Part 10 - Types of Vipralabdhā

Śṛṅgāramañjarī comes up with two kinds of Vipralabdhā.

1 Nāyakavañcitā—Definition and Example

नायकेन वञ्चिता नायकवञ्चिता ।

nāyakena vañcitā nāyakavañcitā |

The one deceived by the nāyaka is a nāyakavañcitā.

Example:

रतिसदनमुपेयुषा परस्या विरहमहं गमिता च वञ्चिता च ।
अदयमुभयथापि दैवयोगादपि दयितेन कृतास्मि विप्रलब्धा ॥

ratisadanamupeyuṣā parasyā virahamahaṃ gamitā ca vañcitā ca |
adayamubhayathāpi daivayogādapi dayitena kṛtāsmi vipralabdhā ||^[1]

Having gone towards the place of union during the dawn, with over bound viraha and being deceived, ardently in both cases also, accidently I have been made a Vipralabdhā by my lord.

2 Sakhivañcitā—Definition and Example

सख्या नायकं क्वचिद् गोपयित्वा केलीस्थलमानीय परिहासार्थं वञ्चिता सखीवञ्चिता ।

sakhyā nāyakaṃ kvacid gopayitvā kelīsthalamānīya parihāsārthaṃ vañcitā sakhīvañcitā |

The Sakhi hides the hero in the tryst for fun for some time.

Example: 

प्रेयांसं गोपयित्वा क्व चिदपि भवनद्वारदेशे ब्रवीषि त्वं मामन्यालयं प्रत्यति कठिनमनास्ते तु कान्तः प्रयातः ।
श्रुत्वैतद्व्याकुलायास्सलिलमुपगतं वीक्ष्य पूर्णं मदक्ष्णो रानीयामुं किमेवं सखि हससि मुहुर्नैष युक्तः प्रकारः ॥

preyāṃsaṃ gopayitvā kva cidapi bhavanadvāradeśe bravīṣi tvaṃ māmanyālayaṃ pratyati kaṭhinamanāste tu kāntaḥ prayātaḥ |
śrutvaitadvyākulāyāssalilamupagataṃ vīkṣya pūrṇaṃ madakṣṇo rānīyāmuṃ kimevaṃ sakhi hasasi muhurnaiṣa yuktaḥ prakāraḥ ||^[2]

Dr. Raghavan states that the idea of ‘Sakhi vañcitā’ is not indegeneous to Akbar Shah. But, the author of Āmoda criticizes this as being against the quality of a Sakhi. The variety criticized by Āmoda is when the sakhi brings the heroine to the tryst on a false message. But the variety established by Śṛṅgāramañjarī is quite acceptable to the quality of a Sakhi as the vañcana is only for fun and for a short while.^[3]

Padam[4] Rāga–Sāvēri	Composer -Kṣētrajña Language -Telugu
Koncegattelā? Mīrō caliyarō! Koncegattelā? Nā guṇamu teliyaka nannuḍi Kinci vāḍu tāmu kērikēri navvēru	Are you so small minded! O my friends Are you really so small minded that you, knowing my nature, make fun of me and join him to laugh at me?
Aligi rāḍu tōḍi temmani sakhula nampite Celuvuni tōḍi tecci talavākiṭa nunci Yaladāni gūḍi rānanenaṇṭe nāmadi Kalagi kannīru nincagā tōḍi teccēru	He was angry on me and did not come here. I sent you to fetch him. Having brought him here, you hid him and told me that he refused to come as he was enjoined with her. When I wept my heart out, you brought him from hiding.
Porugiṇṭa patinunci taruṇi! nīpati yūri Karigēṭappuḍu dayamaruva vaddani nītō Nerigimpu manenana viraha vēdana cēta Boralaga nappuḍu vibhuni tōḍi teccēru	You hid him in a neighbour’s house and conveyed to me his parting message that I should be kind and should not forget him. But out of pangs of separation I was immersed in grief when you got him out.
Nelata! Muvvagōpāluniki nā sakhi gaṭṭina Valuva gaṭṭi strī valenē yalavarinci yindudecci Alivēṇi pavvaḷincu mataḍindu rāḍani Tolagi yaccaṭa nuṇḍa galasi vibhuḍu navve	O young woman, my friend’s attire was given to Muvva Gopala. He was made up like a woman and made to sleep with me for company as my lord was not coming. But, when all of you went, leaving us together, he revealed himself to me amidst laughter.

3 Anyasambhogaduḥkhitā

The heroine who is distressed by the knowledge of the hero’s union with another lady is called Anyasambhogaduḥkhitā. This nāyikā has been proposed by Rasamañjarī as a general classification along with Vakroktigarvitā and mānavatī. Since it is not possible to have two classifications based on situations, it must be brought under the umbrella of the aṣṭanāyikā, either as an addition or as a sub variety to the already existing nāyikās.

Śṛṅgāramañjarī brings Anyasambhogaduḥkhitā as the last variety of Khaṇḍitā with a sub variety called Īrṣyagarvitā. Now, the question here is how the connection between a Khaṇḍitā is different from an Anyasambhogaduḥkhitā? The theory proposed by Pappu Venugopala Rao is that the Khaṇḍitā sees marks of dalliance on the hero whereas the Anyasambhogaduḥkhitā is one who sees marks of dalliance by the hero on another woman.^[5] They seem to be too close to each other. They must be classified more clearly. The name must be taken into consideration. The Anyasambhogaduḥkhitā is saddened, suggesting her misplaced trust while a Khaṇḍitā is shattered, indicating her ego being hurt.

Śṛṅgāramañjarī states that the earlier theory of Anyasambhogaduḥkhitā was that the heroine was distressed due to the hero’s union with her messenger. Example–Rasamañjarī.

त्वं दूति निरगाः कुञ्जं न तु पापीयसोगृहम् ।
किं शुकाभरणो देहो दृश्यते कथमन्यथा ॥

tvaṃ dūti niragāḥ kuñjaṃ na tu pāpīyasogṛham |
kiṃ śukābharaṇo deho dṛśyate kathamanyathā ||^[6]

The nāyikā asks her sakhi–o friend! You do not seem to have gone to the house of that sinful man but to a bower or else why would there be Kiṃśukā flowers (Nail marks) on you?

Refuting this theory as inappropriate, it is argued that the word Anya means a lady other than herself and does not denote the friend, Sakhi.

प्राचीनाः दूतीसंभोगदुःखितामेवान्यसंभोगदुःखितामाहुः । तन्न युक्तम् ।
अन्यशब्दस्य स्वेतरार्थकत्वात् दूतीसंभोगदुःखितैव कथमन्यसंभोगदुःखिता भवति ।

prācīnāḥ dūtīsaṃbhogaduḥkhitāmevānyasaṃbhogaduḥkhitāmāhuḥ | tanna yuktam |
anyaśabdasya svetarārthakatvāt dūtīsaṃbhogaduḥkhitaiva kathamanyasaṃbhogaduḥkhitā bhavati | 373

Here Śṛṅgāramañjarī comes up with the following definition.

अन्यसंभोगदुःखिता—
नायकपरोक्षकोपप्रकाशनशीला अन्यसंभोगदुःखिता ।

anyasaṃbhogaduḥkhitā—
nāyakaparokṣakopaprakāśanaśīlā anyasaṃbhogaduḥkhitā |^[7],375

The one who displays anger not in front of the hero is Anyasambhogaduḥkhitā. This definition overlaps with that of a Khaṇḍitā.^[8] Also the word ‘Duḥkhitā’ is not considered. While a khaṇḍitā is angry, a duḥkhitā is sad. Thus the definition must be something like this the one who is sad due to the hero’s interest on another.

सा त्रिधा—
दूतीसंभोगदुःखिता, दूतीसमासक्तिदुःखिता, इतररतिश्रुतिखिन्ना चेति ।
इतः परम् ईर्ष्यागर्वितेति भेदान्तरमस्माभिः कल्पितमिति चतुर्धा ।

sā tridhā—
dūtīsaṃbhogaduḥkhitā, dūtīsamāsaktiduḥkhitā, itararatiśrutikhinnā ceti |
itaḥ param īrṣyāgarviteti bhedāntaramasmābhiḥ kalpitamiti caturdhā |^[9]

अन्यसंभोगदुःखिता साधारण उदाहरणम्—
यथा पूर्वं मयि स्निग्धस्तथेदानीं न वल्लभः ।
मन्ये तदन्यकामिन्यामुत्पन्नास्य मनोरतिः ॥

anyasaṃbhogaduḥkhitā sādhāraṇa udāharaṇam—
yathā pūrvaṃ mayi snigdhastathedānīṃ na vallabhaḥ |
manye tadanyakāminyāmutpannāsya manoratiḥ ||^[10]

My lord is not as charming as he used to be towards me due to his desires towards others.

Padam Language -Tamiḻ Rāgam–usēni; tāḷam–rūpakam	Example of Itararatiśrutikhinnā of Anyasambhogaduḥkhitā Composer–Subbarāmayyar
Pallavi[11] Nēṟṟandi nērattilē nīrāḍum karaitaṉilē Neruṅgi ummai jāḍai kāṭṭi aḻaittavaḷ yāraiyya	Who was the lady who hinted with signs and summoned you last evening at the banks of the river during the sunset time?
Aṉupallavi Nērtti māmayilēṟum kandā nīravaḷum edirmuḻiyāy Niṟka mayalilē cokkaiyilē pakkandanil irundēṉ svāmi	The special peacock riding Kanda, when you and she were standing, with eye to eye contact, forgetting yourselves, fascinated by each other I was standing close by.
Caraṇam Munnāḷil eṉṉiḍattil sondam pōla vandu Muttu muttāy sarasamāḍi mōhamadait tandu Maṉṉavā uṉ niṉaivu koṇḍu; aṉṉam kaṇḍoru mādamuṇḍu Vārumaiyā eṉ duraiyē; tīrumaiyā eṉ kavalai	In earlier days you used to come like a relative, kissing, making amourous gestures with lasciviousness. Oh lord, I have spent months thinking about you, please come and remove my worries
Piḷḷai madi uḍaiya peṅgaḷ; bēdamaiyaik kaṇḍu Pērulagil cūṭkoḷḷuvar; puruśar iduvuṇḍu Teḷḷutamiḻ subbarāmaṉ; seypadattukku suruḷum Tiruviḍaiyō inisagiyēṉ; sēvalaṅkoḍiyuḍaiyōy	The men in the world take advantage of innocent women who have child like brains. I will not tolerate this any more, oh lord. Possessing a flag with the cock and who coils up to the pure tamil songs of Subbaraman.

The following aṣṭapadī (5) is an example of Itararatiśrutikhinnā of Anyasambhogaduḥkhitā.

Here, she is not angry like a Khaṇḍita but is sad and feels mocked at and cheated by him.

संचरदधरसुधामधुरध्वनिमुखरितमोहनवंशम् ।
चलितदृगञ्चलचञ्चलमौलिकपोलविलोलवतंसम् ।

saṃcaradadharasudhāmadhuradhvanimukharitamohanavaṃśam |
calitadṛgañcalacañcalamaulikapolavilolavataṃsam |

The word ‘Parihāsam’ indicates her association with Vipralabdhā. So, an Anyasambhogaduḥkhitā is more of a Vipralabdhā and less of a Khaṇḍitā.

With his trembling lips, he plays the flute from which comes the nectar like sweet music. His eyes rotate as if in ecstacy and the peacock plumes on his head express their accord. The knoted earrings dangle at his cheeks when he plays the flute.

रासे हरिमिह विहितविलासम् स्मरति मनो मम कृतपरिहासम् ।—ध्रुवम्

rāse harimiha vihitavilāsam smarati mano mama kṛtaparihāsam |—dhruvam

My heart remembers that Hari who is frolicking in the Rās dance, mocking at me.

चन्द्रकचारुमयूरशिखण्डकमण्डलवलयितकेशम् ।
प्रचुरपुरन्दरधनुरनुरञ्जितमेदुरमुदिरसुवेशम् ॥

candrakacārumayūraśikhaṇḍakamaṇḍalavalayitakeśam |
pracurapurandaradhanuranurañjitameduramudirasuveśam ||

On His thick black hair adorns the plumes of the peacock resembling the dark clouds enwrapped by the expansive rainbow.

गोपकदम्बनितम्बवतीमुखचुम्बनलम्भितलोभम् ।
बन्धुजीवमधुराधरपल्लवमुल्लसितस्मितशोभम् ॥

gopakadambanitambavatīmukhacumbanalambhitalobham |
bandhujīvamadhurādharapallavamullasitasmitaśobham ||

Kissing the faces of the round hipped cowherd damsels increases his passion. He sports an enchanting smile on his tender red lower lips which resemble the Bhandhujīva flower.

विपुलपुलकभुजपल्लववलयितवल्लवयुवतिसहस्रं ।
करचरणोरसि मणिगणभूषणकिरणविभिन्नतमिस्रम् ॥

vipulapulakabhujapallavavalayitavallavayuvatisahasraṃ |
karacaraṇorasi maṇigaṇabhūṣaṇakiraṇavibhinnatamisram ||

He has an assortment of ornaments on his hands, legs and chest. The jewel in his ornaments dispels darkness and for the want of it is being surrounded and embraced by innumerable cowherd damsels.

जलदपटलवलदिन्दुविनिन्दकचन्दनतिलकललाटम् ।
पीनघनस्तनमण्डलमर्दननिर्दयहृदयकपाटम् ॥

jaladapaṭalavaladinduvinindakacandanatilakalalāṭam |
pīnaghanastanamaṇḍalamardananirdayahṛdayakapāṭam ||

The spot of sandal on his forehead resembles the moon which traverses through the clouds. His chest is tightly rubbed by milkmaids with their stout bosoms, making it hard and a strong-door-(chest) to encase his merciless heart.

मणिमयमकरमनोहरकुण्डलमण्डितगण्डमुदारम् ।
पीतवसनमनुगतमुनिमनुजसुरासुरवरपरिवारम् ॥

maṇimayamakaramanoharakuṇḍalamaṇḍitagaṇḍamudāram |
pītavasanamanugatamunimanujasurāsuravaraparivāram ||

His cheeks shine due to the hue of the gem studded crocodile shaped earrings. He majestically stands wearing silk and surrounded by ascetics, men, gods and demons.

विशदकदम्बतले मिलितम् कलिकलुषभयम् शमयन्तम् ।
मामपि किमपि तरङ्गदनङ्गदृशा मनसा रमयन्तम् ॥

viśadakadambatale militam kalikaluṣabhayam śamayantam |
māmapi kimapi taraṅgadanaṅgadṛśā manasā ramayantam ||

He mingled with me under the big serene Kadamba tree to destroy any fear of romantic grievances (or sins of Kali era). He excites even me with his wandering looks resembling god of love.

श्रीजयदेवभणितमतिसुन्दरमोहनमधुरिपुरू पम् ।
हरिचरणस्मरणम् प्रति संप्रति पुण्यवतामनुरू पम् ॥

śrījayadevabhaṇitamatisundaramohanamadhuripurū pam |
haricaraṇasmaraṇam prati saṃprati puṇyavatāmanurū pam ||^[12]

Like this Jayadeva portrayed the image of Madhu’s foe fit to be kept in memory of the worthy, whose mind reverently contemplates Hari’s feet.

स्वीया अन्यसंभोगदुःखिता उदाहरणम्—
यद्यपि स्वा गृहे कान्ता रम्भारतिरमासमा ।
तथापि पुरुषः काममन्यनारीमवेक्षते ॥

svīyā anyasaṃbhogaduḥkhitā udāharaṇam—
yadyapi svā gṛhe kāntā rambhāratiramāsamā |
tathāpi puruṣaḥ kāmamanyanārīmavekṣate ||^[13]

मध्या अन्यसंभोगदुःखिता उदाहरणम्—
यस्याः पतिरन्यस्यामासक्तः कादशा स्त्रियस्तस्याः ।
तत्कथय त्वं प्रियसखि येन मनस्संशयो न स्यात् ॥

madhyā anyasaṃbhogaduḥkhitā udāharaṇam—
yasyāḥ patiranyasyāmāsaktaḥ kādaśā striyastasyāḥ |
tatkathaya tvaṃ priyasakhi yena manassaṃśayo na syāt ||^[14]

O friend please tell me what will be the state of those ladies whose husbands are interested in other women.

प्रगल्भा अन्यसंभोगदुःखिता उदाहरणम्—
इत्यपि श्रूयते सार्धं विहरत्यन्यया पतिः ।
कठिनं हृदयं हन्त तथापि न विदीर्यते ॥

pragalbhā anyasaṃbhogaduḥkhitā udāharaṇam—
ityapi śrūyate sārdhaṃ viharatyanyayā patiḥ |
kaṭhinaṃ hṛdayaṃ hanta tathāpi na vidīryate ||^[15]

The one who though having heard that her husband gets carried away with other women is not torn away by grief; damn! that cruel heart.

परकीया अन्यसंभोगदुःखिता उदाहरणम्—
सर्वासु निर्विशेषं लतासु नित्यं परिभ्रमता ।
श्लाघ्या चम्पककलिकाकरोति यन्नालिना सङ्गम् ॥

parakīyā anyasaṃbhogaduḥkhitā udāharaṇam—
sarvāsu nirviśeṣaṃ latāsu nityaṃ paribhramatā |
ślāghyā campakakalikākaroti yannālinā saṅgam ||^[16]

सामान्य अन्यसंभोगदुःखिता उदाहरणम्—
मन्ये गुणानभिज्ञो गणयति गणिकास्समाः सर्वाः ।
मां त्यक्त्वा ननु दत्ता मुक्ता माला यदन्यस्यै ॥

sāmānya anyasaṃbhogaduḥkhitā udāharaṇam—
manye guṇānabhijño gaṇayati gaṇikāssamāḥ sarvāḥ |
māṃ tyaktvā nanu dattā muktā mālā yadanyasyai ||^[17]

Dūtīsambhogaduḥkhitā

दूतीसंभोगदुःखितालक्षणम्—
दूतीसंभोगेन दुःखिता दूतीसंभोगदुःखिता ।

dūtīsaṃbhogaduḥkhitālakṣaṇam—
dūtīsaṃbhogena duḥkhitā dūtīsaṃbhogaduḥkhitā |^[18]

The one who is saddened by the hero’s union with the messenger is called a dūtīsambhogaduḥkhitā

साधु दूती पुरितकृतं साधु, कं कर्त्तव्यमतः परम् ।
(मदर्थ) यद्विलग्नासीः दन्तैरपि नखैरपि ॥

sādhu dūtī puritakṛtaṃ sādhu, kaṃ karttavyamataḥ param |
(madartha) yadvilagnāsīḥ dantairapi nakhairapi ||^[19]

Well done my messenger! (Dūtī) very welldone what more could I expect! (It looks like) for my sake you clung to him with your teeth and nails also.

Padam[20] Rāga -Pūrva Kāmōdari Tāḷa–Miśra cāpu	Composer–Svāti Tirunāḷ Maṇipravāḷam Translations by T. K. Govinda Rao
Nāyikā: Kāminī maṇi! sakhi! tāvakamukhaminnu kāmam svinnamāyatendē? vada!	Nāyikā: Oh Kāminīmanni! Dear friend! Today why is your face sweating like this? Tell!!
Sakhi: Tāmarasabāndhava kiraṇamēṟṟu vadanam tāntamāyi nitāntam	Sakhi: I sweat due to the rays of sun.
Nāyikā: Taruṇamṛganayanē! tava lōcanayugaḷam aruṇataramāyatendē? Hanta	Nāyikā: Oh the one, with eyes like the young deer! Why your both the eyes are reddish?
Sakhi: Taruṇi! tava dayita vacanōditakōpēna paramaruṇamāyinnu.	Sakhi: Alas! May be due to the harsh words of the beloved one.
Nāyikā: Nīla vāridanibhamākum tava kuntaḷam bālē! luḷitamāyatendē?	Nāyikā: Why is your hair which is always beautiful as dark clouds looks untidy?
Sakhi: navamalayamāruta calanamatukoṇḍatrē cālēluḷitamāyinnu	Sakhi: The fresh gentle breeze has made my hair untidy.
Nāyikā: kuṅkuma paṅkamaḻivānendu kāraṇam? Kōkilavāṇi tava kēḷkka!	Nāyikā: Why the kuṅkuma on your forehead is disturbed? Oh Kōkilavāṇi!
Sakhi: Paṅkajākshi! Sāmpratam uttarīya karshaṇāl paricōḍaḻiññitahō!	Sakhi: Oh Paṅkajākshi! My upper garment might have rubbed over it.
Nāyikā: Mēni vāḍuvānendu mūlamennu paṟaka?	Nāyikā: Tell me the reason as why you are looking tired?
Sakhi: Yānā yānattālatrē! bata	Sakhi: It is due to my wandering here and there.
Nāyikā: Māninī nī connatellām satyam iniyum mama vācam śṛṇu kimapi sarasanām śrī padmanābhanōḍu saha sambhōgamatilenniyē–ippōḷ varatanu tavādhara kshatamāyateṅṅine? nirupamādbhuta tarāṅgi!	Nāyikā Oh Māninī! What ever you spoke may be true. But now listen to my words. Oh the one with marvellous unparallel form! However it is, you must have united with the charming Sri Padmanābha and that is why there are marks in your lips!

Dūtīsamāsaktiduḥkhitā

दूतीसमासक्तिदुःखितालक्षणम्—
दूतीसमासक्त्या दुःखिता दूतीसमासक्तिदुःखिता ।

dūtīsamāsaktiduḥkhitālakṣaṇam—
dūtīsamāsaktyā duḥkhitā dūtīsamāsaktiduḥkhitā |^[21]

The nāyikā who is sad due to the hero’s attachment to the messenger, is called a dūtīsamāsaktiduḥkhitā

या प्रेषिता तस्य समीपमेषा तां भोक्तु मेवास्य मनः प्रसक्तम् ।
समागता मत्सविधं पलाय्य कन्या तमानेतुमतः प्रयातु ॥

yā preṣitā tasya samīpameṣā tāṃ bhoktu mevāsya manaḥ prasaktam |
samāgatā matsavidhaṃ palāyya kanyā tamānetumataḥ prayātu ||^[22]

Itararatiśrutikhinnā

इतररतिश्रुतिखिन्नालक्षणम्—
इतरनायिकया या रतिं श्रुत्वा खिन्ना इतरनायिकारतिश्रुतिखिन्ना ।

itararatiśrutikhinnālakṣaṇam—
itaranāyikayā yā ratiṃ śrutvā khinnā itaranāyikāratiśrutikhinnā |^[23]

The nāyikā who is saddened by hearing the hero’s union with another lady; is called itararatiśrutikhinnā

प्राणप्रिये नेत्रचकोरयुग्मज्योत्स्ने मदिच्छाफलकल्पवल्लि ।
इति प्रियेणालि बतान्यनार्यै मदीयनामानि समर्पितानि ॥

prāṇapriye netracakorayugmajyotsne madicchāphalakalpavalli |
iti priyeṇāli batānyanāryai madīyanāmāni samarpitāni ||^[24]

Alas! He offers names like lady love, the moonlight for the eyes to other women.

Īrṣyāgarvitā

ईर्ष्यागर्विता लक्षणम्—
वक्रोक्त्या नायकपरोक्षं नायकविषयककोपप्रकाशिकाईर्ष्यागर्विता ।

īrṣyāgarvitā lakṣaṇam—
vakroktyā nāyakaparokṣaṃ nāyakaviṣayakakopaprakāśikāīrṣyāgarvitā |^[25]

The one who through crooked speech expresses her anger on the hero in his absence is called īrṣyāgarvitā.

मिलिष्यत्येव मां प्रेयान् धृत्वान्यां हृदि वर्तते ।
स्तनाभ्यां तदुरो हत्वा पीडयिष्यामि तामपि ॥

miliṣyatyeva māṃ preyān dhṛtvānyāṃ hṛdi vartate |
stanābhyāṃ taduro hatvā pīḍayiṣyāmi tāmapi ||^[26]

Footnotes and references:

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[1]:

Śṛṅgāramañjarī, cxi. 22.

[2]:

Ibid., cxii. 22.

[3]:

vide introduction to Śṛṅgāramañjarī pg. no. 80.

[4]:

Muvvagopala Padavali, 107.

[5]:

Pappu Venugopala Rao, Rajamanjari of Bhanudatta (Chennai: Pappus Academic & Cultural Trust, 2011), 69.

[6]:

Rasamañjarī, xxxiii. 96.

[7]:

Ibid.

[8]:

śṛṅgāra rasānukūlakopavatī khaṇḍitā |

[9]:

Śṛṅgāramañjarī, 27.

[10]:

Ibid., cxxxviii. 27.

[11]:

Gowri Kuppuswamy and M.Hariharan, eds., Tamil Padangal (Nagercoil: CBH Publiations, 1997), 23.

[12]:

Gītagovinda, 136–137.

[13]:

Śṛṅgāramañjarī, cxlii. 27.

[14]:

Ibid., cxliii. 27.

[15]:

Ibid., cxliv. 27.

[16]:

Ibid., cxlv. 28.

[17]:

Ibid., cxlvi. 28.

[18]:

Ibid., 27.

[19]:

Kāmasamūha, cdxxiii. 143.

[20]:

Compositions of Maharaja Swati Tirunal, 256–257.

[21]:

Śṛṅgāramañjarī, 27.

[22]:

Ibid., cxl. 27.

[23]:

Ibid., 27.

[24]:

Ibid., cxli. 27.

[25]:

Ibid., 28.

[26]:

Ibid., cxlvii. 28.