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SRI VEDANTA DESIKA'S

HAMSASANDESA

ASVASAS I & II

WITH THE COMMENTARY OF Swetaranyam NARAYANA SASTRY of Pachayyappa's College, Madras. ENGLISH NOTES & TRANSLATION

S NARAYANA IYENGAR, B.A., L.T., Lecturer, Pachayyappa's College, Madras

A CRITICAL STUDY AND APPRECIATION

Kapisthalam KRISHNAMACHARYA, B.A.. LT,

Headmaster, Tirupati.

V. RAMASWAMY SASTRULU & SONS 292, Netaji Subhash Chandra Bose Road,

MADRAS 1 Eastrulu & S

Post Box 1372.

1955

Pose Road,

SRI VEDANTA DESIKA'S

HAMSASANDESA

ASVASAS I to II

WITH THE COMMENTARY OF Swetaranyam NARAYANA SASTRY of Pachayyappa's College, Madras. ENGLISH NOTES & TRANSLATION BY

S. NARAYANA IYENGER, B.A., L.T., Lecturer, Pachayyappa's College, Madras. A CRITICAL STUDY AND APPRECIATION

Kapisthalam KRISHNAMACHARYA, B.A., L.T., 2002 Headmaster, Tirupati.

10 7/ 기

V. RAMASAWMY SASTRULU & SONS 292, Netaji Subhash Chandra Bose Road

Post Box 1372. 1955

MADRAS 1.

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III PAPAVEA

TO TRATAMMO SUT TIW YATRAS AKAYA

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3rd Edition. 1955

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श्रीमद्वेदान्तदेशिकविरचितः ॥ हंससन्देशः ॥

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TRANSLATOR'S PREFACE

In translating a Sanskrit work into English, we find that the earlier the age of the work to be translated, the easier is the labour of the translator, partly because earlier Sanskrit idiom has often a very great resemblance to English idiom and partly because of the simplicity of style in the older works. But, as centuries passed by, the purer Sanskrit idiom was gradually replaced by the prevalent idiom of non-Aryan languages, and the introduc- tion of unfamiliar imagery made the translator's work still more difficult; and the gulf became so wide that a free translation in vigorous living English idiom made the work appear altogether a different one from the original. Hence it is that I have been obliged to choose a midway path in iny attempt. The result has not been quite happy, as I myself see; the movement of the language has become clumsy; and it has often been necessary to insert corrective or explanatory words or phrases to make the production fairly intelligible. There is a vague dissatisfaction left in my mind, perhaps due to a recogntion of my want of courage that has prevented me from breaking away from the cramping elements in my style. With this explanatory apology, I present my attempt to the reader.

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Jon Sri Venkatanatha, the author of this little poem, is better known by his titular name Vedanta Desika, i.e., the Preceptor in Vedanta Philosophy. He was born, according to a sloka that records the date of his birth, in 1191 of the Salivahana Era, corresponding to 1269 A. D. This agrees well with the dates of the events of his life and may be taken to be correct. He is said to have lived 102 years, and so he belongs to the 13th and 14th centuries A. D.

He was born in a village named Tuppli, near Conjeevaram. His father was a learned Pandit, named Ananta Suri or Anantacharya, and his mother was Tothamba. They were Vaishnava Brahmanas of the Vadagalai Sect, i.e., of the Northern culture. It is said that his mother, who had been childless for a long time, dreamt one night that she had swallowed a bell in obedience to the orders of a supernatural being, and that the birth of Venkatanatha was the result; he is thus known as the aaa, or the incarnation of the bell used during the worship of Vishnu in temples. Setting aside the supernatural element, his ringing voice and his irrefu- table logic might well have earned him that title.

dor His age was an age of intense religious activity in Southern India, and naturally produced the keenest of

intellects capable of writing masterly commentaries and of taking sides in intellectual debates on religion and philosophy. The chief warring schools of philosophic thought during his age were the Visishtadvaita and the

Advaita a schools, and and our r author was one was one of the m

most

123

masterful exponents of the former. The days of religious persecution by the Saiva Pandyan kings were over, but the intensity of the hatred between the Saivas on one side and the Brahmanic Vedanta Schools on the other was in no way modified even then. Our author had therefore often to throw himself into the fray against the tenets of that religion also, which, by the way, was wholly non-Aryan in origin, while the Vedanta Schools of thought were maninly Vedic in origin.

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Even a as a child, Venkatanatha was precocious, and at a very early age, he was handed over to his maternal uncle, Atreya Ramanujacharya, as a disciple. So quick was he in learning that, at twently or thereabouts, he had finished his education and had mastered the Vedas with their commentaries, the Sastras, the Agamas, and Sanskrit literature, his chief strength being in Logic, Vedanta philosophy and Kavya. Even his religious opponents recognized these special merits of his and have conceded to him the title of कवितार्किकसिंह:.

Soon he became a lecturer and his fame attracted to him disciples year after year until his death. His restless temperament led him to many lands, always in pursuit of fresh knowledge or in answer to a challenge. Tradition

has it that Venkatanatha was short of stature, wiry of frame and blessed with very good health and marvellous powers of endurance. During all his travels, he is said never to have used a vehicle. He led the simplest and most austere of lives even as an ordinary householder, a life that Sanyasins have often failed to lead. His f described by one of his admiring disciples, shows the severe simplicity of his life, his perfect faith and his untiring energy.

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od Venkatanatha was one of the highest representatives of the orthodox school of Vaishnava Brahmanas, though his orthodoxy had nothing of the irrational dogma or the ingenious make-shift that have accumulated around religious faith latterly. To him, the sanctity of places was real; the eternal presence of the Beautific Vision hidden in the stone or metal image was real; and it is said that he used his miraculous psychic powers very, very rarely, and only when necessity forced him to do so.

As an author, Venkatanatha is very prolific. He is the accredited author of over a hundred works small and big. They include (1) a long poem, named

on which Appayya Dikshita has written an able commentary; (2) another, of a thousand stanzas on the pair of Rama's Padukas, named ; (3) a long dramatized version of the primary postulate of Visishtadvaita, named संकल्पसूर्योदयं ; (4) a masterly commentary on the Sri Bhashya of Sri Ramanuja, known as श्रुतप्रकाशिका, because it was later copied out by a

reverential disciple from memory; (5) a large number of works on controversial religious subjects, of which

is most often studied; (6) a large number of works eluci- dating and defining the tenets of Visishtadvaita; (7) a very large number of stotras on the various aspects of the Infinite, as well as upon the Gods and Goddesses of the: temples he worshipped in; and (8) miscellaneous works in Sanskrit and Tamil.

His genius was much more philosophic and religious. than literary or scientific; for example, his ideas of the Geography of the Earth must be treated as legendary or explained away esoterically; but his logic in religious and philosophic discussion has been found to be terribly embarrassing to his antagonists. His mastery of the Sanskrit language and the fluency of his diction have justified the epithet of faar which he sometimes uses to describe himself. On the whole he was one of the most outstanding figures of his age in Southern India, worshipped as an incarnation by his intimate admirers and disciples, revered for his purity, honoured for his vast learning, and whole-heartedly hated by the vested religious interests he overthrew.

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INTRODUCTION

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Hamsa Sandesa is a short lyric written in imitation. of Kalidasa's Meghasandesa. As in the case of its model, it abounds in descriptions of the shrines and other holy places; but Southern India is chosen as the scene and this poem may thus be said to be the complement of Meghasandesa which deals with Northern India. Between these two regions there is a strip of land in which temples and holy places are few and far between, and which can- not therefore be the scene of any poem of this sort. Like: Kalidasa, Venkatanatha has introduced Sringara which must be one of the main Rasas of such a poem, the other- being pathos. The metre, the division of the poem into two parts, the first embodying the journey and the second the message, the choice of a fanciful messenger, the treatment of the subject and the imagery employed, in all these the author has closely followed the model, even the numbers of the stanzas in the parts being nearly the same.

He sees a

In the Meghasandesa, the hero of the poem is a Yaksha who is temporarily exiled from his native land and bewails his separation from his beloved. messenger in a cloud formed when the early summer rains begin. He finds it travelling northwards and entrusts it. with a message of love to his beloved. The message is

delivered and not only consoles the wife, but also brings about a remission of the sentence passed against him. The actual message occupies about twelve stanzas at the end of the second part.

In the Hamsa Sandesa, the hero of the poem is Rama, who bewails his separation from Sita who was then a prisoner at Ravana's palace in Lanka. The messenger bird is a Royal Swan, a member of the tribe of birds that travel southwards from the Himalayan regions before the approach of winter. Rama entrusts it with the message, which closely resembles the message in the model. But the poem does not say whether it was delivered or not; the reader has to suppose that it was delivered. The separated lovers are brought together again, but it is by the prowess of the hero, and not by the pity of a master. It is but right that it should be so, as the hero is a Dhirodatta instead of Dhiralatita, as in the case of the Yaksha. The Yaksha was a subject, and his separation from his wife was a punishment in- flicted on him by his king, who alone has the right to remit it. But Rama's separation from his wife was due to her abduction by a powerful enemy, and thus her re- covery can only be by the use of superior force.

bus But can we take it for granted that a Dhirodatta is an improvement over a Dhiralalita, as the hero of a Sandesa poem, which must necessarily be of the lyric type. Many of the commentators on this poem are of opinion that Venkatanatha has enhanced the beauty of the poem

by the change; but I am not sure whether they have not been unconsciously influenced by the reverence which they had for the author, as a sage and a saint. A lyric is in its very nature the gentler and sweeter qualities with the entrancing beauty of

of humanity, coupled with

190

NUOTA

Nature are the life-breath of such poems; and the genius. of the poet is directly proportional to the degree of ether- ealization of the passions and to the subtlety with which man is made to blend with Nature. But grandeur,. strength, terrible valour, a royal heart, these are the main characterestics of a Dhirodatta; even his humour is grave: and can call forth only a subdued smile. His sorrows do not excite pity, but their violence strikes terror into the hearts of the on-lookers. So, the doubt whether such a hero of a pathetic poem is quite sili lo lo spic

one could be made the relevant.

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need of betobianos gnied sem si It may be argued that a mighty hero is not always a hero, that, in his relaxed moments, he is quite as human as the rest of mind; that love, pleasure and pathos are also essential parts of his nature, though over - shadowed by his heroism; and that therefore he can be safely made the hero of a Sandesa poem. But it is only a Valmiki that can make Rama an unalloyed lover or reveller in When husband and wife stand hand in hand drinking in the entrancing beauty of the woods in spring, there is not a trace of gravity or heroism creeping into the scene; they are merely passionate lovers to each other, mere care-free children of all other Nature. But

Nature.

cannot say that any other poet has succeeded in sup- pressing the hero so completely where a Dhirodatta is odol bad vods concerned.

Our author has first made Rama completely unnerved (चेतोविलय मगमत्) and it becomes aware of around him. He is still 1900. 'गाढोन्मादः in that he does greater honour to the swan than to Anjaneya; yet very soon the pride of race is made to assert itself when he says of them, इच्छामात्राञ्जगदपरथा संवि- धातुं क्षमाणामिक्ष्वाकूणां. Still except for this pardonable in- clusion of race pride, the author has kept the hero intent on the Sandesa; and since even even the greatest of Sanskrit poets suffer in comparison with Valmiki, this slip need not be counted against Venkatanatha.ol-g

oth difficulty that the hero

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So far as the choice of the messenger is concerned, Venkatanatha has happily copied from the pakhyanam, the Raja Hamsa being considered to be an ideal messenger between parted lovers.

In comparing the descriptions of the temples and other holy places as given in the Megha and the Hamsa Sandesas, one cannot but see the gulf between the two. To Kalidasa, reverence and worship in shrines and temples was a matter of routine based on habit; but to Venkatanatha, they were an absorbing passion, to which everything else is subservient. I shall quote a few extracts to exemplify my statement कुर्वन् सन्ध्याबलिपढहतां शूलिनः श्लाघनीया मामद्राणां फलमविकलं लप्स्यसे गर्जितानां ॥ Kalidasa here makes mention of a part of mere temple routine,

and echoes the words of the priesthood when he says that such a devotee will be rewarded with

the next stanza, a more carnal reward is promised. हस्ताः वेश्यास्त्वत्तो नखपदसुखान् प्राप्य वर्षाग्रबिंदून् आमोक्ष्यंते त्वयि मधुकर श्रेणिदीर्घान् कटाक्षान्; a bevy of grateful dark-eyed dancing hetaeras will cast loving sidelong glances at you. This additional inducement happens to be part of temple worship, The highest that Kalidasa could think of in worship is seen in :- नृत्यारम्भे हर पशुपतेरार्द्रनागाजिनेच्छा शान्तो- द्वेग स्तिमितनयनं दृष्टभक्तिर्भवान्या ॥ and in; — तल स्कन्दं नियतवसतिं पुष्प- मेघीकृतात्मा पुष्पासारैरस्नपयतु भवान् व्योमगङ्गाजलादैः ॥ The ideals here do not go beoynd a devotee's taking personal part in a temple worship, thereby accumulating spiritual merit. Even his कृत्वा तासामभिगममपां सौम्य सारस्वतीनां अन्तशुद्धस्त्वमसि भविता is just another version of निर्णुदन् पापमात्मनः.

It is no

discredit to Kalidasa that his religious ideals are SO confined. He was, first and last, a poet and made no pretence of being interested in grave spiritual thought. ni

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But to Venkatanatha religion was a m master-reality. His faith was absolute and his life was but a translation of his faith into practice. Thus it is that, to him, wor- ship and Divine service are not acts done for a reward; they are not even mere duty; they are a rare privilege; the devotee can do nothing but to accept it with blissful humility, and marvel at the Grace that has chosen his own worthless self for such an honour. Venkatanatha's God is not a mere in-dweller in a temple. He happens to have come to Hastisaila, and the hill is sanctified; the

With him is his of all the worlds. and is हंसीभूतः

very presence of the hill in Dramida Vishaya has made it equivalent to Heaven; devotees have merely to live at its foot, and ignorance will fly from them; they become the blessed of God. God is Fire, but cool, soothing fire. Divine Consort. and She is the Mother He is कारुण्यपूर्ण:, and शुद्धैर्नित्यं परिचितपदः He is शुद्धं चक्षुः श्रुतिपरिषदां चक्षुषां भागधेयं and atafus. The swan, as a devotee is advised to serve him with no other thought but that of service. humble bowing of the worshipper will be accepted by Him: ia, that is all, and that reward is unequalled. वालव्यजनवपुषा वीजयेस्तं त्वमेव; here too there is no dreaming of a reward, mundane or spiritual.

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He gives, you do not get it as a reward. But what will He give? Since He is स्फारलोकप्रशमनतमस्संचयं, प्रार्थनीयं बुधानां, fà, He will give Light, the privilege of ever living in His Light.

Thus it is that, in the description of holy temples far above Kali- nd Tirthas, Venkatanatha is seen to rise dasa; heredity, environment, temperament and education, all contributing towards this end; just as exactly similar causes have made Kalidasa's descriptions of cities, coun- tries, men and manners infinitely superior to the attempts of our author along those lines. Conjeevaram, Trichinopoly Tanjore, Madura, as cities, find no mention in this poem; the lingering glories of the Pallavas, the Cholas and the Pandyas do not attract the author's eye. But to Kalidasa, the Dasaranas, Avanti other and kingdoms and their

splendour, their wealth and their pleasure, come first and the holy places next. There can be no comparison between the two authors in this respect, each has gone just the way that his nature led him.

b In the second part, both the poets describe the city of destination, Alaka and Lanka. While Alaka's description is very vivid, Lanka seems to be no- where among the stanzas allotted for that purpose. It has been argued by some critics that Venkatanatha should not have described Lanka more fully, as Rama knew nothing of it except by hearsay. Yet, when one studies Valmiki, and finds that Rama has taken the greatest interest in learning the details about Lanka, and that Hanuman has been most lucid in his reply one cannot but feel that the poem might have been better written in this respect.

For the description of Sita, Venkatanatha has been indebted to Valmiki for his masterly similes and epithets. e.g., स्वगणेन मृर्गी हीनां श्वगणाभिवृतामिव प्रभां नक्षत्रराजस्य कालमेधैरिवा- वृतां, आशां प्रतिहतामिव, संस्कारेण यथाहीनां वाचमर्थान्तरं गतां, नील- केशी, सुमध्यां, भीरुं भुजगेन्द्रवधूमिव, कनकवर्णाङ्गी, हिमहतनलिनीव नष्ट- शोभा, पद्मिनीमित्र विश्वस्तां, नैषा पश्यति राक्षस्यो नेमान् पुष्पफलद्रुमान् । एकस्थहृदया नूनं राममेवानुपश्यति. Yet Venkatanatha has supple mented these in his own masterly way, and stanzas 11, 12, 15, 16, 17, 18, 22 are examples of the finest efforts of the author. In this respect he may be said to rise supe- rior to his model, for Kalidasa's efforts are restricted to descriptions of physical beauty deteriorating by sorrow

HAMSA B

and of the external manifestations of the sorrow. Perhaps in one or two places Venkatanatha's efforts are marred by the introduction of orthodox dogmas as in stanza 13, and by over-doing the description of Sita's delicacy of frame and her manifestation of sorrow, as in stanzas 15 and 17; the Sita of Valmiki is a womanly woman and yet a heroic Kshatriya lady, and it is only when all hope seems to be lost and when she sees the hideous forms of the Rakshasis approaching her almost determined to tear her to pieces that she धैर्यमुत्सृज्य रोदिति.

Coming to the style of the poem, it is easily seen that Kalidasa easily surpasses our author. The easy flow of words in his Sandesa, the music of his word combina- tions, the comparative simplicity of his similes and des- criptions, gradually gave place to the heavier and more laboured style of his successors; and the style of Venkatanatha is further burdened with far-fetched com- parisons and round-about expressions of thought, which had become, in his days, objects of admiration among Pandits. Added to these, there is the cramping influence of orthodox notions and the introduction of too much of religion and philosophy in a lyric poem.

Allowing for these defects, which were the fashion of his age, Venkatanatha's Hamsasandesa yet deserves a high place among the Sandesa poems.

S. NARAYANA IYENGAR, B.A., L.T.

HAMSASANDESA-A

A STUDY & CRITICAL

APPRECIATION

KAPISTHALAM KRISHNAMACHARYA, B.A., L.T. HEAD MASTER, TIRUPATI.

That, in the midst of his voluminous philosophical and didactic works, Sri Venkatanatha, or Sri Vedanta Desika as he is more popularly known, found it possible to leave behind him some poems of no inferior order, like the Yadavabhyudaya and the Hamsasandesa, is of no small import to all true lovers of Sanskrit literature. In the former he does not appear to have kept before him any model to follow but to have only drawn upon his own constructive skill; but this much cannot be said of the latter. Here the model he had before his mind's eye

was certainly Kalidasa's Meghasandesa. But it is not a totally slavish imitation of the model he has permitted himself to accomplish. He has left his stamp of originality here and there in the fitting of the details of the poem; and this is transparently evident even to a casual reader thereof. In order to establish this point, I have undertaken here to take the reader through a critical study of his poem, the Hamsasandesa, in some detail, instituting as far as necessary a comparison between it and the Meghasandesa.

The plan of the poem is based upon Kalidasa's. The meeting of the forlorn lover with the messenger, the thought of the beloved and her forced sufferings from

AH pangs of separated love in a distant corner of the land, the idea of a message of hope to sustain her till the approach- ing end of the cursed separation, the feeling of brotherly affection towards the messenger, the unbounded faith in the messenger's generosity and capacity to discharge the undertaking, the sight of the auspicious omens, the descrip- tion of his route, the variety of entertainments to please him on the way, the spiritual experiences in the several sacred places along the route and the incidental service to the Supreme God (Vishnu in this case) elevating the soul of the messenger and proving quite auspicious for the work in hand, the description of the destination, the probable state (physical and mental) of the beloved at the time of the messenger's approach, the anxiety of the lover to see the afflicted heart of the beloved, the sweet message itself, the proof of the messenger's genuineness and trustworthiness, and lastly the touching benediction pronounced on the messenger, are the several landmarks in the poem closely followed from the model. On this framework Venkatanatha builds his own edifice of a Kavya, employing his skill in the matter of details of ornamentation.

The originality for the conception of the plan is certainly Kalidasa's. No amount of originality on the part of his successors in the matter of the execution of details on this plan can entitle them to dispute the palm with Kalidasa. His title to respect at our hands stands on a different footing altogether. But among those who have aimed at his model the claims for title to recognition are to be determined on the answers to the question-How far

have they succeeded in their aims? The idea of a poem embodying the message of a forlorn lover to his beloved through a trusted messenger seems to have suggested itself to Kalidasa by the touching message of Sri Rama to his beloved Sita in the Asokavanika conveyed by the faithful Hanuman, as recorded in the sweet words of that immortal prince among poets, Valmiki himself. But there is a difference between a suggestion worked out into an exquisite poem, and a poem faithfully followed and worked out into a reflection of itself. The plan of the poem, the choice of the metre, the chiselling out of the first details, and their fitting into an original and harmonious whole, æsthetically excellent-these are the indisputable claims of Kalidasa; while such claims cannot, in the very nature of things, be put up by even the greatest of his imitators. We are certain that, if the authors of other Sandesa-Kavyas were pressed to detail their title to recognition, they would not put forth such fantastic ciaims. Theirs is but a subordinate field; but some of them may, in rare cases, claim our attention to a larger extent than even Kalidasa, in the matter of the details of workmanship. With this clearing of the ground, let us enter into a study of Venkatanatha's poem.

1102

It may be of interest to note here that, between the Meghasandesa and the Hamsasandesa, almost the whole of India is surveyed from Mount Kailas on the north to Ceylon in the south. Only a small tract between Ramagiri and Mount Malyavan is not covered. In a sense, therefore, Venkatanatha's poem may be said to be complementary to Kalidasa's.

The choice of a swan in the poem is quite appropriate. According to the Ramayana, Rama starts on his expedi- tion against Lanka, only after the advent of the Sarat. In this season the swans are believed to come down into the plains from the Manasa lake in the Himalayas, and move to the extreme south of the land.

In order that a poet may be rightly judged, one has first to find out what the Sanskrit Rhetoricians aptly call Kavi hridaya (the poet's mind), or in other words, the motive of the poem. This Kavi-hridaya is at times easy of determination by means of a careful study of the character of the hero of the poem. For his Meghasandesa Kalidasa selected a hero of the Dhiralalita type in the banished Yaksha (निश्चिन्तो धीरललितः कलासक्तः सुस्वी मृदु:). In our mythology the Yakshas are pictured to be a type of beings between the human and the divine. They are more divine than human. They are fabulously rich and subjects of King Kubera, the Lord of Treasure-Troves. They have infinite facilities and an inherent capacity to enjoy pleasure in all its aspects. Wealth, wine and women are the be-all and end-all of their existence. To suit the experiences of a hero of that type, Kalidasa has had to build up his poem on a substratum of the sensuous, but with a happy blending of the supersensuous here and there, because of the partial divinity also of the hero. The lines like

मध्येश्यामः स्तनइव भुवः शेषविस्तारपाण्डुः, or 'सभ्रूभङ्गं मुखमिव पयो वेलवत्याश्चलोर्मि, or लोलापाङ्गैर्यदि न रमसे लोचनैर्वञ्चितोसि,

are the

or संसर्पन्त्याः स्खलितसुभगं दर्शितावर्तनाभेः"

or even ज्ञातास्वादः पुलिनजघनां को विहातुं समर्थः,

Sour ad n are quite appropriate for the poem. If, after choosing an Yaksha for his poem, Kalidasa did not bring in the sensuous to the extent he has done, his work would have been classified as of some inferior order, and would not have gained the present enviable distinction.

But Venkatanatha has chosen for his poem the immortal hero of the Ramayana. He is of the Dhiro- datta type.

(महासत्त्वोऽतिगम्भीरः कृपावानविकत्थनः । स्थिरो निगूढाहंकारो धीरोदात्तो दृढव्रतः ॥ )

In one place, Valmiki himself puts the

characteristics of his hero into the mouth of the selfless Hanuman, who revels in describing him as

रक्षिता सर्वलोकस्य स्वजनस्य च रक्षिता ।

रक्षिता स्वस्य वृत्तस्य धर्मस्य च परन्तपः ॥...... मर्यादानां च लोकानां कर्ता कारयिता च सः । ...... अर्चिष्मान चितोऽत्यर्थं ब्रह्मचर्यव्रते स्थितः । साधूनामुपकारज्ञः प्रचारज्ञश्च कर्मणाम् । श्रुतवान् शीलसम्पन्नो विनीतश्च परन्तपः । सत्यधर्मपरः श्रीमान् संग्रहानुग्रहे रतः । देशकालविभागज्ञः सर्वलोकप्रियंवदः ॥

And the purpose of Venkatanatha is but to popularize such a hero without taking away a whit from his charac- teristics, so glowingly painted in the immortal Epic. One cannot therefore logically expect, in the Hamsasandesa, an atmosphere surcharged with the sensuous.

But

occasionally, as we shall see, there is a skilful touch of the sensuous, without in any way rousing a sense of revulsion in the minds of the readers as being incongruous to the setting of the whole poem. A poet, who indulges in descriptions inappropriate to the characteristics of his hero, justly lays himself open to the charge of being wanting in the sense of proportion. The few sensuous touches in the Hamsasandesa are necessitated by the situation. The hero, Sri Rama, is a separated lover and he is in the midst of his preparation for a gigantic expedi- tion against his deadly foe, Ravana, from whose base hands he is anxious to rescue in time his loving Sita. During moments of respite, he allows his mind to dwell on his Sita and her sufferings, or on those happy times he passed in her company before her captivity. His mind is, therefore, temporarily attuned to the sensuous on occasions. Hence the few touches like स्तोकोन्मन्नस्फुरितपुलिनां त्वन्निवासेच्छयेव enhance the beauty of the poem as a whole.

As one who has drunk deep of Valmiki's Epic, Venkatanatha has, in his Hamsasandesa, undertaken to present us what he considers to be the sweetest of the thoughts of that hoary sage. And for this he has chosen a vehicle on the model of Kalidasa's. He has of necessity to adjust himself to the two master-minds, without at the same time effecting a complete effacement of his own individuality. His self-imposed task has therefore become doubly difficult. And, if under such limitations, he has yet been able to make his poem appeal to us, his title to respect at our hands stands certainly on an unshakeable foundation.

Hanuman has just returned to Mount Malyavan, after delivering Rama's message to Sita, who is pining in grief in a corner of Ravana's pleasure garden. And in token of his achievement he has not only brought Sita's crest-jewel, but also an urgent return message to her Lord that she would not wait a a whit longer than a month at the most, before he could go and rescue her from the hands of the Rakshasa king.

vilion रयिष्यामि मासं तु जीवितं शत्रुसूदन ।

la nouididza

Tags मादूर्ध्वं न जीविष्ये त्वया हीना नृपात्मज ॥ lodignate bus Rama is therefore anxious to see that his projected expedi- tion to Lanka is finished within the limited period, so desperately indicated by his Sita. A day's delay would spell disaster. When he is in such a state of mind, his eyes rest on a welcome swan in a sportive mood, in one of the lotus-tanks close by. The sight of the swan revives in his mind a happy memory of Sita. The bird has several points of affinity to her: its noble gait is just like Sita's; the spotless white of its feathers is nothing inferior to the dazzle of her silken garb; the note of its sweet sound resembles the tinkle of her anklets. Hence Rama's mind is totally absorbed in the bird, and for a time surrendering himself as a helpless victim of Cupid's shafts, he falls into an unbroken state of love-reverie forgetful of every consideration other than that of his beloved.

तस्मिन् सीतागतिमनुगते तहुकूलाङ्गमूर्ती तन्मञ्जीरप्रतिमनिनदे न्यस्तनिष्पन्ददृष्टिः । धीरश्चेतोविलयमगमत्तन्मयात्मा मुहूर्त

शङ्के तीव्रं भवति समये शासनं मीनकेतोः ॥

Unlike the Yaksha in the Meghasandesa, who, on the mere sight of the cloud, is driven to dream of his beloved, Rama has stronger reasons here to lose himself in the thoughts of his Sita, because of the assemblage of certain resemblances to things closely associated with her.

With some difficulty he recovers himself, remembering that he is लक्ष्मणस्याग्रजन्मा . For on more than one occasion he had to be reminded by Lakshmana of his unheroic exhibition of weaknesses incompatible with his nobility and strength of mind. Did not Lakshmana try to dispel his mental gloom telling him

शोकेनाभिप्रसुप्तं ते ज्ञानं सम्बोधयाम्यहम् ।

and महात्मानं कृतात्मानमात्मानं नावबुध्यसे ॥

on two painful occasions, when he was addressing, in his temporary madness, rocks and trees on the whereabouts of Sita soon after she was carried away from Panchavati? He does not want to give similar trouble to his brother on this occasion too.

Naturally Rama feels a friendly attachment to the swan, more friendly than even Hanuman's, and thinks of utilising his services to cheer up Sita, with the news of his immediate approach at the head of a powerful army capable of destroying the whole Rakshasa band. Whether a bird can convey a human message does not trouble him for a moment, since his afflicted heart is not inclined to follow that stern logic of the sane. Nor do we wonder at this exhibition of weakness on the part of Rama, because विश्लेषेण क्षुभितमनसां मेघशैलद्रुमादौ

याच्या दैन्यं भवति किमुत क्वापि संवेदना ।

We have already had the instance of an Yaksha in a suppliant attitude before a cloud, which is but inanimate : and in the freshness of Sita's loss Rama himself did not fare better. Did he not appeal, in the words of Valmiki, to an equally inanimate mountain

कच्चित् क्षितिभृतां नाथ दृष्टा सर्वाङ्गसुन्दरी । रामा रम्ये वनोद्देशे मया विरहिता त्वया ? ॥

and to the trees

कदम्ब यदि जानीषे हंस सीतां शुभाननाम् । .... यदि ताल त्वया दृष्टा पक्वतालफलस्तनी......

and so on?

anjantov

bebaimes

But in the present case it is an animate being, a swan, he is addressing and it is undoubtedly unlike rocks

and trees.

He has hitherto experienced something of the of the animate beings. When he was questioning the animals of the forest whether they had any knowledge of Sita's whereabouts, did they not help him by certain physical movements of theirs, deeply indicative of their anxiety for their loveable companion, Sita?

एवमुक्ता नरेन्द्रेण ते मृगास्सहसोत्थिताः । दक्षिणाभिमुखास्सर्वे दर्शयन्तो नभस्स्थलम् । मैथिली हियमाणा सा दिशं यामन्वपद्यत ।

Therefore it is that Rama sees in the हंस an अव्याजबन्धु and has no hesitation to apply to him for assistance in his present plight. He is certain his request will not go unheeded, because the Hamsa has a noble heritage, and he might have also heard that the very Lord of Creation had once come down as a mere charioteer for a noble end. सर्वस्रष्टा विधिरपि यतः सारथित्वेन तस्थौ ।

Without much ado he tells him straight that he has to go to Lanka, the capital city of the Rakshasa King, on a sacred errand. The rainy season having finished, the Sarat has come back, and with it the Hamsa has come down from the North. There is yet the likelihood of his voyaging further South in search of fresh lotus-ponds, where undisturbed he can enjoy himself. But if he is to be reminded that the extreme South is the haunt of the Rakshasas, he may perhaps change his mind. So Rama assures him that he can easily overlook this one demerit of the South, in the midst of its several merits.

स्थानैर्दिव्यैरुपचितगुणां, चन्दनारण्यरम्यां, मुक्तासूतिं, मलयमरुतां मातरं, दक्षिणाशाम् । अस्मत्प्रीत्यै जनकतनयाजीवितार्थं च गच्छन्

एकं रक्षः पदमिति सखे दोषलेशं सहेथाः ॥

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The very mission on which he goes is sacred, जनकतनयाजीवि - ar, and for a good cause one can submit oneself even to an irksome inconvenience. Therefore the one defect can easily be excused (एकोहि दोषो गुणसन्निपाते निमज्जति).

Having himself treated him as an honoured guest, Rama is certain that the Raja-hamsa will receive a royal attention wherever he goes. Already the south wind has come as a faithful friend to welcome him with sweet scents freshly gathered from the blossoms of lotuses and lilies. The light transparent autumnal cloud, with the straight rays of the sun shot through it like so many ribs radiating from a centre, and borne by the wind over his head, will just look like a state umbrella held over a royal personage.

सूक्ष्माकारैर्दिनकरकरैः कल्पितान्तश्शलाकाः शारोपान्ताश्शतमखधनुश्शेष चित्रांशुकेन ।

iduob o Ger: Tangfaanikai aigai vaży छलायेरन्नभसि भवतश्शारदा वारिवाहाः ॥

(

Those, who are wont to watch the sunrise and sunset, will, with pleasure, remember the indescribable brilliancy of the wonderful pictures of nature they may have occasion- ally feasted their eyes upon. On one such evening, the writer had the fortune of witnessing an unforgettable sight which continues fresh in his memory. The sun was about to set, his lower limb just kissing the horizon. A thick cloud just covered the face of the luminous orb. Around it there was a thin belt of clouds through which the rays of the setting sun radiating in several directions could be distinctly seen. Around this belt again there was a semi- circular belt of somewhat thicker clouds, the outer ends. of which were of a brilliant golden hue. The picture vividly brought to the writer's mind by this splendid natural phenomenon was that of an open temple-umbrella laid on the ground to face the East. The beautiful verse of Venkatanatha makes, therefore, a peculiarly happy appeal to his imagination.

Now to proceed. Before he should start, the Hamsa is to take a loving leave of his beloved the Padmini (the lotus creeper, here spoken of in the feminine), to whom he has now come back after a long and forced exile, and who is therefore in the midst of her unbounded joy. He is advised to gently cajole her into giving him leave to part, so soon after the reunion, and to promise her an early return.

प्रक्षीणां त्वद्विरहसमये जातहर्षामिदानीं ।

प्रत्यायास्यन्ननुनय शनैः पद्मिनीं स्वादु वाचा ।

But would the leave be granted? Rama has no doubt of it, for

साते तन्त्रस्वनसुभगया स्यादितीहाभ्यनुज्ञां

मन्ये कुर्यान्मधुकरगिरा मैथिली सौहृदेन ।

The Hamsa's beloved is a Padmini, and so is Sita. Therefore there has sprung up between them a strong friendship. Women are generally supposed to sympathize more than men with women in distress, since it is only a woman who can appreciate a woman's heart more than a man, That is why perhaps Kalidasa's Yaksha asks his messenger, the cloud, not to threaten the timid अभिसारिकाः of Ujjayini with his fearful thunder, but to let his light- ning show them the way to their lovers on the dark roads of the city. (The lightning is spoken of in the feminine, as the spouse of the cloud.)

सौदामन्या कनकनिकषस्निग्धया दर्शयोर्वी तोयोत्सर्गस्तनितमुखरो मास्मभूर्विक्रयास्ताः ।

Almost the same idea has been beautifully brought out, even in the Ritusamhara, implying that, while the cloud does all it can to stand in their way, it is the lightning that is of real service to the poor women who are out to meet their lovers in a darksome night.

अभीक्ष्णमुचैर्ध्वनता पयोमुचा घनान्धकारीकृतशर्वरीष्वपि । प्रदर्शितमार्गभूमयः प्रयान्ति रागादभिसारिकास्स्त्रियः ॥

And in the Mrichchakatika, the idea is more explicit in the beautiful couplet, where Vasantasena gently chides the lightning for its indifference.

यदि गर्जति वारिधरो गर्जतु तन्नाम निष्ठुराः पुरुषाः ।

A tenings

even strangers

अयि विद्युत् प्रमदानां त्वमपि च दुःखं न जानासि ? ॥ When such is the sympathy of women men for even stran of their sex, what may be the sympathy for a sister of blood? Need we say that this touching farewell of the Hamsa is far finer than the one of the Megha in the sister poem?

ว

(आपृच्छस्व प्रियसखममुं तुङ्गमारुह्य शैलं, etc.) When a loving parent sends his child on errand to a distant place, he is particularly anxious that his child avoids the path of the wicked lest it should court danger to its person. No less is the anxiety of Rama when he advises his lovely Hamsa that he should

उड्डीयेथास्सरसि जवनाद्दक्षिणाशानुसारी

पश्यन् दूरात् प्रबलगरुतां पक्षिणां दत्तवर्त्मा ॥

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ST As the Hamsa springs up in the air from the top of the Malyavan, the mountain carrying the white reflection of the bird is sure to resemble, for once, the Lord of Creation, Sri Maha Vishnu, just letting out the Moon from his mind, as described in the Purusha Sukta

:). This picture is evidently in imitation of the picture of the cloud in the Meghasandesa, so finely brought out in the lines

येन श्यामं वपुरतितरां कान्तिमापत्स्यते ते बणेव स्फुरितरुचिना गोपवेषस्य विष्णोः ।

Venkatanatha's picture rests on a convention that all mountains carry on them precious stones capable of reflecting the objects around :). Hence is the little unnatural atmosphere abo about it, as against Kalidasa's.

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In his ærial flight the Hamsa will have a variety of to keep his eyes pleasantly engaged, not the least of them being the unskilled but loveable looks of the country women (ч) directed on him, as an object of wonder (अभ्रूभङ्गेप्यधिकसुभगैर्निश्चितांगः कटाक्षैः). Here again the influence of the master-mind is distinctly seen (अविलासानभिज्ञेः प्रीतिस्निग्धैर्जनपदवधूलोचनैः पीयमानः).

In the districts bordering on the Andhra on the one side and the Karnata on the other, the Hamsa's ears cannot but be attracted to the beautiful songs of the love-laden maidens of the peasant class lying under the spreading branches of the hospitable mango trees, while they guard their rice-fields from the treacherous birds and other pests. The first sight of importance there will undoubtedly be that of the Hills of Tirupati. The appellation Seshadri rightly fits them, from their serpent-like shape. The tops of these hills carry a layer of red_sandal stones which looks like बद्धरतैशिरोभिः- happy idea.

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It is considered quite auspicious to offer prayers in a temple, when one is starting on a long travel. the prayer is not offered at the time of the start, every opportunity that presents itself on the way is at least availed of, even when the object of the travel is not a

pilgrimage. Hence the Hamsa is directed to join his prayers to those of the devotees already assembled in the temple of Venkateswara (of peculiar interest to Venkatanatha, our poet).

The Sanskrit poets have always revelled in harmoniously blending the beautiful in Nature with the beautiful in the human and in the divine. One of the finest of devices which they generally employ for this noble end is what the writers on Sanskrit poetics term as Dhwani. A suggestion is thrown out by a central word or two in the piece, and it works itself out into a beautiful picture in the reader's mind, apart from, or distantly associated with, the idea in the context. The wonderful pliability of the words, coupled with a few well-recognized conventions, infinitely enhances the adaptability of the language in the hands of a skilled poet, for such a pleasing effect. Certain objects are always spoken of in the feminine, and certain others in the masculine, as we already saw in the case of the Cloud and its Lightning. And a dexterous handling of such words does throw out a happy suggestion, here and there, indicative of some picture or other of the poetic experiences in the nobler sexual or other human relations. One such happy safa we have in the description of the river Suvarnamukhari.

Rama has no doubt that, while his messenger is about to leave Seshadri, his eyes would be riveted on the inviting sands of the Suvarnamukhari, which flows a few miles to the south thereof, in a maidenly gait, carrying in its waves fresh flowers from trees on either of its

HAMSA-C

banks, as though for the e worship of Sri Kalahastiswara, farther down,

स्तोकोन्मनस्पुरित पुलिनां त्वन्निवासेच्छयेव द्रक्ष्यस्यारात् कनकसुखरां दक्षिणामञ्जनाद्रेः । आसन्नानां वनविपिनां वीचिहस्तैः प्रसूना- न्यर्चा हेतोरुपहरति या नूनमधेन्दुसौळेः ॥

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This happy picture of the river suggests to our mind a still happier picture of a young woman in love, who, fresh from her bath, wends her way to the temple of her favourite god with an offering of flowers held in her palms in all devotion, and who, as if her prayers have been already answered, meets her very lover on the way and invites his looks of love on her rounded features skilfully exhibited to advantage, as though all

unconscious.

effort,

The Hamsa will not have the strength of mind to pass the beautiful river, without for a time enjoying himself on her sands. Even if he should, with an the suppress his ardent desire for the moment, it is sure hang heavily in his heart, to the detriment of the errand he is on. Therefore it is that Rama wisely advises him to spend some joyous moments, besporting himself undistur- bed on the cool sands of the river, even as the happy lover forgets himself in the bewitching arms of his love, in a delightfully secluded spot.

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निर्विश्यैनां निभृतमनभिव्यक्तसज्जुप्रणादो on and grant मन्दाधूतः पुलिनपवनैर्वज्जुलामोदुगः । aussi of sports

अव्यासङ्गः सपदि पदवीं संश्रयान्यैरलभ्यः

When once his heart's desire is gratified, there is danger of his mind ever straying away from the sacred

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mission in hand. That he may n not linger too long on the sands of the river river even after a hearty enjoyment thereof, Rama finds it expedient to administer a gentle warning of a danger to his person, बन्दीकुर्युस्तदवसतयो मा भवन्तं fa:, since nothing else seems to be effective under such circumstances. But in the sister poem, though the Yaksha feels that several sights may attract the eyes of his messenger to the serious detriment of his his mission, he simply reconciles himself to the situation, and leaves it to the good sense of the messenger with but a mild reminder that.

मन्दायन्ते न खलु सुहृदामभ्युपेतार्थ कृत्याः ।

On entering the tract of the country known as Tundira Mandala, the first to attract the attention of the Hamsa will be its premier city, Kanchi, which is but the Kanchi (the golden girdle) of the Goddess of the Earth on which rest always riveted the amorous looks of her Lord, Hastisailesa, to the exclusion of all other objects of interest. There the Hamsa will perhaps recognize the Goddess Saraswati, who according to a local legend assumed the form of a river and flowed in seven different torrents to destroy a sacrifice begun without her by her husband Brahma whose trusted vehicle was the great founder of his line of water-birds.

स्वामिनीवः कवीनां वेगासंज्ञां वहति महती वल्लभा पद्मयोः ।

There is a suggestion in the line that Saraswati is the patron deity of the poets. There is again another suggestion in the first part of the stanza. The words सप्तभेदैः, वर्णस्तोमैः परिणता, स्वच्छस्वादुप्रसरसुभगा, as applied to the river, indicate the scientific truth of the white colour of

the sun's rays being possible of separation into the seven prismatic colours. The legendary seven horses of the Sun's chariot are but an allegorical presentation of the same truth.

doue After a sacred bath in Hamsa is promised an internal

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Saraswati tank, the correspond to the

external one he is already fortunate in. Jede alge वक्ष्यस्यन्तर्बहिरपि परां शुद्धिमक्षेपणीयाम् ।

or aid In this connection, it is worthy of note that a like reformation is promised to the cloud by Kalidasa's Yaksha too. Strange to say, the sacred waters there too go by a similar name (those of the river Saraswati). But the cloud, which is but dark externally, is to rest satisfied with only an internal gas against the fortune of the Fam

Hamsa.

अन्तशुद्धस्त्वमपि भविता वर्णमात्रेण कृष्णः 1st holy meblog adi) bo The swans are supposed to be in fear of the rain- clouds. Therefore it is that Rama gives a humorous hint to his messenger, that he need not hesitate to approach on the top of the Hastisaila the dark cloud-like figure of Sri Varadaraja with his lightning-like consort Lakshmi, mistaking Him for a rain-cloud. Once there, he will have an opportunity for a good turn, if the God be then strolling about in His garden in company with His spouse. Let Him be served in the best way suited to the occasion. व्यक्तो वालव्यजनवपुषा वीजयेस्तं त्वमेव ।

Such a rare opportunity of service to the Lord of the Universe should not be let slip inadvertently.

edi A similar service enjoined on the Megha in the sister pcem is undoubtedly the inspirer of the service here

The chivalrous solicitudes of Sambhu to the e tender susceptibilities of his consort Gauri which obliges him to give up his dear ear भुजगवलयं, the suggested beauty of

of Mount

Kailas in the midst of the wild grandeur of the lofty Himalayas, and the selection of Gauri, the Mother of the Universe, as the object of service as against masculine Sambhu, give a peculiar poetic flavour to the super-fine za of Kalidasa.

stanza

aid

the

01 A lo somateni s

iw dolazim

हित्वा तस्मिन् भुजगवलयं शम्भुना दत्तहस्ता, etc. when compared to which, we are constrained to say, Venkatanatha's n

would

aloba M

пан

मध्वासक्तं सरसिजमिव स्विन्नमालम्बमानः etc. Totivat palls on our ears. 916

Some two experiences are rather prominently referred to in more than one place, in the Hamsasandesa. One is the somewhat envious and unchivalrous treatment of a really good poet by some unscrupulous contemporaries of doubtful virtues. From his own life it is gathered that Venkatanatha was not a stranger to such experiences. The other is the splendour of the then royal processions that must have had a lasting spectacular effect on the humbler souls, not given to much material prosperity. In as many as three places the first is referred to. Rama holds out to his messenger the prospect of a pardonable pride at the sight of the now forced silence of peacocks which were once eloquent in his absence from the land (1). Again while crossing the forest between Chola and Pandya, awfully noisy on account of the presence therein of myriads of

ce the

crickets, the Hamsa is advised to maintain a dignified silence, for शब्दायन्ते नखलु कवयस्सन्निधौ दुर्जAnast but not least, is the unenviable life of Sita in the Asoka- vanika, which suggests to the mind of Rama the fate on the words of a good poet in a company of the wicked vin (सूक्तिं रम्यां खलपरिसरे सत्कवेः कीर्त्यमानाम्।

As for the royal splendour, we have already seen an instance of it when the Raja Hamsa starts on his mission with a State umbrella held over him by his steward, the wind. Another instance is seen when the Hamsa passes Tundira Mandala and enters rs the Chola territory. There, along the course of the Cauvery, the forests of the tall arecanut palms are sure to feast his eyes to surfeit. The very South Wind, who is but a steward of the God of Love, is seen engaged there in arranging on a gigantic scale for a royal welcome to his master. 10 The erection of a canopy, the swinging of the chowries, the sprinkling of fresh flowers on the all minutely attended to.

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sit, no

stder 800

don

the road, are

Bew adtamins V

कुर्वन्नानाकुसुमर जसा येन चित्रं वितानं पूगारण्ये मृदुविचलयन् पाळिकाचामराणि । पादन्यासक्षममवाकिरन् क्ष्मातलं पुष्पजालैः प्रायो वायुः परिजनविधिं पञ्चबाणस्य धत्ते ॥

medi

Boe holdrand

As in the case of the Suvarnamukhari, there is in the description of the Cauvery another agreeable instance of the harmonious blending of the beautiful in nature with the beautiful in human experiences. The gentle flow of the river, from the foot of the Sahya Mountains into the ocean farther down, happily compares with the picture

being duly

of a bride, sent from her er home e of birth to that of her husband, under the guidance of an aged friend, and amidst the blessings of pious Brahmins, after decorated with sweet-smelling flowers by elderly matron interested in her.. bre vanebiasi सह्योत्सङ्गात्सपदि मरुता सागरं नीयमानां

भद्रालापैर्विहितकुशलां तादृशानां द्विजानाम् ।

sdasdi यामस्कन्नास्सरसकुहळीपलपातैर्निशान्ते online मन्दस्मेरां मधुपरिमलैर्वा सयन्तीव पूगाः ॥

many

olga

edt michiw

daved ad Jo Indigsa

moth doubl two aid asob suaded The Hamsa is then directed to Srirangam, and after

That he

e is

the usual prayers offered ed in the temple there, he is to cross into the territory of the Pandyas. There the Tamraparni awaits him with open arms like a lovely maiden anxiously expecting the return of her lover. he may prepare himself for a straight flight across the ocean, he is advised to recoup the vigour of his tired wings, calmly resting himself for a time on the sands of the river, amidst cool winds that blow kissing the crest of her waves, just as a lover loses himself in the arms of

his

beloved.

ी)

(शीतीभूतस्तरळलहरीबाहु संश्लेषणेन । )

(019

bus When the Hamasa is on the wing once again, the Lord of the Ocean, in grateful remembrance of the good done to him by the sons of the Great Sagara, a renowned ancestor of Rama, may now perhaps offer him, the messenger of Rama, some place of rest on the winged mountains under his protection. This kind hospitality must be accepted and thus the host honoured, even though the Hamsa may not feel tired. That is the way of the wise.

god ho dard (अश्रान्तोऽपि प्रणयसुचितं नैव बन्धोविहन्या : 1) bidio bun The Yaksha of Kalidasa has an intimate knowledge of every part of his city, and is really proud of it. Therefore it is that he grows eloquent in describing the splendour of Alaka, and all the channels of pleasure that are within the reach of even the humblest of her residents. But Rama, has no direct knowledge of Lanka, and even if he have, he would not bring himself to describe the capital of his despicable foe in foe in such glowing terms as the Yaksha does his own city. But he has heard much from Hanuman, and probably from other sources too, of Ravana's abuse of power resulting in the untold miseries of the divine damsels and the wives of the Lokapalas, imprisoned in his capital with an immoral intent. There- fore instead of picturing in his imagination the probable splendour of Lanka, Rama rightly dwells upon the unhappy state of these poor women whose only hope, consolation and courage are derived from the presence of Sita in their midst, alone with the power of her chastity. (उत्पश्यन्तो कनकतनयातेजसैव स्वरक्षाम् । ) We need not specially point out that the very first stanza here a ललित गमना : etc.) is the exact parallel of Kalidasa's (विद्यु- car: etc.) both in the structure of the lines, and in that of the sense.

It is a rare privilege of the human heart, not given to many, to be able to realize the pleasure of infinite confidence in the love of one's own beloved. In the lower planes love is always attended with jealousy and suspicion. Unless there is a complete self-surrender and self-effacement on either side, the course of love does

always take rugged paths. A heart capable of self-sur- render does not wait for the other side to move; nor does it look back when once it surrenders. The moment it finds out its object it loses itself in it, and never gets satiated. Rama's love for Sita and her love for Rama are of that ideal type. There when Rama pictures in his mind the probable state of his Sita which awaits the sight of the messenger, we do not feel that his picture is in any way overdrawn. In order that the Hamsa may rightly recognize her at the foot of the Simsupa tree, as reported by Hanuman, he paints an s an accurate p picture of her personal features.

सामेदृष्टिश्शफरनयनासन्नतास्सुकेशी

etc. To site dedi I.

These lines cannot but bring to the reader's mind the similar lines from Meghasandesa,

तन्वीश्यामा शिखरिदशना पक्कबिम्बाधरोष्ठी । mid om hot basis) मध्ये क्षामा चकित हरिणी प्रेक्षणां निम्ननाभिः ॥ etc. The former are as good as the latter in their form; but there is a special weight attached to the original which cannot in justice be claimed by the reflection.od lo samidine

At the time of the messenger's approach, Sita will perhaps be engaging herself in any of those occupations which are, in the words of Kalidasa, प्रायेणैते रमणविरहेण्वङ्गनानां विनोदा: । She may perhaps be addressing birds in the belief that they may in their distant flights happen to meet her Rama; or she may be looking in the direction of the North, expecting every moment the arrival of her Lord, as assurd by Hanuman; or she may be innocently asking her jewels if they remembered her lord's personal contact

with them; or she may be picturing to her mind, by way of a happy memory, the secluded enjoyments of pleasure always at their service, when she and her Rama were inseparable and unseparated.

The messenger b

state, like big

origia yon ni

will perhaps see her in her afflicted Fusils lolens

शुद्धामिन्दोः श्वपचभवने कौमुदी विष्फुरन्ती- adored bima मानीतां वा विषतरुवने पारिजातस्य शाखाम् ।

or सूक्तिं रम्यां खलपरिसरे सत्कवेः कीर्त्यमानां

bations वर्षाकीर्णामिव कमलिनी, व्याहतार्थामिवोक्तिं,

sers

Navi

कालिष्टामिव बिसलतां, पत्यपेतामिवेभीम्

मेघच्छन्नामिव शशिकलां, विघ्नरुद्धाभिवाशां, व्याघ्रोपेतामिव शशवधूं, भूतले ज्यामिवास्ताम् ॥

abm 3dt love Love yo dasingoboom msH पूर्व

In that state of captivity, she may probably be in a reverie, shutting out all external actions of the senses and concentrating her mind upon her Rama, that she may dream of him and lightly pass her heavy moments. In the like situation Kalidasa's Yaksha requests his friend to bide for a time (a) lest he should disturb, by his inadvertent approach, her dream picture of a hearty embrace of her lord. dvd Ber ni tohist माभूदत्याः प्रणयिनि मयि स्वप्नलब्धे कथञ्चित् । 5 JA

2001 सद्यः कण्ठच्युतभुजलताग्रन्धि गाढोपगूढम् ॥

the tree

After discovering Sita at the foot of the Hamsa is enjoined to await the time to disclose himself to her. For, in the words of Valmiki, (निशाचरीणां प्रत्यक्षमन चापि भाषणम् ) ; (निद्रासमयमुचितं वीक्ष्य नक्तंचरीणाम् ), he has to

; and in o

our

author's

deliver the message. The Rakshasis generally sleep in the day, and the Hamsa is therefore to spend the night in one of the

With the cool winds of

neighbouring tanks. of the early morn, he has to make himself ready for the discharge of his sacred duty, after sufficiently refreshing g himself by the energizing sleep overnight.sg shols red do noagee The message or the Sandesa is the crowning item in

hearty and must be The physical words

as directed by the What else can be more

the kavya. And as such it must be couched in the language of the heart. conveying it must necessarily be originator of this type of kavyas. hearty here than an actual picture of Rama's sufferings and wailings in actually hearing of and then realizing the sudden loss of his beloved Sita? Lovers divine each other's sufferings during their periods of separation. The immortal Valmiki has, in in his own inimitable style, recorded those unhappy moments and the still more unhappy and pitiable agonies of Rama in the Dandaka forest, soon after his dear Sita was mercilessly snatched away from him. Instead of drawing upon his own imagination as use of the does Kalidasa, Venkatanatha has amply made use ready-made material available at hand. As we have already inferred, his very purpose is to popularize some of the best thoughts of Valmiki. A sense of appreciation of the beautiful elsewhere, coupled with a desire to share with others the discovered beauty, and a humble suppression of the self before what is honestly believed to be more sublime have perhaps made Venkatanatha adopt the course he actually did. But to proceed:

on to 19

the

To make his presence known to Sita, the Hamsa is directed to softly sing the praises of the two families of Dasaratha and Janaka. This was exactly what the earlier

messenger Hanuman did. And when her attention is drawn, he is to announce himself as the trusted envoy of her lord, and as one who generally indicates the approach of the season of Sarat, when alone great heroes commence their military marches into enemy territories.

z in a b

how सन्मानार्ह समयमुचितं सूचयेत्कूजितैस्स्वैः ॥ ardh nibardous elt. Such an announcement is expected to keep up the drooping spirit of Sita, in the hopes of her lord's impen- ding approach. A similar advice is offered to the messenger in the sister poem. There he has to announce himself to the lady as- 270l nobbe

пон

(Dabi

योबृन्दानि त्वरयति पथि श्राम्यतामध्वगानां । मन्दस्निग्धैर्ध्वनिभिरबलानीविमोक्षोत्सुकानि ॥

410

slimmi

m paring addit

That heroes generally commenced their military marches after the rainy season was a fact mentioned in all works on Indian polity. Even in the Ramayana, it prominently mentioned. Apprehending that Sugriva may have slept over his promise of assistance, Rama reminds Lakshmana of the approach of their time of action, saying- od to not stratagâqui faniqui qYKAG: 1 diwउत्साहसमयस्सौम्य पार्थिवानामुपस्थितः ॥

Bob Announcing himself in the way instructed, the Hamsa is first to inform Sitá of her lord's well-being, and then alone make his query after hers.ban

d amildue

भवती भागधेयेन जीवन् । bibas erl कल्याणीं त्वां कुशलमनघः कोसलेन्द्रोऽनुयुंक्ते ॥

For, when once she is certain of her lord's welfare she will

have the necessary courage and patience to hear the

message through. There is no touch of self-importance in Rama, when he thus instructs his messenger; on the other hand, there is an amount of self-effacement here, because all this punctilious care for the very minute details of the mode of delivering the message only discloses his anxious concern for Sita. The earlier messenger did the same. Said he

bastusb aid

bnaow वैदेहि कुशली रामस्त्वां च कौशलमब्रवीत् । orff gningsl odj It was before the commencement of the Spring season (Vasanta) that Rama was deprived of his beloved. Now it is the Autumn (Sarat). All these seasons his sufferings have been acute. In the Vasanta, though he was himself in an abject condition, he felt more for Sita. And what he did then now forms an item of the message. To the Vasanta he prayed then with folded hands and bended knees, not to visit the lands where Sita was. du som of सीतापार्श्व न भवतु भवानित्यवोचद्वसन्तं । रामखासादनमितधनुमौळिना सन्नतेन ॥

In the Ramayana, Rama simply trusts in the good sense of Vasanta that he would not be where Sita is,

न तु 'वसन्तोऽयं देशं स्पृशति यत्र सा ।

कथं ह्यसित पद्माक्षी वर्तयेन्सा मया विना ॥

i emit

But here he does not so trust and therefore is his abject prayer. This is indeed a finer conception.

ed exeИ to In moments of acute agony, Rama placed himself unwittingly in the path of the cruel South winds without realizing the dangerous effect thereof; but his dear Lakshmana stepped in and kept him from such exposures (anal). A parallel instance where Lakshmana

comes to his succour is seen in the Raghuvamsa. When Rama, in his almost insane condition, mistakes a creeper for Sita and ventures to embrace it, Lakshmana holds him back, with tears in his eyes (सौमित्रिणा सास्रमहं निरुद्धः । )airnaed aid Another item of the message is Rama's perplexity as to what he should say to Janaka when questioned about his daughter, and how the aged king would feel on learning the truth. The Asoka with its red flowers and the Kurunja with its white ones had reminded him of the Laja-homa in his marriage offered in the sacred flames of Agni: hence the thought of Janaka had been uppermost in his mind, in those days when is when Sita's whereabouts could not be known.

od of

neuibno tosjde na ni मन्दो वक्ष्ये किमिति जनकं किन्तु योगीश्वरो माम् । etc. bibod This very thought haunts Rama, even, in the Ramayana, in more than one place. And he says to Lakshmana-

निवृत्त वनवासश्च जनकं मिथिलाधिपम् ।

कुशलं परिपृच्छन्तं कथं शक्ष्ये निरीक्षितुम् ॥

किन्तु वक्ष्यामि राजानं धर्मज्ञं सत्यवादिनम् ॥ etc,

dt als

These thoughts are quite natural and appropriate, at a time when Sita's whereabouts are not known. They naturally find a conspicuous place in the message now to be sent to Sita.

Next he tells her how, on w, on the approach of the rainy season, he envied, in his pitiable plight, the happiness of the peacock always in the company of his hen, with no fear of a disturbance from the hands of a Rakshasa.isil

( रक्षः पीडारहितदयिताश्लेषधन्यो मयूरः 1)

So too in the Ramayana,

upp fyrs)

847

etoba मयूरस्य वने नूनं रक्षसा न हृता प्रिया 1 dj baton of vam af तस्मान्नृत्यति रम्येषु वनेषु सह कान्तया ॥ 9apss of

In his sufferings, Rama has one consolation to keep up his heart. He can at times experience a feeling of nearness to his beloved, though far apart physically, because he realizes that he is being united to her by several common links. I tot basey los देहस्पर्श मलयपवने दृष्टि संभेदमिन्दो - agnyasta and anus eds iw dg धामैकत्वं जगति, भुविचाभिन्नपर्यङ्कयोगम् । ताराचिले वियति विततिं श्रीवितानस्य पश्यन्

दूरीभूतां सुतनुविधिना त्वामहं निर्विशामि ॥

omez ads teqnil A But Kalidasa's Yaksha ha is deni denied this pleasure-giving consolation. Though he sees the likeness of the several limbs of his love in different objects, his bitter complaint is that he cannot see them all in one place and thereby feel her presence by him.

admoda (हन्तैकस्मिन् क्वचिदपि न ते चण्डिसादृश्यमस्ति ।

93032 mi

Rama is more fortunate in that he can attune his mind to a sense of enjoying the company of his beloved, whenever he sees the sameness of an object with which both of them have some kind of physical contact.

The greatest of all his anxieties is that she, who willingly followed him into the forest, is now far away, instead of securely lying in his arms.

तातादेशात्सपदि भरते न्यस्तराज्याभिषेकं

Bardabadयामामेका वनमनुगता राजधानी विहाय diunag of boil मेवामुचितशयतां बाहुमध्ये मदीये

रख

दूरे कृत्वा गुणवति सुहुदूयते जीवितं मे opratybiani

aid nI

od aid qu

It may be noted that in this verse Venkatanatha adopts to a certain extent the very words of Valmiki :- :- qol of यासामनुगता मन्दं पिता प्रब्राजितं वनं .... honglileol तया विहीनः कृपणः कथं लक्ष्मण धारये ॥ Finally Rama gives re-assuring hope to Sita close on the heels of the messenger at the army of monkeys, and that Lakshmana will please her ears by the twangs of his bow-string, g, while engaged in a fight with the Rakshasas.

अल्पयोभिस्सुमुखि दिवसैर्योधयन्यातुधानान् । कर्णे शीधुं तव रचयिता लक्ष्मणश्चापघोषैः ॥ ་ཐ ་ས ་ས་ཁས་

Almost the same

that he is

head of an

quenols Bid message was conveyed to her by too Lakshmana had a prominent

Hanuman, mention—

ar dmuslamton

क्षिप्रं द्रक्ष्यसि राघवम् ।

Iss लक्ष्मणं च धनुष्पाणिं लङ्काद्वारमुपस्थितम् ॥

edmil

no ad terit

Lastly comes the promise of several kinds of enjoyments in store for them (enjoyments which either of them has been picturing in their dreams or hopes) when once they home and ascend their hereditary throne-

return

सिद्धारम्भ सपदि भवतामाधिराज्याभिषेकात् ।

सम्प्राप्स्यावश्चिरविरहतस्सञ्चितान्देवि भोगान् ॥

vad meils

And the Yaksha too extends a similar promise to his beloved in Alaka,

पश्चादावां विरहगुणितं तं तमात्माभिलाषं । निर्वेक्ष्यावः परिणतशरच्चन्द्रिकासु क्षपासु ॥

fot viņcillow sa to bez

That the genuineness of the message may not be doubted by her, Rama entrusts the messenger with a secret incident that took place between them, when he returned

home victorious from his battle with Khara and Dushana. So does the Yaksha, by entrusting to the messenger an incident of a dream where his beloved thought she had caught him misbehaving.

Rama has no doubt that the Hamsa will discharge faithfully his mission, though he does not see anything like a visible response from the bird. For, it is a well- known fact that one of his ancestors helped the King of Nishidas by a similar act of mercy.

प्रागप्येवं परिणतगुणां नैषधे वीक्ष्य वार्ता ।

zidari saíuía fage=ayzĽA¬i a: 11

And the Yaksha too has a like faith in his messenger and satisfies himself that,

निशब्दोपि प्रदिशसि जलं याचितश्चातकेभ्यः ।

प्रत्युक्तं हि प्रणयिषु सतामीप्सितार्थक्रियैव ॥

Rama then discharges the Hamsa with a touching benediction

स्वैरं लोकान् विचर निखिलान् सौम्यलक्ष्म्येव विष्णुः । सर्वाकारैस्त्वदनुगुणया सेवितो राजहंस्या ॥

But the benediction of the Yaksha does not take this positive form. It is framed in the negative, and hence forceful, we should say. Feeling keenly, as he does, the pangs of separation, the Yaksha does not wish for a similar experience in the case of his friendly messenger. And so he prays-

माभूदेव क्षणमपि च ते विद्युता विप्रयोगः ।

Before we close we should like to touch upon what we consider to be the peculiarities of grammar, not to say

HAMSA D

the irregularities, employed by Venkatanatha in about half a dozen places in the Hamsasandesa. Great poets have always taken such liberties with the language-liberties most of which the existing rules of grammar cannot countenance with anything like fervour. And all such usages have gained, in spite of the grammarian, a force, and have become current in the language, recognized as the usages of great poets (:). The great Panini himself is reported to have taken such a liberty in a few places of a kavya attributed to him. And Kalidasa himself has some usages to his credit. In his Magha- sandesa he has used in one place देवपूर्व गिरिं ते (1-42) on the lines of a similar use in the Raghuvamsa gİLİ यमाख्यया. In the latter the usage is justifiable, because it refers to a name and not an object denoted by the words. But in the Meghasandesa it is the object : and not the name that is spoken of. Even Mallinatha is obliged to admit that the usage cannot be maintained. Therefore there is nothing repugnant when we collect in one place such peculiar usages of Venkatanatha. Only they are a little more numerous than Kalidasa's. Learned commentators like the late Parakalaswami of Mysore have amply justified one and all of these usages. We shall enumerate here the few instances of the grammatical peculiarities and liberties in the Hamsasandesa.

(a) तीर्थे पुंसां शमितकलुषे (1-30),

Here at refers to

and not to the whole compound as एकदेशान्वयः

. शमित कलुषे The defect here is known Another such use is in I-39.

(b) युग्मं नेयैदिवि सुमनसां सेव्यमानं विमानैः (II-6).

Here बेयैः is an adjunct of विमानैः the agent of the action denoted by the root in :. Generally the suffixes

य, अनीय and तथ्य do refer to the object of the action denoted by the roots to which they are attached, or simply denote the state of action. One of the explanations offered is नेयः - किङ्करैरिति शेषः ; thus making विमानैः the secondary object of the action f the primary one being · (c) कमलमुकुळे लीयतां पट्पदानां (II-26).

There are three roots ली (श्लेषणे), ली (द्रवीकरणे) and लीङ् (q) which have the present participle genitive plural forms लीनतां, लयतां, and लीयमानानां only.

One commen-

tator has taken the easier course of reading in the text ai; another has taken it as a verb in the imperative third person singular form, agreeing with the subject Ha a far-fetched construction--resulting in a unjusti- fiable break of the sentence.

(d) वदनकमलं मन्दमुन्नम्य भीरुः (II-29).

This is an adaptation from Valmiki उन्नम्य वदनं भीरुः शिंशुपा- One would expect the explicit causal form Valmiki's usage is classed under आर्षप्रयोगाः ।

Scholars justify this as an Implicit Causal.

(e) कुसुमधनुषः चित्रपुंखैः (II-35).

Generally the word धनु: takes the form of धन्वन् in a बहुव्रीहि compound, according to Panini (aga ॥ V-4-132); but he himself has provided for an exception to the rule (वा संज्ञायाम् ॥ V - 4 - 133 ) which makes the अनङादेशः optional, when the compound signifies a name.

(f) रामस्त्रासादनमितधनुः (II-35).

One would expect अनमितधन्वा ordinarily. Bur here धनुः is said to be not the usual a word in

is in the masculine, and of

the neuter.

rare

The oft-quoted illustration justifying the usage is विशुद्धोऽपि निर्गुणः किं करिष्यति.

We have thus studied, in sufficient

instance.

detail, Venkata-

with Kalidasa's

natha's Hamsasandesa as compared Meghasandesa. And in the course of our study we have seen how far he is indebted, on the one side, to Kalidasa for the plan of his work and also for the details of ornamentation in a few instances; and on the other, to the great Valmiki for several ideas embodied in the poem. We have also seen with pleasure the play of his own imagination in not a few places. While judging of a work, the author must be kept in the background, and the merits and the demerits of the work must be impartially weighed and the final value determined. Judged only in regard to its language and its poetic worth, the Hamsasandesa can easily take a rank almost equal to the Meghasandesa. (We have given copious extracts in this study to enable the reader to judge for himself.) But taken on the whole, it can only be ranked subordinate to Kalidasa's, for reasons already detailed in the initial pages of our study. But that is no discredit to the author. Having to his credit over a century of works, philosophical and literary, Sri Venkatanatha has his name only enhanced by his exquisite Hamsasandesa.

SRIMAD VEDANTA DESIKA'S

HAMSASANDESA

ASYASAS I & II

With the Commentary of

Swetaranyam NARAYANA SASTRY

UJUSTBAR ANAW83TAXY V

е02 & UIU

геляя

WZANA. anT TA

Y. RAMASWAMY SASTRULU & SONS 292, Subhash Chandra Bose Road,

MADRAS-1.

1955.

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Я НА

श्रीमद्वेदान्तदेशिकावेरचितः

॥ हंससन्देशः ॥

श्वेतारण्यं नारायणशास्त्रिविरचितव्याख्यानेन सहितः

चेन्नपुर्याम् वाविळ रामस्वामिशास्त्रलु अण्ड् सन्स् इत्येतैः प्रकटितः

१९५५.

॥ ॥

चेन्नपुर्याम् पाविळ मुद्रणालये मुद्रित:- १९५५.

म

फडी कीडिए

॥ श्रीरस्तु ॥

॥ श्रीरामचन्द्राय नमः ॥

श्रीमान्वेङ्कटनाथार्यः कवितार्किककेसरी । वेदान्ताचार्यवर्यो मे सन्निधत्तां सदा हृदि ॥

॥ हंससन्देशप्रारम्भः ॥

॥ प्रथमाश्वासः ॥

वंशे जातस्सवितुरनघे मानयन्मानुषत्वं देवः श्रीमाञ्जनकतनयान्वेषणे जागरूकः । प्रत्यायाते पवनतनये निश्चितार्थस्सकामी कल्पाकारां कथमपि निशामाविभातं विषेहे ॥ १

तत्र भवान् वेङ्कटनाथार्यः परमोत्कृष्टविषयं हंससन्देशमारचयतिस्म । तत्र सन्देशे रामः माल्यवत्पर्वते स्थितः सन् मारुतिदर्शनानन्तरं सीताया आश्वास- नार्थं तत्र कुत्रचित् सरसि स्थितं हंसं दृष्ट्वा प्रेषयति । तत्र प्रथमश्लोके स्वयं परवासु- देवः श्रिया नित्यसंश्लिष्टोऽपि मनुष्यत्वमभिनयन् कामुकत्वमनुबभूवेत्याह । वंश इति || सवितुः सूर्यस्य । अनघे निर्दोषे वंशे कुले जातः उद्भूतः मानुषत्वं मनुष्यभावं मानयन् बहुमन्यमानः देवः कान्तिमान् श्रीमान् श्रीवैशिष्ट्यानुगुण- शुद्धसत्वमयविग्रहः जनकतनयान्वेषणे सीतागवेषणे जागरूकः सावधानः पवन- तनये हनूमति प्रत्यायाते लङ्कायां सीतां दृष्ट्वा प्रतिनिवृत्यागते सति निश्चितार्थ: निश्चितसीतावृत्तान्तः कामी कामवान् सः रामः | कल्पाकारां प्रळयकालसदृशीं निशां रात्रिं आविभातं उदयपर्यन्तं कथमपि महता प्रयासेन विषेहे चक्षमे । विर- हिणामेकापि निशा कल्पसमाना भवति । अत सन्देशे सर्वत्र मन्दाक्रान्तावृत्तं | "मन्दाक्रान्ता जलधिषडगैर्म्भौनतौताद्गुरूचे" दिति लक्षणात् ॥ १

काल्ये सेनां कपिकुलपतेस्तूर्णमुद्योजयिष्य- न्दूरीभावाज्जनकदुहितुर्दूयमानान्तरात्मा । क्रीडाखेलं कमलसरसि क्वापि कालोपयातं राकाचन्द्रद्युतिसहचरं राजहंसं ददर्श ॥ २ तस्मिन् सीतागतिमनुगते तद्दुकूलान्तमूर्तौ तन्मञ्जीरप्रतिमनिनदे न्यस्तनिष्पन्ददृष्टिः । वीरश्चेतोविलयमगमत्तन्मयात्मा मुहूर्तं शङ्के तीव्रं भवति समये शासनं मीनकेतोः ॥ ३

प्रातः काले सुग्रीवप्रमुखवानरसेनां प्रस्थापयिष्यन् जनकदुहितुः आश्वास- नाय कुत्रचित् क्रीडासरसि हंसं दृष्ट्वानित्याह काल्यइति || काल्ये प्रातःकाले कपिकुलपतेः सुग्रीवस्य सेनां वानरवाहिनीं तूर्णं शीघ्रं उद्योजयिष्यन् प्रस्थानो- द्युक्तां करिष्यन् जनकदुहितुः सीतायाः दूरीभावात् विप्रकृष्टत्वात् दूयमानान्त- रात्मा दुःखाक्रान्तचित्तः स रामः क्वापि कुत्रचित् कमलसरसि पद्मतटाके काले शरत्काले उपयातं समीपमागतं क्रीडया लीलया खेलं सुभगं राकायां पूर्णिमायां (स्थितस्य) चन्द्रस्य द्युतेः कान्तेः सहचरं मित्रं तद्वच्छ्वेतमित्यर्थः । राजहंसं हंस- विशेषं ददर्श दृष्टवान् ॥ २

ततः स रामो हंसं दृष्ट्वा स्वप्रियासारूप्यं पश्यन् मुमोहेत्याह । तस्मिन्निति ॥ सीतायाः गतिं गमनं अनुगते अनुसृतवति । तस्याः सीतायाः दुकूलं क्षौमं तस्याङ्क- मूर्तौ चिह्नभूतशरीरवति । सीतावस्त्रस्य परितो हंसचित्तमस्तीति भावः । तस्याः सीतायाः मञ्जीरप्रतिमः नूपुरसमानः निनदः ध्वनिः यस्य तस्मिन् । तस्मिन् राजहंसे । न्यस्ते निहिते निष्पन्दे निश्चले दृष्टी नयने यस्य तथोक्तः । वीरः शूरोऽपि । तन्मयात्मा तद्गतमनस्कः | चेतसः चित्तस्य विलयं मूर्छां । मुहूर्तं घटिकाद्वयमल्पकालं वा । अगमत् प्राप्तवान् । तथाहि समये विरहवेळायां मीनकेतोर्मन्मथस्य । शासनं निग्रहः । तीव्रं क्रूरं । भवतीति शङ्के मन्ये ॥ ३

लब्धाश्वासः कथमपि तदा लक्ष्मणस्याग्रजन्मा सन्देशेन प्रणयमहता मैथिलीं जीवयिष्यन् । चक्रे तस्मै सरसिजदळैस्सोपचारां सपर्यां कान्ताश्लेषादधिकसुभगः कामिनां दूतलाभः ॥ ४ कृत्वा तस्मिन्बहुमतिमसौ भूयसीमाञ्जनेया- द्गाढोन्मादः प्रणयपदवीं प्राप वार्तानभिज्ञे । विश्लेषेण क्षुभितमनसां मेघशैलद्रुमादौ याच्ञादैन्यं भवति किमुत क्वापि संवेदनार्हे ॥ ५

अनन्तरं क्षणाल्लब्धसंज्ञो रामः मैथिलीजीवनार्थं हंसं प्रेषयिष्यन् सरसिज- दळैः तं पूजयामासेत्याह । लब्धेति ॥ तदा कथमपि अधिकप्रयासेन । लब्धा- श्वासः प्राप्तसंज्ञः । लक्ष्मणस्य अग्रजन्मा ज्येष्ठः रामः प्रणयेन स्नेहेन महता मह- त्त्वं प्राप्तेन । सन्देशेन वाचिकेन । मैथिली सीतां जीवयिष्यन् प्राणधारणवर्तीं करिष्यन् । तस्मै राजहंसाय । सरसिजदळैः पद्मपर्णैः । सोपचारां उपचारसहितां सपर्यां पूजां चक्रे कृतवान् । कामिनां कामुकानां दूतस्य लाभः कान्तायाः प्रियायाः आश्लेषादालिङ्गनादपि अधिकं यथातथा सुभगः मनोहरः ॥ ४

कथं वार्तानभिज्ञे हंसे मारुतेरपि बहुमानं कृत्वा प्रणयपदवीमवापेत्याशङ्क्य परिहरति । कृत्वेति ।। गाढः तीव्रः उन्मादश्चित्तविभ्रमो यस्य स तथोक्तः असौ रामः । वार्तानभिज्ञे सन्देशज्ञानहीने तस्मिन् हंसे आञ्जनेयात् हनूमतोऽपि भूयसीं बहुतरां । बहुमतिं बहुमानं | कृत्वा प्रणयस्य स्नेहस्य पदवीं मार्गं प्राप प्राप्तवान् विश्लेषेण कान्तावियोगेन क्षुभितं अनवस्थितं मनः चित्तं येषान्तेषां मेघशैलद्रु- मादौ अभ्रगिरिवृक्षादिसमीपे याच्ञैव अर्थनैव दैन्यं दीनत्वं भवति जायते संवेद- नस्य सन्देशज्ञानस्य अर्हे योग्ये क्वापि कुत्रचिच्चैतन्यविशिष्टे किमुत याच्ञा भवत्येव ॥ ५

वेदोदन्वद्विभजनविदो वंशजं विश्वमूर्ते- राहुस्सिद्धाः कमलवसते रौपवाह्यं भवन्तम् । लब्धं येन प्रगुणगतिना तत्प्रियायास्सकाशा- त्तत्सावर्ण्यं श्रवणरसनास्वादयोग्या सुधा च ॥ ६ मध्ये केचिद्वयमिह सखे ! केवलं मानुषाणां व्यक्तोत्कर्षो महति भुवने व्योमगानां पतिस्त्वम् । स्थाने दूत्यं तदपि भवतस्संश्रितत्राणहेतो- स्सर्वस्रष्टा विधिरपि यतस्सारथित्वेन तस्थौ ॥

अनन्तरं सीतासमीपं प्रति हंशंहंसं प्रेषयितुं रामः हंसं स्तौति । वेदेति ॥ सिद्धाः योगिनः । भवन्तं त्वां । वेदएव उदन्वान् समुद्रस्तस्य विभजनं विभागं वेत्ति जानातीति तथोक्तस्तस्य विश्वं जगदेव मूर्तिः शरीरं यस्य सः विश्वमूर्तिः हंस- रूपः परमात्मा तस्य वंशजंजम् आहुः । किञ्च । कमलं वसतिर्वासस्थानं यस्य तस्य ब्रह्मणइत्यर्थः । औपवाह्यं वाहनं आहुः । किञ्च । प्रगुणा उत्कृष्टा गतिर्गमनं यस्य तथोक्तेन । येन त्वया | तस्य ब्रह्मणः प्रियायाः सरस्वत्याः सकाशात् समीपात् । तस्याः सरस्वत्याः सावर्ण्यं समानवर्णत्वं शुक्लवर्णत्वमितियावत् । लब्धं प्राप्तं । श्रवणं श्रोत्रमेव रसना जिह्वा तथा आस्वादः पानं तस्मै योग्या सुधा अमृतञ्च लब्धा अत्र सुधाशब्देन समीचीनध्वनिरुच्यते ॥ ६

कथमेतादृशगुणवत्तया उत्कृष्टं मां दूत्ये प्रेरयसीति शङ्कायां जगत्सृष्टिकर्ता ब्रह्मापि सारथ्यं चकारेत्याह । मध्यइति ॥ हे सखे मित्र हंस इह भूमौ मानुषा- णां मध्ये वयं केवलं सामान्यमितरेभ्योऽतिशयरहितं यथातथा केचित् स्मः त्वन्तु व्योमगानां आकाशसञ्चारिणां । देवानाञ्चेति ध्वन्यते । पतिः असि अतः । महति भुवने । व्यक्तः प्रसिद्धः उत्कर्षः कीर्तिः यस्य तथोक्तश्चासि । तदपि तादृशोत्कर्षव- त्वेऽपि । भवतः तव । संश्रितानामाश्रितानां त्राणहेतोः रक्षणार्थम् । दूत्यं अति- निकृष्टदूतकृत्यमपि स्थाने युक्तं यतः यस्मात्कारणात् सर्वस्य स्रष्टा सृष्टिकर्ता विधि- रपि ब्रह्मापि सारथित्वेन (त्रिपुरविजये रुद्रस्य) सूतभावेन तस्थौ स्थितवान् ॥ ७

इच्छामात्राज्जगदपरथा संविधातुं क्षमाणा- मिक्ष्वाकूणां प्रकृतिमहतामीदृशीं प्रेक्ष्य वेळाम् । लक्ष्यालक्ष्ये जलधिपयसा लब्धसंस्थां त्रिकूटे लंङ्कां गन्तुं तव समुचितं राक्षसीं राजधानीम् ॥ ८ स्थानैर्दिव्यैरुपचितगुणां चन्दनारण्यरम्यां मुक्तासूतिं मलयमरुतां मातरं दक्षिणाशाम् । अस्मत्प्रीत्यै जनकतनयाजीवितार्थं च गच्छ- न्नेकं रक्षः पदमिति सखे ! दोषलेशं सहेथाः ॥ ९

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इक्ष्वाकुकुलजाताः जगदन्यथा कर्तुमपि समर्थाः तेषामेतादृशीमवस्थां समीक्ष्यापि तव कार्यं कर्तुं समुचितः काल इत्याह । इच्छेति || इच्छामात्रात् जगत् अपरथा अन्येन प्रकारेण संविधातुं कर्तुं क्षमाणां शक्तानां । प्रकृत्या स्वभा- वेन महतां इक्ष्वाकूणां इक्ष्वाकुवंश्यानां अस्माकं ईदृशीं वर्णयितुमशक्यां वेळां दुर्दशां प्रेक्ष्य दृष्ट्वा जलधेः समुद्रस्य पयसा जलेन लक्ष्यश्चासावलक्ष्यश्च लक्ष्या- लक्ष्यस्तस्मिन् । वीचीप्रसारणकाले द्रष्टुमशक्ये वोचीनिस्सरणकाले द्रष्टुंशक्येच । त्रिकूटे त्रिकूटपर्वते । लब्धा संस्था प्रतिष्ठा यस्यास्तां रक्षसामियं राक्षसी राक्षस- सम्बन्धिी तां राजधानीं लङ्कां नगरीं गन्तुं तव समुचितं युक्तम् ॥ ८

अनन्तरं का वा दिग्गन्तव्या मार्गो वा कीदृशः गते किंप्रयोजनं राक्षसपुरी- गमनं कथं प्रेरयसीति हंसस्य विवक्षां जानन् दक्षिणादिगभिगन्तव्या मार्गोऽपि समीचीनः गते तु मम च सीतायाश्च बहूपकारः कृतो भवति दोषस्त्वल्पः तस्मा- दवश्यं गन्तव्यमित्याह । स्थानैरिति ॥ सखे मित्र हंस दिव्यैः श्लाध्यैः स्थानैः श्रीरङ्गादिक्षेत्रैः उपचितः समृद्धः गुणः अतिशयः यस्यास्तां चन्दनारण्यैः रम्यां मुक्तानां मुक्ताफलानां सूतिं उत्पत्तिस्थानं मलयमरुतां मातरं प्रसवभूमिं दक्षिणा- शां दक्षिणादिशं । अस्माकं प्रीत्यै जनकतनयायाः सीतायाः जीवितार्थञ्च प्राणधार- णार्थञ्च गच्छन् त्वं रक्षसां राक्षसानां पदं स्थानमिति एकं दोषलेशं सहेथाः सहस्व ॥ ९

वाचालानामिव जडधियां सत्कवौ दूरयाते कैलासाय त्वयि गतवति क्षीवतामाश्रितानाम् । सम्मोदस्ते पथि परिणमेच्चन्द्रकैरुज्झितानां मेघापाये विपिनशिखिनां वीक्ष्य वाचंयमत्वम् ॥

आरक्तानां नवमधु शनैरापिबन् पद्मिनीनां कालोन्निद्रे कुवलयवने घूर्णमानस्सलीलम् । स्विन्नो दानैर्विपिनकरिणां सौम्य ! सेविष्यते त्वा- मामोदानामहमहमिकामादिशन्गन्धवाहः ॥

गते सति मार्गे सन्तोषो भविष्यतीत्याह । वाचालानामिति ॥ सत्कवौ- सत्काव्यकर्तरि समीचीनजलपक्षिणि च । दूरं याते सति । जड़ा धीर्येषान्ते जड- धियः मन्दमतयः तेषां । वाचालानां असारबहुभाषिणामिव । त्वयि । कैलासाय कैलासस्थितमानससरसे। (वर्षाकाले) गतवति सति । क्षीबतां मत्तभावं । आश्रि- तानां प्राप्तानां । मेघापाये शरत्काले । चन्द्रकैः बर्हैः । उज्झितानां त्यक्तानां विपिनशिखिनां वनमयूराणां । वाचंयमत्वं मौनं । वीक्ष्य दृष्ट्वा । ते तव । पथि मागें । सम्मोदः सन्तोषः ॥ परिणमेत् भविष्यति ॥ १०

अनन्तरं गमनवेळायां श्रान्तिपरिहाराय मन्दमारुतोऽपि त्वां सेविष्यत- इत्याह । आरक्तानामिति ॥ आरक्तानां सर्वतोरक्तानां । पद्मिनीनां पद्म- सरसां । नवं नूतनं मधु मकरन्दं । शनैः त्वरां विहाय । आपिबन् सम्यक्पिबन् । काले रात्रिकाले उद्गता निद्रा यस्मात्तत् उन्निद्रं विकसितं तस्मिन् । कुवलयाना- मुत्पलानां वने । सलीलं लीलया सहितं यथा तथा । घूर्णमानः भ्रमन् । विपिन \- करिणां वनगजानां । दानैः मदजलैः । स्विन्नः स्वेदयुक्तः । आमोदानां समीप- वर्त्यतिशयगन्धानां । अहमहमिकां गमनविषयामहन्तां । आदिशन् कुर्वन् । गन्ध- वाहः वायुः । हे सौम्य सुन्दर हंस । त्वां सेविष्यते त्वत्सेवां करिष्यति ॥ ११

पर्याप्तं ते पवनचलितैरंगरागं परागैः स्थाने कुर्युस्समसमुदयाद्बन्धवो बन्धुजीवाः । येनान्विष्यस्यचलतनयापादलाक्षानुषक्तं चूडाचन्द्रं पुरविजयिनः स्वर्णदीपेन पूर्णम् ॥ १२ सूक्ष्माकारैर्दिनकरकरैः कल्पितान्तश्शलाकाः शारोपान्ताश्शतमखधनुश्शेषचित्रांशुकेने । ऊढाः पश्चादुचितगतिना वायुना राजहंस ! छत्रायेरन्नभसि भवतश्शारदा वारिवाहाः ॥ १३

अनन्तरं प्रभ्रूणां ये ये उपचारास्ते सर्वे तव भविष्यन्तीत्याह । पर्याप्त- मिति ॥ समं त्वत्प्रचारयोग्यशरत्कालएव समुदयात्पुष्पाविर्भावादभ्युदयाच्च सुमसमुदयादिति पाठे पुष्पस्य उदद्यात् । बन्धवः बन्धुसदृशाः । बन्धुजीवाः बन्धूकवृक्षाः । पवनेन वातेन चलितैः उद्भूतैः परागैः पुष्पधूळिभिः । हे हंस ते व पर्याप्तं पूर्ण अङ्गरागं अनुलेपनं । काले तत्तत्काले । स्थाने तत्तद्देशे च । कुर्युः करिष्यन्ति । अनुलेपनेन । अचलतनयायाः पार्वत्याः पादयोः लाक्षया अलक्तकेन अनुषक्तं संसृष्टं । स्वर्णद्याः गङ्गायाः फेनेन डिण्डीरेण पूर्णं (कलामात्र- त्वेपि) पूर्णकलाविशिष्टं । त्रिपुरविजयिनः शिवस्य । चूडायां शिखायां (स्थितं) चन्द्रं । अन्विष्यसि अनुकरिष्यसि ॥ १२

अंगरागरञ्जनानन्तरं वायुप्रेरिताः शरत्कालमेघाः आकाशे तवातपत्राणि भविष्यन्तीत्याह । सूक्ष्मेति ॥ हे राजहंस । सूक्ष्मः आकारः स्वरूपं येषान्तैः । दिनकरस्य सूर्यस्य करैः किरणैः । कख्पिताः कल्पिताः कृता अन्तः शलाकाः अन्तरालशलाकाः येषान्तथोक्ताः । शतं मखाः यस्य सः शतमखः इन्द्रः यस्य धनुषः शेषः अवशिष्ट- खण्डमेव चित्रांशुकं चित्रवस्त्रं तेन । शाराः नानावर्णाः उपान्ताः मण्डलावसान- प्रदेशाः येषान्तथोक्तः । उचिता युक्ता गतिर्गमनं यस्य तेन । वायुना । पश्चात् पृष्टभागे । ऊढाः धृताः । शारदाः शरत्कालसम्बन्धिनः । वारिवाहाः मेघाः नभसि आकाशे । भवतस्तव छलायेरन् छतवदाचरेयुः ॥ १३

द्रक्ष्यस्येवं प्रियसख ! सुखं लङ्घिताध्वा सखीं ते सीतां क्षेत्रे जनकनृपतेरुत्थितां सीरकृष्टे । गोपायन्ती तनुमपि निजां या कथंचिन्मदर्थं भूमौ लोके वहति महतीमेकपत्नीसमाख्याम् ॥ १४ प्रक्षीणां त्वद्विरहसमये जातहर्षामिदानीं प्रत्यायास्यन्ननुनय शनैः पद्मिनीं स्वादुवाचा । सा ते तन्त्रस्वनसुभगया स्यादितीहाभ्यनुज्ञां मन्ये कुर्यान्मधुकरगिरा मैथिलीसौहृदेन ॥ १५

एवं गते सति तव सखीं सीतां द्रक्ष्यसीत्याह । द्रक्ष्यसीति । हे प्रियसख इष्टमित्र हंस एवं एतादृशोपचारैः सुखं अनायासं यथातथा । लंघितः अतिक्रान्तः अध्वा मार्गः येन तथोक्तः । त्वं । जनकनृपतेः । सीरेण हलेन कृष्टे विदारिते । क्षेत्रे यागभूमौ । उत्थितां प्रादुर्भूतां । मदर्थं मत्कृते । कथञ्चित् अधिककष्टेन । निजां स्वीयां । तनुं शरीरमपि । गोपायन्ती रक्षन्ती या सीता भूमौ लोके भूलोके । महतीं पूज्यां । एकः पतिर्यस्याः सा एकपली सेति समाख्या अभिधा तां वहति धारयति । तां सखीं सख्युर्मम स्त्रियं सीतां । द्रक्ष्यसि वीक्षिष्यसे ॥ १४

बिसिन्या हेतुना गतिविघ्नमाशङ्कय परिहरति । प्रक्षीणामिति ॥ हे हंस तव विरहस्य वियोगस्य समये काले । प्रकर्षेण क्षीणां कृशां । इदानीं त्वत्संयोगसमये जातः हर्षः सन्तोषः यस्यास्तां पद्मिनीं बिसिनीं । प्रत्यायास्यन् प्रत्यागमिष्यन् । त्वं । स्वादुवाचा मधुरोक्त्या । शनैर्मन्दं । अनुनय सान्त्वय । हि यतः सा पद्मिनी मैथिलीसौहृदेन सीतास्नेहेन तन्त्र्याः वीणागुणस्य स्वनवच्छब्दवत् सुभगया मनो- हरया । मधुकरस्य भ्रमरस्य गिरैव गिरा ध्वनिरूपया वाचा । स्यात् अस्तु नाम इति इह गमनविषये ते तव अभ्यनुज्ञां अनुमतिं । कुर्यात् करिष्यतीति मन्ये ॥ १५

सार्धं कान्तैश्शबरसुदृशामद्रिकुञ्जेषु रागा- दासीनानां क्षणमसमये दृश्यचन्द्रोदयश्रीः । उड्डीयेथास्सरसिजवनाद्दक्षिणाशानुसारी पश्यन्दूरात्प्रबलगरुतां पक्षिणां दत्तवर्त्मा ॥ १६ अङ्गीकुर्वन्नमृतरुचिरामुत्पतिष्णोस्सलीलं छायामन्तस्तव मणिमयो माल्यवानेष शैलः । शोभां वक्ष्यत्यधिकललितां शोभमानामतीन्दो- र्देवस्यादेरुपजनयतो माननादिन्दुबिम्बम् ॥ १७

एवं पद्मिनीमनुनीय सरोजवनादुत्पतेत्याह । सार्धमिति ॥ अद्रीणां गिरीणां कुञ्जेषु लतागृहेषु कान्तैस्सार्धं पतिभिस्सह रागात् स्नेहात् आसीनानां उपविशन्तीनां शबराणां व्याघानां सुदृशां स्त्रीणां असमये अकाले । क्षणं पाद- घटिकामात्रं । दृश्या विलोकनीया चन्द्रोदयस्येव श्रीः शोभा यस्मिंस्तथोक्तः । दक्षिणाशानुसारी दक्षिणदिगनुसरणशीलः । दूरात् पश्यन् । प्रबले दृढे गरुतौ पक्षौ येषान्ते प्रबलगरुतस्तेषां । पक्षिणां शरभादीनां । दत्तं वितीर्णं वर्त्म मार्गः येन सः दत्तवर्त्मा च सन् । सरसिजवनात् । पद्मवनात् । उड्डीयेथाः उत्पत ॥ १६

आकाशे गमनवेळायां तव छायामन्तर्वहन्माल्यवान् मानसाच्चन्द्रबिम्बं सृजतस्सर्वेश्वरस्य शोभान्धरिष्यतीत्याह । अंगीति । सलीलं लीलया सहितं यथातथा । उत्पतिष्णोः ऊर्ध्वं गच्छतः । अतिक्रान्तः इन्दु अतीन्दुस्तस्य । (धाव- ल्यादिति भावः) तव अमृतवत् सुधावत् रुचिरां रम्यां । छायां कान्ति । अन्तः मध्ये । अंगोकुर्वन् स्वीकुर्वाणः । मणिः प्रकृतः अत्र मणिमय इन्द्रनीलप्रचुरः एषः पुरोवर्ती माल्यवान् नाम शैलः गिरिः मानसात् हृदयात् । इन्दुबिम्बं चन्द्र- मण्डलं । उपजनयतः सृजतः । आदेर्देवस्य आदिदेवस्य विष्णोः । शोभमानां प्रका- शमानां अधिकं ललितां मनोहरां शोभां कान्ति वक्ष्यति धरिष्यति ॥ १७

मार्गौ सम्यङ्मम हनुमता वर्णितौ द्वौ तयोस्ते सह्यासन्नोऽप्यनघसुभगः पश्चिमो नित्यवर्षः । प्राचीनेषु प्रतिजनपदं संहतावद्भुतानां मग्ना दृष्टिः कथमपि सखे ! मत्कृते ते निवार्या ॥ १८ श्रुत्वा शब्दं श्रवणमधुरं तावकं पामरीणां प्रत्यासन्नात्सपदि भवनात्सादरं निर्गतानाम् । अभ्रूभङ्गेऽप्यधिकसुभगैर्निश्चिताङ्गः कटाक्षैः देशानेतान्वनगिरिनदीसंविभक्तान्व्यतीयाः ॥ १९

तव समीचीनमार्गं वदामि तव गन्तव्यमित्याह । मार्गाविति । हे सखे मित्र हंस । मम हनुमता द्वौ मार्गौ सम्यक् वर्णितौ उक्तौ तयोर्मार्गयोः मध्ये ते तव अनघः निर्दोषः (अतएव) सुभगः सुन्दरः पश्चिमः यः सः मार्गः आसन्नोऽपि सामीप्ययुक्तोपि । नित्यं वर्षं वृष्टिर्यस्मिन् सः नित्यवर्षः (तस्मात्स वर्ज्य इति भावः) प्राचीनेषु पूर्वदेशस्थितेषु (मार्गेषु) जनपदे जनपदे प्रतिजनपदं प्रतिदेशं (अव्ययी- भावः) अद्भुतानां आश्चर्याणां । संहतौ समूहे मग्ना सक्ता । ते तव दृष्टि: वीक्षणं । मत्कृते मम विषये । कथमपि यत्नतोऽपि । निवार्या निवारणीया । अतस्सन्तत- वर्षाभावात् प्राचीनमार्गएवानुकूल इति भावः ॥ १८

अनन्तरं पक्कणस्थितपामरीजनैः निश्चितशरीरस्सन् पर्वतनदीसंविभक्त- प्रदेशान् शीघ्रं व्यतीया इत्याह । श्रुत्वेति ॥ श्रवणयोः श्रोत्रयोः मधुरम् तावकम् त्वदीयम् शब्दं श्रुत्वा सपदि तत्क्षणे प्रत्यासन्नात् समीपस्थितात् भवनात् गृहात् सादरं आदरेणसहितं यथातथा निर्गतानां पामरीणां पासरस्त्रीणां अभ्रूम- ङ्गेपि भ्रूभङ्गाभावेपि अधिकं यथातथा सुभगैः मनोहरैः कटाक्षैः दृष्टिपातैः निश्चितं अङ्गं स्वरूपं यस्य सः निश्चिताङ्गः त्वं वनगिरिनदीभिः संविभक्तान् पृथक्कृतान् एतान् देशान् व्यतीयाः अतीत्य गच्छ ॥ १९

इक्षुच्छाये किसलयमयं तल्पमातस्थुषीणां सल्लापैस्तैर्मुदितमनसां शालिसंरक्षिकाणाम् । कर्णाटान्ध्रव्यतिकरवशात्कर्बुरे गीतिभेदे मुह्यन्तीनां मदनकलुषं मौग्ध्यमास्वादयेथाः ॥ ११ विष्णोर्वासादवनिवहनाद्बद्धरत्नैश्शिरोभि- श्शेषस्साक्षादयमिति जनैस्सम्यगुन्नीयमानः । अभ्रैर्युक्तो ऽलवुभिरचिरोन्मुक्तनिर्मोककल्पै- रग्रे भावी तदनु नयने रञ्जयन्नञ्जनाद्रिः ॥ २१

मार्गमध्ये शालिसंरक्षकवधूनां मन्मथविकारात्कलुषं मुग्धभावमास्वादयेथा इत्याह । इक्ष्विति ॥ इक्षूणां छाया इक्षुच्छायं तस्मिन् इक्षुच्छाये रसाल- च्छाये । "छायाबाहुल्ये" इति नपुंसकत्वं । किसलयमयं पल्लवप्रचुरं । तल्पं शय्यां आतस्थुषीणां आश्रितानां । तैः तादृशैः रत्यादिविषयैः सल्लापैः सम्भाषणैः । मुदितं मनः यासान्तासां । कर्णाटान्ध्रयोः (लक्षणया) कर्णाटान्ध्रभाषयोः व्यति- करवशात् साङ्कर्यवशात् । कर्बुरे शबलिते । गीतिभेदे गानविशेषे । मुह्यन्तीनां विवशत्वं यान्तीनां । शालीन् संरक्षन्तीति शालिसंरक्षिकाः सस्यपालिकास्तासां । मदनेन मन्मथेन कलुषं कालुष्यं प्राप्तं । मौग्ध्यं मूढत्वं । आस्वादयेथा अनुभवेः ॥ २०

एवं गच्छतस्तव वेङ्कटाद्भिः पुरोभविष्यतीत्याह । विष्णोरिति । तदनु विष्णोः वेङ्कटेशस्य वासात् वासस्थानत्वात् अवनेः भूमेः वहनात् धारणात् बद्ध- रत्नैः खचितमणिभिः शिरोभिः शिखरैः अयं पुरोवर्ती साक्षात् प्रत्यक्षमतः शेषइति अनन्तइति जनैः सम्यक् उन्नीयमानः विचार्यमाणः अचिरोन्मुक्तनिर्मोककल्पैः तत्क्षणविश्लिष्टकञ्चुकसदृशैः । अलघुभिः स्थूलैः अभ्रैः मेघैः युक्तः विशिष्टः अञ्ज- नाद्रिः वेङ्कटाद्रिः सपदि सद्यः नयने चक्षुषी रञ्जयन् आनन्दयन् अग्रे पुरस्तात् भावी भविष्यति ॥ २१

तत्रारूढैर्महति मनुजैस्स्वर्गिभिश्चावतीर्णै- स्सत्त्वोन्मेषाद्व्यपगतमिथस्तारतम्यादिभेदैः । साधारण्यात्फलपरिणतेस्सङ्घशो बध्यमानां शक्त्या कामं मधुविजयिनस्त्वंच कुर्यास्सपर्याम् ॥ २२ स्तोकोन्मग्नस्फुरितपुलिनां त्वन्निवासेच्छयेव द्रक्ष्यस्यारात्कनकमुखरां दक्षिणामञ्जनाद्रेः । आसन्नानां वनविटपिनां बीचिहस्तैः प्रसूना- न्यर्चाहेतोरुपहरति या नूनमर्धेन्दुमौलेः ॥ २३

पर्वतं गत्वा श्रीवेङ्कटेश्वरं त्वमपि यथाशक्तिपूजयेत्याह । तत्रेति ॥ महति पूज्ये तत्र वेङ्कटाद्रौ मधुविजयिनः मधुरिपोः विष्णोः सत्वस्य सत्वगुणस्य उन्मेषात् उद्रेकात् व्यपगतमिथस्तारतम्यादिभेदैः अपेतान्योन्यन्यूनताधिक्यप्रकारयुक्तैः आरूढैः आरोहणं कृतवद्भिः मनुजैः मानवैः अवतीर्णैः स्वसेवार्थस्वर्गादागतैः स्वर्गिभिः देवैश्च फलपरिणतेः फलप्रदानस्य साधारण्यात् न्यूनाधिकविचाराभावात् सङ्घशः सङ्घीभूय बद्ध्यमानां रचितां सपर्यां पूजां त्वञ्च शक्त्या यथाशक्ति कामं भृशं कुर्याः कुरु ॥ २२

अनन्तरं कनकमुखरां नाम नदीं द्रक्ष्यसीत्याह । स्तोकेति । तव निवा- साय विश्रमाय इच्छयेव अभिप्रायेणेव स्तोकं किञ्चित् उन्मग्नानि वीचीप्रसारणात् निमज्य वीचीप्रसारणाभावे उद्गतानि स्फुरितानि व्यक्तानि पुळिनानि सैकतानि यस्यान्तथोक्तां अञ्जनाद्रेः वेङ्कटगिरेः दक्षिणादिशि स्थितां कनकमुखरां स्वर्णमुखी- नदीं आरात् समीपे द्रक्ष्यसि प्रेक्षिष्यसे या नदी अर्धेन्दुमौळे: शिवस्य (काळ- हस्तीश्वरस्य) अर्चाहेतोः पूजार्थं आसन्नानां समीपस्थितानां वनविपिनां अरण्य- वृक्षाणां प्रसूनानि पुष्पाणि वीचीहस्तैः वीचिभिः तरङ्गैः हस्तैः करैरिव उपहरति सम्पादयति नूनं इत्युत्प्रेक्ष्यते ॥ २३

निर्विश्यैनां निभृतमनभिव्यक्तमंजुप्रणादौ मन्दाधूतः पुलिनपवनैर्वंजुलामोदगर्भैः अव्यासङ्गस्सपदि पदवीं संश्रयान्यैरलंघ्यो बन्दीकुर्युस्तटवसतयो मा भवन्तं किराताः ॥ २४ तुण्डीराख्यं तदनु महितं मण्डलं वीक्षमाणः क्षेत्रं यायाः क्षपितदुरितं तत्र सत्यव्रताख्यम् । पत्यौ रोषात्सलिलवपुषो यत्र वाग्देवताया- स्सेतुर्जज्ञे सकलजगतामेकसेतुस्सदेवः ॥ २५ नानारत्नैरुपचितगुणां नित्यसङ्गीतनादां भूमेर्द्रक्ष्यस्युचितविभवं भूषणं तत्र काञ्चीम् ।

तस्यां नद्यां विश्रम्य गच्छेत्याह । निर्विश्येति ॥ वञ्जुळानां वानीरपुष्पाणां आमोदगमैः परिमळवद्भिः पुळिनपवनैः सैकतमरुद्भिः मन्दं ईषत् आधूतः कम्पितः अनभिव्यक्तः अस्पष्टः मञ्जुः रम्यः प्रणादः ध्वनिः यस्य तथोक्तः एनां कनकमुख- राख्यनदीं निभृतं निश्चलं निर्विश्य अनुभूय अन्यैः अलङ्घयः अनतिक्रमणीयः त्वं अव्यासङ्गः सावधानः सपदि शीघ्रं पदवीं मार्गं संश्रय आश्रय भवन्तं त्वां तटे तीरे वसतिः वासः येषां ते तटवसतयः किराताः पुळिन्दाः माबन्दीकुर्युः बन्दी- गृहीतं माकार्षुः ॥ २४

अनन्तरं तुण्डीराख्यं देशं पश्यन् सत्यव्रतक्षेत्रं गच्छेत्याह । तुण्डीरेति ॥ तदनु तदनन्तरं महितं पूज्यं तुण्डीर इति आख्या यस्य तत् तुण्डीराख्यं मण्डलं देशं वीक्षमाणः पश्यन् तत्र मण्डले क्षपितं विनाशितं दुरितं पापं येन तथोक्तं सत्यव्र- ताख्यं क्षेत्रं (काञ्चीनामकपुण्यस्थलं) यायाः गच्छ यत्र क्षेत्रे सकलजगतां एकहेतुः मुख्यकारणभूतः सदेवः क्रीडावान् विष्णुः पत्यौ कान्ते धातरि रोषात् कोपात् सलिलवपुषः नदीरूपायाः वाग्देवतायाः सरस्वत्याः सेतुः वारकः जज्ञे अभूत् ॥ २५

काञ्चीं वर्णयन् तां द्रक्ष्यसीत्याह । नानेति ॥ नानारत्नैः उपचितगुणां समृद्धरूपां नित्यः अविच्छिन्नः सङ्गीतस्य तौर्यस्त्रिकस्य नादः ध्वनिः यस्यान्तथोक्तः

यस्यां नित्यं निहितनयनो हस्तिशैलाधिवासी द्वन्द्वातीतस्स खलु पुरुषो दृश्यते सत्यकामः ॥ २६ तामासीदन्प्रणम नगरीं भक्तिनम्रेण मूर्ध्ना जातामादौ कृतयुगमुखे धातुरिच्छावशेन । यद्वीथीनां करिगिरिपतेर्वाहवेगावधूतान् अन्यात्रेणूंस्त्रिदशपतयो धारयन्त्युत्तमाङ्गैः ॥ २७ मन्दाधूतात्तदनु महितो निस्सृतश्चूतषण्डात् पार्श्वे तस्याः पशुपतिशिरश्चन्द्रनीहारवाही ।

भूमेः पृथिव्याः उचितविभवं योग्यैश्वर्यभूतं भूषणं आभरणं काञ्चीं काञ्चीनगरं तत्र सत्यव्रतक्षेत्रे द्रक्ष्यसि । यस्यां कांच्यां नित्यं सदा निहितनयनः न्यस्तकक्षक्षः हस्तिशैले हस्तिगिरौ अधिवासी अधिवस्तुं शीलवान् द्वन्द्वातीतः सुखदुःखादिद्वन्द्व- रहितः सत्यकामः यथार्थसङ्कल्पः स पुरुषः प्रसिद्धः परमपुरुषः वरदाख्यो विष्णुः दृश्यते खलु ॥ २६

मुक्तिक्षेत्रभूतां काञ्चीं गत्वा ताम् पुरीं प्रणमेत्याह । तामिति ॥ त्रिदश- पतयः देवश्रेष्ठाः यस्याः कांच्या वीथ्यः यद्वीथ्यस्तासां करिगिरिपतेः हस्तिगिरिनाथस्य वरदस्य वाहस्य अश्वस्य वेगेन अवधूतान् समुद्भूतान् धन्यान् (तदश्वपादस्पर्शात् ) कृतार्थान् रेणून् पांसून् उत्तमाङ्गैः शिरोभिः धारयन्ति आदौ कृतयुगस्य मुखे प्रारम्भे धातुः ब्रह्मणः इच्छावशेन जातां तां प्रसिद्धां नगरीं काञ्चीं आसीदन् उप- गच्छन् (त्वं) भक्त्या नम्रेण नतेन मूर्ध्ना शिरसा प्रणम नमस्कुरु ॥ २७

तत्रागतं त्वां मन्दमारुतोऽपि सेविष्यत इत्याह । मन्देति ॥ तदनु मन्दं आधूताच्चलितात् । चूतानां षण्डात्समूहात् निःसृतः निर्गतः (अनेन मान्द्यमुक्तं) महितः पूजितः तस्याः कांच्याः पार्श्वे पश्चिमपार्श्वभागे (विद्यमानस्य) पशुपतेः एकाम्रनाथाख्यस्य शिवस्य शिरसि (स्थितस्य) चन्द्रस्य नीहारं हिमं ताच्छील्येन वहतीति तथोक्तः (अनेन शैत्यमक्तं) कम्पायाः कम्पाख्यनद्याः पाथसि जले

दूरात्प्राप्तं प्रियसखमिव त्वामुपैष्यत्यवश्यं कम्पापाथःकमलवनिकाकामुको गन्धवाहः ॥ २८ वर्णस्तोमैरिव परिणता सप्तभेदैर्महौघैः मान्या मध्येनगरमभितस्सेविता देवताभिः । स्वच्छस्वादुप्रसरसुभगा स्वामिनी वः कवीनां वेगासंज्ञां वहति महतीं वल्लभा पद्मयोनेः ॥ २९ तीर्थे पुंसां शमितकलुषे तत्र सारस्वताख्ये स्नात्वा सार्धं मुनिभिरनचैस्सम्यगुल्लासिताङ्गः ।

स्थितानां कमलानां वनिकायाः समूहस्य कामुकः कामी (अनेन सौरभ्यमुक्तं) गन्धं वहतीति गन्धवाह वायुः दूरात् प्राप्तं आगतं प्रियसखं इष्टमित्रमिव त्वां अवश्यं उपैष्यति प्राप्स्यति ॥ २८

अत्र तव स्वामिनी सरस्वती नदीरूपेण प्रसृता वेगासंज्ञां बिभर्तीत्याह । वर्णेति ॥ वर्णस्तोमैः वर्णसमूहैरिव सप्तभेदैः 'शुक्तिकाकनकाशिप्राकम्पापेयाच मञ्जुला । चण्डवेगा' इत्युक्तसप्तप्राकारैः महौघैः महाप्रवाहैः परिणता प्रादुर्भूता मान्या पूज्या मध्ये नगरस्य मध्येनगरं (अव्ययीभावः) देवताभिः अभितः उभयतः सेविता स्वच्छेन निर्मलेन स्वादुना मधुरेण च प्रसरेण प्रवाहेन सुभगा मनोज्ञा कवीनां के जले वीनां पक्षिणां वः युष्माकं स्वामिनी अधिपत्नी पद्मयोनेः ब्रह्मणः महती सर्वोत्कृष्टा वल्लभा कान्ता सरस्वती वेगासंज्ञा वेगवतीति- नामधेयं वहति धारयति ॥ २९

तव तीर्थे ऋषिभिरसह स्नाने कृते सर्वदर्शित्वपर्यन्तशुद्धिस्तत्र भविष्यती- त्याह । तीर्थ इति ॥ पुंसां पुरुषाणां शमितकलुषे विनाशितपापे सारस्वताख्ये तत्र तीर्थे वेगवतीतीर्थे । अनघैः निर्दोषैः मुनिभिः सार्धं सह स्नात्वा सम्यक् उल्ला-

१६

विश्वं चित्ते विगतरजसि व्यञ्जयन्तीमशेषं वक्ष्यस्यन्तर्बहिरपि परां शुद्धिमक्षेपणीयम् ॥ ३० तस्यास्तीरे सरसिजभुवस्सौम्य वैतानवेदिः दिव्यं कुर्वन्द्रविडविषयं दृश्यते हस्तिशैलः । यस्योपान्ते कृतवसतयो यापयित्वा शरीरं वर्तिष्यन्ते वितमसि पदे वासुदेवस्य धन्याः ॥ ३१ सञ्चिन्वाना तरुणतुलसीदामभिस्वामभिख्यां तस्यां वेद्यामनुविदधती शीतलं हव्यवाहम् ।

सितानि प्रकाशितानि अङ्गानि यस्य तथोक्तः । त्वं विगतं अपेतं रजः रजोगुणः यस्मात्तत् विगतरजः तस्मिन् चित्ते मनसि अशेषं समस्तं विश्वं लोकं व्यञ्जयन्तीं प्रकाशयन्तीं अक्षेपणीयां अनिवारणीयां परां शुद्धि अन्तः मनसि बहिः शरीरेऽपि वक्ष्यसि प्राप्स्यसि ॥ ३०

वेगवत्यास्तटे हस्तिशैलो दृश्यते तस्य समीपे वासं कुर्वन्तः चरमकाले देहं विसृज्य वासुदेवस्य पदे तिष्ठन्तीत्याह । तस्या इति । सौम्य सुन्दर हे हंस तस्याः वेगवत्याः तीरे सरसिजभुवः धातुः वैतानवेदिः, यागोत्तरवेदिरूपः हिस्तशैलः करिगिरिः द्रविडानां विषयं देशं दिव्यं प्रशस्तं कुर्वन् दृश्यते यस्य हस्तिशैलस्य उपान्ते समीपे कृता वसतिः वासो यैस्ते कृतवसतयो जनाः शरीरं यापयित्वा विसृज्य वितमसि विगततमोगुणे वासुदेवस्य पदे स्थाने धन्याः कृतार्थाः वर्तिष्यन्ते वासं करिष्यन्ति ॥ ३१

उत्तरवेद्यां श्यामपावकरूपेण नारायणो भासत इत्याह । समिति ॥ तरुणीनां सततमम्लानां तुलसीनां दामभिः मालाभिः स्वां स्वीयां अभिख्यां कान्तिं सच्चिन्वाना सम्पादयन्ती तस्यां वेद्यां उत्तरवेद्यां शीतलं (मनिमन्त्रा- दिना) अनुष्णं हव्यं वहतीति हव्यवाट् अग्निस्तं अनुविदधती अनुकुर्वती भोगस्य ऐहिकसुखस्य ऐश्वर्यस्य परमपदैश्वर्यस्य च प्रियसहचरैः प्रियसखैः आपादकैरित्यर्थः ।

भोगैश्वर्यप्रियसहचरैः कापि लक्ष्मी कटाक्षैः भूयः श्यामा भुवनजननी देवता सन्निधत्ते ॥ ३२ लक्ष्मीविद्युल्ललितवपुषं तत्र कारुण्यपूर्णं माभैषीस्त्वं मरकतशिलामेचकं वीक्ष्य मेघं । शुद्धैर्नित्यं परिचितपदस्त्वादृशैर्देवहंसै- र्हंसीभूतस्स खलुभवतामन्ववायाग्रजन्मा ॥ ३३ सारास्वादी सवनहदविषां स्वामिनस्ते स देवः शुद्धं चक्षुः श्रुतिपरिषदां चक्षुषां भागधेयं । अङ्गीकुर्याद्विनतममृतासारसंवादिभिस्त्वा- माविर्मोदैरभिमतवरस्थूललक्षैः कटाक्षैः ॥ ३४

लक्ष्म्याः कटाक्षैः अपाङ्गदर्शनैः भूयः अत्यन्तं श्यामा भुवनजननी जगत्कारणमूता काऽपि वाचामगोचरा देवता वरद इत्यर्थः सन्निधत्ते सन्निधानं करोति ॥ ३२

तस्यां वेद्यां अपूर्वमेघो वर्तते स तु त्वद्वंशजः तस्मात् साध्वसम्माकुर्वित्याह- लक्ष्मीति ॥ तत्र वेद्यां लक्ष्मीरेव विद्युत् तडित् तया ललितं सुन्दरं वपुश्शरीरं यस्य तथोक्तं । कारुण्येन दयारूपजलेन पूर्णस्तं मरकतशिलावत् मेचकं श्यामलं मेघे (मेघत्वेननिगीर्णवरदं) वीक्ष्य मा भैषीः भीतिं मा कुरु त्वादृशैः त्वत्सदृशैः शुद्धैः देवहंसैः देवश्रेष्ठैः नित्यसूरिभिः परिचितपदः सेवितचरणः हंसीभूतः हंसतयाऽऽ- विर्भूतः सः मेघः भवतां युष्माकं अन्ववाये वंशे अग्रजन्मा पुरस्ताज्जातः खलु 'हिरण्मयः शकुनिर्ब्रह्मनाम' इति श्रुतिप्रसिद्धः ॥ ३३

सारेति ॥ ते तव । स्वामिनः ब्रह्मणः । सवनस्य यज्ञस्य हविषां । सारा- स्वादी वपाभक्षणशीलः । श्रुतीनां परिषदां समूहानां । शुद्धं निर्दुष्टं । चक्षुः नयनं 'वेदचक्षुः सनातनः' इत्युक्तेः । चक्षुषां आश्रितलोचनानां । भागधेयं भाग्यं सः प्रसिद्धः देवः वरदः विनतं प्रणतं । त्वां । अमृतासारसंवादिभिः अमृ- तवर्षसदृशैः । आविर्मोदैः आविर्भूतसन्तोषैः । अभिमतवरे इष्टवरविषये स्थूललक्षैः बहुप्रदैः । कटाक्षैः । अङ्गीकुर्यात् स्वीकुर्यात् ॥ ३४

मध्वासक्तं सरसिजमिव स्विन्नमालम्बमानो देव्या हस्तं तदितरकरन्यस्तलीलारविंदः । देवः श्रीमान्यदि सविहरेत्स्वैरमारामभूमौ व्यक्तो वालव्यजनवपुषा वीजयेस्तं त्वमेव ॥ ३५ जातप्रीतिर्जनपदमथो मध्यमं लङ्घयित्वा दूराल्लक्ष्यक्रमुकनिवहश्यामलान्याहि चोलान् । प्रत्युद्गच्छन्मकरवलनस्तम्भितैस्सह्यजायाः स्रोतोभेदैर्विविधगतिभिस्संविभक्तावकाशान् ॥ ६६३६ सन्ध्यारागं सुरभिरजनीसम्भवैरङ्गरागैः केशैर्ज्योत्स्नातिमिरकलहं पाळिकापीडगर्भैः ।

मध्विति ॥ मधुना आसक्तं आविष्टं । सरसिजमिव स्विन्नं (कान्तकर- स्पर्शात्) जातवेदं देव्याः लक्ष्म्याः । हस्तं । आलम्बमानः गृह्णन् तदितरकरे न्यस्तं निक्षिप्तं लीलारविन्दं विलासार्थपद्मं येन तथोक्तः । श्रीमान् देवः क्रीडावान् सः वरदः। आरामस्य उद्यानस्य भूमौ । स्वैरं यथेच्छं । विहरेत् विहारं कुर्याद्यदि । व्यक्तः चक्षुर्गोचरस्सन् । वालव्यजनवत् चामरवत् वपुषा शुक्लशरीरेणधवल- पक्षाभ्यामित्यर्थः । तदेवं । त्वमेव । वीजयेः वीजय । विश्रान्तं कुरु ॥ ३५

जातेति ॥ अथो अथ । जातप्रीतिः । मध्यमं मध्यं । जनपदं राष्ट्रं । लङ्घ- यित्वा अतिक्रम्य । दूरात् लक्ष्येण दृश्यमानेन क्रमुकनिवहेन पूगसमूहेन श्याम- लान् कृष्णवर्णान् । प्रत्युद्गच्छतां स्रोतोभिमुखं गच्छतां मकराणां मत्स्यानां वल- नेन परिभ्रमणेन स्तम्भितैः । अतएव । विविधगतिभिः । सह्यजायाः कावेर्याः । स्त्रोस्रोतसां प्रवाहाणां भेदैः । संविभक्तावकाशान् पृथक्कृतप्रदेशान् । चोलान् याहि गच्छ ॥ ३६

सन्ध्येति ॥ हे हंस । तेषु देशेषु । सुरभिरजन्याः परिमलयुक्तहरिद्रायाः सभ्भवः उत्पत्तिर्येषान्तथोक्तैः । अङ्गरागैरनुलेपनैः सन्ध्यारागं सन्ध्याकालरक्तिः

आविभ्राणास्सरसिजदृशो हंसदोळाधिरोहा- दाधास्यन्ते मदकलगिरस्तेषु नेत्रोत्सवं ते ॥ ३७ पृथ्वीलीलातिलकसुभगं पश्चिमं भागमेषां नाम्ना वर्षM जलचर नदीमातृकं गाहमानः । द्रक्ष्यस्यारात्परिमिततया मgnaकैलासदृश्यं zveतं शैलं फणिपतिमिव क्ष्मातलादुज्जिहानम् ॥ ३८ स्फारलोकप्रशमिततमस्सञ्चयं तत्र पुंसां प्रत्यग्रूपं प्रगुणविभवं प्रार्थनीयं बुधानां । नेदीयांसं कुशलनिवहं नन्तुराधास्यते ते दिव्यं तेजो जलधितनयास्नेहनित्यानुषक्तम् ॥ ३९

मानं । पालिकानां क्रमुकपुष्पाणां आपीडाः शेखराः गर्भे मध्ये येषान्तथोक्तैः केशैः कचैः । ज्योत्स्नातिमिरयोः चन्द्रिकान्धकारयोः कलहं विवादञ्च । आबि- भ्राणाः वहन्त्यः । मदेन कलगिर अव्यक्तमधुरवाचः । सरसिजदृशः पद्मनयनाः स्त्रियः । डोलासु प्रेङ्खोलिकासु अधिरोहात् आरोहणात् । ते तव । नेत्रोत्सवं ।

आधास्यन्ते करिष्यन्ति ॥ ३७

ततो वर्षनामनि राज्ये श्वेताद्रिं द्रक्ष्यसीत्याह - पृथ्वीति ॥ जलचर हेहंस त्वं पृथिव्याः भूम्याः लीलातिलकवत् सुभगं सुन्दरं एषां चोलानां पश्चिमं भागM प्रदेशं नाम्ना वर्षं वर्षाख्यं नदीमातृकं नदीप्रवाहपोषितदेशं । गाहमाना प्रविशन् सन् परिमिततया परिच्छिन्नत्वेन मनः निमग्नः कैलासः रजतगिरिरिव दृश्यः द्रष्टुं योग्यस्तं अतएव क्ष्मातलात् पातालात् उज्जिहानं उत्पतन्तं फणिपतिं आदि- शेषमिवस्थितं श्वेतं शैलं श्वेतपर्वतक्षेत्रं आरात् समीपे द्रक्ष्यसि ॥ ३८

स्फारेति । तत्र श्वेतशैलः पुंसां स्फारेणाधिकेन आलोकेन प्रकाशेन प्रश- मितः नाशितः तमसः अज्ञानान्धकारस्य निचयस्समूहः येन तथोक्तं । प्रत्यग्रूपं चेतनरूपं प्रगुणविभवं अधिकैश्वर्यञ्च बुधानां प्राज्ञानां प्रार्थनीयं जलधितनयया

स्निग्धच्छायं तदनु विततं तस्य धामेव नीलं नीलीपुष्पस्तबकललितं काननं संविचीयाः। दृष्टे तस्मिन्ननिमिषवधूनित्यनिर्वेशयोग्ये स्वर्गोद्यानश्रियमपि लघुं मंस्यते मानसं ते॥ ४० कुर्वन्नानाकुसुमरजसा यत्र चित्रं वितानं पूगारण्ये मृदु विचलयन्पाळिकाचामराणि। पादन्यासक्षममवकिरन् क्ष्मातलं पुष्पजालैः प्रायो वायुः परिजनावधिं पञ्चबाणस्य धत्ते॥ ४१

लक्ष्म्यास्नेहेन नित्यं सदा अनुषक्तं युक्तं दिव्यं अप्रकृतं तेजः परंज्योतिः नन्तुः नमस्कुर्वतः ते तव नेदीयांसं अधिकसमीपस्थितं कुशलनिवहं क्षेमसमूहं आधा- स्यति करिष्यति ॥

स्निग्धेति ॥ तदनु स्निग्धा रम्या छाया यस्य तथोक्तं । विततं विस्तीर्णं तस्य पूर्वोक्ततेजोरूपस्य विष्णोः धामेव प्रकाशमिव नीलं नीलवर्णं नीलीनां तन्नाम- कौषधीनां पुष्पस्तबकैः कुसुमगुच्छैः ललितं सुन्दरं काननं वनं संविचीयाः मार्गयेः अनिमिषवधूनां देवस्त्रीणां नित्यं निर्वेशाय क्रीडाविहाराय योग्ये तस्मिन्नरण्ये दृष्टेसति ते तव मानसं मनः स्वर्गोद्यानस्य नन्दस्य श्रियं शोभामपि लघु अल्पां मंस्यते विचारयिष्यति ॥ ४०

तत्र वने वायुः मन्मथपरिचryAM करिष्यतीत्याह - कुर्वन्निति । वायुः यत्र श्वेताdrau पूगारण्ये kraमुकवने नानाकुसुमानां रजसा परागेण चित्रं वितानं उल्लोचं कुर्वन् पालिकाचामराणि क्रमुकपुष्पमयचामराणि मृदु मन्दं विचलयन् कम्पयन् पुष्पाणां जालैः समूहैः क्ष्मातलं भूतलं पादन्यासस्य क्षमं योग्यं यथा तथा अव- किरंश्च सन् पञ्चबाणस्य मन्मथस्य परिजनविधिं सेवककार्यं प्रायः धत्ते धार- यिष्यति ॥ ४१

प्रथमाश्वास:

स्रोतोवेगादथ जनपदं सौम्य सीमन्तयन्ती प्रत्यादेशो विबुधसरितस्स्यन्दते सह्यकन्या । काले काले परिणतिवशात्पर्वभेदावकीर्णैः पुण्डेक्षूणां पुळिनविशदैर्गद्दा मौक्तिकौघैः ॥

सह्योत्सङ्गात्सपदि मरुता सागरं नीयमानां भद्रालापैर्विद्दितकुशलां त्वादृशानां द्विजानाम् । य।मस्कन्नास्सरसकुहळीपत्रपातैर्निशान्ते मन्दस्मेरां मधुपरिमळैर्वैसयन्तीव पूगाः ॥

तल कावेरी प्रवहतीत्याह—स्रोत इति ॥ अथ सौम्य हे हंस स्रोतसः प्रवाहस्य वेगात् जनपदं देशं सीमन्तवन्तं विभागवन्तं कुर्वती सीमन्तयन्ती विबुध- सरितः देवगङ्गायाः प्रत्य(देशः निराकृतिरूपा पुण्ड्रेक्षूणां इक्षुविशेषाणां काले काले परिणतेः परिणामस्य वशात् पर्वणां काण्डग्रन्थीनां भेदेन दलनेन अवकीर्णैः विशीर्णैः पुलिनवद्विशदैः स्वच्छः मौक्तिकानां ओघैः समूहैः गद्गदा निम्नोन्नता (इक्षुभेदान्मुक्तोत्पत्तिः शास्त्रप्रसिद्धा) सह्यकन्या कावेरी स्यन्दते प्रवहति ॥ सह्येति । मरुता वायुना सपदि तत्क्षणे सह्यस्य सह्यगिरेः उत्सङ्गात् अङ्कात् सागरं नीयमानां त्वादृशानां त्वत्सदृशनां द्विजानां पक्षिणां भद्रालापै- मङ्गलध्वनिभिः (विप्रणां स्वस्तिवाचनध्वनिभिरितिध्वन्यते) विहितकुशलां कृत- मङ्गलां । निशान्ते उदयकाले सरसानां मधुसमेतानां कुहलीपत्राणां क्रमुकपुष्प- दळानां पातैः पतनैः मन्दस्मेरां मन्दहासवत यां कावेरी अस्कन्नाः आर्द्राः पूगा: क्रमुकाः मधुपरिमकैः वासयन्तीव वासितां कुर्वन्त इव वर्तन्ते । पितृगृहाद्भर्तृ- गृहनीयमानान्येव कावेरी भातीति भावः ॥

हंससन्देशे तस्मिन्द्रक्ष्यस्यमरमहिळा मौळिगन्धैरवन्ध्या- मातन्वानां व्यपगतरसं मानसो मानसं वः । तीर्थैरन्यैरपि परिगतां शुद्धिहेतोरसमन्ता-

च्चन्द्रोल्लासप्रथितयशसस्सम्पदं पुष्करिण्याः ॥

तीरे तस्या विरचितपदं साधुभिस्सेव्यमानं श्रद्धायोगाद्विनमिततनुश्शेषपीठं भजेथाः । यस्मिन्नस्मत्कुलधनतया सौम्य साकेतभाजः स्थानं भाव्यं मुनिभिरुदितं श्रीमतो रङ्गधाम्नः ॥ ४५ तस्मिन्निति ॥ अमरमहिलानां देवखीणां मौलिगन्धैः केशपरिमकैः अवन्ध्य अभिन्नां वः युष्माकं मानसं मनः मानसे मानससरसि व्यपगतरसं प्रीतिरहितं आतन्वानां कुर्वाणां शुद्धिहेतोः स्वशुद्धिनिमित्तं अन्यैः तीथैरपि सम- न्तात् परिगतां परिवृतां चन्द्रस्य उल्लासेन न राजयक्ष्मनिराकरणपूर्वमौज्वज्ल्य- करणेन प्रथितयशसः प्रख्यात फर्तियुक्तायाः पुष्करिण्याः चन्द्रपुष्करिण्याः सम्प- दमैश्वर्यं तस्मिन्देशे द्रक्ष्यसि । दक्षशापाद्राजयक्ष्मपोडितश्चन्द्रस्तत्सरसि स्नात्वा रोगान्मुक्तः अतएव तस्याश्चन्द्र पुष्करणीति नामेति पुराणकथा ॥

तत्तीरस्थितं आविर्भविष्यतः श्रीरङ्गनाथस्य स्थानभूतमनन्तपीठं सेवस्वेत्याह- तीर इति । सौम्य हंस यस्मिन्ननन्तपीठे अस्माकं कुलधनतया साकेतभाजः अयोध्यायां वर्तमानस्य श्रीमतः रङ्गधाम्नः रङ्गनाथस्य स्थानं भाव्यं भवितुमर्हमिति मुनिभिः उदितं उक्तं तस्याः चन्द्रपुष्करिण्याः तीरे विरचितपदं कृताधिष्टानं सा- धुभिः सेव्यमानं तत् शेषपीठं अनन्तपीठं श्रद्धायोगात् आदरातिशयात् विनमित तनुस्सन् भजेथाः सेवस्व ॥

प्रथमाश्वासः

सत्वे दिव्ये स्वयमुदयतस्तस्य धाम्नः प्रसङ्गा- न्मञ्जूषायां मरकतमिव भ्राजमानं तदन्तः । चेतो धावत्युपहितभुजं शेषभोगे शयानं दीर्घापाङ्गं जलधितनयाजीवितं देवमाद्यम् ॥ चोराक्रान्तं तदनु विपिनं चोळपाण्ड्यान्तरस्थं झिल्लीनादश्रवणपरुषं शीघ्रमेव व्यतीयाः । तीर्णे तस्मिन्प्रकटय सखे शीतलांस्ते निनादान शब्दायन्ते न खलु कवयस्सन्निधौ दुर्जनानाम् ॥

स्तापीडप्रचलदलकं व्यक्तताटङ्करत्नं मुक्ताचूर्णस्फुरिततिलकं वक्रमुत्तानयन्त्यः । श्रीरङ्गनाथे मम मनः प्रसर्पतीत्याह - सत्व इति ॥ दिव्ये शुद्धे सत्वे तद्रूपे (विमाने) स्वयं उदयतः आविर्भावं कुर्वतः तस्य श्रीरङ्गनाथस्य धाम्नां अंशूनां प्रसङ्गात् प्रसञ्जनात् मन्जूषायां पेटिकायां मरकतमिव गारुत्मतरत्त्रमिव तदन्तः विमानमध्ये भ्राजमानं प्रकाशमानं । उपहितभुजं उपधानीकृतबाहुं शेषस्य अन- तस्य भोगे शरीरे शयानं शयनं कुर्वाणं दीर्घापाङ्ग दीर्घकटाक्षं जलधितनयायाः लक्ष्म्याः जीवितं प्राणभूतं । आद्यं देवं विष्णुं चेतः मम मनः धावति प्रसर्पति ॥ ४६ ततश्चोळदेशात् पाण्ड्यदेशं गच्छेत्याह-चोरेति । तदनु चोरैः आक्रान्तं चोळपाण्ड्ययोः अन्तरस्थं मध्येस्थितं झिल्लीनां तदाख्यजन्तूनां नादेन श्रवणयोः कर्णयोः परुषं निष्ठुरं । विपिनं वनं शीघ्रमेव व्यतीयाः अतिक्राम सखे तस्मिन् वर्णै तीर्णे अतिकान्ते सति शीतलान् ते तव निनादान् प्रकटय प्रकाशय तथाहि कवयः दुर्जनानां सन्निधौ नशब्दायन्तेखलु स्वकवित्वं नप्रकाशयन्ते खलु ॥

पाण्ड्यदेशस्त्रियस्तव शब्दं मानयिष्यन्तीत्याह - स्रस्तेति ॥ तस्मिन् देशे - पाण्ढ्यदेशे स्रस्तः च्युतः आपीडः शेखरः यस्मिन्कर्मणितद्यथाभवति तथा प्रक

eg हंससन्देशे देशे तस्मिन्कुवलयदृशो जातकौतूहलस्त्वां मालादीघैर्मधुरविरुतं मानयिष्यन्त्यपाङ्गैः ॥

नित्यावासं वृषभमचलं सुन्दराख्यस्य विष्णोः प्रत्यासीदन्सपदि विनतो भागधेयं नतरस्याः । यस्योत्सङ्गे वलिविजयिनस्तस्य मञ्जीरवान्तं पाथो दिव्यं पशुपतिजटास्पर्शहीनं विभाति ॥

ईशादस्त्रादधिगतवतां क्षत्रियाणां प्रभावा ॥ त्कारावास स्मरणचकितैस्सिक्तसस्यान्पयोदैः

'चलन्तः अलकाः 'चूर्णकुन्तलाः यस्य तथोक्तं । व्यक्तताटङ्करनं प्रकाशितकर्णालङ्कार- रतं । मुक्ताचूर्णेन स्फुरिततिलकं व्यक्ततिलकं । वक्त्रं मुखं उत्तानयन्त्य ऊर्ध्वकुर्वत्यः । जातकौतूहलाः । कुवलयदृशः स्त्रियः मधुरं विरुतं शब्दः यस्य तं त्वां मात् दीर्घः अपाङ्गैः कटाक्षैः मानयिष्यन्ति पूजयिष्यन्ति ॥

तत्र पाण्ड्यदेशे वृषभाद्भिर्वर्तते तत्समीपं गत्वा नमस्कुर्वित्याह- नित्येति ॥ `यस्य वृषभाद्रेः उत्सङ्गे तटे बलिविजयिनः महाबलिं जितवतः तस्य श्रुतिप्रसिद्धस्य त्रिविक्रमस्य मञ्जीरेण नूपुरेण वान्तं उद्गीर्णं दिव्यं पाथः देवगङ्गाजलं पशुपतेः रुद्रस्य जटायाः स्पर्शेन सम्बन्धेन हीनं रहितं विभाति प्रकाशते (कवेः स्वमत- समयेन रुद्रसङ्गसहितात् गङ्गाजलात् तद्रहितस्यास्य तीर्थस्याधिक्यमभिमतं दर्शितं) सुन्दराख्यस्य सुन्दरराजइति नामधेयवतः विष्णोः नित्यं आवासं आवास स्थानभूतं *(आश्रितानां) भागधेयं भाग्यभूतं वृषभं तदाख्यं अचलं अद्धिं सपदि शीघ्रं प्रत्या- सीदन् समीपतया गच्छन् विनतः विनययुक्तश्च सम् नतः प्रणतः स्याः भव ॥ ४९ ईशादिति । ईशात् रुद्रात् अस्त्राणि आग्नेयादीनि अधिगतवतां (तपसां ) प्राप्तवतां क्षत्रियाणां प्रभावात् कारायां कारागृहे वासस्य स्मरणात् चकितैः भीतैः (पाण्ड्यराजाः मेघान् श्रृङ्खलया निबध्य स्वराज्ये सुभिक्षं कृतवन्तइति अगस्त्य संहितायां प्रसिद्धं) पयोदः मेघैः सिक्तसस्यान् आर्दीकृतकलमान् अलकया कुब-

प्रथमाश्वासः पश्यन्यायाः परमलकया स्पर्धमानैरजस्रं पुण्यावासैः पुरजनपदैर्मण्डितान्पाण्ड्यदेशान् ॥

मुक्ताजालैर्जनितपुळिनां मुक्तिसन्तानमुक्तैः तारापूर्ण दिवमिव ततस्ताम्रपणीं भजेथाः । प्रत्यासत्त्या नियतविशदं पीतसिन्धोर्महर्षेः पानीयन्ते परिणमयिता तंत्र मुक्तामयत्वम् ॥

तस्यास्स्वैरं सरसिज मुखास्वादसम्प्रीतचेता श्शीतीभूतस्तरळलहरीबाहुसंश्लेषणेन अध्यासीनः पुलिनमनिलैवजितश्चन्दनाद्रे-क

इश्रान्ति शान्तिं गमयतु भवान्सागरं लङ्घयिष्यन् ॥ ५२ रनगर्यासह परं भृशं स्पर्धमानैः कलहं कुर्वाणैः पुण्यावासैः पुण्यक्षेत्रभूतैः पुरैः जनपदैश्च मण्डितान् भूषितान् पाण्ड्यदेशान् पश्यन् सन् यायाः गच्छेः॥ ५० मुक्तेति ॥ ततः शुक्तीनां मुक्तारफोशनां सन्तानेभ्यः समूहेभ्यः मुक्तैः । मुक्तानां मौक्तिकानां जालैः समूहैः जनितपुलिनां उत्पादित सैकतां । अतएव तारा- पूर्णां नक्षत्र पूरितां दिवं आकाशमिव स्थितां । ताम्रपर्णी तदाख्यनदी । भजेथाः भजस्व । तन्त्र । पीतः सिन्धुः समुद्रः येन तस्य । महर्षेः अगस्त्यस्य प्रत्यासत्या समीपेवस्थानात् नियतं नियमेन विशदं निर्मलं पानीयं जलं ते तव मुक्तामयत्वं मुक्तरोगत्वं (मुक्ताफलरूपत्वमितिध्वन्यते) परिणमयिता परिणामयिष्यति ॥ ५१ तस्या इति ॥ तस्याः नद्याः स्वैरं यथेच्छं सरसिजानामेव मुखानां आस्वा- देन चुम्बनेन सम्यक्प्रीतं चेतः मनः यस्य तथोक्तः तरलाभिः चञ्चलाभिः लह- रोभिः तरङ्गैरेव बाहुभिः संश्लेषणेन आलिङ्गनेन शीतीभूतः शीततां प्राप्तः । पुलिनं अध्यासीनः पुलिने स्थितः । चन्दनाद्रेः मलयाचलस्य अनिलैः वायुभि: वीजितः सेवितः भवान् त्वं सागरं लङ्घयिष्यन् तरिष्यन् श्रान्ति अध्वगमनायासं शान्ति गमयतु शमय ॥

हंससन्देश

सव्यं तस्याः कियदिव गतश्यामतळीतमालां त्वत्प्रायाणां तरुणवयसां चेतसो नन्दयित्रीम् । वेलामब्धेर्विविधलहरीदत्तमुक्ताभिरामां द्रक्ष्यस्यारात् द्विगुणपुलिनां केतकीनां परागैः ॥ स्थित्वा तत्र क्षणमुभयत शैलशृङ्गावतीर्णे- 197 स्त्रोतो भेदैरधिगतगुणं चारुविष्फारघोषैः । लक्ष्यीकुर्वन्दशमुखपुरीं सौम्य पत्रप्रकृष्टो, वेलाचापं शर इव सखे वेगतस्त्वं व्यतीयाः ॥

दावासक्तं वनमिव नभस्सन्ध्ययेवानुविद्धं 5 । सिन्दूराङ्कं द्विपमिव हरिं स्वाम्बरेणेव जुष्टम् । SP

सव्यमिति ॥ तस्याः नद्याः सख्यं वामं कूलं तीरं कियदिव गतः त्वं श्यामाः ताल्यः तमालाश्च यस्यान्तथाभूतां । त्वत्प्रायाणां त्वादृशानां तरुणानां यूनां वयसां पक्षिणां चेतसः नन्दयिली सन्तोषयिलीं विविधाभिः लहरीभिस्तरङ्गैः दत्ताभिः मुक्ताभिः मुक्ताफलैः अभिरामां रम्यां । केतकीनां परागैः धूलिभिः द्विगुण- पुलिनां द्विगुणीकृतसैकतां अब्धेः समुद्रस्य वेलां तीरं आरात्समीपे द्रक्ष्यसि ॥ ५३ स्थित्वेति ॥ हे सौम्य तत्र क्षणं स्थित्वा उभयतः पार्श्वद्वये शैलानां शृङ्गेभ्यः शिखरेभ्यः अवतीर्णैः चारुः रम्यः विष्फारः धनुषध्वनिरिव घोषः येषान्तथोक्तैः स्रोतसां प्रवाहाणां भेदैः अधिगतगुणं प्राप्तमौर्वीकं वेलाचापं चापवत् स्थितां वेलां शरइव पत्राभ्यां पक्षाभ्यां प्रकृष्टः उत्कृष्टः त्वं दशमुखस्य रावणस्य पुरीं लक्ष्यी- कुर्वन् शरव्य कुर्वन् वेगतः शीघ्रं व्यतीयाः लक्ष्य । शरपक्षे योजनं स्पष्टम् ॥ ५४ दावेति । हे सखे विद्रुमारण्यस्य प्रवालवनस्य योगात् सम्बन्धात् पयोधिं समुद्रं दावेन दावाग्निना आसक्तं युक्तं वनमिव सन्ध्यया अनुविद्धं युक्तं नभः आकाशमिव सिन्दूराङ्कं कुङ्कुमलान्छितं द्विपं गजमिव स्वस्य अम्बरेण पीतवस्त्रेण

प्रथमाश्वासः विद्युद्भिन्नं घनमिव सखे विद्रुमारण्ययोगा देहेनैकं मिथुनमिव च द्रक्ष्यसि त्वं पयोधिम् ॥

अस्मत्पूर्वैस्सुरपतिहृतं द्रष्टुकामैस्तुरङ्ग भित्वा क्षोणीमगणितबलैस्सागरो वर्धितात्मा । सत्कारार्थं तव यदि गिरीनादिशेद्रुप्तपक्षा नश्रान्तोऽपि प्रणयमुचितं नैव बन्धोर्विहन्याः ॥ तत्रासीनः क्वचन सरसि स्मेर हे मारविन्दे लब्धास्वादो मधुभिरभितैस्संविनीताध्वखेदः । द्रक्ष्यस्य लघुतरगतिश्शेषमुल्लङ्घय सिन्धो- स्तोयाघातान्मसृणित शिलारम्यवेलं सुवेलम् ॥ ५५.

५६-

५७.

जुष्टं परिवीतं हरिं विष्णुमिव विद्युता तडिता भिन्नं श्रं घनं मेघमिव देहेन नीलपीतदेहभागद्वयेन युक्तं एकं मिथुनं अर्धनारीश्वरात्मकद्वन्द्वमिव ल रायणद्वन्द्वमिव वा द्रक्ष्यसि ॥ लक्ष्मीना- ५५: अस्मदिति ॥ सुरपतिना इन्द्रेण हृतं अश्वं । द्रष्टुकामैः । अगणितं अस ङ्ख्यातं बलं येषान्तैः अस्मत्पूर्वैः सगरपुत्रैः क्षोणीं भूमिं भित्वा वर्धितः आत्मा शरीरं यस्य सः । सागरः समुद्रः तव सत्कारार्थं गुप्तपक्षान् पर्वतान् आदिशेत् आज्ञापयेद्यदि अधान्तोपि बन्धोः समुद्रस्य उचितं युक्तं प्रणयं स्नेहं नैव विहन्याः विनितं माकुरु ॥

५६.

तत्रेति ॥ तल समुद्रप्रेरितपर्वतेषु । स्मेराणि विकसितानि हेमारविन्दानि स्वर्णपद्मानि यस्मिंस्तस्मिन् । क्वचन कुत्रचित् सरसि आसीनः स्थितः अमितैः मधुभिः । लब्धास्वादः । सम्यग्विनीत परिहृतः अध्वखेदः मार्गश्रमः येन तथोक्तः लघुतरगतिः शीघ्रगमनः सिन्धोः शेषं उल्लङ्घय तोयस्य जलस्य आघातात् ताड- नात् मसृणिताभिः श्रृक्ष्णीकृताभिः शिलाभिः रम्यवेलं सुन्दरकूलं सुवेलं तदाख्य- गिरिं । अग्रे द्रक्ष्यसि ॥

हंस

यस्यासन्ने पयसि जलधेस्त्वत्प्रतिच्छन्दचन्द्राः क पक्षच्छेदक्षरित रुधिरस्तोमसन्दर्शनीयाः । वीचीप्राप्तेर्विषमितरुचो मौक्तिकैस्तारकाभै- स्सन्ध्यामन्यां नियतमवनौ दर्शयन्ति प्रवाळाः ॥ यत्रारण्यं वरुणवसतेर्वीचिवेगापनीतैः मुक्तारत्नस्तबकशबलैर्विद्रुमैरुत्प्रवाळम् । रक्षोभीतैस्स्वयमनिमिषैराहृतस्थापितानां मन्दाराणां मधुपरिमलैर्वासितं मौळिन्नैः ॥

तस्मिन्दृश्या भवति भवतश्चारुसौधावदाता लङ्का सिन्धोर्महितपुळिने राजहंसीव लीना । ।

यस्येति ॥ यस्य सुवेलस्य आसन्ने समीपस्थे जलधेः पयसि जले तव प्रति- `च्छन्दः प्रतिबिम्बएव चन्द्रः येषु तथोक्ताः पक्षच्छेदेन क्षरितानां स्रुतानां रुधिराणां रक्तानां स्तोमवत् समूहवत् सम्यग्दर्शनीयाः । वीचीनां तरङ्गाणां पाप्तेः प्रकर्षेणो- त्क्षेपणात् विषमितरुचः अधिककान्तयः प्रवालाः विद्रुमाः तारकाभैः नक्षत्रसदृशैः मौक्तिकैः अवनौ नियतं निश्चितं अन्यां सन्ध्यां दर्शयन्ति ॥

यत्रेति ॥ यत्र सुवेले अरण्यं वरुणवसतेः समुद्रस्य वीचिवेगेन अपनीतैः अपहृतैः मुक्तारत्नानां मौक्तिकश्रेष्ठानां स्तबकैः कलिकाभिः शबलैर्नानावणैः। विद्रुमैः प्रवालैः उत्प्रवालं उद्गतकिसलयं रक्षसः रावणात् भीतैः अनिमिषैर्देवैः आहृतानां · स्थापितानाञ्च मन्दाराणां मौलिदन्नैः चूडाप्रमाणैः अत्यन्तमधिकैरित्यर्थः मधुपरि- - मकैः । वासितम् ॥

तस्मिन्निति । ततः तस्मिन् सुवेले चारुसौधैः रम्यप्रासादैः अवदाता शुभ्रा अतएव सिन्धोः समुद्रस्य महिते पूज्ये पुलिने सैकते राजहंसीव लीना लग्ना लङ्का

प्रथमाश्वास त्वामायान्तं पवनतरलैया पताकापदेशैः पक्षैरभ्युज्जिगमिषुरिव स्थास्यति श्राव्यनादा ॥ इति श्रीकवितार्किकसिंहस्य सर्वतन्त्रस्वतन्त्रस्य श्रीमद्वेङ्कटनाथस्य वेदान्ताचार्यस्य कृत हंससन्देशे प्रथमाश्वासः ।

२९. ६०. ()

भवतः तव दृश्या । श्राव्यनादा या लङ्का आयान्तमागच्छन्तं त्वां पवनेन तरलैश्व-- ञ्चलैः पताकाः वैजयन्त्यइति अपदेशः व्याजः येषान्तैः पक्षैः गरुद्भिः अभ्युज्जिग-- मिषुः अभ्युद्गन्तुमिच्छुरिव स्थास्यति वर्तिष्यते सा दृश्येति पूर्वेणान्वयः ॥ ॥ इति हंससन्देशव्याख्यायां प्रथमाश्वासः समाप्तः ॥ ि ६०-

गाणामधिक म श ' ॥ gopige

॥ द्वितीयाश्वासः ॥

लीलाखेलं ललितगमनाश्चारुनादं सशिञ्जाः भल्लाक्षं त्वां स्मरशरदृशो गौरमापाण्डुराङ्गन्यः । मुग्धालापं मधुरवचसो मानसार्ह मनोज्ञाः यत्रानीतास्सुरयुवतयो रञ्जयेयुस्समक्षम् ॥ उग्रैश्शापैरुपहतिभिया रक्षसा दूरमुक्ताः योग्य हुतवहमपि त्वत्प्रियावर्णशुद्धाः । उत्पश्यन्त्यो जनकतनयातेजसैव स्वरक्षां कृति रोधं यस्यामनुविदधते लोकपालावरोधाः ॥ ॥

॥ लीलेति । यत्र लङ्कायां आनीताः ललितं रम्यं गमनं यासां तथोक्ताः सशिञ्जाः भूषणध्वनिसहिताः स्मरशरवत् पद्मवत् दृशौ नेत्रे यासान्तथोक्ताः आपा- ण्डुराग्यः विरहधवळगात्र्यः मधुरवचसः स्वादुभाषणाः । मनोज्ञाः । सुरयुवतयः लीलया खेलं सुभगं चारुनादं रम्यध्वनिं भल्लाक्षं राजहंसं गौरं श्वेतं मुग्धाला पं सुन्दरभाषणं मानसार्ह मानससरोयोग्यं मनोभोग्यं वा त्वां समक्षं प्रत्यक्षतः रञ्ज- येयुः रञ्जयिष्यन्ति । परस्परसाम्यात्त्वाम्मानयिष्यन्तीतिभावः । सा नगरी दृश्येति पूर्वेणान्वयः ॥

उग्रैरिति ॥ उग्रैः शापैः उपहतिभिया दोषभीत्या रक्षसा रावणेन दूरमुक्ताः हुतवहं अग्निमपि दग्धुं योग्याः तव प्रियायाः हंस्याइव शुद्धः (कान्तविरहात् ) 'धवळः वर्णः येषान्तथोक्ताः । 'आहिताग्नयादित्वात्परनिपातः' । जनकतनयायाः · सीतायाः तेजसैव पातिव्रत्यशक्त्यैव स्वेषां रक्षां रक्षणं उत्पश्यन्तः उत्प्रेक्षमाणाः लोकपालानां दिक्पालानां अवरोधाः अन्तः पुरस्त्रियः यस्यां लङ्कायां रोधं उपरोधं अनुविदधते अनुकुर्वते ॥

m द्वितीयाश्वासः

अध्यासीना बहुमणिमयं शृङ्गं सुवेलं दिक्पालेषु प्रथितयशसा रक्षसा रक्ष्यमाणा । अग्रे मेरोरमरनगरीं या परिष्कारभूम्ना त्वाहूयेव ध्वजपटमयानग्रहस्तान्धुनोति ॥ काले यस्यां व्यपगतघने त्वद्विहारोचितेऽस्मिन् चन्द्रालोकैर्विलुलितधियां शर्वरीगर्वहासैः । स्वर्गस्त्रीणां विरहजनितं बाष्पमुद्वेलयन्त्यो निःष्यन्दन्ते सलिलकणिकाश्चन्द्रकान्तस्थलीनाम् ॥

भासा तादृक्परिणतिजुषा मैथिलीशोकवह्ने- र्भस्मीभूतां पवनतनयस्नेहिना पावकेन ।

अधीति ॥ बहुमणिमयं अनेकरतप्रचुरं तुङ्गवङ्गं उन्नतशिखरं सुवेलं सुवेल- पर्वतं अध्यासीना अधिष्टिता तव स्थितेत्यर्थः । दिक्पालेषु प्रथितं प्रसिद्धं यशः यस्य तेन रक्षसा रावणेन रक्ष्यमाणा परिष्कारस्य अलङ्कारस्य भूम्ना आधिक्येन ( युक्ताच ) या लङ्का सुमेरोः मेरुपर्वतस्य अग्रे उपरि (स्थितां) अमरनगरी अमरावतीं आहूय स्पर्धांकृत्वा ध्वजपढमयान् पताकारूपान् अग्रहस्तान् धुनोतीव कम्पयतीव ॥ काल इति । यस्यां लङ्कायां व्यपगतघने अपगतमेघे तव विहारस्य `उचिते योग्ये अस्मिन् काले शरत्काले शर्वर्या रात्र्या गर्वेण (कृतैः) हासैरिवस्थितैः चन्द्रस्य आलोकैः प्रकाशैः विलुलितधियां क्षुभितचित्तानां स्वर्गस्त्रीणां विरहेण जनितं बाष्पं अश्रु उद्वेलयन्त्यः अधिकंकुर्वत्यः चन्द्रकान्तस्थलीनां चन्द्रकान्तरत्न- शिलाप्रदेशानां सलिलकणिकाः जलबिन्दवः निःष्यन्दन्ते स्रवन्ति ॥ भासेति ॥ मैथिल्याः सीतायाः शोकवह्नेः दुःखाग्नेः तादृशीं यथार्थाभि- रूपां परिणतिं परिणामं जुषते गच्छतीति तथोक्तस्तेन पवनतनयस्नेहिना हनुमत्स- खेन पावकेन अग्निना भासा तेजसा भस्मीभूतां भस्मतयापरिणतां तां लङ्कां अन्तः

हं अन्तत्रासादवहितधियस्सं विधास्यन्त्यवश्यं प्रत्यादिष्टप्रथमरचनं विश्वकर्मादयस्ताम् ॥

मध्ये तस्या निशिचरपतेरसद्म रुद्धान्तरिक्षं युग्मं नेयैर्दिवि सुमनसां सेव्यमानं विमानैः । कारागारं विबुधसुदृशां वीक्षमाणो विचित्रं शोकप्रीतिव्यतिकरवतीं वक्ष्यसे चित्तवृत्तिम् ॥ ईषत्कोपाच्चकित पवनामिन्दुसन्दिग्धसूर्यां नित्योदारामृतुभिरखिलैर्निष्कुटे वृक्षवाट । सीताशोकज्वलन सहजैस्तत्र दीप्तामशोकै- रापद्येथाः प्रथमलुलितामाञ्जनेयप्रचारैः ॥ ५.

.६.

मनसि तासात् रावणभीत्या अवहितधियः सावधानमतयः विश्वकर्मादयः प्रत्या- दिष्टा तिरस्कृता प्रथमरचना पूर्वसृष्टिर्यस्मिन्कर्मणितद्यथाभवतितथा संविधा स्यन्ति सम्यक्करिष्यन्ति ॥ (मध्य इति ॥ तस्याः लङ्कायाः मध्ये रुद्धान्तरिक्षं अवरुद्ध गमनं युग्मं मन्दोदरीरावणात्मकं द्वन्द्वं दिवि स्वर्गे नेयैः नेतुं 'अ': सुमनसां देवानां विमानैः सेव्यमानं विबुधसुदृशां देवत्रीणां कारागारं बन्दीगृहं विचितं निशिचरपतेः राव णस्य सद्म गृहं वीक्षमाणः पश्यन् त्वं शोकप्रीत्योः व्यतिकरः स सम्पर्कः त तद्वतीं चित्त वृत्तिं वक्ष्यसे धारयिष्यसि ॥ ईषदिति ॥ तत्र रावणगृहे ईषत्कोपात् (रावणस्य) स्वल्पकोपात् चकितः भीतः पवनः यस्यान्तां इन्दुः (निस्तेजस्कतया) चन्द्रः इति सन्दिग्धः शङ्कितः सूर्यः यस्यान्तां अखिलैः समस्तैः ऋतुभिः वसन्ताद्यैः नित्यं उदारां समृद्धां सीतायाः शोकज्वलनेन दुःखाग्निना सहजैः सहोत्पन्नैः मितैरित्यर्थः । अशोकैः तदाख्यवृक्षैः दीप्तां विराजमानां आञ्जनेयस्य हनुमतः प्रचारैः सञ्चारैः प्रथमं लुलितां मर्दितां निष्कुटे गृहोद्याने वृक्षवाट तरुपति आपद्येथाः भजस्व ॥

द्वितीयाश्वासः

तस्यामन्यैर्वियति विहगैस्सार्धमानन्दनिन्नै- स्स्थाने स्थाने निहितनयनो वर्तयन्मण्डलानि । द्रक्ष्यस्येकां जनकदुहितुरसौम्य दुर्जातबन्धुं न्यस्ताकल्पां क्वचन विटपे शिंग्रुपां सान्द्रशाखाम् ॥

मूले तस्याः किमपि सवनक्षेत्रसंस्कारजातं यत्र कापि स्थितमपि सखे त्रासहीनं महिम्ना । ༥ ཕ་ काले तस्मिन्कथमपि मया वीर्यशुल्केन लब्धं

दृश्यं तत्ते दिनकरकुलद्यातकं दिव्यरत्नम् ॥

तस्यामिति ॥ हे सौम्य हंस तस्यां वृक्षवाटिकायां आनन्दनिघ्नैः सन्तोष- परवशैः अन्यैः विहगैः पक्षिभिः सार्धं सह वियति आकाशे मण्डलानि परिभ्रम- णानि वर्तयन् कुर्वन् स्थानेस्थाने निहिते न्यस्ते नयने नेत्रे येन तथोक्तश्च सन् जनकदुहितुः सीतायाः दुर्जाते व्यसने बन्धुं क्वचन विटपे एकस्यां शाखायां न्यस्ताकल्पां विनिहितभूषणां सान्द्रशाखां निबिडस्कन्धां एकां अद्वितीयां शिशुपाख्यवृक्षं द्रक्ष्यसि ॥

तस्याः मूले सीतारत्नं तव दृश्यमित्याह - मूल इति !! भोसखे तस्याः शिंशुपायाः मूले किमपि अनिर्वचनीयं सवनक्षेत्रस्य यागभूमेः संस्कारेण हलेन दारणेन जातं उत्पन्नं यल क्वापि स्थितमपि महिना माहात्म्येन प्रकाशेन च वासेन भयेन मणिदोषेण च हीनं रहितं मया तस्मिन् काले यागसमये कथमपि प्रयासतः वीर्यशुल्केन शौर्यरूपणेन लब्धं दिनकरकुलस्य सूर्यवंशस्य द्योतकं प्रकाशकं उपनिषत्प्रसिद्धं दिविभवं दिव्यं श्रेष्ठं रतं सीतारूपस्त्रीरतं ते तव दृश्यं द्रष्टुं योग्यं भवति ॥ Hamsa-3 तत्

हंस सन्देशे

सा मे दृष्टिशफरनयना सन्नतभ्रूम्सुकेशी तन्वी तुङ्गस्तनभरनता तप्तजाम्बूनदाभा । बाला युष्मत्प्रतिमगमना वेदिमध्या वराङ्गी शृङ्गाराख्यं निधिमधिगता श्रेयसी देवतेव ॥

ते यावन्नयनपदवीं याति मोहालसा वा सन्देशं वा मदुपगतये श्रावयन्ती शकुन्तान् । अत्यासन्नप्रियवचनतां सूचयद्भिर्निमित्तै- གཁས་ रेतामश्रुस्थगितनयनं वीक्षमाणा दिशं वा ॥ आकल्पान्वा सविधविहितानालपन्ती विमोहा- दङ्गस्पर्शो रघुकुलपतेस्स्मर्यते वा नवेति ।

सीतां वर्णयति- सेति । शफरनयना मीनाक्षी सम्यङ्नतभ्रुः सुकेशी शोभनकेशा तन्वी कृशा तुझ्योन्नतयोः स्तनयोर्भरेण नता नम्रा तप्तस्य जाम्बू- नदस्य कनकस्य आभेव आभा शोभा यस्यास्तथोक्ता बाला तरुणी युष्मप्रतिमं युष्मत्सदृशं गमनं यस्यास्तथोक्ता वेदेर्यागवेदेर्मध्यमिवमध्ययस्यास्सा वराङ्गी उत्कृ• ष्टावयवा अतएव शृङ्गाराख्यं निधिं अधिगता प्राप्ता श्रेयसी अतिशयेन प्रशस्या देवतेव स्थिता सा सीता मे सम दृष्टिर्नयनं तद्वत्प्रेमपात्रमिति भावः ॥

सीताया अवस्यां वर्णयति-सेति ॥ सा सीता ते तव यावत् नयनयोः पदवीं मार्ग विषयमिति यावत् याति प्राप्नोति ( तावत्कालं) मोहेन मूर्छया अल- साश्रान्तावा मम उपगतये समीपागमनाय शकुन्तान् पक्षिणः सन्देशं श्राव- यन्ती वा अत्यासन्नं प्रियस्य वचनं यस्यास्तस्याभावस्तत्ता तां सूचयद्भिः प्रकाश- यद्भिः निमित्तैरशकुनैः अधुभिः स्थगिते आच्छादिते नयने यस्मिन्कर्मणि तद्यथा भवति तथा एतां दिशं वीक्षमाणावा (स्यात्)॥

आकल्पानिति ॥ सविधे समीपे निहितान् निक्षिप्तान् आकल्पान् भूष- णानि प्रति रघुकुलपतेः अङ्गस्पर्शः स्मर्यते वा नवेति विमोहात् आलपन्ती भाषमाणा

ma द्वितीयाश्वासः ध्यायन्ती वा चिरविरहितानेकशय्याविहारान् तस्या नूनं नियतिजनिता तादृशी कालयात्रा ।

शुद्धामिन्दोवश्वपचभवने कौमुदीं विस्फुरन्ती- ॥ मानीतां वा विषतरुवने पारिजातस्य शाखाम् । सूक्तिं रम्यां खलपरिसरे सत्कवेः कीर्त्यमानां मन्ये दीनां निशिचरगृहे मैथिलस्यात्मजाताम् ॥ वर्षाकीर्णामिव कमलिनीं व्याहतार्थामिवोक्ति पङ्काश्लिष्टामिव बिसलतां पत्यपेतामिवेीं । मेघच्छन्नामिव शशिकलां विनरुद्धामिवाशां व्याघ्रोपेतामिव मृगवधूं भूतले ज्यामिवास्ताम् ॥

चिराद्विरहितान् एकस्यां शय्यायां तल्पे विहारान् क्रीडाः ध्यायन्तीवा (सासीता- स्यात्) तस्याः सीतायाः तादृशी कालयाला कालस्थितिः नियते दैवात् जनिता "उत्पन्ना नूनम् ॥

शुद्धामिति । निशिचरस्य रावणस्य गृहे दीनां विषण्णां मैथिलस्यात्मजां सीतां श्वपचस्य श्वपाकस्य भवने गृहे विस्फुरन्तीं प्रकाशमानां शुद्धां इन्दोः चन्द्रस्य कौमुदी वा ज्योत्स्नामिव (वा इवार्थे) विषतरुवने आनीतां पारिजातस्य शाखांवा लतामिव खलपरिसरे दुष्टसमीपे कीर्त्यमानां रम्यां सत्कवेः सूक्तिंवा काव्यमिवच मन्ये ॥

वर्षेति ॥ वर्षेण वृष्ट्या आकीणी कमलिनी पद्मिनीमिव व्याहतार्थं परस्परविरुद्धार्थी उक्तिं वाचमिव पङ्कः कर्दमैः आश्लिष्टां आलिप्तां बिसलतां मृणा लीमिव पत्यपेतां पतिवियुक्तां इभी करिणीमिव मेघेन च्छन्नामावृतां शशिनश्च- न्द्रस्य कलामिव विघ्नेन अन्तरायेण रुद्वां प्रतिहतां आशां वाञ्छामिव व्याघ्रेण उपेतां सहितां शशवधूमिव वीतलजां कुलाङ्गनालङ्कारभूतलज्जारहितां इष्टां आर्याभिवच (मन्ये) ॥

हंससन्देशे

स्मृत्वा पूर्वं स्मरशरभये मत्परिष्वङ्गरक्षा माश्लिष्यन्तीमलसवलितैरङ्गकैर्मातरं स्वाम् । आकल्पेऽपि श्रममधिगतैरङ्गरागेऽपि खन्ने रक्षाम्यद्भिः स्मृतिमाप मुहुस्सौकुमार्यातिरेकात् ॥ भूयोभूयः करसरसिजे न्यस्य रोमाञ्चिताङ्गी (मौ चूडामणिविरहिते निर्विशन्तीं निधाय । अन्तस्तापादधिगतरुजोरादरादर्पयन्तीं पर्यायेण स्तनकलशयारगुळीयं मदीयम् ॥

अम्बातुल्या सुचरितफलं दिव्यमालेपनं प्राकृ ॥ अङ्गेष्वस्याः स्थिरमनुगुणं यद्वितेनेऽनसूया ।

स्मृत्वेति ॥ पूर्वं स्मरशरभये मन्मथबाणभयेसति मन्मथविकारेसती- त्यर्थः मत्परिष्वङ्गं मदालिङ्गनमेव रक्षां स्मृत्वा अलसेन आलस्येन अशक्त्या वलि तैर्मन्देञ्चलद्भिः आकल्पे भूषणधारणेपि श्रमं अधिगतैः प्राप्तैः अङ्गरागे चन्दनादि - लेपनेऽपि खिन्नैः दुःखितैः सौकुमार्यस्य मृदुत्वस्य अतिरेकात् अतिशयात् मुहुः स्मृतिमपि अक्षम्यद्भिः असहमानैः अह्नकैः अनुकम्प्यावयवैः स्वां मातरं भूमिं आन्ति भूमौ पतित्वा मूर्च्छितामित्यर्थः । कुलकमुत्तरश्लोकैस्सह ॥

भूय इति ॥ भूयोभूयः पुनःपुनः मदीयं अङ्गुलीयं ऊर्मिकां करसरसिजे पाणिपद्मे न्यस्य निधाय अतएव रोमाञ्चिताङ्गी पुलकिताङ्गी चूडामणिविरहिते मौळौ शिरसि निधाय निर्विशन्तीं सुखमनुभवन्तीं अन्तः मनसि (विरहजन्यात्) तापात् अधिगतरुजोः प्राप्तरोगयोः स्तनकलशयोः कुम्भसदृशकुचयोः विपर्ययेण अनुक्रमेण आदरात् स्नेहात् अर्पयन्ती निदधतीं ॥

अम्बेति ॥ अम्बया मात्रा तुल्या सदृशी अनसूया अलिपत्ती सुचरितस्य स्वतपसः फलं फलभूतं दिव्यं अनुगुणं अनुकूलं स्थिरं दीर्घकालस्थायि यत् आले-

द्वितीयाश्वासः धाराकारैः स्तनकलशयोरापतद्भिस्समन्ता- त्सन्तापोष्णैस्तदनुबहुळैरश्रुभिः अग्राह्यत्वाद्विषमयमितं केशहस्तं मया प्राक् ० ॥ आविभ्राणां तनुपरिमळ श्रद्धयेवावकीर्णम् अर्चाहेतोर्भुवि रतिपतेरप्सरोभिर्विमुक्ताम् अन्वग्यातामिव सुरतरोर्मञ्जरीं चञ्चरीकैः ॥ आनीतं यत्त्वरितमचलादुत्तरीयं लव- रस्याकारैस्सदृशमभितस्त्वत्प्रियारूपचिह्नम् । बालादित्यद्युतिसहचरं चारुवासो वसानां

सन्ध्यारागव्यतिकरवतीं चन्द्रलेखामिवान्याम् ॥ १९ पनं अङ्गरागं प्राक् पूर्वं अस्याः सीतायाः अङ्गेषु वितेने चकार । धाराकारैः वर्षधा- रासदृशैः स्तनकलशयोः समन्तात् परितः आपतद्भिः सन्तापेन उष्णैः बहुलै. अधिकैः अधुभिः तदनु अनन्तरं तत् आलेपनं क्षालयन्ती परिमार्जयन्तीम् ॥ १७ अग्राह्यत्वादिति ॥ प्राकू विरहात्पूर्वं मया अग्राह्यत्वात् बाहुल्येनहेतुना ग्रहीतुमशक्यत्वात् विषमं असमीचीनंयथातथा यमितं बद्धं केशहस्तं कचसमूहं तनोः शरीरस्य परिमळे श्रद्धयेव आशयेव अवकीर्ण आविभ्राणां धारयन्तीं अतएव भुवि रतिपतेर्मन्मथस्य जर्चाहेतोः पूजार्थ अप्सरोभिः विमुक्तां चञ्चरीकैः भ्रमरैः अन्वकू अनुसृत्य पश्चात् यातां सुरतरोः पारिजातस्य मञ्जरी वल्लरीमिवस्थिताम् ॥१८ आनीतमिति ॥ प्लवङ्गैः कपिभिः अचलान्मतङ्गपर्वतात् यत् उत्तरीयं त्वरितं शीघ्रं आनीतं । अभितः परितः तव प्रियायाः राजहंस्याः रूपं आकृतिः चिह्न लाञ्छनं यस्य तथोक्तं अस्य एतदुत्तरीयस्य आकारैः सदृशं बालादित्यस्य द्युतेः कान्तेः सहचरं समानं चारु रम्यं वासः वस्त्रं उत्तरीय युग्मेऽन्यतरदित्यर्थः । वसानां धारयन्ती अतएव सन्ध्यारागेग व्यतिकरवत मित्रां अन्यां चन्द्रलेखामिव - स्थिताम् ॥

39 हंससन्देशे वक्तुं मार्ग किल वसुमतीं जग्मुस्तत्पदाब्जा मञ्जीरस्य त्वदुपमरुतेर्दक्षिणस्यास्य तुल्यम् । अङ्कारूढे चरणकमले मत्करेणोपधेयं वामं शाखा शिखरनिहितं वीक्ष्य गाढं विषण्णाम् ॥ २० अङ्गैम्र्लायत्किसलयसमैरुझिताकल्पपुष्पैः गाढाटां वपुषि विमले बिम्बिताभिर्लताभिः । किश्चिदूनांना सन्तापोष्णश्वसनपरुषच्छायया किञ्चिदूनां बन्दीभूतां निशिचरगृहे नन्दनस्येव लक्ष्मीम् ॥

चेतोवृत्तिं शमयति बहिस्सार्वभौम निरोधे मय्येकस्मिन्प्रणिहितधियं मान्मथेनागमेन । वक्तमिति ॥ मा मार्ग वक्तुं किल वक्तुमिव तस्याः पदाब्जात् वसुमतीं भूमिं अधिजग्मुषः प्राप्तस्य त्वदुपमरुतेः त्वत्सदृशध्वनेः दक्षिणस्य अस्य मञ्जीरस्य नूपु- रस्य तुल्यं अङ्कं उत्सङ्गं आरूढे चरणकमले मम करेण उपधेयं भूषयितुं योग्यं शाखाशिखरे निहितं वामं सव्यं मञ्जीरं वीक्ष्य गाढं अत्यन्तं विषष्णां दुःखिताम् ॥ अङ्गैरिति । उज्झिताकल्पपुष्पैः त्यक्तभूषणकुसुमैः त्यक्तभूषणभूतपुष्पैश्च । म्लायत्किसलयसमैः ग्लान पल्लवसदृशैः म्लान समस्तपल्लवैश्च । अझैरवयवैर्युक्तां । विमले वपुषि शरीरे । बिम्ब आसां सञ्जातबिम्बिता: प्रतिबिम्बिता: ताभिः लताभिः। गाढं आश्लिष्टां । सन्तापादुष्णेन श्वसनेन निश्वासवायुना वायुनाच । परुषा या च्छाया कान्तिः तथा । किञ्चिद्यनां पूर्वावस्थातः न्यूनां अतएव निशि- चरस्य रावणस्य गृहे । बन्दी कारावासं भूतां प्राप्तां । नन्दनस्य स्वर्गोद्यानस्य । लक्ष्मीमिव स्थिताम् ॥

२१.

चेतइति ॥ सार्वभौमे सर्वभूमौ विदिते निरोधे इन्द्रियनिग्रहे कर्तरि बहिः बाह्यविषयां चेतसः मनसः वृत्तिं व्यापारं शमयति सति । मयि एकस्मिन्

द्वितीयाश्वासः

अभ्यस्यन्तीमनितरजुषो भावनायाः प्रकर्षात् स्वान्तेनान्तर्विलयमृदुना निर्विकल्पं समाधिम् ॥

शून्या दृष्टिः श्वसितमधिकं मीलितं वक्तूपद्मं धाराकारं नयनसलिलं सानुबन्धो विलापः । इत्थं दैन्यं किमपि विधिना दुर्निवारेण नीता सा मे सक्ता तनुतरतनुस्तप्यते नूनमन्तः ॥

दृष्ट्वा तस्यास्त्वमपि करुणां तादृशीं तामवस्थां शक्ष्यस्यन्तः स्वयमुपनतं शोकवेगं न सोढुम् । मय्येव प्रणिहितधियं न्यस्तमनसं । अनितरजुषः मामेव भजन्त्याः भावनायाः • उत्कर्षात् अन्त अन्तरात्मनि विलयेन आसक्त्या मृदुना घ्यानानुवृत्याः प्रकर्षात् उयस्तमनसं । अनि स्वान्तेन मनसा निर्विकल्पं निष्कण्टकं समाधिं योगं मान्मथेन कामसम्बन्धिना आगमेन शास्त्रेण अभ्यस्यन्तीं । परिचिन्वतीं । मन्य इति पूर्वेणान्वयः ॥ सीतायास्तादृशीमवस्थां स्मृत्वा मम मनस्तप्यत इत्याह- शून्येति ॥

दृष्टिः शून्या वीक्षणं विषयग्रहणाचतुरं श्वसितं उच्छासः अधिकं वक्तूपद्मं मीलितं मुकुलितं नयनसलिलं धाराकारं विलापः प्रलापः सानुबन्धः अनुस्थूतः । तनुतर- तनुः अत्यन्तकृशशरीरा मे सक्ता प्रीतिमती सा सीता दुर्निवारेण प्रतिरोद्धुम- शक्येन विधिना दैवेन इत्थं एवं किमपि दैन्यं दीनत्वं नीता प्रापिता नूनमिति अन्तः मम मनः तप्यते दूयते ॥

२३.

रावणव्यतिरिक्ताः सर्वेऽपि तदवस्थां दृष्ट्वा कथं दयां न कुर्वन्तीत्याह-- दृष्टेति ॥ त्वमपि तस्याः सीताया करुणां दीनां तादृशीं तामवस्थां दृष्ट्वा अन्तः मनसि स्वयं उपनतं आगतं शोकस्य वेगं सोढुं न शक्ष्यसि समर्थो न भविष्यि क्रव्यादानां मांसभुजां (राक्षसानां पक्षिणाञ्च मध्ये) दशवदनवत् रावणवत्

हंससन्देशे क्रव्यादानां दशवदनवत् क्वापि जातावजाता नालम्बन्ते कथमिव दयां निर्मलत्वोपपन्नाः ॥

नेदीयस्यामधिगतरसो दीर्घिकायां निकामं संवेशेन श्रममपनयन् शर्वरीं यापयेथाः । इत्थं निद्रासमयमुचितं वीक्ष्य नक्तंचरीणां प्रत्यूषे त्वं प्रणयमधुरां श्रावयिष्यन्मदुक्तिम् ॥ शीतैरध्वश्रमविनयनैस्सेवितो गन्धवाहै- स्सुप्तः स्वैरं पुळिनशयने स्वन्तरे चन्द्रपादैः । क्रीडागीतैः कमलमुकुले लीयतां षट्पदानां कार्याकाङ्क्षी कल्यतु भवान् राजहंस प्रबोधम् ॥

175

क्वापि जातौ कुत्सितयोनौ अजाताः अनुद्भूताः निर्मलत्वेन उपपन्ना युक्ताः कथमिव दयां नालम्बन्ते नगृहन्ति ॥

नेदीयस्यामिति । नेदीयस्यां अत्यन्तसमीपस्थितायां दीर्घिकायां सरसि अधिगतरसः पीतरसः प्राप्तप्रीतिर्वा निकामं भृशं संवेशेन सुखस्थित्या धमं अप- जयन् अपाकुर्वन् नक्तञ्चरीणां राक्षसीनां उचितं योग्यं निद्रासमयं वीक्ष्य प्रत्यूषे प्रातःकाले प्रणयेन प्रीत्या मधुरां रम्यां मम उक्तिं वाक्यं इत्थं वक्ष्यमाणप्रकारेण श्रावयिष्यन् श्रोतविषयंकारयिष्यन् त्वं शर्वरी रात्रिं यापयेथाः गमय ॥ शीतैरिति । भो राजहंस अध्वश्रमविनयनैः मार्गायासनिवर्तकैः शीतैः गन्धवाहैः वायुभिः सेवितः वीजितः चन्द्रस्य पादैः किरणैः स्वन्तरे शोभनान्तरा- लयुक्ते पुलिनशयने सैकतरूपतल्पे स्वैरं यथेच्छं सुप्तः कार्याकांक्षी भवान् कमल- मुकुले लोयतां लग्नानां षट्पदानां भ्रमराणां क्रीडागीतैः लीलागानैः प्रबोध कलयतु करोतु ॥

द्वितीयाश्वासः

तामारूढञ्चलकिसलयां शिशुपां स्वैकलक्ष्यो मन्दीकुर्वन्मनासेजधनुघोषतीव्रं निनादम् । मोहादीषन्मुषितमनसं बोधय प्रेयसीं मे रम्यामादौ खुजनकयोर्वर्णयन्वंशकीर्तिम् ॥ पत्युर्देवि प्रणयसचिवं विद्धि दीर्घायुषो मां जीवातुं ते दधतमनघं तस्य सन्देशमन्तः । शूराणां यश्शदुपगमे वीरपत्नीवराणां समाना समयमुचितं सूचयेत्कूजितैस्स्वैः ॥

मत्प्रस्तावप्रवणमथ सा मैथिली मानयेत्त्वां म्लानं शोकाद्वदनकमलं मन्दमुन्नम्य भीरुः । pf

तामिति । चलकिसलयां चञ्चलपल्लवां तां शिशुपां आरूढः स्वया स्वीयया एकया सीतयैव लक्ष्यः दृश्यः मनसिजस्य मन्मथस्य धनुष घोषवत् तीव्रं गाढं प्रणादं शब्दं मन्दीकुर्वन् अल्पतयाकुर्वन् मोहात् ईषत् किञ्चित् मुषितमनसं अपहृतचित्तां मे प्रेयसी अत्यन्तप्रियां सीतां आदौ रम्यां रघुजनकयोः वंशकीर्ति वर्णयन्सन् बोधय प्रबुद्धाङ्कुरु ॥ पत्युरिति ॥ भोदेवि यः (हंसः) शरदः शरत्कालस्य उपगमे आगमे वीरपत्नीवराणां शूराणां सम्मानाहं उचितं युद्धयोग्यं समयं कालं स्वैः स्वीयैः कूजितैः शब्दैः सूचयेत् ज्ञापयेत् तं मां ते तव अनघं निर्दोषं जीवातुं जीवनौषधं तस्य रघुपतेः सन्देशं वाचिकं अन्तः मनसि दधतं धारयन्तं दीर्घायुषः तव पत्युः प्रणयसचिवं सखायं विद्धि जानीहि ॥

मदिति ॥ अथ भीरुः भीतियुक्ता सा मैथिली मम प्रस्तावे कथायां प्रवणं कुताभिनिवेशं त्वां शोकात् म्लानं ग्लानं वदनकमलं मन्दं शनैः उन्नम्य ऊर्ध्व कृत्वा अन्तः मनसि तोषात् सन्तोषात् अमृतस्य लहर्या प्रवाहेण लब्धं सब्रह्मचर्यं

हंससन्देशे अन्तस्तोषादमृतलहरीलब्धस ब्रह्मचर्यै- रम्भोजानामुषसि मिषतामन्तरङ्गैरपाङ्गैः ॥

पश्यन्ती' सा घुपतिवधूस्त्वामशेषावदातं प्रत्याश्वासोदधिगतरुचिः प्राक्तनीवेन्दुलेखा । मत्सन्देशे तदनु सुमुखी सावधाना भवित्री किं न स्त्रीणां जनयति मुदं कान्तवार्तागमोऽपि ॥

पश्चादेवं कथय भवती भागधेयेन जीवनन्

• कल्याणीं त्वां कुशलमनघः कोसलेन्द्रोऽनुयुङ्क्ते । येषु श्रेयो भवति नियतं तानि सर्वाणि सन्तो लक्ष्म्या देव्यास्तव च भुवने लक्षणान्यामनन्ति ॥

समानव्रतं यैस्तथोक्तैः उषसि प्रातः मिषतां विकसतां अम्भोजानां पद्मानां अन्त- रङ्गैः आप्तैः अपाङ्गैः वीक्षणैः मानयेत् पूजयेत् ॥

पश्यन्तीति ॥ अशेषतः अन्तर्बहिः अवदातं शुद्धं त्वां पश्यन्ती रघुपते दशरथस्य वधूः स्नुषा सा सीता प्राक्तनी पूर्वपक्षभवा इन्दोश्चन्द्रस्य लेखेव प्रत्या- श्वासात् आश्वासनात् अधिगता प्राप्ता रुचिः कान्तिर्यया तथोक्ता सती तदनु सुमुखी प्रसन्नमुखी मम सन्देशे सावधाना जागरूका च भविती भविष्यन्ती (भविष्यतीत्यर्थः) तथाहि कान्तस्य प्रियस्य वार्तायाः आगमः आगमनमपि स्त्रीणां मुदं सन्तोषं नजनयतिकिम् ॥ वार्तायाः

पश्चादिति । पश्चात् एवं कथय भवत्याः तव भागधेयेन जीवन् अनघः कोसलेन्द्रः रामः कल्याणी नित्यमङ्गलां त्वां कुशलं अनुयुङ्क्ते पृच्छति सन्तः महान्तः भुवने येषु लक्षणेषु सत्सु नियतं नियमेन श्रेयः शुभं भवति तानि सर्वाणि लक्षणानि देव्या लक्ष्म्याः तवच लक्षणानि आमनन्ति वदन्ति ॥

BE द्वितीय श्वासः

यस्या यस्मिन् व्यवधिरभवद्भूषणालेपनादि- ॥ नीतामेनां नियतिविभवादन्तरीपं दवीयः । प्रत्यासीदन्निव नयनयोर्वर्त्मनि स्थापयित्वा स त्वामेवं वदति कुशली देवि संख्या मुखेन ॥ वेलातीत प्रणयविवशं भावमासेदुषोन भोगारम्भे क्षणमिव गता पूर्वमालिङ्गनाद्यैः । सम्प्रत्येषा सुतनु शतशः कल्पनासङ्गभैस्तैः चिन्तादीधैरविश कलिता शर्वरी नापयाति ॥

उद्द भैस्ते कुचकलशयोरूष्मभिर्निर्जितेन छिंद्रं लब्ध्वा विरहसमये तत्क्षणादुन्नतेन । लिए ४३- ३२:

३३.

यस्या इति ॥ भोदेवि (पूर्व) यस्या (सीतायाः) यस्मिन् (रघुनाथे) भूषणालेपनादिः आभरणधारणचन्दनलेपनादिः व्यवधिः व्यवधानं अभवत् (इदानों) एवं नियतैर्देवस्य विभवात् माहात्म्यात् दवीयः दूरतरं अन्तरीप द्वीपं नीताँ (तां) त्वां कुशली रामः प्रत्यासीदन्निव समीपङ्गतइव नयनयोः वर्त्मनि मार्गे त्वां स्थापयित्वा सख्या मित्ररूपमन्मुखेन एवं वक्ष्यमाणप्रकारेण वदति ॥ वेलेति ॥ भोसुतनु शोभनगात्रि वेलां मर्यादां अती

प्रणयेन स्नेहेन विवशं परवशं भावं अभिप्रायं आसेदुषोः प्राप्तवतोः नौ आवयोः भोगस्य आरम्भे आलिङ्गनाद्यैः पूर्वं विरहात्पूर्वं क्षणमिव या शर्वरी रजनी गता सम्प्रति अद्य चिन्तया दीर्घः शतशः अनेकैः तैः तादृशैः कल्पनासङ्गमैः सङ्कल्प-- कल्पितसम्भोगैः अविशकलिता अशिथिला एषा शर्वरी नापयाति नगच्छति ॥ ३३ उद्दामैरिति ॥ ते तव कुचकलशयोः उद्दामः उत्कटैः ऊष्मभिः ओष्ण्यैः निर्जितेन विजितेन विरहसमये छिद्धं अवकाशं लब्ध्वा तत्क्षणात् तदानीमेव उन्न-

कुन्दा मोदै सुरभितदिशा गन्धवाहेन दैन्यं सम्प्राप्तोऽहं सह सरसिजैस्त्वन्मुखाम्भोजमित्रैः ॥

माध्वीदिग्धैर्विरहिवनितास्वादलुब्धैरमोघै- रावृण्वन्तं कुसुमधनुषश्चित्रपुङ्खैर्दिगन्तान् । सीतापार्श्वे न भवतु भवानित्यवोचद्वसन्तं रामखासादनमितधनुमळिना सन्नतेन ॥

पार्श्वे लोलैः परभृतकुलैर्मुक्तकोलाह मल्लीरेणुस्थगितवपुषां मन्दरं निर्गतानाम् । भीतेनाहं भ्रमरपटलीशृङ्खलासङ्कुलानां शीशफार मार्गे तिष्ठन्मलयमरुतां वारितो लक्ष्मणेन ॥

तेन कुन्दानां माध्यपुष्पाणां आमोदैः परिमलैः सुरभितदिशा वासितदिग्भागेन - गन्धवाहेन वायुना तव मुखाम्भोजस्य मिलैः सदृशैः सरसिजैस्सह अहं दैन्यं दीनभावं सम्प्राप्तः प्राप्तोऽस्मि ॥

माध्वीति । रामः माझ्या मधुना दिग्धैः लिप्तैः विरहिणीनां वनितानां स्त्रीणां स्वादे भक्षणे लुब्धैः आश(वद्भिः अमोघैः अप्रतिहतैः कुसुमधनुषः मन्मथस्य चित्रपुङ्खैः बाणैः दिगन्तान् दिग्भागान् आवृण्वन्तं आक्रामन्तं वसन्तं वसन्त- कालं वासात् भयात् अनमितधनुः अप्रह्वीकृतचापस्सन् सम्यक् नतेन मौलि शिरसा सीतायाः पार्श्व भवान् नभवतु इत्यवोचत् ॥

॥ पार्श्व इति ॥ पार्श्वे लीलैः प्रसृतैः परभृतानां कोकिलानां रवैः शब्दैः मुक्तकोलाहलानां बहिर्निस्सारितशब्दानां मल्लीनां मल्लिकानां रेणुभिः परागैः स्थगितवपुषां प्रच्छन्नशरीराणां मन्दरं मन्दतया निर्गतानां भ्रमराणां पटलीभिः समूहैरेव शृङ्खलाभिः सङ्कुलानां निबद्धानां मलयमरुतां मार्गे तिष्ठन् अहं भीतेन लक्ष्मणेन वारितः । अस्मि ॥

द्वितीयाश्वासः

मन्दो वक्ष्ये किमिव जनकं किंनु योगीश्वरो मा १६ ॥ मित्येवं मे सुतनु मनसो वर्तयन्ति स्म खेदम् । रक्ताशोके ज्वलति सविधे लाजवर्षाभिरामैः पुष्पौघैस्त्वत्परिणयदशां व्यञ्जयन्तः करञ्जाः ॥ चेतो नैव त्यजति चपलाहेमकोणाभिघाता- द्धीरोदात्तस्तनितजलदात्ताण्डवारम्भमिच्छन् । वातोन्मुक्तैः कुटजकुसुमैर्वासिते शैलशृङ्गे रक्षः पीडारहितदयिताश्लेषधन्यो मयूरः ॥

शैलव्यक्तप्रतिविलपितां सान्द्रतापानुविद्धां तन्वानानां नयनसलिलैर्मातरं ते सबाष्पाम् । श

४५.

३७-

मन्द इति ॥ भो सुतनु सविधे समीपे रक्ताशोके रक्ताशोकपुष्पे ज्वलति सति लाजानां वर्षैरिव अभिरामैः रम्यैः पुष्पाणां ओघैः समूहैः तव परिणयस्य विवाहस्य दशां अवस्थां व्यञ्जयन्तः सूचयन्तः करञ्जाः तदाख्यवृक्षाः मन्दः अहं जनकं मिथिलाधिपं प्रति किमिव वक्ष्ये किं वा वदामि योगीश्वरः जनकोऽपि मां किं वक्ष्यति इति एवं प्रकारेण मे मनसः खेदं दुःखं वर्तयन्तिस्म कुर्वन्तिस्म ॥ ३७ चेत इति । वनि उन्मुक्तः अवकीर्णैः कुटजकुसुमैः गिरिमल्लिकाभिः वासिते परिमलिते शैलशृङ्गे चपलाभिः विद्युद्भिरेव हेमकोणैः स्वर्णदण्डैः अभिघातः प्रहारो यस्य तस्मात् धीरं गम्भीरं उदात्तं उन्नतं स्तनितं गर्जितं यस्य तस्मात् जलदात् मेघात् ताण्डवस्य नर्तनस्य आरम्भ इच्छन् रक्षः पीडया रहितायाः दयितायाः स्त्रियाः आश्लेषेण आलिङ्गनेन धन्यः मयूरः नत्यजति तमेव मन्मनः स्मरतीति भावः ॥ चेतः मनः

शैलेति ॥ शैले पर्वते ( प्रतिध्वनिव्याजेन ) व्यक्तं स्पष्टं प्रतिविलपितं प्रतिप्रलापः यस्यास्तां सान्द्रेण निबिडेन तापेन अनुविद्धां युक्तां ते तव मातरं भूमिं नयनसलिलैः सवाप्पां तन्वानानां कुर्वतीनां प्रबलेन दृढेन मदनोन्मादेन काम

हंससन्देशे पश्यन्तीनां प्रबलमदनोन्मादपर्याकुलं मां नि प्रायो जातं किमपि रुदितं व्योम्नि कादम्बिनीनाम् ॥ ३९

देहस्पर्शं मलयपवने दृष्टिसम्भेदमिन्दौ धामैकत्वं जगति भुवि चाभिन्नपर्यङ्कयोगम् । ताराचित्रे वियति विततिं श्रीवितानस्य दूरीभूतां सुतनु विधिना त्वामहं निर्विशामि ॥ प्राप्तैरसख्यं तव नयनयोः पद्मकोशः प्रबुद्धै- स्सन्नाहं नस्समयनियतं साधु सन्धुक्षयन्ती । सेनायोग्यां सरणिमधुना दर्शयन्ती शुभाशा सीते नूनं त्वरयति शरत्वत्समीपं निनीषुः ॥

कृतचित्तविभ्रमेण पर्याकुलं व्याकुलं मां पश्यन्तीनां कादम्बिनीनां मेघमालानां व्योम्नि आकाशे किमपि रुदितं रोदनं जातं अभूत् प्रायः इत्युत्प्रेक्षे ॥

देहेति ॥ भोसुतनु मलयपवने मलयमारुते देहस्य (तव) शरीरस्य स्पर्श इन्दौ चन्द्रे दृष्टेः त्वन्मुखवीक्षणस्य सम्भेदं समागमं जगति लोके धाम्नः त्वन्निवा सस्थानस्य एकत्वं अभेदं भुविच अभिने एकस्मिन् पर्यङ्के खट्वायां योगं त्वत्संयोगं ताराभिः नक्षत्रैः चित्रे वियति आकाशे श्रीमतः वितानस्य (त्वक्रीडातल्पोपरि- स्थितस्य) उल्लोचनस्य विततिं विस्तारञ्च पश्यन् उत्प्रेक्षमाणः अहं विधिना दैवेन दूरीभूतां त्वां निर्विशामि अनुभवामि ॥

प्राप्तिरिति ॥ भो सोते तव नयनयोः सख्यं साम्यं प्राप्तैः प्रबुद्धैः विकसितैः कोशः मुकुलैः नः अस्माकं समये शरत्काले नियतं व्यवस्थितं सन्नाहं युद्धोद्योगं साधु सम्यक् सन्धुक्षयन्ती उद्दीपयन्ती शुभाशा प्रसन्नादिक शरत् तव समीपं निनीषुः नेतुमिच्छुः सती मां त्वरयति त्वरावन्तं करोति नूनम् ॥

द्वितीयाश्वासः

तातादेशात्सपदि भरते न्यस्तराज्याभिषेकं या मामेका वनमनुगता राजधानीं विहाय । तामेव त्वमुचितशयनां बाहुमध्ये मदीये दूरे कृत्वा गुणवति मुहुर्दूयते जीवितं मे ॥

सेतुं बध्वा विपुलमचलैस्सायकैर्वा पयोधौ कृत्वा लङ्कां स्रजमिव करे खेलतां वानराणाम् । अल्पीयोभिस्सुमुखि दिवसैर्योधयन्यातुधाना-

कर्णे शीधुं तव रचयिता लक्ष्मणश्चापघोषैः ॥ ४३ रक्षोमौळिस्तबकलवनाद्वैरबन्धे विमुक्ते गत्वा चोवीं गगनपदवीस्वैरिणा पुष्पकेण । तातेति ॥ तातस्य पितुः आदेशात् शासनेन सपदि तत्क्षणे भरते न्यस्तः निहितः राज्याभिषेको येन तं मां या एका असहाया सीता राजधानी विहाय वनं अनुगता । हे गुणवति । मदीये बाह्वोर्मध्ये वक्षः स्थले उचितशयनां तामेव त्वां दूरे कृत्वा से जीवितं मुहुः दूयते दुःखं प्राप्नोति ॥

• सेतुमिति ॥ भो सुसुखि पयोधौ समुद्रे अचलैः पर्वतैः सायकैः बाणैर्वा- विपुलं विस्तीर्ण सेतुं बध्वा लङ्कां खेलतां क्रीडतां वानराणां करे (स्थितां) स्रजं मालामिव कृत्वा ( कपिहस्तगता माला प्रशिथिला भवतीति प्रसिद्धिः) अल्पी- योभिः अत्यन्तमल्पैः दिवसैः दिनैः यातुधानान् योधयन् राक्षसैर्युद्धं कुर्वन् लक्ष्मण: चापस्य घोषैः तव कर्णे शीधुं मधु रचयिता विरचयिष्यति ॥

रक्ष इति ॥ भो देव रक्षसः रावणस्य मौलिस्तबकानां शिरोमञ्जरीणां लवनात् कर्तनात् वैरबन्धे द्वेषपाशे विमुक्ते सति गगनपदव्यां आकाशमार्गे स्वैरिणा स्वेच्छासञ्चारिणा पुष्पकेण उर्वी निजभूमिं गत्वा च भवतां पूज्यानां वसिष्ठादीनां (कर्तरिषष्ठी) आधिराज्ये साम्राज्ये अभिषेकात् सपदि शीघ्रं सिद्धा-

हंससन्देशे सिद्धारम्भौ सपदि भवतामधिराज्याभिषेकात् सम्प्राप्स्यावश्चिरविरहतरसचितान्देवि भोगान् ॥ चित्ते कुर्यात्तदपि भवती यज्जनस्थानयुद्धात्

58 सम्प्राप्तं मां दशमुखसमान्पारयित्वा खरादीन् । शस्त्राघातं स्तनकलशयोरूष्मणा रोपयद्भि- ढालेपैरपिहितवती गद्दा हर्षवाष्पैः ॥

शच्याः क्लेशं क्वचनसमये तादृशं चिन्तयित्वा स्मृत्वा देवीमचलतनयां विप्रयुक्तां शिवेन रक्षात्मानं कथमपि शुभे जीवितालम्बनं मे पत्युश्छन्दाद्व्यसनमपि हि श्लाघनीयं वधूनाम् ॥ ४६ रम्भौ (आवां) चिरं विरहतः सन्नितान् मनसि पुञ्जितान् भोगान् सम्प्राप्स्यावः लप्यावहे ॥

चित्तं इति ॥ दशमुखेन रावणेन समान् सदृशान् खरादीन् खरदूषण- प्रभृतीन् पारयित्वा समापय्य हत्वेत्यर्थः । जनस्थानयुद्धात् सम्प्राप्तं मां हर्षबाणैः आनन्दाश्रुभिः गद्गदा स्वरविकारसहिता शत्रुघातं शस्त्रक्षतिं स्तनकलशयोः ऊष्मणा औष्ण्येन रोपयद्भिः शमयद्भिः गाढाचेपैः दृढालिङ्गनैः अपिहितवती तिरोहितवतीति यत् तदपि भवती त्वं चित्ते मनसि कुर्यात् ॥

४५.

शच्या इति ॥ हे शुभे वचन समये तादृशं सोढुमशक्यं शच्याः इन्द्रा- ण्याः क्लेशं दुःखं चिन्तयित्वा शिवेन विप्रयुक्तां विरहितां देवीं अचलतनयां उमां स्मृत्वा मे मम जीवितालम्बनं प्राणधारणहेतुं ते तव आत्मानं शरीरं कथमपि रक्ष । तथाहि । वधूनां स्त्रीणां पत्युः कान्तस्य छन्दात् अनुवर्तनात् व्यसनं दुःख- मपि श्लाघनीयं प्रशंसनीयं भवति । सः त्वामेवं वदतीति पूर्वेणान्वयः ॥

द्वितीयाश्वासः अप्येतत्ते मनसि निहितं साह्यमव्याजबन्धोः प्रत्याख्यातुं प्रभवति न खल्वानृशंस्यं त्वदीयं । प्रागप्येवं परिणतगुणां नैषधे वीक्ष्य वार्ता jreps आर्तत्राणं व्रतमिति विदुर्हन्त क्रुद्धात्मनां वः ॥

इत्थं हृद्यैर्जनकतनयां जीवयित्वा वचोभि- स्सख्यं पुष्यन्दिनकरकुले दीप्यमानैर्नरेन्द्रैः । स्वैरं लोकान्विचर निखिलान् सौम्य लक्ष्म्येव विष्णुः सर्वाकारैस्त्वदनुगुणया सेवितो राजहंस्या ॥

सन्दिश्यैवं सह कपिकुलैस्सेतुना लङ्घिताब्धिः पक्तिग्रीवे युधि विनिहते प्राप्य सीतां प्रतीतः ।

अनन्तरं हंसं स्तौति । अपीति ॥ अव्याजं निष्कपटं यथातथा बन्धोः ते तव मनसि निहितं एतत् साह्यं सहायत्वं त्वदीयं आनृशंस्यं आश्रितसंरक्षणं प्रत्या- ख्यातुं त्यक्तमपि न प्रभवति खलु न समर्थमेव प्रागपि पूर्वमपि नैषधे नले एवं परिणतगुणां सञ्जातफलां वार्तां प्रवृत्ति वीक्ष्य शुद्धः आत्मा मनः येषां वः युष्माकं आर्तानां पीडितानां त्राणं रक्षणं व्रतं इति विदुः विदन्ति हन्त आश्चर्ये आमन्त्रणे वा ॥

इत्थमिति ॥ भो सौम्य इत्थं जनकतनयां सीतां हृद्यैः रम्यैः वचोभि- र्वार्ताभिः जीवयित्वा दिनकरस्य सूर्यस्य कुले दीप्यमानैः प्रकाशमानैः नरेन्द्रः राजभिः सख्यं स्नेहं पुष्यन् वर्धयन् लक्ष्म्या विष्णुरिव सर्वाकारैः समस्तप्रकारैः तव अनुगुणया अनुरूपया राजहंस्या सेवितः सन् त्वं निखिलान् लोकान् समस्त - भुवनेषु स्वैरं यथेच्छं विचर सञ्चर ॥

सन्दिश्येति ॥ एवं सन्दिश्य सन्देशं प्रेषयित्वा कपीनां कुलैः समूहस्साह सेतुना लङ्कितः अतिकान्तः अब्धिः समुद्रो येन तथोक्तः युधि युद्धे पति प्रीवे Hamsa-4

राज्यं भूयस्स्वयमनुभवन्रक्षितं पादुकाभ्यां रामः श्रीमानतनुत निजां राजधानी सनाथाम् ॥ ४९ विद्याशिल्पप्रगुणमतिना वेङ्कटेशेन कॢप्तं चिन्ताशाणोल्लिखितमसकृच्छ्रेयमां प्राप्तिहेतुं । सीताहंसव्यतिकरसखं रामसन्देशरत्नं पश्यन्त्वन्तः श्रवणमनघं चक्षुरुज्जीव्य सन्तः ॥ ५०

इति श्रीकवितार्किकसिंहस्य सर्वतन्त्रस्वतन्त्रस्य श्रीमद्वेङ्कटनाथस्य वेदान्ताचार्यस्य कृतिषु हंससन्देशे द्वितीयाश्वासः ॥

रावणे विनिहते सति सीतां प्राप्य प्रतीतः हृष्टः पादुकाभ्यां रक्षितं राज्यं स्वदेशं भूयः स्वयं अनुभवन् रामः श्रीमान् सीतारूपलक्ष्मीयुक्तस्सन् निजां स्वीयां राजधानीं अयोध्यां सनाथां नाथसहितां अतनुत अकरोत् ॥ ४९

विद्येति ॥ विद्यासु शिल्पेषु कलासु च प्रगुणमुत्कृष्टं मनो यस्य तथोक्तेन वेङ्कटेशेन तन्नाम्ना कविना कॢप्तं रचितं चिन्तया चिन्तनेनैव शाणेन उत्तेजनयन्त्रेण उल्लिखितं उत्तेजितं असकृत् सदा श्रेयसां कल्याणानां प्राप्तेः लाभस्य हेतुं कारणं सीताहंसयोः व्यतिकरे स्वामिभृत्यभावरूपसम्बन्धे सखायं मिन्त्रं रामस्य (सीतां प्रति) सन्देशरूपं रतं सन्तः अनघं निर्दोषं चक्षुः ज्ञानचक्षुः उज्जीव्य आश्रित्य अन्तश्श्रवणं पश्यन्तु कर्णाभ्यां शृण्वन्त्वित्यर्थः ॥ ५०

॥ इति हंससन्देशव्याख्यायां द्वितीयाश्वासः समाप्तः ॥

॥ ॥ ॥ नामावळीसहितस्तोत्रादीनि ॥

propyrette

बालरामायणम्

कनकधारास्तवः

आपदुद्धारकस्तोत्रम्

नारायणकवचम्

दक्षिणामूर्तिस्तोत्रम् देवीस्तोत्रम्

रु. अ.

कणक

०

•

०

-लक्ष्मीनारायणहृदयम् 'लक्ष्मीनृसिंहस्तोत्रम्

सौन्दर्यलहरी

सूर्यनमस्कारः

श्यामलादण्डकम्

मुकुन्दमाला

देवीखङ्गमाला

देवी मानसिक पूजा 'परमेश्वरस्तोत्रकदम्बः शिवानन्दलहरी

शिवकवचम्

आलवन्दार् स्तोत्रम्

श्रीविष्णुसहस्त्रनामस्तोत्रम् ३ २ । आञ्जनेयसहस्रनामस्तोसम् २ । भवानीसहस्रनामस्तोत्रम् २ अन्नपूर्णासहस्त्रनामस्तोत्रम्

२ गणपतिसहस्रनामस्तोत्रम्

०२ गोपालसहस्रनामस्तोत्रम्

२

काळिकासहस्रनामस्तोत्रम्

• १२ । कृष्णसहस्त्रनामस्तोत्रमू

ह. अ. ६

६

० ६

● ४ लक्ष्मीनृसिंहसहस्रनामस्तोत्रम् •

० २

लक्ष्मोसहस्रनामस्तोत्रम्

सुब्रह्मण्यसहस्रनामस्तोत्रम् (AIDS वटुकभैरवसहस्रनामस्तोत्रम्

०

●

०

४

३ रामसहस्त्रनामस्तोत्रम् शिवसहस्रनामस्तोत्रम्

२

३ । गायत्रीसहस्रनामस्तोत्रम्

२

बालासहस्रनामस्तोत्रम्

• १२ । श्रीसीतासहस्रनामस्तोत्रम्

०

३ ललितासहस्रनामस्तोत्रम् २ । वेङ्कटेशसहस्रनामस्तोत्रम् श्रीशङ्कराचार्यादिस्तोत्राणि

श्रीगोविन्दद्वादश (चतुर्दश) } . २

मञ्जरिकास्तोत्रम्

हरिमीडेस्तोत्रम् गद्यत्रयम्

गोपिकागोता, वेणुगीतेत्यादयः

२

दशावतारस्तोत्रम्

स्तोत्ररत्नाकरः (प्रथमभागस्य)

• ३ ( १०४) स्तोत्राणि

० ३

द्वितीयभागस्य

६

०

६

०

६

० १०

६

३.

० १०

(मुद्रणे)

॥ श्रीमद्वाल्मीकि रामायणम् ॥

रू. अ.

बाळरामायणम्

श्रीमद्वाल्मीकिरामायणम् -

रू. अ.

०

३

आरण्यकाण्डः

१ ८.

किष्किन्धाकाण्डः

१ ८

०

" सुन्दरकाण्डः

२

" युद्धकाण्डः

२

८

मूलमाश्रम् (सम्पुटद्वयम्.)... १०...

" बालकाण्डः

१८

॥ श्रीमन्महाभारतम् ॥

श्रीमन्महाभारतम् — अष्टादश (१८) सम्पुटात्मकम्

॥ श्रीमद्भागवतम् ॥

श्रीमद्भागवतम् - (मूलमात्रम्) सम्पुटद्वयम्

॥ संस्कृतधातुमाला ॥

महच्ची टिका चतुष्टयमुद्रिता.)

संस्कृतभाषाव्यवहारार्थं नित्योपयुक्तानाम् पञ्चाशत् धातूनाम् कृत्प्रत्ययादिविविध परिनिष्ठितरूपाणि पट्टिका क्रमेण सूचितानि . संस्कृताभ्यासिनाम् बहूपयुक्तानि भवन्ति । कतिचिदेव मुद्रितानि ॥

३८

रू. अ. ७० Q.

१५०-

रू. १-०-०-

॥ बृहत्स्तोत्ररत्नाकरः ॥ विज्ञानमा

३ ०

बृहत्स्तोत्ररत्नाकरः प्रथमभागः सम्पुटद्वयात्मकः प्रथमसम्पुटे (गणपति सुब्रह्मण्य शिवस्तोत्राणि आहत्य (१०४) मूल्यं • द्वितीयसंपुटात्मायं च तदितर विष्ण्वादिस्तोत्रभागाश्च क्रमेण मुद्राप यिष्यन्ते ॥

अन्न कार्यालये द्रविडान्ध्राङ्गलभाषामयाः ग्रन्थाः सर्वेऽप्युपलभ्यन्ते ॥ वाविळ रामस्वामिशास्त्रलु अण्ड् सन्

पोस्ट बाक्स् १३७२,

२९२. एस्प्लनेड्. चेन्नपुरी. १.

ИО ВИТОЙ NOTES no to foot ON →HAMSASANDESA This little lyric message describes an imaginary (Sandesa) sent by Sri Rama at Kishkindha to Sita Devi in Lanka. The poem says that when Sri Rama heard of the sad plight of his wife, through Hanuman, he was afraid lest she be driven to despair by his silence; hence the need for the message to cheer her up and make her stick to life until she was rescued. A Royal swan (Raja Hamsa) is chosen as the messenger, perhaps in imitation of the Nalopakhyana where a bird of the same species is made the messenger by the lovers, Nala and Damayanti. Royal palaces in those days had extensive pleasure gardens attached, in which there were many lotus-ponds and tanks; and the swans that frequented them were the special favourites of the ladies of the royal household. Ilence, poets have loved to describe them as messengers of love between princes and princesses. an हंस: is variously derived ; from हन् ( गतौ ), meaning the goer (from place to place), the being considered intruder; and from (to laugh), the Anuswara being Lat. anser, considered to be due чf:; allied to Ger. gans, Gk. khen, mod. E. goose. message; हंस सन्देशः ga-To send as a hence सन्देश:- = a message sent. हंसे न्यस्तसन्देशः 1. Like Kalidasa in his " Megha Sandesa", the poet here begins with and describes the despondent

2 NOTES ON mood of Sri Rama on the night previous to the sending of the message. अनघः = one devoid of sin. Such is सवितुः वंश: - the Race of the Sun, the Solar Race, to which Sri Rama belongs. (of. ( आदिवंशविशुद्धानां राज्ञां परमधर्मिणां । इक्ष्वाकुकुलजातानां वोराणां सत्यवादिनां—Srimad Ramayanam, Bala., 70.) मानुषत्वं मानयन् = Honouring his human state. Sri Rama, as an avatara of Vishnu should be above the common human feelings; yet, he was born as a human being, and wished to show the world that it was no loss of dignity to him to be subject to the feelings common to humanity; hence his despondency and sorrow. of : आत्मानं मानुषं मन्ये रामं दशरथात्मजम् – Yuddha Kanda.) दीव्यतीति देवः - दिव् द्युतौ कांतौ मोदे वा - Hence देव : == the shining one, or, the blissful one, i.e., a God. Here it means "the Lord" (of the Universe). =(literally) one who has : or Lakshmi (Vishnu's consort) with him. Vishnu is often described as ever having Lakshmi on his right bosom (cf. वक्षस्थलेन श्रियमुद्दहन् हरिः) and is hence described as श्रीधरः, fare: Though this might have been his condition as a Deva, he had, as a human being, to subject himself to the pangs of separation from his wife, and to be persistent in his efforts to find out her whereabouts. Hence, abaaqızàqû जागरूकः जनकस्य तनया तस्याः अन्वेषणं = Seeking (the where- abouts of) the daughter of Janaka (the father of Sita Devi). The epithet is appropriate here. King Janaka was not a mere powerful king; he was a : of the highest type, and a descendant of King Nimi, of whom it is said 'राजाऽभूत् त्रिषु लोकेषु विश्रुतः स्वेन कर्मणा । निमिः परमधर्मात्मा सर्वसत्त्ववतां वरः; Janaka was also a Karmayogin of the highest type, and it is said of him, कर्मणैव हि संसिद्धिमास्थिता जनकादयः. If Lakshmi, the Eternal, has to enter human form, it can " •

HAMSASANDESAM 3 only be as the daughter of such Soul of Dharma; and Sri Rama could not have lived without her; he would have been imperfect without her as his complement. (cf. Hanuman's soliloquy : दुष्करं कृतवान् रोमो हीनो यदनया प्रभुः । धारयत्यात्मनो देहं न दुःखेनावसीदति ॥ दुष्करं कुरुते रामो य इमां मत्तकाशिनीं । सीतां विना महाबाहुर्मुहूर्तमपि जीवति ॥ ) जागरूक: = watchful, vigilant, awake ; hence his sleeplessness. पवनस्य वायुदेवस्य तनयः = the son of God Vayu, Hanuman. He had gone to Lanka, found Sita Devi's whereabouts and plight, and had returned and delivered the intelligence to Sri Rama. à-Two locatives forming the Locative Absolute (afa g)=when Hanuman had returned. निश्चितश्चासी अर्थश्च यस्य सः = he whose purpose has been determined; when Sri Rama heard the news, he made up his mind to march at once to Lanka and rescue her. And he was a कामी = =a lover filled with love. Therefore, to him (the night) was (of the form, or duration, of a Kalpa, a period of 1000 Chaturyugas). कल्पाकारा may also be taken to mean "having the terrible form of Kalpa, the period of universal destruction." कथमपि = Somehow or other; with the greatest difficulty. = U the dawn (indeclinable.) fa (Perf. tense of with fa)= endured ; the initial स often turns to ष, of विषण्णः, निषीद. the f 2. . When the day dawned, he put into execution the course of action he had resolved upon during the night; he hurried up the preparations for the march of the Vanara army towards Lanka. But the greatest hurry seemed too slow to him. He fretted at the thought of what might happen to his beloved in the interval; and when his eyes happened to fall upon a royal swan, the thought came into his head that he would send her, through the bird, a message of love and hope.

MAR NOTES ON काल्ये= early in the morning. कपीनां कुलं कपिकुलं तस्य पतिः the king of the Vanara race, Sugriva. hurriedly. themselves. = == = quickly, उद्योजयिष्यन् making (them) diligently exert दूरीभावात् account of (her) being at a = on (great) distance. दुहितृ = daughter. दृयमानः अन्तरात्मा यस्य सः afflicted (even) to the innermost depths of दूयमानान्तरात्मा = to be afflicted or distressed. (his heart). . 4th conj. Atm. दु, 5th conj. Paras, has nearly the same meaning, and is cognate with, the former connoting a greater intensity of distress, a burning or consuming distress. दूयमान shows a greater continuity of affliction than दून. आत्मा is used in many senses, like "Soul" in English; the meanings ranging from the body" to the indwelling supreme spirit;' as it deals with feeling in this sloka, it means "the heart". क्रीडा खेलं = pleasing to the

(in the tank.)

==== " sight as it was disporting itself with ч= To approach, to come towards. that had come towards that place at the time. The usual meaning of काल as शरत्काले is open to the criticism that was not the time, according to Valmiki, of the return of was Magha or Hanuman from Lanka; possibly the month Phalguna, if not later; but, the orthodoxy of Sanskrit poetics the season for the migration of the Swans from towards the South, and the 13th Stanza confirms this belief by the phrase शारदा वारिवाहा: Yet, it might be better to render काले as "at that time, as it so happened." कापि from some indefinite place. राकायाश्चन्द्रः तस्य द्युतिः तस्यास्सहचरः तं accompanying, or, being in harmony with the lustre of the moon on a full-moon night=having the same soft, cool, whiteness as the rays of the full-moon. make शरत् ==== = construed by some as : is (the king of swans), and is

HAMSASANDESAM placed in the राजदन्त group where the पूर्वपदं and the उत्तरपदं should exchange places; but is wholly different from राजहंसः ; the former means "the king of the swan race", individual swan; while the latter means the royal swan ແ one " which signifies a whole species, occupying the highest position in the genus of swans. = saw. He did not expect to see of, a message to be sent: the bird, nor had he any thought His mind was too unsettled for it. He was casting his glances uneasily all round, and happened to catch sight of the bird. Both Sri Rama and Sita Devi loved Nature passionately, and that was why the beauty of the swan in its sportive mood caught his eye and arrested his attention; and his looks settled on it. 3. This stanza tells us what happened when Rama- bhadra's looks were fixed on the Swan. His thoughts at once flashed back to Sita Devi as she had been to him at Panchavati, ==== = before he lost her. तस्मिन् in him (on the Swan). are: गतिं अनुगतः तस्मिन् in him whose gait closely followed (resembled, copied) that of Sita; : zemu að π ŋÎà: (चित्रिता) तद्वदेव मूर्तिमान् तस्मिन् = in him who was (as it were) the (swan) figure (woven) in the skirt of her silken garment taken bcdily shape. तन्मञ्जीरप्रतिमनिनदे = whose sound resembled the sound of her anklets. मन्जु मनोहरं ईरयति ध्वनतीति मञ्जीर shows that this form of anklet emits a low sweet sound; it is also called, the ornament sounding like a swan; hence the comparison here is perfect. The figure of speech here is a particular form of उपमा called प्रतीपं, in which the उपमानं is spoken of as the 3ч and vice versa; thus, instead of saying that Sita's gait resembled that of a swan (the usual method of comparison as seen from phrases like this verse says 5

6 M NOTES ON that the swan's gait resembled that of Sita; thus attaching a ======= न्यस्त = fixed a look' greater importance to whatever belonged to Sita. निष्यन्ददृष्टिः 66 unwavering look. fg: means either or "the eye". Thus the Vigraha may be either fч सः or निष्यन्दे दृष्टी यस्य सः ॥ वीरः = a courageous man, a brave warrior. This word is used to show that even such a person is occasionally unnerved. तन्मयात्मा his mind being filled = " " with (thoughts of) her (to the exclusion of everything else). is a period of 2 ghatikas or 48 minutes; but here it means for a short space of time." चेतो विलयं अगमत् - चेतस् denotes "thoughts and feelings", especially the feelings which are चित्तविकाराः । विलयं comes from the verbal root ली with वि which means "to vanish or disappear by being absorbed in." There- fore the author means to say that Ramabhadra lost all sense. of outward feeling and sat there as one too stunned to feel, as the whole of his mind was wholly filled with the image of Sita. I believe; in English too, "I suspect sometimes used to give nearly the same meaning. l: of the fish-bannered (God Cupid). = command, authority = becomes boundless (and hence, irresistible). A when (his) time comes. Though a af, he had yet to bow to the will of: at times. This exemplifies the phrase = - " is. 3 मानयन् मानुषत्वं in St. 1. For a fuller understanding of सन्मयात्मा compare Hanuman's description of Rama's condition in the Sundarakanda :- नैव दंशान् न सशकान् न कीटान् न सरीसृपान् । राघवोऽपनयेगालात् त्वद्गतेनान्तरात्मना ॥ नित्यं ध्यानपरो रामो नित्यं शोकपरायणः । नान्यञ्चिन्तयते किञ्चित् स तु कामवशङ्गतः ॥ अनिद्रस्तते रामः सुप्तोऽपि च नरोत्तमः । सीतेति मधुरां वाणीं व्याहरन् प्रतिबुध्यते ॥

HAMSASANDESAM 7 4. When feeling comes back, the thought strikes him that he might use the swan as a messenger to Sita. = = having recovered (consciousness of his surround- ings, or, having cheered himself up. तदा = then. लक्ष्मणस्य अग्र- GF the elder brother of Lakshmana. This epithet is. peculiarly suitable here. During all the years of their exile, it was Lakshmana that consoled Rama, cheered him up, put fresh heart into him and roused him from his fits of despondency. The Yuddhakandam of the Ramayana tells us what Rama felt when he saw Lakshmana lying as if dead, struck down by the serpent-arrows of Indrajit; he Baye, त्वं नित्यं सविषण्णं मां आश्वासयसि लक्ष्मण । गतासुर्नाद्य शक्नोषि मा मार्तमभिभाषितुं ॥ Thus it was that Rama cheered himself up now, as he was the elder brother of Lakshmana qu Ha big with affection, filled with affection; it was as if the message had become great and important on account of the affection that pervaded it. मैथिलस्य मिथिलानगरी राज्ञः अपत्यं स्त्री मैथिली सीतादेवी. जीवयिष्यन् = with the thought of putting life into (her); to enable her to bear with her misery and cling to life for sometime more. performed (Perf. 3rd pers. sing. of to do, to perform). for him (the swan) सरसिजदळैः = with the leaves of the lotus. सपर्या = worshipful service (such as is to be done to honoured guests). - with (the necessary) ceremony. The , the articles for ceremonial worship, are different for different indivi- duals, and for the swan, the petals of the lotus are the most suitable. The last line is a sort of mild apology by the author for a Ramabhadra condescending to render homage to a bird, "Well, it is not so very strange, after all", the author seems to say, "Rama felt himself blessed as he had found a royal messenger when he was most in need of one, and, in his thankful mood, he honours his advent" = = = a

.8 MAD NOTES ON H आश्लेषात्अधिक सुभगः = it gives a greater happiness than fold- ing the beloved in (one's) embrace. -for those in love. :- gaining a messenger. = 5. This stanza is the author's comment on the odd behaviour of Sri Rama. That he, the all-wise, should have lost all sense of reality and proportion and preferred an unknown new-comer to the tried friend, Hanuman, seemed strange. Well, says he, much can be condoned in the case of विश्लेषेण क्षुभितमनसः ॥ असौ = this person (Rama). कृत्वा तस्मिन् a having done honour in him (in the case of the wan).=greater than towards Anjaneya (greater than the honour he would have done to Anjaneya, the truest of his helpers). No special honour was shown him when he returned with news of Sita, after having per- formed marvels of strength and valour; Rama merely embraced him in the presence of all saying g¶ à Ha AÂA परिष्वङ्गो हनूमतः ; while, in the case of the swan, actual पूजा is done! Pos. बह्वी, comp. भूयसो, Super. भूयिष्ठा. उन्मादः चित्तविभ्रमः = a sort of temporary madness in which even the sense of difference between the animate and the inanimate disappears. intense, vehement, dense. := one whose mind is wholly darkened by the vehemence of mad passion. This epithet explains the odd behaviour of Rama. atafa: information. न अभिज्ञः अनभिज्ञः = one who is ignorant of, one who cannot know. aaa-in one (the swan) who could not have any information (about Sita). qat-way, means; Estate, condition, rank; here = attained to a state of friendliness (with it), or, found a way into (its) affection. faч: separation of lovers, or of husband and wife. = = = क्षुभितमनसां - of those whose minds are greatly agitated.

HAMSASANDESAM मेघशैलद्रुमादौ in objects like clouds, hills and trees. यात्रा एव = a the pitiable condition of begging. The allusion here is to the Meghasandesa of Kalidasa, where the Yaksha, who is separated from his beloved wife, sees a messenger in cloud, and begs it to take a message to his wife. fd= how much more (how much more sensible it is). ч some- where, in some place (here it means, in some living being.) संवेदनाहै = -in one who is fit by reason of his capacity to expe- rience joy and sorrow. When people blinded by intense passion go and beg of objects like clouds etc., the choice of a sentient being stands more to reason. 6. Rama addresses the Swan. The first words must necessarily be of polite praise. := a sage or seer endowed with perfection in supernatural powers called Siddhis. Sage Vyasa was considered to be one such., =3 = the ocean of the Vedas; bence immeasurable. fafa in the perfor- mance of dividing (it into sections). The Vedas, once a tangled mass of knowledge, were edited and arranged by Vyasa. In the Sanskrit Vyakhya, fu: is taken as genitive singular and made to qualify fч. But there seems to be no point in postulating the knowledge of dividing the Vedas in the All-pervading Universal spirit. Therefore fa: may be taken as Nominative plural, qualifying f. Siddhis may be got by practices which have nothing to do with the know- ledge of the Vedas which teach that God is fa: Hence the necessity for the epithet. -born of the race of. The meaning is not quite clear, as there is a mystic concep- tion underlying the statement. परमात्मा is said to be हंस स्वरूप : in the Vedanta cult; but whether the word there could mean a sway is a debatable question. There is an obscure 66 " =

10 MANOTES ON = = Puranic legend of Vishnu having once taken the form of a swan to pick up the scattered Vedas, floating like crumbs on the waters; but that is too far-fetched and too obscure to form the basis of comparison here. The Vedantin's concep- tion is decidedly superior. g:= have said (An irregular verbal form of a defective verb, which is now preserved only in आत्थ, आहथुः, आह, आहतुः, आहु:.) भवन्तं भवान् is the most respectful form of "you".:: Of Brahma the God of the lotus-habitation. royal vehicle. In the Hindu Pantheon, each deity is provided with an animal to ride or fly on, and the swan is Brahma's steed. = by whom. =having a gait of superior excellence. The easy, graceful, gliding movement of the swan over the waters, has become proverbial in Sanskrit literature. तत् f: from her who is his heloved, from Goddess Sarasvati, Brahma's wife. तत् सावर्ण्यं = a colour like her own; Sarasvati is described as being very fair in complexion; a ध्यानश्लोक: of Saraswati begins with या कुन्देन्दुतुषारहारधवला (white as camphor, the moon etc.,) The swan is here said to have been gifted with a pure white hue and a melodious voice, by Sarasvati. श्रवणमेव रसना = the ear which is the tongue here (which functions as the organ of taste in this cause) - दयोग्या = fit to be tasted by सुधा - nectar, ambrosia. Sarasvati is the Goddess of learning and of music. This stanza says that the royal swan got its melodious note from Sarasvati, and that it has the heavenly sweetness of ambrosia; but in this case the sweetness can be appreciated by the ear, which functions like a tongue for amrita. Rama praises everything about the swan, its lineage, its profession, its form and its note. odg

= HAMSASANDESAM 11. (7. Rama speaks depreciatingly of his own human origin: as compared with the rank of the royal swan; "yet," says he,. 'your acting as a messenger is justifiable in this case सखे = O friend! केवलं मानुषाणां मध्ये = among mere ordinary human beings. इह = here, in this world. वयं केचित् ( स्मः) = we are somebodies, you. व्यक्त उत्कर्षः = whose fame is clearly manifest. Ala yaλ=in_the_mighty world (the heavens, either as the sky or as the abode of the Gods.) व्योमगानां पतिः lord of those that move in the heavens (birds, or Gods) : as a mystic entity is said to be meditated upon even by the Gods; as a denizen of the air, he is the king of birds (: and are both described as such.) = though it be so, yet. ambassadorship. = messenger, दूत्यं = the role of a :befits thee, is appropriate to. thee (at this juncture). a TT at:=by reason of saving those who seek (thy) protection. It is the duty of the Gods to help those who cry out to them for help; much more is it. your duty as the Lord of the Gods; and I am now your a. Again, your own master, Brahma, accepted the role. of a chariot-driver, when the safety of the worlds needed it. सर्वस्य स्रष्टा = the Creator of all. विधिः अपि = even Brahma.. : for what reason, because, (a:=for that reason, is understood in such cases ) सारथित्वेन तस्थौ = stayed in (accepted) the position of a charioteer. The allusion here is. to the Puranic story of the destruction of the Tripuras. They are said to be three Asuras, who took the form of flying cities and made themselves terrible to the world. Siva went against them, defeated them and reduced their cities to ashes. During that expedition, Brahma was his Charioteer, Mount Meru became his bow, the king of serpents became the bow-. string and Vishnu became the flaming arrow.

12 NOTES ON MAH

(of human beings)

(as meaning As in English the genitive includes the meaning of " among"; hencе "among ") is unnecessary, unless there is juxta-position noted; and the author is too great a Scholar not to know this. Hence इह मध्ये and महति भुवने may be interpreted_thus : in this middle region (the world of human beings ;) -महति भुवने in the upper महत् world, the abode of Deras. The ч being the upper, the middle and the lower worlds, Swarga, Martya and Patala. The word : has been well chosen; he is the ordainer of the fates of all beings; yet he condescended to accept the role of a charioteer. === 66 8. There is another reason that Rama gives to reinforce the one already given. "Though we are men, yet our race 'was no common race of men; and you see a descendant of that mighty race reduced to this pitiable condition. This very thought should be enough to make you offer your services." In the second half of the Sloka, the actual message begins. इक्ष्वाकूणां ईदृशीं वेलां प्रेक्ष्य लङ्कां गन्तुं तव समुचितं. इक्ष्वाकूणां = of the descendants of Ikshvaku, the founder of the Solar Race of kings of the Ramayana; the form declensions are ऐ: वाकः, ऐक्ष्वाकौ, इक्ष्वाकवः इच्छामात्रात् = by the mere power of a wish अपरथा (ind.) = in some other way. in order = of those that to make an arrangement, to dispose of. are capable. प्रकृत्या स्वभावतः महतां = of those that are great (or, might) by nature. Some acquire power by Tapas or some such means; a few are born with innate powers, and such are Ikshvaku and his descendants. Kumbhakarna's might is compared with that of Ravana and others thus: "तेजस्वी कुम्भकर्णो महाबलः । अन्येषां राक्षसेन्द्राणां वरदानकृतं बलं ॥ ईदृशी -time of this sort; i.e. wretched condition of this sort.

ocean. HAMSASANDESAM 13 = in that which is visible and invisible, i.e., that which is at times (when the sea is calm and the waves gentle). visible, and at times (when the sea is rough and the waves high) invisible. =by (reason of) the waters of the पयस् means mille or water (पयः क्षीरं पयोंऽबु च ). लब्धसंस्थां that which has found its situation on; well situated. on. f is the name of a mountain in Sinhala island, on which Lanka, the capital of Ravana was built; the mountain was perhaps so called on account of its having three peaks. forming a natural fortification.=belonging to (or, connected with) Rakshasas. capital. गन्तुं तुमुन्नंत form of = गम् = to go; it is equivalent to the gerundial infinitive, meaning "in order to go." is a peculiar Sanskrit. idiom, equal to, "It is quite fit that you should go" It may be asked how it is possible to see Lanka across the ocean, even from the Southern most point of the main land; the answer is that royal swans, eagles and other such birds not only fly very high, but are also endowed with special keenness of sight. 9. The South, as described here, has its own great- merits and attractions, with one demerit, that it is the. abode of the Rakshasas. The swan is requested to bear with this one सखे = friend! दक्षिण आशां trifling defect. गच्छन् - =while going in the direction of the South. Tada = the trifling defect or flaw. : please bear with (Atm. Imperative fafa f). The merits of the South are enume- rated. ::= pertaining to the Gods. The Gods. referred to here are the incarnations of Vishnu, considered. of all the universes. स्थानैः = by as the Supreme Lord places. The fa:= referred to are the Vaishnava holy.

14 MA NOTES ON H = places of which the most important are Tirumalai (Tirupati), Kanchi _and_Srirangam. उपचित गुणां having the quality

(merit) of being filled it (of having plenty of.)

= The Malaya mountain of S. India, was TOY- pleasing to the eye by reason of having Sandal-wood forests. famed for its Sandal-wood forests. -giving birth to pearls. The pearl fisheries of the Indian ocean were famous thousands of years ago. the mother of the Malaya breezes. मलय मरुत् or मलयमारुतः is the cool southern breeze filled with the perfume of sandal-wood and tropical flowers. The South is the mother of the breeze. अस्मत् प्रीत्यै = for my gratification, = = to do me a favour, to oblige me. = and also to preserve the life of the daughter of Janaka (lest she should make an attempt on her life in despair, if no message of hope reaches her). :ч that it is the abode of the Rakshasas. अस्मत् has been rendered as 3 (our), implying that Rama was too much of a gentleman to ignore the interest of Lakshmana, Sugriva, Hanuman and others in the quest ; but this will be reading too much of meaning in a simple word. The phrase is used, for, to a royal swan flying high in the heavens with unequalled speed, the danger from Rakshasas is negligible. 10. In this stanza, the poet has his dig at the half-baked Sanskrit poets of the southern districts of the Madras Presi- dency, people who strutted about like peacocks in the absence of a really great scholar, but who had to remain dumb presence. : means both a poet and a bird. the bird, You will have good cause for a hearty way." सम्मोदः ते पथि परिणमेत= Great pleasure will in his Rama says to laugh by the result to you on your way. when you see, at the sight of.

HAMSASANDESAM 15 चाचंयमत्वं = cessation of speech, silence, dumbness. सत्कवौ दूरयाते (Loc: abs :) = when noble birds (or, really great poets) have gone far away. कैलासाय towards (mount) Kailas. = = aa (Loc: abs:) when you have gone. Rajahamsas are described as migratory birds that go north to the cool Tibetan plateau during summer, and come south to the tropics during autumn and winter. जडधियां जड़ा धीः येषां ते = of those who have dulled intellects, of those whose intellects are devoid of. taste or of the appreciative faculty. वाचालानां इव क्षीबतां enfari of those who depend upon their intoxication (of vanity) like that of those who are talkative (and make a noise about nothing); i. e., who depend for their fame solely on their swelled-headedness and make a prodigious show of their learning by talking in season and out of season, but who are really dull-witted and devoid of literary taste. They are विपिनशिखिनः = uncivilized Brahmanas. Referring to विपिनशिखिनः (wild peacocks) the lines refer to those birds showing themselves off, screaming and dancing during the summer rains, though they are stupid birds and can hardly fly to deserve the name of कवयः (birds ). सेवापाये = at the end of the cloudy (rainy) season, i. e., in autumn. = of - " those that have lost their (peacocks' tail) eye-feathers fa also means a Brahmana (one who wears a शिखा or tuft of hair); in that case fafafafa: would mean wild, or un- civilized, Brahmanas, as being devoid of true learning or poetic taste. In this case would mean "the moon who according to Astrology is the regent of the thought "In autumn they will have feathers, which will have dropped out or plucked by fowlers ; so that the poor birds will have lost the only beauty of which 26 power of lost their

16 MA NOTES ON HI it could be proud. The poet says that when they see the Rajahamsa, the :, they will walk in silence, without daring to wag their tongues. This was written from the author's own experience. When he had gone out to N. India on a tour, the southern pandits assumed self-important airs and became Sir Oracles but when Venkatanatha returned, they were dumb. The greatness of a Kavi (a bird) lies in its power of flight; that of a Kavi (a poet) lies in the flights of his imagination. But for f, their only claim to greatness is in their clamourous cackle; just as the wild peacock prides itself on its summer plumage, without the power of flight. 11. सौम्य = gentle Sir ! त्वां गन्धवाहः सेविष्यते = the fra- grance-bearer (breeze) will do service to you. of a light red, rosy red; qfi of assemblages of lotuses, नवमधु = fresh honey. शनैः = slowly; आपिबन् = drinking in all at a time. at the proper time (here, at nights, for water-lillies blow only at nights). =getting up from sleep, (hence) opening. i = in a large group of water-lillies. घूर्णमान: = whirling about, roaming about, सलीलं in sport. f:= covered with sweat (here, full of moisture); :=sweat. ara: with ichor (i. e., the juice exuding from the temples of elephants in rut); :,, note that these are in the plural, like "waters" in Eng: idiom. fafa = of wild elephants. आमोद: = diffusive fragrance अहमहमिका (coming forward saying "I", "I") emulation. ordering, instructing. = 1111 आदिशन् - The cool fragrant breeze will blow upon you wafting many kinds of diffusive perfumes, each being ordered by the Thus served by wind to try to be foremost in reaching you. the breezes, your journey will be a pleasant one.

HAMSASANDESAM 17 12. There will be others too that will honour the dis- tinguished visitor, the Rajahamsa, on his way. Autumn is the season for the blossoming of the Bandhujeeva tree. बन्धुजीवाः = the Bandhujeeva trees. समसमुदयात् = by an equal combination (2.e., with a combined effort). := « = will shaken (down) by the wind. ч:=by pollen dust relatives (as if they were your relatives). There is a play upon the word, which literally means one who lives by his relatives," and one whose profession must therefore be honouring any distinguished relative that may choose to visit them. to you. q=completed, to the fullest extent. = smearing with perfumed unguent, or, sprinkling with perfumed powder, of yellow, orange or red colours, appropriately, at the right place. कुर्युः - do सुम समुदयात् is another reading. It means, "by a combination of flowers, all the flowers combined (simultane- ously). by which reason. अचलतनया पाद लाक्षा अनुषक्तं = to whom the lac-dye of the feet of Parvati adheres closely. त्रिपुरविजयिनः = of the Conqueror of the Tripuras (Siva). चूडायां (स्थितं) चन्द्रं = the moon in the (knotted) hair. स्वर्नदी फेन पूर्ण rendered full by the foam of the Heavenly River (Ganga in Heaven). you will resemble. = === The Bandhujeeva trees, full of blossoms at this season, will altogether sprinkle the swan with their pollen, being all shaken by the wind. This will be the worshipful service they do to the honoured relative. The form of the swan, resembl- ing a section of a circle, will be so loaded with this pollen, that it will grow to be a complete circle. So will the crescent moon on the head of Siva become completed by the foam of the Heavenly Ganges accumulating between the horns; the whole being coloured red by the adherence of the lac-dye from the feet of Parvati. HAMSA-2

18 MANOTES ON AH The allusions here are:- (1) Parvati, the wife of Siva, is so called because she is (अचलस्य पर्वतस्य तनया) the daughter of the Himalayas. In a loving, playful mood, she places her feet on the head of Siva. lips, red with a dye (2) -The ladies of the higher classes were in the habit of dyeing the soles of their feet, and sometimes their made of lac; somewhat akin to the soles and palms by S. Indian women by using the leaves of a fragrant shrub now-a-days. Cf. the use of the lip-stick in Europe and America. (3) Ganges was in Solar race of kings wanted to use her waters to sanctify the He performed tapas and Ganges was first made to fall on the matted hair of Siva. Siva is therefore represented as having स्वर्नदी on his जटाजूट:. ; at first King Bhagiratha of the bring her down to the earth to burnt remains of his ancestors. (4) The Moon-God was cursed by his father-in-law, Daksha, and sought the protection of Siva. Siva kept him on his head and protected him. Siva is therefore called चन्द्रमौलिः or चन्द्रशेखरः- (1), (3) & (4) are Puranic legends. -Voc: case. for you. नभसि = 13. This Stanza tells us how the Rajahamsa will be further honoured by having a ceremonial royal Umbrella held over him from behind, wherever he went. शारदाः=autumnal. वारिवाहाः = clouds, भवतः in the heavens. do the duty of a royal umbrella. (A Sun shade is called heavier umbrella used against the rains is वर्पत्रं.) छतायेरन् is Potential III pers.: Plural. very thin in form. = , a ceremonial aч and the

HAMSASANDESAM 19 f=by the rays of the maker of the day (the Sun). : provided with ribs. The rays of the Suu shooting in streaks in the clouds, form the ribs of the umbrella. शार उपान्ताः = furnished with variegated fringes (शाराः उपान्ताः येषां ते) शतमखः = He of a hundred yajnas, Indra. His धनुस् - · the rainbow, इन्द्रधनुस् तस्य शेषमेव चित्रांशुकं तेन by the many coloured cloth made of the remnants of. ч=> behind (you).with suitable movement (i.e., keeping up with your pace just behind you) := borne by the wind. Note that the breezes scatter perfumes and the winds marshall the clouds. 7 Beiug a Royal Swan, and going as a royal messenger from one of the mighty race of the Ikshvakus, he is royally honoured. = 14. Having thus had a pleasant journey, you shall see your friend Sita. प्रियसख = dear friend एवं = in this manner. सुखं = pleasantly, without any trouble. लङ्घित अध्वा = लङ्घितः अध्वा येन सः with a swiftly crossed passage. à-your द्रक्ष्यसि, (female) friend. taif-you will see Sita. II Future, 2nd person sing: of (to see), the corres- ponding present tense form being чч. As the swan is the प्रियसखा of Rama, Sita is naturally & सखी. सीता means a furrow left by the ploughshare; since Sita, as a babe, was found by king Janaka while he was ploughing a field, she too was given that name cf. Janaka's own words, लाङ्गलादुत्थिता मया । क्षेत्र शोधयता लब्धा नाम्ना सीतेति विश्रुता ॥ same idea is found in this stanza too. Janaka. -ploughed by a plough. उत्थितां = who arose (out of) या = who. with great difficulty. मदर्थं = for my sake. The := of king - in the field. कथञ्चित् = somehow, गोपायन्ती = while

20 20 NOTES ON MAH she protects, as she protects, who protects. =the body. अपि =even (this word does not connect itself with ag; it has the force of "and also " beginning this clause.) à- in the earth-world; there are many worlds and the earth is one of them. महतीं= great, worshipful. एकः पतिः यस्याः सा एकपती - true to one husband, chaste. the good name, fame. वहति (या) = who bears. = 15. In this Stanza, the speaker touches a tender chord, to arouse sympathetic understanding in the messenger. He says in effect-Your lady-love is the lotus-pond. When you are away from her she pines and dwindles, but when you return, she is glad. Tell her of the urgency of this journey, and though she will pine during your absence, she will approve, since she is a well-wisher of Sita. = during the period of her separation from you (ie., of your absence from her.) auf = who has grown very lean (i.e., who has dwindled a good deal.) now (that you have returned). == but -in whom gladness is = born (i.e., who has regained her joy.) ч the lotus pond. प्रत्यायास्यन् = =when you return (to her from my presence.) T: slowly, gently, little by little. स्वादुवाचा with sweet words. अनुनय—persuade and win over, (नी = to lead ; अनु denotes "following." Hence gat is to lead gently so that one may follow, i.e., to win over by persuasion). = =she. -on account of her good heart (friendship) towards Maithili (Sita.) -here, in this matter, at this juncture, स्यात् = be it so, all right, इति = that. तंत्र्याः स्वनवत् sweet like the notes of strings (of a musical instru- ment). = in the language of the bees. to you.

HAMSASANDESAM 21 24 - Arчg granting leave of absence, granting permission to = go. af might do, I think, I believe. पद्मिनी is the name = n of a woman of the highest of the classes into which women are divided, according to their appearance, habits and temperament. Delicate beauty and grace, sweet womanly qualities, a superior intellect and perfect loyalty are the chief characterestics of a Padmini lady. Such is Sita, and hence the affinity between her and Padmini, the lotus-pond. This Padmini will therefore understand how much Sita is in need of a message of hope, and will grant her love permission to go. dg The swan goes away to Manasa Sarowara in spring and summer; the great heat of summer in Kishkindha will make the pond almost dry, and it thus described as pining for the absent lover.. The swan returns after the rains, and the pond is full of water and flowers then. It is said to show its joy for his return. The humming of the bees all over the pond forms the voice of the lotus-pond. 16. अक्षीणां कुक्षेषु = in the bowers of the hills. रागात् = with love, affectionately कान्तैः सार्धं = along with their husbands (or, lovers). = of those who are seated, is the name of a hill-tribe in the Deccan, chiefly in the northern part of the Eastern Ghats, living by hunting and gathering forest produce. = fine-eyed ones, women. शबरसुदृशां = of the huntresses among the huntresses; = for a moment. असम at an improper time; for moonrise during the day is an impossibility. दृश्यचन्द्रोदयश्रीः = having the beauty of the rising of the moon, actually seen. This epithet qualifies "you" understood in उड्डीयेथाः सरसिजवनात् = from the lotuses. दक्षिण आशा अनुसारी = following the assemblage of direction of the

22 22 MA NOTES ON H = South. उड्डीयेथाः = soar up = (डी with उत्—Atm. 4th conj. Pot: 2nd pers: sing :) : । = very powerful. गरुत् = wing. प्रबलगरुतां of those that are exceedingly powerful of wing (Such as the eagles_and_the falcons ). पक्षिणां = of birds. दत्तं वर्क्स येन सः = one that has given the (right of) way to. looking at from a distance. = The rapid soaring up of the pure white shining body of the swan may create, for a moment, the illusion of moonrise at the wrong time, in the minds of the woodland huntresses The swan, though a King of birds and strong of wing, is advised to fly far from the flight path of birds of mightier wing, such as the eagles and the falcons. = 17. This Stanza is another sort of comparison with moonrise. =playfully, with easy grace. उत्पतिष्णोः = that soars up. अतीन्दोः इन्दुमतिक्रान्तस्य = of him who has excelled the moon (in radiance) = of you, your. =image ( also means shadow, but as it is said to be white in this stanza, it can only be the image reflected upon the polished surface of rock in the mountain; or it may be the silhouetted form of the bird against the hill-background).- radiant as the nectar (means "water" also; then fa, for the swan, will have the natural meaning of shining with water," as the bird rises up from the lake or pond). The moon is styled af:, the nectar-rayed; hence the similitude between the two. t accepting (here the अन्तः = within (itself)- literal meaning 'taking into - one's own body' is more suitable, to be within the body of the hill.) Mount Malyava. surfaces reflect the form of the flying swan). as the image would appear एषः = this. माल्यवान् शैल: full of gems (whose polished = =of the first God, or, of the God who is the primordial cause; 2. e.

= = HAMSASANDESAM 23 of the ga:, identified with Narayana, the all-pervading Spirt ; it is said of him in the Purusha Sukta पूर्वे यो देवेभ्यो जातः from (his) mind. इन्दुबिम्बं = the disc of the moon. 34: of him who is creating. The moon is said to have been created from the mind of the Purusha;:, says the same Sukta. अधिक ललितां = of greater loveliness. STTHT =adiance tells of. The beauty of Malyavan at that time, reminds us of the greater beauty of Narayana creating the moon out of his mind. = 18. Now, about the choice of the way. ways. सम्यकू affiat =have been well described. = Two to me. हनुमता = by Hanuman. तयोः = of the two. ते = for you. सह्य = faults (i. e. safe) and pleasant. : that which is near Sahya Mountain, the Western Ghats. पश्चिमः = the western one (way) अनघश्च सुभगश्च तदपि = even though it is free from नित्यवर्षः नित्यं वर्ष यस्मिन् सः = is (hence, not preferable). = == one that is incessantly rainy friend! = in those of the east (प्रत्यभवं प्रतीचीनं प्राचीनं प्राग्भवं त्रिषु - अमरसिंह:.) जनपदे जनपदे प्रतिजनपदं (अव्ययीभावसमासः) = in every country. अद्भुतानां संहतौ among the assemblage of wonderful (scenes or of things). मग्ना = immersed in. ते दृष्टि: = your sight; मत्कृते = on my account (to oblige me). = somehow or other, even with great difficulty. ff= has to be turned. The eastern roite is full of wonderful sights which are sure to fix your attention and act as an impediment to your progress; your eyes are somehow, even with a mighty effort of your will, to be urned away from them for my sake. Otherwise, you may be unconsciously delayed on the way and arrive at Lanka too lat.

24 NOTES ON A countries by The author knew more of the eastern personal experience and naturally wishes to describe them. = 19. श्रुत्वा = having heard, hearing. शब्दं = note श्रवणयो- मधुरं = pleasant to the ears. तावकं = belonging to you. पामरीणां of women of the lower classes, ignorant and uncivilized. प्रत्यासन्नात् = on account of great nearness. = = ===== immediately. from the home (from their homes). + with eagerness. निर्गतानां = of those that have come out. अभ्रूभङ्गे en even though deviod of the knitting of the eye-brows. अधिकसुभगैः कटाक्षैः = by their sidelong looks which are very charming. Fashionable women of the cities will knit their brows, look up critically and perhaps dismiss a wonderful phenomenon with a shrug; for, with them, a show of feeling is undignified; but with villagers and hill women, it is different; they are children of Nature, and look up at a wonder open-mouthed and wide-eyed; and their looks are charming without the aid of made-up facial expression. निश्चितं अङ्गं यस्य सः = he whose form is recognised. एतान् = these (ż.e., the following.) वन गिरि नदीभिः सम्यक् विभक्तान् देशान् - countries that are well (beautifully) divided by woods, mountains and rivers. := (please) pass over (pot: II pers. sing. of with fa and 20. इक्षूणां छाया इक्षुच्छायं compound ending in = f). तस्मिन्. When a Tatpurusha denotes that the shade is cast by a group, the compound becomes neuter in form (is Panini's sutra). in the shade of the sugar canes (growing in a grove). f = a bed full of tender leaves (the leaves that have fallen forming a soft bed). ag sitting on, or, lying down on. तैः सल्लापैः= with those conversations (in talk that befitted their station of life and the season.) Later, we have which shows that

HAMSASANDESAM 25 = of their conversation was of love. = with their hearts full of joy. = a kind of fine paddy. those women who watch the paddy fields (to protect the crop from cattle and birds). ।कर्णाट = Kannada आन्ध्र = the modern Telugu (language).

(language.)

= account_of_intermingling. कर्बुरैः = variegated. गीतिभेदैः = by (on account of) various tunes (or, songs).of those that are infatuated. by the passion of love. maidenhood); or, silliness. enjoy. = bedimmed, or turbid, = the artless simplicity (of आस्वादयेथाः - you will please 21. The Tirumalai Hills are described here. =after that. :- the Anjana Hill (the Tirumalai Hills have many names, of which this is one) = = in front (of you) नयने = (your) two eyes. रञ्जयन् = giving pleasure to. भावी will become (will rise up before you). facit: area = because Vishnu lives there. अवनि वहनात् = because of (its) bearing the earth. : with (adorned with) :with his heads (or, peaks), bound gems. =this (mountain) :that he is Adisesha's own self appearing (before their eyes.) :=by people (by the devotees who visit that hill.) सम्यकू = well, truly. := conjectured. अ: = := with = not long with clouds. := united with, possessing. no light ones (with dense masses of clouds). ago (quite recently.) = cast. slough (skin cast aside by snakes.) := resembling. Anjanadri is believed by worshippers to be an incarna- tion of Adisesha himself, the primordial serpent who is said to be the couch of Vishnu in heaven, and who is also said to be beaming up the earth on his thousand hoods. It is also

26 26 M NOTES ON AH supposed that each hood is crowned with precious stones. The three resemblances which have given rise to this belief are described in the stanza thus: (1) Both form the abode of Vishnu, who, in the case of the hill, lives on it in the form of God Srinivasa or Venkatachalapathi; (2) both support the earth, the belief being that mountains are supporters of the earth, thereby being designated (3) the peaks of Tirumalai hills are gem-studded as the hoods of Adisesha are. And to strengthen this belief, there can be seen thick masses of clouds around the peaks, which resemble the newly-cast sloughs of Adisesha. ====== 22. And it befits you too to worship there, says this stanza. It is also shown here that the question of loss of dignity does not arise at all. in that worshipful place (महपूजायां) आरूढैः मनुजैः = by human beings that have ascended (the hill.) :: beings (Devas) that on to that hill.) the other two being and by the heavenly have descended (from heavenly heights is one of the three universal qualities, and Sattva is absolute purity, without even the taint of egoism in it, and is the chief characteristic of the Devas; Rajas, or activity, is the predominating characteristic of human beings; and Tamas or darkness is the characteristic of demons; all the three Gunas are found in varying proportions in every sentient being. सत्त्वस्य उन्मेषात् = on account of the awakening of Sattva Guna

(in them, when they are in the presence of the God.)

= ч departed, fallen away from. reciprocally, towards one another. तारतम्य आदि भेदै: = from differences such as greater and smaller. is a suffix of the comparative degree, and तम of the superlative; तरतमस्य भावः, the idea of greater, greatest, less, least &c., of the result =

= HAMSASANDESAM = 27- of the fruition. An account of its being common (or, the same) to all. T: (indeclinable) = in crowds. being bound, .e., being performed in crowds, and not individually. सपर्या = worship. मधुविजयिन: = of the conqueror. of Madhu, Vishnu. Madhu and Kaitabha were two mighty- Asuras of the first age of creation, who were killed by Vishnu.. =you too. शक्त्या = as much as you can. कामं यथाकामं as much as you please. := please do. Anjanadri, or Venkatadri, is such a holy place that men and Gods are supposed to go there to offer worship. In the. presence of the God, ideas of great and small disappear and all become mere worshippers And the God too does not. make any difference in the granting of the fruit of worship ;. he is impartial in giving Moksha to all. Hence, you too will do well to worship there. a 23. A river south of the hill is described. तव निवासस्य इच्छया इव = as if with a wish that you should stay (there) . उन्मग्नानि स्तोकं स्पुरितानि च पुलिनानि यस्याः तां = containing sand- banks (in its bed) which are at times submerged (when the. waves wash over them) and at times flash into view (when the waves recede ). आरात् = near अञ्जनाद्रेः दक्षिणां = which is. (flows) south of Anjanadri. कनकमुखरां = which_makes murmuring sound of gold (ie, the river now named which, as the author says, was flowing on golden sands with. a murmur). =you will see. The river is further. of those that are near वनविपिनां = of the forest trees. प्रसूनानि = flowers. अर्धेन्दुमौले: = of the God. wearing the half-moon on his crest, of Siva. The reference here is to the God of another sacred place named Kalahasti. farther down on the river, one of the five most sacred places. described. =

£28 MANOTES ON AH = for Saivas in Southern India safat: for the worship of ; -अर्चा is one part of worship in which flowers (or their equivalent) are offered at the feet of the God with appropriate names of praise and prayer. alala:=by wave-hands, with waves which act as hands to the river. या नूनं उपहरति = She who truly gathers; (river). indistinct. = She " is the river. A 24. f having enjoyed (yourself in). gai=this -quietly and unperceived (by any). - =sweet. := he who has a note (qualifies पुलिनपवनैः = by the breezes on the :-filled with the diffusive frag- भवान् or त्वं understood). sand-banks. rance of Vanjula flowers. =lightly := ruffled; this = epithet also qualifies भवान् or त्वं understood. अभ्यासङ्गः= with- out detachment, carefully and cautiously. af quickly; -अन्यैः अलव्य: = So that you cannot be surpassed by others. i.e., with a speed that will take you easily beyond the reach of your would-be captors ч=way. = take, follow. those who live near the banks (er, on the banks) of the river. ftat:= hunters or fowlers, or trappers. You. 'his notes should be = may (they) not catch. The Swan is advised to enjoy himself on the wet sand- banks of the river, but to do this silently and unobtrusively; indistinct and his movements light; and he should be cautious lest he should fall into the hands of the fowlers on the banks; and he should finish bis rest soon, rise up quickly and fly with unapproachable speed. 25. तदनु = and then (a little farther) mei må Ho the worshipful (holy) country (or, province) named Tundira. :-looking on at. there, in that pro- "vince. सत्यव्रत आल्यं क्षेत्रं = the holy place named Satyavrata. = fua gf which has cast away sin. ч:=(please) go to.

is built. HAMSASANDESAM = 29% is the name of the land on which the town of Kanchi where. सः देवः that God (the Supreme.) सकल जगतां एक सेतु: = who is the one bridge for all the worlds. Creation and dissolution, like birth and death, as the common. lot of all beings in all the worlds; this eternal bond to such. an existence is called Samsara, and it is compared to a mighty ocean that none may cross unaided. The only way to cross it. is by absolute faith (Bhakti) in the one God, and He thus, acts as a bridge over it for souls to pass on to immortal life. on account of resentment against (her) husband.. सलिल वपुषः वाग्देवतायाः = of Sarasvati, the Goddess of Speech, who had taken the form of water (the river Vegavati.) - = took the form of a bridge (or, a dam). The allusion here is to the story in the Purana of that. holy place, which says:-Once, the Creator Brahma began to perform a Yajna on this Sacred spot, with the Goddess. Savitri as his spouse. Saraswati, the Goddess of speech, who was his wife, resented her husband's neglect of her and converted herself into a swift-flowing river (hence named Vegavati), to overflow the site of the Yajna and stop it. Brahma prayed to the Universal God, Narayana, who at once incarnated there as a sort of dam across her path, stopped her flow, and saved the Yajna. In this case He appeared as a : and He is in fact the only : for all beings for salvation. 26. नानारतैः = by different kinds of precious stones. उपचित गुणां = having a form filled with. नित्यसङ्गीतनादां = ever filled with the sounds of music. सङ्गीतं is thus defined : - गीतं वाद्यं नर्तनं च त्रयं सङ्गीतमुच्यते = the triple symphony of song, instrumental_music and dance. भूमेः = of the earth. उचित-

30 KA NOTES ON AH ornament. The Earth is a woman of them, is rightly == in whom := who has विभवं = holding a fifty exalted rank. भूषणं = an तल = there. कांची द्रक्ष्यसि = you will see. wearing ornaments; and Kanchi, one given a highly exalted rank among them. (ie., in which town). fa-always. f placed his eyes (i.c., on which always fall the favourable - glances of). हस्तिशैल अधिवासी = the inhabitant of the Elephant Hill. a: one who is beyond the ideas of duality (such as honour and dishonour, pleasure and pain, heat and cold etc.) सत्यकामः= the truth-loving. सः पुरुष: = that supreme God. खलु = surely दृश्यते = is seen. = The doctrine of the Visishtadvaitins says that भगवान् i8 not devoid of Gunas and that Gunas are not merely manifested illusion as the Advaitins hold; Bhagavan's Gunas are a real part of Him and each Guna, as we mortals can understand it, is in Him in its infinity; only, the Gunas in Him are all कल्याणगुणाः as we understand them; and are all absent. Some commentators of this verse are of opinion that the epithet द्वन्द्वातीत: shows the absence of हेयगुणा: and that - सत्यकाम : shows the presence of कल्याणगुणाः. 27. The author Venkatanatha belonged to Kanchi- mandala and was a devout worshipper of Varadaraja; hence, he makes special mention of the holiness of that place. ai नगरी = that town (of Kanchi.) as you approach, when within reach. = with (your) head bowed down by reverential faith. чmake a low obeisance. = at the beginning of the Krita Yugu; Yugas are very long periods of time, of which there are four, viz., Krita (17,28,000 human years), Treta (12,96,000 human years), Dvapara (8,64,000 human years) and Kali (the modern age, 4,32,000 human years), the whole forming a aa, a Manu's

= HAMSASANDESAM 31 = span of life; Kanchi, according to legend, existed from the beginning of the first Yuga. धातुः = of Brahma. इच्छावशेन as a consequence of the mere wish of. No human hands fashioned the town; the Creator wished it, and lo! there was Kanchi-says the Purana of the place. = in the begin- ning. ai who (which) was born. यस्या वीथीनां = in whose streets_or_roads. करिगिरेः पते = of the Lord of the Elephant Hill (which is a 1ock in the centre of the town, on which the temple of Varadaraja Swami is built ). वाहस्य वेगेन अवधूतान् - raised by the speed of his steed (as He rode along the streets). the dust particles. =:= the fortunate (or, the thank- ful). त्रिदशपतयः = the Lords among the Gods. उत्तमाङ्गः- = on (their) heads. धन्याः धारयन्ति = (either) the blessed (Gods) wear, (or) they thankfully wear. ======= = 28. तदनु = and then. wear. महितः = the revered one. मन्दं आधू- aa qanai_qozla= from a collection (i.e., a grove) of mango- trees which are slightly shaken. fa: who has come out; this epithet qualifies at the end of the stanza. तस्या by her side (.e., by the side of the town of Kanchi) पशुपतेः शिरसि (स्थितस्य) चन्द्रस्य नीहीरं वहति यः = bearing with him the dew (ie., the wet-coolness of dew) of the moon (situated) on the head of Pasupati. чis a name of Siva, and here refers to the God Siva, that is known in Kanchi by the name of Ekamranatha; this temple of Siva is famous for its sanctity even to-day. The breeze is wet and cool and blows from the direction of the temple of Siva; carrying as it were the moisture and the coolness of the dew from the surface of the moon on the crest of Siva. This is a far-fetched fancy common among the later Sanskrit poets, chiefly among those who attached a great deal of importance to Puranic lore. एकाम्रनाथः means Lord of one mango. The reference here is

32 MANOTES ON H = to a huge mango tree overshadowing the temple, a tree which, as tradition says, gives one fruit a day for the worship of the God. This temple is in the western part of Kanchi and near a small river called Kampa. कम्पा पाथः कमल वनिका कामुकः: one who loves the assemblage of lotuses in the waters of the Kampa. The breeze is said to love this retreat, and when it issues from there, it carries the fragrance of the lotuses and the coolness of the river. breeze you. दूरात् प्राप्तं = who has arrived as if (you were) necessarily, without failing. serve you). = the fragrance-bearing from a distance. त्वां = a dear friend. = will approach you (to The three desirable qualities in the breeze that will please the guest are (1) gentleness, as it comes out of the mango grove, (2) moist coolness as it comes from the west over the Siva's temple, and (3) moisture and fragrance, as it comeз from the lotus filled river. = 29. मध्ये नगरं - an अव्ययीभावसमास: formed of मध्ये नगरस्य = in the middle of the town. वः कवीनां स्वामिनी = the queen of you birds. : means both a poet or prose writer and a bird. : the wife of the Lotus-born (Brahma) Brahma the creator, is said to be born in the of Vishnu. The Goddess Sarasvati (the Goddess of speech and learning) is his wife. = the revered, worshipful. = the name of Vega (river). = bears. (For allusion see notes on stanza 25). The river is thus described by epithets. वर्णस्तोमैः इव = like groups of letters. सप्तभेदैः = divided into seven different parts (ie, divided into seven branches). The seven groups are, gutturals, palatals, linguals, dentals, labials, nasals, and mixed letters. :-into mighty streams. The names of these streams are शुक्तिका, कनका शिप्रा

HAMSASANDESAM 33 into. - कम्पा, पेया, मंजुला and 1 चण्डवेगा. परिणता = transformed मान्या = who deserves to be respected or worshipped. अभितः - throughout. देवताभिः = by Gods. सेवित = worshipped or served TZ AU who is beautiful (to look at) with her clear, sweet, freely-flowing waters. As Sarasvati is the Goddess of poets also, these epithets can have meanings She too is मान्या. appropriate to her, read into them. She is in the middle of the town, which means that the centre of the town is a great seat of learning. She is worshipped by all the Gods. And she is most beautiful when ideas are expressed in clear, sweet and flowing language. = 30. i to people, to mankind in general. = that has destroyed (wiped out) all sin. =med Sarasvata a in the sacred water. A particular part of the Vegavathi river has the special name of Sarasvata Tirtha, and is held to be of special sanctity. = there (in the river). खात्वा = having bathed सार्धं मुनिभिः = along with holy men leading a life of austerity. := (hence) sinless. := with (your) body having (as your sins too would have been विगतरजसि = in your mind devoid of the become highly radiant washed away). (fa quality of रजस्) (i.e., in your heart from which ideas of egoism and pride have disappeared, leaving you an humble worshipper). making clearly manifest. वक्ष्यसि = you purity. will accumulate. = fa=the entire universe. परांशुद्धिं - the highest final af = that cannot be cast away or destroyed. :: both inside and out (i.e., both in the mind and = the body). Men of action are which is a charecteristic of always full of pride of self, :, a quality that persists even in very saintly men. It is only when this I-ness is HAMSA-3

34 MAS NOTES OH NOTES ON destroyed that : disappears, and the soul becomes really pure, surrendering itself to its maker, in absolute child-like faith. Then comes the vision of the oneness of the whole universe. This stanza says that bathing in a brings on that radiant purity both inside and out. 31. banks. = Gentle Sir. a: a=on her (the river's) := of the Lotus-born (Brahma), a compound of the अलुक् समासः type. वैतान वेदिः = the sacrificial altar (prepared for a Yajna). :the Elephant hill. दृश्यते = is seen. द्रमिड विषयं = the Dravidian country. दिव्यं कुर्वन् making it heavenly, giving it a celestial nature. यस्य उपान्ते = by the side of which कृत वसतयः - कृता वसतयः यैः ते = those who have made habitations for themselves (.e., those who live). having given up their bodies (ie., after their death). : the blessed ones. ч in the place, or, abode. _वितमसि = which is devoid of तमस्, or darkness. The darkness mentioned here is the ч, which darkens the soul. of Vishnu. afwill remain. Heaven, as mentioned here, is the world presided by God as Vishnu, and wholly devoid of dark qualities. As the visible incar- nation of that God is on the Elephant-hill, the whole of the Dravidian country has been made heavenly. = 32. aeri -In (or, on) that altar (i.e., the hill). अपि =some (undefinable). which is the cause of the creation of the worlds, देवता = Deity. सन्निधत्ते - manifests itself (before you). and are both in the feminine gender, not because the deity is a Goddess, but merely to agree with which grammar places in the feminine gender. The God meant here is God Varadaraja of Kanchi. सञ्चिन्वाना = who obtains. if (the Devata's) own splendour तरुण = tender तुलसी दामभिः - by garlands of tulasi 1 AEMAH

shoots. शीतलं = cool. sembles, or imitates, एश्वर्यं = godlike powers HAMSASANDESAM हव्यवाहं : 35 35 fire. अनुविदधती = that re- := enjoyment of earthly happiness. (taken collectively). प्रिय सहचरैः ta:=by the having for (their) beloved followers. sidelong looks of favour of the Goddess Lakshmi. still more dark. The form of the God on the hill is described. He is dark but rays of splendour are issuing from him. He is thus like the God of Fire, but without heat (for, while Fire heats and burns, this God soothes and produces tranquillity). His splendour is heightened by the garland of tender tulasi shoots he is wearing. His form is still more darkened, for the glances of love from his dark-eyed consort continually playing upon him. Lakshmi, the feminine counterpart of the All-pervading Spirit, is the Goddess of everything desirable, health, strength, beauty, grace, wealth, power, happiness and heavenly bliss. Thus, her glances are said to be lovingly followed by earthly happiness and heavenly bliss. The God himself is eternal and infinite and so undefinable. 33. तल = = there.full_of_compassion. मरकत- with a dark green body, in colour like an emerald stone. लक्ष्मी विद्युत् ललित वपुषं = having a form beautified by & streak of lightning in the form of Lakshmi. =cloud. वीक्ष्य = having seen, at the sight of त्वं मा भैषीः = be you not afraid. After the inhibitory particle I, the initial π of forms like आ भैषीः disappears. शुद्धैः = the pure. त्वादृशैः - sembling you. : the Hamsas among Gods. Hamsa is the name given to an ascetic of a very high order, one in whom passions like likes and dislikes have completely dis- appeared, and who has therefore acquired perfect purity and = =re-

€36 MARNOTES ON AH tranquillity of the soul; such among the heavenly beings are called the : by Vaishnavas, and are, in a way, the highest among the Angels around the Infinite God. aa पदः = one whose feet have been worshipped. हंसी भूतः = that has become a Hamsa. :-He. indeed, surely. -the first-born in your race. = one The word : has three meanings in this verse, a swan, a pure ascetic, the Supreme Spirit, and the author, by a play on this word, has deduced a common geneology for a[l. Swans are afraid of heavy dark thunder-clouds; the God is likened to a dark emerald-green cloud with Lakshmi on his breast resembling a flash of lightning; and this God-cloud is full of the waters of compassion. "Yet, be not afraid," the swan is advised. The reason given is this. This God, in Vaikuntha (Heaven), is ever served by deities of the highest holiness, so pure that they are Hamsas among Gods; and such eternal service has rendered Him too a Hamsa; hence He is, as it were, the First-Born of the Hamsa race, and so there is no cause for fear from one who is purity and compas- Bion personified. It may be noted that throughout the poem, we have around us a sort of atmosphere sanctified by truth, purity, compassion &c., all emanating from the Almighty. The Supreme Spirit is often spoken of as a bird in the Vedas, e.g, हिरण्मयश्शकुनिर्ब्रह्मनाम द्वा सुपर्णा सयुजा सखाया समानं वृक्षं परिषस्वजाते । तयोरन्यः पिप्पलं स्वाद्वत्त्यनश्नन्नन्यो अभिचाकशीति ॥ = = ते 34. The God is here described as ч: and हव्यभुक Of your master, God Brahma. of the oblations (in the sacred fire) during the (daily) Soma sacri- fice.at he who tastes the essence. When Brahma performs his daily savanas, God Varadaraja would appear =

HAMSASANDESAM 37 in the sacrificial fire and taste the essence of the oblations, thus rendering the mediation of the Fire-God necessary. The idea is that, though the Vedic mantras address different I Deities, the real acceptor of the essence of all sacrifice is the One God; and He is Varada Raja. (There is no need to make सारं to mean वपा as some commentators have done ). सः देवः =) that God. of the multitude of Vedas, of all the Vedas combined. = = : the pure Eye; i.e., He is the One who has absolutely clear Vision, through all the Deity-forms mentioned in all the Vedas. = the good fortune ie., only those वेदचक्षु Him). विनतं त्वां = :- 10 = of the eyes (of those who wish to see him, whose eyes are blessed can have a vision of स्सनातनः, say the Vedas. अङ्गीकुर्यात् = may accept. you, who have bowed down before him. resembling a shower of nectar (the giver of immortality). आविमदैः = full of pleasure that has welled up अभिमत z=giving_in large quantities gifts that are desired. re: sidelong glances showing favour. = that are He may favourably accept your worship too, and He is one who gives very liberally, more than is asked for, or desired. Hence, you will do well to visit the shrine and render your worship-is the advice given to the swan. O 9 frab 35. It will have the greater good for- may be that you tune of rendering service to the God, says this stanza. आसक्तं = pervaded by honey, having honey all over it. सरसिज इव = like a lotus. स्विन्नं = moist. देव्याः हस्तं = the hand of his consort, the Goddess Lakshmi. This moisture is a natural characteristic, as She is the Mother of All, and her motherly love keeps her gift-dispensing palm ever moist. आलम्बमानः- holding. तत् इतरकरन्यस्तलीला अरविन्दः = with a pleasure-lotus (a lotus held for mere pleasure) held in his other hand (his

388 MANOTES ON AH = free hand). ::He, the God. the possessor of majesty and supreme power (or, the possessor of the Goddess Lakshmi). af faga-if he (chooses to) take a walk - of his own accord, for his own pleasure. =in (his) pleasure resort. = the manifested (.e., having manifest- ed himself to your eyes). aga-You yourself. Him, वीजये: = fan, वालव्यजनवपुषा = with your body made into a chowry. (i.e., with your fan-like wings). and ad The image of the God is seen only in stone by all ordinary worshippers. But, on rare occasion, some specially favoured Bhakta has the good fortune to see the God within the image come out in his divine shape. Hence the word : is used. ========= 36. f: Having (thus) the happiness of gratifi- cation engendered (in you); i. e., having had the pleasure and Batisfaction of having seen, served and worshipped God Varadaraja. अथो = then. सध्यमं जनपदं लङ्कयित्वा = having jumped across (i. e, swiftly crossed) the middle country (i. e., the country between Kanchi Mandala and Chola Desa). The author means that there is nothing notable in it, and that it was not worth lingering over it. दूरात् लक्ष्य क्रमुक निवह श्यामलान् = dark with the multitudes (groves) of areca-nut trees visible from a distance. =going against (the current). HT‍ made to stagnate by the circlings of crocodiles. सह्यजाया: = of the Kaveri, born in the Sahyadri. स्रोतो भेदैः = by the different branches, fafaa faf:-flowing in, diverse ways. संविभक्त अवकाशान् = having well-divided places चोलान् = the land of the Cholas. = ===== - o to. The Chola land is the land of the palms. divided into many convenient divisions by the The land is branches of

HAMSASANDESAM 39% the Kaveri spreading all over the country, and thus making every inch of it fertile. The waters of the branches are not allowed to flow quickly away into the sea, as the crocodiles and the bigger fish infesting it stop the flow by their stem- ming the current. == 37. The girls and young women of that land enjoying themselves on swings will please your eye-says this stanza. -Vocative. àg-in that country; note the plural, a common form among names of countries in Sanskrit, as they take their names from the tribes inhabiting them ; cf. कोसलाः, विदेहाः, पाण्ड्याः, केरलाः, etc. सरसिजदृशः = the lotus-eyed (maidens or young women). born of (i. e., made of) the fragrant turmeric. (turmeric is called fat i. e, having all the names meaning "night; " here रजनी is chosen). अङ्गरागैः = by sweet-smelling cosmetics. the tint of the evening आबिभ्राणा: ( this word is common to this and to the next line) possessing. पाळिका आपीड गभैः = having their interiors filled with the flowers of the areca-nut palm. :=by (their) knots of hair. af := wearing (the form of) a quarrel between moonlight and darkness; the white flowers in the black hair represent the struggle between moonlight and darkness. :- having indistinct yet sweet voices full farby (their) having got upon (their) = = - of passion. swings. to you. =feast of the eyes. = impart, bestow upon. (It is during the ====== or evening twilight period that moonlight and darkness vie with each other. 40 38. = 0 thou, water-bird. = : as you enter. एषां पश्चिमं भागं = the western part of this country. पृथ्वी लीला तिलकं pleasing (or, beautiful) like a playing-ball of

40 MANOTES ON (mother) Earth. नाम्ना वर्ष = by name Varsham. having its lands watered by rivers. 3 near, within a short tain परिमिततया मनकैलासह stance श्वेत शैलं - = नदीमातृकं You will see. a white moun- which appears, by its limited extent, to be the sunken Kailasa. फणिपतिं इव ( दृश्यं) क्ष्मातलात् 31a and which appears like the Adisesha, the king of the hooded-ones (the nagas) rising up from the earth. Kailas mountains are white and snow-clad, is a white serpent with at housand-crested heads. comparison. 39. no nayloadtred and Adisesha Hence the तत्र = there (on that white hill.) दिव्यं तेजः = the Spirit with the heavenly lustre स्फार आलोक (नेन) = by its expanded vision, or, by its abundant lustre. чafka any azú get= which has completely destroyed the accumulation of the dark- ness of ignorance among men. which has taken the - ever attached by the (i. e., of the Goddess form of an Individual Spirit. प्रगुण विभवं = which holds the highest exalted position (or, having highest lordly might). प्रार्थनीयं बुधानां = which deserves to be prayed to by wise people. जलधितनयायाः स्नेहेन नित्यं अनुषक्तं = which is affection of the Daughter of the Ocean Lakshmi.) [Lakshmi is said to be one of the products of the ocean of milk churned by the Devas and the Asuras for obtaining the nectar of immortality from it.] (Such a God) आधास्यते ते = will confer on you. नन्तुः = who bow to Him (i. e., who worship Him). कुशल निवहं =a multitude of blessings, or, abundance of prosperity. which will come (to you) very soon. H In this stanza, the swan is advised to go to the temple on the hill and worship the God there. It may be noted that the author, though a devout temple-goer, has everywhere laid stress on the God-form being only a manifestation of the

HAMSASANDESAM 41 Supreme Spirit, and on his chiefly being the dispeller of the darkness of ignorance all the granter of knowledge, tranquillity and salvation. === = 40. तदनु == after that. संविचीयाः = (please) explore thoroughly ; ची is the root, with prefixes धि and सं ) काननं a' wood. स्निग्धच्छायं = having a dense unbroken shade. विततं vast in extent. तस्य (श्वेतशैलाधिदेवस्य विष्णोः) धाम इव नीलं = dark (or, blue) like his lustre (i.e., the lustrous colour of the God on the white Hill. नीली पुष्पस्तबक ललितं = charming on account of clusters of blue flowers. af when that has been seen (by you ). अनिमिष वधू नित्यनिर्देश योग्ये = fit to be ever_enjoyed by heavenly damsels. ते मानसं = your mind (or, heart). लघु मंस्यते will think lightly of स्वर्ग उद्यानश्रियं अपि = even the splendour of the pleasure garden of heaven (i.e., of the pleasure garden of Indra, the chief of the Gods). 6141. - 1 = where (this stanza merely continues the descrip- tion of the land in which the white Hill is situated.): generally, as a general rule. वायुः = the wind, परिजनविधिं धत्ते = does the service of a servant. to the five-arrowed God (Cupid.) अरविन्दं, अशोकं, चूतं नवमल्लिका, नीलोत्पलं, these flowers are said to be the five arrows of Cupid. वितानं = forming a many patterned canopy. with the pollen of different kinds of flowers. of areca-nut palms. wood == नानाकुसुम रजसा = in the - gently shaking. chowries, namely, the flowers of areca-nut trees, पादन्यास क्षमं अवकिरन् क्ष्मातलं पुष्प जालैः = making the surface of the ground fit for placing (his) feet on, by scattering multitudes of flowers. 70 42. अथ = and then. सौम्य = gentle sir. सह्यकन्या = the daughter of Suhyadri (the Kaveri) स्यन्दते - flows. a

42 NOTES ON MAH जनपदं सीमन्तयन्ती = cleanly dividing the country (as the parting of the hair on women's heads) by the speed of its current. :-(with an) uneven (bed) on account of of the multitudes of pearls. पुण्ड्रेक्षूणां = of sugar-canes Puudrekshu variety (perhaps having white and red streaks). पुळिन विशदै:: of a clear white colour like a sandy bed. ч अवकीर्णै:: = scattered around on account of the splitting of the knots (in the canes). as a result of maturity season after season विबुध सरितः प्रत्यादेशः = throwing into shade the river of the Gods (i.e., Ganga in heaven) It is only the that is referred to here, for it is only here that the river is broad enough and swift enough to form a clear dividing line between two countries; the branches are too small or too sluggish, and so the reason given by स्रोतोवेगात् cannot apply to them. It is an old belief among Sanskrit writers that pearls are found not only in pearl oysters but also in many other places, e.g., in the knots of fully ripened Pundra sugarcanes, and in the frontal lobes of some Elephants' foreheads. = 43. This stanza is a continuation of the previous one, connected with it by the relative pronoun af and by the epithets नीयमानां and विहित कुशलां नीयमानां = her who is being led. ч=immediately (i.e., in haste). =by the wind. from the sloping side of (or, from the lap or embrace of) Sahya (Mountain). ff blessed_with_happiness and prosperity. == her who has been त्वादृशानां द्विजानां = by the twice-born (ie, birds, or, Brahmanas) like yourself. भद्रालापै: by auspicious speeches (or by the chanting of auspicious Mantras like the Swasti vachanika mantras.) स्मेराम् = that gentle smiling one whom अस्कन्नाः पूगाः = the wet:

HAMSASANDESAM 43: palms वासयन्ति =render perfumed, as it were. :- 'इव with sweet fragrant substances. fàat the end of the night, during the early dawn. Ara Hasiya qià:=by showers. of (detached) areca-nut flowers fu full of honey. (Sahyadri is the father, Kaveri is the daughter, and the Ocean (fa:) is the husband of the girl. The daughter is to be sent urgently to her husband, and leaves the lap of the father. The wind escorts her as an elderly male relative. Before she leaves her father's house, the twice-born will have chanted auspicioos mantras over her blessing her and guarding her- from harm. On her way, other relatives will shower flowers over her and heighten her charm. There will be plenty of water-birds during the season of the floods, and their sweet notes taken as the expressiou of good wishes means a tooth, a bird, or an individual of one of the. three higher castes, chiefly a Brahmana. The word means. "twice-born;" a bird is born first as an egg and later as a bird; a Brahmana receives a second birth, as it were, when, he becomes a Brahmachari, the second being his spiritual birth = 44. तस्मिन् = in that (land.) द्रक्ष्यसि = you will see सम्पदं the beauty or charm_=of the lotus pond, or, of the pond of the healing waters (पुत्र = to nourish) चन्द्र उल्लास प्रथित : the fame of which is proclaimed for having given The allusion here is to a fullness of light to the moon. Puranic legend which runs thus:-The moon god married some of the stars, daughters of Daksha Prajapati. As he was fond of only one of his wives and neglected the others, Daksha

-44 M/NOTES ON AHI cursed him with pulmonary consumption. The moon-god tried all means of getting rid of the disease and was cured only after his bathing in this pond. Hence it is known by the name of go, which is now situated within the temple ·at_Srirangam. अमर महिळामौळि गन्धैः अवन्ध्यां = which is never destitute of the sweet smells from locks of hair (on the heads) of the Immortal ladies; ie., even Goddesses hold the pond so sacred that they bathe in it every day, thus leaving the waters 'constantly perfumed आतन्वानां व्यपगत रसं मानसे मानसं व:- making your desire in the Manasa (lake) disappear, making you lose your love for the Manasa lake.::fy azad 'परिगतां शुद्धिहेतोः Surrounded on all sides even by other sacred waters, for purification. swans. = The : is said to be favourite haunt of the royal Sri Venkatanatha, author, is such a staunch believer in the sanctity of the sacred places and water of S. India, that he naturally prefers them to those of Aryavartha. == 45. : - On its banks (i.e., on the banks of that पुष्करिणी) विरचितपदं = made as an abode or station (ie., stationed there.) साधुभिः सेव्यमानं = fit to be worshipped by saints. शेषपीठं=the Adisesha seat. सौम्य = gentle sir. श्रद्वायोगात् विनमित तनुः= = with your body bent, on account of faith. * (please) worship यस्मिन् = in which मुनिभिः उदितं = it has been said by Munis. the place which is destined to be the abode. epithet = := : := of the God Sri Ranganatha. The denotes the possession of royalty, majesty, omnipotence, everything that makes the possessor supreme. is the name of the island, which with the honorific prefix -श्री has become श्रीरङ्गं ; the God who has made रङ्ग his धामन् or

HAMSASANDESAM 45 place of abode is रङ्गधामनूः अस्मत् कुलधनतया = as being our. family wealth.of him who dwells in Saketa, i.e.,. in Ayodhya city. Toda bus The allusion here is to the Puranic legend that Sri Ranga. Vimana was the idol that was being worshipped by the kings of the Solar Race in Ayodhya and that it was presented to. Vibhishana of Lanka for his worship; that, on the way, the God preferred to stay at Srirangam on the Sesha Pitha ready for him. 46. aaa-(my) fancy flies (to that God) f in the (Vimana which is of) pure heavenly sattva quality- of Him who manifests himself of His own स्वयं उदयतः तस्य == will. धाम्नः of the splendour. in consequence of. within it. मंजूषायां मरकतं इव = = भ्राजमानं = shining तत् अन्तः: like an emerald in a box. placed (as a pillow) 3ч in the with one shoulder- coil(s) of Adisesha. दीर्घअपाङ्कं = having long- शयान = who has laid himself down. outer_corners of the eyes. जलधितनयाजीवितं = who is the life. of (Lakshmi) the Daughter of the Ocean. = the First- God. For Sri Ranganatha's inner splendour, the author des- cribes him, one of his stotras, as :: speaking of Him as being ever present in his heart, the author says, सध्येरङ्गं मम च हृदये वर्तते सावरोधः. For those that have unbound- ed faith like our author, the image of the God is only a form enclosing within it a spiritual splendour far beyond words. 47. तदनु = and beyond that. चोर आकान्तं = infested by: robbers. This part of S. India is even now called the land of the Kallars (i.e., thieves or robbers by caste); it was once a

-46 MAC NOTES ON forest in which these predatory tribes lived. fa-forest. चोलपाण्ड्य अन्तरस्थं = situated between the country of the Cholas and the Pandyas. झिल्ली नाद श्रवण परुषं - harsh to the ears on account of the shrill sounds of tree-crickets. :: - cross over quite quickly. aaf-when it is crossed. A friend! प्रकटय = make manifest, display. ते शीतलान् निनादान् = your cool notes. कवयः = birds, or poets. न खलु शब्दायन्ते= will_not indeed_make a sound. सन्निधौ दुर्जनानां the presence of bad men. = in There is danger of death or capture in the case of the swan; of malicious mockery and abuse in the case of literary writers. 48. country). ==== in that country (.e., in the Pandya : the lotus-eyed (women or maidens). चक्त्रं उत्तानयन्त्यः = · with uplifted face(s). स्रस्त आपीड प्रचलत् अलकं = having curls that are tossed about by the loosened crest-jewel having the gem(s) of the large ear-rings clearly visible. मुक्ता चूर्ण स्फुरित तिलकं = having the beauty mark on the forehead glittering with pearl powder. जातकौतूहला: = with their curiosity excited. ai fa-you, with (your) sweet note. मानयिष्यन्ति = will honour. अपाङ्गैः मालादीर्घं:= with their glances from the corners of the eyes long like garlands. The glances are long enough to reach you as you fly, and will fall on you encircling you like garlands. 49. This stanza introduces a hill-shrine in Madura District, known by the popular Tamil name of Tirumal Arum Solai, of which the God is known as Azhagar, equivalent to the Sanskrit Sundararaja. The Kallar tribes have become His special devotees, and He is therefore popularly known as

HAMSASANDESAM 47 Kalla Azhagar. The hill and its surroundings form one of Nature's beauty spots even to-day. प्रत्यासीदन् = as (you) come into close proximity with ; सद with to come near; the prefix чf introduces the idea of closeness. वृषभमचलं = the hill named Vrishabhachala. नित्य आवासं सुन्दर आख्यस्य विष्णोः = the permanent abode of Vishnu, who is (here) known by the name of Snndara. q=quickly. :: become prostrate, or bowed down (before). = = T the good fortune (i.e., the God who has manifested himself owing to the good fortune of the devotees). fa:= humbly, as an humble one. यस्य उत्सङ्गे = on the sloping side of which • विभाति = shines forth दिव्यं पाथः = the heavenly water, the water of the heavenly Ganges. तस्य बलिविजयिनः मञ्जीर वान्तं = poured forth from the anklet of that (famous) Conqueror of Bali. पशुपतिजटास्पर्शहीनं = that has not come into contact_with the matted hair (on the head) of God Pasupati (Siva). " वम्, the verbal root of वान्तं, means to vomit," as well as to send out," to pour forth." " " The allusions here are:- (1) Bali, a great king of the Asuras, had conquered the world of the God, who had thus to go into hiding. At the request of Kasyapa and Aditi, one set of premordial parents, Lord Vishnu was born to them, and this incarnation is known as the Vamana Avatar. He over- came Bali, sent him to the nether-world to rule there, and gave back the celestial kingdom to the Devas. Thus Vishnu became affa (2) King Bhagiratha, of the Solar Race, wanted to bring down the heavenly Ganga to the earth, that her waters may purify the remains of his forefathers and send their souls to heaven. After a severe penance, Ganga is allowed to come down, but God Siva catches her in the hair

48 MACNOTES ON H of his matted head to break the destructive force of her fall ;. later he lets her out on the earth, to flow as the modern Ganges; and her waters, as they came out of Siva's matted hair, were considered to be sacred even by the Gods. But in South India, especially in the Pandya kingdom, the intolerant persecutions of the Saiva Kings had long ago created a hatred between the worshippers of Siva and those of Vishnu. The author, as a staunch Vaishnava, expresses his belief that the waters of the Ganga that came direct from the anklet of Vishnu, without any contact with Siva's body, are superior in sanctity. (3) The stream that flows down near that shrine is called (the anklet-Ganga) and is even to-day held. in great veneration by the people of the surrounding country. Viney 50. This stanza describes the glory of the Pandya land. : travel on (Imperative of to move, to procoed). पश्यन्=looking at पाण्ड्यदेशान् = the country of the Pandyas.. (पाण्ड्याः, पाण्ड्यदेशाः, always used in the plural, somewhat like the Pandya Dominions). The rest of the stanza consists of epithets enlogizing the land. which has its growing crops watered (lit. sprinkled with water). чề: = by rain-clouds. कारावासस्मरणचकितैः = that tremble with fear at the memory of (their) imprisonment, = by the miraculous power of the Kshatriyas (ie., of the Pandya Kings). ईशात् अत्राणि अधिगतवतां = who had cbtained (through penance) magic weapons from God Siva. which are adorned. पुरजनपदै: = with cities and rural parts. पुण्य = =which are the abodes of sanctity (i.e., which have many shrines and other holy places in them.) स्पर्धमानः अजस्रं = which constantly challenge the city of Alaka to excel it.

HAMSASANDESAM 49 as an indeclinable, means "beyond," and when joined with nouns in the instrumental case, meaning of excelling." retons and it gives the The allusions in this stanza are:-(1) A legend in Agastya Samhita which says that the Pandya Kings had chained the rain-clouds and imprisoned them within the boundaries of their land so that it might never suffer from drought. The Pandyas were staunch, and some of them even bigoted, Saivas, and naturally they would have invoked the aid of God Siva with penances. This land, including the present districts of Madura, Ramanad and Tinnevelly, has now many Vaishnava shrines and other sacred places. (2) Alaka is the name of the capital of the kingdom of Kubera, the God of Wealth, and the regent of the North. individual of the The word : is used to denote an used to a fighting and ruling part of the Aryan tribes. came to be used to denote any prince or warrior; hence the Pandyas, though not of race, have also this appellation given to them. 69 51. ततः means The word later ruler or great the pure Aryan or either "thereafter" " therefore." Both these meanings suit here, but the constructions will be different. and after that honour ; or ततः तारापूर्ण the heavens full of stars. The दिवसिव = and therefore like the second construction is commonly preferred. ताम्रपणीं भजेथा: = honour (or worship) the (river) Tamraparni. Gagiai whose sands are engendered. pearls. pearl-oyster-shells. ====== = by multitudes of := liberated by (or, from) multitudes of ततः = = (and) therefore. like (i. e, resembling) the sky full of stars. in that river)... पानीयं = the drinking water. HAMSA-4 unotr तारापूणां दिवं इव = तत्र = there (ż. e., ते परिणमयिता -

50 50 MA NOTES ON AH will cause to you (i. e, in your body) the result of. - यत्वं =a cast-away diseased condition (i. e., freedom from disease). This phrase has another meaning implied in it, resulting from the compound word being split up in a different way; (the splendour of) being full of pearls (ie., of pearly lustre); as if to say, "If you drink the waters of this river, your body will shine with a pearly gloss." f = == farar permanently clear, never becoming turbid; this epithet qualifies पानीयं प्रत्यासत्त्या = on account of the proximity of महर्षेः ata farat: the Maharshi who drank the ocean (dry). = Pearl-oyster beds are now confined to the sea into which these rivers of southern-most India fall. The poet either used his poetic license to extend the pearl-bearing area to the river beds also, or, during his time, the beds of these rivers too bred pearl-oysters in convenient places. Sage Agastya, the first Aryan Maharshi who crossed the Vindhyas and settled in the land of cannibal tribes south of the range. He is said to have systematized the Tamil language and written many great works in it. He is revered by the Tamils, and a sacred pond in Tinnevelly District, named Agastya Tirtha, is shown as the one he used to bathe in. Therefore he is said to be in the proximity of the Tamraparni. Puranic legends say that a set of Asuras named Kalakeyas did great harm to ascetics, and would hide under the sea, whenever the Gods came to kill them. The sage Agastya was requested to help, and he drank the whole of the waters of the ocean in one gulp. The Kalakeyas had now no hiding-place and were killed by the Gods. This is referred to in the epithet पीतसिन्धु:. The waters of the Tamraparni_are ever pure

HAMSASANDESAM 51 because, as the stanza says, the ocean is afraid to encroach of the presence of the sage in the on the river, on account of the vicinity. 52. aa:=having a satisfied and pleased heart. =by tasting of her (the river's) lotus- awn: Atfaa ya face. स्वैरं = to (your) heart's content. तरल लहरी बाहुसंश्लेषणेन by the embrace of her tremulous having become cool. wave-arms. शीतीभूतः: :( understood)=(you) seated on the sand-bank (in the river-bed). g in the accusative case, is the right idiom, though it means gi just as we have two sorts of expressions in English, on a chair" and "to take a chair", in which latter, forms the direct object of the transitive verb. चन्दनाद्रेः अनिलैः afa: fanned by the breezes of the Sandal-mountain (i. e.s Malaya). भवान् सागरं लङ्घयिष्यन् = you, across the ocean. fatigue allayed. = " to sit "chair" who will have to fly may (you) have your ;The river is the lady-love of the swan. encircles him The lotuses are waves are her and cools him. as on her lap. The breezes her face, and he kisses them. The tremulous trembling arms with which she He sits on the sands in her bed, are the servants fanning him. He is thus refreshed and has his vigour renewed for the mighty attempt of flying across the ocean. = 53. कियत् इव = even within a short distance तस्याः सव्यं = of her right (i. e., towards the right of the river). having gone. द्रक्ष्यसि - You will see गतः = आरात् = near (you ). अब्धेः -the shore of the ocean. The rest of the stanza consista of epithets qualifying वेलां. श्याम ताली mountain palms and Tamula trees. à तमाळां = ( full of) dar's aff=gladdening the hearts. त्वत् प्रायाणां तरुणवयसां - of yournful people like you.

52 MAC NOTES ON H – charming (to the eye) on account of pearls presented (i. e., brought up and deposited). ff-by various kinds of waves. fugiat whose sand-banks have been doubled (in size). केतकीनां पराग: = by the pollen of Ketaki flowers (accumulating on them). It has to be noted that the author revels in describing Nature. Descriptions of carnal love are etherialized by as. cribing womanly love to lotus-ponds and pearl-bed streams. 54. gentle friend! stayed there for a moment friend! स्थित्वा तत्र -You, powerful of wing. लक्षीकुर्वन् = aiming straight at क्षणं = having who are most दशमुख पुरीं = the city of the Ten-faced (Ravana). ::=fly (across) with speed. : just as if (you were) an arrow. - - a (leaving) the shore-bow. The sea-shore is bent like a bow, and is therefore compared to th an arrow flies. The first two lines of bow from which stanza form an epithet for वेलाचापं. अधिगत गुणं = provided with a bow-string ala: in the form of different mountain streams. = 3272777: शैलशृङ्गात् जवतीर्णैः= Coming down from the hill-top on both sides (of the hill). are fat:=with the deep notes of the bow- string pleasant to the ear guinal aduer ed The shore is in the form of a fully-bent bow. The bow- string drawn to the ear, thus making an angle in the middle, is made of two sets of mountain streams coming down from a the hill-top and falling into the sea one on either side, at places which may be considered to be the tips of the bow. The streams come roaring down giving rise to a note like the deep hum of a plucked bow-string; and both are pleasant, to hear. From the top of peak, which is the centre of the bow-string the feathered one flies.

more to his taste. HAMSASANDESAM 53 The meaning of ч: given above is the orthodox version; but the reader may find the following rendering : also mean "p also mean "powerfully drawn, ог propelled, by feathers. In the case of the swan, Swan the powerful feathered-pinions take ke him swiftly alone; in the case وو of the arrow, it is drawn to the ear by the feathered end, and steadied in its flight by the feathers. Ravana, the Rakshasa king of Lanka is popularly considered to be ten-headed and twenty-armed. = Jul 55.0 सखे = friend! त्वं द्रक्ष्यसि पयोधि - you will see the ocean. विद्रुम अरण्य योगात् = by its conjunction with the coral forests (ie, on account of the forests of coral growing in it). as if (it were) forest with a forest-fire on it. : 0810 of Coral इव अनुविद्धं = = as if (it were) the sky overspread by (or variegated with) the (colour of the) twilight. f = as if (it were) an elephant marked (for auspiciousness or beauty). with red lead. An elephant is called fч: because it drinks with two organs, first with the trunk and then with the mouth. हरि स्व अम्बरेणैव जुष्टं (इव) = =as if it were Vishnu furnished with (ie., clothed in) his own (favourite) garment. Hari's favourite colour is golden yellow. fag = as if (it न एक were) a dark cloud split by a flash of lightning. मिथुनमिव = as if (it were) a couple with a single body. The sea between India and Lanka is said to be full of coral formations, the dark blue sea being coloured or streaked or coverd with coral in different ways and of different colours, some flaming rosy-red, some orange-red, some golden yellow, some dazzling white, and so on. 1 ein 56. सागरः वर्धित आत्मा = The Ocean had its body extended (ie., its extent was increased). may mean the indivi-

54 MANOTES ON AH = dual soul, the collective soul, the body, or, self. fa&toff- :-by my ancestors. = after having dug up the earth. अगणितबलैः=of immeasurable strength. सुरपति हृतं सुरंगं द्रष्टुकामैः who wished to see (ie. to find out) the steed that had been misappropriated by the ruler of the Devas (Indra). शेत् = if (he) directs. गिरीन् गुप्तपक्षान् = the mountains with their wings hidden. _ तव सत्कारार्थं = in order to honour you. अश्रान्तः = the अपि =even though you are not tired. suitable loving regard of a relative. :=do not reject or decline. The allusions in this stanza are:- ovo (1) (1) King Sagara, one of the ancestors of Sri Rama was about to perform a great horse-sacrifice, when Indra, the chief of the Gods, stole his sacrificial horse, thus preventing the performance of the yajna. The king asked his 60,000 sons, all mighty warriors, to find the horse and bring it back. They dug the earth, to find where the animal was hidden, and went on killing every under-ground being they met. They at last found the horse in the bowels of the earth, grazing near the Sage Kapila. They wished to punish him as the thief, and were reduced to cinder by the fire of his wrath. It was declared by Garuda that their souls would ascend to heaven only if the Holy Ganga washed their remains, King Sagara and some of his descendants despaired of doing this, but at last King Bhagiratha of that line performed terrible penance and brought down Ganga from heaven. She filled the whole of the vast pit dug by Sagara's sons, thus increasing the area of the Ocean; which thus became a relative of the solar race. (2) Long, long ago, mountains had wings and inflicted great damage upon the inhabited world. Indra, the lord of heaven

HAMSASANDESAM 55% was angry and clipped their wings with his thunderbolts. A very few of the winged mountains flew away from his wrath and hid in the Southern ocean, and one of them was Mainaka. Long, long after, when Hanuman leapt across the southern ocean to reach Lanka in search of Sitadevi, the Ocean-lord wished to help him to rest and asked Mainaka to rise up from his hiding place and offer him shelter. Mainaka obeyed and this so pleased Indra, that he allowed him to stay above the waters without fear. edi 57. तत्र आसीनः = Seated there. स्मेर हेमारविन्दे = on blooming (i. e., well-opened) golden lotus. lake (on that mountain).

(2. e., having drunk)

= a some taste of :=having got a := with an unlimited amount of honey (i. e., any amount of honey, even to satiation). संविनीत अध्वखेदः = having brought well under control the fatigue) of your journey (i. e., having become thoroughly well refreshed). उल्लंध्य सिन्धोः शेषं = having flown across the rest of the ocean. लघुतरगति: = with more active speed. द्रक्ष्यसि अग्रे = you will see in front (of you). ga=the Suvela (mountain). मसृणित शिला रम्य वेलं = forming a charming shore, with its rocks rounded smooth, by the blows of the waters (i. e., by the waves constantly dashing against them). = Suvela is the mountain range on which the strong mountain-fortress of Lanka was built. 58. This stanza continues the last one, being in fact a long qualifying clause attached to सुवेलं. यस्य आसन्ने = in the proximity of which. qua: in the waters of the ocean. प्रवाळा: = corals. त्वत् प्रतिच्छन्द चन्द्राः = having (among them) moon पक्षच्छेद क्षरित your reflected image (shining) like the moon. रुधिरस्तोम सन्दर्शनीया: = having clearly the appearance of accumulations of drops of blood that have flown out on account

56 NANOTES ON MAH of the severing of the wings (of the Suvela mountain) atal प्राप्तेः विषमित रुचयः = having their lustrous appearance rendered uneven (i. e., ruffled) by the coming in of the waves. (These corals). भौक्तिकः तारकाभैः := along with with pearls resembling stars. दर्शयन्ति नियतं अवनौ = present the appearance, permanently on earth. ч= (of) an unusual (evening) twilight. 2200 near the foot of the The beach just at the foot of the Suvela Mountain is of coral interspersed with pearls; it thus presents the appearance of the red sky after sunset with stars twinkling in it. As the Swan passes above, its reflected image forms the white moon in the sky. The coral is strewn so Mountain and so thickly that it looks as if it were a mass of drops of blood fallen from the wounded mountain when it was shorn of its wings, and coagulated there. The whole of this shining surface will have its lustre ruffled as the waves pass over it. 59. This stanza is similar to the previous one, in des- cribing the Suvela mountain. यत्र = where. अरण्यं = the forest. (10) dho = shows shoots that विद्रुमैः = corals मुक्तारत्न स्तबक of pearl-gems. by the force of the waves. have risen up (in the form of) शबलैः - variegated with clusters brought out of their places ч: of the abode of Varuna

(the divine regent of the ocean.) (And)

perfume. Mandara trees. : =rushing up to the crown is filled with of the head. मन्दाराणां = of planted. स्वयं मधु परिमकैः = by the sweet smells of honey. आहृत स्थापितानां = brought and अनिमिषैः = by the unwinking (Gods) themselves. रक्षो भीतैः = by them who were afraid of the Rakshasa (viz., Ravana, the terror of Gods and men.) as boold to agorb lo noitelugo

HAMSASANDESAM When the Gods descend from h 57 heaven to the earth, they may be distinguished by the fact that their eyelids do not wink and that they stand a little above the ground. = 60. तस्मिन्=in it (że, on the mountain ). लङ्का भवतः दृश्या Ha Lanka will become apparent to you (i.e., you will see). चारुसौध अवदाता = spotlessly beautiful with its lovely mansions. resting (i.e., situated) Queen Swan. farat: fed a bank of the ocean. = she q=as if (she were) on the the revered sand. whoव्यनादा = of a note melodious to the ear (who) = stays (there.) = : - with wings. पवनतरलैः पताक अपदेशैः - under the guise of banners Lapping in the wind त्वां आयान्तं अभ्युजिगमिषुरिव as if she is eager to approaching you (for welcoming you) the incomer. is fem. and is personified. there The Stanza says, So far as the city is concerned, you will find in her a close resemblance to your loving mate. The mansions in it are spotlessly white like the body of the Queen Swan. The flapping of the white banners flying on the mansions will resemble the first attempt of your mate to rise up and "You will not be an unwelcome visitor you; and the sweet sounds heard everywhere in the city will be like the sweet loving welcome notes of your श्रवदाता means also " mate." pure, virtuous," epithets which will fitly apply to the chaste wife waiting to welcome her lord. For the epithet श्राव्यनादा f. शुश्राव मधुरं गीतं त्रिस्थान स्वर भूषितं । स्त्रीणां मदसमृद्धानां दिवि चाप्सरसामिव ॥ शुश्राव काञ्चीनिनदं नूपुराणां च निस्वनं । सोपाननिनदांश्चैव भवनेषु महात्मनां ॥ bas olgule, End of Asvasa I. edi svi od od

sa МЛЕДЦИАРЛЕМАН 0% od of NOTES odt avodaON HAMSASANDESA ĀSVĀSA II alioq The first four stanzas continue the description of Lanka from the end of Asvasa I. The words,,, have to be completed by the addition of having for its predicate in stanza 60, Part I. But the stanzas are not real descriptions of the city or the fortress; they are, with the exception of a few phrases in stanzas 3 and 4, digressions loosely connected with Lanka. 2001 1. सुर युवतयः the heavenly maidens. have been brought to which place. ====== यत्र आनीताः = who :graceful in sounds (when-. 1107 gait. :(accompanied) with tinkling ever they moved). स्मरशरदृशः with eyes resembling the arrows of Cupid. (Since is the first of these arrows, the epithet means अरविन्द दृश: = the lotus eyed). आपाण्डुर अंग्यः with forms slightly pale (on account of their forced exile in a hated land). मधुर वचसः whose words are sweet. who are lovely. := will gratify you (by their attentions). (Ind.) before (your) very eyes ("personally" would be a fitter meaning ). त्वां = you. लीलाखेलं = who have an easy sportive charm. चारुनादं = who have & melodious note. गौरं the white one. who have eyes like half-moon shaped arrowheads. मुग्ध आलापं : whose speech is simple and pretty. who are fit to live in Manasa lake. = = =

HAMSASANDESAM 59- The two sets of epithets are so formed that they show & close resemblance between the heavenly maidens and the swan. The inhabitants of Lanka, among whom they are forced to live, are coarse, loud-voiced, black in colour, with fierce cruel eyes, rude and vulgar in speech, and on the whole unfit to be. thought of; and the heavenly maidens therefore welcome with pleasure a pure white bird from their abodes on the Himalayas. and beyond, a bird that is characterized by qualities similar to their own, in colour, beauty, grace, melody and soft pleasing speech; and they please him with their personal. attentions. 2307 The epithets of the swan and those of the maidens are. placed in juxtaposition to show the similitude. : is also & synonym for राजहंसः. मानसार्ह and मनोज्ञा: may be rendered in. another way as equivalent to "fit to hold a place in their " and capable of understanding inclinations and tastes"; the maidens, with their finer tastes, can appreciate. the Rajahamsa, and remember him always. minds" = 2. in whom (.e., in which city). : the ladies of the inner apartments of the Rulers of the World (i.e., of the Regent-gods of the eight quarters, viz. Indra, Agni, Yama, Nirruti, Varuna, Vayu, Kubera, Isana, respectively from the east clockwise.) := who have been left (unmolested) at a distance. 3ч= account of the fear of being destroyed. terrible curses. ::=by (their who are (by the intensity of their chastity) fit to burn. हुतवहं अपि = oven the God of Fire. त्वत् f: pure (i.e., chaste) like the (pure white) colour of your lady-love. =(yet) who expect. TAI = protection (from the lust of Ravana) for themselves. du = Â ga=only through the spiritual splendour of (Sita Devi)

• $50 MANOTES ON AH == the daughter of (king) Janaka. = suffer imprisonment. binnt ginovaed on goowled вного This of Ravana, who fought the Lokapalas and worsted most of them, brought with them, as prisoners of war, ladies from every royal household and put them in his own harem. stanza says that they had the power to destroy him by their curses, but awaited the natural course of events which would result in the death of Ravana for his having kidnapped Sita. This is the version created by the orthodox pandits, who did not wish to allow that a Rakshasa was able to win a Deva maiden for his wife. The Ramayana of Valmiki tells a truer tale. of राजर्षि पितृ दैत्यानां गन्धर्वाणां च योषितः । राक्षसानां च याः कन्यास्त्य कामवशं गताः ॥ युद्धकामेन तास्सर्वा रावणेन हृताः स्त्रियः । समदा मदनेनैव मोहिताः काश्चिदागताः ॥ न तब काचित्प्रमदा प्रसा वीर्यो • पपचेन गुणेन लब्धा । न चान्यकासापि न चान्यपूर्वा बिना वराही जनकात्मजां तां ॥ And in another place देवगन्धर्व कन्याश्च नागकन्याश्च वीर्यवान् । अवेक्षमाणो हनुमान् नैवापश्यत जानकी ॥ The idea conveyed by दूरमुक्ता does not find a place in Valmiki. = 3. who (.e., which city). is situated. बहुमणिमयं तुङ्गश्यङ्गं सुवेलं = on Suvela, having high peaks and full of an abundance of gems (or, of many kiuds of gems). रक्ष्यमाण: = protected by the Rakshasa (king). दिक्पालेषु प्रथित whose fame has been extended among the Rulers of the -waves (her) fingers collectively consisting of quarters. (i.e., gives a call with her palms). banner cloths. as if (she) were calling (i.e., challenging). q=by the abundance of her decora- tions. अमरनगरी = the city of the Gods. अग्रे मेरो: = (situated) on the top of Mount Meru. Lanka is said to rival, and perhaps excel, the city of the Gods in wealth and splendor; and there seems to be, for the

HAMSASANDESAM 61. time being, no danger of her losing her rank, as she is pro- tected by the mighty arm of Ravana, whom the Gods have. encountered to their cost. 4. यस्यां = in whom (ie., in which city). during this se=when the clouds are dis- persed. far a=suitable for your wandering about. सलिल कणिकाः = drops of water. निष्यन्दन्ते = ooze out. चन्द्र- कान्तस्थलीनां = of moon- stone floors उद्वेलयंत्यः=increasing beyond bounds. विरहजनितं बां = tears caused by separation from their lovers or husbands. of (i.e., among) == = the ladies of heaven. विलुलितधियां = whose minds are tossed about. शर्वरी गर्वहासै: = by the proud smiles of the Night. चन्द्रा- लोकैः = in the shape of moonbeams. am The brilliant autumnal moonlit nights of the tropics are the finest nights for lovers to stroll about, hand in hand; and when the ladies of heaven, imprisoned in Lanka, see such a night, they feel the pangs of separation from their lovers or husbands all the more keenly. It appears to them as if the Goddess of night is laughing at them saying, "Here I am, my Lord, the moon. You poor things! You happy with have not the ghost of a chance of seeing your lovers or husbands again." Then the poor ladies sit upon the moonstone floors and weep. But those floors have the property of sweating when the moon shines upon them. These dew drops swell the quantity of tears that fall upon beta them. implies that the swan will be flying about with his mate enjoying life. olde 5. at her (the city of Lanka). = a reduced to ashes. पावकेन = by ( the God of ) Fire. पवनतनय स्नेहिना = who.

$62 NOTES ON AH was the friend of the son of (the God of) wind. - - शोकवह्नेः भासा = which was the brilliance of the fire of grief of Maithili (Sita). = that had, by transformation, assun ed such-like form (i. e., the form of real material fire). विश्वकर्मादयः = Visvakarma and others. अन्तस्त्रासात् अवहित धियः whose minds have been rendered attentive (to their work) on account of their hidden fear (of Ravana). = = a will, of course, necessarily accomplish (the re-build- ing). प्रत्यादिष्ट प्रथमरचनं = throwing into shade the original production. The Wind and the Fire are friends, and so, Hanuman. who burnt down Lanka, has also the Fire for his friend. It was not an ordinry fire that burnt it down; it was the fire of grief of chaste Sita that assumed that material form. cf. Hanuman's words (in Valmiki's original) to Ravana, before *the burning is thought of :- सीताया स्तेजसा दग्धां रामकोपप्रपीडितां । दह्यमाना मिमां पश्य पुरी साइप्रतोलियां । This sloka in this poem fills up apparent gap in the epic, which does not say how Lanka was rebuilt before Rama arrived with his Vanara army. Visva- karma is the architect of the Gods, and was as much in fear of Ravana, as the Gods were; hence, when ordered by Ravana, he would necessarily rebuild the city, so that the new city might surpass the old. 6. in her middle (i. e., in the middle of that विचित्रं निशिचरपतेः सद्म = the city). := looking at. wonderfully beautiful palace of the Lord of the night-prow- ling (Rakshasas). by which the sky is obstructed. f:=which is waited upon by vehicles of the air. दिवि सुमनसां = of the Gods in the heavens. युग्मं नेयैः capable of carrying a couple. These are pleasure flying-boats in which heavenly couples used to have their pleasure rides, =

HAMSASANDESAM 63 but which were now placed at the disposal of Ravana. Some commentaries say that refers to Ravana and his queen Mandodari, but this construction seems to be unnecessary. कारागारं विबुध सुदृशां = which is a prsion to the fine-eyed ones (i.e., the ladies) of the Devas. (Looking at this) a चित्तवृत्तिं = you will declare the state of your feelings. शोकप्रीति- fat to be sorrow and joy blended together; sorrow, that it has become a prison to the heavenly damsels and that it has encroached upon and dominated heaven, the rightful place of the Gods; joy at the sight of the wondrous beauty of the palace. 6/17. = a com- तल = there. आपद्येथाः = (please) enter. वृक्षवार्टी : pound full of trees. in the pleasure-garden attached to the dwelling (of Ravana). aq=which has = = (in it) the wind trembling at the slight (est) anger (of Ravana). fara af which has (in it) the sun who can be mistaken इन्दु The wind is afraid to blow and the sun to for the moon. shine, so terrible is Ravana in his anger. cf. Valmiki:- सूर्यो न तपति भीतो यस्य च मारुतः । न वाति स्मायतापाङ्गे किं त्वं तस्य न तिष्ठसि ॥ पुष्पवृष्टिं च तरवो मुमुचुर्यस्य वै भयात् । शैलाश्च सुभ्रूः पानीयं जलदाश्च यथेच्छति । तस्य नैर्ऋतराजस्य राजराजस्य ...... And after Ravana's death, his wife says weeping on his dead body, निर्भयां लङ्कां प्रविष्टाः सूर्यरश्मयः । etc. नित्य उदारां ऋतुभिः अखिलैः = ever munificent with all the seasons (prevailing) at one and the same time (i. e., the climate has, throughout the year, all the conveniences of all seasons, and fruits and flowers of every Beason are found there always). दीप्तां अशोकैः = lighted (or, rendered brilliant) by (red) Asoka trees. that are the brothers of the fire of sorrow of Sita (i. e., red like the flames which would have become manifest if her =

64 NOTES ON MAH sorrow had taken visible shape ). ( And) प्रथम लुलितां आञ्जनेय प्रचारैः at first (i. e., once on a previous occasion) disarranged (2. e., torn down) by the wanderings of Anjaneya. = = вопо 8. सौम्य = gentle Sir ! वर्तयन् मण्डलानि = circling (in flight) fa in the sky. ai in her (i. e., in the garden enclosure). अन्यैः विहगैः सार्धं = along with other birds. आनन्द निघ्नः = who have become subservient to blissful joy (i. e., who are over- powered by joy). स्थाने स्थाने निहित नयनः = with your eye placed in place after place, (i. e., with your sight directed to every place in search). द्रक्ष्यसि = you will see. एकां शिशुपां a solitary Simsupa tree. सान्द्रशाखां = densely branched. जनक दुहितुः दुर्जात- a a relative in sorrow (like a friend in need) for the Daughter of Janaka. न्यस्त आकल्पां क्वचन विटपे = having (her) ornaments placed on some branch (of it).) paliwbe (on It is said in the Sundarakanda that Hanuman destroyed a greater portion of the pleasure-park, but left this Simsupa tree intact, as the foot of the tree was Sita's favourite resting place. = ide 9. at her root (i. e, at the foot of the Simsupa tree). (there is-understood) fa heavenly gem (in the shape of Sita). ff-which is something indes the cribable.bor (i. e., found) when the sacrificial ground was being cleared (by ploughing). सखे (and) O friend! =devoid of fear, or, free from flaws. on account of spiritual might, or, on account of its superior quality. यत्र व अपि स्थितं अपि = in whichever place it might exist. that time (this is rendered by at the time of the yajna; but it can be better rendered as "in those days when I was young"). somehow, with great difficulty (i. e., after a supreme effort). obtained by me, who gave (my) Sanskrit commentators as at =

HAMSASANDESAM valour as the purchase-price of the bride. f 99 65 = lighting up (i.e., imparting special brilliance to) the Solar race, or, lighting up the abode (even) of the sun, a that (gem) should be seen by you. = Orthodoxy does not like to concede that king Janaka have He is therefore said to ploughed his own land. cleared the sacred sacrificial enclosure by ploughing, perhaps to clear it of weeds. The epithets fit Sita, as well as the gem. Heavenly in her spiritual might, or, priceless as a Whereever she is, whether in Ravana's land or in Ayodhya, she is devoid of fear, for she is aware of her own which could burn outright all evil, or, the brilliance of the gem shows that it is flawless, whether it be hid under- Sita was found in a furrow ground or mounted on a out of the earth. And neither and gems too are to be gem. jewel. of these can be got by any one without valour and hardi- hood, and can be got only with the greatest difficulty. Sita has added brilliance to the fame of the Solar race of kings, and the gem is capable of giving light even in the abode of कुलं means abode " also, as in ऋषि कुलेषु = in the the sun. abodes of the Rishis. 10. सा = " ======= most She (i.e., Sita), with eyes like the Saphara fish (fish-eyed, doe-eyed fawn-eyed, lotus-eyed, are epithets in Sanskrit describing the all common beautiful of eyes). HAAT: with well-arched eyebrows. सुकेशी = having fing hair. तन्वी = slender in body. सुङ्ग स्तन भरनता bowed down (somewhat) by the weight of the high breasts. तत = ===== ts. तप्तजाम्बूनदाभा = having the lustre of gold purified in the fira. बाला = young of age. युष्मत् प्रतिम गमना having a (graceful) gait like your own. वेदिमध्या = with a waist slender' of the sacrificial altar (some altars were like the HAMSA-5

66 NOTES ON AH bulit like a pair of slightly truncated pyramids having their apexes meeting in the middle; the author, being an orthodox Brahmana who performed his savanas every day, naturally prefers this comparison). वराङ्गी = loveliest in form शृङ्गाराख्यं निधिं अधिगता one who has acquired the hidden treasure named Sringara, i.e., the graces of love. sembling the Goddess of great blessings. (Such a one is ) zte: = my eye (i.e., the apple of my eye). == ====== re- 11. सा = She. ते यावत् नयनपदवीं याति = up to the time that she comes within the range of your sight (ie, until you catch sight of her.) = (will be) either languid on account of insensibility. वा = or. सन्देशं मधुपगतये श्रावयन्ती शकुन्तान् engaged in making birds hear i.e., telling the birds around her) a message to reach me. aor. gai fai वीक्षमाणा =intent on looking in this direction (.e., towards the north.) अश्रुस्थगितनयनं with (her) eyes bedimmed with == = = tears. निमित्तै:- -on account of omens. अत्यासन्न प्रियवचनतां सूच- which show (i.e., foretell) that a dear hopeful word (i.e., message) is very, very near. 12. From the previous stanza, a large number of stanzas are devoted to the description of the sad condition of Sita in Lanka. Valmiki, in the original, spreads out over three Sargas, a number of epithets and similes des- cribing her as seen for the first time by Hanuman. The author of this little poem has taken some of them intact or with variations, and has added others from his own imagina. tion. वा = or. विमोहात् confusion of the mind. account of bewilderment, or = on आलपन्ती = prating, or, talking = meaninglessly. आकल्पान् सविधनिहितान् to the ornaments placed in (her) proximity (asking them):

NOTES ON 67 स्मर्यते वा न वा इति = whether the touch of the body of the Lord of the Solar race is remembered (by them) or not. With her, the bliss engendered by a simple contact with her lord's frame was one which could never be forgotten; and she prates to the ornaments, about her lost bliss..=meditating upon. एक शय्याविहारान् = diversious (that the married couple had) in one common bed. a: of her (i. e., of such a one whose life was all happiness). a leading a life of that kind (ie., leading the miserable life that she does now.) faat is surely born of (i, e., ordained by) Fate. It means that her misery is not due to any fault of hers, but to unavoidable Fate. = = I think, I believe. = = the =as 13. मन्ये daughter of him of Mithila (of Janaka). ¿ai fa è= being dispirited in the house of the night-prowler (Ravaua). Here begin the similes. (a="like", should be understood with each) शुद्धां इन्दोः कौमुदीं विस्फुरन्तीं = the pure (i. e., Undimmed by any obstacle and clear) light of the moon shining in the house of a Svapacha (the lowest of the outcastes, living in the woods and living on dog's meat). चा = or. पारिजातस्य शाखां = (like) a branch of the Parijata a wood of (a divine tree) आनीतां विपतरुवने = brought into poison-trees. =(like) a delightfully beautiful speech. := uttered, or spoken, by a good poet (or a writer of poetic prose). in the vicinity of a wicked person. = 14. कमलिनीं = (like) an assemblage of lotuses. वर्ष आकीर्णां = scattered by a downpour of rain. - like an utter- ance. = =(spoiled by) having self-contradictions. बिसलतां इव = like a lotus-stalk. पङ्क आश्लिष्टां = embraced by (i. e., covered with) mud. like a she-elephant. q =

68 NOTES ON J = that has been separated from her husband (i. e., mate). कलां इव = =like a digit of the moon. a hidden by clouds आशां इव = like hope. विन्नरुद्धां = encompassed by obstacles. शशवधूं इव = like a she-hare. व्याघ्र उपेतां = approached by a tiger. (शश: also means a kind of small deer). ज्यां इव भूतले आस्तां = like a bow-string lying on the ground. = Many editions read, instead of the last simile, alaga i like a loved one (a woman) who is devoid of shame. This reading was perhaps considered to have sinned against good taste and a substituted. Though this reading does not offend the sense of propriety, I should think it falls flat on the and has none of the vigour of the previous similes. ear, 15. Poets of the old school have always loved to depict woman as delicate and fragile to the highest degree, and have indulged in extravagant similes and descriptions to this effect. This stanza is a good example of such an idea. remembering मत् परिष्वङ्ग रक्षां = = = 2200 स्मृत्वा ====== the protection afforded by my embrace. पूर्व = formerly. स्मर शरभये = when the fear of the arrows of Cupid (came upon her) (who) embraces. her own mother (i. i., the Earth). अङ्गकै:= with limbs, अलस वलितैः = that are languid of movement, श्रमं अधिगतैः = that get fatigued. आकल्पे अपि = even by the wearing of ornaments. खिन्नैः = that are exhausted अङ्गरागे अपि = even . by (the effort needed for) anointing (her) body with unguents. अक्षाम्यद्भिः = that cannot bear मुहु: स्मृति अपि = even the frequent recollection (of the pain of separation, or, of the happiness she had once). सौकुमार्य अतिरेकात् = on account of her extremely delicate (constitution). Formerly, when overpowered by love, she found rest in the arms of her husband. Now that he is not there, she,

HAMSASANDESAM 69 wishes to embrace somebody who will soothe her; and being a ч her natural instinct turns her towards her mother, the Goddess of the Earth. The idea is that she falls prone on the ground to ease her heart of the pain of separation. Some commentators have it that she swoons. 16. (who) न्यस्य = having placed. करसरसिजे = in the lotus of her hand. अङ्गुलीयं मदीयं = my (signet ) ring. भूयो भूयः रोमा fat experiences a (pleasurable sensation = of) horripilation in her body, over and over again. fa=who enjoys bliss. मौळौ निधाय = having placed (it) on (her) head. चूडामणिविरहिते = (now) devoid of the precious stone (she was wearing) in the hair.=who places (it) with reverential love. on (her) breasts resembling (golden) water pots. :that have got illness (i. e., that are hot with fever) on account of the fire within. qf=by turns. =( Sita, while in Lanka, cherished the possession of a few The jewels that she valued most for their associations. was held specially sacred Chudamani was one of them, and as having been given by her father to adorn her in her bridal dress. That jewel she gave away to Hanuman to be handed over to Rama, in return for the signet-ring which he had sent to her. Thus it was that her सौळि: was चूड़ामणिविरहितः, and in the absence of that jewel, she placed the equally-valued signet- ring on her head and enjoyed the bliss of its contact. 10 17. क्षालयन्ती = who washes away, later, after- wards. ::=by (a) copious (flow tears. सन्ताप उष्णैः = hot with anguish. आपतद्भिः = falling with a rush. सम- Fara = on == all sides. := of (her) breasts resembling

10 70 (golden) water-pots. MANOTES ON H :- in the shape of a continuous stream. (The first two lines of the stanza give us the object of the verb "washes away"). f #oile = that divine स्थिरं - a permanent one. अनुगुणं = suited (to her) प्राकू = (which) formerly. अनसूया अंबातुल्या (the Lady) Anasuya, equivalent to (her) mother. unguent. सुचरित फलं = the fruit of virtue == faa covered, i. e.. smeared. On the eve अस्या: अंगेषु = over her limbs. On the eve of entering the terrible forest of Dandaka. Rama, Sita and Lakshmana visit the Asrama of the great sage Atri and his wife, the Lady Anasuya, both very old people. In the course of the conversation, a reference is made to wifely love and devotion. Sita's reply was so full of reverential, yet passionate, love towards her husband, that the old lady is immensely pleased with her; and, as a reward, presents her with her own rare ornaments and divine unguents. This is the allusion in this verse. Wol 18. आविभ्राणां = who is wearing. केशहस्तं = a head of hair. प्राकू विषम यमितं = which was formerly unevenly plaited (or bound up). मया = by me. अग्राह्यत्वात् = on account of its being incapable of being held (by the hand because of its profusion), तनु परिमल श्रद्धा इव अवकीर्ण = (but) which has (now ) become loosened (or, scattered), as if with an earnest desire to enjoy the perfume of the body. like (i. e., as if she resembled) a flower-stalk of the tree of the Gods (the Parijata) ayu: fayi - which was thrown down (from heaven) by the Apsaras (the heavenly dancers). = : = =on to the earth (of mortals). अर्चाहेतोः रतिपतेः = for the worship of the husband of Rati by ( e., Cupid). = = and which is followed behind large black bees. (The dark tresses are compa-

HAMSASANDESAM 71 red to the swarm of bees; and Sita's body to the flower stalk of Parijata, as both have a most delicate fragrance. 19. चारु वासः । वसानां = =who is wearing a lovely garment. (वाससू is neuter.) बालादित्य द्युति सहचरं = which is the companion of (i. e., which has the lustre and tint of) the rising sun. (lit: the young Sun.) aq foursq fag=having the forms of your beloved. := on all sides; (i. e., having the figures of royal swans worked in gold thread all round, in the borders and edges). अस्य आकारैः सदृशं = having a resemblance in form to that. उत्तरीयं = upper garment. यत् आनीतं = which was brought• त्वरित with speed. = from the mountain. ga:=by the Vanaras. (And on account of wearing that garment) चन्द्रलेखां इव अन्यां = appearing like another crescent moon. blended with the tints of the twilight. A When Sita was being abducted and carried along the sky- road by Ravana, she detached a few of her ornaments and one of her upper garments and let them fall among some Vanaras on a peak, who looked up with wonder and curiosity at the sight of a beautiful woman being carried away by Ravana, When, later, Rama came to that place in the course of his search for his lost wife, he made friends with these Vanaras, and they brought him and showed him the jewels and garment. This garment is referred to in this Sloka. 20. = faqoof= who is exceedingly sad. at having seen (i. e, at the sight of)()=the left (anklet). शाखा शिखर निहितं = placed on the end of & branch. मत् करेण 3=fit to be put on by my (own) hand. 'चरणकमले =on (her) lotus-foot which has climbed upon (my) lap. (ie., which I have lifted up and placed on my lap).

72 MA NOTES ON H अस्य दक्षिणस्य मञ्जीरस्य तुल्यं = which is like this one, the right- जग्मुषः =which came down. anklet. == from her lotus-foot. = to the ground. Pt. वक्तुं मार्ग किल = verily to tell 9 me the way (i. e., as if to show me that I was on the right track_in_my search). त्वत् उपम रुतेः = and which has a (melodious) sound like that of I your own. Looking at the anklet on the branch and recollecting that her husband was in the habit of lifting her tender feet on to his lap and lovingly fastening the anklets, Sita grew sad at the thought that those days had perhaps gone for ever. 21. नन्दनस्य लक्ष्मी इव = resembling the lovely splendour of Nandana (the pleasure-garden of Indra, the leader of the Gods). बन्दी भूतां =imprisoned. the night-prowler (Ravana). निशिचर गृहे = in the house of :ua faucy_aà:=with (her) limbs resembling drooping tender sprouts. 3 = ge: divested of ornament-flowers (i. e., ornaments which are to her what flowers are to the pleasure-garden) गाढ आलिष्टां = closely embraced. लताभिः = by creepers. विम्बिताभिः = which are reflected: वपुषि विमले = in (her) spotlessly bright body. किञ्चित् rendered slightly defective, or, inferior (i. e, slightly less lustrous ). परुष छायया = by the cruel shadow सन्ताप उष्ण श्वसनस्य = of the hot breath of anguish. = Nandana (the delight-giving) is supposed to be the highest ideal of a pleasure-garden. Situated in the heavenly heights, it can never experience the breath of a hot wind. But if its trees and plants be brought down and planted in Lanka on the equator, they must necessarily droop and fade. Such was Sita, ever nurtured with delicate loving attention by her relatives and living amidst bright lovely faces, but now

HAMSASANDESAM 73 and surrounded by imprisoned in the house of a cannibal-king and monstrosities with repulsive faces. 22. अभ्यसन्ती = who is practising. मान्मथेन आगमेन = by the methods prescribed in the authoritative treatises on (Yoga based on) love. निर्विकल्पं समाधिं = the non-differentiating Samadhi. gama sa fi=having (her) thoughts firmly fixed on my single self. बहिः चेतो वृत्तिं शमयति = after the play of feeling in external matters has been tranquillized and rendered completely inactive. = in the universally supreme control (of the senses ) स्वान्तेन अन्तर्विलय मृदुना = with a mind which has become softened by absorption into the Internal Self. प्रकर्षात् = by the absolute power. अनितर जुषः of the imagination which has attached itself to (or, delights in) no other thing (i. e., in nothing else but myself). भावनायाः = the author has This stanza is specially difficult as introduced in it ideas of the abstruse Yoga Sastra. Sita, who has her thoughts constantly fixed on her husband, without caring even to cast a look at the wealth and power that would have dazzled any other mortal, is said, in this stanza, to be practising Yoga, the ultimate effect of which is to make the meditator merge into the object of his or her meditation; since, at this final stage, there will be no difference between these two, the effect is called fa: The methods of Yoga are given differently in different treatises; but as Sita is meditating on her husband, the object of her conjugal love, she is said to have chosen the path prescribed in treatises dealing with that aspect of Yoga (and not in mere Kama Sastras, as some would have it). When Manmatha, the churner or agitator of the mind, works on a love-sick woman's heart, the best way to rise above his power and achieve the

74 MA NOTES ON AH object of her desire is by converting the unsettled fancies he creates into of the variety, and tranquillize चेतोवृत्ति. By such intensely concentrated meditation, the hard shell of individuality or Ahamkara, with which we surround ourselves, isolating ourselves from the Universal Spirit, this hard shell is softened and finally dissolves, leaving no im- pediment for the merging. 23. शून्या दृष्टि: = a vacant look. = excessive sighing. मीलितं वक्त्रपद्मं - =a closed face-lotus (i. e., the lotus- like blooming face, closed up, as the sun of her life is not shining) धारा आकारं नयन सलिलं = tears in the form of a stream. सानुबन्धः विलापः = continuous lamentation. इत्थं दैन्यं किमपि = to such an indescribable dejection (or, misery). Hi=she, = सक्ता who is attached to me. == who has a frame extremely slender. नीता = has been led. विधिना दुर्निवारेण = by unpreventable Fate. नूनं = indeed. अन्तः तप्यते = (my) heart burns. Juo24. a = pitiable kind. not be able to bear. =having seen (i. e, when you see). तस्याः करुणां = that condition of hers, of that त्वं अपि = even you. न सोढुं शक्ष्यसि = will शोकवेगं = the intensity of grief अन्तः स्वयं उपनतं = that will have swelled up within of its own accord.:= those who are not born. like the ten-faced (Ravana). व अपि क्रव्यादानां जातौ = in some nndesirably low carnivorous race. (: means 66 an eater of raw flesh, and is a name given to cannibalic Rakshasas also. The word is sometimes applied to carrion-eaters like vultures. Rakshasas are therefore incapable of the softer human feelings of pity and sympathy.) निर्मलत्व उपपन्ना:: = those who are endowed with stainlessness. how could (they) H

HAMSASANDESAM 75 not have recourse to compassion (The Royal Swan is not of the carnivorous race, but is of a stainless noble creed; hence, it will be impossible for him not to weep at the sight of the. misery of Sita.) 25. त्वं = you, शर्वरीं यापयेथाः = spend the night. श्रमं अपन-- यन् =in getting rid of (your) fatigue. by lying down and resting. निकामं = to your heart's content. नेदीयस्यां दीर्घि-- u in the long fresh water pond very near there. = रसः = having bad a drink of the water (in it), or, having enjoyed the delights (of it). =(then) seeing (i.e, awaiting, or finding out). fı vai sfað a=time fit for the sleep of the night prowler's women - Rakshasis). hear (ie, telling her) = = = folk (i.e.,. = early at dawn, making (her) my words (i.e.,) my message. = sweet with love in the following way. प्रणय मधुरां = Night - prowling animals usually go to sleep with the earliest. scent of the dawn, and so would the Rakshasis acting as the. jailers of Sita. The Swan is asked to take that opportunity of delivering the message. The position of the word may also be located thus: - श्रममपनयन् मदुक्तिं श्रावयिष्यन् इत्थं शर्वरीं यापयेथाः । 26. 0 Royal Swan. :-having- slept. स्वैरं = as much as you please. पुलिन शयने = in the sand- bank bed. a=which has a good space, i. e., a conveni- ently_large space. सेवितः = being served by. गन्धवाहैः = fra-. grance - bearing breezes. :=(and) by moonbeams. अध्वश्रम विनयनैः = and which : which are cool. - remove the fatigue of (your) journey. (you) who are looking forward (the performance of) a duty to be done (i.e., you who have gone there with a definite purpose and a wish to accomplish).may (you) undergo an awaken--

176 MA NOTES ON H = ing (i.e., may you be awakened). by the playful * songs. षट्पदानां = of the bees. कमल मुकुळे लीयतां = that are closed lotuses. Bees that usually hidden in the closed lotuses. that sit on lotuses to drink honey are said to be enclosed in the flowers when they close their petals at sunset, and to be released with the opening of the petals at early dawn. The Raja Hamsa being a king, sleeps in a softly lighted roomy bedchamber and is served by attendants fanning him so that cool, fragrant breezes may play upon him in his sleep; and he is awakened at dawn by the sound of soft music. लीयतां and पीयतां are said to be two other readings for at, which is the most common reading, and the most appropriate, as showing habitual occurrence. = 27. at es: fai=having ascended (i. e., flown up and seated yourself upon). that Simsupa tree (which has already been particularly mentioned). = with its lightly moving tender leaves (ie., whose shoots are being ruffled by the light dawn - breeze). :and making yourself seen only by one (i.e., rendering yourself visible only to Sita) सन्दीकुर्वन् = and subduing सनसिज धनुर्घोष तीव्रं प्रणादं the deep note resembling the sound of the bow of Cupid. आदौ वर्णयन् = (and) first describing रम्यां वंशकीर्ति = the delight giving fame of the dynasties. := of Raghu and Janaka. बोधय = awaken मे प्रेयसी = my beloved. • मोहात् ईषत् सुषित मनसं = whse mind has been to some extent stolen by stupefaction (due to affliction). . = This action is but a copy of what Hanuman actually did to attract the attention of Sita without alarming her. He began describing, in a sweet voice, the story of Rama and the story of her own abduction. Here, the swan is asked to describe the fame of the dynasties of her husband and her

HAMSASANDESAM 77 father. Next to Ikshvaku, the founder of the Solar Race of kings, Raghu was the greatest and his fame has given his successors the epithet of Raghavas. King Janaka was the. father of Sita. = - := 28. Here begins the Sandesu proper. f Lady! far Hi (please) know me as the beloved friend (or, counsellor), eg:= of (your) husband. taiga:=who is long- lived. := (as one) containing within (i. e., bearing) तस्य सन्देश = his message. अनघ = which is sinless. ते जीवातुं - (and) which is (like) a medicine restoring you to life. (I am) he who. ::=by (my) own ringing notes. येत् = will indicate. शूर पत्ती वराणां = to the husbands of heroic- to valourous people. शरदुपगमे when the wives. शूराण autumnal season begins, सम्मान अर्ह उचितं समयं = the fit occasion deserving to be honoured (by them). = = During the heavy summer rains, warrior kings have rest enforced upon them by the inclement season; but when the. rains stop and begins, preparations for war or invasion, will start in full swing. Cf. Valmiki describing the rainy seasop as one in which स्थिताहि यात्रा वसुधाधिपानां प्रवासिनो यान्ति नरास्स्वदेशान्, and when शरत् began, Rama says अन्योन्य बाद्धवैराणां जिगीघूनां नृपात्मज । उद्योगसमयस्सौम्य पार्थिवानामुपस्थितः ॥ Since the swans begin to fly about and sound their notes at the close of the rains, their sound will be like a trumpet call for heroes to. arm; and the heroes will honour the advent of that season. Many of the expressions of this stanza are peculiarly happy. The Sandesa is first denoted as life-giving and then and these epithets are used to as being free from evil, re-assure her even at the outsst. Her husband too is a and she herself is a fat; hence the implication that she

78 M NOTES ON MAH should never be broken by sorrow, and that her heroic hus- band was even then making ready for the invasion of Lanka to rescue her. 29. अथ = then, सा भीरुः = she, the timid one. सन्दं उन्नम्य = slowly lifting up. वदन कमलं = (her) lotus-like face म्लानं शोकात्= faded and drooping on account of sorrow. = = will honour you who are endowed with a knowledge of something relating to myself (i. e., who know me first- haud). अन्त: तोषात् = =on account of internal joy (caused by your introductory words). with looks from the corners of the eyes. अमृत लहरी लब्ध सब्रह्मचर्यै: - which have obtained the power of having the same effect as ambrosial waves (lit: which have obtained a fellow-student-ship with ambrosial waves, i. e., learnt the same lessons of reviving and life-giving). उपसि मिषतां अन्तरङ्गैः = which are the intimate friends of lotuses that open at dawn. the Sita is considered to be an incarnation of supreme goddess of mundane joy and heavenly bliss; and so, a glance of favour from her eyes is life-giving, tranquillizing and infusing joy. === == 30. 4:= She, the wife of Raghupati (i.e., Rama, for he is now the living king of the Raghu dynasty). чa = who sees you (i.e., when she sees that you are) entirely spotless (i. e., spotlessly white in body and stainlessly pure at heart). aff:=having got (back her) brightness, or colour, account of being consoled. like the moon's crescent at the beginning of the bright fortnight. तदनु भविली = will after- wards (i.e., when she has come to know of your adveut as a real friend) become. सावधाना = attentive. मत् सन्देशे सुमुखी = (and) pleased and eager for (i.e., eager to hear) my message. =

न the beloved. women? HAMSASANDESAM 79 : fq=will not hear even news of (or, from) =create joy in (the hearts of) In this stanza there is a shade of a reference to the attitude As of Sita when she talked to Hanuman for the first time. he gradually came near, she began to suspect that it was Ravana in another guise, and it was with great difficulty that Hanuman could convince her of his identity; and when once she was sure of his being a real friend, she opened her heart to him. So will it be here, says the stanza. 31. पश्चात् एवं कथय = 934 to her, viz.,) fortune. = after words, say thus (i.e., say this = the sinless king of the Kosalas (Rama). भवती भागधेयेन जीवन् = alive on account of your good कल्याणी त्वां कुशलं अनुयुङ्क्ते = asks you, the auspicious one (or, the blessed one), about (your) welfare. AzA: MMA- नन्ति = learned good men say (that). येषु ( लक्षणेषु ) श्रेयः भवति in whichever (distinctive marks) will auspicious results inevitably result. तानि सर्वाणि = all of them. लक्षणानि (भवन्ति) : (are) the auspicious marks. of the Goddess = Lakshmi.and of you on earth. === As the Goddess Lakshmi is the goddess of every kind of blessing, and as Sita is but her own Self incarnated on earth, no real evil could happen to her or to any one connected with her. The swan thus reminds her of her godhead, to make her feel that there is no need for grief in her case any way. 32. of whom. भूषण आलेपन आदिः = ornaments. unguents etc. यस्मिन् व्यवधिः अभवत् in whom (they) became P concealed. (: refers to Sita, and refers to Rama.).

80 MANOTES ON H नीतां = her who is led away. एवं नियति विभवात् = by the might of this kind of (evil) Fate, aч: = a far, far नयोः वर्त्मनि स्थापयित्वा = away नय island, as if (she were) very proximate having placed (her) in the path of the eyes (i.e., having conjured up her image in the mind's eye). :he, the auspicious one. O lady! वदति = tells you thus, (his): friend. = त्वां एकं g through the mouth of When Sita was with her husband, she was, as it were a part of himself and her ornaments etc., were hidden from view in his embrace; such a one was, by ill-luck, shifted, away to a remote island. Yet Rama ever has her image in his mind's eye, and when he sends a messsge through a friend, it is as if he were himself talking to her, almost touching her. सखि is masculine, the nominative case forms being सखा, सखायौ, सखायः; and the feminine form is सखो When सखि becomes the final component of a compound word, it is changed into, as in 33. - सुतनु - age: a O thou of fine form! = to us. ala प्रणय विवश भावं आसेदुषः = who were in possession of a state of mind which had gone out of our control and was governed by love beyond measure. पूर्व = in those old days. शर्वरी क्षण- मिव गता = the night passed away like y like a mo a moment. आलिङ्गन आद्यै: = by embraces etc. भोगारम्भे = at the commencement of

(our) enjoyment. (but) now. g this (very same)

fa-which is unbroken (i. e., in which there is an unbroken continuity of). शतशः कल्पना सङ्गमैः तैः by hundreds of imaginary unions of that kind. fîà: I night. sifa = ===

HAMSASANDESAM 81 prolonged by sorrowful thoughts (or, sorrowful remem- brances.) न अपयाति = does not pass away. 34 "The cold wind, on whom, in those days, I never cared to waste a thought, has now gained the upper hand over me," says Rara. अहं = I. सह सरसिजैः = along with lotuses. त्वत् मुखअम्भोज मित्रैः = who are the friends of your lotus-face. -have obtained a dejected spirit (ie., have been depressed). by the wind, the fragrance-bearer. fa=who was (once) defeated. : ऊष्मभि:= by the powerful heat (waves). ते कुचकलशयोः of your pot-like pair of breasts. Ja=(hot) who has at - once risen high (2.e., become powerful). f = = - having got possession of a vulnerable point (in me) during the period of (my) separation (from you). : grua farti (and) who belongs to that cardinal point which has been rendered fragrant by the sweet-smells of the Kunda flower (a sort of delicate white jasmine flower) This chill wind makes two things droop, viz., Rama's own self and the lotus flowers which resemble the face of Sita. This indirectly says that he can easily believe that Sita's face too is faded on account of the sorrow of separa- tion. = 35. रामः = Rama. वासात् = in fear. अनमित धनुः = with his bow unbent. =with head well bent (in token of respect). अवोचत् वसन्तं = said to the Spring-deity. आवृण्वन्तं fan who was filling (the world) to the very ends of the cardinal points. कुसुम धनुषः चित्रपुङ्खै: - with the variegated arrows of Cupid, the God of the flower-bow. :=which unfailingly reach their mark (and are never shot in vain). :which are smeared with mead (a sweet liquor made from_honey ). विरहिवनिता आस्वाद लुब्धैः = (and) which HAMSA-6

82 MA NOTES ON H are greedy to taste (the life-blood of) women who are suffering from separation from those they love. (To such a Spring-god, Rama said) a not exist by the side of Sita." न भवतु भवान् = " Please, do The sight of spring maddens lovers, and intensifies the grief of these that are separated from their lovers. So Rama is said to beg the Spring-god humbly that he may not mani- fest his presence at the place where Sita is. = 36. I was prevented (i.e., the place of danger). Ja: =by drawn away from Lakshmana, who AMAHGAŤ - = was afraid (that harm might befall me). as I stood in the path of the Malaya-breezes. पार्श्वे लोलैः परभृत : g-full of the uproar (or, confusedly blended notes) liberated by (i.e., issuing from the throats of) cuckoos quivering on either side. ( पर भृतः literally means "reared by strangers," and is specially suitable to the Indian Cuckoo that lays its eggs in the nest of other birds to be hatched by thom). भ्रसर पटली श्रृङ्खला सङ्कुलानां = (and) swarming with chains made up of multitudes of big black bees. मल्ली रेणु स्थगित वपुषां whose bodies are covered with the pollen of jasmine flowers. Hand who have come out (of the flowers) slowly (as they are loaded with honey and pollen). H This stanza expresses, in a fanciful way, the idea of Sanskrit poets that soft cool perfumed breezes, sweet- smelling flowers, the notes of song-birds, chiefly of the cuckoo, and all the concomitants of Spring, merely inflame the passion of a lover, and, if he happens to be separated from the object of his love, make the agony of separation unbearable. Rama, his thoughts fully engrossed with Sita, unconsciously stepped into the path of such a breeze; and

9 HAMSASANDESAM 83 Lakshmana quickly dragged him back before harm befell him. 37. सुतनु ======== O thou of fine form ! सविधे near (me). T (a) when the red Asoka stands flaming (like fire). the == - Karanja trees. : that indicate. - the circumstance (s) of your marriage (i,e., a = particular part of the ceremony). go:=by multitudes of flowers (showered down). A: = delightful (or, rice.) : =namely, agreeable like the rain of puffed grain (viz, वर्तयन्ति स्म खेदं = create a sorrow in my mind. that. सन्दः (अहं) = I am dull and inactive. किं इव जनकं वक्ष्ये = what shall I say to Janaka (your father)? :

( जनकः) मां ( वक्ष्यति) = what will the Lord of the Yogis (Janaka)

(say) to me? One of the rites of the marriage ceremony is the Homa with puffed rice in the sacred fire. The red Asoka stands near like a flame, and on it falls a shower of Karnaja fiowers, resembling puffed rice. This reminds Rama of the time when he married Sita, Janaka giving her away. Then the thought comes, "Why am I dull and inactive here ? What shall say if Janaka asks me where his daughter is? He is such a great Yogin that I fear to hear what he might In this way, the sight of the trees and flowers say to me." intensifies his sorrow. 38. = मयूरः the peacock. ताण्डव आरम्भं इच्छन् = who wishes to begin his lively dance. धीर उदार स्तनित जलदात् - on account of (the advent of) a rain-cloud which gives forth a deep and continuous roll of thunder. चपला हेमकोण अभिघातात् = on ac- count of its being beaten (like a drum) by a golden drum- stick in the form of a flash of lightning, दयिता आश्लेषधन्यः =

84 NOTES ON (and) who is blessed with (the enjoyment of) the embraces of his beloved. er = without molestation from a Rakshasa. : - on the peak of the hill. वात उन्मुक्तैः कुटज f (a) :rendered fragrant by the mountain-jasmine flowers scattered (on it) by the wind. = (my) mind never leaves (him) ie., I am always thinking of him (with a tinge of envy at his unalloyed bliss ताण्डवः or ताण्डवं (both masc. and neut.) is an almost frantic dance, specially applied to the dance of victory or the death-dance of Rudra. 39. प्राय: = often, जातं किमपि रुदितं = there was born some sort of indescribable wail. व्योम्नि = in the heavens. कादम्बिनीनां among rows of clouds, i.e., among the masses of clouds, तन्वानानां ते मातरं सवाष्पां = which were making your mother (the Earth) tearful. with (their) tears. (The epithets in the first line qualify मातरं). शैलव्यक्त प्रति विलपितां whose lamentation produced echoes that were distinctly heard smong the rocky hills. (and) who = = was pervaded by excessive distress (or, distressed by ex- cessive heat). ч=(and) which were looking at (this opithet qualifies कान्दम्बिनीनां). मां = me. प्रबल मदन उन्माद पर्याकुलं =who has been completely overcome by the madness of excessive love. The early rains wet the parched soil and the thunder that accompanies them creates echoes among the hills. The rains being over, the earth is quite wet, and the clouds linger in the sky with an occasional rumble of distant thunder. These natural phenomena have been worked into an Mother Earth laments the imprisonment and persecution of her daughter, Sita by Ravana; the clouds

HAMSASANDESAM 85 weep in sympathy at the sight of her and of Rama, who has almost lost his senses; and their wail is heard filling the heavens. O thou of fine form! a 40. सुतनु = enjoy you (i.e., I enjoy the happiness that I had when you were with me). पश्यन् = in seeing. दूरीभूतां विधिना = made to stay for away (from me) by Fate. (The first three lines show how Rama enjoys the company of Sita in imagination). = corporeal contact in the Malaya breeze (i.e., when the breeze fans me, I feel your cool touch). == meeting of the glances in the moon (i.e., both of us look up at the full moon, and our glances meet there). gafa-identity of abode in the world (i.e., the same consolation) living world holds us both, and that is my yià a afaqúgat=the lucky conjunction of (sleeping on) an identical bed (the form of) the ground (i.e., both of us on the bare ground, as if on one bed).a fat the extensive nature of a splendid canopy. ताराचिले वियति in the sky wonderfully adorned with stars (i.e., the same us). splendidly star-spangled sky forms a canopy for both of вер 41. शरत् = Autumn. Ha=which has all the cardi- nal points clear, (i.e., during which the clearness of the at- in all direc- mosphere makes every thing distinctly visible tions). Alg Aggч=which excites (ie., rouses the spirit) well. सन्नाहं नः समयनियतं = the warlike preparation fixed at the proper season. :=by (the appearance of) lotus-buds newly blown (or, newly awakened). : : that have attained friendship with your pair of eyes (i.e., that resemble your eyes very much). =(and) which now shows the road fit for

86 NOTES ON H (the march of) an army. (Such an autumn)azij faaîg: = with a wish to lead (me) to your proximity. à caufa = indeed, hurries me, Sita. It is only after the cessation of the rains that lotus-buds begin to bloom; autumn is the season of activity, being the season of plenty and of ideal weather conditions. The skies are clear and the atmosphere free from haze; and all beings are stimulated ito activity. = 42. गुणवति = O thou virtuous one ! दूरेकृत्वा = having placed a great distance. त्वां = You. उचित शयनां बाहुमध्ये मदीयें who are fit to be lying (on my chest) between my arms. तां एव = even her. या मां एका वनं अनुगता राजधानी leaving the capital, followed me to the forest, unattended by anybody). तात आदेशात् सपदि भरते विहाय = who alone (i.e., न्यस्तराज्याभि- (me) who left off being anointed as the ruler (heir- apparent) at once to Bharata in obedience to the order of (my) father. (This thought that such a loving partner is so far removed from me now) : quà âîñàà à=again and again bring sorrow into my life. = = 1 43. समुखि = 0 thou sweet-faced one! सेतुं बध्वा विपुलं - having built a broad bridge. Train (i. e., across) the ocean. अचलैः सायकैः वा = Either with mountains or with arrows, कृत्वा लङ्कां स्रजं इव = having made Lanka like a chaplet of flowers (i. e., a wreath wound into a ball for throwing about). ai in the hand (s) of the Vanaras at play. अल्पीयोभिः दिवसै: = within a very few days. लक्ष्मणः= Lakshmana. योधयन् यातुधानान् = warring with the Rakshasas शीधुं रचयिता कर्णे तव will be the maker of honey in your ear(s), (i. e., will delight your soul with the music of).:: with the deep sounds of (his) bow. = =

HAMSASAN DESAM 87 It is here that the message of hope begins. Rama says, "Lakshmana's bow will make music in your ears, for it is considered to be bad taste to boast of one's own prowess. 44. वैरबन्धे विमुक्ते = when the bond of enmity is loosened. रक्षो मौळिस्तबक लवनात् = by the severing of the cluster of heads of the Lakshasa, (i.e., of Ravana). = and baving gone (back) to (our) land. ч=with the help of the (aerial car) Pushpaka. गगन पदवी स्वैरिणा = which can roam at will in the sky. = with the undertaking of both of us accomplished.=by (my) corona- tion as sovereign ruler by worshipful people (like Vasishtha and others). सपदि प्राप्स्यावः = we shall both soon obtain. देवि = Lady ! भोगान् =pleasures. चिरविरहतः सञ्चितान् = accumulated by (our) long separation. Except the orlginal Valmiki Ramayana, all the later poems and dramas have assumed that Ravana has ten heads in a row or in a bunch, and this poem is no exception. Pushpaka is the name of the magic aerial car of Kubera, the regent of the north; Ravana had defeated him in battle and brought away After Ravana's death, Rama and Sita return to their city in it, along with their friends. the car to Lanka. Note that the dual number is implied throughout, and expressed in सिद्वारम्भौ. This is due to the religious conception that every सङ्कल्प of Hari is equally the सङ्कल्प of Lakshmi, and that Rama and Sita are the incarnations of that inse- parable Divine दम्पती. The slaying of Ravana, the return journey in the Pushpaka, the coronation, all are pre-ordained or are at least subject to the fore-knowledge of the All-knower.

88 MA. NOTES ON AN 45. introduces the subordinate clause, and has its complement in a. The meaning may be expressed in this form: "How you did so and so, that too you may recollect. " भवती गद्दा बाष्पवर्षैः मां गाढाचेपैः अपिहितवती = how you, falter- ing with showers of tears, hid me in (your) close embraces. शस्त्राघातं स्तनकलशयोः ऊष्मणा रोपयद्भिः = that had the power of healing (my) weapon-wounds by the warmth of (your bosom in which there were) your pair of breasts resembling water- pots. =(me) who had returned from the battle of Janasthana. दशमुखसमान् पारयित्वा खरादीन् = after having finished (i.e., slain), Khara and others who were equal (in valour) to the ten-headed one (i.e., Ravana). 1 = faga that too you may bring to your mind, ie., you may remember. Compare the plainer statement in the original Ramayana which describes the situation more naturally-a महर्षीणां सुखावहं । बभूव हृष्टा वैदेही भर्तारं परिषस्वजे ॥ In the original' Ravana is depicted as immeasurably superior to Khara and others; in fact, his death after a continuous seven-day duel seemed a marvel even to his victor, while Khara and his forces were disposed of in a few hours. But the tendency among later writers is to belittle the prowess of Ravana and this author has followed suit. = that kind 46. चिन्तयित्वा = thinking of तादृशं क्लेशं शच्याः of sorrow (i.e., the indescribable sorrow) of Sachi. वचन समये =on one occasion स्मृत्वा देवी अचलतनयां = remembering the goddess (Parvati), the daughter of the mountain. fЯgai fat who was separated from Siva. =0 thou auspici- ous one! रक्ष आत्मानं कथमपि = somehow or other protect thy -

HAMSASANDESAM 89 self (i. e., keep yourself alive). (that self) which is the prop of my life. (For), पत्युः छन्दात् व्यसनं अपि हि - it is well known that even sorrow (resulting) from following the husband. is commendable in wives. =1 The two allusions here are:- (1) When Indra, the leader of the Gods killed the Asura named Vritra by a stratagem, his sin followed him and he had to be in hiding all alone, till he was cleansed of his sin much later. Sachi, his loyal wife, had to suffer insults at the hands of the Indra who was chosen to act for him. (2) When Rudra, as Bhairava, cut off one of the heads of Brahma, he had to go about wandering as a beggar, covered with ashes, with matted hair, and skull in hand. Parvati, his wife, was in a simillar state till he came back. But both of them held on bravely until their former happiness returned. Rama advises his wife to be patient and hold on to life for a while more. 47. This and the next stanza are the parting words of Rama to the swan. af in the beginning indicates an interrogation; it is really a request which becomes irresistible when put in the form of an eager question. एतत् साह्यं ते अव्याजबन्धोः मनसि निहितं = this help which has been deposited in your mind (i. e., for which I have appealed to you), (of you) who are a guileless relative (i.e., one who really plays the true kinsman without any ulterior motive). =your mild (or, com- psssionate) nature. will indeed not

90 NOTES ON allow to be refused. force of "is it not so?"). ч=еven before this (i. e., in former days) having seen in the case Naishadha

(i. e., King Nala). gà qua qui araf = (a) message (sent)

which had the quality of having a similar conclusion (i. e., which produced a similar effect, viz, the effect of bringing happiness to two lovers at a distance from each other). fag: well, they have understood (i. e., all people have come to believe) आर्तवाणं व्रतं इति शुद्धात्मनां वः = that the succour of the distressed is the self-imposed duty of you, the pure at heart.. (Here the initial will have the = well" The nearest rendering of is the interjectory ". in English, which may express surprise, regret, anger, joy, compassion, or any other emotion, according to the context. The allusion is to the story of Nala and Damayanti in the Mahabharata, in which a royal swan acts as a messenger of love, and brings about the marriage of the lovers. नृशंसः is " an ill-natured wretch. " The quality of one who is the opposite of a नृशंसः is आनृशंस्यं. . e, good nature, an obliging disposition. As means "the body" also, indicates also the pure unsullied whiteness of the swan's body. = = 48. सौम्य Gentle Sir. जनकतनयां जीवयित्वा having brought the daughter of Janaka back to life. इत्थं हृद्यैः वचोभिः in this way by such words dear to the heart. सख्यं पुष्यन् - (and) fostering the friendship. दिनकरकुले दीप्यमानैः नरेन्द्रैः- with the kings that are illustrious in the Solar Race. लोकान् निखिलान् विचर = roam over all the worlds at your pleasure (or, at your ease.) := attended upon by the Queen Swan. सर्वाकारैः त्वदनुगुणया - who has qualities that

HAMSASANDESAM 91 =as Vishnu is follow yours in all respects. लक्ष्म्या इव विष्णुः = by Lakshmi. 49. सन्दिश्य एवं = Having sent a message of this sort. रामः = Rama. सह कपिकुलैः सेतुना लङ्कित अब्धि: - who crossed the ocean by a bridge, along with bands of monkeys.aſtai = :(and) who was delighted after acquiring (i,e., rescuing and getting back) Sita पतिग्रीवे युधि विनिहते = after the many- headed (lit. he with arrow of heads) was killed in battle. s the revered and prosperous one (i.e., Rama). ч: अनुभवन् = once again enjoying by himself (i.e., he ruling). = (bis) kingdom which was (till then) protected by (his) pair of sandals. aga mui fai राजधानी = made his own capital possessed of a master. himself During the fourteen-year interval of Rama's absence in the forest, his brother ruled as a regent-minister, with Rama's sandals placed on the throne of his ancestors. Com. pare, in the original: - : - ततस्तु भरतः श्रीमानभिषिच्यार्यपादुके । तद- धीनस्तदा राज्यं कारयामास सर्वदा ॥ तदा हि यत्कार्यमुपैति किञ्चिदुपायनं चोपहृतं महार्हं । स पादुकाभ्यां प्रथमं निवेद्य चकार पश्चाद्भरतो यथावत् ॥ The final stanza is _the_concluding मङ्गळ श्लोकः, also having in it an allusion to the authors' scholarship. प्रगुण सनसा = 50.=composed by Venkatesa. विद्याशिल्प who has a mind proficient in the sciences and arts. चिन्ता शाण उल्लिखितं = which has been polished on the whetstone of careful thought. असकृत् श्रेयसां प्राप्तिहेतुं = which is the cause of the attainment of blessings often and often. सीता हंस व्यतिकर सखं ॥ which the friend of the union of Sita and the swan. अनघं = which is sinless (ie., flawless). सन्देश रत्नं = the gem of the message of Rama. पश्यन्तु सन्तः = may the virtuous (or, respectable) people see (and examine). -

$92 NOTES ON A अन्तःश्रवणं = with the internal sense of hearing. चक्षुः उज्जीव्य : after having revived their (minds') eyes. = As mere fault-finding criticism is usually tho work of meaner minds, the author leaves it to nobler minds to review his work, as he is not only competent to write such a work but has also bestowed careful thought on its pro- duction. End of Asvasa II. sur

ENGLISH TRANSLATION ON HAMSA SANDESA

ĀSVĀSA I.

1. Born of the sinless Solar Race, (yet) honouring his human state, the Lord, vigilantly wakeful in searching for the (lost) daughter of Janaka, he, the fond lover, having resolved upon a plan of action after the return of (Hanuman) the son of Vayu, somehow endured, until the dawn, the (agony of the) night, in form as (terrible as) the period of universal destruction, [or] (which to him was) as long as a Kalpa (of a thousand Chaturyugas.)

2. Early at dawn, hurriedly making the army of the King of the Vanara race exert it diligently (for the march), and with his inmost heart distressed on account of the daughter of Janaka being very far away, he caught sight of a royal-swan, pleasant to the sight in its sportive mood in the lotus-tank and (with its hue) in harmony with the lustre of the full monmoon, (a swan) that had come towards that place at the time from somewhere.

3. (He) the hero, having fixed his eyes unwaveringly on him (the swan) whose gait copied the gait of Sita, whose form was that of the figure (woven) in the skirt of her silken garment, and whose voice was like the sound of her anklet, and being filled to the inmost

depths of his heart with her (image), lost all sense of thought and feeling for a while; I believe that, at times, the command of the God of Love becomes irresistible.

4. Having, somehow or other, recovered from his stupor, the elder brother of Lakshmana then thought of putting life into Maithili by a message full of affection, and did worshipful service to him (the swan) with lotus petals, with the proper ceremony. (For) the finding of a messenger gives greater happiness to those in love than the (actual) embrace of the beloved. (The idiomatic order in Sanskrit runs thus:--did worshipful service...... with the idea of putting life......)

5. Having rendered this honour to him (the swan, even to a greater extent than (he had shown) to Anjaneya) he who was maddened with intense passion (Rama) found a way into the affection (or, friendship) of (the bird who was) one that was ignorant of the intelligence (of Sita). To those whose hearts are greatly agitated by separation from their lovers, happens the pitiable condition of begging clouds, hills, trees and such other objects; how much more (reasonable it to beg) of sentient beings capable of feeling joy and sorrow.

6. Siddhas, who are experts in the division of the ocean of the Vedas, have said that thou art of the race of the universal spirit that pervades of forms; and that thou, by whom, with his superior graceful gait, were obtained from His (Brahma's) beloved (wife) a complexion like her own and a nectar (a melodious note sweetlike

that celestial drink of immortality) that is capable of being tasted (appreciated) by the ear acting as the tongue, (that thou, who art such a one) art the royal vehicle of (Brahma) Him whose habitation is the lotus.

7. Friend, we are but somebodies here in this middle world of mere ordinary human beings; (while) thou art the Lord of the movers in the heavens (birds, or, Gods), and your fame is easily evident in the mighty upper world. Even when it is so, it is appropriate that you should take up the role of a messenger, for the reason that you will be saving those who crave your protection; for the (same) reason that even the Ordainer (Brahma), the Creator of the Universes, stood as a charioteer.

8. Having witnessed the hard times that have come upon the race of Ikshvakus, a race mighty by nature and one that, by a mere wish, change the face of the world, it befits you to go to Lanka, the capital of the Rakshasas, (the city) that is well situted on Trikuta (mountain) which is (at times) visible and (at other times) invisible by reason of the waters of the ocean.

9. Friend, while journeying towards the south, a direction which has the merit of having plenty of holy places, of being pleasing to the eye on account of sandal- wood forests, of giving birth to pearls, and of being the mother of the Malaya breezes, please bear with the trifling defect that it is the abode of the Rakshasas.

10. On your way, great pleasure will result to you (i.e., you will have cause to laugh heartily) at the sight of the wild peacocks (or, Brahmana barbarians), of those dull-headed ones, who depended (for their celebrity) upon their intoxication (of vanity) and grew talkative over trifles when a noble bird had gone far away, as when you had to Kailas (or, when truly great poets had gone to a great distance) but who, having lost their tail-eyes in autumn, had grown silent (or, who, having lost their powers of thinking after the dispersal of the clouds, had grown dumb).

11. Gentle sir, the fragrance-bearing wind, slowly drinking in the fresh honey of assemblages of rosy-red lotuses, roaming about in sport among groups of water- lilies that have opened in (their own) time (viz., the night), and moist with the ichor-waters of wild elephants, will serve you by ordering the diffusive perfumes to emulate one another (to be the foremost in reaching you).

12. The Bandhujeeva trees, (your) relatives, will, all together in one combined effort, appropriately apply scented cosmetics to your body to the fullest extent, by (letting fall on you) their pollen shaken down by the wind; so that, you will resemble the moon in the crest of the Conqueror of the Tripuras, reddened by contact with the lac-dye on the (soles of the) feet of Parvathi, and rendered full by foam of the Heavenly River.

13. And the autumnal clouds shall act as a ceremonial royal umbrella borne by the wind at a suitable

pace behind you, with its ribs formed by the fine rays of the sun (forming streaks in the mass) and provided with a variegated fringe formed of the remnants of the rainbow doing duty as a many-coloured cloth.

14. Dear friend, having thus had a pleasant quickly- crossed passage, you will see your female friend, Sita, who arose out of the field ploughed by King Janaka, and who, by protecting her body with the greatest difficulty for my sake, has come to bear the honoured good name of a wife true to a single husband.

15. And when you return (from here) to (your love) the lotus-pond, who was pining and grown weak during the period of her separation from you, but who has regained her joy now (that you are here with her), (please) win her over gently by sweet words; and she, because of her friendship towards Maithili, will, I believe, say "Be it so" at this juncture, and grant you permission to absent yourself; (and she will say this) in the language of bees, sweet as the notes of strings (of a musical instrument).

16. Having the beauty of the moon actually seen rising at the wrong time (created) among the Sabara women seated lovingly with their husbands (or, lovers) the mountain-bowers, (please) soar up from the assemblage of lotuses and fly following the direction to- wards the south, (at the same time) giving (the right of) way to birds very powerful of wing and looking (at them) from afar.

17. Mount Malyavan, full of precious stones, taking within himself the image, radiant with nectar, of yourself, soaring up with playful ease, of yourself that outshines the moon in splendour, (such a Mount) tells (us) of the radiance of superior loveliness of the God of the First Cause, as he was creating the moon out of his mind.

18. Friend, Hanuman has carefully described to me two paths. Of them both, though the western one near the Sahyadri is, to you, free from danger and pleasant, is (to be given up, as being) subject to continuous rains. Among the eastern ones, you will have, somehow (even by the strength of your will) keep your eyes away, for my sake, from the assemblage of wonders (found) in every country (on your way).

19. Having been confirmed in your form (as a Raja Hamsa) by the unsophisticated women (of the villages or the hills), who, having heard your note, pleasing to the ears, and being very near, come out of their dwelling- places with eager haste, and look up at yon with glances which are charming though devoid of the knitting of the eyebrows (and such artificial modes of expression), please pass (fly) over these (the following) countries that are well divided by woods, hills and rivers.

20. Please enjoy the artless silliness which is turbid with the passion of love, of the women guarding the sali rice fields, who are seated, or lying down, on the bed of tender shoots in the shade of the sugarcane (plantation), whose hearts are overjoyed with conversation on those

subjects (that suit them at that time), and who are infatuated with different songs, or tunes, that are variegated by the intermingling of the Kannada and the Andhra languages.

21. And then, there will rise up in front of you, Anjana hill, giving pleasure to both the eyes, truly believed by persons to be Adisesha himself appearing (in that form), on account of its being the abode of Vishnu, on account of its bearing the earth, and on account of gems being embedded in his peaks (heads), and possessing (surrounded by) no light clouds (i.e., dense masses of clouds) resembling recently-shed sloughs of serpents.

22. And you too please offer worship there to the conqueror of Madhu, as much as you can and much as you please, that worship which is offered by worshippers banded together in crowds consisting of human beings that have ascended (from below) and of heavenly beings that have descended (from above), as ideas like superiority and inferiority towards one another have fallen away from them on account of the awakening of pure goodness, Sattva Guna, in all, and because the result of the fructification (of the worship) is common to all.

23. And, near (the hill), you will see a river (named Swarnamukhi) flowing with a golden murmur, flowing south of Anjanadri, who has sand-banks (in her bed) submerged at times and flashing into sight at (other) times, as if she had a wish that you should rest there, her (i. e., the river) who, with her wave-hands truly gathers

the flowers of the forest trees near by, for the Archana worship of the God with the half-moon crest.

24. Having enjoyed her (i. e., the company of the river) silently and unperceived by any, with your notes indistinct yet sweet, and lightly shaken (i. e., with your feathers lightly ruffled) by the breezes on the sand-banks, loaded with the diffusive fragrance of Vanjula flowers, (please) quickly and cautiously (rise up and) follow (your) way, with a speed that is not surpassed by others; and may the fowlers on the banks (of the river) not catch you.

25. And then (beyond that) you will pass on looking at a holy country, named Tundira, and there go to (come to) a sacred place, named Satyavrata, which has cast away all sins (i. e., in which sins cannot exist); (the place) where, He, the God, the only bridge of all the worlds, became a dam for (across) the Goddess of Speech, who had taken the form of water (a flowing river) on account of resentment against her husband.

26. There you will see Kanchi, embellished with different sorts of gems, filled with the sound of the triple symphony forming (a city) which is fitly given a very high rank among the ornaments of the Earth, and in which is truly seen that Purusha (Supreme Spirit) (who is the inhabitant of the Elephant Hill ever casting his eyes of favour on it (on the town), He who is beyond the duality of the opposites and who is the lover of Truth.

27. On nearing that town, make a low obeisance with your head bent low down in reverential faith (to the town) which was born (created) at first in the beginning of Krita yuga by the mere wish of Brahma Deva, and in whose streets, the dust raised by (the hoop of) the steed of the Lord of Elephant Hill is worn thankfully on their heads by the chiefs among Gods.

28. And then, the fragrance-bearing breeze, the revered one, he who comes out of the mango grove that is lightly shaken, he who bears witnwith him the (cool) dew from the moon on the head of Pasupati (living) on one side of her (the town), he who loves the assemblage of lotuses in the waters of the Kampa, he will surely approach and do service (by breathing gently on you) to you, who has arrived from afar, as if to a dear friend.

29. In the middle of the town, there is the Goddess of your birds, the wife of the Lotus-born (Brahma) bearing the worshipfnl name of Vega (river), divided into seven mighty streams, corresponding to the (seven) groups of letters (of the alphabet), the revered, worshipped through- out (not in one part of her course alone) by the Gods, and beautiful with her clear, sweet, free (unimpeded) flowing waters.

30. Having bathed in the sacred water named Sarasvata there (in that river), (in the Tirtha) which des- troys the sins of mankind in general, along with sinless men of saintly austerity, having your body rendered highly radiant, and having the entire universe clearly

manifested in (your) mind from which Rajoguna has disappeared, you will accumulate, both inside and out, the highest final purity which cannot be cast away or destroyed.

31. Gentle sir, by the side of her banks, is seen the Elephant-hill, the sacrificial altar for Brahma's yajna by the side of which people who have made their habita- tions having given up their mortal frames, will stay as blessed ones in the abode of Vasudeva, free from dark- ness; (that hill is seen) giving a celestial nature to the Dravida country.

32. On that sacrificial altar, there will manifest himself (before you) some undefinable Deity, the cause of the creation of the worlds, one who obtains and gathers his splendour from the garlands of of tender, fresh Tulasi shoots, one who resembles (in his soothing radiance) a cool God of Fire, and one whose form is still further darkened by the sidelong favourable glances (from the dark eyes) of Lakshmi, which have for their loving followers, earthly happiness and heavenly bliss.

33. Do not be afraid at the sight of the dark emerald-green cloud there, with its form beautified by the lightning-like Lakshmi, (for it is) full of (the waters of) compassion; (also because) it has itself become a Hamsa, having its feet always worshipped by the Hamsas among Devas (the Nitya Suris) like you; and thus (has become) truly the first-born in your race.

34. He, that God, who is the taster of the essence of the (daily) oblations (in the sacred fire) made during the (usual) Soma sacrifice by your master (God Brahma), who is the Pure Eye of the multitude of Vedas, who is the blessed good fortune of the eyes (of all worshippers), may accept you, as you bow to him, with side-long glances of favour, that resemble a shower of ambrosia, that show pleasure welling up, and that give in great abundance gifts that are desired.

35. If He, the God, the possessor of Lakshmi (or, of supreme power) is made manifest to you, when He chooses to take a walk for His own pleasure in (his) pleasure resort, holding the hand of His Consort, moist like a lotus full of honey (all over it), and holding a pleasure-lotus in his other hand, (if you happen to see him thus) you yourself fan him with your chowry-like body (with your white fan-like wings).

36. Having thus had pleased satisfaction engen- dered in you, quickly cross over the middle country and go to the land of the Cholas, which is dark with multi- tudes of areca-nut trees visible from afar and whose surface is well divided by the various branches of the Kaveri, born in the Sahya mountain, whose flow is stopped by the circlings of crocodiles (and other big water animals) that swim against the current.

37. O swan, in that country, lotus-eyed (maidens or young women), wearing the colour of the evening (rosy colour of sunset) by their fragrant cosmetics made of

the sweet-scented turmeric, and wearing the form of a struggle between moonlight and darkness by their hair- knots which enclose the flowers of the areca-nut palm, and having indistinct but sweet voices full of passion, will feast your eyes by their getting up the swings (i. e., when they are diverting themselves on swings).

38. O thou water-bird, as you enter the western part of that country, known by the name of Varsha, beautiful like (as if it were) the ball used by (mother) Earth for play, and watered by rivers, you will see, at a near place, (i. e., before you proceed far) a white hill, which, from its limited extent, resembles a sunken Kailas mountain, or is like the Adisesha just rising up from under the earth.

39. There (i. e., on that hill) the Divine Brilliance; which, by its abundant and pervading lustre, has destroyed the accumulation of the darkness of ignorance in mankind, which has taken the form of an Individual spirit, which has the highest lordly might, which deserves to be prayed to by wise men, and which is ever attached by the affection of the Daughter of the Ocean (Lakshmi), (that Brilliance) will confer on you, the worshipper, an abundance of blessings in a very short time.

40. And beyond that, (please) explore thoroughly the wood (there), with (its trees giving) a dense unbroken shade, extensive, dark like the lustre of Him (i. e., the God on the Sveta saila,) and lovely with (its) clusters of blue flowers. When it (i. e., the wood) which is fit for

the constant enjoyment of the damsels of heaven, has been seen by you, your heart will make light of even the splendour of the pleasure garden of heaven.

41. . Where the wind generally does the duty of a servant to the five-arrowed God (Cupid), by forming a many-patterned canopy by the pollen of different kinds of flowers, by gently waving, in the areca-nut-palm wood, chowries in the form of areca-nut flowers, and by making the surface of the ground fit (for Cupid) to walk upon by scattering over it multitudes of flowers.

42. Gentle sir, then (beyond that) the daughter of Sahya (the Kaveri) flows, dividing the country cleanly (into two parts, like the parting of the hair on a woman's head) by the swiftness of its current, having (her) bed uneven with accumulations of pearls from sugarcanes of the Pundra variety, scattered about from (their) split knots, owing to maturity season after season, (the bed of pearls) being of a clear white hue like a sandy bed, and (the river) throwing into shade the river of the Gods.

43. Her (i. e. The Kaveri) who is being immediately led from the sloping side (or, from the lap, or embrace), of Sahya (mountain) by the wind to the ocean, who has been blessed with prosperity by the auspicious speeches of birds like yourself (or, by the chanting of auspicious mantras by twice-born people like yourself), the gentle smiling one whom the wet areca-nut trees render per- fumed, as it were, in the early dawn (lit: at the night-

end), with sweet fragrant substances, by letting fall (into her showers of) areca-nut flowers, full of honey.

44. And in that (land) you will see the beauty of the lotus pond, the fame of which has spread (every- where) as that which made the moon-god whole, (the pond) which is never destitute of the sweet smells from the hair on the heads of immortal ladies, which will make your mind lose its taste for the Manasa (lake), and which is on all sides surrounded by even other sacred waters (useful) for purification.

45. Gentle sir, please worship the Sesha Pitha with your body well-bent on account of faith, (the Pitha) which has been stationed on her bank (i. e., on the bank of the Pushkarini), which is fit to be worshipped by saints on which, it has been prophesied by Munis, is destined to be the future abode of Sri Ranganatha, (then) residing in Saketa city, as our family wealth.

46. My heart flies to that First God, who is lying down in the coils of Adisesha with one of his arms used as a pillow, who has long outer corners of the eyes, who is the life of the Daughter of the Ocean (the Goddess Lakshmi), and who, as a consequence of his splendour, (of him) who manifests himself of his own free will in the (Vimana which is of) pure Sattvic quality, shines within it like an emerald in a box.

47. And beyond that, cross over very quickly the forest which is between the Chola and the Pandya coun-

tries, which is infested by robbers, and which is (full of sounds) harsh to the ear on account of the shrill cries of tree-crickets. When it is crossed let your cool notes be heard, my friend. Indeed, birds (or, poets) will not make a sound (or, will not utter a word) in the presence of evil-minded men.

48. And in that (i.e., the Pandya) country, the lotus-eyed women, with their faces uplifted, with their curls tossed about by their loosened crest jewels, with the gem(s) of their large ear-rings clearly visible, and with beauty-marks on their forehead glittered with powdered pearl, will have their curiosity excited and will honour you of the sweet note, with garland-like glances from the corners of their eyes.

49. When you come to the close proximity of the Vrishabha Hill, the permanent abode of Vishnu who is (here) known by the name of Sundara, (that hill) on the sloping side of which shines forth that heavenly water (Ganges) which is poured forth (i.e., which issues from) the anklet of that (famous) Conqueror of Bali, and which has not come into contact with the matted hair on the head of (God) Pasupati.

50. Continue your journey looking at the lands of the Pandyas, which have their growing crops sprinkled. with water by rain clouds which tremble with fear at the memory of (their) imprisonment by the miraculous power of the Kshatriyas (there) who had obtained magic

weapons from God Siva, (the lands) which are adorned with cities and rural tracts which are the abodes of sanctity and which constantly challenge the city of Alaka, to excel it.

51. Then, honour the (river) Tamraparni, whose sands are engendered by multitudes of pearls which are liberated from heaps of pearl-oyster shells, (whose bed) thus resembling the sky with multitudes of stars. The ever-clear pure water there will give you a disease-free condition (or, will make your body shine like pearls), on account of the proximity of the Maharshi who drank the ocean (dry).

52. With your heart gladdened by tasting the sweets of her (i.e., the river's) lotus-mouth to (your) heart's content, with your body cooled by the embrace of (her) tremulous-wave-arms, seated on (her) sand-bank, and fanned by breezes of (or, from) the Sandal mountain, may you, who have to fly across the ocean, have your fatigue allayed.

53. Having traversed only a short distance towards the right of her (i.e., of the river), you will see near you the shore of the ocean, dark with mountain-palms and Tamala trees, gladdening the hearts of youthful people like you, charming to the eye on account of the pearls presented (i.e., brought up and deposited) by waves of various kinds, and with its sand banks doubled (in size) by (the accumulation of) the pollen of Ketaki flowers (on them).

54. Gentle Sir, having stayed there for a moment, you, who are the most powerful of wing, (please) fly (across) with speed, (my) friend, aiming straight at the city of the Ten-faced (Ravana), just as if (you were) an arrow leaving the shore-bow, provided with the bow-string in the form of (two) different sets of mountain-streams coming down, with the deep pleasant notes of a (plucked) bow-string, from the hill-top on either side.

55. Friend, (on your way) you will see the ocean, (which) by its conjunction with the forests of coral, (appears) as if (it were) a forest enveloped in forest-fire, (or) as if (it were) the sky overspread by the (colour of the) twilight, (or) as if (it were) an elephant marked (for beauty) with red lead, (or) as if (it were) Vishnu furnished with (i.e., clothed in) his own favourite (golden yellow silk) garment, (or) as if it were a dark cloud split by a flash of lightning, (or) as if (it were) a couple with a single body (between them).

56. The ocean had its body increased (i.e., had its area added to) by the earth (i.e., land) having been dug up by my immeasurable strong ancestors, who wished to find out the steed that had been misappropriated (stolen) by the Ruler of the Gods (Indra). If (therefore) he (the ocean) directs the hidden-winged mountains with a view to do you honour, (please) do not decline the loving regard suitable to a relative, even though you are tired.

57. Having seated yourself there on a blooming golden lotus in some lake (on the mountain), and having enjoyed the relish of an unlimited amount of honey (from those flowers), having brought well under control the fatigue of your journey, and (then) having flown across the rest of the ocean with more active speed, you will see in front of you (the) Suvela (mountain), forming a charming shore with its rocks rounded smooth by the constant dashing of the waters (against them).

58. (That mountain) in the proximity of which, corals in the waters of the ocean, having among them the moon in the form of your reflected image, having clearly the appearance of accumulations of drops of blood that have flown out on account of the severing of the wings (of the mountain), and having their lustrous appearance ruffled by the incoming of the waves, (these corals) along with star-like pearls, present, permanently on earth, the appearance of an unusual (evening) twilight.

59. (That mountain) where the forest shows shoots that have risen up in the form of corals variegated with clusters of pearl-gems brought out of their places by the force of the billows of (the ocean, which is) the abode of Varuna, and is filled with perfume, rushing up to the crown of the head, by the sweet smells of honey of (the flowers of) Mandara trees, brought (from heaven) and planted by the Gods themselves who were afraid of the Rakshasa (king).

60. On it, Lanka (city) will become apparent to you, spotlessly beautiful with its lovely mansions, as if (she were) the Queen-swan resting on the revered sand- bank of the ocean; she, of the melodious note, who stays (there) with (tremulous extended) wings in the guise of banners flapping in the wind, as if she were eager to ap- proach you (for welcoming you), the incomer.

End of Asvasa 1.

ENGLISH TRANSLATION OF HAMSASANDESA

ASVASA II.

1. To which place have been brought heavenly maidens, whose movements are graceful and accompanied with tinkling sounds (of their anklets), whose eyes re- semble the arrows of Cupid, whose forms are slightly pale (yet) lovely, and whose words are sweet, (these) will gladden you by their personal attentions, (you) who have an easy sportive charm, a melodious note, (a) white (body), and eyes like half-moon shaped arrowheads, (you) who are fit to live in Manasa Lake and whose speech is simple and pretty.

2. In which place the ladies of the inner apart- ments of the Ruling Deities of the world are suffering imprisonment, (they) who have been kept at a distance (unmolested) on account of the fear (of Ravana) of being destroyed by (their) terrible curses, (they) who are (by the intensity of their chastity) fit to burn even the God of Fire, who are pure like the pure colour of your lady-love, (but) who expect protection for themselves only through the spiritual splendour of the daughter of Janaka.

3. Which city, situated on (mount) Suvela which has high peaks and is full of an abundance of gems, and

protected by the Rakshasa (King) whose fame has been extended among the Rulers of (all) the quarters, waves her fingers collectively (as if calling), the fingers consist- ing of (or, being in the form of) banner cloths, as if (she) were challenging, by the abundance of her decorations, the city of the Gods, (situated) on the top of Mount Meru.

4. In which city, during this (autumnal) season when the clouds are dispersed, a season fit for your excursions, drops of water ooze out of the moon-stone floors, (thus) increasing beyond bounds (the flow caused by) the tears due among the heavenly ladies, to separation from their lovers or husbands, and whose minds are tossed about (or, are in a state of great agitation) by the proud smiles of (the Lady of) the Night, (smiles) in the form of moon- beams.

5. Visvakarma and others, whose minds will have been intently fixed (upon the work allotted to them) on account of the secret fear (of Ravana), will, of course, necessarily accomplish the re-building of the city, which was reduced to ashes by the God of Fire, who was the friend of the son of the God of Wind, which (fire) was (only) the brilliance of the fire of grief of Maithili that had, by transformation, assumed such a (material form); (the re-built city) throwing into shade the original production.

6. When you look at the wonderfully beautiful palace of the Lord of the Night-prowlers in the middle of

the city, (a palace) by which the sky is obstructed and upon which wait the aerial vehicles of the Heavenly deities, each capable of carrying a couple (and) which is (now) a prison to the ladies of the Devas, (when you look at this palace), you will declare the state of your feelings to be joy blended with sorrow.

7. (And) there; (please) enter a compound full of trees in the pleasure-garden attached to the dwelling (of Ravana), in which the wind trembles at the slightest anger (of Ravana), in which the sun can be mistaken for the moon, which is ever munificently provided with (the delights of) all the seasons (prevailing) at one and the same time, which was lighted by (red) Asoka trees that are the brothers of the fire of sorrow of Sita, (and) which was on a previous occasion disarranged on account of the wanderings of Anjaneya.

8. Gentle Sir, circling in the sky in that enclosure along with other birds who have become overpowered. with blissful joy, and with your eye directed to one place after another, you will see a solitary Simsupa tree, densely branched, which is a relative in sorrow to the daughter of Janaka and has (her) ornaments placed on some one of its branches.

9. Friend, at the foot of that tree, there is an in- describable heavenly gem (namely, Sita), born when the sacrificial ground was being cleared (by ploughing), (a gem) devoid of fear on account of spiritual might (or

devoid of flaws on account of its superior quality) wherever it might exist, (a gem) which at that time (i. e. on a previous occasion) was obtained somehow with great difficulty, by me who gave (my) valour as the pur- chase price of the bride, (a gem) which imparts brilliance to the Solar race (or, which lights up even the abode of the sun); that (gem) should be seen by you.

10. She, whose eyes are like the Saphara fish, who has well-arched eyebrows, fine hair, and a slender body bowed down (somewhat) by the weight of (her) high breasts, whose lustre is like that of gold purified in the fire, who is young and has a gait graceful as your own, whose waist is slender like the middle of the sacrificial altar, who is loveliest of form, who has acquired the hidden treasure of the graces of love, and who resembles the Goddess of great blessings, (such a one) is my eye (i.e., the apple of my eye).

11. Until she comes within range of your sight, she will either be languid on account of insensibility, or en- gaged in conveying to the ears of the birds (around her) a message to reach me, or, with tear-bedimmed eyes, in- tent on looking in this direction, on account of (the occur- rence of) omens which foretell that a dear, hopeful message is very, very near.

12. Or, on account of bewilderment, prating to the ornaments placed in (her) proximity (asking them) whether the contact with the body of the Lord of the Solar race is remembered (by them) or not, or meditating

upon the diversions (she and her husband had) in one common bed; that she should lead a life of that kind is surely due to the ordainings of Fate.

13. I believe the daughter of Maithila to be dispiri- ted in the house of the night-prowler (i. e., Ravana), like the pure light of the moon shining in the house of a Svapacha, or like a branch of the Parijata tree brought into a wood of poison trees, or like a delightfully beautiful speech delivered by a good poet in the vicinity of a wicked person.

14. (Or) like an assemblage of lotuses scattered by a (heavy) downpour of rain, (or) like an utterance having self-contradictory meanings, (or) like a lotus-stalk enclosed in mud, (or) like a she-elephant separated from her mate, (or) like a digit of the moon hidden by clouds, (or) like hope encompassed by obstacles, (or) like a small female deer approached by a tiger, (or) like a beloved woman devoid of shame (according to another reading-like a bow-string lying on the ground).

15. Who, remembering the protection (once) afforded by my embrace when the fear of the arrows of Cupid was on her, (now) embraces her mother (the Earth) with limbs that are languid of movement, that get fati- gued even by the wearing of ornaments (i. e., even by the weight of the ornaments she wears), that are exhausted even by anointing her body with unguents, and that cannot bear even the (pain of) frequent recollection (of her lost happiness), on account of her extremely delicate constitution.

16. Who placing my signet-ring, by turns, in her lotus-like hand, experiences a pleasurable horripilation in her body, over and over again: who placing it on her head, in the absence of the precious gem worn on her hair, enjoys bliss; (and) who places it with reverential love on (her) water-pot-like breasts, (now) hot with fever on account of the fire within (her heart).

17. Who washes way, later, that permanently lasting divine unguent, for which she is fitted, which formerly the Lady Anasuya smeared over her limbs with motherly love, as a reward of virtue, (washes that away) in a copious flow of tears, hot with anguish and rushing down and falling in a continuous stream on her water- pot-like breasts.

18. Who is wearing a head of hair, which was once being bound up unevenly by me on account of the abundance of hair too profuse for my grip, but which has now become loosened (and falling all over her) as if with an earnest desire to enjoy the perfume of her body, which resembles a flower-stalk of the tree of the Gods thrown down (from the heaven) by the Apsaras on to the earth, (to be used) for the worship of Rati's husband, and which (when falling) is followed by (a line of) large black bees.

19. Who is wearing a lovely garment which is the companion (in lustre) of the rising sun, which has the (ornamental) forms of your beloved on all (its) sides, and which bears, in form, a resemblance to that upper gar-

ment which was speedily brought (to me) by the Vanaras, (her appearance being) like another crescent moon blended with the tints of twilight.

20. Who happening to look at the left (anklet) placed on the end of a branch, (a jewel) fit to be fitted, by my own hand, on to her lotus-foot which has been lifted on to my lap, (a jewel) which is like this one, the right anklet which came down to the ground from her lotus-foot verily to show me the right way, (a jewel) which has a (melodious) sound like your own, has grown exceedingly sad.

21. Who resembles the Goddess of the lovely splendour of Nandana imprisoned in the house of the night-prowler, her limbs resembling drooping tender shoots, divested of ornament-flowers and closely en- twined by creepers which are reflected in her spotless bright body, (now) rendered slightly defective (in lustre) by the cruel shadow of the hot breath of anguish.

22. Who is practising, by the methods prescribed in authoritative treatises on the yoga of love, the non- differentiating Samadhi, with (her) thoughts firmly fixed on my single self, after the play of feeling in external matters has been tranquillized and rendered completely inactive by the universally supreme method of control (of the senses), (and) with a mind which has become softened by absorption into the Internal self by the abso- lute power of the imagination that has attached itself to nothing else (by myself).

23. A vacant look, excessive sighing, a closed lotus-face, tears in the form of a stream, continuous lamentation, to such an indescribable state of misery has she been reduced by unpreventable Fate, she who is attached to me and whose frame is extremely slender; verily (my) heart burns.

24. At the sight of that pitiable condition of hers, even you will be unable to bear the intensity of grief that will have welled up in your heart of its own accord; how could those who are endowed with stainless souls, those who are not born, as the ten-faced Ravana is, in some undesirably low carnivorous race, how could they not have compassion?

25. Please spend the night in the following manner, viz., in getting rid of your fatigue by lying down in the long fresh water pond near that place, resting there to your heart's content and enjoying the delights of it, in awaiting the time fit for the sleep of the women folk among the night-prowlers, which will be the period of early dawn, and in pouring into her ears my message, sweet with love.

26. O royal swan! Having slept as much as you please on the conveniently spacious sand-bank bed, at- tended on by fragrance-bearing breezes and cool moon- beams which remove the fatigue of (your) journey, may you, who are looking forward towards a duty to be per- formed, be awakened by the playful songs of the bees that are usually hidden (during nights) in closed lotuses.

27. Having gone up that Simsupa tree whose tender leaves are lightly moving, rendering you visible only to one person (Sita), subduing your deep note resembling the sound of the bow of Cupid, awaken my beloved, whose mind has been to some extent stolen by stupefaction, by first describing the delight-giving fame of the dynasties of Raghu and Janaka.

28. Lady! Please know me as the beloved counsellor of that long-lived one, your husband, bearing within (me) his sinless message, which is a medicine restoring you to life. I am he who, by his own ringing notes, will indicate to the valorous husbands of heroic wives, the proper occasion deserving to be honoured (by them) when the autumnal season begins.

29. Then, slowly lifting up her lotus-like face, faded and drooping on account of sorrow, she, the timid one, will honour you on account of internal joy, (as one) who are endowed of knowledge of something relating to myself; (she will honour you) with looks from the corners of her eyes, which have obtained an effect similar to that of waves of ambrosia, and which are intimate friends of lotuses that open at dawn.

30. She, the wife of Raghupati, seeing you wholly free from stain, and having got back her brightness on account of being consoled, like the moon's crescent at the beginning of the bright fortnight, will then become attentive (to you) and be pleased and eager to hear my message. Will not even news from the beloved create joy in (the hearts of) women?

31. Then, speak (to her) thus:---The sinless king of the Kosalas, alive on account of your ladyship's good fortune, asks you, the auspicious one, about (your) welfare. Learned good men say that all those auspicious marks that will inevitably bring about blessings are those that belong to the Goddess Lakshmi and to you on earth.

32. Lady! He, the auspicious one, in whom be- came hidden the ornaments, unguents and other things of her (who concealed them in his embrace), of her who has been taken away to a far, far away island by the might of this kind of (evil) Fate, he, having placed (her mental image) in the path of his eyes, as if (she were) quite near, speaks thus to you through the mouth of (his) friend.

33. "O thou of fine form! In those old days, the night passed away for us, who were in a state of mind that had gone beyond our control and that was governed by immeasurable love, like a moment, in embraces and other preliminaries, at the commencement of (our) enjoy- ment; (but) now this (very same) night, whose continuity is unbroken by reason of hundreds of imaginary unions of that kind, prolonged by sorrowful thoughts, does not pass away."

34. "Along with the lotuses, who are friends of your lotus-like face, I have my spirits depressed by the fragrance-bearing breeze; (that wind) who was (once) defeated (and rendered powerless) by the powerful (waves of) warmth of your pot-like pair of breasts, (but) who

has (now) all at once become great as he has taken possession of a vulnerable point (in me) during the period of (my) separation (from you), and who belongs. to (i.e., blows from) that cardinal point which has been rendered fragrant by the sweet scents of the Kunda flowers."

35. "With his bow unbent (i.e., unstrung) and with his head bent low (in respect), Rama spoke, in fear, to the Deity of the Spring, who was filling (the world), to the very ends of the cardinal points, with the variegated arrows of the God of the Flower-bow, (arrows) that never failed to reach their mark, which are smeared with mead, (and) which are greedy to taste (the life-blood of) women who are suffering from separation from those they love, thus: 'Please do not exist by the side of Sita.'"

36. "As I stood in the path of the Malaya breezes, which were full of the confusedly blended notes issuing from cuckoos and quivering on either side, and which were swarming with chains made up of multitudes of big black bees issuing out (of the flowers) slowly, with their bodies covered with the pollen of jasmine flowers, I was drawn back by Lakshmana, who feared (for me).

37. "O thou of fine form! As the red Asoka stands shining like a flame near (me), the Kuranja trees, that indicate the circumstances of your marriage by (shower- ing on it) multitudes of flowers, delightfully like the shower of puffed grain, create sorrowful thoughts in my mind, thus:-I am dull and inactive. What shall I say

to Janaka? What will that Lord of the Yogis say to me?"

38. My mind never leaves the peacock, who wishes to begin his lively dance, on account of (the advent of) a rain-cloud which gives forth a deep and continuous roll of thunder, being beaten (like a drum) by a golden drumstick in the form of a flash of lightning, and who is blessed with the embraces of his beloved, on the peak of the hill rendered fragrant by the mountain-jasmine flowers scattered (on it) by the wind, free from molestation by a Rakshasa.

39. Often there arose a sort of indescribable wail in the heavens, among the rows of clouds which were looking (down) at me who was completely overcome by the madness of excessive love, and which, with their tears, were making your mother tearful, (your mother) whose lamentation produced echoes that were distinctly heard among the rocky hills, and who was pervaded by excessive distress (or who was distressed by excess of heat)."

40. "O thou of fine form! You have been made to stay far away from me, I enjoy (thus): corporeal contact in (the shape of) the Malaya breeze; the meeting of (our) glances in the moon; the identity of (our) abode in the (same) world, the lucky conjunction of (having) an identical bed in (the form of) the (bare) ground; (and) an extensive splendid canopy in the sky wonderfully adorned with stars."

41. "The autumn, which has left all the cardinal points clear, which well excites (warriors) for the warlike preparation fixed at the proper season by the appearance of newly-blown lotus-buds that have attained a friendship with your pair of eyes, and which now shows the road fit for (the march of) an army, (such an autumn) indeed, hurries me, O Sita, with a wish to lead (me) to your proximity."

42. "O thou virtuous one! having removed to a great distance you, who are fit to be reclining between my arms (on my chest), (having removed) ever her who leaving the capital, followed me to the forest all alone, (me) who had at once renounced my coronation as a ruler, on behalf of Bharata, in obedience to the order of (my) father, my life grows sorrowful over and over again."

43. "O thou sweet-faced one! Having built a broad bridge across the ocean either with mountains or with arrows, and having converted Lanka (into a plaything) like a ball of flowers in the hands of the Vanaras at play, within a very few days, Lakshmana, warring with the Rakshasas, will create honey (i.e., sweet music) in your ear (s) by the deep sounds of his bow."

44. "When the bond of enmity is loosened by the severing of the cluster of heads of the Rakshasa, (we) having gone (back) to (our) land with the help of Pushpaka, and when the undertaking of both of us is fulfilled with my coronation, by reverend people, as

sovereign ruler, (then), Lady, we shall both soon obtain (i. e., enjoy) pleasures that have become accumulated by (our) long separation."

45. "How, (once), faltering with showers of tears, you hid me in (your) close embraces, that had the power of healing my weapon-wounds by the warmth of your pair of breasts resembling water-pots, (me) who had returned from the battle of Janasthana after having finally disposed of Khara and others who were equal (in valour) to the ten-headed (Ravana), that too you may bring (back) to your mind."

46. "Thinking of that kind of (indescribable) sorrow of Sachi on a certain occasion, and remembering the (divine) Daughter of the Mountain who was separated from Siva, O thou auspicious one! somehow or other protect thyself (i. e., preserve your life) which is the prop of my life. (For, it is well known that even sorrow (resulting) from following the husband is commendable in wives.")

47. This help which has been deposited in the mind of yourself, who are a guileless relative (to me), your compassionate (or, obliging) nature will not allow to be refused, is it not so? Well, having seen (i. e., having had experience of), even in the former days, in the case of Naishadha, a message which resulted in having a similar effect, they (i. e., people) have understood that succour of the distressed is the self-imposed duty of you (people), the pure at heart.

48. Gentle Sir, having brought the daughter of Janaka back to life in this way by such words dear to (her) heart, (you may) roam over all the worlds at your pleasure, attended upon by the Queen Swan, whose qualities closely follow yours, as Vishnu is (attended upon) by Lakshmi.

49. Having sent a message of this sort, Rama, the revered and prosperous one, who crossed the ocean by a bridge, along with bands of monkeys, and who was delighted with the (re-) acquirement of Sita after the many-headed one was killed in battle, made his own capital possessed of a master, (by) once again enjoying in person (his) kingdom which was (till then) protected by (his) pair of sandals.

50. Composed by Venkatesa, whose mind is profi- cient in the sciences and arts, may good people, after having revived their (minds') eyes, see (and examine) with the internal sense of hearing, the sinless (i. e., flawless) gem of the message of Rama, which has been polished on the whetstone of careful thought, which is the cause of the attainment of blessings often and often (and) which is the friend of the union of Sita and the swan.

Printed at the 'Vavilla Press', Madras. 21.-1955.

पञ्चसूक्तानि

वैदिकग्रन्थाः

॥ क्रय्य संस्कृतपुस्तकानि ॥

रू.

अ.

०

३

०

रू. अ.

पुराणानि इतिहासग्रन्थाः

३ । बालरामायणम्

३ । श्रीमद्वाल्मीकिरामायणम् - २ मूलमात्रम् (सम्पुटद्वयम् )

०

३

" बालकाण्डः

१००

१ ८

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दर्शर्पणम्

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३०

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- माह्निकम्

,, सुन्दरकाण्डः

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