2023-02-23 18:49:33 by ambuda-bot
This page has not been fully proofread.
THE CANDIŚATAKA OF BĀṆA
40
nite nirvyājadiīrghām aghavati maghavadvajralajjānidāne
nidrām drāg eva devadviși mușitaruṣaḥ samsmarantyāḥ sva-
bhāvam
devyā dṛgbhyas tisṛbhyas traya iva galitā rāśayo raktatāyās
trāyantām vas triśūlakṣatakuharabhuvo lohitāmbhaḥsamudrāḥ
305
When the sinful (Mahișa), Foe of the Gods, who had put to
shame the thunderbolt of the Munificent (Indra);¹
Had been brought full quickly to the sleep that is ineffably long,³
Devi (Candi), reft of her anger, came back to herself³;
And the oceans of flowing blood, issuing from the holes of the
wounds [caused] by the trident [in Mahişa],
Became, as it were, three masses of the redness [of anger]
streaming from her three eyes."
May these oceans of blood protect you!
Notes. 1. Indra's thunderbolt was ashamed because it had been unable
to subdue Mahişa. 2. Lit. 'long beyond semblance.' 3. Lit. 'recol-
lecting her own nature.' 4. Lit. 'blood-water oceans.' 5. Upon seeing
the blood, Candi realized that the killing had been effected, her rage sub-
sided, and the red of anger faded from her eyes. The fanciful imagining
of the red blood flowing from Mahişa to be the redness of anger receding
from the eyes of Candi, is an instance of the rhetorical figure utpreksa,
'Poetic Fancy.' For Candi's three eyes, cf. stanza 39, note 3, and stanza
51, note 1.
6. This stanza is quoted in the Sarasvatikanthabharaṇa (2.
296) of Bhojadeva (fl. 1010-1042 A.D.; cf. Mabel Duff, Chronology of
India, p. 109, Westminster, 1899), as an illustration of the rhetorical figure
citra, 'picture,' a type of varnanuprāsa, or 'syllable alliteration' (see the
2d ed. of this work by Jivananda Vidyāsāgara, p. 255, Calcutta, 1894).
Stanza 66 of the Candifataka is also quoted in the Sarasvatikanthabharaṇa
as an illustration of the venika ('braid') type of varnanuprāsa; cf. stanza
66, note I.
V.L. (b) muşitabhiyaḥ. (c) raśayo śoṇitasya. (d) rakşantu tväm tri-
salakşata-. The text as given in the Sarasvatikanthabharaṇa (see note 6)
shows the following variants: (a) vajranidränidane. (d) rakşantu tvam
trisalakşatikuhara-.
41
kālī kalpāntakālākulam iva sakalam lokam älokya pūrvam
paścāc chliṣṭe viṣāṇe viditaditisutā lohitā matsareņa
21
40
nite nirvyājadiīrghām aghavati maghavadvajralajjānidāne
nidrām drāg eva devadviși mușitaruṣaḥ samsmarantyāḥ sva-
bhāvam
devyā dṛgbhyas tisṛbhyas traya iva galitā rāśayo raktatāyās
trāyantām vas triśūlakṣatakuharabhuvo lohitāmbhaḥsamudrāḥ
305
When the sinful (Mahișa), Foe of the Gods, who had put to
shame the thunderbolt of the Munificent (Indra);¹
Had been brought full quickly to the sleep that is ineffably long,³
Devi (Candi), reft of her anger, came back to herself³;
And the oceans of flowing blood, issuing from the holes of the
wounds [caused] by the trident [in Mahişa],
Became, as it were, three masses of the redness [of anger]
streaming from her three eyes."
May these oceans of blood protect you!
Notes. 1. Indra's thunderbolt was ashamed because it had been unable
to subdue Mahişa. 2. Lit. 'long beyond semblance.' 3. Lit. 'recol-
lecting her own nature.' 4. Lit. 'blood-water oceans.' 5. Upon seeing
the blood, Candi realized that the killing had been effected, her rage sub-
sided, and the red of anger faded from her eyes. The fanciful imagining
of the red blood flowing from Mahişa to be the redness of anger receding
from the eyes of Candi, is an instance of the rhetorical figure utpreksa,
'Poetic Fancy.' For Candi's three eyes, cf. stanza 39, note 3, and stanza
51, note 1.
6. This stanza is quoted in the Sarasvatikanthabharaṇa (2.
296) of Bhojadeva (fl. 1010-1042 A.D.; cf. Mabel Duff, Chronology of
India, p. 109, Westminster, 1899), as an illustration of the rhetorical figure
citra, 'picture,' a type of varnanuprāsa, or 'syllable alliteration' (see the
2d ed. of this work by Jivananda Vidyāsāgara, p. 255, Calcutta, 1894).
Stanza 66 of the Candifataka is also quoted in the Sarasvatikanthabharaṇa
as an illustration of the venika ('braid') type of varnanuprāsa; cf. stanza
66, note I.
V.L. (b) muşitabhiyaḥ. (c) raśayo śoṇitasya. (d) rakşantu tväm tri-
salakşata-. The text as given in the Sarasvatikanthabharaṇa (see note 6)
shows the following variants: (a) vajranidränidane. (d) rakşantu tvam
trisalakşatikuhara-.
41
kālī kalpāntakālākulam iva sakalam lokam älokya pūrvam
paścāc chliṣṭe viṣāṇe viditaditisutā lohitā matsareņa
21