AAA. m&mfr ...*2?. : * k . - ' ?^/i'AV AA Vmmt FROM -THE- LIBRARY- OF- A. W. Ryder No. XVI. THE VIKEAMOEVAS1YAM. Price Us. 2. ' cpartmettt of fublie Engtrtutton, THE VIKRAMORVASIYAM A DRAMA IN FIVE ACTS KALIDASA If EDITED WITH ENGLISH NOTES. BT SHANKAR P. PANDIT, M.A., Registered under Act XXV. 0/1867. GOVERNMENT CENTRAL BOOK-DEPOT. 1879. (AH rights reserved.) Price Us. two. PRINTED AT THE "INDU-PEAKASH " PRESS- ^- rvrwv CRITICAL NOTICE IN preparing the present edition of the Vilcramorvas'iyam the following Mss. have been used. Gf- This is written in Devanagari characters. It is an old Ms. Though the date is not given, it appears from the form of the letters and the nature and state of the paper to be about two hundred or two hundred and fifty years old, possibly older. So far as it goes it is very correct. Except the first ten or twelve pages, it does not appear to have been corrected by any one. It contains no chliaya or Sanskrit translation of the Prakrit passages, except of the portion which is contained in the first twelve pages, where one is sometimes given in the margin. The total number of leaves is 41. The colophon is : ^F II t M R-UI < II Almost all the Matrfis or signs of 7 and ^Tf precede the consonants which, those vowels follow, instead of being written over them as in modern Mss. The whole Ms. is in a perfect state of preservation. It has 11 or 12 lines on each side, and each line contains about 21 letters. As at the time I got this Ms. I thought it, as it was, the oldest of the Mss> I had, I took it as my guide and copied from it the text of this edition, and with the copy I collated M3: ( 2 ) the other Mss. in my possession. The Ms. G. belongs to one Mr. Jos'i of Sattara, from whom it was procured for me by my friend Mr. Vinayak Trimbak Gole of Khandesh, and has been returned to its owner through the latter gentleman. W. is a fine modern Ms. also in Devanagirt characters. It comes from Nasik, copied by and belonging to Govind S'astri Nirantara. The date of its genesis is given in its colophon which will follow presently. It contains no chhaya. The num- ber of leaves is 23. The number of lines on each page is about 11, each line containing about 42 letters. There are mar- ginal notes now and then and the M.S. appears to have been considerably used to read from. Now and then quotations are given in the margin from the Sdhitya Durpana and the Saras - vatiJcanf.hdbharana. The whole Ms. is perfectly legible and very correctly written. The colophon already referred to is as follows : (sic) J N || This Ms. is doubtless a copy of N2 des- cribed below. And it is a most faithful copy. It appears that r.ffcer N. was copied from NJ both were corrected separately. In many places the inaccuracies of NJ are faithfully reproduced iu N. K"2 is, as said above, also from Nasik, and belongs to a S'astri whose name is Elcanatha S'astri. It consists of 19 leaves hav- ing each 13 or 14 lines, each line containing about 48 letters. This Ms. is very closely written, though perfectly legible. It contains no chhaya, but the Prakrit passages as well as the Sanskrit ones are very correctly written. The date is not given. The colophon runs thus : -*RmR* ff^fff 3fHr^~ (| The Ms. may ( 3 ) l)e from fifty to seventy-five years old. There fire few margi- nal glosses as in N. or quotations in the margin. There are liarital'i corrections in the body of this as well as in that of N. N-i is very carefully written, and appears to have been very often read. On the first side of the first leaf of N. there is the following given in four lines one on each edge of the page: 55 3T?T I ^T!^ ^?C | %fkwr*r HHtJWTC *W: [| The only difference between N. and NJ is that the former is older, otherwise their value is just the same. Both 3ST. and N.2 were procured for me by my friend Mr. Hari Bhagavant Keskar B.A. late Master, Nasik High School^ and have now been returned to their re- spective owners. A. This belongs to my own collection of Mss. and is in De- vamigari characters. Number of leaves 21, or 48 sides, of which the last one and a half are blank. There are fifteen lines on each side, and about 55 letters in each line. It is a fine, but rather modern Ms. The letters are beautiful and the whole Ms. is generally very correct. The names of the speakers, the figures of the stanzas, all the stage-directions and similar words and phrases not forming parts of the poet's composition, are painted with the usual yellowish red substance called Gent. Each Prakrit passage has its Sanskrit chhayft immediately fol. lowing it. The Ms. appears to have been corrected with liaritdla and in some places even with ordinary black ink, and obviously has often been read. The date when it was copied is not given, but it may certainly be fifty or seventy- five year old. The beginning is sftTTOrc W. *m?W^ ^*T: and the colophon runs thus : ?fr ^rfoTrtf J^T rTTO?5TR ^RT% ^T?fr 5m *m || || \ 11 11 ^ H As far as I remember the cii> ( 4 ) cumstances under which A came into my possesion, it belongs to the Deccan, I having obtained it in Poona in the year 1871. B. This is in Devanagari characters and is a copy of a grantlii Ms. obtained from Mysore through the late Rao Saheb Narayan Jagannath Vaidya, Director of Public Instruction, My- sore. Both the granthi Ms. and its Devanagari copy, which latter was made for my use, are in my possession. The age of the granthi Ms. is not ascertainable, but the same appears to be very old. I havenot used the granthi original but only the Devanagari copy, which is generally very correct. It consists of 22 leaves of 10 or 11 lines to the page, eacli line containing about 52 letters. The beginning is || TO &c. &c. The colophon is : sfr 3nf^rrejri faroNsPRis* *wra || || ^fr^wffR w. J| swirg 1 1 II ^ II II ^ II II w, II II <%|| II <% II U<% || t. "5.0 qfCWfflTJTiir^ || There is no chhaya of the Prakrit speeches nor any glosses in the margin. P. This is a Devanagari Ms. from Poona, obtained through Krishna S'astri Ktijvade, of the office of the Government Trans- * lator to the Director of Public Instruction. It consists of 42 leaves of which the last and first sides are not written upon. There are eight lines on each side and about 49 letters in each line. It is generally correct, though not so correct as A or the Kasik Mss. N. ISTs. The first thirteen leaves have been corrected Ly some one, probably by Mr. Kajvade, not always correctly. The age of the Ms. is not given but it may be one hundred years old, possibly much older. Each Prakrit speech has its chhuya given immediately after it. In my opinion this Ms. ( 3 ) was copied from a Telega Ms. Evidences of this are to be found in many places. Thus, for instance, the cipher is used to indicate the doubling of a letter, generally a consonant, in the Praia-it parts, as ^5Jo'4 for 3^ v -'4 or 3W3T. This cipher is sometimes given as in ordinary Telegu Ms. over the letter pre- ceding, instead of between the letter to be doubled and its pre- ceding letter. There are also some special evidences. Thus, on the second side of leaf 13, line 8, the King's speech runs thus : ^TOtgoCT'^ cPsqTvraroFr, which is only a mistranslitera- tion of the correct passage in Telegu characters, in which ( ^f ) and ( *T ) can easily be confounded. Again r is often misrepresented by FT which is easily accounted for when it is borne in mind how f and PT are similar to each other in Telegu. The beginning is w'^5TPT W. I tTffiT &o. and the colophon : flJWTW ^ffSJTTCTf * M II II ^r H || ^ || These six Mss. agree with one another in one essential point, viz. that they all omit the Prakrit verses forming parts of the King's long soliloquy in the fourth Act. But besides the six I have also used two more Mss. viz., K. Which is a very excellent Ms, written in Devanagari characters, professing to have been copied by one Chintamam in Kas'i, or Benares. It consists of very closely written 12 leaves having seventeen to twenty-one lines on each side with about 58 letters to the line. The Prakrit Passages have no chhaya. There are corrections made in the Ms. with Jtaritdla, and red geru is frequently used as in A. It appears to have been used, and is very correct. The date is not given but the Ms. may be about two hundred years old, The beginning is the usual salu- ( 6 ) tation to Gunapati ^T*FT5TR ^*T: I The coloplion is : ft^ifi^R ^ri? $tt ^ SPT ^ 3^ 5 (sic) wif *fft*R II ^9 II I! *TST 3^. Tin's Ms. was kindly lent to me by my friend Prof. R. G. Bhandarkar of Bombay. IJ. This is a very good Ms- belonging to the late Madha- varama S'astri of Ulpad in the Surat District now in the posses- sion of his son Kyishnarama. It consists of 27 folios very correctly written and afterwards revised. The length of the folios is 9J inches, and the breadth 4 inches, with about 14 lines of about 38 letters in each to a page. The date given at the end is 1732, but whether Sanivat or S'aka is uncertain. But it might well be the former as the Ms. certainly looks two hun- dred years old. U- Agrees most with G. though the latter does not contain the Prakrit passages in the King's soliloquy in the fourth Act, agrees less with A. and least with N.Nj., i.e. so far as the differences go. It calls the play a Trotaka throughout. This Ms. has been returned to its owner with the letter U. marked on the first page which I have also initialed and dated 26th April 1874, the day on which I returned the Ms. to the owner. A faithful copy of it is now in my possession. Both K. and U. contain the Prakrit verses and the stage- directions relating to the dancing postures in the soliloquy of the King in the fourth Act, arid therein differ from the rest of the Mss. Neither U- nor K. contains a chhaya of those Prakrit verses. Besides the eight Mss. described above I have also used two other Mss. one containing the commentary of Katavema and the other that of Kauganatha. The former is a copy in Telegu characters kindly obtained for me by Dr. A. Burnell C. S-, Judge of Tanjore, of a granthi Ms. existing in the Library of the Raja of Tanjore. This Ms, does not contain the whole of the text ( 7 ) but omits nearly all tlie Sanskrit prose and verse except such us Katavema thinks requires explanation ; it gives, however, all tle Prakrit speeches with a Sanskrit chhaya, and explains nearly all the metrical Sanskrit portions which, though not quoted by him continuously, can easily be restored from his comments. The Ms. is written on thirty-one leaves of modern foolscap paper with 23 lines to each page and about 22 letters to the line. It is probable the original of the granthi Ms. from which Mr. Burnell procured the copy must be a Devanagari Ms-, though Katavema may have been a southerner. Thus at page 23 the Ms. has 3K T*J in Telegu letters for what ought to be * That this is most likely true is shown, first by the fact that Kdta- vema calls his commentary ^KfrTRu^ TOJTrfsfn^f^RiT ; thus f JR and similarly at the end of each Act; where Kdtayavema (not Kata- vema, observe) looks like a Dravidian name ; and K'imdragiri is the name of a sacred hill near Bellari in the Dravidian country, where many thousands of pilgrims flock annually even in these days, and Katayavema who calls himself a King might have been the king of that place, or so connected with a King thereof that he dedicated his commentary to him by calling it KumdragirirCijnja ; 2ndly from a casual remark at page 13 where in explaining the passage ^m cfrTiffff ^T^U^TT^ff 3^_ raiR" RT sirSJil'Tr &c. the commentator observes 3TWWT1^, ' the word Tr*T means yes, 1 BTFff or ^R^ being the regular and ordinary word for * yes 1 in Tamil to this day. The colophon containing a mutilated S'loka at the end is as follows : ST^T ( 3 ) '3 j tlie T being a mistransliteration for 7, those letters being very similar to each other in the Devanagari alphabet. At page 48, part of the King's speech runs in Telegu character thus : TO? ffWf?crtf?5R ffWfrfrSJfarKiT TOTS!:. This ?$re5r: is a mistransliteration for 7^5T: written tRfpnir: in old Devana- gari characters. At page 50 the word 1*R is misrepresented by JT'T'T the second *J in JFT-f having been mistaken by the scribe for *T ; and wrongly represented through the latter letter in Telegu characters, which would not have been the case if the original of the Ms. in question had been written * in any of the Southern characters where T and T do not resemble each other. At page 54: the Ms. reads in Telegu ^TOflrtnWWW 3f^TT v &c., where the $1 and *T are clearly traceable to a mistake of ff and Sf in a Ms. in Devanagar- characters, where the letters T and *T being similar are often cont founded with each other, whereas in the Draviilian alphabets they are not so similar that the one may be mistaken for the other. See also page 56 where R'^R^ is read for PT^R^ (or fr*4hnr) which mistake is only possible on the theory that the Ms. comes from a Devanagari original. These and a variety of other circumstances leave no reasonable ground for doubt that the original of the Ms. was copied from a Devanagari Ms. The Telegu Ms. is in my possession. The other commentary used is that of Eanganatha. This Ms. was kindly lent me by Dr. G. Biihler, Educational Inspector, Northern Division, who had himself obtained a loan of it from a widow at Benares. It is u carefully written Ms. which contains the full text of the play as well as copious comments by the commentator. But the explanations are often very doubtful and in many places palpably wrong. Altogether the commentary is a very indifferent one, and considerably inferior to that of Katavema. It has been returned to Dr. Biihler, who I believe has restored it to its owner, after taking a copy for the Government of Bombay. ( 9 ) Various readings from both tlie commentators have been given by me, but not so systematically (is from those eight Mss. which I have carefully collated and which form the basis of this Edition. One remarkable feature of this Edition is that it omits from the main text the Prakrit verses and the directions relating to the recitation &c. thereof generally found in the King's long soliloquy in the fourth Act of the play as it has been hitherto presented to the public. I have given the fourth Act with the Prakrit verse passages in an Appendix,* in which the passages and directions in question are included in brackets, so that the parts excluded from the main text of the Edition may be easily distinguishable. My authority for omitting the Prakrifc passages from the fourth Act is derived from sixf of the very best Mss. out of the eight collated, and from one of the two commentators, Katavema, who knows nothing of these Prakrifc verses, dancing postures and the stage-directions referring to them. He comments on the fourth Act without the slightest indication that the passages were there. It is his custom, as I have stated above, to give a full Sanskrit version of all Prakrit sentences whether these occur in prose or verse. If therefore he had known the Prakrit verses of the fourth Act, lie would certainly have given a chhaya or Sanskrit version of them if not occasionally further explanations besides. One objection to these passages is, independently of the external authority of Mss., that they are in Prakrit and are most of them intended to be chanted or recited by the King, who, as an * The paging of the Appendix corresponds with that of the fourth Act in the body of the play, so that the matter on any given page in the Appendix is the same as that on the corresponding page of the fourth Act plus the Prakrit verse or verses. f These are G. N. Ng. A. B. P. The Mss. that give the passages are K, and U. about which see above. ( 10 ) tittamapdtra, always speaks Sanskrit in the rest of the piny. Another objection appears to be that wherever they are in- tended to be chanted or spoken by the King they are mostly tautological, containing the substance of Sanskrit versos im- mediately preceding or following them, which is a very sus- picious circumstance against their genuineness. Thus for ex- ample, stanza 8 (page 107A.) is merely a repetition in Pra- krit of stanza 7 \ stanza 44 is a Prakrit repetition of stanza 45 (page 117 A) ; stanza 49 is a more tautology of the Sanskrit stanzas 48 and 50 (page USA.), and so forth. * A third objection seems to lie in the fact that a great man}' of the Prakrit verses though claiming to be parts of the King's soliloquy are full of -descriptions and vague allusions and re- ferences in the third person to some one iu his situation rather than to him distinctly. For example, see stanzas 28, 02. AS regards some others again, it is clear that they are not to be re- peated by the King, and yet it is not plain whose parts they form. Examples of such are stanzas 1 and 5. A fourth and perhaps the strongest objection against the passages is that not only are none of them required in their respective places, but several of them appear to interrupt the free and natural flow of the sentiments as expressed in the Sanskrit passages; i. e. not only would they not be missed were they not to occur where they are found, but their absence gives a better continued sense from the Sanskrit than is now the case when the latter is so often interrupted by them. When I was in Madras in the hot season of 1874 I had occasion to see the family Library of Rao Bahadur Raghunath Rao, the present Derail of Imlore, and on examining a Devanagart Ms. of the play, which, I was informed, had been taken to (hat part of the country by the ancestors of the family when they ( 11 ) in ignited from the Doccan about two hundred and fifty years ago, I found Hint the fourth Act did not contain the Train-it passages and the stage-directions under reference. I have thought, I hope not incorrectly, that the above facts and considerations are sufficient to account for expunging the passages from the main text, of my Edition. Though I am not at present in a position to pronounce decidedly on the merits of the passages, I may perhaps be allowed to risk a guess that it may be that the passages were intended to be chanted by some one behind the scene, and as such anonymous passages without any indications that they are to bo repeated behind the scene are not known to occur in the plays, our passages may or may not have originally belonged to the play even though they bo a production of the author. The prints, reprints, and Editions of this play at present available have doubtless done good service in their days and in their own ways to the admirers of Kalidasa, by bring- ing to their notice and within their reach one of the best com- positions of that author; but it is no presumption, I believe, to say, though I do so with great deference to the learning of my predecessors in the field, that most of them contain texts that demanded further research and further elucidation and improvement based on more careful collation of Mas- As for the translations, and annotations that have hitherto been given in Europe and Calcutta, a great many of them may very well * One year after the text of the present Edition had been printed Dr. Richard Pischel published in the Monthly Journal of the Royal Academy of Sciences at Berlin (N"o. for October 1875) a recension of the Vikramor- vas'i according to Dravidian Mss. And though his sources are of course different from mine he too has had, on the authority of his Mss , to omit the Prakrit passage* in the soliloquy of the King -in the fourth Act. This affords independent confirmation, of the correctness of the principle on which I have omitted them in the text of the Edition. ( 12 ) be pardoned, first on the ground that they were given by foreigners and that too many years ago, and secondly on the prin- ciple that bad readings generally lead to worse interpretations. Those that have had to read the play in the existing editions and reprints, and have felt the necessity of better editions and better commentaries, will easily find what help the present attempt is able to render them. I therefore say nothing re- garding its claims or its merits, but leave the work to speak for itself, though I am fully conscious that the discovery of more ancient and better, because more reliable, Mss. will make further purification of the text possible. S. P. P. : | S5- i 10 6. P. om. stage-direction '^rtiT &C.-B. adds after cfffrf. 7. K. ?fff: nfq-srfrir Trr^r^^: for 8. For WT &FW^ K. G. ^TW 3T f ^; P. om. iTfT. 9. G-.K. omit ^^ A. r.-U. om. g.-G. f ^r;, B. 50: MF4n f K. 10. K.P.G. om. ?W', N.B.P. for &o.; N.K. ; A.N.NS.P. for 11. A.Tftj N.Na. B.U. fit; for , and SKW 2. G.U.K. have w7: after Tc^f; U.P. om. 3. G.K. ^^r, for N.U. om. J5r . 5. B. 8 ToST before 4fc &o. G. K. have3?srr gftrTW^ qft- ^Tf^^; B. ins. ^ after v^f as also after 5R*T; U. WW Tft- ^TfT^ 5fT BW^T^Trlt fW 3T 8?^^?^ ^T (sic.) it atf^J for the whole speech. P. om. the whole of the Nepathya speech, proceeding at once to the next, rf ^TT &c -G. A.U-K. ^^^fffr.-N. N2. K. 8TW?T. 7. G. K. ^^5, for OT ^rTT; U. adds arr^rtr before V?; B. has both rf 5' : ^T aud j -x \ 4 omits ^.-G. : Na, has a marginal gloss: TMT ^: B. p. JT &c.; K. v & c .; U. "?- &C.-N. N2. have er and A. Rfff. after the same word; N. adds *?fr fr. 8. Bet ween ^ an inserts, like U., ^^ &c. G. omits G. has 9 ?f." before -* i 2. N.N2. arj^pr, P. 4. G.K. ^CT for 5. B. om. FT^rr^: G. 7. 8. P.A.N.N2. B. ^e^: *Frh; K. om. G. B. u. for G. for sfr &o. K. -K. ; P. for A.N.Na. 10. K.G. N.Na. insert r. U. rf^r: P. ; A. after 11. G.N.N2. do not repeat 3T.-A.U.have c ^RH^ J^r, and P. K. FT?foR.-A. N. N2. for 12. G.K, omit f or qf. snror fterafi fafrr %T?Ri 1. P. : for^iTT-G. K. 3. P. ins. THsTT | ^mT^ 1 after JTfm^fr.-N. Na. insert ^?r^ after 5fF, and read ^T^ for ?tff and omit qK. 4. P. B. read the after for Tf^; K. U. trrl-^^ ^rJT for and , for ; G. K. 5. G- omit , omitting Tfl"; K. , A. N-2. U. f^STPir, for 6. N. Na. ^f^rf%ffr, K. P.B. *T- , U. ^r.-GL K. ; G.U. om. ; K. 7. P.B. ^^; K. 5^TT-A. B. JTff*r-N.N-2. insert 3T^T^t- sf before 3F^rt.-N. N2. Tlf^T; P.K. irfTTf; K. ; U. ^"T? Tfl^f. 8. G. ?W for 3 TrT.-N.N-2. insert ^fiT after ^fT-N.Na. f^ff (?))TrH K. om. f*JT.-G.P. omit ?R-P. ^TCT^; for \W:. : I ' luffs \k | rfm ft" 10 1. N. N 2 . ^Nfr, U. 2. B.U. have f^T^, and A.N. N2. ST^mt, for ff JSTrirff .-U. B. ins. ^?T before .Na. prefixes VW to *Nfr. 3. B.U. T r e^:, and A.N.N*. ^ C f:, for ^HT N.N2. FT ^T:; KJJ.P. RrT- after 10 flrarcrfr I ITS'- | TOT U. fi^f r. -a . K. 2. A N.Ns. ^WW?, and do not repeat it. U. w; B. ; P. 3. B. om. ^rrwff ^r^Tflff; P. om. 5. G.K. for the fourth pada. We with A.N.Na.B.P.U. 6. A. adds ^TOff tflRff J RaT^ffr before ^Tl" &c. and omits *Tif- t; N.Ns. also om. T^t. U. reads ^TUTf -N.Na. . om. ^ and ; P. om. 3ft. P. ins. tfft after ^fff?f-A. ff^f- WT for ^T. U. adds after Tfl^STRT.-B. 8. P.B.U. vft before om. W [?. 9. K. 5^W =T 3W& J^II^TO f^T^I We read the second pada with A.G. N.Na. B.P.U. 10. K. reads the following palpable interpolation after i I ann^r w *9 ft | ^nsft i n e n . l I ?fr: || G. and U. read it also, but after the stage-direction arf^T JT^rfl^lt. That it is spurious is proved first by its being little more than a paraphrase of St. 6, and then by its being omitted by five of our Mss, A.N.Ns.B.P., and also by the commentator 1. A. .f^r before , B. K. G. , u. tfl.-A. K. ^W*i, N. ^rr"r. K. ins. *\* before -B.P. TWCr, K. fW for if *T.-A .N.N and read Jfrwfa; U. B, Tilnrrc, P. om. 2. B. JIwrvSR, A. N.Ni. fiN^hifafhwft. K.U. om. stage-direction. 3. P.A.B. *fr for, and N.Na. om., ?fa -U. W*7R before 5. For Tf%: G. has 6. AB.P. apwjrfor^ .-?. 5*tf for W-A. B. G. N-;. 8. P. om. ml. B. A. frav*r. G. Wfe-B. qK^T.-U. (wrongly) reads ^Tr^^R^ft^r JT^f^l^ i*r*Hr ^ frj^TRqrf-w &c. K. "W " K. !TT^. G.K.U. ins. ?r^f after fffSf and A. N.Na. read f^rar before m^- . B. ins. ? before tfafl . P. ins. ^ before I'flar. 10 wfgr I H : | *- 1. A.N.N2. 55 for 5-8. B. f^o | f^r r% a r 5To I fllWf J^f f K. . u. r ^s 1 (stc.) w|^ir sfnspfr I ^ I ^f^l w &c. U. om. 11. 6-8. P. fao I ?5?f ^^IW [which it trans- lates ara 1 ^ej| ^f o | ^^f. rofr j r^o j Cr 5 ^f ^flspff. A. r>e I &c. | | ^f 5 &c. K. with G., except that it re- peats q^a" in 1. 5 arid has ffr- f 5f and r^rc in 1. 6, T? in 1. 7, and flft GfT^j in 1. 8. 9. A.N.Na. *f after 7f. P.B. jH, K. %^T.-U. g-^^f. -N.N-2. WNr, B.P. ifor. G. ^rT, U. ^TrwJT?r, P. ^^ irfr.-A.U. ^^ and N.N. RWHf before V*. n flwifa I ? ilr I HTI?T i U.P. ^- g--^r?'fr.-G. lias another before 1. After frWr G.K.N.N2. ins. e^iT. A.B. om. f? after ff. A. ^ fr^f^ff 3-TT^. U. R7 ^f - Tr^. B. reads the ff //er ITSTlf^.-A^at ft, before T^f . G. om, ?at. A.U. N^^fr. K. om. ^fr.Na. om. the stae- direction fMf^.-K. g?rcr. P. 5? fr 2. G.N.N2. om. ^ after rt.- For T^rofrcTr &c. N. reads: *T- qw'rr ofr rrar^fr ^rrfer J ^M" r ^T^fr^trR- 1 - K. B. om. *r. G.Na. sTTK^^r.-A.B. om. . u. ^r fwr^Tr for 3. A.N.N2.U.P. 6ff bef. }, which G. reads gf . K. re- peats jrj wnft; A.N. B.u. [ TJ. fl ] g B. ^r ]l I 4. G. 5. A.N.Na. om. ^R". 6. G.A.K. for K. 5TT P. 8. G.K. & for ^.- for *ffi. 9. G.K. , and , for the 2nd puda. 10 Pt TOtTO^C I ^ *\t STO I I 8 fe^rr ^^m^r PRTC^T 1. U. *75:. G-. ^5T V corrected into |2^. N.Na. ^J . K. *. K. 2. A.P. JRfHt. U. JRT8%. B. 3. G. om -G. ftfr Jfl VT^; K. ffifir ?fw:; B. f^Ff j^f ; U. fN T^ff Tf ^; P. 4. K. om. ^f^I^JT. G. T R" for "Iff tfT; TJ. Tf T ^T- tw, P. ?! r ^^r, B. art r r, K. r 5. N.Na .B. f 55f Rr. A. ^rrtflr for wi^if . u. ^r?f. p. f arr .K. om. ^:- B. assigns the speech to *T- 6. A.N.N2.TJ. om. r? K. fr ?r irt ff ff 8T &c. P. r? c. 3. G. om. , K- j r. B. U , P. , A. Tfr 7 , N.Na. -U.B.N. Na. f5T?. 4. N.N2. ?Tf for Sff^. N. r. B. and P. [which it does not read after r- rol-B. srrrrfe; K. sn^i*?; P. srrrw; U. grrr? .-G. om. ^. A.N.N2.P. om.^Tf. P. ins. T instead of OT. G.U. f- ^r; K. 3-^3-^f . A.N.N2. f4rffr for fir. 6. U.A.B. W and N.Ns. ff before ^ff wliich they read for ^?. K. rff. P. also inn. ^f. A. om. . A.N.Na. ins. ST before. *^T K. 6. A.N.N2. U. ?f?r. .P. ins. ff^T after ; P.K. U.P.B.A.N.N2. For rff%. G. has W after *^T.-U. bas the T after fat i 3Tisr OT . i rnt Gr. inserts ^f before sri^.B^ deest from 5fTT up to 3WHR.-A.N. N2. 8T^RnW f.-A-N. in- serts after 7T.-U.P.A.N'. 2. N.U. Rlt. P. om. fffi. G. rtq-.-Gr. tfiJjfr; K.U. J^ ; A. 3'fr%f; P. N. 3 a lr^ *FTO^fr. A. P. ^T^iTR^^ff which it reads after ft a?; U. om. *T3TT; G.N. HrTO; K. -P. i^rrf; U. faf C. 3. B.P. ^o^T for srwf. 4. A.N. t for Jftlnr. K.U.B. . W B,P. fffff.-A.N.Nz.ins. after rt. A. ^ G. _*ff? 4 K. .-N. om. . A. G. qre^r WCRTOJ K. 5. A.N.N2. before ( = g^t ) for for WF3-3T; N. 3" for ^Ta> Wf^ ; B. R53T.-A.N. PTl'flr?; K. "; P. FT^ ? ; G.U. rT 6. G. ^f^. 7. B. To*f. K.P. 34 for . K. om. 7 5 T. ft? Tnlr i ^ ^r 1. K. deest 11. 1-3. 2-3. A. *wr before 1ST. T15T before lC r .-A. . P. ?T? ?5ff for , and U. ^ . fr]. A. Hf for HC. B.Cff H'^fff 7- r J? aror. 1fK7 ^fff [apparently mis- written for T *^ff N.U. ins. -rR after ^f- ff.-A. ins. T after T. P. r?. G. ins. ^^rrff before jf^T U. . AJff 4. B. om. 3T and has f T^T. K. ins. afl^ before [*-. P. fi^rfrrf T. A.N.U. om. ^[fiT^fr.-A.N. C J. for ff.-A. N.U.B.P. read PT3t^nr be- foref4r."U. reads tlie speech thus: i?r ; P.K. A.B. 5. B.P.U. om. TOT A. , G.K. haveisTf- . P.B.U. iris. ffiW bef. r.-P. B. K. U. . A.N.N2. 6. For *Tf5J(f?r G. reads *TW- P. om. f ?r. N.NS. %* for , P, om. i *rrr Pr- i -i* r 1. P.B. ffWpnr-G. ?t for ^t. B. om. *T?.-K.N.N 2 . itf for T^.-P. om. *W T-^.-P. B.A.U. fr^fr^r.-p. adds f*r- ^T after tnr>T^f.-A.N.N2. insert fff before f^T; B. 3$ T for r*. 2. U. CrffPT^rT^^Q ! ^dl^; B. ^rf^F^^j *TTOfa; P. ; G. ?); A. ; N.N2. 3. K.G. TR[ K. [ K. If ]!? ^^ W ^SU [G. for f% rrJTFrT^r rf^r^r before &c. U. for ^^f^R'.-B. adds Iff after 3"*ff6R, and Jus. R Tf - for ^.-B. fRiT^ bef. frff.-P. ^7 T^W for rrr After ^TOT% U. ins. Ro G. K. P. 3-wrftafr. N.N2. om. G.E. om. J, and B. U.P. T^r, before ^. N. 7. fi?. . N. before *wr' &c. U. ^>- P.B. I We with G.K.U. 10 : n \ u i - ^ 3Tcr: ^ rrcri | ^ ^rr ifit: I f be- and Katavema. 1. A.N.N2. insert fore rlw. B.A. N.N*. after tTW.-P.B. jtflr.- A. N.HT*. 3 after WRRRT:. We omit 3 with G.U.P.B.K. 7. P G. *z. u. r^ffir | K. *& after Tf?t. B. f . K. TfK. P. 8. A.N.N2.U. ins. ^1 bef. rlRHTTrT.-N.N2. ?f^: for f^nr- TFnr-P.A.N.N2. *^S: after . B. . K. for 3tT A. and read . P. arr^JT. .-B. U. . does not repeat ?"3t.-A.N.N2. ins. W before ^T. 11. U. C WT. K.^FKH and N.Ns.U. N.Nj. om. TTl^nT. B. 10. U.G.om. it.-U.om. I Vftsr r ssi gfcfr u 8 . We with A .frT. K.om . N. ^g^rfr, u.* c TfnRr. G -A. Tr^T^ for ^; N.N2. n?^f*; G. -^. B. rrWB?r, P. 1. K.G.U. ora. N.Ni. *T O IJ. om. stage-direction alto- T. K G. 2. A. ins. T. G. K. .-0-.K. ins. before G. t, K. G. K. ins. U. ins. bef. iff . P. . om. iffrr*r- T^i 1 bef. Tfl . N.N. om. f irmr^TiTT. B. TT. P. om. . and before K. oin. ^|7f before ^fl.U.^B. om. ^f. 2. A T^T, and N.N2. om. $Jf. P. r^^rJT.-A.N N^. J4 after K. ^ray [K. 5fr] ^Tifl"?. . N.Na.P. om .W. U. A. ff for W.-A.N2. W'T N. Pfy?, P.B. ff f?T. U. 3. A-N.Na. ^f^ftfo -U. fPT before fa^f 4. G.K. om. 5. G.K. T 6. B.P.A. f'R^T. N.N2. for A. reads the 2nd ptula thus: , and . We with G.K.U. for the fourth pada ! Could corruption further go I . A.N.Na. . GK. m3 *$w [K. 5T] ^I^^5Tl I 2. B.G.K. ins. ^FT afetr ^T- ff. We omit it with A.N.Na. P.U.-K. f* for *R.-A.N.N2. K^. G.K. nf^rfft for f^rOT, 13. ^RPTS .-G-. ^l^. IT. reads: ?5JF W f w?r?. p . ^^r 3-1. P.om. ef?-B.P. 'T.-U. reads the whole Hi n H: 3'o | ^fl Ifl^T- flf- r NT ^rTf. And G. and K. thus: fJK ^r [K, ?iR0 ] ^?T. [G. oin. [G. corruptly] iT- G. om.] K? r JT fl?l[K. flRSff ] ffiEW [K. . om.] r P4r [G. corruptly f> | We with A.N.N2.P.B. and Katavemji, - AVe reject the reading of G.K. first because it appeurs t Lo explanatory of tlie shorter reading given adove, and therefore not likely to be the original reading, and secondly decause the less open allusion conveyed by the shorter reading is more gentle and more fitted to be made by the heroine than crercfrff the long quotation contain- ed in the longer one.B. after i. A.N.^.U.B. *r oni. P. for . B. P. T- 2. B. adds Tf t bef. TV. U. 5rr7. B. T^r f 5"P. . K. TT?a>TT^JTf. A. N N2.P.B. q-^I'Hr. We with A.N.N2.G.K.IL, as also Ka- taveinu BO far as 3T is concerned. 3. A.G. ^T for JR for qf^ff. P.B.ins. ^ after ^ l7 T and U. after 6? I7.-U. K. H2T7, B.P. JJi?, G. q^. 4. G.K. insert ^r? bef ; ff'T*f. .-6 G. ^i fir ffl Cfiarrfw [ ffff 7 ]. K. sr r 3^r pr^tfT | so | jrooft ^ ^ r^^ftRr I and omits the rest. A. ' the rest. U. ^fFf J /|rf ? ^T_ aild oniB tle rest N Ni wholly omit the two speeches forming these lines. B. *?*> ?-:? ^r? tfr | and om. the rst. P.H- T IT* I - I Irfr urfs*T r flrwf i ;T( Differ | \ TFH We with the text of Kuta- venia. 1. G.U. 8 T?r 3PK. P. T ? 3^<. 2-3. U ^r fc Trfrfl ^T"r N.N2. vsTIC for 5ff, and then go on: *T5^TrJT T rj T*rT^rfl' T. A. ^T Pf &?[^tif? ff q^ir ffl fl . G. [G. 3^ ] Tr T *T^ [G. 4-G. P.G.K. om.lfl. N-N->. ff- ^^r. u. fww -G. wr B. p. ^OTF. B, U.P. ^Tf^rrlff, N.N-2. rrJT.-N.Na. om R*ff, and have fam~*f. K. om. fr^. B. . A. , N . Na . K. f%Trif . P.B. . G.K. saiiW^ before ^fl. 7. A. reads the speech thus: ^T; N.N2. ^~ ; G. K. H- ?fH ^?5f ^5. . B. flff ^rsf , P. W ^ rf. i mm i *nnrr% | 5551 ^ -T U. Tf W WH, This is one of those passages which have suffered much corruption. It is impos- sible to decide which is the original reading. U. appears- most natural and, therefore, forms the authority for our text, though it is unsupport- ed by the other Mss. Kata- vema reads ff ^ and U. m, for &c. K. as we. 1. P. OTTp?? *n^rf7. A.N.Na. insert lo^r at the commence ment of the speeh. Cr. *? and A.N N2. f, for ^ i or ITU q er 10 1. A. corrected into 2. B. wrongly 3. P.A- , K. fro R-Tr (?). 4. G. A.N.N-'.ins. 5f? before JTT. U. ?5Jf ? 3t before for .-. om. 3f"Tff 8. A.N.N2.U. ins. ^ before . JT5f. K. and K. have B. flTTR'g^'c 3^*7. P. wrongly 5. A.N.Na.?OT before for ff. 7. A.N.N2. U. /or J5f. K. ins ^?f^r af- ter J|f. P. no stage-direction. K.om. ^FT ?r qF*r fr, f. U. IT. P. 4, U.G.K. before ff^ G. J? off f^^. A.l3fr after W. N.N2 . om. W f% J ^ 7-t.- B. om.^rg.-P.r*T^7f, omit- ting J';Jf. A.N.Nj^ c am. G. fTOf*. B.P. 8.K. . G.K.B.I for Wl. N.Na. fK before . P. 'ffjfl^f for Hgt fr. K. 1. A.B.U. ^TOT before . P. fT^T for HW^. G. *T. B. om. T^. 2-3. U.N^.BA. P.reads'Ff .N.N-2. wi. u. rarrf .-A. Pr for T^?i^rf . B. TT wr. N.N2. 73T? ^T. B. ff*5T?rr. G. K. agree in reading "T [K. r TK- G]. This readicg would recommend itself on account of its shortness, but the other reading, given above, is not only the reading of six independent Mss. but also of two commentators. 4. G. ins.^T after flffo-U. jnrflvT: for 6. A. If ff W: f* aj&T'CT f FF^T ^?>T &c. So N.Ns., only omit- ting Jfff*" and inserting T be- fore &c. We wth G.K.U.P and the two commentators. B. *pnj. P.u.^^ref^f HT & c . B. er . rnro s *\$ TTO TO I! ? H H II \ II 1. A. G. life for fa. 2-6. G.K.P. om. K.TF- After W1W B. lias i?^ I Tf- | JjfrTWi^Ff an- . P. ins. ^*T be- fore ^rTf.-A.N.Na. read the Bhurjapattra thus: ^FW ^T- *Wfft3TT [ it is not certain Avh ether 'N.Ns. mean flffasT w or erw ^wr, but A. is clear and translates ac- cordingly] ^ a?f [N-2. a?f] 3- (T TT[aar?T[N.N2. [ N.N-2. ^K ] Ns. ins. I ] ^ R [N. [K. [K. G. ] 3? f{ G. . ir- [G. sfrfrr t] r^[ K. 8T^r[G. om. fr] for a TF. B/s second Hue is: ? ff? ^JT 3? 3?fr second stanza is : r V 3-r. rrJrr, B.fwr, N. Na. ^f^r JTff. U. JTff, K. Tff, B.%T.-P. assigns the speech to Vidushaka and reads 6. G. K. W for addition to 7. K. A. 8. B.ins. before Rf for for f%, G.K.^T^f , A.U.B. P. TFrfrfr, G.K.sr^ifffr.-A. N.N*.[Sr. G.K. , P. OTif . 9. K, U.B. fowfe, G. 10. K.om. 55JT and P. has instead. A. has . P. and P.^FPt, for ?[f. A.K om. 3*f. 11, r. i TOUT 3 or N. . u. ifr, K. 1. A.N.N2.U. ^ fMT, B.P. fT- ff%. B. a^^R (!). G.U.K. ^.-Iir.N2. 3T?f for K. 5f3T? 3f3?f. S. N. fST before ^fjf ^,N.N2. ?T^^. B.om. 4. B. e^r^r. K. 5. B.P. J3TIT, K. m P. A. ^ 3 ^. P-^fsr^r. G. B.rT^^w?F. N.G.A.B.P. T^r. N-2.U.Vr^t. a. CtefT. 6. A.G.K. om. amrJ. U. rFI fT^ ^Tf7 ffest G. 5FTC -J. G.N"2. ^F after T. K.^T for T. A. ^r. G. ^^mrtnr. P. N.N"2. ^ff r After ff 3?Cf A. adds 7flf r^^T^r. But A.' s addition is spurious, as Vidushaka drd not know Cliitralekha before. K. lias the whole speech thus : 3Tt J- 2. . P. G. om.RT. . A.N.N2. J5F, G.K. H[fr. U. f^T^W for jE^f. TJ.P. ^TF; 5rq^ W^rfT. G.K. ins. W before ST^J. , A.U. =rrrr^r for TOqiTr -A. N2. ins. W before T. N.^f for ???f.-A. CW^T. K.N.N2. . U. has for f ^ &c. *4 om. T ITT for . B. has JT? 6. A.N.N2. ins. 9 TT:and U. ft before S'f^.-A.Ns.P. U. ins. ff o j J | after !*fa:. . A.N.N2. om. T. f I for ^. B. om. f and does not repeat ??r IT?. G. Hf? for the 2nd H?.-U. f? I 5 ^ . i If . nftajffi nr Iff | i i - f if^t 1. G. om. . u. 2-3. G. STT.-N'.Ns. read the speech in the following unsatisfactory way: f^" PT- 1ST. B. K. for 4. A.N.N2.K. after ^. G. U. Pro I r r 5. G. r. K. omits ff. G.K.om. Ir. A.N.N2.r^^CTf^T5rR:. U. r. G.K. fto- r. p. ff 9wr^f5rr. 6, A.N".]N"2.B. sTf^TOt, and P. 3WT, for K. om. rf. 7. A.U.B.P. [U.B.P. ?]. i *ar ^ \ *rimri| 8 1. G. inverts the order of *- frl qrT^wr.-G.om.f^ ROT- CT. U.B. cm. f *t.-G.K. ins. ? after r4,-.-A.N.^. for ftfF'jr^ . B.T- A.U.B. 3-4:. A.IlT for qfi:-?^ r . N2.RJ o | ^ I ^'^T &c.-U.WTTTf and after & goes on : wl^ff "t- 3-f f (T ftSFiJt. B.^T^. K. ^5^T. K.oin. f*T, but reads 4 before Wl^flT. A. puts V*f after ^RT which it reads Tf7. B. . P.U.r>- T. G. which reads 5\% 51 is the only Ms. that makes the question a pa it of the following speech of Devi. A.N.Nu. read ^ 1$- ?Tt. . A.K Tff. P.om.f.N.N2.rR' for 5TTT. B.U.K.^f^. for 5i 7j T^. 6. A .N.Na .^r^T for 3'<]\ f fff, which shows that they read T3*Ttff, wrongly. G.K.P. oni. WlTT. K.^I^FT^t. U.74 for ?f - RT. i ^ f fa I ^r ?T vvritWW 3Z*. B.ins. after T^5T and om. fr. K.3T a5 tar. P.om. and reads s/c. . U.om. the speech. 8. A. ins. T | f T ftff before iff. fore . A.ins.?WTr be- B. wsrrwror .-A. reads the 3T JTT and oin. after | ^^. P. like B., only it oui. tlie second a Tc? and lias *Ts5jT- . U. 3. G.K.om. tbe stage-direc- tion and A.N.U.ora.iT^ be- fore l^f. 4. A.N.XJ.B.P. assign this speech to Vidiisliaka, Avliich Ave adopt. Although G.K. U. assign the same to Devi, none of them have never- theless the stage-direction *mtf. U.5*Rt. B.om.TfPt. 5. G.K.om. 6^T. N. f or 6. A. ins. a iff before for T^TW. A. for . P.ins.f^ before 7. G.K.U. insert fore ?Rr &c. K.U.om.^f, however. A.N.N2.U.^T*T.- After *rwFf G.K. go on: =T ;, A.^T ^> :. So X.Xj ., only c ^ IJ Ipfrf.WewithB. i 8. A.^. U.spTr. U/-T?5f . B.f ifJ Hi" STRRT ^f^3t 7- HPT* I : i \ n^Rr : ProNrft 1. TUfrEr A.5I fTrfff ^EWTW ?ffT after iff- ?f.-After fr^r G. has fT^fr- ^flT efi WK, and K. tlie same, except that it reads 5^7 and Hif . B. like our- selves, only omitting 5f. We withN.N^.P. 2- G. inserts flfc before T. A. om. ^. A. ?Cf | (rorff (M B. ?'4r wf P. ^o J f? T ff for the whole speech. 3. We read tliis speech with nr WfefT ? fll T ed into W!$\). Na. |^f[^ ^Tr^wff q"6*r Bauanfitha: ff I ( correct rlr? I CrHr ;R Pwrer T Kata. Pcffr Fftrnarfr 4. A.N.Na.B.f-5rf^. G.rt. K. om., and A.N.Ns.TO'T'T for, for ^T- 10 Tf^^t: : \\ | 1% cf Of ?f?eT for .^ for Hf fr.-O. ora. ff before ^r?e . N.N2. have ^W RRT- ^f5 before *ff which they insert at the begiuning.""B. for Ifr, and ins. W before B.N.N2. Wff P. ?Wi^, and A % for 9. A. P. om. irc*. B.K.P. 10. G. om. the stage-direction. B. ins. ^ before U. fr5J for K 11. U. 12. P. \Qo : u ^ \\ 1. P. G. :. K. 2. G.K. frf^JT^r: for We with A. N. N. U. B. P. 3. For 9TR*r A.G.N.N2. P. read ?f^T. A. Kf Tff correct- ed into f^TI^, and N. Ns. W?T- ^j for f^TST^. All our Mss. except P. read Jr7 5f?T:. We with Kataveina and P. See notes. 4. B. T^ f^- K. A.. N2. om. for the whole stage-direction. P. om. the wliole stage-direction. A. om. *&. P.ins. *TTJ? before C?f:. A.N. have G.7T: after 5^:. U.B. have ^ ?T: after tf :. 6. G. 5W*rrw: for flf^w.-. 8. N.Na. 8 T?T J^jr^ . 9. NNa. f^f f>^:; and A. H>ir :, after irilfTlsyirw. B. T- . B.K.r. after nR7r^urw. U. . G.K. 10. A wPrgf and B. qR7, and P. ^MTc5 c lK'T, r Cr > for 11. P.A.N- N*. om. the stage- direction ir?J?iFTiT; B. G. K. give it. K.iiis* ^Tf: after 13. I 11 8 11 I |Tf TOT 3^ ?ll 10 1. for the . B. third pada. 3. A.N.N2. B.P. do not repeat insert ^ before ttr. N.Na. om. 4-5. From ?T^" G. reads thus : ?f r ^r tfr Jf tfr :. P. agrees with us except that it reads *T^Tf for tfo. G. is some- what 6. B.P. om. fl*f. P. om. fS for o^f- f. G. om. f f r. U. om. ?f^. 7. For ^rin^Tf^ tr rr% A.N. Na.G.K. read wr. 9. K. om. WW.N.N2.2f:, and A. ^, after f4r.-G.! for ^RRTf:. N.N2- om. K. A.B.P. f, and K. , for .* I ii II fer p. q^in? . 1. G.B.K. insert ^TfW before B.P. om. ^T^T I?. 3. 4. 5. 6. . UJ? for for -8. for for Hf. K.^J 7J for Cfl Cif K. f^f . U. K. om. . A. 2. V- .-P. for . K 9. i HT I CT sr | m ?. I H Cl Ct I 'ft 1-2. for RstW. K.om. . W and has , where the ^ is corrected from some letter which it is impossi- ble to make out. G.A.U.tr- . N.G.P.K. 5. A.B.K.N.N2.P.5TR?T: ^r for . G.^rerer ? We with A.KK.N.Ns.P. 7. 8-9. B.A.KNa. have at the commencement of the speech, and A.N.Na. omit tfr.A. inserts ^ be- fore 1&& -A. K. and . read the speech thus : fr If crff| [N2, f 5 10 's sreft . A. isrr. . K. 1. 2. P for S. . om. . P.^fw for qr. : for R; . B.TORW. We with A.N. N2.B.P. and Kataveina. U. 4. 6. 7. 8-9. A.B.P, Nz. om. the whole of Vidu- shaka's speech ^J^ &c. and so much of the stage- direction of the following speech as ends with G.U. om.tft. ^^fRTT^i3t li r.-B.3f for P. lias neither nor 5? . A. after ffcrjftT goes on fl &c. p.snir^ ja rrcr?r%. B.P. U. a ll^ u NI'{l.U.^ a r for 5fT^. B.P. 8 ?? ff.-B.WfT forffW. 10-11. A. ^Tf^ for rTCf R3jr* N.N-2. 3^9" for :. U-B.om. r^Tf and have t. P. TK5R: i ^ . In fact N.N-2.read f | T:. U.f% G.K.read &c., and P.f^ %^T, instead of 3 ^^ ; T. G. fWT^. K 1. A.N.N2.JT?f forVl 2. U.Ri^rr . 3-4. G.B.K.U.ins. after 5JrW. A.N.6% for ^T' W which P.altogether oniits. 5-6. . G.K. [K.fWf iTW. P.B. .] i&m -G.K.rlf J. and have ?TO3T for TOJPT. P. Thus all our Mss- read T for 'T except U. which has neither. Kataverna and Ranganatha also have T. But they are doubtless all wrong as the flf in 1. 5 refers to 8 T^3fl in the previous speech. We with the " B.P. and Gale. Ed. " referred to by Bollensen in his Edition (Anmerkungen S. 40, 6). G.K.ins. * after for 7. A.N.N2.*for JUT. P.TT^r ft mi:. B. cirT:. B.P.: after 9. A. 10-11. corrected into A. TT- N.N2. for 10 1-2. A.N2.W before BTff&o., and vsT'-Tf for^fff. TJ.5RF, and P.W, for rer. p.fir for ^Tfr. N.rn ^rr 5ffT &c. B.jff forSfff. B.W7- 3T fTff &c. A. has: ?Rr ^ ^'s^lf^. N.K2. for a?f*aT, and go on: B.^fwit. B.^rr for &c. G. [G. fr- 3. U. 4. : corrected from T- 5. :. And G. reads (^JFS^:?). We with B.K.P. 6. A.Ns.qarwTOr. N.^ for . B. PWr T ^[. K.PWf.w(Br. K- 2 . ^fI^aTT. U. om.| and reads $(fe after 8. &c. B. p. ?r?r: B. ^r ] srl^ with G.K. ^r. We : 1 isre? i i arPr 1-2. B.A.N.N2. for f 55f . U. r^7 . K.^ff ^T tr &o. P.f 5Jr ^ &c. We with A.B.N.^2. and Katavema. N.Na.B.om. for ^. G. 9 W;o >o -o 1-2. before . om. flT. U.K. oin. the whole speech. *TTIT f *r of | 2. G.*rrwr. U.B.P. 3. A.N.Na.f srfr 3T- r fr, which \ve adopt, but we add the 7 from K a tavern a who reads 4-5. G.^TTJT ffT STTf ft|f r 5yT ?i5r ?wir u'tf ITT. A.^rnr: r . u.*rw N.Na.^l r T. *rf fT JU. That Vidushaka is not averse to animal food may be seen from S'akuntala Act II. speech 1. It is very natural that modern Brah- mans should make Vidu- shaka more fond of the S'ikharini than of venison, though in reality he only cares for the former, and should have changed the reading accordingly. Kata- vema and Eanganatha too have apparently yielded to the same prejudice against 10 5 FT*. _ is . i I i animal food and to the temptation to change the correct or prefer the moder- nized reading. 1-2. B A.N.N-'. om. the two speeches. 2. U.roceed^r, I I u. I [B.jfofr ^r &c. 10 l inf 1 *n 5 tf y I TI i 1. B.Rf after wrUH7. O.K. T^. K.U. c irT. For N.N->. have 2. A. OT^'iKff?. P. . A.N.Na. T for . K.m 3. A.P.Cf 2. K.A.N-2.^iirf^f. P.N.U. 4. U. inserts ^^^*r after IK- K. om. ^Ff. U.W. N.N2 r^ . P. 5. G. om. Sltf?^^ , and reads the speech thus: which N.Na. read thus : . K. om. , and has T?r W nr anfawr. p.^r 4 for before USfr^T. G.PT:- TOT.Ns.*5J. B. ^rr. U. oin. reads JR 5pf ^ L. ins. flft before 8. G.K.U.f^i [U.^^WIS" instead of Hflr~] for f^ &c. B. om. 9. N.Na. . I ^rfaj IT ft^*rr ^i vm$< f nrrer || ^ o || 10 ^r: fiR?rt I 1. N.Na.^TOT for *F?nT. 2. 3. rft 4. U. reads . G. 3 ?fr . B.n- . K. T- be also , it is doubtful) &G. A. . N.Na. . We Avith G.K.-B. adds 5Jr: for . K. . QF.il5*tJT. We with U. and Kanganatlia. 9. P.A.N.Nz.A. insert ^| after r. For Na.U. have c c 10 5 IK. I fe \\\\\\ - ^ ?r% fl". G. puts a viruma after ^fT^r^: and reads ^^ (1 for 9. G. . N.Na.W for m 10 15 1. N.N2. 2. P.N-2.B.C^^r for ^RRT. S. K.N.N2.^rari"?7. 4. A.N.Ni.HT $ for f^f. B. 8TW for ?i G.^F^^. P. . G. ins. J- : and P. T? after ^r-T^T.- B. Sf, P.^fTSf HT5[(.st'c), and . for . A. |, and B.P.- , for tffrHfa? ^". K. i, c. 7. A. 8. G. for TKTfT. N. Jr (sic). G.*T- : &c. P. a.^f^r corrected from 9. P. T. A.N.N2. om. J. om. fl^f. B.f^r ^ 14. B. om. , reading 3". 10 v n | ^rflT 5 I f er 1 ajq : i n ^ n 1. i:. K.lf? . "%'jr^fT . B. om. G. ^. K. omits. altogether. 6. N.N-2. om. ^. B.P. .iTjM^ . K. for ^ir^T . N.Nf. ( ! ) for ^ff^m"- for JST wliicli P. omits. G.K. 3R for T^r. for omitting *W*t. P. ^JTR . A for rfri^ . sf. for J^STfa. G.K. ^nrji^^JTw? I, and B. Hj 7. 9. 11. 12. it (sic) W, for sfcr &c. We with A N.N*. and P., but A.N.Ni read 3^?T o/Ver 13. P.WWSW for \ H ? o || 3TFRKqrr JTO 10 1. i. For : G. has si :, N.N2. imply ffjpf:, and A.P. JT^- . We with 2. B.P. om. and read the first pada of the following stanza thus : [P. ffiFfrJirrT ]. K. reads the pada thus : ^J JTfqr ff ^WfJT-A. N. for ff WW^. 3. A.N.Ns.fWf for 4. (sfc). K.^T- 5. U.G.K. read %5nr5T, for which wo read with A.N.N2.B.P. 6. B.P.TOJ, and K.trtT, for 1. B. om. r, and P.irfHrfi?, for . K. orn. the prose from *4 up to *Ti^^^. G. inserts *fi before ?^. 8. For TT?nF?r G. has ?f- p. f 9. G. rTSfff after 10. 11. for . K. for 12. B.P.^^W for 10 Tf?f: be- JT- G. B. P.om.^^. G. ora. *T, and B. reads ^ after JgTT. B.P. ins. and K.\OT^ after 7. 8. A.T^T for ?fT. 10. A.N. 11. N.N2. om. q\q qr T^r. & 12. A.om B?f for W 13. A.N". for and lias .*ra for ?q-. P.A.N.Na.om. . G. . p. U. After ^ 10 WTOTTRT I n ^^> n i WRW 1. & c . N.Nj.fr: for :. K. . O.K. read . N.N2.om.'?^'T. N. (sic) into . U.TOTft RT^f- jer ^r PprR 1 ^ (fc.). introduce the stanza with the stage-direc- tion ^5^ f>^r. B. reads tlie fourth pada (j? &c.) as the second, and the second (TCf We with B.P.A. 3. For ftsyfaT, G.K. 3"TWT. B P. om. ft&m. N.N-2. om.J K. ins. *F after JTfff. P.om &. G. om. 58T. 4. B. ins. ^ 7. before W Wr. 7. K.^'fr for ^fr. For T, G.K. read : for for . B.P.^R 8. 10. * 11. ^w^. N. 12. P.om. flf before 5TCK. G.5T- CK 5 Rf^Tff. N.Ns.K. f^^, B. TnT, for 5TCK. G.K.om. ^rr^t. P. ins. $ before 14. P.WT for 5.'B.P.^*r for ? for i i i ir*i rww i ir? * 3f 10 T5KPT: 1 for .sfr:. B. before G.K.tiTiT. and read . om. for ^ET- . B-om. ^4. B. after S. A.fJ?T, and P.1?Hir, for * A.r 5. B. ins, ^ITR- 5T before ?f? &c.-A.N".N2.P.^- 6. 7. for K.om. . P. 8. fif. U.aW^^TWfr. We with A.-A.P. ff JIxisrR for K. reads the m. u.^TKnr FPW^:. P. B. om/RPT JTff^r. K.?^ qK- ^Sfrf^f for the whole stage- direction. 8. TL5JR-4 Vft for 5yr^T5JT:. B. om. 5JR5}f. P. reads OT^Ts^ after TfT. U.f>T for *Tft. U. 5T^: for TPT:. 9. u.^rnr ^ &o. , and N.Na. for G.om. ^. 10. G. om. this and the first line on the next pnge. U. [Tfvr*F.B.^- ^fFT. U.K. Tfcr&. 2. G.W: W^ &o. and does not repeat *"^Cf. B. ^;. P. 3. B.P.U.snj IT.-. G. om. 5T*H IT:. U.ins. W before ^^r . B.P.om. 4. G.K. P. ins. 3TrfT before W$\. U K. om. ^fRT. 5. B.P.Tm for WW. K fT5T- ni before 5T*T &c. 6. B. 7. :. B. ora. ^. A. y, and N.N.-.B.P. , for J?r"rg::. 8. U.oin. Una speech of Kan- .cliulcl. G.P.Wrf. A.WirflT. B. om. >T^%. P/TfarwfiT for 9. P.ffTKf^W. U. reads the whole speech thus: if 1-2. P. inserts (?), and , for ? r and before 5. G.KJfrH^f^ for \vliich we read with A.N. , and T. N . for . B. om and om. 6. A for 8. G.K.P.WW. U. om. altogether. 9. G.K. insert ^f and U. TOfr?f before T^W. P. omits the whole stage-direction. 10. A.N.N2.U.B.WPT for ^T. 11. B.r?ruv7 rff, and , for , and for TfWIr. N.Na.^Tt U.HT 10 5 f Jtf. I 10 . i i for TO. B. om. 1. A. 8 ?fr ^PJT^TO^ rt^rfr r- or G.K. ?^ for 11. G.^J. U. T6T. G. K.P. om. ?T3:. B.P. f. 1ST. t. N.N2. om. ^. T'T for *nrnr . \ iro I 1. G. ft for fifrft. B.P. P4; fro^ r?3T. G. TfK. G.K.B. ^ar, A. P.ST?- rf, and N.Na. *f^T. for ltf^3T. A. ins. TOiTWtf, N.N-2. TfTfrTW, and G. K. B. P. flff^TW, after ar^sT- ^T. AVe omit tlie word with IT. and Eanganatba. B.*Kf, and P. Rf, for W. G.A. ^F- ff^. B. PrtRpfr. 2. A.N.Ns.5T ^ for for 5f. A.N.jSTi. ?3T%TW for . U. . A. . K. om. *l for . P. rK. . U. 3. U. for Tt(^. K. om. . B.^fcf. . G. Rff^ff. N.Na. Rafter 4. A.N.Na.U.rT%^ for r. G. 6-7. A. ar?T, and P.T*SfJ, for 8 T5f. A.N.N2. read 3" 11 ! before &c. A.N.N2. . p. . f. P. . G. . N. . A. 1 'ft 5Tf^, B. has 3"o | 3?- f, K.bas 3-oj ^ , and P. lias ^o J 8?o4r lf HVT, and , for ^qR^rw. tffaj, and assign the speech to Vidu- Bhaka. 3. Before G. ins. r^5Fff. B.P. A. N. for 4-6. turr. . G5f3T, and .N2.arnT, for Wf. f. B.P. om. 31 and . . B. . A.N.N-2. ins. R7 after . A.N.N2. . A.N. . P.B. w [B.adds ir as oftenjff. N.Ns. ^^fr. G. B. W for *r. K. A.arrcw . A. ins. before R. A. i or l *T5iTJr- for 5. A. U. before . G 6. A.B.K. for arefr gn^ft 5 K. om. 1-2. U. *r3-T, B. and K.^K^T ff7, for 'fff. G. ins. *T after ^of- .rT^rr^, and B. , for B. om. into after P. RPTl rr3r, for r3:, corrected U. has *ffj B.P. om. W. A. Tf for ?ir, which U. altoge- ther omits. B.ir, ^'JH^fr. B. . K. ins. IrT after . After 6J^7 A. differs with G-considerably; it goes on : and altogether omits flT? &c. N- reads the whole epeech thus: | P. for vsfr &o. f. K. . We with G. K. and Katavema as regards this speech. 3-4. B.Rif. G.fr?rtorrar. N. U. . A.B. N. the latter being evidently a marginal gloss copied into the text. P. reads after G.K. before 6. G.K. ins. 5f 6, G *T3TR?qi5irlfe.. U. also repeats f m. I ^rrr. I !T I 10 for rr- f5, Avhich N.Na. altogether omit. U. also om. the stage- direction wholly. for rrf4. ^Ts'J. U. wrongly WT for 2. 3. 4-5. K.U.^fr^^ for 1?Tfl. P.^JTW. For ^, G.K.simply f JTT^. P.ora. f JTRLW^^. K.U. om.TO. G.'N.^. 3^^ ^OT: (sfc), and om. ^rj:. A.B.^tff^f- T: for a?if3W S T^:, U.ora, :, and omits r ^W. B.P. -. K.omits this and the following three lines. 8. BT* TTg^JT. P.(t2CV, omit- ting 9. A.^f f^. For lines 9 and 10 N.N^.B.have simply 3*ir ^T4 ^qflr^rF^. p.om. *H" &c. up to ^iff STfccT. 10. A.oin.^K^^ . U.W for sfT^ff. U. after the stage- direction and before the King's speech ,adds : T | 10 : i wft I us i f q- eg *re<>in( > . I 2. A.G.N.N2.IOTR , and B.P. *T'^R, for ^TT. K.om. this and the following speech. . p. 3. P.adds il* or ^fafsr (the f^T representing the anusvara elongated on the T ) appears to be the accusative singu- 10 15 i few* : n \\ u ai ff v | ] HI j.-f^r^r : II : u lar of OT. Tlie reading W *TC read by Lenz and the Calcutta prints appears to owe its origin to- a wrong emendation of 3?H^ ( or 3vf- Tf3T). U. reads 3TTT for -U. ^^^. G. U. ^' APPENDIX I. *r S fffagfosrr ftm \\\<\\\ I sroij I ] 10 i I | which the other Mss. read before Wt ^fR^ff &c. (see p. 1 1 l.)But after J^ffa and be- fore the words aT^T^K ^T^": in 1. 7 U- inserts the follow- ing, viz 7. After . has . K If U. has for qWT | f. 5^1 read by the other Mss. (see p. 112, 1. 14) * I fffir 15 20 .* I 11 11 \t n IR ^ H ] \\\\\\ 4. U. adds after HrT^r. U. 6. K. wrovgly APPENDIX I. : I w^* i I [ fsrn^r- 10 r 1 5 20 : i nnt iRr for rfsrcarar. 12. d for ^fe^^. 20. U.*T<*. . We with Bangana- tlia. 8. U. ^T TC WI^TT, and K.^T &c. After '3JRJ^ U. reads J 10 15 Pror wr: i T3F?K K^-^r i I ] n \ n f r | ] n : i . U. 3^r for bef. 9. U. c. 13. . 14. U.T Bhdgavata sk. X. Adh. 90 st. 15. P. 3. 11. 1-4. Translate : ' The goddess born from tho thigh of the sage, the friend of Kara, is, while returning after attending on the Lord of Kailusa, taken prisoner on the road by $ NOTES. the enemies of the gods. That is why this cluster of Apsarases is crying for protection. =KWJ 5^f: scil. ^WWT. ' Born of the thigh of the sage the friend of Nara'. Nara and Narayfma are two ancient Rishis. Tliere are only two hymns in the Rigveda (viz. VI. 12 and VI. 13) which are attributed to a Rishi named Nara and the celebrated Purushasukta (Rigveda X. 90) is attributed to a Rishi named Nfiniyniia. But in later writings Nara and Nara- yana are constantly mentioned together as 'Rishis,' as 'most eminent ancient Rishis' (Purfinavrishisattamau), as ' great asce- tics'( fHlflfy and as even ' gods' and ' original gods' ( ? ft *M. Marathi : ^ *~<'RJ *TC ff&T. P. 6. 1. 8. ^ffTeTWf &o. The poets do not honor every liero by making him assist the gods in their fight against the Asuras, but only a select few princes of the solar and lunar races. Dushyanta the hero of the S'dJcuntala so assisted the gods. As regards Pururavas himself see Act V. p. 158, 1. 4. ff*T*Tfl&jrJji, 'at the head of his victorious army,' t. e. of hig army which becomes victorious because of Pururavas becoming its leader. P. 7, 1. 3, ^[^^flT%^7 ? Svith the deer-flag spread out stiff.' KOTE3. is intended to show that the chariot is coming at full speed, a sign that success has been achieved. To indicate that a chariot goes not only fast but also flies in the air, no better design can in Kalidasa s mind be put on the banner- cloth than a deer. See S'akuntala Act I. 7, T^Tf^iJ^rrlqfa *rf ^K ^RTgsiff q-crfa &c. where the poet refers to the speed of a deer whom lie describes as flying more in the air than on the ground. WT^rft ^?7 RW? 1 T *f *Tf *Ti^Wr FTT(%OTf. ' His chariot Somadatta is in sight ; and of course he will not return without achieving his end.' Kanganatha takes Somadatta as an adjective and says 8fa$*T: iiT^T ^StT 3"- =rT: | *f?fWPrr$r fKTWSTrTJTPT jrffT, referring to the notion of Sanskrit poets that the spots on the moon are deer. P. 8. 11. 4, 5. ftWTOTr mm fC ^r^ : The King is too modest to take to himself, though he very properly might, the credit of rescuing Urvas'i from the demon, but attributes his success to the power of the Thunderer. rPT/ therefore.' ^WWT ' large eye.' Literally ' long eye,' eye that, as the poets love to describe, is as long as to reach very nearly the ear. Conf. infra p. 19, 1. 8. Observe that the singular is here used for the dual as ^rr*K^ in 1. 2 p. 6. P. 8. 1. 6. 3-Wfasfcrarifcr, ' alive only because she is breath- ing out. SxdNjffi is not the same as ^IKJ, but differs from it in this that it indicates the process of breathing out somewhat hard through fright, or extreme fatigue, breathing out which would just make the heart palpitate. See 1. 10. Chitralekha means that Urvas'i is as motionless, cold and stiff as if she were dead, and the only sign of life she is showing is that she is breathing out a little. The reading ^rfl^^flVrif^fri^Tr found in the existing editions is only countenanced by two of our Mss. not the best. Katavema reads with us. However easy it is nofc necessary, and ours appears more poetical and certainly less periphrastic. ACT i. 15 P. 8. 1. 8. 'tft^TW < frightened.' 3K strengthens the sense in. the same way as the Latin prefix ex (Conf. exasperate). Conf, in 1. 3. p. 4, Conf> also SWfiT, TfH^f p. 50 1. 5, P. 8. 11. 9 5 10. JT^fr &c> Construe : T^, WTF: irc* f $W: ^ Tl^:^. This is doubtless chintyam. P. 10. 1. 3. 33"[%t. For had it not been for the outrage, the king would never have been seen by her. Conf. Kfitaveina ' *tt I ^T^r^r^: inmrTOft fl'^w^ i 18 NOTES. P. 10. 1. 4.- UJ.'HW'T, 'completely recovered.' On this sense offlffi ( tlie state of Leal tli before the illness began) conf. MdlaviJcdgnimitra Act IV. p. 87. 1. 5 3TKPT qfar? T q;[3fs*r?;. Also p. 69 mwtfWr ifrcft qfrRttjr ^T sjf. mfi ^ &c. Construe : ^KfWT Fram???: tTTSWTrrwt f SI 5ffi [*RTf: ?FT] **TR ^ I The king does not mean that it is quite riglit that Urvas'i should have been produced from the thigh of Narayana, but what he says is that she is really so beautiful that there was no wonder that all the Apsarases should have felt ashamed when they saw her as she was brought forth by Narayana's thigh. Conf. Kanganatha Tf^ Tfi^F'T ' is receiving Your Majesty.' The bees at- tracted by the flowers and young sprouts on the bower came into collision with the flowers by perching upon them and hovering about them. The flowers thereupon are falling down about the seat. Vidushaka says the bower is receiving the king by offering him the seat and strewing flowers as a man does when receiving an honored guest. tf B f R"*T. ft"*T shows that the bower is not really causing the flowers to drop, but it seems as if it were doing it. The flowers in reality are dropping down by the action of the bees. Katavema reads Iff W?r for ^rT^SJ-rR^fr. And Ranganatha quotes : *ltf^: 1^: WfgRT^f Hf*fr 55^T f^pfr || If this is correct, then the fact that bees were attracted to the bower is a confirmation of our interpretation of RfT^f^JTRfr^r^ p. 31 1. 2 which see. 42 NOTES. P. 34. 1. 2. qfrWT. This is to indicate that they proceeded to the seat. P. 34. 11. 3, 4. ^TSJTlfaafc^WW? , ' with your eyes en- charmed by this beautiful creeper.' The allusion is to a woman who is dressed in her best attire and is captivating a man by her charms. Vidushaka means the creeper is just as good as Urvas'i, which the king denies in the speech following. P. 34. 11. 6-8. JW &c. Comp. Katavema : " *T jtf (sic) t?* Eanganatha observes : | P. 34. 11. 9, 10. *fr &c. 'Yes, the physician to the great Tiulra who loved Ahalyti and I to you who are yearning after Urvas'i are both madmen in this affair.' So may the passage be literally rendered. Vidushaka seems to complain that he is con- sidered an idiot and used as an instrument by his friend to ac- complish his desires. The King denies this, explaining that as Vidushaka is his most intimate friend he is likely to know what to do. AYlio is meant by ^sff requires explanation which is not easily found. The Indra-Ahalya myth mentions no third party iii the intrigue. ACT n. 43 P. 35. 1. 1. *lftW: *sf5J ^r^5Tf 'great intimacy, you see, knows what to do.* This is the king's reason why he tells Vidushaka to devise a means. P. 35. 1. 4. RTJ?^ 5R^R^r. Like all others this stage-direc- tion is to the Actor, who is to behave as if he saw an omen. What omen is meant is given in the stanza following. What the acting was that was required to show to the spectators that he felt the omen must be left to be conjectured, Katavema observes, however, Rfa^f ^r^TfRn^-^rfr, i. c. such as the pal- pitation of the right eye or the right shoulder. Even to this day in a man the palpitation of the right eye or the right shoulder is universally believed to be a good omen leading to an unexpected meeting with a dear one, and the same in a woman if the palpitation is in the left eye or left shoulder. But it is a sign of an impending unexpected departure (may be from this life) of a beloved one, if the palpitation is in a man's left eye or shoulder or a woman's right eye or shoulder. See below p. 7G 11. 4, 5. P. 35. 11. 5-8. ^^T ' though and yet.' frRfr %*JHirrW^, ' and yet here is (i. e. I feel ) this act of Kama for some reason or other.' The act of Kama is the omen of twitching that he felt. On this sense of ftfflft see above p. 23, 1. 2, f%ft ?pfr *Tfr and our note ad loc.WWm*m &c, ' My heart suddenly feels a sense of gladness as it should when the fulfilment of a desire were near.' *lfefalr*=$TrlRCT fiSflf 1 ? <1 Madana commands me to go ?' Katavema : tfwfcrnr flflwNw | a?Rf smiH ^ f r ^ 3fr RSff- P. 38. 1. 2. Ixfjrfrqr sc i]. iT7.-T^^r?r sllc h as that which befel Urvas'i at the beginning of the first Act in which she was carried off by a demon. P. 38. 11. 4-6. T &c. ' Do not you remember we are made proof against injury from the enemy of the Gods by His Holiness the celestial Preceptor who initiated us into the hair-tying mys- tery called Apar&jita ?' The celestial Preceptor or the teacher of the gods is Brihaspati. On the word aT^fplPT see Mdlavikd p. 77. 1. 6 *r5Jrar*T5Ts3TW TBnrfa *Kfr Neither Katavema nor Kanganatha throws any light on this Vidyd. The idea appears, however, to be that they were taught certain charms which they were to repeat and as they repeated them they were to tie their hairs. As long as the tie remained undisturbed they were to be invisible to others though they themselves were not deprived of the power of seeing others. Tying certain parts of tho body with charms is still practised and with the belief that as long as the tie remains undisturbed the person enjoys certain immunities or certain supernatural powers. A black or green thread, for instance, of cotton is tied round the arm under charms and ACT ii. 43 it is believed that the force of the charms makes the person wearing the tie proof against ghosts or against certain diseases as the case may be. The S'iltli&bandliana may be either tying the hair by collecting it into a knot or simply tying a piece of thread round it as round the arm. P. 38. h 7.---8T*? &c. ' Oh ! how I forget it !' Lit. Oh! how my heart forgot it.' P. 39. 11. 1-3. afrsfr'T^fl rT>T ST^PP? i. e. ^T^r^f Mr- T*3TO fr*T, ' which as it were looks itself in &c.' Tlie allusion is to a person who looks into a looking-glass ( *TFfTR*?K5f 8 TT- SiRT^R). Chitralekha saw that the city of Pratishthana was re- flected in the waters of the conjoined rivers at the junction of which it stood on the bank. Ranganatha explains TOSTW by " TOl^ What place is this JJjfr ? P. 39. 11. 4,5. On this speech Katavema observes : P. 40. 11. 1,2.