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 Nymphaea ). 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’ (Gita - 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 Sringāra - 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, harina-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 । Verse 20. MALINI or MĀNINĪ (a variety of ATI-ŚAKVARĪ). See verse 10. E b. 23 2 शकुन्तला ॥ अग्रतोऽवलोक्य ॥ * एसो वादेरिपल्लवङ्गुलीहिं तुवरेदि विअ मं केसररुक्खओ । जाव णं सम्भावेमिं । ॥ इति परिक्रामति ॥ Irhd. ginadaz gaate शकुन्तला । प्रियंवदा । जाव तुए उबगदाए लदासंणाहो विअ अ केसररुक्खओ पडिभादि । bopulor; jari;fts; monrezar, quivw.pwmj peos. b * एष वातेरितपल्लवाङ्गुलीभिस्वरयतीव मां केशरवृक्षकः । यावदेनं सम्भावयामि । हला शकुन्तले । अत्रैव तावन्मुहूर्ते तिष्ठ । • किनिमित्तम् । योपगतया लतासनाथ इवायं केशरवृक्षकः प्रतिभाति । विकचसरसिजायाः स्तोकनिर्मुक्तक राठ निजमिव कमलिन्याः कर्कशं वृन्तजालम् ॥ d यावत्त्व • 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. e. 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 Keśara (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. ± ‘ What for! ' Dr. Burkhard omits this. 3 — Possessed of a creeper . ' Sa-nātha, lit. ' having a lord or master;' प्रियमपि तथ्यमाह शकुन्तलां प्रियंवदा । अस्याः खलु अधरः किसलयरागः कोमलविटपानुकारिणौ बाहू | कुसुममिव लोभनीयं यौवनमङ्गेषु सबंद्धम् ॥ २१ ॥ a wn: wg fuiqzıfa wa | it is so used towards the end of this Act, where the devotees are said to be sa-nāthāḥ, 'possessed of a guardian' in Dushyanta. A compound verb sanāthī-kṛi, 'to cause to be possessed of a master,' occurs in Act II. of this play, and in Hitop. 1. 797. But here sa-nātha=sahita, dvitīya, yukta, 'accompanied,' 'joined,' 'furnished with.' The transition into this meaning may be understood from Act VI. of this play, and from Vikram., Act II, where an arbour (manḍapa) is said to be mani-silāpaṭṭa-sanatha, 'having a slab of marble as its master,' i. e. in which the most prominent object is a marble seat; or in plain words, 'an arbour furnished with a marble seat.' Similarly in Act II. of this play the surface of a stone seat (sila-tala) is said to be vitāna-sanātha, 'furnished with a canopy' by the shade of a tree. Cf. also Lakshmi-sanātha, ‘possessed of Fortune,' and kusuma-sanatha, 'decked with flowers,' Vikram., Act IV. See also Malati-m. p. 58, 1. 2; Megha-d. ver. 97; Mālavik. P. 5, 1. 9. 1 'Hence most truly art thou (named) Priyam-vadā' (i. e. priyam, 'what is agreeable,' and vada, ‘one who speaks;' cf. μeλipboyyos). 2 Though agreeable (still it is) the truth (that) Priyamvadā says to Sakuntalā. Truly her lip has the colour of a young bud, her two arms resemble flexile stalks. Attractive youth, like the blossom, pervades her limbs.' Adhara, properly 'the lower lip,' as distinguished from oshṭha (i. e. ava-stha), 'the upper lip.' San-naddham sarvato vyāpakam, अनसूया । #हला सउन्दले । इअं सअंवर वहू सहआरस्स तुए किदणामहेआ वणजोसिणित्ति णोमालिआ । णं विसुमरिदांसि । b शकुन्तला । तदा अत्ताणम्पि विसुमरिस्सं । ॥ लतामुपेत्यावलोक्य च ॥ 'हला रमणीएक्खु काले इमस्स लदापा अब मिहुणस्स वइअरो लदापाअबमिहुणस्स а # हला शकुन्तले । इयं स्वयंवरवधूः सहकारस्य त्वया कृतनामधेया वनज्योत्स्नेति नवमालिका । एनां विस्मृतासि । b तदात्मानमपि विस्मरिष्यामि । c हला । रमणीये खलु कालेऽस्य लतापादपमिथुनस्य व्यतिकरः Par. Int. 1 — Here is the young Mālikā [a kind of double jasmine, see p. 22, n. 1] named by you the Light of the Grove, the self-elected wife of the Sahakāra. Have you forgotten it?' The Sahakāra is a sort of fragrant Mango tree. Its union with other plants seems a favourite idea with Kālidāsa; for in Raghu-v. viii. 60, allusion is made to its marriage with the Phalini or Priyangu. It is said to be a great favourite with bees (Raghu-v. vi. 69 ). In Ratn. p. 11, 1. 7, it is spoken of as mandalāyamāna, 'forming a circle.' Svayamvara-vadhū, ' a wife by self-election.' The Svayamvara, or 'selection for one's self,' was a form of marriage in which a princess made a free public choice of a husband from a number of assembled suitors. In very early times the princesses of India seem to have enjoyed this singular privilege. It is not mentioned amongst the forms of marriage in Manu iii. 21, &c.; but the provision which is made in Manu ix. 90, proves that a similar custom prevailed at that period. When marriageable, she is there told to wait for three years; and after that time, if she fail to obtain a suitable husband, she is to choose for herself; [samāna-jati-gunam varam svayam orinita, Schol.] She is then called Svayamvarā. In the Mahā-bh. we have a beautiful account of the Svayamvara of Damayanti (who chooses Nala), and of Draupadi (who chooses Arjuna); and in Raghu-v. vi. of the Svayamvara of Indumatī, sister of Bhoja, king of Vidarbha (who chooses Aja, the son of Raghu). See also Nalod. i. 30. Even the goddess Lakshmi is said to have exercised this privilege. See the allusion to the Lakshmi-svayamvara at the beginning of Act III. of Vikram. Vi-smrita is also used transitively between verses 129 and 130 of this play. In Raghu-v. xix. 2, vi-smrita has an acc. after it. See Gram. 896 ; Pān. iii. 4, 72. а "संवृत्तो। णवकुसुमजोवणा वणजोसिणी । बडपल्लवदाए उबभोअक्खमो सहआरो। ॥ इति पश्यन्ती तिष्ठति ॥ а संवृत्तः । नवकुसुमयौवना वनज्योत्स्ना । बद्धपल्लवतयोपभोगक्षमः सहकारः । b अनसूये । जानासि किन्निमित्तं शकुन्तला वनज्योत्स्वामतिमात्रं प्रेक्षत इति । 1 ‘At a charming season, indeed, has the union between this pair, the (Mālikā or jasmine) creeper and the (Sahakāra) tree, taken place. The Light of the Grove (has) youthfulness by ( its) fresh blossoms [i. e. its fresh blossoms give it all the bloom of a young bride], and the Sahakāra is capable of enjoyment by reason of ( its) young shoots (just ) formed.’ Vyatikara is properly ' mutual action, ' ' co-operation;' hence 'union,' ‘blending,’ ‘intertwining,' 'intermingling .' See Megha- d. 15. So also vyatikara-sukham, 'mutual enjoyment.' The prepositions vi and ati in composition imply both reciprocity and contrariety: hence, in Hitop. 1. 2319, vyatikara signifies 'reverse,' 'turn in affairs.' Baddha-pallavatayā, 'by the state of young shoots formed on it.' This is an idiomatic use of the instr. case of the abstract noun in tā, to denote 'by reason of,' 'on account of.' Bandh often means 'to form,' 'produce ;' thus, badhnanti phalam (Raghu-v. xii. 69); drumeshu svayam phalam baddham (Kumāra-s. v. 60). Upabhoga- kshama occurs in connection with grishmasamaya in p. 6, n. 2, and in Vikram., Act III, with avakāśa. The first meaning of kshama is 'patient,' 'enduring' Here and elsewhere it= yogya, ‘capable, ' ' suitable ;' so drishti- kshama, ' capable of being seen,' visible.' So in verse 22, keshatra-parigraha-kshamā, ' capable of marriage with a Kshatriya.' |