सूतः । धृताः प्रग्रहाः । अवतरत्वायुष्मान् । राजा ॥ अवतीर्य ॥ सूत । विनीतवेषेण प्रवेष्टव्यानि तपोवनानि नाम । इदं तावगृह्यताम् । ॥ इति सूतस्याभरणानि धनुश्चोपनीयं ॥ सूत । यावदहमाश्रमवासिनः प्रत्यवेक्ष्योपावर्ते । तावदार्द्रपृष्ठाः क्रियन्तां वाजिनः । तथा । ॥ इति निष्क्रान्तः ॥ राजा सूतः । ॥ परिक्रम्यावलोक्य च ॥ इदमाश्रमद्वारम् । यावत्मविशामि 1 ॥ प्रविश्य निर्मित्रं सूचयन् ॥ शान्तमिदमाश्रमपदं स्फुरति च बाहुः कुतः फलमिहास्य । अथवा भवितव्यानां द्वाराणि भवन्ति सर्वत्रं ॥ १६ ॥ 1 Compare Manu viii. 2. Dr. Burkhard has vinīta-vesha-praveśyāni. ' • Giving over his ornaments and bow (to the care) of the charioteer.' Observe the use of the gen. after upanīya; see Gram. 858. 3 Lit. ‘let the horses be made wet-backed,' i. e. let them be watered and refreshed. Let their fatigue be removed by giving them water and by rubbing their backs,' S. 46 ' Acting an omen,' or 'acting as if he observed an omen,' lit. ' manifesting a sign.' Nimitta is any omen or sign, such as the throbbing of the arm or eyelid. If this was felt on the right side it was a good omen in men; if on the left, a bad omen. The reverse was true of women. 5 This hermitage is tranquil [i. e. a peaceful spot, undisturbed by passion or emotion], and yet my arm throbs; whence can there be any result of this in such a place? But yet the gates of destiny are everywhere.' A quivering sensation in the right arm was supposed to prognosticate union with a beautiful woman. Bhatti-k. i. 27 ; Vikram, Act II. See Raghu-v. xii. 90; 100-1 ' अये । दक्षि॑णेन वृक्षवाटिकामालाप इव श्रूयते । यावदत्र गच्छामि । ॥ परिक्रम्यावलोक्य च ॥ अये । एतास्तपस्विकन्यकाः स्वप्रमाणानुरूपैः सेचनंघटैबालपादपेभ्यः पयो दातुमित एवाभिवर्तन्ते । ॥ निरूप्य ॥ अहो मधुरमासां दर्शनम् । शुद्धान्तदुर्लभमिदं वपुराश्रमवासिनी यदि जनस्य । दूरीकृताः खलु गुणैरुद्यानलता वनलताभिः ॥१७॥ यावदिमां छायामाश्रित्य प्रतिपालयामि । यस्थितः ॥ ॥ इति विलोक ॥ ततः प्रविशति यथोक्तव्यापारा सह सखीभ्यां शकुन्तला ॥ ? Dakshinena governs the acc. 1 ‘To the right of the grove of trees.' case as well as the gen. See Pāņ. ii. 3, 31; v. 3, 35. ± ‘ With_watering-pots (of a size) proportioned to their strength,' or — with watering-pots suited to their size,' i. e. not too large for a woman to carry. s • If this (beautiful) figure, rarely met with [or difficult to be found] in the inner apartments of palaces [i. e. in harams], belongs to people living in a hermitage, then indeed the shrubs of the garden are distanced [surpassed] in excellencies by the (wild) shrubs of the forest. Sir W. Jones translates, the garden-flowers must make room for the blossoms of the forest, which excel them in colour and fragrance.' The suddhanta is the antah-pura or ‘inner suite of apartments, appropriated to women ;' called also the avarodha or 'private quarter,' shut out from the rest of the house and strietly guarded. Haram is the equivalent Arabic word. * 'Occupied in the manner described.' A noticeable Bahuvrīhi compound. b शकुन्तला । अनसूया । हला सउन्दले । तुवत्तोबि तादकस्स बस्स अस्समरुक्खन पिप्रदरेत्ति तक्केमि । जेण णोमालिंझाकुसुमपेलवाबि तुमं एदाणं आलंवालपूरणे णिउत्ता । C शकुन्तला । हला अणसूए। ण कैवलं तादणिओओ एव । अत्थि मे सोदरसिणेहोबि देसु । ॥ इति वृक्षसेचनं निरूपयति ॥ राजा । कथमियं सा कण्वदुहिता । असाधुदर्शी खलु तत्रभवान्काश्यपः । य इमामाश्रमधर्मे नियुंक्तें । b इत इतः सख्यौ । 1096, a । हला शकुन्तले। त्वत्तोऽपि तातकाश्यपस्याश्रमवृक्षाः प्रियतरा इति तर्कयामि । येन नवमालिकाकुसुमपेलवापि त्वमेतेषामालवालपूरणे नियुक्ता । हला अनसूये । न केवलं तातनियोग एव । अस्ति मे सोदरस्नेहोऽप्येतेषु । C S 1 Mälikä or mallika is a kind of double jasmine with large flowers, sometimes called 'Arabian jasmine;' from its delicious perfume, and abundant nectar, much frequented by bees. See Raghu-v. xvi. 47. 2 Ālavāla, 'the trench for water round the root of a tree.' See Raghu-v. i. 51; also Vikram., end of Act II. (taror mūlālavālam). 3 ‘Truly his reverence Kāśyapa is (a man) of little discrimination, inasmuch as he appoints her to the duties [manner of life] of the hermitage [i. e. imposes upon her a hermitage-life ; a mode of life such as is usual in a hermitage].' The sage Kanva is here called 'a descendant of Kasyapa.' As a sage and Brahman he might especially claim this celebrated personage as his progenitor; but Kasyapa, who was the son of Marići [who was the son of Brahmā, and one of the seven Prajāpatis], was a progenitor on a magnificent scale, as he is considered to have been the father of the gods, demons, man, fish, reptiles, and all animals, by Aditi, and twelve other daughters of Daksha. He is supposed by some to be a personification of the race who took refuge in the central Asiatic 7. dpoor.kov; Ine j २३ 23 ॥ प्रथमोऽङ्कः ॥ इदं किलाव्याजमनोहरं वपु- शमीलतां छेत्तुमृषिर्व्यवस्य॑ति ॥ १८ ॥ भवतु । पादपान्तरित एव विश्वस्तां तावदेनां पश्यामि । ॥ इति तथा करोति ॥ a शकुन्तला । Seil सहि अणसूए | अदिपिणज्ञेण वक्कलेण पिअंवदाए णिअन्तिदम्हि । सिढिलेहि दाव णं । b " तह । ॥ इति शिथिलयति ॥ अनसूया । * सखि अनसूये । अतिपिनद्धेन वल्कलेन प्रियंवदया नियन्त्रितास्मि । शिथिलय तावदेनम् । b तथा । chain, in which traces of his name may be found, as Koh-kas (or Caucasus), the Caspian, Kaśmīra, &c. (Wilson's Hindu Theatre, vol. ii. P. 12.) 1 The sage who expects to make this artlessly-charming form capable of (enduring) penance, certainly attempts to cut a branch of the hard Sami wood with the edge of the blue lotus-leaf.' Avyāja-manokaram, — that which captivates without art or ornament,' 'naturally beautiful .' For an account of the different orders of Rishis or sages, see rishi in my Sanskrit-English Dictionary. The Sami tree is a kind of acacia (Acacia Suma), the wood of which is very hard, and supposed by the Hindus to contain fire. [Sami abhyantara-līna-pāvakā, Raghu-v. iii. 9. See also Manu viii. 247.] Sacred fire is kindled by rubbing two dried pieces together. The legend is that Pururavas generated primeval fire by rubbing together two branches of the Sami and Aśvattha tree. Other kinds of wood are also held sacred by the Hindus, such as the Vilva (Bel), and only Brahmans are allowed to use them as fuel. Verse 18. VANŚA-STHAVILA (a variety of JAGATĪ), containing twelve syllables to the quarter-verse, each quarter-verse being alike. इदमुपहितसूक्ष्मयन्थिना स्कन्धदेशे स्तनयुगपरिणाहाच्छादिना वल्कलेन । वपुरभिनवमस्याः पुष्यति स्वां न शोभां कुसुममिव पिनद्धं पाण्डुपत्त्रादरेण ॥ १९ ॥ अथवा काममननुरूपमस्या वपुषो वल्कलम् । न पुनरलङ्कारश्रियं न पुष्यंति । कुतः । * अत्र पयोधरविस्तारयितृकम् आत्मनो यौवनमुपालभख । मां किमुपालभसे । 1. This blooming [or youthful] body of hers, by ( reason of) the bark dress fastened with delicate knots upon her shoulder (and) covering the orbs of her two breasts, does not exhibit (the fulness of) its own charms, like a flower enveloped by a calyx of pale leaves.' The first meaning of push, like bhri, is 'to nourish' or 'be nourished.' Thence, like bhri, it passes into the sense of 'maintain,' 'support,' ' bear ;' and thence into that of 'possess,' ' enjoy,' 'exhibit,' 'make to appear.' In these last senses it may be used actively, though conjugated in cl. 4. (See Manu ix. 37; Rāmāy. ii. 94, 10; Raghu-v. xvi. 58; Mahā-bh. vol. ii. p. 186, 1.2607.) It is curious that our English word exhibition may have the sense of 'maintenance' (cf. Lat. exhibeo). Two Bombay MSS. read svām abhikhyām instead of svām na śobhām: the meaning would then be, 'maintains its own beauty' [abhikchyā is so used, Raghu-vi.46] ; and this reading would be more consistent with what follows, but by the next word athava, as the commentators observe, svoktam ākshipati, he corrects his previous remark. Pi-naddha-api-naddha from api-nah. ± ‘Or rather, granted that the bark dress be ill suited to her figure, yet it really does [lit. it does not not] possess the charm of an embellish Verse 19. MĀLINĪ or MĀNINĪ (a variety of ATI-ŚAKVARĪ). See verse 10. |