a सख्यौ ॥ शकुन्तलां विलोक्य ॥ " हड्डी हड्डी । अन्तलिहिदी सउन्दला वणराईए । काश्यपः ॥ सनिःश्वासम् ॥ अनसूये । गतवती वां सहधर्मचारिणी । निगृह्य शोकमनुगच्छतं मां प्रस्थितम् । * हा धिक् हा धिक् । अन्तर्हिता शकुन्तला वनराज्या । शकुन्तलाविरहितं शून्यमिव तपोवनं कथं प्रविशावः । b तात । of a crow, crane, sparrow, &c., 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 religious rites, sometimes called sacraments, which the householder who maintained a perpetual fire (see p. 148, n. 1) had daily to perform (Manu iii. 67, iv. 21). See Indian Wisdom, pp. 203, 251. It was 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-devatāh is indicated in Manu iii. 117, with commentary; and in the Mriććhakațikā, where Carudatta, after fulfilling the Deva-karya, or second of the five rites (cf. p. 140, l. 17), is described as offering the bali to the household gods around the threshold. His speech, as he offers it, corresponds remarkably with that of Kāśyapa, Yāsām baliḥ sapadi madgriha-dehalīnām, hansaiś ća sārasa-gaņaiś ća vilupta-pūrvaḥ, tāsv eva samprati viruḍha-triņānkurāsu, vējānjaliḥ patati kīṭa-mukhāvalīḍhaḥ. See Mriććh., Act I, verse 1. For sivas te panthānaḥ santu, in the next line, see p. 163, n. I at the end. 1 So read all the Deva-n. for antarihidā, cf. p. 140, 1. 6. ± ‘'The course of affection views it thus .' The Beng. MSS. have snehavrittir, and one (I. O. 1050) evam sansinī for evam darśinī. Yasmin vishaye sneho bhavati tad-asānnidhyād etādṛiśa eva kramo bhavati, S. 3 Hanta, here an exclamation of joy (harshe, S.) लां पतिकुलं विसृज्य लब्धमिदानीं स्वास्थ्यम् । कुतः । अर्थो हि कन्या परकीय एव ॥ इति निष्क्रान्ताः सर्वे ॥ ॥ चतुर्थोऽङ्कः ॥ 1 '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 become quite clear, as if (after) restoring a deposit. Kanyā-rūpo'rthah, &c., ' the property consisting of a girl belongs to another,' S. and C. Parigrahitil=parinetul. Hence parigraha, 'a wife,' see p. 124, 1.3. The ceremonies of marriage are described by Colebrooke in the Asiatic Researches, vol. vii. pp. 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 Kuśa grass. The bridegroom next makes 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 pāni-grahītri, and marriage pāni-grahana), and leads her round the sacred fire (whence he is called parinetri). The bride steps seven times, and the marriage is then irrevocable. Visadah=prasannak, 'serene,' 'tranquil,' K.;=susthaḥ, S. Cf. manasaḥ prasādaḥ, Vikram., ActV. Prakāmam=atyartham, see p. 108, n. 3. The Beng. reading is jāto 'smi samyag viśadāntarātmā, ćirasya nikshepam ivārpayitvā. Verse 102. INDRA- VAJRĀ (a variety of TRISHTUBH), containing eleven syllables to the Pāda or quarter-verse, each Pada being alike. ॥ अथ पञ्चमोऽङ्कः ॥ ॥ ततः प्रविशत्यासनस्थो राजा विदूषकश्च ॥ विदूषकः ॥ कर्णे दत्त्वा ॥ # भो भो वअस्स । सङ्गीदसालन्तरे अवधाणं देहि । कलविसुडाए गीदीए सरसओओ सुणीअंदि । जाणे । तत्तहोदी हंसबदिआ वणपरि राजा । तूष्णीं भव । यावदाकर्णयामि । करेदितिं । । । & भो भो वयस्य । सङ्गीतशालान्तरेऽवधानं देहि । कलविशुद्धायां गीत्यां स्वरसंयोगः श्रूयते । जाने । तत्रभवती हंसपदिका वर्णपरिचयं करोतीति । 1 In the Beng. MSS. the speech of the Chamberlain at p. 186 com mences 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].' Īsvarāṇām yatra nṛityādikam bhavati sā sangīta-śālā, ‘a music-saloon is a place where dancing &c. is performed before princes,' S. Avadhānam, K. has avadhāraṇam. Gītyām=dhruvāyām, K. Prākṛit gīdie may stand for instr., gen., or loc. cases. Svara-samyoga, K. has svara-yoga. Both expressions occur in Mriććh. (p. 33, l. 2; p. 94, l. 1; p. 222, 1. 5; P. 339, 1. 9), and in the Mālavik. (p. 67, 1.6, with note). 3 ‘Is practising singing,' lit. ' is making acquaintance with the Varnas.' Pariéaya=abhyāsa, C. Varna, the order or arrangement of a song . It may also mean 'a musical mode.' These modes are numerous, personified either as male ( Rāga) or female ( Ragini ). According to S and C., the Varnas intended here are of four kinds, the first two corresponding with the division of the Bhāvas, or ' affections.' Gītishu ćatvāra varṇā bhavanti yad āha Bharataḥ, Śthāyī tathaiva Sanćārī tathā Rohāvarohinau. Varņāś ćatvāra evaite kathitāḥ sarva-gītishu. 8 a ॥ आकाशे गीयते ॥ अहिणवमहुलोलुबो तुमं तह परिचुम्बि चूमञ्जरं । कमलवसइमेत्तणिबुदो महुअर विम्हरिदोसि णं कहं ॥ १०३ ॥ राजा । अहो रागपरिवाहिणी गीतिः । а अभिनवमधुलोलुपस्त्वं तथा परिचुम्ब्य चूतमञ्जरीम् । 1 ‘ 0 Bee, how (can it be) that thou, eagerly-longing for fresh honey, after having so kissed the mango-blossom, shouldst (now) be forgetful of it, being altogether satisfied with (thy) dwelling in the lotus !' Cūtamañjarī=āmra-kalikā, S. Cf. in Vikram., Act II, Īshad-baddha-rajaḥkaṇāgra-kapiśā ćūte navā mañjarī. Kamala-vasati=kamalāvasthiti, C. The fondness of the bee (which in Sanskrit is masculine) for the lotus is so great that he will remain for a long time in the interior of the flower. Cf. na pankajam tad yad alina-shaṭpadam, 'that is not a lotus which has no bee clinging to it, Bhatti - k. ii. 19; also guñjad-dvirepho 'yam ambujasthaḥ, 'the murmuring bee remaining in the lotus,' Ṛitu-s. vi. 15; and idam runaddhi mām padmam antah-kovanita-sha! padam, Vikram, Act IV. Madhu-kara, see p. 33, n. 1. Vismṛita, see p. 161, n. 3. In Prākṛit, two forms mar and sumar are used for smṛi; the first becomes mhar after a preposition (as in vimhao for vismayaḥ, Vararući iii. 32); but vimarido would be equally correct according to Vararući iii. 56. K. observes that, under the figure of a bee, Hansapadika covertly reproves the king for having forgotten her. S. and C. call this verse a Praéćhādaka, and the following from Kavi-kaṇṭhahāra is quoted, anyāsaktam patim matvā prema-viććheda-manyunā vīņā-puraḥsaram gānam striyāḥ praććhādako matah. ± ‘Oh, what an impassioned strain !' lit. a song overflowing with affection or passion. Rāga-parivāhinī=anurāga-nishyandini, S.; = kāma sampūrnā, K. Cf. p. 89, n. 3. Verse 103. APARA-VAKTRĀ. See verse 90. विदूषकः । * किं दाव गीदीए अवगदो अक्खरत्थो । राजा ॥ स्मितं कृत्वा ॥ सकृत्कृतप्रणयोऽयं जनः । तदस्या देवीं वसुमतीमन्तरेण महदुपालम्भनं गतोऽस्मिं । सखे माटव्य । मद्दचनादुच्यतां हंसपदिका । निपुणमुपालब्धोऽस्मीति । विदूषकः । 'जं भवं आणबेदि । ॥ उत्थाय ॥ 'भो वअस्स । गहीदस्स ताए परकीएहिं हत्थेहिं सिहण्डए ताडीअमाणस्स अच्छराए वीदराअस्स विअ णत्थि दाणिं मे मोक्खो । a किं तावडीत्या अवगतोऽक्षरार्थः । b यद्भवानाज्ञापयति । भो वयस्य । गृहीतस्य तया परकीयैर्हस्तैः शिखण्डके ताड्यमानस्याप्सरसा वीतरागस्येव नास्तीदानों मे मोक्षः । 1 "The meaning of the words,' lit. ' of the letters or syllables.' = Anta ± ‘This person [i.e. I] once made love (to her); therefore I am incurring her severe censure on account of the queen Vasumati.' Krita-pranayaḥ: krita-premā. Ayam janaḥ, i.e. mad-rūpaḥ, 'consisting of me,' S. Cf. p. 144, n. 2. Vasumatī is a name for the earth, cf. p. 124, n. I. rena, with accusative, see p. 81, n. 2. After krita-pranayo 'yam janak, the Calcutta edition adds ity aksharārthaḥ, 'such is the meaning of the words. ' 3 There is not now any liberation for me (suffered to be) seized by her with the hands of others by-the-hair-on-the-crown-of-my-head (and) beaten, any more than for a sage-with-suppressed-passions (if taken unawares) by a lovely-nymph.' Sikhandaka is the lock of hair left on the crown of the head at tonsure.' This was the only portion of hair suffered to remain on the head of a Brahman; but in the case of the military class, three or five locks, called kāka-pakshāḥ, were left on each side. The two ceremonies of tonsure are included by Manu among the twelve Saṇskāras or rites which every Brāhman had to undergo. The first, or éuda-karana, took place from one to three years old, generally after teething (Manu ii. 35); the second, or final tonsure keśānta, in the sixteenth year from conception (ii. 65). Moksha has here a double sense, ' liberation of the body |