e other c a se o f this form i n the

, ,

thi rteen th b o o k 1 03 42 0 I t is ra re a s a t ri s tu b h hyp er

, , .

m ete r but it o ccurs a lso ( see bel o w) a s a j a ga ti

, .

B esi des these f o rm s a re fo un d o f which I ha ve u u u _

,

but sp o ra di c exa m ples : s a y a t re c c h a s i Vi du ra ta tra ga o cha ’

, , ,

ii 64 1 1 0 ( n ote to N o a b a ru k a rte ti Vi du ra m a c a ’
'

.
, , , ,

m a ns t h a h a n d n a t va m p rc c h a mi Vi du ra y a d dh i t a m m e ii
, , , , ,

64 7 a a n d c ( C h a s m a va m a ns t h a h)
’
, . pra ta s t ri va rga gh rta ~
va ha Vi p a p m a xiii 26 8 8 0 ( N o 1 9 a d , , , .
,

B etwee n di visi o n s iv a n d v st a n d a c o uple of c a ses i n whi ch

the in itia l syll a ble is he a vy but the sec o n d is li ght They .

belo n g n either t o iv with its a n a p aestic o pen i n g n o r t o v with ,

its i a m bic o r spo n da ic openi n g : a qvi n a v in dum a m rt a m

v rt t a b h fi y a u i 3 63 a ; a tra Ka u n t e y a s a hi to b hr a t rbhi s
, , ,

t va m iii 1 3 4 41 a
, , C o m p a re a b o ve p 28 6 t a t a u t t h a y a
, . .
,

v i du ra mP a n da v e y a h ( No .

1 hi s p a d a i s fo ll o we d b y t va t t o y o s t a i r a b h y a dh iko v a n a re n dra h with

T
‘
r ,

t h e c ae s u r a i g n o r e d P a d a a i s virt a lly r e p e a t e d i n v iii 69 72 c —d a n y a s m a i

. u , , ,

t va mG a di va m d e hi P a rth a t va t t o s t ra i r v a v i ry a t o v a vi c i s t a h
'
n ,
.

2
Su c h V e d i c c a s e s a s thi s l a s t a re g r o u p e d b y Ol d e n b e r g l o c c i t with , . .
,

th o s e j u s t m e n ti o n e d e g a b hi k s e n a r a j a s a dy a m rno t i R V i 3 5 9
,
. .
,
r n ,
.
, , ,
2 92 THE GR EA T EP I C OF I N D I A .

Th e scholia st who ra rely touches o n pu rely metric a l p h e

,

n o me a
1 ”
n expla in s thi s a s redun da n t a n d a rcha ic re c o gn i z
, ,

i n g the p a da a s it st a n ds B u t it is im possible to suppress the .

suspicion tha t a va m a n y a s e sta n ds for a n origin a l m a n y a se a ,

“
regu l r hypermeter
a thou rega rdest us a s u _

d
chi l er n stre gthen e d by som e o n e to thou despisest us
n ,
”
.

An other but doubtful exa mple is given below

, , .

Th e di stribution of these hypermetric forms v a is som ewh a t , ,

un even Th e ex a mples ru n in groups showin g cle a rly the

.
,

e fle c t of differen t styles A ba ker s do zen of hy perm ete rs for ’

.
,

ex a mple a re foun d in the seven th book whi ch h a s three h u n

, ,

dre d a n d twe n ty t ri stu b h s ; but ha lf o f the dozen a re in the

fi fty seven t ri stu b h s of a dh y 1 79
-
On the o ther h a n d the . .
,

fo u rth book which h a s two hun dred t ri stu b h s h a s n o ex

, ,

2
a mple Th e secon d book which h a s on ly o n e hun dr ed a n d
.
,

fi fty fi ve t ri stu b h s h a s thi rty ex a mples 3

-
I n the th irtee n th
, .

book the older p a rts ha ve most ex a mples Thus i n the few .

’
t ri stu b h s th a t te ll of the seers o a th a dh y 9 4 there a re twelve , .
,

hypermeters i n thi rteen t ri stu b h s a much gre a ter proportio n , ,

a s the t a le is much more a n cie n t tha n is fo un d i n a n

y other ,

1
p a rt of equa l len gth i n this book .

As a n illustra t io n of the epic free t ri stu b h with hyper

mete rs ma y be ta ken the fo ll o wi n g sta n z a s from the con tin u
a tio n of the sto ry of the Fro
gg irl in iii 1 9 2 4 8 ff : -
, , .

a ma
V
[ de va u va c a
]
p ra y a c c h a va my a u m a m a p a rt h i va t va m
krt a mhi t e k a ry a m a b h y a m a q a ky a m

1 He l d o m c o m m e n t s o n u n u s u a l rhyth m s a lth o u g h o fte n re ma rki n g o n

se ,

a r c h a i s m s r e a l o r fa n c i e d a s fo r e x a m p l e o n p
,
th da t t v a v i p i n a m b r a h m a ra s e

n e b h y a h a t i 93 2 3 b e x p l a i n i n g p ra s t h e a s fo r p ra t a s t h e with Ve di c l o s s “
, , , ,

o f r e d u p li c a ti o n
”
.

e fo u rth b o o k i s writ lik e t h e R a m a y a n a i n t h e r e fi n e d s tyl e a n d h a s

2 Th
, ,

s c a r c e ly a d o z e n p a d a s o f t h e fr e e t ri s tu b h typ e a l m o s t a l l i t s t ri s tu b h s b e in g ,

up a j a ti s .

3
Two h hyp e rm e t e r s i n o n e s ta n z a a re n o t u n u s u a l i n o ld t a l e s e g i ii
su c ,
. .
, ,

1 92 63 a —b j a n a mi p u t ra m da ga va rsa m t a va h a ri1 j a t a m ma h i s y a n r Gy c h a
’
’
, ,

j i t a mn a re n d ra .

p e wh a t wa s s a i d a b o ve i n t h e n o t e o n p 22 1 r e g a r d i n g t h e c l o ka s
4 C m a r
o ,
.
,

i n thi s s e c ti o n .
 EP I C VE RSI FI CA TI ON
'
. 29 3

ma t va ’
va dh i d Va ra no gh o ra p a q a i r
b ra h m a ks a t ra sy a ta re v a rt a m a n a m
’
u

[r a j o
’
va 0 a ]
a na dva h a u s u vra ta u sa dh u da n t a v v
t a d vi p ra n a rh
e mVa ma de va
va h a n a

t a b h y a rh a t va y hi m ya tra ka m o m a h a rs e v
c cha n da ns i va i t va drq a ms a mva h a n t i u

V
[ a m a de v a h ]

m a drq a ms a rn va h a n t i
'

c h a n da ns i va i

lo ke
m u s m i n p a rt h i va ya n i s a n ti
‘

a s mi ns t u l o ke m a m a y a n a m e t a d

a s ma dvi dh a n a m a p a re s a mc a r a j a n V V
r
[ ]
a j a
'

ga rda b h a h s a rn va h a n t u
'

ca t va ra s t va rn va u

c re s t h a q va t a ry o h a ra y o va t a ra nh a h u v

ta is t va my a hi ks a t ri y a s y a i s a va ho
’
v

m a m a i v a v a my a u n a ta va i t a u hi
’ ’
vi ddh i vu
[Va m a de va h ]

gh o ra mvra t a m b ra h m a n a s y a i t a d a hur ’

e t a d r a j a n y a d i h a j i va ma n a h
’

a y a s ma y a gh o a ru p a m a b a n t a g r

ca y a t u dh a n a h s u ra u dra h
t va ro va

ma ya p ra y u kt a s t va dva dh a m i p s a ma n a V V

va h a n t u t va mq i t a qul a c ca t u rdh a

An d ( so
the la st ston
a n z a ha s six p a da s a s n o t i n fre ,

1
quen tly ha ppe n s ) .

As see n i n some of these sta n z a s there is somet imes a ccord ,

between the hypermeter a n d its en viro n m en t Thi s is n o t .

ra re Thus in ii 5 8 9 th ree p ada s ha ve the fo rm

.
, , , u

v u v x a n d these a re fo llowed by p a da d a s a h y
,

rm e t e r of the sa m e sort ; ity a a to ha m n rp a t e t a j j u

‘

p e
g
sa s va Th e hypermetric c a den ce t o close a p a ssa ge is n o t
.

un usua l Thus to clo se a sta n za xiii 1 5 9 1 1 : s a e va p ii r

.
, , ,

va m n i ja gh a n a da i t a n
y sa p fi rva de v a c; c a b a b h fi va sa m ra t
, ,

sa b h ii ta n a m b h a va n o b h ii t a b h a vy a h, s a v i gva s y a
’
s ya ja ga t a g
1 T ha t i s it i s a s tr o p h e
, of t wo thr e e pa
- d a t ri s tu b h s ( a b o ve , p .
294 THE GR EA T EPI C OF I N D I A .

c a
’
Aga in i n i 90 5 d : b h fi ya e c c da n i ri1 va d a
b hi go p t a .
, , ,
’

ki m te v a da m i ; the n A sta ka u va c a As hype rmeters I .

sh o uld expla in the di ffi cul t p a da s 1 3 1 23 c —d the la tter , , , ,

ha vin g ( a ffecta tion of the a n tique ?) choria mbic open in g b e

fore N o 1 8 ha S v )
( . u v u _ u v _ _ u _

v a h n a va n i t a m h rda y a mt i ks n a dh a ra m ( iti ) .

Th e precedi n g pa da is , I thi n k to be re a d, a s

ta d vi p a ri t a m ubha ya mks a t ri y a s y a ,

in ste a d of t a d u b h a ya m e t a d vi p a ri ta m Then a ll the pa da s .

a re metric a l a fter a fa shio n ,

.

There is a regul a r t st ri u b h with the move e t m n v u

u a n d hyp ermetric i n b h a y a hi ta s y a da ya m ma ma
n t ika t t va m ( cite d u n der No L i ke this but wi th a
’
.
,

di fferen t hypermetric openi n g is the a ppa ren t pa da foun d i n ,

1 3 63 c : hi t va giri m a gvi
, ,
nau
ga muda c a ra n ta u ,

wi th n eglecte d c aesura .

Thi s bri n gs me to the compa ra tively few c a ses of di ffere n t

c aesura in thi s form of hypermeter As shown i n the exa m .

ples given a bove the c aesura l pa use com es a fter the fifth
,

sylla ble When this is n eglected ( but the pra ctice is o b

.

served i n a l a rge ma jority of the c a ses ) we ha ve a n a pproa ch ,

to the shi ftin g c aesura of the former di visio n iv a n d a s I , , ,

ha ve sa id a lrea dy it m a y seem sim pler t o rega rd such c a ses

,

a s in iti a l hypermeters with l o n g in ste a d of short i ni tia l B ut .

the differen ce of c a den ce between the ope n i n g u v a nd u

2 seems a s i n the c a se of the gl o ka to m a rk a n

, , ,

importa n t though n o t a ra di ca l di stin ctio n between these ,

roups Wh il e the ictus of the f o rm er a s i n vrsa l i a t i h is

g .
p , ,

L tha t o f the la tter a s i n ha ta m s a mgra m e is

u , I , v ,

Nor does the shi ft of c aesura i n a s u ra ih s u ra ya m

b h a va t o s mi da tta h etc cha n ge thi s
“
B u t whe n the seco n d
, .
, .

cla ss shifts the c aesura t o the sixth sylla ble a s i n y a tra devi ,

G a ii ga s a t a t a m p ra s ii ta then i n ste a d of c o in cidi n g with the

, ,

ictus of iv we still ha ve n ecessa rily the s a m e Open in g with

,

tha t of v but still di ffere n tia te d i n the followin g Fo r in

,
.
 296 THE GREA T EP I C OF I N D I A .

vii ,
2, 1 b , b h i n n a m n a va m i va ’
t y a ga dh e K u ru n a m

( N o .

vii
1 79 , 26 b , q a kt y rs ti p ra s a m u s a l a n y a y u dh a n i
, ( No .

B ut 0 h a s q a kt y a h pra sa ( re gu la r )
.

viii ,
b, p ra du r; c a kre va j ra p ra ti m a p ra b h a va m ( N o . 2)

Here B . 8 9 , 23 h a s va ra j m a t i p ra b h a va m , but O .
’
s form
( wor ds ) is a ste reotype d t ri stu b h e n di n
g a s i n viii 8 9 61 (1 ; , , ,

ix 1 7 1 9 d ; 3 5 3 70 ; xii 1 1 2 21 b etc ; 0 g i n the la st

, , , , , , . . .
,

c a se pura ma hen dra p ra t im a p ra b h a va

, .

[xii eta t s a rva m q e n a i va m u kt a m ]

’ 3
,
1 08 , 3 3 a, a n i rde

xiii , 9 4, 1 3 d, na hy u tsa he dra s tu m i h a j i va l o ka m ( No . 1 9)

x i v, 9, 3 4 c ,
s a ha sra m da n t a n a m c a t a y o j a n a n a m ( No . 2)
H 2 .
, 72, 3 1 c ,
vi ru p a ks a ms u da rq a n a m p u ny a y o n i m ( N o . 7)
i b 3 2 d,
. s o map a n a m m a ri c i p a n a v a ri s t h a h m ( No . 8)
i h 44
. a ,
vi-a nj a n o j a n o t h a vi dva n s a m a gra h
’ ‘

( No t e to N o . 9 in A ppe n dix with t h e p a da tri a mb a ka m

,
-

p u s t i da m, etc a n o ther ca se o f res o lu tio n )

. .

C o m p a re a lso the p a da cited a bove p . 2 78 , m a pra da h

cye n a y a , etc .

I n the expla na tion of the p a da s gi ven a bove I ha ve pa rtia lly ,

a ccepted
4
the a n a lysis of Kii h n a u who i n hi s book D i e , ,

Tr1 s h t u b h Ja ga t 1 Fa m ilie h a s divi de d ya tr a t a t s a ty a s y a

-
,

a ra m a mn i dh an a m ; but I c a n n ot c a rry this out i n t a ns te

p
da da ni m a p ra p a t a p ra p a ta m a n d therefo re sepa ra te the
, ,

cla sses re a din g the la tter a s t a ns t é da dan i I m a p ra p a t a

,

p p
ra a t a m T h e p a da with
. c aesura a fter the sixth syll a ble ,

1 Pe rh a p s v a fo r i va ( a s b e l o w) .

p a da a ls o s e e b e lo w
2 On thi s
.
,

3 T
hi s e x tra o r d i a ry ve rs e th o u gh a n i rde ge n a i s vo u c h e d fo r b y t h e c o m
n ,

m e n t a t o r s e e m s b y m e tr e a n d m e a n i n g t o h a ve b e e n o ri g i n a lly a s a m p l e o f
,

N o 2 7 ( with n i rde ge n a i n i t s u s u a l s e n s e ) 3
. u u , .

A s it s t a n d s it m u s t h a ve fo u rth b re vi s ( hy p e r m e t e r ) ,

U V 0

p p 1 04 1 59 ) fi n d a p l a c e e ve n fo r t h e p a d a
4 K uh n a u s s c h e m e s l o c c i t
’
( . .
,
.
,

ya d a c ra u s a rh D r o a n Krt a va rm a K t p a c c a whi c h d o e s i n d e e d s t a n d i n C
’
n , .

1 96 a b t i s c o rr e c t e d i n B i 1 1 98 gr a u s a m h a v i n g b e e n t a k e n o ve r fr o m
’
,
u .
, , ,

t h e c ir c u m j a c e n t p a d a s b u t b e i n g p r o p e rly o m itt e d ( a s i n C 201 y a d a D r o ne )

, .
, ,

l e a vin g a r e g u l a r t i s tu b h Se e h o we ve r vii i b e l o w
r .
, , , .
 EPI C VER SI PI CA TI ON . 2 97

exa mples a bove ma y however be grouped for mecha n ica l , , ,

clea rn ess wi th the regul a r t ristu b h s the n umbers of whi ch ,

I ha ve a dded to the va rious specimen s .

As i n the c a se of t ri stu b h versus gl o ka pa da o n e ca n n ot ,

a lwa ys s a y just which me a sure o n e h a s i n h a n d whe n re gula r

a n d hypermetri c t ri stu b h s ru n to gether Thus in xiii 8 0 .

, ,

11 a —
b :

dh e n u rn
'

s a va ts a m ,

ka p i l a m b h fi ri q rfi gi m
ka ns y Op a do h a rh,
vas a n o t t a ri y a m

or i n iii , 3 4, 21 c —d

mitra n i c ai
’
na m a c i ra d b h a ja n te
de va ive ’
n dra m upa j i va n t i cai
’
na m,
li ke a va i t a l i y a .

hypermetri c syll a ble ma y be o n ly a ppa ren t ( eli sio n )

Th e
i n some c a ses I n the older epic I h a ve n oticed o n ly a el ide d
.

thus a s in v 44 1 0 d
, , ,

e s a pra th m o b ra h ma c a ry a s a p a da h
’
y
I n the la ter epic such elision ta kes pl a ce a s well i n the c a se
,

of u a n d i un l ess we a ssume a freer use of hypermetric s yll a

, f

bles a s i n
i 55 1 1 d
, , t va mva Va ru n o dh a rm a ra j a Y a m o va
,

vii 201 65 b ra va dh i n a m a di n a rh c a i m ’
, ,p a q , g y a t a s

ra m a t i l a m m u s a li n a rh c a n dra ma u li m
ih 0 .
, q u b h j
vii , 6 ( = i h d) vy a gh ra j i n a m p a ri da dh a n a mda n da p a n i m
. .
,

B u t here B h a s p a ri ghi n a m . .

xiv 1 0 2 a D h rt a ra s t ra ! p ra h i t o ga o cha Ma ru tt a m
, , ,
1
,

H 2 79 9 c where the whole sta n z a rea ds

.
, , , ,

hi
'
2
a a p o de vy a ,
rs i na rn
( ) q
v i va d h a t ry o

b di vy a m a da n t y o y a h q a rhka ra dh a rma dh a t ry a h
,

c, h i ra n y a va rn a h p a va ka h c i va t a me n a
d, ra s e n a c re y a s o m a j u s a n tu m
1 Re a dg a cc h
’
(a typ e N o
c o mm o n ,
.

o mit s hi a n d i n b r e a d s
2
C .
, , dh a rm a ra try a h .
29 8 THE GR EA T EPI C OF I N D I A .

I f y a h followed ra se n a it wo ul d improve both p a da s but o n

thi s see the n ext pa ra gra ph I n 0 , hypermetric , gi va ta m e n a .

must be re a d gi v t a ma s
ena
’
I n the n ext . sta n z a ( a fter a pa m
e sa s m rt o ma n t ra h , in terve n i n g) , C , d, h a s .
( sc . ma )
bh a t ta r b h a ve y a mru s a t i sy a m c a va q a ga
but here B 1 1 h a s sya m va ga m ga whi ch sma cks of
.
, , , B .
’
s

usu a l improvin g pro cess .

vn — ix . D o ub le H y p e rm e t e rs or Tri s t u b h s o f Th i rt e en

Sy l l a b l e s .

vn . Spora di ca ll y
ppea rs a n in serte d fifth i n a ddi tion a
“

to the in i tia l hyperm ete r :

xiii 9 4 3 a rs a y a h s a m e t a h
, p a c c i m e va i p ra b h a s e
, ,

xiii 1 02 3 9 a q a t a va rsa j i vi y a g c a gu ro m a n u sy a h
, , ,

I f the rea di n g is ri ght this is foun d but with di ffere n t o pe n , ,

i n g, i n
iii , 1 9 7, 2 7a , e t a s a m p ra j a n a m p a l a y i t a y a ga s vi .

viii B u t i n the l a st c a se ( though ta sa m m a y be suggested

.

for e t a s a m ) a com bina tion seems t o be a t work whi ch is like

tha t wrought by the c aesura a fter the fifth l n c a ses where ,

the t ri s tu b h then builds up its secon d ha lf in depen den tly .

Thus p a l a y i ta y a ga s vi woul d be a re gu l a r sec o n d ha lf a n d

e ta s a m p ra j a n a m w o uld be a ro ugh m etri c a l equiva len t of
the type y a tra devi Ga fi ga Th e c a ses a re .

1
( ) ii 67 4
,
c s a t v a m p p
ra a dy,
a s va D h rt a ra s t ra s a v e m a
y q
1

( )
2 iii 5 2 0 ,
c s a h a ya n a m e sa
, s,
a m g r a h a n e bh u
y p a y a h
‘

( )
3 v 46,
2 7 c a j a q c a ro di va
,
ra t ra m a t a n dri t a c c a
,
2

( )
4 viii 7 6 1 8 a p
, r a s a q c a m, u d g a ra h
c a k t a y a c; t o m a rar ; ca
xiii 1 2 6 s a e va p a rt h a y a m va m ra y a c c h a t
( )
5 59 a , , c v e t,
a a q p
( r e a d p ra y a c c h a t

xiv b b a l a n i s a rva n i v i ru dh a q c a p y a m rdn a n

’
( )
6 9 1 0 , , ,

1 i ly h o we ve r p ra p a dy a h a s b e e n a lt e r e d h e r e b y a g ra m m a ri a n
Po s s b , ,
.

2 I n 3 0 a j a : c a r o di v a a t ra m a t a n dri t o h a m wh e r e C ha s a ja g c a
‘
r
g , ,
.
,

h o a t ra m Th e s t a n z a i s Up a i s h a d i c : a ii gu s th a m a t ra h p u u s o m a h a t m a n a
’
r .
n r

d c y a t e s a u h di s a rn n i v i s ta h a j a g s a t a m m a t v a k a v ir a s t e p ra
'
‘
r r ,

s a n n a n ( a s i n Ka th a v i 17 , ,
3 00 THE GR E A T EP I C OF I N D I A .

v ,
42 , 1 5 (1 , n
’
a dh i y i t a n i rn u da n n i va ’
sy a c a
’
yuh
R ea d va fo r i va .
‘

v , 44, 3 c, a n a ra b h y a mva sa ti ’
h a ka ry a ka l e
Om it i h a a t ma n
y e va ) .

v , 44, 25 a, cu kl a m i va l o h i t a m i va t h o
a bh a ti
’

krs n a m a tha fi j a n a m ka dra va mva ( v 1 i n 26 a ,

’
. .

krsn a m a y a s a m a rka va rn a m) .

and a t h o krsna m
’
Re a d va for i va tho a n ja na m . I n 26 a , a

48 , 8 6 d, a ka ge
’
like cha n ge . So v , 0a p s u ca te kra m a h sya t ,

for c a a psu .

v 44 28 H
, , ,
nai
’
va rks u ta n na
y a j u h su n a p y
’
a t h a rva s u
na drcy a t e va i vi m a l e s u s a m a s a

ra tb a mt a re b a rh a dra t h e va pi ra j a n
Fo rsee the li st a bove p 295 I n a re a d n a iva rksu t a n
0, , . .
,

n a pi y a j u h sv a t h a rva su or a s hypermetric with

y j
’
a ii s
,u ?

viii ,0 di t s u h K a rn a h s a ma re h a s t i sa t ka rh y a h
,

B 66 3 0 h a s h a s t i s a dga va m a n d o m its y a h
.
, ,

x u 60 46 c —d
, a dh a ro vi t a n a h s a m
, , s rs t o va i q y o bra hm a n a s t ri s u

va rn e s u ya j a
fi s rs t a h

Th e prece di n g p a da s ma ke metre a nd sen se . These ma ke

n either .

x 11, 226, 1 8 , na ta t s a da h s a t p a ri s a t s a bha c a s a

p ra p y a y a mn a ku ru t e s a da b h a y a m
dh a rm a t a t t va m a va ga h y a b u ddh i ma n
‘

y o b h y u p a i ti sa dh u ra dh a ra hm ma n pu ( v . 1 . n a ra h)
Rea d

na ta t s a da h s a t p a ri s a t s a bha c a 8 5 .

s a m p ra p y a y a rn n a ku ru t e s a da b h a y a m
'

t a d dh a rm a t a tt va m a va ga h y a b u ddh i m a n
ya s tv r h a b h yu p a i t i sa dh u ra rh dh a ro n a a

Th e s ci h a s c a use d the loss of the fo ll o win g sa m a copy— error , .

Just so b h a va tma ka m p a ri va rt a m a n a m h a s lost sa m before the

,

1 Th e fo m r va fo r i v a i s fo u n d e ve rywh e r e , e .
g .
,
x iii , 90, 42 c , sa va i

mu kt a h, p i p p a l a m b a n dh a n a d va ( c y a va t e ) . So R . vii , 3 4, 1 5 ; 3 6, 42 .
 EP I C VE R SI F I CA TI ON . 3 01

l a st word , xn , a 28 7, 1 3 . Th e
p a ra llel proverb v , . 3 5,
5 8, h a s na sa s a bha y a tra na s a n ti vrddh a h ( Ma n u xii , ,

28 5, 2 6 d, m a m dh va re ga rn s i t a ra h s t u va n t i
'

x ii, a

ra t h a m t a ra m
s a m a ga q c o p a ga n t i
’

ma m bra h m a n a
b ra h m a vi do y a j a n t e
m a m a dh va ry a va h ka l p a y a n t e c a
’
bha ga m
Va ried re a di n gs in xiii , 1 5 9, 1 6 where d a ppe a rs a s ta sm a 1
,

h a vir a dh va ry a va h ka lp a ya n ti , but ta sma 1 here is o ffen sive .

R e a d m e dh v a ry a va h
‘
.

H 2, 74, 27b
.
, q a q va c c h re y a h ka fi ks i b h i r va ra da m e a vi ry a ( h
y )
1

( sc .
p ya se )
u j

v b a n d ix Mo ra Tri s t u b h s , .
- .

v b I n the form of the hypermetric t ri stu b h shown a bove

, .

i n ta th a t i t iksu r a t i t i kso r vi gi sta h or na t va m p rc c h a mi Vi du ra , ,

y a d dbi t a m me the scheme is ,

V V
Now a s soo n a s the c aesura i n such a combin a tion of syll a bles
,

shifts ba ck to the fourth sylla ble z vv x , u v

u ,

as in
mkra m a n ka t h a y a ta to pi c a n ya t v 42 26 c
t e sa
‘
’
, , , ,

it is evi den t tha t a lthough such a p ada ma y be m echa ni c a lly

,

equa te d wi th No 1 9 ( a s a hypermeter) it is o n the other .

,

ha n d n othi n g but a m o m e qu i va len t of the form ( No 1 ) - .

y. u v u it v
_ Aga in i n the ca se o f n eglecte d
v
u .
,

c aesura ( a bove ) where two light syll a bles foll ow the extra
,

syll a ble we m a y a s well t a ke ga ktyrst i p ra s a m u sa la n y a y u dh a n i

,

a s a n eq ui va le n t of g i f li ke the regul a r u
V
_
V
u v ,

pa da with i n the seco n d foot ( No

u or t o give a n .
,

exa m ple where the c aesura is cle a rly ma rked s a m a m j ih m a m , ,

Vi du ra s a rva m b ra vi si iii 4 21 a ma y be sca nn e d a s

, , , , ,

v
_ Such pa da s sta n d pa ra llel to the
v
u _ . u _ u .

regul a r forms a s i n the Gi ta i mita tio n of Ka tha Up

, , .

ii ,

Th 1 mm t t r
e rt th t thi i r lly f rt
co en a o yll b l p a d
a sse s a s s ea a
“
ou e e n -s a e a ,

b t
u i ty da p r
, a s n d g g t m y b m itt d l i g d d k hyp rm t r
a ece e s, a va a e o e , ea v n a o e a e e e .
3 02 THE GR EA T EP I C OF I N DI A .

a c c a ry a va t p a qy a t i ka q c i d n a m e
’
a c c a ry a va d va da t i a h a l va c a n
’
t t ya h
a gc a ry a va c c a i
’
na m an ya h qrno t i .

As resolutio n m a y ta ke pla ce i n severa l pla ces we ge t qui te ,

a v a riety o f ru c i ra like p a da s Th e commo n a ltern a tion of the

- .

and u u p a da s is thus represe n ted :

x i v 1 0 1 9 a —b
, ,
a y a m i n dro h a rib h i r a y a t i r a j a n
,

de va i h s a rva i s t va ri t a i h stfi ya ma n a h
i b 1 0, 23 j rh ku ru t e m e su re n dra
'

. c- d, a y a rn ya fi a

B rh a s p a t e r a va ra j o vi p ra m u kh y a h

B ut the choria m bus equi va len t is more comm on a s i n -

,

iii 1 3 4 28 0
, ,
ha s ti va t va m Ja n a ka vi n u dy a ma n a h
,
’
, ,

x i v 26 1 f
,
f ( refra in ) y o h rc c h a y a s t a m a h a m a n u b ra vi m i
, .
, ,

Two or three of these p a da s together a re n o t un usu a l

iii 1 3 2 9 d—1 0 a b h a ry a mc a va i du h i t a ra msva m s u j a t a m
, , ,

ta sy a ga rb h a h s a ma b h a va d a gn ika lp a h 1
viii ,
—
68 , 7d a n d 8 a b , p h a l a rt h i n a rir vi p h a l a i v a t i p u s p a h
’

p ra c c h a di t a mb a di c a m i va m i s e n a
’

s a rn c h a di t a rn ga ra l a m i va ga n e h a
’ '
’

So i n the j a ga ti pad a iii 1 3 3 1 0 d ka sm a d ba la h s th a vi ra

-
, , ,

i va p ra b h a sa s e Here it n ee ds o n ly the i a m bic o pe n i n g to

.

m a ke a true ru0 1 ra u u uuu u u a n d thi s p a da

, u

is foun d repe a tedl y n o t i n complete ru c i ra sta n z a s a lon e but

,
-
,

i n j a ga ti sta n z a s Fo r ex a m ple iii 3 3 1 is a v a nga s t h a b il a

.
, , ,

sta n z a where three p a da s a re regula r but b h a s

, ,

p ra ki rt a y e c c h u c i s u ma n a h sa ma h i t a h

On the other ha n d i n i 3 4 26 the fi r st pa da a l o n e is of va nga

, , , ,

s t h a ty pe while three ru c i ra p a da s f o ll o w e
, g p a da d : , . .
,

m a h a t ma n a h p a t a ga p a t e h p ra ki rt a n a t

These a re both t a g-sta n z a s , em belli shi n g the cl o se of a cha pter

1 Th e n a i ve pa d a s b - 7a ,
fo ll o wi n g thi s s t a n z a ,
a re om itt e d in B .

Th e e mb ryo h e r e sa ys : ve da n s a i i ga n s a rva ga s t ra i r u p e ta n a dh i t a va n a s mi

t a va p ra s a da t , e tc . !
3 04 THE GR EA T EP I C OF I N DI A .

thi s exa mple ii 71 1 7 the much a ffecte d p ada

In , , , , s ym

metry is shown b a n d d ha vi n g , a a nd 0 v u

W V

a mkrt a m ida mDh a rt a ra s tra

t i dy li t a

y a s m a t s t ri y a mvi va da dh va ms a b h a y a m
y o ga kse m a u n a q y a t o va h s a m a gra u
p a pa n ma n tra n K u ra vo m a n t ra y a n t i
Simil ar is i b 3 o nl y the fi r st p ada is j a ga ti B u t th e
.
, .

foot correspon ds to th a t of the third p a da a n d so the

p a da h a s u u correspon di n g to A in the u u !

a n y a rh v rni s va . p a tim a q u b h a vi n i

y a s ma d da s y a rh n a l a b h a s i de va n e n a
a va c y a va i p a t i s u ka m a v rt t i r

h itya m da s y e v i di t a rh ta t ta va stu ’

C o n tra st thi s, for ex a m ple with the followin g p a da s

, ,

24 a , 26 c , of the sa me sectio n
B h i ma s y a j
’
va ky e t a dva d e va r una s a
y
ta to Ga n dha ri Vi du ra c ca
’
pi vi dva n
K rs n a rn P a fi c a l i m a b ra vi t s a n t va p li rva m

Th e la st is pure va i gva de vi pa da a s a bove n i ty a m da s ye

a ,

vi di t a m t a t t a va stu is a pure va t o rm i p a da a n d y o ga kse m a u

’
,

n a cy a t o va h s a m a gra u 1 s a pure ga lin i p a da .

I n p a da s of the ru c rra or ru c ira l i ke type the sa me word -

,

a ppe a rs i n the t ri s tu b h whi ch h a s c a use d a discussio n i n the

,

c l o ka

iii ,
1 9 2, 56 d, ten a c re s th o bh a va ti h i j i va ma n a h
v ,
44, 1 8 c-d: sa tamvrt t i m b a h u gu n a m e va m eti
gu ro h pu tre b h va t i c a v rt t i r e s a
a

x i 1, 3 00, 27d, mo gh a h c ra mo bh a va t i hi kro dh a n a sy a

Here b h a va t i n ee d not be pron oun ce d b h o t i a s it is a pe rfect ,

p a ra ll el to b a h u u
g i n this sta n z a a n d to pa c a s1 ( bh a va s i ) in
the followi n g :
 EP I C VE R SI FI CA TI ON . 3 05

i , 23 2, 1 4, tri n i ma n h a vy a va h a
s rs t va l o ka ns
ka le p ra p t e p a c a si p u n a h s a mi ddh a h
t va ms a rva s y a b h u va n a s y a p ra s u t i s
t va m e v a gn e b h a va s i pun a h p ra t i s t h a
’

A m o n osyll a bic pro n un cia tio n ca nn o t b e cl a imed for a ll

ca ses though it m ight be m a in ta in ed fo r specia l words :
,

t a mc a i va g y a m s t ri y a m a t i ru p a y u kt a m
1
i 1 9 7 42 a
, ,
’ ’
r

iii 4 1 0
, ,
dh a rm a t m a n a m Vi du ra m a ga dh a b u ddh i m
,

iii 4 3 a
, ,
e va mga t e Vi du ra y a d a dya ka rya m
,

iii 26 1 1 d
,
l a b dh va dvi j a m n u da ti n rp a h s a p a t n a n
, ,

iii 3 4 9 b a t h a ka m a mv i di t a m Aj a t a q a t ro
, y , ,

iii 3 4 20 c
,
m a h a gu n a m ha ra ti hi p a u ru s e n a
, ,

iii 1 1 1 1 0 d v ra t a m b ra h ma nn c a ra s i h i de va va t t va m
, , ,

xii 3 02 1 1 4 b m a h a rn a va rh vi m a l a m u da ra ka n t a m
, , ,

xiii 71 1 6 a drs t va i va m a m a b h i m u kh a m a p a t a n t a m
’
, , ,

xiii 9 3 1 3 6 a a dh va ry a ve du h i t a ra m va da da t u
, , ,
2

xiii 1 02 3 6 b t a t h e s t i n a m da qa c a t a m p ra p n u v a n t i
, , ,
’

xiii 1 03 3 5 b t a t h a i va n ya n a n a du h o l o ka n a th a
, , ,
’ ’
.

H 2 72 3 3 a
.
,
At h a rva n a ms u c i ra s a m b h ut a y o n i m
, ,

H 2 74 23 b kh y a t o de va h p a q u p a t i h s a rva ka rma
.
, , ,

B the grea t objection to a mo n o sylla bic pro n un ci a tion is

u t
tha t the ru c i ra pa da in tercha n ges up t o thr ee p a da s with the
o rdi n a ry t ri stu b h pa da a n d must therefore be i de n tic a l i n ,

structure wi th the sa m e p a da when fo ur tim es repe a te d i n a ,

perfect ru c i ra sta n z a B u t i n the ru c ira sta n z a n o o n e c a n .

,

m a in ta in fo r a m o m en t tha t u u u is to be re a d wi th cra sis v .

Why then when a sta n z a h a s three p a da s of the sa m e type or

even o n e
I t m a y be sa i d however tha t the m or a t ri stu b h p a da differs
, ,

i n n o respect from the “

in serte d fi ft when the la tter is a
li ght syll a ble Fo r ex a m ple i n thi s sta n z a : .

iii 4 2 1 s a m a rn j ih m a m Vi du ra s a rva m b ra vi s i
, , ,
'

, ,

ma n a m te h a m dh i ka rn dh a ra y a mi
‘ '

ca a

y a th e
' '

t i s th a
’
ka rn ga c c h a
c c ha va va t va rn
s u s a n t vy a m a n a p y a j h a ti
’
sa ti s t ri a

1 A ll t h e o th e r p a d a s h e r e a re o f s tri c t pa li n i typ e ,

v
2 ib , 94, 44, ide m , but va fa il s .
 3 06 THE GR EA T EP I C OF I N D I A .

Here it is cle a r tha t py is a complete foot

s u s a n t vy a of ma n a
’

the in serted fi fth va ri ety ; but p a da b is in differen tly a n in

s e rt e d fifth or a m or a p a da the c aesura p o in tin g but li ghtly to ,

the l a tter expla n a tio n On e rea so n however a ga in st such a n

.
, ,

iden tifi c a tio n is tha t the m o ra expl a n a ti o n in a lmost a ll c a ses

is in di ca te d a s in m o st of the exa m ples give n by a pla in
, ,

c ae sura bef o re the fifth An other is tha t this expla n a tio n .

brin gs the v a ri o us pa da s of a sta n z a in to sym metry a s in iii , ,

1 92 where, is em ployed with pre di lection thr oughout

v ,

iii , 1 9 2 , 69 , ya t hayu kta va m a de va h a m ’

en a m
di n e di n e sa mdi q a n t i n rc a ns a m
b ra h m a n e b h y o m rga y a t i s u n rt a n i

ta th a bra hma n p u ny a l o ka ml a b h e y a m

Here m rga ya t i sfi as v a ccords wi th th e ,

s t ru c t ure

of the other p a da s . So i n j a
g ti s ,
a e .
g .
,

vn ,
26, 65 —66, sa n r j
a ga a a h p ra v a ra fi ku c a h a t a h

p a s ur
a p a k s o d ri v a ro a a u a
°
y th rp
b h a ya mt
a da ri p u s u s a m a da dh a d b h rc a rh

va n i g a n a n a j mks u b h i t o ya tha ’
rn a va h
ta to dh va n i r dvi ra da ra t h a q va p a rt h i va i h etc ,
.

vn , 50, 1 4 a —b , ta tha ta da y o dh a n a m u gra da rq a n a rh

i q a m u kh e p i t rp a t i ra s t ra va rdh a n a m
1
n

vii ,
1 09, 3 70- d n ica m y a t a m p ra ty a n a da ns t u Pa n da va s
ta t o dh va n i r b h u va n a p a t h a s p rca d b h rqa m
’

C o m p a re the close of vn 1 5 5 fo ur sta n z a s of ru c ira s a n d , ,

of va nga s t h a s with the sa m e m ora —pa da s

,
.

A third p o in t t o be n oticed is tha t the in serted fift h a s

brevis a n d wi th its c aesura there is a lwa ys a ra rity ( a s in di
, ,

c a t e d i n the li sts a bove ) un l ess fo ll owe d by two ( o r three )

o ther breves s o th a t we ha ve fi n a lly two chief cl a sses to ex
,

pla in o n e with c aesura a fter the fi fth hea vy sylla ble a n d the
, ,

other with c ae sura a fter the fourth f o ll owe d by breves e q ui va ,

1 V ri t o n
a a n th e o ld t re o typ e d y a ma ra s tra va rdh a n a
s e ,
o f ba ttl e h e r o
, , e tc .

a s in Yl i , d
1 45, 9 7 ; i h 9 8 . d .
 3 08 THE GR EA T EPI C OF I N DI A .

i b mi ksy a ’
m a m t va ri t a m s mi
‘

, 8 9 , 23 ,
sa cc u p ga t o
a

( i 1 9,
8 5 b a dy a i va p
, ,
ve y a h
)
’
un ya h a m
’
u ta va h P a n da
1

v 43 50 c c h a n do vi da s t e y a u t a n a dh i t a ve da h
, , ,
’

xvii 3 1 3 b y a d da tt a m ista m vi vrt a m a tb o h u t a m0 a

, , ,

I n xiii 1 3 2 d ksi p ra m s a rp a m j a hi m a b h ii t te vrca n ka a s

, , , , ,

compa red with ga kt y a ra kso j a hi K a rn a dya t fi rna m vii 1 79 ’

, , ,

48 c ; t a p a n t a m e n a m j a hi p a pa m m g1 t h e i b 49 b t e ma y be , .
,

thought to be a n in trusio n but it ha s a sort of pa ra llel in iii , ,

4 22 d n e da m a sti ty a tha Vi du ro b h a sa m a na h ( where C

’ ’
.
, ,

h a s a tb o l ) .

Th e m o ra rhythm i n gen era l is e a rly bei n g foun d n o t o n ly ,

i n the epic but i n the Upa n isha d a n d B uddhi stic verse B ut .

it is foun d a lso in imita tive pa rts of the Pura na s a s in Va yu ,

P xiv 7 i n a sectio n where upe n dra p a da s i n te rcha n ge with

.
, , ,

the sa li n i li ke pa da v
-
u Here i n 7b d : ma -

h a t m a n a m p a ra m a m a t i mva re n y a m , ka vi m p u ra na m a n u ga s i t
a ra m , where , a s ofte n i n the epic , u v u u sta n ds with
u v u ._
( e g 9 a ) a s the equi va len t sax
a nd . .
, ,
/ C u

of the la tter On the la st verse a bove see the n ote o n p

.
, .

2 77 Th e m ea sure a ppea rs i n tri s tu b h s a s a n a t i t ri stu b h of

.
-

twelve ; i n ja ga ti s a s a n a t i j a ga ti of thi rteen syll a bles ,

-
.

I n the R am a ya na I kn ow of o n l y o n e c a se where thi s re

solved form is foun d a n d tha t is pec ul ia r I n R vii 8 1 22 , . .
, , ,

a n extra o rdi n a ry sloka closes the sectio n a n d in G 88 a , .

t a g t ri stu bh of the form a bove is ma de out of it

-
Th e ex .

t ra o rdi na ry slok a is : s a ta ir b ra hm a na m a b h y a s t a m sa bi ta ir
b ra hm a vi tt a m a ih ra vi r a s t a rh ga to R a ma ga c c h o da ka m u p a
’
e
,

s p rga
“
the s u n h a s set ( a fter a cceptin g a s a la uda tio n ) the
,

secret worshi p by the a ssem bl e d V e da versed a o -

cordi n g to the commen ta to r Th e pa ra ll el i n G i n di ca te s a . .

b ra h m a n a ir a b h i stu t a h i n stea d of bra hm a n a upa n i sa d o r

p a j a Th e t a g e n d i n G vi i 8 8 22 seem s t o be from a
.
- .
, ,

phra se just precedi n g ( foun d in G a n d sa m dh y a m up a si .

t um vi ra ( Ra ma ) Th e whole t a g rea ds : .

1 As r e ma rke d a b o v e , p 2 9 9,
. thi s th o u gh i n se rte d h e re
, on t o f i ts
a c c o un

like n e s s t o th e nex t e x a mp e , b el l o n g s ra th e r t o t h e gr o u p of D o u b l e Hyp e r

me t e rs .
 EP I C VE R SI FI CA TI ON . 3 09

a b h i s tu t a h s u ra va ra h s i ddh a s a fi ga i r
ga to ra vir s u ru c i ra m a s t a q a il a m

t va m p y a t o R a gh u va ra ga o c h a s a mdh y a m
a

u p a s i t u rn p ra y a t a m a n a n a r e n dra

be c a ll ed a ru c i ra t ri stu b h On the
Thi s m a y -
. ru c i ra sta nz a ,

see the secti o n o n a ksa ra c c h a n da s belo w

Th e Tri s t u b h St a n z a .

UPA JA TI S . UP E N D R A VA J R A S A ND I ND R A VA JR A S .

As sta n z a s the fo rms tha t begin wi th a dii a mb a n d c o n

,

ti n u e with a ch o ria m b a re n o t p a rticula rly commo n They .

a re ge n era ll y m o di fi e d a s u p a ja t i s by com bin a t i o n with the ,

i n dra va rieties which begin with a spo n dee i n dra va jra a n d

, ,

in dra va ri ga Som etimes the perfect fo rm a ppe a rs a s a mere

.

la te r a ddi tio n Thus i n iii 23 o n l y o n e st a nz a 1 4 is upe n

.
, , , ,

dra in sixtee n u p a ja ti s ( pa da a h a s fi n a l brevi s ) So iii 1 1 1 .

, ,

1 7—1 8 while i n iii 2 95 9 a n d 1 0 a re two perfect , ,

v a nga s t h a s in terp o la ted a mon g sl o ka s I n iii 23 2 1 4 a n

, .
, , ,

1
a l m o st perfect upen dra is en sc o n ced in a stuti o f Ska n da ,

where the e n vi ron m en t is u p a ja t i Aga in in iii 23 6 i n a n .

, , ,

u p a j a t i syste m o f thi rty o n e st a n z a s o n e 1 5 is p ur e upe n dra

-
, , , ,

except tha t pa da a en ds in a brevis a n d 1 9 25 2 7 a re a ls o , ,

2
pure u p e n dra s except tha t i n 2 7 pa da a en ds in brevis I n
, , .

x ii, 201 out of twen ty seven t ri s tu b h s t wo 6 a n d 2 3 a re

,
-
, , ,

pure u p e n dra s A p a ir o f p a da s o ccur s i n viii 8 9 47 ta to

.
, , ,

m a hi ms a ga ra m e kh a la mt va m sa p a t t a n a rn gra m a v a t i m s a m rd
dha m . B u t t wo pa da s together is a la rge n umber except in
la te pa ssa ges lik e iii 1 76 a n d 1 77 where they a re n o t u n c o m
, , ,

mon ( 1 76, 7, 1 5, 1 6 ; 1 77, 1 1 , 21 , v a nga s t h a s in vii , 1 09,

3 6—3 7,with a ru 01 ra pa da etc ,
.

As the va nga s t ha ( b il a ) is merely an upe n dra with a s ylla f

1 Th e thir d p a d a h o we ve r e n d s i n a b r e vi s On thi s p o in t i s t o b e n o ti c e d
, , .

th a t s u c h a b r e vi s i s n o t u n c o mm o n i n t h e B h a ra t a b u t i n t h e R a m a y a n a i s ,

r a re e n o u gh t o d e s e rve a s p e c i a l n o ti c e o f R vi 74 54 wh e r e e ve ry p a d a .
, , ,

e n d s i n b re v i s He r e t h e s t a n z a it s e l f i s u p e n d r a b u t t h e s y s t e m i s u p a j a ti
.
,
.

2 H
e r e o ly e i g ht p a d a s a re n o t o f u p a j a t i fo r m b u t
n v z ,
u
u
3 10 THE GR EA T EP I C OF I N D I A .

ble a dded so the j a ga ti correspon ds to the di ffere n t fo rms

,
1

of the t ri s tu b h Thus i n i 1 9 7 25 it ta kes the pla ce of a

.
, , ,

v a t o rm i ta tra h y eka m b h a vi t a ro na s a rh ga y o y o ni m sa rve

, ,

m a n u sl m a v1 9a dl 1 va m t a t ra y fi y a m ka rma krt va vi sa h y a m
’
, ,

b a h fi n a n ya n n i dh a n a m p ra p a y i t v a ; a n d just b elow 5 3 b , ,
’
i a n am e ka s v a krt e n e h k a rm a na where it is hyper
‘

a c a
p r ,

m etric Here a a n d d ha ve eleven c 1 2 a n d b 1 3 syll a bles

.
, , , , .

A n e a r a pproa ch to a perfect va nga s t h a is fo un d i n i 1 9 8 8 , , ,

where a ll fo ur p a da s a re n o rm a l except tha t i n b v , ,

ta kes the pla ce of the o pen in g dii a m b I n ii 64 5 a ll p a da s .

, , ,

a re perfectly regula r Th e in tercha n ge of a n occ a sio n a l .

v a nga s t h a p a da with the other p a da s o f a n u p a ja t i tri stu b h

is too com m o n to c a ll for further rem a rk Two in sta n ces .

will be foun d in i 1 93 20 a n d 22 I n the fo rmer the sta n z a

, , .
,

wo uld be a perfect upen dra but p a da c is of va nga s t h a fo rm ; ,

i n the l a tter which is a n u p a ja t i t ri stu b h p a da 0 a ga in is of

, ,

pure va fi ga s t h a f o rm So in i 1 9 7 1 1 a n i n dra va ri ga p a da.

, , ,

he a ds a n d closes a t ri stu b h sta n z a Th e c ae sura is a fter the .

fifth or fourth p a ssim ; or a fter the sixth a s i n i 1 9 7 1 7a

, , , , ,

ya da tu p a ry a p t a m i h a s y a kri da y a ; or a seco n d o ccurs

2 ’
,

5 1 9 0 s a mva rdh a y a n s t o ka m i va gn i m a tm a va n
’
a s i n iii , , , .

Th e sixth pla ce is ofte n h a lf a s co mm on a s the fi fth .

Th e c aesura i n the p a da s of the u p a ja t i syste m is foun d

most frequen tly a fter the fo urth or fifth Th e fo rm er per .
,

ha ps i n isola ted p a da s a s i n x u 64 1 8 d ta ta s te h a m da dm i
, , , , ,
‘

v a ra n y a t h e s ta m a n d i 9 2 9 a a n d 1 1 d ; but the fo rm s i n the

, , ,

B ha ra ta th o u gh i n clin i n g l a rgely to the fifth pla ce va ry c o n

, ,

s t a n tl a s they do i n the R a m a y a n a E x a m ples from the

y , .

l a tter ha ve bee n given a bo ve in the in tro ductory p a ra gra ph .

I a dd some specime n s fro m the other epic :

t a d v a i n rc a ns a mt a d a s a t y a m a hur

ya h s e va t e dh a rm a m a n a rt h a b u ddh i h
a rt h o
‘

py a n i qa sya ta th a i
’
va ra j a n i , ,
9 2, 5 a —c
’
n i lo t p a la bh a s u ra de va t e va

K rsn a st h ita mu rt i m a t i ’
va L a ks mi h , iv , 71 , 1 7 c —d,
1 T ha t i s fo r u g , u u m e c h a n i c a lly c ons ide re d .

2 On t h e li g ht sylla b le b e fo re mu t e a nd liqu i d ,
se e a b o v e , p 242 . .
 312 THE GR EA T EP I C OF I N D I A .

where the fi rst p a rt of the weddi n g scen e a t D ru p a da s is i n ’

irregul a r o ld t ri stu b h s but regul a r u p a ja t i s con clude the

,

scen e ; the l a tter beginn i n g just where the a ctua l weddi n g is

describe d a n d t a kin g i n the sta tem en t th a t the heroin e wa s
,

fi rst m a rrie d t o Yu dh i sthi ra then to the other brothers ; th a t ,

she preserved her virgin ity da y by da y ; a n d tha t D ru p a da i n

co n clusio n ga ve m o s t extra va ga n t gifts Th e sm oothn ess of .

‘
the sta tem en t b a b h fi va ka n ya i va ga te ga te h a ni etc 1 9 8 1 4 ’
, .
, , ,

sta n ds wi th its surroun di n g verses i n a t le a st metric a l con tra s t

to the p a rt tha t goes befo re where t ri stu b h s o f va t o rm i a n d ,

a lin i p a da s a n d every sort of irre ul a r co m bin a tio n is the

s g
rule Whether the un i form u p a ja t i s c o n fo rm t o the uni fo rm
.

i n g o f the poem is certa in ly a pro per questi o n to r a ise though ,

n o si n e d a n d se a le d st a te m e n t to tha t effect is exta n t

g .

A n other in terestin g exa m ple wi ll be foun d a t the e n d of the

a mblin sce n e where fro m ii 67 24 a l m ost re ul a r u a a t i s
g g , g p j , , ,

con tin ue t o the e n d Thi s ha ppen s to be the p a ss a ge where

.

the heroin e puts the le ga l question t o whi ch B h i s m a is u n

a b le to reply a n d where K a rna , join s i n the l a ugh Th e .

questio n is implied i n wh a t fo llo ws ( 68 but the p a ssa ge

i n its prese n t fo rm is cert a i n ly o pe n to the suspici o n o f h a vin g
been rewritten by a more m o dern ha n d .

Th e fi r st ch a pter of the Rsy a grfi ga epis o de is in o l d tri

stu b h s With the begin ni n g of the sen su o us descriptio n i n the
.

sec o n d cha pter begin the u p a ja t i s iii 1 1 1 1 1 2 , , , .

I n the system s of the ol der epic x u u u , u

a nd uu a re use d a s i n te rcha n ge a ble seco n d feet So u n i .

vers a l a re u a nd u th a t they m ust be c o n sidered

u

a s the chief t ms t u b h m e a sure o f the older epic g re a tly i n ,

excess of B u t i n the fo urth bo o k a n d m o st l a ter

_ u

p a rts these rece de before the u p a ja t i forms Ja ga ti pa da s a re

,
.

1
in serted occ a sio n a lly i n a ll the free t ri stu b h section s I t is .

perha ps worthy o f rem a rk th a t for ex a mple i n the D yfi t a , ,

P a rva n the di i a mb i c Open in g o r even it might be s a id the

, , , ,

1 r
Th e p o c e s s e s e w e e o f m a nl ah ra a ki g j g ti p a d a i s s o m e ti m e s p a t e n t a s ,

iii b h i n dh i t va m e n a mN a m u c i m
d ya th a Ha ri h ( fo r y a t h e n d a h ) ; ’
in v ,
90, 72 r

h e re in a n upa j a ti s y s t e m o f j a ga t i s .
 EP I C VE R SI FI CA TI ON . 313

whole upen dra form is foun d p a r excelle n ce in the fi n a l

,

p a da ( s) tho ugh fo un d a lso in a b 0 especia ll y a s the sectio n

, , , ,

r a d u a ll y p a sses ( towa rds its e n d) i n to re gul a r u p a j a t i s 67

g ,

26 if Fo r ex a m ple a t the be gin n i n g o f the scen e 5 6 1 2—1 6

.
, , , .

U V

ha ve rem a rked in the li st of exa m ples given a bove tha t

I
some o f the o lder forms o f the t ri s tu b h a re pra ctica ll y co n fi n ed
to the ea rly pa rts of the epic Th e fo urth a n d seven th bo oks .

a re co n sidered t o be la te or wha t a m oun ts to the s a me thi n g

, , ,

modern exp a n ded forms of o lder m a teria l Th e middle fo o t .

v ,
u u occurs n o t in frequen tly i n the o lder epic but i n the ,

wh o le fo urth bo o k it occurs but o n ce a n d i n the seven th o n ly ,

twi ce i n 1 28 0 pa da s Up a ja ti systems except a s just o h

.
, ,

served a s a sort of t a g a re n o t frequen t i n the older epic

, , ,

where the systems a re of the type a nd u u u

in terspersed choria m bs Th e la tter pa rt of the thi rd book

.
,

h o wever a n d a ll o f the fourth bo o k prefer the u p a ja t i system

,

( the c aesur a bei n

g a fter the fourth i n o n l y o n e thi rd of the -

c a ses in the l a tter) a n d blocks o f u p a ja t i s a ppea r i n the much

,

expa n ded ba ttle b o oks As a system the u p a ja t i m a rks la te

-
.
,

pa ssa ges such a s the so n g of Cri in the eleven th section o f the

,

thi rteen th b o ok a n d the pra ise o f gi fts i n the fifty seven th sec
,
-

tio n o f the sa m e book where on l y two p a da s a re n o t u p a ja t i

, .

This book is a lso ma rked by the l a rge n um ber of its sa li n i

sta n z a s ( n o t sin gle p a da s) which keep up a n o ld m ea sure in
,

a n e w fi xe d f o rm Old a s is the ch o ria m bic p a da the sta n z a

.
,

f o rm o f the cho ri a m bic t ri stu bh em pl o yed i n grea t gr o ups to the

exclusi o n o f o ther form s o f t ri stu b h a ppea rs to be a n in n o va tio n .

A f o rm o n ce give n p e rsists a n d s o we ha ve la te pa ssa ges with

,
 3 14 THE GR EA T EP I C OF I N D I A .

u the secon d fo o t just a s thi s a n d v

a s a re still , u

l
met here a n d there i n the P u ra na s but when the chori a mb is ,

2
empl o yed co n tin uously i n a lon g system the pa ssa ge m a y be
set do wn a s la te or if o n e prefers the expression a s more , , ,

re fi n ed a s i n the whole R a m a ya n a a n d i n the la ter books of

,

the Ma ha bha ra ta .

An other ma rk of la ten ess a ppea rs to li e i n the a bsen ce of a n

i n di scrim ina te mi xtur e o f t ri stu b h a n d j a ga ti fo rm s L a ter .

p a ssa ges a re ra ther a p t to show un iformi ty in thi s rega rd ;

e a rlier p a ssa ges show n on e though a n ha rm on ious com ,

min glin g i n a ltern a te or chia stic form ( 1 2 1 1 1 2 1 1 or

11 12 12 1 1 ) is a t a l l times s o mewha t a ffected a n d la te ,

pa ssa ges som etim es show n o uniformity ; but the ten den cy is
i n t h e other di rectio n .

Th e Sy l l a b a Anc e ps .

Inrespect of the p a da sylla ba a n ceps the epic permits thi s ,

n o t o n ly i n free t ri stu b h s but a lso i n u p a j a t i s a n d eve n i n , ,

isola te d pure choria m bic sta n za s B u t even the cla ssica l poets .

sha re thi s freedom Tha t is to sa y a s Professor C a p e ll e r h a s .

,

shown a lthough the rule is tha t pure u p e n dra s a n d i n dra va jra s

,

or the correspon di n g ja ga t i s sha ll ha ve fi n a l a n ceps o n ly a t the

e n d of the hemistich yet if these sta n z a s though com plete , ,

1 So lit a ry ga li n i s t a n z a s a l s o o c c u r i n t h e Pu r a n a s Fo r e x a m p l e , a y u P . V .

vi , 7 d
1 , r e p e a t e i n i x , 1 1 3 , wh e r e o c c u r s t h e s t a n z a : va kt ra d y a sy a b r a hm a n a
s a mp ra s fi t a h , y a d [ t a d] v a k s a t a h k s a triy a n p fi rv a b h a ge , v a i gzy a g c o rv o r
’

y a s y a p a db h y a rh c a Q ii dra h r ve v a r n a ga t ra t a h s a m p ra s fi t a h a p u re sa li i
sa , n .

2 A c h ri
o i r
a mb c ve s e o r s t a n z a i s a d iffe r e n t m a tt e r Thi s m a y b e a s o l d .
,

o r o l d e r th a n a c o rr e s p o n d i n g s t a n z a o f o th e r fo r m
,
Fo r e x a m p l e t h e p r o s e .
,

p ro b e rb o f Ga u t x x iii 29 a p p e a r s i n t h e fo rm p a fi c a n t a y a h u r a p a t a ka n i
’
.
, ,
r n

firs t i n Va s x vi 3 5 a s a n u p a j a ti s ta n za Th e o l de s t v e r s i o n i n t h e e p i c i s i n
.
, ,
.

i 8 2 1 6 wh e re th e r e i s n o e x c e p ti o n i n t h e c a s e o f a t e a c h e r a s i n Ga u t a m a
, , , ,

( fo r a n u n tr u th h e r e i s a m o rt a l s i n n o t ve n i a l ) n o r i s t h e p ri e s t in c l u d e d a s
, , ,

i n V a s ; b u t t h e fi ve v e n i a l li e s a re i n c a s e o f wo u n d s a b o u t wo m e n i n c a s e
. , ,

o f m a rri a g e d e a th a n d r o b b e ry c o u c h e d i n u p a j a t i
, ,
A s e c o n d fo rm o c c u r s
,
.
,

h o we ve r i n x i i 1 65 3 0 wh e re t h e t e a c h e r i s m e n ti o n e d i n t h e s a m e wa y a s
, , , ,

i s t h e p ri e s t Th e o th e r d iffe r e n c e b e twe e n t h e e p i c ve r s i o n s i s th a t t h e l a tt e r
.

b e g i n s n a n a rm a y u kt a m a n rt a mh i n a s t i t h e fo rm e r v a c a n a mh i n a s t i a s c h o , ,

ri a m b .Sp r u c h h a s o n ly o n e o f th e s e fo r m s ( a s c ri b e d t o a P ura n a ) ,

Ma n n viii 1 1 2 i s i n sl o ka
, , ,
.
316 THE GR EA T EP I C OF I N D I A .

In this rega rd I see n o specia l differen ce between the two

epics Perha ps the R a m a ya n a poet is a little m o re shy of the
.

brevis but it occurs there a lso n o t on ly i n pure u p e n dra s ,

sta n din g i n a n u p a ja t i en viro n m e n t but even i n isola te d t a g ,

sta n z a s where the upen dra sta n ds a lon e Thus where G ii . .

,

3 3 27 h a s a va rie d rea di n g whi ch co n verts the sta n z a t o a n

,

u p a ja t i the B omba y text of R ii 3 3 29 presen ts ( i n a n

, .
, , ,

u p a ja t i e n viro n me n t) a pure upen dra sta n z a with the fi rst , .

p a da en din g in brevis p ra t i ksa ma n o b h ij a n a rh ta da rt a m

,
‘ ’
.

An other exa mple will be foun d i n vi 69 9 2 G 49 77 I n , , .

, .

u p a ja t i s it will be e n ou h to refer to R ii 1 5 44 a 21 5 2 0 ;
g .
, , ,

3 7 3 4 a ; 3 6 a ; v 2 8 4 ff etc
, I n the c a se of isola te d t a g
, , .
, .

u p e n dra s ex a m ples m a y be fo un d in R vi 61 3 9 where 0

, .
, , ,

e n ds i n a brevis a lthough the is o la te d sta n z a is pure upe n dra

, ,

a n d i n R ii 1 1 5 24 ( n o t i n
.
, where both a a n d 0 e n d i n
,

breves
ta da hi y a t ka ry a m u p a i t i ki mc i d
u p a y a n a mc o p a h rt a m m a h a rh a m
’

sa p a du ka b h y a m p ra t h a m a m n i ve dy a
c a ka ra p a c c a d B h a ra t o y a t h a va t

On e fa ct seem s certa in from the tre a tmen t of u p a j a t i s

versus u p e n dra s a n d i n dra va jra s or va nga s t h a b hi l a s a n d in dra
v a nna s n a mely tha t the n a tive metricists in c a llin g the u p a ja t i
, ,

a mixture of upen dra a n d i n dra va jra o r o f va nga s th a a n d

i n dra v a nsa a n d tre a tin g it a s a derive d form a re historic a ll y
,

in correct Of c o urse the u p a ja t i sta n z a is a sta n z a i n whi ch

.
,

some p a da s a re o f o n e type a n d some a re of a n other ; but it

is n o t a m ixed devel o pmen t from pure sta n z a s of either type .

On the con tra ry the u p a ja t i is the prius a n d the pure upen dra
, ,

a n d pure i n dra va jra st a n z a is a re fi n e m e n t o n the m ixe d type .

Historic a ll y the chori a mbic t ri stu b h begin s with syll a b a a n ceps

like the sl o ka a n d u p e n dra s a n d i n dra va jra s a re di ffere n tia
1
,

1 Fo r thi s r e a s o n i n t h e I ll u s tra ti o n s th o u gh g i vi n g e x a mp l e s o f e a c h I
, , ,

do n o t s e p a r a t e ( a s i s u s u a lly d o n e ) t h e typ e s o f o p e n i n g 0 g V V , . .
,

a nd u O ly i n c o m p l e t e fo rm s o f s t a n z a s lik e t h e c a li n i v a t o rm i
n , , ,

a n d ru c i ra i s t h e fi r s t s yll a b l e fi x e d
,
I n t h e fr e e t ri s tu b h a n d u p a j a t i s t a z a s
. n

t h e i n iti a l s yll a b l e i s qu it e i n d i ffe r e n t Th e n c o m e s t h e u p e n d r a s t a n z a

.
,
 EP I C VE RSI F I CA TI ON ’
. 317

tion s of the e a rlier mixed types They h a d the s a me devel .

Op m e n t a s h a d the q a lin i which be ga n a s in the epic with , , ,

v a n d settle d a t la st in t o
v a s a fi rst f o ot .

Th e u p a j a t i sta n z a i n its turn is d erive d ( a s a m o re re fi n e d

form) from the mixe d t ri s tu b h o f the e a rly epic type which ,

un ites in to o n e sta n z a n o t o n ly p a da s of the choria m bic type

a n d of the ty pes uu but a lso of the
type of the ru c ira or m ora p a da ; of which to gether with the -
,

specia l sta n z a s of fi xe d fo rm derive d fro m these m e a sur es I ,

sha ll spe a k here a fter I t is to be observed th a t thi s m ixture .

of va t o rmi sa li n i cho ri a mbic a n d resolve d sylla ble pa da s i n

, , ,
-

o n e sta n z a is V e di c a n d B h a ra t a i c n o n c l a ssic a l a n d n o n Ra m a - -
,

lso n a very limite d de ree Pura ni c T h a t is to

l
y a n a n b ut a ,
i , g ,
.

s a y the B ha r a ta
,
the oldest exta n t Pura n a o n the o n e h a n d
, ,

preserves the o ld Ve di c type which is still kept up in a ,

mea sure i n the la ter Pura n ic dictio n whi le o n the other it ,

h a s the clea r cut u p a ja t i system fa vore d by Va l mi ki the

-
,

form er both in ea rly a n d la te pa rts ; the l a tter o n ly i n l a te

p a rts a ccordi n g a s the di fferen t poets preserve d the o ld style
, ,

o r lik e Va lm i ki cut loose from it a n d wrote o nl y in u p a ja t i

, ,

form .

E m e rge n t St a n z as .

Of pecu l ia r in terest is the growth of the co m plete d sta n z a

of other tri stu b h form s I n the gre a t epic we c a n a s it were .
, , ,

see the gra dua l emergen ce o f the c o m plete ga li n i va t o rm i a n d , ,

va i gv a de vi st a n z a s ( of four ide n tic a l p a da s ) fro m the sin gle ,

do uble a n d triple p a da of thi s form in t ri stu b h sta n z a s

, ,

till a t la st a few co m plete sa lin i sta n z a s a re fo un d a n d o n e

perfect va i gva de vi .

Th e occ a sio n a l pa da is i n de fi n itely a n tique I t is the four .

fold co m bin a ti o n tha t is emergin g ; just a s u p a ja t i s e m erge

-

fro m mi xe d t ri stu bh s a n d u p e n dra s fro m u p a ja t i s I n the , .

complete d re fi n ed pa da the o pen i n g is spo n da ic ; i n the em er

u u d i ti g i h d fr m t h i d v j a
a s s n u s v b the d ry o e n ra a r ,
o se c o n a ,

no t p ad
a s b t t z t t h p j a ti
a s, u a s s an a s, o e u a .

1Th e V d i g i ill tr t d i K ii h
e c u sa D i T t b h J g ti F m ili
e s us a e n na u, e ri s u - a a a e,

p 52
. .
3 18 THE GR EA T EP I C OF I N D I A .

e n t ty pe it is i n di fi e re n t ly i a mbic or spo n da ic li ke other

g
t ri stu b h f o rms This sp o ra dic a ppe a ra n ce c a ll s for n o specia l
.

rem a rk here a s exa m ples m a y be fo un d in the list of ex

,

a mples of t ri s tu b h pa da s Th e fi rst sta ge beyon d this is .

where t wo p a da s a ppea r of ha lf sa lin i form but with ia m bic -

hi
open in g T s is either regul a r or hypermetric a s i n
.
1
,

iii ,
5 , 1 6 c —d : y a tha ca p a rn e p u ska ra s y a va s i kt a rn
’

j a l a rn n a t i s t h e t p a t h y a m u kt a a mt tha ’
sm n i
Th e hypermetric ga lin i pa da of this sort ( va i gva de vi ) is
comm on a s i n i 5 5 1 2 b tra ta loke sm ir1 s t va mt a t h e h a p ra ° ’
'

, , , ,

nam so ii 77 1 0 b a s shown below

j a
( , , , .

Aga in in mixe d t ri stu b h s where we ha ve ha lf a sta n z a of

, ,

a l most pure sa li n i form a s i n vi 3 65 c —d or even a n a l most , , ,

complete sta n z a a s i n ,

i , 5 8, 1 9 : e ta c c h ru t va p ri ya ma n a h sa m et a
ye ta tra ’
sa n p a nna
ga vi t a mo h a h
As t i ke va i p ri t i m a n t o b a b h u vu r
uc u s c a i
’
na mva ra m i s ta m v rn i s va
Here the is c o m plete s a ve for the l a st p a da So in
sa lin i .

iii 4 4 there is a perfect sa lin i sa ve for the fi rst sylla ble of

, , ,

a. I n iii 5 1 3 the sta n z a is n e a rly va t o rm i but three p a da s

, , , ,

begin with a short sylla ble a n d the fi rst h a s the ga lin i trochee .

I n v 40 29 three p a da s a re pure sa li n i a n d o n e is va t o rm i
, , , .

These forms a re o fte n sym metric a lly un ited Thus i n i 5 8 .

, ,

20 the pa da s ru n sa lin i
,
v a t o rm i sa lini va t o rm i s a ve ,

tha t i n b a n d c the third sylla ble of the fi rst foot is brevis .

Sometimes the a rra n geme n t is chi a stic a s i n i 1 9 7 3 0 where , , , ,

the p a da s a re va t o rmi sa lin i ga lin i va t o rm i etc These , , .

form s a re a ga i n mixe d freely with u p a ja t i pa da s a s i n i 1 8 7 , , ,

6 thi s com bin a tion bein g t o o co mm o n to n eed further ill us

,

t ra t i o n Th e va t o rm i or sa li n i p ada o ften closes the st a n z a

.

i n such a c o mbin a tio n Thus i n i 76 47 a is u p a ja t i b is .

, , , ,

j a ga ti c is sa lin i d is va t o rmi i b 64 d is ga lin i the others

, , .
, ,

1 T hi s fo rm i s s o me ti me s e ffa ce d by va ri e d r e a d i n g s . T hu s i n vn ,
54, 43 ,
p ap e n a
’
t m a n a m m a j j a y i sy a ty a sa n ta m, of C 2 1 1 6,
. a ppe a rs a s p a p e ‘
tma n a m .
3 20 THE GR EA T EP I C OF I N D I A .

a s t a u s a rii t va mta va sa mm a n a m i c c h a n
’

v 1 c 1 n va n va i s a drc a rn de va va ry a
s u du rl a b h a n de h i va ra n ma me ’
s ta n
a b h i s t u t a h p ra vika rs i q ca ma ya m

still closer i n 11 , 5 8, 1 2

ta tra n y e kita va di vy a ma n a
kc ’

vin a ra j fi o D h rt a ra s t ra s y a p u t ra ih
rc c h a m i t va mVi du ra bru b i n a s t a u
p
y a ir di vy a m a h q a t a q a h s a rh n i p a ty a

Th e hyperm eter is n o t so c o mmon a s tha t of the ga li n i A .

c a se occurs in iii 1 3 4 1 4 b : s a p t a c c h a n da nsi kra tum eka m

, ,

va h a n t i ; a n d a n o ther i b 1 2 b : y a jri a h p a ii c a i va p y a th a
‘ ‘ ’ ’
.
,

p a ii c e n dri a n i
y So i.n ii 7 7 7 a ; v 3 5 42 a , Th e,l a st c a se , , .

re a ds
n a i n a ri1 c h a n da ns i v r i n a t t a ra y a n t i
j
’

( i n 43 , 5 , a s na c c h a n da ns i v r j i n a t t a ra a n t i
y )
As s a id a b o ve the isola ted va i gva de w p a da is n o t u n usu a l
, .

Such p a da s a re recko n ed a s t ri stu b h pa da s a s i n i 1 205 c ; , , ,

21 6 a ; a n d so very ofte n elsewhere Fo r ex a mple xii 3 1 9 .

, , ,

91 d
a j fi a n a t a h ka rm a
y o n i m b h a ja n te
mt a mra j a ns te ya tha y a n t y a b h a va m
ta
t a th a va rn a j fi a n a h i n a h p a t a n t e
gh o ra d a j fi a n a t p ra krt a my o n i j a l a m

In i , 1 , 21 2
b there is a p a da iden tica l wi th thi s s a ve tha t it
,

h a s i ni tia l brevis h a ta n P a nc a l a n D ra u p a de y a ng c a s u p ta n
’

, ,

followed in 21 7d by a pure p a da ta sm in sa mgra m e b h a ira ve ,

ksa t ri y a n a m In 1 89 1 2 b
.
, , u the, v ,
u v ,

v a i gva de w a ppe a rs a s a n irre ul a r hy ermetri c a li i T h i s

g p s n .

sta n z a is a lm o st a v a i sva de v i
a n i ty a m s u kh a du h kh a s y a b u ddh va
ta
ka s ma t s a mt a p a m A s t a ka h a m b h a j e y a m ’

kirn ku y a mva i ki mc a k t va n a t a p y e
'

r r

ta s m a t s a mt a p a mva rj a y a my a p ra ma tt a h
 EP I C VE R SI FI CA TI ON . 8 21

Ha lf a complete sta n z a a ppe a rs in x il, 29 2, 22 ( a t a g)

’
ra j a
fi j t a v
e y a h q a t ra v a
q c o n n a ta q c a

sa my a k ka rt a vy a m p a l a n a rh c a p ra j a n a m
a gn iq ce yo b a hubhiq c a
’
p i ya jfi a ir
va n a m a g itya s t h e y a m
an t y e m a dh y e va r

w e re t h e s c o li u s i s a b o ve p 28 0)
( h v ,
,
.

A va i gva de vi p a da a ppe a rs a ls o i n a be n edictive verse i n

d gfi dr a a ro gy a m p ra p n u v a n t i h a s a rve but
’
viii C , .
, ,

B 9 6 63 h a s sfi dra ro gy a m
’
.
,
Th e c o m plete sta n z a occurs but .

o n ce i n the re a t epic a n d twi ce i n the R a ma ya n a a s wi ll be

g ,

sho wn i n the n ext sectio n .

Th e Fix e d Sy l l a b i c Me t re s .

Th e title a ksa ra c c h a n da s o r its eq u i va len t va rn a vrtta , ,

syll a bic verse c o vers properly spea kin g a ll metres fi xed , ,

by sylla bic mea surem en t but it is used o nl y of such sta n z a s ,

a s h a ve a fi xed n um ber o f sylla bles a rra n ged i n a fi xe d o rder

i n e a ch pa da a ll f o ur p ad a s bein g a li ke
, Th e sloka therefo re .
, ,

is n o t in cluded n o r the free t ri s tu b h o f the Ma ha bha ra ta

, .

O n the o ther ha n d the t ri s tu b h i n severa l of its fi xed f o rm s

, ,

when these a re used throughout the sta n za is a n a ks a ra ,

c c h a n da s Such a re the u p a ja t i fo rm s the sa li n i v a t o rm i

.
, , ,

v a i sva de vi a n d ru c i ra
, I n the schem e of cla ssic a l m etres
.
,

there a re fro m twen ty to thirty ea ch o f such h e n de ka s a n d

do de ka s c a lle d t ri stu b h s a n d j a ga t i s bec a use of the n umber
,

of sylla bles i n them .

Of thi s la rge n umber a bo ut a dozen a re fo un d i n epic ,

poetry They in clude th o se just n a m ed i n rega rd t o which it

.
,

will be n ecessa ry to spe a k further o n ly o f two the va i gva de vi ,

a n d ru c i ra B esides th e se the a dditi o n a l epic rhythms o f thi s

.
,

cla ss wi ll n o w be reviewed a rra n ged a cc o rdi n g to their syll a , ,

bic v a lue a s t ri s tu b h j a ga ti a ti ja ga t i ga kva ri a t i ga kv a ri a n d

, , , , , ,

a t i dh rt i tha t is i n sta n z a s o f fo ur pa da s e a ch pa da ha vi n g
, ,

eleven twelve thi rteen fo urtee n fiftee n a n d ( i n the epi c

, , , , ,

1
c se ) i ete en sylla bles respectively They a re di stri bute d
a n n , .

between the t wo epics a s fo llo ws

1O th ir n m ri l d i tri b ti
e nui th M ha b ha r t
e ca b l w
s u on n e a a a , se e e o .

21
3 22 THE GR EA T EP I C OF I N D I A .

( u p a j a tis a nd their compon en ts)

va i nv a d e vi

b h u ja mga p ra ya t a
In M ha bha r t
a a a
ru c i ra
an d R a m a ya n a
p ra h a rsi n i
va s a n t a t il a l a ka

m a li n i
( sa li ni
)
In Ma ha bha r t a a ra t h o ddh a ta
a lon e dru t a vi l a m b i t a
a rdfi l a vikri di t a
g
I n R a ma ya n a m rge n dra m u kh a
a lon e a s a m b a dh a

Th e u pa in cludin g their four compon en ts a s a lso the

ja t i s , ,

a lj i n d va t o rm i h a ve a lre a dy bee n suf ficie n tly di scussed

g n a , .

Th e v a t o rm i do es n o t re a ch sta n z a form but its p a da is i re ,

que n tly fo un d a lo n e dupli c a ted o r trebly the la st c a se

, , ,

whi ch is ra re givin g three fourths of a com plete va t o rm i

,
-
.

Th e ga lin i is fou n d n o t o n l y oft e n i n p a da form but occ a sio n

a lly a s a complete sta n z a sometimes gr o upe d i n s m a ll n u m bers
,

i n the l a ter bo o ks of the gre a t epic Th e j a ga ti p ra mi t a ksa ra .

p a da s is o la ted i n the C a n ti P a rva n will be spoken of b e

, ,

l o w u n der the hea d of m a t ra c h a n da s ; where will be discusse d

,

a lso the free p ra h a ra n a ka li t a fou n d i n the s a m e p a rt of the

pseudo c pic - .

R a t h o d dh a t a .

Ha vin g eleven sylla bles to the p a da thi s metre is c a lled a ,

t ri stu b h I t s schem e is
.
V V V U for ex U u

a m ple ta sya t a j ja n a y a t i
, h a s a rv a t a h I t m a y be rega rde d
’
.
,

therefo re a s a j a ga ti wi th o ut the ini tia l sylla ble its fi n a l

, ,

di ia m bus givi n g the true j a ga ti c a de n ce C ompa re un der No . .

1 9 ( ku ) l a m b h a ra n a n a duh a h ga ta msa t a n
-
There a re three .

a n d o n e ha lf sta n z a s of this rhythm thou h the a ctua l occur

g ,

re n c e s a re m ore n u m erous ; but t he s a m e sta n z a a ppe a rs re

e t d Thus xii 25 0 1 3 —1 4 is a repetitio n of xii 1 9 4 61 —63

p a e .
, , , , .
3 24 THE GR EA T EPI C OF I N D I A .

middle of two ch a pters xii 3 41 1 00 a n d 3 43 9 0 the fi rst , , , , ,

a n d thi rd p a da s of e a ch versi o n bein g those just cited o n e ,

b ein g a repetition of the other with va ria tio n s .

There is o n ly o n e c a se i n the R a m a ya n a vi 77 24 In R , , , . .

thi s is pa rt o f a t a g a fter a p u sp i t a gra whi ch a ppea rs in both ,

texts whi le the b h u ja rn ga p ra ya t a itself is la ckin g i n G Here

'

.
,
’
a lso the c a den ce is di sti n ctly b a c c hii c : c a c a l e
’
va co rv i

pa pa te v a s a dy a u r ba la m ra ksa s a n a m b h a y a m c a
’

I n both epics the hemistich a lon e h a s fi n a l brevis ( a n ceps)

, ,

a s a b o ve a n d i n ix 41 40 d dh rt a t m a ji ta t ma sa m a b h y a j a
, , , , r

m h i s metre is expresse d by its n a m e b h u a rb a

g a a T .
j g p y ra a
’
ta m the sn a ke sli de V
, V g whi ch i n the s t a n z a is
-
, .
, , ,

repea ted ( a s a whole) eight times .

D ru t a vi l a mb i t a .

Thi s mea sure ha vin g twelve syll a bles to the p a da is c a ll ed

, ,

a j a a ti B u t a lth o u gh it e n d s a s well i n a di ia mbus it is yet

g .
,

fa r from the c a den ces a lrea dy ex a min ed u n der the n a me of

j a ga ti Th e rhythm is i n fa ct da ctylic so tha t the trisylla bic
.
,

mea surem en t suits it ; but the fi rst foot h a s a tribra ch a s a

substitute for a da ctyl a n d the fi n a l sylla ble is lon g : V V , V ,

U V u ,V On ly two of these sta n z a s a re fo u n d

U ,

i n the grea t epic a n d n o n e i n the Ra m a ya n a Th e two a re

, .

together i n vii 1 8 4 47—4 8 ; the la tter for exa mple a s follows

, , , ,

h a ra v rs o t t a m a -ga t ra sa m a dy u t i h
s m a ra c a ra s a n a
-
pfi rn a s a m a p ra b h a h
n a va va dh u s m i t a -c a ru m a n o h a r a h

p ra v i s rt a h ku m u da ka ra b a n dh a va h

These exa ctly ta gs but they a re close to the e n d of

a re n o t ,

the cha pte r Th e preva ilin g c aesura m a y i n di ca te tha t the

.
2

metre is a c a ta lectic fo rm of t ri s tu b h wi th resolved open in g ;

1 A ro u gh En g li h q i l t w
s e u va en o ul db e ( o f th e hymn ) : B e g in n i n g a n d
“

mid th d
s e ,
a n en d of c r e a ti o n ( o f th e d rip ti
e sc on ) a n d t e rr o r th e n e n t e r e d

th h g h t d tri s yll a b i c ti ve m e a su r e m e n t i s h e r e t h e
”
e u e os of e mo n s . Th e na

mo s t ra t e
a ccu .

e l a s t p a d a a b o v e m a y o f c o u r s e b e r e a d a s a n a p ae s ti c with a n a c r u s i s ;
2 Th

t h e p r e c e di n g m o r e n a t u r a lly with d a c tyli c c a d e n c e

, , .
 EP I C VE R SI FI CA TI ON . 3 25

but this gen esis is by n o mea n s so certa in a s i n the c a se of

other t ri stu b h deriva tives To judge fro m the epic it is a .
,

la ter metre a n d m a y be either a n experi men t i n res o lutio n ( o f

,

No . or a n e w in depen den t in ven tio n I t is n o t n ecessa ry .

,

I con ceive t o deri ve every me t re from som e other a n d I

, ,

in cli n e t o the la tter view All the p a da s i n the two epic .

specim en s e n d i n hea vy syll a b les Th e soun d dru t a vil a m b i t am .

,

V U u _ _ m a y serve to rem in d of the o pe n i n g c a de n ce ;

V U ,

but the o ther form o f the n a m e ( i n t a m) re a lly a grees with °

”
the me a n in g ra pid a n d di la tory in di c a tin g the b e gin n i n g
, ,

a n d e n d of the p a da .

v a i qv a de vi .

R a re in both epics thi s m etre o ccurs but o n ce in sta n z a

,

form in the Ma ha bha ra ta a t a g fo ll o we d by a supplemen ta ry ,

tr i stu b h Th e fi r st hemi stich e n d in brevis Spora di c p a da s .

of the va 1 gva de vi type , a re n o t

in frequen t Th e twelve syll a bles do n o t m a ke a j a ga ti

.
,

tho ugh the metre is so c a lle d but a hypermetric t ri stu b h of ,

the ty pe d escribed a bove ( see No Th e n a tive m eth o d .

of me a surin g by trisyll a bles i n a ll c a ses is well sho wn in thi s

metre t o be a bsurd Fo r ex a mple in the p a da cite d a bove
.
, ,

Krs n a m Pa ri c a li m a b ra vi t s a n t va p fi rva m the c aesur a a n d

‘

n a tura l divisio n is i n groups o f fi ve a n d seven sylla bles

respectively So in the o n e sta n z a o f the gre a t epic xii
.
, ,

29 1 , 25 ( Mo ksa )
bhi ru ra j yo
an , b ra h m a n a h s a rva b h a ks y a h
v a i cy o
‘
n i h a va n , h i n a va rn o
‘

la s a g 0 a
vi dv a nc c a
’
gi ol, v rtt a h i n a h ku l i n a h
b ra h ma n a s t ri l
sa ty a d vib h ra s t o ca t u s ta

( ,
2 6 ra gi yu kt a h p a c a m a n o t ma h e t o r
‘

m urkh o v a kt a n rp a h i n a n r c a ra s t ra m
’

ete sa rv ec o c y a t a nu y a n t i r a j a n
'

y a c c a y u kt a h s n e h a h i n a h p ra j a s u )
’

1 Thi s i s t h e r e a di n g o f B . In C .
, b ra h m a n a h s t ri c a d ta
us .
 3 26 THE GR EA T EP I C OF I N D I A .

Inthe Ra ma y a n a a sin gle p a da is foun d in R ( a bove) a n d

,
.
,

o n e whole st a n z a a lso ( l a ckin g in v 65 28 ( both hemi , ,

stichs en di n g in brevis) There is further a ha lf sta n z a i n v .

, , ,

63 3 3 un i ted with a hyp ermetric t ri stu b h hemi stich no t i n G

, , , .

but fo ll o wi n g a t a g t ri stu b h commo n t o b o th texts ; a n in ter

-

estin g ex a m ple of the equiva len ce of the va i gv a de vi a n d free

t ri stu b h p a da s :

ri t i s h i t a ks a u s a m p ra h rs t a u k u m a r a n
p p
drs t va Si ddh a rtha n va n a ra n a rn 0 a ra j a
'

a fi ga i h p ra h rs t a ih ka ry a s i ddh i mv i di t va

b a h vo r a s a n n a m a t i m a t ra mn a n a n da

Fo r the two p a da s of the seco n d hemi stich see Nos 6 a n d 1 3 , .

in the I ll ustra tio n s o f t ri stu b h s Th e o n ly di fferen ce betwee n .

them a n d the va i gva d e vi lies i n the sylla bles m a rke d short .

Fo r a n other form of va i gva de vi see the ma lin i below , .

A tij a ga t i s .

R u c i ra .

Of the sta n z a s of ru c ira s i n the Ma ha bha ra ta

fift y -
one ,

a lmost a ll a re regula r On e or two slight irregul a rities .

occur in the thi rteen c a ses foun d i n the Ra m a ya n a I n de .

pen den t p a da s of this type sc a ttere d a mon g ordin a ry t ri s tu bh

p a da s a re n o t un com mon i n the former epic They ha ve been .

di scusse d a bove a s mor a — j g

a a t i s a n d t ri stu bhs T h e type of .

the pure ru0 1 ra , u _ h a s lo n g bee n

v _
,

held to b e merely a j a ga ti with res o lutio n a n d a s wa s s a id

1
, ,

a b o ve thi s seems to be the o n l y possi b le expl a n a t io n of the

,

p a da whether it h a ppen s to occur four or three ti m es twice

, , ,

or on ly o n ce in a st a n z a .

L ess commo n tha n the substitutio n of a ru c ira p a da for a

t ri stu b h or j a ga ti p a da yet still n o t in freque n t is the b a r
, ,

m o n i o u s a l tern a tio n o f p a da s Th e co n verse of the form er .

c a se is foun d in the occ a sion a l substitutio n of a va nga s t h a b il a

p a da in regula r ru0 1 ra sta n z a s a s i n the gro up of t e n t a g ,

Gi l de rme i s t e r, i n L a A n t h o l o gi a Sa n s c r i t a , 2d 1 24 ; Ja c o b i ,
’
1 sse n s e d, p . .

ZD MG , . vo l . x x x viii , p 607
. .
 THE GR EA T EP I C OF I N D I A .

Th e s a me a rra n gem en t h a s a lre a dy ( p 3 03 ) bee n n oticed i n .

xii 244 2 9 An other sta n z a in thi s b o ok x ii 5 2 3 4 forms

, , .
, , , ,

the fi n a le of a short system of pure ( t a g) va nga s t h a b i l a s .

On e fifth o f a ll the ru c i ra sta n z a s i n the epic a re i n the Ha ri

in se rted a s ta gs a n d they a re a ll perfectly regula r
'

va rrc a , , ,

with the substitutio n of o n e va nga s t h a p a da e a ch i n 2 1 23 , ,

3 5 c a n d 3 3 4 48 d respectively , I n a d diti o n to these there

, , .
,

is h a lf a ru c i ra a t C ( a ft er va nga s t h a s a n d befo re .

sl o k a s ) the prior p a da of whi ch e n ds i n brevis : n a m o s t u

c

te m a h i s a m a h a s u ra rdin i n a m o stu te b h a y a ka ri vi dvi s a m ,

‘

s a da Here B 2 1 20 43 in verts the p a da s perm ittin g t h e

. .
, , , ,

brevis a t the e n d ; but it a ls o h a s a va ried re a di n g b a n dh a na ,

m o ks a ka ri ni which le a ves o n ly o n e ru 0 1ra pa da 1 Th e other

, .

c a ses c a ll fo r n o specia l rem a rk Th e c aesura is a fter the .

fourth syll a ble .

I n the R a m a y a n a there a re but fo ur ru 0 1 ra s c o mmo n to the

two texts R a n d G two o f whi ch a re i n the seven th bo o k ;
, . .
,

but there a re four i n G n o t foun d i n R a n d fi ve i n R n o t . .

, .

foun d i n G As i n the Ma ha bha ra ta the c aesura is regula rly

.
,

a fte r the dii a m bus the ga n a di visio n , u _ u

,
_ _ u u v u
, ,
_

v u n o t correspo n di n
, g t o a n y text Here the positio n .

o f the ru c i ra is a lwa ys th a t o f a t a usu a ll y a fter u a a t i s

g p j , .

Th e sec o n d hemistich occ a sio n a lly e n ds i n bre vi s e g G ii , . .

, .
,

68 5 6 vii 68 25 ; R vi 62 22 ; but a s i n the M

, , , a ha bh a r a ta .
, , , ,

even thi s li berty is seldo m ta ken I n R v 7 1 5—1 7 ( n o t i n . .

, ,

of the twelve pa da s a ll a re regula r sa ve the fi rst which , ,

h a s a n extra syll a ble : i t i v a t a d grh a m a b h i ga m y a go b h a m a

’

nam
2
I n G vi 3 9 3 3 pa da h h a s y a ga s ka ra m p ri y a ka ra m
. .
, , ,

b a n dh a va p ri y a m where R 62 22 is re gul a r y a tha p ri y a m , .

, , ,

ri a ra n a b a n dh a v a
p y ri a
p y R o m its the t a g of G vii 68 25 . . .
, ,

( co n ti n ui n
g with s lok a s ) Th e c a se is i n terestin g bec a use it .
,

is evide n tly a n in sta n ce of bre a kin g a cha pter by me a n s o f

a t a g ( perha ps a s a n a i d i n recita ti o n ) a n d bec a use the ru 0 1ra ,

1 P . W . s . v . m a hi s a 2 0, gi v e s a va r . le c . I giv e th e r e a d in g s o f th e C a l c u tta
a n B mb y 1 8 95 H i v g
d o a , ,
a r a n a .

It i
2 yt gg t g b h i t m ; b t thi h
s e a s o su es o a u s a lf-ru c i ra h a lf—p ra h a rs i ni pa d a

r lly
ea d m d ti
nee S j t b l w
s no e en a on . ee us e o .
 E PI C VER SI FI CA TI ON . 3 29

ta g thus employed is highl y irregul a r ( p a da b : ha ni sya s i ,

Ra gh u va ra n a t ra s a mga y a h) i n m a kin g the c aesura a n swer

’
,

for a lo n g sylla ble ; thus showin g tha t there is a la te ( c a re

less) free dom a s well a s the freedom o f ea rly ( u n developed)
forms With o n e exception n o such substituted p a da s a s
.
,

equa te u p a ja t i s in the other epic occur i n the Ra ma ya n a 1 .

P ra h a rs i n i .

Ha vin g thi rtee n sylla bles to the p a da thi s metre is c a ll e d

a n a t i ja ga t i though its fi n a le is tha t o f a t ri stu b h u
, x As ,

to the rela tion o f the mea sure it is cle a rly of the p u sp i ta gra ,

cla ss i n closin g i n v v u
, a s will be see n below ; a n d

a s cle a rly of ru c i ra n a tur e b o th i n its mi ddl e a n d eve n in its

,

open in g ; fo r it begin s with a m o ra e q ui va l e n t of the ,

ru c i ra s di ia m bus a n d c o n tin ues with the ru c i ra s

’ ’
, u u ,
_ _

res o lved t ri stu b h form I n fa ct a s we h a ve seen tha t a .

,

ru0 1 ra p a da m a y a ppe a r with the extra syll a ble of the p ra

h a rs in i we c a n supply a ll the lin ks from t ri stu b h to p u s p i
,

ta gra with a ctua lly exta n t mea sures ( see a lso below un der ,

ma t ra c h a n da s p 3 3 7) , .

t ri s t u b h j a ga ti v
-
u , u u

ru c i ra ty e uuuu
p , _ v

ru c i ra fr e a k u u , u u u u

r
p a h a rs i n i , u u uu v
p d Sp l t é u[ ] W uu u
’

t R,
'
u u V ,

Th esecon da ry c aesura sometim es m a kes the p a da coin cide

very closely with the ru c ira for exa m ple in R ii 79 1 7 a —b : , .
, ,

a cu s te v a c a n a m i da m n i q a m a h rs ta h
y
s a ma t y a h sa p a ri s a do vi y a t a c o ka h ,

but i n other c a ses thi s c aesura c a uses a troch a ic ca den ce to be

struck wi th the begin n i n g of a n e w wo rd a fter the p ro c e l e u s
m a t i c u s a s is clea rly sh o wn i n R ii 1 07 1 7c —d :
, .
, ,

ga c c h a t va m p u ra va ra m a dya s a m p ra h rs t a h
sa m h rs t a s t v a h a m a p i D a n da ka n ra ve ks e
p y

1 Fo r thi s e xc ep ti o n in th e Ra ma ya n a , se e a b o ve , p 3 09 . .
330 THE GR EA T EP I C OF I N D I A .

Do t h o u the city fa re with hea rt re j o icin g

no w to
while m e a n tim e me rrily I will t o D a n da ka s go
is ra ther strikin g tha t i n both these exa m ples the n a me
It
of the metre seem s to be i mplie d in it h rsta h a n d s a mh rsta s ,
”
like p ra h a rsini ( or a n i ) rejoicin g but I do n o t kn ow th a t
-
,

1
this is m ore tha n a n a cci den t There is a p a ra llel i n the .

ru c i ra lik e p a da cited a b o ve fr o m the Ra m a y a n a G vii 8 8 22 :

-
, .
, ,

ga to r a vir s u ru c i ra m a s ta a
q ail m

Th e R a m a y a n a ha s
ca se of thi s metre G vi one m ore , .
,

25 41 s a kro dh a d vi p u l a y a ga m a h a n u b h a vo etc
, , Th e o n ly , .

short fi n a ls a re a t the e n d o f the whole sta n z a .

I n the Ma ha bh a ra ta there a re twelve c a ses a ll re gul a r ( but ,

the fi rst hemi stich a s well a s the seco n d m a y e n d in bre vi s) ,

with the sa m e n orm a n d v a ryin g c aesura uuu , v ,

OI
‘
They a re n o t u u u ,

a ll ta g s Fo r ex a m ple th a t a t vii 1 43 48 a n d the group of

.
, , ,

four i n xii 3 22 24—27 but tha t a t i 2 3 9 6 is the t a g of a

, , , , ,

t a g a ppa re n tly m erely a scholi a stic a ddi tion

,

a kh y a n a m t a d da i m a n u t ta m a m m a h a rt h a m , etc .
,

a s a re those i n i 21 1 8 22 1 2 ; 25 1 7 ( t a g to a ru0 1 ra t a g
, , , , ,

b e n ds in brevis) ve da fi ga n y a b h iga m a y a n t i s a rva y a t n a ih etc

, , .

Th e fi r st two of these just m e n ti o n ed a re a kin : i n 21 c v i s t i r ,

1 1 a mda drga t u r a m b a ra ra ka a m ; i n 22 b a m b h i ra mvi ka s i t a m

p s g ,

a m b a ra p ra ka ga m I n the specim en a t xiii 7 28 the p ra h a rsi n i

.
, , ,

is by o n e gl o ka sta n z a rem o ve d from the e n d of the sectio n

2
,

a n d is a m o r a l excresce n ce a dde d to the t a le

1 I ma y a dd th a t in th e fir ts exa mp l e
th e re i s n o t o n ly h rs ta h i n R 11 79 .
, ,

1 7, b u t i n t h e nq a s t h a
va whi c h p r e c e d e s thi s t a g we fi n d p h y a t a rn : ra a rsa s

r ti
p a b a s p a b i n da v o , e t c . Se e a c a s e lik e thi s fr o m t h e o th e r e p i c c it e d i n
th e next n o te .

2 Thi s fi a l I h a v e re p e a t e d wh a t t h e s e e r p ro c l a im e d i n
c l o ka s a y s
“
n :

r e ga r d t o t h e ge tti n g o f g o o d a n d e vil fru it N o w wh a t do y o u wa t t o . n

he a r Th e c l o ka b e fo r e t h e p h s i ni i s B h i s m a s y a i t a d v c a h gru t v a
? ” ra a r :
’
a

v i s m i t a h Ku ru p u r g a va h
a s a n p hz ta ma n a s a h p ri t i m a n t o b h a va n s t a d a
'
' ’
i ,
ra s .

Se e t h e l a s t n o t e .
332 THE GR EA T EPI C OF I N D I A .

y a di va dh a m i c c h a s i R a va n a s y a s a rn kh y e
’

ya di c a krt a mhi ta ve c c h a s i p ra t i j fi a m ’

ya di ta va ra j a s u t a b h il a s a a rya , ,

kur u c a va co m a ma q i gh ra m a dya vi ra 1

Th e n a tive di visi o n o f the p a da of course is v u u u ,

u
,

u u u,
which fi t s p a da b Th e brevis a t the e n d of .

either p a da a s i n thi s ca se is pro ba bly du e to the fa ct tha t

, ,

the metre is a stereotype d posteri or p a da i n repea ted form .

A s a m b a dh a .

Th e rema in i n g a ksa ra ta gs are l o n ger metres the ga kva ri , ,

of syll a bles 4 x 1 4 the a t i sa kva ri of 4 x 1 5 : a n d the a t i ,

dh rt i of 4 x 1 9
, Of the fi rst there a re two va rieties o f whi ch
.
, ,

o n e is the a s a m b a dh a foun d o n l y i n the B o mba y R ii 1 1 6

,
.
, ,

25 with the n orm ( a ccordi n g to the ex a mple

, ,

u u u vu
, u ,
vio la ted a s follows ( prior hemi st ich)
R a m a h s a rn s a dh y a rs i ga n a m a n u ga ma n a d
'

de ga t t a s m a t ku l a p a t i m a b h i va dy a t s i m
s a my a k p ri t a i s t a ir a n u m a t a u p a di s t a rt h a h

u n a mva s a y a s va n i l a y a m u p a s a mp e de
p y
To thi s is a dde d a suppleme n ta ry t a g a peculia r sta n z a ,

( where G iii 1
. 3 5 h a s a va r
, , i sa s t ha
, t a
g) i n wh i ch the la st ,

pa da di ffers fro m the three prece din g ; a b 0 bein g a lik e in , , ,

ha vi n g ea ch the fo urteen morae o f the even va i t a li y a pa da

( expl a i n e d bel o w ) a n d eleve n syll a bles
, but n o t in a fi xe d ,

order ; a ga ins t seve n teen morae a n d twelve sylla bles in d .

P a da b is a p a ra va kt ra but I do n o t kn ow wha t to c a ll the,

whole ( R ii 1 1 6 26) .
, ,

a gra m a m
h i t a m p ra b h u h
rs i vi ra

ks a n a m a p i n a j a h a u s a R a gh a va h
R a gh a va rn h i s a t a t a m a n u ga t a s
'

’
ta pa sa q c a rs a c a ri t e dh rt a gu n a h

1 Th e s tre s s , but qu a n tity

not th e , i s Sa tu rn i a n : k u r u c a va c o ma m a vi ru m
m i hi C a s m e n a si gh ra m a d y a v ir a v e rs ut u m m e m rge n dra
'

i n se c e . Th e na

m u kh a c o m e s fr o m t h e m n e m o n i c ve rs e : ks u dh i t a m t ge n dra m u kh a m m t ga
u p e ty a ( B ro wn ) .
 EP I C VER SI FI CA TI OIV . 333

Va sa nta t i l a ka .

Th e seco n d ga kva ri ca lled va s a n t a t i la ka ( or ka m) is foun d °

twice in the Ra m a y a n a but o n ly in the la st a n d la test book , ,

vii 8 2 8 where it is followed by a j a ga ti u p a j a t i a s a fi n a l t a g

, , , ,

a n d vi i 96 2 3 a lso a t a g
,
I n the la tter c a se a ll p a da s ha ve
, , .
,

hea vy fi n a l sylla ble s I n the former p a da c h a s fin a l brevis .

, ,

but this liberty is ta ke n i n the c a se o f the va s a n t a t il a ka eve n

by the cla ssica l wri ters Th e m etre is clea rly hyperm etri c
1
.

vu u the fi rst exa mple three p a da s ha ve c aesura

In , .

a fter the fifth like other hyperm etric t ri stu b h s :

,

e s a m a y a ta va n a ra dh i p a ra ks a s a n a m

u t p a t t i r a dya ka t h i t a s a ka l a y a t h a va t ,

b b uy o n ib o dh a R a gh u s a t t a m a , R a va n a s y a
j a mm a p a
r b h a va m a tu l a ms a s u t a s y a s a rva m

Th e Mha bha r t twelve occurren ces of va sa n t a t il a ka s

a a a ha s ,

but o nl y ei ght sepa ra te sta n z a s the others bein g va in repeti ,

ti o n s o f o ld m a teria l Th e fir st three a re in the t a g gro up a t .

-

the e n d of i 2 3 91 ff whi ch en ds i n a p ra h a rs i ni Th e seco n d

, , .
, .

of thi s group h a s short fin a ls in b a n d d ; the thi rd ( which

foll o ws imm e dia tely a fter two sl o ka s ) h a s fi n a l bre vi s i n a .

Th e sta n z a s a re be n e dictive a n d a re p a rti a lly repe a ted a t the

e n d of xvi ii 5 67 —68 where B h a s the third of t hi s roup
, , g , .

( o m i tte d here in a n d thi s a ga in is f o un d a t the be gin ni n g

of the Ha ri va ri na I n a ll these occurren ces of the s a m e sta n z a

.
,

da da t i is left a t the e n d of p a da a ; but i n c the re a din g va ries

between s a t a ta m grno t i i n xviii a n d grnu ya c c a ni ty a m or
t a dva t i n i 2 3 9 5 a n d Ha ri va ri ga i 1 4
, , I n xiii 1 51 8 0 , , , .
, , ,

the sa m e sta n z a h a s ka t h a y e c c a n i t ya m I gi ve it in full o n .

a ccoun t of its un i versa l i n terest :

1 Co m p a re th e t e t o V a m a n a s St i l e ge ln b y Pr o fe s s o r Ca p p e ll e r p 23
no
’
r ,
. .

Th e fi n a l b r e v i s i p ri o r p a d a s i s fo u n d l s o i n i n s c ri p ti o n a l p o e try
n C o m p a re
a .

t h e thir d a n d t e n th s t z a s i n V a t s a b h a tti s p o e m fifth c e n tu ry gi v e n ’

e g
. .
, a n , ,

i n B uhl e r s e s s a y o n I d i a n i s c ri p ti o n s p 9 1 wh e r e p a d a s a a n d 0 re s p e c
’
n n .
, ,

t i v e l y c l o s e i n b r e vi ; o r t h e fi fth a n d t we n ty fi ft h wh e r e i n e a c h b o th t h e
s -
, , ,

p ri o r p a d a s e d i n b r e vi s n I n fa c t t h e t e n d e n c y h e r e i s t o c l o s e t h e h e m i s ti c h
.
,

i n h e a v y s yll a b l e s a n d t h e p ri o r p a d a s i n li g ht syll a b l e s ( 25 2 7 3 1 3 2 , , , ,
334 THE GR EA T EP I C OF I N D I A .

go q a t a rn ka n a ka q rfi ga m a y a rn da da t i
' ’

yo
i
v p a y a v e da v du s e s u b a h u q ru t a y a
i 1
r

p u n
ya mc a mq rno t i
b h a ra t a ka th a rh sa ta ta
t u ly a m p h a l a m b h a va t i t a s y a c a t a s y a c a i va ’

I n the thirteen th book ( a s in the c a se of the Ra m a y a n a ,

thi s m etre is foun d o n ly i n pseudo epic or l a te books) there -

,

a re two n e w c a ses of va s a n t a t il a ka Th e fi rst 1 4 1 8 9 is .

, , ,

uni que i n n o t bein g a t a g ( on ly d h a s fi n a l brevis) ; the

other ( with a na rdfi l a vikri di t a ) bein g a t a g a s usua l Th e , .

la tter is un ite d with the be n e di ctive sta n z a a bove a n d like ,

it h a s fi n a l brevis i n the fi rst p a da 1 51 8 0—81 ( 8 0 bein g the , ,

sta n z a quoted a bove ) .

Th e Ha ri v a nga h a s a t a g group ( followe d by o n e gl o ka ) of -

three more va s a n t a t il a ka sta n z a s a t 3 1 1 4 3 9—41 the la st of , , ,

whi ch a lso h a s fi n a l brevis in c

41 c j y o tis t ril o ka j a n a ka rh t ri da c a i ka va n dy a m
, ,

d a ks n o r m a ma stu s a t a t a mh rda y e c y u t a kh y a m ’ °

Ma l i n i .

This is a n a t i ga kva ri 4 X 1 5 sylla bles h a vin g syll a b a a n ceps

, ,

regul a rly onl y a t the close of the hem istich but i n o n e in ,

sta n ce a t the e n d of a prior p a da a free do m foun d a mo n g ,

cl a ssic a l works o n ly in the Mrc c h a ka tika m a ccordin g to ,

Professor C a p p e ll e r 2
Th e m etre is foun d i n both epics ;
.

but the Ra m a y a n a h a s o n l y o n e c a se c o mmon to R a n d G . .

,

a n d th a t is i n the l a st book vii 5 9 23 G 61 21 the , , , .

, ,

sta n z a on ly en di n g i n brevis I t is a t a g I n R vi 40 . . .
, ,

29—3 0 there a re two c a ses n o t in G b o th re gul a r a t a g

, ,
.
, ,

couplet ( i n the former c a se b o th hemistichs e n d i n brevis ) .

G ii 1 06 29—3 0 h a s two sta n z a s n o t i n R a t a g ( fi n a l

.
, , , ,
.
,

brevis o n ly a t the e n d o f the fi rst sta n z a ) Th e n a tura l .

di visio n is often V U U u U , U , U

c aesur a a fter the spon dee Th e Ma ha bha ra ta h a s eleve n c a ses

_
,

.
,

1 v . 1 b a h u vi gru t a y a i n t h e
. B o mb a yH . Al s o ca fo r eu a nd o th e r va ri
a n ts i n An u qa sa n a .

2 Lo c . c it .
336 THE GR EA T EP I C OF I N DI A .

Th e con ten t of thi s ma lin i a ppe a rs a little further o n 77 , ,

26 i n the form of a p u sp i t a gra

,

ya di c a m a n u j a p a n n a ga h pisa ca
ra j a n i c a ra h p a ta ga n s u ra s u ra
q ca
a n d in vii i 3 7 3 6 i n a p a ra va kt ra : a s u ra s u ra m a h o ra a n na ra n
, , , g .

g a rd fi l a v i k ri d i t a .

Th e on ly rem a ini n g the epic is the a t i

a ksa ra c c h a n da s i n
dh rti ( 4 x 1 9 ) ga rdfi la vi kri di ta whi ch occurs i n the eighth ,

a n d thi rte e n th b o o ks o f the M a h a bh a ra ta Th e cha pte r of .

the form er bo o k gra ced with a m a li n i is a lso e n liven ed with

’ ”
the tiger s pla y viii 9 0 42 ( two lin es i n C 4668
“
, , , It
is n o t a t a g a n d is perfectly regul a r fo ur tim es u , u

v _ u
,
u There a re a lso o n e a n d a
u
,

h a lf sta n z a s a t X1 1 1 1 4 229 a n d a who le sta n z a i b 23 4 ;

, , , .

n either of which is a t a
g T his p o sitio n of a fa n cy metre
.
-

i n a ch a pter i n stea d of a t its e n d a lwa ys shows a la te sec t io n

a ffecte d i n the Ha ri v a nga ) I n xiii 7 9 the rdii l a v i
( ga .
, ,

kri di t a join s with va s a n t a t il a ka s to ma ke a t a g All the speci .

m e n s a re regula r Th e m etre m a y be a la t e devel o pm en t

.

from the t ri stu b h Th e in t erm edia te ph a ses h o wever a re

.
, ,

n o t very cle a r though the gen esis m a y te n ta tively be a s

,

sum ed a s ; u u u u ( a s i n the v a i ta l i y a belo w) , ,

u u u or two sta n z a s t o the stro phe a s i n ,

the cla ssica l gr o upin g o f slo ka s wi th shift o f c aesura This , .

metre is n o t foun d i n the R a ma ya n a .

A rd h a sa ma v rt t a ( Ma t r a c h a n da s ) .

( A) P U SPI TAG R A AN D AP A R A VA K TR A .

These metres a s is in di ca ted by their n a m e sem i e qua l

,
-
,

a re u n eve n i n their p a da s They a re n o t quite mora m etres .

-
,

sin ce the n u m ber a n d positio n of their syll a bles he a vy o r ,

light a re regula rly fi xed ; but o n the o ther ha n d they a re

,

n o t li ke a ksa ra metres fo r their p a da s a re n o t i de n tic a l

, In .

the epic however the ru le of fi xed sylla bles is n o t st ri ctly

, ,

preserved Th e c a den ce of the hemistich wi th its un equa l

.
,
 EP I C VER SI FI C A TI ON . 337

pa da s h a s either wholly trocha ic close or a l tern a t e troch a i c

,

a n d i a mbic Th e fi rst is ill ustra te d by R vi 3 3 3 6 c —b

. .
, ,

t a m i h a na ra n a m
a b h y u p a ih i devi
ha ya . i va m a n da la m
ka ro ti
a qu y a h

R a p i d a s a c ha rger is ,

Ha s te n hur ry q u ickl y
, .

As a lre a dy rem a rked the seco n d p a da of thi s p u sp i ta gra

, ,

when qua drupled m a kes the m rge n dra m u kh a ( a bove p

, , .

which a lso h a s troch a ic fa ll Th e a p a ra va kt ra whi ch h a s o n e

.
,

sylla ble ( usua ll y t wo m o res ) less th a n the p u sp i t a gra shows ,

more clea rly the deriva tio n fro m the t ri stu b h R ii 3 9 41 : , .

, ,

m u ra j a p a n a va - m e gh a gh o s a va d
D a q a ra t h a -ve q m a b a b h ii va ya t pu a r
or , a
g a n,i in M viii
.
, 3 7, 42

b h a va t u b h a va t u , ki m vika tt h a s e ,

nanu m a ma ta s ya hi y u ddh a m u dya t a m

Thereis o n e form o f t ri stu b h whi ch a ctua ll y correspo n ds
t o the sec o n d verse of the p u sp i t a gra whe n its breves a re ,

equa ted with hea vy syll a bles thus : ,

m a n a m n a ka ry a n n a da dh i t a ro s a m ’

t ri s t u b h

p u s p i t a gra b
s va p a ra m a t a i r ga h a n a m p ra t a rka y a db h i h

Professo r Ja c o b i a ls o sees i n the j a ga ti or t ri stu b h the ori

i n o f the p u sp i ta ra th o u h he is i n cli n ed to a do pt a more
g g g ,

c o m pli c a ted develo pm e n t ( fro m a V edi c verse o f 1 2 8

1
syll a bles) .

Th e p u sp i t a gra a n d a p a ra va ktra a re used o n ly a s t a g

metr es ; s o m eti m es a s i n R v 1 6 3 0 ( n o t i n G ) i ns erted
, .
, ,
.

1 ZD MG . iii p 591 ff P r o fe s s o r Ja c o b i p 5 9 5 r e g a rd s t h e p u s p i
vo l x x x v
.
,
. .
,
.
,

t a gr a a s a d e v e l o p m e n t fr o m a p r e m a t ra c h n da s whi c h i n t u h e r e fe r s
u a ,
rn

t o t h e s a t o b rh a t i ( 4 X 1 2 C o m p a r e a l s o t h e s a m e a u th o r I S v o l x vi i ,
. .
,

p 449
. .
 338 THE GR EA T EP I C OF I N D I A .

a mo n g u pa ja ti
ta gs commo n to both te xts ; som etimes a s in ,

G iii 5 4 28 ( n o t i n R ) a ft er a c o mmo n t n s t u b h —t a g ; o r i n
.
, ,
.

1
other simil a r situ a tio s n .

Th e p u sp i t a gra occ ur s much m ore frequen tly a s a t a g

m etre tha n do es the a p a ra va kt ra Fo r exa m ple in the Ra .
,

ma ya n a the p u sp i t a gra is fo un d fo ur times a s o fte n There

, .

a re h o wever o nl y thirteen c a ses c o mm o n to the t wo texts

, , ,

R and G . B esides these G h a s fo urteen a n d R h a s twe n ty

.
, .
, .

o n e c a ses n o t fou n d i n the a lte rn a te text .

Th e m a rk o f the p o sterior p a da a s di stin gu i shed from the ,

prior is the a ppa ren t in sertio n o f a hea vy sylla ble ( i n term s

,

o f m a tra metre two m o r ae ) a t a poin t which is usua lly fi xed , ,

a s a fter the i n itia l f o ur breves Thi s h o wever is n o t a lwa ys .

, ,

the ca se Thus i n G v 3 1 62 b c o rresp o n di n g t o d whi ch

. .
, , , ,

l a tter va c a n a m ida m m a m a Ma ithi li p ra t i hi is regul a r a p

, , ,

pea rs a s p o sterior p a da o f a p u sp i ta gra :

l a va n a j a l a n idh i r go s p a di krt o m e ,

where the hea vy sylla ble is put a fter a ll the breves perh a ps ,

m erely o n a cc o un t of the a wkwa rd phra se ( in gl o ka i b 3 3 , .

,

23 go sp a di krt a h)
,
L a ter rul e especia lly fo rbids this a rra n ge .

m e n t fo r a ll m a t ra c ha n da s e s : I n the o pe n in g o f prio r pa da s ,

u a n d o f posteri o r p a da s
u
, V a nd V V V V V , V _
V

a nd u v u uuu a re f o rbidde n .

Fur ther fo r the pri o r p a da m a y be substitute d a di ffere n t

,

ca den ce a l mo st tha t of the v a i t al i y a u

, u u , u u v

y Thi s occurs i n G vi 62 44 a ( where R 8 3 44 h a s .

, , .
, ,

the n orm a l u thus u

,
u u u u
,

G .
, a ya m a dy a vi b h o ta va c a p ri y a rt h a m
R .
, a ya m a na gh a ta vo dita h ’
p ri y a rt h a m
’
C om p a re G vi .
, 9 2, 8 3 b : s va b a la b h i v rt o ra n e v y a ra a j ta,

1 In G . vi , h e r e R h a s o n ly a ru c i ra th e re i s a p u s p i t a g a i n s e rte d
3 9 , 3 2, w .
,
r

b e fo re t h e ru c i ra Th e s e t wo n a m e s b y t h e wa y
.
p p e a r t o g e th e r a s o r d i n a ry
, ,
a

a d j e c ti v e s b l o o m i n g a n d s hi n i n g ( tr e e s ) s u p u s p i t a gra n ru c ir a n ( vrks a n )
“ ”
, ,

R . v, 1 4, 41 .

2 We b e r , IS . vo l . iii
v , p 3 09
. .
3 40 THE GR EA T EPI C OF I N D I A .

devi ( cite d a bove ) where however G h a s Si te ( here 9 3 9 , , , .

, , ,

a b h a y a rhka ra m is t o be re a d I n posterior p a da s fi n a l syll a b a

) .
,

a n ceps is f o un d a bout a do ze n times i n the forty o dd i

p p ta
-
u s
g r a s of the R a m a y a na text .

Th e a p a ra va kt ra is a p u sp i ta gra shorte n ed by o n e lo n
g
sylla ble two morae i n ea ch p a da ; or i n other words its pa da is
, , ,

a c a ta lectic u
p ps i t a gra p a da To n a tive pros o dia n s a s to E uro .
,

pe a n scho la rs the sho rter is the type a n d the p u sp i ta gra is a n

, ,

expa n ded a p a ra va kt ra ; a view tha t a ppea rs to m e erro n eous .

Th e a p a ra va kt ra o ccurs i n the R am a y a na a s sa id a bove n o t , ,

q ui te o n e fo urth so o fte n a s the p u sp i t a gra 1 L ike the l a tte r

-
.
,

it is used a lo n e o r wi th other m etres to m a ke ta gs Th e fi n a l

, .

sylla bles a re a lwa ys lon g I rregula rities a re ra re a substitute .

like tha t i n the p u sp i t a gra occurs i n G ii 8 2 1 5 a .

, ,

V V V V , V V U

VVVV , _

u v u u , v u
( c a s a ti om it c a ? )
V V U V , _

Here R h a s . regula r a p a ra va kt ra 11 8 1 1 6 I n G iv 62 25
a , , , . .
, , ,

the seco n d p a da is p l a va ga p u n ga va h p a rip fi rna m a n a sa h for ,

’
R . s ( 6 3 , 1 5 ) p la va ga v a ra h p ra t il a b dh a p a u ru sa h ; an d in G .

63 , 29 , p l a va ri ga m a h p a ri p fi rna m a n a s a h .

There is o n l y the Utta ra vn 29 3 7—4 0

one p a ssa ge in , , , ,

where p u s p i t a gra a n d a p a ra va kt ra a re fo un d Otherwise these .

metres a re di stributed pret ty eve nl y over the Ra m a ya na ,

2
except tha t the fi rst book h a s n o a p a ra va kt ra a n d o n l y o n e ,

u
p p s i t a gra co mm o n to b o th texts but R here h a s four n o t i n G , . .

Th e rea so n is tha t the la ter epic prefers pure m a t ra c h a n da s .

I n tercha n ge of a p a ra v a kt ra a n d p u sp i t a gra p a da s o ccurs

o cc a sio na lly a s i n G ii 1 5 3 6 ( R h a s upe n dr a here ) where a
, .
, , .
,

1 h e re a re o n ly s i x c a s e s c o m m o n t o b o th t e x ts ; b e s i d e s t wo i n R n o t
T , .

in G .thre e i n G n o t i n R t we l ve i n a ll a s G a t i v 62 25 a n d 63 29 h a s
. .
,
.
, , ,

t h e o n e a t R 63 1 5 . I n t h e l a s t c a s e t h e fir s t p a d a i s t h e s a m e i n t h e thr e e
,
.
,

s t a n z a s ; i n R a l l t h e o th e r p a d a s a re n o r m a l b u t i n G 62 2 5 d i s a p u s p i
. , .
,

t a gr a p a d a a s i s c o f 63 29 Th e m i s s i n g s ta n za i n t h e a lt e rn a te t e x t i s du e
, ,
.

m e r e ly t o t h e l a tt e r h a vi n g a p u s p i t a gra i n G iii 7 3 6 ; R vi 68 24 .
, , .
, , .

2
Th e fifth b o o k h a s n o a p a ra va kt ra b u t it h a s h a l f a d o z e n p u s p i t a g ra s ,
.

Th e s i x th b o o k h a s t h e g r e a t e s t n u mb e r o f p u s p i t a gra s .
 EP I C VE R SI FI CA TI o N . 3 41

a nd c a re p u sp i ta gra p ada s a n d b a n d d a re a p a ra va kt ra
p a da s i n regu la r in tercha n ge ; or a s i n G v 3 6 77 where .
, , ,

o n l y the l a st p a da of the sta nz a is c a ta lectic ( of a p a ra va kt ra

form ) .

I t is clea r tha t the p u sp i t a gra a form o f t ri s tu b h a n d the

, ,

a p a ra v a kt ra a c a t a lectic p u sp i t a gra a re n o t re ga rde d a s sepa r

, ,

a t e but a s in terch a n ge a ble in p a da f o rm a tio n As complete .

sta n z a s the la tter co m p a red with the fo rmer a re ra re Th e

, , .

p a da type is n o t a bsolutely fi xed .

B efore c o m p a ri n g the usa ge i n the M a h a bha ra t a I sh a ll ,

c o m plete thi s descriptio n of the phen omen a i n the Ra ma ya n a

with a n a ccoun t of the

B
( ) Au r A CCHA ND A s rx A A ND VAI TAL I YA .

In the la ter p a rt of the Ra m a ya n a — i f o n e m a y da re s u g

g est th a t a n y epic poe m i n I n di a wa s n o t a ll writte n a t the

sa m e m om en t the pla ce of the p u s p i ta gra a n d a p a ra va ktra ,

a s t a g metres
-
is ta ken by pure m a t ra c h a n da s e s n a mely the
, , ,

a u p a c c h a n da s ika a n d va i t a l i a
y which be a r to e a ch
, o ther the
sa m e rela tio n a s tha t held by the former p a ir ; th a t is t o s a y ,

the v ai t a l i y a p a da is a c a ta lectic a u p a c c h a n da s ika p a da .

These two p a irs a re esse n tia lly ide n tic a l a s m a y be see n by ,

com pa rin g the poste rior p a da s which i n ea ch a re in crea sed

,

b y a lo n g syll a ble Th e posterior p a da of the a u p a c c h a n da

.

sik a is

whi ch when ca ta lectic should h a ve fi n a l syll a ba a n ceps ; but

, ,

thi s n ever h a ppen s a t the e n d o f the fi rst hemistich o n ly a t

, ,

the e n d o f the sta n z a a n in dic a tio n tha t the va i t a li ya is the

,

derived f o rm A ga in the a u p a c c h a n da sika is re a lly the epic

.
,

sta n z a m etre Th e va i t a li y a is used but o n ce a s a sta n z a a ll

.
,

the other c a ses bein g m erely c a ta lectic p a da s of a n a u p a c c h a n

da s ika sta n z a Th e pri o r p a da 1 11 a u p a c c h a n da s ika m a y
.

a ls o e n d i n brevis a n d a s the spo n dee is usu a lly res o lve d

, ,

in to a n a n a p aest in both p a da s we ge t the n orm ( 1 6 a n d 1 8

,

morae )
3 42 THE GR EA T EPI C OF I N DI A .

( 21 )
( b) s o

01 ( )
b
‘
_
, V _

i 1
Thi s
is eviden tly a va riety of the u
p ps t a
gra . Tha t is it
,

reverts to a t ri stu b h origin .

R . vii , 5 7, 21 G 59 .
, 22, m a y be ta ken as the typ ic a l
form
V V , U U

U V ,

G . s t e to R s p a da a iti s a rva m a ge sa t o ma ya ( te) Th e

a dd .
’
, .

fi n a l syll a ble of the sta n z a i n vii 61 24 G 66 24 va i t a l i y a , , .

, , , ,

is sho rt i n R lo n g in G Prior p a da s do n o t usua lly e n d

.
,
.

i n brevis but they do occ a sio n a l ly a s i n G vii 8 7 1 8 ( n o t

, , .
, ,

in where i n b the spon da ic typ e of open i n g is ill ustra te d :

iti ka rma s u da ru n a rii s a krt va
D a n do da n da m a v a p t a va n u gra m
q rn u s a rva m a c e s a t a s t a d a dya
ka t h a y i s y e t a va ra j a s i nh a v rtt a

Th e close of b however shows a n un usu a l ph a se of the type

, ,

of the equi v a len t v a ri a n t with spon dee ; but it is n o t n e c e s

s a ry to suppose tha t a brevi s is lost before u gra m B o th .

posterior p a da s m a y begin with a spo n dee ( but e n d in

v u a s i n R vi i 5 5 21 G 5 7 22 ( a ll p a da s e n d
.
, , .
,

l o n g) 0 g t u l y a vy a dhi ga ta u m a h a p ra b h a va u a pp a ren tly a n

, . .
, ,

older fo rm tha n the usua l resolved type .

As in the c a se o f the p u sp i ta gra a n d a p a ra va kt ra the c a ta ,

l e c t i c ( v a i ta l i y a ) p a da m a y t a ke the pl a ce of the full me a sure .

Thus i n R vii 9 5 1 7 ( n o t i n
.
, ,the Spon dee typ e ( b) is used
a s a c a ta lectic p a da :

iti s a m p ra vi c a ry a ra j a s i nh a h
q vo b h u t e c a p a th a s y a n i q c a y a m
v i s a s a rj a m u n i n n rp a nc c a s a rva n

sa m a ha tma m a h a to m a h a n u b h a va h

1 C o m p a r e t h e fo r m c it e d a b o ve u u , uu u V V ,
a s a va ri a n t
o f p u sp i t a gra (b ) .
3 44 THE GR EA T EP I C OF I N D I A .

iti sa m a ra va ra m s ur a h s t h i t a s te
p a ri gh a s a h a s ra c a t a i h sa m a ku l a m
vi ga l i t a m i va ca
’
m b a ra n t a ra m
t a p a n a m a ri c i vikac i t a m b a b h a s e

In the sta n z a the p a da s a re a p a ra v p u sp i t a p a ra v

fi rst .
, .
, .
,

a p a ra v ; i n the seco n d p u sp i t
. a p a ra v a p a ra v p u sp i t,Al , .
, .
, .

m ost the sa me a s the l a tter is the a rra n gemen t in a t a g t o a

da n a ka t h a n a ( followe d by three t ri stu b h s ) a t the e n d o f iii , ,

200 1 26 where a p u sp i t p a da is foll owe d by a n a p a ra v p a da

, , . .

in the fi rst couplet ; but the seco n d begi n s wi th the p o s t e ri o r

p u sp i t a gra p a da a n d is followe d by the posterior p a da of a n
,

a p a ra va kt ra
c —d : b h a va t i sa h a s ra gu n a mdi n a s y a ra b o r
v i s u va ti c a
’
ks a y a m a cn u t e p h a la m
a s if the posterior pa da were used o ri gin a lly i n either posit ion
a s the n orm ; which wo u l d a gree with the i de n ti fi c a tio n wi th

the t ri stu b h ven tured a bove .

Of the eight p u s p i t a gra s in the seve n th book six ( a ll t a gs) ,

a re perfectly re gula r ( 2 X 1 6 1 8 ) a n d requi re n o n otice

for r j re r j ni
°
H ere °

( C 2 7 3. 1 a a ni a d, a a a s i n B 77
, , .
,

o n ly hemi stichs e n d i n brevis Two c a ses deserve n otice I n . .

vii 1 622 3 7 3 7b C h a s p i t rs u ra c a ra n a s i ddh a s a fi gh a ih i n

, , , . r
,

B s i ddh a y a ksa s a fi h a i h B ut B is ofte n less bette r th an

.
, g . .

be ttered a n d here the n e t result o f three correctio n s is to

,

m a ke a perfect p u sp i ta gra out o f O s schem e whi ch is .

’
,

u v u v u u u _ u u _ u

u u v u u u u _

but this is a tta in ed by b ; ch a n gin g a va n i t a

a ddi n g y a ks a in
l a vi ga t a i g c a t o a v a n i t a l a ga t a i c e a i n c ; a n d i n ven tin g the
.

wo rd a t i vi b a b h a u fo r a b h i b a b h a u i n d ( B a t i vi b a b h a u h uta ,

bhug ya tha jy a s ikt a h) Ma tes t o p a da 0 were sho wn a b o ve

’
.

from the Ra ma y a n a I rr e gu la r too a s is d it is n o t li ghtly to

.
,

be rejecte d sin ce it h a s its perfect p a ra llel in the eighth book

,

a lso i n Ha ri v C 1 1 269 d
( below ) a s , ( 8 6 4 d ) . .
, , ,

( iti s a n rp a t i r a t ma va ns t a da s a u )
’

t a d a n u ( vi) c i n t y a b a b h uva vi t a m a n y u h
 EP I C VE R SI PI CA TI ON . 3 45

where for O s a n u c i n t y a a n u vz c in t ya o f B m a y be a correcte d

'
’
, .
, .

re a di n g a s a bove it is e a sy to propose a b hi vi b a b h a u a n d refer

,

to the Ri g Veda for the form .

Th e c a se a t vi i 1 8 2 2 7 8 2 73 shows a better re a di n g i n
, , ,

B where hi is requi re d ( a cciden ta lly omi tte d i n

.
, Th e
’
p a da s h ere a re regul a r the sta n z a s e n d ha vin g brevis ( in 77 , ,

26 the fi rst hemistich e n ds i n brevis)

,
Th e chief pec u li a rity .

here is tha t the p a ssa ge sta n ds i n the mi ddl e of the ch a pter ,

the other c a ses i n D ro n a bein g ta gs .

On ce V V V ta kes the pl a ce of U V V
u produci n g u U V ,

i n p a da a the chori a mbus equiv a len t to tha t i n b a n d d Thi s .

ha ppen s i n o n e of the two gre a t groups of l a te a p a ra va kt ra s

i n the ei ghth book vii i 3 0 3 ( a lm o st a t the begi n n in g of the
, , ,

1
cha pter) :
U V

rest of the twen ty fi ve sem i e qua ls i n the eighth

Th e - -

bo o k a re a ll groupe d to gether i n 3 7 3 1 ff where a fter o n e , .

, ,

p pu s i ta gra p a da follow a s i n the l a st

, gr o up a fter a sta n z a
, ,

a p a ra v a kt ra s o n ly I n thi s group of twelve st a n z a s breves

.
,

occur but ra rely a t the e n d of the hemistich in 40 a n d , ,

42 a t the sta n z a s e n d i n 3 5 a lon e a t the e n d of b

’
, On l y two .

of these sta n z a s requ i re a word I n 3 7c —d where the fi rst of .

,

the two p a da s h a s seven teen mor ae ( fo r fourteen ) ,

di n a ka ra s a drga i h q a ro t t a m a i r y u dha
K u rus u ba hun v i n i h a t y a t a n a ri n ,

it seem s sim ple to drop the hypermetri c a n d un n ecessa ry

yudh a ; but it is in both texts ( N i l a ka n th a sa ys tha t thi s p a r
t i c u la r st a n z a is v i sa m a m ch a n da s ) a n d h a s a p a ra ll el in
Ha ri v where ( C o n ly) a p u s p i ta gra begin s :
. .

1 Th e fir t t z
s s an a of th e c ha p te r i s a fir t t z f th gr p i
c l o ka ; t h e s s an a o e ou s

a p u s p i t a gra ; th e n fo ll o w a p a ra v a kt ra h r fir t h lf i t l ti
s to 9, w e e t h e s a s ca a ec c

( a p a ra v a kt ra ) an d th e se c o n d h lf ia s p p ita g a (
us i 13 b
r d i br i )
a s n ,
en s n ev s

1 0 is r e gu l a r a p a ra v a ktra ; 1 2—1 4 e u a a
a ,
r g l r p kt ; 11 i r g l r i
a ra v a ra s s e u a n

B a b u t irre gu la r i n C ( ci n i vrs a b h a ca ra p i di t a s
.
, .
°
fo r c a ra i r n ip i di t a m ) . He r e
d e n d s i n b r e vi s .
3 46 THE GR EA T EPI C OF I N D I A .

hi ka rtu m1
v i dh i vi h i t a m a ga ky a m a nya th a

A sim ila r c a se h a s been shown a bove i n the Ra m a y a na .

Th e o ther st a n z a deservin g n otice is the fi rst of the group ,

viii 3 7 3 1 1 73 7 B oth texts h a ve a p u sp i t a gra pa da in a ;

, , .

a n a p a ra v a kt ra p a da i n b ; a n d i n c —d

j i h a dy a P a n da va rn
u gu p i s a va
'
’

kim ba h u n a sa ha ta ir j a y a mi t a m
tha t is u for u , uof the resoluti on i n va i ta li y a ( but the
u

c aesura i n d is a fter the chori a mbus : Though the go ds ma y

wish to gua rd the P a n du here tod a y wha t then I sha ll ,

con quer him go ds a n d a ,

I n C a n ti the p u sp i ta gra s a re ge n era lly too re gul a r to be

,

in terestin g A b i g bun ch of them in Mo ksa m a kes a t a g a t

.

the e n d of a dh y 1 79 thi rteen i n a ll They ha ve a n un usua l

.
, .

n umber of fi n a l breves but o n ly bec a use vra t a m ida m a a a ra m , j g

c u c i c c a ra mi is the fi n a l refra in of t e n of the m ( o n l y twice
h a s b brevis) Of the twen ty o n e sta n z a s of this cl a ss i n
.
-

g a na
( M o k s a ) sixtee n a re p u
, sp i t a gra s ; fi v e a p a r a va kt ra s , .

Abo ut the sa me proportio n obta in s i n Ha ri va nca where there ,

a re twe n ty two sta n z a s of a rdh a s a m a s of which o n ly three a re

-
,

a p a ra va kt ra s All those i n Q a n t i a re ta gs either followin g

.
,

t ri stu b h s or followe d by a n other supplemen ta ry t a g ( a s i n the

c a se of a ra t h o ddh a t a men tio n e d a bove ) I n xii 25 0 1 2 b .
, ,

903 5 ( y a d a vi du s a m ) m a h a db h a y a m ( p a ra t ra ) i n 0 a ppe a rs .

to be a la psus ; i n B a s s u m a h a db h a ya m a n d i n .
y a d ,

a vi du s a m s u m a h a db h a y a m b h a v e t ; but c o mp a re the p a r a llel

below in H Th e f o llowin g is a p a ra llel to the c a se a bove

.

i n the R a m a ya n a i n its la te form ( ) xii 3 1 9 u _ u _ u _

, ,

112 ( the or d er o f mor ae is 1 7 1 8 1 6 or 1 7

where B h a s .

u p a n i s a da m u p a ka ro t t a t h a s a u
’
y a d
Ja n a ka n rp a s y a pura hi Ya j fi a va l ky a h
1 Thi i i t h s t z r f rr d t b
s n e s an I thi
a e H 3 6 4 h
e e lyo a o ve . n s c a se , .
, ,
a a s on

v i dh i ih i t m
v c ky m a a y t h a t whi h C
a a dd k t m Th f t th t t h
an a ,
o c . a s ar u . e a c a e

sa m e p fi i ty f yll b l
su er u i f o d i th R a m a y m t t l t m k
s a e s s o un n e a na us a ea s a e

d b tf l i t t
ou u a n ptns a ne f th m r a cce l f rm g i v i wh t i
anc o e o e u su a o en n a s so

o ft l rly i mp r d t t
en a c ea o ve ex .
3 48 THE GR EA T EP I C OF I N D I A .

It
will be c o n ve n ien t here to put to gether the forms of
a rdh a s a m a vrt t a s thus fa r exhi bite d i n the two epics I n the .

Ma ha bha ra ta a n d Ra ma ya n a the gen era l types o f a p a ra va kt ra

a nd p u sp i t a gra a re :

U V V V U U , _ _ v _ 1 4 ( 1 6) m o rae
(b )
l
1 6 ( 1 8 ) mo ra e

These m a y be c a lle d t he types , bec a use the fo ll o win g va ri

a t i o n s a re proporti o n a lly in sign i fi c a n t B u t, tho ugh few i n .

n umber they a re i mporta n t a s showin g tha t there wa s n o

,

a bsolute lin e betwee n the fi xed m a t ra c h a n da s a n d the free

m a t ra c h a n da s for these va ria tio n s m a y just a s well b e re
,

rd e d e v a i ta l i a p a d s v ri ts of a ra v a kt ra
g a a s g y , a a s. a a n .
, p a

p a da s B u t it must be remembered tha t they do n o t re p re

.

sen t pada s of e g va i ta li ya sta n z a s ; on l y equiva len t p a da s

, . .
,

of e g a p a ra va kt ra sta n z a s whi ch I ca ll va ri a n ts o n a ccoun t

, . .
, ,

o f their p o siti o n

I n M a n d R both a re foun d the followin g va ri a n ts of ( a 1 )

. .

u u u u v u

In both texts of b o th epics two ca ses i n M ; thr ee i n R I n , . .

M bo th c a ses a re i n pa da c ; i n R onl y in a p a ra va ktra

. .
, .

( )
Et
a
( h yper m
v e t
u er
) u u u u

I n M i n both texts a n d a lso i n Ha ri va nc a

.
, i n B o n e c a se .
, .

I n M a lo n e : .

UV U UV V

In R . a lo n e
Vi i
v u u u u u , u _ _

( B .
, )
(a )
s
u u _ u v _ u u ._

(G .
,
1 7 m o rae )
u u u c 1 5 m o rae ) u u bt fu l , p a da
7
( )
a v v u u u
( d o ,

( ) uu u u c 1 5 m o rae ) ( o n ly i n G , pa da
s
a u u v .
,

In M . a nd R . both is foun d the followi n g va ria n t of ( b l )

(b ) u u u uu n ly i n C a n d G r e
2
v _

( o 1 5 m o a ) . .
,

In M lo e a n

( b ) v u8
u uu u u ( lyon in C . a nd Ha ri va nc a ,
p a da s b a nd d, 1 7 mo rae )
(b )
‘
u v u v — i u _

( Si c , his in C .
)
(b )
fi
U V _ V _ V
 E PI C VE R SI FI C A TI ON ’
. 3 49

I n R a lo n e
( o n ly in G fo rbi dde n by
fi
(b ) u u u .
,

(b )
’
v v u _
( o n ly i n G ) .

(b )
e
v _ . v _ _

( o n ly in G ) r.

(b ) ( o n ly in G prio r a upa
e
V V _ u u _ u v .
, a

c c h a n da s i ka )
Th e complete va i ta li y a a n d a u p a c c h a n da s i ka sta n z a s of ,

perfect m o ra form fo un d onl y in the la ter Ra ma y a n a ha v e , ,

the scheme
( ) a u v , _ v v _
, u _

l
(b )
2
(b )
h
( )
a
— u u u _ _

B efore ta kin g up the o dd c a ses rem a in i n g I c a n n ot refra in ,

from dep a rtin g somewha t from a purely metric a l poin t of

view to express a dm ira tion for the a rt with whi ch these
,

metres a re ha n dl ed Th e poets of the l a ter epic pl a y with .

them skilful ly They a re n o t a ppren tices but m a ster work

.

me n .I give two ill ustr a tio n s I n o n e the metre is e m .

,

ployed to give a list of fi ghters a n d wea pon s the n a mes of ,

which a re cleverly m o ul de d to gether to form ha lf a perfect

sta n z a I n the other the poet is in dul gin g in s a tire a t the
.

expens e of the ph ilosophers

viii 3 0 5, p a ri gh,
a m u s,
a l a c a kt i t o m a ra i r

n a kh a ra b h u c u n di ga da c a t a i r h a ta b

dvi ra da n a ra h a y a h sa h a s ra c o
ru dh i ra n a di p ra va h a s ta da bha va n
’

xii , 1 79 , 3 5 , b a h u ka t h i t a m i da m hi b u ddh i m a db h i h
ka vi b h i r a b h i p ra t h a y a db h i r a t m a ki rt i m
i da m i da m iti ta tra ta tra t a t ta t 1

s va p a ra m a t a i r ga h a n a m p ra t a rka y a db h ih

Iha ve n o w given seria tim a ll the m a t ra c h a n da s c a ses in

the gre a t epic wi th the excepti o n o f o n e c a se i n V a n a to be
, ,

1 v . 1 . h a n ta .
3 50 THE GR EA T E PI C OF I N D I A .

men tion e d i mm e dia tely a n d two or three peculi a r groups in

,

n t i a lso t o be discusse d below I t will ha ve been n oti ced

Q a ,
.

tha t in the l a ter books gre a t he a ps of sta n z as of thi s metre

a re piled together Thus a ll the twen ty fi ve i n K a rna ( a
.
-

la te book in its presen t sha pe ) a re i n two sectio n s thi rtee n ,

sta n z a s i n o n e twelve in a n other ; while i n ga n ti a n other group

,

of thirteen is foun d Thi s stupid m a ssin g of a d orn men ts

.

for these t a g metres were used origin a lly o n l y a s frin ge wo rk

- -

— the still l a ter thirtee n th book exceeds by un itin to ether

g g
i n o n e he a p fi r st a p u sp i ta gra xiii 1 4 1 8 0 the n four a ry a s
, , , , , , ,

i b 1 8 1 —4 the n two cl o ka s i b 1 8 5 —6 then a n a ry a i b 1 8 7

.
, , .
, , .
,

then a n u p a ja t i i b 1 8 8 then a va s a n ta t ila ka i h 1 8 9 the n

, .
, , .
,

a p u sp i ta ra
g , i b 1 9 0
. the n a n a ry a i b 1 9
, 1 , . .

D espite thi s profusio n of p u sp i ta gra s a n d a p a ra va kt ra s ,

the Ma ha bha ra ta h a s n o such regul a r va i t a li y a s a n d a u p a c

c h a n da s i ka s a s h a s the l a te r Ra m a y a n a B u t the foll owin g .

i n terestin g verses occ ur in the popul a r story of Yu dhi sthira

a n d the daem o n who required h im to a ns wer cert a in ques
,

tion s They a re n o t ta gs iii 3 1 3 1 1 2—1 1 3 ; they a re la te ;

.
, , ,

a n d they a re a n a ppr o a ch to va i t a l i y a s

p ri y a va c a n a va di ki m l a b h a t e
v i m rc i t a ka ry a ka ra h ki m l a b h a t e

b a h u m i t ra ka ra h ki m l a b h a t e
dh a rm e ra ta h ki m l a b h a t e ka t h a y a

u u

u u u v , _

p ri y a va c a n a va di p ri y o b h a va t i
v i m rc i t a ka ry a ka ro dh i ka i ii j a y a t i
¢

b a h u m i t ra ka ra h s u kh a mva s a t e
a c c a d h a rm a ra t a h s a ga ti m l a b h a t e
y ;

U V , V V V — , V — V V V , 15

_ V , _ V V q —U
, \J
3 52 THE GR E A T E P I C OF I N D I A .

3 0, ma ry a da n i y a t a s va y a mb h u va y a ihe m a h
°

p ra b h i n a t t i da c a gu n a m a n o n u ga t va t
n i va s a t i b h rc a m
m p i t rv i s a a s u kh a

y a —
vi p i n a m a va ga h y a s a
papa h

_ V V V V ,

V U V U V V , V V _

u v u

yo l u b dh a h s u b h rc a m p ri y a n rt a q ca ma n u sy a h
ya t
l-
sa t a t a n ikrt i va fi c a na b h i ra t i h s

u p a n i dh i b h i r a s u kh a krt sa p a ra m a n i ra y a go
b h rc a m a s u kh a m a n u b h a va t i du s krt a ka rm a

( = 3 2 a )
b ,

d, v u u u u u v v v v , _ v v

22 17 19 18 . Here 0 the resolved eq u i va len t of

ha s
the Sa v y—
vV cl o se of a , b d Th e choria m b of a is a ll
, .

resolve d i n d , W v u w , i n 0 o nl y the fi r st
_

syll a ble w w
,
u u _

( a s if s a were in terpol a ted) .

u s n a rii Va i t a ra n i m m a h a n a di m ga dh o
2
3 2, a va

b h i n n a ga t ra h
‘

s ipa t ra va na

p a ra c u va n a c a y o n i p a t i t o va s a ti ( c a )
ca m a h a n i ra y e b h rc a rt a h

( 2 31 8 )
v _ vvv
v v , v v v v _ u v u (u )
V V ,

22 ( )
1 9 + 1 3 +

1 C . va c a ma , b u t N . va ficana c a u ry a di .

2
C o it
m. s m a h a °
.
 EP I C VE R SI FI CA TI ON
'
. 3 53

Ma t ra s a m a k a s .

In x ii , 3 3 6, 1 1 —1 2
two lin es a s prin ted in 1 2706—7 occur ,

C which see m to be r a ther rhythmic a l prose tha n p o etry ;

.
,

but i n 3 47 1 8 —22 1 3 444 there a re fi ve ma tra sta n z a s of

, ,

which I give the schem e a lon e ( they a re n o t a rra n ge d i n the

s a m e wa y i n b o th texts)
V V V U _ V U V — , V U U V U V _
, V V V

V U V U V V U U V _
,

u u u vvvv _

( 1 6 + 1 7)
B . a dd s u u u u u u W h i Ch 0 .
gives to the n ext st a n z a .

1 9, u u u
( 1 6 + 1 4)
0 a dd s v which B ives to the n ext hem ist ich
. u u u .
g .

X 2)

_
, u _ v u

or 1 7)

Perha ps p u ra n a mi n 21 is to be om itted . Th e text is

ta m l o ka s a ks i nam p u ra n a m ra vi va r
m a ja m p u ru s a
n a m i c va ra mga ti m b a h u c a h

m a dh va m e ka ma n a s o ya ta h l i l o db h a vo
‘

p ra na sa
pi
ta m rs i m p ra n a t a h

u u _ u _ u ,
( 1 6 1 7)
1 8)

fo rm is cle a r in sta n z a s 1 8 a n d 20 On the other

Th e a ry a .

ha n d the fi rst sta n z a is a n a lmost pure p ra h a ra n a ka li t a p a da

, ,

V V V V V V while the p ra mi ta ksa ra p a da V V V V ,

V V V V preva ils i n the fo llowin g sta n z a s ; n o t h o wever , ,

a s pure ga kv a ri or j a a ti sta n z a s but with m a tra res o lutio n

g , .

Th e sta n z a s if they a re tre a te d a s o n e gro up m a y perh a ps be

, ,

con sidered a s ra ther rough m a t ra s a m a ka s ( four p a da s of six

23
 3 54 THE GR EA T EP I C OF I N D I A .

teen m o rae e a ch) p a rtly of the vi cl o ka typ e ; or a s a rya gi t i ,

1

( but with fo ur m o rae in the sixth foot) mi xe d wi th m a tra ,

s a m a ka s N o thin g of thi s s o rt is foun d i n the Ra ma y a na

. .

Ga n a c c ha n da s .

st a tem e n t tha t the a rya m etre occurs in B uddh istic

Th e
writin gs ( a n d e a rli est in scription s) but n o t in epic poetry wa s ,

m a de s o l o n g a go th a t the le a rn e d a uthor of D a s Ra ma y a n a
c a n sc a rcely a t thi s da te be held resp o n sible for the sli ht o ver
g
2
sight Nor is the ma in a rgu me n t to whi ch this sta tem en t
.
,

serve d a s a support especia lly a ffecte d by the fa ct tha t the ,

Ma ha bha ra ta besides the sta n z a s o f a rya gi ti m en tion e d in the

,
.

l a st p a ra gra ph h a s eight a ry a sta n z a s ; sin ce these a re i n p a rt s

,

of the epic so la te tha t their presen ce a s a ffectin g epic p o etry ,

in g en era l m a y be di scoun te d ; a t le a st for a n y o n e wh o t a kes

,

a re a so n a bly hi st o ric a l view of the row t h o f the gre a t epic

g .

Si x o ccur in xiii 1 4 1 8 1 —8 4 1 8 7 1 91 772—75 778 78 2 , , , , , ,

u , u v

u v u u fiu u , u u

V V — 9 - a

v v , v v

u u u u , u u u u , u u _

1 8 7, _ u , u u _

Th e l a st two sta n z a s a re u
pa i
g ,t i tha t is they ha ve the ,

1 C o l e b ro o k e , E s s a ys , vo l . 11, pp . 78 , 1 42 if ; We b e r , In d S . tu d .
, vo l . v i ii ,

3 1 4—3 1 8 I
i n d e b te d t o a qu e ry n o t e i n Pr o fe s s o r C a p p e ll e r s m a u
m
’
n
pp . . a

sc rip t fo r t h e s u gg e s ti o n th a t th e s e m a y b e i m p e rfe c t a ks a ra c c h a n da s e s o f
t h e ty p e s n a me d Th e p u r e m a t ra s a m a ka h a s b r e vi s i n t h e p a d a s ni n th
’
.

s yll a b l e .

2 ZD MG .
, v o l x x x v i ii ,
.
p 600
. D a s Ra m a ya n a , p 93. .

3 B .
, hi ; C o m it s hi
b h a va t i . .

y e s a mn a k sa n a m a p i ru c i t o h a ra c a ra n a s m a ra n a vi c c h e da h ; a y a gi t i
4 Te x t :

a n d n e g l e c t e d c ae s u r a ; b u t i f
p i ( a n e a y i n tr u s i o n ) we r e e x tru d e d t h e
a s ,

n e g l e c t e d c ae s u r a wo u l d b e i n i t s u s u a l p l a c e uv u u , u u u u ,
,

u v u , ,
wi th t h e a ry a fi n a l fo o t o f t wo m o r ae .
3 56 THE GR E A T EP I C OF I N DI A .

m en s bove un der m a t ra s a m a ka s they a re in tercha n ge a ble

a ,

with the la tter of whi ch they a re o n ly a more specia l type

, ,

with v v v
_
v
, v a s the l a st four feet of the
u ,
v
_
v v
_
y
.
,

hemi stich ( com p a re 1 8 3 a o n ly thi s is n o t i n the a rya gi ti ,

form but h a s the a ltern a tive o n e he a vy syll a ble for two or

, ,

two morae for fo ur) Th e ma t ra s a m a ka s i n turn a re the .

equ i va len t in morae of the cl o ka stro phe ( tha t is a u n i t com ,

posed o f two cl o ka s such a s the cla ssic a l wri ters a ffect) the , ,

thirty two sylla bles of the h a lf strophe a n swerin g to the thi rty
-

two m o rae of the hemistich in the m a t ra s a m a ka a n d a ry a gi t i

the n e m ora of the sixth foot a n d two mor ae of the ei hth
( o g
1
foot bein g speci a l m o di fi c a t i o n s ) .

Th e D i s t ri b uti o n o f Fa nc y - Me t re s in t h e G re a t E p ic .

2
Th e rela tion of cl o ka a n d t ri stu b h which i n the whole ,

Ma ha bha ra ta sta n d n umeric a lly i n the rough proportion of

to 5 000 ( out of sta n z a s or prose e q u i va
len ts the s u m of the whole ) va ries en ormo usly from book
, ,

t o book o n e t ri stu b h to th ree hun dred a n d t e n gl o ka s i n the

,

eighteen th bo o k a lmost n in e hun dre d t ri stu bh s t o four thou

,

s a n d cl o ka s i n the eighth book the extrem es i n a bsolute ,

n u m ber o f t ri stu b h s a s well a s i n their pr o portio n to c l o ka s .

From re a son s quite a p a rt fro m metre I h a ve elsewhere ,

m a in ta i n ed tha t the fi r st p a rt of book i a n d book xiii with , ,

the Ha ri v a nca were l a te a s com p a re d with books vn vm x i i , , , ,

but th a t these i n their turn c o n ta in very l a te a ddition s to

1 On e m a y , i n d dtk
ee ,
h e mi s ti c h i n t h e fo rm
a e t h e c l o ka u

u au d r e c k o n it i n m o r ae 1 5
_ n 1 4 a s a h e m i s ti c h o f a . ,

m a t ra s a m a ka whi c h i s a s n e a rly c o rr e c t th a t i s a s n e a r t o a r e a l s a m a k a
, , ,

a s a e t h e c a s e s a b o v e wh e r e t h e p a d a m a y h a v e 1 5 1 6 o r 1 7 m o res
r , B ut I , , .

p r e fe r t o r e s t with t h e fa c t th a t t h e m a t ra s a m a ka i s a p a r a ll e l i n t e rm s o f
m o r ae t o t h e c l o k a s tr o p h e i n t e rm s o f s yll a b l e s with o u t a tt e m p ti n g a d e ri va
-
,

ti o n Fo r p a rti c u l a r s tu d i e s o f t h e ga a c c h a n da s s e e Pro fe s s o r C a p p e ll e r s
. n ,
’

D i e Ga n a c c h a n da s a n d P r o fe s s o r J a c o b i ZD MG v o l x x x viii p 5 9 5 if
, ,Th e . .
, . .

l a tte r s c h o l a r b e li e ve s t h e a ry a t o h a ve b e e n a m u s i c a l a d a p t a ti o n a n d t o ,

h a v e c o m e i n t o Sa n s krt fro m Pra krt p o e try Th e m e tre c a n b e tr a c e d b a c k .

t o t h e ti m e o f A c o ka .

2 T a
h t i s t ri s tu b h a n d j a g a ti Th e r e a re j u s t a b o u t t h e s a m e n u mb e r o f
.

t ri s t u b h j a g a ti s t a n z a s i n t h e Ma h a b h a r a t a a s i n t h e B i g Ve d a
- .
 EP I C VE R SI FI CA TI ON
'
. 3 57

1
the ori gin a l epic often p a lp a ble i trusio s Th e use of the
,
n n .

fa n cy m etres seems t o illustra te the gen era l correctn ess of m y

-

former a n a lysis Thus the ru c i ra o ccurs i n i iii vii xii xiii

.
, , , , ,

Ha ri v ; the v a s a n t a t il a ka o n l y i n i xiii xviii Ha ri v ; the

.
, , , .

ma lin i o n l y i n vii viii xiii Ha ri v ; the a rya onl y i n xiii

, , , .
,

Ha ri v Th e t a g m etres of Adi a re co n fi n e d to the fi r st qu a r

.
-

ter ( two thous a n d) of the eight thous a n d i n the whole book .

They ce a se a fter Sa rp a s a ttra ( a lmost a fter the begi n n i n g

of A s ti ka ) or i n o ther words they occur a lmost en tirely in
, , ,

the m ost mo dern p a rt o f the bo o k B ooks ii v a n d vi ha ve .

, ,

n o f a n cy metres a t a l l ; b o ok ix h a s but o n e a b h u a m a ra
j g p , r

ya ta On the other h a n d bo o ks iv x xi xiv xv xvi a n d

.
, , , , , , ,

xvii h a ve n o n e a lso whi ch however n eed n o t surpris e us , ,

much a s m o st o f them a re short supplem en ta ry bo o ks a n d

, ,

the fourteen th is m a in ly a n imita tio n of the Gi ta Tha t the .

fo urth book is n o t a do rn ed with these m etres in di c a tes perha ps

th a t it wa s wri tten betwee n the tim e o f the e a rly epic a n d the
whole pseudo epic Th e m uch in terpol a te d eighth b o ok woul d
- .

be co m p a ra tively free from these a do rn m en ts were it n o t for

its m a ssed hea ps of a rdh a s a m a vrt t a s twen ty fi ve in a ll ( other ,
-

wi se i t h a s o n l y o n e c a rdii l a vi kri di t a a n d fi ve m a lin i s) Th e

'

seven th book o n the other ha n d h a s two dru t a vi l a m b i t a s

, , ,

n in e ru c i ra s o n e p ra h a rsi n i o n e m a lin i a n d ei ht a rdh a s a m a

, g , ,

vrt t a s — twe n ty o n e i n a ll
, Th e fi rst b o ok th a t is its fi rst
-
.
, ,

qu a rter h a s thirt y o n e of which twen ty t wo a re ru c i ra s ; four

,
-
,
-
,

ra h a rsini s ; th ree v a s a n t a t il a ka s ; two a rdh a s a m a v rtt a s Th e

p , , .

pseudo epic sho ws the grea test va riety a s well a s of course

-
,

the gre a test n umber the b o oks represen te d ( with the ex ,

c e p t i o n of o n e v a s a n t a t il a ka in the eighteen th) bein g the

twelfth thirteen th a n d Ha ri va nca with 48 1 28 1 a n d 43
, , , , , ,

respectively .

1 C o mp a r e t h e p a p e r Gr t B h a r t A JP l i on th e Bha r t a a a nd ea a a ,
.
, vo . x x,

p 1 0 ff Th t th r
. . tiq p rt i b k g r lly l t
a e e a re Ib a n ue a s n oo s ene a a e ,
no one e

lie ve h , r d i d N h
a s e vey m p t t riti
en e r d i d th t i
. or a s a n co e en c c e ve en e a n

boo k g r lly l d l t p
s ene g a f d A di Vo d A ca
a e a ssa e s a re o un .
,
a na , a n nu sa n a ,

a nd i l d gr K r
n a h dg p dg f ld d w d t h
e ss e ee aly na , a re a o e o e o o a n ne , a n e on

qu e s ti o n o f m o m e n t is w h e th e r in ea c h in s t a nce o ld or ne w p r e va il s or is
s u b s i d i a ry .
3 58 THE GR EA T EPI C OF I N D I A .

Th e um ber of occurren ces of e a ch metre a ccordi n g to

n ,

the books i n which they a re foun d is given i n the foll o win g

,

ta ble :

Ho w a re we to a cco un t for these fa n cy metres ? L e t us

-

im a gin e fo r a mome n t — to in dulge i n ra ther a h a rm less

f a n cy th a t the wh o le epic wa s writte n by o n e in di vidua l ,

n o t of course by Vy a s a the a rr a n er but by Krit the m a ker

g , ,

eve n a s the pseudo epic s a ys ; tho ugh the la tter sets re a son
-

a ble boun ds t o the huma n i ma in a tio n a n d very properly a dds

g
tha t the ma ker of such a p o em must h a ve bee n divin e .

This superhum a n bein g Krit ( B h a ra t a krt or bette r Ma ha

, ,

b h a ra t a krt ) must ha ve h a d fro m the be gi n n in g a well devel -

oped e a r for fa n cy metres When he writes them he writes

-
.

them very c a refully seldom opposin g the rules th a t la ter

,
3 60 THE GR EA T EPI C OF I N DI A .

poem wa s a gr a dua l a ccumula tion a n d tha t f a n cy metres were -

1
fi r st used a s ta gs to ch a pte rs i n the l a ter p a rt of the work ,

a s a n a rtistic improveme n t o n the o l d fa shi o n e d t ri stu b h t a

’

g
-

( to gl o ka sectio n s ) a n d so fi n d the re a son why the m a sses

of f a n cy metres a re pla ce d i n the mi ddle of sections in a
-

la ter ex a ggera tion a vicious in clin a tio n to a d orn the whole

,

body wi th gewga ws where a s a t a n ea rlier da te it wa s deem e d

,

a su ffi cie n t be a uty to t a
g them o n to the e n d of a section .

Th e o nl y di ffi culty i n this a ss u mpti o n is th a t it recogn izes

a s va li d the delira me n t of believin i n the hi storic a l rowth
g g
of the epic .

As rega rds the a rya it m a kes n o di fferen ce whether it wa s ,

a Pr a krit style kn o wn befo re the epic w a s be un or n o t Just

g .

a s i n the c a s e of the R i g V e da the p o in t is n o t whether such ,

a n d such a form existe d but o n l y whether ( a n d if so in h o w , ,

2
fa r) the poets a dmi tte d the fo rm in to hymn s s o here the ,

question is simply a s to when Sa n skri t wri ters utili zed Pra krt
melo di es I t is som ewha t a s if o n e sh o uld pro perly t ry t o
.

de fi n e the dec a de i n whi ch a piece of X s music wa s c o m

’

pose d by co n siderin g tha t i t wa s in ra g ti me On e mi ght -

.

object tha t ra g time m elo di es ha ve been us ed fo r unn umbered

-

dec a des by the n egro es Th e reply woul d be : True ; but it .

is o n l y in the l a st deca de of the n i n eteen th cen tury tha t

tim e h bee n utili ze d by co m p o sers ; er o X must h a ve
ra
g a s g
-
,

publishe d hi s com positio n i n th a t dec a de o r l a ter .

When the n did the v u l ga r a rya ( i e melo dy use d a s a . .

,

1 Th e e xp re s s io n t a g-m e tr e s
r s e x a c tly t o t h e fu n c ti o n o f t h e fa n c y
a n s we

m e tr e s i n t h e R a m a y a n a a d p r e tty c l o s e ly t o th e ir fu c ti o n i n t h e B h a r a t a
,
n n .

I h a ve i d i c a t e d a b o v e t h e fe w c a s e s wh e re i n t h e l a tt e r p o e m th e y h a ve b e e n
n

i n s e rt e d i n o th e r p o s iti o n s Th e re c a n b e n o s e ri o u s d o u b t th a t s u c h m e d i a l
.

p o s iti o n s i m p ly s h o ws h o w l a t e i s t h e p a s s a g e wh e r e a e fo u n d s u c h s t a n z a s r

thu s l o c a t e d Th e b h u j a h ga p ra y a t a a p p e a rs i n m e d i a l p o s iti o n i n Q a t i t h e
. r n

d ru t a v i l a m b i t a i n D r o n a ; wh e r e a l o t h e ru c i ra ( s a lly o ly t a g ) ; t h e p ra
,
s u u n

h a rs i n i ( m e d i a l ) o ly i n D r o a a d Ca n ti t h e v a s a t a t i l k a g e e r a lly a t a g
,
n n n n a ,
n ,

m e d i a l o n ly i A n c a n a ; t h e m a li i m e d i a l i n K a r a
nu sa t h e c a rdiil a v ikri di t a
n ,
n ,

m e d i a l i n b o th th e s e l a s t .

2 Th
e a l l s u fii c i e t a
- s we r t o t h e u n s a ti s fa c t o ry c o n t e n ti o n th a t b e c a u s e
n n ,

c e rt a in Ve d i c fo r m s a re p re Ve d i c th e r e fo r e th e ir e m p l o ym e n t b y Ve di c p o e t s
-
,

c a n n o t b e u s e d i n e vi d e n c e o f t h e a ge o f c e rt a i n hym n s .
 EP I C VE R SI FI CA TI ON . 3 61

fra me for litera ture) a ppe a r in Sa n skrit poetry ? Th e a uthor

of the Ra m a ya n a usin g freely the a ksa ra c c h a n da s a n d a rdh a
,

m t t t —
p o etry either k n ew it n o t or i n ore d it
s a a v r a s a s a g , g .

Th e l a ter poets o f the Ma h a bha ra t a doin g the s a m e ign ored , ,

it a lso On l y the p o ets of the la test tra cts the fourteen th

.
,

section o f An u ca s a n a a n d ben ediction s i n Ha ri va nga used it , ,

whether in ven tin g or utilizin g is a subsidi a ry questi o n Th e .

em ploymen t of thi s m etre if borrowe d from the vu l ga r st a n ds , ,

p a ra llel therefo re to the a do ption of Pra kri t licen ce in

, ,

1
pro so y d .

Furt her the someti me in trusio n in to the middl e o f a ch a p

,

ter of metres used origin a lly o nl y a s t a gs shows tha t p a rts of ,

the Ma ha bha ra ta reflect a l a ter pha se tha n tha t o f the Ra ma

y a n a which stil l con fi n es them to their e a rli er fun ction I n
, .

f a ct the Ma ha bha ra ta is here o n a level with the p o ems of

,

2
i n scripti on s where a ll metres a e flun g to gether a n d lik e
r , ,

these p o ems its la ter p a rts show a pre dil ecti o n for lon g c o m
,

poun ds a n d for l o n g sen te n ces exten di n g over m a n y verses .

Th e tot a l result of a comp a ris o n of the v a ri o us metres in

the two epics shows in outlin e
I n the Ma ha bha ra t a I n the Ra ma ya n a

( )
a e a rly ( V e d i c ) c l o k a

e a rly ( V e di c ) tri stu b h

b
( ) a lmost cl a ssic a l c l o ka ( )b a l most cl a ssic a l c l o ka

cl a ssic a l t ri s tu b h cl a ssic a l t ri stu b h

a te gl o ka st a n z a s ( pure
c
( ) l ( 0 ) e a rly use of f a n cy metres

ia mbs)
l a te t ri s tu b h st a n z a s ( ca

l a te use o f fa n cy m etres
A review o f the results obta in ed in rega rd to the chi ef
metre o f the epic m a kes it cle a r th a t the presen ce in the
O ly iii 1 4 i r lly ff t d
1 n x Th b
,
d i ti H i nc r
s ea a ec e . e ene c ve a r va a ve se s a re

dd iti t l t t ff t d t E t h ti ( B mb y) di ti
a n a on oo a e o a m itec a es . ve n e na ve o a e on o s

th e m fro m t h e t e x t p r o p e r .

2
Se e o n thi s p o i n t B uhl e r s ,
’
e s sa y ,
Da s A lt e r de r I di h
n sc en Ku n s t p o e s i e ,
with e a m p l e s a t t h e e n d
x .
3 62 THE GR EA T EP I C OF I N D I A .

Mha bha r t
a a a o f cl o ka s older a n d a lso l a te r type tha n a re
of an

foun d i n the Ra m a y a n a in di c a tes n o t o nl y th a t the style of

the Ma ha bha ra ta is more a n tique i n o n e p a rt tha n i n a n o ther ,

but a lso tha t this di fi e re n c e is n o t du e to con scious metric a l

va ria tion s o n the p a rt o f o n e poet ; or i n o t her words tha t
, ,

the epic wa s n o t ma de a ll a t on ce Fo r the gen era l sha pe of

.

l ka s mi ht volu n t a ri ly be shi fte d though eve n here it is

g o g ,

n o t prob a ble th a t a poet who wr ote i n the re fi n ed s tyle com

m o n to the Ra m a y a n a a n d to p a rts of the pseudo epic Ma ha -

bha r a ta wo ul d shift b a ck to di i a m b i c clo se of the p ri or p a da

or a free use o f the fourth vi p u la B u t eve n gra n tin g thi s
.
,

there rem a in the subtle di fferen ces whi ch a re perceptible onl y

with c a reful a n d p a tien t study eleme n ts of style n o t p a ten t
,

to the rough a n d re a dy critique whi ch scorn s a n a lysis Th e

- -
.

poet who h a d tra in e d hi mself to eschew fi rst vi p u l a s a fter

di i a m b s a n d ren o un ce a syll a ba a n ceps wo ul d n o t wri te fi r st
i n thi s p a rticul a r style a n d the n i n the c a reless o l d fa shi o n e d -

m a n n er Th e very presen ce of the more r e fi n ed a rt precludes

.

the presumption tha t the s a me poet i n the s a m e p o em o n the

s a m e subject w o u l d h a ve la pse d ba c k in to ba rba rism Fo r .

the di stin ction is n o t o n e tha t sep a ra te s mora l di sc o urses from

the epic story E xcept i n the c a se of a few o bvi o us imi ta
.

tion s or p a ro di es of Oru t i texts topics of the s a me s o rt a re

,

tre a te d with a di fi e re n c e of style a ttri buta ble o n ly to differen t

a uthors a n d i n a l l re a so n a ble prob a bility to differe n t a ges .
 3 64 THE GR EA T EP I C OF I N D I A .

p ath a ka pe ks or re s the epic a s he sits com

,
S a ad “

fo rt a b ly a n d recites c a refully pro n o u n c in g the sixty three ,

-

1
letters ( s o un ds) a cc o rdi n g t o their respective eight pl a ces o f
uttera n ce ( a s guttura ls He re a ds fro m m a n uscripts ,
,

sa m hi t a p u s t a ka s which a fter the perform a n ce is over a n d the

, ,

e n tlem a n h a s bee n di sm isse d with a b ra hm a s fi t ra a n d a h a n d

g
some fee a re wra ppe d i n cloth a n d piously revered Th e
, .

recita tion ta kes four mo n ths a n d sho ul d be perform e d by ,

B ra hm a n s durin g va sso the ra in y se a so n xviii 6 21 ff ( i , , , , .

,

62,
Such recited stories a re reco gn ize d elsewhere A kn ight .

le a ves town to go in to the w o o ds a cc o mp a n i ed with “ priests

”
wh o kn ow the V e da s a n d V e da nga s and priests who recite ,
’
di vin e ta les di vy a kh y a n a n i ye c a pi p a th a n t i but a lso a n d
, , ,

di stin guishe d from these wi th s ii t a h p a u ra ni ka h a n d ka t h a ka h ,

besi es her m its ra m a n a k i —3

( d c c c a v a n a u a s a h) 2 1
, 4 2 , .
, .

Th e sto ry tell ers here n a m ed m a y be represen te d a ga in by

-

kn ights who tell e a ch other a s they sit a n d ta lk the glorious , ,

deeds of o ld a n d m a n y other ta les or a s it is expressed else , ,

where ta les o f wa r a n d moil a n d gen e a logies of seers a n d

,

2 ”
o ds
g .

B u t buried with the story n ucleus a re elemen ts a ls o more or -

less co n ce a le d Th e fi r st of these is the gen ea l o gic a l verses

.
,

a n u va nc a cl o ka or a n u va ncy a ga tha whi ch i n the extra ct

, ,

a sa m
'
1 s a rh s krt a h s a rv a c a s t ra j ii a h s a kt a ks a ra p a da n i s v a ra b h a v a s a m a n v

ita m t ri s a s t i va rn a s a my u kt a m a s ta s t h a n a s a m iri t a m va c a y e d v a c a ka h s va s t h a h
s va sin a h su sa iii 6 2 1 a n d H 10 0 c i t i n PW s v a rn a I n t h e
m a h i t a h, xv , , ,
. . . . . .

e n u m e r a ti o n o f p a rv a n s fo ll o win g t h e A n u c a s a n a i s o m itt e d a s it i s i n o n e
, ,

o f t h e li s t s i n Adi wh e r e a s t h e o th e r li s t m a k e s it a s e p a r a t e wo rk :
, A ft e r
thi s ( i e a fte r Q a n t i a s ra j a dh a rm a n u c a s a n a a p a ddh a rm a a n d m o k ga ) with
. .
, , ,

3 29 o r v 1 3 3 9 s e c ti o n s a n d
. .
c l o ka s [o u r t e t h a s s ta n z a s o f a ll x

ki n d s ] m u s t b e r e c k o n e d t h e An u c a s a n a with 1 46 s e c ti o n s a n d 8 000 c l o ka s
[o u r t e x t wh e r e a t a h fi rdh v a m s h o ws with t h e fig u r e s th a t t h e A u , , n

a a n a i s n o t i n c l u d e d with Q a n t i ( t h e fo r m e r i s a l s o c a ll e d a n u c a s a n ika m
c s

r i 2 76 7 8 3 2 8 —3 3 1 On t h e li s t i 1 8 8 ff whi c h o m it s t h e thi rt e e n th
p a v a ) , , ,
-
,
.
, ,
.
,

s e ve nte e n th a n d e i ghte e n th b o o k s s e e AJP x i x p 5

, , .
,
. .

2 t a tr a
p fi rv a vy a t i t a n i vi kra n t a n i t a r a n i c a b a h fi n i ka t h a y i t v a t a u r e m a t e
’
,

i 222 29 ; p a vi c y a t a m s a b h a rn ra m y a m vi j a h ra t e c a B h a ra t a t a tra y u d
, ,
r ,

dh a ka t h a c c itr a n p a ri kle c a nc c a Pa rt h i v a ka t h a y o ge k a t h a y o g e ka t h a y a m
, ,

da a ni de va t a n a rii da x i v, 1 5, 5 —
7
'

a sa tu h sa ,
rs i n c a va nga ns t a v a h a t u h sa , .
 OR I GI N AN D D E VEL OP MEN T OF THE EP I C . 3 65

just referre d recite d ; a s a ga in in iii 8 8 5 is fo un d

to a re , , , , ,

Ma rka n de y o ja ga u ga tha m ( a n u va ngy a m ) Such m em oria l .

sta n z a s in ho n or of the fa mily either a re strictly gen e a lo gic a l ,

”
D e v a y a n i b o re Y a d u a n d Tu rv a s u o r ch a r a cte rize a m a n a s , ,

in i 95 46 ( the o ther i b
, ,
where Oa mt a n u s n a me is de , .
’

rived o n the stren gth of such a sta n z a from hi s ha vin g the

, ,

he a li n g to uch ( the c a reless compil ers a little l a ter i 9 7 1 9 , , , ,

g ive a n other deriva ti o n ) S uch st a n z a s a re sometimes in serte d .

i n prose n a rr a tio n 1 i n hon or of the fa m ily thou gh occ a si o n a ll y ,

o f very e n era l co n te n t O n the other h a n d re a lly

g ge n e a l o gi
.
,

c a l sta n z a s m a y be i n tro duce d without a n y sta teme n t a s to

their cha ra cte r though the p o et s usua lly quote them from
,

rha pso des m e n who kn o w the ta les of o ld here sin g ( or

,

recite) thi s ga tha a p y a tra ga tha m ga ya n t i ye p u ra n a vi do

,
”

j a n a h i 1 21 1 3 ; v n 67 1 4
, , , , , .

Though a s wa s shown i n a previ o us ch a pter the wo rd for

, ,

sin g is sc a rcely m ore tha n recite yet it reflects co n di tion s ,

where ba rds a ctu a lly s a n g so n gs i n hon or o f kin gs Th e .

a n cie n t a ge k n ew i n fa ct just such a disti n ctio n a s un derlies

, ,

the double cha ra cter of the epic On the o n e h a n d it h a d its .

,

sl o wly repe a ted circle of ta les ( sometimes mistr a n sl a ted by

2
cycle of ta les ) a n d o n the other impro m ptu b a rdi c la ys n o t
, , ,

i n i n herite d form but im pro vis a tio n s where the rh a pso de a s , ,

is especia lly provi de d for i n the ritua l o n a certa in occa sio n ,

wa s to sin g a n ori gin a l so n g the subject of which sho ul d be , ,

Thi s kin g f o ught thi s kin g co n quered i n such a b a ttle

, Th e .

son g is here a ccomp a n ie d with the lute or lyre which i n the ,

epic i s c a lled seven strin ged s a p ta t a n t ri vi na ( e vrm q o vo s -

,
' ’
- ‘

see b ve p
a o Such so n g a s ,
“
hero pra isin g
.
-

verse n a ra ca n s 1 ga tha a re recogn i zed i n the Grh y a Sii t ra s

, ,

C o mp a r e t h e
1
illu s tra ti o n s b y L a s s e n a n d W e b e r a n d Ho ltz ma n n hi m s e lf ,

s u mm e d
u p i n th e l a s t writ e r s wo rk 10 0 c i t p 2 ’
, . .
,
. .

e t a l e s o f a ( ye a r s ) c ir c l e p a ri l a v a m a kh a n a m h a v e n o c y c li c e l e
2 Th ’

p y , ,

m e n t Fo r lit e r a t u r e o n t h e e a rly rh a p s o d e s a n d r e c it e r s s e e Ca t B r x iii 4

.
, . .
, ,

3 3 5 ; W e b e r I S i p 1 86 C o m p a r e P a r G S i 1 5 1 7 Th e tr a d iti o n a l
, , , .
,
. . . . .
, ,
.

l e ge n d i n t h e e p i c i s c a ll e d ( p a ra m ) p a ry a ga t a m a kh y a a mka t h i t a m x i i 3 40 n , , ,

1 25 1 3 8 Th e e a rly i m p r o vi s e d l a y s a re c a ll e d s va y a n rs a mb h rt a ga t h a h ( l o c
'

.
, .

c it .
, Ca t .
3 66 THE GR EA T EPI C OF I N D I A .

as texts di fle re n t ia t e d from legen ds a n d were

t ra dition a l ,
“
,

proba bly gen ea logic a l sta n z a s preserve d in the fa mily B e .

sides the sin gle sin ger there were a lso ba n ds o f sin gers who ,

1 ”
s a n g the ( reign in g) kin g wit h the o ld kin gs .

I n these B ra hma n a st o ries the rha ps o de l a y took pla ce a t ,

-

the very tim e of the pri estly recite d ta le whi ch cir cle d roun d ,

a ye a r There is n o di ffere n ce of da te be twee n them

. Th e .

rh a ps o de a n d the reciter were co n tem pora ry So i n the epic .

,

a lth o ugh the recita tio n of t a les is n otice d yet rh a ps o des a re ,

co n sta n tly men tion e d I n xiv 70 7 pra ise is ren dered by .

, , ,

da n cers a n d luck wishers a n d a lso by rh a psodes gra n t hika s -

, ,

“
i n co n gra tul a tio n s th a t uttered the pra ise of the K ur u ra ce — ”
,

Ku ru va nc a s t a va kh y a b hi r a gi rb h ih I n pa ra llel scen es we fi n d .

”
story tellers who could pra ise o nl y by performi n g their
-
,

busin ess a s i n iv 70 20 : E ight hun dre d bejewelled Sfi ta s

, , ,

a lo n g wi th m a ga dh a s ( sin gers) pra ised h i m a s the seers di d ,

”
C a kra o f o l d ; i b 72 29 : Sin gers ga y a n a s those skill ed .
, , ,

in ta les a kh y a n a ci la s da n cers a n d reciters o f gen e a logic a l

, , ,

2
verses n a ta va ta a s stood pra isin g him a s di d Sfi t a s with
,i li k , ,

m a ga dh a s A ga in in vii 8 2 2—3 : j a gur gi ta n i ga ya ka n

.
”
, ,

Ku ru va nc a s ta va rth a ni : Sin gers s a n g son gs whi ch la uded the

”
Kuru ra ce where the rha pso de gra n t hi ka a bove a ppe a rs a s
-
, , , ,

sin ger ga ya n a Fo r the hi story of the poem it is worth

, .

n otici n th a t thou h the P a n du s a re the prese n t heroes the

g g , ,
”
stereotyped phra se is a lwa ys of pra ise o f the Kuru ra ce
“
,

even where a P a n du is pra ised .

We h a ve in the epic the n a mes of wh a t a re to d a y the -

epic reciters ku gi la v a a n d ka t h a ka a n d the repea ters of

, ,

g e n ea lo ic a l verses
g ( i n d isti n ctio n from the Sfi t a s)
3
c a lle d ,

va i ta lik a s .

1 We b e r , lo c c it , a n d E p is c he s i m
. . e i s c h e n R it u a l , p 6 V d . .

2 So i n ii, 4, 7, n a ta s , Sfi t a s , a n d va i t a li ka s wa it o n t h e ki n g l g with a on

b oxe rs a n dw r e s tl e r s . Su c h e i
p c p r o fe s s i o n a l s a re c a ll e d ( b e s e s s va n i d p a ni i
ka s ) m a ga dh a s ,
n a n di v a dy a s, bau di n s ga y a n a s s a u kh y a c a y i ka s v a i t a li ka s
, , , ,

ka t h a ka gra n t hi ka
s, s, g a t h i n s , ku c il a va s a n d p a u r a n ika s ( Sfi t a s ) .

8 he r k g
So x 1 1 , 3 7, 43 , w r i d e a i n i s p a s e b y Sfi t a s , v a i t a li ka s , a n d ( s u b h a s i t a )
m a ga dh a s C o mp a re
. d i ti ti th e ith
s nc o n i n R vi , 1 2 7 ,
3, w . C o mm : t h e Sfi t a s .

“
k n o w p r a i s e a n d Pu r a n a s t h e v a i t a li ka s r e c ite g e n e a l o g i c a l
”
ve rs e s . B tho

e p i c s h a ve t h e gr o u p ( p hr a s e ) s ii t a m a ga dh a b a n di n a h .
3 68 THE GR EA T EP I C OF I N D I A .

B though it is a gross ex a ggera tio n of the fa cts a s well a s

ut
“
,

a m is a pprehe n sio n of poetic v a lues to ma ke the epic a p o em ,

th a t wa s from the sta rt a mora l a n d religio us n a rra tive yet , ,

in a sm uch a s i n the ha n ds of the priest the la tter elemen t

wa s m a de pre domin a n t there is n o objectio n to the st a tem e n t
,

tha t from the poin t of view of the epic a s a whole the Ma ha

bha ra ta is t o da y less ta le tha n te a chin g Tha t thi s double
-
.

cha ra cter wa s recogn ize d by tho se who co n tributed the i n

t ro du c t i o n to the p o em itself is i n di sputa ble ( a bove p , .

Th e ta les a re coun te d a s sepa ra te Th e origin a l B ha ra ta .

wa s o n l y a qua rter of its presen t size The n a s l a ter the .

, ,

differe n t ele m e n ts were s t ill distin guished a n d the p o em wa s ,

n o t re a rded a s wholly a Sm rt i or i n structio n book but a s a n

g
-
,

a rtistic poem Ka vya per se So the pseudo c pic va un ts its

, , .
-

’
o wn liter a ry fi n i sh : ga b de c a rt h e c a h e ta u c a e sa p ra t h a ma

s a rga ja xii 3 3 6 3 6 , , .

Th e p a rticula r scho o l of priests i n whose ha n ds the epic

wa s tra n sform e d wa s proba bly th a t of the Ya ju rve din s Th e .

”
Ya jur V e da is the birth pla ce of the wa rrior c a ste a ccord
“ -
,

i n g to a well kn own verse a n d it h a s b ee n shown by Weber

-
,

tha t the Q a t a p a t h a a Ya jur V e da text st a n ds in peculia rly

, ,

close rela tio n to the dida ctic epic As h a s bee n shown .

1

i n the fi r st ch a pter the Ca t a p a t h a is the o n ly B r a h m a n a

,

pra ised perha ps eve n me n tio n e d i n the epic ; whi le the

, ,

Y a jur V eda Ca t a ru driy a is ex a lte d a bove a ll te xts ( except

perha ps where I n dr a sin gs thi s Vishn u sin gs the jy e s th a ,

s am a n a n d B ra hm a the ra th a mta ra xiii 1 4 28 2 but even

, , , , , ,

here the Ca t a ru driy a is n o t slighted) I n dividi n g the I t i .

ha sa from the Pur a n a more o ver the epic groups the former , ,

with the Ya jur Veda a s a ga in st the Pur a n a with the other

,

V eda s viii 3 4 45
, , Here the I t ih a s a represe n ts the epic a s
, .
,

it do es i n the sim ila r a n tithesis of x i i 3 02 1 09 : y a c c a pi , ,

’

drsta rh vi vi dh a m pura n e y a c c c t ih a s e su m a h a t s u drsta m

’
,

1 V a lmi k i l g e d t o th i s s c h o o l Co mp a r e W e b e r I S x iii p 440

to o b e o n .
,
.
, , .
,

a nd b y Ho ltz m a n n l o c c i t p 1 8 ; Mu ir OST i p 1 7 c iti n g TB

a s c it e d ,
.
, .
, .
, ,
.
,
.

iii 1 2 9 2 wh e re t h e V a i cy a s a re d e ri ve d fro m t h e R i g Ve d a t h e Ks a tri y a s

, , , , ,

fr o m t h e Ya j u r Ve d a a n d t h e B r a h m a n s fr o m t h e Sa m a Ve d a
, .
 OR I GI N A N D D E VE L OP I WE N T OF THE EP I C . 3 69

where a s a lr e a dy o bserved the G re a t I tih a s a s poin t to sev

, ,

era l epic p o em s L a stly the Upa n i sha ds especia lly copie d in

.
,

the epic a re tho se belo n gin g to the Ya jur Ve da .

B u t while this is true o f the com plete d epic there is n o th ,

in g to show th a t the B ha r a ti K a tha wa s the especi a l pr o perty

of a n y school a n d n o preferen ce is given to the Y a j ur V e da
,

i n the l a ter epic fo r i n the Gi ta the Sa m a V e da st a n ds a s the

,
”
best I a m the Sa m a V e da a m on g V e da s 1 0 22 a n d thi s
, , , ,

is cite d with a ppro v a l a n d e n la rge d upon i n xiii 1 4 3 23 , ,

Thou a rt the Sa m a V e da a mo n g V e da s the Q a t a ru dr i a ,

a m o n g Y a j u s hym n s the E tern a l Youth a m o n g Y o ga s K a pil a

, ,

a m o n g Sa m
”
khy a s .

I n the epic itself the Sii t a s c a lle d p a ur a ni ka s a re rec o gni ze d

a s the re wr iters a n d reciters of the epic
-
They pr o b a bly took .

the epic lege n ds a n d a rr a n ged them in order fo r the p o pul a r

recita ti o n which is a ls o reco gn ize d when priests recite the
,
“

Ma h a bha ra ta a t the a ssem bli es of wa rrio rs v 1 41 56 a ,

”
, , ,

p a ss a ge recen tly cite d by Pro fessor J a c o bi a s eviden ce o f a ,

differen ce betwee n the m a n n er of h a n di n g down the heroic

1
ta les a d the recita ls o f le ge s
n n d .

Th e meth o d o f n a rra tin g the epic stories is th a t of the o ld

priestly le gen d where the verse ta le is kni t together a s i n the
,
-
,

epic by prose sta te m en ts a s to the spe a ker So in the epic

, .
,

a n a rr a tive n o t a rh a ps o di c o r dr a m a tic delivery is in dic a te d

, ,

by such phra ses I n the Ra ma y a n a o n the other ha n d the

.
, ,

verse is kn i t m ore closely to gether a n d the spe a kers a re ,

in di c a te d a lm o st a lwa ys i n the verse Th e o n e exceptio n is a .

l a te a ddi tio n ( G ii 1 1 0 4 .
, ,

Th e Ma ha bha ra t a is n o t o n l y a V e da it is so import a n t a ,

V e da tha t t o re a d it is to dispe n se with the n ee d of re a di n g

other V e da s I n the dyn a mic a ltera tion co n sequen t o n the
2
.

a tt a in i n
g o f such a n ide a l we m a y expect to fi n d th a t the t a le , ,

a s a t a le is full of the gr o ssest in co n ru i ties for to fu l fil its

, g

1
Go tt i n gi s c h e G l hrt e e e An ze i g e ,
1 899 , p . 8 77 if . I f lly gr with t h
u a ee e

a u th r io
’
s v e w in r g rd t
e a o the
“
Pu ra n ic ”
Sfi t a s be i g th
n m p il r f th e c o e s o e

e p ic m a s s .

2 vi
jfi e ya h sa c a ve da n a m p a ra go b h a ra t a m p a t ha n 1 62 , 3 2 .

24
3 70 THE GR E A T E P I C OF I N DI A .

e n cyclope di c cha ra cter a ll is fi sh tha t comes to the n e t a n d ,

sc a rcely a n a tte m pt is m a de t o sm o o th a wa y a n y s a ve the

most gla rin g in co n sisten cies Ta le is a dde d to ta le doctri n e
.
,

t o doctrin e with o ut m uch re ga rd to the e ffect pro duce d by

,

the juxta position I f we t a ke these fa cts a s they sta n d

.
,

whi ch is the m ore pro ba ble in terpreta tio n tha t they were ,

origin a lly com pose d i n this in co n gruo us co m bin a tion or tha t

they a re the result of such a ge n esis a s h a s just bee n ex
pl a in e d ? As for the fa cts I will ill ustra te them though to
, ,

a n y B h a ra t a vi d they a re a lre a dy p a te n t .

I n i 21 4 Arjun a protests th a t he is a b ra h m a c a ri n for

, ,

twelve ye a rs in a ccorda n ce with the a greem e n t ( cha pter 21 2)

,

tha t he h a s m a de with hi s brother which is to the effect tha t ,

”
he will be a b ra hm a c a ri n i n the woo ds for twelve ye a rs .

Thi s c a n h a ve o n ly o n e me a ni n g A b ra hm a c a ri n is n o t a
.

m a n wa n derin g a bout o n love a dve n tures but a cha ste stu -

,

de n t . Above a ll cha stity is implie d Now the fi rst thi n g

, .

the her o Arjun a does is to vio la te hi s a greemen t by ha vin g a

co n n ectio n with Ul a pi a be a utiful wa ter witch who e a sily
,
-
,

persu a des h im to bre a k hi s vow ; a fter whi ch he resides i n

a city t a kin g to hi mself a wife wi th whom he li ves for three
,

ye a rs After thi s he h a s a n e w a d ve n ture with s o m e e n

.

cha n ted n ym phs a n d then sta ys with Krishn a ; when i n a n e w ,

vikra n t a o r derrin gdo ( the hero s ra pe o f Su b h a dra ch a pter

’

a ll the t a lk of b ra hm a c a ri n w a n deri n g i n the woo ds sto ps

in co n sequen tly When he m a rries ( i n to wn ) n o t a w o rd is

.

s a id of his vo w ; but when he a pproa ches Krish n a o n the s u b

“
jcet of Su b h a dra the poet ma kes the form er s a y how c a n a
”
woo d wa n derer fa ll i n lo ve ?
-
Thi s is the o n ly a ll usi o n a n d ,

o n e e n tirely i n o re d t o the m a tter o f the v o w ; whi ch i n the

g ,

e a rli er Ma n ipur scen e is a bsolutely un n oticed E a ch o f these .

fea ts is a sep a ra te heroic ta le a n d they a re a ll co n tra dictory t o

the settin g i n whi ch they h a ve bee n pl a ce d by the di a do c h o i
a n d l a ter epic m a n i pul a tors As hero ic t a les they a re per
.

fe c t ly in telli gible C erta i n fe a ts i n sep a r a te sto ries were

.

a ttribute d t o the he ro They h a d to be co m bin e d a n d they

.

were c o mbin ed by lettin g hi m go o fl by himself un der a vow

3 72 THE GR EA T EPI C OF I N D I A .

An other ta le which be a rs eviden ce of ha vin g been rewri tten

a n d still shows its in c o n siste n cies is foun d i n iii 1 2 91 fl , , .

Here B hi m a a n d hi s bro thers a n d m o ther a re surroun ded by

fi re a n d he rescues them by ta ki n g them o n hi s b a ck a n d
,

le a pin g cle a r over the fi re No suggestion is given of a n y .

other me a n s of esc a pe On the con tra ry it is empha sized tha t

.

he c a n fly like the win d or G a ru da a n d the esc a pe is du e ,

en tirely to his di vin e p o wer a n d stre n gth B u t in i 2 1 04 .

, ,

61 22 ; a n d 1 48 1 2 20 ff the s a me sto ry is told with a n

, , , .
,

a dde d elemen t whi ch quite does a wa y with the o l d solutio n .

Here ( i n the l a ter fi rst b o o k) the p a rty esc a pe thr o ugh a n

u n dergroun d tun n el sura nga ( 91 1 2 ) or s u ru nga a n d a fter
, .
,

they a re well o ff i n the wo o ds fa r from the fi re B hi m a is ,

m a de t o pick them up a n d c a rry them Th e o ld fe a t wa s too .

a ttr a ctive to lose s o it w a s kept postp o n e d but the l a ter ver

, ,

sion with the G reek wo rd to m a rk its la te n ess t a kes the pl a ce

of the older j u m p No o n e c a n re a d the a ccoun t i n Va n a a n d
.

fa il t o see tha t it is n o t a mere ha sty r é sum é omi ttin g the

’
s u ru nga but tha t the origin a l esc a pe is a fe a t of the win d go d s
,
-

so n .B u t the fi rst p a rt o f thi s s a m e sectio n i n V a n a c o n t a in s

a l a uda tion to Krishn a Vishn u which is a s p a lp a ble a l a te-

a ddi tio n a s o n e c o ul d fi n d i n a n y work .

Th e s u ru n ga syrin x is n o t the o n ly Greek word a dde d

, ,

i n the l a ter epic As such must certa in ly be reckon e d t riko n a

.

’
r
p y w v
trq T hereo a
. re i n fa ct two k o n a On e is Sa n skrit o r .

”
di a lec t ic fo r kva n a the soun der or dr umstick of the Ra m a
, ,

ya na vi 3 2 43 ; 42 3 4 a n d elsewhere ( n o t i n the Ma h a b h a
, , , , ,

ra ta ) The other is foun d i n the pseudo e pic xiv 8 8 3 2

.
-
, ,

ca t u cc i ty a h a s ta da ga ka ra t m a ka h s a rukm a p a kso n i c i t a s tri

ko n a ga ru da krt ih, o f a n a lta r ( the correspo n din g p a ssa ge i n R .

i, 1 4, 29 , h a s t rigu n a h ) , where the word must m e a n a n gle a n d

’
be the eq ui va len t of r p t ywvo e f .

Th e questio n of the ch a r a cter of the epic is s o in te rt wi n e d

with its da te tha t I will n o t a pologize for p a usin g here a m o
men t to spe a k of a n o ther ge o gra phi ca l a n d ethn o gra phi ca l
fe a ture Th e a p o l o gia published un der the title G en esis de s
.

Ma ha bh a ra ta omits to reply to the ra ther sta rtlin g con clusion

 ORI GI N AN D D E VEL OP MEN T OF THE EP I C . 3 73

dra wn by Weber in a recen t mon o gr a ph o n the n a m e B a hl i ka ,

o r B a l hi ka a s it a ppe a rs i n the epic

,
I n the Sitzun gsbe ri cht .

o f the B erlin Ac a de m y 1 8 9 2 pp 9 8 7ff Weber cl a ims tha t , , . .

,

a n y work co n ta in in g thi s n a m e or tha t of P a hl a va must be a s

l a te a s the fi rst to the fourth cen tury A D I c a n n o t but thi n k . .

tha t the esc a pe from thi s con clusio n i n p a rt suggested by ,

Weber him self is correct I n the rewritin g of fo reign n a m es it

,
.

is perfectly p o ssible tha t la ter copyists should h a ve i n c o rp o

r a te d a form curren t i n their o wn da y ra ther th a n co n serve d a
fo rm n o l o n ger curren t which it wa s e a sy to do when n o t for
,

bidde n by the m etre Aga i n tha t there wa s a ctua l co n fusio n

.
,

between the form s Va h i ka a n d B a lhi ka the fo rmer bein g a P u n ,

j a b cl a n the l a tter the B a ctri a n s it is n o t di ffi cult t o show

, , .

Accordi n g t o tra dit io n a drin k especia ll y belove d by the B a lh i

,

ka s i s s a u v rra or s a u vi ra ka Thi s c a n sc a rcely be a n ythin g

, .

else tha n the drin k s u vi ra ka s a id to be la ude d i n the epic by

‘

de gra de d forei gn ers B u t here the f o reign ers a re n o t B a h l i ka s

.

but Va h i ka s whose Ma dri ka ( wom a n ) sin gs viii 40 3 9—40

, , , , ,
”
I wi ll give up my fa mily ra ther th a n m y belove d s u v i ra ka ,

m a m a ms u vi ra ka mka c c i d y a c a t a mda y i t a m m a m a
u t ra m da dy a m p a ti m da dy a mn a tu da dy a rii s u vi
p
ra ka m
It is possible th a t the epic a r o se further to the n orth west -
,

a n d i n its south e a ste rn j o urn ey fo r it e n d s in bein g re vi sed i n

-
,

the south e a st 1 h a s tra n sferred the a ttri butes of o n e pe o ple to

-
,

a n other ,a s it h a s t ra n sferre d geo gra phic a l sta teme n ts a nd ,

ma d e seven Sa ra sva ti s out of the Seven Rivers of a n tiqu i ty ,

ix 3 8 3 As a n in dic a tion of the e a rli er h a bita t m a y be m e n

, , .

t i o n e d the very puzzlin g rem a rk m a de i n iii 3 4 1 1 Here , , .

there is a n a pp a ren t a ll usion t o the a greemen t i n ii 76 whi ch , ,

a gree m e n t is tha t o n bei n g rec o gn ize d bef o re the expir a ti o n of

the thirteen th yea r either pa rty sha ll give up hi s ki n gdom

,

( s v a ra
jy a m 91 ,a n d it is
. a ssum e d throu ghout th a t the

two kin gdom s a re those o f Ha stin a pur o n the Ga n ges a n d

1 Se e thi s p o i n t t h e e v i d e n c e p re s e n t e d i n
on my p a p e r on th e Bha r t a a a nd

th e Gre a t B h a ra ta A m Jo u rn Phil v o l x i x p
. . . . .
, . 21 ff .
 3 74 THE GR EA T EP I C OF I N D I A .

stha o n the Ju m n a B u t i n the p a ss a ge of Va n a just

I n dra pra .

refe rred to there is a n ( o ld) t ri stu b h r é sum é of the situa tion ,

whi ch m a k es the Kuru sa y :

b ra vi m i s a ty a mK u ru s a ms a di h a ’

ta va i va t a B ha ra ta p a fi c a n a dy a h ’
, ,

Here we ge t a n a ccoun t where the P a n du s a re lost in the older

B ha ra ta s a n d to them the Kuru kin g s a ys
,
I f we bre a k thi s ,
”
a gree m e n t yours sh a ll be a ll thi s Punj a b
,
B u t wh a t h a s the .

Punj a b to do with the epic i n its presen t fo rm I t is a la n d

of Va h i ka s a n d gen era lly despised peoples ( who mora ll y a re
n o t much better th a n ba rb a ri a n s ) a n d a l s o a h o ly l a n d
( a n ,

other little in con sis ten cy disrega rded i n the syn thetic metho d)
but wh a tever it is mora lly it h a s n othi n g to do politic a lly with
, ,

the presen t epic hero es except to provide the m with some of ,

their best a lli es a fa ct ho wever tha t in its elf m a y be s i gn i fi

, , ,

1
c a n t o f e a rlier Wester rel a tio s
n n .

To return to the evi den ce of rem a kin g i n the epic P a ssin g .

over the p a ss a ge ix 3 3 to 5 5 a lo n g in terp o l a tio n thrust mi d

, ,

wa y in to a dra m a tic scen e we fi n d th a t ch a pter 61 begin s with ,

the repetitio n o f the prece den t beginn in g of ch a pter 5 9 whi ch ,

l a tter a fter 1 5 cl o ka s to gether with ch a pter 60 is ta ken up

, , ,

with a m ora l dis course of Yu dhi sthi ra who repro a ches B hi m a ,

for in s u l tin g the fa llen foe Then Ra m a join s in a n d is a bout .

to sla y B hi ma when Krishn a defen ds the la tter s a yin g tha t hi s

, ,

ign oble in sult wa s en tirely proper Thi s a rgumen t of Kri shn a .

is cha ra cterize d by Sa fi j a y a a s dh a rm a c c h a l a m or i n o ther , ,

words Kris hn a is s a id to be a pious hyp ocrit e ( 60

, Ra ma ,

dep a rts i n disgust a n d the virtuous heroes , bec a me very

joyless The n Krishn a who h a s a ll a lo n g bee n a p p ro v ,

i n g the a c t turn s to Yu dh i s thi ra who reprove d it a n d s a ys

, , ,

1 Ja c o b i t o c h e s o n t h e i gn i fic c e o f th e s e W e s t e rn a lli e s i n t h e r e vi e w
u s a n

m e n ti o e d a b o ve
n Th e l a d o f t h e B h a r t s e te d s n o rth we s t o f t h e
.
“
n a a x n

P nj a b e ve n t o t h e fo t f t h e Hi m a l a y a s f r i n c o m i g fr o m He m a kfi ta t o
u o o ,
o n

Mi t hi la o e tr a ve r s e s fir t t h e Ha i m a v t V r th e p s s in g b e yo n d thi s
n s a a a sa , n
“
a

a rri ve s t t h e B h a ra t V ra d ( o ) re a c he s A y a v t ( s e e i g o n th e
”
a a a s , a n s r a r a n

j o r e y d i ffe re t d i tri c t s i n h a b it e d b y C hi e s e a d H n s c in ln rna n i se

u n n s n n u ,
a
'

v it a n ) x , 3 26 1 4—
ii 15
,
B u t thi s i s t h e Va r a o r c o u n try i n g e e r a l
, . s n .
3 76 THE GR EA T EPI C OF I N D I A .

expla n a t io n i n a ccorda n ce with the theory will prove di ffi cul t .

They m ust expla in why poly a n dry i n whi ch the hero es in ,

dul ge whil e it is co n de m n e d is permi tt e d 1 L u dwi expl a i n s

,
g , .

thi s sha rin g of the jewel ( i 1 95 25 ) a s a “ Mythi sches

“ ”
, ,

E lem en t ; others ha rk ba ck to the o ld fa shi o n ed a llego rica l -

trea tmen t B u t why is a ll e go ry with a b a d mora l seriously

.

defe n ded if the heroes a re merely to be represen ted a s m odels ?

On the o ther ha n d it is kn o wn tha t p o lya n dr y wa s n o ,

co mm o n thin g o n the borders of B ra hm a n ic civili z a tio n a n d ,

B ii h l e r reco gn i zed the custom wi thi n its p a le ; wh ile the

P a n du s ha ve n o B ra hma ni c sta n di n g a n d a re eviden tly a n e w ,

2
pe o ple from without the p a le As a simple hi storic elem e n t .

it is perfectly n a tura l expla in ed otherwi se it rema in s a n i n ,

expli c a ble m ystery So t o o wi th a ll the vi o la ti o n s of the

.

ethi c a l co de which a re en umera te d i n the cha pter referre d t o

a bove As ch a ra cters i n a n historic a l epic the heroes a c t s a re ’
.
,

ea sily un derstoo d ; a s priestly m o dels dum mies for sermo n s , ,

their do in gs a re beyon d expl a n a tio n .

Ap a rt from the ign oble con duct of hero es there a re other ,

item s G ettin g drun k a t a pic n i c for in sta n ce is n o t proper

.
, ,

co n duct for a n exempla ry Hin du la dy B u t i n the l a ter epic .

the mo st virtuous la dies ge t so drun k tha t they c a n n ot wa lk

stra ight m a da s kh a li t a ga m i n ya h i 2 22 2 1 m a d o tka t e 23
, , , , , , .

Such shockin g beh a vior belo n gs to the revelry of the Ha ri va nca

a n d the proba bly c o n te m pora n eous t a le here j o vi a ll y recor de d .

I t is n o t a m o ra l episo de o f the fifth ce n tu ry B 0 E lsewhere . .

”
la di es a re supposed t o be u n seen by the s u n a n d win d n o t
“
,

fi
o nl y befo re they a re m a rried but a fte rwa rds D rin kin g sura ,

1 i ,
1 58 , 2 7, 2 8 .

2 hi s fo ll o ws fr o m t h e s h a rp c o n tra s t p re s e n t e d b y t h e Ku ru s a n d Pa n du s
T
i n B r a h m a n i c li t e r a t u r e W hile t h e K u r s a re a fa m o u s fo lk i n a n c i e n t
. u

r e c o r d s t h e Pa n du s a re th e re u tt e rly u n kn o wn
,
.

3 ii 69 4 fi iii 62 2 1 Th e fo rm a l p hra s e h e r e i s n o ti c e a b l e D ra u p a di
. . .
, , , ,

s a y s : y a mn a v a y u r n a c a di t y o d s ta va n t a u p u r a g rb e 3 5 71 m dy bha
’
r ,
a a a sa

m dh y a d c y a m i j a n a s a ms a di ( s h e wa s o n e o f t h e l a d i e s wh o go t d ru n k a t
a r

t h e o u t do o r p ic n ic ) So D a m a y a n ti o f wh o m N a l a s a y s y a m n a v a y u n a
.
,
: r

di t y a h p u r a p a cy a t i m e p ri y a m e {y m a dy /e c e t e b h u va v
a bh ii m dlz g
’
c a , s a a s a

a n a th a va t .
 OR I GI N A N D D E VE L 0 P ME N T OF TH E EP I C . 3 77

is especia lly fo rbidden by the codes but it is drun k without ,

1
com p un cti o n by the her o es .

Th e subject o f m e a t e a tin g is n o t a trivi a l o n e to the Hin du -

.

I n eed n o t cite the n um er o us p a ssa ges describi n g the sl a ugh

ter a n d e a tin g of a ni m a ls by the epic hero es m o re especia ll y a s ,

2
I ha ve elsewhere ill ustra te d the fa ct very fully Wha t I wish .

t o p o in t o u t p a rticula rly a t the prese n t tim e is the i m p o s

b ili t y of supposin g th a t the s a me pl a n o f m o ra l te a c hi n g is
c a rri ed o u t n o t o nl y i n the t a les of m e a t e a t in g but i n the ,

ortho do x te a chin g tha t me a t m a y be e a ten a t a sa crifi ce a n d ,

i n the stri ct v eget a ri a n di et even a t s a crifi ces whi ch is i n ,

sisted upo n in the a hi rrs a doct e of the l ter epic Here

i 3
'

r n a .
,

n o t o n ly is the substitution of a deer fo r a horse a n e w

fe a ture in the A cva m e dh a s a crifi ce x ii 3 43 5 2 ; but a kin g , , ,

is held up a s a m o del bec a use there w a s n o kil lin g of a n i ma ls

a t a n a c v a m e dh a Fo r thi s m o del kin g wa s a hi ns ra h gu c i r
.

a ksu dra h th a t is he di d n o h a rm t o a n y livin g thin g he wa s

,
“
,

”
pure a n d n o t cruel ( a ksu dra a krii ra ) xii 3 3 7 1 0 Th e , , , .

p a rts of the s a crifi ce were a ll w o o d gro wth fo r there is a -

,

va i di ki cru t i h whi ch s a ys bi j a ir y a jfi e s u y a sta vy a m a j a s a rn

'

1 Th e co d e s a re e a rly Sfi t ra s a s we ll a s Q a s t ra s, e .
g .
,
Ga t u . x x i, 1 —7 . I n i v,
72, 28 , a t a we ddi g n , kin d s m rga s a n d
s u r a m a i re y a p an ani a n d me a t of a ll ,

m e dh y a h p a c a v a h K a r a s a su ra v a t a m ( s u ra ra h i t a m N ) i n d i c a t e s h i s
’
. n r ,
.

h a b itu a l u s e o f s r a ii i 2 57 1 7 B o th Kri s h n a a n d A rj u n a a re dr u n k wh e n
u , , , .

th e y r e c e i ve a n a m b s s a d o r v 59 5 a , , , .

2 R u li n g C a s t e F u rth e r ill u s tr a ti o n s a l s o a re h e r e g i v e n o f t h e
p 119 , . .

o th e r v i c e s m e ti o e d My p o s iti o n i n r e ga r d t o th e s e p o i n t s I fi n d it n e c e s
n n .

s a ry t o r e s t a t e o wi n g t o t h e m i s r e p r e s e n t a ti o n o f th e m i n t h e s o c a ll e d
,
-

Ge n e s i s de s Ma h a b h a ra t a Th e a u th o r s im p ly p a r o d i e s wh e n o n p 55 h e
.
,
.
,

s a ys ,
“
th e s e p s g e s c a n n o t b e l o n g t o a tim e
a s a I t h e p r e e n t a ti o n n s

thu s c a ri c a t r e d I s e p a r a t e d n o p a rt s o f t h e e p i c ; b t s i m p ly p o i n t e d o u t
u u

th a t t h e s ta te m e n t s o f t h e m o ra l c o d e a re n o t i n h a rm o n y with t h e a c ti o n o f
th e he ro e s .

p e rh a p s i s du e t h e i n tru s i o n i n t o e p i c s a c ri fi c e s ( m o n g a c v a
3 To thi s a
, ,

m e d h a ra j a fi y a
, d o th e r a n c i e n t rit e s ) o f t h e s o c a ll e d p n da i k a s a c ri fi c e
s , a n - u r ,

o r s a c ri fi c e o f l o t ( r o o t s ) whi c h i s fr e qu e n tly m e ti o e d b t a p p e a r s t o
— u s , n n ,
u

b e u n k o wn b e fo r e t h e e p i c
n Th e g r a c i o u s e s s o f t h e Vi s h n u c u lt i s ill u s
. n

t ra t e d b y i t s i n s i s t e c e o n v e g e t a l a d o t a i m a l o ffe ri n g s
n Th e o rth o d o x n n n .

B ra h m a n ( l s o t h e Q a kt a ) d e m a n d s b lo o d s a c ri fi c e s ; Kri h n a p ro hib it s th e m
a -
s .

Th e di fi e re n c e s till m a rk e d a p p e a r s i n t h e e p i c a n d n o s yn th e s i s
“
, ,
can

e x p l a i n it o th e rwi s e .
3 78 THE GR EA T EPI C OF I N D I A .

j ni bi j a m co ha ga n n o h a n tum a rh a t h a ( y o u must n o t kill

‘

ii a

g o a ts a t a s a cri fi ce ; s a cri fi ce with ve eta bles a n d c a ll them

g
go a ts) n a i sa dh a rm a h s a ta rir deva y a tra va dh y e t a va i p a c uh
’

( it is n o t the rule a m o n
gg o o d m e n to kill a n im a ls
) xii 3 3 8 , , ,

4 N o w this wh o le te a chi n g is o ppose d n o t o n l y t o the for

.

m a l codes a n d to the pra ctice o f the epic her o es but a l so ,

t o the form a l te a chi n g o f the epic itself which s a ys ex ,

pressly : N o m a n do es wro n g i n e a tin g f o o d prep a re d with

the s a cri fi cia l verses y a j u s a s a ms krt a m ma nsa m u p a bh u rija n ,
”
.

n a du sy a t i xiii 1 63 A n i m fl s a crifi ces a re i n veighed

, , ,

a a i n st i n o n e p a rt of the epic a n d pra ise d i n a n o ther iii 3 0

g ( , ,

E ve n hum a n s a cri fi ces a re n o t o n ly m en ti o n e d but a lso

e n j o in e d o n the m o del hero es : Sa crifi ces a re the chief m e a n s
of success D o tho u therefo re in stitute a Ra ja s fi y a a ho rse
.
,
”
s a crifi ce a n a ll s a c ri fi c e a n d a hum a n s a crifi ce xiv 3 6
,
-
, , ,

As t o hun tin g a ll epic hero es hun t a n d e a t the me a t of ,

their victi ms ; but sin ce this pra ctice is o ppose d to the a hi ns a

do ctrin e the c a su i st h a s a goo d de a l of di ffi culty i n re c o n c il
i n g the pra ctice o f the m o del heroes with th a t do ctri n e It .

is s a id to be permi ssible bec a use s a cri fi ci a l a n i ma ls m a y be ,

e a ten a n d deer a re brought un der this he a d by a referen ce

,
”
t o Aga sty a who s a n ctifi e d them B u t whi le Ra m a is quite .

co n ten t t o s a y tha t hun tin g even with tra ps is permi ssible ,

bec a use the s a in ts of roy a l blo o d pra ctised it o f o ld ; the

te a cher i n the Ma ha bha ra ta is still un e a sy even a fter c o n ,

ten di n g tha t the qua rry is s a cri fi ci a l ; s o he s a ys tha t re a lly

the hun ter is con ten din g for his life a n d it is a m a tter of
fi ghtin g whi ch t a kes it out o f the c a tegory of in jury
, sin ce ,

the hun ter hi mself is a s l kely to be kill ed a s to kill Al l

i 3
.

hi i p t d p th m a n m 43 Thi d th a m a n m i
Th 1 e c ne s exce e rs a sa . s a n vr sa s
, ,

th m e p t m a n m th t i
sa e it i
a s b d t t m
u ra t t df sa ,
a s, s a s a o ea ea no u se or

sa c ri fi i l p rp c ait i t b ib l f m t m b r a h m a g a ity
u o se s a s s o e a c a nn a ,
or a r a a n va

e t t t y m k t h w
a ra a h ly B r h m 42 C m p r l iii
e a a ,
c o s a re a s o a s a a n s, . o a e a so x ,

115 a n d 1 16 ( b e l o w) .

2
C o mp a re x iii , 1 03 , 3 2 11 ,
“
a rka y a n a s , t u ra y a n a s, h u ma n sa c rifi c e s (a n d
o th e r s ) .

3 Th e p a i s sa g
re l a t e d C o mp a re : a t o ra j a rs a y a h
es of t h e t wo e p c s a re .

s a r v e m ga y a my a n t i B h a r a t a with y a n t i ra j a rs a y a c c a t ra m rga y a rn d h a r
’
r , ,

m a ko vi da h x iii 1 1 6 1 8 a n d R i v 1 8 40 r e s p e c ti ve ly Th e la w i s l a i d d o wn
, , , , .
, , , .
 3 80 THE GR EA T EP I C OF I N D I A .

ows a re seen ix 3 7 9 Hi s sa in ts a re sta rs but a ga in on l y , , , .

,
” ”
“ like st rs
a a n d fin a lly n o t sta rs
,
iii 25 1 4 ; 261 1 3 ; “
, , , ,

xii 245 2 2 ; 271 25 etc I la y a s little weight o n such

, , , , .

co n tra di ctio n s a s wo ul d a n y o n e fa mi l ia r with the hi sto ry o f

l itera ture a n d it is a mere tra vesty t o s a y tha t to this cla ss
,

belo n g such fun da men ta l di fferen ces a s those which a re cha r

a c t e ri s t i c o f the precept a n d pra ctice of the epic No p o em .

com p o sed to tea ch certa in doctrin es wou l d a dmi t a s its most

vi rtuo us cha ra cters those who di sre ga rde d these do ctrin es
system a tica ll y .

Whether the fa ct tha t o nl y the pseudo epic puts the Ath -

a rv a V e da fi r st i n the list of V e da s be wo rthy o f co n sider a tio n

-

or n o t it h a s a n in terestin g p a ra llel in the fa ct tha t o nl y the

,

p s eudo epic pl a ces the Atha rva n priest before the others
- .

I n e a rly works the Ac a ry a who t a u ght gra tis a ll the Ve da s , ,

is decl a red t o be worth t e n Up a dh y a ya s Va s xiii 48 ; iii , .

, ,

21 —22 ; M anu ii 1 40—1 45 This Up a dhya ya is the di rect

, , .

etym o lo gi ca l a n cestor of the m o dern ojha wiz a rd I n a n cien t , .

t Me s he wa s a sub tea cher wh o ta u ght for a livelihoo d o n e -

,

p a rt of the Ve da a n d Veda nga a n d he is ide n tifi e d i n the ,

epic with the Pu ro h i t a who a s Professor Weber h a s shown , , ,

—
is essen tia lly a n At h a rv a V eda priest or m a gic mon ger who m
1
,
-
,

2
seers rega rd a s con tem ptible Th e pseudo epic in verts the .
-

a n cie n t ra tio a n d ma kes the Up a dhy a ya worth t e n Ac a r a s

y ,

xiii 1 05 1 4—4 5
, , .

O 1 mp l
ne f m gi r
exa r d d i t h p i i p rti l rly i t r ti g
e o a c eco e n e e c s a cu a n e es n ,

a s it i r f rr d t t h K a lik c a tr
s e e e l ft h d lt d i p r ll l t
o e u a -
s a , or e - a n cu ,
a n s a a a e o

th pr e ti r r d d i Th rit
a c c e eco d i dyll It i ll d h a y p
e n eoc us
’
se c o n . s ca e c o a s e va n a

or s h d w lt d a o i t i m ki g
-c u , im g f
a n my d ti ki g
c ons s s n a n a n a e o a n e ne a n s c n

pi ns i t it t n o h i d th iii 3 2 4
o c a u se s ea , , , .

Th J a t k
2
et r g rd th P h i t
a a s, m r m g i m g r th g h
oo , e a e u ro a a s a e e a c -
on e , ou

th y ll h i m l a i y Fi k S i l Gli d r g p 1 1 0 O t h P h i t
e ca a so ca r a ,
c , oc a e e e un , . . n e u ro a

Up a d hy a y th t ry f M t t i 6 7ff H r ( d i iii 1 0 3 6)
a , se e e s o o a ru a ,
x v, ,
. e e a n n x , ,

th e ffi o i h r d it ry
c e Th ki g i
s th
e f rm r p
e g i i t th t h i
a . e n n e o e a ssa e ns s s a s

fa m ily h a ll s e rve h i m with a n i n c a n t a ti o n b u t t h e p ri e s t t e ll s

Pu ro h i t a s ,

h i m h e i s e n g a g e d e l s e wh e r e a n d s a y s Go a n d c h o o s e s o m e o n e e l s e a s ,
“

yo u r Up a dhy a y a So i n i 3 1 1 ff wh e r e a p r o p e r Pu ro h i ta i s s o u g ht t o
.
”
, ,
.
,
“

kill b a d m a gi c a n d i s i n s t a ll e d a s Up a d hy a y a On h i s p r a c ti c a l i m p o rt a n c e .

a n d h o n o rs c o m p re i 1 8 3 1 9 ; 6 7; v 1 26 2 ; 1 2 7 2 5 ; i x 41 1 2
,
a , On t h e , ,
-
, , , , , .

c o n t e mp t with whi c h h e i s r e g a r d e d x iii 1 0 3 6 ; 94 3 3 ; 1 3 5 1 1 , , , , ,

.
 OR I GI N AN D D E VEL OP MEN T OF THE EP I C . 3 81

epic i n its presen t fo rm is swollen with m a n y a ddi tion s

Th e ,

but they a re a ll c a st in to the sh a de by the e n o rm o us m a ss

a dde d b o di ly to the epic a s dida ctic bo o ks co n ta in in m ore
g ,

tha n twen ty thousa n d sta n z a s I h a ve elsewhere fully ex .

pl a in e d the ma chi n ery by which thi s gre a t a ppen di x wa s

1

a dde d to the origin a l work th rough suspe n din g the de a th of

the n a rra tor a n d sho wn tha t there a re m a n y in di c a tio n s left i n

,

the epic poin tin g to the fa ct th a t the n a rra tor in the o rigin a l
versio n wa s a ctua lly kill ed before he uttere d a wo rd o f the
a ppe n dix As thi s o n e fa ct di sposes of the chi ef fe a ture of
.

tha t theory of the epic which holds tha t the wo rk wa s origi

n a ll y wh a t it is to d a y a n d a s n o su ffi cie n t a n swer h a s been -
,

ive n to the f a cts a dduce d there c a n be n o further questio n

g ,

in rega rd to the c o rrectn ess of the term pseudo epic a s a ppli e d -

2
to these p a rts of the presen t poem There h a s bee n s o fa r .
,

a s I kn o w n o voice he a rd in f a vor o f the s o c a lle d syn thetic

,
-

theory in rega rd t o the n a ture of these l a te b o o ks except ,

certa in uttera n ces b a se d a pp a ren tly o n a misc o n ceptio n Thus .

it h a s been sa id I thi n k by Professor Olden burg tha t the di s

, , ,

c o v e ry of the lotus st a lk t a le a m o n g the e a rly B u ddhi stic -

legen ds ten ds t o sho w tha t the epic book where it occurs is

a n tique
3
On thi s poin t thi s is to be s a id : N o o n e h a s ever
.

de n i e d th a t there a re e a rly le ge n d s foun d in the l a te p a rts of

the epic ; but the fa ct tha t thi s or tha t le ge n d repe a ted in the
pseudo epic is fo un d in other li tera ture n o m a tter how o ld
-
, ,

do es n o thin g to wa rd provin g either the a n tiquity o f the book

a s a wh o le whi ch is just wh a t the , syn thetic m etho d c o n
te n ds for or the a n tiqui ty of the epic form o f the legen d
, .

Th e sto ry of the D elu ge fo r ex a m ple is o lder th a n a n y , ,

B u ddhistic m o n ume n t ; but this does n o t pro ve th a t the epic

versio n in the thi rd b o o k is o ld Th e s a m e is true of the .

1 Jo r Phil x i p 7ff
Am . u n . .
,
x, . .

2 I
thi v i e w I a m g l d t o s e e th a t Pr o fe s o r J c o b i i t h e r e vi e w c it e d
n s a s a ,
n

a b o v e ful ly a gr e e
, So l M B a rth Jo r l de s S v t 1 8 97 p 448
s. a so .
,
u na a a n s, ,
. .

2
I m o t s re th a t I h a ve h e re c it d t h we ll kn o w R i a v t
a n u e e - n u ss a n s a n

c rr e c tly a s I h a v e
o ee
, o ly a o ti c e o f h i s p a p r ; b t I b li e v e t h
s n n s s e ti a l
n e u e e e n

poi t i n g ive a b o ve Th e L t Th e ft h o we ve r p e rh a p t h e s a m e s t o ry
s a s n . o u s- , ,
s ,

i s ll d e d t o a s e a rly a s A i t B r v 3 0
a u . . . .
3 82 THE GR EA T EP I C OF I N D I A .

fi rst book where the p a u ra n i k a tha of Kh a n da va for ex

, ,

a m ple is a jus tifi a ble a n d in structive title Se t a s it i s i n a

, ,
”
l a te b o o k A specia l a n cien t ta le is just wha t it is ; i n
.

t ru de d a wkw a rdl y in to the co n tin uous l a ter n a rr a tio n 223 , ,

1 4—1 6 but still be a rin g tra ces of its hetero gen eous ch a ra cter
, ,

1
a s I h a ve shown elsewhere K n owin g a s we do the loose
.
, ,

a n d c a reless wa y i n whi ch epic texts h a ve bee n h a n de d d own

( c o m p a re the w a y i n whi c h a ppe a r the s a me p a ss a es

g g ive n

i n differen t e di ti o n s of the s a me epic or i n both epics ) a n d ,

the freedom with whi ch a ddi tion s were m a de to the text ,

we a re in such c a ses hi storic a lly justifi e d i n s a yin g on ly tha t

certa in m a tter of the epic sta n ds p a ra llel to certa in B h a s y a
m a tter or B uddhi stic m a tter A ta le is fo un d in the epic . .

I t s co n ten t is picture d o n a ston e or f o un d i n di fferen t fo rm

i n a J a ta k a .Wha t possible gu a ra n tee ha ve we th a t the epic
form o f the ta le is a s o l d a s the Ja ta ka still less tha t it is a s ,

o l d a s the sto n e le a st o f a ll th a t the book in whi ch the epic

,

ta le a ppe a rs m ust a s a whole be a n tique ? On ly p a ucity of

solid da ta co u l d m a ke emi n en t schol a rs build structures o n
such a mora ss .

Ha v in g a lre a dy given a n ex a mple or two of la te fe a t

ures i n the pseudo epic I would n o w poin t to som e of the
-
,

cha ra cteristic m a rks of the la ter poem in other rega rds Mi d .

wa y in the developmen t of the epic sta n ds the in trusion o f

the f o u rth book where to fill out a n extra ye a r n o t reco g
, ,

n i z e d i n the e a rly epic the heroes live a t court i n v a rious di s

,

g u ises
. H ere the worship of D urga is pr o min e n t who is ,

kn own by her P ur a ni c title m a h i sa s u ra n a ci n i iv 6 1 5 whose

, , , , ,

”
ra ce gives victory i b 3 0 ( thou g h a fter the in trusio n of
g , .

the hym n n othin g further is he a rd of her) Th e D urga here .

depicte d be a rs a kh e ta ka ( a s she do es when the s a m e hymn is

rep e a te d i n vi 23 ,
iv 6 4 This word for shi eld a mi d i n
, , , .

n umer a ble p a ss a ges describin g a rms is un kn own i n the epic ,

except i n co n n ection with D urga but it is foun d i n post ,

epic a l litera tur e I t sta n ds i n the s a me hi storic a l position a s

.

does the epithet just men tion ed I n these c a ses we h a ve

.

1 Bha t d Gr t B h a r t p 1 5
ra a a n ea a a . .
,
3 84 THE GR EA T EP I C OF I N D I A .

epic with c a reful a n a lysis tha t the Gi ta a n d the thi rteen th bo ok ,

fo r ex a m ple a re purely priestly pro ducts a n d th a t o n e of them

, ,

1
is o n the wh o le a s e a rly a s the other o n the who le is l a t e ,

it is n o t e a sy to decide wha t is the rel a tion between these

re at r o ups of verses a n d the her o ic epic with whi ch n either
g g ,

h a s a n y inn er co n n ectio n Nevertheless a lthough there c a n

.
,

be a s a resul t of the in quiry onl y the hi sto ric a l pro ba bility

usua l i n a n swerin g the pr o blems o f a n cien t li tera ture a n d n o t ,

such a m a them a tic a l quo d era t demon stra n dum a s the syn the
‘

sist dem a n ds we a re n o t wholly a t a loss t o reply to thi s

,

question I n the fi rst pla ce we ha ve a very in structive a n a l

.

o i n the in trusio n i n t o b o th epic texts o f a n in co n ru o us

gy g
di da ctic ch a pter f o un d b o th i n the Ra ma y a n a a n d the Ma ha
bha ra ta which be a rs o n its fa ce eviden ce of its gr a d ua l e x p a n
,

sio n B u t even wi tho ut this eviden ce it wi ll I thi n k be

.
, ,

cle a r even to the syn thesist tha t the s a me cha pter c a n n o t

h a ve a risen in depen den tly in b o th epics ; so th a t in thi s in
sta n ce we ha ve a pla in c a se o f the dyn a mic in trusi o n in to
2
a n epic text o f forei n di da ctic m a teri a l
g .

Aga in the presen ce o f a huge v o lum e of extra n eous a ddi

,

tio n s c o n ta i ni n g b o th legen ds a n d di da ctic s t u fl n o w ta gge d

, ,

o n t o the epic a s its n i n etee n th bo o k a n d rec o n i zed i n the

g
l a st p a rt of the epic itself is a n object lesso n i n dyn a mi c
,
-

exp a n sio n which i n itsel f shows how the pseudo epic m a y -

wi th perfect re ga rd to hi sto ric pr o b a bili ty be supp o se d t o h a ve

been a dde d to the epic pro per Th e Ra m a y a n a t o o is i n struo
.

tive a s it sho ws th a t who le cha pters h a ve bee n i n terp o l a te d

, ,

a s a dmi tte d by its co mm e n t a t o r Th e gre a t epic itself a dmi ts

.

tha t there is a di ffere n ce between the m a in epic a n d the epi

s o de s i n s a yin g tha t the fo rm er is o n l y o n e fo urth o f the
,
-

who le a n d relega tin g seven ty six o f its hun dre d tho us a n d

,
-

3
st z s t the dom a in of the episo di c epic
a n a o .

1 re t h e c h a p t e r o n m e tr e s
Co mp a .

2
Thi s c h a p t e r i s t h e K a c c i t s e c ti o n 1 1 5 a n d R n 1 00 p r e vi o u s ly r e fe rr e d
,
.
, ,

t o d i s c u s s e d i n d e t a il i n A JP
, . i 1 47 if
x x, .

3 As a n
i n t e r e s ti n g e x a m p l e o f t h e gr o wth o f Sa s krit p o p u l r p o e m s
n a

Mr Gri e rs o n i fo rm s m e th a t th e re i s e t a t a v rddh a o r b h a d Vi s h n u
,

. n x n r

P u r a na whi c h c o n t a in s l a r g e a dd iti o n s t o t h e r e c e i ve d t e x t
, .
 OR I GI N AN D D E VEL OP MEN T OF THE EPI C . 3 85

Th a t the priests develope d the epic for their o wn in terests ,

g oes without s a yin

g ; he n ce the l o n
g ch a p t ers of priestly
o ri in o n the duty o f ch a ri ty to priests Tha t they a dde d
g .

legen ds h a s a lre a dy been sho wn a n d the metre still a ttests ,

the a pproxima te a ge o f a N a la or a Sul a b h a epis o de B u t .

besides di da ctic a n d legen da ry m a sses it wa s n ecess a ry i n , ,

o r der t o p o pula rize the poem to keep s o me sort of pr o portio n ,

between the ta le a n d its tum ors Hen ce the fi ghti n g epis o des .

were in cre a sed enl a rge d rewri tt e n a n d in serte d d o ubly the

, , , ,

s a me scen e a n d description occurrin g i n two di fferen t pl a ces .

Fo r thi s re a s o n whi le there is a n a ppreci a ble di ffere n ce i n the

,

m etre of the di fferen t episo des which were i n serte d wh o le the ,

fi ght in g scen es a re chi efly of o n e ol o k a — type — a type la ter ,

tha n tha t of s o m e of the episo des but o n a p a r with tha t of ,

the l a ter di da ctic a n d n a rra tive in sertio n s .

Whether the o rigin a l ta le wa s occupie d wi th the P a n du s or

n o t the o l dest her o es a re n o t o f thi s f a mi ly a n d the o l d V e di c
, ,

tra ditio n whi le it rec o gn i zes B ha ra ta s a n d Kurus kn o ws

, ,

n o thi n a bout P a n du s Th e Kuru form o f epic m a perh ps

g .
y a

be preserve d i n the verse ( restore d) of o n e of the oldest

Up a n isha ds C ha n d Up iv 1 7 9
, . .
, ,

ya to ya ta a va rt a t e t a d t a d ga c c h a t i m a n a va h
K u ru n a gva b h i ra ks a t i ’
,

a
g a th a restore d by o mi tti n
g a n evi de n t in terp o l a ti o n 1
T h e .

style is lik e the usua l epic turn e g R vi 1 06 22 , . .

, .
, , ,

ye n a ye n a ra tho ya ti te n a te n a p ra dh a va t i .

Nevertheless a P a n du epic of som e sort existe d a s e a rly

,

a s the thir d ce n tury B C a s is shown by the testim o n y o f

. .
,

P a n i n i a n d the Ja t a ka s ( whi ch m a y in dee d gi ve testi mon y fo r

a n e ra eve n l a ter th a n t h e third ce n t ur y ) tho ugh i n the la tter ,

litera ture the epic story is n o t prese n te d a s it is in o u r epic .

Thi s ta kes us from the form to the da te of the Ma h a bha r a ta .

1 C o m p a re M ll r
u e ,
SB E . i , p 71. . Se e l s o t h e Sfi t ra v e rs e
a on t h e K uru s
’

d e fe a t c it e d b y Pr o fe s s o r L u d wi g
, ,
Ab b . Boh m Ge s 1 88 4 p 5
. .
,
. .
 C HAP TE R SI X .

D A TE OF THE E PI C .

FI R ST, to de fi n e the epic I f we m e a n by thi s word the .

be gin n i n gs o f epic story a s they m a y be i ma gin e d in the ,

”
circlin g n a rra tio n i n the o ri gin a l B ha ra ti K a tha or i n
, ,

the e a rly m en ti o n of ta les o f hero es who a re a lso epic cha r

a c t e rs the tim e o f this epic poetry m a y lie a s fa r ba ck a s
,

700 B C or 1 700 B C for a ught we kn ow

. . There a re n o
. .
, .

further da ta t o go up o n tha n the fa cts tha t a B ha ra ta is m e n

t i o n e d i n the l a ter Sa tra th a t the l a ter p a rt of the
C a ta p a t h a ,
”
B ra hma n a me n ti o n s the circli n g n a rra tio n a n d th a t a kh y ,

a na , stories som e i n rega rd to epic person a ges told i n prose

, ,

a n d verse
go b ck t o the e rly
a , a V e di c pe ri o d 1
We m ust be .

co n ten t wi th Weber s co n serva tive su m m a ry : Th e Ma ha ’ “

bha ra ta s a ga ( n o t the epic ) i n its fun da m en ta l pa rts exte n ds

-

”
to the B ra hm a n a peri o d 2 .

I f o n the o ther ha n d we me a n the epic a s we n o w h a ve it

, , ,

a truly syn thetic a l view m ust determi n e the da te a n d we sh a ll ,

fi x the ti m e o f the prese n t Ma h a bh a ra t a a s o n e whe n the

sixty fo ur ka la s were kn own when c o n tin u o us i a mbic p a da s
-
,

were writte n whe n the la test system s of phil o so phy were

,

rec o gn ize d when the t ri m fi rt i wa s a ckn o w

, ledge d when there ,

were o n e hun dre d a n d o n e Y a jur V e da sch o o ls when the ,

s u n wa s c a ll e d M ihi ra whe n G reek w o rds h a d beco m e fa mili a r

, ,

1 On t h e rly p r o se p o e ti c a khy a a o f t h e Ve di c a d B ra h m a n i c a ge c o m
ea - n n ,

p a r e t h e e s s a y b y v o n B ra dke Jo r n a l o f t h e G e r m a n Ori e n t a l So c i e ty
s ,
u ,

x x x v i p 47
,
4 fl ; a n d Ol d e n b e r g ih x x v ii p 5 4 ff a n d x x x ix p 5 2 ff B a ll a d
.
, . x ,
. .
, ,
. .

r e c it a ti o n s a kkh a n a a re m e n ti o n e d i e a rly B dd hi s ti c wo rk s whi c h we m a y

, , n u ,

d o b tfu lly a s s i gn a s Pro fe s s o r R hy s D a vi d s d o e s u n d o u b ti n g ly t o t h e fifth

u , ,

c e t u ry B
n c . .

p 8 Die M
2 E i s c h e s i m V d i s c h n R it u a l b h a ra t a Sa g e r e i c ht s o m it ihr e r -
p e e ,
.

Gru n d la g e n a c h i n di e B r a h ma n a Pe rio de h in e in .
3 88 THE GR EA T EP I C OF I N D I A .

An other in terestin g item is con tri buted by the further

n ega tive evide n ce a fforde d i n the m a tter of copper pla te -

r a n ts G ifts t o priests a re especi a lly urged i n the An u ga sa na

g .
,

a n d the ift o f l a n d a bove a ll is pra ise d i n the most e x t ra v w

g
a n t terms We k n ow tha t by the sec o n d cen tury of o u r e ra
g .
,

a n d perh a ps e a rlier such f

g ts to priests were s a fe gua rde d by
i ,

copper pla te gra n ts bea rin g the techn ic a l n a m e of pa tta ( p a ta )

-
,

or ta m ra p a tta a n d el a bora te i n struction s fo r their m a kin g a re

,

ive n i n the l a w book of N a ra da a n d Vishn u while they a re

g
-
,

m e n tio n ed i n the c o de of Ya jii a va lky a but n o t before ; fo r ,

Ma n u tho ugh he m en tion s the b o un da ry li n e bein g re

,
-

corded n i b a ddh a h a s n o suggesti o n o f pla te gra n ts Th e

, ,
-
.

epic however a t le a st the pseudo e g o spe a ks o f writin g

, ,
-
,

do wn even the V e da s a n d rec o gn i zes rock in scripti o n s but ,

-
,

i n the m a tt er of recorde d gra n ts t o p ri ests s a ys n othi n g a t a ll ;

m uch less do es it reco gn ize such a thi n g a s a ta m ra p a tta .

Th e o n l y terms use d a re p a ri gra h a a n d a gra h a ra but the ,

la tter whi ch is very r a re is n ever used i n the sen se of a l a n d

, ,

r a n t though gra m a gra h a ra occurs o n ce i n the l a te r epic xv

g , , ,

m 1
14 14 ,
E ve the ge era l c s
n . n a a n a is ever so e pl ye
n o d It .

is true tha t thi s n e ga tive eviden ce do es n o t prove the epic to

h a ve been com plete d before the ta m ra p a tta wa s kn own ; but
o n the other h a n d it is u n li kely were the ta m ra p a tta the
, ,

usua l me a n s of clin chin g a b h fi m i da n a when the A n u c a s a n a

wa s com p o se d th a t this mo de would h a ve p a ssed un n o tice d
, ,

c on qu e s t o f Ta k sa c il a s e e i 3 20 A c c o r d in g t o ii 61 20 t h e s o l d i e r s p a y i s
, , , .
, , ,
’

a th o u s a n d a m o n th h e r e p re s u m a b ly c o p p e r
”
.
,

1 L e ga l do c m e n ts a e a r fi r s t i n V a s D h S x vi 1 0 1 5 u n de r t h e n a m e
pp u . . .
, , , ,

l e kh i t a P r o b a b ly t h e fi r s t d e e d s we r e writt e n o n c l o th o r b o a r d s p h a l a ka a s
. , ,

a b o a r d c o p y p r e c e d e s t h e r o c k i c ri p ti o n A SW I
- i v p 1 02 - Th e e p i c
ns ,
.
, , . .

h a s p i t e p a ta a s i n x v 3 2 20 da d c e c i t ra m p a ta g a t a rir y a th a ( a c c a y a
c ur -
, , , ,
r r

b h fi t a m ) a n d o ft e n R o c k i s c ri p ti o n s a re m e n ti o n e d o ly i n x iii 1 3 9 43
.
-
n n , , ,

c i a m t i s th a t i m e di n y a rh c a il e l e kh y a m i v a rp i t a m W ritt e n Ve d a s a re ’
r .

a ll u d e d t o ly i b 23 72 on Se a l s a e u s e d a s p a s s p o rt s iii 1 5 1 9
.
,
. C o mp a r e
r , , ,
.

a l s o ii 5 5 1 0 n a l e kh y a m n a c a m a t k a ; v 1 48 23 c i t ra ka ra i va l e kh y a m
’
r , , ,
, , ,

l e kh y a a n d o th e r a rt s ; v i i 99 7 n a m a nki t a h ( c o m p a r e
“
krt v a ib 1 89 1 .
, , , , ,

a b o ve p ,
o f a rr o ws
. Th e c o j u n c t ga n a ka l e kh a k a h o c c u r s o n ly i n x v
. n ,

1 4 8 a n d i n t h e v e r s e o f t h e K a c c i t s e c ti o n ii 5 72 whi c h i s a s u b s e q u e n t
, , , , , ,

a dd iti o n e ve n t o thi s l a t e c h a p t e r ; A JP x i x p 1 49 .
, ,
. .
 DA T E OF THE EP I C . 3 89

a nd we c o n clude tha t the gift section s o f thi s b o o k were

ma y -

1
a t a s o l d a s the o ldest c o pper pl a te gra ts t o priests
le a st n -
.

Th e time of the wh o le Ma ha bha r a ta gen era lly spe a kin g

m a y then be fro m 200—4 00 A D Thi s h o wever t a kes in t o . .
, ,

a ccoun t n either subsequen t a d di ti o n s such a s we kn o w to ,

ha ve been m a d e i n l a ter tim es n o r the va ri o us rec a stin gs i n ,

verba l fo rm whi ch m a y s a fely be a ssumed t o ha ve o ccurred

,

a t the h a n ds of successive copyi sts .

2
Fo r the termi n us a quo the extern a l eviden ce i n re ga rd t o ,

the P a n du epic Ma ha bha ra ta tho ugh sc a n ty is v a lua ble I t , , , .

sho ws us fi rst tha t the Ma ha bha ra ta is n o t rec o gn ize d in a n y

Sa n skrit litera ry w o rk till a fte r the e n d o f the B ra hm a n a
perio d a n d on l y i n the l a test Sii tra s where it is a n evide n t
, ,

i n trusion i n to the text Fo r the G rh y a Sfi t ra s bel o n g to the .

close of the Sa tra peri o d a n d here the w o rds B ha ra ta a n d ,

Ma ha bha ra ta occur i n a li st of a uthors a n d wo rks a s s u b s t i

t u t e s for the e a rlier m e n ti o n of I t ih a s a a n d Pura n a i n the s a m e

1 r s e x i i 56 52 whi c h t h e a u th o r o f D a Ma h a b h a ra t a a ls E p o s u n d
Th e ve , , ,
s

R e c ht s b u c h p 1 8 7 a dd u c e s t o p r o v e th a t writt e n d e e d s we r e kn o w i s g i v e
,
.
,
n ,
n

b y h i m with o u t t h e c o n t e x t W h e n thi s i s e a m i e d it i s fo u n d th a t t h e v e r s e
. x n

r e fe rs n o t t o l a n d b u t t o a ki n g s re a l m N e ith e r d o e s t h e t e t n o r t h e c o m’
. x

m e n t a t o r n e c e s s a rily ( a s a s s e rt e d l o c c i t ) m a k e it r e fe r t o l d g r a n t s , Th e . . a n -
.

wo r d u s e d i s v i a y a a ki g s r e a l m o r c o u n try ( a s i n x i v 3 2 8 ) a n d t h e p o e t
s ,
n
’
, ,

s a y s th a t m i n i s t e r s wh o a re g i v e n t o o m u c h lib e rty r e d t h e kin g s r e a lm b y ’

n

c o u n t e rfe it s ( o r f l s i fi c a t i o n s ) Th e s itu a ti o n a n d t h e a a l o g y o f 5 9 49 a n d
a . n , ,

69 22 a n d 1 00 6 wh e r e g e e r a l d e c e it a d d i s s e n s i o n a re t h e m e n s e m p l o y e d
, , , , n n a

t o d e s tr o y a r e a l m m a k e it m o s t p r o b a b l e th a t t h e wo r d p a t i rfi p a ka i s u e d
,
r s

h e re t o d i s ti n gu i s h t h e fo r ge d l a ws a d e di c t s o f t h e u s u rp i g m in i s t e r s fr o m n n

t h e tr u e l a ws whi c h t h e h e lp l e s s kin g wo u l d e n a c t Su c h s u p p r e s i o n o f t h e . s

ki g a d s u b s tit u ti o n o f fa l s e e d i c t s a re th o ro u ghly Ori e n t a l a d m a y e a s ily

n n ,
n

b e ill u s tr a t e d b y t h e u s e o f thi s v e ry wo r d p a t i rfi p a k a i n t h e L o t u s o f Tr e , r ,
u

L a w wh e r e p ra t i fi p a ka m e a n s j u s t s u c h fa l s e l a ws s u b s tit u t e d fo r t h e
”
,
r

r e a l ki g s tru e l a ws ( iii 22 ; SB E x x i p 68 n o te with Ir a n i a n p a r a ll e l )

n
’

,
.
, , .
, ,
.

Th e c o mm e n t a t o r s a y s c o rr u p t t h e c o u n try b y fa l s e e d i c t d o c u m e n t s th a t
“ ”
-
,

i s h e g i v e s a g e n e r a l a p p li c a ti o n t o t h e wo r d s w hi c h m a y b e i n t e rp r e t e d a s
, ,

r e fe rri n g t o l a n d gr a t s b u t thi s i s n o t n e c e s s a ry P o s s ib l e wo u l d b e t h e
- n , .

l a t e r l a w m e a n in g o f fra u d s o f a n y kin d p e rh a p s c o u n te rfe it m o n e y C e rt a i n

-
,
.

it i s t h a t t h e p a s s a g e i s n o t a di r e c t p r o o f fo r fo r g e d d o c u m e t s s till l e s s
“
n ,
”

fo r fa l s e d o c u m e n t s b y m e a n s o f whi c h a n y o n e g e t s l a n d
“ ”
.

2
C i s i n di c e v i d e n c e i s n e g a ti v e a n d with o u t we i g ht
-
Me ga s th e n e s c 3 00 .
, .

B C h a s l e ft n o fra gm e n t o n Hin d u e p i c s a n d t h e s o u rc e o f D i o Ch ry s o s
. .
, ,

t o m o s ( 1 00 A wh o m e n ti o n s a Hi n d u Ho m e r i s u k n o wn
.
,
n .
3 90 THE GR EA T EP I C OF I N D I A .

pl a ce so recen t a substituti o n i n fa ct tha t s o m e eve n o f the

,

l a test o f these Sfi t ra s still reta in I t i h a s a a n d P ura n a B u t .

when the w o rds do a ctu a lly occur they a re pl a in ly a dditi o n s

t o the e a rli er list Thus i n Ca fi kh a y a n a iv 1 0 1 3 the list
.
, , ,

is Su m a n t u Ja imin i Va i ga m p a y a n a P a ila the Sfi t ra s the

, , , , ,

B h a sy a Ga rgy a etc with n o m e n ti o n o f the epic

, , B u t the .
, .

Acv a l a y a n a text iii 4 4 i n serts the epic thus : Su m a n t u

, , , , ,

Ja imi n i Va i c a m p a y a n a P a il a the Sfi t ra s the B h a sy a t he

, , , , ,

B h a ra t a ,
the M h a bh a
a ra ta ,
dh a rm do a ry a s, J a n a n tz , B dh a
'

vz
’

Ga rgy a , etc Th e n ext step is ta ke n by the Ca m b a vy a text

.
,

which do es n o t n o tice the B ha ra ta a n d reco gn izes o n ly the

Ma ha bha ra ta ( where a s s o m e texts m a ke eve n the Acv a la y a n a
Sa tra o m it Ma ha bha r a ta a lto gether re a di n g B ha ra t a dh a r ,
-

m a c a ry a h) When it is rem em bered tha t these a n d o ther lists

.

o f liter a ture a re n o t u n c o mm o n i n the Sfi t ra s a n d th a t n o where ,

do we fi n d a n y o ther refere n ce t o the Ma ha bha ra t a it bec o m es ,

eviden t tha t we h a ve im p o rta n t n e ga tive te stim o n y fo r the

l a ten ess o f the epic i n su ch o m issio n which is stren gthen e d ,

by the eviden tly in te rp o la te d m en tio n o f the p o em witha l i n ,

1
o n e o f the l a test Sfi t ra s .

P a t a ii j a li it m a y be a dm itte d rec o gn izes a P a n du epic i n

, ,
’
the verse a s i dvi t i y o n u s a s a ra P a n da v a m a n d in his a cc o un t
, ,

o f the dra m a tic represe n t a ti o n o f the s a cre d le e n d in dis

g ,

s o lubly c o n n ected with the ta le 2 This ta kes us a t fa rthest .

ba c k t o the sec o n d c en tury ; but thi s da te ( p 5 6) is do ubtful . .

P a ni n i kn o ws the n a m es o f the epic he ro es a n d rec o gn izes ,

the Arjun a Krishn a cult i n givi n g a deriva tive m e a n in g

-

wo rshipper o f Arjun a ( Krishn a ) He a lso which is m o re ”

.
,

im p o rta n t rec o gn izes the n a m e Ma ha bha ra ta I t c a n n o t re a

, .

s o n a bly be cl a im e d I thin k tha t this n a m e do es n o t refer t o

, ,

the epic I t sta n ds in deed beside m a ha Ja ba l a a n d m ight ( a s

.
, ,
-
,

m a sc u l in e ) be su ppose d fro m this circ umsta n ce t o m ea n the

1 Th t th a li t yw y t
e se f g t hi t ri l l h l t ly
s s, a n a ,
a re no o c o en s o ca va ue ,
a s a e

been m p h iz d b y D W i t r itz i h i l t r i w f D h l m
e a s e r
. Th y n e n n s a s ev e o a a nn . e

ce rt i ly
a n t h lp i d ti g t h p i b f r t h f rth
c a nn o e t ry Th
n a n e e c e o e e ou cen u . e

i tr i
n us on f th g i tih a
o p ra i t h li t i ill tr t d
e enu s i th sa -
u na n o su c s s s us a e e ve n n e

Up i h d
a n s C m p r M d Up i 5 with t h
a s . o t t SB E v p 2 7
a e un . .
, , e no e a .
,
x , . .

2 Com p a r e We b e r ,
I S, . i , pp 1 47-
1 49 ;
. x iii , pp 3 5
. 6-3 5 7 .
3 92 THE GR EA T EP I C OF I N D I A .

is a ttributed i n a ll the more im porta n t buildi n g opera ti o n s

to the dem o n Asura or D a n a va Ma ya wh o by his m a gic , ,

power buil ds such huge buil di n gs a s a re described i m

1
, ,

men se mo a ted p a l a ces with a rches a nd a ro o f sup po rte d by

a thous a n d pilla rs There is i n I n di a n o re a l a rchi tecture .

tha t goes b a ck o f the B uddh i stic peri o d a n d of bo th B u d ,

dhi s t i c a n d J a in a rchi tecture the rem a i n s a re in

2
flu e n c e d by G reek m o dels .

Th e G reeks a re describe d a s a western people ( n orthwest

e rn wi th Ka m b o j a s ) fa m o us a s fi ghters we a ri n g especi a lly
, , ,

fi n e meta l a rm o r a n d thei r overthr o w is a llude d t o Th e , .

a lli es e n a e d i n the epic b a ttles a re n o t o n ly n a tive prin ces

g g
but a lso G reek kin gs a n d Persia n s wh o come o u t o f the West ,

to the wa r I n o n e p a ss a ge the G reeks a re describe d a s

.

a ll kn o wi n
-
g thou gh I thin k this to be a l a te in terp o l a te d
, ,

cha pter 3 B u t ra gi iii 1 90 9 0 surely im plies the z o di a c

.
, , , , .

B u t eve n if the p a ss a ge m e n ti o n in g a ll kn o wi n g G reeks be -

”
a n in terp o l a ti o n the fa ct tha t the G reeks wh o m ust here , ,

b e the re a l G reeks be a r the n a m e Y a v a n a s sh o ws th a t the , ,

1 So t h e g r t w ll
l a c e s o f Pa tn a whi c h a re e s p e c i a lly m e n ti o n e d
ea a s a n d pa ,

i n t h e Ma h a b h a s y a a re a ttri b t e d b y tr a d iti o n t o d e m o i a c p o we r ( F a
,
u n

Hi e n ) a n d t h e g r e a t a r c hit e c t u r e o f Ma th u r a i s a l s o a s c ri b e d t o s u p e rh u m a n
,

p o we r On Ma y a s m a y a t o whi c h i s a ttrib u t e d t h e m o s t e x t e n s i v e b u il d i n g
’
.
, ,

c o m p a r e ii 1 v 1 00 1 — 2 ; v iii 3 3 1 7 ( A s u r a c iti e s ) R i v 5 1 1 0
, , ,
It i s p o s
, , .
, , .

s ib l e th a t t h e B e n a r e s g h a t s a re r e fe rr e d t o i n v i i 60 1 ( Ga ng a ) c a y a n a i h , ,

k a nc a a i c c it a
n Go l de n b u il din g s m a y b e o n ly g il de d wo o d ( a s th e y a e
.
”
r

P l a t e d s to n e i s m e n ti o n e d i n ii 3 3 2 Ol d Pa t a s n o b l e wa ll s a n d
’ “
t o da y )
-
.
, ,
. n

p a l a c e s a re n o w u fo rt u n a t e ly u n d e r t h e Ga n g e s i n a ll p r o b b ility
n ,
a .

2 Th e c a i t a a
y d stfi p a m d ( o n ly B h a s a c a i t y p ra s a da v 43
n o un lik e s . a , , ,

t h e c a v e s a re n o t t o b e c o m p a r e d with r o o fe d p l a c e s o f s t o n e a n d m a rb l e
,
a .

A s t a t u e o f ir o n i s m e n ti o n e d a y a s o B him a n x i 1 2 1 5 ir o n b e ll s i n t e m p l e s
, , , , ,

x i i 1 41 3 2
,
I n ii 4 2 1 —22 t h e Gr e e k s a re c o m p a r e d t o K a l a ke y a A s u ra s
, .
, , ,
.

He r e a l o n g with t h e ki n g o f K a m b o j a i s m e n ti o n e d o n e ki n g ( t h e ) K a m
, , ,

wh o wa s t h e o n ly m a n th a t e v e r fri g ht e n e d k mp t h e Ya v a n a s ( m e n )
“
pa na , ,
a , ,

s tr o n g h e r o i c a d s kill e d i
, we a p o s
,
n L ik e a s I d r a fri g ht e n e d t h e K a l a
n n . n

k e y a A s u ra s s o ( K fri ght e n e d t h e Gr e e k s ) C o m p a re a l o Ka l a y a va n a
,
”
. . s

wh o h a d t h e Ga rg wgl o ry ( p 1 5 ) i n x ii 3 40 9 5 W e b e r l o c c i t .
, , , , . .

p a r e ii 1 4 1 4 ; iii 2 54 1 8 ; x ii 1 0 1 1 if ; R u li n g C a s t e p 3 05 ; v ii i
3 Co m .
, , , , , , , ,

45 3 6 s a rva j fi a Ya v a n a h i n t h e e p a s i o n o f t h e p r e c e d i n g vit u p e r a ti v e s e c
, , ,
x n

ti o n wh e re fro m h a n ta b h ii y o b ra vi m i t e i n 45 1 K a r a b u r s t s o u t a g a in i n
, , , , n

n e w v ir u l e n c e whi c h l o o k s a l m o s t t o o m u c h lik e a l a t e r a d o r n m e n t
, .
 DA T E OF THE EP I C . 3 93

1
Ya v a n a s elsewhere m en ti on e d a re a lso Greeks a n d n o t some
other pe o ple exclusively I t is a despera te res o rt to i m a gin e .

tha t in a ll these c a ses well kn o wn n a mes refer to other

, ,
-

pe o ples a s the syn thesist m ust a ssume i n the c a se of the

,

G reeks B a ctri a n s Persi a n s Hun s a n d o ther fo reign ers m e n

, , , ,

t i o n e d frequen tly thr o u gh o ut the p o e m A further well .

kn o wn in di c a tio n of G reek in flue n c e is given by the fa ct

th a t the Ks u dr a ka s a n d Ma l a v a s were uni te d in to o n e n a ti o n
fo r the fi rst t i me by the i va si o l 2
n n of A ex a der a n d th a t
n ,

they a ppe a r thus un ited un der the com bi n e d n a m e ksu dra p

ka m a l a va s i n the epic 11 5 2 1 5 Th e R om a n s Ro m a ka s , , , .
, ,

a re m en ti o n e d but o n ce i n a fo rm a l li st o f a ll p o ssible ,

pe o ples ii 5 1 1 7 ( c a n n ib a ls C hi n ese G reeks P ersi a n s

, , , , , , ,

Scythi a n s a n d o ther b a rb a ri a n s ) a n d sta n d thus i n m a rke d

, ,

c o n tra st t o the Greeks a n d Persia n s P a hl a va s who a re , ,

m e n tio n e d ve ry o fte n ; th o ugh i n the a cc o u n t o f Krishn a

kil li n g the Y a va n a wh o se n a m e w a s K a s e ru ma t iii 1 2 3 2 rt , , , ,

h a s bee n su ggeste d by Weber th a t the n a m e w a s re a ll y o f

L a tin o ri gin I t is cle a r fro m this th a t whi le the G reeks
.
,

were fa m il i a r the R om a n s were a s yet but a n a m e Further

, .
,

the di stin ct pro phecy th a t Scythi a n s G reeks a n d B a ctri a n s , ,

will ru le u n ri ghteously i n the evil a ge t o c o m e ( ka li a ge ) -

,

whi ch o ccurs i n iii 1 8 8 3 5 is t o o cle a r a sta tem en t t o be , , ,

ign o re d or expl a in e d a wa y When thi s w a s wri tten the .

pe o ples m en ti o n ed h a d a l e a dy ruled Hin dusta n I f thi s r

.

were the o n l y pl a ce where the n a m es o ccu r red the Ma rka n ,

dey a episo de it mi ght be re ga rde d a s p a rt o f a n in terp o la ti o n

,

i n m a ss B u t the people here desc ri b e d a s foreign o p p re s

.

s o rs a re a ll m en tion e d repe a te dl y a s ba rba ria n s a n d wa rri o rs ,

a ss o ci a te d e n er a lly a s i n the p a ss a e just m e n ti o n e d with

g g , ,

other pe o ples o f the West such a s A b h i ra s a n d Ka m b o j a s , .

Thus in ii i 5 1 23 , i
S gn h a lese B a rb
, r
a a s a n d b a rb,a ri a n s 3
, ,

1 Y a va n a s or Ya u n a sJ c o b i lo c c i t
( xi i ,
207, 42 i . e .
, I o n ia n s . So a , . .

2 L a ss
e I n d A l t ii p p 1 69—
n, . 1 71 W e b r I d St d
. ii i p 3 75
,
. e ,
n . u . x , . .

3 Th t i s b o th t h e Hi d
a d ti ve m e fo C e yl o a d t h e Gr e k d
n u a n na n, n
na r e a n

Hi d
n u n a m e fo b rb ri r ! Si nh l a a B rb r a Ml e c c h a y e c a L a fi ka ni v a
a an a n a a n n

sina h Th e wo r d b rb r a s
. f d B p ) cc r i
a b o th e p i c
a b t t in o a or o u s n s u no

li te ra t e o f a n e a rli e r d t e W e b e r I n d L i t p 23 7 n o t e c a ll s tt e n ti o n
ur a .
,
. .
, .
, , a
3 94 THE GR EA T EPI C OF I N D I A .

a nd the in ha bita n ts of L a nka a re gro upe d to gether in c o n ,

tra st t o the Western re a l ms tho se of the P ersia n s G reeks

“
, , ,

a n d Scythi a n s ( wi th the f o lk of K a s h m e e r D a ra d a s Kir a , ,

t a s Hun s C hin ese Tus a ra s I n du s d wel lers

, , , So i n xii ,
-
, ,

207 43 opp o se d t o sin n ers of the South a re the N o rthern

, , ,

sin n ers G reeks ( Ya u n a s ) Ka m b o j a n s K a n da h a r pe o ple ( Ga n

, , ,
-

dha ra s ) Ki ra t a s a n d B a rb a r a s who a re here s a id t o be w a n der

, ,

i n g o ver thi s e a rth fr o m the tim e of the T reta a ge h a vin g ,

custo m s like those o f wi ld a n im a ls or of the l o west c a stes .

Such a llusi o n s a s these c a n me a n o n ly thi s : the P a n du

E pic i n its prese n t f o rm wa s c o m p o se d a ft er the G reek in v a
, ,

1
si o n . I h a ve suggested a bove tha t the f o rm o f the n a me
B a ctria n do es n o t c o m pel us to a ccept Pro fess o r Weber s
’

c o n clusion s i n rega rd t o the da te of p a ssa ges n o w c o n ta ini n g

thi s fo rm I f this seem s in c o n clusive there is n othi n g fo r it
.
,

but to refer the epic i n its prese n t f o rm t o a pos t Christi a n -

e ra . B u t even o therwise the prese n ce of the G reeks a n d ,

B a ctria n s a s w a rri o rs a n d rul ers i n I n di a c a nn o t be expla in e d

out o f the poem by a l o o se referen ce t o the fa ct tha t I n di a
h a d hea rd of Ya va na s bef o re Alex a n der .

This brin gs us to a n other poin t of view A sta n z a fo l .

lowin g the o n e la st cite d procla i ms tha t eve n N a ra da rec o g

’ 2 ”
n i z e s Krishn a s supre m a cy a n utter a n ce whi ch poin ts cle a rly ,

t o a c o m p a ra tively rece n t belief i n Krishn a a s All go d a poi n t -

,

l o n g recogni ze d On the b a sis of the Arjun a cult implie d

.

by P a n in i the syn thesist urges th a t the wh o le epic i n its

, ,

presen t Sm rt i fo rm a n d with its belief i n the a ll go dh e a d o f -

the Krishn a Arjun a p a ir is a s o ld a s the fi fth ce n tury B C

-
, . .

B u t even if a n Arjun a cult were tra ce d b a ck to this da te ,

t thi
o t t i
s c on s a n f Gr k with th r W t r p p l
un on o i th r lit r t r
ee o e es e n eo es n o e e a u e

a s w ll Th
e .m w t d d t I d S ythi
e na e d l t r
a s ex t P r i
en e o n o- c a ns a n a e e ve n o e s a ns

a n dA ra b i a n s W e b e r l o c c i t .
,
. .

1 As h a s lo n g a
go b e e s u gg e s t e d o f t h e Gr e e k s m e n ti o n e d i n t h e e p i c a m o n g
n ,

t h e a lli e d fo r c e s B h a ga da t t a m a y b e A p o ll o do t u s t h e fo u n d e r o f t h e G ae c o
,
r

I n d i a n ki n gd o m ( 1 60 B W e b e r I d L i t p 204 if Thi s Gre e k i e s p e

.
,
n . .
, . . s

c i a ll y m e n ti o e d n o t o n ly a s r u l e r o f t h e Ya va s b u t a s t h e fri e d o f t h e
“ ”
n na ,
n

e p i c h e r o s fa th e r th a t i s a s k n o wn t o a n o l d e r g e n e r a ti o n ii 1 4 1 5 ; v o n
’
, , , , ,

Sc hr o e d e r L i t u n d C u l t u r p 463 ( with o th e r r e fe r e n c e s )
, .
,
. .

p y a th a K s n a s y a p a r a m m e n e c a c v a t a t t va m x i i 207 48
2 N a ra do ‘
r .
, , ,
3 96 THE GR EA T EP I C OF I N D I A .

b a ck to the thi rd o r fourth ce n tury or they ma n o t so

g o y , ,

fa r a s their prese n t f o rm is c o n cern ed At a n y ra te they sh o w .

,

n o kn o wle dge of the epic a s such Wha t they show ( the

ma teria l h a s been suffi cien tly collected by the Re v M
.

r D a hl . .

m a n n ) is tha t the epic cha ra cters were fa mi lia r a n d the sto ry

of the P a n du s wa s kn own a lthough the cha ra cters do n o t ,

1
occupy the p o siti o n they do in the epic B u t n o da te of a n .

epic still less of o u r epic c a n be esta blishe d o n c a sua l refer

, ,

e n c e s to the her o es o f the epic foun d i n litera ture the da te of

whi ch is en tirely un certa in Perh a ps it is n ega tively quite a s .

sign ifi c a n t tha t the Ja t a ka s do n o t refer to the epic a t a ll but ,

o n l y t o pe o ple me n ti o n e d i n it .

Th e presen t epic if it rec o rds a n ythi n g hi storic a l records , ,

the gr o wth o f a gre a t p o wer i n Hin dust a n a power tha t c o u l d ,

n o t h a ve a rise n befo re B uddhi stic supre m a cy without le a vin

g
a tr a ce o f the m i hty n a me o f P a n du i n the e a rly liter a ture
g .

There is n o such tra ce Moreover even the ide a o f such a .

,

power a s o u r epic depicts wa s un kn own befo re the gre a t

em pire tha t a rose un der B uddhism Fo r thi s re a son it is .

i mp o ssible to expl a in the P a n du re a l m describe d i n the epic

a s a n a lle o ry of the fi fth ce n tury for we c a n n ot ha ve a n
g ,

a lle o ry i n un kn own term s Th e P a n du s be it re m e m bere d

g .
, ,

rul e a ll I n di a a n d the limits of their em pire a s geo gra phi c a lly

, ,

de fi n e d i n the epic fa r surp a ss the pre A go ka n im a gin a ti o n ,

-
,

a s it is reflecte d i n the litera ture E ve n M a n u h a s n o i de a o f .

a n e m pire Hi s ki n g is a petty ra j
.
2
.

B efo re the Ma ha bha ra t a there were t a les of Kur us a n d

B h a r a ts kn o wn to a n tiquity I n con gruo us a s the n a m e .

a ppe a rs t o be B ha r a ta yet desi n a tes the P a n du epic

g , H ow .

Th1 l tt r p i t p r
e a thi g fe i
o nS krit lit r t r o ve s I no n ,
o r e ve n n ans e a u e, a s

p i t d
o n e t l g g th h r
ou f th tw
on pi a mi d p
o ,
f e d ly e oe s o e o e c s a re xe u c on u se ,

a n dw t pp
e c a nno B dd hi t w l d b m r r f l th
su o se B r hm
a u s ou e o e ca e u a n a a a n

in rifyi g r f r
ve t nB r h m i lit r t re e ences o a an c e a u e .

2Gr t ki g d ea mp r r i d dk w
n s a ni p B dd hi ti e e o s a re n ee no n e ve n n re - u s c

tim b t wh t w t h m p ir y ki g b f r A c k C rt i ly “ ”
e s, u f a a s e e e o an n e o e o a ? e a n

no t th t f t h aP d I t i i g i fi t i i w f t h g r t im p rt
o e an us . s s n ca n ,
n v e o e ea o a nce

l id b y m
a h l rso th kr rti i d th t thi w r d d
e sc o a s on t r e ca a va n ea , a s o oe s no occu

b f r t h l t r Up
e o e i h d lth gh g r t ki g
e a e m ti
a n s d; a i s, a ou
“
ea n s
”
a re en one nor s

it an ea rly e p i c p hra se .
 D A TE OF THE EP I C . 3 97

the Pa n du s succeede d i n a tta chi n g them selves to the ta les

which to ld of the o ld n a tio n a l heroes is unkn o wn All .

theories a n d hypotheses of develop m en t a re pure guesswork .

Wha t we kn o w is tha t the t a les which to ld of Kurus a n d

B ha ra t a s bec a m e the dep o sit o ry of the P a n du s who a ppe a r to ,

d
h a ve substitute themselves fo r B ha ra ta s a n d m a y i n fa ct
1

ha ve been a bra n ch of the tribe which from a sec o n d ra te ,

-

p o siti o n ra ise d itsel f to le a dershi p There is a the o ry tha t .

the epic sto ry h a s been in verte d i n fa vo r o f the P a n du s ; ,

there is a n o ther tha t it i s wha t it preten ds to be the strife o f ,

P a n du s c a llin g them selves B ha ra ta s with the sci o n s of the o l d

, ,

Kurus With the form er tha t s o persu a sively a dva n ce d by

.
,

Professor Ho ltzma n n I h a ve n ever been a ble to a gree ; but ,

my o wn the o ry I ha ve fro m the begin n i n g put fo rw a rd m erely

2
a s o n e of pr o b a ble epic growt h .

Whi le however it is n ecess a ry t o reco gn i ze the doubtful

, ,

cha ra cter of specul a tio n i n rega rd to the ex a ct c o urse o f epic

devel o p m e n t it is n o t desir a ble to bli n k the truths tha t a re
,

m a de clea r i n vi ew of the fa cts we a ctua lly possess the e vi ,

de n ce of rem a kin g the b a se o f the p o e m restin g o n o l d Kurus

,

a n d B ha r a t a s the prese n t structure of P a n du m a te ri a l ; the

,

a e o f the P a n du p o e m a s a wh o le ( syn thetic a lly c o n sidere d)

g ,

evin ced in ter a lia by its rec o gn i tio n of la te philo s o phic a l

writers suc h a s Pa ri c a eikh a ( c 1 00 A by a growin g
' ‘

. .

m o dern n ess of m etre by a cqu a in ta n ce with G reeks a n d G reek

,

a rt etc, .

Puttin g these fa cts together with those gle a n e d from o ther

wo rks tha n the epic itsel f we m a y ten ta tively a ssume a s ,

a ppro x i m a te da tes o f the whole work i n its di ffere n t sta ges

B h a ra t a ( Kuru) l a ys perha ps c o m bin e d i n to o n e but with

, ,

n o evide n ce of a n epic bef o re 400 B C A Ma ha bha ra ta t a le . . .

1 Th e B h a r ti
a K a th a ( n e ve r Pa n “
d t l
u- a e a s th e r e c e i ve d na me of th e
i
ep c ,
rta in ly
c e fa vo r s thi s v i e w .

2 Th i s I wa s re fu l t o p o in t o u t a t i t s fir s t p r e s e n ta ti o n i n m y R u li n g
ca

C a s te ( n o w n e a rly fift e e n y e a rs a g o ) with ma g / a n d m gl t a n d e m

'

a nd s z z s s e s,

o th e r u s e fu l wo r d s A s a th e o ry I s till c o n s i d e r thi s t h e b e s t y e t o ffe r e d

. ,

b u t I h a ve n e v e r h e l d it t o b e d e m o n s tr a b l e o n ly m o r e o r l e s s p r o b a b l e i n , ,

o u tli n e a d d e t a il r e s p e c ti ve ly
n .
3 98 THE GR EA T EP I C OF I N D I A .

with P a n du hero es la ys a n d legen ds c o m bin e d by the P u ra ni c

,

dia skeu a sts Krishn a a s a dem igo d ( n o eviden ce of di da ctic

,

f o rm o r o f K ri shn a s di vin e suprema cy ) 400—200 B 0 Re ’

, . .

m a kin g o f the epic with Krishn a a s a ll go d in trusi o n o f -

,

m a sses o f dida ctic m a tter a ddi ti o n o f P ur a n i c m a teri a l o l d ,

a n d n e w ; m ultiplic a ti o n of expl itso 200 B to

c 1 00— 200 A D . . . .
,

Th e l a st b o o ks a d ded wi th the i n tro duction t o the fi rst bo o k ,

the sw o lle n A n u ea s a n a sep a ra te d fro m Ca n ti a n d reco gn ized

a s a sep a r a te b o o k 200 to 400 A D ; a n d fi n a ll y 400 A D ,
. . . .

o cc a si o n a l a m pli fi c a ti o n s the existen ce o f whi ch n o o n e ,

a cqu a in te d w ith Hin du li tera ture w o ul d be di sp o sed a n t e c e

de n t ly t o do ubt such a s the well kn o wn a ddi ti o n m e n ti o n e d

,

by Pr o fesso r Weber L ectures o n L itera ture p 205 a n d per , , .

m K m n r
1
h a ps the episo de o itted by s e e a I n di a n Studi es No
d , , .

ii p 5 2
, . .

I n the c a se o f these m o re precise da tes there is o nl y re a s o n

a ble pr o b a bility They a re a n d m ust be pr o visi o n a l till we
.

kn o w m o re th a n we kn o w n o w B u t certa in a re these f o ur .

fa cts :
1 Th a t the P a n du epic a s we h a ve it o r eve n witho ut the
, ,

m a sses o f di da ctic m a teri a l wa s c o m posed or com piled a fter ,

the Greek in v a si o n ; 2 Th a t thi s epic o n ly sec o n da ri ly de ,

v e l o p e d its prese n t m a sses o f di da ctic m a teri a l ; 3 Th a t it di d ,

n o t bec o m e a speci a lly religio us pro p a ga n da o f Krishn a ism

i n the a ccepte d se n se o f th a t sect o f V a i s n a v a s ) til l the fi rst
(
cen tury B G ; 4 Tha t the epic wa s pra ctic a ll y c o m plete d by
. .
,

200 A D ; 5 Th a t there is n o
. .
“
da te o f the epic which will
,

c o ver a ll its p a rts ( tho ugh h a n db o o k m a kers m a y s a fe ly

a ssi gn it i n ge n er a l t o the seco n d cen tury B .

Th e questi o n whether the epic is i n a n y degree hi st o ric a l

1 We t h o we ve r b e t o o c a u ti o u s i n a c c e p ti g t h e n e g a ti v e e vi d e n c e
c a nno , ,
n

of o e m nj a ri o r p r é c i
n a s p r o o f t h a t t h e o ri g i n a l wo rk l a c k e d a c e rt a i n
,
s, a

p a s a ge s I d i s s e t a lt o g e th e r fro m t h e s we e p i g s t a t e m e n t m a d e 1 0 0 c i t
. n n , . .
,

i o rt a c e o f t h e c o n d e n s a ti o n s li e s i n t h e fa c t th a t b y m e a
“
p . 2 7 T h e :m p n s n

o f th e m we a e e n a b l e d t o d e t e r m i n e t h e s t a t e o f th e s e wo rk s ( e p i c s e t c )
r ,
.

i h i ( K s e m e n d a s ) ti m e Two o r thr e e c o m p e n di a a g r e e i g o n o n e p o i n t
’ ”
n s r . n

o f o m i s i o n m i ght de t e rm i n e b u t o n e r é s m é a l o n e c a n o ly c re a t e a
“ ”
s ,
u n

p o s s ib ility a s i thi s c a s e ( p 53 n o t e )
,
n . .
400 THE G R EA T E P I C OF I N D I A .

with its perh a ps justifi e d cl a im to b e con sidered a bra n ch of

the B ha ra ta s its o wn la ter heroes its cul t o f a n ti B uddhi stic
, ,
-

type I n s o fa r then a s we m a y di scern a hi storic a l germ i n

.
, ,

the midst of p o etic extra va ga n ce it woul d seem tha t the poem ,

represen ts a n a ctua l lege n d of a re a l tribe a n d in so fa r a s ,

tha t lege n d persists i n its a dhere n ce to poly a n dry a s a n e s

s e n t i a l p a rt of the le e n d a tribe which li ke so m a n y others
g , ,

i n I n di a ha d bee n b ra h m a n i z e d a n d perh a ps beco m e a llied by

,

m a rri a ge to the o l d B ha ra ta tribe wh o se legen ds were thus ,

un i te d with its o wn .

Fin a lly I would spe a k sh o rtly of the poem a s a lite ra ry

,

pro duct of I n dia I n wha t sha pe h a s epic p o etry come down

.

to us ? A text tha t is n o text e nl a rged a n d a ltere d i n every

,

recen sion ch a pter a fter cha pter reco gn ize d even by n a tive
,

commen ta ries a s p ra ksi p t a in a l a n d without hi sto ric a l se n se

,

or c a re fo r the preserv a tion o f pop ul a r m on umen ts where n o ,

check wa s put o n a n y reciter or copyist who m ight a dd wha t

’

be a uties or pol ish wha t p a rts he would where it wa s a merit ,

t o a dd a gl o ry to the pet go d where every pop u l a r p o em w a s

,

ha n dled freely a n d is so to thi s da y L e t us thi n k o urselves .

b a ck in to the time when the reciter recite d publicly a n d dra

m a t i c a ll y ; let us look a t the b a ttle sce n es where the s a me ,

thin g is repea te d over a n d over the s a m e even t rec o rded i n ,

differen t p a rts of the p o e m i n sli ghtly v a ryin g l a n gu a ge .

Th e Orie n ta l i n hi s h a lf c o n tem ptuous a dm issi o n of epic

,
-

poetry in to the re a lm of litera ture kn ows n o such thi n g a s a ,

de fi ni tive epic text Th e V eda s a n d the cl a ssics a re hi s o n ly

.

re a l c a re A B h a ra t a vi d i n I n di a is eve n n o w more sc o rn e d
.

tha n ho n o re d .

I f the epic a s a whole bel o n gs to n o o n e e ra a n d t hi s re ,

ma in s a n in co n trovertible fa ct it is the n i n the hi ghest degree

,

pro ba ble a lso tha t n o o n e p a rt o f the whole c a n be a ssign e d

to a cer ta in perio d I m ea n n o t o nl y m ust we a dmi t tha t
.
,

o l d books co n ta i n more rece n t in sets a s fo r ex a mple ch a pters ,

fi v e a n d eleven o f book ii a n d th a t la te b o oks co n ta in o ld

,

p a ssa ges a s fo r ex a m ple the ra pe of Su b h a dra a n d the burn

,

i n g of Kh a n da va i n book i or the l o tus theft i n book ,

-
 DA T E OF THE EP I C . 401

xiii but we must a dm it further th a t the sm a ller di vi sion s

, ,

these specia l scen es themselves ha ve i n a ll pro ba bili ty n o t

,

rem a in ed un touched but tha t the ta le the la n gua ge a n d the

, , ,

verse o f the epic h a ve been subjecte d to a n even i n g process

irregula rly a ppli ed sin ce fi rst the p o em wa s put to gether a s a
Ma ha bha ra ta ; gre a t liberty bein g ta ke n with the poem both
by reciters a n d copyi sts the esta b l ishmen t o f the text by com
,

m e n t a ri e s ( n oticed a s e a rly a s the in tro ductory cha pter of the

p o em itself) pro vin g n o b a r to occ a sio n a l a ltera tion s a n d a d
di t i o n s . Such cha n ges were n o t in tro duce d of set purpose
r the metre wo u l d h a ve bee n m a de more un iform but
( o ) ,

in ciden ta ll y a n d ill o gi ca lly Th e s a me ta le wa s to ld n o t

.

i n ide n tic a l l a n gu a ge but with sli ght va ri a tio n s ; in trusio n s

were n o t shun n ed ; gra mm a tic a l a n d metric a l forms were
h a n dl e d freely but with n o thoro ugh revision o f f o rm or sus
,

t a i n e d a tte m pt a t h a rmo n izin g in c o n gruities o f st a tem e n t It .

is fo r thi s re a so n tha t there is n o t a still sha rper metric a l lin e

between o ld a n d n e w i n the epic itsel f a n d it is for thi s re a ,

s o n th a t the epic verses of the M a h a b h a sy a a re freer th a n

those of the Ma ha bha ra ta Th e form er were fi xed by their

.

fun ctio n a s ex a m ples i n a gra mm a r ; the la tter were exposed

to co n sta n t tho ugh spora dic m o di fi c a tio n a n d a ppea r to d a y ,
-

a s they sur vive a fter h a vin g e n dure d the fret a n d frictio n of

in n umera ble reciters a n d peda n tic purists On e by o n e a n d .

,

here a n d there the tra n sm itters workin g n either i n c o n cert

, ,

n o r co n tin uo usly but a t h a pha z a rd a n d a t ple a sure ha ve

, ,

tri mmed thi s m ighty pile in to a sha pe m ore un ifo rm though ,

they ha ve n o t a ltogether h i d its growth except fro m eyes ,

tha t seein g the who le a s a thin g of p o wer a n d bea uty a re per

, ,

ha ps less a p t t o m a rk the sign s of v a ryin g a ge .

B u t if this be so it m a y be a ske d a n d I thi n k it will be

, ,

a ske d perh a ps trium ph a n tly by th o se l a ckin i n s o briety o f

, , g
judgmen t wha t bec o m es o f the results of the a n a lysis of
,

metres of the discovery o f l a te elem e n ts i n this or th a t sec

,

ti o n ? Wha t do they signi fy

They sign i fy a n d pr o cl a im th a t the G re a t E pic w a s c o m
p l e t e d i n just the wa y the syn thesist procl a ims it wa s n o t
26
402 THE GR EA T EP I C OF I N D I A .

complete d Pitche d together a n d p a tc he d to gether by the

.
,

dia skeu a sts a n d priests respectively the older p a rts though

, ,

n o t free fro m reh a n dlin g be a r a ge n er a l st a mp of a n tiquity

,

la ckin g in l a ter p a rts Fo r thi s rea so n the Gi ta a n d G a m

.
,

blin g scen e a re a s wholes metrica lly a n d stylis tica ll y more

, ,

a n tique th a n a re the A n u gi ta a n d the extra va ga n z a s in the

ba ttle bo o ks ; a n d fo r this re a son the pseudo epic comes
-
,
-

n e a rest in syn t a x a n d forms to the hybrid la n ua e th a t is

g g
preserve d i n litera ry m on um en ts imm e di a tely prece di n g a n d
foll o win g the Chri stia n e ra B u t it is true tha t n o o n e c a n
.

prove the rela tive a n tiquity of the Gi ta a n d Ga mbli n g scen e

so a bs o lutely a s t o preven t o n e devoid of hi storic a l se ns e
from clin gi n g to the n otio n tha t these p a rts of the epic a re
i n o ri gin syn chron ous with the pseudo epic -
.Fortun a te ly ,

however the judgmen t of schol a rs is in gen era l sa n e a n d

, ,

the determi n a tion of va lues m a y sa fely be left in their c a re .

404 APP EN D I X A .

1 0, a va p l u ty a ra t h a t t u rn a m, vi 9 4, 22 ; 9 6, 3 9 ; G vi , 1 8 , 47;
, .

a va t i ry a , G vi .
, 3 6, 8 7 ra t h a d a va p l u t a ta ta h,
y vi, 5 9, M .

9 9, e tc . Fo r o the r fo rm s , se e AJP . x ixp 1 43 .

, . .

1 1, a va s i da n t i , m e p ra n a h , i v, 61 , 1 2 p a ri s i da n t i m e pra na n ,

G vi 8 2 6 R 1 01 6, a va s i da n t i ga t ra n i
.
, ,
.
,
.

11 b, a q o ka h q o ka n a qa u a h iii, 64, 1 07; a eo ka h q o ka va rdh a n a h , ,

R i v, 1 , 5 9 .

a e v a n a rir kh u r a N o °
. 2 47 .

1 2, a s t ra ni v i vi dh a n i ca , vii
7, 1 ; e a s t ra n i , R vi , 1 03 , 2 9
, Th e . .

t e rm i n a l i s fixe d, va s u n i , va s t ra ni , b h a n da n i , e t c , prece d .

i n g e g ix , . .
, , 47, 24 ;
a s m i n ha te N o , .3 28 .

a ka rn a , N o 1 70 . .

1 3 , a kri da ( m ) i va R u dra s y a gh n a t a h ka l a t y a y e p a e u n , vn , 1 9 ,
3 5 ; a kri da i va R u dra s y a kru ddh a s y a n i gh n a t a h p a c u n , G .

vi ,73 , 3 8 ; a kri da b h u mih kru ddh a s y a R u dra s y e va m a ’

h a t ma n a h , R vi, 93 , 3 5 Co m a . . p re ix, 1 4, 1 8 , R u dra s y a

’
kri da n a my a tha .

1 4, a kh y a t u m xviii 5 7; R iii 1 1 1 0 ; i v 8 46 ;
u pa c a kra m e , , , .
, , , ,

5 2 3 ; G v 66 2 where R 65 2 h a s p ra v a kt u m upa ca
, .
, , , .
,

kra m e Co m pa re v a kt u m s a m u p a c a kra me xiii 8 7 2

.
, , .

Th e p hra s e is c o mm o n i n R ; r a rer i n M o wi n g t o the . .

,

u se i n t h e l a tt e r o f t h e dra m a tic u va c a e x tra m e tru m , .

B o th e p ic s h a ve a l s o t h e si m ila r phra s e vy a h a rt u m u p a
c a kra m e e g xii 3 5 0 1 5 ; R vi 1 1 5 1 ; vii 5 1 1 Se e
, . .
, , , .
, , , , .

No 5 7 . .

a j a gh a n o ra s i kru ddh a h vi 61 3 6 ; R vi 69 1 5 2 ; 76 29 ;
’
1 5, , , ,
.
, , ,

p a s s im i n M Se e 1 c N o 1 0 p 1 42 a n d n o te t o N o 3 5
. . .
, .
, .
,
. .

1 6, a ditya i va t e j a s a iii 5 3 2 ; R vi 5 5 9 ; a dity a i va t e j a s vi , , , .

, , ,

R v 3 4 2 8 m e tri c a l
.
, Se e N o 1 76
, , . . .

1 7, a li kh a n t a m i va iv 3 8 3 ; R vi 9 9 1 2 , ,
.
, , .

1 8, a va rt a i va s a m j a j fi e b a la sy a m a h a t o m a han H iii 60 4 ; , .
, ,

G vi 3 2 21 ; a v a rt a i va ga fi ga s y a t o y a s y a G v 5 0 1 6 ;
.
, , ,
.
, ,

a s i d ga n ga i va va rt a h M vii 3 6 1 3
’
.
, .
, ,

1 9, a vista i va y u dh y a n t e vi 46 3 ; a vista i va kru ddh a s te ( c a kru s , , ,

t u m u l a m u tt a m a m ) G vi 5 4 64 , .
, , .

20, a c i vi s a i va kru ddh a h vii 1 0 3 1 ; R v 67 7 , , , .

, .

a s i t kil a a s i c c a ta c a ta etc N o 3 3 4
°
, , .
, . .

21 , a s i d ra j a N a l o n a m a iii 5 3 1 ; a s i d ra j a N i m i r n a ma R v 1 1 , , , ,
.
,

55 4 , With Vi ra s e n a suto b a l i a t the e n d o f t h e fi rs t

.
-
 P AR A L L EL P HR A S ES IN THE T WO EP I C S . 405

ve rs e c o mpa re D y u ma t s e n a s u t o ba l i M iii 2 9 4 1 8 s u to
, ,
.
, ,

b a li R iii 1 2 2 ; Ay o dh y a y a rir pu ra r a j a Yu va n a q va s u t o
,
.
, ,

ba l i R vii 67 5 ; Pra j a p a t i s u t o b a li R vii 9 0 23 ( i n

,
.
, , ,
.
, ,

G , b h a va t )
‘
. .

22, iti me n iq e ita ma t i h , iii . 78 , 6 ; G v .

, 8 , 25 (R . v . 68 , 3 6
( v
R . .

23 , ity a si t t u m u l a h e a b da h , ,
1 1 9, 1 9 ; vi ity e va m t .
g , G vi ,
. .

1 9, 4 ( R , s va m s u t u m u l a h c a b da h )
. . C o m p a re b a b h u va t .

g, . M vi .
, 5 6, 22, e tc .
; R . vi , 5 8 , 1 7, etc . s a rn a
'

j j fi e t .
e .
,

M vi .
,
46, 1 7, a n d l c . . No . 1 0, p . 1 44, ff . Co m p a r e N o s .

8 2—8 4 .

24, i da m va c a n a m a b ra v i t , iii , 69, 1 7, e tc ; R . . i ,

2 6, 3 3 ; i v, 8 , 1 ,
e tc . So m e ti me s
ta to fo r i da m ix 3 51 , , , C 1 76, da m )
. i .

Abo u t fo rty ti mes i n B ea m u n n u mb e re d , in Mb h . Se e

N o 23 7 . .

25, I n dra dh va j a i vo bh uma n ) ix 1 7 5 3 ( t a to

’
c c h ri t a h n i p a t it o , ,

a n d o fte n ; I n dra ke t u m i vo c c h ri t a m ix 4 1 6 C a kr a ’
, , ,

dh va j a i vo c c h ri t a h R v i 5 9 C o m p a re u t t h a p y a m a n a h
’
,
.
, , .

Ca kra s y a y a n t ra dh va j a i vo c c h ri t a h R ii 77 9 ; m a ha
’
,
.
, ,

m eru m i v o c c h ri t a m ix 3 7 20 ; u b h a v I n dra dh v a j a v i va
’
, ,

( p e t a t uh
) ix 1 2 2 4 ; dh va j a v i v a m
,
a h e n dra s y a
,
n i e t a tu h
( p , ) ,

R vi 45 1 7—1 8 ; j a ga m a va s u dh a nr ks i p ra rh Ca kra s y e va
'
’
.
, ,

m a h a dh va j a h G iii 3 4 2 5 ; a p a t a d de va ra j a s y a m u kt a ra
,
.
, ,

q m i r i va dh va j a h , R i v, 1 7, 2 ; I n dra dh v a j a i vo t s rs t o
’
.

y a n t ra n i rm u kt a b a n dh a va h ( p a p a ta ) , vii, 9 3 , 70 ; y a n M .

t ra m u kt a i va dh va j a h p a ta ) M vii ( p a ,
.
,
9 2 , 72 y a n t ra c y u t a
i va dh va j a h (p p )
a a t a G ii 8 4 8 ,
.
, ,
.

I n dra e a n i , N o 2 75 . .

25 b , ib a i ’
va p ra ya m a s i sy e , x,1 1 , 1 5 ; R i v, 5 3 , 1 9 . .

2 6, u t t i s th a ra
j an ki mc e s e , x i , 2, 2 G vi , 9 5, 3 7; ra j a u n . u t t i s th a

ki m c e s e G , . ii, 8 1 , 1 0 u tt i s t h o
’
t t i s tb a , Ga n dha ri, x i 2 6 , ,

1 ; u tt i s t h o t t i s t h a , ki m e e s e , R
’
,
1 11, . vi 8 1 ( p re c e de d b y
No . u tt i s t h o
’
t t i s t h a , b h a dra rn t e ,
'

Mi
1 72, 4 ; R , .
, . i
3 5 , 2 ; p re c e de d i n b h by u va c a M . m a dh u ra v a ky a m, m
with whic h co m p a r e i x , 3 6, 5 0, u va c a p a ru s a rifr v a ky a m;
1 1 c u h s u m a dh u ra ri r v a i m , R vii , 70, 1 b h a dra ril te be i n g
'

n .

cu rre n t a d n a u s e a m in b o h t e p ic s .

u va c a v a ky a m, No . 26 .

27 e ka n t a b h a vo p a ga t a h , x i i , 3 3 7, 28 ; e ka n t a b h a va n u ga t a h , R .

vii , 3 8, 5 I n b o th , o f t h e m e n i n Cve t a dvi p a , pre ce de d

.
406 APP EN DI X A .

in M by ta tra
. N a ra y a n a p a ra m a n a va q h ; in c a n dra va rc a s a

by n i t a mN a ra a n a
R . a n a n ya ma n a s o y y p a ra y a n a h t a da ra
dh a n a s a kt a q ca t a c c i t t a s t a t p a ra y a n a h ( a n a n y a m a n a s a h i s
a Gi ta p hra se, 9, 1 3 , b h a j a n t y a n a n y a m a n a s a h ; 8, 1 4, a n a
n
y ace ta h sa ta ta m) .

e ta c c h ru t v a tu va c a n a m, vi ,
48 , 9 8 G . i v, 5 6, 1 9 , an d p a ssi m .

eta t t e m i pri o r p a da ) e ta t
'

ka t h i t a rn s a rv a a nd ( n te s a rv a m
a kh y a t a m ; ix 4 6 1 08 ; G vi , , .
, 8 2, 1 67 . In M pr . ece de d
by y a n m a mt va mp a ri p rc c h a s i , a s in xii , 3 3 4, 40 ; xiii ,
1 4,
1 3 9, e tc .

e t a s mi n n ta re vi ra h vi 48 96 a n d o ften ; R i i i 3 0 3 7;
a n , , , , .
, ,

vi 50 7; vii 28 1 9 ; G vi 3 6 99 Th e phra s e h e re i s
, , , ,
.
, ,
.

e t a s m i n n a n t a re whi c h i s fi ll e d o u t with va ri o u s w o rds a s

, ,

R a m a h R vi 1 1 1 9 1 ; t a tra o r t a s y a ( v
, .
, R v i 9 2 58 ; ,
. .
, ,

kru ddh a h R vi 1 00 1 3 ; kro dh a t 1 02 47 C o m p a r e a ls o

,
.
, , , , .

e t a s m i n n a n t a re pun y e M vii 1 7 7 ; xii 3 3 0 1 ; c a i va

’
, , , ,
.
, ,

v i i 1 9 3 8 ; c u ra h ix 2 8 1 7; G v i 3 2 1 5 e t c
, ,
A com , , , .
, , , .

b i n a ti o n o f thi s a n d t h e n e x t ( N o 3 1 ) is fo u n d i n e t a s m i n n .

“ in ”
a n t a re ka l e the m e a n tim e R vi 2 0 3 3
, , .
, , .

e t a s m i n n e va ka l e t u lik e t h e l a s t a st a n di n g p hra s e e g , , , . .
,

i 1 49 1 ; iii 5 4 1 3 ; 1 68 1 3
, ,
2 9 8 1 ; v 1 2 1 9 ; vi 74 3 6 ;
, , , , , , , ,

ix 5 1 25 ; xii 3 28 3 e t c ; R i 9 7; 3 3 1 1 ; G 2 1 1
, , , , ,
. .
, , , .
, ,

e tc .

e va m u kt a h p ra t y u va c a , o r t a t h e t y u kt va , vi, 5 9 , 47 ’
vii ,
202
70 ix , 3 5, 68 ; G vi , 3 6, 1 02 C o m p a re e v a m
. . a stv iti
( with p ra t y u va c a ) ix G vi, 1 09 , 1 8 (c o
’
, ,
48 , 52 ; . va c a ) ;
( krt va sa ), ih . 8 2, 5 6 .

ka ks a m a gn i r i va j va l a n ix
24, 62 ; ka ks e s v a gn i r i v a j va l a n , ,

4, 3 6 ( C , ka ks e gu ir i va s a rirj va l a n ) va n a n y a gn is i vo
‘
.

t t h i t a h , R v i , 66, 1 2 ; ka ks a m a gn i r i vo t t h i t a h , G v,
’ ’
. .

8 5 , 2 4 ; ka ks e s v i va h u t a e a n a m , G ii, 1 06, 2 5 . . Co mpa re

a ls o
( da h a n ta m
) kru ddh a m a gn i rir y a th a va n a m , M vii .
,
21 ,
3 0 ; va n a m a gn i ri va i dh i t a h , R ii, 63 , 44, where G 65,
’
. .

3 9 , h a s q u s ka mka s t h a m i va n a l a h, lik e R v, 41 , 1 1 , gu ska ri r

’
.

va n a m i va n a l a h Th e i va n a la h e n din g i s c o mm o n t o
’
.
’

b o th ep i c s e g da h a n ka ks a m i va n a la h M vii 1 4 1
, . .
,
’
, .
, ,

o ll o we d i n 2 b y s a ks a d a gu i m i vo t t h i t a m C v ks a m ) ;
’
( f ,
. r

t a n m e da ha ti ga t ra n i c u s ka vrks a m i va n a l a h M vi 9 5 7
’
, , , ,
.

e tc Se e a l s o N o s 75 9 9 1 1 7 1 96 2 26 2 5 6 2 9 1
. .
, , , , , ,
.

ka rrka p a t ra i r a j ih m a ga i h vi 1 03 1 1 a n d o fte n ; R vi 5 2 4
‘

, , , .
, , .
408 APP EN D I X A .

’
ka h ) ; G vi , 5 1 , 8 9
n ta R 71 , 8 5 Fo r the va r lec ,
. . . . .

c o m p a re s da n da h a s t a , N o 1 04, a n d ka l a ra t ri m i va u t a ka h,
’
. .

R . vi , 69 , 1 3 4 . Co m p a re ka l a ra t ri m i vo ’
dy a t a m, ix , 11,
50 ;
°
s u ry a m, xiii , 1 4, 2 70 .

K al a da n dOp a m a a n d K a l a p a Q Op a ma , N o 220 . .

K a l a n a n a m , N o 2 72 . .

K a l a ra t ri m , N O 4 1 . .

K a la n t a ka y a m o p a m a h , iii , 22 , 3 1 2 7, 2 5 i v, 3 3 , 25 vi , 5 4,
4 7; G iii . 3 2, 5 ; vi , 49 , 3 6 ; R v i , 5 7, 3 2 60, 9 4 ; 8 2 , 7 ;
, .

9 5 , 41 . Se e N o 220 ; a n d fo r K a l a n t a ko p a m a , s e e N o s
. .

1 04, 1 05 .

K a lo hi du ra t i kra ma h Whil e n o t ge n era lly i n c lu di n g i n th is .

l i s t the pro ve rbs c o mm o n t o t h e t wo epi c s I e n t e r th is ,

p a rti c u l a r p r o verb b e c a use o f t h e si m ila r e n vir o n m e n t i n

i ma m a va s t h a mp ra p t o s m i K a l o hi du ra t i kra ma h ix 64 ‘

, , , ,

s o y a m a dy a h a t a n c e te K a l o hi d u ra t ikra m a h
‘
9 ( C va i ) .
, ,

R iii 68 21
. Fo r the rest c o mp a re A m J o u rn Phil
, , .
, . . .
,

v o l xx p 2 6 a n d a dd ( b e s i de s t h e a b o ve ) K a l e hi du ra ti
.
,
.
,

kra m a h i n M ii 46 1 6 ; a ls o H iii 2 3 0 a n d 5 3 6 ; da i .
, , .
, , , ,

v a m hi du ra t i kra m a m R vii 5 0 1 8 ; da i va rir t u ix 65 , .

, , , , ,

3 1 ; a n d t h e l a t e r versi o n l e kh a hi ka l a l i kh i t a h s a rva t h a ,

du ra t ikra ma H iii 2 2 7 , .
, , .

ki nki n i j a l a s a mvrt a ix 23 1 3 a i h ra t h a i h ; R v1 1 2 3
°
1 2 , , , , .
, , , ,

a ri r n a ga ra m Ordi n a rily i n M ki n ki n i j a l a m a li n a m e t c
°
,
.
. .
, ,

i 221 45 ; ii 24 1 8 ; viii 8 6 4 ; i n R ki nki n i c a t a b h u s i t a

, , , , , , .
, ,

vi 1 02 9 b u t I c a n n o t s a y whe the r o r n o t m a lin a pp e a rs

, ,

i n R i n this c o mb i n a ti o n
. Se e N o 1 1 3 . . .

ki m m a m n a p ra t i b h a s a s e p a rt o f a l a m e n t ( s e e u t t i s t h a , ,

a b o ve N o iii 63 9 ; 64 1 9 if ; xi 2 0 1 3 1 4 R 1 1 1 -
-
.
, .
, , , , , ,

60 2 6 ; vi 1 1 1 8 0 ( do u bl e d i n G 9 5 3 6 a n d v l
, , ,
.
, , . .

I n R vi 1 1 5 1 5 . G 9 8 1 2 ) ki m c a m a m n a bhibha
, , .
,
’

sa s e v 1 a s i n G 9 5 3 7
, . . .
, .

ku q a l a m p a ry a p rc c h a t a ix 3 4 1 7 R i 5 2 4 , , , .
, , .

7 krt a ka u t u ka m a fi ga l a h i 1 29 24 viii 1 1 1 ; R i 73 9 , , , , , .
, , .

krt a p urva h n ika kri y a h , N o 49 . .

krt va ka r m a s u du s ka ra m , vi, 1 4, 1 4 ; ,
8 , 3 2 ; R 1 1 , 1 01 , vii .

5 ; vi , 76, 70 ; G vi .
, 21 , 1 1 ; 3 0, 3 7; 5 5 , 3 6 Va ria ti o n s .

a re tu ra lly m a n y e g
na , . .
, ka r ma ku rva n a rir du ska ra m, vi,
1 05 6 ; krt a m ka r m a s u du s ka ra m R vi
, , .
, 67, 5 5 ; 1 2 7, 47;
G vi 8 8 1 7 ka rma ku rva n t i du s ka ra m
.
, , , R vi , 65 , 4 ; t a t
.
 P A R A LL EL P HR A SE S I N THE T WO EP I CS . 409

krt va du s ka ra ri r ka rm a , R vi, 1 2 6, 1 4 ; ka ri s y a n . ka r ma
du s ka ra m, G i v, 1 5 , 20 Si mil a r i n R a re m a ha t. . . ka rma
krt a m t v a y a a n d krt a m t va y a ka rm a m a h a t s u du s ka ra m ,
G vi , 1 1 2, 1 00 a n d G v1 , 3 6, 1 1 8 , re s p e c ti ve ly ; a h o m a h a t
. .

ka rm a krt a m n i ra rt h a m R v 4 8 5 0 ; s a dh u L a ks ma n a , .
, , , ,

tu s to s m i ka rm a t e s u krt a rir krt a m G v i 70 8 0 ; s u du s

‘

, , .
, ,

ka ra rn t u t a t k a rma G i v 1 1 7 So m e whe re i n M i x , .
, , . .

( ve rs e l o s t ) o ccu r t o ge ther t h e t wo p hra s e s krt va n a s u , .

s ka ra mka m a ga to Va i va s va t a ks a y a m ( N o
r , .

krt va p a u rva h n iki h kri y a h iii 1 68 2 ; 2 9 6 1 0 ; ka m k a r m a

°
, , , , ,

R iii 1 7 2 ; k i rir kri y a m R vii 5 9 1 1 ; krt a p u rva h

°
.
.
, , , , , ,

n i ka kri a h viii 1 1 3 R i 3 5 3 w it h h r s
y ; (
, t e p h a ,e ta c , .
, , ,

c h ru t va v a c a n a mt a s y a ) .

kro dh a s a mra kt a n a y a n ah i 78 3 5 ; v i i 1 1 9 ; R i 62 1 5 ; , , , , , .
, ,

G v 8 9 1 ; vi 76 1 1 I n M v 9 45 u n ite d with i da m
.
, , , , . .
, , ,

va c a n a m a b ra vi t Se e n o te t o N o 5 1 . . .

kro dh a s a mra kt a l o c a n ah v 1 78 40 vi 1 00 5 2 ; ix 42 1 3 , , , , , , ,

R v 44 1 9 ; vi 9 5 3 ; kro dh a t s a m R i v 9 22 ; vi 9 8 1
°
.
, , , , , .
, , , , .

B o th fo r m s N o 5 0 N o 5 1 a re c o m m o n i n b o th e pi c s
, .
, .
, .

Th e y a re t h e s a m e phra s e di ffe r e n ti a t e d a c c o r di n g t o
m e tric a l re q uire m e n ts a n d i n t e rc h a n ge with t h e si m il a r ,

ko p a a n d ro s a fo rm s whi c h it i s u n n e c e s s a ry t o give -
,

i n de ta il Va ri a n t s a re c o m mo n e g kro dh a p a ry a ku l e ks
.
,
. .
,

a na h v 1 7 8 9 4 ; G iv 1 5 1 7 o ft e n u n it e d wi t h a n o th e r
, , , .
, ,

ite ra te e g ro s a s a mra kt a n a y a n a i da m va c a n a m a b ra v i t
,
. .
, ,

G iii 5 7 1 5 ; s a mra kt a n a y a n a h kro dh a d ( G ko p a d) i da m

.
, .

v a c a n a m a b ra v i t R vi 5 9 5 6 G 3 6 3 3 C o mp a r e t a m
, .
, , .
, .

kro dh a ra kt a n a y a n a m ku rva n t a rir b h ruku ti mu kh a m G i v , .

,

krt va b h ruku ti rn v a kt re ro s a s a rirra kt a l o c a n a h ,

'

33 ,
40 ; sa

G vi 8 6, 46, wh e re R 1 02, 3 8 , h a s s a krt va b h rirku t i rn

'
’

.
, .

kru ddh a h ki mc i t s a ri rra kt a l o c a n a h . Se e No s . 1 06, 1 23 ,

1 9 0, 1 9 8 , a nd s v . . PW .
, where the y a re ill u stra te d s u ni

c i e n t ly .

kro q a n t i rir ku ra ri m i va i 6 1 2 ; G 1 1 68 43 ; R i v 1 9 29 ; , , ,
.
, ,
.
, ,

ya th a v i 3 2 3 ; plura l xi 1 2 1 0 ; 1 6 1 8 ; va ri a n ts G i i
, , , , , , , ,
.
,

67 1 6 ; i v 1 9 4 ; v 1 8 1 2 ; R vi 49 9 e t c ; ku ra ri m i va
, , , , ,
.
, , ,

v a q a t i m M iii 63 20 , Th a t i n G ii 67 1 6 the un u su a l
.
, , . .
, , ,

fo r m ku ra ry a s t ra s i t a i va fo ll o ws t h e e x c l a m a tio n h a n a th a
h a m rt o s i ti i n 1 2 j u s t a s h a n a t h a i n N 1 1 2 3 fo l l o ws
‘
’
,
.
,

ku ra ri m i va va c a t i m i n 20 ( a b o v e ) i s p e rh a ps wo rth ,
41 0 A PP EN D I X A .

no tic in g especia lly a s this cha pte r o f R G is n o t i n the

, . .

B o m b a y t e x t a n d m a y b e su p po s e d t o b e l a te Th e c o rre .

s p o n de n c e i s n o t r e m a rka b l e e n o u gh t o pro ve co pyin g ,

tho u gh it m a y b e du e t o the i n flu e n ce o f t h e N a l a pa s s a ge ,

a s this e pi s o de is we ll kn o wn t o t h e l a ter R a m a y a n a .

ks i t i ka m p e ya t h a q a i l a h vii 1 74 2 3 ; y a th a c a la h vi r 3 6
’
, , , , , ,

2 9 ; ks i t i ka m p e y a th a n a ga h G vi 3 0 3 0 wh e re R h a s , .
, , , .

ks i t ika m p a i va dru m a h , 5 6, 3 1 . Se e N o 2 48 . .

kh u ra n e m i s va n e n a c a , N o 247 . .

ga t a p ra t y a ga t a n i c a , t e r m . te ch .
, v1 1 , 1 9, 6 ; R . vi , 1 07, 3 2 .

Se e m a n da l a m , N o 201 . .

ga to Va i va s va t a ks a y a m , o r mi n y e , v i i , 2 6, 5 3 , a nd s . krt va
ka rm a , N o 48 , a bo ve ; R vi, 8 2, 1 8 3
. . .

ga da m a da a vi ry a va n , y
ix 1 1 49 ; 5 5 24 5 6 2 7 e t c ; , , , , , .

Rvi .
, 69 ,
33 In G vi 49 1 8 vi p u l a m Se e 1 c N o 1 0 p
. .
, , , . . . .
, .

1 42 a n d N o 8 0 fo r p a ra ll e l va ri a n ts
, .
, .

ga m a n a y o p a c a kra m e i 1 5 1 1 4 ; R vn 2 5 5 1 ; ga m a n a y a
’
, ,
.
, , ,

b h i c a kra m a R i 77 1 8 ( G 79 4
’
,
.Se e N o 1 4
, ,
.
, , . .

Ga ru da h p a n n a ga rn y a tha viii 8 7 9 6 ; R vi 69 6 ga n i v a
'
°
, , ,
.
, , ,

whe r e G 48 6 h a s ga ri1 y a tha ; G vi 46 3 h a s ga n i v a

.
, ,
°
.
, ,
°
.

Ma n y va r l e c e g Ga ru t m a n i va
. .
,
. .
, .

ga rj a n t a u i va t o y a da u ix 5 5 3 8 ; t a m G vi 3 1 9 ; ga rj a n t i
°
.
, , , , , ,

n a v rt h a qu ra n i rj a l a i va t o y a da h R vi 65 3 Se e N o s , .
, , . .

gi ri h p ra s ra va n a i r i va ,
iii , 2 79 , 5 , with ca ka ra ru dh i ra m b h u vi
p r e c e di ng ; R . vi , 67 8 9 , with ra ra j ge n i t o t s i kt a h pr e c e d
a

in g . G vi 46, 75 h a s gi ri p ra , a n
.
, erro r Co mp a re G i h . . .

1 09, gi ri h p ra s ra v a n a a ha ; R my t . vi 67 1 21 , gi ri n p ra s ra
,

va n a i r i va . In R . vi ,
5 8 , 5 5 , gir e h p ra s ra va n o y a t h a , wh e re
G 3 2 43 h a s j a la m
.
, p r a s ra v a n a d i va , a s 1 11 R . vi ,
45, 2 1 ,

j a l a ri r p ra s ra v a n a v i va ,
a nd R . vi , 8 8 , 61 .

ga i ri ka m, N o 3 1 8 . .

c a ka ra ka da m a m m a ha t vii , ,
21 , 3 7 R . vi
8 6, 24 ; 9 5 , 5 0 ;
,

G vi. 46, 1 08 ; ka ro m i ,
,
iv, 2 1 , 2 M . ku rva n a h , ix, 61 , 3 0
a k a ri , G vi , 49 , 43 ; kr
. t va c a , G vi, 1 1 0, 5 0 ; a ka ro t , . M vii .
,

3 2, 41 ; i x , 44, 3 ; c a ka ra ka da n a m gh o ra m ( m etre ) , R . vi ,

58 , 24 ; H iii 60, 3 ; ka da n a rn s u ma ha t kru h , R vi

'

.
, ca .
,

55 , 3 2 .

ca ks u rvi s a va m a ga t a h : I n v n , 1 7 1 4, sa no di s ty a ’
s t ra s a m
p a nna
g c a k s u rvi s a
y a m a ga t a h ; R . vi , 1 03 , 1 9, di s ty a ’
si
41 2 A PP EN D I X A .

i va b lra s ka ra m , vi 64, 44 ; t a m i va a h , G vi , 21 , 43 ;
°
i mut a
°
j , .

n i h a ra m, R . i , 5 5 , 25 t o y a da d i va b h a s ka ra h , G iv, 1 2 , 24 .

a p a ta ) Se e N o 3 26
( p . . .

j rn a rir t va c a m i vo h 62 , 69 ; R iii 5 , 3 7; s a rpo xiii

’
i ra a
g , , . .

j i rn a m i va t va c a m , x i i , 2 65 , 1 5 ; G vi , 21 , 40 ; t va c a ms a rp a .

i va
’
mu c y a , Mv .
,
40, 2 . Se e N o s 1 06, 1 3 9 . Pra q . v , 5 .

jva l a n t a m i va t e j a s a , N o 1 76 . .

j va l a p a va ka m , j va l a n t a i va p a va ka h ( a n d j a
n t a m i va a i va ) , v lit
V1, 1 6, 1 2 ; 1 8 , 6 ; x i , 2 5 , 1 6, e t c ; R , 3 2, 5 ; , 5 0, 3 6 ;
. . iii vi
70, 1 9 9 5 , 3 3 ; G 68 , 3 6 Co m a p ra j va li t a m i vo l ka m ,
’
. . p re
Mv . 1 8 1 , 5 ; p ra j va l a n t a m i va n a a m ,
,
’
l G iii .
, 1 8 , 23 ;

j va l a n t a m i va
p a n n a ga m,
v i , 8 2 , 3 6 ; M . ix , 1 3 , 21 G iii .
,

1 8 , 3 9 , p a n n a ga i h ( b u t R 1 2 , 3 4, p a va ka ih ) . a ls o p a rva t a m ,
M vii 8 0, 3 7, a p a cy a t a
.
, ( on fi re a s it we re ) . Se e N o s 1 1 1 , .

1 76, 226, 2 5 5 Fo r i va la h s e e N o s 3 3 9 9 1 9 6 2 9 1
.
’
na ,
.
, , ,
.

a n a n a di t a m iii 64 i ; R iii 2 3 h e t wo de s c ri p
j h illik a g T , , ,
.
, , .

ti o n s ( o f a fe a rfu l fo re st) a re sim ila r a l s o i n t h e a dj a ce n t

ve rs e s e g n a n a p a ks i ga n a ki rn a m i n M n a n a m rga ga n a
, . .
, , .

ki rn a m i n R I ha ve n o t e n te r e d o the rs
, . .

t a e n a m q a ra dh a ra b h i r dh a ra b h i r i va t o y a da h vii 2 6 5 4 ; , , , ,

a t h a i n a 1i r c a ra dh a ra b h i r dh a ra b h i r i va t o y a da h R vi 7
’
1 , ,
.
, ,

9 2 ( i n M s i s i c u h ; i n R a b h y a v a rs a t a )
.
, a b h y a v a rs a t ta da .

R a m a m dh a ra b h i r i va t o y a da h R vi 1 00 5 9 ; va va rs a ,
.
, ,

c a ra v a rs e n a dh i t M vi 58 2 6 C o m p a r e m a
. h e n d r a i va
. .
,
.
, , .

'

dh a ra b h i h e a ra i r a b h i va va rs a h a R vi 5 6 1 1 Se e N o s , .
, , . .

ta ta h kil a kil a No 3 3 4 , . .

ta ta h p ra j a vi t a eve n a ra t h e n a ra t h i n a rir va ra h This he mi .

stic h H 3 5 9 5 a n d a l s o G vi 3 0 6 R 5 6 6 b u t he re
.
, , .
, , .
, ,

p ra c a l i t a q ve n a ) Th e pri o r p a da i n M vii 1 1 6 3 0 ; G iii . .

, , .
,

3 3 2 7; R vi 9 5 42 ( with ra t h e n a )
, . Se e N o 28 7
, , . . .

ta ta h p ra b h a t e vi m a l e viii 1 9 ; x i v 64 1 6 ; R v i i 5 9 1 1 , , , , , .
, , , ,

with krt va p a u rva h n iki m kri y a m ( N o 68 2 Co m .

, .

p a re p ra b h a t e vi m a l e s ury e R ii 8 6 24 Th e fi rst phra s e , .

, , .

i s i n t ri s t u b h a s we ll a s i n q l o ka l o c cit , . .

ta to n y a d dha n u r a da ya vi 48 67 G iii 3 4 1 6 a n d 22 I n
‘

, , , .
, , ,
.

the fo rm e r o f G fo ll o we d by p ra di p t a i va m a n y u n a ( a s i n .
,

M iii 63 1 3 p ra di p t a va c a m a n y u n a ) Th e usu a l p hra s e

.
, , ,
’
.

i n M be gi n s with a th a n y a d e g vi 45 3 3 ; 77 68 ; 1 1 4
.
’
, . .
, , , , ,

2 8 ; vii 21 1 7; ix 1 0 3 4 ; 1 5 21
, , Co m p a re a n ya t ka rmu , , , .
 P A R ALL EL P HR A S ES IN THE T WO EP I CS . 41 3

ka m a da ya ya t ka rm u ka m a da ya , vi
°

, a n d so n ,
45 , 2 9 ; 1 1 0,
40 ; i x , 1 0, 45 , e t c R . . as cite d l o c cit . .
, No . 56 .

ta t o m u h u rt a m , N o 21 4 . .

t a to h a l a h a l a q a b da h p ri t i da h s a m a j a y a t a , i ,
58 , 9 ; ta t o h a l a f
h a l a q a b da s t u m u l a h s a m a j a y a t a , R ii , . t h e p ri o r p a da ,
M vii.
,
21 , 2 ; xiv
ii 8 1 1 4 ; vii 21 24 ; 3 2 3 3 ; , 74, 2 6 ; R .
, , , , ,

9 6 1 2 ; G iii 3 1 41 fo ll o we d by t h e l a te tra it p u n a h Ic o l d
, .
, , ,

h a lo m a h a n ( n o t thu s i n M o r R ) G ii 8 2 1 3 fo llo we d . . .
, , ,

by s u m a b a n s a ma j a y a t a Co mpa re N o 3 3 4 . . .

ta tra s i t s u m a h a d y u ddh a m t u mu l a m l o m a h a rs a n a m vi 58 , , ,

1 3 ; R vi 43 1 6
Fo r o th e r fo rm s s e e 1 c N o 1 0 p
.
, ,
.
, . . .
, .

1 44 H I n R r o m a fo r l o m a but a c c o rdin g t o Wi n te rn itz

. .
, , ,

l o c cit t h e s e fo rm s i n t e rc h a n ge a ls o i n MSS o f M Se e
. .
, . .

N o s 23 , 8 3 .
, 84 .

ta d a db h u t a m i v a b h a va t , ’
iii , 1 67, 1 7 a n d 3 1 v, 1 3 1 , 25 vi ,

47 2 8 ; 5 4, 8 2 ; vi i , 7, 5 3 ( w ith a l a t a c a kra va d ra j a n ) 1 4,
2 7 a n d 3 8 ; 21 , 1 4 ; , 1 2, 1 3 ; ix xii 3 3 4 , ,
2 a n d 4 a n d 11,
e tc , e tc .G , 75 , 28 Co mp a . . i . re G iii .
, 33 , 22, t a d a b h ud
a db h u t a my u ddh a mt u m u l a m l o m a h a rs a n a m R . iii , 51 , 3 ,

t a d b a b h u va db h u t a 1ir y u ddh a m ; R
’
, 1 02 , 1 8 , t a d b a b h a u . vi
ca
’
db h u t a ri1 y u ddh a m ro m a h a rs a n a m ; , 1 6, 4, M xi .

ra n mn rvi ra n a m a db h u t a m l o ma h a rs a na m ix 1 5 28
a j i ra , , ,

ta tra db h u t a m a p a qy a ma a n d 1 5 41 ta tra db h u t a m p a ra m
’
, , ,
’

I n M iii 76 41 t a d a db h u t a t a ma rn drs t va ; R vii

'

c a kre . .
, , ,
.
,

79 1 t a d a db h u t a t a m a rir va ky a m e ru t va
, ,
Se e a l s o N o s . .

t a d y u ddh a m b h a v a d gh o ra m, vii , 1 6, 1 2 ( s u m a h a l l o m a
a

h a rs a n a m) G vi, 5 8 , 3 4 ( i n R , 79 , 23 , ta tra fo r gh o ra m)
. . .

M . a dds de va n a m i va da n a va i h, wh e re with co m pa re R vi .
,

79 , 2 t a t a h p ra v rt t a ms u m a b a t t a d y u ddh a ml o m a h a rs a n a m
,

de va n a mda n a va i r i v a Se e N 0 3 8 2 a n d 8 3 . . .

t a p a n t a m , N o 1 75 . .

t a p t a ka fi c a n a b h u s a n ah ,
xi i, 3 2 6, 3 4 ; R i v, 1 7, 2 ; G v , 24, 24 . .

( b a t a ka , R i v, 3 .
, pre c e de d i n b y s fi k s m a ra kt a m M .

b a ra dh a ra h, i n G .
, by ra kt a mb a ra dh a ra h gri ma ns . Se e
N o 28 0 . .

ta m a n ta ka m i va kru ddh a m , 8, 1 1 m) R vi 5 6,
vn , ( a p a ta n ta .
,

24 ( s a dru t a m ) . Se e N o s . 1 04—1 05 .

t a ma h Su ry a
i va neu b h ih , N o 72 ’
. .

t a m a p a ta n t a m
s a b a s a , v i , 1 1 6, 49 a n d 50 ; R . vi , 5 9, 3 6 1 06,
41 4 A PP EN D I X A .

4 . Further exa mpl e s ,

1 . c No . . 1 0, p . 1 41 . ve ge n a i n p ri o r
p a da R vi 76 3 6 e t c
, .
, , , .

88, t a mdi p ta m i v a ka l a gn i m vn 1 5 , , , 5; sa di p t a , R . v , 67, 1 2 .

C o m p a r e ka l a gn i r i va m u rt i m a n ,
R . vi , 9 5, 3 .

8 9, t a m m u m o c a y i s u r va j ri i 2 2 7 9 ; , , ,
t a m m u m o o a y i s u ri r vi ra h ,

G vi 8 0 26
.
, ,
.

9 0, t a ru n a di t y a s a dre a i h ga n a ga u ra i c c a va n a ra ih , iii ,
2 8 4, 2 8 ta ru
n a di t a v a rn a i iv
y q c a q a e i ga u ra i e c a va n a ra rh R .
,
3 9, 1 3 .

ta la rn ta l e n a No
'

, . 1 63 .

9 1 , t a s t h a u gi ri r i va ’
ca la h vi , , 9 4, 22 vn ,
1 5, 7 s th i t a mc a il a m
i va c a a m , G
’
l . vi
, 79 , 49 ; sth ita m ga i l a m i va ’
s u ra m a nd

v . 1 . sthita m
pa ra m R i v 48 1 7 G 48 1 8 q a i l a m i va
’
, .
, ,
.
,

In M a n
.

n di n
g phra s e i s t a s t h a u Me ru r i va c a l a h
o th e r sta ’
.
,

vi 48 3 4 ; 63 8
, ,An o the r i va c a l a h p hra s e is e i gh ro
, .
’

va y u r i va c a l a m ( n a ka m p a y a t a ) M vii 1 4 3 6 ; va y u ve
’ ’
,
.
, ,
’
ga i i va c a l a h ( n a p ra ka m p a n t e ) R iii 67 8
r Se e N o s , .
, , . .

21 8 , 240 .

t a s t h a u m rt y u r i va , N o s 1 04—1 05 . .

t a s min j ite a n d ha t e N o 3 28 , . .

9 2 t a s mi n vi m a rde t a m u l e i 1 01 9 ; vi ma rde t u mu l e ta s m i n R
, , , , , .

vi 43 46 ; ta s m in p ra vrt t e t u m u l e vi m a rde R vi 69 66
, , , .
, , .

9 3 ta sy a t a d v a c a n a m q ru t va i x 3 3 5 6 5 6 42 ; 65 21 e t c ;
, , , , , , , .

R iii 69 4 6 e t c ; G v i 3 7 2 1 e t c ; r a rer i s t a s ya t a d
.
, , , . .
, , , .

b h a s i t a rir q ru t va M vii 1 9 22 ; G i v 3 8 1 7 Th e fi rs t , .
, , .
, , .

a n d t a c c h ru t va va c a n a m t a sy a a re fo u n d p a s s i m i n b o th

e p i c s ta s ya t a s y a h t e s a m t a y o s e t c l c No 1 0 p
( , , , , . . . .
, .

9 4 a n d 9 5 ( a ) t a s y a rir ra t ry a rn vy a t i t a y a m iii 1 50 1 ; 1 75 1 ;
'

, , , , ,

2 9 9 1 e t c ; R i v 64 1 1
, ,
G ii 8 2 1 a tha ra t y a m G ii
. .
, , .
, , r , .
,

67 3 ; v 1 1 2 a th a ra t ry a ri r p ra v rt t a y a m R vii 67 1 ;
, , , ,
.
, ,

a t i t a y a m c a e a rva r a m udite s fi ry a m a n da l e M v 3 5 1 2 ;
y , .
, ,

vy a t i t a y a m t u e a rva ry a m a di t y a s y o da y e t a t a h R ii 67
’
, .
, ,

2 ; vy a t i t a y a m ra j a n y a mt u M ix 8 1 ; ra j a n y a mtu p ra , .
, ,

b h a t a y a m R vii 99 1 ( G 1 06 1 s a ra j a n y a m p ra b h a t a
, .
, , .
, ,

ya m) ( b ) p ra b h a t a y a rh t u q a rva ry a m M iii 2 1 ; R ii , .
, , .
,

5 2 1 ; 5 4 3 6 ; vy u s t a y a rn c a i va ( ga rva ry a m xv 1 0 5 3 ;
'
’
, , , , ,

t a to ra j vy u s t 1 1 1 ; sim ila r is G i 3 0 1
. .
, , .
, , .

9 6 t a ra j a l a m i va mba re viii 2 7 3 5 ; G vi 68 1 9 ; i n M o f
,
’
, , , .
, , .

de c a p it a ti o ; i n R o f bre a s t p l a t e s ! n .

9 7 t i s t h a t i s t h e ti c a b ra vi t v i 1 1 1 4 1 a n d 45 a n d o fte n ( 1 c
,
’ ’
, , , . .

No 1 0 p . R vi 79 3 7 c a va da t M i v 3 3 24 ; c a
,
. .
, ,
’
,
.
, ,
41 6 APP EN D I X A .

Th e p he e it t is u se d o f Va ru n a , R . iii 1 2, 1 9 ; i v, 42 , 45,
,

G , 43 , 5 8
.
( n i la ya h p a ea h a s t a s y a Va ru n a s y a ) Co m .

p a re M vi .
,
1 1 2, 4 1 , da ha ti va i m a h a c a m um y u ddh e s u
s a dre a s t a ta Ya ma s y a Va ru n a s y a c a C o m p a re a l s o s a k .

sa t ka l a n t a ko p a m a h , M iii .
,
1 57 50 ; s th i ta h ka l a n t a ko
pa ma h , R . vi 8 8 , 2 ; q a ra i h ka l a n t a ko , G vi, 45 , 1 9 ;
,
°
.

s a ks a t ka la i va u t a ka h, G iv, 1 4, 25 ; t a s t h a u m rt y u r
’
.

i va ’
n t a ka h , M vii , 1 6, 3 8 Fo r ka l a da n da m i va n t a ka h ,
.
’
.

se e N o 41 . . Se e a ls o N o s 42 , 8 6, 22 0, 2 50, 2 72
. .

da n da h a t a i vo ’
ga h , i x , 1 4, 40 ; R
ra vi 5 4
.
, , 33 . Th e e l o ka
in M . i s wo rt h no tici
n g i n i ts n e tire ty : c u ko pa s a m a re
D ra u n i r da n da h a t a i vo ’
ra ga h t ri e i kh a m b h ru ku t i rir
ri s a rn l i h a n , wh e r e
'

krt va s rkki n i p a 0 i x , 3 2, 4 6 a ;

a n d s rkki n i , e t c , is a fre q u e n t phra s e , N o 3 2 0 th a t

. .

i s , t h e wh o l e ql o ka c o n sis t s o f it e ra ta exce pt fo r t h e
fi rs t wo r ds Se e N o . . 1 5 0, a d fine m .

da da rga D va ra ka ri r vi ro m rt a n a t h a m i va s t ri y a m, x vi , 5, 4 ;
da dreu s t e ta da L a nka m na ri m i va m u m urs a t rm ,
’

G vi .
,
1 5, 27
da rq a y a n p a n il a gh a va m , vi , 48 , 66 ; 5 4, 73 ; 5 9 , 22 ; 62, 2 8
( C 2 ,.743 ,
h a s t a l a gh a v a m ) ; vii , 1 45 , 70 ; ix, 26, 3 0 ; R .

vi , 99 , 2 0 ; G . 3 6, 5 5 . Co m p a re da re a y a n v i ry a m at
m a n a h, M vii
.
, 1 4, 5 7 d, s va p a ra kra m a m , vi , 1 00, 3 4, e t c .

da rq a y a ’
t ma n a m a tm a na, iii , 64, 5 7; s m a ra c a t m a n a m
’

a t ma na, R . vii
ette r p a ra ll e l s might I
, 3 7, 5 , 47 . B ,

th in k be s ho wn b u t I ha ve a t ha n d o n ly Gi ta 6 5
, , , , .

D a e a gri va s y a p a qy a t a h iii 29 0 4 ; R vi 4 1 8 9 This , ,

.
, , .

typ e e s pe c ia lly i n M i s c o m m o n Co mpa re vii 1 7 7

,
.
,
.
, , ,

D rs t a dy u m n a s y a ; i x , 1 1 , 1 3 , D h a rm a ra j a s y a ; i x , 1 6, 40 ,
B h i ma s e n a s y a ; xi, 1 4, 1 9 , Va s u de va s y a ; R v i , 3 8 , 1 2, .

ta s y aR a ma s y a p a ey a t a h B u t th e yp e . Mt . s a rv a l o ka s y a

p ey
a a t a h ,
w c h o c c u s e a hi
ed ,
e g, r r pe t ly . . vi ,
48 , 69 ; 5 8 ,
44 ; ,
ix
5 , 7, a n d s a rva s a i n y a s y a p a qy a t a h , e .
g , vii , 1 8 ,
.

28 s a rva ks a t ra s y a p a ey a t a h , ix, 7, 2 4 ; 1 4, 3 7 is fo u n d
in R .
,
i f a t a ll , o n ly a s a ra rity I h a ve n o t e d G . . vi 9 3 5 , , ,

( R a m a m) p a qy a t a h ; G
l o ka s y a ,
25, 3 5, . vi p a cy a t a m
s a rva ra ks a s a m ; ,
vi
1 2 1 , 1 6, s a rve s a m e va q rn v a t a m In .

M th . e se o e sp o n d ac rr e t o p a ey a t a rn s a rva s a i n y a n a m ,
r th r
'

vii 1 44, 2 0 ; 1 9 5, 9 ; p a ey a t a ri r
, s a rv a y o dh a n a m, vii , 1 45,
it
70 ( w h da e p a n i v , N o r . . . s a rva l o ka s y a c rn va t a h ,
 P A RAL L EL P HR A SE S I N THE T WO EP I CS . 41 7

ix ,
3 1 , 2 7; p a cy a t a ms a rva s a i n y a n a m ( t a d a db h u t a m i va
’
b h a va t , N o ix, 1 0, 5 0 . .

di dh a ks a n n i va p a va ka h vi , 9 4, 7 ( kro dh e n a ’
b h i p ra j a j va l a ,
a ls o p h ra s e o f di dh a ks u r i va p a va ka h , ,
1 2, 1 3 ; xi
a cc .
, G . i v, 3 8 , 15 (w j j
a ith
va l y a m a n a rir ko e n a
p ,
h a e, p r s
No . 17 Se e a ls o N o s 75 , 2 26, 25 5
. .

di vi ’
va
’
b h ra n i m a ru t a h ( vy a dh a m a t ) , vii 3 0 3 5 ; m a h a
, , ,

b h ra n i ’
va m a ru t a h ( v i dh a ma n ) , R . vi 9 6 4 ; t h e s a m e
, ,

with ka rs a n G vi ,
.
,
49 , 5 8 .

di vy a b h a ra n a ( a n d s a rva b h a ra n a ) b h u si t a ( h ) la j j a ma n e ’
va

la la n a di vy a b h a ra n a b h i rs i t a ,
‘

i , 1 5 2, 22 ; di vy a ra t n a m
b a ra dh a ro di vy a b h a ra n a b h fi s i t a h , ii , 9, 6 ; di vy a m a l y a m
b a ra dh a ro di vy a b h a ra n a b h fi s i t a h , v, 1 22 , 2 ; t h e p o ri r
al s o vi 3 5 1 1 a n d he re a ls o di vy a ga n dh a n u l e p a n a h
, , , ,

with whic h c o mpa re di vy a s ra ga n u l e p a n a i n t h e s a m e ,

sta n z a with the titu la r p a da R vi 5 0 44 ( a ls o , .

, ,

G vi 1 1 2
. di vy a m a ly a v i b h u s i t a ri r di vy a m b a ra
, ,

dh a ra rir de vi m i v 6 4 ; krs n a ra kt a m b a ra dh a ra , , ,

di vy a ku n da l a s a mp a n n a di vy a b h a ra n a b h u s i t a , x i i , 2 5 8 ,
1 6 ; di vy a ru p a s a m a y u kt a di vy a b h a ra n a b h u s i t a h divy a
m a l y a mb a ra dh a ra h , x v, 33 , 23 ; s a rva b h a ra n a b h u s i t a ,
iii 1 2 ; 2 77, 1 9 ; i n
53 G iii 1 5 1 4—1 5 , di v a b h a ra
, , .
, , y
n a b h nsi ta h l a la n a h (a s in M . b o ve ) ; di vy a , G
a
°
.

1 11, 2 3 , 42 ; R . i
1 6, 1 3 ; v 2 4,
,
. 2 5 ; v i , 5 0 , 44 ; di vy
a fi ga ra ga m Va i de h i m
di vy a b h a ra n a b h u s i t a m , 1 1 4, 7;
sa r va °
R i .
,
73 , 9 , whe r e G . 75 , 9 h a s m a h a rh a mb a ra
b h u s a n a i h ; R iii, 47, 3 1 ; . G iii .
, 25 , 1 5 ; R . vi ,
47,
9 ; 50, 44, with o u t s i m ila r ne i gh b o rin g p a da s . Co m
p a re a so l nan a bh a ra n a b h usite , M vi 23 6 ;
.
, ,
—
sa r va
b h a ra n a n a ddh a fi ga h , v . 1 . s a rva b h a ra n a s a rva ri ga n, R .

vi 65 3 1 whe re G 44 24 h a s c i t ra fi ga h ; s a r va s a m
, , ,
.
,
° °

yu kta a n d s a m p a n n a M i 1 5 3 1 4 ; G i v 44 1 08
°
, . .
,
.
, , ,

re s p e c tive ly Th e fo rm with divy a R a gh u v x 1 1

.
°
,
.
,
.

R is ge n e ra lly c o n te n t with the p a da M o fte n a dds

.
,
.
,

a s a b o ve si mil a r p a da s Se e N o 44
, . . .

di vy a m a l y a mb a ra , N o . 113 .

di e a e ( p ra a n d) vi di ea c; c a i va z 1 1 3 8 26 ; H 2 1 27
’
ca , ,
.
, ,

1 2 7 G vi 90 2 8 ( wh e r e R . 1 0 6 3 0 h a s p ra di e a h
, , .
,

s a rva h ) ; v i di a s t a th a G iii, 2 8 41 ( wh e re R 22 23
q ,
.
,
.
,

h a s di ga h s a p ra di q a s t a th a ) ; G vi 5 8 3 8 ( wh e r e R .
, , .

27
41 8 AP P EN D I X A

79 , 2 8 h a s di e a e ca p ra di e a s ta tha ) . sho rter ter

Th e
m in a l di e o da e a , v i i , 2 0, 5 2
( e tc o ft e n ; R vi
) 75 3 8 ; .
, ,

G . v
5 5 , 1 3 ; G vi, 77, 3 0
,
.
(G 93 .
,
1 ; R 1 1 5, 1 8 . G .

1 00, 1 8 , n o t t e rm i n a l ; t h e la s t ,
da e a d i c o ) In C . . to
i x , 1 5 , 1 7, t h e s a m e v 1 a . . s a b o ve i n R .
,
na m e ly, vi di
ca n c ai
’
va in B M .
p ra di q a e c ai
’
va i n C 769 . . Se e a l s o
u n de r N o . 36 .

di s t y a di s ty e ’
ti c a
’
b ru v a n , i ,
1 29 , 3 1 a b ra vi t , G . i v, 1 0, 23 .

di n a g c i n t a p a ra q 49 , 4 ; cai
’
va , ii , ta ta g c i n t a p a ra di n a iii , ,

5 4, 2 ; di n a e c i n t a p a ra y a n a h , G . vi 74 6 R
, , p a ri .
°

p l u t a h ) c i p iti
n t a a ro b h a v a t , R
‘

.vii 79 1 2 Se e N0 5 69
, , . .
,

di p t a m a gn i c ikh a m i va , iii , 63 , 3 6 ; v1 1 , 1 4, 78 ; R i , 49 , 1 4 ; .

vi ,
1 1 8, 1 7 vii , 3 0, 2 9 G . vi , 8 0, 2 0, wh e re R 1 00, 1 9 h a s .

p ra di p t a m a ea n i m i va ; di p t a v i va h u t a e a n a u , R . vi , 9 7,
25 Se e N o 3 3
. . .

di p t a s y a n u ra ga n i va , , 1 5 1 , 25 v 1 8 0, 7 G iii .
, 69, 24
Se e No s . 74, 1 06, 1 41 , 1 5 0 .

di rgh a m u s n a i ir c a nih v
e a sya 4, 5 1 ; 3 2 , 8 ;
, ix, 1 , 4 ; ,
G x .

vi 3 4, 1 ; 9 9 , 5 , W he r e
, R 1 1 4, 6 h a s s a di rgh a m a b h i n i h
.

q va s y a Th is p hra se a pp e a rs i n
. va ri e ty o f fo rm s v e ry a ,

like ly i n m o re tha n I ha ve n o ted Th e pre v a ilin g typ e .

i s t h e titu l a r o n e a b o ve C o m p a re t h e va ri a n t i n C 23 8 . .

t o i x 4 5 1 ( a b o ve ) di rgha m u s n a rn c a n i c va s a m mu m o c a
'

, , ,

c a m u mo h a c a ( B q q
u o c a c a m u m o h a c a ) ;.a fo r m not

un kn o wn i n R di rgha m u s n a m c a n i q va s a mvi mu fi c a n t a m
.
,

m u h u r m u h u h G i v 3 3 41 Th i s is fo ll o we d ( t h e n e x t
, .
, , .

ve rs e ! ) i n M b y i x 5 1 n i h e va s y a di rgh a m u s n a rir c a
.
, , ,

t u s n i m a s i t ; s a fo r e a i n i x 2 5 5 ( b u t C 1 09 c a ) like , ,
.
,

t h e fo rm a b o ve i n R M iii 3 1 3 3 s a di r gha m u s n a rir .

, .
, , ,

n i h c va s y a c o ka b a s p a p a ri p l u t a h ( p h r a s e s e e N o s 1 2 0
, ,
.
,

1 9 0) R v 3 4 1 3 a b ra vi d di rgh a m u c c h va s y a wh e re G
.
, , , , .

3 1 3 3 h a s di rgh u s c a n ih e v a s y a ; R vi 9 5 2 s a t u
, . . .
, , ,

di rgh a rh vi n i h q va s y a wh e re G 75 3 a s b e fo re fo ll o we d , .
, , ,

by mu h urt a m dh y a n a m a s t h i t a h ( p h ra s e c o m p a re N o ,
.

Th e lik e n e s s wh e n give n i s t o s n a ke o r e l e p h a n t
, ,
.

Thu s G iv 3 3 41 ( c it e d a b o ve ) c o n ti n u e s
.
, , ku p i t a rir :

s a p t a q i ra s a m j v a l a ru ddh a m i v o ra ga m ; i h 3 3 3 1 3 2 ’ -
.
, ,

n i h ev a s y a di rgh a m u s n a m c a k o p a d ra kt a n t a l o c a n a h
b a b h u va n a ra q a rdul o vi dh u m a i va p a v a ka h ( p h ra s e s e e ,
420 APP EN D I X A .

a nd ma n y
v l e g G iii 71 1 1 eo c i t u rir n a rh a s e deva
. .
, . .
, . , , ,

R a m a ) wh e re R B h a s v i ra Se e N o 1 47
, . . . .

n a n u n a ma m a ha ra j a iii 63 4 ; m a h a b a h o R vi 1 1 1 3 , , , , .
, ,

Co mp a re M iii 64 1 9 n a n u n a m a h a m ist a t a v a a n d G
.

’
.
, , , , .

iv 24 3 7 ta ve s t a n a n u n a m a i t a h ( R h a s n a n u c a i va )
, , ,
’ ’
.
’
.

Na mn o i N o 25 0 , . .

n a hi q a ks y a m i j i vi t u m iii 249 2 0
’
n a i va
c a ky a m i j i vi t u m , , , ,

G ii 1 7 3 2 ; n a hi c a kn o m i G v 2 6 23 Se e N o 1 3 4
.
, , . .
, . . .

na ka le vih i t o m rt y u h n a p ra p t a ka lo m ri y a t e iii 63 7
’
,
’
, , ,

65 3 9 ; a k a le du rl a b h o m rt y u h R v 2 5 1 2 ; n a ka l a
, , .
, ,
’

m rt y u r b h a va t i G v 2 8 3 Co m p a re ix 64 1 0 a n d xi , .
, ,
.
, , ,

2 5 ka l a m p ra p y a m a h a b a h o ( ma h a ra j a ) n a ka c c i d a t i
, ,

va rt a t e Se e N o s 43 a n d 1 2 6
. Th e ( n e w) r e fe re n ces . .

here give n t o M a re t o be a dde d t o tho s e i n J o u rn Phil . . .

,

v o l x x p p 25 —2 6 whe r e will b e fo u n d o th e r p a r a ll e ls
.
, .
, .

n a ga h Si ddh a e c a kra c a ra s t a th a iii 8 5 72 ; n a ga h , , ,

ca k ra c a ae c
r a Si d d h a h R v 4 8 2 3 (
“
the s u n a n d o ther , .
, ,

hea ven ly b o die s a re t h e bl e s s e d cyclists ) .

n a ge n dr a i va n i h e v a s a n i x 3 2 3 8 b h u j a mga i va R v 22 , , , , .
, ,

30 . Se e N o s 1 1 9 , 1 41 —1 43 , 205 . .

na
’
h a rir j i vi t u m co mm o n er fo rm tha n u tsa he . T hi s is a

th a t a bo ve i n N o 1 3 0 I t o c cu rs re p e a te dly e g i v 1 9 . .
,
. .
, ,

1 3 ; vii 24 1 1 ; x 4 2 6 ; x v i 8 23 ; R v 2 6 4
, ,
G , , , ,
.
, , .

v 26 3 3 v
, ,
vi 1 1 6 1 8 ; G ii 8 0 9 ; vi 24 1 8 ; with
, .
, , .
, , ,

m a n y va ri a ti o n s e g ka th a m j i vi t u m u t s a h e G vi 3 4 8 ,
. .
, ,
.
, , ,

a n d a b o ve i n N o 1 3 0 . .

n ikrt t a i va ki m q u ka h x iii 3 0 43 ; R vi 67 2 9 ; p a da p a h , , ,
.
, , ,

R iv 1 7 1 ; G ii 45 5 ; G iii 3 1 48 ; etc
.
, ,
Se e N o s .
, ,
.
, , . .

71 , 1 3 6, 1 68 .

n i krt t a ka da l i ya tha iii , , 29 1 , 1 4 ; G 1 1 , 1 7 22 . R 2 0, 23 ,

.

p a t i t a m ka da l i m i va ) . Se e N o s 71 , 1 3 5 , 1 8 0 . .

n i t y a mdh a r m a p a ra kra m a h , N o . 2 93 .

n ipa p a t a , No . 1 48 .

n i m a gn a h q o ka Sa ga re , v ri , 1 , 1 1 ; 1 93 , 3 4 ; R i v, 2 0, 9 ( c o m '
.

p a r e 1 0 ,
G ii , 3 7,
2 2 ( R ra
p p a n u a) C o mp a re . . .

du h kh a s a ga ra s a m p l u t a , G vi , 9 , 7; p a tita e o ka s a ga re , R . .

vi , 1 1 1 , 3 1 ; G v i , 9 5 , 20, a n d 3 4 Se e N o s 1 20, 1 9 0 . . . .

n i m e s a n t a ra m a t re n a , iv, 64 , 2 8 ; v, 1 5 , 3 1 ; xii , 3 3 4, 21 ,

e tc ; R .i v, 3 9 , 1 1 ; v, 62, 3 6 ; vi , 44, 1 9 45, 1 6 G vi ,

. .

13, 9 .
 P AR ALL EL P HRA S S I N E THE T WO EP I CS . 421

n i rm u kt a v i va p a n n a ga u , vn , 1 3 6, 29 ; i n s t p l , ix, 1 5 , 40 ; . .

fe m . s g , G vi, 3 4, 2 3 ; n i rmu kt a u b h u j a ga v i va , G ( re f
. . . .

lo s t) . Se e N o s 74, 1 40, 1 5 0, 243 . .

n i rm o ka m i va p a n n a gah , vii 1 68 5 ; R vi 3 3 3 3 ; G v 3 , , .
, , .
, ,

45 ; p a n n a go y a th a , G ii 9 1 1 2 Se e N o s 74 1 3 9 .
, , . .
, .

n ih e va s a n n ura go ya t h a v i 1 21 1 0 ; ix 64 5 ; R vi 51 18 ; , , , , , .
, ,

h m a ga i va ix 1 4 9 ( C p a n n a ga ) ; i va p a n n a ga h M ii
j i , , ,
. .
,

65 42 ; y a dv a t fo r ya th a ( m e tre ) vii 1 9 3 70 ; p a p a t a
, , , ,

b h u vi s a rirkru ddh o n i h e i v a p a n n a ga h R ii 74 3 5 Se e .
, .
, , .

N o s 1 1 8 , 1 1 9 , 1 3 3 , 1 3 9 , 1 42, 1 43
.
, 1 50 .

n i sp i sya , N o . 1 63 .

n pu n a h pu n a h vrr 1 5 3 0 ; G vi 55 77 ( du a l
i h q va s a n t a m , , , .
, , ,

ga j a v i va ) R vi 76 8 1 ( v 1 o f l a s t ga j a v i va ) n i h q va
.
, ,
. .
,

s a n ta u m uhur m u h u h ; a s i n G ii 1 10 14 wh ile .
, ,

here R 1 1 1 01 1 5 h a s pu n a h pu n a h Se e N o s 1 41 1 43
.
, , . .
,
.

n i h e va s a n t a m ya th a ma ga m vi 1 06 71 ; x i i 2 24 1 ; R vi , , , , , .
,

49 1 du a l ; G ii 1 5 7 ( R 1 8 5 m a h a ra j a n )
, , G v i 21 .
, , .
, , .
, ,

5 .Th e u s u a l R fo rm is q va s a n t a m i va p a n n a ga m v i .
, ,

1 08 1 0 ; with v l n i h eva s a n t a m i vo ra ga m G ii 1 9 1
,
. .
,
’
,
.
, ,

t a u i vo
°
ra ga u M vii 77 1 C vi 3 478 e va s ; B
’
, .
, , . .
, ,
. .
,

j va l . Se e N o s . 1 1 9 , 1 3 3 , 1 41 , 1 42 , 2 05 .

n i l a ku fi c i t a m u rdh a j a h , iii 2 77, 9 ; 2 8 0, 50 ; G

, . vi 3 7 61 , , ,

with the r phra s e ano ,

m a t t a m a t a n ga ga m i n a m ( N o 2 03 ) .

n i l a ku fi c i t a ke i M ii 65 , 3 3
q ,
.
,
.

n ila fi j a na c a y a p ra kh y a h, vii 20 1 8 ; p ra b h u h G vi
, ,
°
, .
,
24,
43 R . 49 , 3 2 , b u t here c a y o p a m a h a s i n G vi °
, .
,
9 4,
7 R 1 1 0, 6
. .

n ilo t p a la m a y i m m a la m, vii , 1 3 9, 8 ( dh a ra y a n
) ; m a l a rir n i

l o t p a l a m a y i m i va , G vi .
, 79 , 62 ( dh a ra y a n ) , v 1 i n R ; . . .

inbo th c a s e s o f a o f a rro ws wre a th .

t ka n t h a m ka rt u m a rh a s i iii 2 1 6 1 0 ; x i i 1 70 1 1 etc ;
’
no , , , , , , .

G v 3 6 76 ( n o t i n
.
, b u t i n R ii 46 2 n a c o t ka n
, .
, , ,
’

th i t u m a rh a s i ( t va mn o t i n G 44 2 ) a n d R ii 53 2
’ °
.
, .
, , ,

t a m n o t ka n t h i t u m a rh a s i ( n a i vo t i n G 53
’ ’ ’ °
R .
, .

h er e h a s the cl a s s ic a l tu rn Se e N o 1 28 . . .

n y a p a t a n t a ma h i t a l e ix 5 6 1 1 ; s a p a p a ta R vi 5 9 8 8 , , , , .
, ,

n ip a p a ta G 3 6 67; G vii 1 1 1 47 ( n o t i n
, .
p e ta tu s
, .
, ,

t a u R vi 9 7 24 2 6
, Th e u s u a l va ri a n t is p a p a t a dha ra
.
, , .

n i ta le ix 2 7 46 ; R iii 5 2 2 6 ; 66 1 8 ; G iv 1 9 3 ;
, , , .
, , , .
, ,

p a ssi m i n b o th e pics Se e a ls o N o 1 67 240 3 09 . .

, , .
422 A PP EN D I X A .

pa nke ma gn a i va dvi p a h vi 1 00 9 ; p a fi ka ma gn a i va dvi p a h , , , ,

G iv 1 5 3 0 v 8 7 2 6 R iii 61 1 3 e xt e n ds t h e p h ra s e
.
, , , , . .
, , ,

p a nka m a s a dy a vi p u l a m s i da n t a m i va ku fi j a ra m G ?
.

68 2 s i da n n i va m a h a dvi p a h ) ; a n e w t u rn i n i x 5 8 3 3
, , , ,

gives a n y o n y a mj a gh n a t u r vi ra n p a nka s t h a u ma h i s a v i va .

Se e N o s 1 02 2 1 5 . .

pa fi c a e i rs a i vga h ,
o , 57 , 6 ; i v, 22 , 5 6 ; Rra , 1 0, 1 8 ;
iii . v
vi , 99 ,
4 0 ( o f a o ws , e va s a n ta h
) C o m p a e p a fi rr
c a s y a ih . r
p a n n a ga i e c h i n n a i r Ga ru de n e
’
va , vii
, 3 6 ,
2 7 p a fi c a sya v

i va p a n n a ga u , G iii
, 7 ,
4 22 Th is v ri ty
a e o f sn a k is
.es .

r e co gn iz e d to ge th e r with tho s e ha vin g fo u r a n d se ven

h e a ds i n Ha ri v 3 46 3 8 Th e s e ve n h e a de d va ri e ty t o
.
, ,
.
-
,

g eth e r wit h t h o s e h a vi n g thre e a n d t e n h e a ds respe c tive ly ,

is reco gn iz e d i i 2 7 5 1 wh i l e t h e s a p t a ci rs a ( q i r s a n )
n , , , ,

s o r t p a n n a go m a ha n i s ta ke n a s t h e fo rm o f t h e divi n e
, ,

we a p o n xiii 1 4 2 5 7 G i v 3 3 41 s a p t a e i ra s h a s b e e n
, , , . .
, , , ,

cite d a b o ve un de N o 1 1 9 Fo r th e e n di n g i vo ra ga h r . .
’
.

Se e a l s o N o s 74 1 06 1 1 8 1 41 .
, , ,
.

p a t a mga i va p a va ka m v 1 3 0 21 ; vi 1 1 7 3 5 ; p a t a mga n , , , , ,

i va p a va ka h i h 3 7 R iii 2 8 1 4 ; vi 44 23 ; 9 7 6 ; 1 02
, . .
, , , , , ,

62 ; G v 3 8 3 6 G vi 5 4 5 3 .
, p a t a rirga j va l a n a mya tha
, .
, , ,

0 i x 1 5 2 ( wh e re M i x 3 2 7 h a s p a t a mga i va p a va ka m ) ;
.
,
. .
,

R vi 66 2 6 ; 9 6 2 ; i n t e r c h a n ge s wi th c a l a b h a n i va
.
, , ,

p a v a k a m ( q v N o R vi 6 5 4 3
. . G 4 4 3 8 ; pa . .
, , .
,

ta mga i va c a gn a u t e x v i 3 42 ( p rio r p a da ) ; t ri s tu b h
’
, , , ,

ya tha p ra di p t a mj va l a n a m p a t a mga viga n ti M vi 3 5 2 9 , .

, , .

Se e a l s o N e s 1 8 1 25 8 28 3 .
, , .

p a t a ka dva j a m a li n i iii 77 6 ( a eo b h a y a c c a n a ga , , f

ra m
) ; G ii 42 1 2 ; G i v 25 3 8 ; G vi 1 4 2 0 Th e
.
, , .
, , .
, , .

c o rre s p o n di n g ve r s e s i n R a re s uc c h ri t a dh va j a m a li n i ii .
, ,

4 3 1 0 ; p a t a ka dh va j a e o b h i t a iv 2 6 41 ; a n d a c o m p l e t e
, , , ,

v l vi 3 8 1 1 ( G v 9 1 7 a ls o h a s p a t a ka dh va j a c o b h i t a )
. .
, , , .
, , .

B u t R h a s t h e tit u l a r p hra s e a t vi 47 1 4
. G 22 2 1 , , .
,

( b o th m a li ni
) a n d a t vi
°
5 7 3 w h e r e G 3 1 4 h as , , , .
,

b a h u dh va j a p a t a ki n i m .

pa t i da re a n a l a l a s a , No . 1 65 .

pa te d dy a u r h i m a va n c i ry e t iii 1 2 1 3 0 ; i de m b u t p rt h i vi , , , ,

G ii 1 5 2 9 I n M fo ll o ws p rt h i vi ga h a l i b h a ve t c u s y e t
.
, , . .

t o y a n i dh ih ; i n G c o s a rii j a l a n i dh i r vra j e t I n v 8 2 48 .
, .
, , ,

dy a u h p a tec c a s a n a ks a t ra ; i n iii 2 78 3 8 a n d vii 1 3 1 0 , , , , , ,

424 AP P EN D I X A .

p a n i m pa n a u vii 73 1 9 ( with da n ta n ka ta ka
vi n i s p i s y a , , ,

t a yy a c a ) R ii 3 5 1 vii 69 2 ( p a na u pa ni m s a n i s p i
.
, , , ,

C o m p a re n i s p i sy a p a n i n a p a n i m iv 22 8 1 ; p a na u
sy a
) .
, , ,

pa n i m n i p i dy a c a ( v 1 h a ) ix 65 3 3 ; ka ra rir ka re n a . .
, , ,

n is is a
p y i 1 5 1 42 ; k a ,ra ri r ka r
,
e na b h i n i p dy a vi ra h iii
i ,
’
, ,

23 6 1 9 ; t a l a ri r t a le n a n i s p i s y a vii 1 93 70
, , , ,
.

p a n du re n a t a p a t re n a dh ri y a m a n e n a m n rdh a n i
’
v 1 78 77 ; , , ,

x iii 1 4 1 75 ; xiv 64 3 ; 75 7; x v 23 8 ; R i v 3 8 1 3
, , , , , , , .
, ,

G h a t re n a dh ri y a m a n e n a p a n du re n a v ir a
( p .a n da re n a
) c

j a ta ix 9 2 Fo u r re fe re n c e s a re here a dde d t o tho se

, , , .

c ite d 1 c No 1 0 p 1 3 8, . . .
,
. .

a h t i v a t k h N s 4 1 1 0 4 —1 05
’
p c a a s a u a a o , .
,
.

p u t r a d a r a n a la la s a
e i 1 2 2 2 9 G i 9 5 6 ; b h a rt rda re a n a
, , ,
.
, ,

l a l a s a iii 64 1 24 ; 2 8 2 60 ; G ii 2 6 5 ; R a m a da rq a n a
, , , ,
.
, ,

l a l a s a iii 2 8 9 2 7 R v 1 4 42 ; l a l a s a a s t e rm i n a l go ka
, , , .
, , ,
°
,

i 2 22 9 ; G iv 1 8 1 9 ; p a ti M iii 65 1 ; p a t i da rq a n a
, , .
, ,
°
, .
, ,

l a l a s a G v 29 6 where R 3 0 6 h a s ka fi ks i n i ; y u ddh a
, .
, , , .
,
°

l a la s a h G vi 2 7 25 wh e re R 5 1 25 h a s n a rda n t o j a l a da
, .
, , .
,

ya tha Se e a l s o P W s v . . . .

p u n a rj a t a m i va t m a n a m ( m e n e ) viii 96 47; R vi 3 9
’
, , , .
, ,

15 R vi 65 1 5 a n d G 44 1 2
.
, I n R vi 69 8 m a
, , .
, . .
, , ,

n
y a t e ka l a c o di t a h whe r e G 48 8 ke e p s m e n e ; i n R vi , .
, .
,

74 25 ma n ya ta p l a va go t t a m a h wh e re G 53 3 0 ke e ps
, , , .
,

me n e .

u
p ps a v rs t i h pa p a ta ha , iii 76, 40 ;
, p a pa ta u
p ps a vrs t rc; ca ,

R . vri , 1 1 0, 6 . Se e a so l N o 1 48 . .

p u s p i t a v i va ki ri reu ka u , iii , 2 8 0, 3 2 ; ix 1 2 1 5 vi , 45 , 1 4 ; , ,

5 7, 4 ; da dre a t e Hi m a va t i p i k , 58 3 4 ; p l u a l v ii . . . ix , ,
r , ,

1 9 1 4 ; 1X 9 24 ; R vi 45 9 ; 8 0 3 4 ; 9 0 3 7; G vi 3 2
, , , .
, , , ,
.
, ,

3 3 wh e re R 58 46 h a s p ra b h i n n a v 1 va ku fi j a ra u a p hra s e
, .
, , ,

N o 1 78 ; e x t e n de d i n M vi 1 0 1 1 7 s a ms t i rn a i va p a rva
. .
, , ,

t a h ; ki ri rq u ka h p u s p a va n i v a , i b 1 1 0, 3 6 ; p u s p i t a v i va .

n i s p a t ra u , y a h a t
e a l m a l iki q u ka u , G v i , 68 , 3 1 ; ki q u m . m
ka v i va p u s p i t a u , viii , 29 , 1 8 ; p a l a e a i r i va p u s p i t a ih , R v i , .

5 8 , 2 8 , w h e re G 3 2, 2 5 h a s p u s p i t a i r i va ki meu ka ih a s i n .

R vi , 75 , 2 7, a n d G 5 4, 24
. Se e N o s 1 77, 1 78 . . . .

p u ra
y a n n iva , N o 3 6 . .

p u rn a c a n dra n ib h a n a n a , iii 68 2 6 ; R vii 3 3 , , .

, , 14 . Se e a ls o
N o 9 8 fo r a si mil a r p h ra s e
.
, .

p u rn a y a t a vi s rs te n a c a r e n a n a t a p a rva n a vi 9 5 , 72 ; R vi
’
, , .
,
 P A R A LL EL P HR A SE S I N THE T WO EPI CS . 425

71 , 72 (G . 51 , 75 ,he m i s tic h co n sis ts o f Th e

t wo it e ra ta t h e l a s t p a da b e i n g o fte n us e d i n de p e n de n tly
, ,

vi 64 5 2 ; 8 8 2 9 ; ix 1 6 3 9 ; G i v 1 7 23 ; v 3 1 3 0
, , , , , .
, , , , .

C o m p a re c a ra i h s a mn a t a p a rva b h i h M vii 1 4 3 0 ; a ka rn a , .
, ,

p u r n a m a y a m y a R iv 1 1 91 , .
, , .

p rt h i vi s a s a m a l i n i
y vi 3 1 9 ; R iii 1 6 5 ( s a s y a ea li n i i n
, , , .
, , ,

t h e o th e r t e x t s C vi 8 6 G iii 22 5 ) t ri s t u b h m a hi m
, .
, .
, , ,

i va p ra v rs i s a s y a e a li n i m , G v , 8 0, 3 1 .
( no t in
rt h i v a mc a t u ra n t a a m , i v, 44, 2 0 v 3 1, 4
p y y ; R .
, .

p ra ki rn a , N o 2 51 . .

p ra grh y a s a ga ra mdh a n u h , iii , 2 8 2, 3 4 ; 2 8 8 , 1 0 ; G v .

, 93 , 14 .

p ra j a ka m a h s a c a p ra j a h , iii , 5 3 , 5 ; R i, 3 8 , 2 ; G i
’
. .
, 1 4, 2 8 .

p ra j v a l a m , N o 1 76 . .

p ra t a p a n t a m i v a
’
di t y a m, 5 9 , 66 ; vii, 40, 24 ; G ii , 1 1 7, vi , .

1 6 ; p ra t a p a n t a m i va di t y a m m a dh y a h n e di p t a t e j a s a m ,
’

R vi , 1 28 , 9 ; m a dh y a rirga t a m i va di t y a m p ra t a p a n t a
.
’
m
s va te ja sa , M vi .
, 1 06, 8 0 . Co mpa re t a p a n t a m i va b h a s ka
ra m , R i v, 1 1 , 8 6
. .

p ra di p t a i va m a n y u n a , N o . 80 .

p ra di p t a m i va t e j a s a , R i v, 3 5 , 1 . G iv .
, 33 ,
3 G v .
, 8 0, 5
Co m p a r e p ra j va l a n n i v a t e j a s a , xii
°
vi , 46, 8 7 3 25 ,
( ta ) .
,

1 1 ; j va l a n t a m i va t e j a s a , R vi , 71 , 70 ; G v , 8 9, 44 ; G . . .

vi, 46, 1 3 0 p ra di p t a m i va p a va ka m, x i v, 73 , 4 a n d 6 G .

i v , 44, 5 3 ; p ra di p t a m i va s a rv a e a h , G iii , 78 , 3 0 ; v a p u s a .

'

j va l a n t a m i va t e j a s a , R 3 7 2 , 8 ; j a j va l y a ma n a rn
. vi i ,

va p u sa , Mi .
, 9 7, 2 7 iii , 1 00, 1 9 R v i , 1 08 , 7 G vi , 1 9 , . .

49 ; j a j va l y a m a n a rir te jo b h ih ( p a va ka rka sa m a p ra b h a m ) ,
M iii .
, 1 8 8 , 1 08 ; j a j va l y a m a n a ko p e n a , m M . i v, 22 , 42
G i v, . 3 8, 1 5 Se e N o s 1 6, 75 , 8 0, 1 1 1 , 1 77
. . .

p ra p h u ll a i va ki rire u ka h , v , 1 79 , 3 1 ; G . vi , 68 , 2 0 ; p ra di p t a n
i va ki me u ka n , G ii , 5 6, 7 i ii , 79 , 3 3 . . Se e N o s 1 68 , 1 76 . .

p ra b h a t a y a m, N o 9 4 p ra b h a t e , N o 79 . . .

p ra b h i n n a i va ku fi j a ra h , vi , 9 2 , 4 ; v ii , 2 1 , 5 2 22 , 4 3 9 , 29 ;
i x , 5 7, 62 , 2 8 , 8 ; G 1 1 , 1 1 6, 42 ; du a a
e tc ; R . . vi , . l s v 1 in . .

R . vi
, 58 , 46 fo
r
p u s p i t a v i va ki e u ka u , N o 1 68 ; p ra m .

b h i n n a v i va m a t a fi ga u , , 1 0, 8 ;
R v i , 8 9 , 1 ; p ra M vii. .

b h i n n a m i va m a t a fi ga m p a riki rn a ka re n u b h i h , i v , 1 9, m M .

2 9 ; ka re n u b h i r m a h a ra n y e p a riki rn o y a h a dv i p a h , t G v, .

1 4, 28 .

p ra b h u t a ka m a l o t p a l a , iii ,
2 8 0, 1 ; R i v, 2 6, 1 6 . .
426 A PP E N DI X A .

1 8 0, p ra va t e k a da l i y a th a , v, 1 3 , 3 , p ra ve
p a t a ; R 1 1 , 1 1 7, .

1 8 , p ra ve p i t a ; R iii, 2, 1 5 ; . G v .
, 2 6, 1 Se e N o s 71 ,
. .

13 6 .

1 8 1 , p ra vi v e q a m a h a s e n a m m a ka ra h s a ga ra ya tha , i, 1 3 8 , 3 0 ; m
viii , 77, 1 0 ; ix, 1 8 , 1 0, e t c ; G vi , 77, 6 ( v 1 ri p o h s a in . . . .

y a m) ( s a i n y a m ) m a h a rn a v a m mi n a i va vi v e e a , R vi , 69 ,
’
.

vi9 7, 6, p a t a rn ga i va p a va ka m ( N o 1 5 1 ) t a ke s
'

67 . In R .
, .

th e pla c e o f m a ka ra h s a ga ra my a th a i n G 77, 6 . .

1 8 2 , p ra s a n n a s a l il a m e u b h a m ( n a di m ) , iii , 64, 1 1 2 ; pra s a n n a

s a lil a ms a r a h, R vii , 3 8 , 2 1 . .

1 82 b, p ra s a da rir ka rt u m a rh a s i , i x , 3 5 , 72 ; R . i v, 8 , 1 9 ; G . 11,

1 83 , p ra h a s a n n i va , B h a ra t a p , vi ,
45 , 2 3 ; ( u va c a ) ra h a s a n n i va ,
( p ra t y u va c a ) h a s a n n i va , p a s s m ; R i v, 5 , 25 , e t c ; M . i . .

. i
G , 41 , 3 ; 53 , 1 2 ; 74, 1 9 ; 3 3 , 3 6 ; G v, 1 , 5 2 , 62, e t c . .

1 8 4, p ra h a ra i r j a rj a ri krt a h , , 9 4, 60 ; , 5 6, 2 8 ; R i v, 1 2 , 22 vii viii . .

Se e N o 2 3 5 . .

1 8 5, p ra h rs t e n a n t a ra t m a n a , iii , 5 7, 3 0 72, 42 ; G vi , 1 1 2 , 2 1 .
( R .

1 28 , 1 8 , p ra h rs t a p u t ra va t s a l a ) R vii , 1 1 , 1 9
. .

1 8 6, p ra ka ra t o ra n a , t e r m i n a l , drdh a , iii , 2 8 4, 2 ; xv, 5 , 1 6 ; xvi , °

6, 2 3 ; s a tta , G v, 3 5 , 3 5
°
Co mp a re c a y a tt a l a ka p a ry a n
. .

ta m, G i
72, 3 ; c a y a t t a l a ka e o b h i n a ,
.
, iii , 1 60, 3 9 On M . .

th e s e te rm s , s e e m y R u li n g Ca s te , p 1 74, n o te . .

1 8 7, p ra n a h s a rirt va ra y a n t i m a m , G ii , 66, 5 7 x G i v, 2 1 , 24 . .

n e ith e r i n R ) i n x i l , 5 2 , 8 c a fo r m a m, b u t t h e l a tt e r i s
( .

i m pli e d a s ba la m m e p ra j a h a t i
,
’
va p re ce de s . In Mi .
,

1 72 8 pra n a hi p ra j a h a n t i ( s i c ! )
, ,
ma m .

p ra vrs i
’
va ,
N o 21 7 . .

h ll a o ka N o 22 8
p u e ,
. .

1 8 8 , b a ddh a go dh a n gu li t ra n a u , 2 83 , 1 7 i v, 5 , 1 ; an d plu ra l iii , ,

R i , 22 , 9 ; ii , 23 , 3 6 ; b a ddh a go dh a fi gu li t ra v a n , x , 7, 5 2 ;
.

kh a dga go dh a fi gu li t ra va n , iii , 2 78 1 9 , .

b a ddh va ca b h ru ku t i m , N o s 5 1 , 1 23 . .

b a b h uva t u mu l a h q a b da h , N o 23 . .

1 89 ba bhau Su ry a bh a ti c a n d a i vo dita h
i vo t t h i t a h ,
’
vii ,
1 8, 1 8 r
’
,

R v i 1 2 7 2 9 ; ka l a s u ry a i vo dita h M vii 1 6 1 5 ; diva

’
.
.
, , , , ,

ka ra i vo dita h R vi 60 5 8 j va l a n Sury a i vo dita h G

’
, .
, ,
’
, .

iii 69 1 ; b a l a s ury a i vo dita h G v 41 3 6 ; b a l a c a u dra

, ,
’
, . .
,

i vo dit a h G iii 3 8 1 5 Se e i vo t h i t a h i v o di t a h a s
’ ’ ’
, .
, , .
, ,

te rm in a ls a l s o un de r No 63 ba b h a n N o 22 8 .
,
. .
428 A PP EN D I X A .

Ha r dy h a s remin ded m e is a ls o a n epic phra se ka la m n a , ,

ggh a t i s o l a s i m E h P 70 ka l a m n a rh a n t i s o da c i m M
’ ’
, . .
, , .

i 1 00 68 ii 41 27 iii 25 7 4 ( ka la m a rh a t i) ; vii 1 9 7
, , , , , , , ,

1 7 y a h ka l a m s o da ei m p u rn a rn D h a n a mj a y a n a te rh a t i
'
‘

xii 1 74 46 a n d 2 77 6 ( e t e ) n a rh a t a h s o da ci rir ka l a m ;
, , , , ,
’

so M a n u ii 8 6 ,
.

b h i m o b h i m a p a ra kra m a h 1 1 3 0 3 0 iii 5 3 5 ; 73 1 9 ; i v , , , , , , ,

22 8 5 ; ix 5 7 47 a n d 61 ; R vi
, , G v 35 30; 38 , , .
, .
, , ,

44 ; G vi 64 2 3 ; 8 2 1 8 1 ; b h i m a m b h i m a p ra t i s va n a m
.
, , , ,

R vi 1 07 1 9
.
,B h i s ma m b h i ma p a ra kra ma m M vi 1 4
, .
,
.
, ,

17 Se e N o 2 06 . .

b h u j a mga i va , N o . 13 3 .

b h uy a h ka u t uh a l a m, N o . 1 54 .

b h ruku t iku t il a n a n a h , iii ,

1 5 0, 5 ; G vi .
, 65 , 3 3 . Se e Nos .

5 1 , 1 06, 1 23 .

m a ka ra h s a ga ra mya th a , N o 1 8 1 . .

Ma gh a va n i va C a m b a ra m ( j a hi r a n e
C y a m) ix 7 3 5 ;
a l , , ,

C a M m b a ra m
g h a va a n i va ( B a li n a rir j a hi) G i v 1 2 8 , .
, , .

C o mp a re Ma h e n d e e r n
’
va Ca m b a ra h ( t e n a vikra m y a ) G , .

v ,
1 8 , 29 .

ma nga l y a m m a nga l a m Vi s n um , i , 1 , 2 4 ; m a n ga ly a m m a nga

l a m s a rva m , R . vi , 1 1 2 , 21 (G . 9 7 2 0, m a n ga l y a m) .

m a n da l a n i vi c i t ra n i , iii
1 9 , 7; i x , 5 7, 1 7, etc ; R vi , 40,
, . .

23 . ls o He re a ga t a p ra t y a ga t a n i c a , a s i n b o th ca s e s i n
M a n d e l s e whe re a n d i n R vi 1 07 3 2 ( a bo ve N o
. .
, , , .

Th e who l e p a s s a ge ix 5 7 1 7 ff is t h e s a m e with R vi , . .
,

40 2 3 ff ( n o t i n
, with sli ght cha n ges Se e J A OS
. . .
,

v o l xx p 222 a n d m y Ruli n g Ca ste p 253

.
, . n o te
( the , , .
,

go mu t ra ka the re m e n ti o n e d is fo u n d R 10 0 . .

m a n da l i krt a ka rm u ka h i 1 3 3 3 ; R iii 25 1 6 , , ,
.
, , .

m a t t a m a t a ga ga m i n a m iii 8 0 1 4 ; 2 77 9 ; R 1 1 3 2 8 G
‘

rr , , , , .
, , .

vi 3 7 61 Co mp a re ma t t t a n a ge n dra vi kra m a h M i 1 8 8
, .
, .
, ,

1 0 a n d m a t t a m a t a nga vi kra m a h R vi 3 43
, Se e N o , .
, , . .

3 14 .

ma n o v i h va l a ti ’
va me , i , 1 , 2 1 8 ; i v, 61 , 4 ; xi ,
1 4, 1 4 G . 1 1,

71 , 21 .

ma rt u ka m a , N o 21 3 . .

m a h a n a ga i va c va s a n , ix 3 2, 3 5 ; 5 7, 59 G 1 1 , 9 2 , 26 ; ma
,
.

h a s a rp a , R . iv , 1 6, 1 3 ; kru dh a h s a rpa , R vi , 8 8 , 3 8 ; .

ru ddh o n a ga , R . iii , 2, 22 . Se e N0 3 . 1 1 9 , 1 3 3 , 1 41 - 1 43 .
 P A RAL L EL P HR A S S I N E THE T WO EP I CS . 429

m a h a p a p a p ra n a c a n i , N o 3 01 . .

m a h a b a l a p a ra kra m a h , vii , 1 0, 72 ix ,
45 , 49 , etc .
; G v .
, 1,
49 ; G vi .
, 70, 6 ; 75 , 49 1 1 0, 40 . Te r m i n a l , N o s 2 73 .
,

293 .

m a h o lka p a t a t i ya th a , vii , 1 5 , 2 0 ; m a h o lke i va p e t a t u h , G .

vi, 70, 1 8 ; m a h o lke ’

va n a bh a sta la t
( p a t a t) ,
a vi , 48 , M .

8 5 ; di vy o lke
’
va na b h a ec y u t a , G iv .
, 1 9, 3 1 ; n ya p a ta d
dh a ra n i p rs t h e m a h o l ke
’
va m a h a p ra b h a , M vi .
,
1 04, 3 2 ;
sa j va l a n t i m a h o lke
p a t a ,
v , , 67
’
va n ipa M ii 9 2 .

m a ns a e o n i t a ka rda m a ( m ) , , 5 4, 1 03 v i i , 2 0, 5 3 ; 2 1 , 43 ; vi
,
ix
1 4, 1 8 ; x i , 1 6, 5 6 ; , 2 , 1 7; R , 42, 47; xviii
69 , 70 ; . vi
1 25 , 4 ; G , 1 9, 1 6
°
p h
. e vi
n il a m , R , 69 , 1 48 ( c o mp a . vi re
u s n i s a v a ra p h e n il a, M vii
1 4, 1 1 ; m a ns a e o n i t a ka rda ma m
.
,

p a t a ka va s t ra p h e n i l a m , vi i , 1 8 7, 1 6

m a dh a rm y a n n i n a e a h p a t h a h , iii , 5 2, 1 5 G i , 24, 9 . .

m a n u s a rn vi gra h a ri r krt va , i , 9 8 , 8 R i v, 66, 1 0

'

. .

m u kt a ra q m i r i va , N o 25 . .

mu da p a ra m a y a y u kt a h , ii , 53 , 23 , e tc .
; R . i , 5 2, 1 1 . This
is a p h r a s e o f va rio u s fo rm s , y u kt a h o r y u t a h , a cc o rdi n g
to iti o n ; m u da
pos , e riy a , p ri t y a , a c c o r di n g to se n s e .

Othe r exa m p l e s a re gi ve n a b o ve pp 2 67 2 69 ,
.
,
.

m u n a y a h s a mc i t a v ra t a h xiii 6 41 ; R i v 1 3 1 8 I n G iv , , , .
, , . .
,

1 3 24 rs i n a rir s a mei t a t ma n a m m a h a rs i n s a rn c i t a vra t a n

'

, , ,

Mi 1 3.
, , .

m u mu rs u r s o r) i va b h e s a j a m vi 1 21 5 7; ix 5 5 ( n a m a m
-
, , , , ,

p ri n a t i t a t s a rv a m ; G iii 45 1 9 ; a u s a dh a m i va
) M ii .
, , , .
,

62 2 ; m a rt u ka m a iva n s a dh a m R iii 40 1 ; G v 8 9
,
’
, .
, , .
, ,

5 7 where R vi 1 7 1 5 h a s vi p a ri t a iva n s a dh a m
,
.
, , Co m ’
.

p a r e m u m u rs u r n a s t a c e t a n a h M v 5 3 1 2 ; a n d n a p ri , .
, ,

na y a t i m a m b h u kt a m a p a t h y a m i va b h o j a n a m , G v, 76, 6 .

( p a re t a ka l p a hi ga t a y u s o n a ra hita m n a grh n a n t i , R iii , .

41 , Se e N o 68 . .

mu h u rt a m i va 2 82, 66 ; s a m u h urt a m i va
ca dh y a t va , iii ,

dh y a t va , R vi , 1 01 , 3 8 ; s a m u h u rt a m i va dh y a t va b a sp a
.

k l n a h , t wo p a da phra s e s 1 0 1 m
a
p yr a u e ks a
( N o s 9 9 3 , c o .
-

pa re a l s o s . No . G v .
,
1 9, 2 ; ta to mu h u rt a m s a
dh y a t va , i x , 5 , 2 .

mul e ha te , No . 3 28 .

m rga v y a dh a i r i va ’
rdi t a h , xii , 3 3 2, 3 1 ; m rga h ko ka i r i va
’
rdi t a h G , . vi , 28 , 1 9 . In M . u s u a lly m rga h Si nh a rdi t a
43 0 AP P EN D I X A .

i va , vri , 3 7, 3 6 ; i x , 3 , 7; 1 9 , 3 , etc ; . Si nh a rdi t a i va dvi

pa h, G . v, 3 7, 1 9 Se e N o s 271 , 3 1 6 . . .

me ka l a p ra b h a v a q c ai
’
va Co n o m a n i n i b h o dh a ka h , H 3 .
, 46,
rha ps fro m G iv 40 20 ( a m C o n a ru n a da m
'

44, p e .
, ,
0

th e p a ss a ge en tire .

m e gh a mSu rya N o 72 , . .

ya th a de va s u re y u ddh e No 22 7 ,
. .

y a th a p ra vrs i t o y a da h vi 8 1 3 9 ; R iii 1 8 23 ; p ra vrs i , , ,

.
, ,
’
va

b a l a h a ka h R v 1 1 80 p ra vrs i va m a h a m e gh a h R
’
, .
, , ,
. i v,
1 1 2 5 ( c o m p a e 8 43 ) rs i va c a P a r a n a h xiii
j y
’
, p ra v r
, , , 68 ,
71 . Se e N o s 5 9 , 77 1 5 8 . .

ya th a b h umi c a l e ix 61 4 ( vic io u s ) ca la h R vi ‘
ca la u , 0 .
,
‘

,
.
,

5 9 61 ,
77 1 3 I n M c o rr e sp o n di n g t o 61 4 ra n a b h u mi
, . .
,

t a l e c a l a u B o th R pa ss a ges ha ve s a mu ddh ut o p rec e d

. .

in g Se e N o s 9 1 240
. .
,
.

y a t h o s a re b i j a m u p t a m ( n a ro h e t ) x iii 9 0 44 ; s u n i s p h a l a m
’
, , ,

b i j a m w e p t a m u s a re R ii 20 5 2 ; b i j a m u p t a m i vo s a re
’ ’
, .
, , ,

R iii 40 3
. Co mpa r e Ma n n ii 1 1 2 q u b h a m bi j a m i vo
, ,
.
, , ,

s a re
’
.

y a n t ra mu kt a ( c yu t a ) i va dh va j a h , N o 2 5 . .

Ya m a da n do p a m a m ra n e ,
vi , 1 1 6, 49 ; Y a ma da n dOp a m a m
gu rvi m I n dra e a n i m i vo dy a t a m , i x , 5 7 1 2 ; Ya m a da n da
’

ra t i ka e a mK a l a ra t ri m i vo dy a t a m n t a ka ra n i m
’
p d e h a
a t i , i x , 1 1 , 50 ( ga da m ) K a l a da n do p a m a rir ga da m , R vii, .

1 4, 1 4 ; G iii .
, Y a m a da n do p a m a mb h i ma m ,
R . vi
77, 3 ; K a l a p a go p a m a n r a n e , G iii , 3 1 , 1 6 ; K a l a
,
.

d a n do p a m a rir ra n e, vi , 45 , 8 ; va j ra s p a rq o p a m a ra n e , M .

ix , 63 , 21 . Se e N o s 42, 1 04—1 05 . .

y a sy a n sti s a m o l o ke xi 2 3 1 4 ( c a u ry e vi ry e c a ) y a s y a
a
’
, , ,

n a
’
sti s a m o y u dh i G vi 3 3 24 ; y e s a m n a s t i s a m o , .
, ,
’

vi ry e , i b 49 . .

a
y ys a p ra s a da rir ku ru t e s a va i mdra s t u m a rh a t i M x 1 1 3 3 7
ta ,
.
, ,

2 0 R v i i , 3 7, 3 , 1 4 .
( c o p i e d) T h i s is i n t h e Cve t a dv rp a
.
‘‘

i n terpo l a tio n o f R .

ya va t s t h a s y a n t i gi a y o v r , 1 41 , 55 ; R i , 2 , 3 6 ; a ddi n g y a va t
, .

s th a sya n t i s a ga ra h , x i i , 3 3 4, 3 7 G vi , 1 08 , 1 5 1 6 ( s a ga .
-

C n ti , c o rr e l a t e d wit h t a va t t a va k rt ih
’
ra h i k
); n a s a y a i

b h a vi s y a t i ; i n G with ki rt i r e s a b h a vi sy a t i Co m . .

p a re N o 224 . .

y a va d b h u mi r dh a ri s y a t i , iii , 29 1 , 5 0 viii , 8 6, 20 ; ix ,
53 .
43 2 A PP EN D I X A .

ru dh i re n a sa m u ks i t a h , iii , ix 65 4
2 8 7, 1 4 ; i v, 2 2, 9 2 ; , , ,

e tc ; . G vi .
, 75 , 5 4 ; go n i t e n a s a m u ks i t a h M iii 1 2 62 , .
, ,

j a rj a rrkrt a s a rva fi ga u ru dh i re n a b h i s a m p l u t a u ix 5 8 3 4 ; ’
' ‘

, , ,

co m p a re R . iv , 1 2, 2 2, kl a n t o ru dh i ra s i kt a fi ga h p ra

b a ra ir j a rj a ri krt a h ( p hra s e o f No .

ru p e n pra ti m a b h u vi i 1 5 2 1 7 iii 62 2 5 ; i x 3 5 47
a
’
, , , , , , ,

48 2 ; x iii 8 2 4 ; G i 40 4 ; R i 3 2 1 4 ; iii 3 4 20
, , , .
, , .
, , , , ,

Si ta ; 3 5 1 3 ; 72 5 vii 5 8 7 ( l a s t th re e n e u t e r wit h
, , , , , ,

ka n ya o r b h a ry a dva y a m) ; vii 8 0 4 ; 8 7 2 6 ; with , , ,

l o ke fo r m e tre xvii 2 1 4 ; R v 1 2 20 ; Si ta c a p ra , , , .
, ,
’

ti m a b h u vi R vi 1 1 0 22 ; rrrp e n a s a drgi b h u v i Ha ri v
, .
, ,
‘
’
, .

1 1 2 7 with b a l a b a l e n a p ra t i m a m b h u vi iii 2 75 7
, , ,
’
, , .

Th e p re va ili n g fo rm i n b o th e p i c s i s rup e n a pra ti m a

b h u vi a s a b o ve a n d i n R i v 66 9 here a fter t h e p a da
, .
, , , ,

v i kh y a t a t ri s u l o ke s u wit h wh i c h c o m p a re M iii 53 , .
, ,

1 5 wh e re Na l a i s l o ke s v a p ra t i m o b h u vi b u t wit h ru
, ,

p e n a fo ll o w i n
g w hich i n t u r n t a k e s t h e p l a c e o f m ur
,

ti ma n ( N o 3 5 ) i n a n o ther R p hra s e I n R vii 3 7 3

. . . .
, , ,

24 t h e phra s e i s u n ite d with c h a y e va n u ga t a N o 70 ’ ’

, ,
.
,

a n d s a va l a ks a n a l a ks i t a N o 3 03
r I t i s s li ghtly m o di fi e d , . .

o n o c c a s i o n j a n a n t y a p ra t i m a m b h u vi i x 42 20 ; rup e n a
, , , ,
’
pra ti m a ra j a n M v 3 5 6 , . .
,
.

l a ghu c i t ra mc a N o 67 , .

va c a n a m c e da m a b ra vi t v 1 78 2 7 G v 2 3 24 i n ter
’
, , , .
, ,

cha n ges wit h v a ky a m c e da m u va c a h a R i 3 5 3 G ’

, .
, , .

37 3 , L o c c i t N o 1 0 p 1 44
. Se e N o 2 4
. .
, .
, . . . .

va j ra n i s p e s a ga u ra va m iii 1 1 40 ; G vi 76 2 7;
°
n ih s , , , .
, ,

va n a m G vi 3 6 1 05 ( n i s th u ra m R 59
, .
, ,
°
, .
,

va j ra s p a rQ Op a m a ra n e N o 220 ,
. .

va j ra h a s t a i va su ra n viii 9 5 ( m o h a y i t va ra n e ) ; t a m i
’
, , ,
°
.

a h v i 1 08 3 5 ; v a j ra p a n e r i v a s u ra h ( s a ri rt ra s i s y a n t i )
° ’
, , , ,

vi i 3 15 a s u ra n i va v a s a va h G v i 1 4 8 ; va j re n e
°
.
, , , , ,

s u a n G v 5 0 1 9 ; va j ra h a s t o ya th a Ca kra h
’
n dra i va r , .
, , ,

R vi 67 3 8 ; va j ra va n v a j ra m da n a ve s v i va va s a va h
.
,

( k ro dh a m m o k s y e ) R vi 25 2 5 ; s u ra n a m i va va s a va h ,
.
, , ,

i b 2 6 3 7 n i b u dh a n i va va s a v a h ( p a t u ) M vii 6 4 ;
.
, , .
, ,

t ri da ea i va v a s a va m M v i 9 7 24 ; va s a v o v a s a va h y a th a , .
, ,

( v . 1 . i va ) , R . i v, 26, 3 6, e t c ; m a ru t a m
.
( m a ru db h i r) i va
v a s a va h, G v .
, 3 1 , 57 R . ii , 1 06, 2 7 sa h a s ra ks a m i va
’
m a ra h , R i v, 26, 23 . . Se e No . 25 0 .
 P A RA L L EL P HR A SE S I N THE T WO EP I C S . 43 3

va j ra q a n i , N o 2 75 . .

240, va j ra h a t a i va ’
ca l a h vii
vi 69 1 62 ( i b 9 5 y a tha , ,
2 6, 1 6 ; R .
, , .
,
’
ca l o va j ra n i p a t a b h a gn a h ) pa p a ta s a h a s a b h um a n v i , . .

a c a la h R vii 69 3 6 ( N o
, . G i v 48 22 ( R 48
, ,
. .
, ,
.
,

21 v l , p a ry a s t a i va p a rva t a h ) ; va j ra krt t a i va c a l a h
. .
,
’
,

R vi 69 73
, ,
Se e N o s 9 1 2 1 8
, . .
, .

241 , va ra i r
j gi ri r h
i va a t a h , vi i , 1 5 , 2 6 ; va re n e j
’
va m a h a gi ri h ,
R .
,
1 6 ,
iv
2 3 ( n i h a t a h ) .

v a n a m a gn i r, N o 3 3 . .

242, va n e va n y e n a j i va t a h xii, 1 3 1 0 ; xv, 1 1 23 ; R ii 3 7, 2 ;

, , , .
,

63 , 2 7 a nd G 8 0 1 1 ; G iv 20, 7 Co mpa re va n e v a n
.
, .
, . .

yen a y a n , R a gh u v x i i , 20
va rt a . .

243 , va l m i ka ( m) i va p a n n a ga h , vi , 1 1 7, 43 ; vii , 1 3 9, 7 ; R . iii ,

20, 2 1 ; 2 9 , 1 1 Se e N o s 74, 1 3 9 H , 1 5 0 . . . .

244, va va r s a c a ra va rs a ni vi , 47 2 0 an d 67 ix , 1 6, 3 3 —3 4 ;
vi Co m p a re
’

e tc ; R
. .
, 58 , 40, e tc .
c a ra va rs a rn va v a rs a
sa h ( or ca ) ,
co mm o n i n M; . R . vi , 9 3 , 1 8 ; e a ra va rs a i r
a va ki ra t, M vii .
,
1 8, 1 9 ; G vi .
, 3 0, 1 1 ; R . vi , 1 00, 25 ;
1 0 3 , 23 . Se e N o . 77 .

v a s a vo , No . 23 9 .

2 45, v a ky a j i o va k
’

r
ya ko v i da h , iii , 2 78 , 2 ; G v, . 7, 40 ; R . vi ,
111,
97
2 46, va ky a m va ky a vi q a ra da h ii 1 5 1 0 ; v 1 3 1 0 ; R v 5 2 , , , , , .
, ,

4 ; 63 1 5 ; vii 8 7 1 ; G i 60 1 7; G vi 82 46
, ,Co m , .
, , .
, , .

p a re va ky a mv a ky a vi da nr e re s t h a h R i 70 1 6 ; vi 3 6
'

.
, , , , ,

v a ky a j fi o a n d v a ky a vi d v a ky a ku q a l a h R i v 3 24 ; vi , .
, , ,

1 7, 3 0 ; G . v, 81 , 2 (G .8 1 , 46, e a s t ra vi d v a ky a ku e a l a h ) ;
s a r ve v a ky a v i q a ra da h , G vi , 2 7, 1 1 ( v 1
. . . va ky a ko vi da h ) .

C o m p a r e N o 3 07 . .

247, va j i n a ri r kh u ra c a b de n a ra t h a n e m i s va n e n a ca ,
ix 9 , ,
14; G .

vi, 1 1 1 , 1 7 b u t with e va n a m fo r va j i n a m, R 1 2 7, a wh e re .

2 0 h a s kh u ra ga b da e c a I n G ii , 1 1 1 , 46 ( t h e s e c o n d . .

p a da o n ly) kh u ra n e m i s va n e n a c a , where R 1 03 , 40 h a s .

ra th a n e m i s a m a h a t a ; ra t h a n e m i s va nena ca is co mm o n in
M .
, v i i , 3 8 , 1 2, e t c .

248—249 , (a ) v a t a ru gn a i va dru m a h , iii , 28 6, 4 ; C . x i , 61 1 21 ,

9 , wh e re i s fo u n d vi , 1 3 , 1 3 vii
°
b h a gn a , a s in 1 4, 1 6 ; ,

1 6, 4, b u t °
ru
gn a occu rs a ga in in vii , 79 , 2 5 ( C b h u gn a
.
) .

Ot h e r fo rm s i n Ma . re va t a h a ta , va y u ru gn a , viii
9, 5 ; ,

a gn i da gdh a ( a ll it
w h i va dru m a h ) , iii , 63 , 3 9 ; va t e ri t a h
28
43 4 APP EN D I X A .

ga l a i va dri grfi ga t , viii , 8 5 , 3 8 ; iii , 1 6, 20,

’
va t a ru gna

i va ks u n n o j i rn a mu l o va n a s p a t i h ( ve ga va n n ya pa ta d
b h u vi ) . b
( ) B es i de s th e s e , c h i n n a mn l a , iv , 1 6, 1 2 viii ,

9 6, 5 4 ( like c h in n e
’
va ka da l i , No . In R . th e la s t
b i s t h e fa vo rit e fo r m , th o u gh i n iii 2 0, 21 , b h i n n a mul a
( ) ,

i va dru m a h t
s a n ds fo r G . 2 6, 24 c h i n n a m u la ; p a p a t a
sa h a s a b u ma n h c h i n n a mu l a i . d .
, G . ii, 74, 1 9 ; R vi, 5 8 , .

54 G . 3 2, 42 ; i n R . iii , 2 9 , 7, q i rn a m u l a G . 3 5, 8 ,
c hin n a ) ,
e tc . Co m p a re a ls o va t a n u n n a ,
M vii.
, 1 9 0, 2 7
( va t a n u n n a i va in u a s ta ru r i va
’
m b u da h , viii , 2 4, 2 7 c h
’
ra n e
y G vi 8 2 1
, 1 5 ; d ru m a b h a
.
gn a e,i kh a i va, M vi 6 2 , .
, ,

44 ; va j ra ru gn a i va c a l a h x i v 76 1 8 Othe r fo r m s i n ’
, , , .

R a re m ul a b h ra s t a b h u m ika m p a va t o ddh u t a v a j ra h a t a
.
, , ,

( a l l wit h i va dru m a h
) ; b h a gn a i v a m a h a dru m a h I .

e n t e r o n ly t wo a s i de n ti c a l b u t th ere m a y b e m o r e , .

C o m p a e N o s 5 3 71 1 3 6 240
r I a dd h e r e a o th e r like
.
, , , . n

i n te c h a n ge o f p t c : b h a gn a da ns t ra i vo ra ga h R i 5 5 9 ;
r .
’
, .
, ,
°
e i rn a ,
ix, 3 , 7 ( c f 1 9, .

va s a vo N a m u c i ri r ya t h a ,
i x , 7, 3 8 ( j a hi ca i ’
na m) ; G vi .
,

5 1 , 1 02 C ( j a N
h i a m u c ir y a t h a G vi 1 8
’
ma m) a kre n a , .
, ,

1 6 ( c o m p a re 3 0 Na m u c i r v a s a va rir ya th a G iii 3 1
, , .
, ,

R 2 5 3 1 kru ddh a m kru ddh a i va n t a ka h N o s

’
36 ( r: .
, , , .

N a m u c i r ya th a Ha ri nr
'

s a m a b h y a dh a va t )
1 04 ( ,

G iii 3 2 3 6 ; s a vrt ra i va va j re n a p h e n e n a N a mu c i r
.
, ,

y a th a B a lo ve n dra c a n i h a t a h R iii 3 0 2 8 ( va fo r i va ’
, .
, , ,

a s o fte n dva n dva y u ddh a m s a d a tu m t e [ m a rt h a h ]

) ; s a

N a m u c e r i va v a s a va h, R . i v, 1 1 , 22 . Se e N o . 23 9 .

vi ki rn a i va p a rva t ah ( a n d i n s tr v i , 1 1 6, 3 9 ; iii , 1 72, .

1 8 ; v i i , 2 0, 50 ; G iii, G vi , 3 7, 3 0 ; 5 2, 3 7 . .

i n te rc h a n ge s with v i q i rn a , viii , 2 7, 3 8 ; G iv, 7, 2 3 , .

v i gi rn a R . iv , 8 , 24 , v iki rn a ; so vi
gi rn a i n G v, 8 7, .

4; a ls o
p ra ki rn a , R i v, 5 , 2 9 ; . G . v i , 76, 1 3 Co mp a r e .

n i rdh u t a i v a , G v, 8 , 4 ; p a tit a , . G . vi, 3 2 , 2 4 Se e N o s . .

75 , 1 1 1 .

v i kh y a t a t ri s u l o ke s u ( a b o v e No , . 23 6) t ri s u l o ke s u v i q ru t a ,

iii 8 4, 8 3 ; 8 5 , 74 ; i x , 3 8 , 3 8 ,
,
e tc .

vi dy u t s a u da ma n i a ha, , 53
y t iii , 1 2 ; 9 6, 22 ; R iii , 5 2 , 1 4, .

wh e r e G 3 8 1 9 h a s vy o m n i
.
, , a s i n G v i , 8 0, 24, wh e re .

th e v 1 i s di p t a c a n i s a ma p ra b h a ; a ls o
. . R . iii ,
74, 3 4 ( not

in R vii 3 2 5 6 G 21 5 7
.
, ,
.
, .
43 6 A PPE N D I X A .

vi s m a y a m p a ra ma mga ta h , i x , 5 4, 1 1 ; R . iv
1 2, 5 ; R v, 3 2,
, .

3 ga t va , xiii
1 4, 3 68 ; y a y a u , iii ,
,
M . 71 , 2 4, e t c pra p a , .

G . vi , 1 6, 9 5 ; j a gmu h, v, 1 3 1 , 22 ; i x , 3 8 , 1 0, 5 7, 9 , M .

etc vi G a ra nu v i s m a y a m a ga t a h,
’

.
; R ,
1 0 7,
. 3 ; 9 9 , 45 ; p .

M iv .
,
22, 9 3 ( r ve)
sa R . i , 69 , 1 6 R . vi , 1 07, 3 ( s a rve )

G vi. 4 , 44 ; p a ra m a
,
vi s m a y a i h ga a h , G m t . iii , 3 0, 3 8 ;
s rv
a e vi s ma y a m a ga t a h , G ,
8 6, 1 1 ; c ru t va t u . vi vi s m a y a i h

j g
a m u h , R ,
1 3 0, 40 . vi .

vi s m a y o t p h n ll a na
y a n ah , i
1 3 4, 2 8 ; R iii , 42, 3 4 ;
,
. G v .
, 9,
60
°
lo c a n a h , Mi .
,
1 3 6, 1 xiii , 1 4, 3 8 6 ; Ha ri v 3 1 0, 45 ; .
,

R .vii 3 7 3 29 ; G i v 63 1 0 ; G vi
, , .
, , .
, 1 05 , 21 , whe re R .

h a s ki nn t v e t a d iti vi s mi t a h ; v i s m a y a ku l a c e t a s a h G iv
’

, .
,

50 1 4 ,
Se e N o 3 3 2
. . .

vi ro ra n a vi c a ra da h vi 5 7 1 6 ; G vi 60 4 , , .
, , .

v rt ra va s a va y o r i v a vi 1 00 5 1 ( t a y o h s a m a b h a va d y u ddh a m ;
, ,) ,

R vi 99 3 1 ( t a yo r a b h fi n ma h a y u ddh a m )
.
, , Co mp a re .

N o s 2 3 1 , 2 74
. .

ve da v e da fi ga p a ra gah ,
iii 64 8 1 ; xiii 1 4 62 ; G 1 1 70 1 6 ; , , , ,
.
, ,

t a t t va j fi a h m e tri c a l M v i 1 4 44 e t c
°
.
, , .
, , ,

vel a m i va ma h o da dh i h vii 1 9 7 6 ; R vi 76 63 ; 1 1 8 1 6 ; , , , .
, , ,

G ii 3 0 3 0 ; ve la m i va s a m a s a dy a M i 2 27 28 ; ve l a m
.
, , , .
,

i va s a dy a ya tha s a m u dra h R vi 1 09 2 1 ; ve l a m i va
’
, .
, ,

m a h a rn a va h M i v 1 9 22 ; i x 3 1 8 ; ve le va m a ka ra
, .
, , , ,
’

la ya m i v 5 2 1 9 ; vi 1 08 60 e t c
, , , , , , .

Vy a t i t a y a m , N o . 94 .

vy a gh ra vii 1 4 68 ; G vi 67 3 2
ke s a ri n a v i va , , , .
, , .

vy a gh ra h ks u dra m rga rh y a tha iii 1 0 2 5 ( j a gh a n a ) vy a , , ,

g h ra t k s u dra m r a i va
g ( t ra s t a h ) G iii 3 3 21 Co m p a re , .
, , .

( t ra s a y a n ) si h h a h ks u dra m rga n ya tha M iii 2 8 8 1 0 ; , .

, ,

( d rs t v a n o dv i j a t e ) R iii 2 8 1 3 ; Si nh a i h ks u dra m rga

’
, .
, ,

ya tha M vi 1 9 1 0 vy a dh i b h i c; c a vi m a t h y .
, ,

a n te v y a dh a i h ks u dra m rga i va xii 3 3 2 2 9 Se e a ls o , , , .

N o s 21 5 , 3 1 6
. .

vy a tt a n a n a m i va
vi 63 26 ; 1 07 9 9 ; R iii 3 2 6 ; ’
n ta ka m , , , , .
, ,

a n d G iii 7 8 wh e r e R iii 2 6 h a s vy a di t a s y a m
.
, , wh ich
, .
, ,

phra se o cc u rs a lso i n M vi 1 1 4 3 9 Co m p a re viii 9 1 .

, ,
.
, ,

4 2, K a l a n a n a i h vy a t t a m i va ’
t i gh o ra m . Fo r i va
’
n ta ka
se e No . 1 04 .

vy a h a rt u m u p a c a kra me , No . 14 .

vy u s t a y a m, N o s 9 4—9 5 . .
 P A RA L L EL P HR A SE S I N THE T WO EP I C S . 43 7

vy o mn i s a n da m a n i , N o 25 3 . .

kra t u l y a p a ra kra m a h c o m mo n ter m i n a l i s p a ra Th e

Q a . .

kra m a h t o wh ich is pre fi x e d Y a m a Va y u Ga kra e t c a s

, , , ,
.
,

i n ix 1 5 1 0 Y a m a ; G vi 8 3 3 9 Va y u ; G vi 75 2
, , ,
.
, , , .
, , ,

a kra h e l a s t is n a tu ra lly t h e m o s t fre q u e n t kr

Q T .
Q a a ,

t u l y a p a ra kra m a h viii 2 7 2 7 e t c ; G iii 42 1 9 ; R i v , , ,

. .
, , .
,

1 1 43 ; 3 2 1 1 ; vi 69 1 0 a n d 8 2 ; 71 1 ; Q a kra t u ly a b a l o
, , , , ,

p i
‘
s a n G iii 4 ,
7 2 S e e N o s 206 2 93
.
, ,
. .
,
.

Q a kra dh va j a , N o 25 . .

Q a kra c a m b a ra y o r i va y tha y u ddh e ) Q a kra ,

R . vi , 76, 77; ( a

c a m b a ra y o h p u ra M vi N o s 23 1 267 1 00, 5 4 Se e
‘

. .
,
.
, , .

a kra c a n i s a m a s p a rc a n a ra n vi G vi
Q ( g ) 1 0 8 3 5 ; 68 6 , , , .
, , ,

wh e re R 8 8 42 h a s s a rp a n i va vi s o l b a n a n ; I n dra c a n i
.
,
°
,

ix 24 5 7 e t c ; R Vi 9 8 21 ; va j ra c a n i R vi 43 3 2
, , ,
. .
, ,
°
, .
, , .

So Q a kra I n dra a n d va j ra i n Ca kra c a n i s a m a s va n a m

, , , ,

I n dra va j ra
°
,
M vi 44 1 1 ; 62 61 ; G i 42 5 ( m a h a
°
,
.
, , , .
, ,
°
,

33 ,
va j ra a lso R vi 1 00 3 2 ; G iii 2 6 2 0 Ga kra
°
.
, ,
.
, ,

ga n i s a m a p ra b h a R vi 5 4 2 Co m p a r e c a ra i r a c a n i s a m
,
.
, ,
.

s p a rc a i h M vi 1 1 7 22 with Q a kra v a j ra q a n i s a m a i h
, .
, ,
°

c a ra i h R vi ,
8 8 4 6 . G 68 1 0 ; ,a l s o v a j ra s,
a m s p ca
a r .
,

s a m a n c a ra n G vi 70 1 5 9 0 44 v a j ra s p a rc a s a m a n )
,
.
, , , ,

Q a kra c a n i s va n a m , i h 61 , 1 , . e tc .

i 69 6 ; n i rgh o s a h R vi 42 3 9
c a fi kh a du n du b h i n ih s va n a h , , ,
°
,
.
, ,
.

M iii 2 8 8 24 ; vi 3 5 5 ; 5 7 23 ;
c a t a c o t h a s a h a s ra c a h , .
, , , , ,

5 9 1 0 ; vi i 1 6 5 etc ; R ii 5 7 9 ; G i 5 6 6 ; G iii 3 4
, , , ,
. .
,
.
, ,
.
, ,

1 4 ; G i v 5 0 1 8 ; G v 73 23 ; 9 5 24 ; G vi 99 1 4
.
, ,
.
, , , .
, ,
.

C o mm o n i s t h e t e rm i n a l c a t a s a h a s ra c a h M i 1 3 4 2 8 ; , .
, ,

G ii 5 7 9 e t c
.
, , .

c a ra v a rs a mv a v a rs a c a e t c N o 244 ,
.
,
. .

c a ra v a rs a ni j
s ra n ta m ( t wo p a da s ) , vi , 5 9 , 66 ; 1 06, 53 ;
j
sra n ta mc a ra va rs a n i G , . vi , 1 8 , 3 6 .

c a m e c a p a d i va c y u t a h R iv 1 1 1 4 ; c a ra c ,
.
, , c a pa gu n a c y u t a h ,
G iii 3 3 1 6 wh ere R 2 7 1 3 h a s gu n an
.
, , , .
, c yn t a n . Mh
. a s

c a p a c y u t a h c a r a h vi 48 79 ; 1 1 6 5 1 e t c , , , , , .
,thin k
but not I
c a p a gu n a c y u t a h gun a fo r j y a b e i n g r a r e ,
i n M th o u gh it .
,

occu rs a fe w ti m e s ,
e .
g, . viii , 25 , 3 9 2 6 3 0 ; iii 2 8 2 1 2
, , , .

c a re n a ’
na t a p a rva n a , No . 1 70 .

c a ra i h ka n a ka b h fi s a n a i h ( o r a h ) , vi , 64, 1 5 ; ix , 1 3 , 43 ; R
°
.

vi , 71 , 40 ; G vi, 1 8 , 45 , whe re R ka fi c a n a ( a s i n G vi,

. . .

8 6, 3 0) G vi .
, 55 , 28 ; c a ra h e m a vi b h fi s i t a h , R . iv , 8 , 22 ;
43 8 APP EN D I X A .

un it e d with phra se N o Se e N o s 8 5 , 3 3 6 . 8 7i n ix ,
2 8 , 41 . . .

28 1 , i r a q i vi s o a m a ih
( 1 ; i x , 1 6, 1 1 ; R vi , a h ) vii
°
c a ra p or , , 3 7,
2 .

8 8 , 42 3 G vi , 76, 25 ; j va l i t a gi vi s o p a m a n ,
. vi , 1 00 , 5 M . .

Fo r o th e r r e fe re n c e s , s e e 1 c N o 1 0, p 1 46 . . . . .

2 8 2, c a ra i h s a rp a vi s o p a m a i h ( o r a h ) , °
vi 1 1 7 , ,
22 ; R vi , 8 8 , 1 8 . .

2 8 3 , c a l a b h a i va p a va ka m , vii , 3 6, 2 1 ; viii 24 , , 61 ; 2 7, 7;
xi, 2 5 ,
14 ; G vi 44, 3 8 , wh e r e R
65 , 43 h a s p a t a rn ga n ; ga l a
’

.
, . .

bh a n i va m a ru t a h ( vy a dh a m a t ) , vii, 1 45 , 70 Co m p a re M . .

a l s o t h e c l o s e r e s em bl a n c e i n c a l a b h a n a m i va v ra j a h o r
v ra ja i va ,
M i x , 1 1 , 2 5 ; 1 3 , 42 , wh e re C 69 7 h a s c a ku
. .

n an am (in t h e fo r m e r, o n e o f a gro u p o f s i mil e s o f a rro ws ,

b h ra m a ra n a m i va v ra t a h ca la b h a n a m i va vra ja h h ra di n y a
i va m e gh e b h y a h , s o il n y a p a t a n c a ra h ) , a n d i n R vi, 41 , . .

49 , c a l a b h a n a m i vo dga m a h ; i x , 1 3 , 41 , i v a y a t i m ( with
’ ’

v ra j a i bo ve ) p e rh a p s fo r va li m ? Co mpa r e ha ns a
va a ,
’

va li R vi 69 3 7 A n o the r fa vo rit e s i m il e i s t h e la m p
,
.
, , ,

o n whi c h h o we ver I ha ve a t h a n d b e s i de s t h e i v a p a va
, , ,

ka m phra ses a b o ve o n ly c a l a b h a i va t e di p t a m a gu i m ,

p ra p y a y a y u h ks a y a m M vii 1 46 1 4 ; t e p a va ka m i va ,
.
, ,

s a dya c a l a b h a j i vi t a ks a y e j a gm u r v i n a c a rn s a rve v a i G
'
’
.
,

v 3 9 1 2 c a l a b h a ya tha di p a m ( p i da y e y u h ) m u m fi rs a va h
.
,

( s fi ry a m a b h ra ga n a i v a ) M vii 22 2 6 Se e Nos 1 5 1 , .
, , . .
,

1 8 1 , 2 58 .

28 4, ga rdul a i va ku n Ja ra m , vn ,
1 4, 67 a ls o in G .
, but re f . lo s t .

T e rm i n a l , N o 2 9 7 . .

28 5 , giro b h ra j i s n u ku n da l a m , iii , 28 9 , 2 3 ; giro j va l i t a ku n da l a m ,

R vi , 1 00, 1 5 ; 1 03 , 2 0
. Se e N o 3 1 7 . . .

28 6, q i gh ra ga m fi rm i m a l i n i m , R ii, 5 5 , 22, o f Ya m u n a ( o f 1 1 3 , . .

Vi t a s t a m ( fo r gi gh ra ga m ) , x iii , 25 , 7 fi rm i ma li n a m
a ks o b h y a mks u b h y a n t a m i v a s a ga ra m, R . ii
1 8 , 6 ; whi c h
,

p l u t a m i va di t y a m , p hra s e fo u n d a ls o i n xiv,
’
a dds upa a

1 1 , 2, i n th e a me s situ a tio n .

28 7, q i gh ra m p ra j a vi t a i r h a y a ih , vii , 9 8 , 1 0 ; G 1 1 , 70, 3 , a n d M . .

6, wh e re R 68 , 6 h a s c i gh ra m c i gh ra j a va i r h a y a ih
. Se e .

N o 78 . .

2 8 8 , c u b h a m va y a di v a p a p a m , v, 3 4, 4 ; R i v, 3 0, 72
, This . .

p hr a s e i n tro du c e s i n th e s e p a s s a ge s t wo di ffe re n t p ro v

e rb s Th e s a m e o c c u r s x vii 3 3 1 e t c ; R ii 1 8 2 5 i n
.
, , ,
. .
, , ,

a ge n e r a l r e l a ti o n Th e fi rs t V a i s o ft e n o m itt e d i n s u ch
.

tu rn s a s i n G v 64 6 Ma n n xi 23 3 a Jn a n a d y a di va
, .
, , , ,
440 APP EN D I X A .

sa m p i dy a da c a n a i r os tb a u ; ix , 1 1 , 49, s a rh da cy a da c a n a
o c ha da m ( C 5 77, .

sa pa ks a v i va p a rv a t a u , v i i , 1 4, 71 ; R 1 1 , 8 9 , 1 9 Co mp a re . .

s a c rfi ga v i va p a rva t a u , vii , 1 4 25 ; i x , 1 2, 22 ; 55, 40 ; M . ,

K a il a s a m i va c rfi gi n a m, vi , 62, 3 3 9 4, 23 Se e N o s 75 , . .

1 1 1 , 251 .

sa p t a gi rs a n , N o 1 50 . .

s a m a da v i va ku fi j a ra u , i , 1 3 4, 3 3 a nd 34; R . vi , 66, 9
(p l u r a l ) ; s a m a da i va h a s t i n a h , G v .
,
81 , 3 5 .

sa ma n t a d a ku t o b h a y a h , xii , 68 , bo th 3 0 ; G iii .
, 1 1, 17
a fte r ya t h a ka ma m, b u t with difi e re n t a ppli c a ti o n ; th a t
o f Mb i . e n g fo u n d e l s e wh e r e R ii 67 1 8 ( A J Phil , .
, . . .

vo l . xx p , .

sa m u dra rh p a ti m, i x , 5 0, 1 5 ; R i v, 1 1 , 8
s a ri t a m . .

s a rva ka m a s a m rddh i n i , ii , 2 1 , 2 5 ; i x , 3 8 , 7, in a ,
°
e tc ; . R .

iii ,
47 4, e tc .

s a rva a a
p p p ra n a ca na m ( p a rv a ) i ,
2 , 79 , e tc .
; R . vn ,
83 , 4

( dh a rm a p ra v a c a n a m ) ; m a h a p a p a p ra n a c a n i ( ka tha ) ,
R .

vii, 3 7 4, 7 .

b h nt a b h a ya mka ra d) b h a y a va h a (th e fo me r r ix
s a rv a ( a n , ,

3 6, 2 6 ; t h e l a tte r) G vi 60 49 whe re R 69 1 49 h a s , .
, , , .
,

s a rv a b h a u m a ; xiii 1 4 2 59 Al s o Ma n n viii 3 47 s a r
, ,
.
, ,

v a b h fi t a b h a y a va h a n Se e a l s o N o 3 04 . . .

s a rv a l a ks a n a l a ks i t a ( h ) x ii 3 3 7 3 5 ; R vii 3 7 3 24 ; , , , .
, , ,

s a mp a n n a m i x 6 1 3 I n R with p hra s e N o 23 6
°
e tc , , , , . . . .

s a rva l o ka p i t a m a h a h , N o 1 9 4 . .

s a rva l o ka b h a y a mka ra m , 65 , 20 ; R i v , 8 , 1 9 ; G vi, 9 1 , iii , . .

1 , whe re R 1 07, 1 , h a s s a rv a l o ka b h a y a va h a m ; R vi ,
. .

1 08 , 3 0 ; b h a y a va h a m a ls o i n x i i , 68 , 3 8 ; R i , 9 , 9 ;
°
.

v i i , 2 2, 6 ; t ra i l o ka s y a b h a y a v a h a h , i x , 49 , 1 4 Se e N o . .

3 02 .

s a rva l o ka vi ga rh i t a m , i ,
1 1 8 , 22 R . vi , 9 4, 9 ; G ii .
, 76, 5
and 1 3 ; G iii, 75 , 1 5 , e t c . .

s a rva l o ka s y a p a c y a t a h , N o 110 . .

s a rva c a s t ra v i q a ra da h , ii
5 , 8 ; ii, 73 , 1 5 ; vi, 1 4, 5 1 ; x iii ,
,

3 2, 1 ; R . ii , 43 , 1 9 ; iii, 5 , 3 2 ; iv, 5 4, 5 ; G vi, 5 1 , 26 .

( whe re R . vi ,
71 , 2 8 h a s s a rva s t ra vi du s a mva ra h ) ; a n n, M
vi i , 63 . C o m p a re G v .
,
2, 2 , c a s t ra rt h a ko vi da m,
s a rva

whe r e R . iv , 66, 2 h a s s a rva c a s t ra vi da m va ra h Co m .

p a re N o . 266 .
 P A R A LL EL P HR A S ES IN THE T WO EPI CS . 441

s a rva b h a ra n a b h usit a , N o 1 1 3 . .

sa rve y u ddh a vi c a ra da h, iii 276 1 3 ; vii 23 1 8 ; G vi

, , , ,
.
, 29 ,
2 . Co mp a r e y u ddh a m ( o r y u ddh e ) y u ddh a v i c a ra da h ,
R .

vi , 65 , 1 0 ; G vi .
, 3 1 , 7; 42, 1 1 ; 76, 3 1 ; y u dh i y °
,
ih .

77, 2 6 . Co m p a r e N o 246 . .

sa v i s p h a ry a m a ha c c a p a m vi , ,
49 , 26 ; G vi 5 1 5 ; 79 9
.
, , ,

( i h 43 .
, vi 71 v i s p h a ry a ca ) . In R .
, ,
5 G 5 1 5 ) t a da .
,
'

c a p a m wh e re a s o fte n the fa c t m a y h e re ma rke d th a t

, ,

G m a h a c c a p a m i s m o re st e re o ty p e d th a n R
.
, , .

s a vi s p h u l i fi ga n i rb h i dy a n i p a p a t a m a h i t a l e , vi i , 9 2, 67
s a vi s p h u li fi ga rn s a j va l a m n i p a p a t a m a h i t a l e , R vi
'

, 67
23 . .

In , 3 2 M .
’
1 j va l a n t i m a h o l ke va p e c e de Se e N o 1 48 r s . . .

sa h a s ra ra c mi r a di t y a h, iii , 3 , 62 ; G iii, 62, 1 3 ; . o ld Up . a dj .

s a ks a t ka l a n t a kOp a m a , N o s . 1 04—1 05 .

s a tta °
, No . 1 86 .

s a ga ra m a ka ra l a y a h , vn77, 5 ; s g , i x , 47 7 G i v, 9 , 3 8
, . . .

ma h a n a b h u t , vii , 1 00, 3 ; R vii, 9 6, 1 1 ;

s a dh u v a do j j e,
a fi .

ix , 1 3 , 3 ; iti c u kru qu h M v i i 1 4 8 4 ; c a
sa d hu s a dh v , .
, ,
’
b ra vi t , R i v 8 25 ; vi 1 9 2 7; G v 5 6 3 5 ; s a dh u
. .
, , , .
, ,

s a dh v iti R a m a s y a t a t ka r m a s a ma p fi j a ya n R vi 93 , .
, ,

3 6 ; s a dh u s a dh v iti t e n e du h i b 44 3 1 ; iti s a mh rs t a h , .
, ,

G ii 8 8 22 ( with vi c u kru q u h ) s a dh u s a dh v i t e t e s a rve

.
, ,

rh c a kri re t a da M v 1 60 3 6 ; s a dh v iti v a di n a h
p j y
fi a a , .
, , ,

R vii 3 2 65
.
, , .

s a y a ka i m a m a b h e dib h i h vii 2 1 1 0 ; G i v 1 5 9 ; isu

r r , , , .
, ,

b h ir G vi 75 65 ; n a ra c a i r M vii 1 6 7
,
.
, , , .
, , .

Si nh a kh e l a ga t ih ( c i m a n ) i 1 8 8 1 0 ; s i nh a kh e l a ga t i rh ( va r , , ,

ky a m) G i 79 1 0 C o m p a r e i n t ri s tu b h ga j a kh e l a
, .
, , .
,

ga mi n x v 2 5 7 with m a t t a ga j e n dra ga m i n i n 6
, , ,
Se e N o ,
. .

203 .

Si nh a n a da nc c a ku rva n t a h , vi , 64, 8 4 ; ku rva t a m , R , 75, . vi

41 ; G . vi , 3 2, 1 3 , wh e re R 5 8 , 1 7 h a s n a rda t a m ; s i n
.

h a n a da m n a n a da ca , ix , 1 3 , 2 7; a a
’
a o , , 3 , 3 ; th k r t ix
p ra c a kri re , i x , 8 , 1 9 , e t c .

Si hh a h ks u dra m rga n ya th a a n d Si nh a rdi t a ,

Nos . 21 5 , 2 71 .

s i nh e n e ta r e m rga h vi i 7 53 ; Si nh a sy e ve ta ro
’
ve
’
, , ,
’ ’

m rga h R vi 79 1 3 ; Si nh a s y e va m rga r a j a n M vi
, .
, ,
’
, .
,

Co mp a re a l s o t h e p a ir ; s i nh e n e va m a h a ga j a h
’
1 09 1 4 , .
,

xi 1 8 2 7 R vi 1 01 5 3 ; Si nh a i r i va m a h a dvi p a h R
, , .
, , ,
.

vi 3 1 3 3 Se e N o s 2 1 5 2 71
, ,
. .
,
.
442 A PP EN D I X A .

3 1 7, s u m rs t a m a n iku n da l a h , i
1 8, 1 9 ; , 78 , 1 7 iv , G vi .
,
3 7, 5 6 ;
p ra
°
,
M iii .
, 5 7, 4 ; s u m rs t a m a n i t o ra n a m , G v .
, 1 6, 3 9 .

Se e N o . 28 5 .

3 1 8, s u s ra va ru dh i ra m ga t ra i r ga i ri ka m p a rva t o ya th a , i x , 1 3 ,
14 ; s u s ru vfi bhu i ru dh i ra m r n a ga ga i ri ka dh a t u va t
,
G .

vi ,
5 9, 13 With t h e fi rst p a da o f
. G he re co mp a re
.
,

ca ka ra ru dh i ra m bh u ri M iii 2 79 5 ; .
, ,
a n d c o m p a re a l s o

G v .
, 83 , 1 2, ru dh i ra s ra va n a ih sa n tu ga i rika n a m i va
’
ka ra l;1 .

3 1 9, s ut a m a ga dh a b a n di n a m, vii , 7, 8 ; G ii .
, 2 6, 1 4, nom .
, wh ere
R 2 6, 1 2 h a s b a n di n a h
. s ut a m a ga dh a h .

3 20, s rkki n i p a ri s a ml i h a n 1 1 1
1 5 7, 5 0 ; i v , 21 , 5 1 ; v i , 9 1 , 3 1 ; , ,

1 11, 11 ; , ,
vii 1 46 1 20 ;
i x , 1 4, 40, e t c , v l , p a ril e lih a n , . . .

C vi , . 9 1 , 3 1 ; s a ml i h a n ra j a n , i x , 5 5 , 24 ; i n iii ,
'

1 24, 24, l e l i h a n j ih va y a va kt ra m ( vy a t t a n a n o gh o ra dr
s tir
gra s a n n i va j a ga d ba la t sa b h a ks a y i s y a n ) sa mkru d
dh a h , a s i n R vi 8 22 G v 79 1 2 kru ddh a h .
, ,
.
, , ,

a rili b a n s rkka m G v a kt ra m ) j i h I R vi 67
p ( va y a n . . .
, ,

1 40 j i h va y a p a ri li h y a n t a m s rkki n i c o n i t e ks i t e
,
wh e re ,

G . 46 8 6 h a s l e l ih a n a m a s rg va kt ra j h
j va y a q o n i t o ks i
i
ta m . Co m p a r e , a ls o in R .
, os tb a u p a rili h a n c u s ka u
( n e t ra i r a n i mi s a i r i va m rt a b h u t a i va rt a s t u ) In ’
. M .

vi 64 3 1 , , ,
s rkki n i , wh e re 0 h a s s rkki ni m ; i n .
‘

o th e r c a s e s ,
s rkki n i I S t h e B o m b a y re a di n g , a s o bs e rve d

P W s v whe r e s rkv i s pr e fe rre d Th e typ e is n o t yet

°
. . . .

ste re o ty p e d i n R a s it i s i n M s titu l a r p hra se Se e .

, .
’
.

N o s 1 06, 29 5 . .

3 21 , se ’
n dra i r a pi s u ra s u ra i h , v i i , 1 2, 28 ,
; R ,
48 , 3 0 etc . . vi .

In M pr . ece de d by na h i c a ky o Yu dh i s t h i ra h gra h i t u m
s a m a re ra j a n ; i n R by ky r . n e ma u
’
c a a n a ne
j e t um T h e .

p hra s e is n o t i n fr e q u e n t .

st h i t a m ca il a m N o 9 1 , . .

3 22, s p h u ra t e n a y a n a ms a vy a m b a h u c c a h rda y a mc a m e R iii , .

,

5 9 4 ; s p h u ra t e n a y a n a mc a s y a s a vy a m b h a y a n i ve da n a m
,
’

b a h u h p ra ka m p a t e s a vy a h , H 2, 1 1 0, 25
. .

3 23 , s m i t a p u rv a b h i b h a s i n i , 55 , 1 9 ; xii , 3 2 6, 3 5 ; H 2, 8 8 , 3 5 iii , .

R vi , 3 4, 2 ; G iii , 49 , 5 ; bh a s i t a ,
.
°
i, 1 40, 5 5 ; n i t y a m
. M .

s u s m i t a b h a s i n i , R v, 1 6, 21 ( G s mi t a p u rva m a b h ar . .

s a ta G ,
. v, 9 2, 1 2 ; s mi t a p u rva b h i b h a s i n a m , R a h u v
'

g . xvii ,

31 .
444 AP P EN D I X A .

b a s p a p ra gra t h i t a ks a ra m, where G . 3 6, 1 0 h a s b a s p a ga d
ga da b h a s i ni ; b o th
h a ve ro s a ga dga da y a a a , R vi , 2 9 , 6, vc .

G 5, 4 . . M
h a s h a ns a ga dga da b h a s i n i ,
.
,
9, 1 0 ; x i, 1 8 , iv
ls
1 4, e t c , a s a o a b ra vi d b a s p a ga dga da m , i i i , 2 59 , 1 2 ;
.

b a s p a s a mdi gdh a y a gira a n d va c a , iii 64 1 01

, , 74, 2 4, e tc .

G s b a s p a ga dga da y a t a t a h, a ft e r va ca ii 5 8
’
.
, , ,
13 , is in R .

sa b a s p a p a ri b a ddh a y a . Co mp a r e R . i v, 7, 1 ( va ky a m)
sa b a s p a mb a s p a ga dga da h . In R . vii , 6, 3 , b h a y a ga dga da
b h a si n a h . In R . i v, 8 , 2 9, e t a va d u kt va v a c a n a mb a spa
du s i t a l o c a n a h b a s p a du s i t a y a va c a no
’
cc a ih c a kn o ti

b h a situ m . Se e N o s 1 90—1 9 3 . .

3 3 2, h a rs e n o t p h u ll a n a y a n a h, v i i , 3 9, 9 ; G 74, 3 ; b a r s a d
°
. 1 1, ut ,

1 x , 60, 42 . Se e N o 2 65 . .

3 3 3 , h a h a ka ra m p ra m u fi c a n t a h, iii , 65 , 1 1 ; vi mu fi c a t a m , G vi, 5 4, .

11 A c o m m o n fo r m is h a h a ka ro ma h a n a s i t, vi, 48 , 8 4 ;
.

49 , 3 8 i x , 44, 42 , e tc ; . ta da ’
b h a va t , i x , 1 6, 44 ; b a h a
k a ro ma ha n a b h ut, R . vii 69 , ,
13 C o m p a re a l s o b a h a
.

m ra m) xiii
'

b h u t a nn ca ta t s a rv a ( a si d na ga , , 53 41 ;
,

h a h a b h ut a ta da s a rva L a nka G vi 9 3 4 Th e , .
, ,
. Ha b a
hfi hfi p a ir o f G vi 8 2 50 a re f o u n d xii 3 2 5 1 6
.
, , , , ,
b aha
h uh u c; ga n dh a rva u t u s t u vu h
ca .

3 3 4, h
b a a ki l a kil a c a b da h ,
-
,
1 1 2, 3 5 ; a a k , G
°
vi
, 65 , 1 2 ; t h . v
t t
a a h, ,
viii
2 8 , 1 1 ; h rs t a h , i x , 1 8 , 3 0, e t c ; a s i , ,
69 , . t Mi .

8 ; c a t a c a ta c a b da h , C , B 2 3 , 70, ka a ka ta . ix . t .

C o mp a r e No . 81 .

3 3 5 , h e m a j a l a p a ri s krt a rn ,
'

iii ,
3 1 2, 44 ; R . vi ,
1 02 , 1 1 ; j a t a ru p a
°
,

i x , 3 2, 3 9 .

3 3 6, h e m a p a tta v ib h u s i t a m , ix, 1 4, 3 0 ; G vi, 1 06, 23 ( p a dm a i n .

R fo r p a tta ) ; h e m a p a t t a n i b a ddh a y a , ix, 3 2 , 68 ; p a ri s

°
.

krt a , viii 29 , 3 5 ; u s ua l ly o f cl u b o r c a r
,
Th e e n di n g .

h e m a p a ri s krt a m is fo u n d p a s si m ix 1 6 3 9 , , ,
21 , 22 ; 5 7,
46 ; G . i v, 1 1 , 4, whe n R 1 2 4 h a s s va rn a .
,
G vii, 1 4,
.

7; 1 8 , 8 . Se e N o 2 8 0 . .

3 3 7, h e m a p u fi kh a i h c i l a c i t a ih , vn ,2 9 , 4 ; ru kma p u fi kh a i h c i l a c i
t a ih , G iii
8 , 7; c f
.
, . ix , 25, 7; 28 , 5 , e t c Fo r s va rn a .

p u fi kh a i h ,
s e e N o 23 4 . .

I n p re s e n ti n g thi s list, I m ust a ga in ca ll a tte n ti o n t o wh a t

h a s b e e n s a i d o n p 72 Th e ph ra ses . . ha ve bee n co ll e cte d a t
ha pha z a rd a nd ca n n o t be use d to determi n e the rel a ti o n o f o n e
 P A RA L L EL P HR A S ES IN THE T WO EP I CS . 445

text o f o n e epic b u t o n ly t o sho w the ge n era l ba se o f ep ic

,

phra s e o l o gy A m o re co m p le te lis t wo u l d b e n e e de d fo r s pe cia l

.

c riti c a l p ur p o s e s . U n de r N o 1 9 6 I h a ve a c kn o wl e dge d a c o n
.
,

t ri b u t i o n fr o m P ro fe s s o r Ha r dy E i gh t e e n p a ra llels we re a l s o
.

kin dly s e n t m e b y Pro fe s s o r Ja c o bi t wo o f which N o s 1 5 3 b , ,

.

a n d 22 9 b ,
I h a d n o t p re vi o u sly e n r o ll e d Th e pa ra ll e ls were .

sl o wly co lle c te d by m e m o ry cha n c e a n d o fte n a s I wi s h p a r

, , ,

t i c u l a rl y t o a c kn o wl e dge fro m the a m pl e s to re o f c it a ti o n s i n t h e

,

P e t e rsb u rg L e xi c o n wh ich h a s give n m e m a n y a tra il t o fo ll o w

,
.

B u t eve n i n c o rre cti n g the p ro o fs I fi n d m o re c a s e s Thus t h e .

sim ile o f No 1 49 is the s a m e a s th a t o f D ha mm a p a da 3 2 7 a n d

.
,

t h e sta n z a o n re p e n t a n c e n a t a t ku ry a m p u n a r iti iii 2 07 5 1 is

, , , , ,

c o mp a ra b le i n wo rdi n g with D h P 3 06 B u t o n th i s fi e l d s p e
. . .

c i a l i s t s c a n do u b tl e ss fi n d m a n y m o re c a ses A l o n g ( o mitte d) .

pa ra ll e l i s tha t o f M xvi 2 6 c i c i kfi c i ti va c a n ti s a rika Vrsn i

.
, , ,
’

ve q m a s u,
a nd R . vi 3 5 3 2 c i c i kfi c i ti v a c a n t a h c a rika ( sic)
, , ,
’
.

v e c m a s u s t h i t a h with t h e c ir c um j a c e n t s t a n z a s
, Fo r o n e b e gi n .

n i n g u p a p lu t a m n o t i n pl a ce see un der N o 2 8 6
( ) , . .
 A PPE ND I X B .

I L L U STR ATI ON S OF E PI C GL OE A FOR MS .

1
P ri o r P a d a o f Ep ic a
-
.

Th e p a t h y a , u z Caes u ra m a y b e y wh ere b u t is usu . a n ,

a lly a ft e r t h e fo u rth o r fi fth syll a bl e With t h e exce ptio n .

o f N c s 7 a n d 8 a ll th e s e p a t h y a fo r m s a re fo u n d o fte n i n
.

bo th epi c s tho u gh N0 3 1 a n d 6 a re l e s s freq u e n t tha n

,
.

the o th e r r e gu la r fo r m s o f wh ic h N o s 2 a n d 3 a re m o st ,
.

c o m m o n th o u gh N o 5 i s o ft e n pre fe rre d t o N o 3 Se e
,
. . .

pp . 21 9 , 248 .

u u H .
,
sa ha t va y a ga m i s y a mi ; a vi gh n a m a s a Sa
‘

t
’
vi t ry a h n i r i t a q c a i va ; p u n y a h a va c a n e ra fi a h
; dy u t e sa j j .

Fo r c ae s u ra , fu t h e r r: ga ra i h ka da mb a ki krt y a , vi i , 1 46, 1 2 4 ;
a da d b u b h u ks i t o m a ns a m, R . vi , 60, 63 . Th i s m e a sure is
fo un d p a s s i m b u t i s l e s s fre q u e n t t h a n N o 6, q v . . .

u x , ka ri s y a my e t a d e va mc a ; ka t h a y o ge ka tha
y o ge ; a s i d r a j a N i mi r n a ma ; fi c u s t a n v a i m u n i n s a rva n .

To a vo i d th ird v i p u l a a fte r sp o n de e , y u ge s v i s a s u c h a t re s u

( sic , vii ,
1 59, 3 6 Fo r cae s u ra : m a dhu n i dro n a
m a tra n i ; n a
’
t a h p a p i y a s i ka c i d .

u a b h i ga m y o
’
p a s a mgrh y a ; b a h u de y a c ca

ra
j ana h ; n a rj u n a h kh e da m ’
a y a t i ; t a tra
ga c c h a n t i ra j a
na h . Fo r c ae s u ra : ra ks a s a ih stfi y a ma n a h s a n ; t a m a ja m
ka ra n a t ma n a m .

c a s t re n a n a c a s t re n a ; ta ta s t rp t a iti
V
u a ,
na

Jn a t va ; b h ut a q c a i va b h a vi s y a c c a ; ve da s y o p a n i s a t
’ ’

sa ty a m . m
Fo r c ae s u ra : s a gra m e s a m u p o dh e c a ( R ii , 75 , .

3 9, of . Acv . G . S . iii ,
ru da n t a u ru da t i du h kh a t ;
1 So m e of th e i lly i n t h e c a s e o f ra r e fo rm s h a ve a lre a d y
exa m p le s , e sp e c a ,

b e e n g i v e n b y Ja c o b i i n h i s R a m a y a n a a n d i n t h e Gu ru p fi j a ka u m u di Fo r
,
.

t h e fo ll o wi g li s t s I h a ve s o m e ti m e s d ra wn a l s o o n e x a m p l e s f r n i s h e d b y
n u

Gi l de rm e i s t e r B 6h t li n gk a n d B e n fe y
,
R e fe r e n c e s fo r u s u a l c a s e s a re n o t
, .

n e c e s s ry a n d h a v e n o t b e e n g i ve n
a , Sp o r a d i c a n d r a r e fo r m s o r th o s e o f
.
,

s p e c i a l i n t e r e s t a re r e fe rr e d t o th e ir
, p la c e .
448 A PP E N D I X B .

z m c a vi 9 3 5 ; ra cmi
, q u kt i m a ti m a na fi ga , , ,

va ta m i va di t y a h v 1 5 6 1 2 e s a hi p a rs a t o vi ro C vii
’
, , , ,
.
,

8 82 1 e s o i n B Co mpa r e N o 3 3 n o te . .
,
.

P a cn s a kh a s a h a y a s t u xiii 9 3 79 ; p h a l a ka
u
, , , ,

p a ri dh a n a c c a xii 3 04 1 4 ( p a ra ll e l t o gi nh a c a rm a a ri dh a
, , p , p

n a h etc m e tri c a lly b e tt e re d i n C p h a l a ka m)

,
.
1
.
, .

Firs t v i p l a zu a s ura usu a lly a ft e r t h e fo u rth o r

,
u u u .

fi fth Fi n a l b re vis n o t u n u su a l e ve n i n R ; a n d c o m m o n
. .

i n Mb h Al l fo rm s a re fo u n d i n bo th e p i c s e xc e p t N o 1 2
.
, .
,

which is Spo ra dic i n bo th a n d N o 1 3 un i q u e Se e p ,

.
, . .

22 1 .

v uu u g ,
t
a bo
’
t th i t e su h a b u su ; ya tha ya tha hi
n rp a ti h ; na t va dva co ga n a y a t i ; ga t va , Su de va , na ga ri m .

Fo r ka m p a y a n n i va m a hi m ; a n e ka va kt ra n a
cae s u ra : sa

ya n a m ; da ns t ra ka ra l a va da n a rn ; s a t va rn ra j a s ta ma i t i ;
' '

t va y a hi m e ba hu krt a my a d a n y a h ( t ri s t u b h , N a l a , 1 8 ,
T his co m b in a tio n co m m o n i n t h e o l de r a n d fre e r s tyl e
, ,

de cli n e s i n R a m a ya n a a n d c l a s si c a l p o e try A s a n e x a mple .

o f t h e re fi n e m e n t o f G it is i n tere s tin g i n vi e w o f this .

,

fa ct t o n o tic e th a t N o 9 i s o ft e n a dm itte d e ve n i n the .

l a te r B when o m itte d ( o r a lte re d) i n G Fo r e xa mp le

.
,
.
,

b o th a p i t a va rn a va da n a m R ii 76 4 ( n o t i n s u kho , .
, ,

s i t a h s m a b h a ga va n R iii 8 5 ( s mo i n G ) m a h o da ra q
, .
, , .

c a ga y i t a h R v 48 8 c ( n o t i n G V s a n e n a s a hito R
, ). i b h
, i , .
,
.

vi 8 5 3 5 ( n o t i n G ) a va cy a m e va l a b h a t e R vi 1 1 1 25
, ,
.
,
.
, ,

n o t in n d a ls o h m Y m c V vii
( a a a a a c a a ru n a h R , .
,

6 6 ( o ther wise
, m a t u h ku l a m p i t rku l a m R vii 9 ,
.
, ,

1 1 ( o th e r wis e n ih a t a
y ta n s t u s a m a re R vi i 11 ,
.
, ,

1 7 ( o the r wi s e s a n a kra m i n a m a ka ra s a m u dra s y a R v i i ,

.
,

3 2 3 5 ( o th e r wi s e
, ta s m a t p u ra du h i t a ra m R vii 1 2 , .
, ,

1 0 ( o th e r wis e G ) B u t i n t h e ( i n te rp o l a t e d ? ) p a s s a ge
.
,

G vii 23 45 a n d 46 t h e fo rm o c cu rs t wice
.
, , , .

V v v u x ,
11 5 h a n t a vy a h
. s t ri y a i ti , Vi i , 1 43 , 67; na

ca ky a sa j a ra y i t u m ,
R . i v, 6, 7; b h a ve y u r
da v i dn s a h ; ve

yo gi yu fi ji t a s a t a t a m ; y a h p uj y a h p fi j a y a s i m a m Fo r .

c ae s u ra ta ta h s a b a s p a ka l a y a ; n a y a 1i 1 l o ko sti n a p a ro ;
’ °

p u t ra
c c a me vi n i h a ta h ; h a ha j
ra a n n iti m u hur ; m rgi v

1 I n R i v , 43 , 1 5
. v i c i n va ta ( °
th a i n 1 2 ) m a h a b h a ga m m a y b e fo r vi c i n u t a ;
b u t mo re p r o b a b ly t h e ve rb wa s a b i n i ti o m o e r n iz e d
t o t h e a -c o n j u a ti o n , d g
like i n v, j i n v, p i n v . Th e u su a l e p ic fo r m i s m i dd l e vi c i n u dh v a m .
 I L L USTR A TI ON S OF EP I C OL OKA F OR JP
IS . 44 9

o t p h u ll a n a y a n a ; ms a kt a s a lil o ; ki m ka rya m b rfi h i
c h a ya sa

b h a ga va n To a . vo i d s e c o n d vi p u l a a fter spo n de e va ya m ,

m s i c ) ta p a s a S p 2 8
pa cy a a ( e e 4 . . .

x u u u u a
,
usi t a h s mo h a va s a ti m D a ma ya n t y a sa ha
Na la h ; ya tra t a d bra h m a p a ra m a m ; yen a do s o n a b h a vi t a .

Fo r c aesura c a n dra l e kh a m i va n a va m ; a n n a s a ms ka ra m a p i
:

c a ; ku fi j a ra dv i p a m a h i s a
b ra h m a na ks a t ri y a v i c a m ; a gra t o
v a yu c a p a l a h Sa ra y u m p u n y a s a lil a m Wh e n e n din g i n .

brevi s o fte n fo ll o we d b y a n o the r o r two : s a l ila s t h a s t a va

su ta i da m ix
, , , 3 1, 3 7 sa t a th o ’
kt va mu n i j a n a m , a ra j
u si t a h s mo ha ii 5 4 3 7 N o s 1 0
va s a ti m j
a n u a n a tu , R .
, , .

a n d 1 1 p e va i l o v e r N o 9 i n t h e l a t e r s ty le
r There is n o . .

g e n er a l p re fe ren ce fo r eith er o f the fo rm er t wo i n t h e

Mb h but i n R N o 1 1 is m o re co mm o n tha n N o 1 0 a s it
.
,
. . .
,

o fte n is i n p a rt s o f M
1
bh .

x
p u
p c c a c ikhi m u kh a h vii 1 46 7 ;
ra di t a u u
, , , ,

v i ddh i t va mt u n a ra m rs i m x v 3 1 1 1 ; t a n n o j y o t i r a b h i , , ,

h a t a rh ii 72 7 ta da va rt m a s u c a li t a h R v i i 1 6 3 0 ( v 1
, , , , .
, ,
. .

in Th e l a st e x a m p l e i s pe c u li a r i n o t h a vi n g the n

cae s ura a fter the fo u rth s ylla bl e wh e re a s Pr o fe s s o r J a co b i , ,

h a s s ho wn irre gu l a r fo r m s a re u su a lly ( b u t it m a y be
, ,

a dde d n o t b y a n y m e a n s i n v a ri a bly c u t
, ) .

u u u ra h G i 1 3 2
u u
j a l a c a ra
u h s t h a l a c a 9 , .
, , .

Sec o n d vi p u l a uuz C ae s u ra u s u a ll y a fte r fo u rth o r

, .

fi fth s ylla b l e fi n a l p re va ili n gly lo n g ( b re vi s q u ite ra re i n

No 1 4 i s t h e o n ly fo rm us u a lly fo u n d i n R b u t N o s
. . .

1 5 a n d 1 6 a re c o m m o n e n o u gh i n Mb h ; a l l t h e o t h e r .

fo rm s e xc e p t a s p o r a dic N o 1 8 b e in g a b s e n t i n R a n d . .

Sp o ra dic o n l y i n M bh Se e p 221 I give h e r e s e v e r a l . . .

exa m p l e s o f fi n a l bre vis a n d th e rewith va ri a n t c ae s u r a s .

Th e ca s e s I t a ke ch i e fly fro m R b e c a u s e th ey a re a n o m .
,

a l o u s the r e a n d n o t s o e a sily fo u n d a s i n M .

v z sura m s u ra p a h p i b a t a R ii 9 1 52 ; a n a
_ u u
, ,
.
, ,

h i t a gn i r c a t a gu ; ya t o ya t o n i q c a ra t i ; a n o r a n i y a n s u
r

rfi a n a h v 46 3 1 ( a l s o a t ri s tu b h o p e n in g) ; a vidh y a d
, , ,

a c a ry a s u t o ; j a ga rt i c a i
’
va s va p i ti ; ra
j a dh i ra o b h a v a t i ;
j
di n o ya yau n a ga p u ra m ; t va m e va m v i c a t i ; vi r o
s a rva

1 So fa r a s Ih a ve n o ti c e d thi s ,
fo rm o f vi p u la l t ft h fi l b r i
ea s o en a s na ev s

in B .
,
a s in iii ,
1 6, 22 , n a
’
va g§h a n ti s a l i l a m, ou t f t w ty i
o with l g fi l
en -
n ne on na

( in a th o u s a n d ve rs e s ) .
450 AP P EN D I X B .

j a n a n ya v
m a ma 3 9 2 ; h a K ca r n a h a K a rn a i ti
a, R .
; , ,

s a rdh a m c a t a va ; va s a ns i
s o me n a y a va n t i la b b e ; R a m a
a n a m v e da s a m a m R vii 1 1 1 4 ; da va gn i di p t a n i y a th a ;
y , .
, ,

s a c i n t a y a m a s a ta da ; u dve j i t e m e h rda a m
y .

_v . u x b ha va n dh a rm o dha rm a i ti ; Gh i t a c i m
v
,
‘

ra s a m ; dura va ra m du rvi s a ma m R vi 9 0 66 ;
’
n a ma s a
p , .
, ,

ta to va y u h p ra du r a b h fi t ; ta ta h kru ddh o va y u s u t a h R 1
, .

vi 5 9 1 1 2 ; p a ri gra n t a m pa th y a b h a va t R ii 72 9 ;
, , ,
.
, ,
2

p a n a va h ki rn vy a h a ra s e ; s a h a s ra vy a m a n rp a t e ; y a va d
'

b h u m e r a yu r i h a ; ko m a mn a mn a ki rt a y a t i ; j fi a t va ra ks o
‘

b h i m a b a l a m R vi 60 1 5 pra ty a di t y a m p ra ty a n a l a rn ;
'

.
, ,

d rs t ve m a i i 1 Vrs n i p ra va ra m ve da dh y a y i dh a rm a p a ra h ;
’

Vi gva mi t ro D i rgh a t a m a h R vii 9 6 2 , .

, ,
.

uu a p a vi ddh a i c c a p i ra t h a ih R vi 43 43 ;
’
K ,
.
, ,

i t i l o ke n i rva c a n a m; a t m a y a j i s o t m a ra t i r ; s a i va p a p a m ’
‘

l h n ta h a
y o ; va y u ve go va y u b a l o
‘

p a va y a t i ; c ra n t a
y gy
u a c ra
u rdh va drs t i r dh y a n a p a ra ; h e m a c rfi ga ra u py a kh u ra h ; n i t y a

m ul a n 1 2 8 , 1 02 ; e ka s a l e s t h a n u m a t i m,
i tya p h a la h, R . vi ,

R .
,
ii
71 , 1 6 ; t a ry a ma n a n Va i t a ra n i m, G , , 25 , 1 1 ; . vii
kru ra c a s t ra h kru ra krt a h Th s c o m n a o n fo u n d i n . i bi ti is
M ann v 1 5 2 Co mp a re Olde n b e rg ZD MG x x x v 1 8 3 ;
, ,
.
, .
, ,

a n d J a c o bi R a m a y a n a p ,
25 ; Gu ru p uj p 5 0
I t o c cu rs ,
. .
,
. .

o ft e n e s t i n the o l de r t e x t s e g fo u r ti m e s i n D y u t a ,
. .
, ,

with c ae s u ra a l wa ys a ft e r t h e fo u rth a s fa r a s I h a ve o h ,

s e rve d B u t it is n o t n e c e s s a rily o l d ( e g R ii 71 1 6
. . .
, .
, , ,

is I h a p p e n t o ha ve o n ha n d n o e x a m ple
o f t wo b e v e s ( in i ti a l a n d fi n a l )
r .

u uu h a s t h a s t va m a gra mi n a m xiii 1 4 3 1 9 ;
gif z , , , ,

y a th a va rt a y a n p u ru s a h xiii 1 04 5 ; b ra hm a di t y a m , , ,
’

u n n a y a t i iii 3 1 3 46 ; a gra h y o m rt o b h a va t i x i v 5 1
‘

, , , , , ,

u u u n a b i n a s ti n a x ii 2 69 3 1 ; a p a ’
K _ _ u ra b h a t e , , ,

krty a b u ddh i m a t a h , 3 8 , 8 ; s a t a t o n i va ri t a va n , v i , 9 6, 3 ;
v,

K uru p a n da va p ra va ra h , v i i , 1 3 7, 1 6 vi s a m a c c h a da i ra c i t a i h ,
iii ,
1 46, 22 ; dvi p i n a s a s nh a i va , R i . vi i , 14 ( un iq u e
in Th s e gu l a i irr
c o mb n a r i ti o n a l s o is fo un d in
1 So , ta to v a rs a t ; t a t o vy o m i p ra dur a b h i t e t c
m p ra du r a bb a n ,
.

2 Pr f s s o r J a c o b i r e g a r d s thi s a s irr e g u l a r a d p r o p o s e s t o s c a n it a s
“
n
o e

p a ri gr a n t a m b u t ,
i n v i e w o f t h e o th e r e x a m p l e s thi s s e e m s u n n e c e s s a ry ,

th o u g h gr do n o t a lwa ys m a k e p o s iti o n C o m p a re N o s 26 a n d 3 9 R h a s . . . .

t h e s a m e m e a s u r e i n iii 3 0 2 3 v 4 19 , , , , .

3 P e rh a s o ri g i n a lly a ra h o a m rt o b h a v a t i
p g y .
45 2 A PP EN D I X B .

so
‘
tt
y a m m a o ks a dy u t e n a , 1 1 , 62, 6 ; da i va
‘

p ra j fi a m m hi
ii
mu s n a t i , , 5 8 , 1 8 ; j fi a n a v a i n a m a p ra t y a ks a m , , 43 ,
m v
4 8 ; n i t y o dy o ga i c c a kri da db h i h ; p rs t h a c c h i n n a n p a rc
va c c h i n n a n , x , 8, 1 1 6 ; ta s ya ’
cu ks i p t a n b h a ll a n hi ,

vii 92 9 ( s h o rt be fo re ks
, , bra h ma n ki m ku rma h
ki m ka rya m R vii 3 3 1 2 ( ku rm a h e i n , .
, I n vi 1 6 , , ,

22 62 9 B h a s c v e t o s n i s a m c ve t a h a y a m whe re C h a s
'

.
, , .

c ve t o s ni s a m c v e t a c c h a t ra m A s re ga r ds t h e lic e n c e i n .
,

ix 4 3 1 a pp e a rs ( a fte r
, , , c a te b h ra t a in ste a d u

o f t h e c a b h ra t a t e o f 0 Co m p a re v 1 2 1 7 wh e re b h r .
, , ,

m a y fa il t o m a ke p o siti o n m a e n a b h ra s ta h s va rga s t e ,
n .

I n N a la 1 6 3 7 b o th B a n d 0 ha ve ka th a m c a n a s ta
, ,
. .

j fi a t i b h y a h ( fo r b h ra s t a ) T h e ty p e is a n ti u e
q witha l .
,

with c ae s u ra a ft e r t h e fo u rth syll a b l e a s i n s o m e o f t h e ,

e x a m p l e s a b o ve a n d in M a n n ii 1 20,
Mb h v 3 8 1 ,
.
, ,

x iii 1 04 64 u rdh v a m p ra n a h y u t kra m a n t i ( v 1 vy u t kra w

, , ,
. .

m a n ti i n Ma h a b h a s y a I S xiii p , .
, .

z u _ x Th e s a m e q u e s ti o n a ris e s h e re i n re
.

ga r d t o t h e l e n gth o f t h e fi rs t s yll a b l e o f t h e s e c o d fo o t n .

Oth e r e x a m p l e s a re e xtre m e ly ra r e : p re s a y a m a s n ra j a
na m i 1 41 1 4 ; b h a ga va n de va rsi n a rh t va m iii 2 73 4 ;
, , , , , ,

s a rva c a u c e s u b ra h m e n a xiii 1 04 1 1 2 ; ki m tu R a ma s y a , , ,

p ri t y a rt h a m R v 53 1 3 ; y a m p ra va rt e y a m s a mgra m a m
,
.
, , ,

G vii 3 8 .
, Th i s c o m b in a ti o n a l s o i s fo u n d i n Ma n u
, ,

iv 9 8 a t a u rdh va m t u c c h a n da ns i I n vii
, , C ha s .
, .

ra p a l a y a n t a h s a m t ra s t a h w h e r e B 1 46 9 2 h a s pr a p a
p , .
, ,

la ya n t a Th i s fo r m o ccurs a l s o R ii 3 6 28 ( wi t h v
. .
, , .

v u n a c e d v a fi c h a s i t v a mdy fi t a rn Na l a 26 '

2 , , , ,

8 ; R u dra s y e va hi kru ddh a s y a v i i 1 9 2 7 Th e fo rm

’
, , , .

iv e n b y Ol de n berg l o c c i t f r om M a n n is du e t o a n
g , . .
,

o ve r s i gh t On c e i n R v 2 3 1 7 with V 1
. To a vo i d t h is
.
, , . .

fo rm a n d wro n g c ae s u ra N a l a 1 6 1 8 h a s de ha m dh a ra , ,

y a ( n ) t i 1i 1 di n a m I n h i ( kru ddh a s y a .
) h i is pr o b a bly t o ,

b e re a d a s a li ght s yll a b l e .

1 Thi s li c e n c e i s P u ra n i c a n d m a y b e a s su m e d h e re .

p s k u r m a s h o u l d b e r e a d h e r e fo r k u rm a n a s i n i x 3 2 62 ki m
2 P rh a
e , , , ,

ku rm a t e p ri y a m I n Mb h vi i 52 45 . B h a s ki m k u rm a a n d C h a s
.
, , . .

ki mku r m a n k a m a t h ka m a rh a .

p s fo r p ra va rt e y a t h e m i dd l e a s i n R vn 3 6 3 0 e va m
3 Pe rh a vi dh a n i
, ,
.
, , ,

k a rm a i p a va rt a t a m a h a b a l a h
n r .
 I L L USTR A TI ON S OF EP I C CL OKA F OR MS 45 3

u u u da c a p a fi c a c a p ra p t a n i , x 1 1 , 3 1 9, 21 ; a p a
ka ri n a m m a m v i ddh i , xiii, 9 6, 7; y a j u s a m ro a m s a mn a m
c a , iii 2 6, 3 ; n a ra ka p ra t i s t h a s te s y u h , v, 45 ,

dy a p ra b h rt i gri va t s a h ,
a xii 3 43 1 3 2 ( p e r , ,

h a p s p a thya ) .
1
Th e o n c a se c e d ly it by Ja c o bi fro m R i s .

i, 65 , 1 3 , a lso o f th e sa me fo r m vi n a c a y a t i t ra il o ky a m
,
.

B o th a re in la te a dditi o n s .

2 U V ya n ta n a n y o sti Na l a 2 0 1 8 t va m i va ’ ‘

, ,

s a p t a da c e m a n ra j e n dra v 3 7 1’
Th e t e xts h a ve e va , , , .

fo r i va i n N a l a wh i c h is i m p o s s ible Odd a s a re th e s e
, .

fo rm s th e y a re n o t with o u t Ma n a vi c a u tho rity a n d it i s

fa r m o re like ly th a t i va wa s cha n ge d t o e va tha n tha t e v a
wa s writt e n fo r i va Ol de n be rg l o c c i t xx xv p 1 8 4 .
, . .
, ,
.
,

gi ve s exa m p l e s fro m Ma n n ( iii 2 1 4 iv No t in R , , .

Fo u rth vi p u l a u x N o 2 8 i s t h e u s ua l fo r m tho u gh
,
. .
,

N o s 2 9—3 2. a re n o t u n c o mm o n i n Mb h . an d a re fo u n d occa

sio n a ll y i n R . On t h e c ae s u ra , u su a lly a fter the fo urt h

s ylla ble , se e J a co b i , Gu ru p uj .
,
p .

V u u z B igh a s p a t i c co
’
ca n a c a; m uhu r mu hu r
,
_

m u h y a m a n a h ; a n a n ta ra m ra j a da ra h, R ii, 8 9 , 1 4 ; va y .

a s y a t a m p uj a y a n m e , R i v, 7, 1 4 s o va s t ra t a m a t m a n a c
‘
.

c a ; a ks a p ri y a h sa t y a va di ; Vi s n o h p a da m p re ks a m a n a h,
R . ii 68 1 9 , , . Va ikh a n a s a va l a kh ily a h , R . iii , 6, 2 .

C ae s u ra : t a da i t
ga n a s m i t i rt h a n y , 2, 1 7 Yu dh i iii
’ ’
va , 9

s t h i re n a i
’
va m uk o, 1
, 20 , 8 t iii
Y u dh i s t h i ra s y a n u y a t ra m,
’

1 11,23 3 , 5 0 ; D h a n a fi j a y a s y a i
’
sa ka m a h v , ,
77, 1 9 ; ra j a s
ta m a c c a b h i b h 11 y a , vi, 3 8 , 1 0
’ ‘

v u \J
_

, p a ri s va kt a c c a
’
j
r un e n a ; a n a di t va n
n i rgu n a t va t ; a p rc c h e t va m s va s t i te
‘
s tu ; e ka n pa n tha
1 Th e fi rs t e a m p l e m a y b e p a th y a a n d t h e thr e e l a s t a re s o o o
x e g d hyp r
m e t e r s th a t t h e c h a n g e m a y b e a t l e a s t s u s p e c t e d y a j u s a mre a m ( c a ) ; a p a ,

ka ri n a m ( t u ) ; n a ra ka p ra t i s th a s t e t n s y u h .

p e t h e s e c o n d n o t e t o N o 1 5 a n d p 2 42 if
2 Co m a r . . .
,

3 Ja c o b i R a m a y 2 5 t t th a t i n R ii—v i th e r e a re o n ly thirty
, a a p s a e sn , .
,
.

e i g ht c a s e s o f fo u rth v i p u l a a n d o f th e s e a l l b u t s e v e n fo ll o w v
,
In u

th e Ma h a b h a r a t a t h e s a m e v i p u l a o c c u r s o a n a v e r a g e a s m a n y ti m e s a s thi s n

i n a c o m p a s s e qu i v a l e n t t o o n ly h a l f t h e s i x th b o o k o f t h e R a m a y a n a Thi s .

s ta te m e t th e re fo r e m u s t r e s tri c t t h e s o m e wh a t R a m a y a n e s q u e u tt e ra n c e o f
n

Ol d e b e r g wh o i n Z D MG v o l
n ,
x x v p 1 8 4 B e m e rk u g e n
. u r Th e o ri e de s
. x , .
,
n z

Ol o k a s a y s th a t t h i s m e tre i g e n e ra l i s c o mm o n i n Ma n b u t m u c h m o re
,
n n ,

r e s tri c t e d i n e p i c p o e try a s t a t e m e n t whi c h i s tr u e o f t h e R a m a ya n a a n d o f

,
”

p a rts o f t h e Ma h a b h a r a t a C o m p a r e a b o ve p p 224 ff
.
,
. .
 45 4 APP EN D I X B .

b ra h ma n a n a m ; ete n a ga n ka dra ve y a h , R vi , 50, 49 ; .

Vi dy u t ke c a d ga rbh a m a p a , R vii, 4, 1 8 , a n d 2 3 Th e . .

m e a s u re is gro u p e d i n v 3 5 60—62 p a p a m ku rva n p a p a ki r , , ,

tih p u ny a m ku rva n p u ny a ki rt ih j
n a s ta p ra fi a h

p a pa m e va , e tc .

s a m a n o b ra h ma n a s y a ; j a t a rfi p a mdro n a
na

m e y a m ; a tra ga th a ki rt a y a n t i ; a t ra ga th a b h fi m i gi t a h ;
ra j a p u t ra p ra t y a ve ks a ; ka m a e s a kro dh a e s a ; D h rs t a ke

t u g Ce ki t a n a h K a c i ra j a h vi 2 5 5 ; e va m u kt e N a i s a dh e n a ; , , ,

s va m u kt a R a va n e n a R vii 2 3 5 3 4 ; e ka va rn a n e ka ,
.
, , ,

v e s a n e ka ru p a n i b 40 ; p ra p n u y a m o b ra h ma l o ka m R vi
,
.
, .
,

Th e m e a s u re o c c u s o fte n e s t i n s u c h re p e titi o n s r

a s u rdh va re t a fi rdh va li fi ga h , l o ka v rt t a d ra j a vrtt a m , e tc ; .

p pr o e r n a m e s ( a s a b o ve ) ; a n d i n s o m e s e t p h ra s e s , o
f
wh i c h the c o m m o n est i s a n i n s tru m e n ta l a ft e r e va m u kt a h
o r u kt va ( whi c h a ls o is a c o mm o n t ri s t u b h o p e n i n g e va m ,

u kt e Va ma de ve n a e t c ) o r t h e s t e r e o ty p e d e va m u kt a h
,
.

p ra t y u va c a e g i 1 45 2 7 viii 24 5 ; 3 4 1 44 etc
, . .
, , , , , , ,
.

v
u ka mc i t ka la m u s y a t a m v a i iii 21 6 12 ; , , ,

mu m o c a i va p a rt h i ve n dra h R vii 3 3 1 7 ( v 1 i n
’ ’
. . .
, , ,

u c a l a b h a s t ra m a c m a va rs a m iii 1 67 3 3 ;
\J
g u _ u _
, , , ,

a vi c a l y a m e t a d u kt a m iii 29 4 3 1 ; ki m n i m i t t a m i c c h a y a , , ,

m e R vii 1 6 5 p a ks i n a c; c a t u s p a do v a R vi i 3 0 1 0
,
.
, , ,
.
, ,

( v 1 in cite d by Ja c o bi o h rr t cae sura 1

. . f r a b o e n .

u uu _

y j
a u r m a y a rfi m a y a c; c a 0 xii cor ,
.
,

re c t e d i n B 28 5 1 26 t o y a j u rma y o . ta th a c ra ma va s i ke
, ,
2 ’

tn 0 x v ,
Th i s l a tt e r i s i n a b e n e dictive st a n z a a t
.
,

t h e e n d o f Ac ra m a Pa rva n I t is n o t in B . .

Min o r I o n ic The se fo rm s a re a l l s e p a ra t e ly sp o r
,
v u

a di c Th e y a re fo u n d b o th i n t h e e a rl i e r U p a n i s h a d a n d
.
, ,

t h e l a t e r P u ra n a (gl o ka , I h a ve ca ll e d t h e m e a s u re the
, .
8

fi fth vi p u l a m e r e ly t o i n dica te tha t whil e e a ch speci a l ,

1 A Pu r a n i c m e a re ; c o mp a re Ji t a de va y a j a a b h a ga h A g P i v 4 e t c
su , . .
, ,
.

c a s e o f s a c ri fi c e o f g r a mm a r s a n d hi t o m e tr e a s a b o v e i n N o 7
2 A c l a r
e , , , . .

8 Fo r e x a m l e A g n i P x 23 wh e r e t h e
p , p a d a e n d s d a c a de v a h
.
, He r e t o o
, .

i s fo u n d t h e m a j o r I o n i c e g i b x i v l a p a d a e n di n g i n D a u ry o dh a n i ( s o
, . .
,
.
, ,

v a y u P vi i . a l s o t h e d ii a m b u s e g A g P i v 1 1
,
Th e o l d e r o f th e s e ,
. .
, . . . .

P u r a a s h a s thr e e c a s e s o f m i n o r I o i c i n t h e c o m p a s s o f t wo s h o rt s e c ti o n s
n n ,

V a yu v 3 4 p a r a c c a t u p ra krt a t va t vi 1 6 s a v e da va dy u p a da ns tra h ; a n d
, , , , ,

a g a in ,
ib 1 7 I n v a y u l x i 1 08 rgy a j u h s a m a t h a rva
.
, . rfi p i n e b r a h m a n e
, ,
-

n a m a h) we m u s t r e a d s a m a a t h a rva a s min o r I o n i c
,
-
,
.
45 6 APP EN D I X B .

tha t t h e a na l o go u s
p ra t i ka ra h a n d p a ri va ra h o cc u r b o th i n
Mb h .
,
R .
,
a n d R a gh u v ( x v, 1 6 ; xvii , 5 5) a s p a t h y a fo rm s ,
.

an d these ca s e s m a y b e s u ch ( b u t i n a b h i c a ra h t h e
a ll
o l de r M SS h a v e this fo r m) . I n vii 8 1 1 3 B h a s a pra .
, , , .

m e y a m p ra n a m a t o wh e re C h a s p ra na m a n t a u G, . . .

ii 5 24 h a s y a t p ra s a da d a b h i s ikt a m fo r y a t p ra s a de n a
, ,

J a c o b i Ra m p a n d G vi 70 1 5 va ra s a rn s a r a s a
( j
'

, .
,
.
p c .
, , ,

m a ns tr i n ( v l i n . .

U u v
v dra s ta s y a dya v a da t o s m a n iii 1 3 3 1 4 ;
u
’ c

, , ,

a dh a s t a c c a t u ra c i ti r vi 6 1 1 ; y a va n a rth a u da p a n e vi , , , , ,

2 6 46 ( c o m p a re v 46 2 6 y a t h o da p a n e m a b a t i)
’
, , , , .

u u u y b h i i c a ra y a b h u va n a y a xiii 1 4 3 05 ’

3
v .

, , , .

Ma j o r I o n ic Cae sura a fte r fo u rth o r fi ft h

, Sp o r .

a di e a n d o n ly i n M bh .

V
51 U m a s a h a y o v a l a dh rk iii 1 67 44 ; a h a r
u
y v
, ; , , ,

c a ro n a kt a m c a ra h xiii 1 7 4 7 a tr a i va t i s t h a n ks a t ri a
’
, y , ,

v 45 21 ; t a n p re ks y a m a n o pi vy a t h a m x 7 5 1 ; e ta n
, ,
‘

, , ,

a p t va s a d r a th a n vii 75 29 I n R vi 1 1 1 93 vi m rcy a , , , . .
, , ,

b u ddh y a p ra gri t a rn p ra i s li ght ; v l with th ird vi p u l a

'

. .
, ,

dh a rm a j fi a h I n C ii t a da rt h a ka m a h P a n da va n m a
.
1
.
,

dru h a h K u ru s a t t a m a wh e r e B 62 1 4 h a s t a da rt h a ka m a s , .
,

t a dva t t va mm a dru h a h P a n da va n n rp a a p p a r e n tly cha n ge d ,

fo r t h e m e tre Si mil a rly i n v ii . 0 h a s a c rn va t a s , , .

ta s ya s va n a m cha n ge d i n B 72 3 7 t o s va n a m ta s ya
,
.
, , .

ii ga y a n t i t va ( m ) g
v a y a t ri n a
h xii ,
2 8 5 7 8 , , ,

( R i g Ve da 1 1 0,
u u e va m u kto ‘

t h a c v a cy a t a m
‘
see N o .

a d fine m
21 ( )]
a b h i j a n a mi b ra h m a n a m , v ,
43 , 5 6, b u t

p e rha p s to be r e a d with di i a m b i c ( No l
c o se .

u u a drcy a n t a s a p t a r s a y a h iii , ,
1 8 7, 46 .

D u a mb u s , u _ A fe w sp o ra di c ca s e s ( i de n tic a l w ith
po s te rio r p a da s ) . On e ca s e , N o 45 , i n R . .

v _ v _ _ sa cen m a m a ra Srfi j a y a , 55 , 49 ; 67, v1 1 ,

2 0 ; a vi s t h a l a m, v rka s t h a la m v, 72 , 1 5 ; 8 2, 7; ta s ma t
Sa m a n t a p a fi c a ka m , ix 5 5 9 : , , a n v a l a b h e h i ra n m a y a m,
v,
3 5, 14 Co mp a re a l s o the l o n g e x tra c t
.
, de s crib e d a b o ve
on p 2.3 8 fr o m xii 3 22 , ,
.

1 Pro b a b ly ( Ja c o b i l o c , . c it .
, pp . 2 5—26) or fa to m a e p o s il k iti o n h e re .

So p e rh a p s tr a n d vy i n M C o mp a r t
e n o e t o N o 1 5 a n d N o 26
21
. . . .
 I LL OSTR A TI ON S OF E PI C C OR
L A F ORMS . 45 7

v
Na l a m n a ma ri m a rda n a m ( B a n d 0
u _ v x
,
’
. .

h a v e da m a n a m ) N a la 1 2 1 05 ; t a d va i de va u p a s a t e v
, , , , ,

4 6 1 ( b u t i n viii 8 4 1 2 D u ry o dh a n a m u p a s a n t e a s e ls e
, , , , ,

wh e r e ) ; b ra h m a n a m t va c a t a kra t u m xii 2 8 5 78 ( a s i n , , ,

No .

v v
y a tra ga t v a
ug .

,
na
c o c a t i , iii, 1 8 0, 22 ; ( sa m
or
) a ks i p a n t i m i va p ra b h a m , N a l a , 3 , 1 3 W ith t h e . fi rs t
( ti
a n q ue
) e x a m p le c o m p a re i n t h e t ri s tu b h s p e ci m ens

be l o w : ya tr a ga t va n a n u c o c a n t i dh i ra b Th e c a s e i n ’
.

Na l a h a s b e e n u n n e c e s s a rily e m e n de d I t m a y b e lo n g .

h e re o r p r m a y fa il t o m a ke p o s iti o n
, N o 41 m a y b e . .

l o n g he r e .

u u u u y a c a v a i b a h u a
y j i n a m vii 73 43 ( b u t , , ,

i n a p a s s a ge wa n ti n g i n
P ro e s s o r Ja c o b i s li s t o f
f “
m e tric a lly fa l s e ’
p a da s i n
Gu ru p u j p 5 3 i n c lu de s p ra h a ( s i c ) va c o b rh a t t a a m
.
, .
, r ,

wh i c h w o u l d give a n o the r fo r m ; b u t it h a s b e e n t a ke n
u p thro u gh a n o v e r s i gh t a s t h e w o r ds fo r m p a rt n o t o f ,

a c l o ka b u t o f a j a ga ti Y u dh i s t h i a h p r a h a va c o b rh a t t a ,
r

ra m viii 71 3 9 So fro m i 23 8 i s cite d a m e tri

, ,
v
, .
“
, ,
”
c a lly fa l s e p a da b u t it is a p e rfe c tly re gu l a r p o s t e ri o r
,

p a da .

P o s t e ri o r P a d a o f Ep ic Q lo ka .

v v u ma n u sy a de h a go c a ra h , e t c .
( b o ve
a p , .

Als o i n M a nn, ix , p o s e o p a da , u
48 , as t ri r u v u u .

u u
'

kra t u n a rn da ks i n a va t a m ; e ka h a rh j a ga ri s
y a ti ; s a my a k c a i va p ra c a s i t a ; rve
’
sa
c rnva n t u da i va t a h
( s i c l) , R ii , 1 1 , 1 6
( d e
. v a t a h in m a h a p ra s t h a n ika m
( si c
) v i dh i m , R . vii , 1 09 , 3 .

u i p a t e dh a rm a va t s a l a ova c u ro m e n a r o t
v
_ u x ,
n

ta ma h ; t o s a y i s y a m i b h ra t a ra m , v iii , 74, 3 0 ; ka ra y a m a s a
tu r n
rp a u B e we e n
. t thi s an d No . 5 th e re is so me tim e s
on ly a difi e re n c e o f e di tin g, a s in ya d a ku rv a n t a ta c
c h rn u , xviii , 3, wh e re B . ha s the r g a mma tic a lly c o rre c t
fo r m .

v u u x t va y a crfi ga q a t a i r n rp a h ; b h a va db h i r p ra
,

t i b o dh i t a h ; P u n y a cl o ka c ru t a h ; b h i dy a n te b iti
a h a va h
( sic ) c il a h , R . vi , 66, 1 1 .
45 8 AP P E N D I X B .

Li v u u v
y ii ga p a t s a m a h a n y a t a ; ka l u s i krt a l o c a n a h ;
y .

Vi ra s e n a i t i s ma h a p a mi n i c a s t a da ( N a l a , 1 3 , 61 ,
1
n a s va

g ra m m a r s a c rific e d) ; m rga y a m u p a c a kra me ( c o m m o n t e r

m i n a l) C ae s u r a : s u ra s a ra t h i r u t t a m a h Vi s n u n a p ra b h a
.

v i s n u n a R vii 1 1 , 1 7 A p p a re n tly a vo i de d i n m rdn a n t i

.
, ,
.

sic k u a ka n t a ka n R ii 2 b ru va n t i m m a n t h a ra m
( ) c 7 7 ; , .
,

ta ta h R ii 8 1 3 ; 1 2 5 7; t a p a sa s m a fo r s ma h R i
, .
, , , , .
,

65 , 1 9 , e tc .

u v u i krn t a t a ; a ka m p a y a t a m d
u x ,
ni krn t a t a n e i
n i m ; ya h
j c c m r h t
'

i t d
‘

p cy
a a t s a p cy
a a i ; s a r n i va a a a a a ;
Vi s n u t va m u p a j a gm i va n Cae s u a : t a v a i n a ra va ro t t a f . r m
ma m ; sa m a c va s i h i m a cu c a h ; j a ga ma di ga m u tt a ra m ;
kri da p a y a t i y o s i t a h , R vii , . 3 2, 1 8 I n R vii, 22, 2, r a th o
. .

m e ( s i c ) u p a n i y a t a m, t h e m e tre se e ms a s u nn e c e s s a rily
a vo ide d a s s o u gh t in the pre ce din g e xa mp le .

u u u u m a dh u m a t i rn t ri va rt m a ga m ,
'

x iii ,
2 6, 8 4 ;
ca t u ra c i t i r u c c h ri t a h, vi , 6, 1 1 (v . . K a u c iki p i ta
1 in
va s in i vi 23 8 I n R t h e
, , , . .
p a da p a i t rp i t a m a h a i r dh ru va i h

h a s a v 1 tha t de s tro y s i t s va l u e
. . .
2

Fo r u ( an d u a s la st fo o t o f the he m i
s tich ,
se e a bo ve p ,
. 242 ff .

1, 1, su to ba li ,
t r e o typ e d e n di n g
is a s e .

The se c a se s ( e x c e p t t h e fir s t ) a re c it e d b y Ja c o b i ,
R a ma ya n a , p 2 5,
. e tc .
460 AP P EN D I X C .

73 , 1 5 a . In j a ga ti ya m j e ta Ma dra K a l i fi ga —K e ka y a n
: a -
,

viii ,
68 , 1 1 . Al s o h yp e rm e tri c Much ra re r tha n N o 1 . . .

V
u u _

,
co mm o n , cae s u ra a fte r t h e ya di fo u rth :

lo ka n ti me i 9 2 9 b ; n a p rt h i vy a m
‘

P a rt h i va sa n t ra , , ,

n t a ri ks e , v 44, 2 6 e ; t a m a s a h y a m Visn u m
’
t i sth a t i n a ,

a n a n t a v i ry a m, v ,
48 , 8 8 a ; m a gh a va h a 1 i1 l o ka p a t h a m p ra
’

j a n a m, xiii 1 02 5 6 a t a m j a h i , ,
t va m m a dva c a n a t p ra n u
n n a h iii 1 9 2
'
’
,
63 0 ; n a s y a va rs a rn va rs a t i va rs a ka l e n a
, , ,

s y a b i j a ni ro b a ti ka l a u p t a m iii 1 9 7 1 2 a h ; h ri n i s e vo
'
’
p
, , ,

B h a ra ta ra j a p u t ra h viii 7 1 8 a ; dy a n n p rt h i vy a m dh a , , ,

s y a t i b h i i ri va ri xiii 1 59 41 d Cha n ge o f cae s u ra i n

‘

,
.
, ,

j a ga ti : e ka e va gn i r b a h u dh a s a mi ddh y a t e iii 1 3 4 8 a ’
, , , .

Als o h yperm e tri c .

_ _ v tiq u e a n d s po ra dic cae sura a fter the an ,

fo urth ( with l o n g i n itia l a s fa r a s I ha ve o b s erve d) : s a r ,

v a m ra t ri m a dh y a y a n a m ka ro s i iii 1 3 2 1 0 c ; a c a ry e n a , , ,

a t m a krt a m vi j a n a n s o t o b e r e a d v 44 l 4 a ; y a m m a n , , , ,

y e ta t a m p ra t i h rs t a b u ddh ih C v c ( B 44 1 4 c ,
.
, .
, ,

m a n y a t e ) a ka c e c a a psu c a t e kra m a h sy a t s o t o be re a d , ,

v 48 8 6 d
, , , .

V U V U U
u u u v _ ti q ue a n d I th in k u n iq ue : a n t a va t a h
, an ,
1

ks a t ri y a t e j a ya n ti ( lo ka n j a n a h ka rma n a n i rma l e n a ) v , ,

44, 24 a . Se e N o 1 1 . .

Btwe e n N o s 4 a n d 5 i n the o rder o f the sche dule

e .
, ,

sho u l d b e fo u n d the t ri s t u b h p a da uu u u y v .

b u t I a m u n a bl e t o giv e a n y exa m p le fro m t h e B h a ra t a ,

a n d t h e o n ly c a s e kn o wn t o m e i n t h e R a m a ya n a G vii ,
.
,

8 9 1 9 v i m a n a va ra m b a h u ra t n a m a n di t a m is a dde d t o a l a t e
, , ,

bo o k ( n o t i n I t is h o we ve r n o t un kn o wn i n B u d , ,

dh i s t i c ve rse e g D h P 1 44 p a h a s s a t h a du kkh a m i da m
,
. .
, . .
,

a n a p p a ka m with t h e c ae s u r a t o b e exp ect e d fo r s u ch a

,

fo r m e n ew e d (not M ) h
[T h . SS a s p a h a s s a th a
] . .

u u p a s si m , of en t mix e d with u pa j a t i s ca sura

,

a fte r the fo u rth :

p a ra s p a ra m s p a rdh a y a p re ks a m a n a h , i ,

1 E g , B AU
. . . iv 3 13 , j a k sa d u t e
’
va
’
pi b h a y a ni p a cy a n .
 I LL USTR A TI ON S OF EP I C TR I S T UB H F OR MS . 461

1 8 7, 3 a ; t a to ‘
b ra vi d Va s u de v o
‘
b h i ga my a , i ,
1 9 1 , 20 a ;
de va rs a y o gu h y a ka c c a ra n a c c a , i ,
1 8 7, 7b ; p ra j fi a c a t e
B h a rga va s y e va c u ddh a ,
’
,
4, 2 iii a ; c a t ru h ga de h c a s a t e r
va cy a te r va , viii
t v a ra n m a m u p a y a t, ; K a na s
42 , 3 2 0 r
p ra m a t h i vi i i ,
m v a g,u va c a n ta r
67, 1 2 d ; y a t t a t P rt h a ’

iks e viii 68 , ,
t xiii 1 02 44 c etc
,
1 0 a , e tc I n j a ga i , .
, , , .

Al s o i n h y p e rm e tri c fo rm a t i t h i vra t a h s u vra t a ye j a n a ,

va i i b 1 9 a ; s a da ku m a ro ya tra s a p l a ks a ra j a h ix 43
,
.
, , , ,

49 d e t c ,
I f pr m a ke p o s iti o n di vy e n a rup e n a c a p ra j fi
1
.
,

a ya c a iii 1 8 6 25 0 ( b u t cae s u ra i n dic a te s th a t c a i s t o

, , ,

be re a d N o ,
.

u v V

p a s si m e s pe cia lly i n u p a j a t i s cae sura

u , ,

a fte r t h e fo u rth o r fi fth whe n t h e i n iti a l is s h o rt ( ligh t ;

)
a fte r t h e fo u rth wh e n the i n iti a l i s l o n g ( h e a vy ) a s a

c a li n i ve rs e ( p a da ) which is eve n m o re c o mmo n tha n the ,

v a t o rm i p a da b o th i n its fu ll fo rm a n d i n i t s p a rty sh a p e
,

a u v I n hyp e rm e tri c fo rm this p a da with

a h e a vy in iti a l i s a va i c va de vi p a da ( c o m m o n a s s u ch a n d

fo u n d a l s o a s a c o m p l e t e v a i c va de vi s ta n z a ) : ra n e c ura m
dh a rm a ra j e n a s uta i 1 207 b ; n i h a n m i m a m vi p ra m
’
, , ,

a dy a p ra m a t h a
y iii 1 9 2 65 h ; N a l o h y a ks a i r n i r i t a h
, j , ,

P u s ka re n a viii 9 1 i 3 h ; s a t a rn v rt t a m c a da di t a ry a
'
’ ’
, , ,

v rt t a h i 8 7 1 0 d ; h a ta m p a rth e n a h a v e s v a p ra dh rs y a m ’
, , , ,

1 205 b ; n o t s ra ks y e h a rh Va m a de va s y a v a my a u iii
‘
’
1, , , ,

1 9 2 5 8 c ; m i t ra m m i n de r n a n da t e h p i y a t e r va viii 42
,
r , , ,

3 1 c ; with a n u n u s u a l wo r d di vi s i o n m u n i c re s t h a rgb h i r -
,

a n a rc u r i c a m xvi 4 2 8 b A s v a i c v a de vi a l s o p ra t y a m n
, , ,
.
,

a y a n t u t va m hi e n a m m a h i ns i h i i i 1 9 7 1 7d wh e re , , , ,

h i a tu s mu s t be r e a d ( C h a s p ra p a y a n t u ) ; r a j a G a n dh a r .

y a h s k a n dh a de c e va s a jj y a xv 1 5 9 0 e tc I n C
‘
xiii , , , , . .
,

c y e dh i y a n t e s e t i h a s a m p a ra n a m the gra mm a r is
,
‘ ’
,

co rre c te d i n B 1 02 21 ( N o Se e a ls o t h e n o te fo ll o w
.
,
.

i n g N o 1 1 whe r e . u a ppe a rs a s t h e s e c o n d fo o t o f
,
u

t h e hyp e rm e tric p a da With in itia l hy p e r m e ter krt i n a m .

,

v i ra m ra m da n a va n a m c a b a dha m H 2 72
( v 1 dh i ) . .
, .
, ,

33 b .

1 On e p a d a ,
h a lf v a i gva de vi i n R
c , of th e - . v, 63 , 3 3 , i s of thi s fo rm , a fi ga i r

p ra rs t a i h
h ka ry a s i ddh i mvi di t va Se e a b o v e .
, p 3 26 . .
 462 A PP EN D I X C .

In the R a ma ya n a , sa ms i ddh a rt h a h s a rva gra vi ry a h ,

e vo
’

B . vi ,
1 1, 3 0 h ( with a c a se o f No . n o t in G ; a so . l
in p r o v e rb
a R ( )
B vii 5 9 3 ,
3 3 d (p ra ks i t a
.
p ) : n a ta t .
, , ,

s a ty a m y a c c h a le n a n u v i ddh a m wh e r e G vii 64 3 3
’
ha s , .
, , ,

s a t y a rn n a t a d y a c c h a l a m a b h y u p a i t i
’

Mb h v 3 5 5 8 d . .
, , ,

h a s n a t a t s a tya m ya c c h a l e n a b h yu p e t a m ’
.

V
u _ _ _ u _ _

v u _ ra ther co m mo n c aes u ra a fter the fo u rth , ,

u s e d c hi e fly i n p h r a s e s a n d p r o p e r n a m e s b u t o ft e n with ,

o u t c o n s tra i n t : p ra t i kul a rh ka rm a n a m p a p a m a h u h i 8 9 , , ,

4 a ; b a h u vi t t a n P a n da va nc c e j j a y a s t va m ii 63 9 c ; , , ,

p a ri b h fi t e
p a u r u se D h a rt a ra s t re C vii 72 b ( B 2 21 p a r a , .
, .
, ,

bha te ) ; a v a s a m v a i b ra h ma n a c c h a dm a n a h a m vi ii 42
1 ’
, , ,

4 a e t c ; b u t t h e lo n g ( he a vy) i n i t i a l i s m o r e c o mm o n
, .

y a tra ga t va n a n u co c a n t i dhi ra b i 93 8 d ; ta tra y uy a m ’

, , ,

ka rma krt va vi s a h y a m i 1 9 7 2 5 c ; e va m e t e Pa n da va h
’
, , ,

s a m b a b h u vu h i b 3 5 a ; du rvib h a s a m b h a s i t m t va drc e n a
, . a
,

ii 66 2 a ; ko h i di vy e d b h a ry a y a ra j a p u t ra i b 67 5 b ;
, , , .
,

ta s ya du h kh e p y a nca b h a j a h s a h a y a h iii 5 20 b ; n a
‘

, , ,

n u y o ga b ra h m a n a n a m b h a va n t i iii 1 9 2 5 6 a ; e va m u kt e
’
, , ,

Va m a de ve n a r a j a n ih 5 7 a ; s o i b 62 c ; 64 a ; v 48 ,
.
, .
, , , ,

9 6 b ; 71 2 a ; vi 2 0 1 0 ; vii 2 3 1 c ; viii 3 7 22 c e t c ;
, , , , , , , , .

i ra y a n t a m b h a ra t i m b h a ra t i n a m v 71 2 a ; b ra h m a n a n a m , , ,

h a s t i b h i r n a s t i krt y a m x iii 1 02 1 3 a ; du s krt a m va

’
, , ,

ka s y a h e t o r n a ku rya t x l i 73 22 d I n j a ga ti s a ma he n , , ,
.
,

dra h s t fi y a t e v a i ma h a dh va re xiii 1 5 9 2 8 0 Als o i n , , , .

h yp e r m e t i c fo rm r .

Th i s m e a s u re i s o fte n divi de d by t h e wo r ds ( a s i n s o m e
o f t h e e x a mp l e s a b o ve o r i n iii 1 3 4 3 6 a ma h a d a n k , , ,

t h y a m gi y a t e s a m a c a g y a m ) i n s u c h a w a y a s t o ma ke
, r

a s e c o n d c ae s u r a a fte r t h e s e ve n th s yll a bl e with t h e l a s t ,

thre e ( 5 —7) s yll a bl e s i n c l u de d i n o n e wo rd I t i s a n .

a n ti q u e m e a sure o f t h e U p a n i s h a ds a n d B u ddhi s tic writ

i n gs a n d is clea rly de ca de n t i n the e p ic b e in g fa r l e s s

2
,

c o m mo n tha n the t wo prece din g c o mb i n a tio n s N o s 6 , .

a nd 7.

1 Th e c a se in vii , a , d a ca c a
’
n ye ye pu r a mdh a ra y a n t i , is a l s o un c e r

t a in , a s B . 201 , 76 c , h a s ye d a ca py
’
a n .

2 I t i s t h e o n ly fo rm fo u d with tro c h a i c n open n i g in th e D h a mm a p a d a vs .

3 54, s a b da da n a rh dh a mm a da n a mj i n a t i .
464 A PP EN D I X C .

na hi t va y a sa va ci ksu ro
drc i ka c i d a sti iii , ,
1 8 6, 23 a ;
n i c i t a s t i ks n a dh a ra h i 3 1 23 b ; p a c c a d a ya m Sa ha de va s , , ,

t a ra s vi i 1 9 1 9 b ; y a s m a t s t ri y a m vi va da dh va rn s a bh a
’

, , ,

y a m ii 71 1 7b ; s a ty e ra to gu ru c u c ru s a y a 0 a xiii 73
, , , , , ,

26 b I n j a ga ti ka c c i t s u kh a m s va p i s i t va m B rh a s a t e
P
.
, ,

x iv 9 1 a
,
To th is c a te go ry bel o n gs pe rh a ps i ii 1 9 2
,
.
, ,

5 8 a ; b u t see N o 24 N o t ra re ( e g iii 1 9 7 1 1 0 ; 1 6 d
;
. . . .
, ,

v 42 6 0 ; 44 1 4 d etc ) a re the hyperm etric fo rm s

, , , , .

u L .
’
a s shown a bo ve
, ( in iti a l a n d
V
,

i n serted) pp 28 6 , .
,

U V p a ssi m caesura , a ft er fo urth ,

co mmo n i n
upa c re y a h p a ra m a m m a n y a ma n a h , a ls o s a m
j a t i s : i da m
kh y a y o ga n p a ra ma m y a m va da n t i , iii, 1 8 6, 2 6 a a n d e ;
s va rge l o ke c v a va t a mn a sti dh i s n y a m , xvii , 3 , 1 0 a Oth e r
’
.

exa mples u n der the va t o rmi st a n z a ( a l s o hyperme tric) .

I n t h e R a m a ya n a , vi , 11, 3 0 ( with a ca se o f No . 7)
sa rve da drqu c
b h a rt u h 0a
’
nana m te , not in G . hyper
metric i h v 63 3 3 d , .
, ,
.

x v v u

c o mm o n cae sura a fte r the fo urth : n a va ,

n i t a rn h rda
‘

y a m b ra h m a n a s y a i 3 1 23 a ; ta t a e s a m b h a , , ,

vita i va n t a ka l a h i 1 9 7 7 d ; ya di c a i va m v ih i t a h
’ ’
, , ,
’

a m re n a i 1 9 8 4 a h da t e c 0 a viii
C ka ; u p a s a r g
,a d b a ,
u dh a s u , , ,

42 3 3 a ; ya di da n da h s p rc a t e p u n y a p a p a m xii 73 2 2 a ;
'

, , , ,

s o i n xiii 1 5 9 2 7 a n d 42 ( i n iti a l
,
a nd
,
sa n ti lo ka v

ba b a va s t e n a re n dra i 9 2 1 5 a ; e s a dha rm a h p a ra mo y a t , , ,

s va ke n a i i i 4 70 ; a gn i h o t ra d a h a m a b h y a ga t a s mi iii
, , ,
’
, ,

1 8 6 22 a ; t a sya m ul a t s a ri t a h p ra s ra va n t i i b 2 8 0 ; n a i
, ,
.

va c a ky a m v ih i t a s y a m i ( but
’
p ya a n a C 0 B 1 98
’
,
.
, .
,

1 n a v a i ) ; ka s y a h e t o h s u krt a rn n a m a kury a t x ii 73
'

, , , ,

22 0 ; sa mp ra h a rs i c Cy a va n a s y a t i gh o ra m , ’
x i v, 9, 3 2 b ;
1 0, 22 a and 3 0b Als o hyperm e tri c . .

1 I thi k th t thi
n a rly s t a n za s m u s t b e r e a d a s a p p e a r
s i s t h e wa y su c h ea ,

e .
g i n Pra c n a i v
.
, h e re b c r e a d : ( b ) p r a a b h fi t a n i s a mp r a
1 1, c , w -
n

t i s th a n t i y a tr a ; ( 0 ) t a d a k s a ra mve da y a t e y a s t u s o my a Th e a lt e rn a ti ve .

i s a c h o ri a m b u s with t h e s c o li u s u u ; but on thi s s e e t h e re m a rk s _

a b o ve , p . 28 1 .
 I L L USTR A TI ON S OF EPI C TR I ST UB H F OR MS . 465

v v co mm o n
cae s u ra a fter t h e fo urth : ta to ,
1

di vy a m a j a ra m p ra p y a l o ka m i 8 9 1 7a ; p u ro dh a y a s u , , ,

krt a m du s krt a rn v a i 9 0 i 8 h ; t a d e ve da m u p a p a n n a m
'
’
, , ,

v i dh a n a m i 1 98 1 d ; t a d e va i t a d a va q a s y a b h y u p a i t i
, , ,
’ ’
,

ii 5 6 1 6 0 p ra n e t a ra m rs a b h a mYa da va n a m a n d dra s t a ro
, ,

h i K u ra va s t a m s a m e t a h v 71 3 b a n d 4 a ; t a d i c c h a m i , , ,

n a s a t a rh y a j a y e t a x iv 9 4 d
; s o iii 5 2 2 b ; v 48 5 70 , , , , , , ,

vi i 1 45 9 4 a e t c
, ,
with l o n g o r h e a vy i n it i a l t a t t a t p ra
, .
,

a n a v ih a n y e t a dh i ra b i 8 9 7 e ; p ra p t a m ra j y a m a s a
py , , ,

p a tn a m p u n a s ta ib i 1 2 1 6 d ; t a m s a rva s y a b h u va n a s y a , , ,

p ra s u t i h i 23 2 1 4 ,
0 ; t a tra dy u t a m a b h a v a n n o j a gh a n
, ,

y a m iii 3 4
,
1 3 a ; t,
a m m a n y e t a p i t a ra m m a t a ra m 0 a
,
v , ,

44 9 c ; h i ns a ve ga m u da ro p a s t h a ve ga m a n d n i n da c a s y a
’
,

h rda y a rn n o p a h a n y a t xii 2 79 1 7b a n d d ; du rga mj a n m a

'
’
, , ,

n i dh a n a m 0 a r j xii i
’
p i a a n 3 1 9 1 1 0 a ; i n C d , , , .
, ,

ku ry a d e va wh e re B 9 2 1 8 d h a s e va m Othe r c a s e s i n
,
.
, , .

iii 4 22 h ; 1 9 7 9 a a n d 1 6 b ; vii 2 2 1 0 ; xii 73 26 0 ;

, , , , , , ,

2 06 270 a n d 2 9 d ; xiii 71 1 8 d ; 9 4 43 h ; 1 5 9 1 9 d
, , , , , ,

etc a ll with cae s u ra a fte r t h e fo u rth syll a ble R a rely

.
, .

h yp e rm e tric .

I n xii 60 470 the sec o n d fo o t e n ds i n bre v i s ! I t

, , ,

i s h o we ve r fo rc e d by t h e m e a n i n g e ka m s a m a
, , ya j u r :

e ka m g e ka I n r e ga rd t o n a n y a h p a n th a a y a n a y a ’
r .

vi dy a t e s e e t h e p a r a gra p h o n t h e s c o l i u s
,
p 279 where , .
,

a l so i s c ite d c a t u rdva ra m p u ru s a m c a t u rmu kh a m a n d .

a n o ther s i mil a r p a da .

U U UU V

u _ v v u
cu kl a m ka m a p a ra m 0 a p i krs n a m i
e
’
, ,

1 9 7, 3 2 d . I h a ve no o ther e xa m pl e s o f t h i s o p e n i n
g .

U V V V _ _ V

x _ u u u v s p o ra dic cae s u ra a fter t h e

an tiq ue an d ,

fo u th : c a m a rt h i n a m u p a y a t a n l K u ri i na m i 1 1 75 b ; rj u r
' ‘

r , , ,

m du r a n rc a ns a h ks a m a va n xii 63 8 c ye t a d vi da r
r , , ,

a m rt a s t e b h a va n t i v 44 3 1 d ; 45 1 8 d B AU i v 4 1 4 , , , , . .
, , ,

e tc .
( y a e t a d) .

1 T hi s i s th e on ly c a s e wh e r e t h e fo u rth s yll a b l e is a b r e vi s i n a c o mm o n

c o m b i n a ti o n .
466 APP EN DI X C .

V UV UU V

u u u _ v v a n ti q u e
un i q u e vi ra j a s o vi t a ma s ka a nd ,

v i c o ka h xiii 1 02 3 2 b ,
Th e s a m e rep e a t e d b el o w h a s i n
, , .
,

3 5 s u p u n y a ga n dh a vi raj a v i q o ka h ( h yperm e t ric i n 42

, ,

s u p u n y a ga n dh a v i ra j a vi t a c o ka h ) Co mp a re i b 3 8 I mi . . .

t a t i o n o f Ch a n d viii 1 5 ; M a itri vi 2 5 e t c
. With cho ri
, , , , , .

a m b i c Ope n in g i n a sp o ra dic h yp e r meter p 294 , . .

_ u _ uuu _ u V
v
_ u _ u u u _
, co mmo n , c ae s u ra a fter fo urth or fi fth :
y u va m
di c o j ana i 3 64 a ; a j o hi
y a t h o da c a gre , , , c a stra m a gi la t
kil a i ka h ii ’
te r i y a rn Ga nge i t i n iy a t a m pra ti
'

, 66, 8 a ; ( a
,
f
s t h a m m 26 8 8 a N o
, ,i b c i n hyp e rme tri c fo r m p ra t a s
, ,
. .
, ,

t ri va rga gh rt a va h a Vi p a p ma ( the s a m e witho u t c ae s u ra ,

i b 9 4 1 3 d belo w) te b h a n a vo p y a n u s rt ac c a ra n t i i 3 ‘
.
, , , , ,

65 0 ; t e m a m ya tha vy a b h i c a ra n t i n i t y a m i 76 5 2 h ; , , ,

ra j a h a m a s a m i h a s a rva b h a u ma h i 8 9 l 5 a ; j a n i ma h e
’
, , ,

Vi du ra y a t p ri y a s t va m ii 64 1 0 ; 1 00 b h a vi s y a d a pa ra
¢

, , ,

j i t a t m a ii 71 1 8 d ; b ra h m a dvi s a gh n a m a m rt a s y a y o n i m
, , , ,

vii 201 67d ; Va i va s va t a s y a s a da n e m a h a tm a n xiii 1 02

, , , , ,

1 4 0 ; a l s o i 9 0 6 0 ; ii 63 6 0 ; iii 4 1 2 a ; 1 8 6 8 d ;
, , , , , , , ,

1 8 6 2 5 d ; xiii 9 0 48 a e t c
,
I n j a ga ti e va m b ru va na m
, , , . :

a j i n a i r vi v a s i t a m ii 77 l 9 a ; p a ra j i t e s u b h a ra t e s u du r
, , ,

m a n a h vii 2 8 0 ; ku l a mb h a ra n a n a du h a h c a ta m ga ta n
, , , ,

xiii 93 3 2 a I n i 9 0 24 c —d v 3 5 45 th i s m e a s u re i s
, ,
.
, , , ,

co mb in e d with th a t o f t h e n e x t n u mb e r : m a n a gn i h o t ra m
u t a m a n a ma u n a m ( e t c se e N o Th e te n de n cy i s t o .
,
.

gi ve u p th i s m e a s u r e fo r t h e c h o ri a mb a n d s o gra mm a r ,

s u ffe rs a s i n ix 5 9 1 0 b : y e 0 a p y a ku rva n t a s a da s y a
, , ,
’

v a s t ra m Th i s o l d m e tre which i s Ve dic a n d i s fo u n d i n

.
,

t h e U p a n i s h a ds i s a lr e a dy p a s s i n g a wa y i n t h e e pi c
, ,

tho u gh it c a n s c a rc e ly b e c a ll e d ra re I n s o m e p a rts it i s .

ra re r tha n i n o th e s a n d i t s till s u r vive s i n t h e Pu a n a s r ,

r .

I n t h e s e ve n t h b o o k s th r e e hu n dre d o dd t ri s t u b h s fo r
’
,

e x a m p l e it o c c u r s o n ly i n t h e t wo p l a c e s c it e d a b o ve
,
the
fo u th b o o k i n i t s t wo hu n dre d h a s o n ly o n e c a s e ( i n
r

j a ga ti fo r m ) i v 1 4 5 1 d ; t h e thirte e n th with th re e
, , , ,

h u n dre d o dd t ri s t u b h s h a s e i gh t c a s e s ; t h e s e c o n d i n o n e , ,

hu n dre d a n d fi ft y o dd h a s fi ve Oth e r j a ga ti c a s e s a re -
, .

i n i 1 9 7 2 0 a ; i i i 1 3 4 1 0 0 x i v 9 3 0 0 ( a ll with c ae sura
, , , , , ,
468 A PP EN D I X C .

exa mples I n the fo rm er there is n o n e a t a ll ; i n the

.

l a tte r vii 2 00 8 3 a a s a n n a s y a s va ra t h a mt i vra t e j a h s ta n ds

, , , ,

fo r C s re a di n g s va ra t h a m u gra t e j a h b u t it m a
y be
’
,
.
,

o n e o f B s fr e q u e n t i m pr o ve m e n t s
’
. .

I ha ve n o t n o tic e d a n y epic p a da with the fo rm

_ V _ z 2u s u c h a s is fo u n d i n t h e e a rli e r
,
_

v e rs i fi c a t i o n e g c u kra m a da y a p u n a r e t i s t h a n a m B A U
, . .
, .

i v 3 1 1 ; n o r with fo u rth b re vi s e x c e pt a s hy p e rm e t e rs
, , , ,

p 29 0 whe n three breve s fo llo w ( c lo ka N o s 1 1

.
, , .
,

Sp o ra di c o r a t m o s t ra re a re a l l t h e r e m a i n i n g fo rms
, , .

V
u _

v u u sp o ra dic
ra a fte r fo u rth o r fi fth , c ae s u

p u ra j a ga n m a h a rs i s a fi gh a e s a h v 43 5 0 b ; Sa n a t s u j a t a ,
1
, ,

m i m m r m m b ra h m i mv a c a m v a da s e vi va ru
y a a p a a t va ( c
p a m ) v 4 4 ,
1 I
,
n iii 1 9,
7 1 3. a a nd ( this h a s a
, , ,

c m : whic h i s o m itte d i n B a pp a r e n tly b e ca u s e s a dd i n .

,

B .i s r e ga rde d a s b e l o n gi n g t o b ) th e r e i s a p a ra ll e l
j a ga ti whic h I re a d,

( )
a j a t a h ra s va
p r a j a p ra m i y a t e s a da

n a va i va s a mp i t a ro k
( )
b ( )
a s y a u rva t a

Th e ve r s i o n o f B a b a n do n s a a s t o o u n m etric a l
. a nd ,

o m its va i t o m a ke o f b t h e p a da : s a da n a v a s a m p i t a ro
,

s y a ku rva t a ; whil e C a ba n do n s b a n d a l s o r e fu se s t o
‘
.
,

re c o gn iz e t h e hi a tu s b u t ke e p s v a i wh ich h o we ve r with , , , ,

hi a tu s m a ke s o f t h e he mi s tic h t wo p a da s a s give n ,

a b o ve C o m p a re the c o rre s p o n di n g fo rm i n cl o ka m e a s
.

u re The re i s a p a ra ll e l i n t h e Ma h a b h a sy a
.

n o K h a n di ka n j a a ma n o K a li n a n
g g ,

but We b e r I S v o l xiii p 3 68 re a ds j a ga m a perha ps a

,
. .
, .
, ,

wa rra n te d e m e n da ti o n ( c o m p a re j a grah a ib c ) , . .

u ra di c o r u n i q u e : s va s t i t y u kt va
u spo
’

m a h a rs i s i ddh a s a n gh a h I h a ve l o s t t h e r e fe re n c e . .

Th e s e di i a m b i c m i ddles a pp e a r t o b e a l m o s t a s ra re
i n o th e r p o p u l a r vers e On ly o n e c a s e i s fo u n d i n t h e .

l Th e w h o l e s ta n z a r u n s c h a n da ns i n a m a k s a triy a t a y A th a rva p u r a
: n

j a g a n m a h a s i sa ii gh a e sa h c h a n do vi da s t e y a u t a n a dh i t a v e da n a ve da ve
r ,
’

dy a s y a v i du r hi t a tt va m Pa d a c i s e p l a i n e d u n d e r hy p e r m e t e r s
. B o th o f
x .

t h e p a s s a g e s fr o m whi c h t h e t wo fi r s t e x tr a c t s a re t a k e n a re a n tiqu e .
 I L L US TR A TI ON S OF EP I C TR I S TUB H F OR MS . 469

Dh a mma pa da a n th a t
d is ra th e r do u b tfu l ( vs 28 1 ) .

ka y a ku s a l a m n a ka y i ra with ka y i ra fo r k a yra 1
ena ca ,
.

V _ _ V U

v u a n ti q u e a n p o ra di c va ria b le c aes u ra
d s ,

t a dv rs ti ma h n a p ra s t h i t a u b a l a s y a i 3 63 d ; ve da m a dh
, , ,

m y t i 8 9 , 7b ; m a n a rn n a ku ry a n n a
'
’
iy i ta n a h a krt a h s a , ,
’
da dh i t a ro s a m, v, 44, 1 0 0 i n h yp e rm e t ric fo r m, b h a y a
h i t a s y a da ya m m a m a ’
n t ika t t va m , iii ,
1 9 7, 1 70 .

I n t h e R a m a y a na . G iii .
, 75 , 74, Su m e ru q rfi ga gre g a ta m
a n i n di t a m , wh e re B . ha s c rfi ga gra ga t a m ; G v, 1 1 , 1 0, .

m a t t a p ra m a tt a n a rn m a ku l a n i , wh e re m a t t a p ra
'

sa B . ha s

m a tta n i ; G vi .
,
4 6, 74, sa b h fi ta le n ya st a h ka p i p ra v i ra h ,
whe re B . h a s b h i ma b a l a b h i p i s ta h ;
’
G vi .
, 5 1 , 1 08 , j a gh

ana ca kt i b h i r vi n a s t a c e t a h , wh e r e B . h a s c a kt y rs ti ga da
ku t h a ra i h tic e d n o e x a mp l e
. I ha ve no i n RB .

I n t h e D h a m m a p a da thi s m e a s u r e i s a l s o ra e th o u gh r ,

s o m e ti m e s e m p l o ye d a s i n N o 1 43 b : a s s o y a t h a b h a dro , .

ka s a n i vi t t h o a t a p i o s a mve gi n o b h a va t h a n .

b, Se e t h e n o t e t o N o .

U V V V

u v h a n c a t e j a ra
sp o ra dic or un iq u e ; ub

m rt y u vy a t i t a u x i v 9 5 0 ; I k s va ka vo y a di b a h m a n D a l o
, , ,
r

va iii 1 9 2 58 a ( o r with 1 b e fo re b r N o
, , ,
P e rh a p s
‘'

,
.

hyp e rm e tric i n Ha ri v C c dh r t a y u dh a h s u k t i n a m . .
,
r

u tta ma u j a h , b u t B . 2, 72, 5 3 , h a s s u krt i n a m .

V
u v

u r a re , c ae s u ra a ft e r t h e fo urth : ta da
devi m ru da n t ii i i t a m u va c a ,
i , 7,2 9 2 b i n C .
, but ru da ti m
in B b h a ks y e kv a c i t ku rva n t i b u ddh i m ,
’
. 1 9 7, 1 7; na c a
xii 1 41 , 78 b ; h a mn ai ’ ’
ya m,
‘ '

, so va krt a m p u rv a nn c a re

1, in C .
,
bu t v u in B 9 2, 1 3 ; n a
.
’
c a ry a s y a
’
na
p a krt y a p ra v a s a m , v , 44, 1 5 a ; t a s m a d e a m da a m t r
a vi cy a i
c e s v a , , 1 9 7, 24 d ( b u t i n C a vi c a
’
t a ’
va . r i
c e s va ) v i mu c y o
’
ce a ir m a h a n a da mh i s a dh o , xv , 1 5, 6
1 Mro p ob a b
e r ly k a ye n a
: ca mn a ka y i ra u u u
a kii s a l a v [So ,

th e new ed, but w . ith s ka a a la m s u gg e s t e d ]

sa

2 Fo r 3 _
u I h a ve o n ly H 10 0 c i t p 297 .
,
. .
, .
,

de vy a a rh v i c v a dh a t ry o ( N o 2 5 ) wh e r e B i n s e rt s hi a ft e r rs i na m
b
ap o rs i n .
, .
,

or a fo rm with u a ft e r v ( v ) th a t i s hyp e r m e tri c o p e ni n g , , .

470 A PP EN D I X C .

v spo ra di c
sa m a h va y a t sa mra m b h a c c ai
’
va ka vy a h , i , 76, 5 1 b; m a ha c
ca ra p a m t a d va i p a rva t e b h y a h , v
,
44, 2 9 d . Al s o
hyp e rm etric p ,
. 29 1 .

U
spo ra dic d q u e s ti o n a bl e : ma h e s va
a n

K a ike y a c s a rve C , iii ,

’
sah c a pi , . b , b u t B 2 68 , .

1 6, h a s K e ka y a c ; ra j o dh va s t a m Ga n di ve n a p ra v tt a
r m,
C v,. bu t B . 48 , 61 , h a s Ga n di ve n a . At t h e co s t
o f gra m m a tic a l n i c ety , x i i , 2 4, 2 7, a vo i ds t h e ca de n ce by
h a vin g c a t u ra h fo r c a t va ra h : c a t u rh o t ra rh ca t u ro va ji
m u kh y a h . Fo r t h e hyp e rm e te r , se e p 29 1
. .

[N o te : e ta t s a rva m a n i rde c e n a i va m
’
u kt a m, xii 1 08 , ,
33 a ,
wo u l d
b e hyp e r m e t e r o f — ( u u ) v _ v
, b u t see
the n o te o n p .
472 FI N A L N OT S E .

Th e di s tributi o n of th is
p a ra lle l t o th a t o f Na hu s a ( here
sin is
s a i d t o b e c o w killi n g ) which wa s divi de d i n to o n e hun dre d a n d
-
,

o n e p a rts e n era l l y b u t n o t a l wa y s i n a u spici o us n u m b e r

( g , a n
) , ,

a s di s e a s e s a m o n g m e n xii 263 49 , , , .

To p 21 7 On the c o n ve r s i o n o f cl o ka s a n d t ri s t u b h s
. : I o u ght .

he re t o ha ve r e fe rre d t o t h e a tte mp t a t who l e s a l e e xc i s io n o f

t ri s t u b h s i n t h e wo rk p u b li s h e d i n 1 88 3 b y SOre n s e n Om Ma h a ,

b ha ra t a s Stilli n g i de n i n di s ke L ite ra tu r p p 2 1 1 if
’
Th e th e o ry , . .
,

d e s p it e t h e i n ge n u ity o f t h e a u tho r n e ve r s e e m e d t o m e c o n vin o ,

ing . Th e e a rly fo r m s o f t ri s tu b h fo u n d i n the e p i c a n d t h e fa c t ,

tha t P a t a fi j a l i cite s e p ic t ri s t u b h s s e e m t o m e de c i s ive e vi de n ce ,

th a t t h e la tte r m e a s u re wa s a p rim itiv e fo rm o f e p ic e xpre s s i o n .

To p 2 3 8 On Pa t a fi j a l i s e p ic ve rs e s
. : M B a rth i n h i s re vie w
’
. .
,

o f D a h l m a n n s fi r s t b o o k J o u rn a l de s Sa va n ts 1 8 9 7 ve ry p r o
’
, p ,

e rly q u e s ti o n s wh e ther Pr o fe s s o r L u dwi g i s c o rre c t i n c l a i m i n g

tha t a l l cita tio n s i n B h a sy a ve rs e s r e fe rrin g t o t h e e p ic a re i n

“

”
o the r m e tr e tha n tha t o f t h e e p i c
( p 8 o f t h e stu dy e n titl e d .

U e b e r da s Ve rh a l t n i s s de s myth i s c h e n E l e m e n t e s z u d h i s t . .

G ru n dl a ge d Mb h Ab b d B o h m Ak
. .
, . Ne ithe r scho l a r
. . .
,

gi ve s ill u s tra ti o n s i n s u p p o rt o f h i s s t a t e m e n t Th e e xa mpl e s .

giv e n a b o ve o n p 23 9 s u ffi c i e n tly ill u s t ra t e t h e p a rti a l c o r

, .
,

re c t n e s s o f P ro fe s s o r L u dwi g s o b s e rva ti o n At t h e s a m e ti m e
’
.
,

t h e h a l f c l o ka c it e d a b o ve o n p 6 i s fo un d i n b o th B h a s y a
-
, .
,

a n d B h a ra t a a n d Pa t a fi a l i s t ri s t u b h p a da
’
a s i dvi t i y o
j
‘

,
n u s a s a ra ,

P a n da v a m i s i n r e gu l a r B h a ra ta m etre
,
Th e tru th s e e m s t o .

b e th a t P a t a fi j a li s e pi c v e r s e i s n o t wh o lly diffe r e n t ; b u t it is
’

o n o c c a s i o n fr e e r t h a n t h a t o f the B h a ra t a .

To p 263 : On t h e P ra kri t o ri gi n a l o f t h e e p i c
. I t is p o ssible .

tha t t h e e p ic ta l e s m a y ha ve b e e n c o m po s e d fi rst i n pa to is ; b u t
it i s n o t p r o ba b l e th a t t h e p hilo s o p h ica l s e c tio n s fo r exa m ple t h e , ,

Gi ta a n d p a rt s o f C a n ti ha ve s n fi e re d s u ch a tra n s fo rm a ti o n
, .

To p 2 64 . On p s e u do e pi c a tro c iti e s
: An e a rly e p ic writ e r
- .

wo u l d h a ve s a i d ( i n p ro s e ) j i va n a ha m drs t a va n Th e p o et o f .

t h e p s e u do e p i c j u s t a ft e r u s i n g t h e wo r d j i va
-
,
e m pl o ys ,

i n xii 2 8 0 2 0 n o t o n ly j i va n i b u t a drs t a va n
, , ,

e v a ms a m s a ra m a n a n i j i va n y a ha m a drs t a va n

Fr o m t h e te xt it is e vi de n t th a t a s Ni l a ka n th a s a ys t h e re a l
c on , ,
”
m e a n i n g is “
I h a ve s e e n ( a h a m ve dm i ) th o u gh t h e c o mm e n ,

t a to r de rive s the s e n se thr o u gh t h e i de a o f n o t seein g bei n g -

 F I N A L N OT ES . 473

e q u iva l e n t t o kn o win g n o t by s i ght b u t by in s i ght Th e fo rm .

,

ho we ve r is si m p ly a n irre gu l a rly a u gm e n t e d ve rba l a n d t h e

, ,

s en t e n c e m e a n s lit e r a lly th u s i n c o u rs e o f t ra n s mi gra ti o n h a ve

,

I s e e n s p irits Th e fo r m s t a n ds o n a p a r with t h e a u gm e n te d
.
"

i mpera tive o f R i v 3 2 7 whe re s o m e l a te p e da n t t o a vo i d t h e

.
, , , ,

m e tri c a l irre gu l a rity o f a n a n a p ae s t a ft e r t h e fi r s t s yll a b l e h a s ,

”
ha n de d do wn t a m a b h y a b h a s a s p e a k t o h i m a s t h e Op e n in g
“
, ,

wo r ds o f a vers e ( j u s t b e fo r e n a ki rn c i d a p a c a b di t a m l)
'

Th e .

di ffe r e n c e b e t we e n s u c h f e e do m a s this a n d tha t fo u n d ( fo r t h e r

s a m e re a s o n ) i R v 1 3 41 whe re o c cu rs s a my a g a p a n p ra ve k
n .
, , ,

s y a m i i s th a t wh e r e a s t h e l a t e r m e tri c i s t e m p l o y s a n u n h e a r d o f
, ,
-

lib e rty t h e s e c o n d p o e t s i m ply h a rks b a c k t o th e l e giti m a te in ter

,

ch a n ge o f a p a n a n d a p a n wh ic h t o a vo i d a n o the r irr e gul a rity , , ,

a re e x c ha n ge d i n t h e a lr e a dy sti ffe n i n g verse o f t h e Ri g Ve da ;

fo r h e r e a l s o we fi n d i n R V x 1 21 8 ( t o a vo i d i n a t ri s tu b h a n .
, ,

Op e n i n g cho ri a m b u s ) y a c c i d a p o m a h i n a p a ry a p a cy a t Si m il a rl y .
,

i n s yn t a x we fi n d i n t h e p s e u do e p i c t h e ge n iti ve a ft e r a c o m p a r
,
-

a ti v e , a s i n x iii 1 4 5 ( c ite d b y Ho l tz m a n n ) a n d x i i 2 1 8 2 8 ;
, , , , ,

n a n y o j i va n c a ri ra s y a ; e xa ctly a s w e fi n d it i n t h e l a t e r R a m a
’

y a n a ; fo r G vi 24 2 8 m e re ly i n di c a te s th a t t h e te xt i s la te
.
, ,

( s i n c e t h e a lter n a te text R vi 4 9 2 0 h a s t h e a b l a ti ve h er e
, .
); , , ,

b u t t h e ge n itive o c c u rs a t R i 47 22 n a s t i dh a n y a t a ro m a m a
’
.
, , .

Tha t t h e R a m a ya n a wa s a l s o i n flu e n c e d by Pra krit fo r m s m a y ,

b e s ho wn b y R i v 1 7 49 ( m a i n y a di t va m a c o da y a h ) Ma i t h i l i m
.
,
:

a h a m e ka h n a t a va 0 a n i t a v a n b h a ve h He re b h a ve h m u s t b e fo r
’
.

t h e di a l e c ti c Op ta tive b h a ve ( a s t h e c o m m e n t a to r s a ys “ b h a ve ,

y a m Wh e t h e r c a dh i i n y a tra n a ga dhi c i k sa ya si
, ) i s d u e ,

t o di a l e c ti c fo rm I mus t l e a ve t o exp e rt s t o de c i de R ii 1 05 1 0 :
, , .
, ,

p a m a m a h a b a h o t a da rt h a rn ve t t u m a rh a s i
'
’
e so

y a tr bh rt
a t va m a s ma n v rs a b h o a a bhr hi hi
t y a n n a ga d

I n R ii 1 1 1 2 5 o c c u r s a n u c a s a mi s i c a n d it is diffi c u l t t o s e e
.
, , , , ,

wh y c a s a s i is n o t fo u n d h e re .

To p 2 65 N o t e o n b h a va t i with t h e a c c u s a ti ve o f s p e ci fi c a ti o n
. : .

Th e o n l y c a s e o f this c o n s tru c ti o n i n r e s p e c t a b l e Sa n s krit kn o wn

t o m e i s i n Ma itri U p vi 1 0 : a t h e n dri y a rt h a n p a fi c a s va du n i
’
.
,

b h a v a n t i “
th e fi ve ( s e n s e s ) be co m e ( Op e ra tiv e a s r e ga r ds ) t h e
, ,
”
o b j e c t s o f s e n s e i n t a sti n g Th e p r e c e di n g p hra s e h a s s va du n i
, .

b h a va n t i wi th o u t Ob j e c t a n d t h e s c h o li a s t s u p p li e s pr a ti with
,

i n dri y a rt h a n I n n o circu m sta n c e s h o weve r c o u l d the sixth

.
, ,
474 F I N A L N OT ES
.

ch a pter o f Ma itri p ro ve a n ea rly u s e fo r a co n structi o n o therwise

un kn o wn i n go o d Sa n s krit P ro ba b ly the P e te rsb u rg L e x ic o n i s .

q u it e ri ght i n q u esti o n i n g t h e r e a di n g a lt o ge th e r .

To p 3 5 8 : Th e t a b l e i s ( re vi s e d) fro m P ro fe s s o r Ca p p e ll e r s MS ’
. .

To p 3 73 : On s a u vi ra Fo r t h e B a lh i ka s ( Va h l i ka s ) s a u vi ra ’ ’
. .
,

s e e I S xiii p 3 69
.
,
B o th B h a ra t a a n d B h a sy a r e c o gn iz e Ca ka l a
. .
,

t h e chi e f t o wn o f the Ma dra s .

To p 3 74 On t h e P u fi j a b
. : Co mpa re t h e gro u p i n g o f K a sh .

me e r a n d Pu fi j a b a s pl a c es o f pil gri ma ge : K a c m i ra m a n da l e
n a dy o y a h p a ta ti m a h a n a da m t a n a di n s i n dh u m a s a dy a gi l a va n
n ,

s v a rga m a p n u y a t xiii 25 8 ( with Ca n dra b h a ga a n d Vita sta

, , ,

in 7
To p 3 78 : On hu m a n s a c rifi c e s Th e in fe rre d a n tithe s is i s
. .
,

o f c o u rs e the h o rro r e lse whe re fe lt a t t h e ve ry s a c rifice he re

,

o dr er ed SO i n
. ii 2 2 1 1 it is s a i d t h a
,
t “
hu m a n s a crifice h a s
, ,
”
n e v e r b e e n r e c o gn iz e d ( s een) B ut
C i va i s h e r e wo r s hi p p e d .

with hu m a n s a crifi c e s a s h a s a l wa y s b e e n t h e c a s e with this

,

Go d a n d h i s c o n s o r t On the b l a m a b le vice o f hu n ti n g c o m
.
,

p a re a ls o ii 68 20 ; xii 28 3 1
, , , ,
.

To p 3 8 7 On t h e de n a riu s
. : I n a p a s s a ge pu bli s he d s o m e .

y e a rs a go ( AJP v o l xix p 24) I c a lle d a tte n ti o n to the fa c t

. .
, .
_

th a t tho u gh the R o m a n de n a riu s is n o t dire c tly m e n tio n e d i n

,

t h e e pi c it s e l f y e t it is m e n ti o n e d i n a l a t e r a dditi o n t o t h e
,

e p ic a n d thi s a dditio n is i n tu rn re co gn iz e d ( s o la t e a re s o m e
,

pa rts o f t h e epic its e l f) i n t wo ( I mi ght h a ve s a i d thre e ) bo o ks

o f t h e epic ; wh e n c e fo ll o we d the c o n clus i o n t h a t th o s e p a rt s o f

t h e e p ic it s e l f which re c o gn iz e t h e a dditi o n tha t i n t u rn r e c o g

n i z e s t h e de n a ri u s m u st n a t u ra lly b e l a te r th a n t h e i n tro du cti o n

o f t h e de n a ri u s i n t o the c o u n try a n d thi s i m li e s fo r the s e p a rts

p ,

o f t h e e p ic a da t e l a t e r by h a l f a th o u s a n d y e a r s th a n the da te

a s s u m e d by t h e s y n th e ti c m e th o d fo r t h e wh o l e e p ic i n i t s
p re s
e n t c o n diti o n Wh en i n D i e Ge n e s i s de s Ma h a b h a ra t a p 45 t h e
.
, .
,

a u th o r c o m e s t o di s c u s s thi s a wkwa r d p o i n t h e s i m p ly s a y s , ,

with o u t r e fe rri n g t o t h e s o u rc e o f h i s i n fo rm a ti o n o r t o t h e
a c tua l st a te o f t h e c a s e : Th is p o e m c o n t a i n s n o s u c h e vi de n ce
“

o f l a te o ri gi n ( a s is i mp li e d i n the re c o gn iti o n o f t h e R o ma n
c o in ) wo rds o f esp e cia l s ign ifi ca n ce whe n o n e co n s ide rs th a t
,
”
t h e a u th o r e very wh e re i n s i s ts o n re ga rdi n g “
this p o e m a s a
co m p l e te who l e a n d th a t th e y a re p u t i m m e dia te ly a fter t h e
,

r e m a rk : “ N o b o o k i n which it ( t h e de n a rius ) o ccurs c a n be l o n g

476 FI N A L N OT ES .

in te rp o l a tio n s when ever c o n ve n ie n t t ha t it i s p e rh a p s o ti o se ,

t o try t o re fu te it o n h ist o ri c a l gro u n ds A ga i n i n r e ga r d t o .

,

la te wo rds m e re ly a s wo rds a n y o n e m a y s a y th a t a n y wo rd ma y
, ,

ha ve a n y a ge ; b u t th e re i s s till a r e a s o n a b l e s u s p i c io n tha t a
n u mb e r Of wo r ds fo u n d i n u n i q u e c o m b in a ti o n o r o n ly i n c e rt a i n

pa rts o f t h e e p ic a n d i n l a te r lite a tu re m a y in di c a te a s o me wha t r

c l o s e c o n n e c ti o n b e t we e n t h e s e p a rts a n d th a t lite r a tu r e : a n v a

va ya fa m ily i 209 2 ; vi i 1 44 6 ; a t y a t i kra ma t ( ra t h a va ra n )

, , , , , , ,

vii 1 46 40 ; ka mdi c i ka h ( p ra dra va n ) i x 3 9 ; x 8 1 02 ; n a

, , , , , , ,

1i1 kl i b a y i t u m k a l a h 5 2 a n d v 1 t o vi 9 6 1 2
’
y a i x 7 , , ,
. .
, ,

a s ta p a da , go l d xii 2 9 9 40 e t c
, , C o m p a e a l s o i n myth o l o gy
, , . r
,

o n ly t h r e e wo rl d p ro t e c t o r s xiii 1 5 9 3 1 ( e ffe ct Of tri n ity

-
, , ,

Va ru n a s w i fe Siddh i xii 3 01 5 9 ; C i t a gu p t a ( p
’
, , , ,
r .

TO p 3 9 6
. On t h e da te o f t h e J a t a ka s
: I n r e s p e c t o f the .

i m p o rta n c e t o b e a tta c h e d t o t h e c irc u m s ta n c e th a t e p i c ta l e s

a re r e c o gn iz e d i n t h e J a t a ka s it m u s t n o t b e fo r go tt e n t h a t fo r
,

t h e fo r m o f t h e J a t a ka s a s we h a ve th e m ther e i s n o e vi de n c e
, ,

wha t e ve r o f a ve ry a n c i e n t da te a n d si n c e t h e o l de s t s c u l p tu re d
,

ta l e do e s n o t a n t e da te the thi d c e n tu ry B C e ve n t h e m a tter r . .

,

the y o ffe r c a n o n ly do ubtfu lly b e re fe rre d t o s o e a rly a c e n tu ry .

I t i s o f c o u rs e q u it e p o s s ib l e a n d s o m e m a y th i n k it p ro b a b le
, ,

tha t a t l e a s t t h e c o n te n t i f n o t t h e fo rm o f t h e e ta n t J a t a ka s
, ,
x ,

is still e a rli e r ; b u t i n u s in g t h e ta l e s fo r lite ra ry a n d hi s to ric a l

c o m p a ri s o n it i s Ob vi o u s ly u n s a fe t o b a s e m u c h u p o n a do u b l e

un c e rta in ty o f da t e a n d o f fo rm Th e fa c t th a t B u ddha a l wa ys
, .

a p p e a rs i n th e s e sto ri e s a s a B o dhis a ttva m a ke s it p o s s ib le

i n de e d th a t t h e J a t a ka s m a y b e m u c h la te r th a n t h e third c e n
tu ry M B a rth i n t h e re vie w refe rre d t o a b o ve h a s with his
. .
, ,

us u a l c l e a rh e a de dn e s s c a ll e d a tte n tio n t o t h e fa ct th a t t h e
cu sto m ge n e ra lly re c o gn iz e d i n the s e sto rie s Of s e n din g yo u n g
, ,

m e n t o Ta xil a t o c o mpl e t e th eir e duc a ti o n is a n ythin g b u t a n ,

a n ti q u e tra it .

COR R E CTI ON — Ou . p a ges 55 a nd 5 7, p re kkh a ( p re ks a ) is a

l a psu s fo r p e kkh a .
 E NGLI SH I ND E X .

A BS O R T ON
P I ,
1 8 2 ff .
, 1 85 . C hin e s e , 3 93 .

Acc en ts 5 , . Ci va , 8 8 , 9 7 ff , 1 1 3 ff , 1 43 . .
,

Ac c u s a tive with b h a va t i ,
2 65 , 4 73 . 1 8 9 , 4 74 .

g
A e s, 3 .
Co i n s , 3 8 7 .

A ll a h ab a , 8 3 d . C o l e b ro o ke , 220, 2 42 , 3 5 4 .

A ll it e ra ti o n , 202 ff . C o l li t z , 66 .

A n n ihil a ti o n , 8 9 . C o l o rs 1 72 ; o f s o u l, 1 79
, .

A ra b ia n s , 3 94 .
C re a ti o n s 1 3 0 , 1 42 , 1 8 2 , .

A r c he ry, 1 1 , 1 2 . C u n n i n h a m, 8 3 g .

A r c hit e c t u r e 1 1 , 3 9 1 ff ,
. C u s to m , 9 0 .

A rt , 3 4 9 ; a rt s a n d s c i e n c e s , v Up a ve da
AH L MANN ( v Sy the s i s ) re fa c e
. .

B n P 3 91 ,
A s s o n a n c e , 200
.
, ,
.

3 96
A s tro n o my, 1 4, 1 5 , 3 9 2
.

A the is m, 1 04, 1 8 9
.

Da v i d R hys 5 5 8 7 3 67 3 8 6
s, , , , , .

D e a th 1 8 4
.

g
A u me n t , 2 4 8 , 2 5 1 .

n
,

D e a ri u s 3 8 7 4 74
.

A u th o rity, 9 0 ff
.
, ,

D e tr c ti b l e 1 8 2
.

s u ,
.

D i a l e c ti c fo r m s 69 24 7 2 5 1 2 61 ff
B AC T R ANS 3 73 3 94
I , ,
.

D i d a c ti c e p i c 3 8 1
, , , , .

B y 83
a n an. .

D ii a m b u s 2 42 2 4 8
, .

B rd 3 65 ff
a s, .

D i o C h rys o s t o m o s , 3 8 9
, , .

B rth ii 3 8 1 472 4 75 ff
a ,
v , , .

D o c u me n s , 3 8 8 t
.

B e n fe y ,
.

25 4, 446
ra ma 5 4 K 62
.

D
B l d ir l ti
oo ,
c cu a o n o f, 11 .

D ri ki n g 3 77
n
, .
, .

B l mfi l d 3 244
oo e , , .

D ua l i s m 8 5
, .

B dy ( gr wth f
o o o , 1 53 , 1 73 R , 1 77 .
,
.

B Oh t li n gk, 2 46, 2 4 7, 2 49 , 2 5 6, 44 6 .

E CHO o ri gin o f 2 6 .
, ,

( vo n ) B ra dke ,
3 86 .
E gg ( c o s mi c ) 1 8 7
B r th fi , .

t 3 6 1 71 ff
ea s, ve s e ve n , o r en,
E i g ht e e n vi dy a s 1 7 Pu r a n a s 4 8 49
.
, ,

B r w 1 93
o n, 332 ,
.

( fo l d) 1 43 b o o ks i s la n ds a r mi e s
, , ,

B ddhi t 8 7ff 1 23 1 4 7 1 76 3 9 1 ff
u s s, .
, , , , .

e tc 3 71
, , , ,

B ddhi ti w rk 3 8 6 3 9 5 ; r
. .
,
u s c o s, ,
ve s e s , v .

E ighty th o u s a n d 6
D h mm p d ; 79 204 23 7 2 9 1 3 08
.
,

E l e m e n ts fi ve 3 3
a a a a , , , , , 1 4 9 ; t a n m a t ra , 3 4,
3 43 ,
3 79 ; tra it s in ep c, i 3 5 1 , 3 79 , 3 9 1 ,
,

1 29,
,

1 5 6 ff , 1 72 , 1 73 ff
,

. .

4 75 .

Eme r g e n t s t a n za s 3 17 .

B uhl r e ,
2 1 , 2 5 , 2 7, 23 2, 3 3 3 , 3 61 , 3 76 .
E ve re tt 8 5 , .
,

E E
C AD NC , 20 7ff , 2 1 0 K . . FA— HI , 3 9 2 EN .

C a s u ra , 1 9 8 , 2 1 0 ff , 2 1 6, 3 1 0 Se e . . t
Fa e , 1 8 3 .

d
a l s o u n e r e a c h m e tr e . t
Fa u l s , 1 8 1 .

C a lli m a c hu s , 2 6 . P a n s ll , 2 8 0 .

C a p p e ll e r, 1 9 1 , 3 3 3 , 3 3 4, 3 54, 3 5 6, 4 71 . ik
F c ,
C a rt e ll i e ri , 3 8 7 . il
Fre c w l , 1 03
-
.

Ce ylo n , so , 3 9 3 . F o r g girl t l
-
( a e ) , 2 67ff .
478 EN GL I SH IND EX .

GAN G U L I , 9 5 . L A MP ,
42 .

G rb 1 74
a e , ,
1 78 . La n d gr t
a n s, 3 8 8 .

G g r p hy
eo a , 81 3 71 , 3 73 if , 3 9 3 ff . L a n ma n , 20 6, 2 60 .

Gha t 3 9 2 s, . L a s se n , 3 2 6, 3 65 , 3 93 .

G i l de rm e i s te r, 2 2 0 2 5 4, 2 5 6 ff , 3 26, 446 ,
. . tt r i ty thr
Le e s, s x e e , 3 64 -
.

Gd
o s (v s . 4, 1 8 3 , 3 79
. . i
L e v , 3 67 .

Gr a c e o f Go d, 1 8 8 . it r t r
L e a u e , 1 ff .

r r
G a m ma , v Ve da fi ga . . gi
L o c , 7, 1 1 .

Gr ti l r
a m ma ca fo ms ( v Sa n s Pi a . krit , Lo rd irit y g
sp -
( v o a ), 1 3 4 . .

krit di l ti r
a ec c fo m s ) , Of a e e p c, l tr i t l t the ft
L o u s , 3 7H , 1 2 1 ; o u s .
-
, 22 1
2 64 fl 4 72 ff . t r
Lo us of T ue La w 3 89 , .

Gr ke e s , 8 7, 3 8 7, 3 9 7; wo s, 3 72 , 3 9 1 ff , rd . L ii de rs 5 0 , 60 , 77 , .

3 99 . Lu w d ig 3 76, 3 8 5 , 4 72,
.

Gri r e so n , 3 84 .

MAG I C 3 8 0 .

M
,

HA R D Y , 4 2 8 445 , . rip t f e p i c 3 64 3 8 7
a n u sc s o , ,

He a ve n a n d h e l l 1 8 4 ,
. M a t ti g 3 77
e -
ea n , .

He m i s tic h 1 9 6 ,
. M di i e 1 1 1 2 1 4 3 5
e c n , , , , .

He r e ti c s 8 6 ff , . Me ga t h e e 3 8 9 s n s, .

Hi a t u s 1 9 7 1 9 9
, , . Me t p h r 2 05 ff
a o s,

Me tre a fi e t gra m m a r 24 6 ff
.

Ho ltz ma n n Pre fa c e , 3 , , 4, 1 5 , 2 2 , 2 4 ff , .
, c s .

Me tre 1 9 1
,

2 6, 2 7, 4 6, 4 7ff , 5 6, 62 , 65 , . 77, 9 7, t b le o f 1 93 3 58
s, a s

Mi d 3 3 fl i th s e e 1 1 2 1 66
, , .

1 83 ,
1 8 6, 2 4 6—2 4 9 , 3 68 , 3 9 7 . n , . s x ns , , .

Ho me r , Hi n du 3 79 3 8 9 , , . Mo g o li s 4 75
n a n , .

Ho ra c e 1 93 2 1 0 , , . M r ve rs e 25 9 3 43
o a -
, ,

M ra l 3 76 ff
.

Hu n s o s,

M ir 4 6 8 4 3 68
.

Hu n t m g 3 78 u

M ll r 5 44 3 8 5
.
, , , , .

Hwe n Th s a n g 8 3 i e

M i 1 1 1 3 1 72 3 65
.
, , , , .

Hyp e r me t e rs , 2 5 2 ff, 2 75 ff us c,

M te a d liqui d ru l e 242
. .
, , , .

u n , .

I MP E R A r rv E fu t u re , 1 9 6 2 47
'
,
.

I n s c ri p ti o n s , m e tre Of, 3 3 3 , 3 5 5 , 3 61 A E
N M a n d fo m , 1 78 , 1 8 3 r .

on ro c k 3 8 8 ,
. l
N e p a , 4 75 .

I n s p ira ti o n p l e a ry 9 2 , n ,
. N u mb e s , 2 0 6 r .

Is la ds n u m b e r o f 22 9
n , , ,
3 71 .

OC E AN , a l l u s i o n s t o , 8 0 ff .

JAC OB , 4 5 , 1 74 . d g
Ol e n b e r , 2 2 0, 2 8 7, 28 9 ff , 3 8 6, 4 50 ff , . .

J bia co , 1 5 , 60 , 62 ff , 7s , 79 ff , 3 4, 2 1 5 , . . 4 5 2 ff .

2 2 0 , 222 ff , 23 6 ff , 242 ff , 2 5 2 , 2 5 4 ff ,
. . . . Ol d e n bu rg ,
3 81 .

2 5 6, 2 5 8 ff , 3 26, 3 3 5 , 3 3 7, 3 54 , 3 5 6, . Or g a n s, 3 4 ff , 1 2 9 , 1 4 9 ff , 1 5 5 ff , 1 66
. . . .

3 69 , 3 74, 3 8 1 , 44 5 , 446, 44 9 ff , 45 3 fit , .

4 5 6 ff . Pru ,
2 60, 2 62 ff .

Ja in s 8 7ff, . Pa n t o m i me 5 5 , .

Pa th e ti c re p e titio n 205 , ,
20 7 .

K A MB OJ A s 3 9 2 ff ,
. Pa t a 3 9 2n , .

K a s h me re 72 , 1 1 6, 3 9 4, 474 ,
. Pe rs i a n 3 9 2 wo r d 3 71 , , .

K e rn 1 0 , . Philo s o p hy 8 5 ff , .

Kirs t e 3 9 9 ,
. P hy i c i as 54 n ,
.

K i e lh o r 2 62 n ,
. Pi c t r e s 3 8 8
u , .

K o wl e dg e a n d s o u l
n , 40 . Pi sc h e l , 5 7, 2 63 .

K uhn a u 2 9 6 3 1 7 , , . l t
P a n s , 1 71 .

Po e tic li c e n c e , 244 fi .
,
2 5 1 , 261
 SAN SK RI T I ND EX .

A K KHAN A , 3 86 .
a ry a gi t i , 1 9 3 , 3 54 if .

a ks a ra c c h a n da s , 1 92, 1 9 3 , 3 2 1 v a l a y a n a , 47
.

A c
a gra h a ra , 3 8 8 . ri
A s u , 98 , 99, 1 44 .

a t i j a ga t i , 1 93 , 3 26 .

a t i dh rt i , 1 9 3 . I r rv nr r A ,
' '
51 .

a t i c a k v a ri , 1 9 3 . I t ih a s a 4, 7, 1 0, 47fi
, .
, 50, 64 ( gre a t ) ,

A tri
,
K rs n a t re y a , 1 1 , 3 5 . 3 68 .

th r
A a va n ( v e a s ), 5 1 . Vd . I d n ra ,
21 3 , 471 .

A t h a rva c i ra s , 9 , 46 . i n dra v a nc a , 1 92, 3 09 .

a dh y a t m a ( s c e me ) , 1 3 2 h . i n dra v a j ra , 1 9 2 , 2 1 0, 3 09 .

A n i ru ddh a , 1 43 . i n dr i y a ( fr o m I dr ) 3 5
n a ,
.

a n u p ra s a , 2 03 . I c v a ra ( v L o . r d p i it ) 1 05
-
s r , ,
1 3 9, 1 8 7,
a n u m a n a , 5 1 , 9 2, 93 , 1 45 . 1 89 .

a n u v a nc a , 5 4, 3 64 .

A n u c a s a n a , 3 64 3 98 ,
. U TTA R A ( mi ma n
f] s a ) , 7 .

a p a ra v a kt ra , 1 93 , 3 3 6, 3 40 if , 3 5 8 . . up a gi t i , 1 9 3 , 3 54 .

a p a v a rg a , 1 07 . u p a j a t i , 1 9 2 , 21 0, 21 6, 3 03 , 3 09, 3 1 6 .

A p a n t a ra t a m a s , 3 , 97 . Up a n i s h a d
Ve d a t a ) 9 if s (v . n ,
.
,
1 3 , 25,
a b hi y
na a , 55 . 27 79 1 45 11 ; e r e t 3 1 1 ;
,
s c ,
m e tr e ,
a ri s ta n i t a tt v a n i , 1 00 . 23 7 A t h va c i ra 46 K a th a r s, a ,
29 , 3 1 ,
A rt h a c a s t ra , 1 6, 8 6 1 1 1 , . 46 9 0 471
, C h a d 42 3 8 5 ;
, Ta ,
n .
, , itt .

a rdh a s a m a v rt t a , 1 9 3 , 3 3 6 ; e p c va i ri 49 ; Pra c n a , 6, 2 7; B A , 26, 45, 46 ; .

a t i o n s , 3 48 . it d
c e , p 1 49 , e t c B ra h m a b i n du , 45
Mh
.

M itri
.

a v i dy a
1 3 6, 1 48
,
. Mha a , 1 0, 48 ; a a ma , 2 7 a r .

1 67 471 ; Mu d
,

a vy a kt a ( v Pra krt i ) , 3 4, 1 3 4 fi
. . 2 7, 3 0, 3 3 ff , 45 , 90, .
,
n ,

A c o ka 3 56, 3 96
,
. 90, 3 90 ; Y o ga t a t t va , 3 1 Ove t .
,
28 ,
A c va gh o s a , 3 95 . 1 67 .

c va s a n i j fi a p a n a , 25
'

a . u p a ni s a , 1 0 .

A s a m a fi j a s , 77 . u p a m a , 205 ff .

a s a m b a dh a , 1 9 3 , 3 22 . u p a m a n a , 93 .

As it a D e va la ,
98 , 1 55 ff . Up a v e da , 7, 1 0, 1 1 , 1 3 .

u p a s a rg a , 1 8 1 .

AK H YANA B h a ra t a , , 9 , 3 86 ; dh rm a a u p a kh y a n a , 5 0 .

s a ty a 5 43 50 , ,
.
upa dhy y
a a , 3 80 .

a g a ma (v . 4, 1 1 , 43 , 1 45, 3 95 ; of Up a fi ga , 7, 1 0, 1 3 .

se c ts ,
115 .
u p e n dra v a j ra , 1 92, 21 0, 3 09 , 3 1 6 .

aca ra ,
v . c us om t .
Uga n a s ( v B rh a s p a t i ) . .

t
a ma n (v . so u l) , 1 3 0, e tc .
fi sma n, 1 56, 1 71 .

a p a t a l i ka , 3 5 1 .

2 111 11 25’ a 92 E K AN TI N , 1 43
yu rv e d a ( v Me d i c i n e ) 5 3
, .

A .
,
.
e da k a ’ 49 , 3 9 1 ,

A ra n ya ka 7 9 52
, , .

a ry a 1 93 3 5 3 3 54 ff 3 56 3 5 8
, , ,
.
, , ,
3 60 . AI TI HYA , 43 , 5 1 , 1 45 .
48 2 SA N SKR I T I N D EX .

OJ
'

HA ,
3 80 .
G a dh r ( V e d
n a va a ,
v . Mu si c ) , c a s tra , 1 7 .

gay 3 66
ana ,
.

XUB A C C HA N D A SI KA , 1 93 , 3 41 , 3 49 ff .
G a rgy a ,
1 1, 14 .

Ga l a va 5 .

KAC C i r c h a p t e r, 1 2 , 1 6, 75, 3 84
,
.
g iti 5 , .

d
K a n a a , 9 6, 9 8 .
gu n a fo r j y a , 23 0, 43 7 ( N o .

k a t h a k a , 5 4 ff , 3 64 ff . .
gu n a s, ( th
r e e ) 3 4, ( s e v e n o f Y o gi n ) 3 9,
k a th a 50 fi,
.
1 1 9 ff , 1 50 ff , 1 52 fi 1 58 ii ,
. .
.
( s ix t y )
ka t h a k a , 5 4 fi .
1 63 , 1 64, 1 73 fi , 3 5 5 . .

il
K a p a , 9 6, 9 7 if , 1 1 7, 3 69 .
ge b a fo r grh a , 263 .

k h
a p a , 1 2 , 3 5 , 1 22 .
G a d 202
n a s, .

r
K a m a , 1 03 , 1 49 .

Ga t m 9 5
u a a , , 97 .

ka rm e n dri y a s , 1 3 0 .

Ga ur a c i ra s , 1 8
ty fo u r
.

ka l a j fi a n a , 1 5, 1 6, 1 68 ; s i x
-

thirty o n e e l e m e n t s 1 52
,
gra n th a , 1 6 .

3 86 ; -

gra n t hik a , 3 66
.
,
.

ka fi c i , 8 2
'

Ka p a , 99il .
G HO gA ’ 1 83 °

K a m a c a s t ra , 1 6 .

K a l a , v Ti m e . . CA K R AV A RT I N 3 96 , .

ka l a j ii a n a , 1 4, 1 5 . c a t u rm ii rt i , 1 84 .

K a l a y a v a n a , 1 5 , 48 , 3 92 . c a m p a , 27 2 .

d
K a li a s a , 5 6, 8 0, 225 . c a ra n a , 6 .

K a vy a , 5 3 , 79 , 80 . C a ra n a vy fi h a , 5 .

ki rt a n a , 51 . c itt a , 1 61 .

K u r u s , 61 , 3 76 . Ci t ra gu p t a , 1 84, 476 .

ku c il a v a , 65, 3 66 . c e t a n a , 1 50 .

krt a ga m a , 4 . c a i t a n y a , 45 .

krt a n t a , 9 9 , 1 45 . c a i ty a , 3 92 .

k ara n a ( a ge ) 3
K r sn a 4 ( r e li g i o n
.

o f) , 9 , 1 4, 53 , 1 43 ,
CHAND AS ,
1 91 ff .

,
h ayo pa 3 80
1 75 , 1 8 4, 1 8 9 ; a s D v a i p a y a n a , 4, 54,
c se va n a ,
.

9 7; n a t u r e o f, 3 74 ff , 3 9 4 fi . .

JA G A T I 1 92 1 93 .
, ,
K rs n a t re y a 11 .
J a t a ka s 5 5 3 80 3 8 2 3 8 5 3 96 475 .
, , , , ,

k 1 k a m
a 97
,

1 3 7 1 46 ff 1 5 2 1 7 5
l
.

, , , , , .

j i va a n d v i de h a m u ,
111 kti .

ko ga kgr, 3 6 1 5 1 1 61 ,

Ja i mi n i , 9 7
K osa l a a n d Vi de h a , 78
.

h a m a n , 3 68
K a u l ika -c a s a , 3 80 tr .
jy t
e s a s .

K a u c ika , 1 4, 1 1 6 .
TA TTVA v . Pr i c ip l e s
n .
,
kr a m a , 5 , 1 4 .

t a t ra b h a v a n t , 68 .

k s e t ra j fi a ( v va . ji ) ,
1 60 .
t a t s th a ,
44 .

K s e m e n dra , 3 9 8 .
ta n m a t ra s , v . E le m e n ts .

3 82
ta p a s ,
1 88 .

rA x A ,
'
K n E
t a rka c a s t ra , 90, 1 46
.

G A n A C C HA N D A s , 1 92 , 3 54 ff . t a m ra p a t ta , 3 8 8 .

g dy 8 , 2 72 t i sy a ( g e ) ,
3 a .

a a
( g a th a ) 52
.
,

G ya a 83 .
Ti rt h a s , 8 , 20, 49 , .

G rg
a a , 15 fi .
t riko n a , T p fywvo s , 3 72 '
.

Ga n e ca s, 1 1 5 t ri s tu b h , 1 92 , 209 fi , 2 1 4 ff , 273 ii ; .

s—
ir d i y
.

e y e v e w, 275 ; o f R a m a a n a ,
’
g th
a a , 52 , 3 65 ff ; e p i c , 3 85 ; ve rse ,
b
li t l ti
.

2 3 9 , 244, 2 64 2 76 ; s c o n e , 2 77; c a a e c c , 2 8 2 ;

a t h i n , 3 66
.

hy p e rm e tri c ,
2 8 6, 2 9 6 d e fe c ti ve ,
g .
48 4 SA N SKR I T I N D EX .

b a h vrc a , 5 . m o ks a c a s t ra , 1 6 .

B a da ra y a n a , 9 7, 1 24 . m l e c c h a , 49 , 3 93 .

B lh k
a i a , 3 73 , 474
'

budd h a a n d b u dh y a m a n a , 1 3 2, 1 3 4 ff .
YA MA , 1 8 6, 288 .

buddhi ( v s a m a ) , 1 58 ; h a s s x
. khy i ty y a m a ka s , 205 .

g u n a s , 1 63 .
Ya v a n a s , v re e k s . G .

b u ddh i n dri y a s , 1 3 0 .
Ya ska , 1 4 .

B rh a s p a t i ( w ith
Uga n a s ) , 1 1 , 1 8 , 8 7 . y u kt i c a s t ra , 1 7 .

B ra h m a j a l a s u a , 5 5 , 5 7 tt .
Yu dh i s th i ra a n d y u dhi s t h ira h, 3 91 .

B r a hm an ,
1 1 , 90, 1 04 if .
g g
y o a , ( e i htfo l ) 44, 8 6 fi , 1 1 1 , 1 3 6, d
Br hm a a n, 4, 1 8 3 , 1 8 7 .
1 5 9 , 1 88 .

b ra h m a s ii t ra ( ea ) , 3 64 ( v Sa a ) thr d . tr .
g
y o a -c a s tra s , 1 1 0, 1 79 .

Br ha m a n a , 7; Ai t , 26 ; Ca t a p a t h a , 6, .
g g
y o in , s e ve n u n a s , 3 9 ; p ra c ti c e , 1 07;
7, 2 6, 3 68 ; T a n dy a , K a a , K a n va , th bo dy of e i ght g 1 08 ; fa
u n a s, u lt s ,

Ta i t t i ri , 8 ; K a a p a a n d K a a , 14 l th .
181 d i ip li
sc ne , 1 07, 1 8 1 , 1 8 9 .

B HA G A V A D G i TK, 53 , 205 m e e o f, 2 1 9, tr R A THA MA 3 68

T R A, .

ra t h o ddh a t a , 1 9 3 , 3 22, 3 5 8
225, 23 4 ff 3 8 4, 402
.

ra h a s y a , 9 , 1 0, 1 3
Bh r t
a a a , l l , 57 .

R a m a , 64, 78 , 79, 3 9 5
.

B h a ra dv a j a , 1 1 , 1 8
.

R a m a y a n a , 1 9 , 2 7, 52, 55, 56, 58—

.

8 4,
b h a va t i w ith
a c c , 265, 47 3 . .

1 88 m e tr e o f, 226, 23 1 , 23 6 fi , 242,
b h a v e ( h ) fo r b h a v e y a m , 473 .

247ff , 264, 3 1 6, 3 1 7, 3 49 ff , 3 54, 3 61 ,

B h a g a v a t a s , 9 1 , 1 1 5, 1 1 7
. .

B h r t k th
a a i a a , 5 4, 64, 3 8 6 ff
.

.
3 8 4, 3 95 ; a l s o t h e A p p e n i c e s , p a s d
s i m , a n d 47 3
b h u j a rh ga p ra y a t a , 1 9 3 , 2 8 9, 3 23 , 3 5 7
.

ru c i ra , 1 93 , 3 02 ff , 3 26, 3 58 ; i n R , 3 09
,

3 58
. . .

b h fi t a t m a n , 3 9, 40
d
R u r a Ci v a , 1 1 5, 1 84
-
.

b h o t i , 2 59 .
.

d
r u ra s , 1 08 .

r fi p a k a , 205 if .

R o m a h a rs a ( n a ) , 47
MA T H URA 3 95 , .

ra u dra ra s a , 204
.

M 8 9 18
a nn, , , ff , 22, 2 5, 5 7, 69, 1 44
.
.

3 88 . L o x Ar A rA , 8 7, 1 1 1 .

m a n o v a h a 3 5, 1 8 1 , .

m a n tr a , 4, 1 1 . V A Nq 1 92, 3 09
r HA B I L A ,
'
.

M y 3 92
a a ,
. Va t s a b h a tti , 3 3 3 , 3 5 5 .

m h a tm
a 39 a n, . v a rn a v rt t a , 1 9 2, 3 21 .

Ma h a b h a ra t a 4 54 ; krt 3 5 8 3 89 ff , ,
-
, ,
. v a s a n t a t i l a ka , 1 93 , 3 3 3 , 3 5 7,
3 58 .

d t e o f 3 9 7ff
a v a s s o , 3 64

M h a b h a y 3 5 6 8 5 6 ; v e r s e 23 8
. .
,

a s a , , , , , , ,
v a c a ka , 3 63 .

25 8 , 3 90, 401 , 468 , 472 . i

va n , 1 7 2 .

m a h a b h fi t a , 3 4, 1 3 0 ff , 1 75 . . t
v a a , 1 2, 3 5 , 1 22 .

m a ga dh a 3 66 s, . v a t o rm i , 1 92 , 3 04, 3 1 7if .

M gh
a a , 22 3 , 22 7 . Va ma n a , 3 3 3 .

m a t ra c h a n da s , 1 92, 3 3 6, 3 43 . V l iki thi

a m , e f, 5 7 poe a n d sa n , t i t
m a t ra s a m a ka , 1 9 3 , 3 51 , 3 5 3 if , 3 5 5 ff . . 58 ff , 61 fi ; c o p e , 204, 225, 22 9,
. . i d
y
m a a , 8 6, 1 0 1 , 1 1 6, 1 3 8 , 1 5 1 , 23 5 . 2 64 y a j u rve di n , 3 68 .

ri
m a s a , 68 , 204 . Va s d e v a
u , v . Kri s h n a .

li
m a n i , 1 9 3 , 3 3 4, 3 57, 3 58 v a s t u v i dy a , v A r c hit e c tu r e
M
. . .

i h i ra , 3 71 . V a h ika , 3 73 .

m i m a ns a , 8 7 . vi ka ra s , e e ve n , l 3 7 44 ; i t
s x e en, 1 28 fi ,

m rge n dra m u kh a , 1 93 , 3 3 1 , 3 3 7 . 1 68 ff .

m o ks a dh a rm a , 5 1 . Vi da rb h a s, 203 .
 SA N SKRI T I ND EX .

vi dfi s a ka , 5 5 ff .
cukr a ,
1 53 .

v i dy a , 1 3 6, 1 83 .
Ca d r a ( in l a te r e p i c ) , 3 79 .

vi p u l a , ru l e s , 220 if , 248 . exa mp l e s , Ca i v a s , 115 .

cle s m a n , 1 2 .

vi c e s a s , 44, 1 29, 1 8 7 . l k
e o a , 1 92, ff , 2 1 9 ff s c e m e . . h
vi c v a ( n i ) , 25 1 . o f me tr
e , 23 5 , 2 3 6 ; p o p a a , 21 9 ff ; ri r d .

Vi h s n u , la w b o o , 3 88 ( v K s n a ) -
k . ri h . i i l k
a m b c e o a , 23 8 ;
pos e o pa a , t ri r d
Vih r a a , 8 8 , 3 91 . 23 9 ; p e me hy r tri
c , 252 ff ; c o m p a e . r d
i
V n a, 17 2, 3 65 . w ith
m a n-a , 3 5 6 .

Vd e a , 2 if , 1 01 m a e , 3 ; v e da ka rt a r, d Ove t a dvi p a , v W i e m e n . ht .

l t
4 ; o s , 3 , 4 ; s e a n d b a n c e s, 5 ; iz r h
Sa rnh i t a , 7, 53 o e n a m e s , 2 , n o t th r SA s8 n “
B HAG A , o f Gi v a ,
1 1 3 , 1 65 .

i l d g
n c u in A a n a a , 9 ; A t h a rva , r y k
2 3 , 5 , 1 2 , 2 6, 3 8 0 ;
,
a ma a n d Br h SA MA J A ,
57 .

Br h
a m a , 9 , 1 2, 1 3 ; B k, 2 , 5 , 23 if , sa m a dh a n a , 1 09 .

sa m
.

1 24, 2 07, 3 56 Ya j u s , 2 , 5 , 2 5 , 3 68 ; k h y a n a , 1 26 .

s a m p ra s a da , 41 , 42
Sa m a n , 2, 3 , 5 , 3 69 ; fo u fo , v e , r ld di id d .

e t c , 3 ; Q a k a l a ka , 6 ; f , o r Vy a s a s
’
fi th s a ri i kh y a , 8 6 E 9 3 , 1 1 0, 1 1 1 , 1 24, 1 27if ;,

s c h e m e , 1 2 9 , 1 8 9 ; s i x ty g
.

u n a s , 1 64
V d
e a , 7, 1 0, 5 3 .

V e da ri ga s , 7, 9 , 1 1 , 1 3 , 1 4 a n d 3 55
'

sam
.

V t
e da n a , 9 , 43 , 5 3 , 93 fi , 1 1 1 , 1 43 , 1 50 .
kh y a y o ga , 9 6, 9 9, 1 01 ; iffe r e n c e , d
r t
Se c e o f, 1 5 7 .
1 1 1 , 1 24, e t c .

V e d a n t a s a ra , 3 4, 23 8 .
s a ma n ( v e a ), 16 . Vd .

V e da ra n y a ka , 9 6 .
dd
Si h a n t a , 1 1 7 .

v a i t a li ka , 3 66 .
dd
Si h a rth a , 1 4 .

v a i t a l i y a , 1 93 , 3 41 , 3 49 fi .
dd
Si hi , wi fe o f a ru n a , 475 V .

s u ru fi g a , 3 7 2
v a i c e s i ka , 96
.
.

v a i c v a de v i , 1 9 3 , 3 04, 3 1 7ff , 3 25 , 3 8
5
. .
Si t a , 5 6, 3 64 ff .

'

a i s n a va s , 1 1 5 .
Sa tr a , 1 1 , 1 3 , 1 5 , 1 6, 1 7; e p i c v e r s e i n ,
v y a kh y a 5 3 , .
3 85 m e n ti o n o f e p i c 3 90 e a , V d
V y a s a , 58 , 71 , 1 23 , 1 24, 1 57 .
s a tr a a n d B ra h m a s fi t ra , 1 5, 1 6 .

s ii t radh a ra , 5 6 .

C A K V A RI '‘

,
1 93 .
s a u kh y a c a y ik a , 3 66 .

Ca t a p a t h a v B r a hm a n a , . .
s a ura s , 1 1 5 .

Ca t a ru dri y a 24 3 68 , , .
s a u vi ra , 3 73 , 474 .

c a b da c a s t ra , 1 7 .
s t u t i c a s t ra ,
48 .

Ca m b fi ka , 72 .
s tfi p a 3 92
,
.

Ca kt a s , 115 .
s t o b h a s , 207 .

ga kh a , v. Ve d a .
St h a p a t y a v e da , v Arc . hit e c tu re .

Q a n di ly a , 1 4, 9 7 s m a a n d s m a h e , 249 .

c a rdfil a vi kri di t a , 1 93 , 3 3 6, 3 5 7if .

Sm rt i , 3 95 .

li i
c a n , 1 92, 3 04, 3 1 4, 3 1 8 .

Ca l i h o t ra1 2, 99 ,
. HA R I G i rAs , 5 3 '
.

tr
c a s a , 9 , 1 2, 1 3 , 1 7 . Ha ri v a nc a , k n o wn i n Ca n ti , 9 .

ik
c s a 4 ( s a c a ik sy a m ) , 7, 1 4
, . Hi ra n y a ga rb h a 9 6, 1 1 3 ,
.