Imatges de pàgina
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Aaiga, riha, Reihe

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सत्यमतीत्य हरितो हरींश्च वर्तन्ते वाज॑िनः । तथा हि यदालोके सूक्ष्मं व्रजति सहसा तविपुलतां

यदर्थे विच्छिन्नं भवति कृतसन्धानमिव तत् । प्रकृत्या यवक्रं तदपि समरेखं नयनयो

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र्न मे दूरे किञ्चित्क्षणमपि न पार्श्वे रथजवात् ॥ ९ ॥

wind. This interpretation is confirmed by the reading of the Bengāli MSS., हyuta-karna-bhamga; but if the sense niścala be insisted on, translate—— having the ears erect and immovable.'

1 • Truly, the horses are [or appear as if ] outstripping the horses of the Sun, and the horses of Indra,' i. e. the speed of the chariot seems like that of the Sun or the Wind. Harito is taken by some commentators as gen. case of harit, 'the Sun,' and harin as acc. case plural of hari, 'a horse.' But da after harin indicates that both harito and harīn are acc. cases after atitya. In the Rig-veda we find hari (dual) and harayah and haribhih (I. 16, 1; 101, 10; 16, 4; 52, 8 ) for the horses of Indra;' and haritah for ' the seven horses of Sūrya or the Sun ' ( I. 50, 8; 115, 4). In Nirukta i. 15 the different vehicles of the gods are given, and among them hari Indrasya, haritaḥ ādityasya. Hence Indra is called hari-haya or hari-vāhana (Vikram., Act III), and in Ṛig-veda, hari-yojana; and the Sun is called harid-asva. One name of the Sun is saptāśva, 'having seven horses.' The Bengali MSS. read katham atītya hariņam harayo, &c., but harito harīnsca is supported by all the Deva-nāgarī MSS., and by a parallel passage in Vikram., Act I, anena ratha-vegena vainateyam api āsādayeyam.

* • That which in my sight (appeared) minute suddenly attains magnitude; that which was divided in half becomes as if united; that also which is by nature [really] crooked (appears) even-lined [straight] to my eyes. Nothing (seems) at a distance from me nor at my side even for a moment, by reason of the velocity of the chariot.' This is a method of describing great velocity of motion, which may be well appreciated by any one, in these days, who may have taken notice of the effect produced upon adjacent objects by an express railway speed of a mile a minute.

Verse 9. SIKHARIŅI (a variety of the ATYASHȚI), containing seventeen syllables to the Pāda or quarter-verse, each Pada being alike.

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सूत । पश्यैनं व्यापाद्यमानम् ।

नेपथ्ये ।

॥ इति शरसन्धानं नाटयति ॥

भो भो राजन् । आश्रममृगोऽयं न हन्तव्यो न हन्तव्यः । सूतः ॥ आकर्ण्यावलोक्य च ॥

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राजन् । आश्रममृगोऽयं न हन्तव्यो न हन्तव्यः । न खलुं न खलु वाणः सन्निपात्योऽयमस्मि न्मृदुनि मृगशरीरे पुष्पराविवाग्निः ।

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1 • With himself as the third,' or ' with himself making the third,' i.e. himself and two others. This is a not unusual compound. Compare the expression, Pānḍavā mātṛi-shashṭāḥ, the Pandavas with their mother as the sixth,' i. e. five persons, or six counting their mother. Again, chāyā-dvitiyo Nalak, Nala made two by his shadow,' ‘umbra geminatus' ( Nala v. 25 ). Also, adhite caturo vedān ākhyānapancaman, 'he reads the four Vedas with the Ākhyānas as a fifth' (Nala vi. 9). A similar idiom prevails in Greek, autós being used after ordinal numbers: thus, réunros airós, himself with four others, Thucydides I. xlvi. Similarly, rpirov fuurálavrov, ' two talents and a half, and ëB8opov furánavror, ' six talents and a half,' Herodotus I. 15, 50.

Verse 10. MĀLINĪ or MĀNINĪ (a variety of ATI-ŚAKVARĪ or ATI-ŚAKKARĪ), containing fifteen syllables to the Pāda or quarter-verse, each Pāda being alike.

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1 Eng. lull,

१४

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॥ अभिज्ञानशकुन्तलम् ॥

2

Obg wacker, wake

ass wacor

☎ an eftumai zfari anfagló

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व॑ज्रसाराः शरास्ते ॥१०॥

क्व च a fafanfaqın: siara: vera 119011 तत्साधु कृतसन्धानं प्रतिसंहर सायकम् ।

आर्तत्राणाय वः शस्त्रं न प्रहर्तुमनागसि ॥ ११ ॥

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1 'Not indeed, not indeed must this arrow (of thine) be allowed to descend upon this tender body of the deer, like fire upon a heap of flowers. Where, forsooth, on the one hand (ća), is the very frail existence of fawns? and where, on the other (ća), are thy sharp-falling adamantine shafts?' i. e. Where is the suitability or congruity between the one and the other? What has the one to do with the other? How great a contrast or difference is there between the one and the other! Let not your shafts waste their strength upon an object so frail and tender, but let them be directed towards a mark more fitted to prove their adamantine qualities. This repetition of kva to express great contrast or unsuitability between two things is not uncommon. It is used by Kālidāsa again at the end of the Second Act of this play, kva vayam, &c.; also in Megha-dūta 5, thus, 'Where is a cloud which is a collection of vapour, fire, water, and wind? and where the meaning of messages to be received by intelligent mortals?' i. e. Why deliver a message intended for intelligent human beings to a cloud? What possible connection can there be between objects whose nature is so different? See also Raghu-v. i. 2, 'Where is the race sprung from the sun? and where my scanty powers of mind?' The majority of MSS. read pushparāśau, somė tūla-rāśau, 'on a heap of cotton.'

arrow.

2 Therefore withhold your well-aimed [lit. well fitted to the bow] Your weapon is for the deliverance of the distressed, not to inflict a wound on the innocent.' Sandha is properly 'to unite or fix an arrow to a bow,' hence 'to take aim' (Draupadi-h. 149); and sandhānam, 'the act of taking aim.' Prahartum is here used where praharaṇāya might be expected, but the infinitive is interchangeable with the dative, and frequently has the force of that case.

Verse 11. ŚLOKA or ANUSHṬUBH. See verse 5.

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सदृशमेतत्पुरुवंशप्रदीपस्य भवंतः ।

जन्म यस्य पुरोर्वशे युक्तरूपमिदं तव ।
पुत्रमेवगुणोपेतं चक्रवर्तिनमाप्नुहि ॥ १२ ॥

1 This is worthy of your honour, who art the light of the race of Puru,' i. e. an illustrious descendant of Puru. Compare in Vikramorvaśī, Act I, sadrisam idam soma-vansa-sambhavasya. In English we have the same idiom, 'this is just like [i. e. worthy of] one born in the Lunar race.' The two great lines or dynasties of kings according to Hindu mythology were the Solar and the Lunar. The Solar begins with Ikshvāku the son of Vaivaşvata, the son of Vivasvat, or the Sun, and is carried on through Kakutstha, Dilīpa, Raghu, Aja, and Daśaratha, to his son, the great Rāma-ćandra, hero of the Rāmāyaṇa. Under the Lunar come Puru, Dushyanta, Krishna, and the heroes of the Maha-bhārata, as, 1. Soma; 2. his son, Budha; 3. his son, Purūravas; 4. his son, Ayus; 5. his son, Nahusha; 6. his son, Yayāti; 7. his sons, Puru and Yadu. From Puru were descended Tansu, Anila, Dushyanta, and Bharata. From his brother Yadu came Sātvata, Sūra, Vasu-deva, and his sons Bala-rāma and Krishna. From Bharata the son of Dushyanta and descendant of Puru came, after a time, Ajamidha, Samvarana, Kuru, Santanu, Bhishma, and Krishna-dvaipayana or Vyasa. The latter was the father of Dhrita-rashtra and Paṇḍu. The quarrels of the hundred sons of Dhrita-rashtra with their cousins, the five sons of Pandu (all of them being thus descended from Kuru and Puru), form the subject of the Mahā-bhārata. These two separate Solar and Lunar lines were occasionally intermixed by marriage, and a cross occurs at the very beginning, by the marriage of Ila (Iḍā), daughter of Vaivasvata, with Budha. Paraśurāma, as a Brāhman, belonged to neither dynasty, but was connected with the Solar on his mother's side (see note to verse 22).

2 'This well becomes you, whose family belongs to the line of Puru, (therefore) be rewarded with a son gifted with all virtues, (and who shall become) a universal emperor.' A ćakravartin is one who reigns over a takra, or country reaching from sea to sea. According to the Vishnupurāņa, a ćakravartin is one in whose hand the ćakra, or discus of Vishņu, is delineated. There have been twelve of these emperors, commencing with Bharata, the son of Dushyanta..

Verse 12. ŚLOKA or ANUSHṬUBH. See verse 5.

१४

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क्व वत हरिणकानां जीवितं चातिलोलं

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Befriews

क्व च निशितनिपातः वज्रसाराः शरास्ते ॥१०॥

Farris तत्साधु कृतसन्धानं प्रतिसंहर सायकम् ।

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आर्तत्राणाय वः शस्त्रं न प्रहर्तुमनागसिं ॥ ११ ॥

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1 — Not indeed, not indeed must this arrow (of thine) be allowed to descend upon this tender body of the deer, like fire upon a heap of flowers. Where, forsooth, on the one hand (a), is the very frail exist ence of fawns? and where, on the other (éa ), are thy sharp-falling adamantine shafts?' i. e. Where is the suitability or congruity between the one and the other? What has the one to do with the other? How great a contrast or difference is there between the one and the other! Let not your shafts waste their strength upon an object so frail and tender, but let them be directed towards a mark more fitted to prove their adamantine qualities. This repetition of kva to express great contrast or unsuitability between two things is not uncommon. It is used by Kālidāsa again at the end of the Second Act of this play, kva vayam, &c.; also in Megha-dūta 5, thus, 'Where is a cloud which is a collection of vapour, fire, water, and wind? and where the meaning of messages to be received by intelligent mortals?' i. e. Why deliver a message intended for intelligent human beings to a cloud? What possible connection can there be between objects whose nature is so different? See also Raghu-v. i. 2, 'Where is the race sprung from the sun? and where my scanty powers of mind?' The majority of MSS. read pushparāśau, somė tūla-rāśau, ‘on a heap of cotton.'

arrow.

± ‘Therefore withhold your well-aimed [lit. well fitted to the bow] Your weapon is for the deliverance of the distressed, not to inflict a wound on the innocent.' Sandha is properly 'to unite or fix an arrow to a bow,' hence 'to take aim' (Draupadi-h. 149); and sandhānam, 'the act of taking aim.' Prahartum is here used where praharaṇāya might be expected, but the infinitive is interchangeable with the dative, and frequently has the force of that case.

Verse 11. ŚLOKA or ANUSHTUBH. See verse 5.

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