1. Metatheater and Sanskrit Drama Michael Lockwood Vishnu Bhat A. Part 2 (Matta Vilasa Bhagavadajjuka)

PART TWO

Two Farcical Plays

by

King Mahēndravikramavarman

The Text, Transliteration, and Translation

of

India's Oldest Farcical Comedies

Bhagavad-Ajjukam

(The Saint-Courtesan)

and

Mattavilāsa-Prahasanam

(A Farce of Drunken Sport)

by

King Mahēndravikramavarman

Edited and Translated by

Michael Lockwood and A. Vishnu Bhat

Fourth, revised edition of Bhagavadajjuka and Mattavilāsa-Prahasana:

Copyright © 2005 by Michael Lockwood

Prior editions copyright © 1978, 1981, 1991, 1994 by Michael Lockwood

First edition of “Bhagavadajjukam”, in Bhagavadajjuka Prahasana, printed in 1978

First edition of “Mattavilāsa-Prahasanam”, in Mattavilāsa Prahasana, printed in 1981

Second, rev. ed. of both plays, in one vol., in King Mahēndravarman’s Plays, printed in 1991

Third, rev. ed. of both plays, in one vol., in Metatheater and Sanskrit Drama, printed in 1994

Preface

Preface

Publishing History - A Sketch

Publishing History - A Sketch

The two plays, Bhagavadajjuka and Mattavilāsa, are a unique couple. They are the earliest extant examples of farcical comedy (prahasana) in Indian literature. They have remained unparalleled in the thirteen centuries since they were written. In fact, of the examples of the prahasana which have come down to us, all the others remain untranslated, and thus are virtually unknown outside a small circle of Sanskrit scholars.

The Pallava king, Mahēndravarman-I, ruler of South India around the beginning of the seventh century, A.D., was the author of Bhagavadajjuka and Mattavilāsa. Having made this statement, it is only fair to admit that there have been conflicting opinions about the authorship of Bhagavadajjuka. The author's name is not directly mentioned in the prologue of the play. Therefore, one of the tasks we take upon ourselves in the introduction to Bhagavadajjuka is to review the evidence of Mahēndra's authorship and to add our own observations.

Mattavilāsa was the first of these two plays to be discovered by modern scholars. T. Ganapati Sastri's edition appeared in 1917 as No. 55 of the Trivandrum Sanskrit Series. A couple of months prior to the actual publication date, T.A. Gopinatha Rao announced to the scholarly world, in an article in the Madras Christian College Magazine (Vol. 34, 1917), the discovery by Ganapati Sastri of this important play.

In 1924, a German translation by J. Hertel of Mattavilāsa - "Die Streiche des Berauschten" - was published in Leipzig. And six years after this, in 1930, an English translation by L.D. Barnett appeared in the Bulletin of the School of Oriental Studies (Vol. 5, part 4), London.

Forty-four years later, in 1974, N.P. Unni brought out the first edition of Mattavilāsa to have an English translation. We followed, in 1981, with our edition and translation of the same play.

It was in 1924, seven years after Ganapati Sastri's publication of Mattavilāsa, that A. Banerji Sastri edited Bhagavadajjuka in the Journal of the Bihar and Orissa Research Society. The following year, 1925, saw two new editions of the same play - one by Veturi Prabhakara Sastri, and the other by P. Anujan Achan.

In 1931, an Italian translation by F. Beloni-Filippi of Bhagavadajjuka was published in Lanciano. (This translation was reprinted in 1959 in Milan.) In 1969, the M.S. University of Baroda

published C.C. Mehta’s book, Three Sanskrit Lighter Delights, which included the adapted and greatly altered versions in English of Bhagavadajjuka and Mattavilāsa. A closer translation in English of Bhagavadajjuka, this one by J.A.B. van Buitenen, was published, in 1971, in the journal, Mahfil (later to become The Journal of South Asian Literature), Vol. 7, Nos. 3 & 4.

In 1978, we were the first to publish an edition of Bhagavad-ajjuka with an English translation. Within a month of our publication, the first volume of South Indian Studies came out, and included in it was C. Minakshi’s translation in English of Bhagavadajjuka – done before her untimely death in 1940.

In 1991, we published a revised edition and translation of Mahēndra’s two plays, bringing them together in one volume. And, again, in 1994, we brought out another revision of the two plays in the first edition of Metatheater and Sanskrit Drama. In that edition, we included some of our articles on the metadramatic structure of Sanskrit drama. In the present work, besides revising our translations of the two plays for a fourth time, we have, in Part I, added three more recent articles on the subject of metatheater and Sanskrit drama.

Acknowledgements

The text of Bhagavadajjuka which we have followed was a paper manuscript kindly made available by Sri V.V. Singaracharya. In this manuscript, the Telugu script was used to transcribe the Sanskrit and Prakrit of the play. This manuscript was one among many which Sri Singaracharya’s family had been preserving over the years. His grandfather, Sri Bommakanti Singarachary, was a Sanskrit and Telugu scholar belonging to Dwaraka, West Godavari District, Andhra.

We acknowledge Sri Subraya Bhat’s assistance in providing us with a Nāgarī copy of the original text of Bhagavadajjuka. Prof. Patton Lockwood read and made useful comments on various drafts of this play. Dr. C.S. Krishna, Dr. E.K. Purushothaman, and our late colleague, Dr. Gift Siromoney, helped us with the first edition in different ways. Prof. R. Rama Rao, Dr. P. Dayanandan, and the late Prof. B.G.L. Swamy gave us information in matters botanical. We are thankful for the help of all these friends.

We have taken as our text of Mattavilāsa the version published in 1917 by T. Ganapati Sastri in the Trivandrum Sanskrit Series, No. 55.

With regard to the revised versions of both plays, we especially wish to acknowledge the contribution of Sri L.S. Rajagopalan, of Trichur, who, through his considerable correspondence, put us in touch with a number of critical observations on several problematic passages in the plays. We are grateful to him.

PART TWO

Contents

Page

Preface ....................................................... v

Bhagavadajjuka (The Saint-Courtesan)

Introduction ................................................ 3

Text ........................................................ 17

Transliteration and Translation ............................... 38

Appendix A – Royal Titles .................................... 99

Appendix B – The Dandis ...................................... 100

Appendix C – Types of Drama ................................... 101

Appendix D – Contemporary Parallels ........................... 103

Appendix E – Garden List ...................................... 104

Appendix F – Messenger of Death’s Route ....................... 106

Mattavilāsa-Prahasana (A Farce of Drunken Sport)

Introduction ................................................ 109

Text ........................................................ 117

Transliteration and Translation ............................... 134

Appendix G – Royal Titles .................................... 184

Bibliography ................................................ 185

vii

Key to Transliteration and Pronunciation

Vowels

अ a (mica) इ i (fill) उ u (rule) ए ē (prey) ओ ō (go) ऋ ṛ (merrily)

आ ā (father) ई ī (police) ऊ ū (rude) ऐ ai (aisle) औ au (owl)

Anusvāra - • = ṁ = nasal m or n

Visarga - : = ḥ = voiceless aspiration

Consonants

Voiceless Voiced

Unaspirated Aspirated Unaspirated Aspirated Nasal

क k ख kh ग g घ gh ङ ṅ

च c छ ch ज j झ jh ञ ñ

ट ṭ ठ ṭh ड ḍ ढ ḍh ण ṇ

त t थ th द d ध dh न n

प p फ ph ब b भ bh म m

Semi-vowels Sibilants & Voiced h:

य y र r ल̣ ḷ ल l व v श ś ष ṣ स s ह h

viii

Bhagavadajjukam

(The Saint-Courtesan)

by

King Mahēndravikramavarman

Introduction

The sun burned down from a blue sky as we drove past a Pallavan bus into Māmanḏūr. This small village is about twelve kilometers south of Kāñchīpuram, a city in the south of India which was honored not long ago by being raised to the rank of district headquarters. However, for six hundred years, from the fourth to the tenth century, Kāñchī was the capital city of the Pallava kingdom, paramount power in South India.

Having arrived at this satellite village, Māmanḏūr, we left the highway, though our car didn't get very far on the country road. The shade of a huge banyan tree provided a welcome parking place. By foot we headed across stubble fields for the nearby western hills with rocky, boulder-strewn slopes. In one of the more abrupt escarpments we found what we were after: two 'cave-temples' excavated near each other in the solid rock. They didn't look like much. Not after thirteen centuries. They are very plain, and can't compare with the elegant cave-temples at Māmallapuram, for instance. But they are among the oldest architectural remains that there are in South India. Mahēndravarman-I, who had created these and other such monuments in this part of the country, assumed various titles which stress his creative and innovative genius: 'Vicitracitta', 'Pravr̥itta-mātra', 'Vidhi', and others.1 'Vicitracitta' may be rendered into English as 'Inventive-mind' or 'Multi-faceted-mind'. 'Pravritta-mātra' implies 'Pure creativeness'. And the title 'Vidhi' is but another name of the Creator, Brahmā.

In the southern cave-temple at Māmanḏūr, there are two inscriptions in Tamil which belong to the later Chola period. But in the northern cave-temple, the long Sanskrit inscription in Pallava Grantha script which is engraved on its southern wall takes us back to the days of King Mahēndra, during the early part of the seventh century, A.D. Unfortunately, time has dealt badly with this inscription. Over the centuries, the rock surface has crumbled away here and there. We are left with bits and pieces of seventeen lines. Even so, historians regard this as an important and famous inscription.

The Māmanḏūr inscription gives us tantalizing glimpses into the character and achievements of King Mahēndra. The first line of the inscription refers to his complete mastery of the science of music. Lines twelve and thirteen tell us that the king attempted something unprecedented with respect to instrumental and vocal music. Just what he achieved, unfortunately, is not clear from the damaged record.2

It is too bad that the king's specific contributions to music which are mentioned in the inscription have not come down to us - or

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The Plays

at least they remain unrecognized. With regard to his contribution to

Sanskrit drama, however, we are more fortunate. A fragment of line

six of the Māmaṇḍūr inscription may be translated as follows:

. . . excellent farces with titles such as (Bhaga)vadajjuka (and)

Mattavilāsa . . .3

These two plays were discovered in the early part of this

century.

The title Mattavilāsa may be expressed in English as ‘Drunken

Revelry’. If this sounds like an odd subject for a king to write on, the

title and subject of the other farce are even stranger. Its title,

Bhagavadajjuka, derives from an event in the play where there is an

exchange of souls between a sannyāsin (Bhagavan) and a courtesan,

who is addressed as Ajjukā. The young courtesan has just died of a

snake bite. The Bhagavan through his yogic power transfers his soul

to her lifeless body in order to teach his wayward disciple that there is

such a thing as the soul, and that it is independent of the body. In the

meantime, however, the Agent of the God of Death, who conducts

Ajjukā’s soul to heaven, finds out that he has made a terrible blunder

in taking away her soul, and is ordered by Yama, the God of Death, to

take back her soul to earth immediately. On returning, the Agent is

astonished to find the body of the girl already alive, and while he is

wondering what to do with Ajjukā’s soul, he notices the Bhagavan’s

lifeless body. Presto! The Agent infuses Ajjuka’s soul into the

Bhagavan’s body. This mixed-up combination of the Bhagavan’s

body and Ajjukā’s soul is jokingly dubbed ‘Bhagavad-Ajjuka’ by the

disciple – and hence the title of the farce, Bhagavadajjuka.

Now, the surprising fact is that several distinguished scholars

when dealing with the problem of the authorship of Bhagavadajjuka

have ended up being uncertain about Mahēndra’s claim to it. In the

introductory lines of Mattavilāsa, it is clearly stated that it is King

Mahēndra, son of King Simhavishṇu, who wrote that play. But, in

Bhagavadajjuka there is no direct mention of who its author is.

Therefore, Mr. R. Gopalan, in his classic book, History of the

Pallavas of Kanchi, published in 1928 by Madras University, was

non-committal:

The work [Mattavilāsa] was probably modelled on another early

Prahasana Bhagavadajjuka recently published and which is

attributed to Bodhayana. The name of this prahasana also occurs

in the Mamandur inscription of Mahendravarman-I in the line

preceding4 the one where Mattavilāsa is mentioned.5

Mr. M. Krishnamachariar, in his History of Classical Sanskrit Literature (1937), observes (in a foot-note) that:

In the Mamandoor inscription we find . . . gavadajjuka-matta-vilāsa . . . and the rest of the inscription is mutilated. If . . . gavadajjuka means Bhagavadajjuka, the coupling of it with Mattavilāsa would mean that their author was the same.6

However, on page 569 of this same book, Krishnamachariar adds:

Of the three commentators [on Bhagavadajjuka], one attributes it to Bodhayana, another to Bharata and a third leaves it anonymous.

Krishnamachariar then attributes Bhagavadajjuka to Bōdhāyana, and claims (p. 570) that the work is not later than the fourth century, A.D.!

In 1969, Prof. T.V. Mahalingam’s book, Kāñcīpuram in Early South Indian History, was published. In this book, although Dr. Mahalingam is ready to assert that King Mahēndra was the author of Mattavilāsa, he says that:

The authorship of a similar Sanskrit farce [Bhagavadajjuka] is uncertain. The anonymous commentator of the work assigns it to Bodhāyana, even though the author's name is not given in the work itself. This [Bhagavadajjuka] has been mentioned in the Māmandūr inscription along with the Mattavilāsa and hence has generally been taken to be a work of Mahēndravarman.7

This non-committal, uncertain, and sometimes negative attitude toward Mahēndra’s authorship of Bhagavadajjuka has obscured the significance of his really noteworthy contribution to Indian literature. Therefore, let us examine this matter further.

Prof. Vishnu Bhat, consulting a Nirnaya Sagar Press publication of 1911 containing verses of the Sūktimuktāvalī copied three verses which do not appear in the later (1938) Baroda edition of the Sūktimuktāvalī (Gaekwad’s Oriental Series, No. 82).8 Though I have not been able to check out satisfactorily the full details of the Nirnaya Sagar Press edition, I give the three verses (Chp. I, Ślokas 23-25):

Vīra-śṛṅgārayōr-ēkah pradhānam yata varnyatē |

Nirākaraṇam-ity-ēṣa mārgah prakṛti-sundarah ||23||

Hāsya-pradhānam-ēvam-tu nātyam prahasanam sadā |

Iti matvaiva rajēndrō Mahēndrah kṛtavān kṛtī ||24||

Nātyam Mattavilāsan̄-ca nātyam Bhagavadajjukam |

Sarvānanda-karau granthau sarva-lōka-sukha-pradau ||25||

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The Plays

These three verses may be rendered into prose English as follows:

1. Where bravery or love is portrayed as the predominant (sentiment), it goes without saying that this kind (of drama) is naturally pleasing.

2. However, thinking that in farcical drama the comic (element) alone could be sustained as the predominant (one), King Mahēndra composed works:

3. The thoroughly delightful plays, Mattavilāsa and Bhagavad-ajjuka, (which) entertain everyone.

As we have said before, the uncertainty over Mahēndra’s authorship of Bhagavadajjuka has obscured his pioneering achievement in Indian literature. It would seem that prior to Mahēndra’s time, the form of drama called the farce was exemplified only in the folk theater. It is doubtful that there were examples of the farce in the classical Sanskrit theater of his day. It was left to this creative and inventive minded king to compose the earliest farces which are extant in Sanskrit - or in any other Indian language. And this creation took place in South India.

Now, the appearance of the titles Bhagavadajjuka and Mattavilāsa engraved in rock in Mahēndra’s own inscription at Māmandūr, together with the statement in the Nirnaya Sagar Press’s 1911 edition of the Śaktimuktāvalī that King Mahēndra composed the plays, Bhagavadajjuka and Mattavilāsa, ought to afford sufficiently strong evidence of Mahēndra’s authorship of the play, Bhagavad-ajjuka. Nevertheless, we shall also consider the internal evidence which supports Mahēndra’s authorship.

There are four major sources of internal evidence in Bhagavadajjuka:

1. the Nāndī (the opening invocation);

2. the repetitive puns on the word Pallava;

3. the pointed reference to Kāñchīpuram (Mahēndra’s capital city);

4. the parallels between Bhagavadajjuka and Mattavilāsa.

The last three of these sources will be dealt with in the appropriate notes to the text and translation, and we won’t discuss them at this point. However, the Nāndī requires a detailed analysis, and that will be our next concern.

The opening stanza of invocation (the Nāndī), at the beginning of the play, has within itself allusions to the play’s royal author, and is also open to alternate interpretations which hint at the characters and plot of the farce.

The Nāndī's allusion to King Mahēndra is really quite obvious, within the Sanskrit idiom, in what is called dhvani. The expression suravara ('Foremost among the gods') is but one of the titles of the god, Indra, who is also called Mahēndra. Thus, by this double entendre, or dhvani, the Nāndī quite fittingly expresses the devotion of King Mahēndra (the author) to Rudra (the god, Śiva).

We give first the straightforward interpretation of the Nāndī, in the following translation of it:

Of excellent attributes, being rubbed by the beautiful gem

In the crown of the foremost of gods, Mahēndra's diadem,

And having the big toe which suppressed Rāvaṇa, too,

May the ever-worshipped foot of Rudra protect you!

According to Bharata's Nāṭya-Śāstra, the Nāndī should hint through words and meaning at the dramatic plot. We do find that this is the case with the Nāndī of Bhagavadajjuka. The dhvani, or hinted allusion to the characters and plot, is brought out in the following alternative meaning of the same stanza:

May it protect you, that ever-worshipped foot

Of the teacher of wisdom's root,

Rubbed by beautiful, blue crown-jewel of heaven's high,

Remover of tortured lamentor's cry!

And in slightly expanded, explanatory form:

May it protect you, that ever-worshipped foot

Of the (Parivrājaka) teacher of wisdom's root,

Rubbed by beautiful, blue crown-jewel of heaven's high

(i.e., honored even by the gods),

Remover of tortured lamentor's cry

(i.e., the wailing of Shāṇdilya).

The Mendicant (Parivrājaka)9 and his disciple, Shāṇdilya, are the two main characters of the play. And in this farce there is much weeping and wailing by Shāṇdilya, first over the death of the Courtesan, and then over the apparent death of his teacher, the Parivrājaka. The idea conveyed by the second interpretation of the Nāndī is, therefore:

May you (Shāṇdilya) be protected by your teacher (the Parivrājaka)!

Put idiomatically:

May you, Shāṇdilya, be protected by the holy foot of your teacher!

The nature of this protection, of course, is meant to be correct philosophical instruction in order to remove the disciple's ignorance,

• 8 - The Plays

• 8 - The Plays

which is the cause of his suffering and his weeping and wailing. It is

the Parivrājaka’s vain attempt to instruct Shāṇḍilya which forms the

basic motif of the play’s development, and which degenerates into a

good deal of farcical dialogue and action – Shāṇḍilya virtually

receiving a kick from the ‘holy’ foot of his teacher.

The image of a foot being rubbed by a crown-jewel derives

from the practice of a subordinate king acknowledging the overlord-

ship of another monarch by humbly bowing so that the crest jewel of

his crown touches the foot of his overlord. The meaning of this image

in the present context is that a holy sage is similarly honored even by

the gods. In the Mahābhārata, for instance, it is said that gods and

demons, animate and inanimate beings bow down before a sannyāsin

who attains knowledge of the inmost Self.

That the Parivrājaka of our play would be worthy of such

honor by the gods is itself a farcical notion. Thus, the farcical element

is introduced in the Nāndī. The double entendre of the word Rudra

is also in the same vein. It should be noted that this paradoxical juxta-

position of the sublime with the ridiculous is also found in the

documented inscriptions of the Pallavas.10

There is a famous musical inscription engraved on the vertical

rock surface adjacent to an ancient cave-temple at Kuḍumiyāmalai, a

place not too far south-east of Tiruchirapalli, Tamil Nadu (see ref.,

end note 2). The inscription’s paleography suggests a date around the

seventh century, A.D. When first discovered by modern scholars, this

inscription was attributed to King Mahendravarman. However, later,

some scholars have questioned this attribution.

There is a short colophon below the main body of the inscrip-

tion which says that a king (unnamed, unfortunately), a royal disciple

of Rudrāchārya (a great teacher, Rudra), created this musical inscrip-

tion for the benefit of other disciples (music students).

One of the main points put forward against Mahēndra’s

authorship is that the inscription’s location was ‘outside’ of the area

of Pallava rule, which, the argument contends, extended only as far

south as Tiruchi – no further. Now, this is merely opinion. There is,

in fact, no hard evidence to warrant drawing the territorial limit

dogmatically at Tiruchi, rather than at Kuḍumiyāmalai or at some

other place.

Therefore, we shall assume that the unnamed, inventive king

was indeed Mahēndravarman. The Invocation (Nāndī) of Bhagavad-

ajjuka could then immediately take on a whole new level of meaning:

the Rudra of the Invocation could refer to Mahēndra’s great music

teacher, before whom even the king himself (‘Mahēndra’) bowed.

The passage, ‘Rāvaṇa-namitāṅguṣṭhō . . .’, in this context, would

indicate that Rudrāchārya, as a great music teacher, suppressed noise-

makers, or noise-making (rāvaṇa) – that is, bad musical practice.

Though our attribution of the Kuḍumiyāmalai inscription to

King Mahēndra is only an assumption, there is a certain coherence in

relating a play of his - a musical play, at that - to this musical inscrip-

tion. The seven musical modes of this inscription are specified in later

literature as being appropriate to seven different stages of dramatic

development. The Kuḍumiyāmalai inscription is thus directly related

to the conventions of music in drama in the seventh century!

This brings us to the question of a deeper meaning underlying

the comedy. It is a curious fact that over the centuries, parts of both

farces have been preserved and performed, especially in Kerala, by

devout groups of actors who have interpreted the comic characters as

really allegorical representations of deep, serious, religious signifi-

cance. Thus, on this interpretation, the interaction of the Bhagavan

and his disciple in the Bhagavadajjuka is to be understood at this

allegorical level as the interaction between God and the human soul.

As an alternate interpretation, we would like to suggest that

what King Mahēndra had in mind was to caricature the various

religious foibles that must have been as abundantly evident in his

day as they are in our own.

When the Parivrājaka himself fails to measure up to the noble

truths he preaches, he becomes an object of humor. But the humor is

what it is because of the contrast of this failure with the real standard

of truth and nobility. Therefore, we cannot agree at all with Prof. M.

Winternitz’s astonishing judgment that:

The Parivrājaka in our play [Bhagavadajjuka] is a true ascetic, a

Yōgin, and a very learned man. . . 11

We shall take just one of the many obvious examples from

Bhagavadajjuka to prove our point. In general, one situation which

gives rise to laughter is to see someone, having failed to live up to an

expected norm of behavior, try to explain away his failure. In Sanskrit

terminology, this particular type of hilarious situation is called ava-

skanda. It is beautifully illustrated by Mahēndra when he has the poor

Parivrājaka, exasperated and angry with his rebellious and taunting

disciple, take up his staff, threatening to beat him. When Shāṇḍilya is

quick to point out to his guru the obvious incongruity of a sannyāsin

beating anyone, the Parivrājaka attempts to justify himself:

35

DISCIPLE: Why does the Bhagavan get angry with me?

36

MENDICANT: Because you don’t learn! (He threatens to beat

Shāṇḍilya)

37

DISCIPLE: Whether I learn or not, what’s it to you, one who is

liberated?

38

MENDICANT: No, it’s not like that! For anyone who becomes

a disciple, a beating is quite in order as a matter of discipline,

so it is said. Thus, it’s without any sense of anger, I beat you

for your own good!

• 9 -

Bhagavadajjuka

Introduction

• 10 -

The Plays

Now, the audience in Mahēndra’s day would certainly have had a good laugh at this last remark by the Parivrājaka. It would have been very clear to them that the Parivrājaka is not a true ascetic!

Having already commented on the Parivrājaka, let us go on to say something about the other characters of the play.

The Sūtradhāra, or Director, who is of distinguished bearing and accent, introduces the play, performing thus the function of our modern program notes. He does this somewhat indirectly, though, in dialogue with a comic character, the Vidūshaka, or Buffoon. In both of Mahēndra’s farces, the actor playing the part of the Director in the Prologue also takes the lead part in the play proper - in this play, the part of the Mendicant. Similarly, the actor playing the part of the Buffoon in the Prologue of this play also takes the part of the Disciple. This metadramatic practice of having the actors of the prologue, through the characters they portray, take on other roles in the play proper is a practice rooted in the fundamental esthetic element of dhvani.

Shāṇḍilya, the disciple of the Parivrājaka, carries on, in our play proper, the role of the traditional Vidūshaka. According to tradition, the Vidūshaka or Buffoon is often a type of court fool.12 Yet he’s a man of experience and a keen observer of people. He is clever, and speaks simple and sensible truisms. He is boastful, but timid, often cowardly. Sometimes, resigned and fatalistic in outlook. And he’s forever interested in food. Our Shāṇḍilya conforms quite closely to this traditional role of the Vidūshaka type.

There is only one other grossly farcical character in Bhagavadajjuka, and this is the Doctor. This old man, practically senile, is a complete humbug in his profession. A certain element of humor is to be created by having the actor who plays the part of the Messenger of Death (Yama’s Agent) also take the part of this incompetent doctor.

The Courtesan, Ajjukā, and the other women of the play - her two maid-servants and her mother - are all portrayed in a more straightforward manner, and never as the object of ridicule.

Ajjukā’s lover, Rāmilaka, and Yama’s Agent, the remaining two characters, also have relatively straightforward spoken parts - although this fact does not rule out farcical elements in their portrayal.

The variety of characterizations in Bhagavadajjuka is in contrast to the range of characterizations in Mattavilāsa, where all of the actors (including the only woman) contribute directly to the farcical hilarity of the play, and are the object of laughter.

A few words now about the dress and ornaments which the various characters would have worn in Mahēndra’s day. As a picture is worth many words, we have included a photograph of an upper-

class couple portrayed in a relief sculptured sandstone panel belonging

to the Pallava period, around Mahēndra’s time.13 We shall relate the

description of this panel to the characters of our play. For instance,

the young man in the sculpture could very well represent the type of

person who is Ajjukā’s lover, Rāmilaka. He wears a fine cloth around

his waist. The end of this cloth is pulled tightly between his legs and

is held in the back by a belt in such a way that his upper legs are

individually wrapped tightly by the cloth. Another cloth which has

been folded into a long strip is looped around his waist. The sash ends

of this strip fall unseen on the hidden side of him. Although he wears

no other clothing, he has several ornaments. Double bracelets are on

his wrist. He has a simple necklace (probably gold) with an orna-

mental tassel pendent from the clasp in back. A garland of silk or

some other attractive material encircles his torso diagonally across his

left shoulder. (On other figures, the garland is sometimes depicted as

made of flowers or of multiple strands of pearls.) Huge cylindrical

ear-rings (flares) are placed in this young man’s pierced and greatly

expanded ear-lobes. Long hair falls on his back in thick ringlets. As

was the usual custom, he wears no shoes or leg ornaments.

The young lady in the panel could very well represent the type

of woman Ajjukā is. She wears a cloth wrapped around her waist and

upper legs. One end of it, pulled tightly between her legs, fans out in

pleated fashion at the back of her waist. The second piece of cloth,

folded into a long strip, encircles her waist. Just above this she wears

a belt or girdle with jeweled clasp. She wears no upper cloth to cover

her breasts. This is quite in keeping with the custom of those early

days. Women, often, did not drape their upper bodies. She wears two

necklaces and a choker. One necklace is short, with pendant in front;

the other is a longer, double-stranded necklace of pearls. She has

three bracelets on each wrist, and a simple double-banded ornament

on her upper arms. She wears anklets. Her hair is worn on top of her

head in a prominent bun, encircled by a band of jewels at its base.

(There is, of course, quite a bit of variation in hair-styles and designs

of ornaments for women. This is just one example.) She has large

disc-like flares in her pierced and expanded ear-lobes. The ear-lobes,

it should be noted, fit tightly around the grooved rim of these flares.

The other women of the play would exhibit only minor

variations of this kind of dress and ornamentation. The hair-style and

jewelry might be somewhat simplified, perhaps, for Ajjukā’s maid-

servants: one necklace, for instance, instead of two, and, possibly, no

upper arm ornament. But all the women would have some ear, neck,

wrist, and leg ornament.

The Director would be dressed and arrayed in a manner more

or less similar to Rāmilaka’s. The Mendicant, with shaved head, and

carrying a staff, would be clothed in the robes of an ascetic. See

• 11 -

Bhagavadajjuka

Introduction

• 12 -

The Plays

Appendix B for a description of the Daṇḍīs, an ascetic order perhaps typical of the one to which our mendicant and his disciple belong.

In conclusion to this introduction, let us say something about the difficulty of translation. Because of the nature of the Sanskrit language with its rich suggestiveness (dhvani) and often indirect manner of expression, it is not surprising that different translators have ended up with very different renditions of certain difficult passages. When we first translated Bhagavadajjuka, and published it in 1978, we had not seen J.A.B. van Buitenen’s 1971 translation of it (in the journal, Mahfil, Vol. 7), and C. Minakshi’s pre-1940 translation was only first published just shortly after our own. It may be interesting to compare the differences in our various translations of a couple of problematic passages in order to get a sense of the difficulties.

Let us turn first to the beginning of Shāṇḍilya’s monologue in line 15 - to the passage which contains these three words: “. . . karada’a-sēsa-samiddhē . . .”. Minakshi translates it: “Born of Karataka, the illustrious progenitor of our line. . . .” Professor van Buitenen interprets karada’a as ‘jackals’ in his translation: “My family thrived on what the jackals left.” Both translators have failed to grasp what we consider to be the correct meaning of a key word here: karada’a = ‘crows’.

Our own present translation of this passage is: “I was born in a family which flourished on the remains of the food for crows in the death ceremony.” The phrase in italics is a contextual amplification from the three words: karada’a (crow), sēsa (remains), and samiddhē (flourish).

The second example is line 224 of Bhagavadajjuka which reads: “Kimsu’am āliṅgēhi!” Minakshi translates this: “Go embrace the kimsaka tree.” Professor van Buitenen has: “Go embrace this rose bush!” We would maintain, however, that kimsu’am, here does not directly mean a tree or a bush. Rather, the translation should be: “Embrace your staff!” The word kimsu’am (Skt., kimśuka) is a synonym of palāśa. It is the wood of this palāśa (or kimśuka) tree (Butea frondosa) which is prescribed as appropriate for use as a staff by Brahmin sannyāsins. Further, there is a salacious pun on suggestive elements ‘kim sukham’, as their “daṇḍa is [sometimes] regarded by them as [a] phallic emblem” (see Appendix B).

• 13 -

Bhagavadajjuka

Introduction

Notes to the Introduction

1

1. A list of selected titles of the king is given in Appendix A.

2

2. This whole question has been investigated by us in greater depth in “The Kudumiyamalai and Mamandur Inscriptions of King Mahendravikramavarman: A Review”, chapter 21, Pallava Art (Madras [Chennai]: Tambaram Research Associates, 2001).

3

3. The original fragment reads: . . . (Bhaga)vadajjuka . . . syam-Mattavilāsādipadam-prahasanōttama. . . .

4

4. The titles of both farces appear in the sixth line of the Mamandur inscription, and not in two different lines as Gopalan suggests. He confuses the text transcription with the actual inscription.

5

5. R. Gopalan, p. 93, n. 5.

6

6. M. Krishnamachariar (Madras: Tirumalai-Tirupati Devasthanams Press, 1937), p. 148, n. 1. Krishnamachariar has overlooked the gap and a readable part of another word between (Bhaga)vadajjuka and Mattavilāsādipadam.

7

7. T.V. Mahalingam (Bombay: Asia Publishing House, 1969), p. 75.

8

8. This edition was published by the Government of Baroda.

9

9. See Appendix B for a sketch of the type of order to which the Mendicant might belong.

10

10. For a discussion of this juxtaposition, see chapter 17, Pallava Art, “Mahendra’s Paradoxical Birudas”.

11

11. Quoted from the Preface written by M. Winternitz in P. Anujan Achan’s edition of Bhagavadajjukīyam (Trichur, Kerala: Mangalodayam Press, 1925), p. ii.

12

12. This sketch of the Vidūshaka is indebted to A. Rangacharya’s analysis in his book, Drama in Sanskrit Literature, 2nd rev. ed. (Bombay: Popular Prakashan, 1967), Chp. X.

13

13. This panel, along with six others belonging to the same ancient period, is found built into the wall of a relatively modern structure, the Tāntōṇṇīrśvara Temple, Kāñchī. The photos of these panels in this book are by Lockwood. The figures in these panels seem to be dancing, enjoying the secular amusement described in the tavern scene of Mahēndra’s play, Mattavilāsa-Prahasana.

Addendum 2005

Further reflection on Line No. 59 of the play, Bhagavadajjuka, and end note No. 18

As already stated, there is a second, implied meaning of the phrase, “aśōka-pallava-antara-niruddhö

vyāgghrah prativasati”: 'Pallava' can indicate the name of Mahēndra's dynasty, and it can also mean

'scion'; 'Aśōka' is one of the illustrious progenitors of the Pallavas', whose name appears early in their

genealogies. The 'tiger' (vyāgghra), then, in this passage may be taken to refer to King Mahēndra

himself, since one of his royal titles is Citrakāra-puli, 'Tiger among artists'. We can then read the

above phrase as follows:

King Mahēndra (vyāgghrah/puli) dwells (prativasati) enclosed (niruddha) within (antara) the

Aśōka-Pallava [dynasty] (aśōka-pallava).

There is a third possible interpretation of the above phrase, in which the royal author pokes fun at himself.

Mahēndra's enemy, the Chālukyan king, Pulikēśin-II, according to Pulikēśin's own inscription, engraved

on stone, invaded the Pallava kingdom and, in an ensuing battle, forced the Pallava king and his troops to

seek refuge behind the massive walls of their capital city.* We can then read the above passage as

follows:

King Mahēndra (vyāgghra) dwells (prativasati) imprisoned (niruddha) inside (antara) the Aśōka-

Pallava [capital city] (aśōka-pallava).

However, there is also a fourth possible reading of this phrase, with an even more interesting level of

suggested meaning. 'Tiger' in Sanskrit is vyāgghrah. In Tamil and other Dravidian languages, 'tiger'

is 'puli'. Therefore, the 'tiger', in this case, can also be understood to suggest Mahēndra's enemy,

Pulikēśin-II (Puli-kēśin), who laid siege to Kāñchīpuram. (No ultimate victory is claimed by Pulikēśin.)

Analyzing, again, the phrase, “aśōka-pallava-antara-niruddhö vyāgghrah prativasati”: the word 'antara'

can mean both 'inside' and 'outside'; and the word 'niruddha' can mean both 'enclosed/imprisoned' and

'kept off/stopped' Using the latter meanings of these two words, we now can read:

(The enemy) Pulikēśin (puli / vyāgghrah) stays (prativasati) stopped (niruddha) outside (antara)

King Mahēndra [i.e., his capital city] (aśōka-pallava).

These various levels of meaning discovered in the above passage help us to further confirm Mahēndra's

authorship of the play, Bhagavadajjuka.

*See another hinted self-deprecation by Mahēndra in Lines 176-77 of the play Mattavilāsa,

along with the end note 46.

Bhagavadajjukam

(The Saint-Courtesan)

Dēvanāgari Text

Cast of Characters

Director (SŪTRADHĀRA), the person responsible for the production, and the principal actor.

Buffoon (VIḌŪṢAKA), the comic companion of the Director.

Mendicant (PARIVRĀJAKA), a wandering Hindu holy man.

(This part is to be played by the Director.)

ŚAṆḌILYA, the Disciple of the Mendicant. (This part is to be played by the Buffoon.)

Courtesan (GANIKĀ), whose personal name is Vasantasēnā, but who is usually addressed as ‘Ajjukā’, a term of respect for courtesans.

Madhukarikā, an attendant maid (CĒṬĪ) of Vasantasēna’s.

‘Madhukarikā’, literally, means ‘little honey-maker’, i.e., ‘little honey bee’.

Parabhṛitikā, another attendant maid (CĒṬĪ) of Vasantasēnā’s.

‘Parabhṛitikā’ means ‘little cuckoo’.

Yama’s Agent (YAMAPURUṢA), Messenger of Yama, the God of Death, who is responsible for taking the souls of the dead to Yama’s realm.

Mother (MĀTĀ) of Vasantasēnā.

RĀMILAKA, Vasantasēnā’s lover.

Doctor (VAIDYA). (This part is to be taken by the actor who plays the Agent of Yama.)

भगवदज्जुकम्

(ततः प्रविशति नान्द्यन्ते सूत्रधारः)

1

सूत्रधार: - त्वां पातु लक्षणादयः सुरवरसुमटेनद्रचारुमणिघृष्टः । रावणनमितादृगुष्ठो रुद्रस्य सदाचार्चितः पादः ॥ १ ॥ इदंसम्प्रेक्ष्य गृहम् - यावत्प्रविशामि ! (प्रविश्य) विदूषक ! विदूषक !

2

विदूषक: - अथ्य आअक्खि । [आर्य अयमस्मि ।]

3

सूत्रधार: - विजनं तावत्त् - यावत्ते प्रियमाख्यास्यामि ।

4

विदूषक: - अथ्य तह । (निष्क्रम्य, प्रविश्य) अथ्य विजणं गुह इंद । पिअंदव अथ्यो आचिक्खोदु । [आर्य तथा । आर्य विजनं गृहमिदम् । प्रियं तावदार्य आचक्षतु ।]

5

सूत्रधार: - श्रूयताम् । अधास्मि बहिर्नगरादागच्छता अनेकसिद्धादेशजनितप्रत्ययेन लक्षणिना ब्राह्मणेनाहमादिष्टः । अथ इतस्सप्पमेढहनि तव राजकुले प्रेक्ष्य भविष्यति । ततस्तवत्प्रयोगपरितुष्टेन राज्ञा दत्तां महर्तीं श्रियंवाप्स्यसीति । तस्य ब्राह्मणस्यामिथ्यादेशितया जनितोत्साहः तत्सझीतकं करिष्यामि ।

6

विदूषक: - कदं दाणी अथ्येण णाडअं णाईआदि । [कतमिदानीमार्येण नाटकं नाट्यते ।]

7

सूत्रधार: - अत्रैव मे चिन्ता - अथतु नाटकप्रकरणोद्भवासु वारोहामुगडिमसमवाकारव्यायोगभाणसल्लाप-वीथ्युत्प्रष्टिकाकड्कप्रहसनादिषु दशजातिषु नाट्यरसेषु हास्यमेव प्रधानमिति पश्यामि - तस्मात्प्रहसनमेव प्रयोक्स्यामि ।

8

विदूषक: - अथ्य अहं हस्सोवि पहसणं ण जाणे । [आर्य अहं हास्योऽपि प्रहसनं न जाने ।]

9

सूत्रधार: - तेन हि शिक्ष्यतां भवान् । न शक्यमशिक्षितेन किञ्चिदपि ज्ञातुम् ।

10

विदूषक: - तेण हि अथ्यो एव मे उवदिसदु । [तेन हि आर्य एव मे उपादिशतु ।]

11

सूत्रधार: - वाअदम् । ज्ञानीत्थ कृतबुद्धिस्त्व सम्बोधनानुगच्छन्तम् । . . .

12

(नेपथ्ये) - शानिडल्य ! शाण्डिल्य !

13

[सूत्रधार:] - (श्रुत्वा) . . . योगीश्वरं द्विजवरं शिष्य इव मां परिब्राजम् ॥ २ ॥ (निष्क्रान्तौ)

प्रस्तावना

• 17 -

(ततः प्रविशति परिव्राजकः)

14

परिव्राजकः - शाण्डिल्य ! शाण्डिल्य ! (पृष्ठतोऽवलोक्य) न तावद्‌दूष्यते । सदृशमस्य तमोवृतस्य । कुतः - देहो रोगनिधिर्जरारावशगतो लीनान्तकाधिष्ठितो यो नित्यप्रतिघातरुद्धविषयस्त्तीरे यथा पादपः । तं लब्ध्वा सुकृतैर्नेकगुणितैर्देहात्मना विस्मितो मत्तो यो बलरुपयौवनगुणैर्दधान्त्र तान् पश्यति ॥ ३ ॥

(ततः प्रविशति शाण्डिल्यः)

15

शाण्डिल्यः - भोः ! पुडंम एव अहं करडअसेसमिद्धे णिरक्खरप्पकिसवत्तजिहे कंठप्पसत्तजण्णोपवीदे बंमण्णमततपरितुदेठे कुले पसूढो, तदो दुदीआं अह्हाणं गेहे असण्णासेण बुभुक्षित्तदो पादरसणळोहेण सक्किअ समणाणं पव्वइदोहि । तदो तहिं दासिअं उत्ताणं एक्काळभत्तेण बुभुक्षित्तो तंवि विसज्जिअ चीवरं छिंदिअ पतं पतोळिअ छत्तमत्तं गहिअ णिग्गदोहि । तदो तिवीआं इमेस्स दुट्ठअच्येस्स भंडभारगद्भो संउत्तो । किं हिँ णु खु कुडो णु खु गदो भआवो । आ एसो दुट्ठळिंगी पादरसणळोहेण एआइ भिक्खं आहिंडिअ गदोत्ति तक्केइमि । जाव अदूरगद भआवंतं संभावेमि । (परिक्रम्य दृष्ट्वा) एसो खु, भआवो । (उपसृत्य) मरिसेसु मरिसेसु भआवो ।

[भोः ! पथममेवाहं करटकशेससमिद्धे निरक्खरपक्खिप्तजिहे कण्ठप्रसक्ताजण्होपवीते ब्राह्मणमात्रपरितुष्टे कुले प्रसूतः । ततः द्वितीयमस्साकं गृहेडशनाशणेन बुभुक्षितः प्रातरशनलोभेन शाक्यश्रमणकं प्रव्रजितोऽस्मि । ततस्तत्र दास्या: पुत्राणामेकालभुक्तत्वेन बुभुक्षितः तमपि विसृज्य चीवरं छित्वा पात्रं प्रतोळ्य छत्रमात्रं गृहीत्वा निर्गतोस्मि । ततस्त्तीयमस्य दुष्टाचार्यस्य भाण्डभारगर्दभस्संवृतः । कुतनु खुलु कुतःनु खुलु गतो भगवान् । आ एस दुष्टलिङ्गी प्रातरशनलोभेन एकाकी भिक्खामाहिंडितुं गत इति तक्कयामि । यावद्‌दूरगतं भगवान्तं सम्भावयामि । एस खुलु, मरिसयतु मरिसयतु भगवान् ।]

16

परिव्राजकः - शाण्डिल्य न भेतव्यं न भेतव्यम् ।

17

शाण्डिल्यः - भो भआव इमेस्स जीवळओए णिच्चोच्चवविसेस्से सुहप्पहाणे केण विहिणा भआवो भिक्खं आहिंडदि ।

[भो भगवान्स्सिमं जीव्लोके नित्योत्सर्वविशेषे सुखप्रधाने कें विधिना भगवान्भिक्षामाहिंडति]

18

परिव्राजकः - श्रृणु - अमानकामस्सहितव्यघर्षणः कृषाज्जनाद्देक्षकृतात्मधारणः । चरामि दोपव्यसनोत्तरं जगद् - हृदं बहुग्राहमिवाप्रमादवान् ॥ ४ ॥

19

शाण्डिल्य: - भो भआवं । ण मामओ अतिथि ण भादुओ वा पिदा कुदो मे भआवप्पिसादो । एक्को अहं अण्णहदण्हेण जर्दंठि पविट्ठो णाहु धम्मलोहा ॥ ५ ॥ [भो भगवान् । न मामकोऽस्ति न भ्रातृको वा पिता कुतो मे भगवत्प्रसाद: । एकोऽहं अन्नहत्वेन यष्टिं प्रविष्टो न तु धर्मलोभात् ॥]

20

परित्राजक: - शाण्डिल्य किंमेतत् ।

21

शाण्डिल्य: - णं भूदत्थो अळ्ळीअं बंधअंत्ति भआवो भणादि । [ननु भूतार्थोऽपीलिङ्गकं बन्धकमिति भगवान् भणति ।]

22

परित्राजक: - अथ किम् ? सत्यमनृतं चाभिसन्धाय कृतं बन्धकं भवति । कृत: - यदातु सद्दलिपत्मिष्टमिष्टत: करोति कर्मान्वहिनेद्रिय: । पुमान् । तदास्य तत्कर्म फलं सदैव सुरे: सुरक्षितो न्यास इवालयते ॥ ६ ॥

23

शाण्डिल्य: - कदा णु खु तस्स फलं लहहदि । [कदानु खलु तस्य फलं लभते ।]

24

परित्राजक: - यदा विरागमेश्वर्य लभते तदा ।

25

शाण्डिल्य: - तं पुण कहं लहहदि । [तत्पुन: कथं लभते ।]

26

परित्राजक: - असज्जतया ।

27

शाण्डिल्य: - भो भआवं किं पुण एदं असंगदं ति पुच्छयदिं । [भो भगवान् किं पुनरिदमसङ्गदमिति पृच्छचते ।]

28

परित्राजक: - रागदेषयोमध्यस्था । कृत: - सुखे षु दुःखेषु च नित्यतुल्यतां भयेषु हर्षेषु च नातिरिक्तताम् । सुहृत्स्वस्मित्रेषु च भक्तितुल्यतां वदान्ति तां तत्वविदो व्यसझताम् ॥ ७ ॥

29

शाण्डिल्य: - किं एदं पुण अत्थि । [किमिदं पुनरस्ति ।]

30

परित्राजक: - नास्तत्संज्ञा भवति ।

31

शाण्डिल्य: - सक्कं कुर्रति भआवो भणादि । [शक्यं कर्तुमिति भगवान् भणति ।]

32

परिव्राजक: - क: सन्देह: ।

33

शाण्डिल्य: - अळीओं अळींओं एडं । [अलीकमलीकमिदम् ।]

34

परिव्राजक: - कथमिव ।

35

शाण्डिल्य: - भअवो खु दावं किस्स कुप्पदि । [भगवान् खलु तावन्मां किमर्थं कुप्यति ।]

36

परिव्राजक: - नाधीप इति ।

37

शाण्डिल्य: - यदि अहं आहीआमि वा णाहीआमि वा किं तव मुत्तस्स । [यदि हमध्योऽमी वा नाध्योऽमी वा किं तव मुक्तस्य ।]

38

परिव्राजक: - मामेवम् । अभ्युपगतशिष्यार्थं ताडनं स्मृतमिति । तस्मादकुपितश्चाहं श्रेयोर्थं भवन्तं ताडयामि ।

39

शाण्डिल्य: - अच्छेरं ! अच्छेरं ! अकुविदो णाम ताडेदि किळ भअवो । हिज्जदु एसो कहा । अदिक्कमदि भिक्खवेला । [आश्चर्यमाश्चर्यम् ! अकुपितो नाम ताडयति किल भगवान् । छिद्यातामेषा कया । अतिक्रामति भिक्षावेला ।]

40

परिव्राजक: - पूर्वं ! प्रात:स्तावन् मध्याह्न: । न्यस्तमुसले व्यज्ज्ञारे सर्वभूतकुजने काले इत्युपदेश: । तस्माद्विश्रमार्थमिदमुद्यतं ।

41

शाण्डिल्य: - हा हा पडिज्जहाणिओ खु भअवो संवुक्को । [हा हा प्रतिज्ञाहानिक: खलु भगवान् संवृत्त: ।]

42

परिव्राजक: - कथमिव ।

43

शाण्डिल्य: - णं समसुहदुक्खो किळ भअवो । [ननु समसुखदु:ख: किल भगवान् ।]

44

परिव्राजक: - अथ किम् । समसुखदु:खो ममात्मा कर्मात्मा विश्राममिच्छति ।

45

शाण्डिल्य: - भअवं को एसो अत्ता णाम । को अण्णो कमत्ता णाम । [भगवन् क एष आत्मा नाम । कोऽन्य: कर्मात्मा नाम ।]

46

परिव्राजक: - श्रृणु । य: स्वप्ने गगनमुपैति सोडनन्तरात्मा सोऽप्यात्मा विधिविहितं प्रयाति यश्च । देहेऽपि नर इति सज्ञातोऽन्यथा वा कर्मात्मा श्रमसुखभाजनं नराणाम् ।। ८ ।।

47

शाण्डिल्य: - जो अजरो अमरो अच्छेअज्जो अभेअज्जो सो अत्ता णाम । जो हसदि हासेदि सअदि भुञ्जेदि विळअं च गच्छदि सो कमत्ता णाम । [योऽजर: अमर: अच्छेद्य: अभेद्य: स आत्मा नाम । यो हसति हासयति सति भुङ्क्ते विलयं च गच्छति स कर्मात्मा नाम ।]

48

परिव्राजक: - यथा ग्राह्यं तथा गृहीतम् ।

49

शाण्डिल्य: - आ अपेहि । अभिगृहितोऽसि । [आ अपेहि । अभिगृहीतोऽसि ।]

50

परित्राजक: - कथमिव ।

51

शाण्डिल्य: - णं सो एव्व वाणो एसो । णाहि सरीरं विणा अत्थि किं वि । [ननु स एवेदानीमेष: । नहि शरीरं बिना अस्ति किमपि ।]

52

परित्राजक: - लौकिकमहितम् । यतश्च भेदमुपगतानां सत्वानां स्थानानि श्रुयन्ते । अत एवं बूमः । श्रृणु - खपवनसलिलानां तेजसश्चैकदेशे - दुपचितचलमूर्ति: पार्थिवद्रव्यराशि: । श्रवणनयनजिह्वानासिकास्पर्शविदी नर इति कृतसंज्ञ: कोडप्यहं प्राणिधर्मा ॥ ९ ॥

53

शाण्डिल्य: - सर्वं दाव तिट्ठडु । तुर्व दाव को । [सर्वं तावतिष्ठतु । त्वं तावत्कः ।]

54

परित्राजक: -

55

शाण्डिल्य: - हा हा एतिअमते ण वि अत्ताणं ण जाणादि । किं पुण अत्ताणं । (विलोक्य) भो भअवं इदं उज्जाणं । [हा हा एतावन्मात्रेण आत्मानमपि न जानाति । किं पुनरातमानम् । भो भगवन्निदमुध्यानम् ।]

56

परित्राजक: - त्वं तावत्प्रविशाग्रात: । विविक्तशरणारण्ययुपतिश्रया वयम् ।

57

शाण्डिल्य: - भअवं एव्व पुरदो पविसदु । अहं पिट्ठडदो पविसामि । [भगवानेव पुरतः प्रविशतु । अहं पृष्ठतः प्रविशामि ।]

58

परित्राजक: - किमर्थम् ।

59

शाण्डिल्य: - हेळाआणए मम मादाए सुरं असोअपललवंतणिळुद्धो वग्घो पडिवसदित्ति । ता भअवं एव्व पुरवो पविसदु । [हेलान्न्य मम मातुः श्रुतम् अशोकपल्लवान्तरनिरुद्धो व्याघ्र: प्रतिवसतीति । तेन भगवानेव पुरतः प्रविशतु ।]

60

परित्राजक: - बाढम् ।

61

शाण्डिल्य: - अविहा ! वग्घेण गहीदोहि । मोचेइं मं वग्घमुखादो । अणाहो विअ वग्घेण खाइदोसि । इदं खु ळुहिळं पस्सवदि कण्टाओ । [अविहा ! व्याघ्रेण गृहीतोऽस्मि । मोचय मां व्याघ्रमुखात् । अनाथ इव व्याघ्रेण खादितोऽसि । इदम् खलु लोहितं पश्यति कण्टकितम् ।]

62

परित्राजक: - शाण्डुल्य न भेतव्यं न भेतव्यम् । मयूर: खल्वेष: ।

63

शाण्डिल्य: - सच्चं मोरो । [सत्यं मयूर: ।]

64

परित्राजक: - अथ किं । सत्यं मयूर: ।

65

शाण्डिल्य: - जयि मोरो तेणहि उग्घाडेमि अक्खाणि । [यदि मयूरस्तेन ह्युद्घाटयाम्यक्षीणि ।]

66

परित्राजक: - छन्दत: ।

67

शाण्डिल्य: - हं दासिए पुत्तो वग्घो मणभयेण मोररूपं गहिआ पळाइदि । (उद्यानं निरुप्य) ही ही चंपुअ अज्जुणकदंबणीवणिउळतिलआकुरवआकअणिआरकपूरचूअपिअंगुसालताळतमाळपुण्णआणिआवउळसरळसज्जसिंदुवारतिणसुत्तळसत्तवणणकणवीरकुटचवणिअचंदणसोअमिळिआणदेवत्ततअरखंदिरकदळीसमवकिअणं वसंतोपसोहिंदवपाळपत्तपळवदलकुसुममउजरोसमावुळं अदिमुत्तमाळवीदआमंडवमिंदइदं मोरकओइळमतणभमरमहुरारावसंघुटं पिअजणविप्पओअसमुप्पण्ण-सोआहिहूदजुवंदीजाणं अणुdavāरं संपवुत्ताणं सुहावहं अहो रमणिज्जं खु इदं उज्जाणं । [हं दास्या: पुत्रो व्याघ्र: मदनेन मयूररूपं गृहीत्वा पलायते । ही ही चम्पकाजुनकदम्बनीप-निचुलतिलककुरबककर्णिकारकपूरचूतप्रियांड्रुसालतालतमाlयुनागनागकुल्सरलसर्ज्जसिंदुवारतण-शूल्यसप्तपर्णकरवीरकुटजवहिचंदनाशोकमल्लीकाननच्यावर्ततगरसदिरकदळीसमवकीर्णं वसन्तोपशोभितं प्रवालपत्रपल्लवलदलकुसुममउजरोसमाकुलं अतिमुक्तमालतिलतामण्टपमिंदतं मयूरकोकिलमततभ्रमरमधुरारावसद्दोघुष्टं प्रियजनविप्रयोगसमुत्पन्नशोकाभिभूतयुवतीजनानामनुतापकरं सम्प्रयुक्तानां सुखावहम् अहो रमणीयं खल्विदमुद्यानम् ।]

68

परित्राजक: - मूरखे ! अहंयाहनि होइमानेभविंद्रियेएषु किं ते रमणीयम् । पश्चय, कुतः - अभ्यागतः किसलयाभरणो वसन्तः प्राप्ता शरत्कुमुदवषणदीविभूषणति । बालो नवेष्टृतुपु रज्यति नाम लोके यज्जीविअं हरति तत्त्कल रम्यमस्य ॥ १० ॥

69

शाण्डिल्य: - जं जदा रमणिज्जं तं तदा रमणिज्जं ति पुच्छादि । [यद्दा रमणीयं तत्तदा रमणीयमिति पृच्छछति ।]

70

परित्राजक: - अपाण्डित्यमभिहितम् । पश्चय - अनागतं प्रार्थयतातिक्रान्तं च शोचताम् । वर्तमानैरतुष्टानां निर्वाणं नोपपद्यते ॥ ११ ॥

71

शाण्डिल्य: - आउदमानो पंथा - णं कहि दाणिं उपविसावो । [आयतमानः पन्था - ननु कुत्रेदानीमुपविशावःः]

72

परित्राजक: - इहेब वसिप्थावहे ।

73

शाण्डिल्य: - अचोक्खं अचौक्खं । [अचौक्षमचौक्षम् ।]

74

परित्राजक: - मेघ्यमर्णयमदुएण भुः ।

75

शाण्डिल्य: - जइ परिस्संतो उवविसदुकामो अचोक्खं चोक्खं वा करेसि । [यदि परिश्रान्त उपविशतुकामः अचौक्षं चौक्षं वा करोषि ।]

76

परित्राजक: - श्रुति: प्रमाणं णाहं । कुतः - अतिमानोन्मत्तानामहिते हितमिति कृतप्रतिज्ञानाम् । नैवास्ति परं तेभ्यां स्वच्छन्दकृतप्रमाणानाम् ॥ १२ ॥

77 शाण्डिल्य: - अप्पमाणं तुह एदं बहुअं मंतअंतस्स ।

[अप्रमाणं तवेदं बहुलं मन्त्रान्तस्य ॥]

78 परित्राजक: - मा मैवम् -

प्रमाणं कुरु यल्लोके प्रमाणीक्रियते बुधैः ।

नाप्रमाणं प्रमाणस्थः करिष्यन्तीति निश्चयः ॥ १३ ॥

79 शाण्डिल्य: - णहु दे पमाणं जाणामि ।

[न खलु ते प्रमाणं जानामि ॥]

80 परित्राजक: - एहि वत्स । अधीष्व तावत् ।

81 शाण्डिल्य: - ण दाव अज्जअस्सं ।

[न तावद्येष्यामि ॥]

82 परित्राजक: - किमर्थम् ।

83 शाण्डिल्य: - अज्जअणस्स दाव अत्थं सोदुं इच्छामि ।

[अध्ययनस्य तावदर्थं श्रोतुमिच्छामि ॥]

84 परित्राजक: - अधीताध्ययनैरपि कालान्तराद्विज्ञेया भवन्त्यध्ययनार्थाः । तस्मादधीष्व तावत् ।

85 शाण्डिल्य: - अधीए किं भविस्सदवि ।

[अधीते किं भविष्यति ॥]

86 परित्राजक: - श्रुणु - ज्ञानाद्वाती विज्ञानं विज्ञानात्संयमात्मतः । तेनैष योगप्रवृत्तेस्तीतानागतवर्तमानतत्त्वदर्शनं भवति । एतेभ्योऽष्टगुणगणमेश्वर्थं लभते ।

87 शाण्डिल्य: - भो भअवं अप्पच्चक्खे जहाकामं मम बुद्धिं परिभविअ भणासि । सक्कं पुण अदिदठो भअवदो परगेहाणि पविसिदुं ।

[भो भगवान् अपप्रत्यक्षे यथाकामं मम बुद्धिं परिभाव्य भणसि । शक्यं पुनरदृष्टो भगवान् परगृहानि प्रवेष्टुम् ॥]

88 परित्राजक: - किमभिप्रेतं भवतः ।

89 शाण्डिल्य: - मम अभिप्पेेदं सक्किअसमणआणं कारणादो सुसाधिदाणि संघप्पउत्ताणि भओरणि अहिदुं ।

[ममाभिप्रेतं शाक्यश्रमणकानां कारणात्सुसाधितानि सङ्घप्रयुक्तानि भोज्यानि शयितुम् ॥]

90 परित्राजक: - अकालं वर्तते लोभो भवतः ।

91 शाण्डिल्य: - एदस्स कारणादो एव्व तुं मुडदोसि । णहु दे अण्ण पओअणं पेक्खासि ।

[एतस्य कारणादेव त्वं मुण्ढदोषि । न खलु ते अन्यत्प्रयोजनं पश्यामि ॥]

92 परित्राजक: - मा मैवम् ।

महात्मभिस्त्रैवतपुजितं द्विजे:

सुरासुराणामपि बुद्धिसममतम् ।

अवार्यमक्षोभ्यमचिन्त्यमवल्रय

महन्मया योगफलं निषेव्यते ॥ १४ ॥

93

शाण्डिल्य: - भो भअवं जोओ जोओत्ति तुम्हारिसा पव्वाजआ बहुअं मंतअंति । को एसो जोओ णाम । [भो भगवान् योगो योग इति युष्मादृशा: प्रव्राजका: बहुलं मन्त्रयन्ते । क एष योगो नाम ।]

94

परिव्राजक: - श्रृणु - ज्ञानमूलं तपस्सारं सत्स्थं ध्रन्वन्ध्रानाशम् । मुक्तं द्वेषाच्च रागाच्च योग इत्यभिधीयते ॥ ५ ॥

95

शाण्डिल्य: - आहारप्पमादो सव्वपमादोत्ति मंतअंतरस्स णमो भअवदो बुद्धस्स । [आहारप्रमाद: सर्वप्रमाद इति मन्त्रयमाणाय नमो भगवते बुद्धाय ।]

96

परिव्राजक: - शाण्डिल्य किमेतत् ।

97

शाण्डिल्य: - भअवं किं ण जाणासि पुद्धमं अहं पादरसणळोहेण सक्किअसमणओं पव्वजिदोसि । [भगवन् किं न जानासि प्रथममहं प्रातरशनलोभेन शाक्यश्रमणकं प्रव्रजितोऽस्मि ।]

98

परिव्राजक: - अस्ति किंचिदपि ज्ञातुम् ।

99

शाण्डिल्य: - अत्थ अत्थ अहं पेहूदं वि अत्थि । [अस्त्यस्ति प्रभूतमप्यसि्त ।]

100

परिव्राजक: - भवतु श्रोष्यामस्तावत् ।

101

शाण्डिल्य: - सुणादु भअवो । [शृणोतु भगवान् ।] 'अष्टौ प्रकृतय: षोडश विकारा: आत्मा पञ्चवायव: त्रैगुण्यं मन: सङ्चर: प्रतिसङ्चरश्चेति ।' एवं हि भअवदो जिणेण पिट्टअपुत्तएसु उत्तं । [एवं हि भगवता जिनेन पिटकपुस्तकेपुत्तकम् ।]

102

परिव्राजक: - शाण्डिल्य साइरख्यसमय एष: न शाक्यसमय: ।

103

शाण्डिल्य: - बुभुक्खाए ओदणगदाए चिंताए अण्णं मए चिंतिदं अण्णं मंतिदं । दाणिं सुणादु भअवो - अदिणडाणादो वेरमणि सिक्खापदं । मुदावादादो वेरमणि सिक्खापदं । अन्बहच्चयादो वेरमणि सिक्खापदं । पाणादिपादो वेरमणि सिक्खापदं । अकाळभोअणादो वेरमणि सिक्खापदं । अस्साअं बुद्धं धम्मं संघं सरणं गच्छामि ॥ [भुभुक्षया ओदनगतया चिन्तया अन्यमन्यया चिन्तितमन्यत् । इदानीं शृणातु भगवान् - अदत्तदानाद्विरमणं शिक्षापदम् । मुदावादाद्विरमणं शिक्षापदम् । अब्रह्मचर्याद्विरमणं शिक्षापदम् । प्राणातिपाताद्विरमणं शिक्षापदम् । अकालभोजनाद्विरमणं शिक्षापदम् । अस्माकं बुद्ध धर्म संघं शरणं गच्छामि ॥]

104 परिव्राजक: - शाण्डिल्य स्वसमयमतिक्रम्य परसमयं वक्तुं नाहंहति मवान् ।

तमस्त्यकत्वा रजो भित्वा सत्वस्थत्वा सुसमाहितः ।

ध्यातु श्रीगं भवान् ध्यानमेतज्ज्ञानप्रयोजनम् ॥ १६ ॥

105 शाण्डिल्य: - भओवो सुसमाहिदो जोअं चिन्तेदु । अहं सुसमाहिदो ओदणं एव चिन्तेमि ।

[ भगवान् सुसमाहितो योगं चिन्तयतु । अहं सुसमाहित ओदनमेव चिन्तयामि । ]

106 परिव्राजक: - छिद्यतामेषा कथा -

सर्व जगत्संक्षिप्त देहबन्धे

यथेन्द्रियाण्यात्मनि योजयित्वा ।

जानेन सत्वं समुपाश्रय त्वं

देहात्मनात्मानवेक्ष्य कुत्स्नम् ॥ १७ ॥

( ततः प्रविशति गणिका चेट्यो च )

107 गणिका - हउञ्जे महुअरिअए कहिं कहि रामिळओ ।

[ हउञ्जे मधुकरके कुत कुत रामिलकः । ]

108 चेटी - अज्जुए अअं आअच्छामि इत्ति भणिअ णअरं एअ पविदिट्ठो आवुत्तो ।

[ अज्जुके अहमागच्छामि इति भणित्वा नगरमेव प्रविश्ट आवृत्तः । ]

109 गणिका - हउञ्जे किं णु हु पइद भवेज्जे ।

[ हउञ्जे किंनु खलु इदं भवेत् । ]

110 चेटी - किं अण्णं - गोदृटी तुअरेहि ।

[ किमन्यत् - गोष्ठी त्वरितम् । ]

111 गणिका - दाणिं पि ण पच्चत्त गोदृटी ।

[ इदानिमपि न पर्याप्ता गोष्ठी । ]

112 चेटी - सुदट्ठु अज्जुआ भणदि । आसवो एव गोदृठी, जो मत्तावेदि हासावेदि लज्जाधीरं पि इद्धि आजणं ।

[ सुप्तु अज्जुका भणति । आसव एव गोष्ठी, यो मदयति हासयति लज्जाधीरमपि इदृशं आज्ञाम् । ]

113 गणिका - गच्छह तुअरेहिंण ।

[ गच्छ त्वरयैनम् । ]

114 चेटी - अज्जाए तह । ( इति निष्क्रान्ता )

[ अज्जुकै तथा । ]

115 गणिका - हउञ्जे परहुदिए कहिं उवविसावो ।

[ हउञ्जे परभृतके कुत उपविशावः । ]

116 चेटी - अज्जुए एदस्सं कुसुमिदसहआरतिळअरंडिदे सिलापट्टदइ मुहत्तं विअ उवविसिअ एक्कं वत्तुअं

गा‌अदुअ अज्जुआ ।

[ अज्जुके एतस्मिन् कुसुमितसहकारतिलकमण्डिते शिलापट्टके मुहूर्तमिव उपविश्य एकं वस्तुकं

गायतु अज्जुका । ]

• 25 -

117

गणिका - हऊं जे परहुदिए एवं होदु । (उभौ उपविश्य गायतः) [हऊं जे परमृतिके एवं भवतु ।] परभृतमधुकरनादज्योषः काम एष उद्याने । तिष्ठति सहकारशरो मुग्धाति नूनं मनोडपि मुने: ॥ १८ ॥

118

शाण्डिल्य: - (श्रुत्वा) अप कइडळरओ । ण खु आं कइडळरओ । को एसो । (विभाव्य) पासे घिदं पच्छितं विअ महुरो कोवि गीअ रओ । होदु पेक्खामि । (किञ्चिद्गत्वा विलोक्य) अविहा ! कादाणिं इअं तरुणी दिस्सणिआ अणवरओहण अलकारण अलोकिदा इमस्स उद्यानस्स अलङ्कारो विअ उवडिट्ठदा । [अय्ये कोकिलरवः । न खल्वयं कोकिलरवः । क एषः । पायसे घृतं प्रक्षिप्तमिव मधुरः कोपि गीतरवः । भवतु पश्यामि । अविहा केदानिमयं तरुणी दर्शनीया अनवरोहेणालङ्कारेण अलङ्कृतास्य उद्यानस्यालङ्कार इवोपस्थितः ।]

119

चेती - अज्जुए । [अर्जुके !]

120

शाण्डिल्य: - अधि गणीआ खु इयँ । धण्णा खु सधणाः । [अथि गणिका खल्वयं । धन्या: खलु सधनाः ।]

121

चेती - दुदीआं वि एक्कं वत्तुअं गआदु अज्जुआ । [द्वितीयमप्येकं वस्तुकं गत्वा अर्जुका ।]

122

गणिका - तह । [तथा ।] मधुमासजातदर्पः कन्दर्पः कामिनीकटाक्षसखः । अपि योगिनामिह मनो विध्यति फुल्लैरशोकशरैः ॥ १९ ॥

123

शाण्डिल्य: - अइमहुरं पस्सवदि कण्ठादो । सुणादु भअवो । [अतिमधुरं प्रसवति कण्ठात् । श्रृणोतु भगवान ।]

124

परित्राजक: - शब्दप्रयोजनं श्रोतृं । प्रसझमत न गच्छाअमि ।

125

शाण्डिल्य: - पसड्गं वि संपदं करेसि - जइ दे कारिसापणा भवे । [प्रसङ्गमपि सम्पतं करोषि - यदि ते कार्षापणा भवेयुः ।]

126

परित्राजक: - आ अपेहि - युक्तोऽव्यवहारी भव ।

127

शाण्डिल्य: - मा कुण्ण । अज्जत्तं पव्वाजआणं कुण्णिदं । [मा कुण्य । अयुक्तं प्रव्राजकानां कोपितुम ।]

128

परित्राजक: - एष न व्यवहरामि ।

129

शाण्डिल्य: - दाणिं पंडिदोसि । [इदान्नीं पण्डितोऽसि ।] (ततः प्रविशाति यमपुरुषः)

130

यमपुरुष: - एष भोः । भूतानि यो हरति कर्महतानि लोके यः प्राणिनां सुकृतदुष्कृतकर्मसाक्षी । उक्तोऽस्मि तेन शमनेन यमेन देहं प्राणान्प्रजावधिविधौ विनियोजयेतिं ॥ २० ॥ तस्मात् - नानाराष्ट्रनदीवनाचलवर्ती भूमिं समालोक्य-र्नमेघेस्तोयभरणावनम्रिच्छये: प्रच्छादयमानो भृशम् । तीतर्वा चरणसिद्धिक्षितिरयतुं वातोद्वततारां नभः सम्प्राप्तोऽस्मि यमेन यत्र विहितस्तकार्दिवाहं पुरम् ॥ २१ ॥

तत्क्वनु खलु सा ? (विलोक्य) अये ! इयं सा - सपल्लवैस्तप्तसुवर्णवर्णरशोकपुष्पस्तवकैरमनोभिः । अन्तर्हिता भाति वराङ्गनेषा सन्ध्याभ्रजालैरिव चन्द्रलेखा ॥ २२ ॥ भवतु । अस्त्यस्याः कर्मावशेषः । मुहूर्तं स्थित्वा प्राणान्हरामि ।

131

चेटी - अज्जुके ! दस्सणीओ खु एसो असोअकिसलओ । णं गरुअमि । [अज्जुके दर्शनीय: खल्वेष असोककिसलय: । एनं गृह्णामि ।]

132

गणिका - मा मा । अहं एअ गरुअमि । [मा मा । अहमेव गृह्णामि ।]

133

यमपुरुष: - अयं स देशकालः । यावत्सर्पत्वमुपगम्याशोकशाखायां स्थित्वा अस्याः प्राणान्हरामि । अयमिदानं - श्यामां प्रसन्नवदनां मधुरप्रलापां मत्तां विशालजघनां वरचन्दनाद्रेः । रक्तोत्पलाभनयनां नयनाभिरामां किप्रं नयामि यमसादनमेव बालाम् ॥ २३ ॥ (गणिका पल्लवापचयं करोति)

134

गणिका - हं ! केण वि दट्टहिअ । [हं ! केनापि दष्टोऽस्मि ।]

135

चेटी - (तरुशाखां विलोक्य) अज्जुक ! एसो असोअपल्लवंतरिदो वाळो । [अज्जुके ! एषोडशोकपल्लवान्तरितो व्यालः ।]

136

गणिका - हं ! वाळो । (इति पतिता ।) [हं ! व्यालः ।]

137

शाण्डिल्य: - (उपगम्य) भोदि किं एदं । [भवति किमिदम् ।]

138

चेटी - अज्जूआ एसां अज्जुआ वाळेण वद्ठा । [आर्य एषा अज्जुका व्यालेन दृष्टा ।]

139

शाण्डिल्य: - अविहा ! भो भअवं एसां गणिआदारिआ वाळेण वद्ठा । [अविहा ! भो भगवान् एषा गणिकादारिका व्यालेन दृष्टा ।]

140

परित्राजक: - श्रीमत्प्रासादकर्मणा भवितव्यम् । कृतः - स्वकर्म भोक्तुं यायन्ते प्रायेणैव हि जन्तवः । क्षीणे कर्मणि चान्यत्र पुनर्गच्छन्ति देहिनः ॥ २४ ॥

141

चेटी - अज्जुए ! किं बाधे ! [अज्जुके ! किं बाधते !]

142

गणिका - सीददिव विअ मे शरीरें । उभ्भमंति विअ मे प्पाणा । सइदुं इच्छामि । [सीदतीव मे शरीरम् । उद्भमन्तीव मे प्राणाः । शयितुमिच्छामि ।]

143

चेटी - सुहं सअदु अज्जुआ । [सुखं शेतामज्जुका ।]

144

गणिका - हण्जे अतं अभिवादेहि । [हञ्जे मात्रमभिवादय ।]

145

चेटी - मा मा एचं ! सर्हं एचं गदुअ अतं अभिवादेहि णं । [मा मवम् ! स्वयंमेव गत्वा मात्रमभिवादय ननु ।]

146

गणिका - रामिळअं आळिंगेहि । (इति मूर्छिति पतति) [रामिलकमालिङ्गे ।]

147

चेटी - हा हदा खु अज्जुआ । [हा हता खल्वज्जुका ।]

148

यमपुरुष: - हन्त हताः प्राणा: । एष भो: - गज्झमूत्यिर्ं विन्ध्यां शुभ्रसलिलवहां नर्मदामेष सद्यं गोलेर्यि: कृष्णवेणीनां पशुपतिभवनं सुप्रयोगां च काच्चीम् । कावेरी ताम्रपर्णीमथ मलयगिरि सागरं लङ्घयित्वा वेगादुत्कीर्य लड्ढां पवनसमगति: प्राप्तवान्धर्मदेशम् ॥ २५ ॥ अयं विशालशाखो वटवृक्षः । अत्रासीनं चित्रगुप्तं नयामि । (निष्क्रान्तः)

149

चेटी - हा अज्जुए । [हा अज्जुके ।]

150

शाण्डिल्य: - भोअवं परित्तजदि एस णिआदारिआ अत्तणो पाणाणि । [भगवन् परित्यजत्येषा गणिकादारिकात्मनः प्राणान् ।]

151

परित्राजक: - मूर्ख ! परमप्रिया हि प्राणिनां प्राणा: । प्राणैरेव परित्यज्यते शरीरमिति वक्तव्यम् ।

152

शाण्डिल्य: - आ अवेहि । अरुण णिस्सणेह कक्खसहिअ दुट्ठबुद्धि भिण्णचरित्त कूरसअ मुधामुण् । [आ अपेहि । अकरुण निस्नेह कर्कशहृदय दुष्टबुद्धेर्भिन्नचारित कुर्सद मुधामुख ।]

153

परित्राजक: - किमभिप्रेतं भवता ।

154

शाण्डिल्य: - णामदट्ठसदे पूरइअस्स । [नामाष्टशतं ते पूरयिष्यामि ।]

155

परित्राजक: - छन्दतः ।

156

शाण्डिल्य: - भो भोअवं दुक्खिदोहि । [भो भगवान् दुःखितोऽस्मि ।]

157

परित्राजक: - किमर्थम् ।

158

शाण्डिल्य: - अस्साणं सआणो एस । [अस्माकं स्वजन एव ।]

159

परित्राजक: - कथं स्वजनो नाम ।

160

शाण्डिल्य: - एसअवि पव्वजआ विअ ण किंचि सिणेहं करेदि । [एषापि प्रव्राजकैव न किंचित्स्नेहं करोति ।]

161

परित्राजक: - दुल्लभसनेहोस्सि भूओडर्‌थयोगात् स्निह्यात् इति युक्तम् । कुतः - ये निर्म्ममा मोक्षमनुप्राप्ताः शास्त्रोपविष्टेन पथा प्रयान्ति । तेषामपि प्रीतिपराड्मुखानां गुणेऽपेक्षां हृदय करोतु ॥ २६ ॥

162

शाण्डिल्य: - भो भोअवं ण सक्कुणोमि अत्ताणं धारेदुं । उवसप्पिअ रोदामि । [भो भगवान् न शक्नोम्यात्मानं धारयितुम् । उपस्पृत्य रोदिमि ।]

163

परित्राजक: - न खुलु न खुलु गन्तव्यम् ।

164

शाण्डिल्य: - भो कुप्पे ! अज्जुत्त पव्वज्जाओ कुप्पदुं । (उपसृत्य) हा अज्जुक्के ! हा पिआसंपत्ते ! हा महुरगआणि ! [मा क्रुध्य । अयुक्तं प्रव्राजकानां कोपितुम् । हा अर्जुके ! हा प्रियसम्पत्ते ! हा मधुरगायनि !]

165

चेटी - अर्य किं इदं । [आर्य किमिदम् ।]

166

शाण्डिल्य: - भोदि सिणेहो । [भवति स्नेहः ।]

167

चेटी - (आत्मगतं) जुज्जइ, सब्वाणुकम्पी साहुजणो णाम । [युज्यते सर्वानुकम्पी साधुजनो नाम ।]

168

शाणिडल्य: - भोदि आमिस्सामि दाव णं । [भवति आम्रशामि तावदनामो ।]

169

चेटी - पभवदि खु अच्चो । [प्रभवति खल्वार्यः ।]

170

शाणिडल्य: - हा भोदि । (पादौ स्पृशति) [हा भवति ।]

171

चेटी - मानु पादाणि आमिसिदं । [मानु पादावग्रष्टम् ।]

172

शाणिडल्य: - आ आउळाउल्खइ । सीसं पादं ण जाणामि । एदाणि तालफळपीणाणि काळेयचरणाणु लित्ताणि थणाणि अणधोमुहाणि तत्तहोदिए अधरणस्स मम जीवंतिए ण आसादिदाणि । [आ आकुलाकुलितोऽस्मि । शीर्षं पादं न जानामि । एतौ तालफलपीडौ कालेयचन्दनानुलिप्तौ स्तनावन्धोमुखौ तत्भवत्या अधन्यस्य मम जीवन्त्या नासादिदौ ।]

173

चेटी - (आत्मगतं) एव्व दाव करिस्सं । (प्रकाशं) अध्य मुहुत्ताओ अज्जुअं पडिवाळहदु जाव अत्तं आणेमि । [एवं तावत्करिष्यामि । आर्य मुहूर्तमज्जुकां प्रतिपालयतु यावन्मातरमना यामि ।]

174

शाणिडल्य: - गच्छ सिग्घं । अहं खु अत्ता अणताणं । [गच्छ शीघ्रम् । अहं खलु माता अमातृकाणाम् ।]

175

चेटी - (आत्मगतम्) सानुक्कोसो एसो बहवाणो अज्जुअं ण परित्थजदि । जाव गच्छामि । (इति निष्क्रान्ता) [सानुक्रोश एष ब्राह्मणः अज्जुकां न परित्यजति । यावद्गच्छामि]

176

शाणिडल्य: - गदा एस । सेरं रोदामि । हा अज्जुए ! हा महुरगाअणि । (इति रोदिति) [गतेषा । स्वैरं रोदिमि । हा अज्जुके ! हा मधुरगायनि ।]

177

परिब्राजक: - शाणिडल्य न कर्तव्यमेतत् ।

178

शाणिडल्य: - आ अंवेहि णिस्सणेह ! में पि तुं विअ तक्केसि । [आ अपेहि निस्नेह ! मामपि त्वामिव तक्कयसि ।]

179

परिब्राजक: - आगच्छ वत्स ! अधीष्ठ तावत् ।

180

शाणिडल्य: - भअवं किं चिच्छीअदु दाव एस अणाहा तवस्सिणी । [भगवन् किं चिकित्स्येतां तावदेषा अनाथा तपस्विनी ।]

181

परिब्राजक: - किंमोषधशास्त्रं भवत: ।

182

शाणिडल्य: - अघं दे जोअस्स फलं । [अघं ते योगस्य फलम् ।]

183

परिब्राजक: - (आत्मगतं) एष खलु तपस्वी कर्तव्याबोध्यतया आश्रमपद्माश्रमपवादं च न जानाति । किंचिच्छ्रुतं महेश्वरादिभिर्यो गाचार्यैर्महद्धि: शिष्यनुक्रोश: सज्जं न बाधत इति । तवस्य प्रत्ययोत्पादनं करिष्ये । ईदृशो योग इति । अस्या गणिकायाश्शरीरे आत्मानं नियोजयामि । (योगेनाविष्ट:) [एष खलु तपस्वी कर्तव्याबोधितया आश्रमपद्माश्रमपवादं च न जानाति । किंचिच्छ्रुतं महेश्वरादिभिर्योगाचार्यैर्योगमहद्धि: शिष्यानुक्रोश: सज्जं न बाधते इति । तस्य प्रत्ययोत्पादनं करिष्ये । ईदृशो योग इति । अस्या गणिकायाश्शरीरे आत्मानं नियोजयामि ।]

184

गणिका - (उत्याय) शाण्डिल्य ! शाण्डिल्य ! शाण्डिलत्य: - (सहर्षं) अविहा जीवदि ! पच्चअप्पाणा खु एस। । भोदी ! आउहि । [अविहा जीवर्ति ! प्रत्यागतप्राणा खल्वेषा । भवति ! अयमस्मिन् ।]

186

गणिका - अपक्षालितपाणि ष्यां मा स्प्राक्षी: । शाण्डिलत्य: - अदिच्चोक्खणी खु इअं । [अतिचौक्षिणी खल्वयम्]

188

गणिका - एहि वत्स ! अधीष तावत् । शाण्डिलत्य: - इहवि अज्जअर्ण । भअवंतं एव्ह उवसप्पामि । (उपगम्य) भो भअवं ! अइ मुणो खु भओवो ! हा वाचऴय ! हा अदिजोगवित्त ! हा उवज्झाअ ! एवं बहुजाणंतो वि मरिसि । [इहाप्यध्ययनम् । भगवन्नमुपसरामि । भो भगवान् ! अथि मृतः खलु भगवान् ! हा वाचालक ! हा अयोगवित्त ! हा उपाध्याय ! एवं बहु जानन्तोडपि म्रियते ।]

(ततः प्रविशति माता चेटी च)

190

चेटी - एउु एउु अत्ता । [एवेतु माता ।]

191

माता - कहिं कहिं दे दारिआ । [कुतः कुतः मे दारिका ।]

192

चेटी - एस अज्जुअ उदयाणे वाऴेण दट्ठा । [एषा अज्जुका उद्याने व्यालेन दष्टा ।]

193

माता - हा हददि मन्दभा । [हा हतास्मि मन्त्रभाग्या ।]

194

चेटी - समस्ससदु समस्ससदु अत्ता । एस अज्जुअ सत्थदिट्ठदा । [समाश्वसितुं समाश्वसितु माता । एषा अज्जुका सत्स्थित ।]

195

माता - णं पइदित्था । (उपसृत्य) जादे वसदंसेणे किं एदं ? [ननु प्रकृतिस्था । जाते वस्त्रसेनेण किमिदम् ?]

196

गणिका - वृषलवृद्धे मा स्प्राक्षी: । माता - हद्दि ! किं एवं ? [हा धिक् ! किमिदम् ?]

198

चेटी - अच्छारूढ सो विसओओ । [अत्यारूढः स विषवेगा ।]

199

माता - गच्छ सिग्घं वेज्जं आणेहि । [गच्छ शीघ्रं वैद्यमानीय ।]

200

चेटी - अते तहा । (निष्क्रान्त।) [मातस्थ ।]

(ततः प्रविशतः रामिलकश्चेटी च)

201

चेटी - जेदु जेदु अबुतो। आवुतं अपेक्खंती संतवदि अज्जुआ।

201

[जयतु जयतु आवृत्तः । आवृत्तमप्रेक्ष्यमाणा संतपति अज्जुका ।]

202

रामिलक: -

202

इच्छामि तावदस्या: कलमधुरवचो मुखं विशालाक्ष्या: ।

202

मधुप्रवातोज्ज्वलं विकसतमिव कोमलं कमलं ॥ २७ ॥

(उपेत्य)

कथं मां दृष्ट्वा परावृत्तमुखी स्थिता ? (वस्त्रान्तं गृह्णन)

एतत्रिवार्तं सुगात्रि मुखारविन्द-

मीषत्तरङ्गपरिवृत्तमिवारविन्दम् ।

प्रीणाति नाम तव वक्त्रमसर्वदृष्ट-मल्पाल्पपीतमिव पाणिपुटेन तोयं ॥ २८ ॥

203

गणिका - भोस्तामिय ! मुच्यतां मम वस्त्रान्तः ।

204

रामिलक: - भवति ! किमिदम् ?

205

माता - जदप्पहुदि वाळेण वट्ठा तदप्पहुदि असंबंधं मतेअदि ।

205

[यदा प्रभृति व्यालेन दष्टा तदा प्रभृत्यसंबद्धं मन्त्रयते ।]

206

रामिलक: - एवम् -

206

व्यक्तमस्या गतं चेतस्ततः शून्ये तपस्विनी ।

206

शरीरेऽन्येन केनापि सत्ययुत्तेन धर्षिता ॥ २९ ॥

(प्रविश्य वैद्यश्चेटी च)

207

चेटी - एदु एदु अद्यो ।

207

[एत्वेतवार्य: ।]

208

वैद्य: - कहिं सा ?

208

[कुतः सा ?]

209

चेटी - एसां खु अज्जुआ एग दाव सत्या ठिदा ।

209

[एपा खलु अज्जुका न तावत् सत्यस्थित ।]

210

वैद्य: - धस्सिदा महासप्पेण खादिदा भवे ।

210

[धर्षिता महासर्पेण खादिता भवेत् ।]

211

चेटी - कहं अद्यो जाणावि ?

211

[कथमेतद् जानाति ?]

212

वैद्यः - महंतं विआरं केरेदित्ति । अणेहि मम सव्वारंभाणि दाव आरंभामि विसतंतें । (उपविश्य मण्डलं रचयित्वा) कुंडलकुडिलगामिणि मंडलं पविस पविस । वासुइपुत्त चिट्ठ । शू शू – जाव सिरावेहं करिस्सं कहिं कुठारिआ ।

212

[महान्तं विकारं करोति । आनय मम सर्वारम्भास्तावदारभे विषतन्त्रे । कुण्डलकुटिलगामिनि मण्डलं प्रविश प्रविश । वासुकिपुत्र तिष्ठ । श्रू श्रू – यावशिरवेधं करिष्यामि । कुत्र कुठारिका ।]

213

गणिका - मृख्खवेञ्च ! अलं परिश्रमेण ।

214

वैद्यः - पित्तं पि अत्यि । आउ दे पित्तं वादं सेहां च णासेमि ।

214

[पित्तमप्यस्ति । अहं ते पित्तं वातं श्लेष्म च नाशयामि ।]

215

रामिलकः - भोः क्रियतां यत्नः । न खल्वकृतज्ञो वयम् ।

216

वैद्यः - सुंदरगुळिअं वाळवेज्जं आणेमि ।

216

[सुन्दरगुलिकं व्यालवैद्यमानयामि ।]

(निष्क्रान्तः)

(ततः प्रविशति यमपुरुषः)

217

यमपुरुषः - भोः ! भर्त्सितोस्मि यमेन ।

217

न सा वसन्तसेनेयं क्षिप्रं तत्रैव नीयताम् । अन्यया वसन्तसेना या क्षीणायुस्तामिहानय ॥ ३० ॥

217

यौवदस्रग्विशिरारमणीयस्त्रियं ने स्वीकृतां तावत्सप्राणामन्या करोमि । (विलोक्य) अये ! उत्थिता खल्वियम् । भोः ! किन्नु खल्विदम् ।

217

अस्या जीवो मम करो उत्तित्थतेषा वराझ्ञा । आश्चर्यं परमं लोके भुवि पूर्वं न दृश्यते ॥ ३१ ॥

(सर्वतोऽवलोक्य)

217

अये ! अत्रनभवान् योगी परिव्राजकः क्रीडति । किमिदानीं करिष्ये । भवतु दृष्टम् । अस्या गणिकाया आत्मानं परिव्राजकशरीरेऽनुस्यावसि(सि)ते कर्मणि यथास्थानं विनियोजयामि ।

217

(तथा कृत्वा)

217

एते विप्रशरीरेऽस्मिन् स्त्रीप्राणा विनियोजिताः । यथासत्वं यथाशीलं प्रयो यास्यन्ति विक्रियम् ॥ ३२ ॥

(निष्क्रान्तः)

218

परिव्राजकः - (उत्थाय) परहुदिए ! परहुदिए !

218

[परभृतिके ! परभृतिके !]

219

शाण्डिल्यः - अविहा पच्चागदप्पाणो खु भअवो । आ तक्केमि दुक्खभागिणो णाम्मुअंतित्ति ।

219

[अपिहा प्रत्यागतप्राणः खलु भगवान् । आ तर्कयामि दुःखभागिनो न म्रियन्त इति ।]

220

परिव्राजकः - कहिं कहिं रामिळओ ।

220

[कुत्र कुत्र रामिलकः ।]

221

रामिलकः - भगवन्नमस्मि ।

222

शाण्डिल्यः - भआवं किं एडं ? कुंडिअग्गहणो इदं वामहत्यं संकवळअपूरीदं विअ मे पडिभादि । [भगवन् किं इदम् ? कुण्डिकाग्रहणोचितं वामहस्तं शङ्खवलयपूरित इव मे प्रतिभाति ।]

223

परिब्राजकः - रामिळअ आळिंगेअहि मं । [रामिलक आलिङ्ग माम् ।]

224

शाण्डिल्यः - किंसुअं आळिंगेहि । [किंसुकमालिङ्ग ।]

225

परिब्राजकः - रमिळअ मत्ता खुअं । [रमिलक मत्ता खल्वहम् ।]

226

शाण्डिल्यः - णहि णहि । उम्मत्तो खु तुमं । [नहि नहि । उन्मत्तः खलु त्वम् ।]

227

रामिलकः - भगवन्नामविसुद्धः खल्वयमालापः ।

228

परिब्राजकः - सुरं पिबामि । [सुरां पिबामि ।]

229

शाण्डिल्यः - विसं पिव । भोदु परिहासप्पमाणं जाणिस्सं । णेव भअवो णेव अज्जुआ । अहवा भअवज्जुअं णाम एडं संउंतं । [विषं पिब । भवतु परिहासप्रामाण्यं ज्ञास्यामि । नैव भगवान् नैव अर्जुका । अथवा भगदज्जुकं नामदं संवृत्तम् ।]

230

परिब्राजकः - परहुदिए परहुदिए आळिंगे मं । [परभृतिके परभृतिके आलिङ्ग माम् ।]

231

चेटी - अवेहि ! [अपेहि !]

232

माता - जादे वसन्तसेने । [जाते वसन्तसेने ।]

233

परिब्राजकः - अत्ते इयस्सि । अत्ते वंदामि । [मातः इयमस्मि । मातृवन्दे ।]

234

माता - भअवं किं एडं ? [भगवन् किमिदम् ?]

235

परिब्राजकः - अत्ते पच्चवजाणासि मं । रामिळअ अज्ज चिराइदं खु तुए । [मातः प्रत्यवजानासि माम् । रामिलक अद्य चिरायितं खलु त्वया ।]

236

रामिलकः - भगवान् ! न वश्योस्मि ।

(प्रविश्य वैद्यः)

237

वैद्यः - गुळिआ अट्ठमया गहीदा ओसधं च । ण जाणे खणे जीविस्सदि मरिस्सदि वा त्ति । उदअं ! उदअं ! (उपगम्य) [गुलिका अष्टमया गृहीता औषधं च । न जाने क्षणे जीविष्यति मरिष्यति वा इति । उदकम् ! उदकम् !

238

चेटी - इदं उदअं । [इदमुदकम् ।]

239

वैद्यः - गुळिआं ओघडट्ठआमि । अविहा ण हु अं दट्ठा । आविट्ठा खु भवे । [गुलिकामोचयामि । अपिहा न हि अम्ब द‍ृश्टा । आविष्टा खलु भवेत् ।]

240

गणिका - मूर्खं वैद्य ! वृथावृद्ध ! प्राणिनामन्तकर्मणि न जानीषे । कतमेनेयं सर्पेण व्यापादितेति वद ।

241

वैद्यः - किं एत्थ अच्चरिअं ? [किमत्राश्चर्यम् ?]

242

गणिका - शास्त्रमस्ति ?

243

वैद्यः - अत्थ पभूअंवि । सत्थसहस्संवि । [अस्ति प्रभूतमपि । शास्त्रसहस्रमपि ।]

244

गणिका - बूूहि बृूहि वैद्यशास्त्रं ।

245

वैद्यः - सुणादु होदी । [शृणोतु भवती ।] वातिका: पैत्तिकाश्चैव श्लेष्मिकाश्च महाविषा: । अविहा ! पुत्थअं पुत्थअं । [अपिहा ! पुस्तकं पुस्तकम् ।]

246

शाण्डिल्यः - अहो ! वेज्जस्त अहिरुवदा । एक्कपदे विसुमरिदो । होदु, मम वअस्सो एव्व । इदं पुत्थअं । [अहो ! वैद्यस्य अभिरूपता । एकपदे विस्मृतः । भवतु, मम वचस एव । इदं पुस्तकम् ।]

247

वैद्यः - सुणादु होदी । [शृणोतु भवती ।] वातिका: पैत्तिकाश्चैक श्लेष्मिकाश्च महाविषा: । त्रीणि सर्पा भवन्त्येते चतुर्थो नाधिगम्यते ॥ ३३ ॥

248

गणिका - अयमपशब्दः । ‘त्रयः सर्पा’ इति वक्तव्यं । त्रीणि नपुंसकं भवति ।

249

वैद्यः - अविहा वैद्याआरणसप्पेण खाइदा भवे । [अपिहा वैद्याकरणसर्पेण खादिता भवेत् ।]

250

गणिका - कियन्तो विषवेगा: ?

251

वैद्यः - विसवेग सदं । [विषवेगा: शतम् ।]

252

गणिका - न न ! सत्त ते विषवेगा: । तथथा - रोमाअं-चो मुखशोपश्च वैवर्णयं चैव वेपथुः । हिक्का श्वासश्च सम्मोहः सत्तेता विषविक्रिया: ॥ ३४ ॥ सप्तविषवेगानतिक्रान्तोऽशिवभ्यामपि न शक्यते चिकित्सितुम् । अथवा वक्तव्यमस्ति चेद् बूूहि ।

• 35 -

253

वैद्य: - ण हु अम्माणं विसओ । णमो भअवदीए । गच्छामि दाव अहं ।

[न खल्वस्माकं विषय: । नमो भगवत्यै । गच्छामि तावदहम् ।]

(निष्क्रान्त:)

(प्रविश्य यमपुरुष:)

254

यमपुरुष: - एष भो: !

गर्भस्ववेश्च पिटकज्वरकरणरोगै- मूलप्रधिष्ठानहृदयाधिष्ठिरोचकादिः ।

अस्मन्क्षणे बहुविधे: खलु विद्रवेश्च

क्षिप्रं कृता यमपुराभिमुखश्च जीवा: ॥ ३५ ॥

यावदहमपि भगवत्सन्देशमनुतिष्ठामि ।

(गणिकामुपगम्य)

255

गणिका - छनदत: ।

भगवन् मुच्यतां वृपत्ल्याशरीरम् ।

256

यमपुरुष: - यथास्या जीवविनिमयं कृतवा यावदहमपि स्वकार्यमनुतिष्ठामि ।

(तथा कृत्वा निष्क्रान्तः)

257

परिव्राजक: - शाण्डिल्य ! शाण्डिल्य !

258

शाण्डिल्य: - एसो खु भअवो पयवर्त्थिदो । [एष खलु भगवान्-पर्यवस्थितः ।]

259

गणिका - परहुदिए ! परहुदिए ! [परभृतिके ! परभृतिके !]

260

चेटी - एस अज्जुआ सहावेगण मंतेदि । [एपा अज्जुका स्वभावेन मन्त्रयते ।]

261

माता - जादे वसन्दसेणे । [जातो वसन्तसेने ।]

262

रामिलक: - हन्त प्रसन्ना ! प्रिये वसन्तसेने इत: ।

(गणिका निष्क्रान्ता, रामिलकश्चेटी सपरिवारा माता च)

263

शाण्डिल्य: - भअवं किं एवं ? [भगवन्-किमिदम् ?]

264

परिव्राजक: - महती खलु कथा । आवासे कथयिष्यामि ।

(दिशोडवलोक्य)

गतो दिवस: । सम्प्रति हि-

अस्तं गतो हि दिनकृद्गगनतलेऽस्थां

मूर्तामुखवस्थ इव तप्तसुवर्णराशि: ।

यस्य प्रभाविरनुरञ्जितमेघवृन्द- मालक्ष्यते दहनगर्भमवान्तरिक्षम् ॥ ३६ ॥

(निष्क्रान्तौ)

॥ भगवदज्जुकम् समाप्तम् ॥

• 36 -

Bhagavadajjukam

(The Saint-Courtesan)

Transliteration of Text and Translation

Bhagavadajjukam

Bhagavan- Ajjukā

(Tataḥ praviśati nādyantē sūtradhāraḥ)

then enters nāndī-after Sūtradhāra

1

Sūtradhārah:

1

Tvām pātu lakṣaṇādhyāḥ sura-vara- mukuṭēndra- cāru- maṇi-ghrṣṭaḥ |

1

you protect attributes-excellent (of) gods foremost crown-Indra's beautiful gem rubbed

1

Rāvaṇa-namitāṅguṣṭhō rudrasya sadārcitah pādaḥ ||1||

1

Rāvaṇa bent-big toe (of)-Rudra's ever-worshipped foot

1

Idam-asmadīyam grham, yāvat praviśāmi.

1

this our house will enter-I

(Praviśya)

entering

Vidūṣaka! Vidūṣaka!

Vidūshaka Vidūshaka

(Praviśya)

entering

2

Ārya ayam-asmī.

2

sir here-am-I

3

Sūtradhāraḥ: Vijanam tāvat yāvat-ē priyam-ākhyāsyāmi.

3

no-one if then you-to pleasing tell-will-I

3

Ārya tathā.

3

Ārya vijanam grham-idam. Priyam tāvad-ārya ācakṣatu.

4

Vidūṣakaḥ: Ayya taha. (Niṣkrama praviśya) Ayya vijanam guham idam. Pī’am dāva ayyō ācikkhōdu.

4

sir do crossing entering sir no one house this please do sir tell-let

5

Sūtradhāraḥ: Śrūyatām. Adyāsmi bahir-nagarād- āgacchatā anēka-siddhādēśa-janita-pratyayēna

5

listen-do today-I out town-from coming-by many authorities conviction

5

lakṣaṇinā brāhmaṇēnāham-ādiṣṭaḥ. Adya itas-saptamēhani tava rāja-kulē prēkṣā-bhaviṣyati.

5

predictions-by Brāmin-by-I told-was today from 7th-day-on you-to royal palace show will-be

5

Tatas-tvat-prayōga- pari- tustēna rājñā dattām mahatīm śriyam-avāpsyati. Tasya

5

then your performance highly-pleased-by king-by given great wealth attain-will-thus his

5

brāhmaṇasyāmithyādēśitā janitōtsāhaḥ tat-saṅgītakaṁ kariṣyāmi.

5

Brahmin's-true- predictions-by born-energy thus music-&-song arrange-will-I

6

Katamaṁ idānīm āryēṇa nātakaṁ nātyatē?

6

which now sir-by play staged-will-be

The Saint-Courtesan

(At the end of the Invocation,1 the Director enters)

1

Director:

Of excellent attributes, being rubbed by the beautiful gem

In the crown of the foremost of gods, Mahēndra’s2 diadem,

And having the big toe which crushed Rāvaṇa,3 too,

May the ever-worshipped foot of Rudra protect you! ||1||

This is our house.4 I’ll enter.

(Entering)5

Vidūshaka! Vidūshaka!

(The Buffoon enters)

2

Buffoon: Sir, I’m here.

3

Director: If there’s no one around, I’ll tell you some pleasant news.6

4

Buffoon: Do, sir! (Going around and coming back)7 Sir, no one’s in this house, so do tell me the pleasant news.

5

Director: Listen! Today, I had my fortune told by a Brahmin, from out of town, whose conviction in his power of prediction was based on the insights of many ancient authorities. These were his words: “On the seventh day from today, you will be engaged to put on a show at the royal palace. Your performance will win you a great treasure - a gift from the highly pleased King!8 The Brahmin’s predictions, which will surely come true, have convinced me I must make a determined effort. I’ll begin by arranging the singing and dancing for it.9

6

Buffoon: Which play, sir, are you going to put on?

• 39 -

7

Sūtradhāraḥ: Atraiva me cinta atha tu nāṭaka-prakaraṇōdbhavāsu vārēhāmṛga-dīma-samavakāra-vyāyōga-bhāṇa-sallāpa-vīthy-utṣṛṣṭikāṅka-prahasanādiṣu daśajātiṣu nāṭya-rasēṣu vyāyōga bhāṇa sallāpa vīthi utṣṛṣṭikāṅka prahasana(farce)-from 10-born-from stageable rasas-among hāsyam-ēva pradhānam-iti paśyāmi. Tasmāt prahasanam- ēva prayōkṣyāmi.

8

Vidūṣakaḥ: Ayya, aham hasō'vi prahasanaṁ na jānē.

9

Sūtradhāraḥ: Tēna hi śikṣyatāṁ bhavān. Na śakyam-aśikṣitēna kiṅcid-api jñātum. Tēna hi ārya ēva mē upadēśatu.

10

Vidūṣakaḥ: Tēna hi ayyō ēva mē uvadisadu.

11

Sūtradhāraḥ: Bādham. Jñānārtham kṛta- buddhis-tvam sanmārgēṇānugaccha gacchantam | . . .

12

(Nēpathyē) Śāṇḍilya! Śāṇḍilya!

13

[Sūtradhāraḥ:] (Śrutvā) ... Yōgīśvaram dvija-vṛṣam śiṣya iva mām parivrājam ||2|| (Niṣkrāntau)

14

Parivrājakaḥ: Śāṇḍilya! Śāṇḍilya! (Pṛṣṭhatōvilōkya) Na tāvad-drśyatē. Sadrśam-asya tamōvṛtasya. Kutah: Śāṇḍilya Śāṇḍilya behind-looking not-at-all to-be-seen fitting to-this dark-enveloped for Dēhō rōga-nidhir-jarāvaśa-gatō līnāntakādhiṣṭhitō yō nitya-pratighāta-ruddha-viṣayas-tīrē yathā pādapah || Tam labdhvā sukṛtair-anēka-guṇitair- dēhātmanā vismiṭō mattō yō bala- rūpa-yauvana-guṇair- dōṣān-na tān paśyati ||3|| Tasmād-anaparāddhaḥ khalvayam tapasvī. Punar-api samāhvānam kariṣyē. Śāṇḍilya! Śāṇḍilya!

7 Director: I've been reflecting on just this. Critical treatises on the drama have distinguished ten different types of plays: the androgynous parent, nātaka-prakarana, and its engendered progeny, the series, īhāmriga, dima, samavakāra, vyāyōga, bhāṇa, sallāpa, vīthī, utsrishṭikānka, and the prahasana or farce.10 I've considered the respective dominant rasas of these ten types, and as I see it, the most important one is the hāsya rasa, which provokes laughter. Therefore, I'm going to put on a farce.

8 Buffoon: Sir, though I'm a comedian, I know nothing of farcical comedy.

9 Director: Then learn! One can't understand a thing without being taught!

10 Buffoon: If so, it's you, sir, who must teach me.

11 Director: Certainly.

Since you are determined to become enlightened, a follower of the path of virtue . . .

12 Voice:11 (Off stage) Shāṇḍilya! Shāṇḍilya!

13 Director: (Hearing)

. . . As a disciple, follow me! a bull of a Brahmin mendicant, master yōgi. (2)

(The two exit)

The Play Proper is now launched

(Then the Mendicant enters)

14 Mendicant: Shāṇḍilya! Shāṇḍilya! (Looking around) He's not to be seen. Quite fitting for one who is surrounded by the darkness of ignorance. For: The body, a mine of diseases, subject to old age, poised on the brink of hidden Death, Is like a tree on a river bank, about to be uprooted by the ever-battering wave. And though such human embodiment is earned through numerous good deeds,12 yet, Deluded by materialism, intoxicated with his virility, good looks, and youth, man is blind to those defects grave. (3) Therefore, really, this poor fellow can't be blamed. I'll call him once again. Shāṇḍilya! Shāṇḍilya!

(Tatah praviśati Śāṇḍilya)

then enters Śāṇḍilya

15 Śāṇḍilyaḥ:

Bhōḥ prathamam-ēvāhaṁ karaṭaka- sēṣa- samṛddhē nirakṣara- prakṣipta jihvē kaṇṭha-

oh first-of-all I crow- remains-thriving-on no-letter- laid- tongue-on neck-

prasakta- yajñōpavītē brāhmaṇya mātra- pituṣṭē kulē prasūtah. Tatō dvitīyam- asmākaṁ

laid sacr.-thread-on brāhminhood-only-much-pleased-in family-in born-was then second our

pasatta-jaṇṇōpavīdē baṁmaṇna-matta- pituṭṭhē kulē pasūdō. Tadō dudī'aṁ ahmānaṁ

sacr.-thread-on brāhminhood-only-much-pleased-in family-in born-was then second our

grhēśana nāśēna bubhukṣitah prātar-aśana- lobhēna śākya- śramaṇakaṁ pravrajitōsmi. Tatas-

house-in food destruction-by hungry(one) morning food desired-by Buddhist order initiated-was-I

gē asana-nāsāna bubhukhidā pādar-asana-lōhēna sakki'a samana'aṁ pavva'idōhmi. Tadō

house-in food destruction-by hungry(one) morning food desired-by Buddhist order initiated-was-I

tatra dāsyāḥ putrānāṁ-ēkakāla-bhaktatvēna bubhukṣitah tam-api visṛjya cīvaraṁ chitvā pātraṁ pratōlya

there slave- sons one-time eating-by hungry(one) that too giving-up robe tearing bowl breaking

tahiṁ dāsī'ē 'uttānaṁ ēkakāla-bhattaṃtaṇēna bubhukhidō taṁ 'vi visajjī'a cīvaraṁ chindi'a pattaṁ paṭōli'a

there slave- sons one-time eating-by hungry(one) that too giving-up robe tearing bowl breaking

chatra- mattraṁ grhītvā nirgatōsmi. Tatas- trūyamasya duṣṭācāryāśya bhāṇḍa- bhāra gardabhas-

umbrella only holding setting-out-am-I then third of evil āchārya's vessels burden donkey

chatta- mattam் gahi'a ṅigadōhmi. Tadō tīdī'aṁ imassa duṭṭhā cayassa bhaṇḍa-bhāra gaddabhō

umbrella only holding setting-out-am-I then third of evil āchārya's vessels burden donkey

saṁvṛttah. Kutra nu khalu kutaḥ nu khalu gatō bhagavān? Ā! Ēṣa duṣṭaliṅgī prātar-aśana- lōbhēna ēkākī

changed-am-I where for have gone Bhagavan ah this hypocrite morn.-meal- desire-of alone

samuttō. Kahim ṇu khu kūdō ṇu khu gādō bha'avo? Ā! Ēsō duṭṭhā liṁgī pādar-asana-lōhēṇa ē'ā'ī

changed-am-I where for have gone Bhagavan ah this hypocrite morn.-meal- desire-of alone

bhikṣām- āhiṇḍituṁ gata iti tarkayāmi. Yāvad-adūra- gataṁ bhagavantaṁ saṁbhāvayāmi.

alms-beg search gone so deduce-I so not-distance gone Bhagavan imagine-I'd

bhikkhaṁ āhiṁdidum் gadō'tti takkēmi. Jāva adūra- gadaṁ bha'avaṁtaṁ saṁbhāvēmi.

alms-beg search gone so deduce-I so not-distance gone Bhagavan imagine-I'd

Ēṣa khalu bhagavān!

(Parikramya dṛṣṭvā)

Ēsō khu bha'avō! (Upasṛtya) Marisēdu marisēdu bhagavān!

crossing looking here ! Bhagavan approaching forgive-let forgive-let Bhagavan

16 Parivrājakaḥ

Śāṇḍilya na bhētavyam் na bhētavyam.

Śāṇḍilya don't afraid-be don't afraid-be

17 Śāṇḍilyaḥ:

Bhō bhagavann- asmin jīva- lōkē nityōtsava- višēṣē sukh- pradhānē kēna vidhinā

O Bhagavan this-in living-world ever-festive noted-in pleasure-foremost-in which-by way-by

bhagavān bhikṣām- āhiṇḍatē?

Bhagavan alms-in search-goes

bha'avō bhikkhaṁ āhiṁdadi?

Bhagavan alms-in search-goes

18 Parivrājakaḥ:

Śṛṇu:

listen

Amāna- kāmas-sahita- vyadharṣaṇaḥ

without-pride desire together insults

krśāljanād- bhaikṣa-kṛtāatma-dhāraṇaḥ |

pious-people begging done-self-sustaining

Carāmi dōṣa-vyasanōttaraṁ jagad-

wander-I vices- addict.- beyond world

hradam bahugrāham-ivāpramādavān ||4||

ocean monsters like unfrightened-one

(Then the Disciple enters)

15

Disciple: First of all, I was born in a family which flourished on the remains of the food for crows in the death ceremony. Our tongues were untouched by learning, unlettered, though around our necks we wore the sacred thread and were very pleased with our Brahminhood.

Secondly, as there was no food in our house, I went hungry. Craving food at least in the morning, I became a convert to Buddhism. But because those bastards eat only once a day, I kept on feeling hungry, and I gave up that religion too. I tore up the robe, broke the begging bowl, and came away with only this umbrella.

Thirdly, I’ve become an ass, a beast of burden carrying the belongings of a wretched teacher!

Where has the Bhagavan gone? What’s he up to? Ah! I figure that depraved hypocrite, craving a morning meal, has gone off by himself to beg alms. I don’t think he’s gone far.

(Crossing, then noticing) Oh! The Bhagavan’s here! (Approaching) Forgive me! Forgive me, O Bhagavan!

16

Mendicant: Shāṇḍilya, don’t be afraid. Don’t be afraid.

17

Disciple: O Bhagavan, what’s your method of begging food in this world, with its never-ending round of festivals, where the greatest importance is given to pleasure?

18

Mendicant: Listen:

Without pride, desire, or concern about insult or injury, Sustaining myself through the offering of the pious, I move above this world full of addictive vices Like one who is unperturbed crossing an ocean of grasping monsters (4)

19

Śāndilyaḥ: Bhō bha'vam! O Bhagavan Na māmako asti na bhrātṛkō vā pidā kudō mē bha'vap- pasādō l Ēkō 'aham- anna- hatatvēṇa yaṣṭhim praviṣṭō na tu dharma-lōbhāt

20

Parivrājakah: Śāndilya kim-ētat? Śāndilya what this

21

Śāndilyaḥ: Nanu bhūtatthō alī'kaṁ bandhakam- iti bhagavān bhanati? doesn't truth falsity bondage thus Bhagavan say

22

Parivrājakah: Atha kim? Satyam-anṛtam cābhisandhāya kṛtaṁ bandhakam bhavati. Kutah: then what truth falsity & coupling made bondage becomes for Yadā tu samkalpitam- iṣṭam- iṣṭataḥ karōti karmāvahitēndriyāḥ pumān l Tadāsya tat-karma-phalaṁ sadā suraiḥ surakṣitō nyāsa ivānu-pālyatē

23

Śāndilyaḥ: Kadā nu khalu tasya phalaṁ labhatē? when exactly that-of fruit obtained-is

24

Parivrājakah: Yadā viragam- aiśvaryam labhatē tadā. when desirelessness treasure obtained-is then

25

Śāndilyaḥ: Tam் puṇaḥ katham labhatē? that again how obtained-is

26

Parivrājakah: Asaṅgatayā. non-attachment-by

27

Śāndilyaḥ: Bhō bha'vam, kim punar-idam- asaṅgatam- iti prcchyatē? Bhō bhagavan, kim puna ēdaṁ asaṅgadaṁ 'ti puccadi? O Bhagavan what again this nonsense thus questioned

19

Disciple: O Bhagavan! I have no one of my own, no father or brother, Just the Bhagavan's blessing. Owing to lack of food alone I entered this order, Not through desire for Dharma possessing.15 (5)

20

Mendicant: What is this, Shāṇḍilya?

21

Disciple: Doesn't the Bhagavan say that falsely representing true facts leads to bondage?

22

Mendicant: Yes, of course! Truth and falsification – the coupling of these results in bondage. Because: When a man with entangling selfish motives performs a sacrificial rite, his senses deeply involved, Then the fruit of this act, bondage, will ever be held secure by the gods, like a safeguarded trust. (6)

23

Disciple: But when would one get the fruit of that sacrificial act which is performed without any selfish motive?16

24

Mendicant: When one gets the treasure of desirelessness!

25

Disciple: And how is that attained?

26

Mendicant: By non-attachment, non-sensuousness.

27

Disciple: Again, O Bhagavan, I ask: What is this 'non-attachment' nonsense-ness?

28 Parivrājakaḥ: Rāgadvēṣayōr madhya-sthā. Kutah:

Sukhēṣu duḥkhēṣu ca nitya-tulyatām bhayēṣu harṣēṣu ca nātiriktatām | Suhṛt- sva-mitrēṣu ca bhāva- tulyatām vadanti tāṁ tatva-vidō-hy- asaṅgatām ||7||

29 Śāṇḍilyaḥ: Kim idam punar-asti?

Kim ēdam punar atthi?

30 Parivrājakaḥ: Nāsatas-samjñā bhavati.

Nāsatas-samjñā bhavati.

31 Śāṇḍilyaḥ: Sakkaṁ kuttam 'ti bha'avō bhaṇādi?

Śakyam kartum- iti bhagavān bhanati? Sakkaṁ kuttam 'ti bha'avō bhaṇādi?

32 Parivrājakaḥ: Kah sandēhaḥ?

Kah sandēhaḥ?

33 Śāṇḍilyaḥ: Alī'am alī'am ēdam!

Alīkam- alīkam- idam! Alī'am alī'am ēdam!

34 Parivrājakaḥ: Katham-iva?

Katham-iva?

35 Śāṇḍilyaḥ: Bha'avō khu dāva mam kissa kuppadi?

Bhagavan khalu tāvan-māṁ kimartham kupyati? Bha'avō khu dāva mam kissa kuppadi?

36 Parivrājakaḥ: Nādhiṣa iti!

Nādhiṣa iti! Yady-aham- adhyēmi vā nāadhyēmi vā kim tava muktaśya?

37 Śāṇḍilyaḥ: Jadi aham ahi'āmi vā nāhī'āmi vā kim dava muttassa?

Jadi aham ahi'āmi vā nāhī'āmi vā kim dava muttassa? Jadi aham ahi'āmi vā nāhī'āmi vā kim dava muttassa?

38 Parivrājakaḥ: Mā-maivam. Abhyupagata-śiṣyārtham tādanam smrtaṁ iti. Tasmād-akupitaś-cāham śrēyōrtham bhavantaṁ tādayāmi.

Mā-maivam. Abhyupagata-śiṣyārtham tādanam smrtaṁ iti. Tasmād-akupitaś-cāham śrēyōrtham bhavantaṁ tādayāmi. Āścaryam! Ākupitō nāāma tādayati kila bhagavān. Chidyatām-ēṣā kathā. Ati- krāmati bhiksā- vētā.

39 Śāṇḍilyaḥ: Accēram! Accēram! Akuvidō nāāma tādēdi kila bha'avō. Hijjadu ēśā kahā. Ādi-kkamadi bhikkha vēlā.

Āścaryam! Āścaryam! Akupidō nāāma tādayati kila bhagavān. Chidyatām-ēṣā kathā. Ati- krāmati bhiksā- vētā. Accēram! Accēram! Akuvidō nāāma tādēdi kila bha'avō. Hijjadu ēśā kahā. Ādi-kkamadi bhikkha vēlā.

40 Parivrājakaḥ: Mūrkha! Prātaś- tāvan-na madhyāhnaḥ. Nyasta-musalē vyaṅgārē sarva-bhukta-janē kālē

Mūrkha! Prātaś- tāvan-na madhyāhnaḥ. Nyasta-musalē vyaṅgārē sarva-bhukta-janē kālē ity- upadēśaḥ. Tasmād-viśrāmārtham-idam-udyānam praviśāvah.

41 Śāṇḍilyaḥ: Hā! Hā! Padijjā-hāṇi'ō khu bha'avō saṁvuttō.

Hā! Hā! Pratijñā-hānikaḥ khalu bhagavān saṁvṛttaḥ. Hā! Hā! Padijjā-hāṇi'ō khu bha'avō saṁvuttō.

28

Mendicant: It is that standing neutral - inclining neither toward desire nor hate. For: Be indifferent always to pleasure or pain, By dangers, delights, unswayed remain, Have equal regard for friend or foe - That is 'non-attachment' to those who know. (7)

29

Disciple: But again, is there really such a thing?

30

Mendicant: The term cannot be said to denote the non-existent.

31

Disciple: Does the Bhagavan say it is possible to achieve it?

32

Mendicant: Any doubt?

33

Disciple: Not so! It's not so!

34

Mendicant: How so?

35

Disciple: Why does the Bhagavan get angry with me?

36

Mendicant: Because you don't learn!

37

Disciple: Whether I learn or not, what's it to you, one who is liberated?

38

Mendicant: No, it's not like that!17 For anyone who becomes a disciple, a beating is quite in order as a matter of discipline, so it is said. Thus, it's without any sense of anger, I beat you for your own good!

39

Disciple: Amazing! The Bhagavan beating me without anger is amazing! Give up that story! The time for begging is almost over.

40

Mendicant: Fool! It's still morning, not yet noon. "When the pestle is laid aside, the cooking fire's out, and all the householders have eaten, that's the prescribed time." Therefore, let us enter this park and take rest.

41

Disciple: Oh, oh! The Bhagavan has broken his vow!

42

Parivrājakaḥ: Katham-iva? how- so

42

Nanu sama- sukha-duḥkhaḥ kila bhagavān.

43

Śāndilyaḥ: Naṁ sama-sukha-dukkhō kiḷa bha'avō.

43

• equal pleasure pain - Bhagavan

44

Parivrājakaḥ: Atha kim? Sama-sukha-duḥkhō mamātmā. Karmātmā viśramam-icchati.

44

then what equal pleasure pain my soul embodied-soul rest wants

45

Śāndilyaḥ: Bha'avaṁ kō ēṣō attā nāma? Kō annō kammattā nāma?

45

Bhagavan ka ēṣa ātmā nāma? Kōnyaḥ karmātmā nāma?

46

Parivrājakaḥ: Śṛṇu: listen

46

Yaḥ svapnē gaganam- upagaiti sōntarātmā which dream-in heaven reaches that-inner-soul

46

sōpy- ātmā vidhi-vihitaṁ prayāti yaś- ca I that-too soul fate ordained goes which- also

46

Dēhōyaṁ nara iti saṁjñitōnyathā vā body-this Man thus sentient-beings-other or

46

karmātmā śrama- sukha- bhājanam narāṇām II8II embodied-self weariness pleasure vessel people's

47

Śāndilyaḥ: Jō ajaro amaro acchējjō abhējjō sā attā nāma. Jō hasadi hāsēdi sa'adi which unageing immortal indivisible inseparable that soul called which laughs laugh-makes sleeps

47

Yō ajaraḥ amaraḥ acchēdyāḥ abhēdyāḥ sā ātmā nāma. Yō hasati hāsayati śētē

47

bhuṅktē vilayaṁ ca gacchati sā karmātmā nāma. buṁjēdi viḷa'ami ca gacchadi sō kammattā nāma.

48

Parivrājakaḥ: Yathā grāhyaṁ tathā grhītam. as graspable so grasped

49

Śāndilyaḥ: Ā apēhi! Abhi-ggahīdōsi. oh go-away caught-you're

50

Parivrājakaḥ: Katham-iva? how- so

51

Śāndilyaḥ: Naṁ sō ēvva dānīṁ ēṣō. Na hi sarīraṁ vinā asti kim-api. isn't that really-thus this not ! body except is anything -vi.

52

Parivr.: Laukikam-abhihitam. Yaś-ca bhēdam- upagatānāṁ satvānāṁ sthānāni śruyantē. Ata ēvaṁ brūmaḥ. worldly stated-was from which differentiated attained beings levels perceived thus only said-we

53

Śāndilyaḥ: Sarvaṁ tāvat-tiṣṭhatu. Tvaṁ tāvat-kaḥ? everything let stand 'you' indeed what

53

Savvaṁ tāva tiṭṭhadu. Tuvam dāva kō?

42

Mendicant: How so?

43

Disciple: Pleasure or pain! - isn’t it all the same to the Bhagavan?

44

Mendicant: Yes, of course. Pleasure, pain - it is all the same for my soul. But my embodied self needs rest.

45

Disciple: O Bhagavan, what's the difference between the ‘soul’ and the ‘embodied self’?

46

Mendicant: Listen: That which, in a dream, reaches the Highest Heaven is the Inner Soul; That same soul is the subtle body which transmigrates according to Fate’s decree; And as the active gross, embodied self, whether human or other sentient being, It is the receptacle of people’s suffering and pleasure. (8)

47

Disciple: Unageing, immortal, indivisible, and inseparable - IT is called Soul; laughing, being laughed at, sleeping, eating, and suffering degeneration - IT is called the Embodied Self.

48

Mendicant: You have understood correctly.

49

Disciple: Ah! Go on! You’ve been caught!

50

Mendicant: How so?

51

Disciple: If the soul is really the same as the body, then the body is the Ultimate Reality. Nothing is Real except Body!

52

Mendicant: I've just expressed the worldly view. One perceives separate beings of different kinds at this level. Therefore, I said what I said.

53

Disciple: Fine. What exactly is it that is ‘you’?

54 Parivrājakaḥ: Śrṇū:

listen Kha-pavana-salilānām tējasaś-caikā-dēśād-upacita- cala- mūrtīḥ pārthiva-dravya-rāśil | Śravana-nayana-jihvā-nāsikā-sparśa-vēdī nara iti krta samjñāḥ kōpy-aham prāni-dharmā ||119||

55 Śāṇḍ.: Hā! Hā!

Hā! Hā! Ēttāvan-mātrēṇa ātmānam-api na jānāti. Kim punar-ātmānam? (Viḍōkya) Bhō bhagavann-idam-udyānam.

56 Parivrājakaḥ: Tvaṁ tāvat-praviśāgrataḥ.

Tvaṁ tāvat-praviśāgrataḥ. Vivikta śaraṇārāṇya-pratisṭhrayā vayam. Bhagavān ēva purataḥ praviśatu. Ahaṁ prṣṭhataḥ praviśāmi.

57 Śāṇḍilyaḥ: Bha'avaṁ ēvva puradō paviśadu

Bha'avaṁ ēvva puradō paviśadu. Ahaṁ piṭṭhadō paviśāmi. Tad- bhagavān- ēva purataḥ praviśatu.

58 Parivrājakaḥ: Kimartham?

Kimartham? Hēlāyanyā mama tūtuh śrutam- aśōka- pallavāntara-niruddhaṁ vyāgghraḥ prativasatīti.

59 Śāṇḍilyaḥ: Hēlā'ani'ē mama mādā'ē sudam asō'a-pallavamta-niḷuddhaṁ vagghō padivasadi'tti.

Hēlā'ani'ē mama mādā'ē sudam asō'a-pallavamta-niḷuddhaṁ vagghō padivasadi'tti. Tad- bhagavān- ēva purataḥ praviśatu.

60 Parivrājakaḥ: Baḍham. (Praviśataḥ)

Baḍham. (Praviśataḥ) Apiḥā! Vyāgghrēṇa grhītōsmi. Mōcaya māṁ vyāgghra-mukhāt. Anātha iva vyāgghrēṇa khāditōsmi.

61 Śāṇḍilyaḥ: Avihā!

Avihā! Vagghēṇa gahīdōhmi. Mōcē'ī maṁ vagha mukhādō. Anāhō vi'a vagghēṇa khā'idōhmi. Idaṁ khalu rudhiram prasravati kaṇṭhāt.

62 Parivrājakaḥ: Śāṇḍilya! Na bhētavyam na bhētavyam. Mayūraḥ khalv- ēṣaḥ.

Śāṇḍilya! Na bhētavyam na bhētavyam. Mayūraḥ khalv- ēṣaḥ. Satyam mayūraḥ?

63 Śāṇḍilyaḥ: Saccaṁ mōrō?

Saccaṁ mōrō?

64 Parivrājakaḥ: Atha kim?

Atha kim? Satyaṁ mayūraḥ. Yadi mayūras-tēna hy-udghātayāmy-aksinī.

65 Śāṇḍilyaḥ: Jayi mōrō tēna- hī ugghādēmi akkhiṇi.

Jayi mōrō tēna- hī ugghādēmi akkhiṇi.

54

Mendicant: Listen: A mass of earthly particles, ether, air, water, and fire, A moving image out of these composed; Perceiver through ear, eye, tongue, nose, touch, I'm known as a human of the animate order, I suppose. (9)

55

Disciple: Oh, oh! Even at this level you don't understand your 'self'! How, then, the transcendental Self? (Seeing) O Bhagavan, here's a pleasure garden.

56

Mendicant: Go ahead. A secluded retreat in the forest is appropriate for us.

57

Disciple: Let the Bhagavan enter first. I'll follow.

58

Mendicant: Why?

59

Disciple: It's something I heard from my mother. She used to tease me by saying that a tiger lives hidden in ashōka buds.18 Therefore, let the Bhagavan go first.

60

Mendicant: All right. (He enters)

61

Disciple: Hey! I'm caught by the tiger! Free me from the jaws of this tiger! I'm helpless! I'm being devoured by the tiger! Here's blood pouring down my neck.

62

Mendicant: Shāṇḍilya, don't be afraid. Don't be afraid. It's only a peacock.

63

Disciple: Is it really a peacock?

64

Mendicant: Yes, of course. It's really a peacock.

65

Disciple: If it's peacock, I'll open my eyes.

66 Parivrājakaḥ: Chandataḥ.

as-(you)-wish Ham dāsyāḥ putrō vyāgghraḥ mad-bhayēna mayūra- rūpaṁ grhītvā palāyatē.

67 Śāndilyaḥ: Ham dāsī’ē puttō vagghō mab-bhayēṇa mōra-rūvaṁ gahvi’ā palā’adi. (Udyānaṁ nirūpya)

Hī! Hī! Campakārjuna- kadamba- nīpa-nicula-tilaka-kurabaka-karnikāra- karpūra- cūta-priyangu-sāla- tāla-tamāla Hī! Hī! Campa’a ajjuna-kadamba’nīva’nī’ula-tīla’a-kurava’a-kaṇṇi’āra-kappūra-cūda-pi’aṅgu-sāla-tāla-tamāla-

puṇṇāga-nāga-bakula-sarala- sarja-sinduvāra- trnaśūlya-saptaparṇa- karavīra- kutajayani- candanāśōka puṇṇa’ā-nā’ga-bakula-sarala-sajja-simdhuvāra-tiṇasūlla-sattavaṇṇa-kanavīra-kuḍacavaṇṇi-camdanāśō’a-

mallikā-nandyāvarta-tagara-khadira- kadalī-samavakīrṇaṁ vasantōpaśōbhitam pravāla- patra- pallava- dala mallī’ā-naṁdēvatta-ta’ara-khadira-kadali-samavakiṇṇaṁ vasamdōpaśōhidam pavāla-pattra-paḷḷava-dala-

kusuma- mañjari- samākulaṁ ati- mukta- mālati- latā- maṇḍapa- maṇḍitam, mayūra- kōkila- matta- bhramara- kusuma-mañjari-samāvuḷaṁ adi-mutta- māladi-ladā-maṇḍava-maṁḍidaṁ, mōra- kō’ila- matta-bhamara-

flower bunch full-of greatly drooping jasmine creeper bower embellished peacock cuckoo drunk- bee

madhurā-rāva-saṅghuṣṭaṁ, priyajana-viprayōga-samutpanna- śōkābhibhūta-yuvati- janānāṁ anutāpakaram, mahurā-rāva-saṁghuttaṁ, p’iyajana-vippa’ō’ga-sam-uppaṇṇa-sō’ā’hihūta- juvadi-janāṇaṁ anudāva’aram,

sweet buzz noisy dear-ones separation born sorrow-full young ladies’ anguish-causing

samprayuktānāṁ sukhāvaharam. Ahō ramanīyam khalv- idam-udyānāṁ! saṁpavuttānāṁ suhāvaharam. Ahō ramanijjaṁ khu idam uyyāṇaṁ!

united (lovers) delighting oh beautiful indeed this park

68 Parivrājakaḥ: Mūrkha! Ahany-ahanīyamānēṣv-indriyēṣu kiṁ tē ramāṇīyam? Paśya kutah:

fool day (by) day declining senses what you-to beauty see for

Abhy-āgataḥ kisalayābharaṇō vasaṁtaḥ arrived has sprout-ornamented spring

prāptā śarat- kumuda-śaṇḍa- vibhūṣanēti I arrived autumn lotus multitude embellished-thus

Bālō navēṣvrtuṣu rajyati nāma lōkē child new-season-in yearns-for indeed world-in

yaj- jīvitam harati tat- kila ramyam-asya II101II which life steals that indeed beautiful this-to

69 Śāndilyaḥ: Jam jadā ramaniijaṁ taṁ tadā ramaniijjam ’ti pucchadi.

that when beautiful that then beautiful thus says (one)

70 Parivrājakaḥ: Apāṇḍityam-abhihitam! Paśya:

ignorance spoken see

Anāgataṁ prārthayatāṁ atikrāntam ca śōcatām I unobtained supplicants missed-out and bewailers

Vartamanair- atuṣṭānāṁ nirvāṇaṁ nôpapadyatē II11II present-with dissatisfied(ones) salvation don’t attain

66

Mendicant: You may.

67

Disciple: Hmm, that bastard tiger's afraid of me! He has changed into a peacock and is running away! (Looking around the park) Hee! Hee! Champakā, arjuna, kadamba, nīpa, nichula, tilaka, kurabaka, karnikāra, karpūra, chūta, priyangu, sāla, tāla, tamāla, punnāga, nāga, bakula, sarala, sarja, sinduvāra, trinaśūlya, sapta-parṇa, karavīra, kuṭājavahni, chandana, aśoka, mallikā, nandyāvarta, tāgara, khadira, and kadalī,19 all around, bedecked in the loveliness of spring - a pavilion embellished with the tender leaves and flowers of the jasmine creeper, thick clusters of blossoms drooping low - sweet, resonant notes of the peacock, cuckoo, and drunken bees - for young maidens whose hearts are filled with sorrow due to separation from their lovers, what a source of anguish! But to those who are united, such pleasure! Oh, how beautiful this park is!

68

Mendicant: Fool! The power of your senses is day by day ebbing away! What is beauty to you? Look! You say: "Spring is here, decorated with tender leaves! "Autumn has come, ornamented with masses of lotus!" In this world, indeed, a child yearns for each new season, Ah! It really steals away his life, yet to him it's beauty! (10)

69

Disciple: When something is beautiful, then one says that it is beautiful!

70

Mendicant: Spoken in ignorance of the shāstras! See: Those who long for things they cannot get, Who grieve for what in life they miss, And are discontented with their present state, Such people never reach salvation's bliss! (11)

71

Śāṇḍilyaḥ: Āyatamānah panthāḥ - nanu kutrēdānīm- upaviśāvah? Ā'adamānō pamthā - naṁ kahim'dānīṁ upaviśvō? long path - where now sit-down (we)

72

Parivrājakah: Ihaiva vasiṣyāvahē. here-itself sit-down (we)

73

Śāṇḍilyaḥ: Acōkṣam! Acōkkham! unclean unclean

74

Parivrājakah: Mēdhyam- araṇyam-adūṣyā bhūḥ. sacrif-pure forest undefiled earth

75

Śāṇḍilyaḥ: Ja'i parissamtō uvavisadu-kāmō acōkkham cōkkham vā karēsi. Yadi pariśrānta upaviśatu-kāmaḥ acauṣaṁ caukṣaṁ vā karōṣi. if tired sitting desiring unclean clean as make

76

Parivrājakah: Śrutih pramāṇaṁ nāham. Kutah: scripture authority not-I for

Atimānōnmatāinām- ahitē hitam- iti krta-pratijñānām || conceit-intoxicated improper proper thus done swear (those who)

12

Naivāsti paramaṁ tēṣāṁ svacchanda krta-pramāṇānām || not-at-all-is beyond them-to subjectively make authority

77

Śāṇḍilyaḥ: Appamāṇaṁ tuha ēdaṁ bahu'aṁ mainta'aṁtassa. Apramāṇaṁ tavēdaṁ bahulaṁ mantrayamānasyā. no authority you-to-this much learnèd (person)

78

Parivrājakah: Mā maivam! no not-so

Pramāṇaṁ kuru yal-lōkē pramāṇī-kriyatē budhaiḥ | authority accept which world-in authorized-is learnèd-by

13

Nāpramāṇaṁ pramāṇasthāḥ kariṣyanti niścayaḥ || not-false-authority authority go-by-(those) accept thus certain (it is)

79

Śāṇḍilyaḥ: Na hu dē pāmaṇaṁ jānāmi. Na khalu tē pramāṇaṁ jānāmi. no indeed you-to authority know-I

80

Parivrājakah: Ēhi vatsa adhīṣva tāvat. come son learn -

81

Śāṇḍilyaḥ: Na dāva ajja'issaṁ. Na tāvad-adhyēṣyāmi. not - taught (will-I-be)

82

Parivrājakah: Kimarthaṁ? why

83

Śāṇḍilyaḥ: Ajja'aṇassa dāva atthaṁ sōduṁ icchāmi. Adhyayanasyā tāvad-arthaṁ śrōtum- icchāmi. learning's - purpose to-hear want-I

71

Disciple: A tedious path! Where can we rest?20

72

Mendicant: We’ll sit down here.21

73

Disciple: Filth! Filth!22

74

Mendicant: The earth of the forest is sacrificially pure, undefiled.

75

Disciple: Oh, when you’re tired and want to sit down, you’ll regard the unclean as clean.

76

Mendicant: I have spoken on the authority of scripture, not on my own, for: In their mad self-conceit, Some people the bad with good confuse. They recognize no authority Beyond their own subjective views. (12)

77

Disciple: To a learnèd person like you, the scriptures ought not to be the authority!

78

Mendicant: No, not so! Take as your authority Only that which is accepted by the wise. They won’t go by false authority, It’s certain, you must realize. (13)

79

Disciple: Well, I don’t understand your scriptural authority at all!

80

Mendicant: Come, son, learn.

81

Disciple: I won’t be taught.

82

Mendicant: Why?

83

Disciple: I want to know the purpose of learning.

84 Parivrājakaḥ

Adhītādhyanair-api kālāntarād- vijñēyā bhavanty-adhyayanārthāḥ. Tasmād-adhiṣva tāvat. Adhītē kim bhaviṣyati?

85 Śāṇḍilyaḥ

Adhīdē kim bhaviṣyadi?

86 Parivrājakaḥ

Śṛṇu: jñānād-bhavati jñānam, jñānāt-samyamaḥ, samyamāt-tapah, tapasō yōga-pravṛttiḥ, yōga-pravṛtēr-atītānāgata-vartamāna-tatva-darśanaṃ bhavati. Ētbhyōṣṭa-guṇam-aiśvaryam labhatē.

87 Śāṇḍilyaḥ

Bhō bha'vam! Appacakkē jahā-kāmam mama buddhiṃ paribhavi'a bhaṇāsi. Śakyam punar-adrṣṭasya O Bhagavan invisable-into as(you) like my mind go-make to talk-you possible then unseen bhagavataḥ para- gēhāni pravēṣṭum? bha'vado para-gēhāṇi paviśiduṃ?

88 Parivrājakaḥ

Kim-abhiprētam bhavataḥ?

89 Śāṇḍilyaḥ

Mamābhiprētam sākya- śramaṇakāṇṇāṃ kāraṇāt- su-sādhitāni saṅgha-prayuktāni bhōjanāny-aśitum. Mama abhippēdaṃ sakki'a-samaṇa'āṇaṃ kāraṇādō su-sādhidāni saṅgha-ppa'uttāṇi bhō'aṇāni ahiduṃ.

90 Parivrājakaḥ

Akālyam varratē lōbhō bhavataḥ. Ētasya kāraṇād- ēva tvam muṇḍitōsi. Na kalu tē anyat- prayōjanam paśyāmi.

91 Śāṇḍilyaḥ

Ēdassa kāraṇādō ēvva tumam muṃḍidōsi. Na hu dē annam pa'ō'aṇam pēkkhāmi.

92 Parivrājakaḥ

Mā maivam: Mahātmabhis-sēvita- pūjitam dvijaiḥ surāsurāṇām-api buddhi- sammatam | Avāryam akṣōbhyam- acintyam- avyayam mahan-mayā-yōga phalam niśēvyatē ||14||

93 Śāṇḍilyaḥ

Bhō bha'vam! Jō'ō jō'ō 'tti tummārisā pavvāja'ā bahu'lam manta'yantē. Kā ēsō yōgō nāma? Jōgavan yōga yōga itti yuṣmadṛśaṃ pravrajakaṇ bahu'laṃ manta'yantē. Kō ēsō jō'ō nāma?

94 Parivrājakaḥ

Śṛṇu: Jñāna- mūlam tapas-sāram satvastham dvanadva-nāśanam | Muktan dvēṣāc- ca rāgāc- ca yōga ity-abhidhīyatē ||15||

84

Mendicant: Even those who have learned a great deal understand the real purpose of learning only in the course of time. Therefore, learn!

85

Disciple: If I learn, what benefit will there be?

86

Mendicant: Listen! From knowledge comes wisdom; wisdom leads to self-control; self-control, to tapas; from tapas arises yōga; yōga reveals the essence of the past, present, and future. Through all of these, one attains the eight-fold treasure of superhuman powers.

87

Disciple: O Bhagavan, by your talk you would like to make my mind enter unseen, abstract realms. Tell me, can the Bhagavan enter unseen into other people's houses?23

88

Mendicant: What are you getting at?

89

Disciple: My idea is to get at all the good food prepared for the Buddhist monks in the monastery.

90

Mendicant: This is no time to be greedy!

91

Disciple: That's the only reason why you've shaved your head. I can't see that it is of any other use to you!

92

Mendicant: No, not so! I pursue the fruit of yōga, revered by great Brahmins, And intellectually esteemed by even gods and demons – Indestructible, unthwartable, imperturbably serene, Supra-rational, and eminently supreme! (14)

93

Disciple: O Bhagavan! Yōga! Yōga! You sannyāsins think so much of it. What is this thing called 'yōga'?

94

Mendicant: Listen: Root of knowledge, essence of tapas, ground of Reality, That which puts an end to all sense of duality, That which liberates from desire and hatred, Thus is 'yōga' designated. (15)

95

Āhāra- pramādāḥ sarva- pramāda iti mantrayamānāyā namō bhagavatē buddhāya. Śāṇḍilyah: Āhārap-pamādō savva pamādō’tti mainta'am்tassa namō bha'avadō buddhassa.

96

Parivrājakah: Śāṇḍilya! Kim- ētat? Śāṇḍilya what this

97

Śāṇḍ.: Bha'avaṁ Kim na jāñāsi pudhamam் aham் pādar-asaṅa lōhēna sakki'a- samaṅa'am் pavvajidōhmi? Bhagavan! Kim na jāñāsi prathamam-aham் prātar- aśana lōbhēna śākya- śramaṇakam் pravrajitōsmi?

98

Parivrājakah: Asti kiñcid api jñātum? is anything at-all learned

99

Śāṇḍilyah: Atthi atthi! Prabhūtam-apy-asti! Pahūdami ’vi atthi! is is much ! is

100

Parivrājakah: Bhavatu, śrōṣyāmas-tāvat. all-right listen-we- shall

101

Śāṇḍilyah: Suṇādu bha'avō! Aṣṭau prakṛtayah, ṣōḍaśa vikārāḥ, ātmā, pañca-vāyavaḥ, trai-guṇyam, manah, sañcarah pratisañcaras-cēti. Ēvaṁ hi bhagavatā jinēna pitaka- pustakēsūktam. Ēvvaṁ hi bha'avadā jinēna piḍa'a putta'ēsu uttam்.

102

Parivrājakah: Śāṇḍilya! Śāṅkhya-samaya ēsaḥ na śākya- samayaḥ. Śāṇḍilya Sāṅkhya view this not Buddhist view

103

Śāṇḍ.: Bubhukṣā’ē ōdana-gatāyā cintāyā anyan- mayā cintitam- anyan- mantritam. Idāniṁ śṛṇōtu bhagavan: Bubhukṣayā ōdana-gadāyā cimdā’ē aṅṇam ma’ē cimḍidaṁ aṅṇam maṁtidaṁ. 'Dāniṁ suṇādu bha'avō: hunger-by food-about thought other me-by thought-of other spoken now listen-let Bhagavan

Adattadānād- viramaṇam் śikṣāpadam. Adiṁnadānādō vēramaṇam் sikkhāpadaṁ. unoffered abstention precept (is our) Mudhāvādād- viramaṇam śikṣāpadam. Mudhāvādādō vēraṇmaṇam sikkhāpadaṁ. vain-talk abstention precept (is our) Abrahmacaryād- viramaṇam śikṣāpadam. Abbamhacayyādō vēraṇmaṇam sikkhāpadaṁ. unchastity abstention precept (is our) Prāṇātipātād- viramaṇam śikṣāpadam. Pānāḍipātādō vēraṇmaṇam sikkhāpadaṁ. life-destroying abstention precept (is our) Akāla- bhōjanād- viramaṇam śikṣāpadam. Akāla- bhō'janādō vēraṇmaṇam sikkhāpadaṁ. untimely eating abstention precept (is our) Asmākam buddhaṁ dharmaṁ saṅghaṁ śaraṇam gacchāmi! Ahmā'kam buddhaṁ dhammaṁ saṅghaṁ saraṇam் gacchāmi! our Buddha Dharma Sangha refuge take-I

95

Disciple: Salutations to the Holy Buddha, who preached that to neglect food is to neglect everything!

96

Mendicant: Shāṇḍilya! What is this?

97

Disciple: Doesn't the Bhagavan know that I first of all tried Buddhism in the hope of getting food in the morning?

98

Mendicant: Do you have any more words of wisdom?

99

Disciple: I have, I have! I have many!

100

Mendicant: All right, we'll listen.

101

Disciple: Let the Bhagavan listen: "Eight categories of nature; sixteen accidental properties; the soul; five vital airs; the three-fold qualities; mind; evolution and re-absorption." This is said by the Holy Jina in the Piṭaka books.24

102

Mendicant: Shāṇḍilya, that's Sāṅkhya philosophy, not Buddhist doctrine.25

103

Disciple: It's because of hunger and thinking about food that I have in mind one thing, and speak about another. Let the Bhagavan listen: Abstention from grabbing things not offered is our precept. Abstention from idle talk is our precept. Abstention from fornication is our precept. Abstention from torturing life is our precept. Abstention from not eating regularly is our precept. I take refuge in the Buddha, Dharma, and Saṅgha!26

104 Parivrājakaḥ: Śāndilya!

Śva-samayam-atikramya para-samayam vaktum nārhati bhavān. Śāndilya own order transgress other order mention unbecomes you

Tamas- tyaktvā rajō bhitvā satva-sthas-su-samāhitaḥ | darkness removing passion escaping Nature fixing well-composed Dhyātu śīghraṁ bhavān-dhyānaṁ-ētaj-jñāna-prayōjanam ||116|| meditate quickly your meditation this wisdom means-of

105 Śāndilyaḥ: Bha'avō su-samāhidō yō'ami cintēdu.

Bhagavān su-samāhidō yōgaṁ cintayatu. Ahaṁ su- samāhita ōdanaṁ ēva cintayāmi. Bhagavan well-composed yōga think-of I well-composed food only think-of-I

106 Parivrājakaḥ: Chidyatām-ēṣā kathā:

cut this story Sarvaṁ jagat-saṁkṣipa dēha-bandhē whole universe contract body framework-in sarvēndriyāny-ātmani yōjayitvā | all-senses-by soul-in uniting Jñānēna satvaṁ samupāśraya tvaṁ wisdom-by Nature attain you dēhātmanātmanānam-avēkṣya kṛtsnam ||117|| bodily-form-by soul see material- body (entire)

(Tatah pravisṭa gaṅikā cēṭyau ca) then enter Courtesan Maids and Hañjē madhukarikē! Kutra kutra rāmilakah? dear Madhukarika! where where Rāmilaka

107 Gaṅikā: Hañjē mahu'ari'ē! Kahiṁ kahiṁ rāmila'ō?

dear Madhukarikā where where Rāmilaka Ajjukē! Ahaṁ -āgacchāmi iti bhaṇitvā nagaraṁ- ēva pravisṭa āvuttah. Ajjukē! I will-come thus saying town - went

108 Cēṭī: Ajju'ē! A'aṁ ā'acchāmi'tti bhaṇi'a ṇa'araṁ ēvva paviṭṭhō āvuttō.

Ajjukā I will-come thus saying town went brother-in-law Hañjē! Kiṁ nu khalu idaṁ bhavēt? dear! what indeed this could-be

109 Gaṅikā: Hañjē! Kiṁ nu khu ēdaṁ bhavē?

dear what indeed this could-be Kim- anyat gōṣthīṁ tvarayitum. what else revelers to-hurry-up

110 Cēṭī: Kiṁ aṇṇaṁ gōṭṭhiṁ tvārēduṁ.

what else revelers to-hurry-up Idānīm- api na paryāptā gōṣthī? as yet not had-enough partying

111 Gaṅikā: 'Dāṇiṁ 'pi na payyattā gōṭṭhī?

as yet not had-enough partying Susthu ajjukā bhanati. Āsava ēva gōṭṭhī, yō madayati hāsayati truth Ajjukā tells drink itself partying which intoxicates makes-laugh

112 Cēṭī: Suṭṭhu ajju'ā bhaṇadi. Āsavō ēvva gōṭṭhī, jō mattāvēdi hāsāvēdi

truth Ajjukā tells drink itself partying which intoxicates makes-laugh lajjādhīraṁ-api strījanaṁ. lajjādhīraṁ 'pi iddhi'ājanaṁ shyest even women

104

Mendicant: Shāṇḍilya, it's not proper for you to stray from your own rules of conduct and talk about the rules of others.27

Abandoning Tamas, cleaving Rajas,

Planting yourself firmly in Satva, concentrating on it,

Meditate at once, and you'll readily perceive,

Your meditation, then, true wisdom will achieve. (16)

105

Disciple: Let the Bhagavan compose himself and meditate on yōga, I shall compose myself and meditate only on food!

106

Mendicant: Stop that talk!

Compress into your bodily frame the whole world,

Merging that sensuous multiplicity with your inner self,

Experience, thus, the purity of Satva,

The self's embodiment in its subtle and gross forms. (17)

(Then the Courtesan enters with two Maids)

107

Courtesan: Dear Madhukarikā, where, where is Rāmilaka?

108

Madhukarikā: Ajjukā, brother-in-law went into the city saying he would be coming soon.

109

Courtesan: Dear, what could it be for?

110

Madhukarikā: What else but to hurry up the party.

111

Courtesan: Haven't they had their fill of partying already?28

112

Madhukarikā: You said it, Ajjukā! That party is nothing but drinking, the kind which intoxicates and causes even the most modest of women to laugh.

113

Ganikā: Gaccha tuvārēhinaṁ. go hurry-(him)-up Ajjukē tathā. Ajjukā all-right

114

Cēṭī: Ajju’ē taha. (Iti niṣkrāntā) thus goes-she

115

Ganikā: Hañjē parabhrtikē! Kutra upaviśāvaḥ. Kahim uvaviśāvō. dear Parabhrthikā where sit-shall-we-two

116

Cēṭī: Ajjuke! Ētasmin- kusumita- sahakāra- tilaka- maṇditē śilāpaṭṭakē muhūrtam- iva upaviśya ēkaṁ Ajjukā! this-on blossomed mango spot beauty stone-bench awhile - sitting one vastukaṁ gāyatu ajjukā. vattu'aṁ gā'adu ajju'ā. song sing-let Ajjukā

117

Ganikā: Hañjē parabhudī’ē! Ēvaṁ bhavatu. Ēvvaṁ hōdu. so let-it-be (Ubhau upaviśya gāyataḥ) both sitting sing

118

Śāṇdilyah: (Śrutvā) A’ē, kō’ila-ra-ō. Na khu'aṁ kō’ila-ra-ō. Kō ēsō? listening ay cuckoo-call not indeed cuckoo-call what this (Vibhavya) realizing Pā’asē ghrtaṁ prakṣiptam- iva madhuraḥ kōpi gī’ta- ravaḥ. Bhavatu paśyāmi. Pā’asē ghidam pacchittam vi’a mahurō kōvi gī’a ra-ō. Hōdu pēkhāmi. pāyasam ghee poured like sweet some song-sound o.k. see-I’ll (Kiñcid-gatvā vilōkya) little going seeing Apihā! Kē’dānīm- iyam tarunī darśanīyā an- avarōhēnālaṅkārēṇa alaṅkṛtāsya Avihā! Kā’dānīṁ i’am tarunī dassanī’a an-avarōhēna alaṅkārēṇa alaṅkidā’imassa udyānasyālaṅkāra ivōpasthitā? uyyāṇassa alaṅkārō vi’a uvatṭhidā? park’s ornament like stationed-is

• 62 -

113

Courtesan: Go hurry him up!

114

Madhukarikā: All right, Ajjukā.

(She exits)

115

Courtesan: Dear Parabhṛthikā, where shall we sit?

116

Parabhṛthikā: Ajjukā, sit for a while on this stone bench; it's a lovely spot here under a mango tree full of flowers. Let Ajjukā sing a song.

117

Courtesan: All right, dear Parabhṛthikā.

(They both sit down and sing)

The God of Love stands in this park, His bowstring sounds, the notes of cuckoos and buzzing bees; His arrow made of mango buds Strikes sure distraction even in the minds of sannyāsīs. (18)

118

Disciple: (Hearing) Hey! It's the cuckoo's call. No! It's not the call of the cuckoo. What is it?

(Realizing)

It's the melody of a song as sweet as pāyasam29 drenched in ghee!30 All right, let me see.

(He goes a little nearer and sees)

Hey! Who is that beautiful young lady, there, graced with those irremovable ornaments31 which give such a budding flourish to this beautiful garden?

119

Cēti: Ajju'ē! Ajjukā

120

Śāṇdilyah: Ayi! Gani'ā khu iyam! Dhanyā khu sadhanā! oh courtesan indeed this blessèd indeed rich

121

Cēti: Dudī'am vi ēkkam vattu'am gā'adu ajju'ā. a 2nd more one song sing-let Ajjukā

122

Gaṇikā: Tathā. all-right

Madhumāsa-jāta-darpah spring-by born intoxication

kandarpaḥ kāminī-katākṣa- sakhaḥ | Cupid lover's side-glances friend

Api yōginām-iha manō even saints' here minds

vidhyati phullair-aśōka-śaraih ||119|| pierces fullblown ashōka-arrows

123

Śāṇdilyah: A'i mahuram passavadi kamthādō! Śṛṇōtu bhagavān. very sweet flows throat-from listen-let Bhagavān

124

Parivrājakaḥ: Śabda-prayōjanam śrōtram. Prasaṅgam-atra na gachāmi. hearing-function ear intercourse here not have-I'll

125

Śāṇdilyah: Pasaṅgam 'vi sampadam karēśi ja'i dē kārisāpanā bhavēyuḥ! intercourse indeed right-away you'd-do if you-to money had

126

Parivrājakaḥ: Ā! Apēhi! Yukta- vyavahārī bhava. ah get-out proper talker be

127

Śāṇdilyah: Mā kupya. Ajuttam pavvāja'ānaṁ kuppidum. don't be-angry improper mendicants-for angry-to-get

128

Parivrājakaḥ: Ēṣa na vyavaharāmi. here not speak-I

129

Śāṇdilyah: 'Dānim paṇdidōsi. now pundit you're

119

Parabhṛithikā: Ajjukā.

120

Disciple: Oh, she’s a courtesan! Blessèd are the rich!

121

Parabhṛithikā: Let Ajjukā sing another song.

122

Courtesan: All right.

122

The friend of young ladies’ side-long glances, The God of Love, intoxicated by the spring season, With an arrow of full-blown ashōka flowers, Pierces here even yōgis’ seat of passion! (19)

123

Disciple: How sweetly it flows from her throat! Let the Bhagavan listen!

124

Mendicant: The function of the ear is to listen, but I’ll not have any intercourse with such things.

125

Disciple: You’d have intercourse right now, if you only had money!

126

Mendicant: Oh, go on! Talk properly!

127

Disciple: Don’t get angry. It’s not proper for sannyāsins to get angry.

128

Mendicant: I won’t say a word now.

129

Disciple: Then now you are a pundit.32

(Tataḥ praviśati yama- puruṣaḥ)

then enters Yama's Agent

130

Yamapuruṣaḥ: Eṣa bhōḥ:

here oh

Bhūtāni yō harati karma- hatāni lōkē

earthlings who steals activities finished world-in

yaḥ prāṇinām̐ sukṛta-duṣkṛta-karma-sākṣī |

who creatures good evil deeds witness

Uktōsmi tēna śamanēna yamēna dēhē

told-am-I him-by Destroyer-by Yama-by body-in

prāṇān-prajāvadhi-vidhau viniyōjayēti ||20||

souls people's-end at disjoin thus

Tasmāt:

therefore

Nānā- rāṣṭra- madī- vanācalavatīṁ bhūmiṁ samālōkayan-

various countries rivers forests-mountains-over earth beholding

mēghais-tōya-bharāvanamra- nicayaih pracchādyamānō bhrśaṁ |

clouds-by water laden-hanging massed enveloped-threatened turbulent

Tīrṭvā cāraṇa-siddha-kinnara-yutaṁ vātōddhatābhrāṁ nabhaḥ

crossing Chāraṇa Siddha Kinnara full-of wind-disturbed-clouds sky

samprāptōsmi yamēna yatra vihitas- tarkād- ivāhaṁ puram ||21||

arrive-I Yama-by where appointed thought-by like-I city

Tat- kva nu khalu sā?

now where indeed she

(Vilōkya)

seeing

Ayē! Iyaṁ sā!

ah this she

Sa- pallavais-tapta-suvarṇa-varṇair-aśōka-puṣpa-stabakair-manōjñaih |

amid sprouts molten golden colors ashōka flower bunches-by attractive

Antarhitā bhāti varāṅganaīṣā sandhyābhrajālair- iva camdra-lēkhā ||22||

hidden shines courtesan-this evening-cloud-group like moon- crescent

Bhavatu. Asty-asyāḥ karmāśēṣaḥ. Muhūrtam̐ sthitvā prāṇān-harāmi.

all-right is her activity-remainder awhile-for wait life steal-I

Ajjukē! Darśanīyaḥ khalv- ēṣōśōka- kisalayāḥ. Ēnaṁ grhṇāmi.

131

Cēṭī: Ajju'ē! Dassaṇī'ō khu ēsō asō'a kisaḷa'ō.

Ajjukā good-looking indeed this ashōka bud

'Naṁ gahṇāmi.

this pick-I

132

Gaṇikā: Mā mā! Ahaṁ ēva gahṇāmi!

no no I only pick-I

(Then Yama’s Agent enters)

130

Yama’s Agent: Oh, here I am!

I’ve been told by Yama, the Destroyer,

Who takes away the souls of those whose activities in this world are over,

Who’s witness to the good and evil conduct of every sentient being,

That it’s I who must separate people’s souls from their bodies when life’s fleeing. (20)

Therefore:33

Soaring over various kingdoms, above rivers, forests, mountains, beholding the earth,

With turbulent masses of rain-heavy clouds threatening to envelop me,

I cross the wind-scudded sky filled with the Chāraṇa,34 Siddha,35 Kinnara,36

And quick as thought, I reach this city, the place appointed by Yama! (21)

Where is she now?

Ah, there she is!

(Seeing)

‘Mid lovely clusters of the tender buds

Of ashōka flowers, the hue of molten gold,

This courtesan shines like the crescent moon

Hiding among the clusters of clouds at sunset. (22)

All right, she still has a little time left. I’ll wait awhile, and then snatch away her life.

131

Parabhṛithika: Ajjuka, this ashoka bud looks nice. I’ll pluck this one.37

132

Courtesan: No! No! I’ll pluck that one myself.

133

Yamapuruṣah: Ayaṁ sa dēśa-kālaḥ. Yāvat-sarpatvam-upagamyaśōka-śākhāyaṁ sthitvā asyāḥ prāṇān-harāmi. Ayam-idānīṁ: life steal-I this now

Śyāmāṁ prasanna-vadanāṁ madhura-pralāpāṁ mattāṁ viśāla-jaghanāṁ vara-candanādrāṁ | Raktōtpalābha-nayanāṁ nayanābhirāmāṁ ḳṣipraṁ nayāmi yama-śādanam-ēva bālām ||23|| dusky (one) pleasant- faced sweet talker passionate broad- hipped best sandal-wetted (one) red- lily- bright eyed (one) eye- appealing (one) soul carry-I Yama's abode only young (one)

134

(Gaṇikā pallavāpacayaṁ karōti) Ayaṁ sandaṁśa-kālaḥ! (Tathā karōti) Courtesan sprout-picking does this biting time that does-he Haṁ! Kēnāpi daṣṭāsmi! ah something-by bitten-am-I

135

Cēṭī: (Taru-śākhāṁ vilōkya) Ajjukē! Ēśōśōka pallavāntaritō vyālaḥ! tree branch looking-into Ajjukā this ashōka buds-inside snake Haṁ! Vyālaḥ! ah snake (saying)-thus falls-she

136

Gaṇikā: Haṁ! Vālō! (Iti patitā) ah falls-she Bhavati! Kim-idam? what-is-it?

137

Śāṇḍilyah: (Upagamya) Bhōdi! Kim ēdam? approaching lady what this

138

Cēṭī: Arya! Ēśā ajju'ā valēna daṣṭā! sir this Ajjukā snake-by bitten Āpihā! Bhō bhagavan! Ēśā gaṇikā- dārikā vyālēna daṣṭā! alas! O Bhagavan! this courtesan-child snake-by bitten

139

Śāṇḍilyah: Avihā! Bhō bha'avaṁ! Ēśā gaṇi'ā- dāri'ā vālēna daṭthā! alas O Bhagavan! this courtesan-child snake-by bitten

140

Parivrājakah: Kṣīṇēbāsyāḥ karmanā bhavitavyam. Kutah: expended-her activity is for Sva- karma-bhōktuṁ jāyantē prāyēṇaiva hi jantavaḥ | Kṣīṇē karmani cānyatra punar-gacchanti dēhināḥ ||24|| one's activity reaped born-are destined-only - creatures expended activity & elsewhere again go embodied

141

Cēṭī: Kim bādhatē? what pains

142

Gaṇikā: Sīdadi vi'a mē sarīram. Ud-bhramaṇtīva mē prānāḥ. Śayitum- icchāmi. weak like my body up-whirling- like my life lie-down want-I Sīdatīva mē sarīram. Ud-bhramanti-va mē prānāḥ. Śayituṁ- icchāmi. weak like my body up-whirling- like my life lie-down want-I Sa'idum icchāmi. lie-down want-I

143

Cēṭī: Sukhaṁ śētām- ajjukā comfortably lie-down Ajjukā Suhaṁ sa'adu ajju'ā. comfortably lie-down Ajjukā

133

Yama's Agent: Here's my opportunity. In a moment, I'll transform myself into a snake and, hiding in the ashōka branches, I'll snatch away her life. But first, this:

Dusky young woman with sweet speech and lovely face,

Broad hips, body painted with excellent sandal paste,38

Passionate, bright pink lotus eyes, most pleasing grace,

I'll carry her soul to Yama's place. (23)

(The Courtesan picks the bud) Now's the time to bite! (He bites)

134

Courtesan: Ah! Something bit me!

135

Parabhrithikā: (Looking into the branches of the tree) Oh, no! There's a snake hiding in these ashōka blossoms!

136

Courtesan: Ah! A snake! (She slumps down)

137

Disciple: (Approaching) Lady, what is it?

138

Parabhrithikā: Sir, my mistress has been bitten by a snake!

139

Disciple: Alas! O Bhagavan, a snake has bitten this young courtesan!

140

Mendicant: Her time must be up. Because:

In order to reap the fruit of their deeds,

Creatures are born as Fate ordains;

When their time is up, their souls become

Embodied somewhere else again. (24)

141

Parabhrithikā: Are you in pain?

142

Courtesan: I'm feeling faint! It's as if my life39 is whirling away! I want to lie down.

143

Parabhrithikā: Lie down and rest, Ajjukā.

144

Hañjē! Mātaram-abhivādaya. Ganikā: Hanjē! 'Attaṁ abhivādēhi. dear mother pay-respects-to

145

Svayam-ēva gatvā mātaram- abhivādaya nanu. Cēṭī: Sa'aṁ ēvva gadu'a 'attaṁ abhivādēhi naṁ. yourself only will-go mother pay-respects-to -

146

Rāmilakam- āliṅga. Ganikā: Rāmila'aṁ āliṅgēhi. (Iti mūrchitā patati) Rāmilaka embrace thus unconscious falls-she

147

Hā! Hatā khalv- ajju'ā! Cēṭī: Hā! Hadā khu ajju'ā! ah dead indeed Ajjukā!

148

Yamapuruṣaḥ: Hanta! Hṛtāḥ prāṇāḥ. Ēṣa bhōḥ: ah snatched life(her) this oh

Gaṅgām-uttīrya vindhyāṁ śubha-salilavahāṁ narmadām-ēṣa sahyaṁ gōlēyīṁ kṛṣṇa-veṇṇāṁ-paśupati-bhavanaṁ suprayōgāṁ ca kāñcīṁ | Kā vērīṁ tāmaraparnīṁ-atha malaya-giriṁ sāgaram laṅghayitvā vēgād-uttīrya laṅkaṁ pavana-sama-gatiḥ prāptavān dharmadēśam ||25|| (Niskrāntah) Ayam viśāla-śākhō vata- vrkṣaḥ. Atrāsiṅaṁ citraguptam் nayāmi. this wide-de- branched banyan tree there-sitting Chitragupta carry-I exits-he

149

Hā! Ajjukē! Cēṭī: Hā! Ajju'ē! ah Ajjukā

150

Śāṇḍilyah: Bha'avaṁ! Parityajaty- ēṣā gaṇikā- dārikātmanaḥ prāṇān. Bhagavan giving-up this courtesan-child her life

151

Parivrājakah: Mūrkha! Parama-priyā hi prāṇināṁ prāṇāḥ. fool extremely dear indeed creatures-to life

Prāṇair-ēva parityajyatē śarīram-iti vaktavyam. - life-by being-given-up body thus said-should-be

152

Śāṇḍ.: Ayēhi! A'aruna nissinēha akaruṇa karkaśa-hrdaya duṣṭa- buddhē bhinna-cāritta kūra-sa'ada mudhā-munda ... go-away merciless unlovīng hard- hearted evil- minded disreputable rice-cart vain- shaven

153

Parivrājakah: Kim- abhiprētam் bhavatā? what intention (your)-is

154

Nāmāśtaśatam் tē pūrayisyāmi. Śāṇḍilyah: Nāmaṁttasadam dē pūra'issam. names 108 your finish-may-I

155

Parivrājakah: Chandatah. as-you-wish

144

Courtesan: Dear, give my respects to Mother.

145

Parabhṛithikā: You, yourself, will go and pay your respects to her.40

146

Courtesan: And embrace Rāmilaka. (Saying this, she collapses)

147

Parabhṛithikā: Oh! Ajjukā is dead!

148

Yama's Agent: There! Her life has been snatched away. Now this:41

148

Crossing the Gangā, the Vindhyas,

148

and the Narmadā with its pure waters,

148

The Sahya range, the Gōdāvarī and Krishnā rivers,

148

the Pashupati temple, the Suprayōgā river, and Kān̄chī,42

148

Next, the Kāvērī and Tāmraparṇī rivers, the Malaya hill,

148

crossing the ocean,

148

Speedily passing beyond Lañkā,

148

swift as the wind I reach the land of Yama. (25)

148

There's the wide-branched banyan tree. I'll take her soul to Chitragupta43 who is sitting there. (He exits)

149

Parabhṛithikā: Oh, Ajjukā!

150

Disciple: Bhagavan, this young courtesan has given up her life!

151

Mendicant: Fool! Life is very precious to living creatures. What ought to be said is that life has given up the body.

152

Disciple: Go away, you merciless, impotent and unloving, hard-hearted, evil-minded, disreputable, cart full of boiled rice,44 vainshaven . . .

153

Mendicant: What are you up to?

154

Disciple: Let me finish chanting all of your one hundred and eight names!45

155

Mendicant: As you please.

156

Śāndilyah: Bhō bha'avamin! Dukkhidōhmi! O Bhagavan despair-I

157

Parivrājakah: Kimartham? what -for

158

Śāndilyah: Asmākaṁ svajana ēṣā. Ahmāṅaṁ sa'anō ēsā. us-to related she

159

Parivrājakah: Kathaṁ svajanō nāma? how related -

160

Śāndilyah: Ēṣā'vi pavvāja'tā vi ṇa kiṁci- siṅehaṁ karēdi. Ēsā 'vi pavvāja'āṅaṁ vi ṇa kimci- sineham karēdi. she even mendicant - like not slightest attachment has

161

Parivrājakah: Durlabha-siṅhō'pi bhūyōrthayōgāt snihyata iti yuktam. Kutah: devoid-of attachment-tho' again value-due-to attaches thus usually for

161

Yē nirmamā mōkṣam anu- prapannāḥ śāstrōpadisṭēna pathā prayānti | Tēṣām api prīti- parāṅmukhānāṁ gunēṣv-apēkṣāṁ hṛdayam karōti ||26|| who detached salvation pursue-attain śastra-rule-heeding path go those-to even ties-from turned-from-have value-in interest heart shows

162

Śāndilyah: Bhō bhagavan! Na sakkuṇōmi attānaṁ dhārēduṁ. Uvasar'pya rōdimi. O Bhagavan not able myself contain approaching cry-I

163

Parivrājakah: Na khalu na khalu gantavyam! don't indeed don't indeed go

164

Śāndilyah: Mā kupya! Ayuktam parivrājakānāṁ kōpitum. Mā kupya! Ajuttam pavvāja'āṅaṁ kuppidum. (Upasṛtya) don't angry-get improper mendicants-for angry-to-get going near (her)

164

Hā ajju'ē! Hā pi'asaṁpaṇē! Hā madhura- gāyani! ah Ahjjukā ah dearest ah sweet- singer

165

Cēti: Arya! Kim- idam? Ārya! Kim- idam? sir what this

166

Śāndilyah: Bhōdi! Siṅehō. Bhavati! Snēhah. lady compassion

167

Cēti: (Ātmagatam) Yujyatē Juija'i savvāṇukampī sāhu-jaṇō nāma. Yujyatē sarvānukampī sāhu-jaṇō nāma. herself-to well all-compassion good-people are

156

Disciple: O Bhagavan, I'm suffering, grieving!

157

Mendicant: What for?

158

Disciple: She's one of our own.

159

Mendicant: How's she one of us?

160

Disciple: Like sannyāsins, she hadn't the least sense of loving attachment.46

161

Mendicant: Money, anything of value, arouses again the sense of attachment in the unattached. For:

161

Even those who have attained emancipation from attachment,

161

And along the path of shāstraic practice go,

161

Those who have turned away from family ties,

161

Their hearts an interest in things of value show.47 (26)

162

Disciple: O Bhagavan, I can't contain myself! I'll go to her and cry!

163

Mendicant: No! Don't go!

164

Disciple: Don't get angry. Sannyāsins should not get angry.

164

(Going near the Courtesan) O Ajjukā! O dearest one! O sweet singer!

165

Parabhrithikā: Sir, what is this?

166

Disciple: Compassion, lady.

167

Parabhrithikā: (To herself) Well, good people are compassionate to all.

168

Bhavati! Āmrśāmi tāvad-ēnām. Śāṇdilyah: Bhōdi! Āmissāmi dāva 'nam. lady touch-I her Prabhavati khalv-āryah. 169 Cēṭī: Pabhavadi khu ayyō. may-do indeed sir

170

Hā! Bhavati! Śāṇdilyah: Hā! Bhōdi! (Pāḍau sprśati) ah lady feet touches (he)

171

Cēṭī: Mā- nu pāḍāni āmissiḍum! don't - feet touch Mā- nu pāḍāni āmissiḍum! don't - feet touch

172

Śāṇḍil.: Ā! Ā'ulā'ulāhmi. Sīsaim pāḍaim ṇa jāṇāmi. Ēdāni tāla-phala-pīṇāu kālē'a- caṃḍaṇā ālittāni ah upset-am-I head foot can't discriminate these palm nuts plump black sandal anointed sthanāv- anadhō- mukhau tatra-bhavatyā adhanyasya mama jīvantyā nāśiditāu. thanāṇi anadhō muhāṇi tatta- hōḍi'ē adhaṇṇassa mama jīvaṃti'ē ṇa āsādidāṇi. breasts non-sagging tips/faces her-by ill-fated me living not felt

173

Cēṭī: (Ātmagatam) Ēvva dāva karissami. (Prakāśam) Ayya! Muhutta'm ajju'am padivālēḍu herself-to thus will do-I aloud sir moment-for Ajjukā look-after yāvan- mātaram-ānayāmi. jāva 'attam ānēmi. while Mother bring-I

174

Śāṇdilyah: Gaccha siṅgham! Aham khalu mātā amātrkānām. Gaccha siggham! Aham khu 'attā anattāṇam. go quickly I indeed motherless-to I quickly son motherless-to

175

Cēṭī: (Ātmagatam) Sānukkōśō ēsō brahmaṇō ajju'am ṇa parittajadi. Yāvad-gacchāmi. Jāva gacchāmi. (Iti niṣkrāntā) herself-to compassionate this Brāhmin Ajjukā not leave will go-I thus exits-she

176

Śāṇdilyah: Gadā ēsā! Sēra'm rōḍāmi. Hā ajju'ē! Hā madhura- gāyaṇi! gone-she heart-cont. cry-I'll ah Ajjukā ah sweet singer

177

Parivrājakaḥ: Śāṇḍilya! Na kartavyam-ētat. Śāṇḍilya! not to-be-done this

178

Śāṇdilyah: Ā! Apēhi nisnēha! Mām-api tvam-iva tarkayasi? Ā! Aveni nissinēha! Mani 'ṇi tuvam vi'a takkēsi? ah away unloving (one) me also you like think-you ah away unloving (one) me also you like think-you

179

Parivrājakaḥ: Āgaccha vatsa! Adhiṣva tāvat! come son learn - Bhagavan! Kim cikitsyatām tāvad-ēṣā anāthā tapasvinī? Bhagavan how treat-to - this helpless poor-girl

180

Śāṇdilyah: Bha'vam! Kim cikicchī'adu dāva ēsā anāhā tavassini? Bhagavan how treat-to - this helpless poor-girl

181

Parivrājakaḥ: Kim-auṣadha-sāstra'm bhavataḥ? what medical science you (want)

168

Disciple: Lady, I'll touch her.

169

Parabhrithikā: You may do it, sir.

170

Disciple: O Mistress! (He touches her feet)

171

Parabhrithikā: No! Don't touch her feet!48

172

Disciple: Oh, I'm so terribly upset, I can't make out head or foot. These firm, round, palmyra-fruit-breasts of hers, with black sandal paste painted49 round their tips, faces pointing up - ah, it's my bad luck not to have felt them when she was alive!

173

Parabhrithikā: (To herself) I'll do this. (Aloud) Sir, look after Ajjukā for a moment, while I go and bring her mother.

174

Disciple: Go quickly! I'll be a mother to the motherless.

175

Parabhrithikā: (To herself) This Brahmin is compassionate. He won't leave Ajjukā. I'll go. (She exits)

176

Disciple: She's gone! I'll cry to my heart's content. O Ajjukā! O sweet singer! (He weeps)

177

Mendicant: Shāṇḍilya, don't do this!

178

Disciple: Ah, go away you heartless man! Do you think I'm like you?

179

Mendicant: Come, son, learn.

180

Disciple: Bhagavan, how to treat this poor, helpless girl?

181

Mendicant: What! Do you want to learn the medical shāstras?

• 75 -

Agham- tē yōgaysa phalam!

182 Śāndilyah:

Agham dē jō’assa phalam! sin your yoga's fruit

183 Parivrājakaḥ: (Ātmagatam)

Ēśa khalu tapasvī kartavyābōdhyatayā āśrama-padam pavādam himself-to this indeed poor-guy duty-ignorance-by hermitage conduct improper-conduct

ca na jānāti. Kimcic-chrutam mahēśvarādibhir- yōgācāryair- mahadbhiḥ śiṣyānukrōśaḥ saṅgam & not know little heard Mahēśvara & others-by yōga-āchāryas-by great disciple-pity involvement

na bādha iti. Tad- asya pratyayōtpādanam kariṣyē. Īdrśō yōga iti. Asyā gaṇikāyās-śarīrē not disturb thus thus his conviction-raise do-I show yōga thus this courtesan- body-in

ātmānaṁ niyōjayāmi. myself join-I’ll

(Yōgēnāviṣṭaḥ) yōga-by excited

184 Gaṇikā: (Utthāya)

Śāndilya! Śāndilya! getting-up Śāndilya Śāndilya

185 Śāndilyah: (Saharṣam)

Avihā! Jīvadi! Paccā’adap- pāṇā khu ēsā. Bhōdi! A’ahmi. joyfully hey lives-she come-back life indeed she dear here-am-I

186 Gaṇikā:

Aprakṣālita-pānibhyam mā spṛkṣiḥ. unwashed hands-by don’t touch

187 Śāndilyah:

Ati- cōkṣinī khalv- iyam! Adi-cōkkihin khu i’am! very pure-one indeed this (girl)

188 Gaṇikā:

Ēhi vatsa. Adhiṣva tāvat. come son learn

Ihāpy-adhyayanam! Bhagavantam- ēvōpasarpāmi. Bhō bhagavan! Ayi mrtaḥ here too learning Bhagavantam- ēvōpasarpāmi. Bhō bhagavan! Ayi mrtaḥ

189 Śāndilyah:

Iha’vi ajjha’anam! Bha’avaṁtam ēvva uvasappāmi. (Upagamya) Bhō bha’avaṁ ! A’i mudō here too learning Bhagavan only approach-I’ll approaching O Bhagavan ah dead

khalu bhagavān! Hā vācālaka! Hā ati- yōga- vitta! Hā upādhyāya! Ēvaṁ bahu- jānantō’pi mriyantē! khu bha’avō! Hā vācāla’a! Hā adi- jō’a- vitta! Hā uvajjhā’a! Ēvvaṁ bahu-jānaṁtō’vi maramti! indeed Bhagavan ah eloquent (one) ah great yōga-of treasure ah teacher even much-knowers-too die

(Tataḥ praviśati mātā cēṭī ca) then enter Mother Maid &

190 Cēṭī:

Ēdu ēdu 'attā. come Mother

191 Mātā:

Kahim kahim mē dārikā? where where my daughter

192 Cēṭī:

Ēsā ajju’ā uyyānē vālēna datthā. this Ajjukā park-in snake-by bitten

Hā! Hatāsmi manda- bhāgyā! ah dead-I’m ill- fated (one)

193 Mātā:

Hā! Hadahmi mamda-bhā’ā! ah dead-I’m ill- fated (one)

182

Disciple: Sin is the fruit of your yōga!

183

Mendicant: (To himself) This poor fellow has no sense of proper conduct. He doesn’t know what is proper for ascetics and what isn’t. I’ve heard somewhere that Mahēshvara and other great teachers of yōga maintain that the involvement which is out of pure, altruistic concern for one’s disciple is harmless. Therefore, I’ll help the seed of conviction sprout in him by demonstrating the real power of yōga. I’ll inject my self into the body of this courtesan.

183

(The Mendicant enters a yōgic trance)

184

Courtesan: (Getting up) Shāṇḍilya! Shāṇḍilya!

185

Disciple: (Joyfully) Ah, she’s alive! Her life has come back! My dear, I’m here!

186

Courtesan: Don’t touch me with unwashed hands!

187

Disciple: She’s a very pure one, she is!

188

Courtesan: Come, son, learn.

189

Disciple: Here also learning! I’ll go to the Bhagavan. (Approaching the Bhagavan) O Bhagavan! Ah! The Bhagavan’s dead! O eloquent one! O great treasure of yōga! O teacher! . . . Even great scholars die!

189

(Then enter the Mother and the Maid, Parabhrithikā)

190

Parabhrithikā: Come, come, Mother.

191

Mother: Where, where is my daughter?

192

Parabhrithikā: Ajjukā was bitten by a snake in this park.

193

Mother: Ah! I’m finished, ill-fated one that I am!

Samāśvasitu samāśvasitu mātā! Ēśā ajjukā satva- sthitā!

194

Cēṭī: Samassasadu samassasadu 'attā! Ēśā ajuu'ā sattha-tṭhidā! bear-up-let bear-up-let Mother this Ajjukā alive standing

195

Mātā: Nan u prakṛtisthā yathā! Jātē vasantasēnē! Kin-idam? not normal at all daughter Vasantasēnā what this

196

Gaṇikā: Vṛṣala-vṛddhē! Mā sprākṣīh! base old-woman don't touch

197

Mātā: Hā-dhik! Kim idam? ah curse! What this?

198

Cēṭī: Accārūdhaḥ sō visa- vē'ō. much-increased that poison effect

199

Mātā: Gaccha siggham vaidyam ānēhi. go quickly doctor bring

200

Cēṭī: 'Attē taha. (Niṣkrāntā) Mother all-right exits-she

(Tataḥ praviśati rāmilakaś-cēṭī ca) then enter Rāmilaka Maid &

201

Cēṭī: Jēdu jēdu āvuttō. Āvuttam- a-prekṣamaṇa samtapati ajjukā. succeed-let succeed-let succeed. not-seeing pining-is Ajjukā

202

Rāmilakaḥ: Icchāmi tāvad-asyāḥ desire-I - her

kala- madhura-vacō mukham viśālākṣyāḥ | sound sweet speech face large-eyed-one's

Madhu-pa-vratōbhipātum bee fit-to-drink

vikasitām-iva kōmalam kamalam ||27|| blossom like tender lotus

(Upētya) Katham māṁ dṛṣṭvā parāvṛtta-mukhī sthitā? (Vastrāntam grhṇan) going-near how me seeing turned face stands? cloth-end grasping

Ētan-nivartaya sugātri mukhāravindam- this turn shapely-one face-lotus

īṣat- taraṅga-parivṛttam-ivāravindam | little waves turned like-lotus

Pṛṇāti nāma tava vaktram- a-sarva-dṛṣṭam- delights - your face not-fully seen

alpālpa-pītam-iva pāni-puṭēna tōyam ||28|| little-little drunk like hand-palm-by water

194

Parabhr̥thikā: Take heart! Take heart, Mother! Ajjukā's standing there, alive!

195

Mother: She's not at all well! (Approaching her) Daughter Vasanthasēnā, what's the matter?

196

Courtesan: Don't touch me, you base, old woman!

197

Mother: Oh, curse! What's happening?

198

Parabhr̥thikā: It's the effect of the poison - it's gone to her head!

199

Mother: Go quickly and bring a doctor!

200

Parabhr̥thikā: All right, Mother. (She exits)

(Then enter Rāmilaka and the Maid, Madhukarikā)

201

Madhukarikā: Best of luck, dear Brother-in-law. Ajjukā's been upset, not seeing you.

202

Rāmilaka: I want a sip from her sweet face, Source of melodious words, with large-eyed grace, Tender as the lotus in full bloom, Fit for a bee to suck honey from. (27)

(Approaching her) How is it, that having seen me, she stands there turning away her face? (He grabs the end of her clothing)53

As riplets turn a lotus, Turn your lotus face, O shapely grace! As sips of water from the palm, Its slow unfolding sight gives much delight! (28)

203

Gaṇikā: Bhōs-tāmisra! Mucyatāṁ mama vastrāntaḥ. O dimwit let-go my cloth-end

204

Rāmilakaḥ: Bhavati! Kim- idam? dear what this

205

Mātṛā: Jadap-pahudi vālēna daṅṭhā tadap-pahudi asambaddhaṁ mantēdi. Yadā prabḥṛti vyālēna daṣṭā tadā prabḥṛty-asaṁbaddhaṁ mantrayatē. from the-time snake bitten from then incoherently speaking

206

Rāmilakaḥ: Ēvam: that-so Vyaktam-asyā gataṁ cētas-tataś- śūnyē tapasvinī | obvious her gone consc. which-due-to void-in poor-girl Śarīrēṇyēna kēnāpi satva-yuktēna dharṣitā ||29|| body-in another-by power having-by possessed-is (Praviśya vaidyas- cēṭī ca) enter Doctor Maid &

207

Cēṭī: Ēdu ēdu ayyō. Ētv- ētv- āryaḥ. come come sir

208

Vaidyaḥ: Kahim sā? Kutra sā? where she

209

Cēṭī: Ēsā khalu ajjukā satva- sthitā! Ēsā khalu ajju’ā sattha-tṭhidā! this indeed Ajjukā alive standing

210

Vaidyaḥ: Dharṣitā mahā- sarpēṇa khāditā bhavēt. Dhassidā mahā-sappēna khādidā bhavēe. possessed great snake-by eaten has

211

Cēṭī: Kaham ayyō jānāti? Katham- āryō jānāti? how sir knows

212

Vaidyaḥ: Mahāmtam vi’āram karēdi.tti. Ānēhi mama sarvārambhāṁi dāva ārambhāmi visa-tamtē. great change caused thus bring my all-instruments- let begin-me poison-science-in

(Upaviśya mandalam racayitvā) Kuṇḍala kutila-gāmini maṇdalam praviśa! Praviśa! Vāsu’i- putta sitting magic-circle making Kuṇḍala kudila-gāmini maṇdalamm pavisa! Pavisa! Vāsuki- putta tiṣṭha! Tiṣṭha! Śrū! Śrū! Yāvaś-śirā-vēdhaṁ kariṣyāmi. Kutra kuṭhārikā ciṭṭha! Ciṭṭha! Śū! Śū! Jāva sirā-vēhaṁ karissam. Kahim kuṭhāri’ā? stop stop shroo shroo - head breaking do-I where scalpel

213

Gaṇikā: Mūrkha-vaidya! Alam pariśramēṇa. idiot doctor enough trouble-by

214

Vaidyaḥ: Pittam apy- asti. Aham tē pittam vātaṁ ślēṣma ca nāśayāmi. bile also is I your bile rheum phegm and eliminate-I

203

Courtesan: O ignoramus! Let go of the end of my clothing!

204

Rāmilaka: My dear, what is this?

205

Mother: From the time she was bitten by a snake, she’s been talking incoherently.

206

Rāmilaka: Is that so? Poor girl, when her consciousness left, it’s manifest Her body by some demonic power was possessed. (29)

(The Doctor and the Maid, Parabhrithikā, enter)

207

Parabhrithikā: Come, come, sir.

208

Doctor: Where is she?

209

Parabhrithikā: Ajjukā’s there. She’s still alive!

210

Doctor: She’s been attacked and bitten by a very big snake!

211

Parabhrithikā: How do you know, sir?

212

Doctor: Because her behavior is very strange, unnatural! Bring all my instruments. Let me begin with the treatment for poison. (He sits down and makes a magic circle) Coiling, crooked-moving one, enter this magic circle! Enter! Son of Vāsuki, stop! Stop! Shroo! Shroo! Or I’ll break your head! Where’s my scalpel?

213

Courtesan: You stupid doctor, don’t trouble yourself!

214

Doctor: Ah, ‘paithiyam’! - a touch of madness, eh? I’ll cure you of ‘pittam’, ‘vātam’, and ‘ślēṣma’.54

• 81 -

215 Rāmilakaḥ

Bhōḥ kriyatām yatnaḥ. Na khalv-akṛtajñā vayam. oh make attempt not indeed ungrateful we Sundara- gulikārin vyāla-vaidyam- ānayāmi.

216 Vaidyah

Sum̐dara-gulī'am̐ vāla- vējjam̐ ānēmi. (Niṣkrāntaḥ) (Tataḥ praviśati Yama- puruṣaḥ) beautiful tablet snake-treatment-for bring-I exits-he then enters Yama's Agent

217 Yamapuruṣaḥ

Bhoḥ bhartsitōsmi yamēna. oh abused-was-I Yama-by Na sā vasantasēnāyam kṣipraṁ tatraiva niyataṁ | Anyā vasantasēnā sā kṣṇāyus-tām-ihānaya ||30|| not that Vasanthasēnā-this quickly there-itself take-back other Vasanthasēnā-her time-up-is her here-bring

Yāvad-asyāś-śarīram-agni-samyyōgaṁ na svīkarōti tāvat-sa-prāṇam-ēnāṁ karōmi. if her body fire contact not received then with life her make-I (Vilōkya) Ayē utthitā khalv- iyam! Bhōḥ! Kinnu knalv-idam? seeing hey up indeed she oh what indeed this

Asyā jīvō mama-karē utthitaisā varāṅganā | Āścaryam paramam lōkē bhuvi pūrvam na dṛśyatē ||31|| her soul my hands-in stands this courtesan wonder extreme world-in earth-on past not seen

(Sarvatōvalōkya) Ayē!Atra-bhāvan yōgī parivrājakāḥ krīḍati. Kim- idānīm kariśyē? Bhavatu dṛṣṭam. around-looking aye this fellow yōgī mendicant playing-is what now done-can-be all-right seen-is Asyā ganikāyā ātmānam parivrājaka-śarīrē nyasya avasitē karmaṇi yathāsthānaṁ viniyōjayāmi. this courtesan's soul mendicant's body-in putting-in finished action proper-place-in put-I

(Tathā kṛtvā) thus doing Ētē vipra- śarīrēṣmin strī- prāṇā viniyōjitāḥ | Yathā satvaṁ yathā- śīlaṁ prayō yāsyanti vikriyāṁ ||32|| this Brahmin body-in woman-life put-in-is accd.-to nature accd.-to behavior surely attain-will change

(Niṣkrāntaḥ) exits-he

218 Parivrājakah

(Utthāya) Parabhṛtikē! Parabhṛtikē! Parahudi'ē! Parahudi'ē! getting-up Parabhṛtikā Parabhṛtikā

219 Sāṇḍilyah

Aviḥā! Pacc-āgada-ppāṇō khu bha'avō. Ā! Tarkāyāmi duḥkha-bhāginō na mriyanta iti. hey back-comes life indeed Bhagavan ah deduce-I misery- allotted don't die thus Kutra kutra rāmilakaḥ? where where Rāmilaka

220 Parivrājakah

Kahim kahim rāmila'ō? where where Rāmilaka

221 Rāmilakah

Bhagavann-ayam-asmi. Bhagavan here am-I

215

Rāmilaka: Oh, do try! We won't be ungrateful.

216

Doctor: I'll bring a beautiful tablet and the book on the treatment of poisonous snakes!55 (He exits) (Then Yama's Agent enters)

217

Yama's Agent: Oh, Yama shouted at me: "This Vasanthasēnā is not the one, Quick, take her back there! "Another Vasanthasēnā, whose time is up, Go bring her here!" (30) Let me restore her life before her body is cremated! (Noticing her) Hey! She is up! Oh, what is this? The courtesan stands, Yet her soul's here in my hands! The world has never before seen Such an amazing thing! (31) (Looking all around) Aye! This yōgi sannyāsi fellow is having a good time. What shall I do now? Yes, I see a way. I'll put the soul of the courtesan into the body of the sannyāsin, and, when the fun is over, I'll exchange their souls properly. (He does it) The woman's animating soul, coupled with this Brahmin's body, Will surely change his nature and behavior! (32) (He exits)

218

Mendicant: (Getting up) Parabhrithikā! Parabhrithikā!

219

Disciple: Hey! Life has come back to the Bhagavan! I have to conclude that those whose lot in life is misery just never die!56

220

Mendicant: Where, where is Rāmilaka?

221

Rāmilaka: Bhagavan, I'm here.

222

Śāṇḍ.: Bha'van! Kim ēdam? Kuṇḍikā- grahaṇōcitah vāma-hastah śaṅkha-valaya-pūrita iva mē pratibhāti. Bhagavan! what this water-pot holding-worthy left- hand shell- bangles full-of as-if me-to seems

223

Parivrājakaḥ: Rāmila'a āliṅgēhi mam. Rāmilaka embrace me

224

Śāṇḍilyah: Kimśu'am āliṅgēhi! staff embrace

225

Parivrājakaḥ: Rāmila'a mattā khalv 'am. Rāmilaka drunk indeed I

226

Śāṇḍilyah: Nahi nahi! Unmattah khalu tvam! no no mad indeed you

227

Rāmilakaḥ: Bhagavan-nāma-viruddhah khalv- ayam-ālāpaḥ! Bhagavan- name against indeed this babbling

228

Parivrājakaḥ: Suram pibāmi. liquor drink-I'll

229

Śāṇḍilyah: Visam piba! Bhavatu parihāsa- pramāṇam jñāsyāmi. Naiva bhagavān naiva ajjukā! poison drink all-right farce extent know-I neither Bhagavan nor Aijukā Nēva bha'avō nēva ajju'ā! neither Bhagavan nor Ajju'ā Athavā bhagavadajjukam nāmēdam samvṛttam. Ahava bha'vadajju'am nāma ēdam sam'uttam. well 'Bhagavadajjuka' called this let-be

230

Parivrājakaḥ: Parabhṛtikē! Parabhṛtikē! Āliṅga mām! Parabhṛthikā! Parabhṛthikā! embrace me!

231

Cēṭī: Avēhi! get-away

232

Mātā: Jādē vasamdasēnē! daughter Vasanthasēnā

233

Parivrājakaḥ: 'Attē iyham. 'Attē vam'dāmi. Mother here-am-I Mother salute-I

234

Mātā: Bha'van! Kim ēdam? Bhagavan! what this

235

Parivrājakaḥ: 'Attē! Paccavajānāsi mām! Rāmila'a! Ajja cirā'idam khu tu'ē? Mother know-you me Rāmilaka today delay indeed you-by

222

Disciple: Bhagavan, what is this? Your left hand, worthy of grasping the kuṇḍi'a pot, seems to me as though it is fully ornamented with shell bangles!57

223

Mendicant: Rāmilaka, embrace me!

224

Disciple: Embrace your staff!

225

Mendicant: Rāmilaka, I'm feeling tipsy!

226

Disciple: No! Not at all! You're demented!

227

Rāmilaka: Bhagavan, this babbling is a shame to the mendicant order!

228

Mendicant: I need a strong drink!

229

Disciple: Drink poison!58 . . . All right. Now I've seen the ludicrous taken to the limit. This is Farce!59 This is neither the Bhagavan nor Ajjukā. Better call it 'Bhagavadajjuka'!60

230

Mendicant: Parabhṛithikā! Parabhṛithikā, embrace me!

231

Parabhṛithikā: Get away!

232

Mother: Daughter Vasanthasēnā!

233

Mendicant: Mother, I'm here! My respects, Mother.

234

Mother: Bhagavan, what is this?

235

Mendicant: Mother! Don't you recognize me? Rāmilaka! Why are you so slow today?

236

Rāmilakah: Bhagavan! Na vaśyôsmi! Bhagavan not possessed-am-I

237

Vaidyah: Gulī'ā atthamayā gahīdā ōsadham ca. Na jāně khaṇě jīvissadi marissadi vā 'tti. Uda'am! Uda'am! tablet 8-ingredient brought medicine & not known moment lives dies or thus water water

238

Cēṭī: Uda'm water

239

Vaidyah: Gulī'ām ōghațtha'āmi. Apihā! Na khalv- iyam dașṭā! Āvișṭā khalu bhavēt. tablet crush-I'll hey not indeed this bitten possessed indeed must-be

240

Gaṇikā: Mūrkha vaidya! Vrthā-vrddha! Prāṇinām-antakam-api na jānișē. Katamēnēyam idiot doctor useless old-man creatures' end at-all don't know what-kind-she

241

Vaidyah: Kim ēttha accari'amin? what here surprise

242

Gaṇikā: Śāstram-asti? text is

243

Vaidyah: Atthi prabhūdam vi - sattha- sahasram atthi! are many even with-500 1000 are

244

Gaṇikā: Brūhi brūhi vaidya-śāstram! recite recite medical text

245

Vaidyah: Sunādu hōdī: Śṛṇōtu bhavatī: listen-let lady

246

Śāṇdilyah: Ahō! Vaidyasya abhirūpatā! Ēka- padē vismṛtah! Bhavatu mama vayasya ēva. Idam் pustakam. ohō doctor learnèd first foot-in forgotten let-be my companion - this book Ahō! Vējjassa ahiruvadā! Ēkka-padē visumaridō! Hōdu mama va'assō ēvva. Idam puttha'am. oho doctor learnèd first foot-in forgotten let-be my companion - this book

236

Rāmilaka: Bhagavan! I’m not possessed, wandering about without any responsibilities!

(Enter, the Doctor)

237

Doctor: I’ve brought a tablet with eight active ingredients, and other medicines, too!61 Because we don’t know, from moment to moment, whether she’ll live or die. Water! Water! (Approaching her)

238

Madhukarikā: Here’s water.

239

Doctor: I’ll crush and mix this tablet. . . . Hey! She hasn’t been bitten! She must be possessed!

240

Courtesan: Idiot doctor! You’ve grown old learning nothing! You have no idea about the end of creatures’ lives. Tell us what kind of snake has possessed her!

241

Doctor: Is there anything surprising?

242

Courtesan: Is there an authoritative, shāstraic text?

243

Doctor: Yes, there are many! There are thousands!

244

Courtesan: Recite! Recite from a medical text!

245

Doctor: Listen, lady: “Vātam, pittam, ślē-, ślē- . . .” Oh, the book! The book!

246

Disciple: Oho! The doctor has learned his lessons well! He’s forgotten the first line. Let it be. After all, he’s my type of fellow. Here’s the book.

247 Vaidyah: Sunādu hōdī: listen-let lady

Vātikāḥ paittikāś-caiva ślaiṣmikāś-ca mahā-viṣāḥ | rheum & phlegm & great poisons

Trīṇi sarpā bhavanty-ētē caturthō nādhigamyatē ||133|| three snakes are these fourth not-available

248 Gaṇikā: Ayam-apa-śabdaḥ! Trayah sarpā iti vaktavyam. Trīṇi napuṁsakam bhavati. this wrong-word ‘trayah sarpā’ thus said-should-be ‘trīṇi’ neuter gender is

Apihā! Vaiyyākarana- sarpēṇa khāditā bhavēt! hey grammatical snake-by eaten must-have-been

249 Vaidyah: Avihā! Vaiyyā'karana-sappēṇa khā'idā bhavē! hey grammatical snake-by eaten must-have-been

250 Gaṇikā: Kiyantō viṣa- vēgāḥ? how-many poison stages

Viṣa- vēgāś-śatam. poison stages 100

251 Vaidyah: Visa- vēgā sadaṁ. poison stages 100

252 Gaṇikā: Na! Na! Sapta tē viṣa- vēgāḥ. Tad-yathā: no no seven those poison stages that thus

Rōmāñcō mukha-śōṣaś-ca vaivarnyam caiva vēpathuḥ | horripilation mouth- dry & paling and shivering

Hikkā śvāsaś-ca saṁmōhaḥ saptaitā viṣa- vikriyāḥ ||134|| hiccuping gasping & unconsciousness 7-these poison evils

Sapta-viṣa-vēgān-atikrāntōśvibhyām-api na śakyatē cikitsitum. Athavā vaktavyam-asti-cēd-brūhi. seven poison-stages beyond Ashvins-by even not possible to-treat (possible) to-say is if mention

253 Vaidyah: Na hu ahmānam visaṁ. Naṁ bhagavatyai. Gacchāmi tāvad-aham. (Niṣkrāntaḥ) not indeed our subject salute lady-to go will I exits-he

(Praviśya yama-puruṣaḥ) (enters Yama’s Agent)

254 Yamapuruṣaḥ: Ēṣa bhōḥ: this oh

Garbhasravaiś-ca piṭaka-jvara-karṇa-rōgair-gulmdhi- śūla- hrdayākṣi-śirōrugādyaiḥ | abortions-by & boils- fevers ear- infections-by splenetic-cysts ulcers heart-eye- brain-tumors-by

Asmin-kṣaṇē bahu- vidhaiḥ khalu vidravaiś-ca kṣipraṁ kṛtā yama-purābhimukhāś-ca jīvāḥ ||135|| this moment-in various kinds-by indeed diseases-by & quickly made Yama’s city-facing & creatures

Yāvad-aham-api bhagavat-sandēśam-anutiṣṭhāmi. (Gaṇikām-upagamya) Bhagavan! Mucyatāṁ will I then god’s command carry-out-I Courtesan nearing Bhagavan let-go

vrṣalyāś- śarīram. base-woman’s body

• 88 -

247

Doctor: Listen, lady: "Vātam, pittam, ślēṣma, Deadly poisons three, "They are ‘trīṇi sarpā’,62 There is no fourth to these!" (33)

248

Courtesan: That's bad grammar! You should say ‘trayah sarpā’. The form, ‘trīṇi’ is neuter gender.

249

Doctor: Hey! She's been bitten by a grammatical snake!

250

Courtesan: How many stages of poisoning are there?

251

Doctor: There are a hundred stages.

252

Courtesan: No! No! There are seven stages of poisoning. It's thus: Horripilation, parched mouth, Turning pale, shivering's agitation, Hiccup's, gasping, unconsciousness Are poison's seven steps of deterioration. (34) If it goes beyond these seven stages, even the doctors of heaven, the Ashvins,63 cannot cure it. If there's anything more to be said, tell us!

253

Doctor: This is really not my area of specialization. Salutations to you, lady-Bhagavan. I'll be going. (He exits)

(Yama's Agent enters)

254

Yama's Agent: Oh, this: Abortions, boils, fevers, ear infection, splenetic cyst, Tumors of the heart, eye, and brain I list; This moment, various diseases are instantly compelling Many creatures to face the city where Yama's dwelling!64 (35) I must get on with Yama's orders. (Going near the Courtesan) Bhagavan, come out of the body of the base woman.

• 89 -

255

Gaṇikā: Chandataḥ. as-you-wish

256

Yamapuruṣaḥ: Yathāsyā jīva-vinimayaṁ kṛtvā yāvad-aham-api sva-kāryam-anutiṣṭhāmi. properly soul exchange making will I then my duty follow (Tathā kṛtvā niṣkrāntaḥ) thus doing exits-he

257

Parivrājakaḥ: Śāṇḍilya! Śāṇḍilya! Śāṇḍilya Śāṇḍilya Śāṇḍilya Ēśa khalu bhagavān- pary-avasthitaḥ. this indeed Bhagavan present-is

258

Śāṇḍilyaḥ: Ēśō khu bha'cavō payy-avatthidō. this indeed Bhagavan back-to-normal

259

Gaṇikā: Parabhṛtikē! Parabhṛtikē! Parabhṛti'ē! Parabhṛti'ē! Parabhṛtihikē Parabhṛtihikā Ēśā ajjukā svabhāvēna mantrayatē! this Ajjuka own-nature-by speaks

260

Cēṭī: Ēśā ajju'ā sahāvēṇa maṁtēdi! this Ajjuka own-nature-by speaks

261

Mātā: Jādē vasamdasēṇē! daughter Vasanthasēnā

262

Rāmilakaḥ: Hanta prasannā! Priyē vasantasēnē! Itaḥ! oh clear-one dear Vasanthasēnā here (Gaṇikā miṣkrāntā rāmilakaś-cēṭī sa- parivārā mātā ca) Courtesan exits Rāmilaka Maids with retinue Mother &

263

Śāṇḍilyaḥ: Bha'cavaṁ! Kiṁ ēdaṁ? Bhagavan! what this

264

Parivrājakaḥ: Mahatī khalu kathā. Āvāsē kathayiṣyāmi. (Diśōvalōkya) Gatō divasaḥ. Samprati hi: long indeed story place-at tell-I’ll around-looking gone day now - Astam- gatō hi diṅakṛd-gaganānta-lambī mūṣā mukhastha iva tapta- suvarṇa-rāśih | crucible mouth gold as-if molten gold lump Yasya prabhābhir-anurañjita- mēgha-vṛndam- ālakṣyatē dahana-garbham-ivāntarikṣam ||36|| whose luster-by beauty-suffused cloud- collection looks burning womb like-horizon-on (Niṣkrāntau) exit-both

Bhagavadajjukam samāptam [the play] ‘Bhagavad- Ajjukaṁ’ ends

255 Courtesan: As you wish.

256 Yama's Agent: I'll exchange her soul properly and then carry on with my duty.

(He does this, and exits)

257 Mendicant: Shāṇḍilya! Shāṇḍilya!

258 Disciple: The Bhagavan is back to normal!

259 Courtesan: Parabhṛthikā! Parabhṛthikā!

260 Parabhṛthikā: Ajjukā's speaking like her old self!

261 Mother: Daughter Vasanthasēnā!

262 Rāmilakah: Oh, thank God! Her mind is clear again!

Dearest Vasanthasēnā, come here!

(The Courtesan exits with her retinue: Rāmilaka, Maids, Mother)

263 Disciple: Bhagavan, what is the meaning of all this?

264 Mendicant: It's a long story. I'll tell you when we reach our abode.

(Looking around) The day is at an end. Look!

The setting sun hangs on the horizon

Like a lump of molten gold, from the mouth of a crucible.

The amassed clouds, suffused with this luster,

Look like the flaming womb of heaven! (36)

(The two exit)

The play, 'The Saint-Courtesan', ends

• 91 -

One of seven ancient (c. 7th century, A.D.) carved panels placed in the walls of the Tāntōnriśvara Temple, Kāñchī.

Notes to the Translation

According to tradition, before the beginning of a play, there is a preliminary ceremony, during the pūrvarañga, in which various gods are worshipped. The Nāndī is the hymn - or one of the hymns of praise which conclude this ceremony. Some scholars believe that the actor who plays the part of the Director makes his appearance only after the Nāndī is finished, and then recites or sings the first stanza of the play as an added invocation. But, we have argued elsewhere that this Invocation - the first stanza of the play - is in fact the Nāndī, itself. If this is so, then the actor who plays the part of the Director would make his appearance on stage, recite or sing the first stanza (in our play, the stanza invoking Rudra's protection), and then, assuming the role of the Director, he would enter into the action of the introductory Prologue.

Mahēndra, the king of the gods of the Hindu pantheon, bows his head to Rudra's foot. Rudra (the god Śiva) is being addressed here as the transcendent Supreme Being.

An allusion to the event in mythology in which Rāvaṇa, the demon-king of the island Laṅkā, shook Mount Kailāsa, the abode of Śiva, and Śiva then crushed him painfully with his big toe.

When the Sūtradhāra speaks of his 'house' ('gr̥ham'), there is dhvani in this statement. The surface level of meaning has reference to the 'home' he lives in. But there is also an implied meaning: the 'theater' he works in. The rather subtle ramifications of this metadramatic usage are discussed in some detail in our essay, "You or Us?" (especially, on page 36), in Part I of this book.

This second entry is merely the Director's conventionalized movement to that area of the stage which will be understood by the audience as being inside the Director's house.

The same words for 'pleasant news' (in the text, priya and ākhyāna) are also found in the Prologue of the Mattavilāsa, line 12.

This movement away and then return of the Buffoon is merely a conventionalized movement of his to different areas of the stage.

There is dhvani here: the Courtesan of the play may be thought of as signifying the royal gift, and the Mendicant's entering her body, would then represent the 'attainment' of that 'great treasure' by the Director, who, as we have argued above, plays the part of the Mendicant.

• 94 -

The Plays

Music was an essential element of the Indian drama. These farces, for instance, may be considered as a kind of parallel to the modern musical comedy of the West (or vice versa). In the Prologue of the Mattavilāsa, line 19, the Director, there, also speaks of music.

See Appendix C for a discussion of the classification of different types of drama.

This is the 'voice' of the Mendicant calling his disciple. As the actor who plays the part of the Director also plays the Director playing the part of the Mendicant, either he must, through ventriloquy, speak the line, making it appear to come from off-stage, or some other person must imitate, from off-stage, the way he speaks as Mendicant.

In the ongoing, evolutionary cycle of rebirths, it requires the merit of numerous good deeds by a creature before it can attain birth in human form. See Appendix D-1 for a 20th century commentary on this same idea. (All of the passages quoted in Appendix D have been taken from the religious advice column of the daily newspaper, The Hindu, Madras [Chennai], South India.)

The expression in the text, karaṭaka sēṣa, refers to the leftovers in the Bali offerings to the departed spirit. This ceremony is held a number of days after a person's death. The implication of the expression, here, is that Shāndilya belongs to the class of Brahmins who officiate at such ceremonies (they are sometimes called Śauṇḍi, an expression which seems to be hinted at by the name 'Shāṇḍilya').

In some communities there is, at the beginning of a child's education, a ceremony in which a letter or letters are gently traced on the child's tongue with a gold object (a ring or some such thing). Shāṇḍilya's remark indicates that his family never observed this ceremony, and thus implies that they were illiterates.

It may be noted that this is the only occasion on which Shāṇḍilya breaks into verse.

Note the binary opposition of tasya in the Skt. text, here, & asya (in tadāsya) of Śl. 6, pāda 3. Nyāya logic & Mīmāṃsā philosophy!

The Mendicant, in anger, is threatening, with his staff, to beat Shāṇḍilya, and then, in what follows, gives a laughable excuse for his own improper behavior as he strikes at Shāṇḍilya.

The expression 'ashoka buds' (in Sanskrit, aśōka pallava) is a pun. 'Pallava' is the name of Mahēndra's dynasty, and also means 'scion', and Aśōka is the name of one of the early Pallava rulers, appearing in their genealogies. The tiger, then, in this passage may be taken as an implied reference to King Mahēndra himself - one of his royal titles being Citrakārapuli, 'Tiger among artists'. These alternate meanings all hint at Mahēndra's being the author

of our play - a royal 'Tiger', scion of the Pallava race, and a

descendent of a King Aśōka. In this play, there are numerous

references to aśōka (tree and flower). This harping on the name

gives rise to the feeling that the connection between the early

king, Ashoka, and the Pallavas is somehow especially significant.

(See also the relevant 'Addendum 2005' on p. 14 of Part Two.)

19. See Appendix E for the scientific names of these trees and shrubs.

• 95 -

Bhagavadajjuka

• 95 -

Notes

20. A double entendre, the other meaning being that Shāṇḍilya

considers his guru's lecture tiring and wants a rest from it.

21. A double entendre, the other meaning being that the Mendicant

is suggesting that they can rest in the (position (philosophical) put

forward by him.

22. A double entendre, the other meaning being an expression of what

Shāṇḍilya thinks of his guru's philosophy. 'Crap' is a term which

more exactly translates the implied meaning, here.

23. The word, here, for 'house' (gēhāni) also has the meaning of

'body'. There is thus the irony of the question whether the

Mendicant can enter other people's bodies - the foreshadowing of

something which the Mendicant, in fact, does later in the play.

24. Shāṇḍilya gets mixed up here. The passage he recites is from

the Hindu Sāṅkhya system of philosophy, but he attributes it

incorrectly to the Buddha (the Holy Jina).

25. The Mendicant corrects Shāṇḍilya.

26. This same list of five Buddhist precepts, in almost identical

Prakrit, appears twice in Mahēndra's play, Mattavilāsa. In that

play, the five precepts are recited twice by the Buddhist monk,

Nāgasēna: in lines 116 and 130. The 5th precept should be to

refrain from taking intoxicating drinks. However, the Disciple,

Shāṇḍilya, substitutes another precept which is humorously

ambiguous ('One should refrain from eating during restricted

times' or 'One should avoid not eating regularly').

27. The Mendicant's advice obviously is that Shāṇḍilya should not

stray from ascetic rules of conduct and talk about Buddhist rules.

The Disciple's answer, however, equivocates on which rules are to

be followed: he wishes to let his guru follow the ascetic rules; he,

on the other hand, will follow one of his own major rules of life -

to concentrate on food.

28. There is a pun here in the text on the Sanskrit word, gōṣṭhi, which

has the meaning of a 'group of revelers' ('high spirited friends'),

while suggesting liquor.

29. Pāyasam is a sweet pudding. The playwright, here, is satirizing

fallen Buddhism. This mention of pāyasam would bring to

mind an important episode in the life of the Buddha, an event

which followed the momentous decision of the fasting Gautama

• 96 -

The Plays

(the Buddha-to-be) to give up his severe austerities. On the

morning of that day, when he became determined to achieve

enlightenment or never again to rise from his seat under the pīpal

tree, he was offered pāyasam by a village girl named Sujātā – and

he then accepted this pāyasam, ending his near-death fasting.

Against this well-known background (well-known, surely, to

those who lived in South India in the seventh century), King

Mahēndra juxtaposes his gluttonous character, a fallen-away

Buddhist monk, Shāṇḍilya, who compares the melodious singing

of a courtesan to sweet pāyasam (Pāli: madhura pāyasa).

30. Ghee is clarified butter.

31. In general, her features. In particular, her breasts.

32. There is a proverb: Maunam pandita-lakṣanam, 'Silence is the

mark of a pundit', which underlies the Disciple's sarcastic remark.

33. In the following verse, Yama's Agent describes for us, in the

present continuous, his aerial journey to the city which is the

setting of our play.

34. Celestial singers.

35. Celestial wizards.

36. Celestial musicians.

37. There is a pun here, again playing on the author's identity. The

words 'ashoka bud' refer to the author king as scion of Ashoka's

lineage. It follows in the analogy that he (the king) is good-

looking, and that Parabhrithikā would like to have him. But the

Courtesan wants him for herself.

38. In early times, Indian women often went undraped above the

waist. Designs in sandal paste decorated their breasts. See also

line 172.

39. Literally, the five vital airs which constitute the 'breath of life'.

40. Parabhrithikā is hoping against hope that her mistress will recover

and be able to go herself to pay her respects to her mother.

41. In what follows, Yama's Agent traces for us in verse and panto-

mime his aerial journey with the Courtesan's soul across the length

of India and beyond Laṅkā (Ceylon) to that indeterminate southern

region which is the traditional realm of Yama, the God of Death.

42. That the playwright should mention in particular only one city in

this geographical itinerary - and that, Kāñchī (Kāñchīpuram,

Tamil Nadu), the capital city of the Pallavas - is significant. In

Mahēndra's play, Mattavilāsa, the setting is in the city, Kāñchī.

(See Appendix F.)

43

43. Chitragupta is the scribe of the God of Death. He holds in his hand a book which has an account of the good and evil deeds of all sentient creatures.

44

44. The epithet 'cooked-rice cart' (kūra-śakata). The picture that Shāṇḍilya evokes is of his guru as a moving wagon full of cooked rice. (Contrast this with 'mṛcchakaṭika'.).

45

45. In Hindu ritual, it is a devout practice to chant 108 different names of a deity. (See Appendix D-2.) Shāṇḍilya's irreverence is thus compounded.

46

46. What Shāṇḍilya is getting at is the idea that courtesans were noted for their complete indifference toward former customers, once their money ran out. In the Mattavilāsa (lines 94 to 97), there is a piece of humorous dialogue between the Kapālī and the Buddhist monk on the subject of holy persons being free from emotional attachment. A recent commentary on this idea of non-attachment is given in Appendix D-3.

47

47. A secondary meaning: Those who escape the responsibilities of (family) attachment And along the path of the (Kāma)shāstra go, Those who have thus turned away from human love, Their hearts a (greedy) interest still show.

48

48. Said in surprised embarrassment - the maid does not presume to be angry with Shāṇḍilya. It is a common custom for children to bend down and touch their parents' feet as a mark of respect. Similarly, a wife might touch the feet of her husband; the disciple, nyāsin, bends down and touches a courtesan's feet, he commits a most compromising act.

49

49. In the seventh century, A.D., when this play was first staged, Ajjukā was obviously undraped above the waist, and her breasts would have been decorated with designs in sandal paste. This was a common practice in those days.

50

50. At this point, the Mendicant sits down in a yōgic pose and act out the departure of his soul from his body.

51

51. Correspondingly, the Courtesan portrays the infusion of the Mendicant's soul into her body.

52

52. This last remark should convey the effect of a brilliant insight on the part of Shāṇḍilya - poking fun at pompous authority.

53

53. The part of clothing referred to here is, perhaps, one of the ends of one or two long, folded cloths looped around the waist, as seen

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The Plays

54

Bile, rheum, and phlegm. As madness was usually attributed to an excess of bile in a person's body, the Doctor's assumption, here, is that the Courtesan's insolent behavior ('madness') is due to this kind of disorder.

55

The Doctor's speech and behavior here, is a parody of the Parivrājaka's, and even more so in line 243. There is, in fact, a series of parodies in the play. The Sūtradhāra quotes authority (astrologer, treatises on dramaturgy), and gets confused. The Parivrājaka's behavior and speech is a parody of the Sūtradhāra's. The Parivrājaka is often falling back on authority and constantly is blundering. The Doctor parodies the Parivrājaka, as we have noted. And, ultimately, Yama's Agent parodies the Doctor: he quotes Yama's orders, and get the wrong woman!

56

Another 'brilliant' insight on the part of Shāṇḍilya, adjusting his earlier flash of wisdom (see line 189).

57

Bangles (bracelets) made from circular cross-sections of sea shells were popular ornaments for women in Pallava times. The effeminate movements of the Mendicant give rise to Shāṇḍilya's remark. Also, kuṇdi'a (Prkt.) = kuṇḍika (Skt.), 'water pot'. But kuṇdi'a (Prkt.) also resonates with (Tamil) kuṇḍi குண்டி, 'buttocks'!

58

In the Mattavilāsa, the Madman (in line 164) cries out, 'Eat poison!' ('Viṣaṁ khāda!').

59

When the actor says, 'Now I've seen the ludicrous taken to the limit. This is Farce!', the Vidūṣaka (Buffoon) role which he is playing seems to predominate, his metadrama role of Shāṇḍilya being subordinate. Refer to lines 8 to 10 in the Prologue.

60

In these last three sentences, the actor is emphasizing his Buffoon role. This is a two-fold parody of the Ardhanārīśvara concept: first, 'Bhagavad-Ajjuka', and second, 'Ajjuka-Bhagavan' (implied).

61

The Sanskrit term, aṣṭamayā, in the text, has at least two meanings: (1) 'eight active ingredients', and (2) a weight equal to four tolas (about two ounces).

62

Three snakes.

63

In Indian mythology, the physicians of the gods were the twins named Ashvins.

64

In other words, numerous people are ready to die, and, therefore, Yama's Agent has a heavy schedule of work.

Appendix A

Appendix A

Appendix A

References to Royal Titles in

Appendix A

BHAGAVAD-AJJUKA

Appendix A

A list is given below of a few of King Mahēndra's royal titles which may have significance (directly or indirectly) in the context of the play, Bhagavad-Ajjuka. The numbers of the relevant lines in the play are given in parentheses.

Appendix A

Key to the location of inscribed titles:

Appendix A

T = Mahēndra's Tiruchi cave-temple

Appendix A

P = Pallāvaram cave-temple

Appendix A

K = Kāñchī pillar (now in the Madras Museum)

Appendix A

S = Śiyamangalam cave-temple

Appendix A

C = Chezarla slab inscription

Appendix A

M = Maṇḍagapaṭṭu cave-temple

Appendix A

1. Akaruṇaḥ - Merciless; Passionless (see line 152). (T)

Appendix A

2. Anumānaḥ - Reasoner, Logician (15, 189, 219). (T, P)

Appendix A

3. Abhimukhaḥ - Forward looking, Resolute (254). (T, P, K)

Appendix A

4. Avanibhājanaḥ - World-bowl; Receptacle of the world (46). (T, P, S, C)

Appendix A

5. Iṣṭaduṣṭabhraṣṭacaritaḥ - Actor of the good, the wicked, and the fallen (43, 130, 152). (T, P)

Appendix A

6. Calambu - Active; Charming (54). (T)

Appendix A

7. Citrakārapuli - Tiger among artists (59). (T, P, K)

Appendix A

8. Tukānu - (One who looks) after the distressed (174, 219). (T, P)

Appendix A

9. Nirapēkṣaḥ - Extinguished desire (161). (T)

Appendix A

10. Pravṛttamātraḥ - Devoted to welfare (86). (P)

Appendix A

11. Mattavilāsaḥ - Drunken revelry (14, 76, 112, 228). (T, P)

Appendix A

12. Mūrkhavijja - (One who is) wise to rogues (240). (T, P)

Appendix A

13. Lakṣitaḥ - Distinguished (1, 5). (T, P, M)

Appendix A

14. Lōkavaśyaḥ - (One to whom) the world is subject; and vice versa (14). (P)

Appendix A

15. Vicitracittaḥ - Inventive-mind; Multi-faceted mind. (T, P)

Appendix A

16. Vidhih - Ruler; Systematic (one); Fate (17, 46). (T)

Appendix A

17. Vunātha - Leader-less, Lord-less - from Skt. Vināthaḥ (180). (T, P, K)

Appendix A

• 99 -

Appendix B

Appendix B

Appendix B

The Dandis

Appendix B

The following extracts are taken from the book, The Mystics, Ascetics and Saints of India, by John C. Oman, first published in 1903 (reprinted by Cosmo Publications, Delhi, 1984), pp. 160-62.

Appendix B

This sect is recruited exclusively from the Brahman caste, yet it discards the sacred thread. It derives its name from the danda, or staff, which each member is required to carry.

Appendix B

Theoretically, dandiwallahs should not settle down in one place for a single day, and even the danda should not be allowed to rest, but should be stuck erect in the ground or be suspended from a tree. In practice, however, these rules are neglected. . . . The dandis, I have been assured, do not worship Siva, but only their own danda. If this be correct, the explanation is probably that the danda is regarded by them as the phallic emblem of the god.

Appendix B

Dr. J.W. Bhattacharjee says the dandi is not required to worship any god, and that after initiation "he is supposed to pass into the condition of a god, and he himself constantly expresses his belief in such transformation by repeating the Soham formula", which is Sevoham, signifying, "I am Siva."

Appendix B

The dandis wear salmon-coloured clothes, which may be dyed once only. . . . They are not allowed to touch fire, money, or metal in any form. Their food may be obtained from the houses of Brahmans, but they may ask for it only when there is no smoke or fire in the house and the grinding mill is still; in other words, when the family has already taken its meal. The dandiwallah should not ask for food when anyone else, even a dog, is waiting for it.

Appendix B

Initiation - The shagrid (postulant) who wishes to become a chela is first obliged to fast for three days, living only on milk. On the fourth day there is a grand hawan. . . . After this he is shaved, head and all, with the exception of a few hairs on the crown. Then the candidate has to stand waist-deep in water. . . . With his own hands the postulant then plucks out the few hairs which had been allowed to remain on top of his head. His sacred thread is removed and burnt, the ashes thereof being eaten by the neophyte. . . .

Appendix B

When he steps out of the water he is handed a staff and a gourd, and is robed in five bits of salmon-coloured cotton cloth, one piece being wrapped round the head. Rules for his guidance in life are explained to him: for example, that he must not touch fire, may take but one meal a day, must get his food from the houses of Brahmans only, and so on. He is admonished not to possess any property at all, to use either a gourd or an earthen vessel for his water and food. . . .

Appendix B

[The] dandiwallah . . . must be fatherless and motherless, wifeless and childless, before he can join the sect. . . .

Appendix B

• 100 -

Appendix C

Appendix C

Appendix C

Types of Drama

Appendix C

D.R. Mankad, in his book, The Types of Sanskrit Drama (1936), speaking about the passage in the Bhagavad-AjjukA which reads:

Appendix C

. . . atha tu nātaka-prakaraṇōdbhavāsu vārēhāmṛga-dima-samavakāra-vyāyōga-bhāṇa-sallāpa-vīthy-utsṛṭikāṅka-prahasanādiṣu daśa-jātiṣu. . . .

Appendix C

remarks that this passage evidently refers to a distinct principle of division, for nātaka and prakaraṇa are, here, taken as the basis of the other ten types, while according to the usual theory . . . they themselves form the first two types.1

Appendix C

M. Winternitz, commenting (in 1925) on the same passage of the Bhagavad-AjjukA, had said:

Appendix C

The list of ten Rūpakas, in all our Nāṭyaśāstras, includes the Nāṭaka and Prakaraṇa, while our author [of Bhagavad-AjjukA] speaks of ten kinds of plays sprung from Nāṭaka and Prakaraṇa. . . .2

Appendix C

From those early years in the twentieth century up to the present time, scholars have puzzled over the above passage in the Bhagavad-AjjukA. It has been assumed that there are twelve types of drama which have been mentioned in it: 1) nātaka, 2) prakaraṇa, 3) vāra, 4) ihāmṛga, 5) dima, 6) samavakāra, 7) vyāyōga, 8) bhāṇa, 9) sallāpa, 10) vīthy, 11) utsṛṭikāṅka, 12) prahasana.

Appendix C

There are two problems with this assumption. First, the passage seems to be claiming that ten types of drama have 'sprung from' the nātaka and prakaraṇa - and thus the ten types do not include the nātaka and prakaraṇa! Second, nobody seems to be able to explain what type of drama the 'vāra' is.

Appendix C

Our solution to both these conundrums is to be found in the hermaphrodite image which infuses the very title of this play, Bhagavad-AjjukA, as well as the Rudra-Ardhanārī concept which lies at the heart of the Nāndī ślōka and of the play, itself. Just as the Bhagavan and Ajjukā are united in hermaphrodite forms, so also we should view 'Nāṭaka-Prakaraṇa', in the above passage, as a single 'hermaphrodite' form (the Mother-Father in One) - the single parent of the other, lesser types of drama.

Appendix C

As for the problem of the word 'vāra', that is easily solved. 'Vāra' is not the name of any type of drama! 'Vāra' only means 'series', here, referring to the list of the nine lesser types of drama which follow, and which have 'sprung from' the hermaphrodite 'Nāṭaka-Prakaraṇa' parent. In this way, we end up with the 'ten types' which are required by the text and which are themselves the ground for the various rasas. This may seem like a strange classification, but this is a farce, and the playwright is King Mahēndravarman, who poked fun at the whole world!

Appendix C

In addition to the above, somewhat convoluted 'surface' meaning of the passage, there is also an important implied meaning suggested by the hermaphrodite expression 'Nāṭaka-Prakaraṇa': the word 'prakaraṇa' suggests, at a meta-level, 'critical treatise(s)' and the word 'nātaka' suggests 'creative (dramatic) art'. In Indian thought, that which is direct, immediate experience through the senses is

Appendix C

• 101 -

represented by (Pārvatī) the creative feminine half of Ardhanārīśvara, while that which involves meaning and critical faculties (which require mediate reasoning) is represented by (Śiva) the male half of Ardha-nārīśvara.3 Thus, Mahēndra is, on this level, using the expression ‘Nāṭaka-Prakaraṇa’ to poke fun at those scholars who swear only by the authority of critical treatises (the Nāṭya-Śāstra being one of the most notable of these treatises) and who, thus, would ignore the creative (feminine muse) inspiration and would advise young practitioners to slavishly follow these treatises in composing their works. (One can find a parallel to this type of subservience to ‘authority’ in the neo-classical tradition of 18th century English literature.) With regard to the Bhagavad-Ajjiuka, we have noted elsewhere that this tendency to swear by authority is exhibited by the Sūtradhāra, and that it anticipates the Mendicant’s constant quoting of authoritative texts.

Viewing, then, the ten forms of drama given in Bhagavad-Ajjukā from this perspective, we give the following sketch of them:

Nāṭaka-Prakaraṇa - drama in its most complete form, having five to ten acts, with the śṛṅgāra or vīra rasa predominating. The Nāṭaka is distinguished by its following a well-known theme (taken from the epics or history) and having a high ranking hero (god, king, or great Brahmin) - e.g., the Svapna-Vāsavadatta by the so-called “Bhāsa”, whereas the Prakaraṇa follows a made-up plot (invented by the playwright), and has a lower ranking hero, together with other characters who are either common types or even disreputable or evil - e.g., the Cārudatta / Mrcchakaṭika by “Bhāsa”, a.k.a. “Śūdraka”.4

Īhāmṛga - a drama in which the hero abducts the heroine (as in the Pratijñā-Yaugandharāyaṇa - though, there, only as reported, off stage - the hero and heroine never appear on stage!).

Dima - a one act drama dealing with an affray or siege or some other violent action (e.g., the Bālacarita, attributed to “Bhāsa”).

Samavakāra - a 3-act drama containing a cooperative movement to a final resolution of strife (e.g., the Pañcarātra, attributed to “Bhāsa”).

Vyāyōga - a one act drama, full of fighting, heroics - few female characters (e.g., the Madhyama-Vyāyōga, attributed to “Bhāsa”).

Bhāṇa - a monologue, in one act, mainly dealing with love (e.g., the Padmaprābhrtaka, by “Śūdraka”).

Sallāpa - conversational dialogue on various subjects not necessarily connected (the Dūtavākya has been considered a Sallāpa, but the device of the ‘painted scroll’ would suggest to us that it is better categorized as a Vīthī).

Vīthī - ‘street play’ - one act (e.g., the Dūtavākya and the Traivikrama, attributed to “Bhāsa”).

Utsṛṣṭikānka - tragedy, 1-act (e.g., the Ūrubhaṅga & Karnabhāra & Dūta-Ghaṭōtkaca).

Prahasana - farce, one act (e.g., the Mattavilāsa-Prahasana, by King Mahēndra).

1The Types of Sanskrit Drama (Karachi: Urmi Prakashan Mandir, 1936), p. 41.

2From the Preface of P. Anujan Achan’s edition of Bhagavadajjukīyam, pp. viii-ix.

3Cf. our article “Masks and Metatheater”, Part I, p. 56, n. 7, in this book.

4The Abhijñāna-Śākuntala, by Kālidāsa, is India’s most famous Nāṭaka; Mrcchakaṭika, by King “Śūdraka”/Mahēndra, its outstanding Prakaraṇa.

• 102 -

Appendix D

Appendix D

Appendix D

Parallel Contemporary Commentaries

Appendix D

All of the passages quoted here have been taken from the religious advice column of the daily newspaper, The Hindu, Madras (Chennai), South India.

Appendix D

1. To be born a human is God's precious gift - To be born a human being in the process of evolution is the most precious gift of God. For this rare privilege, one must have pleased Him by upholding the spiritual injunctions prescribed. Souls being permanent, Hinduism believes that they enter various bodies (like insects, reptiles, birds and beasts) depending upon the pious acts done or misdeeds committed. The scriptures hence urge man not to lose the golden opportunity granted to him but utilise it to get total release from rebirths. . . .

Appendix D

• The Hindu, 25 June 1985

Appendix D

2. Divine names are power-packed - Beset with a variety of problems, man often feels helpless and frustrated, but religion prescribes numerous measures which will act as buffers. But in this dark age, utterance of divine names will not fail a person; it will redeem him from fears. There is no calamity that cannot be overcome and there is nothing that cannot be achieved through the chanting of the several divine names contained in scriptural texts. . . .

Appendix D

• The Hindu, 21 March 1986

Appendix D

Efficacy of chanting God's name - The chanting of God's hallowed names is the easiest means to salvation. Because anybody can practise it, the efficacy of the method of devotion (Bhakti) is lost on man. . . . The repeated utterance of the Lord's name purifies the mind to its very depths and enables a person to rivet his thoughts on God. The mind is purged of all dross and dirt. . . .

Appendix D

• The Hindu, 30 April 1985

Appendix D

3. Re-birth when punya is exhausted - One of the basic beliefs of Hinduism is the transmigratory cycle of births and deaths; thanks to the operation of the inexorable Law of Karma, man has necessarily to take a body to experience the consequences of both his good and bad acts in his past life. The sins, it is said, cannot be cancelled by the fruits of one's meritorious acts (punya). A person has got to experience the fruits of both good and bad actions. Punya, in the final analysis, is also bondage and can be compared to fetters of gold.

Appendix D

Scriptures point out that however exalted the position a person might occupy and the pleasures he might enjoy in the heavens, he has to be re-born the moment his accrued punya gets exhausted. Hence, in the view of a person who has set his mind on final salvation, namely liberation from bondage [in order to] to experience unalloyed, eternal bliss, punya has no attraction.

Appendix D

Man is exhorted to perform all his actions free from attachment to the fruits thereof. . . . All acts performed in this spirit have no power to bind.

Appendix D

• The Hindu, 31 December 1986

Appendix D

• 103 -

Appendix E

Appendix E

Appendix E

Shāṇḍilya's Garden List

Appendix E

1. Campa'a (Campaka) – Michelia champaca (v), a tree, bearing yellow, fragrant flowers (GL & VP).

Appendix E

2. Ajjuna (Arjuna) – Terminalia arjuna (N), a tree (GL & VP).

Appendix E

3. Kadamba (Kadamba) – Anthocephalus indicus (N), (syn. Nauclea cadamba) (GL). VP gives Anthocephalus cadamba.

Appendix E

4. Niva (Nīpa) – Barringtonia racemosa (GL). MW gives Ixora bandhucca (syn. Ixora coccinea), for which GL gives the Sanskrit name, bandhuka.

Appendix E

5. Ni'ula (Nicula) – Barringtonia acutangula, a tree; or Calamus rotan, a reed-like palm (MW). GL lists both, but gives Skt. dhatriphala, only, for the first, and Skt. vētasa or vētṛa, for the second. VP gives nichola = Eugenia acutangula.

Appendix E

6. Tila'a (Tilaka) – Clerodendrum phlomidis (v), a tree; or Symplocos racemosa (MW). GL lists both, but gives Skt. vātagnī, only, for the first, and Skt. lōdhṛa, only, for the second.

Appendix E

7. Kurava'a (Kurabaka) – Amaranthus (v); or Barleria (MW). GL lists several Amaranthus, including A. blitum (Skt, marisha) and A. spinosus (Skt. tandulīya; Tel. mullatota-kura). VP gives kuruvaka = Barleria cristata.

Appendix E

8. Kannī'āra (Karṇikāra) – Pterospermum acerifolium (v), with flowers of rich golden color (GL).

Appendix E

9. Kappūra (Karpūra) – Cinnamomum camphora (v), camphor laurel (GL & VP).

Appendix E

10. Cūda (Cūta) – Mangifera indica (v), the mango tree (MW). GL gives āmra, and doesn't list cūta. Its flower is one of Kāma's arrows.

Appendix E

11. Pi'aṁgu (Priyaṅgu) – Aglaia roxburghiana (GL & VP).

Appendix E

12. Sāla (Sāla) – Shorea robusta, a flowering tree (GL & VP). MW mentions Vatica robusta (v), a tree, but this is not identified with sāla by GL.

Appendix E

13. Tāla (Tāla) – Borassus flabellifer (v), the palmyra tree (GL). VP gives Borassus flabelliformis.

Appendix E

14. Tamāla (Tamāla) – Garcinia morella or Cinnamomum tamala (GL). MW gives Xanthochymus pictorius (syn. Garcinia tinctoria), a tree. VP gives Cinnamomum tamala.

Appendix E

15. Punnā'a (Punnāga) – Calophyllum inophyllum (GL & VP). In Tamil, this is Punnāga (புன்னாக) – the punnai (புன்னை) tree.

Appendix E

16. Nā'a (Nāga) – Mesua ferrea. GL gives Skt. nāgakēshara for this. MW lists Mesua roxburghii, Rottlera tinctoria, etc., names not found in GL. The GL-Suppl. also gives Mammea longifolia for nāgakēshara.

Appendix E

17. Va'ula (Bakula) – Mimusops elengi (v). (GL & VP)

Appendix E

18. Sarala (Sarala) – Pinus roxburghii (v) (GL). MW refers to it with the syn. P. longifolia, a species of pine. But consider also Cedrus deodara, Skt. dēvadāru, syn. sarala; or Erythroxylum monogynom, the Dravidian dēvadāru (GL).

Appendix E

• 104 -

19

19. Sajja (Sarja) – Terminalia tomentosa (MW). MW gives Vatica robusta (V), a tree. This is not mentioned in GL.

20

20. Simduvāra (Sinduvāra) – Vitex negundo (V) (MW). GL gives Skt. nirgundi only for this (not sinduvāra). VP gives Vitex trifolia. The Amarakōsha dictionary gives the following equivalents: sinduvāra = nirgundi = indrasurasa = drān̄ika.

21

21. Tinasulḷa (Tṛṇaśūlya) – Jasminum sambac and Pandanus odoratissimus are mentioned by MW. The former is doubtful, as it appears more unquestionably later in this list. The latter is syn. for P. tectorius. But GL gives only the Skt. kētaka for this. VP gives Trnaśūnya = Pandanus odoratissimus.

22

22. Sattavaṇṇa (Saptaparṇa) – Alstonia scholaris (S), saptacchada, emitting a sharp odor from its flowers, known today as satauna or satavan. VP gives Echites scholaris.

23

23. Kaṇavīra (Karavīra) – Nerium indicum, Oleander (GL). VP gives Nerium odorum.

24

24. Kudacavaṇṇi (Kuṭajavahni) – Holarrhena antidysenterica. GL & VP give Skt. kuṭaja for this. Tamil: kuṭacam, the mountain jasmine: malaimalligai, மலைமல்லிஎ (Winslow).

25

25. Camdana (Candana) – Santalum album (V), the sandalwood tree of the Malaya mountain; there are white, black, and red (Pterocarpus santalinus?) varieties (GL & VP).

26

26. Asō’a (Aśōka) – Saraca asoca (syn. Saraca indica, VP), a tree with magnificent, red flowers – another type of arrow of Kāma (GL).

27

27. Mallī’ā (Mallikā) – Jasminum sambac (V), a variety of jasmine; and another arrow of the God of love (GL & VP).

28

28. Naṃdēvatta (Nandyāvarta) – Ervatamia coronaria (syn. Tabernaemontana coronaria), a flowering shrub (GL). VP gives Nandikāvarta = Tabernaemontana coronaria.

29

29. Ta’ara (Tagara) – Valeriana wallichii or V. brunoniana or other species of Valeriana (GL). VP gives Bignonia chelonoides. Tamil: tagaramaram, தகரமரம்.

30

30. Khadira (Khadīra) – Acacia catchu, having very hard wood (GL & VP).

31

31. Kadalī (Kadalī) – Musa paradisiaca, the plantain or banana tree (GL). VP gives Musa sapientum.

32

32. Māladī (Mālatī) – Aganosma dichotoma (GL). VP gives Aganosma caryophyllata. According to MW, Jasminum grandiflorum (syn. J. officinale) or Jasminum officinale forma grandiflorum.

GL = Glossary of Indian Medicinal Plants, by R.N. Chopra, et al.

MW = Monier-Williams’ Sanskrit-English Dictionary.

VP = Vanaspatī – Plants and Plant-Life as in Indian Treatises and Traditions, by G.P. Majumdar.

Key to the seasons of flowering:

V = Vasanta (spring): during the months of Caitra-Vaiśākha (March-May).

N = Nidāgha (summer): during the months of Jyēṣṭha-Āṣāḍha (May-July).

S = Śārad (pre-winter): during the months of Āśvina-Kārttika (September-November).

Appendix F

Appendix F

Route of the Messenger of Death

Route of the Messenger of Death

Map description

Map of the Route taken by Yama’s Agent on his Aerial Journey South, Returning to the Realm of the God of Death (See line 148)

Map key

1. Gangā (river) 2. Vindhya (mountain range) 3. Narmadā (river) 4. Sahya (mountain range) 5. Godāvari (river) 6. Krishnā (river) 7. Kānchi (city) 8. Kāveri (river) 9. Tāmraparni (river) 10. Malayagiri (mountain) 11. Ocean 12. Laṅkā (island) 13. Darmadisham (The Land of Yama)

Page number

• 106 -

Mattavilāsa-Prahasanam

(A Farce of Drunken Sport)

by

King Mahēndravikramavarman

A second of seven ancient (c. 7th century, A.D.) carved panels placed in the walls of the Tāntōnṛiśvara Temple, Kāñchī.

Two Farcical Plays

King Mahendravikramavarman

Introduction

Introduction

Introduction

Both of Mahēndra’s plays are satirical. The passages of

Introduction

Mattavilāsa which poke fun at various degenerate aspects of the

Introduction

Kāpālika and Pāśupata Śaivite sects and of the Buddhists are examples

Introduction

of biting satire. Jainism, also, is not spared.

Introduction

The setting of the play, Mattavilāsa, is Kāñchīpuram, the

Introduction

capital city of the Pallava kingdom in those days. It is not generally

Introduction

realized that Jainism and Buddhism were very active in Kāñchīpuram

Introduction

in the time of Mahēndra.1 The famous Chinese Buddhist pilgrim,

Introduction

Hsuan Tsang, has left us a record of his visit to Kāñchīpuram and its

Introduction

territory during the reign of Mahēndra’s son, Narasiṃhavarman-I,

Introduction

around the middle of the seventh century. Here are Hsuan Tsang’s

Introduction

observations:

Introduction

There were more than 100 Buddhist monasteries with above

Introduction

10,000 Brethren all of the Sthavira school. The Deva Temples

Introduction

were above 80, and the majority belonged to the Digambaras.2

Introduction

The seventh century was an age in which there was a strong

Introduction

revivalist movement of Hinduism in South India. King Mahēndra did

Introduction

much to support that revival. He excavated cave-temples in the South,

Introduction

the first of which was dedicated jointly to the Trimūrtis (Brahmā,

Introduction

Vishṇu, and Śiva). The majority of his cave temples, however, were

Introduction

dedicated to Śiva. At least one of them was for Vishṇu. In this

Introduction

climate of revivalism, Mahēndra’s play, Mattavilāsa, undoubtedly had

Introduction

its effect.

Introduction

The play centers on the drunken antics of a Kāpālika mendicant,

Introduction

Satyasōma, and his woman, Dēvasōmā. The Kāpālikas were a highly

Introduction

unorthodox Śaivite sect whose rites included drinking, wild dancing

Introduction

and singing, and ritual intercourse with their partners. ‘Home’ for the

Introduction

Kāpālikas was the cremation ground. There they smeared the ashes of

Introduction

the dead over their own bodies. And they used the bowl-like fragment

Introduction

of the upper portion of a human skull as an alms-bowl when they went

Introduction

out begging. One of the words for ‘skull’ in Sanskrit is ‘kapāla’, and

Introduction

the Kāpālikas were thus named after this use of the skull – a use which

Introduction

is illustrated in the mythological story of Śiva (as Kapālī) wandering

Introduction

as a mendicant with the skull of Brahmā’s fifth head stuck to his hand,

Introduction

doing penance for having decapitated Brahmā.

Introduction

The plot of the farce, Mattavilāsa, revolves around the loss

Introduction

and eventual recovery of the skull-bowl, so precious to the Kāpālika,

Introduction

Satyasōma. He and Dēvasōmā enter drunk. He praises the great

Introduction

transformation she has brought about in her appearance through her

Introduction

adherence to the ‘great vow’ with its various rites (one of which is

Introduction

drinking liquor). His praise of her can equally be understood as a

• 110 -

The Plays

description of a woman ‘intoxicated’ by love-making. As the conversation between the two goes on, Satyasōma drunkenly mixes up her name and calls her Sōmadēvā (which also, humorously, happens to be a name of the goddess personifying liquor). Dēvasōmā acts jealous, and chides him, as though she suspects his involvement with another woman. Whereupon Satyasōma pleads that the fault was only a slip of the tongue due to his drunkenness, and he declares he is going to stop drinking liquor. But Dēvasōmā falls at his feet imploring him not to ruin, on her account, his ‘great vow’ (which involves drinking liquor). So they both decide to go to another tavern. When they get there and Satyasōma begs for some alms (more liquor) from one of the female customers there, he is dismayed to find that his skull-bowl is missing. As an emergency measure, Dēvasōmā receives the alms-liquor in the cow’s horn she is carrying.

Satyasōma is greatly upset with the loss of his skull. Dēvasōmā suggests that he might have left it at the tavern they had visited earlier. But when they go there, the skull is not to be seen.

Since the skull-bowl had some roasted meat in it, Satyasōma now suspects that either a dog or a Buddhist monk has taken it. At this point, a Buddhist monk enters the stage and the Kāpālika immediately comes to the conclusion that he is the one who has stolen the skull-bowl. Satyasōma has a long drawn-out argument with the monk, which eventually leads to a physical brawl. As the fight is going on, another mendicant, a Pāśupata acquaintance of Satyasōma’s, enters and assumes the role of mediator. (The Pāśupatas were also Śaivite sectarians of an unorthodox kind.) And so the argument continues until, in utter despair, the Buddhist monk is ready to surrender his begging bowl which Satyasōma in his drunken delusion believes to be his own skull-bowl.

Finally, a madman enters and recovers the real skull-bowl from a dog. And, eventually, the skull is restored to its rightful owner. There is thus a happy resolution, and all the characters take leave of one another in a friendly manner.

The Kāpālika and Pāśupata sects must have been considered degenerate in Mahēndra’s time, and the king satirizes this degeneracy in his play. But the Kāpālikas represented a serious (though always suspect) current in Indian thought: Tantrism.3 In Tantrism, the goal of religion is reached through the ritual use of five things which are, in that context, shocking to the orthodox. These are the notorious ‘Five Ms’ (Pañcha-Makāras): 1. Madya (liquor), 2. Māṃsa (meat), 3. Matsya (fish), 4. Mudrā (ritual gestures and actions), and 5 Maithuna (ritual intercourse).

The Kāpālika, Satyasōma, and his woman are drunk throughout the play. So much for Madya! His lost skull-bowl had roasted meat

(māmssa) in it. And the maithuna aspect is implicit in the relation

between Satyasōma and Dēvasōmā. Our royal author uses only

mildly suggestive language (see lines 36 and 49).

The Buddhist monk, Nāgasēna, has received an alms-meal of fish and meat from the house of the merchant Dhanadāsa. And

Nāgasēna mentions the aphrodisiac, tāmbūla, in his list of the many

pleasure of monastery life. He only wonders, to himself, why the

Buddhist rules do not also allow liquor and women. We thus have here

a satirical echo of the 'Five Ms'. (Buddhist Tantrism was developing

during this same period, in North India.)

The play, Mattavilāsa, gives us interesting glimpses into the

life at Kāñchīpuram during the seventh century. There is mention of

tall temple towers, and even a direct reference to the Ēkāmra temple

(line 69). The Ēkāmra temple is generally known today under the

name Ēkāmbaranāthar. There are references (line 43) to thunderous

sounds of mṛidaṅga drums4 and the array of flower shops, and

beautiful young ladies. There is also a humorous, detailed description

of a tavern and the crowd there enjoying drinking, dancing, and

singing (line 45). Then, there is a pointed hint by the royal author that

not all the officials of the courts of Kāñchī were above being bribed

(line 149).

Various titles of King Mahēndra are found worked into the

text of the play. We have noted these and have also supplied an Index

with a larger list of those titles which may have significance in the

present context. This list is backed by a first-hand examination by

us of Mahēndra's inscriptions. In particular, scholars have not so far

recognized one of his titles, 'Sarvvanaya', engraved on the upper

façade of the front pillar to the proper right extreme of his cave-temple

on the Rock-Fort Hill, Tiruchirāpalli. This title has been, for the first

time, correctly identified by us. It happens to be a title which is also

given to Mahēndra's father, Siṃhavishṇuvarman, in the Prologue and

Introduction of Mattavilāsa (line 17). It means 'All-round (master of)

polity'.

In line 82, the Kapālī accuses the Buddha of stealing his

doctrinal ideas from the Mahābhārata and Vēdānta. This remark has

a bearing on the controversy over the age of the Mahābhārata battle

and the epic story of it. We are removed from the time of the Buddha

by some 25 centuries. Mahēndra, by only 12 centuries. Obviously, in

his time, he believed the Mahābhārata epic and the Vēdānta existed

prior to the Buddha's time.

We discuss in notes to the text and the translation several

parallels between the two plays, Mattavilāsa and Bhagavadajjuka.

In doing this we only wish to underscore the fact that Mahēndra was

indeed the author of Bhagavadajjuka. As for the anonymous, late

• 111 -

Mattavilāsa

Introduction

• 112 -

The Plays

commentator who has ascribed it to ‘Bōdhāyana’, either he knew

another royal title of Mahēndra’s which we are not aware of, or,

more likely, he was exercising his imagination - a weakness very

common in a field which has always lacked historical perspective.

The opening stanza of invocation (the Nāndī), at the very

beginning of the play, has at least four levels of meaning. We give

first the straightforward interpretation of the Nāndī in the following

translation of it:

Through the different modes of speech, dress,

bodily action, and expression of nature,

The representation of various emotions brought on by the

arousal of the power of primal feelings,

May that resplendent Kapālī of unopposed, omniscient supremacy,

who’s the performer and spectator Himself of His own dance,

The manifold march of evolution of the three worlds,

grant you His world-bowl-filling glory! (1)

The basic idea here, of course, is that the whole universe is but

the manifestation of the dance of Śiva (Kapālī), who is both the sub-

ject and object, the performer and spectator of his Self-manifestation.

Now, the word ‘Kapālī’ also suggests ‘king’, i.e., King

Mahēndra, who as supreme ruler views the entire act of ruling as a

creative, cosmic dance. Mahēndra identifies himself with his subjects

• his subjects are viewed as the manifested many of his own self.

Hence, he is the ruler and the ruled. He is also, therefore, the

performer as well as the spectator of his own act of ruling.

Again, at a third level of interpretation, there is also the

suggestion that Mahendra, as playwright, creates characters who

through speech, dress, bodily action, and expression of nature (the

four elements of acting: vācika, āhārya, āngika, and sāttvika) are his

manifestation, and of which he is also the spectator. Thus, he is

playwright, performer, and spectator.

According to Bharata’s Nātya-Śāstra, the Nāndī should hint

through words or meaning at the dramatic plot. We do find that this

is the case with the Nāndī of Mattavilāsa. The ‘Kapālī’ of the Nāndī

ślōka can obviously refer to the main character of the play, Satyasōma.

At this fourth level of interpretation, the whole Nāndī takes a farcical

turn. Satyasōma’s speech, dress, bodily action, and expression of his

nature are all ridiculously in view of his drunken behavior and out-

landish appearance. Further, the phrase, ‘Bhāvāvēśa-vaśād-anēka-

rasatām’, has a Tantric ring to it in the context of the arousal of

emotions through the power of primal feelings. The expression,

‘niṣ-pratibaddha-bōdha-mahimā’, gets transformed into the farcical

meaning of: ‘the supremacy of a mind which is completely obstructed!

The prefix ‘niṣ-’, has both an affirmative as well as a negative

meaning. Hence, ‘niṣ-pratibaddha’ can be interpreted as ‘totally-

obstructed’ as well as ‘un-obstructed’. Further, the idea of the Kapālī,

Satyasōma, being the spectator of his own drunken dance – no sensible person caring to observe such a crazy spectacle – is farcical, too. And the final line, ‘Sa vyāptāvanī-bhājanam diśatu vō divyaḥ Kapālī yaśaḥ’ can, in the same vein, be interpreted to mean: ‘May the Kapālī (Satyasōma) grant you (the audience) his world-roaming-bowl-carrying (vyāptāvanī-bhājana) glory!’

The play is introduced to the audience in its Prologue (Sthāpanā/Prastāvanā). In the Prologue, we find the Director (and leading actor) trying to pacify his elder wife with the news that the two of them have been asked to stage a play. However, the Director’s pursuit of pleasure (an echo of Tantrism) with his younger wife has angered and alienated his senior wife, and she accuses him of indulging in a farcical show of drunken behavior. In this manner, the nature of the play is further brought out. Just before the beginning of the Play Proper, the Director ushers in the transition from Prologue to the Play Proper by describing the transformation which is overtaking him as he sings the praises of the poet. Like the Sūtradhāra in Kālidāsa’s play, Śākuntalam, the Sūtradhāra of the Mattavilāsam explains his forgetfulness as due to his being carried away by song (his own, in this farce), and with the stentorian interruption of “Dear Dēvasōmā!”, he is transformed by the magical spell of the theater into the meta-character of the Kapālī. It is the Sūtradhāra (having already assumed the role of the Kapālī) and the Naṭī (having assumed the role of Dēvasōmā) who now leave the stage to don their new costumes – not the plain old Sūtradhāra and Naṭī.

This induction or ‘launching’ of the main characters of the Play Proper, already, at the so-called ‘end’ of the Prologue, is what should technically and correctly be called, ‘Prayōgātiśaya’. There has been a lot of confusion over this term. ‘Puruṣātiśaya’ is the position in sexual intercourse where the woman is on top of the man. ‘Prayōgātiśaya’ is the arrangement where the metadramatic world of the Play Proper is already superimposed on top of the dramatic world of the introductory playlet before the full-fledged launching of the Play Proper, with its new costumes and all! The introductory playlet doesn’t end until the whole drama ends! It continues to run underneath the Play Proper. The terms, ‘Sthāpanā’ and ‘Prastāvanā’ should be translated as, ‘The Launching Completed [of the Play Proper]’.

When the Kapālī and Dēvasōmā return on stage:

22

Kapālī: (Visibly drunk) Dear Dēvasōmā, it’s really true! By tapas, one can assume any form one desires. For, you in an instant have assumed a wonderful new form. . . .

The wonderful new form which he then proceeds to describe is her drunken appearance! He specifically says that she has assumed this appearance in an instant. This quip would be entirely missed by an audience if it were not aware that the Naṭī, the matronly, dignified senior wife of the Sūtradhāra, has now been fully transformed into the character of the drunken, disheveled Dēvasōmā.

• 113 -

Mattavilāsa

Introduction

• 114 - The Plays

• 114 - The Plays

Notes to the Introduction

Notes to the Introduction

1. In line 37 of Mattavilāsa, the Kāpālika mendicant is warned by his companion to watch what he is saying in a public place (in the streets of Kāñchīpuram) because the religious leaders of the heterodox religions (Jains and Buddhists) have a different view.

2. In line 37 of Mattavilāsa, the Kāpālika mendicant is warned by his companion to watch what he is saying in a public place (in the streets of Kāñchīpuram) because the religious leaders of the heterodox religions (Jains and Buddhists) have a different view.

3. Foreign Notices of South India, edited by K.A. Nilakanta Sastri (Madras: University of Madras, reprint 1972 [1939]), p. 102. Sastri’s selection here is taken from Thomas Watter’s translation, On Yuan Chwang’s Travels in India, two volumes (London: Royal Asiatic Society, 1904-5). Note the variant spellings of the Chinese pilgrim’s name.

4. Foreign Notices of South India, edited by K.A. Nilakanta Sastri (Madras: University of Madras, reprint 1972 [1939]), p. 102. Sastri’s selection here is taken from Thomas Watter’s translation, On Yuan Chwang’s Travels in India, two volumes (London: Royal Asiatic Society, 1904-5). Note the variant spellings of the Chinese pilgrim’s name.

5. For a detailed study of Tantrism, see A. Bharati’s book, The Tantric Tradition (New Delhi: B.I. Publications, 1976 [1965]). For a detailed study of the Kāpālikas and Pāśupatas, see D.N. Lorenzen’s book, The Kāpālikas and the Kālāmukhas (New Delhi: Thompson Press, 1973).

6. For a detailed study of Tantrism, see A. Bharati’s book, The Tantric Tradition (New Delhi: B.I. Publications, 1976 [1965]). For a detailed study of the Kāpālikas and Pāśupatas, see D.N. Lorenzen’s book, The Kāpālikas and the Kālāmukhas (New Delhi: Thompson Press, 1973).

7. The term ‘mṛidaṅga’, simply means ‘clay-bodied’, and we suggest that Mahēndra’s mṛidaṅga would have been the large drum kutamulaṅga (鼓土木鼓)σ, which could reasonably have given the impression of thunder - and not the smaller, two-faced mṛidaṅga of the present day.

8. The term ‘mṛidaṅga’, simply means ‘clay-bodied’, and we suggest that Mahēndra’s mṛidaṅga would have been the large drum kutamulaṅga (鼓土木鼓)σ, which could reasonably have given the impression of thunder - and not the smaller, two-faced mṛidaṅga of the present day.

Mattavilāsa-Prahasanam

(A Farce of Drunken Sport)

Dēvanāgari Text

Cast of Characters

Director (SŪTRADHĀRA), the person responsible for the production, and the principal actor.

Actress (NAṬĪ), the Director’s senior wife, and his partner in the production.

KAPĀLĪ, an unorthodox Śaivite mendicant, carrying a skull-bowl for begging, whose personal name is Satyasōma. (This part is to be played by the Director.)

DĒVASŌMĀ, Satyasōma’s female partner. (This part is to be played by the Actress.)

Buddhist Monk (ŚĀKYABHIKṢU), whose name is Nāgasēna.

PĀŚUPATA, a member of another unorthodox Śaivite order; his name is Babhrukalpa.

Madman (UNMATTAKA).

मत्तविलासप्रहसनम्

(नान्द्यन्ते ततः प्रविशति सूत्रधारः:)

1

सूत्रधार: - भाषावेषवपु:क्रियागुणकृतानाश्रित्य भेदान् गर्तं भावावेशशावनेकरसतां त्रैलोक्ययात्रामयमम् । नृतं निष्पतिबद्धबोधमहिमा यः प्रकाशश्च स्वयं स व्याप्तावनिभाजनं दिशतु वो दिव्यः कपाली यशः ॥ १ ॥ भोः ! समासादितः खलु मया यवीयसीं भार्यामधिकृत्य समुत्पन्नवलीकायां ज्येष्ठतायां मे कुटुम्बिन्यां युक्ततरः प्रसादनोपायः यदिचरस्याऽघ वयं प्रेक्षाधिकारे परिषदा नियुक्ता स्मः । तद् यावदेनामुपसर्पामि । (नेपथ्याभिमुखमवलोक्य) आर्ये ! इतस्तावत् ।

(प्रविश्य)

2

नटी - (सरोषम्) अय्य ! किं चिरस्स कालस्स जोव्वणगुणभरमत्तविलासप्पहसणं दंसेऊणं आउदोसि ? [आर्य ! किं चिरस्य कालस्य यौवनगुणभरमत्तविलासप्रहसनं दर्शयितुमागतोऽसि ?]

3

सूत्रधार: - यथाह भवता ।

4

नटी - ताए एहव दाव दंसेहि जा तुए रमइदव्वा । [तयैव तावदर्शय द्रुतं या त्वया रमयितव्या ।]

5

सूत्रधार: - त्वया सह दर्शयिष्यामिति ।

6

नटी - किं ताए एहव णिउत्तो सि ? [किं तयैव नियुक्तोऽसि ?]

7

सूत्रधार: - एवमेतत् । अपि च तत्न गताः महान्तमनुग्रहं लप्स्यसे ।

8

नटी - तव एव्व खु एदं जुज्जइ । [तवैव खल्वेदं युज्यते ।]

9

सूत्रधार: - भवति ! किमिव न युज्यते ? त्वत्प्रयोगपरितोषिता परिषदनुग्रहिष्यतीति ।

10

नटी - (सहर्षं) एव्व ! लद्धो अय्यमिस्साणं पसादो ? [एवम् ! लब्ध आर्यश्रीणां प्रसादः ?]

11

सूत्रधार: - बादम् । लद्ध ।

12

नटी - जइ एव्व किं दे पिअक्खाणिअं देमि ? [यदि एव किं ते प्रियाख्यानिकं ददामि ?]

13

सूत्रधार: - अलं प्रियाख्यानैकपुनरुक्तेन । पश्य - उद्धृततरोमाज्चकपोलरेख- माविर्मयीकृतस्मितमधिकृतभू । लङ्घवा प्रिये दुर्लभमानं ते भूयोडपि किं प्रार्थयितव्यमस्ति ॥ २ ॥

14

नटी - किं दाणिं अञ्चेण पओदव्वं ? [किमिदानीमायेणं प्रयोक्तव्यं ?]

15

सूत्रधार: - ननु त्वयैवाभिहितं मत्तविलासप्रहसनमिति ।

16

नटी - (आत्मगतम) णूणं इमिस्सि पक्खवादि मे कोवो जेण अभिप्पाअ अणुरुवं भणाविद हि । (प्रकाशम्) अञ्च ! कदमो उण सो कवी जो इमाए किदिए पाओसीअदि ? [ननमस्मिन् पक्षपाती मे कोपः येनाभिप्रायानुरूपं भणितास्मि । आर्य ! कतमः पुनः स कविः योडनया कृत्या प्रकाश्यते ?]

17

सूत्रधार: - भवति ! श्रूयताम् । पल्लवकुलधरणिमण्डलकुलपर्वतस्य सर्वनयविजितसमस्तससामन्तमण्डलस्य आखण्डलसमपराक्रमश्रिया: श्रीमहिमानुरूपदानविभूतिपरिभूताराजनास्य श्रीसिहविष्णुवर्मणः पुत्रः शत्रुषड्वर्गानिग्रहपर: परहितपरतन्त्रतया महाभूतसधर्मा महाराजः श्रीहेन्द्रविक्रमवर्मा नाम । अपि च - प्रज्ञादानादयानुभावधृतय: कान्तिः कलाकौशलं सत्यं शौर्यममायता विनय इत्येवमप्रकारा गणाः । अप्राप्तस्थितयः समेत्य शरणं याताः यमेकं कली कल्पान्ते जगदादिमादिपुरुषं सर्गप्रभेदा इव ॥ ३ ॥

18

नटी - किं दाणिं अञ्चेण विळम्बी आदि ? णं अपुरुवदाए तुरीअं अणुदुदवदो अओ पाओओ । [किमिदानीमायेणं विलम्ब्यते ? नन्वपूर्वतया त्वरितमनुष्ठितव्योऽयं प्रयोगः ।]

19

सूत्रधार: - अहं तु - सम्प्रति सज्जीभूय न कविगुणकथयास्मि निघ्नतां नीतः । . . .

20

(नेपथ्ये) प्रिये देवसोमे ! कीञ्च - आकरेः सूक्तिरत्नानां यस्मिन् गुणगरীয়साम् । अर्धान्ति बहु सूक्तानि सतां सारघूनयपि ॥ ४ ॥

21

सूत्रधार: - . . . युवतिसख एष सुरया कपालविभवः कपालीव ॥ ५ ॥ (निष्क्रान्तौ) स्थापना - 118 -

(ततः प्रविशति सपरिग्रहः कपाली)

22

कपाली - (क्षीबतां रूपयित्वा) प्रिये देवसोमे ! सत्यमेवैवत् - तपसा कामरूपता प्राप्त्येत इति । यत् त्वया परमव्रतस्य विधिवदनुष्ठानेनान्य एव रूपातिशयः क्षणात्प्रतिपन्नः । तव हि -

उद्वृत्तश्रमवारिविन्दुवदनं सभ्रूलताविध्रमं खेलं यातमकारणानि हसितान्यव्यक्तवर्णा गिरः । रागाक्रान्तमधीरतरङ्गलसापाङ् युगं नेत्रयो- रंसोपान्तविलम्बिनशच विगलनमालागुणा मूर्धजा: ॥ ६ ॥

23

देवसोमां - भअवं ! मत्तं विअ मत्तं विअ में भणासि ।

[भगवन् ! मत्तामिव मत्तामिव मां भणसि ।]

24

कपाली - किमाह भवति ?

25

देवसोमां - ण खु किअंचि भणामि ।

[न खलु किञ्चिद्रणामि ।]

26

कपाली - किं तु खलु मत्तोस्सिम ?

27

देवसोमां - भअवं ! परिअभमड परिअभमइ पुहुवी । पुरो वदामि विअ । अवलम्ब दाणिं में ।

[भगवन् ! परिभ्रमति परिभ्रमति पृथिवी । पुरः पतामि इव । अवलम्बस्वेदानीं माम् ।]

28

कपाली - प्रिये ! तथास्तु । (अवलम्बमानः पतनं रूपयित्वा) प्रिये सोमदेवे ! किं त्वं कुपितासि, यदवलम्ब्यतुमुपसर्पामि त्वांभिवासः ?

29

देवसोमां - अहो ण खु आउदकोवा सोमदेवा जा तुए सीसे ण पणामिअ अगुणिअमाणा वि दूरीहोइ ।

[अहो न खल्वौदकोप सेामदेव या त्वया शीर्षेण प्रणम्यमानोऽपि दूरे भवति ।]

30

कपाली - ननु त्वमेवासि सोमदेवां ? (ध्यात्वा) नहि देवसोमां ।

31

देवसोमां - भअवं ! णं तहा वल्ळहा सोमदेवा णाहइदि मम णामके णाभिधावइ ।

[भगवन् ! ननु तथा वल्लभा सोमदेव नोति मम नामकेनाभिधातुम् ।]

32

कपाली - भवति ! सुलभवस्कलितो में मद्दोयं तवात्रापराधः ।

33

देवसोमां - दिट्ठिआ ण तुं ।

[दृष्टिआ न त्वम् ।]

34

कपाली - कथं मद्यदोणो मावेव सड्कामयति । भवतु, भवतु । अचप्रभृति मघनिथे वणाण त्रिवृतो डस्सिम ।

35

देवसोमां - भअवं ! मा मा मम कारणालो वदभङेण तवो खण्ढदुं ।

[भगवन् ! मा मा मम कारणात् व्रतभङेन तपः खण्डयितुम् ।]

36

कपाली - (सहर्षमृत्याप्यालिङ्ग्य) धुर्ण धुर्ण ! नमः शिवाय । प्रिये ! - पेया सुरा प्रियताममुखमीक्षितवयं ग्राहः स्वभावलितो विकृतश्च वेषः । येनैवमीदृशमदृश्यत मोक्षवर्म दीर्घायुरस्तु भगवान् स पिनाकपाणिः ॥ ७ ॥

37

देवसोमा - भअवं ! णां तहा भािणदवं । अघन्तो मोख्खमग्गं अण्णाहा वण्णउन्ति । [भगवन् ! ननु तथा भणितव्यम् । अर्हन्नो मोक्षमार्गमन्यथा वर्णयन्ति ]

38

कपाली - भद्रे ! ते खलु मिथ्यादृश्य: । कुतः - कार्यस्य नि:संशयमात्महेतो: सरूपतां हेतुभिरभ्युपेत्य । दुःखस्य कार्यं सुखमामनन्त्त: स्वेनैव वाक्येन हता वाराका: ॥ ८ ॥

39

देवसोमा - सन्तं सन्तं पावं । [शान्तं शान्तं पापम् ।]

40

कपाली - शान्तं शान्तं पापम् । न खलु ते पापा आक्षेपमुखेनाप्यभिधातुमर्हिन्ति ये ब्रह्मचर्यकेलिनिलीनोटनमलधारणभोजनवेलानियममलिनपटपरिधानादिभि: प्राणिन: परिक्लेशयन्ति । तदिदानीं कुतीर्थसड्डीर्तनोंपहतां जिह्वां सुरया प्रक्शालयितुमिच्छामि ।

41

देवसोमा - तेण हि अण्णं दाणिं सुरापणं गच्छामो । [तेन ह्यानिमित्तानी सुरापणं गच्छ्छाव: ।]

42

कपाली - प्रिये ! तथास्तु ।

(उभौ परिक्रामतः:)

43

कपाली - अहो नु खलु विमानशिखरविश्रान्तधनरसितसनिद्घमृदङ्गमृदङ्शब्दस्य मध्युसमयनिर्माणमातृकायमानमाल्यापणस्य कुसुमशरविजयघोषणायमानवरयुवतिका-चीरवस्य अपि च - अनतिशयमननन्तं सौख्यमप्रत्यनीकं समधिगतसतत््व मेनिरे यन्मुनीन्द्रा: । तदिह निरवशेषं दृष्टमेततु चित्रं यदुत करणभोग्यं कामभोगात्मकं च ॥ ९ ॥

44

देवसोमा - भअवं ! भअवदी वारुणी वइअणवगीअमहुरा कउ-ची । [भगवन् ! भगवती वारुणीवानवगतमधुरा कण्ठी ।]

45

कपाली - प्रिये ! पश्य पश्य ! एष सुरापणो यज्ञवाटविभूतिमनुकरोति । अत्र हि ध्वजस्तम्भो यूप: सुरा सोम: शौण्डा ऋत्विज: चषकाश्चमसा: शूल्यमांसप्रभृतय उपदंशा हविर्विशेषा: मत्तवचनानि यजूंषि गीतानि सामानि उद्ग्रा: तर्षीओद्भि: सुरापणाधिपतिर्यजमान: ।

46

देवसोमा - अहा णं पि एत्थ भिक्खा रुध भाओ भविस्सदि । [आवयो:पात्र भिक्षा रुद्रभागो भविष्यति ।]

47

कपाली - अहो दर्शनीयानि प्रहतमर्दलकरणानुगतानि विविधाझाहारवचनभूविकाराणि उच्चिञ्चितेकहस्तावलम्बितोत्तरीयाणि विगलितवसनप्रतिसमाधानक्षणविश्रितलयानि व्याकुलितकण्ठगुणानि मत्तविलासनृत्यानि।

48

देवसोम - अहो रसिको खु आआद्यो। [अहो रसिक: खल्वाचार्य: ।]

49

कपाली - एषा भगवती वारुणी चषकेस्वावर्जिता प्रत्यदेशो मण्डनानाम् अनुनय: प्रणयकुपितानां पराक्रमो यौवनस्य जीवितं विभ्रमाणम् । किं बहुना - मिथ्या त्रिलोचनविलोचनपावकेन भस्मीकृतां मदनमूर्तिमुदाहरन्ति। स्नेहात्मिका तदभितापवशाद् विलीन सेयं प्रिये मदयति प्रसभं मान्सि ॥ १० ॥

50

देवसोम - भआवं ! जुज्ज्झइ एदं । णहि लोओवारणिरदो लोआणाहो लोअं विणासेदि । [भगवन् ! युज्यत एतत् । नहि लोकोपकारनिरतो लोकनाथो लोकं विनाशयति ।] (उभौ कपोलपटहं कुर्वत:)

51

कपाली - भवति ! भिक्षां देहि ।

52

(नेपथ्ये) भआवं ! एसा भिक्खा । पडिग्गहदु भआवं । [भगवन् ! एषा भिक्षा । प्रतिगृह्णातु भगवान् ।]

53

कपाली - एस प्रतिग्रह्हामि । प्रिये ! क्व मे कपालम् ?

54

देवसोम - अहं वि ण पेक्खामि । [अहमपि न पश्यामि ।]

55

कपाली - (ध्यात्वा) आ तस्मिन्नेव सुरापणे विस्मृतमिति तर्कयामि । भवतु प्रतिनिवृत्य द्रक्ष्याव: ।

56

देवसोम - भआवं ! अधम्मो खु एसो आदरोवणिदाए भिक्खाए अप्पडिग्गहो । किं दाणिं करमह ? [भगवन् ! अधर्म: खल्वेष आदरोपनितया भिक्षया अप्रतिग्रह: । किमिदानीं कुर्म: ?]

57

कपाली - आपद्धर्मं प्रमाणीकृत्य गोशृङ्गेण प्रतिगृह्णाताम् ।

58

देवसोम - भआवं ! तथ । [भगवन् ! तथा ।] (प्रतिगृह्णाति) (उभौ परिक्रम्यावलोकयत:)

59

कपाली - कथमिहापि न दृश्यते । (विषादं रूपयित्वा) भो भो माहेश्वराः ! माहेश्वराः ! अस्मदीयं भिक्षाभाजनमिह भवद्भि: किं दृष्टम् ? किमिह भवन्न: ? — न खलु वयं पश्याम इत । हा हतोऽस्मि ! भ्रष्टं मे तप: । केनाहंमिदानीं कपाली भविष्यामि ? भो: कष्टम् । येन मम पानभोजन - शयनेषु नितान्तमुपकृतं शुचिना। तस्याऽऽद्य मां योग: सन्नित्रस्येव पीडयति ॥ १? ॥ (पतित: शिरस्ताडनं रूपयित्वा) भवतु । अस्ति लक्षणमात्रं । न मुक्तोऽस्मि कपालिसंज्ञायाः । (उत्तिष्ठति)

60

देवसोमा - भअवं ! केण खु गहीदं कवाळं ?

61

कपाली - प्रिये ! तर्कयामि शूल्यमांससगर्भतवाच्छुना वा शाक्यभिक्षुणा वेति ।

62

देवसोमा - तेण हि अण्णेसणिमित्तं सर्वं कउ-चीउरं परिळभमामो ।

63

कपाली - प्रिये ! तथाऽ। (उभौ परिक्रामतः)

64

शाक्यभिक्षुः - (गन्धमाद्राय) अहो ! उवासअस्स धणदाससेट्ठिणो सव्वावासमहादाणमहिमाणो जहिं मए अभिमदवर्णणगन्धरोसो मच्छमंसप्पआरबहुलो आउं पिण्डवाडो समासादिओ । जाव दाणिं राउविहारं एच्च गच्छामि ।

भोः ! परमकारुणिकेण भगवता तथागतेण पासादेसु वासो सुविहिअस्सयेहि पज्जलदेसु सअणं पुच्चवणहे भोआणं अवरणहे सुरसाणि पाणआणि पच्चसुगन्धोवहिअं तम्वोळअं संहवसणपरिधाणं ति एदेहि उवदेसेहि भिक्खुसद्दसणेसु अणुगहं करंतेण किंणु खु इत्थियआरिगहो सुरावाणविहाणं च ण दिट्ठं ? अहव कहिं सव्वओ एदं ण पेक्खदि ! अवस्सं एदेहि दुट्ठबुद्धत्थविरेहि पिणुच्चापेहि अज्जाणं तरुणजणाणं मच्छरणं पिट्टअपुत्थएसु इत्थिआसुरावाणविहाणाणि पलामिद्दाठिणे त्ति तक्केमि । कहिणु खु अविणदठमूळपाठं समासादेअं ? तदो संपूर्णं बुद्धवअणं ळोए पअसअन्तो सज्जोवआरं करिस्सं हि ।

(परिक्रमति)

[अहो ! उपासकस्स धणदाससेठ्ठिणो सर्वावासमहादाणमहिमानो यस्समिन् मयाभिमतवर्णणगन्धरोसो मत्स्यमांसप्रकारबहुलोड्यं पिण्डपातः समासादिः । यादि दानीं राजविहारमेव गच्छामि । भोः ! परमकारुणिकेन भगवता तथागतेण प्रासादेशु वासो सुविहितशय्येषु पर्यड्कडेसु शयनेऽ पूर्ववणहे भोजनमपराणहे सुरसाणि पानकानि पच्चसुगन्धोपहितं ताम्बूलं श्लक्षणवसनपरिधानमित्येतैरुपदेशैरभिक्षुसद्धर्मस्यानुगृह्णाति कुर्वता किन्त्तर्खलु स्त्रीपरिग्रहः सुरापानविधानं च न दृष्टं ? अथवा कथं सर्वज्ञ एनन्त्र पश्यति । अवश्यमेतैष्टबुद्धस्यवैरिनो रुत्स्यहेल्सक्माकं तरुणजनानां मत्सरणं पिटकुस्तकेषु स्त्रीसुरापानविधानानि परामृष्टानीति तर्कयामि । कुतः नु खल्विनष्टमूलपाठः समासादयेयं ? ततः सम्पूर्ण बुद्धवचनं लोके प्रकाशयन् सद्धर्मकारिणो करियामि ।]

65

देवसोमा - भअवं ! पेक्ख पेक्ख । एसो रत्तपडो इमस्सिं विस्सत्थपुरिससम्पादे राउमग्गे सड्कुइदसव्वझ उभयपक्खसअच्चारितदिट्ठी सद्धिदपदविक्खेवेसो तुरीरिअं गच्छड़ ।

[भगवन् ! पश्य पश्य । एष रक्तपटोऽस्मिन् विश्वस्तपुरुषसम्पाते राजमार्गे सङ्कुचितसर्वाङ्ग उभयपक्षसचारितदृष्टिः शङ्कितपदविक्षेपवरितं गच्छति ।]

66

कपाली - प्रिये ! एवमेतत् । अपि चास्य हस्ते चीवरान्तःप्रच्छादितं किमप्यस्तीव ।

67

देवसोमे - भअवं ! तेण हि ओळम्बिअ आसादिअ जाणीमो ।

67

[भगवन् ! तेन हि अवलम्ब्यासाद्य जानीमः ।]

68

कपाली - भवति ! तथाऽ । (उपगम्य) भोः भिक्षो तिष्ठ ।

69

शाक्यभिक्षुः - को णु खु मं एवं भणादि । (निवृत्यावलोक्य) अइ ! अयं एअम्बवासी दुष्टकपालिको । भोदु इमस्स सुरविभ्भमस्स लक्खणं ण होइ । (सतवरं गच्छति)

69

[कोनु खलु मामेवं भणति । अथ ! अयमेकाम्रवासी दुष्टकपालिकः । भवतु अस्य सुराविभ्रमस्य लक्षणं न भवामि ।]

70

कपाली - प्रिये ! हन्त लद्धं कपालम् । अस्य हि मदर्शनजनितभयात् त्वरयैव चौरसाकित्वं प्रतिपन्ना । (द्रुतमुपगम्य अगग्रतो सुप्त्वा) आः धूर्त ! क्वेदानीं गमिष्यसि ?

71

शाक्यभिक्षुः - कवाळिआओस् ! मा मा एवं ! किं एदं । (आत्मगतम्) अहो ललितरुपा उपासिका ।

71

[कपालिकोपासक ! मा मैवम् ! किमेतत् । (आत्मगतम्) अहो ललितरूपा उपासिका ।]

72

कपाली - भो भिक्षो ! दर्शय तावत् । यावदेतत् ते पाणौ चीरान्तः प्रच्छादितं दृश्युमिच्छामि ।

73

शाक्यभिक्षुः - किं एत्थ पेक्खदव्वं । भिक्खाभाणं खु एदं ।

73

[किमत्र प्रेक्षितव्यम् । भिक्षाभाजनं खल्वेतत् ।]

74

कपाली - अत एव दृश्युमिच्छामि ।

75

शाक्यभिक्षुः - आ उस्स ! मा मा एवं ! पच्छणं खु एदं णेदव्वं ।

75

[आः उपासक ! मा मैवम् ! पात्रं खल्वेतत् नोदितव्यम् ।]

76

कपाली - नूणेमवमादिप्रच्छादननिमित्तं बहुचीवरधारणं बुद्धेनोपदिष्टम् ।

77

शाक्यभिक्षुः - सच्चं एवं ।

77

[सत्यमेतत् ।]

78

कपाली - इदं तत् संवृतसत्थं । मरमार्थसत्थं श्रोतुमिच्छामि ।

79

शाक्यभिक्षुः - भोदु एत्तओ परिहासो । अदिक्कमदि भिक्खवेला । साहेमि अहं । (प्रतिष्ठते)

79

[भवेतावान् परिहासः । अतिक्रामति भिक्षावेला । साधयाम्यहम् ।]

80

कपाली - आः धूर्त ! क्व गमिष्यसि । दीयतां मे कपालम् । (चीवरान्तमालभते)

81

शाक्यभिक्षुः - णमो बुद्धाणं !

81

[नमो बुद्धाय !]

82

कपाली - नमः खरपटायाति वक्तव्यं येन चौरशास्त्रं प्रणীতम् । अथवा खरपटादप्यस्मिन्नधिकारो बुद्ध एवाधिकः । कृतः - वेदान्तेभ्यो गुहीत्वार्थान् यो महाभारतादपि । विप्राणां मिषतामेव कृतवान् कोशसङ्चयम् ॥ १२ ॥

83

शाक्यभिक्षुः - सन्तं पापं सन्तं पापं ।

83

[शान्तं पापं शान्तं पापम् ।]

84

कपाली - एवं सुवृत्तस्य तपस्वनः कथमिव पापं न शाम्यति ।

85

देवसोममा - भअवं ! परिस्सन्तो विअ ठक्खीअसि । ण एवं सुह्होवासुह्हं कवाळं । ता एदिणा गोसिझ्झेṇ सुरं पिबिअ जादबळो भविअ इमिणा सह विवादं करेहि ।

86

कपाली - तथास्तु ।

(देवसोममा कपालिने सुरं प्रयच्छति)

87

कपाली - (पीतवा) प्रिये ! त्वयापि श्रमापनोदः कर्तव्यः ।

88

देवसोममा - भअवं ! तह । (पिबति)

[भगवन् ! तथैव ।]

89

कपाली - अयमस्माकम्पकारी । संविभागप्रधानः स्वसिद्धान्तः । शेषमाचार्याय प्रदीयताम् ।

90

देवसोममा - जं भअवं आणवेदि । गरहदु भअवं ।

[यदि भगवानाज्ञापयति । गृह्णातु भगवान् ।]

91

शाक्यभिक्षु: - (आत्मगतम) अहो सुहोवणदो अब्भुदओ । एत्तओ दोसो - महाजणो पेक्खस्सदि । (प्रकाशम) भोदि ! मा मा एवं । ण वइदहदि अहाअणं । (श्रुत्वणी लेढि)

[अहो सुखोपनतोडभ्युदयः । एतावान् दोषः - महान् जनो दृश्यति । भवति ! मा एवं । न वर्धते स्माकम् ।]

92

देवसोममा - धंs ! कुडो दे एत्तआणि भाआधेआणि ।

[धिग् अस्मै ! कुतस्ते एतावन्ति भागधेयानि ।]

93

कपाली - प्रिये ! इयमस्येच्छाविरोधिनी वाद । मुखप्रसेकेण सकलयति ।

94

शाक्यभिक्षु: - इदाणी वि णात्थि दे करुणा ?

[इदानীমपि नास्ति ते करुणा ?]

95

कपाली - यद्यास्ति करुणा कथं वीतरागो भविष्यामि ?

96

शाक्यभिक्षु: - एवं वीतारागिणा वीतरोसेण वि होदव्वं ।

[एवं वीतरागिणा वीतरोषेणापि भवितव्यम् ।]

97

कपाली - वीतरोसो भविष्यामि यदि मे स्वकं दास्यसि ।

98

शाक्यभिक्षु: - किं दे रसणं ?

[किं ते स्वकम् ?]

99

कपाली - कपालम् ।

100

शाक्यभिक्षु: - कहं कवाळं ?

[कथं कपालम् ?]

101

कपाली - कथं कपालमित्याह । अथवा युक्तमेतत् । दृष्टानि वस्तूनि महासमुद्र - महीधरादौ च महान्ति मोहात् । अपहुवानस्य सुतः कथं त्व - मलपं निहोतुमलं कपालम् ॥ १३ ॥

102

देवसोमा - भअवं ! केवलं झालीयमाणो ण दइरिस्सदि । ता एडस्स हत्थादो आच्छिन्दिअ गच्छामो । [भगवन् ! केवलं लालयमानो न द्रश्यति । तदेतस्य हस्तादाच्छिद्य गच्छामः ।]

103

कपाली - प्रिये ! तथाः । (आच्छेतुं व्यप्रियेते)

104

शाक्यभिक्षु: - धंस् दुढटकाळिअ ! (हस्तेन नुदन् पादेन ताडयति) [ध्वंसयतु दुष्टकापालिक !]

105

कपाली - कथं पतितोऽस्मि ।

106

देवसोमा - मुडो सि दासीऐत्त ! (केशापकर्षणं रूपयित्वा निरालम्बना पतिता) [मूढोऽसि दास्या: पुत्र !]

107

शाक्यभिक्षु: - (आत्मगतम्) अहं बुद्धस्स विण्णाणं जेण मुण्डणं दिट्ठं । (प्रकाशम्) उद्दटेइ उद्दटेइ उस्सिऐ उद्देइ । [अहं बुद्धस्य विज्ञानं येन मुण्डनं दृष्टम् । उत्तिष्ठोत्तिष्ठ उपासिके उत्तिष्ठ ।] (इति देवसोमामुपत्यति)

108

कपाली - पश्यन्तु पश्यन्तु माहेश्वराः ! अनेन दुष्टभिक्षुनामधारकेण नागसेनेन मम प्रियतमापाणिग्रहणं क्रियमाणम् ।

109

शाक्यभिक्षु: - आ उस्स ! मा मा एवं ! धम्मो खु अह्माणं विसमपविट्ठाणुकम्पा । [आ उपासक ! मा मेवम् । धर्मः खल्वस्मान् विषमपतितानुकम्पा ।]

110

कपाली - किमयमपि सर्वज्ञधर्मः ? नन्वहं पूर्वं पतितोऽस्मि । भवतु किमनेन ? इदार्णीं तव शिरःकपालं मम भिक्षापालं भविष्यति । (सर्वे कलहं रूपयन्ति)

111

शाक्यभिक्षु: - दुक्खं दुक्खे । [दुःखं दुःखम् ।]

112

कपाली - पश्यन्तु पश्यन्तु माहेश्वराः ! एवं दुष्टभिक्षुनामधारको मम भिक्षापालं मुष्टित्वा स्वयंमेवाक्रन्दति । भवतु अहमप्याक्रोशयिष्ये । अब्रह्मण्यम् ! अब्रह्मण्यम् ! (ततः प्रविशति पाशुपतः)

113

पाशुपतः - सत्यसोम ! किमर्थमाक्रन्दसि ।

114

कपाली - भो बभ्भुकल्प ! अयं दुष्टभिक्षुनामधारको नागसेनो मम भिक्षापालं चोरयित्वा दातुं नेच्छति ।

115

पाशुपत: - (आत्मगतम्) यदस्माभिरनुष्ठेयं गन्धर्वैः तदनुष्ठितम् ! एष दुरात्मा - तां क्षौरिकस्य दासीं मम दयितां चीवरान्तर्दर्शितया । आकर्षति काकण्या बहुशो गाँ ग्राममुष्टिघेव ॥ १४ ॥

116

शाक्यभिक्षु: - भोअवं ! तुं व पि एवं भणासि । अदिण्णदाणादो वेरमणं सिक्खापदं । मुधावादो वेरमणं सिक्खापदं । अब्भम्हचर्यादो वेरमणं सिक्खापदं । पाणादिपादो वेरमणं सिक्खापदं । अकाळ भोउणादो वेरमणं सिक्खापदं । अहिंसा बुद्ध धम्मं [संघं] सरणं गच्छामि ॥ [भगवन् ! त्वम्प्येवं भणसि । अदत्तदानादिरमणं शिक्षापदम् । मुधावादादिरमणं शिक्षापदम् । अब्रह्मचर्यादिरमणं शिक्षापदम् । प्राणातिपातादिरमणं शिक्षापदम् । अकाळभोजनादिरमणं शिक्षापदम् । अस्माकं बुद्धं धर्मं सद्धं शरणं गच्छामि ॥]

117

पाशुपत: - सत्यसोम ! ईदृश एषां समयः । किमत्र प्रतिवचनम् ?

118

कपाली - नन्वस्माकमनृतं न कतकव्यमिति समयः ।

119

पाशुपत: - उभयमप्युपपन्नम् । कोडत्र निर्णयोपायः ?

120

शाक्यभिक्षु: - बुद्धवचनं प्रमाणीकरान्तो भिक्खु सुराभाअणं गण्हादि त्ति को एत्य हेतु ? [बुद्धवचनं प्रमाणीकृत्वा: भिक्षु: सुराभाजनं गृह्णातीति कोडत्र हेतुः ?]

121

पाशुपत: - नहि प्रतिज्ञामात्रेण हेतुबादिन: सिद्दिरस्ति ।

122

कपाली - प्रत्यक्षे हेतुवचनं निरर्थकम् ।

123

पाशुपत: - कथं प्रत्यक्षमेव ?

124

देवसोम: - भोअवं ! एदस्स हत्थे चीवरान्तप्पच्छादिं कवाळं । [भगवन् ! एतस्य हस्ते चीवरान्तःप्रच्छादितं कपालम् ।]

125

पाशुपत: - श्रुतं भवता ?

126

शाक्यभिक्षु: - भो भआवं ! एदं कवाळं ण परकेअं । [भो भगवान् ! एतत् कपालं न परकीयम् ।]

127

कपाली - तेन हि दर्शय तावत् ।

128

शाक्यभिक्षुः - तह । [तथा ।] (दर्शयति)

129

कपाली - पश्यन्तु पश्यन्तु माहेश्वराः । कापालिकेन कृतमन्याद्यमस्य भदन्तस्य साधुवृत्ततां च ।

130

शाक्यभिक्षुः - अविण्णादाणादो वेरमणं सिक्खापदं । मुधावादादो वेरमणं सिक्खापदं । अब्भम्हच्चण्णादो वेरमणं सिक्खापदं । पाणिदप्पणादो वेरमणं सिक्खापदं । अकाळ भोञाणादो वेरमणं सिक्खापदं । अह्मां बुद्धं धम्मं [संघं] सरणं गच्छामि ॥ [अदत्तदानादिरमणं शिक्षापदम् । मुधावादादिरमणं शिक्षापदम् । अब्भम्हच्चयादिरमणं शिक्षापदम् । प्राणातिपातादिरमणं शिक्षापदम् । अकालभोजनादिरमणं शिक्षापदम् । अस्माकं बुद्धं धर्मं संघं शरणं गच्छामि ।]

131

शाक्यभिक्षुः - हदृथि ! लज्जिदव्वे काले णच्चदि । [हा थिक ! लज्जितव्ये काले नृत्यति ।]

132

कपाली - आः को नृत्यति । (सर्वतो विलेक्य) आ मम नष्टभिक्षाभाजनदर्शनकुतूहलमलयानिलप्रयुक्ताया ध्रुवमस्य नृत्यबुद्धिः प्रीतिलतया विलसतेपु ।

133

शाक्यभिक्षुः - भओअं ! केण कारणे एदं ण लक्खीअदि ? भो अचिक्खहु भओअं इमस्स वण्णो । [भगवन् ! केन कारणेनैतत्र लक्ष्यते ? भोः आचष्टां भगवान् अस्यायं वर्णः ।]

134

कपाली - किमत्र वक्तव्यं इे ननु मया दृष्टं । काकादपि कृष्णमिदं कपालम् ।

135

शाक्यभिक्षुः - तेण हि एवं ममकेअं ति सऱहि एवं अभ्भुवगदम् । [तेन हेतुन्मामकीयमिति स्वयमेवाभ्युपगतम् ।]

136

कपाली - सत्यमभ्युपगतं तव वर्णान्तरकरणे नैपुण्यम् । पश्य - यहेतुदासित्रपणं स्तवभावतो मृणालभञ्जच्छविचोरम्सरम् । ननु त्वया नीतमचिन्त्यकरमणा तदेव बालारुणरागतम्रताम् ॥ १५ ॥ अपि च - आवृत्तं बहिरन्तश्च काषायेणापायिना । त्वां प्राप्तं स्यात्करं नाम कपालमकषायितम् ॥ १६ ॥

देवसोमाः - हा हदहि मन्दभाआ । सव्वलक्खणसंपणदाए कमळासणसीसकवाळाणुभावस्स पुण्णमासिसोमदंसणस्स णिच्चसुरागन्धणो एडस्स मळिणपडसंसग्गेण इह ईदिसी अवत्था संवुत्ता ।

(इति रोदिति)

[हा हतस्मि मन्त्रभागा । सर्वलक्षणसम्पन्नतया कमलासनशीर्षकपालानुभावस्य पौर्णमासीसोमदर्शनस्य नित्यसुरागन्धन एतस्य मलिनपटसंसर्गेणीयमीदृश्यवस्था संवृत्ता ।]

138

कपाली - प्रिये ! अलं सन्तापेन । पुनः शुचिर्भविष्यति । श्रूयन्ते हि महान्ति भूतानि प्रायश्चित्तैरनतीतकल्मषाणि भवन्ति । तथाहि - आस्थाय प्रयततो महाव्रतमिदं बालेन्तुचूडामणि: स्वामी नो मुमुचे पितामहशिरश्चेदोद्वदवदनेसः । नाथोडपि त्रिदिवौकसां त्रिशिरसं त्वप्सुस्तनूजं पुरा हत्वा यजशतेन शान्तकुरितो भेजे पुनः पुण्यताम् ॥ १७ ॥

भो बभुक्लप ! नन्वेवमेतत् ?

139

पाशुपतः - आगमानुगतमभिहितम्।

140

शाक्याभिक्षुः - भो ! वण्णो दाव मए किदो । इमस्स सण्ठाणपरिमाणं केण णिम्मिदं ?

[भोः ! वर्णस्तावन्मया कृतः। अस्य संस्थानेरिमाणं केन निर्मितम् ?]

141

कपाली - ननु मायासन्तानस्भवा: खलु भवन्तः ?

142

शाक्याभिक्षुः - केत्तिओ वेलं भवन्त अक्खोसामि ? गण्हहदु भओवं ।

[कियतीं वेलां भवन्तमाक्रोशामि ? गृह्णातु भगवान्।]

143

कपाली - नूनमेवं बुद्धेनापि दानपारमिता पूरिता ।

144

शाक्याभिक्षुः - एवं गते किं दाणि मे सरणं ?

[एवं गते किमिदानीं मे शरणम् ?]

145

कपाली - ननु बुद्धधर्मसङ्घा: ।

146

पाशुपतः - नायं व्यवहारो मया परिच्छेतुं शक्यते । तदधिकरणमेव यास्यामः ।

147

देवसोमाः - भओवं ! जइ एवं गमो कवाळस्स ।

[भगवन् ! यद्येवं नमः कपालाय ।]

148

पाशुपतः - कोऽभिप्रायः ?

149

देवसोमाः - एसो उण अणेग विहारभोअसमधिगतदवित्तसहच्चो जहाकामं अधिकारणकारुणिआणं मुहाणि परेदुं पारेदि । अहहां पुण अहिच्चमं भूदिमत्तविभवस्स दरिहकवाळिअस्स परियारिआणं को एत्थ विभवो अधिकारणं पविसिदुं ?

[एष पुनरनेकविहारभोगसमधिगतवित्तसहचर्यो यथाकाममधिकरणकारुणिकानां मुखानि पारयति । अस्माकं पुनरहिचर्मभूतिमात्रविभवस्य दरिद्रकपालिकस्य परिचारिकानां कोत्र विभवोऽधिकरणं प्रवेष्टुम् ?]

150

पाशुपतः - नैतदेवम्।

अजिहे: सारगुरुभिः स्थिरे: शलक्षणः सुजन्मभिः । तैर्धर्मो धार्यते स्थैः: प्रासाद इव साधुभिः ॥ १८ ॥

151 कपाली - कृतमनेन। कृतश्रवदपि न्याय्यवृत्तेर्भयं नास्ति।

152 शाक्यभिक्षुः - भो भआवं ! तुमं दाव अग्गदो होदु। [भो भगवान् ! त्वं तावदगतो भव ।]

153 पाशुपत: - बाधम्। (सर्वे परिक्रामन्ति)

(ततः प्रविशत्युन्मत्तकः)

154 उन्मत्तक: - एशे एशे दुत्थकुक्कुले। शूळमंशगर्भं कवाळं गणिहउ धावशि । दाशिएवत्त ! कहिं गमिशिशशि ? एशे दाणिं कवाळं णिक्खवविअ में खादिदुकामो अहिमुहं आहावइ । (दिशो विलोक्य) इमिणा परिञ्चलेण दन्त्ताणि शि भञ्जिशं। कहिं कवाळं उज्जिअ पलायअशि ? उन्मत्ते दुत्थकुक्कुले ईदिसेण णाम शूळत्तणे मए शह वि ठोशं कलेशि ? गामशूंगलं आलुहिआ गगणुप्पविदेण शागले ण पडिभक्खिअ लावणं बला गहीदे शक्कशुदे तिमिझले । अइ एळण्ठलुक्ख किं भणासि ? अळिअं अळिअं त्ति ? णं एशे मुशळशमविशाळलम्वहत्थे दहुले मे शक्खी । अहव तेळ्लोक्कविदिआपलक्खम्श शक्तिखणा किं अय्यं ? एवं कळेशं । कुक्कळखादिएशशं मंशखण्डं खादिशं । (खादनं भ्रान्तः) हा हा मालिदोमिह बप्पेण भाइणेओ खु अहं भीमशेणश घतुक्कओ विआ । अविआ गुणाथ - गहीदशूला बहुवेशधालिणो

शदं पिशाआ उदले वहन्ति मे। शदं च वग्घाण णिशम्भीशणं मुहेण मुच्चामि अहं महोळयए ॥ ९९॥

कहिं में बाहन्ति ! पशीदन्तु पशीदन्तु दाळअभट्टा । इमेशे मंशखण्डेशे कालणादो मा में बाहेहं । (अग्रतो विलोक्य) एशे खु अह्याणं आआळिए शूळनन्दी । जाव णं उवशप्पामि । (इति धावति)

[एप एष दुष्टकुक्कुरः। शूल्यमांसगर्भं कपालं गुहीत्वा धावसि । दास्या:पुत्र ! कुत गमिष्यसि ? एप इदानீ कपालं णिक्खिप्य मां खादितुकामोऽभिमुखमावर्त्ति । अननेन प्रस्तरेण दन्त्तानास्य भद्.क्ष्यामि । कथं कपालमुज्जित्वा पलायसे ? उन्मत्तो दुष्टकुक्कुर ईदृशेन मया सहाडपि रोहं करोषि । ग्रामसूकरमारुह्य गगनमुप्पतितेन सागरे ण प्रतिबक्खुज्ज रावणं बलाद् गृहीतः शक्स्रुत्स्तिमिझिळः । अयि! एरण्डवृक्ष ! किं भणसि ? अलीकमलंकमिति ? नन्वेष मुसलसमविशालम्वहस्तो ददुरो मे साक्षी । अथवा तैलोक्यविदितपराक्रमस्य साक्षिणा किं कार्यम् ? एवं करिष्यामि । कुक्कुरखादितशेषं मांसखण्डं खादिश्यामि ।

हादिस्यामि । हा ह मारितोदस्मि बाप्पेण मारितोदस्मि । क एप मां ताडयति ? दुष्टदारका: ! यस्स वा कस्स वा भागिनेय: खल्वहं भीमसेनस्य घटोत्कच इव । अपि च श्रुणुयाद् - गृहीतशूला बहुवेषधारीण: शतं पिशाचा उदरे वहन्ति मे । शतं च व्याघ्राणि निसर्गभीषणं मुखेन मुच्चामयह महोरगान् ॥

कथं मां बाधन्ते । प्रसीदन्तु प्रसीदन्तु दारकभर्तारः। अस्य मांसखण्डस्य कारणान्मा मां बाधध्वम् । एप खल्वस्माकमाचार्य: शूरनन्दी । यावदेनमुपसर्प्पामि ।]

• 129 -

155 पाशुपत: - अये ! अयमुन्मत्तक इत एवाभिवर्तते । य एष: -

निर्विष्टोज्ज्वलचित्रचित्रवीरधरो रुक्कैरन्तान्ताकुले:

केशेरुद्रतभस्मपांसुनिचयैर्निर्माल्यमालाकुले: ।

उच्छिष्टाशनलोलुपैर्बिलभुजमन्वास्यमाने गणै- भ्रूयान ग्रामिकसारसच्चय इव भ्राम्यन् मनुष्याकृति: ॥ २० ॥

156 उन्मत्तक: - जाव ण उवशप्पामि । (उपसृत्य) महाशाहुणेा चण्ढलकुक्कुड़श शआशादो अहि अदं एदं कवाळं पडिगण्हहु भअवं

[यावदेनमुपसर्यामि । महाश्चण्डालकुक्कुरस्य सकाशाद्धिगतं मे तत् कपालं प्रतिगृह्णातु भगवान]

157 पाशुपत: - (सदृष्टिक्षेपम्) पात्रे प्रतिपाद्यताम्।

158 उन्मत्तक: - महाबाहुयण ! कळअदु पशादो ।

[महाबाहु ! क्रियतां प्रसादः ।]

159 शाक्याभिक्षु: - एसो महापासुवदो एदस्स जोग्गो ।

[एष महापाशुपत एतस्य योग्यः ।]

160 उन्मत्तक: - (कपालमुपगम्य कपालं भूमौ निक्षिप्य प्रदक्षिणीकृत्य पादयो: पतित्वा) महादेव ! कळीअदु पशादो । एशो दे अनुज्झली ।

[महादेव ! क्रियतां प्रसादः । एष तेडनुज्झलि: ।]

161 कापाली - अस्मदीयं कपालम् ।

162 देवसोम - एवं एदं ।

[एवमेतत् ।]

163 कापाली - भगवत्प्रसादात् पुत्रपि कापाली संवृत्तः । (ग्रहीतुमिच्छति)

164 उन्मत्तक: - दाशिएवुत्त ! विषं खादे हि ।

[दास्या:पुत्र ! विप्रं खाद ।]

165 कापाली - (अनुसृत्य) एष यमपुरुषो मे जीवितं हरति । अभ्यवपघेतां भवन्तं ।

166 उभौ - { भवतु । आवां ते सहायौ भवाव: ।

होदु । अह्हो दे सहाउ होम । (सर्वे रुन्धन्ति)

167 कापाली - भो: ! तिष्ठ तिष्ठ ।

168 उन्मत्तक: - कशशं रुन्धन्ति ?

[कस्मान्मां रुन्धन्ति ?]

169 कापाली - अस्मदीयं कपालं दत्वा गम्यताम् ।

170 उन्मत्तक: - मूढ ! किं ण पेक्खशि शुवर्णभआणं खु एदं ।

[मूढ ! किं न पश्यसि सुवर्णभाजनं खल्वेतत् ।]

• 130 -

171

कपाली - एवं विधं सुवर्णभाजनं केन कृतम् ?

172

उन्मत्तक: - एतेण शुवर्णणपडावुंदेण शुवर्णणकारावुत्तेण किं ति भआवं ! शुवर्णणभआणं त्ति भणामि । [एतेन सुवर्णवर्णपिटावृतेन सुवर्णकारावुत्तेन कृतमिति भगवान् ! सुवर्णभाजनमिति भणामि ।]

173

शाक्यभिक्षु: - किं भणासि ? [किं भणसि ?]

174

उन्मत्तक: - शुवर्णणभआणं त्ति । [सुवर्णभाजनोमित्ति ।]

175

शाक्यभिक्षु: - किमं उन्मत्तओ ? [किमयमुन्मत्तक: ?]

176

उन्मत्तक: - उन्मत्तऐत्ति बहुशो एतं शह्दं शुणोमि । एतं गलिआ दळिशेहि उन्मत्तओ । एतदं शब्धं श्रुणोमि । एतद गृहीत्वा दर्शयोन्मत्तकम् ।] (कपालीने कपालं प्रयच्छति)

177

कपाली - (कपालं गृहीत्वा) अयमिदानीं कुड्येनान्तर्हितः । श्रीघ्रमनुगम्यताम् ।

178

उन्मत्तक: - लद्धप्पसादो द्विसि । [लद्धप्रसादोस्मि ।] (निष्क्रान्तो जवेनोन्मत्तकः)

179

शाक्यभिक्षु: - अहो अच्छाओ ! परवक्कहस्से लाघणं अहं परितुट्ठो त्ति हि । [अहो आश्चर्यम् ! परपक्षस्य लाभेनाहं परितुष्टोऽस्मि ।]

180

कपाली - (कपालं परिष्वज्य) चिरं मया चरितमखण्डितं तपो महेश्वरे भगवति भक्तिरस्ति मे । तिरोधितः स तु सहसा सुखेन न- स्वमग्ध यत् कुशलि कपाल दृश्यसे ॥ २१ ॥

181

देवसोमा - भआवं ! चन्दसमागदं विअ पाओसं भअवन्तं पेक्खन्तीए अज्ज आणन्दी विअ मे दिस्ठी । [भगवन् ! चन्द्रसमागतं अपि प्रातःसंध्यां भवन्तं पश्यन्त्या अद्य आनन्दी अपि मे दृष्टिः ।]

182

पाशुपत: - दृष्ट्वा च भवनं वर्धति ।

183

कपाली - नन्वभ्युदयो भवतामेव ।

184

पाशुपत: - (आत्मगतम्) सत्यमेतत् - नास्त्यदोषवतां भयमिति । यदयमच भिक्षुर्यांगमुखवात परिभ्रष्टः । (प्रकाशम्) यावदहमिदानिमेव सुहृदभ्युदयकृतमानन्दं पुरोधाय भगवतः पूर्वस्थलीनिवासिनो धूमवेलां प्रतिपालयामि । अयं चाद्यप्रभृति- विरोधः पूर्वसम्बद्धो युवयोरस्तु शाश्वतः । परस्परप्रोतिकरः किरातार्जुनयोरिव ॥ २२ ॥

(निष्क्रान्तः पाशुपतः)

185

कपाली - भो नागसेन ! यन्मयापराधः कृतः तत् प्रसन्नहृदयन् त्वामिच्छामि।

186

शाक्यभिक्षुः - किं एदं पि अनभ्यथणीआं । किं दे पिअं करेमि ?

186

[किमेतदप्यभ्यर्थनीयम् । किं ते प्रियं करोमि ?]

187

कपाली - यदि मे भगवान् प्रसन्नः किंमतः परमहमिच्छामि ?

188

शाक्यभिक्षुः - गच्छामि तावद् अहं ।

188

[गच्छामि तावदहम् ।]

189

कपाली - गच्छतु भगवान् पुनर्दर्शनाय ।

190

शाक्यभिक्षुः - तथ होदु । (निष्क्रान्तः)

190

[तथा भवतु ।]

191

कपाली - प्रिये देवसोमे ! गच्छावस्तावत् ।

(भरतवाक्यम)

शश्वद् भूतये प्रजानां वहतु विधिहुतामाहुतिं जातवेदाः

वेदान् विप्रा भजन्तां सुरभिदुहितरो भूरिदोहा भवन्तु ।

उद्युक्तः स्वेषु धर्मेष्वयमपि विगतव्यापदाचन्द्रतारं

राजन्बानस्तु शक्तप्रशमितारिपुञ्जः शत्रुमेल्ललने लोकः ॥ २३ ॥

(निष्क्रान्तौ)

॥ मत्तविलासप्रहसनं समाप्तम् ॥

Mattavilāsa-Prahasanam

(A Farce of Drunken Sport)

Transliteration of Text and Translation

Mattavilāsa-Prahasanam

drunken-sport farce

(Tataḥ praviśati nādyantē sūtradhāraḥ)

then enters Nāndī-after Sūtradhāra

1

Sūtradhāraḥ:

Bhāṣā-vēśa-vapuh-kriyā-guṇa-kṛtān- āśritya bhēdān gataṃ

speech dress body- action nature done-things depending-on differences attained

Bhāvāvēśa- vaśād- anēka-rasatāṃ trailōkya- yātrā- mayam I

feelings-arousal power-by various emotions 3-worlds-of march comprising

Nṛttaṃ niṣpratibaddha-bōdha- mahimāyaḥ prēkṣakaś-ca svayaṃ

dance un-opposed omniscient supremacy who spectator also himself

Sa vyāptāvanibhājanāṃ diśatu vō divyaḥ kapālī yaśaḥ III

he pervading-earth-bowled grant you-to resplendent Skull-bearer glory

Bhōḥ! Samāsāditaḥ khalu mayā yavīyasīṃ bhāryāṃ-adhikṛtya samutpanna-vyatīkāyāṃ jyēṣṭhāyāṃ

oh! secured-is indeed me-by younger wife on-acct.-of born grievanceful older

mē kuṭumbinyāṃ yuktatarah prasādanōpāyah yac-cirasyādya vayāṃ prēkṣādhikārē pariṣadā

my wife agreeable pacifying-means for long-time-after-now we play-produce-task-in assembly-by

niyuktāḥ smaḥ. Tad yāvad-ēnām-upasarpāmi. (Nēpathyābhimukham-avalōkya) Āryē! Itas-tāvat.

appointed-are thus will her approach-I back-stage-facing looking lady here-be-(you)

(Praviśya)

entering

2

Naṭī: (Sa-rōśam) Ayya! Kiṃ cirasyā kālasya yauvana-guṇābharā- matta-vilāsa- prahasanaṃ darśayitum-āgatōsi?

Ārya! Kiṃ cirassa kālassa jōvvaṇa-guṇabhara- matta-vilāsa-ppahasanaṃ damṣēduṃ ā'adōsi?

with anger sir what old age-in juvenile quality-full drunken sported farce show-to come-(you)

3

Sūtradhāraḥ: Yathāha bhavati.

as- say you

4

Naṭī: Tā'ē ēvva dāva damṣēhi jā tu'ē rama'idavvā!

with- her only show who you-by sported-with-is-to-be

5

Sūtradhāraḥ: Tvayā saha darśayiṣyāmīti.

you with show-I'll-do-am-told

A Farce of Drunken Sport

(At the end of the Invocation,1 the Director enters)

1 Director:

Through the different modes of speech, dress,

bodily action, and expression of nature,

The representation of various emotions brought on by the

arousal of the power of primal feelings,

May that resplendent Kapālī of unopposed, omniscient supremacy,

who’s the performer and spectator Himself of His own dance,

The manifold march of evolution of the three worlds,

grant you His world-bowl-filling glory! (1)

Oh! I have a good way of pacifying my older wife2 who is upset because of the

younger one. It’s been a long time! But we are now engaged by an audience to put

on a show! I’ll approach her. (Looking back-stage) Lady, please, would you

come here?

(The Actress enters)

2 Actress: (Angrily) What, sir! In your old age, have you come to make a spectacle of

yourself - a farce of drunken sport full of juvenile behavior?

3 Director: That’s right.

4 Actress: Then make it in the company of the one you itch to sport with!

5 Director: I am told that I should make it with you.

6

Naṭī: Kim ta'ēvva ni'uttōsi? what her-by instructed-are-you

7

Sūtradhāraḥ: Ēvam-ētat. Api ca tatra gatā mahāntam-anugraham lapsyasē! let be-it anyway there going great gratification win-you

8

Naṭī: Tava ēvva khu ēdam jujja'ē! you- for only this attraction-is

9

Sūtradhāraḥ: Bhavati! Kim-iva yujyatē? Tvat-prayōga- paritōṣitā pariṣad-anugrahīṣyatīti! dear why indeed not attraction-is your performance much-pleased-with assembly applaud-will-thus

10

Naṭī: (Sa- harṣam) Ēvvaṁ! Labdha ārya- miśrāṇāṁ prasādah? with pleasure that-way won-is noble people's approval

11

Sūtradhāraḥ: Bādham! Labdhah! certainly won-is

12

Naṭī: Ja'ē ēvvaṁ kim tē priyākhyānikam dadāmi? if so what you-to good-news-for give-I

13

Sūtradhāraḥ: Alam priyākhyānika-punaruktēna. Paśya: enough good-news superfluity-of see

Udbhinnarōmāñca-kapōla-rēkham- horripilation cheek border

āvir- mayūkha-smitam-añcita-bhruḥ bright beaming smile arched brow

Labdhvā priyē durlabham-ānanaṁ tē winning dear hard-to-get face your

bhūyōpi kim prārthayitavyam-asti more still what to-ask-for is

||2||

14

Naṭī: Kim 'dāniṁ ayyēna pa'ujjīdvaṁ? what now sir-by produced-to-be-is

15

Sūtradhāraḥ: Nanu tvayaivābhihitaṁ mattavilāsa-prahasanam-iti. indeed you-by only-mentioned 'Mattavilāsa Prahasanam' thus

16

Naṭī: (Ātmagatam) Nūnaṁ imassiṁ pakkhayādī mē kōyō jēṇa abhippā'a anurūyaṁ bhanāvid'hmī! to-herself even this(man) supporter my anger for idea supporting said-have-I

Ārya katamah punah sa kavih yōnayā krtyā prakāśyatē? aloud sir who again that poet who this-by work-by shines

(Prakāśam) Ayya kadamō 'unā sō kavī jō ima'ē kidī'ē pa'āsī'adi? aloud sir who again that poet who this-by work-by shines

6

Actress: What! Is she telling you that?

7

Director: Let it be. Anyway, by joining with me in it, you’ll find the response most gratifying.

8

Actress: That’s the kind of thing that attracts you, but not me!

9

Director: Why not, dean? Pleased with your performance, the audience will respond with applause!

10

Actress: (Pleased) Oh, that’s what you mean! Have we been engaged by these distinguished people?

11

Director: Yes, we have!

12

Actress: Then, what can I reward you with for this pleasant news?

13

Director: There’s reward enough already! Anything more would be superfluous! For, look at you!

Horripilated hair-lined borders of your cheek, Arched brow, smile beaming bright, What more, dear, is there to seek, Having won your face with so rare a sight? (22)

14

Actress: What play are you going to stage now, sir?

15

Director: Why, you said it, yourself: ‘A Farce of Drunken Sport’.

16

Actress: (To herself) Even my anger is partial to him. Everything I said supports his own way of thinking! (Aloud) Again, sir, who is the poet distinguished by such a creative work as this?

17 Sūtradhāraḥ:

Bhavati śrūyatām. Pallava-kula-dharani-manḍala-kula-parvatāsya sarva-naya- vijita-samastasāmanta- maṇdalasya ākhaṇḍala-sama-parākrama-śriyah śrī-mahimānurūpa- dāna- vibhūti-subordinate territory's Indra equal valor prosperity auspicious greatness-befit. liberality prosperity paribhūta-rājarājāsya śrī- simhaviṣṇuvarmanah putraḥ śatru- ṣad-varga-nigraha-paraḥ hita-shamed King-of-kings' illust. Simhaviṣṇuvaram's son enemy six- fold suppressing others' good paratantratayā mahā-bhūta- sa- dharmā mahārājaḥ śrī- mahēndravikramavarmā nāma. Api ca:subservient-due-to primal elements with qualities Mahārājah illust. Mahēndravikramavarman named moreover

Prajñā- dāna-dayānubhāva-dhrtayah kāntịh kalā-kauśalam satyam śauryam-amāyatā vinaya ity-ēvam-prakārā guṇāḥ | wisdom liberality compassion dignity courage splendor arts skill-in truth valor honesty modesty thus these kinds qualities Aprāpta- sthititayaḥ samētya śaraṇam yātā yam- ēkam kalau not-finding shelter reaching refuge went whom sole Kali-Yuga-in kalpāntē jagadādim- ādi-puruṣam sarga-prabhēdā iva ||3|| kalpa-end-at World-Source Primal-Person creation all like

Kiñca:

moreover Ākarē sūkți- ratnānām yasmin guṇa-garīyasām mine-in fine-verse gems' whom-in quality solid-ones' Arghanti bahu sūktāni satām sāra- laghūny-api ||4|| gain-value many fine-speeches fine-folk-of matter light though-of Kim- idānīm- āryēṇa vilambyatē? Nanv- apūrvatayā tvaritam- 18 Nați: Kim 'dānīm ayyēnā vilambī'adi? Nam apuruvadā'ē turi'am anuṣṭhitavyōyam prayōgaḥ! why now sir-by delayed-is truly unprecedented quickly carried-out this production

19 Sūtradhāraḥ:

Aham tu: I beg Samprati saṅgīta-dhanah now song treasured-one Kavi- guṇa kathayāsmi nighnatām nītaḥ |. . . poet's virtues reciting-am-I carried-away

(Nēpathyē) Priyē dēvasōmē! back-stage dear Dēvasōmā!

21 Sūtradhāraḥ:

. . . Yuvatī-sakha ēṣa surayā young-woman's-friend this liquor-with Kapāla-vibhavah kapālīva ||5|| skull- treasured Kapālī-like (Niṣkrāntau) exit-both Sthāpanā establishment/launch

17

Director: Listen, dear. Chief mountain of the empire of the Pallava dynasty; one who, through his comprehensive mastery of polity, brought under his control all the rulers of the surrounding subordinate territory; who was equal to Indra3 in valor and prosperity; and who, by liberality and wealth befitting his greatness, put to shame Kubēra;4 such was the illustrious Simhavishnuvarman, whose son, the poet, intent on suppressing the Six-fold Enemies,5 who being subservient to the welfare of others has the same good qualities as the primal elements, is that illustrious Mahārājah named Mahēndravikramavarman! Moreover,

Wisdom, liberality, compassion, dignity, courage, splendor, and artistic skill, Truth, valor, honesty, modesty, and all such qualities you will, Finding no shelter in this sinful age,6 seek refuge in him alone, As all things do, at the eon’s end,7 in the world’s Source, the Primeval Person! (3)

Further:

Many fair speeches of fine folk, though of light-hearted prate, Gain value in him, mine of gems of fine verse of great weight. (4)

18

Actress: In that case, sir, why do you delay? Put on this truly unprecedented8 play right away!

19

Director: Forgive me! Here am I, one whose treasure is song,52 carried away by reciting our poet’s virtues in full . . .

20

Voice:9 (Back-stage) Dear Dēvasōmā!

21

Director: . . . Carried away, as this Kapālī, by liquor; young woman’s friend, one whose treasure is a skull!10 (5)

(They both exit)

The Play Proper is now launched

• 139 -

( Tatah praviśati sa-parigrahah kapāḷī )

22

Kapāḷī: ( Kṣībatām rūpayitvā ) Priyē dēvasōmē! Satyam-ēvaitat! Tapasā kāma-rūpatā prāpyatā iti. Yat tvayā parama-vratasya vidhi-vad-anuṣṭhānēnānya ēva rūpātiśayah kṣanāt pratipannaḥ. Tava hi: Udbhinna-śramavāri-hindu-vadanam sa-bhrū- latā vibhramaṁ khēlam yātam- akarṇanāni hasitāny-avyakta-varṇā girah | Rāgākrāntam-adhīra-tāram-alasāpaṅgam yugam nētrāyōr amsōpānta-vilambinaś-ca vigalan-mālā gunā mūrdhajāḥ ||6||

23

Dēvasōmā: Bha'avaṁ! Mattām- iva . . . mattām- iva māṁ bhaṇasi! Bhagavan! drunk like . . . drunk like me of speak you

24

Kapāḷī: Kimāha bhavatī? what say dear

25

Dēvasōmā: Na khu kincid-bhaṇāmi. nothing at all saying am I

26

Kapāḷī: Kinnu-khalu! Mattōsmi! what indeed drunk am I

27

Dēvasōmā: Bha'avaṁ! Paribhramati paribhramati prthivī! Purah patāmīva! Avalambasvēdānīṁ māṁ! Bhagavan revolving revolving earth front falling like support now me

28

Kapāḷī: Priyē! Tathāstu. ( Avalambamānāḥ patanam rūpayitvā ) Priyē sōmadēvē! Kim tvam kupitāsi yad-avalambitum-upasarpato mē dūrībhavasi? dear so be it supporting falling acting out dear Sōmadēvā why you angry are for support to approaching my away keep you

29

Dēvasōmā: Ahō- ṇu-khalv-āgata- kōpā sōmadēvā jā tu'ē sīsēṇa praṇaṅmyānunīyamānāpi dūrībhavati. oh indeed become angry Sōmadēvā who by you head by bowing begging though away keeps she

30

Kapāḷī: Nanu tvam-ēvāsi sōmadēvā? ( Dhyātvā ) Na-hi dēvasōmā! indeed you only are Sōmadēvā thinking no indeed Dēvasōmā

31

Dēvasōmā: Bha'avaṁ! Nanu tahā vallabhā sōmadēvā nārhati mama nāmakēnābhidhātum! Bhagavan indeed so beloved Sōmadēvā not able my name by address

32

Kapāḷī: Bhavati! Sulabha-pada-skhalitō mē madōyam tavātrāparādhaḥ! dear easily word slipping my drunkenness this your here offender

(Then the Kapālī enters with his woman, Dēvasōmā)

22

Kapālī: (Visibly drunk) Dear Dēvasōmā, it’s really true! By tapas, one can assume any form one desires. For, you in an instant have assumed a wonderful new form by devoting yourself to the greatest of vows.11 Look at you!

Your face spangled with beads of perspiration,

eyebrow-tendrils in graceful agitation,

Wanton movements, causeless smiles

speech with slurring syllables,

Languid side-long glances, unsteadily focused eyes

with reddish tinge suffused,

Hair falling over your shoulders,

its garland all unloosed! (6)

23

Dēvasōmā: Bhagavan, as though drunk . . . as though drunk, you speak of me!

24

Kapālī: What did you say, dear?

25

Dēvasōmā: I’m not saying anything.

26

Kapālī: What! Am I drunk?

27

Dēvasōmā: Bhagavan, the earth is going round and round! I feel I’m falling! Hold me now!

28

Kapālī: All right, dear. (He tries to support her, but falls down himself) Dear Sōmadēvā, you move away when I try to hold you up. Are you angry?

29

Dēvasōmā: Yes, indeed, Sōmadēvā is angry! Even though you bow your head begging her to come, she stays away!

30

Kapālī: Aren’t you Sōmadēvā? (Thinking) No! Dēvasōmā!

31

Dēvasōmā: Bhagavan, you’re so infatuated with Sōmadēvā that you can’t even call me by my name!

32

Kapālī: Dearest, a slip of the tongue! My drunkenness is the real offender!

Diṣṭyā na tvam!

33 Dēvasōmā:

Diṭṭhi'ā na tuvam!

34 Kapālī:

Kathamin madya-dōṣō mām-ēvaṁ saṅkrāmāyati! Bhavatu! Bhavatu! Adya-prabhṛti madya-niṣēvanān-nivrttōsmi!

35 Dēvasōmā:

Bha'avaṁ! Mā! Mā mama kāraṇādō vada-bhaṅgēṇa tavō khaṇḍēdum! (Pādayōḥ patati)

36 Kapālī:

(Sa-harṣam-utthāpy-āliṅgya) Dhṛṣṇa! Dhṛṣṇa! Namaḥ śivāya! Priyē! Pēyā surā priyatamā-mukham-īkṣitavyam grahyam svabhavā-galitaṁ vikṛtaś-ca vēṣaḥ I Yēnēdam-īdrśam-adrśyata mōkṣa- vartma dīrghāyur- astu bhagavān sa pināka-pāṇiḥ II7II

37 Dēvasōmā:

Bha'avaṁ! Nan tu tathā bhaṇitavyam! Arhantō mōkṣa- nārgaṁ- anyathā varṇayanti. Bhagavan! not thus spoken-out-be arhants salvation path diff'ly describe

38 Kapālī:

Bhadre! Tē khalu mithyādṛṣayah! Kutaḥ: Kāryasya nihsaṁśayam-ātma-hētōḥ sa- rūpatām hētubhir abhyupētya I Duhkhasya kāryam sukham-āmanantah svēnaiva vākyēna hatā varākāḥ II8II

39 Dēvasōmā:

Śāntam śāntam pāpam! Santam santam pāvam!

40 Kapālī:

Śāntam śāntam pāpam! Na khalu tē pāpā ākṣēpa- mukhēnāpy- abhidhātum arhanti yē brahmacarya-kēśa-nirlōṭana-mala-dhāraṇa-bhōjana-vēlā-niyama-malina-paṭa-paridhānādibhih prāṇinaḥ celibacy hair plucking dirty being food time restrict. dirty dress putting-on-etc. creatures-of pariklēśayanti. Tad-idānīṁ kutīrtha-saṅkīrtanōpahatāṁ jihvāṁ surayā prakṣalayitum-icchāmi!

33

Dēvasōmā: Fortunately, not you!

34

Kapālī: How this evil, seductive liquor overcomes me! All right! All right! From this moment I stop drinking!

35

Dēvasōmā: Bhagavan, don’t! Because of me, don’t interrupt your tapas by breaking your vow!12 (She falls at his feet)13

36

Kapālī: (Overjoyed, he raises her up and embraces her) Bravo! Bravo! Namaḥ Śivāya! Glory be to Śiva! Dearest: May the trident-armed14 Śiva forever reign! who this way of salvation did thus ordain: Drink liquor, beloved’s face admire, unselfconsciously wear outlandish attire!15 (7)

37

Dēvasōmā: Bhagavan, don’t speak out like that! There are worthy saints here who describe the way to salvation differently.16

38

Kapālī: Dear, they are heretics! For: Having established by logical reason that cause and effect are in form the same, Those wretches are crushed by the treason of their doctrine that happiness is caused by pain! (8)

39

Dēvasōmā: Forbid! Forbid such sin!

40

Kapālī: Forbid! Forbid such sin! Those wicked wretches don’t deserve to be spoken of even in reproach, for they torture the life out of creatures by prescribing celibacy, plucking out the hair, going unwashed, restricting the time of eating, wearing filthy robes, and so on! There, now! I need liquor to wash my tongue defiled by the glorification of heretics!

• 143 -

Tēna hy-anyam- idānīm surāpaṇaṁ gacchāvah.

41 Dēvasōmā:

Tēna hi annaṁ 'dānīm surāpaṇaṁ gacchāmō.

42 Kapālī:

Priyē! Tathāstu. (Ubhau parikrāmatāḥ)

43 Kapālī:

Ahō-nu-khalu vimāna- śikhara- viśrānta-ghana rasita-sandīgdha- mṛdaṅga- śabdasya aha indeed sanctum's pinnacle-on resting thunder-clouds din-confused mṛdaṅgam sound-of madhu-samaya-nirmāṇa-mātṛkāyamānā-mālyāpanasya kusuma-śara- vijaya-ghōṣaṇāyamāna- spring season creation-of source garland-shops' Flower-arrowed-one triumph proclaiming vara- yuvati- kāñcī-ravasya kāñcīpurasya parā vibhūtiḥ! Api-ca: excellent young-ladies' girdle sound-of Kāñchīpuram-of great prosperity moreover Anatiśayam-anantaṁ saukyam-apratyanīkaṁ samadhigata- satatvā mēnirē yan-munīndrāḥ! unsurpassed unending bliss unparalleled attained-having Truth knew which sages-great Tad- iha nir- avaśēṣaṁ dṛṣṭam-ētat-tu citram that here without remainder seen-is this indeed amazing yad-uta karaṇa-bhōgyaṁ kāma- bhōgātmakam ca for senses enjoyed-thru passionate-souled &

44 Dēvasōmā:

Bhagavan! Bhagavatī vāruṇīvānavagītā- madhurā kāñcī! Bhagavan Goddess Liquor-like irreproachable sweetness Kāñcī! Bhavaṁ! Bha'vadī vāruṇī vi'a anavagi'a mahurā kan̄cī!

45 Kapālī:

Priyē! Paśya paśya! Ēsa surāpaṇō yajña- vāta-vibhūtim-anukarōti! Atra hi dhvaja-sthambhō yūpaḥ, dear look look this liquor-shop sacrifice hall's glory resembles here ! sign- post sacr. surā sōmah, śauṇdā ṛtvijah, caṣakāś-camasāḥ, śūlya-māṁsa-prabhṛtaya upadamśā havir- viśēṣāḥ, matta- vacanāni yajūṁṣi, gītāni sāmanī, udankāḥ sruvāḥ, tarṣōgniḥ, surāpaṇādhi-patiṛ-yajamānaḥ!

46 Dēvasōmā:

Āvayōr- apy- atra bhikṣā rudra bhāgō bhaviṣyati! Ahmā'm 'pi ēttha bhikkhā ruddha bhā'ō bhavissadi! our & here alms Rudra's portion will-be

47 Kapālī:

Ahō darśanīyāni prahata-mardala-karaṇānugatāni vividhaṅgahārā- vacana- bhrū-vikārāṇi oh beautiful beat drum rhythm-following varied-gesticulations utterances brow movements ucchritāika-hastāvalambitōttarīyāṇi vigalita-vasana-pratisamādhāna-kṣaṇa-viṣamita-layāni raised one hand-holding-upper-cloth loosened garment straighten moment losing rhythm vyākulita-kaṇṭha-guṇāni matta-vilāsa-nṛttāni.! disarranged necklaces drunk sport dance

48 Dēvasōmā:

Aho! Rasikaḥ khalv- ācāryaḥ! Aho! Rasi'ō khu ā'ayyō! ah connoisseur indeed master

41

Dēvasōmā: Then let us go to another tavern now!

42

Kapālī: All right, dear. (They walk around)

43

Kapālī: Ah, the sounds of mṛidaṅgam drums getting confused with the rumbling of thunder-clouds resting on temple-tower pinnacles - flower-garland shops looking like the very source of the creation of the spring season - and tinkling girdles of exquisite young ladies proclaiming the triumph of the Flower-arrowed God - oh, the great glory of Kāñchīpuram! Further: That unsurpassed, unending, unparalleled bliss, which great sages through vision of Truth attained, Is found here in totality - but amazing thing this: by passionate souls, through the senses it's gained!17 (9)

44

Dēvasōmā: Bhagavan, Kāñchī has the irreproachable, charming sweetness of the Goddess Liquor!

45

Kapālī: Look! Look, dear! This tavern resembles a sacrificial hall in all its splendor! The signpost here is the sacrificial post; liquor, the Sōma juice; those who are drinking are the priests; jugs, the chalice; roasted meat and such, the special savoured oblations; drunken babble, the Yajur-mantras; singing, the Sāma hymns; the ladle for the liquor, the sacrificial ladle; thirst, the fire; and the owner of the tavern is the patron of the sacrifice!

46

Dēvasōmā: And our alms is the portion of the sacrifice set apart for Rudra.

47

Kapālī: Oh, how beautiful the dance of drunken revelry! - following the rhythm of the drum-beat with all kinds of gesticulations, utterances, and twitchings of the eyebrow, now raising one hand to straighten the upper cloth, throwing the necklace into disorder, then losing the rhythm the moment the lower garment has to be pulled up!

48

Dēvasōmā: Ah, the Master is a connoisseur!

49

Kapālī: Ēṣā bhagavatī vārumī caṣakēṣv-āvarjitā pratyādēṣo maṇḍanānāṁ, anunayah praṇaya-kupitānām, parākramō yauvanasya, jīvitam vibhramāṇām! kiṁ bahunā! quarrelers' boldness youth's life flirtations' why more

Mithyā trilōcana-vilōcana-pāvakēna a lie 3-eyed(one) eye fire-by bhasmikrtām madana-mūrtim-udāharanti I ash-done-to Madana form say-they Snēhātmikā tad-abhitāpa-vaśād vilīnā oil-souled that heat by melted sēyam priyē madayati prasabham manāṁsi II0II (it's this) dear intoxicates strongly minds

50

Dēvasōmā: Bha'avaṁ! Jujja'i ēdam. Na-hi lōkōpakāra- niratō lōkamāthō lōkam vi nāśayati. Bhagavan likely it not ! world-good bent-on world world-lord world destroy (Ubhau kapōla-paṭahaṁ kurutaḥ) both cheek- patting do-(they)

51

Kapālī: Bhavati! Bhikṣāṁ dēhi. lady alms give

52

(Nēpathyē) Bha'avaṁ! Ēṣā bhiksā. Pratigrhnātu bhagavān. back-stage Bhagavan here alms receive Bhagavan

53

Kapālī: Ēṣa pratigrhnāmi. Priyē! Kva mē kapālam? it accept-I dear where my skull-bowl

54

Dēvasōmā: Ahaṁ 'vi ṇa pēkkhāmi. Aham-api na paśyāmi. I also don't see

55

Kapālī: (Dhyātvā) Ā tasminn-ēva surāpanē vismṛtam-iti tarkayāmi. Bhavatu pratinivṛtya drakṣyāvaḥ. thinking ah that only liquor-shop-in forgotten thus deduce-I all-right returning look-we

56

Dēvasōmā: Bha'avaṁ! Adharmaḥ khalv-ēṣa ādharōpanītāyā bhiksāyā apratigrahaḥ. Kiṁ-idānīṁ kurvaḥ? Bhagavan! Adharmmō khu ēsō ādarōvanidā'ē bhikkha'ē appadiggahō. Kiṁ 'dāṇiṁ kuramha? Bhagavan sin indeed this respect-given-with alms-of non-acceptance what now do-we

57

Kapālī: Āpaddharmaṁ pramāṇī krtya gō-ṣṛṅgēṇa pratigṛhyatām. calamity-rule authority adopting cow-horn-in accepted-let-it-be

58

Dēvasōmā: Bha'avaṁ! Tathā. Bhagavan! Tathā. (Pratigrhnāti) accepts-she (Ubhau parikramyāvalōkayataḥ) both go-around-looking

49

Kapālī: Pour this Goddess Liquor into a cup and off come the lovely dress and ornaments; reconciled are the quarreling lovers; made bold, the young; and full of life, the flirtations of love! But why go on?

It's not true that the fiery eye of the Three-eyed one burned to ashes, as they say, the body of Madan!

It was melted into the liquid of love by that heat and violently enflames our minds, my sweet! (10)

50

Dēvasōmā: Bhagavan, that's very likely. The Lord of this world, intent on its welfare, wouldn't destroy it.

(Both pat their cheeks)18

51

Kapālī: Madam, please give us alms.

52

Voice: (Back-stage) Bhagavan, here is alms. Take it, Bhagavan.

53

Kapālī: I will. Dear, where is my skull-bowl?

54

Dēvasōmā: I don't see it!

55

Kapālī: (Thinking) Ah, I must have forgotten it at the other tavern. Well, then, let's go back and look for it.

56

Dēvasōmā: Bhagavan, it's a sin not to accept alms given with respect. What do we do now?

57

Kapālī: Dear, in times of calamity, one follows the law of contingency. Accept it in the cow's horn.

58

Dēvasōmā: All right, Bhagavan.

(She receives the liquor alms)

(Both walk around searching)

• 147 -

59

Kapālī: Katham-ihāpi na drśyatē!

how here-also not seen

(Viṣadam rūpayitvā)

despair acting-out

Bhō bhō māhēśvarāḥ! Māhēśvarāḥ! Asmadīyam bhikṣā-bhājanam-iha bhavadbhiḥ kim drṣṭan?

O O Māhēshvaras Māhēshvaras our (my) alms bowl here you-by ? seen-been

Kim-āhur-bhavantaḥ? "Na khalu vayam paśyāma" iti? Hā! Hatōsmi! Bhraṣṭam mē tapah!

what say- you "Na khalu vayam paśyāma"? Hā! Hatōsmi! Bhraṣṭam mē tapah!

Kānāham-idānīm kapālī bhavisyāmi? Bhōḥ kaṣṭam!

how-I now Kapālī be-can-I? Bhōḥ woe

Yēna mama pāna-bhōjana-

which-by my drink food

śayanēśu nitāntam-upakṛtam śucinā |

sleep-in so-greatly helped pure & white

Tasyādya mām viyōgah

its now me-from separation

san- mitrasyēva pīḍayati ||111||

good friend's-like tortures

(Patitah śiras-tādanam rūpayitvā) Bhavatu! Asti lakṣaṇa-mātram Na muktōsmi kapālī-samjñāyāḥ!

fallen head beating acting-out Bhagavan! Asti lakṣaṇa-mātram Na strippped-I Kapālī title-of

(Uttiṣṭhati)

gets-up-he

60

Dēvasōmā: Bha'vam! Kēna khalu grhītam kapālam?

Bhagavan! Kēna khalu gahīdam kavālam?

61

Kapālī: Priyē! Tarkayāmi śīlya-māmsa-garbhatvāc-chunā vā śākyabhikṣuṇā vēti.

dear deduce-I roast meat containing-due-to dog-by or-thus Buddhist monk-by or-thus

Tēna hy-anvēṣaṇa-nimittam sarvam kāñcīpuram paribhramāvah.

Tēna hy- anvēṣaṇa-nimittam sarvam kāñcīpuram paribhramāvah.

62

Dēvasōmā: Tēna hi anvēṣaṇa-nimittam sarvam kāñcī'uram paribhamāmō.

then indeed search for-sake-of whole-of Kānchīpuram go-about-let-us

63

Kapālī: Priyē! Tathā.

dear all-right

(Ubhau parikrāmatāḥ)

both go-around

(Tatah praviśati śākya-bhikṣuh pātra-hastah)

then enters Buddhist monk bowl in-hand

59

Kapālī: What! It’s not to be seen here either!

(In despair)

O, O Māhēshvaras! Māhēshvaras!19 Have you seen my begging bowl? What do you say? You say you haven’t seen it? Ah! I’m finished! My tapas is ruined! How can I be a Kapālī, now, without my token? Oh, woe!

So pure and white, Such a help with drink, food, sleep! Like a good friend, Its separation from me now is torture deep! (11)

(He falls down and beats his head) Wait! The token is still intact!20 I haven’t lost the title of ‘Kapālī’!

(He gets up)

60

Dēvasōmā: Bhagavan, who could have taken the skull-bowl?

61

Kapālī: Dear, I figure either a dog or a Buddhist monk, since it contained roasted meat.

62

Dēvasōmā: Then let’s go all around Kāñchīpuram and look for it.

63

Kapālī: All right, dear.

(Both walk around)

(Then the Buddhist Monk enters with a bowl in hand, under his robes)

64

Śākyabhikṣuḥ: (Gandham-āghrāya) Ahō upāsakasya dhanadāsa-śrēṣṭhinaḥ sarvā-vāsa- mahā-dāna- mahimā yāsmin- mayābhimata- varṇa- gandha-rasō matsya- māṃsa- prakāra- bahulōyaṃ piṇḍa-pātah samāsāditaḥ! jahim ma'ē abhimada-vaṇṇa-gandha-rasō macha-maṁsa-ppa'āra-bahulō a'm piṇḍa-vādō samāsādidō! Yāvad-idānīṁ rāja-vihāram- Jāva 'dānīṁ rā'a-vihāram ēva gacchāmi. ēvva gacchāmi. (Parikramya ātmagatam) Bhōḥ! Parama- kāruṇikēna bhagavatā tathāgatēna prāsādēsu vāsah, su- vihita- śavyēsu paryaṅkēsu śayanam, pūrvāhnē bhōjanam, bha'avadā tahāga'ēna pāśadēsu vāsō, su- vihi'a- sayyēsu pajjaṅkēsu sa'aṇam, puvvaṇhē bhō'aṇam, revered-by Enlight.-One-by mansions-in living well-made bedding-on beds-on sleeping forenoon-in food avaraṇhē su-rasāni pāna'āni, pañca- su-gandhōvahi'am tambōlḷam, sanha- vasana-paridhānaṁ 'ti ēdēhi afternoon-in savory drinks five fine-flavors-with tāmbūla soft dress wearing thus these-by upadēśair- bhiksu- saṅghasyaṅugraham kurvatā kin-nu-khalu strī parigrahaḥ surā- pāna- vidhānāṁ uvadēsēhi bhikkhu-saṅghassa aṇuggahaṁ karantēna kin-nu-khu itthi'ā pariggaḥō surā- vāna- vihānāṁ ordaining-by monk saṅgha's favor doing-by why indeed women-permitting liquor drinking rule ca na ḍṛṣṭam? Athavā katham sarvajña ētan- nā paśyati? Avaśyam-ētair- duṣṭa- buddha- sthavirair- ca na diṭṭham? Ahava kaham savvajñō ēdaṁ na pēkkhadi? Avassam ēdēhi duṭṭha- buddha- tthavirēhi & not found or how omnisc.-One this not see surely those-by wicked Buddhist-elders-by nirutsāhair- asmākam taruṇa- janānāṁ matsarēṇa piṭaka- pustakēṣu strī- surā- pāna-vidhānāni ṇirucchā'ēhi ahmaṇāṁ taruṇa-janānāṁ maccharēṇa piḍa'a-puttha'ēsu itthi'ā- surā- vāna-vihānāṁ impotents-by us young fellows jealousy-by Pitaka books-in women liquor drink rules paramirṣṭanīti tarkāyāmi! Kutra- nu-khalv- a-viṇaṣṭa- mūla- pāṭhaṁ samāsadayēyam? Tatas-sampurnam palamiṭṭhāni'tti takkēmi! Kahim-nu-khu a-viṇatṭha- mūḷa- pāṭham samāsa'ē'am? Tadō sampuṇṇam obliterated-thus deduce-I where indeed un-expurgated original text recover-can-I then complete buddha- vacanam lōkē prakāsayan saṅghōpakāram kariṣyāmi. buddha-va'aṇam ḷō'ē pa'āsa'antō saṅghōva'āraṁ karissaṁhi. Buddha teaching world-in spreading Saṅgha-good do-I

(Parikrāmati)

65

Dēvasōmā: Bha'avaṁ! Pēkkha pēkkha! Ēsō ratta-padō imassim vissattha purisa-sampādē rā'a maggē Bhagavan look look this red robe this-in carefree people crowd-in Royal Avenue-in saṅkucita- sarvāṅga ubhaya-pakṣa- sañcārida-ḍiṭṭhi saṅkida-pada vikṣēpas- tvaritam gacchati! saṅku'eda-savvaṅgō ubhaya-pakka-saṅcāida-diṭṭhī saṅkida-pada vikkhēvō turi'aṁ gaccha'i! shriveled all-limbs both sides casting glances anxious gait quickly goes-he

66

Kapālī: Priyē! Ēvaṁ-ētat! Apicāsya hastē civarāntah-pracchāditam kim-apy- astīva! dear so it (is) moreover-his hand-in robe-inside hidden something is-like

67

Dēvasōmā: Bha'avaṁ! Tēna hi avalambyāsādya jāṇīvaḥ! Bhagavan! Tēna hi ōlambi'a āsādi'a jāṇīmō! Bhagavan then indeed catching pursuing find-out

64

Monk: (Inhaling) Ah, the great munificence of our lay-brother, merchant Dhanadāsa surpasses that of all other houses, for I have here as alms from him a meal with a variety of different preparations of fish and meat - what a mixture of pleasant colors, smells and tastes! I must get back, now, to the Royal Monastery.

(He goes around, talking to himself)

Oh, when the most compassionate and holy Enlightened One has ordained for the Brotherhood such favors as living in palatial residences, sleeping on couches provided with comfortable bedding, having food in the morning, tasty drinks in the afternoon, five-flavored tāmbūla,21 the wearing of fine robes, and so on, why aren’t rules to be found permitting women and liquor? How is it that the Omniscient One overlooked these? I really think those wretched, impotent elders, jealous of us young fellows, have blotted out, in the Piṭaka books, the rules regarding women and liquor! Where can I get the unexpurgated, original texts? Then I’ll help the Brotherhood by spreading throughout the world the complete teaching of the Buddha!

(He walks around)

65

Dēvasōmā: Bhagavan, look! Look at that fellow in red robes, all hunched up, glancing this side and that, hurrying along in such an apprehensive manner among the carefree crowd of people in the Royal Avenue!

66

Kapālī: You’re right, dear! And, furthermore, there seems to be something in his hand, hidden under his robe!

67

Dēvasōmā: Bhagavan, let’s stop him and find out!

68

Kapālī: Bhavati! Tathā. (Upagamya) Bhō bhikṣō! Tiṣṭha! dear all-right approaching O monk stop Kō- nu-khalu mām-ēvaṁ bhaṇati? Ayi ayam-Ēkāmra- vāsī duṣṭa- Kāpālikah! who indeed me thus calls hey this Ekāmra liv.wretched Kāpālika Śākyabhikṣuḥ: Kō- nu- khu mam ēvaṁ bhaṇādi? (Nivrtyāvalōkya) A'i ayam-Ē'mvva-vāsī duṭṭha- Kavālī'ō! who indeed me thus calls turning & looking hey this Ēkāmra liv.wretched Kavālika Kō-nu-khalu mām-ēvaṁ bhaṇati? Bhavatu asya surā- vibhramasya laksyaṁ na bhavāmi. who indeed me thus calls all-right his liquor antics' target not be-I’ll Kō-nu-khu mam ēvaṁ bhaṇādi? Bhōdu imassa surā- vibbhamassa lakkhaṁ ṇa hōmi. who indeed me thus calls all-right his liquor antics’ target not be-I

(Satvaram gacchati) quickly goes-he

70

Kapālī: Priyē! Hanta labdham kapālam! Asya hi mad-darśana-janita-bhayāt tvariṣa sākṣitvaṁ pratipannā! (Drutam-upagamya-āgratō ruṇaddhi) Āḥ dhūrtta! Kvēdānīṁ gamiṣyasi? dear oh got skull-bowl his indeed me seeing born fear-from hurry-itself theft evidence clear-is quickly moving-in-front blocks ha rogue where-now go-you

71

Śākyabhikṣuḥ: Kavālī'ā usa! Mā mā ēvaṁ! Kim ēdaṁ? (Ātmagatam) Ahō! Lalita- rūpā upāsikā! Kāpālikōpasaka! Mā maivam! Kim-ētat? oho beauty- shape lay-sister Kāpālika-lay-bro. not not this what this Ahō! Ḷali'a- rūvā uvāsi'ā! oho beauty- shape lay-sister

72

Kapālī: Bhō bhikṣō! Darśaya tāvat! Yāvad-ētat tē pāṇau cīvarāntah pracchāditam drasṭum-icchāmi! O monk show it because this your hand-in robe-inside hidden see-now want-I

73

Śākyabhikṣuḥ: Kim ēttha pēkkhidavvaṁ? Bhikkhā- bhājanam khālv-ētat. what here seen-to-be-is alms- bowl indeed this Kim- atra prēkṣitavyam? Bhikṣā- bhājanam khalv-ētat. what here seen-to-be-is alms- bowl indeed this

74

Kapālī: Ata ēva drasṭum-icchāmi! that indeed see want-I

75

Śākyabhikṣuḥ: Ā usa! Mā mā ēvaṁ! Pracchannaṁ khalv-ētan- nētavyam. ah lay-bro. not not this concealed indeed this carried-(should-be) Ā usa! Mā mā ēvaṁ! Pacchannaṁ khu ēdaṁ nēdavaṁ. ah lay-bro. not not this concealed indeed this carried-(should-be)

76

Kapālī: Nūnam-ēvaṁ-ādi-pracchādana-nimittaṁ bahu-cīvara- dhāranam buddhēnōpaḍiṣṭam! of-course this- such concealing purpose-for much clothing wearing Buddha-by prescribed-is Satyam- ētat! truth this

77

Śākyabhikṣuḥ: Saccam ēdaṁ! truth that

78

Kapālī: Idaṁ tat samvṛta-satyam! Paramārtha-satyam śrōtum-icchāmi! this that concealed truth revealed truth hear want-I

79

Śākyabhikṣuḥ: Bhōdu ētta'ō parihāsō! Adi-kkamadi bhikkhā-vēḷā. Sāhēmi a'ṁ. (Pratiṣṭhatē) let-be thus-far jokes away-passing begging time go I starts-he

80

Kapālī: Āḥ! Dhūrtta! Kva gamiṣyasi? Dīyatāṁ mē kapālam! (Cīvarāntam-ālambatē) ha rogue where go-you given-let-be my skull-bowl robe-edge seizes-he

81

Śākyabhikṣuḥ: Namō buddhāya! glory Buddha-to Namō buddhā'a! glory Buddha-to

68

Kapālī: Right, dear! (Approaching) Ho! Monk, stop!

69

Monk: Who's calling me like that?

(He turns and looks)

Hey! It's that wretched Kāpālika who lives in Ēkāmra! Well, I won't become the target of his drunken antics!

(He hurries away)

70

Kapālī: Dear, come on! I've got my skull-bowl! As soon as he saw me, he's afraid and in a hurry. It's sure evidence of the theft! (Going quickly in front, he blocks the Monk) Ha! Wretch! Where will you go now!

71

Monk: Brother Kāpālika, don't! Don't! . . . What is this?

(To himself) Oho! What a beautiful body this lay-sister has!

72

Kapālī: O Monk, show it! I want to see what's in your hand, hidden under your robe!

73

Monk: What is there to see? It's only a begging bowl.

74

Kapālī: That's just what I want to see!

75

Monk: O Brother, don't! Don't! It must be carried concealed.

76

Kapālī: Yes, of course! It's for the purpose of concealing things like this that the Buddha has prescribed wearing so much clothing!

77

Monk: That's true.

78

Kapālī: That's the 'Concealed Truth'! I want to hear the 'Revealed Truth'!22

79

Monk: Enough of these jokes! The time for begging is almost over. I must be going. (He starts)

80

Kapālī: Ha! Rogue! Where do you think you're going? Give me my skull-bowl! (He grabs an end of the Monk's robe)

81

Monk: Glory be to the Buddha!

82

Kapālī: Namaḥ kharapaṭāyēti vaktavyam yēna cōra-śāstraṁ pranitam! Athavā kharapaṭād-apy-asmin-adhikārē buddha ēvadhikaḥ! Kutaḥ: this respect-in Buddha himself superior for Vēdāntēbhyō grhītavārthān yō mahābhāratād-api | Vēdāntas-from taking ideas who Mahābhārata-from & Viprānāṁ miṣatām-ēva kṛtavān kōśa- sañcayam ||112|| Brahmins blink-(as) even compiled precepts collection Śāntam pāpam! Śāntam pāpam! forgive sin forgive sin

83

Śākyabhikṣuḥ: Santam pāpam! Santam pāpam! forgive sin forgive sin

84

Kapālī: Ēvaṁ su-vṛttasya tapasvinaḥ katham-iva pāpaṁ na śāmyati? this-way well-disciplined ascetic how indeed sin not forgiven Bhagavan! Pariśrānta iva lakṣyasē. Naitat sukhōpāya- sulabhaṁ kapālam. as-tho' look-you Bhagavan tired no that easy-way to-get skull-bowl

85

Dēvasōmā: Bha'avaṁ! Pariśssantō vi'ā lakkhī'asi. Na ēdaṁ suhōvā'a- sulahaṁ kavālam. Bhagavan tired as-tho' look-you no that easy-way skull-bowl Tad- ētēna gō- śṛṅgēṇa surāṁ pitvā jāta-balō bhūtvānēna saha vivādam kuru. Tā ēdiṇā gō-siṅgēṇā suraṁ pibi'a jāda-balō bha'avi miṇā saha vivādaṁ karēhi. thus this-by cow-horn-by liquor drinking born strength being this with quarrel do

86

Kapālī: Tathāstu. (Dēvasōmā kapālinē surāṁ prayacchati) all-right Dēvasōmā Kapālī-to liquor gives-she

87

Kapālī: (Pitvā) Priyē! Tvayāpi śramāpanōdaḥ karttavyah. drinking dear you-by also fatigue-rid done-should-be Bhagavan! Tathā. Bhagavan all-right

88

Dēvasōmā: Bha'avaṁ! Tatha. (Pibati) Bhagavan all-right drinks-she

89

Kapālī: Ayam-asmākam-apakārī. Saṁvibhāga-pradhānaḥ sva-siddhāntaḥ. Śēṣam-ācāryāya pradīyatām. this-[monk] our ill-doer sharing importance our doctrine remainder Āchārya-to given-let-be Yad bhagavān- ājñāpayati. Gṛhṇātu bhagavān. as Bhagavan ordains accept-let Bhagavan

90

Dēvasōmā: Jam bha'avaṁ āṇavēdi. Gahṇadu bha'avaṁ. as Bhagavan ordains accept-let Bhagavan

91

Śākyabhikṣuḥ: (Ātmagatam) Ahō! Sukhōpatōbhuyudayaḥ! Ētāvān dōṣaḥ - mahājanō draksyati. (Prakāśam) Bhōdi! Mā maivaṁ! Na vardhatēsmākam! (Śrkanī lādhi) aloud oh easy-got fortune this problem people see himself-to lady don't don't this not proper us-for corners licks

92

Dēvasōmā: Dhama! Kudō dē ētti'āni bhā'adhē'āṇi? damned-be-you where you-to this-much fortune

93

Kapālī: Priyē! Iyam-asyēcchā-virōdhinī vāg mukha-prasēkēna skhalayati. dear this his-desire opposing speech mouth emitting-by drools

82

Kapālī: You should say, ‘Glory be to Kharapaṭa’ – who taught the science of theft! Or perhaps the Buddha is even superior to Kharapaṭa in that respect. For: The Brahmins had merely to blink, and right from under their nose, He stole, for his pile of precepts, ideas from Mahābhārat and Vēdāntic prose! (12)

83

Monk: Forgive the sin! Forgive the sin!23

84

Kapālī: Why couldn’t the sin of such a great, well-disciplined ascetic be forgiven?24

85

Dēvasōmā: Bhagavan, you look as though you are exhausted. There is no easy way to get the skull-bowl. Have a drink of liquor from this cow’s horn so that you’ll have strength to carry on the argument.

86

Kapālī: Right. (Dēvasōmā gives liquor to the Kapālī)

87

Kapālī: (Drinking) Dear, you, too, must refresh yourself.

88

Dēvasōmā: Bhagavan, I will. (She drinks)

89

Kapālī: This fellow has offended us. Our doctrine, however, lays emphasis on sharing. Give what’s left to this Āchārya.

90

Dēvasōmā: As the Bhagavan ordains. Let the Bhagavan accept it.

91

Monk: (To himself) Oh! What a stroke of good fortune! But the problem is this – people will see. (Aloud) Don’t, lady. Please don’t. It’s not proper for us. (He licks the corners of his mouth)

92

Dēvasōmā: Damn you! Where will you ever again get such a great fortune?

93

Kapālī: Dear, what he says contradicts what he wants – he’s drooling!

94

Śākyabhikṣuh: Idānīm 'vi natthi dē karuṇā? now any haven't you pity

95

Kapālī: Yady-asti karuṇā katham vīta- rāgō bhaviṣyāmi? if is pity-(in-me) how free-of passion could-be-I

96

Śākyabhikṣuh: Evam vīta- rāgiṇā vīta- rōṣēṇāpi bhavitavyam! if free-of passion-by free-of anger-by also should-be

97

Kapālī: Vīta-rōsō bhaviṣyāmi yadi mē svakam dāsyasi. free-of anger will-be-I if my property give-you

98

Śākyabhikṣuh: Kim tē svakam? Kim dē sa'am? what your property what your property

99

Kapālī: Kapālam! skull-bowl

100

Śākyabhikṣuh: Kaham kapālam? Kaham kavālam? what bowl what bowl

101

Kapālī: Katham kapālam- ity-āha! Athavā yuktam-ētat: what skull-bowl thus said or-maybe proper this

101

Drṣṭāni vastūni mahī-samudra- visible things earth ocean

101

mahī-dharādini mahānti mōhāt | mountains etc. enormous delusion-due-to

101

alpam na nihnōtum-alam kapālam? ||113|| small not conceal-to adquate skull-bowl

102

Dēvasōmā: Bhagavan! Kēvalam lālyamānō na dāsyati. Tad-ētasya hastād- ācchidya gacchāvah. Bhagavan merely coaxed not give-he'll thus his hand-from grabbing go-we

102

Kēvalam lālyamānō na da'issadi. Tā ēdassa hatthād ācchindi'a gacchāmō. Bhagavan merely coaxed not give-he'll thus his hand-from grabbing go-we

103

Kapālī: Priyē! Tathā. (Āchēttum vyapriyatē) dear all-right grab to approaches-he

104

Śākyabhikṣuh: Dhavṁsasva dusta- kāpālika! (Hastēna nudan pādēna tādayati) damned-be-you wretched Kāpālika hand-with pushing foot-with kicks-he

105

Kapālī: Katham patitōsmi! oh fallen-am-I

106

Dēvasōmā: Mrtō'si dāsi'ē- vutta! (Kēśāpakarṣaṇam rūpayitvā nirālambanā patitā) dead-you-are slave's son hair-pulling acting-out not-getting falls-she

94

Monk: Have you no pity at all?

95

Kapālī: If I had pity, how could I attain that state which is free from all passion?25

96

Monk: If you were free from passion, you would be free from anger, too!

97

Kapālī: I'll be free from anger if you give me what is mine!

98

Monk: What is yours?

99

Kapālī: The skull-bowl!

100

Monk: What bowl?

101

Kapālī: He says, 'What bowl?'! Or perhaps that's proper, for:

Son of the one who hid

in Māyā such obvious things

As the mighty earth, ocean, mountains,

couldn't you hide a small bowl? (13)

102

Dēvasōmā: Bhagavan, merely coaxed, he won't give it. So just grab it from his hand, and let us be off.

103

Kapālī: All right, dear. (He advances to snatch it away)

104

Monk: Damn you! You wretched Kāpālika!

(He pushes the Kāpālika with his hand and kicks him with his foot)

105

Kapālī: Oh, I've fallen down!

106

Dēvasōmā: Bastard, you're a dead man now!

(She goes to pull the Monk's hair - failing to get hold of any, she falls down)

• 157 -

107

Śākyabhikṣuḥ: (Ātmagatam) Arham buddhasya vijñānam yēna muṇḍanam drṣṭam! Uttisṭhōttisṭha upāsikē uttiṣṭha (Prakāśam) Utṭhēhi utṭhēhi usi'ē utṭhēhi! (Iti dēvasōmām-uttāpayati) aloud get-up get-up lay-sister get-up (saying)-thus Dēvasōmā to-get-up-helps-he

108

Kapālī: Paśyantu! Paśyantu māhēśvarā anēna duṣṭa- bhikṣu-nāma-dhārakēṇa nāgasēnēna mama priyatamā-pāni-grahaṇam kriyamāṇam! Ā upāsaka! Mā maivam! Dharmaḥ khalv- asmākam visama- patitānukampā.

109

Śākyabhikṣuḥ: Ā usa! Mā ēvam!

110

Kapālī: Kim- ayam-api sarvajña-dharmah? Nanv-aham pūrvam patitōsmi! Bhavatu kim-anēna? Idānīm tava śiraḥ-kapālam mama bhiksa-kapālam bhaviṣyati! (Sarvē kalaham rūpayanti)

111

Śākyabhikṣuḥ: Duhkham dukkham! suffering suffering

112

Kapālī: Paśyantu! Paśyantu māhēśvarāḥ! Ēṣa duṣṭa- bhikṣu-nāma-dhārakō mama bhikṣā-kapālam muṣitvā svayam-ēvākrandati! Bhavatu aham-apy-ākrośayiṣyē! A-brahmaṇyam! A-brahmaṇyam! (Tataḥ praviśati pāśupataḥ) then enters Pāśupata

113

Pāśupataḥ: Satyasōma! Kim-artham-ākrandasi? Satyasōma what reason shout-you

114

Kapālī: Bhō Babhrukalpa! Ayam duṣṭa bhikṣu-nāma-dhārakō nāgasēnō mama bhikṣa-kapālam cōrayitvā dātum nēcchati! stealing return not-wants-he

115

Pāśupataḥ: (Ātmagatam) Yad-asmābhir-anuṣṭhēyam Gandharvair tad-anuṣṭhitam! Ēṣa dur-ātma: Tām kṣaurikasya dāsīm mama dayitām cīvarānta-darśitayā | Ākarṣati kākaṇyā bahuśō gām grasa-muṣty-ēva ||14|| Tād-idānīm pratihasti-prōtsāhanēna śatru-pakṣam dhvamisayāmi. (Prakāśam) Bhō nāgasēna! Apy-ēvam-ētad yathāyam-āha? aloud O Nāgasēna thus so that how-he says

107

Monk: (To himself) Praised be the Buddha’s wisdom in having prescribed the shaving of the head! (Aloud) Get up! Get up, lay-sister! Get up! (He helps Dēvasōmā to get up)

108

Kapālī: Look, Māhēśvaras! Look at this Nāgasēna, this rogue who is called a monk, taking the hand of my beloved!

109

Monk: Ah, Brother, don’t! Don’t! It’s our duty to be compassionate to those who by misfortune have fallen.

110

Kapālī: Oh, is that really a rule of the Omniscient One? Well, wasn’t I the first to have fallen? But what of that! Now your skull will become my begging bowl! (All begin to fight)

111

Monk: Duhkham! Duhkham! Misery! Misery!

112

Kapālī: Look! Look, Māhēshvaras! Here’s this rogue who is called a monk stealing my begging bowl and then raising a hue and cry! All right, I’ll shout too! Abrahmaṇyam! Abrahmaṇyam! An outrage on a Brahmin!

(Then the Pāshupata enters)

113

Pāshupata: Satyasōma, why are you shouting?

114

Kapālī: O Babhrukalpa, this rogue, Nāgasēna, who is called a monk, has stolen my begging bowl and won’t give it back!

115

Pāshupata: (To himself) What we should have done, the Gandharvas have accomplished!26 This evil-minded fellow! That kept woman of a barber, my beloved lass, Like a cow being led by a handful of grass, She keeps being lured away just by his showing The cowrie-shell treasure shaft hidden under his clothing! (14) Therefore, I’ll crush my rival now by encouraging his opponent. (Aloud) O Nāgasēna, is it true what he says?

116

Śākyabhikṣuḥ: Bha'avaṁ! Tuvam 'pi ēvaṁ bhaṇāsi? Bhagavan! you also thus speak Adattādānād- viramaṇaṁ śikṣāpadam. Adinnādāndo vēramaṇaṁ sikkhāpadaṁ. unoffered abstention-(from) precept-(is-our) Mudhāvādād- viramaṇaṁ śikṣāpadam. Mudhāvādādo vēramaṇaṁ sikkhāpadaṁ. vain-talk abstention precept Abhamaṇacaryād- viramaṇaṁ śikṣāpadam. Abbhamaṇacayyādo vēramaṇaṁ sikkhāpadaṁ. unchastity abstention precept Prāṇātipātād- viramaṇaṁ śikṣāpadam. Pāṇādipādādo vēramaṇaṁ sikkhāpadaṁ. life-killing abstention precept Akāla- bhōjanād- viramaṇaṁ śikṣāpadam. Akāla- bhō'āṇādo vēramaṇaṁ sikkhāpadaṁ. untimely eating abstention precept Asmākaṁ buddha[m] dharmaṁ [saṅghaṁ] śaraṇaṁ gacchāmi! Ahmā'ṁ buddha[iṁ] dhammaṁ [saṅghaṁ] saraṇaṁ gacchāmi! our Buddha Dharma Saṅgha refuge take-I

117

Pāśupataḥ: Satyasōma! Īdrśa ēṣāṁ samayah. Kim-atra prativacanam? Satyasōma this-way their precepts what here reply

118

Kapālī: Nanv- asmākam-anṛtam na vaktavyam-iti samayaḥ! indeed our untruth not uttered-be thus precept

119

Pāśupataḥ: Ubhayam-apy-upapannam. Kōtra nirṇayōpāyaḥ? both now answered what-here decision's means

120

Śākyabhikṣuḥ: Buddha-va'anaṁ pramāṇīkurvan bhikṣuḥ surā-bhājanaṁ grhṇāti'ti kō'tra hētuḥ? Buddha's dictum practising monk liquor-bowl carry thus want here reason

121

Pāśupataḥ: Nahi pratijñā-mātrēṇa hētu- vādināḥ siddhir-asti. no assertion mere-by reason-followers-to proof is

122

Kapālī: Pratyakṣē hētu- vacanaṁ nīrarthakam! perceptible-with reason-statement unnecessary

123

Pāśupataḥ: Kathaṁ pratyakṣam-ēva? where perceptible indeed

124

Dēvasōmāḥ: Bha'avaṁ! Ētasya haste cīvarāntaḥ- pracchāditam kapālam! Bhagavan his hand-in robe-inside hidden skull/bowl

125

Pāśupataḥ: Śrutaṁ bhavatā? heard you-by

116

Monk: Bhagavan, do you also speak like that?

Abstention from grabbing things not offered is our precept.

Abstention from idle talk is our precept.

Abstention from fornication is our precept.

Abstention from torturing life is our precept.

Abstention from not eating regularly is our precept.

I take refuge in the Buddha, Dharma, and Saṅgha!

117

Pāshupata: This is how their code of conduct goes, Satyasōma.

Now what's your reply to it?

118

Kapālī: Abstention from lying is our precept!

119

Pāshupata: Now both have answered. How can the issue be decided?

120

Monk: What reason is there for a monk practising the Buddha's precepts to carry a liquor bowl?

121

Pāshupata: One who appeals to reason cannot prove his case by mere assertion.

122

Kapālī: With visible evidence here, all this talk of reasoning is pointless!

123

Pāshupata: Where is the visible evidence?

124

Dēvasōmā: Bhagavan, it's the bowl in his hand, hidden under his robe!

125

Pāshupata: Do you hear that?

126

Śākyabhikṣuḥ: Bhō bhagavan! Ētat kapālam் na parakīyam! O Bhagavan this bowl not another's

127

Kapālī: Tēna hī darśaya tāvat! then ! show-(it) very-well

128

Śākyabhikṣuḥ: Taha. (Darśayati) all-right shows-he-(it)

129

Kapālī: Paśyantu paśyantu māhēśvarāḥ! Kāpālikēna kṛtam-anyāyyam-asya bhadantasya sādhu- vrttatām ca! look-let look-let Māhēshvaras Kāpalika-by done injustice this His Holiness's virtuous conduct &

130

Śākyabhikṣuḥ: Adattādānād- viramaṇaṁ śikṣāpadam. Adinnādāno vēraman̄aṁ sikkhāpadam. unoff ered abstention-(from) precept-(is-our) Mudhāvādā d- viramaṇaṁ śikṣāpadam. Mudhāvādo vēraman̄aṁ sikkhāpadam. vain-talk abstention precept Abhracaryād- viramaṇaṁ śikṣāpadam. Abbhamhacayyādo vēraman̄aṁ sikkhāpadam. unchastity abstention precept Prāṇātipātā d- viramaṇaṁ śikṣāpadam. Pāṇāpīdādo vēraman̄aṁ sikkhāpadam. life-killing abstention precept Akāla- bhōjanād- viramaṇaṁ śikṣāpadam. Akāla- bhō'anādo vēraman̄aṁ sikkhāpadam. untimely eating abstention precept Asmākaṁ buddha[ṁ] dharmaṁ [saṅghaṁ] śaraṇaṁ gacchāmi! Ahamā'ṁ buddha[i̇m] dhammaṁ [saṅghaṁ] saraṇaṁ gacchāmi! our Buddha Dharma Saṅgha refuge take-I (Ubau nrtyataḥ) both are-dancing

131

Śākyabhikṣuḥ: Hā dhik! Lajjitavyē kālē nrtyati! oh damn! ashamed-ought time-at dances-he

132

Kapālī: Āḥ kō nrtyati? (Sarvatō vilōkya) Ā mama naṣṭa-bhikṣā-bhājana-darśana-kuṭūhala- ah who dances around looking ah my lost alms- bowl sight-(at) marvelous malayānila-prayuktāyā dhruvam-asya nrtta- buddhīḥ prīti- latāyā vilasitēṣu! Malaya-breeze stirred-(by) surely his dance-imagining delight-creeper's swaying

133

Śākyabhikṣuḥ: Bha'avaṁ! Bhagavan! Kēna kāraṇēna ēdaṁ na lakkhī'adi? Bhō ācikkhadu bha'avaṁ imassa vaṇṇō! Bhagavan what-by reason-by this not seen-is oh notice Bhagavan its color

134

Kapālī: Kim-atra vaktavyam? Nanu mayā drṣṭam. Kā kād- api krṣṇam-idam kapālam! what here said-is-to-be - me-by seen-is crow-(then) even black(er) this skull/bowl

135

Śākyabhikṣuḥ: Tēna hy ētan- madīyam-itī svayam- ēvābhupagatam! Tēna hī ēdaṁ mamakēra'aṁ'ti sa'aṁ ēva abbhuvagadaṁ! then ! this mine thus yourself-(by) only agreed-is

126

Monk: O Bhagavan, this bowl doesn’t belong to anyone else!

127

Kapālī: Very well, then show it!

128

Monk: Oh, all right. (He shows it)

129

Kapālī: Look Māhēshvaras! Look at the injustice done by the Kapālī and the virtuous conduct of His Holiness!

130

Monk: Abstention from grabbing things not offered is our precept. Abstention from idle talk is our precept. Abstention from fornication is our precept. Abstention from torturing life is our precept. Abstention from not eating regularly is our precept. I take refuge in the Buddha, Dharma, and Saṅgha! (Both are dancing)

131

Monk: Oh, damn! He’s dancing when he ought to be ashamed!

132

Kapālī: Ah, who’s dancing? (Looking around) Oh, it’s surely because of the swaying creeper of my delight stirred by the marvelous, sweet breeze from the southern hills at the sight of my lost begging bowl that he imagines me dancing!

133

Monk: Bhagavan, why is it that you don’t see it? Why don’t you notice its color?

134

Kapālī: What can I say now? I’ve seen it. The bowl is even blacker than a crow.

135

Monk: Then you yourself admit that it’s mine!

136

Kapālī: Satyam-abhyupagatam tava varṇāntarakaraṇē naipuṇyam! Paśya: true agreed-is your color-changing-in skill look

Yad-ētad-āsīt prathamam svabhāvatō mrṇāla-bhaṅga-cchavi-cōram-ambarām | lotus fiber color white robe which this was first nature-by

Nanu tvayā nītam- acintya karmaṇā tad- ēva bālāruṇa- rāga- tāṃratām ||15|| indeed you-by transformed unimaginable feats-one-by that itself young-dawn red-color coppery

Api-ca:

Āvṛtam bahir-antaś-ca kāṣāyēnānapāyinā | covered outside inside & red-stain-indelible

Tvām prāptaṁ syāt katham nāma kapālam-akaṣāyitam ||16|| you reaching could-be how - skull-bowl not-impure

137

Dēvasōmā: Hā! Hadahmi mandabhāgā! Sarva- lakṣaṇa- sampannatayā kamalāsana-śirsa- kapālānubhāvasya dead-adm-I ill-fated all qualities rich-in Lotus-seated-one's skull- splendor

paurnamāsī-sōma- darśanasya- nitya- surā- gandhina ētasya malina- paṭa- saṁsargēṇēyam-īdrśy-avasthā samvṛttā! full moon appearance's ever-liquor-fragrance's this-of dirty robe touch-by this this plight reached

puṇṇamāsī-sōma-damsaṇassa nicca-surā- gandhiṇō ēdassa malina-paṭa-saṁsaggēṇa i'a īdisī avatthā samvuttā! full moon appearance's ever-liquor-fragrance's this-of dirty robe touch-by this this plight reached

(Iti rōditi)

(saying)-thus wails-he

138

Kapālī: Priyē! Alam santāpēna! Punaḥ śucir-bhaviṣyati. Śrūyantē hi mahānti bhūtāni dear enough worry-by again pure be-will-it heard-are ! great souls

prāyaścittair-apanīta-kalmaṣāṇi bhavanti. Tathāhi: atonement-by removed impurities become for-instance

Āsthāya prayatō mahā-vratam-idam bālēndu- cūdāmaṇiḥ resorting-to purified great vow this young-moon crest-jeweled-one

svāmī nō mumucē pitāmaha-śiraś-chēdōdbhava- ēnaśaḥ | Lord our freed Brahmā's head cutting-born-from sin-by

Nāthôpi trīdivaukasaṁ triśiraṣaṁ tvaṣṭus- tanūjaṁ purā Lord-als heaven-dwellers' Triśiras Tvashṭri's son past-in

hatvā yajña- śatēna- śānta- duritō bhējē punyatām ||117|| killing sacrifice 100-by atoned sin attained again purity

Bhō babhrukalpa! Nanv-ēvam-ētat?

O Babhrukalpa! Not so that

139

Pāśupataḥ Āgamānugatam-abhihitam. tradition-accd.-to said-is

140

Śākyabhikṣuḥ: Bhōḥ! Varṇas- tāvan-mayā kṛtaḥ! Asya samsthāna- parimāṇaṁ kēna nirmitam? oh color - me-by made this-of shape [&] size whom-by made-is

Bhō! Vanṇō dāva ma'ē kidō! Imassa saṇṭhāna-parimāṇaṁ kēna nimmidam? oh color - me-by made this-of shape [&] size whom-by made-is

• 164 -

136

Kapālī: True, I do admit . . . your skill in changing its color! Look: Your robe which, at first, by nature bore A whiteness like the lotus-fiber's core, You, of unimaginable feats, transformed Into the coppery-red color of early dawn!130 (15) And, moreover, Covered both inside and out by your indelible, polluting yellowish-red hue, How could the bowl avoid impurity the moment it reached you? (16)

137

Dēvasōmā: Ah! I'm finished, ill-fated one that I am!31 Our bowl, which with all its rich qualities had the splendor of the skull from the head of the God seated on a lotus throne,32 the appearance of the full moon, and the everlasting fragrance of liquor, is now reduced to such a state by the touch of his filthy robe! (She wails)

138

Kapālī: Dear, enough of this grief! It can be made pure again. It is said that great souls have washed away their defilement through atonement. For instance, Our Lord Bālēnduchūḍāmaṇi,33 purified by this great vow, 'tis said, Freed himself from the sin of cutting off Brahmā's head! The Lord of Gods,34 too, having killed Trishiras, son of Tvastri, in the past, Removed his sin by one hundred sacrifices and attained purity at last! (17) O Babhrukalpa, isn't that so?

139

Pāshupata: What you've said is in accordance with the scriptures.

140

Monk: All right, let its color be due to me! But who changed its shape and size?

141

Kapālī: Nanu māyā-santāna-sambhavāḥ khalu bhavantaḥ? not Māyā- offspring progeny indeed-are-you Kiyatim vēlāṁ bhavantam- ākrōśāmi? Grhṇātu bhagavān! Śākyabhikṣuḥ: Kētti’aṁ vēlāṁ bhavantam akkōśāmi? Ganhadu bha’avaṁ! how-long time you-with quarrel-I take-let Bhagavan

142-143

Kapālī: Nūnam-ēvaṁ buddhēnāpi dāna- pāramitā pūritā! indeed this-way Buddha-by-also giving-perfection achieved! Ēvaṁ gatē kim-idānīṁ mē śaraṇaṁ? Ēvaṁ gadāē kim ’dānīṁ mē saraṇaṁ? this-way going-on what now my refuge Śākyabhikṣuḥ:

144

Kapālī: Nanu buddha-dharma-saṅghāḥ! of-course Buddha Dharma Saṅgha Pāśupataḥ: Nāyaṁ vyavahārō mayā paricchēttum śakyatē. Tad-adhikaraṇam-ēva yāsyāmaḥ. not-this quarrel me-by settle-to possible-is thus court only go-we Bhagavan! Yad-ēvaṁ namaḥ kapālāya! Dēvasōmā: Bha’avaṁ! Ja’ī ēvaṁ namō kavālassa! Bhagavan if so salute skull/bowl-to

148

Pāśupataḥ: Kōbhipriyāḥ? what-meaning Ēṣa punar- anēka- vihāra- bhōga- samadhigata- vitta- saiṅcayō yathā- kāmaṁ- Ēsō ’una anē’a- vihāra- bhō’a- samadhigada-vitta- saṅca’ō jahā- kāmaṁ this again many monastery pleasure-life obtained treasures collection as-(he) likes adhikarana- kāruṇikāṁam mukhāni pūrayituṁ pārayati. Asmākaṁ punar-ahi- carma- bhūti- mātra- adhikaraṇa-kāruṇi’ānam muhānipūrēduṁ pārēdi. Ahmā’am puna ahi-camma-bhūdi-matta- court officials- mouths fill-to able-is us-to again snake skin value only vibhavasya daridra- kāpālikasya paricārikānāṁ kōtra vibhavōdhikaraṇaṁ pravēṣṭum? vibhavassa daridda-kavāli’assa pari’āri’ānaṁ kō ētta vibhavō adhikaraṇaṁ pavisiduṁ? wealth-one’s poor Kāpālika's servant's what-here wealth court enter-to

150

Pāśupataḥ: Naitad-ēvaṁ! not-that thus Ajihmaiḥ sāra- gurubhiḥ sthiraiḥ ślakṣṇaiḥ su-janmabhiḥ | not-crooked-by weight heavy-by firm-by gentle-by well-born-by Tair- dharmō dhāriyatē stambhaiḥ prāsāda iva sādbhih ||18|| them-by justice upheld-is pillars-by mansion like virtuous-by Kapālī: Krtam-anēna! Kutas-cid-api nyāyya-vṛttēr-bhayaṁ nāsti! does-(it) that-by a-little-even honest- one-to fear not-is Bhō bhagavan! Tvaṁ tāvad-agratō bhava. Śākyabhikṣuḥ: Bhō bha’avaṁ! Tumaṁ dāva aggadō hōdu. O Bhagavan you - front be

153

Pāśupataḥ: Bādham. (Sarvē parikrāmanti) certainly all around-go-they (Tataḥ praviśaty-unmattakaḥ) then enters Madman

141

Kapālī: Aren’t you the progeny of Māyā’s offspring?35

142

Monk: How long can I go on quarreling with you? Here, take it, Bhagavan!

143

Kapālī: Well, it was by an act such as this that the Buddha achieved the Perfection of Liberality!36

144

Monk: If it goes on like this, what is my refuge?

145

Kapālī: The Buddha, Dharma, and Saṅgha, of course!

146

Pāshupata: I’m not able to settle this dispute. So let us go to the court of law.

147

Dēvasōmā: Bhagavan, if we do, farewell to our skull-bowl!

148

Pāshupata: What do you mean?

149

Dēvasōmā: This fellow with all the accumulated wealth of the pleasurable living in the monastery can fill the mouths of the court officials as he likes. I am the poor servant of a Kāpālika, whose only thing of value is a snake-skin – what wealth do we have to enter the court?

150

Pāshupata: No, it’s not like that! Firm, straight, of solid worth, gentle and of noble birth, Upholding justice, these virtuous men are like the pillars of a lofty mansion! (18)

151

Kapālī: Enough of this! An honest person has nothing to fear!

152

Monk: O Bhagavan, you lead the way.

153

Pāshupata: Certainly. (All move along) (Then the Madman enters)

Ēśa ēśa duṣṭa-kukkurah! Śūlya-māṃsa- garbham kapālam grhītvā dhāvasi. Dāsyāḥ-putra!

154 Unmattakah

Ēśē ēśē duṭṭha-kukkuḷē! Śūḷa-māṃśa-gabbhaṁ kavālam gaṇhi'a dhāvāsi. Dāśi'ē- vutta!

this wicked dog! Skull containing flesh from the spear-point you have seized, you run! Slave- son

Kutra gamiṣyasi? Ēśa idānīṁ kapālam nikṣipya māṁ khāditu- kāṁobhimum-ādhāvati!

Kahim gamiśśiśi?

Ēśē 'dānīṁ kavālam nikkhivi'a maṁ khāyidu-kāmō ahimuhaṁ āhāva'i!

Diṣṭi vilōkya)

where go-will-you this now skull dropping me biting want toward runs-he around looking

Anēna prastarēna dantānaśya bhaṅksyāmi! Katham kapālam-ujhitvā palāyasē? Unmattō duṣṭa-

Iminā patthalēna dantāni'śē bhamjiśśam!

Iminā patthalēna dantāni'śē bhamjiśśam! Kaham kavālam ujhi'a palā'asi? Unmattē duṭṭha-

Vilōkya)

this-by stone-by teeth-his smash-I how skull dropping-run you mad-one wretched

kukkura īdrśēna nāma śūratyēna mayā sahāpi rōṣam karōṣi? Grāma-sīkaram-āruhya gaganaṁ-utpatitēna

kukkulē īdisēna ṇāma śūlattanēṇa ma'ē śaha'vi !ṭōsaṁ kalēśi?

kukkulē īdisēna ṣāma śūlattanēṇa ma'ē śaha'vi !ṭōsaṁ kalēśi? Gāma sīkagam āluhi'a gaganaṁ-uppadidēṇa

dog such-by - bravery-by me-by with-also angry get-you village-pig climbing sky jumping-by

sāgarēṇa pratibhañjya rāvaṇam balād grhītaḥ śakra-sutas-timiṅgilah! Ayi! Ēraṇḍa- vrksa! Kim bhanasi? -

śāgalēṇa padibhañjī'a lāvaṇam balā gahīdē śakka-śudē timiṅgalē!

śāgalēṇa padibhañjī'a lāvaṇam balā gahīdē śakka-śudē timiṅgalē! A'i! Ēḷanda-lukkha! Kim bhaṇāśi? -

ocean-by crushing Rāvaṇa strength-seized-is Indra's son whale hey castor tree what say-you

alīkam- alīkam-iti? Nanv-ēśa musalā-sama viśālā-lamba-hastō dardurō mē sākṣī! Athavā trai-lōkyā-vidita-

alī'aṁ alī'aṁtti? Naṁ ēśa musalā-sama viśāla-lamba-hatthē daddulē mē śakkhi!

alī'aṁ alī'aṁtti? Naṁ ēśa musalā-sama viśāla-lamba-hatthē daddulē mē śakkhi! Ahava tē-llōkka-vidi'a

untrue untrue thus - this pestle equal broad & long arm toad my witness or 3-worlds known

parākramaśya sākṣiṇā kim kāryam? Ēvaṁ kariśyāmi. Kukkura-khādita-śēśaṁ māṁsa- khaṇḍaṁ khādisyāmi.

palakkamaśa śakkhīṇā kim kayyam? Ēvaṁ kaliśśaṁ. Kukkila-khādi'a-śēśaṁ maṁśa-khaṇḍaṁ khādiśśaṁ.

palakkamaśa śakkhīṇā kim kayyam? Ēvaṁ kaliśśaṁ. Kukkila-khādi'a-śēśaṁ maṁśa-khaṇḍaṁ khādiśśaṁ.

prowess-one's witness-for what matter this do-I'll dog eaten-left-over meat piece eat-I'll

Hā! Hā! Māritōsmi bāspēṇa māritōsmi! Ka ēśa māṁ tādayasi?

(Khādan bhrāntah) Hā! Hā! Māridōmhi bappheṇa mālidōmhi!

(Khādan bhrāntah) Hā! Hā! Māridōmhi bappheṇa mālidōmhi! (Ruditvā vilōkya)

(Vilōkya)

Kē ēśe maṁ tāḷēśi? (Vilōkya)

eating frenzied ah ah killed-am-I tears-by killed-am-I wailing & looking who this me beats looking

Duṣṭa-dārakāḥ! Yasya vā kaśya vā bhāginēyaḥ khalv-aham bhīmasēnaśya ghaṭōtkaca iva. Api ca sṛṇutha:

Duṭṭha-dāla'ā! Jaśśa vā kaśśa vā bhā'iṇē'ō khu aham bhīmaśēṇaśśa ghaṭukka'ō vi'a.

Duṭṭha-dāla'ā! Jaśśa vā kaśśa vā bhā'iṇē'ō khu aham bhīmaśēṇaśśa ghaṭukka'ō vi'a. Avi'a śuṇātha:

evil boys whose or whose or sister's-son indeed I Bhīmasēna's Ghatōtkacha like again & listen

Grhīta- śūlā bahu-vēśa- dhāriṇaḥ

Gahīda- śūlā bahu-vēśa- dhāliṇō

Gahīda- śūlā bahu-vēśa- dhāliṇō

śatam piśācā udarē vahanti mē |

śadam piśā'ā udalē vahanti mē |

śadam piśā'ā udalē vahanti mē |

100 fiends belly-in they hold my

Śatam ca vyāghrāṇām niśarga-bhīṣaṇam

Śadam ca vagghāṇa niśagga-bhīṣaṇam

Śadam ca vagghāṇa niśagga-bhīṣaṇam

mukhēna muñcāmy-aham mahōragaṇ ||119||

Muhēṇa muñcāmi aham mahōlayē ||119||

Muhēṇa muñcāmi aham mahōlayē ||119||

mouth-by vomit I big-snakes

Katham māṁ bādhantē! Prasīdantu prasīdantū dāraka-bhartāraḥ! Asya māṃsa- khaṇdasya kāraṇān- mā

Kaham maṁ bāhanti! Paśīdantu paśidantu dāla'a- bhaṭṭā!

Kaham maṁ bāhanti! Paśīdantu paśidantu dāla'a- bhaṭṭā! Imaśśa maṁśa-khaṇdaśśa kālaṇādō mā

me torture-they pleased-be pleased-be boys grown-up this meat piece's because-of don't

māṁ bādhadhvam! Ēśa khalv-asmākam-ācāryaḥ śūraṇandī! Yāvad-ēnam-upasarpāmi!

maṁ bāhēham! Ēśē khu amhāṇaṁ ā'ālti'ē śūlanandī! Jāva 'ṇaṁ uvaśappāmi!

maṁ bāhēham! Ēśē khu amhāṇaṁ ā'ālti'ē śūlanandī! Jāva 'ṇaṁ uvaśappāmi! (Iti dhāvati)

(Agratō vilōkya)

(Agratō vilōkya)

• 168 -

154

Madman: There, there’s that wretched dog!

You're running off with a skull which contains roasted meat.

Bastard, where are you going?

Now he drops the skull and runs toward me to bite me! (Looking around)

I'll smash his teeth with this stone!

Why do you drop the skull and run off? You mad, wretched dog!

Why are you angry with me for such bravery?

Climbing on the back of a village boar, the ocean dashed high into the sky, and smashed Rāvaṇa37 and caught that monster whale, Indra's son.

Hey! Castor38 tree! What are you saying?

‘Not so!’ You say, ‘It's not so!'

This toad with a fore-arm as massive as a pestle is my witness!

But what need is there of a witness for one whose prowess is known throughout the three worlds? I'll do this: I'll eat that piece of meat left by the dog.

(He eats it and becomes frenzied) Ah! Ah! I'm being murdered! I'm being murdered by tears! (He wails and looks all around) Who's beating me?

(He looks around) Wicked boys! I'm . . . some- . . . someone's nephew . . . as Ghaṭotkacha is Bhīmasēna's.39 And what's more, listen!

A hundred demons of different shape

Are in my stomach holding stakes!

I'll vomit them out of my mouth,

And a hundred fierce tigers and monstrous snakes! (19)

How they torture me! Please! Please, you young men! Don’t! Don’t torture me for this piece of meat! (He looks ahead) There is our Āchārya, Shūranandī!

(Thus saying, he runs forward)

• 169 -

155

Pāśupataḥ: Ayē! Ayam-unmattakaḥ ita ēvābhivartatē! Ya ēṣaḥ: hey this madman this-way-comes who this-(like)

Nirviṣṭōjjhita- citra- cīvara-dharō rūkṣair-nitāntākulaiḥ

kēśair-uddhata-bhasma-pāṃsu-nicayair-nirmālya-mālākulaiḥ

Ucchiṣṭaśana-lōlupair-bali-bhujām-anvāsyamānō ganair-

bhūyān grāmakā-sāra-sañcaya iva bhrāmyan manuṣyākṛtiḥ ||20||

156

Unmattakaḥ: Jāva 'naṁ uvasappāmi. (Upasṛtya) Mahā-śahuṇō caṇḍāla-kukkulaśśa śa'āśadō

will him near-go-I near-going great sādhū Caṇḍāla dog near-from

adhigatam- ētat kapālaṁ pratigrhṇātu bhagavān.

ahi'adam ēdaṁ kavāḷaṁ paḍiganḥadu bha'avam

got this skull accept-let Bhagavan

157

Pāśupataḥ: (Sa-dṛṣṭi-kṣēpam) Pātrē pratipādyatām!

with look askance deserv.-one-to give-let

158

Unmattakaḥ: Mahā-bahmana! Kriyatāṁ prasādah!

Mahā- brahmana! Kriyatām prasādah!

Ēṣa mahā- pāśupata ētasya yōgyaḥ!

159

Śākyabhikṣuḥ: Ēsō mahā-pāsuvadō ēdassa yōggō!

160

Unmattakaḥ: (Kapālinam-upagamya kapālaṁ bhūmau nikṣipya pradakṣiṇīkṛtya pādayōḥ patitvā)

Kapālī near-going skull-bowl ground-on placing circumambulating feet-at falling

Mahādēva! Kriyatāṁ prasādah! Ēṣō tēñjalih!

Mahādēva! Kali'adō paśādō! Ēsō dē anjalī!

161

Kapālī: Asmadīyaṁ kapālaṁ

our skull-bowl

162

Dēvasōmā: Ēvaṁ ēda!

Ēvam- ētat!

163

Kapālī: Bhagavat-prasādāt punar-api kapālī samvrttah! (Grahītum-icchati)

God's grace-due-to once again Kapālī become-have-I to-take wants-he

164

Unmattakaḥ: Dāśī'ē- vutta! Viṣaṁ khāda! (Kapālī-ācchidya gacchati)

Dāsyāḥ-putra! Viṣaṁ khādēhi!

slave's son poison eat skull-bowl seizing goes-he

165

Kapālī: (Anuṣṛtya) Ēṣa yama- puruṣō mē jīvitam harati! Abhyavapadyētām bhavantau!

turning this Yama's agent my life takes-away help you-(two)

166

Ubhau: { Hōdu! Ahmē dē sahā'ā hōma! (Sarvē rundhanti)

Bhavatu! Āvāṁ tē sahāyau bhavāvah!

all-right we you-to helpers will-be all block

155

Pāshupata: Hey! That madman is coming here! Look at him! Wearing used, discarded rags in shreds and patches, Disheveled, matted hair, full of dust and ashes, A pile of cast-off garlands round him draped, Tended by a flock of crows, bits of refuse keen to snatch, He’s like a village heap of trash Moving round in human shape! (20)

156

Madman: I’ll go to him. (Approaching) Bhagavan, please accept this skull which I got from that dog of an outcaste Chaṇḍāla who’s become a great Sādhu.40

157

Pāshupata: (Looking askance) Give it to one who really deserves it!

158

Madman: O great Brahmin, be pleased!

159

Monk: This great Pāshupata is the one who deserves it!

160

Madman: (Going in front of the Kapālī, he first places the skull-bowl on the ground, then, going round him41 from left to right, falls at his feet) O Mahādēva, be pleased! Salutations to you!

161

Kapālī: It’s our skull-bowl!

162

Dēvasōmā: So it is!

163

Kapālī: By the grace of God, I have become a Kapālī once again! (He reaches for it)

164

Madman: Bastard! Eat poison!42 (He snatches the skull-bowl and goes)

165

Kapālī: (Turning) This Messenger of Death is taking away my life!43 Both of you help me!44

166

Both: All right, we’ll help you! (All block the way)

167

Kapālī: Bhōḥ! Tisṭha tisṭha! oh stop stop Kasmān-mām rundhanti? why me block-they

168

Unmattakaḥ: Kaśsa maṁ lundhanti? me block-they

169

Kapālī: Asmadīyam kapālam் datvā gamyatām! our skull giving go-let Mūḍha! Kim na paśyasi suvarṇa-bhājanam் khalv-ētat? fool what not see-you gold- bowl indeed this

170

Unmattakaḥ: Mūḍha! Kim na pekkhasi suvarṇṇa-bhāṇam khalv ēdam? fool what not see-you gold- bowl indeed this

171

Kapālī: Ēvam vidham suvarṇa-bhājanam kēna kṛtam? this kind-of gold- bowl whomever-by made-is Ētēna suvarṇa- varṇa- patāvṛtēna suvarṇa- kārāvuttēna kṛtam-iti bhagavan suvarṇṇa-bhā’anam’tti bhanāmi! thus say-I

172

Unmattakaḥ: Ēdiṇa śuvaṇṇa-vaṇṇa-padāvudēṇa śuvaṇṇa-kārāvutta’ēna kidam’tti bha’avam this-by golden color dressed-by gold- smith-b.-in-law-by made thus Bhagavan suvarṇa- bhājanam-iti bhanāmi! gold- bowl thus say-I Kim bhanasi? what say-you

173

Śākyabhikṣuḥ: Kim bhanāsi? what say-you Suvarṇa- bhājanam- iti! gold- bowl thus

174

Unmattakaḥ: Śuvaṇṇa-bhā’anam’tti! gold- bowl thus Kim- ayam- unmattakaḥ? what this madman

175

Śākyabhikṣuḥ: Kim- a’m unmatta’ō? what this madman Unmattaka iti bahuśa ētam śabdam śṛṇōmi! madman thus often this word hear-I Ētad grhītvā darśayōnmattakam! this taking show madman

176

Unmattakaḥ: Unmatta’ō’tti bahuśō ēdam śaddam śuṇōmi! (Kapālinē kapālam prayacchati) Kapālī-to skull-bowl gives-he Ēdam gahṇī’ daḷiśēhi unmatta’am! this taking show madman

177

Kapālī: (Kapālam் grhītvā) Ayam-idānīm kudyēnāntarhitah! Śighram-anugamyatām! skull-bowl taking he now wall-behind-gone-is quickly follow-you

178

Unmattakaḥ: Ḷaddha-ppaśadō’hmi! (Niṣkrāntō javēnōnmattakaḥ) received blessing-one-am-I goes quickly madman

179

Śākyabhikṣuḥ: Ahō! Āścaryam! Para- pakṣasya lābhēnāham parituṣṭō’smi! oh wonderful other side's gain-by I most-pleased-am Ahō! Accari’am Para-vakkhassa lābhēna aham parituṭṭō’hmi! oh wonderful other side's gain-by I most-pleased-am

167

Kapālī: Oh, stop! Stop!

168

Madman: Why do they stop me?

169

Kapālī: Give our skull! Then you may go!

170

Madman: Fool! Can’t you see that this is a gold bowl?

171

Kapālī: Whoever made that kind of gold bowl?

172

Madman: Bhagavan, I call it a gold bowl because it was made by this goldsmith brother-in-law of mine who is wearing golden robes!45

173

Monk: What are you saying?

174

Madman: It’s a gold bowl!

175

Monk: What! Is he a madman?

176

Madman: I often hear the word ‘madman’. Here, take this and show me the madman!

(He gives the skull-bowl to the Kapālī)

177

Kapālī: (Taking the skull-bowl) He’s just gone behind the wall there!46

178

Madman: I’ve been blessed! (The Madman quickly exits)

179

Monk: Oh, wonderful! I’m happy with the good fortune of my adversary!

180

Kapālī: (Kapālam pariṣvajya) skull-bowl hugging Ciraṁ mayā caritam- akhanditam tapō long-time me-by performed- unbroken tapas mahēśvarē bhagavati bhaktir-asti mē! Mahēshvara-in God-in devotion is my Tirōhitah sa tu sahasā sukhēna nas-vanished He tho' suddenly joy-(in) our tvam-adya yat kuśali kapāla drśyasē you now because safe'l skull seen-are Bhagavan! Candra- samāgatam-iva pradōśam bhagavantam paśyantya adyānandatīva mē drṣṭih! Bhagavan; moon united-with like dusk Bhagavan seen-being-by now delighted like my sight

181

Dēvasōmā: Bha'vam! Canda-samāgadam vi'a pa'ōsam bha'vantam pēkkhanti'ē ajja ānandadī vi'a mē diṭṭhī! Bhagavan; moon united-with like dusk Bhagavan seen-being-by now delighted like my sight

182

Pāśupataḥ: Diṣtyā bhavān vardhatē. luckly you-by good-fortune attain

183

Kapālī: Nanv-abhyudayō bhavantām-ēva! indeed fortune you-due-to only

184

Pāśupataḥ: (Ātmagatam) Satyam-ētat nāsty-adōṣavatām bhayam-iti! Yad-ayam-adya bhikṣur-vyāghra-mukhāt paribhraṣṭaḥ. (Prakāśam) Yāvad-aham-idānīm-ēva suhrd- abhyudaya-krtam-ānandaṁ purōdhāya bhagavataḥ pūrva-sthalī-nivāsinō dhūma-vēlām pratipālayāmi. Ayam cāyaprabhrti: Virōdhah pūrva-sambaddhō yuvayōr-astu śāśvataḥ | quarrel pre- ordained you-2-tween let-be eternal Paraspara-prīti-karaḥ kirātārjunayōr- iva ||22|| mutual joy maker Kirāt & Arjun'tween like (Niṣkrāntah pāśupataḥ) exits Pāśupataḥ

185

Kapālī: Bhō nāgasēna! Yan-mayā-parādhaḥ krtaḥ tat-prasanna-hrdayam tvām-icchāmi! O Nāgasēna which me-by offence done that pacified heart-in you wish-I

186

Śākyabhikṣuḥ: Kim ētad apy-abhyarthanīyam? Kim tē priyam karōmi? Kim dē pi'am karēmi? why that ever sought-to-be-is? what you-to pleasing do-(can)-I

187

Kapālī: Yadi mē bhagavān prasannaḥ kim-ataḥ param-aham-icchāmi? if me-with Bhagavan pacified what here- after I want

188

Śākyabhikṣuḥ: Gacchāmi dāva aham. go shall I

189

Kapālī: Gacchatu bhavān punar-darśanāya. go-let you again see-to

180

Kapālī: (Embracing the skull-bowl)

180

I've done unbroken tapas for a long time,

180

And devoted to god Mahēshvara really I'm

180

But gone from my mind is He, when sudden joy is mine,

180

On seeing you now, unharmed, my skull divine!47 (21)

181

Dēvasōmā: Bhagavan, what a delight to the eye seeing you now like the dusk with the moon united!48

182

Pāshupata: Luck has brought you good fortune.

183

Kapālī: My good fortune is entirely due to you!

184

Pāshupata: (To himself) It's true, as they say, 'The innocent have nothing to fear', for the Buddhist monk has just escaped from the jaws of this tiger.

184

(Aloud) I'll have the happy good fortune of our friend in my thoughts as I await the hour of smoky dusk of the One who haunts the cremation ground.49

184

And hereafter,

184

The quarrel pre-destined between you two may it be,

184

As with Kirāt and Arjun,50 a source of mutual joy for eternity! (22)

(The Pāshupata exits)

185

Kapālī: O Nāgasēna, if I have offended you, please forgive me!

186

Monk: What is there? What can I do to please you?

187

Kapālī: If you forgive me, Bhagavan, what more could I desire?

188

Monk: I'll go now.

189

Kapālī: All right, till we meet again.

• 175 -

Tathā bhavatu.

190

Śākyabhikṣuḥ: Taha hōdu.

so be-it

(Niṣkrāntaḥ)

exits-he

191

Kapālī: Priyē dēvasōmē! Gacchāvas-tāvat.

dear Dēvasōmā go-let-us

Bharatavākyam

Benediction

Śaśvad bhūtyai prajānāṁ vahatu vidhi- hutām-āhutim jātavēdāḥ

vēdān viprā bhajantāṁ surabhi- duhitarō bhūri-dōhā bhavantu |

Udyuktāḥ svēṣu dharmēṣv-ayam-api vigata-vyāpad- ā-candra-tāram

rājanvānās- tu śakti-praśamita-ripunā śatrumallēna lōkaḥ ||23||

(Niṣkrāntau)

exit-both

Matta-vilāsa-Prahasanam samāptam

'Drunken-Sport-Farce' ends

• 176 -

190 Monk: Till then.

(He exits)

191 Kapālī: Dēvasōmā, dear, let us go.

Benediction

For the lasting welfare of mankind,

Benediction

may the Fire God convey ritual oblations,

Benediction

May Brahmins chant the Vēdas,

Benediction

and cows give milk in plenty!

Benediction

For as long as moon and stars last,

Benediction

may people be free of ills,

Benediction

Devoted to duty, and ruled by Śatrumalla,

Benediction

who with might has crushed his enemies! (23)

(Both exit)

'A Farce of Drunken Sport' ends

– 177 –

A third of seven ancient (c. 7th century, A.D.) carved panels placed in the walls of the Tāntōnriśvara Temple, Kāñchī.

Notes to the Translation

The actor who plays the part of the Director makes his appearance at the back of the stage, recites or sings the Invocation (the first stanza, the Nāndī), and then 'enters' into the action of the play. (See our comments in regard to this procedure in the first end-note to the translation of Bhagadajjuka.)

A Hindu, in those days, might (with the blessing of tradition and law) have more than one wife concurrently. Our director has two.

Ākhaṇḍala ('Destroyer') is a title of Indra, the King of the gods, used in the text.

Rājarāja ('King-of-kings') is a title of Kubēra, the god of wealth, used in the text.

I.e., kāma (lust), krōdha (anger), lōbha (greed), mōha (insensibility), mada (intemperance), mātsarya (envy).

This sinful age, our present age, is the Kali Yuga, is a long period of time (432,000 years), and is the last and most degenerate of the cycle of four yugas - or four ages. The other three ages were even longer.

We have used the word 'eon' for the term kalpa in the text. A kalpa is a fabulously long period of time, made up of 4,320,000,000 years. At the end of a kalpa, the universe is annihilated, to be re-created anew.

The word 'unprecedented' (apūrvataya) is significant. Although theoretical classifications of types of drama included the farce (prahasana), yet it would seem that there were no examples of the farces in the classical theater of Mahēndra's day. Thus, his two farces were a real innovation. (See also line 8 of Bhagavadajjuka.)

This is the 'voice' of the Kapālī calling his partner, Dēvaśōmā. As the actor who plays the part of the Director also plays the Director playing the part of the Kapālī, either he must, through ventriloquy, speak the line, making it appear to come from off-stage, or some other person must imitate, from off-stage, the way he speaks as Kapālī.

The Kapālī's treasure is the top portion of a human skull. He uses it as his begging bowl, drinking cup, and head-rest when sleeping.

The Kāpālikas were often referred to as 'Mahāvratins' (those who had taken an extreme vow). The great vow which the Kapālī refers to, here, is the vow to follow the example of Śiva as Kapālī, i.e., to carry the skull-bowl, haunt the cremation ground, drink liquor, and so on.

• 180 -

The Plays

12. The ritual of taking liquor is an integral part of the Kapālī’s vow.

13. The Kapālī must be standing once again. The stage direction is missing. We suggest that the Kapālī gets up while speaking line 34.

14. We have translated pināka as trident. Pināka is also the name of Śiva’s bow.

15. Three of the practices which the Kāpālikas followed were drinking, sexual rites, and the adoption of peculiar dress.

16. The term, arhat, which we have translated ‘worthy saints’ was used by both Buddhists and Jains. However, in the context of the description of these saints in line 40, the Kapālī appears to be lampooning Jain saints.

17. This passage reflects a seriously held tantric approach to ‘salvation’, which here humorously glorifies Kāñchīpuram.

18. The patting of one’s own cheeks is still practised today by worshippers of the god, Gaṇeśa. It is an attenuated form of self-mortification or self-abasement.

19. The term ‘Māhēshvaras’ refers here to all those who are Śaivite sectarians.

20. The Kapālī suddenly realizes that he still has, at least, the skull of his own head!

21. Tāmbūla is the betel leaf which is chewed together with the areca nut, slaked lime (chunnā̄mbu), and various spices. The areca nut is slightly narcotic and has an important use in India to enhance sexual pleasure. For this reason tāmbūla was traditionally forbidden to children, students, widows, and ascetics - and hence the implicit criticism of the Buddhist monks by its inclusion in this passage.

22. These two terms, ‘concealed truth’ (saṃvṛta-satyam) and ‘Revealed Truth’(paramārtha-satyam), are technical, philosophical terms in some Buddhist schools of thought: ‘relative truth’ and ‘Absolute Truth’. The Kapālī is thus getting in some humor at a philosophical level, too.

23. The Monk obviously means the sin committed by the Kapālī in making such outrageous accusations against the Buddha.

24. The Kapālī takes it as the Buddha’s sin (‘stealing’ pecepts) and sarcastically suggests that the Buddha could be forgiven as he was a great and well-disciplined ascetic.

25. See lines 160 and 161 in Bhagavadajjukā for another playful passage concerning the freedom from passions and worldly attachments.

26

26. Gandharvas are anthropomorphic heavenly beings. They are often thought to be the cause of mischievous situations. At one level, Babhrukalpa’s remark indicates that the Gandharvas have played a trick on Satyasōma and spirited away his skull-bowl. Babhrukalpa is delighted to find Satyasōma in difficulty. He wants revenge on Satyasōma for having lured Dēvasōmā away from him in the past. By now encouraging Nāgasēna’s side in the dispute, he hopes to humiliate Satyasōma. At a second level, Babhrukalpa’s remark is a jibe at the unchaste character of Dēvasōmā. Gandharvas were notoriously fond of mortal women.

27

27. The term kapālam had, in the seventh century, the general meaning of begging bowl, in addition to the more specific meaning of ‘skull’ or ‘skull-bowl’.

28

28. The Kapālī mockingly shouts out criticism of himself from the Monk’s point of view.

29

29. Having already insisted that the evidence of direct sense perception is superior to reason, the Kapālī is now, ironically, having to cook up reasons why the ‘skull’ doesn’t look like a skull. This the Kapālī does shamelessly, however, with effortless ease.

30

30. To fully appreciate this stanza, one should know that it was a prescribed duty, in those days, for each Buddhist monk to dye his own clothing, transforming white cotton cloth into orange robes.

31

31. The exact words (in Prakṛit: Hā! Hadahmi mandabhā’ā!) are uttered by the Mother of the Courtesan in Bhagavadajjuka, line 193.

32

32. Brahmā is conceived (in the Brāhma-Kalpa) as seated on a lotus arising from Vishnu’s navel at the beginning of creation. Hence, his title ‘Lotus seated one’. Śiva cut off the fifth head of Brahmā, and it was the skull of that head which stuck to Śiva’s hand – and it is that skull which Dēvasōmā refers to.

33

33. This is Śiva’s title: ‘The crescent moon crest-jeweled-one’.

34

34. Indra (‘The Lord of gods’) is said to have killed Trishiras, a Brahmin, and thus incurred the guilt of such a deed.

35

35. Māyā is the name of the Buddha’s mother. Māyā’s offspring is, therefore, the Buddha. And all Buddhist monks are, metaphorically, the Buddha’s children. ‘Māyā’ is also a term which means ‘illusion’.

36

36. According to Buddhist doctrine, the Buddha attained perfection in several areas. The ‘Perfection of Liberality’ was the very first of these. The Kapālī’s sarcastic comment, therefore, is especially sharp.

37

37. ‘Rāvaṇa’ is another name of Indra’s elephant, Airāvata.

• 182 -

The Plays

The castor plant is a medium-size plant – not a tree. The Madman, in his delusion, refers to it as a tree.

Ghaṭōtkacha was Bhīmasēna’s son, not his nephew.

The Madman is probably referring to the Buddhist monk, as he is the one who corresponds most closely to the Madman’s statement. Buddhism, in contrast to Hinduism, welcomed into its fold ‘converts’ from all castes and even outcastes (duṣṭa). Saṁyasōma and Babhrukalpa are Brahmins who have ‘fallen’ (bhraṣṭa), and thus have become ‘outcastes’ in the eyes of orthodox Brahmins. (Refer to King Mahēndra’s title, Iṣṭa-duṣṭa-bhraṣṭa-caritah in Appendix G.)

It is a devout practice to circumambulate a sacred object, keeping at all times the right (clean) side of one’s body toward that object.

A parallel expression, ‘Drink poison!’ (Viṣaṁ piba!), is found in Bhagavadajjuka, line 229.

In the Bhagavadajjuka, the Messenger of Death (YAMAPURUṢA) plays a key role.

Who are the two characters referred to by the term ‘both’? In line 166, there is one reply in Sanskrit and another, in Prakrit. The Buddhist Monk and the Pāshupata. But the Prakrit? Could we expect the Kāpālika to link the Pāshupata and Dēvasōmā by the term ‘both’? If not, then the two must be the Buddhist Monk and the Pāśupata.

The Madman is referring, here, to the Buddhist Monk. And he is giving the Kapālī some of his own medicine. The Kapālī had explained with twisted reasoning how the Monk’s black begging bowl was his own white skull-bowl. The Madman’s reasoning, here, is a parody of the Kapālī’s.

In the Mattavilāsa, there is a spiraling involution progressing from the all-pervasive Unmanifest Reality to the manifest deity, Śiva, to the Sūtradhāra, to the Kāpālika, to the Madman, and to the dog (represented by the final curlicue tail of the inward spiral). These stages may be listed as follows:

The Unmanifest Reality (Astī),

Śiva, the Dancer (Jāyatē),

the Sūtradhāra (Vardhatē),

the Kāpālika (Viparīnamatē),

the Madman (Kṣīyatē),

the dog (Naśyati).

The Kāpālika’s jest with the Madman, that the ‘madman’ has just gone behind the wall, brings to mind the claim in the Aihole inscription of King Pulikēsin-II that, while invading the Pallava kingdom, his forces “caused the splendour of the Lord of the Pallavas (Mahēndra) first to be obscured by the dust they raised

and then to vanish behind the walls of Kanchipuram." King

Mahēndravarman seems to have been parodying himself in line 177.

One might, then, conclude that the play, Mattavilāsa, was written

after Pulikēsin's invasion. (See also Addendum 2005, Pt. II, p. 14.)

47. A second meaning of this ślōka may be translated as follows:

I've done unbroken tapas for a long time,

And devoted to god Mahēshvara really I'm,

For you, my skull, who were lost, are found

Suddenly now back safe and sound!

48. The simile, here, is the comparison between the grey, ash-

smeared chest of the Kapālī and the white skull, on the one hand,

and the dusky sky and the moon, on the other.

49. A secondary meaning of the expression, 'Bhagavataḥ pūrva-

sthalī-nivāsinah' is 'the god who dwells in the eastern shrine', i.e.,

the sun god - a poetic way of indicating the time of the setting sun,

when this expression is combined with 'dhūma-vēlam', 'twilight

hour'.

50. The reference here is to the fight between the peerless warrior

Arjuna, and the god Śiva, in the guise of a hunter (Kirāta). The

contest ended in Arjuna's recognizing Śiva, the very god he was

propitiating. And Śiva granted Arjuna the boon he desired - the

pāśupata weapon.

51. A title of King Mahēndra's: 'Foe-mauler'.

52. [Added to line 19, on page 139, in 2005.] The Sūtradhāra

humorously and self-deprecatingly declares, here, that his treasure

is song and that he is carried away by singing the poet's (King

Mahēndra's) virtues in full, as this Kapālī, who is carried away

by liquor, or whose treasure is a skull. (Note that Mahēndra,

himself, may have played the parts of the Sūtradhāra and the

Kapālī in this play's world premiere at his palace theater in

Kāñchī!) In any case, Mahēndra is certainly indirectly empha-

sizing the fact that singing was indeed his treasure. One of his

numerous royal titles engraved in his Pallavaram cave-temple is

'Palapāḍi' (Tamil: பலபாடி), meaning, 'The singer of many songs'

or 'One who has a great repertoire of songs'. This is no empty

boast, as his Māmaṇḍūr and Kuḍumiyāmalai (musical) inscriptions

prove.

A similar emphasis is expressed by the Sūtradhāra at the end

of Line 5, in the Bagavadajjukam, 'tat-saṅgītakam karisyāmi',

"I'll begin by arranging the singing and dancing for it" - i.e., for

the play (Mattavilāsa-Prahasanam?) which the Sūtradhāra

believes he will be putting on a week later at the royal palace.

This remark by the Sūtradhāra certainly points to King Mahēndra's

great love of, and prowess in, music!

• 183 -

Mattavilāsa

Notes

Appendix G

Appendix G

Appendix G

References to Royal Titles in

Appendix G

MATTAVILĀSA-PRAHASANA

Appendix G

A list is given below of some King Mahēndravikramavarman’s royal titles which may have significance (directly or indirectly) in the context of the play, Mattavilāsa-Prahasana. The numbers of the relevant lines in the play are given in parentheses.

Appendix G

Key to the location of inscribed titles:

Appendix G

T = Mahēndra’s Tiruchi cave-temple

Appendix G

P = Pallāvaram cave-temple

Appendix G

K = Kāñchī pillar (now in the Madras [Chennai] Museum)

Appendix G

C = Chezarla slab inscription

Appendix G

D = Dalavānūr cave-temple

Appendix G

M = Maṇḍagapaṭṭu cave-temple

Appendix G

S = Śiyamaṅgalam cave-temple

Appendix G

V = Vallam cave-temple

Appendix G

1. Akaruṇaḥ - The Merciless; Passionless (see line 94). (T)

Appendix G

2. Anumānaḥ - Reasoner, Logician (38, 61, 134-136, 172). (T, P)

Appendix G

3. Ayanibhājanah - The World-bowl] Receptacle of the world (1). (T, P, C, S)

Appendix G

4. Āhāryyabuddhiḥ - Incarnate wisdom; (One) knowledgeable about costuming (1). (T, P)

Appendix G

5. Iṣṭaduṣṭabhraṣṭacaritaḥ - Actor of the good, the wicked, and the fallen (59). (T, P)

Appendix G

6. Kalahapriyah - Enjoyer of fights (110). (P)

Appendix G

7. Kaṣṭa[m] - Calamity (59). (T)

Appendix G

8. Guṇabharaḥ - Upholder of virtue (2, 17). (T, P, M, V)

Appendix G

9. Bhrāntaḥ - The Frenzied (154). (T, P)

Appendix G

10. Mattavilāsaḥ - (One who) sports with drunken revelry (the title of the play, and referred to in lines 2 and 15). (T, P)

Appendix G

11. Mahēndravikramah - Valorous Mahēndra (17). (T, P, C)

Appendix G

12. Śatrumallaḥ - Foe-mauler (191). (T, D, M)

Appendix G

13. Sarvvanayaḥ - All-round (master of) polity (17). (T)

Appendix G

• 184 -

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• 186 -

The Plays

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A fourth of seven ancient (c. 7th century, A.D.) carved panels placed in the walls of the Tāntōṇrīśvara Temple, Kāñchī.

A fifth carved panel, Tāntōnriśvara Temple, Kāñchī.

A sixth carved panel,

Tāntōnriśvara Temple, Kāñchī.

– 190 –

A seventh (and final) carved panel, Tāntōnriśvara Temple, Kāñchī.

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The Seven Carved Panels

There are seven carved panels to be found fixed outside, on the walls of a small, not very old temple, the Tāntōnrīśvara, a short walk south from the big Ēkāmbaranātha temple, Kanchipuram.

We have illustrated all seven panels in this book (pp. 92, 108, 178, 188-191). These sandstone panels are very much older than the Tāntōnrīśvara temple. We would date them c. 7th century, A.D., during the reign of King Mahēndra. They are invaluable for showing us what ordinary (upper-class) citizens of Kanchipuram looked like in Mahēndra’s time. They seem to be enjoying themselves in fun and games - and dancing - the kind of revelry described in Mahēndra’s play, Mattavilāsa-Prahasanam.

Some of the men have such long curly locks that they seem to be wearing wigs! One must conclude, however, that what is represented is their own hair. The men who have their hair piled high on their head in the form of an inverted cone would appear to be of higher status than the men who lack this ‘elevated’ headdress style. To support this conjecture, we would point out that those men who have the ‘elevated’ headdress also sport upper arm ornaments, whereas the other men do not have upper arm ornaments.

The woman in Panel 2 and one of the two women in Panel 5 have bands of cloth covering their breasts. The other five women are ‘topless’. As we have stated earlier, in those early days the Indian dress code was different from ours.

All the women wear a single anklet on each ankle, two upper arm circlets (valayas) on each arm, and three wristlets (bangles) above each wrist.

In Panel 7, the person wearing the sword is threatening the dancing woman with the raised forefinger of his left hand, his right hand placed on the hilt of his sword. The general shape of his face is puzzling – it almost looks monkey-like! His companion, behind him, is restraining him.

Vishnu Bhat and Michael Lockwood - ’70s

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