1. Sringara Manjari by Akbar Sha Raghavan V. Osmania University

HYDERABAD ARCHAEOLOGICAL DEPARTMENT PUBLICATION

SRNGARAMANJARI

OF

SAINT AKBAR SHAH

Based on old Sanskrit Manuscripts in Devanagari and Telugu Scripts

EDITED WITH A CRITICAL STUDY

BY

DR. V RAGHAVAN, M.A, PH.D. Head of the Department of Sanskrit UNIVERSITY OF MADRAS Author of 'New Catalogus Catalogorum', 'Bhoja's Śrngāra Prakāśa', etc.

WITH A PREFACE

BY

THE GENERAL EDITOR

KHWAJA MUHAMMAD AHMAD, M.A., LL.B. Drrector, Archaeological Department HYDERABAD GOVERNMENT 1951

SRNGARAMANJARI

OF

SAINT AKBAR SHAH

Based on old Sanskrit Manuscripts in Devanagari and Telagu Scripts

HYDERABAD ARCHAEOLOGICAL DEPARTMENT PUBLICATION

SRNGARAMANJARI

OF

SAINT AKBAR SHAH

Based on old Sanskrit Manuscripts in Devanagari and Telugu Scripts

EDITED WITH A CRITICAL STUDY

BY

DR. V. RAGHAVAN, M.A., PH.D. Head of the Department of Sanskrit UNIVERSITY OF MADRAS Author of 'New Catalogus Catalogorum', 'Bhoja's Śrngāra Prakāsh', etc.

WITH A PREFACE

BY

THE GENERAL EDITOR

KHWAJA MUHAMMAD AHMAD, M.A, LL B Drrector, Archaeological Department HYDERABAD GOVERNMENT 1951

PRINTED BY N RAMARATNAM, MA, BL AT THE MADRAS LAW JOURNAL PRESS, MYLAPORE, MADRAS 4.

CONTENTS PAGES PREFACE ... V11-X ERRATA ... X1 ENGLISH INTRODUCTION ... 1-116 SANSKRIT TEXT .. 1-55 ADDITIONAL NOTES .. 1-V1 INDEXES V11-XX

PLATES

Facing Page The Tomb of Hazarat Sayyid Akbar Shah Husaini, Hyderabad ... V11 (Preface) The Tomb of Hazrat Sayyıd Shah Raju, Hyderabad vi1 ( " : Hazrat Sayyıd Akbar Shāh Husaini alias Bade Sāhib (Author of Śrngāramañjarī) and Hazrat Sayyıd Shāh Rājū (Preceptor of Abul Hasan Tāna Shãh v11 ( , Abul Hasan Tana Shah's Sanad and Aurangazeb's Sanad viii ( , ) : A page and leaf from the Mysore and Tanjore Mss. of the Śrngāramañjarī 2 (Introduction) The Tomb of Gesu Daraz and other saints at Gulbarga ... 5 ( Nāyıkās-Mugdhā and Navodhā 4 ( Text Parakīyā Svādhīnapatıkā and Kalahāntarıtā ... 16 ( Vāsakasajjıkā ... 18 ( ) Vırahotkanthitā 20 ( ) Prosıtapatıkā and Abhısārıkā ... 36 (

Tomb of Hazrat Sayyid Akbar Shah Husaini, Hyderabad.

PREFACE

Saınt Sayyid Shah Kalimullah Husainī alas Akbar Shah and Bade Sahib, a scholar, linguist, philosopher, poet and versatile genius who died young, flourished in Hyderabad City during the later half of 17th Century A D Due to passage of time and general slackness of interest in academic pursuits, he was totally forgotten Somuch so, that today it is hardly possible to get any information about him in the city wheie he lived and died Thanks to the indefatigable efforts and scholarly zeal of my friend Dr. Raghavan, Head of the Sanskrit Dept, Madras University, the Sanskrit veision of his valuable work on an aspect of the rhetoric of love called Srngaramañjari is now being presented to the scholarly world for the first time. It is based on two manuscripts discovered by him at intervals, one in the Government Oriental Library, Mysore, and the other in the Maharajah Serfoj1 Sarasvatı Mahal library, Tanjore. Excepting for a few references in the prologue of this book, the life of the author is shrouded in mystery The veil is partly lifted through the generous help of one of his descendants Hazrat Sayyid Shah Haidar Husainī, present Sajjada of Shah Raju's Tomb near Hyderabad, and bearer of the spiritual torch that has been kept aflame by the family for about six hundred years in the Deccan He has kindly pointed out to me the unpretentious and modest tomb of Bade Sahib (Plate A) which is situated to the South-east of his father's magnificent mausoleum (Plate B) in the open courtyard

Here it may be added that each Qutb Shahi king vied with his predecessor in building a more dignified mausoleum for himself. Tana Shah was an exception to this. There is no evidence of his having embarked on such an enterprise The incomplete mausoleum at Golconda, wrongly said to have been built by Tana Shah for himself, has been cleared of debris It has revealed a sarcophagus in the middle bearing the name of Nizamuddīn, brother in-law and rival of Tana Shah for throne, who died during the latter's reign Hence, it is obvious that this tomb was not being built for Tana Shah. But he did build his pieceptor Shah Raju's tomb mentioned above, which though in need of finishing touches here and there, is loftier and more impressive than any of the tombs of the Qutb Shähi Kings.

Hazrat Haidar Husaini Sahib also lent me for a few days life time miniature paintings of the author and his reverend father, together with two Sanads, one granted by Abul Hasan Tana Shah and the other confirming the first Sanad, by Aurangazeb This valuable material has directly and indirectly thrown much light on the life of the author

The paintings that were lent to me are very good specimens of late Seventeenth Century Deccan art The portrait of saint Akbar Shah (Plate C) represents him as a handsome person in the flush of youth wearing a costly turban with a 'turra' used mostly by royalty, dressed in a gold embroidered coat with beautiful rose flower and leaf designs upon it in red and green, holding a delicate flower in his hand and all showing the high social status he might have been enjoying. The inscription in the right hand top corner, reads

V111 ŚRNGĀRA MAÑJARĪ

Hazrat Janab Sayyıd Shah Kalīmullah Husaini Qaddasa Allahu Sirrahū. The last words qaddasa Allahu sırrahu' mean 'May God make his spiritual abode celestial'and establish that the painting might have been finished after the saint's demise The portrait of his father Hazrat Shah Raju (Plate c) is also a very good specimen of late 17th Century Deccan art and fortunately it preserves the name of the artist as Rahim Khan.

The Sanad granted by Abul Hasan Tana Shah is dated in 1086 A H (1675 A. D ) 1.e within two or three years of his accession to throne. It is remarkable for its illumi- nation and records the grant of several villages to Hazrat Shah Raju and his family But out of respect for the saint it is in the name of one of his sons Hazrat Sayyid Husamn alias Shah Sahib As it is not in the name of his eldest son Bade Sahib it is to be presumed that he might not have been alive at that time, and must have expired mn or earlier than 1086 A H. (1675 A D )

The Sanad granted by Aurangazeb (Plate D) is dated in 1105 A H (1693 A. D.). It also does not make any mention of Bade Sahib No reliable evidence regard- ing the dates of birth and death of Bade Sahib is forthcoming. However, the inteinal evidence of the book and material supplied by Hazrat Haidar Husami Sahib throw enough light on these problems From the prologue to the Srngaramañjari it appears that the author was a friend of Abul Hasan and had also studied with him. Therefoie, he must bave been born in or about the same year as Abul Hasan i e. 1056 A, H 1 (1646 A D ). The prologue is also clear on the point that when the book was being translated from Telugu into Sanskrit Bade Sahib was alive and that Tana Shah, who ascended the throne in 1083 A H (1672 A. D ), was the ruling king. The above referred to Sanad of Tāna Shah granted in 1086 A H. (1675 A. D ) implies that Bade Sahib was dead by that time Consequently, his death must have occurred somewhere between 1083 and 1086 A. H.Thus he was hardly 30 years of age at the time of his death and during this short span of life his book Śrngaramañjarī was produced in Telugu and translated in Sanskrit

In contrast to the above it will not be out of place to mention here the present day general apathy of the muslims of India towards Sanskrit and regional languages. The Khalifs of Baghdad had arranged for the translation of several Sanskrit books into Arabic and scholars like Alberuni had specialised in the study of Sanskrit In the Deccan itself there are several instances of muslims having evinced keen interest in regional languages Some of them have been referred to by Dr. Raghavan, in his Introduction to this book. Among them Saint Akbar Shah holds a glorious position and it is hoped that the publication of his Srngaramanjari will be a land mark in making the cultural ties stronger and in inducing people to attain proficiency in each others' languages.

I am giving, below the geneology of Bade Sähib as secured from the archives of Shaikh-ka-Rauva, Gulbarga, which are in the charge of the Sajjada Sahb of that tomb. I believe that this is more correct at least so far as the spellings of the names are concerned.

1 The correct date of Abdul Hasan's birth is not recorded But it is genera.ly believed that he was twenty-eight years old when he ascended the throne in 1083 A. H (1672A D) Therefore 1056 A H (1646 A D) may be taken as tentatıve date of his birth

Plate.

لروبايال مسجال واصاره

PREFACE ix

Hazrat Sayyıd Muhammad Husamnī Banda Nawaz Gesū Darāz

Hazrat Sayyıd Albar Husaır I

Hazrat Sayyıd Safirullāh Husaınī 3

Hazrat Sayyıd 'Askarullah Husaıni

Hazrat Sayyıd Shah Asadullah Husaini 5

Hazrat Sayyıd Shah Safirullah Husaini II

Hazrat Sāyyıd Shāh Rājū

Hazrat Sayyıd Shah Safirullāh Husamnī 8

Sayyıd Sadat Sayyd Yusuf Urf Shah Rajū -

Hazrat Sayyıd Akbar Shah Sayyıd Shãh Sayyıd Shah Husain Hazrat Sayyıda

Husaini, alias Safirullah-Husaini, alias Husaini, alias Khunzā Khadīja2

Bade Sahib1 Miran Sahib Shah Sahib alias Sultan Bībi (author of Srnga-

Much information regarding the issues of Bade Sahib is not available, but in the ramanjari)

course of a judgment dated 10th Shaban 1357 A H in case No 80, Sayyıd Valiullah Husaini, Appelant versus Sayyıd Shah Haidar Husami, Respondent, it has been shown that Bade Sahib (Sayyid Muhammad Akbar Husaini) had a son Sayyıd Shah Safirullah Husaini, who had two sons, namely (1) Sayyid Shah Ali Husaini and (2) Sayyıd Shah Kalimullah Husainī. The issues of each of them are given below separately - 1

Sayyıd Shah Ali Husamni

Sayyıd Shãh Safirullāh Sayyıd Albar Husamni Husaini (no issue)

Sayyıd Shah Jamalullah Sayyıd Mustafa Sayyıd Shah Ali Husamni, (married to Fatima Shäh Bi) Husami Husamni

Sayyıd Akbar (no issue)

Sayyıd Shah Muhammad Chanda Husami Husaini (no issue)

Sayyıd Shāh Gesū Darāz Husainī Ruqayyah Shāh Begum (Ghandni Begum wife)

Sayyıd Shah Haidaruddin Husaini (claimant) Sayyıd Shah Farīduddīn Husam (claimant)

Dastagir Begum, Makhdum Begum, Kulthūm Begum, daughter (died Jamalunisa Begu'm, dau- wife of before marriage) ghter (died claimant wife of claimant after marriage) 1 So far as I have ascertained his name was Sayyid Kalimullah Husaini and he was popularly called Akbar Shah and Bade Sahib 2 The endorsement made on the reverse of Abul Hasan's Sanad by Aurangazeb's officers mentions Sultan Bibi as Shah Raju's daughter It is to be presumed that this might have been the popular name of Sayyıda Khunza Khadija, therefore, I have added it here

X ŚRNGĀRA MAÑJARĪ

2 Sayyıd Shah Kalimu'llah Husaini -

Sayyd Shah Sayyıd Shah Ali Husami Muhammad Raju Husamn Sayyīd Ibrāhīm Husainī

Sayyıd Muhammad Sayyıd Rājū Husaınī Urf Husaini Şāhıb Pīrān

Sayyıd Şafirullāh Bısmillāh Bī (died without issue) Husaini

Māh Begum, daughter Sayyıd Valiullah Husaini (defendant)

Fașīhullāh Şafīrullāh Kalīmullāh Nadīmullāh Fātima Shāh Bī, Husaıni (died) Husaıni (died) Husaini (died) Husaınī daughter (wife (Begūbī, of Sayyıd wrfe died Shãh Jamālu- without lah-Husaini) 1ssue) Sayyıd Shah Muhammad Chandan Husaini

Sayyıd Shāh Gesu Darāz Husalnī Ruqayyah Shãh Begum

Sayyid Shah Haidaruddin Husaini Sayyıd Shah (claimant) Farīduddin Husaini (claimant) A glance at the English Introduction and the edited text of the book will immedi- ately reveal the high academic merits of Dr. Raghavan He has tackled each aspect of the subject in a masterly way. The editing of the text, the comparative study of the suhject as treated by innumerable exponents, the addition of footnotes, all required profound knowledge and unabated zeal. Both the qualities are possessed by him in great abundance, and scholars shall ever remain grateful to him for his devotion to the task I am immensely grateful to Hyderabad State for appioving of my proposal iegarding the publication of this book in the Departmental series My special thanks are due to the veteran educationist Mr Sajjad Mirza, Secretary to Government in the Archaeological Department, who has always lent full support to all the progressive schemes submitted by me. KHWAJA MUHAMMAD AHMAI)

ERRATA INTRODUCTION Page Line Read 11 18 importance on 20 its author 13fn. Mss. Library 14 21 milreu 16 3 from bottom Ābhyantarā 2 from bottom Bāhyā 17 4 स्याद्वाह्या 9 from bottom Šılpakārıkā 25 25 Udāttā 26 32 Panānganā 40 Anya-sambhoga-cınha-duhkhıtā 26fn. 1 Kāvyamālā Gucchaka 6 27 4 from bottom (Date of Rūpagosvāmin). 1550 A.D. 28 last line Pravatsyat-patıkā 29 4 Dhīrā 24 Anya-sambhoga-duhkhıtā 4 from bottom. heading Nāyakas 31 8 वेश्योपचरणाद्वापि 8 from bottom on erotics or the 32 last line the Śrngāramañjarī which gene- rally makes it a point 46 14-15 difference 26 सहायास्स्यु: 7 from bottom Śılpakārıkā 50 fn. पीठमार्दिका 71 5 Ulā 72fn 16 illustrated 73 29 class 100 15 utterance 102 13 all 16 abroad 23 has gone 103 2 Vāra-nıyama 104 34 Madhyama 106 28 Sanghatana 107 6 Vaiśika TEXT 10 संलाप-

17 लक्षण-

9 10 उद्धोघिता 9fn last line आत्मनः 23 16 भारतीयोदाहरणानुसारेण 30 1 प्रेमगर्वितासाधारणो- 40 12 नायकविप्रलम्भे विलम्बेन 41 20 42 9 मण्डनलक्षणम् 52 26 दैवयोग: 52fn. Pratāparudrayaśobhūșaņa 54 10 इदानीम्

INTRODUCTION

I

While pursuing my interest in the literaiy products of the healthy cultural inter- action of Sanskrit and the Muslim patrons and authors, I happened to find in the Catalogue of the Government Oriental Libiary, Mysore (Supplemental Catalogue, 1928, p. 14, No C. 2096) the entry Srngaramanjari, Bada Akbar. The names of the work and its Muslim author excited my curiosity and led me to an examination of the contents of the manuscript Srı H. R Rangaswami Ayyangar, Curator of the Library, was kind enough not only to send first some extracts from the manuscript, but to supply later a complete transcript of the manuscript for my use.

In the same year (1943), in the middle of December1, a paper of mine on the Śrngaramañjarī by Akbar Shah, a Muslim saint of Hyderabad, was read before the first session of the Hyderabad Telugu Academy, and the appreciation and interest evinced by the then Education Member of H E H the Nizam's Government, Dr Nawab Mehdı Yar Jung Bahadur, who sent for a copy of my paper, led to the enthusiastic proposal of the Hyderabad Telugu Academy that they would publish this work under their own auspices; but this idea did not take shape

To draw the attention of the wider scholarly world to this interesting work, I published an account of it and the Muslim author to whom it is ascribed in the Dr. C Kunhan Raja Presentation Volume2 (pp 325-335) in 1946 The twelfth isession of the All-India Oriental Conference at Nagpur, in the October of the same year, registered a favourable turn in my efforts to bring out this work, it was here that I proposed to Mr Khwaja Muhammad Ahmad, Curator of the Museum and Director, Archeological Department, Hyderabad, Deccan, that the publication of my edition of the Śrngāramañjari through the Hyderabad Archæological Department would be appropriate in view of its Muslim author's association with Gulburga and Hyderabad, Dn. Mr Khwaja Muhammad Ahmad welcomed the proposal and began making arrangements for its finalisation

While lus ariangements were under negotiation, and political developments were causing a temporary interruption, I was fortunate to discover in the Maharajah Serfoj1 Sarasvatı Mahal Library, Tanjoie, a second manuscript of this Srngāra- manjari, and obtamned a transcript of it The manusciipt is described under No. 11001 mn Vol XVI of the new Desctiptive Catalogue of the Sarasvati Mahal Library (old Burnell Catalogue No 10556) While the Mysore manuscript is in paper and Devanagarı script, the Tanjore manuscript is in palm-leaf and Telugu script, and while the former is complete, the latter lacks the beginning, it does not have the first sixteen introductory verses and the long prose passage devoted to a description of the author and his genealogy, and begins straight with the enumeration of the earlier authoritative works which it has used A noteworthy point regarding the Tanjore manuscript is that it appears to mention its author as Shahaji, son of Ekoji, the Maharatta ruler of Tanjore (AD 1684-1710) :

1 16-12-1943 2 The Adyar Library, Adyar.

2 SRNGĀRA MAÑJARĪ इति श्रीमन्महाराजाधिराजमकुटतटघटित मणिप्रभाराजिनीराजित चरण- येक्कोजिराजवरसुत साहराज सड्ग्रह (?) शृङ्गारमञ्जरी संपूर्णम् ॥ It is from the word Ekoji onwards that the colophon here in the Tanjore manuscript becomes different from the correct one found in the Mysore manuscript, the corrupt expression 'Saharajasamgraham' may after all refer only to king Shahaji having secuied or collected the manuscript of this work, if the scribe or discoverer of this manuscript had mistaken its author as king Shabaji of Tanjore, there is some cause for such a mistake, Shah Raja, as will be seen below, is a name occurring frequently in the line of the author of the Srngaramanjari, Akbai Shah, and the scribe, who had before him a manuscript without the introductory verses and the prose passage describing the Muslim author to elucidate further the incomplete colophon mentioning Saharaja, must hae taken king Shahajil ot Tanjore as the author, as the latter was certainly more familiar to hım

Early in 1949, I was glad to heai from Mr Khwaja Muhammad Ahmad that the Myderabad Government had approved of the inclusion of my edition of the Singaramañ- jarī of Akbar Shah in the publications of the Archæological Department of Hydeabad.

II

The edition of the Srngaramanjari that I am presenting here is, as alieady stated, based on the two manuscripts of the work in the Mysore and Tanjore libiaries. The Tanjore manuscript proved highly useful, as I could correct many a slip in the Mysore manusciipt with its help Compared to the Mysore manuscript, it has many gaps, but it is only in a single context towards the end of the work that there is an unfortunate gap in both the manuscripts which could not be made up by any means. Generally the headings in the Tanjore manuscript are in a longer and more precise form. In the text that I have presented here, the rejected readings of the two manuscripts, whether corrupt or not, are recorded in the foot-notes, I have reconstructed the texi or suggested emendations at places were both the manuscripts were corrupt, and lines where even this could not be done are only a few

In the foot-notes, besides the readings, I have given here and there some other notes also On a work of such an attractive theme I would have loved to write my own Sans- krit commentary, but exigencies of time, cost of printing etc, forced me to renounce that pleasure I have therefore added in the foot-notes short explanatory notes, in Sanskrit or English, on the meaning of a few passages whose drift is rather obscure. The Śrngaramañjarī is closely related to two previous works, the Rasamañjari of Bhanudatta, and a commentary on it called the Amoda, it generally criticises the Rasamañjari and adopts many of the views expressed in the Amoda, while the former is printed and well

1 It may be of interest to note here that the names Shahaji and Serfoj1 borne by the first two sons of Ekoji of Tanjore are not Hindu names, the great Shivaji's grandfather Maloji had no issue for a long time, finally, he is said to have had two sons by the grace of the Muslim saint, Shah Sharif of Nagar or Ahmednagar, these sons were respectively named, out of gratitude to the Muslim saint, Shah-j1 and Sharif-j1. It is after these first Shah-j1 and Sharif-j1 that the two sons of Ekoji of Tanjore also bore the names Sahaji and Sarabhoj1 See James Grant Duff, History of the Mahrattas, 1873 edn, p. 40; Takkakav and Keluskar, Life of Shivaj1 Maharaj, 1921, pp. 6-7, and the Marathi inscription of the Big Temple, Tanjore References to these were given to me by Messrs V Srinivasacharı, Librarian, Sarasvatı Mahal, Tanjore and Khwaja Muhammad Ahmad, see also Tanjore Descriptive Catalogue, Vol XIX, Introduction, pp XXV111-XXIX.

ंगारा।। अमंग लानमवत।। मंजरी। प मारम जरीयं थो लिख्यताुरुगएापति डर्गावट क शिवम-चता इ्रो्र सा ए। गिरि जालक्मीवा एगव दे विभलय।।?।यद धिकमलदद्दईंदतापनिवारणा तारक विपद वदन गुरुप्रएामाम्यतार। ककरनरमयुकर कुलंदत्तमहा नंदमकर ै।।बदेनवाज हजर तिपदार विद्ेसेदावेद।।जन इ शहर मुका म लितिच विमल युतिस्ा विरशन।श्रीशाह राजनाम्माम मिरक दृषिताएन।।8।) यार्सस्तस्पनन जासशा हके सांधराजइ सा घ:शाह नप सरू श्रा ठोपप कवर शाह स्य रतनतुर तु लया:५।। पाहनपे सकल्राहालु लितं गुलशाह राजयभवत।। ियुद्गजनमानिनीयोम हानुभाव: सषिंतीदुरु:।६ शाहरारजपुत्रोष्मिक वरशाहामहदद्यय सव डेसी हे बइ तिनाम महावेभ वे कपद७.सफलवडे साह बशुभनाभारामाभिराम पिणः जगति बिबु द्रव रलक्ष्मीजयति बह्नमसासुश्री।।-।क:फिलनपसा। शरीराम। 11811 A page from the Mysore Manuscript of the Śrngāramañjarī Two sides of a folio from the Tanjore Manuscript of the Śrngāramañjarī

INTRODUCTION 3

known, the latter is still in manuscript and its views are not known at all, therefore, wherever the Amoda is referred to in the Śrngaramañjari I have, for the greater under- standing of the text, given in a series of separate foot-notes the relevant portions of the Amoda, together with necessary critical remarks, from tne Adyar Library manuscript of that work Wherever possible I have identified the quotations in the Śrngāramañjari, and references to these sources too, I have included in the foot-notes.

1II

THE AUTHOR The Śrngaramanjarī 1s not silent about its author. After paying respect to Hindu divinities and the preceptor (guru) in the first two verses, the work proceeds to give an account of the author in a series of verses, 3-16, followed up by a prose passage In verse 3, Bande Nawaz Hazarat (Bande Navaja Hajarati) 1s saluted in verse 4, the genealogy of the author is begun , in the family of Bande Nawaz Hazarat appeared Shah Rāja (Sāharāja) , verse 5 says that this Shah Raja had three sons, Shāh Raja, Shah- nafezarullah, and Akbar Shah, from the second of the three brothers, was born Shah Raja, described as preceptor to the King (verse 6) This Shah Raja had a son named Akbar Shäh, otherwise known as Bade Säheb (verse 7), the next verse further extols the greatness of Akbai Shah, mentioned here as Safal Bade Saheb , verse 9 praises this Bade Saheb's knowledge, piety, eminence and fame ; in verses 10 and 11, two younger brothers of this Bade Saheb, Akbar Shah, are mentioned, Mir Saheb and Shah Saheb, two more verses extol again the eldest brother Bade Saheb Akbar, the first referring to his intelli- gence, learning and high position, and the second trying to explain etymologically that his name Akbar (A-ka-vara) means that not even the divinities Visnu and Brahma are his superiors.

बन्देनवाजहजरतिपदारविन्दे सदा वन्दे॥। ३॥

तद्वंशादू वरमुक्तामणिरिव विमलध्ुतिर्स आविरभूत् । श्रीशाहराजनामा भूमिरभूद्भषिता येन ॥। ४ ॥

आसंस्तस्य तनूजा स शाहकेनाथ राज इत्याद्य: । शाहनपेसरुल्लाहोऽप्यकबरशाहस्त्रयस्ते च सुरतुल्याः ॥५॥

शाहनपेसरुल्लाहाल्ललितगुण. शाहराज इत्यभवत्। विबुधजनमाननीयो महानुभावः क्षितीन्द्रगुरुः ॥ ६॥

श्रीशाहराजपुत्रोऽप्यकबरशाहो महद्वन्दः। यस्य बडेसाहेबू इति नाम महावैभवैकपदम् ॥ ७॥

सफलबडेसाहेब्शुभनामा रामाभिरामगुणः । जगति विबुधवरलक्ष्मीर्जयति बहुश्रेयसां सुश्रीः॥८॥।

क: किल तपसा महसा यशसा ज्ञानेन धर्मेण। अभवद्धवति भविष्यति जगति बडेसाहबेन समः ॥ ९ ॥

श्रीशाहराजसूनुः तस्यावरजक्चकारि्ति रभ्यगुणः । यं मीरसाहेबाख्यं जगद्खिलं सर्वतः स्तौति ॥ १०॥

SRNGĀRA MAÑJARĪ 4 श्रीशाहराजसूनुः तस्याप्यनुजोऽभवद्रणौघनिधिः यं शाहसाहेबाखयं सर्वे लोकाः स्तुवन्ति सर्वत्र ॥ ११ ॥ येषा उ्यष्ठः श्रीमान् विद्वान् मतिमाश्चकास्ति विमलगुणः । यमिह बडसाहेबमुमुद्दामालम्बते लक्षमीः ॥ १२॥ को (ओ) विष्णुः को ब्रह्मा ताभ्या श्रेष्ठस्ततोऽप्यकवरोऽयम् । प्रथयति महेश्वरत्वं यस्स बडेसाहबेति नामभ्याम् ॥ १३ ॥ This Akbar Shah was a patron of poets (verse 14) This Akbar, who was respected by the king, humself (svayam) wrote in Telugu, the work called Srngaramanjari (verse 15), and this is its Sanskrit veision (verse 16) अकबरमवचोगोचरगुणमपि कवयो यथामति प्रशसन्ति । यत्किल तद्गुणगरिमा वर्णायतुर्गौरवं तनुते ॥ १४ ॥ तेनान्ध्रभाषयाय रचितः शृङ्गारमञ्जरीग्रन्थ. । स्वयमकबरेण भूभृन्मुकुटमणिरञ्चिताध्रिकमलेन ॥ १५ ॥ तद्विरचितान्ध्रभाषाकलितां शृङ्गारमञ्जरीच्छायाम्। सेवध्वं सुरवाणीरचितां रसतोषतारसिकभृगाः ॥ १६ ॥

In the above veises, more than once, reference is made to Akbar Shah and his father Shah Raja being the respected guru of the king The important informatio of the name of this king is given in the prose passage which now follows The whok p . age, which furthei eulogises the philosophical, literaiy, musical and other artt-uc endos ments of the author Bade Saheb Akbai Shah, mentions this king at the begmnin, d Sultan Abul Hasan चतुरब्धि वेष्टि त सर व सहेशनुतशौर्यधैर्यमनोहर लावण्यसङ्गीतललित साहि त्य भा वज्ञतामददक् ण्डिलय फिन

राजभक्तिमात्रसद्गुणगरिष्ठपरिमितहित वाक्यपाण्डित्ययुक्तस्वमत परमतसपन्नसिद्धान्तनिरन्तर संस्थापनाखिलनवरा लक र

ग्रन्थराज रुचिरं विरचयति । (p 2) I proceed now to identify the author, his revered ancestor, and his royal patron Bande Nawaz Hazaiat who is saluted in verse 3 is the renowned Muslim sunt (ie-u Daraz of Gulbarga According to the Hadiquat-ul-Alam, Aurangazeb, during hes march against the last Qutb Shani king Abul Hasan ahas Tana Shah, paid a visit to the tomb of "Hazarat Saiyad Bande Nawaz Muhammad Gaisu-Daraza" at Gulbargal (on 6-12-180)-, and distributed Rs 20,000 to the devotees and disciples there Fortunately, we have ample materials bearing on the life of this Muslim saint "This famous Mushm samt was born at Dilli (Delhi) on the 4th Rajab, A H 721 (30th July AD 1321) Iis proper name is Sadr-ud-Din Muhammad Hussaini, but he was commonly called Muhanmad Gesu Daraz, on account of his having long ringlets He was a disciple of Shekh Nasn-nd- Din Chiragh of Dilli who sent him to the Dakhan in A H 802 (AD 1399) during the reigu 1 See pp 120-126-English part of the Govalkondyacı Qutbsahi, Bharata Itlihasa Samsodhaka Mandal Series, Poona, No 39. 2 But on 30th October according to Sir J Sarkar, Aurangazeb, Vol IV, p 356

Tombs of Gesu Daraz and other saints at Gulbarga

INTRODUCTION 5

of the Sultan Firuz Bahmani The latter ieceived him with much honour and respect, but afterwards quarielled with him, and to this disagreement with the saint the author of the Burhan-1-Ma'astr attributes the subsequent misfortunes of Sultan Firuz "1 According to Ferishtah, the Sultan favoured Gisu Daraz as the supreme saint in the place of the previously favoured family of Shekh Sirajuddin, granted to him many towns, villges and lands near Kulbargah, together with a college and a monastery, the people of Deccan revered Gisu Daraz as even greater than the Prohet 2 The Oriental Biographical Dictionary of Thomas William Beale' gives some more information about Gisu Daraz Beale says that the saint is said to be the author of several works among which are the " Adab al Murid ", the " Wajadul-Ashikim ", containing the whole duty of a Sufi disciple etc, and also a work of fables in Persian entitled " Asmar-ul-Asrar" He was buried at Hasanabad commonly called Kulbarga 4 Of his descendants Beale says that "during the reigns of the Dakhin Sultans, great sums of money were occasionally offered to his (Gisu Daraz's) descendants who reposed near the saint, in vow and presents " Beale mentions also the son of Gisu Daraz who was known as Muhammad Akbar and was the author of the " Akaed Akbari " containing the principles of the Muhammadan faith According to the Taskire-auliya-1-Hind, I a n told,3 the father of Gisu Daraz was known as Shah Raja, and that the grandson of Gisu Daraz was known as Mir Sadidullah The Hadiquat-ul-Alam also says in connection with the death and burial of Sultan Abul Hasan at Daulatabad near the tomb of the father of Gesu Daraz that Syed Raju Qattal was the name of the father of Gesu Daraz 6 From the genealogy given in our Srngaramanjari, we may see these names Shahraja, Akbar and Mir recurring in the family

Mention has been made of Gisu Daraz by Prof H K. Sherwani of the Osmania Univeisity, Hyderabad, in his article entitled "Taju'd-din Firoz and Synthesis of Bhamani Culture," in the New Indian Antiquary, Vol VI, No 4, pp 75-89 According to Mr Sherwan, Gisu Daraz's father was Sved Yusuf who had visited Deccan during the time of Muhammad Tughlaq and had breathed his last at Khuldabad on 12-7-1331 A D Gisu Daraz was boin at Delhi on 10-7-1321, but was "eighty lunar years old" when he arrived at Gulbarga with a host of disciples The first impression of the saint and the 1egard which Firoz had for him did not last" Gisu Daraz died on 1-11-1422 8 Both Hindus and Muslims revered Gisu Daraz and his toinb which was built by the successor of Firoz, Ahmad Shah I, Bhamani, who "perhaps knew the spiritual and moral influence" of the saint and "was not slow to take full advantage of it" (p 87)

1 History of the Bahmani Dynasty (Founded on the Burhan-1-Ma'asir) by Major J S Kıng Indian Antiquary, 28, 1>99 (May), pp. 186-7 2 Ibad, p 186 fn. 3 Asiatıc Society of Bengal, Calcutta, 1881 4 A photograph of his tomb has been reproduced in this volume For an interio1 view of the tomb of Gesu Daraz, see Annual Report of the Archaeological Dept of HEH the Nizam 1936-7, plate V The tomb was built by Firoz's successor Ahimad Shah I (New Indian Antiquary, VI, 4, p 78, fn 15 ) 5 By Mr Sayyid Usha of the Islamic Department, Madras University. 6 P 182, English translation, Govalkondyacı Qutbshahı,-Bharata Itihasa Samsodhaka Mandal Publication, Poona 7 On the details of this estrangement between the king and the saint, see Mr Snerwanı's article, p 87 $ Mı Sherwanı refers to the works Hadrat Gısu Daraz by Hamid Sıddıqı, Hydera- bad, Zahirud-din's Sultan Ahmad Shah Bahmanı, the manuscript in tne tomb at Gulbarga of Gisu Daraz's life by one ot his disciples Muhammad Ali Samani and to the Hyderabad edition of the saint's work Khat mah, containing extracts from the last mentioned manuscript

6 SRNGĀRA MAÑJARĪ From the above accounts and the list supplied in the Srngaramanjari we may draw up the following genealogy. Sayyıd Yusuf o1 Shāhrāja son Gezu Daraz (Bande Nawaz Hazarat) 1321-1422 A D (came to the Deccan in 1399 A D during the time of Firoz and Ahmad I Bahmanı)

son Akbar

son Mir Sadıdullah

descendant Shah Raja

3 sons

Shãh Rāja Sahanafesarulla Akbar Shāh

son Shãh Rāja Preceptor of king Abul Hasan (c 1644-170+ A D. ) - 3 sons

Akbar Shah alras Bade Mir Saheb Shảh Saheb Saheb, author of the Śrngaramanjarī

According to the Tarikh Qutb Shahi by Qadrı Khan munshi, of Bidar, published in Matbai Burhania, Hyderabad-Deccan, 1306 H, p 47, extract from which was kindly supplied to me by Mr Khwaja Muhammad Ahmad, the genealogy of Shah Raju, the father of our author and the preceptor of Abul Hasan, upto Gesu Daraz is as follows: Gesu Daraz, son Muhammad Akbar son Safirulla (Dakan) son Askarulla son 1sa- dulla son Shah Raju (of Bijapur, brother of Hussain Shah Wali), son Safirulla. son Asadulla son Shah Raju Now the king of whom our author Akbar Shah's father Shah Raja is described as guru is mentioned as Sultan Abul Hasan In the text introducing him, he is described as a scholar of great culture and accomplishment in arts This is in all likelihood none else than Abul Hasan Qutb Shah of Golconda, known as Tana Shah as d result of his gaiety (April 21st 1672-1687 A D ) who was the last Qutb Shahı king, was made captive by Aurangazeb on 21st Sept, 1687, and died in 1704 A D 1 Between A D. 1350 and 1650, 1 e , between Gesu Daraz and Akbar Shah, time has elapsed for nearly twelve generations The names of all the members of this family and the part which this family played in the political and cultural events of Deccan deserve to be brought to light by the historians and litterateurs of Hyderabad and Deccan An independent corroboration of the relationship between Sultan Abul Hasan and the saints of Gesu Daraz family at Gulbarga and of the king being the pupil of Shah Raja is furnished by the work Hadiquat-ul-Alam, available in an English translation in the publication " Golkondyaci Qutbshahi" of the Bharata Itihasa Samsodaka Mandal, Poona This work states twice that Abul Hasan was stayıng at the tomb of Gesu Daraz in his youth and was a student of a descendant of Gesu Daaz, Shah Raju, who happens to be the father of our author Akbar Shah, 1 Sarkar, Aurangazeb, IV, pp. 333, 384.

INTRODUCTION 7

as mentioned in the genealogical list in the Śrngaramañjarī The Hadiquat-ul-Alam says in connection with the marriage of Abul Hasan 1 ' It was resolved that the bride (daughter of Abdullah Qutbshah) should be given in marriage to Abul Hasan who was a near relative from the side of the king's mother As destined by God, the very night when the hour of marriage was fixed, Abul Hasan was sent for He was then taken to the bathroom, diessed . and the princess was at last given over to him. It is related that Abul Hasan was iesiding for fourteen years previous to his marriage at the Takiyen of his Murshid Sayid Shah Raju, who was one of the revered grand- children2 of His Holiness Saiyad Muhammad Gaizu Daraz and was a worthy successor to his great piedecessor It was from this Takiyeh that Abul Hasan was taken in pomp to the bathroom and was decorated in the bridegroom's dress for the marriage with the princess " The book goes on to narrate how Saiyad Shah Raju foresaw this coming event on the day previous when Abul Hasan came to him to pay the usual respects to his teacher 3 The same source says later in connection with the death of Abul Hasan He (the Quiladar of the Daulatabad fort) buried him (Abul Hasan) near the grave of Syed Raju Qattal (revered father of Syed Muhammad Gaizu Daraz) adjacent to the mausoleum The date of his death has not been mentioned in any of the existing books on history or biography. But because it is told that he passed fourteen years of his life in childhood, and fourteen years in study as a disciple of his spiritual preceptor Syed Shah Raju, and afterwards ruled for fourteen years, passed a further period of fourteen years in captivity, it can be said that he died in 1111 H or 1112 H (1700 A D ) " This account confirms the information in our Srngaramanjari that our author Akbar Shah's father was called Shah Raja, and that Abul Hasan was a student under that Shah Rija, our author's father The king was thus a friend and co-student of our author himself It is but fitting that one who had spent his youth at the tomb of Gesu Daraz should pass away at Daulatabad and get buried by the side of the tomb of Syed Raja, father of Gesu Daraz. In two verses in the beginning (15, 16), already quoted, this Sanskrit Śrngāiamañ- jarI is stated to be a translation of a Telugu work of that name by Akbar Shah himself. A second reference to this Telugu original and to the illustrative Telugu verse of old occurring in it are made in the course of the Sanskrit version On p 13, in the section on Sāmanya Nayika, the work speaks of the Telugu illustrative verse in the original प्राचीनान्ध्रभाषोदाहरणादप्ययमर्थः सिद्ध, तस्यार्थो लिख्यते। The work no doubt expressly mentions the liteiary gifts of Akbar Shah, and says that he himself (svayam) wrote it ; but a legitimate doubt may be raised whether the Muslim Saint Akbar Shah wrote this work on love4 in Telugu and Sanskrit The doubt may be strengthened by the fact that one of the introductory verses here (no 14), as also the prose passage quoted above, refers to Akbar Shah as a patron of poets, and in the course of the work Akbar himself is eulogised in illustration as the Nayaka on pp 9 (verse 49), 11 (verse 62), 21 (verses 108-9), 49 (verse 281), 50 (verse 284) and 52 (verse 298) lt may be that at the instance of Akbar, some Telugu scholar wrote the original Śrngaramanjarī in Telugu and then a Sanskrit scholar translated it into Sanskrit Obeisance to the Hindu divinities in the first stanza will be appropriate in that case The subject of Nāyaka-Nāyıkas had been made popular among Muslim patrons and authors by a number

1 pp 81-2, English translation 2 means descer dant 3 See also Sarkar, Aurangazeb, IV, p. 332 4 Buddhistic and Jain saints have written treatises on love, and there is no im- possibility in Saint Akbar Shah writing on love

8 ŚRNGĀRA MAÑJARI of Hindı works dealing with it and while on one hand the use of a number of Alankara works of the Telugu country point to the association of a Telugu author with this work, the use here of Hindi works on the subject would also show that Akbar should have been not a mere passive patron, but an active collaboiator in the production of this work, also the employment of a simile like the ripe whitish pan-leaf for the cheek (verse 235) speaks of an imagination accustomed to Dakhini poetry Whether Akhai Shah was the real author or only the patron, it is all the same significant that in the Mushim courts of the Deccan, indigenous literature and art flourished It is well known that the Qutb Shals were great promoters ot letters, both as authors1 and patrons, and at their hands Telugu liteiatuie especially received great encouragement 2 Accoiding to the Hadiquat-ul-Alam, as pointed out before, Abul Hasan was, before he was brought to Golconda and suddenly made king, studying in the tomn o Gesu Daraz at Gulbarga, under the then descendant and guardian of the tomh of Gesu Daraz vis, Shah Raja, father of our author Akbar Shah He was thus an associate and friend of Akbar Shah himself who must have succeeded Shah Raja as the king's -pinitual preceptoi after his father The fuiendship must have persisted, and as Tana Shah the king given to pleasure, Abul Hasan might well have commissioned his guiu's son to produce a treatise on the types of heroes and heroines figuuing in love The great populanty of this subject among the authors and then pations of this time and part of the countiy is snown also by the fact that an author on this very subject of Nayakas and Nayikas, the celebrated composer ot Telugu Padas, Koctiejda, was patronised by Abdulla Qutb Shah of Golconda (AD 1620-72) and his general, Tupākula Krsnappa, in his song in Devagāndhāri rīga, Ādı tāla, Ksetrajña say- that he had a contest with one Tulasimurti in the court of the Padshah of Goiconda and that on that occasion, he composed 1,100 Padas Balavantudaı Golakonda Pādusā bahumānamosagi Tulasımūrtito vādu dalachu vela velayu Muvva Gopāludu veyynnūru padamulu naluvadı dınamulalōne nannukalası vinupiñcenē 3 It has already been iemarked that the tomb of Gesu Daiaz was a meeting pomt of adoration for both the Hindus and the Muslms Besides, Akkanna and Madanna, the two Hindu ministeis of Tana Shah, kept up a Hindu atmosphere and it is iecoided that one of the pleas with which Aurangazeb was induced to punish Abul Hasan Tana Shah was that, at the instance oi his two Hindu ministers, even Muhammadan courtiers of Abul Hasan were taking part in Hindu celebrations + Tradition glorifies Tana Shah with the story of Saint Ramadas of Bhadracala, the details ot which are well-known to all Down below all its gaiety, Tana Shah's heart appears to have had a firm philosophical 1 For the literary productions of the Qutb Shahis, see Journal of the Bihar and (rissa Research Society, Vol 28, No 11, pp 176-189 2 See Triveni, XIV, 11 1942, Telugu Literature under the Kutub Shahs. For a probable Telugu poet named Kumuda under the Qutb Shahis, see my article on the subject in the Journal of the Andhra History and Culture, Guntur, Vol I 3 See my article on Hyderabad as a Centre of Sangita, Journal of the Music Academy, Hyderabad. Madras, Vol XVI, 1945, pp 118-9 and the 1945 Souvenir of the Krishna Gana Sabha, According to Messrs R Anantakrishna Sarma and Ch Papayya Sastr, in two Telugu books of songs of 1881 and 1912 (the former earlier than the Sangīta sampradāya pradarsmni (1904-5) from which I have quoted above), the lınes read "Golakonda pahadusā koka-veld niıcı-Tolasımūrtıvāru bılıcınavela-velaya Muvva Gopāludu-veyyinnūru padamulu-naluvadı-dına- mulu logānanu galası vinupiñcane " 4 See p 91, Hadiquat-ul-Alam, English translation

INTRODUCTION 9

anchor and none will fail to be struck by the spiritual dignity of his last testament, spoken by Abul Hasan on the eve of the fall of his fort and his capture by Aurangzeb. Abul Hasan said

" My belief in God, the Glorious and the Great, the Creator of the World and the sustainer of princes and paupers, is such that He, may He be glorified, never keeps back His kind and merciful glances from his slave at any time or under any circumstance and sends him his allotted food My paternal and maternal granafathers passed their time always in peace and plenty and power Yet, for some time, God willed that I should pass my days in poverty Again, with his bounteous glance falling upon me, a humble fellow, He created for me such environments as, within only a short period of one hour, exalted me in the high position of kingship Nobody including myself could have ever imagined that I was to be a king He, praise be to Him, has now lett no desue or yearning in my heart I gave away lacs and spent crores. Now, He may have taken the reigns of sovereignty out of my hands as a 1etribution against some improper acts of mine I must not grudge against His very kind treatment .

It is therefore quite natural to suppose that some Telugu and Sanskrit poets asso- ciated with both the king and his spiritual preceptor were connected with the production ithis Srngaramanjarī in Telugu and Sanskrit

IV Works and Authors cited in the Śrngaramanjari The Telugu Śrngāramañjarī The Śrngaramañjari, as it has already been noted, purports to be a Sanskrit version of a Telugu work of that name. Verses 15 and 16 in the introduction say

'तेनान्ध्रभाषयाय रचचितः शृङ्गारमञ्जरीग्रन्थः' and 'ताद्विरचितान्ध्रभाषा कालिता शृङ्गारमञ्जरीच्छायाम्' (p.2), and in the discussion on Sāmānyā-nāyika, reference is also made to an old Telugu illustra- tive verse, evidently cited in this Telugu Srngaramanjarī

प्राचीनान्ध्रभाषोदाहरणादप्ययमर्थः सिद्धः, तस्यार्थों लिख्यते। (p13).

It may also be noted in this connection that, among the works mentioned at the beginning as having been used by the author, a Narasa-kavya 1s found, which may be, as shown below, the Telugu Alankara work, Narasabhūpaliya of Bhattumurti; of the Sanskrit treatises too that are referied to and quoted from, it is significant, that some are works produced and popular in the Telugu country. I have not been able to find so far in any manuscript library a copy of a Śrngaramañjarī in Telugu answering to the descrip- tion given above At the beginning (p 2), the Srngaramañjari mentions a number of earlier works

Rasārnava, Pratāparudrīya, Sundaraśıngāra, Narasakāvya, Daarūpaka, Vilāsaratnākara, as forming ıts basıs. Rasamañjari, Amoda, Parımala, Srngāratılaka, Rasıkaprıya,

Kāvyaparīksā, and Kāvyapiakāśa While these names are merely mentioned at the beginning, in the body of the text, the following works are quoted the Rasamañjari and the Amoda frequently; Prataparudriya thrice (pp 16 (anon), 19, 21); Sāhitya- ratnākaia (p. 19); Bhāratīya (Nātya śāstra) (pp 19, 23); Nāyakabhūșana (p 19), Rasıkaprıya (p. 37), and Vātsyāyana (pp. 54) During the discussions, reference 1s made many times to the older writers, Pracinas, without specific mention of the name of any author or work. Besides, works of general importance, the Amarakośa (pp. 21, 37) and the Pānmnisūtras (pp. 23, 32, 33), as also illustrative verses from the Amaruka, Meghasandeśa, and Abhijñānaśākuntala (p 33) are also quoted. Leaving 2

10 ŚRNGĀRA MAÑJARĪ these last, we shall notice heie the woiks on poetics, dramaturgy and erotics mentioned or cited in the Śrngāramañjarī The works and authors noted above fall into thiee classes those in Telugu, those in Hindı and those in Sanskrit Of the works, whicn are enumerated at the beginning, only some are quoted in the body of the text. Regarding the rest, there is no indication to show how far they have been utilised by the author of the Srngaramanjari While most of these works are identifiable, there are a few of them about which I have not been able to gather any information Narasakavya This may be the Narasabhupaliya in Telugu, otherwise called Kāvyālankārasangraha,1 a work of rhetoric written by Bhattumūrti Based completely on the Prataparudriyayasobhusana of Vidyanatha, the work eulogises in its illustrative verses the author's patron Turaganti Narasaraju, a feudatory chief and nephew of Alıya Rāmarāja (died 1565 A D ). While the greater possibility seems to be that it is this Telugu work that the Śrngāramañjarī is referring to, it must also be mentioned that a Sanskrit Alankāra work of the identical name, Narasabhūpāliya, is also known Called more specifically Alankara- muktāvalī, it was written by Vadhula Krsna Yajvan, in praise of another patron of the same age and name, Gobburi Nrsimha, a nephew of Aliya Ramaiaja,2 and a cousin of the Narasimha figuring in the Telugu work It has already been pointed out while dealing with the authorship of the work that some Hindi works are mentioned in it. Of the works first enumerated among the sources and quoted in the body of the text, two are identifiableas Hindı works, the Sundarasingara and the Rasikapriya The subject of classification of hero and herome types in love is one that received great attention at thehands of Hindi writers in the Muslim-Rajput period The Bhakti movement, especially that centering round Krsna, gave a fillip to the detailed study of the sentiment of love and the different types of lovers, and the Hindi Vaisnava poets composed a number of erotic poems, classifying and describing the various kinds of Nayikas with reference to Krsna as the Nayaka As we shall see later, the subject attaied a further dimension and attractiveness, when the art of painting found in this a favourite theme The Sundarasrngara is the work of a Brahman named Sundaradas who was court-poet of Shah Jehan (1627-1658) In the introductory portion of the woik Sundaiadas eulogises Shah Jehan at Agra and gives his geneology Of himself, the author says that he hailed fiom Gwalior, and that Shah Jehan honouied him with presents and the tıtles, Kavırāya and Mahākavirāya The woik is dated A D 1631 Among the other works of Sundaradas may be mentioned a Viajabhasa translation of the Simhāsana- dvātrimśikā and a philosophical work called Jñānasamudra 3 The Singaiamanjari merely mentions the Sundaraśrngāra as one of its sources. The Rasıkapriya 1s, unlike the Sundarasrngara, once quoted in the course of the discussions (p 37), and ciiticised for holding a separate variety of Abhisārika called Prema-abhısārıkā It was composed by Keśavadāsa Sanādhya Miśra of Bundlekhand, who flourished about 1580 AD His original home was Tehri and he was patronised by Madhukar Shah of Urcha and his son Indrajit, the latter endowing him with twenty-one villages in Urcha In Indrajit's court there was a gifted courtezan-poetess Parbin Rai Patüri, whom Akbar wanted to

1. Edn. Vavilla Ramaswamı Sastrulu & Sons, Madras 2. Adyar Library Ms See Catalogue Vol. 1I. p. 33 b and Adyar Library Bulletin, VII 11 1943, pp. 155-120, Mss Notes by V Krıshnamacharya 3. See Grierson, The Modern Literary History of Hindustant, pp 60-61, O.C. Gangoly, Rupam, 1927, April, pp. 47-51, Editro Princeps of Sundara Srngāra.

INTRODUCTION 11

be sent to his presence, on Indrajit failing to do this, Akbar fined him ten million rupees and poet Keśavadās went as an ambassador to Akbar's court, moved Rājā Birbal with his poetry and had the fine removed Kesavadas wrote an Alankara work on the ten limbs of poetry called Kavipriya, the Vijnanagita in the name of Madhukar Shah, the Rama-candrika in Indrajit's name and a woik on prosody called Rām-alamkrt-mañjarī His Rasıkaprıya, cited here in the Śrngaramanjari was Wlitten in AD 1591, and its popularity is borne out by the large number of commentaries on it 1 Of the Sanskrit works quoted, the Bhāratīya, the earliest, is the Nātyaśāstra of Bharata, both the quotations made from it (pp 19, 23) are reproduced from the corres- ponding context in the Amoda, and, as can be seen from my footnotes on both these pages (19, 23), the citations here offer readings superior to those in the Kāvyamālā and Kāśī editions

Next comes the Śrngaratilaka which is certainly the work of that name written by Rudrabhatta. It is one of the early authoritative works devoting much attention to this subject of Nāyaka-Nāyıkās 2 The Dasarupaka mentioned is the well-known work on dramaturgy by Dhananjaya The Śrngaramañjarī is likely to have used this work also largely, as together with its commentary, the Avaloka by Dhanika, it represents a text of consideiable importance o the subject of Nāyaka-Nāyıkās.

The Kavyaprakaśa mentioned is again a well-known work Though its autho Mammata does not deal with Nāyaka-Nāyikas, his work is enumerated here because Rasa in general and certain aspects of rngara, which are all dealt with by Mammata, are touched upon at the end of the Śrngāramañjarī The Pratāparudrīya (yaśobhūsana) 1s a work that the Śrngāramañjaii enumerates at the beginning and also quotes from in the body of the text, On p 16, 1ts definition of the Vāsakasajjıka (I. 44) is anonymously quoted, on p. 19, its definition of the Virahot- kanthitā (I 45) 1s quoted, on p 21, its definition of the Vipralabdhā (I 47) 1s quoted. Except in the first case, the Śingaramañjari disapproves of the definitions given by, Vıdyānātha. The Pratāparudrīya,3 it is well-known, eulogises Kākatīya Pratāparudra (died 1323 A D ) and forms one of the widely used text-books on poetics and dramaturgy

The work mentioned as Rasarnava 1s, no doubt, the Rasarnavasudhakara4 of the Recerla Singabhūpāla, the Velama King of Āndhradeśa, (C 1400) The work deals briefly with Nāyaka-Nāyıkās Beyond mentioning it, the Śrngāramañjari makes no quotation from it

Like the last mentioned two works, the Sahityaratnakara, which is once cited on p 19 along with some others, this whole series of quotations being taken from the Amoda, is the work of a Telugu Alankārıka, Dharmasūrı, C 1425 A D.5

1 Grierson, ibrd , pp. 58-59 O C Gangoly, Love Poems in Hind, Calcutta, 1936, p 7 2. Kāvyamālā, gucchaka III, pp 111-152 One Padmasundara, a Jain monk of Akbar's tıme, produced an Akbarasāhī Śrngāradarpana (Anup Sanskrit series, Bıkaner, no. 1) by rehashing Rudrabhatta's work 3 Edn Balamanorama Press, Mylapore 4 Edn Trivandrum Sanskrit Series, No 50 5. Edns Telugu script, Madras 1871, Devanagarı script, Bamra, 1901. See EV V. Raghavacharya, Proceed 9th Ori Conference, Trivandrum, pp 503-51 and New Indian Antiquary, II, pp 428-441 A fresh Devanagarı edn of this work, popular in Andhradesa, would give it the greater vouge that it deserves

12 SRNGĀRA MAÑJARĪ A Vilăsaratnākara is mentioned among the source-books, but no quotation from it is made in the work itself However in the Amoda on the Rasamafjari, as I have shown in a footnote on p. 17, it 1s found quoted as not tolerating the addition of a variety of Prosıtapatıkā called Pravatsyatpatıkā Beyond this nothing is known of it, neither the author, nor its date. No manuscript of it has yet come to lght. Along with the Sahityaratnakara etc., a Nayaka-bhūsana is cited on p 19 As has already been pointed out, this whole series of quotations is taken from the Amoda, and there the name of the work is found as Nāyıka-bhūsana As its name suggests, it seems to have exclusively dealt with the subject of Nāyaka-Nāyikās, but nothing is known of its author or date, nor is any manuscript of it to be found anywhere. There is only one more work mentioned, the Kāvyaparīksa, of which we cannot say anything It is not also quoted in the Amoda, and its identity is obscure Śrīvatsa- lanchana, commentator on the Kāvyaprakāsa, wrote an ındependent Kāvyaparīksā, but this work is not likely to be the one referred to in the ŚrngaramañjarI, as it does not deal, in its five chapters, with either Rasa or Nāyaka-Nāyıkās (See India Office Ms. nos 1188-9) At the end, while speaking of the classification of heroes and heroines as given in treatises on erotics, Kama sastra, mention is made of Vatsyayana This is the author of the Kämasūtras, which however does not give the classification of heroines dealt with here, Padmini etc In the same context, with reference to types of hero, the name Kucamāra and Pañcala occur These are two pre-Vātsyayana writers on erotics whom Vātsyayana refers to as authorities who specialised in particular branches of erotics In I.1 17, Vātsyāyana says that Kucamāra dealt separately with Aupanisadika, the subject to which Vatsyayana devotes his last section, the use of aphrodisiac and other aids to attraction, enticement and enjoyment Pāñcāla 1s Babhravya, who summarised the entire subject of erotics in seven sections of one hundred and fifty chapters, Vatsyayana's own work being a further epitome of Pancala's work, after him, the elaboration of the sexual process into sıxty-four acts took the name Pāñcālikī Catussasti (I. 3. 17-18, II. 2, 1-5) The Rasamanjari, Parunala and Amoda. Of these three works which the Singara. mañjari mentions in the initial list of authorities, the Pauimala is not quoted anywhere in the body of the text It is a commentary on the Rasamanjari, wiitten by a member of the well-known Sesa family of Benaies, Sesa Cintamani, son of Sesa Nrsimha and younger brother of the more celebrated author Sesa Kisna Besides the Rasamanjari Parimala mentioned here, Sesa Cintamani wrote a commentary on the Meghadūta, a treatise on prosody called Chandahprakaśa and a play, Rukminīharana His biother Śesa Krsna was the guru of Bhattoji Diksita and was patronised by Govardhanadharin, Todarmal's son, a manuscript of his Südracaraśiromanı in the Bhandaikar Oriental Research Institute 1s dated 1591 A.D. Apart from these data, we have a manuscript of Sesa Cintamani's own Rasamañjarī-vyākhya, described under no. 3115 in Rajendralal Mitra's Notices, bearing the date 1553 A D. which fixes his time 1 manuscripts2 and is yet unprinted. The Paiimala is available in a number of

The Parimala 1s severely handled in the commentary Amoda which criticises its interpretation of the Rasamanjari at every step 8 The mention of the Parimala in the 1. Dr. S K. De (Sht Poetrcs, I, p 251) who says that Sesa Cintamani wrote before 1675 A D. had evidently not noted these data. 2. For instance, in the Adyar, India Office and Bhandarkar Oriental Research Institute libraries, in the last alone there are seven manuscripts of the Parimala. 3. See for example-अनाघातव्युत्पत्तिगन्धस्यापि रसमञ्जरीव्याख्याने प्रवृत्तिरिति विस्मयामहे । p 8. -परिमलकारस्य दु्लेखनम्-p. 86 परिमलकारो ** बभ्राम श्रोत्रियवेतालस्य कथर्मातविदग्धजनैकसाध्वी

Pp.298.318.337. परिमलकारस्य लेखनं प्रचुरप्रयोगादर्शनदोषविजृम्भितम् ॥ p 412. Adyar Ms.

INTRODUCTION 13

Śrngaramanjarī is secondhand, having been taken from the Amoda, which the Śrngāra- mañjarī has used to a considerable extent Of the Amoda which the author of the SrngaramanjarI quotes frequently and with deference and approval, we have fortunately many manuscripts 1 It is a commentary on the Rasamañjari, and since considerable use of it is made in the Śrngāramañjarī and it is a work in manuscript that deserves to be better known because of its intrinsic merits, it is necessary to give here information about it in some detail The author's name is found either as Guru (-ri-) jālaśāyın or Gurujāla Rangaśāyin. Ms no R 802 in the Madras Government Oriental Mss Library, which has some additional introductory verses in the beginning, not found in the Adyar ms, informs us in verse 4 that the author Rangaśāyī was born of Dharmasūri or Dharmācārya, that Dharmacarya was the youngest of four brothers, the three elders being Anantācārya, Varadācārya and Rangācārya, and that their father was Venkatācārya of Cılakamarrı family

आसीदश्चिल्कमर्यन्वयजलधिशशी वेंकटाचार्यवर्यः

लेभे पुत्राननन्तप्रभुमणिवरदाचार्यरङ्गार्यधर्मा- चार्याख्यान् धर्मसूरेरजनि कविबुधश्लाघितो रङ्गशायी॥

The final colophon to the Amoda, which has some gaps and corruptions in the Adyar ms , but is full and free from errors in the Madras Government Library ms. (D no 12941), is informing in some other respects

श्रीमद्वाधूलमहादेशिक चरणसरसिजोपासनावासना समधिगतसकल शास्रस मुदयेन श्रीचिलु र म्रिकुल- कलशजलधिकौस्तुभधर्माचार्यतनयेन तदग्रजानन्ताचार्यवात्सल्यवर्वितेन समस्तदाक्षिणात्यमैथिल कविता लाघालद्दन- जड्घालदृश्यनृत्योभयप्रबन्धनिर्माणमार्मिकेण वाग्गेयकारचक्रवर्तिना श्रीमद्गुरुजालशायिपण्डितेन विरचितायां रसमञ्जरीव्याख्यायां सख्यादिनिरूपणं नाम तृतीयं प्रकरणम्।

While the literary productions of the other members of this family are yet to be found out, it may be mentioned here that from a quotation in the Amoda itself, on p 293, we learn that the author's grandfather (Venkatācārya) wrote a medical work called Nādīviveka (तदुक्तमस्मत्पितामहकृतनाडीविवेके). Gurujala that forms part of the authoi's name is a village in Palnad Taluq of Guntur Dist in Andhradesa; it is therefore likely that his real name ıs Rangasāyin, as his father and grandfather are referred to as Cilakamarrı Venkatācārya and Cılakamarrı Dharmācārya, Cilakamarrı in the East Godavari Dist. must have been their original home. From the numerous works and authors whom Gurujālaśāyın quotes or mentions, we can make a fair approximation to his date. As already shown, the Parimala that he frequently, criticises cannot be later than 1553 Of the latest works quoted by him, the Kuvalayananda (pp 76, 206) is by Appayya Diksita who wrote that work for Venkatapatıraya (A D. 1585-1614), and the Manorama, quoted on a grammati- cal point (p. 472), is the Praudhamanorama of Bhattoji Diksita who was a pupil of Śeśa Krsna in the North and Appayya Diksita in the South, and whose literary activity may be placed in the last quarter of the 16th century 2 Gurujālasayin is a Śrivaisnava,

1. Adyar Library Catalogue II. p. 376; Madras Government Oriental Mss. Liberary, D. 12941-2; R. 802, 2617, 3193. It is the text in the Adyar ms X. J. 13, Paper, Devanagari, that I have used here and quoted from.

2, p. 121. 2. See also P.K. Gode, Annals of the Sri Venkatesvara Oriental Institute, Vol. I. no

14 ŚRNGĀRA MAÑJARĪ and the Vadhula Mahadesika whom he mentions in the last colophon as his preceptor 1s the well-known Śrīvaisnava teacher and author, Doddayācārya or Mahācārya of Ghatıkā- calam, who flourished in the 16th century, and wrote the works Candamāruta, Pārāarya_ vijaya, Advaıtavıdyāvjaya, Vedāntadeśıkavaıbhavaprakāsıkā etc As the Āmoda is used by the author of the Srngaramanjari, which was written in the time of Abul Hasan (1672_ 1687), we may safely place Gurujalasayin in the first half of the 17th century A.D Besides the Rasamañjarī-amoda, Gurujalasayin composed a Śrngaralaharī which he quotes on p 49 (नवभूषणे समीहा मदीयश्ङ्गारलहर्याम्) and agai on p. 77 The dramatic composi- tions of his referred to in the colophon have not yet been known It is more interesting to know that Gurujalasayin was an eminent music composer, Vaggeyakara-cakiavarttin. In one of the introductory verses at the beginning of the Amoda, he refers to himself as Sāyı-vāggeyakāra The mention of dance compositions, nrtya-prabandhas, among his works and the fact that he is an author interested in the study of Nayika-bheda lead us to the con- clusion that his contribution to music took the foim of Padas, most probably in Telugu, and in him, we have a rare Padakaia of the emmnence of Ksetrajña himself As pomnted out already, Ksetrajna belonged to the same time and was connected with the Golconda couit, where this subject of Nayaka-Nayikas was keenly studied, discussed and debated upon. That Gurujalasayn was of the same time, was a music composer, and was interested in the same subject of Nayikas make us presume a much closer connection between him and the Golconda court than is borne out by explicit evidence. The Śrngaramañjari composed in this melieu, while it refers to the author of the basic text Rasamañjari in the smgular number, shows a personal touch of reveience towards the author of the Amoda whom it always refers to as Amodakarah in plural, tbis would go only to strengthen our sugges- tion of an intimate connection that all these authors and their works had thiough the Golconda court The Rasamanjari which is regularly cuiticised in the Śrngaramañjati is the well- known work of Bhanudatta or Bhanukaia or Bhanu Pandita. The most popular and standard work on the subject, it has been much commented upon and also translated and adapted into vernaculars Bhanudatta's time is fairly clear and his works are quite familiar to scholars, though there has been some contioversy on the identification of Bhanudatta and Bhanukara and of the kings eulogised in his verses 1 In verse 121 of his Rasa- mañjarī, ıllustratıng Sativika-bhāvas, Bhānudatta refers to Nijāma-dharanīpāla, who, as his commentator Anantapandita points out, 1s Ahmad Nizam Shab, who took Daulata- bad between 1499-1507 A.D, and founded the Nizam Shahi dynasty of Deccan, and a manuscript of a commentary on his Rasamañjari by Gopālabhatta (Stem, Kashmir Catalogue, extracts p 273) is dated 1572 A D Besides the Rasamanjari, which figures much in the ingaramañjari, as the basic text on the subject of Nāyaka-Nayikas in love, Bhanudatta wrote the Rasatarangini which dealt moie fully with the subject of Rasas, the Alankaratilaka, yet unprinted, on rhetoric, the Rasa Parijata an anthology, a Śrngaradipika,2 an imitation of the Gitagovinda called Gītagaurīpatı, and the Kumarabhargaviya Campū

V Classıfication of Nāyıkās and Nāyakas. Bharata defines drama as the representation of characters, Prakrtis, in emotional states, Avasthas, and characters of the world whose moods are to be represented, 1. See S.K De, Summaries of Papers, IVth All-India Oriental Conference, Allahabad, 1927, pp 40-43, PK Gode, Annals BORI, XVI pp 145-7, H D Sharma, Annals BORI., XVII. pp 243-258 and Indian Historical Quarterly, X 1934, p. 483 2 Catalogus Catalogorum, I, p 661-ms with Pandit Gangadina, Oonao, Oudh. Browning's Oudh Catalogue, fasc III 1873, pp. 12-13.

INTRODUCTION 15

are infinitely varied not only in their emotional states, but also in their very nature, Śīla 1

त्रैलोक्यस्यास्य सर्वस्य नाट्यं भावानुकीर्तनम् । I 104 नानावस्थाः प्रकृतयः ॥ XXIII 4 नानाशीला: प्रकृतयः शीले नाट्यं प्रतिष्ठितम्।XXVI 119

Different persons in difterent ages, countries, levels of culture, character and emotional condition will dress, walk, look, speak, react and behave differently In emotion whose representation is of paramount importance, the same feeling will exhibit itself differently in persons of different ages, temperaments and culture. To enable the actor, therefore, to understand completely this variety and complexity in nature and mood in the characters that he is to portray, Bharata analyses them and shows some leading classes Indicatory as Bharata's analysıs 1s, it is yet more detailed, more varied and more comprenensive of the different aspects of character, conduct and condition than what is found preserved or developed in later works of dramaturgy, poetics or erotics.

The first and basic classification which Bharata gives is one of universal applica- tion, referring not only to both men and women, but also to the further classifications of these two, Bharata applies it even to the audience This classification of men and women as superior, middling and inferior, Uttama, Madhyama and Adhama, 1s preserved in Alankāra works on Nayaka-Nāyıka, and in the ŚrngaramañjarI, it has been shown in great detail with reference to all classes and sub-classes of women and her fiiends and accomplices too (pp 39-41) To begin with, Bharata shows this in Häsya Rasa, how the three kinds of Prakrtis, the Uttama or dignified, the Madhyama or ordinary and the Adhama or base will each exhibit his or her laugh differently, the exhibition starting with the gentle smile of the first, the superior type, becoming less and less refined and exploding into loudest laughter in the last, the base type (K M edn VI 52-60) The differences in dressing shown by these three kinds of persons are mentioned in the chapter on make-up (Aharya, XXI 114 118-9) These three main classes are mentioned in XXVI 54-56 with reference to members of the audience, Preksakas. This classification of character into three main varieties 1s again mentioned by Bharata, while emaphasising the need for actors to choose such parts as would be in conformity with their own natures and thus would be easily representable (Kası edn XXXV 6-7) That it could be applied to special varieties individually is shown in XXII 227-8, where Bharata speaks of Uttamā, Madhyama and Adhama in the Vasakasajjika type It is in the next chapter that Bharata describes this classification as applying to all Nāyıkas in general 2 In XXIII. 34-40, Bharata says

सर्वासामेव नारीणां त्रिविधा प्रकृतिः स्मृता । उत्तमा मध्यमा चैव तृतीया चाधमा स्मृता ॥

The descriptions that follow show clearly that this classification applies to both Kulānganā and Veśyā The Uttamā does not speak unpleasantly to the lover even if he has erred, does not have longstanding anger, covers up faults; is sought after by the lover by virtue of her pedigree, beauty and wealth, is an adept in love; considerate; and knows what to do and when, and has no jealousy, nor any anger without due cause The Madhyama herself seeks her lover and is also sought after by him, is jealous, quick to anger, and haughty but is easily pacified. The Adhama is angry without reason and

1See my Lokadharmi, Journal of Oriental Research, Madras, VIII pp. 57-74 2One of the late writers to remember Bharata's threefold classification into Uttamā etc., and his definitions of these is Visveśvara see his Rasacandrıkā, Kası edn. pp 30-31; In fact Visveśvara is one of the few late writers who goes frequently to Bharata whom he quotes on the eight Nāyıkās and five Nāyakas.

16 ŚRNGĀRA MAÑJARĪ for long, is severe and unfavourable While in XXIV. 1, Bharata emphasises again that this threefold classification pertains to all, men and women, it is in ch. XXXIV. 1-12, (Kası edn )1 that he gives it as applying comprehensively to all persons, whether men or women Men of knowledge, self-control, consideration for others, compassion, learning, dignity, depth, fiimness and liberality are Uttamas; those who are clever in pleasing society, accomplished in arts and pleasant in behaviour are Madhyamas, those of severe tongue, bad conduct and disposition, meagre brains, who aie angry, violent, ungreateful, treacherous, arrogant, lazy, and given to lust, quairel and theft are Adhamas. Among women, those who are soft, not fickle, smiling, devoid of severity, appreciative of others' merits, bashful, modest and beautiful, of good pedigree, and pleasant, firm and deep are Uttamas, those possessed of a lower degree of these qualities and are vitiated by some defects are Madhyamas and those who are further inferioi in these respects are Adhamās

Nāyıkās In ch XXII dealing with Samanyabhinaya, Bharata has an elaborate classification of women on the basis of their Sila, nature, behaviour, tastes etc, and in terms of gods,

94-136). demigods, demons, human being, birds and animals (veises 94-139, Kasi edn ch. XXIV

सुखस्य च स्त्रियो मूलं नानाशीलघराश्च ताः । देवतासुरगन्धर्वरक्षोनागपतत्रिणाम् ।' पिशाचऋक्षव्यालानां नरवानरहस्तिनाम्। मृगमीनोष्ट्रमकरखरसूकरवाजिनाम्॥। महिषाजगवादीनां तुल्यशीला: स्रियः स्मृताः । (91-96)

The chaacteristics taken here for the purpose of this classification coinprchend physical, psychological and sexual featuies and tastes in matters of food, dress and decoration, some of which form the basis of the later fourfold classification of women into Padmınī, Cıtrınī, Śankhınī and Hastınī Beyond this, this classification has no survival in works of Alankarā śāstra on Nāyaka-Nāyıka-classification It was perhaps thought that this was more in place in treatises on Kama sastra, but even there, it is found only in Kokkoka's Ratnahasya and works following it, and not in Vatsyayana's Kāmasūtras In ch IV verses 14-20 of his Ratirahasya, Kokkoka describes buiefly some of these classes; he leaves out many but adds a Kāka-sattva not found in Bharata From the veises at the beginning and end of this section in the Ratirahasya (II 7 and 21), it would appear that this classification follows the views expressed in the work Gunapatākā and by writers like Mūladeva, and Jyotirīśvara's Pañcasāyaka, which too mentions some ot these classes, gives Babhravya and Mūladeva as the authorities for this classification Jyotiriśvara satısfies himself with just four classes (I. 29-32) under this head, Deva, Gandharva, Yaksa and Preta, the last being found neither in Nātyasastra nor in Ratrahasya Nine of these find mention also in Kalyanamalla's Anangaranga. The next classification of women given by Bharata is another threefold one, Bāhya, Abhyantara and Bāhyabhyantara (145-7). The Abhyantara or the near 1s one's own wife born of a good family (kulastri), the Bahya or the external is the courtezan, Veśyā, the Bāhyābhyantara described as Krta-śaucā is obscure, if we can

1The K M. edn. verses corresponding to these Kasi edn. verses of XXXIV, are scattered, see K.M. edn. XXIV. 1-2, 86-92, 108-110.

INTRODUCTION 17

emend it to krta-aśaucã, she would be the impure or unchaste wife who has erred with another man *

त्रिविधा प्रकृतिः स्त्रीणां नानासत्त्त्वसमुद्धवा। बाह्या चाभ्यन्तरा चव त्याद्वाह्याभ्यन्तरापग ॥। कुलीनाभ्यन्तरा ज्ञेया बाह्या वेश्याङ्गना कृते (१) । कृतशौचा च या नारी सा बाह्याम्यन्तरा स्मृता ॥

Bharata then speaks of the eightfold classification of Nayikas on the basis of their emotional states, which is fully preserved in all later works on the subject of Nāyaka- Nāyika as well as of dramaturgy Vāsakasajjıtā, Vırahotkanthıtā, Svādhīnapatıkā, Kalahāntarıtā, Khandıtā, Vıpralabdhā, Prosıtabhartrkā and Abhısārıkā (verses 197-206) Bharata defines these and shows how they should be protrayed, taking some of these eight, he sets forth elaborately how characters in those states will or should act, in Abhisārıkā he shows how the three sub-varieties Kulajā, Veśyā and Presyā (ie woman- attendant) will proceed to the tryst (215-215), the actions of the Vasakasajjikā are then described (23-230) after which those of the Vnahotkanthitā are shown, Irsya or jealousy and its four foims and the resultant type Kalahantarita are then described In Ch XXIII devoted to Vaisika, courtezan-love, Bharata speaks of three classesof the Vaisiki type, the courtezan -the Madanatura or one craving for company and showing it by openly disporting herself (verse 18), the Rakta or the courtezan who is attached to a particular lover (19-22) and the Virakt or the courtezan who is averse (23-26) In the next chapter, corresponding to the four types of heroes, Dhiroddhata etc, Bharata gives four kinds of heroines the divine lady (Divya), the queen or princess (Nrpa-patnī), the family-woman (Kulastri) and the courtezan (Ganıkā) (6-7). It does not mean that each of the male-types has one of the four woman-types as its corrres- ponding heroine, while the first, Dhiroddhatas who are gods will have only Divyās as their heroines, Dhiralalitas like kings have for their heroies the Nrpa-patni in the main, and the Ganika, ministers etc. who are Dhirodattas, and Brahmans and merchants who are Dhīraprasāntas have Kulastrī primarıly and the Ganıkā as their Nāyikās According to verse 8, we may suppose that the four corresponding Nāyıka-names are Dhīra (for Uddhata), Lalitā, Udāttā and Nibhrta (meaning Prasāntā) The Kulastrī 1s Udātta-nıbhrtā and the Ganıka, Udatta-lalta (XXIV. 9). According to the Nātya- darpana (p 200), the KulastrI is only Nıbhrtā and the Divyā and Nrpa-patnī are of all the three kinds, Dhīrā, Lalitā and Udāttā In the same chapter, with reference only to heroines figuring in a king's love, Bharata says that the ladies of the king are of various kınds and status, Mahādevi, Devi, Svāminī, Sthāyınī, Bhogınī, Śilpakārī, Nātakīyā and Nartakī, some of whom can be understood from plays lıke the Mālavikāgnimitra This, like the previous, is a classification germane in works on dramaturgy only. As pointed out already the Kamasutras of Vatsyayana deal with classes of women in a different manner The types called after gods, demigods, animals and birds men- tioned by Bharata are totally absent from his work, though later Kāmasāstra texts, taking material from other traditions too, mention some of them Apart from the difference in tradition, the point of view from which Vatsyayana deals with types of men and women is different from that of Bharata, Bharata has to concentrate on the elaboration

• If however 'Krta-sauca' is the correct reading, it may mean that the Bāhyābhyantarā s a Bāhyā (Vesya) woman whose status improves when some one, theking or the hero, marres her owing to his great love for her, as it sometimes happens. 3

18 ŚRNGĀRA MAÑJARĪ of the feeling and its representation, while Vatsyayana has to examine the material from the sexual aspect, but as there is common ground between the two in the emotion of love, we find in the Kamasutras some material coming within the scope of our study There is a further reason why the Kamasastra material has to be reviewed here, for we find some ot the later writers on the subject of Nayaka-Nayika incorporating part of this material in their works

One of the classifications of women well-known in later Kamasūtra literature is that into Padmini, Citrini, Sankhinī and Hastinī, which works in Sanskuit on Nayaka- Nāyıkā ignore as being more proper in regular Kāmaśāstra treatises, but which our work, Śrngaraminjarī, takes up, following the example set in this iespect by a few later works written in Hindı This classification, to which I shall devote some attention helow, 1s absent from Vatsyayana's work The allied fourfold classification of men into Bhadra, etc is also not to be found in Vātsyāyana

In I 5 3-4, Vat,yayana mentions the Nayikas as being of three kınds, Kanyā, Punarbhu and Vesya, the maiden, the remarried woman and the courtezan According to Gonıkaputra, 1t is said, the Para-parigrhītā, another's wife, is also an occasional Nāyıkā While later texts, both on dramaturgy and erotics, with the exception of Bhoja's works and some minor ones, omit the Punarbhu, all of them idd the othei man's wife, referred to as Parakīyā, as a regular type Tney omit Punarbhu altogethei most prohablv because of the lead given by Rulrabhatta who in his Śrngaratilaka (K M Gucchaka III, 1, 46) says that, as the Punarbhu is of the same natute as the Mugdha and as the difference between them is very slight, the Punarbhu has not been shown separately by writers The Parakiya, Vatsyayana mentions here as being mtroduced by Gonkaputra as a Paksıka-nayika to be sought only where she is known to have gone astray and has rendered hereself, like a courtezan, open for righteous seeking (I 5 5-6) To Paradarika or love affairs with such a woman, dealt with specially and separately by Gonikāputra himself (I 1 16), Vātsyāyana too devotes one section of his work (Vth), and mentions the Parakiyd in II 10 54 also Carayand who had separately elaborated the general, Sadharana, section of the Kamasastra, adds the widow, Vidhava, as the fifth Nayika ([ 5 22) Others add other Nāyıkās too Suvarnanābha, specialıst in the section on the actual sexual acts, Samprayogika, adds the recluse-woman, Parivrajikd, and Ghotakamukha, athority on the section dealing with maiden, adds the daughter of the courtezan and the female attendant (I 5 23, 24), Gonardiya, author of a special work on the wedded wife, to whom again Vatsyayana devotes a section of his woik, adds appropriately the lawfully wedded virtuous wife, Kula-yuvati, as a separate Nayika, and this is to be specially taken note of because, in later texts on Nayaka-Nayka, this Kula-yuvati with the name Svīya becomes the first regular Nayika-type Vatsyayana howevei thinks that the three classes Kanya, Punarbhu and Vesya would suffice, as all the others could be brought under these, particularly the Kula-yuvati could be brought under the Kanyaka. Gonardiya notes this explanation and therefore adds in his proposition a statement of the reason for the separate enumeration of the Kula-yuvatı, according to him, the Kula-yuvat1 is different from the girl which Kanyaka is, she is one who has entered youth and as the attentions that she should be paid are different, she is a separate Nayıka This difference in the circumstances and methods associated with the Kanyaka and the Kulastri has been well recognised by later writers who align the former not with the Kulastrī as Vatsyayana does, but with the Parakiya For purposes of the Kamasastra, Vātsvāyana then mentions that a further type, the eunuch, is mentioned by some (I 5 ._ 27) and devotes later a sub-sec- tion to this type (II 9),but this, 1s irrelevant to our subject of enquiry In I. 5. 33, Babhravya (Pañcala) mentions that the woman who has seen five men, whatever her station in society, is to be considered open for seeking and according to the commentary,

INTRODUCTION 19

Jayamangala, this is the type called Svairinī whom Parāśara designates Bandhakī (harlot), Vatsyayana himself mentions later the Kulatās and Svairinīs in II. 9 2I, and VI 6. 54 While in the lattei context Vatsyāyana gives them as varieties of Veśyā, later works on Nāyaka-Nāyıkā deal with this Kulatā as a Parakīyā-variety. In four separate sections, Vatsyayana deals with Kanya, Bhārya, Paradāra and Veśyā and we may note some of the ideas here as these have been used by later writers and have led to the formulation of sub-varieties under these types In his description of Kanya-visrambhana, the gradual and delicate manner by which the newly wedded and 1ust adolescent wife is to be inducted into responsive company, Vātsyāyana speaks of her initial aversion (Ratau vāmā), her excessive bashfulness (Atilaija) and gra lual growth of confidence (Visrambha), all ot which have been noted an 1 illustrated by later writers while dealing with the Mugdha- variety under the Sviya-type, the Mugdha is also mentioned in the Pāradārika as one of the Dutīs (Mudhadutī) who could be employed by her husband or his secret beloved for furthering their mutual clan estine love affair (V 4 57) Under Bhāryā, Vātsyāyana speaks of Jyestha and Kanistha (IV 2) in cases where there are two wives, this classifica- tion of Sviya into Jyestha and Kanistha is adopted and adapted in Nāyaka-Nāyıkā works (see Śrngāramañjarī, p 7), with their meaning changed in some later works into the very reverse of what they signify in Vatsyayana In tne Kamasutras, the earlier and senior wifeis given as the Jyestha and the later married second wife, as the Kanistha, while this is followed ın many Alankāra and Rasa works, in some later Nāyaka-Nāyıkā works, the later married younger wife, who would be the object of the greater love of the husband, is the Jyestha, and the earlier and older one, towards whom the husband would be less attached, 1s the Kanistha The two varieties under Parodha Parakiya mentioned in our Śrngāramañjarī (pp 8-9), Udbuddhā and Udbodhitā, are assumed in the whole description of the ways of Pāradāika-love in V. 1-3, particularly, Kāmasūtras V. 3 33,34 speak of these two vareties I The elaborate tips given in V 4 for rousing her love refer to the Udbodhita, one in whom love is induced by her paramour by several means. The idea of 'secret' and 'open', introduced later to create two sub-varieties of the Parakīyā, can also be seen to be foreshadowed in the open and the secret unions mentioned by Vātsyā- yana ın Pāradārıka (Prakāśa-kāmita and Pracchanna-yoga V 5 28-30) One of the points discussed at some length in the SrngaramanjarI is whether real love as such could be associated with Veśva (pp 12-13), the Śrngaramañjarī concludes that she has real love for one person, though for running her profession, she pietends love towards many. This is the view ot Bharata and Vatsyayana, the latter says many times that the Vesya has love and she can be really devoted to one person, at the very opening of the Vaisika-section, we find Vātsyayana saying that the Veśyā seeks men for love and profit, and that the former end 1s the natural one and the latter artificial (VI 1 1,2) The courtezan devoted to one lover like the loyal wife is referred to as the Eka-cārınī in IV 1 54 and VI 2 1 and answers to the Niyamitā-variety of the Sāmānyā given in the Śrngāramañjarī The eight Naykas classified by their emotional conditions are not directly men- tioned by Vätsyayana, as they do not fall within the scope of his work, but some of them are presupposed by him, and one is even mentioned more than once In V 1 52, the Proșitapatikā is mentioned as one of the women whose condition is such as to make them easy objects of temptation IV 1 43ff deal elaborately with the life of the Prositapatikā among Bharyas, i e, the Pravasa-carya of the wedded lady of virtue whose husband has gone on travel II 10.40-48, dealing with Pranaya-kalaha, contemplate a variety of the Kalahāntarıtā.

1. In V 3 35, Vātsyāyana uses the expressions Dhīra and (A)pragalbhā, but not mn the sense in which they are used ın later Nayaka-Nāyıka works.

20 SRŃGĀRA MAÑJARĪ The classification of men and women on the basis solely of their physical sexnal feature, Śaśa, Vrsa and Aśva, Mrgī, Vadavā and Hastınī in Vātsyāyāna II. 1 1-2 1s irrelevant to our discussion For the next theoretical work containing material pertaiing to the subject of Nāyaka-Nāyıka varieties, we have to come to the Śrngāratilaka of Rudiabhatta 1 Ieie, for the first time we find the subject of Nayaka-Nayika dealt with in a systematic n anner with all the varieties and sub-varieties clearly worked out What works existed in the gap between the Natyasastra and the Kamasutras on the one hand and the Srngāratilaka on the other, and by what further stages the process of clear codification of the types of lovers attained the systematic formulation found in the work of Rudrabhatta, we do not know Rudrabhatta first classıfies the Nāyıkā into Svakīyā, Parakīyā and Sāmānyā, of these Svakiya, one's own wedded and virtuous wife, is said to have the varieties Mugdha, Madhya and Pragalbha, Mugdha who is the Nava-Vadhu (newly mariied) is descuibed as (1) Nava-Yauvana (ju.t adolescent), (2) Nava-anang i-rahasyà (new to the sectets of love) and (3) Lajia-praya-rati (beset by bashfulness in her enjoyment), and kudrabhatta illustrates all these three aspects of the Mugdha (I 33-35) This kind of description in the earlier works of the Nayika-types by mention of the main aspects of their nature is to be noted, because for a long time to come, writeis did not propose specific sub-varicties under each Nayika-type, but described only, in the above manner, the leading character1s- tics of each type 2 The Madhya is then described in terms of four leading teatures characterising her, growth of youth, growth of love, emboldened converse, and skill in enjoyment, which are all similarly illustrated (39) The Madhya is further classified into Dhīrā, Madhyā, 2 e, Dhīrādhīrā and Adhīrā, according to the manner in which she reacts to her nusband's misconduct; the first flıngs sarcastic iemarks at hım (Vakrokti) in her anger, the next weeps, and the third taunts severely, the distinctions being caused by the degree of self-possession and its absence (I 41) The Pragalbha is likewise defined by four characteristics showing the position she has gained in the heart of her lover and her maturity in the art of love, blandishments and enjoyment (I 42) The description here in I 43 of the ecstatic enjoyment of the Pragalbha gave rise later to the sub-variety Ratyānandaparavaśā (see Sr mañ p 5) The Pragalbhā too has the three varieties, Dhīra, etc , the Dhira here hides her mental reaction, and shows indifference to her lover and his company, the Dhiradhira assails him with her complaints full of yearn- ing, and the Adhira threatens and strikes him The Madhya and Pragalbha are agamn said to be divisible into Jyestha and Kanistha from the point of view of the love of the lover, in cases where there are two wives (I 47-8) The Parakiya is then classified into Kanya and Parodha (I 50) The third main type Samanya is the common woman and Rudrabhatta says that though some consider her as interested only in money, and not in love, he is of opinion that she too, as a woman, has her love, without which hers will become a case of the semblance of sentiment, Rasābhāsa (I 62-65) Rudrabhatta then speaks of the eght Avastha-Nayikās, Svādhīnapatikā, Utkā, Vāsakasajjıkā, Atısandhitā, Vıpralabdhā, Khaņdıtā, Abhısārıkā and Prositapriyā, and defines and illustrutes them (I 72-82) The type later designated Kalahantarita is, it must be noted, called here Atisandhita Following Bharata, Rudrabhatta too shows how the different varieties of the Abhisarika would,each proceed to her tryst All these are 1 Kāvyamālā, Gucchaka III, pp. 111-152. 2 See Daśarūpaka, Sāhityadarpana, etc But it is fiom these descriptions that specific sub-varieties were later deduced , see for eg Ratyananda-paravasa in Pragalbha below, the epithet 'Vicitra-vibhrama-asaktā' in I.74 on Svādhīnapatıkā yielded for some Hindi writers on this subject the Praudha-variety of that name.

INTRODUCTION 21

again classifiable as Uttamas, Madnyamas and Adhamās (I. 88) The Uttama's anger is in proportion to the fault of her lover, she is pacified by entreaty, is deeply attached, and is moved by the qualities of her lover The Madhyama is enraged at slight faults, diffi- cult of pacification, and shows her attachment only for some purpose The Adhamā is one who gets angry without cause, becomes fond even without pacification by the lover and fickle and wayward in her acts Rudrabhatta sums up that the total varieties would thus come to 13+2+1x8x3=384 (I 87-88), but he adds that by reason of class, time, age, condition, feeling, love and lover, varieties of Nyikas have really no end The Srngāratılaka is a basıc text for the Nāyaka-Nāyika topic, its verses are used totally or with some changes, and its main heads of classification and computation of the total varieties are accepted by all later writers

There are also some other topics on which too we might note the ideas in the Śrngaratilaka, as these are all used in the later works While dealing with the Parakīya (I 50-51), Rudrabhatta efers to the rise of love by seeing or hearing, and to seeing being either actual or in painting or dream This, already found in Bharata, has been adopted in all later works and some sub-varieties are also made out of this in our Śrngaramañjarī (p 21) In II 32-41, Rudrabhatta describes Māna and its three varieties, strong, ordinary and light, Guru, Madhya and Laghu. Mana is defined as the reaction born of jealousy caused by the lover's relation with another lady, it is strong when the lady finds her lover actually gone to another lady, bears marks of her company, and utters her name in dream, it is ordinary when the lover is seen talking to another lady or 1s reported by the Nayika's friend as interested in another lady, it is light when the lover is noticed casting his graceful glance on another lady. Mana, rendered as anger, Kopa, 1s then shown as being pacifiable either easily or with great diih- culty Even strong Mana is easily removed if the time and place are such as to excite love, for e g, moonlight and spring Then are mentioned six means of remouing this Mana, meek pleading, gift of ornament and the like, bringing her round by first winning ovei her friends, apparent indifference, straight prostration, and the extraneous circum- stance of a sudden change in the situation, each succeeding one being more potent than the previous (I 42-50). All these ideas are used by later writers in their delineation of the variety called Mānavatī

Closely related to Rudrabhatta's Śrngāratılaka ıs Rudrata's Kāyālankāra1, the mutual chronology of these two authors, confused as identical by many writers, ancient and modern, being one of the standing problems in the history of Sanskrit poetics. As the similarity between these two texts on Nayaka-Nayikas is very close, extending to verbal identity in most passages, we need note here only the few points where some peculiarities are seen In the description of the Mugdha (XII. 18), the expression Navodhā is used, and this became later the name of one of the sub-varieties of the Mugdha. In fourteen verses that follow, noted as interpolation, the eight Avastha-Nāyikas and the threefold classification, Uttamã etc are given In a further verse it is pointed out that while the Abhisārikā and Khanditā varieties occur in all the three main types, the Svīyā has oniy the two varieties Svādhīnapatıkā and Proșıtapatıkā (XII 41). It would appear that Rudrata's text originally mentioned only these four out of the eight Avastha-Nayikas, Abhısārikā, Khandıtā, Svādhīnapatıkā and Prosıtapatıkā, as the fourteen earlier verses mentioning all the eight are not commented upon by Namisadhu, and what is more, Namisadhu expressly states in his comments on XII 44 that two of the other Nāyikās, Vıpralabdhā and Kalahāntaritā are included in Khanditā In the Dasarupaka and the Avaloka thereon, we have material on our subject which contributed further to the definite fixation of the types and their descriptions and defini-

Kavyamala 2

22 ŚRNGĀRA MAÑJARI

tions in later works. Dhanañjaya speaks of the Nayika-types in ch 2, verses 15ff Svīyā, Anyā, Sādhārana-strī are mentioned first, Svīyā is characterised by chastity, straightforwardness and bashfulness, and classified into Mugdha, Madhya and Pragalbha, Mugdha is characterised by young age, inexperience in love, aversion at bed, and soft temper, all the four of which are illustrated by Dhanika, with the remark that there are also other characteristic aspects of the Mugdha's behaviour, all of which, however, are con- trolled by the dominant feature of bashfulness. Madhya is characterised by giown-up age and love, and desire for enjoyment The three classes Dhira, Adhira, Dhiradhita are then defined and illustrated, Dhanika adding here again the remark that similarly other aspects of the Madhya's behaviour are to be gathered, their common feature being the absence of the stifling domination of bashfulness that marked the earlier stage The Pragalbha 1s characterised by full development of youth, feeling, art of love and the tendency to lose herself in enjoyment In illustrattng these, the Avaloka adds that there are yet other acts of the Pragalbha, their main features being adeptness and the total elimination of the restraining force of bashfullness The Dhira etc of this type are then shown, and the two, Madhya and Pragalbha, are again classified into Jyestha and Kanistha Anya-stri, falling into the two classes, Kanyaka and Ūdha (ic, Parodhā) are then mentioned, with the remark that the latter should not be featured in the leading theme The Avaloka adds the explanation for including the Kanyaka in Anya-stri The Sadharana-stri is described as the courtezan accomplished in arts, adept in love and bold in behaviour, though she is mainly intent on professional simulation of love, she 1s to be featured in the Prakarana as a Nayıka having real love (Rakta), tne professional type being permissible only in the Prahasana (farce), Dhanañjaya adds further that even the Raktā-Sāmānya ought not to be featured as a Nāyika in plays having divine beings or kings as heroes, i e, Nataka and the like as the Avaloka explains Whatever the type of drama to which the Vikramorvasiya belongs, the Natyadarpana rightly feels that, with reference to this condition, an exception should be made in favour of Kalidasa's play featuring the divine courtezan Orvasi as the heroine and king Pururavas as the hero 1 The eight Avastha-Nayikas are then dealt with, the name Atrsandhitd

later in Rudrabhatta and Rudrata being replaced by Kalahantanita which became scttled The Avaloka clearly explains how these eight aie mutually exclusive and cannot be reduced in number In Dhananjaya's definitions of these eight Nayikas, two points have to be noted First, he makes it clear that in the case ot the Vitahotkanthita, the delay caused in the arrival of the lover should not be due to any attachment to another lady,-cirayatı avyalīke, this 1s essential, as otherwise the definition will apply to Khan- dita too Second, the Abhisarika is said to be of two kinds, one that goes herself to her lover (Abhisarati) and the othei that brings the lover to her presence thiough a messenger (Abhisarayat1), and Dhanika illustrates both varieties This is a question on which opinion became divided later, some holding both varieties as Abhısārika and others omitting the latter, and our text, the Śrngaramanjail, has a clear discussion on this, showing the impossibility of the latter being a variety of the Abhisārika (p 37) Dhanañjaya concludes the section by pointing out that of these eight, the first two are marked by joy and dalliance by reason of union (Sambhoga) expeuienced or expected, the remaining eight being marked by moods and effects of separation (Vipralambha) (II 28); the Avaloka has here an elucidation which has been regularly adopted by later writers,2 namely that of these eight states, the Parakīya has only three, Virahotkanthita, Abhisārika and Vipralabdha In the last chapter, while dealing with phases of love, Dhanañjaya has occasion to speak of Mana and Pravāsa, as part of Vipralambha Śrngāra. (IV 58-67) Māna is here divided into Pranaya-māna and Īrșyā-māna, and the situations

1 See also Rasārnavasudhākara, p 29, śls. 112, Nātyadarpaņa, GOS, edn. p. 201. 2 See Hemacandra, Sāradātanaya, Šıngabhūpāla etc.

INTRODUCTION 23

leading to the latter, its three varieties, Guru, Madhya and Laghu, and the means of its removal are also set forth (IV 58-64) Pravāsa and its varieties due to business (Karya), natural calamities and political and social disturbances (Sambhrama) and curse (Śāpa) are then shown (IV 64-66) In view of the later discussions on the three possible varieties of the Prositapatika with reference to past, present and future, it 1s relevant to note that in his comments and illustrations here, Dhanika mentions all these three sub-varieties, one whose husband is to go (Yasyat-pravāsa), is going (gacchat- piavasa) and has gone (gata-pravasa) The case in which the lover has returned, Avasıta-pravāsa-patikā, is taken by some later writers as a further variety of the Prosita- patıkā and our work Śrngāramañjarī discusses this question (pp 16-17) and concludes that the Avasita-pravasa-patika should go into the Vasakasajjıka In connection with this discussion it is interesting to note that Dhanika touches it and opines that the case in which the lover is returning or has returned cannot be included n Pravāsa Dhanañ- jaya then gives the distibution of the eight Avastha-Nayikas am ng the different phases of love,-the Utkanthita figures in Pranaya-māna (-vipralambha) and Ayoga or Pūrvā- nurāgı(-vipralambha), Prositapatıkā in Pravāsa(-vipralambha) and Kalahāntarıtā, Vıpralabdhā and Khandıtā in Īrsyā (-vipralambha) Bhoja deals with the Nayaka-Nayıkas in both his woiks, the Sarasvatikanthā- bharanal (SKĀ ) and the Śingaraprakaśa2 (Śr Pra ) In ch 15 of the latter work, Bhoja speaks of the Nayikas after dealing with the Nayakas (Mad Ms Vol 3, pp 111- 160) It was already remarked that the Punarbhū mentioned as a main Nāyika-type by Vatsyayana, but given up by later writers, was revived by Bhoja This however is not the only point on whch Bhoja's treatment shows originality The four primary classes of Nāyıkās according to Bhoja are Svakīyā, Parakīyā, Punarbhū and Sāmanyā, the Svakīya and the Parakiya aie each classified into Uttamā, Madhyamā, Kanısthā, Ūdhā, Anūdhā, Adhīrā, Dhīrā, Mugdhā, Madhyā and Pragalbha, this classification yields a total number of 143 varieties of Nāyıkās for each of these two types The Punarbhu 1s divided into Aksatā, Ksatā, Yātāyātā and Yāyāvarā The Sāmānyā falls into five sub-classes, Ūdhā, Anūdhā, Svayamvarā, Svairinī and Veśya, the last neing further sub-divided into Ganikā, Vilāsınī and Rūpajīva Further sub-varieties of Uttamā etc under Punarbhū and Sāmānya are not worked out but left to be deduced The eight Avastha-Nayikas are then enumeiated and illustrated. See my Bhoja's Śrngāra Prakāśa, Vol I pp 32 33 In his S K Ā., Bhoja mentions these varieties with some difference, and defines and illustrates some of them in ch V pp 485-486, 592-601 On the Mugdha and Pragalbha, there is no differ- ence in Bhoja's definition, thoughhe puts the definitions here in a brief and compact manner, वय कौशलाभ्यामसपूर्णा, वयसा पूर्णा and वयकौशलाभ्या सपूर्णा respectively In both the works, Bhoja omits under the Mana-varieties the third Dhiradhira, and gives only Dhira and Adhīra Uttama, Madhyama and Adhama, the last of which is omitted in the Śr Pra, are again briefly defined as full, three-fourths full and half-full in excellences On Jyestha and Kanistha, of which the former is not given in the Śr. Pra, Bhoja follows Vätsyayana and considers the earlier married elder wife as Jyestha and the later marued younger one as Kanistha 3 Ūdha aud Anūdha are only once illustrated here but in the Sr. Pra. Bhoja illustrates them twice, under Svakīya Parakīyā and Sāmānyā, the Ūdhā and Anūdha under the former are illus- trated from Kumarasambhava by ParvatI after the marriage and before the marriage, the Ūdhā and Anūdha under the Sāmānya are illustrated by Draupadi

1 Kāvyamālā 95 2 Madras Manuscript 3 See Hemacandra, Kavyanusasana, K M. edn, p 305, where also the same view 1s expressed.

24 ŚRNGĀRA MAÑJARI who was the lawfully wedded common wife of five husbands, and Sīta before her marriage Thus while the former, Ūdha Samanya, will be a unique class created for Draupadī, the Anūdha Sāmānya appears to apply to all Ksatriya-maiden In Bhoja's definition of the Svakīyā, Parakīyā and Sāmānya there is no departure, but the sub-classes of Sāmānyā are to be noted, in the S K A, Bhoja merely defines and illustrates the Samanya, but in the Sr. Pra he gives her five varieties, Ūdhā and Anūdhā, already explaıned, Svayamvarā, Svairirī and Veśyā The Svayamvara is illustrated by Indumatī in the Raghuvamsa, she chosing her husband in an open assemblage of suitors The dıfference between Anūdhā Sāmānyā ıllustrated by Sītā and Svayamvarā illustrated by Indumati seems to be that while both refer to Ksatriya-women open for free choice among suitors, the former, like the unique Ūdhā Sāmānya illustrated by Draupadi, would be a special class created for heroines like Sīta, in the case of both Draupadī and Sitā, there 15 no doubt a Svayamvara, but what distinguishes them from the third type, a mere Svayam- vara like Indumatī, is that in their case there is a Viryasulka, the supulation of a heroic feat, which reduces the scope of the Svayamvara The other two classes of Samanya, Svairinī and Vesya call for no special elucidation, as they are well-known in other works, the former as a sub-variety and the latter as the main form of the Samanya, but mention must be made of the sub-classes of Veśya which Bhoja gives in both the Śr Pra and the S K.Ā, the Ganika who is accomplished in all the arts, the Vilasini who flirts, and the Rupajīva who trades on her physical beauty The Punarbhu re-introduced by Bhoja is simply defined and illustrated once in the S K A, but in the Sr Pra, greater attention is paid to her she is classified into Aksatā, Ksatā, Yātāyātā and Yāyāvarā, three of these terms being adopted fiom the Dnarmasastra, Aksatā, illustrated by Satyavatī, is one who has had contact with a male before marriage, Ksata is a married lady who, after her hus- band's death, is taken by another as wife,1 Yatayata 1s illustrated by Tara (the star not Valin's wife) who was Brhaspat's wife, was seduced by Candra to whom she bore Budha, but was then made to come back (Yata-ayata) to her original husband, Yāyavald, according to Devala's Smrti, is an itinerant variety of the house-holder, Grhastha, as opposed to the Salina who had settled down in a fixed abode, on this analogy, Bhoja gives the Yāyāvarā vaiiety of a Punarbhū, illustrated by Mādhavī who was on the move from place to place, marrying four husbands successively, Kramena sad-bhartr-catustayi, bearing each of them a son, and finally ietired to the Vindhyas for penance, this again 1s, like that of Draupadi, a unique class created for Madhavi, who was the daughter of Yayati and had a boon by which, immediately after each delivery, her maidenhood was restored (Mahābhārata, Kumbhakonam edn, Ādı 87 Ud 116-120) Among subsequent wiiters, the author of the Mandara-maranda-campu notes these four classes Ksata etc, with the mention of Bhoja's name (K M. 52, sect 7, p 80). अक्षता च क्षता यातायाता यायावरेत्यपि। पुनश्चतुर्धा कथिता: पूर्वैर्भोजादिभिर्बुधैः ॥ These are defined and illustrated later on pp. 84-5 of the work, where the author makes a mistake in the definition and illustration of the Yātāyātā 2

1 Bhoja illustrates this by Mandodari, giving a verse that records a hitherto un- known tradition मयेन निर्मितां लब्ध्वा लड्का मण्डोदरीमपि। रेमे मूर्ता दशग्रीवलक्ष्मीिव विर्भीषण: । S. K. A. P. 598. 2 यातायाता तु युगपदूढानेकस्तु भर्तृभिः । यथा पाण्डसुतैरूढा द्रुपदस्य कुमारिका॥

INTRODUCTION 25

In addition to these, Bhoja gives in the S K A. four Nayikas corresponding to the four Nayakas, Dhira-udatta etc, which he omits in the Sr Pra. The Uddhata is haughty; Udāttā is one who has a deep hidden sense of prestige, gūdha-manarddhi, the Sāntā 1s one whose Mana has completely subsided, nirvana-mana, the Lalita is one in whom the play of Mana becomes delectable, ślāghanīya-māna; in fact, up to a stage, this kind of Mana forms an essential part of love Correspondence with the four hero-types, Dhiroddhata, Dhīrodātta, Dhīraśānta and Dhīralalita is clear, and we may note here that these four classes have been defined on the basis of Mana, with reference to which the word Dhairya is used in the well-known Nāyika-classification Dhīra and Adhīra In Bharata, how- ever, the Nāyıkā-types Dhīrā, Lalitā, Udāttā and Nibhrtā, given immediately after the four Nayaka-types, Dhiroddhata etc., and implying their mutual correspondence, bear a more comprehensive and general significance (XXIV. 6-9, K M edn ) The eight Avastha-Nayikas are mentioned in the S.K.A also. The Bhavaprakaśa1 of Sāradātanaya makes up its matter on the Nāyikas from Bharata, Rudrabhatta (referred to consistently as Rudrata), Dhanañjaya and Bhoja (Pp 95-102, 109-112) tilaka and Daśarūpaka Verses are completely reproduced from the Nātyaśāstra, Śrngāra- As already mentioned, Saradatanaya is one of the few writers to include in their work Bharata's classification of women on the basis of differences in their behaviour, in terms of gods, demigods, animals and birds, the Bhāvaprakāśa reproduces the Nātyaśāstra verses here (pp 109-112) Following Bhoja, Saradatanaya speaks of the Nāyıkās, Udāttā etc., corresponding to the four Nāyakas, Dhiiodatta etc (Pp 95, line 2 and 97-8, lınes 20-23, 1-15), but while Bhoja defines these in his Sarasvatīkanthā- bharana only on the basis of the feeling Mana, Saradatanaya, working out the implication of their equation with the four hero-types, amplifies the definition of these. The Udatta is the lady of dignified type, well-dressed, endowed with all material comforts and resources, firm in attachment, grateful, affectionate to dependents, paying due honour to those that deserve, given to festivities, delighting in the company of her kith and kin, and pleasant in speech. The Uddhata is proud of her endowments in beauty, wealth, culture etc, given to slight her relatives, haughty, cunning and selfish. The Sāntā 1s happy and contented, free from jealousy or pride, helpful even to her enemies, and attentive towards relatives. The Lalita is one given to the enjoyment of fine clothes, ornaments, sights and seasons, with a taste in love, indulging in graceful dalliance and accomplished in arts We need not notice the detailed acts of behaviour characteristic of each, useful from the point of view of Abhinaya, which Saradatanaya gives in describing the eight Avasthā-Nāyikas, but should take note of his remarks on p. 95 that, according to some, the Anya or Parakiya has only three of these states, Virahotkanthitā, Abhisārika and Vıpralabdhā (lines 10-15),2 which is taken from the Daśarūpaka-Avaloka (II 28). The Nātakalaksanaratnakośa3 of Sāgaranandin, it is well-known, follows a tradi- tion different from that handed down from Bharata on many points In the section on Nayikas, it gives primarily the eight Avastha-Nayikas only (lines 2519-2593) ; and it is only while dealing with the Abhisarika-varieties that it mentions the Kulaja and Veśyā, i e , the Sviya and the Samanya The Parakiya is not mentioned at all After quoting Bharata on how these different kınds of Abhisrikas will proceed to their tryst, Sāgara- nandın gives nine occasions as suitable for Abhisarana, of which dusk is considered by some as the only time proper for the Kulaja; according to others, there is no specific time or occasion for those in love-pangs (lines 2586-89) Regarding these Avasthā-Nāyıkās, what is most interesting in Sagaranandin's work is that he mentions an additional ninth Nāyika called Sabhaya, which some propose. The Sabhaya is no doubt a type true to life; she is the wife in constant dread in her husband's home, who has just some occasions

2 See above p 22 and also Hemacandra, p. 308; Śıngabhūpāla, TSS. edn., p. 37. 1 G. O. S edn.

3 Oxford University Press, 1937. 4

26 ŚRNGĀRA MAÑJARĪ of mechanical enjoyment, but whose feelings are all smothered within her own heart (lınes 2594-97) ; this, however, would not be an Avasthā-Nāyıkā, but only a sub-variety under the Sviya. It is interesting to find in such a late work as the Rasaratnahāra of Tripathi Sivarama1 an additional type mentioned as Gurujanabhīta, which appears to be similar to this, but, from the illustration, seems to be a variety of the unchaste woman. A little earlier in the same section, Sagaranandin speaks of Mana, where again the terminology adopted is not the one that we are used to (lines 2382ff). In- stead of giving it as of three kinds, Guru, Madhya and Laghu, he mentions it as of four kinds, and called Mugdha, Mananmugdha, Samrddha and Atisamrddha, but we may equate Mugdha with Laghu, Mananmugdha with Madhya and the other two with Guru In describing these varieties too, an original terminology ıs adopted, Vıbhāvanā, Vakra- vacana and Prabhutva, of these the middle is the Vakrokti familiar to us, Vibhāvanā is explained as display of anger, and Prabhutva corresponds to Tarjana, Bandhana and Tadana, threatening, tying and striking with the garland, necklace etc Sagaranandın's citation of a verse here on these, as from Bharata, is naturally not to be found in the Nātyaśāstra In Hemacandra's Kāvyanuśāsana, there is nothing special to note on this subject, beyond what has already been referred to in the footnotes above under Bhoja and Sāradā- tanaya In the Natyadarpana2 of his pupil, Ramacandra, we may note the paragraph in which mention is made of the Udatta etc, spoken of by Bharata. In the verses of Bharata, the distribution of Udātta etc over the types Kulaja etc is not quite clear, the Natyadarpana says on this point (p 200) that the Kulaja (Sviya) is Udatta, the Vesya (Sāmanya) 1s both Udatta and Lalita, and the other two kinds of heroines Divya and Ksatrıyā are composite in nature, Dhīrā, Udāttā and Lalitā The Śāntā type, Rāmacandia and Gunacandra say, is not to be figured along with divine or Ksatriya heroes According to Bharata, however, the Santa, who 1s called Nibhrta, 1s, along with Udātta, assigned to the Kulaja class, and it is quite reasonable to take the Santa or Nibhrtā qualities as for- ming part of the Kulastri, in fact, Bharata includes the Nibhrta (Santa) in the Divya and Rājānganā (Ksatriyā) classes also Vaghhata in his Alankara3 has a few noteworthy points Instead of giving the primary classes as three, he gives them as four, separating the Kanya from the Parakiya in whom others include her, Anūdhā (Kanyā), Svakīyā, Parakīyā and Parānganā (Ch V, Sls. 8ff ), the fact that reproach attaches to the Parakīya proper justifies the separation of the Anudha from her. The Parakīya is further divided in Jinavardhana's gloss4 into three sub-classes, one with her husband alive (Sadhava), the widow (Vidhava) the widow who has been taken by another (kenāpi svīkrtā), ie, a Punarbhū Sridharadasa (A D 1205), in his anthology Saduktikarnamrta5 (pp 66ff. section II), gives the following headings and illustrative verses on the subject of Nāyıka- varieties. Mugdhā, Madhyā, Praudhā, Navodhā, Vısrabdha-navodhā, Kulajā (Satyavatī), Svairinī or Asatī classıfied into Guptā, Vidagdhā and Laksitā, Veśyā, Khanditā, Anyā- sambhoga-cınha-duhkhıtā, Virahınī, , Vāsakasajjā, Svādhīnabhartrkā, Kalahāntarıtā, Mānınī dıvided into Udātta-mānınī and Anurakta-māninī, Pravasad- Vıpralabdhā, bhartrka, Prosita-bhartrka, Prosita-sambheda which 1s Avasıta-pravāsa-patikā or Āgata-patikā) and Abhısārıkā (Dvā-, Timira-, Jyotsnā-, and Durdına-). Another anthology, the Sarngadharapaddhatı6 (c. 1300) is noteworthy for men- tioning the many varieties of women in terms of gods, demigods etc, given first by 1 K M. 6, p. 127. 2 G.O.S. edn. 3 K M. 48. * Grantharatnamālā edn. 5 Punjab Oriental Series. Bombay Govt. Series.

INTRODUCTION 27 Bharata; four of these, Devastri, Apsaras, Yaksastri and Raksasī, as we shall note below, are equated with the four types Padmini etc The verses on all these Nāyıkās in this anthology are extracted from one Srīdhara, probably a Kāmaśāstra writer. The Pratāparudrayaśobhūsana of Vidyānātha briefly deals with the Nāyikās; Vidyanatha is one of the authors used and criticised in the Śrngaramañjari, it has how- ever no special point worth noting here in this historical survey. The Sahityadarpana of Viśvanatha (III 56ff ) follows mostly the Śrngāratilaka, the Daśarūpaka and the Avaloka in the treatment of this subject, various aspects of Mugdha etc, being mentioned, not by specifically named subvarieties, but by leading characteristics lıke Ratau vāmā, Māne mrduh and so on Of the two varieties of Para- kīyā, Kanyā and Parodha, Visvanatha calls the latter class itself by the name Kulatā (III 66), whereas in the Śrngāramañjarī, Kulatā figures as a subvariety under Parodhā To the Veśyā, Viśvanātha attributes occasional real love also (Kvāpı satyānurāginī (III.71) and illustrates the Rakta Vesya by the heroine of the Mrcchakatika. Following the Daśarūpaka, and in common with many, Rāmacandra, Vāgbhata etc., Viśvanātha gives both varieties of the Abhisārıka (abhısārayati and abhisaratı) In III 208, he gives also the three kinds of Pravasa, Bhavi, Bhavan and Bhutah. The treatment in the Rasārnavasudhākara1 of Singabhūpāla (pp 21 ff ), which 1s one of the texts mentioned in the Srngaramañjari, 1s also on the same lines as those in the Sahityadarpana, and calls for no detailed review Singabhūpala just mentions in I 120 (p. 30) that, according to some, all the Nāyikas are classifiable from another point of view into Udāttā etc The appearance of the Rasamañjari of Bhanudatta marks a definite period in the history of this subject of Nayika classification, before his time the subject was dealt with in works on drama or Rasa as one of the topics, Bhanudatta for the first time made it the sole theme of a separate book, and thereby gave rise to a class of works devoted exclusively to this subject. No doubt, even after him, the subject was dealt with by many as part of their larger works on drama and Rasa, but it was after him that this subject came to gain a certain fancy and came to be written upon exclusively by some writers in Sanskrit as well as the vernaculars. As the Rasamañjari is the basic text on which the Śrngaramañjari bases itself, we shall deal with its classification in a separate section later where we shall examine it in the light of the criticisms in the Srngara- mañjarī. Besides the Rasamañjari, Bhanudatta compiled an anthology called the Rasa- pārijata2 where he gives in sections IV and V (pp 34-51) the titles of the Nāyıka and Nāyaka varieties followed by illustrative verses The only additions here not found in the Rasamañjarī are a fresh Abhısārıkā-variety called Durdinābhısārıkā, one that ven- tures out in the rains, and the four classes of women Padmini etc, which we find the Śrngaramanjarī including in its scope. As has already been mentioned once, the subject of Nayika-classification attained some importance in the hands of the Vaisnava poets and 1hetoricians who had to deal with it in connection with their description of Krsna and love towards him as the supreme Nayaka As an example of ths class we may notice the Ujjvalanīlamanı3 of Rūpa Gosvā- min (1150 A.D.), which is in fact the most leading text on the rhetoric of divine Śrngara as elaborated by the school of Caitanya , other works like the Alankarakaustubha4 (pp 181-197) of Kavıkarnapūra Gosvāmin (1575 A D.) generally follow the Ujjvalanīla- maņi. According to Rūpa, there is no Sāmānyā in Krsna-ratı, even a woman like the

1 T. S. S. edn. 2 Motilal Banarsıdas, Lahore, 1939. 3 K.M. 95 4 Varendra Research Society, 1926.

28 ŚRNGĀRA MAÑJARĪ Sairandhri being considered as included in the Parakiya Therefore the basic classes of Nāyıkās here are only two, Svakīyā and Parakīyā (p. 85) There is no depaiture on the three sub-classes of Mugdhā, Madhya and Pragalbha, but a remark is added here that while some take these sub-classes as applying only to the Svīyā, others apply them to Parakīyā too A new nomenclature is seen in the Mana-varieties under Mugdha and Madhya, Mrdvī and Aksamā, Komalā and Karkaśā (pp. 91-95) It is striking that Rūpa glori- fies the Madhya as the most delectable, as in her is to be seen the beauty of the con- fluence of both innocence and art The distinction into Jyestha and Kanistha is accepted (p 105) and on Abhısārikā, the view of writers who hold both varieties of abhi- sarana and abhisārana is followed (p 107) The eight Avasthā-Nāyikās are divided into two classes, the happy and the sorrow-stricken, hrstah and khinnah, the former, characterised by full dress and decoration (Manditah), comprises the three, Svadhina- patıkā, Vāsakasajjā and Abhısārıkā, and the latter, marked by neglect of dress and decoration (Amanditah), comprises the other five The classification mnto Uttama, Madhyama and Kanistha (Adhama) 1s accepted and distinguished by the degree of Krsna-love. In the Alankarakaustubha, however, the last is omitted, and an Atyuttamā is added as the first (p. 182) 1 The Mandaramaranda campu of Krsna Kavi2, which carries the author's gloss called Madhuryarañjani, has already been mentioned in the section on Bhoja, as a text that notes the rare varieties given in the Srngāraprakasa. Besides that, the noteworthy points in Krsna Kavi's treatment are his observations that the Sāmānya and Parakiya are always Praudha (p 80), that according to some the eight Avasthās, Svādhīnapatikātva etc, do not apply to the Mugdha, and the inclusion of the classification into Divya, Adıvya and Dıvyādıvyā (p 80), which the Srngaramañjari rejects, as well as of the other classifi- cations-Padminī etc, Udāttā etc, and Kaphilā, Vātalā and Pittalā (by physical constitution) (p 80). The Śrngārāmrtalaharī3 of Samaraja Diksita is a work which sometimes defends the position of Bhanudatta have only the Madhya and Pragalbha stages (p. 126). Accordıng to Sāmarāja, Parakīyā and Sāmānyā Visrabdha-navodha which both the Rasamanjari and the Srngaramañjari give as the last variety of the Mugdha, 1s according to Sāmaraja, taken by some authors to the next stage of Madhyā (p. 127). He does not admit Dhira etc. in Mugdha (p 128), following the older view, he does not also admıt Dhīrā etc. ın Parakīyā (p. 129) While giving the twofold division into Jyestha and Kanistha, Samaraja records the opinion of some who do not accept them in Mugdha, and has a long discussion with them (p. 130) Again, he disagrees with those who give a twofold classification, Pracchanna and Prakāśa, for all, as it is absurd to speak of a Pracchanna Svīyā The varieties Guptā, Vidagdha, Laksita, Muditā, Kulatā and Anuśayānā aie all included in Parakīyā; of these Guptā is given two varie- ties, Vrtta-surata-gopanā and Vartısyamāna-surata-gopanā, Vıdagdhā two, Krıyā-vidag- dhā and Vāg-vidagdhā, and Anusayānā three, Vartamāna-sanketa-sthāna-vighatanena, Bhāvi-sanketa-sthānāśańkayā and Sva-anadhsthita-sthanasya bhartur adhisthanena (pp. 131-2). See Śrngāramañjarī pp. 8-12. Real love is admitted in Sāmānyā in cases like Vasantasena. Māna is, as already noted, denied in Parakīyā (p 134). Some writers are said to opine that the Mugdha does not have the eight Avastha-types (p. 136). Āgamįsyat-patikā, 1.e., a Prositapatıkā whose husband is known to be returning, is included in Vāsakasajjıkā, even as in the Srngāramañjarī. We find the Avasita-pravāsa-patıkā or the Āgata-patıkā included in the same Vāsakasajjıkā. Both varieties of Abhisārıkā are given, and Pravasyatpatıkā is ıncluded in Proșita-patikā 1 See also S. K. De, I. H.Q. VIII. pp. 674-679. 2 K. M. 52. 3 K. M. Gucchaka 14, pp. 116 ff.

INTRODUCTION 29

Tripathi Sivarama, a writer of the beginning of the 18th century, touches upon this subject in his Naksatramala1 and deals with it fully in his Rasaratnahara 2 In the former he illustrates a few of the Nayaka-Nayıka-varieties. In the latter, he systematically criticises the definitions of the Nayikas given in the Rasamañjari On Dhira etc, Siva- rama records the view (śl 19) that they pertain only to the Sviya according to the ancients and to Parakiya also according to the recent writers. The most noteworthy point in the Rasaratnahara 1s, however, Sivarama's mention (p. 127), in the commen- tary, of two addıtional Nayika-types, one of which is similar in name to the Sabhaya found ın the Natakalaksanaratnakośa, Sıvarāma gives her name as Gurujanabhītā, and from the illustration, whose meaning, however, is not clear, she seems to be a variety of the unchaste Parakiya The other additional type given by Sivarama is the Bhujangabhītā; 1ts illustration is again obscure, but it seems to mean one afraid of a womanızer Viśveśvara, the well-known Alankarika of the beginning of the 18th century, has written a treatise on Rasa called Rasacandiika3 the first part of which is devoted to this subject The author follows the Sahityadarpana and takes some material from Bharata too but his definitions are cast in the Navya-nyaya style of which he gives us a great deal in his Alankarakaustubha. Viśveśvara too, like Sāmaraja, mentions the view that, according to some, the Visrabdha-navodha is to be brought under the Madhya, but gives his opinion in favour of calling the Madhya, Ativisrabdha-navodha (p 5). Dhīra etc. are held to be applicable to Madhya and Pragalbha only (p 6), but the view of the ancients that Dhira etc. pertain only to Sviya (pp 7-8) is recorded. It is strange to note that he illustrates Kanyaka by an unchaste girl who marries and continues her love for the paramour of her maiden days He gives no subvarieties under Samanya The threefold classification found ın the Rasamañjari, Anya-sambhoga-dunkhıtā, Vakrokti-garvitā and Mānavatī, which most other writers reproduce, is given by Viśveśvara too, but in view of the criti- cism of this separate classification in the Srngaramañjari, it is interesting to see Viśveś- vara saying that authoritative writers have not mentioned this classification. It is true that older works do not mention such a separate classification. Again, like the author of the Śrngaramañjari, he too rejects the classification into Divya etc On another point also which most later writers reproduce from the Avaloka, viz., that the two varie= ties of Parakiya have only three of the eight Avasthas, Virahotkantha, Abhisarana and Vipralambha, Viśveśvara is critical, he does not accept that view (p 18). On the eight Avastha-Nayıkas, he reproduces Bharata (p 19). While dealing with Khanditā again, from which he does not consider the Manavati as different, he says that standard writers did not give the classification-group Manavati etc. (p. 24) It may be seen that Srngara- mañjarī also adopts the same critical attitude towards this separate classification group (p 15) In the Srngaramanjari there is a needlessly long discussion on Prosita-patıkā, the grammar of the ktanta Prosita, and the explanation of how the two other cases of the Praväsa to be and the Pravāsa taking place (bhāvi and vartamāna) must be included in it. Viśveśvara solves this question easily by defining the Prositapatıkā as one unhappy as a result of Pravasa-jñana, the knowledge of her lord's journey (pp. 26-7). On Abhisārikā again, he exhibits his critical outlook by holding the causative nic in 'abhisārayatı' as non- significant, and consequently gives only one variety of the Abhisarika (abhisarati) (p. 28). In the classification-group, Uttama, Madhyama and Adhama, he says that it is the last to which the name Candi is applied Nāyaka Regarding the Nayaka and the various kinds into which Bharata classifies man, it has already been mentioned that the basic threefold classification into Uttama, Madhyama and Adhama applies to him also. In XXII. 285-302, after dealing with the eightfold

1 K. M Gucchaka 5, pp. 105-115. 2 K M Gucchaka 6, pp 118ff. 3 Harıdas Sanskrıt Series 53, Benares 1926

30 ŚRNGĀRA MAÑJARĪ classification of the Nayikā, Bharata speaks of two sevenfold classifications of the Nayaka When lovers meet there are seven modes in which the lady, if in endearment, addresses her lover, and seven other modes in which she addresses him, if she is in anger The seven addresses showing love and regard are Priya, Kānta, Vinīta, Natha, Svamin, Jīvita and Nandana, the seven addresses showing her displeasure towaids him for his behaviour are Duśśīla, Durācāra, Śatha, Vāma, Vikatthana, Nırlajja and Nısthuia समागमेथ नारीणां वाच्यानि मदनाश्रये। प्रियेषु वचनानीह यानि तानि निबोधत।। प्रियः कान्तो विनीतश्च नाथः स्वाम्यथ जीवितम् । नन्दनश्वेव्यभिप्रेतो (ते) वचनानि भवन्ति हि॥ दुःशीलोऽथ दुराचारः शठो वामो विकत्थनः । निर्लज्ो निष्ठुरश्चेति प्रियं क्रोधेऽभिनिर्दिशेत् ॥ Though these are, to begin with, mentioned as modes of addresses in endearment or anger, the definition of each is set forth in such a manner as to give the impiession that each is a type by himself; and it is in the midst of these that we find 'Satha', a clear type-name in later literature Priya or the dear one is he who does not do any- thing unpleasant nor say anything improper and is absolutely straight in his conduct, Kanta or the lovable one is he who bears no mark on any part of his body of his contact with another woman, Vinita or the docile is one who though irritated, does not reply or speak anything harsh to the beloved, Natha or the guardian is he who wishes her good, 1s capable of protecting her, gets neithei angry nor intolerant, and is alert in all matters contributing to her pleasure, Svamin or the lord is one who attends to her with kind words, gifts, objects of enjoyment, fondles and protects her,1 Jivita, whom the lady would accost 'my life', is one who, with an understanding of her mind and desires, makes himself an accomplished bed-mate, Nandana, the noble son, is one born of a respectable family, firm in mind, adept, considerate, and considered by her friends as a praiseworthy partner. It may be seen that all these have application to the type called Svadhina- patıkā Of persons who cause anger and resentment in the beloved by their misbehavioui, Duśśila, the bad character, is one who is severe, intolerant, angry, adaucious, boastful and unsteady in mind, Duracara, one of bad habits, is he who speaks harshly and punishes the beloved by tying her up or beating, Satha, the rogue, talks sweetly to her but does not act up, Vama, the obstinate, is he who does just the things that he is asked not to do; Vikatthana, the braggart, is he who bears the marks of another woman's contact, boasts of his being a women's favourite, thinks much of himself and is haughty, Nirlajja, the shameless, bears the irritating signs of another woman's contact and yet approaches his lady, despite the latter's prevention, Nisthura, the brute, is he who approaches his lady with all the marks of his misbehaviour with another, does not pause to pacify the offended beloved and wants forcibly to enjoy her company too. Among the Nayaka-types given in later books, besides the Satha described here, we have the Dhrsta who corresponds to Bharata's Nirlajja; in fact, the later Dhrsta comprehends all the four, Vama, Vikatthana, 1 In the Kası edn. (Ch. XXIV) the definitions of Natha and Svamin are interchanged. While the expressions like Priya, Kanta and Jīvita emphasise the lover stage, the expressions Natha and Svamin emphasise the husband-stage at which the high fervour of the love-stage changes to a somewhat prosaic routine Compare the verse तथाभूदस्माकं प्रथममविभक्ता तनुरिय ततो नु त्वं प्रेयान् वयमपि हताशाः प्रियतमाः । इदानी नाथस्त्वं वयमपि कलत्रं किमपर मयासं प्राणाना कुलिशकठिनानां फलमिदम्॥ On the gradual loss of romance which affects the transition of the Parakiya kanya to the Sviya, see also the verse ; H: quoted on p. 8 of the Srngaramanjari.

INTRODUCTION 31

Nirlajja and Nisthura of Bharata It may also be noted that in Bharata's detailed descriptions of these fourteen kinds of favourable and unfavourable men, there occur expressions like Daksına (verse 294) and Dhrsta (verse 296) which later become settled type-names As he opens his next chapter (XXIII), Bharata gives us the Nayaka-type called Vaisika, one specialising in the company of courtezans, which persists as a major Nayaka- type in later classification वेश्योचरणाद्वापि वैशिकस्स उदाहतः । After describing him in the next verse as an adept in the arts and in captivating a woman's heart, Bharata speaks of thirty-three qualities of his, natural and cultivated (verses 3-7). In the same chapter, Bharata speaks of another classification of men into five kinds in respect of their activities towards pleasing the beloved, Catura, Uttama, Madh- yama, Adhama and Pravrttaka or Sampravrttaka Catura or the clever is he who can put up with sorrow and difficulties, is pleasant in looks, and adept in courting and pacify- ing the lady in anger; in the Kasi edn. definition, he is one who shares the lady's sorrow and difficulty and is an adept in bringing her round when she is in Pranaya- kalaha The Uttama, Madhyama and Adhama, a basic classification that can be applied to any other classification also, is taken here and explained thus Uttama or the best 1s, like the Priya described earlier, one who does nothing unpleasant, is self-possessed and dignified, talks sweetly, has no anger (Amani), knows the heart and does not forget Another type of Uttama is he who has a sweet disposition, is liberal, does not lose himself in love, and can give up the love when the woman slights him.1 Madhyama is one who, without much enthusiasm, tries to know and captivate the woman's heart, and gives up his love the moment some misunderstanding crops up. Another kind of Madhyama, found in the Kasi edn and missing from the K M. edn. is defined as one who shows his liberality on occasions, does not become very much upset when he is slighted, but detaches himself the moment he finds her unfaithful Adhama or the low type is he who courts despite insult, and goes on loving the lady even when her infidelity is known and frends dissuade him Pravrttaka or Sampravrttaka (Sampravrddha accord- ing to Kasi edn ) 1s a further degenerate type, devoid of fear, anger, sense of shame and firmness, a mere plaything of women It is to be noted that all these five are given as varieties of the Vaiśıka-nāyaka The characteristics of Uttama, Madhyama and Adhama given here may be com- pared with those given in the Srngaramanjari in the section on Uttama etc. (p. 51). The Catura mentioned here is also found in later works (see Srngāramañjari, p. 49), but all these have been preserved not as varieties of the Vaisıka-nāyaka, but as general varieties applying to all kınds of Nāyakas In ch XXIV, Bharata gives the fourfold classification of the hero into Dhiroddhata, Dhīralalita, Dhirodatta, and Dhiraprasanta, which is the main classification accepted in works of dramaturgy, but left out in works on erotics on the Nāyaka-Nāyikā varieties. After mentioning the three classes of Nayikas accepted by him, and the additional ones suggested by others (I. 5 3-27), Vatsyayana says that Nayaka, however, is only one, applyıng to all kınds of Nāyıkās (I. 5.28). Immediately he speaks of the Pracchanna- nayaka, the secret paramour (I 5. 29) which can refer only to the Upapati later defined as the second main class of the Nayaka and figuring in Parakiya-love In IV. 4 85, Vātsyayana requires a man with many wives to be Sama, which would correspond to the later Dakşına-type. In V. 45, where the clever messenger (Dūti) 1s instructed to induce

1 Dhanıka quotes thıs ın hıs Avaloka under the Daksına-nāyaka (II. 7).

INTRODUCTION 33

from the stand taken by the Rasamañjari, accepts the Mani and Catura as separate varieties not included in the Satha (p 49), and following the Amoda, gives in addition to the Prosita, the Amilita and the Virahin (p. 51) as constituting another threefold classification of the Nayaka; the Amılıta is the hero in Pūrvānurāga or Ayoga-vipra- lambha; the Virahin is the type corresponding to the Virahotkanthitā. It is interesting to find that the post-Bhanudatta anthology, the Padyaracanā of Laks- mana1 (section XI), gives, besides the Mani and the Catura (Vidagdha), the Anabhijña, and what is more, adds two more in this Jast category, the Sisu and the Vrddha Laksmana also illustrates a Deśantaropagata, one returned from travel, corresponding to the Nāyikā Avasıtapravāsapatıkā or the Āgatabhartrkā, as the Sundaraśrngāra calls her, this Bhanu- datta gıves ın hıs anthology Rasapārijāta (p 73). Viśveśvara includes the Mānī and Catura not in the Satha, as others are said to do according to the Rasamanjari and Srngaramanjarī, but in the Madhyama and Uttama respectively (Rasacandrikā, p 37). He rejects the Anabhijña also as Rasābhāsa (p. 38). Quoting from Bharata, Viśveśvara mentions not only the threefold classification Uttama etc., (pp. 30-31), but also the fivefold classification into Catura, Uttama, Madhyama, Adhama and Sampravrttaka (pp. 35-36), but considers the latter superfluous, as Catura could be brought under Uttama, Pravrttaka under Adhama, and Uttama, etc. have already been recognised as a main scheme of classification Tripathi Sivarama, author of the Rasaratnahara, gives the Manī and Catura as two sub-varieties of the Satha In hıs Śrngārāmrtalaharī, Sāmarāja Dīksita includes the Mani and Catura in Satha, rejects the Anabhijna as Rasabhasa, gives the Prosita, and mentions that the classification Uttama etc. pertains only to the Vaisika. Padmınī, Citrinī, Sankhinī and Hastinī The author of the Srngaramanjari says at the beginning, when he sets forth his method of treatment and the topics to be dealt with by him, that one of the special features of his work is the description of the varieties of women called Padmini etc., which the pre- vious treatises on the subject of Nāyaka-Nāyika enumerated by him earlier do not deal with (purvoktagrantha-avarnita-padminyadijatayah-p. 2). Accordingly, at the endof the work (pp. 54-55), he speaks of these four classes of women. He says that so far he has been dealing with the varieties of Nayikas as dealt with in the Rasamañjari on the basis of different kinds of moods and reactions in love and that now he would deal with a classıfication of both Nayika and Nayaka by gunas, following the views of Vātsyāyana (etāvat-paryantam Rasamañjary-anusāreņa cestā-viśeșa-bheđena nāyıkābhedā nirūpitāh; ıdānīm Vātsyāyana-matānusārena gunaiņ hastınyādı-nāyıkā-bhedāh bhadıādi-nāyaka- bhedāśca nirūpyante, p 54) The gunas meant are natural featuies of both body and mind, and what these are in particular we shall see later. Vatsyayana here does not mean the author of that name who wrote the Kamasutras; we have to understand by the word Vatsyayana-mata, 1. e, Kamasastra in general, which is not an unusual meaning. For, the Kāmasūtras themselves do o not speak of this fourfold classification of women, nor of a corresponding classification of men, such as the one mentioned ın the Śrngāramañjarī Vatsyayana's threefold classification of men and women from the point of view of the nature of the male sexual feature,2 Sasa, Vrsa and Aśva (the rabbit, the bull and the horse) and the Mrgi, Badava and Hastini (the doe, the mare and the she-elephant), is different ; Hastini is found as a type-name here too, but it has as little to do with the Hastini in the fourfold classification we are now con- sidering as the Hastini which, as we saw above, Bharata mentions among the numerous classes of women described by him,

1 Kāvyamālā 89. 2 Kāmasūtra II. 1. 1, 2ff. But some texts speak of four such classes, adding a Mrga to 5

34 ŚRŃGĀRA MAÑJARI The earliest Kamasastra text now known to deal with this fourfold classification of women is the Ratirahasya of Kokkoka, where these four classes are introduced as not dealt with by Vātsyāyana, but dealt with by Nandikeśvara (tatra prathamam Nandı- keśvara-Goņıkāputrayor matam ādyam samgrahīsyāmah, parato Vātsyāyanīyam. Yad Vatsyayana-sutra-sangraha-bahirbhutam kimapyagame drstam etc .... .. .Padminīm tadanu citrinīm tatah etc ch. 1 ś1 9 ff, and Samksepād it1 Nandikeśvara-matāt tattvam kımapyuddhrtam gonīputraka-bhāșıto'yam adhunā samksipyate vistarah ch 2 $1.5.) Following the Ratirahasya, which later gained equal, if not greater, popularity with Vātsyāyana's Sūtras, almost all the Kāmasāstra works described these four types of women Padmini etc But works on Rasa dealing with the Nayaka-Nayıka subject never included this classification, whicn they considered as more proper in works of Kamasāstra. The Amoda on the Rasamanjari says. पद्मिनीचित्रिणीशाङ्किनीहस्तिन्यादिभेदाः कलाशास्त्रप्रसिद्धा इत्यत्र नोक्ताः। Adyar Ms. p 283 The reason for the author of the Šrngaramañjari including these four classes also in his work is, on the one hand, his desire foi elaboration and showing of some special features in his work, and on the other, the example of some of the Hindi works on the subject which include a treatment of these four types of women, two of which are mentioned by the author among his sources, the Sundaraśrngara deals with Padmini etc 1 Bhadra, Datta, Kūcu(-2-) māra, and Pāñcāla The author of the Śrngaramañjari mentions four male types corresponding to the four female types discussed above. He says that as the characteristics of the Nāyaka types, Bhadra, Datta, Kūcumāra and Pāñcāla do not differ from those of Hastinī, Cītriņī, Sankhini and Padminī, he is not giving separate illustrations for the former.

the Sasa, Vrsa and the Asva given by Vatsyayana and what is more, equate these four with the four female types, Padminī etc. See Smaradīpikā, Madras Ms R. 3357 (c) p. 61 .- शराके पग्मिनी तुष्टा मृगेऽपि चित्रिणी तथा। शद्निनी वृषभे तुष्टा हस्तिनी रमते हये ॥ Ratimañjarī, ascribed to a Jayadeva, a text which uses Ratirahasya, (Madras Ms. R. 3357 (d)) says. (text printed in Grornale della Socreta Asratica Italiana, XVII 317ff., Keith Skt Lit.p. 468; also in Hındı and Bengalı) पश्मिनी चित्रिणी चैव शद्गिनी हस्तिनी तथा। शशो मृगो वृषोऽश्वश्च जातिः स्त्रीपुंसयोस्समृतः ।। The Kamapurusarthasamgaraha, which I shall have occasion to quote again below, says: शशो हयो मृगश्चैव चतुर्थस्तु वृषस्स्मृतः । A Ratisastra printed with Hindi and English translation (printed also in Bengali), cast in the form a dialogue between Siva and Pārvatī, which is identical with the Ratisastra, ascribed to a Nagarjuna and partially printed by R Schmidt in the Vienna Onental Fournal (Wiener Zertschrift fur die Kunde des Morgenlandes, XXIII. pp. 180f.) says. चत्वारः पुरुषास्सन्ति जातिभेदेन शङ्करि । शशो मृगो वृषश्चैव चतुर्थस्तुरगस्तथा॥। * * * पग्मिनी * शशकभामिनी। मृगस्य चित्रिणी भार्या। वृषस्य श्बिनी चैव। इस्तिनी नुरगस्यैव । 1 See Rūpam, 1927, p. 49.

INTRODUCTION 35 What are these four male types? Their history is rather intriguing and deserves to be set forth here with as much detail as can be gleaned for the present from works of Kāmāśāstra, in print as well as manuscript. Kūcumāra and Pāñcāla, as we have already pointed out while dealing with the works and authors figuring in the Śrngaramañjari, are two old pre-Vātsyayana writers on Kamasāstra, the former is our authority on aupanisadika dealt with in the closing section of the Kamasutras, the use of special appliances and methods, aphrodisiac, mantras and other means of attraction and hightening of enjoyment, all of which, called Kaucumār yogah, constitute one of the sıxty-four arts enumerated by Vātsyāyana as ancıllary subjects (angavidyās) of Kama- śāstra (I 316), a separate treatise on this subject, called Kūcimāra tantra, is also known 1 Pañcala is Babhravya, who epitomised in seven sections the five hundred chapters of Śvetaketu's work (Vātsyāyana I 19-13), and the elaboration of the several stages and aspects of sexual enjoyment into sixty-four items is called Pāñcālikī catussasți after Bābhravya Pāñcāla who dıd it (Vātsyāyana I 3. 17-19 and II 2 1-5.) The names of the two other Nayakas are somewhat obscure While we cannot be very definite about it, we may suppose that as the two names discussed above are after two old writers, these two others, Bhadra and Datta, may also signify two old Kāmaśāstra authorities Datta, in that case, may stand for Dattaka who, Vātsyāyana says (I. 1 11) elaborated separately the chapter on Vaisika for the sake of the courtezans of Pātalīputra 2 Dattaka's Sutias on this special branch are also known from references and quotations in the Bhanas of Sūdraka, Syāmilaka and Iśvaradatta, and was, according to an inscrip- tion3, commented upon by the Western Ganga king, Madhavavarman II (1st half of the 3rd century A.D )4 Of Bhadra, we are not in a position to say even this much. In none of the early or authoritative and popular Sanskrit Kāmaśāstra works 1s this fourfold classification of Nayaka into Bhadra etc. found. So far as I have been able to find, the only works that mention these four classes are the Srngāradīpika Ratirahasya5 of Harihara, son of Rama (15th cent. A. D ) and the encyclopædia Sivatattvaratnākara of Basavarāja6 (A.D 1709) Though this classification is rare in Sanskrit works and appears only in some late works, like the two mentioned above, it seems to have been well- known in Telugu literature, and in Kannada too to some extent There 1s a verse in the Kumarasambhava of Nanni Coda7 (mid. 12th cent A.D ), in canto eight, in which a Veśya Nayika says that she would have none of the four Nayakas, Bhadra, Pañcala, Dattaka and Kucimara, for each of them has his drawback, the first, excess of dalliance and sport, (śrngārāticestā), the second, too fine and delicate a manner of drawing out the sentiment, the third, trying to purchase company by money, and the fourth using magic and medicine without giving the heart, and she wants a real lover free from all these flaws. According to Sri M. Ramakrishna Kavi who has a note on the question, 'Who is

1 See Madras Descriptive Catalogue, VIII D. No. 3894; printed also from Lahore. 2 For the story of Dattaka, see Jayamangala on Kamasūtras, I 1. 11. 3 Ep1. Car. IX p 7. 4 For a metrical resume of the Dattaka Sutras, see Madras Triennial Catalogues, R. No. 3220 (b) which is unfortunately tragmentary. 5 Mss .- Madras Des, Cat. D Nos 3899,3900. Printed in ZDMG. 1903, pp. 705-739 by R. Schmidt. This work of Harihara is in 5 chapters; Madras D. No. 3889 and Schmidt's edn. go only upto ch 3, Madras R. 1731 (c) Śrngārabhedapradīpikā noted as a different work is the same and has chs 4 and 5, the 5th being incomplete. Similarly Madras R 2889, Ratidarpana, mistaken as another work is also identical and has chs. 1-4, Tanjore Nos. 10981 (1-4 chs.), 10982-3 (incomplete), Śrngārabandhapradīpikā is also the same work. Printed, Madras. 1927. 7 For this and other Telugu references, I am indebted to Sri N. Venkata Rao, Dept. of Telugu, University of Madras and his son, Sri N. S. Sundareswara Rao

36 SRNGĀRA MAÑJARĪ Bhadra ?'1, the Kannada treatise on erotics, Madanatilaka of Candrarāja, (c. 1025 A.D.), refers to these four types in a verse of eulogy on Candraraja , according to this verse, Babhravīya or Pāñcāla is over zealous, Atilola, and Bhadra is angry Sr1 M R. Kavi quotes in the same place a verse from the Haramekhala and says that Bhadra 1s Muladeva, the well-known social hero, who figures in many stories and was an authority on Kamasastra and worldly matters 2 It is significant that like the Śrngāramañjarī, the two works Śrngāradīpıkā Ratırahasya and the Śıvatattvaratnākara which mention this classification are works produced in the Deccan and South India under the influence of Telugu and Kannada literature. We noted above that, according to the Śrngāramañjarī, these four male types are not different in characteristics from the four female types, HastinI etc This is exactly the view expressed in Harıhara's Śıngāradīpīkā भद्रो दत्तः कूचिमारः पाञ्चालः पुरुषा: स्मृताः ॥ हस्तिनीगुणसंपन्नो भद्रोऽसौ पुरुषः स्मृतः । स तदा समरत्यर्थ हस्तिन्यां तु रमददा॥ चित्रिणीगुणसंपन्नो दत्तजातियुतः पुमान्। समसंभोगसिद्धयर्थ चित्रिणीं दत्त आश्रयेत् ।। शद्निनीगुणसंपन्नः कूचिमारनरः स्मृतः । सुखाभिरामरतये कूचिमारश्च तां यमेत् ॥ पग्मिनीगुणसंपन्नः पाञ्चालः परिकीर्तितः । तुल्यसंभोगसिद्धयर्थ पाश्चालः पम्मिनीं यमेत् ॥ (ZDMG 1903 p 721) Earler, while describing the woman types, Hastini etc., Harihara says (pp. 719-720) : एवं लक्षणसंपन्ना हस्तिनी कामिनी भवेत्। तां भद्रजातिपुरुषो यमेतानङ्गवेदवित् ।। * * सा चित्रिणीति स्मृता। दत्तस्तथाविधगुणां रमेतान्वहं प्रियाम् ॥ * * अष्टाङ्गुललसद्गुह्या शद्निनी परिकीर्तिता। एवंविधां कूचिमारस्तां रमेत तथाविधः ॥ * * पझ्मिनी स्यात् ॥ तां तद्गुणसमापन्नः पाञ्चालः पग्मिनी यभेत् ॥ This equation of the female and male types Hastini-Bhadra, Citrini-Datta, Śankhinī-Kūcumara and Padminī-Pancala agrees with that given in the Srngaramañjari, But Basavaraja not only gives the equation differently but also calls the Datta by a diiter- ent anımal name, Haya, according to his Śıvatattvaratnākara (VI 12 verses 26-27), Citrini and Bhadra go together, Hastini and Haya (Datta) are equal mates, Sankhıni and Kucumara form an ideal pair and Padmini finds her proper companion in the Pañcala. Basava's definition of these male types is brief and restricted as in the case of Vātsyā- yana's Śaśa etc. to the nature of the physical sexual feature of the male चित्रिणीगुणसंयुक्त: पुमान् भद्रो नवाड्गुलः । हस्तिनीगुणसंपन्नो हृयस्स्याद् द्वादशाङ्गुलः ॥। शङ्किन्याः कूचिमाराख्यः पुरुषः [स्याद् ] द्वादशाङगुलः । पद्मिन्यास्स तु पाञ्चालो नायकस्स्यात् षडड्गुलः ।। This equation of these four male types with the four female types Hastini etc. is itself due to loss of tradition regarding their real significance, but in the period later than 1 Journal of the Sri Venkateswara Oriental Institute, Tirupati, IV 2, Telugu section, pp. 42-45. 2 For Mūladeva as a Kamasāstra writer, see Ratirahasya, IV. 21 and Pañcasāyaka śl. 29, heading. 3 In the text printed by Schmidt in ZDMG, as well as in the Madras ms. D. 3899, there incomplete. are mistakes; and as already pointed out, both Schmidt's text and Madras D. 3899 are

INTRODUCTION 37

that of the above-noted works, these four male types were much less understood; Siva- rāmakavı, author of the Telugu Kāmakalāśāstra, (Madras Ms. R. 320) allows absolute scope to his imagination in his description of these four types. Dantalūri Nārāyana Rāju Gajapatı, in his Sanskrıt compilation Kāmapura sārthasangraha1 had to face the fact that besides these four male types, there were the three given by Vatsyāyana, Śaśa etc, he found that, as in Basava's work, Bhadra etc. were also defined in terms of the features by which Sasa etc. are defined by Vatsyayana, so he mechanically harmonised the texts by adopting for the four male types Śasa, Mrga, Vrsa and Haya2 alternate names Pañcala, Kūcumāra, Datta and Bhadra (Śasaka eva Pāncālah, Mrgah Kūcumāra iti nāmāntaram; Vrsabham Datta iti ca vadantı, Hayo Bhadra it1 bruvantı). Sarngadhara, in his Paddhati (section 92; pp. 446-8, śls 3091-3108) extracts from an otherwise unfamiliar Śrīdhara, evidently a Kamaśāstra writer, on the subject of the Nāyıkās Śrīdhara takes the varieties of women named by Bharata after gods, demigods, animals etc , but what is strange is that he picks out four from this series and equates them with the four varieties Padmini etc Thus, in this scheme Devi is equated with Padmıni, Apsaras with Cıtrınī, Yaksinī with Sankhınī and Rāksasī with Hastinī The equation is clearly prompted by the general idea that Padmini is the best type, Citrini the next best is noted for artistic accomplishment, and Hastini is the most undesirable speci- men, but even such a justification cannot be found for equating the Yaksıni and Sankhıni. Getting beyond these imaginary descriptions and fancifal equations, we can re- construct to some extent the real and original significance of these names Bhadra etc, if we collate together the facts known about the Kamasastra writers after whom they are named and the references in Nannı Coda's Kumarasambhava which is an early text among works noticed above on this topic Dattaka specialised in the art of love as practised by courtezans and wrote for them his Sutras; Nanni Coda says that the Datta-type threw money and courted women; from these data it is possible to say that Datta is the Nāyaka type called Vaiśıka Kucumara is well-known as the authority on the use of the sexual aids of medicine and magic; and Nanni Coda's remark only confirms this. Pancala's speciality is the "Catussasti", the adeptness in the soft execution of the sexual act, stage by stage, from embrace onwards, the Veśya in Nanni Coda's work referring to him as drawing out the process in too delicate a manner confirms this. Regarding Bhadra alone, we are in some difficulty, as we have to start and end with Nanni Coda's sole reference for finding out his speciality; as already noted, Nanni Coda characterises him by excess of dallıance and sport, śrngārātıcestā. Before we can say whether on the basis of these characteristics, these four male types could be equated with the four female types Hastini etc., we have to determine pre- cisely the significance of the latter Their descriptions in the several texts, though they proceed on the same lines, are not uniform in the details. Starting with Ratirahasya, we shall compare their definitions in the other texts and note the additional and different details introduced in the latter.

1 Printed in Telugu script, Vizagapatam 1881: 2 Compare the Smaradīpikā, Ratimañjarī and the Ratisāstra referred to previously.

38

HASTINÍ

Physical features. Psychological Tastes Other charac-

features Sexual characteristics. teristics.

Ratirahasya Graceless gait, fingers Heavy eater ; eats acrid Smell of fluid similar to

..... ......

on feet big and crooked, and astringent food that of elephant's icor, hairy

neck short and stout; and very broad private parts,

tawny hair, size immense; very difficult to gratify sex-

smell of body sımilar to ually, Skandha-pāda-yugala

elephant's icor; lips thick and dangling; stuttering pose in enjoyment; second quarter of the night suitable

in speech time; the ash of the wings of dove and bee mixed with honey and administered ŚRŃGĀRA MAÑJARI

with pansupar and a sepa- rate mantra captivate her

Anangaranga Whitish in complexion, Severe and cruel, ...... Suitable time for enjoy-

slow gait. devoid of deco- ment afternoon (?) and

rum night, the 9th, 14th, 15th and 30th days, very detail- ed candrakalā particulars given

Pañcasāyaka Short, big breasts .... .....

Śṛňgāradīpikā Long, red eyes, heavy Thick friend- Eats light, but hot food; Wants many men, red- Bilious con-

face; thickset hair, dark in complexion, long legs, ship, angry. likes red garments and dish fluid stitution.

ornaments.

Śṛůgāramañjarī small breasts Agrees mostly with the ... ..

features mentioned in the Srngaradipika with the additional feature that her mating time is the first quarter of the night which does not agree with the time given either in Rati- rahasya or Anangaranga.

CITRIŅI

Physical features. Psychological Tastes. Sexual characteristics Other charac-

features. teristics.

Ratirahasya Graceful gait; neither Adept in and devoted Fluid like honey and

too tall nor too short; slım; broad breasts and to music, dance, painting profuse; private parts soft,

loins; prominent lip, etc .; eats sweet dishes and rotund, bloated and not

conch-like neck; also very little very hairy, Nagara pose

vo1ce similar to that of cakora, and first quarter of the

quick glances night suitable for her, plantain and jāti nut and a mantra entice her, loves INTRODUCTION *

external sport, embrace, kıssıng etc

Anangaranga Voice like that of pea- Affectionate. 6th, 8th, 10th and 12th

cock, dark hair. days of the fortnight, fur- .. ... ther details of candrakala given.

Pañcasăyaka. Fond of learned discus-

.... Detailed candrakalā ....

sions and learned men given.

Šṛňgăradīpikā. Slightly aslant glances; Eats variegated food; Likes various modes of ......

prominent mouth. dresses in variegated enjoyment; fluid white and clothes; addicted to meat warm. and drink, utters false-

• F hood; has a bad smell, fond of money.

Śrńgāramañjarī. Small mouth (?) Fond of perfume. .. .. 39

40

SANKHINI

Physical features. Psychological Other

features. Tastes. Sexual characteristics. character- istics.

Ratirahasya. Stout or lean, tall; long Irascible, fault- finding, and not Likes red garments and Very hairy private parts; Heated and

legs, nerves and veins pro- flowers; eats

minent in her tall, slım nether

pure in mind. fluid meagre and of saltish bilious consti-

more nor less.

body, having many hol- smell; scratches with nails tution.

lows (owing to absence of in enjoyment; third quartei

flesh) ; voice of an ass of night, Venu-dārita pose; Bilva fruit mixed with the root of the fragrant Tagara and a special mantra will entice her. ŚRNGARA MAÑJARĪ

Anangaranga. `Meagre breast; tawny Pitiless. ..... 3rd, 7th, 11th, 13th days ......

in complexion. of the fortnight her best days, elaborate candra- kalā details given

Pañcasāyaka, .... .... Difficult of enjoyment .....

Śrngāradīpikā. Big lips, long neck, Dark garments set-off

.... her beauty, addicted to Private parts defective (?) ; ....

fat (?), ruddy palm, fine fluid of bad smell.

teeth, speaks with a smile. meat and drink; eats

lıttle.

Śrńgāramañjarī. Wears jewels

..... Very loving; with ....

devoted to her blue stones

lord.

PADMINĪ

Physical features Psychological Sexual characteristics Other charac-

6 features. Tastes. teristics.

Ratirahasya. Soft as lotus; fragrant Devout; bashful, Eats soft, pure, light Fluid of lotus smell, pri-

body, eyes red at the end preserves her self- food; likes white dress vate parts like an opening

like those of timid fawn; respect. and flowers lotus bud, Padmāsana pose

breasts lıke Bılva fiuits, suitable for her, last quar-

fıne nose lıke sesame ter of the night best time

flower, dark like lily or for het.

fair lıke campaka, soft graceful swan-lıke gait, slim, swan-throated, fine- ly dressed. INTRODUCTION

Anangaranga. Face like moon, soft Considerate. ...... 1st, 2nd, 4th 5th days

lıke śirīsa flower, fine of the foitnight, generally

neck, best type of woman. she has no great pleasure in nocturnal enjoyment, even during day, and even the touch of her babe, gives het the thiill, elabo- iate candrakala details

Noadditional or differ- given

Pañcasāyaka. ....

ent particulars. Śṛňgāradīpikā. Adds some more items Eschews b a d Loves pearl ornaments ....

of beauty re. teeth etc. company , firm and and sweet dishes.

good

Śṛňgāramañjarī, No additional or differ- ... .. .....

ent details. 41'

42 ŚRNGĀRA MAÑJARĪ The above tabular analysis shows that the details regarding these four female types given in the Srngaramanjari show close relation to those given in Harihara's Śrngāradīpıkā The statement in the Srngāramañjari regarding the mixed type hastınyādınāyıkāsu parasparaguna-sānkaryena jātı-sankarāh striyo jāyante' (p 59), which echoes the following in the Srngaradipika हस्तिन्यादिगुणा यत्र वर्तन्ते सङ्करा भुवि। सा सङ्करा वधूर्शेया-II ( ś1 22), shows further that our author has used Harıhara's work. The table would also show us that all the elaboration of the characteristics of each of these four types centres round a nuclear idea, which we can analyse easily The Padminī, it is easy to see, is the best type of woman and the elaboration of her features 1s all based on this single idea of her being the best type and being comparable to the lotus, her leadmg characteristic is not only beauty but delicateness Citrinī comes next in point of merit; her chief feature' is her accomplishment and variety of tastes and flashy beha- viour, all further elaboration is based on this and on the word citra meaning 'manifold' and 'striking' Śankhinī, it would appear, is not so easy to be analysed to her essential charac- teristic, but a careful scrutiny would show that we have to underline the statement in the Ratirahasya and other texts that her nerves and veins are visible on her frame, that she 1s devoid of flesh, and that her body is full of hollows To this is to be added the feature that she does not moisten easily, noi is she, as the Pañcasayaka says, easy to be enjoyed As Sankha means shell and bone, she is to be understood as the fleshless woman, hard in touch and hard of enjoyment Hastini by all description stands lowest in the order, she 1s, as her name suggests, the heavy corpulent type. It is not very easy to adjust to these four female types of such characteristics, the four male types Bhadra etc We might yet try to understand if there is some appropriate- ness in the equation. The Citrini, being the artistically accomplished woman, of variega- ted tastes, is the type to which courtezans as a class would answer , so, the assignment of the Dattaka type of man to Citrini may be significant. The Pañcala is the artist par excellence in the delicate execution of the act of enjoyment and it would similarly appear significant to associate him with the Padmini, the delicate woman As Kūcumara 1s an adept in the matter of inducing love and augmenting it by various medicinal and other means, he may be paired off with the hard Sankhini from whom it is difficult to derive pleasure The Hastinī is a highly passionate type making heavy demands on the part of the lover and only the Bhadra who can, as Nanni Coda says, indulge in Śrngara-aticesta, excessive dalliance and sport, could possibly be her mate. The Accomplices of the Nāyrka and Nāyaka Works of the class to which the Srngaramanjari belongs deal regularly with the accomplices who help the lovers in their love, and treatises of larger scope on Srngara Rasa or dramaturgy also speak of them, After dealing with the Varika-hero and his thirty-three qualities, and his friend (XXIII. 8), Bhaiata gives a number of women who could be employed by the lovers as their messengers . Pratrvesya, Sakhī, Dāsī, Kumūrī, Kāru, Śilpinī, Dhatrī, Pāsandınīand Iksanika, the neighbour-woman, the female-friend, the servent-woman, the little girl, the artisan and artiste ladies, the nurse, the heretic woman and the fortune teller (verse 4) An additional verse in the Kasi edn (XXV. 9) mentions the learned lady (Vynana-guna-sampanna), story-teller (Kathani),1 one in disguise (Linginī), actress (Rangopajīvana) and the lady who is an adept in understanding (Pratıpattı-vicaksanā). Most of these are retained in later texts After pointing out in a verse what kinds of men or women are not to be employed as messengers, Bharata sets forth the various acts which these messengers are to do, a topic dealt with in later texts under the heading Dutikarman. The acts mentioned by Bharata are Protsāhana

1. The Abhinavabharati which has this verse says कथनी बृहत्कथादिलम्बतकर्णन (१) कुशला p. 60, Madras Ms R. 2785 ,

INTRODUCTION 43

(enthusing the lovers), Anuraga-anukīrtana (conveying the love of one to the other), Yathokta-Kathana (truthful report of the message), Bhava-pradarsana (conveying the desire of one to the other), Kula-bhoga-dhanadivikatthana (extoling the pedigree and other merits of one to the other), Karya-nivedana (information of what is to be done) and Artha-bhasana (speaking of the relevant issues) (verses 12-13). Again, she is to arrange through various means the union of the lover with the lady in fresh love and also pacify the elder Nayika when she becomes angry (verse 14), she is generally to study and grasp the mind of lovers (verse 17). Of the male aids who help the hero, Bharata mentions in ch. KXIV, the Vrta, eloquent, considerate, literary, pleasant, resourceful and expert in the art of attending to the courtezan (verse 104), the Vidūsaka, the clown (106) who is the same as the friend, Vayasya, described in XXIII 8 as devoted, pure, clever and so on; and the Ceta who is fond of the arts, speaks much and knows the comparative importance of men, from the expression Gandhasevaka here, it would appear he was to help the hero in his toilette and was thus a miscellaneous attender upon the hero 1 It may be noted that the Pithamarda, so regularly mentioned in later works with the Vita, Ceta and Vidūsaka is not mentioned by Bharata here 2 The Kamasutras, by the very nature of their subject-matter, afford greater scope to the subject of accomplices used for the furtherance of love-affairs; they are parti- cularly necessary, and in a large variety, in Pāradārika love. References to them and the pait to be played by them are profuse in Vatsyayana In I 3 15, Vātsyāyana mentions the Dhatreyi (nurse's daughter), Sakhi (friend), Savayah mātrsvasā (mother's sister who is of equal age), Vrddhadāsī (old servant), Bhiksukī (mendicant woman known already) and Svasa (one's own sister) as persons from whom a girl can take lessons on love I 4 48, in the context of accomplices, speaks of Bhıksukīs, Kalā- urdagdhās (artistes), Mundās (widows), Vrsalīs (prostitutes or low caste women) and Vrddha-gamıkās (superannuated courtezans) In IV. 1. 9, where chaste wedded women are warned against bad characters who serve as agents of temptation, Śramanā, Ksapanā (heretic mendicant women), Kuhakā (woman magician), Īksanıkā (fortune-teller) and Mula-karkas (those that deal in enticing drugs) are mentioned In Pāradārıka, a special section is devoted to Dūta-karman (V.4). In V. 4 42 here, in addition to some already mentioned, the Tapasi (the woman recluse) is also given V. 4 44 classıfies Dutīs into eight kinds Of these the first three, Nısrstartha, Parimitārtha and Patrahāraka, are distinguished by the extent of authority as emissary vested in them and are parallel to the Dutas of the same names figuring in Aithasastra Generally speaking, later works on erotics or the rhetoric of love have not taken them up, though an exhaustive work lıke Bhoja's Śrngāra Prakāśa or one lıke the Ujjvalanīlamanı of Rūpa Gosvāmin speaks of them Of the other five, Svayamduti 1s to be specially noted, for while this type, which is found in later works, is always defined as the lady in love, who acts as her own messenger and arranges for union with her lover, Vatsyayana defines her differently. In V. 4 53-55, Vatsyāyana describes her elaborately and in two different ways, in the first variety, she is a messenger sent by another lady, but herself begins to woo that lover, thus approaching the Dūti of the Nayika-variety called Dūtī-sambhoga- duhkhita in the class Anya-sambhoga-duhkhita under the Khandita-type. The second variety described by Vātsyayana approaches the Svayamdūtī of later texts, with this

1. He was of a servant-status, a Nica-pätra as mentioned in the chapter on gait on the stage, gati-pracara. (XIII. 145, Kasi edn.) See also the Sthavaraka ceta in the Mrcchakatika, where he acts also as the cart-driver. 2. Elsewhere also, in the chs. "speaking of gait, dress etc of the different characters (gati-pracāra, āhārya, etc.) where Vita, Vidūsaka and Ceta are mentioned, the Pīthamarda is not found.

44 ŚRNGĀRA MAÑJARĪ difference that, according to Vätsyayana. she should approach the object of her love as a messenger of another Nāyıkā, ficticious or real, and if the Nayika for whom she pre- tends to be the messenger is real, she should try to undermine her relations with him. Bhoja, ın hıs Srngāra Prakāśa, as we shall see below, makes this second variety a separate Dūti called Chadmadūtī Mudhadutī, the next, is the innocent girl-wife of the lover to whom the Parakiya or the Veśya is attached. Bhār yādūtī is one's own half- witted wife whom the lover employs as a messenger Mūkadūtī is of two kmnds, Balā the little girl and Paricarika the servant, both of them moving about or going to the lover may be made to carry consciously or unconsciously a secret letter or sign of love hidden in the garland or ear-ornaments; in some later texts, the little girl who is innocent of matters of love (ajñāta-manmatha-vikāra bālā) is mentioned as a regular messenger. Vātadūtī is another unconscious messenger, who conveys an enigmatic utterance or a double entendre which the lover alone understands, here the Jayamangala adds that accord- ing to the Babhraviyas, even animals, birds, dolls and paintings could, in this manner, be employed as media of message Bhoja not only mentions birds etc., but adds four more to the eight Dūtīs mentioned by Vātsyāyana in this class Of the opposite numbers on the male side, Vatsyayana mentions an equal variety of accomplices In I 4 44-46, he speaks of persons described by the Jayamangala as Upanagarakas, the minor men about town, who attach themselves to the mamn Nagarakas, the Nayakas, and live by serving them in the advancement of their love-affairs. The chief among them, whom Vatsy ayana characterises in I. 4 47, as the ministers of war and peace between the courtezans and their lovers, are given by him as the Pithamarda, Vua and Vidusaka The second and third, we have seen in Bharata too, but in Vatsyayana, we miss Bharata's Ceta, but find instead a Pithamarda. In I 5. 35-37, Vatsyayand analyses these aids on three principles, friendship, qualities and occupation, Sneha, (runa and Jati, all of which, together with the enumerations under each, are taken and amplified by Bhoja in his treatment of Dūtas in the Śrngāra Prakāśa Here in sutra 37, we have in addition to the Pithamarda, Vita and Vidusaka, the following miscellany drawn from avocations with which lovers in particular and men and women in general come into contact: Rajaka (washerman), Nāpıta (barber)1, Mālākāra, Gandhika and Saurika (vendors of garlands, perfumes and wine), Bhiksuka (mendicant), Gopalaka (cowherd), Tāmbūhka (vendor of betel) and Sauvarnıka (gold-smith). In book V again devoted to courtezan-love, Vatsyāyana has occasion to revert to these aids and mentions (V. 1 8-9) besides those already enumerated in I. 5 37, Araksaka-purusas (guards and policemen), Dharmadhikaranasthas (those employed in courts of justice), Darvajñas (astrologers), Vıkrāntāh Sūrāh (soldiers and brave men of the city), Samāna-ndyās (those interested in the arts of music and dance practiced by courtezans) and kalā-grahins (those learning these arts from them). Rudrabhatta's Śrngāratılaka mentions in II 65 the Kāru, Dāsī, Natī, Dhātrī, Prātiveśyā, Śilpinī, Bālā and Pravrajitā as friends who serve as accomplices for women and adds in the next verse their qualifications. Earlier, in I. 29-32, Rudrabhatta speaks of the accomplices of the hero, where we find the Pithamarda with the Vita and the Vidūsaka, but the Ceta is not to be seen, their qualities are mentioned in I. 29, and their definitions are very briefly given in I 30-31 , the Pithamarda is here defined merely as an attendent on the lover and the beloved. Rudrata, who gives the same three male accomplices, says of Pitnamarda more definitely that he is an 'Anucara' of the hero. While Rudrabhatta mentions the female-accomplices under the heading helpful friends, Śakhī-janah, Dhanañjaya gives them as messengers, Dūtyah, and adds for the first time among such works, the Svayamdūtī (Svam ca-Daśarūpaka II. 29. Svayam dūtī-

Kāvyamāla 10. 1. For a prominent employment of the Nāpita, see Ksemendra's Samayamātrkā,

INTRODUCTION 45

Avaloka). In II 8-9, Dhanañjaya also mentions the same three accomplices on the hero-side, the Vita, Vidusaka and the Pithamarda; it is to be noted that these are dealt with here definitely in relation to their appearance as characters in a play. Bhoja devotes two full chapters of his Śrngāra Prakāśa to Dūtas, Dūtīs and their work (chs XXVIII, XXIX) and I have set forth in detail the information here in my Bhoja's Srngāra Prākāśa, Vol I pp 54-57 These two chapters form an elaborate com- mentary on the Sūtras of Vātsyāyana on Dūtas, Dūtīs and Dūtakarman, and the Mālatī- mādhava which closely follows Vātsyāyana, as it itself says expresslyl, is extensively reproduced here for illustration The three grounds of classification, Sneha, Guna and Jātı, given by Vatsyayana are amplified by Bhojd into ten. Jat,-God, demi-god, human being, monkey, parrot, mina, dove and swan, Guna,-qualities like heriditary ties, faithfulness, selflessness, etc , Knya,-associated in activities like playmate from child- hood, grateful by reason of former help received, class-mate, one in similar situation and so on; Dravya,-different categories of persons like vendors of garland, betel, perfume and wine, the Pithamarda, Vita, Vidusaka, Pasandins and friends in general, Sambandha, personal relationship like teacher, friend, pupil, servant, oneself, kinsman, son, and younger brother, Artha and Prayojana, the next two principles of classification, are subtley distinguished by Bhoja as an object to be sought after and brought into being and an already existent object the desire for which prompts activity, the classes under these two are not exactly persons serving as messengers but conditions or situations under which messengers have to act; these are, Anartha-

Sneha, Kutuhala, Abhıprayopalambha, Pūrva Prārthanā, Anyataraprārthanā, Sīla pratighata, Saharthata, Prapti, Pratarana, Anrnya, Kīrti and Prīti; Daya,

and Sanghaisa, Prayoga,-modus operandi, open and secret, low and high, etc , Yogyatā, qualification and status and means employed It is here that Bhoja adds four more to the eight mentioned by Vatsyāyana ın V. 444, Nısrstārtha, Parimitārtha, Patrahāraka, Svayamdūtī, Mūkadūtī, Mūdhadūtī, Bhāryādūtī, Vātadūtī, Chadmadūtī, Vyājadūtī, Mantraduta and Tantraduta; Chadmadūtī is, as already pointed out above, the second variety of Svayamduti mentioned by Vatsyayana, (दूत्यच्छलेन अन्यामतिसन्धाय तस्यास्सन्देशकथन- द्वारेण नायकं साधयेत्, ता वोपहन्यात् सा छद्मदूती p 495, Vol III, Madras Ms); the Vyajaduti 1s said to adopt a veiled speech (an Anyāpadeśa or Vyājokti) for conveying the message (यान्यव्याजनान्यमभिघत्ते सा व्याजदूती abid ) and is illustrated by the message of the courtezan in Malati's retinue in Act I of the Malatimadhava, in which the words referring to the Vakula garland signify really Mādhava himself, the Mantradūta and Tantradūta are per- sons of supernatural powers who help the lovers with their miracles (ibid p 496), the tent principle is sex, Strītva, and refers to females lıke Īksanıkā Bhıksukī, Sakhī, Dhātreyikā, Vıdhavā, Dāsī, Sılpakārıkā and Silpinī. On p 497, ibid a few minor varie- ties like the doctor and the priest, Vaidya and Vaidika are added, the total number of these messengers is given by Bhoja as 84 One of these eighty-four requires some special elucidation. Under Sambandha, the fifth class, Bhoja mentions Atman which refers to the Nayaka himself, and illustrates this Atmaduta by Ravana approaching Sita in the guise of a sage (आत्मा महर्षिवेषो रावणस्य #faraxur p 482, rbid). This would therefore correspond on the male side to the Svayam- duti included among the messengers on the female side. It should also be noted that Bhoja does not separate the aids as those on the male side and those on the female side. The varieties resulting in the intermixture and inter-application of these ten principles are also worked out and illustrated by Bhoja. A large number of the qualities of messen- gers is then given with illustration. Twenty-four kinds of Düta-karman are then

1. See औद्धत्यमायोजितकामसूत्रम् I. 4 and at the end of the Misra Viskambha in Act I. तन्निपुणे निसृष्टार्थदूतीकल्पः सूत्रयितव्यः।

46 ŚRNGĀRA MAÑJARĪ enumerated and illustrated in the latter part of ch XXVIlI and the whole of the next chapter again is devoted solely to the further elaboration of the messenger's work Ch V. of Bhoja's shorter work is brief on this subject the Sarasvatīkanthabharana V 121 just mentions the inferior characters (hīna-patras), Pīthamarda, Vidūsaka, Vita, Ceta and the Sakhīs, in their brief definitions and illustrations that follow on pp 601-604 (N S Press edn ), we meet with the Pithamarda, Vidusaka, Vita, Ceta, and the Sakhi, the last classified into Sahajā, Pūrvajā and Agantu, the equal, the elder and the occasional friend As in the Dasarupaka, here too, these aie dealt with as included in dramatis pervonac. In most of the other works noticed previously under Nāyıka and Nayaka, there 1S no special addition or omission to be noted on the subject of the accomplices of the hero and heroine The Prataparudrīya (I 40 and 55) gives among the Nayaka-sahayas both the Pithamarda and Ceta besides the Vita and the Vidusaka, and among the Nayıka-sahāvas, gives Sva or the Svayamdūtī The Sahityadarpana also has the Svayamduti (III. 129) Of male accomplices, Visvanatha mentions all the usual four (III 46) The only difter- eace ın the Rasarnavasudhakara is that Singabhūpala omits the Sva from the list of Dūtis (p 37,TSS. edn ) The Rasamanjari gives all the four male accomplices On the side of the Nayika, Bhanudatta mentions the friend and the messenger, Sakhi and Dūti, sepaiately and in general without any classification, but he devotes some attention to the different aspects of their work (karman). Of the Vaisnava Ālankārikas of Bengal, Kavikarnapūra Gosvāmin adopts a different and general classification of the friends of Krsna and the Gopis into four mamn kinds according to the intensity of friendship and intimacy (Preman and Narman). Hlis Alankarakaustubha says that Krsna's aids are of four kınds, Sakha, Priyasakha, Narmasakhā and Prıyanarmasakhā साहायास्त्युस्सहचरास्ते भवन्ति चतुर्विधाः । सखायश् प्रियसखा। तथा नर्मसखा अपि।। प्रियन मसखाश्चान्ये- Sımılarly the female aids of the Nayıkas of Krsna are Sakhi, Priyasakhī V 87-88

Narmasakhī and Priyanarmasakhī -हदयज्ञा सखी भवेत्।। छायेव यानुसरति सैव प्रियसखी स्मृता । सुरसे नर्मणि रता सैव नर्मसखी भवेद् ।। न संकोच यया याति कान्तेन शयितोत्थिता । आत्मनो मूर्न्तिरन्येव प्रियनर्मसखी तु सा ॥ V 157-9 In his Ujjvalanīlamanı, Rūpa Gosvamin gives the male accomplices as five, adding to the four old ones, Vita, Ceta, Vidusaka and Pithamarda, the new one Priyanarma- sakha, the most friendly confidant illustrated by Subala of Gokula(pp 32-36). Of those on the side of the heroines, Rupa mentions the Svayamdūti and the Aptadūti (p. 37), and among the latter, besides the usual Silpakārī, Daivajñā, Sakhī etc, he adds the Vana- devata or the sylvan deity as a special friend and aid in the case of Krsna's love-sports (pp. 126-145) ,1 the Sakhi, Rūpa furthe' elaborates (p 155ff), and speaks of a threefold classification of her into one attached more to Krsna, one attached more to Rādhā and one attached equally to both. Following the Rasamanjari, our Srngaramañjari gives the Sakhi and Dūtī separate- ly, for, though the Sakhi may become a Duti, the two are functionally distinct (p 41). p. 679. 1 See also S. K. De,' the Bhakt-rasa-sastra of Bengal Vaisnavism, IH.Q VII.

INTRODUCTION 47

Among Dutīs, our text first gives eight, Dūsi (servant), Sakhi (friend), Kāru (a women employed in some callıng), Dhatreyi (nurse's daughter), Pratvesinī (neighbour-woman), Linginī (one in dısguise), Silpinī (artiste like a painter or one dealing in art-wares like pictures) and Sva (the heroine herself who arranges for union with her lover) The text adds that the Amoda on the Rasamanjari mentions some other woman-accomplices too, the recluse woman (Yogini pravrajita), the little girl innocent of love (ajñata-manmatha- zikārā Bālā), the omen-reader (Sakunajnāpıka Viprasnika), the music and dance artıste (gāna-natana-pātava-vatī Natī), in fact, the Amoda adds two more, the Sarrandhri who helps toilette and vendors of betels etc. (Vikretrī tāmbūlakārinī- prabhrtih) 1 The Srngaramañjari then adds two more, the Vikretri, given already in the Amoda, and the Sankita, the VikretrI refers to vendors of articles, four of whom are, according to the text, of special interest here, the vendors of glass (bangles etc ), perfumes, gems and flowers, the Sankita is a special psychological type who hastens to the hero lest he should learn of the angry words of the heroine and get upset The text points out further that if the recluse, omen-reader and miscellaneous vendors are in those roles in cognito they will come under Lingini On the side of the Nayaka, the Srngaramañjari gives the four aids, Pīthamarda, Vita, Ceta and Vıdūsaka Of the later works noticed above under Nayaka-Nāyıka classification, the Mandāra- maranda campu (P 86) gives a number of Sahayas, the only minor addition here being the vendor of buttermilk (takra-vikretri) The Rasacandrika of the critical Viśveśvara briefly deals with the female accomplices by saying that the single type Karu would com- prehend all the possible varieties of women in different callings like the washerwoman (Karupadam rajakyadiparam, p. 33); regarding the male accomplices, Viśveśvara has some remarks on the Pithamarda which we shall notice shortly. The Srngaramrtalaharī of Sāmarāja deserves notice on this subject of Dūtīs, for it takes a critical and inde- pendent stand and says that the Dūti-type called Sva or Svayamdūti, referring to the heroine functioning as her own accomplice, which has been handed down from very early times, is not to be accepted, she is really a Nāyika and not a Dūtī and it is the view of some that she is to be ıncluded in the Nāyıkā-variety called Vāg-vidagdhā. स्वयंदूत्यास्तु नायिकात्वेन सहायत्वाभावाद् वाग्विदग्धायामन्तर्भोवातू। P.142 Samaraja accepts only three kinds of accomplices, Sakhi, Duti and Ceti and says that the rest Däsi etc are all included here Before we take leave of this section, there are two points to which we must devote some attention Just as, in later times, the subject of Nayaka-Nayikas was separated from general treatises on poetics, dramaturgy or erotics, and special tracts arose dovoted exclu- sively to its elaborate treatment, a further step towards specialisation resulted in the pro- duction of a text solely devoted to the elaboration of the work of the accomplices in love In Kāvyamālā gucchaka XIII, pp 25-32 we have a text of this class called Dūtīkarma- prakaśa The author's name is printed in the heading as well as in the body of the text twice as Pandari Vihvala 2 There is an editorial footnote saying that nothing is known of the author. I may state here that the author is none else than the famous musiciolo- gist, Pundarika Vittnala, author of the Sadragacandrodaya, Nartananirnaya etc It has already been known that this author signs himself in his works on music and dance as Karnāta-jātīya Pundarīka Vitthala, that he hailed from the Karnata country, that he was first in the court of Burhan Khan of the Farukhi family where he wrote his Sadraga- candrodaya, then came under the patronage of Madhavasimha and Manasimha of Jaipur mentioned in his Ragamanjari, and through tnem got introduced to Akbar for whom he wrote the Nartananirnaya, and that he flourished thus in the latter half of the 16th cent. Adyar Ms The Amoda quotes here earlier Anustubh verses from a Sahı- tyadarpana giving thirteen kinds of Dutis, but they are not from Visvanatha's' work. ' 1 P. 494

2 The text as printed here shows corruptions and gaps.

48 SRNGĀRA MAÑJARI A.D.1 I have pointed out elsewhere2 that, like some of the other musicologists, Punda- rīka Vitthala was also a writer in other branches ot knowledge and in the Sighrabodhini Namamala preserved in a manuscript in the Asiatic Society of Bengal, Calcutta, (Ms. no. G. 760, Des Cat. Vol. VI No 4709), we have a lexicon compiled by him. In this Dūtīkarmaprakaśa we have yet one more work of the same Pundarika Vitthala, as can be seen clearly from the following evidence The beginning words of the opening Mangala- śloka of the Dutīkarmaprakasa are identical with those in the Sīghrabodhinī namamāla गणेश भारती नत्वा। The colophon of the work runs इंत कर्णाटजातीयदूतीक्मप्रकाश: which 15 probably a scribal ellipsis for the fuller कर्णाटजातीयपुण्डरीकविठ्ठल etc found at the end of all his other works Further, at the end of the treatment of the Dutis and at the beginning of the treatment of the aids of the Nayaka, we have a verse here which informs us that the patron Burhan Khan, son of Faruki Taja Khan, whose is mentioned in his Sadraga- candrodaya, asked Vitthala to compose this tract on the accomplices in love. नरपतिचु (बु)रहा (खा)नः फारुकीती (ता)जसूनुः कविमतिनलिनीनां भासते बालभानुः। कविवर कुरु दूतीकर्मव(म)्मप्रकाशं त्विति गदति कृतं तत्पण्डरी विह्(ड)लेन।। P. 31 In this tract, Pundarīka Vitthala clearly appears as using the Rasamañjarī of Bhanudatta. On the Nayika-side, the following additional female aids are mentioned by him. Vicitravacanā, an eloquent and capable advocate; Ganavati, one that could sing the praise of the lover's qualities, Prasangini, one that happens to go to the lover's place on private work and is availed of to carry the love message also; Skhalita, whose definition and illustration are not very clear, but who appears to refer to two kinds, the messenger who fails to bring about the union and is scolded later for the failure, and the messenger who is saved the mission by the sudden arrival of the lover on his own behalf; (both are Skhalitas, the former's mission having failed, the latter's not having come off at all), Para-citta-viśesajñā, the psychological expert who can understand others' mind well, who is the same as the Pratıpattı-vicaksanā of Bharata, Cestā-sanketa-kouidā, an adept in em- ploying and interpreting secret signals and symbols, and Sauciki, the tailor-woman Vitthala's definition and illustration of Svayamdüti are very weak, for these present her as the Nayika suggesting her feelings to the lover by a clever act or speech, which would explain how some writers, as noted above, suggested her inclusion in the Vag-vidagdha Nāyıkā. Vesadbārinī is given as comprehending several guises and Manihārinī as the vendor of glass-bangles On the side of the hero, Vitthala gives the four well-known accomplices, Pīțhamarda, Vita, Ceta and Vidūsaka Among the accomplices noticed above, there are only three, one on the female side and two on the male side, about whom there is some difference of opinion among writers, which it is necessary to refer to in this historical and critical survey The former is the case of the Nayika herself becoming a messenger, Svayamdutī or Sva, the meanings given to this term by Vatsyayana and the later writers, as also the view of certain writers alluded to by Samaiaja that she is really a variety of the Nayika and not of the Dūti have all been touched upon already The latter, the two male-accomplices, are the Vita and the Pithamarda. It has already been pointed out that the Pithamarda is not to be seen in Bharata, that he is found in Vatsyayana who omits Bharata's Ceta, and that while some of the earlier texts give Vatsyayana's list of male-aids 1. See my Later Sangita Literature, Fournal of the Madras Music Academy, Vol. IV. p. 58: and P. K. Gode, rbid, Vols VI-VIII pp 119-126, Chronology of the Works of Pundarīka Vitthala. 2. See my Non-musical Works of Some Leading Music Writers, Fournal of the Madras Music Academy, Vol. XX. p. 153. 3. The colophons in the ms. of the Sīghrabodhini namamala also read Pandarī(ka); so does a colophon in a BORI ms. of his Sadragacandrodaya, 646 (a) of 1899-1902; see Des. Cat. of the BORI Mss., XII. p. 393.

INTRODUCTION 49

Pīthamarda, Vita and Vidūsaka, later texts combine both Vātsyāyana and Bharata and give them as four including the Ceta. The Vidūsaka 1s too well-known to need any special elucidation here As already pointed out, the Ceta is an inferior charac- ter, of a servant's status; though obviously on a par with the very common Ceti on the female-side, the Ceta as such is very rare in drama, later texts which define him simply as 'sandhana-kusala', adept in bringing together or in making up the differences between the lovers, do not bring out his exact identity, we get a picture of him from Sthavaraka in the Mrcchakatika and the Ceta attending upon the Vita Sekharaka in Act III of the Nāgānanda The Vita in the Nagananda is far more debased in conception than the one in the Mrcchakatıka Earlıer texts lıke the Srngāratilaka and the Daśarū paka define the Vita as 'eka-vidya', one endowed with knowledge in one of the arts, गीतादिविद्याना मध्ये नायकोपयोगिनीनामेकस्या विद्याया वेदिता विटः-Avaloka, एक राजोपयोगि कि्चिद् गीतादिषु मव्ये वेत्तीत्येकविद् विटो ज्ञेय इति-Natyadarpana, p 199 This does not give an adequate idea of the Vita Our Śrngaramañjari is more correct when it defines him as a master of all arts and lores 'sakala-vidya-parangata' The meaning of the word Vita has on one side got debased as in the Nagananda, and on tne other, generalised into a voluptuary. Syāmılaka's Bhana, the Padatāditakal, glorifies him into a knight of love For the exact conception of the Vita, however, we have to go to Vatsyayana to whose text, Bhoja of all Ālankarıkas is nearer Bhoja quotes Vatsyayana's Sutra itsclf on Vita in his Srngārd Prakāśa (p. 481, Vol III Midras Ms ), and in his Sarasvatīkanthābharaņa (p 603) he summarıses the Kāmasūtra thus मान्य: कलत्रवान् भुक्तविभवो गुणवान् विटः । The Vita was once a Nagaraka and a hero (Nayaka) himself when he was a man of means , he has his own permanent abode and family life in the city , a man of parts and greatly experienced in love affairs, he, having lost most of his own personal resources, has now attached himself to other Nāgarakas of means

भुक्तविभवस्तु गुणवान् सकलत्रो वेशे गोष्ठयां च बहुमतस्तदुपजीवी च विटः । Vātsyāyana I 4 45. His learning, wide culture, experience and capacity and above all his noble character and integrity, all stand enlivened before us in the Vita depicted by Sudraka He is therefore hardly the 'ekavidya' that some texts call him.2 The Pith imarda was far less understood in later times Works of dramaturgy so generalised his meaning as an accessory helpful to the main character that they called him the Pataka-nayaka, hero of the subsidiary plot or episode in the play, and illustrated him by characters like Makaranda attarhed to Madhava in the Malati-madhava and Sugrīva attached to Rāma in the Rāmāyana plays पताकानायकस्त्वन्यः पीठमर्दो विचक्षणः । तस्यैवानुचरो भक्त: किश्चिदूनश्च तद्गुणैः ॥ I 8 Dasarupaka यथा मालतीमाधवे मकरन्दः, रामायणे सुग्रीव :- Avaloka So much so that Visveśvara says that according to some writers, the Pithamarda has nothing to do with love ! केचित्तु पीठमर्दस्यान्यत्रोपयोगा न शृङ्गारे। P 39, Rasacandrika.

1. In the Caturbhānī, Daksmna Bhāratī Series, Madras, 1922, pp. 6-7 See also Iśvara- datta's Dhurta-vita-samvada in the same collection. 2. Probably 'eka-vıdya' ın the definition of Vita in these texts in due to some confu- sion with the word 'ekadesavidya' at the begining of the Vidusaka-definition which immediately follows ın Vātsyāyana; even 'ekadesa-vidya' here means 'one capable of dabblıng in all Vidyas', and not one proficient in one Vidya only. (Vātsyāyana I. 4. 46 and Jayamangalā thereon). 7

50 ŚRNGĀRA MAÑJARĪ Bhoja who reproduces Vātsyayana in his Srngāra Prakaśa on both the Vita and the Pīthamarda (p. 481, Vol. III Madras Ms ), and remembers Vātsyāyana's Sūtra on the Vita in his Sarasvatikanthabharana, has however the following on the Pithamarda in his S K. A, which approaches more the conception in texts like the Daśarūpaka. अमात्यादिरासनाई: पाषण्डादिर्वा पीठमर्दः । तयोरमात्येषु माल्यवान् यथा *** पाषण्डेषु मैरवानन्दो1 * यथा ** । p 602 Other writers who do not consider the Pithamarda in connection with the plot of the drama, but deal with him as forming part of the miheu of love intrigue, give yet only a vague definition of him Thus, while at one end texts like the Bhāvaprakāsa (p 94, line 5) and our Srngaramañjari (p 51) describe him as one pacifying the lovers when they fall out, at the other end the Srngaratilaka, with greater vagueness, calls him simply one attached to the Nāyaka and Nāyıkā (I 30) When the office of the Pithamarda gets so generalised, some writers try to make a weak distinction between him and the Vita in the matter of bringing round a woman, the former employing his verbal dexterity and the latter, methods shown in the Kāmasāstra. अन्ये तु पीठमर्दः स्वकल्पितवाग्भिः स्त्रियं समाधत्ते, विटस्तु कामशास्त्रापायेनेत्याडुः । P 39, Rasacandriki Saradatanaya thought about his name but by saying that the Pithamarda was one who attended to his work seated on a seat before the Näyaka,2 he added nothing to our knowledge of this character. Working on the etymology of the word again, the Jain Abhidhanarajendra explains him as a scrambler for a seat in a gathering It is therefore necessary to enquire into the correct significance of Pithamarda. There is no specific character in the extant plays going by this name to guide us, as in the case of the Vita 3 Vatsyayana depicts his distinct nature in I 4 44. अविभवस्तु शरीरमात्र: मल्लिकाफेनकषायमात्रपरिच्छदः पूज्याद्देशादागतः कलासु विचक्षण: तदुपदेशेन गोष्ठयां वेशोचिते च वृत्ते साधयेदात्मानमिति पीठर्मदः । The Pithamarda is distinguished from the Vita in that, unlike the latter who is a local man and has his own settled abode and family life, he is peripatetic and is an immigrant to the place from another reputed centre of learning and high life, and is devoid ot a home or family of his own He is, like the Vita, proficient in all the aits, but is a regular teachei

1 The Śrngara Prakasa mentions the Pāsandin, illustrated by Bhairavananda of the Karpūramañjarī, separately, in addition to Vita, Vidūsaka, Pīthamarda etc Also the condition 'asanarha' here "one deserving of a seat" is contradicted expiessly by the Jayamanala which says of him 'पीठिकाद्यासनं तु नाहति' 2 पीठमध्यास्य पुरतः प्रयोक्ता नायकस्य य: । P. 94, Bhāvaprakāśa. 3. In the Malavıkāgnimitra, the Vidūsaka exclaims at the Pariviājikā उपस्थिता पीठमर्दिका पण्डितकौशिकी पुरस्कृत्य देवी । Act 1 13/14 This however does not mean that अविहा अविहा!

there was a female variety of this character called the Pithamardıkā As Kātavavema says, owing to similarity of function, the humorous Vidusaka ascribes to her that designation : अत्र विदूषकः परिहासेन परिव्राजिकाया पण्डितकौिक्या तद्धर्ममारोपयतीति मन्तव्यम्। In his Srngara PrakaSa, Bhoja illustrates the Pithamarda in the following obscure and possibly corrupt words : पीठमदो दन्तकः शूद्रवत्सस्य कामसेनाविप्रलम्भ। P. 482, Vol. III. Mad. Ms. A Pīthamarda named Dardaraka ıs mentioned ın Sūdraka's Bhāna, Padmaprābhrtaka (p. 6. Caturbhani). In the Mahabharata, IV. 22. 33, Kīcakavadhaparvan (see Gu jarathi Printing Press edn.), we have राथन: पीठमदाश्व where all the commentators, Nilakantha, Arjunamisra, Caturbhuja and Sarvajna Narayana quote the Medini 'पीठमदोऽतिदुष्टे स्यान् नायकस्य प्रियेऽपि च' and take him generally as a favourite of the hero.

INTRODUCTION 51

of these arts to the courtezans and one who lives by this calling. Bereft of personal resources, he carries no effects beyond his own person and three objects which are essential and characteristic of him These threethings which exhaust his portable luggage and which Vātsyāyana gives as Mallıkā, Phena and Kasaya form a puzzle The Mallika which is the same as the Pitha that composes his name Pithamarda and is the symbol of his profession as an art-teacher, is probably a kind of collapsible seat which he carries about hanging on his back The other two, Phena and Kasaya are two medicinal o1 toilette appliances, two powders, with which, as one still having his sexual craving, he rubbed his shanks and thighs to maintain their strength and lightness 1

1 The Jayamangala on the Kāmasūtras ecplains that Mallikā is Dandāsanika, th it supports him, and that it hangs on his back मललिका दण्डासानका, शरीरधारणात्पूर्वनागरकाचायै: सकेतिता। 'मल मल्ल धारणे' इति धातुपाठात्। सा तस्य पृष्ठत एवासनार्थ भ्राम्यते। Regarding the two other things carried by him, Phena and Kasaya, the Jayamangala show- clearly that they are two medicinal or toilette materials used for rubbing the shanks or thigh with जड्घाघर्षणार्थ फेनककषायाविति | Of Phenaka we get an idea eailier also in Vatsyayana's description of the Nagaraka's routinc, Nagaraka-vrtta, I 4 17, where Vatsyayana says that he should have bath daily, massage once in two days and Phenaka every third day (r4; 45:), here again the Jayamangala explains that Phenaka is to be applied to the shanks or thighs lest they should become rough. तृतीयेऽहनि जघयो फेनको देयस्स्यात्। द्विदिनान्तरित इत्यर्थ। अन्यथा ऊर््व जघे कर्कशे स्याताम्। There are two obvious meanings that easily suggest themselves, something producing Phena or froth, an ancient counterpart of the modern soap, and Samudraphena or cuttlefish bone. H. C. Chakladar (Studies in Vatsyayana's Kama Sutra, Greater India Society, Calcutta, 1929. Pp 146, 153), takes it in the former sense and R. Schmidt, (Das Kāmasūtra, Leipzig, 1900) in the latter Phenaka, exactly as meant by Vatsyayana, does occur in Suśruta, Cikitsāsthāna, ch 23, among preventive measures, anagatabādha-pratisedha, where Suśruta details the daily routine of healthy habits; here (verse 54-55), in the midst of various kinds of massage, Utsa- dana, Udvartana and Udgharsana, the last meaning rubbing is said to include Phenaka. उद्धर्षण तु विज्ञेय कण्डूकोठानिलापहम्। ऊर्वोस्सञ्जनयत्याशु फेनकः स्थैयेलाघवे। There is no doubt that this is what Vatsyayana refers to, but the text, the commentators, editors and translators of Suśruta do not help us to get at a conclusive meaning for Phenaka. From the text itself and Dalhana's commentary, we aie not able to determine if Phenaka is an act, a variety of Udgharsana or rubbing, or the material with which such a rubbing is done An editorial footnote here in the second revised N S Press edn with Dalhana's commentary (1931) identi- fies Phenaka as the material Samudraphena Quoting the same line from Suśruta, the Sabda- kalpadruma says that it is an act like rubbing-गात्रमाजनादिव्करियाविशेषः। Kaviraj Kunjalal Bhisagratna says in his translation of Suśruta (Vol 2 p 487) "Phenaka is a kind of friction (Udgharsana) of the body with small wooden rollers! " We have to ignore the naive gloss of Bhaskara Nrsimha Sastrin on the Kamasutras (in Ms, Madras D 3912) which says that Phenaka is an ornament अलड् कारावशेषः । From all this it appears reasonable to suppose that Phenaka is Samudraphena and its powder with which the shanks or thighs were rubbed to ensure their strength and lightness, and the rubbing itself thereby came to be called Phenaka. Kasaya, occuring along with it, in the same act, is evidently another powder, powder is a well. known meaning of Kasaya, and Chakladar's 'piece of dyed cloth' and Schmidt's 'brown red cloth' do not seem to be justified. Mallika is indeed the most essential emblem of the Pithamarda, on the face of it, the Jayamangala's explanation seems to suggest a collapsible or at least a peculiar kind of portable seat carried about by him Schmidt and Chakladar take it so, as 'a peculiar seat' or 'a folding chair'. But it appears to me that it is not so easy of interpretation, it is the same 'seat' which composes nis name Pitha-marda, the Jayamangala says: स पीठमर्द उपदेशदानेऽघिकृतत्वान् मलिकाख्य पीठं मृद्गातीति कृत्वा। It is a pity that we do not have more helpful materials to reconstruct this very interesting and inevitable personality in the milieu of ancient Indian love.

52 ŚRNGĀRA MAÑJARĪ Some Unpubhshed Works on the Subject The subject of Nāyaka-Nāyikā classification attamed, as already no'ed, great popularity in later times Wide as the foregone survey is, it does not take into considera- tion the literature on this subject which is still in manuscript. The printed works on this subject reviewed above make sometimes references to views which are not traceable in the extant printed literature, and these have evidently to be looked for in works of this class which have not yet seen the light of print, or which have not even been traced in manus- cripts lıke the Vila,aratnakara and Nayikabhusana cited in the Amoda and the Srngāra- mañjai. The manuscript literature on this subject comprises four classes of works, comprehersive treatises on poetics and dramaturgy, exclusive treatises on Rasas and Śrngara in particular, and separate works dealing only with the subject of Nayaka-Nayika classification I therefore append to the. above-given survey a list of works m manuscript which are known to deal with our subject The list is naturally not exhaustive, and includes only such works as are described in some of the Descriptive Catalogues of manuscripts which give adequate extracts and indication of contents Śrngaramanjarī of Ajitasena-Madras Government Oriental Mss Library, D No. 12957. Nāyıkāvarnana by Rāmaśarmar-Ibid. D No. 12901, 49 verses Laksanadīpıkā or Padārthadīpıkā by Gauranārya-Ibid D Nos 1494, 12951. Ch 6 here is Nāyıkā-nırūpana. Šrngārasāra by Venkatanārāyaņa Dīksıta-Ibid D. Nos. 12958-9 Ch. 2 here is Nāyıkā-nāy aka-laksana-vibhāga. Alankaraśırobhūsana-Ibid R. No 168 The last ch (10th) here is on Nāyaka- Nāyikā-bheda. Rasakalika-Madras Government Oriental Mss Library R No 2241. One chapter is devoted to Nāyıkā-nırūpana. Rasatarangini of Ramananda, son of Devanatha-Ibid R No 2307. Here chs 1-6 deal wıth the Nāyıkā-Nāyaka varieties. 1st-Svīya, 2nd Parakīyā; 3rd Sāmāmyā and her 16 varieties, 4th the 8 Nāyıkās, 5th Dūtīs and Sakhīs, 6th Nāyakas. Kavyollāsa by Nīlakantha-Ibid R No 2422 Opening ch here is on Nāyaka- Nāyikā-bheda. Kavıcintāmant by Gopīnatha kavibhūsana-Ibid R 2925 5th ch here is on lāyaka- Nāyıkās Rasıkarasayana-Ibıd. R 5251 3rd ch here ıs Nāyıkāprakarana rūpaka, Bhāvaprakāśa, and Pratāparudıīya Quotes Daśa- Śrngāramañjarī-Adyar Library, II p. 38b (23 G 18) Rasabindu-Bhandarkar Oriental Research Institute, 703 of 1891-95, Des. Cat. XII 212 p 241 A Caitanya sect work which names particular Nāyikas of Krsna and identifies their type, e.g Lalita-Khandita, Visakha-Svadhinabhartrka and so on. Rasadīrghikā-B O R. I-336 of 1814-86. Des Cat XII 210 p. 243: Nāyikā- bheda-varnana. Kalyānakallola by Gırıdhara, patronısed by Kalyānadāsa, son of Todalamalla. al amalla -Royal Astatic Society of Bengal, 4932, first two chs. here on Nayikas Caturacıntāmani by Gangādhara miśra, son of Sandohamiśra-R.A.S.B. 4934. chs. 2-6 here on Nāyıkās. Rasacandra of Ghāsīrāma of Gautama vamśa Office, 1210 (pp 352-3). Seems to follow the Rasamañjarī. Composed in 1696 A.D .- India

INTRODUCTION 53

Śrngārasaranī (or Śr sarasī) by Citradhara 1241 Des Cat of Mss in \ ithila, Vol Il No 51 Quotes the Sahityadarpana -IO.

Ādıpurana- I O 3335 On the story of Krsna and his sports and on Rādha. Chs 42, 43 and 44 here are repectıvely Nāyaka-bheda-varnana, Nāyikā-bhede Svakīyā-bheda- varnana and Vıvidha-nāyıkā-varnana Krsnavijaya by Ramacandra, son of Vaikunthapati, a Madhva writer -I. O 5233-4 Has a Nāyaka-Nāyıkā-prakaraņa I O 5262-A Fragment of 5 leaves devoted to Nāyıkā-bhedas. Caturacūdāmanı by Dāsırāja, son of simharāj? of the Kshatrī Sankaravāra Family - Des Cat of Mss m Mithila, Vol II No. 26 Śrngarasarasī by Bhavamiśra -Ibid No 50 Des Cat of Skt Mss in the Calcutta Skt College, Vol VII No 43 - Strīnam bhedāh, tallaksanānı As pointed out elsewhere in this Introduction and in the footnotes to the text here, the commentaries on the Rasamañjari, like those of Ananta Pandita and Gurujālaśāyı Pandita refer, with or without mention of source, to a large variety of views on this subject From the citations in the commentaries on the Amarusataka, extracts from which are given in Richard Simon's edition of the Amaruśataka, (Kiel, 1893) we crme to know of some rare views on this subject Thus Ravicandra quotes in his comments on Amaru 18 (p 66, Sımon's edn ) a work called Kavikanthahāra, and a type of Nāyaka called Vidag- dha defied in it, the same commentator gives also the definition of the Nayaka-type called Catura (P 132) Kokasambhava says on verse 14 (P 63) that there are three types of Nayakas called Grāmya, Anyāsakta and Kautuki, and speaks of three of the more commonly known Nāyakas, Daksina, Satha and Dnrsta as subvarieties of the second type Anyasakta; similarly under verse 15 (P. 64), he gives a new threefold classification of Nayikas to be approached by Vitas. P.63. त्रिविधो नायकः ग्राम्योऽन्यासकतः कौतुकी च। अन्यासक्तस्तु त्रिविध: दक्षिणः शठो धृष्टश्च। P 64. त्रिविधा हि नायिका विटगम्या भवति - अप्रियप्रिया, अन्यसक्तप्रिया, लुब्धा च। Nāyaka-Nāyıkās in Poems and Plays Hitherto we have been taking note of the varieties of Nāyaka and Nāyıkā as dealt with in theoretical treatises in the field of poetics, dramaturgy and erotics We shall now make a brief reference to the works of the poets themselves, poems and dramas, where these varieties are presupposed, mentioned by name 01 illustrated That these classes were known to Kalidasa is cleai In Act III of the Vikramorvasīya, he intioduces Ūrvaśī as an 1bhisarika, mentioning her as such both mn the stage-duection and the dialogue The picture of the Yaksi painted by him in the Meghasandeśa is that of a Prositabhartrkā Express ındication of lravat in hıs Mālavikāgnimitra being the Khanditā type is also to be had, in the same play, the hero tvpe Daksina, and the Satha too, are named The Khandita is mentioned in Raghuvamsa V 67 and IX 38 The love-aid Vidusaka is too common in the plays to need any special notice Bhāsa's Svapna-vāsavadatta features Vasavadatta asa Prositabhartrka, this designation being expressly mentioned there Viśakha- datta's lost romance on the Udayana-story, the Abhrcarka-vañcitaka, as the name it elf shows, features the Abhisārıka-type A Sankīrna-Prakarana, by definition, features a Sāmānya Nayikā, and in the leading specimen of this class, the Mrcchakatika, we have not only this class of heioine, but also the love-aids called Vita and Ceta In Bhavabhuti's Prakarana, as already noted, it is said in so many words that phases of love as formulated in the Kamasutras will be illustrated In Prahasanas and Bhanas especially, authors get greater scope to present varieties of both Sāmānyā and Parakīya classes, as well as the Vaisika class of heroes, and categories of characters among whom we can recognise several of the accomplices, of either sex, mentioned in the texts as helpful aids in love-affairs. The four Bhanas 11 the Caturbhani collection are rich in illustratve material relevant to the subject of our study here, Sūdraka's Padmaprābhrtaka, besides men-

54 SRNGĀRA MAÑJARĪ tioning such chatacters as Pīthamarda, Vita, Sākyabhıksukī, Mālākāradārikā, and the friend of the type Sahapāmsukrīdita given by Vatsyayana (p 24, Caturbhani edn ), describes a series of courtezans in different situations, whom we can identify as Prosita- bhartrkā (Kumudvatī, p 18), Kalahāntarıtā (Šonadāsī, pp 20-21), and Vāsakasaījıkā (Magadhasundari, p 22) Greater theoretical consciousness charactermes ISvaradatta's Dhūrta-vita-samvāda apart from occurrence here of Manavati, Pranaya-kalaha, Abhisāra etc, we have specific discussions as to whether a Sāmānya Nāyika has real love or not (pp 14-15, Caturbhani edn ), the relative efficacy of the vanious means of bringing a lady's Mana to an end (Manapanodanopayas, pp 16-17), and the many points on which aspects of love differ in the case of a Vesya from those of a Kula-vadhu In Vararuei's Ubhayābhısārikā, the phase of love showing the Kalahantarita, and the help of mter- mediaries lıke the Vița and the Paricāraka (Ceta) (p 2) are depicted, not orly a Pan- vrājıkā, but an eunuch, Trtīyā Prakiti, held as a Nāyikā-type by some according to Vātsyāyana (I 5 27) is also introduced (See above, p 18). Above all, making both the hero and the heroine go after each othei (Abhisara), (p 14), which gives the title to the piece (Ubhayabhisarika), this Bhana seems to lend support to those theorists who hold two varieties of the Abhisarika, the Nayika who goes to meet the lover and she who makes the lover go to herself While presenting the same mihicu of courtezan-love, the Pādatādtaka of Syamilaka may be taken as a special glouihcation of the character called Vita and his role Of poetical works, Hala's Gathasaptasatī leads both by chronology and importance It is a storehouse of verses depicting a large variety of moods, situations and characters in love, and forms thus approprate illustrative literature for oui subject. As has been shown in the Introduction to its 1933 edition issued by the Nunaya Sagat Press, as also in the footnotes in the Amarusataka published by same Piess, some of the verses of the Amarusataka are directly based on verses in this Piakrt collection, fuither, Hala's Saptasatī formed the basis not only or the Hindi Sabais of Tulasieay (died 1623) and Biharilal (C. 1603-1663), but, in the field of Sanskrit itself, of the Aryasaptasatī of Govardhana (12th cent. A D ) The commentatois on Hala's collection, Sadharanadeva and Gangadhara have classified its seven hundred verses under different subject-heads, in the classification of the former,1 only a few subject-heads bear direct reference to the types of Nayıkas, for instance Mānınī, Bhavisyadvirahiņī, Asatī, Sati and Kulavadhū and Veśyā, while a few refer mainly to the Nāyaka (cg Virahin), the love-messengers and their work (e g Sandesa, Dūti, Sakhī-samāśvāsa) and moods and situations in love such as Gotraskhalana which may lead to the types Khandita etc. Similar subject-heads are also to be seen in Gangadhara's vrajyā-classification An independent examination of these Präkrt verses shows that while it is not probably true that all of them were written from the point of view of love and the love- contexts assigned to some categories of these verses by commentators like (rangadhara may only be arbitrary, the majority of them are love-verses, and do betray a knowledge of the classification of Nayikas and the nomenclature pertaming thereto A few of the type-names expressly occur in the verses, a few occur in synonymous form; and with regard to some more, it may be said the verses presuppose or foreshadow some of the distinctions that were later clearly recognised Apt illustrations for most of the varieties which rhetoricians later ramified can be found here. Śingabhūpala mentions the Saptaśati as containing illustrative material especially for the Paraki) ā-Nāyıkā (R. A S. P. 109). An analysıs of the Saptasati shows that the theme of the Prositapatıka in all its varieties claims the greatest attention of the poets in this collection. The Nāyaka-variety called Prosita, and the situation called Pravasa form the emphasis in some verses, the former in I. 17. II. 29. III. 22. 61 83 IV 76 V. 43 65 66 85 VI. 21. 39. 94 and the 1. See Intro. to the 1889 N.S. Press edn.

INTRODUCTION 55

latter in II 11 43. In most of the other verses in this class (I 29 39 66.70 98 III. 6 8 22 83 VI 15 76 V 43 53 VI. 38 40 65 65 85 VII. 16 21 39 73. 94), the picture is of the Nāyika separated thus by Pravasa, referred to either by the name Pathıka-jaya or by the more common name Prosita-patika, which is adopted in Nāyıkā- classification , occasionally she is referred to also as Gata-patıkā (IV. 22 V 93), a name found in the Srngaratilaka (I 82). In I 66, 39, 98 etc the verse itself mentions the name Prosıta-patıkā what is more interesting is that quite a large number of verses in this class depict the tender and most appealing situation of the lover about to leave and the belove l in the pang of impe iding separation, which later came to be formulated as a subdıvısıon called Pravatsyat-patıkā (I 46 47 II 11 43 61 VI 2 86); the verse I. 47 uses for the Nayika here the designation Bhavisyat-pathika. Still more interesting it 1s to find in verse V 100 an exact illustration of the case in which the Nayaka cancels his journey on seeing the Nayika's sorrow, a case recognised later as a subvariety called Vıgalıta-prasthāna-patıkā (see Śrngāramañjarī pp. 34 35) VI. 37 depicts the lover on journey returning, which is the later Avasita-pravasa-patika, which some included in Prositapatika, but which our Srngaramanjari argues (pp 16.17) should be included in the Vāsakasajjıkā The next Nāyıkā-type figuring frequently in these verses is the Parakīyā- variety called Kulatā, Asatī or Jārinī, with whom Singabhūpāla prominently associates the Saptasatī (I 94 II 3 4 9 71 75 I1I 28 31 32 40 94 95 97 VI 1 18 50 65 V. 15 16 17 61 VI 24 49 VII 16 61 62 93) The verse IV 1 answers exactly to the subvaritety called Pativancananipuna later recognised, and its illustration in the Srngāra- mañjarī (p 11 verse 58) bears very close likeness with above noted Saptasatī-verse. The situation of Mana, which gives scope to the pets to introduce the pacifying lover and the Duti comes next in importance in the Saptasatī, the Mānini figuring here is the MānavatI coming under the Khanditā-type (I 11 87 88 II. 8 29 IV 9 IV 14 68 74 9J V 32 65, VI 21 22 VII 5).75) Of verses portraying the several methods of removing the Mana (Mana-vinoda-upayas), the lover falling at the feet of the beloved (pādapatana) 1s illustrated by II 8 IV 90 V 32 65 (Rabhasa-cumbita), Gotra- skhalana which is one of the causes of Mana is found in IV 43 V 40 52 96 Besides, Khandıta in general is delineated also in I. 32. 90 II 26 79 82 IV 74 V. 51 52 VII. 53. 57. Another Nayika who gets a number of verses is the Vadhu who is the Sviya of the texts and she is mostly presented as the Navavadhu or the Navodba Mugdha of the texts (I 15 55 III. 40 90 92 93 VI 25 VII 44 45 46 47. 83) Viraha and Vırahotķanthitā claim a few verses (I 50 1I. 78. VI 33 VII 9. 58 68) , Kalahānta- 1itā 1s shown in I 10 66 85 II 63 81 IV 89 VI 39, its Pranaya-kalaha variety 1s seen in I. 27, VII 99 depicts Krtaka ot feigned Kalaha Veśyā or Sāmānyā of the texts may be seen in II 56 74 V 74 Aohisārika is described in III 49 and IV 13 I 39 portrays the Svadhinapatika, the former verse using the words constituting this type- name II 2 refers to Vipralabdhā, II. 98 and VII 43 to Parakīyā Kanyā II 19 on 'yauvanonmatta', 1I 73 on Saubhagyagarvita, and IV 97 on Prema-garvita come under tne Vakrokti-garvitā class (see Srngaramañjarī, pp. 29-32) I. 86 describing Tadana or the beating of the lover by the beloved is on the type Adhira. The Vajjalaggam (Bib. Ind edn ) which is another collection of Prākrt gāthās has similar and also common verses, some of its sections are on the following Mana, Pravāsa, Vıraha, Satī, Asatī, Veśyā and Dūtī The next important work which is of illustrative value for our subject of Nāyaka- Nayıka classification is the Amarusataka It is very difficult to identity exactly the particular Nayıka-variety in each of the century of verses ascribed to Amaruka. As can be seen from the table given below, the commentators themselves do not agree in their Nāyaka-Nāyīkā-identifications in these veises Vemabhūpala who is most regular among the commentators to specify Nāyaka-Nāyikās and who mentions this determination of the Nāyaka-Nayika-bheda as one of the objects of his commentary, expressly says in his

56 SRNGĀRA MAÑJARĪ comments on 4, Sandastadhaia etc that there is no question of the Nayaka-Nayika veriety here, under 5, Alasavalitath, he cites the different identifications of the Nayika proposed by other commentators The differences are sometimes between a main class and a subvariety thereof, where a Nayik type 1, to be fully characterised by the apphca- tion of both the general classification, with its subclasses, and the Avastha-classification, one commentator may mention only one aspect, while another, without giving rise to any contradiction, mention another aspect All these being excepted, we still find that some- times commentators make mutually contradictory identifications An independent analysis of the Amaruśataka shows a preponderance of the Manavati type in which an erring lovei, the hdy in slight or stiong Mana, the pleading messenger, aie all again and again portiayed by the poet Next in fiequency is the lidy whose lover is to go or is going or is gone on travel, Piavatsyit- or Pravasat-or Prosita-patikā, verses 10, 12, 35, 61 an 185 (N S Press eln ) present the Pravatsy at- patika, 62 answers exactly to the subvariety Vigalita-pravasa-patika recognised later, 88 would answer sımılarly to the Avasita-pravasa-patika oi Agatapatika formulated later It 1s not as if all the verses bear an empha is on the Nayika, in some the Nayaka is the centre of attention, in some the iole played by the messenger or friend That by the ninth century the Amaruka verses had actained great cclebiity is known fiom Anandavardhana's citations of tnem and reference to them in terms of high praise Earlier than all the commentators, Dhanika cites as illustrations, mostly with mention of the name Amaruka, a number of these verses in his Dasarūpakavaloka in this same context of Nāyīkā varieties

Bale natha- Madhyā Dhīrādhīrā Kānte talpam- (Rata) Pragalbhā (anon) Kvacıt tāmbūlāktah- Ekatrāsana- Sāvahıtthādarā Dhīrā Pragalbhā. Āyastā kalaham- Ratau udāsīnā Adhīrā Pragalbhā (anon) Kopāt komala- Drstvaikāsana- Jyesthā & Kanısthā Nıśśvāsā vadanam Kalahāntarıtā Ādrstiprasarât Proșıtaprıyā Urası nihitah Abhısārıkā Praharaviratau Bhavat-piavāsa or Ga chat-pravāsa Deśaıh antarıtā Kopo yatra Na jāne sammukhāyāte Dhīrādhīrā Pragalbhā

Lāksālaksma (Bhãva) Pragalbhā Dhırsta-Nāy aka (anon)

Smaranavanadī- Mad ıyā (anon) Richard Simon gives in his edition of the poem (Kiel, 1893) extracts from several commentators and I append here a table of the Nāyaka-Nāyıka identifications according to these difterent commentators.

Rāmā-

Vema. Arjuna Ravicandra. Kokasambhava. Rāma- nanda- Rudrama-

rudra natha. deva.

8 3 Alolam Pragalbhā.

4 Samdastādhara Śatha. Mānavatī. Māninī Satha

5 Alasavalitaıḥ Parakīyā, not Parakīyā- Parakīyā or

Svīya Madhya f

Mugdha. Svīyā.

as some say; the address 'Mugdhe' 1s to be understood euphemistically. INTRODUCTION

6 Angulyagra Svīyā-Madhyā. Mānavatī. Guru-mānavatī. Kalahāntaritā-

Satha. Madhyā.

7 Datto'syāh Kalahāntaritā- Mānavatī- Dhīra-Madhya. Navodhā

8 Likhannāste Kalahāntarıtā. Daksıņa.

9 Nāryo mugdha Svīya-Madhya-' Kalahāntarıtā.

Dhīrā-Kalahān- tarıtā. Sațha.

10 Kopāt komala Svīyā - Pragal- Adhīrā Mānavati Sviya-

bhā-Adhīrā. Pragalbhā Mānavati- Adhirā. Sațha. Adhīrā. Pragalbhā-

Dhrsta. Īrsyāmanāvatī. Adhira.

Śațha.

11 Yātāḥ kim Svīyā - Pragal- (Vigalita- Prosita- Dhīrā Prosita-

bhā. Anukūla. pravåsa-patikā). bhartṛkā. Pravatsyat- bhartrkā.

Patıkā.

12 Tadvaktrā- Svīyā-Mugdhā. Svādhīnapatikā. 57

Šatha.

58

Vema. Arjuna. Ravicandra Kokasambhava. Rāma- Rāmāna- Rudra-

rudra ndanātha. madeva.

13 Prahara Svīya-Mugdha Mugdhä Pravatsyat- Mugdhā- Prosita-patıkā. Pravatsyat-

Anukūla. bhartrkā- Patikā.

Mugdha. Anukūla.

14 Katham apı Svīyā-Madhyā- (Pranaya-) Kalahāntaritā. Kalahān-

Kalahāntarıtā. Kalahāntarıtā. tarıtā.

15 Dampatyoh Svīyā-Pragal- Mugdhā. Svādhīna-

bhā Anukula. patıkā

16 Ajñānena Svīyā-Dhīrā- Dhīrā- Khandıtā ŚRŃGĀRA -MAÑJARĪ

Pragalbhā- Mānavatī Khandıtā.

Khandıtā. Dhrsta.

17 Ekatrasana Svīyā-Dhīra- Piagalbhā Dhĩrā Pragalbhā.

Pragalbha Savahıtthādara

Satha.

18 Drstvaikāsana 2 Svīyā latter Nāyikā Jyesthā-

Nayikas, one Jyestha. Kanısthā

Mugdha, ano- Vıdagdhā Daksına.

ther Madhya or Pragalbhā.

19 Carana-patana Svīyā-Mugdhā- Kalahāntarıtā Kalahāntaritā.

Kalahāntarıtā

20 Kancyā gādha Svīyā-Madhyā. Mānavatī,

21 Ekasmin śayane Svīyā Madhyā Mānavatī. Svīyā-Praudhā.

parāńmukha or Pragalbhā. Anukula.

Rāma- Rāmā-

Ravicandra. Kokasambhava. Rudra-

Vema. Arjuna. rudra. nanda- nātha. madeva.

22 Paśyāmo may1 Svīyā-Mugdhā. Mugdha-

Anukula. Pranaya- mānavatī.

23 Ekasmin śayane Svīyā-Madhyā. Mugdha-

vıpakșa Daksıņa. Īrsyā-mānavatī. Daksına.

(Mrdu-mana). Śatha.

24 Tasyas sandra Svīyā-Madhyā. Dhrsta. Khandıtā

25 Tvam mugdhāksi Svīyā- Madhyā. Mānavatī. Svādhīna-) patıkā. INTRODUCTION

Mugdha Anukūla

26 Bhrübhaṅge Sviyā-Mugdhā (or Madhyā).

27 Prāneśapranayā. Svīyā-Mugdhā. Mugdha- Mugdhā- Mugdha- Mugdhā.

(Sã patyuh prath- Anukūla. Manavati. Navodhā. Mānavati.

mā-)

28 Bhavatu viditam Svīyā-Dhīrā Dhīrā. Madhyā- Svīyā- Pravatsyat-

Manavatī. Dhira- patıkā. Pragalbhā.

29 Urasi nıhitah Vāsakasajjıkā Sāmānyā- Sāmānyā- Svīyā-

Dakșıņa. Svairıņī. Abhisārıkā. Abhısārıkā. Madhya. earlier Vā aka-

30 Prātaḥ prātar Svīyā-Dhirā- Khaņdıtā Khanditā Svīyā-

Pragalbhā. Khanditā. Khandıtā. Khanditā.

Dhĩrā- Pragalbhā-

• Khandıtā. 59

60

Vema. Arjuna. Ravicandra. Kakasambhava. Rāma- Rāmā- Rudra-

rudra. nanda- madeva

31 Prasthānam Svīya-Madhyā Bhāvi-prosita- Proșita- natha.

bhartrkā. bhartrkā. Prosita- Prosita-

valayaiḥ or Pragalbhā. bhartrkā.

Anukūla. bhartrkā. (Bhāvi-)

32 Supto'yam sakhi Svīyā-Mađhya. Anukūla. Dhūrta. Mugdhā.

33 Kopa yatra Svīyā-Dhirā- Dhiradhira-

Pragalbha- Pragalbha or

Khandıtā. Madhyā.

Dhrsta. ŚRNGĀRA MAÑJARĪ

34 Sutanu jahihı Svīyā-Madhyā Mugdha- Mānavatī. Mugdhā-

or Pragalbhā. Mānavatī. Mānavatī

35 Gadhalingana- Parakiyā- Mānavatī. Pragalbhā.

Fanyā Pragalbhā Parakīyā- Kanya as

36 Patālagne Mugdhā. Mugdhā per Vema;

Svīyā- Mugdhā. or Svīyā

Mugdh5 (Navodhā). Mugdha

Anuküla.

37 Napeto'nunoyena Svīyā-Madhya Mānavatī

38 Gate premavee Sādhāranī Prosita- Prosita-

bhartrka. bhartrkā

39 Cıravirahiņoh Svīyā-Madhyā (Agata- patıkā)

40 Dīrghã vandana- Vāsakasajjikā. (

41 Kānte sāgasi Śațha. Svīya-

,2 Pragalbhā

Vema Arjuna. Ravicandra. Kakasambhava Rama- Rāmā Rudrama-

rudra. nanda- deva.

natha

42 Āsankya prana- Svīyā- Mānavatī. Dhīrā. Dhīrā- Manavati.

tım Pragabhā. ] Mānavatī

43 Sā yāvantı Svīyā-Mugdhā. 44 Dūrād utsukam Svīyā-Madhyā (Madhya- (Madhya-

Pragalbhā. mānā). Dhūrta. mānā) Dhrsta

45 Angānām Svīy ā-Madhyā- Vipralabdhā. Mānavatī.

Vırahotkanțhitā

46 Rātrau vārı- says that the INTRODUCTION

Nāyıkā and Nayaka are not clear.

47 Svam drstvā Svīya-Madhyā Pranaya- Mugdhā Mugdhā.

or Pragalbhā. manavati. Manavati.

48 Capalahrdaye Svīya-Madhya- Manavatī. Mānavatī. Mānavatī.

Kalahantarıtā

49 Nabhası Svīyā-Madhyā. Proșita- Prosita-

bhartrkā. bhartrkā.

50 Bāle nātha Svīyā- Dhiradhīrā. Dhirā Dhīrā.

Dhirādhīrā- Madhyā.

Pragalbha- Khandita. Virohot- Madhyā (?). Virahot-

51 Ślișta kanțhe Svīya-Madhya. kanthıtā or Kalahan- kaņțhitā.

taritā. 61

'62

Vema. Arjuna. Ravicandra. Kokasambhava. Rāma- Rāmā- Rudrama-

rudra. nanda- deva.

nātha.

52 Väntaih Svīyā- (Bhāvi) Dhīrā Dhirā- (Bhavi-)

Pragalbhā. Prosita- Bhavışyat- Prosita- Prosita-

(Bhāviprosita- bhartrkā prosita- bhartrkā patıkā.

patikā). bhatrkā.

53 Lagnā nāmśuka Svīyā-Mugdhā (Vıgalıta-) Mugdha Prosıtapatıkā. Svīyā-

pravāsapatıkā. Bhavişyat- Madhya.

proşıtabhartrkā

54 Viraha-visamah Svīya-Madhya- Pranaya- Kalahān- taritā ŚRNGARA MAÑJARĪ

Kalahantarıtā. mānavatī.

Satha or Dhrsta.

55 Parimläne Svīya-Madhya

56 Ķrto dūrāt Svīyā- Mānavatī Svīyā

Pragalbhā- Pragalbhā

Dhīřa Dhira Anukūla.

57 Āstām viśva- Parakīyā Parakīyā Parakīyā.

sanam 58 Śrutvā nāma Svīyā-Mugdhā. Kalahāntarıtā. Virahot- Prosita- Svīyā-

kanthitā bhartrkā. Madhya

59 Santyevatra Svīyā- Mānavatī.

Madhya.

60 Smararasanadī 61 Niśśeșacyuta Svīyā-Madhyā.

62 Mlānam pāndu Svīyā-Madhya Prosita- patıkā

63 Āyastā kalaham Svīy ā-Dhīrā- Pragalbhā

Vema. Arjuna. Ravicandra. Kokasambhava. Rāma Rāmā- Rudrama-

rudra. nanda- deva.

nātha.

64 Cintamoha Svīyā-Madhy a Manavati, Kalahāntaritā- Dhira.

65 Kvacıt ťāmbūlā- ktah 66 Aham tenahūta Mugdhā Svairini.

67 Puspodbhedam Svīyā Madhyā Svīya-

or Pragalbha- Madhya or

Svāđhīna-patıkā Pragalbha.

68 Kva prasthitāsı Parakīyā- Abhısārıkā- Abhısārıkā. Abhısārıkā. INTRODUCTION

Abhisārıka Svarrinī,

69 Lolabhrūlatayā Svīyā- Madhya or Pragalbha.

70 Drstah kātara Svīyā-Madhyā. Proșita-patıkā Bhavisyat- prosita- bhartrkā.

71 Lāksālaksma Svīyā-Dhīrā- Khandıtā. Dhīrā-Khandıtā Khanditā.

Pragalbha- Dhrsta.

Khandıtā Dhrsta.

72 Adyārabhya Svīyā-Madhyā Mānavatī Mānavatī

(Kalahan- (Kalahān-

tarita). tarıtā).

73 Sathanyasyah Svīyā- Pragalbhā.

74 Sunyam vasa- Svīyā-Mugdhā Mugdhā Mugdhã. Mugdhã Mugdhā:

grham Svādhīna-patıkā 63,

64

Vema. Arjuna. Ravicandra. Kokasambhava. Răma- Rāmā- Rudrama-

"rudra. nanda- deva.

natha.

75 Pādāsakte Dhīrā. Dhirā.

76 Kathama api Svīyā-Madhyā. Dhīrā- Śatha. Kalahān-

Kalahāntaritā. taritā.

77 Paśyāślesa Svīyā-Madhyā Dhrsta ? (Pragal- bhã)

78 Acchinnam Parakīyā- ŚRNGĀRA MAÑJARĪ

Kanyā,

79 Spħutatu Svīya-Madhy a- Kalahantaritā. Caturā?

Kalahāntarıtā. Manavatī.

80 Lilatāmarasā- Svīyā-Madhya. Dhrsta. Mānavatī. Mānavatī.

hatah. Dhrsta. Dhrsta.

81 Purābhūt Svīya- Dhīrā, Dhĩrā. Uttamā.

Pragalbha.

82 Mugdhe Svīyā-Madhyā. or Mugdha

83 Ālambyāngaņa Svīyā-Mugdhā- Prosita- bhartrkā.

84 Anālocya Svīyā-Madhyā- Dhira- Adhīrā-

Kalahantarita. Kalahântaritã Kalah5n- taritā.

85 Kapole patrālī. Svīyā-Madhyā. Dhĩra. Adhirâ- Dhirā-

Manavati- Manavatī.

Catura. Catura.

Vema Arjuna Ravicandra Kokasambhava. Rāma- Rāmā- Rudra-

nanda- madeva.

6 natha.

86 Āyate dayite Svīyā- (Āgatapatıkā).

Pragalbhā

87 Rohantau Sādhāranā.

88 Caksuḥprīty ā Parakīyā Parakīyā

89 Karakısalayam Svīya-Madhyā

90 Parācī Svīyā-Madhy ā- Svādhīnapatıkā INTRODUCTION

91 Ādrstiprasarāt Svīyā-Madby ā- Prosita- Mugdhā Pic sita- Prosita-

Prosıta- bhartrkā Prosita- bhartrka bhartrka

bhartrkā bhartrkā

92 Deśath (Prosita- bhartrkā)

93 Svinnam Svīyā- Pragalbhā.

94 Kathinahrdaye Sviy a-Mugdha Satha. Pragalbhā Sviya-

Dhīrā. Mauhya.

95 Bhrübhedaḥ Svīyā-Mugdhā. Svīyā-Dhīrā. Svīvā (Uttama)

96 Caranapatitam Svīyā-Mugdhā or Madhya.

97 Kante talpam Svīya-Mugdhā- Svādhīnapatıkā 65

66

Vema. Arjuna Ravicandra Kokasambhava. Rāma- Rāmā- Rudra-

rudra nanda- madeva.

nātha

98 Niśśvasāh Svīyā-Mugdhā or Madhya- Kalahāntarıtā. 99 Nantahpraveśam Dhīrā- Pragalbhã

100 Priyakrta Svīyā-Madhyā- Svadhina- patıkā. SRNGĀRA MAÑJARĪ

101 Sälaktakena Dhrsța. Adhirā. Dhrsta.

102 Dhiram väri- Prosıtanāyaka. Prosita- nāyaka

103 Kante katyapi Bhavısyat- Bhavisyat-

prosita- prosita-

bhartrkä. bhartrkā

104 Sã bālā 105 Puras tanvyā Śatha.

106 Mandam mudrita- 107 Pītastusāra- Mānavatī.

108 Iyam asau ParakĪyā. Parakīyā

109 Nitvoccaih 110 Śrutvā tanvyā Proșita- Prosita-

bhartrkā. bhartrkā.

Vema. Arjuna Ravrcandra. Kokasam'hava Rāma- Râma

rudra. nanda- nitha

111 Ramanam 112 Angam candana- 113 Varam asau Virahot- Virahot-

kanthitā kanthitā

114 Na jāne Pragalbbā Pragalbhā

115 Pito yatah Parakīyā, Parakīyā

116 Jātā notkalıkā Parakīyā- Mānavatī. Manavatı IN TRODUCTION

Mānavatī.

117 Malayamarutām Prosita- Virahot-

bhartrka. kanthitā.

118 Sālaktakam Adhīrā Adhīrā.

Dhrsta. Dhrsta

119 Tapte mahā Vırahı-nāyaka Virahot- Prosita-

kanthitā. nāyaka.

120 Tanvangya Dhĩrā Virahot-

Vırahot- kanthıtā

kanthıtā.

121 Kopastvaya Madhyamā. Madhyma-

Catura. Mānavatī. Catura.

122 Ürudvayam 67

68

Vema Arjuna. Ravicandra Kokasambhava. Rāma- Rāmā- Rudra-

rudra. nanda- madeva

nātha.

123 Hāro jalårdra- Viıahi-nāyaka. Virahot- kanthıtā.

124 Tanvi śarat- 125 Hāro'yam 126 Angam 127 Subhrūņam ŚRŃGĀRA MAÑJARĪ

128 Etat 129 Mugdhah 130 Tataścabhijñāya Pragabbhā- Adhīiā.

131 Analpacınta- Mānavatī

Iti priye 132 Yāsyāmīti Prosita- Kalahāntarıtā.

bhartrkā.

133 Sanvāham 134 Idam krsņam Mānavatī

135 Prāsāde sā Vırahi- nāyaka.

136 Prayacchaharam 137 Kincin mudrita- Prosita- Manavatī.

bhartrkã,

Vema. Arjuna. Ravicandra. Kokasambhava Rama- Rāmā- Rudra-

rudra nanda- madeva.

nātha

138 Dhanyāsı 139 Asadvrttah (Mānavatī)

140 Devena (Prosita-

141 Harıhara- bhartrkā).

142 Durvarah 143 Dhanyās tāh INTRODUCTION

144 Dāse krtagas1 145 Ma garvam 146 Kopāt kiñcit (Bhavi- syat)

• 147 Proșita-

Smartavya bhartrkā

148 Yada tvam 149 Yad rātrau 150 Sakhe satyam 151 Keśaih kesara 152 Kım kurmah 153 Angāni candana 154 Yadı vınıhıtā 155 Kșīņāmśuh 69

70 ŚRNGĀRA MAÑJARĪ In Govardhana's Āryāsaptaśati (Kāvyamālā) which was composed, according to the poet himself, as a Sanskrit replica of Hala's seven hundred verses, we come across the following expressions occurring in Nayaka-Nayıka-classification, Guna-garvita, Asatī, Kulajā, Dhīrā, Praudhā, Daksına, Abhısārıkā, Mugdhā, Navodhā, Prātıveśıka or Jāra (ı e, Upapatı), Vıpralabdhā, Saubhāgya-garvitā, Pathıka-Jāyā etc Dūtī, Nisrstārthadūtī, Gotraskhalıta, Jyotsnābhisāra etc. are also to be seen. Illustrations of these Nāyaka-Nāyika types with suitahle verses in the different anthologies have already been referred to See above pp. 26, 27, 32, 33. Among later minor poems, the work called Jatimala available in the mss. collection of the Asiatic Society, Bengal (G 8267, Des Cat no 4936) illustrates in fifty-one verses the Nayika-varieties I have been able to identify its author Sakalakala Maudgalı Somanatha as the musicologist who wrote the Ragavibodha in A D. 160)1 In his Rāgavibodha itself, Somanātha relates some Ragas to some herome-types, Velāvalī- Utkanthitā, Bhūpālī-Vāsakasajjıkā etc. In hıs Jātımālā, Mugdhā, Madhyā, l'ragalbhā, mixed varieties (miśrā), and the eight Avasthā-Nāyıkās are illustrated. VI Nāyaka-Nāyikas in some other Indian Languages and Music The Srngaramañjarī, it has alredy been mentioned, refeis to works on this subject in both Hindı and Telugu Of the Hindi works on this subject, two are referred to in it, the Sundaraśrngara and the Rasikapriya, a brief account of these two works has already been given above and mention will again be made of them in another section below. Under Gathasaptaśatī, reference has already been made (p, 54) to the Hindi Satsat of Biharilal, which later formed the basis of two Sanskrit Saptasatis, by Hatprasad of Benares (c 1775) and Paramananda (Srngarasaptasatı-1869) 2 That the Srngaramanjari itself is based on a Telugu original of that name and that the Narasa Kavya referred to in it is probably a Telugu woik have also been mentioned. Mention has also been made above (p. 8) of the most outstanding contribution in Telugu on this subject, viz. the musical compositions called Padas by the celebrated Carnatic musician-composer Ksetragña who was pationised at the same court with wbich the author of our Srngaramanjari was connected closely. Ksetragna's Padas number some thousands and have not been completelv published For a long time the important part of the repertoire of the courtesuns doing Bharata natya and the mainstay of the Bhava-abhinaya portion of their dance-recitals, these Padas came to be widely imitated, some of the later Pada-composers approaching almost the excellence of Ksetragña. In the Tamil country, where tne Telugu dance and music heutage was most carefully preserved, Tamil versions and Tamil Padas also on the mo lel of Ksetragii's compositions arose. Each Pada of Ksetragña depicts a mood of love and a distinct variety of Māyika, and answers exactly to definitions of Nayika-vaueties described in theoritical treatises like the Rasamanjari In fact, there is a manuscript in the Madras. Govt. Oriental Mss. Library called the Srngararasamanjari in which the Rasamanjari and its Nāyıka- varieties have all been illustrated each with a Pada of Ksetragña.3 The Tamil counterparts of the Telugu Padas of Ksetrajña were referred to previ- ously. More strictly adhering to the purpose of illustrating and depicting the several classes of Nāyıkās and Nāyakas, a composer named Rāma Bhāratī who flourished at Tıruvayyār 1 See my Non-musical Woiks of Some Leading Music Writers, Journal of the Madras Musuc Academy, XX, pp 153-4 2. See Madras Govt. Ori Mss Library D. 11989, for a sımilar Srngārasaptaśatī. 3. See Prof Vissa Appa Rao in the Fournal of the Madras Music Academy, Vol. XVI, 1945, pp 41-44

INTRODUCTION 71

near Tanjore in the time of King Shahaji composed Tamil songs which are preserved in a manuscript in the Sarasvati Mahal Library, Tanjore 1 Another, Väsudeva Kavi of the same court composed sımilar Nayika-songs in Tamil, Telugu and Sanskrit 2 Independent of this tradition, classical Tamil literature had its own old scheme of classifying both the hero and heroine into different classses according to their age Ul is one of the ninety-six kinds of Tamil compositions (Prabandhas), it describes a deity or hero going in procession through the street where courtezans live and the women-fblk there, from the young onwards, giving expression to their love for the deity or the hero The Adi-ula on Ceraman of the 9th cent A D. is the earliest composition in this class. The women are described in the Ulas in distinct classes represented by seven stages in their growth According to the authority Poihaiyar, the seven stages are as follows

Name Age Number of years Peda1 5-8 4 Pedumba1 9-10 Manga1 11-14 4 Madandaı 15-18 4 Arıvai 19-24 6 Teriva1 25-29 5

Perılampeņ 30-56 7

But according to the Vaccanandimalai and Ilakkanavilakkam, the age and duration of these classes are as follows. 5-7 (3), 8-11 (4), 12-13 (2), 14-19 (6),20 -- 25 (6), 26-31 (6) and 32-40 (9). See Panniruppattiyal, Saiva Siddhanta Publication Society Series, Madras and Tirunelveli, pp. 74-79. According to Prof. S Vaiyapuri Pillai, this classification as such is not known to the Sangam works, though a general use is found therein of the expression Peda1-p-paruvam, the very early age of innocence Men are also similarly classified; though those between the ages of 16 and 48 are specified as fit to be theme for an Ula, men are also generally classified from their tender age onwards into seven stages:

Balan-1-7 years; Mili-8-10, Maravon-11-14, Tiravon-15th year only; Kalai-16th year only, Vidalai-17-30; Mudu-mahan-beyond 30.

VII

Nāyıkās in Painting

The subject of Nāyaka-Nāyıkā types attained a further dimension by the associa- tion of the art of painting. The attractive delineation of the several moods of love and the condition of lovers proved a theme of great fascination to painters. The earliest work of love poems of which we have an illustrated manuscript is the celebrated Amarusataka, n the Mayurbhañj State in Orissa, a palm-leaf manuscript of it in Oriya script, assignable to c 1600, has been discovered, and Dr St Kramrisch has given an account of this manuscript together with reproductions of four of the

1. See N V Venkatasubrahmanya Sastri, Fournal of the Tanjore Sarasvatr Mahal Library, Vol VI, No 2, pp 6-9, No 3, pp 15-22. 2. Ibad VII, 1, pp 11-12, 14-17.

72 ŚRNGĀRA MAÑJARĪ drawings in it in the Journal of the Indian Society of Oriental Art 1 The Rasamañjari, a work of basic importance in this branch of study, has also been illustrated by artists of the Kangra or Pahadi (Hill) school A fine illustration of the Jyestha-Kanistha Nayikās in this Rasamanjari-seiies 1s repro luced in Rajput Painting (Faber Gallery of Oriental Art with Introduction and Notes by Basil Gray. Plate 1) 2 According to Sri O.C. Gangoly, this illustrated manuscript of the Rasamanjari is dated in Samvat 1752 in the, reign of Raja Kirapala, the chief of Bhasholi in the Panjab Humalayas. The Hindı works on this subject, which we have already noted and which are men- tioned in our Śrngaiamañjarī itself, vis, the Rasikapriya of Keśavadāsa and the Sundaraśrngāra of Sundaradāsa have also been illustrated by the same Hill School of painters, and attention to the illustrated manuscripts of these works has been diawn by Ananda K Coomaraswami and Sri O C Gangoly3. That similar love-poems were illustrated by painters of othei schools in other parts of the country can be gathered from the fact that we have a manuscript of the middle of 15th century illustrating the Vasanta vilasa and belonging to the Western Indian School Thanks to the courtesy of Sri O.C Gangoly, I have been able to include in this volume some paintings illustiating Nāyıkā-types. VIII

The Srngaramanjari, the Rasamanjari, the Rasamanjari-Amoda and Estimate of the Śrngāramañjarı As already mentioned, the Śrngaramañjari bases itself mainly on the Rasamañjari which soon became a standard woik on the subject The Srngaramañjari regulariv submits the Rasamanjari to a critical exammnation, and on most occasions difters from it; while some of the points made by the Srngaramañjari agamst Bhanudatta are no doubt

1, See Vol VIII 1940 pp 225-240 Plate X fig. 2 'Santyevatra grhe grhe' -the Nayıkā ıllustrated ıs Svīyā Madhyā (guru) Mānavatī; fig. 4 'Aham tenāhutā'-Mugdhā according to Vema but Svairini according to Arjunavarman, fig 3. 'Smaratasan ulipurena.' The last verse 'Smararasanadi' and its illustiation in fig 3 are not properly understood by Kramrisch The three figures in between the two lovers are the Guru, the eldcis, in the ex- pression 'gurusetubhih', they are not, as she says, three women representmg a repeated requisite in the illumination of the manuscript, who do not occur m the verse but only mn the illustration, and who are Sakhis discussing the nature of this stiong (guru) dam (setu). 2 This publication reproduces also a Nayika-pictuie (plate 10) from the Iady Rothenstein collection (Kangra School, early 19th cent ), identifed as of the Vasakasajjkd but more correctly Virahotkanthita It is also mentioned here that the Lalbhai collection mn Ahmedabad has a large number of Nāyıkā-Paintings

50-52 3 See Ananda Coomaraswam1, Bulletin of the Boston Museum, Apuil, 1920. Vol NVIII. pp O. C Gangoly, Rūpam, 1927, April, pp 47 51, An Editio Princeps of Sundara Śrngära based on an illurtrated ms of the work belonging to Mr Ajil Ghose, and Love Poems an Hindi, Calcutta, 1936 See also on this subject of paintings of Nayikas, Coomaraswami, 'hight Nāyikas', Fournal of Indian Art, No 128, Oct 1924, Kannomal, 'Some Notes on Hindu Erutics', Rupam 1920, Oct °pp 20 27, Eric Gill, 'Art and Love' Rupam 1925, pp 1-8; Coomaraswami, Catalogue of the Indian Collectrons in the Museum of Fine Arts, Boston, Part, VI, pp. 22-29. Illustra- tion Plates 8-19 Vicitravibhramasakta Praudha and Labdhayatı Praudha. Svārhīnpatiki Navodha bala, and H Goetz, the Marwar School of Rajput Pamting, bdlet u of te Baredu Museum and Picture Gallery Vol V pt. 1-2, 1947-48, pp 47, 48, 49, illustration, fig. 3. from an illuminated ms of the Rasikapriya in the Lallgarh Palace Collection of the Maharajal of Bıkaner

INTRODUCTION 73

significant, there are a few which are not so ; however, that this criticism is not prompted by any animus against Bhanudatta, such as, for instance, exhibited by Jagannatha Pandita against Appayya Diksita, is amply borne out not only by the language of the criticism but also by certain contexts in which the Rasamañjari is expressly accepted and followed and certain others where the treatment in the Srngaramañjari is indebted to that in the Rasamañjari , there are even illustrative verses in our text which are adaptations of those found in Bhanudatta's work Almost as regularly as the Rasamañjari is criticised, the commentary on it called Amoda is followed As already pointed out, while the author of the basic text, Bhānu- datta, is invariably referred to in singular number, his Commentator, the Amoda- author, Gurajalasāyı Pandita, is always cited in our text with the reverential plural, and in one place, the Amodakāra is mentioned as a gifted writer, Praudhā Āmodakārāh, p 11, lıne 25. As the Amoda on the Rasamanjari is an unprinted work, I have extracted in the footnotes to the text here the relevant portions of the Amoda from its manuscript, wherever the Srngaramañjari mentions or presupposes it, and the extent of the indebted- ness of the Srngaramañjari to the Amoda is much more than is evident from these foot- notes But here again it should not be supposed that the author of the Srngāramañjarī slavishly follows the Amoda. On the other hand, always open in mind and critical in outlook, our author does dot refrain from criticising and rejecting some of the views of the Amoda In the detailed summary of contents that follows, and in the table of Nāyakas and Nāyikās accepted by the Śrngaramañjarī appended to it, the views of the Srngāramañjarī can be seen in full; also, in the foregoing historical survey, some of the views of our author, in their relation to the views of other writers, earlier and later, have been touched upon. In this section, I shall review particularly the contexts in which the Rasamañjari and the Amoda figure in the discussions in the Srngaramanjari First I shall deal with the definitions of the different Nayikas, and then with the classifications. (it) Definitions Śvīya (p 3). The Rasamañjari and most other works of this calss define the Svīyā as one who loves one's legally wedded lord only स्वामिनि एव अनुरक्ता स्वीया। The Srigaramanjari argues that the word 'eva', 'only', in the defintion is needless. It is not only superfluous but also wrong in as much as it prevents a Sviya becoming a Parakīya. As explained in the Amoda and other commentaries, the need for 'eva' is to ward off overlapping, Ativyapti, with Parakiya who has, according to these writers, love to the paramour as well as to her wedded lord The Śrngaramañjari does not accept this position, as, according to it, love is love and it can, really speaking, be towards only one, the wedded lord or the paramour The Amoda's further explanation (p. 34, Adyar Ms ) that love is possible towards both the husband and the paramour and that, to keep the former off the scent, the unchaste wife may still indulge in enjoying the former's company too, is not acceptable to the Śrngāra- mañjari It contends tnat love is not mere sexual enjoyment and that Anurāga or love so called being applicable only to one, there need be no adjunct like 'eva' to distinguish the Svīyā from the ParakĪyā Of the two criticisms thus offered by the author of the Srngaramañjari, the former that if 'eva' is added, no Svīya could become Parakīya is irrelevant; we are dealing here only with the Sviya and she is so only as long as she is attached solely to her lord; when she is also attached to a paramour, she ceases to be Sviya.1 This classification into Svīyā,

1 See Rasamanjari न च परिणीताया परगामिन्यामतिव्यातिः। अत्र पतिव्रताया एव लक्ष्यत्वात् (p. 12) and Amoda thereon (p 37) यावत्कालं पतिव्रता तावत्कालं स्वीयैव * * * परपुरुषगमनमारम्य तु परकीयात्वेन तस्या न लक्ष्यतेति भाव:। 01

74 SRNGĀRA MAÑJARĪ Parakīyā and Sāmānyā 1s, comparatively speaking, fundamental, and not contingent on changing situation, avastha, lıke that into Svadhīnapatıka etc The other criticism rests completely on the over-refinement of the meaning of Anuraga or love Mugdha (pp 3-4) The first sub-class under Sviya, Mugdha is usually defined by writers including Bhanudatta as one in whom love has just sprouted (ankunita-yauvana) The Srngaramañjari criticises this as being too wide and as applying also to Parakiya and Sāmănyā. But as Ananta Bhatta points out, the definition of Mugdha has to be taken along with the Sviya-definition and not independently एवं च पतिमात्रानुरागत्रत्वे सति प्रत्यग्रयौवनत्वमिति फलितं मुग्धालक्षणम्। R M Vya. This obvious qualification of the definition removes its apprehended applicability to Parakīyā and Sāmānyā A further objection to this definition is that it is based on age and is out of place in this study which is based on guna or quality The question of age can never be dis- sociated from the threefold classification Mugdha, Madhya and Pragalbha; a little below, the text itself speaks of princesses of grown-up age, atipraudha-vayaskāh rājakanyāh. Further the condition of 'sprouting youth or love' is not necessarily one of mere age; it can well be taken as one of guna or quality. Another equally well known definition of Mugdhā, gven in the Pratāparudrīya, is that she is one in whom bashfulness gets the upper hand over love (lajja-vijita-manmathã). The Amoda says that this definition means the same as the previous one. The Srňgara- mañjarī objects to this also. The first variety of Mugdha is ajñata-yauvana and to her this will not apply, for in this stage, there is neither love nor bashfulness nor any question of the latter overpowering the former 1 Therefore the new definition of Mugdha proposed by the Srngaramañjari is that she is one who does not yet have the finer appreciation of man, purusa-visesa-anabhijña. This innocence of the finer appreciation, which is very vague, can only mean innocence in love-matters in general. The negative character of the definition is also fraught with the danger of taking away the Mugdha totally out of the scope of Nayika-study; and in its significance on the positive side it comes to the same thing as 'one in nascent youth'. The Navodha-definition (p. 4) in the Śrngāramañjarī is the same as that mn the Rasamañjarī. Ati-visrabdha-navodhā (p 4) . In the Rasamañjarī, immediately after the defintion of Madhya, we find a sentence that this Madhya, owing to her experience being of a further developed nature is also called Atı-visrabdha-navodhā. This sentence is, according to Ananta Bhatta, not found in all manuscripts of the Rasamañjari, and is an interpolation, there being also no illustrative verse for it. एषैत्र चातिप्रथयादतिविस्नब्धनवोढेति काचित्क: पाठस्तु अतीव धार्ष्टयाभाववत्या तस्यां धाष्टयें- प्रयुक्तमध्याव्यवहारासंभवादू अनुदाहतत्वाच्च अनुपादेयः। P. 31 Apart from absence in some mss. and lack of illustrative verse, the conception itself, Ananta Bhatta says, is inherently wrong, as such a degree of confidence or boldness does not belong to the Madhya stage. But according to the Amoda, this sentence forms part of the text; according to it, a separateillustrative verse is not necessary for this, as it is only another name for Madhyā.

1. Some do not give such a meaning to Ajñata-yauvana; according to them she knows that youth has sprung up in her, but others are not able to know that. Ananta Bhatta says in his Rasamafjari-vyakhya वयं तु, न श्ञातं यौवन यस्याः, शातं यौवनं यया इत्येवार्य इति जूमः। p.27.

INTRODUCTION 75

एतेन अतिविस्रब्धनवोढाया अनुदाहृतत्वादू एषवेत्यद्यतनपाठ इति केर्षाचिदूदूषणमलग्नकं वेदितव्यम्। P.84. Višveśvara, as already pointed out (p. 29 above), accepts this alternate name for Madhya The Srngaramanjari however (p 4), adopting the line of argument seen in Ananta Bhatta's commentary, criticises and discards this Ativisrabdha-navodhā; it argues that ativisrambha pertains only to Pragalbha, and Navodha is always a Mugdhā and the conception of an Ativisrabdha-navodha is self-contradctory. Pragalbha (p 5) While considering the Rasamañjari-definition of Sviya, our text, we noted above, pointed out that the adjunct 'eva' in 'svaminyeva' was unnecessary A similar objection is raised here against the Rasamanjari-definition of the Pragalbha, that she is one whose proficiency in love is with reference solely to her wedded husband (pati- matra, etc.). The reason why the Srngaramañjari objects to the restrictive 'matra' here is that such a definition would be too narrow, and apply only to the Sviya-pragalbha and not to the Parakiya and the Samanya Earlier while examining a definition of Mugdha, the Śrngāramañjarī pointed out that there was no Mugdhā in Parakīyā and Sāmānya. Here it adds that of these three stages, Mugdha, Madhya and Pragalbha, the first two are only in the Sviya and the last would apply also to the Parakīyā and Sāmānya. The Srngāra- mañjarī, which follows the Amoda here, adopts the definition of Pragalbha given in that commentary, namely, one whose love has overcome bashfulness मदनविजितलजाकत्वं संपूर्णयौवनत्व वा तल्लक्षणम्; न च वेश्यादावतिव्यातिः, इष्टत्वाद्वेश्यादेः स्वीयाया इव मौग्ध्याद्यभावेऽपि प्रागत्म्यस्यावश्यमङ्गीकरणीयत्वात् । Pp.00-91. And earhier also on p. 55 वस्तुतस्तु प्रगत्मात्वमात्रं संभवति; पतिमात्रविषयेत्यादि वक्ष्यमाणतल्लक्षणे पतिमात्रविषयेति विशेषणस्य परिभाषामात्रतापच्या व्यर्थत्वादिति वक्ष्यते। Dhīra etc (p. 6) : In the view of earlier writers, the distinction into Dhīrā, Adhīra and Dhīrādhīrā apples only to Svīyā, and not to Parakīyā and Sāmānyā. Bhānudatta differs from them and accepts these classes for the Parakiya also. It is noteworthy that, on this point, while the Amoda disagrees with the Rasamañjari (see fn. p. 6 of the text), the Śrngaramanjarī which generally disagrees with the Rasamanjari and follows the Amoda, follows the former and disagrees with the latter. It may be added here that Ananta Pandita holds, in his gloss on the Rasamañjari, that Mana and consequent varieties Dhīra etc., are possible in the Mugdha-variety called Jñāta-yauvanā, and that the failure to mention these varieties under Mugdha constitutes a gap in the Rasamañjarī. वस्तुतस्तु ज्ञातयैवनारूपमुग्धाभेदस्यैते भेदा भवितुम्ईन्तीनि तदनभिधानान््यूननैव।P. 44. This too, the Amoda discountenances मुग्धाया अपि मानोऽस्तीति प्रतीतेवैयादिभेदा: संभवन्तीति कनचिदुक्तं, तदयुक्तम्।etc. P. 1131.

That the later writers hold these varieties for all, as against the earlier authors, who confine them to the Svīya, is recorded by Viśveśvara and Trıpāțhi Šıvarāma; Sāmarāja follows the ancients (see above Intro pp. 28-29) Madhya Adhīra (p. 6) . Bhanudatta defines this variety as using harsh words to show her anger against her lord (Rasamanjari p. 42); the Srngaramañjari , considers harsh words impossible in one of such tenderness as the Madhya and therefore defines

1. Here, as also elsewhere, certain criticisms found in the Amoda seem to refer to Ananta Pandita's gloss on the Rasamanjari. If these anmny mous allusions in the Amoda are really to Ananta Pandita we may take this as additional evidence for Gurujālasāyin's date (see above Intro. p. 14) , Ananta Pandita wrote his gloss on the Rasamañjari in 1636 A.D (India Office Ms 1224-5) and Gurujalasāyin should have followed with his gloss soon after this

76 ŚRNGĀRA MAÑJARĪ the Madhya Adhiră as one adopting the vieled censure of an anyapadesa to how her anger (p 7) Parakīyā (pp 7-8) : Bhānudatta defines the Parakiya as one who is in secret love with a person other than her wedded husband (aprakata-para puiusa-anuraga). The Srngaramanjarī criticises that the adjunct introducing 'secrecy' is needless. There ale varieties of Parakīya whose love-affair is known to their close friends and others (Laksita and Kulata), it is not possible to explain 'secrecy' as referring onhy to the ignorance of the affair to the wedded husband, for there are cases of unchaste women to whom husbands are attached, knowing their wives' infidelity. The Amodakara 'retmes' the adjunct 'secret' and says that in any case an original element of secrecy at the beginning was always and unavoidably present The Srngaramanjari's answer to this is that in the case of a Śravanānuraktā, one who has developed love tor a paramour on a fuiend's report about his beauty etc, even this trace of original secrecy is impossible in as much as the friend is a witness Therefore, the Srngaramañjari defines Parakiya simply as one attached to a lover other than her husband. As there is no distinction of husband and another for a courtezan, the obvious purpose suggessted for the adjunct 'aprakata', m8. that it is to ward off overlapping with the courtezan whose love is open, is to be dispensed with Tripathi Sivarama, like our author, rejects the word 'aprakata' introduced by the Rasamañjari. अथ संज्ञायाः परस्येयं परकीयेत्यत्रोपयोग इति 'अप्रकट' इत्याधनुपयुक्तम्। Rasaratnahāra, K. M. Gucch. VI, p. 123. Just as the Amoda justified 'aprakata-' by explaming it as 'an element of secrecy at sometime', some others seem to have justified the adjunct by adopting the reading 'aprakatita' This is known from Ananta Pandita's gloss (p 64- यत्तु अप्रकटितेति पाठ: etc) 1 According to these commentators, it does not matter if the love affair of this lady 1 known, but so far as she herself s concerned, she does not show it and strives to hude it. Ananta Pandita's own view is that the Parakiya is one who is in love with another man not purely for pecuniary considerations. मम तु वित्तमात्रानुपाधिकपरपुरुषानुरागवत्वं परकीयात्त्रमिति युक्तमाभाति। P. 64 But the Srngaramanjari would not agree to this kind of distinction of the Par .- kīya from the Samanya and to its author, there is, in the first place, no question of Para or Sviya for the Samanya, and then, the Samanya 1s not to be defined solely on the basis of 'money' Sāmānyā (pp. 12-13) : In the Rasamañjarī-definition of this Nāyikā, the Srngara- mañjarī critcises both the conditions said to characterise her love, first, being governed solely by money, vitta-matra-upadhika, and second, the love having for its object every. body, sakala-purusa-anurāga Bhānudatta lays some emphasis on 'the sole consideration of money' and argues that even in cases of real love, material consideration has played the chief role at least at the beginning. The Srngaramañjari contends that love as such cannot be caused by money, nor can it be for many; on such a definition therefore there can be neither love nor a Näyika. It is not possible to dilute the meaning of love to refer to such relationship as a courtezan exhibits for money towards a person; love is a specific feeling between a lover and a beloved and not any kind of relation. If some kind of vague desire for many should be meant, there will hardly be any Sviyas left. The Amoda tries to

1. In the Benares Skt. Ser edn, the passage is not free from mistake; in the Gopal Narayan Co edn. (Bombay), it is much more defective, some more words having Iwen left out. It is well-known that the printed editions do not contain the verses mentioning th' . 2J" in which Ananta wrote this gloss, which are found in the India Office ms A better e'fif.vt of the Rasamanjari with new commentaries is desirable.

INTRODUCTION 77

explain that the love of a Samānya is not the semblance of sentiment, Rasābhāsa, by reason of the many persons towards whom it is directed, because at the time she is engaged to one, she is attached to that person only, and so fai as that particular engagement is concerned it is real love. This explanation too is not acceptable to the author of the Śrngāramañjarī To him, even the Kulatā, the Parakīyā who resorts to many para- mours, is really searching for a best lover for herself, therefore, the Samānyā too has real love and that towards a particular person of her choice, but she merely consorts with several persons for profession. On the subject ot Veśyā and real love, I have also added a note in the end.

According to the Amoda, there may be Parakiyas too who accept pecuniary consi- derations and it is to ward off such cases that the word 'matra', 'solely', is added to 'vitta' in the Samanya-definition. This again is not acceptable to the author of the Śrngāramañjari who considers the Parakiya as being prompted solely by love 1 Any material gain that comes is not to be taken as essential, for otherwise even a wedded wife's Svīya-status would be jeopardised on this ground Therefore, the definition offered by the Śrngara- mañjarī is that the Samanya is one who, in the absence of marriage, consorts with many n expectation of a return phala-mimittaka. The phala or purpose is actual love in case the Samanya is really attached, in other cases the purpose is money and what she exhibits 1s a mere general desire which is not love. Samaraja proposes that the Samanya be defined simply by two conditions, love for many and such love in public, by the former, the Sviya is distinguished, by the latter the Parakiya. That such. a definition was pro- posed by another earlier writer too, we learn from the Amoda which cites and refutes it (p. 229) Anyasambhogaduhkhitā, Vakroktigarvitā and Mānaratī After dealing with the three main types together with their sub-classes, Bhanudatta gives a special classification applicable to all these three, according to which they fall into the three classes, the names of which are given above The constitution of these three into a separate class like this is an innovation of Bhanudatta. Viśveśvara, as already pointed out, says that authoritative writers do not have this special threefold classification (p. 24, Rasacandrıkā). The Šrngāramañjarī rejects this separate group; it brings Anya- sambhoga-duhkhita and Manavati, both based on the anger of the offended beloved, under Khandita; the remaining variety Vakrokti-garvita is added to the next group of classification. It is, however, somewhat incongruous to club the Vakrokti-garvitā with the eight Avasthā-Nāyıkās. This next group gives an eightfold classification which all writers from Bharata downwards have mentioned. To the time-honoured eight in this group, the Srngaramañ- jarī adds the Vakrokti-garvita and thus, alone among writers on this subject, gives this group as comprising nine varieties In the definition of these also, the Srngaramañjarī expresses its differences with the Rasamañjarī.

Svādhīnapatıkā (p 15) The Rasamanjari defines this type as one having a lover who is always obedient. The Amoda rightly explains that the word 'always' it to avoid overlapping with the other varieties in all of which the lover may be occasionally obedient or favourable The Srngaramanari, however, does not see the reason why the condition 'always' should be added, 'one endowed with a favourable lover' is sufficient according to it; its argument is that this is a contingent classification governed by states and moods which change, and no adjunct should be introduced which would make any class absolute. This again is an argument similar to the one used by the Srngaiamañjari against the word 'eva' in the Sviya-definition There is no need to provide for such contingency in the

1. Compare Srngaratilaka I. 61-पराजना । अश्यास्तु केवल प्रेम तनैषा रागिणा मता॥

78 SRŃGĀRA MAÑJARĪ definition, as one is a Svadhīnapatika only so long as the consistency of the obedient lover continues; the moment he develops disappointing behaviour, the state of Svādhīnapatıkā ceases and some other type results, Another important point raised by the Śrngaramañjari in connection with the Svadhinapatika is that the earlier authors were wrong in extending the classifcation Dhira etc. to the Svadhinapatika also No writer appears to have done this specifically, but this is seen and presupposed in the scheme of working up the total number of Nāyık- varieties by putting together all the principles of classification The SrngaramañjarI is correct in its objection; the idea of anger and favourable disposition being mutually in- compatıble, Dhīrā-Svādhīnapatikā etc is a contradiction in terms. Any feeling of temper that the Svadhinapatika may exhibit is only feigned, to play a joke on her friend or lover and to add a little variety to the smooth course of her love, and however much a case of love miy be firm on both sides, the nature of this sentiment is such that a feeling ot some miscarriage or possible untoward turn will unavoidably come. Therefore, with a good deal of understanding of the subtle nature of love, the author of the Srngaramañjari adds in the sub-varieties of the Svadhīnapatika two new classes of his own, Dūtivañukā-one who hides her confirmed love and for the sake of making fun of the friend or messenger, feigns anger with her lover, and the Bhavisankita-one who, though united with her lover yet entertains fears of a likely estrangement. Vāsakasajnkā (pp 16-17) On this heroine-variety, the Śrngāramañjarī quotes the definition given in the Prataparudriya of Vidyanatha. The point to which the Srngaramañjarī devotes a discussion under this heading is the question of a Nayika-type called Avasita-pravāsa-patikā, one whose husband's travel abroad is at an end, and who is making herself ready to receive hım. This point is dealt with to some extent in a special note at the end on the term Vasaka and its meaning. It is said that some bring the Avasita-pravāsa-patikā under Prosita-patikā, as the two belong to the same unit of theme-situation called Pravasa. The Amoda is quoted as saying that as the mood of the Avasita-pravasa-patikā is one of joyous reception accorded to the lover, she can be brought under the Svadhina-patika. The exact position of the Amoda in this respect has been set forth at some length in the footnote in the text itself at this place (p. 17). The Srngaramanjari holds that the joy of the Svadhīna-patika and the Avasita-pravāsa- patıkā are different feelings and are caused by different causes, the former by the constancy and obedience of the lover, and the latter by the return of a lover from travel. The inclusion under Prosita-patıkā herself, the Srngāramañjarī explains, is impossible as the Proșita-patikā is a lady in separation, suffering, longing and waiting, and this is a situation of joy. As noted already (above p 23), the Avaloka also holds the same view: आगच्छदागतयोस्तु प्रवासाभावात् p 133 Therefore, though, to begin with, the Srngaramanjari does not raise any objection to the Pratäparudriya-definition, it now proposes a simpler definition the purpose of which is to comprehend the Avasita-pravasa-patika. According to this definition, the Vāsakasajjika is one who is making joyous preparations, expecting her lord. The work Vilasaratnakara which the Amoda quotes does not accept this Avasita-pravāsa-patıkā (see p. 17 text, fn.). Virahotkanthita (pp. 19-20) On the face of it, the sımple name Virahotkanthitā would mean a lady yearning owing to separation from her lover. The Sāhityaratnākara gives such a simple definition but such an yearning is common to both the Prosita-bhartrkā and the Vipralabdha. According to the Pratäparudriya-defnition, the lover here unduly delays his arrival and intensifies her longing The Nātyasāstra-definition includes a state- ment of the cause of the delay viz, pre-occupation with multifarious work. All these the Srngāramañjarī points out, are definitions equally applicable to the Prositabhartrka and Vipralabdha As I have shown in the footnote on p. 19 of the text, the whole series of citations and discussions here is taken from the Amoda which critically examines the Rasamañjarī-definition and offers its own fresh definition.

INTRODUCTION 79

The Rasamañjari, following a well-known authority like Rudrabhatta (Sr tilaka I. 75), associates her with a trysting place, Sanketa-sthala, and there she is held as anxiously thinking over the reason for the delay in her lover's arrival. The Amoda and following it the Srngaramanjari point out that, while on one side this definition is wide and overlaps with Vipralabdha, on the other, it is too narrow and does not hold good for the beloved who is in Purvanuraga-vipralambha i.e., in love before marriage when she is long- ing for meeting her lovei, and for the beloved who is at home and whose husband's company is being delayed owing to manifold domestic work A sort of negative definition 1s therefore offered by the Amoda viz. that the Virahotkanthita is one whose longing at the absence of union with her lover is not due to either his travel or deceitful behaviour. Because of its negative nature, this definition does not commend itself to the author of the Śrngaramañjarī who refines the definition by specifying the place where the beloved is as her house itself and the absence of union as due to other work holding him. Viśveśvara steers clear of the difficulty in a much simpler manner by interpreting the 'Viraha' in Viraha-utkanthita as happening in the same place. विरहृश्च समानदेशस्थत्वे सति संभोगाभावः। P. 19, Rasacandrıkā The Vipralabdha and the Prosita-bhartrka are also warded off by the statement of utkantha or longing as the characteristic mood of this type The Daśa- rūpaka (II 25) also feels the old definition of the Utkanthita unsatisfactory and specifies the nature and cause of the delay in the lover's coming as due to no unpleasantness in their relationship; which as the Avaloka explains earlier, while showing the distinctness and mutual exclusiveness of these eight heroine types, removes overlapping with the Khanditā too. Vipralabdha (pp. 21-22) : From Bharata downwards all writers, earlier or later, associate the Vipralabdha with Sanketa, tryst; it is a lady that goes to a trysting place on a message received from her lover but finds there that he has disappointed her, who is called Vipralabdhā See Bharata XXII 204 (K. M. edn.), Rudrabhatta I. 78, Viśvanātha III. 83 (S D.) Vidyānātha I. 47 (Pra ru ), Tripāthi Sıvarāma p. 126 and Sāmarāja p. 155 (1938 reprint). Dhanañjaya, II 26, no doubt gives a definition omitting the word 'sanketa', but from Dhanika's illustration it is clear that the disappointment of the Nāyikā happens at the place of tryst. In keeping with this general trend, Bhänudatta also defines the Vipralabdha as the beloved who comes to the tryst and finds that the lover has disap- pointed her. The author of the Srngaramañjari criticises Bhanudatta's definition that it is not applicable to a Sviya or a Sāmānyā who do not go to a trysting place, but are expecting union or meeting at their own residence and are disappointed by the lover's failure to present himself; thus the Srngaramañjari really enlarges the scope of the Vipralabdha and offers its definition that she is one in the pang of separation consequent on disappointment caused by the lover There is yet another point with regard to the Vipralabdha which the Rasamañjarī- definition unwittingly omits. As the Amoda points out, the definition as it stands may overlap with the Virahotkanthita whom also the Rasamanjari associates with sanketa. What is unique in the conception of the Vipralabdha is what her name signifies, vipra- lambha, ie.,Vancana; the lover must have deceived her एतलक्षण वाश्चतात्वे सतीति विशेषेण देयम्- Amoda p. 328. Though the author of the Srrgaramañjar, notes that this deceit or Vañ- canā is the essential part of the Vipralabdha, he does not note its omission by Bhānudatta in his criticism of the latter's definition. To the element of Vañcana, the Srngaramañjari devotes some special attention. On this point, it cites the Vipralabdha-defintion from the Pratāparudrīya, where Vidyānātha specifies the deceit as practised by the iover, dayitenatha vancita. That it is the lover who, on some ground, disappoints her is understood in the definitions of all writers, Bha- rata, Rudrabhatta etc. It is the author of the Srngāramañjari alone, who, here again, enlarges the scope of Vañcana; according to him there may be the case in which, for sheer

80 SRNGĀRA MANJARĪ fun and variety of interest, the friend and maid may play a joke on the heroine, hide the lover who has come in a corner of the house, tell her about his having disappomted her, and in the end call off the bluff This, however, is a minor point on which the definition of the Vipralabdha need not be criticised That some other writer too who was earlier than the author of the Srngaramañjari took this view of Vañcana and considered the posi- bility of its being caused by the Sakhi is seen from the Amoda which cites such a view and critises it as impossible and going against the very conception of the Sakhi. सा च वश्चना प्रियस्यैव * * * न तु दूत्यादेः। न हि परतन्त्रा दूनी समानसुखदुःखा संकेतनिके- तस्थले अविद्यमानमपि कान्तं विद्यमानमावेद तत्र नीत्वा महान्तं विषादं जनयितुं शक्ोति ** अन्यथा सखीमात्रस्य अविश्वसनीयता स्यात्। अत एवोक्तं विधानाथेन etc. pp. 328-9 The Sakhi-vancana envisaged by the Amoda is no doubt somewhat grave and may be aganst the very nature of a Sakhi, for according to it, the friend goes to the extent of taking the lady to the tryst on a false message, on the other hand, the Sakhi-vancana contemplated in the Srngaramañjari is mild and quite compatible with the role of the Sakhi, for it is confined to the Sakhi merely hiding the lover who has already arrived and creating a false disppointment for a while Khandita (pp 23-24). In the old conception, as seen in Bharata and Rudrabhatta, the Khandıtā and Vipralabdha go together as two kinds of disappointed Nāykās, the former at her own place expecting her lover on the occasion (Väsaka), when he was due and getting disappointed, and the latter at a trysting place (Sanketa) expecting the lover according to his message and getting disappointed. The conception of the Khandıtā changed and when we come to the Dasarupaka we have clear mention of the lover's misbehaviour with another lady and the jealousy of the offended lady (II. 25). It is this conception of the Khandıta that has persisted. The Amoda cites the old Śrngāratilaka- definition and rejects it. The Rasamanjari-definition with which the Srngaramañjari starts its discussion says that the Khardita is one to whom the lover comes with signs of having enjoyed another lady's company. This is criticised by the Śrngaramanjari as being too narrow, as it does not embrace the cases where the jealousy and consequent unhappiness of a Nayika is caused by merely hearing of the lover's guilt or by the con- tinued attachment of the Nayaka to another lady, ignoring and neglecting her. That is, according to the Srngaramafijari, it is not necessary for the erring lover to come and sport the symbols of his guilt before her The Dasarüpaka-definition which simply refers to her knowledge of the lover's new interest and her consequent jealousy would thus be acceptable to the Śrngāramañjarī. Here again, the Śrngaramañjarī says that definitions of these heroine types should take full note of the significance of the actual name of the type. नामानुकूला कल्पना कार्या Ip 23.1 Khandıtā simply means, one whose love has heen cut or shattered to pieces. Therefore she is a heroine who, being. offended in the course of her love, is angry, or, to put it otherwise, she is one who is jealous, her jealousy being due to her lover's mi behaviour, It was noticed above that a special group of three types, Anyasambhogaduhkhita, Manavati and Vakrokti-garvita created by the Rasamañjari was rejected by our work, and that the first two varieties in this group were brought by our work under the Khandita. All varieties based un anger come under the Khandıta It is this anger that produces the Mānavatī; the Khandita evolves into the Mänavati and if she gives expression to her fee- ling in hitting words etc, she belongs to the class Dhira etc .; when the same Khandita bewails her lot before her friends, we call her Anya-sambhoga-duhkhita. Viśveśvara does not accept even this slight difference between Khanditā and Māna- vatī. The Śrngāramañjarī says: 1. See also the discussion under Vipralabdha, p. 23.

INTRODUCTION 81

कोपोत्पत्तिसवमये खण्डिता; सैव मानं कुर्वती चेन्मानवती। p 23 Viśveśvara denies such a distinction and says that Mānavatī is not different from Khan- dıtā. अत्र हेतुदर्शनकाले खण्डिता, तज्जन्यसंभोगानुमितिकाले े मानवतीत्याहुः। तन्न । तत्रापि संभोगानुमित्यैव ईर्ष्यापत्तेः । तस्मान्मानवती न भेदान्तरम्। P 24. Rasacandrika. Tripathi Sivarama too identifies Kopa and Mana and criticises the Rasamañjari's distinction of the two. (pp 124-5). That the correct conception of Mana is vital to the discussion is realised by the author of the Śrngaramañjari Unlike Viśveśvara, he wants to maintain a distinct Māna- vati, but at the same time, he does not propose to give her an independent status as in the Rasamañjari-scheme. As one interested in keeping her as an independent Nāyıkā, Bhā- nudatta defines Mana distinctly as behaviour expressive of resentment at the lover's guilt, Priya-aparādha-sūcıkā cestā This is helpful to our author, as he is also interested in keeping Manavati somewhat distinct from (i e. as a sub-variety of) Khanditā; so, our author agrees here with Bhanudatta, and quoting Bhanudatta's definition of Mana with approval, says that Mana is not anger, but reticence (Mauna) caused by anger. The jealousy roused in the Nayika may be due to the four causes described by Bha- rata, Vaımanasya, Vyalīka, Vıprıya and Manyu (see p. 23 of the text here) Vipriya is displeasure caused by his professing intense love and behaving in an opposite manner; Vaimanasya 1s the mental anguish caused by actually seeing him come from another lady's company with signs of his guilt; Vyalika is a further stage, when despite prevention he persists in frequenting the other lady, Manyu is intense resentment when the audacious rogue comes to her with his guilt evident on his person and brags before the lady about women being mad after him. All these come under the scope of Khanditā. Anya-sambhoga-duhkhitā (pp. 27-28): This Nāyikā who is an independent type to Bhanudatta is taken by our author as a Khandita sub-class. Our author says that older writers considered only the Duti-sambhoga-duhkhita as the Anya-sambhoga-duhkhita. The older writers meant here refer only to Bhanudatta, as he was the first to constitute this and two others, Manavati and Vakrokti-garvita, into a special group. As Bhānudatta does not define her but only illustrates, the Śrngaramañjari's observation is deduced only from the illustration in the Rasamañjari Here again the Śrngaramañjari goes by the name of the heroine and enlarges the scope of its significance, anya or another lady the intimacy with whom upsets the Nayika, may be the female-messenger herself, as in the well-known Amaruka-verse Niśśesacyutacandanam etc or any other lady Such enlargement of scope may make the Anya-sambhoga-duhkhitā co-extensive with Khanditā, but the Srngāramañ- jari posits that an essential feature which fixes the distinctness of this as one of the varieties of the Khandita consists in the fact that she exhibits her resentment not to her erring lover, but, in his absence, to her own friends and messengers,-Nayaka-paroksam duhkhitā (p. 27) However logical such an extension is, it should be mentioned that it is in the Duti-sambhoga-duhkhita that the prominent beauty of this class comes off Kalahāntarıtā (p 28): Strangely the Śrngaramañjarī does not criticise the defini- tion of this type given by Bhanudatta or any other writer. From Bharata downwards she has been defined in identical terms by all writers. There are only two points to be noted here One, the Srngāramañjarī brings Pranaya-kalaha as giving rise to a sub-variety here. Another, while discussing the Khandita as being characterised basically by Kopa, our text legitimately faces the question of how the Khanditā and Kalahāntaritā would then differ (p. 23). It answers that, no doubt, at the time when the anger is up, the Kalahantrita too is a Khandita; but her distinctness comes, when the mood of quarrel has subsided and the dominant feeling is repentence and sorrow at having brushed II

82 SRNGĀRA MAÑJARI aside the lover who again and again explained, entreated and even prostrated. This 1s more clearly stated by our author later while dealing with the division into Uttama etc. कलहान्तरितायाः कोपावस्थायां खण्डितात्वमेव, पश्चात्तापावस्थायां कलहान्तरितात्वम् ।P. 39. The name Kalahantarita is obviously to be interpreted as 'separated' (antartā- vyavahitā) by quarrel (kalaha), that is how the Śrngāramañjaii appears to take it (p 23) ; but the Amoda says that it means 'one severed from happiness owing to quariel'. कलहे सति मु(सु)खेनान्तरिता व्यवहिता ।P 314 Vakrokta-garvitā (p. 29). In the above-discussed special group of three, given by Bhanudatta, this is the only heroine which the Srngaramañjari accepts as an inde- pendent Nayika, but the work adds it as the ninth in the traditionally handed down set of eight Avastha-Nayikas. The characteristic of this type is clear from the simple name itself and the Śrngaramañjara has no discussion here As in the case of Anya-sambhoga- duhkhitā, here too the Rasamañjari does not define the type but only illustrates it in two varieties, Prema-garvita and Saundaryagarvita. The only originality exhibited here by our text is in the varieties and the sub-varieties formulated by it under this heading Prosrta-bhartrka (pp 32-3): The old Prosita-bhartrka was only the lady whose husband had gone away on a journey"owing to some work etc. But as has been shown above while reviewing the poems depicting this situation of Pravasa, as in Hala's Saptasati and Amaru's Sataka, poets had loved to draw the more delicate picture of a lady whose husband is just leaving or will shortly leave. While, in Bharata or Rudrabhatta, we do not come across these two Pravasa-situations, we have in the Saptasati one verse using actually the name Bhavisyat-pathıkā. The Dasarūpaka, though it gives in II. 27 only the type in which the husband has gone on a journey, in IV 65 under Pravasa-vipralambha, speaks of all the three varieties of Pravasa, Bhavin, Bhavan and Bhuta; and the Avaloka, while illustrating these three, cites the Saptasati verse referred to above for the journey to be, a couple of verses from Amaru for the journey that has just begun, and a verse from Meghasandeśa for the well-known Pravāsa that has taken place. The Rasamañjari tackles this question not under the Prositapatika, as it ought to, but at the end of its treatment of the eight Avastha-Nayikas; there too, it does not speak of the case where the Pravasa is just taking place, but only that in which it is imminent, Pravatsyat-patikā. It shows elaborately how this type cannot go under any of the eight already dealt with, and hence should be the ninth variety It definitely says that the Parvatsyat-patika cannot be included in the Prosita-patika as the husband is near-by in the former, whereas in the latter, he is to be away, तस्याः प्रोषितपतिकाविप्रलब्धोत्कासु नान्तर्भावः। भर्तुस्सन्निधिवतित्वात् । p 184, Benares edn Bhanudatta then illustrates the sub-varieties of the Pravatsyat-patikā. The Amoda has a fairly long discussion here. It is agamst creating a ninth variety for the Pravasa to be, for on that score it argues that an Abhisārikā to be and a Khandita to be, will have to be recognised, therefore it is best to abide by the tradi- tional eightfold classification इत्यादयुदाहरणानुरोधादभिसरिष्यन्तीति * * * इत्यादुदाहरणानुरोधाच भाविखण्डितेव्यादयोऽनन्तनायिका: स्युः, अतोऽनवस्थाभिरेभि: यथासंप्रदायमष्टविधत्वमेवादर्तव्यम्, कि नायिकान्त- aag | p. 442. The Amoda suggests also, as I have noted in the footnote on p. 33 of the text here, that if the Pravatsyat-patika is to be recognised, the best way to deal with the question is to designate the one common Nāyika for Pravasa as the Pravāsa-patıkā and recognise three varieties for her, Bhūta-pati-pravāsavatī, Vartamāna- pati-pravasavatī and Bhavi-patı-pravasavatī This Pravāsa-patika' is the fresh name, Namantara, which the Srngaramanjari says the Amoda wants to create: तस्या नामान्तरं कल्पनीयमिति स्वग्रन्ये लिखितवन्तः । p.32

INTRODUCTION 83

Earlier, the Amoda suggests that it is needless to recognise, as the Rasmañjari does, a ninth Nāyıkā called Pravatsyat-patika as she can well be included in Prosita- patikā herself, t.e, without having recourse to devising for her a new comprehensive name lıke Pravasa-patıka The Amoda says further, the grammatical point that the participle 'Prosita' means only a past action need not 'be made much of, for it is not the exact grammatical meaning of the word Prosita that constitutes this type, it is the theme of Pravasa in general which is one whole unit comprehending all phases beginning from the very talk about it, that is really meant. अत्रेदं चिन्त्यम्-प्रवत्त्यत्पतिकायाः प्रोषितपतिकायामेव अन्तर्भावसंभवे नवमत्वकल्पनायां गौरवत्वात् संप्रदायविरोधाच्च। ननु प्रपूर्वाद्वसतेः भूतार्थक्तप्रत्यये * * * कथमस्याः (स्यां) प्रवत्स्यत्पतिकायां (याः) अन्तर्भावः । * * * अज्ञोऽसि। न हि प्रोषितशब्दावयवार्थसंभवमात्रेण प्रोषितभर्तृकात्वं संभवति * * * समुदायस्य शक्तिमभ्युपगम्य प्रवत्स्यत्पतिका वि(च)प्रोषितपतिकायामेवान्तर्भाव्यताम्। pp. 438-9 Samaraja adopts this same view and similarly refines the definition of Pravasa as one continuity from leaving contact with a former place to establishing contact with a fresh place (p. 159, 1938 Reprint) The position of the Amoda has been set forth at some length above to elucidate the stand taken by the Srngāramañjarī It is the way-out shown by the author of the Amoda that our author resorts to Leaving the form Pravāsa-patıkā, he takes Prosuta-patıkā itself as the common name, which includes Pravasas referring to the three times, future, present and past Instead of however taking, as the Amoda does, a stand on the whole Pravasa being a thematic unit and on the general reasonableness of understanding by the past passive participle all the three tenses, the Srngaramañjari proceeds grammatically to prove that Prosita can comprehend the closely proximate moments of the present and future too; from the grammatical viewpoint again, the Srngaramañjari shows that, instead of proposing a fresh emendation of the name as Pravāsa-patika, the word 'Prosita' itself can be understood as meaning Pravasa. Examples are also cited from classical writings where the past passive participle has present and future significance. The definitions of the Prosita-patika given in the Rasamanjari and the Prataparudriya, which are then cited, are accordingly modified to comprehend the Pravasat- and Pravatsyat- patıkā, here again the Srngaramañjari enlarges the old definition by dropping reference to the time element,-Patr-pravāsa-khinnā Proşitabhartrakā. How Viśveśvara has solved this question in his Rasacandrikā has already been refered to (see above p 29) On the actual definition of the Pravatsyat-patika, the Śrngāramañjarī cites the Rasamañjarī which says that she is one whose husband is to go away on travel the next moment, agrimaksane The Amoda explains that by Ksana, moment, is meant neither such a distance of time as an year after which the lover's journey may come off nor an exact moment itself which cannot give scope for details like ceremonial preparations of a religious character and otherwise, leave taking, grief-laden talk, looks etc. Agrima-kşana 1s only an upalaksana and has to be reasonably interpreted. Therefore, 1t is wholly needless for the Śrngaramañjari to have made a criticism of the Rasamañjari on this point, to have argued that the travel may begin in a day or two and to have offered the modified definition that the Pravatsyat-patika is one who learns of her husband's preparations for travel and becomes grief-stricken. As noted already, both in the Saptasati and the Amarusataka, we find the instance of a Parvatsyat-patika, at the sight of whose anguish the lover drops his programmed travel. This delicate and charming situation is noted by our author and mentioned as a sub-variety called Vigalita-prasthāna-patıkā under the Pravatsyat-patıkā (pp 34-35). Abhisārikā (P. 37): The two varieties of Abhisārikā, she who goes to meet her lover and she who brings the lover to herself (abhisaratı aud abhisarayatı) and their

84 ŚRNGĀRA MAÑJARĪ

history have already been set forth above. Despite the antiquity of the two varieties and the importance of the authorites who accept both as varieties of the Abhisārıka, the Śrngaramañjarī and those works which take its view appear to be justified in rejecting the second variety The Srngaramañjari quotes first the definition in the Rasamañjarī which recognises both and then the Amoda's comment which justifies the two kinds. According to the Srngaramañjarī, the second variety is to be brought under the Vasa- kasajjıkā. The Amoda foresees this view and replies that turn or Vara is necessary for the arrival of the lover in the case of Vasakasajjika and there is no such Vara associated with the lover's arrival here. Against this the Srngaramañjari advances the same explana- tion that it offered earlier when it brought the Avasıta-pravāsa-patıkā under the Vāsa- kasajjıkā. Vasaka, it has shown, has many meanings besides Vāra. Uttama etc (P. 39). This is a separate and basic classificaiton which, as can be seen from the historical survey given above, is handed down from Bhaiata. In its appli- cation to varieties of Nayikās, the Rasamañjarī defines it on the basis of the degree of goodness towards the lover evinced by the beloved, thus the Uttama or the best is that lady who behaves favourably towards her lover even when his behaviour is unfavourable. This definition, the Amoda rightly thinks, requires to be modified, as there is no question of any favourable act on the part of the beloved in the Khandıtā and the Kalahantarita types and in the Svadhinapatika type where there is nothing else but favourable attitude all the time So, according to the Amoda, the Uttama means in all the types a greater refinement of the type-characteristic; if the characteristic is anger for instance, Uttama will mean less of anger; if the characteristic is favourableness, Uttamā will mean a further degree of the same attitude. The Srngaramañjari does not accept the Amoda's explanation It would take the Uttama as one who does more favourable acts than those done by the lover, the Madhyama as one whose favourable acts are equal to those of her lover and the Adhama as one whose favourable acts are less than those of her lover. What exact form these three take in each Nayika, as also in the Sakhi, the Srngaramañjarī shows elaborately; but as a compendious definition, what it has given 1s not less open to flaws than the one in the Rasamañjari or the Amoda; for, in Khandıtā, Kalahantarita and Vpralabdha there is no question at all of the favourable acts of the Nāyaka (Priya-hıta) (272) Classifications In the tabular statement of the Nayaka-Nayika varieties recognised by the author of the Srngaramanjari, which I have given at the end of this Introduction, I have indi- cated by itahcs the new varieties introduced by our author In view of that and the historical survey already given, it is not necessary to go here at any great length into the question of the classification of these varieties It would suffice if a brief review is made of the new varieties or names proposed by our text, particularly in relation to the texts of the Rasamañjari and the Amoda thereon. 1 NĀYIKAS-Under Madhyā, the Śrngāramañjarī introduces two sub-varieties Pracchanna-madhyā and Prakāśa-madhyā; in the former, the fact of the heroine being in the stage when love and bashfulness hold equal sway over her is known only to her lover; in the latter, her having reached this stage is known also to her friends. 2. The Rasamañjari restricts the Pragalbha to the Sviya; the Srngaramañjarī extends her to the Parakiya and Samanya also. This extention is based on the Āmoda. 3. Under Pragalbha, the Rasamañjarī gives no varieties, but"mentions only two of her Cestas, her desire for enjoyment and becoming lost in it. The two varieties Ratı-prītimatī and Ratyananda-paravaśā introduced by our text are therefore derived only from the two Cestas mentioned by Bhanudatta. On this point of sub-varieties recognised later being derived from the descriptive epithets or leading characteristics mentioned by earler writers, see above Introduction p. 20 para 3, and fn. 2.

INTRODUCTION 85

4. The types Dhira etc were restricted by earlier writers to the Sviya, the Rasamañjari extends them to the Parakiya and the Srngaramanjari follows it and extends them to the Samanya also. The Amoda disagrees with the Rasamanjari and follows the earlier writers 5. The Srngaramanjari introduces as the first sub-classification under the Para- kiya the two varieties, Udbodhita and Udbuddha, not mentioned by others. This is an important innovation, for the consideration whether a Parakīya has been tempted by a paramour or she has herself felt attracted to him is an essential matter. I have already pointed out how Vätsyäyana dwells on this aspect (see above p. 19) Under the sub- variety Nipuna here, the Rasamañjarī speaks only of two kinds, clever in speech and clever in action; the third kind mentioned in our text, clever in deceiving the husband, Pati-vañcana-nipuna, is, as the text itself says (p. 6), suggested by the Āmoda (pp 175-7, see fn p. 6 of the text) The two kinds Pracchanna-laksitā and Prakāśa- lakșitā under the Laksita are additions made by our text. Laksita herself means one whose love affair is known to others; as such a Pracchanna-laksita would appear to be a misnomer, our text, as usual, makes a subtle distinction in the degree of secrecy or publicity, in the Pracchanna-laksita, the friends exercise their powers of observation and deduce her love affair, in the latter, everytody can see in the way she looks or acts that she has a clandestine love-affar Under this latter, our text speaks of four kinds, Kulațā, Muditā, Anuśāyanā and Sāhasıkā The last, as our text itself says, is taken from the Amoda (pp. 175-7, see text p 6 fn.) The other three are older names found in the Rasamanjari. There is, however, a difference in the way these varieties are given here in the Śrngāramañjarī; Bhānudatta gives Guptā, Nıpunā, Laksitā, Kulațā, Anuśayānā and Mudita only, and these in one series; but the Śrngaramañjari constitutes the first three into one sub-group and gives the latter three as sub-classes under a second variety of the third of the first triad, Laksitā Under Anuśayānā, the Rasamañjari mentions in a descrip- tive manner three kınds, the Śrngāramañjari says that it gives specific names to these three (p 11), thus Vighatita-sanketā, Aprāpta-bhāvi-sanketā and Śankıta-jāra-gamanā under the Anusayana in our own text are derived only from the Rasamañjari As noted here by our text and as pointed out by me in the footnote (p. 11), the Amoda indicates the possibihty of many kinds of Anusayana. It is not as if the Amoda speaks of many possible varieties of Anuśayānā only, under the immediately preceding Muditā, the Amoda gives with illustrations (and this has not been noticed by the author of the Srngāiamañjarī) varieties of Muditā lıke Jāra-darśana-muditā, Darśanamātra-visrasta- nīvī, Jārakathā-śravana-muditā, Tadīya-śabda-śravaņa-mu., Nāma-grahana-mu., Dhyāna- mu, and Sangama-mu. Similarly, under Vagvidagdha too (pp 187-8), the Amoda mentions and illustrates the further sub-varieties, one who employs double entendre, ślista-vacana, and of a Sakhī who is a Vagvidagdha. It appears, therefore, significant that, just in this context, our author, in making his reference to the Amodakara whom he admires, calls him a Praudha (p 11) 6. The Rasamanjari has no varieties under the Samanya; nor does the Amoda give here any The author of the Srngaramanjari says that he gives here five varieties not spoken of in other works (p. 73) These five original varieties are Svatantrā, independent, Jananyadhina, under her mother's control, Niyamita, engaged to one, Klptānurāgā, having real love to one, and Kalpitānuraga, feigning love for money (pp 13-14) 7. Under the Svādhīna-patikā, the Śrngāramañjarī gives two special varieties, the Dūtī-vañcıkā and Bhavi-sankitā; these have been explained above. These are also new additions made by our author. (pp 16-17). 8 The only variety under the Vasakasajjika not mentioned in the Rasamañjari and mentioned in the Srngaramañjari is the Avasita-pravasa-patikā This figures in the

86 SRNGĀRA MAÑJARĪ discussions under the Pravatsyat-patıka in the Amoda, and as seen there, has been dis- cussed in the work Vilāsaratnākara also (see p 17 of text, fn.) 9. Under the Virahotkanthita, the Srngaramanjari says first that the earlier writers gave five varieties. This refers to the Rasamañjari and the five common varie- tıes Mugdhā, Madhyā, Pragalbhā, Parakīyā and Sāmānyā given therein. The Srngāra- mañjari adds two new and special varieties here, Kārya-vilambita-suratā, one whose union with the lord is being delayed by preoccupation with work and Anutpanna-sambhoga, one for whom union with her lover has not yet happened, this latter refers to the heroine in Pūrvanuraga-vipralambha, and owing to the variety of circumstances under which her love for the lover might have been created, she falls into four kinds, pining after seeing the lover, after hearrng about him, and after seeing him in a picture or dream, Darsana-anutāpitā, Sravana-anu, Citra-anu and Svapna-anu These sub-varieties also are new additions made by our author. Now regarding the two main additional varieties mentioned above, Anutpanna- sambhoga and Karya-vilambita-surata, there is reason to believe that the Srngaramañjari deduced these from the detailed discussion of the issues relating to the definition of the Virahotkanthita in the Amoda, two varieties of this type with regard to whom the Rasamañjarī-definition is said to be too narrow, avyapta, are those like Damayantī who have yet to meet their lovers of whom they have heard, and those who, remaining at home, have their union delayed by domestic work. प्रियतमप्राथमिक संभोगप्रागभावोतकण्ठितासु दमयन्व्यादिषु, भवन एव प्रोषितकार्यान्तरासक्तप्रियवि- लम्बोन्मनस्कासु * ** चाव्याप्तम् । * * प्राथमिकसंभोगप्रागभावोत्कण्ठिता यथा * * भवने प्रेयोऽ- नागमनोत्कण्ठिता यथा * *। Pp 345-6 Two more varieties conditioned by the two other varieties of Vipralambha, Sapa and Marana, are also added by the Amoda 10. Of the two varieties of Vipralabdha given in our text, the first, Nāyaka- vancita, is the common type; the second, Sakhi-vancita, is not the creation of our author, for we find the Amoda discussing and rejecting it. 11. The speciality in the treatmeat of the Khandita in the Srngāramañjari is that it brings the three varieties Dhira etc, and the two, Manavati and Anya-sambhoga- duhkhitā, under ıt. The Srngāramañjarī says that by Anya-sambhoga-duhkhitā, the earlier writers (including Bhanudatta) meant only the Dūti-sambhoga-duhkhita, but it would add thereunder other varieties, a Dūtī-samasakti-duhkhita, one upset on learning of the lover's attempt to enjoy the Duti, Itara-rati-śruti-khinnā, one who is upset on hearing of the lover having enjoyed the company of another Nayıka and Irsya-garvita, one who, out of her jealousy at the lover's relation with another lady, gives vent to her angry and haughty words before others 12 The only pecularity regarding Kalahantarita is the inclusion here of Pranaya- kalaha as giving rise to the second variety Pranaya-kalaha itself is no new idea. 13 The Vakroktigarvitā has only two varieties in the Rasamañjarī, Prema- garvita and Saundarya-garvita. The Śrngaramañjarī adds Saubhāgya-garvita and Naipunya-garvita in the main group; under Saundarya-garvita, it adds sub-varieties Smita-garvita, Yauvana-garvita, Saukumarya-garvita and Vilāsa-garvita, the last being specially mentioned as its own contribution. From the last observation, it is clear that the Śrngaramanjarī lays no claim to originality for the other additional Garvita-varieties. In fact, they are all taken from the Amoda, which the Srngaramanjari does not however fail to mention in this context. The Amoda adds the Yauvana-garvita and the Naipun- yadi-guna-garvita. It gives the Saubhagya-garvita with illustration, but as noted in the Srngāramañjarī, it includes her in Prema-garvitā; Saubhāgya and Preman are distinct as cause and effect according to the Srngaramañjari. The Amoda gives also with illustra-

INTRODUCTION 87

tions the Smita-and Saukumarya-garvitas, but considers them included in Saundarya- garvitā (pp 251-253) यौवनगर्वितादयोऽपि सन्ति। यौवनगर्विता यथा * * स्मितसै।कुमार्यगर्वितयोः सौन्दर्यगर्विताया- मेवान्तर्भावः । स्मितगर्विता यथा * * सौकुमार्यगर्विता यथा * * एवं तद्गेदा यथासंभवमूह्याः। 14. The three classes of the Prosita-patika, with reference to the three times, past, present and future, have been foreshadowed in literature; the Rasamañjari, however, discusses only the future.variety, Pravatsyat-patika, the Ämoda discusses the whole question and there is therefore no new addition here, which the Śrngaramañjari can be said to have introduced The Vigalita-prasthana-patika, though foreshadowed in litera- ture, has, however, been clearly formulated for the first time only in our text (p. 34). Under the past-variety, Prosita-patika, a new addition made by our text is a variety called Sakhyanutāpita, which appears to be a needless minor innovation; she is the Prosita- patikā lady whose friend too has gone on some travel and is thus not by her side to console her 15 Under Abhisarika, the Srngaramañjarī rejects the second variety mentioned in the Rasamanjari, she who makes the lover go to her. The Parakīyā-Abhısārika is given ın the Rasamañjari three sub-varities, she who goes out in moonlight, in darkness and during day. (Jyotsna-abhi, Tamo'abhi, and Diva-abhi.). The Śrngāramañjarī adds here three more, Garva-abhi., one who is proud and having come to her lover's place, pretends to have come on some other work, Kamabhisarika, whom later (p 40) our author calls the Uttama-abhi, one who goes out under the sway of exceeding infatuation, and Premavakya-abhi., a special addition, which means one who goes out, meets the lover and has a loving conversation with him, in the last case, the beloved appears to have sought the meeting to enjoy tete-a-tete with her lover The Hindı work Rasıkapriya is cited here (p 37) as giving a variety called Prema- abh1, which the Srngaramanjari rejects on the ground that all Abhisarikas are prompted only by Preman, love 6 The additions made by the Srngaramañjari under the Sakhi and the functions and acts of the Duti and the Sakhi are of minor importance and can be noted from the tabular statement given below The Svayam-duti is somewhat important, but the Srngaramañjarī has no discussion on it; in the historical survey given at the beginning, I have noticed the views of other writers on the Svayam-dūti 17. NAYAKAS The Rasamiñjari gives the second group of Nāyaka-classifica- tion as comprising only four varieties, Anukūla, Daksina, Darsta and Satha. The Srngaramañjarī adds here the Manin and the Catura, who are of course mentioned by Bhanudutta, but who are, as our text says, included by him in the Satha. (Rasamañjari p 219, p 49 of text here) Under Dhrsta, our text adds Dhrta, not a new name, as a sub-variety. 13 The Rasamañjari gives also a Prosita-variety of the Nāyaka; the Srngāra- manjari adds to this the Amilita and Virahin and makes these three as a separate group of Nayaka-classification None of these names is new, as has been shown in the section on Nayakas in the historical survey given above. The Amoda, which text our author keeps immediately before him, adds the Ayukta and the Virahin to the Prosita given ın the Rasamañjari (pp 544-9) (w) As the author of the Srngaramanjar: kept the Rasamanjari before him, we might compare here the topics deait with in both these texts and see what topics touched by Bhanudatta have been left out by our author and what additional topics our author has introduced. At the very outset, our author informs us of the special points to be noted in his treatment, which might also be reviewed in this connection.

88 ŚRNGĀRA MAÑJARĪ (a) Bhanudatta's treatment of each Nayika includes besides definition and illustration a statement, with illustrations, of phases of behaviour characteristic of each type, referred to compendiously as Ceslã As Ananta Bhatta points out, these Cestās are, in addition to the definitions, for the correct grasp of the nature of each Nāyıkā (svarupa-grahana), and as noted already in the historical survey (p. 20 above), earler works devoted some attention to this aspect It is no doubt true that some of the con- stituents of the definitions of the Nayika-varieties, as well as the formulation of sub- varieties, in later texts are based on these Cestas or descriptions of phases of characteristic behaviour given in earlier works; still a regular statement of the Cestas as found in the Rasamanjari is desirable as helping the further understanding of the nature of each type, and this is nt given in the Śrngāramañjarī. (b) At the end of its treatment of the Nayakas, the Rasamañjari discusses the question, which our text omits, whether or not the varieties caused by Avasthas, such as have been shown for the Nayikas, are to be had for the Nayakas too, whether or not we have varieties of Nayakas other than the four Anukūla, Daksina, Satha and Dhrsta; whether, for example, we cannot have varieties of Nayakas like Utka, Vipralabdha and Khandita coriesponding to the Nāyikas of those names An Utka would be a Nayaka yearning for the Nayika's arrival, Vipralabdha, one deceived by her and so on. Bhānu- datta discountenances this as absurd This is a question not dealt with by our text. But we find our text, like the Amoda, giving the three Nayaka types Prosita, Amilita and the Virahin, the first of which is given by Bhanudatta him self. Besides these, Bhanudatta himself, as also other writers on this subject, speak of three main Nayaka-types Patı, Upapti and Vaisika. It is not as if these Nāyaka-varieties, which have been accepted, have no correspondence to the Nāyika-varieties recognised. Upapti is the hero figuring in the love of the Parakīya; Vaiśıka pairs with Sāmānyā, Anukula goes with Svadhinapatika; Daksina, Satha and Dhrsta would figure in the love of the Khandita, Vipralabdha and Kalahantarita; Amilita and Virahin are the corresponding Nayakas for the Virahotkanthita in her varieties Anutpanna-sambhoga an d Kārya-vilambita-suratā, Proșita, recognised by Bhanudatta, is clearly the Nāyaka for the Prosita-patika That the very recognition of Prosita cuts against Bhanudatta's criticism of a corresponding Nayaka-series in shown by Ananta Bhatta in his gloss कथमन्यथा प्रोषितभेदमुदाहृतवान् स्वयमिति यत्किश्चिदेतत्। Pp 227-8. There is however another aspect to this question raised by Bhanudatta which would justify his fear that the recognition of sımilar Nayaka-types would result in Rasā- bhasa. By corresponding Nayaka-varieties, we have got to understand not the Nāyakas figuring in the love of the respective Nayika-types, but as explained by me first, Nayakas who get similar treatment at the hands of the Nāyikas, thus an Avastha-Nayaka corres- ponding to the Prosita-bhartrka-Nayika would be not the Prosita-Pati, the hero who has gone abroad and caused the suffering of separation for the heroine, but a lover whose beloved has gone on travel, leaving him in yearning, a Khandita-Nayaka would mean a lover who is jealous of his beloved owing to her relations with another Nāyaka; a Vipralabdha-Nayaka would similarly be the lover whom the expected beloved has deceived and disappointed. Bhanudatta is correct when he says that all this is not in vogue in literature (asampradāya) and fraught with Rasābhāsa (c) Under Proşitabhartrka, Bhanudatta says that her suffering passes through the ten recognised stages of separation, daśa avasthās, leading up eventually to death. To the enumeration and illustration of these ten states, Bhanudatta devotes some space at the end of his work (pp 236-245). These ten states are just mentioned as characterising the heighest type of love, uttama-anuraga (p. 53, line 2) but are not enumerated, describ- ed or illustrated in the Śrngāramañjarī.

INTRODUCTION 89

As regards topics additionally introduced in the Śrngāramañjarī, the only subject not altogether touched in the Rasamanjari is, as the Srngaramanjari itself says at the outset, the fourfold classification of Nāyikas into Padmini etc., which is more germane to regular Kāmaśāstra works and which only some Hindi works on the subject and some later works like the Mandaramaranda Campu take into consideration, and the four Nāyaka-types of similar vogue in works of erotics, Bhadra, Datta etc. Among its special features, the Srngaramañjarī speaks of 'fresh elaboration'. Such elaboration is seen prominently in (a) the elucidation of the Uttamā, Madhyamā and Adhama for each and every kınd of Nāyka and even for the Sakhi on pp. 39-41 and (b) the enumeration and illustration of the functions and the acts of the friend and messenger, which takes as many as nine pages (41-49) (c) The subject of Rasa, which is just touched upon in the Rasamañjari, but which Bhanudatta deals with in another whole work of his, the Rasatarangini, is given a succint exposition by oui author at the end of the work The reference made here to the Rasamañjari-kara's view is to Bhānudatta's separate work on Rasa, the Rasataranginī. (P 52) (d) A general tendency at elabora- tion is seen in another direction all through the work, in the treatment of the Nāyıkā- varieties. For some of these elaborations which it refers to at the outset, the work takes credit. The critical discussions here are generally much more elaborate than in the Rasamanjari. The increase is the number of Nayika-varieties has already been noted. Regarding illustrations, the work says that its illustrations are moie piecise than those given in the earlier treatises; see especially its statement under the Svādhīnapatikā (p. 15): प्राचीना वक्रोक्तिगर्वितासंकीर्णानि स्वाधीनपतिकोदाहरणानि लिखिनवन्तः । वयमसंकीर्णानि लिखामः ।

In the case of every Nayika-variety, the work first gives a general illustration, and then only classifies and illustrates the sub-classes; this again is a speciality of its treatment

claimed by the work itself (सर्वस्थलेषु साधारणलक्षणानां साधारणोदाहरणानि विरचय्य) This elaboration is not devoid of needless repetition; for, almost regularly, the types are once defined and classified in the discussion-portion (carca-grantha) and then again enumerated and defined in the definition-portion (laksana-grantha). Whenever necessary, the Śrngäramañjari says that it also abridges the treatment (संक्षपकरणस्थले संक्षेप कृत्वा) p 2. The topics dealt with by Bhanudatta but left out by our author, which have already been noted, would come under this abridgement Jyestha and Kanistha are illustrated by Bhanudatta in three sub-classes, but the Srngāramañjari gives only a single illustration for them (p.7). Under Muditā and Anuśayānā (p 11), the Āmoda mentions a large number of sub-varieties, but the Śrngāramañjari expresses itself in favour of a briefer treatment of varieties here. The Uttama, Madhyamā and Adhamā varieties of Nayakas are illustrated by Bhanudatta, but the Śrngāramañjari, which has elaborated so many topics, omits their illustration out of fear of undue length. (p. 51). Similarly, it omits (p. 51) illustrations for Pīthamarda, Vidūsaka, Vita and Ceta Such omissions may be justified only on the ground that the main preoccupation of our author is the Nāyikā-types. But one cannot help feeling that, having been very elaborate up to the end of the Sakhi and Duti, our text rushes over the remaining topics and hustles towards the end. Among other claims made by our author at the opening of the work are: Formula- tion of new varieties on the basis of instances in literature, where poets have delineated them प्राचीनादाहरणानुसारेण नायिकाभेदान् कल्पयत्वा । This is well-illustrated by varietses like Pravasat-patıkā and Vıgalıta-prasthāna-patikā Coining of specific names for the Nāyikā- varieties where earlier writers gave no names येषां नामानि न सन्ति तेषां नामानि स्थापयित्वा । I2

INTRODUCTION 91

IX

Detailed Summary of the Contents of the Srngāramañjarī P 1. Introductory Verses (1-16). Obeisance to the preceptor and deities (śl. 1); obeisance to the preceptor (piobably Bande Nawāz Geesu Darāz) (śl. 2). Obeisance to Bande Nawaz Hazarat (Geesu Daraz) (śl. 3); tracing of the ancestry of the author of the work from Geesu Daraz (śls 4-12); Saharaja born in the line of Geesu Darāz (śl 4), his three sons Sāharāja, Sahanapesarullāh, and Akbar Shah (śl. 5) ; the second, Sahanapesarullah, had a son named Sāharāja, who was a royal preceptor (s1 6); his (eldest) son was Akbar Shah known as Bade Saheb (sl 7), praise of Bade Saheb (śls 8-9); his two younger brothers were Mir Saheb and Saha Saheb (śls. 10-11); praise again of Bade Saheb Akbar (śls 12-14). P 2 Akbar himself (svayam) wrote in Telugu the work Śrngaramañjari (ś1 15); this is the Sanskrit version of that Telugu work of Akbar (śl 16) Prose passage describing again Bade Saheb Akbar Saha as endowed with literary and artistic gifts, as being devoted to (his father) Saharaja, the preceptor of Sultan Abul Hasan, the patron of arts and letters, and as writing the work Srngaramañjari. Mention of the sources on which the Srngaramanjari is based: Rasamañjari, Āmoda and Parimala, Śrngaratilaka, Rasıkaprıva, Rasārnava, PratāparudrĪya, Sundaraśrngāra, Narasakāvya, Vılāsaratnākara, Kāvyaparīksā and Ka yaprakasa; statement about the method adopted in this work and its special Daśarūpaka,

features. it is stated that the definitions in the earlier works mentioned above are adopted wherever they were found to be acceptable and rejected wherever they were found to be otherwise, that (new) classes of heroines have been created on the basis of the verses in the poetry of earlier writers depicting various classes of heroines, and definitions and illustrations have been supplied in the cases of those Nāyika-types for which earlier texts did not provide these; that names of Nayaka-types have been coined wherever they were lacking in earlier works; that sometimes the old names have been improved upon; that the treatment has been made elaborate or brief as and when necessary; that, in all cases, the main types are first given each a general illustration; that a few old illustrations have also been utilised and quoted; that the discussions are in prose and illustrations in verses; that besides the different Nayika-types, together with their definitions and illustrations, some details of the Srngararasa, the chief of the nine Rasas, such as its Sāttvrkabhāvas, are also dealt with; that the classification of heroines into the types Padmeni etc., which previous works of this branch of study did not give, are also dealt withihere. Definition of Nayıka (heroine) in general as the lady who is the object of love; illustiation of heroine in general (ś1 17). P. 3 The heroine ıs of three kinds Svīyā, Parakīyā and Sāmānyā, one's own wife, another's wife and the public woman. Citation of the definition of the first, Sviya, given in the Rasamañjari that Sviya is the lady who is devoted solely to her lord; its refutation; the word 'eva' 'solely' 1s criticised as pointless; for if, as is meant by it, one should be attached only to her lord, a Svīyā can never become a Parakīyā; and it is a Svīyā who becomes a Parakīyā. If 'eva' is not used, it might be argued that the definition would apply also to the Parakīya, who has love to her wedded husband also; the author replies that love as such for a Parakīyā is always for her paramour, never for her wedded husband. The above-noted purpose of the word 'eva' in the definition has been pointed out in the Amoda which says that even a Parakiya enjoys her wedded husband's company and so far she has love towards him too. Criticism of this view of love or Anuraga. Anuraga, the author says, is not mere desire for enjoyment, even that desire which the Parakiya shows to her wedded husband

92 ŚRNGĀRA MAÑJARI is ultimately to keep her wedded husband in good humour or under a wrong impression, so that she might privately carry on with her paramour. Therefore, Sviya according to the author is to be defined as one devoted to her lord, here too, the word lord, 'Svämin', could be substituted by the word 'wedded hus- band'. If this Sviya is so devoted for life, she is called Pativratā. She is classified into Mugdha, Madhya and Pragalbha, the adolescent, the grown up and the fully grown. Illustration of Svīya in general (śl. 18). Mugdha dealt with; citation of the Rasamanjari-definition of Mugdha that she is one in whom youth has just s[ routed; criticism of this that this would apply to Parakiya and Samanya; further, in the present enquiry into Nāyıkā-types, qualities are taken as differentia, not age; cita- tion of the Mugdha-definition in the Prataparudriya that she is one whose love is over- come by bashfulness; criticism of this that it would not include the sub-variety of Mugdha called Ajnatayauvana; this is a stage in which the heroine is just being put in the way; even bashfulness is not so developed as to subjugate her love which too is in an undevelop- ed state; it may be argued that such a girl, with neither love nor bashfulness, is not a Nāyıka at all, the reply is that she is a Nayika in so far as these would presently appear in her; the author's own definition of Mugdha that she is one who is innocent of the fine appreciation of man (her husband) Mugdha further classified into one not conscious of her youth and one conscious of the same, Ajnata-yauvana and Jñāta-yauvanā. P. 4 Three illustrations of Mugdha in general (sls. 19-21). Definition of the first Mugdha-variety, Ajñatayauvana, as one who does not even know of the birth of youth in herself; illustration, Jñatayauvana defined as one who has known the birth of youth in herself, and further classified into Navodha, the newly- wedded who is bashful and timid, and the Visrabdha-navodha, the newly wedded who has gained an amount of confidence and self-possession, and allows herself to be fondled by her husband; illustration of the Jñatayauvana in general, definitions and illustrations of the Navodha and the Visrabdha-navodha Madhya then dealt with, the Ra amanjari-view that the Madhya is a further advancement over the Visrabdha-navodna, and hence called Ati-visrab lha, criticised, the quality of 'newly-wedded' applies only to Mugdha; and the qualty of 'great confdence' would apply only to Pragalbha; and the two cannot be in Madhya. It may be argued that it is after all the circumstance of first union that is meant by Navodhatva; if this first union happens for a Mugdha, she is Navodha; if it happens for a Madhya, she 1s Ativisrabdha-navodha; but the author disapproves of this view, as in such an interpreta- tion of Navodhatva, it would become applicable to Pragalbhas like the highly grown-up princesses and courtezans. Definition of Madhya as one over whom love and bashfulness have equal sway; her further varieties given as two, Pracchanna and Prakāsa. P. 5. Madhya illustrated in general (śls 26, 27); Pracchanna and Prakāśa Madhyas defined as those whose states of love as being in equal measure with their bash- fulness are known, respectively, to the lover only, and to her friends also. Illustrations of these two varieties (śls 29). Pragalbha: Citation of the definition of Pragalbha in the Rasamanjari that she is one who is an adept in the art of love with reference solely to her wedded husband; criticism that the condition 'solely with reference to her wedded husband' should not be added, as this would mean that the Parakiya and Samanya cannot be Pragalbhas; that those two have no Mugdhatva or Madhyatva but have Pragalbhatva is a matter of

INTRODUCTION 93

undeniable experience, therefore, the Rasamañjari-definition of Pragalbha would apply to Sviya-Pragalbha only, citation and adoption of the definition given in the Amoda that Pragalbhatva consists of the subjugation of bashfulness by love Praga'bha proposed to be defined and illustrated with reference to the main type called Sviya. Definition and illustration of Pragalbha in general (śl 30), Svīya-Pragalbha defined and classified into Rat-priti mati and Ratyananda-paravaśā, one that desires to have the husband's company frequently and one that forgets oneself in the bliss of that enjoyment. Illustration of Sviya-Pragalbha in general (śl. 31). Definitions and illustrations of Ratı-prīti-matī and Ratyānanda-paravaśā (śls 32, 33). P 6 Classification of Madhya and Pragalbha dealt with above into three classes. Dhīrā, Adhīra and Dhīra-udhīra, the self-possessed, the un-self-possessed and one who 1s partly self-possessed and partly not Consideration of the view of the older writers that this classification into Dhira etc, pertains only to Sviya, examination of the views express- ed on this point in the Rasamañjari and the Amoda, the former extending it to Parakīyā and Samanya also and the latter not agreeing with this extension. As these varieties Dhira etc are based on the appearance of anger in the heroine, these varieties can be had according to the Rasamañjari, but the Amoda says that there is little scope for anger in a Parakiya for whom union itself with the paramour is hard of attainment and whose love has to be guarded from publicity. The author's view on the point that the extension is reasonable Parakīya is of two kinds, Udbuddha and Udbodhita, the former has love by herself; the latter gets it by the inducement of the hero, both of them have love, and love is always attended by feelings of jealousy and anger, and hence Dhīra and related varie- ties can appear in Parakīyā too What the Amoda says may perhaps be true of the Udbuddha type of Parakiya, but never of the Udbodhita type Sarcastic remark, threatening etc, characteristic of Dhira etc, are denied in the Parakiya on the ground that love for her is a secret affair and the few moments of hard-won meeting rule out the possi- bility of any display of anger etc .; the reply is that all this can appear in privacy when the two meet secretly, the Amoda itself creates two new varieties of Parakiya called Pati-vañ- cıkā and Sāhasıkā; if such deceitfulness and daring, vañcana and sahasa, are admissible in her, anger also is admissible. Similarly, even Samānyas have the varieties, Dnīra etc., as it has been accepted that though professionals, they too have some love, and love always means anger and attendent feelings. Though these varieties are thus possible in Parakīyā and Samanya, they will be illustrated here only with reference to the Svīyā. Citing the Rasamanjari and its definition and illustration of Madhya-Adhira, the author shows that the Rasamañjari is incorrect and that he would give more accurate definitions and illustrations of Dhira etc ; states that further classification of Dhīra etc. into Khaņdıtā etc. will be taken up later P 7 Definitions and illustrations (śls. 34-40) of the six varieties of Dhīra etc. in Madhya and Pragalbha. Madhya-Dhira; one whose anger is suggested through her speech: Madhya-adnira: one who expresses her anger through an allegorical expression; Madhya-dhīra-adhira: one whose anger is partly suggested and partly expressed. Pragalbha-dhira. one who shows her anger by indifference to enjoyment; Pragalbha- adhira. one who exhibits her anger through threat etc., (beating and the like) ; Pragalbhā- dhīra-adhīra is partly of the former type and partly of the latter. The classification into Jyestha and Kanistha; the two defined as being the object of the greater and the lesser love of the lover. Illustration (śl. 41). Parakiya: The Rasamanjari-definition of the Parakiya cited and criticised. According to the Rasamañjari, the Parakiya is one who is secretly in love with a person other than her wedded husband, according to the author, this is not an appropriate defini-

94 ŚRNGĀRA MAÑJARĪ tion, as it is narrow and would not answer to the sub-varieties of Parakiya called Laksitā and Kulata whose love-affair is known openly to friends and others. P. 8. The element of 'secrecy' is defended by some as being essential to the defini- tion and explained as referring only to the husband and not to friends. Even this is wronD9 as this would exclude such beautiful women who are attached to other lovers andare also not abandoned by their wedded husbands It cannot be argued that such a woman is not a regular Nayıkā, but only a Nāyıkā-ābhāsa, for she is a Nāyıka in the full sense of the term by virtue of her deep attachment to her lover; only her wedded husband who also continues to cling to her is an Abhasa of a Pati. If the Pati-vañcika, she who deceives her husband and goes astray, is not an Ābhāsa of Parakīyā, but a regular Nāyikā-variety, how is the variety under discussion alone an Abhāsa? The definition of Parakiya given in the Amoda cited and elucidated. The Amoda logically 'refines' the definition that the Parakiya as such is one who is never the substratum of a total absence of clandestine love for a paramour, this means that, in as much as at the time of the first origin of her love for a paramour, it was secret and unknown to her husband, she is also not totally devoid of the element of secrecy; and in this manner, the Laksıtā and Kulata are also brought into the original definition. Even the little secrecy that is meant, the author of the Śrngaramañjari now points out, is not applicable to the case of the variety called Śravananuraktā, whose love for one of whose beauty etc. she has heard is, even in the first stage, known to her friend; it cannot be held that a little secret love is necessary to make one a Parakiya; for till this love is known, she cannot be called a Parakiya, from something revolving in her mind alone, one cannot determine if one ıs a Svīyā or a Parakīyā; until something about her love for another comes out, she cannot be called a Parakīya; therefore, the adjunct 'aprakata', esecret', is pointless Therefore the author's definition of Parakiya is simply one who loves a person other than one's husband The omission of the adjunct 'secret' does not make the definition applicable to the Samanya, common woman; for in her case there is no question of a husband or one other than hım, Sviya or Para-purusa In the case of a maiden, Kanya, she is under her parent's control, he who is accept- ed by them becomes her husband; any other person is para-purusa; if her parents marry her eventually to the same person whom she loves, she, a Kanyā Parakīyā till then, becomes a Sviya, this circumstance illustrated by an old verse. Nowhere else does a Parakīyā become a Svīyā. Parakīya is of two kınds: Kanya and Parodhā Kanya defined as a maiden who is, without her parents' knowledge, in love with a lover; the Parodha is a married lady who is in love with a lover other than her wedded husband. All the varieties of Parakīyā, other than Kanya, are only in Parodha Two new varieties in Parodha not mentioned in earlier works, Udbuddha and Udbodhita, dealt with by the author. Twenty-flve Parakīya- varieties shown: Parakiya classified into Kanyā and Parodhā; Parodhā into Udbuddhā and Udbodhita, Udbodhita into Dhīrā, Adhīrā and Dhīrā-adhīrā; Udbuddhā into Guptā, Nıpunā and Laksıtā, Guptā into Vrtta-surata-gopanā, Vartişyamāna-surata-gopanā, and Vrtta-vartısyamāna-surata-gopanā; Nipunā into Vān-nipuņā, Kriyā-mipuna, and Pativan- canā-nipuņā, Laksıtā into Pracchanna-laksıtā- P. 9. -and Prakāśa-laksıtā; Prakāśa-laksıtā ınto Kulatā, Muditā, Anušayānā and Sāhasikā; Anuśayānā into Vıghatıta-sanketā, Aprāptabhūvi-sanketā sanketa-jāra-gamanā. and Sankita-

Definitions of these: definition and illustration (sl. 42) of Parakīyā in general. Kanya defined and illustrated (śl 43); Parodha defined and classified into Udbuddhā and Udbodhita, illustration of Parodha in general.

INTRODUCTION 95

Udbodhita defined as one in whom the lover induces the love by some means; her three varieties, Dhira, Adhīra, and Dhira-adhira, Udbodhita illustrated generally (śl 45); the varieties Dhira etc in Parakiya are to be defined on the analogy of Dhira etc. in Pragalbha dealt with above; illustrations of Dhīrā etc. in Parakīyā (śls 46-48). Udbuddha defined as one in whom love wells up of its own accord on seeing the heauty of the lover; illustration (śl 49), three varieties of Udbuddhā, Guptā, Nipuna and Lakșıtā, Guptā defined as one who hides her love-affair; she is of three further kinds, one that hides up a love-affair that is respectively past, is to come off or has happened, and will happen agamn, Vrtta, Vartısyamana and Vrtta-vartisyamana Surata-gopana P 10 Guptā in generr1 illustrated (śls 51-53) of the three varieties of Guptā. (śl. 50). Definitions and illustrations

Nipuna defined as one experienced in love-affairs with other men; she is also called Svayam-duti, one who has no need for other messengers to help her; she is of three kinds, adept in speech, act and deceiving her husband, Van-nipunā, Kriyā-nıpuņā, and Pati-vañcanā-nipunā, nipunā illustrated in general (śl. 54). P 11 Laksıtā defned as one whose clandestine love-affair is known to a select few lıke her friend (sakhī); she is of two kınds Pracchanna-laksıtā and Prakāśa-lakșıtā, illustration in general of Laksıtā (śl 59). Pracchanna-laksita is one whose secret love-affair is inferred by her friends from certain symptoms, illustration (śl 60). Prakāsa-laksitā: one whose unchastity is openly known; she falls into four classes, the harlot, the gratified, the dejected and the daring, Kulatā, Muditā, Anusayāna and Sāhasıkā; illustrations of Prakāśa-laksıtā in general (śls. 61, 62). Kulata defined as one frequently seeking the company of paramours; illustration (ś1. 63) ; Mudita defined as one gratified at the realisation of her desire for such love; illustration (śl 64). Anuśayānā is a class admitting of many varieties; Rasamañjari gave only three varieties, but the Amoda showed many more; the author says that, for the sake of brevity, he would also speak only of three varieties; and adds that whereas the earlier texts do not give any names for these three varieties, he would give names to them. P 12 Anuśayānā defined as one perturbed because of her failure to have a tryst with her paramour; she is of four kinds, one whose tryst has been broken, (Vighatita- sanketa), one who is afraid that there may be no scope or facility for secret meeting (Aprapta-bhavi-sanketa), one who doubts whether her paramour will go to the trysting place (Sankita-sanketa-jara-gamanā), and one who daringly achieves her union (Sāhasikā) ; definitions and illustrations for Anuśayānā in general (śl. 65); definitions and illustrations of all these four classes of Anusayānā (śls. 66-69). Samanya, the common woman, taken up; the Rasamañjari-definition cited; accor- ding to the Rasamañjarī, the Sāmanya is one who loves everybody for the sake solely of money; this definition is criticised: If money is mentioned as the condition, it is no love at all; further, love can be only for one; anything else will only be a semblance, Ābhāsa, and the Samanya will consequently be no Nayika. Some would maintain the above definition, explaining love, Anuraga, as mere desire, Iccha, which can be for several people for several reasons; this is also an absurd view, for, we are here concerned only with love as such and not some desire; the desire for mutual enjoyment between man and woman on seeing each other's beauty etc. is the love which we are dealing with here; the feeling towards relatives and friends is kinship; that towards elders or preceptors is devotion; desire is thus of many forms and if only some desire is meant, every woman will be unchaste, a Parakiya; the true nature of love, Anuraga, will be set forth later while dealing with Rasa.

96 ŚRNGĀRA MAÑJARĪ P. 13. The Amoda is then cited; according to the author of the Amoda, the appli- cation of the term Anuraga to the Samănya in the Rasamañjarī-definition is not unjustifi- able, as, for the duration of the company with a particular person, the Samānyā is attached only to him. To the Srngaramañjari, even this is not an adequate definition of Anuraga; for it is something which, when it is roused for somebody, does not counte- nance another object at all; it can never be for many and yet be love A shrewd objection now forseen is that such a view of Anuraga would iemove from our field of study the harlot or Kulata, who is defined and accepted as a woman attached to several men; the author replies that the Kulata has her real love towards one whom she loves most as the best lover, and her search is all the time to find him out who will satisfy her most. The author quotes an illustrative verse on Kulata bearing out this point from the Amoda itself. Similarly the Samanya also is one who has her love for one person; her courting of manifold company is to maintain her trade; the author mentions here that this is the meaning of the old illustrative Telugu verse, which is evidently quoted in the Telugu Śrngaramanjarī. That the Samanya has no Auraga is not true, she has it naturally but it is concealed. Finding that the feigned attachment for many mentioned in the Rasamañjarī- definition is not proper, the author of the Amoda gives the logical definition of Samānyā as one belonging to the genus Vesyatva, this is incongruous, in as much as we have been so far defining heroines by the difference in their qualities, and not by their class; 1f class should be taken for classification, we would have endless divisions into divine, human, dıvıne-human (Divyā, Adıvyā, Dıvyādıvyā) and so on The author, having discussed the condition of 'money' (vitta) in the Rasamañjari- definition, examines now the further delimiting adjunct 'o ily' (vitta-matra) citation of Amoda's explanation of the need for the word 'matra' (solely for money), as other- wise the definition would be too wide and apply also to the Parakiya who seeks many paramours and receives also pecuniary consideration. This the author considers to be wrong; for in the case of a Paiakiya, the cause for her going astray is only her feeling; if any receipt of money for livelihood on her part is considered in the definition, even the chaste wedded wife would fall into the scope of that definition, as she too receives money for household expenses Therefore, the author says that his definition of Samanya is thit she is one who is not married, who looks for some return and who takes to miny men. Her being a Nayika is assured because of her inner love for one person, where her mental satisfaction alone is the return she expects; towards other,, the satisfaction of love being absent and money alone being the return, the question of Rasa-abhasa 1s eliminated of divine Samānyas like Rambha attached to Nalakubara and others attached to other Even in cases

meritorious souls who have ascended to heaven, this definition is applicable, as love con- ditioned by a return, either of satisfaction or otherwise, is present in all those cases. The work says that it would deal with five varieties of Samaya not mentioned by. other works: Svatantra (self-dependent), Jananyadhina (under the mother's control), Niyamita (engaged to one person), Klptānurga (herself devoted to a particular person), Kalpitanuraga (one who, for her profession, feigns attachment) ; definitions of these. Answer to the possible objection against the Kalpitānurāga variety as being devoid of natural love and thus not a Nayika, she too has her real love for somebody, and towards others exhibits an affectionate attitude for the sake of money; if she is devoid of love, how can she exhibit or affect it at all? If it is a case of real love, she is Klptānurāga; if it is feigned for money, she ıs Kalpitānurāgā As love is always attended by jealousy, Samanya too has the varieties Dhira etc.

INTRODUCTION 97

P, 14 Definition of Samanya as a woman not in wedlock and attached to several men for the sake of a reward; her five varieties as mentioned above, Sāmānya in general illustrated (ś1. 70), definitions and illustrations of the five classes (śls. 71-78). Illustration of the varieties, Dhira etc, in the Samanya-variety called Klptānurāgā (śls 75-77). P. 15 Kalpitanuraga-variety defined and illustrated Sadharana or general section giving a fresh classification by states of feeling of the three main classes already given, vis. Mugdhā, Madhyā and Piagalbhā, and Svīyā Parakīyā and Sāmānyā. Disapproval of a special sub-section in the Rasamañjari classıfying Svīyā, Parakīyā and Samanya into three kinds each, Anya-sambhoga-duhkhıtā, Vakroktı-garvitā, and Mānavarī. According to the author Anya-sambhoga-duhkhita and Manavati would come under Khandita, the remaining Vakrokti-garvita alone need not be separately dealt with, adding 1t, therefore, the next classification of the three main types on the basis of states or Avasthās would give nine varieties: Svādhīna-patıkā, Vāsaka-sajnıkā, Viraholkanthitā, Vıpralabdhā, Khandıtā, Vakrokti-garvrtā, Kalahāntarıtā, Prosıla-bhartı kā and Abhısārıkā. Svadhina-patika is first taken up Citation of the Rasamañjari-definition of this type that she is one having a husband who is always obedient, ciiticism of the condition sada (always) that it should be left out in the definition; as all this classification is based on the state of feeling, the condition demanding invariability by the word 'sada' would cut at the very root of the classification. The author's definition of her simply as one blessed with an obedient lover Criticism of the older view that the varieties Dhira etc are admissible in Svadhina- patika Towards the Svadhina-patika, the husband is always favourable, and as such there is no occasion for anger; as a change in the mood would give rise to a different Nayika-type and as any misconduct of the husband would make him no longer 'favour- able' (Anukula), and consequent on his misconduct with another lady, his wife would turn a Khandita, the offended type, Svadhina-patika as such would cease to exist; hence classes lıke Dhīrā do not exist in Svādhīna-patıkā As the illustrations of Svadhina- patıkā in older treatises overlap with Vakrokti-garvita, the author proposes to give precise illustrations for the Svadhina-patika; he proposes also to add two new varieties in Svādhīna-patikā, viz. Dūtī-vañcıkā and Bhāvi-śankıtā. Definition and illustration of Svadhina-patika (s1 79), eight kinds in this type: Svīyā, Mugdhā, Madhyā, Pragalbhā, Parakīyā, Sāmānyā, Dūtī-vañcıkā and Bhāvi- śankitā. Illustration of the first, Svīyā-Svādhīna-patikā (śl. 80) P 16 Illustration of the rest Mugdhā, Madhyā, Pragalbhā, Parakīyā and Sāmānyā varieties of Svādhīna-patikā (śls 81-85). Dūtīvancika-variety of Svadhina-patika defined as one who with the consent of her lover, hides her love and for fun, pretends to be offended with her lover and thus deceives her messenger (Dūtī), illustration (śl 86), Bhāvi-śankitā is one, who, in the midst of her pleasures with her lover, feels apprehension about the future; illustration (śl 87). Vāsaka-sajıkā: Citation of the Pratāparudrīya-definition of Vasaka-sajjikā that she is one who, at the approaching visit of her lover, dresses herself and arranges her pleasure-chamber for the reception. The author views that a lady the absence of whose- P 17 .- lord abroad has come to an end (Avasıta-pravāsa-patıkā) is also to be ıncluded in Vāsaka-sajjıkā: for, according to the lexicon, Vāsaka is of six kinds and includes return from travel. Disapproval of the inclusion of the Avasita-pravasa-patika in Prosita-bhartrka; the latter is characterised by sorrow caused by the absence of the husband abroad and the 13

98 ŚRNGĀRA MAÑJARĪ

former by happiness caused by his return home These two cannot be put together on the ground that the Avasita-pravasa-patika narrates to her husband the sorrow she had been immersed in, sheds tears before him and shows herself to be one in sorrow; this is wrong, for on the arrival of her husband, it is joy that causes her tears and that she has no sorrow, but only narrates the story of her past sorrow Disapproval of the Amoda's suggestion that, by virtue of the joy of the company of the husband, the Avasıta-pravasa-patıka could be included in the Svādhīna-patika, the the joy of the two are totally different and due to different causes, the Svādhīna-patikā is happy because the husband does not leave her and she has no separation; the Avasita- pravāsa-patikā is happy because her husband has returned from travel. Definition of Vasaka-sajjikā as one who joyously makes preparations for receiving her lover, illustration (śl 88) P. 18 Illustratıons of Vāsaka-sajjıkā in Svīyā, Mugdhā, Madhyā, Pragalbhā, Parakīyā, and Sāmānyā (śls 89-95). Avasita-pravasa-patika defined as one who makes joyous preparations for receiving her lover who has returned from his travel; illustration (śl. 96) P 19. Virahotkanthita is then taken up criticism of the Rasamañjari-definition that she is one who is dejected at the failure of her lover to turn up at the promised tryst, this does not cover the case of one like Damayanti who is in a state of dejection and yearning before meeting Nala, as also the case of one who has her husband in the house itself but is unable to join him owing to preoccupation with work, definitions of this Nāyıkā from the Sahityaratnākara, Bhāratīya (Nātyaśāstra), Pratāparudrīya and Nāyakabhūsaņa cited and criticised as overlapping with Prositabhartrka and Vipralabdha, disapproval also of the negatively refined definition given in the Amoda that she is one who is yearning consequent on the absence of union caused by neither travel nor cheating on the part of the lover. The author's own definition of Virahotkanthita as one who, while being in the same place, is separated from her lover owing to some preoccupation of his. P. 20. Older writers proposed five varieties in this type, but the author proposes to give only two, Karya-vilambita-suratā, one whose union is delayed because of work and Anutpanna-sambhoga, one perturbed at the absence of union or one for whom the union has not taken place, in the latter, Anutpanna-sambhoga, the author gives four varieties. Darśana-anutāpitā, Śravana-anutāpıtā, Cıtra-anutāpıtā, Svapna-anutāpitā, pining respec- tively through the sight of her lover, hearing of him, seeing him in a picture or in a dream, tne author proposes to deal in this type with only varities of Madhya etc, as the intensity of love here precludes the Mugdhā. Definition and illustration in general of the Virahotkanthita (śl 97). Definition and illustration of Kārya-vilambita-suratā (śl. 198), illustration in this class of varieties of Svīyā, Madhyā, Pragalbhā, Parakīyā, and Sāmānyā (Sis. 98-103) Anutpanna-sambhoga defined and classified into the four varieties already men- tioned, definition and illustration in general of Anutpanna-sambhoga (s1.104); P. 21. its four varieties defined and illustrated (śls. 105-109) Vipralabdha: Criticism of the Rasamañjari-definition that she is one who comes to the tryst, does not find her lover there and becomes dejected, this excludes cases of Sviya and Samanya, who remain in their own homes and whom their lovers deceive. Citation of a similar definition from the Prataparudriya, criticism of it as being too narrow; the definition in the PratāparudrIya would apply to the Nāyakavancitā Parakīyā, not to the Sakhī-vañcıtā nor to cases of Parakīyā and Sāmānyā remaining in their own places and being deceived by their lovers. The author's own definition of Vipialabdha as one suffering in separation caused by deceit, the Amarakośa cited to support the view that deceit is the main and essential element in the Vipralabdha-definition.

INTRODUCTION 99 Two kinds of Vipralabha, deceived by the hero himself (Nayaka-vañcta), and deceived by the lady-friend (Sakhi-vancita); the latter further explained as one whose lady-friend hides the lover in a corner and deceives her for fun. P 22 Definition and illustration of Vipralabdha in general (śl. 110), the two varieties defined and illustrated (śls 111-12); illustration in this type of varieties of Svīya, Madhyā, Pragalbhā, and Sāmānyā (śls, 113-117). P. 23 Khandita Criticism of the Rasamanjari-definition as too narrow. the Rasamanjari says that the Khandita is one whose lover comes to her in the morning with marks of his having enjoyed another lady: it is not necessary that the lover should go to her with such marks; there is the Khandita, who has only heard of her lover's mis- behaviour and the Khandita whom the lover has continuously ignored in his love for another. Grammatical explanation of the name Khandita. Khandita means cut, shattered, the author's definition therefore is that she whose love has been cut or shattered by anger is a Khandıta, this anger in love rises in four ways. All Näyıkas in an angry mood come under Khandita, but when the same anger becomes Mana or silence due to anger, they come under Manavati, if the anger expresses itself in satirical remarks they come under the classes Dhira etc .; if she exhibits her anger before her friends only, in the absence of her lover, she is Anya-sambhoga-duhkhita, one dejected at her lover's sport with another lady, though there is anger in the type called Kalahāntarıtā too, it is a different type from Khandita, as in the former the difference and emphasis are in the anger exhibited and in the latter, in the anger having given place to repentence. Consideration of Mana and its nature, criticism of the older view that it is anger due to a wrong done by the lover; such non-distinction between Māna and anger (Kopa) would make Manavatī and Khandita identical, Mana is reticence and refraining from courtesy or response as a result of anger; acceptance of the Rasamañjari-definition of Māna as behaviour ındicative of anger, Kopa-ceștā The view of some that Khandita has varieties Manavati, Dhira etc., their view that Mana, according to Bharata, is due to four causes, Vaimanasya, Vyalika, Vıpriya, and Manyu; the relevant verses from Bharata's Nātya Sastra quoted. The author's view that these are only causes of anger, not exactly of Mana; therefore these are to be held as the different causes of jealousy and of the condition called Khandıtā. P. 24. Khandita defined as one having jealousy (Irsya) due to any of the four above-mentioned causes Irsya or jealousy defined as the mental disturbance of a lady due to her lover's friendship with another woman, it is out of this knowledge of her lover's friendship with another women that anger arises; from this anger proceed Mana and other forms of behaviour The slight tiff arising in the midst of each other's enjoyment, called Pranaya- kalaha, is not to be included here; it will be separately dealt with in its proper place. This Khanditā 1s of five kinds. Mānavatī, Dhīrā, Adhīrā, Dhīrā-adhīrā and Anya- sambhoga-duhkhita, the last has a sub-variety, called Irsya-garvta thus making the total varieties sıx. As the love in Mugdha is not sufficiently pronounced, there is really no Khandıtā- variety in Mugdha, but the author adds that he would illustrate varieties lıke Dhīra etc. in Mugdha too, as poetic flourishes could sometimes imaginatively show that variety also Definition and illustrations of Khandita in general (śl. 118); illustrations in this of varieties of Svīya, Madhya, Pragalbha, Parakiya, and Samanya (śls. 119-123) ..

100 ŚRNGĀRA MAÑJARĪ

P. 25 Manavatī and Māna defined definition of Mana as reticence caused by the misbehaviour of the lover, three kinds of Mana: laghu, light, madhya, moderate; and guru strong, each defined from the point of view of their remedies; laghu-mana is that which cau be removed without effortby pleasant talks, madhya-mana isthat which requires for its removal much effort in the form of swearing (of faithfulness) etc., guru-mana 1s that which can be remedied only by very great effort in the form of prostration (of the lover at the beloved's feet) etc. Illustration of Manarati in general (śl 124), illustrations of the three kinds of māna (śls 125-127) Illustrations of Manavati among the various types of women; Sviya-manavatī, Madhyā-mānavatī, Pragalbhā-mānavatī, Parakīyā-mānaratī- P 26-and Sāmānyā-mānavatī (śls. 128-132). Dhīrā, Adhīra and Dhīradhira dealt with as coming under Khandta-varie- ties; Dhira defined as one who exhibits indignation suggested through a deft (satirical) utterence, illustration (śl 133), Adhira defined as one who shows indignation which 1s very patent in her expression, two illustrations (šls 134-5) Dhīrādhīrā defined as one whose words contain both implied and express anger, illustration (śl. 136). Mugdha-dhīra illustrated (śl. 137) (as a sample of varieties of Dhīrā, Adhīrā and Dhiradhird among other types of Nayikas). P 27 Anya-sambhoga-duhkhta dealt with. The older view that showed this type only among those who were pained to see their lovers having sported with their own messengers who were sent by them to their Nayikas. Criticism of this as too narrow a view. Sporting with another means sporting with any woman other than one's beloved, as the word 'another' itself would mean. Anya-sambhoga-duhkhita is therefore she who is pained (a) at her lover's sport with her messenger (dūti-sambhoga), (b) at his attempts at such sport with her messenger (dūtī-samasaktr), and (c) at the news of her lover's sport with any other Nāyıkā (itara-nāyıkā-rati-śravana); her sorrow at this is exhibited not before the lover, but in his absence (nayaka-paroksam) falls ınto three kinds, Dūtī-sambhogaduhkhitā, Dūtī-samāsaktı-duhkhitā and Itara-ratı- Thus this type

śruti-khinna. Also a further fourth variety is newly added viz Irsya-garvita Repetition of the definition of Anya-sambhoga-duhkhitā; general illustration of the main type of that name (śl. 1. 138) ; definition and illustration of Dūtī-sambhoga-duhkbitā (śl. 1 139); definition and illustration of Dūtī-samāsaktı-duņkhitā (śl. 1. 140), definition and illustration of Itara-ratı-śruti-khınnā (śl 141) Illustration of Anya-sambhoga-duhkhita among the other types of Nayikas among Svīyā, Madhyā, Pragalbhā,- P 28 -Parakiyā, and Sāmānyā (śls 142-146), Īrsyā-garvitā defined as the jealous and haughty one who shows her anger in the absence of her lover and wants to retaliate suitably, when he calls again; illustration (śl. 147). With this the treatment of the Khandita is finished. Kalahāntantā 1s then taken up and defned as one who repents after having harshly turned out her lover in anger. She is of two kinds, as her tiff may be due either to jealously (Irsyā-kalahāntarıtā) or to to a mere love-quarrel (Pranaya-kalahāntarıtā). Illustration of this type in general (śl. 148). The two deired and illustrated: Irsya-kalahantarita is one who turns out her lover as result of his relations with another lady, and then repents; illustration (śl. 149). Pranaya-kalahantarita defined as one who turns away in anger from her lover owing to his transgression of her commands, and then repents

INTRODUCTION 101

Varieties of Kalahāntaritā in types other than Mugdha would, it is said, be set forth. As the type called Prai aya-kalahantarita is charming by the exceeding love that is in it, the text proposes to show its varities in Malhya and other classes. Illustration in general of the Pranaya-kalahantarata (śl. 150) P 29 Illustratıons of Kālahāntarıtā ın Svīyā, Madhyā, Pragalbhā, Parakīyā and Sāmānyā (śls. 151-155) Vakrokti-garvitā is then dealt with defined as one who shows off her pride by her clever speech, of four kinds, proud of her love, of her beauty, of her luck in love and of her own cleverness (Prema-garvitā, Saundarya-garvıtā, Saubhāgya-garvrtā, Naipunya- garuita) Of these Saundarya-garvita is of three kinds: proud of her smile (smita), youthfulness (yauvana), and delicate body (suukumarya), the text adds a further fourth variety to tnese three viz, proud of her gracefulness and blandishments (Vlāsa- garzita). The author of the Amoda holds that the Saubhagya-garvita is not different from the Prema-garvita, but the text holds that the two are different, in as much as Saubhāgya is not love, but the luck that endows one with (the lover's) love. Illustration in general of the Vakroti-garvita (śl 156) P 30. Prema-garvita defined as one who shows off the lover's love for herself through her deft words General illustration of this type (śl. 157).

(śls. 158-162). Other varıeties ın this ıllustrated Svīyā, Madhyā, Praudhā, Parakīyā and Sāmānyā

Saundarya-garvita defined as one who shows off her beauty by, her deft words; general illustration of the type (śl. 163) Other varıeties here ıllustrated Svīyā,- P. 31 .- Madhyā, Pragalbhā, Parakīyā and Sāmānyā (śls. 164-168). Definition and illustration of those proud of their beauty, of their smile, youth- fulness and delicate body, Smita-, Yauvana-, Saukumārya Garvitās (śls. 169-171). P 32 Definition and illustration ofthe Vilāsa-garvitā (śl. 172). Saubhagya-, and Naipunya Garvitas defined and illustrated (śls 173-174) The treatment of Vakrokti-garvita ends with this. Prosita-bhartrka is then taken up Consideration of the definition of this Nāyıkā given in the Rasamañjari, and the remarks thereon in the Amoda. The Rasamañjarī defined her as one dejected as a result of the absence of her lover abroad. The author of the Amoda pointed out here that as the word 'Prosita' 1s a past passive participle, Ktania, signifying a past action, and could not therefore refer to the present or the future, the name, Prositabhartrka, could not apply to one whose lover was just starting on his voyage and another name for her was to be coined. The Sngāra- manjari explains then its position with reference to this: The expression 'Prosita- bhartrka' means one whose lover's voyage is in the past, present or future; all the three are comprehended in this same name. By Paninı 3 3 114, the Kta-pratyaya in 'Prositam' neuter gender, would refer to all the three times, past, present and future, 'Prositam' would thus mean 'Pravasa',-voyage abroad. As in the case of bahuvrihi-compounds lıke garuda-dhvaja, the compound Prosıta-bhartrkā is to be split as a vyadhikarana- bahuvrihi, meaning 'one in whose husband there is voyage'. The further grammatical points arising out of this, viz the pre-positron or post-position of the ktänta, is then dealt with on the basis of Panin1 2.2.35 and 2.2. 36. P. 33. Further explanation of the compound and the pre-position of the word Proșita-bhartrka on the basis of Pānini 2 2.37, explanation that according to Pānini 2 3.67 and 3.3.131, the Ktanta could itself comprehend all the three times, past, present and

102 ŚRNGĀRA MAÑJARĪ future and hence the word Prostta-bhartrka could mean the lady whose husband Thas gone, is going and will be going on journey; and as the word Bhartr in Prosita-bhaitrkā means both wedded husband and lover, the definition of Prosita-bhartrka would apply to all the three types of Nāyıkās, Svīyā, Parakīyā and Sāmānyā. Or the term Prosita-bhartrka could be explained thus. 'Prositam' in neuter would mean Pravasa or going on journey, and he who has that Pravasa is a 'Prositah', mascu- line, with 'ac' suffix denoting posse,sive sense, and she who has such a husband is Prosita-bhartrka, the compound here being understood as a common Samānādhikarana- Bahuvrihi-samasa, in this explanation too, the term applies to journey in all the three times. Illustration from a stray verse (found also in Amaruka), from Meghadūta and Sakuntala to show the use ot a past passive participle in all the three times; the word Prosita being on the same par, would similarly denote all the three times. Citation of the definition of Prosita-bhartrka from the Rasamañjari and the Pratäparudrīya, according to both of which she is one who is in suffering owing to the absence of her lover aborad Criticism that this definition would leave out cases where the lover is going o1 is to go on tour So the author proposes the simple definition that she who is suffering on account of her lover's journey is Prosita-bhartrka, as this journey could be one in any of the three times, this definition would take in all the three cases Prosita-bhartrka is accordingly of three kinds: she whose husband will start (Pravatsyat-pahka), she whose husband is starting (Pravasat-patika) and she whose husband his gone on a journey (Prosita-pataka). Under the last, the author adds a new variety called Sakhyanutāpitā, for in her case too, journey is the cause of distress P. 34. Illustration of Piosita-bhartrkā In general (śl 175) Definition of Pravatsyat-patika; criticism of the Rasamanjari-definition that she is one whose husband will leave on journey the next moment. The condition 'next moment' is found fault with, as this departure to be can as well be in a day or two Therefore, the author offers the definition that she is one, who is afflicted on knowing her husband's prepartions for departure. Here a variety called Vigalita-prasthana-patika is added by the author. Pravatsyat-patıka in general illustrated (ś1 176), the same in Svīyā, Mugdhā, Madhyā, Pragalbhā, Parakīyā and Sāmānya illustrated (śl 177-182). Vīgalita-prasthana-patika defined as one on seeing whose distress, the lover refrains from travel P. 35 Illustration of the above (śl 183) Pravasat-patika defined and jillustrated (śl 184) The same illustrated in Sviya,- P. 36 .- Mugdhā, Madhyā, Pragalbhā, Parakīyā and Sāmānyā (śls, 185-189) Definition of Prosita-patika and illustration of the same in general (śl 191). Illustration of the same in Sviya etc (śl 192-197). Sakhyanutapita defined as she whom even the consoling friend (Sakhi) forsakes and goes away on journey. P. 37. Illustration of this (śl. 198) Thus ends the treatment of the Prosita-bhartrka. Abhisarika is then taken up; the Rasamanjari cited as defning Abhisarika as one who goes to a tryst to meet her lover or makes a lover meet her at an appointed place; criticism of this; it is only she who hereself goes to an appointed place that can be spoken of as an Abhisarika, quotation from Amarakośa too to this effect, Quotation from the Amoda, which considers that the lady who brings the lover to her place, the

INTRODUCTION 103 second varıety of Abhısārıkā mentioned above, cannot be included in the Vāsaka-sajjıkā, as, in her case there is no condition of turn, Vara-myama, involved The autbor criticises this on the basis of his own modified defintion of Vasaka-sajjika already given (pp 16-17), the question of turn narrows down the scope and Vasaka-sajjikā includes all such women as are eagerly making preparauons on account of the expected arrival of their lovers Therefore, it is proper that the lady who makes her lover go to her 1s included ın Vāsaka-sajjıkā. The Rasamañjari is thus held to be wrong, the author defines Abhisārıka as one who goes to meet her lover at a tryst. The author proposes to illustrate her in Sviya and other classes; he gives further five sub-varieties of the Parakiya-Abhisārıka, she who goes in moonlight (Jyotsna-abhısārıkā), in darkness (Tamo-abhısārıkā), during day (Dıvā-abhısārka), in pride (Garva-abhisarika), and in great passion Kāma- abhısārıkā) A sixth variety is also then added by the author, Prema vakya-abhisarka, for the lady who calls on her lover and spends time conversing with him. A variety called Prema-abhisarika has been mentioned by the author of the Rasikapriya, but it is unneces- sary, for all Abhisārikās are prompted only by love Abhisarika in general illustrated (śl 199), illustration of the same in Svīya, Mugdhā (śls 200-201)- P 38 .- Madhyā, Pragalbhā and Parakīyā (śls 202-204) Jyotsna-abhisarika is she who goes out in moonlight in white dress; illustrations (śl. 205-206) Tamo'bhisāuikā defined as one who goes out in darkness in black dress; illustration (śl 207). Divabhisarika is one who goes out in day; illustration (śl. 208). Garvābhisārika is she who meets her lover at his place, but out of pride, hides her love and says that she came on some work and engages herself in conversation; illustra- tion (śl. 209). P. 39. Kama-abhisarika is one who goes forth in great passion; illustration (śl. 210). Prema-vakya-abhisārika defined as one who reaches her lover and engages herself in an endearing conversation; illustration (śl 211). Sāmānyā-abhısārıkā illustrated (śl. 212) The treatment of Abhisarika is thus finished. With this is also fnished the section setting forth the common classification (Sadharana) of all the types Sviya etc., from the point of view of their emotional condi- tion (Avastha) Now is taken up the consideration of the classification of all women into the three classes, Uttama, Madhyama and Adhama. The Rasamanjarī says that the Uttama or the higher type of woman is she who acts favourably even when her lover does wrong; the Amoda, while commenting on this, points out that this definition of Uttama is narrow and cannot apply to the Khandita who is enraged at her erring lover, the Svādhīnapatıkā whose husband never does any wrong, and the Kalahantarita who slights her lover; and therefore descriptively amplifies the definition thus : in the case of a Khandita, the favourable attitude (Hitakurinītva) consists of not getting too angry when the lover errs; in the case of a Kalahäntaritā, it consists of intense repentance after the slight offered in a stress of feeling; and (in the case of the Svadhina-patika) it is the further intensity of love expressing itself in the form of eager arrangerrents for enjoyment, the unfavourable attitude (Ahitakarinītva) in the case of the Svadrina-patika will be the picking up of Praņaya-kalaha According to the author, the Uttama is one whose favourable acts excel those of her lover; Madhyama is just as favourable in her acts as her lover; Adhama shows less favourable acts than her lover.

104 ŚRNGĀRA MAÑJARĪ Explanation of how this classification of superior, ordinary and inferior (Uttamā, Madhyama and Adhama) would apply to all the categories of Nayika set forth in the classfications given above. Regarding her form which is the physical substratum of feeling (Alambana), the Pragalbha is Uttama, Madhya is Madhyama and Mugdha is Adhamā. In Sviya, the Uttama is one who is devoted firmly till death and is obedient to her lover, she is the Pahvrata, the Madhyama is just responsive to the extent of her hus- band's favourable disposition, and is obedient to him by all common standards of the world, the Adhama is the wife of varying temperament P 40. Parakīyā Uttamā-one in absolute secrecy and for life attached to a paramour, Madhyama-one whose unchastity is open, Adhama-the fickle woman who seeks everybody. Samanya. Uttama-the Klptanuraga who restricts herself to one, Madhyama-the Kalpitānurāgā who is independent, Adhama-the same who is under her mother's thumb. Svādbīna-patıka Uttama-one who falls out n Pranaya-kalaha and comes round herself, Madhyama-one' who herself picks up a tiff and then herself pacifies her lover; Adhama-one who picks up a quarrel and is looking out for the lover to pacify her. Vāsaka-sajjıkā Uttamā-one who decks herself with clothes and ornaments that would please her lover, again and again sends her friend to find him out, is looking in the direction of his coming and is immersed in the joys of the union with the lover whom she is expecting; Madhyama-she who puts on the ornaments sent by the lover and is merely waiting for him; Adhama-she who is just in her normal attire even after the arrival of the lover Virahotkanthita Uttama-one whose pangs increase even at the briefest separation; Madhyama-one whose suffering goes up to swooning when the lover is out of sight; Adhama-one whom the separation from her lover affects slowly Vipralabdha. Uttama-one who forgets the fact that the lover had let her down by becoming attached to another lady and becomes very much perturbed, Madhyama and Adhama are also to be similarly understood by the love and consequent dejection at the lover's deceitful conduct being less and less. Khandita. Uttama-one who, while the lover's guilt is serious, is only slightly angry; Madhyama-one whose anger is equal to the gravity of the lover's guilt, Adhama -one whose anger is out of all proportion to her lover's guilt. Manavati. Uttama-one whose Mana is slight (laghu), Madyama-one whose Mana is moderate (madhya), Adhama-one whose Mana is strong (guru) Dhira: Uttama-one who offeis her remarks with due regard for the lover and in such a manner as anger is hidden and finely suggested, Madhyama-one whose words uttered with due regard are clearly suggestive of anger Adhama-one whose speech is more expressive of anger than suggestive Adhira . Uttama-one who slights her lover and speaks words which are patently angry, Madhyama-one who threatens, Adhama-one who resorts to beating. Dhiradhīra. the acts of Dhīra and Adhiia get mixed here and the varieties Uttamā etc. have to be accordingly understood by the mingling of the characteristics mentioned above under Dhira and Adhīra So also the varieties Uttama etc. are to be deduced in Anya-sambhoga-dhuņkhitā. In Vakrokti-garvita, Uttama is she who describes the lover more than he does her; Madhyama describes him only as much as he does her, Adhama is she who describes only herself. Kalahantarıtā Uttama-one whose remorse is far more than (the anger) she had before the lover tried to pacify her; Madhyama-one whose repentance is of the same

INTRODUCTION 105

intensity as her anger in the previous state, Adhama-one whose remorse is less than the anger she had previously. Prosıta-bhartrkā Uttama-one who is upset by the mere mention of the lover's departure; Madhyama-one whom only the actual departure affects, Adhama-one who experiences suffering after the departure of the lover Abhısārıkā. Uttama-one who forgets her body and goes forth with her daring as her only escort, this is the type known as Kāmābhisārikā; Madhyama-one who goes to the tryst along with an escort; Adhama-one who waits for the convenient time and then goes. P. 41. Sakhi Uttama-one who wishes most for the Nayika's happiness; Madhyama-one who speaks pleasing words; Adhama-one who speaks and helps at random. Definition of Uttamā in general repeated; illustration of Uttamā in general (śl 213). Uttamā in Svīyā, Madhyā, Pragalbhā, Parakīyā and Sāmānyā illustrated (śls. 214-218) Madhya and Adhama definitions repeated, Madhyama and Adhama in general illustrated (śls. 219, 220) Thus finishes the treatment of Uttama etc Now to the treatment of the accomplices of the Nayıka, like the Sakhi or friend. Though at the time of bearing a message, the Sakhi herself becomes the messenger or Dutī, the Sakhi and Dütī are distinct in their functions and are to be, therefore, separately defined and illustrated. The Rasamañjari-definition of Sakhi as one who is by the lady's side, in whom the lady confides and from whom she derives relief P. 42 To bebrief the meaning is, Sakhi is one who is by one's side and is a fit person to confide in This is accepted by the author. In the Rasamanjari and the Amoda the various things done by the Sakhi (Sakhi- krtya) are given thus. toilet, censure, coaching, making fun, eulogy, diversion, remov- ing Mana, inculcating Mana, enquiry about her mind, consoling during separation, sport in forest and water, sport on the swing, games with dolls and balls, the games of wheel- ing round, blind-folding and dice, and drinking, the author adds to these the following deceiving (for fun), circular dance, picking flowers and spring sports Definition of Sakhi repeated; Sakhi in general illustrated (śl. 221) Sakhī-krtyas, Mandana etc. Mandana defined and illustrated. (śl 222) Censure is of two kinds, of the hero and of the heroine; both illustrated (śls 223-224). Similarly coaching is of two kinds; both illustrated (śls. 225-226). Making fun is of three kinds, accordingly as it is done by the friend, the heroine or the hero; P 43 -the three illustrated (śls 227, 229). Eulogy defined and illustrated (śl 230). Diversion illustrated (śl. 231). Removal of Mäna twofold, accordingly as it is of the heroine or the hero; both illustrated (śls 232-233). Inculcation of Mana illustrated (śls. 234) Enquiry about her mind illustrated (śls. 235). P 44 Illustrations of consoling during separation, sporting in forest, in water and on swing, games with dolls and balls, games of wheeling and blindfolding,- P. 45 .- dice, drinking, deceit for fun, circular dance, picking flowers and spring- sport. Thus ends the treatment of Sakhi. Dütī is then taken up. Dūtī is defined as one adept in going as a messenger; she is of eight kinds; servant, friend, artisan-woman, daughter of one's foster-mother, neighbour, 14

106 ŚRNGĀRA MAÑJARĪ a lady in disguise, artiste and the heroine herself. Definition of each: Däsi is she who takes special efforts to serve; Silpini is one who is herself a painter or brings a painting; the Sva is the heroine herself who goes about and arranges her union. The Amoda adds here other accomplices like the female recluse, the little girl who is innocent of love-matters, the relative, the omen-teller, and the danseuse qualified in music and dance. P. 46 The author says that he would add two more, the woman pedlar and the anxious one. Vikretri is one that sells articles, and though she may be of numerous kinds, four of them are taken here as especially attractive in the context of love,-the seller of glass (-bangles), of perfume, of gems and of flowers The Sankita or anxious one is she who on hearing the harsh words of the lady fears that the lover may get upset and undertakes the work of nice mediation If the recluse and the omen-reader are so by guise, they would come under the general class of Lingini or woman in disguise, similarly pedlars added by him, the author says, would also come under the same Lingini, if they are so by disguise; if however they are so by profession, and not by disguise for this purpose, they are independent varieties of the love-accomplice. The work of the messenger comprises bringing together, conveying the suffering of separation, conveying the love, encouraging, reporting the lover's affair with another lady, bearing message, and divining the mind. Now to the definitions and illustiations of the messenger and her varieties and her activities. Dūtī in general defined and illustrated (śl. 250). Illustrations of Dāsī, Sakhī, Kāru, Dhātreyī, Prātiveśınī, Lıngınī, Śilpinī (śls. 251-257). P. 47 Svā, Yogınī Pravrajıtā, 'Ajñāta-manmatha-vıkārā Bālā, Vıpraśnıkā, Națī (śls 258-262). Vıkretrī ın general, Kāca-vikretrī, Pațavāsa-vıkretrī, Manı-vikretiī and Prasūna- vikretrī (śls. 264-267). P.48 Sankita defined and illustrated (śl. 268). Activities of the Dūti defined and ıllustrated: Sanghatana or bringing about union (śl 269) Viraha-vedana is of two kinds,-conveying, during separation, of the news of the suffering of the lovei to the lady and vice versa, illustrations (śls 270, 271). Conveying similarly the love of the lover to the lady and vice versa; illustrations (śls. 272, 273). Praise of the lovers and their love illustrated (śl 274). Encouragement is twofold, of the lover and the lady; illustration of both (śls. 275, 276) P 49. Illustration of the report of the sport of the lover with another lady (śls. 277). Bearing of message of two kinds,-the lady's to the lover and vice versa; both illustrated (śls. 278-9), divining of the mind illustrated (śl. 280). The section on the lady-messenger ends The subject of Nayaka or the lover is taken up; Nayaka defined as the male who is the object of the love of the lady; Nayaka in general illustrated (śl. 281). Nayaka is of three kinds, husband (Pati), paramour (Upapati) and he who is given to the company of courtezans (Varsika). Husband defined as the lawfully wedded man, he is of six kinds, the faithful (Anukula), the courteous (Daksina), the adaucious (Dhrsta), the rogue (Satha), the touchy (Manin), and the clever (Catura). The six kinds defined: Anukūla is one who is faithful in his love to one lady; Daksina is one who 1s attached to more than one but is equally well-disposed towards all of them; Dhrsta is the lover who is attached to more than one lady, and even when his offence is known and the lady repudiates him for it, continues to court her; the rogue is he who keeps his faithless conduct secret and approaches the lady as if he is innocent; the Manin is the

INTRODUCTION 107 guilty lover whom the consequent anger of the lady puts out; the Catura is one who conveys his desire to the lady in some clever manner. The older writers included the Manin and the Catura in the Satha, but the author thinks that this is improper as the first two are, by their characteristics, elearly distinct from the last. Therefore, six are the varietes of Pati; so also are the Upapati and Vaśika of sıx kınds each As Pati is superior, he is first dealt with Definitions and illustrations of these classes now follow Pati defined and illustrated (śl. 282) Anukūla defined and illustrated (śl. 283) P. 50 Definition and illustration of Daksına (śl. 284), definition of Dhrsta; the author adds a variety of Dhrsta called Dhurta (the scamp). Illustration of Dhrsta (śl 285). Dhurta defined as one who misbehaves with another, and ere the lady shows her anger, himself gets into an angry mood; illustration (śl. 286). Satha defined; two kinds of Satha, the secret and the open, Satha in general illustrated, the secret type of rogue is he whose guilt is known to the beloved only, illustration (sl. 288); the open type of rogue is he who goes away on seeing the lady offended and on finding her temper better, presents himself again to her; illustration (ś1 289). Manin defined and illustrated (śl 290), Catura defined as one who conveys his desire cleverly through speech or action; P 51 the clever in speech (Vak-catura) illustrated (śl. 291), the clever in action (Krıyā-catura) illustrated (śl. 292) Defintions and illustrations of Upapati and Vaisika (śls 293, 294). All these types of Nayakas are classifiable into Uttama, Madhyama and Adhama, superior, middle and inferior, from another point of view : He who pacifies the offended beloved with pleasing acts is Uttama, the middle type is he who shows neither anger nor love when she is offended, and by silently bearing her temper, watches her mind, the inferior type is one who has neither shame nor compassion, and is particular about having sexual union. For fear of length, the author proposes to omit further definitions and illustrations of these From another point of view, these lovers are of three kinds: Prosita, one who has gone on journey and is consequently separated from his beloved; Amilita, one who is yet to be united with the object of his love and is yearning for her, and Viralun, one who is near, but owing to other work, is unable to join his beloved; each of these three defined and illustrated (śls. 295, 296, 297) Now to the accomplices of the Nayaka,-Pithamarda etc. Pithamarda is one who is good at bringing round an offended lady; Vita is a master of all arts and branches of learning; Ceta is one who brings about the meeting; Vidūsaka is a clown. Illustrations avoided owing to fear of length. Thus ends the treatment of Nāyaka. The Sattuika-bhavas which show the mutual love of the lovers are now taken up. The Rasamanjari quoted with approval on the eight Sattvikabhavas, Sveda, prespiration; Stambha, limbs getting benumbed; Romanca, bristling of the hair; Svarabhanga, breaking of the voice; Vepathu, tremour of limbs; Vaivarnya, loss of colour; Aśru, tears; Pralaya unconsciousness. P. 52 Definition and illustration of these (śl. 298). Srngara Rasa dealt with: Quotation with approval of the author of the Rasamañ- jarī on the defimtion of Srngara. Śrngara is that which develops from the permanent mood (Sthāyi-bhāva) called Rati or love.

108 ŚRŃGĀRA MAÑJARĪ This love is between a man and woman and vice versa. Its causes, Karanas, are the beloved and the lover who form the mutual objects of love, Alambana uibhavas, and the exciting conditions, Uddipana vibhavas, spring, southern breeze, sandal etc .; these, the two Vibhavas, are respectively the causes of the manifestation and further increase of love. Glances and movements of brows are ensuants, Anubhavas, they are the results, Karyas. Bashfulness (Lajja), etc are transitory feelings, Vyabhicari-bhavas, they are accessories, Sahakarins Srngara, which is of the form of pleasure (Sukha) and longing (Utkantha), called respectively union (Sambhoga) and separation (Vipralambha), is the attainment of the state of relish or Rasa, in which everything else has dropped out of consciousness, and which is brought about by the sum total of the above-mentioned condi- tions augmenting the permanent mood of love (Rati-sthayi-bhava). This Srngara is of two kinds, worldly and non-worldly (laukika and alaukika), the worldly Srngara is the love between the hero and the heroine, thenon-worldly Śrngara manifests itself in the reader or spectator through the poem or the drama Explanation of these two by the talk and dalliance that the hero and heroine indulge in, there is a joy which only the hero and heroine derive; the Rasa that they thus have is purely of a worldly nature (laukika), on the other hand, by reading a poem or witnessing a play, through the poetic expression or the dramatic action, the glances, the disporting of the limbs and such other acts and the feelings like bashfulness come to be relished by the readers or spectators, and thereby there is a bliss that manifests itself in them; this is the non- worldly (alaukika) Rasa which pertains only, to the audience Reference to the author of the Rasamanjari as expounding this view. The citation of the view of older writers that Rasa is non-worldly, alaukika, and manifests itself only in the audience; that it is the permanent mood nourished by the Vibhāvas, Anubhavas and Vyabhicaribhāvas, which being presented either through a beautiful poem or by accomplished actors, are contemplated upon by the audience, relished and brought to the stage of ineffable blıss Definition of a Sthayi-bhava quoted and explained; a Sthāyi-bhāva explained with reference to love, a permanent mood is that which is not overcome either by a similar mood or by a dissimilar mood and continues upto its attaining the state of Rasa; in love towards a particular lady, a similar mood is love towards another, a dissimilar mood is, for instance, loathsomeness (Bibhatsa), the permanent mood of love is neither put down nor hindered by either of these two. Such a steadfast mood is love (Anuraga). Definition of Anuraga, love: in separa- tion, it produces suffering, and in union, it gives no rise to the desire for enjoying anything else. The cause for such love is really Providence, not the qualities of beauty etc. For, a charming man is devoted to a woman devoid of charms, and a man of parts to a worthless woman, and vice versa, when such is the expertence which cannot be set aside, it 1s clear that love is a providential blessing, beauty and other endowments are useful only to augment this love. P 53 This loveis of three kinds: intense, ordinary and inferior, Uttama, Madhyama and Adhama. Uttama-anuraga is that which develops intensely and in separation pro- duces the ten stages, and produces the constant thought of the beloved person; illustra- tion of this (śls. 299). Madhyama-anuraga produces suffering in separation, and in union, mental comfort. Adhama-anuraga produces only slight suffering during sepa- ration, and after union, as days pass, brings on forgetfulness. From the point of view of the initial circumstance from which it originates, this love is again of four kinds: respectively through Sravana, Darsana, Citra and Svapna, hearing, seeing, seeing one in a picture and seeing one in a dream. The first is produced by listening to the report of one's beauty and other qualities; the second by seeing one

INTRODUCTION 109 actually; the third by seeing a lover in a picture, and the fourth by seeing a lover in a dream. Though union and separation are of the form of happiness and longing, older writers had stated that union is embrace and the like, and separation, the desire for the coming union, Sambhoga and Vipralambha dealt with accordingly, illustrations of Sambhoga (śls. 300, 301), and Vipralambha (śls 302). P. 54. Illustrations of the four kinds of love through hearing etc. (śls. 303-306) Thus far, the author says, he dealt with the different types of Nāyikas, from the point of view of their various states and acts (cesta-visesa), following the Rasamañjarī; but now he proposes to deal with a classification of heroines and heroes from the point of view of their physical and mental dispositions, (Gunas), types of ladies Sankhini etc. and of men, Bhadra etc., following Vātsyāyana As, however, the qualities of the male-types, Bhadra, Datta, Kucamiāra and Pāñcāla are not different from those of the female-types- Hastini, Citrinī, Sankhinī and Padminī, separate illustrations for the former are not given. In the types Hastini etc, further mixed classes are also found by the admixture in one type of some characteristics of another, in such mixed types, whichever is the element pertaining to the superior type, that produces for the time being, joy through its con- templation; at other times, joy is to be derived from fondling and the like indulged in by the lovers. The same is the case of mixed types among Nayakas. As the ancients have elaborated this topic, the author proposes to be brief. Illustration of a woman in whom the qualities of all the four classes Hastini etc are found (śls. 307) Illustrations of Hastinī, Citrini and Sankhinī (śls. 308-310) P 55. Illustration of Padmınī (śls. 311, 312). Colophon: Thus ends the Srngaramanjari wrtten by Bade Saheb Akbar, son of Shah Raja, the preceptor of the King

110

TABLES OF NĀYIKĀ-NĀYAKA VARIETIES ACCORDING TO THE ŚRNGĀRAMAÑJARI (Those underlined are new varretres or names introduced by the author) A. NĀYIKĀ

(1) Svīyā (2) Parakīyā (3) Sāmānyā

A (1) (a) SVIYĀ SRNGĀRA MAÑJARĪ

(1) Mugdhã (11) Madhya (111) Pragalbha

Ajñāta-yauvana Jñātayauvanā Pracchanna- Prakāśa- Svīyā [Parakīyā Sāmānyā]

madhya madhya

Navodhi Visrabdha. Ratipritimatî Ratyānanda-

navodhā paravasā

A. (1) (b) SVIYĀ Jyestha Kanisthā A (1) (a) 11, 111 MADHYA and PRAGALBHA Adhirā Dhfrādhīrā

A. (2) PARAKIYÃ

Kanyā Parodha -

Udbuddhā Udbodhitā -

Guptā Nipuna Laksıtā

(Svayam-dūtî) Dhīrā Adhīrā Dhīrādhīrā

Vrtta-surata- Vartisya- Vrtta- Pracchanna. Prakāśa-

gopanā mana- Vartısya- Van-nipuņa Kriya-nipunā Patı- laksıta laksıtā

Surata- māna- vancana- INTRODUCTION

gopanā surata- nipund

gopană Kulațā Muditã Anusayānā Sāhasikā

Vighatita- Aprapta- Sankita

sanketa bhavi- sanketa- sanketa jaragamana

A. (3) SĀMĀNYĀ -

Svatantrā Jananyadhīnā Nıyamıtā Klptānuragā (further varities Kalpitānurāgā

Dhīra etc.) 111

112

B. NÂYIKĀ

1 2 3 6 8 9

4 5 7

Svādhīnapatıkā Vāsakasajjıkā Virahotkanthitā Vipralabdhã Khandıtā Kalahāntarıtā Vakroktıgarvitā Prositabhartıkā Abhısarıkā

B (1) B (2) B (3) B (4)

SVĀDHINÁPATIKĀ VĀSAKAŚAJJIKĀ VIRAHOTK A VTHITA VIPRALABDHĀ

6 general kınds Svīyā, 6 general kinds Svīya etc. Mugdha, Madhya, Pragalbha, Parakīyā, Sāmānyā. 1 special kınd Kāryavilambita- Anutpanna- Nayaka- Sakhīvañcitā

suratā sambhoga vancitā

2 special kınds Avasıtapravāsapatıkā also 5 general kınds

Dūtīvancika general kınds Svīyā, Madhyã etc Svīyā to Sāmānyā

Bhavisankita SRNGĀRA MAÑJARĪ

-4 special ones --

Darsana- Sravand- Crtra- Svapna-

anutā petā anutāpıta anutā pitā anutāpita

B (5) KHANDITA B (6) KALAHANTARITĀ

-- 5 general kinds 5 general kınds Svīyā etc

Sviya etc 2 special ones

5 special ones - Irsya- Pranaya-

Manavatī Dhiia Adhira Dhiradhira Anyasambhoga- kalahantaritā kalahantarita

duhkhıta

Guru- Madhya- Laghu- -

māna- māna- mana- Düti- Datīsama- Itara-

sambhoga- saktı-duh- iati- garitd

also five duhkhit? khita Sruti-

general kinds khinna

Švīyā etc. Besides these 5 general kinds, Sviva ete

B (7) VAKROKTIGARVITĀ B (8) PROSITABHARTRKĀ

15 'Premagarvita Saundaryagarvita Saubhagyagarvita Naipunyagarvitā Pravatsyatpatıkā Pravasatpatıkā Prositapatıkā

(6 general kınds, (6 general kınds, (6 general kınds,

Smita-g Yauvana-g. Saukumarya-g Vilasa-g Svīyā, Mugdha, etc ) Svīya, Mugdha, Svīya, Mugdha, etc.) etc )

Also 5 general kınds Svīya etc. 1 special variety Vıgalıtaprasthāna- 1 special variety

patıkā Sakhyanutapitā

B (9) ABHISĀRIKĀ INTRODUCTION

Jyotsna-abhi Tamo-abhı. Dıvā-abhı Garva-abhı Kāma-abhı Premavākj a-abhı

Also 6 general kınds Svīyā etc. C. NĀYIKĀ

Uttamā Madhyamā Adhamā

D. NĀYIKĀ - 113

Hastini Cıtrıņī Śankhınī Padmınī

114

A. NĀYAKA 1 --

1. Patı 2. Upapatı 3 Vaiśıka

B. NÃYAKA

Anukūla Daksına Dhrsta Śatha Mānın Catura

Dhūrta Pracchanna Prakāśa Vākcatura Krıyacatura

C NĀYAKA ŚRNGĀRA MAÑJARĪ

Uttama Madhyama Adhama

D NĀYAKA

Prosıta Amilıta Vırahın

E. NĀYAKA --

Bhadra Datta Kucamāra Pañcāla

NĀYAKA-SAHĀYAS -

Pithamarda Vita Ceta Vıdūsaka

ANURĀGA -

Śravaņa-anu. Darśana-anu. Cıtra-anu Svapna-anu

NĀYIKĀ-SAHAYAS

SAKHĪ DŪTĪ

Her activities - Dāsī, Sakhī, Karu, Dhātreyī,

Mandana Upālambha (2, Nāyıkā-, Nayaka- ) Prātiveśınī, Lınginī, Sılpınī, Sva, Pravrajita, Bala,

Śıksā Parıhāsa (3, Sakhī, Nāyıka-& Nāyaka- ) Sambandhınī, Vıpraśnıkā, Natī, Vıkretrī and Sankıtā

Praśamsā Kāca-vıkretrī INTRODUCTION

Vınoda Patavāsa-"

Mānāpanoda (2, Nāyaka-, Nāy ıka-) Man1-

Mānopadeśa Prasūna

Āśaya-praśna Her activities -

Vırahāśvāsa Sanghatana, Vırahanıvedana (2, Nayaka-, Nāyıkā-)

Vanavıhāra Anuraganivedana (

Jalakrīdā Prasamsā, Protsahana

Dolākelī Nāyakānyasambhoga-kathana

Pāñcālakelī Sandesahārıtā (2, Nāyaka-,Nāyıkā-)

Kanduka,, Cittajñatā.

Bhramana, Nayana-nımilana , Dyūta-kelī Madhupana,, Vañcanakelī Hallīsaka, Puspapacaya Vasantakelī 115

116 ŚRNGĀRA MAÑJARĪ

Acknowledgements

It now remains for me to thank all those who helped me to bring out this publication the authorities of the Government Oriental Library, Mysore, and the Sarasvati Mahal Library, Tanjore, for supplying me with transcripts of the manuscripts of the Singara- mañjarI and photographs of a sample page and leaf fiom them, the authorities of the Madras University for permitting me to publish this work through the Hyderabad Archaeological Dept , to Mr Khwaja Muhammad Ahmad and the Hyderabad Crovernment for including this work of mine in their Departmental Publications and supplymg me with the necessary illustrations, to Mr O C Gangoly, Calcutta, for peimission to reproduce in this book some of the Nayıka-Nayaka paintings available with him, to Dr N. Venkata- ramanayya for helping me in the correction of the proofs of the English Introduction; to the block-makers, Messrs Klein & Peyrl, Madras, and to the Printers, the Madras Law Journal Press Makara Sankrāntı 14-1-'51 University of Madras V RAGIAVAN

॥ बडे साहेब् अकबर विरचिता

शृङ्गारमञ्जरी॥

गुरुं गणपतिं दुर्गा वटुकं शिवमच्युतम्। ब्रह्माणं गिरिजां लक्ष्मीं वाणीं वन्दे विभूतये॥ १ ॥ यदङ्ध्रिकमलदवन्दवूं द्वन्द्वतापनिवारणस्। तारकं विपदां वन्दे2 तं गुरुं प्रणमाम्यहम्॥ २ ॥ किङ्करनरमधुकरकुलदत्तमहानन्दमकरन्दे। बन्देनवाजहजरतिपदारविन्दे सदा वन्दे ॥ ३ ॥ तद्वंशादूरमुक्तामणिरिव विमलद्युतिः स आविरभूत् । श्रीशाहराजनामा3 भूमिरभूद्भूषिता येन॥४ ॥ आसंस्तस्य तनूजाः स शाहकना थ राज इत्याद। शाहनपेस रुल्लाहोऽप्यकबरशाहस्त्रयस्ते च' सुरतुल्याः॥५ ॥ शाहनपेसरुल्लाहाललितगुणः शाहराज इत्यभवत्। विबुधजनमाननीयो महानुभाव क्षितीन्द्रगुरु ॥ ६।। श्रीशाहराजपुत्रोऽप्यकबरशाहो महद्वन्द्यः । यस्य बडेसाहेब् इति नाम महावैभवैकपदम् ॥ ७॥ सफलबडेसाहेब् शुभनामा रामाभिरामगुण. । जगति विबुधवरलक्ष्मीर्जयति बहुश्रेयसां सुश्रीः॥८॥ कः किल तपसा महसा यशसा ज्ञानेन धर्मेण। अभवद्भवति भविष्यति7 जगति बडेसाहेबेन समः ॥ ९ ॥ श्रीशाहराजसूनुस्तस्यावरजः8 चकास्ति रम्यगुणः । यं वी(मी)रसाहेबाख्यं जगदखिलं सर्वतः स्तौति ॥ १० ॥

यं शाहसाहेबाख्यं सर्वे लोकाः स्तुवन्ति सर्वत्र ॥ ११ ॥ येषां ज्येष्ठः श्रीमान् विद्वान् मतिमांश्रकास्ति विमलगुणः । यमिह बडेसाहेबमु मुद्दामालम्बते लक्ष्मीः ॥ १२ ॥

1 M. has the following at the begining: 2द्गारमञ्जरीग्रन्थः प्रारभ्यते । श्रीगणेशाय नमः । श्रीसीतारामाभ्या नमः । मङ्गलानि भवन्तु । T Beginning missing up to रुचिर विरचयत (p. 2) 2 'Vande' here seems redundant in view of the 'Pranamami' that follows. It may be 'Vandyam' or 'Bande-gurum tam pranamamyaham', Bande-guru refering to Bande Nawaz Hazarat (Gesu Daraz) 3 M. नाम्रा 4 M -णा- 5. M may be read त्रयश्च ते सुरतुल्याः 6 M श्री missing 7 M After this an unnecessary न is found. 8. M a extra. 9 साहेब्-अमुमू-उद्दामा. M. An extra मु found here

२ अकबर - विरचिता

को(ओ)1 विष्णुः को ब्रह्मा ताभ्यां श्रेष्ठस्ततोऽप्यकबरोजयम्। अ्रथ(य)2ति महश्वरत्व य' स3 बडेसाहेबेति नामभ्याम्:१३॥ अकबरमवचोगोचरगुणमपि कवयो यथामति प्रशंसन्ति। यत्किल तद्गुणगरिमा वर्णयितुर्गौरवं तनुते ॥ १४ ॥ तेनान्ध्रभाषयाय रचितः शृङ्गारमञ्जरीग्रन्थः । स्वथमकवरेण भूभृन्मुकुटमणिरज्जिताङ्घ्रिकमलेन ॥ १५॥ तद्विरचितान्ध्रभाषाकलितां शृङ्गारमञ्जरीच्छायाम्। सेवध्वं सुरवाणीरचितां रसतोषतारसिकभृङ्गाः ॥ १६ ॥ चतुरब्धिवेष्टितसर्वसहेशनुत शौर्य धैर्य मनोहरलावण्यसङ्गीतललित साहित्य भावज्ञतासदक्पाण्डित्यकलित-

गुरुराजशाहराजभक्तिमात्रसद् गुणगरिष्ठपरिमितहितवाक्यपाण्डित्ययुक्तस्वमतपरमतसम्पन्नसतिद्वान्तनिरन्तरसं- स्थापनाखिलनवरसालङ्कारनव्यगुणैक कवनधौरेयताकलित सन्निधानश्रुतिस्वरस्थानरागाङ्गगानक्ियास्थायि

काश्रितकविबन्धुमित्र-बडसाहबाकवरशाह. शरृङ्गारमञ्जरीग्रन्थराज रुचिर विरचयति॥

प्राचीनग्रन्थेष यानि लक्षणानि युक्तियुक्तानि तानि सङ्गृह्य, अन्यानि परित्यज्य, प्राचीनादाहरणानुमारेण नायि कामेदान् कल्पयित्वा, तेषां लक्षणोदाहरणानि कल्पयित्वा, पूर्वग्रन्थेषु येषां लक्षणानि न सन्ति तेपां लक्षगानि रचयित्वा, येषामुदाहरणानि न सन्ति तेषामुदाहरणानि विरचय्य10, येषां नामानि न सन्ति तेपां नामानि17 स्थापयित्वा, अयुक्तनामस्थले युक्तनाम च स्थापयित्वा, 18विस्तरकरणस्थले विस्तरं कृत्वा, 1सक्षेपकरणस्थले संक्षेपं कृत्वा, सर्वस्थलषु साधारणलक्षणानां साधारणोदाहरणानि निर्माय, प्राचीनलक्षणेषु यान्युपयुक्तान्युदा- हरणानि तानि तत्तन्नायिका20स्थलेषु लिखित्वा, चर्चाग्रन्थो21गद्यरूपो लक्षणग्रन्थ:2फक्िकारूप उदाहरण- ग्रन्थः पद्यरूप:, लक्षणोदाहरणे,23नायिकामेदा:, शृङ्गारहास्यकरुणरौद्रवीरमयानक2बीभत्साद्भुनशान्ताख2. नवरसेषु शृङ्गाररसस्य प्राधान्यात् शृङ्गाररसालम्बनविभावा नायेकानायका,रङ्गाररमानुकूलाः सातत्विकभावाः, पूर्वोक्तग्रन्था28वर्णितपझिन्यादिजातय., जातिसङ्करो27 जातिभेदा28श्वेव 29सरसाशेषविशेषा निरूप्यन्ते ।। तत्रा दौ 30 नायि कासाधारणलक्षणम्-शृङ्गाररसालम्वनं स्त्री नायिका। नायिका साधारणोदाहरणं तु3।. सौन्दर्यसारशेवधिरवधिरसौ निरवधिप्रमोदकृताम्32। स्मितललितलाचनान्ता कान्ता कन्दर्पसर्वस्वम् ॥ १७॥ 1 को विष्णुः is the ms reading here. As the verst proposes to give for the name A Ka- vara the etymology that Akbar is superior (Vara) to Visnu ' L' and Brahmā (Ka), (35 काच्च वरः), I suggest here the reading औ विष्णु: 'Akara' refers to Visnu 2 M य missmg. 3 M. सह 4. M नामाख्यम wrongly The reading suggested नामभ्याम् refers to his two names, Akbar and Bade Saheb. By Akbar, his superiority to Visnu and Brahma, ie his being Siva, 1s once suggested, by Bade Saheb meaning 'Great lord',-Mahā-Iśvara-tva is agamn suggested. 5 M रु missing 6 M ₹ missing 7. M क missing 8 M ₹ missing. 9 M -या 10 A. नटा- 11. M भेद: 12. T begins here with the words श्रीगणेशाय नमः । श्रीगुरुभ्यो नमः । रसमञ्जर्यामोद- 13 M रसप्रिय T रसिकक्रिय 14 T सरसकाव्य. 15 M लीलासरत्नाकर- 16 T. 2 lines repeated here. 17 T च extra 18 M अविस्तर 19 M असक्षप 20 M नायक- 21. T. before this पद्यरूप within brackets. 22 T corrupt 23 M नायक 24 भयानका 25 M शान्ताख्या 26 .. ग्रन्थ 27 T सकर 28. M. भेदाच्च 29 T स्वरस 30 M T साधारणनायिका- 31. T तु absent 32. M. कृत.

शृङ्गारमञ्जरी ३

सा त्रिविधा-स्वीया, परकीया, सामान्या चेति। अत्र रसमञ्जरीकार-स्वामिन्येवातुरक्ता1 स्वीयेति स्वीयालक्षणमाह। तदमङ्गतम्। एवकार प्रयोजनाभावात्। अन्यच्च। एवकारेण यावज्जीवं स्वामिमात्र- विषयकोऽनुराग इति नियम्यते। एवं सति कापि स्वीया परकीयात्वं नापदेत।तस्मात्परकीयाभेद एव न स्यात्। दृश्यते हि स्वीया एव परपुरुषानुरागण परकीया भवन्तीति। यावज्जीत पतिमात्रानुगगिणी चेत् स्वीया तर्हि परकीया5 न भवेत्। नन्वेवकारो यदि न दीयेत तर्हन्यत्रानुरागवत्यामपि पत्यावनुरागिण्यां परकीयायामतिव्याप्ति स्यादिति चेत्, न; परकीयाया अनुराग उपपनावेव, न पत्यौ। अत्र आमोद- कारा:9-10परकीयायापपि पतिरतिसद्वटनं भवतीति; मम्भोगेच्छैवानुराग, तथा सत्येवकारादाने"परकीयाया- मतिव्याप्तिर्भवत्ये1वेत्येवकारप्रयोजनमाहु 13। तदप्यसङ्गतम्। अनुरागनिरूपणे यथाऽस्माभिरुच्यतेऽनुराग स एवानुरागः । सम्भोगेच्छामात्रमनुरागो न भवति ननु14 यदि सम्भोगेच्छा अनुरागो न, तर्हि परकीयाया पत्या सह रतिप्रवृत्तिरेव न स्यादिति चेन्न, इयमिच्छा उपपत्यनुरागार्थनेव15, न पत्युः सम्भोगार्थम्, पत्या सह परकीया 1यद्रति करोति तदुपपति1रनिप्रत्यूहो मा भूदित्यतदर्थमेव*। तस्मात्परकीयानुराग उपतावव न18 पत्यौ। तस्मादवकारो व्यर्थः । एवकारत्यागे स्वामिन्यनुरक्ता स्व्ीयेति लक्षणनवशिष्ठम्। अन स्वामिशब्द. प्रभुसामान्यवाचक, स्वपतिमात्रवाचको न भवति। स्वामिपदं त्यक्त्वा स्व्रपरिणेतर्यनुरक्ता स्वीयेति लक्षणं कार्यम्। इय स्वीया यावञ्जीन पतिमात्रविषयकानुरागिगी चेत् पतिव्रता भवति। स्वीयालक्षणम्-स्वपरिणेतर्यनुरक्ता स्वीया। सा त्रिविवा-तुग्वा, मध्या, प्रगल्भा चेति। स्वीयोदाहरणम्- कार्यते गुरुजनार्चा का चर्चा दक्पथं प्रयातस्य। ललनाया नायातः स्सृतिपथमपि पत्युरन्यनर ॥ १८ ॥ मुग्धानिरूपणम् । रसमज्जरीकारोऽडकुरित मौवना मुग्धति मुग्वालक्षणमाह। तत्परकीया- सामान्ययोरतिव्याप्तमिति नास्माभिरङ्गीक्रियते। अस्मिन् ग्रन्थे नायिकामेदे लक्षणानां निर्णये गुण एव कारणं न वयः । प्रतापरुद्रीयकारश्च "लज्जाविजितमन्मथा" (१. ५५) इति मुग्धालक्षणमाह । इदमप्यज्ञातयौवनायामव्याप्तमिति न युक्तम्। तत्कथमित्युक्ते जयापजययोरेकस्याधिक्यमेकस्य न्यूनत्वं च कारणम् ; एव सति गुरुजनशिक्ष्यमाण1लञ्जाम्याससमयऽनुरागमन्म्थो न स्नः; लज्ायां च प्रागल्भ्यं नास्ति, सा लज्जा कथ मन्मथं जयति? 20नन्वीदङ्मुग्वा न लज्जावत्यनुरागहीना बालिका अज्ञातयौवना नायिका कथ स्यादिति चेत्, सत्यम् , उत्तरक्षणे अनुरागोत्पत्तिस्थलमिति21 नायिकात्वमस्याः । मुग्धालक्षणम्-पुरुषविशेषानभिज्ञा मुग्धा। सा द्विधा22-अज्ञातयौवना, ज्ञातयौवना चेति। अत्र मुग्धासाधारणोदाहरणम्- 1 M अनुक्ता 2 M प्रकार extra 3 T lines corrupt here 4. M no इति 5 T अपि extra. 6 T पत्यों missing 7 T coIrupt 8 M अत्र missing 9 T-कार: 10 T परकीयाया अपि 11 M -कारदाने 12 T एवति missing 13 T आह 14 T न 15 T. उपपतेरनुरागार्थमेव 16 M यावद् 17. M. रति missIng 18 T स 19 लक्ष्यमाण found additional 20. T नन्वीदग्नूनलजजावती Probably the T reading Is नन्वीदग्न्यूनलजावती and means one in whom bashfulness has not manifested itself sufficiently. न लज्जावती in M is also to be understood in the same sense, not as one totally new to it jet, but one not yet capable of manipulating her bashfulness artfully. 21 M अनुरागो ह्यतिसमय इति 22 T omitted 23. M no अत्र *see Adyar Ms Amoda Amoda also holds this same view that the Patisambhoga of the Parakiya 1s to keep appearances पतिसभागादः प्रवृत्तिस्तु तस्याः पत्युः प्रत्ययदर्शनार्था। P 34 But the difference between Amoda and Sr manjari is that the latter would not call this Anuraga, and thus would avoid the need for the word ' Eva' in the Sviya-definition § The Amoda explains that the Rasamañjari definition also comes to this in effect: तथा च लजाविजितमन्मथत्वं लक्षणार्थ: P , Adyar Ms.

अकबर - विरचिता

रख्य कदा भविष्यति मुग्धाया ज्ञा न्मतस्याः । अत्यन्तं लालयितु: पत्युः प्रेमापि देति नेन्दुमुखी ॥ १९ ॥

अन्यदुदाहरणम्- इयमेव साम्प्रत मे सम्पन्नेयं मनोदृत्तिः। इयमपि कदा भविष्यति मम मनमा वृत्तिरिव सरसा।।२० ।।

उदाहरणान्तरम्- पतिनयनखञ्जनास्पदमारूढा रम्यरूपतरुम्। कुचफलनिर्गमसुभगा कान्ताया सुग्धतालता जयति ॥ २१ ॥ अज्ञातयौवनालक्षणम्-स्वकीययौवनोत्पत्तिं या न जानाति सा अज्ञातयौवना। अज्ञात- यौवनोदाहरणम्- दृष्टमकस्मात्प्रियसखि मधुर4 करमादिदं बतोच्छूनम्5। पत्युस्ते विधुवदन सुकृतलतायाः फलोद्गमो जातः ॥ २२ ॥ ज्ञातयौवनालक्षणम्-स्वयौवनोत्पत्ति या जानाति सा ज्ञातयौवना। ज्ञातयौवना द्विधा- नवोढा, विस्रब्धनवोढा च। ज्ञातयौवनासाधारणोदाहरणम- मय कापि मञ्जुलेयं क्षणे क्षणे वर्धते लक्ष्मीः । हन्त कदापि मनो मे न भवति मुकुर परित्यक्तुम् ।। २३ ।। नवोढालक्षणम्-लज्राभयपराधी नरतिर्नवाढ़ा। यथा- आनीतापि सखीभि. करार्पण प्रापितापि शय्यायाः6। निर्गन्तुं नलिनीदलजलमिव तरलायते तन्वी ॥ २४ ॥ विस्न्नब्धनवोढा यथा-विश्वासाधिक्ये पत्युलांलने या प्रत्येति सा विस्रब्धनवोढा। यथा- अल' मुत्सष्टमदङ्ग स्पर्शा लज्जालुल लिनाङ्गी। आगत्य सुन्दराक्षी शय्यायां साम्प्रतं स्वपिति ॥ २५ ॥ इति मुग्धानिरूपणम् ।। अथ मध्यानिरूपणम् । अत्र रसमञ्जरीकार अतिविस्त्रब्धनवोढायां मध्याभेदमाह। तन्न युक्तम्। नवोढात्वं सुग्धायामेव। 1अतिविस्त्रम्भश्च प्रगल्भायामेव। तदुभयमपि मध्यायां नास्तीति मध्या अतिविस्त्रब्धनवोढा कथ भवेत्। ननु प्रथमसंभोगो नवोढात्वप्रयोजक; प्रथमसंभोगो सुग्धाया श्रेत् नवोढा ; मध्यायाश्चेत् अतिविस्त्रब्धनवोढा इति चन्न; एवं सत्यतिप्रौढवयस्का अपि राजकन्या नवाढा: स्युः ; 1गणिकाश्च प्रथमभुक्ता नवोढा: स्युः । मध्यालक्षणम्-समानलज्जामदनामध्या । साद्विविा -प्रच्छन्नमध्या, प्रकाशमध्या च। मध्यासाधारणादाहरणम्-

1. M. मनसा missing 2 M सार 3 I 5. M बतामानम् 6 T शय्यायाम् 7 M अलमरपृष्ट detinition missing. 4. T. corrupt. 8. T अलमसृष्ट- T मदङ्गा 'Alam- utsrta-mad-anga-sparsa'-'completely avoiding the touch of may body' 9 T. नवोढा In either 1eading, it should be understood that it is the 'Ativisrabdha-navodha' who is Madhya 10. missing in T From here three lines are corrupt in T 11 missing in M.

Mugdha Ņavodbā

शृङ्ारमञ्जरी

गुरुजनसदसि मलज्जा हरिणदशा इक्सरवीु च स्मेग। उभयविशेषणसुभगा निपतति पत्युमुरखाम्भोजे : २६॥ उदाहरणान्तरम्- प्रविशति केलीसदनं मदिराक्षी त्रेरिता सख्या। आगत्य तल्पसविध तिष्ठति कान्तेन नीयते शय्याम् ॥ २७॥ प्रच्छन्नमध्यालक्षणम्-यस्या लज्जामनोजसाम्यं पतिरेव जानाति सा प्रच्छन्नाध्या। यथा- अस्मिन्नलमेकान्ते प्रकाशय प्रेम मे कान्ते। सस्मितललित दगन्ते 'द्रागाश्लिष्याद्य2 चुम्बनं देहि ॥ २८ ॥ प्रकाशमध्यालक्षणम्-यस्या लञ्जानुरागसाम्य सख्यादिभिज्ञायते सा प्रकाशमध्या ॥ यथा- प्रियदर्शनसल्लापस्पर्शनसमये महान्तराय इति। सहचरि करोमि किं वद भवति सपतीव मे लज्जा ॥ २९ ॥ इति मध्यानिरुपणम्॥।

अथ प्रगल्भानिरूपणम्। अत्र रपमञ्जरीकार पतिमात्रविषयककेलीकलापकोविदा प्रगल्भति प्रगल्भालक्षणमाह। तदसत्। पतिमात्रेति मात्रपदं न देयम्। तद्दाने तु परकीयासामान्ययो प्रागल्म्य न स्यात्। ननु तयो प्रगल्मात्वं नास्त्यवेति चेन्न । तयोरमुग्धात्व- मध्यात्वे विना प्रागल्भ्यानुभवस्य दुरपलापत्वात्। तस्माद्रसमज्जरीकारोक्तलक्षण स्वीयाप्रगल्भाया एव, न साधारणाप्रगल्भाया। अन्नामोदकारा5 मदनविजितलज्जाकत्वं प्रगल्भात्वम् इति लक्षमणमाहुः । तदेवास्माभिरङ्गीकृतम्। प्रकरणवशात् स्वीयाप्रगल्भालक्षणोदाहरणानि लिख्यन्ते। प्रगल्मालक्षणम्-मदनविजितलज्जा प्रगल्भा। प्रगल्मासाधारणोदाहरणम्- अतिमधुरकण्ठकूजितविलासवत्या सरोजदशा। प्रेम्णा सुरतविशेषै. क्र्ीत प्रेयान् परं प्रीतः8॥ ३०॥ स्वीयाप्रगल्भालक्षणम्-पति प्रेम्णा या लालयति सा प्रगल्भा। सा द्विविधा-रतिप्रीतिमती, रत्यानन्दपरवशा च । स्वीया प्रगल्भासाधारणोदाहरणम्- इतरस्त्रीचातुर्य गणयति नेयं रतावतिप्रौढा। शश्वत्प्रीणाति पति सवलकलाकोविदा तरुणी ॥ ३१ ।। रतिप्रीतिमतीलक्षणम्-पतिसङ्गमं या सुहुरभिलषति सा रतिप्रीतिमती। यथा- पतिमाश्विष्यति चुम्बति मोदजला कुलितदक्कमला। पुलकितसकलावयवा सुरतप्रीति प्रकाशयति तरुणी ॥ ३२ ।। रत्यानन्दपरवशालक्षणम्-सङ्गमसन्तुष्टा सत्यानन्दपरवशा रत्यानन्दपरवशा। यथा- प्रियमुखविधुदर्शनमनु12वृद्धे संमोदवारिधो मगा। किं किं कान्तेन कृतं सुरतविषिं न 1स्मरामि किं वच्मि ॥ ३३ ॥

1 M दगा-2 T -आस्य 3 T प्रगल्भात्वमू 4 M T. दुरपलापात् 5 M -कार 6 M आह 7 M. omits साधारण 8 T corrupt 9 M रात 10. M corrupt. 11 M रत्या- 12 M सवृद्ध स-13 M संस्मरामि * Adya1 Ms Amoda, p 90 मदनविजितलज्ाकत्व सपूर्णयौवनत्व वा तल्लक्षणम्।

६ अकबर - विरचिता

एते मध्याप्रगल्मे धीरा, अधीरा, धीराधीरा चेनि भेदत्रयं लभेते। प्राचीना धीरादिभेदाः स्वीयाया एव न परकीयासामान्ययोरित्याहुः। अत्र रसमञ्जरीकार एतेषां भेदानां कोपजन्यत्वात् कोप परकीयासामान्ययोर्व्तत इति धीरादिमेदाः कथ न भवन्तीत्याह। आमोदकारा परकीयानुरागस्या- प्रकटत्वात्तादृगनुरागस्य कोपजनकत्वेऽपि परकीयाया स्नानुरागः प्रच्छादयत इति तद्व कोपोडापे परापवादभयेन प्रच्छादयत इति, परकीयाजारयोः सङ्गमस्य दुर्लभत्वात्सङ्गमसमयेऽतिदुर्लभः प्रियसङ्गम रव मे लाभ इति कोप एव न जायत इति हेतोर्वा परकीयायां नैते मेदा भवन्तीत्याहु:। अत्र वयम् - इयं परकीया उद्बुद्धा, उद्धोघिता इति भेदद्वयवती2 भवति। अत्र स्वयमनुरागिणी उद्बुद्धा। नायकप्रेरि- तानुरागवती उद्दोघिता। एते उभे अप्यनुरागवत्यौ। यत्रेष्या5 मदनस्तत्रेति न्यायात् , अनुरागसत्त्वे कोपस्यापि संभवात्, एते मेदा भवितुमर्हन्ति। आमोदकारोक्त तु स्व्रतोऽनुरागिण्यामुद्बुद्धायां कदाचिद्भवेत्। नायकप्रेरितानुरागवत्यामुद्धोघितायां तु न संभवति। स्वयमनुरागिण्युद्बुद्धा कोप न कुर्यात्। नायकप्रेरितानुरागवत्युद्वोधिता तु कोप कुर्यादेव। तस्मादेते भेदा उद्धोधितायां वक्रोक्त्यादि- वशाद्भवन्त्यवेति वदामः। नतु परश्रवणभयेन कथ वक्रोक्तितर्जनादयः परकीयाया इति चेत्, एकान्ते परकीयाया सर्व कर्तु शक्यते। एकान्त विना परकीयायाः सङ्गम एव न 6संभवति। तस्मादे- कान्तमेव भवति, वक्रोक्तितर्जनादयोऽपि भवन्ति, धीरादिमेदा अपि8 भवन्त्येव। किं च ते आमोद- कारा एव परकीयायां पतिव्चिका साहसिका चेति भददवय कल्पितवन्त **; तस्या वञ्चनसाहस वर्तेते चेत् कोपोऽस्तीति किमाश्चर्यम्। अन्यच्च सामान्यास्वपि धीरादिभेदा भवन्ति। 9कथ भवन्तीति चेत्- रसिकानामस्मासु पुनः पुनरनुरागो जायतामिति नानाविध चेष्टाभिर्मोहकरस्वभाववतीनां सामान्यानां प्रौढनायकेष्वत्यन्तप्रागल्भ्यात्तासामपि कतिपयोऽप्यनुरागो वर्तत इति प्राचीना लिखितवन्तः, तथा आमोदकारैरपि सम्मतम्। किं च अनुभवसिद्धरत्यौदासीन्यादिफलकवक्रोक्त्यादीनां सत्त्वात् धीरादि- भेदा: संभवन्त्येव। परकीयासामान्ययोर्धीरादिभेदास्तत्प्रकरणे लेखनीया:10। इदानीं स्वीयाया एव धीरादि- भेदा लिख्यन्ते। अत्र रसमञ्जरीकारो धीरादिभेदेषु नायकं प्रति परुषवाक्यान्युक्त्वा या कोप प्रकाशयति सा मध्या अधीरा इति मध्याधीरालक्षणम्, समानलज्जामदना मध्येति मध्याया लक्षणं च, "स्वापे प्रियाननविलोकनहानिरेव स्वापच्युतौ प्रियकरग्रहणप्रसङ्गः । इत्थं सरोरुहमुखी परिीचिन्तयन्ती स्वापं विहातुमपि हातुमपि प्रपेदे ॥" (९) इति मध्याया लक्ष्यं चाह2। 13तत्रे दक्कोमलस्वभाववती मध्या नायकसम्मुखे परुषवाक्यानि वक कथं शक्कोतीत्यसमञ्जसम141 अत्र वय धीरादिमेदानामनुगुणानि लक्षणोदाहरणानि लिखामः। एतासां धीरादीनां खण्डिता-अन्यसंभोगदुःखिता-मानवतीनां च भेदविचारोडग्रे लेखनीय इति अत्र विस्तरभयान्न लिखयते। 1 T परकीयया 2 M द्वयमतीव T gap 3 च additional 4. T. no अपि 5 corrupt here यत्रैषा 6 T भवति 7 T-मपि 8 T no अपि 9 T two words dropped by haplography, 1C. M. लेखयाम: T लेखनीयः 11 T परपुरुष-12 M लक्षण 13 T अत्रैतत्ताहक 14. T corrupt * Amoda, Adyar Ms pp 111-2 एतेन प्राचीनमतनिरासेन परकीयादावपि धीरादिभेदास्सभवन्तीति मूलकारेणोक्त भवति, तच्चिन्त्यम्। * * * वस्तुतस्तु अप्रकटपरपुरुषानुरागवत्याः तस्याः सत्यपि माने परापवादभीत्या तस्य प्रतिबध्यमानत्वेन तन्नियतव्यड्ग्यकोपप्रकाशकत्वादिरूपधैर्यादिभेदायोगात् प्राचीन(मत) प्रतिपन्नतरमिति प्रतिभाति। g Amoda, Adyar Ms p 36 यत्रष्याँ मदनस्तत इति न्यायेन etc. 2bd p 154 तदाः 'यत्र स्नेहो मयं तत्र यत्रेर्ष्या मदनस्ततः' इति । This is from Bharata's Natya Sastra, K M. edn XXII. 249, Kası edn XXIV 249 ** Amoda, Adyar Ms pp 175-7 प्रभृतिशब्देन पतिवञ्चिका, साहसिकी चेति विवक्षिता । t

शृङ्गारमञ्जरी ७

मध्याधीरालक्षणम्। कोपसूचकभाषिणी मध्याधीरा॥ यथा- कि विस्मितासि सहचरि रम्यतरोऽयं यथा दृशोः स्त्रीणाम्। अथ रञ्जनमिति कश्चित्पुरुषाणामेष शृङ्गारः ॥। ३४ ॥। मध्याऽधीरालक्षणम्-पत्युरन्यापदेशेन केप प्रकाशयति चन्मध्याऽधीरा। यथा- अन्यत्न गमितरात्रे1 मित्र प्तः समायात1। क्षणदर्शित बहुरागप्रभानिधान प्रभो नमस्तुभ्यम्॥ ३५॥ मध्याधीराधीरालक्षणम्-व्यड्ग्याव्यङ्ग्यकोपप्रकाशिका धीराधीरा। यथा- माविष्काषी दग्जलमवलोकयितु6 न शक्तोऽहम्। 7धन्यं दग्जलमेतन्निष्करुणस्यापि येन ते करुणा ॥ ३६ ॥ प्रगल्भाधीरालक्षणम्-रत्युपेक्षया स्वकोपप्रकाशिका प्रगल्भाधीरा। यथा- कस्या पतिरतुकूल: सख्यः शृणुतेति मे शिक्षाम् । निजसुखनिरुत्सुकामि पतिराराध्य: सुशीलाभिः॥३७॥ द्वितीयोदाहरणम्- अहमस्मि निरपराध सुमुखि सृषावादिनीवचनै । सतताविष्कृतहास्य पत्यौदास्यं किमुचितं ते ॥ २८॥ प्रगल्माडधीरा'लक्षणम्-तर्जनादिभि स्वकोपप्रकाशशिका प्रगल्भाऽधीरा12। यथा13 अविनयनिपुण पुन पुनरेव कुरुषे प्रदर्श्य नखरेखाम्। जल्पन्त्यति मृगाक्ष्या लीलाकमलेन ताडितः प्रेयान् ॥३९॥ प्रगल्माधीराधीरा1लक्षणम्-रत्युपेक्षा5तर्जनादिभिः स्वकोपप्रकाशिका प्रगल्भाधीराधीरा6। उदाहरणं तु- कि मे त्वयास्ति कार्य गच्छ कितव17 कान्तयेति जल्पन्त्या18। 19आस्यादलकमुदस्यन् निहतः प्रेयान् रसालमजर्या॥।४०॥

ज्येष्ठाकनिष्ठयोरुदाहरणम्- अयि मधुमुदिते मधुपाश्िष्टां 20माकन्दमञ्जरीं21 पश्य।

इति स्वीयानिरूपणम् । अथ परकीयानिरूपणम् । अत्र रसमञ्जरीकारः अप्रकटपरपुरुषानुरागा परकीयति परकीयालक्षणमाह । तदसङ्गतम्, लक्षिताकुलटयोरनुरागस्य सख्यादिषु 24इतरेषु च प्रकटत्वादव्याप्ते:25

1 M -त: and -तः 2 M gap 3 M विधान 4 M चेति additional 5 M corrupt. 6 T gap here up to दग् 7 M धन्या 8 M gap This is a dialogue, first half spoken by the lover, the second half by the lady 9 M दास्य T दास्य हाकर्तु 10 M धीराधीरा 11. M adds पत्युपेक्षा 12 M धीराधीरा 13 T प्रगल्भाधीरोदाहरणं 1। M प्रगल्भाधीरा 15 M omits रत्युपेक्षा- 16 M -धीरा 17 T duphicated 18 M -न्त्या 19 T अस्याद 20 T-मानन्द 21 T gives an additional variant here मधुपालिङ्गनमुदिता रसालमञ्जरी 22 M न्घायी 23 M श्विष्यते मृग- 24 T omit इतरेषु 25 M -सिः

८ अकबर - विरचिता

अन्र केचित् पत्युरेव परपुरुषानुरागाप्रकटन विवक्षितमित्याहुः । तदपि न युक्तम, पत्याप ज्ञात परपुरुषानुरागा प्रेमातिशयेन तेन 2चापरित्यक्ता या सुन्दरी उतस्यामव्याप्े:। नन्वियं परपुरुषानुरागिणी पत्या 5सङ्गृहीतेत्येतदनुरागस्य रसाभासत्वात्तदालम्बनविभावस्य नायिकामालत्वाच परकीयाभासत्वं भवितुमर्हतीति चेन्न। इयमुपपतौ गाढानुरावती परकीया भवत्येव! पतिरेताद्शी सङ्गृहीतवानिति स एव पत्यामासो भवितुमर्हति; न तु सा परकीयाभासः । या पतिवच्चिका" पत्यु समक्षमेव पतिवञ्चनां करोति सा परकीयाभासो न भवति; इयमेव कथ परकीयाभास अन्नामाद- कारा :- अप्रकटपरपुरुषानुरागात्यन्तभावानधिकरणत्वं परकीयात्वं विवक्षितमिति लिखितवन्त : । उपपत्यनुरागस्य नास्तीत्यनधिकरणं11लक्षिता कुलटा च भवत्येव। तस्मादनयोनव्याप्तिः। क्षणमात्रमप्यप्रकटपरगुरुषानु- रागश्वेदलम्। तथापि श्रवणानुरक्तयामव्यापिः, सौन्दर्यादिगुणश्रवणमारभ्य तस्या अनुरागस्य सख्या प्रकटत्वात्। अपर च क्षणमात्रमनुरागाप्रफटन14 परकीयात्वप्रयोजकमित्युच्यते चद्धक्तुं न शक्यत। यावदस्या अनुराग 15 केनचिन्न ज्ञातस्तावत्सा परकीयेति केनचिद्धक्तु शक्यते वाण। भाननास्थित1- परपुरुषानुरागवत्यः18 स्व्रीया 19 परकीया इति केनचिद्वोड्गु वक्तु च न शक्यत एव। परपुरुषानुरागचिह्न- प्रकटने परकीयात्वं वक्तुं शक्यते, नान्यथा। यदा अप्रकटनं तदा प्रकटनं कुतः तस्मादप्रकटप सर्वथा21 अप्रयोजकम्। वय तु परपुरुषानुरक्ता परकीयेति वदामः। नन्वप्रकटपदाभावे सामान्यायामतिव्याप्ति रिति चेन्न; सामान्याया स्वीय परपुरुष22 इति निर्णय एव नास्ति। कन्यकायां कथं निर्णय इति चेद्वदाम. । तस्या पित्रोरधीनत्वात्, ताभ्यां योऽङ्गीक्रियते स पतिः, अन्यः परपुरुष इति वर्तते निर्णय। अन्यन कुत्रचित् परकीया सीया न भवति। कन्यका तु यत्रानुरक्ता तस्मै चेत्2 पितृभ्यां दीयने सा स्वीया भवति। यथा- यः कौमारहरः स एव हि वरस्ता एव चैत्रक्षपाः ते चोन्मीलितमालतीसुरभयः प्रौढाः कदम्बानेलाः । सा चैवास्मि तथापि तत्र सुरतव्यापारलीलाविधौ रेवारोधसि वेतसी2तरुतले चेतः समुत्कण्ठते॥ ६ एषा परकीया द्विधा-कन्या, परोढा चेति। कन्या नामापरिणीता पितृभ्यामज्ञातपरपुरुनानु- रागवती कन्यका। परिणीता परपुरुषानुरक्ता परोढा। कन्याव्यतिरिक्ता सर्वे परकीयामेदाः परोढायामेव। 27परोढायामेवास्यां प्राचीनग्रन्थावर्णितम्28 उद्धद्धा, उद्धोधिता इति भेदद्वय कल्पितमस्माभि । अत्र विवेचना29। आदौ परकीया द्विधा-कन्या, परोढा चेति। परोढा द्विा-उद्बुद्धा, उद्बोधिता चेति। उद्बोधिता त्रिधा-धीरा, अधीरा, धीराधीरा चेति। उद्बुद्धापि त्रिधा-गुप्ता, निपुणा, लक्षिता चेति। गुप्ता त्रिधा-30 वृत्तसुरतगोपना, वर्तिष्यमाणसुरतगोपना, वृत्तवर्तिष्यमाणसुरतगोपना चेति। निपुणा त्रिधा-वाङ्निपुणा, क्रियानिपुणा, पतिवञ्चनानिपुणा चेति। लक्षिता द्विधा-प्रच्छन्नलक्षिता, 1 T पर missing 2 M च परि M -दरीत्यस्या 4 M -पिः 5. M. सग्रहेने- 6 M नायका- 3 7 T सती, mistake for असती, is found in addition here. 8 M यावति परवञ्चिका 9 M सति (ती१) वचन 10 T omits अयम् 11 M अधिकरण 12 M. अप्रकट- 13. M तस्य 14 M प्रकटन I5 M यस्यानुराग T असा अनुराग. 16 T no वा 17 M स्त्री 18 M -वत्या: 19 M स्वीया 20 T शक्यन्ते 21 M सर्वदा 22. T. स्वीयः पुरुषः परः पुरुषः 23 M पितु- 24 अन्यपुरुष 25 T चैव 26 T मालती 27 T. अस्या परोढाया 28. M. वर्णिता T. अवर्णित- 29. M. अत एवचन 3 M Big gap here from the Gupta varieties to Anusayana tridha. * See Āmoda, Adyar Ms p 168 S काव्य प्रकाशादिषूदाहृतोऽय श्रोक. शार्गधरपद्धत्यादिकोशेषु शीलाभट्टारिकाया इति दृश्यते ।

शृङ्गारमञ्जरी ९

प्रकाशलक्षिता चेति । प्रकाशलक्षिता चतुर्धा-कुलटा, मुदिता, अनुशयाना, साहसिका चेति। अनुशयाना त्रिधा-विघटिनसङ्केता, अन्ापतभाविसङ्केता, शक्वितसक्केतजारगमना चेति। एवं मुख्यावान्तर- भदाश्च पञ्चविंशतिसङ््याका भवन्ति। एतेषां लक्षणोदाहरणानि लिखामः । परकीयालक्षणम्-परपुरुषातुरक्ता परकीया। परकीयासाधारणोदाहरणंयथा2- अलिपिककलरवरम्य निर्यन्माकन्दमखरीमबुरम्। इदमुद्यानसुदीक्ष्य स्वान्त सखि परवशं भवति ॥ ४२ ॥ कन्यकालक्षणम्-अपरिणीता परपुरुषानुरगिणी कन्यका। यथा- तव गुरुजनपम्मत्या परिणेतास्मि ग्रसन्नमुखचन्द्रे। त्यज भीति भज मामिह कनकननो को नु शङ्कयस्ते ॥ ४३॥ परोढालक्षणम् -- परिणीता परपुरुपानुरागिणी परोढा। सा द्विधा-उद्बुद्धा, उद्दोविता चेति। परोढोदाहरणम्- पश्यति सखीजनऽस्मिन स्पृशसि कथ किं तवास्मि परिणीता6। सुललितवदने प्रेम्णा परिणीतानामुपरि नीता ॥ ४४ ॥ उद्धोधितालक्षणम्। केनचित्प्रकारेण नायकप्रेरितानुरागवती उद्धोघिता। सा त्रिधा- धीरा, अधीरा, धीराधीग चेति। उद्धोधितासाधारणोदाहरणम्- वाक्चातुर्यकलायाः7 सखि यादृग्वर्णितस्त्वया श्रीमान्। ताटक् पुरस्स्फुरन्निवविलोकितोऽन्तर्ईशापि तथा॥ ४५॥ प्रगल्भाया धीरादिमेदा इव परकीयाया अपि धीरादिभेदाः। परकीयाधीरोदाहरणम्- त्यक्ता कीर्तिर्लज्ा 10गुरुभीतिर्बन्धुषु प्रीतिः। येन जनेन यदर्थ स स्मरणीयोड1पि किं न वा तस्य ॥ ४६ ।।

परकीयाऽधीरोदाहरणम्- न वद मया सह वाचं 12का तेऽहं नो समीपमागच्छ। ईर्ष्याभराद्भुजङ्ग त्वं वेण्या ताडनीयोऽसि ॥४७॥ परकीयाधीराधीरोदाहरणम मायाहि मे समीप ज्ञातोऽसि त्वं पराङ्गनासु रसिकोऽसि। दूरत एव स्थेय 13 निजाननं दर्पणे दृष्ष ॥ ४८ ॥ उद्बुद्धालक्षणम्-नायकसौन्दर्य दृष्टा स्वयमेवानुरागिणी उद्बुद्धा। यथा- यदवधि 14मनोजमूर्तिर्विलोकितस्सखि मयाकबरः15। तदवधि तमेव सन्ततमात्मानं16 सर्वतः प्रपश्यामि ॥४९ ॥ उद्बुद्धा त्रिधा-गुप्ता, निपुणा, लक्षिता चेति। गुपालक्षणम्-स्त्रकार्यगोपनशीला गुप्ता। सा त्रिधा-वृत्तसुरतगोपना, वर्तिष्यमाणसुरतगोपना, वृत्तवर्तिष्यमाणसुरतगोपना च। गुप्तासाधारणोदाहरणम्-

1 omitted in M 2 omitted in T 3 T कन्योदाहरणम् in place of यथा M कनकनद : क्व नु कलङ्कस्ते 5. M स्पृशति 6 M परिणेता 7 M कलेय. Kalayah, ablative in an instrumental sense 8. M नूपुर 9 M विलासिता दद्दशे T लोकितोऽन्तर्दशोऽपि 10 T गुरुषु तदा बन्धपु 11. T. न कि तस्य 12 M कान्तेह 13 T corrupt 14 M corrupt 15 M मया (सु)चिर(म्) 16. M. आत्म: 2

शृङ्गारमञ्जरी ११

अस्मत्पितृकुलपूज्यस्समागतोऽस्मद्गृहं भाग्गात्1। इत्युक्त्वा2 द्रुतमागत्पतिमुपपतिपादयुगे निपातयति ॥ ५८॥ लक्षितालक्षणम्-सख्यादि ज्ञातजार संभोगा लक्षिता।ल्षिाद्वा-प्रच्छन्नलक्षिता, प्रकाशलक्षिता चेलि। लक्षितासाधारणोदाहरणम्- स्मरपरवशमतिरनिश स्मरामि ते हन्त न स्मरामि स्वम्। चतुरसखीजनसंसदि कथ निजा गोपयामि दशाम् ॥ ५९॥

प्रच्छन्नलक्षितालक्षणम्-सख्यादिभि स्वबुध्या आलोच्य परपुरुषानुरागिणी या बुध्यते सा प्रच्छन्नलक्षिता। अस्या उदाहरणम्- पुलकितललितकपोला 6सजलमुकुलितोल सद्दृगम्भोजा। 7स्मरति श्रिया (स्त्री यत्सा?) सखिि रतिरूपा स्मृतिरियं भवति ॥ ६० ॥ प्रकाशलक्षितालक्षणम्-कटाक्षादिचेष्टाभिलोंकै स्फुटविज्ञायमानजारानुरागा प्रकाशलक्षिता । इयं चतुर्वा-कुलटा, मुदिता, अनुशयाना, साहसिका8 चेति। प्रकाशलक्षितासाधरणोदाहरणम्- प्रचुर प्राक्तनपुण्ये यूनि मनोहारिणि त्वदासक्तिम्। 10मण्डनमङ्गलताया डिण्डिम माहत्य पाण्डिमा वदति ॥ ६१ ॥ द्वितीयोदाहरणम्- अकबरदरशनसमये मुदिताभ्यामन्यथा13 तु सखी। अनवरत सजलाभ्यां प्रकटप्रीतिः कृतास्म्यह दृाभ्याम् ॥ ६२॥

कुलटालक्षणम्-जारकुलाटनशीला कुलटा। "तस्या उदाहरणम्- अस्या:15 पुंस्त्वविशिष्टः पात्रं सस्मितकटाक्षपातानाम् । मुग्धविलासवशीकृतमनसा तेनाथ रतिकेलि ॥ ६३ ॥। 16मुदितालक्षणम्-इष्टप्राप्त्या17या हर्ष प्राप्नोति सा मुदिता। मुदितोदाहरणस्18 प्रत्यग्रान्धा19 श्रवश्रूरनेत्रनाअ्जनसाधनाय पतिरस्याः । ग्रामान्तरं गतः, 20स्त्री मुदिता 21प्रतिवेशिहृतचित्ता ॥ ६४ ॥ अनुशयानानिरूपणम्। अनुशयानायां बहवो मेदा: कल्पयितुं शक्यन्ते। रसमञ्जरीकारस्तु भेदत्रयमेव कल्पितवान्, तत्र प्रौढा आमोदकारा बहुतरान् भेदान् कल्पितवन्तः*।अस्माभिस्तु ग्रन्थविस्तरभयाद्भेदत्रयमेव लिख्यते। प्राचीनाखिलग्रन्थेषु अनुशयनाभेदत्रयस्यापि नामकल्पनं नास्ति ;22अस्माभिर्नामानि कल्प्यन्ते।

1 M समागमद्ग्रह मन्द्ाग्यात् T समागतोडस मद्गृह मन्द्ाग्यम् 2 M उक्ता 3 M आगत्य 4 T corrupt 5 M तद्यथा 6 M सरोज- 7 M स्मरति श्रिया सरित्र रतिरूपा स्मरतिः T स्मरति श्रिया सखरसखिवरतिरूपो स्मरति. The friend observing the lady says t'at a recollection such as she has now, with horripilated cheek and half closed eyes laden with tears of joy, is one of the enjoyment that she has had 8 Saha ika in both M and T in all places, Amoda always has the form Sahasiki 9 M यानि 10 M मऊन- T मण्डल 11 M मोहन 12 M वा इति (वेत्ति) 13 T अन्यदा 11 T कुलटोदाहरण 15 T अस्या 16 T कुलटोदाहरण repeated here by mistake 17 T प्राप्त्या 18 M तद्यथा 19 M प्रत्यग्राथ T प्रत्यग्रान्ध 20 M श्रीः 21 M प्रतिवेशिनीहत 22 T gap. * Amoda, Adyar Ms pp 209-213 यद्यपि जारविघटनादिभिरनुशयाना बहुविधा भर्वत तथा५ मूलकारेण विस्तरभयात् त्रिविधति दिड्मात्र प्रदर्शितम्। जारविघटनेन यथा * * * सुरतविघटनेन यथा * * * सुरतानन्तरजारविघटनेन यथा * ** प्रियतमदर्शनाभावेन यथा * * * सङ्गत्यलाभेन यथा * ** अनुरूपजारासभवन यथा * * * स्वैरविहारसुखासमवेन यथा * ** अयोग्यमत्र्या यथा *** इत्यादिभेदा द्रष्टव्याः ।

१२ अकबर - विरचिता

अनुशयानालक्षणम्-सङ्केतसंप्राप्त्यभावेन व्याकुलानुशयाना। अस्यां भेदास्त्रयः- विघटितसङ्केता, अप्राप्तभाविसङ्केता, शङ्गितसङ्केतजारगमना च । अनुशयाना साधारणोदाहरणम् आलि विधातुर्विहितः कः खल्वपराध एप यस्मान्मे 4 प्रेयोहतहृदयायास्सङ्वेत हन्त विघटयति ॥ ६५॥ विघटितसङ्केतालक्षणम्-सकेतवि'घटनन खिन्ना विघटितसङ्केता। अस्या उदाहरणम्- ०रे चैत्रासन्पान्थ विश्रान्तिदा ये सर्वस्याक्ष्णो पूर्णपीयूषमेव। द्राग्वेशन्तं सर्वतोऽमी कृताः 10किं कुञ्ास्सर्वें पत्रसम्पत्तिरिक्ता ॥ ६६ ॥ अप्राप्तभाविसङ्केतालक्षणम्-सङ्केतप्राप्तिसन्देहेन खिन्ना अप्राप्तभाविसक्केता 1 तस्या

उदाहरणम्- पत्यु: 12सुचारु 1नगरं तव मा विधाद विष्वङ्मनोज्ञघन1निष्कुटरािरम्यम्। यत्सुन्दरीजनमनोहरणप्रवीणकन्दर्पसुन्दरविलासजनैकवासम् ॥ ६७॥ शङ्जितसङ्केतजारगमनालक्षणम्-सङ्केत प्रत्युपपतिगमनमाशङ्कय खिन्ना 15शङ्कितसके तजारगमना। 16अस्या उदाहरणम्- विलाक्य हरिणेक्षण बकुलमालिकामण्डन दशोर्निरुपमोत्मवं 1तरुणमाशु किं खिद्यसे। त्वयैव कृतदोहद: कुसुमितः स मन्ये तरुर्मया सह च लक्षण ननु ददामि पुष्पाणित॥६८॥ साहसिकालक्षणम्-साहसकृतजारसंभोगा साहसिका। अरया उदाहरणम्- 19मञ्जीवितं त्वदुपजीव्यमिदं धनं ते 20तन्मत्तनावतनुरेष जिशृक्षतीति। मामाह्वय त्व2मथवैहि समर्पयामि तुभ्यं न रक्षणविधौ प्रभुरस्मि दहम् ॥ ६९ ॥ इति परकयिाप्रकरणम्।। अथ सामान्यानिरूपणम्। रसमज्जरीकारः वित्तमात्रोपाधिकसकलपुरुपानुरा्गासामान्येति लक्षणमाह। तदसत्। 2वित्तोपाधिकत्वात्तस्या अनुराग एव नास्ति । तथा च -लक्षणस्यासमन्वय इत्यसंभवः। अन्यच्च, अनुरागस्त्वकत्रैव; बहुपुरुषेषु यो मनस्सङ्ग सोनुराग एव न भवति किं तु अनुरागाभास। एतादशे लक्षणे क्रियमाणे 2सामान्या नायिकव न भवति। कचिदिच्छ- वानुराग इति वित्तनिमित्तकपुरुषेच्छारुपानुरागस्य विद्यमानत्वात् कथ न नायिका भवेदित्याहुः । तदप्यसत्। 2इच्छाया बहुविधत्वेऽपि सौन्दर्यादिगुण दृष्ट्र स्त्रीपुरुषयोः परस्पर रतीच्छैवानरागो भवति *, शृङ्गारग्रन्थेव्वियमवेच्छा अनुरागत्वेनोच्यते, नान्या। तथा हि-बन्धुपुल्नादिपु यच्छा सा ममतोच्यते; गुरुषु येच्छा सा भक्तिरित्युच्यते; एवमिच्छा नानानामानि लभते। इच्छामात्रमनुरागश्चेत्सर्वा अपि स्वीया परकीया स्युः तासामपि नानाविधेच्छाया विद्यमानखात्। अनुरागनिरूपणं रसप्रकरणे 27सम्यङ्निरूपयिष्याम. । अत्रामोदकाराः सामान्या प्रत्येकं यावत्कालपर्यन्त 1 T अव्याकुला 2 M यथा 3 T gap upto -स्मान्म 4 M T प्रियो 5. T. gap 0 T के चित्रा 7. M. विश्रान्तीद स्वा: T विश्रान्तवन्तः 8 T gap 9 T प्राग 10 M के 11. T अप्रातमाविसकेताया उदाहरण 12 T. तदेव 13 T gap 14 M विस्फुटराज 15 M सकेतशक्वित- 10. M तन्रथा 17 M तरुण- 18 T missing upto तस्मात्तनौ 19. T मजीवन 20 . तस्मा 21 M. त्वमथवेहि T त्वमथ देहि 22 M तेऽहम् 23 T वित्तोपाधिकानुरागत्वात् 24. T कथ लक्षणस्य समन्वयः 25. M सामान्यनायिकैका T सामान्या नायिकेवा वा 26 M इच्छाबहु- 27 T. निरूपितम् * Compare Amoda, Adyar Ms p 35. अत्र सुरतानुकूलस्यैवानुरागस्य विवक्षितत्वादिति ।

शृङ्गारमञ्जरी १३

येन सङ्गता तावत्कालपर्यन्त तस्मिन्नेवातुरागवती, तस्यां न रसाभास इत्याहु: *। तदपि न युक्तम्। यस्मिन् सत्यपरस्मिन्निच्छैत्र चेन्न, सोऽनुरागः। अन्यथा नानुराग। अनेकेषु पुरुषेषु यः स किमनुरागः। ननु बहुपुरुषानुरक्तायां कुलटायां कुनो न रसामासत्वमिति चेत् तस्या गाढरतिकारिणि पुरुषे अनुरागो वर्तते2, तादक्पुरुषपरीक्षार्थमेव बहुभिस्सङ्गमस्तस्याः। एतद्विषये आमोदकारस्योदाहरणम्- "सखि रतिसुखलालमया सकलयुवानः परीक्षिता हि मया। हृदयातुरञ्जनविधो मधुरिषुणा कस्समो भविता"॥ सामान्याप्येकत्रैवानुरागिणी, बहुपुरुषसङ्गमो वृत्त्तयर्थः। प्राचीनान्ध्रभाषोदाहरणादप्यय मर्थः5 सिद्ध, तस्यार्थो लिख्यते। सामान्यायाः कुत्रा्यनुरागो नास्तीत्यज्ञोक्ति। कुत्रचिद्वर्तते सहजको गुप्त। कपटानुरागस्तु बहु'स्थलेष्विति रसमञ्जरीकाराक्तलक्षणमयुक्तमिति आमोदकारा वेश्यात्वं जातिमेव सामान्या लक्षणमाहुः। तन्न युक्तम्। स्वकीयापरकीययोर्गुणभेदेन नायिकात्वस्, 1सामान्याया जात्येति क्रमभङ्गात्, जात्येव नायिकाभेदनिरूपणे 1दिव्य - अदिव्य - दिव्यादिव्य मदैनीयिकानन्त्ं12 स्यात् । आमोदकारै रसमञ्जरीकारोक्ते वित्तमात्रोपाधिकसकलपुरुषानुरागवती सामान्यति सामान्यालक्षणे या पित्त गृहीत्वाऽपि परकीया सभावितसकलपुरुषानुरागवती सापि सामान्या स्यादिति मात्रपदस्य कृत्यं वर्णितम् S। तदयुक्तम् । 1परकीयासंभोगे द्रव्यग्रहण न निमित्तम्, किं तु स्नेह एव। अन्यथा गृहकृत्यार्थ भर्तृसकाशाद्वित्त्राहिणी स्वीयापि सामान्या स्यात्। तस्तान्मान्रपदं त्यकत्वा लक्षणं कार्यम्। वयं तु अपरिणीतफलनिमित्तकानेकसंभोगा सामान्यति लक्षणं ब्रमः । अस्या एकत्र सहजानुरागोऽस्तीति नायिकात्वं, तत्र श्रीतिरेव फलम्। अन्यत्न वित्तफकनिमित्तकेच्छा, न त्वनुराग, तस्माद्रसाभासो नास्याम्, अन्रेदमेव फलम्। नलकूबरानुरक्तरम्भा स्वर्गतपुण्यात्मानुरक्तस्वर्वेश्याश्र16 फलनिमित्तकसम्भोगवत्य 1इतीदमेव लक्षणं युक्तम्। अत्र ग्रन्थान्तरेष्वलिखिताः स्वतन्त्रा, जनन्यधीना, नियमिता, क्प्तानुरागा, कल्पितानुरागेति पञ्च मेदा. 1 सामान्यायां कलिता.। ननु कलिितानुरागाया सहजानुरागो 19नास्तीति कथं नायिकात्वमिति चेद्वदामः । सामान्या कचित्सहजानुरागवती भूत्वा अन्यत्रानुरागामावेऽपि वित्तग्रहणार्थमनुरागवती भवति। अस्या अनुराग एव नास्तीति चेदन्यत्र कथ मनुरागस्वरूपमभिनयेत्20 । इयमेवातुराग2स्थले क्लमानुरागा, वित्तग्रहणाथ यत्रानुरागमभिनयति तत्र कल्पितानुरागा : तस्मादनुरागसम्भवत्वेन नायिकात्वसिद्धिः । इयमेव सामान्या सकलप्रयोजनानां स्वयमेव कत्री चेत्स्वतन्त्रा। 22 सेव मात्रधीना चेज्जनन्यवीना। सैव23 केनचिन्नियतं स्थाप्यत चेन्नियमिता। सेव24 कुत्रचित्स्वयमनुरक्ता चेत्क्लप्तानुरागा। सेव25 वित्तग्रहणार्थमनुराग कश्विदभिनयति चत्कल्पितानु-

1 T रसाभासवत्त्वम् 2T विद्यत 3 M सामान्यऽयकत्वैव -छले- 8 M जातिरेव 4 M उदाहरणस्याय- 5 T अथसिद्व 6 T साहसिक 7 M 9 M स मान्य- 10 M सामान्यासामान्ययो. T दिव्यादिव्यमदे 12 M -आनन्त्यभेदकल्पना 13 M परकीयाया 14 T भर्तुः 15 T missing 16 M स्ववैश्यात्व- 17 M missing 18 M missing 9 M अस्तीति 20 T अभिनयति 21. M च्छले 22 M अस्येव मात्रवीनता 23-25. M अस्थैव

• Amoda, Adyar Ms, p 231- किञ्च वित्ताद्यपाधिना सर्वसाधारण्या अपि यावत्कालमेकस्मिन् पुरुषेऽनुरागस्तावत्काल नान्यत्रेति बहुसक्तिकृतोऽपि न रसाभास । Compare also on p 33 in the Sviya-discussion ननु या वश्या यस्मिन् वारे यस्माद्वित्त गृहीतवती, तस्मिन् वारे स तस्याः स्वाम्येवेति, एतत्सत्यम्। + See Āmoda, Adyar Ms, p 200 + Amoda, Adyar Ms pp 229-230 अत्र वय ब्रुमः- वित्तमात्रेत्यादिकं तु मूलकारोक्त मनुष्यवेश्या- लक्षण, देववेश्याद्यनुरागत (-द्यनुगत) लक्षण तु वेश्यात्वजातिरेव etc S Amoda, Adyar Ms, p 226 अत उक्त वित्तेति। * * परकीया हि प्रायेण स्वपत्यपेक्षया गुणातिशयकृत- सकलपुरुषानुरागेति वित्तपदेन द्विधा गुणवित्तोभयलेभात् परपुरुषानुरक्ताया कस्याचित्परकीयायामतव्यास्तिवारणाय मात्रपदम्।

१४ अकबर - विरचिता

रागा। क्रियाभेदेन नायिकाभेद इत्यत्रापि सामान्यायाः पञ्च भेदा: कल्पिताः। तासां यथाक्रमं लक्षणानि लिख्यन्ते। स्वीयाप्रकरणे यत्रेर्ष्या1 मदनस्तत्रेति न्यायात्सामान्याया अपि धीराियेदा सन्तीति साधितम्। * सामान्यालक्षणम्-अपरिणीतफलनिमित्तकानेकपुरुषसभोगा सामान्या। सा पञ्चधा-स्वतन्त्रा, जनन्यधीना, नियमिता, क्लप्तानुरागा, कल्पितानुरागा चेति। सामान्यासाधारणोदाहरणम्- कान्तास्वान्तोलासिकन्दर्पकान्तं कामानां 5द्राक् पूरणे कल्पवृक्षम। सख्यः सर्वैश्वर्यसम्पत्तिपूर्ण द्रधुं यामो राजराज गुणज्ञम् ॥ ७० ॥ स्वतन्त्रालक्षणम्-स्वच्छन्दविहारिणी स्वतन्त्रा। स्वतन्त्रोदाहरणम्- शक्तानुरागकरण तथा रक्तानुरञ्जन । प्रतिरोद्धा न मे कश्चिदहमेवर सुखास्पदम् ॥ ७१ ॥ जनन्यधीनालक्षणम्-मात्रनुज्ञानुलद्दनी जनन्यधीना। तस्पा उदाहरणम्- बाहिरनुराग प्रकटनमादानं विटवपुः1पटस्यापि। बहुदातादरणीय.1कुलविद्यैपा सृगेक्षणेऽस्माकम् ॥ ७२ ॥ नियमितालक्षणम्-नियमेन स्थापिता नियमिता। 12तस्या उदाहरणम् - आकुचफलोद्गमं त्वामेवारूढा सुवर्णवललीयम्13। 14अवनितलकल्प15विटप 10त्वमेक एवाश्रयो नान्य ।। ७३ ॥। क्लत्तानुरागालक्षणम्-एकत्रानुरागवती क्लप्तानुरागा। "तस्या उदाहरणम् -- तद्वीक्षणं नयनयोः फलमीप्सित मे तद्गी 18श्रुतिस्मृतिफलं मनसाऽवलम्बः । एकस्स एव सखि वच्मि मृषा न पाच: प्रत्येतु मां बत कथं गाणेकेति वेत्ति"॥७४॥ 20अस्या धीरादिभेदा उदाहियन्ते। क्लप्ानुरागाधीोदाहरणम्- हारेण ते निजमुर प्रिय मण्डयित्वा दत्तः कयापि तव निर्गुणहार एपः। किं 21भाति सम्यगधरेऽज्ञनकालिमायं हास्यास्पदं विरचितस्तव म्जुवपः ॥ ७५॥ क्लप्तानुरागाऽधीरोदाहरणम्- अर्धचन्द्रममुं लब्ध्वा निष्कान्त कान्त2 तद्गृहात्। अर्धचन्द्र23 मया दत्वा निस्सार्यः 24किन्न मद्गृहात् ॥ ७६। क्लप्तानुरागाधीराधीरोदाहरणम्- क्षतं क्रीतं रक्तैर्मणिभिरधरे बिम्बरुचिरे तथा लब्धं नीलैर्मणिभिरपि कान्ताञ्नमिदम्। स्त्रियाः प्राप्ता मुक्तामणिभिरपि च स्वेदकणिका मनो दत्वा प्राप्तं 25न मन इति दूनं मम मनः॥७७॥

1 M यत्रैष्रा 2 M इति 3 T has तेषामुदाहरणानि लिख्यन्ते in addition MI सामान्योदाहरणम् 5 M ददक 6 M दृष्ट यामा 7 M द्राग- 8 T corrupt 9 T जनन्यधीनादाहरणम् 10.M-पुट. 11 M धारणीय 12 T नियमितोदाहरण 13 M वल्लरीयम् T वललिरियम् 14 M T अवनी 1 MI. कल्पित 16 M त्वमेवाश्रयोऽ्यस्याः 17 T कुपतानुरागोदाहरणं 18 M श्रतिफल 14 M. वेति 20 T. अस्या धीरादिलक्षणानि स्वीयाप्रगल्भाया एव (इव) additional before अस्या: 21. T' corrupt. 22 T dropped 23 T corrupt 24 M किमु 25 T. corrupt * See above p 6

शृङ्गारमञ्जरी १५ कल्पितानुरागालक्षणम् - वित्तग्रहणार्थ यानुरागमभिनयति सा कल्पितानुरागा। तस्या उदाहरणम्- 2सस्मितललित कटाक्षै घनमिह मायानुरागममिनयति। भित्तिं विनापि चित्र करोति चित्रं कुरङ्ाक्षी ।। ७८।। इति सामान्यानिरूपणम् ।

अथ तिसृणामपि 4साधारणप्रकरणं निरूप्यते। अत्र रसमञ्जरीकारः स्वीयापरकीया- सामान्यास्वेकैका अन्यसंभोगदुखिता, वक्रोक्तिगर्विता, मानवती चति त्रिधा भवतीति लिखितवान्। वयम् अन्यसभोगदुखिता मानवती चत्युभौ भेदौ कोपजन्याविति खण्डिताभेदेष्वेव लिखामः । वक्रोक्तिगर्वितैव कथमेकाकिनी लेखनीयेति5 साधारणप्रकरणे लिखामः । 'अत्र स्वाधीनपतिका, वासकसज्जिका, विरहोत्कण्ठिता, विप्रलब्धा, खण्डिता, वक्रोक्तिगर्विता, कलहान्तरिता, प्रोषितभर्तृका, अभिसारिका इत्येकैका नवविधा भवति।

एतेषु भेदेषु7 स्वाधीनपतिकाया अतिसमीचीनत्वात्सा प्रथमं निरूप्यते । अत्र रसमञ्जरीकारः सदा साकूताज्ञाकरप्रियतमा स्वाधीनपतिकेति लक्षणमाह। अत्र सदाशब्दस्त्याज्यः। नो चेदवस्थाकृत- नायिकाभेदो भेद: (- भेदो न भवेत्), अवस्थाकृतभाव10 एव नायिकामेदे11 प्रयोजक। वयं त्वनुकूलप्रिया स्वाधीनपतिकेति लक्षणं ब्रमः ।

अत्र प्राचीना:12 स्वाधीनपतिकायां धीरादिभेदा सन्तीत्यूचुः । तन्न। स्वाधीनपतिकाया. पत्युरनुकूलत्वात्कोपानुत्पत्ते नायिकाभेदस्यावस्थाभेदेन भिन्नत्वात् पत्युरन्यनायकासक्तत्वे15नुकूत्वाभावे नायकापराधस्य नायिकाकोपहेतुत्वेन कोपोत्पत्तौ खण्डितात्वे सति स्वाधीनपतिकात्वमेव व्याहन्यते। तत्कथं स्व्राधीनपतिकायां धीरादिभेदा भवितुमर्हन्ति। प्राचीना वक्रोक्तिगर्वितासङ्कीर्णानि स्वाधीनपतिको- दाहरणानि लिखितवन्तः । वयमसङ्कीर्णानि लिखामः। अष्टविधनायिकाभेदेषु मुग्वाभेदान् युक्तस्थले लिखामः। स्वाधीनपतिकायां दूतीवश्चिका भाविशङ्गिते5ति भेदद्वयं नवीनं कल्पितमस्माभिः ।

अस्या लक्षणोदाहरणानि लिख्यन्ते। स्वाधीनपतिकालक्षणम्-अनुकूलप्रिया स्वाधीनपतिका। तस्या16 उदाहरणम्- वेणीप्रसूनरचनासु मनोहरासु पत्रावलीविरचने कुचयोः कृशाङि7। कान्ते सखीषु तुलितानुनया18 प्रकाममङ्गप्रसाधनविधौ तव का प्रवीणा ॥ ७९॥

स्वाधीनपतिका अष्टविधा-स्वीया, मुग्धा, मध्या, द प्रगल्भा, परकीया, सामान्या, दूतीवश्चिका, भाविशकिता19 चेति। स्वीयास्वाधीनपतिकोदाहरणम्- रूपं तवैव रमणीयतरं प्रियाक्ष्णोः20 पत्युर्मुखेऽतिललिता तव 21 नाममाला। 22स्वस्थाऽसि कान्तहृदये प्रतिबिम्बितेव धन्या त्वमेव बहुभाग्यवतीषु गण्या ॥ ८० ।।

1 T कल्पितानुरागोदाहरण 2 M स missing 3 M धनमिव 4 M सामान्य 5 M लेखनी लेखनी 6 T gap from अत्र to अभिसारि- 7 M omitted 8 T सशब्द: 9 T भेदाभेद: 10 T भेदम् 11. M भेद एव T भेदप्रयोजकम् 12 T प्राचान- 13 T gap upto कोप- 14 M हित- 15 M संकेता 16 T स्वाधीनपतिकोदाहरणम् 17 M T-ड्री 18 M त्व has to be understood here 19 M सकेता 20 M प्रियाया: 21 M काम- 22 M स्वस्थाडस T corrupt

१६ अकवर - विरचिता

मुग्धास्वाधीनपतिकोदाहरणम्- 2अस्याः समीपमयमेत्य लसत्कपोलसक्तालकं निजकरेण समं विधाय। ब्रूते न पश्यसि कथ मदिरेक्षणे मां सप्रेमहासमधुरेण निरीक्षणेन ॥ ८१ ॥ मध्यास्वाधीनपतिकोदाहरणम्- त्वत्प्रियोऽकृत पदाम्बुजयोस्ते दातुमाग्रहमये निशि लाक्षाम्। वल्गु सस्मितपटावृतनेत्रा नेति नेति शनकैस्समवादीः ॥ ८२ ॥ प्रगल्भास्वाधीनपतिकोदाहरणस्- वाच: कर्णसुधास्तव स्मितरुचिज्योत्सना चकोरौ दशौ पत्युस्स्तौति मृगेक्षणेऽधरसुधास्वाद रसज्ञोडनिशम्। अङ्गस्पर्शनसौरमे च सुतरा त्वग्घ्राण सन्तर्पणे नित्य हृत्कमलस्थितां वरतनु त्वां स श्रियं मन्यते ॥ ८३ ॥ परकीयास्वाधी नपतिको दा हरणम्- स्वस्ति स्यान्मम जीवनाधिपतये श्रीनिर्विशेषत्रियै त्वद्रथ्यासरणि श्रित सुखशशिज्योत्स्ाचकोरं स्मर। मोदप्रोद्गतवार्युपप्लुतदृदशा रोमाञ्चरम्य वपु- स्तन्वङ्ग्येति9 दधानया तव तया पत्रं मुहुर्वाच्यत॥।८४।। सामान्यास्वाधीनपतिकोदाहरणम्- तेन ते कृतमधीनमशेषं जीवित वसु सुख स्वयमेव10। सुन्दरेण तरुणेन सृगाक्षि त्वं रमस्व रमणीयगुणेन ॥। ८५॥ दूतीवध्चिकालक्षणम्-प्रेम सङ्गोप्य परिहासार्थ प्रियसम्मत्या मायामान "प्रकटीकृन्य दूती या वञ्चयति सा दूतीवशचिका। उदाहरणम्12- दम्पती कथममू 1छलतो मां हन्त मानमनुसृत्य मृषैव। मत्कृताननुनयानगृहीत्वा14निर्गमे मम मिथो15 हसतो यत् ॥८६ ॥ भाविशंकितालक्षणम्-प्रियेण संयुक्तापि भाविनीं शङ्कां या करोति सा भाविशहिता। सा यथा1- इदानीं तु मदिच्छार्थाः17 प्रियस्य सकाः क्रियाः । नो जानामि18 सदैवेयं प्रीतिस्स्थास्यति वा न वा ॥ ८७॥ इति स्वाधीनपतिकानिरूपणम् ।। अथ वासकसज्जिका निरूप्यते। प्राचीना :- "प्रियागमनवेलायाँ मण्डयन्ती मुहुर्मुहुः। केलीगृहमथात्मानं सा स्याद्वासकसिका इति लक्षणमाहुः। अवसितपवासपतिकापि वासकसज्जिकायामन्तर्भवति। कथमिति चेत् निघण्ठौ- ("*

1 M omits -उदाहरणम् 2 T. तस्या. 3. T gap from here upto चिरज्योतस्ना 2n vere 83, line 1 4 M जयास्ते 5 M रसज्ञा T स्वादु रसजा 6. M त्वत्प्राण T त्वव्राण 7 M सरणे , वधु: 9 M. T. तन्वद्गेति 10 T. स्वमेव हि 11 M प्रकृती- 12 T दूतिवञ्चिवञ्चिकोदाहरणम् 13. M चलतः 14. M. -ग्रहीतौ 15 M विधो 16 T भाविशकितोदाहरणम् 17 M. T -र्थः 18 T ति * This is from the Pratāparudrīyayaśobhūsana, (I. 44)

किपालाघनपा वतनयोरहलान लमारुमीन सुंदर तिन-त्र तिका मके रसनि मो जमलीनि मे मित्तिज्ली गली मे शों चली का श्रजछाजा उंगननकरउएकभातिको हँमोउडयो अजसिनिसों वोलोसतराडनवक्ेरिग कमाइपा रक ए धाक एव सा5 ऐ से मान सनिमोंग सामान्य स्वाधीन पतिका।। येगार पव तीतरुनीनिपनजानेस कलकलानि ऐेसी तिह त निथत हेधन मोहीपिय पोतिम Parakīyā Svādhīnapatikā Kalahantaritā

शृङ्गारमञ्जरी १७

"वारश्च ऋतुकालश्च प्रवासादागतक्रिया। प्रसादनं च रुष्टाया नायिकायास्तथोत्सवः ।। नवोढाभ्युपपत्तिश्र षडेते वासकास्स्मृताः ।" *

अत्र प्रवासादागतक्रियाया विद्यमानत्वात् अवसितप्रवासपतिका वासकसजिका भवितुमर्हति।वासकसजजिका- शब्दादेव अवसितप्रवासपतिकाया वासकसञ्जिकायामन्तर्भावः । केचन ग्रन्थकाराः परदेशगमनरूप- कारणस्यैकत्वात् अवसितप्रवासपतिकां1 प्रोषितमर्तृकायामन्तर्षावयन्ति2। तन्न युक्तम्। प्रोषितभर्तृकायाः पतिविदेशगमनजनितदुखावीनत्वात्, अस्यास्तु पतिगृहागमनसंप्राप्तसुखाधीनत्वात् कर्थं प्रोषित- भर्तृकायामन्तर्भावः संभवति। ननु अवसितप्रवासपतिका पत्युरागमने पत्युः पुरः स्वदु.खं वर्णयति, अश्रूणि च3 मुञ्तीति तस्या मनसि दु खसद्भावात् प्रोषितभर्तृका भवितुमर्हतीति चेन्न। सा पत्युरागमने सन्तोषादश्रूणि मुञ्ति; पतिप्रवासजनितदुखकथामेव वर्णयति, न तु तस्या दुःखम् । किंतु तस्याः सुखमव। तस्मादवसितप्रवासपतिका प्रोषितभर्तृकायां नान्तर्भवनि: आमोदकारास्तु-अस्याः सन्तोषसद्भ्ावात् स्वाधीनपतिकायामन्तर्भावमाहु। तन्न। स्वाधीनपतिकायास्त्वेतावानेव संन्तोषो यत्प्रियो मां न सुञ्चति न मे प्रियवियोग इति। अस्यास्तु प्रवासादागतदुर्लभ प्रियतमसमागमनसंभवमहासन्तोषसद्भावात् महान् भेदः। तस्मान्निघण्टुसम्मतत्वात्सर्वथैवेयं वासकसज्ञैव भवति। अन्यच्, स्वाधीनपतिकात्वप्रयोजकं नायकानुकूल्यम्, अवसितप्रवासपतिकाया वासकसज्जिकात्वप्रयोजको नायिकोत्सवः ।

वासकसज्जिकाया लक्षणोदाहरणानि लिरयन्ते। वासकसजजिकालक्षणम्-नायकापेक्षया7 सन्तोषकृतप्रयत्ना वासकसज्जिका। अस्या उदाहरणम्- प्रत्यग्रनिर्मितशुभप्रतिकर्मरम्या प्रत्यङ्गरक्तमणिपल्लवकान्तिकान्ता। कान्तस्य सर्वसुखदा सखि काञ्वनी त्वं सृद्वी समौक्तिकफला ननु कल्पवल्ली ॥ ८८।

स्वीयावासकसज्जिकोदाहरणम्- स्वाङ्गैरेव विनापि भूषणभरं शृङ्गारिता यद्यपि त्वं तन्वङ्गि तथापि संप्रति यथानैपुण्यमेवं मया।

1 M T -पतिका 2 M -भवति (इत्याहुः) 3 M च omitted 4 M -कथा दु खमेव T दुःखमव 5 M corrupt 6 M नायकोत्सवः 7 T corrupt

• This is quoted in Amoda, Adyar Ms, p 368 § See Amoda, Adyar Ms, p 441 The Amoda does not itself propose this variety of Avasita -- pravasa-patika The discussion occurs later under the ninth variety called Pravatsyat. patika proposed by some and discussed in the Rasamanjari after dealing with the eight varieties. Here the Amoda points out that the author of a work on this subject, Vilasaratnakara, does not accept the Pravatsyat-patka, as, according to that writer, a similar variety, the tenth, called Avasita-pravasa-patika, will have to be accepted then, it is in reply to this that the Amoda suggests that the Avasıta-pravāsa-patikā could easily be included in the Svādhīnapatıkā Really the Amodakara is of the view that it is best to abide by the old eightfold classification, as such further distinctions will land us in endless ramification यत्त प्रवत्स्यत्पतिकाख्यभेदमसहमानस्य विलासरत्नाकरकारस्य प्रतिबन्दिदानम्-'चिरविरहिणो- रुत्कण्ठार्त्या ** यथा न तथा रतिः ॥' इत्यादिमहाकविलेखनानुरोधात् देशान्तरोपगतेन प्रियेणाग्रिमक्षणे सघटमानसमागमा अवत्तितप्रवासपतिका दशमी नायिका स्यादिति तन्न विचारसहम; तस्या. सुखेन स्वाधीनपतिकायामन्तर्भावसभवादिति। कि च यदि काचित्सूक्ष्मावस्थामालम्व्य नायिकान्तरकल्पनं तर्हि * * * इत्यादयोऽनन्तनायिका: स्युः । अतोऽनवस्थाभिरेभि: (अनवस्थाभिया) यथासप्रदायमष्टविधत्वमेवादर्तव्यम्। कि नायिकान्तरकल्पनागौरवेण ॥ Pp 440-2 3

१८ अकबर - विरचिता

विच्छित्ति. किल काचनास्त्व्ति1 पुनः शरृङ्गारितालक्तक' पद्रक्तोत्पलयोर्वृथा यदि रुचिर्देयरस पत्यैव तत् (ते?) *॥ ८९॥

स्तोकोद्धिन्नकुच द्वयोपरिहरित्कूपासमुक्ता ल ता कान्ता पङ्कजकुड्मलदूय कृताक्षपच्छ दाम्भ:कणान्। बिभ्राणा नलिनीव कोमलतनुः फुल्लारविन्दानना केलीसझविभूषणं सहचरीश्रृङ्गारिता शोभते ई॥ ९० ॥ मध्यावासकसज्जिकोदाहरणम्- प्रकुर्वतीभिः प्रतिकर्म कर्म प्रोक्ता सखीभिर्नतु नर्म4 किश्चित्। नतस्मितोलासितनेत्रपदमा न केलिसझाभरणं ब्रवीति ॥ ९१॥

5धूपितमन्दिरनिर्मितशय्या रम्यकृतप्रतिकर्ममनोज्ञा।

उदाहरणान्तरम् -- केलीगेहं मण्डयित्वा स्व्देहं 'गृह्त्येषा मालतीपुष्पमालाम्। वथ्यां8 सार्धाविष्कृतानर्ध्यवक्त्रा पत्युर्मार्ग वीक्षते सस्पृहाक्षी ॥ ९३ ॥

मधुकुसुमितकुञ्ज 1फुछल्तावरणे स्थिता विविधसुमनस्तल्पे11 दीव्यत्तनु12मैणिकान्तिभि:1। अपहृतघनध्वान्ता कान्तागमोत्सवसस्पृहा चपल नयना धन्याध्वानं मुहुर्महुरीक्षते ॥ ९४ ॥ सामान्यावासकसजिजकोदाहरणस्- सौधोत्सङ्गे सुललितमृदु15 स्वच्छतल्पोपविष्ा16 प्रोद्यद्धूपे17 कुसुमसुरमौ चन्द्रिकाचारुदीसा। स्थूलैर्मु क्तामणिभिरमलैमण्डिता पङ्कजाक्षी मार्ग पश्यत्यतिसुककृतिनः कस्यचिद्वारयोपित्॥ ९५॥

18अस्या उदाहरणम्- अद्यागते19 प्रियतमे ननु दूरदेशात् जाने20 पुनः सखि जगन्मम जातमेतत्। ज्योत्सा गता सपदि शैत्यमनन्तपुण्या पश्यामि कान्तवदनं जितपूर्णचन्द्रम् ॥ ९६ ।

1. M corrupt 2 M देया 3 M सपत्येव 4 M कमे M धूषित 6. M विमग्ना यदुदास्ते 7 M गृह्नाति. T व्रभ्न तेपा मालिका 8 M पत्या T विद्या 9 M वस्त्रा 10 M T. फुल 11 M तल 12 M दीप्यत्तनु T दीव्यत्तनु 13 T corrupt 14 T कमल 15 T मृदुसुललित 16 M रिष्ठा 17 M द्रूपे 18 T. अवसितप्रवासपतिकोदाहरणम् 19 M T आगत- 20 T ज्ञात

• पुनः शृङ्गारिता; पद्रक्तोत्पलयोः पादयोः रक्तोत्पलवत्स्वभावरक्तयोस्तु अलक्तको वृथा ; तथापि यदि अलक्तके रुचिस्ते, पत्यैव ते स अलक्तको देयः, पदयोस्तेऽर्पणीय इति ॥८९॥ S छदः पद्मपत्रम् । स्तोकोन्भ्िन्नकुचयोः पङ्कजकुड्मलयोः, हरितकूर्पासस्य पद्मपत्रस्य च, मुक्तालताया: अम्भ :- कणाना च, कान्ताया नलिन्याश्र साम्यमू ॥ ९०।।

Vāsakasajjikā

शृङ्गारमञ्जरी १९

इति वासकसज्जिकानिरूपणम्।।

अथ विरहोत्कण्ठिता निरूप्यते। रसमञ्जरीकारः सङ्केतस्थलं प्रति भर्तुरनागमनकारणं चिन्तयति सोत्का इत्युत्कण्ठितालक्षणमाह। तन्न युक्तम्। परिणयात्पूर्व नलं प्रत्यनुरागवत्यां सङ्खटनात् प्रथममुत्कण्ठितायां दमयन्त्यामव्याप्ते.। कि च कार्यविलम्बेन स्ववेश्मस्थितैव1 पत्युर्विरहवती योत्कण्ठिता तस्यामव्याप्ेः । साहित्यरत्नाकरे- 'विरहेण कृतोत्कण्ठा विरहोत्कण्ठिता मता।' भारतीये-'अनेककार्यव्यासङ्गाद्यस्या नागच्छति प्रियः । कामतस्सैव2 दुःखार्ता विरहोत्कण्ठिता मता ॥' (नाट्यशास्न्र २२. २००) * प्रतापरुद्रीये-'चिरयत्यधिकं कान्ते विरहोत्कण्ठितोन्मना.3।'(१. ४५)

नायकभूषणे -- उद्दाममन्मथमहाज्वरवेपमानां रोमाञ्चकञचुकितमङ्गकमावहन्तीम्4। गाढानुरागवचनां पुरतः सखीनामुत्कण्ठितां वदति तां भरतः कवीन्द्रः ।' एतानि लक्षणानि सर्वाणि प्रोषितभर्तृकायां विप्रलब्धायां च सङ्गीर्णानीति न युक्तानि। S अत्रामोदकारा :- 5अप्रोषिताविप्रलम्भकप्रिय संभोगाभावकृतोत्कण्ठा विरहोत्कण्ठितेति विरहोत्कण्ठितालक्षणमाहुः । तदपि तद्भिन्नविशेषणविशिष्टमिति त्याज्यम्। वयं तु निवास एव कार्यान्तरव्यासङप्रयुक्तप्रिय विरहवती विरहोत्कण्ठितेति वदामः । एतस्माल्लक्षणात्पूर्वोक्तमयन्यादिः विरहोत्कण्ठिता भवति। विप्रलब्धायां प्रोषितभर्तृकायां चोत्कात्व न संभवति।

1 M -स्थितेन 2 M कामतस्येव 3. M -ता मता 4 M -न्त्या T -न्ति 5 M अप्रोषितादि 6 M -मितीत्याहु: 7 T एतल- 8 T उत्कण्ठात्व * K M edn Kasi edn ch 24 $1 206 Third foot reads in both edns as तस्यानुगम दुःखार्ता which may be तस्यानागमदुःखाता। The whole discussion about the defects of the Rasamanjari- definition of the Virahotkanthita, together with the citations from Sahityaratnakara, Bharatīya, Pratāparudrīya and Nayakabhūsana, is reproduced by the author of the Śr mañjari from the Amoda Adyar Ms pp 344-351. The third foot of the verse cited from Bharata is read in Amoda as नामतस्येव which may be नामतस्सैव The work Nayakabhusana is read as Nayika- bhusana, and the tourth foot of the verse cited from it is read as उत्कण्ठिता च विरहान्भरतः कवीन्द्रः । 8 See Amoda, Adyar Ms Pp 344-351 अत्र विचारयामः-विप्रलब्धायामिदमतिव्यापम्, सकेतस्थले भर्तुरनागमनकारणचिन्तायास्तस्यामपि सभवात्। प्रियतमप्राथमिकसभोगप्रागभावोत्क्ठितासु दमयन्त्यादिषु, भवन एव कार्यान्तरासक्तप्रियविलम्बोन्मनस्कासु सीतादिषु, शापकृतप्रियसभोगविच्छेदोत्कण्ठितासु माद्यादिषु आकस्मिकनिधनपुनरुजी- वनाशासमुत्थासु रत्यादिषु, श्रीकृष्णसभोगात्यन्ताभावपरितप्ासु चिन्तयन्त्यादिषु चाव्याप्तम्। *** अन्यदेवानुगत लक्षण वक्तव्यमिति। * * इति भारतीये * * इति प्र. रुद्रीये * * इति सा. रत्नाकरे * * इति नायिकाभूषणे। पुनरन्यत्र चोक्तान्येतादृशतल्लक्षणानि प्रोषितभर्तृकाविप्रलब्धयोरतिव्याप्तानि। सयो(भो)गप्रागभावशापादिक्ृततद्ध्वसतदत्यन्ता. भावप्रर आत्कण्ठावतीषु यथासभवमव्याप्ानीत्युपेक्षणीयान्येव। वस्तुतस्तु अप्रोषिताविप्रलम्भकप्रियसम्बन्धा(सभोगा)भावकृतो त्कण्ठेत्येव विरहोत्कण्ठितालक्षणम् ! * * अप्रोषितेत्यनेन प्रोषितपतिकाया नातिव्याप्तिः । अवप्रलम्भकेत्यनेन विप्रलब्धाव्या- वृत्तिः । उत्कण्ठापदेन खण्डिता-कलहान्तरिता-वासकसज्जा-अभिसारिकाव्याव्ृत्तिः। लक्षणैकदेशेनापि स्वाधीनपतिकाव्यावृत्तिः। संभोगप्रागभावेन अवश्यभाविप्रियसभोगवतीना दमयन्त्यादीनाम्, तद्ध्वसेन कार्यवशविलम्बमानभर्तृकाणा सीतादीनाम्, शापविच्छिन्नभर्तृसंभोगाना माद्यादीनाम्, श्रीकृष्णसभोगात्यन्ताभावपरितप्ाना चिन्तयन्त्यादीना च् सड्ग्रह इति युक्तमु- त्पश्यामः । तदेतत् सुधीभिराकलनीयम्।

२० अकबर - विरचिता

प्राचीना: पञ्चविधामेतामाहु। वयं शृङ्गाररसानुकूलं कार्यविलम्बितसुरता अनुत्पन्नसंभोगेति भेददयं वदामः। अनुत्पन्नसभोगायां दर्शनानुतापिता, श्रवणानुतापिता, चित्रानुतापिता, स्त्रप्नानुतापिता चेति भेदचतुष्टयं कल्पितमस्माभिः । अस्या मनुरागप्राबल्यान्मुग्धां परित्यज्य मध्यादिमेदान् लिखाम। अस्या लक्षणोदाहरणानि लिखामः । विरहोत्कण्ठितालक्षणम्-निवास एव कार्यान्तरव्यासङ्गप्रयुक्तप्रियविरहवती विरहोत्कण्ठिता। विरहोत्कण्ठितासाधारणोदाहरणम्2 अस्याः प्रियो निकट एव न विप्रलम्भकर्तानुरक्तहृदयोऽप्यनिशं किलास्याम्। संयोजयारमनया तमहो3 विधे त्वमश्रूणि मु्चति विषीदति पङ्कजाक्षी॥ ९७॥ कार्यविलम्बितसुरतालक्षणम्-चिरयति कान्ते रत्यर्थ या खिन्ना सा कार्यविलम्बितसुरता। तदुदाहरणम्5- करविनिहित वक्त्रचन्द्रमुच्चैः श्वसितनिमीलितसाम्बुनेत्रपझ्मा। क्षणमपि विरहेण दूयतेऽसौ चिर्यति हन्त बहिः कथं प्रियोऽस्याः ॥ ९८॥ स्वीयाकार्यविलम्बितसुरतोदाहरणम्- पतिसङ्गभोत्सुकाया7 घनतरघनसारसम्मिश्रः । अस्याश्चन्दनलेपस्सपदि करीषानलो भवति ॥ ९९॥ मध्याकार्यविलम्बितसुरतोदाहरणम्- विरहविधुरमानसा प्रियस्य स्मरणविनिर्गतमश्रुनीर माशु। श्रुतिसरसिजरेणुजातमक्ष्णोरिदमिति दीर्घविलोचना ब्रवीति ॥ १०० ॥ प्रगल्भाकार्यविलम्बितसुरतोदाहरणम्- प्रातर्भविता मित्राद्द्क्कजस्तनरथाङ्गनामसुखम्। सखि सत्यं यदि पूर्णश्चन्द्रो न हरिष्यति प्राणान् ॥ १०१॥ परकीयाकार्यविलम्बितसुरतादाहरणम्- न शृणोति गुरुजनोक्तिं न भर्तृसङ्गं करोति साश्रुमुखी। नालपति किमपि तन्वी11 तद्विरहादुच्यते जनैरश्रीन्ता2।।१०२।। सामान्याकार्यविलम्बितसुरतोदाहरणम्- द्रागुच्यतां सखि स मद्ूचसा मदङ्गभूषार्थमाकुलहृदा भवता न भाव्यम्। दृश्यास्मि यद्भवदुरस्स्थितहारमुक्तासम्पर्कतो भवति मे परितापशान्तिः॥१०३॥ अनुत्पन्नसंभोगालक्षणम्-भविष्यद्रति13नास्तीति या खिद्यते सा भविष्यत्प्रियसद्वटनार्यन्न विरहोत्कण्ठाकुला14 अनुत्पन्नसंभोगा15। अनुत्पन्नसभोगा चतुर्धा - दर्शनानुतापिता, अ्रवणानुतापिता, चित्रानुतापिता, स्वप्नानुतापिता चेति। अनुत्पन्नसंभोगासाधारणोदाहरणम्- आसीदा सुललितकुङ्कुमारुणाङ्गी से16दानीं नवबिसकाण्डपाण्डुरश्रीः17। जानीमो न खलु नितान्तमुत्सुकायास्तन्वङ्गयाः प्रियतमसङ्गमः कदा स्यात्॥१०४॥ 1. T अस्या: 2 M तस्या उदाहरणम् 3 M -रमणया त्वम-4 M omits या 5 T कार्यविलम्बितोदाहरणम् 6 M. रविविनिषित 7. M -या 8 T कृतोऽड्गे विषानलो भवति 9 M वरि T निर 10 M .- द्रक्तिज 11. M त T तन्वि 12. M. श्रान्ता 13 M -द्वृत्ति- 14 M वा additional 15. M. missing 16 M.ने- 17 M पाण्डुरस्मि

Virahotkanthitā

शृङ्गारमन्जरी २१ दर्शनानुतापितालक्षणम्-प्रियं पश्यन्त्यप्यप्राप्संभोगा दर्शनानुतापिता। तस्या उदाहरणम्- अवलोकनोत्सुकाभ्यां ममैव तद्दृश्य भावमापताभ्यास्। तस्य करे सखि यूनो हृग्भ्यामहमस्मि विक्रीता ॥ १०५॥ श्रवणानुतापितालक्षणम्-प्रियगुणनामश्रवणेन विरहाकुला श्रवणानुतापिता। 3तदुदाहरणम्- यदवधि सुद्दशा तया श्रुतिभ्यां ललितगुणा भवतः सुधेव पीताः । तदवधि तदन्यवस्तु तस्या बत मनसो मधुरं न भाति किंचित् ॥ १०६ ॥ 5 चित्रानुतापितालक्षणम्-चित्रफलकावलोकितनायका या खिद्यते सा चित्रानुतापिता । चित्रानुतापितोदाहरणम्- वीक्ष्य चित्रफलके तव रूपं सापि चित्रलिखितेव चकास्ति। 7त्वन्मुखेन्दुरुचिमग्नमनस्का निर्नि मेषनयनापसरसा किम् ॥ १०७॥ स्वप्नानुतापितालक्षणम्-स्वप्नावलोकितप्रियदर्शनार्थ या खिद्यते सा स्वप्नानुतापिता। 'तदुदाहरणम्- नयनकुवलयोत्सवं लिखित्वा विमलविधु10 पुरुषं त्रवीति बाला। अयमयि मिलितो मयाद्य सुप्तावकबर एष विलोक्य काचिदाह।। १०८॥। अकबरमथ पूर्णचन्द्रवक्त्रं सपदि समागतमक्षिगोचरत्वम्। वदति सहचरी12 प्रपश्य सोऽयं13 तरुणि धृति कुरु योजयाम्यनेन ॥ १०९ ॥ इति विरहोत्कण्ठितानिरूपणम् ।। अथ विप्रलब्धा निरूप्यते। अत्र रसमञ्जरीकार :- सक्केतनिकेतने त्रियमनवलोक्य समाकुलहृदया विप्रलब्धेति विप्रलब्धालक्षणमाह। इदमसमञ्जसम्। स्वस्थलस्थयो14 स्वकीयासामान्ययोर्यदा वञ्चनं करोति प्रियः तदा तयोरव्याप्तिरिति। प्रतापरुद्रीयकार :- 'क्वचित्सङ्केतमावेद् दयितेनाथ वश्चिता। स्मरार्ता विप्रलब्घेति कलाविद्धि: प्रकीर्तिता ।'(१.४७) इत्याह। अत्रोच्यते-येन तल्क्षणं नायकवच्चितायां परकीयायां संभवति, न सखीव्चितायाम्, स्वस्थल एव स्थितस्वीयापरकीयासामान्यासु चाव्याप्तमिति न युक्तम्। वय सर्वविप्रलब्धासाधारणलक्षणं वदाम: । वञ्चनाप्रयुक्तविरहवेदनावती विप्रलब्धा। विप्रल्धस्यायमर्थोडमरकोशे "विप्रलम्भो15 वञ्चने16 स्याद्विसंवाद- विवादयोः' * इति। तस्मादत्र व्चनैव कारणं विप्रलब्धात्वे। तदस्मदुक्तलक्षणमेव युक्तम् । सा1 विप्रलब्धा द्विविधा-नायकवश्चिता सखीवश्चिता च । नायकेन वश्चिता नायकवश्चिता। सख्या नायकं कचिद्रोपयित्वा केलीस्थलमानीय परिहासार्थ वश्चिता सखीवच्चिता । अस्या लक्षणोदारहणे लिखामः18।

1 T अस्या 2 T तद्वस्य-3 T श्रवणनुतापितादाहरणम् 4 T gap from here upto चित्रानुता पितोदाहरणम् 5 M तदुदाहरणम् 1edundant 6 M चकास्ते 7 M. T. तन्मु 8 T gap from here uplo तापिता at the end of the next line 9 T. तस्या उ- 10 T विमु 11. M has here अन्यदुदाहरण च which appears to be wiong, for the Arya that follows is a continuation of the previous, the two together forming a single illustration, it is a dialogue between a lady and her friend 12 M T सहचरि 13 M नाय 14 M स्वस्थलयेरिव 15 M विप्रलब्धः 16 T वञ्चके 17. T omitted 18 M repeats this and the following heading, a little earlier * These very words are not found in the Amarakośa $ The Amoda expressly discountenances Vañcana by Sakhi and thus is against the variety Sakhīvañcıtā. See Adyar Ms pp 328-9

२२ अकबर - विरचिता

विप्रलब्धासाधारणलक्षणम्-वञ्चनाप्रयुक्तविरहवेदनावती विप्रलब्धा। सा द्विधा-नायकवच्चिता सखीवश्चिता च । विप्रलब्धोदाहरणम्- कृशाङ्गी वञ्चनाखिन्ना पञ्चवाणशरार्दिता। आकुलाभ्यामियं हग्भ्यां हरिणीव निरक्ष्यते ॥ ११० ॥ नायकवश्चितालक्षणम्-नायकेन वश्चिता नायकवच्चिता। नायकवश्चितोदाहरणम्3- रतिसदनमुपेयुषा परस्या विरहमहं गमिता च वश्चिता च। अदयमुभयथापि दैवयोगादपि दयितेन कृतास्मि विप्रलब्धा ॥ १११ ॥ सखीवञ्चितालक्षणम्-सख्या नायकं क्वचिद्5 गोपयित्वा केलीस्थलमानीय परिहासार्थ वश्चिता सखीवश्चिता। सखीवच्चितोदाहरणम्6- प्रेयांसं गोपयित्वा कचिदपि भवनद्वारदेशे व्रवीषि त्व मामन्यालयं प्रत्यति8कठिनमनास्ते तु कान्त प्रयातः । श्रुत्वैतद्वयाकुलायास्सलिलमुपगतं वीक्ष्य पूर्ण मदक्ष्णो10. रानीयामुं किमेवं सखि हससि1 मुहुर्नेष युक्तः प्रकारः ॥ ११२ ॥

स्वीयाविप्रलब्धोदाहरणम्- एतस्या. पतिमुद्दिश्य किं वदामोऽतिनिर्दयः । यदेनामीदृशीं त्यक्त्वा गतोऽन्यस्या निकेतनम् ॥ ११३॥

मध्याविप्रलब्धोदाहरणम्- पतिरिक्तकेलिसदने निरुद्धवाग्लञ्जया च बाष्पैश्च। मृगबालदक्सखीं प्रति वदतु वराकी कथ स्वदुखदशाम्2॥ ११४ ॥।

केलीसझ समागता प्रियतमं श्रुत्वान्यकान्तागृहम् प्राप्तं चन्द्रमुदीक्ष्य हन्त तरुणी म्लानास्यपझ्माभवत्। शाटी स्वर्णमयीं मनोजशिखिनो ज्वालासमां सुन्दरी सापश्य13त्रनु पझमरागरचितं शृङ्गारमङ्गारवत् ॥ १५॥

परकीयाविप्रलब्धोदाहरणम्- प्राप्ता वनं स्वहृदयेशमवीक्ष15माणा मित्रं समुद्धतमु16दीक्ष्य च चन्द्रबिम्बम् । सा पदमिनी सपदि मीलितनेत्रपझा द्राक्करमलं घनमगात्किमतो वदामः ॥११६॥

सामान्याविप्रलब्धोदाहरणम्-

केनापि सर्वविटवञ्चनदुर्विदग्धा किं वश्चितेति19 गणिकां हसतीव सौधः ॥ ११७ ॥

1 M repeated 2 T वञ्चिता 3 M तद्था T नायकवञ्चितासाधारणोदाहरणम् also in addition. 4 M. कृशा 5. M omitted 6 M तद्था 7. T. corrupt. 8 M ते प्रति 9. M. omitted. 10 M. पूर्ण मक्ष्णो: 11. M वहसि T साहससि 12 V स्वदु:खेयम् 13 M ज्ञात्वा स्या- 14. M. रचिता 15. M .- क्ष्य- 16 M. उदीक्षत T. उवीक्ष्य 17 M विकसितास्य T .- न विशदव्यवधात 18. M कान्त 19 M. वञ्चनेति

शृङ्गारमञ्जरी २३

इति विप्रलब्धानिरूपणम् ।। अथ खण्डिता निरूप्यते। अत्र रसमञ्जरीकारः-अन्योपभोगचिह्नितः प्रातरागच्छति यस्याः पतिः सा खण्डितेति लक्षण माह। तदसत्। नायकापराधं या शृणोति, यामनाधत्य यस्या पतिरन्यत्रा- सक्तस्ते उभे अपि खण्डिते भवतः । तयोरिदं लक्षणमव्याप्तम्2। अन्यच्च, नामानुकूला कल्पना कार्याऽस्माभि :; युक्तमुच्यते; कथमिति चेत् खण्डिताशब्दे खण्डशब्द. शकलार्थवाचको भवति अस्याशय :- कोपेन शकलीकृतप्रेमवती खण्डितेत्यर्थः; नन्वयमर्थ कथ सम्पन्न इति चेत्तारकादिभ्य इति (५. २.३६) इतच्प्रत्ययान्तः खण्डिताशब्दः। वयं तु शृङ्गारप्रकरणवशात् शृङ्गारानुकूकोपवती खण्डितति लक्षणं ब्रूमः । अय सिद्धान्तः। अयं कोपः चतुर्धोत्पदयते। कोपजन्यनायिकामेदा.5 सर्वाः खण्डिता एव नायिकाः। कोपोत्पत्तिसमये खण्डिता ; सैव6 मानं कुर्वती चेन्मानवती, सैव 7वक्रोक्त्यादि वक्ति चेद्वीरादिः; सैव नायकपरोक्षं सखीनां पुरत कोपप्रकाशनशीला अन्यसंभोगदुःखिता। नतु कलहान्तरितापि पूर्वावस्थायां कोपसद्ावात् खण्डितायामन्तर्भवतीति चेन्न। कलहेनान्तरिता व्यवहिता कलहान्तरितेति कलहान्तरिताशब्दस्यार्थः । तथा च कलहोपशमने सति भेदस्य भिन्नत्वात् खण्डिता क्थ स्यात्। कोपसमये खण्डितैव ; अवस्थाभेदेन कलहान्तरिता। अत्र प्राञ्चः-'अपराधभव, कोगो यूनोर्मोन उदाहृन. *।' इदमनुचितम्। एवमुच्यते चेत् खण्डितापि मानवती स्यात्। मानस्तु कोपो न भवति; कोपोलन्नमौनं मान:, कोपचेष्टा मान इति। अत्र रसमञ्जरीकार प्रियापराधसूचिका चषा मान इति सङ्गतमुक्तान्। अत्र केचन ग्रन्थकारा: खण्डितापृथग्मेदा मानवतीधीरादा इत्युक्त्वा, भारतीयोदाहरणानुसारण वैमनतवं व्यलीकं विप्रियं मन्युरित्येतानि चत्वारि मानस्य कारणानत्युक्तवन्त।+ कथमिति चेद्धारतीये - 'यत्र सनेहो भयं तत्र10 यत्रेर्ष्या11 मदनस्ततः । चतस्रो योनयस्तस्या. 12कीर्र्यन्ते ता निबोधत ॥ वैमनस्यं व्यलीकं च विप्रियं मन्युरेव च। एतेषां संप्रवक्ष्यामि लक्षणानि यथाक्रमम् ।।13 निद्राखेदालसगतिं सचिह्नं सरसव्रणम्। एवंविधं प्रियं दृष्ट्रा 14 वेमनस्यं विधीयते॥ बहुशो वार्यमाणोऽपि 15यस्तु तत्रैव दृश्यते। 1सङ्वर्षात्तत्र मात्सर्याद्वयलीक1मुपजायते॥ जीवन्त्या त्वयि जीवामि दासोऽहं त्व च मे प्रिया। उक्त्वैवं योऽन्यथा कुर्या18त्तद्धि चेद्विप्रियं भवेत् ॥ प्रतिपक्षसकाशाद्ः19 सौभाग्यैकविकत्थनः । उपसर्पेत्सचिह्वस्तु मन्यु20स्तत्रोपजायते21 II' इति। तदेतत्कारणचतुष्टयं कोपस्यैवेति वक्तव्यम्। 22मानवतीषु तु मानस्यैव कारणमिति चदन्येषामीर्ष्यामेदानां किं कारण स्यात्। तस्मादीर्ष्यामुख्य23भेदस्य खण्डितायाः कारणमिति चत् सर्वेष्वीर्ष्यावान्तरभेदेषु2सङ्गतं भवति। 1 T खण्डितालक्षणम् 2 M अव्यक्तम् 3 I नामार्थानुकूला 4 M one इति extra T जीवित इति extra 5 M नायिका: 6 M -स्यैव मौन7 M वक्रोक्त्यादिनी(क्तिवादिनी१) 8 T चेत् additional 9 T omits f1om मानस्तु to मान इति 10 M यत्र 11 M यत्रेषः Bharata's Natya Sastra, both K M and Kasi edns read this foot as यत्रष्यत च मन्मथ: which does not convey any sense 12 Natya Sastra कीर्त्यमाना न (नि) बोधत । Amoda कीतर्यन्ते ता निबोध वै । M कीर्त्यन्ते तानि बोधयत्। T. कीर्तितानि निबोधिता। 13 Natya Sastra reads एतेषा च समुत्पत्ति. (ततिं) प्रयोग च निबोधत।14 Natya Sastra वैमनस्यं भवेत्स्त्रियाः। 15 Naty a Sastra प्रत्यस्मिन्नेव इष्यत which is obviously corrupt 16 Natya Sastra सहषोत् 17 Natya Sastra तु भवेत्स्त्रियाः । 18 Natya Sastra तद्विप्रियमिति स्त्रियाः । 19. Natya Sastra T. -शान्त यस्सौभाग्यविकत्थनः। Kasi edn corrupt विकाशान् 20 Natya Sastra सुचिह्नस्य पत्यु: obvious corruption 21. Natya Sastra तत्र भवेत्स्त्रियाः 22 M मानवतीगुरु 23 M omits मुख्य 24. M -इतरभेदेषु 25 T सुगतम् * This is quoted in the Amoda, Adyar Ms p. 257 + This part not does refer to the Amoda. This part refers to the Amoda where the full quotation from Bharata, as found here, 1s given and Mana is held, accordingly, to be of four kinds Adyar Ms pp. 257-8. § See Nātya śāstra, K M. edn. ch 22, śls. 249-257, Kāśī edn ch. 24, śls. 249-263

२४ अकबर - विरचिता

उक्तकारण चतुष्टयोत्पन्नेष्यवती खण्डिता। प्रियान्यकान्ताविषयस्रेहहेतुजन्यो मनःक्षोभो वैमनस्यादि:। अस्मादेव मनःक्षोभादीर्ष्योंत्पधते। ईदृगीर्ष्यावती खण्डिता। अन्यकान्तासक्त- नायकविषयकज्ञानमेव मनक्षोभकारणम्; ताद्ङ्मनःक्षोभजन्यः कोप, तादक्कोपस्य कार्याणि मानादिचेष्टाः। रसाननुकूलस्तु कोपो नात्रोपयुज्यते। ग्रणयकोपस्तु विनोदार्थमिति नेष्यमिदेषु लिखामः *, उचितस्थलेषु लिखाम। इय खण्डिता मानवती धीरा अधीरा धीराधीरा अन्यमभोगढठःखिता इति पञ्चवा। एतेषु मेदेषु ईर्ष्यागर्वितामन्य5समोगदुःखिताभेद लिखामः। तस्मादिय खण्डिता पड्विधा। मुग्धानुरागस्य प्रावल्याभावानमुग्वायां खण्डितामेदो नेत्यस्माभिरुच्यते। तथापि 'कविताविलास- वैचित्र्यार्थ मुग्धाधीरादिभेदेषु (-मेदाश्च १) लिख्यन्ते।

खण्डितालक्षणम्-शृङ्गाररसानुकूलकोनवती खण्डिता। खण्डितासाधारणोदाहरणम्- वदनमरुणं कोपादुद्न्मृगाङ्गसमप्रभं सरसिजदशो भ्रूःफालेडक्व9 विडम्बयितुं क्षमा। अनिमिषद्दशास्वाद्या वाचामगोचरतां गता जयति सुतनोर्लक्ष्मीरस्मिन् क्षणऽतिविलक्षणा

स्वीयाखण्डितोदाहरणम्- 1सती वाच्या सा स्त्री सुखिनि सति पत्यौ सुखवती तथा दुःखिन्यस्मिन् भवति किल या दुःखतमनाः । प्रियं दृष्ट्रा 12दष्टाघरकिसलयं हन्त दशनै- मृगाक्षि त्वं स्वीय दशसि दशनैर्दन्तवसनम् ॥ ११९ ॥

मध्याखण्डितोदाहरणम्- निशां तमन्यत्र विधाय कान्तमायान्तमालोक्य निशान्तमारात्। भ्रूमङ्गभङ्गाश्चितवक्त्रपझमा विराजते सदनि पद्मिनीव ॥ १२० ॥

प्रगल्भाखण्डि तोदाहरणम्- सजलजलजदलचलद लितुलित रुचा 14 लोचनान्तेन। 15आलोकितः सुकेश्या प्रातर्गृहमागतः प्रेयान् ॥ १२१ ॥ परकीयाखण्डितोदाहरणम्- स्वप्नप्राप्ता श्रीरिव बुद्ध्वानेनानुभूयसे सुतनु । सम्यग्विधीयतेऽसौ न दृश्यते यद्दृगन्तेन16।॥ १२२ ।। सामान्याखण्डितोदाहरणम्- अपरयुवतिकुच कुङ्कुमरजितहारं समादाय। हस्तेन दर्शयन्ती 1हस्तनैवाह S कितव गच्छेति ॥१२३ ।। 1 M चतुष्टयेत्वन्येषावती 2 M omits स्नेह 3. M रसानुकूलः 4 M गर्वितान्या- 5. M अन्या- 6 T corrupt 7 T corrupt. 8 M तस्या उदाहरणम् 9. M भवालोक 10 -णात् 11. M lıne corrupt 12 M दष्टा 13. M. omitted 14 T 16. M. corrupt 17 M हस्तैवाह कि तव T हस्तेनैताः कितव -रुचेव 15. T. आलक्षित:

• तमू is understood here t This is a friend's pleading before the Khandıta Parakiya, on behalf of the erring lover. § By the silent gesture of the hand, she asked the rogue-lover to clear out

शृङ्गारमञ्जरी २५

मानवतीनिरूपणम्-प्रियापराध जनितकोपजन्यमौनमेव मानः, 4मानोऽस्या अस्तीति मानवती। स मानस्त्रिधा-लघुमध्यगुरुमेदात्। तेषां मानानां शान्तिप्रकारविशिष्टानि लक्षणान्युच्यन्ते। विनोदवार्ताद्य5 प्रयत्नापनेयो लघुमानः। शपथादिबहुप्रयत्नापनेयो मध्यमानः । वन्दनादिबहुतर प्रयत्नापनेयो गुरुमान: । 'मानवतीसाधारणोदाहरणम् -- कृतापराध: कान्तश्चेत्तेन मा भाषणं कुरु। अनागस्काभिरस्माभिरनालापः किमाचिती *॥ १२४॥

10मानत्रयस्यापि क्मेणोदाहरणानि वक्ष्यामः। लघुमानोदाहरणम्- न वक्ष्यामि प्रियणेति प्रतिज्ञायानया स्थितम्11। वाग्भिरेव12प्रियेणास्या13 हन्त मानो निराकृतः ॥ १२५॥

मध्यमानोदाहरणम्- उचितस्त्यक्तुं मानो यद्यमुनैवं विधीयते शपथः । 14शपथप्रतीतिरपथप्रवृत्तपुंसः कथं भवतु ॥ १२६ ॥

गुरुमानोदाहरणम्- शिक्षयति त्वां प्रेयसि चरणनिपतितेऽपि मा दशं देहि15। अविचार्य दु खदायी गुरुस्त्वयाय16 कृतो मान ॥ १२७॥

स्वीयामानवत्युदाहरणम्- मिथ्योट्टङ्क्य17 स्त्रीभिरुक्त स्वमत्या दृष्टस्साक्षान्मानयत्येष नत्या। आगोऽपि स्याच्चेत्कृतं देवगया पत्या साकं मानवत्या न भाव्यम् ॥ १२८ ॥

मध्यामानवत्युदाहरणम्- सुललितमधिरूढेनाधुना फालदेशं भ्रकुटिसुभगभावेनाशु संमोहितास्मि। स्मरललितनवीनां मुग्धतां पश्य गत्वा युवतिभिरपि दृश्यां मानिनीमानशोभाम्॥१२९ ॥

प्रगल्भामानवत्युदाहरणम्-

हरिणीदृगश्रुजलबिन्दुहारिणी परिपीयतां सुभग18 सुन्दरी दशा॥ १३० ॥

परकीयामानवत्युदाहरणम्-

प्रेष्ठ21 स्वमन्दिरगवाक्षगतं विविक्ते 22नालोकयन्निजगवाक्षगता सृगाक्षी ।। १३१।।

1 M -लक्षणम् 2 जनित omitted in M 3 M मान 4 omitted in T. upto मध्यमान: 5 M -तेष्व-6 M omits तर- 7 M साधारणमानवत्युदा- T. gap again from here upto the end of the verse 124. 8 M भू-9 M -तम् 10 T एषा क्रमेणोदाहरणानि 11. M-ता 12.M -वा- 13. T corrupt 14. M शपथः प्रतीतिरविरोधः T शपथप्रतीतिरथ- 15 M धहि 16. M omits अयमू 17. M मिथ्याधिक्य 18. T सुरभ 19 M -या 20 M विपुलालस 21. M श्रेष्ठ 22 T व्यालोकयत् * This is a friend's pleading before the angered lady: If the lover had misbehaved, you are justified in not speaking to him, but is it proper not to speak to us friends, who have done no wrong? 4

२६ अकबर - विरचिता

सामान्यामानवत्युदाहरणम्- सन्तर्पय प्रियवचस्सुवया श्रुती मे प्रेम्णा विलोकय मृगाङ्कमुखि प्रसीद । सर्वं यदस्ति ननु तत्त्वदधीनमेव कान्ते सुखं मम मनो वसु जीवितं च ।। १:२ ।। इति मानवतीनिरूपणम् ।। अथ धीरादिभेदाः। 'धीरालक्षणम्-वक्रोक्तिव्यङ्गयकोपप्रकाशिका2 धीरा।सा यथा- यत्प्रातरुत्थाय विलोकनीयं मन्मङ्गलं प्रत्यहमानन ते। आनीतमागत्य मनोज्ञरूपं * मन्नेत्रयोगोंचरतां तदेतत् ॥ १३३ ॥। अधीरालक्षणम् -- 5अव्यङ्ग्यकोपप्रकाशिका अधीरा। 'अधीराया उदाहग्णम्- किं वच्मि पश्य मुकुरे मुखचन्द्रमेवमालोकितेन तव दुश्चरितेन साक्षात्। जानं तथा मम7 मनः कठिनं यथा त्वां प्राणेश सन्निपतितं न विलोकयामि॥ १३४ ॥ उदाहरणान्तरम्- अस्यां निशि दुखार्ता शचक्र्ीमिव याहि (तां कितव ?)। तस्यां निष्करुणायां निष्करुण त्वं प्रयाहि निष्करुणम्॥१३५॥ धीराधीरालक्षणम्-व्यङ्गयाव्यङ्गयकोपप्रकाशिका' धीराधीरा। तस्या उदाहरणम् - अधरे किमपि यदेतन्मुखचन्द्र लाञ्छनं तदुचितं ते। नखरेखेन्दुकलास्वपि निर्लाञ्छनता1 प्रकाशयसि ** ॥ १३६ ॥। मुग्धाधीरोदाहरणम्- अयि बन्धूकभ्रान्त्या अ्रमरोडयं तेऽघर दशति। इत्युक्तः सस्मितमयमधरे कान्तां च' चुम्बति प्रेयान् ६।। १३७॥ 1 Ihas here auditionally अत्र स्व्रीयामव्याप्रगल्मयार्धीरा अधीरा धीरावीरा चति त्रिया गदा भवन्ति। परकीयासामान्ययो: स्वीयाप्रगल्माया इव धीरादिमेदाः This 1s a repetition, having beenalread set forth while considering the classification into Dhira etc at the beginning See above pp 6- 2 T -प्रकाशा 3 T धीरोदाहरणम् 4 M मनोज 5 T corrupt 6 M तग्यथा 7 T. तब 8. 11 कथितं त्व प्राणेशवन्निप- 9 corrupt in both Mss M चक्र(क्री)मिव याहि मामकृत (तामू) T चक्रमिव याहि मामकृतन 10 T प्रिया हि निष्करुणा 11 T -प्रकाशा 12 T धीराधीरोदाहरणम् 13 1 निर्लाब्छिना 14 M. omits कान्ता च T सस्मितमयि च कान्ता * This satirically refers to the signs on his face ot having iemamed wth mo'het lady. t This again asks him to have a look at his own face, eloquent about his misbehaviour with another # The verse is spoken by an offended lady to her misbehavin; lover; she asks hum to go to that lady who is pining for him that night like the female cakravaka and if she too happens to be offended and relentless, owing to his not being faithful to her too, to go away fiom her too, somewhere else, in lus usual heartless manner ** The drift of this verse also is somewhat obscure the offended lady sattrically tells the erring lover It is but proper that on the moon of your tace, in the lip, there is the mark (lanchana) (of another's union) and there is no such mark (lanchana) in the moondigits on your body viz the curved nail-prints (caused by that lady)! (While the lanchana on the face (lip) 15 a tooth-print, on the body, the nail-prints themselves are the lañchanas.) § On Dhira etc being illustrated in Mugdha too see above p. 7 The first line 1, sp mhon by the Mugdha Dhira who says, on seeing her lover's lip bearing the bite of another lady, that a bee stings his lip, mistaking it for the red bandhuka flower, and applying to nimselt and herself the same remark of a bee coming upon the lip, the lover, with a smile, hastens to kis+ her Compare Rasamañjarī, verse 44, Mugdha-Khandita illustration.

शृङ्गारमञ्जरी २७

इति धीरादिभेदा । अथान्यसमोगदु खितानिरूपणम् । प्राचीना: दूती संभोगदुखितामेवान्यसभोगदुः।खेतानाहुः । तन्न युक्तम् । अन्यशब्दस्य स्वेतरार्थकत्वात् दूतीसंभोगदुःखितैव कथमन्यसंभोगदुःखिता वति। स्वेतरनायिकासंभोगदु खिता अन्यसभोगदुखिता। अयमर्थोऽन्यशब्दपर्यालोचनयैव सिद्धः। इदमेव युक्तम्। अत्र दूतीसंभोगेन दूतीसमासक्तिप्रयत्नन इतरनायिकारतिश्रवणेन वा नायकपरोक्षं दुःखिता अन्यसंभोगदुःखिता। सा त्रिधा-दूती संभोगदु खिता, दूतीसमासक्तिदु खिता, इतररतिश्रुतिखिन्ना चेति। इतः परम ईर्ष्यागर्वितेति मेदान्तरमस्माभि कल्पितमिति चतुर्घा। अन्यसंभोगदु खितालक्षणम् -* नायकपरोक्षकोपप्रकाशनशीला 5 अन्य संभोगदुःखितासाधारणोदाहरणम्- अन्यसंभोगदुःखिता

यथा पूर्व मयि स्निग्धस्तथेदानी न वलमः । मन्ये तदन्यकामिन्यामुत्पन्नास्य मनोरति ॥ १३८ ॥ दूतीसंभोगदु खितालक्षणम्-दूतीसंभोगेन दुःखिरिता दूर्तासंभोगदु खिता। 'तदुदाहरणम्- मत्प्रेयसीमतुलकान्तिभरामिदानीमाभ्यामियं समवलोक्य समागतेति। मल्ोचने सुतनु चुम्बिनवान् प्रियस्ने ताम्बूलरागमिह वीक्ष्य तु मा विषीद ॥१३९॥ दूतीसमासक्तिदु खितालक्षणम्-दूनीसमासक्त्या दुःखिता दूतीसमासक्तिदुःखिता। अस्या उदाहरणम्- या प्रेपिता तस्य समीपमेषा तां भोक्तुमेवास्य मनः प्रसक्तम् । समागता मत्सविधं 8पलाय्य कन्या S तमानेतुमतः प्रयातु ॥ १४० ॥ इतररतिश्रुातेखिन्नालक्षणम्-इतरनायिकया या रतिं श्रुत्वा खिन्ना इतरनायिकारति- श्रुतिखिन्ना। अस्या उदाहरणम्- प्राणप्रिये नेत्रचकोरयुग्मज्योत्से मदिच्छाफलकल्पवालि। इति प्रियेणालि बतान्यनार्ये मदीयनामानि समर्पितानि॥ १४१ ॥ 10स्वीयान्यसंभोगदु खितोदाहरणम्- यद्यपि स्वा11 गृहे कान्ता12 रम्भारतिरमासमा13। तथापि पुरुष काम14मन्यनारीमवेक्षते ॥ १४२ ॥ मध्यान्यसंभोगदुःखितोदाहरणम्- यस्याः पतिरन्यस्यामासक्त 15का दशा स्त्रियस्तस्याः । तत्कथय त्वं प्रियसखि येन मनस्संशयो न स्यात् ॥ १४३॥ प्रगल्मान्यसंभोगदुःखितोदाहरणम्- इत्यपि श्रूयते सार्ध विहरत्यन्यया पतिः। कठिनं हृदयं हन्त तथापि न विदीर्यते ॥ १४४॥ 1 M T. दूति 2 M. इतर 3 M दूते 4 M नायका- 5. M. तस्या उदाहरणम् 6. T. तस्या उदा- 7 M T वीक्षतु 8 M पलायनान्मया तु मानेतुम् T कन्यातमेनेतुमू 9. M T -काया 10 M. स्वीयस- 11. M स्वा T स्यादगे 12 M कान्ता 13 M समाम् 14 M काम्या 15 M. कीदृशा स्त्रिया: T. कदाशास्त्रीयः * Something like स्वेतरनायिकारुभोगदु, खन 1s to be understood before this § Kanya=a lıttle girl, not the Kanya type of Nayika, or the reading may be 5I9I

२८ अकबर - विरचिता

परकीयान्य संभोगदुःखितोदाहरणम्- सर्वासु निर्विशेष लतासु नित्य परिभ्रमता। श्लाध्या 1चम्पककलिका करोति2 यन्नालिना3 सङ्गम् ॥ १४५ ।।

4सामान्यान्यसंभोगदु खितोदाहरणम्- मन्ये गुणानभिज्ञो गणयति गणि का5रसमाः सर्वा.। मां त्यक्त्वा ननु दत्ता6 मुक्तामाला यदन्यस्यै ॥ १४६ ॥

ईर्ष्यागर्वितालक्षणम्-वक्रोक्त्या नायकपरोक्षं नायकविषयककोपप्रकाशिका ईर्ष्यागर्निता। अस्या उदाहरणम्- मिलिष्यत्येव मां प्रेयान् धृत्वान्यां हृदि वर्तते। स्तनाभ्यां तदुरो हत्वा10 पीडयिष्यामि तामपि॥ १४७॥

इति खण्डितानिरूपणम् ।।

अथ कलहान्तरितानिरूपणम्। कलहान्तरितालक्षणम्-कोपात्कान्त पराभूय पश्चात्ताप- समन्विता कलहान्तरिता। 1सा 1द्विविधा-ई्ष्याकलहान्रिता, प्रणयकउहान्तरिता चेति।

13 कलहान्तरितामाधारणोदाहरणम्- "हृदयदाितमवमत्य15 श्रेयान् मानो16 ममेति निश्चित्य। मानमकार्षी: संप्रति कथमनुतप्तासि तद्धहि ॥ १४८॥

ईष्याकलहान्तरितालक्षणम्-प्रियमन्यकान्तासक्त पराभूय पश्चात्तापवती ईर्ष्याकलहान्तरिन। । 17ईष्याकलहान्तरितो 1दाहरणम्- जिघ्रन्ती मृगमदचन्दनानुलप कान्ताङ्गस्थितमिद1मन्यनायिकाया 20। मत्वति प्रियमवमत्य हन्त पश्चात्सन्तापं यदि समुपैषि तन्न युक्तम् ॥ १४९॥

22प्रणयकलहान्तरिता। उभयोमुग्धां त्यक्त्वा स्वीयादिभेदा लिख्यन्ते। प्रणयकलहान्तरिताया नायकं 21 परिभूय पश्चात्तापवती

अतिरागरमणीयत्वात् मध्यादिभेदा लिख्यन्ते23। 24प्रणयकलहान्तरिता यथा-

प्रेम्णा परस्परसमागतयोः परं नौ25 कान्ते य(स?)दा नशिथिले हृदि दैवयोगात्। मान: कुतश्चिदुदगात्सितशर्करायां का चाश्मखण्ड इव हन्त महान्तराय ॥ १५० ॥ 1 T. corrupt 2. M करो 3 M नालिके 4 M सामान्या0-5 M. -का 6. M दत्वा 7. M. -ला 8. M अन्यस्त्री 9 T वर्तुले 10 M तदुरोपात्ता 11 T. एषा 12 T tound after चेति 13. M omits साधारण 14 T हृदय missing 15. M. दयितामिवेत्य T. दधितमवत्य 16. M मन. 17 M तद्यथा 18 T -तासाधारणो- 19 M. omits इदम् 20. M. कान्ताया: 21. T. पराभूय 22 T ET extra 23 M omits this sentence 24 T. missing from here upto end ot illustrative verse 25 M नै

शृङ्गारमञ्जरी २९

स्वीया कलहान्तरितोदाहरणम्- चरणेन शिरास रचित स्त्वया ममोपास्यदेवतास्पर्शः । फाले लाक्षेति पतिर्गतो गृहाद्वाचमाकर्ण्य *॥ १५१ ॥ मध्याकलहान्तरितोदाहरणम्- पत्युस्त्वया न गणितोऽनुनयः स्मरश्र युक्तं कृतं ननु न युक्तमिति व्यनक्ति। कान्ते निशान्तविगलत्प्रभचन्द्रतुल्यं पीताश्रुचक्षुरनुतापमिदं मुखं ते ॥ १५२ ॥ प्रगल्भाकलहान्तरितोदाहरणम्- प्रेय प्रेमानुनयममृतं यन्निराकृत्य मोहादङ्गीकारससपदि विहितो मानहालाहलस्य। तस्माद्युक्ता परिणतिरियं साम्प्रतं दुर्मनेमे मुह्याम्यन्त. प्रियसहचरि प्राप्य सन्तापमुच्चैः ॥१५३॥ परकीयाकलहान्तरितोदाहरणम्- असुलभजन5निर्मितानुराग त्वदभिमतं बत पूरितं विधात्रा। (प्रिय?) मुपगत(मौज्झ आः१) किमर्थ मन उररीकृतमान (तत्त्वमेव ?)8॥१५४॥ सामान्याकलहान्तरितादाहरणम्- यद्दत्तभूषणमनोहरमङकं मे तेनाद्य हन्न कलहः कृतइत्थमुक्त्ा। तइत्तमौक्तिकलतां नयनाम्बुजाभ्यां संयोज्य हृष्यतितरामनुतापमेति ॥ १५५ ॥ इति कलहान्तरितानिरूपणम्।। अथ वक्रोक्तिगर्विता निरुप्यते। वक्राक्तिगर्वितालक्षणम्-स्वगर्व वक्रोक्त्या या प्रकाशयति सा वक्रोक्तिगर्विता। सा चतुर्धा-प्रेमगर्विता, सौन्दर्यगर्विता, सौभाग्यगर्विता, नैपुण्यगर्विता चेति। सौन्दर्य- गर्विता त्रिधा-स्मितगर्विता, यौवनगर्विता, सोकुमार्यगर्विता चेति। विलासगर्विता नवीनमेदोऽस्माभि कल्पित इति सौन्दर्यगर्विता चतुर्धा। आमोदकारा 1प्रेमगर्वितातः सौभाग्यगर्वितामभिन्ना1माहु प्रेमसम्पादका 2दृष्टं सौभाग्यम्। वक्रोक्तिगर्वितासाधारणोदाहरणम्- अप्राप्य मदुपमान13 सख्यो वर्णयितुमसमर्थाः । त्वमदाः सदा विरुद्धं तद्युयुवयोर्योजना कार्या45॥१५६ ॥ 1 M रचितो यो ममपोस्य- 2 M युक्त न युक्तमिति युक्तिमतोऽम्यनक्तिT युक्त कृतं ननु न युक्तमत्योव्यनक्ति 3 M -तिर्मे 4 M T-री 5 M विनिरितानुराग 6 M भय T शय 7 M उझहा T औजिहा 8 MT तत्त्वयैव 9 1. इत्यनुक्ता T इद्धमुक्त्वा 10 M corrupt 11 T भिन्ना 2 -ना- 13 M अप्राप्मधुपमान T अप्रा्यमधुपानं 14 M त्वमदः पदाद्विरक्तादिव इद्वियोजना कार्या T त्वमदः सदाद्विरुक्तादिवैवयोयोजना कार्या। * The repentant lady tells her friend When my lord came and I was cross, and he tried to appease me by touching my feet with his head, I brushed his head aside with my feet, the beauty-paint on my feet leaving a mark on his forehead, and having done this I said " This paint on your forehead is the seal of your having touched with your head the feet of the deity worshipped by you", on hearing these words of anger, he left my house + Amoda, Adyar Ms p 252 सौभाग्यगर्वितायाः प्रेमगर्विताया मेवान्तर्भावः । § A lady proud of her own beauty tells her lover that as her friends are unable to describe her, not being able to find a simile for her, and as he gave always an inappropriate one (simıle), the two, friends and the lover, should put forth a joint effort to describe her

३० अकबर - विरचिता

प्रेमगर्वितालक्षणम्-प्रियप्रेम वक्रोक्त्या या प्रकाशयति सा प्रेमगर्विता। प्रेमगर्वितासाधाणो- दाहरणम् -- मन्ये मदर्थमिह लेख2विशेष एष3 मामेव पश्यति सदा ननु निर्निमेष. । प्रेम्ण 4 परं पदमहं सखि भावयामि मत्प्रेयसे55धरसुधामनिशं ददामि। १५७॥

स्वीयाप्रेमगर्वितोदाहरणम् -- पुण्यशालित रुणीकपोकयोः पत्रपङ्क्तिरचनां लिखेत्प्रियः । स्विद्यतीह तु कपोल एष मे प्रेयसश्च ननु कम्पते करः ॥ १५८ ॥

मध्याप्रेमगर्वितादाहरणम्- क्षणमपि बहि केलीगेहान्न गच्छ मम प्रिये न हि8 गुरुजनो मत्प्रेम्णा त्वां वदिष्यति किंचन। इति पतिगिरः श्रुत्वापि 10 प्रोत्थितोषसि यद्वलाद् गुरुजनगृहं यामि "द्राक् तत्पति सखि खिद्यते॥ १५९ ॥। प्रौढाप्रेमगर्वितोदाहरणम्- मन्त्री मित्रं सर्वसम्पत्प्रसुश्च12 प्रेष्या शिष्या प्रेयसी जीवितं च। सख्य 13 पत्युर्मेलयित्वा कृताहं युष्माभिर्यत्सङ्गमस्तत्॥ क्व मेडसु ॥ १६० ॥ परकीयाप्रेमगर्वितोदाहरणम्- अस्मत्प्रियस्य पत्नी "दृप्यति मह्य प्रियाहमस्येति। तस्याः पाणिग्रहण मम हृद्ग्रहण कृत किलानेन । १६१ ॥ 16सामान्याप्रेमगर्वितोदाहरणम् -- यन सौधमथ निष्कुटो धन सर्वमेव सखि मे वशीकृतम्। तेन कामसुभगेन सर्वदा मद्शीकृतहृदा 1रमे मुदा ॥ १६२ ॥ सौन्दर्यगर्वितालक्षणम् -- 18स्वसौनदर्यगर्व वक्रोक्त्या या प्रकाशयति सा सौन्दर्यगर्विता । 19 सौन्दर्य गर्वितासाधारणोदाहरणम् -- किं शुभ्रनीलमणिभिर्यदि मे 20कटाक्षाः रागोऽधरे यदिह किं ननु पझरागैः21। मुक्तावलीभिरपि किं यदि मे स्मितश्रीः रतैः किमर्थमय 22मण्डयति प्रियो माम् ॥ १६३॥ स्वीया सौन्दर्यगर्वितोदाहरणम्- सख्यश्चन्द्रं मम मुखसमं यद्रवीति प्रियो मे तत्प्रष्टव्यः किमु गतकलं किं कलाभि: समग्रम् । 1 M. तद्यथा 2 T लेख्य 3. M. एव 4 M. प्रेम्णा 5. M. प्रेयसो 6. M. दधामि 7. T gap here upto verse क्षणमप etc 8. M ननु ! M ता 10 M. विप्रोऽथनोषति T. -पि हृद्धनोषसि 11. M द्राक्षीत् 12 M समाश्च 13 M. सख्यु: 14. M तत्व- 15. M. पश्यति or दृश्यति T. द्ृह्यति 16 T. सामान्यवनिता- 17. M. मम 18 M. omits स्व 19. M तद्यथा 20. M. कटाक्षरागाधरे 21. T. -रागे 22. T रञ्जयति

शृङ्गारमञ्जरी ३१

आद्ये किं मां हमति ननु कि निन्दतीह द्वितीये क्षीणच्छायां2 वद(ह ?)ति वदनं म्लानकान्तिं व्यनक्ति*॥ १६४ ।। मध्यासौन्दर्यगर्वितोदाहरणम्- निर्वापयामि दीप सखि निजवदनेन्दुचन्द्रिकया। 3जिहेमि केलिसमये प्रसभं हरति प्रियो वसनम् ॥ १६५॥ प्रगल्भासौन्दर्यगर्वितोदाहरणम्- सहचरि चकोरयुगलं दिवसे मद्क्त्रचन्द्रिकया : अतिसन्तर्पितनयनं पश्यति निशि नैव चन्द्रमसम् ॥ १६६ ॥ परकीया सौन्दर्यगर्वितादाहरणम्- अयि गवाक्षमुखोद्गतमन्मुखस्फुरदखण्डविधून्मुखलोचनः । अहरहस्स युवा स्मरसुन्दरः सखि चकोरति चोरति मे मनः ॥ १६७॥ सामान्यासौन्दर्यगर्वितोदाहरणम्- चकोर एव चन्द्रस्य चकोरति विलोकने। मन्मुख़ालोकने त्वालि जगदेव चकोरति॥ १६८ ॥ स्मितगर्वितालक्षणम्-स्वस्मितगर्व वक्रोक्त्या या प्रकटयति सा स्मितगर्विता। अस्या उदाहरणम्- मत्स्मितेन स तु पाणि पङ्कज पङ्डज समवलोक्य मुद्रितम्। आह मां निजमुखेन्दुनिर्जित पश्य 5वक्रररजेन्दुनिर्जितम् ॥ १६९।। यौवनगर्वितालक्षणम्-स्वयौवनगर्व वक्रोक्त्या या प्रकटयति सा यौवनगर्विता। अस्या उदाहरणम्- कुचद्वन्द्वचकाञ्चिता मीननेत्रा अ्रभानीरसंपूरिता श्रोणिवप्रा। समुद्दामतारुण्यपूरेण पूर्णा नदीवत्समुज्जृमते मत्तनुश्री. ॥ १७० ॥ सौकुमार्यगर्वितालक्षणम्-स्वसाकुमार्यगर्व वक्रोक्त्या या प्रकट्यति सा सौकुमार्यगर्विता। 6अस्या उदाहरणम्- यच्छति स्वकरकञ्जनिर्मितां मलिकाकुसुममालिकां प्रियः । किं करोम्यनुदिनं 'निजशितुगौरवेण सखि गौरवं सहे॥ १७१ ॥

1. M नन्दत 2 T -य 3 M missing from here upto अतिसन्त्पित etc in verse 166 4 T पाद- 5 M वच्मि 6 T सोकुमार्यगर्वितोदाहरणम् 7 M दिने * If the lover means that the moon not full with all the digits is like my face, he 1s making fun of me, if he means that the moon, full of the digits, is like my face, he 1s surely insulting me, for he is saying that my face, in the first case, is famished and in the second, so dull, she means that her face is so superior to the moon that the latter is no comparison § While the lotus in the hand has really closed as a result of the moonlight of my smile, the lover who is looking on does not realise it but attributes its closing to the moonlight of eithei my face or my crescent-nails

३२ अकबर - विरचिता विलासगर्वितालक्षणम्-विलासगव वक्रोक्त्या या प्रकटयति सा विलासगर्विता। अस्या उदाहरणम् -- प्रेयान् स्वभावमधुरः सुमुखस्व्रभावाद्यद्यत्करोमि नतु तन्मतुते विलासम्। ज्ञात्वा कृतं झटिति हृद्धरणे प्रगल्भ: स्तौतीति चित्रमिह किं सखि मद्विलासम् ॥ १७२ ॥ सौभाग्यगर्वितालक्षणम्-स्वसौभाग्यगर्व वक्रोक्त्या या प्रकटयति सा सौभाग्यगर्विता । 2अस्या उदाहरणम् -- पतिर्भाग्यवानित्यमु3 सेवमाना स्वयंश्रीरदो4 मन्दिरं द्रागकार्षम्। प्रतीहारहस्तो लसद्वेत्रपात्रक्षितीन्द्रावली सेवित द्वारदेशम्।। १७३॥। नैपुण्यगर्वितालक्षगम्-स्व्रनैपुण्यगर्व वक्रोक्त्या या प्रकटयति सा नैपुण्यगर्विता । अस्या उदाहरणम्- अप्रेममार्गपान्थाः तिष्ठन्त्येताः किमेताभिः । प्रियमनुरञ्जयितु ननु मम दृष्टा सस्मिता दूती॥१७४॥ इति वक्रोक्तिगर्वितानिरूपणम्।।

अश प्रोषितभर्तृका निरूप्यते। देशान्तरगते भर्तरि सन्तापव्याकुला श्रोषितभर्तृकेति रसमञ्जरीकारोक्तम्। अत्रामोदकारा. प्रोषितभर्तृकेत्यत्र प्रोषितशब्दः क्तप्रत्ययान्त; एव क्तप्रत्ययो 'निष्ठा' (२-२-१०२) इति सूत्रेग भूतार्थे विहितः; एतेन भूतार्थ एवायं न तु वर्तमानार्थों भविष्यदर्थश्र; तस्मात्प्रवसत्पतिकायां प्रोषितमतृकेति पदं न संभवतीति तस्या नामान्तर कलपनीयमिति स्व्रग्रन्थे लिखितवन्तः *। अत्र वयं ब्रूमः-प्रोषितमर्तृकेति भूतभविष्यद्वर्तमान प्रवासशालिभर्तृकोच्यते । तेन तिसृणामप्यनेन सङ्ग्रहः। प्रोषितमिति 'नपुंसके भावे क्ः' (३-३ ११४) इति सूत्रेण कालसामान्ये भावे क्ः। 10 लौकिकावेग्रहवाक्ये नपुंसकलिङ्गेन विवृतत्वात्11 प्रोषितं प्रवास इत्यर्थः । ततः12 सप्तमीगरभो व्यधिकरणबहुव्रीहि. प्रोषित भर्तरि यस्याः सेति गरुडध्वजवत्13 । न च 'सप्तमी विशेषणे बहुव्रीहौ' ( <- २ ३५) इत्यनेन14 सूत्रेण पूर्वनिपातस्सतम्यन्तस्य, बहुवीहेर्वर्यधिकरणगर्भतामात्रज्ञापनपरत्वेन पूर्वनिपाततात्पर्यकत्वाभावात्। तत्तात्पर्यकत्वे च विशेषणत्वेनैव सप्तम्यन्तस्य पूर्वनिपातोत्पत्तौ सप्तमी ग्रहणवैयर्थ्यापातात्। उषितशब्दस्य निष्ठान्तत्वेन 'निष्ठा' (२-२-३६) इति15 परत्वाद्वा S पूर्वनिपातः । 1 T विलासगर्वितोदाहरणम् 2 M तदथा 3 M -नेत्यय T त्ययमा 4 T. -रघो 5 M यागकर्ष 6. T. शास्त्रो- 7 M. येषा 8 T एवायाति 9 M. प्रवासकभर्तृका 10 M कारक 11. T. निवृत्तत्वातू 12. M तत्र 13 M -धवजेत्यादिवत् 14 T इत्यप्यनेन 15 T onnts निष्ठित * The Sr.manjari evidently refers to the following passage in the Amoda, Adyar Ms P. 437. ननु प्रपूर्वाद्वसतेर्भूतार्थक्तप्रत्यये निष्पन्नस्य प्रोषितशब्दस्यावयवार्थविचारणाया यस्याः पत्युः प्रवासोऽतीतः सा प्रोषितभर्तृकेति प्रतीयते। तथा च कथमस्याः(स्या) प्रवत्स्यत्पतिकाया(याः) अन्तर्भावः । But it should not be thought that the Amoda supports the creation of a ninth Nayika-variety called Pravatsyat-patika, the Amoda is not in favour of it; whatever it has said in explanation of the term ' Prosita' is part of its Pūrvapaksa See fn. and extract from Āmoda on p. 17 above. + means ' stangers to the path of love' § Paratva refers to the Sutra 2-2-36 being later than 2-2-35

शृङ्गारमञ्जरी ३३

आहिताग्निगणस्य आकृतिगणत्वेन विकल्पस्य च व्यवस्थितत्वे 'वाहिताग्न्यादिषु' (२-२-३७) इति पूर्वनिपातः । एवमेव रथाङ्गपाणिश्चन्द्रचूड इत्यादिप्रयोगा उपपद्यन्ते। 'क्तस्य च वर्तमानार्थे's (२-३-६७) नुशासनात् 'वर्तमानसामीप्ये वर्तमानवद्वा' (३-३-१३१) इति वर्तमानार्थकप्रत्ययानां वर्तमानसमीप- भूतभविष्यत्कालयोरपि विधानात् प्रोषितभर्तृकाशन्दस्य प्रोषितप्रवसतप्रवत्स्यत्पतिकाबोधकत्वेन तासु नाव्याप्तिः। भर्तृशब्दस्य लौकिकालौकिक * सम्बन्धाभ्यां नायिकाधिकरणस्वविषयानुरागभरणकृत्य5- बोधकत्वेन न स्वीयापरकीयासामान्यारूपासु प्रोषितभर्तृकासु अव्याप्तिः। अथवा प्रोषितशब्दो 'नपुसके भावे क्तः' इति सूत्रेण प्रवासार्थकः सिध्यति। तस्मान्मत्वर्थीयोऽच्प्रत्ययः । तस्मात्प्रोषितमस्यास्तीति प्रोषित। प्रोषितो भर्ता यस्याः सा प्रोषितमर्तृकेति समानाधिकरणबहुव्रीहिरव प्रोषितप्रवसत्प्रवत्स्यत्पतिकासु तिसृष्वपि सम्यक् प्रतिभाति। किं च- 'क्व प्रस्थितासि करभोरु घने निशीथे प्राणप्रियो वसति यत्र मनोहरो मे। एकाकिनी व्रजसि किं न विभेषि बाले नन्वस्ति पुद्कितशरो मदनस्सहायः॥' इति वर्तमाने, 'त्वामारूढं पवनपदवीमुद्गृहीतालकान्ताः प्रेक्षिष्यन्ते पथिकवनिताः प्रत्ययादाश्सन्तयः । कस्सन्नद्धे विरहविधुरां त्वय्युपेक्षेत जायां न स्यादन्योऽप्यहमिव जनो यः पराधीनवृत्तिः॥' (मेघ. ८) इति भविष्यति, 'इतः प्रत्यादेशात्स्वजनमनुसर्तु व्यवसिता स्थिता तिष्ठेत्युच्चैर्वदति गुरुशिष्ये गुरुसमे। पुनर्दृष्टिं बाष्पप्रसरकलुषामर्पितवती मयि क्रूरे यत्तत् सविषमिव शल्यं दहति माम् ।' (अभि. शाकु. ६. ९) इति भूते । एवं त्रैकालिकाः क्तप्रत्ययान्ता महाकविप्रयोगा उपलभ्यन्ते। तथा प्रोषितशन्दं6 विजानीमः । अत्र रसमञ्जरीकारः देशान्तरगते भर्तरि सन्तापव्याकुला प्रोषितभर्तृकेति, प्रतापरुद्रीयकारः 'देशान्तरगते कान्ते खिन्ना प्रोषितभर्तृका' (५२) इति लक्षणे उक्तवन्तौ। एतलक्षणद्वय मपि प्रवसत्प्रवत्स्यत्पतिकयोरव्याप्तमिति नोपादेयम्। अत्र वयं पतिप्रवासखिन्ना प्रोषितभतृकवेति लक्षणं वदामः । स प्रवासः लैकालिकार्थसाधरणो भवतीति तिसृष्वपि समञ्जसं भवति। प्रोषितभर्तृका त्रिधा- प्रवत्स्यत्पतिका प्रवसत्पतिका प्रोषितभर्तृका चेति ई। प्रोषितपतिकायां सख्यनुतापितिति भेदान्तरमस्माभिः कल्प्यते10, अस्या: S९ प्रवासः कारणमिति। मुग्धाभेदा लिख्यन्ते। प्रोषितभर्तृकासाधारणोदाहरणम् -- 1 T This sentence is missing. 2 T -नेऽथें 3 M missing 4 M नुकरण 5 T. भरकगणभर्तृ- 6 T शब्दोऽपीति जानीम. 7. M द्वयेऽपि 8 M नोपादनीयम् 9 T no भवति 10 T. कल्पितम् * Laukika, the generally accepted meaning of Bhartrtva with reference to Svīya; Alaukıka, the same in a special sense applying to Parakīyā and Sāmānyā. + Amaruka, NS Press edn, 71 , Vikatanitambā's according to anthologies $ The three illustrations are for the use of the Ktanta in the present, future and past, Prasthitā, Ārūdha, and Sthitā etc, respectively S Cf Amoda,Adyar Ms, p 439 यद्वा प्रवासपतिका काञ्चनाष्टमी नायिकामालम्ब्य सा त्रिविधा भूतपति- प्रवासवती, वर्तमानपतिप्रवासवती, भाविपतिप्रवासवती च; नत्राद्या प्रोषितभर्तृका, द्वितीया प्रवसत्पतिका, तृतीया प्रवत्स्यत्पतिकेत्यनन्तर विभाग: क्रियताम् । etc §s ' Asyah' refers to the consoling Sakhi who too leaves her in that state and goes away somewhere.

३४ अकबर - विरचिता

वद सखि कंचिदुपायं प्रियप्रवासप्रयुक्तदु:खहरम्॥ १७५॥ अस्या: स्वीयादिलक्षणोदाहरणानि लिख्यन्ते। तत्रादौ प्रवत्स्यत्पतिकानिरूपणम्। यस्या: पतिरग्रिमक्षणे देशान्तरं यास्यति सा प्रवत्स्यत्पतिकेति रसञ्जरीकारोक्तं लक्षणम। तदयुक्तम्। श्रः परश्वो वा यस्याः पतिः प्रवत्स्यति तस्यामव्याप्तिः । अतः अस्माभिः प्रियप्रवासयतोदमं ज्ञात्वा वेदनावती प्रवत्स्यत्पतिकेति लक्षणमुक्तम्3। अत्र 'विगलितप्रस्थानपतिकेति भेदान्तरं कल्पितम्। अत्र प्रवत्स्यत्पतिका5साधारणोदाहरणम् -- तूष्णीमुदेष्यत्प्रिय विप्रलम्भग्रीष्मार्कवार्ताश्रवणारुणेन। हृतास्यशीतांशुरुचिर्वराकी म्लायत्यसावश्रुजला कुलाक्षी ॥ १७६ ।

स्वीया प्रवतस्यत्पतिकोदाहरणम्- अयि सुभग विदेशं गन्तुकामस्य वार्ता यदवधि तव पत्न्या.7 कर्णदेशं प्रयातः । तदवधि परितप्ता सुञ्चती बाष्पबिन्दून् शयनमधिशयाना वर्तते पङ्कजाक्षी ॥ १७७॥

मुग्धाप्रवत्स्यत्पतिकोदाहरणम्- पत्युः सङ्गस्य समयो यदास्यां समुपागतः । पतिरस्यास्तदा8 हन्त विदेशं गन्तुमुद्युतः ॥१७८॥

मध्याप्रवत्स्यत्पतिकादाहरणम् -- पत्यौ विदेशगमनं प्रति याचमाने कान्तानिदेशमबलोद्गतनेत्रनीरा। नम्रानना हृदयदत्तदगम्बुजाक्षी प्राणान्10 प्रियेण गमनं सह पृच्छतीव ।। १७९।।

प्रगल्भाप्रवत्स्यत्पतिकोदाहरणम्- 1आलिङ्गतीन्दुवदनां12 रमणे विदेश गन्तुं प्रिया प्रियगलं मृदुदोर्लताभ्याम्। आलम्बते स्म ननु सा प्रियविप्रयोगदुःखाम्बुधौ किमु निमज्जनमेत्य सदयः ॥१८० ॥

परकीयाप्रवत्स्यत्पतिकोदाहरणम्- कियद्दूरे 13पूर्णिमेति कान्ते कंचन पृच्छति। अवोचत्सुमुखी सद्यः 1पूर्णिमाद्यैव कि सखि॥१८२ ॥

सामान्याप्रवत्स्यत्पतिकोदाहरणम्- सुवर्णपत्राणि बहूनि कान्ते 15दाक प्रेषयिष्यामि मनोहराणि । यै. कर्णपूरैः स्वसखीर्मृगाक्षि16 सन्तोषयिष्यस्यमलेन्दुवक्त्रे॥ १८२ ।। विगलित प्रस्थानपतिकालक्षणम्-यस्या वेदनामालोक्य प्रियः प्रस्थानान्निवर्तते विगलितप्रस्थानपतिका। अस्या उदाहरणम्- स]17

1. M T किं- 2 T प्रयत्नो- 3 T -ण युक्तम् 4 M प्रगलित-5 T .- भर्तृका-6 T स्वकीया- 7. M पत्यु: 8 M सदा 9 M निवेश- T. न्यदेश- 10 M प्राण- 11 M आलिड्ग्यते 12 M -नं 13. M. पूरोऽस्तीति 14 M. पूर्णमदैव कि सखी 15 M द्रक्षेष- 16. M सखे मृगाक्षी T. स्वसखी मृगाक्षी 17. M missing

शृङ्गारमञ्जरी ३५

निःशेषीकृतपझ्मिनीकमभवत्सर्व सरोमण्डलं 1कर्पूरो नगरेऽबसानमगमच्छीतोपचारैर्मुहुः। नेदानीमपि निर्दयेन्द्र सुतनोस्तापोपशान्तिर्गिरः 2श्रुत्वेमास्स्वसखीमुखान्निजगृह प्रस्थानगेहादगात् ॥ १८३।। प्रवसत्वतिकालक्षणम्-वर्तमानप्रवासपतिका प्रवसत्पतिका । 3 प्रवसत्पति का साधारणो- हरणम्- वैवर्ण्य वदनाम्बुजं सृगददशो नेत्राम्बुजे चाम्बुनः पूरो निर्बलताङ्गवल्लिमभितस्ताप*रसमग्रा दिशः। जीव: कण्ठमकुण्ठतां स्मरशरो दुःखं सखीनां मनः कान्तो यानमय वरोरुहृदयं 5मोहस्समारोहति ॥१८४॥

स्वीयाप्रवसत्पतिकोदाहरणम्- ऋतौ यस्मिन्समायान्ति गृहं सर्वे प्रवासिनः । तस्मिन् 'वसन्ते हन्तायं विदेशं गन्तुमुद्यतः ॥ १८५॥

सुग्धाप्रवसत्पतिकोदाहरणम्- एतां नवागतवयो मणिशोभमान सौवर्णगात्रलतिकां कमलायताक्षीम्। हित्वा सुधांशुवदनां कुसुमाकरेऽस्मिन् कस्मात्प्रयाति ननु निष्ठुरमस्य चेतः ॥ १८६॥

मध्याप्रवसत्पतिकोदाहरणम्- दवितिलकमविललाटं बिभ्राणो9 गुरुकृतं दयितः । अवगुण्ठनवसनान्तः सजलदशालोकिनससुदृशा॥ १८७॥

आदृष्टिप्रसरं निरीक्ष्य निपतन्नेत्राम्बुधारा 10प्रियं दङ्मार्गव्यवधानमागतमथ ज्ञात्वा पतन्ती क्षितौ। आलीभिर्गतचेतना 1नतु हता शीतोपचारैरिय सज्ञां सङ्गमिता विलोक्य भवनं शून्यं पुनर्मृर्च्छिता ॥ १८८ ॥

परकीयाप्रवसत्पतिकोदाहरणम्- कान्तं यान्तमवेक्ष्य दूरविषयं कान्ता स्वया 12थ्यया स्वप्रासादगवाक्षवीक्षणपरं तन्वी सखीसंयुता13। निर्गच्छन्नतु किं न दैवहतया प्रेयान् हतोऽयं * गृहा- दित्थं साश्रुविलोचनाऽस्य सुमुखी पत्नीं मुहुर्निन्दति॥ १८९ ॥ 1. M. कपूरे 2. M श्रत्वा मत्सखसखी- 3. M अस्या उदा- 4. M तावत् 5. M. मोहात् 6. M वसतति 7 M -मया 8 M. शोभोमाना 9 M. -णं 10. T प्रिया 11. M. -मनुदता r. ननु दता 12. M. राध्यया T रभ्यया 13. T. सय्यता

• हृतः=वारितः 'Why did not his wife prevent him as he was leaving?'

३६ अकबर - विरचिता

सामान्याप्रवसत्पतिकोदाहरणम्- कान्त गच्छसि विदेशमन्वहं स्मर्तुमत्र हि निजाङ्गसङ्गतम्। देहि भूषणमितीरितस्तया स प्रदाय निरगाद्गृहाद्वहिः ॥ १९० ॥ प्रोषितपतिकालक्षणम्-यस्याः पतिः परदेशं गतः सा प्रोषितभर्तृका। प्रोषितपतिका- साधारणोदाहरणम्- सुन्दारी मा कुरु चिन्तां क्षीणासि त्वं कृशाङ्ि दुःखेन। आयास्यति किं स्थास्यति मधो विदेशे तव प्रेयान् ॥ १९१ ॥

स्वीयाप्रोषितपतिकोदाहरणम्- 2यदवधीन्दुमुखि स्मरसुन्दरस्तव पति परदेशमितो गतः । तदवधि प्रमदे किमु रोचते जगदिदं वद ते * बत मे कुतः ॥ १९२ ॥ सुग्धाप्रोषितपतिकोदाहरणम्- परदेश गतः 3प्रेयान् जातेऽस्या यौवनोद्गमे। मुग्धा किंचिन्न जानाति मम तु व्याकुलं मनः ॥ १९३ ॥ मध्याप्रोषितपतिकोदाहरणम्- नेय 'हिया वदति कान्तवियोगदुःखं सन्तापयत्यतितराम तनुर्मृगाक्षीम्। अस्या विदेशमदयो दयितः प्रयातो दृष्टा कृशां कृशतनुं 5दयते मनो मे ॥ १९४ ॥ प्रगल्भाप्रोषितपतिकोदाहरण म्- श्रीमद्वक्त्रसुधांशुदीधितिसुधापूर्ण सुधामन्दिरं यन्मन्नेत्रमुदे नितान्तमभवत्प्राणेश तत्साम्प्रतम्। द्राग्दोषाकररश्मिभिर्विषमयीभूतं विषण्णास्म्यहं कान्तापत्रे मभूदिदं जिगमिषो पत्युर्गृहं प्रेरकम् ॥ १९५ ॥ परकीया प्रोषितपतिकोदाहरणम्- सौधं सुधाकिरणकान्ति सितं प्रसूनतत्पं च भृत्यकृतचन्दनलेपन च। देशान्तरं गतवता सखि तेन यूना कल्पान्तपावकनिभानि कृतानि सदयः ॥ १९६ ॥ सामान्याप्रोषितपतिकोदाहरणम्- कस्मान्न्यवारि न मया स्वगृहाद्विदेश गच्छन्नहो7 स तु युवा सकलो ममार्थः । इत्थं मृगाङ्कवदना परिचिन्तयन्ती द्वार्येव तिष्ठति तदध्वविलोकनाय ॥ १९७ ॥ सख्यनुतापितालक्षणम्-नायकपरदेशगमनानन्तरं स्वसमाधानकत्री सख्यपि चेत्कचित प्रयाणं करोति सा सख्यनुतापिता। अस्या उदाहरणम्-

1. M. तस्या उदा- 2 M. corrupt 3 T कान्तः 4. M. प्रिया 5. M. T. दयिते 6 T. भर्तृ 7 M. असी नमयुवा T. अहो स तु युदा 8. T. corrupt 9. M. कतेरि * 'बत मे कुतः' 1s the lady's reply to her friend's enquiry. + Kanta-patra-her letter from home, in the above terms, to her lover abroad.

Proșitapatikā Abhisārikā

शृङ्गारमञ्जरी ३७

प्रियप्रवाससमये प्राणा मे रक्षितास्त्वया। इदानीं केन संरक्ष्यस्त्वमपि प्रस्थिता सखि ॥ १९८ ॥ इति ्रोषितभर्तृकानिरूपणम्2 । अथ अभिसारिका निरुप्यते। अत्र रसमञ्जरीकार स्वयमभिसरति प्रियमभिसारयति वा सा अभिसारिकेत्यभिसारिकालक्षणमाह। तदयुक्तम्। स्वयं या प्रियमभिसरति सा त्वभिसारिका भवति। 'कान्तार्थिनी तु या याति सङ्केतं साडमिसारिका' (२-६-१०) इत्यमरकोशादपि। प्रियं या अभिसारयति सा तु वासकसजजिका8 भवति। अत्रामोदकाराः-अत्र वारनियमाभावाद्वासकसज्जिका नेत्याहुः *। तदपि न युक्तम्। वारनिगमाभावेऽपि प्रियागमनमुद्दिश्य या सुरतसामग्रीं सज्जीकरोति सा कस्यां नायिकायामन्तर्भवति। कि च वासकशब्दस्यानेकार्थत्वाद्वारनियमो5 न निमित्तमिति वासकसजजिका6- प्रकरणे प्रियागमनकारणेन सभोगार्थप्रयत्नवती वासकसज्जिकेत्यास्माभिरनिर्णीतम् । तस्मात्प्रियं याभिसारयति सा वासकसज्जिकेति सदुत्तरम्। तस्माद् रसमञ्जरीकारोक्तमयुक्तम्। अत्र व्यं प्रियं याभिसरति सा अभिसारिकेति लक्षणं वदामः । अस्या स्वीयादिभेदा लिख्यन्ते। अत्र परकीयायाः केचन अवान्तर मदा लिख्यन्ते-ज्योत्स्ाभिसारिका, तमोऽभिसारिका, दिवाभिसारिका, गर्वाभिसारिका, कामाभिसारिका चेति पञ्चधा। स्वकीयप्रेमवाग्भिः प्रिय प्रति या प्रेम प्रकटयति सा प्रेमवाक्याभि- सारिकेति 10नवीना कल्पितास्माभिः। प्रेमाभिसारिकेति भेदो रसिकप्रियकर्त्रा लिखितः। तन्न (स न) युक्तः । सर्वा अप्यभिसारिकाः प्रेम्णैव भवन्तीति।

अभिसारिकासाधारणोदाहरणम्- एतस्याः प्रियमभिसर्तुमुद्यतायाः 1प्रेक्ष्येमामभिनवमञ्जुलामभिख्याम्12। नेत्रे नः सखि सफले प्रगल्भते द्राग्वक्त्रेन्दुः प्रियसुखवार्विवर्धनाय॥ १९९॥ 13स्वीयाभिसारिकोदाहरणम्- शीघ्रं प्रयाहि सुभगे प्रियसन्निधानमाकल्प एष रमणीयतरस्तवाङ्ग। त्वदर्शनोत्सुकद्दश14स्सुभगेऽधुना न15 पत्युर्गजेन्द्रगमनात्वमभीष्ट1मेतत् ६॥२००।। मुग्धाभिसारिकोदाहरणम्- चित्रां दर्शयितुं मधुश्रियमियं संप्रापिता निष्कुटं चित्रालोकनकौतुकेन च मयैतन्मन्दिरं सुन्दरी। आनीता सुभग त्वदीयसविधं गच्छाम्यहं साम्प्रतं बालां लालय लीलया मृदुलया मृद्दीं शिरीषादपि॥ २०१॥

1. M. सखी 2 M -कोदाहरणम् 3. T. -केव probably for -कैव 4 T. -सजा- 5. M. नियम इति 6 T सज्ा 7 T. अभिनिर्णीतम् 8 M omits अवान्तर- 9. T गर्वाभिसारिकेति wrongly found in addition. 10 M नवीन कल्पितमस्माभिः T अस्माभिर्नवीना कल्पिता 11. M. प्रक्ष्याम 12 M -ख्या: 13 T स्वकीया- 14. M दश 15. -ना 16 M. ना त्वमभिष्ट-

• See Amoda, Adyar Ms. p 405 ननु दूत्यादिमुखेन या प्रियमभिसारयति सा वासकसज्ैव कि न स्यादिति चेन्न; तस्या वारनियमाभावात्। + See above p 17 § As your husband is very eager to see you, just now your sporting this leisurely swaying gait (Gajendra-gamanatvam) is not to his liking, hurry up.

३८ अकबर - विरचिता

अभिजिगमिषो: सौधात्स्वीयातसुधांशुनिमानने प्रियतममभूद्योतकण्ठा ते गता क नु साधुना। अथ कथमियं लज्ार्द्रा त्वां बलात्समुपस्थिता कमलवदने केलीसझप्रवेशमहोत्सवे॥ २०२॥

न खलु दूरमिदं पतिमन्दिरं सुतनु यासि कथं त्वरितक्रमम्। मनसिजेन कृतां हृदयव्यथां सखि निवेदयितुं दयितं किमु ॥ २०३ ॥

सरोजाक्षि मनोजार्तिदूतीविरचितत्वरा। मनोरथं समारुह्य प्राप्ता * सङ्केतमन्दिरम् ॥ २०४॥ ज्योत्स्नाऽभिसारिकालक्षणम्-शुभ्रवेषं विधाय ज्योत्स्ायां याऽभिसरति सा ज्योत्साभिसारिका। 'अस्या उदाहरणम्- चन्द्रातपे चन्दनचर्चिताङ्गी शुभ्राम्बरा मौक्तिकमण्डिता च। + 2एन.प्रकाश्येष विधुस्स मा भूदितीव सा शङ्कपयस्समाभूत् ॥ २०५ ॥। द्वितीयोदाहरणम्- पाटीरं घनसारसान्द्रविशदं बाला विलिप्याङ्गके बिभ्राणा मृदुशुभ्रकान्तिरुचिरं निःश्वासहार्यम्बरम् । मुक्तालड्कृतराजि राजिततनुश्चन्द्राननालिव्रजै- ज्योत्स्नायामनुमेयमूर्तिरगमत्सख्या5 प्रियस्यान्तिकम् ॥ २०६ ॥

तमोऽभिसारिकालक्षणम्-श्यामवेष विधाय तमसि याऽभिसरति सा तमोऽभिसारिका। 'अस्या उदाहरणम्- विरचितमेचकवेषां7 तमसि वयस्यानुगच्छति श्यामाम्। अङ्गाङ्गरागमृगमदपरिमलश्ूरप्रदर्शितेन पथा10। २०७ ।। दिवाऽभिसारिकालक्षणम्-दिने या अभिसरति सा दिवाभिसारिका। अस्या उदाहरणम्- शृङ्गारिताखिलाङ्गी 11निमन्त्रणव्याजत12स्सरोजमुखी। 13अगमद्गोपितदयितं निपुणसखीमन्दिरं दिवा प्रमदा14॥ २०८। गर्वाभिसारिकालक्षणम्-प्रियसङ्केतं गत्वा मया कार्यान्तरार्थमागतमिति मिषेण स्वप्रेमाच्छाद्य वार्तालापं या करोति सा गर्वाभिसारिका। 15अस्या उदाहरणम्- उपवनमतिरम्यं 1मञ्जुगुअ्जत्पिकं यत्कुसुमितमतिदृश्यं" द्राग्वसन्तागमेन। पुरजनरमणीयेऽनङ्गयात्रोत्सवेडस्मिन् मम तु परमलाभो यद्भवानत्र हृष्टः ॥ २० ९॥ 1. T. तस्या: 2 M या न प्रताश्येय विधिः T येन प्रकाश्येन विधुः 3 M. साशकस्ववयः 4. T. राज- 5. T. सख्यः 6 T. तमोडभिसारिकोदा-7 M वेषा 8 M वयस्या गच्छति श्यामा 9 M. पूरित 10. M. पदा 11. M. निमन्त्रिण 12. M. व्याजतत्- 13 T मद्गोपितनिजदयित 14 T. प्राप्ता 15 T missing 16. T. gap here upto the end of the Iie 17 M -मिति दृश्यन् 18 T. gap again up to लक्षणमू In next line. * त्वमिति शेषः । + Enahprakasyesa etc., third pada, means 'Let not this moon show up my guilt'.

शृङ्गारमञ्जरी ३९ कामाभिसारिकालक्षणम्-मन्मथावेशेन प्रियं याभिसरति सा कामाभिसारिका। तदुदाहरणम्- किं मां वक्ता नतु गुरुजन 2कोऽप्यपश्यज्ञनौघ गाढध्वान्ता रजनिरभवन्नेति चिन्ता सृगाक्ष्याः। कान्तैकान्तापहृतहृदयं स्त्रीजनं3 सान्द्ररागं गाढोत्कण्ठाभिसरणपर कापि शङ्का रुणद्धि ॥ २१० ॥ प्रेमवाक्याभिसारिकालक्षणम्-नायकनिकट गत्वा प्रेमवाक्यानि या वदति सा प्रेमवाक्याभि- सारिका। 5अस्या उदाहरणम्- प्रावृड्घन तमसि वर्षति हन्त मेघे कान्तारमित्यभिसृतासि कथ प्रिये माम्। पूर्णेन्दुसुन्दर पुर स्सततं भवांश्रेतकेद भयं क् च मनः क तु दुःखवाती॥२११॥ सामान्याभिसारिकोदाहरणम्- * 8सुरमणितरुणेन्दुसुन्दरास्या सुललितवारविलासिनी हसन्ती। अभिसरति नितान्तपुण्यवन्तं सुभगसखीपरिवारिता मृगाक्षी ॥ २१२॥ इत्यभिसारिकानिरूपणम् । इति साधारणप्रकरणम्॥ अथ उत्तमादिभेदाः निरूप्यन्ते । एताः सर्वा अपि उत्तमामध्यमाधमाभेदैः त्रिधा। अत्र रसमञ्जरीकारः अहितकारिण्यपि प्रियतमे हितकारिण्युत्तमेत्याह। तदुपार आमोदकाराः सापराधं प्रिय प्रति प्रकुपितायां खण्डितायां कदाप्यनपराधवल्लभायां स्वाधीनपतिकायां प्रियावमान कुर्वत्यां कलहान्तरितायां चेदं लक्षणमव्याप्ं भवतीत्याशङ्क्य नायकापराधाधिक्ये अत्यन्तकोपाकरणं खण्डितायां हितकारिणीत्वं, प्रियं किंचिदवमत्य अत्यन्तानुतापः कलहान्तरितायां हितकारिणीत्वं पत्या सह कलहकरणमहितकारिणीत्वं संभोगार्थ- प्रयत्नश्र हितकारिणीत्वमिति लिखितवन्तः। अत्रोच्यते-कलहान्तरितायाः कोपावस्थायां खण्डितात्वमेव। पश्चात्तापावस्थायां कलहान्तरितात्वम्। तस्मादामोदकारोक्तमयुक्तम्। वयं तु युक्तियुक्तं वदाम । उत्तमालक्षणम्-प्रियहितादघिकं10 हितकारिणी उत्तमा। प्रियहितेन समं हितकारिणी मध्यमा। प्रियहितान्न्यूनहितकारिणी अधमा । नतु शृङ्गारालम्बनरूपायां कथमुत्तमादिभदा इति चेद्रमः। नायकाया प्रगल्भात्वदशा उत्तमात्वदशा। मध्यात्वदशा मध्यमात्वदशा। मुग्धात्वदशा अधमात्वदशा। स्वीयायां कथमिति चेत् पत्यौ यावज्जीवं अनुरागं संस्थाप्याज्ञानुवर्तिनी या सोत्तमा। सैव पतिव्रता। नायकहितानुरागानुकूलं यथालोकं11 त्वनुवर्तिनी मध्यमा। 12चञ्चलमतिरधमा। 1 T कामाभिसा- then gap again From here lines are broken by gaps up to नितान्तपुण्यवन्त etc in verse 212 2. M. कोऽपि पास्येद्यनौधै: T -पि वश्येद्बुधौघै 3. M जना 4 M. राग 5 T प्रेमवाक्याभिसारिकोदा- 6 M तर 7 M. त्वेदं 8 M सुरतरसनेन्दु 9 M omits this additional colophon 10 T हिताघिक 11 T. लोकरीत्यानुवर्तिनी सा 12 T After चञ्चल agap by haplography upto -हृदया सर्वत्रानुरागिणी अधमा below. * Suramanı,=Kaustubha; means that the face is brilliant like the gem and charming like the full moon. + This refers to Svādhīnapatıkā § Amoda, Adyar Ms pp 459-460 नन्वेतल्लक्षणस्य खण्डितायामीर्ष्याकोपेन, कलहान्तरितायामपि मानकारित्वेन हितकारित्वाभावात्, स्वाधीनपतिकादौ तत्प्रियस्याहितकारित्वाभावाच्चाव्यात्तिरिति चेन्न, खण्डिताया ईर्ष्यामार्दव कलहान्तरितायाः पश्चात्तापातिशयश्च हितकारित्वम्, स्वाधीनपतिकादेर्हितकारित्वमायत्तताविशेषः, तत्प्रियस्या- हितकारित्वं च प्रणयकलहादिकमेवेति सर्वत्र लक्षणसङ्गतेः ।

शृङ्गारमञ्जरी ४१

सखीषु कथमिति चेत् अत्यन्तहिताभिलाषिण्युत्तमा। मनोऽनुकूलानि वाक्यानि या वदति सा मध्यमा। यत्किश्चिदुक्त्वा यत्किञ्चित्कारिणी अधमा। उत्तमालक्षणम्-प्रियहितादघिकहितकारिण्युत्तमा। उत्तमासाधारणोदाहरणम्- इति सर्वा वधूस्त्यक्त्वा प्रियस्त्वामुपसर्पति। प्रियस्य कल्पवल्ली त्वं वाञ्छितार्थप्रपूरणी ॥ २१३॥

स्वकीयोत्तमाया उदाहरणम्- एकत्वमागता त्व पतिवाञ्छाकल्पलतयासि। 2तदभिलषित कुसुमानां फलानि 3ते तन्वि चरितानि ॥ २१४ ॥ मध्योत्तमोदाहरणम्- पश्यन्ती स्मरललितोद्धतस्मिताम्यां दक्पाते सुमुखखि मुहुर्हिया हताभ्याम्। वक्त्रान्तस्सुभगसमुच्चलत्प्रभाभ्यां नेत्राभ्यां प्रियहृदयं वशीकरोषि॥ २१५॥

प्रगल्मोत्तमोदाहरणम्- 5पत्यौ दृशोर्व्यवहिते क्षणमुत्सुकेयमुत्ताम्यति प्रियतमे गृहमागते तु। 6रोमाञ्चति प्रमदवारितरङ्गिताक्षी प्रेम्णा प्रयाति सविधं परिरम्भते च ॥ २१६ ।।

परकीयोत्तमोदाहरणम्- यदा यदा 'सस्पृहमम्बुजाक्ष्या गवाक्षसान्निध्यमहं प्रयामि। तदा तदा दर्शनमाशु दत्त्वा ददाति ताम्बूलमियं च मालाम् ॥ २१७ ॥ सामान्योत्तमोदाहरणम् -- यदा यदाहमिच्छामि तदागच्छति सुन्दरी। 8अलुब्धा सेवते नित्यं9स्वीयेव मदिरेक्षणा ॥ ११८॥ अथ मध्यमालक्षणम्-प्रियहितन समं हितकारिणी मध्यमा। 1तस्या उदाहरणम् -- प्रियप्रेमेक्षणात्प्रेम या करोति1न सोत्तमा। निरपेक्षं 12वरस्त्रीभिः प्रियप्रेम वितन्यते13॥ २१९॥। अधमालक्षणम्-प्रियहितान्न्यूनहितकारिणी अधमा । एतां हि सेवमाने सस्पृहमाज्ञाकरे कान्ते। कृच्छ्रात्सस्मितवीक्षां करोति सौन्दर्यमदमत्ता14॥।२२० ।

इत्युत्तमादय: । अथ नायिकासहायसख्यादि1निरूपणम्। सख्या 1दूत्यकृत्यसमये 1दूतीत्वेऽपि सखीकृत्येन 18 दूत्या भिन्नत्वात्तस्या लक्षणोदाहरणानि लिखामः । इयं सखी दूत्यकृत्येन दूती भवतीति दूतीप्रकरणे लेखनीयम्। अत्र रसमअ्रीकार :- विश्वासविश्रामकारिणी पार्शचारिणी सखीति सखीलक्षणमाह। अस्यार्थ :- 1. M. तद्यथा 2 M तदभिलषति 3 M. तन्वते 4. M. वत्सान्त: 5. M. पत्यो: 6. M. रोमोचित 7. M. मत्स्पृह 8. M. gap 9. M स्वयमव 10 T. मध्यमोदा- 11. M. च 12. T. पर- 13. M वितन्वते T. वितन्वति 14. M. -त्तामू 15 M. no आदि 16. M. दूरी- 17 M. T दूति- 18. M. दूत्या न भिन्नत्वात् 6

४२ अकबर - विरचिता विश्वासनीयात्वे सति पार्श्वचारिणीति । इदमेवास्माभिरङ्गीकृतम्। रसमञ्जरीकारामोदकारौ * सखीकृत्यं मण्डनोपालम्भ शिक्षाप रिहा सप्रशंसाविनोद माना पनोद मानोप देशाशय-प्रश्नविरहाश्रासवनजलडोलाकेलिपा्चाल ल2 कन्दुकभ्रमणनिमीलनद्यूतमधुपानकेलय इत्युक्तवन्तौ। वय वश्चनहल्लीसकपुष्पापचयवसन्तकेलय इत्यधिकाः सखीचेष्टा लिखामः । एतासां लक्षणोदाहरणानि। सखीलक्षणम्-विश्वासनीयात्वे सति पार्श्रवचारिणी सखी। तस्या उदाहरणम्- दुर्लभतमसुखधात्री सौहृदपात्री कृतैकमत्यासि। अयि सुमुखि दुःखहत्री त्वं सुखकर्त्री ममासि सदा ॥ २२१॥ अथ5 चेष्टोदाहरणानि। मण्डलनलक्षण म्-मण्डनमलङ्करणम्। 'तदथा- शरृङ्गारितासि यद्यपि चन्द्रमुखि त्ं निजाङ्गकैरेव। शृङ्गारयामि तदपि ज्ञात्वा नातोऽस्ति मय दोषः ॥ २ २२ ॥ 7उपालम्भो द्विधा -- नायिकोपालम्भो नायकोपालम्भश्च। नाययिकोपालम्भस्योदाहरणम्- 8जाने न किं त्वयोक्तं तव दयितो दुर्मनायमान इव। निर्गच्छन्ननु दृष्टस्त्त्वदुपर्यद्य रुषास्मि॥ २२३॥

नायकोपालम्भस्योदाहरणम् -- सम्पूर्णशारदशशाङ्कमुखीं मृगाक्षीं यां द्रष्टुमेव पदयोर्निपतन्ममासी:10। 1सैवाधुना त्वयि निबद्ध्द्ृढानुरागा12 13प्रम्लायति त्व्रमथ 14 न स्मरसीति युक्तम् ॥ २२४ ॥। शिक्षाप्युभयगतत्वेन द्विधा। नायिकाशिक्षोदाहरणम्- 15३क्ोत्यलिं16 सुमुखि कोमलमालतीव किं केतकी निबिडकण्टकिनी निरोद्धम्। प्रेयान यथा मृदुतया भवति स्ववश्यो मृद्वङ्गि विद्धि बहुतीक्ष्णतया तथा किम् ॥ २२५॥ नायकशिक्षोदाहरणम् -- यदसि रसिकेन्द्रस्त्वं तत्त्त्वं मदुक्तमिदं शृणु स्मरसमरुचे तन1मौदास्यं विधहि तया समम् । कुसुममृदुलं सान्द्रामोदं मनः सुदृदशो विशन् 18 भ्रमरसदशोडमीष्ट लब्ध्वा रसं मुदमुद्धह ॥ २२६ ॥! परिहासः सखीनायिकानायककृतत्वेन त्रिधा। अत्र सखीपरिहास एव निरूपणीयः, श्रकरणवशान्नायिकानायकपरिहासावपि19 निरुप्येते। सखीपरिहासोदाहरणम्- 1 T आशय missing 2 T -लिका 3. T सख्यु: 4 M मत्कोसि T. मत्काशी 5 T. no अथ 6 T मण्डनोदाहरणम् 7 M उपालभलक्षण । तद्विधा 9 M Three lines here not in proper sequence 9 M. omits तत् 10 M -सि 11 T सेह 12 T -त् 13 M. प्रे्णा यदि T. पुंलायति 14. T corrupt 15 T gap from here upto यद।स nextverse 16 M आली 17. T. -त्रौ- 18. T दिशन् 19 M परिहास एव * The Rasamañjarī gives Mandana, Upālambha, Siksā and Parihāsa, the rest are added by the Amoda See Āmoda, Adyar Ms. p 472 प्रभृतिशब्देन प्रशसाविनोदमानापनोदमानोपदेशाशय-

शृङ्गारमञ्जरी ४३ कान्ते कपोलमुकुरे1 श्रुतिपद्मरागसङक्रान्तिरुलसति तन्मुकुरं प्रपश्य। श्रुत्वा सखीगिरमिमां सुमुखी विहस्य ताम्बूलरागमवलोक्य करेण मार्षटि॥ २२७।। नायकपरिहासो नायिकां प्रति प्रेयान् ममाधरदले क्षतमित्यवादीत्कि भेषजं निजसखीमिति पृच्छ भद्रे। श्रुत्वाननं नमयति स्म वधूस्सहासं रस्या रदच्छदसुधेत्यवद्द्वयस्या ॥ २२८।। नायिकापरिहासो नायक प्रति- 3 द्यूते दास्यपणे द्राग्जित्वावोचद्वधू: प्रियं4 स्मित्वा। अथ कथमित्यवदत्तां प्रियेऽहमजिताऽपि ते दासः ॥ २२९ ॥ प्रशंसा स्तोत्रम्। विपक्षवरवर्णिनीमुखसरोजशोभाहरी प्रियेक्षणचकोरयोरतितरां सुधापारणा। सखीदृगसितोत्पलव्र जविकसिनी कौमुदी स्फुरन्मुखसुधानिधेर्जयति ते स्मितश्रीरियम्॥ २३०॥ विनोद: स्फुट. । उदाहरणम्- स्मित्वा किमपि वदन्तीं मुहुरम्भोजेन ताडयति। आलिङ्गति परिचुम्बति सखीं प्रिये 7पश्यति प्रमदा ॥ २३१॥ मानापनोद उभयगतत्वेन द्विधा। नायिकामानापनोदोदाहरणम् -- विनाप्येवं वीटीं स्फुरदरुणिमा तेऽघरतले रुचिश्रक्षुर्युग्मऽअनमपि विना श्यामलतमा। तनोषि त्वं रूक्षं तदपि हसतीवाननमिदं प्रिये मान: कान्ते कथय कथमाविर्भवतु10ते॥ २३२॥ नायकमानापनोदोदाहरणम्- त्व च्छून्यशुभ्रतल्प11 च्द्रिकया ताप्यते तन्वी। त्यज मानं भज कान्तां 1पश्यैतस्या नितान्तदुःखदशाम्॥ २३३।। मानोपदेशोदाहरणम्- 13यद्येष चञ्चलमनास्तत्कुरु मानं त्वमेतेन। येन मनश्चञ्चलतां त्यजेदसौ त्वां14 भजेदलं प्रेम्णा ॥ २३४ ॥। 15 आशायप्रश्रोदाहरणम्- 16कश्वित्रैः समशोषयद्वहुतरक्केशैस्तपोभिर्वपुः कः शातोदरि पूर्वजन्मनि 1ततुं मध्येहिमं त्यक्तवान्। क्षीणा यस्य कृते तवाङ्गलतिका सम्पाकसंशोभिनः18* ताम्बूलस्य 1धृत.20सुधांशुवदने 2गण्डेन ते पाण्डिमा ॥ २३५ ॥ 1. T -फलके 2. M वधूसहासरस्या 3 M. दूतिवास्य 4 M वधूरियं 5 M missing 6. M स्मिता 7. M प्रपश्यति 8 M वीटी T वीटि 9 M corrupt 10 M -ति 11 M. तत्वे 12 M पश्येः तस्याः T पश्येतस्याः 13 M यद् 14. M ता 15. T अथ प्रशो 10. M कश्चिप्रेयः 17. M तनू- 18 T -सशोभनः 19 M दतः 20 M सुधा सुवदने 21 T corrupt * This refers to the whtish ripe betel-leaf (pucca) popular in the Deccan and the North.

४४ अकबर - विरचिता

1विरहाश्वासोदाहरणम्- प्रासादतुङ्गशिखरे परिपूर्ण चन्द्रज्योत्सासमुज्जलतरे सितपुष्पतल्पे। पत्या समं विहरसीति सखी जगाद स्वप्नप्रियश्च समुपागत एव सदः ॥२३६॥ वनविहारोदाहरणम्- फुल्लन्ति कमलवदने केसरकक्केलिकुरबकास्तरवः2। त्वन्मुखमधुपतकुचयुगयोगा तेनालि चल विपिनम् * ॥ २३७॥ जलक्रीडादाहरणम्- कमलमुखी5 कमलाक्षी प्राप्या7 स्प्रष्टुं कथ तु साि सरसि। अत्र निमज्जति निभृतं गत्वा कमलेषु 10निस्सरति। ॥ २ ३ ८ ।। डोलाकेल्युदाहरणम्- प्रचलितमणिताटङ्का तरलितहारा विलोलधम्मिल्ला। पुरुषायितमभ्यस्यति किं डोलाचश्वलाङ्गीयम् ॥ २३९ ॥

1मण्डयति मिथुनमेषा सखीभिरथ परिणयोत्सवं कुरुते। संयोजयति 12च तुष्यति बाला पाश्चालिकाकेलो13॥ २४० ॥ कन्दुककेल्युदाहरणम्- सुखितोऽस्मि चलालकहारलतां करकङ्कणनिकरणचारुकराम्। अवलोक्य 14वधूं विधुबिम्बमुखीं निपुणामिह कन्दुककेलिविधो॥ २४१ ॥ भ्रमणकेलिलक्षणम्-चरणौ चरणाभ्यां सयोज्य कराभ्यां करौ धृत्वा निरन्तरमुभे भ्रमतो यत्र सा भ्रमणकेलिः । 15्रमणकेल्युदाहरणम्- दक्षिणवामकराभ्यां दक्षिणवामकरौ समायोज्य। पद्धयां "पद्युगमेवं 1वरस्त्रियौ सुन्दरं भ्रमतः ॥ २४२ ॥ नयननिमीलनकेल्युदाहरणम्18 नयननिमीलनकेळौ स्वं गोपयितु प्रयात्यभीष्टगृहम् । मृगयितुमपि मृगनयना निलीयमानं सखीनिवहम्॥ २४३ ॥ 1 T विश्वासा- 2 I corrupt 3 M -वत् 4 M -योगास्ते- 5 M. -खि 6 M -क्षि 7. M. प्रास्य 8 M सुसखीरसि 9 T सरसी 10 M निस्कुरति 11 M. मदयति 12. M चतुरष्यति 13 M केलिम् T. केला 14 M वधूबिम्ब- 15 M तद्था 16 T dropped. 17 T परस्परस्त्रियौ 18. M missing * The friend asks the Nayika to start for the forest so that by the spit of drink from her mouth the Kesara (Vakula), by the kick of her feet (Pad) the Kankelt (Asoka), and by the embrace of her bosom, the Kuravaka may bloom forth. f The idea is that in the bathing-sport in the lake, it is difficult to catch that lady with lotus face and lotus eyes, diving quickly, she would appoir ad nidst the lotuses and remain undetectable.

शृङ्गारमञ्जरी ४५ द्ृत केल्युदाहरणम्- धारयसि चुम्बनं मे द्यूतविधावद्य निर्जिता1सि त्वम्। तत्प्राप्यते मयैव प्रयच्छ तन्वङ्गि2 निजमत्रें ॥ २४४ ॥ मधुपानकेल्युदाहरणम् -- अत्रानेतुमशक्या तवापराधेन कोपितस्वान्ता। सुभग मया नीतेयं मदिराक्षी मधुमदोन्मत्ता ॥ २४५॥ वञ्चनकेल्युदाहरणम् -- गृहाणेति सखीमुक्त्वा स्वास्ये निक्षिप्य वीटिकाम्। दर्शयन्ती स्वयाङ्गुल्या गगनं विहसत्यसौ ॥ २४६ ॥ हल्लीस ककेल्युदाहरणम्- अन्योन्याहतमणिमयदण्डा: क्रीडन्ति मण्डलिताः। इह हल्लीसककेळौ विहसद्वक्त्रेन्दुमण्डलास्सुदशः ॥ २४७॥

पुष्पापचयोदाहरणम् -- पुष्पापचयव्याजा न्नीताद्य निकुञ्जवनमध्यम्। सख्या विहसन्मुख्या प्रियस्य पाणौ समर्पिता सुतनुः ॥ २४८ ॥

वसन्तकेल्युदाहरणम्- सुललितवनिता वसन्तकेलावभिलषितेन मनोरमा प्रियेण। वरतनुरचिरादयोजि सख्या घनपटवासकृतान्धकारमध्ये॥ २४९॥

इति सखीनिरूपणम्।।

अथ दूतीनिरूपणम्। दूतीव्यापारपारङ्गमा दूती। सा अष्टधा5- दूती दासी सखी कारुर्धात्रेयी प्रातिवेशिनी। लिङ्गिनी शिल्पिनी स्वा चेत्येता अष्टौ प्रकीर्तिताः । यत्नसेविका7 दासी। पूर्वोक्ता सखी। क्रियां कुर्वती कारुः। धात्याः पुत्री धात्रेयी। सन्निदित8. गृहवासिनी प्रातिवशिनी । वेषधारिणी लिङ्गिनी । चित्रकारिणी आनीतचित्रा वा शिल्पिनी । स्वयमेव स ङ्टनकारिणी स्वा। अन्रामोदकारा :-- योगिनी प्रव्रजिता, अज्ञातमन्मथविकारा बाला, बन्धुत्वे सति सम्बन्धिनी, शकुनज्ञापिका विप्रश्निका, गाननटनपाटववती नटी चत्येता अपि 1दूत्य इति लिखितवन्तः *।

1. M -नित्यम् 2 M -ड्री- 3 M -भृत्ये 4. T corrupt. 5 T -विधा 6. T. यत्र 7. M. ·ता 8 M सहित 9 M T additional चित्रकरी and चित्ररि 10 T दूत्यवन्तः * See Amoda, Adyar Ms , pp 494-5 * * * नटी नृत्यगानकुशला * * * लिद्गिनी प्रत्रजिता

• • • बाला स असजातमन्मथविकारा। सबन्धिनी भ. मातुलकुल ... दिः । विप्रश्निका शुभाशुभवादिनी * * I The Śr mañjarī is not only not quoting the exact words of the Āmodakāra, but 1s also not mentioning his position exactly On Dūtīs, the Amoda quotes two Anustubh verses ascribing them to the Sahityadarpana, but which are not found in that work (see S D. III. 128-9) , these verses enumerate 13 kinds of Dutis, it is these 13 kinds that the Amoda explains, from which some are referred to by the author of the Sr mañjari as other Dūti-varieties added by the Amodakara, the Visvasta (widow) in the Amoda is left out in the Sr mañ

४६ अकबर - विरचिता वयं त्वेषां भेदानामुपरि विक्रेत्री शङ्कितेति भेदद्वयमधिकं2 लिखामः। वस्तुविकयकारिणी विक्रेत्री। विक्रेत्यां बहवो भेदा भवितुमर्हन्ति। तथापि काचविकेत्री पटवासविक्रेत्री मणिविक्रेत्री प्रसूनविक्रेत्रीति चत्वारो भेदा रमणीयत्वादस्माभि: कल्पिता। नायिकोक्तपरुषवाक्यानि श्रुत्वा नायको दुर्मना भविष्यतीति मिया सरसदूत्यव्यापार करोति सा शङिता। प्रव्रजिता विप्रश्निका वेषधारिण्यौ चेहिङ्गिनीमेदाः । एवमस्मत्कल्पितविकेत्रीभेदा अपि वेषधारिणीत्वे लिङ्गिनीमेदा एवं । वेषधारिणी- त्वाभावे प्रत्येक भेदा। अत्र सङ्गटनविरहानुरागनिवेदनप्रोत्साहननायकान्यसभोगकथनसन्देशहारिता- चित्तज्ञताश्चेति10 दूत्यव्यपाराः । अत्र दूत्या दूताभेदानां दूत्यव्यापाराणां च लक्षणोदाहरणानि लिखामः । दूतीलक्षणम्-दूत्यव्यापारपारगमा दूती। दूतीसाधारणोदाहरणम्1- सुभगपुरुषमनु शतधा युवतिमनो द्रावयाम्येव। मय्यधुना पर्याप्त दूत्यव्यापारनैपुण्यम्॥२५० ॥ दासी यथा- संवाहन12समये द्राग्दत्वा 13करजं चरणकमले। जागरयित्वावादीत्स्वामिनि स किलागतो द्वारम् ॥ २५१ ॥

सखी थथा- सखि तव जन्मसहस्रेष्वप्यानृण्यं न यास्यामि। मत्प्राणरक्षिकाभू: सयोज्य प्राणनाथेन ॥ २५२ ॥ कारुर्यथा- 1प्रेयोऽड्गुलीयकं द्राङमणिखचितस्वर्णभूषणैस्साकम्15। सस्मितमदाद्युवत्यै प्रबोध्य सा स्वर्णकार10वधूः ॥२५३।। घात्रेयी यथा- आबाल्यं स्तनदानाद् धात्र्या संजीविता सुतनुः । अथ 1युवतीभिर्युवभिः 1घात्रेय्याजव्यितेऽनुदिनम् ॥ २५४ ॥ प्रातिवेशिनी यथा- इयमेव बन्धुता19मनु 20हितकृत्प्रतिवाशिनी धन्या। स्वयमेव स्वगृहे मां प्रियेण या योजितामकरोत् ॥ २५५॥ लिङ्गिनी यथा- युवतिसविधमागत्य स्त्री काचिद्योगिनीवेषा। हृदयश्रवणहरं द्रागवर्णयत्कान्तसन्देशम् ॥ २५६ ।। शिल्पिनी यथा- हृदयनयनसुखमाशु प्रियस्य चित्रं प्रदर्श्य चन्द्रमुखी21। शिल्पिन्यम्बुजनेत्रामकरोदात्माश्रयीभूताम्22॥ २५७ ।

1 T त्रयम् 2 M. omits अिक 3 M नायको- 4 M घिया 6. M. -धारित्व 7. T -क- 8 M. निर्वे- 9 T ·न्या 10 M T 5. M रत्या -ता चेति 11. M. तद्था 12. M -मये 13 M चरज 14. M प्रिया- T प्रेया- 1%. M. -अस्माकम् T. स्वाकम् 16. M. कारुर 17. T युवतिर्यादसौ 18 M. धात्रेयी जी-19 M -ता मम 20 M दुहितृकृत 21. T. -खीमू 22. M. द्रवीभूतम्

शृङ्गारमञ्जरी ४७

स्वा यथा- पथिक ग्रीष्मतरणि करनिकरपरिम्लानमुखचन्द्र। 2दास्याम्येहि जलं ते सेवस्वान्तर्घनाढकी छायम् *॥ २५८॥ योगिनी प्रव्जिता यथा- आम्राद्याने मृदुलमुकुले म्लानवक्त्रारविन्दो दृष्टः 5पृष्टः कथमपि मया स्पष्टमाचष्ट कश्च्ित्। एतद्वातायनगतरुणी स्मेरदग्वाणविद्धस्त्यक्ष्याम्येतां तनुमिति रहो योगिनी काचिदूचे ।२५९॥ अज्ञातमन्मथविकार बाला यथा- आरक्तललितपत्र लिखित 8दत्त्त्वाज्ञबालिकाहस्ते। कश्चित्प्राह प्रापय निभृतं स्व्रामग्रजामेतत् ॥ २६० ॥ विप्रश्निका यथा विप्रश्निकावदत्तां कमलमुखी1वद समीहितं कि ते। एकान्तऽत्र भविष्यति गुरुप्रसादात् 1परीप्सिनं सदय ॥ २६१ ॥ नटी यथा- आगत्य युवतिनिकटं निपुणनटी12 नर्तनोपदेशमिषात्। उक्त्वा प्रियसन्देश मिथुनमतो योजयामास ॥ २६२ ॥ विक्रेत्री साधारणोदाहरणम्- गत्वा द्वयोः समीपं क्रीणीष्वैतानि वस्तूनि। इति मिषतो विक्रेत्री मिथुनमतो योजयामास ॥ २६३ ॥

काचविक्रेत्री यथा- परिधेहि काचवलया1न्युक्त्वेत्थं काचविक्रेत्री। आगत्य युवतिसविधं यूनस्सन्देशमाचख्यौ ॥ २६४ ॥ पटवासविक्रेत्री यथा-

ग्राह्योऽयं पटवासोऽवददिति15 पटवासविक्रेती। २६५॥ मणिविक्ेत्री यथा -- नायकमणिं गृहाणेत्युक्त्वा मणिवृन्दविक्रेत्री। नायकवक्षसस्थलगतनायकमणिमाश्वदात् तस्यै ॥ २६६ ॥

प्रसूनविक्रेत्री यथा- 16अत्यन्त सुरभीणि ग्राह्याण्येतानि कुसुमानि। अधिकुसुमकन्दुकमदात्प्रियपत्रं कुसुमविक्रेत्री॥ २६७॥ 1 M णे T -णी 2 M corrupt 3 M T -ढके 4T -छाया 5 M. स्पृष्ट: T. पुष्टः 6 M कथमसिT कथयसि 7 M तरुण 8. M तत्वाज्ञी T तद्वाज्ञ 9 T यथात्तां 10 M. -ख्री 11 T ईग्सित 12 M नटेः T सखी- 13 T वलया 14 M पेटि T no पेट 15 T haplography. 16 M इत्युक्त्वा T अत्यन्त * Adhakī is a pulse-crop (Tuvarī) and the shade of its thick growth is suggestively mentioned to the youth

४८ अकबर - विरचिता शङ्कितालक्षणम्-नायकोक्तपरुषवाक्यानि श्रुत्वा नायको दुर्मना भविष्यति इति सरस- दूत्यव्यापारं या1 करोति सा शडिता। शङ्ितोदाहरणम्2- कलहो भृशमभविष्यत्त्वदुक्तमेवावावदिष्यं चेत्। मधुरवचोनिर्माणैः पतिस्तवायं समानीतः3 ॥ २६८ ॥ अथ दूत्यव्यापारलक्षणोदाहरणानि। सङ्गटनलक्षणम्-नायिकानायकसङ्गमकरणं सङ्गटनम्। तद्यथा- कृष्णचतुर्दश्यामिह परमेश्वरदर्शनं समुचितं ते। 5इत्युक्त्वा तां नीत्वा प्रियेण कुत्राप्ययोजयद्दूती॥ २६९॥ विरह्वेदन मुभयगतत्वेन द्विविधम्7 - धनायिकाविरहवेदनं नायकविरहवेदनं च । नायिका- विरह्वेदनं नायकं प्रति10- अभवच्चन्द्रमुखी सा तप्तसुवर्णारुणावयवा। तव विरहेण तु जाता केतकगर्यद्युतिस्तन्वी ॥ २७० ॥ नायकविरहवेदन नायिकां प्रति -- सन्तापबाडबशिखाव्रजशोष्यमाणा 1त्वज्जीवना मकरलाञ्छनभीति1घात्री। तस्यानुमीयत उदश्रुपयस्तरङ्गैश्रन्द्रोदये विरहवारिधिवृद्धि1रन्तः ॥ २७१ ॥ अनुरागनिवेदन1मपि दविधा। नायिकानुरागनिवेदनं नायकं प्रति15 -- श्रवणामृतमिदमेकं तव वार्ताश्रवणमेतस्याः16। 17ईक्षण18 मथेक्षणोत्सव इत्थं त्वदुपाश्रया सुतनुः ॥ २७२॥ नायकानुरागनिवेदनं नायिकां प्रति- तव नामकीर्तनं तव गुणप्रशंसा सदा तव स्मरणम्। आत्मानं दर्शय सखि निवससि19 यद्देवतेव तन्मनसि॥ २७३ ॥ प्रशंसा यथा- अयि रतिमन्मथयोरिव 20जगद्दृगास्वाद्यसुषुमयोः सुमुखि। अभिनवयूनोर्युवयोरन्योन्यं प्रेमयोग्यता जयति ॥२७४ ॥ प्रोत्साहनमप्युभयगतत्वेन द्विधा। नायिकां प्रति प्रोत्साहनम्- कोऽपि जनो न 2ज्ञास्यति का 22भीतिस्तेऽस्म्यहं सहायश्रेत्। अधि2वनमभिनवयूना कुरु सदस्सङ्गमं सुतनु ॥ २७५॥ नायकं प्रति प्रोत्साहनम्- त्वं तस्यामनु2रज्यसि सा त्वयाख्यातमीक्षणैर्युवयोः। उपवनपुष्पापचये कुरुष्व पुष्पेषुपूजनं कुञे ॥ २७६ ॥

1 M. dropped 2 M तद्यथा 3 M नीतः T. आनीतः 4 T सङ्खटनोदाहरणम् 5 M. यत्कान्ता 6. M T वेदना 7 M द्विविधा T द्विधा 8 T whole sentence missing. 9 T -ना 10 T. तस्योदाहरणं extra. 11. M T तजी- 12 T भीता 13 M -वन्तः 14. M. -म। तद्द्विधा 15. M. तद्था extra. 16. T -स्य 17. M. रक्षण 18 T अवेक्षणो- 19 -नीय ... पि 20. M जगदगा- T, जगा- corrupt further. 21. 22. T corrupt 23 M. नव- 24 M. रञ्जसि T रज्य

शृङ्गारमञ्जरी ४९ नायकान्यसंभोगकथनम्- वेणीप्रसूनविनिवेशविधिं विधत्ते लाक्षारसेन चरणाम्बुजरञ्जनं च । कस्याश्चिदम्बुजद्ृशो मुदितः प्रियस्ते कान्तावमाननतरुं फलितं प्रपश्य ॥। २७७।। सन्देशहारिताप्युभयगतत्वेन द्विधा-नायिकासन्देशो नायकं प्रति1- ग्रामान्तरं मम गतः पतिरद्य कान्त श्वभ्रूरशक्ततनुरित्यहमव सायम्। आयामि दीपविधये भृशमूर्ध्वहर्म्य काप्याह वाचकमिदं तरुणं तरुण्या । २७८ ॥ नायकसन्देशो नायिकां प्रति- सायं मया विविक्ते शिरीषसुरभौ सरस्तटे स्थेयम्। अभिनवयूनो वाचकमवोचदिति सुन्दरीं5 दूनी ॥ २७९॥ 6चित्तज्ञतोदाहरणम्- हस्तन्यस्तकपोलां7 बालामचला निमेषदशस्। दूत्यवदद्वद कस्ते स्पृहणीयो योजयामि 1तेन समम् ॥ २८० ॥ इति दूतीनिरूपणम्।।

अथ नायकनिरूपणम्। नायकलक्षणस्-शृङ्गारालम्बनविभावः पुरुषो नायकः ।

अकबरमतिसुन्दरतनुमिन्दुमुखी नायकेन्दुमालोक्य। भवति न का परतरुणी12 स्मरपरवशमानसा सदः ॥ २८१ ॥ स13 नायकस्त्रिधा-पतिरुपपतिवैशिकश्चेति । पत्युर्लक्षणम्-परिणेता पतिः। एषोऽनुकूल- दक्षिणधृष्टशठमानिचतुरभेदैः षोढा14 प्रोक्त:15। एकस्यामनुरक्तोऽनुकूल। अनेकासु समो दक्षिणः । अयमव बहुनायिक:16 प्रकटापराध:1 सन्नपि नायिकया निवारितोऽपि पुनः पुन.18 स्नेहानुवर्ती धृष्ट। गुप्तापराधः सन्नज्ञानीवागच्छन् 19शठः । स्वयमेवापराधं कृत्वा नायिका2कोपेन कुपितो मानी। केनचित्प्रकारेण नायिकां प्रति स्वरत्यभिलाष यः सूचयति स चतुरः । ग्राचीना मानिचतुरयोः शठ एवान्तर्भावं चक्रुः । तन्न युक्तम्। तल्लक्षणाभ्यां 21तद्वयतिरेकस्य स्फुटत्वात्। तस्मातवोढा। एवमेवोप- पतिवैशिकौ। पत्युः श्रेष्ठत्वादादौ निरूपणम्। एषां लक्षणोदाहरणानि। पतिलक्षणम्-2स्वपरिणेता पतिः। 23पत्युदाहरणम्- परिणयसमये मुग्धं मुग्धावरयोरविलोक्य शृङ्गारम्। सदः सकलसखीनां नयनान्यतिशैत्यमायान्ति ॥ २८२ ॥ अनुकूललक्षणम्-एकस्यामनुरक्तोऽनुकूलः । 2अनुकूलोदाहरणम्- अनिशमय25मिहास्ते त्वन्मयीभूतचेताः क् युवतिरितरेति ज्ञानम26स्यास्तु कान्ते। तव पतिरिति नापि स्वप्नगां वीक्षतेऽन्यां कमलमुखि समस्तस्त्रीषु धन्या त्वमेव ॥ २८३ ॥ 1 M यथा extra. 2 T स तु 3 M कान्तः 4 T प्रवि- 5 M -री 6 M corrupt 7. T -ला 8 M -ल- 9 M corrupt 10 M ते 11 M तद्यथा 12. M -णे 13. M missing 14. M missing 15. T missig 16 M T -नायक: 17. M -अनुराग: 18 T. only one पुनः 19. M. dropped 20 M कोपिन 21 T omits तद् 22 T omits स्व- 23 24 M. तदथा 25. T corrupt 26 M -न्या-

५० अकबर - विरचिता

दक्षिणलक्षणम्-अनेकासु समो दक्षिणः। दक्षिणोदाहरणम्- अकबरो जयतीति कलानिधि सुवदना स्विह यस्समसम्मुखः । स नयनानि सदा परयोषितां कुवलयानि विकासयतुं क्षमः ॥ २८४ ॥ धृष्टलक्षणम्-व्यक्तापराधो नायिकानिवारितोऽपि पुनः पुन ्ेहानुवर्ती धृष्टः। अस्मिन् धूर्तभेदोऽ स्माभि कल्पित । धृष्टोदाहरणम्- 5परुषवचनान्युच्यन्ते चेत्समुद्विहसत्यसौ 'सरसिजहतो ब्रते कान्ते कृपा ' महती मयि। बहिरपि कृतो गेहद्वारि स्थितः प्रकटानयः परिजनगते सेवाकार्ये शनैरुपसर्पति ॥२८५॥ धूर्तलक्षणम्-सापराध सन् नायिकाकोपात्प्रथमं कोपकारी धूर्नः । शधूर्तोदाहरणम्- परवनिताकुचकङ्कुमरज्जितवक्षा स्यं समागत्य। वाचालत्व कुरुते 10सख्यो जिहेमि कि वच्मि ॥ २८६ ॥ शठलक्षणम्-सापराधोऽपि निरपराधवद्वर्तमानः शठ'।1स द्विधा-प्रच्छन्नः प्रकाशश्रति। 12 शठसाधारणोदाहरणम्- निखिलनगरकुलटानां 13गृहेषु नित्य 14परिभ्रमसि । मद्ेहमागतस्त्व प्रथयसि विनयेन सावुत्वम् । २८७।। प्रच्छन्नशठलक्षणम्-नायिकामात्रज्ञातापराधः 1शठः प्रच्छन्नशठः । 1प्रच्छन्नशठोदाहरणम्-

आश्िष्यन्नव .. मिति ॥ २८८ ॥

प्रकाशशठनायकलक्षणम्-नायिकाकोपं ज्ञात्वा बहिनिर्गत्य यः कोपोपशमने 'सत्या- गत्यात्मानं दर्शयति स प्रकाशशठ. । 19्रकाशशठोदाहरणम्- 20लब्ध्वा मां कुपितामिह (झटिति? 21) शठोऽयं बहिर्याति22। एति च 23 कोपोपशमे सविधं प्रेयान् करोमि कि सख्यः ॥ २८९॥ मानिलक्षणम्-2स्वयमेव कुपितो मानी। 25मान्युदाहरणम्- दृष्ट्राञ्जलिर्निबद्धः कान्तकपोले नवेन्दुकलाम्। एतावत्यपराधे मानधनो मां न 26संलपति ॥ २९०॥ चतुरलक्षणम्-वाक्क्रियाभ्यां सुरतेच्छाप्रकाशकश्चतुरः। वाक्चतुरोदाहरणम्- 27 धन्यं लोचनयुगलं यदद्य पूर्णेन्दुदर्शन जातम्। कथमिह लोचनपेया28 मधुरेयं या सुधाधरे सुश्रीः *॥२९१॥ 1. M तद्था 2 M स्वेहाय 3 M स्नेहवर्ती 4. T कश्चिद् extra 5 M पुरुष 6. M corrupt. 7. M महति माये T. महती मयी 8 M प्रकटयः 9 M तद्था 10 M. सख्या जिह्नति 11 T शठ 12. M शठोदा- 13 T गे- 14 M gap up to end of प्रथयास 15 T drops शठः 16 M तद्यथा 17 T gap here upto Manilaksana 18 M वसत्या- 19 M. तद्था, 20 M लब्धा 21. M T मुदिति 22 M -तु 23 M कोपशमे 24 T gap upto this 25 M तद्यथा 26 T सपति 27. T Illustration of Vakcatura and definition of Kriyacatura lost 28 M. -प्रिया * By asking how the delicious nectar of the lip is to be drunk by the eye, the desire to kiss is deftly suggested. JT: seems to be an address, Sambodhana, to the lady.

शृङ्गारमञ्जरी ५१ क्रि्याचतुरोदाहरणम् -- प्रेम्णा चुम्बति कान्ते प्रवालरुचि पक्कबिम्बफलम् । धम्मिले मदिराक्षी मल्ीमाल्यानि1 निक्षिपति ॥ २९२ ॥ * उपपतिलक्षणम् -- परस्त्री2रत उपपतिः। 3उपपत्युदाहरणम्- तत्तापसै र्मुनीन्द्रैरपि किं स्वर्गापवर्गयोर्लभ्यम्। यद्भ्वति सुखमगाधं5 पराङनास्मेरलोचनान्तेन॥। २९,३ ।। वैशिकलक्षणम्-सामान्यासक्तो वैशिकः । 'तदुदाहरणम्- वारस्त्रीकिलकिञ्चितमनुभूत यै मनोरमे सुरते। 8तषामतुपमसौख्यं किं खलु कस्यापि वाग्विषयः ॥ २९४ ॥ एते त्रयोऽप्युत्तम मध्यमा1धमभेदेन प्रत्येकं त्रिधा। कुपितनायिकायासुपचार1कर्ता उत्तमः । नायिकाकोपसमये कोपानुरागावप्रकटीकृत्य कोपसहनेन नायिकाशयं यो जानाति स मध्यमः । लज्जादयारहितस्सन् संभोगेच्छावानधम। एषां लक्षणोदाहरणानि विस्तरभयान्न लिख्यनने। एते सर्वेऽपि प्रोषिता12 मिलितविरहिणो भवन्ति। प्रोषितलक्षणम् -- प्रोपितः स्त्रीवियु13क्त- स्सन् प्रवासगमनेन 1खिन्नः प्रोषितः। प्रोषितोदाहरणम्- अभिनवयौवनललितां त्यक्त्वा स्मरसुन्दरीसमामबलाम्। 16अहमागतो" विदेशं घिङ्1मामतिलोभनं मूढम् ॥ २९५॥ अमिलितलक्षणम्-स्त्रीसङ्गमात्म्राग्विरहवेदनावानमिलितः। 19अमिलितोदाहरणम् -- अवलोकनमात्र(त)स्तया मे हृदयं स्वीकृतमात्मसेवनाय। तमुपायमहं न वेझि येन प्रसभं स्व्रीकुरुतेऽथ मां मृगाक्षी ॥ २९६ ॥ विरहिलक्षणम्-समीप एव कार्यविलम्बेन नायिकासयोगरहितो विरही। 20विरह्यदाहरणम्-

अभवदनुत्सवकल्पः 22सदुत्सवो विरहिणोर्यूनो: ॥ २९७॥ अथ नायकसहायाः पीठमर्दादय। 23पीठमर्दलक्षणम्-कोपसमाधानकारी पीठमर्दः । विटलक्षणम् -- सकलविद्यापारङ्गतो विटः। 24चेटलक्षणम्-सङ्गमकारी चेटः । विदूषकलक्षणम्- हास्यकारी विदूषकः । उदाहरणानि ग्रन्थविस्तरभयान्न लिख्यन्ते। इति नायकनिरूपणम्॥ अथ परस्परानुरागरूपशृङ्गारसूचकसात्त्विकभावा निरुप्यन्ते । रसमञ्जरीकार :- "स्वद:स्तम्भोऽथ रोमाञ्चः स्वरभङ्गोऽथ वेपथुः । वैवर्ण्यमश्रुप्रलय इत्यष्टौ सात्त्वििकास्स्मृताः ॥" 1 M ल्य 2 T corrupt 3 M तद्यथा 4. M स्ये 5 M -ढ 6 T वैशिकोदाहरणम् 7. T. corrupt 8 M एषाम 9. T drops मव्यम 10 M अधमतस्त्रिधा 11 T-कोत्तमः 12 M. -त- 13 M -मु- 14 M भिः 15 M. -समानबालाम् 16 T whole line and next heading lost 17 M -त 18 M मतिलोभन 19 20 M तद्यथा 21 M -हु- 22 T स उत्सवः 23 M पीठमर्दोदाहरणम् 24 M line ref to Ceta missing T चेटी * By kissıng the bımba-fruit, the Na aka suggests his desire to kıss the Nāyıka'a lip; by placing jasmine on her tresses, she suggcsts the night, when the stars have appeared, as the suitable time.

५२ अकबर - विरचिता इति लिखितवान्। इदमेवास्माभिरप्यङ्गीकृतम्। एतेषां लक्षणानि-स्वेदो देहार्द्रीभावः । स्तम्भो निश्चेष्ठत्वम् । रोमाञ्चः पुलकोद्रमः । स्वरभङ्गो वैस्वर्यम्। वेपथुः कम्पः। वैवर्ण्य वर्णान्यथाभावः। अश्रु बाष्पोद्रमः । प्रलयो मनोलयः । एतेषामुदाहरणम्- प्रस्विन्नमङ्गमचल पुलकाङ्कि1 पाण्डु सोत्कम्पमश्रु च वचस्स्वरभङ्ग एष । लीनं मनस्तव सृगाङ्मुखि2 व्यनक्ति 3दृष्टस्सुभाग्यकबरस्तरुणि+ त्वयेति॥ २९८॥ सात्विकभावनिरूपणानन्तरं शृङ्गाररसो निरूप्यते। अत्र रसमञ्जरीकार .- रतिस्थायिभावक शृङ्गार इति लिखितवान्। अस्यार्थ :- रतिर्नामानुरागः, स एव स्थायी भावो यस्य स इति। एषोऽनुराग स्तिरियां पुरुषस्य पुरुषे स्त्रियाः। अस्य कारणानि-नायिकानायका'लम्बनविभावः । वसन्त- मलयानिलस्रक्चन्दनाद्या उद्दीपनविभावा:10। एते "अभिव्यक्त्यभिवृद्धिकारणानि । कटाक्ष भ्रक्ष- पादयोऽनुभावा:13 । एते कार्याणि। लज्जास्मितादयो व्यमिचारिभावा14। एते सहकारिणः । एतत्सामग्रीसहकृतविगलितवेद्यान्तररतिस्थायि15 भावको रसत्वं प्राप्तः सभोगविप्रलम्भाख्यः सुखोत्कण्ड शृङ्गार । स च लौकिकोऽलौकिकश्ति दविया। लौकिकस्तु नायिकानायकयोः। अन्यरतु काव्य- 1नाट्ययोः सामाजिकेपु18 प्रकाशने। कथमिति चेत्, लौकिक1मंभाषणाविवाह्यान्तरसंभागैः पारवश्यकरसुखोत्पत्तिर्नीयिकानायकयोरेव 2जायत इति नायिकानायकनिष्ठ एव लोकिका रमः । काव्यनाट्ययोराकर्णनावलोकनवचनरचनाभिनयन2द्वारा नायिकानायकयाः कटाक्षभुज-क्षपादिलज्ा- स्मितादय. सामाजिकैरनुभूयन्ते, तन तेषामानन्दोऽभिव्यक्त इत्यलोफिक सामाजिकनिष्ठ एवेति रसमजरी- कारस्याभिमतम्। अत्र प्राञ्चः-विभावानुभाव2सात्त्विकव्यभिचारिसामग्रीसमुल्लसितस्थायिभावो रसः, वक्ष्यमाणलक्षणा25 विभावादय, तेषां सामग्री, तया सरसकाव्यसङ्गृहीतया निपुणनटप्रदर्शितया वा 20सामाजिकभाव्यमानया स्वाद्यमानो निर्भरानन्दरूपतां 2नीय मानः स्थायी भावो रस इति लिखितवन्तः । अयं चालौकिक: सामाजिकनिष्ठ एव। अय च यत्रानुरागस्तत्रैवानन्द, नान्यत्रानन्दरूपेच्छा जायते। अत एवोक्तम्- "सजातीयविजातीयैरतिरस्कृतमूर्तिमान्। यावद्रस वर्तमानः स स्थायीति निगद्यते" * ॥ 283अस्यार्थः । कस्यांचिन्नायिकायामनुरागस्य नायिकान्तरविषयानुराग2ससजातीय, बीमत्मादि- र्विजातीयः, तैरतिरस्कृतोऽनभिभूतोऽविरुद्ध इति यावत्। एवंविधो भावो मनोधर्मविशेषो यावद्रसं वर्तते चेत् स्थायी30; स एवानुरागः। 31अनुरागो नाम वियोगे वेदनाजनकस्सन् यत्सङ्गमाभिलाषे32 योऽन्याभिलापं न जनयति स 33तस्मिन्ननुरागः। 3एवंविधानुरागोदये 3दवयोग एव कारणम्, न 36 सौन्दर्यादिगुणाः । तथा हि-सुन्दरस्सौन्दर्यरहितायां गुणवान् गुणरहितायामनुरक्तः ; एवमेव स्त्ियः; एवम नुभवसिद्ध त्वेन अनुभवसिद्धस्य39 अपलपितुमशक्यत्वा4दिति न्यायेन अनुराग प्रति दैवयोग एव कारणम्। सौन्दर्यादिगुणास्तूद्दीपनविभाव एवोपयुक्ताः। 1 M -ड्वित 2 M -खरी T खी 3 M दृष्ट मुख 4 M तरुणे T तरु 5 Here the ms T. marks a section end and has श्रीदत्तगुरव नमः । 6 M रति. स्थारयाभावकः T रतिस्थायिकभावक- 7 T missing 8 M missing 9 T -दयः 10 T वः 11 T omits अभि 12 T. भुवविक्षेपादयः 13 14 T व: 15 M स्थायीभावको रसप्राप्तः T स्थायीभावकरससप्राप्त 18 M के तु 19 T के 20 M ज्ञा 16 M -ठ: 17 M नाटकयो: 21 M नाटक- 24. T. अनुभाव repeated 25 M लक्षण- 22 T अभिनय 23. T विक्षे_ 26 M missing. 27 T corrupt 28. M. अयम् 29 M -रागसजातीयः T -रागस्व्रजातीयः 30. M स स्थायीभाव एवं। 31 M. अनुरागवदना नाम वियोगवेदनकः 2 M षी 33 T तस्मिन् omitted 34 M यः अनुरागो- सोन्दर्यम् 37. T प्रिय: 38 T एव extra 35. M दे- 30. M. 39 T -सिद्धो हि 40 T अशक्यः * Quoted ın the Pratāparudrīyayasobhūsaņa, p 158, Bālamanoramā edn, as trom the Daśarūpaka but not found there

शृङ्गारमञ्जरी ५३

एषोऽनुरागस्त्रिधा, उत्तम मध्यमाधममेदैः। तत्रातुरागोदयानन्तरं संयोगेऽत्यन्तम भिवृद्धस्सन् वियोगे दशावस्थाजनकस्सदाऽविस्मृतिघटक उत्तमानुरागः। उत्तमानुरागस्यादाहरणम् -- अनिमिषद्दशोर्वक्त्र शश्वद्विलोकयतोर्मिथो * विमलविधुभ1 गाढा क्लेवं मुहुश्च वितन्वतोः। नव नव इहात्यन्तं मोदात्प्रतिक्षणमुत्तमो भवति पिवतोर्यूनोः प्रेम्णाधरामृतमुत्सवः। २९९॥ वियोगे वेदनाजनकस्सन् संयोगे 10चित्तस्वास्थ्यदायको मध्यमानुरागः। 1वियोग ईषद्वेदनाजनकरसंयोगे प्रतिदिनं यूनो विस्मृतिघटकश्चाधमानुरागः । अयमनुरागो 12निमित्तमेदाच्चतुर्धा -- श्रवणातुरागः, दर्शनानुरागः, चित्रानुरागः, स्वप्नानुरागश्च। श्रवणानुरागा नाम सौन्दर्यादिगुणाकर्णनजन्य। दर्शनानुरागो विलोकनजन्यः। चित्रानुरागः चित्रलिखित- प्रियदर्शनजन्यः । स्वप्नानुरागः स्वप्नावगतप्रियावलोकनजन्यः । यद्यपि सुखोत्कण्ठे 13सभोगविप्रलम्भौ,"प्राचीनैस्तु आलिङ्गनादि15स्संभोगः भविष्यत्सङ्गमाभिलाषो विप्रलम्भ इति लिखितम्16। तन्मतानुसारेण संभोगविप्रलम्भौ निरूप्येते। सभोगोदाहरणम्- 1 आत्मानं परितो 1द्राङनिपात्यमानं निरीक्ष्य किमुडुगणम्। चन्द्रान्तरेण चन्द्रस्तिमिरेणोपद्रुतो मिलति8॥ ३०० ॥ द्विती योदाहरणम्- सौधे विधुद्युतिसिते मृदुपुष्पतल्पे सालिङ्गनौ सपुलकोद्रममन्जुलाङ्गौ। सौन्दर्ययौवनभरेण भृशोन्मदिष्णू1तौ दम्पती मुदमगाधमसेविषाताम्॥ ३०१ ॥।

विप्रलम्भोदाहरणम्- कृत्वाधरे 20रदाङ्कं हस्ते दत्त्वा च दर्पणं पत्युः । किं किमिद21मिति वदन्ती कदा भविष्यामि मोदवती॥ ३०२॥

श्रवणानुरागादाहरणम्-

इदमा23लिमुखाद्वचो मृगाक्ष्या श्रुतवत्या 24स युवा हदा व्यलोकि॥ ३०३॥

1 M मव्यमादिभदः 2 T corrupt. 3 M -त 4 M corrupt 5 M corrupt. 6. M इत्यन्त मोदा: 7 M corrupt 8 M. gap 9 M योगे 10 M चित्रस्वास्था 11 M. description of Adhamanuraga missing 12 T omits निमित्तमदात् 13 M संयोग- 14 M Haplography up to next सभागविप्रलम्भौ 15 T -दि 16 T -तैः 17 M missing. 18 M has here before the verse विषयनि ..... लङ्कार which is evidently part of an elucidatory maiginal note on the figurc 'Atisayoktı' on which the illustrative verse 28 on Samboga is based 19 M भृशोमादष्टु T भृशोन्मदिष्णो 20 M रदान्त 21 M -स्या 22 M -रा 23 M आलीमुद्धचः 24 M. न * ' Vimala-vidhu-bham' means 'of the splendour of a stainless moon' and goes with ' Vaktram' above. + The scattering of stars around refers to the pearls falling away on the breaking of the necklace in the union, the moon coming together with another moon refers to their faces and darkness to dishevelled tresses

५४ अकबर - विरचिता

दर्शनानुरागोदाहरणम् सरवोपमानजैत्रैरङ्ैनेत्रे विधाय सफले मे। मोदाम्भो निधिमयं कृत्वा मां क तु गतः कान्तः ॥ ३०४ ॥ चित्रानुरागोदाहरणम्- यथा2 विलोकित प्रेयान् तथेव हृदि वर्तते। चित्रं चित्रपट दृष्टा चित्त चित्रपटायते ॥ ३०५॥ स्वप्नानुरागोदाहरणम्- 5नाग्रहीन्मञ्जुवस्त्राणि 'न रत्नाभरणान्यपि। अद्य स्वप्ने युवा कश्चिन्मम चित्तमचूचुरत् ॥ ३०६ ॥ एतावत्पर्यन्तं रसमञ्जर्यनुसारेण चेष्टाविशेषभेदेन नायिकाभेदा निरूपिताः। इदाना वात्स्यायनमतानुसारेण 9गुणैर्हस्तिन्या1दिनायिकामेदा मद्रादिनायकमेदाश्च निरुप्यन्ते । हस्तिनी- चित्रिणीशङ्गिनीपझमनी गुणे म्यो भद्रद त्तकुच मारपाञ्चालगुणानामभिन्नत्वात्प्रत्येक मेप मुदाहरणान ि (न)लिखाम। हस्तिन्यादिनायिकासु परस्परगुणसाङ्कर्येण जातिसङ्कराः स्तियो जायन्ते। तत्र यज्ातिगुणोऽधिकस्तत्समये तन्मनने तुष्यति, इतरसमये प्रियलालनेन तुष्यति। एव नायकेष्वपि भेदाः सक्कलिताः। अत्र प्राचीनैरविस्तरो विहितः। अस्माभि: संक्षेपो विधीयते। सङ्कलितमेदोदाहरणम्- हस्तिन्यादिगुणानामस्यां साङ्कर्यमाभाति। अस्या इभ12गमनाया विभुलालनया परं तोषः ॥ ३०७॥ हस्तिन्युदाहरणम् *- आरक्ते नयने 13कचाश्च कुटिलास्स्वल्पौ च वृत्तौ स्तनौ दीर्घ चाङ्घ्रियुगं तनुश्च न14 तनुः प्रमत्वरा चोत्कटा। 15 नशाद्प्रहरे1रतेर्जववती1 भूषाम्बरे चारुणे यस्यास्तिक्तकटूष्णभोजनरता सा कोपना हस्तिनी ॥ ३०८॥ चित्रिण्युदाहरणम्- लोलाक्षी प्रियवक्त्रवीक्षणपरा कुम्भस्तनी नीचवा- दीर्घोष्ठी बहुवादिनी घनतरश्रोणी सृषाभाषिणी। चित्रान्नैक18रुचिर्विचित्रसुरता यामे द्वितीये निशः19 चित्रालङ्कृतिरूत्सुका परिमले चित्राम्बरा चित्रिणी॥ ३०९ ॥ शङ्निन्युदाहरणम्- तन्वङ्गी कठिनस्तनी स्मितशुभालापा सुमध्या दृढ- प्रेमारक्तकरा सुनीलवसना20 नीलाश्मभूषावती। स्वल्पाहाररतिर्निशि प्रियरतिर्यांमे तृतीये शुभा- काङ्क्षा कण्ठमखर्वमत्र दघती प्रोक्ता बुघैः शङ्ङिनी ॥ ३१०॥ 1. T -धिनिमम्ा 2 M -दा 3 M -दे- 4 M -त्र 5 T. सा- 6. T. नव रत्नानि 7. M. missing. 8 T -भदन 9 T omits 10 M corrupt 11 M. T both have no न 12. T -गम dropped 13 M कजाक्ष 14 M स. T. सु- 15 M T नैषा- 16 M T. रतिः 17 M. जनयति 18 M -न्ये- T .न- 19 M. -शा 20 M. -दना

ślokas. * What follow are not reaily Udāharana-ślokas for Hastinī etc. but only Laksana-

शृङ्गारमञ्जरी ५५ पझ्िन्युदाहरणम्- स्मेरेन्दीवरलोचना सुवदना रक्ताङ्ब्रिहस्ता घन- श्रोणी पीनपयोधरा मृदुतनुर्मुक्तामणी मण्डना। मध्योद्भासिवलित्रया कृशलसन्मध्या सुवक्रालका स्वर्णांङ्गी मृदुभाषिणी मधुरभुक्2 शुभ्राम्बरा पझमिनी॥ ३११॥

यामे 3निशायास्सुरतं पझमिन्यास्समुदाहृतम ॥ ३१२॥

नीराजित चरण®राजीव-शाहगाजगुरु-तनूज बडेसाहेब - अकबर-विरचित- शृङ्गारमञ्जरीग्रन्थः समाप्.।

1. M -णिः T -णि 2 M -वाक् 3 M निशाया सुरता 4. T श्रीमन 5. M राजा 6. From herc onwards T reads the colophon in येकाजिराजवरसुतसाहराजसड्ग्रह शङ्गारमञ्जरी सपूर्णम् । After colophon T has विकृतिनामसवत्सर आश्विनबहुलचतुदशी and then in Telugu Soma- vāramnādu Śrngārarasamañjarī vrāsıtīrchinanduku prasannayyavrālu ākulu 100 karakrtama- paradha n ksantum arhantı santah Śrīgurave namah 7 M After the colophon, the following 1s found श्री सीतारामार्पणमस्तु। इद शङ्गारमञ्जरीपुस्तक हरपुरस्थ अम्मणपन्तरस्य पुत्रवेङ्कटेशेन लिखितम्। यदि शुद्धमशुद्ध वा मम दोषो न विद्यने। यादश पुस्तकं दष्ट तादशं लिखित मया ॥ १॥ शृङ्गारमञ्जरीग्रन्थः समापः ॥

ADDITIONAL NOTES INTRODUCTION P. 9, line 7 from bottom, P. 11, Para 5. Prataparudriya-citations. There are on the whole five citations from Vidyanātha's Pratāparudrayasobhūşaņa made in the Śrngāra- mañjari; the two other citations are (i) on p. 3 where the Srngaramañjari quotes and criticises Vidyanatha's definition of the Mugdha (I. 55) and (ii) on p. 33 where it quotes and criticises his definition of the Prosita-bhartrkā. P. 14, Para 3. Bhanudatta's Alankaratilaka. This text has since appeared in print, having been edited by Dr. G. V. Devasthali in the Journal of the Bombay Branch of the Royal Asiatic Society, N. S., Vols. 23, 24-25, 1947-1949. P. 14, Footnote 1. On Bhanudatta, see also P. K. Gode, Indian Culture, III. iv. pp. 751-756; and Dr. G. V. Devasthali, New Indian Antiquary, Oct .- Nov., 1944, pp. 111-117. P. 16, lines 16ff., P. 25, lines 17-19, Bharata's classification of women in terms of gods, demigods, animals, birds, etc. Another work which devotes some detailed attention to this classification is the Manasollasa (A.D. 1131) of Someśvara, Gaek. edn. Vol. II. pp. 150-153. Towards the very end of the work again, in the sections on love sports and enjoyment, Someśvara adverts to these varieties. (Ms. in BOR. Institute.). P. 18, lines 5,4 from bottom. The eunuch mentioned in the Kamasutras as a further Mayika-variety (I. 5. 27). Vararuci's Ubhayabhisarika introduces this character. See below Intro. p. 54, line 13. P. 19, Para 2. P. 20, Para 4. p. 77, line 8. Text Pp. 12-13 :- Veśya and real love The question of the Samanya Nayika having real love has been touched upon by, writers. Our text rightly argues here that though professionally responsive to many for money, she has her own real love for some one. However, it is usual to define Samānyā or Vesya as a Nayika whose love is called forth by money. The Srngaramañjari criticises that such a definition would knock the bottom out of the very conception of a Nayika and make the Vesya a Nayikabhasa. Therefore it has to be granted that she has real love for somebody, though elsewhere, towards many, she has to be professionally engaged. The Kamasutras no doubt speak of the courtezan's greater concern for money-I. ii. 15,17. अर्थस्तु राज्ञो (गरीयान्)। वेश्यायाश्ष । but later in the section devoted to this Nayika, the Vaisika, Vatsyayana says that love is natural to her and activity caused by money is only artificial. VI.i. 1-वेश्यानां पुरुषाधिगमे रतिः वृत्तिश्च सर्गात्। रतितः प्रवर्तनं स्वाभाविकं, कृत्रिममर्थार्थम्। In IV. i. 54 and VI. ii. 1, Vatsyayana speaks also of the devoted courtezan attached to a single lover, a type illustrated by characters like Vasantasena, whom texts on drama- turgy classify as the variety called Rakta. Bharata too accepts such a variety when he speaks of the Madanatura Vesya. See Intro. above p. 17. The Srngaratilaka says, exactly as the Srngaramanjari puts it later, that if she is defined, as is done by some, as devoted solely to money, hers will become a case of Srngarabhasa, and that really speaking she too has genuine love. I. 62-65. शृङ्गाराभास एव स्यादू यदि ता रागवाजताः । तस्मात्तासामपि क्कापि रागस्स्यात् किन्तु सवथा। धनार्थ कृत्रिमैर्भावैर्ग्राम्यं व्यामोहयन्ति ताः ।

ŚRNGĀRA MAÑJARĪ See also the discussion in the Dhūrta-vita-samvāda, Caturbhānī edn, pp. 14-15. P 20, Para 5, lıne 2. Rudrabhatta mentioning the Kalahāntaritā as Atisandhitā. In Rudrata's Kāvyālamkara and the Āmoda, this name is iead as Abhisandhitā. P 26, Para 2 Vāgbhata's separatıon of Kanyā from Parakīyā, and mention of the main types as four It 1s interesting to note in this connection that an anonymcus writer whom the Amoda cites (p 31) and criticises holds Kanya as a variety independ- ent of Parakīya, and further separates sımilarly the Svairini also from the Parakīya, giving thus five main Nāyikās. स्वीया च परकीया च सामान्यवनिता तथा। कन्या च स्वैरिणी चेति पञ्चधा स्युर्हि नायिकाः ॥ इति केचित्। P 28, lines 2, 3, 4 from bottom Also Text P 17 Āgata-or Avasıta-pravāsa- Patıka See the Daśarūpakāvaloka, p. 133 which excludes the Agacchad-or Agata-Pati from Pravāsa आगच्छदागतयोस्तु प्रवासाभावातू etc. P 28, Para 2, lines 9-11 Regarding Sāmarāja's reference to and criticism of writers who apply the Pracchanna-Prakasa classification to all, it may be noted that the Hindı Rasikapriya applies it to every variety. P 29, lines 21-3. Kanya-illustrahion Regarding Visveśvara's illustration of the Kanya by the unchaste girl who marries and continues her love for the paramour, the verse cited by Viśveśvara is given in the Amoda also as an illustration of the Kanya-variety called by the Amodakara, the Arabdha-vivaha (p 223). P. 29, Para 2, last 2 lines Visveśvara callng the Adhama, Candī. Bhanudatta also does so. See Rasamanjari, Chowk edn. p. 195 Pp 33-34. The classification of women into Padmini etc., and Mrgi, Badava and Hastini. Especially lines 3, 4 from bottom on p. 33 and fn. on pp. 33, 34 Regard- ing my observation on the name Hastini occurring in both these classifications, it is interesting to note that this has led Somesvara to identify the two Hastinis, combine the two sets and give a consolidated group of six varieties, Mrgi, Padmini, Cıtrınī, Badavā, Hastınī and Citrinī See Mānasollāsa, Gaek. edn. Vol II pp. 145-153 P 34, Footnote, lines 12-15, Ratiśāstra. A sixth edition of this work with Sans- krit text and English translation was issued in 1921, by Abinash Chandra Ghose, B.A., through Sarat Chandra Seal, 14, Lakshmi Dutt Lane, Baghbazar, Calcutta P 36, line 1, Date of Candraraja. According to the Karnatakakavicarite, the date 1s 1079 A D. P 47, lines 26-30 Samaraja's inclusion of Svayamdūtī in Vagurdagdhā. The Amoda says (p. 174) पुंश्चलीभावे पण्डिता विदग्धा, एषैव स्वयंदूतीत्युच्यते। See also Text P. 10, line 14, Srngaramañjarī, where the Nipuna is called Svayamdutī. The Amoda and the Srngaramanjari are more correct in identifying the Svayamdutī with the Nipuna or Vidagdha in general, rather than with one of her varieties, the Vagvidagdhā. P. 49, last line. On the view that the Pithamarda has nothing to do with Śrngāra, see also Sāmarāja, Śrngārāmrtalaharī, p. 140 (1938 Reprint). P 55, lınes 21-22, the Gathasaptasatī and the Śrngāramanjarī: For another telling instance where an illustrative verse in the Srngāramañjari happens to be an adap- tation of a verse in the Saptaśatī, see Śrngāramañjarī text, p. 7, verse 35, अन्यत्र गमितरात्रे etc., which is a recast of Gatha VII 53, anyapadesa salutation to Surya by, a Khanditā.

ADDITIONAL NOTES i11 P. 70, lıne 1. Nāyaka-Nāyıkās in poems and plays An important work to be noticed here before the Āryāsaptaśatī of Govardhana is the Gitagovinda of his famous contemporary Jayadeva The colophons here to cantos five to ten say that they are devoted respectively to the following Nāyıkā-varieties: Abhisārıkā, Vāsakasajjā, Vıpralabdhā, Khanditā, Kala- hāntarıtā and Māninī As Kumbhakarna points out, canto 1 beginning with the song lalitalavanga etc depicts the Virahotkanthita in the person of Radha. In canto 2, the same condition of Virahotkanthita continues for Rädha, and she speaks to her friend with a touch of jealousy towards others with whom Krsna is sporting, the text itself says in the final line of the second song here उत्कण्ठितगोपवधूकथितम् । In Canto 4, Radha 1s still Virahotkanthita By the nature of the theme and the Nāyaka, the two Nāyıkā-types Svādhīnapatıkā and Prositapatika fall out of the scope of the work Regarding the othei Gopis with whom Krsna is sporting, they are Abhisārikās. Regardıng the Nayaka, Krsna, he is mainly Daksina, but occasionally Satha, Dhrsta and Dhurta also (see Kumbhakarna's gloss on foot 8 of the song candanacarcita in canto 1) In ımitatian of Jayadeva, Rūpagosvāmin also illustrates the eight Avasthā-Nāyikās in his songs on Krsna and Gopīs See Stavamālā, Kāvyamālā 84, pp. 270-279. P 70, Para 4 See also above p 10, and Text pp 2,37. The Hındr work Rasıkaprıya of Keśavadās Thanks to my friend Sri Rai Bahadur S N Chaturvedi of Lucknow, I could procure a copy of this work. It is a treatise on Rasa in 16 chs. In ch. 2, it speaks of Nāyaka, Anukūla, Daksina Satha, and Dhrsta, each divided into two kinds Prakāśa and Pracchanna. In fact, the Pracchanna-Prakasa classification is applied to every, variety in this work. In ch. 3 the treatment of Nayikas begins First is given the four classes Padmini, Cıtrınī, Sankhinī and Hastınī Then Svakiya divided into Mugdha, Madhya and Praudha, each having four-sub- classes Mugdhā-Navavadhū, Navayauvanabhūsitā, Navānangā and Lajjāprāyaratı. Madhyā-Ārūdhayauvanā, Pragalbhavacanā, Prādurbhūtamanobhavā, and Surata- vicitra. Then Dhīra etc. for Madhya. Praudhā-Samastarasakovıdā, Vıcitravıbhramā, Ākramitanāyakā and Labdhāyati. Then Dhira etc. for Praudha. Parakīyā-Ūdhā and Anūdhā. Ch 4. Darsana-Saksat, Citra and Svapna. Then Sravana. Both Darsana and Śravana divided into Pracchanna and Prakāśa Then Kesavadās deals with the cestās or various acts of Nāyakas and Nāyikās in love. Ch 8 takes up the eight Nāyıkās Svādhīnapatıkā, Utkā, Vāsakasajjıkā, Abhisan- dhitā, Khandıtā, Prositapatıkā, Vipralabdhā and Abhısārikā. Each of these is divided into Prakāśa and Pracchanna Under Abhisārıkā are given, besides Svakīyā, Parakīyā and Sāmānyā, the varieties Premābhisārika which our text Srngaramañjarī refers to and refutes (p. 37, text), Garvābhısārıkā, and Kāmābhisārikā. Then are given the three classes Uttama, Madhyama and Adhama. Ch. 11 deals with Sakhī.

iy ŚRNGĀRA MAÑJARĪ

SANSKRIT TEXT P. 3, line 8 and P 12, last line. Regarding the true nature of love, which the text says here, will be dealt with later in the section on Rasa, see end of the text, p. 52, last 5 lines. P. 6, last two lınes. Etāsām dhīrādīnām agre lekhanīya it1 etc. For this treatment given later, see text below pp. 23-28 P 13, lıne 11 Divya, Adivya etc. The classification of heroines by what is termed 'Jati', classes of beings, 1 e, into divine, human and divine-human beings, Divya, Adıvya, and Dıvyādivyā illustrated for example by Indranī, Mālatī and Sītā, is not recognised by the Srngaramanjari On this it follows the Rasamañjari, see pp 106-7, Chowk edn P 16-17 also Intro P 78, lines 24-25 - Vāsaka In connection with the Nayika-variety called Avasita-pravasa-patika which some propose under Prosita-patika owing to the whole theme of 'going on journey' (piavasa) being one unit, comprising all phases from the Nâyaka about to leave up to his return, the Śrngaramanjari opines that as the situation of the Avasita-pravasa-patika is such that the heroine in it is joyous and is preparing for the reception and union, it should really be ıncluded ın the Vāsakasajjıkā Here the Srngaramanjari examines the meaning and scope of Vasaka in the name Vasakasajjika and cites a lexicon, quoted o11ginally in the Amoda, according to which Vāsaka 1s sixfold; Vāra or turn, Rtu-kala or proper matıng season, Pravāsad āgata-kriyā or return of lover from travel, Rustaprasadana or lover pacifying the offended beloved, Nayıka-utsava or the heroine's rejoicing and Navodha-abhyupapatti or the inducing and enthusing of the newly wedded bride Of these six, the first, Vara, turn, seems to have been the earliest meaning, and as the turn might also be dependent on Rtu, the meaning of the word Vasaka must have gradually extended till it came to embrace all situations in which a Nayika is found joyously expecting her lover and preparing herself for receiving him. According to Kamasutras IV 11. 80- वासकपाल्यस्तु यस्या वासकः * * * वासक च निवेदयेयुः । and V. vi. 4-यस्यां तु प्रीतिवासक: ऋतुवा * * *

and the Jayamangala on these वासक्रमः, वासक क्रमप्राप्तम् and वासकः परिपाट्या शयनम्, seems to be its original sense. Even in later times, Vasaka was primarily associated with turn

Vara-nıyama or turn. Under the Vāsakasajjikā-definition itself, the Rasamañjarī says arusr ar: (p 154), and again, while explaining why the Pravatsyat-patika cannot be brought under the Vasakasajjika, the Rasamanjarī says 'vara-niyama-abhavat' (p. 185). Extension of the meaning of Vasaka is already seen in Bharata In XXII. 196, the Natyasastra says that women should be appioached according to either Vasaka or Rtu; and immediately before this, the Nātyaśāstra has two verses (Kasi edn. XXIV. 200-3) mentioning Vasopacara and six kinds of Vāsaka. वासोपचारो यश्चैव स रात्रौ परिकीर्तितः । परिपाट्या फलार्थे वा न च प्रमद एव च । दुःखे चैव प्रमादे च षडेते वासकाः स्पृताः ॥ Again verse 219 (K. M., Kas1 225) makes reference to the timid or angry beloved as requiring the processing of Vasaka According to the commentary of Abhinavagupta, the verse Paripatya etc. should read thus:

ADDITIONAL NOTES

परिपाट्या फलार्थे वा नवे प्रसव एव च । दुःखे चैव प्रमोदे च षडेते वासकाः स्मृताः ॥ Paripatī is the well-known turn, Phalartha is taken by Abhinavagupta, and justifiably too (cf. Jayamangala V v1 4-4Rr2f), as Rtu, the third 'Nave' is interpreted as 'Navatve', and refers probably to the fresh entrant into the king's harem; 'Prasave' the fourth, is interpreted as referring to that inmate of the harem who has been, for some time, mother of a recently delivered child and is longing for a visit from the king, the fifth and the sixth are Duhkha and Pramoda, some occurrence of misery or joy for the lady in her parents' or relatives' house when it is but proper for the king to call on her and console or felicitate her (cf. Jayamangala also, on IV. 11 80-यस्याश्चातीतो, व्यसन- : I) Etymologically also, Abhinavagupta explains Vasaka as derived from the lover living that night with the lady concerned परिपाटी यथाकल्पितानुपूर्वी अस्या एकदिनवारः, अस्या द्वाभ्यामित्यादि। तदपवादमाह फलार्थ इति। ऋताविति यावत्। नव इति नवत्वे। प्रसवे वृत्ते चिरविरहाखिन्रां सुखयितुम्। दुखं तदीयव्यावर्त्यादौ (व्यापत्यादौ 2) दुःखिता आश्वासनीयेति। प्रमोद इति तदीयपुत्रोत्सवादौ । उत्सवो हि माननीय इत्युक्तम् । वासयति तत्र स्थाने रात्रमिति ॥ Abhinavabharati, Madras Ms 2785 Vol III P. 58. Here we see ıncluded the Vāra, Rtu, Navodhābhyupapatti and Nāyıkā-utsava menti- oned in the lexicon quoted in the Śrngaramañjari, we have also here Prasādana or pacification, but while the later lexicon would make it refer to an angry beloved, in Bha- rata and Abhinavagupta it is consoling one in grief .* Thus the only element which is absolutely new in the definition of Va saka given in the lexicon quoted is 'Pravāsād āgata- kriya', 'return of lover from abroad and attendant circumstances', which is also, unfortu- nately, the crux of the discussion whether the Avasita-pravasa-patika is to be included in the Vasaka-sajjika or not. P 24, lınes 4-5 Pranaya-kopa For the treatment of Pranaya-kopa referred to here, see below text p 28 under Kalahantarıtā, P 25, lines 2, 3 Māna-apānodana-upāyas. See also Intro p. 21 para 1 end, p. 23, lmnes 1, 2 On the many ways of removing the Mana of the lady, see Śrngāratilaka, p. 138, śls. 42-3, sıx ways of removing Māna,-Sāma, Dāna, Bheda, Upeksā, Pranati, Prasanga- dhvamsa or Rasantara (sudden change of situation) as the Daśarūpaka (p 130) puts it Tor Bhoja's great elaboration of this topic, see my Bhoja's Srngāra Prakāśa, Vol. I p 59. In the Bhāna Dhūrta-vita-samvāda (Caturbhānī edn, pp. 16-I7), there is a regu- lai discussion on the relative efficacy of the different means of removing Mana, Isvara- datta criticises Padapatana, Sapatha and Hāsa (a variety of Rasāntara) and advocates another variety of Rasantara viz sud den and forcible kissing of the lady (Avamrdya cumbana), an effective means already illustrated in a verse in Hala's Saptaśati, V. 65. P 39, Kāmābhısārıkā See p 40, last lıne. The Kāmābhisārika is considered the Uttama-Abhısārıkā. * In a well-known illustrative verse cited frequently for the Daksina-Nayaka, the reasons requiring the King's visit are given as Rtu (स्नाता तिष्ठति कुन्तलेश्वरसुता), Turn (वारोऽङ्गराजस्वसु:) pacIfi- cation (देवी प्रसादाद च) and a night won as wager in a game of dice (दूते रात्रिरिय जिता कमलया); the first three are already mentioned above, the fourth, a special case, 1s new.

ŚRNGĀRA MAÑJARĪ P 45, lıne 22. Dāsī. The text defining Dāsī as 'Yatna-sevikā Dāsī' is not quite happy or expressive; what it appears to mean is that, as one in paid service, she is to take special efforts to carry out the task entrusted to her P 46, lines 6-7. Dūti-vyapāras. In the enumeration of the messenger's acts and functions here, there is omission of Prasamsa or praising the lovers which ought to occur after Anuraga-nivedana; see below p. 48 in the illustration-portion where it is found, see also above p. 43 where it is included in the similar set of functions of the Sakhī or friend P 49, line 21 Inclusion of Mani and Catura Nayakas in Satha by the previous writers The reference is to the Rasamanjari, p 219 P. 52, lines 16-17 Rasa On Rasa the Srngaramañjari says that according to the author of the Rasamanjari, Rasa is twofold, Laukika and Alaukika, pertaning to the Nayaka-Nayika and pertaining to the audience. It should not be taken that this is a reference to the text of the Rasamañjari, it refers to ch. 6 of the same author Bhanudatta's Rasataranginī where this subject 1s touched upon P 52, lıne 22. The verse 'Sajatiyath' on Sthayibhava and the footnote on it that it is quoted, wrongly, as from the Daśarūpaka, in the Pratāparudrayaśobhūsana. The Amoda also quotes it on p 589 as from the Dasarūpaka P. 53, Four kinds of love. See also p 21 and Intro p 21 Para 1, lines 14ff. The Srngaramanjari speaks of love as of four kinds according as it is generated by seeing directly the object of love, hearing of the same and seeing the same either in a picture or dream. These varieties are spoken of in most works on poetics and dramaturgy, the main classification into Darsana and Sravana going to Bharata himself. (Ch XXIV 148. Kasi edn ) All the four varieties found in our text are mentioned by Rudra Bhatta himself; see Sr Tilaka, I. 50, 51, where Darsana and Sravana are first given and then Darśana classified into Sākșād, Citre and Svapne, These three kinds of Darsana or seeing, the Rasamañjari mentions and illustrates at the end (pp 245-6).

INDEXES

SUBJECTS Sanskrıt [ Arabic numerals in ordinary type refer to Introduction, in antique type to Text, Roman numbers refer to the Notes ] Anāgatābādhapratıședha 51 fn Anubbāva 108 52 Cestās (of Nāyıkās) 20, 22, 27, 88 as giving rise to Anurāga 73, 74, 76, 88, 90, 91, 95, 96, 108, 109 52 and later Nayıkā-subvarieties 20 fn, 88 Irsya 6, real nature of 73,74, 76, 91, 95, 96, 108 Caitanya 27

3, 12, 13, 53 Uttama type of 88 53. three knds, Jātı 44 111.

Uttama etc, of 108 53 four causes, darśana, Jātı, Padmınī et 54 See below under Nāyıkās. etc, of 108, 109 53 vi ten states, dasa avasthās, Tarjana 7, 40

of 88 53 high conception in the Srngaramañjari Tādana 55 40

of 90, 53 ābhāsa of 12 Dandāsanıkā 51 fn Darsanānurāga 108 53, 54 111 V1 Anyāpadesa (Vyājoktı) 45, 76 Dūtī 19. 41, 45-49 See below under Sahayas of Abhınaya 25 52 Nāyaka Nāyıkās Abhisarana, abhisāra 25, 54, 70 Occasions for 25 Düti-Sakhi-karman, functions and work of the Dūti Jyotsna-variety of 70. See also below under and Sakhi 42-51, 105, 106 42-49. v Nāyıkā, abhısārıkā -Anurāgānukīrtana (-nivedana) 43, 106 46, 48 -Arthabhasana 43 Ayoga (Pūrvānurāga) Vipralambha 23, 33 -Āšayaprašna 105 43 Arthaśāstra 43. -Upalambha 105 42 Avastha (emotional state) 14, 15. See below under -Kandukakeli 105. 44 Nāyıkā, Avasthā-varieties -Kāmanıvedana 43.

Ānanda 52 -Kulabhogadhanadivikatthana 43

Andhrabhașā 13 -Cittajñatā 106 46, 49

Abhāsa 94, 95 See below Rasābhāsa -Jalakrīdā 105 44.

Alambanavibhava 108. 52 -Dolākelī 105 44

Iccha 95 3, 12. different kinds of 95 12 -Dyūtakeli"105 45

Irşyā 17, 99 6, 14 vipralambha 23 Four causes of -Nayananımīlanakeli 105. 44

81, 99, 23, 24 and Khandıtā 99 23, 24 -Nāyakānyasambhogakathana 106 46, 49 -Parıhāsa 105 42 Utkanthā 108 52. -Pāñcālakeli 105 44 Uttama (a) etc See above under Anuraga and below -Pușpāpacaya 105 45 Nāyaka, Nāyıkā and Sahāya . -Praśamsā 105, 106 43, 48 v. -Protsahana 106 42, 46, 48 Utsādana 51 fn -Bhavapradarsana 43 Udgharsana 51 -Bhramanakeli 105 44. Uddīpana-vıbhāva 108 52. -Mandana 105 42 Udvartana 51 fn -Madhupānakelī 105 45 Ulā 71 -Manapanoda 105 43. Aupanışadıka 12, 35, 37 -Mānopadeša 105. 43 Kaşāya 51 -Yathoktakathana 43. Kāmaśāstra 12, 33, 34, 35, 36, 50, 89 writers on 12 -Vañcana, 80,-Keli 105, 45 Pre-Vātsyāyana writers on 12 works on 35 -Vanavihara 105 44 tradition different from Vatsyayana in 34. See -Vasantakeli 10 45. also under Nāyaka and Nāyıkā -Vinoda 43.

Kāvya 52. -Virahanıvedana 105 46, 48 -Vırahāśvāsana 105 44. Krtakakalaha 55. Kopa 81 6, 7, 15, 23, 24, 40 identified with Mana 81 -Śıkşā 105, 42

differentiated from Mana 99. 23 -Sanghațanā 106 45, 46, 48 -Sandeśahārıtā 106 46 49

Kaucumārayoga 35 -Samāśvāsa 54, 44. Gatıpracāra (ın Nātya) 43 fn -Hallīsakeli 105. 45

Guna 44. Circumstances of Grhasthas, two varieties of 24 -Anartbapratıghāta 45. Gotraskhalana, Gotraskhalıta 54, 55, 70 -Anyataraprarthana 45 trānurāga 108, 109 53, 54. -Abhipras opalambha 45

vi11 ŚRNGĀRA MAÑJARĪ

-Artha 45. -threefold classification into Uttama etc of I5, 29, -Anrnya 45 31, 32, 107 51 -Kutūhala 45 -two sevenfold classifications of 30 -Kīrt1 45 -fivefold classification into catura etc of 31, the -Krıyā 45 same considered superfluous 33 -Guna 45 -fourfold classification in dramaturgy, Dhirodātta -Jāt1 45 -Dayã 45 etc, of 17, 25, 31, 32

-Dravya 45 -four grounds of classification of 32. -Narman 46 -threefold classification into Sattvika of 32 -Pūrvaprarthana 45. -fourfold classification into Anuküla etc, of 32, the -Pratārana 45 same made sixfold by addition of Manin and -Prayoga 45 Catura 106, 107 49

-Prayojana 45 -twofold classiflcation into Sadharana and Asadha- -Prāpt1 45 rana of 32 -Prīt1 45 -threefold classification into Prosita etc of 33, 87, -Preman 46 107 51 -Yogyata 45. -threefold classification into Pati etc of 32, 38, 106, -Śila 45 -Samgharsa 45 107 49

-Sambandha 45 -threefold classification into Gramya etc of 53

-Sahārthatā 45. -a novel classification of 53

-Strītva 45. -104 total varieties (in Bhoja) of 32

-Sneha 45 Nāyaka-varieties

Dūtī-Sakhī -Adhama 15, 31, 33 51 See Kanıstha below

-Gunas of 45, see also above functions, work and -Anabhijña 32, 33, criticised 32

circumstances of -Anukūla 32, 87, 88, 97, 106, 107, 49, and Svādhīna- -Grounds of classification, guna, jati etc 44, 45, see patıkā 88

also above circumstances of -Anyasakta, three varieties, Daksmna etc, of 53

Daśāvasthā, of love 59 -Amılıta (Ayukta) 33, 87, 88, 107. 51, and Anut-

Daivayoga, real cause of true love 52 pannasambhoga 88, and Virahotkanthitā 88

Dharmaśāstra 24 -Ayukta 87, 88, see Amilıta above.

Nata 52 -Asva, Haya 20, 33, 34 fn 36, 37

Nāgaraka 44, 49, 51 fn ,-vrtta 51fn. -Asādhārana 32

Nāțaka 22, no room for Sāmānyā in 22 -(Utka) 88

Nāțya 52 -Uttama 15, 29, 31, 32, 33, 107, 51

Nāyaka-Nāyıkās- critical account of the history of -Upapat1 31, 32, 70, 88, 106, 107 3, 8, 40, 49, 51 and their classification 14-72, works on 11-72, 91 2 Parakīyā 88 and music 8, 14, 70, 71, according to Kāmaśāstra -Kanıştha 32, see Adhama above. 12 17-20, 31, 32, 33-42, 43, 44, 49-51, 109, Hındı -Kānta 30 works on 10, 18, 34, 70, 72, 87, 89, 103, works -Kālaı (Tamıl) 71, solely devoted to 27, in anthologies 26, 27, 33, - Kuca (Kucu, Kūcı) māra 12, 34, 35, 36, 37, 42, 109, 54 unpublished works on 52-53, views on these -Kautukın 53 untraceable in printed works 52, illustrative -Kriya-catura 107 51 literature, poems and plays on 54-69, difficulty -(Khandıta) 88 in correct determination of these in Amaruśataka -Grāmya 32 53 55-56 in other Indian languages 70-71, in paint- -Catura 31, 32, 33, 53, 87, 106, 107, 49, 50 included in ing 10, 71-72, and the Bhakti school and Vasnava Uttama by some 33, included in Satha by some, poets 10, 27, 28, 32, 70, 71, 72, in Tamil lıterature 33, 87, 107 v , kinds of 107 50,51 71, in Telugu literature 7, 8, 9, 35-37 70, 91 13, ın Kannada literature 35-37, new varieties or -Jāra 70. 6, 10, see Upapatı above

names introduced in the Srngaramañjari 84-88, -Jīvita 30

91, mutual relation among 88, tabular statement -Jyestha 32

of 110-114 -Tāmasa 32

Nāyaka 15, 16, 29-36, 37, 42, 44, 49, 50, 53, 87, 106, 107 -Tiravon (Tamıl) 71

114 49-51. -Dakşına 31, 31fn 32, 53, 70 87, 88, 106, 107 49, 50

-definition of 49 111, v a variety of Anyāsakta 53, and Khandıta,

-fourfold classification into Bhadra etc of 18, 34-37 Vıpralabdhā and Kalabāntarıtā, 88.

42, 89, 109 54, the same as corresponding to -Datta 34, 35, 36, 37, 42, 89, 109 54.

Nayıkās Hastınī etc 34, 42 54, absent from all -Dayıta 32

available early works on Kāmaśāstra 35, in -Durācāra 30

Telugu literature, 35-37, in Kannada lıterature -Duśśila 30

35-27. -Deśāntaropagata 33

-varieties corresponding to each Nāyika-variety -Dhīralalıta 17, 25, 3I

opposed 32, 88 -Dhīraśānta 17, 25, 31

classification in Kāmasāstra into Saśa etc. of 20, -Dhīrodātta 17, 25, 31

33fn , 34fn 37. -Dhīroddhata 17, 25, 31. -Dhūrta 87, 107, a variety of Dhrsta 107.50. in

INDEXES 1x

-Dhrsta 30, 32, 87, 88, 101, 607, 49,50 111, a variety of Anyāsakta 53, and Khandıtā, Vipralabdhā and -Yayātı 24

Kalahāntarıtā 88 -Rāma 49

-Nandana 30 -Rāvana 45

-Nātha 30 Nāyaka-Sahayas, see below under Sahayas of

-Nırlajja 30, 31 Nāyaka-Nāyıkās

-Nışthura 30, 31 Nāyakabhasa 94

-Pat1 32, 88, 106, 107 3, 5, 8, 49 Nāyıkā-definition of 91 2 varieties of 16-29, 33-42,

-P'āñcāla 34, 35, 36, 37, 42, 109 54 53ff, 2-41 384 total varieties of 21 endless

-Prakāśa 50 (-śatha) varieties of 21 fixation of types of 21 descrip

-Pracchanna 31 50 (-śatha) tion of leading and characteristic behav.our,

Pranayın 32 ceștā, of 20, 22 27, 88 111 precise illustrations of

-Pra (Sampra) vrttaka 31, 33 89 formulation of new varieties or names of

PrātiveSika 70 varieties of 89-90 2, 11,12, 13 Bhoja's original

Prıya 30 treatment of 23

-Proșita 32, 33, 54, 87, 88, 107, 51, and Prosita- Nāyıkā-classification

bhartrkā 88 -threefold, Sviya etc 20, 22 91-2, 3

-Bālan (Tamil) 71 Mugdhā etc, 20, 22, 92-3 3-15

-Bhadra 18, 34-37, 42, 89, 109 54, Saśa etc alternate Bahya etc (Bharata) 16, 17

names for Bhadra etc 37, corresponding Nayıka- Dhīrā etc 20, 22, 93 40 only ın Svīyā types, Hastıni etc 34, 42, 54 29, 93, only in Parakīyā 29, not in Svādhīna- -- Madhyama 15, 31, 33, 51 patıkā 97 15 extended to Parakīyā and Sāmānyā -Maravon (Tamıl) 71 93, 96 6 14 -- Mānın 32, 33, 87, 106, 107 49, 50 included in -fourfold, Dhira, Lalita etc 17 Madhyama by some 33, included in Satha by Udāttā etc 25, 27

Some 33, 87, 107 -twofold, Jyesthā-Kanıthā, 19, 20, 22, 28, 89, 93, -Mudu-mahan (Tamıl) 71 7 denied in Mugdha 28, change in the conception

-Mrga 33fn, 34fn 37 of 19.

-Rajasa 32 -threefold, Uttamā etc 15, 16, 21, 28, 29, 89, 102-

-Rucira 32 105 39-41, ın dress etc 15, ın Vāsakasajjıkā 15,

-Vak-catura 107 50 in Hasya rasa 15, elaborated very much in the

-Vama 30 Śṛngāramañjarī 15

-Vikatthana 30. -threefold, Uttama etc 21, 28, 29, 89, 103-105

-Vidalaı (Tamıl) 71 , Kanyā, Punarbhū, Veśyā, 18

-Vidagdha 53 , Divya etc 17, 28, 29, 96, discountenanced

-Vınīta 30, 32 29 13

-(Vıpralabdha) 88 -in terms of gods, demigods, birds, animals etc 16, -Vırahın 32, 33, 54, 87, 88, I07. 51, and Kāryavilambı- 17, 20, 25 26, 37 1 tasuratā-Virahotkanțhitā 88 -threefold, special, Anyasambhogaduhkhitā etc. 29,

-Virūpa 32 discountenanced 29, 77, 80, 97 15.

-Vrddha 33 -into Mrgi etc 20 (Kāmasāstra), combined with

-Vrsa 20, 33, 34fn , 37 Padmini etc 11 -Vāršika 31, 32, 33, 37, 42, 53, 88, 106, 107 49, 51, -by status, Mahadevi ete 17 varieties of, 31, 33, and Sāmānya 88 -into only two basic classes 28. -Satha 30, 32, 33, 53, 87, 88, 106, 107, 49, 50 111, two -into four primary classes 23 (Bhoja), 26 (Väg- varieties of 33 50, a variety of Anyāsakta 53, bhata) includes Mänin and Catura according to some 87 -fourfold, Padmini etc 16 18 27, 33-42, 89, 109 54, vı, and Khandıtā, Vipralabdhā and Kalahāntarıtā 55 germane to Kīmaśāstra 38, 89 11, 111 equated

88 with Sasa etc 34 fn 54 six varieties with Mrgi -Sasa 20, 33, 34 fn 37, Saśa etc equated with Padmini etc 34fn, Bhadra etc alternate names of 37 -equated with Devastri etc 17, equated with etc 11

-sisu 33. Bhadra etc 36, 37, 42, 54.

-Sama (Dakşma) 31 -five basic classes 11 -Sampravrttaka (Pravrttaka) 31, 33, included in -according to Kāmaśāstra 17-19, 20

Adhama 33 -according to some ideas of Dharma sāstra 24

Sāttvika 32 -and age 15, 71, 74, 92 3, 4

-Sadhārana 32 -and jāti 96, 13 1v -Pracchanna-Prakaśa distinction not in all classes, -Subhaga 32 -Suhrt 32 28 ın all cases ın Rasıkaprıya 11, 111

-Svāmmn 30 Nāyıkā-varieties

-Haya 36, 37, see Asva above -Avasthā Nāyıkās 17, 20, 21, 22, 23, 25, 28, 29, 56, 70;

Nāyakas, partıcular 77-82, 88, 97-103, 104. 15-39, 40 1-v only four of

-kryna 46, 52, 53, 19fn ni these,originally mentioned by Rudrata 21 ,inclusion of Vipralabdha and Kalahāntarıtā ın Khandıtā 21; -Candra 24 mutually exclusive 22, distribution among Svīya -Nala 98 etc 22, 25, 29, distribution among the different -Nalakūbara 96 13 -Purūravas 22 phases of love 23, distribution among Mugdhā

-Mādhava 45, 49. etc. 28, denied in Mugdha 28, distribution among

B

x ŚRNGĀRA MAÑJARĪ

Svīyā criticised 29, only two, Svādhīnapatıkā and -Kanışthā 19, 20, 22, 23, 93 7 Proșıtapatıkā, for Svīyi 21, definitions critically -Kaphilā 28 examined 77-82, one added to the old eight 77, -Karlaśā (-Mānınī) 28 question of applicablity of Avastha-varieties to -Kalahāntarıtī 17, 19, 20, 22, 23 26, 54, 55, 81, 82, 84, Nāyakas discussed 83, Uttama etc in 104 86, 88, 99, 100, 101, 103, 104, 15, 19fn , 28, 29, 39, Nāyıkā-varieties -Aksatā 23, 24 40 11, 111, v and Nāyakas Daksına etc 88, and

-Aksamā (-Mānınī) 28 anger 99, different from Khandita 99, two kinds

-Ajñātayauvanā 74, 92 3, 4 of 100

-Ativisrabdha-navodhā, name given to Madhyā 29, -Kalpıtānurāgī 85, 96, 97, 104 13, 14, 15, 40

74 75, 92, criticised 74, 75, 92 4 -Kākasattvā 16

-Atı (Abhı) sandhıtā 20, 22, old name for Kalahan- -Kāmābhısārıkā (Uttamābhısārıkā) 87, 103, 105 37,

taritã 20 11, 111 39, 40 11 V -Kāryavılambıta-suratā 86, 98, 20 -Atyuttamā 28 -Adıvyā 28, 96 1V -Kulajā (Svīyā) 25, 26, 70, see below Kulayuvatı

-Adhamā 21, 28 84, 89, 103, 104 11 111, see below -Kulatā 19, 27, 28, 55, 76, 77, 85, 90, 94, 95, 90 7, 8,

references under Uttama, omitted in Alamkāra 9, 11, 13

Kaustubha 28 -Kula-yuvatı (-vadhū,-strī,-anganā) 15, 17, 18, 54,

-Adhīrā 20, 22, 23, 25, 55, 75, 76, 78 91, 95, 104, 6, 7, see above Kulaja and below Sviya

8, 9, see also references under Dhirā -Krtaśaucā (?) 16, I7

-Anutpanna-,ambhoga 86, 98 20, four kinds of 98 -Klptānurāgā 85, 96, 97, 104 13, 14, 40 -Komalā (-Mānınī) 28 -Anurakta-maninī 26 -Krıyānıpunā (-Vıdagdhā) 28, 94 8, 10 -Anusayānā 28, 85, 89, 90, 94, 95 9, 11, 12, varieties -Kșatā 23, 24 of 28, 95 11, 12 -Ksatrıyā 24, 26 -Anūdhā 23, (Kanyā) 26, (Sāmānyā) 24 -Khandıtā 17, 20 21, 22, 23, 26, 29, 43, 52, 53, 54, 55, -Anyāsaktaprıyā 53 -Anyasambhoga(cinha)duhkhıtā 26, 29, 43, 77, 80, 77, 79, 80, 81, 82, 84, 85 93, 97, 99, 100, 103, 104 6,

81, 82, 86, 97, 99, 100 6, 15, 24, 29, 40 disapproval 15, 19fn, 23, 24, 25, 26, 27,28 39, 40 v1, 111,

of constituting a special class for 97 15, brought Manavatī identified with 29 23, Manavati brought under 99 and Nāyakas Dakşına etc 88, dıstın- under Khandıtā 77, 80, 97 15, 24 guished from Kalahantarita 99 23, grammai of -Anyā (Parakīyā) 22, 25 99 23, five and six kınds of 99 24, not in -Aprāpta-bhāvı-sanketā 85, 94, 95 9, 12 Mugdha 99 -Aprıyaprıyā 53 -Apsaras 26, 37, equated with Cıtrmni 37 -Ganikā 17, 23, 24 4, see below Veśyā -Gatapatıkā (old name of Proşıtapatıkā) 55 -Abhısārıkā 10, 17, 20, 21, 22, 25, 26, 27, 28 29, 53, 54, -Gandharva-sattva 16 55, 70, 82, 83, 84, 87, 102, 103, 105, 15 19fn, 37-39, -Garvābhisārıkā 87, I03 37, 38 111 40 11l two varieties of 20, 27, 82-84 37, both -Gunagarvitā 70 accepted 22, 28, 54, only one variety accepted -Guptā 26, 28, 85, 94, 95 8, 9, varieties of 28 8, 9 22, 29, 87, 102-3 37, three classes of 17, varieties -Gurujana-bhītā 26, 29 (Parakīyā ?) of 26 37, Uttamā etc 105 -Candi 29, Adhama identical with 29 11 -Arıvaı (Tamıl) 71 -Cıtrānutāpitā 86, 98 20, 21 -Avasıtapravāsa-patıkā 23, 26 (Prosita-sambheda), -Cıtrini 16, 18, 33-42, 109 54. 11, Apsaras equated 28, 33 (Āgatapatıkā), 55, 56, 78, 84, 85, 97 98 11, with 37 not to be ıncluded in Prositapatikā or Svādhīna- -Jārınī 55 patıkā, to be included in Vāsakasajjikā 97 16, 17, -Jananyadhīnā 85, 96 13, 14, 40 18, 1v, V -Asatī 54, 55, 70, see also below Kulatā, Jārınī, -Jyesthā 19, 20, 22, 23, 28, 72, 93 7, in painting 72 -Jyotsnābhısārıkā 26, 87, 103 37, 38 Parakīyā, and Svairinī -Āgatapatıkā (Avasıtapravāsapatıkā) 26, 28, 33, 56 -Jñatayauvana 75, 92 3, 4, two kinds of 92

-Āgamısyatpatıkā (Proșitapatıkā) 28 -Tamo'bhısārıkā (Tımirābhi-) 26, 87, 103 37, 38

-Ābhyantarā (Kulastrī) 16, 17 -Tervaı (Tamıl) 71 -Trtīyā Prakrtı (eunuch) 54 1 -Itara-ratı-sruti-khınnā 86, 100 27 -Darśanānutāpitā 86, 98 20, 21 -Īrşyākalahāntarıtā 100, 28 -Dıvābhısārıkā 26, 87, 103 37, 38 -Īrsyāgarvitā 86 99, 100 24, 25, 27 -Dıvyă 17, 26, 28, 96 1V -Utkanțhıtā 23, 79, 19 see Vırahotkanthitā -Utkā (old name of Virahotkanthitā) 20 19 111 -Dıvyādıvyā 28, 96 1V

-Uttamā 15, 16, 21, 23 31, 82, 84, 89, 103-104, 105 111 -Devasattvā 16

-Udātta-mānınī 26. -Devastri 27, equated with Padmini 37 -Devi 17 -Udāttā 17, 25, 26, 28 -Durdınābhısārıkā 26, 27 -Uddhatā 25 -Udbuddhā 19, 85, 93, 94, 95 6, 8, 9 -Dūtīvañcıkā 78, 85, 97 15, 16 -Dūtīsambhoga-duhkhıtā 43, 81, 86, 100 27 -Udbodhitā 19, 85, 93, 94, 95 6, 8, 9 -Ūdhā 22 (Parodhā,-Parakīyā) 23, 24 (-Sāmānyā) -Dūtīsamāsaktı-duhkhitā 100. 27

-Ekacārınī (-Veśyā) 19 -Dhīrā 17, 20, 22, 23, 25, 28, 29, 70, 75, 78, 85, 93, 94,

-Kanyā 18, 19, 20, 22, 26, 27, 29, 30fn , 55, 8 9 95, 96, 97, 99, 100, 101, 104. 6, 7, 8, 9 111

separated from the Parakīyā by Vāgbhata 26 11 -Dhīrādhīrā 22, 75, 78, 94, 95, 104 7, 8, 9, see also

ārabdha-vivāha variety of 11 above references under Dhīra. -Nartaki 17.

INDEXES xi

-Navavadhu 55, see next -Navodhā 21, 26, 55, 70, 72fn , 74, 75, 92 4 1v, IV -Bhavışyatpathıkā (Pravatsyatpatıkā) 55, 82.

-Nāțakīyā 17 -Bhavisyadvirahıni 54, see the previous

-Nāyakavañcıtā 86, 98, 99 21, 22 Bhāryā 19

-Nipunā 85, 94, 95 8, 9, 10, Svayamdūtī identified -Bhāviśankıtā 78, 85, 97 15, 16

with 95 10 11 -Bhujangabhītā (Parakīyā) 29

-Nıbhitā 17, 25, 26 -Bhogini 17

-Nıyamıtā 19, 85, 96 13, 14, 40 -Mangaı (Tamıl) 71 -Madandaı (Tamıl) 71 -Nrpapatni 17 -Madanāturā (-veśyā) I7 -Naipunyagarvitā 86, 101 29, 32 -Panāngana 26, see below Veśya -Madhyamā 1, 15, 16, 21, 23, 84, 89, 103, 104 111; see also references under Uttama -Patıvañcananıpunā (Pativañcıkā) 55, 85, 93, 94 6, - Madhyā 20, 22, 23, 26, 28, 29, 70, 74, 75, 76, 84, 86- 8,10 97-103, 105 3, 4, 6, 111 and Vısrabdhanavodhā 28, -l'atıvratā 92, 104 -Padmınī 12, 16, 18, 27, 28, 33-42, 89, 91, 109 54, also called by some Atıvısrabdhanavodhā 29,

55 11, equated with Devi 37 Dhira etc not admissible in 28, two new,

-Pathıkajāyā (Proșıtapatıkā) 55, 70 Pracchanna and Prakāsa, varieties of 84, two

-l'arakīyā 19, 20, 22, 24, 26, 27, 28, 29, 30fn , 31, 44, knds of 92, four kinds of i11, in Avastha-varie-

53, 55, 73, 74, 75, 76, 77, 84, 85, 86, 88, 90, 91, 92, 93, ties 97-103, Uttamā etc in 105, most delectable

94, 95, 96, 97-103, 104 3, 6, 7, 8, 9, 13, 40 11, 111, according to Rūpagosvāmin 28

varieties of 28, 85 8-12, two kinds of, 93, 94 111, -Mahadevi 17

twenty-five varieties of 94, Kanyā excluded by -Mānavatī, Māninī 21, 26, 29, 54, 55, 56, 77, 80, 81, 86,

Vāgbhața from 26, and Upapati 88, Abhisārıkā -. 97, 100, 104 6, 15, 24, 25, 40 111, twofold 26,

varieties of 87, 103, varieties of 23 Khandıta identified with 29 23, brought under

-Parodhā 19, 20, 27, 940 8, 9, see the previous, not Khandıtā 77, 80, 97 15, 23, preponderates in

to be featured as such in main theme 22, two Amaruśataka 56.

new kinds of 94. -Mısrā 70, 109 54

-Paraparıgrhītā 18 See above Parakīyā -Mīlı (Tamıl) 71 -Mugdhā 18, 19, 20, 21, 22, 23 26, 27, 28, 70, 72fn., 74, -Parıvrājıkā 18 75, 86, 92 3, 4, 15, 1, 111 no Jyesthā-Kanışthā -Pittalā 28 classification in 28, not ın Parakīyā and -Punarbhū 18, 23, 24, 26, four varieties of 23 Samanya 28, two varietics of 92, four varieties -I'edumbaı (Tamıl) 71 of 111 -Pedai (1amıl) 71 -Muditā 28, 85, 89, 94, 95 9 11, varieties of 85. -Perilampen (Tamil) 71 -Mrgi 20, 33 11 -Prakāśamadhyā 72 4, 5 -Mrdvī (-Mānınī) 28 -P'rakāšalakșıtā 94, 95 8, 11 -Yakşasattvā 16 -Pragalbhā (Praudhā) 20, 22, 23, 28, 70, 74, 75, 84, -Yakşīni 37, equated with Sankhini 37 86, 92, 93, 95, 97-103, 105 3, 4, 5, 6, 7, 9 111, two -Yatayata (-Punarbhu) 23, 24. varieties of 84, varieties of 20fn i11, applicable -Yāyāvarā (-Punarbhū) 23, 24 also to Parakīya and Sāmānyā 92 5 -Yauvanagarvita (Yauvanonmattā) 55, 86, 101 31. -Pracchanna-madhyā 92 4, 5 -Raktā ( Sāmānyā) 17, 22, 27 -l racchanna-lakșıtā 49, 95 8, 11 -Ratiprītimati 84, 93 5 -Pranaya-kalahāntarıtā 100, 101 28 - Ratyānandaparavasā 20, 84, 93 5 -I'ravatsyatpatikā 12, 55, 56, 57, 82, 83, 86, 87, 102 -RaksasI 27, equated with Hastini 37 17tn 32, 33, 34 -Rājānganā 26, see above Kşatrıyā -l'ıavasatpatıkā 26, 56, 83, 84, 102 32, 33, 34 -Rūpājīvā (-Veśyā) 23, 24 -l'ravāsapatıkā 82, 83, three kinds, Bhūta, Bhavat, -Lakşıtā 26, 28, 76, 85, 94 95 7, 8, 9, 11, two varie- Bhāvi of 82 32, 33 ties, Pracchanna and Prakāśa of 85

-I'retasattvā 16 -Labdhayatı Praudha 72fn. -Premagarvitā 55, 82, 86, 101 29, 30 -Lalıtā 17, 25, 26, 52 -Lubdhā 53 -Premavākyābhısārıkā 87, 103 37, 39 -Vakroktıgarvıtā 29, 55, 77, 80, 81, 82, 86, 97, 101, 104 -Premābhisārikā 10, 87, 103 i11, rejected 87, 103 37 -P'rosita-patıkā (bhartrkā) 12, 17, 19, 20, 23, 26, 28, 15, 29, 30, 40, brought under the Avasthā-nāyı- 29, 32, 53, 54, 55, 78, 79, 82, 83, 87, 88, 97, 98, 101, kas 97 15, varieties of 86, four kinds of 101 102, 105, 15, 17, 19 32-37, 40. 1, 111, 1v and Proșıta -Vadhū 55 88, three kinds, Pravatsyat etc of, 23, 29, 56, 87, -Vartışyamāna-suratagopanā 28, 94, 95 8, 9, 10. 101, 102 17fn, 32, 33, grammatical discussion -Vāgvidagdhā (Van-nipunā) 28, 48, 85, 94 8, 10; on 29, 101, 102 32, 33, two new varieties of, 102, varieties of 85. 8, and Svaymdūtī 48. 11 Uttamã etc in 105, most frequent in Gāthā- Vātalā 28.

saptaśati 54 Vāsakasajjıkā 11, 17, 20, 23, 26, 28, 54, 55, 72, 78, 84, -Proșitasambheda (Avasıtapravāsapatıkā) 26 85, 97, 98, 103, 104 5, 16, 17, 19fn., 40. 111, 1v, -Praudhā 26, 70 See above Pragalbhā varieties of 28, second variety of Abhısārıkā

-Badavā 20, 33.11 included in 84 37, its variety called Avasita-

-Bandhaki 19 pravāsa-or Āgata-Patıkā 23, 26, 28 33, 55, 56, 78,

-Bāhyā (Vesyā) 16, 17 84, 85, 97, 98 16, 17, 18, Āgamisyatpatıkā variety of 28 -Bāhyābhyantarā 17

X11 ŚRNGĀRA MAÑJARĪ

Vıgalıta-prasthāna-patıkā 55, 56, 83, 87, 89, 102 34 Svāminī 17 Vıghatıtasanketā 85, 94, 95 9, 12 Svīyā 19, 20, 22, 24, 25, 26, 30fn , 55, 72fn , 73, 75, 76, Vıcıtravıbhramāsaktā-Praudhā 72fn 77, 79, 84, 85, 90, 91, 92, 93, 94, 97-103, 104 3, 5, 6, 8, 13, 39 111 two kinds of the Pragalbha- (Vıtagamyā) 53 Svādhīnapatıkā 20 variety of 93, Madhya-guru-manavati variety of Vidagdhā 26, 28, varieties of 28 72fn in Avasthā-varieties 97-103, Uttamā etc Vıdhavā 18, 26 1n 104, 105 Vıpralabdhā 11, 17, 20, 22, 23, 25, 26, 55, 70, 78, 79, 80, Svairinī 19, 23, 24, 26 (Asatī) 11, three varieties of 26 84, 98, 99, 104 15, 19, 21, 22, 40 111, and Nāya- Hastınī 16, 18, 20, 33, 36, 38, 109 54 11, Raksasī kas Daksına etc 88 equated with 37 Viraktā (-vesyā) 17 „, in three different modes of classification 33 Vırahınī 26, see next Nayıkas, particular Vırahotkarthıtā 11, 17, 22, 25, 26, 33, 55, 72, 78, 79, 86, -Indumatī 24 98 15, 19, 20, 21, 40 111, and Sanketa 79, two -Indrānī 1V kinds of 98 20, two new varieties of 86 20 -Irāvatī 53 Vilāsagarvitā 86, 101 29 -Ūrvaśī 22, 53 Vılāsınī (Vesyā) 23, 24 -Kumudavatī 24 Vısrapdhanavodhā 26, 28, 92 4, and Madhyā 28, 29 -Gopīs 46 111 Vrtta-surata-gopanā 28, 94, 95 8, 9, 10 -Cıntayanti 19fn Vrttavartısyamānasuratagopanā 28, 94, 95 8, 9, 10 -Tārā 21, Veśyā 15, 18, 19, 23, 24, 25, 26, 27, 35, 43, 54, 55, of -Damayanti 86, 98 19, 19fn heaven 13, three classes, Ganıka etc 23, three -Draupadī 23, 24 kınds Madanāturā etc 17 1, Raktā 27 1, Eka- -Pārvatī 23 cārīnī 19, and real love 19, 20 1-11 -Magadhasundari 54 See also above Ganıkā and below Samānyā -Mandodari 24fn Śankıta-sanketa-jāragamanā 85, 94, 95 9 12 -Mādrī 19fn Śāntā 25, 26 -Mādhavī 24 Śılpakārıkā 17 -Mālatī 45 1v

Śankhıni 16, 18, 33-42, 109 54, equated with Yaksınī -Yakşi 53

37 -Rambhā 96 13

Śravanānutāpıtā 86, 98 20, 21 -Rādhā 46, 53 111

Śravanānuraktā 76, 94 8 -Vasantasenā 28 1

Sakhīvañcitā 86, 98, 99. 21, 22 -Vāsavadattā 53

Sakhyanutāpıtā 87, 102. 33, 36. -Viśākhā 52 Satī 54 -Śonadāsī 54

Satyavatī (Kulajā) 26 -Satyavatī 24

Sadhavā 26. -Sītā 24, 45 19fn 1v

Sabhayā 25, 29. Nāyıkābhāsa 93 8 1

Sādhāranastrī 22 5, see below Sāmānyā Nāyıka-Sahayas See below under Sahayas of

Sāmānyā 9, 20, 24, 25, 28, 29, 53, 54, 55, 74, 75, 76, 77 Nāyaka-Nāyıkās

79, 84, 85, 86, 88, 90, 91, 92, 94, 95, 96, 97-103, 104, Parapurușa 94 3, 8 See above Jara and Upapati under 3, 5, 12-15, 40 111 Raktā-variety featured in Pra- Nāyaka karana 22, 1 five varieties of 23, absent from Patākā-nāyaka 49

Krsna-ratı 27, and real love 22, 28, 54, 77, 95, 96, Pañcālıkī-Catușșaștı 12, 35, 37

1-11 and Mugdha etc 28, and 'money' 76, 77, 95, Pātalīputra 35 96, and Vaisıka Nayaka 88, divine varieties of Pādapatana 55

96, five new varieties of 96, in Avastha-varieties Pāradārıka 18, 43

97-103 Pūrvānurāga-vipralambha 79, 86

Sāhasıkā 85, 93, 94, 95 6, 9, 11, 12 Pedaipparuvam (Tamıl)

Saırandhrī 28 Prakarana 53 Raktā-Sāmānyā to be featured in 22

Saukumāryagarvitā 86, 87, 101 31 Prakrtı (characters) 14

Saundaryagarvitā 82, 86, 101 29, 30 four kinds of Pranaya-Kalaha (-Kopa) 19, 31, 54, 55, 81, 86, 99,

101 29 103, 104 24, 40 v See also next.

Saubhāgyagarvitā 55, 70, 86, 101 29 Pranaya-māna-vipralambha 23

Sthayıni, 17 Pravāsa 19, 22, 23, 27, 55, 78, 80, 82, 83 32, 40 11 Smıtagarvitā 86, 87, 101 31 caryā 19, three kınds, Bhāvin etc of 23, 27, 82, Vıpralambha 22, 23, 82. Svakīyā 23, 28, see Svīya, with Parakīya 143 varie. Prahasana 53, room for Sāmanya-varieties in 22 ties of 23 Svatantrā 85, 96 13, 14, 40 Prīt1 13

Svapnānutāpitā 86, 98 20, 21 Preman 29

Svayamvarā 23, 24 Proșıta 83 32 grammatical discussion on 83 32 Svādhīnapatıkā 17, 20, 26, 30, 52, 55, 72fn , 74, 77, 78, Phena (ka) 51 84, 85, 88, 89, 97, 98, 103, 104, 15, 16, 17, 19fn Bibhatsa 108 52.

39, 40 i11 two varieties of 85, and Anukūla Brhaspati 24 Budha 24

Nāyaka 88, Dhīra etc not admissible in 97, two Bhakti 12 new varieties of 97, and Navodha Bālā 72fn Bharata-nātya 70

INDEXES

Bhãna 35, 53 Bhāva-abhınaya 70 Sahāyas of Nāyaka, varieties of Manyu 81, 99, 23 See above Kopa and below Māna -Ātman, Ātmadūta, Sva 45

Mamatā 12 -Āraksapurușa 44

Marana 86 -Upanāgarakas 44

Mallıkā 51 -Gandhasevaka 43

Māna 21, 22, 25, 26, 28, 55, 75, 81, 99, 100 -Vipralambha -Gāndhıka 44

22, two varieties, Pranaya and Irsya, of 22, 99 -Gopālaka 44 24, three varieties Guru etc of 21, 23, 100 25, 40 -Ceta 43, 43fn, 45, 46, 47, 48, 49, 53, 54, 89, tU7 four kinds of 26, new nomenclature for varieties 51, omitted by some 44, 48 of 26, 28, four Nayika-types of Bhoja based on -Tantradūta 45 25, denied ın Parakīyā 28, identified with Kopa -Tāmbīlika 44 by some 81 23, difference from Kopa of 99 23 -Dūtas 43,45 correct meaning of 81, 99, 100 23, four causes -Daivajñas 44, 46 of 99 23 and Khandita etc 99 23 -Dharmadhikaranasthas 44

Mana-apanodana-upāyas 21, 23, 54 25 1v See also -Narmasakhā 46

under Dutī-Sakhī-Karman -Napita 44

Yayāvara, grhastha 24 -Nisrstārtha dūta 45

Ratı 107 52 -sthāyibhāva 108 52 -Nīcapātra (Ceta etc ) 43fn

Ratīccha (sambhogeccha) 3, 12 not exactly Anuraga Patrahārakadūta 45 -Parıcīraka (Ceta) 54 3,12 -Parımıtārthadūta 45 Rabhasa-cumbita 55 v -Pasandın 50fn Rasa 52, 89, 91, 95, 107-8, works on 52 process of Pīthamarda 43-51 54, 89, 107, 51 11, omitted bv manifestation of 52, two kinds, laukika and Bharata 43, 48 alaukıka, of 108 52, locus of 52 -Priyanarmasakhā 46 Ras ībhāsa 20, 32, 33, 77, 88, 96 8, 13 -Prıyasakhā 46 Ramayana, tradition of an unknown story-element -Bhıkşuka 44 of 24fn , plays on the story of 49 -Mantradūta, 45 Lajjā 92, 93, 108 3, 5 -Mālakara 44

Lokadharmi 15fn -Rajaka 44

Vakroktı 6, 29, 30, 31, 32 -Vayasya 43

Vañcana 93 6, 21, 40 -Vita 43-50, 53, 54, 89, 107 51 Vāra 84 37 1v, v, 1v -nıyama 103, 37 -Vıdūşaka 43-50,153, 89, 107, 51

Vālın 24 -Vaidıka 45

Vāsaka 78, 80, 84. 17, 37 1v, v upacāra of 1v -Vaidya 45

Vipralambha 22, 108, 109 52, 53, varieties of 86 -Sūras 44

Vıprıya 81, 99 13 -Sakhā 46

Viraha (Viyoga) 55 52 See above Vipralambha Sahapāmsukrīdita 54

Vīryaśulka 24 -Saurıka 44

Veśyātva 96 13 -Sauvarnıka 44

Vaimanasya 81, 99 23, 24 -Sva 45, see Atman above VarSıka 17, 44 (courtezan-love), 35 1 (section of Sahāyas of Nāyaka, partıcular

texts on erotics) Dantaka, a Pīthamarda 50fn -Dardaraka 50fn Vyabhıcārıbhāva 108 52 Vyalīka 81, 99 23 -Bhairavananda 50fn

Sāpa 86 Makaranda 49

Salina, grhastha 24 -Sekharaka, a Vita 49 Sugrīva 49 Sila (nature of characters) 15, 16 basis of classifi- -Subala 46 cation 16 -Sthāvaraka, a Ceta 43fn , 49 Srngara Rasa 91, 107-8 52, divine variety of 27 Sahāyas of Nayika, varieties 41-49 -grantha 12 Srngarabhasa 1 -Āgantu-sakhī 46 Sravanānurāga 108, 53 -Āptadūtī 46 Sakhī See under Sahāya of Nāyaka-Nāyıkās -Īksanıkā 42, 43, 45 Sakhī-krtya See above Dūtī-Sakhī-Karman -Kathani 42 Sankīrna-prakarana 53 -Kalāgrāhınīs 44 Sanketa 79, 80 21 -Kalāvidagdh ā 43 Sandeśa 54 -Kācavıkretrī 106 46, 47 Sambhoga 22, 108, 109 52, 53 -Kāru 42, 44, 47, 106 45, 46, all varieties, Rajaki etc. Samudra-phena 51, see above Phena(ka) included in 47 Sahakārın 108 -Kumārī 42 Sahāyas, of Nāyaka-Nāyıkās, 42-51, 53, 107 41, 49, 51 -Kuhakā 43 -qualities of 44, principles of classification of 44, -Gānavatī 48 ten grounds of classification, Jati, Guna etc, of -Ceti 49 45, 86 varieties of 45, inclusion in Sakhi, Dūti -Ceștāsanketakovidā 48 and Ceți of all varieties of 47, rise of exclusive -Chadmadūtī 44, 45 works on 47, 48, new classification, by Kavı- -Takravıkretri 47

41, 42 karnapūragosvāmin, of 46 Uttamā etc in 115 -Tapasi 43 -Tāmbūlakārınī 47

XIV SRNGĀRA MAÑJARĪ

-Dāsī 42, 44, 45, 47 106 45 v1 -Vikretri 47, 106 46, 47 -Dūtī 31, 32, 43 44, 45, 46, 47, 48, 54, 55, 70, 80, 87 105, -Vicitravacanā 48 106 41, 45, 46, eight kinds of 43, functions of -Vidhavā (Vısvastā) 45 45fn 87, 106, kinds of 105-6, functionally distinguish- -Vipraśnıkā 47, 106 45, 46, 47 ed from Sakhi 105 41 -Veşadhārınī 48

-Dhātrī 42, 44 - Vrddhaganıkā 43 -Dhātreyī 43, 45, 47, 106 45, 46 -Vrddhadāsī 43 -Nati 44, 47, 106 45 47 -Vrsalī 43

-Narmasakhi 46 -Vvājadūtī 45

-Nısrsțārthadūtī 43, 70 -Sankıtā 47 106 46, 48 Patavāsavıkretrī 106 46, 47 Śākyabhıkşukī 54 -Patrahārakadūtī 43 -Śılpakārıkā Sılpınī, 42, 44, 45, 46, 47, 106 45, 46 -Paracıttaviśesajñā 48 Śramanā 43 -Parıcārikā 44 -Sakhī 42, 43, 44, 45, 46, 47, 80, 106, 115 111 v , three -Parımıtārthadūtī 43 classes of 46, varieties Uttama etc in 84, 105 -Parıvrājikā (Pravrajitā) 44, 47, 50fn, 54, 106 41, 45, 46, functions of 87, varieties of 89, 45, 46, 47 functionally distinguished from Dūti 105,

-Pāsandınī 42 deceiving Nayıka for fun 80

-(Pīțhamardıkā) 50fn -Samānavıdyās 44

-Pūrvajāsakhī 46 -Sambandhini 45

-Pratıpattivicakșanā 42, 48 -Sahajā 46

-Prātiveśınī (-syā) 42, 44, 47, 106 45, 46 -Saırandhrī 47

-Prasūnavıkretrī 106 46, 47 Saucıki 48

-Prāsanginī 48 -Skhalıtā 48

-Prıyanarmasakhī 46 -Svayamdūtī, 43 44, 45, 46, 48, 49, 87, 106 45, 46 ac-

-Prıyasakhī 46 cording to different writers 48-49, included in -Bālā 44, 47, 106 45, 46 Nāyıkā Vāgvidagdhā by some 47, 48

-Bhāryādūtī 44, 45 -Svasā 43 -Bhıksuki 43, 45 -Svā, see above Svayamdūtī -Manıvıkretri 106 46, 47 Sāttvıkabhāva 91, 107 51, 52 -Manīhārınī 48, Sāmājıka 52

-Mātrșvasā 43 Samanya abhinaya 16 -Mālākāradārıkā 54 Sāmprayogıka 18 -Mundā 43 Sāhasa 93 6 -Mūkadūtī 44, 45 Sukha 52 -Mūdhadūtī 19, 44, 45 Saundarya 52 -Mūlakārıkās 43 Saubhāgya 29 -Yogınī Pravrajıtā, see above Parıvrājıkā Sneha 44 13, 23 -Rangopajīvana 42 -Rajakī 47 Sthāyıbhāva 107, 108 52 v1 Svapnānurāga 108, 109 53, 54 111 v1 -Lingini 42, 47, 106 45, 46 Svāmin 92 3 - Vanadevatā (ın Krsna-ratı) 46 Svīyapurusa 94 -Vātadūtī 44, 45 Hāsyarasa 15

WORKS AND AUTHORS

Akbarasāhīsrngāradarpana 11 fn Alamkārakaustubha Ajıtasena 52 (Kavıkarnapūra Gosvāmın) 27, 28, 46 Advartavıdyāvıaya 14 Alamkārakaustrbha (Viśveśvara) 29 Anangaranga 16 38-41 Ananta Bhitta 14, 53, 74, 75, 76, 88 date of 75 fn. Alamkāratılaka 14 1 Alamkāramuktāvalī (Narasabhūpālīya) 10 Anatācārya 13 Alamkārasırobhūşana 52 Appayyadīksıta 13, 73 Avaloka, commentary on the Dasarūpaka 11, 22 25, Abhıjnānasākuntala 9, 102 (33) 27, 9, 31 fn, 32, 45, 49, 56, 78, 82 11 Abhıdhānarājendra 50 Abhınavagupta 1V, V Ādı-ulā (Tamıl) 71

Abhınavabhāratī v Ādıpurāna 53 Anandavardhana 56 Abhısārıkāvañcitaka 53 Amarakośa 9, 98, 102 21, 21 fn, 37 Andhra Śrngāramañjarī 2, 13

Amaruka 9, 55-69, 81, 82 33 fn Amoda, commentary on the Rasamañjari 9, 11, 12, 13, Amaruśataka 9, 53, 55-69, 82, 83, 102 14, 33, 34, 47, 52, 72, 73, 85, 89, 91, 93, 94, 95, 96, 98, 101, 102, 103, 105, 106 2, 3. 11, 111, 1V, V1. -Nāyıkās in 72 fn, difficulty in deciding the -and Srngaramamiari 11, followed by Srngara- Nāyıkās in 55, 56, commentaries on 53, 55-69, mañjarī 72-89 differences in interpretation among 55-69, illus- 2, 3, 3fn, 5,5fn, 6, 6 fn., 8, 8 fn 10fn, 11, trated ms of 71-7', 72 fn , Gathasaptaśatī and 54 11fn, 12, 12 fn., 13, 13 fn, 17, 17fn 19, 19fn. Arjunamiśra 50 fn 21 fn 23 fn, 29, 29 fn, 32 fn 33fn, 37, 37fn. Arjunavarman 57-69, 72 fn 39, 39 fn , 42, 42fn 45, 45 fn Āmodakāra 73, praised 85

INDEXES vV See below Gurujāla Rangaśāyı Pandıta Āryāsapiasatī 54, 70 111 Gauranārya 52

Ilakkanavılakkam (Tamıl) 71 Ghasirama 52

Isvaradatta 35, 49 fn, 54 Ghotakamukha 18

Ujjvalanīlamanı 27, 28, 32, 43, 46 Candamāruta 14

Ubhayābhısārıkā 54 1 Caturacıntāmanı 52 Caturacūdāmanı 53 See also Caturbhānī Caturbhānī 53 11 Karpūramañrarī 50 fn Caturbhuja 50fn Kalyānakallola 52 Candrarāja 36 11 Kalynamalla 16 Cārāyana 18 Kavıkanthahāra 53 Citradhara 53 Kavıkarnapūragosvāmın 27, 46 Ceramān 71 Kavicıntāmanz 52 Chundahprakāsa 12 Kaviprivā (Hindi) 11 Jagannātha Pandita 73 Kātaya Vema 50 Jayadeva (Gītagovinca) 111 Kāmahalāsāstra (Telugu) 37 Jayadeva (Ratımañjarī) 34fn Kāmapurușārthasamgraha, 34 fn , 37 Jayamangala 19, 35, 44, 49fn ,51fn 1V, V Kāmasūtra 12, 16, 17, 20, 31, 32, 33fn , 35, 35fn, 43, Jātımālā 70 44, 49, 51fn,53 1, 1v Jınavardhana 26 Kāmasūtravyākhyā Jayamangalā Jñānasamudra (Hındı) 10 See below Jayamangalā Jyotirīśvara 16 Kāmasūtravyākhyā (Bhāskara Nısımhaśāstrın) 51fn Dalhana 51fn Kālıdāsa 22, 53 Tulasımūrtı 8

Kāvyaparīkșā 9 12, 91 2 Tulasīdās 54 Dattaka 35 Kāvyaprakāsa 9, 11, 12, 91 2 Dattakasūira 35, metrical resume of 35fn Kāvyānusāsana 23 fn, 26 Dasarūpcka 9, 11, 20fn , 25, 27, 32, 44, 46, 49, 50, 79, 80, Kāvyālamkāra (Rudrata) 21, 32-11, interpolation in 82, 91 2, 52fn v, V1 21 Dāsırāja 53 Kāvyālambārasamgraha (Telugu) 10 Devala 24 (Narasabhūpālīya) Devalasmrtı 24 Kāvyollāsa 52 Dūtīkar maprakāśa 47, 48, identification of author of Kucamāra See below Kūcı(u)māra 47, 48 Kumbhakarna 111 Kumārabhārgavāya campū 14 Doddayācārya 13, 14 Kumarasambhava 23 Dharañjaya 11, 22, 23, 25, 32, 44, 45, 79 Kumārasambhava (Telugu) 35, 37 Dhanıka 11, 22, 23, 31fn, 56, 79 Kumuda (?) 8 fn Dharmasūrı (Sāhıtjaratnākara) 11 Kuvalayānanda 13 Dharma-sūrı (-ācārya) 13 Kūcimāratantra 35 Dhūrtavitasamrāda 49fn, 54 11 Kūcu(ī)māra 35 See also Caturbhānī Krsnakavı 2' Nakşatı amālā 29 Krsnayajvan, Vadhūla 10 Nandıkesvara 34 Krşnaviaya 53 Kesavadāsa 10, 11, 72 111 Nann1 Coda 35, 37,42 Kokasambhava 53, 57-69 Namısādhu 21

Kokkoka 16, 34 Narasakāvya 9, 10, 70, 91 2.

Kcetrajña 8, 14, 70 N arasabhupālīya (Sanskrıt) (Alamkāramuktāvalī) 10, Ksemendra 44fn Narasabhūpālīya (Telugu) (Kāvālamkārasamgraha) Gangādhara (Gāthūsaptasatīvyākhyā) 54 9, 10. GangādharamıSra (Caturacıntāmant) 52 Nartananunaya 47 Gāthāsaptavatī 54-55, 70, 82, 83 v, source for other Nāgānanda 49 works of this type 54, and Amarusataka 54, and Nāgārjuna 34fn ĀryāsaptaSatī 70, and Parakīyā Nāyıkā 54, 55 Nātakalakşanaratnakośa 25,29 and Šrngāramañjarī 55 11 Nātyadarpana 22, 26, 49 Gāthūsaptasatīvyākhyā 54. Nātyāsāslra (Bhāratīya) 9, 11, 20, 25, 29-31, 78, 98, 99, Gırıdhara 52 1 6fn, 19, 19fn, 23, 25fn Gītagovinda 14 111 Nādīviveka 13 Gitagauripati 14 Nāyaka (-yıkā) bhūșana 9, 12, 52, 98, 19, 19fn, Gunacandra 26 Nāyıkāvarnana 52 Gunapatākā 16 Nārāyana Rāju Gajapatı, Dantalūrı 37 Gurı(u)jāla<āyın, G Rangaśāyın (Āmodakāra) 13 Nıghantu 16 14, 35, 73-89, prai ed 73, 85, date of 13, 14, 75fn Nilakantha (commentator on M Bhārata) 50fn Gonıkāputra 18, 34 Nilakantha (Kavyollisa) 52 Gonardiya 18 Pañcasāyaka 16 36fn, 38-41, 42 Gopalabhatta 14 Pada (mus.c composition with Nayaka-Nāyıkā Gopīnāthakavıbhūșana 52 themes) Govardhana 54, 70, -in Telugu 8, 14, 70, 71

XV1 ŚRNGĀRA MAÑJARĪ

-in Tamıl 70, 71 Rasacandra 52 -ın Sanskrıt 71 Rasacandrıkā 15, 29, 33, 47, 49, 50, 77, 79, 81, 83 Padārthadīpıkā (Lakşanadīpikā) 52 Rasatarangınī (Bhānudatta) 14, 89 v1 Padmaprābhrtaka 50fn, 53. Rasatarangınī (Rāmānanda) 52 See also Caturbhānī Rasadīrghıkā 52 Padmasundara 11fn Rasapārıjāta 14, 27, 33 Panmruppāttiyal 71 Rasabındu 52 Paramānanda 70 Rasamañjarī 9, 12, 13, 27, 32, 33, 34, 46, 47, 18, 52, 91, Parāśara 19 92, 93, 95, 96 97, 98, 99, 101, 102, 103, 105, 107, Parbın Rai Pātūri 10 109 2, 3, 4, 5, 6, 7, 11, 12, 13, 15, 17fn , 19, 21, Parimala (on Rasamañjarī) 9, 12, 13, 91 2 23, 32, 33, 37, 39, 41, 42, 42fn , 51, 52, 54 Pāñcāla 12, 35 See below Bābhravya Pāñcāla -criticised by Sıvarama 29, criticised in Srngara- 11, 1V, V1 Pānin1 9, 23, 101 32 33 Pādatādıtaka 49, 54 mañjarī, followed in Singāramañjarī on some See also Caturbhānī 1deas 72-89, interpolation in 74, illustrated ms of Pārāśaryaviaya 14. 72

Pundarīka Vițthala 47, 48 -Commentaries on 14, 53, corruptions in the Poıhaıyār 71 printed texts of Anantapandita's commentary on Pratāparudrīya (-rudravasobhūșana) 9, 11, 27, 46, 74, 74, 76 78, 79, 83, 91, 92, 97, 98, 102. 2, 3, 16fn 19, 19fn, Rasaratnahāra 25, 29, 33, 76

21, 33, 52fn 1, V1 Rasārnava 9, 91 2 See next

Praudhamanoramā 13 Rasārnavasudhākara 11, 22fn , 37, 32, 46, 54

Basavarāja 35, 36 Rasıhaprıya (Hındı) 9, 10, 11, 70, 87, 91, 103 2, 37

Babhravīyāh 44 11, 111, illustrated ms of 72

Bābhravya Pāñcāla 12, 16, 18, 35, 36 Rasıkarasāyana 52 Btharılal 54, 70 Rāgamañjarī 47 Brhatkathā 42fn. Rāmacandra (Nāțyadarpana) 26, 27

Bhattojidīkșıta 12, 13 Rāmacandra (Krşnavijaya) 53

Bhattumūrti 9, 10 Rāmacandrıkā (Hındı) 11

Bharata (Nātyaśāstra) 9, 14-17, 19, 25, 26, 27, 29, 30, Rāmabhāratī 70

31, 32, 42, 43, 44, 48, 49, 79, 80, 81, 84, 99 1, 1V, v, Rāmarudra 57-69

tradition different from his 25, 26 Rāmaśarman 52

Bhavabhūti 53 Rāmānanda 52 Bhānudatta (-kara, pandıta) 14, 27, 28, 32, 33, 46, 48, Rāmānandanātha 57-69 72-89, 1, 11, v1, defended by Sāmarāja 28, Śṛngāra- Rāmālamkrt-manjarī (Hindı) 11 mañjarı's attitude towasds 72-89, Rukminīharana 12 Bhāvaprakāśa 25, 32, 50, 52 Rudrata 21, 25, 32, 11, and Rudrabhalta 21 Bhāvamiśra 53 Rudrabhatta 11, 18, 20, 21, 25, 32, 41, 45, 79, 80 Bhāsa 53 11 v1, and Rudrata 25 Bhāskara Nrsımhaśāstrın 51fn Rudramadeva 57-69 Bhoja 18, 23, 24, 25, 26, 28, 32, 43, 44, 45, 46, 49, 50 , Rūpagosvāmın 27, 28, 43, 46 111 original treatment of the subject by 23-25, 45-46 Lakşanadīpıkā (Padārthadīpıkā) 52 Madanatılaka 36 Vaccanandimālar (Tamil) 71 Mandāramarandacampū 24, 28, 47, 89, uses Bhoja 24 Vajālaggam 75 Mammața 11 Varadācārya 13 Mahācārya (Mahādesika), Vādhūla 13, 14. Vararuci 54 1 Mahābhārata 24, 50fn Vasantavilāsa 72, illustrated ms of 72 Mādhuryarañjanī 28 Vāgbhata 26, 27 Mānasollāsa 1, 11, Vāgbhatālamkāra 26 Mālatīmādhava 45, 49, Vātsyāyana closely followed Vātsyāyana 9, 12, 16, 17-19, 20, 23, 31, 32, 33, 34, 35, 43, 1n 45 45, 48, 49, 50, 85, 109 54 1 writers on KämaSastra A' ālavıkāgnımitra 17, 50fn, 53. before 35 closely followed by Bhoja 45,49, 50 Mūladeva 16, 36, as writer on Kāmaśāstra 36fn closely followed in Malatimadhava 45 tradition Mrcchakatıka 27, 43fn , 49, 53 different from 17, 34 Meghadūta 27 (-sandeśa) 9, 53 102 (33) Vāsudevakavı 71 -Commentary on (Seşacıntāmanı) 12 Venkatanārāyānadīksıta 52 Medini 50fn Venkatācārya, Cılakamaırı 13 Raghuvamśa 24, 53 Vedāntadeśikavaibhavaprakāvıkā 14 Rangaśāyın 13 Vemabhūpāla 55, 57-69, 72 See Gurijāla Rangaśāyın Vıkramorvasīya 22, 53. Rangācārya 13 Vikatan tamba 33tn Ratıdarpana (Srngārabhedapradīpikā) 35fn Vynanagīta (IIindi) 11 Ratimañjarī 34fn , 37fn VidyFnātha 10, 11, 27, 78, 79 1 Ratirahasya 16, 34, 36fn , 37fn, 37-41. Vilāsaratnāka, a 9, 12, 52, 78, 86, 91 2, 17fn Ratrśāstra 34, 37fn 11 Vıśākhadatta 53 Ravicandra 53, 57-69 Viśvanātha 27, 46, 79 Rasakalıkā 52 Viśveśvara 15fn , 29, 33, 47, 75, 77, 79, 80, 81, 83 i1 Śabdakalpadruma 51.

INDEXES XV11 Sāradātanaya, 22fn 25, 26, 32, 50 Sarngadhara 37 -original and critical work in 90 Sarngadharapaddhatı 26, 37 8fn -precise definitions in 90 Smgabhūpāla 11, 22fn, 25fn, 27, 16, 54, 55 -illustrations in 90 Swatattvaratnākara 35, 36 -detailed summary of the contents of 91-109 Sıvarāma Tripāțhin 25, 29, 33, 75, 76, 79, 81 Śrngāramañjarī (Telugu), 2, 9, 91, 96, 2 Sıvarāmakavı 37 Srngaramanjarī (Ajitasena) 52 Sīhrabodhinīnāmamāla 48 Śrngāramañjarī (anon work in Adyar Library) [52 Silābhaļtārıkā 8fn Srngāralaharī 14 Sūdraka (Padmaprūbhrtaka) 35, 50fn, 53 Śrngārasaranı (-sarasī) 53 Südracāravromanı 12 Śrngārasarasī (Bhāvamısra) 53 Sesa Kisna 12, 13 Śrngārasaptasatī 70

Sesa Cintāmanı 12 Śrngārasaptasatī (another) 70 fn

Sesa Nrsimha 12 Śrngārasāra 52

Sıngāratilaka 9, 11 18, 20, 21 25, 27, 32, 44, 49, 50, Srngārāmrtalaharī 28, 33, 47 11

55, 71 fn , 79, 80 91 2 1v, v Śyāmılaka 35, 49, 54

Srngāradīpıkā (Bhānudatta) 14 Śrīdhara 27, 37

Sıngaradīpıkā Ratirahasya 35, 35 fn,, 36, 36 fn, Śrīdaradāsa 26, 32

38-41, 42, textual corruptions in 36 fn , real ex- Śrīvatsalāñchana 12

tent of 35tn , identification of mss of 35 fn, Svetaketu 35 Satsar (Hınd1) 54, 70 different names of 35 fn Saduktıkarnāmrta 26, 32 Singāraprakāsa 24, 25, 28, 32, 43, 44, 45 49, 50 v , Sadrāgacandrodaya 47, 48 closely follows Vatsyayana 45, 49, 50, original Saptasati (Hariprasad) 70 treatment of subject in 23-25, 45-46 Saptaśatī, Gatha See above Śrngārabandhapradīpıkā, same as Śrngāradīpıkā Samayamātrkā 44fn Rattrahasya See above 35 fn Sarasvatīkanthābharana 24, 25, 32, 46, 49, 50

Srngarabhedapradīpıkā, same as Šrngāradīpıkā Ratira- Sarvajña Nārayana 50fn

hasya See above 35 fn. Sāgaranandın 25, 26

Srngaramañjari 1 ff, 11, 12, 13, 14, 15, 18, 19, 22, 27, Sādhāranadeva 54

28, 29, 30, 31, 33, 34, 35, 36, 38-41, 42, 49, 50, 52, 55, Sāmarāja 28, 29, 33, 47, 75, 77, 79, 83 11

70, 101, 1 ff 1-V Sāhstyadarpana 20 fn , 27, 29, 46, 47, 53

-discovery of mss of 1-2 Sāhıtyaratnākara 11, 12, 78, 91, 98 19,'19 fn, 45.

-authorship of 3-9. Sımhāsanadvātrımšıkā (Hındı) 10

-Telugu original of 4, 7, 9, 91, 96 Sundaradās 10, 72

-Works and authors cited in 9-14, 91 Sundarasrngāra (Hındı), 9, 10, 33, 34, 70, 91 2

-Nāyakas in 32, 33, new hero-types added in -illustrated ms of 72

34, Sahāyas in 46, 47, additional accomplices in Suvarnanabha 18

106 Suśruta 51

-detailed comparison with Rasamañjarī and Susrutasamhıtā 51 fn

Amoda of 72-89 -Dalhana's commentary on 51 fn

-topics in, compared with those in Rasamañjari Somanātha 70 Someśvara 1 and Amoda 87-89 Stavamālā 111 -critical attitude of 73 -understanding of love in 78, 90 Smaradīpıkā, 34 fn . 37 fn Svapnavāsavadatta 53 -topics omitted in 88 Haramekhalā 36 -additional and special features of 87-89, 91 Harıprasad 70 -method of treatment in 91 Harıhara 35, 36, 42 -elaboration in 89 Hāla 54 70, 82 v -abdridgement in 89 Hemacandra 22 fn, 23 fn, 25 fn, 26 ENGLISH Subjects Abdulla Qutbshah 7, 8 -himself eulogised n the work 17.19, 11, 21, 49, Abul Hasan, Tana Shah, Sultan 4-8, 9, 14, 91, 109 2 50,52 Adyar Library 1, 12fn,, 13 Age, and Nayıka-classification 74 -description of his qualities 91 2 All-India Oriental Conference 1. Ahmadnagar, Nagar, 2fn. Ahmad Nizam Shah 14 Anantakrıshna Sarma, R 8fn

Ahmad Shah I Bhaman1 5, 6 Anger, and Khandıti, Mānavatī etc 99

Akbar 10, 11, 47 Asadulla, of the family of Gesu Daraz 6

Akbar, son of Gesu Daraz 5, 6. Asiatıc Society of Bengal 5fn, 48,70

Akbar Shah, Bade Saheb, Saha Raja, author of the Askarulla, great grandson of Gesu Daraz 6 Aurangazeb 6, 9 Sṛngāramañjarī Bade Saheb, 91, 109 See Akbar Shah -his geneology 3, 6 Bande Nawaz Hazarat, Gesu Daraz, Sadr-ud-din Md. -his authorship of the work, 4,7, 8 Hussain1 3-6, 91 1. C