KAVI-KAUMUDİ OF KALYA LAKSMĪNRSIMHA Edited by Dr. K. KRISHNAMOORTHY KARNATAK UNIVERSITY DHARWAR कल्यलक्ष्मीनृसिंहविरचिता कवि-कौमुदी KAVI-KAUMUDİ KALYA LAKSMINRSIMHA (An anthology of 'Anyokti' verses in Sanskrit ) OF Critically edited with an English Translation and Notes by Dr. K. Krishnamoorthy, M. A., B. T., Ph. D. Head of the Department of Sanskrit, Karnatak University. තර්යායි ar y विश्वविद्यालय V परिवाड़ KARMATAN www. KARNATAK UNIVERSITY, DHARWAR 1965 कल्यलक्ष्मीनृसिंहविरचिता कवि-कौमुदी KAVI-KAUMUDI KALYA LAKSMİNRSIMHA (An anthology of 'Anyokti' verses in Sanskrit ) Critically edited with an English Translation and Notes by Dr. K. Krishnamoorthy, M. A., B. T., Ph. D. Head of the Department of Sanskrit, Karnatak University. ಧಾರವಾರ mobics OF. - विश्वविद्यालय कर्णाटक MEER WE KU धारवाड SYMATHA KARNATAR KARNATAK UNIVERSITY, DHARWAR 1965 Publisher: S. S. WODEYAR, M. A., LL. B. Registrar, Karnatak University, DHARWAR. PRICE: Rs. 1 = 50 Karnatak COPIES: 500 AUGUST, 1965 University, Dharwar Printer: V. Y. JATHAR, B. SC. Samyukta Karnatak Press Koppikar Road, HUBLI. कविकौमुदी प्रथमं शतकम् धन्वी धुन्वीत कोऽप्यंहस्संगरे यस्य दस्युभिः । चक्रोबभूव चापोऽपि तद्गुणोऽपि शरोऽपि च ॥ १ ॥[^1] अनुसंहितं हृदि यदीयबृंहितं भवसृष्टिसाधनसमष्टिरीशितुः । इदमस्तु वस्तु शिवताति निस्तुलद्यति कन्धरानधरसिन्धुराकृति ॥ २ ॥[^2] अहोबलसुधीगर्भसुधाम्बुधिसुधाकरः । कल्यलक्ष्मीनृसिंहाख्यः[^3] करोति कविकौमुदीम् ॥ ३ ॥ तत्खेलन्तु मम त्रिलोकभुवनस्थेमोपरामोद्धुर- श्रीबालाचरणारविन्दकरुणाधारानुकारोज्ज्वलाः। तीव्रभ्राम्यद मन्दमन्दरधरप्रक्षुण्णदुग्धार्णव- त्वङ्गतुङ्गतरङ्ग रिङ्गणघनोज्ज़म्भा निगुम्भा गिराम् ॥ ४ ॥ Abbreviations: A: Paper Ms. (complete), B: Palm-leaf Mss. ( fragment )-both from Mysore. M: Incomplete Ms. of Madras described in the Descriptive Catalogue of Sanskrit Mss. Vol. XX pp. 8021-3. The text followed is mainly of A. 1. M. has the following invocation of Ganapati at the beginning in lieu of अनुसंहितं which is the second verse here:- वस्तु तद्वस्तुतः सद्वज्जगदाभति यत्सतः । निस्तुलस्वस्तिलाभाय हस्तिमस्तकमस्तु वः ॥ 2. M has two more invocatory verses after this before verse अहोचल etc. which is third in our text : भिन्ते यत्तनुकान्तिरन्तरुदितध्वान्तत्रजं योगिनां यत्सेवा निगमागमाब्धितराणः सा भारती मदिराम् । क्रव्यादकथनोत्कदिक रिघटाकण्ठावलीचङ्कणद्- घण्टाजालघणघणारवजयोत्कण्ठामकुण्ठ क्रियात् ॥ (Cf. the second half of this verse with II. 2 infra). आर्द्रागिः कुपितां करोहतकषामा सदुपमियत: प्रेक्ष्य स्वां जननीं पिधाय नयने भीत्या कराभ्यां द्रुतम् । पश्यन्नङ्गुलिरन्ध्रतस्तव सतो नात्रेति घुष्यन् भृशं घातो मूर्छुपा गाढमनया कृष्णः स पुष्णातु नः ॥ 3. M कविर्लक्ष्मीनृसिंहार्यः ENGLISH TRANSLATION Poets' Moonlight CANTO I 1. May that singular God our sin dispel In whose battle with fiends The bow, string and shaft alike Turned circular discus-like. 2.May that Supreme One be gracious, That Light unparalleled with an elephant's form, Whose trumpeting sound when meditated upon Serves God as material for fashioning the world At the time of creation. 3. This 'Poets' Moonlight' is the work of one Kalya Lakşmi-nṛsimha by name Who is a moon to the milky sea of the heart Of the famous scholar Ahobala. 4. Now let my measured words begin their sportTo the grace of the lotus-feet of Laksmi they are kin, In making or breaking the three worlds at will; They shall dance like waves so high and lovely Of the Ocean of Milk when churned to foam By the mountain Mandara violently stirred. 1. The allusion is to Visņu, the wielder of the discus called Sudarśana (= 'handsome'). The author hints that every means at his disposal will turn circular ' or ironical in his poetic raillery against social ills, even as any and every weapon of Vişņu turned into a discus when the need arose. 2. Here the elephant-faced god Ganesa is alluded to. The poet identifies him with the Absolute Reality of Vedanta, and adds the poetic fancy that this Sound is 'nāda-brahma' is the raw-material out of which the world is created. 3. This is only a euphemism for saying that he is Ahobala's son. 4. The poet is proud of his mastery over poetic expression and believes that it is the gift of the goddess whom he worships. The unfailing power of his words to make and unmake is comparable ly to the divine will; their spontaneous verflow reminds him of the mythological churning of the Ocean of Milk by gods and demons. This is a typical example of circumlocution. अथ कोकिलान्योक्तयः कोऽयमकारणकरुणः कोकिलकुलनायको मम श्रवसि । पञ्चमरुतगलदमृतैस्सिञ्चति कटुफेरवारवज्वलिते ॥ ५ ॥ कल्याणं भवतेऽस्तु कोकिलकुलाकल्पाय येन श्रुति- क्रूरकोष्टुरुतार्दितं कलरवैर्विश्वं समाश्वासितम् । अत्यन्ताभ्यसनाभ्युदित्वरबृहन्नादावबोधोल्लस- च्छब्दब्रह्मरसानुभूतिजनितानन्दौघनिष्यन्दिभिः ॥ ६ ॥ पिकाधीश त्वं नः श्रवणपुटपेयामृतरसैः प्रणादैरव्याजोपकृतिकृतसम्पूर्णसुकृतैः । यमालम्ब्यानन्दं वितरसि तरूणां पतिरसौ रसालो दीर्घायुः किसलयसमृद्ध्या विजयताम् ॥ ७ ॥ वनभुवि जडजन्तुसन्ततायां कलयसि किं कलकण्ठ कण्ठशोषम् । मदय मदनकेलिलोलकान्ता- कमनमनः प्रमदावने स्वनेन ॥ ८ ॥ रसालो विख्यातः कलविहगनादास्पदमिति द्रुतं नाकाल्लोकादवतरति हंसोऽत्र कुतुकी । प्रयातास्ते दिष्ट्या पिक बलिभुजः कर्णविरसा रसालस्य ख्यातिं प्रथयितुमसावेव समयः ॥ ९ ॥ To the Cuckoo [^5] Why is the cuckoo, the best of its kind, So kindly for no reason at all? My ears scorched by vixenish cries It soothes by nectar-strains so sweet! [^6] I wish thee good luck, O best of singing birds! For thou delightest the world distraught By the piercing yelps of wild jackals; Piping thy songs so sweet and gay, Thy songs that breathe ecstatic delight, Brimming with taste of bliss divine In music sublime through melody attained By dint of practice again and again. [^7] O best of birds, if regaled we are By the sweetest nectar of thy song Poured forth in thy goodness out to aid Others in distress and not for gain, It is because the mango-tree provides A support so firm and fine to thee. May, then, that tree for ever thrive With wealth of tender shoots and leaves. [^8] O songster sweet, thy voice is wasted In woodland wild with teeming beasts; I wish thou thrilled the hearts of lovers That keep their vigil in bowers sweet. [^9] The Swan from heaven to earth descends To meet the mango-tree renowned As a shelter of songbirds sweet; By luck, the screeching crows are gone And now is thine opportunity To sing the glory of the lovely tree. [^5] The indirect reference is to the genuine poet all but ignored amidst poetasters. [^6] The conscious art of the poet leading to inevitable delight is the subject of this quatrain. [^7] The implicit meaning relates to the poet's best wishes for his patron. [^8] The poet feels that the atmosphere of a royal court is more conducive to poetry than the countryside. [^9] The swan represents a literary critic with fine sensibility; in whose presence, the poet's muse will flow out in praise of his great patron. काके कर्णपुटीकठोरनिनदे पीयूषधारारस- स्यन्दोदञ्चितचारुपञ्चमरुते साधारणे मय्यपि। वन्यां वृत्तिमयं व्यधादिति मुधा वत्स व्यथां मा कृथाः क्व क्वैवं न कृतं जनेषु निकृतं दुर्मेधसा वेधसा ॥१०॥ उच्चावचं न कुरुत स्वनितं पतङ्गा- स्तूर्णं मुखानि पशवो मुकुलीकुरुध्वं । कर्णं प्रदाय रसिकाः कलयन्तु हर्षं तारं तनोति रणितं तरुणः पिकोऽयम् ॥११॥ काकानां प्रीतियोगं चिरसहवसतिं कोकिलापेक्षसे चेत् तर्हि त्वं तद्वदेव श्रवणपुटपटून् कुत्सितान्कूज शब्दान् । अभ्यासस्तत्र नो चेत्तव गलदमृता गीरियं गुप्यतां वा तामाकर्ण्य स्वजातेरननुगुणगुणं त्वाममी सन्त्यजेयुः ॥१२॥ पलाशौघं पाण्डुं पतितकुसुमं वृन्तनिचयं लताजालं जीर्णं जलरुहकुलं कर्कशदलम् । अभृङ्गीसङ्गीतं तरुसमुदयं वीक्ष्य सदयं मुहुर्ध्यायंध्यायं मनसि सुरभिं मूर्च्छति पिकः ॥१३॥ प्रेम्णा नित्यं फलकिसलयैः प्रीणयामास यस्त्वाम् व्याप्ता यस्माजगति भवतो वाग्विभूतेश्च कीर्तिः । मासे तस्मिन्नखिलसुमनोमेदुरामोदहेता- वस्तं याते परभृतपते वाग्विरामो वरं ते ॥१४॥