a Rawiete mfeere wrt : Te ° oye fraersgae = 780" sfafeee eros ae & crut foe freee Tateara ware S ray eit atm ergsRAAT | atawafe wfeere aa! fawe wee THE am vu, A Ae RITU-SANHARA. oR THE ASSEMBLAGE OF SEASONS : A w A =: 4 KALI-DASA TRANSLATED FROM. ‘THE ORIGINAL SANSKRIT INTO HINDI VERSE BY “THAKUR JAGA MOHAN SINHA SON OF THELATE CHIEB oF BIJA¥A- = ‘RAGHOGARHA JABULPUR, CEN- _ ‘TRAL PROVINCES TAAL RONct " . ADVERTISEMENT. es The urgency of some of my dearest friends has led me to translate the “ Ritu-Sanhara ” or the “ Assemblage of Seasons ”—a short descrip- tive poem by KAli-désa—into Hindi verse, My friends, who had seen the earlier portion, advised me to complete the work, but owing to my bad health and want of leisure, as a college student I was obliged to put off its completion from time to time, till the best opportunity possible present-. etl itself, the winter vacation of the college, which Jast year fortunately extended to four weeks, commencing on the 7th December, 1874, T availed myself of this and strove hard to finish the translation before the re-opening of the college. God helping me, the work came to an end, I was so delighted at the consummation of my task that I could not refrain from celebrating it by inviting my friends to an entertainment. _ Every one will remember the joy with which (he has viewed the accomplishment of a piece of “work in which he has been long interested and ed, I translated this “Ritu-Sanhira” when or July 1874 ; but, simply hes 2i for thé” purpose of an interview with my asin, the Raja of Maihar and other members of my family I could proceed no further in my task, 1875. . J. M. Sinha, ae INTRODUCTION. The “ Ritu-Sanhara ” or the *‘ Assemblage of Seasons ” has been translated from the original Sanskrit into Hindi verse, and is now offered to the public in quite a new dress, It is a short sdescriptive poem attributed to Kalidasa, who, in India, stands foremost ‘ among the glorious comp- any of the sons of song.” He flourished in the half century immediately spreceding the christian era. He was one of the sweet singers of Ujjaini, and the nine gems of. the ‘polished court of Vikramaditya, the munifi- cent patron of Sanskrit literature,’ This poem “ @eseribes six Seasons of India in six several cantos. The first canto is entitled “Grishma” or | Sumwer, the Second “ Varshah” or the Rains, — the third “ Sarat ” or Autumn, the fourth “ He- manta” or the dewy season, the fifth “ Sisira2? or the frosty season or winter, and the six * Vasanta ” or spring. In translating this I have followed Baba Bhuvan chandra Vasaka’s edition published in ‘Caleutta in the year 1869, with a commentary E styled “Chandrika” by Pandita Manirama 8: Ex.The prevailing metro of the first canto is th Varisastha, of the second the Indra-Vansa, of the third the Vasantat:laka, of the fourth the Upajdi _ of the fifth and the sixth the Upendra vajra, __ To my best knowledge this book has not yt __been translated into either English or Hindi. On the three captos, viz Summer, the Rains, and _ autumn have been freely translated by Mr. - ffith the officiting Director of Public Instrue oR. W, Provinces. This is the first time it app "before the public in a Hindi garb, In no caso have I ventured to omit diffiea _passazes which came in my way, but have attem: _ ted to render them faithfully and systematicall} and I trust for the most part not without success. - The metre I have adapted is the Dohd—eeutre rhe = tt wt Gcal St are Be Beek TT e a a 8 ae alfan at aa aay Z E. PAWL AR Ro om te Sy Be az fasta ara ‘Vihari, an ancient Hindi poet at the court of — | Maharija Jaya Sisha Sabai of Jayapur was one of the best poets of the Hindi language. He “highly esteemed the Doha and composed in it his great’ work the “ Sringira-Sapta-Sati,” which is unrivalled in its “ Harmonious alliteration ? | and liveliness, This pocm contains seven hundred Dohas describing the loves of Krishna, and Radha, and of Krishna and the G@opis or milk-made. This Krishna is said to have been the sweetest — of Singers, and to have ravished the Gopis with p fhe melody of his flute, * Leannot refrain from subjoining the follow- | Sing, passages, quoted at random from the Vihari | to bring to the notice of my readers the beauty | of this celebrated poem. They will kindly excuse ‘the length of my quotations, . “arefa azfe: Ghafa fopfa fax fa faafa afterfas = nea aE a OG Cas y , “at ala wefa B aagt wa Ta ‘gomafa cafa fad aD attcia ac aa sata faa Ss 2 facufa aegee Zt aael cca EH zt zea | | Sx maa rad Sat aria Bay : we wuae Sa avt Rea size | ; WE AY Bay at qua aa aha aah ae ara a aay Fat ase ATS | 2 gana qcyet datas afar onfs W xa staat afaaiant oe fecare arte | 2 aa a tae far 28 agenfy | Ria 38 ae aa saat ofa a7 |. oe are aT ae WS FA HATS EM BMA ZEA ITA axa waPamiita 1° é ora vig gusa fea” < ata fry = Di cea.ver vt ar euiiecaan i Baie Sis whet ev es8 Ha asat afaa wat frafe® re Alfa ge anf) am ait area stares wate me 4 wea Be ea We aR FU a are faara | fea gacraratced Rea afareaiaere y” ; i! 0 The translation of the above Déhas of Vihart hn Sanskrit-Dohas by Pundit Parmanando Bhatta, a living Sanskrit poet—is also added in the following extracts, The poet is now at the court of Raji Ranjora Sinha of Ajayagarh, a branch “of the Panna family in Ban- delkhanda. I am personally, acquainted with him. He was, for his labors of years in translating this famous poem, awarded by Pandit + Harischandra the + eum of Rupees Five hundred. ¥ i Pandit Harish chandra is well known to the Indian public as a Hindi poet and Dramatist ste Benares. The trnslation runs thus. “aaefa a aefa ufc sy agfa after zai fa | ey sauaqata at eat awsatarq facarfa ‘® Known as “+ Babu,” ea oe er ee2H OU. 3 aan aarrarparsneeaiaty | Teale vfcary fetter rageraat Ww “aa ser afert ae met aneafal aalrararcicgat at feared aha mafa atfawalfa- afaafe crrnfacaa | wate arate TET wala at aaa aaratafiate: ag wae fT | tfcanfaa dreaagd waafa ayy afa u sararaaaae-d ealfcrte |. avaaita fazed armerit: gerafer 1 ‘a faaga oat ae ara vefe wet aaagg venfa Aza - faafa eaifce een: arafcaa aeifa a afeg saad BifercRAT wife | | Maa tasers egre afarcfe E _ he wear afiet wet ae afer 5:te pe = a] a4 S\facwafad frrtfa afaaria nt x . aa emacs war aalaara afar | x a a fagrfe a faufa fe arafaa waa AY, TETHASTT | WHT TA RAT I” In rendering the second canto of the Ritu-— Sanhéra I have adapted a long and descriptive chhanda, The last Canto, viz : the Spring has been almost wholly translated into the Drutavilambita metre. It may be scanned thus, had sont sit sis waa | a fer at ae | aa S| * pit srt os ti sug aay | Fea | at Aa TT S| T have also written an original invocation at the commencement, followed by poetical deserip- tion of my birthplace and its boundaries, In doing so, I have adapted a beautiful and imaginative chhanda called the Kundaljka, It is chiefly used in depicting the beauties of nature, The Kandalika — begins with the Doha, the fifth charana of which © Must be a repetition of the fourth, in ee necessitate alliteration or Yamaha, : ‘The last two syllables are required to be the 4 game as at the commencement, The famous poem of Giridbari is entirely written in this metre,” om stabbedag [9] % — Ihave nothing further to say than, that my friends will kindly read this without seeking for defects and shortcomings in the translation, Some few will, no doubt, animadvert upon incidental defects in the translation, or in the translitera- tion of words, while others may commend the sweetness of the versification. To all such I must be allowed to say: ‘ One word as to the manner in which I have endeavour- ed to perform my task :—though there is much T thiak, that might be strack out with advantage to the poom this I have in no instance ventured todo, my aim having been to give the Hindi reader as faithful a cast of the original as my own power and the nature of things would permit, and, without attempting to give word for word, or line for line, to produce upon the imagination - impressions similar to thosewhich one who studies ' the work in Sanskrit would experience, So that now, in the words of the manager in the Prelude to the Hero and the Nymph “TI have only to request the audience that they will listen to this work of Kalidasa with attention and kindness, — in consideration of its subject and respect for the ‘author. : _ Benares: | Wards, Institution, t4BhN MOHANA smiaa dia di fag aiawe andte fee'a ae afar a easels calelaleal aa aiteawee acta saa gaat 05 gue xa ate lleag adiaag aa aed ue aon dos gaa ay feat qual aa eet izfa ea € ara wea aH ote! at feeareat ay fequia Tam uae aigd oi ufe ada at dat ge raf " ecae aitfre arate are |