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1 Mālikā or mallikā 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 Kasyapa 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 Kaśyapa. As a sage and Brāhman he might especially claim this celebrated personage as his progenitor; but Kaśyapa, 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
chain, in which traces of his name may be found, as Koh-kas (or Caucasus), the Caspian, Kasmira, &c. (Wilson's Hindu Theatre, vol. ii. p. I2.)
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-manoharam, ' that which captivates without art or ornament,' 'naturally beautiful.' For an account of the different orders of Rishis or sages, see sishi 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 Hindūs to contain fire. [Samē abhyantara-lāna-pāvakā, Raghu-v. iii. 9. See also Manu viii. 247.] Sacred fire is kindled by rubbing two dried pieces together. The legend is that Purūravas generated primeval fire by rubbing together two branches of the Sami and Aśvattha tree. Other kinds of wood are also held sacred by the Hindūs, such as the Vilva (Bel), and only Brāhmans 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.
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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; Ramay. ii. 94, 10; Raghu-v. xvi. 58; Maha-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 sobhām: the meaning would then be, 'maintains its own beauty' (abhikhyā is so used, Raghu-v. i. 46]; and this reading would be more consistent with what follows, but by the next word athavā, as the commentators observe, svoktam ākshipati, he corrects his previous remark. Pi-naddha=api-naddha from api-nah.
2 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
MALINf or MANINT (a variety of ATI-SARVARI). See verse 10.
ment;' or less literally, 'it really does act as an embellishment to set off the beauty of her person.' Other instances are found in Kālidāsa of two negatives employed to strengthen an affirmative. See Megha-d. 106.
1 «The lotus, though intertwined (or overspread) with the Saivala, is charming; the speck, though dark, heightens [lit. extends] the beauty of the moon; this graceful one even with her bark-dress is more lovely; for what is not an embellishment of sweet forms ?' i. e. everything serves as an ornament to heighten the beauty of a figure which is naturally beautiful. Sarasi-jam, lit. that which is born in a pool,' a name applicable to any aquatic plant, but especially to the different kinds of lotus (Nelumbium or Nymphæa). This beautiful plant—the varieties of which, blue, white, and red, are numerous—bears some resemblance to our water-lily. It is as favourite a subject of allusion and comparison with the Hindū poets as the rose with the Persian. It is often figuratively used to express beauty, as “lotus-face' or 'the lotus of the face,' 'lotus-hands, ‘lotus-feet' (Gīta-g. passim). It is also used by women as an ornament (Act III. of this play), and as a cooling remedy (Ratn., Act II). The Saivala (Vallisneria) is an aquatic plant which spreads itself over ponds, and interweaves itself with the lotus. The interlacing of its stalks is compared in the Srin.gāra-tilaka (verse 1) to braided hair (dhammilla). See Sir W. Jones' Works, vol. iv. p. 113. The spots on the moon were thought to resemble those on an antelope, and hence one of the moon's names, hariņa-kalanka, 'deer-spotted.'
· The following verse, which is found in the Beng. MSS. immediately after verse 20, and has been adopted by the Calcutta edition, is omitted in all the Deva-n. MSS., and in the commentaries of S. and -K. It is probably spurious, as it repeats the same sentiment less poetically and with some harshness of expression :
कठिनमपि मृगाक्ष्या वल्कलं कान्तरूपं
न मनसि रुचिभङ्गं स्वल्पमप्यादधाति ।
निजमिव कमलिन्याः कर्कशं वृन्तजालम् ॥ 'The bark-dress, though rough, is beautiful on this fawn-eyed one. It does not in one's mind cause the slightest impairment of her beauty [or, of my liking for her]; just as its own rough tissue of stalks on the lotus-bed whose lotuses have expanded, so as slightly to release the neckof-the-flower,' i. é. the pedicle, or that part of the stalk immediately under the flower.
1 This Keśara tree, with its fingers of young shoots set in motion by the wind, bids me hasten as it were (towards it). I will just go and pay my respects to it.' The Kesara (Mimusops Elengi) is the same as the Bakula or Vakula, frequent mention of which is made in some of the Purānas, and in Ratn., Act III. It bears a strong-smelling flower, which is even placed among the flowers of the Hindū paradise. The tree is very ornamental in pleasure-grounds. The caus. of sam-bhū often means 'to honour, or pay one's respects to another in person.' Motion towards the object seems usually, though not always, implied. Thus, sambhāvayāmo rājarshim, Vikram., Act I; cf. Raghu-v. V. 2, x. 56.
2 What for!' Dr. Burkhard omits this.