गौतमी । जादे । परिहीश्रदि गमणवेला । वित्ते हि पिदरं । गौतमी । जाते । परिहीयते गमनवेला । निवर्तय पितरं । अहवा । चिरेणबि पुणो पुणो एमा एष्वं मन्तदस्मृदि । वित्तदु भवं । श्रथवा । चिरेणापि पुनः पुनर् एषा एवं मन्त्रयिष्यते । निवर्ततां भवान् । काश्यपः । वत्से । उपरुध्यते तपोनुष्ठान शकुन्तला ॥ भूयः पितरम् अस्थिय ॥ तबच्चरणपीडिदं तादम शकुन्तला ॥ भूयः पितरम् श्रश्लिष्य ॥ तपश्चरणपीडितं तातशरीरं । ता मा श्रदित्तं मम किदे उक्कण्ठ । रीरं । तन मा अतिमात्रं मम कृते उत्कण्ठख । काश्यपः ॥ सनिःश्वासं ॥ tiratham = asat-paripanthinam, having no antagonist ' = apratirathikam: K., ratha being put for rathika or rathin, a warrior who fights from a a chariot.' Nire'sya = viváhya, ‘having caused to marry : ' K. Nivis has this sense in Mahábh., i. 7138. Tad refers to Daushyanti. Arpita, etc. Compare in Vikram., Act 5. Aham api súnau vinyasya rájyam. Also Manu, vi., 2, 3, — When the Father of a family perceives his own wrinkles and grey hair, committing the care of his wife to his sons, or accompanied by her, let him repair to the woods,' i.e., Let him enter upon the third quarter of his life, that of a hermit: see p. 157, note 3 at end. Śánte: compare p. 20, 1. 4. Padam : compare page 145, note 3 at end. 1 — Allow the Father to return ; or rather, (since ) even for a long time she will go on talking again and again in this manner; let your reverence return,' i.e., Return at once yourself, without asking her permission. To depart without asking leave, is contrary to all Hindú ideas of politeness. Athavà : see p. 30, note 1. ± — The prosecution of (my) devotions is interrupted (by this detention.)' Compare in Vikram., Act 5, Uparudhyate me ásrama-vása-dharmah. Ukkantha 'Therefore do not beyond measure sorrow on my account.' for Sanskrit utkantha or utkanthaswa is the reading of my own MS. Má ukkanthidum seems questionable. Kátavema has Bhiyo 'pi tapas-charanapiditam tátasya sariram atimátram mama krite utkanthitam bhavishyati. 1 शमम ्म एष्यति मम शोकः कथं नु वत्से त्वया चरितपूर्व । Charita, so reads the = purá-vihitam: S. The bali, or griha How, my child, will the grief of me, looking at the oblation of ricegrains formerly offered by thee, germinating at the door of the cottage, ever be assuaged [ever go to assuagement]?" Colebrooke MS.; the others have rachita-púrvam Charita is supported by charu, an oblation of rice.' bali is a particular kind of offering, identical with the bhúta-yajna, i.e., a sacrifice for all creatures, but especially in honour of those demigods and spiritual beings called griha-devatáh, 'household deities,' which are supposed to hover round and protect households [Manu, iii., 80], or to whom some particular part of the houso is sacred. This offering was made by throwing up into the air [Manu, iii., 90] in some part of the house generally at the door [Manu, iii., 88] the remains of the morning and evening meal of rice or grain; uttering at the same time a mantra or prayer to some of the inferior deities, according to the place in which it was made [Manu, iii, 87, etc.], whether to Indra with his followers the Maruts, or to Kuvera with his followers the Guhhyakas, Kinnaras, Yakshas, etc., or to the spirits of trees, waters, etc. [Manu, iii., 88, 89]. According to Colebrooke it might be presented with the following Pauránik prayer, May gods, men, cattle, birds, demigods, benevolent genii, serpents, demons, departed spirits, bloodthirsty savages, trees, and all who desire food given by me-may reptiles, insects, flics, and all hungry beings or spirits concerned in this rite, obtain contentment from this food left them by mo!' It was sometimes offered by the women of the house, who might assist in any sacrifice, provided they abstained from repeating the mantras [Manu, iii., 121], and as the offering was intended for all creatures, even the animals were supposed to have their share in it. [Manu, iii., 92] In point of fact the crows, dogs, insects, etc. in the neighbourhood of the house were the real consumers of it [whence balipushta, bali-bhuj, griha-bali-bhuj, as names of a crow, crane, sparrow, etc.: compare Hitop., 1. 1076] and such of the grains as escaped being devoured by them would be likely to germinate about the threshold. This bali formed one of the five great sacrifices or religious rites, sometimes called sacraments, Verse 101. ARYÁ or GÁTHÁ. (See Verse 2.) गच्छ । शिवास्ते पन्थानः सन्तु । ॥ निष्क्रान्ता शकुन्तला सहयायिनश्च ॥ सख्यौ ॥ शकुन्तलां विलोक्य ॥ हद्धी हद्धी । अन्तलिहिदा मख्यो || शकुन्तलां विलोक्य ॥ हा धिक् हा धिक । अन्तर्हिता मउन्दला वणराईए । शकुन्तला वनराज्या । काश्यपः ॥ सनिःश्वासं ॥ अनसूये । गतवती वां महधर्मचारिणी । निगृह्य शोकम् अनुगच्छतं मां प्रस्थितं । which the householder who maintained a perpetual fire [see p. 148, note 3] and devoted himself to the priesthood had daily to perform [Manu, iii., 67, iv., 21]: viz.—1. Brahma-yajna, in honour of the Rishis, the authors of the Vedas, and therefore performed by the study of the Vedas and holy writ in general [Manu, iv., 147]. 2. Deva- yajna, in honour of the superior gods, performed by oblations to Fire himself, or through Fire to the other gods [see p. 148, note 3, and Manu, iii., 84, 85]. 3. Pitri-yajna, in honour of tho progenitors of mankind [Manu, iii, 194], and especially deceased ancestors, performed by pouring out water with tila, etc. [Manu, iii., 202]. The solemn celebration of this offering at stated periods was called Śráddha : see p. 112, note 1. 4. Manushya-yajna or Nri-yajna, in honour of men, performed by offering water, food, a seat, etc., to a guest: see p. 35, note 2; and Manu, iii., 99, etc. 5. Bhúta-yajna, or Bali, in honour of all creatures of every description, but particularly of those not provided for by the other four sacrifices. It might have reference, however, to the deities and beings honoured in the other sacraments. That it had especial reference to the Griha-deratäh is indicated in Manu, iii, 117, with commentary, and in the Mrichchhakati, where Chárudatta, after fulfilling the Deva-kárya, or second of the above rites [compare p. 140, 1. 16] is described as offering the bali to the household gods around the threshold. His speech as he offers it, corresponds remarkably with that of Kásyapa, Yásám balih sapadi madgriha-dehalinám, hansaischa sárasa-ganaischa vilupta-púrvah, tásweva samprati virúdha-trinánkurásu, víjánjalih patati kita-mukhávalidhah. ± So read all the Devanagari for antarihidà : Cf. page 140, 1. 7. उभे । ताद । सउन्दलाविरहिदं सुखं विश्र तबोवणं कहं पविसामो । उभे । तात । शकुन्तलाविरहितं शून्यमिव तपोवनं कथं प्रविशावः । काश्यपः । स्नेहप्रवृत्तिर् एवंदर्शिनी ॥ सविमर्श परिक्रम्य ॥ हन्तं भोः । शकुन्तलां पतिकुलं विस्सृज्य लब्धम् द्रदानीं स्वास्थ्यं । कुतः । अर्थो हि कन्या परकीय एव ताम ्मश्रद्य सम्प्रेष्य परिग्रहीतुः । जातो ममायं विशद ः प्रकामं प्रत्यर्पितन्यास दूवान्तरात्मा ॥ १०२ ॥ ॥ इति निष्क्रान्ताः सर्वे ॥ ॥ चतुर्थो ऽङ्कः ॥ 1 — The course of affection views it thus.' The Bengali have sneha erittir, and one [E. I H 1050 ] evam sansini for evam dar'sini. vishaye sneho bhavati tad-asánnidhyát etádrisa eva kramo bhavati: Ś. Yasmin 3 — My natural serenity of mind,' 'my natural good spirits.' A load of anxiety is taken off my mind. • — Verily a girl is another's property. Having to-day sent her to her husband, this my conscience has became quite clear, as if (after) restoring a deposit.' Kanyà-rupo 'rthah, etc., 'tho property consisting of a girl belongs to another: Ś. Ch. Parigrahituh = parinetuh. Hence parigraha, 'a wife :' see p. 124, 1. 6. The ceremonies of marriage are described by Colebrooke in the Asiatic Researches, vol. vii., p. 288-311, thus:-The bridegroom goes in procession to the house of the bride's father. The bride is given to him by her father, and their hands, on which turmeric has been previously rubbed, are bound together with kusa-grass. The bridegroom next makos. oblations to the sacred household fire, and the bridegroom drops rice into it. The bridegroom solemnly takes her hand in marriage [whence he is called páni-grahitá, and marriage páni-grahana], and leads her round the sacred fire [whence he is called parinetd]. The bride steps seven times, Vers0 102. INDRAVAJRA (variety of TRISHTUBH) containing eloven syllables to the half-line, each half-line being alike. ॥ ॥ अथ पञ्चमो ऽङ्कः ॥ ॥ ततः प्रविशत्यासनस्यो राजा विदूषकश्च ॥ विदूषकः ॥ कर्ण दत्त्वा ॥ भो भो वनस्म । सङ्गीदसालन्तरे श्रवविदूषकः ॥ कर्ण दत्त्वा ॥ भो भो वयस्य । सङ्गीतशालान्तरे अवधाणं देहि । कलविसुद्धाए गीदीए सरसोचो सुणीश्रदि । जाणे । धानं देहि । कलविश्ऽद्धायां गीत्यां स्वरसंयोगः श्रूयते । जाने । तत्तहोदी रंमपदिश्रा वणपरिश्रमं करेदिति । तत्रभवती हंसपदिका वर्णपरिचयं करोतीति । राजा । तूष्णीं भव । यावद् श्राकर्णयामि । Prakámam = and the marriage is then irrevocable. Visadah == prasannah, ‘serene,' tranquil :' K. = sustha: $ Compare manasah prasàdah : Vikram, Act 5. atyartham : see p. 109, note 1. The Bengálí reading of the last two lines is játo 'smi samyag vísadántarátmá, chirasya nikshepam ivárpayitwá. In the Bengálí MSS. the speech of the Chamberlain commences the Act. ± ‘Turn (thy) attention to the interior of the music-hall. In a soft and clear song harmonious sounds are heard [the union of notes is heard].' Tswardnám yatra nrityádikam bhavati sá sangita-sálá, ‘A music-saloon is a place where dancing, etc., is performed before princes : ' S. Aradhánam : Kátavema has aradháranam. Grtyám = dhruváyám: K. The Prákrit gidie may stand for the instrumental, genitive, or locative cases. Swara-sanyoga: Kátavema has swara-yoga. Both expressions occur in the Mrichchhakati [p. 33, 1. 2 ; p. 94, 1. 1 ; p. 222, 1. 5 ; p. 339, 1. 9], and in the Málavikágnimitra [p. 67, 1. 6 with note]. 3 ‘Is practising singing,' lit., 'Is making acquaintance with the varnas.’ Parichaya = abhyása : Ch. Tarna, ‘the order or arrangement of a song.' It may also mean a musical mode.' These modes are numerous, personified |