2023-02-23 18:48:33 by ambuda-bot
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THE MAYŪRĀṢṬAKA OF MAYŪRA
TEXT AND TRANSLATION
om namaḥ śrihariharābhyām
eşā¹ kā prastutāmgis pracalitanayanā hamsalīlā³ vrajanti
dvau hastāu kuňkumārdräu kanakaviracita* . . ū
'üm [gām]gegatā sā bahukusumayutā baddhavīņā hasantī
tāmbūlam vāmahaste' madanavaśagatā gūhya³ śālām praviṣṭā
Om! Reverence to the illustrious Hari and Hara!
1
Who is this (maiden), with beautiful limbs and wandering glance,
approaching with the gait of a hamsa?
Her two hands are moist with saffron, her
gold,
She has
.....
......
on her [body]; she is decked with many flowers,
girt with a lute, and is smiling.
Concealing betel in her left hand, and having yielded to the
power of love, she enters the [private] chamber.
composed of
Notes. 1. The meter is sragdhara. 2. In the matter of transliterating
nasals, I have faithfully followed the manuscript, which is inconsistent,
sometimes writing anusvära instead of the appropriate nasal consonant.
Compare, for example, lagnamga (2a), priyamga (3d), and gaganām-
gana (8 d), with bhrabhangam and ananga (7b). Note also amtaḥ for
antaḥ (3c), caṇpaka with lingual nasal, instead of campaka (8b), and
sampakva for sampakva (5b). In the use of the nasal before k, there
appear to be no irregularities except famkayanti for fankayanti (2b);
cf. kunkuma (1 b), and panka (7 c). 3. The word la is one of the stock
terms used to define the natural graces of the heroine; cf. Dasarupa, a
Treatise on Hindu Dramaturgy, tr. Haas, New York, 1912, 2. 60, 'Sport-
iveness (la) is the imitation of a lover in the actions of a fair-limbed
maiden.' 4. One, possibly two consonants must come between the a and
the; the syllable containing the a must be heavy, and six syllables must
be supplied after the #. 5. One syllable is missing. 6. Betel was as much
an adjunct of love-making among the ancient Hindus as candy and con-
72
TEXT AND TRANSLATION
om namaḥ śrihariharābhyām
eşā¹ kā prastutāmgis pracalitanayanā hamsalīlā³ vrajanti
dvau hastāu kuňkumārdräu kanakaviracita* . . ū
'üm [gām]gegatā sā bahukusumayutā baddhavīņā hasantī
tāmbūlam vāmahaste' madanavaśagatā gūhya³ śālām praviṣṭā
Om! Reverence to the illustrious Hari and Hara!
1
Who is this (maiden), with beautiful limbs and wandering glance,
approaching with the gait of a hamsa?
Her two hands are moist with saffron, her
gold,
She has
.....
......
on her [body]; she is decked with many flowers,
girt with a lute, and is smiling.
Concealing betel in her left hand, and having yielded to the
power of love, she enters the [private] chamber.
composed of
Notes. 1. The meter is sragdhara. 2. In the matter of transliterating
nasals, I have faithfully followed the manuscript, which is inconsistent,
sometimes writing anusvära instead of the appropriate nasal consonant.
Compare, for example, lagnamga (2a), priyamga (3d), and gaganām-
gana (8 d), with bhrabhangam and ananga (7b). Note also amtaḥ for
antaḥ (3c), caṇpaka with lingual nasal, instead of campaka (8b), and
sampakva for sampakva (5b). In the use of the nasal before k, there
appear to be no irregularities except famkayanti for fankayanti (2b);
cf. kunkuma (1 b), and panka (7 c). 3. The word la is one of the stock
terms used to define the natural graces of the heroine; cf. Dasarupa, a
Treatise on Hindu Dramaturgy, tr. Haas, New York, 1912, 2. 60, 'Sport-
iveness (la) is the imitation of a lover in the actions of a fair-limbed
maiden.' 4. One, possibly two consonants must come between the a and
the; the syllable containing the a must be heavy, and six syllables must
be supplied after the #. 5. One syllable is missing. 6. Betel was as much
an adjunct of love-making among the ancient Hindus as candy and con-
72