॥ तृतीयो ऽङ्कः ॥

॥ ततः प्रविशति समदनावस्थो राजा ॥

राजा ॥ सचिन्तं निःश्वस्य ॥

to indicate that the term belongs to the dialogue itself, and not to the speaker of it. The Vishkambha may occur at the beginning of any of the Acts, even of the 1st. immediately after the Prastávaná [ádáv ankasya dar'sitah]. It may be spoken by two out of the three sets of characters into which the dramatis-person of an Indian play are divided, viz., the inferior [nicha] who speak Prákrit anudáttoktyáin the low tone'; and the middling [madhya, madhyama] who speak Sanskrit udáttoktyá 'in the high tone'; but not by the chief [pradhána], such as the hero, etc. Again, it may be spoken by one character in the form of a soliloquy, or by two in the form of a dialogue ; and either by characters of the middle class only, when it is called Suddha, i.e., pure; or by those of the middle and lower combined, when it is called Misra or Sankírna, i.c., mixed: [Madhyena madhyamábhyám vá pátrábhyám samprayojitah suddhah syát tu sankirno nicha-madhyama-kalpitah]. Sometimes the characters are exclusively those of the inferior class, who speak Prákrit; sometimes more than two appear on the stage at once, in which cases it is properly called Praveśaka. It must, however, be borne in mind that the terms Pravesaka and Vishkambhaka are regarded as identical by the MSS. and Commentators [Vishkambha eva suryaktaih pravesaka iti smritah: K. pravésaka eva vishkambhakah: S.]; although the Sahitya-darpana restricts the former title to the cases above specified, and limits it still further by applying it to an interlude only [Pravesako anudáttoktyá nícha-pátra-prayojitah, anka-dwayántar vijneyah sesham vishkambhake yathá]. There can be little doubt, too, that the term Pravesaka, like Vishkambhaka, may be sometimes applied to the speaker in the case of a monologue. From the circumstance that the opening speech in the 2nd. Act of this play is called a Pravesaka by K. (unsupported, however, by the MSS.), we may infer that the speaker was not obliged to leave the stage at the end of the scene. It is possible, however, that he might have withdrawn and re-entered, as in the 5th. Act of the Vikramorvasí, where the opening soliloquy is styled Pravesaka both in the MSS. and in the Calcutta edition. Doubtless, this title may with as much reason be applied to the Vidúshaka's soliloquy in the one play, as in the

जाने तपसो वीर्यं सा बाला परवतीति मे विदितं ।

न च निम्नाद् इव सलिलं निवर्त्तते मे ततो हृद॑यं ॥ ५४ ॥ भगवन ्मकुसुमायुध । त्वया चन्द्रमसा च विश्वसनीयाभ्याम अतिसन्धी यते कामिजनसार्थः । कुतः ।

तव कुसुमशरत्वं शीतरश्मित्वम् इन्दोर्

द्वयम् इदम् अयथार्थं दृश्यते मदिधेषु । विसृजति हिमगर्भैर् श्रग्निम् इन्दुर् मयूखैस्

त्वमपि कुसुमवाणान, वज्रसारीकरोषि ॥ ५५ ॥

other. According to the rule thus propounded by the Sáhit.-darp., tho present monologue is a Suddha-Vishkambha. In the Bengálí MSS. it is termed a Pravesaka. Dr. Boehtlingk justly remarks that the modern epithet Suddha should be omitted in the text.

1 'I know the efficacy of penance: it is (also) known to me that that maiden is subject to another [is in a state of tutelage]. But as water does not turn back from the valley, (neither) does my heart from that (Sakuntala).' The Devanagari MSS., unsupported by the commentators, substitute the following. for the second line of the above verse, Alam asmi tato hridayam tathápi nedam nivartayitum, 'Nevertheless, I am not able to turn back this heart from that (damsel).' Jáne etc., i.e., I know that if I attempt to carry her off by force or by stealth, the power acquired by penance is such, that the Rishi will effect my destruction by a curse, etc. [sápádiná nášam vidhásyati: S.] Nimnád, i.e., desát, 'from low land:' see Hitop., 1. 2651.

2 'O divine flower-armed (god), by thee and by the moon, who (scem) to be worthy of confidence, the whole company of lovers is deceived. Why so? of thee, (there is said to be) the property of having flowers for arrows, of the moon the property of having cold beams; both these (properties) are observed to be untrue in such as me; (for) the moon emits fire with rays charged with cold; thou also makest (thy) flower-arrows hard as adamant.' The Hindú Cupid or Kámadeva, god of love,' is the son of Vishnu or Krishna by Lakshmi, who is then called Máyá or Rukminí. He is armed with a bow

Verse 55. MÁLINÍ or MÁNINÍ (variety of ATI-SAKKARI.) See Verses 10, 19, 20. 38.

भगवन् कामदेव न ते मय्यनुक्रोशः ॥ मदनबाधां निरूप्य ॥ कुतम्

ते कुसुमायुधस्य सतस तैक्ष्ण्यम् एतत् । त्रां ज्ञातं

made of sugar-cane, the string consisting of bees, and with five arrows, [whence his name Pancha-vána] each tipped with the blossom of a flower, which pierce the heart through the five senses. The names of the five arrows (according to Bharata, cited by S.) are-1. Harshana, 'Gladdener;' 2. Prahasana, 'Exhilarater;' 3. Mohana, 'Fascinater;' 4. Murchchhana, 'Sense-destroyer;' 5. Vikarshana, 'Distracter.' According to Kátavema, the names of the five flowers which form the points of these arrows, and which may be supposed to possess properties similar to that implied in the names of the arrows themselves, are-1. the Aravinda, a kind of lotus [Nymphæa Nelumbo]; 2. the Aśoka; 3. the Sirísha; 4. the Chúta or Ámra, i.e., the Mango; 5. the Utpala or blue lotus. But according to Sir W. Jones [Hymn to Kámadeva, vol. xiii., p. 239] they are-1. the Champaka; 2. the Chúta or Amra; 3. the Kesara or Nága-keśara; 4. the Ketaka; 5. the Vilwa or Bela. In both lists the Chúta occurs, and is considered the favourite arrow of the god: hence the frequent allusions to it in the Gíta-govinda (iii., 12; iv., 6), and hence in Act VI its epithet panchábhyadhika chief of the five.' This epithet is explained by Sankara to mean ‘a sixth arrow, in addition to the five,' which interpretation is more in accordance with the passage in the 2nd. Act of the Vikramorvaśí, kimuta upavana-sahakárair, etc. It is clear that some authorities do not include the Mango in the list. The Gíta-govinda (x., 14) mentions five other flowers as occasionally employed by the god, viz., the Badhúka, the Madhúka, the blue Lotus, the Tila, and the Kunda. Another account includes the Malliká or jasmin amongst the five; so that it is difficult to fix the names with any certainty. In Hindú erotic poetry, cooling properties are always attributed to the rays of the moon, which are said to distil nectar; hence some of his names-sita-mayúkha, hima-rasmi, hima-kara, amrita-sú, sudhá-nidhi, etc. On the other hand, the heating effect of these rays on the lover is often alluded to, thus, sitánsus tapanah: Gít.-Gov. ix., 10; iv., 7; v. 3: Compare in the Vikramorvaší, nandana-vana-vátáh sikhina iva [Act 2]; and pádás te sasinah sukhayanti, etc. [end of Act iii.] Sártha = samúha; properly, a caravan: Hitopadesa, 1. 2574. Ayathartham viparita-kriyam, 'having a

1

Garbhair: see p. 17, 1. 8.

Vajra-sári: see p. 13, 1. 4.

'Verily, c'en now the fire of Siva's wrath burns in thee like the submarine fire in the ocean: otherwise how couldst thou, O agitator of the soul! with nothing left but ashes, be so scorching towards such as me?' The story of the incineration of Kámadeva by a beam of fire darted from the central eye of Siva is thus told in the Rámáyana (I., xxv., 10). "Kandarpa, whom the wiso call Káma (Cupid), had formerly a body. He onco approached Siva, the husband of Umá (Parvatí), soon after his marriage, that he might influence him with love for his wife. Siva happened then to bo practising austerities, and intent on a vow of chastity. He therefore cursed the god of love in a terrible voice, and at the same time a flash from his terrific cyo caused all the limbs of his body to shrivel into ashes. Thus Cupid was mado incorporcal [whence, as some say, is his power over the minds of men] by the anger of the great god, and from that time has been called Ananga, the bodiless one.'" Aurva, submarine fire,' called badava or bádava, and personified as the son of the saint Urva. The fable is told in the Hari-vansa (ch. xlv.), and is noticed in Troyer's Rája-taranginí (iii., 170). The Rishi Urva, who had gained great power by his austerities, was pressed by the gods and others to beget children that he might perpetuate his race. He consented, but warned them that his offspring would consume the world. Accordingly, he created from his thigh a devouring fire, which as soon as it was produced, demanded nourishment, and would have destroyed the whole earth, had not Brahmá appeared and assigned the ocean as its habitation, and the waves as its food. The spot where it entered the sea was called Badavámukha, 'the mare's mouth.' Doubtless the story was invented to suit the phenomenon of some marine jwálá-mukhi or volcano, which probably exhaled through the water bitumenous inflammable gas, and which, perhaps in the form of a horse's mouth, was at times visible above the sea. Langlois, conjecturally, places the position of it on the coast north of Malabar.

Verse 56. UPAJÁTI or ÁRHYÁNAKÍ (variety of TRISHṬUBн), each half-line being either INDRA-VAJRÁ or Upendra-VAJRÁ, the former only differing from the latter in the length of the first syllable. See Verse 41.

अथवा ।

अनिशमपि मकरकेतुर् मनसोरुजम् आवहन्न् अभिमतो मे । यदि मदिरायतनयनां ताम् अधिकृत्य प्रहरतीति ॥ ५७ ॥ भगवन ्मकन्दर्प । एवम् उपालब्धस्य ते न मा॑ प्र॒त्या॑नु॒क्रोशः । वृथैव मङ्कल्पशतैर् अजस्रम्

gay fat sfa aur faeft |

आकृय्य चापं श्रवणोपकण्ठे

मय्येव युक्तस् तव वार्णमोचः ॥ ५८ ॥

1 'Nevertheless, the fish-bannered (god) even though incessantly bringing mental anguish, (will be) acceptable to me, if employing (as the subject about which he inflicts pain) that (maiden) with long intoxicating eyes he so strike (me).' Makara-ketu, a name of Cupid, is derived from the makara, or marine monster, subdued by him, which was painted on his banner [ketu]. 'By the mention of this title, his invincibleness is indicated:' Ś. Adhikritya = uddisya, 'with reference to:' S. and Ch. : See page 5, note 1; and p. 76, note 3, also Raghu-v. xi., 62, sántim adhikṛitya anvayunkta.

'In vain, truly, O bodiless (god), hast thou perpetually been brought by me to growth by hundreds of vows. Is it becoming of you, drawing your bow to your very car, (to) discharge (your) arrows even upon me (your votary)? Vows were to the bodiless god of love, what the oblations (upon which they were supposed to feed and fatten) were to the other gods. Sankalpa ichchhá, 'wish. Sravanopakanthe ákrishya karnántikam

=

ániya, 'drawing the string of the bow back as far as the ear.' Upakantha, 'near,' lit., 'near the neck;' Cf. Raghu-v., ix., 57, ákarna-krishṭam vánam. Yukta uchita. The passage from Bhagavan Kámadeva (page 100) to ránamoksha is given on the authority of the Taylor and my own Bombay Devanágarí MS., supported by Sankara and Chandra-sekhara, and by all the Bengálí MSS. The Mackenzie MS. has part of the passage, but Colebrooke's omits it altogether.

Verse 58. UPAJÁTI or AKHYÁNAKÍ (variety of TRISHTUBи). See Verses 41, 56.