2023-02-23 18:49:32 by ambuda-bot
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302
THE CANDIŚATAKA OF BĀŅA
with the name of his weapon, or with the name of the part of the body
from which the weapon is drawn; e.g. Hari draws the ari from the uras,
and Ifa draws the sala from the firas-an exaggerated assonance (ya-
maka), which, however, finds its counterpart in stanza 52, and in Saryasa-
taka, stanzas 71 and 81.
37
dṛṣṭāv äsaktadṛṣṭih prathamam iva tathā sammukhīnā
"bhimukhye
smerā hāsapragalbhe priyavacasi kṛtaśrotrapeyādhikoktiḥ
udyuktā narmakarmaṇy avatu paśupatāu pūrvavat pārvati vaḥ
kurvāṇā sarvam īşad vinihitacaraṇālaktakeva kṣatāriḥ
Parvati (Candi), with her glance fixed on [<Pasupati's
(Siva's)>] glance [in affection], [and on <Pasupati's
(Mahişa's) > glance in anger], thus facing them face to face
at the outset, as it were,
Smiling [affectionately when <Pasupati (Siva)>] <proudly
jested», [and scornfully <when Pasupati (Mahisa) >]
<proudly mocked>,
Adding even more words worth listening to [when <Pasupati
(Siva)>] <flattered> [and when <Paśupati (Mahisa) >]
<spoke her fair»,
Intent upon the carrying on of the sport [of battle] <in the case
of Pasupati (Mahiṣa)>, just as formerly [she had been intent
upon carrying on the sport of love] <in the case of Pasupati
(Siva)>,
Doing everything triflingly [<in the case of Pasupati (Mahișa)>,
but with real affection <in the case of Pasupati (Siva) >],
Killed the Foe (Mahișa), and became smeared, as it were, with
lac-dye on her foot.²
May Parvati (Candi) protect you!
Notes. 1. This is a troublesome stanza, but it seems to be clear that
there is a pun, running all through, on the two meanings of the term
Pasupati-Siva and Mahişa. 2. After killing Mahişa, Candi found her
foot smeared with blood, as if with lac-dye; cf. stanzas 2, 3, 12 and 44.
V.L. (a) -drstiḥ kṛtamukhavikṛtiḥ sammukhina. (c) pasupateḥ.
THE CANDIŚATAKA OF BĀŅA
with the name of his weapon, or with the name of the part of the body
from which the weapon is drawn; e.g. Hari draws the ari from the uras,
and Ifa draws the sala from the firas-an exaggerated assonance (ya-
maka), which, however, finds its counterpart in stanza 52, and in Saryasa-
taka, stanzas 71 and 81.
37
dṛṣṭāv äsaktadṛṣṭih prathamam iva tathā sammukhīnā
"bhimukhye
smerā hāsapragalbhe priyavacasi kṛtaśrotrapeyādhikoktiḥ
udyuktā narmakarmaṇy avatu paśupatāu pūrvavat pārvati vaḥ
kurvāṇā sarvam īşad vinihitacaraṇālaktakeva kṣatāriḥ
Parvati (Candi), with her glance fixed on [<Pasupati's
(Siva's)>] glance [in affection], [and on <Pasupati's
(Mahişa's) > glance in anger], thus facing them face to face
at the outset, as it were,
Smiling [affectionately when <Pasupati (Siva)>] <proudly
jested», [and scornfully <when Pasupati (Mahisa) >]
<proudly mocked>,
Adding even more words worth listening to [when <Pasupati
(Siva)>] <flattered> [and when <Paśupati (Mahisa) >]
<spoke her fair»,
Intent upon the carrying on of the sport [of battle] <in the case
of Pasupati (Mahiṣa)>, just as formerly [she had been intent
upon carrying on the sport of love] <in the case of Pasupati
(Siva)>,
Doing everything triflingly [<in the case of Pasupati (Mahișa)>,
but with real affection <in the case of Pasupati (Siva) >],
Killed the Foe (Mahișa), and became smeared, as it were, with
lac-dye on her foot.²
May Parvati (Candi) protect you!
Notes. 1. This is a troublesome stanza, but it seems to be clear that
there is a pun, running all through, on the two meanings of the term
Pasupati-Siva and Mahişa. 2. After killing Mahişa, Candi found her
foot smeared with blood, as if with lac-dye; cf. stanzas 2, 3, 12 and 44.
V.L. (a) -drstiḥ kṛtamukhavikṛtiḥ sammukhina. (c) pasupateḥ.