Imatges de pàgina
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॥ अथ प्रथमोऽङ्कः ॥

॥ ततः प्रविशति मृगानुसारी सशरचापहस्तो राजा रथेन सूतश्च ॥
सूतः ॥ राजानं मृगं चावलोक्य ॥

आयुष्मन् ।

कृष्णसारे ददच्चक्षुस्त्वयि चाधिज्यकार्मुके । मृगानुसारिणं साक्षात्पश्यामीव पिनाकिनम् ॥ ६ ॥

राजा ।

सूत दूरमंमुना सारङ्गेण वयमाकृष्टाः । अयं पुनरिदानीमपि ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बचदृष्टिः पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम् ।

1 ‘O long-lived one!' a respectful mode of addressing kings. Candrasekhara quotes a verse of Bharata, Vaded rajnim ća ćetīm ća bhavatīti vidūshakah, āyushman rathinam sūto vriddham tāteti Cetarah. Cf. Manu ii. 125.

2

* ‘Casting (my) eye on the black-antelope and on thee with-thy-strungbow I behold, as it were, Siva visibly present chasing the deer.' Adhi-jya, 'having the string [jya] up;' at the end of the chase the bow would be śithila-jya: see verse 40. Sa-jya is used like adhi-jya. Pinākin is Siva, armed with his bow called Pināka. [So the bow of Vishnu has a name Sārnga, and that of Arjuna, Gāndīva, Megha - d. 48, 50. ] In illustration, Kātavema refers to Raghu-v. xi. 44, Dhanuk, yena orisha-dhvajo vāņam asṛijad vidruta-kratu-mṛigānusāriņam. Siva, not having been invited to Daksha's celebrated horse-sacrifice, was so indignant, that with his wife he suddenly presented himself, confounded the sacrifice, dispersed and mutilated the gods, and chasing Yajna, 'the lord of sacrifice,' who fled in the form of a fleet deer, overtook and decapitated him. The Vāyu-purāņa makes Siva create a manifestation of himself as a monstrous being named Vira-bhadra, who pursues Yajna in the form of a deer: see Vishnu-purāna, p. 65.

Verse 6. ŚLOKA or ANUSHTUBH. See verse 5.

C

दर्भेरधावलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवत्मा पश्योदयतत्वाद्दियति बहुतरं स्तोकमुष्यी प्रयाति ॥ ७ ॥

॥ सविस्मयम् ॥

कथमनुपतत एव मे प्रयत्नप्रेक्षणीयः संवृत्तोऽयं मृगः ।

speed

सूतः ।

आयुष्मन् । उत्खातिनी भूमिरिति मया रश्मिसंयमनाद्रथस्य मन्दीकृतो वेगः । तेन मृग एष विप्रकृष्टांन्तरः संवृत्तः । सम्प्रति हि समदेशवर्तिनस्ते न दुरासदो भविष्यति ।

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1 ‘There he is now, gracefully by the bending of his neck fixing & glance ever and anon at the chariot which pursues him, by (the contraction of) the hinder half (of his body) repeatedly drawing himself into the fore-(part of his) body through fear of the descent of the arrow; strewing the road with grass half-chewed which drops from his mouth kept open from exhaustion. See! by reason of his lofty boundings he springs forward chiefly in the air, little on the ground.' For baddha-drishti, compare Raghu-v.i. 40, syandanābaddha-drishtishu. Pravishtah pūrva-kāyam is equivalent to pravishta-pūrva-kāyah, lit. ' entering the fore-part of his body,' a Bahuvrīhi compound analogous to baddha-dṛishṭiḥ and kīrṇaIn regard to Darbha or Kuśa grass, see note to verse 15. '[With surprise.] How now! the deer has become visible with diffi culty [lit. with effort] to me pursuing (him).' Dr. Burkhard reads this line thus: Sa esha katham anupadam eva prayatna-prekshaniyaḥ samvṛittaḥ.

vartmā.

26

Because the ground is full of hollows, I have slackened the speed of the chariot by drawing in the reins.' Utkhātinī, lit. 'full of excavations.' • ' Separated by a longer interval or distance. '

6

5 The expressions nirūpya and nāṭayiṭvā, which occur so frequently in

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मुक्तेषु रश्मिषु निरायतपूर्वकाया
निष्कम्पचामरशिखा' निभृतोकणीः ।

आत्मोडतैरपि रजोभिरलङ्घनीया

धावन्त्यमी मृगजवाक्ष्मयेव रथ्याः ॥ ८ ॥

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the stage-directions, are synonymous, and may both be translated by 'acting,' 'gesticulating,' 'exhibiting by gesticulation.' The properties and paraphernalia of the Hindu stage were as limited as the scenery; and though seats, thrones, weapons, and cars were introduced, yet much had to be supplied by the imaginations of the spectators, assisted by the gesticulations of the actors. Thus, though the car of Dushyanta might have been represented on the stage, the horses would be left to the imagination, and the speed of the chariot would only be indicated by the gesticulations of the charioteer.

1 'The reins being loosed, these chariot-horses gallop along as if with impatience of the speed of the deer [i. e. impatient or emulous of its speed], having the fore-part of their bodies well stretched out, having the chowrie which forms their crest motionless, having the ears erect yet firmly fixed [or bent backwards], not to be overtaken even by the dust raised by themselves.'—The ćāmarī or chowrie, formed of the white bushy tail of the Yak or Bos Grunniens, served for whisking off flies; and was used as an emblem of princely rank. It was placed as an ornament between the ears of horses, like the plume of the war-horse of chivalry. The velocity of the chariot caused it to lose its play and appear fixed in one direction, like a flag borne rapidly against the wind. A similar idea occurs in Act I. of the Vikramorvaśī, titrārambha-viniśćalam hayasirasi tamaram. There is some difficulty in nibhṛitordhvakarṇāḥ. The commentator explains nibhrita by niśćala, 'motionless.' The most usual sense of nibhrita is 'secret,' 'modest,' 'depressed,' 'low' (Gīta-g. ii. 11, ii. 21; Hitop. passim). In Raghu-v. viii. 15 the sky is described as nibhṛitendu, 'having its moon nearly set' (=astamayāsannaćandra). Hence might flow the acceptation 'bent backwards.' The ears of a horse while running at full speed would be not only erect, but probably bent backwards so as to present the least resistance to the

Verse 8. VASANTA-TILAKĀ (a variety of ŚAKVARĪ or ŚAKKARĪ or ŚARKARI), containing fourteen syllables to the Pāda or quarter-verse, each Pāda being alike.

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

यदर्थे विच्छिन्नं भवति कृतसन्धानमिव तत् ।

ha, Pine प्रकृत्या यवक्रं तदपि समरेखं नयनयो

Sniga, Reihe

12

र्न मे दूरे किञ्चित्क्षणमपि न पार्श्वे रथजंवात् ॥ ९ ॥

wind. This interpretation is confirmed by the reading of the Bengāli MSS., tyuta-karna-bhanga; 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 harīn as acc. case plural of hari, 'a horse. ' But da after harin indicates that both harito and harin are acc. cases after atitya. In the Rig-veda we find harī (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 adityasya. Hence Indra is called hari-haya or hari-vahana (Vikram., Act III), and in Rig-veda, hari-yojana; and the Sun is called harid-aśva. One name of the Sun is saptāśva, 'having seven horses.' The Bengali MSS. read katham atitya hariņam harayo, &e., 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. ŠIKHARIŅI (a variety of the ATYASHȚI), containing seventeen syllables to the Pāda or quarter-verse, each Pāda being alike.

1000-11

Lat

सूत । पश्यैनं व्यापाद्यमानम् । ॥ इति शरसन्धानं नाटयति ॥

नेपथ्ये ।

भो भो राजन् । आश्रममृगोऽयं न हन्तव्यो न हन्तव्यः ।

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आयुष्मन् । अस्य खलु ते वाणपथवर्तिनः कृष्णसारस्यान्तरे
तपस्विन उपस्थिताः ।

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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, Pāṇḍavā 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 ākhyānapanćaman, '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, rÉpTrTos arós, ' himself with four others, Thucydides I. xlvi. Similarly, rpirov fueránavrov, ' two talents and a half,' and EBSopor nuránavrov, ' six talents and a half,' Herodotus I. 15, 50.

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Verse 10. MĀLINÎ or MANINĪ (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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