YALE UNIVERSITY LIBRARY BIBLIOTIIECA INDICA; A COLLECTION OP ORIENTAL WORKS PUBLISHED UNDER THE PATRONAGE OF THE S3on. Court of UtrectorS of tlje iEaSt fintria Company, AND TIIE SUPERINTENDENCE OF THE ASIATIC SOCIETY OF BENGAL. Edited by Dr. E. Roer. Vol. X. tr i THE SAHITYA-DARPANA or MIRROR OF COMPOSITION, a TREATISE ON LITERARY CRITICISM; by VISWANXTHA KAVIRXJA. THE TEXT REVISED FROM THE EDITION OF THE COMMITTEE OF PUBLIC INSTRUCTION, By Dr. E. ROER. TRANSLATED INTO ENGLISH, by JAMES R. BALLANTYNE, LL. D. CALCUTTA: printed by j. thomas, baptist mission press. 1851. CORRECTIONS. Of the text : s V 4 4 V* «T «£ cr c The first section declares the nature of poetry. The second treats of the various powers of a word. The third treats of taste. The fourth treats of the divisions of poetry. The fifth discusses more fully one of the powers of a word adverted to in section second. The sixth takes particular cognizance of the division of poetry into c that which is to be seen/ and f that * The main consideration being that of Arguments—ra S' &\\a irpocrdrjKai—" but the rest mere out-work." Rhet. B. I. c. 1. f " That common situation in life, Video rneliora proboque, deferiora seqnor, proves indeed that there are degrees of conviction which yield to persuasion, as there are other degrees which no persuasion can subdue: yet perhaps we shall hereafter be able to show that such junctures do but exhibit one set of motives outweighing another, and that the application of the term persuasion to the one set, and of conviction to the other, is in many cases arbitrary, rather than dictated by a correspondent difference in the things." Sematalogy—p. 175. Advertisement. v which is to he heard.* The seventh treats of blemishes. The eighth treats of style. The ninth treats of the varieties of composition resulting from the blending of styles, and the predominance of one or other of them. The tenth and last treats of embellishment. To the subject of this tenth section the Kuvalaijananda of Apyayya dikshita, with which the stu¬ dent usually commences, confines itself. According to established custom the Sahitya Darpana opens with an invocation. The author then proceeds to say that as his work is ancillary to poetry, its fruits can be no other than those which poetry bestows. These are de¬ clared to consist in the attainment of the four great objects of human desire—viz. Merit, Wealth, Enjoyment, and Salva¬ tion—which, " by means of poetry alone, can be obtained pleasantly even by persons of slender capacity.** Salvation, it is to be remembered, or liberation from the liability to being born again, is the reward held out to its followers by each of the various systems of Hindu doctrine. Even the Grammarians claim for their own art (—more than was claimed for the kindred Grammarye of the Dark Ages—) the power of leading the soul to bliss ;* and it is scarcely to be wondered at that the poets should contend that the goal might be gained, as surely as by any of the more rugged routes, and much more pleasantly, by the " primrose path** of Poesy. Poetry is to conduce to this by setting before its votary such examples for imitation as that of Rama, and for avoidance as that of Havana, and so training him up to virtue. After showing how all the four great objects sought after by the wise have been at various times obtained through conversancy with poetry, our author gravely disposes of the objection that the possession of the Yedas renders the study of poetry with such * According to the Grammarians—" A single word, perfectly understood, and properly employed, is, alike in heaven and on earth, the Ka?nadhuk"—the marvel¬ lous cow from which you may " milk out whatever you desire"—including, of course, final emancipation if you wish it. vi Advertisement. views superfluous, by asking where is the wisdom of seeking to remove by means of bitter drugs an ailment that can be cured with sugar-candy. Having established the importance of Poetry, he proceeds to determine what it is that poetry consists in; and this he de¬ cides is 'Flavour' (rasa).* Between this and the Vedanticcon¬ ception of the Deity, he does his best (in his third section) to make out a parallel, which the reader will be the more likely to understand, if he have some previous acquaintance with Vedantic speculations. It is worth noticing that the notion of reckoning metre among the circumstances that constitute poetry is not even hinted at by our critic. The fact that the learned of India are accustomed to put into verse almost all their driest treatises— on law, physic, divinity, &c.—affords a ready enough explana¬ tion why the accident of metre should not be mistaken by them for the essence of poetry. Their test of poetry, (under which title, as we shall see, they reckon "poetry in prose"—gadya kdvya), coincides pretty closely with that specified by Whately as the test of "good poetry," when he says (Ehet. p. 344,) —" The true test is easily applied: that which to competent judges affords the appropriate pleasure of Poetry, is good poetry, whether it answer any other purpose or not: that which does not afford this pleasure, however instructive it may be, is not good Poetry, though it may be a valuable work." The Arch¬ bishop goes on to say, "Notwithstanding all that has been ad¬ vanced by some French critics, to prove that a work, not in metre, may be a Poem, (which doctrine was partly derived from a misinterpretation of a passage in Aristotle's Poetics,) universal opinion has always given a contrary decision. Any composition in verse, (and none that is not,) is always called, whether good or bad, a Poem, by all who have no favourite hypothesis to maintain." The pandits furnish ap¬ parently an exception to the universality of this dictum, for if * Vakyam rasalmakang kavyam—see p. 10. Advertisement. you wish to astonish a pandit, you have only to ask him grave¬ ly whether, for example, that terse metrical composition, the Nyaya compendium entitled the Bliashd-parichchheda is a poem. If, in holding it to be as far removed as anything well can be from poetry, he goes on a " favourite hypothesis," it is because the notion of an opposite hypothesis probably never occurred to him. In the 2d chapter (on the various powers of a word) the explanation of some of the terms is rather curious. " Let that 'Indication' (says the author) be ' Superimponent' which makes one think of the identity with something else of an object not swallowed (by that with which it is identified, but expressed along with it). That ' Indication' is held to be ' Introsuscep- tive' which makes one think of the identity with something else of an object swallowed—not expressed but recognised as it were within that with which it is identified." For ex¬ ample—" The horse—the white—gallops here " the horse" and " the white" mean just one and the same thing, and both terms are exhibited; but the same sense would be equally well understood (by a jockey, for example, to whom the horse was notoriously " the white"—or " the dun"---or " the chesnut"—) if the sentence were briefly " The white gal¬ lops." Here the " white" has swallowed the " horse," and the case is one of " Indication inclusive introsusceptive founded on Notoriety" (ruclhdvupdddna-lakshand sddhyavasdnd.) This classification of phraseology may serve to illustrate a passage in the " Poetics" of Aristotle, which Mr. Theodore Buckley (of Christ Church) concurs with Dr. Bitter in condemning as spurious. The passage occurs in the 21st chapter, where, in speaking of metaphors, Aristotle, as rendered by Mr. Buckley, says "And sometimes the proper term is added to the relative terms." M^e incline to regard the calumniated passage as genuine. Let us see. Aristotle goes on to lemaik I say, for instance, a cup has a similar relation to Bacchus that a shield has to Mars. Hence, a shield may be called the cup of Mars, Advertisement. viii and a cup the shield of Bacchus." the following proportion—viz. Now, it seems to us that if Cup : Bacchus :: shield : Mars were not present to the mind of the hearer, then (to use Mr. Buckley's words—on a kindred passage in the 11th chapter 3d Book of the Rhetoric—) " with a view to guard the metaphor from any incidental harshness or obscurity" the proper term may be advantageously added—making what our author calls a case of the " Superimponent" (sdropd.) Thus, had Aristotle followed up his remark by a special example, we should have read " The cup—the shield of Bacchus"—" The shield—the cup of Mars." According to the Hindu phraseology, when we omit the proper term and say " The cup of Mars," then, (through Indication Introsusceptive) the cup has swallowed the shield— which latter, nevertheless, is discerned within the other by the eye of the intelligent. From the chapters of the Sahitya Darpana which treat of Dramatic Poetry, many interesting extracts have been given by Professor H. H. Wilson in the Introduction to his "Select Specimens of the Theatre of the Hindus." J. R. B. Benares College, 5th January, 1851. THE MIRROR OF COMPOSITION. SALUTATION TO GANES'A! Chapter I.—The Declaration of the Nature of Poetry. At the beginning of his book, desiring the unobstructed completion of what he wishes to begin, he [i. e., the author—commenting on his own metrical treatise—] makes his address to the Goddess of Speech, because in the province of Eloquence it is she who is the constituted authority. Text. Invocation. —May that Goddess of Language, whose radiance is fair as the autumnal moon, having removed the overspreading dark¬ ness, render all things clear in my mind ! Commentary. a. As this book is ancillary to Poetry, by the fruits of Poetry only can it be fruitful:—therefore he states what are the fruits of Poetry:— Text. 2.—Since the attainment of the fruits consisting of The subject de- ° dared by impli- the class of four [i. e., the four great objects of human edition* * . • # t desire—viz., Merit, Wealth, Enjoyment, and Libera¬ tion]—by means of Poetry simply, is possible even in the case of those of slender capacity, therefore its nature shall be now set forth. Commentary. a. [The allegation in the text is borne out by facts]—for it is notorious that the fruits of the " class of four" have been attained by means of the counsels, as to doing and forbearing to do [respectively] what ought to be done and what ought not to be done, deduced from Poetry—[to the effect] that "one ought to do as Rama and the like, B 2 The Mirror of Composition. not as Ravana and the like." And it has been said—" Addiction to good Poetry produces sagacity in regard to Merit, Wealth, Enjoyment, and Liberation, and [it produces also] fame and favour." Further— [to explain these assertions severally]—the attainment of Merit through Poetry [may take place] by means of the laudation of the lotus-feet of the divine Narayana. That this is the case is notorious, from such statements of the Vedas as this one, viz. ;—"A single word, properly employed, and perfectly understood, is, in heaven and on earth, the Kamadhuk—[the cow from which you may * milk out whatever you desire.']" And [as for] the attainment of Wealth—[that this may take place by means of Poetry] is established by the evidence of the senses [for we see men make money by it] :—and the attainment of Enjoyment [is possible] just by means of Wealth. And [finally—by means of Poetry] the attainment of Liberation [may take place] through the scrutinizing of the fruits [—at best but transitory—] of Merit arising from it [—i. e., arising from Poetry, as above explained— and to be relinquished on being found to fall short of Liberation—] or [Liberation may be attained] through the possession of conversancy with statements conducive to Liberation [—such as are to be met with in sacred poems like the Bhagavad Git A']. The praise of [And justly may this pursuit be commended Poetry- above others,] for, from the Scriptures and the Insti¬ tutes of Science, by reason of their insipidity [or dryness,] the attain¬ ment of the "class of four" (§. 2.) takes place painfully, even in the case of men of ripe understanding; whilst, simply from Poetry, again, by reason of its producing a fund of the highest delight, the attainment takes place pleasantly, even in the case of the very tender-minded. An objection c- " But then—[someone may here object]—since answered. there are the Scriptures and the Institutes of Science, why should men of mature minds take any pains about poems ?"—this too is not proper to be said [in the way of objection—for, truly,] when a disease, curable by bitter drugs, happens to be curable by candied sugar,—in the case of what man, having that disease, would the employment of candied sugar not be most proper? d. Further—the excellence of Poetry is declared also in the Agneya Pur Ana—thus—" In this world to attain to be a man is hard, and there very hard to attain is knowledge; to attain to be a poet there is The Mirror of Composition. 3 hard, and very hard to attain there is [poetic] power." And again— " Poetry is the instrument [in the attainment] of the ' class of three' [—viz., Merit, Wealth, and Enjoyment,—see §. 2]". And in the Vishnu Pur&na [it is declared]—" And the utterances of Poetry, one and all, and all songs,—these are portions of Vishnu, the great-souled, who wears a form [composed] of sound." e. [By the word] " therefore" [in the text—see §. 2—is meant] "for that reason"—[and by the word] "its"—"of Poetry." The nature thereof—[or what it is that Poetry consists of]—is to be set forth:—and by this [i. e., by the statement, in the text, that the nature of Poetry is about to he set forth,] has the subject [of the treatise—viz., Poetry—] been [by implication, and hence all the more ingeniously,] propounded. The definition /• In regard, then, to the question—"of what— Kavyatrpraklsa ^eaving everything else apart—does Poetry consist ?"—- objected to. a certain person [viz., the author of the Kdvya Pra- kas'a]—says—"This [—i. e., Poetry—] consists of words and mean¬ ings faultless, with Style [see Chapter 8th]—and, further, [even though] undecorated." This requires some consideration—as thus :—if the agreement be this that the nature of Poetry belongs to that only which is faultless, then [look at the following speech of Havana, in Bhavab- huti's drama of the Vira-charitra.]— " For this indeed is an utter contempt of me that there are foes [of mine at all], and amongst these this anchoret, too! He, too, even here [in my own island of Ceylon] slaughters the demon-race! Ha ! Doth Ravana live ? Fie, fie, [my son—thou] conqueror of Indra ! what [avail is there] from Kumbhakarna awakened [untimeously from his six months' slumber—gigantic ally though he be]—or what from these [my own score of brawny] arms that in vain swelled with [the pride of carrying off] the spoils of the poor villages of Heaven?"— First objection [If faultlessness, I say, were essential to Poetry, to the definition. ^en] ^he nature of Poetry would not belong to these verses, by reason of their being tainted with the fault termed " non¬ discrimination of the predicate"—[see Chapter 7th :—for the ex¬ pression "in vain" is faultily mixed up in a descriptive epithet ap¬ plied to the subject—the " arms"—whilst the speaker really intended to say "how vain are now these arms that then did swell"]. On n 2 4 The Mirror of Composition. the other hand he [the author of the Kdvya PraMs'a] admits that the essence of the highest Poetry is Suggestion [which—see Chapter 2nd —the example above-quoted presents in abundance—for the speaker does not really entertain any doubt of his being himself " alive,'* whilst his making a question of it suggests in a lively manner bis astonishment;—nor is he speaking of a literal " anchoret" when he contemptuously indicates by that term the hero Rama who had been dwelling in banishment in the forest;] hence the definition has the fault of " not extending" [to cases which it unquestionably ought to include], A compromise 9- " But then [some one may say] a certain por- rejecied. is faulty here [i. e., in the example under §. 2, f.~\ but not, again, also the whole ;"—[now] if [we were to apply the definition with this qualification] then [see what would happen]—in what portion there is a fault, that [portion] urges that the case is one of not-poetry; in what [portion] there is Suggestion, that [portion] urges that the case is one of the highest poetry; hence, being dragged in two opposite directions by its two portions, it would be neither one thing nor another—poetry nor not-poetry. h. Nor do such faults as unmelodiousness [see Chapter 7th] mar only a certain portion of a poem, but quite the whole [if any part of it]—that is to say—when there is no damage to the Flavour [see Chapter 3rd,] it is not admitted even that these are faults; else there could be no distribution [such as the recognised and unquestioned one —see Chapter 7th—of faults] under the heads of " the invariably a fault" and " the not invariably a fault —as it is said by the author of [the work called] the JDhwani—" And the faults, such as unmelodi¬ ousness, which have been exhibited, are not so invariably: they have been instanced as what must be invariably shunned when the sentiment of Love is the sole essence of what is poetically figured [or suggest¬ ed"]. Moreover, were it thus—[i. e., were it the case, as your view of the matter seems to imply, that a fault is always a fault,] then the nature of poetry would have very few objects [of which it could be predicated]—or [probably] would find place nowhere, from the exceed¬ ing unlikelihood of faultlessness in every respect. A second com- " But then [some one else may say] the ne- promise rejected. gative particle is employed [in the definition §.2,/. The Mirror of Composition. not absolutely, but] in the sense of ' a little.' " If it were so, then, as [on this interpretation] the statement would be this—that " Poetry consists of words and meanings a little faulty," [this absurdity would follow, that] the name of Poetry would not belong to what [words and meanings] are [absolutely] faultless. Second objec- j• Granting the possibility [that Poetry may con- dancy^nu!"edefi- sisfc> as alleged m §• 2> of words and meanings] mtion. when " a little faulty"—if, [I say, it be so,] still this is not to be mentioned in the definition of Poetry; just as, in the definition of such a thing as a jewel, one omits such a circumstance as its being perforated by insects—[that circumstance not tending to constitute anything a jewel, though it may not cause it to cease to be regarded as such,] :—for such circumstances as its perforation by insects are not able [I grant you] to repel a jewel's claim to the name of jewel, but [the effect thereof is] only to render applicable to the case the degrees of comparison. In like manner, here, such faults as unmelo- diousness [render applicable such terms as " superior" and inferior"] in the case of Poetry: And it has been said [by the author of the Bhwani] " The nature of Poetry is held to reside even in faulty [compositions] where taste &c. are distinctly recognised, in like man¬ ner as [the character of a jewel, or the like, is held to belong to] such a thing as a jewel perforated by insects." A third objec- k. Moreover [in the definition under § 2. f.~\ the application of the distinction [conveyed in the expres¬ sion] " with Style" to words and meanings is inappropriate—[as is prov¬ ed] by the fact of its having been declared by him [the author of the Kdvya PraMs'a] himself, that the Styles are properties of the Flavour [or sentiment] alone [and hence not of words or their meanings], by means of such [unmistakable expressions employed by him] as this— viz., "which [Styles] are properties of the Flavour [or sentiment], just as heroism and the like are [properties] of the soul." A compromise I- If [some one should yet argue, saying,] " This thirdegaobjectkn [employment of terms objected to in § 2. /c.] is appro- rejected. priate, because there is here a metaphor [the expression " words and meanings" standing for the Flavour], since these [viz., the words and meanings] are what reveal the Flavour [or sentiment] ;"— even that way it [the definition] would be unfitting. To explain :—in 6 The Mirror of Composition. these " words and meanings," which he chooses to regard as constitu¬ ting Poetry, there either is Flavour or there is not. If there is not, then neither is there the possession of any property thereof—since the pro¬ perties of anything [—and there is no dispute that Style is a property of the Flavour—] conform [—as regards the being present or absent—] to the presence or absence of that [whereof they are the properties]. If [on the other hand] there is—then why did he not state that distinc¬ tion thus—" [words and meanings] possessing Flavour"—since other¬ wise there is an unfitness in [predicating] the possession of the pro¬ perties thereof ? If [in reply to this, you contend] " That is under¬ stood [—for, by predicating the presence of properties, one of course predicates the presence of the subject of the properties—]," then [I repeat that] the proper course was to say " [words and meanings] with Flavour" and not "with Style;" for no one, when he has to say " The regions possess living beings," says " The regions possess those that possess heroism and the lihe,,—[although the possessors of heroism and the like are of course no other than living beings]. . . m. " But then [some one, in defence of the defini- A second com- L ' promise in re- tion in the Kdvya Pra/cas'a, may further contend,! In gard to the third . objection reject- saying 'words and meanings with Style,'the aim was cd» . • to state this—that in Poetry there are to be employed those words and meanings which develope [some one of the three varieties of] Style"—if [any one does urge this—then I say] No [—this defence will not avail—] for, in the case of Poetry, the pre¬ sence even of words and meanings which develope Style, is a cause of its elevation only [—§ 5.], but not the cause of its essence—[and we are not enquiring what heightens Poetry, but what is Poetry] ;—for it has been said [by the author of the Dhwani, whose authority the author of the Kdvya Prakas'a never questions]—"words and meanings are [merely] the body of Poetry, and Flavour and the like its soul [or essence]." n. The Styles [or qualities of Elegance, Energy, and Perspicuity,— see Ch. 8th—in respect of Poetry, as mentioned in § 2. Jc.] are like he¬ roism and the like [in regard to men :—and so, to carry out the parallel between what is signified by the terms that will be made use of in this treatise and the corresponding things relating to men, it is to be un¬ derstood that] Faults [see Ch. 7th] are like one-eyedness and the like; The Mirror of Composition. 7 Modes [see Ch. 9th] are like the particular dispositions of the mem¬ bers [of the body] ; Ornaments [see Ch. 10th] are like bracelets, ear- A 4th objec- rings, and the like. Hence that also which he says [—see the definition of Poetry quoted under § 2 /.] viz., " and, again, [even though] undecorated"—I reject—for [—to state his meaning without ellipsis—] he means to say " Everywhere, when ornamented—and sometimes even when no ornament appears— [faultless] words and meanings constitute Poetry"—[and, I say, I must reject this] because here, too, [as well as in the case referred to under § 2. m.] embellished words and meanings, as regards Poetry, serve only to heighten it. Another defi- o. For this reason I reject also the position of the mtion rejected. author of the Vakrokti-jivita, viz., that " Equivoque is the life of Poetry," because equivoque is of the nature of ornament— [and hence not the body even—much less the soul or essence]. p. And as for what he [the author of the Kdvya Prakds' a~\ instances [as exemplifying his assertion that there may be Poetry] " sometimes when there is no obvious ornament"—[viz., these verses,] " For there is that very husband who gained me as a girl, and those same April nights, and the odours of the full-blown jasmine, and the bold breezes [wafting perfume] from the Naucleas,—and I too am the same :—but still my heart longs for the sportive doings, in the shape of toyings, under the ratan-trees on the banks of the Reva :"— —this requires some consideration—for here [where we were told that there was no obvious ornament] it is plain that there is that du¬ biously mixed ornament [to be described in Ch. 10th] which has its root either in the description of an effect without a cause [—the lady describing herself, not as regretting, but, as longing for what she had already possessed—whereas possession annihilates longing]—or in a cause without an effect [—the lady having sufficient reason for not longing—while she yet speaks of herself as doing so*]. * It is but fair to mention that, in the Kdvya Pradtpa, a commentary on the work containing the definition which our author persecutes so perseveringly, it is remonstrated that if there be no other ornament in these verses than that which it required so much ingenuity to detect, then it was not so very great a mistake after all to instance the verses as being without " obvious ornament." 8 The Mirror of Composition. Other similar 1' For the Same reasons 1 reject such definitions as definitions ob- [that involved in the following verse of the Rfija Bhoja jected to. jn Saraswati Kanthabharana,—viz.,] " The poet, making Poetry—i. e., what is faultless and possesses Style, embellished with ornaments, and having Flavour—wins fame and favour." A definition r' "^nc^ as ^or author of the Dhwani says admitted with a —that " the soul of Poetry is Suggestion"—what does proviso. j^e thereby mean ? Is it Suggestion in its three-fold aspect—(1) as regards the action, (2) as regards embellishments, and (3) as regards the Flavour and the like,—that is the soul of Poetry 1 Or is it only that which takes the shape of Flavour ? Not the first— for then it [—i. e., the definition of Poetry—] would improperly extend to such things as enigmas [—where more, no doubt, is suggest¬ ed than is uttered]. But if the second [is what he means to assert— then] we say "Agreed." Objections to S' " ^eri [some one may °^ject> to the defi- the proviso re- nition with our proviso,]—if Suggestion be the soul pelled. ^ Poetry only when it is in the shape of Flavour and the like—then, in such cases as [the following—viz.,] " 4 My respected [mother-in-law] lies here ; and here I myself. While it is day, observe this ; and do not—O traveller, since you get blind at night [like other people afflicted with night-blindness]—lie down upon my couch [mistaking it for your own]' "— [—in such cases as this—the objector may ask—] " as there is the suggestion of actions only [—the speaker here intending to suggest the traveller's doing the reverse of what she says—] how [on such terms] can you apply the name of Poetry to this ?" If [any one asks this]—we say that here also [—whilst we admit that there is Poetry—we admit it] only because there is a semblance of Flavour [—and the semblances of Flavour, as we shall have occasion to declare further on—see § 3. b. —are admitted to constitute Poetry;—and there is here the semblance of the Flavour of Love—a sentiment real only where legitimate—] for otherwise [—i. e., if we admitted the foregoing to be Poetry without shewing that it had any reference to Flavour] then there would [by parity of reasoning] be Poetry in the proposition " Devadatta goes to the village"—from its being understood that there is [here also] some¬ thing suggested—in the shape, viz., of his being attended [as a gentle- The Mirror of Composition. 9 man usaally is] by his followers. If [you say] " Be it so" [—that the expression " Devadatta goes to the village" is Poetry, on the strength of the unqualified definition given by the author of the Dhwani—then I say] No,—for I will allow the name of Poetry to that only which has Flavour. Concurrent ^or a*m P°e*ry is» by means of giving a testimonies cit- sugar-plum [in the shape] of the enjoyment of Flavour, ed. , . —in the case of princes and the like, averse to the Scrip¬ tures and the Institutes of Science, with very tender minds, and proper to be taught,—to inculcate the practising of what ought to be done and the forbearing from what ought not to be done,—[and this it aims at effecting by inculcating] thus—"One ought to act like Rama and not like Ravana"—as has been declared even by the an¬ cients. And so too it is stated in the Agneya Pur&na—viz.,—" In this [Poetry] which is rendered first-rate by skill in words, Flavour alone is the life." Also by the author of the Vyakti-viveka it is said —" [As to the fact] that the soul of Poetry—[meaning by the soul that in respect of which everything else is something subordinate]—is Flavour and the like—no one has any difference of opinion." So also the author of the Dhwani says—as for instance,—" For not merely by narrating—' Thus it fell out'—is the soul of Poetry compassed;—for that [—viz., the mere narration of events] can be effected even through Histories* and the like [such as the Mahabhdrata—which histories, though in verse, are not held to be poems]." Objections u' " But [some one may object—if Flavour is the repelled. essence of Poetry—] then some flavourless [—e. g., simply narrative—] verses in the composition will not be Poetry [—and thus the difficulty will recur—see § 2. g.—as to whether the compo¬ sition, as a whole, is poetry or not-poetry ;]"—if [any one argues thus, then I say] No—for, as we allow that words, themselves tasteless, have a flavour when included in tasteful verses, so [do we hold that] those [verses which may, in themselves, be insipid] have a flavour through the flavour of the composition itself [in which they are embodied]. And as for the customary application of the term Poetry to those [separate copies of verses] even that are without Flavour, in * So Aristotle—Poetics, Ch. IX.—says, " the history of Herodotus might be written in verse, and yet be no less a history with metre than without metre," &c. C 10 The Mirror of Composition. consideration of the presence of such letters [—see Ch. 8th—] as give rise to [some of the varieties of] Style, and the absence of faults, and the presence of ornaments—that is merely a secondary [not a strictly technical] application of the term, [which has come into use] from the [superficial] resemblance [of such verses] to poetical compositions which do possess Flavour [and which alone are Poetry in the strict application of the term]. Other defini V' aS ^0r w^at ^amana says [in Aphor- tions objected isms]—that "The soul of Poetry is the Mode'' [—or Diction—see Ch. 9th]—it is not so :—for a Mode is a species of disposition—and disposition consists in the arrangement of parts—and the soul is something different from that. And as for what has been said by the author of the Dhwani—that " A Sense commended by the intelligent—, which, it has been settled, is the soul of Poetry,—of this [i. e., of such Senses] two kinds are men¬ tioned, named [respectively] the express [or literal] and the under¬ stood [otherwise than literally]"—[the allegation, I say,] here—that the soul [of Poetry] can consist of an express Sense—is to be rejected, by reason of its contrariety to his own declaration [quoted under § 2. r.]—viz., that " The soul of Poetry is suggestion" [—see § 10]. The author's w' ^hen w^iatJ after a^> ™ Poetry ? To this it is own definition replied [as follows]:— of Poetry* Text. 3. Poetry is a Sentence the soul whereof is Flavour. Commentary. a. We shall declare [in Ch. 3rd] what it is that Flavour consists of. Flavour alone [—the text declares—] is the soul [of Poetry] — essentially the cause of its life—since it is not admitted that, without this, anything is Poetry. b. [The Sanskrit word for Flavour—viz.,] the word rasa, by regular derivation, [from the verb ras " to taste or of^emotimfre- relish,"] signifies "what is tasted, or relished." In cognized in the this [i. e., under the term rasa] are included the in¬ complete Flavours, and the semblances, &c. thereof ["—which will be treated of in Ch. 3rd]. Among these, then, [we The first de- may have] Flavour [complete as well as real] as [ex- ^e~roperFla' emplified in the following verses—viz.,] The Mirror of Composition. 11 " Perceiving that the house was empty, having arisen very gently from her couch, and having for a long time gazed upon the face of her husband counterfeiting sleep, having confidently kissed him,—then seeing his cheek quiver, the girl, with face downcast through modesty, was long kissed by her laughing lover." For in this example there is the Flavour [or Sentiment] called [to distinguish it from the love of separated lovers] " love in union." The second c> Incomplete Flavour [is exhibited] for example vou^not°attahi" ^ie following verses] of tbe great minister, manager ing its full de- of the questions of peace and war, Raghavananda :— velopment. <—in Poetry, of what nature are fined general- faults [—which we do not consent—see § 2./.—to regard as destructive of Poetry] ? To this it is replied [in the following half of a line which completes the half-line No. 3.]— Text. 4. Faults are depressers thereof. Commentary. a. Unmelodiousness, incompleteness in the sense, &c., [operate depreciatingly on Poetry] through the words and meanings—as oue- eyedness and lameness [operate depreciatingly on man] through the body; and [in the second place] such [faults] as the mentioning of things calculated to excite emotion [—see Ch. 3rd—] by their own names [bluntly, instead of suggestively,—these being faults] which depreciate the Flavour which is the soul of Poetry [not mediately, like the former class of faults, but] directly, as idiocy [depreciates directly the soul of man—both of these classes], are called [in the text] the depressers of Poetry. Special examples of these [various faults] we shall mention [in their proper place—viz., in Ch. 7th], Styles &c ^ what nature are the Styles, &c., [which were defined general- alluded to under § 2 .f] 1 To this it is replied— ly- Text. 5. Styles [—Ch. 6th—] ornaments [—Ch. 10th—], and Modes [—Ch. 9th—], are called the causes of its elevation. Commentary. a. Styles [or qualities—as already remarked under § 2. k.] are [in regard to Poetry] as heroism, &c., [in regard to the soul of man]. Ornaments are [to the language of Poetry] as bracelets, earrings, &c., [to the human figure]. Modes, through [their application to] words and meanings, are a kind of arrangement of parts [leading to different varieties of Poetry], as, through the body, [man, by different muscular arrangements, may have the symmetry of a Hercules or that of an Apollo.] Elevating [as they do] the Flavour simply which is the soul The Mirror of Composition. 13 of Poetry, these are [not incorrectly] called the heighteners of Poetry [for this rises, of course, with the Flavour, of which it consists]. h. Although the Styles here [—spoken of in the text—] are the pro¬ perties of the sentiment, [—and how—it might be asked—can they be heighteners of it when they are nothing separate from itself?—] yet the word " Style" is employed here, by synecdoche, for " the words and meanings which develope Styleand hence what is declared is this— that words which develope Style are heighteners of the Sentiment, as was said before [—see § 2. m.~\. Special examples of these [—i. e., of ornaments, &c.,—] we shall mention [in the proper place]. c. So much for the " Declaration of the Nature of Poetry"—the first chapter of the "Mirror of Composition," the work of the illus¬ trious Viswanatha Kaviraja, that bee of the lotus-feet of the divine Narayana, the pilot of the ocean of composition, the best of guides on the road of [ingeniously poetic] Suggestion, the jewel-mine of the poet's finest utterances, the lover of that nymph [embodied in] the Eighteen Dialects [employed in dramatic composition—see Ch. 6th—] minister of the peace and war department. CHAPTER II. The Declaration of the Nature of a Sentence. [Having declared—§ 3—that Poetry is a kind of Sentence, and the meaning of the term Sentence being as yet undefined,] he declares what a Sentence consists of. Text. A Sentence 1^ a Sentence mean a collection of words pos- defioed. sessing Compatibility, Expectancy, and Proximity. Commentary. a. Compatibility means the absence of absurdity in the mutual association of the things [signified by tfye words]. If the nature of a sentence belonged to a collection of words even in the absence of this [compatibility of the things signified], then [such a collection of words as] " He irrigates with fire" would be a sentence [—which it is not here held to be;—fire—and everything but water—being incompatible with irrigation]. 14 The Mirror of Composition. b. Expectancy [—" the looking out for" some other word in con¬ struction—] means the absence of the completion of a sense ; and this [absence of a complete sense] consists in the listener's desire [on hear¬ ing the word] to know [something which the other words in the col¬ lection will inform liim of—if the collection of words is a sentence]. If the nature of a sentence belonged even to that [collection of non- inter-dependent words] where this expectancy is a wanting—then such [a collection of words] as " cow, horse, man, elephant" would he a sentence. c. Proximity means the absence of an interruption in the appre¬ hension [of what is said]. If there could be the case of a sentence even when there is an interruption in the apprehension, then there would be a coalescence [—into one sentence—J of the word " Deva- datta," pronounced just now, with the word " goes" pronounced the day after. d. Since expectancy [§ 6. 5.] and compatibility [§ 6. a.] are properties, the one of the soul, and the other, of things;—it is by a figure of speech that they are here [—i. e., in the text § 6.] taken as properties of a collection of words. Text. 7. A collection of Sentences is a Great Sentence. Commentary. a. Only if this [Great Sentence too] possess [the requisites men¬ tioned in § 6—of] compatibility, expectancy, and proximity. Text. 8. Thus is a Sentence held to be of two kinds. Commentary. a. "Thus"—that is to say, inasmuch as it may be a Sentence [see § 6] and inasmuch as it may be a Great Sentence [see § 7.] b. And [if a justification of this employment of terms be required] it is said [by Bhartrihari in his Vakyapadiya] " Of Sentences, com¬ pleted as regards the conveying of their own meaning, when put to¬ gether, there becomes further, through their being viewed under the relation of parts and whole, the nature of a single Sentence." c. LTo give examples] of these [two kinds of Sentences], there is the Sentence simple—as [in the verses given at length under § 3. b. The Mirror of Composition. 15 —viz.—] " Perceiving that the house was empty, &c." The Great Sentence is such [a collection of sentences] as the Ramayana [of Val- miki], the Mahdbharata [of Vyasa], and the Rayhuvans'a [of Kali- dasa].* d. It has been stated [in § 6] that a collection of words is a Sen¬ tence. [But the question remains] then what is the criterion of a word? Therefore he says :— Text. Definition of 8. A word means letters [so combined as to be] the term word. suited for use, not in logical connection [one part with another—] conveying a meaning, and only one. Commentary. a. As [—for example—] "jar" [is a word]. b. By [the expression employed in the definition] " suited for use" the crude form [in which a vocable appears in the Grammar before receiving its inflection] is excluded [from being regarded as a word]. c. By [the expression employed in the definition] " not in logical connection" [the exclusion is effected] both of Sentences and Great Sentences [which—§ 8—consist of letters, and are suited for use,—but which, as their parts are connected in sense, are not to be denominated " words"]. d. By [the expression employed in the definition] " only one" [the exclusion is effected] of sentences containing a plurality of words inter-dependent [—see § 6. b.—yet not excluded by the limitation under § 8. c., which refers only to words in logical connection, with¬ out ellipsis; while, by the present exclusion, a collection of words not in logical connection but yet, when the ellipses are supplied, inter-de¬ pendent, is debarred from being regarded as a "word"]. e. By [the expression employed in the definition] " conveying a meaning," [the exclusion is effected] of [such unmeaning combinations of letters as] Jcachatatapa [—which is an unmeaning combination of the first letters of the five classes of consonants]. * Compare Aristotle—Poetics, Ch. xx.—" But a sentence is one in a two-fold respect; for it is either that which signifies one thing, or that which becomes one from many by conjunction. Thus the Iliad, indeed, is one by conjunction." 16 The Mirror of Composition. /• By " letters" [in § 8] it is not intended to speak of a plurality, [—for a word may consist of a single letter]. g. In that [—i.e., in a "Word"—what meaning may reside, is next to be considered]. Text. 9. The meaning [that may belong to a word] is held to be three¬ fold—viz., Express, Indicated, and Suggested. Commentary. a. The nature of these [three Meanings] he next The three pow¬ ers of a word— states: Denotation, In- Text. gestionnandSUS" The Express meaning (v achy a) is that con¬ veyed to the understanding by the [word's] Denota¬ tion (abhidhd) ;—the [Meaning] Indicated (lakshya) is held [to be conveyed] by the [word's] Indication (lakshand) ; the [meaning Sug¬ gested (vyangya) is held to be conveyed] by the [word's] Suggestion (vyanjand). Let these be the three powers of a word. Commentary. a. " These" [—i. e., the three powers] Denotation and the others. Denotation the Text. leading power of 11. Among these [three powers of a word] the primary one is Denotation, for it is this that conveys to the understanding the meaning which belongs to the word by con¬ vention [which primarily made it a word at all]. Commentary. How the con- ... ventional force a. [How one learns the conventional meaning of learnedfdS " wor(^s may illustrated thus :—] On the old man's saying—when giving directions to the middle-aged man—"bring the cow,"—the child, having observed him [the man to whom the order was given by his senior] employing himself in bringing the cow, determines, first that " the meaning of this sentence was the fetching of a body possessing a dewlap, &c." and afterwards, through the insertion and omission [of the portions of the sentence " bring the cow" which he as yet understands only in the lump] in such [other sentences heard by the child] as " fasten the cow"— " bring the horse"—he ascertains the convention that the word " cow" The Mirror of Composition. 17 sliall mean "the thing with a dewlap, &c.," and the word "bring" shall mean " fetching:." b. And [this—§ 10. a.—is not the only process by which the conventional meaning of a word may come to be known—for] sometimes [the meaning of a word may be gathered] from the utter¬ ance of familiarly known words along with it—as in this example— viz., " In the bosom of the expanded lotus the honey-maker drinks honey"—[where the hearer, knowing that bees drink the juices of the lotus, infers that it is the bee that is here called the honey-maker, and that the juice of the lotus, extracted by the bee, is called honey], c. Sometimes [the conventional meaning of a word is learned] from the instruction of one worthy [of confidence]—as [when such a one declares] "This" [—'pointing—suppose—to the animal—] "is what is denoted by the word horse." d. And it is that power of a word which conveys to the under¬ standing the conventional meaning without the intermediacy of any other power of the word that is called here [—in the text § 11—] Denotation. Four-fold Di- Text. vision of words j2. A convention [whereby the express meaning of in respect ot what they de- a word is settled] is accepted [by men among them- note. Actions.* selves] in regard to Kinds, Qualities, Things, and Kinds. Commentary. a. [By] a "Kind" [—or genus—is meant] the nature of a cow and the like [which resides] in the [particular] body [called] cow and the like—[and in virtue of which the thing is a cow or the like]. b. [By] " Quality" [is meant] a settled habit of a Qualities. .... thing which is a cause of making a distinction [between one thing and other things of the same genus] :—for [the qualities] white, and the like, difference such a thing as a cow from its congeners —such as a black cow. c. Names of " Things" are those that denote a Tilings# single individual—as Hari [—the name of the god * These four are the Categories of the Hindu grammarian. D 18 The Mirror of Composition. Vishnu], Ilara [—the name of the god Siva], Dittha, Davittlia, [and other proper names]. d. " Actions" are habits of a thing [not settled, as Actions. , . qualities are—see § 12. 6.]—but m course of accom¬ plishment—such as " cooking" [—which is the habit of a thing whilst in progress towards being ready for eating] :—for, what is denoted by such a word as " cooking" is the collection of proceedings, from first to last, such as the putting on [the pot with the rice to boil] and ulti¬ mately taking it off [the fire] again. e. For only in respect of these [four—§ 12.—] distinguishing characters of all individual cases [that call for the employment of words] is a convention made, and not in regard to individual cases themselves—lest there should befal the fault of endlessness [in the fabrication of words], or of vagueness [inasmuch as—to use the illus¬ tration of the Kdvya Pradipa—if, in assigning to such and such indi¬ viduals the name of " cow," we made no convention as to the generic character of the individuals, then water-jars would lay claim to the name as fairly as any cows not specified individually]. f. Now " Indication" [—the second power of a word—see § 10 —is explained]. Text. Indication 13. Where the principal meaning [of a word—-see § what power of a 11—] is incompatible [with the rest of the sentence —see § 6. a.—] this power of Indication is commu¬ nicated [to the word], whereby another meaning [than the express one —yet] in connection therewith, becomes apprehended, either through Notoriety [of the employment of the word in some particular second¬ ary sense] or through a Motive [—discernible in the connotation—for using the word rather than some other word which would have merely denoted the thing expressly]. Commentary. a. The power by which, in such [an expression] as " The impetu¬ ous Kalinga," a word, such as " Kalinga," incompatible [with the epithet " impetuous"—if taken] in its own sense—such as that of a particular country [on the Coromandel coast], causes one to think of [not the country, for instance, that the word denotes, but] the men, for instance, connected therewith j—and [—to give a second example— The Mirror of Composition. 19 the power] by which, in such [an expression] as " A herd-station on the Ganges," a word, such as " the Ganges," incompatible with the matter in question [—here, viz., the actual site of the station of herds¬ men—] inasmuch as the thing that it denotes is in the shape, for instance, of a mass of water [on the surface of which the herdsmen could not have built the huts of which the herd-station consists], causes one to think of something connected with itself by the relation of proximity or the like—such as the river's bank,—this power of a word—communicated to it [ § 13]—other than the power which [—to use the language of some—] belongs to it naturally, or which is not [—to use the language of others—] that given to it by God—[this second power it is that] is called Indication. Two sources b. In the former [of the two examples under § 13. of Indication 61' reaSon [why the word denoting the region of Notoriety, and Kalinga has the power of indicating the inhabitants of a Motive. regjonj "Notoriety" [see § 13.],-—the fact, simply, of its being familiarly known [that the name of the region is employed to signify its inhabitants]. In the latter of the examples, the " Motive" [—see § 13.—for using the word " Ganges" when we really mean " bank of the Ganges"] consists in this, that it causes one to think of the extreme of coolness and purity [pertaining to the Ganges itself] which would not have been thought of from the exposition of [the same matter in the shape of the expression] " A herd-station on the bank of the Ganges." Why the c* ^ a word were, without a reason, to indicate sources of the whatsoever has any relation [to that which the word power of Indi- . cation require denotes], then there would be an excessive influx [ot to be specified. aq gorts 0f associated ideas—everything in the world being related in some way or other to everything else—], hence [in the text—§ 13—] it is stated that this [power of Indication] arises " either through Notoriety or through a Motive" [—the ordinary relations furnishing which latter are specified under § 17. ^ie excessiveness suggested—see § Indication accord- a i pertains to the thing [indicated], or pertains ing to the site of _ . . what is suggested, to a quality [not inherent in the thing]. Commentary. a. " These"—i. e., the sixteen kinds of Indication just mentioned [—under § 19. a.]. These, having severally become doubled through the fruit's pertaining to the thing or to the quality, give thirty two kinds. He exemplifies [the two kinds] in succession :—■ " There are the clouds, in which the cranes disport, and with whose smooth dark loveliness the sky is overspread:—there are the dewy winds, and the melodious joyful screams of [peacocks] friends of the clouds. Be all these as they list. I, very firmly stout of heart, am Rdma. I endure all [hard though it be to bear those vernal sights and sounds with patience, which enhance the joy of lovers when united]. But how will she be now—Yideha's daughter? Alas—my goddess—O do thou be patient." In this [speech of Rama, from the Vira Charitra, of Bhavabliuti,] Rama being indicated [by the expression "I am Rama" which is insignificant taken literally], in the shape of a person extremely patient of affliction, and [this indicated Rama] being the possessor of the quality [of patience—suggested, under the circumstances, by the em¬ phatic and indicating employment of the proper name—which proper name otherwise, being simply denotative, would connote nothing—], the The Mirror of Composition. 29 fruit—the exceedingness [of the patience]—pertains to him [the thing indicated], b. [Again] in this [second example viz.,] " a herd-station on the Ganges" [—see § 13. a.], where the bank, &c. are indicated, the fruit, the exceedingness, pertains to the character consisting of coolness purity, &c., [and not to the bank—the thing indicated—which—see § 13. b.—is not regarded as the locus of these qualities]. Text. 21. Thus then are the varieties of Indication held by the intelli¬ gent to be forty. Commentary. a. [That is to say] there are eight where [the source of the power is] Notoriety [§ 18], and thirty two where [the source of the power is a Motive in the shape of some] fruit [§ 20. a.] ; hence the varie¬ ties of Indication [—so far as we have yet seen—] are forty. More¬ over— Text. Final subdi 22, These a^so are severally twofold accordingly as vision of forty- it [—the power of Indication—] resides in a Word or fold Indication • 0 , accordingly as m a Sentence. its instrument is COMMENTARY. a word or a sen- ,, ,, . r, . , . _ ,. „ . tence. a- These —i. e., these [kinds of Indication] just mentioned [under § 21]. Among these [we have an example of Indication distinguished] by the fact of its residing in a Word [in such a case] as " A herd-station on the Ganges [—see § 13. a.] ; and [of Indication distinguished by the fact of its residing in a Sentence [—and not in any separate word thereof—in such a case] as "Much benefit have you done, &c."—[see § 13. a~], b. Thus is Indication of eighty different kinds. c. Now " Suggestion" [--the third power of a word—see § 10—is explained]. Text. Suggestion— 2^* Denotation, &c., repose [after having wliat power of a done their duty], that function, of a word or its sense &c., by which a further meaning is caused to be thought of, is what we call Suggestion (vyanjand). 30 The Mirror of Composition. Commentary. a. [It is a maxim that] when the causers of the understanding of £S word take rest [after a single exertion], there is [as regards anything further in the case of that one employment of the word] an annihila¬ tion of their agency. When, in. accordance with this maxim, the three functions called Denotation [§ 11] Indication [§ 13] and Drift [—or purport of the sentence as a whole—which may be found treated of in the K&vya Trait as a—] disappear, after having caused each its own ap¬ propriate thing to be thought of, that function of a word, or of a sense, or of a radical, or of an affix, &c., through which another meaning is caused to be thought of,—[that function] which takes the various names of " suggesting," "hinting," "conveying," "acquainting," and the like, is what we call [the power of] Suggestion. b. In this [power of Suggestion, two varieties are comprised—for :] Text. Suggestion two- 24. Founded on its Denotation, or [founded on] fold, as founded [p0wer 0fT Indication, a word's [power of] Sug- on Denotation or . . jo on Indication. gestion is twofold. Commentary. a. He describes that which is founded on Denotation [as follows]. Text. Of Suggestion 25. That [power of] Suggestion which is the tatione a characteristic, the juxtaposition of ano¬ ther word, power, congruity, place, time, gender, ac¬ cent, &c., are causes of one's recollecting a special sense [of some word] when the sense of the word is not [of itself] definite." Thus [—to The Mirror of Composition. 31 exemplify the defining power of each of these causes in their order—] in the example " Hari with his conch-shell and discus," the word Hari denotes Vishnu alone [—and not a "lion" or a " monkey" or any other of the meanings of the Sanscrit word hari]—because of the ' conjunction' of the conch-shell and the discus ; and in the example " Hari without his conch-shell and discus" [it denotes] him alone too [—seeing that the ' Disjunction' would be unmeaningly declared in re¬ spect of what—e. g., a lion—had never been conjoined with a charac¬ teristic conch-shell or the like]. In the example " Bhima and Arjuna," the Arjuna is the son of Pritha [—he, and not the thousand-armed de¬ mon of the same name slain by Parasurama—as told in the Mahdbhdrata —being the ' comrade' of Bhima]. In the example " Karna and Arjuna" the Karna is the son of the Sun-god [—famed for his ' hostility' to Arjuna—and not any one else of the persons named Karna]. In the example " I salute Sthanu" the word sthdnu means the god Siva [—and not a "post"—as there is no 'motive' for saluting a post]. In the example "My lord knows all," the word "lord" means "you, Sir," [—and not the Deity—the ' circumstances of the case' being under¬ stood to be these, that the words are addressed to a king or some other great man]. In the example "the angry one on whose banner is the alligator," the God of Love is meant [—and not the Ocean, which also has an alligator for a heraldic device, but of which anger is held to be no ' characteristic']. In the example " The God, the foe of Pura," Siva is meant [—as we gather from the 'juxtaposition' of the word " God"—for, otherwise, the term purdri might have stood as well for the " foe of the city" as for the " foe of the demon Pura"]. In the example " The cuckoo intoxicated with the Spring," the word madhu [it is obvious] means the " Spring" [—the Spring-time being the only thing, among those denoted by the word, that has ' power' to intoxicate the cuckoo—and not " nectar" or " distilled spirits" which it does not meddle with.] In the example " May the meeting with your beloved preserve you," the word muhha means " encountering" or " coming face to face" [—because there is no ' congruity' between the desired result and "a face" or any other sense of the word muhha]. In the example "The moon shines in the sky," [we are certified, by the 'place' that] the word chandra means the " moon," and not "gold" or "camphor," &e.]. In the example "The fire at night," [we know, The Mirror of Composition. from the ' time? that] the word chitrahhdnu here means a " fire" [and not the "sun"]. In the example " The wheel glows," [we know that] the word rathanga means a " wheel" [and not a "ruddy goose"] from its haying the termination of the neuter ' gender.' As ' accenf mo¬ difies the sense in the Vedas only, and not in Poetry, no example of its occurrence is here given. The rejection b. And some, not able to endure this assertion,—in of Accent fiom ? 25, am—that Accent operates for the removal of am- among the re- s 1 stricters of De- biguities not in poetry, but only in the Veda—which edagainst objec- assertion was made before me by the author of the tors* Kuvya Prakus'a,—say " Accent also, in the shape of change of voice and the like, is really, in Poetry, the cause of the understanding in a particular sense [something that would otherwise be ambiguous]—: and again, according to the showing in the lectures of the holy sage [Bharata], * It, [—viz., accent—], in the shape of the acute, &c., is really the cause of one's understanding [to be intended] some one particular Flavour—as, for example, the Erotic [—when, in the absence of accent, the Flavour intended might have been doubtful]' —hence, in the case of this also [—i. e., in the case of Accent, as well as the other defining agencies exemplified under § 25. a.—] some ex¬ emplification is proper —[but, to these objections, I reply] this is not [right]. The accentuations, whether as changes of voice, &c., or as [the three varieties of accent called] the Acute, &c., cause one to un¬ derstand one particular sense consisting in that only which is suggested ; and not, assuredly, [does accentuation acquaint us with] any distinc¬ tion in the shape of the restricting to a single sense some word with more senses than one—which [—see § 25. a.—and not anything re¬ specting the matter suggested,'] is the present subject of discussion. . . » c. Moreover—if there were to be directed the re- Accent to be . . avoided in the strictxng, on every occasion, to a single sense, by the entendre »°uble force of an appropriate accentuation, even of two mean¬ ings of ambiguous words left undetermined [further than this] through the absence of fixation by the circumstances of the case or the like [—see § 25. a.—] then, in such a case, we should not find recognised [that Ornament, among those treated of in Ch. 10th— called] paronomasia :—but it is not so, [—for we do find this ornament recognised, by all the authorities, in cases where there would be no The Mirror of Composition. 33 place for it if the duplicity of meaning were banished by accentuation] ; and therefore has it been said that " when the exhibition of paronomasia is the business in hand, then, in the paths of Poetry, accentuation is not esteemed [but is to be carefully avoided] —and this is a maxim [of common sense—seeing that the accentuation would defeat the end in view]. But enough of this [idly censorious] glancing [—on the part of these objectors—see § 25. b.—] at the declarations of the ve¬ nerable [author of the Kdvya Prahds'a, to whom—though constrained to find fault with him occasionally myself—I am indebted for so much of the materials of my work, that I may call him justly the] bestower of my livelihood. d. By the " &c." [in the extract from Bliartrihari given under § 25. a., is meant], in such a case as [that of one's saying] "A female with breasts just so big," [the making one aware] by gestures of the hand, &c., [—the fingers being just so far opened as to mark the size intended—] that the breasts, or the like, resemble the unexpanded lotus; and so in other cases. e. When [a word is] thus restricted, in respect of its Denotation, to a single meaning, that power which is the cause of one's thinking of another sense of the word is [the power termed, in § 25,] Suggestion founded on Denotation. [This occurs] for example [in the following verses] of my father [—literally, of the feet of my father—] the great minister, the lover of the nymph [consisting] of the fourteen dialects, the chief of great poets, the venerable Chandra S'ekhara, minister of peace and war, [—the verses being these—viz.,] " Whose body is embraced by Durga, overwhelming by his radiance the God of Love, on whom [as a crest-ornament] has arisen a digit of the moon, venerable, surrounded everywhere by his snakes, whose eyes are m'ade of the chief of stars, who has a solid affection for the most majestic of mountains [—the Himalaya—], having mounted on a cow [—the emblem of the earth—], with his body adorned with ashes,— resplendent is this beloved of Uma." Here, from the " circumstances of the case"—[see § 25. a.—the minister intending to describe, not the god S'iva who reduced the god of Love to ashes by a glance of his eye, and who is decorated with cobra da capellos, but his own king who is lovelier than Cupid, and who is surrounded by lus ministers—and so on through the weary string of F 34 The Mirror of Composition. puns—] the sense of the terms [in the expression] " beloved of Um&" being restricted, in respect of the Denotation, to that [not of tlie god¬ dess Uma, or Gauri, and her husband, but] of the queen named Uma and her husband king Bhanudeva, [it follows that] the sense of the " beloved of the goddess Gauri," [—i. e. the god S'iva—] is under¬ stood [—to the glorification of king Bhanudeva by the comparison—] only through Suggestion. And so of other cases. f. He [next] describes that [power of Suggestion] which is found¬ ed on Indication [§ 24]. Text. Suggestion found- 26. But that Motive for the sake of which [the ed on Indication. power of] Indication is subservient, let that [power] whereby that [Motive] is caused to be thought of be [called] Suggestion founded on Indication. Commentary. a. When, in such [an expression] as " A herd-station on the Ganges" [—see § 13. a.—], the power of Denotation has desisted [—See § 23. a.] after causing one to think of such an object as a mass of water [which the word " Ganges," denotes], and the [thereto sub¬ sequent] power of Indication has desisted after causing one to think of such an object as the bank,—[then] that [power] by which such a thing as the excess of coolness and purity [—the ' Motive' for employ¬ ing the particular form of expression—see §► 13. A] is caused to be thought of, is [the power called] ' Suggestion founded on Indication.' b. Having thus described [—in § 25 and 26—] Suggestion per¬ taining to words [—see § 23], he describes Suggestion pertaining to the things [signified by the words]. Text. Suggestion found- 27. That arises from the Sense [of words] which ed on the Sense. . . causes one to think ot something else through the speciality of the Speaker, or the Addressed, or the Sentence, or the Proximity of another, or the Drift, or the Occasion, or the Place, or Time, or Emphasis, or Gesture, or the like. Commentary. a. [In saying " That arises, &c."] the word " Suggestion" is [to be supplied] in construction [—the text, without ellipsis, being " That (power of) Suggestion arises, &c.]" The Mirror of Composition. 35 b. Among these [vavious specialities, there may be an example] where there is some speciality in respect of the Speaker, the Sentence, the Drift, the Occasion, the Place, and the Time—as [is the case in] my own [lines here following—viz.,] " The season is the Spring-time—and he of the flowery bow [the god of Love] now rages— : gently flow the breezes that bear away with them the languor of love;—this pleasure-garden too is beautiful with its arbours of the cane :—my husband is far away :—tell me— what is to be done to-day ?" Here—it is in respect of [not any particular words here employed, but in respect of ] the Place [—so suitable under all the circumstances, for an assignation—] that some one hints to her confidante [—likely to guess the ' Drift' of this ' Speaker'—] "let my unavowed lover be sent speedily." c. "Where the speciality is in respect of the person addressed [—§ 27—we may have such an example] as [the following, viz.,] " The border of thy breasts has lost the whole of the sandal-wood [with the cooling unguent of which they had been anointed:]—the colour of thy lip has been rubbed out:—thine eyes are quite devoid of collyrium:—this thy slender body has every hair erect:—O falsely speaking go-between !—heedless of the access of pain to [me] thy friend, thou wentest hence to bathe in the lake—not [as I had sent thee] to that wretch." Here, by Indication of the contrary [—see § 15. a.]—" Thou hast gone near him" is indicated ; and, through the speciality of the mes¬ senger ' addressed' [—she being not a messenger simply, but one re¬ garded as "falsely speaking"—] it is understood to be suggested [—on the ground of this sense—see § 27—] that " [Thou wentest] to dally with that [wretch]." d. Where the speciality is in respect of the Proximity of another [—§ 27—we may have such an example] as [the following—viz.] " That crane stands unmoved and undisturbed on the leaf of the lotus—like a conch-shell placed on a tray of pure emerald." Here, from the immobility of the crane its security [is inferred], and, from that, the fact that the place is devoid of people ; and thus [i. e., by directing attention to the fact,] it is said [not expressly but suggestively] by some one to her unavowed lover by her side [—for else, the remark f 2 36 The Mirror of Composition. on the solitariness of the spot, would not have given rise to the same suggestion]—" This [—where the wary crane stands fearing no intrusion —] is the place for an assignation." Here the Motive [—for the remark —or, in other words, the thing sought to be suggested—] is that spe¬ ciality [—of fitness, namely, for an assignation—] of a thing [anteced¬ ently] suggested—this [thing antecedently suggested] consisting in the fact that the place is devoid of people :—[so that here we have Sug¬ gestion founded on Suggestion]. Emphasis— e' " an alteration of the sound in the throat what. that is called, by the learned, Emphasis (kd/cu.)" The varieties of Emphasis, which is of the kinds mentioned [by writers concerned with the question, and not to be dwelt on here], are to be recognised from [accompanying] Gestures and the like [—§ 27.]. [To take an example] where the speciality consists in this, [we may have such a couplet] as [the following :—viz.]. " In submission to his preceptor, alas, he is prepared to depart to a far country. In the Spring-time, joyous with its bee-swarms and its cuckoos,—he ivont come back—eh, friend of mine ?" Here [she says] " he wont come back"—but, by the [slily appro¬ priate] Emphasis, [—accompanied perhaps by a slight toss of the head —], it is suggested that "he assuredly will come back." f. Where the speciality consists in Gesture (cheshtd) [we may have such an example] as [the following—viz.] " Perceiving that her lover had his mind [anxious] about the time of assignation, the quick-witted dame closed the lotus-flower with which she was playing—whilst her laughing eye conveyed to it the import." Here, by the gesture of closing the lotus, &c. it is suggested by some woman that " The twilight [—when the lotus-flowers close their petals—] is the time of assignation." g. In the same way [as in the cases above exemplified] the case is to be understood when there is a Speciality in respect of the Speaker and the rest [enumerated in § 27] taken either separately or any way combined. Text. Division of Sug- 28. Through the threefold division of Meanings, to^the TlueeMd tllis [Power °f Suggestion] is held to be, in respect division of Mean- of each [of the above mentioned varieties—] three- in§s' fold. The Mirror of Composition. 37 Commentary. a. By reason that Meanings have a threefold nature, through their being Express or Indicated or Suggested [—see § 9—], all the just- nientioned powers of Suggestion are threefold. Among these—there is [—for instance] the power of Suggestion belonging to an Express meaning—as [—in the example under § 27. b.]—"The season is the Spring-time, &c.," [the words of which are all to be understood liter¬ ally] :—[2ndly there is that] belonging to an Indicated meaning—as [in the example under § 27. c.] " The border of thy breasts has lost the whole of the sandal-wood, &c." [—where the words indicate the reverse of what is said, and the Suggestion originates in this indicated meaning] :—[and 3rdly there is that] belonging to a Suggested mean¬ ing—as [in the example under § 27. d.—] That " crane stands unmov¬ ed, &c.," [where the Suggestion of its being a suitable place of assigna¬ tion arises out of the suggested secludedness of the spot]. b. But Suggestiveness pertaining [see § 23. a."] to the radical part of a word or to an affix will be treated at length [in the latter portion of chap. 4th]. c. [Some one might object that we were told, at § 3., that Poetry is a Sentence, and further, at § 6., that a Sentence consists of Words ; but, on the other hand, we are told, at § 2. r., that Poetry consists in Suggestion, and further, at § 23, that Suggestion, may come from the sense and not from the words—so that we are left in perplexity as to which does constitute Poetry—the words or the sense. To remove this perplexity the author declares, as follows :—] Text. ^ t 1 re ^he meaning conveyed by a word suggests, lation of Words and so also does a word applied in another sense respect to tli^con.11 t—than that which it then suggests, but might else- stituting of Poe- where denote—see the example under § 25. e.]. When try* the one suggests, then the other is its coadjutor. Commentary. a. Because a toord, when it suggests, has an eye to another mean- ing [without which it would fail of suggesting] ; and so too a meaning, [when it suggests, has an eye] to the word [—without which the mean¬ ing would vanish] :—hence, when the one suggests, the co-operation of the other must needs be admitted. 38 The Mirror of Composition. Text. 30. Through the being distinguished by the three Wordaccording to accidents of Denotation, &c. [§ 10.] a Word also is the accident of held [—as the Meaning thereof is—] to be of three its function. kinds—Expressive, Indicative, and Suggestive. Commentary. a. When it has the accident of [the power of] Denotation, the word is [simply] Expressive (vdchaka) :—when it has the accident of Indication, it is Indicative (lakshaka) : when it has the accident of Suggestion, it is Suggestive (vyanjaka). b. Moreover [—the senses conveyed by separate words, in virtue of their exerting one or other of these three functions, being supposed decided—a difference of opinion presents itself in regard to how words act in concert. On this the author proceeds to remark]. Text. 31. Some say that there is a function [of the The question _ L whether the power Sentence] called Purport (tdtparyya) [which function ledge'* belongs°Io consists] making one apprehend the connection the Sentence or to among the meanings of the words. Others say that the sense [alleged to come] from the Purport is [nothing else than] the sense [that comes] from that [Sentence itself], and the Sentence [itself] is what makes one apprehend that [sense]. Commentary. a. Because of the surcease of the power of Denotation [—§ 23. a.—-] when the meanings of the several words had been conveyed, there is a function, called Purport, declaratory of the connection among the mean¬ ings of the words, in the shape of the sense of the sentence ;—such is the opinion of those who [—like the followers of the Nyaya—] say that a connection takes place among the [separate meanings] denoted [by the separate words in the sentence]. The opinion [on the other hand] of those who say that significance belongs [not to the words separately—but—] to the connected [words in the shape of a sentence], is this, that the sense [alleged to be] conveyed by the Purport [of the sentence] is just the sense of that [sentence itself ] ; and the declarer of that [sense of the sentence] is just the sentence itself. b. So much for the 2nd chapter of the Sahitya Darpana, entitled the "Declaration of the nature of a Sentence." The Mirror of Composition. 39 CHAPTER III. [The Declaration of the ' Flavours/the 'Moods,' &c.] Now what is this Flavour [—rasa—see § 3. &.] ? To this it is replied:— Text. Flavour defin- 32. Love or the like, brought out into manifestness ed* [not by the direct mention thereof but] by an Excitant, an Ensuant or an Accessory, [and being] the permanent mood [or main sentiment in any composition—see § 203—], attains to the rank of a Flavour [in the opinion] of the intelligent. Commentary. a. [What] the " Excitants, &c." [are] will be mentioned [under § 61—160—and 166.] b. And the ' Spontaneous' [indications of strong feeling—see § 164—] are not mentioned separately [in the text—although some per¬ sons may imagine that they ought to have been—] because they really are Ensuants, [—and these are mentioned in the text]. c. [When he speaks of the Flavour as something] " brought out into manifestness," [he means to say, that,] Flavour is this [something] made manifest in a different character to which it is changed—just as curd or the like [consists of milk or the like presented under a change of character] ; but [he does] not [mean to say] that something previ¬ ously completed [and previously so extant] is [in this case] revealed, as a [previously extant] jar is [revealed unchanged] by a lamp. This is stated by the author of the Lochana, [—the " Eye," scilicet of cri¬ ticism—when he says] " The expression ' The Flavours are perceived' is employed just as the expression ' He is cooking the boiled rice' is em¬ ployed—[neither expression, however convenient, being strictly correct, inasmuch as the matter operated upon in the one case is not ' boiled rice' but only becomes such through being cooked; and the matter operated upon in the other case is not ' Flavour' but only becomes such through being perceived.]" c. And in this [text § 32], although merely through our taking the word "Love, &c." the fact of its being a "permanent" mood is also [implied] there [—" love, &c."—see 203—being just what constitute 40 The Mir ror of Composition. these permanent moods or main sentiments in a composition—] yet the word " permanent" is taken in again [not tautologically, but in reliance on the maxim "exceptio probat regulam,"*] with a view to the declaring that these are not [necessarily] main or permanent conditions where there are other Flavours. And hence Laughter, Anger, &c. are only transitory [and incidental] when there is [as the Flavour or Senti¬ ment of the composition] the Erotic, the Heroic, or the like :—as it is said " Only when in the position of the Flavour [of any given com¬ position] does a 'mood' (bhdoa) attain to being a main or permanent one." d. The manner of the fruition thereof [i. e. of Flavour] shall now be told—which will involve a declaration of its nature. Text. How Flavour 33. This Flavour [arising] from the exaltation of is apprehended, [that leading element, of the three, held to constitute Nature, that is termed] ' Puritj',' indivisible, self-manifested, made up of joy and thought [in their identity], free from the contact of aught else perceived, akin [as a uterine brother] to the [ecstatic contempla- tor's] perception of God, the life whereof is hyper-physical wonder, is enjoyed, by those competent, in inseparableness [of the Flavour from the fruition thereof],—like the form of the Deity [which is—according to the Vedanta—itself the joy with which it is recognised by the liberated soul.] Commentary. a. [As it is said] " A mind untouched by Foulness and Darkness [—two out of the three that, according to the Sdnkhya Philosophy, constitute Nature—see " Lecture on the Tattwa-samdsa," No. 49, and Prof. Wilson's Sdnkhya Kdrikd, p. 52—] is here called Purity (sattwa)—so a certain internal character, of this just-mentioned de¬ scription, which leads one to a turning away of the face from extrane¬ ous things cognizable, is [what we speak of in the text as] ' Purity.' Its "exaltation" [spoken of in the text] is its manifestation when it has risen above [the two other constituents of Nature, viz.,] Foulness and Darkness [as above-mentioned]. And the cause hereof [—i. e., of this mental character—] is the study of such like supermundane matters of Poetry [as may be mentioned here or elsewhere]. * See Whately's Logic—B. ii. Ch. v. § 6. The Mirror of Composition. 4i h. [By calling it] " indivisible" [he means to say that] this [Fla¬ vour—though consisting, in some sort,—see § 52—of a number of ele¬ ments—] is one thing only—consisting of the wonder that arises from the display of the " Excitants, &c." [that give rise to Emotion—see §61], and of [the Emotions themselves—such as] Love, &c. The cause of this [—i. e., of its indivisibility] we shall tell [—further on —see § 60.] c. It is " self-manifested," &c., [the text informs us—and this it is] in the way that we shall mention [at § 60]. d. [In the epithet applied to Flavour—viz.—] chinmaya, the affix mayat [—see Panini Y. 4. 21.—] gives the sense of "consisting of" [—Flavour being made up of thought."] e. " Wonder" is a kind of expanding of the mind. Another term with the same import is " Surprise." And the proof of this [—that The opinion ^ie M*e of Flavour is 'Wonder'—] is the dictum of my that all poetic great great grandfather, the most venerable in the as- cible to * Won- sembly of the intelligent, the chief of learned poets, der' the illustrious Narayana. Dharmmadatta mentions that [dictum of my great great grandfather's, when he says] :— " In Flavour, even in every case, Wonder is felt as its essence. Since Wonder is its essence, [it follows that] Flavour, even in every case, is [that Sentiment or Flavour, called] the ' Surprising :'—hence the learn¬ ed Narayana has declared that Flavour, is just [that Sentiment or Flavour called] 'the Surprising' [and no other]." f. [By] " those competent" [he here particularly refers to] the ancient men of virtue, [in respect of whom the statement of the text is true] since it has been declared.—" The virtuous apprehend the ex¬ panse of Flavour, as the ecstatic contemplator [discerns God in beatific vision]." <]' fWe are told that] " The gustation [of Fla- Indifference of y L . . . . & L object and opera- vour] is the arising of joy in the soul from the con- tion of Flavour'4" *act ma^ers Poetry" :—now, on this showing, it is [plainly] declared that Flavour is nothing distinct from the gustation thereof but still, [though admitting this J we [find it convenient to] employ such expressions as " Flavour is tasted," either admitting [for convenience] a fictitious distinction [between the tasting and the flavour tasted], or employing the verb reflectively G 42 The Mirror of Composition. [—see (he Laghu Kaumudi, p. 313.] The same thing is stated [by another authority, who says,] " Since its essence consists in its being tasted,* Flavour is nothing other [in respect of its body—if it can be said to have one—] than the body [consisting] of [its] manifestation." And so in similar places elsewhere such applications [of the term Fla¬ vour as denoting something distinct from its perception—see § 51. a.—] are to be understood tropically. , , h. " But then" [some one—fancying that he is A supposed ob- L J ° jection to this no giving utterance to an objection—may say] " by all objection. this you assert that Flavour [—in which Poetry con- sists—see § 3.] is not an object of knowledge [but a mode of know¬ ledge] ; and since Suggestion is a mode of knowledge [the result of which also—see § 2. r. and 59—is declared to be alone Poetry—] it turns out that these two are one. And yet [hear what the author of the Vyaktiviveka says—viz.—] ' What we mean by a Suggester [or mani- fester—vyanjaka—] is a cause, through the knowledge due to itself, of the knowledge of some other extant thing,—as a lamp [is, in rela¬ tion to a jar or the like]. And if it be otherwise [—i. e., if you do not grant that Suggestion is the manifester of Flavour already extant] then what difference is there between this [manifester of something not previously extant] and a maker ? [which all deny, it to be—Flavour not being a product—see § 52]. According to this showing, [as op¬ posed to your view of the identity of the manifestation and the thing manifested], there is really a distinction between the Suggested and the Suggester, as between a jar and a lamp,—and so how can Flavour [which you identify with the act of manifestation or Suggestion] be the thing Suggested ?"—If, [O friendly objector, you say all this,] you say rightly. And therefore have they declared that this, the making [of Flavour] called Gustation, is a certain operation quite peculiar [and distinct] from the [ordinary] kinds of ' making' and ' manifesting and therefore [does the author of the Vyaktiviveka say] " Tasting, Relishing, and Wondering, are quite peculiar names." And there¬ fore, by myself and others who take it to be established as the only [explanation of the phenomena in question] that there is a function * Compare Berkeley's expressions with respect to ideas—" the existence of an idea consists in its being perceived"—; and again with respect to things,—" their esse is percipi." Principles of Human Knowledge, Chs. 2 and 3. The Mirror of Composition. 43 [—viz., ' Suggestion'—denied by the Grammarians and by the Nai- yayikas—] distinct from Denotation, &c., [therefore, I repeat, by myself and those who think with me] it is stated that the Flavours, &c. consist of [what we choose, for convenience, to regard sometimes as an object of knowledge, and which we then call] the [meaning] * Suggest¬ ed' (vyangya). i. But again [—adverting to the assertion of the text that Flavour is made up of joy—some one may object—" Then, since the ' Pathe¬ tic' [§ 228] and such like Flavours are made up of pain, they cannot be Flavours at all." To this it is replied [as follows]. Text. Things pain- 34. Of the fact that, even in such a Flavour as the ful in reality are < Pathetic,' &c. [in reality] pleasure only is produced— in poetry sources _ J J J 1 of pleasure only, the consciousness of the intelligent is the only proof. Commentary. a. By the " &c." [he means such other Flavours as] the ' Dis¬ gusting,' the ' Terrible,' &c. [see § 234 and 233]. b. Still [—though the authority cited in the text ought to suffice— yet,] in order to close the mouths of the unintelligent, the opposite side of the argument [—see Aphorisms of the Nyaya, 39. a.—] is men¬ tioned, [and disposed of, as follows]. Text. 35. Moreover, if in these [§ 34] there were pain, then no one would turn a look towards them [—which, however, people do—]. Commentary. а. For no one, possessed of understanding, engages [—knowingly, and without some ulterior view—] in paining himself; and [yet] we see that every one enters with engrossing interest into the e Pathetic,' &c. б. As another illustration of the unfitness [of the objection], he remarks [as follows]. Text. 36. [If it were] so [—see § 35—] then such [compositions] as the Rdmdyana would be causes of pain [—instead of giving delight to every man of taste]. Commentary. a. For since [—according to the supposed objection—see § 33. «.] the ' Pathetic' is a cause of pain, we should find cause of pain even in g 2 44 The Mirror of Composition. such [heart-delighting compositions] as the R&mdyana the leading Sentiment of which is the ' Pathetic.' I. But how then, [some one may ask], can pleasure arise from causes of pain ? To this he replies [as follows]. Text. 37. Grant that mundane sorrow, joy, &c. be produced from what things, so far as they belong to the world, happen to be causes of sor¬ row, joy, &c.—yet what harm is there if we say that pleasure is pro¬ duced even from all these, when, through their being consigned to [the transcendental world of] Poetry, they have attained to being hyper-physical Excitants ? Commentary. a. For, what things indeed, such as [the banished] Rama's residing in the forest, are called causes of pain in the world [—or in their ac¬ tual occurrence—], those very things, when consigned to Poetry and to dramatic representation, in consequence of their assuming the func¬ tion of ' hyper-physical excitation,' [§ 44. 5.], having left off being de¬ noted by the term causes, possess the right to be denoted by the term hyper-physical excitants (vibhdva) ;—and, from these, only pleasure is produced—as from bites [and scratches] and the like in toying. And hence it is only in the [actual] world that the rule holds that from wordly causes of sorrow, joy, &c., worldly sorrow, joy, &c. [respective¬ ly] arise; whilst in [the transcendental world of] Poetry, on the other hand, pleasure alone arises from all the exciting agencies, &c.—and, according to this determination of the state of the case, there is no fault [in the text under consideration]. Tears no proof ^ut if the poetic representation of sufferings that in poetry any- produces only pleasure,] how then are tear-sheddings, is lproducedleaSUre &c* Produced by the seeing or hearing, in a poem or in a dramatic performance, the [sad] adventures of Harischandra [in the Mahdbhdrata] and the like? To this it is replied [as follows]. Text. 38. In like manner tear-sheddings, &c. [§ 37. b.] are held to come from the mind's being melted [—not pained—•]. The Mirror of Composition. 45 Commentary. Why poetry How then does this perception of Flavour from alTalike delight Poetry not take place in the case of all ? To this he replies [as follows]. Text. 39. Gustation does not take place then [—i. e., at the time of a dramatic representation or the like—] without the Imagination of Love, &c. [—i. e. without the capacity of conceiving whatever passion is in¬ tended to be depicted]. Commentary. a. And Imagination [or cultivated intellectual Susceptibility] (vd- sana) both now developed and not neutralized by past demerit [—liter¬ ally " present" and " ancient"—] is the cause of the gustation of Fla¬ vour. If the former of these were not [necessary], then this [power of relishing poetry] would belong even to Brahmans learned in the Vedas, and to students of the old Logic, &c. [—who, however, do not read poetry, and cannot therefore acquire a sensibility in regard to it— this sensibility requiring to be matured by cultivation—see § 19. a.] ; and if the second were not [necessary], then it would not happen [—as, however, it does happen—] that even some of the most eager [students of Poetry] are seen not to have a [right] perception of Flavour [—which is explicable, in the case of these commendable strugglers, only on the supposition that demerit incurred in some anterior state of existence frustrates their efforts]. b. And it is said by Dharmmadatta—" Those present [at a drama¬ tic representation] who have Imagination, may relish the Flavour [of the composition represented] ; but those devoid of Imagination are, in the theatre, like the wood-work, the walls, and the stones." Sympathy arises But—from those causes which excite love, &c., from the specta- jn &c—such as [his beloved] Sltd, &c., how tor's identifying . L . J himself with the is it that love, &c., is excited in the spectator? lo bero* this it is replied [as follows]. Text. 40. The Excitants, &c. [§ 61] have an operation called the making common [—through sympathy—], by force of which the person com¬ petent [to appreciate Poetry—see § 39—] makes himself out to be not a distinct person from him [—the hero—] whose jumping across the 46 The Mirror of Composition. sea [—as Hanuman does in the Rdmdyana,]—&c. [are the matters re¬ presented] . Commentary. a. But [some one may ask—objecting to the possibility of one's imagining himself the possesser of superhuman power—] how can a man imagine [himself to possess] the vigour to jump across the sea, &c. ? To this it is replied [as follows]. Text. Sympathy not 41. The idea [arising in the mind] even of [mere] prevented by the men, of [possessing] such valour, &c., as [is required] superiority of the t # " OJ , 1 J hero to the spec- in jumping across the sea, &c., is not censurable [as tator" an impossibility—such idea resulting] from the con¬ ceit of community [with the hero of the poem]. Commentary. a. Love, &c., also [—as well as heroism—] are felt through this community [of the spectator with the hero]—hence he remarks [as follows]. Text. 42. Through community [or sympathy], in like manner, Love, &c., are felt. Commentary. a. [For] if Love, &c., were recognised [by each spectator] as being located in one's self, then the spectators would experience shame, tremor, &c., [and all the appropriate moods of mind and body which, in fact, they do experience—] but if [the feelings represented on the stage were recognised by them] as located in another [—e. g., in the hero re¬ garded as quite distinct from themselves]—then there would be insi¬ pidity [or an absence of all Flavour]. b. Moreover [not only are the emotions common to both, but] the Excitants, &c., [of emotion], in the first place, [—the Flavour eventually resulting being, logically and analytically if not' chronologically and really, subsequent to the exciting agencies—] are recognised as being common [to the hero with the spectator rightly recognising them]—on which he remarks [as follows]. Text. 43. At [the time of] the gustation thereof [i. e., of Flavour], there is no distribution of the Excitants, &c., [of emotion—such as could put The Mirror of Composition. 47 it into the head of a spectator to say] " this is the other's [i. e. the hero's]—that is not the other's—this is mine—that is not mine." Commentary. a. But still—how have these Excitants, &c., a character thus ex- traordinary ? To this it is replied [as follows]. Text. 44. [In the eyes] of those who admit that the functions called Ex¬ citation, &c. are hyper-physical [—see § 33—], their extraordinariness is their beauty not their blame. Commentary. a. By the " &c." [he means] Accommodation [§ 44. c.] and Acces- soriness [§ 44. • • is single, though of the case may be clearly understood—J is mentioned sulUn" °from "a seParately as being perceived ; and [then we say] let composition of all this commingled—the Excitants and the rest—■ constitute, like the [composite] flavour of sherbet, the Flavour tasted by the intelligent. Commentary. a. As, from the commingling of sugar, pepper, &c., a certain un¬ precedented relish is produced in the shape of the flavour of the sherbet; so is it here also, from the commingling of the Excitants, &c.—such is the meaning [of the text § 46]. b. But then [some one may ask]—if Flavour is produced only from Excitants, Ensuants, and Accessories commingled, how can it be found [—as you will not deny that it is—] where there exists but one [of the three], or two ? To this it is replied [as follows]. Text. What might 47. If there be present, out of [the three—viz.,] the seem wanting in . , , the utterauce of Excitants and the others, two or [even] one, then there poetry is suppli- no fault for there is instantaneously a supplying of ed by the Asso- J rr; ° ciation of Ideas, the others [by the Association of Ideas]. Commentary. a. And this supplying [—of what is awanting may occur] in virtue of the [suggestive character of the] matter in hand, or of something else. For example—[take the following verses]. " A face, long-eyed, fair as the autumnal moon; arms sloping at the shoulders ; and a bosom compact, with close high breasts; sides—as if polished ; span-measured waist; loins joined with handsome hips ; feet with the toes upturned ; and her whole person disposed just like the utter unconstraint of a [blithe] dancer's mind." Here, whilst Agnimitra, in love with Malavika, describes only Exci¬ tants [of the emotion of Love] in the shape of [the various beauties The Mirror of Composition. 49 of] Malavikd, there is, through the mere fitness of things, a [mental] supplying of ' Accessories' such as the longing [of the lover describing his mistress], and of Ensuants,—such as the [rapturous] rolling of the eyes. And thus in regard to the supplying of others [of the three, when not all are conveyed in the poet's words,] an inference is to be made [by the intelligent reader, for himself—it being unnecessary to mul¬ tiply examples.] b. To those who [—not holding the correct view laid down in § 43—] say that the Flavour is located in the one represented [—i. e. in the hero—], he says [as follows]. Text. The locus of *a^nS cognizance of Love, &c. as belong- the Flavour not ing [entirely] to the person represented, would not be- why her° an jt ja not the player [—poor hungry wretch—] vourthe histrio- that is the taster of the Flavour—exhibiting [as he h 50 The Mirror of Composition. nic representer does] the appearance [—i. e. performing the part ] of of the hero. Rjima, 0r the like, merely as he has been taught, or as he has learned by practice. Commentary. a. Moreover [—to meet an obvious objection—he adds]. Text. The actor, so 50. By his realizing to himself [—if he does so—] far forth as he import of the poetry [—which he more probably is a man of ... -r ^ -.i • t , taste, ranks as a repeats with lndiiierence it not with weariness—J he spectator. t00 ranks as a spectator, Commentary. a. [That is to say]—if, on the other hand, through his realizing the import of the poetry, he enacts the character of Rama as if [he felt it to be] his own, then he [—the actor—] too is reckoned among the audience [—and whatever we may remark of them, applies so far to him\. Text. Flavour not 51. This [Flavour] is not something that may be an objective en- made known—for the perception of it is inseparable from tlty' its very existence. Commentary. a. For, * what may be made known' (jntipya), as a jar for in¬ stance [—by the light thrown upon it by a lamp or the like—], that, even whilst existing, is sometimes not perceived; but not so this [Fla¬ vour], for, apart from perception, it does not exist—[§ 33. h.~\. Text. Flavour not a 52. Since this [Flavour] has its essence [or is not product. itself except] in necessary connection with the aggre¬ gate of Excitants, &c., [on which it depends,] therefore it is not an effect [or product]. Commentary. a. If Flavour were an effect [—or product—like ordinary mundane things—] then it would be one having for its cause [inasmuch as it could have no other cause—] the knowledge [i. e. the perception] of the Excitants, &c.; and therefore, at the time of the perception of Flavour, the Excitants, &c., would not be perceived—for we do not see [that there occurs] simultaneously the perception of a cause and the perception of the effect of that [cause] :—for [—to give an illustration The Mirror of Composition. 51 of our meaning—] the perception of the touch of the sandalwood- unguent, and the perception of the pleasure produced thereby, cannot take place simultaneously [however rapidly the one may succeed the other—] ; and [on the other hand], the perception of the Excitants, &c. is not [—in the mundane and ordinary sense of the word—] the cause of the perception of Flavour, since this [Flavour] exists [as we have said] in necessary connection with the aggregate of the Excitants, &c. [and is therefore perceived simultaneously with them ;—and as these are therefore not to be spoken of as its cause, it is not to be called their effect\ :—such is the purport [of the text]. Text. Flavour inde- 53. Nor is it eternal—being non-existent previous pendent of Time to perception. past presentaud L 1 future. Commentary. a. For [—as remarked at § 51. «.] at the time when it is not per¬ ceived, it does not even exist; and verily it does not belong to a thing that is eternal to be incapable of existing at a time when it is not perceived. Text. 54. Nor is it [Flavour] moreover, something that will be [—con¬ tinuing perdurably, apart from the perception of it, after having once come into existence—] because it consists in [nothing else than] its own manifestation in the shape of positively apparent joy [felt then and there ;—and yet] neither is it, moreover, of the present,—for it is of a nature distinct alike from an 'effect' [§ 52] and from 'what can be made known' [§ 51—to one or other of which heads everything merely mundane and of time present can be referred—while—like the Deity— this 'Flavour' is irrespective of Time]. Since its object [—or what furnishes the occasion of its manifestation—] is the experiencing of the Excitants, &c. [§ 61], and also since it is apprehended by the intelli¬ gent in the shape of pre-eminent delight, clearly its conveyer is not wished to be [—i. e. cannot be allowed to be—] 'unconditioned' (nirvikalpaka) knowledge [—the mere knowledge that ' this is some¬ thing^ ; [and yet] in like manner neither it is perceived as ' condition¬ ed' (savikalpaka), because of the absence of adaptability in it to [being described by] any combination of terms [—as will be explained in the commentary here following], h 2 52 The Mirror of Composition. Commentary. a. [I say that the object apprehended, when ' Flavour' is appre¬ hended, is not * conditioned' knowledge,] because whatever [cognitions] are received through 'conditioned'* knowledge are adaptable to some employment of language, [—i. e. an account can be given of them in separate and intelligible terms—] but not so is ' Flavour' [—which, being every way indivisible,—see § 60—cannot be analyzed and then defined in terms of the analysis.] Text. No. 55. And it ['Flavour'] is not something imperceptible, for it is something manifested [see § 30] ; and [yet] its manifestation is not [per se] perceptible, because the possibility [of its being apprehended] is [dependent] on sound [—i. e. on the words that constitute the poetry—]. Commentary. a. " Do tell then" [—the reader will be ready to exclaim—] " what like is the real nature [—the tattwa or ' quiddity'—] of this strangely characterised sort of thing such as was never seen or heard of [before] ?" To this it is replied. Text. No. 56. Therefore [i. e. since * Flavour' does not Flavour alto- L gether byper- fall under any division in these exhaustive classifications physical. mun(jane knowledge—] truly it is to be regarded by the intelligent as hyperphysical (alaukika). Commentary. a. Then again what is the evidence that this [' Flavour'] is an entity ? To this he replies. * The terms nirvikalpaka and savikalpaka are explained in the Tarka Sangraha as follow " That [—viz. Perception —pratyaksha—~] is of two sorts—nirvikal- paka and savikalpaka. That knowledge which does not involve the [knowledge of the] species or sort, is nirvikalpaka [i. e. ' without an alternative'—] as [the knowledge that] ' This is something.' That knowledge which does include specifi¬ cation [or the reference of the object to one of the categories—see § 12—] is savi. kalpaka [—i. e. ' with an alternative'—for the object might possibly be correctly referrible to a different subdivision of the category—] as [the knowledge that] ' This is [the man called] Dittha,' ' This is a brahman,' ' This is black,' [not red, or yellow]." The Mirror of Composition. 53 Text. Proof that No. 57. The evidence of this [—i. e. of Flavour's thing ^as^Fla* an entity—] is considered by the learned to be vour at all. just the Gustation thereof [—which exists—see § 33. g.—] in inseparableness from [the ' Flavour'] itself. Commentary. a. ' Gustation' means tasting ;—and that is of the kind described [by the author of the Dhivani] as follows :—" ' Tasting' is the arising of soul-joy from contact with the meaning of Poetry." b. But then [some one may object]—if ' Flavour' is not a product [—as it is denied to be—here implicitly—and explicitly at § 52—] then how is it characterised, by the great saint [Bharata], as follows— viz.—" The production of Flavour takes place from the union of the Excitants, the Ensuants, and the Accessories?" To this it is replied. Text. No. 58. By reason of the production of its Gustation [—which, in the sense to be explained in the Commentary, may be said to take place—] the production of this [' Flavour'—which—see § 52—is not a product,] is [spoken of] tropically. Commentary. a. Although the Gustation [of c Flavour'] also is not [really] a pro¬ duct, seeing that it is nothing distinct from the Flavour [itself—which . is no product—], yet its being a product is spoken of tropically—for it is a product, in a secondary sense of the word, in respect of its occa- sionalness [—seeing that every man does not experience it, nor any man at all times]. Text. No. 59. Its not being the "Express, &c." [but only the "Sug¬ gested"—see § 2. v.—] I shall declare in the exposition of ' Sugges¬ tion' [in chap. 5th]. Commentary. a. " Its"—i. e. Flavour's. By the " &c." is meant its not being the 'Indicated, &c.' [see § 9]. b. But then [some one may object]—if ' Flavour' consists of ' Love and the rest' [—meaning by " the rest" the appropriate concomitants of each emotion—] commingled [—as declared at § 46—] how [are we to understand] its [self-] manifestation [see § 33] and its indivisibi¬ lity [§ 33] ? To this it is replied. 54 The Mirror of Composition. Text. Flavour, being No- 60* Since 'Flavour' [exists] only from its knowledge, is self- being identical with the knowledge of [the emotions and concomitants, such as] Love, &c.—hence is estab¬ lished its self-manifestation [—knowledge being, itself, light—], and its indivisibleness. Commentary. a. If ' Love, &c.' were something distinct from the body of light [or knowledge], then only could its self-manifestation not be establish¬ ed ; but the case is not so,—for its identity therewith is admitted [by all the authorities], as it is declared [by the author of the Bhwani]—• thus—" Although, by reason of its being nothing other than the ' Fla¬ vour,' the ' Gustation' [of Flavour] is not a product [§ 52], still, being assumed to be a product in respect of its occasionalness [§ 58. a.], it is moreover treated as divisible into Love [and the various poetic emo¬ tions] &c., [these being supposed to subsist] in the shape of modifica¬ tions [—as curd is a modification of milk—] of that increate Imagina¬ tion which is identical therewith [i. e. with increate Flavour.]" :—and [' Flavour,' I repeat, is held to be identical with Knowledge as he elsewhere declares] thus—" And on assenting to the identity of Joy, &c. [with ' Gustation' and ' Flavour'], having reposed upon our couch of established doctrine, mayest thou enjoy the slumber of delight for a thousand years of the gods !"—and [as he again declares] thus—" It [Flavour] is undivided from its enjoyer, being made an object of cogni¬ tion identical with the Love [or other emotion], &c., of the possessor of Imagination." b. On [the shoulders of] those who do not admit the fact that Knowledge is self-manifesting—the rod must be let fall by the Vedan- tists [who more especially cherish the tenet disallowed by these]. c. The 'indivisibleness' thereof [i. e. of Flavour—is to be inferred] just from its identity [with the knowledge of the emotions, &c.]—for Love [and the other emotions], &c., in the first place being recognised severally, attain to being ' Flavour' only as they appear when having all become one. This is declared [by the author of the Bhwani] as follows—" The Excitants, the Ensuants, the Involuntary [indications of emotion], and the Accessories, being recognised first dividedly, attain to indivisibility—and [again—as he remarks in prose—] The Mirror of Composition. 55 " But in strict reality this [Flavour] is to be apprehended only as something indivisible, like the nature of the Deity as set forth in [the theological system of] the Vedanta." d. Now what are those ' Excitants,' ' Ensuants' and 'Accessories' [§ 32] ? "With reference to this [question], he tells us what is an ' Exci¬ tant' [as follows]. Text. What is meant No. 61. What things in the [every-day] world by an 4 Excitant.' cause one to think of Love or any other [of the emo¬ tions], in Poetry and the Drama are called 'Excitants' (vibhuca). Commentary. a. For, what things,—e. g. Slta [the beloved of Rama], &c. are, in the [actual] world, causes of one's thinking of the Love, or the Laughter, or any other [emotion] belonging to Rama or any one else,—• these same, when consigned to Poetry or the Drama, are called vibhdva [—the term being derived from the causal form of the verb bhu ' to become' preceded by the particle vi implying ' difference' or ' al¬ teration'—] for, by these [—which we may call ' Excitants' or ' Alterants'—] the [mental or bodily] states (bJuiva), such as Love or other [emotion], of the spectators are altered (vibhdvyante), i. e. are made suitable for the manifestation [§ 32] of the first sprout of 'Gustation' [—see § 44, b.—which sprout requires, for its full development, the artistic treatment which will be detailed in due order.] This is declared by Bliartrihari [in the Vdhjapadiya] as follows:—" He [the intelligent reader or spectator] thinks of [the tyrant] Kansa, and the like, energising as if they were presented to his senses, when these [personages] have become objects of his understand¬ ing in the shapes bestowed upon them by [the poet's] words." b. He [next] mentions the two varieties thereof [—i. e. of the ' Excitants']. Text. Division of the No. 62- The tw0 divisions thereof [—i. e. of the Excitants into the Excitants—see § 61—] are those called the substan- Substantial and the Enhancer. tial (dlambana) and the enhancer (uddipana). Commentary. a. [The meaning of the text is] plain. Among these [he pro¬ ceeds to explain the former of the two varieties]. 56 The Mirror of Composition. Text. The Substan- No. 63. The substantial [§ 62] is [such a material tials or indis- an(] indispensable ingredient as] the hero, &c.—for pensable ingre- i . . n dients of poetry, thereupon is the arising of Flavour [altogether] dependent. Commentary. a. By the " &c." [is meant] the heroine, the rival [of the hero], &c. b. Of what [Flavour] each of these Excitants is [the Excitant], will be mentioned in the exposition of the nature of each [Excitant]. c. Among these [Excitants, then,] there is the Hero [—whose generic description follows—]. Text. Definition of No. 64. Liberal, learned, of good family, graceful, the Hero. the ardour of youth and beauty, clever, a general favourite, brilliant, ingenious, and well-bred,—such is the leading character. Commentary. a. This leading character, clever, swift in act, possessing such merits as a good disposition, good behaviour, &c., is the Hero (n&yaka). b. He now mentions the divisions thereof [—i. e. of the genus Hero—■]. Text. _ No. 65. He [—i. e. the Hero—] is first declared Fourfold dm- L _ > J _ sion of the ge- to be of four kinds—viz. (I) 'high-spirited, but tem- nus Hero* perate and firm' (dhiroddtta) ; (2) 'firm and haughty' (dhiruddhata) ; (3) ' gay and thoughtless, yet firm' (dhiralalita) ; and (4) 'firm and mild' (dhiraprasdnta).* Commentary. a. [All this is] plain. b. Among these, the 'high-spirited, but temperate and firm' [hero is of the following description]. * Firmness, though belonging to every kind of hero, is mentioned in the de¬ scription because its presence or absence occasions a subdivision of the heroines— (see § 102). The Mirror of Composition. 57 Text. spirited^but ^tem" ^°* §*ven *° boasting, placable, very perate and firm. profound, with great self-command, resolute, whose self-esteem is concealed, faithful to his engagements—[such is the hero who] is called * high-spirited, but temperate and firm[§ 65]. Commentary. a. 'Not given to boasting'—i. e. not a practiser of self-praise. ' With great self-command'—i. e. who is not of a nature to be over¬ powered by joy or sorrow, &c. ' Whose self-esteem is concealed'—i. e. whose [proper] pride is covered by decorum. ' Faithful to his engage¬ ments'—i. e. who carries out what he has undertaken. b. [Such is the first class of heroes—heroes such] as Rama, Yu- dhishthira, and the like. c. Now the ' firm and haughty' [hero is of the following descrip¬ tion.] Text. The hero firm No. 67. Given to deceiving, hot, unsteady, hav- and haughty. jng much egotism and arrogance, fond of praising himself—[such is the hero who] by the learned is called the ' firm and haughty.' Commentary. a. [Such is the second class of heroes—heroes such] as Bhlmasena and the like. b. Now the ' gay and thoughtless, yet firm' [hero is described]. Text. m. , No. 68. Free from care, ever gentle, devoted to The hero gay _ ° and thoughtless the arts—let this be the hero ' gay and thoughtless, yet firm.' Commentary. a. " Arts"—i. e. pantomimic action, &c. b. [Such is the third class of heroes—heroes such] as king Vatsa in [the play called] the RatndvalL* c. Now the ' firm and mild' [hero is described]. * Translated in Wilson's " Specimens of the Theatre of the Hindus." I 58 The Mirror of Composition. Text. The hero firm No. 69• Possessing largely the generic good qua- and mild. lities [of a hero—see § 64—] a Brahman or the like—let this be the [hero] ' firm and mild.' Commentary. a. [Such is the fourth class of heroes—heroes such] as Madhava in [the play of] Mdlatiand Madhava, &c.* b. And he next states the subdivisions [of these four classes of heroes—§ 65—] according to their character as lovers. Text. Subdivision of No. 70. But [heroes are constituted] of sixteen the four classes of kinds, by these [four divisions—see § 65—] which heroes into sixteen kinds. may have [severally] the character of(l) 'impartial,' (2) ' saucy' (3) ' faithful,' and (4) ' sly,' [in matters of love]. Commentary. a. That is to say :—through the fact that these—viz. the 'high- spirited, but temperate and firm,' &c., may be severally * impartial,' 'saucy,' 'faithful,' or 'sly' [in the character of a lover—69.5.],—a hero may be of sixteen descriptions. Text. The hero whose ^°* amonS these [various kind of heroes fondness is impar- mentioned in § 70], that one is called the 'impartial' tially distributed. matterg 0f love] wh0 is equally attached to several women. Commentary. a. [That is to say] the 'impartial' hero is he whose affection towards two, three, four, or more women, is equal:—as [is the case with the hero in the following example]. " ' The daughter of the king of Kuntala stands [awaiting you], having bathed ; and this night, which is [by rights] the turn of the sister of the king of Anga, has been won from her to-day by Kamala with the dice, with the approbation of her Majesty [the chief queen].' The king, having been informed respecting the fair ones of the harem [in the foregoing terms] by me [the chief eunuch] who had ascertained [these matters], stood for two or three hours [of twenty-four minutes each] with his mind perplexed by indecision." * See Wilson's " Theatre of the Hindus." The Mirror of Composition. 59 Text. The hero who No-72. Though culpable, yet undismayed ; when is saucy in his reproached, yet not ashamed; lying [bare-facedly] even when his offence was seen;—such is the one called [—as regards his amatory conduct—see § 69. b.—] the * saucy' hero. Commentary. a. Mine [are the following verses illustrative of this character.] " Perceiving the flush of anger, I went near [intending] to kiss her face. Then she spurned me with her foot; but I having nimbly caught hold of it whilst I burst out laughing,—O my friend, the anger of the fair-browed one, shedding tears from her then being unable to do anything, prolongs, whenever thought of, the amusement of my mind." The hero who Text. one loved'one*0 No. 73. The 'faithful' is he who is devoted to one. Commentary. a. [That is to say] the ' faithful' hero is he who is attached to only one heroine :—as [is the case with the hero whose wife speaks of him in the following verses]. " My garments, O friend, are not beautiful, the ornaments of my neck are not resplendent, my gait is not [coquettishly] curvilinear, my laugh is not loud, nor have I any [of the hoydenish blandishment called] pride ;—yet other people say ' Her beloved is fond of her—he never throws a look on any else' ;—therefore do I hold that, by thus much, all others are ill-off [compared with me] Text. . No. 74. The 'sly' is he who, being attached to The hero who ° simulates affec- [only] one, acts, covertly, with unkindness towards tl0n* another, [whilst] showing affection outwardly. Commentary. a. [That is to say]—he, again, who, being attached to only one heroine, whilst exhibiting ostensibly an affection for two heroines, acts, underhand, unkindly towards the other heroine, is the ' sly' hero ; as [is the hero of the following verses]. "O sly one ! where then shall I tell this, that, even whilst embrac¬ ing, thou didst hastily relax the knot of thy arms on hearing the tinkle of the zone-gems of this other [wife of thine approaching ? I need I 2 60 The Mirror of Composition. not tell it to her—for—] my fair friend, giddy from the poison of thy many buttered and honeyed speeches, heeds me not at all." Text. Subdivision of No. 75. And the aforesaid divisions of heroes, ^middling0''b even ftt the expense of Gallantry, and life [in the recalcitration against it—], of any imputa- Maenanimity. ^ disrespect, &c., cast upon one by another, is what is called a ' nice sense of honour' [—§ 89—]. ' Gallantry' [§ 89] implies elegance in language and dress, and likewise in amatory demeanour, ' Magnanimity' [§ 89] implies liberality, affability of address, and equality [of behaviour] towards friend and foe. Commentary. a. Of these also, examples may be inferred [by the reader for him¬ self]. The Mirror of Composition. 67 Text. TheHeroine de- No. 90. But now, the Heroine is of three kinds— fined, and divided m one's own (2) another's [wife or daughter], or (3) into ' one's own,' v/ ' w . L another's,' and a common woman. She is a woman possessed of the 'anybody's.' generic qualities of the hero so far as this is possible. Commentary. a. The heroine again is possessed of the generic qualities of the hero, liberality and the like [—§ 64—], so far as these are compatible [—"mutatis mutandis"—considering the difference of sex]. And she is of three sorts [—inasmuch as she may be] one's own wife, or a female belonging to another, or a common woman [i. e. a courtesan]. h. Among these [three kinds of heroines—§ 96—], 'one's own' wife [is the one defined as follows]. Text. No. 97. ' One's own' [—§ 96—] is she who is possessed of modesty, sincerity, &c., who is intent on the affairs of the house, and faithful to her husband. Commentary a. As — " In the house of the fortunate are wives who through modesty lay aside all embellishments, who remain ever subject to another's will [—not seeking to be independent],—with minds averse to everything but what is decorous." Text. No. 98. She too [—i. e. ' one's own' see § 97—] is named of three sorts, (1) the youthful, (2) the ado. lescent, and (3) the mature. Commentary. a. Among these — Text. The Youthful No. 99. She is called the ' youthful' [—or ' artless' heroine. § 98—] who, on the arrival of [the period of] youth,—• being altered by love [then first felt], shrinks from caresses, is gentle amid her indignation, and extremely bashful. k 2 The Heroine— ' one's own'— subdivided. GS The Mirror of Coinjposition. Commentary. Youtlifulness a' Among these [various characteristics we may exemplified. exemplify each severally—and first then of the ' youth¬ ful' damsel in respect of her being] ' at the first arrival of the period of youth'—as [in the following verses] of my father. " The loins now take to themselves the bulkiness [which previously was the characteristic] of the waist; the belly takes possession of the depression [which previously was the characteristic] of the breasts ; the line of hair on the body [characteristic of the period] runs off with the straightness of the glances [which then fall into a sidelong habit]. Seeing Cupid newly inaugurated in the empire of her mind, the mem¬ bers of the fair-browed one, for the moment, as it were, mutually plun¬ der one another, [as people are wont to do at the commencement of a new reign before the king can ascertain what properly belongs to each]." The first sen- [Now of the ' youthful' damsel in respect of sations of love. her being] ' altered by love then first taking posses¬ sion [of her mind]'—as [in the following verses which occur] in my Prabhavali-parinaya [or " Marriage of Prabhavatl"]. "Lazily and languidly she sets her footsteps on the ground; she never goes out of the inner apartments; she no longer laughs uncon- strainedly, but practises every moment some bashful restraint or other. Little she speaks, and that little always somewhat touched [or tinged] by a certain sort of deep covert significance ; and she looks up with a frown at her female friend who entertains her with a discourse about sweethearts." Maiden Coy- c• [Now of the 'youthful' damsel in respect of her ness exemplified. being onej < wlio shrinks from caresses'—as— " When looked at, she casts down her eyes ; she speaks not when spoken to; she stands turning away from the couch; when clasped perforce, she trembles ; when her female friends [who have conducted her to the bridegroom's house] are about to retire, she too wishes to depart from the dwelling. By this very coyness my beloved bride has become now more than ever dear to me." Gentleness. d. [Now of the 'youthful' damsel in respect of her being] ' gentle amid her indignation'—as— " On the occasion of her husband's first offence, she does not know— The Mirror of Composition. 69 in the absence of a female friend's advice—though every limb is trem¬ bling with agitation—how to convey a sarcasm. With her rolling lotus eyes the girl just merely weeps—with the pure tears dropping from the lower part of her pure cheek, while her ringlets dangle shaking among them." Bashfulness. e. [Then the 'youthful' damsel, in respect of her being] ' extremely bashful'—[may be exemplified]—as in the verses [already given under § 99. b.J viz., " Lazily and languidly she sets," &c. f. Here [—i. e. in the enumeration of the characteristics of the ' youthful' heroine—§ 99—], the separate mention of the ' shrinking from caresses,' which [characteristic] is included also under the head of ' extreme bashfulness'—[so that the definition might seem chargea¬ ble with tautology—], is made because this is a remarkable species [of the forms which bashfulness assumes]. g. Now the ' adolescent' [heroine—literally the one ' middlemost' between the ' artless' young wife or maiden and the dame mature and • bold'—§ 98—is described]. Text. The Adolescent No. 100. By the 'adolescent' is meant one won- fieroine. derful in caressings ; who has become more impas¬ sioned while waxing in youth ; somewhat bold in speech, and with a middling amount of modesty. Commentary. * a. Among these [various characteristics we may exemplify each severally,—and first then of the ' adolescent' dame in respect of her be¬ ing] ' wonderful in caressings'—as— " Towards her lover, by the fawn-eyed one, when her fondness was excited, there was somehow shown such ingenuity in caresses, that several times the hundreds of pigeons belonging to the house set them¬ selves as scholars to imitate her cooings." h. [The ' adolescent' dame in respect of her being] one ' become more impassioned,' is as [exhibited] in this same example [just given —§ 100. a.]. c. [Now the ' adolescent' dame] ' that has waxed in youth'—is as [described in these verses] of mine—. 70 The Mirror of Composition. " Her two eyes [in vivacity of movement] shame the wagtail; her two hands rival the lake-born [lotus] ; her breasts attain a height that causes a doubt whether they be not the [gracefully swelling] temples of the elephant; her brilliancy is like that of gold or of the Michelia Cham- paka; her voice rivals nectar; the flash of her side glance is like a wreath of expanded nymphaese cscruleEe." d. And so in respect of the others also [—of the characteristics enumerated in § 100—exemplifications might be given were it needful]. e. Now the dame ' mature'— Text. The Mature No. 101. Infatuated with love ; of robust [and no heroine. longer tender] youth ; learned in all kinds of caresses ; lofty of demeanour; with no great amount of modesty, and ruling her lover. Commentary. a. [Now the 'mature' dame in respect of her being] 'infatuated with love'—as— " [Brava!—or, literally,] fortunate art thou, who, when meeting with thy beloved, utterest, in the midst of caresses, hundreds of confiding and endearing phrases :—but [—as for me—] my friend,—when my lover puts his hand to the knot that binds my robe,—I'll swear if I recollect anything whatever." b. [Now the ' mature' dame, in respect of her being] ' of robust [and no longer of tenderly budding but of full-blown] youth'—as— " Her bosom hath very lofty breasts ; her eyes are very long ; curved are her eye-brows, and still more [curved or indirect] than these is her speech ; her waist is very slender ; not a little massive are her hips ; and somewhat slow is the gait of this one whose youth is wondrous [in its full-blown gorgeousness]." c. [Now the ' mature' dame, in respect of her being] 'learned in all kinds of caresses'—as— " This sheet—in one place marked with the [juice of the chewed] betel, stained in another place with the marks of the unguent made of fragrant wood, in another place giving out the lime [which is chewed along with the betel], and in another place [trampled] by a foot [red¬ dened] with lac-dye,—with its crumplings, its rents, and its disorder, The Mirror of Composition. 71 together with the withered flowers fallen from her hair, tells of the woman's having been dallying in every fashion." d. [Now the 'mature' dame, in respect of her being] ' lofty of demeanour'—as— " By sweet discourse—yet mingled with frowns ;—by admonitory shakings of the finger ; and by languidly moving bodily gestures, whose kindred [as being closely related thereto—in the order of cause and effect—] are great passions [excited in the beholder of her blandish¬ ments], many a time and oft does she, with her great staring side- glances, assist the possessor of the five arrows [—the god of love—] in the subjugation of the three worlds." e. [The ' mature' dame, in respect of her being] one ' with very- little modesty,' is as [exemplified] in (_the verses under § 101. a.], "Brava! thou that utterest," &c. /. [Now the ' mature' dame, in respect of her being] one 'ruling her lover'—as— " ' Lord of mine, curl my ringlets ;—my dear, give my forehead its sectarial mark again ;—my soul's lord, do unite again my necklace which is broken on the border of my bosom :'—thus speaking, at the time of desisting from caresses, she, whose face is like the full moon, quivering when touched by him, was again clasped in his arms." g. He now mentions other divisions of the heroines ' adolescent' and 'mature.' Subdivision of No. 102. These two are (1) possessed of self- beromes according COmmand, or (2) not possessed of self-command, or as they can or can- ' 1 not keep their (3) partly possessing and partly not possessing self- tempei. command ;—hence of six sorts. Commentary. a. "These two"—i. e. the 'adolescent' [§ 100] and the 'mature' [101]. b. Among these [are those described as follows]. Text. No. 103. [When moved] by anger, the 'adolescent' [heroine], if •possessed of self-command' [§ 102], will burn her lover with deri¬ sive sarcasms; if ' partly possessing and partly not possessing self- command,' [she will burn him] with her tears ; and if ' not possessed of self-command,' [she will assail him] with harsh speeches. 72 The Mirror of Composition. Commentary. a. Among these [three varieties of angry dames—we may have] the ' adolescent' who is ' possessed of self-command'—as— " In saying ' Thou art my heloved' thou sayest truly,—since thou hast come to my bower dressed in the gown belonging to thy sweet¬ heart ;—for, by being beheld by the loved one, the beauty of a lover's ornaments attains its end [—and thou hast come dressed, forgetfully, in the garments of my rival]." b. Now the 'adolescent' who partly possesses and partly does not possess self-command'—as— " ' My girl !'—' My lord ?'—' Lay aside thine anger, indignant one.'—' What has my anger done?'—'It has vexed me.'—'Your ho¬ nour never offends me,—all the offences are on my side.' ' Then why dost thou weep with sobbing voice V—' Before whom am I weeping V ' Why—is it not before me ?'—' What am I to thee ?'—' My cherished one.'—'I am not, and therefore do I weep.' c. Now this same one [—the 'adolescent'—] when 'not possessed of self-command'—as— " O wretch! That loved one, with hundreds of desires, stands alone in thy mind—though attractive only through her artificial blandish¬ ments ;—and there is no room for me,—therefore [expect not me to revisit thee]—enough of the farce of walking [to thy side, when not admitted to thy heart]." Text. No. 104. The ' mature' dame [when indignant], if she be ' possess¬ ed of self-command,' then, concealing the appearance of anger, takes no concern about fondnesses, whilst ostensibly showing all respect towards him. Commentary. a. ' Towards him'—i. e. towards her lover for example— " She balked his sitting down beside her by advancing to meet him ; and even a hasty embrace was prevented by the pretence of fetching the betel-nut [to present to him] while he was yet at some distance; and no conversation with him was entered into by her, keeping her people employed near her :—thus, indirectly, did the sharp-witted dame cause her anger against her lover to attain its object." The Mirror of Composition. 73 Text. No. 105. But she ['the mature' dame] who 'partly possesses and partly does not possess self-command,' will [when indignant] vex him with ironical speeches. Commentary. a. " Him"—i. e. the hero :—as [in the following verses] of mine— " Since, even when unadorned, O beauteous youth, thou dost for¬ cibly carry off my heart,—how much more now—adorned as thou art with the scratches of the nails of her [my rival] !" Text. No. 106. The other will scold and beat him. Commentary. a. "The other"—i. e. the ['mature' dame] 'not possessed of self- command'—as [the dame spoken of in the verses under § 72. «.-viz.], " Perceiving her countenance crimson with passion," &c. h. And in all these [descriptions of behaviour, from § 103 to § 106 inclusive] the expression ' [when moved] by anger' is supplied [from § 103]. Text. Subdivision of No. 107. These, moreover, are severally two- LrrSthaeCCr0andk fold) through their being in the shape of the lower they respectively or f-]ie higher in the affections of the hero, hold in the affec- D tions of the Hero. COMMENTARY. a. " These"—i. e. the six kinds of heroines mentioned close by [—see § 102—] :—as— " Seeing his two dearest ones seated together on one seat, having approached behind, having politely closed the eyes of the one, he made a pretence of engaging in play with her. [At the same time] gently turning his neck, quivering with pleasure, the wretch kisses the other one, the page of whose cheek shone with inward laughter while her heart bounded with delight." Text. , . No. 108. Hence [—see § 107—] twelve varieties The heroine L J J ' who is ano- of the ' adolescent' and ' mature' [heroines, together,] ther s divided. are gp0]cen 0f. but the 'youthful' [heroine—§ 99—] is of but one kind [—so far as we have yet gone] ; therefore let the divisions of ' one's own' [—see § 97—] be thirteen. The one ' be- L 74 The Mirror of Composition. longing to another' [—the second in the list of heroines in § 96—] is spoken of as of two kinds—(1) ' another's wife,' and (2) a ' maiden.' Commentary. a. Among these— Text. No. 109. [The heroine who is] ' another's wife' is one addicted to wandering, &c., who brings dishonour on her family, and whose mo¬ desty is lost. Commentary. a. As— " My husband, if I even breathe, calumniates me ; my fellow-wives are ever smelling my mind [or guessing at my thoughts] ; my mother- in-law is the very goddess of gestures, [and exercises her sagacity in misinterpreting every gesture of mine] ; my sisters-in-law lick the pur¬ poses of my two eyes, [finding, no doubt, a flavour of mischief in every glance]. Therefore, from a distance, [when I see any of my persecu¬ tors approaching—] this deprecatory joining of the hands [is made by me—by way of saying] £ "Well—what is the reason now for thy scowl P —O thou that canst appreciate sensible and pleasant conduct,—it is labour in vain here [my trying to please these people]." b. For in this [passage], that her affections find their object in a hero other [than her husband] is understood through the force of the meaning suggested (—see § 23—]—viz., "my husband, inasmuch as he gives me food and raiment, is my lord but not my love ; but thou, inasmuch as thou ' canst appreciate sensible and pleasant conduct,' art my beloved," &c. Text. No. 110. But the ' maiden' [§ 109] is one whose marriage has not taken place,—bashful, newly arrived at [the period of] youth. Commentary. a. And her being reckoned as ' belonging to heroine ^is ranged anotber,' is because of her being dependent on her with those that are father or some one else—as, for example, Malati, in [the play of] MMati and Mddhava*—and the like. * Translated in Wilson's " Specimens of the Theatre of the Hindus." The Mirror of Composition. 75 Text. Definition of the No. 111. Let the ' common' heroine [§ 96], be a heroine who is courtesan, possessed of self-command [see § 102—], skilled in arts [see § 68. a.—■]. She hates not the worthless, nor does she love the good. Only with an eye to gain will she exhibit fondness:—she will make her mother turn out of doors, even though he may be agreeably acceptable to her, the man whose money is expended,—with the wish that they may meet again [when he is better provided]. In general, the paramours of these women are thieves, persons diseased through excess, fools, and those who have come by money lightly,—pretended devotees who are libertines in secret, and the like. In some cases, however, when love obtains the mastery, she becomes honestly enamoured. Whether she be attached, or devoid of attachment, the possession of her is hard to obtain. Commentary. a. "Libertines in secret" are those who pursue their pleasures clandestinely. A " person diseased through excess" is one with the gout or a disease from debauchery and the like. b. Among these [4 common' women], the one 4 devoid of attach¬ ment' is such a one as Madanamanjari in the [play called the] Nata- ka-melaJea. c. [A 4 common' woman—honestly] 4 enamoured' is one such as Yasantasena in the Mrichchhakati/cd* [or the "Toy-cart"]. d. And again— Text. The sixteen kinds No. 112. These [heroines] that have been separa- of heroines now ob- ^ed into sixteen divisions [—viz. the sets of thirteen tained farther sub¬ divided according and two in § 108, and the one in § 111—] become diversity tn^their [severally] eight, [thus giving one hundred and 4 condition.' twenty-eight kinds], through their conditions—[for, each one may be] (1) ' one who has an obsequious lover ;' and, in like manner, (2) who is 4 ill-treated,' or (3) 4 who goes after [her lover],' or (4) ' who is separated by quarrel,' or (5) who is ' neglected,' or (6) 4 whose husband is abroad,' or (7) who is 4 prepared in her house,' or (8) who is 4 longing in absence' [of a lover not intentionally neglectful]. * Translated in Wilson's " Specimens of the Theatre of the Hindus." l 2 76 The Mirror of Composition. Commentary. a. Among these— Text. The heroine No- 113- Whose lover> attracted by her amiable sincerely loved, qualities, leaves not her side; who has surprising charms, and is fondly attached,—let sucli a one be the one ' who has an obse¬ quious lover.' Commentary. a. As [is exemplified in the verses under § 73. a.]—" My gar¬ ments, O friend," &c. Text. The heroine No. H4. Whose lover goes near her bearing the sinned against, marks of his having been toying with another,—this one, red with jealousy, is called, by the learned, the 'ill-treated' one. Commentary. a. As [is the lady in the verses under § 103. «.]—" Thou hast said truly," &c. Text. The heroine No. 115. She who, acknowledging the power of making advances. Love, sends to seek her lover, or goes herself to seek him,—this one is called, by the learned, the one ' who goes after [her lover].' Commentary. a. [These two cases are here exemplified] in their order—as— " ' Having gone to him, speak to him adroitly in such a manner that he may not discern my levity [in sending to lure him hack after having capriciously repelled him], and that he may act tenderly to¬ wards me —thus did a certain one instruct her female messenger "* © " ' I have laid aside this my pair of bracelets ; I have fastened my girdle tight; with much pains I have produced dumbness in my chattering anklets and, O my dear friend, just when I had begun to be eagerly impatient to set out on Love's errand, this wretch of a Moon throws aside the protecting mantle of the dark !' " * Mhgha—Canto, ix, v. 56. The Mirror of Composition. 77 Text. TT , . No. 116. If one of good family goes in search How heroines . ' . of different de- [of her lover], she goes crouching [—literally— scriptions go out melted or absorbed into her own limbs—making her¬ on assignations. ® self as small as possible—], with all her [tinkling] ornaments silenced, and veiled in her wrappers. But a courtesan, if she goes in search [of her lover], will have a dress of wondrous splen¬ dour, her anklets tinkling as they move, and a face all smiles of joy. A female servant, if she goes in search [of her lover], while she gets along with great strides, will have her speech stammering through delight and her eyes staring wide open in her flurry. Commentary. a. In the case of the first of these [we have an example in such verses as those under § 115. a.—viz.] " I have laid aside," &c. h. Among these the ' female servant that goes in search' [of her lover, is one such as the damsel described in the verses following—] viz. " Here the servant girl, repeatedly exhibits her betel-stained teeth ;— for the filly, laughing without a reason and with an affected tone of voice, flauntingly setting her staggering footsteps here, there, and every¬ where, with her hips dancing high, stays wriggling about in front of the young men." c. Examples of the others are to be inferred [by the reader for himself]. d. As being connected with this topic, the places of going on an assignation are next mentioned. Text. No. 117- A field, a garden, a ruined temple, the Localities adapt¬ ed for assigna- house of a female messenger, a grove, a caravansera, tl0ns- and a cemetery,—so too the bank of a river, &c.—thus there are eight places for the satisfaction of those who, following after men, set out on an assignation ;—and moreover there is a resource any- where in places screened by darkness. . But she who, in anger, having repulsed her soul's The heroine re- .'° penting her own lord even when wooing, afterwards experiences re. caprice. morse, is [the heroine called] the one ' separated by quarrel.' 78 The Mirror of Composition. Commentary. n. As [in these verses] of my father's, " I did not listen to his fond speeches, nor was the necklace [which he presented] near me regarded by my sight; the admonitions too of my female friend, to the effect that I should show kindness to my lover, were rejected. When he fell at my feet, alas, at that moment why was not he, when departing, retained by me—fool that I am— with my two arms, and clasped eagerly to my neck ?" Text. The heroine ^°' But she—most disrespectfully treated outraged by neg- —to whom her lover does not come, after having lcct • • • made an assignation, is to be known as 4 the neglected.' Commentary. a. As— " Arise, my messenger—let us go. A watch [of three hours] has gone, and he is not come. He has gone elsewhere :—long life to him —may he be the life's lord of her [to whom I resign him]." Text. The heroine No. 119. Let her, whose lord, by constraint of pining in absence, various affairs, has gone to a far country, afflicted by the pains of affection, be the one * whose husband is abroad.' Commentary. a. As— " You may recognise her, of measured discourse, my second life, in the absence of me her companion, like a solitary duck.* I can fancy the girl, grievously pining whilst these heavy days go by, altered in appearance like a lotus pinched by the cold."f Text. The heroine No. 120. But let her who is arranging herself— expectant. being all ready in her house, expecting the arrival of her lover—be the one 4 prepared in her house.' Commentary. a. As in [the following passage which occurs in] a drama of Righavananda—. * The chakravuka, or Brahmany duck, is supposed to lie under the necessity that the male and female shall pass the night on opposite banks of the river. f See the " Cloud-messenger"—Stanza 82. The Mirror of Composition. JQ " Remove my armlets ;—enough [—nay too much—] with these strings of jewels on my two wrists ;—what need of this necklace 1—it weighs on my neck like [the heavy and clinging branches of ] a creep- er ^ 0 do thou put upon me [nothing besides] one single new pearl- necklace. Unsuitable is a superfluity of [bodily] decorations when one is concerned with the festival of him [—viz. the god of love]—who has not [even] a body [—his body having been reduced to ashes by the fiery glance of S'iva when the god of love rashly shot him.*] Text. The heroine dis- N°* 12 L But she' whose lover> though he in- appointed through tended to come, through accident did not come,— misadventure. . „. J . . . , . „ „ , . . . she, attiicted with the grief of his not coming, is the one 'longing in absence' [of a lover not intentionally neglectful]. Commentary. a. As— '" What—has he been stopped by some [other] mistress?—or has be been vexed at my female friend [—who carried my message and may not have delivered it properly—] ?—or has there been some matter of moment, that my lover has not come to-day V Thus reflecting, the fawn-eyed one, leaning her lotus-face upon her hand, sighed deeply—and long she wept, and the garlands of flowers she flung away from her." Text. No. 122. Let the one hundred and twenty-eight The hundred and J ° twenty-eight kinds [kinds of heroines—see § 112—] inasmuch as they vfded^ntcT three" may firs^"rate» medium, or the lowest, hundred & eighty- description, be eighty and four added to three hund- four, , red. Commentary. a. And on this point [—viz. the subdivision of all heroines alike according to the eight 'conditions' specified under § 112], some one says—"Those two [kinds of] women who 'belong to others' [—see § 108—], viz. the maiden and the married woman [whose affections are set elsewhere than on her husband], are not subdivisible according to all those ' conditions'—but only according to some of them :—for example], before an assignation [has been made with them by any lover], they may [no doubt] be ' longing in absence' [—see § 121]. Then * See the Knmara-samlhava, 3d Canto, stanza 72. 80 The Mirror of Composition. again after [an assignation has been fixed], setting forth, along with the buffoon [§ 79] or some one else, they may become ' goers after' [see § 115—] ; and if, for some reason, the hero have not come to the appointed place, they may be ' neglected' [—see § 118] ;—such alone [out of the eight] are the three ' conditions' applicable to these two, because the other conditions [—such, for instance, as the being separated by quarrel —§ 117—] are incompatible with these two whilst they have no lover devoted to them." Text. , No. 123. In some examples a mutual commingling Heroines of r o o composite cha- of [the various characters of] these [various kinds of racter. heroines—see § 122—] is seen. Commentary. a. As— "'Not we, indeed, are worthy of the gift of this [branch with its new shoots that you offer us, to be worn as an ornament behind in our ear]. Go, give this branch [—etymologically the cherislier of its ' shoots'—vita—] to her who in secret drinks [the lips of] and cherishes thee [—vita—or 'rogue'—as thou art.—] Let the two [—alike entitled to the name of vitapa—] he joined, since the junction of like things has been long [the rule]. Wretch ! what should we do with thy needlessly deposited earfuls of the shoots and flowers of plants 1 Have not both my ears been long filled full with your honour's unkind words—well-known to everybody V—Thus speaking, the other dame struck her lover simultaneously with the dark lotus and with her eye—the lovely eyelashes of the one expanding wide like the filaments of the other [—and vice versa—], and each being con¬ fined by her ear* [—the ear being the boundary of her beautifully long eye—and the lotus with which she strikes him having been previously worn behind her ear as an ornament]." b. For this one [—the heroiue of the foregoing verses—], (1) by her sarcasms, (2) by her harsh language, and (3) by her striking him with the flower [which had served as the ornament] of her ear, is com¬ pounded of the character of (1) the 'adolescent heroine who possesses self-command' [see § 103], of the 'adolescent who does not possess self-command' [see § 103], and (3) of the 'mature heroine who does * Mdyha, Canto 7th, verses 53, 54, and 5G. The Mirror of Composition. 81 not possess self-command' [see § 106]. In like manner in other cases the reader can judge for himself [out of what elements the character of any given heroine is compounded]. Text. The further ^°' ^^ere are others also, [besides the three subdivision of hundred and eighty-four mentioned in § 122, with the ^~dlSr variet^es suggested in § 123], beyond number ; but these are not specified for fear of prolixity. Commentary. a. "These"—i. e. heroines. b. Now the graces of these [heroines are to be described]. Text. The twenty ^°* In youth these [heroines] have [—divid- eight graces of ed amongst them—] twenty eight ornaments [or graces] the heroine. .. r •,»r arising from the quality ot ' purity [—sattwa—the source—see Tattwa-samdsa, p. 25—of all that is best and brightest in the phenomenal world]. Among these [twenty-eight], three, viz. (1) ' the slight personal indication of natural emotion' (bhdoa), (2) 'its stronger expression' ('hdva), and (3) ' the decided manifestation of feeling' (held), are produced by bodily movement ;—(4) 'brilliancy' (s'obhd), and (5) 'loveliness' (kanti), and (6) 'radiancy' (dipti), and (7) ' sweetness' (mddhurya), (8) ' boldness' (pragalbhatd), (9) 'meekness' (auddrya), (10) 'steadiness in attachment' (dhairya), —let these be the seven [from 3 to 10] that arise [naturally] with¬ out effort;—'eighteen in number are the following—viz. (11) 'mi¬ micry of a lover's manner, &c.' (lild), (12) 'flutter of delight' (vildsa), (13) 'simplicity in dress' (vichhitti), (14) 'affectation of indifference' (vivvoka), (15) 'hysterical delight,' (kilakinchita), (16) 'the mute involuntary expression of affection' (mottayita), (17) 'the affected repulse of a lover's endearments' (kuttamita), (18) 'fluster' (vibh- rama), (19) 'voluptuous gracefulness' (lalita), (20) 'arrogance' (mada), (21) / the suppression of the sentiments of the heart through baslifulness' (vikrita), (22) ' pining' (tapana), (23) ' simplicity verging on silliness' (maugdhya), and (24) ' distractedness' (vikshepa), (25) ' impetuous curiosity' (kutuhala), (26) ' giggling' {hasita) (27) 'tre¬ pidation' (chakita), and (28) ' sportiveness' (keli). 82 The Mirror of Composition. And the [first] ten, beginning with ' the slight personal indication of natural emotion' (bhdva), belong to those of the male sex also. Commentary. Some of these The first ten, beginning with ' the slight per- graces may belong sonai indication of emotion' (bhdva), and ending with to the male sex, _ x 0 but have not the ' steadiness in attachment' (dhairya), may belong also have6Sin' ' the^fe - ^eroes> but all these produce a special admiration male, only when lodged in heroines,—[for—what reader cares about the hero's first tremours, &c, compared with those of the heroine ?] b. Of these [twenty-eight] the ' slight personal indication of natur¬ al emotion' {bhdva) [is defined as follows]. Text. No. 126. Bhdva is the first alteration in a mind previously un¬ altered. Commentary. The grace call- a- Tlmt is to say—bhdva [§ 125] means a change, ed bhdva—what. barely awaking, in a mind [previously tranquil and] unaltered from the time of birth forward,—as [is noted in the heroine of the following lines]. "' Again there is the same springtime, and the same [aromatic] breeze from Malaya, and this is the very same maiden,—yet her mind is, as it were, altered.' " b. Now of hdva, [§ 125]— Text. The grace call- No. 127. But bhdva [§ 126], where the altera- ed hdva what. fion slightly modified,—so as to show, by altera¬ tions of the eyebrows or eyes, &c., the desire for mutual enjoyment,— is called hdva. Commentary. a. As [is exemplified in the following description of Parvati, from the Kumdtra Sambhava, canto, iii. v. 68]. " With limbs like the young flowers of the Nauclea Kadamba [in which each filament stands on end], the daughter of the mountain be¬ traying the ' change' [in her heart now warmed with love for S'iva], stood, with her lovely face turned aside, while her eyes glanced hither and thither." The Mirror of Composition. 83 h. Now of held [§ 125] :— Text. The grace called No. 128. And let held mean the same when the hela what. change is perceived to be very great. Commentary. a. "The same"—i. e. bhdoa [—see § 126]. For example:— " Such is the behaviour of the woman, agitated in every limb, that the mind of her female friends is in doubt whether she be any longer one of the ' artless' [heroines mentioned in § 99, and not promoted into the next class mentioned under § 100]." Brilliancy. b. Now of ' brilliancy' (s'obha—§125). Text. No. 129. What is called ' Brilliancy' is that grace of limb which is derived from beauty, youth, high spirits, and high feeding. / Commentary. a. Of these [varieties] we may have the brilliancy due to youth— as [in the following from the Kumdra Sambhava, canto I. v. 31]. " She now entei'ed upon the age beyond that of childhood, [that period of adolescence] which is an ornament, of the straight person, not supplied [ab extra, as dresses and jewels require to be], a cause of intoxication yet not having the name of wine, a weapon of Cupid other than the [five] flowers [which serve as his arrows]." b. And so too in the case of the others [—derived from high spirits, &c.]. Now of ' Loveliness' (kdnti—§ 125). Text. Loveliness. No. 130. This same 'Brilliancy,' when increased by love [which adds greatly to the attractions of the woman loving], becomes ' Loveliness.' Commentary. a. That is to say—'brilliancy' [§ 129] when much increased by the arising of love, takes the name of ' loveliness :'—as [is exemplified in the verses under No. 100—beginning] " Her two eyes shaming the collyrium," &c. b. Now of ' Radiancy' (dipti—§ 125). Text. Radiancy. No. 131. Loveliness, when expanded exceedingly, is called ' Badiancy.' m 2 81 The Mirror of Composition. Commentary. a. As [is exhibited in] the description of Chandrakala, in my play of the same name :—e. g. " She is the ecstasy of youthfulness—the laugh of the abundance of excessive beauty,—the ornament of the face of the earth,—the subju¬ gation of the minds of the young men."* b. Now of ' Sweetness' (m&dhurya—§ 125). Text. Sweetness. No. 132. 'Sweetness' is pleasingness in all kinds of states [—whether sick, naked, in exile, &c. &c.]. Commentary. a. For example [—take the following passage from the drama of S'akuntala] :— " The lotus is beautiful even when clogged with confervse,—even the dark spots of the [gentle] Moon are fair. This slender maid, though clad in bark, is most charming,—for of gentle forms, pray, what is not the ornament ?" b. Now of'Boldness' (pragalbhata—§ 125). Text. Boldness. No. 133. 'Boldness' is the being devoid of fear. Commentary. a. For example :— " These women make their lover their slave, by hugging when hug¬ ged, by kisses in return when kissed, and by bites when bitten." b. Now of'Meekness' (auddrya—§ 125). Text. Meekness. No. 134. ' Meekness' is mildness at all times. Commentary. a. "She utters no harsh word [—though so unkindly treated—], she makes no frown, she throws not aside [in testy rage] the orna¬ ments of her head :—[but] towards the face of her female friend, con¬ templating her from without through the lattice, she only turns her two eyes suffused with tears." b. Now of ' Constancy' (dhairya—§ 125). * The preference of abstract to concrete terms, in this as in other comparatively recent specimens of composition, is noticeable. The Mirror of Composition. 85 Text. Constancy. No. 135. By 'constancy' is here meant the state of mind called steadfastness, whilst the heroine declares her own re¬ spectability. a. For example [take Malati, Act ii., preferring death to marriage with any other than her beloved]. " Let the full moon [agonizing to separated lovers] blaze in the sky ; let Love scorch me,—what can he do beyond death ? My father is be¬ loved and honoured, my mother of unblemished descent, and so too my family ;—but I am nothing,—I no longer exist,— [nor will I consent to exist if, honourably descended as I am, I am forced to wed with other than the man I love]. Now of ' Fun' (Hid—§ 125). Text. F«n. No. 136. The mimicking of a lover in respect of the manners, dress, ornaments, and loving speeches, which his fondness had moved him to employ, they call ' Fun.' Commentary. a. For example [we find Parvati reminded of her making fun of S'iva in the following invocation]. " May Parvati protect the world,—playfully mimicking S'iva,—hav¬ ing as a snake-bracelet the creeping root of a lotus [instead of the cobra da capello], and having made the cluster of her locks into a wild top-knot [such as is cultivated by S'iva and other ascetics]." b. Next of the ' Flutter of delight' (vilcisa—§ 125). Text. Flutter of de- No. 137. But let that peculiarity in movement, in the way of standing, or sitting, or in the action of the mouth or eyes, &c., which is caused by the sight, for instance, of the desired one, be called the ' Flutter of delight.' Commentary. a. As an example [take Madhava's account of Malati's manner on recognizing him,—Act I. sc. 2.]. " Meanwhile there was manifested a certain triumphant specimen of Love's teaching, the wondrousness of which transcends the power of speech, raising an agitation in the long-eyed maid, and scattering to 86 The Mirror of Composition. the winds my self-command,—so richly was this [specimen of Love's teaching] diversified with all that is exquisite." b. Next of ' Simplicity in dress' (vichchhitti—§ 125). Text. Simplicity in No. 138. ' Simplicity in dress,' which adds to love- dress. liness,* consists in the employment of little ornament. Commentary. a. As an illustration [see the instructions in the following lines of Magha, canto viii. v. 70.] " The body cleansed by ablution with pure water, the lip adorned by the lustre of the chewed betel, a thin white robe,—let thus much constitute the decoration of fluttering dames,—provided he be not fancy-free, [—in which case a more elaborate toilet may have to be put in requisition to produce an impression]." b. Next of the ' Affectation of indifference' (vivvoka—§ 125). Text. Affectation of No. 139. But 'Affectation of indifference' is [the indifference. showing of] disrespect even towards a desired object, through exceeding haughtiness. Commentary. a. For example :— " Who make great allegations of fault even when one is following what is right,—who would rather yield their lives than look their lover full in the face,—whose conduct even in regard to what they exceed¬ ingly desire is repellant,—may those women—the wonders of creation to the three worlds—be auspicious to thee !" b. Next of ' Hysterical delight' (kilahinchita—§ 125). Text. Hysterical de- No. 140. The commingling of smiles, and of fight. weeping with unwet eyes, laughter, alarm, anger, &c., from the delight produced, for instance, by meeting with the best beloved, is what we call ' Hysterical delight.' Commentary. a. As an example [take the following from the poem of Magha, canto X. v. 69]. * The ' simplex munditiis' of classical quoters. The Mirror of Composition. 87 " Even in her joy, the taper-limbed girl repulsed her lover's hand— not wishing to repulse it,—chid him amid the sweetest smiles, and wept ravishingly without a tear." b. Next of the ' Mute involuntary expression of affection' (mottd- yita). Text. ,T . , No. 141. Her mind being attuned to his,—when Mute involun- ° tary expression of her lover is, for instance, talking,—her scratching her ear, or the like, they call a * Mute involuntary expression of affection.' a. As an example [take the gestures of the woman from which the speaker of the following lines infers her love for his friend]. "O fortunate man! when thou beginnest to speak, that woman has an inclination to scratch her ear, a yawn comes to her lotus mouth, and she stretches all her limbs." b. Next of the ' Affected repulse of a lover's endearments' (kutta- mita—§ 125). Text. Affected repulse ^°" When ^ie ta^es her hair, her bosom, of a lover's en- or her lip, &c.,—the prohibition " Don't"—whether conveyed by the head or the hand,—through agita¬ tion, even when she is delighted, is what they call the • Affected re¬ pulse of a lover's endearments.' Commentary. a. For example [the prohibition may be expressed by the hand as in the followiug instance]. " "When her lover bit her cherry-lip, that fac-simile of the likeness of a bud, an expression of pain was as it were uttered by the girl's hand on which the bracelet shrilly rattled." b. Next of ' Fluster' (vibhrama—§ 125). Text. Fluster. No. 143. The application of ornaments, &c. to the wrong places, through hurry arising from delight or eagerness, on such occasions as the arrival of the beloved one, is what we mean by « Fluster.' Commentary. a. [For example]:— 88 The Mirror of Composition. " II a vino- heard her beloved approaching outside, she—not having yet completed her toilet—applied to her forehead the black antimony [intended for her eyes], to her eyes the vermilion [intended for her lips], and to her cheek the patch [which should have decorated the centre of the forehead]." h. Next of ' Voluptuous gracefulness, (lalita—§ 125). Text. Voluptuous No. 144. Let the disposition of the limbs with gracefulness. elegant delicacy be called ' Voluptuous gracefulness.' Commentary. a. As [is exemplified in the demeanour of the heroine of the fol¬ lowing verses from the poem of Magha, canto vii. v. 18.]. " She walked with a step languid through love, with her anklets sounding more heavily [than when in brisker movement], with her lotus-like left foot gracefully dancing, while planting the other one not so coquettishly." h. Next of ' Arrogance' (mada—§ 125). Text. Arrogance. No. 145. 'Arrogance' is a change produced by the pride of prosperity, youth, &c. Commentary. a. For example [we have Arrogance* rebuked in the following verses]. " Exalt not thy conceit, though on thy cheek there shines, drawn by thy lover's hand, a flower-bud [designed as an ornament]. Is no one else, thinkest thou, the recipient of such decorations?—were it not that the trembling [of the lover's hand] is an obstacle, [—while thy lover is so cool and collected that his hand never trembles even when sketching a flower-bud on thy cheek] !" h. Next of ' Bashfulness' (vikrita—§ 125). * Arrogance may seem an odd ornament of the heroine, yet it is a topic which can supply the poet with the means of embellishing a picture. The same remark applies to some others ot the so-called ' ornaments.' Besides, unreasoning hoydens are to be regarded with a degree of indulgence, and Bacon has remarked that Pride, which is laughable in a man, is graceful in a horse. The Mirror of Composition. 89 Text. Bashfulness. No. 146. Through modesty, not to speak even when one ought to speak, is what we mean by ' Bashfulness.' Commentary. a. For example :— "Being asked after her health, by me who had come from afar, she answered nothing; but her two eyes bathed in tears told all [that she had suffered in my absence and now felt at my return]." b. Next of' Pining' (tapana—§ 125). Text. Pining. No. 147. ' Pining' is the conduct arising from the access of love in separation from the beloved one. Commentary. a. For example [take these verses] of mine. " She pours forth sighs, and rolls upon the ground ; she looks out upon your road, and long she weeps ; she flings hither and thither her weak tendrils of arms ;—moreover, O dear to her as life!—even in her dreams she longs to be re-united with you :—she wearies for sleep, but her hapless fate bestows it not." b. Next of ' Silliness' (maugdhya—§ 125). Text. Silliness. No. 148. The asking, as if from ignorance, even of what she perfectly well knows, in the presence of her lover,—this is called ' Silliness' by those who know things rightly. Commentary. a. For example,—[in the following verses, the heroine, knowing very well that pearls are obtained from the sea, asks, with touching simplicity]— " My lord, what trees are they, and in what village, and by whom planted, of which the seed-pearls of my bracelet are the fruit ?" b. Next of * Distractedness' (vihshepa—§ 125). Text. Distractedness. No. 149. The half arranging one's ornaments, the wildly gazing in every direction, and a partial blabbing of secrets, con¬ stitute • Distractedness,' [arising from some cause or other] when near a husband or a lover. N 90 The Mirror of Composition. Commentary. a. For example :— " Her hair is but half arranged, and in like manner she but partly forms the ornamental mark on her forehead ;—something of a secret she gives utterance to, and startledly the slender dame gazes in every direction." b. Next of ' Impetuous curiosity' (kutuhala—§ 125). Text. No. 150. Let the lively desire to behold a pleasant Impetuous curiosity. object be called ' Impetuous curiosity.' Commentary. a. For example, [impetuous curiosity appears in the lively desire of the ladies to get a sight of the king entering the city with his bride, —as described in canto VII. of the Raghuvansa, the 7th verse of which here follows]. " One lady, withdrawing the foremost foot, which was supported by the female decorator [employed intingeing it with lac-dye], dripping as it was with the pigment, neglecting all gracefulness of gait, traced a path stained by the lac-dye up to the window [which she hurried to look out at]." b. Next of ' Giggling' (hasita—§ 125). Text. Giggling. No. 151. But 'Giggling' is aimless laughter result¬ ing from the outbursting of youth. Commentary. a. For example :— " Since the slender-limbed one has again laughed without a reason, surely he of the flower-tipped arrows is establishing his rule within her." b. Next of ' Trepidation' (chakita—§ 125). Text. Trepidation. No. 152. 'Trepidation,' is agitation from fear, be¬ fore a lover, from whatever cause. Commentary. a. As an example, [take a verse, canto VIII. v. 24., from the passage in the poem of Magha descriptive of the sports of the bathers]. The Mirror of Composition. 91 " Trembling, when struck on the thigh by the passing fish, the fair- limbed one fell into excess of agitation. The ladies are nervous—O ex¬ ceedingly even without a cause, in sports ;—how much more, then, when there is a cause [—such as this bumping of a fish against one] !" b. Next of' Sportiveness' (keli—§ 125), Text. Sportiveness. No. 153. Playing when walking about with one's lover is called ' Sportiveness.' Commentary. a. For example :— " Her lover, unsuccessful in removing from her eye, with his breath, the pollen of the flower [which had got into it], the bold and high- plump-breasted damsel pushed away with a knock of her bosom upon his." b. Now, as regards the amatory demeanour of the artless and the unmarried [of the fair sex, we have to remark as follows]. text. The demeanour ^o. 154. "When looked at, she exhibits bashful- of an enamoured ness, and never returns the look to his face : she looks artless £*irl. at her beloved either furtively or when he is walking about, or after he has passed. Even after having been many times asked, she usually answers her lover something in a stammering tone, slowly, and with face down-looking. She ever attentively hearkens to his words when elicited by others,—turning her eyes elsewhere ;—thus acts a girl when enamoured of her lord. Commentary. a. Now, as regards the amatory demeanour of all heroines [we have to remark as follows]. Text. No. 155. She wishes her beloved to remain long The demeanour of enamoured he- near her ; she goes not within the range of his vision roines in general. unadorned. On one occasion, under the pretence of covering or fastening her hair, she will display plainly her armpit, her breasts, or her lotus navel. She gratifies the attendants of her beloved by words and other things;—she places confidence in his friends and treats them with great respect. In the midst of her female friends she recites his praises ; she bestows upon him all her wealth ; she sleeps n 2 92 The Mirror of Composition. when he sleeps, grieves in his grief and rejoices in his joy. Standing in the line of his sight, from a distance she ever gazes on her beloved. She speaks to his attendants in his presence. On beholding any symp¬ tom of fondness in him, she laughs with delight. In like manner, she scratches her ear, loosens and ties up her hair, yawns, and stretches her limbs, or catches up a child and kisses it. She begins making the sectarial mark on the forehead of her female friend ;—she writes on the ground with the point of her toe, and looks up with a sidelong glance. She bites her lip, and looks on the ground when she speaks to her be¬ loved, and quits not the spot where her lover is to be seen. She goes to his house on any sort of pretence of business. Anything given to her by her lover, having placed on her person, she long gazes at. She ever rejoices in his society, and in his absence she is miserable, and thin. Greatly does she admire his disposition, and she loves whatever is dear to him. She asks from him [as keepsakes] things of little value ; and when sleeping she turns not her back on him. In his presence [—out of decorum and respect to him—] she never gives way to the blameless moods [of trembling, stammering, &c., mentioned under § 125]. Kindly and blandly does the fond dame converse with him. Among these [points of demeanour here enumerated] the more bashful gestures belong to the young wife, those of which the modesty is of a medium description to the middle class of heroines [—see § 98—], and those where modesty has waned to heroines who are the wives of others, and dames maturely bold, and courtezans. Commentary. a. As a mere hint of what is meant, take my [verses here follow¬ ing]. " When looked at by me, this one, forsooth, but glances at me ap¬ proached,—and she displays her armpit adorned by fresh nail-scratches." b. And so [of the other points of demeanour which it would be superfluous to exemplify]. Text. No. 156. By sending of letters, by soft looks and gentle words, and by sending female messengers, it is agreed [by the learned] that a woman may re¬ veal her sentiments. Means available to a lady for re¬ vealing her affec¬ tion. The Mirror of Composition. 93 Commentary. a. Next, then, of female messengers. Text. What females ^°* female messengers may be a friend, an may serve as mes- actress, a slave-girl, a foster-sister, a neighbour, a wandering ascetic, a workwoman, a female artist, &c. ; and likewise one's self. Commentary. a. By a ' workwoman' is meant a washer-woman or the like. By a ' female artist' is meant a woman who makes pictures, or the like. By the ' &c.' are meant female purveyors of betel-nut, perfumers, and the like. Among these, the ' friend,' [acting as a messenger, may be recognised in the narrator of the heroine's sad case in the verses, quot¬ ed under § 147, beginning] as follows :— " She utters, sighs," &c. b. One acting as messenger for one's self may be recognised in the following lines of mine. " O traveller,—thou seemest thirsty ;—why, then, goest thou else¬ where ? Canst thou not refresh thyself with a little water [even here where thou art so heartily welcome] ?" c. And these [§ 157] serve the hero also as messengers to the heroine. d. The author next mentions the qualifications of a female mes¬ senger. Text. No. 158. Her qualifications are skill in the The qualifies- ^ tions of a female [lighter] arts, perseverance, fidelity, penetration, a messenger. good memory, sweetness, readiness to understand a joke, and fluency of speech. These women too [—as well as the he¬ roines mentioned under § 75—] are, in their own line, either of the first class, of the lowest, or of the intermediate order [of merit]. Commentary. a. ' These,'—that is to say these female messengers. b. Now, as for the ' rival' [mentioned under § 63 as one of the 1 substantial ingredients' in poetry] :— Text. No. 159. The 1 rival' [or opponent of the hero] is a presumptuous, dissipated, sinful person. 94 The Mirror of Composition. Commentary. As is Ravana in respect of Rama. a. Now, [having fully explained the ' substantial' division of the Excitants of poetic Flavour, we have to remark upon the second divi¬ sion of the two mentioned under § 62—viz.] the Excitants which en¬ hance [the Flavour which is more essentially dependent on the others]. Text. No. 160. The ' Enhancing Excitants' (uddipana-vibMva) are those which enhance the Flavour. Commentary. a. And these [' enhancing excitants' are as follows] :— Text. The Excitants No. 161. The gestures, &c. of any principal clia- specified which racter [ § 63], and in like manner places and times, cniidQcc the i id* vour. &C. Commentary. a. By the * &c.' after ' gestures,' are meant beauty, decorations, and the like. By the ' &c.' after ' times,' are meant, the moon, sandal-wood ointment, the voice of the Cuculus Indicus, the hum of bees, and the like. Of these the moon [as enhancing the sentiment of the scene, may be exemplified] as in these lines of mine. " Resting his rays [—as if they were a hand—which the word kara also means in Sanskrit—] on the swelling bosom of the eastern hill from which the mantle of the co¬ vering of darkness had fallen off, the moon kisses the face of the eastern horizon which opened its eyes—viz. the lotuses [that expand when the moon rises]. b. Of what Flavour each of these [§ 160] is the appropriately en¬ hancing excitant, will be mentioned when describing each [Flavour :— see § 209, &c.] c. Now, [having given an account of the Excitants mentioned at § 32, we have next to speak of] the ' Ensuants' [which also give rise to Flavour]. Text. An Ensuant No. 162. That which, displaying an external con. defiued- dition occasioned by its appropriate causes, in ordi¬ nary life ranks as an effect, is [reckoned], in Poetry and the Drama, an Ensuant (anubhdva). The Mirror of Composition. 95 Commentary. a. That [gesture or the like] which, manifesting externally the love, &c. excited in the mind of Rama, or the like, by the appropriate causes,—by Sita, for example, as the principal cause, and the moon¬ light, for instance, as an enhancer of the sentiment,—is called, in or¬ dinary life, an effect [of love, or the like,]—this, in poetry and the drama, is, on the other hand, called an Ensuant [—because here it is of no importance what things are causes and effects as regards each other objectively,—the only consideration of importance being,—what things, whether causes or effects among themselves, serve as causes in respect of Flavour. See § 44. e. and 45.] b. What, then, is this [' Ensuant'—which you thus define] ? To this he replies as follows :— Text. TheEnsuants No. 163. They consist of those feminine graces enumerated. [comprised in the enumeration under § 125] which result from bodily movement, and those graces which result without bodily effort, and the involuntary [indications of strong feeling—§ 32. b.~], as well as other gestures [than the involuntary],—so far as these are in the shape thereof [—i. e. in the shape of effects which serve in poetry as causes, and are therefore termed ensuants to distinguish them from effects simply]. Commentary. a. ' In the shape thereof,'—i. e. in the shape of Ensuants. And in regard to these,—what Ensuant is conducive to each sentiment shall be stated when describing these [sentiments :—see § 209, &c.]. b. Among these [Ensuants] the involuntary (sdttwika) [indications of strong feeling] are defined as follows. Text. Involuntary evi- No. 164. Those changes [in a human being] dences of feeling. are called involuntary [—or honest and spontane¬ ous—] which arise from sincerity (sattwa). Commentary. a. Sincerity [—as we may here render the term which, in Indian philosophy, stands for the cause of all that is best and brightest in the phenomenal world—] is a certain inward disposition which [spontane- 96 The Mirror of Composition. ously] reveals the repose of one's soul [where it does not interfere to modify the indication]. Text. No. 165. These [involuntary evidences of feeling] differ from the Ensuants in general [§ 163] only in their taking their rise in honest sincerity. Commentary. a. As a stout bull [differs] from an ordinary specimen of the cow- kind,—such is the remainder [which requires to be supplied in order to complete the sense of the text]. b. Now, which are these ? To this he replies. Text. These specified. No. 166. Stupefaction (stambha), perspiration (sweda), and horripilation (romdncha), disturbance of speech (swara- bhanga), trembling (vepathu), change of colour (vaivarnya), tears (asru), and fainting (pralaya),—these eight are what are called the involuntary [evidences of strong emotion]. Commentary. a. Among these— Text. And explained. No. 167. By Stupefaction is meant a prevention of motion, by fear, or joy, or pain, &c. Perspiration is an exudation from the body, caused by love, or warmth, or heat, &c. Horripilation is a change in regard to the hair of the body, caused by joy, or sur¬ prise, or fear, &c. What they call disturbance of speech, is stammer¬ ing, occasioned by intoxication, or joy, or pain, &c. Trembling, means a shaking of the body, arising from desire, aversion, fatigue, &c. Change of colour is an alteration in the colour caused by sorrow, or intoxication, or anger, &c. Tears are water flowing from the eye, ori¬ ginating in anger, or in grief, or in great joy. Fainting is the cessa¬ tion, through joy or grief, of motion and also [—which distinguishes it from mere stupefaction—] of consciousness. Commentary. a. [These—or some of these—may be exemplified] as in the fol¬ lowing verses of mine. " At the touch of her person—Ah—my eyes half close ;—my whole body becomes petrified, while every hair stands on end; my cheeks The Mirror of Composition. 97 are wet with perspiration; my mind, altogether withdrawn from all other objects, attains to great joy—even to absolute deity." b. So of the others [—enumerated in § 166]. c. Now of the ' Accessories' [§ 32]. Text. . . No. 168. The 'Accessories'—(vyabhich&ri) are The Accessories v * ' in the production those that more especially [—which is the force of the it—] co-operatingly [—which is here the force of the abhi—] go along with,—whether immersed in or distinguish¬ able from,—the permanent agency ; and thirty-three are kinds thereof. Commentary. a. For, in regard to Love, or the like, while it remains the main sentiment, Self-disparagement (nirvveda), and other such things, are called ' Accessories,' inasmuch as they tend in the same direction, whether obviously or covertly. b. Well—which are these ? To this he replies. Text. The Accessories No. 169. Self-disparagement, Flurry, Depres- specified. sjon> Weariness, Intoxication, Stupefaction, Stern¬ ness, Distraction, Awaking, Dreaming, Dementedness, Arrogance, Death, Indolence, Impatience of opposition, Drowsiness, Dissembling, Longing, Derangement, Apprehension, Recollection, Resolve, Sickness, Alarm, Shame, Joy, Intolerance of another's superiority, Despondency, Equanimity, Unsteadiness, Debility, Painful Reflection, and Debate. Commentary. a. Among these, 'Self-disparagement' (nirvveda—§ 169). Text. No. 170. Self-disparagement consists in a dis-esteeming of one¬ self in consequence of coming to understand the truth [—in regard to something previously mistaken], or in consequence of calamity, or of bitter jealousy,—this leading to depression [§ 1/2], painful reflection [§ 201], tears, sighs of expiration, changes of colour, and sighs of in¬ spiration. Commentary. a. Among these [varieties of self-disparagement] the self-disparage¬ ment resulting from discovering the truth [may be illustrated] as follows :— 98 The Mirror of Composition. " Fie upon me! This is a conch-shell with convolutions from left to right [—and therefore worth a mint of money, as ensuring prosperity to the house in which it remains,—] which I have pounded down [—think¬ ing it a mere ordinary shell with the convolutions the other way—] wishing to mend a chink that was left in an earthen jar by a grain of sand [which probably dropped out in the burning] Text. Flurry. No. 171. ' Flurry' {uvega—§169—) means disturb¬ ance. When it is occasioned by rain, it is [shown in the shape of ] distress in the limbs ; when occasioned by some portentous phenomenon, [it shows itself] as petrifaction of the limbs ; when occasioned by fire, as perplexity about smoke, &c. ; when occasioned by the invasion, &c. of a [hostile] king, [flurry is manifested in] the getting ready one's weapons and elephants, &c. ; when occasioned by [wild or excited] elephants or the like, [it is shown in] paralysis, trembling, &c. ; when occasioned by the wind, [it appears as] perplexity about dust, &c. ; when occasioned by something desirable, [it appears as] rejoicings ; and when occasioned by something undesirable, as grievings ;—and so its other modifications are to he understood according to circumstances. Commentary. a. Among these, [there may be Flurry] occasioned by an enemy ; —as for example [in the Raghuvansa, canto 11, v. 69]. " He, not regarding the king, who was calling out ' Hail! hail!' kept fixed in the direction of Bharata's elder brother his glance which flashed flames of wrath against the Ksliattras, whilst the eye-balls fiercely projected." h. Examples of the others may be inferred according to this [sam¬ ple of illustration, which may therefore suffice]. c. Next of' Depression' (dainya—§ 169). Text. Depression. No. 172. Depression, arising from misfortune, &c., is a lacklustreness which shows itself in squalor, &c. Commentary. a. For example :— " The husband, old and blind, reclines on the bedstead ; of the house only the posts remain; the rainy season is at hand, and there is The Mirror of Composition. 99 no good news of the son. The jar containing the carefully collected oil-drops is broken ;—so, looking sorrowfully at her daughter-in-law weak through pregnancy, the mother-in-law takes a good long cry." h. Next of 'weariness' (s'rama—§ 169). Text. Weariness. No. 173. Weariness, arising from fatigue, indul¬ gence, travel, &c., occasions sighing, drowsiness, &c. Commentary. a. For example:— "Tender as the Acacia Sirlsa, straightway, when yet close to the city, having gone hastily but three or four steps, Sita caused the first tears to fall from the eyes of Rama [—unmoved by any thought of his own hard fate—] by exclaiming, " Oh—how far is it that we have to go?" b. Next of' Intoxication' {mada—§ 169). Text. . . No. 174. ' Intoxication'is a combination of confu- Intoxication, and its effects on sion and delight occasioned by the employment of ters^r6nt charac" wine. By this, the best kind of man is put to sleep ; while your middling description of man laughs and sings, and he that is of the baser sort talks rudely and blubbers. Commentary. a. For example [—take a verse from Magha, canto 10, v. 12]. " The laugh was a-foot, entertaining through the manufacturing of stammered speeches, ludicrously revealing profound secrets, on the part of dames brilliantly elevated by triple draughts of wine." b. Next of ' Stupefaction' (jadatd—§ 169). Text. Stupefaction. No. 175. Let 'Stupefaction' signify incapacity for action, occasioned, for example, by seeing, or hearing, anything [ex¬ tremely] agreeable or disagreeable. In this case there is a gazing with unwinking eyes, silence, &c. Commentary. a. For example, in the following Prakrit poetry from my ' Adven¬ tures of Kuvalayds'wa.' "Then the pair stood for a moment face to face, with their eyes, 0 2 100 The Mirror of Composition. dull with weeping, mutually fixed on one another, as if they had been under the influence of hydrophobia." b. Next of ' Sternness' (ugrata—§ 169). Text. Sternness. No. 176. Let ' Sternness' he the harshness which arises from [rude] valour, or from [another's] offences, &c. In this case we have perspiration, shaking of the head, reviling, beating, &c. Commentary. а. For example [—see the sternness of M&dhava,—Act V.,—ad¬ dressing the priest who was going to immolate Malati]. " On the head of thee who hast raised the sword, for destruction, against that body which shrinks even from the playful blows of a sirisha-Jlower, where the sentiment associated with the blows is no other than the sportive humour of an affectionate female friend, may this my arm fall like the smooth mace of Tama [the god of death, in whose mace there is no knot, as in a bamboo, at which there is any chance of its breaking], б. Next of ' Distraction' (moha—§ 169). Text. Distraction. No. 177. By ' Distraction' is meant perplexity, aris¬ ing from fear, or grief, or impetuosity, or painful recollection,—caus¬ ing giddiness, falls, staggerings, failure of sight, &c. Commentary. a. For example—[see the Kumara-sambhava, canto 3, v. 73], " The goddess of love was for a moment as it were benefited by the distraction arising from this sharp affliction, which paralysed the action of her faculties,—she being thus [for the moment] unconscious of her husband's fate." b. Next of'Awaking' (vibodha—§ 169). Text. Awaking. No. 178. ' Awaking' means the return of conscious¬ ness, occasioned by such causes as the departure of sleep, and occasion¬ ing yawns, stretching of the limbs, rubbing of the eyes, and the re¬ viewing of one's limbs [—a process the more strictly consequential if the person awaking be a Yedanti who believes that his limbs cease to exist when he ceases to think of them]. The Mirror of Composition. 101 Commentary. a. For example :— "These women, keeping their bodies unmoved [in order not to awake their husbands], having been, though the last to fall asleep, yet the first to awake, do not even unclasp the circling embrace of the listless arms of their lovers enjoying repose after the lassitude conse¬ quent on long indulgence." h. Next of'Dreaming' (swapna—§ 169). Text. Dreaming. No. 179. But 'Dreaming' is a sleeping person's notion of objects, which is a catise of anger, or of agitation, or fear, or debility, or joy, or grief, &c. Commentary. a. For example—[Megha-duta, v. 106.] " Do not, indeed, do not the tear-drops of the deities of the spot fall abundantly, large as pearls, on the buds of the trees, as they be¬ hold me with arms outstretched in empty space for the sake of stringently embracing thee [whom I fondly imagine myself to have] obtained somehow or other in the visions of a dream?" b. Next of ' Dementedness' (apasmara—§ 169). Text. Dementedness. No. 180. But by 'Dementedness' is meant a dis¬ turbance of mind occasioned by such a thing as the influence of one of the planets ;—this leading to falls, tremblings, perspiration, foam- ings at the mouth, slavering, &c. Commentary. a. For example : [look at the ocean as described by Magha, canto 3, v. 72.]. "He doubted whether the Lord of the Rivers [i. e. the Ocean], clinging to the earth, foaming, and tossing high his sounding huge waves like wanton arms, were not one possessed." b. Next of ' Arrogance' (garvva—§ 169). Text. Arrogance. No. 181. 'Arrogance' is pride arising from valour, or beauty, or learning, or rank, and leading to acts of disrespect, co¬ quettish displays of the person, immodesty, &c. 102 The Mirror of Composition. Commentary. a. For example—[Mahabhdrata]— " Whilst I bear arms, what need of other weapons ? What is not achieved by my weapon, by whom will be achieved ?" b. Next of ' Death' (marana—§ 169). Text. Death. No. 182. ' Death' is the quitting of life, this being occasioned by weapons or otherwise, and leading to the falling down of the body, &c. Commentary. a. For example, [Raghuvans'a, canto 11. v. 20]. "Wounded in the heart by the irresistible arrow of that Cupid Rama, the female fiend [—when her enamoured heart was literally pierced by an arrow from Rama's bow—] departed to the dwelling of Life's lord [—viz. the god of death—] being sprinkled with her [ill] smelling blood as [a woman going to the dwelling of her life's lord or lover, is sprinkled with sweetly smelling] sandalwood unguent." b. Next of ' Indolence' (alasya—§ 169). Text. Indolence. No. 183. ' Indolence' is an aversion to movement, this being occasioned by fatigue, or pregnancy, &c., and being a cause of yawning, continuing seated, &c. Commentary. a. For example :— " She no longer adorns her person, nor does she converse with her female friend, but, indolent, through the load of pregnancy, the girl, long seated, yawns." b. Next of ' Impatience of opposition' (amarsha—§ 169). Text. Impatience of No. 184. ' Impatience of opposition' is a deter, opposition. mination of purpose occasioned by censure, abuse, disrespect, &c., and leading to redness of the eyes, shaking of the head, knitting of the brows, violent abuse, &c. Commentary. a. For example :— " I will perform penance for having acted otherwise than I ought towards you—worthy of all honour as you are ;—but still I will not The Mirror of Composition. 103 belie my great vow of taking arms [to put you to death in the first in¬ stance]." b. Next of ' Drowsiness' (nidrd—§ 169). Text. Drowsiness. No. 185. ' Drowsiness' is a contraction of the mental faculties, occasioned by fatigue, exhaustion, intoxication, &c., and causing yawning, twinkling of the eyes, deep inspirations, relaxation of the muscles, &c. Commentary. a. For example :— " She is as it were pictured in my heart, with her eyes half closed through drowsiness, as she uttered words partly with sense and partly unmeaning, in which the syllables were languidly articulated." b. Next of ' Dissembling' (avahitthd—§ 169). Text. Dissembling. No. 186. ' Dissembling' is the hiding of appearances of joy, &c., this being caused by fear, or dignified importance, or mo¬ desty, &c., and leading to employment in some other matter, or to lan¬ guage or looks, &c., directed otherwise [than to that in regard to which concealment of sentiment is aimed at]. Commentary. a. For example [—Kumdra-sambhava, canto 6, v. 84]. " Whilst thus the divine sage spoke, Parvatl, at her father's side, holding down her head, counted the leaves of the lotus with which she played." b• Next of' Longing' (autsukya—§ 169). Text. Longing. No. 187. ' Longing' is impatience of the lapse of time, occasioned by the non-arrival of a desired object, and causing mental fever, hastiness, perspiration, long sighs, &c. Commentary. a. For example :— "For there is that very husband who gained me as a girl, and those same April nights, and the odours of the full-blown jasmine, and the bold breezes [wafting perfume] from the Naucleas,—and I too am the same :—but still my heart longs for the sportive doings, in the shape of toyings, under the ratan-trees on the banks of the Reva." 104 The Mirror of Composition. b. What the author of the Kavya-prakds'a says in regard to this passage [—already remarked upon under § 2. p. 7] that the main thing in it is the Flavour,—this is to be regarded as superfluous, because an ' Accessory' [such as is exemplified in the present instance] is en¬ titled [see § 47] to be called a ' Flavour' since it is associated with the property of flavouring, [—and therefore there was no occasion, tauto- logically, to make the assertion—true though it be]. c. Next of ' Derangement' (unmuda—§ 169). Text. Derangement. No, 188. ' Derangement' is a confusion of thought, arising from love, or grief, or fear, &c., and giving rise to inappro¬ priate laughter, or weeping, or singing, or talking, &c. Commentary. a. For example :—take these verses of mine :— " Brother bee! whilst wandering everywhere, hast thou seen her who is dearer to me than my life ?" [Having attended to the humming of the bee, which sounds like the Sanskrit word om 'yes'—the speaker continues joyfully—] " What!—dost thou say yes ? Then quickly tell me, friend, what is she doing, and where is she, and how ?" b. Next of'Apprehension' {s'anka—§ 169). Text. Apprehension. No. 189. ' Apprehension' is the anticipation of evil from the cruelty of another, or from one's own misconduct, &c., this leading to changes of colour, trembling, side-looks, and dryness of the mouth. Commentary. a. For example :—take these verses of mine :— " Apprehensive [of discovery], at dawn, she long applies the sandal¬ wood unguent to her limbs scratched by her lover ; she applies again and again the red dye to her lip wounded by his teeth,—the tender- limbed one all the while startledly casting her eyes around." b. Next of ' Recollection' (smriti—§ 169). Text. Recollection. No. 190. What is called 'Recollection' is know¬ ledge having as its object something previously cognized, this being ex¬ cited by such causes as our perceiving or thinking of something similar, and leading to a raising of the brows, &c. The Mirror of Composition. 105 Commentary. a. For example :—take these verses of mine :— " O how well I recollect that face of the lotus-eyed one, bashfully held down on seeing her female friend smiling, when I, artfully direct¬ ing my eyes somewhat in some direction, in some measure caught her eye, [which would not consent to meet my direct glance,—that eye of hers], the pupil of which was dilated in a sidelong fashion [as she stole what she fancied an unobserved look at me] 1" b. Next of ' Resolve' (mati—§ 169). Text. Resolve. No. 191. 'Resolve' consists in making up one's mind upon a point by attention to the rules of morality, &c., whence there arise smiles, confidence and delight, and self-satisfiedness. Commentary. a. For example [—S'akuntald, Act I.] " Undoubtedly she is fit to be married by a Kshattriya, because my virtuous mind is enamoured of her. For in all doubtful points the dictates of the conscience are the guide of the virtuous." b. Next of ' Sickness' (vyddhi—§ 169). Text. Sickness. No. 192. ' Sickness' means a fever, for example, arising from humours, &c , and causing a wish to lie on the ground, or causing trembling. Commentary. a. When this consists of inflammation [as in fever], then there is a wish to lie on the [cold] earth, &c. When it consists of cold [as in agues], then there are tremblings, &c. Examples of this are evident [and need not be here cited]. b. Next of ' Alarm' (trdsa—§ 169). Text. Alarm. No. 193. 'Alarm,' occasioned by thunder, light¬ ning, meteors, &c., causes tremblings, &c. Commentary. a. [For example, Kirdtdrjuniya, canto 8. v. 45]. " When touched gently on the thighs by the fishes that were gliding about, the nymphs, with their eyes rolling in alarm, and with their p 10G The Mirror of Composition. bud-like hands quivering, exchanged each a [frightened] look with her companions." b. Next of' Shame' (vridd—§ 169)* text. Shame. No. 194. ' Shame' is the absence of boldness, causing the face to hang down, &c., in consequence of misconduct. Commentary. a. For example :— "O how well I recollect" [&c. see § 190. «.] b. Next of ' Joy' (harsha—§ 169). Text. Joy. No. 195. But'Joy' is mental complacency, on the attainment of a desired object, which occasions tears and sobbings, &c. Commentary. a. For example—[Raghuvans'a, canto 3. v. 17]. " Having long gazed on the countenance of his son, as a poor man gazes on that of a treasure-jar, the father, through the joy of his soul, could scarcely be contained in his body, like the ocean swelling up [in full tide] on the rise of the moon, [which the ocean regards with a parental feeling,—the moon having, it is said, been produced by the churning of the ocean]." b. Next of ' Intolerance of another's superiority' (asuyd—§ 169). Text. Intolerance of ^°* ' Iato^erance another's superiority' is another's superi- impatience of another's merits and prosperity, arising orlty* from disdain, and leading to the inveighing against faults, frowns, disrespect, signs of anger, &c. Commentary. a. For example—[Mdgha, canto 15. v. 1], " Well, the lord of Chedi [S'is'upala] could not endure the honour shown in that assembly by the son of Pandu [Yuddhishthira] to the enemy of Madhu [Krishna], for the mind of the arrogant is intolerant of another's advancement." b. Next of ' Despondency' (vishdda—§ 169). Text. Despondency. No. 197. But 'Despondency' is a loss of vigour The Mirror of Composition. 107 arising from the absence of expedients [to meet impending calamity], causing panting and sighing, and distress, and a seeking for aid, &c. Commentary. a. For example—my verses :— " This thy top-knot, formed of a close twisted bunch of hair, while, like an iron rod, it breaks my heart, like a black snake too, bites it." b. Next of ' Equanimity' (dhriti—§ 169). Text. Equanimity. No. 198. But ' Equanimity' is complete content¬ ment, arising from true knowledge, or from the arrival of a desired object, &c.; conducing to the production of amiable discourse, to cheer¬ ful liveliness, &c. Commentary. a. For example, my [picture of a reformed reprobate] :— " After having long oppressed the poor, and waged a war of alter¬ cation with my own people, and given no regard to the heavy punish¬ ments of another life,—now, forsooth, this same body, for which I had collected stores of wealth, has its wants satisfied by a handful of wild rice." b. Next of ' Unsteadiness' (chapalatd—§ 169). Text. Unsteadiness. No. 199. But ' Unsteadiness' is an instability aris¬ ing from envy, aversion, desire, &c., and causing abuse, harsh language, and self-willedness, &c. Commentary. a. For example—[a lady reproves, in the following address to a bee, the unsteadiness of her own fickle lover in going after a younger mistress]. " O bee ! amuse your wanton mind with other flower-stalks that can bear your handling. Why dost thou prematurely and unprofitably render useless the young juiceless bud of the unblown jasmine?" b. Next of ' Debility' (glani—§ 169). Text. Debility. No. 200. ' Debility' is an unliveliness resulting from enjoyment or fatigue, or sorrow, hunger, thirst, &c., and causing tremblings, emaciation, inactivity, &c. p 2 108 The Mirror of Composition. Commentary. a. For example—\Uttara-rdma-charitra] :— " Long and bitter sorrow, withering her heart's flower like a tender young shoot severed from the stem, debilitates her pale and delicate frame as the autumnal heat the inner leaves of the ketaki." h. Next of ' Painful reflection' (chintd—§ 169). Text. Painful reflec- No. 201. 'Painful reflection' is meditation aris- t,on> ing from the non-possession of a beloved object, pro¬ ducing desolateness, sighs, and feverishness. Commentary. a. For example—my verses :—• " Leaning thy cheek upon thy hand, and thus [in appearance] joining with the expanded lotus its enemy the moon, what dost thou mournfully revolve, fair one, in thine inmost heart ?" b. Next of ' Debate' (vitarka—§ 169). Text. Debate. No. 202. 'Debate' is discussion, originating in doubt, and causing one to shake the brows, the head, or the finger. Commentary. a. For example :— "What,—has he been stopped by some lover?" &c. [see § 121. a]. Others than as ^or statement C—see § 1^8—] ^at these come un- these thirty-three are kinds of ' Accessories,'—this was tion of an Ac- intended to include also things analogous ; the author cessory. therefore proceeds to remark as follows :— Text. No. 203. ' Love' also [§ 206], &c., in reference to several of the Flavours, may be 'Accessories' [§ 202. 5]. Commentary. a. To explain :—when the flavour is, for example, the 'Erotic' [§ 210], love alone [—of all the permanent conditions—§ 206—] is denoted by the term 'permanent,' because this tnust remain—being indispensable; while 'mirth' [—another of the permanent conditions —§ 206—], on the other hand, when it occurs [in the course of an erotic composition], is merely an ' Accessory,' because the definition of The Mirror of Composition. 109 an 'Accessory' [see § 202. b.—] applies to it, [—the comic element, where not the principal one, serving, in ' Romeo and Juliet' for exam¬ ple, to enhance the effect of the erotic]. b. This has been declared [—.by the Bhwanikdra—as already re¬ marked under § 32. c.] as follows:—"Only when [inseparably] per¬ manent in the Flavour [of any given composition], does a ' condition' (bhdva) take rank as the permanent one" (—§ 205). c. Then in respect of what Flavour may what ' conditions' perma¬ nent [when principal] serve as ' Accessories V To this he replies :— Text. Which Flavours No* 204, Iu the 'Erotic' and the 'Heroic' may serve as Ac- [§ 209], ' Mirth' [§ 206—is an appropriate Acces- cessories to which. sory*k aiuj so jn the 'Heroic' is ' Resentment' held to be :—then, again, in the ' Quietistic' [—§ 209], 'Disgust' [§ 206] is declared to be an Accessory. The rest, besides this, may be inferred, for themselves, by those who can weigh their thoughts. Commentary. a. Now of the 'permanent conditions' (' sthdyi-bhdoa). Text. A permanent ^°' That condition which neither those akin condition defin- to it nor those opposed to it can overpower,—the root of the sprout of Gustation [§ 44 5], this is held to be the 'permanent condition,' [or main sentiment of the composition]. Commentary. a. As is declared [by the Bhwanikdra]—" This permanent condi¬ tion, running through the other conditions like the thread of a garland, is not overpowered by them but only re-inforced." b. He enumerates the divisions thereof. Text. . No. 206. ' Love' [or ' Desire'] (rati), ' Mirth' The permanent L J v ' conditions enu- (hasa), ' Sorrow' (s'oka), ' Resentment' (krodha), merated. , Magnanimity' (utsdha), ' Terror' (bhaya), ' Dis¬ gust' (jugupsa), and ' Surprise' (vismaija),—thus these are eight [per¬ manent conditions] and there is also ' Quietism' (s'ama). Commentary. a, Among these 110 The Mirror of Composition. Text. No, 207. 'Love' is a tendency of the mind towards a thing that is conformable to the mind ; by ' Mirth' is intended an expansion of the mind excited by incongruity of sentiment, &c. ; what is designated by the word ' Sorrow' is a commotion of the mind occasioned by the loss of a beloved object, &c.; by ' Resentment' is meant a feeling of sharp¬ ness towards opponents; what is called ' Magnanimity' is a steady audacity where any action has been entered upon ; but ' Terror,' oc¬ casioning disturbance of mind, is what is produced by the power of what is terrific ; ' Disgust' is aversion, arising in respect of any object, from seeing or otherwise perceiving in it what is offensive; but what is meant by ' Surprise' is an agitation of mind in regard to strange things that transcend the limits of the mundane; ' Quietism' is the happiness arising from the repose of the soul in a state of indifference [to the transitory concerns of time]." Commentary. a. For example,—in [the play of] Mdlati and Mddhava, [the per¬ manent condition is] ' Love ;' in the Ndtaka-melafca, ' Mirth ;' in the Hdtmdyana, ' Sorrow;' in the Mahdbhdrata, ' Quietism.' And so of the others. Why these b. [And these conditions are called permanent'] be- conditions are cause these are ascertained, by the direct cognizance of called perma- nent. men of taste, to be not destroyed, but on the contrary just re-inforced, by other conditions, among these [above enumerated], occurring, whether these be akin to or opposed to [that one which hap¬ pens to be the main sentiment], c. Moreover— Text. No. 208. These,—the ' permanent' [§ 206], the ' accessory' [§ 168], and the 'involuntary' [§ 166],—are therefore called bhava [which we have rendered ' condition'—] because they give occasion for the existence of (bhdvayanti) the ' Flavours' which depend upon the various gestures [or other indications of passion on the part of the actors]. Commentary. a. As is declared as follows [by the Dhwanikdira]—"A 'condi¬ tion' (bhava) consists in [or takes the name it does in virtue of ] the The Mirror of Composition. Ill causing of this [Flavour] to take place, through joy or sorrow or other things." b. Now he states the divisions of ' Flavour.' Text. The Flavours No. 209. The 'Erotic' (s'ringara), the 'Comic' enumerated. (hdsya), the ' Pathetic' (karuna), the ' Terrible' (rau- dra), the ' Heroic' (vira), the ' Fearful' (bhaydtnaka), the ' Disgustful' (bibhatsa), these eight are ' Flavoursand so is the ' Quietistic' (s'dnta) held to be [by some]. Commentary. a. Of these, the 'Erotic' [is first to be discussed]. Text. The Erotic No. 210. By s'ringa [—literally a 'horn'—which described. sprouts from the head of a bull as a plant does from the earth—] is meant the budding of love ; and by the word s'ringdra [—from s'ring am-dray ati ' he causes the horn to come'—] is meant that ' Flavour,' generally most manifest in the noblest natures, which is the cause of the coming on thereof. In this case let the substantial ingredients [§ 63] be heroines,—excluding another's wife, and a cour¬ tezan if not honestly enamoured [§ 111], and heroes, who are honour¬ able men, &c. The moon, sandalwood ointment, the hum of bees, &c., are held to be 'enhancers' [§ 160]. Motions of the eyebrows, and side-glances, &c., are found as its symptoms; and its ' accessories' may be any [§ 169] except ' Sternness,' 'Death,' 'Indolence,' and 'Dis¬ gust.' Here the * permanent' condition [§ 206] is ' Love ;'—and [—according to the fancy of the mythologists] it is black-coloured, and its deity is Vishnu [—who, in his incarnation as the amorous Krishna, was remarkable for the darkness of his colour]. Commentary. a. For an example—[we have a case of the ' Erotic' in the verses quoted under § 3. b., beginning]— " Perceiving that the house was empty," &c. b. Here a husband of the just-mentioned description, and a girl of the just-mentioned description, are the two ' substantial excitants' [§ 63]; the empty house is an enhancing 'excitant,' [§ 160] ; the kissing is an ' ensuant' [§ 32]; the bashfulness and the mirth are ' ac¬ cessories' [§ 194 and 203] ;—the condition of love, developed by all 112 The Mirror of Composition. these in fi man of taste, assumes the nature of [what we call] the ' Erotic' [Flavour]. c. lie mentions the divisions of this [' Erotic' flavour]. Text. The Erotic No. 211. Now, it is held to be of two kinds, viz., subdivided. < separation' and ' union.' Commentary. a. Of these two [—he describes the former]. Text. Love in se- No. 212. But where excessive love does not attain paration. buoyed object, this is c separation.' Commentary. a. ' The beloved object'—i. e. the hero or the heroine. Text. This subdi- No. 213. And let this [love in separation] be of v,ded> four kinds,—consisting of (1) ' affection arising before the parties meet' (purva-rdga), (2) 'indignation' (mdna), (3) 'the being abroad' (pravdsa), and (4) the ' sorrow' (karuna) [of one who has no hope of a re-union which yet is destined to take place]. Commentary. a. Among these [four]— Text. r , , No. 214. What is called ' affection arising before Love between > ° persons yet stran- the parties meet' [—i. e. while the parties are gerstoeach other. strangers t0 one another—], is the peculiar condition which belongs, before they have attained their wishes, to two persons mutually enamoured through having heard of or seen one another. And here the hearing may be from the mouth of a messenger, or a bard, or a female friend; and the seeing may be by magic [—as when Cornelius Agrippa, with his mirror, showed to Surrey the lady Geral- dine—], or in a picture, or face to face, or in a dream. In such a case the following conditions are the conditions of love, viz., longing, thoughtfulness. reminiscence, the mentioning the qualities [of the loved one], anxiety, and discourse where the person addressed is not, con¬ fusion of mind, sickness, stupefaction, and death. By ' longing' we mean wishing ; ' thoughtfulness' means the thinking about the means of attainment, &c.; and ' confusion of mind' means the not distinguishing # *T**T II ^cRf^T II *f^TT^ TTTfrfwrfX^TfiRTTOT ^T^fTT^T: WTWgWV^ U n (*,) *ji w firct ^11 ^^131 5PRT3PJ?5 II U (^) ^jsok'awfo ^r^q^ramfa i sfiisqi^ qr|#l riawi II 3TT3fflT TTOTf^rT TP?Prfa^ ^ I I "^T^3rpn$T% ^ I ^iTTft sftflf ^TW^fa^wfafcT I I ^T^T^3TTf%^3^TTT^^T^TTf3^^T- «N *N fe^T I "W» ST®«C. ^Tr^: ^TT^TrT. Wl ^ 3FTfT- N> ^ B vj v I ^TiroTfir^TWT^ I ^T^TTTfalN^^W^- *TPPT^T^Trr 1 ^T%Tq$Tfw^r I V» V VI ^frwrr- ^fTW I IJW^^T^TOTOT ^mT%^ Tg- JR*. ^\\ *R rfT4 ^frWrf^f^fH: ^"3IT^I 1%faffi *?«r. 3>T^ TWft T I ^rfT^Tq^^rV^ TTTO ferR^TT^*^^ s> ^ cfT TTfw. f%7T^TT^1%: «T 1TH II "•TT^ #T% rpf I rf^f ■^^irt%" » fsRW^ ^T^jf^frT ^ ft^sm^TW I SJ\» "^T^T^mT^ § #f^^rnftT^?f%^Tl% ^ \ Jr^RfrTOT§fl fWTTSTT WSTOR Tft" H Si ^(^*TT rf^f T^tf fl^ffifl TjS^TfHW^ T?^fsff?T II rfff m^T^jfawWlt ^f%c[ "cR^fT I^TIT *Ji: lr?1Tf% lf?C ^T^I^Tft^TTW^T I "U^TTT ^113 1 ITU: 1TW11 fllflT TT^^^T ifasreT TTW I munrftw*: i ftrofa*S§:" « ^ eN -> TTOTrT ^ft^T^^^rTTS^TfftrfT WT^ITft^ftw- tTT. II ^§T T W. ^TSqtfa ^rf \J J 3 s. %m: ^ wft: * ^tth- cfJT^3?^T^T^ ^SfaTOfTTWtfrf ^JTiremft 3T nJ ftuft ^ ^mu T ^ ^nw. ^f?f- $TWT: fa rift ^\fa I cTOTft I 3FTT^T(?T- ^rT^I ^T ^Tftft^mi^^T ft^TCTftcq^TO^Wfa ^T ^IT(T II ^<0 ^rftlKfr I "gft^T^T ^fttSfT 3 ^ ^TfsffcTT: I •*?^n is tf IT P" P* IP |C >— IF P" IP IT 'IS Iff w w m £ B e F?? If fc ^ 15 'IF & & ^ »L ? & C v I 4 P ^ ^ i7 V IP ^ B g !C ^ B f g ,fr € « r i& k t .. ay fa I, U I ^ g IF & S E B IF - g "18* ^ P IF f - - £ e Z ^ iff r 1^ 5T^T: i RT %T1% rTOTfa rR ^T^reTT^^TtW T^TTT^ft Wrf^tct^rf^ ^7f: ^TO" 11 \» TTrff^n^ | ^ f% t%^TR^Tfi[J ®s ^TT^r^TT^Lgsa:^ i I amg "^TR yinic! ^T^^lfTtT^l'TT I T^TftfT 3uT. ^4sr ftfrT^" f^ft'Ml TWT^O^TT^fa ^TRF*r W^ II ^ ^ft^TTWT^ "^T^TflTT ^t%fTl%" f?T£ Treref%4re WTc^T^TT^r TffTf T^T$T^f 7l1%^fT- eitIV » ^ 3T^^T'fr4H^t ^wrefa sftreref *T ^T 111 T^rT TT^TnT^TfT^t- *T3JT§ mi T^^TTTft^T- TTrTJ ^tT ^TWT^TT- ^T^TtTW "Q^ I *J TT 3T "^faTTcET 3irer#f?f' ^ ^p5fT?PEr*reft ft^T?r ^WfTT SfT^T ftf ^ftffiT"ll ^ ft WPTa^TTT^T T^' I! HT3T *T^T W^T" ^TTW^^Tf^ft^fW^T 1 "^T^rftrf *I^\*tft 3raft: ?F 3TWW*T «ftT*tT *nt ftft^rlT^ffa: TT^*t I ■ST§ ^W. STT ^STW. *ttwt 3T^T^TT "STT? fWT^Tfl^ Wft^T W' It ^HT Tfh^TW: I THT^T^T ^T I "HVftT1^ WT ft^T I 3£#W ^ ^ft^ftrfT^f OTUJTT:" It ©\ ^SR ft ^WT*T3£lfTW ft^ftsfTO^nC^TOT*: t trjtott tt ?twt: 3?r£r ft^w i N si v> (8) I mwwmm** tw ?WT- W3 ^TWTi ^ft^lTft^T^r^: T3 *RR 3RT^T<*RrT ©» N Cs *rrf%3!^2r i I T^f T^T*T. II ^TOT^T, f%f ^ qq qiqq wt i ""sqpq 11 q^T \ TTTlT^W^^T^TT^T^^Tf^ II qTqqfa- ^T^T^S^TWf^^TrT I *T I ^fTOTOTTO^- T^T W3TH I STT^t UT^T^T T?t7^ || f%7?fa: I f% TTtft- ®\ *T*fT*TTfV3iT^TO^ WrT t rf^TT- ^ ^TTW^T IJWTT T^T TOT^TOTOTOT- TTOfa I 3T^^T- ^TSTClfilTOifTTO I TTO TO^TTT^ "*TTWt" >J x T^pTO I ^T -g- ^WTTfTOWTrT *3^T I ^TOTTT f% TTTffiTOT fa*Ffif%TOT: *TY*aifilTO*rfTOT ir^TOtf?!- ^to^NI TOT ^froTTOTOT: i*^- TOtfii: I cJW^TOTf^ ^IN ^^wr II (VL) 5TT;J^ »J51»Jpn^ fe*n Sf qi^raum: || TOT3R-^TO^T TOWT ^fTOTW- TOTTO^TOl^ TRS^ f%^T TOT wtto*TTT: i to to: C* ©> C\ ®\ ^T^T^TO^nfTO^figfaTOTTOT. I TOT I ms TOft" \\ ^TOTSfTOTlTOT TO3TOTOT. I TOT I ©\ "TOfinif?! ^Tfa^fai §TTOTO to ^f%^Tf%" II TO T(2pN tfi^rTf%"^XTf?f" T1% W^I ^Tfaw^TfTOWfTOTOT WTOtTO n > sj (^o) FIT ^Rfq tl^T II T^rTT ^R^TT^r. Smrii^T sT^WT: ^f^RTcT- ^ trefrnriN ^ T\m^ f^T ^t ^Tf^si^T. n ^^WT^T^Tfir I "f%TO^TO^Tf^fsrafit*raT lUWRiT ^RT ^TfTT: Tftofrw: TOT?(^^rt*P^N»T: ^RTT: \ ^T^ TTHT5l% <5 ^ ^T ^T ^TT \\ ^RTG0RR^fW^ TT^ Vfalfw *T^f tfiW II "*Tfrei §T*J" T<5p* TTtrTcqTCTSR- *rrf^w'JRJTftTsrc: ^ n (^) rl^t ^^rnKCTg^ar^T i ^R!T W ^3Tfr>TWfTK^T: I m I (^) q^ ?n ^{q f^n i fTT 'SRnrrar. i^ ^T STS^TO^J "RUfTf- ^I^RT •TTTf | r|^ I (^8) S!5?5J ^pgpil f^JT I ^?rfavro«rn*re i c ©\ (^) ^Nii&a SJS^I ^iJirljFh?!^ i wniFB^g^sPi ^ifawsrai ti ^jT^^r^Tf%T?irTTTT^: i f% i "#$nTT faWTW *TTTO f^TTfVfTT I ^p& I?^to fw H^ITTO wfeifa: \ 'STTO^Tfafft ^iT^T TZifw. ^TT^: \ ^twrc^ " xfh II "**rf^%T ^fr." ?w? ^frw% i " ^^mpw "ffr:" Tfa ftijTTO trw i " T^ f%- $*nT• "5*rafT?lf*TO%T Wtfaw ^gftgrerisra^T Sni^rasrerr ^Tt^^ifTflT firo^ wfjifk: i *r^»?m^WT frfr^TT TT5T ^fg VTT^W TUfllfro ^rfrT-sr TT^oEWTTSW" II ©> ©\ ^ WTW^TTfifW^T *m- ^"$*WT«T^3Rri?ftTwi Prof%ra 5TTT> ^hw$it trsm i T^w?T u ®\ (^) m II ^5R rlf^ T^W^f?? JRTfT II %tI1%S ^T I "^TT^RPFm fkz W^T ft^TSRT I ^^Tf^rTT^ri fwt1%ri" II ^ *i£cran*r Tfir *rerf*rofa*rTf^%^*T SfRTp^ %<2J^ | Tl? cfWT^TT $T^ U (^ v» (^) ?rai f ^i(j?iT ii ^•.nt'g^nT ^'STHnwrTraremf^;- 5:^r%3«wsf: *sttt II 5R^i ^m^RTT- *sNr. ^tT7qf%tr sfil^T^T: II $ f? TTOTf^TflT^T^T^'nwtTV^lT'STft ^ I T& ^ f=T^f5IrTT: ^T "tW^l^ fk^ ^T^Tf^^TWTf^HT^T Tjfir." Tft f%HT3T II rT^ I "ir^Tqf^rrW^T^T J^rfwraf ^TrrT^r | ■JT(5T3Tl%3 *TO*ra*r *Rra" n Tfa I I (<^) ^HRHrffajpfiT 4 ' 3> * 2 /Jil ^ 51, ^1 x< A A t* mm \ ^T*T." TTW^T^?* T& faqprc^i "*rf^wT ^1%R: im vfamr- ^rrrfa^pr." Tfh * vt^ftnro l *T rf^ ^I5# RfT^f: f^ ftWT^fT. l rlW^f^^T^- ^Tq[T?T u ^TnHgTWTW I fT^^TTN I (^\) WTOfelfi^l% SW«K$9U: II ^IT^^T^T^f: I ^^TtFrfiRTTrf^SfT^T ^T T®TT=l^t I "*t£ w- ^nr: f%^r1% ^tw. I s» J ^T *ffarifhi *nf*fr ^wn)fi^n frfawm H^R^frt i tqmm^^siT J??II II ^ faf^P^TRT ^T I "3iTO rWT "Rf^TT ^T^JT ^T^*zPR^rITRT*ra*lT T7T1I I cfc^RT^^feT^3TT ©v M fTOTfar! ^5T™W," || "R^^TT ^UW^TTC^ 11 *m I ^Tpfr: ^tzttost" u TJcTO^Tfa II ^ 3TWT I (V»\) WW! JIl^HHs'iill ^P7l%fo?T I ^Ivjdl^ffSI tmsHISSgiPfRRl5fiT || WTT^TT ^T I "SRITfa ^T 3T2l^fa %$fv f^S^T^cfiSrmfa I Q 8^ mm*, ^ ^RTlf^l" U TTSrtTWT I "W5t?r^*?TT \J 3W> WrefrmTT I N> VJ ©\ N» *?^T*rf?r. ftrofa ^rgrttT^rcr." u *J*IT I "i\fWFn?JT^: ^f^*T^?!fT!j*?f^r. C\ 3\f%^3T^Tft ^ ^T^Pfi^^: I fesjr. tsmmfa Trf insure:" it **TCT*TrTT ^T I "3 ^sft^T ^?T I "V^tTfa ^T ^*nft<2f%?" n ^TUiT^rRT^T ^T t "^Tf?R ^TJT^T^ *?T*r f%^TTf%^r ^ TTTW* rt fTT WTTSPEf | \j vj TWWT ^T?TT VJ ©\ ^?2T S*T fifh STTf^^PRT ^T 11 i \» \» *rsiTni^mhcT*?iTTOr? i (^) ^ ^rofki ^ i ^ 1 rT^ | (V»^) fai #wiHM«iiraiiT flsrraKr n %T5Ki ?5 i ^ Tl^T^tTT ^T 1 "cT^fa 7^31^4^?! <4 fW ^WT VW ^ ^ Ufa I g-Q vl N ^Tf^f^f?T u "Rfwf^T ^T$T*N}T5T3?^c|T 1 C\ ^TT^ TWRT^T fa^f% 3fWlfWTTT<^ ■WT^rf^faTraW^TO^^ T3W fav:" 11 VJ \J (^) ^siT % *n% ^gRfawsn i ftf^FSsj^sn ?$ I iroi^w3^n ^nitansfire^if^ n ^^§t%fre^rm fawiHtpiii^i i ^nfafJif^^ra wtwsfe'^fT i cRT% "^f&%f*(EITfk" * I 11 VWT^fHSTT^TTTTfa II (\\v) iN ?n£t wj^n^in f^tos jr i HF*R^ ?j£| ?rai II TTSJ iffnfirerOTt g^ftof i * <^ *ran srwfrreTft^T i "cTT^TW ^ ii^t ^NrfairefVscT ^3^' ^sRrt i ^T1«l"R^f^RTTT^f^^T^rJIWTWT«rT ^^fcr ff^ ^rftriiitf^c^ ||:" ^I^crx^T^g- XfT^: HWcTI^xr^Ttjr^I^: ^ffcTJ || 8^ i Rl^tl frai KtPrH^ II 'SI^RKHfq 5WPirar. n ^srarenra^rrr. i WfKT^l VimFRWMtlSfsJi: I TOW efnpfig ^tfsrg *rrgsN sung^n II tsgfa^ *#} ^Jg|5n: I ffarf^rreT f^l%f=N§rsfi! i Wflfarf fffWT f^IflTfl^: II ?HFT {^%qg | ffa* <3%T if%R5J€T^3I^lI5fiT: II ^wrasira FRKU ^3i g^t *iwifa i ^ WHT^T tNlTflT ^7T srT3m7TT*lf% f%«rl *TTfwf%rTT TH 1 sfcT ^Efo | 2Ti* II jtoi uran 7\^ ifT^irTOT I ^T*T ^ srranqf *re: irct" » Tjcnrerexfo ii ^ ^nf^: \ (\^o) fh 5fii!^fiwwzn^?n i ^TprT^^m I I W^T*T^ TWTfV" H ^ ftfin I (^) II ^^TTTTJ^Tfe^T^t "^3v5TTSR^T II "Tn^a^r fip?n*r. ^T*: i VTf^^T^TW ^psraiitt ^nSfaT^ " II ^ J\l\wx \ J (^s) ^i^nfqSq^ m^g' i ^T I "^rfirwrfa^ S^ir^Tfq T^fV^TRT^ fT^t f%f*H f% ^^TTWT *TO*T ^TUfTt^rt » II ^ W^il I fairest OTnai W I «*rtf ^srljT^Tsr i (^8) fiFR?: ^T II "«T gw f*TT fkr^ft T ^T*t ^Ttr f%lr SRWTT: *T 3 mzsviT^ift i ^*TnTT *f%: *W RT §T^" \ sj 5^ Q. ^ ^ar | (^H) q-rtUfl%|W TmilW^T I I "*TO<5 TT% sr*rt *rcc*r: f%r ^T iswt: J fsi^fss sissi w*s n ^ sslsfot sras^nflsi's sssrat i i?wp?ps^Tnft fas srai^ifaft II (^y) fains sfss ^ns fas»s ss? jfs! i fairssss^fiis s s^ssispiT n silts sprrafsnswjais^Jis: I sissssi ^li sifwiff ffss w II ^I^pisfa sunt: fas^l SfaSKSHS I T1 fasfa? faarr? 1 (^) <3W! ^WIIKT ^IjMHy I qyqi: ^ifciqil WRl^T %P qi ^fq || C\ T^T i fT^r T §T T^T^tt^: C\ ^ * 1 Jp qfcfitmrfi: I •TTTT ^T7^t%^T^lT^T^5fr gtjfi? 3vre rf^r TO*ref%tra: V* \» W." II re$ 3tt. » * infim WI*»S Tfcr 11 fi + sriftfa H ^i® B X *nrfc*i *fw i ^^m*r%?qf%fy*T*T^r*jT*?- I wn^rfif CT^T^ ^ f«cr fafci ^r a ^t® ii as^firei^ Sfa^nrem^ift b *TOT I (^) Hill fqlwn I «rai i "^mfH*T3PW3*T iT^^Trf^^TWt TTffTW^mT StfTTWT^ Tfipfcjj" » w f%ira: \ (^c) ft*WW^5«H f^P#RIHH: I ffln^W^'^^nsn'raiwi n *TOT \ "faTTf^rfr^ra TrrRft^r^^T^f ^T*nfa wfam im??: i Tifirfa^w^^RT %rf ^ w *riniT T ^nft^wrt \i TriPri" w ^B^wt: I (\TZc) I WMIj I (\C8) I WT I 4* ^ ^WriT I (^cfLcfL) c£R3%f% I m it \ m^TO^sna fif inrw f^hr^ w. \ * ^iffsr i ^t $f2r*re?N f^n^itN ?re fa^nst tflft { »ro wf^g ^ s *T U Z\o j| la ^rtft <^^4% i fqf ^^iqtl%^t^t:,r w ^ tjftfa: i «rat i nr* wrcfiprstf \j ©\ ^tswt ^mqr: \ t^tref?r qfirtitt^ m*raw. srftr *tf^ t3 w*fcre*r|i" ii f^ntt i (\°\) wr frfu rhwih: j^dl^w^wsj?! r w r ftttf%w *rfirf**t i profa wfs wtif^fr^r'*i? W fa l ^TWM^fFWrai W ^fR 5[S$ II TO3f =|«ffwwi ilW^l^^Tlfrrof | ^JRIWFtufaqni II ?r?ffaTrfa€^: i n^tfwrs ^?T#I W^I ^ II ^T I "Tpv (STlf^-"'' I ^ vfri- ^ WT*TT ^T*n3RfaHT3T \ "3^4 i ^wraninr: i ^^tt^TIT ^fa^ifrwT i V* vj T^fHSHT. ^n^TTftwr. 3?lfTWT II srsm TR^^to i iW I *fJ$WT3CT^TWTf*T I "W^T: ^fr^^T^T^^T'IT^^T- SJT^rT.^TW^ ^TH^TW^mTTTT^t^WT- ^f^r: '* || ^ ^TWTft^T^T^HT^TTT^ *WTOTf*T?TTtr. II "sfWfrij H^TW. I Tfa fra^pr. ^»T^T II <$T$ f^niT i rt m \ "> H ^fasfiU? -^3T^WTfcfrfWT^W^rTT'' I ^ TOUT. I "^Trif^SraiTtT" ^T^:! "UTO^T*? -%-^V *?T*J TO | vj si ^TTO*»fa f%?!T*fT ^*rT:" | ^ ^JTfV. I Prfv* to Tgfaw vf- i *ffaTTOTT U^rereT 'fN Tfa *TT"* M ^rfT I TJ <-v • *W??T I 3<§fa ^T I S^SHST ^TwwfPfrssTisr i "Q;W ^ -TOTT* si s?TOfssTOpiss TPT ii ^fw i "STOJftPr. Tf^^f fSTTTSf SljW. I fa^T'^^rTTpnre- s» * ftrfWtf?T II *T4' *np i ||7>l! C» fnffarWi* i f%^ffPsroT*TT*r: I l^T^fr^T: WX^T- ll Tf^r ^ l SJ (\\i) ^itl ^ferai si:fasiT*ftf|| ^TTB HTfilRT ^n{^i \ *t fwf®r »r^^fTT5rw. ^*f ipSt ^tt^3" n THi?^ I (^°) wi ^T5^ I HWra^! ^ttp? it ajli1! Wlk TR^Ti: q?R ifa II Wiltl <5 ifaltfo I ^^l<^qi<: ^icra% T^FtR: II **1T I "$T T^Tf^" »l ^ ff *TOT^T. ^f^rTT: I WrJT*Jli II ^ "JT^T^*. I (*ft\) S3TOI tJrat3^ i jft II ^^BRrn ^?ti TPR: i FFTO fJfTU^TW ft 3TUI«FfTC?r^n II ifrf I TJsjr^r^T *J^T *TT ^TffRKT^t I "f^Tfir: fefarT TR'. ^t*TT fry >1 TITT: %TSW. TJtf^rI^»jrjf% *T5H TCTO»nrraraJ i w ^T*: i * 'SffT % sfcT *f*§rt*T ^T"5TW SP5T: I SfIS\^ TTpI^TCl ^TTC: ii Praw ^ *T*TTI? ziz ^fcrer*f irc ^T^R- xr^ Pf¥:"s>|R|) i nil nwif^wra: iff: nrat^i: I f^gfriRRi?n^s ^isjR: it f^I^RR HH I ^nnsf^irni^in'Tiif^fi: n fn^H^lnqren ^ ^ssfinRw: i siisFittwiifii f^fw^Ni l^iti nqi fwi ni^r n fr ifii efii^?T *?§: i H'cjr^r f^fayj || v> mm i ^T *\H I *jTTffrc. ficrra^ftw ^T^reifw I ^ m\rzvz ^ cjiNT^R im: ^SPRW^T: I ^ ^2^W37WpT^ ^frqT^T I ^SR ^ I (^e) n*?: ^ %r mfa nnfN 11 FjsJMq | =3W^q fWT#? || nnfainn n^iiswwji 1 TtsnFRfaft T*HS I ^ i (^°) ^win ^ii wb it vt: 5OTFIWIS9 ^f^HT W5?T I STT^IS^ ^JlfW?: ^n^I^nraBR fl?f 11 if® ^nd^h'M^l *%fVW

W* I ^3n^nfafaf3!rW7tW=K5R *FT I WTWPEIT ^J^fvRT^Tti: || SJ \J ^ih anfag i \ "^csrsmsrar «Pff Tra*rarai i^tro^ifa *ifara- W^3(J I I «wnfq U€t fro^rarai i wii ^wwi^wrafa mssp n tlsPa I SIFfTC FnsfT ft^: Wi: II ww<5^ cenwn trofam i ^t^J: ^fTT: I i (^) $msfa swR^ia gnfafenTrapreifa n <3HT^lf^?5 ^[1^1 qr^q siMfflf?? IfT I i ft^T^T^f g^T^re ^TT^: I (:?se) ^*nli T^TWIT wmr^ti II ^fxj: SFRSfJI 3f?l ^^IsRIi I II 44kfei£> kfe XkkSXlkj. kllikk hjxkk i XkkXkkjkkj. %sx&xk£ :kia kB XkkSXkk kkkJklikkJ,, I Xkkkp. XkkkjkjB II 44kjXkkakJ ySklfcfc k Xihlk X^iyiXllXttklJJkkik I klifeh. ikXkXifeik Xk k>lk XkXk SUiitfc lk k;B lk kpy„ I XkXkXH^-ik Xkk I :kjl Xkkkjk^ Xte&J -kXkk I „]yxikyxkk£ jyXyxk kjEL,, I Xkk ^IXk^teL kk I iXXkXk^SLfckXit lkXXt Xkk)X& kXkXtilkXhXkiiXk -kl XkkShijhli^XyxkXlty XkXk^ljk Jkjl Xkkkpy -Xhkkkki&k^ X^lJlkkjiS. XikikXtJlk^XkXk kk Xkk -XhXk IklkHikkkkXkykkkXkll yik XkXkXkk kkfc kkl kkH^tklXkkXklh XkkkXkdfclh Xkj^lkSil II ^-.lkkXltkJLlkkl^y XkSlJklh i -.kkyfeki ism k iki ikjrik^feik k„ I ktelkttjtei kilt k. Ibia skUtHik II ikji lbhkj.lijlki kjlklktt :iiiijlfek ffi8^) I ikik£i k^ikXit I ;kXk N* -HJM^XlXkhBkki y^JyXkX^Xkk]Xktttkkkl I sk&SJkk^A *T flTT^r *TfT ^tTHTTftr^T ^T:" H C\ TjcR^m 1 "HRT ^T I '•^T^ T^T^TTftr: I s> ^RTTf*S ^UTT W*T* fa#T^«TTf«T" 11 ^ xiT^cftf^W^T *T*T3?rT Tfa: II "lTOT*RRT*3- f^3T^T$tTSWT$T T* ^Tf^n ^JTHTCTrT I \ M (^) *rar wi#l II ^#5B: *m 1M 3>ifa ?rai ^ i TTO T*WTSHTWT*TTtT I (^8) ^Tl^HfTl^ ^TO#I II T^T^f HTHTf^TTWtrr^r^WT^f *TTh ^SHff TfS r^ ^T^WT^- \» TT§ i^smT i tyjc) ^rrassl^rarat yraTs^fasrat II H^hfi5B{%3 I ^jfTC$N%i%W $4lf^»PP&W II rraiftrn *J3FF5i tNW3*F*FJ I ?R ^T Jm | "*sfT*?t ?pmr ^ ^frnse wT^rswfasff si rT^S ^ ^clffa 7TTWT f*TT« sj ^T m VfTT"«J ^fr: RT"^ 3:'* I \* vvr \ "^T^nsr $WT Wi WT qnrre ^T^r:" H si si WW 1 W^cftHT^R *TT^r?ri \ iftwrg^TTn ii *TOT I ^TTft^T^T ^T^tS- •TTrT TTTaRT 3<$TT^ Tfa*. W V S, ^^IT I 3p*r~ sfit^TcfSR | ^Tfq fi?^t I fa^T ^TT f%TOT W"U si ■» Q W HfY' \\ ^Tf^^TTTTtr^T^: | TT^T*rT$T T I ''T^TrwfwwreR^: ^TTTTT^T tru- ^WT ^Ti TOcT. I sj \S ^PUTTi: Tfs^WIT? sfrrfa- w^T^^faf%TW ^ nftiTrfT." n M J ^ S# *I^T I "^raaw *wn&fT3 to ^*N i v» \» nfro wflT fro*r frof^wfa $ Tfro:"if ff ^ i t (syc) fflwi *33sn{^ <5 ^arf^ra w* ts w£ i C^8<0 wm ^rferfi?^ r\h> sctpt i srw wn u ssw TOT i "^TO ^f^ff ^ TO ^T^TTO^f T ^ rTO SfT^if^7^Ttr wrs^fT 1 ^ \ xfn fTO^fa *TO fTOTTTifrftrrTTW *J*3^ ** " it ^T ^T^T^TO^T^^lfTHTTO TO; t > \» fTOfifarRT^TT^T ^T I ^f?r Tiw fsr.^re: STERUf%*T^^T jfv: *J*ftl 1%9t%rTT', 11 ^ firwTT^T^: I "^SRpTTi^sjr HT^Wr?JTfa 1 ^fiTTT^r Tpr^i ^TRT ^ $" u m ^trfwT^r. *fer: i "SIT ^T*§ sm*P3Tw: ^ ^ ^Tsftf w ^TOTWf TTW^T^ 3 ^7JT|%T *nt | \» \J ftf srwaro^ram: uriiw. ^HT ^cr: ^T-^r^f% w mj ^T^f?r" 11 V* vt ^ *rw- *mT II * n Tft TWT3Tficfa^WT TT* ¥T^ I TT^Tf^f^rHT^T *TT*1 ^WTWT ^fat I *HW- 0\ 3T^nf^f%rT I PrefecTT^- T^T^^fa^TTLW: \ 3T^j fl^f^rf 1 ®\ \ ^ f% ^r#TSW. SJlSfT^ TOTTT^: I U^TT I ^ifaVT^^I Tf^T Wfa? T. 1 il^RT^ 11 (^) f?k^ i ^ft3f%cRT% *TT* ^faT^T^T^fa^T^USfnT- \J \» VJ OT. rf^ WT^I \* -1 *i "3^«rt ^T"H: 3vOT: ^rfTTT^T: ^fTTTWT. I f^frT 7J*rTfa^W^J*T ^T ^W^H:99 » wf^5 || (.fSf) jw# i wsfi ^ ^II <3^ W T^TSTf^T^^sfiWsSP I ^ sET^snft- ^f^HTWrf^"5T^rf?!^TTWTOT^ ^7q- I 1?:^ T^Tfiri ^ T^R- ^ifq ir^T^fraTrT t%-=TT*T I ?TOTf% 1*^3 TT^TSfa WT*T^t?T M«T. qT^TTfW^T^T^T^^T- ?! f^RTf^fWrT ^TlpiW: ^T ^TOTHT II (^) I ^Mtsifinajsri^^5 sfifam TO || t? ^r^r- *?^HFTT^T *3$: 3iT^Tfa ^fk^ I rf^f 1 (^a) f%T^i i rj^ **^T 11 "qf^nr *r tz& ^nc^fer *rw vm \ *\X ?*f% rTT W§" # I! * xrf^r^ ^fcr i *n^iJ ^ TOTO*- 711 W#f^^THT^3^T^in^T*W*RT3: m- ^SJTT I r?^R ^flRP T^TW^TTT I *RT 3T 11 fqfqq^q^qitTf?sfq^q q^s^m ^Ttlr- q^qqrw fqf%qfqqifq^Twq q^qT ^Trwt q^T WTT"* ftW^T fwft*T: f^^^T^TTT li V v> J wft ^n^virrr: t tr^rr$ *;jjf*tt*£c*jftp*" u ^T^r: TnTOH^ "mftfr *pi TO u *gt m t ft 7R" T?;T" * 11 \# \J> \Jf ^ftft^^^T^Tftiftf *T ^T^- ftrfrerifTTW TRT^^T^ft Tin *T TOcr Tft ft^wT^^TTT i ^ *ro ^»5: TT^T- I ^m: ^ftft^^^liiift?: s&ftTutmTftf^ ^TO^T^Tfrotft Y^^nrftqiftrTT \ ^ ^ ^fft- *TOTO^ TTT^T^j f r£ It d V*' (y*i£) w w^mwm •^giropcf*T: ^W **TO*r fk^T% ^ftrTOtrorW t * ifft^rreTO Tft i **f?^TwwHftci cf^ %^rir *iwe?t l ^ cf^frfir ^pr^ijfcT 11 sft ^ ii *> 8 wswqfcfq: I * fwTrc wW' w ^ TTTW ?r% *?nreT ^f«rf T^ww^rTT 11. TU*^ "5JWPri ^T^TT^t i (Xi°) iT^si^rar i ^fqqf%rTqr%s4T^Tq^faw%sw*rrftTwmqT^- *\ ^f71 f%fw: \ ^W^TWTW^W- w: I W^SfiWslpTTWTWT w ^i%w?rftiwwwr q^Srfa *rfa: i tii ^ i (^) mm m^mmm* 11 WW qjWTWTT^fawqrWT ^fa; q^wwr wwr u "W^ET. W im WW WWW W#3 WWW W I WqWWWTWwfaqjT wfawW WW WW -WWWt" W j <1 J ^W farftWWWWW^T WmWlTTfawiirfqfasWWWqT; I WTOWTTT WWT n "wrwfar qfar ft^t ww^rwuw fa*fa i ^twrtwf wfawrqrw fwfaww favfa to" n WJW wfaqT^IW WWTWtwWT^q qfaqT^m "WTfafa" "J wwwwwwwwiwfTrfqfag ^q;w wwwfa i qw wwflwr- WWW qrrffr WWT "wtfa" WWWWWWWWT^farfqfaw vj TR^T wwwfa i WWT "fa^qi wwqrw" wrfaqwwwq p otX t(«T: "^qf^nTpR" x1Tn wrf* i wfa V Rrfwft ^Tf^'JI^ i "l£RR fT^TcSTnT f^?T rf^- TO^RrT RTlTSlfacSlfimR: I rf^RRSJ TRljfaR^rijT I q^TfiT II "fTRTRra OTft" I RT^m VHT II <'^3icT mi R^TTf^" RRRT ^T^Rrl^ ^T^rf I q^[- *TR^ ^T I "rtt^ ^ST R \ rT^T ^TR^R^^T ?5 *qTT R^TR II 3TT3W^t"RT RTfTR*RRT$SrRHKfT: I vJ Ni ^ RTR^fRRr^ fa^Tft R^TW." II • J rR tT^*TF2fafaf*r. IfiT^Ut% §^rT^TT ^WW^W^faqPC W^Tfrr II W W.WlfWT q^T UrT}Tq^rcf^*IT ^TrfT S^\f^ q^ qJW I r^TH^T ^TnTT5t% ^ ^ ^ WT* Vj C\ qqqtw. 3i$T T^: qTVWTSWT q^q?T- Tq^WcqiqT^WT ^T^TT^^T qfasjj I "q^qifa^W^fq^^nNqTrrqiT I rff^^TfilWT^T^WqM^T WT I) N* f^^^rft qRc^fS *?t I C\ fW^TqqqT *lfn TTTT^qT ^qqi^iqiT" II \i ^Tite^TT^3TOT3T^^^^MTTg^-G^r[^7fifr- ^rTTftr^T^TW^ft^fT^IT Wqf^T^^fq^TWqW q?mwfa^fq^%fwqq?ftfqTWq^qqq;^q%(STT I *SR ^ q?^rq^ qitrfqiwi wfq ^^T^fi: q^fqqT n "qiqnqq^q^qf I ^q f^q^TTnRT"^ %qq?8Wgfq" 11 T< *TR I IfT^TTW *T "WSPm ^TfTTT^I^ ^T^H" ^Tff!T^T^- iTTTTS^q^^r^: i T£qq^^wf^qrq» \» vl si ^"^''TfiTftrnTOT^TTO^RFT I "^WTTTU^- 3 T^TfT" I Tf?T "71T- qq" "^qqfq"q4qiqr: "fqTqftfq""qtq- *?tf^" ^ fq^: "qm" Tai^nq "qrnf^fa" qi^qq- f^qqj "fqqn^qfq" qjqqqqi "»pfTfq" qi?qqqqt ^wq» I "?JT3R??IT TTwfMt*RR$3TT*T- \j ^T ^T ^ ^ *nmT Ir^TTjRpft- V» vJ irreT^nifhg fcrefH 3*Tl%^nfi;" ii a UTT. I "BR^TR ^TnT ^^r^^T^SfTf^fff^^T 3% 3^Ctf?r "STf^^^g IT^ftrf | SkTT ^!fTHTT^^fTJ ^ qqqqt 4nc*j^q fqra«r: qf" n ^ q??tqqTqTSfq ^T^qf%4qrqTfqf7T qqrTfSfiTTTq- s» N ifTTT: ^WT qr^TSTOTq T<3^ I J ®\ 4 'qrqftT^^ltwq^fwiTqu w ^wqftq; \ ^T^qrqTq^iq q^q qtqrf^r qrirrf " * n qrq ^TR^N: qfiniffTrt qfas Tfa q?nrm "€t^- WfTfq" Tfq qnps qRcBRTT: TETS^f t fqrg 3r ^tqq^wqrfqqTf^ ^qquqr^lfTTT qjnp q qq i qrTqra Tqi^ qTWT qqT^fr ^qqm:" ti * quite *fq i qnntef^Tfte^f fqwnTw ^qq^T: i 3Z"WJRqrreqiqx qw qrnfq 11 q® 11 $q$r qrqTTZ^fqfq qqfteiq; 11 ll "■^t T~& *tot 7f TPR ^1%fTTf%( «TT"^Ef -crfTTrrf 1% ^THR \ lf?T- *TTO3 ^f^TT. *%*WrTT%r§ ^fHt%T" II ^ SrTTj^TTTTfip^TTT *TT^ TT?T T^Tf^l?rnSl*rt "*%*rfflf?i" ^rartTsjTwrr. i wsrftfrn^ tr- >»5 fTWT^ ^1%T^ I fw% ^ W^WTTWfT^T^il^T^t W^^riT TOftHTT. ^ TTVT^lifF T& ^T^^TfTT. t vj 7T^# S^T I "WTTTS*? ^tWl^TSfa ^rf%^R7|f I ^ I -1 ®\ TrT-a^rlTTI^TTSs^T^tr^f^fv c^TT" II T?2TT?T T^T^t ^ 3WT- ^rfTf^f^^rasfa I O^- VJ C\ iWnft^T^TT^T^nffT^t ^WWFTHRR- ^TWT^FT ^ WTWTf^q-tfir^r^^T i ^u^i?r^^^}T^T^?iT^T^Tr- rRTf^fri" 1 GTffM ^THU Tft 7!^ I *rfr f% ■STT^rfrT KT^lim I t^IJl^fapT ^JTT I fiff *TTH £*in^ I ^IT^IT^q^f^ ^PTTOTCp^csr ST I UT^f I <^T^1<4 I *ff% fT^T ^TTTCT^T^TCraTcT I cH^ T&^pTS5rfT I "■JWTJW^PIPST I ^ ^rr^ 7raTs^^1%^f*P*torT tft" n TOT fTH^spl: ^fr^T- II * II m ?T-R "SftrfTST^ra I j (^) I^5?t I (5?3i ifwiv ii ^fiTOPJT: ^"fftrJT^^T^tT^^TrTT^T *T W^IT- TT*Tf^ig%T*ft T ^ ^ftm T^Tft: I *r f% fTOTCTCftWTW rl^ft^ft I W TT^IT q qfqqftcqTfT" ^fq ^q- mqrT^Tlfq q qT^m I qTqqqqi "qrsqqqqTqqq^ qTO q^fqq qq^qf ^qq^T^^qT^qm^qrqqTqqqq qq^q qqqr^Tqf fqrft*^*§T^T^qjfq^qr nfq- qrqqfqqTTqiqr. q^TqfqqrqqTqqTqfTTqqqf^fqq> \J fqqq^TWT Tjq qfT^^TTqUT^ qqjT* * *3^ sfq ^qT^Tf^rfq" l qq ipg^ | fqsfa^ qqJT<3 qT*? I q^qfc qT qiqrfqTqT qijTqqqqqT | qui? q fqqT^;: I qj^Ssfq q^wqqTqTq i f%q\q <$ ^ qTrq*sTW ^t%: I ^fqfqqpq^TficfHTWtliqT qT q^T qT I ^T% q^ifqTqrf i f^qtq *5 qTwre fqqT^: 1 qqjqsfa ?3TtaiPfrf%^: uq^ qqq^q qTqr^nm 1wqTf^- qqqqi qqJTOqfqfq %f I qqnrgWHTqT- iftquTTqji *jfq: i "fawqiqqTqqrfqqTfr'sqT- qT^qfq*qfqrrPcfir 1 *wq q ^q: q^qTfqqmqT- ftW I II "^IWf i?R T^utl" TCT^mW'fcRf^TfT^T *RWTOn? ^jcT. tfR^H^Tf^lljtTWrTT I fa "gft^T ^frT" ^JTOif?T M^T^flrT IIt%W I (^=) ^Tf^W-TOlIT^firrf^raWl^il^Flt I w^rifrsfirate^ sjip 11 vj Tfa ^ wi^JrRT trgif^". II "HTj T 3PWXRW77 I f% ^TrfflT^T ^Tsmwwm 3T uw. i v> * *fiWi%fcf | ^ «T "31 *RfcT Xf^cf: f^T^r: ^sW- wx i w*rcwsrcfafar ^Tfccrwm *nr^T*flf II xfer *T° || Hfrff cT5?*Rf ^T^rJ UcTRWI: ^fwW II TfcT z\° || (^oo) aiirprt §wra« I ^inqre^ i<§*rt II ^iftifti^sRTT'J t f? "mfa f%HT^Tf^«JT TWT^lTT •JT»fqfFf; *?T^nm nwpftHfe^^frr i >J ^Tft"R || *nff i <<^TS^T'rrTTf^^T T. WTH?itgT ft^T^R 1 fhRftft^S $T *T*R^T wSft" II sd $T *T I *T #TfTOT ■RiftfaTT^T^TT- W^RftW ^TRnRr?fa^T*rT: 1?T^R^ft- *|T: I TRT^ fa*TOftfam^T^5Tnr03 TO^T" TT*TRr?T | ^ TWRT TTife ^3i ii firg i (s^><*) sn^sn %si *nst ^fai SJPTO^R i wAwq^aiitq ag^ Kroai ?rarii Wiqqi fsj^B^ f^aii%sfiT I p?l%aii aq*€1 ^ftin ^ II ^gt^at ms^wiai# fl^iaap I ta*n faira ^qt ^ n q<^?f "R^T^Tf^^WWt *TTfc3fT^W^TWT^ 1 cR I (^a) qTJqs wiifi nn i taaniih^pif fa> sn®nfawffiw II I klfefetuLtifejlk l^sjtelkkJUfli* life If klttkJ&felsjkjBlIk ittJSfe k l«±fe II :k&MsBife£fe * 0 y> V- I akte&kklK&Lfc lk>Jk£>kki£ll {n&k) n <<%^jyyyi i2*lk j ^ ^ \« s* \* \» iky^ ttyi l&itife :iUinttife -£ik„ i ikk i ^kmyiik ymiksitek; lk lfe.3yiis.3y. I i :kklikte& ikkkii i !kikyfekftii^k3yilajiykJ±ii. kk£tik&:S -&&. I kikklkli kJkjikkykjJtyiklk I ik^Js lktek II jyikljkfcl! lkk I ikS. £kjh. ^lihklkll klfe II ktkj^ ktek feMli^JiI^hllr I :lk^kkElteteLtk :1^& lk fe=h :llk>k 0 II klSik^ksiklMik k®k :l&fc UbfeiL^I>l^\^W^LtfeiL II :ktt llkMlfeLkluk lk IteijlteiJ feSlteiJ I klkblkfc :ttlil>Jk.njfeLt UtotitSth II :lkttj^ijh Llkijlfek WjiIsr: i ^■(WH^W II £WR ^91 vi TRSJ^snfrfqSR: I fiRltl WT5R SnPlsEWT I^TPfrai II **i#q fFSRi^ Wl I siwrcqFnf^ n ^pngi^R i ^ftoi^i^niWT^fiPiwfa II \i I ^TOIIf JjrfcqTW^^Tf^ II "Spsnr- ^ITIT^ *TW^nr? I (^5><*) m spu^n* i ^fTS^: ^ JlWTf: ^f|5|: q^FIR II ^TUT UT WTTUW TT^W Ufa I Urf 3*t 1 *JU^fau fa«f^ cii^ UfaT^SJTcRT!T" II TWTfipTT faTfafT: UtrfT^U^TT *TT*? ^TOFT- I! o) fr yJ ^rfT ^ ^^TT^^fTri q qq I q#tqf*tftq qif^qqiqrm: q^ fqr qqq- Nj "*» q^TOTqqqT^q qqfq;q: q^T qwrn q TO ^T *TTO qfq sfafq TOTTm: I cm: ^TOTTT 1 tftqiTO qqi[: » (^e\) ^ irain sasua1 aa qr^n^a namita^^i n I TmS^rlT^TsfT I I #TS*j T§*! ^TsfT^T^ W*nF ^ **TT^f?T I I 3vgnffl3PSW 3"rm I" "«nNw f%^f?i fMlf%» T?(^TTTWT^rr *fOT*J fafoPr^TTTOT s» ^Tpyftq i v^i wt i qr^ I WS I TT^TT l$TI^I *T I TT^T I \» s» qro i ^ i i TT^TT I w. fqr Tnaqfa iqrij i *nr siftfa *rq?r. i TT^T I fVqr ^ ot^FI: i qrir i «r OTfin: i- <£) nisiiis^l^^n ^WSfflifltsRi i ^^l^fsNN: ifri ?raT II ^^WT^frfa TjfcTSV^ \ TOf ^"SWW# TT^fa^T I "TO \f%3TT \ \3 (^o) ^r^fasiiiw if%^i i ^T ftT^ft^ ^ *fr HT l*?T- f^T5FT: WrNf T^W^T'TtWTRr" "TT^W T?T13Tr^T f^Trf Tl%" <*T%: 1 ^H?RfTTT*. I (^\) i 5^ II ^TOTfinjT^ WT^Tif^Tlf- faita T3T3?M: I I (^) 3R ^Sf^filWMt f?RT S^T I 1T T^TWTfltW'F'T'lfT^TtT 5ff*n*}fWF^ *f?l Tfh *T*TfW ^T \ ^ Mt^T: * TOTf^T^T^T^TOT- I (^®) 3# stoIfs ITT qmi WTT3^^mfwfrirrwt?Tfw- ^TtelrofTT tot^i tffa:" n ^TOXfT TTT TftTTOTO^T 37T^ITfa$TO *#TOTTOTO*TN» xrfwc^^i i ^fr^T- WTsfa fTO*TOf%TOTOT Xffr^T ^TOfami I TOTfa RTlfTfa IT^TTOHJF ntf* I ^T- ^TTTfW *FTOlfa II (^) Jpn^Ht^iwri TOT i " ii z\° ii (^) ^ i T<5TT^t ^T^fT^T I ^T^TT *?T3T*T ^"OTT I ft^Rft ftu*i w **tw w * ii T<^T^t I rTT I *jft ^ ^ ST* ^T^T ir ^ % yc^T fraft i ^Titr^T *T*«T^ i ^ ^ ^ ^t^tt i ^ i ^T *r ft* ttw^" ii (^>) vt^ ^W5|l I ^T I Wsf || C^8) s;sra u "qf^rfl^JiftWT^r ftTT WTfsR ^^fawwwTW^rg i ^TORftT^irT "Sf^T^t JTTW*. WTft SRFffRHng^T ^"PSHTO" II xm^ 3W^t Titt\ •"q^ir^sr i wtttt $^rfafa" i sj ^TT^TprT ^ W^t f^§rt I 3 ^ T^T W^T * TWT^TTT^? W ^<§ itf%^ tnn^f% w 11 thit urlr w*rmf%<5TTf%" u ^ TW^Tt% 1 (^) *rmi ^r: i A \3 %ZSfilt*Rili(JTT JW I =?r ansn^ra ^wron^d n* n ,.,.w.,t, "^Rc^TOI TfT Tfa WW^W VI si #f S* Tfif f%*T <* ^W^TT^T" II * | ^imifxr W 3T^cT^: H*TT^ SfW || *Hl Z\*J t WiJ w JITtc^I II II 8 n X snf?j (^) wn: ST3X ^W^xftrir TT^T I H*T^R HT^ITrT^fe^TrT 1 (3^) & ^ |ifr(cR^ | S^T T«rre^?t TT*ft i "TPT: ureraN ^ rfmft ^ i ^ w *®r. II (^c) ^T^tSTRf^^^ ^^^•f{Wi II "% *r: w f%*rfM ^wsr^U^XH qmft^TT^wrr SIX ST. qr^TWSTT^ fjn^TfVwJT isi^szit 7T7TX C(T * SJX ^Tt% TW ST^ ^ !T?ft^: ifivrer^ W ^TrfT?TSrr^^ITnT#T5^" II (^O WRwretar^ 3W ^n* St SIT STXlprl# x\T5\T j fa^ZrffawW ^ vt fRStXSTC^T^Tfa I rimf% I "^^H^aTOTSTSTiTSX: T?^Tf% \ cfrqsjfTT ?isr^xsi 3iqx^f' II (^®) WW ^ I TeTTR^lt TT^T I RTO T^ RTf^mfa- 3Rfaf?f R^RT R^Tf?? I (^) f%sn£%s««n*i?n it to srpnRtri^ra TTT. I ITf^T ^rSrot*Ni*mT 3iTrif furift i rlWrarTOfft 5RT?*T ^xf^fl^IT- \» R>I*nSt cT*PR*TO*pmrg" II (^) to i i U§ *T*Tfr^ i "^tm^igrq§ ?!R WyfrTTT ^TT THT^rerf*W rim^W RT"^" ^RTTWTTOT I v» TsWW^TTfk^Tfw TifTf% csrTJT^^T^ftVTT^S^f^ f^W II "RT^TWTlf I PHN$ T^ ^TRRTc) =wn%$3 ^wi&l 3JWRI ih I 31% W; II J^mt fw$ ^TTKFt ll^T fraT | Tgpr * vrff^ftfa i Hxff^ *TT fwY?uf*RiT ^*rrs? ^nxifw ii ^ it z]° a q*sqft#q: j qm TOT qfvfaT*. i qrgiqr^ qsfqqqqTfqTiT to ^TT^: qq;qt i i f ^to qq;qt q qq ^TT^JT ^#ti^TW^qT7T^WTT%3^^: i (^e) qqT TO3 TT^T 1 ^TT qqiTqq q^qi TTSH ^T^T fqf^rf^^TTIT^^ ^T"q% I S£W T I "SgT *TT4r qq qq q qWT^I^ TrTOTOT q9 T$VT^T %g% «TR^r pRRT *JTIT R%*RT ^fa%" II H Tft ^ftT^Tpq§Tsft I (p^) tfan&tftaR: I *J*IT ?TO ftf^ 3jf?r "R^pf: I "TO TO*? R^T. fjm*fT*RTTO*WTT ft^TOT N* \» S* ^ "RHTRfft I ftf I ^T^TWT Rift ft * I TORT. ft^TO I "UT TO^TT^ft mTIITfrTft Rfr^T^ ^T TfTTft I * f^lfxr «ft«TT II *f® II f ^irT^i^rTI^" u (^E<0) ^M15jgiqJIU^f%(W{Jlf^ || ^T TOT sTfvfex: I >J ^T^faTOTfafr OTftm it# ^ to f^i i fi^roiNr sftf^rresm tottottIW:" n (p) TO^n rj friNl I ^T TOT ^r^T^ro: i "^i "wrrftRr *f%?r XTOTO ^ wsxtf I "TOnlt TeT^ITT XT^TfHW^T^ ?r *\ 2WSW^p3TTf%^ ?5 TOTtTO ^TT"5 W I TTO TO^nXW^XSRT Sn*r*f ^ "€^TXX ^fx^witr ?§r\: wsm:" u (^O *1*IT TOT I "TJ m: TSTOnTTO^TfT^. 1 TT^ X% «T *ffiT fx^XfaX^TlTfTOTlP: TOT** sj fl f%^TOT?fimr5i 11 *nfi7snrR*ff i (8*x> wiWiFiifcwTO ii i "W. | rf^f% ^#TRi^f*-rf?l¥" II (8°^) fiifc} | ^T TOT *fter. 1 "jf^fri# w m *n*r*rat ^fr- ^<5 TOfft m^^TTT^T" i (8®8) ^laiWlK S^IH I mm ^4^ I "f^5: fa^W?T*ftf?T I (goii) gq^inrtsnr^ 11 "^ToTT^: ^rlfiffiliwV^rT TO^r? fTO "R^T wwip: wsifew. WTT^^fiT^TfT^t f^RffiT vfn-% ^TTT^W" H ®\ ^ ^R*^TTW#TTO ?lw5N f%f?f: I "rs ^ *j*sraw «T"RT Tif7|^% ^ qfr^^IR^3%TOTlTTOTWt *[5| sj ^TOTO^TTO^TTOTOJf fimW C\ ^-RTT^T^TO^T TOTO I *T^T TO3 f%f?f- ftfa" I (8®^) Wi^f Sm uftfafo: I ^zWt^ ^ Pfcrf II ^[JJWtf f|^? ?^N t% gWTC | T^ I UIW&RTfa I H^ft" ^ nwmfk^t y (8°^) TSH^H^shlWT IrIH#?P? I *nsrarfa USTTO iiiciHt inwrrai 11 WISH wisgHwnif iiT^i qrer i ^r#n tri sralNHWHT *#T n ^Ifl^fraT ERHi^ WIH | "N ♦ ^2}^ «TF33njf^«iTO$T || f^rTCfJ | TTT^W TreT^g^TW^Tf% TpT I ftraj- ^T*TI s» (8oC) ^PSH | i <5 sn^%t^nqi7^^n II cmt ^ ^wt i *n ft (Bo«*) 3|TT I rT^ER!33§\7n«{ 1 II ^SfT^T^TW I ^m ^TT^r: | (8V) W^ CR: | ^ ffoTO ll%: WK^ || I ItRJI H?li: I c . , <*" ^ -v ,, ^pW^Il^IFlTCW^I *112^1]^} II ©v ?nt (^) I^TSJ^^HI^I ftfW HH l| ^luiN ^SpTCWTC ^ I 7!^ f%f%rf ^T TWT^f^t I 3TC^"tTT WZT* I "W ft ^TT rft m ftlft^T ift ft 3*3*7?^ ft^-RJ" * I *J^T ^T«§T«rft I TT^ft "Rft ST^WT I ^ ft ^ft^lft t I TT^TT ^RT%ci: l^l^i treffi" \ ^T T«TT«I^t I i I * *RTT^TO y I jk&kjk&k ^T I ^T^T^T TITW s^T^T^nr | <3R mmift | (8^) i mm ^SJfTCT f^I^T ^If^T rj^l II mw> mw i fam ^TP? ^IWIi: qft€frW II SF^IRTTpSn'Ri ^3^ffT I ^ ^ ^T Y^f% ^\W^ 3T Ifewj ^f% UTTJ ^w. i f^re: PF *?t *n?^rf^- wtIT *FJ^iffit" II , C^i *"v » *"\ • (8V&) JFara^WRHT^ ^151! W*^ I WTO1BT *?^T TT^9^T*JTTt ^TW^T ^UT I ^snRTpT r\^ I fsUTOT 3JSJT TT*TT^W TT3WTf%?ftTO^ I (« c) #aw ^ wt^f^Hwiwin^ra: i *jm €tT^fTH TW i f%«r ^^fr^rT^T- WW irfTP&T- "R^T^rT: 1 ^TSJTW. I TTO 37SJTW * fipr. ^T^fT^rTf^" i (8^4) HT^IK^^iTEfTOf 5fOT i wit T-jsn^o^Ruit 11 ^Fff 13|0^ntti ^fgqt ^ifnur^l I J nr^n II ^l1%d!I5JI f% I SPfiTCTOf JPfiltfat II f^SIFlt 3^3lf^g I H^ltl ^ij|€l g^ll^q II ^€^WZRt^P?Wtq *3F? frrcifafiT I ^T^Plt WSfiFII^ II ^nHwifi^TOt 1^ wr ^w5 ?fi{%P II iNSra n*m^ ^ i ms?f whspi^ ii ^w? Wiiwa f%ff%rWIl ^ I twlU^Wmagreltl II fj^sj ?|^g vnfqrf | ^sirrenTWi^fat ^lin 11 ^ranli H) fti*® ^ nt%sis^: iraism I R^^nf^iraT ^r siwsim^H n *I^T I *3^: #Tl%TT$fa jmf^rr: i 3TT*T wfT^r 3jTT *mw." H \J «\ vj (a^c) ^i^«nfwr^35»nfi i *WT I "WM ^I«TT SJ cRT °RT frlTT "Srf%T*TT f^T" U (a^tE.) ^TireMl^S?ii?5?TjJiTH I ^T WT *ft*f TTfrT ^ I "TJ3 TIT^ I *TTT- v» "fT W5 «FV ^uro ^ftir #rvn: ^^■'aPfrpTr \\ t (aa°) ^'srai WKT^rei ^ wq^m: i * ^rmcf wrasr jrftngcftfcT»*r° n ^1® \\ t I ?pf *WT VfpmfcT Wf ER^il^T^ ?^T*. W* *hf*^ TfcT II || "T*i ^rfwTO f¥ \ f%^T*U f%TO*T %?TT f%TT *?T^ I (88«) f^Kl I sim mm m^snmsit "mm 1 Tsrfi?si^m:ftf%f!- C\ •Jra^i^srf^TTT 3*rm I SJrf: | m?fh frfNimWTfa 1%f^7M TOtTT | (88c) 1 *mr iwf 1 "SlfmifR^ %f?fTTS I «*5N *rsr mi^ffspsiftr \\ (88C) ^feg WlllR 3FTC SIMIpTCFP I Sim m^prTSl "aj^rro 3^^ fasre^ftem amf^WUfaTWram RT ^R Hefttf l\j{ T^Tf^'ll vJ A 2 (84.°) qfeqifti JJWiqfa I ^f^JT TO ^TOT*lf ^ "Rffl | "Z[X TOfr^T TOT *3*S|€f^ W *?T% 3*1% f*T *13T%T TOfa Tc*fN 5ffan tn£xrft$^t i ifa^IT *?fa ?Tf?5©rT" 11 (8^) CTI^fat wpfr I 3wt 3njf%*i vft ^sfre*r. i "TO(51f TOfM ^rj I V* ^Sf^T f*Tff% WIT 1 f^TTrf ^T^rf: ^$n**T"ll Sj V \J (8^) f^KWqyiW^: ^«Nrg t%jsfo I *T*IT I "H13T ^TofTH^TcTTT H^T§ th OTT I F*fa TT^f% H TT^ rT^JT ^Tftl:" II (8^) %*n ^ ^Rni^-ri-i i WT^T *J*IT I trff -^T3TT FT f* fwtow \ sS ^rnSwTjTfta^ ^ fira: ftft^^rTT" n Tli I (8 ii (8^8) I *TOT TOT I ^irT^^fTn5IT *ft*T T\f(\ "SjfaftfT. I "^TTTIpr ^TT^^TOTfic" II tefi) w^r 1 ^T w i "TT^r 1 fw 1 ^lpTt% f¥ WIT I" ^TOTT^r Prfro 1 '"SRJlftff7f^5Wrt TOT^farTT ?T3Tf% TO*^" II (8^) Tjnrr^t sfiVtfo 312 r!% TJTSI^ItR I *?^T ?!%f I *TO?T TWTtV I (8^) ^ inm ^ICTay??3< I *T*IT TOt "TT^T I ^ *ixfn *TT#§ fTOf^T I s# *JT T3T^T IJTOTOT^T JNtoTO HfTOfa" II \»\» (84C) WT^^fam?MTf%W^pfKm ?JfT I I "Tfrof^TO: faf^TOT i to TOTTO! ^TTO^fa frr^if" 11 J v» («^J WT I ^ *»T$m TfffT I mir firaqr^fa" II sJ (8^0) ^rtrorafafj ^n qi^T q^KI II M4TWI<3W9foq^il%M^) JR#r 55^11 ^T TOT I | <%j ^fcj TTSttre'rem# Nj T<5Tf^" I (8*5)^) W J?mi ^ IWFqfewsi* I T9T I "ignwi w \ \3 ^sffcra TW *rfa H*re" n vj (8*5)8) *31 qftw* ^frsfa ufa^u* i "TT^fT I HT: ?rei^Tfa: i far *r>*ra i I fafaTOTcT TWTf^" I (8^**) «l^T "TT^T 1 H=Hft TTI ^rTftWWTST:" I (8^) I lp$ "TT^W: I TOTft ih^faSTO^rRW r?T^ II" (8W) ?T^ <3^J3 [ fa^TOfawa3*rr$ I "fatftW. I TTO^T^fal- *3nftfr!" I (8W) ^BTOFTOipiTCh ilS^I I °\ * *wr in^^r i "m#r3: i ttw y*: y^€- *rTfs<*TCTriff i W^^TRTTRfTTST'T I (8^>) 1 "T^fsn?"«?f$rrsf* TOwrefij i fro fro tt^totow TOiteq^sjr$«r:" n («cc) ^1^1 ^ qft^;: | TOT "^T^: i fro fro to f¥ to- ^T^rt% *1TO ^ l?IiftT^t%TO qTT. qi^T fq^T^fir TOJTfc" 11 (8CO TOT 1TT^% ^TO. I "frotTOTO^Tfa TOT*- «rT*Ttf?l" 11 3UKJ (8<£.\) Hw)M«i W^TffJTCI ^reifq 3I3H | ^T WT WiT^W I "qiT*TTTf^TT^M ^ftfa faf fafaf^fa I fJsSfJTfflrTO rTTrf flTW m^t" II tei^) ^r%m mw\ ^ i *tsit wf stf "srfir i *rafq rTT^T^; vr4- q^rf i ®q: i qr^TO^qj irfrr^"^fqqwrfV'? i (8c^) ^fiWFl^^^FT ^T^JT cm i "^EITW. I TU?T: ftrnqref^ TSJTf^" I ?H#T: l V=Q TT^IT T?fH I "^lf*l mT I I ^Tftf ^Slf^fiTf^W^rT^WfSrTf^" * II (8£^) ^wiwwtiiw I ^rrarrnrsroi I ^tt ^T{T\T ^TWTf^T^T^ T?*nfi["l! vi (8<* $ ^ 31 I I "^Tfa %fa t^ff fngf%wi4w i *T*1T I "TITTSniziTW^^TTf I riw^^r f^irr t%^ ***fqcr:" u (SdL^) H«h-rtot|=h5y-i*rJ ■Et^T "WWr. I ^^T>5^r^T favnci" | Ni \J V (8££) IR^Jpn giTjfel ^T?r ^IVH^RST I TOt "TT^T I * ^Tftrwfcr i T^T^fcTfafair^w^WTK u *r° u^}° 11 TPFrPrrt J ^f%"g*fer§T*T"W ^F5R I ^H^Tt%TTTfT^ ^1%: ^Tt! ^T i "^r^KW%*T^TT^TT^ *ra f% hfx («d®^) t^FTO!^ rlf^F I ^ fwn n l I ^T^TfT- "Srf^ufa TTTIiTN^ f%7TqT^jftf?T" I (y?^) fqfeqiqrercftrr SpRf^mf^rii^n i ^qqwmrq q^reiTifRqq ^ ii wqfaM »N fq{qqifa q i ^qqqiNqshqqfeq qojqfeqii n qpaiW "Jffi *RH 9q^#7TpnqT i %5T^q< 1R feRT! qq: II qqt qi^ i v» C\ *wt *rr*rait i "*re»T^: i wtf^r *^TT: I (y»c) ^fgq W3iq^«nfaq: I irani qqq qfis qq qlroq fq^ n 3tWTf^fa^T I feq£ Tqqiqi55rarmrrmqR qq: n C\ sj \3 ^iqqqKqqfqqqqqi T%1tR | qrqqqnf'qq fqq^iqiqRqqr^ u qlw^jiRqw qiqiqqwflqiqq i fqqiqif^qqtqTqq^iq^^q^jq n si wrft#I v", HfN II TQtn^^ TTZW WWT STTWTTWTWW I T?WTW I W3T5RTTO frf ^ifsRSR liftlifall I JJFTCISft Wlli^ fWSWcWSSIW ifeill ^MZlWfiWigtKI I falTTT^ *r*JT 1 ^T^Tfft- (y^) wfiwi pi mfa isw mrc li irfii i 11 T1 W^W^tlW- || sgWt^UHftl I %m Tf I t ifa t^ew- feWTlt I WTZWirafaWTcT I W1X8) ajram: R>STO15H^J?I: i *I^JM«lt 5K3%tw^H! II Wlfg I ^fj^lfTR:^! 5WIP TRW 11 'dsrftfc?! f^T m T= I IWpWW ??KS^Tff^T ^ II <£P9T witfarem>) 1 •*\ *\ *N ^^T ^SftTrffa^TO^RTO m^T to TOT: w# ^SttosIT to^ ^ ^TOTTOT ^r." u (J %^f^f%rr^^^Rm: i %1%: ^w*r f^rfir CTTw^r#T^fft^ETT ' * i Oi^a) nni nww^fo fa^ili ^ ^ i WT TOt "TT^TT I rft f^TTSPR RsfraSw RTTHT^ II ^R*r?T HfTO RTfpfit I W I" ^ ^~i \ *TOT Wf%rTTT^ "^tfTT I 3TT"^ ^J%^5JTtRT *T«rRi cif? %T TT^fT ftunCW RRjfa^% * I W. I TO * I Ri^T ^SfTOTTRi 7TTO qt I $lc\T I ^ ir 1UTW faqT * I I f^TlTq^Tf^^1%: PffiT I *tr?T | U qurif ^T w ^r IITW q^^rrq ^ q^ft \» vl TlPrT" t II (^<0 u3f%*pi^?fn«nt%^iTi ^wqiraTrf xnn%q»Ti ^TT^Tqwi "W$PXTTI qf% ^ q»r c£*i %T wwq fqjfie njT*rtrqn- i q^ ^ ^ ^t^T f^Trqj^r^" j i vq TT^: sm ^mxixsr^: ^TT: I (¥$») WTOTCI rjSlrI< i TO {%?f I C\ \J Hi* TWTWT I ""RW. I ^WT^- >J ^q^rqq qx^ i qreifafq 1 ^fqr^qru^jqmft qfr^qnri^T T^T^T ?Nt i fqfW^qwqTfw: #Tf%qRiqWTfqqrt fR*TrnRT$"ll * u^f *r -zr^T^ firafq 11 ^r« 11 s}° li s» >* ^ t TTT mjqt 1 I§«T q"qq"i: *TRi*rTqT ^ qfq^JT *fq II *f° II II % *r^tfq i *tfe w xwnnn ST *?r q:q fcr^cftfa 11 qf»u ?to H ^iw^TJrqfcr ii ii z\o u ^ f^x^^Or« qr'° li II i ^tsjt 3rf?r *TTWftaTO I (<^) sn^KT iraiw3fi< *R: I WT I ^r*$T\§Ti\TWr* TIT^rf^aRT I "ftfw. i *t ^ *rf*i- ^jfa * I I "JTfrT ^TcfT T *R*wtT Xjflw. I 1%^^: I HTftr *TT T^TTl ^ffr^T t 1 TlT*r1w "^TOrf" TWTf^TT *TTC- 3R^I t%^TTft^T^^3T^T 1T^%^TfTWT ^irSTT: I (i^) ipn JJWI%qi^ fl fR I STOW WWT 1 "fawwtfSrTrn" ft^T (S ^m^fTI I TTO^ WWrff ^TrfT: II TTOJTO^tT^T vfWrT WTSWfW I ^pJSTOTWW WTcf ^.WTWS WW" II Tfir ^Tl^Tf^ WTZSfTf^TJ XTOIScgfa cft^TOTO ft§- srrfa I fTOOTWT WTZSiTf^ fsfwfs^T^sT%TTWl% ^ I TT^TT^TTT-gT^ TfT^TT^trr|WT 1%rTOr5twfa I WWT WTwfssn i 'sro II * iTT cTR^IKWWT wfTOTOtfS || W* || ?}<> || t ST^T^T *RfW WTSSST ^rff^fW I *?• \\€]o |j (45^) I WrH^T fri pK)Wt #|Sfifa?T || ^ «TTTwft ^rft i (458) ferffR 311 rf^r I (454) i^fewtfeWWltfcpJ IPW I w ^ w§|ti ii *reiT i (4^) m\?m 3\^ 3H I *l?JT «rNfr*i I ®\ (45^) fri ^5|t I ^T TOOT^TSfiTfiC I I si "^TO^fa^firevrTT ^ w. i s3 C\ \j ^ficT^qfT^^fgrl^W^T I (4^c) t^N WSR^iTiq^i: | »piF^^*l3iP^3I^?n: II tffWT 1 ^§T- *T^^Tft I r\^ \ (4^) infrwfcf%<4 flf-w fispipjefi i ^it%reint%?r I ?rai ?R to^I II ^Tf%WV: l W TT*^ i (uac) wgigf^nmNi i wnfwraispre II WRTfafi Jgiirasii 11 ^Trwi^gi^^iri ^WITR i (wo g^ i nw: 'I g^^R^nnf^n: I 1 ^ lt%«3pl VIK^tl ^ Ifa^ || V8 ^Tff I (HH») WMM^Tlikil* M^IHI^ItWI^ I V|K%f%ra^ ^3^1 ^ I w4 ^ni^a siw t^if^q^N H VHT SR^TT^TcT^r 1 "^"tTT^TT ^f^TT I W^T HTTJ ilfx? iJT^nrefiraSsfq wfaTTRT^ 3TT^ *TOWtfaTlt 1 irwsnrew 3tfa?fT: ig*r. 11 TfR *ra<3RTirriT i i \S s* » ^T^rTT^^Tf^T^T% fgifafofil W- C\ \J TO I *T^T^ifT5ft ^T^W:,^S5?TOT TT^TTTT Tra^f?m$T **fg- nJ ^j{\ TO^T*iWTf%w WTT*T: i gs&Tfa: gTTnfir: i g" gr^i fwrtf I STTHi" u ©v <3R iTHf 3T^f ^ ^RT^T^T TOrftfa TO^r: fire: i "?TOTT uwg 3 *rf^f?r rt*W ^TT Tft fg$TO fggf^i i TOTTOtlgft- 5 \t gi "^T^TJcfT^ #T<$:" I ^ Nj UrTT^TfT I ^f^rT fl^^TTFT 1 ^T I S \J \J "^T^r *raTT i irf^nr. "*nr faitaw- \» Wft fiTOTftSw *wf?T rf^Tft rf^^mT T ^TTf" *P*T I "^T^T WT Vtelfafa" I sf "qf^ TOf^TTT fft* W fT^T" I <3R TTO^ c^fcT T?^ I ®\ "T^P^T^ ^T" I N tR^r. I -q;4 "srefsM Yrrf^ffTfirfTOT- ^ \» W*n" i fNin^j ¥rnrfT^?T^r^TT TRT ^^NTT- ttttwt *n*: i ^fr T*TT- \J si nrorHHTTRWRTO^ra ^ I 3RW I "W ^rTrf- \J J sj s» ^rl^T *RT*R. cSjfarf:" I "HTfafa TJT ^ W«r" I TT sC^r ^T^TW3Rf*T 1 "f^sfarl- ^^TWT^Tfr^fr^ TR w?r:" i ^^t- ^TTfa f^t^W^-- 1%TO I TRW ^T *m\ i *r rWH^TW. I T^ ff "SiJ-Rf^Prf ^?(4 I i "^$f?T ^f%rTT TTT^T^ W^fa I TW^ ^ ^T4'. rf^T^Trf T3 "fffTOTTOTT. TT: ^T^^^Tf^Kfq I qftqfcrcw® Pfore II =?n%q: sfif%m: S^I^IPlWpii: I ^apiipj PSH#tl ?rai flfa: pq: cq: II >• ^ sS v.3 ^ €1^ I ^{p^ftf^l PftfW fpqSR: I 'sraillfWw^ twi ^JIFil H7JT: II wTTTf^^rs^^T I I "TTTOft^J T*T «T ^TCSRrsiT! I WTT TOR^TT" II ^W«fqF3T ^ w. i Tf^T ^Trf fkWT ^STT^I f%*PT ^:" II *3R Tft^fT^TTT^t^f SW?T ^Tft- f%>TT^: fi^T^TW. I 3?^ ^T I ^TT JraT$RT*TT^#tT^$ 3TT% ^ffTOTO I t^T ^tT^fT^ I TT^TR- *1 TT^wfti: I I Tfaft^TR I ^T I m^T T- T{$ ^TTfT^T^T twfrT. I ^tR WT I ^RT" Tl^sft TT^TfafW: ^ 3?rf CR^TT^ 3T n \» nftWR# ^T^fa- ^TW: I ^T I f%TO: ^psRf^T l W^W^T%r!^ RTRcfiP* | ^T J "UW TT^TT *l^T W. f%f?RT f%fW" I ®\ TOT-HIT* Tff?T^^5(4 I I '%<*- TT ^fTT TWTtT" I ^TOT*rW WTOTTWV'TOTf*- ^<3*TTfV3R^ ^JcR^iq- | sfi^WT^T^TW I "?T^%f?P?T TTTf* I \» ©\ NJ faWT ^ W3Tf?RT3'T£J\Ri"'* II J N rRITT'STT^Tft *f 1%W* I T$ TTSR" II ©\ Cy *l*TTOT**l I ^riTCTTmTCTOT 9TOWT^RTW I "Wf fiw^i" I "%<^T T3 f%rTT ^frf:" I "SRTTUfaW rt^TTI^Sffir. I vJ rf^T^rlf^^T^Tl%T: $THT *f ^ I "<£.) s$T9^r^ ?rai ^ ^sgid i W% <5 ^ScEpfl ^Wi JJWT W?[ || <3Tf[W % WW. \ sfi^w *WT I "rffi^W^STCT^ ^WWf%rn?TW^ $ t%^T SET: WTTfrrfamfi?^ 1%HT I £v v TOfrWfflOTTTftWJm: ITT^TW^Rra- ^T^T^T^T^TTl%fT: ^TTIT *TT^f ^T?^fTWTT'> II ^ 3iTTT ^tw 3?JiT I ^T^f:^T?[^TfT TOWfaw.faTR^RT^ I ®\ ^T*?jsrf[n^*sn^ "ffft^TrS fwi mw (^) ^R? 3Tfa "w. f^ij HTfir: ^ j^j \ i f^TTT^^T^^ efigM ^ "1 TaN I ^J^IT ( vi "f^ft^TT: ^f^W^ijTTTTTT I f^TTTaTTfTT: *f%fs?T T T" II *srt& w%: ^T i nf?WT^sfq i "^^Trn^^-qT^Tzr *TTT^ *T SF?[W I ^ i ^rrsr: i g^sfq i j d («JF®) JiTO^nwil^ i xm? i ttt TT i "J "T^T TT^Tft^T ^faT ^If^tWT ^ I H;T?: ^ ^wrsT trefar ^*jtt *r*H f^HWir. I (au:fefn^i T**pifa[*r: Tm fftW^T: T ^f%rfT (14^) I *wt i ^ HT TIT Ttt"^ TITfrf UTTmfafft ^TW^TTlTft^ W f*R *T 1J ®\ \f J ^T ^m\ fwi^I iff^T" II 6 ^%13ifTTT ftT^ff^^Tfrw: %m- ^rT*nTPRrr$f f^rf%rj: \ "T^ ^^fa^^Ppjf%rRT*i TO Tr4(3TT WnFTOTST^ I ^^fijSr§^Tq^^TOT*TOT^tftra TOlfihpR trr?5 T." I! <3R WT?rI3£f TT^ T^fT^T *T*Rf%W^T Tft: I W 3T I "t%$T WTTOIT. TRWfH^T^T^mS^TnT ^fczroT^'gT^fa,rf*Tm 3f%*r. i ^snff%l^ rorir^rwwfa: \ ®s, >J \J ^rttanfnTR: S ^fr*T STR?% T. ^TTTft-" U ^R ^fSTCrTT H^fe*RT TfH: TRR I r^T* ifT" 3TTO?RT Ti^T^ W?fT^r^T T*" N» NJ I ^ 3>nft3f?T ^T^T^^TT^rerTrf: ^IfTT*. I 5Ji^- W^lTOlf^ffl ^TTfa ^W^fTT^TMI^^T^trfr- f fern*: i ^ ^ fTTT^^TT^ ^ PlTTO I Tpff- 3PEI f%WiTTTT^T^tT7T^flT^W qT^TTTO^fPUyT- W. I ^T^rff^T^: I ^TTfa *TORT ^Trl#w fif- o» *TpS: I -QcErtm I ^rf TOPffiT^ T$I ^Trf^fa- ^PITTfa^lTH ft^WcPlT ^TfTT- V C\ **TP8TT HPSPft 1 ^ffam^P^fai*fal

3T I l^fTT- ^TfTR I ^TTO^f *ftH) '^RWRfa I ^^pnqijtspn iNi ^nwiwni ii 'TOTOTcTOT ^TWTOTTTOT I \» ^ Tft ^TWl%^:qWT •TT*f TO*T. VfX^'Z' II TWITTf I \j (^®») w; fh4p$i ^rai i •Qmr. ^m ^qf^TJTTT^TTiPT §T- ^T^T^W^T^TT: rim WiT^sff'^fiT^ tw WT: mV^T^TSfa I ^T^T" ^^WNTftwr^I^T^I xmm I *J*1T %f *T*fT^ \»vi vim nm ^fairi i (^1) xtf jn^wiCT wt^; eft n i V *TWT: I rR I (<•<> w$\ *n^*wi i •qm ^f?T1iTTWfaf?r fm | ^ft- <7MT^TTT^T7T I ^f[- T^TT^T^TTTlfl- \> J *TI W I ($»<$) SR^D ft*ra*y sn^sf^s sR*na i WTVTf^s^T ^W^Tfv \ ^ TOJTTWTOTf^- ^rf^l I (^C) jrff ft?II1 s^8c I rfU#T ^ Sfil^rilfrn: || WKJ V^l TOT I ^*?T I \» ©v *J^IT 3T TIT? I "^fTT^p# ^W*I*r ^cfcIT^lP T?^^f^?*T I T?^T^ r?T^?^- fk^\ fincft tt^TT^ f^fir f^ftr" (<*»<£.) f^nw* I fl^witq ^wmf^^urej fj ii ^ %W. \ ^RTfa ftTTR^T ^W^WTfr ^TTTTCTrKT3TTOT3f%f?i: I (i\o) ^RjaSfolWrt ^#T 3% rPrprWT | 'sq^l 3$TCI w&ssst: ^ || 1 f^trfV' i ("&<£.) Wlfl | ^TO^F* ^JIT Tjun: 11 ^ra: i i *irw5jijfm- Ifasi i i ^nrnr I H^tu ngrerauroyspit ^■granwgi'mf^'T^T^SifiTn- W^ITftSTOTOJUIT f^TT^TW^lft^Tr: I ^ISTSJ- 3T?TWTf*T I (^o) 'smifei: ?rai gq: | ^^t%lj^W?l5Jin«lt II I Tfif I I 3VT- I ^1 ^rST§ I (^) ^1 wk I i^: 1 <\^ Hi*: f%*T*nifa: 1 #Tf3T^? I i ^qHT^H»*1%fiRiT* i wt vj \» 3t*: * t?;h ^ wt W tf%- ^T*H I ^^^T^TTWT^TTOTfT^Tf^W^T^Tf^f?! *TH: I **IT I "Tt^mf%?f fri*ra* TWTf?r" i f^Ri: I I ^TH^H^TT^ra^r^wrt i "TRnr***l%*, H^T^HW, *** f**^, Tl% %J >« TT^T^ #TfMrfa"3T^n?*T llifa) tp: I ^*TO31^T ^Tfl ^T "^(pl^Tf^" I g*RTTTWT1 I "sn?crT^ ^RRTWT^TT ^ %'#HT ! flfTfT^R^IV *TOTJ V*> sj *pW^pT^rTT f*P?qW ^T%T$TqHT. I (^8) #% wi. ^i«i*£i=trai i #5fi^cfiT-niTC: i ^q?r. q^ci^ i HT T(55TTfqrqsiW^sr fWH 1 ^T- f TW W rTTrT^T^T^rf I "^T^T*T qq" qf ^^TT^r I qiTqftqTftqTqq: qq*r:" n ^ ^i^nqtfTT wtr$T: q>TqftqTftwq^qT: Si \» qiq-r: qq®r xfy ^PsTTrTt I t#T fqqqq: I ^qfirrssnqT^q ^q«Tq;qTq: I (^ ^rohrrai i mm m^m w TjqTOT ^r^qfT qq «T 1J s&TffiTSfq I qr^qq: WUrl-q I ^^qt^fq^T^TO^fq I I 4 '^q^qrqR ^^^Ti^qrTWfi^qT^T- f%f%qfqqqjqftqr w#q^q»^^TT: i *ft*r% qfq#: qro q^*ifq ■^Tq-Tqmq-^qr- •qTTrqTWq^Tq^TTTTTqTITlT'ft qTCTT:" II m Tft I *T SfiWft | tJT^ TO^TTTOH 1 ^ TTSTO Tjcjra rl^TT^ *2KT ^KTT^I ^T^rTI T^ft*rc- "sftr^-rTr^ nmm ^re*rrf- t^itch: I J (^) ^ Fn^if^i i ^isiaajspra^ wrare ii \3 "sf ^T^TW I ^ ^fasr ^*iftr ^T: I ftw^ *?ft?ft^T: stwhftt:" H ^ "^^nfrft" "^t Tft" "*fWtfrft" ^TT^&TT%T^ m#T ^TOflTcT I T& \ 71W ^ HT<^TTTTffift ^jft- \* \» (^) ^reN ^n ?51 ■^H-rtws'erai^^'sn^iire "'q'qrg^ifirfTi" *w*pr^Trfw»r^T**raT- v» ^Tftfti i w ^ w%T3 TT^T^f: i qT^T^r^T *m i "^*r: ?FT*wsn*fircfltfw^T fe-m II f^itf?! %q^#Tfti: ^T^pRiTfar^ I m^WT^TfTW I «<£ tsjq ^ qq q*qf?r ^■^ TOT fqifrrnqq: fqf w q 3T qfftqfaqqifqr ^qT qfr: i qjqT qq*|% fq^Tfa^ ^tl"qr qm ^TfT^ f^qrS^?*Rq: q^q qifafq:" | ^ ft^TC^? ft: ^ TT*T Tft ^nsfa^TTTfl WfW i ^*rf: i "3iftr #Tft ©\> *r qf?r^?T: ^T^rs^imfa" II ^ faVTfafa 1%wf^f^^§TWT^TTSrTO^TTT- vJ %r. \ "f^TWT ^frwTir^ toItw: i «PT "IH II \J C\ "Wf%T Tl%" f^^T?c2T^^T: I *n?- 7TOT rf^ETT; I ?m ^tTT ^WW^TfWt" \\ W SR*f%$TSfq I "^4 mwTfw "fil ^ 1 wT*re?s^fa^TWT frnrmr^ ^raw" n ^ ^ft^TTWT'. ■jtu^T: I "¥*1 ^TTf^T1C^T^ftc^TTf^,, I ^ f*Wp!?WT*$TTfa i iimg i "*ftr|T*rT*U^Wt*TR I 11 ^SR ftgRSp? fw^Twera Ti^f?f%w: I ^RRT l "^*1# ^ 1 ^rtr^TT^^i^T^Tft tftttN" u vj faVTfa§T fa^Ti T.fr{ 1 ^ ^ ifl" WS^T- ir^: i "^nwt*r *r^*TTTT ^T^Trf^%Tf%q»T"qTqrTfwWTq>^^TfilTiq^T^q% i "Tq^^ qTSr!"55rTS T*qfS ^TTTfqiqfSqj \> \> ^ uw:" Tfif ^TwfiF^T^x^q^^- qm^JTqiqHTqqT^(qTrT I qq qqifitiqTqUTOq ^qqT \i > \» V* TOT3Tq>rJT qq qraqgqi qTqiqqTq, sraqquqqi ^ q v» v q^JT qq qmqq^TqT^q^TfT, qq^ q<§TqqTqT *qqj^T- C\ q-qq^qqTf^qiqTq7#qT^%qfqqqqTqfT^Tq q%cTqqT- \» \» C\ fqqqqT qq»T q ^ "qqiWT$r" qs^qra#fq q^ I qTV^qqqwqTfqt%i^ ^qqTqqwqi q^qnqTurg- ^THTqTqi q qs^qm qrqqraqqTqiqqTqqTqqT- qqTqqx qq;T WQ 'fq^qnqqqntr'' qrrqTTHq fqiTT- °s f T qrrqTT^TTTqT TTqT^qqT^mq^q^qqr. qqrqqr. I fw^ qf% qiqiqqTqi qqTqqT^tqqsjT qq;t w$ (qqifq ''q^wr^f^Tfl" qnqqqTqqT^tfqiqq | fifT^Tq ®\ qT^fq^T^qT q* "5 qfqqi %qfq^T^q>qT, qqq^qq: irqi* qjqjqiTqqiqTlXWqqTqT Trqif^qq qjqq% ^T~ snfs t qi*r | "UVT^T qqnft" ^m^Trf I *T«T ^sqi^T- V N sj s \> rlrT %^T~ qWTlp rfiprq: WT % i ^rjTOrT«rftrf%- ^•TRTqT^Tqq rf^T^ft^TTTH 1 qq qtqqfTqrqfq ifa I "q?q^T ^RWTf^TT: qqifarTTWT ^T^fTTTW. I fqqqfqr ^tt?tt¥T' qrTqrqqTqifqqtei" n ^ STTqqjqqT qqjqw ^TTTTTqTf^^Tqt W^f- 'STfWT^ fqqwq ^Tq^lfq^qTW JT^jrfqwST q- "^■sqfq: i ^ qsjrmqwfa^w t%9i ^ ^T^rf^IT:"!! falw ^T^qf | (fi?) ^T #* r?rf | \ (fiV W ^ 3i i ^*mof %) ^ qsfa ^ I ^ sj oq; || s5 ^ s4 vw^ i mqmqrwRW. 3**rR*m fa- \J N % \t mfwR: i smwKrsTW i "TOtjffafa T% Wffafa ^ 3R *?^T T^Wt^fR 3ft: I ■fir. vfk ^^Tf% f^SF" II *ft<5Pi" ^ iT^TTW^^5^ %q: I TFW- I Tf ^ ^TtX?5Wf^filT^T?T ^T(?nf^ftwwf^^TT TTf% I Wfa<{ %TOJTf?TOT^ire ^T^- Tf^rT I ^J^TTTft ?^f3f%r!^TTO3Tf?roT^- 3i<3T fi[" I ^T I TT^TT ^T^T^Tl: * tTST^tfT^i" H <3R u^T^#fTW^" "WT^T^Ttfrfa" T^TnT^^f?!- fqTqsr | U*IT 1 "#f 1w*i sn^f j\f^ i mjf\ TRT*R f^r1%^r^T^?r" n ^ T£# TR ftfi$ i (<*<^) 3F*!<3JI*eh I «%it WZ I trCHifr^ *t: ftrs: i \3 qf q^ ^f^T II ^ ^8) ^ I ^T I "^rro^fir. t \i Cn qt*m" 11 ^ ^nwrfr *raT^jTTnr. WT^T TT^ \» •^T^: I *T sf TfTW W iT*s?m^T g^TfT *?*t ^trrf^WTcl I VJ X sj V (€-0y) f^w ^IN cj^fi ft^I I m=IT SRSFI^RId rf"^ TITWT^q *tm I "f^HJTTWT^ ^T"3^f^T I wfa^taT^JWT'' II *T*IT I "q7§ HrTTlf% *?3R?lfgfT: Wjf s» m^TTSTT T.fr\ ^fr *rn* i ^c^TTW^lf ^ ^ "PT WT II (^) ^jiti ^q<£j f^j: | Tfh I ^frf ^T I irfcipr. i ^Tpi: ^TT^T *rf%ftaT^nr. IT^^^ttt^ GfQ<8) S3a*?I Wif^TCTOi: flrer: ^$fq ^q£ I f%2 W \ if%ff ^ ^wrtf^siTfirTTfv^ Ifts} i (<^>d) W^RIKTO I qfaswi »#gw(5^nfw^i II (ft _ 'if r g9 F •IT 165 g ^ ^ 'E * F ~ * & ^ 'EL F ic cp I t£ t £ P P ~ I |pr le> f. * FT 'g

IT _ £ F E F F rF 165 F ftr 'F F F F W by „ nr rfhy 5 & i g f h- .r" r» tr's P tc F F F F F ^ F F W ft' /F p <£ if p IS? F F - - (ft ft/ ft I ^ F tr x ft ^ "F ^ E "to F E h> ^ F cp P cp "i br I F ft F ^ V F F •• ^ 'k (— •— / k/ F E° tr« b- 1^ ^F 'g ^ F F 'g t 'g «g *rxff I ^TTIT. ^TTtT^^t^f- C- V *T*TT^H$m^ ^t^^TWfrlft^T; "^Sjfq ^ tJT^r 3T?7T TM I *HJ 3T^mnffT- u*gf7Fiffr: ^ ?TTW: ^ w^Trapsrrr.ST Tft i \J Tf "5 ^rf^lirl im ^-R- TMT^T^TTFT Tfrf I ^ "(I^T^^frl" ^ftfw «'' TOTpffKWTtT ^ ^fT^TIT^riTT?:- $t*T: I "iptftsrw ^iCTSfa *TTT3WTf% ^rT." 1 TWTfT WW. I ^ i "wNf% ¥^Tft 'snsrat ^sret- ^ SJ \j niTfir" TOnsrora f%f%^T fim Tfa i ^ ft t^TT- °\ *rcf?lwfw*T: I (^) wr gftfqsjFq^ncR ^qSjfr I T$ fW Sifa^iinPRh? ^TTT¥: 3if^TTm4~ 6\ »\ 3TU¥;?R Tfa I SRW^TW I ^iTT*P^*RlTTf*r- \» *f cfT^ mTT I *rn£ ^"^f%fT: wHa TTIT SR*T^: *rfw ^RTTfr:" n C\ ^ ^^Tt%ri^ T*Rf £\ ^ W I TR wfV- ^TTTW^ ^ TOfT: I snffsrcinn i ^ "JTSu!f*re$T WTlpST. I (<*c«) ihq%j SRflcjIi snfjfacsn thU^sj I *Jf^ ^WSErai ^Uj^SrT ^pgq^: II ^§tsr t "3TTW ^TfT^TTWT^^f?TrT^T I tit% ^r f% ^ ff ^T:"II ^TqfrT^W^ fW^T tJcRTOT^apraT- 3T?T I ^l%W WT I "rs ^TTsfa^ftrafircreT ^T T 3FPSf?RT » \J qq qqqqtq w. i vj qq fq:qTqfq:^q: t qf Tq>ttftq wfqWrfqqTTiqft'' 11 ®\ ^TTf?T T^nnr." i V* ©y, qq Twqf^f^qTf^^T^w^: i qq wqifq- ) TR^r^ntw^i: qp: I ^51 ^aa f^rai ^J^i: ^IW^icJJIi: || rRT^ 3T^TJ^^RT r3^$Tij ^ *T^ $ ^T^TrS- w: ^rrwr^f ^rm § ^j- #wf ^sr^cRr ^3RT ^WciN^cf ^^ffrfil ^TT f*Tf%*TT ^TIT^^T. I ^R ^WciNr TOT I ^T^TWg "^RT^ ftsRW' Tfal "W3WT" T^T^R: ^TTf?T^T- TO^T*. I WTr^T TOT I * cfqT f *$[ ^vw ^TTi^TI^fft I ^^RTO^WIW W^fa cT^i^IcrtfcT II *o || || fi^ST *J3*?TW3*JT^"«J TW fro" 11 ^ "^TWIlfafa" tfi*T cSf%7T I C\ >J <£tWT ^ <3T *%-£ *TCT I Ov^» Cs ^sr *TWT "t"g^T) JlsNi* ?n ^ fl^I I TIT ^CTNT: I r *rm i y"^: ' ^T#T ^T WT3WT 3T^: I ft I V» VI "^^rft 3Tftft*T*rTOT^T^rTT ftftpC^^R I trf^flTC 1 Tffifacr fT^T^Tfl^ft-SfTft^ 11 \l ^S ^RPsRT ^ftr^ft^cTftwtW ftw^TTO %- "*7TtT I *J^T 3T 1 "ftr*ffift TOTSlfTft ^WrfT^TWT W. I fafS^T 1 ^ I "%^TTfaf^¥tlT^" \J C\ ^TT^fTT^T: ^fz^\ qj- HT^: 1" T^fTfT ^iN I ^rf%*^TfTT Wrrrcf ^wr^ri faWQTS ^f^T^Vr TTf^r TJ^lfsrWTO S5TOT7T, "3 ^TCIT- «R*rff?fop8Tftt 1 -3 rfSJT 3TrfTl%: 1 #Tfe: I ^lf?TW#T P?*?fw. TTcftrT^r *Tsfa*FTT^TOTflT TffiteH, VS f5 *?ftf?PfTO ir^: i "Tf%TT *r fi|fw^tr*rT ^rrfVirt *r wsf ^f*ra ?r i VI \l M TjfTfTT «T vfr^t «J ll T<^ ^Tr^flf T fafaTT^T^ffiT T^TTlT^W *f^- irr Tfif '^%twt" Tft ^f^Ts?: I 71^ I T£3ff- ^^TrTI 75 rrarf^rrir. TrfTrw^fwrT*. *im*rTtf*fiTiN TT^: ^jjTurg' I ^ "5 $*^r^fV#Tsfir twiw ^iKiTT" Tft W I I f%^^TOT^rlT^T<£TT{?ftf?lf¥ *WT- ?*iT I TT^T^m ^f)2"rT^T ^W^TRIT %rl^rr^r5§%4 ^T I ^WfOT^WT^- ^R^T I 4 cl^T^ *TT farRTT rf^T^i #T3T. jfil ^T TIT 5ffa rf^T | TrtfcFi ^ T^T'rrfl^Wt- Twr qTcf ^ wt%^r^r^T^TT '' u snfCTsp^fw i ^^Iirs^TT^TTTS^^T^T: WT3*TT*1T ^TOrlt^- WT^i^Tc^T I (^) I I rim %c^T"STT PrfiTTfT I T^ ^ HTftftfrft fwgtf I %c^T*jf f^w^r.^Tw^w T^Tft "Tim TWitr ^rsr. i "fire^T^T^T^W) !if?lWII *JT ^n^5pTOW95l: I WSfi W **WWI ^ 1*R$ It. *RT I "*RCTf% JW^TT" SRT ^TfTOrT tqwfa I n?f^^t^^xf?|'' it *TTf?f f^PJWT: T^4f%" u (^c) SSFrHg #l^R [ vrerSfir TrfJ^TOrorara^F^ i ^iwPr *TW*ST f^^T I sR^WT^rfTW I ^frofirfin 3*l1% Tr^VTTf I ^ftpmqfr^Tfa f% T^ TIT^Trft^T^fr" II "vfa T§ ^TipTW* vt^VT I ^Tfsr: ^rg^sw." n "3*ra€#qrf*pr^HT3 UTT^T t\^\ ^?TT T: I f¥ ^vff?r: ^Tff?r n Tt W I ^ "W. T" ft ^fP^rfifa W^T^TrT ITft*^N^C I T^ fj ^ *1 WTTTCiTTO ^ T sJ T^t*:, Tfft^wnT^w^ *r i * ^^nq^nTOTTOT 'sr^ft^mt iir^fTOTOifa" II TO TO^^WT^TWTOTTOTOTTOTSJTO^- WTOITY^^W.TOTOTTO^T *ft§TTOTTOTTOT ^^•IrttTO^^TOfa fTOTTfafTO^TO TO?TOf?T I ^^T 3TI "*\-%t ^TORT ^ftrT TO*TOTq1%TOT i SfiTTO^TO fTOftTO TO fTOTOfWTOT" II ®\ to TOi?TTOTTO tort ^TOTTO# 3\TTO^§R fa- *r|TOfwf3TO TOfil TOTORT I TO I "wi ^TOTOT to: n ^T^rfaTOT J\fh\ i frot^^T *TOT^TOTfa *TTO?" II TO TOWT ^STOTOTOTO ^TTOTOWfrof?! TO- TOT*I I TO lif^TOTOR%TOTO$TORSfa TOfrt I xrfV:$^ i \ IT?Trvfr^TVT i WT^TTfic H ?5^faTT* T^feWTTt'." II ^ "RliTOT^W wfTwite ^T^TT§SW?m traforT WT I iTT^TT^mfa TW | ®\ " ftflTft "ST'T *TT"Tf%<:fT^"'' II f^TT ^T^JT^Tqsf^T#| f TJT- M ^ W^f%?R ^T^IT^V ^T^Tf%*n?ftf3T5raTJTr5rT- I ^T^*TZmrf%:, ?HT "fTTTS'tf ^fTWT^WTft- mt^T" Wn3 *ro1lf f^^&jq^rfTrr^" *TT$ "3rarfr*£ ^T^rf^T^rf^rf^i t?T* I ^RclTC^Tif^- WT*T ^TO^TOf^WTT^T-Tl%: 1 TOff^TOT^ ^~ ^RT «rTTlf%3iTOTTQFT*rftff'. ^^TTTOT ^§TTTfti: \ i$ si - Tfa ^^"JTOTTTOTtsfa 1 O0o^) W^T|%>: 3iT^I%fftnW I a^ii^nraq: ^i: II "^ISJct R^sR^fraRfTT^HT^nr. i *RT i C\ VJ ^rsreT: i ^^TT^RWrf" II ^ TORT% ^^T^q^TTOTTTT. I f%f^T^ *T*IT I "^TOTOfa'ftTO ^f^T ^T *F®lf%T: I ^THITO 5R7§f<^ ^T TfJ^T *T"5ffi Tfa:" 11 Tft^'smrrT^^Trfw^-' vj ^TT: I fa^WSPgnT f%^rfSTT ^ fw I ?T^ t%¥ff^T *1*1T W I "fTOfa«TWif TTITW^T^f^f^TT^fS pTTt^f f^* JT*. I ^T3^^rfaT"*J?^T$T ^5T ^W^rlT: ^frcf ^•rT ^f^^jfa:'' 11 W3TRlfi[*Wrt f%WT I ^ ff "ftftTT- ^ "f^TtTOTfafo" y^?T I WTUT^T^fS^T ^TrfTlTTfrf^r: I $RT *ffi ^RHT^T§TTRi^t%RprfrfT *TT1% rf^ ^r^i^ii%Iflfi qnsN ^ir<5 wi^i u 3UPg?n?T q^H^siW q^ ?fi: | ^pr SSfl^T^TfT'j I "m^T^rt ^PT*?f*JTT^f?T I ^T^TRiJT^fq tftr^TCff T^i" H "?RT^RW T^TSfa 3Tfafa STOT- 5qj?faffrf | "^rf*ra sftPramT f^T t%f%rfT *T T?t I ^rf ?T II ^f^f%rI^TfTWTSfq f%^- ^TfTWT^f%fT^TtT^ftfR *T*TTO TH3?! faWSfaflcT: 1 T^ ^T^TTf^fTRRWTTI^T^T^rT^TR: I TIT^T WTT" ®\ RtHTTOTTlfR^ ^ W%m\ \\ 5ff%rIT WT^T^fRTO^ fe"^*T *HTOT I vi ^ €■Tf%^3 VWfeni -R^rf ®\ *ftm^r. ^ faftrct Wt <5 H" nJ ^SR ^RR«I T^Tl%*I » "Jim: ^5Tfi$Tfr: *m*r: ^rr: i ^Twzfnypv ^fr ffr *TTSsC) q^ll* ^ *fgn I ^FfW I "^rswr shsjt: ^^T^T^rf%riT: i mfr^TW ^irT ^ lt%^:" II ^ *sRT f%f%TrT Tfn TPgrW* *T*3 ^TTW- ^ tfa<^ftimf7PTTr$ ?bw ^W^^TafeTTWTfaf^rT I *T ^ ^T^fm ^TTWTT<^f?f- r|3Tia HT I rf^f TOTA I T^ IT ■RHT^TfTfW^T^T^^T ^Tsfafa 3TTT^3r! \ TJcf^ \ s» ©v> \j C\ V ^ <5 TtarPfan fzfi? ^TTT:" II ^5R 3^*1^ TT% ^WTO^TITTW^TOTT^r! 6\ J N ^Tsf^rT cl^TfireiHIWfa'^sreTOftr <\ v» ^cf 3^rr?fafrf W§T?|>3 3 I "TTW TT^W ^ qTZ^frT T{J 7§^f fw: Ijir TIT faf TJ^ I T^f ^%w: ^WTT- TRnT ^T ^fl^TT^: WTfacfT Tfa ^TTW 3T^rf | 3T^clfTlf?I" ^f^TT i ^ <5 "TTsreprsTTT^r ^rsfquwra TWTCT 3rSR ^Tir, I (^0<«L) 3T fajl C\ Tarn ft^TiKT^T \» r VTRIJI^I twraf?raTRT i favVWTV ^IM ^VTOlwh ftVIII ^ WT^T^ri: ^f%- 71*3 fifa^T^T^T'rfT Tfa IT "HIT,^- fireij ^ fain*: ^T- ^t^T V^T: I 3m■ * Tfcf i ^T^sfr Tt'if T?ft ?# fti^r^fcr ^ ^T¥T^: I m irft-sm cr^T^lt ^cT^ WT^ VTHTiT TfcT <£T® | T?rt *inrf*rejTTO«fa*r: H t 2 TtTfsSTTtffi I ^smfsnpTntyna fafa: *^3% fs^y qsfcrafo i (^) fWFFIT t^n %£ I ■^ngii^Trai^ qft€lf7Wt n fa*TT ^TT^^f^^T^TSfa OTT^^: f%f^*ffi ^ITWW^N VW. I 7TW ^TTWT^ffT frfV ^•Plifaf?! f%VT I I "'SRTOTOgro I ^WWTI^T^TfT 3 klk klklk I hlJkS yifefekkklk ifekkklk&kkk II kkkSlk&lklMkyyik^lkyiMl I tkkkiiiyk lkfej kJLfc&&>lkkk II klklk Ik i&iklfc IkJfe^klte lkh& N, >» I tkykk tkk^LkJ Ikk lkkfc. ikkfc, II tllik&kkllfc ulife kjfek kjk :ik£Jife lkjjkhky I khk lkk2klk]fekklk£M^lJk&kkkifc ■v. 4 IIU^lkjlklkk^hjltikl^LJ^k ktkj yttkkkjkk^k I \ihllklh hJSlkkiyi& '.kklfelkkkkk klkj. kk„ I lfcfe. Mkife s. I ;ljiain^> l|S%liy kMR fettjlky •II ;frl+}>b iW* |M)te*lMlj ItvUaj i (3.1$) iEtSi S»ih^a.i»i^te i :i^.ti ugug&kjikkutk^ tufe. -kh I '.jyikkyikkukiy lfel£kyj&lik k Ikkllik :±lb>± ((±kllbtlg :te„ I lkklkkj. kkkikkj (ilk kj kk & tkkllklki tfc„ &kk I yik&kkl£k£kyiiikl$>Jht :kHk ^8 i V&$- t1% *TT3 ^-ararf^re: \ ^ "era fkxx* T^nfr qqTTqtqt g^t%^T"^^r^Tf^- 7r«qT*rT T^^w^^^Tfa^rwfsfiqT^^q- X^l^l f^T§T W3r[ I filTT%"3^HT TOT W! I TO "TO^fa" ^T^TqTOTfq^W^ TlTOTfq;f%TOT fif- TTV: I TO^rf*. TOra^TfTOfTOrrT TOTOT^ I "ST^T- sftwh" "^TTSfa fTO^T TlfT if TrS" Tft ftTTV. 1 "c^raft" TOTfipTifWTtmT ?J TOT*I"PT | ' fWT3*rret qiTTWTOra^qfTOTOTTOre qfPTOq 3T^- TO I fti$T*?T ^f ^T^TMTV sTTTWfo I TO TOiTO TOT^'fa qTTOfafW ^I TOT1 "*T srrerc TOTO^raroTO: ^T ^ft TOTTT: *T ^T^fTOTOTTO^J'T ^ Tfil^T TO I qT^iT^T TOTOf^TO ^WT Tnt q TlfflT TO VJ VJ ^TlT^ITf^flT^T WTflf. TSqpt" II ^^T^mT^K^Tt^irrflTrw fiiTnn^TT: i (^o) ip fail ^ ^ji^jFtt fi^f icjsfirain: I ^RTSKaT^ltqi^Wlsfa ^ W* II WZH 'JI ^ Ipf I STOW *TOT1 "^nsr: ft^ TW TW umw%^TT I ?TOT*pft*fT ^TlT'lMI^ ^fe^TTHTW "TO^" n ^TTWWft^^T^T: "^TTWTWT ft 3RT*6nr- \» VJ *?TTH^" Tft ftrafft^T sskw* ^Krftr: i ^"TTft *r i ftTW^ ^ftwi^frffiTf vftf 3" II ^RT*P^*rwt^TOTTWT^^^i^T%TNftr. I T^T^TU%ftfTHI^ft WTJreT I fTS^ ^TTSTftfa:" II ^TfelV^W TT^rT TTc^m ^TT^Tftfa- ©^n \i 4^njTtf I ©\ "w ?i*i ^w^t: gj ^^f^TTT i ft*ra nft^^rftfS'T ^T"g^frrf n *rc ^TT^ft^fwrifr: *v^nr i 1 ^*it 3T I "ftjOT ^ftWT wuft ^ xrftr i \» \» H^?ittot q$ yr; * f II" WT I "*rfa*rwra*i \t \» \t 5J^fT31TS3rfWr I J VJ xfh w^w^T^nftrre^R 5ttt: ST3W3I3: ^nTTWTOW^ f^T." 11 \3 d J (-o^) t^N nfwwi s^RFfisnra % ii *l*JT I 4 4TTW^ <3^ft%^T#N«r wf4*r^f?r TnwTT i vj V ^:*atef?i ^^T: ^T ws: w&T^:" 11 oo^) i TOTOfWi ^1 I "fti*rfV^TO TT^T Tiff HPT 3TfT*HfT*N «\ T& 1'5T f^rf%T2J II 'SITfarTTfTO I 4 'TPTTHpSTHnfaTTf'TIT <*HT SRIHT HHlt Hft^nTHTHcT I rf^T HH^R *T J ^T*RT*tTmraW?IT ^T--" II (^8) ^^W^lTcfifailTCT: ^ fiw I HHT 1 STTW 7!^ rf^ETT JTHH I T3R?T $TW f5T3rtfa*Tt" \\ O^i) g^rywn^KH5fi^rt^fiiir9< i pKf^JJf5^ ^KTOWWrilrTOI ^TII SRl^ I ?R*W ^T I T^f^r sRfar f*rr. *P*wfa t ^ 3*sjt: ii faftwrofq i Wai^^nf ) *h*3k ^ $m fw ^ i ^T^Trf I "TI^ fire 3praw%Tf«: spfim: WTInIT *5^Tfa T ^TOT*WTT I S W* H3cTT *TW?fVqr 5f %T^T II I •TTf^afTSTT ^ TT72JrT fffiUfa ^7T- j rfijTq^ I (x^c) q< q< ^1 ^sfer I HSJ SfiKTOI^T ^JT?T u^T 1 "^m SmftTOT faw. ^TrTTrT 1 Si Si N ^wttptt 1% ^Tqn^rnm:" ii N> sf (^«*) Fiin^qsR qsj: | ^fwm^swn *3KPJT ?R[aiTlt II *W I V^TSmf^rTT: SHT. I ^Tfrf^T^ fWl *IW:" II rf ftra: n" (0^) frfa^5!OT^fi|%tg&K IsRjf $fiI?T?T I W# f*PH 3T ^tT^T q^TC 5?^ II V 2 jfTOW t fTTf%7TTW. qin^r^f^TTOf^crr. i C\ TOtg TOT: "Rqf^ sraw mfti TrowscfTO^: il froTfcr froTfroT mftuwwJT: i VT^f^T rJ3 II nJ fTOSTT^T^VTTf^sfrm- ^rTT^TTTT^WTW I ^m^TT^TTOfr^^TWf^' rim mx* w ^TTTTTfaTOTTT ^TTOSfTTO^t: | favtTO rim'> "fTOT. ^mx^^m u" C\ \i ^ Sifa^TOTT: S^TOSTS*h5TOTOr Uf^TiTO- 1 *T*JT "f%7TT: Wfaapl" PTW^W- mmx srwtoto i "f^far N C\ ^TO^fT^T s&^WWT | T^TOrf I ^ ^T^TTT ^fTT^". I (^8) *fi^T^TWS I TW. xrftWT: I "^T SfnTTWWTWt W5 I WT <5 T^T T$t%1 11" ^ RW ^N 1 "rT^J W WWilT WTTW. ^fw. f%fw WT^SWT 1 \» V» WW W^^#^wraTWs^wfa^f%TWT3T^rWW: II" ^WTftpEW I p^K^ram pifq Pifsi?n^g% w?r i ^TS^lPI ?J^T II pft^n ^^WT^TfTW I "f# WW ^WW W$T w T«f ft? Wwrewftw ^ W fnr. I fti^WTWftWrT fwWT w WW WTwrft W^WT: WWftw^ II" wrw T* j^jhl^lklflfelM^hjhl^V (&k&) I kiM2kH &.& iklfefek I Jjfejtelife k k I klllifejlltkk fek klkjlkklkkkik&lk I klkkk^k. ^ Jfs« J-V \. J \. • V. k I :kk lkllStkllh klfelkllzUklk klhtfetelkk. "s^ N* • >✓ ^ X* 11 * «l&i% ifej kUs»ife&. f*felk ifej 1 jMktifek lifeife fea£k> ifej ^kfea^ 1 kky. life,, I kkjkJi kklk.kj.kfe tklfekjh kkk „ll :k& tkjkfe kfek likife jkfejiifekkk l :kk Ikll jki& !®kBt ikk k &%jjfe„ l kk ikk ♦ • ♦ i ijfe ibfe^imtBtfch (^o.) <4I Ijlk>l L^ifek EhlkllJlkkfe &&ifekkj jkk kjfeifelh kjkkkkj kjkll kikjfe,, I lkk I tfekfejikkjfe ktlk kkkfe% „I1 kklkklh hjllkfeMtlkfej kfe^ k &k &fe I kk £.fe kkJkk lfe^fej kktlkhlfeklklklkfe,, • \« ♦ "V S» S« 4 I ^iikkkjik WW WTWT I WW "W WifWrT ©s v WTW«TfwW>WTW*WTWrTW WifwWWTWiTfwWiTWTW WTWiTfw- WiTSl#f7l IT if|T I WiWT^TWTW I "WTTTSW ^fTWT^tWT WTCfrT *?W5rWT"J?WWWW Wf WW WTf^WTT: II fwWHWTW WWTWW^ WWWJTTI'WWWTW *I}TWT I WjfrTrl^WTSfw TRTTW f W W5WT WftlW" II WW "W WTJTWWTWW %W*7Wm wfwwfw^WT WWT^T- ^ "^TTTSwfrranfT" i w WW*^TWT i wwwwtww WTW^J^WtWTOTWTrT I (^C) I WWT I "WWWT f^TffW WWrfw WT WnswftfowWT- C\ C\ WT1T WWT WT" I WR firTWT wwwt^ w*rwt: wferfw- wlTWWT^WTTWTrT wfiwfwWWWTwNwT WfTTWrTTWWWTfl- TTW. I W ^WiWWT^rWWWWWWTW: I ^WWWT^TW WW:far- TTWWTWWTTfw WT^WT WWTW^PTWTW I WT^' WTWTWW- *W^W 1 WW ''Wi^Wftf^WnlTfafrT" W^Tfw 1 WW I C\ "WWTWf ^WWT *TWTfwfwf WW rf«TWT WTi" I WW WfWTWEWW WTW klkklk ykk» -kkl&l&lblk bikklfc lk^JtKI^k,, kl II «k jyu&k Rk kjktt liblk :kkk^ihk lkMk :kk5>kkk :inkllbk^ItJi N. 0 1 I :k£l& -fcfekklkS. kJtJ.lkkkkJ. lkSt 4ki±Jkb lkfelkkiyk .UkkRbjy 1 lkk lklkk^k I tklkk^lklk lklk x* x* x. x* ♦ -kli&klk^bliktt £lbk£.k kk& I :kl]|k tilJkkklk lk£>% ytllbtek kJfe I klllbkliblllkkk ikJ^U&kfeJlk blikk lbllik h^lkMStli^k^kiklikiL kl^ kfc X x« ♦ V \, n kl^k :lkkk i^ikikjyk &s%tk -kiyiki^kilkk bjkfei k £lkb. I Iiyyife^kLblk lkkyb jfe.kJs>kk ikklikkJktk k kkk ikk IJkk ±.{k 1%^„ I i±k lkk I kWtolt lfete )klSt kiltte lk kite) littit llkb. ySlihka • >»^u.i»ik.|»Pjlh'k £gt I &telk IStealSte te)k kitej!teitteSltefe.&£t (3>fea) I ^tbbb>yik TO^ finite ifTTOTO UTOTf^fa I T^ ^ to 3TCT8dL) ajliliwiiq5| eiH^i^^nfq 3^3! I *TOT I ®\ ®\ v t^TT'rT^T^T^W^TWYi^rTT^: 1%T." I! "?N TT^JITTWf?!: I ^Tg^lfrm f^WPrfaVRTrT I J V cT^R ^fSrTJ I (^») i I *?*it *m \ iNrfaW fafiTTOW^lTT^^lIT- C\ ;RT?U^RR*Tta lgrl?m 11«f TTTRfR | Tjfaf^STTlf^Rr nfirg: " « (^) q^ra^j n:?reira «fw(! i giqsiwrquiw r^ifq^TTi^ n I "Tj|%3T^fa €fT^Tt% TT^TWT I Til f^T ^T *T^F?T^T" I ■o \J *J^T 3T I TOlfff cR %T^ I rRRifrf" I *TTffWTJ8) W^l %^§ ^1 |?ra£ ^ rPJI^W I rf^T^T^fT WT^*WT^f^T3^ W*TT^T"W*r Y^T*.I TW I ^ tfrw: i ^T ^qrsfq j t& ^qfr^qqfefeqnww: qf^IT q*f^q*qrf%q^qT^T^q7qTfq^" || ^T^qT^fq^fq^qf^ifqqTWTr^wqt srq- qr^T TT^fqqqTfqqiqqu^ i qrfq^nr. "qr^qiq- q^qrqr^Twq*iq TqTqmTT^T w^nr. i T^tt- sf vf sjqj qT^qT-qqrpqmqqiTsfr qqfq q- qqTqqnffTTqT s» Vlfq-^ ^ "TqT^qqiTTWqwqTqr^fq^q- qiiT qmf^TqrqqfqiJTft^T^ qqfq" ^qT q "Tqr- qjqqjTTqT^^TqrirTT^ qqqqT ^qqrTtr qrqnqjqqrq J vl J ^Tqqrqiq^lTqq'fq"! "qfaqqiTq£ qRJ^rqfqTRjqTqqiT- V* ^qnqTfqqTqif^fqqf^^T ^qK^r^RTq^Tq^T^T- T^Tq^f^Tqq^fq^q^?n" qnq^ I q*TT^T#T ^ qrq- qtTf^qjq^TTqTq^qTqr^fqqT q qiT^Tq;^, qqqqiftfq fqrsxf^fq" q^qqr i ^q qq ^fq^TT^xql i t^T^: I 3FT^ fTftR^^TTT T^Tf^frft ^ vf?\ftf?\" II ^ T^T^WTT^T^WT^^f?!^ rT^T 3T^3>Tf^- fT^JT TT^^rl I THf^ ^ "T*TTqqTq"qqilT ®\ C\ ^ qqT I <£q5ZT%WTqtqq ^trofq fqftqta qfq *T TI^T^: qT^: qjTfq fqf%?ntqfqqq: \ RTT^T^K^^^qr^fqf^qqq: x 2 ■%rT T^ ^KTT^KTC ^rSI-nTTTO I iri ^T%T^TTIT^T^Tqt^^ITTT^T'• I ^T 3T I "*TOTT*TT- VJ njf^N Tft" ^ ^^TTITT^T: I ^T 3T I "$T^T \i) T^^TTWrTf ^ T^TT^T T^N" SOTT^TT T#fifaf?T I *T3T 3T I ^TflTT^ I wf^ iUTf^H" * II ^SR ^T^I" T^T^ ^T^Tf^f- TiGNIlT I qf^STTITf^fefrT ^ ^ 1 IIW IWlferafhrflnt ^ Tr^T^T^lf^fcT II ^fo 11 ^o|| •TTTT ^Tsfrf^rm: .. ^^nrcr^i .. ^TT^f%:. . . . . . . . C\ WT'^'^Xl . . . . ^T^^tTT . . . . .. .. 3W fOTCWTT: . . §r«r*raT^rf*7r .. .. *\ -* . . . . ^Tt¥I^T«T^ . . . . . . ■^f^rcTCTTJ. . . . f^/ST?:.. .. TOT **%? W= •• • . .. U ^ . . . . .. v R° ^ .. . . .. ^ .. . . .. i w .. • . . . 1 w •• • . .. i ** .. . ^> .. . w •• • « .. . . .. ^ v=< •• • i •• • i - - «L^ . . . . .. \9 ^ .. . . .. ^ i ^T^un, ^HsT \° \° ^ \° ^ ^■*pfi^, ^ .. .. \° ^pTfv«T*i"RT^: ^ ^WTXn, ^T*T \° ^^VTT^i: ^ ^?Tpr,^psf \° ^♦ribi:, 1° si * ^^:TT^^I^T: ^ ^ . \° ^r^i'jj, \° ^JWfcT:, ^ \° sj ^TOcjw^wrr: \° STp^TT ^ ^ ^fVR^xT^fVvnjrr i • • ^ ^fVrxnf^i^iir ^ ^fcr^xiwn: ^WcRTST* i ^Tfx^TTX^T I y\ £.s= V>< •* w w c\ <*• X8 i*=\—^Q M V< ^08 ui \\ w—-w vQo^ wnrfa:, ^r«7^i^:^"^xr^R^r^f trwranrnrpS ^ifcT., W m ^T^xrcT^fl, *psf \° *TT^JWW^T J * * * " $ si ^TWS^F^ncT j^cTTfir^JUT'fa ^ # ^ *n*ff «W«it ^ ^ ^TfVfTr^T I vs^-a V=—W W v—w ^<=a— B^o — ^a—^= TTFWTOW& IV ^3W*?!, ^I^T .. ^o „ . S^^T^^TTcr^i:, %j"^ ^o ^3^"TTTj ^f^f . .. ^ o ^^Rf^WRT: ^ ^^r^TcrJ^i:, ^ . . . . . . . . \o (?3iretFd) .... 3 ^iTT^Tir^rwwT ^ ^ WlW'^r®. ... ^ ^"iNr., . . . . . . • • . . • • \° \i° in—a* \* ^ ^ f Jtkifeit&kmjirtj o*k k 'ikkM k8k k siLiikiaakJlk °k 'AiyJteL2b »* — 8 felittillbliia l^JtliteUb v. ^ ~- k k kJlkJiitelik 8 k k^&Jllk&kJtellk H k k^JkkJliiit&k^tellk >8* > :kfct»kti^]i£ 'jk^kiklUa ak®. "ok tiL&stlfe'lJklttllfcilJfa okk k :iL£j^l>fejLjlk ':ikjl»fe G^k •••*.. k jftfeklkZyikllJklk «k k JtMI&JikiJii Jk^IJfcJtlfe ok'i k * * >k akk k ai^kllkkllk 'ialkltk ■*> ^ "Jo £ • • * * • • a • • • JiLtItl!£.lI& N. ^ ltk v. °kG «»k ^kllfcit go^ ^ .... fkfcJfcfeJkJlkli. kiklikk I l^klRJ^l^kliiiiJkk k i H&MJfcyijfe I ttikiJfek I ± C\ c: i ^nfc^rre^r i if^r:, ^ W ^ 3 *\\—8V* -m ^fSsfcTT^rar ^ \\9 7T jrw^crf^cTW^TOr i y.<^— twtiT5 < s^*- TTHT^irW^W^^Tf^ ^ * W~ JTWtsk^i ^ ^ 3TTO^T? « <£.<= *> W—*>1 i W OTreTI^TT: . . . . irtrrcrw^i • • "g^TW. . . . . CNN^^s *\—«I *nf*PRT§f%«B«ITO*l .. . • ITfwi^T: [V=8] ■STTf^T^xT^TT^T^T^T^IT: . . . f^^TT, f*l ^ f WUlfT fW^TTOTn:* f^£T*fe <= SJ^*T, crf^?TT^ «( u%t%^x^rr .. \° w^T^f, .... ^ HTHW, ^rfwwn:5 ^ ir^r, <3nrcFipwfct 3 ^ * * xir^TWTXsr^T^i^i-> WW^OTW *f . «r cft^friJ <* c 2 ^nf^T^T I \°£. «S^ 8 W y,\\— **8 \°* \°\ \Hjl s££® ^8^—8^ <\\ y^-y^ W y.88 W w® n5^ vii ^y. WTO, wftrarrwrro ^ wfw, w \° 1TTOTOW, • • .. i*K *ntwn*, ^ . . . V ' ' • • ' * «R *T^:, wfWTWTC5 ^ ..... . \8«*. *ran*ftei^fat w' ^ ^WT^^IT^^TfJ!! ^ ...... V^ » ^ ...... \°° «? «t^° WWftW,W ... .. \» ^ ^V> W^rfHW. J " •* ^ V£—^V= OT^T^vAlclwfiPCTOi ^ ^^^TTcI^T^K^^T$T .... ^ ^*TT*IT ^ ^UsTTC f^VrT^TTt^T^^T^ITIfTT ^ *:ini;Tir OrareTffai qroircpiwr ^ < ^TTOTRPffOTF^TOW^ < XsT ^T^TO^Tt ^ .. .. .. ^ W%WT*m *?l^T ^ ^ ^3ffT ^T^TXTT^r^^rTTT ^ ^rf^rcf, vfxf^^i^T^t ^ XsfTCPTOT^n, \o ifci^TfiraiinOr ^ .. .. < ^t^TT, ^ifo^I^sT ^ ^fttfffP, ^ V ^ "^i^aw^xf * ^ \* t%3uT, ^lI^TWo ^ vrfwrow i •• <° *4 H \\ 8^ *< 8YL ^8 c «£.—<*><= U M U Vs® \88 s,s- f¥«JWT*r: \° t%^Tfk-, V . ^ \V= f^VIT^^^-sf cl^tl ^ ^ f^vri^i CIJIT ^ fpW, ^ f^TT^T^WTT^TTW^lff ^". . •• i .. •• •• ^®c—V- ^ .. .. .. V^ *rifc*. \° ^V3 ^ 3 *1^ ^ ^«L f^TOlfW?, . *>^Q frw, ^ \° ^ V=sf—^o w^^rnOr ^ i 4^\—4j^ Pf^W^i. .. .. .. . . \o *r^«i $ 8^o ^^♦tT"^f^^I^i^J"if ^ ..... . ^8 13 i S-S- ff'f #1 £3 f 11 a || ?!. 11f | 2g 1113 •J f * J Hi 2-14 3 H-4 « 31 H <.aj /H H 3; 5? m ¥ x| 41 *> /W 6i *> I d 3 3"* I y * g a. a a, xi 41 -El M 2; A i a. ij 5 ^i iu; £ ¥ ? 4i " « I 3 41. %) A» 41. £1 & 3 2> - ^ 41. oil 41 dl 31 & & 5P 3S1 4) 45j} a f aw; 3 /W /M 41. ¥ & 32] 31 $ H i!) 4 31 <—H 21 *U {Q1 5P jSI 3£| *1 4 41 3P'3 A lf> /* ./* / 6> ^ ^t fC f£ lA o ac ,AX) fC *sz fh & J® 6 0 (s O 6 /" f>> OB $ 41 ^n. oc P* S» Si (S o /« /« 6> S* 4). 5 1 3 S3 jll /* •e <& 6 <& •/* 6 Z*1 _k S* O OC /" O ^ ,/tU /" /? ao C) P> (\ o 6 /« /# ,j| vt $ wxfsp, ^ V OTjw^rx^niTC5 .. \° *nnfifii> • • V *?X§?Xcnf*T cTlf^Ixf'T ^ ^ ^Xff^W^T^W^Xfa ^ • • *t*TT%Tfk5, \° mx'-, ^ V \° ^fTOTTWraTCnT ^ ^x^x^x^x^xsx^wN® cr|rtx^r ^ WX^X^ITC v ^TWT*:: \o ^xfaw^^w^crrrin^xOT .. ^ ^tcxhx^^tc \° ^W^TfWt, ^ \o ^XfelWtVsiWT ^ ^ ^#tikr: l\\] ^ ^rratow^iira^iir ^ 'TOfavgtf $ f f%cf, ^if^^x^r ...-..* ^ "fX^P, txfa^XW ^ ^X, lxfa*RT«X . ^ 1 trfl-: 1 ~^w£ 1 i ^ •• • \ • .. .. . T3HCl% y .. ^rwi^Ttrnr^iTT^f .. .. .. .. —\^w> i ^s .. i^y— *> *tTW .. ^T^r^XT^r R.1^— <= ^ET^H: . . TTJfffT^'f £. «R*T: . . KlfeTfT^cR ^8— \° s^y^—^8^® PREFACE, The present edition of the Sahitya Darpana has been prepared from a copy of the first edition of the same with the corrections and emendations of the Pandits of the Sanskrit College in Calcutta, and of a MS. in the Library of the Asiatic Society (No. 156 of the Sanskrit Catalogue) containing the text, and also the commentary by Ram- charana. The rendering of the Pracrit and the explanation of obscure passages in the original are taken from that commentary. I have added to this edition a list of the authors and works, mentioned in the text, with a reference to the passage, where their names first occur, and also an index of the technical terms, which, it is hoped, will be found useful in a work like the Sahitya, abounding as it does with the definitions of the school.