Chapter 4 - Interpretations

CHAPTER IV INTERPRETATIONS 254

255 Akala: p.232, 1.4. Akala means 'untime' or 'unseason'. It is believed that the untime blooming of flowers is the symbol of evil omen indicating the approaching dissolution of the world. Bhanu quotes: "taduktam drmausadhivisesanam akale kusumodgamah. vidurbudhah".1 Akufala: p.126, 1.6. phalaprasavayorbandham mahotpatam The word akusala means coverings, i.e., scabbards 2 of sword and in the context there was union of akugala with sword only and not in the family.' In the case of family akusala means misfortune. na vidyate kusalam yasmat sa akusalah khangah, sasvatah. 'Kusalam sukrte kseme ' - 1. Bhanu, p.232, 1. 14. 2. cf. Bhanu, p.126, 1. 23.

A. explains it differently: 'akurdarumayah D. explains it as kosah salascarmamayah smrtah'.1 'akusalo nama dravya visesah' 256 Bhanu gives another explanation: akutsitamsobhanam carma tasya yoqah, anyatrakusala maksema jaradi tena yogo nastiti va Akhila: p.161, 1. 1. The head of the bed was occupied by a venerable old woman who was seated in the midst of whole grains of rice. M.M. Kane explains akhila as: either 'unhusked or husked, but not crushed into pieces, whole or entire'. 4 However, Bhanu. explains the word akhila in a different way. is never ploughed before and the meaning of akhila would be 'produced in a fertile or cultivated piece of land'. To him: 'Khilam means waste land which 5 1. Vide Kane. P. 160 2. ibid 3. Bhanu. p. 127, 1. 1-3. 4. Kane. p.191. 5. ne vidyate khilam yesam te'khitah ksetrotpanna ye vrihayo dhanyani. Bhanu. p.161, 1. 1-2.

257 Agamyavisayabhilasa; p.201, 1. 7. That had ambitions about countries accepted to be inaccessible or longing for woman not approachable to man of higher class. Bhanu. explains pakse agamyanam visaya bhitase I yasmin, which may mean which is desired for enjoyment by woman unapproachable to higher caste. Ajitabhrtyata; p.233, 1. 5. Ajitabhrtya means 'the habit of not chastising one's servants when they err', and this should be the quality of a king, i.e., not to punish servants. Bhanu. quotes: "Siksartham tadita bhrtya tasya rajnah samyak sevam kurvanti sa fitabhrtyah anyas tvajita bhrtyah tasya bhavah tatta tam. Idam ca nrpardusanam. Vaigunye bhrtyanam avasyam siksa " pradatavyeti rajacihnam. Taduktam satha damanam asatha palanam asrita bharanam ca rajacihnani."² 1. Bhanu. p.201, 1. 20. 2. Bhanu. p.233, 1. 19-21.

258 Ataviveni: p.50, 1. 7. The path stained with ichor by which the leader of the elephant herd wandered, which looks like the braid of the forest. Ichor is dark while the elephant wandered round and round the ichor was sprinkled which looked like the braided hair of a lady the forest. 1 K and T translate it as 'like a widow's braid', it is not clear why it should look like widow's braid. Bhanu. makes Sancaravithi a part of the next clause and reads atavi and venika as separate. Atah punara gamana, etc.; p. 431, 1. 10. 3 2 Here the idea is, if Candra ida gives her a second visit and will fill that she possesses some virtues (beauty) which are capable of attract even the noble prince. Bhanu. and Kale explain 'gunavat abhimaninim' as qunavatsu abhimano vidyate asyah iti. Thus the sentence 1. Iyamatavy aranyabhumir venikamalaka pankti, etc., Bhanu. p. 60, 1. 18. 2. Vide Kane, p. 84 . 3. Bhanu. p. 60, 1. 18.

means if you will honour her with a second visit 1 she will be proud of you who are virtuous. It seems that both Bhanu. and Kale have missed the point. Kadambari is already proud enough of Candrapida's virtues. The second visit of Candrapida is not necessary to confirm that. But the second visit will give her the confidence of her own charm. A. says gunavatya aham itya abhima no petam kartum arhasi.2 Atidvayl: p.7, vs. 20. Bana Bhatta composed the prose Kadambari which is atidvayi. This may be interpreted in the sense of dvitiyam atikranta, which has surpassed the second meaning being second to none or without a second.³ However, the commentator has given a novel idea to it by interpreting it in the sense that this Katha has surpassed the two earlier prose writings. It may 1. Bhanu. p.432, 1. 2, vide Kale's comm. p.317. 2. Vide Kane II, p.210. 3. Dvayam svasmat dvitiyam atikranta, cf. anamika sarthavati vabhuva. 269

260 be mentioned here that prior to Kada., there were two prose worth mentioning, viz., Brhatkatha of Gunadhya and Vasavadatta of Subandhu.1 Ati vistarina, etc.: p. 379, 1. 6-8. The clause ativistarina bhuvanantaralam is to be connected with tejomayam iva.... nirmita sansthanam. The lustre of the bodies of the ladies spread all round, hence it is spoken of as a flood. As the prabha is said as a pura the word ardri kurvateva bhuvanantaralam, are proper. A. explains bhuyistham teja eva adbhir bahutabhir mrdu krtam. Caksur ananda jananam tavanyam iti kathyate. Iti lavanya laksanam uktam. Bahala. mani mayena sarvatah parigatataya tejomayam iva.² ... It is difficult to make a complete sense out of this expression. Bhanu. proposes to explain this by adding nirmanena after marakata mani mayena. Kale does not explain as to 3 1. Dvayim brhatkatham vasavadattam catikrantetyarthah - 2. 3. Bhanu. p.7. Vide Kane II, p.134. Bahula ya prabha kantis tad varsina marakata mani mayena asmagarbha mani mayena arthan nirmanena, etc. Bhanu. p. 379, 1. 15-16.

261 whom the adjective bahala prabhavarsina and marakatamani mayena qualify.¹ The said two qualifications may be construed with lavanya prabhapurena. But it is not very happy explanation that prabhapura showered prabha; manimayena would mean that the flood of brilliance was mixed with huge of emerald wom by the ladies. Thus it would be better to supply, as one of the Calcutta edition does bhusanena after manimayena. The sense in that case would be on account of its being surrounded on all sides with ornaments made of emerald and shedding profuse lustre it seemed as if all aglo. The idea seems to be that all the ladies wore emerald ornaments and hence the inside of the maidens' palace seemed aglo with the lustre of their complexion and of emerald, as remarks Prof. Kane. 2 Adhomukha harasirah kapala mandalakara: p.282, 1. 2. Prof. Kane dissolved the compound as: 'harasya sirah tasmin kapalam, adhomukham ca tat harasirah kapalam - ca tasya mandalam tasya iva akarah yasya'. - 1. Vide Kale's comm. p.276. 2. Vide Kane II, p.134. 3. Kane, p.134.

562 To explain: Mahasveta's protuberent breast is compared to the skull on the head of Siva. Again, to explain the propriety of the word 'adhomukha' here: the natural position of the skull is with an uneven surface because of the holes of nose, mouth, eye, etc. On the other hand if the skull's face is made upside down, i.e., the face turned downward, then there is only a plain convex surface of the back of the head which in its protuberance resembles the breast. However, Bhanu. interprets it in another way: 'Urdhvamukhe kapale syamata nasti, ityato'dhomukham yad harasirah kapalam tad vanmandala karena vartula krtina. harapada danena stane dhavalatvam dyotyate. Isvarasya dhavalatvat'.1 From this it seems that the commentator takes harasira kapala as 'Siva's own head' and possibly explains 'adhomukha' by referring to the fact that Siva's throat is darkened by the poison 'halahala' and the dark spot on the neck corresponds to the dark nipple of her breast which seems to be farfetched. 1. Bhanu., p.282, 1. 6-8.

263 A. and D. seems to take hara... kapala as the skull of Brahma on the head of Siva: 'brahmamunda karotirya sa kapalagirocyate; 'hara sirah kapalam harasirahstha brahma sirah kapalam, 1 possibly keeping in mind about the fifth head of Brahma which was cut off by the ring-finger or burnt down by the fire of the third eye of Siva. Akhyanaka: p.13, 1. 1. Bhanu. explains akhyanaka as curnaka² and Vamana in his Kavyalamkarasutra speaks about curna as anaviddhalalitapadam curnam³ and on its vitti it is explained as anaviddhani adirgha samasani lalitanyanuddhatani padaniyasmin. So it seems that akhyanaka is a tale told in simple and charming language. Ananga dh,ajansuka; p.296, 1. 9. At the commencement of spring a festival called madanotsava is celebrated in honour of cupid when banners in his honour are raised. The modern holika festival seems 1. Vide Kane, p.24. 2. Bhanu., p.13, 1. 4-5. 3. Kavyalem Su. I.3.24.

264 to be a remnant of it. Thus anangadhvaja refers to the banners raised in honour of cupid. D. explains it differently anangadhvajo nama strenam saubhagya prakasanaya bhavano parikalpit@dhvajah. 1 Anugamanena, etc. p.342, 1. 8. I shall somehow honour him by going to him (pundareka) while alive. Here anugamanena is connected with sambhavayami, it can also be connected with jivita and then the sentence will mean 'I shall honour him by going to him sustaining my life somehow'. anugamana will suggest to those who know the story that Pundarika was to die and Mahasveta would resolve undying after him. The word Apurva pranayama; p.350, 1. 5. Pranayama consists of recaka (inhaling), puraka (inhaling of breath) and kumbhaka (suspension of breath). Pundarika seems to have practised recaka and kumbhaka as he was motionless due to his death in the absence of puraka, i.e., he did not inhale hence this pranayama is said to be spurva due to the absence of puraka. 1. Vide Kane, II. p.41.

265 Bhenu. explains: apurveti. purakabhavat iti bhavah evam vidham pranayamam prananiyamanam abhyasantam iva abhyasam kurvantam iva. purvam nisabda taya pranayama avasthita tvəm, idanim tu puraka bhavat iti bhedah. Abrahmanya: p.351, 1. 9. Brahmani sadhu brahmanyam. According to Pan. 4.4.98, tatra sadhuh na brahmanyam abrahmanyam is nantatpurusa compound. a Brahmana. -It means what is not proper or good to Abhisarika: p.10, 1. 4. Abhisarika is a lady who out of intense love goes The poet fancies out to her lover at appointed place.1 that victory came to the king of his own and like an Abhisarika, An abhisarika meets her lover protected by the darkness of night and inspite of storm and rain. Here victory often came on nights of battle. The iron armour supplies the darkness and the shower of ichor the storm and rain. 1. 'hitva lajjam samakrsta madena madanena ya abhisaravate kantam sa bhaved abhisarika NS. ch.22.206. -

266 Ambhah pavakam ca sprstvavivesa; p.161, 1. 9. The king entered into the sutikagrha having touched the water and fire, for keeping off evil. This is a practice done to purify a person so that no evil consequences should follow from his visit. Bhanu. explains it as: 'that his eyes should exert no evil influence on the baby'.1 Arthapati: p.5, sl.13. In verse thirteen, while describing his family lineage, Bana writes tatah Arthapatih abhut. While commenting on this Bhanu. says tatah Kuberat Arthapatinama 2 putro'bhut. In Harsac. it is found mentioned that Kubera had four sons, namely, Acyuta, Isana, Mara and pasupata and from pasupata Arthapati was born. Thus it is clear from here that Arthapati was the grandson of Kubera and not the son. 1. balaka nireksane drstidosanivarakametat - Bhanu., p.161, 1. 19. 2. Bhanu., p.5, 1. 20.

It is strange that there is no reference to Pasupath and is being omitted here. It is proper to assume that the verse reference to Pasupata, for some reason, has been deliberately omitted. It may be observed here that though there is no specific mention of son or Arthapati being the son of Kubera, still it is clear from this verse that Arthapati was the son of Kubera. 287 Avacula; p.58, 1. 1. Avacula seems to be a pendant, tuft or garland by way of an ornament. Thus, avatapa would mean a chowri placed as an ornament with the tuft of hair turned downward. It may be observed here that Bana is very fond of this word avacula, 1. cf. Samadaqajaghatavaculasahasrasanrdham. Bahala rajodhusaritam asisira kiranavimbam avaculacamara iva nisprabham abhavat - - Kada. ibid.

On this, D. says avacudo 'Lankaravisesah, avacudabhuta camara katapa iva. Avicchinna saliladhara, etc.: p.153, 1. 5. Mr. Kale construes it with matsyapatalaih and explains: the traces of the fish were to be seen in the unbroken line of water used in carrying them." The meaning seems to be: the fish and flesh were washed clean which dripped from them when they were carried round the queen. In the context some women went fast with lamps then followed others with heaps of fish and after them went others with jars pouring waters continuously round the queen. Thus it is better to construe this with ...pradipaih as suggested by M.M. Kane.³ And it is a fact that the source of Kadambari can be traced back to Brhatkatha. 268 1. Kegakatapakantina ca krsna camara avaculena.. uparacitadandamandanam Kada. nilacamara avaculiniva... makaraketu ketupataka. Harsac I. p.15. avanata cuda yasya sa avacuda - Mallinatha on Sisuva Vol.13.

269 Avisambadini: p.318, 1. 5. Here avisambadin means 'of fair-promise'. Literally it means unfailing, not false, as to one's inner qualities or true to one's appearance in behaviour. It may be mentioned that Sanskrit poets are very fond of this type of usage that a splendid form carries with it noble qualities. As Mallinatha quotes on Kiratarjuniyam, Yatrakrtis tatra guna vasanti. 1 Astapada: p.194, 1.2. " Astapada is a chequered board divided into eight rows, each row having eight squares. It is, here, not certain that whether astapada is a chess-board or draught board. However it seems that Bana might have used the word in the sense of chess board. For, in Harsa Carita he associates astapada with caturanga, which refers to the four constituents of the Indian army, viz., infantry, cavalry, elephants and chariots.² 1. cf. Kirata. VI.1. 'na hya akrtih susadrsam vijahati vrttam' Mrccha IX. na tadrsa akrti visesa gunavirodhino bhayanti sak. IV. 2. astapedanam caturanga kalpana Harsa II.17. -

270 For Panini it is a sanjna (referring to a particular thing.¹ pi Moreover, Panini refers to a particular position of Saras (chessmen) in 'anupadasarvanna ayanayam baddha bhaksayatineyesu 2 In Amarakosa it is quoted as 'astapadam sariphalam' (astau padani asya). D. explains it as 'astapadam dyutavisesah'. Bhanu. explains it as 'astapadam sariphalam nayapitakamitianye'. 4 According to A., astapadam atha pranidyutam ahur manisinah. 5 1. 'Astanah saninayam', pa VI.3.125. ' - 'Uttarapade dirghah ast "padam Sid.Kau. on VI.3.125. 2. Vide Mahabhasya on pa.V.2.9. 3. cf. 'astapadaparicaya caturabhih' Kada. p.196. of P. cf. 'Krtakala sannidhanamivandhakarita lalatapattastapadam Harsac. 1.3. Vide Kane, p.228. 4. Bhanu., p.194, 1. 5. 5. Vide Kane II, p.174. For further discussion on Caturanga, etc., vide C. Panduranga Bhatta, Dice play in Sanskrit Literature.

271 Asav api p.364, 1. 8. -Here agau refers to the man who kills himself out of grief for another. Bhanu. explains asau as purvam mrtah, which seems to be wrong (asau purvam mrta - atmaghatinonumrtasyena sa papena kevalam sanyujyate).1 In the first place Bhanu.'s explanation fails to account for the force of api and secondly it is opposed to all ideas of philosophy and common sense. The man that dies cannot be held responsible for the suicide of the person who kills himself. - D. explains: asau purvam mrtah asav api anumrto'pi, and that man also who kills himself incurs the sin of a suicide and secures no advantage to himself or to another.³ 1. Bhanu., p.364, 1. 22. 2. Vide Kane II, p.115. 3. cf. Andhatamisra hyasurya nama lokas tehhyah pratividhlyante ya atmaghatina ity evam rsayo manvante - Uttara. IV.

272 Ahamapi srotum... duhkhani p.355, 1. 12. 'I myself also am unable to hear it, because the sorrows of our friend when recounted cause more pain to listeners as the experience of those sorrows caused to them'. He means that the story of his past sorrows causes as much pain to him as she might have herself suffered and therefore he is unable to listen to it. Here the words 'priyajana visvasa vacanani' qualifies duhkhani and is difficult to explain. To give any sense it must be translated as 'sorrows in which there were confidential talks of friends or with friends' (priya jananam visasa vacanani yesu). Bhanu. comes over this difficulty by taking priyajana visvasa vacanani as the object of srotum of the first sentence. But in his in erpretation the implication of the usage of the word api and hi is hard to explain.1 1. Priyajanasya istalokasya... srotum asamarthah Bhanu., p.356, 1. 1.

273 Aksaracyutaka; p.14, 1. 4. This is one kind of citra, a kind of 'sabdalankara' in which by the dropping of one letter, a different sense is conveyed. 1 Bhanu. illustrated it through an example." He quotes the verse from Vakbhatalankara without naming the source: does. Kurvan divakaraslesandadhaccaranadambaram deva yausmakasenayahkarenuh prasaratyasau - - * * Here the verse describes what Karenu (an elephant) If we take away the letter 'ka' from Karenu, the verse will be an appropriate description of renuh (dust) also. Akasakamalini, etc.: p.393, 1. 4. Who likes the lotus pond in the form of the sky is Svaccha, etc. With Kadambari it means the root of - 1. Bhanu., p.14, 1. 2. cf. Vagbha. 4.13.

274 whose thighs delicate like the lotus fibre was to be seen inside her transparent garment (Svacche ambare vastre drsyamanam mrnalavat komalam uru mulam yasyah), with akasakamalini it means the broad constellation of Mula in which fine like a lotus fibre is noticed in the clear sky. Kamalini means a pond containing lotuses. According to Puskaradibhyo dese (Pa. V.2.135), it is possible that kamalini is the name given to the appearance presented by certain constellation in the sky. A constellation of Mula contains eleven stars and hence may be described as uru (wide). D. explains akase vidyamana kamalini ambaram akasah amsukam ca komalani uruni brhanti mulani kamala stamba mulani, anyatra mrnalavat komalam urumulam yasyah iti. On this, A. comments - 1 svacchambaram suksmavastram drsyamanam bhavet tatah urumulam nitambo syah sukumara mrnalavat akase ya kamalini sarasi kamalanvita drsva manani tasyam syur nrnam viyate nirmale 2 mrnalani tatha komalanyauruni vrhanti ca. 1. Vide Kane II, p.158. 2. ibid.

275 Acaryakula putraprayaparijana: p.167, 1. 7. The prince was surrounded mostly by his teachers and youths of noble family. Here acaryakula means 'teachers'. According to A. Kula putrastu kathyante - 1 mahakula samudbhavah. rajaputrah. However, Bhanu. gives a strange explanation 'acaryasya kulam vaisampayana kulam tasya putraprayah yah parijanah sa eva parivaaro yasya'. 2 Alavalaka mandala; p.275, 1. 4. - Alavalaka mandala means fibres and round tranches for holding water in the case of trees. On the other side it means who are possessed of a number of children with matted hair (jatalah valakah tesam mandalam). Bhanu. explains pakse jata yukta ye balah stanandhayas ta eva kamandaladhara paniyasamuhadhara.³ It seems that Bhanu. has taken 'ka' as meaning water which is not natural. It is better to understand valaka as equal to balaka because of the reason that in a pun 'va' and 'ba', 'da' and 'la' are regarded as non different and interchangeable.4 1. Vide Kane, p.198. 2. Bhanu., p.167, 1. 12-13. 3. Bhanu., p.275, 1. 22-23. 4. Yamaka slesa citresu bavayor dalayor na bhid nanusvara visargau ca citra bhangaya sammatau Vagbha I.20.

276 Abhangini: p.261, 1. 2-3. According to Bhanu., abhangini means 'that were broken at intervals', 'patrabhangavat kutilabhih'.1 A. explains abhanginibhir vicchitya yuktabhih, and according to D., abhanginibhir Isad viccheda vartibhih. Aryaviddha, p.161, 1. 1. 2 It may Aryavrddha means a respectable old woman. probably mean 'an image of durga drawn as an old woman'. D. explains it as 'arya viddha vidusi'.4 Ingita: p.12, 1. 7. 5 3 Amara takes akara and ingita as synonyms, whereas rhetoricians makes difference between the two in defining the figure suksma. Rhetoricians explain ingita as the gestures that suggests the inner feeling and akara as the 6 posture or appearance. 1. Asamantad bhanginibhir dvidha bhavana silabhir... Bhanu., p.261, 1. 5. 2. Vide Kane, p.306. 3. Kane, p.191, 1. 7-8. 4. ibid. 5. 'Akarastimga ingitam' 'akaravingitakrtih 6. 'Ingitakaralaksyorthah sauksmyatsuksma iti smrtah Kavya. II.260.

277 Utkiratapatrabhangan: p.194, 1. 5. Utkirata Thatrabhangan means that scattered lines with saffron and other fragrant powders. But Bhanu.'s explanation is 'patraniketakisambandhini tesam bhangan racanavisesan utkirata utkirya kurvata.¹ Ullasat... kamalamuda: p.198, 1. 1. With In which rises of the perfume of lotuses from lotus legs (ullasan padmakaresu kamalamudah yasmin). This applies to both rajakula and divasakarodayam. rajakula, it may be explained - ullasantipedma laksmih tasyah karakamalasya amodah yasmin. Bhanu. gives another explanation: ullasantah padmakarah srikarakah kamalah harina visesah tesam amodah parimalah yasmin. 2 1. Bhanu., p.194, 1. 12. 2. Bhanu., p.198, 1. 3.

278 Utprasa: p.185, 1. 8. Utprasa means ridicule. D. explains it as "Sotprasah sopahasah 'smrtali sotprasasotkantha sopahasah samastrayah' iti halayudhah".1 Bhanu. interprets it in the sense of conjecture. Usnakiranamiva nijalaksmikrta kamalopakaram: 2 p.198, 1. 1. That laid the lotuses under obligation by means of its own splendour (with usna). That is the sun when in full glory also made the lotuses expand (nija laksmya krtah kamalesu upakara yena). With rajakula it means that added to the glory of Laksmi herself by its own splendour. It means the palace was so gorgeous that Laksmi was herself rendered more splendid by rajalaksmi. In this case nija stands for rajakula. Bhanu. explains differently nija laksmya svarajya sriya krto vihitah kamalavat jalajavat upakah upakrtih But this is not a happy explanation. pujava yena. 3 1. 2. 3. Vide Kane, p.217. Sahotprasena vitarkena vartamanah sotprasah, p.185, 1. 16. Bhanu., p.198, 1. 5.

279 The explanation of Kale is also not satisfactory. Kale takes laksmi krta as formed from laksman (a mark) and explains that was distinguished for the great obligation in conferred by its munificent gifts. 1 - Urna: p.18, 1. 5. Urna is a curved thin line of hair between the eyebrows. This was regarded as a symbol of a Cakravarti or other high personage. etc.. 2 Bhanu. says that this sign is found in cakravarti, not in other common man. He quotes one line also in support of this view without mentioning the source: "bhrudvayamadhye mnalatantusuksam subhrayata taduktam mekam prasastavartam mahapurusa lakranam". Ekagravanaputa... dantapatra: p.193, 1. 7. ivory.³ Dantapatra is one type of ear-ornament made of M.M. Kane mentions that 'to place an ornament only on one ear is peculiar to many classes of servants even now'.4 1. 2. 3. Kale, p. 146 Bhanu, p.18, 1. 21-22. Raghu. VI.17. 4 Vide Kane, p.227.

280 However Bhanu. takes it as desacara.] 1 Katha: p.4, sl.8. Kadambari is accepted as a specimen of one ideal Kathakavya and Bana himself called it so. Even the later definitions of Katha from Rudrata ofwards were framed keeping in view Kadambari. Here in the introductory verses of Kada., the poet has praised a good form of literature and refers to Kada, as Katha. It is possible that this Katha, atleast in verses 8 and 9 can be understood to mean any form of literary composition and not necessarily the technical gadya literature, as defined by the rhetoricians. We have discussed in some greater length the definition of Katha, its characteristics, and the distinction from akhvayika, the other type of gadya literature in the introduction.² 1. desacaro'yam yadekakarne danta patra paridhanam Bhanu., p.193, 1. 19-20. 2. Vide Introduction: a note on Katha, p. 32. -

Bhanu. interestingly comments: abhinava katha gadya padyamayi, katha gadya padyad prabandha, anyatrapi kathayam alapadikam bhavatye veti dhvanih. 3 Thus it is obvious that he has taken katha in the broader And the katha may be sense of any literary composition. either gadya or a padya or even campu. It should not be mistaken that he defines katha (technical) as gadyapadyamay. Kadalika: p.251, 1. 4. Here Kadalika means banner. The Ganges became turbid with the dust of the army, as the banner cloth become grey with dust. Bhanu. explains Kodalika as plantain tree 4 - (rambha) which is not very good. 1. Bhanu., p.4, 1. 10. 2. 30 ibid, 1. 18. ibid, l. 13. 4. Bhanu., p.251, 1. 9.

281 Kancukini p.37, 1. 7. Kancukin is most familiar character in Sanskrit drama as well as other gadya kavya, etc. A Kancukin acts always as a trusted attendant on the woman's appartments in a king's household, and as a friend also to the king. He is generally represented as an old Brahmin carrying a staff and in dramas very often alludes to his growing old in the service of the king. Kanakapatra: p.219, 1. 7. 1 'Kanakapatra' means golden leaves, it is believed that 'Meru' is the golden mountain, so the leaves of its creepers also must be of gold. - 2 But Bhanu. interprets it in a different way: Kanakah nagakesarah campako va tasya patrani dalani, and connects it as: Kanaka patrena alamkrtaya kanyakaya, A. explains it as 'karnabharanamihoktam kanakamayam kanakapatram itaratra'. 1. cf. 'Kale gate bahutithe mama saiva ata prasthanaviklavagateravalambanartha . sak. V.3. 2. Bhanu., p.219, 1. 17. 3. Vide Kane, p.259.

282 Kapi: P.196, 1. 7. Those monkeys, placed near the horse stable to avert evil eyes, were escaped and came to that harem. In olden days monkeys were kept in or near the stables to prevent the influence of evil eyes. Bhanu. explains it as: asvanam drstidos abadhanartham asvasalayam kapayah sthapyante iti rajnamacarah.¹ Kamalinyapi, etc.: p.334, 1. 6. Bhanu. explains kamalinyapi padminyapi sasikara karya karitvat surya karanam sasikaratvam. Tesu ye dvesas tam ujjhati tyajati, taduktam 'atape dhrtimate saha vadhva yamini virahina vihagena sehire na kirana himarashmer duhkhite manasi sarvam asahyam' iti. He means to say that as the sun produces the same effect like the moon the rays of the sun are called gasikara and the sentence should mean 'even the kamalini gives up her hatred for the sun's rays'. 1. Bhanu., p.196, 1. 14. 2. Bhanu., p.334, 1. 14-16.

283 In this interpretation the use of the word api is or cannot be properly explained. It may be observed that it is difficult to propose a satisfactory explanation of it. A tentative explanation would be 'even the Kamalini gives up her hatred for the rays of the moon through the power of madana who can accomplish even the non-accomplishables. ' Karna sankha: p.213, 1. 2. Rings of conchshell were suspended from the ears of elephants by ways of ornament o: as auspicious.1 But Bhanu. interprets it as: 'sankhas were suspended from the ears of the elephants to avoid the bad consequences of evil eyes.² 1. 2. cf. 'antahsphurata mattamadanakarikarna sankhayamanena pratimenduna' Haisac. 1.21; 'hamsayuthayamanam karikarne sankhaih' ibid.II.11, 'anavaratam avatamsa sankhair amandrakarnatala dundubhi dhvanibhih ibid. II.15. 'drstidosasamartham karne baddho yah sankhah' Bhanu., p.213, J. 5.

Karnisuta: p.40, 1. 6. Karnisuta was the name of the founder of the art of thieving. Acala and vipula were two of his friends and sasa, the chief advisor. In the case of 284 Vidhyatavi, Saga means hare. Bhanu. explains sasa as - 'Saso mrdulomako not a hair but as the lodhra tree lodhra vrkso va'.¹ On Kamisuta, Bhanu. remarks: 'Karnisutab karatakah steyasastra pravartakah'. Khyatau tasya sakhayau dvau viputacala sanjnakau. Saso mantrivara tasya iti vrhatkathayam nivaddhah. 2 D. writes Karnisutonama chauryasastra pravartakah kascitraja... tasya virul acaleti nayikanamadheyam.³ According to A., Karnisuta was a brahmana in the country of Bhurivarvan. Vipula and Acala were his pupils. sasa was not his friend. 4 1. Bhanu., p.41, 1. 3. 2. ibid., p.41, 1. 1-2. 3. Vide Kane, p.56. 4. ibid.

285 Kalpanta: p.332, 1. 5. Kalpanta means the universal destruction, at the end of a kalpa. A kalpa is a period of one thousand mahayugas and is equal to 4320000000 human years. A mahayuga constitutes of kali, dvapara, treta and krta. A kalpa is equal to a day of Brahma and the night is also of the equal duration. At the end of the kalpa, the 49 vayus begin to blow, the twelve sons rise in the sky and the clouds called puskara and avartaka cover it. Katyayanisimhə: p.269, 1. 4. The lion is the vahana of Katyayani. According to Bhanu., the name of this lion is Manastala.2 Kadamba: p. 49, 1. 2. Kadamba means swans. They moved though expanded lotuses and being of the same colour could not be noticed but their existence was to be inferred on Kadamba. A. comments adhusara cchado hansah kadambah samuda hrtah. On this D. notes Kadambah kalmasa varno hamsah 3 1. 2. Vide Visp. VI.3. cf. dagdhum visvam dahana kiranair nodita dvadasarkah Venis.3. Katyayanisimho menastalabhidha... etc. 2. 3. Vide Kane, p.70. 4. ibid. Bhanu. p.269,

286 Kadambari: p.201, 1.4. In the rajakula people were describing the flavour of wine as Balarama's mind was intent on describing the particular flavours of wine of which he was very fond of. Here it is clear that Kadambari means wine but Bhanu. takes Kadambari to mean the heroine of the work. 1 But that is not an appropriate explanation as Kadambari was yet unknown to the rajakula. Karpatika: p.453, 1. 4. Karpatika means here a pilgrim who carried holy water from one sacred place to another. A. explains mrnmayam phalakam kupa mukhe nihitam istaka, vahantive karpatikam kantham karpatikas tu te. On this D. comments Karpatikah panthah.³ - 2 1. Balabhadro ramastamiva kadambari vaksyamana stri tasya rasavisesavarnana akula matiryasmin. pakse kadambari kapisayanam Bham., p.201, 1. 13-14. 2. Vide Kane II, p.242. 3. ibid.

287 Kalaratri: p.63, 1. 2. Here Kalaratri means the hours of the night of destruction. The army of Sabara was scattered in thousand groups and looked like tamble trees, set in motion by the wind. As the sabaras were many and very dark the poet fancies them to be watches of dark night of destruction rolled into one. Kalaratri also may mean the dark nights of the dark half of the month. D. comments 'Kala ratrih samhara 1 ratrih'. On this A. notes 'nunam iha kalaratrih kavermata bahulapaksa nisu. Samhararatri ityevam vyakhyatam iha kenacit. Kahala: p.247, 1. 3. 2 Kahala is a large drum. Bhanu. interprets it as: vadya visesa³ and according to D. it is a 'mukhavadya'.4 1. Vide Kane, p.87. 2. ibid. 3. Bhanu., p.247, 1. 11. 4. Kahalo mukhavadya visesah, vide Kane, p.293.

288 Kumudinyapi, etc.: p.334, 1. 6. Kumudini is a lotus plant that opens its flowers by moon light. In the present context, 'Kumudinyapi dinakara karanuragini bhavati' means even Kumudini, i.e., the beloved of the moon loves the rays of the sun, i.e., it becomes full of affection for the moon when the sun sets (dinakara kiranan anu pascat ragini ragavati bhavati). The apparent contradiction may also be explained away in another way, namely, becomes enamoured of the moon. It may be noticed here that two things which are apparently unsuited to one another are generally brought together as nisa and vasara or chaya and pradipa. poet gives this as an example of the power of Kama to effect what is commonly not possible. The Bhanu. interprets it in a different manner. He explains: dinakarasya suryasya karah kiranah tat karyakaritvat dinakara tvam candrasya, tasminn anurago yasyah evamvidha bhavati. Taduktam Candras candakarayate malayajo lepah sphulingayate malyam sucikarayate mrdugatir vato 'pi vajrayate iti. He means that as the moon produces 1 the same effect as the sun the moon is spoken of as dinakara and kumudi.. bhavati really means, the kumuda -▬▬ plant loves the rays of the moon. 1. Bhanu., p.334, 1. 11-13.

Kumarabhava: p.448, l. 7. Kumarabhava has two meanings. Kumarabhavena (childhood or maidenhood) upeta or kumare bhavah ratih 289 tena upeta who is full of love for the prince. may also be taken as vocative. Kumara Kale understands Kumara as equal to a cupid on earth (Ku mara madana) which is farfetched.' 1 Kuvadida (Ka): p.459, 1. 8. Kuvadika is a quack. argues in a wrong manner. Literally it means one who D. explains Kuvadikah kuscita matavadi. 2 Bhanu. reads kuvadid for kuvadika and explains kuvadi mithyavadi tena dattam. 3 1. Vide Kale's comm., p.329. 2. Vide Kane II, p.254. 3. Bhanu., p.459, 1. 20.

290 Kunitakekara taraka: p.179, 1. 4. Whose pupil was turning towards the corner and was slightly contracted by being struck with the rolling mass of hare (1.2., mane) on his head. kunitam caksurisyate', 1 D. A. explains it as: 'bhagatrayasya sankoche explanation is 'akunitam Isannimilitam' and D. explains 'Ekekara' as 'akekaram apangagatam kincidakuncitapanga sangatardhanimesini. muhurvyavrtta tara syad drstirakekara smrta'.² Krtayuga: p.11, 1. 6. There are four yugas, namely, krta, treta, dvapara, and kali. In krtayuga, Dharma is fullest and at its 3 highest, and decreases by one quarter in each of the next three. 1. Vide Kane, p.210. 2. ibid. cf. 'madana sara salyavedanakunitatribhagena natimilitena locana yugalena Kada. 3. Catuspatsakalo dharmah satyam caiva krte yuge nadharmen-gamah kascin manusyanprati vartate itaresvagamaddharmah padasastva varopitah caurikanrtamayahhir dharmascapaiti padasah Manu. I. 81-82.

291 Kvedam... etc.: p.291, 1. 7-8. Kva-kva when repeated in coordinate sentences convey the idea of great disparity or unsuitability. In the present context the first three sentences, viz., Kvedam vayah, kveyam akrtih, kvacayam lavanyatisayah containing kva are to be taken together and the last separately. 'Your young age; your charming form; your surpassing loveliness on one hand and control over your senses on the other! how reconcile this'. This idea of repetition of kva is very common in Sanskrit literature. 1 Gandaka: p.42, 1. 1. The forest was marked with the impressions of the nails of the tiger and had rhinoceroses in it. with griva, gandaka means an ornament - gandakas tu dvayoh khanga mrge... bhusane. What sort of ornament gandaka is not clear. Bhanu. says gandasthala paryantavarti 1. cf. Kva ruja hrdaya pamathini kva ca te visvananiyam ayudham Mala III.2. kva vayam kva paroksa manmatho, etc. sak.II.18. Kva vata harinakanam jivitam catilolam kva ca nisita, etc. cf. Raghu. 1.2 Kumara. V. 101 d. cf. Kirata. 1.6, etc.

yattadrsam grivastham bhusanam taddesa visese gandaka iti prasiddham. He further says; bala raksartham vyaghranakha badhyante iti prasiddhih. 1 292 Gandhagaja: p.60, 1. 4. Gandhagaja is an elephant of the best type described as 'yasya gandham samaghraya na tisthanti pratidvipah. sa vai gandhagajo nama nrpatervijayavahuh'. A. says 'yastu na sahate jatu prat jajagandham sa gandhagajah. aparaiv, asya gandham na sahante'nye gaja bhayat. yascatirosano'nyesam sa gandha gaja ucyate'.2 According to Bhanu., gandhagaja is gandhebhah surabhimadayukta ityarthah. Gandharva nagara: p.226, 1. 5. 'Gandharva nagara means 'the city of the gandharvas'; is the phantom appearance of a town in the sky caused by the natural phenomenon. 1. Bhanu., p.42, 1. 5-6. 2. Vide Kane, p.83. 3. Bhanu., p.60, 1. 8-9.

293 -D. explains it as: 'gandharva nagaram nama mayamayam antarikse kadacid driyamanam nagaram ucyate' According to Bhanu.: 'gandharva nagara lekha hariscandra puri iti yasyah prasiddhih asadvastubhramo va¹² Gupta: p.4, sl.10. The Guptas were an imperial house. They were ruling over the Northern India during 4 th to 5 th A.D. Samudra Gupta was famous among them. 3 But Bhanu. explains it in a farfetched way 'Gupta gupta namankita vaisyasudradayah' and supports it with the verse 'sammantam brahmanasyoktam varmantam ksatriyasyatu. gupta dasa tmakam nama prasastam vaisya sudrayoh'. 1. Vide Kane, p.286. cf. Yatha gandharva nagarani durato drsyante upasrtya ca nopalabhyante p.196. 2. Bhanu., p.226, 1. 13-14. . Mah Bhas. Vol.II, 3. Vide the Introduction to Gupta Inscriptions by 4. Dr. Fleet. Bhanu., p.5, 1. 2-3.

294 Gudha caturthapada: p.14, 1. 5. Gudha caturthapada is a variety of citra. example of this is: 'dyuviyadqamini tarasamravavihata srutih " 1 hemesumala susubhe'. An In this the fourth pada, namely, vidyuta nivasamhatih is concealed ¹ (i.e., gudha) in the rest three padas. In other words, if some letters of the rest three padas is arranged will yield the fourth. Bhanu. without giving any example of this directs to refer to Vidagdhamukhamandana.2 Gauri miva Svetansuka, etc.: p.393, 1. 1. Here Kadambari is compared with Parvati. Who like Parvati is Svetansukabharana. With reference to Kadambari it means who was robed in white and who wore ornaments on her head - Svetam ansukam yasyah, racitam uttamange abharanam yaya sa. In case of Gauri it means whose head Svetah ornament is covered with the rays of the moon ansavab kiranah yasya sa svetansub candrah karaih kiranaih 1. Kavyanu. IV. cf. Bhanu, p.14, 1. 21. 2. Etadudaharanem vidagdhamukhamandanavaseyam p.14, 1. 22. ibid.

295 vyaptam uttamanga-bh ranam yasyah. Here ka is added to the word amsu without any change of meaning. siva has the moon on his head and therefore the rays of the moon is said to fall on the head ornament of Parvati. Bhanu. dissolves the compound differently: Svetah ansavah kiranah yasaivam bhutab svetonsukas candrah sa eva racitah uttamange abharanam yaya. Harasyeti sesah. Ghargharika: p.13, 1. 7. 1 Bhanu. explains Ghargharika as a musical instrument? and says that because of the vadano of this ghargharika it vibrates the ear ornaments and creates sound. Kane interprets it as a small bell used as an ear ornament³ and says when he began to play on the Mrdange, the bell attached to his ear ornament struck against it and made it vibrate and produce a sound. Hemachandra takes ghargharika as the stick for playing upon an instrument (Vaditra danda). If we take this then the meaning is 'in beating with a stick the Mrdanga his karnapura was set in motion. 1. Bhanu., p.393, 1. 6-7. 2. Ghargharika vadyavisesah - Bhanu., p.14, 1. 3. 3. Vide Kane, p. 24.

296 D. for this quotes: "Vadya bhede ghargharika vadyanam lakute'pi ca iti, Vaijayanti". Candrapida: p.201, 1. 3. Here Candrapida means (1) the prince Candrapida and (2) in which was seen the rise of the moon that was the chaplet of the evening. Here the contextual meaning is the uprise - (prosperity) of Candrapida was visible, and thus it resembled night-time or evening in which is seen the rise of the moon, its crest ornament. But Bhanu. interprets Candrapida as siva having 1 the moon for his head-ornament, saying that 'the Lord Siva 2 generally performs his dances in the evening'.' If we accepts this explanation then the word 'Udaya' seems inappropriate and the meaning is farfetched. 1. Vide Kane, p.224. 2. 'Pakse Candrapida isvarah. Sarvada sandhyayam nrtyavidhanad iti bhavan' - Bhanu., p.201, 1. 10-11.

Culika: p.244, 1. 6. The word culike means 'top, tapering point'. D. explains it as: 'culike cudamanih'.1 and A. interprets it as: 'cudaiva cudika cudamanirityapare viduh'.2 'sides' However, according to Bhanu., culika means 3 297 Jati: p.4, sl.9. 'Jati'is the another name of the 'Svabhavokti alankara! It consists in vivid descriptions of objects (particularly children, lower animals, aspects of nature) as they are in their various positions.4 1. Vide Kane, p.291. 2. ibid. 3. Bhanu., p.244, 1. 13. 4. - 'Nanavastham padarthanam rupam saksad bivrnvati svabhavoktisca jatiscetyedya salem krtiryatha Kavya II. 8. See Sara. Kan. III. Kavyalam. VII. p.30-31. --

298 1 However, Bhanu. explains Jati'as a metre, which is not satisfactory. Because verses are rare in a Katha, so there is hardly any occasion for employing the Jati metres. A Jati metre is to be always regulated by the numbers of Matras (syllabic instants) and not by Aksaras, as, -for example, in Arya, Giti, etc.² Jirna pasupatopadesa, etc.: p.461, 1. 1. Who had written down the doctrine of the worship of Mahakala on the instruction of an old and great Pasupata. Bhanu. explains mah cirakalinah yah pasupatopadesah, etc. 3 A. comments Sastram pasupati proktam mahapasupatam mahat, vicchinna sampradayatvat ucyate tasya jirna.4 Jirna pasupata may mean a great saivite who did not know by an unbroken tradition the doctrines of Pasupata. The Mahesvaras are known to have four schools, namely, Saivas, Pasupatas, Karunika Siddhantins and Kapalikas. -1 S 1. Bhanu., p.4, 1. 22. 2. 3. -l 'Matrabhirganana yatra sa jatiriti kasyapa' Agnip. Ch. 337. Bhanu., p.461, 1. 2-3. 4. Vide Kane II, p.257. 5. Vide Bhamati on san.bha, on Bra.su. II.2.37.

299 Jivamjiva; p.261, 1. 7. According to Amara jivamjiva is the cakora birds. But Kautilya distinguishes between the two. According to arthas astra it is one of the birds that detects poison Sukah sarika bhrngarajo va sarpavisa sankayam krosati. Kraunco visabhyase madyati. glayati jivam jivakah mriyate matta kokilah cakorasyaksini virajyate. 1 2 Bhanu. notes mayurakrtayah paksi visesah, jivanj ivakah te ca daksinedese etan namvaiva prasiddhah. In another occasion, for jivamjiva he explains: jivamjiva mithunanivisa darsana mrtyuka yugalani.³ Tadgunopavarnana: p.217, 1. 6. 3 Here it means 'tasya (Candrapidasya) gunah tesam upavarnanaparena. But Bhanu. says: tasya tarapidasya ye 4 gunah sauryadayas tesam upavarnanam 5 which is not · proper, as there is nothing mentioned about tara pida anywhere near this sentence. 1. Vide Arthasastra 1.20. 2. 3. 4. 5. Bhanu., p.261, 1. 15. ibid, p.384, 1. 5. Kane, p.256. Bhanu., p.217, 1. 12.

' However, Peterson suggests that 'tat' refers to rajaloka', which means that Vaisampayana was engaged in narrating the virtues of the princes that dined with Candrapida.¹ 300 Tamalapatra: p.165, 1. 4. Tamalapatra means the mark of tilaka on the forehead.2 Ksirawami explains it as 'tamalapatrakrti 3 kasturya lalate tamalapatram. But Bhanu. takes tamala- patra in the sense of tamala leaf and explains as: tamala patram tu mahata klesena saubhagya mandala nimittakatvad vyavasthapitam iti bhavah. 4 Mr. Kale also give a similar explanation and says: 'although all the ornaments and other things were scattered away on account of violent motion, the ladies did not allow the auspicious tamalapatras, worn as ornaments, wholly to drop down'. He agrees with the meaning tilaka and says: 'tamalapatra may also mean 'the tilaka mark on the forehead. 1. Vide Kane, p.257. Tamalapatra tilakacitrakani visesakam amarah. 2. 3. Vide Kane, p.196. 4. Bhanu., p.165, 1. 11-12.

301 Taraka mrga: p.43, 1. 3. In which there were deer with restless pupils (taraka mrga) being pursued by hunters. Bhanu. takes irga as meaning 'spotted deer' taratah bhaya taraka mrga vihvatas taraka mrga vicitra mrga yasyam.¹ - ... Tala: p.20, 1. 4. The word tala means the sound of the fall of the tala tree. In the context the herd of wild elephants would have its attention diverted by the huge sound of the falling of the tala tree. However, Bhanu. explains tala as a type of musical instrument (vodyavisesa). 2 Peterson suggests that tala means the flapping of the ears of a rogue elephant or the leader of another herd. It is natural that the herd would be in whole attention on hearing the flappings of the ears of the 1. Bhanu., p.43, 1. 12. 2. 'Talah vadyavisesah', p.20, 1. 15-16.

302 leader of another herd. Thus Peterson's suggestion seems to be better. We have similar instances in Kada. elsewhere¹ and Raghu. also.2 Tarakavarsa: p.84, 1. 2. Tarakavarsa was treated as an evil omen. It was believed that tarakavarsa foreboded death and destruction. Here, the forest by shedding a shower of tarak" indicated the destruction of adharma in it. Brhatsamhita says that nipatantyo rajarastra nasaya'.³ 'ambaramadhyad bahnayo Tirodhana: p.396, 1. 3. Here the brilliance of the jewel ornaments looked upon as a veil (tirodhana). The idea is that the sheen of her ornaments prevented him (Candrapida) from seeing her limbs in all their beauty, as oes a veil. 1. cf. 'Samullasati. 2. 3. ... Kada., p.58, 1. 1 manohare vanagajakarna talasahde'. cf. ibid, p.100, 1. 4. cf. 'Usasi sa gajayutha karnatalaih patu pataha dhvanibhirvinitanidrah Br sam. 33.11. Raghu. IX.71.

Kale interprets it in a different manner. Tirodhana may be the cloth held between the bride and the bridegroom at the time of marriage. The brilliance looked like that piece of cloth. Tenaivaksanena, etc.: p.400, 1. 3-5. namely, Tena is to be connected with five clauses, ..prati bimbena, ... -sankrantena, nimisata and ... ....tirohitena. sokam and ... .pratimena, Irsya, ...vyartha ... rosam, duhkham are the objects of abhajata. The author describes here the different feelings Kadambari experienced at he, glance of Candrapida. She felt jealousy when she saw him reflected in the cheeks of her friends, she felt the pang of separation when Candrapida's image is destroyed by the romancas that broke the smooth surface of her breast. She felt the sorrow of ill-luck when he closed his eyes and the pain of blindness when he was concealed from her sight by the tears of joy. The statues of females in the hall were reflected on his bright chest. The reflections seemed to her to be sapatnis embracing him. 1. Vide Kale's comm. p.289. 303

Bhanu. tries hard to make sense of the passage as read by it. It connects ... sankrantena with rosat. Thus difficult for duranvaya. It also connects Irsaya 1 with romanca, which is a subordinate member in a compound. It reads nimisata daurbhagya as a single compound. With all these the sense given by the commentator is not clear. 304 Trayimaya: p.1, vs.l. The word Trayl in the verse refers to the three Vedas. This is the very natural way of understanding it and Brahma is spoken of as Trayimaya due to his knowledge of these three Vedas. Further the Vedas are spoken of as the breath of Brahma. 2 It has been explained in another way also where 'Trayi' refers to the Triad, viz., Brahma, etc. This does not seem to be right. The most natural and usual interpretation would be of 'Trayi' is 'Vedatray]'. The idea of Triad has already been suggested by in the first half of the verse as Brahma, etc., are respectively endowed with the responsibility of Sarga, Sthiti and Laya. 1. 2. Bhanu., p. 400, 1. 3-10. Asya mahato bhutasya nisvasitametad yad Rgveda, Yajurvedah, Samavedah Br A. 4-5-11.

Tripadi: p.192, 1. 2. Tripadi is a particular position of the elephant. When the elephant is highly pleased it stands with the 1 three legs, when the fourth one is lifted up, showing a graceful posture, with rolling backward and forward. Both A. and D. explain tripadi as 'the chain for tying the elephant's legs (padabandhana srnkhala)'.² Trisatya: p.79, 1. 1. While describing about Jabali muni the poet fancies that as if the three lines of ashes on the forehead of the sage were the visible indications of his vow to abstain from visayopabhoga. Again, it is the fact that when one takes a vow or wants to assure another of his indomitable resolve, one repeats the word thrice. The three lines as if repeated his vow thrice. 1. Ekam padam utksipya padatraye'ngavasthanam tripadi Bhanu.. p.192, 1. 8. cf. 'Avirata calanacitra tripadi lalita lasyalayaih' Harsac.II. 2. Vide Kane., p.225. cf. Ragh. IV.48 and Comm. of Mallinath on it. 305

306 However, Bhanu. explains it in a different way and says: 'manovakkayalaksanena trisatyeneva'. 1 But this explanation is not proper, though Truth, as Bhanu. says, are of three kinds, in thought, word and deed. But it does not agree well with the word .......nivrtuyartham. A. explains it as: 'aham nivartisye sakalavisayopabhogad irsa sapatha trayeneva. tritvoktistu trisatye hi bhogadidrsa deva iti kila sruteh'.² D. also explains similarly.³ Tripundraka; p.92, 1. 1. Tripundraka is a mark on the forehead made with 4 three lines of holy ashes. Here the poet compares the three curved lines of ashes, on the broad and fair forehead of the sage Jabali with the Himalayan slab from which the three streams of Ganga starts in a slanting direction. 1. Bhanu., p.79, 1. 2. ibid. 2. Vide Kane, p.105. 3. 4. i) Vakra lalatagastisro bhasmarekhas tripundrakam. Haravall. ii) Snatva pundram mrda kuryad dhrtva caivam tu bhasmana, devanyabhyareya gandhena sarvapapapanuttaye. Brahmanda P. quoted in Acaramayukha, " iii) Sraddhe vajne jape home vaisvadeve arcane. dhrtatripundrah putatma mrtyum jayati manavah. Katyayana quoted in Acaramayukha. iv) Madhyaniguli trayenaiva svadaksinakarasya tutripundram dharayedvidvan sarva kalmasanasanam Prayogaparijata.

307 Divasakarodayamivollasatpadmakara... p.198, 1. 1. In which rises up the perfume of lotuses from lotus lakes. This is applicable both to the rajakula divasakarodaya, where with rajakula we may explain 'ullasanti padma (Laksmih) tasyah karakamalasya amodah yasmin'. But Bhanu. explains it in another way: 'Ullasantah padmakarah srikarakah kamalah harina visesah tesam amodah parimalah yasmin.¹ Duhkhasika: p.465, 1. 3. Duhkhasika means a rapier-like pain (duhkham asika iva). Bhanu. takes it in the sense of attachment duhkham asate asyam iti duhkhasika anuratih. 2 1. Bhanu., p.198, 1. 3. 2. Bhanu., p.465, 1. 3.

308 Dukhitayam ca tvayi, etc.: p.447, 1.4 to p.448, 1. 1. When the king thus afflicted even his servants incessantly shedding tears seem to wear pearl ornaments. The tears look like pearls. The superficial meaning is -> even your servants wear pearl ornaments and why not you the king. Hence the following sentence grhana, etc. • D. explains muktabharanata mauktikabharanatvam asru vindu patais tava muktabharanata vimukta lankaratvam na vartate alankrtaih. On this, A. explains: mauktikamayabharanata samprati tava vartate navaram. avirata krtas ruvindubhi atha patitair uransi mauktikakaraih api ca asruvindu patair rodanapara ya'pi rakta etyarthah. - 2 Bhanu.'s explanation is not satisfactory. parijano'pi... It reads ... vartate muktabharanatam grhana. svayam vararhani prasadha nani etc. This explanation does not convey the simple and secret meanings. 3 1. Vide Kane II, p.234. ibid. 3. Bhanu., p.447, 1. 7 to p. 448, 1. 2.

309 Durlalita: p.153, 1. 2. 'Durlalita' means 'fondled too much', obstinate. Ataih sarva parthivah... durlalitam balam tasya madena who are puffed up by the pride of power, that is obstinately desirous of bathing in the four oceans. avaliptah D. notes 'durlalitah garvitah'. On this, A. says durlalitam bhavati tat khaludhrttam. Bhanu. explains: 'catuh samudras tesam jalanam avagahah sambandho mahapralayah tad vat durlalitam duscestim ksayakr lla-ksanam eta dream balam sainyam tasya madah', which seems to be farfetched.² Durat... nirdisyamanam: p.20, 1. 6. Who was pointed out from a distance by the door-keeper; when Candalakanyaka approached the king, she was pointed out to the king by the door-keeper with the instruction to her 'Utter your words of greetings from a distance'. Being a Candalakanya, she was not Vide Kane, p.299. 1. - 2. Bhanu., p.253, 1. 10-11.

3.10 allowed to approach too near the king. These words are addressed by the Pratihari to the Canda akanya and not by the king to the princes as Miss Riding supposes. Bhanu. also seems to have missed the real point when he says duradeva preksyasvete rajna iti sesah.2 Words like alokya, jaya, jive were utters by bards and others when they were ushered into the royal presence. Drdhabandha: p.10, 1. 7. According to Vamana, bandha means arrangements of words (pada ragana). By drdha bandha the reference may 3 be to ojas guna which is defined as 'gadhabandhatvam ojah. Dandi in his Kavyadarsa defines it as to be a profusion of compounds Samasa bhuyastvam ojah. - - 5 1. Vide Kane, p.33. 2. 3. 4. Bhanu., p.20, 1. Kavyalan. su. III.1.4. ibid III.1.5. 5. Kavya. 1.80.

3.11 Drauni, p.32, 1. 1. Drauni is a wooden or stone vessel, to contain water ('Drauni kasthambuvahini'). D. interprets it as: 'Jaladrauninama dronyakaro mahansnanakatahah'.¹ From all these explanations, it is evident that this drauni is a water container, made of gold, or wood or stone, etc. Dvija: p.4, sl. 10. Bhanu. explains the word Dvija as Brahmin who is best among all the other Brahmins, as, though all the elephants with teeth known gaja, but the elephant with the teeth of better quality is known as Danti.2 1. Vide Kane, p.47. Yatha 2. 'dvija iti ca dvijotkrstatvasucanartham gajamatrasya dantavatve'pi utkrstadante dantiti prayogah'. Bhanu., p.4, sl. 10.

312 Dvipadi: p.194, 1. 4. Dvipadi is one kind of Prakrt metre. An example is: 'danava deva bevi dhukkamtau girivara sihara kampio. haa gaa paadhea uttantau dhulihi ganaa ihampio'.1 D. interprets dvipadi as: 'dvipadigatha visesah'.2 Similarly, A. takes it as a 'gathabhedah'.³ Bhanu. explains: 'dvipadim pada dvayatmikam'. Dhanusi nisannam: p.19, 1. 5. • The meaning is (1) sitting on his bow or (2) relying or depending upon his bow c.ly. For this meaning of nisannam, we can compare 'nalambate daistikatam na nisidati pauruse However, Bhanu. interprets it as 'parihara pakse dhanusanjna tasmin sthitamityarthah. nama sra sravanena vipaksanam saksadagata iva iti bhayotpatteh' - • 6 1. Vide Prakrt paingala, p.257. 2. Vide Kane, p.228. 3. ibid. 4. Bhanu., p.194, 1. 10. 5. Sisu Va. II.86. 6. Bhanu., p.19, 1. 19.

313 Peterson approves of this and remarks 'the numerical value of the letters composing his name gives the dhanuh sign of the Zodiac. ' On hearing his name therefore his enemies fled away'. Dhanuh is the 9 th sign of the Zodiac, while the name Sudraka contains only seven letters. Dharmarajanagara vyatikara, etc.: p.193, 1. 3-4. The court of the king Tarapida was resembling the court of Yama, As in Samyamana," i.e., the city of Yama, Citragupta keeps the records of good and bad deeds of all the human beings and 'Yama' punishes the evil doers so in the court of Tarapida the adhikaranalekhakas write down the business concerning all men. However, Bhanu. explains the word 'vyatikara as 'altisaya' (excess) instead of vyapara (business, transactions) and says that the scribes excelled even Citragupta.² 1. Bhanu. reads as Samyamini. 2. Dharmarajo yamas tasya nagaram samyaminitikhyatam tasmed vyatikaram atisayam darsayadbhih. etena.. satisayatvam sucitam... Bhanu., p.193, 1. 10-11.

314 Dhurta.. alekhyapatrasancayam: p.200, 1. 4-5. There whenever the ornaments were sent to the ladies of the harem for their use, were entered into the books of account. Similarly the jewels that were given by gamblers that had lost the wagers were written down on paper. Bhanu. interprets it as: 'avarodhajanasya madhye yadalankaradikam presyate pradiyate va tatsarvam bahihsthairlipikriyata iti rajasthitih... dhurtairapi sarvam patram lekhya purvakam grhyate iti tadupamanam'.¹ Dhenuka: p.67, 1. 6. With the senapati it means having a small sword or dagger with the forest it is 'having female rhinoceroses'. According to A., 'asipatrika asidhenuh ksurika syastram Sastrikaneya'.2 1. Bhanu., p.200, 1. 15-16. 2. Vide Kane, p.93.

315 Na-na: p.76, 1. 9. Na-na, two negatives, indicate a positive proposition in a sentence in an emphatic manner. On this Vamana says two negatives are employed or precluding a possible negative proposition. 1 In Sanskrit literature of this type are very common. In philosophy, particularly in Nyaya, the most common theory regarding double negation is that by the use of double negation the fact in question is strengthen² either or the thing negated. Narapati caritavidambana: p.196, 1. 5. There some female servants in the harem had begun the sport of giving an exhibition of the exploits of the king Tarapida. 1. 2. Sambhavya nisedha nivartane dvau pratisedhau. Kavlansu. V.1.9. Nani dvayasya prakrtyarthat dardhya bodhakatvam. Sid Kau., p.11, N.S. Press edition. Dvabhyam nisedhabhyam prakrtyarthadardhya bodhanena. Paramalaghu manjusa., Chau. end. p.72.

316 But Bhanu. interprets narapati in the sense of anyanarapati¹ which is not satisfactory, as vidambana has not always a bad meaning.² Navajaladhararava, etc.: p.184, 11.6-7, The ladies of the palace were in a hurry to go to the tops of the mansion to have a glance of the prince Candrapida. Their feet fell heavily on the stair cases so it makes the sound like that of clouds for which the Kalahamsas were afraid that the rains were near and they were surprised. Because at the advent of the rain, it is a belief that the hamsas use to migrate to lake Manasa. However, Bhanu. differs in explaining this. His interpretation is: 'harsaprakarsadvadyamana pataha dhvanernavajaladhara dhvani samyam. 1. Antahpurikajanena prastuta prarabdha anyanarapaticaritanam vidambanakrida... p.196, 1. 12-13. 2. cf. 'Vidambayantam sitivasasas tanum'. Sisu Va. I.6. 3. Bhanu., p.184, 1. 16.

Naradiya: p.201, 1. 1. Buhler.1 Naradiya seems to be the naradasmrti as said by The naradasmrti of all the ancient matrical smrti works concerns solely with administration and justice (rajadharma and vyavanara). But Bhanu. interprets naradiya as naradiyapurana. If by naradapurana, Bhanu refers to the Brhannaradiya purana, then there is no reference to the rajadharma in the printed text of Bengal A. Society. In this case we may separate ivavarnya..... as iva avarnya. Nibhrta: p.213, 1. 2. The word 'nibhrta' means silent. A. explains 'nibhrta' as ..... nibhrtansyus tasyoparame tatah 3 Bhanu. explains it in the sense of 'motionless'.' 4 317 1. Introduction to Manusmrti, CVII, note. 2. 'Naradiyam puranam tadvadivasamantadvarnyamanah 3. 4. stuyamano rajadharmo yasmin'. Bhanu., p.201, 1. 2-3. Vide Kane, p.252. Nibhrtesu niscalesu' Bhanu., p.213, 1. 3. -

318 Pataka; p.198, 1. 2. Here in this context pataka means banner. The royal families had different emblems (anka) such as garuda, etc., on the banners of the silaharas. Pataka is also a technical term in dramaturgy. It is one of the five artha prakrtis, namely, bija, bindu, pataka, prakari and karya. Pataka is an episode which is not the end in itself but which is put in by the author for serving as a foil to the main theme, for example, narrating sugriva when the principal theme Pataka is different from what is called is Ramacarita. pataka sthana. Pattacirika: p.215, 1. 7. 1 Those hunters tied round their heads variously coloured stripes of fine silk cloth. D. says: pattacivaram pattavastra khandam; and according to A., prasasta ':sauma na sakalam pattacivaram ucyate.² 1. Yadhrtam hi parartham syat pradhanosyopakarakam, pradhana vac ca kalpyeta sa pataketi kirtita NS.19.23. cf. Daga Ru. 1.13. 2. cf. Vyapi prasangikam vrttam patakyetyabhidhiyate. Suh.Dar. VI. Vide Kane, p.254.

319 Pancalika; p.196, 1. 2. For pancalika, Halayudha notes: 'Pancalika puttalika danta kasthadi nirmita. But Bhanu. explains it as a game played with five balls of clay. 1 Patralatakrtaraksa pariksepam: p.153, 1. 1. In the Vasabhavana of Vilasavati, circles of raksa were formed with holy ashes as a protection from evil spirits. Bhanu. explains it as: "in which the protection of the womb was ensured by means of creepers with leaves painted on the walls for the sake of prosperity". He states it as a custom in certain parts of the country of drawing of the Kadali plants with creepers and leaves 1. 'Pancabhir mrdadimayibhih svalpagulikabhirdyutam panicalikocyate'. p.196, 1. 6-7. cf. 'Pancalika striyam vastraputrikagiti bhedayoh'. Medini.

for a newly matured girl, and during pregnancy they draw the figures of creepers with leaves and flowers for the proper growth of the foetus in the mother's womb.1 Parinati: p.211, 1. 3. Parinati means 'wore on to its end' or 'advanced'. Bhanu. explains parinati as: 'parinatis trayodasamuhurta paryanta divasavastha'.2 320 1. 2. Bhutya aisvaryartham likhita ya patralata patraphalanvita lata kalpalata taya krto raksaya garbharaksayah pariksepo dardhyam yasmin. drsyate hi desavisese sadyo garbha sambhutyartham prathamarto navodhayah phalapatranvita kadalikaya kriyate. garbhanantaram ca paryanka uttaracchade sayaniya grha bhittau va phalapatranvita likhita kalpalata garbhasya pustyartham viddhartham ca kriyate. Bhanu. p.152-153. Bhanu., p.211, 11.4-5.

321 Padanakhapatana, etc.: p.437, 1. 9. The maids hastily withdrew as though due to the fear of their reflection falling on the nails of his feet. The idea is when they bowed at his feet their reflection would fall on his bright nails. They were afraid that the many reflections of the maids might be too heavy for his feet. Thus they were withdrawing hastily from the ceremony of bowing. It can be interpreted in a different way. They hastily withdraw because they were afraid that if they remain long they might be pushed by some other maids eager to bow at his feet and then they would fall on his delicate nails. Kale explains it differently as if through the fear that his reflection might fall on the nails of their toes which would be tantamount to touching him by their nails and thus insulting him.

Padapithi... kamalasya: p. 318, 1. 2. It means 'who has made the lotus like hand of Laksmi his foot-stool, i.e., who always keeps control over Laksmi and never allows to slip away from him. On this, Bhanu. notes: 'etena dana saundatvam 1 sucitam'. 322 Putrika: p.159, 1. 3. In the walls near the sutikagrha the figures of dolls with ink were drawn. This is an old custom to draw such figures with black ink on the wall of the room occupied by a woman just delivered. Bhanu. explains it as: yasmin grhe prasutirjayate taddvaradese kramavyut kramabhyam masilikhite samsliste putrike kriyate iti vrddhacarab. Kaiscittu bahuputrikanama slaksnaphalairupeto vitapi visesah kathyate. Satavarityanye. 2 .. and D. read... putrika pratanena. 'pancalika putrikokta kathyate tanmayi lata. pratanasya tu tatcchakhavitate bahutesyate'. 3. 1. Bhanu., p.318, 1 L. 4-5. 2. 3. Bhanu., p.159, 11.9-11. Vide Kane, p.188.

323 From the explanation it seems that a plant probably satevari was reared up near the gate. Pustakamayi, etc.: p.229, 1. 7. The The sentence does not give any sense. explanation of Bhanu is also not at all clear. He comments pustaka mayyapi inanamayyapi indrajalavat jalam acarati. 1 Mr. Kale also does not make the sense clear.2 A. reads pustamay! for pustakamayi which seems to be better. Pustam lepyadi karmani lepyadi karma pustama pustamayi tanmayi kathita. 3 It means though it is a doll made of clay yet it creates illusion. Purnapatra: p.141, 1. 2. Purnapatra is a vessel or box full of valuable things like gold, etc., and scrambled for by servants or relatives on festive occasions. Thus it is often 1. Bhanu., p.229, 1. 19. 2. Kale. 3. Vide Kane, p.273.

324 used in the sense of a present made to someone who brings some happy news. We have a similar use in Kadambar].1 Bhanu. explains purnapatram purnanakam harisyati grahisyati, utsavesu suhrdbhir yat balat akraya grhyate vastram malyam ca tat purnapatram purnanakam ca iti kosab.2 Purvetara: p.56, 1. 3. Purvetara means pascima (West). If it is dissolved purvasmat itarah we expect the reading purvetarasmin and not purve tare as is here. But Bhanu. avoids this fault by explaining it as: purvah itaro yasmat iti vahubrihih. tasman na sarvaditvam.... yadva purvasman nichah purve tarah. itaras tva anyanicayoh ityamarah tasmin. ato nicarthavacitvan na sarvaditvam. It may be mentioned that on the Western ocean, pearls can be seen whitening the sands. 3 - 1. 2. 3. cf. p.350, 1. 6. Bhanu., p.141, 11.3-4. cf. Bhanu., 350, 1.14. Bhanu., p.56, 11.4-6.

35 Pratima, p.192, 1. 3. Pratima means 'the part of an elephant's head between the tusks'. So, in this context the meaning is 'on whose head there was a figure of a lion's mouth'.1 D. explains it as: 'dantayor arpita kanakamayi simhamukha pratima '¸² A. interprets as: 'pratime tu pratikrtau gaj anam dantabandhane' According to Bhanu.: 'lagna simhamukha pratima gajasya dantabandho... pratima pratirupake. gajasya danta vandhe ca' ity-anekarthah 1 4 Pratisayana (sayita): p.459, 1. 3. Pratisayita means one who lies down before a deity, without food in order to obtain some desired object. D. comments: Pratisayitaih abhilasitalabhaya pada parisare 1. cf. Vipule'pi prthu pratimo danta iva ganadhipasya mukhe. Harsa€. IV.2. 2. Vide Kane, p.225. 3. ibid., p.225. 4. Bhanu., p.192, 11.10-11.

326 1 sayanah pratisayita ucyate. A. explains schaditah sarvato ye tu bhajantah kvapi devatam, pratisayitah phalasiddhaih siddhayatanesu serate vidhivat. 2 Bhanu. reads pratisayana and says pratisayanair iva pratitalpair iva. 3 Pralayakalavighattita, etc.: p.48, 1. 1. The water of the lake was clear and pellucid like the clear sky. The poet, therefore, fancies that the lake is the sky itself falling on the earth. When the joints thereof supporting it in the eight directions broke down at the time of pralaya. The sky is like dome supported on eight pillars in the form of eight directions. At the time of universal destruction, the distinction between the direction would not be there. 4 Kale is wrong when he translates it as 'it is like the sky fallen on earth to bind together the fragments of the eight quarters when severed in the day of doom. 5 1. Vide Kane II, p.252. 2. 3. 4. ibid. Bhanu., p.459, 1. 8. Vide Visp. VI.4. 31-32.. 5. Vide Kane, p.69.

327 Prahelika: p.14, 1. 5. Prahelika means 'a riddle or conundrum'. It is defined as 'prahelika tu sa jneya vaco samvrtikari - - yat'. A full exposition of prahelika will be found in the Kavyadarsa and in the Sarasvatikanthabharana of Bhoja. Rudrata says prahelika is of two types, spastapracchannartha and avyahrtartha. In the first one meaning is clear from the words and there is also a hidden meaning in those very words. In the second real meaning has to be understood by reflection over the words. An example of both varieties is given by Rudrata in one verse: 'Kani nikrtani katham kadalivanaKathamapi na drsyate' savanvaksam vasina svayam tena harati vasaneni. nartha. The first half is an instance of spastapracchanKadalivanavasina tena kani katham svayam nikrttani. This is a question and the meaning is plain. The answer is contained in these very words. Kani (giramsi) nikrttani katham kadaliva (like a plantain plant) asina (with a sword), nava (nine) svayam tena - (dagananena). Separate kadaliva nava asina. The second

328 line is an example of avyahrtartha. It applies to the wind (that cannot be seen with the eye and yet carries off clothes before our very eyes) and not to be a thief. Another example is 'nasikyamadhya paritas caturvarnavibhusita. asti kacitpuri yasyamastavarnahvaya nrpah'. town is Kanci and the name of the royal family is Pundraka that contains eight letters). (The Bhanu. without quoting any authority divides prahelika into two types sabdi prahelika and arthiprahelika. For the example of sabdi prahelika he gives the following quotation: 'Payasvininam dhenunam brahmanah prapya vimsatim, tabhyo'stadasa vickriya grhitvaikam grham gatah' Justifying this, he writes: atra dhenva una dhenuna tam dhenunamiti vimsatervisesanenarthavagamah sugamah. About arthi prahelika he gives another example to quote Bhanu. : 'Jai sasuai bhania piyavasagharammi divayam desu, ta kisa muddadamuhi hiyayammi nivesae ditthim'. 1. Bhanu., p.14, 1/ 23-24.

329 etena sarvada mama hrdayantarvartitvena mama hrdayameva bhartur vasagrham. tena tatra dipakakarananarhatvamiti inspitam. 1 Paksacara: p.60, 1. 8. Paksacara means staying away from the herd, i.e., paksacarasya ekacarasya 'yuthabhraste being alone. paksacarah syad ekacara paksinoh iti vaijayanti'. A. also explains in the same way and gives the similar explanation - Yutha bhraste dvirade paksacarah syat tathaikacare'. 2 3 Bhanu. explains 'paksacarasya' as 'samudaya carinah' which means wandering along with the herd. In this explanation it is difficult to explain why he roamed in a circle. 1. ibid., p.14, 1. 25-26. 2. 3. Vide Kane, p.84. Bhanu., p.60, 1. 19.

330 Balapallava; p.275, 1. 1. Balapallava means 'the new sprouts' in the context of the tree and 'tail' with the elephant. To explain: the ground at the root of trees is touched by the new sprouts hanging down, like big elephants that touched the ground with their hanging leaf-like tails. Medini says: 'balo na kuntale'svasya karinascapi baladhau'. Kale interprets bala pallava as the sprouts of the bala plants. 1 However, Bhanu. interprets balapallava as camaraprantah and explains: 'the camaras on the ears of the elephants touch the ground' which appears unwarranted and rather far-fetched. He further remarks: Sobhatigayartham hastinam camarani karne badhyate iti sarva prasiddham. 1. Kale, p.206. 2. Bhanu., p.275, 11.2-3.

331 Bindumati: p.14, 1. 4-5. This is one variety of citra where for the consonants of a verse only dots (Vindus) are made and the signs for vowels, except 'a', are added to the dots and the verse has to be inferred from these data. Bhanu. here quotes a verse perhaps from Vidagdhamukhamandana,' without naming the source Trinayana cudaratnam mitram sindhoh kumudvatibandhuh. ayamudayati dhusrnarunaramani vadanopamas candrah. 3 Bhasmalekha: p.86, 1. 4. In the asrama the eating place of the sages was marked, with lines of ashes drawn about here and there, to prevent pollution from the place by undesirable people. 1. Bhanu, p.303, 1. 11-13. 2. Bhanu., p.14, 1. 20-21. 3. Vidagdhamukhamandana 4.31. However, in the place of tribhuvana. dayitah, he reads trinayana... bandhuh.

332 It can be explained otherwise as 'that the places of eating of several sages were kept distinct from each other by means of li es of ashes'. It was done because while eating they should not touch each other. Even now this tradition is observed. In ceremonial occasions lines are drawn to separate the place and plantain leaf of each from that of another. Bhanu. explains it as: 'Yadva bhasmano ya lekha gharsas tena krto munijana bhojana bhumer ucchistabhumeh pariharo marjana yasmin. drsyate hi bhojanante bhasmana marjanam pascad gomayenolepanamiti'.1 Bhavana: p.284, 1. 2. Bhavana is 'the particular activity of some productive agent which tends to bring about the existence of something which is going to come into existence'.2 It is of two kinds: sabdi bhavana and arthi bhavana.³ In the injunctive sentence yatistomena svargakamah yajeta, the potential form yajeta expresses bhavana. 1. 2. 3. Bhanu., p.86, 1. 11-12. cf. Krtabhasmarekhapariharaparikare haritagomayopaTiptaksititala vitate vydghracarmaryupavistam, HarsacTIII. p.46. 'Bhaviturbhavananukulo bhavayitur vyapara visesah' Artha. Sam., p.2. Pakse bhavana sabdanistha arthanistha, vagadipravrttianukula akhyatarthorupa Bhanu., p.284, 10-11:

333 However, Bhanu. understands bhavana as sentiments, feelings or particular modes of singing. 1 Bhujanga bhangi bhasita: p.405, 1. 3. Bhangi bhasita means a speech opposite to or different from straight forward expression. same as Vakrokti. Bhujanga here means a paramour. a serpent, which is not satisfactory. It is in fact Kale takes it as 3 Bhumigrha: p.250, 1. 6. 4 Bhumigha is a underground room. It's purpose is to keep off the intense heat of the day in summer. A. explains it as 'dharmakale'thatapartair bhuvo'ntah sadmaracyate.5 1. Bhavana gholana visesab ibid., p.284, 1. 10. - 2. See the description on Vakrokti, P. 3. Vide Kale's comm., p.296. 4. Bhanu., p.250, 1. 16. 5. Vide Kane, p.297.

334 Madhupankapingakesaram: p.176, 1. 6. Whose mane was tonny like the dregs of wine or like thick wine, the filaments of which are tonny with the thick honey (with Vana). Bhanu. explains as the powder of the vacha plant mixed with honey apply to the horses as a remedy against vatadosamadhuyukto yah panko vacha kardamah....... uktam hi vaidyake asvasya vatadi dosa santaye madhuyuktavacadisentaye churnasya pankas tena tanu lepanam. Mayura Kantam: p.393, 1. 5. 1 Who is 'nitamba... kinta' like a line of peacocks. Nitamba... means whose hair touched her heaps and who was as beautiful as the bright moon (nitambacumbi sikhanda bharah yasyah sa nitamba... bhara, etc.). With mayuravall it means the ends of the eyes on the heavy tails of which lines of peacocks, that touched their heaps, are flashing. Candrakah the eye of the peacock's tail. 1. Bhanu., p.176, 1. 17.

335 Bhanu. explains nitamba, etc., with reference to Kadambari in a farfetched manner - nitambah katakah tat sambandhini arthat vastre sikhanda bharavat kalapi piccha samuhavat candrakah candrakrtayah vindavo ante prante yasyah sa. 1 Kale takes anta as ramya with reference to mayuravali. A. and D. take candra in the sense of gold or golden ornaments with Kadambari. Mahanarendra: p.144, 1. 7. Mahanarendra or Narendra means a visavaidya snake doctor; it is also used in the sense of 'one who exorcises evil spirits' or 'one who knows many mantras'.4 Here in this context the second meaning is appropriate. 1. 2. 3. 4. Bhanu., p.393, L. 21. Vide Kale's comm., p.287. Candraih kanakaih abharana bhutaih, candram svarnam tena kanta. vide Kane II, p.159. cf. 'avista iva narendravrndaparivrtah' Harsa IV.18. 'mahasivisa iva durnarendrabhibhavarositah' ibid. VI.14. 'Sunigraha narendrena phanindra ivasatravah' sisu.va. II.88.

336 D. explains it as: 'mahanarendrah mahamantra siddhah'.1 However, Bhanu. seems to be wrong when he interprets it as: 'mahanarendrena svakIyabharta'.2 Matracyutaka: p.14, 1. Like aksaracyutaka this is also one type of citra, in which, by dropping one matra different meanings will be expressed. Bhanu.3 as an example quotes the verse from Vagbhatalankara without naming the source - 'mulasthitim adhah kurvanpatrairjusto gataksaraih vitah sevyah kulinasya tisthatah pathikasya sah'." Here, if we drop the 'i' kara matra from the word vitah then what will remain is vatah and the verse will convey a quite different meaning. 4 1. Vide Kane, p.175. 2. Bhanu., p.144, 11.17-18. 3. Bhanu., ´p.14, 11.27-18, 4. Vagbha. IV.10. The real reading in Vagbhatalankara is pathi kasya kah.

337 On these and other tricks with words, the remarks given by Rudrata and Dandi should be kept in mind - 'Matrabinducyutake prahelikakarakakriyagudhe. prasnottaradi canyatkridamatropayogamidam ' and 'Kridagosthivinodesu tatineir akirnamantrane. paravyamohane caiva sopayogah prahelikah'.2 Mukhavadya: p.166, 1. 5. Mukhavadya means various sounds produced from the mouth. It is observed in day to day life that when people are overjoyed they use to produce various sounds by the mouth. According to Kale, it is 'a wind-instrument, or the mouth used as an instrument'. 3 A. explains it as: mukhemeva tu vadya yan mukhavadyam taducyate. 4 -However, Bhanu.'s explanation is: 'vividham yanmukhameva vadyam tena 5 1 1. Kav. Lam. V.24 2. Kavya. III.97. 3. Kale, p.125. 4. Vide Kane, p.197. 5. Bhanu., p.166, 1. 12.

Yantra: p.201, 1. 1. - 338 Yantra means a musical instrument. Bhanu. explains yantra as Veena, by means of which people can enjoy various tunes and sentiments. 1 However, M.M. Kane explains yantra as 'ghati-yantra' (Persian-wheel) and says 'when the water-wheel is working, it produces creaking sounds and water (rasa) is splashed over it. On account of which people tasted water and heard various sounds. 2 Yagoragimiva, etc.: p. 415, 1. 5. • As if it were the mass of fame collected together in one place. As if it were the rival of all the ocean. Bhanu. connects sarvasagaranam with yasoragim and construes pratipaksa miva candramasah.³ In this explanation of Bhanu., it is hard to explain in what the yasah of all the seas consists. It may be noted here that the Calcutta edition omits sarva sagaranam which yields a good sense; for we can read then pratipaksa miva cand ramasah. 1. im 2. 3. 'Yantram veena tadvad iva vividhah sabda manojnagabdah, rasab drigaradayah tesam labdha asvadas carvanam yena: Bhanu., p.201, Kane, p.238. 3=4. Bhanu., p.415, 1. 10.

339 Raksavali: p.317, 1. 2. Literally the word raksavali means 'a line it could not pass'. It can also be explained as: raksa, i.e., a black silk thread worn on the wrist as an amulet and avall may mean a line of mystic letters inscribed on a strip of cloth. A. and D. read raksaksaravali and explain 'raksakari 'raksakari mantraksaravalih' and 'raksartha tathokta yaksaravalih'.1 Recaka mandala: p.240, 1. 7. The word a circle'. 'recakamandala'means 'to move around in Bhanu. explains it as: 'tiryag bhramana ,2 mandala and D. also explains it in a similar way. 3 But A. explains it in a different way and says: 'dhara sanjna vajinam ya vibhinna pancadha gatih. recitam recakam va iti tasya eka vidhocyate. tam cavakram drutam ca ahurgatim tan mandalam punah. sansthanam vartulakaram upasuryakasamnibham'. 4 1. Vide Kane, II. p.65. 2. Bhanu., p.240, 1. 18. 3. 'recako rasasca mandalabhramana visesah' Vide Kane, p.286. ibid.

C 40 Langhana-pluti: p.167, 1. 1. Jumping across, in agile movements. Bhanu. makes a clear cut distinction between 'langhana' and 'pluti'. According to Bhanu., the difference between the two is: Kupakady upa langhane plutayo vyaghradisu sangramadisu vidyutkaranadi rupas tasu.1 According to A., vilanghanam mrgasama pluti. 2 Vakrokti: p.405, 1. 2. The word vakrokti means a crooked speech, i.e., a clever mode of expression. It is defined by Vakroktijivitakera as Vakroktireva vaidagdhya bhangi 3 bhanitir ucyate. It is opposite to straight forward speech in which there is no underlying meaning in addition to the simple grammatical sense. Dandin says that all literature falls under two heads of Svabhavokti and Vakrokti.4 Bhamaha also holds a similar view. 5 1. Bhanu., p.168, 1. 20; p.169, 1. 1. 2. Vide Kane, p.200. 3. Alamsar., p.8. 4 5. Slegah sarvasu puspati prayo vakroktisusriyam, bhinnam dvidha svabhavoktir vakroktis ceti vanmayam Kavya p.363. Saisa sarvaiva vakroktir anaya artho vibhavyate, yatno'syam kavina karyah ko'lankaro ya vina Kivyllam. II, 75. -

241 The figure vakrokti as defined by Rudrata and others, though somewhat similar, is much narrower in scope and not the same as intended by Bana. Varni cihnabhi: p.427, 1. 2. It refers to female ascetics who bore all characteristics of a male student like matted hair deer skin, the girdle of munja grass, bark garments and the palasa staff (varninah iva cihnani yasam). Varnin means 1 an ascetic, according to Varnat Brahmacarini - (Pan.V.2.134.) Kalidasa frequently uses varnin in this sense.' 3 -Jata, ajina, maunji, mekhala, and palasa danda are the characteristics of a brahmacari, as these were worn by the tapasis they are called varnicihnabhih. Peterson takes varnin to be a particular order of monks, which seems to be unwarranted. 1. 2. 3. Varninah brahmacarinah ityamarah. - .cf. Sakhi tadiya tam uvaca varninam Kuma. V.52. athaha varnim vidito mahesvara ibid, V.65. Varnasramanam guravesavarnim... Raghu. V.19. cf. Manu. II, p.41-49. cf. Gautama dharma sutra. 1.15, 16, 21, 27.

142 vahyali: p.167, 1. 4. vahyali means buildings or stables constructed for horses and carriages. A. and D. give a different According to their interpretation, it means explanation. a race course or ground for training horses. Vidambana: p.234, 1. 6. 1 The word vidambana means mockery. In the present context the servant successfully attribute to the kings superhuman qualities intending to mock them or to laugh at them. The kings without knowing the fact welcome their own mockery. A. and D. however take vidambana as imitating the king in their divyachesta. divya cestanubhavayoh. 2 A. - Vidambana tvanukrtir D. Atmano divya cestanam anukaranam. Bhanu. comments atmanyaropitam sthapitam alikam mithyabhimanam, etc.³ 1. A. *Vajisiksabhyasa bhumir vahyalir iti kathyate'. D. 'Vahyali turagadhavanapaddhatih'. p:198. Vide Kane, 2. Vide Kane, p.280. 3. Bhanu., p.234, 1. 11.

343 Vidya; p.301, 1. 3. Vidyas are said to be four anviksiki, trayi varta dandanitis ca sasvati vidyas catasra evaita yogaksamayadehinam. It is also said to be fourteen in number including on Vedangas Siksakalpo vyakaranam niruktam chando jyotisam vedas catvaro mimansa nyaya vistarah dharmasastram puranam ca trayfdam sarvam ucyate.² Vivikta: p.210, 1. 9. - 'Vivikta' means 'clean'.³ But Bhanu. explains 'vivikta' as 'bhinnabhinna svarupah'.ª Visakhika: p.289, 1. 3. Visakhika is an iron rod or a loop which is used to sweep or clean the floor (visakhika bhumi suddhyartham adriyamana loha yasti rupa sikya bhedo va).5 1. 2. 3. 4. 5. Kamandakiya Nitisera II.2. ibid. II.13. 'Vivikta putavijanau' amarah. Ujjvalo nirmalo vivikto bhinna bhinna svarupah parijanah Bh-nu., p.210, 1. 18. Bhanu., p.289, 1. 8.

244 On this A. notes: Visakhika visakha sa taroravayavantaram, skandhe visakho radhaksye naksatyetu striyam smrtab. viksavayava bhede ca visakha kalaje trisu. According to D., Visakhika rudrankusah.2 Vistaragravas: p.163, 1. 5. The newborn child is compared with Visnu. Vistaragravas is Visnu. Ksiraswami explains - - 1 Vistara He iva sravasi karnau asya, vistarakatir jata sravobhyam nirgata asya iti va, vistare asvatha tarau sruyate iti va. However, Bhanu. gives a peculiar explanation. explains: Vistara gravasah indrasya. And justifies that Indra, also possesses the sign of Sankha and Cakra Indrasyapi karau sankha cakra lancchitau bhavatah visnor anujatyad iti bhavah, which seems to be wrong. Vaitalika: p.194, 1. 5. - - 3 Vaitalika means a bard (vitalahsabdah prayojanam esam iti vaitalikah. 1. Kane, II. p.33. 2. ibid. 3. Bhanu., p.163, 1. 14.

A. explains it 'tattat prahara samucitai ragas tatkalavacibhih slokaib. Vaitalikah satalam salayam gayan samuddistab.1 Bhanu. notes: Vaitalika bodhijanah subhasita pathaka bandino va.² 2 Vyaghranakha: p.42, 1. 1. The word vyaghra is explained by Bhanu. as vyaghrah sardulah nakhah surabhinakhapraninas tesam panktih sreni. Thus he understands as an animal. 3 However, Peterson holds nakha to be a dried shell fish and quotes Monier Williams as authority. Saktivalaya: p.153, 1. 2. Near the bed of the queen Vilasavati, sakti valayas were kept for protection from evil omens. Avasthapitani raksayai saktivalayani yasmin. Bhanu. explains saktivalaya as: 'bracelets made of peacocks feathers rendered powerful by mantras of 4 Katyayani. So Sakti in this case means 'the active energies of Lord Siva. 1. Vide Kane, p.228. 2. 3. ' 4. Bhanu., p.194, 1.13. Bhanu., p.42, 1. 3-4. Saktinam Katyayanyadinam valayani barhinirmitani.. Bhanu., p.153, 1. 7. 345

346 Both A. and D. take sakti to mean a weapon. A. explains it as 'raksarthah saktibhirhetiviscsairvalayah krtah'. 1 Sanskara: p.27, 1. 5. Sanskara means the persistence of culture acquired in a former existence. It is believed that the experiences of past births leave their impressions, which accompany the soul in its migrations as its suksma Sarira. The word sanskara is used here either in the sense 'training or culture' or in the technical sense of vasana (impressions due to previous experience). Sanatha: p.202, 1. 2. 'Sanatha' means 'accompanied by', and in the context the meaning is 'kalapi' accompanied by 'svetaketu' But, Bhanu. takes kalapi, sanatha and svetaketu as three devarsis.2 1. 2. Vide Kane, p.183, 1. 4. 'Pakse kalapi sanathah svetaketusca trayo'pyete devarsayah' Bhanu., p.202, 1. 7. -

Samvartaka; p.191, 1. 5. Samvartaka means pralaya¹, or it may also mean - 'the cloud that rises at the time of pralaya, because it is a belief that certain clouds called puskara and avartaka or samvartaka deluge the world at the time of pralaya. 2 Bhanu. explains it as the cloud that rises at the time of universal destruction. 3 1. 'Samvartah pralayah kalpah' Amarah. 347 cf. 'Mahapralaya maruta ksubhitapuskaravartakapracandaghanagar) itapratirutanukari muhuh' Veni. Sam. III. 4. 8. cf. 'Mahapralayesu pralaya payodah pralaya durdinandhakarita dasadisah plavayanti bhuvanantarani'. Kada. cf. Tato gajakulaprakhyas taditva anto'bhinadinah, uttisthanti tada vyomni ghorah samvartakaghanah. Visp. 6.3.31. Samvartakambuda lokavinasakalina meghah. Bhanu., www.ca 3. p.191, 1. 17.

Sarabhasam: p.59, 1. 7. The sentence is anantaram ca... itianyonyam abhivadatah mrgaya saktasya... janasamuhasya... kolahalam asrpavam. Sarabhasam (tumultuous) is the adjective of kolahalam. It can also be taken as an adverb and be construed with abhivadata which may mean hurriedly. However, Bhanu.`construes it with lulita in the compound gajayutha, etc., 1 which is not very good. Sarasvati, etc.: p.300, 1. 3-4. The munikumara was anxious to make Sarasvats, i.e., all learning his own. Bhanu.'s explanation seems to be unsatisfactory. He says anyasya agamane qrhadhavalikaranam sarasvatyas tu mukham eva nivasah nilayam atah tadupari candana lekhakaranam iti bhavah.² In fact the munikumara is compared to the ganga pravaha. The mark on the forehead with ashes to a narrow stripe of sandy bank. The mark looks like a pataka of punya both being white and long. 1. Bhanu., p.59, 1. 16. 2. Bhanu., p.300, l. 10-13. 348

sayya: p.4, sl. 8. sayya is a particular manner of composition. It is such a collection of words in a poetic work that no word can be substituted for another without marring the beauty of the work'. This word occurs in the introductory verse of Harsacarita also.1 mudra.2 The Agnipurana says that sayya is the same as Sadharana: p.395, 1. 9. The word sadharana means equal or similar. Here the wound caused by the thorns of the ketaka flowers was made similar to Vedana. The word sadharana also suggest the fallacy (hetudosa) called sadharapa (a variety of the savyabhicarahetvabhasa). called anekantika hetvabhasa. It is also 1. 'Sukha pravodha lalita suvarnaghatanojjvalaih. Sabdair akhyayika bhati sayyaiva pratipadakaih Harsa C. Intro.verse. 20. 2. 'Abhiprava visesena kavisakti vivrovati. mutpradayini sa mudra saiva sayyapino mate'. Agni P. 342.26. 349

Gautama in his N.S. 1.2.5 calls it savyabhicara which is again called by Kanada as sandigdha in his Vai.Su. III.1.15. According to Gautama's tradition, the anekantikata of a pseudoprobans lies in its co-existence with the probandum as well as with the absence of probandum (sadhyavat abhava sahacaritatvam) and not in its giving rise to a doubt (sansaya janaka tva). A. explains atha sadharapa punah. Anekaantika sanjno yo hetvabhasah sa kathyate. 250 sarand: p.184, 1. 4. Sarana means playing on the lute. Bhanu. explains sarana as string.1 According to D., sarana is playing on 'sarana vina vadanam'.² A. explains it as lute 'a means to accomplish the rise and fall of the seven svaras and twenty two srtis in music arohanavarohana sadhana bhedah svara srutinam yah grama visesabhivyakt- yarthah sa sarana jneya.³ 1. Bhanu., p.184, 1. 11. 2. Vide Kane, p.215. 3. ibid.

saviti: p.264, 1. 6. Bhanu. explains savitri as hutasanapatni.1 A. takes it as the presiding deity of the sacred gayatri mantra cotha savitry akhyayah savitri devatocyate.² Sivaruta: p.69, 1. 7. Sivaruta means the cries of female jackles. Here sivaruta is said to be the sastra of the sabarasenas. The idea is the sabaras are only acquainted with the cries of female jackles and were guided by sivaruta as sastra guides men. According to Bhanu., they were roused from sleep by sivaruta as the loud recitation of Vedas rouses people. Bhanu. says: sastram uccasvara veda pathah, prabodhajanakatva samyat tadupamana.³ 1. Bhanu., p.264, 1. 12. 2. Vide Kane, p.309. 3. Bhanu., p.69, 1. 18. 251

Sugrhita nama : p.76, 1. 3. Sugrhita nama means 'of blessed memory'. Dasarupaka says 'rathi sutena cayusman pujyaih sisyatmajanujah. Vatseti tatab pujyo'pi sugrhitabhidhas tu taib'.¹ In dramas those who were to be shown reverence were to be addressed as tata or sugruhita nama by pupils, sons and younger brothers. Subrahmanya: p.85, 1. 7. Subrahmanya is a particular recitation by the 2 udgat priests.' The invocation begins with the words indragaccha. Bhanu. explains subrahmanya as Veda. 3 1. Dasaru. II.68. 2. 'Atithyayam samsthitayam daksinasya dvarobahoh purastattisthannantarved idese 'nvarabdhe yajamane patyam ca subrahmapyomiti triruktva nigadam bruyat. Indragaccha hariva agaccha meghatithermesa vrsanasyasya mene gaurava skandin, ahalyayai jara kausika brahmana gautama bruvanaitavadahe sutyamiti yavadahe syat' vide Haug's Note, Aiteriya Brahmana Vol.II, p.382. 3. Bhanu., p.85, 1. 18. 752

353 Susumna: p.303, 1. 5. Susumna rashmi which is also spelt as susumna . or mna is one of the seven principal rays of the sun supposed to supply light to the moon. According to Visp., this ray replenishes the waned moon. 1 The Nirukta also has given a reference to this susumna rashmi: 'athapyasyeko rashmicandramasam prati dipyate tadetenopeksita vyamadityato'sya diptir..etc! Sruti: p.25, 1. 2. Sruti is a technical term in music. It means 'a particular division of the octave, a quartertone or interval'. Srutis are 22 in number. They are the elementary nadas from which the seven svaras (sa ri ga ma pa dha ni) are evolved. About this sruti, Ragavibodha says: 'Hrdyurdhvanadikasthadvavimsatyanutiroja nadisu, tavantah sruti sanjnah syurnadah paraparocchocchah. evam gale ca sirse tabhyah saptasvarah srutibhyah syuh'.3 - 1. Surya rashmih susumno yastarpitas tena candramah. Krsna pakse maraih sasvat piyate vai sudhamayah. II.11.22. 1.2.2.2 cf. Bhanu. P. 303, LL, 11-13. 3. Ragavivodha .verses 33-34.

Bhanu. says nothing about sruti but just quotes one verse, without quoting the source, just to tell that Srutis are twenty two in number: taduktamsaptasvaras trayo grama murcchas caikonavimsatib, tana ekonapancada ddyadhika vimsatih srutib'. iti.¹ Skanda: p.201, 1. 5. swami.2 Skanda is Kartikeya but Bhanu. explains it as 354 Halamusalayuga: p.159, 1. 3. It means near the gate of the prasutigrha a pair of golden plough share and pastle. Or yuga may mean 'yoke'. and says: Bhanu. takes it as a custom of certain royal family halam siram, musalamayogram, yugamisantabandhanam. ayam ca rajnam grhe kka-ciddesacarah.³ ... ... Again he reads it as: halamusalayor yugamiti samaso vi." 4 Prayogaratna explains it as: 'Sutikagrham ca sadhumagni dipa sastra musalambuvibhutiyutam karyam sarsapans ca sarvatra vikiret'. 5 - 1. Bhanu., p.25, 11. 6-7. 2. Bhanu., p.201, 1. 15. 3. Bhanu., p.159, 1. 13. 4. 5. ibid., p.159, 1. 13. Vide Kane, p.189.

Hrdaya ... pusni: p.421, ] 4-5. 355 When the Sun, Lord of the life of lotuses and, the sovereign of the cakravala became red with the raga in his heart for the lotus plant. The simple idea here is the sun's disc became red. The poet imagines that the redness, that is raga, was due to the passion (raga) of the sun's heart felt for the lotus plant. It is seen that loving heart is said to be red. The kamalini blooms by day and therefore the sun may be said to be her lover. Dr. Peterson translates it differently: the sun reddens as if with the redness which the lotus flowers are losing. It is difficult to get such sense from hidayasthita, etc., as desired by Dr. Peterson. Ksititala nihita daksinakaro: p.219, 1. 9. Ksititale nihitah daksipa karah yena. Bhanu. takes it as a 'Sough Indian custom' and explains as: 'iyam daksina desa retih. ksitau daksinakaram vyavasthapya vijnaptim kurvanti iti bhavan'.2 1. Vide Kane II., p.195. 2. Bhanu., p.219, 1. 20 to p.220, 1. 1.