Clay Sanskrit Library (18 Books)

Table of contents :
The Emperor of the Sorcerers The Meeting on the Riverbank (pp. 129-153).pdf
What Ten Young Men Did What Mitragupta Did (pp. 414–449).pdf
The Ocean of the Rivers of Story Attainment I Seventh Wave (pp.162-181).pdf
The Heavenly Exploits The Story of Makandika the Wanderer (pp. 309-333).pdf
The Emperor of the Sorcerers A Glimpse of Breasts (pp. 389-399).pdf
River of Rasa (pp. 188–199).pdf
Ramayana IV Kishkindha Rama Reproached (14-18, pp. 101-131).pdf
Ramayana I Boyhood The Creation of Poetry (2-4, pp. 43-61).pdf
Ocean of the Rivers of Story Attainment IV (pp.70–83).pdf
Mahabharata VIII Karna The Slaying of Karna (pp.370-389)).pdf
Mahabharata VI Bhishma Bhagavad Gita (pp.172-193).pdf
Mahabharata V Preparations for War Vidura's Teachings (pp.236-255).pdf
Mahabharata V Preparations for War Shikhandini Becomes Shikhandin (pp.664-679).pdf
Love Lyrics Bilhana The Love Thief (pp.286-301).pdf
How the Nagas Were Pleased Act Two (pp. 58-71).pdf
Handsome Nanda Sundari's Request (pp. 80–93).pdf
Gita Govinda Love Songs of Radha and Krishna (pp. 90–95).pdf
Five Discourses on Worldly Wisdom Book III (pp. 353–375).pdf

Citation preview

Isabelle Onians translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

What Ten Young Men Did is a coming-of-age novel from the seventh century CE. In combat and in the bedroom, ten individuals juggle virtue and vice on their heroic progress from adolescence to maturity.

CLAY SANSKRIT LIBRARY

what ten young men did

What ten young men Did by dandin

dandin

onians clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Translated by ISABELLE ONIANS

Here is a new Clay Sanskrit Library translation of Dandin’s What Ten Young Men Did. Famed for his linguistic virtuosity and literary-aesthetic insight, Dandin created a novel that anticipates aspects of modernity, through both its elevation of the individual and its attention to inner psychological processes. What Ten Young Men Did is autobiographical in two senses: each of the youths narrate their personal experiences, while the author could not have written with such confident realism had he not had many of the same picaresque adventures in his native South India and beyond. Composed in exquisite prose—unlike the majority of classical Sanskrit literature, which is in verse—Dandin’s book is distinguished by its worldly approach. Real men and women find themselves in a variety of predicaments, from the naturalistic to the fantastic. Morality competes against satire, magic assists cynical stratagems, and ideal love is married with eroticism. The ten stories culminate in the youths’ practiced wisdom and world domination.

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

EDITED BY RICHARD GOMBRICH

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

c  by the CSL. Copyright ! All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following Websites: www.claysanskritlibrary.com www.nyupress.org.

ISBN ---

Artwork by Robert Beer. Cover design by Isabelle Onians. Layout & typesetting by Somadeva Vasudeva. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

What Ten Young Men Did by Dan .d . in

TRANSLATED BY

ISABELLE ONIANS

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

Contents Sanskrit alphabetical order CSL conventions

 

WHAT TEN YOUNG MEN DID Introduction



Part I: Postscript Beginning Chapter : The Origins Of The Young Men Chapter : A Favor For The Brahmin Chapter : What Soma·datta Did Chapter : What Pushp´odbhava Did Chapter : What Raja·v´ahana Did

    

Part II: Dandin’s Dasha·kum´ara·ch´arita Chapter : What Raja·v´ahana Did Next Chapter : What Apah´ara·varman Did Chapter : What Upah´ara·varman Did Chapter : What Artha·pala Did Chapter : What Pr´amati Did Chapter : What Mitra·gupta Did Chapter : What Mantra·gupta Did Chapter : What V´ıshruta Did

       

Part III: Postscript Conclusion Chapter : What V´ıshruta Did Next Chapter : Finale

 

Notes  Cast Of Characters  Index  A sandhi grid is printed on the inside of the back cover

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

    

.

.

.

.

‹Aho! raman.¯ıyo ’yam . parvata A nitamba A bh¯agah., k¯antatar” eˆyam . gandhaAp¯as.a¯n.avaty upatyak¯a, ´si´siram idam ind¯ıvar’ A aˆravinda A makaranda A bindu A candrak’ A oˆ ttaram . gotra A v¯ari, ramyo ’yam an A eka A varn.a A kusuma A ma˜njar¯ıA ma˜njulataras taruAvan’Aa¯bhoga iti!› aAtr.ptataray¯a dr.´sa¯ bahuAbahu pa´syann aAlaks.it’Aaˆdhy¯ar¯ud.haA ks.on.¯ıAdharaA´sikharah. ´son.¯ıbh¯utam utprabh¯abhih. padmaAr¯aga A sop¯ana A ´sil¯abhih. kim api n¯al¯ıka A par¯aga A dh¯usaram . sarah. samadhyagamam. tatra sn¯ata´s ca k¯am . ´s cid amr.taAsv¯ad¯un bisa A lagna A kalh¯ aras t¯ara A vartin¯a ken’ sa A bha˙ng¯an a¯sv¯adya, am . aˆpi bh¯ımaAr¯upen.a brahmaAr¯aks.asen’ aˆbhipatya: ‹Ko ’si? kutastyo ’s’ ˆıti?› nirbhartsayat” aˆbhyadh¯ıye. nirbhayena ca may¯a so ’bhyadh¯ıyata: ‹Saumya so ’ham asmi dvi A janm¯a. ´satru A hast¯ad arn.avam, arn.av¯ad YavanaAn¯avam, YavanaAn¯ava´s citraAgr¯av¯an.am enam . parvata A pravaram gato yadr cchay” a smin sarasi vi´ s r¯ a ntah ˆ . . .. bhadram . tav’ eˆti.› So ’br¯uta: ‹Na ced brav¯ıs.i pra´sn¯an a´sn¯ami tv¯am iti.› May” oˆ ktam: ‹Pr.cch¯a t¯avad bhavatu! iti› Ath’ a¯vayor ekay” a¯ryay” a¯s¯ıt saml¯apah.: ‹Kim . kr¯uram . ?› ‹str¯ıAhr.dayam . .› ‹Kim . gr.hin.ah. priyaAhit¯aya?› ‹d¯araAgun.a¯h..› 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  ‘Ah, how delightful is this mountain flank! How very charming this lowland with its sulfurous green and yellow stones! This mountain brook has cool water, moonlets of blue lotus nectar drops on its surface. And this forest expanse is particularly attractive, with clusters of multi-colored flowers.’ My sight was not in the least satiated, but I kept on looking all around, without noticing that I had ascended to the peak of the earth-bearing mountain. There I discovered a pool, dusky-gray with lotus pollen, and ruddy with reflections from the ruby rocks forming its steps. I bathed, tasted some lotus fibers sweet as ambrosia, and had draped some white water lilies about my shoulders when a hideous-looking brahmin demon who lived on its bank fell upon me.* ‘Who are you? Where have you come from?’ I was interrogated with menace. Fearless, I answered him: ‘Gentle sir, I am a twice-born brahmin. Chance took me from the hand of my enemy into the ocean, from the ocean onto a Greek ship, and from the Greek ship to this superlative mountain of fabulous colored rocks, where I was resting beside this pool. Blessings be upon you.’ He said: ‘If you cannot answer my questions, I will eat you up.’ I replied: ‘Go ahead, ask!’ Our interchange fitted into a single arya verse:* ‘What is cruel?’ ‘The heart of a woman.’ ‘What is dear and beneficial for a householder?’ ‘The virtues of a housewife.’ 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

.

.

.

.

     ‹Kah. k¯amah.?› ‹sa˙nkalpah..› ‹Kim . dus.karaAs¯adhanam . ?› ‹praj˜na¯.› . Tatra Dh¯umin¯ıA Gomin¯ıA Nimbavat¯ıA Nitambavatyah. pram¯an.am ity› Upadis.t.o may¯a so ’br¯uta: ‹Kathaya k¯ıdr.´syas t¯a iti!› . Atr’ oˆ d¯aharam: ‹Asti Trigarto n¯ama janaApadah.. tatr’ a¯san gr.hin.as trayah. sph¯ıta A s¯ara A dhan¯ah. s’ A oˆ dary¯a Dhanaka A Dh¯anyaka A Dhanyak’Aa¯khy¯ah.. tes.u j¯ıvatsu na vavars.a vars.a¯n.i dv¯ada´sa Da´saA´sat’A aˆks.ah.. Ks.¯ın.a A s¯aram . sasyam, os.adhyo vandhy¯ah., na phalavanto vanaspatayah., kl¯ıb¯a megh¯ah., ks.¯ın.a A srotasah. sravantyah., pa˙nka A´ses.a¯n.i palval¯ani, nir A nisyand¯any utsa A man.d.al¯ani, viral¯ıbh¯utam . kanda A m¯ula A phalam, avah¯ın¯ah. kath¯ah., galit¯ah. kaly¯an.’Aoˆ tsavaAkriy¯ah., bahul¯ıbh¯ut¯ani taskaraAkul¯ani, . anyonyam abhaks.ayan praj¯ah., paryalut.hann itasAtato bal¯ak¯a A p¯an.d.ur¯an.i nara A ´sirah. A kap¯al¯ani, paryahin.d.anta ´sus.k¯ah. k¯akaAman.d.alyah., ´su¯ ny¯ıbh¯ut¯ani nagaraAgr¯amaAkharvat.aAput.aA bhedan’Aa¯d¯ıni. Ta ete gr.haApatayah. sarvaAdh¯anyaAnicayam upayujy’ aˆj’Aaˆvikam . gavalaAgan.am . gav¯am . y¯utham . d¯as¯ıAd¯asaAjanam apaty¯ani jyes.t.haAmadhyamaAbh¯arye ca kramen.a bhaks.ayitv¯a: 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  ‘What is desire?’ ‘Imagination.’ ‘What is the means to achieve the difficult?’ ‘Wisdom. And of these responses the respective proofs are: Dh´umi- . ni, G´omini, N´ımbavati and Nit´ambavati.’ When I had added that, he asked: ‘Tell me, what sort of women are these?’* . Thus I related:* ‘There was a land called Tri·garta.* In that land there were three householders, full brothers, of swollen wealth and property. Their names were Dh´anaka, Dh´anyaka and Dhanyaka—“Richard,” “Ritchie,” and “Rick.”* During their lifetime it came to pass that Indra of the thousand eyes withheld rain for twelve years.* The grain lost its kernel, plants became sterile, trees bore no fruit, the clouds were barren, streams lost their current, pools were no more than mud, springs all around ceased to flow, bulbs, roots and fruit were scarce, communication dried up, auspicious festivals and rituals melted away, and the community of thieves multiplied. The population fed on one another, human skulls pale as . cranes rolled about hither and thither, rookeries of parched crows roamed about, and cities, villages, market towns, towns and everywhere became desolate. The aforementioned householders first used up all their stores of grain, before consuming in turn goats and sheep, their stock of buffaloes, their herd of cows, their female and male slaves, their children, and then the wives of the eldest and the middle brother. In the end they decided: 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     «Kanis.t.haAbh¯ary¯a Dh¯umin¯ı ´svo bhaks.an.¯ıy” eˆti.» .

samakalpayan. ayam . kanis.t.ho Dhanyakah. priy¯am . sv¯am attum aAks.amas tay¯a saha tasy¯am eva ni´sy ap¯asarat. m¯argaA kl¯ant¯am . c’ oˆ dvahan vanam . jag¯ahe. Sva A m¯am . s’ A aˆsr.g A apan¯ıta A ks.ut A pip¯as¯am . t¯am . nayann antare kam api nikr.ttaAp¯an.iAp¯adaAkarn.aAn¯asikam avaniApr.s.t.he vices.t.am¯anam . purus.am adr¯aks.¯ıt. tam apy a¯rdr’Aa¯´sayah. skandhen’ oˆ dvahan kandaAm¯ulaAmr.gaAbahule gahan’Aoˆ dde´se yatnaAracitaAparn.aA´sa¯la´s ciram avasat. amum . ca ropitaAvran.am i˙ngud¯ıA tail’Aa¯dibhir a¯mis.en.a ´sa¯ken’ a¯tmaAnirvi´ses.am . pupos.a. Pus.t.am . ca tam udriktaAdh¯atum ekad¯a mr.g’Aaˆnves.an.a¯ya ca pray¯ate Dhanyake s¯a Dh¯umin¯ı riram . say” oˆ p¯atis.t.hat. bhartsit” aˆpi tena bal¯atAk¯aram ar¯ıramat. nivr.ttam . ca patim udak’Aaˆbhyarthinam:

.

«Uddhr.tya k¯up¯at piba! rujati me ´sirah. ´siroAroga iti.» uda˜ncanam . sarajjum . pura´s ciks.epa. uda˜ncantam . ca tam . k¯up¯ad apah. ks.an.a¯t pr.s.t.hato gatv¯a pran.unoda. Tam . ca vikalam . skandhen’ oˆ duhya de´sa¯d de´s’Aaˆntaram . paribhramant¯ı pativrat¯aAprat¯ıtim . lebhe bahuAvidh¯a´s ca p¯uj¯ah.. punar AvantiAr¯aj’Aaˆnugrah¯ad atimahaty¯a bh¯uty¯a nyavasat. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  “Tomorrow we will eat Dh´umini, our youngest brother’s wife.” This youngest brother, Dhanyaka, could not bear to eat . his beloved. So that very night he fled, taking her with him. She became exhausted by the journey. With her on his shoulders they entered the forest. He warded off her hunger and thirst with his own flesh and blood and carried her on into the jungle. There on the way he saw a man writhing on his back, his hands, feet, ears and nose all amputated.* Dhanyaka’s heart melted and he bore him too on his shoulders until they came to a place deep in the wood where there were many bulbs, roots and deer. Here he labored to construct a leaf-shelter, where they lived for a long while. Dhanyaka healed the other man’s wounds with such treatments as ´ıngudi oil, and he nourished him the same as himself with meat and vegetables. One day, when Dhanyaka had gone off to hunt for deer, Dh´umini wanted to enjoy herself and attended on the other man, now well fed and abounding in precious bodily fluids. Although he rebuffed her, she forcefully had her way. When her husband returned he asked for water, but she said: “Draw some from the well to drink. My head is splitting . with a headache.” With which she tossed before him bucket and rope. Then, when he was drawing water from the well, she was behind him in a moment, and pushed him in. Dh´umini took the cripple on her shoulders and roamed from country to country. Acquiring a reputation as a pati·vrata, a “faithful wife,” she also received every kind of 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     .

Atha p¯an¯ıy’ A aˆrthi A s¯artha A jana A sam¯apatti A dr.s.t.’ A oˆ ddhr.tam Avantis.u bhramantam a¯h¯ar’Aaˆrthinam . bhart¯aram upalabhya s¯a Dh¯umin¯ı: «Yena me patir vikal¯ıkr.tah. sa dur¯atm” aˆyam iti!» Tasya s¯adho´s citraAvadham aj˜nena r¯aj˜na¯ sam¯ade´say¯am . cak¯ara. Dhanyakas tu datta A pa´sc¯ad A bandho vadhya A bh¯umim . n¯ıyam¯anah. saA´ses.atv¯ad a¯yus.ah.:

.

«Yo may¯a vikal¯ıkr.to ’bhimato bhiks.uh. sa cen me p¯apam a¯caks.¯ıta yukto me dan.d.a iti.» aAd¯ınam adhikr.tam . jag¯ada. «Ko dos.a iti?»

.

upan¯ıya dar´site ’mus.min sa vikalah. parya´sruh. p¯adaApatitas tasya s¯adhos tatAsukr.tam aAsaty¯a´s ca tasy¯as tath¯aAbh¯utam . du´scaritam a¯rya A buddhir a¯cacaks.e. kupitena r¯aj˜na¯ vir¯upita A mukh¯ı s¯a dus.kr.ta A k¯arin.¯ı kr.t¯a ´svabhyah. p¯acik¯a. kr.ta´s ca Dhanyakah. pras¯adaAbh¯umih.. tad brav¯ımi: «Str¯ıAhr.dayam . kr¯uram iti.» › Punar anuyukto Gomin¯ıAvr.tt’Aaˆntam a¯khy¯atav¯an:

.

‹Asti Dravid.es.u K¯an˜ c¯ı n¯ama nagar¯ı. tasy¯am an A eka A kot.i A ´ s¯arah. ´sres.t.hiAputrah. Sakti Akum¯aro n¯am’ a¯s¯ıt. so ’s.t.a¯Ada´saAvars.aAde´s¯ıya´s cint¯am a¯pede: 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  worship. Eventually the king of Av´anti Ujj´ayini granted her his favor, so that she came to live in enormous prosperity. One day our Dh´umini caught sight of her erstwhile hus- . band wandering through Av´anti, begging for food. By chance he had been spotted and pulled out of the well by caravan traders looking for water. She accused: “This brute is the man who disfigured my husband!” Thereby she had the unknowing king sentence the good man to a violent death. But when Dhanyaka was being led to the execution ground, his hands bound behind his back, he boldly called to the one in charge of him, his life not over yet: “If the beggar I am charged with having mutilated con- . demns me himself, then I deserve the punishment.” The officer thought: “What harm in checking?” He took Dhanyaka and showed him to the cripple, who . threw himself at the good man’s feet in floods of tears. Noble-minded himself, he proclaimed the good deeds the accused had done, and all the evil actions of that wicked wife. The furious king had the evildoer’s face disfigured and made her a dog-eater, an outcaste.* Dhanyaka, on the other hand, he made the object of his generosity. This is the story that prompts me to conclude: “A woman’s heart is cruel.” ’ Questioned again, I told G´omini’s story:* ‘There was in the Dravidian country a city called Kan- . chi.* There lived a merchant’s son named Shakti·kum´ara, a multimillionaire in wealth. When he was about to turn eighteen the thought struck him: 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     «N’ aˆsty aAd¯ar¯an.a¯m anAanugun.aAd¯ar¯an.a¯m . v¯a sukham . n¯ama. tat katham . nu gun.avad vindeyam . kalatram? iti» Atha paraApratyay’Aa¯hr.tes.u d¯ares.u y¯adr.cchik¯ım . sam . pattim anAabhisam¯ıks.ya k¯art’Aaˆntiko n¯ama bh¯utv¯a vastr’AaˆntaApinaddhaA´sa¯liAprastho bhuvam . babhr¯ama. .

«Laks.an.aAj˜no ’yam iti.» amus.mai kany¯ah. kany¯avantah. pradar´say¯am . babh¯uvuh.. y¯am . kany¯am . dr.s.t.v¯a sa ki. k¯an˜ cil laks.an.avat¯ım . sa A varn.a¯m la sma brav¯ıti: «Bhadre, ´saknos.i kim anena ´sa¯li A prasthena gun.avad annam asm¯an abhyavah¯arayitum? iti»

.

So hasit’Aaˆvadh¯uto gr.h¯ad gr.ham . pravi´sy’ aˆbhramat. ´ . u K¯aver¯ıAt¯ıraApattane saha pitr.bhy¯am avasitaA Ekad¯a tu Sibis maha” A rddhim ava´s¯ırn.a A bhavana A s¯ar¯am . dh¯atry¯a pradar´syam¯an¯am . kum¯ar¯ım . dadar´sa. asy¯am . . k¯an˜ cana viralaAbh¯us.an.a¯m sam . saktaAcaks.u´s c’ aˆtarkayat: «Asy¯ah. khalu kanyak¯ay¯ah. sarva ev’ aˆvayav¯a n’ aˆti A sth¯ul¯a n’ aˆtiAkr.´sa¯ n’ aˆtiAhrasv¯a n’ aˆtiAd¯ırgh¯a na vikat.a¯ mr.j¯avanta´s ca.

.

Rakta A tal’ A aˆn˙ gul¯ı yava A matsya A kamala A kala´s’ A a¯dy A an A eka A pun.yaAlekh¯aAl¯an˜ chitau karau, samaAgulphaAsandh¯ı m¯am . sal¯av a A ´sir¯alau c’ aˆn˙ ghr¯ı, ja˙nghe c’ aˆnu A p¯urva A vr.tte, p¯ıvar’ A uˆ ru A graste iva durAupalaks.ye j¯anun¯ı, sakr.dAvibhakta´s caturAasrah. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  “There is no happiness for those who have no wife, nor for those who have the wrong sort of wife. But how am I to find a wife with qualities?” Not expecting chance success with a wife chosen on the advice of others, he disguised himself as a fortune-teller, and with a package of rice tied up in the hem of his clothes he travelled the earth. When they saw him, all those with daughters thought: . “He has the auspicious marks.” Hence they brought their daughters to show him. But every time he was presented with a maiden with the auspicious marks and of his caste,* he asked her, the story goes: “Good lady, are you able to prepare for us some good food with this kilo of rice?” Laughed at and rejected, he roamed in this fashion from . house to house. Then one day among the Shibis, in a town on the bank of the Kav´eri River,* he saw a maiden with hardly any ornaments, presented to him by her nurse. She had lost not only her parents but also her great wealth, and her house and property had been dispersed. His eyes riveted on her, he considered: “Not one of this girl’s limbs is too thick or too thin, too short or too long. They are none of them deformed but are all splendid. Her two hands with their red, hennaed fingers and palms . are bedecked with many auspicious marks such as barleycorn, fish, lotus, vase and the rest.* Her strong calves have even ankles and are free of prominent veins, her legs taper regularly, and her two knees are scarcely visible but, as it 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     kakundara A vibh¯aga A´sobh¯ı rath’ A aˆn˙ g’ A a¯k¯ara A sam . sthita´s ca nitambaAbh¯agah., tanutaram ¯ıs.anAnimnam . gambh¯ıram . n¯abhiA man.d.alam . , valiAtrayen.a c’ aˆlam . kr.tam udaram; urobh¯aga A vy¯apin¯av unmagna A c¯ucukau vi´sa¯l’ A a¯rambha A´sobhinau payodharau, dhana A dh¯anya A putra A bh¯uyastva A cihna A lekh¯aAl¯an˜ chitaAtale snigdh’Aoˆ dagraAkomalaAnakhaAman.¯ı r.jvAanup¯urvaAvr.ttaAt¯amr’Aaˆn˙ gul¯ı sam . nat’Aaˆm . saAde´se saukum¯aryavatyau nimagnaAparvaAsandh¯ı ca b¯ahuAlate; tanv¯ı kambu A vr.tta A bandhur¯a ca kandhar¯a, vr.tta A madhya A vibhakta A r¯ag’ A aˆdharam a A sa˙nks.ipta A c¯aru A cibukam a¯p¯urn.a A kat.hina A gan.d.a A man.d.alam a A sa˙nga A t¯anu A vakra A n¯ıla A snigdha A bhr¯u A latam an A atipraud.ha A tila A kusuma A sadr.´sa A n¯asikam a A sita A dhavala A rakta A tri A bh¯aga A bh¯asura A madhur’ A aˆdh¯ıra A san˜ c¯ara A manthar’ A a¯yat’ A e¯ks.an.am indu A ´sakala A sundara A lal¯at.am indra A n¯ıla A´sil” A a¯k¯ara A ramy’ A aˆlaka A pa˙nkti dvi A gun.a A kun.d.alita A ml¯ana A n¯al¯ıka A n¯ala A lalita A lamba A´sravan.a A p¯a´sa A yugalam a¯nana A kamalam; .

an A atibha˙nguro bahulah. paryante ’py a A kapila A rucir a¯y¯amav¯an ek’ A aˆika A nisarga A sama A snigdha A n¯ılo gandha A gr¯ah¯ı ca m¯urdhajaAkal¯apah.. S” eˆyam a¯kr.tir na vyabhicarati ´s¯ılam. a¯sajjati ca me hr.dayam asy¯am eva. tat par¯ıks.y’ aˆin¯am udvaheyam. a A vimr.

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  were, are swallowed up by her plump thighs. The radiant region of her hips is perfectly symmetrical and all square, and her buttocks curved like chariot wheels. The very graceful circle of her navel is deep and slightly indented, and her belly is decorated with the ideal three folds. Her breasts are lovely, with broad beginnings, covering her whole bosom, and pert nipples. Her long slim arms with their discreet joints flow ever so softly from her sloping shoulders. Their surface is decorated with marks signifying an abundance of wealth, grain and sons. Her nails are like red jewels, glossy, long and delicate, and her fingers straight, regularly rounded and reddish. Her slender neck is curved and undulating like a conch shell. Her face is a lotus. Her red lips pout in the middle, and her dear chin is strong and present. The globes of her cheeks are full and firm, her blue-black glistening gracefully arched eyebrows do not join, her nose is like a sesame flower in first bloom. Her eyes, deep and long, are black and white, and red in the outer corners, shining, rolling and sweetly tremulous. Her brow is lovely as the crescent moon. Her fringe of delightful locks is like sapphire gems. And the lobes of her twin beautiful ears are adorned with twicecoiled wilting lotus stalks. Her whole head of hair was not too curled, and plentiful, . and even at the very tips not tawny in color, long, blue-black and glossy, each strand growing evenly, and sweet-smelling. This body before me must represent also her character.* My heart is set on this girl already. But I shall put her to the test before taking her in marriage. For it is a fact that regret 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     ´sya A k¯arin.a¯ hi niyatam anek¯ah. patanty anu´saya A param . par¯a iti.» SnigdhaAdr.s.t.ir a¯cas.t.a: .

«Bhadre, kaccid asti kau´salam . ´sa¯li A prasthen’ aˆnena sam .pannam a¯h¯aram asm¯an abhyavah¯arayitum? iti» Tatas tay¯a vr.ddhaAd¯as¯ı s’Aa¯k¯utam a¯lokit¯a. tasya hast¯at prasthaAm¯atram . dh¯anyam a¯d¯aya kva cid alind’Aoˆ dde´se suAsiktaA sam . mr.s.t.e dattaAp¯adaA´saucam up¯ave´sayat. s¯a kany¯a t¯an gandha A ´sa¯l¯ın sa˙nks.udya m¯atray¯a vi´sos.y’ a¯tape muhur muhuh. parivartya sthiraAsam¯ay¯am . bh¯umau n¯al¯ıApr.s.t.hena mr.duAmr.du ghat.t.ayant¯ı tus.air a A khan.d.ais tan.d.ul¯an pr.thak cak¯ara. jag¯ada ca dh¯atr¯ım: «M¯atah., ebhis tus.air arthino bh¯us.an.aAmr.j¯aAkriy¯aAks.amaih. svarn.a A k¯ar¯ah.. tebhya im¯an dattv¯a labdh¯abhih. k¯akin.¯ıbhih. sthiratar¯an.y an A aty A a¯rdr¯an.i n’ aˆti A´sus.k¯an.i k¯as.t.h¯ani, mitam .A pac¯am . sth¯al¯ım ubhe ´sar¯ave c’ a¯har’ eˆti!»

.

Tath¯aAkr.te tay¯a t¯am . s tan.d.ul¯an anAatiAnimn’Aoˆ tt¯anaAvist¯ırn.aA kuks.au kakubh’Aoˆ l¯ukhale lohaApatraAves.t.itaAmukhena samaA ´sar¯ıren.a vibh¯avyam¯anaAmadhyaAt¯anavena vy¯ayatena gurun.a¯ kh¯adiren.a musalena catura A lalit’ A oˆ tks.epan.’ A aˆvaks.epan.’ A a¯y¯asitaAbhujam aAsakr.d a˙ngul¯ıbhir uddhr.ty’ oˆ ddhr.ty’ aˆvahatya ´su¯ rpa A ´sodhita A kan.a A kim . s tan.d.ul¯an a A sakr.d adbhih. . ´sa¯ruk¯am praks.a¯lya, kvathita A pa˜nca A gun.e jale datta A cull¯ıA p¯uj¯a pr¯aks.ipat. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  succeeds regret in succession for the man who acts without deliberation.” With an affectionate look he asked: “Good lady, do you have the skill to prepare for us a . wonderful meal from this kilo of rice?” In response she gave the old servant woman a meaningful look. Taking the kilo of rice grain from the man’s hand, the old lady gave him water to clean his feet before inviting him to sit down on the terrace before the door, well sprinkled and swept. The girl pounded the fragrant rice a little,* and dried it in the sun, turning it over many times. Then, rubbing it ever so delicately with the back of a stalk on some firm and even ground, she separated the grains from the unbroken husks. She directed her nurse: “Mother, the goldsmiths need these husks to polish their jewelry. Give them these and with the small change you get in return* bring some solid firewood, not too sappy and not too dry, a small clay cooking pot, and a pair of platters.” When the old woman had done all that, the girl took a . long, heavy kh´adira wood pestle of solid body with slender middle, its face dressed in a sheet of iron, and a k´akubha wood mortar whose belly was not too deep, but shallow and broad.* Placing those grains in the mortar, she fatigued her arms tossing the pestle up and throwing it down with graceful skill. All the time she kept separating, lifting and threshing the rice with her fingers. With a winnowing basket she sieved off dust and the noxious awn. Then she washed the grains many times with water, and, offering a small amount in sacrifice to the hearth, she threw the rice into boiling water five times its quantity. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     Pra´slath’ A aˆvayaves.u prasphuratsu tan.d.ules.u mukul’ A aˆvasth¯am ativartam¯anes.u sa˙nks.ipy’ aˆnalam upahitaAmukhaApidh¯anay¯a sth¯aly” aˆnna A man.d.am ag¯alayat. darvy¯a c’ aˆvaghat.t.ya m¯atray¯a parivartya samaApakves.u sikthes.u t¯am . sth¯al¯ım adhoAmukh¯ım av¯atis.t.hipat. Indhan¯any antah. A s¯ar¯an.y ambhas¯a samabhyuks.ya pra´samit’Aaˆgn¯ıni kr.s.n.’Aaˆn˙ g¯ar¯ıkr.tya tadAarthibhyah. pr¯ahin.ot: .

«Ebhir labdh¯ah. k¯akin.¯ır dattv¯a ´sa¯kam . ghr.tam . dadhi tailam a¯malakam . ci˜nc¯aAphalam . ca yath¯aAl¯abham a¯nay’ eˆti!» Tath” aˆnus.t.hite ca tay¯a dvitr¯an upadam . ´sa¯n upap¯adya tadA anna A man.d.am a¯rdra A v¯aluk” A oˆ pahita A nava A´sar’ A aˆvagatam atimr.dun¯a t¯ala A vr.nt’ A aˆnilena ´s¯ıtal¯ıkr.tya sa A lavan.a A sambh¯aram . datt’Aaˆn˙ g¯araAdh¯upaAv¯asam . ca sam . p¯adya, tad apy a¯malakam . ´slaks.n.aApis.t.am utpalaAgandhi kr.tv¯a dh¯atr¯ıAmukhena sn¯an¯aya tam acodayat. Tay¯a ca sn¯anaA´suddhay¯a dattaAtail’Aa¯malakah. kramen.a sasnau. sn¯atah. sikta A mr.s.t.e kut.t.ime phalakam a¯ruhya p¯an.d.u A haritasya triAbh¯agaA´ses.aAl¯unasya a˙ngan.aAkadal¯ıApal¯a´sasy’ oˆ pari ´sar¯avaAdvayam . dattam a¯rdram abhimr.´sann atis.t.hat. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  When the grains of rice were quite flaccid all over and swelling, like closed buds no longer, she reduced the fire. She strained the scum from the boiled rice by covering the mouth of the pot with its lid.* Then, with a ladle, she knocked and stirred the rice carefully around. Once the boiled rice was evenly cooked she tipped the pot over, face downward. The firewood that was still strong inside she sprinkled with water to extinguish its fire, thus creating black charcoal. This she dispatched to those who wanted it, telling her nurse: “With the small change you receive for these pieces of . charcoal, bring whatever vegetables, ghee, curd, oil, myrobalan and tamarind fruit you can purchase.” After the old woman had done as she was asked, the girl prepared two or three vegetable relishes. She had poured the boiled rice scum down into a new grass cup placed on wet sand. Now she cooled it by fanning an extremely soft breeze with a palm leaf. She finished this preparation by adding salt and the fragrance from frankincense that she had placed on the coals. As for the myrobalan, she ground it finely to release the lotus perfume, and had her nurse press their guest to bathe. The girl was clean, having already bathed. She handed Shakti·kum´ara oil and astringent myrobalan so he could bathe and freshen up in turn. Once he had bathed, he took his place on a wooden seat on the sprinkled and swept paved floor. He sat touching the two damp platters he had been given, placed on a quarter cut from a pale-green leaf from the plantain in the courtyard. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

     .

S¯a tu t¯am . pey¯am ev’ aˆgre samup¯aharat. p¯ıtv¯a c’ aˆpan¯ıt’ A aˆdhva A klamah. prahr.s.t.ah. praklinna A sakala A g¯atrah. sthito ’bh¯ut. tatas tasya ´sa¯lyAodanasya darv¯ıAdvayam . dattv¯a sarpirA m¯atr¯am . s¯upam upadam´sam . c’ oˆ pajah¯ara. imam . ca dadhn¯a ca tri A j¯atak’ A aˆvac¯urn.itena surabhi A ´s¯ıtal¯abhy¯am . ca k¯ala´seya A k¯an˜ jik¯abhy¯am . ´ses.am annam abhojayat. saA´ses.a ev’ aˆndhasy as¯av atr.pyat. Ay¯acata ca p¯an¯ıyam. atha navaAbhr.n˙ g¯araAsambhr.tam aAguruAdh¯upaAdh¯upitam abhinavaAp¯at.al¯ıAkusumaAv¯asitam utphull’Aoˆ tpalaAgrathitaAsaurabham . . v¯ari n¯al¯ıAdh¯ar’Aa¯tman¯a p¯atay¯am babh¯uva. So ’pi mukh’ A oˆ pahita A ´sar¯aven.a hima A ´si´sira A kan.a A kar¯alit’ A aˆrun.a¯yam¯an’ A aˆks.i A paks.m¯a dh¯ara A rav’ A aˆbhinandita A ´sravan.ah. spar´sa A sukh’ A oˆ dbhinna A rom’ A a¯n˜ ca A karka´sa A kapolah. parimala A prav¯al’ A oˆ tp¯ıd.a A phulla A ghr¯an.a A randhro m¯adhurya A prakars.’ A a¯varjita A rasan” A eˆndriyas tad accham . p¯an¯ıyam a¯kan.t.ham .

papau. ´ . A kam . Sirah . pa A sam . j˜na¯ A v¯arit¯a ca punar apara A karaken.’ a¯camanam adatta kany¯a. vr.ddhay¯a tu tad A ucchis.t.am apohya haritaAgomay’Aoˆ palipte kut.t.ime svam ev’ oˆ ttar¯ıyaAkarpat.am . vyavadh¯aya ks.an.am a´seta. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

 :  ·  First, she served him the aforementioned rice-gruel. When . he had drunk it he sat there refreshed, the road’s fatigue banished and his every limb rehydrated. Next, she gave him two ladles full of the good boiled rice and offered him a sauce of pure clarified butter and a relish.* Finally, she offered him the rest of the rice to eat, with curd sprinkled with the three spices (mace, cardamon and cinnamon) and with both buttermilk and sour gruel, fragrant and cool. Once he had eaten his fill there was still some food left over. He requested water. Accordingly she poured a stream of water through a tube, water that had been collected in a new pitcher and fumigated with aloe, perfumed with newly opened p´atali red begonia flowers and infused with the scent of full-blown lotuses. He then raised the dish to his mouth and from it drank his throat full of that clear water.* As he did so his eyelashes* looked reddish and magnified by drops cold as snow. His ears rejoiced in the singsong of the flowing water, his cheeks were rugged with horripilating down from the blissful sensation, his nostrils flared with the gushing flow of a stream of scent, and his tongue was prostrate with the heights of sweetness. Signalled to stop by a nod of the head, the maiden then . presented him with water from another small water pot to ritually rinse his mouth.* The old lady removed the leftovers, and when the pavement had been smeared with fresh green cow dung, Shakti·kum´ara spread out his ragged cloak and lay down for a while. 

C S L E  Isabelle Onians (csl–.)  J  : ..

DKC. V .

Isabelle Onians translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

What Ten Young Men Did is a coming-of-age novel from the seventh century CE. In combat and in the bedroom, ten individuals juggle virtue and vice on their heroic progress from adolescence to maturity.

CLAY SANSKRIT LIBRARY

what ten young men did

What ten young men Did by dandin

dandin

onians clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Translated by ISABELLE ONIANS

Here is a new Clay Sanskrit Library translation of Dandin’s What Ten Young Men Did. Famed for his linguistic virtuosity and literary-aesthetic insight, Dandin created a novel that anticipates aspects of modernity, through both its elevation of the individual and its attention to inner psychological processes. What Ten Young Men Did is autobiographical in two senses: each of the youths narrate their personal experiences, while the author could not have written with such confident realism had he not had many of the same picaresque adventures in his native South India and beyond. Composed in exquisite prose—unlike the majority of classical Sanskrit literature, which is in verse—Dandin’s book is distinguished by its worldly approach. Real men and women find themselves in a variety of predicaments, from the naturalistic to the fantastic. Morality competes against satire, magic assists cynical stratagems, and ideal love is married with eroticism. The ten stories culminate in the youths’ practiced wisdom and world domination.

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Sir James Mallinson translates and edits Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He has also translated for the CSL Budha·svamin’s Emperor of the Sorcerers (two volumes) and Messenger Poems by Kali·dasa, Dhoyi, and Rupa Go·svamin.

WWW.CL AYSANSKRITLIBRARY.COM The name of Soma·deva’s eleventh-century Ocean of the Rivers of Story is no boast: in more than 20,000 verses it tells more than 350 tales. The reader has only to enjoy being swept away in the flood of stories, said to spring from that source of so much classical Indian literature, “The Long Story.”

CSL Ocean Rivers Story vol1.indd 1

soma·deva

The Ocean of the Rivers of Story Volume One by Soma·deva

Soma·deva composed his flood of tales in Kashmir in the eleventh century CE to amuse Queen Suryávati. The vast collection is based on “The Long Story,” a now lost—perhaps legendary—repository of Indian fables, in which prince Nara· váhana·datta wins 26 wives and becomes the emperor of the sorcerers. This first volume takes us up to the middle of the third “Attainment” (of 18) and the return of Nara·váhana·datta’s father-to-be to Kaushámbi with his wives.

mallinson

By turns funny, exciting, or didactic, 350 tales within tales within tales illustrate the frame narrative or simply entertain the protagonists; and 20,000 plus verses of simple but elegant Sanskrit make the work an ideal text for students.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

the ocean of the rivers of story i

Here is a new Clay Sanskrit Library translation of Volume One (of nine) of Soma·deva’s Ocean of the Rivers of Story.

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

SIR JAMES MALLINSON

One of the best-known non-religious Sanskrit works, The Ocean of the Rivers of Story inspired, for example, Salman Rushdie’s novel . Still the best way to enjoy the text is to dive in and relish each tale in itself.

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

21/2/07 7:23:30 pm

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

GENERAL EDITOR

RICHARD GOMBRICH EDITED BY

ISABELLE ONIANS SOMADEVA VASUDEVA

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L

c  by the CSL. Copyright ! All rights reserved. First Edition . The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org. ISBN: ---- (cloth : alk. paper)

Artwork by Robert Beer. Typeset in Adobe Garamond at 10.25 : 12.3+pt. XML-development by Stuart Brown. Editorial input from Muktak Aklujkar, D´aniel Balogh, Tomoyuki Kono, Eszter Somogyi & P´eter Sz´ant´o. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L O ()  E  Sir James Mallinson  F  : ..

V .

The Ocean of the Rivers of Story Volume One by Somadeva TRANSLATED BY

SIR JAMES MALLINSON

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

Contents Sanskrit alphabetical order CSL conventions

 

THE OCEAN OF THE RIVERS OF STORY I Introduction



Attainment I—Story’s Throne Benediction First Wave Second Wave Third Wave Fourth Wave Fifth Wave Sixth Wave Seventh Wave Eighth Wave

         

Attainment II—Story’s Mouth Benediction First Wave Second Wave Third Wave Fourth Wave Fifth Wave Sixth Wave

       

Attainment III—Lav´anaka Benediction First Wave Second Wave

   

C S L O ()  E  Sir James Mallinson  F  : ..

V .

Third Wave Fourth Wave

 

Notes Index

 

Sandhi grid



C S L O ()  E  Sir James Mallinson  F  : ..

V .

Seventh Wave

C S L O ()  E  Sir James Mallinson  F  : ..

V .

«t

 . ¯ıA ’ham . r¯aj’Aaˆntikam up¯agamam tatra ca ´slokam apat.had dvijah. ka´s cit svayam . Akr.tam. tam . c’ a¯cas.t.a svayam . r¯aj¯a samyakAsam . skr.tay¯a gir¯a tatr’ a¯lokya ca tatrastho janah. pramudito ’bhavat. ´ tatah. sa Sarvavarm¯ an.am . r¯aj¯a saAvinayo ’brav¯ıt: ‹svayam kathaya devena katham . . te ’nugrahah. kr.tah..› ´ tac chrutv” aˆnugraham aˆbhyabh¯as.ata: . r¯aj˜nah. Sarvavarm” ‹ito, r¯ajan, nirAa¯h¯aro maunastho ’ham . tad¯a gatah.. .. tato ’dhvani man¯akAches.e j¯ate t¯ıvraAtapah.Akr.´sah. kl¯antah. patitav¯an asmi nih.Asam . j˜no dharan.¯ıAtale. «uttis.t.ha, putra, sarvam te sam . . patsyata iti» sphut.am ´saktiAhastah. pum¯an etya j¯ane m¯am abrav¯ıt tad¯a. ten’ aˆham amr.t’Aa¯s¯araAsam . sikta iva tatAks.an.am prabuddhah. ks.utApip¯as”Aa¯diAh¯ınah. svastha iv’ aˆbhavam. atha devasya nikat.am . pr¯apya bhaktiAbhar’Aa¯kulah. sn¯atv¯a garbhaAgr.ham . tasya pravis.t.o ’bh¯uvam unman¯ah.. tato ’ntah. prabhun.a¯ tena Skandena mama dar´sanam dattam . tatah. pravis.t.a¯ me mukhe m¯urt¯a Sarasvat¯ı. .. ath’ aˆsau bhagav¯an s¯aks.a¯t s.ad.bhir a¯nanaApa˙ nkajaih. siddho varn.aAsam¯amn¯aya iti s¯utram udairayat. tac chrutv” aˆiva manus.yatvaAsulabh¯ac c¯apal¯ad bata uttaram . s¯utram abhy¯uhya svayam eva may” oˆ ditam. ath’ aˆbrav¯ıt sa devo m¯am . «n’ aˆvadis.yah. svayam . yadi abhavis.yad idam s a stram P¯ a n in¯ ı y’ o pamardakam. A ´ ¯ ˆ . . . adhun¯a svalpaAtantratv¯at K¯aAtantr’Aa¯khyam . bhavis.yati madAv¯ahanaAKal¯apasya n¯amn¯a K¯al¯apakam . tath¯a.» ..



C S L O ()  E  Sir James Mallinson  F  : ..

V .

“T

,  taken a vow of silence, I went before .. the king and some brahmin there recited a verse that he had composed. The king replied to him personally in perfect Sanskrit, and when they witnessed this the people there were overjoyed. Then the king humbly asked Sharva· varman, ‘Tell us yourself how the Lord bestowed his favor on you.’ On hearing this, Sharva·varman told the king about the boon: ‘Sire, when I left here I went on a fast and took a vow of silence. Then, when there was but a short way left to go and .. I was exhausted and emaciated from my severe austerities, I fell to the ground unconscious. After that I remember a man with a spear in his hand arriving and saying to me in a clear voice: “Get up, my son, everything will turn out well for you.” Then, as if I had been showered by a downpour of the nectar of immortality, I awoke feeling well, free from hunger and thirst. Next I arrived in the vicinity of the lord, overcome by the burden of my devotion. After bathing, I excitedly entered his inner sanctum. Inside Lord Karttik´eya granted me his darshan and then Sar´asvati took bodily form and entered my mouth. Immediately afterwards the blessed .. lord recited with his six lotus-mouths a sutra that was a perfected form of the alphabet. As soon as I heard it, with the impertinence that, alas, comes so easily to mankind, I guessed the next sutra and said it myself. The lord then said to me, “If you had not spoken it yourself, this treatise would have wiped out that of P´anini. Because it is now so concise, it shall be called the ‘Ka Tantra’ and also the Kal´apaka, after the name of my vehicle.”* 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        ity uktv¯a ´sabdaA´sa¯stram . tat prak¯a´sy’ aˆbhinavam . laghu devah punar evam abh¯ a s ata: s¯aks.a¯d eva sa m¯am . . . ..

«yus.mad¯ıyah. sa r¯aj” aˆpi p¯urvaAjanmany abh¯ud r.s.ih. Bharadv¯ajaAmuneh. ´sis.yah. Kr.s.n.aAsam . j˜no mah¯aAtap¯ah.. tuly’Aaˆbhil¯as.a¯m a¯lokya sa c’ aˆik¯am . muniAkanyak¯am yay¯av aAkasm¯at pus.p’Aeˆs.uA´saraAgh¯ataArasaAj˜nat¯am. atah. sa ´sapto munibhir avat¯ırn.a ih’ aˆdhun¯a s¯a c’ aˆvat¯ırn.a¯ dev¯ıtve tasy’ aˆiva muniAkanyak¯a. ittham r.s.yAavat¯aro ’yam . nr.Apatih. S¯atav¯ahanah. dr.s.t.e tvayy akhil¯a vidy¯a pr¯apsyaty eva tvadAicchay¯a. aAkle´saAlabhy¯a hi bhavanty uttam’Aaˆrth¯a mah”Aa¯tman¯am janm’Aaˆntar’Aaˆrjit¯ah. sph¯araAsam . sk¯ar’Aa¯ks.iptaAsiddhayah..»

..

ity uktv” aˆntarAhite deve niragaccham aham . bahih. tan.d.ul¯a me pradatt¯a´s ca tatra dev’Aoˆ paj¯ıvibhih.. tato ’ham a¯gato, r¯ajam . s, tan.d.ul¯as te ca me pathi citram . t¯avanta ev’ a¯san bhujyam¯an¯a dine dine.› ´ evam uktv¯a svaAvr.tt’Aaˆntam . virate Sarvavarman .i udatis.t.han nr.pah. sn¯atum . prahr.s.t.ah. S¯atav¯ahanah.. tato ’ham . kr.taAmaunatv¯ad vyavah¯araAbahis.kr.tah. anAicchantam . tam a¯mantrya pran.a¯men’ aˆiva bh¯uApatim. nirgatya nagar¯at tasm¯ac chis.yaAdvayaAsamanvitah. tapase ni´scito dras.t.um a¯gato Vindhyav¯asin¯ım.

..

svapn’Aa¯de´sena devy¯a ca tay” aˆiva pres.itas tatah. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   On saying this, he revealed that new concise grammar and then before my very eyes the god continued by saying to me, “That king of yours was a sage in a former life, a great .. ascetic called Krishna, pupil of the hermit Bharad·vaja. He once looked at a sage’s daughter who desired him as much as he did her, and suddenly he felt a blow from an arrow of the god who has flowers in his quiver. As a result the sages cursed him, so he has now incarnated here and the hermit’s daughter has become his wife. Thus King Sata·v´ahana is the incarnation of a sage. When he sees you he will acquire all the sciences as you wish, for great things are easily attained by those with noble souls, having been acquired in a previous birth, and their successful reacquaintance is brought about by a sudden transformation.” With these words, the god disappeared and I went out- .. side. I was given some rice by the god’s attendants there. Then, sire, I returned, and the amazing thing was that on my way I ate the rice every day but there always remained the same amount.’ After Sharva·varman had thus told his story and fallen silent, the delighted Sata·v´ahana got up to bathe. Then I, excluded from the proceedings because of my vow of silence, took my leave of the reluctant king with nothing but a bow. I left the city with two pupils and, having decided to become an ascetic, came to have darshan of Vindhya·v´asini. It was because of an order in a dream from .. that very goddess that I set forth from there and entered this terrifying forest in order to meet you. At a Pul´ında’s suggestion I found a caravan and somehow, through a stroke 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        Vindhy’Aaˆt.av¯ım . pravis.t.o ’ham . a m im¯am. tv¯am dras t um bh¯ ı s an ¯ . .. . . . pulindaAv¯aky¯ad a¯s¯adya s¯artham . daiv¯at katham . cana iha pr¯apto ’ham adr¯aks.am pi´ s a c¯ a n su A bah¯ u n am¯un. ¯ . anyony’Aa¯l¯apam etes.a¯m . d¯ur¯ad a¯karn.ya ´siks.it¯a may¯a pi´sa¯caAbh¯as.” eˆyam . maunaAmoks.asya k¯aran.am. ˆ ıAgatam upagamya tata´s c’ aˆit¯am . tv¯am . ´srutv” Ojjayin¯ pratip¯alitav¯an asmi y¯avad abhy¯agato bhav¯an. dr.s.t.v¯a tv¯am . sv¯agatam . kr.tv¯a caturthy¯a bh¯utaAbh¯as.ay¯a may¯a j¯atih. smr.t” eˆty es.a vr.tt’Aaˆnto me ’tra janmani.» .. evam ukte Gun.a¯d.hyena K¯an.abh¯utir uv¯aca tam «tvadAa¯gamo may¯a j˜na¯to yath” aˆdya ni´si tac chr.n.u. r¯aks.aso Bh¯utivarm’Aa¯khyo divyaAdr.s.t.ih. sakh” aˆsti me gatav¯an asmi c’ oˆ dy¯anam Ujjayiny¯am . tadAa¯spadam. tatr’ aˆsau nijaA´sa¯p’Aaˆntam prati pr s t o may” aˆbrav¯ıt: . ... ‹div¯a n’ aˆsti prabh¯avo nas, tis.t.ha r¯atrau vad¯amy atah..› ‹tath” eˆti› c’ aˆham . tatrasthah. pr¯apt¯ay¯am . ni´si valgat¯am tam apr.ccham . prasa˙ngena bh¯ut¯an¯am . hars.aAk¯aran.am. ´ . karen.a tat ‹pur¯a Viri˜ncaAsam v¯ a de yad uktam . . Sam ´sr.n.u vacm’ ˆıti› m¯am uktv¯a Bh¯utivarm” aˆtha so ’brav¯ıt. .. ‹div¯a n’ aˆis.a¯m . prabh¯avo ’sti dhvast¯an¯am arkaAtejas¯a yaks.aAraks.ah.Api´sa¯c¯an¯am . tena hr.s.yanty am¯ı ni´si. na p¯ujyante sur¯a yatra na ca vipr¯a yath” oˆ citam bhujyate ’Avidhin¯a v” aˆpi tatr’ aˆite prabhavanti ca. aAm¯am . saAbhaks.ah. s¯adhv¯ı v¯a yatra tatra na y¯anty am¯ı ´suc¯ın˜ ´su¯ r¯an prabuddh¯am . ´s ca n’ aˆkr¯amanti kad¯a cana.› 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   of fate, I arrived here and came across all these pish´achas. From afar I listened to them talking among themselves and learned this pish´acha language, which is how I was liberated from my vow of silence. After learning it from them I heard that you had gone to Ujjain and I waited until you returned. When I saw you and welcomed you in the fourth language, that of the demons, I remembered my original birth. That is what has happened to me in this life.” After Gun´adhya had told him this, Kana·bhuti replied, .. “Listen to how I found out last night about your arrival. I have a r´akshasa friend called Bhuti·varman who has divine sight, and I went to the garden in Ujjain where he lives. There I asked him about how my curse would come to an end. He replied that his magic did not work during the day, so I should wait and he would tell me that night. I agreed. When I was there after night had fallen and the demons were cavorting about, I asked him in passing why they were so happy. ‘Listen and I shall tell you what I heard Shiva say long ago in conversation with Brahma,’ said Bhuti·varman to me. He continued, ‘Yakshas, r´akshasas and pish´achas are harmed by .. the brightness of the sun and have no powers in the day. That’s why they rejoice at night. And they can work their magic in places where the gods are not worshipped, or where brahmins are not given due respect or where people do not eat according to the rules. They won’t go where there is a man who doesn’t eat meat or a virtuous woman, and they never attack those who are honest, brave or awake.’ 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        ity uktv¯a me sa tatAk¯alam . Bh¯utivarm” aˆbrav¯ıt punah.: ‹gacch’ a¯gato Gun.a¯d.hyas te ´sa¯paAmoks.asya k¯aran.am.› ´srutv” aˆitad a¯gata´s c’ aˆsmi tvam . ca dr.s.t.o may¯a, prabho, kathay¯amy adhun¯a t¯am . te Pus.padant’Aoˆ dit¯am . kath¯am. ..

kim . tv ekam . kautukam . me ’sti, kathyat¯am . : kena hetun¯a sa Pus.padantas tvam . c’ aˆpi M¯alyav¯an iti vi´srutah.?› K¯an.abh¯uter iti ´srutv¯a Gun.a¯d.hyas tam abh¯as.ata: «Ga˙ng¯aAt¯ıre ’grah¯aro ’sti n¯amn¯a Bahusuvarn.akah.. tatra Govindadatt’Aa¯khyo br¯ahman.o ’bh¯ud bahuA´srutah.. ˆ tasya bh¯ary” Agnidatt¯ a ca babh¯uva patiAdevat¯a. sa k¯alena dvijas tasy¯am . pa˜nca putr¯an aj¯ıjanat, te ca m¯urkh¯ah. suAr¯up¯a´s ca babh¯uvur abhim¯aninah.. atha Govindadattasya gr.h¯an atithir a¯yayau vipro Vai´sv¯anaro n¯ama Vai´sv¯anara iv’ aˆparah..

..

Govindadatte tatAk¯alam . gr.h¯ad api bahih. sthite tatAputr¯an.a¯m up¯agatya kr.tam . ten’ aˆbhiv¯adanam. h¯asaAm¯atram . ca tais tasya kr.tam . pratyabhiv¯adanam tatah. sa kop¯an nirgantum . pr¯arebhe tadAgr.h¯ad dvijah.. a¯gaten’ aˆtha Govindadattena sa tath¯aAvidhah., kruddhah. pr.s.t.o ’nun¯ıto ’pi jag¯ad’ aˆivam . dvij’Aoˆ ttamah.. ‹putr¯as te patit¯a m¯urkh¯as tatAsam . park¯ad bhav¯an api, tasm¯an na bhoks.ye tvadAgehe pr¯aya´scittam . nu me bhavet.› atha Govindadattas tam uv¯aca ´sapath’Aoˆ ttaram ‹na spr.´sa¯my api j¯atv et¯an aham . kuAtanay¯an iti!› 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   Having told me this, Bhuti·varman immediately added, ‘Go! Gun´adhya, who is to bring about your release from the curse, has arrived.’ When I heard this I came and found you, my lord. Now I shall tell you the story told by Pushpa·danta. However, .. there is one thing I am curious about: tell me why he was known as Pushpa·danta and you as M´alyavan.” On hearing this from Kana·bhuti, Gun´adhya replied, “On the banks of the Ganga there is a piece of land called Bahu·suv´arnaka that was given to some brahmins. A very learned brahmin called Gov´ında·datta lived there and he had a wife called Agni·datta, who treated him like a god. In time, that brahmin had five sons by her. Foolish and handsome, they grew conceited. Then a guest arrived at Gov´ında·datta’s house, a brahmin called Vaishv´anara, who was like a second god of fire.* At that moment, Gov´ın- .. da·datta was away from the house and the guest went up to his sons and greeted them. They just laughed back at him and the furious brahmin started to walk away from the house. Then Gov´ında·datta arrived and, finding that finest of brahmins in such a rage, he questioned him and tried to calm him down, but he said the following: ‘Your idiot sons are sinners, and through association with them so are you. Therefore I shall not eat in your house, for I would have to perform a rite of expiation.’ Gov´ında·datta replied with an oath: ‘I shall never even touch these wicked sons of mine.’ 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        tadAbh¯ary” aˆpi tath” aˆiv’ aˆitya tam uv¯ac’ aˆtithiApriy¯a tatah. katham . cid a¯tithyam . tatra Vai´sv¯anaro ’grah¯ıt. tad dr.s.t.v¯a Devadatt’Aa¯khyas tasy’ aˆikas tanayas tad¯a abh¯ud Govindadattasya nairghr.n.yen’ aˆnut¯apav¯an. vyAartham . j¯ıvitam a¯lokya pitr.bhy¯am atha d¯us.itam saAnirvedah. sa tapase yayau Badarik”Aa¯´sramam. tatah. parn.’Aaˆ´sanah. p¯urvam . dh¯umapa´s c’ aˆpy anantaram tasthau cir¯aya tapase tos.ayis.yann Um¯aApatim. ´ . bhus t¯ıvraAtapoA’rjitah. dadau ca dar´sanam . tasya Sam tasy’ aˆiv’ aˆnucaratvam . ca sa vavre varam ¯ı´svar¯at. .. ‹vidy¯ah. pr¯apnuhi bhog¯am . ´s ca bhuvi bhu˙nks.va tatas tava ´ . bhus tam a¯di´sat. bhavit” aˆbhimatam . sarvam› iti Sam tatah. sa gatv¯a vidy’Aaˆrth¯ı puram . P¯at.aliputrakam sis.eve Vedakumbh’Aa¯khyam up¯adhy¯ayam . yath¯aAvidhi. A patn¯ ı j¯ a tu smar’ Aa¯tur¯a tatrastham tam up¯ a dhy¯ a ya . hat.h¯ad vavre bata str¯ın.a¯m . ca˜ncal¯a´s cittaAvr.ttayah.. tena sam . tyajya tam . de´sam anAa˙ngaAkr.taAviplavah. sa Devadattah. prayayau Pratis.t.h¯anam aAtandritah.. tatra vr.ddham up¯adhy¯ayam . vr.ddhay¯a bh¯aryay” aˆnvitam Mantrasv¯amy’Aa¯khyam abhyarthya vidy¯ah. samyag adh¯ıtav¯an. .. kr.taAvidyam . ca tam . tatra dadar´sa nr.Apateh. sut¯a ´ ır n¯ama Sr¯ ´ ır iv’ Acyutam. ˆ Su´sarm’Aa¯khyasya suAbhagam . Sr¯ so ’pi t¯am . dr.s.t.av¯an kany¯am . sthit¯am . v¯at¯ayan’Aoˆ pari ..



C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   His wife liked to be hospitable, and she too came to him .. and said the same thing, at which Vaishv´anara grudgingly accepted their hospitality there. When he saw this, one of their sons, Deva·datta by name, was filled with remorse by Gov´ında·datta’s lack of pity and, deciding that a life censured by one’s parents was pointless, then went resignedly to practice austerities at the B´adarika hermitage. Next he spent a long time propitiating Shiva with austerities, at first eating just leaves before subsisting merely by inhaling smoke. Won over by his severe austerities, Shiva granted him his darshan, and as a boon from the lord he asked to be his servant. Shiva instructed him, ‘Obtain the .. sciences and enjoy pleasures on earth. Then you will get all that you desire.’ At this, he went to the city of P´atali·putra in his quest for the sciences. He served a teacher called Veda·kumbha with due propriety. When he was there, the teacher’s wife became stricken by love and propositioned him insistently— women’s minds are, alas, fickle. So Deva·datta, having been distracted by love, left that place and set out for Pratishth´ana, his energy undimmed. Once there, after making a request to an elderly teacher called Mantra·svamin, who had an elderly wife, he learned the sciences in full.* After he had acquired the sciences, .. King Sush´arman’s daughter, who was called Shri, saw the handsome boy there and it was like Lakshmi seeing Vishnu.* He saw her at a window looking like the moon’s tutelary goddess wandering about in her aerial chariot. They were bound together by that glance as if it were the chain of the god of love, and the pair became incapable of moving away 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        viharant¯ım . vim¯anena candrasy’ eˆv’ aˆdhidevat¯am. baddh¯av iva tay” aˆnyonyam . M¯araA´sr.n˙ khalay¯a dr.´sa¯ n’ aˆpasartum samarthau tau babh¯uvatur ubh¯av api. . s” aˆtha tasy’ aˆikay” aˆn˙ guly¯a m¯urtay” eˆva Smar’Aa¯j˜nay¯a ‹ito nikat.am eh’ ˆıti› sam . j˜na¯m . cakre nr.p’Aa¯tmaj¯a. tatah. sam¯ıpam . tasy¯a´s ca yay¯av antah.Apur¯ac ca sah. s¯a ca ciks.epa dantena pus.pam a¯d¯aya tam . prati. .. sam j˜ n a m et¯ a m a A j¯ a n¯ a no g¯ u d h¯ a m r¯ a ja A sut¯ aAkr.t¯am ¯ . . . sa kartavyaAvim¯ud.hah. sann up¯adhy¯ayaAgr.ham . yayau. ¯ı´svarah. lulot.ha tatra dharan.au na kim cid vaktum . t¯apena dahyam¯ano ’ntar m¯ukah. pramus.ito yath¯a. vitarkya k¯amajai´s cihnair up¯adhy¯ayena dh¯ımat¯a yukty¯a pr.s.t.ah. katham . cic ca yath¯aAvr.ttam . sa sah.. . ´sa´sam tad buddhv¯a tam up¯adhy¯ayo vidagdho v¯akyam abrav¯ıt: ‹dantena pus.pam . mu˜ncanty¯a tay¯a sam . j˜na¯ kr.t¯a tava yad etat Pus.padant’Aa¯khyam . pus.p’Aa¯d.hyam . suraAmandiram tatr’ a¯gatya prat¯ıks.eth¯ah., s¯am pratam gamyat¯ am iti.› . . .. ´srutv” eˆti j˜na¯taAsam . yuv¯a . j˜n’Aaˆrthah.* sa taty¯aja ´sucam tato devaAgr.hasy’ aˆntas tasya gatv¯a sthito ’bhavat. s” aˆpy as.t.am¯ım . samuddi´sya tatra r¯ajaAsut¯a yayau ek” aˆiva devam . dras.t.um . ca garbh’Aa¯g¯aram ath’ a¯vi´sat. dr.s.t.o ’tra dv¯araApat.t.asya pa´sc¯at so ’tha priyas tay¯a gr.h¯ıt” aˆnena c’ oˆ tth¯aya s¯a kan.t.he sahas¯a tatah.. ‹citram . ! tvay¯a katham . j˜na¯t¯a s¯a sam . j˜n”? eˆty› udite tay¯a. ‹up¯adhy¯ayena s¯a j˜na¯t¯a na may” eˆti› jag¯ada sah.. ‹mu˜nca m¯am aAvidagdhas tvam!› ity uktv¯a tatAks.an.a¯t krudh¯a mantraAbhedaAbhay¯at s” aˆtha r¯ajaAkany¯a tato yayau. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   from one another. Then, as if it were the embodiment of a command from the god of love, with a single finger the princess signaled him to come to her. At this, he approached her and she fetched from her apartments a flower, which she threw down to him with her teeth. Not understanding this .. secret signal made by the princess, he had no idea what to do and went to his teacher’s house. There he rolled about on the ground and, consumed within by his torment, was unable to say anything, as if he were dumb and disoriented. The clever teacher, having made an inference from the symptoms of love, questioned him skillfully and the boy somehow managed to tell him what had happened. The shrewd teacher realized what it meant and said to him, ‘By dropping the flower from her teeth, she signaled to you that you are to go and wait at the temple called Pushpa·danta, where there are many flowers. You must go now.’ When he heard and understood what the sign meant, .. the boy cast off his sorrow. He then went and waited inside the temple. And the princess, saying that it was the eighth day of the lunar fortnight, went there and entered the inner sanctum all alone in order to have darshan of the lord. She then spotted her sweetheart in there behind the door-curtain and he quickly stood up and embraced her. When she said, ‘It’s amazing! How did you understand the sign?’ he replied, ‘It was my teacher, not me, who worked it out.’ The princess straightaway angrily said, ‘Let go of me, you buffoon!’ and then fled in fear that her plan had been betrayed. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        ..

so ’pi gatv¯a vivikte t¯am . smaran priy¯am . dr.s.t.aAnas.t.a¯m Devadatto viyog’AaˆgniAvigalajAj¯ıvito ’bhavat. ´ . bhuh. pr¯akAprasannah. kil’ a¯di´sat dr.s.t.v¯a tam . Sam . t¯adr.´sam gan.am . Pa˜nca´sikham . n¯ama tasy’ aˆbh¯ıpsitaAsiddhaye. sa c’ aˆgatya sam¯a´sv¯asya str¯ıAves.am . tam . gan.’Aoˆ ttamah. ak¯arayat svayam . c’ aˆbh¯ud vr.ddhaAbr¯ahman.aAr¯upadhr.t. tatas tena samam . gatv¯a tam . Su´sarmaAmah¯ıApatim janakam . sudr.´sas tasy¯ah. sa jag¯ada gan.’Aaˆgran.¯ıh.. ‹putro me pros.itah. kv’ aˆpi tam anves.t.um . vraj¯amy aham tan me snus.” eˆyam . niks.epo,* r¯ajan, sam . prati raks.yat¯am.›

..

tac chrutv¯a ´sa¯paAbh¯ıtena ten’ a¯d¯aya Su´sarman.a¯ svaAkany”Aaˆntah.Apure gupte str” ˆıti sam . sth¯apito yuv¯a. tatah. Pa˜nca´sikhe y¯ate svaApriy’Aaˆntah.Apure vasan str¯ıAves.ah. sa dvijas tasy¯a visrambh’Aa¯spadat¯am . yayau. ekad¯a c’ oˆ tsuk¯a r¯atrau ten’ a¯tm¯anam . prak¯a´sya s¯a ¯ ı t¯ a guptam g¯ a ndharva A vidhin¯ a parin . . nr.p’Aa¯tmaj¯a. tasy¯am . ca dhr.taAgarbh¯ay¯am . tam . dvijam . sa gan.’Aoˆ ttamah. smr.taAm¯atr’Aa¯gato r¯atrau tato ’nais.¯ıd aAlaks.itam. tatas tasya samuts¯arya y¯unah. str¯ıAves.am a¯´su tam pr¯atah. Pa˜nca´sikhah. so ’bh¯ut p¯urvavad br¯ahman.’Aa¯kr.tih..

..

ten’ aˆiva saha gatv¯a ca Su´sarmaAnr.pam abhyadh¯at ‹adya pr¯apto may¯a, r¯ajan, putras, tad dehi me snus.a¯m.› tatah. sa r¯aj¯a t¯am . buddhv¯a r¯atrau kv’ aˆpi pal¯ayit¯am tacAch¯apaAbhayaAsam . bhr¯anto mantribhya idam abrav¯ıt: 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   Deva·datta left, too, and then, reflecting in a lonely place .. on the sweetheart who had vanished as soon as he found her, felt his life drip away into the fire of separation. When Shiva, whose favor he had of course previously won, saw him like this, he ordered a gana called Pancha· shikha to bring about what Deva·datta desired. That finest of ganas came and consoled him, made him put on women’s clothes and himself assumed the form of an elderly brahmin. Then that foremost gana went with him to King Sush´arman, the father of the beautiful girl, and said, ‘My son has gone away somewhere and I am going to look for him, so I am entrusting you this daughter-in-law of mine. Please, sire, look after her for the time being.’ When he heard this, Sush´arman, in fear of a curse, took .. the boy, presuming him to be a woman, and put him in his own daughter’s private apartments. Then, when Pancha·shikha had gone and Deva·datta was living in his sweetheart’s apartments disguised as a woman, the brahmin boy won her confidence. One night he revealed himself to the pining princess and secretly married her according to the g´andharva rite. After she became pregnant, that finest of ganas appeared by night simply by being thought of and led the brahmin away unseen. Then he promptly removed the women’s clothes from the boy. In the morning, Pancha·shikha assumed the appearance of a brahmin as before and went with him to King Sush´arman .. and said, ‘I have now found my son, o king, so give me my daughter-in-law.’ When the king then discovered that she had run away in the night, he was panic-stricken in 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        ‹na vipro ’yam, ayam . ko ’pi devo madAva˜ncan’Aa¯gatah. evam . Apr¯ay¯a bhavant’ ˆıha vr.tt’Aaˆnt¯ah. satatam . yatah.. tath¯a ca p¯urvam . r¯aj” aˆbh¯ut tapasv¯ı karun.a¯Aparah. ´ d¯at¯a dh¯ırah. Sibir n¯ama sarvaAsattv’AaˆAbhayaApradah.. tam . va˜ncayitum Indro ’tha kr.tv¯a ´syenaAvapuh. svayam m¯ay¯aAkapotaAvapus.am . dharmam anvapatad drutam. ´ .. kapota´s ca bhay¯ad gatv¯a Siber a˙nkam a´si´sriyat manus.yaAv¯ac¯a ´syeno ’tha sa tam . r¯aj¯anam abrav¯ıt: «r¯ajan, bhaks.yam idam . mu˜nca kapotam . ks.udhitasya me, anyath¯a m¯am . mr.tam . viddhi, kas te dharmas tato bhavet?» ´ tatah. Sibir uv¯ac’ aˆinam «es.a me ´saran.’Aa¯gatah. aAty¯ajyas tad dad¯amy anyan m¯am . sam etatAsamam . tava.» ´syeno jag¯ada «yady evam a¯tmaAm¯am . sam . prayaccha me!» «tath” eˆti» tatAprahr.s.t.ah. san sa r¯aj¯a pratyapadyata. yath¯a yath¯a ca m¯am . sam . svam utkr.ty’ a¯ropayan nr.pah. tath¯a tath¯a tul¯ay¯am . sa kapoto ’bhyadhiko ’bhavat. ..

tatah. ´sar¯ıram . sakalam . tul¯am . r¯aj” aˆdhyaropayat «s¯adhu! s¯adhu! ´samam . tv etad» divy¯a v¯ag udabh¯ut tatah.. IndraADharmau tatas tyaktv¯a r¯upam . ´syenaAkapotayoh. ´ tus.t.a¯v aks.ataAdeham . tam . r¯aj¯anam . cakratuh. Sibim. dattv¯a c’ aˆsmai var¯an any¯am . s t¯av antarAdh¯anam ¯ıyatuh.. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   fear of a curse from Pancha·shikha, and said to his ministers, ‘This fellow isn’t a brahmin, he’s some god come to deceive me, for things like this are always happening in the world: Long ago there lived a king called Shibi, who was self-disciplined, compassionate, generous and resolute, and who granted safe haven to all beings. Then, in order to lead him astray, Indra assumed the form of a hawk and chased after Dharma, whom he had magically transformed into a dove. The terrified dove went and took refuge in Shibi’s .. lap. The hawk then addressed the king in a human voice: “King, this dove is my food and I am hungry. Release him. You must realize that if you don’t, I shall die: then what will become of your dharma?” Shibi replied, “He has come to me for refuge, so I cannot release him. I shall give you an equal amount of some other flesh.” The hawk said, “If that’s the case, then give me some of your own flesh.” The king was delighted by this and agreed, saying, “So be it.” The more of his flesh that the king cut off and put on the scale, the heavier the dove became. As a result, the king .. put his entire body on the scale. Then a divine voice said, “Well done! Well done! That’s enough.” Then Indra and Dharma abandoned their forms as the hawk and the dove. Satisfied, they made King Shibi’s body whole again and gave him some other boons before disappearing. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        evam . m¯am api ko ’py es.a devo jij˜na¯sur a¯gatah..› ity uktv¯a saciv¯an svairam . sa Su´sarm¯a mah¯ıApatih. tam uv¯aca bhayaAprahvo vipraAr¯upam . gan.’Aoˆ ttamam: ‹aAbhayam . dehi. s” aˆdy’ aˆiva snus.a¯ te h¯arit¯a ni´si. m¯ayay” aˆiva gat¯a kv’ aˆpi raks.yam¯an.” aˆpy ahar ni´sam.› ..

kr.cchr¯at sa dayay” eˆv’ aˆtha vipraAr¯upo gan.o ’brav¯ıt: ‹tarhi putr¯aya, r¯ajan, me dehi sv¯am . tanay¯am iti.› tac chrutv¯a ´sa¯paAbh¯ıtena r¯aj˜na¯ tasmai nij¯a sut¯a s¯a datt¯a Devadatt¯aya. tatah. Pa˜nca´sikho yayau. Devadatto ’pi t¯am . bh¯uyah. prak¯a´sam . pr¯apya vallabh¯am jajr.mbhe ’nAanyaAputrasya ´sva´surasya vibh¯utis.u. k¯alena tasya putram . ca dauhitram abhis.icya sah. r¯ajye Mah¯ıdharam . n¯ama Su´sarm¯a ´si´sriye vanam. tato dr.s.t.v¯a sut’Aaˆi´svaryam . kr.t’Aaˆrthah. sa tapoAvanam

r¯ajaAputry¯a tay¯a s¯akam . Devadatto ’py a´si´sriyat. ´ .. tatr’ a¯r¯adhya punah. Sam . bhum . tyaktv¯a martyaAkalevaram tatApras¯adena tasy’ aˆiva gan.aAbh¯avam up¯agatah.. priy¯aAdant’Aoˆ jjhit¯at pus.p¯at sam . j˜na¯m . na j˜na¯tav¯an yatah. atah. sa Pus.padant’Aa¯khyah. sam . panno gan.aAsam . sadi. tadAbh¯ary¯a ca prat¯ıh¯ar¯ı devy¯a j¯at¯a Jay”Aaˆbhidh¯a ittham . sa Pus.padant’Aa¯khyo madAa¯khy¯am adhun¯a ´sr.n.u. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   This fellow is some god who has come to test me in a similar fashion.’ Having quietly told his ministers this, King Sush´arman, bowing in fear before that finest of ganas disguised as a brahmin, said to him, ‘Please show me mercy. That girl, your daughter-in-law, was abducted just last night. She has been magicked away somewhere, despite being guarded night and day.’ Then the gana dressed as a brahmin said, as if struggling .. to be sympathetic, ‘If that’s the case, o king, then give me your daughter for my son.’ When he heard this, the king, fearful of a curse, gave his daughter to Deva·datta. Pancha·shikha then left. As for Deva·datta, having won his sweetheart in public, he basked in the wealth and power of his father-in-law, who had no other son. And in time Sush´arman anointed as king the son of Deva·datta and his daughter, who was called Mahi·dhara, and retired to the forest. Then, when he saw his son in power, Deva·datta had done what he had set out to do and he, too, retired to a penance grove, together with the princess. There he propitiated Shiva once more and through .. his grace he cast off his mortal body and became one of his ganas. Because he had not understood the signal when the flower was thrown down from his sweetheart’s teeth, he was known in the ganas’ assembly as Pushpa·danta. His wife became the goddess’s doorkeeper and was known as Jaya. That is how he came to be known as Pushpa·danta. Now hear about my name. 

C S L O ()  E  Sir James Mallinson  F  : ..

V .

        yah. sa Govindadatt’Aa¯khyo DevadattaApit¯a dvijah. tasy’ aˆiva Somadatt’Aa¯khyah. putro ’ham abhavam . pur¯a. ten’ aˆiva manyun¯a gatv¯a tapa´s c’ aˆham Him¯ a cale . ´ . karam ak¯ars.am . bahubhir m¯alyaih. Sam . nandayan sad¯a. .. tath” aˆiva prakat.¯ıAbh¯ ut¯at prasann¯ad induA´sekhar¯at tyakt’AaˆnyaAbhogaAlipsena tadAgan.atvam . may¯a vr.tam. ‹yah. p¯ujito ’smi bhavat¯a svayam a¯hr.tena m¯alyena durgaAvanaAbh¯umiAsamudbhavena tan M¯alyav¯an iti bhavis.yasi me gan.as tvam› ity a¯di´sac ca sa vibhur girij¯aApatir m¯am. atha martyaAvapur vimucya pun.y¯am . sahas¯a tadAgan.at¯am aham . prapannah. iti dh¯urAjat.in¯a kr.tam . pras¯ad¯ad abhidh¯anam . mama M¯alyav¯an it’ ˆıdam. so ’ham gatah punar ih’ aˆdya manus.yaAbh¯avam . . . ´sa¯pena ´sailaAduhitur bata, K¯an.abh¯ute, tan me kath¯am . kathay’ aˆdhun¯a tvam . . HaraAkr.t¯am yen’ a¯vayor bhavati ´sa¯paAda´s”Aoˆ pa´sa¯ntih..» iti mah¯aAkaviA´sr¯ıASomadevaAbhat.t.aAviracite Kath¯aAsaritAs¯agare Kath¯aAp¯ıt.haAlambake saptamas tara˙ngah..



C S L O ()  E  Sir James Mallinson  F  : ..

V .

 ,   Long ago, the brahmin called Gov´ında·datta, who was the father of Deva·datta, had a son called Soma·datta, and I am he. That very same zeal made me go to the Him´alaya and perform austerities, constantly propitiating Shiva with copious flower garlands. Pleased, the god with the moon .. as his diadem appeared just as he had done before and I asked to become one of his ganas, forsaking the desire for other pleasures. That lord, the husband of the daughter of the mountains, said to me, ‘Because you have worshipped me with garlands of flowers which grow in the soil of inaccessible jungles and which you have collected yourself, you shall become my gana and go by the name of M´alyavan.’* Then I cast off my mortal body and immediately attained the exalted state of being his gana. That is how through his grace he who is weighed down by his matted locks gave me this name M´alyavan. And here I am now, having again assumed the form of a mortal because of the curse of the daughter of the mountain, o Kana·bhuti, so tell me the tale told by Shiva right away in order that the accursed condition of both of us might come to an end.” Thus ends the seventh wave in the ‘Story’s Throne’ Attainment in the ‘Ocean of the River of Story,’ composed by the glorious and learned great poet Soma·deva.



C S L O ()  E  Sir James Mallinson  F  : ..

V .

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Sir James Mallinson translates and edits Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He has also translated for the CSL Budha·svamin’s Emperor of the Sorcerers (two volumes) and Messenger Poems by Kali·dasa, Dhoyi, and Rupa Go·svamin.

WWW.CL AYSANSKRITLIBRARY.COM The name of Soma·deva’s eleventh-century Ocean of the Rivers of Story is no boast: in more than 20,000 verses it tells more than 350 tales. The reader has only to enjoy being swept away in the flood of stories, said to spring from that source of so much classical Indian literature, “The Long Story.”

CSL Ocean Rivers Story vol1.indd 1

soma·deva

The Ocean of the Rivers of Story Volume One by Soma·deva

Soma·deva composed his flood of tales in Kashmir in the eleventh century CE to amuse Queen Suryávati. The vast collection is based on “The Long Story,” a now lost—perhaps legendary—repository of Indian fables, in which prince Nara· váhana·datta wins 26 wives and becomes the emperor of the sorcerers. This first volume takes us up to the middle of the third “Attainment” (of 18) and the return of Nara·váhana·datta’s father-to-be to Kaushámbi with his wives.

mallinson

By turns funny, exciting, or didactic, 350 tales within tales within tales illustrate the frame narrative or simply entertain the protagonists; and 20,000 plus verses of simple but elegant Sanskrit make the work an ideal text for students.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

the ocean of the rivers of story i

Here is a new Clay Sanskrit Library translation of Volume One (of nine) of Soma·deva’s Ocean of the Rivers of Story.

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

SIR JAMES MALLINSON

One of the best-known non-religious Sanskrit works, The Ocean of the Rivers of Story inspired, for example, Salman Rushdie’s novel . Still the best way to enjoy the text is to dive in and relish each tale in itself.

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

21/2/07 7:23:30 pm

Joel Tatelman is Senior Editor at the Social Sciences and Humanities Research Council of Canada. He has also published The Glorious Deeds of Purna, a translation and study of the Púrnavadána.

WWW.CLAYSANSKRITLIBRARY.COM

The Heavenly Exploits are “Buddhist Biographies from the Dívyavadána.” The worldly face of religious literature, these lively morality tales have inspired audiences across Asia for more than two millennia.

CLAY SANSKRIT LIBRARY

the heavenly exploits buddhist biographies from the dívyavadána

1

The Heavenly Exploits buddhist biographies from the dívyavadána volume ONE

tatelman clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Edited & translated by JOEL TATELMAN

Here is a new Clay Sanskrit Library edition and translation of four stories from The Heavenly Exploits: Buddhist Biographies from the Dívyavadána.

The “Dívyavadána,” or Heavenly Exploits, is a collection of thirty-eight Buddhist biographical stories. The genre of narratives of an individual’s religiously significant deeds is as old as Buddhism, and its manifestations are as widely spread across Buddhist Asia, in classical and vernacular languages, down to the present day. Volume One contains the stories of Shrona Koti·karna, Purna, Prince Súdhana and Makándika. The first two stories are fine examples of the type of tales about adventurous seafaring merchants whose moral virtue and religious observance lead to material wealth. Súdhana’s is a prince’s long and dangerous heroic quest, while the brahmin ascetic Makándika offers his nubile daughter to the Buddha in marriage. Where religion meets the world, these tales present something for everyone.

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

EDITED BY RICHARD GOMBRICH

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

c  by the CSL. Copyright ! All rights reserved. First Edition . The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN ---

Artwork by Robert Beer. Cover design by Isabelle Onians. Layout & typesettting by Somadeva Vasudeva. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

The Heavenly exploits Buddhist biographies from the divyavad ¯ ana ¯

Volume one EDITED AND TRANSLATED BY

JOEL TATELMAN

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

Contents Sanskrit alphabetical order CSL conventions

 

THE HEAVENLY EXPLOITS Introduction



. The Story of Shrona Koti·karna . The Story of Purna . The Story of Prince S´udhana . The Story of Mak´andika the Wanderer Notes Index

 

A sandhi grid is printed on the inside of the back cover

C S L E  James Mallinson (csl–.)  N  : ..

   

D¯ ¯ . V .

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

36 The Story of Makandika ´ the Wanderer

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

B

 B¯ , Kurus.u jana A pada A c¯arik¯am . caran, Kalm¯as.aAdamyam anupr¯aptah..

Tena khalu punah. samayena, Kalm¯as.aAdamye, M¯akandiko n¯ama parivr¯ajakah. prativasati. tasya S¯akalir n¯ama patn¯ı. tasya duhit¯a j¯at¯a, abhir¯up¯a, dar´san¯ıy¯a, pr¯as¯adik¯a, sarv’ A aˆn˙ gaApratya˙ng’Aoˆ pet¯a. tasy¯a asth¯ıni s¯uks.m¯an.i, suAs¯uks.m¯an.i, na ´sakyata upam¯a kartum. Tasy¯as tr¯ın.i sapt’Aaˆh¯any ekaAvim . ´sati divas¯an vistaren.a j¯ati A mah¯ı sam . vr.tt¯a. y¯avaj j¯ata A maham . kr.tv¯a, n¯ama A dheyam . vyavasth¯apyate, «kim . bhavatu d¯arik¯ay¯a n¯ama» iti. J˜na¯taya u¯ cuh., «iyam . d¯arik¯a, abhir¯up¯a, dar´san¯ıy¯a, pr¯as¯adik¯a, sarv’ A aˆn˙ ga A pratya˙ng’ A oˆ pet¯a. tasy¯a asth¯ıni s¯uks.m¯an.i, su A s¯uks.m¯an.i, na ´sakyata upam¯a kartum. bhavatu d¯arik¯ay¯ah. ‹Anupam¯a› iti n¯ama.» tasy¯ah. «Anupam¯a» iti n¯amaAdheyam . vyavasth¯apitam. . S” oˆ nn¯ıt¯a, vardhit¯a. M¯akandikah. sam . laks.ayati, «iyam . d¯arik¯a na may¯a kasya cit kulena d¯atavy¯a, na dhanena, n’ aˆpi ´srutena, kim . tu yo ’sy¯a r¯upen.a samo v” aˆpy adhiko v¯a, tasya may¯a d¯atavy¯a» iti. Atr’ A aˆntare Bhagav¯an, Kurus.u jana A pades.u c¯arik¯am . caran, Kalm¯as.aAdamyam anupr¯aptah.. Kalm¯as.aAdamye viharati, Kur¯un.a¯m . nigame viharati. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

T

 L B, travelling through the countryside among the Kurus, arrived at the town of Kalm´asha· damya, “Spotted Bullock.” At that very time, a wanderer, Mak´andika by name, was also staying in Kalm´asha·damya. He had a wife whose name was S´akali. A daughter had been born to him: she was well formed, good-looking, lovely and sound in every part. Her frame was delicate, exceedingly delicate, delicate beyond compare. After three weeks, that is, twenty-one days, had passed, a grand birthday celebration was held for her and, after having concluded the celebration, Mak´andika proceeded to give her a name: “What name shall this girl have?” Mak´andika’s relatives said, “This girl is well formed, goodlooking, lovely and sound in every part. Her frame is delicate, exceedingly delicate, delicate beyond compare. Let this girl’s name be An´upama, ‘Incomparable.’” And so she was given the name An´upama. An´upama was brought up and reached maturity. Ma- . k´andika thought, “I shall not give this girl in marriage to anyone merely on account of his lineage, wealth or learning, but only to a man who is equally or more beautiful than she shall I give her.” Meanwhile, the Lord, travelling through the countryside among the Kurus, arrived at Kalm´asha·damya and stopped in that town of the Kurus. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   Atha Bhagav¯an p¯urv’Aaˆhn.e niv¯asya, p¯atraAc¯ıvaram a¯d¯aya, Kalm¯as.aAdamyam . pin.d.a¯ya pr¯aviks.at. Kalm¯as.aAdamyam . pin.d.a¯ya caritv¯a, kr.taAbhaktaAkr.tyah. pa´sc¯adAbhaktaApin.d.aAp¯atrah., pratikr¯antah.. p¯atra A c¯ıvaram . prati´sa¯mya, p¯adau praks.a¯lya, anyatama A vr.ks.a A m¯ulam . ni´sritya, nis.an.n.ah. supt’ A oˆ raga A r¯aja A bhogaAparipin.d.¯ıAkr.tam . parya˙nkam . baddhv¯a. Tena khalu samayena, M¯akandikah. parivr¯ajakah. pus.pa A samidhasy’ aˆrthe nirgato ’bh¯ut. adr¯aks.¯ın M¯akandikah. parivr¯ajako Bhagavantam . ni. d¯ur¯ad ev’ aˆnyataraAvr.ks.aAm¯ulam ´sritya, supt’ A oˆ raga A r¯aja A bhoga A paripin.d.¯ı A kr.tam . parya˙nkam . baddhv¯a, nis.an.n.am, pr¯as¯adikam, pradar´san¯ıyam, ´sa¯nt’ A eˆndriyam, ´sa¯ntaAm¯anasam, paramen.a cittaAvyupa´samena samanv¯agatam, suvarn.a A y¯upam iva, ´sriy¯a jvalantam. dr.s.t.v¯a ca punah. pr¯ıtiApramodyaAj¯atah.. sa sam . laks.ayati, «y¯adr.´so ’yam . ´sraman.ah. pr¯as¯adikah., pradar´san¯ıyah., sakalaAjanaAmanoh¯ar¯ı. durlabhas tu sarvaAstr¯ıAjaˆ nasya patih. pratir¯upah. pr¯ag ev’ Anupam¯ ay¯ah.. labhdo me j¯am¯at¯a!» iti. .

Yena svam . nive´sanam . ten’ oˆ pasam . kr¯antah.. upasam . kramya patn¯ım a¯mantrayate, «yat khalu, bhadre, j¯an¯ıy¯a labdho ˆ me duhitur j¯am¯at¯a. alam am . kurus.v’ Anupam¯ . dad¯ami» iti. S¯a kathayati, «kasya prayacchasi» iti. Sa kathayati, «´sraman.asya Gautamasya» iti. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    Then, after passing the night, in the morning he dressed himself, took up his outer robe and bowl and went into Kalm´asha·damya for alms. He completed his alms-round in Kalm´asha·damya, ate his meal and put away his almsbowl. Having put away his robe and bowl, he washed his feet, then seated himself at the foot of a tree and assumed a cross-legged posture, limbs arranged like the piled-up coils of a sleeping serpent-king. Just then the wanderer Mak´andika came along, looking for flowers and firewood. From quite a distance the wanderer Mak´andika caught sight of the Lord, seated in a cross-legged posture at the foot of the tree, limbs arranged like the piled-up coils of a sleeping serpent-king, handsome, exceedingly good-looking, senses quiescent, thought quiescent, possessed of perfect mental tranquility, and shining brightly like a golden sacrificial pillar. Mak´andika looked at him once more, and joy and delight arose in his mind. He reflected, “O! How handsome and good-looking is this ascetic! His beauty would captivate anyone! A suitable husband is hard to find for any woman, how much more so for An´upama. I’ve found a son-in-law!” Then he returned home and, having returned, declared . to his wife, “Allow me to inform you, dear, that I have found a husband for our daughter! Dress her in her finery. I am going to give An´upama in marriage!” His wife said, “To whom will you give her?” He replied, “To the ascetic G´autama.” 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   S¯a kathayati, «gacch¯avas t¯avat pa´sy¯avah.» iti. M¯akandikas tay¯a s¯ardham . gatah.. d¯ur¯at tay¯a dr.s.t.ah.. tasy¯a antar A m¯arge smr.tir upapann¯a, g¯ath¯am . bh¯as.ate: Dr.s.t.o may¯a, vipra, sa pin.d.aAhetoh. Kalm¯as.aAdamye vicaran maha’Ars.ih.. bh¯uAratnaAbh¯aAsam . tatir asti tasya pragacchato ’tyunnamate na c’ aˆiva. n’ aˆsau bhart¯a bhajate kum¯arik¯am. nivarta! y¯asy¯amah. svam . nive´sanam. .

So ’pi g¯ath¯am . bh¯as.ate: Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti. ˆ S” Anupam¯ am . k¯arair alam . kr.tya, sam . prasthit¯a. . vastr’Aaˆlam Bhagav¯an api tasm¯ad vana A s.an.d.a¯d anya A vana A s.an.d.am . sam .prasthitah.. adr¯aks.¯ın M¯akandikah. parivr¯ajako Bhagavantam . tr.n.aAsam . staran.akam. dr.s.t.v¯a ca, punah. patn¯ım a¯mantrayate, «yat khalu, bhavati, j¯an¯ıy¯a es.a te duhitus tr.n.a A sam . staran.akah.» iti. S¯a g¯ath¯am . bh¯as.ate: 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    She returned, “Let’s go take a look at him.” So Mak´andika set off with her. S´akali caught sight of the Buddha from a distance and there, in the middle of the road, the memory came to her and she spoke these verses: O brahmin, I saw that great sage in Kalm´asha·damya, Making his alms-round. Being the jewel-on-earth, he leaves a trail of radiance where he walks, And it is ever perfectly level. That one is no husband who will love our daughter. Turn back! Let’s go home. As for Mak´andika, he spoke this verse:

.

Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. S´akali dressed An´upama in fine garments and ornaments and then set out. As for the Lord, he had moved from one thicket of trees to another. The wanderer Mak´andika saw the Lord strewing grass to make a bed and, seeing that, he again declared to his wife, “Allow me to inform you, my lady, that this one is strewing grass to make a bed for your daughter.” She spoke these verses: 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

  

.

Raktasya ´sayy¯a bhavati vikopit¯a, dvis.t.asya ´sayy¯a sahas¯a nip¯ıd.it¯a. m¯ud.hasya ´sayy¯a khalu p¯adato gat¯a, suv¯ıtaAr¯agen.a nisevit¯a nv iyam. n’ aˆsau bhart¯a bhajate kum¯arik¯am. nivarta! y¯asy¯amah. svam . nive´sanam. Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti. Adr¯aks.¯ın M¯akandikah. parivr¯ajako Bhagavatah. pad¯ani dr.s.t.v¯a, punah. patn¯ım a¯mantrayate: «im¯ani te bhavanti, bhadre, duhitur j¯am¯atuh. pad¯ani.» G¯ath¯am . bh¯as.ate: Raktasya pum . sah. padam utpat.am . sy¯at, nip¯ıd.itam dves a A vatah padam ca. . . . . padam . hi m¯ud.hasya visr.s.t.aAdeham . suv¯ıtaAr¯agasya padam tv ih’ e dr ˆ . .´sam. n’ aˆsau bhart¯a bhajate kum¯arik¯am. nivarta! y¯asy¯amah. svam . nive´sanam. Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    An impassioned man’s bed is in disarray; That of a man inclined to hatred, violently pressed down; A deluded man’s bed is arranged backward, But this bed is used by a dispassionate man. That one is no husband who will love our daughter. Turn back! We’re going home. Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. The wanderer Mak´andika looked. He saw the Lord’s footprints and again addressed his wife: “These, my dear, are the footprints of your daughter’s future husband.” In reply, she spoke this verse: An impassioned man’s footprint is almost effaced; That of one subject to hatred, deeply imprinted; A deluded man’s footprint has a splayed-out shape, But a footprint like the one here belongs to one Who is completely free from the passions. This is not a husband who will love our daughter. Turn back! We’re going home! Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

.

   .

Bhagavat”Aoˆ tk¯a´saA´sabdah. kr.tah.. a´sraus.¯ın M¯akandikah. parivr¯ajako Bhagavata utk¯a´sanaA´sabdam . ´su´sr¯ava. ´srutv¯a ca, punah. punah. patn¯ım a¯mantrayate: «es.a te bhavati duhitur j¯am¯atur utk¯a´sanaA´sabdah.» iti. S¯a g¯ath¯am . bh¯as.ate: Rakto naro bhavati hi gadgadaAsvarah.; dvis.t.o naro bhavati hi khakkhat.a¯Asvarah.. m¯ud.ho naro hi bhavati sam¯akulaAkhara Buddho hy ayam . br¯ahman.aAdundubhiAsvarah.. n’ aˆsau bhart¯a bhajate kum¯arik¯am. nivarta! y¯asy¯amah. svam . nive´sanam. Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti.

Bhagavat¯a M¯akandikah. parivr¯ajako d¯ur¯ad avalokitah.. adr¯aks.¯ın M¯akandikah. parivr¯ajako Bhagavantam avalokayantam, dr.s.t.v¯a ca, punah. patn¯ım a¯mantrayate sma, «es.a te bhavati duhitur j¯am¯at¯a nir¯ıks.ate» iti. . S¯a g¯ath¯am . bh¯as.ate: Rakto naro bhavati hi ca˜ncal’Ae¯ks.an.ah., dvis.t.o bhujagaAghoraAvis.o yath” e¯ks.ate. m¯ud.ho narah. sam . tamas’ ˆıva pa´syati, dvija, v¯ıtaAr¯ago yugaAm¯atraAdar´s¯ı. na es.a bhart¯a bhajate kum¯arik¯am. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    The Lord spoke aloud. The wanderer Mak´andika, lis- . tening, heard the Lord speak aloud and, hearing him do so, announced to his wife repeatedly, “This, my lady, is our daughter’s future husband speaking aloud.” S´akali spoke this verse: An impassioned man has a stammering voice, That of one subject to hatred is harsh; A deluded man’s voice is greatly agitated, But this man is an Awakened One, With a voice like a brahmin’s kettledrum. This one is no husband who will love our daughter. Turn back! We’re going home. Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. The Lord regarded the ascetic Mak´andika from a distance. The ascetic Mak´andika saw the Lord regarding him from a distance and, seeing him so doing, again called to his wife, “That one, my dear, who is looking me over—he is the husband for our daughter.” . S´akali pronounced these verses: An impassioned man’s eyes dart back and forth; One subject to hatred stares as if having imbibed virulent snake venom. A deluded man appears as if staring into darkness, O twice-born, but the gaze of this passionless one is directed a yoke’s length in front of him. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   nivarta! y¯asy¯amah. svakam . nive´sanam. Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti. Bhagav¯am . ´s ca˙nkramyate. adr¯aks.¯ın M¯akandikah. parivr¯ajako Bhagavantam . ca˙nkramyam¯anam . dr.s.t.v¯a ca, punah. patn¯ım a¯mantrayate, «es.a duhitur j¯am¯at¯a ca˙nkramyate» iti. S¯a g¯ath¯am . bh¯as.ate: .

Yath” aˆsya netre ca yath” aˆvalokitam . yath” aˆsya k¯ale sthitir eva gacchatah., yath” aˆiva padmam . stimite jale ’sya netram . vi´sis.t.e vadane vir¯ajate, na es.a bhart¯a bhajate kum¯arik¯am. nivarta! y¯asy¯amah. svakam . nive´sanam. Ama˙ngale S¯akalike! tvam . m¯an˙ galyaAk¯ale vadase hy ama˙ngalam! saced drutam . samadhikr.tam . bhavis.yati punar apy asau k¯ama A gun.es.u ram . syate. iti. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    This is no husband who will love our daughter. Turn back! We’re going home! Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. The Lord began walking up and down. The ascetic Mak´andika saw the Lord walking up and down and, seeing him so doing, once again called to his wife: “This one walking up and down is the husband for our daughter.” S´akali pronounced this verse: From his eyes and his gaze, From his staying still and moving only at the right time, From the way his eyes shine In his distinguished countenance like a lotus in still water, I can see this one is no husband who will love our daughter. Turn back! We’re going home. Inauspicious S´akalika! On such an auspicious occasion you speak so inauspiciously! If he can quickly be made irresolute, Then he will once again desire sensual pleasures. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

.

   ˆ s¯ıraAMaunaAL¯ayan¯a Va´sis.t.h’AO´ apatyaAhetor atatAk¯amaAmohit¯ah.. dharmo mun¯ın¯am . hi san¯atano hy ayam apatyam utp¯aditav¯an san¯atanah.. Atha M¯akandikah. parivr¯ajako yena Bhagav¯am . s ten’ oˆ pasam . kr¯antah.. upasam . kramya, Bhagavantam idam avocat: Im¯am . Bhagav¯an pa´syatu me sut¯am . sat¯ım . r¯up’Aoˆ papann¯am . pramad¯am alam . kr.t¯am. k¯am’Aaˆrthin¯ım yad bhavate prad¯ ı yate . sah’ aˆnay¯a s¯adhur iv’ a¯carat¯am . bhav¯an, sametya candro nabhas’ ˆıva Rohin.¯ım. .

Bhagav¯an sam . laks.ayati, «yady aham Anupam¯ay¯a anunaya A vacanam . br¯uy¯am, sth¯anam etad vidyate, yad Anupam¯a r¯agen.a svinn¯a k¯alam . kurv¯an.a¯ bhavis.yati. tat tasy¯ah. pratighaA vacanam . br¯uy¯am» iti viditv¯a, g¯ath¯am . bh¯as.ate: Dr.s.t.a¯ may¯a M¯araAsut¯a hi, vipra, tr.s.n.a¯ na me n’ aˆpi tath¯a rati´s ca. chando na me k¯amaAgun.es.u ka´s cit: tasm¯ad im¯am . m¯utraApur¯ıs.aAp¯urn.a¯m . spras.t.um . hi padbhy¯am api n’ oˆ tsaheyam. M¯akandiko g¯ath¯am . bh¯as.ate: Sut¯am im¯am . pa´syasi kim . mad¯ıy¯am . ˙ h¯ın’Aaˆngin¯ım . r¯upaAgun.air viyukt¯am? chandam . na yen’ aˆtra karos.i c¯arau viviktaAbh¯aves.v iva k¯amaAbhog¯ı? iti 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    ´ Vas´ıshtha, Ushira, Mauna and L´ayana, For the sake of offspring, were deluded by desire. For the law of the sages is eternal—indeed, That eternal law has caused me To produce this child, An´upama. Then the ascetic Mak´andika approached the Lord and, having approached, said this to the Lord: May the Lord behold my virtuous daughter, A beautiful and shapely young woman beautifully adorned. Since I give this amorous girl to you, Live with her like a true sage, Like the moon in the sky with R´ohini. The Lord reflected, “If I speak conciliatory words to An- . u´ pama, what will happen is that she will die, sweating with passion. Therefore I shall speak repellent words to her,” and, so thinking, he pronounced this verse: Even when I beheld Mara’s daughters, O brahmin, I felt neither craving nor sexual desire. I have no desire whatever for sensual pleasures: Therefore this girl, filled with urine and excrement, I could not bear to touch even with my foot. Mak´andika spoke this verse: Do you regard this daughter of mine as ill-formed, As without the qualities of beauty? Thus you feel no desire for this lovely girl, As a sensualist feels none for those bereft of strong emotion? 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   Bhagav¯an api g¯ath¯am . bh¯as.ate: .

Yasm¯ad ih’ aˆrth¯ı vis.ayes.u m¯ud.hah., sa pr¯arthayet, vipra, sut¯am . tav’ eˆm¯am; r¯up’Aoˆ papann¯am . vis.ayes.u sakt¯am av¯ıtaAr¯ago ’tra janah. pram¯ud.hah.. Aham . tu Buddhah., muniAsattamah., kr.t¯ı pr¯apt¯a may¯a bodhir anuttar¯a ´siv¯a. padmam . yath¯a v¯ariAkan.air aliptam, car¯ami loke ’nupalipta eva. N¯ıl’Aaˆmbuj¯am . kardamaAv¯ariAmadhye yath¯a ca pa˙nkena ca n’ oˆ paliptam, tath¯a hy aham . , br¯ahman.a, lokaAmadhye car¯ami k¯ames.u vivikta eva. iti ˆ Ath’ Anupam¯ a, Bhagavat¯a m¯utraApur¯ıs.aAv¯adena samud¯acarit¯a, vigataAhars.a¯ durman¯ah. sam . vr.tt¯a. tasy¯a yad r¯agaAparyavasth¯anam, tad vigatam, dves.aAparyavasth¯anam utpannam, sth¯ul¯ıbh¯ut’Aa¯ryaAsph¯ıtik’Aaˆvar¯ıbh¯ut’Ae¯ks.in.¯ı. Tena sa khalu samayen’ aˆnyatamo mahallo Bhagavatah. pr.s.t.hatah. sthito ’bh¯ut. atha mahallo Bhagavantam idam avocat:

.

SamantaAdr.s.t.e, pratigr.hya n¯ar¯ım asmatAsamet¯am, Bhagavan, prayaccha! rat¯a vayam . hi, pramad¯am alam . kr.t¯am . bhoks.y¯amahe, dh¯ıra, yath”Aaˆnulomam. iti 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    The Lord replied with these verses: O brahmin, a deluded man, intent on objects of sense, Would in these circumstances desire this daughter of yours; Such a deluded fellow, who is not free from passion, Would desire a beautiful girl who is attached to objects of sense. But I am an Awakened One, supreme among sages, who has done the work And attained Awakening, the felicity supreme. Just as a lotus is not sullied by droplets of water, So I wander in the world, completely undefiled. And just as a blue lotus growing in muddy water Remains unsullied by the mud, So I, O brahmin, live in this world, Utterly untouched by sensual desires.

.

At that, An´upama, whom the Lord had described using the words “urine and excrement,” lost all her joy and became depressed. Passion lost its hold over her, hatred replaced it, and her eyes, wide open and staring, glazed over. Just then a certain aged monk was standing behind the Lord. That aged monk said this to the Lord: O all-seeing one, accept this woman Whom we have encountered, and give her, O Lord, to me! For I am lustful; Let me enjoy this beautiful wench, O wise one, as I please. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

.

   Evam ukte, Bhagav¯am . s tam . mahallam idam avocat: «apehi, purus.a, m¯a me puratas tis.t.ha» iti. sa rus.ito g¯ath¯am . bh¯as.ate: Idam . ca te p¯atram idam . ca c¯ıvaram . yas.t.i´s ca kun.d.¯ı ca—vrajantu nis.t.h¯am! im¯am . ca ´siks.a¯m . svayam eva dh¯araya, dh¯atr¯ı yath¯a hy a˙nkaAgatam . kum¯arakam! iti Evam ukte, sa mahallah. ´siks.a¯m . praty¯akhy¯aya, «mah¯an an¯aryo ’yam» iti matv¯a, yena M¯akandikah. parivr¯ajakas ten’ oˆ pasam . kr¯antah.. upasam . kramya M¯akandikam . parivr¯ajakam idam avocat: «anuprayaccha mam’ aˆntike ’nupam¯am» iti. Sa paryavasthitah. kathayati, «mahalla, dras.t.um api te na prayacch¯ami, pr¯ag eva spras.t.um!» iti. evam uktasya M¯akandikasya parivr¯ajakasy’ aˆntike t¯adr.´sam . paryavasth¯anam utpannam yen’ o s n am s on itam chardayitv¯ a, k¯alaAgatah., naˆ ´ . .. . . . rakes.’ uˆ papannah.. . Tato bhiks.avah., sam . ´saya A j¯at¯ah., sarva A sam . ´saya A chett¯aram . Buddham . Bhagavantam . papracchuh., «pa´sya, Bhadanta, Bhagavat” oˆ pam¯a labhyam¯an¯a na pratigr.h¯ıt¯a» iti. Bhagav¯an a¯ha, «na, bhiks.avah., etarhi yath” aˆt¯ıte ’py adhvany es.a¯ may¯a labhyam¯an¯a, na pratigr.h¯ıt¯a. tac chr¯uyat¯am. . . Bh¯uta A p¯urvam, bhiks.avo ’nyatamasmin karvat.ake, ayas A k¯arah. prativasati. tena sadr.´sa¯t kul¯at kalatram a¯n¯ıtam. sa tay¯a s¯ardham . kr.¯ıd.ati, ramate, paric¯arayati. tasya kr¯ıd.atah., ramam¯an.asya, paric¯arayatah., k¯al’ A aˆntaren.a patny a¯panna A sattv¯a sam . vr.tt¯a. s¯as.t.a¯n¯am . nav¯an¯am . v¯a m¯as¯an¯am atyay¯at, pras¯ut¯a. 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    When addressed thus, the Lord said this to the old monk: “Begone, fellow! Remain not in my presence.” Enraged, the old monk pronounced this verse: This bowl and this robe of yours, This staff and water pot—to hell with them! And you can care for your own training, As a nursemaid cares for a child in her lap! Having spoken thus, that old monk, repudiating his training, and thinking, “This is just a base fellow,” approached the wanderer Mak´andika, to whom he said, “Give An´upama to me.” Mak´andika, incensed, replied, “Old monk, I wouldn’t give her to you even to look at, much less to touch.” When addressed in this way by the wanderer Mak´andika, right before him the old monk’s intense emotions rose up such that he vomited hot blood, died and was reborn in the hells. At that, their doubts arisen, the monks questioned the . Lord Buddha, who resolves all doubts: “Look now, Venerable sir, although she was given to you, you did not accept An´upama.” Said the Lord, “Not only now, monks, but also in previous births, I was given, but did not accept her. Listen to this. . . . In a previous existence, monks, in a certain small village, there dwelled a blacksmith. He married a woman from a family similar to his own. He enjoyed himself with her, made love to her and otherwise dallied with her. As he thus enjoyed himself with her, made love to her and dallied with her, his wife became pregnant. After the passage of eight 

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   duhit¯a j¯at¯a, abhir¯up¯a, dar´san¯ıy¯a, pr¯as¯adik¯a. unn¯ıt¯a, vardhit¯a mahat¯ı sam . laks.ayati, ‹may” aˆis.a¯ duhit¯a . vr.tt¯a. ayasAk¯arah. sam na kasya cit kulena d¯atavy¯a, na r¯upena, na dhanena, api tu yo mama ´silpena samo ’bhyadhiko v¯a—tasy’ aˆham en¯am . d¯asy¯ami› iti.

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

   ´    or nine months, she gave birth. It was a daughter. She was well formed, good-looking, a lovely girl. Nurtured, she grew up and reached maturity. The blacksmith reflected, ‘I shall not marry my daughter to anyone on account of his family, good looks nor even wealth, but only to a man who is my equal or superior in my own craft—to such a one will I marry her.’

C S L E  James Mallinson (csl–.)  N  : ..

D¯ ¯ . V .

Joel Tatelman is Senior Editor at the Social Sciences and Humanities Research Council of Canada. He has also published The Glorious Deeds of Purna, a translation and study of the Púrnavadána.

WWW.CLAYSANSKRITLIBRARY.COM

The Heavenly Exploits are “Buddhist Biographies from the Dívyavadána.” The worldly face of religious literature, these lively morality tales have inspired audiences across Asia for more than two millennia.

CLAY SANSKRIT LIBRARY

the heavenly exploits buddhist biographies from the dívyavadána

1

The Heavenly Exploits buddhist biographies from the dívyavadána volume ONE

tatelman clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

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ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Edited & translated by JOEL TATELMAN

Here is a new Clay Sanskrit Library edition and translation of four stories from The Heavenly Exploits: Buddhist Biographies from the Dívyavadána.

The “Dívyavadána,” or Heavenly Exploits, is a collection of thirty-eight Buddhist biographical stories. The genre of narratives of an individual’s religiously significant deeds is as old as Buddhism, and its manifestations are as widely spread across Buddhist Asia, in classical and vernacular languages, down to the present day. Volume One contains the stories of Shrona Koti·karna, Purna, Prince Súdhana and Makándika. The first two stories are fine examples of the type of tales about adventurous seafaring merchants whose moral virtue and religious observance lead to material wealth. Súdhana’s is a prince’s long and dangerous heroic quest, while the brahmin ascetic Makándika offers his nubile daughter to the Buddha in marriage. Where religion meets the world, these tales present something for everyone.

Sir James Mallinson translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

Budha·svamin’s The Emperor of the Sorcerers is a racy telling of the celebrated lost Indian narrative cycle The Long Story, framed by Nara·váhana·datta’s magical adventures on his quest to become Emperor of the Sorcerers.

CLAY SANSKRIT LIBRARY

the emperor of the sorcerers 1 budha·svamin

THE emperor of the Sorcerers volume ONE

by Budha·svamin

mallinson clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

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The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

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Edited & translated by SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library edition and translation of the first half of Budha·svamin’s The Emperor of the Sorcerers. Budha·svamin tells the astonishing epic tale of the youthful exploits of prince Nara· váhana·datta. It is indeed a great story, as its Sanskrit title declares. Epic in scope and scale, it has everything that a great story should: adventure, romance, suspense, intrigue, tragedy and comedy. The reader is taken from royal palaces to flying sorcerers’ mountain fastnesses via courtesans’ bedrooms and merchant ships. The frame story narrates Nara·váhana·datta’s progress culminating in his enthronement as Emperor of the Sorcerers, winning twenty-six wives along the way. Volume One’s adventures end with his lute contest and marriage to Gandhárva· datta. The fast and witty narrative eschews lengthy description and provides fascinating insights into ancient India.

The Emperor of the sorcerers Volume One by Budhasvamin ¯ EDITED & TRANSLATED BY

SIR JAMES MALLINSON

Artwork by Robert Beer. Dust jacket design by Isabelle Onians. Typeset by Somadeva Vasudeva. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

C S L .  E  James Mallinson (csl–.)  S  : ..

´ B. KSS .. V .

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

c  by the CSL. Copyright ! All rights reserved. First Edition  Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following Websites: www.claysanskritlibrary.com www.nyupress.org. Library of Congress Cataloging-in-Publication Data Budhasv¯amin. [Br.hatkath¯a´slokasa˙ngraha. English & Sanskrit] The emperor of the sorcerers / by Budhasvamin ; edited and translated by Sir James Mallinson.– st ed. p. cm. – (The Clay Sanskrit library) In English and Sanskrit; translated from Sanskrit. Includes bibliographical references and index. ISBN --- (cloth : alk. paper) . Sanskrit literature–Early works to . . Tales–India–Early works to . I. Mallinson, James, II. Title. III. Series. PK.BB  ’.–dc 

C S L .  E  James Mallinson (csl–.)  S  : ..

´ B. KSS .. V .

Contents Sanskrit alphabetical order Guide to pronunciation and punctuation

 

THE EMPEROR OF THE SORCERERS Introduction Canto : G¯  Canto : P¯  Canto : A ˙ Canto : T S  P ¯ Canto : S P C Canto : T B   P Canto : C  C P Canto : T S  H Canto : T M   R Canto : T C   R ˜ ¯ Canto : T W  M Canto : T S   G Canto : V¯ı Canto : V¯ı R Canto : T W  V¯ı Canto  T E  C¯ Canto : M  G¯

                 

Notes  Index  A sandhi grid is printed on the inside of the back cover

Canto 9 The Meeting on the Riverbank

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

    

T

 ’Aˆ A¯ A kapolaAsthalaAkomalam sarojaApattram . karaAjai´s chettum a¯rabdha Gomukhah.. PattraAchedyam . tatas tasy¯ah. saritas taradAambhasi saAj¯ıvam iva sam . pannam . calatv¯at pat.uAram . hasah.. Anuk¯ulam prasarpantam pra´ s am santa´ s ca Gomukham . . . pattraAchedyam apa´sy¯ama mukt’AaˆvayavaAsam . karam. Asm¯abhir anuyukta´s ca, «kathay’ eˆti» saAvistaram Gomukho vy¯akaroti sma pattraAchedasya laks.an.am. . «Ih’ aˆryaAputra vij˜ neyam . pattraAchedyam . sam¯asatah. tryAasram . ca caturAasram . ca d¯ırgham . vr.ttam . ca bhedatah.. s ail¯ a nis padyante gr TryAasrai´s catus.Apadam ´ . . h’Aa¯di ca . caturAasraih. saA´sa¯l¯ani pur¯an.i purus.’Aa¯di ca. D¯ırghair nadaAnad¯ıAm¯argaAprat¯anaAbhujaAg’Aa¯dayah. vr.ttair bh¯us.an.aAsam . yogaA´sakuntaAmithun’Aa¯dayah..» Gomukhe kathayaty evam a¯gatya Marubh¯utikah. «aho nu mahad a¯´scaryam a¯ryaAputr’ eˆty!» abh¯as.ata. asau Hari´sikhen’ oˆ ktah., «sarvam eva bhav¯aAdr.´sa¯m k¯upaAkacchapaAkalp¯an¯am a¯´scaryam . sth¯ulaAcaks.us.a¯m!» . «Pa´sya duh.A´sraddadh¯an’ eˆti!» tam uktv¯a Marubh¯utikah. «idam a¯´scaryam!» ity uccaih. pulinam . no vyadar´sayat. Tato Hari´sikhen’ oˆ ktam . kr.tv¯a hasitam ulban.am «¯a´scaryam . pulinam . pa´sya! namas tasmai saAcaks.us.e! Nimnena salilam . y¯ati pulinam . sikat¯aAsthalam a¯´scaryam yadi tan m¯ u d ha dves . . ah. kah. salile tava?» .

T

,   , Go·mukha started to make cuts in a lotus leaf that was as soft as the cheek of a lovelorn lady*. In the flowing water the leaf-figure seemed to come to life with the movement of the impetuous river. Singing Go·mukha’s praises, we watched the leaffigure floating downstream; it had become more than the sum of its parts. When we asked him to tell us, Go·mukha described in detail the defining characteristics of a leaf-figure. “On this . matter, my lord, one should know that leaf-figures are, briefly, divided into the following categories: triangular, square, rectangular and round. With triangular ones are made things like quadrupeds, mountains and houses; with square ones, cities, houses, people and so forth; with rectangular ones, rivers, roads, creepers, snakes and such like; with round ones, things like ornaments and pairs of birds.” As Go·mukha was saying this, Maru·bh´utika arrived and said, “My lord, a great miracle has happened!” Hari·shikha said to him, “Everything is miraculous for people like you who are as blinkered as tortoises in a well!” “Take a look, you incredulous fellow!” replied Maru·bh´u- . tika, and he showed us the riverbank, exclaiming, “This is the miracle!” At this Hari·shikha laughed loudly and said, “Behold the miraculous riverbank! Homage to this visionary! Water is flowing along the riverbed: if the sandy bank is miraculous then what, fool, have you got against the water?” 



C S L .  E  James Mallinson (csl–.)  J  : ..

 :     

´ B. KSS .. V .

     So ’brav¯ıt, «kena ‹pulinam a¯´scaryam iti› bh¯as.itam? puline yat tad a¯´scaryam atha v¯a dr.´syat¯am iti!» Ten’ oˆ ktam . «puline santi sikat¯ah. kim . tad adbhutam?» «n’ eˆty» ukte tena dr.s.t.v¯a tu pulinam . Gomukho ’brav¯ıt, .

«m¯a m¯a bhadraAmukham . ka´s cit paribh¯ud Marubh¯utikam may¯a hi puline dr.s.t.am . sam . nivis.t.am . padaAdvayam.» Uktam . Hari´sikhen’ aˆpi, «yady a¯´scaryam . padaAdvayam atyAa¯´scaryam idam . pa´sya padaAkot.¯ı´s caturAda´sa!» Ten’ oˆ ktam . , «s’Aaˆnubandh¯asu n’ a¯´scaryam . padaAkot.is.u idam . t¯anam . ten’ a¯´scaryam . padaAdvayam.» . vicchinnaAsam Ten’ oˆ ktam . , «yadi ´ses.a¯n.i par¯amr.s.t.a¯ni p¯an.in¯a bhaveyur iti?» ten’ oˆ ktam . , «tatah. sy¯ad eva v¯aluk¯a.» «Y” eˆyam . t¯ıraAtaroh. ´sa¯kh¯a pulinam . y¯avad a¯gat¯a tay¯a gatv” aˆvat¯ırn.ah. sy¯at ka´s cin n¯agarako yadi.

.

Et¯am eva sam¯alambya d¯uram a¯lambaApallav¯am nivartet’ eˆti» ten’ oˆ kte, «parn.’Aa¯k¯ırn.a¯ mah¯ı bhavet.» «Kasya tarh’ ˆıti?» ten’ oˆ kte, «divyasy’ eˆty» abrav¯ıt sa tam «divy¯an¯am . katamasy’ eˆti» sa vidy¯aAdharam a¯di´sat: «Na spr.´santi bhuvam . dev¯ah. sth¯ulatv¯ad yaks.aAraks.as¯am d¯uram . pad¯ani majjanti pulines.u vi´ses.atah.. Tapah.Aks.a¯maA´sar¯ıratv¯at siddh¯an¯am r.s.ibhih. saha aAvyakt’Aaˆn˙ guliAp¯ars.n.yAa¯diAniks.epam . j¯ayate padam. 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      Maru·bh´utika replied, “Who said the riverbank was miraculous? It’s what’s on it that’s miraculous: have a look!” Hari·shikha replied, “There are grains of sand on the bank. Is that amazing?” When Maru·bh´utika said it was not, Go·mukha looked at the riverbank and said, “Don’t be rude to goodly Maru· . bh´utika, for I can see a pair of footprints on the bank”. Hari·shikha said, “If a pair of footprints is a miracle, then this is beyond miraculous—look: one hundred and forty million pairs of footprints!” Go·mukha replied, “There is nothing miraculous in tens of millions of footprints in succession; what makes this pair of footprints a miracle is that it is alone.” Hari·shikha answered, “What if the rest have been rubbed out by hand?” “Then there would be loose sand,” replied Go·mukha. Hari·shikha said, “There’s a tree on the other side of the river. Do you see the branch that reaches this bank? What if some clever fellow* climbed along it and got down here? He might have returned by grabbing hold of the same . branch—its shoots hang down a long way.” Go·mukha replied, “The ground would be strewn with leaves.” When Hari·shikha asked, “Then to whom do the footprints belong?,” Go·mukha replied, “To a divine being.” When asked what sort of divine being, he specified that it was a sorcerer: “Gods do not touch the ground. Because they are heavy, the footprints of Yaks.as and demons make deep indentations, especially on riverbanks. The bodies of perfected saints and sages are emaciated because of their 

´ B. KSS .. V .

     Anyes.a¯m . ca manus.y¯an.a¯m upapatty¯a niyujyate avag¯ad.ham . bhavaty agre vipar¯ıtam . tu yos.itah.. uyo Hari´sikho ’brav¯ıt. . Bh¯ar’Aa¯kr¯antah. sa c’ eˆty» ukte bh¯ ´ aAp¯adaApaA´satr¯un.a¯m ko ’sya bh¯aro bhaved iti?» «Sil¯ . ´ «Sil¯ay¯am avag¯ad.ham . sy¯at parn.aAk¯ırn.am . ca p¯adaApe ¯ ı ye ’vat¯ a rayet. puline raman ´satrau na ´satrum . . Tasm¯ad aAsiddhaAvidy” aˆsya bh¯aro vidy¯aAdhar¯ı yatah. na vidy¯aAsiddhim a¯ptv” aˆpi j¯ayante pa˙nguAvr.ttayah.. ¯ Aropitam . ca ten’ aˆsy¯a jaghanam . daks.in.am . bhujam nimagnam yena tasy’ e dam daks in am k¯ a minah ˆ . . . . . . padam. Patitair uttam’Aaˆn˙ g¯ac ca ke´saAdh¯up’Aaˆdhiv¯asitaih. m¯alat¯ıAkusumair v¯asam avak¯ırn.am . na pa´syasi? . Raman.¯ıyatar¯am c’ e m¯ a m na tyaks ˆ . . . yati sa nimnaAg¯am ten’ aˆnyatr’ aˆpi dr.´syant¯am . pad¯ani nipun.air iti». Tatah. paurair mad¯ıyai´s ca vicinvadbhir itas tatah. str¯ıApum . sayor adr.´syanta pad¯ani salil’Aaˆntike. Sah’ aˆsm¯abhis tam udde´sam . gatv¯a dr.s.t.v¯a ca Gomukhah. «tena n¯agaraken.’ aˆpi bh¯avyam» ity etad uktav¯an. «Katham . vetth’ eˆti» pr.s.t.a´s ca sa vihasy’ eˆdam uktav¯an «j˜neyam . kim atra durAj˜na¯nam? atha v¯a kathay¯ami vah.. ParaAcitt’Aaˆnuvr.tti´s ca svaAcittasya ca nigrahah. y” eˆyam . n¯agarakair ukt¯a s¯a n¯agarakat¯a mat¯a. . Mantharam . parisarpant¯ım . k¯amin¯ım anugacchati ayam n¯ a garako yasm¯ a d atikramya na gacchati. . Id¯an¯ım eva tau y¯atau padav¯ı dr.´syat¯am iyam tath¯a hi caran.’Aa¯kr¯antiAnatam ady’ aˆpi ´sa¯dvalam.» 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      asceticism, so their feet leave indistinct imprints of their toes, heels and other parts. Those of other human beings depend on how they are made. a man’s is deep at the front, a woman’s is the opposite. This man has a heavy load.” . Hari·shikha asked: “What might his load be: a rock, a tree or a foe?” “If it were a rock it would be deeper; if it were a tree there would be leaves scattered about; if it were a foe, he would not have put him down on this lovely riverbank. Therefore this fellow’s burden is a sorceress who has not mastered magic: those who have mastered magic do not become lame. The suitor’s right footprint is deeper, so he sat her on his right arm. Do you not notice the smell given off by the jasmine flowers that fell from her head and are scented with her pomade? This river is most agreeable; he . will not have strayed from it, so let’s carefully look elsewhere for footprints.” The townspeople and my retinue searched about the place and found the footprints of a man and a woman near the water. Go·mukha accompanied us there. He looked at them and said that that same gentleman must have made them too. When he was asked how he knew, he laughed and replied, “What in this is hard to work out? All right, I shall tell you. Carrying out the wishes of another and suppressing one’s own: that’s what gentlemen consider gentlemanly conduct. His lover is walking slowly and he is following her. . He is a gentleman because he does not go in front of her. They passed just now: look at the path, the grass is still bent over from being pressed down by their feet.” 

´ B. KSS .. V .

     Iti t¯am anugacchanto nav¯am . caran.aApaddhatim saptaAparn.am apa´sy¯ama pravr.ttaAbhramar’Aoˆ tsavam. TanAm¯ule y¯ani vr.tt¯ani raho viharam¯an.ayoh. svayam a¯carit¯an’ ˆıva Gomukhas t¯any avarn.ayat: «Iha s¯a kupit¯a tasmai tena c’ eˆha pras¯adit¯a ayam . saAkusuma´s c’ aˆtra kl.ptah. pallavaAsam . starah.. ´ . Sr¯ant¯a c’ aˆtr’ o ˆ pavis.t.a¯ s¯a tath¯a c’ eˆdam . nir¯upyat¯am a¯sanam jaghan’ a kr¯ a nti A A j¯ a ta A jarjara A pallavam. ¯ . Nidh¯aya jaghane hastau vinamayya guru trikam iyam . vijr.mbham¯an.a¯y¯a magn’AaˆgraAcaran.a¯ mah¯ı.» Evam . nir¯upayanta´s ca saptaAparn.aAtal¯ad vayam niry¯ant¯ım anvagacch¯ama tayo´s caran.aApaddhatim. Ath’ aˆgamyam apa´sy¯ama candraAs¯ury’Aaˆnal’Aaˆnilaih. m¯adhav¯ıAgahanam . ve´sma k¯amin¯am aAniv¯aritam. V¯arun.¯ıAp¯anaAsam j¯ . ataAmadaAbhr.n˙ gaAviluptay¯a pus.pavaty¯a paris.vaktam . ´sy¯amay¯a tan nirAantaram. . Dr.s.t.v¯a ca Gomukhen’ o ˆ ktam, «atr’ aˆiv’ a¯ste sa k¯amukah.! pracchannam . ca na h’ ˆıdam . ty¯agam arhati. . raman.¯ıyam Na c’ aˆpi dar´sanam yuktam a s¯ ı nasya yath¯ aAsukham ¯ . tasm¯an muh¯urtam anyatra kva cid vi´sramyat¯am iti.» N¯ılaA´s¯ıtalaAm¯ulasya d¯urvay¯a vat.aA´sa¯khinah. ch¯ayay¯a ca pal¯a´sa¯n¯am atis.t.h¯ama tale tatah.. Gomukhas tu tad a¯lokya lat¯aAgr.hakam unmukhah. «n’ aˆsty as¯av atra k¯am” ˆıti» saA´sirasAkampam uktav¯an. Tato Hari´sikhen’ oˆ ktam . , «p¯urvam, ‹ast’ ˆıti!› bh¯as.ase id¯an¯ım api, ‹n’ aˆst’ ˆıti!› sarvath” oˆ nmattako bhav¯an!» 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      Following those fresh footprints, we came across a saptaparn.a tree. It was a riot of busy bees. Go·mukha described what had passed in secret between the two sporting lovers at the foot of that tree as though he himself had been involved: “She was angry with him here. . . here he won her over. . . here they made this bed of twigs and flowers. . . tired, . she sat down here. Look, this is where she sat: the twigs are broken from being pressed down by her bottom. Placing her hands on her buttocks, she lowered her heavy behind; the earth here has been pressed down by her toes as she stretched.” Investigating like this, we followed their footprints away from the foot of the saptaparn.a tree. Then we noticed a dense thicket of m¯adhav¯ı bushes, impervious to the moon, the sun, fire and wind, but no obstruction to lovers. It was tightly enclosed by blossoming priya˙ngu creepers which were being ravished by drunken bees. When he saw it Go· . mukha said, “Our beau is right here! This spot is hidden and lovely: he wouldn’t have left it. It would not be right to see him relaxing and enjoying himself, so let’s retire somewhere else for a while.” We waited under a banyan tree, in the shade of its leaves, its foot dark and cool with d¯urv¯a grass. Go·mukha looked toward the creeper bower, shook his head and said that the lover was not there. Then Hari·shikha said, “At first you say he’s there but now you say he isn’t. You are completely mad!” 

´ B. KSS .. V .

     Ten’ oˆ ktam, «idam aAtrastam . nis.kr¯antam . m¯adhav¯ıAgr.h¯at ´sikhan.d.iAmithunam . kasm¯an m¯ukam andha na pa´syasi? Yadi ka´s cid bhaved atra trastam etat tatas tatah. mukt’Aa¯rtaAkekam ud.d.¯ıya vr.ks.aAdurgam . vi´sed iti.» Tatah. prasth¯apay¯ami sma vicetum . pariv¯arak¯an ˜ calayantas tu hast¯am . s te ´su¯ nyam a¯khyal lat¯aAgr.ham. Svayam . tatr’ aˆpy apa´sy¯ama racitam . prastaram . mahat ki´ s ora A lut hitair iva. prak¯ırn.aApallavaAny¯asam . . ca h¯ a ra A n¯ u pura Amekhalam TaruA´sa¯kh”Aaˆvasaktam . anyatr’ aˆnyatra ca ks.aumam ambhoAruhaAdal’Aaˆrun.am. . Patit’AaˆrkaAnik¯a´sam . ca vidy¯aAdharaAdhanam . kva cit varmaAratnam . sphuradAratnaAprabh¯aAku˜ncitaAlocanam. Sarvam . tad gr¯ahay¯ami sma purus.air bh¯us.an.’Aa¯dikam. Tasmai niry¯atayis.y¯ami dr.s.t.a¯y’ eˆty atha Gomukhah. Abrav¯ıd, «vairin.a¯ n¯unam . sa n¯ıtah. saha k¯antay¯a t¯abhy¯am . hi paraAtantr¯abhy¯am . bh¯us.an.’Aa¯d’ ˆıdam ujjhitam. ca tam vitta snigdh¯as tasya ´siroAruh¯ah. D¯ırgh’Aa¯yus.kam . . lagn¯ah. p¯adaApaA´sa¯kh¯ay¯am ady’ aˆpi hi suAgandhayah..» Evam . nir¯upayanta´s ca samant¯adAdattaAdr.s.t.ayah. n’ aˆtiAd¯uram atikramya kva cit tu˙ngaAtarau vane. . Baddham . skandhe kadambasya pa˜ncabhir lohaA´sa˙nkubhih. vidy¯aAdharam apa´sy¯ama lepaAvidy¯aAdhar’AaˆAcalam. Ath’, «ˆavat¯aryat¯am es.a skandh¯ad ity» abhidh¯aya t¯an apasr.tya tata´s ch¯ay¯am a¯´sray¯ami sma ´sa¯khinah.. .



C S L .  E  James Mallinson (csl–.)  J  : ..

 :      Go·mukha answered, “Why is this pair of peacocks com- . ing out of the m¯adhav¯ı thicket unruffled and silent? Are you blind? Can’t you see them? If there was anyone in there, they would have cried out in alarm and flown up to the safety of a tree.” I dispatched some attendants to investigate. Waving their hands about, they signalled that the creeper bower was empty. We went there ourselves and saw that a large bed had been made, on which twigs were scattered as though by the rolling about of a colt. We saw a garland, some ankle bracelets and a girdle hanging from the branch of a tree, and fine linen clothes strewn about the place, as red as the petals of a lotus. And in another spot we saw precious armor, the . prized possession of a sorcerer. It looked like a fallen sun and made us squint with the brilliance of its sparkling jewels. I had all those ornaments and other things gathered together by the men so that I might return them to the fellow when we found him. Then Go·mukha said, “He and his beloved must have been abducted by an enemy: they have abandoned their jewelry and so forth because they have been captured. The fellow shall have a long life. Some of his hair got caught in the branch of a tree: it is glossy and still fragrant.” Investigating like this, we searched all around and had not gone far when, in a grove of tall trees, we saw a sorcerer . attached to the trunk of a kadamba tree by five iron spikes, as still as if he were a waxwork. I told the men to get him down from the tree trunk, and moved away to shelter in the shade of a tree. However Go·mukha said, “There is no 

´ B. KSS .. V .

     Gomukhas tv abrav¯ın, «n’ aˆite kena cid lohaA´sa˙nkavah.. ´saky¯ah. kras.t.um up¯ayena sarvair api surair iti.» Ath’ aˆham abruvam . smr.tv¯a, «r¯aj” aˆjalpan may¯a ´srutam et¯a os.adhayah. pa˜nca sad” a¯sth¯ah. kila varman.i. Vi´salyaAkaran.¯ı k¯a cit k¯a cin m¯am . saAvivardhan¯ı vran.aAsam . rohan.¯ı k¯a cit k¯a cid varn.aApras¯adan¯ı. . Mr.taAsam . j¯ıvan¯ı c’ a¯s¯am . pa˜ncam¯ı param’Aaˆus.adhih. yadi varman.i t¯ah. santi t¯abhih. sam . j¯ıvyat¯am iti.» Muh¯urt¯ad iva c’ a¯gatya vismito Gomukho ’brav¯ıt «pras¯ad¯ad aryaAputrasya j¯ıvitah. sa nabha´sAcarah.. T¯a mah”Aaˆus.adhayo dr.s.t.a¯ nihit¯as tasya varman.i ´salyaAprote ca harin.e prayukt¯ah. krama´sas tatah.. Tatra dr.s.t.aAprabh¯av¯abhih. sa vidy¯aAdharaAsundarah. aAkr.t’Aaˆn˙ gah. kr.tah. sadyah. sam¯a´svasy’ eˆti bh¯as.ate. ‹J¯ıvitah. kena baddho ’ham?› ity ath’ aˆham . tam uktav¯an ‹asm¯akam aryaAputren.a prak¯arai´s caturair iti.› . Ten’ o ˆ ktam . , ‹kim . ca yus.m¯akam aryaAputro ’pi vidyate?› ‹¯am’ eˆti› ca may¯a prokte ten’ oˆ ktam . , ‹na sa m¯anus.ah.. Asm¯akam aryaAputro ’pi devo vidy¯aAdharo ’pi v¯a pras¯ıdatu tam a¯khy¯ata pras¯adam . caks.us.a¯m iti.› May” oˆ ktam, ‹aryaAputren.a vayam a¯j˜na¯pit¯a, «yath¯a j¯ıvayitv” aˆbhyanuj˜neyo m¯a sma pa´syat sa m¯am iti». Kr.t’Aoˆ pak¯aras tv¯am . dras.t.um . n’ aˆyam icchati lajjay¯a punah.Asam dar´ s an¯ a y’ a tas t¯ a ta prasth¯ıyat¯am iti.› ˆ . 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      way that these spikes can be pulled out, not even by all the gods.” Then I remembered something and said, “I heard the king mention that the following five herbs are apparently always found in a suit of armor: one that heals arrow wounds, one that makes flesh grow, one that remedies cuts, one that restores the complexion, and the fifth, the ultimate herb, . which brings the dead back to life. If they are in the suit of armor then use them to bring him back to life.” Not long after Go·mukha returned, and said with a smile, “By the grace of Your Highness, the sky-rover has been revived! We found those potent herbs in his suit of armor, and tried them one by one on a deer that had been pierced by an arrow. When we had established their effects, we used them to restore the body of the handsome sorcerer. As soon as he had recovered, he said, ‘Who brought me back to life after I had been impaled?,’ and I replied, ‘Our master, using clever means.’ He said, ‘Is he your master . too?,’ and when I replied that he was, he said, ‘He is not human. He is also my master, and a god or a sorcerer. Please ask him to be so gracious as to favor me with his presence.’ I replied, ‘Our prince told us that after we revived you, you should be sent on your way and not be allowed to see him. Out of modesty he does not want to see you after assisting you. So, sir, please be on your way. We shall meet again.’ 

´ B. KSS .. V .

     Atha visrastaAhastena dattv¯a j¯anuAnip¯atanam vini´svasya ca ten’ oˆ ktam . dainyaAgadgaday¯a gir¯a, . ‹Id¯an¯ım asmi suAmr.tah. pr¯an.aAd¯an’Ao ˆ pak¯arin.am sv¯aminam . yan na pa´sy¯ami bhavis.yam . cakraAvartinam. Prad¯aya yadi me pr¯an.a¯n pa´sc¯atAt¯apena khedyate evam . mu˜nc¯ami bh¯uyas t¯an na cet pa´syatu m¯am iti!›» May¯a datte ’bhyanuj˜na¯ne, «pa´syatv evam . karotv iti» s a˜ n j¯ a nu g¯am spr s iras¯ a sa m¯ a m idam abh¯ a s A ´ ´ . . . ata, «Vidy¯aAdharo ’mitagatih. Kau´sikasya muneh. sutah. sarvaAvidy¯aAdhar’Ae¯´sena pran.aman dr.´syat¯am iti». «Eh’ ˆıha!» ca may” a¯h¯uya spr.s.t.ah. pr.s.t.he nirAa¯mayah. suhr.dAdr.s.t.y¯a ca dr.s.t.ah. san prahr.s.t.ah. samup¯avi´sat. . Tato Hari´sikhen’ oˆ ktam, «uktam . vr.s.aAsutena yat satyam . tat priyaAsam . bh¯as.ah. mah¯aAn¯agarako hy ayam.» ˆ s rutv” Amitagatir idam asm¯an abh¯as.ata Idam ´ . «n’ eˆdam . n¯agarakatvam . me ´sr¯uyat¯am . ca kath¯a yath¯a. Asti Pr¯aleyaA´sailasya manoAnayanaAh¯arin.i ´sikhare Kau´siko n¯ama munis tuly’Aaˆ´smaAk¯an˜ canah.. Tam . ca Bindumat¯ı n¯ama tyaktaANandanaAk¯anan¯a a¯r¯adhitavat¯ı yatn¯at suAd¯ırgham . k¯alam apsar¯ah.. Ekad¯a Kau´siken’ oˆ kt¯a, ‹varam . br¯uh’ ˆıti› s” aˆbrav¯ıt, ‹yadi me bhagav¯an pr¯ıtas tato ’patyam . dad¯atv iti.› . Tena c’ o ˆ tp¯aditam . tasy¯am apatyaAyugalam . kram¯at aham . ca putrah. putr¯ı ca mat svas¯a mat saAn¯amik¯a. So ’ham . sam . vardhitas tena n’ aˆsti tad yan na ´siks.itam 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      Then, with his hands hanging down, he dropped to his knees, sighed, and in a voice choked with misery said, ‘Now . I might as well be dead, because I cannot see my master, the future emperor, who has favored me with the gift of life. If he is regretting having given me life, I shall give it up again. If not, let him see me!’” When I gave my consent and said that he could do what he wanted and see me, he knelt down, touched the ground with his head, and said to me, “May the ruler of all the sor´ cerers look upon the humble sorcerer Amita·gati, son of the sage K´aushika.” I called him over, saying, “Come here!,” and touched him on the back—he had been healed. Under the gaze of my friends he sat down near me, overjoyed. Hari·shikha said, “What Go·mukha said is true: this fel- . low, with his agreeable conversation, is indeed a most courteous gentleman.” ´ When he heard this, Amita·gati said to us, “I am not just being courteous: listen to my story. On the charming and beautiful peak of Snow Mountain there is a sage called K´aushika to whom stone and gold are ´ as one. An Apsaras called B´ındumati left Indra’s paradise and served him zealously for a very long time. One day K´aushika told her to ask for a boon and she replied, ‘If Your Holiness is pleased with me, then let him give me children.’ He had two children in succession by her: a son, me, and a . daughter, my sister, who has the same name as me. It was he who made me what I am—he taught me everything. I bear his magical sciences, so I have become a sorcerer*. One day 

´ B. KSS .. V .

     dh¯aray¯ami ca tadAvidy¯as tena vidy¯aAdharo ’bhavam. Ekad¯a pitaram . dr.s.t.v¯a rudantam aham abruvam ‹m¯aAdr.´sam . putram utp¯adya kim . roditi bhav¯an iti?› Ten’ oˆ ktam . , ‹cakraAvartitvam . na te pa´sy¯ami putraka a˙ng¯ad a˙ng¯an mad¯ıy¯at tu vr.th¯a j¯ato bhav¯an iti.› May” oˆ ktam . , ‹mama yah. sv¯am¯ı sa mahyam . kathyat¯am iti,› ten’ oˆ ktam . , ‹cakraAvart¯ı yah. sa c’ aˆpy anvis.yat¯am iti!› . May” oˆ ktam . , ‹cakraAvartitvam . yai´s cihnair avagamyate dr.s.t.v¯a t¯ani dhiy¯a mahyam a¯cas.t.a¯m . bhagav¯an iti.› a baddham Ten’ oˆ ktam , ‹´ s atrun ¯ . . . yas tv¯am . ´sa˙nkubhir a¯yasaih. j¯ıvayis.yati j¯an¯ıy¯at sv¯aminam . tam . bhav¯an iti.› Mama tv A˙ng¯arako n¯ama Vy¯alaka´s c’ aˆbhavat suhr.t saudaryo gamay¯ami sma t¯abhy¯am . k¯alam . sukham . saha. Atha V¯ayupatho n¯ama r¯aj¯a tena sah’ aˆgamam K¯a´syapasthalakam . n¯ama puram . m¯anasaAlobhanam. Tatr’ aˆikad¯a vicarat¯a may” oˆ pavanaAc¯arin.¯ı dr.s.t.a¯ kany¯aApar¯ıv¯ar¯a kanyak¯a Kusum¯alik¯a. . Pra´sasyaAvarn.aAsam . sth¯an¯a s¯a me buddhau sthir¯a sthit¯a pra´sastir iva vinyast¯a bhittau VindhyaA´sil¯aAbhr.tah.. T¯am a¯d¯aya tay¯a s¯ardham . suhr.dbhy¯am . ca manoAhar¯ah. rataye sam car¯ a mi sma sarid A giri A taru A sthal¯ ıh.. . A˙ng¯arakam ath’ aˆpa´syam pa´ s yantam Kusum¯ alik¯am . vakra A gr¯ ı v¯ a A nir¯ ı ks itam. r¯ag¯ad apatrap¯aAtr¯asam . . ‹Laks.ito ’ham anen’ eˆti› laks.ayitv¯a sah’AaˆnuAjah. anAa¯mantry’ aˆiva m¯am . n¯ıco n¯ıcair utth¯aya y¯atav¯an. Aham tu j¯ a ta A vailaks y¯ . . at sam . rakt¯ac ca tatas trasan 

C S L .  E  James Mallinson (csl–.)  J  : ..

 :      I saw my father crying and said to him, ‘You have fathered a son like me: how can you cry?’ He replied, ‘My son, I have realized that you will not be an emperor: you were born from my body in vain.’ I asked him to tell me who would be my master and he replied, ‘Whoever is the emperor. You must seek him out!’ I said, ‘Your Holiness, use your wisdom to ascertain . the signs by which the emperor is to be recognized, and tell me them.’ He replied, ‘You are to recognize as your master the man who brings you back to life after an enemy has impaled you with iron spikes.’ I befriended two men called Ang´araka and Vy´alaka, and I passed the time happily in their company, like a brother. There was a king called V´ayu·patha whom I accompanied to a charming city called Kashyapa·sth´alaka. One day I was wandering about the city when I saw a young girl called Kusum´alika walking in a garden with a group of other girls. With her laudable complexion and beauty she be- . came firmly fixed in my mind, like a laudatory inscription written on a rock-face in the Vindhya mountains. I won her, and with her and my two friends I wandered about beautiful rivers, mountains and forests in pursuit of pleasure. One day I saw Ang´araka looking lustfully at Kusum´alika. Nervously twisting his neck he cast her a sideways glance. He noticed that I had seen him, and without saying a word to me the wretch quietly stood up and left with his younger brother. He was in love and had been thwarted in his aims; I was scared of him. I became alarmed and did not know where to go with my beloved. Today I arrived at . 

´ B. KSS .. V .

     na j¯an¯ami, ‹kva y¯am’ ˆıti› cakitah. saha k¯antay¯a. Adya c’ eˆm¯am . nag’Aaˆpag¯am . sam¯as¯adya raman.¯ıy¯am avat¯ırn.o ’smi puline komal’AaˆAmalaAv¯aluke. Surat’Aaˆnubhave yogyam . dr.s.t.v¯a tac ca suAsam . vr.tam lat¯aAgr.ham aham . pr¯aptah. phullaA´sy¯am¯aAlat”Aa¯vr.tam. Yac ca ´ses.am aA´ses.am . tat kathitam . Gomukhena vah. tasm¯ad a¯pt’Aoˆ pade´so ’yam . na n¯agarakat¯a mama. Ko hi vidy¯aAdharair baddham aAvidy¯aAdharaAsainyaApah. mocayen m¯aAdr.´sam . ? tasm¯at tath” eˆdam r.s.iAbh¯as.itam. Sevante sevak¯ah. sevy¯an praj˜na¯Apr¯an.aAdhan’Aa¯dibhih. yena ten’ a¯tmaAraks.”Aaˆrtham . madAvidy¯a gr.hyat¯am iti.» . Sadyah. kr.t’Aoˆ pak¯aren.a may¯a mand’Aa¯daren.a ca na gr.h¯ıt” aˆbruvam . c’ aˆinam, «anugaccha priy¯am iti!» Abrav¯ıc ca, «din¯ad asm¯at paren.’ aˆham aharAni´sam aApramatto bhavis.y¯ami bhavat¯am . dehaAraks.an.e. Smartavyah. sam . kat.e c’ aˆham!» ity uktv¯a nah. pran.amya ca vegen’ a¯k¯a´sam utpatya pr¯ag¯ad A˙ng¯arakam . prati. ¯ . vacanam ca yaks Aditya´ sarmaAvacanam . . . y¯a y¯anam pradaks in am is o´ s ca marun A mr g¯ . . . . . an.a¯m prahl¯adin” aˆmitaAgateh. kathitena j¯atam utkh¯ataAsam . ´sayaAkala˙nkatay¯a vi´suddham. iti pulinaAdar´sanaAsargah..

.

this beautiful mountain river and landed on the riverbank with its fine white sand. When I saw the creeper bower, fit for lovemaking, well hidden and covered with blossoming priya˙ngu creepers, I went inside. Go·mukha has told you all that happened afterward. Thus my behavior is not because of my courtesy, but of what I learned from a trusted source. For when someone like me has been captured by sorcerers, who other than a sorcerer general could free him? So what the sage said was true. Servants serve their masters with, among other things, their wisdom, their lives and their wealth, so, in order to protect yourself, accept my vidy¯a.” Because I had just helped him* and because I was not in- . terested, I refused it. I said to him, “Go after your beloved!” He replied, “From this day forth I shall be ready day and night to protect you. Think of me in times of trouble!” After saying this he bowed to us, flew quickly up into the sky and went after Ang´araka. The words of Aditya·sh´arma, the words of the Yaks.¯ı and . the arrow’s circuit around the wind-deer were confirmed by ´ Amita·gati’s delightful speech and the resultant removal of the stain of doubt. Thus ends the Meeting on the Riverbank canto.





C S L .  E  James Mallinson (csl–.)  J  : ..

 :     

´ B. KSS .. V .

Sir James Mallinson translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

Budha·svamin’s The Emperor of the Sorcerers is a racy telling of the celebrated lost Indian narrative cycle The Long Story, framed by Nara·váhana·datta’s magical adventures on his quest to become Emperor of the Sorcerers.

CLAY SANSKRIT LIBRARY

the emperor of the sorcerers 1 budha·svamin

THE emperor of the Sorcerers volume ONE

by Budha·svamin

mallinson clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Edited & translated by SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library edition and translation of the first half of Budha·svamin’s The Emperor of the Sorcerers. Budha·svamin tells the astonishing epic tale of the youthful exploits of prince Nara· váhana·datta. It is indeed a great story, as its Sanskrit title declares. Epic in scope and scale, it has everything that a great story should: adventure, romance, suspense, intrigue, tragedy and comedy. The reader is taken from royal palaces to flying sorcerers’ mountain fastnesses via courtesans’ bedrooms and merchant ships. The frame story narrates Nara·váhana·datta’s progress culminating in his enthronement as Emperor of the Sorcerers, winning twenty-six wives along the way. Volume One’s adventures end with his lute contest and marriage to Gandhárva· datta. The fast and witty narrative eschews lengthy description and provides fascinating insights into ancient India.

Sir James Mallinson translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He is also the translator of Volume One of Budha·svamin’s The Emperor of the Sorcerers.

WWW.CLAYSANSKRITLIBRARY.COM

The second volume of Budha·svamin’s The Emperor of the Sorcerers continues the racy telling of the celebrated lost Indian narrative cycle The Long Story, framed by Nara·váhana·datta’s magical adventures on his quest to become emperor of the sorcerers.

CLAY SANSKRIT LIBRARY

the emperor of the sorcerers ii budha·svamin

THE emperor of the Sorcerers volume two

by Budha·svamin

mallinson clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Edited & translated by SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library edition and translation of the second volume of Budha·svamin’s The Emperor of the Sorcerers. Budha·svamin tells the astonishing tale of the youthful exploits of Prince Nara·váhana·datta. It is indeed a great story, as its Sanskrit title declares. Epic in scope and scale, it has everything: adventure, romance, suspense, intrigue, tragedy and comedy. Volume Two of Budha·svamin’s Emperor of the Sorcerers begins with the merchant Sanu·dasa’s story, an epic in itself. He tells how he acquired Gandhárva·datta, his daughter, whose hand Nara·váhana·datta, the hero of the book, has just won in a lute contest. In this and those of how the prince comes by his next two wives, the reader’s tour of ancient India continues, extending to the far south and beyond, to magical islands of gold, before heading north to Varánasi. Along the way, we learn of, among other things, flying sorcerers, transvestite ascetics bearing skulls, the finer points of gambling with dice, the perils of trading by sea, the rivalry between fate and human effort and the difference between town and country mice.

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

GENERAL EDITOR

RICHARD GOMBRICH EDITED BY

ISABELLE ONIANS SOMADEVA VASUDEVA

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

c  by the CSL. Copyright ! All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following Websites: www.claysanskritlibrary.com www.nyupress.org. ISBN-: --- ISBN-: ----

Artwork by Robert Beer. Typeset with Adobe Garamond in 10.25 : 12.3+pt. Printed in Great Britain by St Edmundsbury Press, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

The Emperor of the sorcerers Volume Two by Budhasvamin ¯ EDITED & TRANSLATED BY

SIR JAMES MALLINSON

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

Contents Sanskrit alphabetical order CSL conventions

 

THE EMPEROR OF THE SORCERERS Introduction Canto : Canto : Canto : Canto : Canto : Canto : Canto : Canto : Canto : Canto : Canto :



S· N´ı A´ı D H E N A U´  P·´ G·’ W A G O B T W T P·´ P·´ W

Notes Index

 

A sandhi grid is printed on the inside of the back cover

C S L .  E  James Mallinson (csl–.)  J  : ..

          

´ B. KSS .. V .

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

Canto 26 A Glimpse of Breasts

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

I

A¯ Akut.il’Aa¯l¯apaAkal¯apaAgamitaAtrap¯am t¯am a¯mantrya svam a¯v¯asam agaccham . sahaAGomukhah.. ekad¯a punar a¯y¯atas tay” aˆnus.t.hitaAsatAkriyah. vipan.er gr.ham a¯y¯atam apa´syam . Priyadar´sanam. ka˜ncukam . mu˜ncatas tasya may¯a dr.s.t.ah. payodharah. payodhar’Aaˆntar’Aa¯laks.yah. ´sa´s” ˆıva pariman.d.alah.. a¯s¯ıc ca mama «yos.” aˆis.a¯ yatas tu˙ngaApayodhar¯a stanaAke´savat¯ıtvam . hi prathamam . str¯ıtvaAlaks.an.am. . lokas tu yad im¯am . sarvah. pratipannah. pum¯an iti bhr¯antiAj˜na¯nam idam . tasya kim . cit s¯adr.´syaAk¯aritam. AtimiraAcaks.us.ah. atha v¯a kim vikalpena mam’ a ˆ . na hi dr.s.t.ena dr.s.t.’Aaˆrthe dras.t.ur bhavati sam . ´sayah..» ityAa¯diAbahuAsam kalpam a A nimes a A vilocanam . . apa´syad R.s.idatt¯a m¯am . pa´syantam . Priyadar´sanam. ath’ aˆsau gadgad’Aa¯l¯ap¯a pr¯ıtiAb¯as.p’Aa¯vr.t’Ae¯ks.an.a¯ «¯atm¯anam . cetayasv’ eˆti» Priyadar´sanam abrav¯ıt. as¯av api tam udde´sam . prak¯a´sya jhagiti tvis.a¯ tad.idAgun.a iv’ aˆmbhodam . pr¯avi´san mandir’Aoˆ daram. . R . s.idatt¯am ath’ aˆpa´syam . krodhaAvisph¯arit’Ae¯ks.an.ah. yay” aˆpakramitah. ´sres.t.h¯ı mama locanaAgocar¯at. utth¯aya ca tatah. sth¯an¯at saAk¯amaAkrodhaAGomukhah. PunarvasuAgr.ham . pr¯apya parya˙nkaA´saran.o ’bhavam. tatah. kramam . par¯a . parityajya k¯am’Aaˆvasth¯aAparam tumul’Aa¯yudhiAsen” eˆva yugapan m¯am ab¯adhata. ath’ aˆAcir’Aa¯gataA´sr¯ıko yath¯a b¯alah. pr.thagAjanah. tath” a¯j˜na¯pitav¯an asmi Gomukham . r¯uks.ay¯a gir¯a. «api pravrajit¯aAbhartah.! priy¯a me Priyadar´san¯a aAkr.taApratikarm” aˆiva ks.ipram a¯n¯ıyat¯am!» iti. .



C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

A

 I   her embarrassment with my art- . ful words, I said goodbye to her and went home with Go·mukha. One day when I went there again and was welcomed hospitably by her, I saw Priya·d´arshana, who had come home from the market. As he took off his jacket I caught sight of a breast: it looked like a round moon seen through clouds. I said to myself, “He must be a woman: he has prominent breasts. The primary mark of womanhood is the possession of breasts and long hair. Everyone who thinks she is a man . has been misled by her passing resemblance to one. But my eyes see clearly and I am in no doubt; when something is seen the seer does not doubt what he has seen.” While I was having these thoughts Rishi·datta noticed me staring unblinkingly at Priya·d´arshana. Her eyes filled with tears of happiness and in a faltering voice she said to Priya·d´arshana, “Watch yourself!” Like a streak of lightning going into a cloud, Priya·darshan´a lit the place up with her beauty before darting into the house. My eyes bulged with . rage as I looked at Rishi·datta, she who had made the head of the guild leave my view. I stood up and, accompanied by love, anger and Go·mukha, left there for Punar·vasu’s house, where I took refuge in my bed. Abandoning their usual order, the progression of manifestations of desire assailed me all at once, like a chaotic army of warriors. In the manner of an ignorant and vulgar parvenu, I harshly ordered Go·mukha, “Hey, nun’s husband! I’m in love with Miss Priya·darshan´a. Quickly, fetch her, and don’t let her make herself up!” 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

     sa tu m¯am abrav¯ıt trastah. «k¯a n¯ama Priyadar´san¯a ty¯ajit¯ah. stha yay¯a sadya´s cetasah. sthirat¯am?» iti. may” oˆ ktam . «tava yah. sy¯alah. purus.ah. Priyadar´sanah. ayam eva jagatAs¯arah. pramad¯a priyaAdar´san¯a. yac ca vaks.yasi ‹sarvasy¯am . V¯ar¯an.asy¯am ayam . pum¯an bhavatah. katham ekasya pramad” eˆti› tad ucyate. ‹R.s.idatt¯a virakt” eˆti paricchinn¯a pur¯a tay¯a adhun¯a bhavatah. k¯ant¯a j¯at” eˆty› atra kim ucyate. gat’Aaˆnugatiko lokah. pravr.tto hi yath¯a tath¯a param’Aaˆrtham . punar veda sahasr’Aaˆikah. pum¯an» iti. . ten’ oˆ ktam . viruddham api na tyajet . «janat¯aAsiddham kriyate chagalah. ´sv” aˆpi sam . hatya bahubhir bal¯at. tena yus.madAvidhaih. pr¯aj˜nair na v¯acyam . sad ap’ ¯ıdr.´sam aA´sraddheyam . na vaktavyam . pratyaks.am api yad bhavet. ca kath¯ a t¯ a vad arthasy’ aˆsya prak¯a´sik¯a ´sr¯uyat¯am . pram¯an.am . hi pram¯an.aAj˜naih. pur¯aAkalpe ’pi vartitam. babh¯uva Kau´siko n¯ama VedaAVed’Aaˆn˙ gaAvid dvijah. satyaAvratatay¯a loke prasiddho Satyakau´sikah.. kad¯a cid abhis.ek¯aya tena y¯atena J¯ahnav¯ım saA´sis.yaApariv¯aren.a tarant¯ı preks.it¯a ´sil¯a. . mahat” aˆsau prayatnena ´sis.y¯an anva´sis.at tatah. ‹n’ aˆyam artho mah”AaˆnAarthah. prak¯a´syah. putrakair› iti. ath’ aˆika´s capalas tes.a¯m . bat.uh. Pi˙ngalaAn¯amakah. vipan.au mantray¯am cakre kasya cid van.ijah. purah.. . ‹´sres.t.hi kim . na ´sr.n.os.y ekam a¯´scaryam . kathay¯ami te tarant¯ım dr s t av¯ a n asmi s’ o p¯ a dhy¯ a yah A ˆ . ... . ´sil¯am!› iti. .



C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

 :     Frightened, he asked me, “Who is this Miss Priya·dar- . shan´a that has made you suddenly lose your composure?” I replied, “Your brother-in-law, that man Priya·d´arshana, is in fact the finest thing in the world, a beautiful young woman. If you ask how he can be a man to all Var´anasi and a woman to me alone, then I shall reply that Rishi·datta was deemed to be a celibate ascetic by the city and now she has become your sweetheart! What do you say to that? People follow the beaten track in everything, but one man in a thousand understands how things really are.” Go·mukha replied, “One should not ignore popular opin- . ion, even if it is absurd. When many people act together, they can even force a goat to become a dog!* So clever men like you should not say such things, even if they are true. Even something seen with one’s own eyes is not to be reported if it is unbelievable. Listen to a story that illustrates this point, for even in days of old a standard was established by those who understood such things. There was a brahmin called K´aushika who knew the Vedas and their auxiliary disciplines. Because he observed a vow of truthfulness, everyone knew him as Satya·k´aushika. One day when he had gone to take a bath in the Ganga with a group of students, he saw a floating rock. He took great . pains to admonish the pupils, saying, ‘Boys, this matter does not bode well; you must not publicize it.’ One amongst them, a naughty lad called P´ıngala, said to a merchant in the market, ‘My good man, you should listen to me—I’m going to tell you something amazing. My teacher and I have seen a floating rock!’ 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

     ath’ aˆntah.Apurik¯a d¯as¯ı kim api kretum a¯gat¯a etad a¯l¯apam a¯karn.ya r¯ajaApatnyai nyavedayat. tay” aˆpi kathitam . raj˜ne sa t¯am . pr.s.t.v¯a param . par¯am bat.un” a¯khy¯atam a¯hv¯ayya pr.s.t.av¯an Satyakau´sikam. . ‹«satyam . br¯uh’ ˆıti» no v¯acyah. satyaAv¯adiAvrato bhav¯an «mithy¯a br¯uh’ ˆıti» no v¯acyah. k¯am¯ı mithy¯aAvrato hi sah.. kim . tu yat Pi˙ngalen’ oˆ ktam etad yuktam . par¯ıks.itum pramad¯at satyam apy ete vadanti bat.avo yatah.. saA´sis.yaih. kila yus.m¯abhis tarant¯ı preks.it¯a ´sil¯a kim etat satyam a¯ho svin mr.s.” eˆty a¯khy¯ayat¯am!› iti. a¯s¯ıc c’ aˆsya ‹dhig et¯am . me nindit¯am . satyaAv¯adit¯am duh.A´sraddh¯anam anAis.t.am . ca yan may¯a v¯acyam ¯ıdr.´sam! «na satyam api tad v¯acyam . yad uktam aAsukh’Aa¯vaham» iti satyaAprav¯ado ’yam na ty¯ajyah. satyaAv¯adibhih.. . . tasm¯at satyam idam . tyaktv¯a mr.s.a¯Av¯adaA´sat’Aaˆdhikam aAsatyam abhidh¯asy¯ami satyaAv¯adaA´sat’Aaˆdhikam.› ath’ aˆvocat sa r¯aj¯anam . ‹r¯ajan mithy¯a bat.or vacah. ¯ s ı tam agnim pa´ s yati yah ´ . plavam¯an¯am . ´sil¯am asau. . . kah. ´sraddadhy¯ad bat.or v¯acam . nisarg’AaˆAdh¯ıraAcetasah.? capalasy’ oˆ pam¯anam . hi prathamam . bat.uAmarkat.a¯h.!› vis.an.n.am iti vi´sv¯asya r¯aj¯anam Satyakau´ sikah. . viruddhaAv¯adinam . kruddhah. Pi˙ngalam . nirav¯asayat. tad evam . lokaAvidvis.t.am anuyukto ’pi bh¯uAbhr.t¯a satyam satyaApratij˜no ’pi n’ aˆvadat Satyakau´sikah.. . yus.m¯akam . punar aAj˜na¯taA´s¯ılaAc¯aritraAjanman¯am 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

 :     A servant from the royal harem who had come to buy something overheard this and reported it to the queen. She then told the king and he asked her where she had heard it. He summoned Satya·k´aushika and asked him about what the boy had said: ‘There is no need to tell you to speak . the truth because you have taken a vow of truthfulness, just as there is no need to tell a lover to lie for he has taken a vow of mendacity! But we should check what P´ıngala has said, because young men can also tell the truth by mistake. Apparently you and your students have seen a floating rock. Is this true or false? Tell me!’ Satya·k´aushika said to himself, ‘Damn this cursed truthfulness of mine for making me have to say such an unbelievable and undesirable thing! “Even something that is true should not be told if it will then bring about unhappiness.” Those who are truthful should not ignore this saying about the truth, so in this matter I shall part from the truth, . which is worse than a hundred lies, and tell a lie better than a hundred truths.’ Then he said to the king, ‘Sire, the lad’s words are untrue. Only the man who sees cold fire sees a floating rock! Who would believe the words of a young lad; their minds are naturally excitable. Boys and monkeys are prime examples of fickleness!’ Having thus convinced the disappointed king, the angry Satya·k´aushika had the quarrelsome P´ıngala expelled. So, even on being questioned by the king, Satya·k´aushika, despite having taken a vow of truthfulness, did not speak the truth because it would have been unpopular. Moreover, . 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

     viruddham idam ¯ıdr.k kah. ´sraddadhy¯ad vadat¯am?» iti. sa may” oˆ kto «bhav¯an eva duh.A´sraddh¯anasya bh¯as.it¯a yasy’ aˆsmin pramad¯aAratne pum¯an iti viparyayah.. kim . Priyadar´san¯am . c’ aˆnena pral¯apena str¯ıAratnam aAcir¯at sv¯ıAkaris.y¯ami kro´sat¯am . tv¯adr.´sa¯m!» iti. evam . ca mama vr.tt’Aaˆntam . vij¯anann api Gomukhah. vaidyaAr¯ajam . sam¯ah¯uya vaidyaAr¯ajam up¯agamat. sa mam’ a¯l¯apam a¯karn.ya k¯ayaAch¯ay¯am . vilokya ca pradh¯arya c’ aˆparair vaidyaih. ´sanakair idam abrav¯ıt. .

«m¯anaso ’sya vik¯aro ’yam ¯ıpsit’AaˆAl¯abhaAhetukah. ten’ aˆsmai rucitam . yat tad a¯´su sam . p¯adyat¯am» iti. ˆ abhy¯am atha Nand’AOpanand¯ . sam . sk¯ary’ a¯h¯aram a¯dar¯at m¯am . PunarvasuAhastena Gomukhah. pr¯ag abhojayat. sa c’ a¯h¯arah. suAsam . sk¯aro lobhano ’py amr.t’Aa¯´sin¯am triAphal¯aAkv¯athavad dves.a¯n mam’ aˆn˙ g¯ani vyadh¯unayat. ˆ tato Nand’AOpanand¯ abhy¯am . bhojyam¯anah. kramen.a tau saAvis.a¯dau karomi sma vis.aAd¯av iva vairin.au. tes.u vandhyaAprayatnes.u Gomukhah. Priyadar´sanam lajj¯aAmandaApadaAny¯asam . namit’Aa¯nanam a¯nayat.

.

sa m¯am . sam¯anaAparya˙nkaAmadhyam adhy¯asitas tatah. gr¯as¯an agr¯asayat s.ad. v¯a sapta v¯a Gomukh’Aa¯j˜nay¯a. 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

 :     your character, conduct and birth are unknown: who would believe you if you said something so absurd?” I replied, “It is you that is saying something unbelievable, perversely asserting that this jewel of a girl is a man. But enough chatter! I shall make Priya·darshan´a my own precious wife before long, while people like you make your laments!” Even though he understood what I had told him, Go· mukha asked after the best doctor available and went to him. When he heard me speak and examined my body, the doctor consulted some other doctors before saying quietly, “He has a mental derangement caused by his not getting . something he wants, so he must quickly get whatever it is that is dear to him.” Go·mukha made Nanda and Upan´anda carefully prepare some food, and then had Punar·vasu feed it to me before anyone else. The food was so well made that it would have been tempting even to the gods, who eat ambrosia, but like a decoction of tri·phala it made my body shudder with disgust.* Nanda and Upan´anda took turns to feed me and I made them feel as unwanted as if they were enemies giving me poison. When these attempts were unsuccessful, Go·mukha fetched Priya·d´arshana, who shuffled in embarrassedly, hanging his head. He sat down on my bed and, at . Go·mukha’s command, fed me six or seven morsels of food. 

C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

     ye tatAp¯an.iAsarojaAsa˙ngaAsuAbhag¯a gr¯as¯a may¯a sv¯adit¯ah. taih. sadyas tanut¯am an¯ıyata sa me sam . kalpaAjanm¯a jvarah. ´sail’Aeˆndr¯ah. ´suciA´sukraAbh¯anuAdahanaA plus.t.’Aoˆ pal’Aaˆdhityak¯a mandair apy udaAbindubhir navatarair ujjhanti sam . taptat¯am. Priyadar´san¯aAl¯abhe Priyadar´san¯aAstanaAdar´sanaAsargah. .



C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

 :     The morsels that I ate were blessed by the touch of his lotus-hand and they instantly relieved my love-induced fever. When stony mountain plateaus are scorched by the burning of the dazzling summer sun, even gently dripping drops of fresh water remove heat from the huge rocks. Thus ends the Glimpse of Priya·darshan´a’s Breasts Canto in the Winning of Priya·darshan´a.



C S L .  E  James Mallinson (csl–.)  J  : ..

´ B. KSS .. V .

Sir James Mallinson translates and edits Sanskrit literature full time for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He is also the translator of Volume One of Budha·svamin’s The Emperor of the Sorcerers.

WWW.CLAYSANSKRITLIBRARY.COM

The second volume of Budha·svamin’s The Emperor of the Sorcerers continues the racy telling of the celebrated lost Indian narrative cycle The Long Story, framed by Nara·váhana·datta’s magical adventures on his quest to become emperor of the sorcerers.

CLAY SANSKRIT LIBRARY

the emperor of the sorcerers ii budha·svamin

THE emperor of the Sorcerers volume two

by Budha·svamin

mallinson clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Edited & translated by SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library edition and translation of the second volume of Budha·svamin’s The Emperor of the Sorcerers. Budha·svamin tells the astonishing tale of the youthful exploits of Prince Nara·váhana·datta. It is indeed a great story, as its Sanskrit title declares. Epic in scope and scale, it has everything: adventure, romance, suspense, intrigue, tragedy and comedy. Volume Two of Budha·svamin’s Emperor of the Sorcerers begins with the merchant Sanu·dasa’s story, an epic in itself. He tells how he acquired Gandhárva·datta, his daughter, whose hand Nara·váhana·datta, the hero of the book, has just won in a lute contest. In this and those of how the prince comes by his next two wives, the reader’s tour of ancient India continues, extending to the far south and beyond, to magical islands of gold, before heading north to Varánasi. Along the way, we learn of, among other things, flying sorcerers, transvestite ascetics bearing skulls, the finer points of gambling with dice, the perils of trading by sea, the rivalry between fate and human effort and the difference between town and country mice.

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c l ay s

skr it l

WWW.CL AYSANSKRITLIBRARY.COM Bhanu·datta’s twin sixteenth-century masterpieces, his Bouquet of Rasa (on types of female and male characters in poetry) and River of Rasa (on aesthetics), together summarized beautifully the thousand-year-long tradition of Sanskrit literary theory, and did so in illustrative verses of far higher literary caliber than anyone had offered before.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Bouquet & River of Rasa2.indd 1

CL AY SANSKRIT LIBRARY ar y

and editor of and

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ib r

Sheldon I. Pollock is William B. Ransford Professor of Sanskrit and Indian Studies, Columbia University. He has also translated Books Two and Three of the Ramáyana, “Ayódhya” and “The Forest,” and Rama’s Last Act by Bhava·bhuti. He is the author of

bouquet of rasa & river of rasa bhanu· datta

Bouquet of Rasa &

River of Rasa by Bhanu·datta

pollock

Edited and translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

SHELDON I. POLLOCK

Here is a new Clay Sanskrit Library edition and translation of Bhanu·datta’s Bouquet of Rasa and River of Rasa. Bhanu·datta is probably the most famous Sanskrit poet that no one today has ever heard of. His Bouquet of Rasa and River of Rasa, both composed in the early sixteenth century, probably under the patronage of the Nizam of Ahmadnagar in western India, attracted the attention of the most celebrated commentators in early modern India. Some of the greatest painters of Mewar and Basohli vied to turn his subtle poems into pictures. And his verses were prized by poets everywhere: Abu al-Fazl, the preeminent scholar at Akbar’s court, translated them into Persian, and, Kshetráyya, the great Andhra poet of the next century, adapted them into Telugu. Many writers have described the types of heroines and heroes of Sanskrit literature (the subject of the Bouquet of Rasa) or explained the nature of aesthetic emotion (that of the River of Rasa), but none did so in verse of such exquisite and subtle artistry.

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

24/10/08 10:46:03

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

“BOUQUET OF RASA” & “RIVER OF RASA” by BHĀNUDATTA TRANSLATED

BY

Sheldon Pollock

NEW

YORK

UNIVERSITY

JJC

FOUNDATION 

PRESS

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper) Library of Congress Cataloging-in-Publication Data Bhānudatta Miśra. [Rasamañjarī. English & Sanskrit] "Bouquet of rasa" ; & "River of rasa" / by Bhanudatta ; translated by Sheldon Pollock. p. cm. Poems. In English and Sanskrit (romanized) on facing pages. Includes bibliographical references and index. ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper) . Bhanudatta Misra.--Translations into English. . Sanskrit poetry--Translations into English. . Rasas--Poetry. . Poetics--Poetry. I. Pollock, Sheldon I. II. Bhanudatta Misra. Rasatarangini. English & Sanskrit. III. Title. IV. Title: River of rasa. PK.BR  '.--dc 

CONTENTS CSL Conventions

vii

Acknowledgments

xvii

Introduction

xix

BOUQUET OF RASA

Description of the Náyika Description of the Náyaka and Related Matters

 

RIVER OF RASA

First Wave Second Wave Third Wave Fourth Wave Fifth Wave Sixth Wave

Description of the Stable Emotions Description of the Factors Description of the Physical Reactions Description of the Involuntary Physical Reactions

   

Description of the Transitory Feelings



Description of Rasas



Seventh Wave Description of Rasas Continued



Eighth Wave



Notes

Miscellany



THE FOURTH WAVE

DESCRIPTION OF THE INVOLUNTARY PHYSICAL REACTIONS

 | nirūpyante. tatra Bharatah: .

.

«stambhah, . svedo, ’tha rom’|âñcah, . svara|bhedo, ’tha vepathuh, . vaivarnyam, aśru, pralaya . ity as. tau . sāttvikā matāh.» . nanv asya sāttvikatvam . katham, . vyabhicāritvam . na kutah, iti cet. atra ke cit: sattvam . sakala | rasa | sādhāranyād . . | bhāvanāyām atyant’ | ânukūlatvam. nāma para|gata|duhkha .

tena sattvena dhrtā . h. sāttvikā iti vyabhicāritvam an | ādrtya . | | | sāttvika vyapadeśa iti. tan na, nirveda smrti api . dhrtīnām . | sāttvikatva | vyapadeś’ | āpatteh. . na ca para | gata | duhkha .

bhāvanāyām as. tāv . eva† samutpadyanta ity anukūla | śabd’ | ârthah. iti vācyam. nirved’ | . ata eva sāttvikatvam apy esām . | bhāvanāyām utpatter iti. atr’ êdam āder api para | duhkha . .

pratibhāti sattva | śabdasya prāni . | vācakatvāt. atra sattvam . jīvac | charīram, . tasya dharmāh. sāttvikāh. . tathā ca śārīrā bhāvāh. stambh’ | ādayah. sāttvikā bhāvā ity abhidhīyante. sthāyino vyabhicārinaś . ca bhāvā āntaratayā te śarīra|dharmā iti. .



eva V : ete J Ś

N,   physical reactions will be described. With reference to them, Bhárata says: “Paralysis, sweating, horripilation, a breaking voice, trembling, pallor, weeping, and absorption are held to be the eight involuntary reactions.” It could be asked why these are reckoned as involuntary reactions (sáttvika) rather than transitory feelings, given that they are likewise common to all the rasas. Some have answered that the word sattva refers to a feeling of deep sympathy for the experience of sorrow on the part of others, and this produces the involuntary physical reactions; that is why the designation sáttvika is used for them without regard to their transitory character. But that answer cannot be correct, since the designation sáttvika would then have to be applied to such transitory feelings as despair, remembrance, and fortitude.* Nor does the meaning of the word “sympathy” refer to the fact that only the eight reactions arise in response to the experience of sorrow on the part of others, since despair and so on also arise in response to another’s sorrow. What seems to be at issue here is this: The word sattva refers to a living being, sattva in this context being the enlivened body. The properties of a sattva, or being, are called sáttvika, and accordingly bodily reactions are called sáttvika reactions. Because the stable emotions and the transitory feelings are internal they are not properties of the body. 

.

  

śarīra | dharmatve sati gati | nirodhah. stambhah. . na ca nidr”|âpasmār’|ādāv ativyāptih, . śarīra|dharma|padena tesā . m . vyāvartanāt. pralaya | bhāve tu ces. tā . | nirodho na tu gati | | visāda nirodhah. . tasya vibhāvā harsa . | rāga | bhaya | duhkha . . | vismaya|krodhāh. . yathā: «śronī . pīnatarā, tanuh. krśatarā, .

.

bhūmī|dharāt pīvarā vaksojasya tatī. . . katham . nija|kutī, . mātar, mayā gamyate?» ity udbhāvya, kadamba|kuñja|nikate . nirviśya manda|smitam . |drśā Govindam . samudīksya . paksmala . .

stambhas tiro|dhīyate. [] vapusi . salil’ | ôdgamah. svedah. . asya vibhāvā manas | tāpa | harsa . | lajjā | krodha | bhaya | śrama | pīdā . | ghāta | mūrch” | ādayah. . yathā: kānte, tava kuca|prānte rājante sveda|bindavah. hr. syatā Madanen’ êva krtā . . h. kusuma|vr. s. taya . h. . [] i A term of affection here, addressed to her girlfriend 

ii Krishna

 

Paralysis, being a property of the body, is the obstruction of ambulatory movement. This definition is not so wide as to include transitory feelings such as sleep or possession, since those are excluded by the words “property of the body.”* Paralysis is distinguished from absorption, where all motion is obstructed. Its factors are joy, passion, fear, sorrow, depression, wonder, and anger. An example: “My hips are so wide, and my waist so thin, and heavier than a mountain are my breasts. How then, dear mother,i am I supposed to go back to my own hut?” So the lovely woman confessed, but when Govíndaii entered the kadámba grove slyly smiling, she looked up and saw him— and at once her paralysis vanished. Sweating is the arising of perspiration on the body. Its factors are remorse, joy, shame, anger, fear, fatigue, pain, distress, fainting, etc. An example: My beloved, drops of sweat are glistening on your breasts like a rain of flowers showered down by the joyful God of love. 

.

  

vikāra | samuttha | rom’ | ôtthānam . rom’ | âñcah. . asya vibhāvāh. śīt’|āli˙ngana|harsa . |bhaya|krodhāh. . yathā: bakula|mukula|kośa|rosa . |niryan| madhukara|kūjita|bhāji kuñja|bhūmau pulakayati kapola|pāli|māli smita|subhagah. katham adya Nanda|sūnuh? . [] .

gadgadatva | prayojakībhūta | svara | bhāva | vailaksa . nya . m . | | | | svara bha˙ngah. . asya vibhāvāh. krodha bhaya harsa . madāh. . yathā: «vyaktih. syāt svara|bhedasya kopād, uktih. kriyeta cet.» iti patyuh. puro Rādhā maunam ādhāya tis. thati. [] . bhāvatve sati śarīra | nispando vepathuh. . bhāvatve sat’ îti viśesa . n’ . | ôpādānāt sūcaka | spand’ | ādau n’ âtivyāptih. . śarīra | | | | | |kampe padam ce s t” āśraya mātra para m, tena śarīr’ âvayava . .. . | | | n’ â | vyāptih. asya vibhāvā āli˙ n gana har sa bhīty ādaya h. . . . yathā: kathaya, katham uroja|dāma|hetor Yadu|patir esa . cinoti campakāni, bhavati kara|tale yad asya kampah? . priya|sakhi, mat|smrtir . eva mat|sapatnī. [] i Krishna ii Krishna’s principal mistress, angry here at his unfaithfulness iii One of Krishna’s mistresses speaks. iv Krishna; the Yadus are his clan. 

 

Horripilation is the bristling of hair in consequence of some transformation. Its factors are cold,* an embrace, joy, fear, and anger. An example: In the grove filled with the buzz of bees darting in anger from the bákula buds why is Nanda’s soni smiling today, and why is the fuzz stiffening on his cheek?* A breaking voice is a deformation in the nature of the voice that occasions stammering. Its factors are anger, fear, joy, and intoxication. An example: “If I spoke, my voice would clearly break in anger.” So Radhaii simply stood in silence before her husband. Trembling, in the discourse on aesthetic feeling, is a quivering of the body. The qualification “aesthetic feeling” is used to exclude gesturing toward something or twitching. The word “body” refers merely to the locus of the action, and thus the definition is not so narrow as to exclude the shaking of a body part. Its factors are an embrace, joy, fear, etc. An example:iii Tell me, how can the Yadu lordiv gather chámpakas for my garland when his hand is shaking so? Dear friend, his thinking of me is my undoing! 

.

  

vikāra | prabhava | prakrta . | varn’ . | ânyathā | bhāvo vaivarn. | | | | | yam. asya vibhāvā moha bhaya krodha śīta tāpa śramāh. . yathā: kukkute ānanam tayoh. . kurvati kvānam . . ślis. tayos .

.

divākara|kar’|ākrānta|śaśi|kāntim iv’ ādadhau. [] vikāra | janitam aksi . | salilam aśru. asya vibhāvā hars’ . |â| | śīta | nirnimesa marsa . | dhūma | bhaya | śoka | jrmbhā . . | preksa yathā: . nāni. . |dhārām, «visrja, . visrja, . citta, duhkha .

ayam upakan. tham upāgato Murārih.» . . iti kathayitum aśru|bindur aks. nor . |āyat’|âksyā nipatati vaksasi . paksmal’ . . h. . []

śārīratve sati ces. tā . | nirodhah. pralayah. . śārīratve sat’ îti viśesa . nān . nidr” | ādau n’ âtivyāptih. . stambh’ | ādayah. śarīra | dharmās tesā . m . sāhacarya | kathanena pralayo ’pi śarīra | dharma eva. ten’ âtra ces. tā . | padena śarīra | ces. t” . âiv’ âbhimatā. manasas tu karma bhavati na tu ces. tā. . ata eva ces. t” . | āśrayah. śarīram iti śāstrīyam asya vibhāvā rāg’ | . laksa . nam. . āutkan. thy’ . |ādayah. . yathā: i Krishna 

 

Pallor is a change in one’s natural coloring as a result of some transformation. Its factors are confusion, fear, anger, cold, heat, and exhaustion. An example: As the cock began to crow their faces, lying cheek by cheek, took on the pale glow of the moon flooded by the rays of the sun.

.

Tears are water in the eyes produced by some transformation. Its factors are joy, vindictiveness, smoke, fear, grief, yawning, cold, and unblinking staring. An example: “Give up, poor heart, give up this sorrow, here is Murárii headed this way,” the stream of tears proclaimed as it fell upon the large-eyed woman’s breast. Absorption, being a bodily property, is the obstruction of all motion. By the qualification “being a bodily property” the definition is not so wide as to include transitory feelings such as sleep. Paralysis and the rest are properties of the body, and by being mentioned along with them, absorption too must be considered a property of the body. And thereby the word “motion” here must be taken as referring solely to the motion of the body. The mind has actions but not motions—thus the scientific definition of “body,” namely, that it is the locus of motion. The factors of absorption are passion, longing, etc. An example: 

  

no vaktram . namitam, . dhutam . na ca śiro, vyāvartitam . no vapur, vāso na ślatham āhrta . m, . nigaditam . | no vā nisedh’ âk saram, . . śona . m . n’ âpi vilocanam . viracitam. . krīdā . |kalā|kātaram . cetah. kevalam ānane Mura|ripor vyāpāritam . Rādhayā. [] .

jrmbhā ca navamah. sāttviko bhāva iti pratibhāti. yathā: . |ānanam,† ullasat|kuca|yugam, ujjrmbh’ . . svidyat|kapola|sthalam, . kuñcat|paksma, galad|dukūlam, udayan| . nābhi, bhramad|bhrū|latam bāl” âgr’|â˙nguli|baddha|bāhu|paridhi, nyañcad|vivrtta . |trikam, . | |sandhi|darśita|lasad| trutyat kañcuka . dor|mūlam ujjrmbhate. [] .

ity | ādau Śr˙ . ngāra | tilak’ | ādau ca sāttvika | bhāva | sāmānādhikaranya . | darśanāt. na ca† sā† bhāv’ | ânubhāva iti viparītam eva kim . na syād iti vācyam. . saty anubhāvatve bhāvatv’ | â | virodhāt pulak’ | ādīnām tathā dr. s. tatvāt. na c’ . . | | | | â˙ng’ | ākr. s. ti netra mardan’ ādīnām api bhāvatv’ āpatti h. . . tesā . m . bhāva | laksa . n’ . | â | bhāvāt. ras’ | ânukūlo vikāra iti . .

ujj.rmbhānanam V : ūrjann ānanam J O sā V Ś : sāttvika- J

i Her eyes are red with passion. 

.

na ca V J : nanu Ś

 

She did not lower her face, shake her head, turn her body aside, catch her garment slipping down, or utter a single simple “No,” nor even turn toward him a reddened eye.i All Radha did was focus her mind, so bashful in the arts of love, upon Murári’s face. Yawning would appear to be a ninth involuntary physical reaction. An example: With mouth gaping, a pair of breasts heaving, cheeks beaded with sweat, drooping lashes, slipping dress, and navel showing, eyebrows playing, arms in a circle clasped by her small fingers, hips turned and inclined, with bodice bursting and armpits peeking through the young girl stands there yawning. In such poems as the above, and in the “Forehead Ornament of the Erotic”* and similar works, we find that yawning is referred to in parallel with other involuntary physical reactions. As for the argument that this should be reversed—that this yawning is an effect of an involuntary physical reaction—there is no force to it. So long as it is an effect there is nothing contradictory about its being a reaction, given that this is precisely what we see in such things as horripilation. Nor does this mean that things such 

.

  

tasya laksa . na . m. . Kādambaryām . Mahāśvet’|ādīnām . sāttvika| bhāva | varnane tad | anulekhāc ca.† a˙ng’ | ākr. s. ty . . | ādayo hi na vikārāh. kin tu śarīra | ces. tā . h. . pratyaksa . | siddham etad a˙ng’ | | ākr. s. tir ak si mardana m ca puru sair i s. tatayā vidhīyate par. . . . . ityajyate ca. jrmbhā ca vikārād eva bhavati tan|nivrttau ni. . vartate c’ êti. yathā: ādhāya mānam . rahasi sthitāyāh. sambhāvya jrmbhām Acal’|ātmajāyāh. . cutat† . |krti . m . smera|mukho Maheśah. kar’|â˙ngulībhih. kalayām . cakāra. [] iti śrī|Bhānudatta|viracitāyām . Rasatara˙nginyā . m . sāttvika|bhāva|nirūpana . m . nāma carturthas tara˙ngah. .

kādambaryām tadanulekhāc . mahāśvetādīnām . sāttvikabhāvavarnane . ca. add J . cu.tat- J : ca.tut- Ś N .

i In RT . quarreled. 

ii A Sanskrit prose poem

iii Shiva and Párvati have

 

as stretching or batting the eyes would thereby also become involuntary physical reactions, for the simple reason that they do not share the definition of a reaction (which has been defined as a “transformation conducive to rasa”i), and because we find references to that effect in the description of the involuntary physical reactions of Mahá·shveta and others in the “Kadámbari.”ii Things like stretching are not transformations but motions of the body. And it is furthermore empirically known that stretching or batting the eyes is something people do or do not do at will, whereas yawning arises from some transformation and ends when that ends.* An example: As the daughter of the Mountain nursed her love-anger in private the Great Lord saw her yawn,* and smiling started snapping his fingers.iii The end of the Description of the Involuntary Physical Reactions, the Fourth Wave of Bhanu·datta’s “River of Rasa.”



.

c l ay s

skr it l

WWW.CL AYSANSKRITLIBRARY.COM Bhanu·datta’s twin sixteenth-century masterpieces, his Bouquet of Rasa (on types of female and male characters in poetry) and River of Rasa (on aesthetics), together summarized beautifully the thousand-year-long tradition of Sanskrit literary theory, and did so in illustrative verses of far higher literary caliber than anyone had offered before.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Bouquet & River of Rasa2.indd 1

CL AY SANSKRIT LIBRARY ar y

and editor of and

an

ib r

Sheldon I. Pollock is William B. Ransford Professor of Sanskrit and Indian Studies, Columbia University. He has also translated Books Two and Three of the Ramáyana, “Ayódhya” and “The Forest,” and Rama’s Last Act by Bhava·bhuti. He is the author of

bouquet of rasa & river of rasa bhanu· datta

Bouquet of Rasa &

River of Rasa by Bhanu·datta

pollock

Edited and translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

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SHELDON I. POLLOCK

Here is a new Clay Sanskrit Library edition and translation of Bhanu·datta’s Bouquet of Rasa and River of Rasa. Bhanu·datta is probably the most famous Sanskrit poet that no one today has ever heard of. His Bouquet of Rasa and River of Rasa, both composed in the early sixteenth century, probably under the patronage of the Nizam of Ahmadnagar in western India, attracted the attention of the most celebrated commentators in early modern India. Some of the greatest painters of Mewar and Basohli vied to turn his subtle poems into pictures. And his verses were prized by poets everywhere: Abu al-Fazl, the preeminent scholar at Akbar’s court, translated them into Persian, and, Kshetráyya, the great Andhra poet of the next century, adapted them into Telugu. Many writers have described the types of heroines and heroes of Sanskrit literature (the subject of the Bouquet of Rasa) or explained the nature of aesthetic emotion (that of the River of Rasa), but none did so in verse of such exquisite and subtle artistry.

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Rosalind Lefeber is Associate Professor Emerita of Religious Studies at McMaster University.

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The fourth of the seven books of the Ramáyana, “Kishkíndha” presents the hero, Rama, at the turning point of his fortunes. To secure the assistance of the monkey kingdom in his search for Sita, his wife, Rama intervenes in the dynastic struggle between two monkey brothers.

CLAY SANSKRIT LIBRARY

ramáyana iv

ramáyana

kishkíndha

book four

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kishkíndha by valmíki

lefeber clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

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ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

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an

Translated by ROSALIND LEFEBER

Here is a new Clay Sanskrit Library publication of the middle book of Valmíki’s Ramáyana, the source revered throughout South Asia as the original account of the career of Rama, the ideal man and the incarnation of the great god Vishnu. After losing first his kingship and then his wife, Sita, Rama goes to the monkey capital of Kishkíndha to seek help in finding her, and meets Hánuman, the greatest of the monkey heroes. The brothers Valin and Sugríva are both claimants for the monkey throne; in exchange for the assistance of the monkey troops in discovering where Sita is held captive, Rama has to help Sugríva win the throne. The monkey hordes set out in every direction to scour the world, but they have no success until an old vulture tells them Sita is in Lanka. The book concludes with Hánuman’s preparation to leap over the ocean to Lanka to pursue the search. The tragic rivalry between the two monkey brothers is in sharp contrast to Rama’s affectionate relationship with his own brothers, and forms a self-contained episode within the larger story of Rama’s adventures. Rama’s intervention in the struggle between Sugríva and Valin is the chief moral focus of the book.

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RK. V .

Sanskrit Text: Copyright by the Oriental Institute, Baroda. All rights reserved. Translation: Copyright by Princeton University Press. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the Publisher. c  by the CSL. All else: copyright ! All rights reserved. First Edition  ISBN --- (cloth : alk. paper) The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org Artwork by Robert Beer. Typeset in Adobe Garamond at 10.25 : 12.3+ pt. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

Ram ¯ ayan ¯ .a Book four Kis.kindha¯ by Valm¯ ¯ ıki TRANSLATED BY

ROSALIND LEFEBER

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

Contents Sanskrit alphabetical order CSL conventions

 

´ RAMAYANA IV—K´ISHKINDHA Introduction – – – – – – – – – – – – – –



Meeting The Monkeys Rama’s Alliance With Sugr´ıva Hostility Between Brothers Confusion In Combat Rama Reproached Sugr´ıva Is King Autumn Reminder The Monkeys Gather Monkeys In Search Return From East, West And North The Southern Ocean Despair Of Discovery Samp´ati’s Story Preparing For The Great Leap

             

Glossary  Index  A sandhi grid is printed on the inside of the back cover

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

14–18 Rama Reproached

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

S

  . gatv¯a Kis.kindh¯am . V¯aliAp¯alit¯am vr.ks.air a¯tm¯anam a¯vr.tya vyatis.t.han gahane vane. vic¯arya sarvato dr.s.t.im . k¯anane k¯ananaApriyah. Sugr¯ıvo vipulaAgr¯ıvah. krodham a¯h¯arayad bhr.´sam. tatah. sa ninadam . ghoram . kr.tv¯a yuddh¯aya c’ a¯hvayat pariv¯araih. parivr.to n¯adair bhindann iv’ aˆmbaram. atha b¯al’AaˆrkaAsadr.´so dr.ptaAsim . haAgatis tad¯a dr.s.t.v¯a R¯amam kriy¯ a A daks am . . . Sugr¯ıvo v¯akyam abrav¯ıt: . «hariAv¯aguray¯a vy¯aptam . taptaAk¯an˜ canaAtoran.a¯m pr¯apt¯ah. sma dhvajaAyantr’A a¯d.hy¯am . Kis.kindh¯am . V¯alinah. pur¯ım. pratij˜na¯ y¯a tvay¯a, v¯ıra, kr.t¯a V¯aliAvadhe pur¯a saphal¯am . t¯am . kuru ks.ipram . lat¯am . k¯ala iv’ a¯gatah.!» evam uktas tu dharm’Aa¯tm¯a Sugr¯ıven.a sa R¯aghavah. tam ath’ oˆ v¯aca Sugr¯ıvam . vacanam . ´satruAs¯udanah.: «kr.t’Aaˆbhij˜na¯naAcihnas tvam anay¯a gajaAs¯ahvay¯a vipar¯ıta iv’ a¯k¯a´se s¯uryo naks.atraAm¯alay¯a. adya V¯aliAsamuttham . te bhayam . vairam . ca, v¯anara, eken’ aˆham pramoks y¯ a mi b¯ a n a A moks en . . . . . a sam . yuge. . mama dar´saya, Sugr¯ıva, vairin.am bhr¯ a tr A r¯ u pin . . . am! V¯al¯ı vinihato y¯avad vane p¯am . sus.u ves.t.ate. yadi dr.s.t.iApatham . pr¯apto j¯ıvan sa vinivartate tato dos.en.a m¯a gacchet sadyo garhec ca m¯a bhav¯an. pratyaks.am . sapta te s¯al¯a may¯a b¯an.ena d¯arit¯ah.. tato vetsi balen’ aˆdya V¯alinam . nihatam . may¯a. anr.tam . n’ oˆ ktaAp¯urvam . me, v¯ıra, kr.cchre ’pi tis.t.hat¯a dharmaAlobhaApar¯ıtena na ca vaks.ye katham . cana. .



C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

W

  had all gone quickly to Kishk´ındha, which . Valin protected, they stopped in the dense forest, concealing themselves behind trees. Broad-necked Sugr´ıva, who loved the forest, glanced about the forest and summoned up his great anger. Then, surrounded by his attendants, he challenged Valin to battle with a dreadful roar, nearly splitting the skies with his roaring. Now, like the newly risen sun, Sugr´ıva, who moved like a proud lion, looked at Rama, skillful in action, and spoke these words: “We have reached Valin’s city Kishk´ındha, with its gate- . way of pure gold, surrounded by a monkey-snare, and bristling with banners and engines of war. Just as the proper season arrives to make the vine bear fruit, so should you, warrior, make good at once your earlier promise to kill Valin.” Addressed in this way by Sugr´ıva, righteous R´aghava, destroyer of his enemies, then said these words to Sugr´ıva: “Wearing those flowers called gaja·pushpi, you are now easy to recognize: You look like some extraordinary sun up in the heavens within a garland of stars. By loosing a single arrow in battle, monkey, I shall today deliver you from fear and from Valin’s enmity. Just show me that enemy in the . guise of a brother, Sugr´ıva. Then Valin, struck down here in the forest, will writhe in the dust. If he comes within range of my sight and leaves again alive, then you may come to me at once and reproach me with my guilt. Before your very eyes I split the seven sala trees. Know therefore that by my might I shall kill Valin today. Filled with a desire for right, I have never before spoken a falsehood even when I was in danger, warrior, and I shall by no means speak one now. 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı saphal¯am . ca karis.y¯ami pratij˜na¯m . , jahi sam . bhramam! ´ pras¯utam . kalamam . ks.etre vars.en.’ eˆva Satakratuh.. . tadAa¯hv¯anaAnimittam . tvam . V¯alino hemaAm¯alinah., s abdam Sugr¯ıva, kuru tam ´ . nis.pated yena v¯anarah.. . jitaAk¯a´s¯ı jayaA´sl¯agh¯ı tvay¯a c’ aˆdhars.itah. pur¯at nis.patis.yaty asam . gena V¯al¯ı sa priyaAsam . yugah.. s u r¯ a mars ayanti na sam dhars an am rip¯un.a¯m ´ ¯ . . yuge . . . . j¯anantas tu svakam . v¯ıryam . str¯ıAsamaks.am . vi´ses.atah..» sa tu R¯amaAvacah. ´srutv¯a Sugr¯ıvo hemaApi˙ngalah. nanarda kr¯uraAn¯adena vinirbhindann iv’ aˆmbaram. tasya ´sabdena vitrast¯a g¯avo y¯anti hataAprabh¯ah. r¯ajaAdos.aApar¯amr.s.t.a¯h. kulaAstriya iv’ a¯kul¯ah.. . dravanti ca mr.g¯ah. ´s¯ıghram . bhagn¯a iva ran.e hay¯ah. patanti ca khag¯a bh¯umau ks.¯ın.aApun.y¯a iva grah¯ah.. Tatah. sa j¯ım¯utaAgan.aApran.a¯do n¯adam . vyamu˜ncat tvaray¯a prat¯ıtah. S¯ury’Aa¯tmajah. ´sauryaAvivr.ddhaAtej¯ah. saritApatir v” aˆnilaAca˜ncal’Ao¯ rmih.. A  nin¯adam . tam . Sugr¯ıvasya mah”Aa¯tmanah. ´su´sr¯av’ aˆntah.ApuraAgato V¯al¯ı bhr¯atur amars.an.ah.. ´srutv¯a tu tasya ninadam . sarvaAbh¯utaAprakampanam mada´s c’ aˆikaApade nas.t.ah. krodha´s c’ a¯patito mah¯an. sa tu ros.aApar¯ıt’Aaˆn˙ go V¯al¯ı sam . dhy”Aa¯tapaAprabhah. uparakta iv’ a¯dityah. sadyo nis.prabhat¯am . gatah.. V¯al¯ı dam . s.t.r¯aAkar¯alas tu krodh¯ad d¯ıpt’Aaˆgni sam . nibhah. bh¯aty utpatita padm’Aa¯bhah. saAmr.n.a¯la iva hradah.. . ´sabdam . durmars.an.am . ´srutv¯a nis.pap¯ata tato harih. .



C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  Don’t worry! For I shall make my promise fruitful, just as Indra of a hundred sacrifices with his rain makes fruitful the rice sprouting in a field. Therefore, Sugr´ıva, in order . to summon gold-garlanded Valin, you must make such a noise that that monkey will rush out. Challenged by you, Valin, with his air of a conqueror, boastful of his victories and fond of battle, will rush out from the city without delay. Heroes who know their own prowess do not tolerate their enemies’ insults in battle, particularly when their women are present.” Upon hearing Rama’s speech, tawny-gold Sugr´ıva roared a savage roar, nearly splitting the skies. Terrified by the noise, cattle ran off, like dazed noblewomen who through some failure of their king are ravished and lose their bright beauty. And deer ran swiftly away like horses breaking in battle, and . birds fell to earth like planets whose merit is exhausted. And then, his power enhanced by valor, his roar like that of a host of clouds, the sun’s renowned son suddenly let loose a roar like the ocean when its waves are lashed by the wind. N,  V, who was in the women’s quarters, . heard the roaring of his brother, great Sugr´ıva, he could not bear it. But when he heard that roaring which made all beings tremble, his desire vanished at once and great rage arose in him. At one moment radiant as the sun at twilight, now, suddenly, Valin darkened like an eclipsed sun, as his body filled with fury. Like a blazing fire because of his anger, Valin looked like a pool radiant with red lotuses, his terrifying fangs white as lotus fibers. As he heard the . intolerable sound, the monkey rushed out, nearly shattering 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı vegena caran.aAny¯asair d¯arayann iva medin¯ım. tam . tu T¯ar¯a paris.vajya sneh¯ad dar´sitaAsauhr.d¯a uv¯aca trastaAsam . vacah.: . bhr¯ant¯a hit’Aoˆ darkam idam «s¯adhu, krodham imam , v¯ ı ra, nad¯ ı A vegam iv’ a¯gatam . ´sayan¯ad utthitah. k¯alyam . tyaja bhukt¯am iva srajam. sahas¯a tava nis.kr¯amo mama t¯avan na rocate. ´sr¯uyat¯am abhidh¯asy¯ami yanAnimittam . niv¯aryase. p¯urvam a¯patitah. krodh¯at sa tv¯am a¯hvayate yudhi. nis.patya ca nirastas te hanyam¯ano di´so gatah.. . tvay¯a tasya nirastasya p¯ıd.itasya vi´ses.atah. ih’ aˆitya punar a¯hv¯anam . janayat’ ˆıva me. . ´sa˙nk¯am darpa´s ca vyavas¯aya´s ca y¯adr.´sas tasya nardatah. nin¯adasya ca sam . rambho n’ aˆitad alpam . hi k¯aran.am! n’ aˆsah¯ayam aham . manye Sugr¯ıvam . tam ih’ a¯gatam. avas.t.abdhaAsah¯aya´s ca yam a¯´srity’ aˆis.a garjati. prakr.ty¯a nipun.a´s c’ aˆiva buddhim¯am . ´s c’ aˆiva v¯anarah.. apar¯ıks.itaAv¯ıryen.a Sugr¯ıvah. saha n’ aˆis.yati. p¯urvam eva may¯a, v¯ıra, ´srutam . kathayato vacah. A˙ngadasya kum¯arasya vaks.y¯ami tv¯a hitam . vacah.. . tava bhr¯atur hi vikhy¯atah. sah¯ayo ran.aAkarka´sah. R¯amah. paraAbal’Aa¯mard¯ı yug’Aaˆnt’Aaˆgnir iv’ oˆ tthitah.. niv¯asaAvr.ks.ah. s¯adh¯un¯am a¯pann¯an¯am . par¯a gatih. a¯rt¯an¯am . sam . ´sraya´s c’ aˆiva ya´sasa´s c’ aˆikaAbh¯ajanam. j˜na¯naAvij˜na¯naAsam . panno nide´so niratah. pituh. dh¯at¯un¯am iva ´sail’Aeˆndro gun.a¯n¯am a¯karo mah¯an. tat ks.amam . na virodhas te saha tena mah”Aa¯tman¯a 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  the earth with the force of his footsteps. But his wife Tar´a, agitated and frightened, showed her affection by lovingly embracing him and speaking words meant for his own good: “Come, warrior, give up this anger, which has arisen like the flood of a river, just as one gives up a used garland upon rising from bed at daybreak. I really do not like your rushing out this way. Listen, and I shall tell you why I am holding you back. The last time, Sugr´ıva suddenly appeared and angrily challenged you to battle. When you hurried out, injured, and defeated him, he ran away. After you defeated . him and above all injured him, his coming back here to challenge you again really arouses my suspicion. There is some significant reason for such insolence and determination, and for the arrogance of his shouting as he roars. I do not believe that Sugr´ıva has come here without an ally. He is bellowing now because he has obtained an ally on whom he can rely. The monkey Sugr´ıva is by nature clever and intelligent. He would not have come with someone whose prowess was untested. ´ Let me tell you the useful information I heard Prince Angada reporting earlier, warrior. Your brother’s ally is the cel- . ebrated Rama, harsh in battle, crushing his enemy’s forces, like the fire sprung up at the end of the world. But he is also a sheltering tree for the virtuous, the final refuge for the unfortunate and a resting place for the afflicted. Sole repository of fame, endowed with knowledge and learning, and devoted to his father’s command, he is a great mine of virtues, just as the lord of mountains is a mine of minerals. Therefore it is not fitting for you to be in conflict with immeasurably great Rama, who is unconquerable in battle. I 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı durjayen’ aˆprameyena R¯amen.a ran.aAkarmasu. ´su¯ ra, vaks.y¯ami te kim . cin na c’ eˆcch¯amy abhyas¯uyitum. ´sr¯uyat¯am . kriyat¯am . c’ aˆiva tava vaks.y¯ami yadd hitam! . yauvar¯ajyena Sugr¯ıvam . t¯urn.am . s¯adhv abhis.ecaya, vigraham . m¯a kr.th¯a, v¯ıra, bhr¯atr¯a, r¯ajan, bal¯ıyas¯a. aham hi te ks.amam . . manye tava R¯amen.a sauhr.dam Sugr¯ıven.a ca sam . pr¯ıtim . vairam utsr.jya d¯uratah.. l¯alan¯ıyo hi te bhr¯at¯a yav¯ıy¯an es.a v¯anarah.. tatra v¯a sann ihastho v¯a sarvath¯a bandhur eva te yadi te matApriyam . k¯aryam . yadi c’ aˆvais.i m¯am . hit¯am y¯acyam¯anah. prayatnena s¯adhu v¯akyam . kurus.va me!» T¯  . ¯ı. T¯ar¯am . t¯ar”AaˆdhipaAnibh’Aa¯nan¯am V¯al¯ı nirbhartsay¯am a¯sa vacanam . c’ eˆdam abrav¯ıt: «garjato ’sya ca sam . rambham . bhr¯atuh. ´satror vi´ses.atah. mars.ayis.y¯amy aham kena k¯ a ran . . ena, var’Aa¯nane? adhars.it¯an¯am . samares.v anivartin¯am . ´su¯ r¯an.a¯m dhars.an.’Aaˆmars.an.am , . bh¯ıru, maran.a¯d atiricyate. sod.hum . na ca samartho ’ham . yuddhaAk¯amasya sam . yuge A gr¯ ı vasya garjatah . Sugr¯ıvasya ca sam rambham h¯ ı na . . . . na ca k¯aryo vis.a¯das te R¯aghavam . prati matAkr.te. dharmaj˜na´s ca kr.taj˜na´s ca katham . p¯apam . karis.yati? nivartasva saha str¯ıbhih.! katham . bh¯uyo ’nugacchasi? sauhr.dam dar´ s itam , T¯ a re, mayi bhaktih. kr.t¯a tvay¯a. . . pratiyotsy¯amy aham . gatv¯a Sugr¯ıvam . , jahi sam . bhramam! darpam c’ a sya vines y¯ a mi na ca pr¯ a n air vimoks ˆ . . . . yate. .



C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  shall tell you something, hero, and I do not want you to be angry. You must listen to the good advice I shall give you and act upon it. You must consecrate Sugr´ıva immediately as heir appar- . ent in the proper fashion. You should not make war with your mighty brother, valiant king. I believe it would be proper for you to put your hostility aside and have friendship with Rama and affection for Sugr´ıva. This monkey is your younger brother, deserving your fond indulgence. Whether here or there, he is after all your kinsman. If you regard me as well disposed to you and if you wish to do what pleases me, I beg of you: Please carry out my good advice.” B   Tar´a, her face bright as the moon, the lord . of stars, spoke in this fashion, Valin reproached her and said these words: “Why, fair-faced woman, must I suffer the arrogance of my roaring brother, especially since he is my enemy? For invincible heroes who never turn back in battle, to endure insolence is worse than death, timid woman. Thus I cannot tolerate the arrogance of weak-necked, roaring Sugr´ıva, who wants to fight a battle. Nor should you despair on my . account because of R´aghava. He knows what is right and his conduct is correct, so how could he do wrong? You have shown your affection, Tar´a, and displayed your devotion to me. Now go back with the other women. Why do you still follow me? I shall go and fight Sugr´ıva. Do not be anxious: I shall take away his pride, but I shall not deprive him of his life. I implore you by my life: Go back, with a prayer for 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı ´sa¯pit” aˆsi mama pr¯an.air nivartasva jayena ca. aham . jitv¯a nivartis.ye tam alam . bhr¯ataram . ran.e.» tam tu T¯ a r¯ a paris vajya V¯ a linam priya A v¯adin¯ı . . . a s¯ a pradaks cak¯ara rudat¯ı mandam daks in ¯ . in.am. . . . . tatah. svastyAayanam . kr.tv¯a mantravad vijay’Aaˆis.in.¯ı antah.Apuram . saha str¯ıbhih. pravis.t.a¯ ´sokaAmohit¯a. pravis.t.a¯y¯am . tu T¯ar¯ay¯am . saha str¯ıbhih. svam a¯layam nagar¯an niryayau kruddho mah¯aAsarpa iva ´svasan. sa nih.´svasya mah¯aAvego V¯al¯ı paramaAros.an.ah. sarvata´s c¯arayan dr.s.t.im . ´satruAdar´sanaAk¯an˙ ks.ay¯a. sa dadar´sa tatah. ´sr¯ım¯an Sugr¯ıvam . hemaApi˙ngalam susam . v¯ıtam avas.t.abdham . d¯ıpyam¯anam iv’ aˆnalam. sa tam . dr.s.t.v¯a mah¯aAv¯ıryam . Sugr¯ıvam . paryavasthitam g¯ad.ham paridadhe v¯ a so V¯ a l¯ ı parama Aros.an.ah.. . . sa V¯al¯ı g¯ad.haAsam v¯ ı to mus t im udyamya v¯ıryav¯an . .. Sugr¯ıvam ev’ aˆbhimukho yayau yoddhum . kr.taAks.an.ah.. samudyamya sam rabdhataram a¯gatah. ´slis.t.aAmus.t.im . . Sugr¯ıvo ’pi samuddi´sya V¯alinam hema A m¯ a linam. . tam . ran.aApan.d.itam . V¯al¯ı krodhaAt¯amr’Aaˆks.ah. Sugr¯ıvam a¯patantam . mah¯aAvegam idam . vacanam abrav¯ıt: «es.a mus.t.ir may¯a baddho g¯ad.hah. sunihit’Aaˆn˙ gulih. may¯a vegaAvimuktas te pr¯an.a¯n a¯d¯aya y¯asyati!» evam uktas tu Sugr¯ıvah. kruddho V¯alinam abrav¯ıt: «tav’ aˆiva ca haran pr¯an.a¯n mus.t.ih. patatu m¯urdhani!» . t¯ad.itas tena sam . kruddhah. samabhikramya vegatah. abhavac chon.it’Aoˆ dg¯ar¯ı s’ oˆ tp¯ıd.a iva parvatah.. Sugr¯ıven.a tu nih.sam . gam . s¯alam utp¯at.ya tejas¯a g¯atres.v abhihato V¯al¯ı vajren.’ eˆva mah¯aAgirih.. 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  my victory. When I have sufficiently humbled my brother in battle, I shall return.” Then sweet-speaking, compliant Tar´a embraced Valin and circled him reverently, weeping softly. Desiring his vic- . tory, she offered a blessing accompanied with mantras and then entered the women’s quarters with the other women, dazed with grief. Once Tar´a had entered her own dwelling with the other women, Valin went out from the city in a rage, hissing like a great angry snake. Breathing hard in his towering rage, impetuous Valin cast his glance all about, eagerly seeking his enemy. Then majestic Valin saw tawny-gold Sugr´ıva, who was standing his ground with his loins girded, blazing like fire. Seeing mighty Sugr´ıva stationed there, in a towering rage Valin girded his loins. Mighty Valin, his loins tightly . girded, advanced toward Sugr´ıva with his fist raised, eager to fight. Sugr´ıva, too, raised his clenched fist and ran furiously toward gold-garlanded Valin. His eyes copper-red with rage, Valin spoke these words to Sugr´ıva, skilled in battle, who came rushing at him with tremendous speed: “This tightly clenched fist of mine, with fingers well positioned, will take your life with it when I let it fly with full force!” Addressed in that way, Sugr´ıva angrily replied to Valin, “It is on your head that my fist shall fall, robbing you of life!” And struck by Valin, who attacked with such force, . angry Sugr´ıva vomited blood, resembling a mountain with a waterfall. But Sugr´ıva violently uprooted an entire sala tree and struck Valin on the limbs, as lightning strikes a great mountain. And now Valin, staggered by the blows of the sala 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı sa tu V¯al¯ı pracaritah. s¯alaAt¯ad.ana vihvalah. guruAbh¯araAsam¯akr¯ant¯a s¯agare naur iv’ aˆbhavat. tau bh¯ımaAbalaAvikr¯antau Suparn.aAsamaAveginau pravr.ddhau ghoraAvapus.au candraAs¯ury¯av iv’ aˆmbare. V¯alin¯a bhagnaAdarpas tu Sugr¯ıvo mandaAvikramah. V¯alinam . prati s¯amars.o dar´say¯am a¯sa l¯aghavam. . tato dhanus.i sam . dh¯aya ´saram a¯´s¯ıvis.’Aoˆ pamam R¯aghaven.a mah¯aAb¯an.o V¯aliAvaks.asi p¯atitah.. vegen’ aˆbhihato V¯al¯ı nipap¯ata mah¯ıAtale. ath’ oˆ ks.itah. ´son.itaAtoyaAvisravaih. supus.pit’Aaˆ´soka iv’ aˆnil’Aoˆ ddhatah. vicetano V¯asavaAs¯unur a¯have prabhram . gatah.. . ´sit’AÊndraAdhvajavat ks.itim T. ´. ’ aˆbhihato R¯amen.a ran.aAkarka´sah. pap¯ata sahas¯a V¯al¯ı nikr.tta iva p¯adapah.. sa bh¯umau nyastaAsarv’Aaˆn˙ gas taptaAk¯an˜ canaAbh¯us.an.ah. apatad devaAr¯ajasya muktaAra´smir iva dhvajah.. tasmin nipatite bh¯umau haryAr.ks.a¯n.a¯m . gan.’Ae¯´svare nas.t.aAcandram iva vyoma na vyar¯ajata bh¯uAtalam. bh¯umau nipatitasy’ aˆpi tasya deham . mah”Aa¯tmanah. na ´sr¯ır jah¯ati na pr¯an.a¯ na tejo na par¯akramah.. ´ . Sakra ˜ can¯ı ratnaAbh¯us.it¯a Adatt¯a var¯a m¯al¯a k¯an dadh¯ara hariAmukhyasya pr¯an.a¯m . ca s¯a. . s tejah. ´sriyam sa tay¯a m¯alay¯a v¯ıro haimay¯a hariAy¯uthapah. sam . dhy”AaˆnugataAparyantah. payoAdhara iv’ aˆbhavat. tasya m¯al¯a ca deha´s ca marmaAgh¯at¯ı ca yah. ´sarah. tridh” eˆva racit¯a laks.m¯ıh. patitasy’ aˆpi ´sobhate. tad astram . tasya v¯ırasya svargaAm¯argaAprabh¯avanam R¯amaAb¯an.’AaˆsanaAks.iptam a¯vahat param¯am . gatim. .



C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  tree, lurched like a boat at sea overwhelmed by a heavy load. With their terrible strength and valor, with their frightening appearance, those two, swift as Sup´arna, seemed as huge as the sun and the moon in the sky. Though his pride had been broken by Valin and his strength was failing, Sugr´ıva, enraged at Valin, demonstrated his agility. Then R´aghava placed on his bow a shaft like a poisonous . snake and loosed the great arrow at Valin’s chest. Violently struck, Valin fell to the ground. Now, spattered by the flowing blood, like a crimson-flowered ash´oka tree uprooted by the wind, the son of V´asava fell in battle unconscious to the ground, like Indra’s flagstaff overthrown. T,  by Rama’s arrow, Valin, harsh in battle, . fell suddenly like a tree cut down. Adorned with pure gold, his whole body toppled to the ground, like the flagstaff of the king of gods when its ropes are released. As that lord of the hosts of monkeys and apes fell to the ground, the earth grew dim, like the sky when the moon vanishes. And yet, though he had fallen to the ground, the great monkey’s majesty, life, power and valor did not leave his body. For the wonderful jewel-studded gold necklace that . Shakra had given him sustained the life, power and majesty of the monkey-chief. With his gold necklace, the heroic leader of the monkey troops looked like a rain cloud edged by the glowing light of evening. Though he had fallen, it was as if his lingering splendor had been broken into three shining parts: his necklace, his body and the arrow piercing his vital organs. For that missile, shot from Rama’s bow, had 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı tam . tath¯a patitam . sam . khye gat’Aaˆrcis.am iv’ aˆnalam Yay¯atim iva pun.y’Aaˆnte devaAlok¯at paricyutam .

a¯dityam iva k¯alena yug’Aaˆnte bhuvi p¯atitam Mahendram iva durdhars.am . Mahendram iva duh.saham MahendraAputram . patitam . V¯alinam . hemaAm¯alinam sim . mah¯aAb¯ahum . hariAlocanam. . d¯ıpt’Aa¯syam . h’Aoˆ raskam Laks.man.’Aaˆnugato R¯amo dadar´s’ oˆ pasasarpa ca. sa dr.s.t.v¯a R¯aghavam . V¯al¯ı Laks.man.am . ca mah¯aAbalam abrav¯ıt pra´sritam . v¯akyam . parus.am . dharmaAsam . hitam: «par¯an˙ AmukhaAvadham . kr.tv¯a ko nu pr¯aptas tvay¯a gun.ah. yad aham . yuddhaAsam . rabdhas tvatAkr.te nidhanam . gatah.? ‹kul¯ınah. sattvaAsam . pannas tejasv¯ı caritaAvratah. R¯amah. karun.aAved¯ı ca praj¯an¯am . ca hite ratah..

.

s’Aaˆnukro´so mah”Aoˆ ts¯ahah. samaAyaj˜no dr.d.haAvratah..› iti te sarvaAbh¯ut¯ani kathayanti ya´so bhuvi. t¯an gun.a¯n sam . pradh¯ary’ aˆham agryam . c’ aˆbhijanam . tava T¯aray¯a pratis.iddhah. san Sugr¯ıven.a sam¯agatah.. na m¯am anyena sam . rabdham . pramattam . veddhum arhasi iti me buddhir utpann¯a babh¯uv’ aˆdar´sane tava. na tv¯am . vinihat’Aa¯tm¯anam . dharmaAdhvajam adh¯armikam j¯ane p¯apaAsam¯ac¯aram . tr.n.aih. k¯upam iv’ a¯vr.tam. sat¯am . p¯apam . pracchannam iva p¯avakam . ves.aAdharam n’ aˆham . vr.tam. . tv¯am abhij¯an¯ami dharmaAcchadm’Aaˆbhisam 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  opened the path to heaven for that warrior and gained for him the highest state. Like unassailable great Indra, like irresistible great Indra, great Indra’s fallen son, gold-garlanded Valin, lion-chested, long-armed, blazing-faced, tawny-eyed, lay fallen thus in battle, resembling a fire whose flame has gone out, like Yay´ati fallen from the world of the gods through exhaustion of his merit, or the sun cast down to earth by Time at the . end of the world. Followed closely by L´akshmana, Rama approached and looked at him. Now, when Valin saw R´aghava and mighty L´akshmana, he spoke these words, which, though harsh, were civil and consistent with righteousness: “Because of you, I have met my death while in the heat of battle with someone else. What possible merit have you gained by killing me when I wasn’t looking? ‘Rama is wellborn, virtuous, powerful, compassionate and energetic. He . has observed vows, knows pity, is devoted to the welfare of the people, knows when to act, and is firm in his vows.’ That is how everyone spreads your good reputation throughout the world. Considering those good qualities of yours and your exalted lineage as well, I engaged in battle with Sugr´ıva though Tar´a tried to stop me. Since I didn’t see you, I had no idea you would strike me when I was in the heat of battle with another, heedless of you. I did not know that your judgment was destroyed and that you were a vicious evildoer hiding under a banner of righteousness, like a well overgrown with grass. I did not know that you were a wicked person wearing the trappings of virtue, concealed by a disguise of righteousness like a 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı .

vis.aye v¯a pure v¯a te yad¯a n’ aˆpakaromy aham na ca tv¯am . pratij¯ane ’ham . kasm¯at tvam . ham . sy akilbis.am phalaAm¯ul’Aaˆ´sanam . nityam . v¯anaram . vanaAgocaram m¯am ih’ aˆpratiyudhyantam anyena ca sam¯agatam? tvam . nar’Aaˆdhipateh. putrah. prat¯ıtah. priyaAdar´sanah. li˙ngam apy asti te, r¯ajan, dr.´syate dharmaAsam . hitam. kah. ks.atriyaAkule j¯atah. ´srutav¯an nas.t.aAsam . ´sayah. dharmaAli˙ngaApraticchannah. kr¯uram . karma sam¯acaret? R¯ama, r¯ajaAkule j¯ato dharmav¯an iti vi´srutah. abhavyo bhavyaAr¯upen.a kimAartham . paridh¯avasi?

.

s¯ama d¯anam . ks.am¯a dharmah. satyam . dhr.tiApar¯akramau p¯arthiv¯an¯am . gun.a¯, r¯ajan, dan.d.a´s c’ aˆpy apak¯aris.u. vayam . vanaAcar¯a, R¯ama, mr.g¯a m¯ulaAphal’Aaˆ´san¯ah.. es.a¯ prakr.tir asm¯akam . purus.as tvam . nar’Ae¯´svarah.. bh¯umir hiran.yam . r¯upyam . ca nigrahe k¯aran.a¯ni ca. tatra kas te vane lobho mad¯ıyes.u phales.u v¯a? naya´s ca vinaya´s c’ oˆ bhau nigrah’Aaˆnugrah¯av api r¯ajaAvr.ttir asam . k¯ırn.a¯ na nr.p¯ah. k¯amaAvr.ttayah.. tvam . tu k¯amaApradh¯ana´s ca kopana´s c’ aˆnavasthitah.. r¯ajaAvr.ttai´s ca sam . k¯ırn.ah. ´sar’Aa¯sanaApar¯ayan.ah..

.

na te ’sty apacitir dharme n’ aˆrthe buddhir avasthit¯a indriyaih. k¯amaAvr.ttah. san kr.s.yase, manuj’Ae¯´svara! hatv¯a b¯an.ena, K¯akutstha, m¯am ih’ aˆnapar¯adhinam kim . vaks.yasi sat¯am . madhye karma kr.tv¯a jugupsitam? 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  smoldering fire. I did no harm either in your kingdom or . in your city, nor did I insult you; so why did you kill me, an innocent forest-ranging monkey, living only on fruit and roots, when I had joined battle here with someone else and was not fighting against you? You are the handsome, renowned son of a ruler of men. You also have the visible signs associated with righteousness, king. What man, born in a kshatriya family, learned, free of doubts, and bearing signs of righteousness, would perform such a cruel deed? Born in a royal family, reputed to be virtuous, why do you go about with the appearance of decency when you are in fact not decent, Rama? Conciliation, gen- . erosity, forbearance, righteousness, truthfulness, steadiness and courage, as well as punishment of wrongdoers, are the virtues of kings, Your Majesty. We are but forest-dwelling beasts, Rama, living on roots and fruit. That is our nature, while you are a man and a lord of men. Land, gold and silver are reasons for conquest. But what possible profit could there be for you in the fruit belonging to me in this forest? Both statesmanship and restraint as well as punishing and rewarding are royal functions that must not be confused. Kings must not act capriciously. But you, instead, care only for your own desire. You are wrathful, unsteady, confused about your royal functions and interested only in shooting your arrows. You have no reverence . for what is right, no settled judgment concerning statecraft; and because you are addicted to pleasures, you are driven by your passions, lord of men. Now that you have done this despicable deed and killed me, an innocent creature, with 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı r¯ajaAh¯a brahmaAh¯a goAghna´s corah. pr¯an.iAvadhe ratah. n¯astikah. parivett¯a ca sarve nirayaAg¯aminah.. adh¯aryam . carma me sadbh¯ı rom¯an.y asthi ca varjitam abhaks.y¯an.i ca m¯am . s¯ani tvadAvidhair dharmaAc¯aribhih.. pa˜nca pa˜ncaAnakh¯a bhaks.y¯a brahmaAks.atren.a, R¯aghava, ´salyakah. ´sv¯a vidho godh¯a ´sa´sah. k¯urma´s ca pa˜ncamah.. .

carma c’ aˆsthi ca me r¯ajan na spr.´santi man¯ıs.in.ah. abhaks.y¯an.i ca m¯am . s¯ani so ’ham . pa˜ncaAnakho hatah.. tvay¯a n¯athena, K¯akutstha, na saAn¯ath¯a vasum . Adhar¯a pramad¯a ´s¯ılaAsam . pann¯a dh¯urtena patin¯a yath¯a. ´sat.ho naikr.tikah. ks.udro mithy¯aApra´sritaAm¯anasah. katham . Da´sarathena tvam . j¯atah. p¯apo mah”Aa¯tman¯a? chinnaAc¯aritryaAkaks.yen.a sat¯am . dharm’Aaˆtivartin¯a tyaktaAdharm’Aaˆn˙ ku´sen’ aˆham . nihato R¯amaAhastin¯a. dr.´syam¯anas tu yudhyeth¯a may¯a yudhi nr.p’Aa¯tmaja adya Vaivasvatam . devam . pa´syes tvam . nihato may¯a.

.

tvay” aˆdr.´syena tu ran.e nihato ’ham . dur¯asadah. prasuptah. pannagen’ eˆva narah. p¯anaAva´sam . gatah.. Sugr¯ıvaApriyaAk¯amena yad aham . nihatas tvay¯a kan.t.he baddhv¯a pradady¯am . te ’nihatam . R¯avan.am . ran.e. 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  your arrow, what will you say in the presence of virtuous men, K´akutstha? A king-killer, a brahman-killer, a cow-killer, a thief, a man who delights in killing, an atheist, a man who marries before his elder brother—all of them go to hell. Virtuous people cannot wear my skin, my fur and bones are forbidden, and my flesh cannot be eaten by people like you who observe the law. Only five among the five-clawed creatures can be eaten by brahmans and kshatriyas, R´aghava: the hedgehog, the porcupine, the lizard, the rabbit and, fifth, the turtle. Wise men do not touch my skin or bones, king, and my . flesh must not be eaten; yet I, a five-clawed creature, have been killed. With you as her protector, K´akutstha, the earth has no protector and is like a virtuous young wife with a deceitful husband. Treacherous, dishonest, mean, with false humility, how could a wretch like you be born of the great Dasha·ratha? I have been killed by this mad elephant Rama, who has broken the fetters of good conduct, overstepped the laws of virtuous men, and disregarded the goad of lawfulness. If you had fought openly in battle, prince, I would have killed you, and you would now be gazing on Vaiv´asvata, god of death. But I, who am unassailable in battle, have . been struck down by you when you could not be seen, as a man sleeping under the influence of drink may be killed by a snake. I could have given you R´avana, not killed in battle but bound around the neck; yet for that same outcome you killed me, wishing to please Sugr´ıva. 

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

´   – ´ı nyast¯am . s¯agaraAtoye v¯a p¯at¯ale v” aˆpi Maithil¯ım j¯anayeyam . tav’ a¯de´sa¯c chvet¯am a´svatar¯ım iva. yuktam . yat pr¯apnuy¯ad r¯ajyam . Sugr¯ıvah. svarAgate mayi. ayuktam yad adharmen a tvay” aˆham . . . nihato ran.e. k¯amam evam . Avidham . lokah. k¯alena viniyujyate. ks.amam . ced bhavat¯a pr¯aptam uttaram . s¯adhu cintyat¯am!» . ity evam uktv¯a pari´sus.kaAvaktrah. ´sar’Aaˆbhigh¯at¯ad vyathito mah”Aa¯tm¯a sam¯ıks.ya R¯amam . raviAsam . nik¯a´sam . babh¯ u v’ a mara t¯us.n.¯ım A r¯ a ja A s¯ u nuh.. ˆ .

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

  Had M´aithili been hidden in the ocean waters or even in the underworld, at your command I would have brought her back like the white she-mule. It is fitting that when I have gone to heaven, Sugr´ıva should obtain the kingdom. But for you to have killed me unjustly in battle is not fitting. Granted, all people, being what they are, are destined for death. But if what you have accomplished is proper, think of a good defense.” When he had spoken in this way, the great son of the . king of the gods, pained by the arrow that had wounded him, his mouth dry, looked at Rama, radiant as the sun, and fell silent.

C S L T.  R.Lefeber. (csl–.)  J  : ..

RK. V .

Rosalind Lefeber is Associate Professor Emerita of Religious Studies at McMaster University.

WWW.CLAYSANSKRITLIBRARY.COM

The fourth of the seven books of the Ramáyana, “Kishkíndha” presents the hero, Rama, at the turning point of his fortunes. To secure the assistance of the monkey kingdom in his search for Sita, his wife, Rama intervenes in the dynastic struggle between two monkey brothers.

CLAY SANSKRIT LIBRARY

ramáyana iv

ramáyana

kishkíndha

book four

valmíki

kishkíndha by valmíki

lefeber clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Translated by ROSALIND LEFEBER

Here is a new Clay Sanskrit Library publication of the middle book of Valmíki’s Ramáyana, the source revered throughout South Asia as the original account of the career of Rama, the ideal man and the incarnation of the great god Vishnu. After losing first his kingship and then his wife, Sita, Rama goes to the monkey capital of Kishkíndha to seek help in finding her, and meets Hánuman, the greatest of the monkey heroes. The brothers Valin and Sugríva are both claimants for the monkey throne; in exchange for the assistance of the monkey troops in discovering where Sita is held captive, Rama has to help Sugríva win the throne. The monkey hordes set out in every direction to scour the world, but they have no success until an old vulture tells them Sita is in Lanka. The book concludes with Hánuman’s preparation to leap over the ocean to Lanka to pursue the search. The tragic rivalry between the two monkey brothers is in sharp contrast to Rama’s affectionate relationship with his own brothers, and forms a self-contained episode within the larger story of Rama’s adventures. Rama’s intervention in the struggle between Sugríva and Valin is the chief moral focus of the book.

Robert P. Goldman is Professor of Sanskrit and Indian Studies at the University of California at Berkeley. He is director and general editor of the translation project of the critical edition of Valmíki’s Ramáyana and has also translated Book Five, “Súndara,” with Sally P. Goldman, with whom he has co-authored Deva·vani·pravéshika: An Introduction to the Sanskrit Language.

WWW.CLAYSANSKRITLIBRARY.COM

Valmíki’s Ramáyana is one of the two great national epics of India. The first book, “Boyhood,” introduces the young hero Rama and sets the scene for the adventures ahead. It begins with a fascinating excursus on the origins and function of poetry itself.

CLAY SANSKRIT LIBRARY

ramáyana

ramáyana

boyhood

book ONE

valmíki

boyhood

1

by valmíki goldman clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Translated by ROBERT P. GOLDMAN

Here is a new Clay Sanskrit Library publication of Book One (of seven) of Valmíki’s Ramáyana, the source revered throughout South Asia as the original account of the career of Rama, ideal man and incarnation of the great god Vishnu. In “Boyhood,” Rama, the crown prince of the city of Ayódhya, is a model son and warrior. His father, King Dasha· ratha, sends him to rescue a sage from persecution by demons, but first Rama must kill a fearsome ogress. That done, he drives out the demons, restores peace and attends a tournament in the neighboring city of Míthila; here he bends the bow that no other warrior can handle, winning the prize and the hand of Sita, the princess of Míthila. He and Sita and his brothers and their wives return in triumph to be fêted in Ayódhya. The epic prefaces Rama’s story with an elaborate account of the origins of the poem and of poetry itself, and a description of its early mode of recitation. This preamble is of great importance to an understanding of traditional Indian thinking on the subject of emotion and literary process.

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

EDITED BY RICHARD GOMBRICH

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

Translation: Copyright by Princeton University Press. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the Publisher. c  by the CSL. All else: copyright ! All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org

Artwork by Robert Beer. Cover design by Isabelle Onians. Typeset by Somadeva Vasudeva. Printed in Great Britain by St Edmundsbury Press, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

Ram ¯ ayan ¯ .a Book one Boyhood by Valm¯ ¯ ıki TRANSLATED BY

ROBERT P. GOLDMAN

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

Contents Sanskrit alphabetical order CSL conventions

 

´ RAMAYANA BOOK I Introduction : The Tale of Rama –: The Creation of Poetry –: The Kingdom of K´osala –: The Tale of Rishya·shringa

and the Sacrifices of Dasha·ratha

    

–: The Incarnation of Vishnu and the Gods  –: Rama’s Birth and Youthful Exploits  –: The Journey to M´ıthila

and Vishva·mitra’s Narration of Pur´anic Legends  –: The Saga of Vishva·mitra  : The Birth of Sita  : The Breaking of the Bow  –: The Marriage of the Sons of Dasha·ratha  –: The Return to Ay´odhya  Glossary  Index  A sandhi grid is printed on the inside of the back cover

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

Cantos 2–4 The Creation of Poetry

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

.

N

¯   tadAv¯akyam . ´srutv¯a v¯akyaAvi´sa¯radah. p¯ujay¯am a¯sa dharm’Aa¯tm¯a sahaA´sis.yo mah¯aAmunih..

Yath¯avat p¯ujitas tena deva’Ars.ir N¯aradas tad¯a a¯pr.s.t.v” aˆiv’ aˆbhyanuj˜na¯tah. sa jag¯ama vih¯ayasam. Sa muh¯urtam . munis tad¯a . gate tasmin devaAlokam jag¯ama Tamas¯aAt¯ıram . J¯ahnavy¯as tv avid¯uratah.. Sa tu t¯ıram . sam¯as¯adya Tamas¯ay¯a mah¯aAmunih. .

´sis.yam a¯ha sthitam . p¯ar´sve dr.s.t.v¯a t¯ırtham Akardamam. «Akardamam idam . t¯ırtham . Bharadv¯aja ni´sa¯maya raman.¯ıyam . prasann’Aaˆmbu sanAmanus.yaAmano yath¯a. Nyasyat¯am . kala´sas t¯ata d¯ıyat¯am . valkalam . mama idam ev’ aˆvag¯ahis.ye Tamas¯aAt¯ırtham uttamam.» Evam ukto Bharadv¯ajo V¯alm¯ıkena mah”Aa¯tman¯a pr¯ayacchata munes tasya valkalam . niyato guroh.. Sa ´sis.yaAhast¯ad a¯d¯aya valkalam . niyat’Aeˆndriyah. vicac¯ara ha pa´syam s tat sarvato vipulam . . vanam. Tasy’ aˆbhy¯a´se tu mithunam . carantam anap¯ayinam dadar´sa bhagav¯am . s tatra krau˜ncayo´s c¯aruAnih.svanam.

.

Tasm¯at tu mithun¯ad ekam . pum¯am . sam . p¯apaAni´scayah. jagh¯ana vairaAnilayo nis.a¯das tasya pa´syatah.. Tam . ´son.itaApar¯ıt’Aaˆn˙ gam . ves.t.am¯anam . mah¯ıAtale bh¯ary¯a tu nihatam . giram. . dr.s.t.v¯a rur¯ava karun.a¯m Tath¯a tu tam . dviAjam . dr.s.t.v¯a nis.a¯dena nip¯atitam r.s.er dharm’Aa¯tmanas tasya k¯arun.yam . samapadyata. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

W

   and eloquent sage had heard his . words, the righteous man and his disciples did N´arada great honor. After the divine seer N´arada had been duly honored by the sage, he took his leave and, receiving it, flew off into the sky. Once N´arada had departed for the world of the gods, the sage went after a while to the bank of the T´amasa river, not far from the J´ahnavi, the Ganges. Upon reaching the T´amasa riverbank, the great sage spied a bathing spot that was free from mud and spoke to the disciple who stood beside him. “Bharad·vaja, look at this . lovely bathing place so free from mud. Its waters are as lucid as the mind of a good man. Set down the water jar, dear boy, and give me my bark-cloth robe, for I will bathe here at this excellent bathing spot of the T´amasa.” Addressed in this fashion by the great Valm´ıki, Bharad·vaja, always attentive to his guru, gave him his bark-cloth robe. Taking the bark-cloth from his disciple’s hands, he walked about, his senses tightly controlled, looking all about him at the vast forest. Nearby, that holy man saw an inseparable pair of sweet-voiced krau˜ncha birds wandering about. But . even as he watched, a Nish´ada hunter, filled with malice and intent on mischief, struck down the male of the pair. Seeing him struck down and writhing on the ground, his body covered with blood, his mate uttered a piteous cry. And the pious seer, seeing the bird struck down in this fashion by the Nish´ada, was filled with pity. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  Tatah. karun.aAveditv¯ad «adharmo ’yam iti» dviAjah. ni´sa¯mya rudat¯ım . krau˜nc¯ım idam . vacanam abrav¯ıt. «M¯a nis.a¯da pratis.t.h¯am . tvam agamah. ´sa¯´svat¯ıh. sam¯ah. yat krau˜ncaAmithun¯ad ekam avadh¯ıh. k¯amaAmohitam.» .

Tasy’ aˆivam . bruvata´s cint¯a babh¯uva hr.di v¯ıks.atah. ´sok’Aa¯rten’ aˆsya ´sakuneh., «kim idam . vy¯ahr.tam . may¯a?» Cintayan sa mah¯aApr¯aj˜na´s cak¯ara matim¯an matim ´sis.yam . Agavah.: . c’ aˆiv’ aˆbrav¯ıd v¯akyam idam . sa muniApum «P¯adaAbaddho ’ks.araAsamas tantr¯ıAlayaAsamanvitah. ´sok’Aa¯rtasya pravr.tto me ´sloko bhavatu n’ aˆnyath¯a.» ´ . yas tu tasya bruvato muner v¯akyam anuttamam Sis pratijagr¯aha sam . hr.s.t.as tasya tus.t.o ’bhavad guruh.. So ’bhis.ekam . tatah. kr.tv¯a t¯ırthe tasmin yath¯aAvidhi tam eva cintayann artham up¯avartata vai munih..

.

Bharadv¯ajas tatah. ´sis.yo vin¯ıtah. ´srutav¯an guroh. kala´sam . p¯urn.am a¯d¯aya pr.s.t.hato ’nujag¯ama ha. Sa pravi´sy’ a¯´sramaApadam . ´sis.yen.a saha dharmaAvit upavis.t.ah. kath¯a´s c’ aˆny¯a´s cak¯ara dhy¯anam a¯sthitah.. ¯ ama tato brahm¯a lokaAkart¯a svayam Ajag¯ . prabhuh. caturAmukho mah¯aAtej¯a dras.t.um . tam . muniApum . Agavam. V¯alm¯ıkir atha tam . dr.s.t.v¯a sahas” oˆ tth¯aya v¯agAyatah. pr¯an˜ jalih. prayato bh¯utv¯a tasthau paramaAvismitah.. P¯ujay¯am a¯sa tam . devam . p¯ady’Aaˆrghy’Aa¯sanaAvandanaih. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    Then, in the intensity of this feeling of compassion, the brahman thought, “This is wrong.” Hearing the krau˜ncha hen wailing, he uttered these words: “Since, Nish´ada, you killed one of this pair of krau˜nchas, distracted at the height of passion, you shall not live for very long.” And even as he . stood watching and spoke in this way, this thought arose in his heart, “Stricken with grief for this bird, what is this I have uttered?” But upon reflection, that wise and thoughtful man came to a conclusion. Then that bull among sages spoke these words to his disciple: “Fixed in metrical quarters, each with a like number of syllables, and fit for the accompaniment of stringed and percussion instruments, the utterance that I produced in this access of shoka, grief, shall be called shloka, poetry, and nothing else.” But the delighted disciple had memorized that unsurpassed utterance even as the sage was making it, so that his guru was pleased with him. At last the sage took the prescribed ritual bath at the bathing spot and, still pondering this matter, went back. His disciple, the obedient and learned Bharad·vaja, took up . his guru’s brimming water pot and followed behind him. The sage, who knew the ways of righteousness, entered his ashram with his disciple, seated himself and began to discuss various other matters, still lost in profound thought. Then the mighty four-faced lord Brahma himself, the maker of the worlds, came to see the bull among sages. Seeing him, Valm´ıki rose quickly and without a word. He stood subdued and greatly wonderstruck, his hands cupped in reverence. Then he worshipped the god, offering water for his feet, the welcome offering, a seat and hymns of praise. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  pran.amya vidhivac c’ aˆinam . pr.s.t.v” aˆn¯amayam avyayam. . Ath’ o ˆ pavi´sya bhagav¯an a¯sane param’Aaˆrcite V¯alm¯ıkaye maha”Ars.aye sam . dide´s’ a¯sanam . tatah.. Upavis.t.e tad¯a tasmin s¯aks.a¯l lokaApit¯aAmahe tadAgaten’ aˆiva manas¯a V¯alm¯ıkir dhy¯anam a¯sthitah.. «P¯ap’Aa¯tman¯a kr.tam . kas.t.am . vairaAgrahan.aAbuddhin¯a yas t¯adr.´sam . c¯aruAravam . krau˜ncam . hany¯ad ak¯aran.a¯t.» ´ Socann eva muhuh. krau˜nc¯ım upa´slokam imam . punah. jag¯av antarAgataAman¯a bh¯utv¯a ´sokaApar¯ayan.ah.. Tam uv¯aca tato Brahm¯a prahasan muniApum . Agavam: «´sloka eva tvay¯a baddho n’ aˆtra k¯ary¯a vic¯aran.a¯. . MacAchand¯ad eva te brahman pravr.tt” eˆyam . sarasvat¯ı R¯amasya caritam . kr.tsnam . kuru tvam r.s.iAsattama. Dharm’Aa¯tmano gun.avato loke R¯amasya dh¯ımatah. vr.ttam . kathaya dh¯ırasya yath¯a te N¯arad¯ac chrutam. Rahasyam . ca prak¯a´sam . ca yad vr.ttam . tasya dh¯ımatah. R¯amasya saha Saumitre r¯aks.as¯an¯am . ca sarva´sah.. Vaidehy¯a´s c’ aˆiva yad vr.ttam prak¯ a ´sam . . yadi v¯a rahah. tac c’ aˆpy aviditam . sarvam . viditam . te bhavis.yati. Na te v¯ag anr.t¯a k¯avye k¯a cid atra bhavis.yati kuru R¯amaAkath¯am . pun.y¯am . ´slokaAbaddh¯am . manoAram¯am. . Y¯avat sth¯asyanti girayah. sarita´s ca mah¯ıAtale t¯avad R¯am¯ayan.aAkath¯a lokes.u pracaris.yati. Y¯avad R¯amasya ca kath¯a tvatAkr.t¯a pracaris.yati t¯avad u¯ rdhvam adha´s ca tvam . malAlokes.u nivatsyasi.» 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    When he had made the prescribed prostration before him, he asked after his continuing well-being. Once the holy . lord was seated in a place of honor, he motioned the great seer Valm´ıki also to a seat. But even though the grandfather of the worlds himself sat there before him, Valm´ıki, his mind once more harking back to what had happened, lapsed again into profound thought: “That wicked man, his mind possessed by malice, did a terrible thing in killing such a sweet-voiced krau˜ncha bird for no reason.” Grieving once more for the krau˜ncha hen, given over wholly to his grief and lost in his inner thought, he sang the verse again right there before the god. With a smile, Brahma spoke to the bull among sages, “This is a shloka that you have composed. You needn’t be perplexed about this. Brahman, it was by my will alone that . you produced this elegant speech. Greatest of seers, you must now compose the entire history of Rama. You must tell the world the story of the righteous, virtuous, wise and steadfast Rama, just as you heard it from N´arada, the full story, public and private, of that wise man. For all that befell wise Rama, Saum´ıtri, the r´akshasas and Vaid´ehi, whether in public or private, will be revealed to you, even those events of which you are ignorant. No utterance of yours in this poem shall be false. Now compose the holy story of Rama fashioned into shlokas to delight the heart. As long as the . mountains and rivers shall endure upon the earth, so long will the story of the Ram´ayana be told among men. And as long as the story of Rama you compose is told, so long will you live on in my worlds above and below.” 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  Ity uktv¯a bhagav¯an Brahm¯a tatr’ aˆiv’ aˆntarAadh¯ıyata tatah. saA´sis.yo V¯alm¯ıkir munir vismayam a¯yayau. Tasya ´sis.y¯as tatah. sarve jaguh. ´slokam imam . punah. muhur muhuh. pr¯ıyam¯an.a¯h. pr¯ahu´s ca bhr.´saAvismit¯ah.: «Sam’Aaˆks.arai´s caturbhir yah. p¯adair g¯ıto maha”Ars.in.a¯ so ’nuvy¯aharan.a¯d bh¯uyah. ´sokah. ´slokatvam a¯gatah..» . Tasya buddhir iyam . j¯at¯a V¯alm¯ıker bh¯avit’Aa¯tmanah.: «kr.tsnam . k¯avyam ¯ıdr.´saih. karav¯an.y aham.» . R¯am’Aaˆyan.am Ud¯araAvr.tt’AaˆrthaApadair manoAramais tad” aˆsya R¯amasya cak¯ara k¯ırtim¯an sam’Aaˆks.araih. ´slokaA´satair ya´sasvino ya´sasAkaram . k¯avyam ud¯araAdh¯ır munih.. ´ S ¯  samagram . tad dharm’Aa¯tm¯a dharmaAsam . hitam vyaktam anves.ate bh¯uyo yad vr.ttam . tasya dh¯ımatah.. Upaspr.´sy’ oˆ dakam . sam . ya˙n munih. sthitv¯a kr.t’Aaˆn˜ jalih. pr¯ac¯ın’Aaˆgres.u darbhes.u dharmen.’ aˆnves.ate gatim. Janma R¯amasya sumahad v¯ıryam . sarv’Aaˆnuk¯ulat¯am lokasya priyat¯am . saumyat¯am . satyaA´s¯ılat¯am, . ks.a¯ntim N¯an¯aAcitr¯ah. kath¯a´s c’ aˆny¯a Vi´sv¯amitraAsah’Aaˆyane J¯anaky¯a´s ca viv¯aham . ca dhanus.a´s ca vibhedanam, . R¯amaAR¯amaAviv¯adam . ca gun.a¯n D¯a´sarathes tath¯a tath” aˆbhis.ekam . R¯amasya Kaikeyy¯a dus.t.aAbh¯avat¯am, Vy¯agh¯atam c’ a bhis.ekasya R¯amasya ca viv¯asanam ˆ . .



C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    When the holy lord Brahma had spoken in this fashion, he vanished on the spot, and the sage Valm´ıki and his disciples were filled with wonder. Then all his disciples chanted that shloka again. Delighted and filled with wonder, they said over and over again: “The shoka, grief, that the great seer sang out in four metrical quarters, all equal in syllables, has, by virtue of its being repeated after him, become shloka, poetry.” Then the con- . templative Valm´ıki conceived this idea: “Let me compose an entire poem, called the Ram´ayana, in verses such as these.” And thus did the renowned sage with enormous insight compose this poem which adds to the glory of the glorious Rama, with hundreds of shlokas equal in syllables, their words noble in sound and meaning, delighting the heart. A     that the righteous man, hav- . ing learned the entire substance of that story, exemplary of righteousness, the tale of wise Rama, sought to make it public. First the sage sipped water in the prescribed fashion. Then, seated on darbha grass with the tips pointed east and cupping his hands reverently, he sought through profound meditation the means of access to this tale. Rama’s birth, his great strength and kindliness to all, the people’s love for him, his forbearance, gentleness and truthful nature, the various other marvelous stories told on the journey with Vishva·mitra, J´anaki’s wedding, and the breaking of the bow, the dispute between the two Ramas and . the virtues of Dasha·rathi, Rama’s consecration and Kaik´eyi’s wicked nature, the interruption of the consecration and the banishment of Rama, the king’s grief and lamentation 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  r¯aj˜nah. ´sokaAvil¯apam . ca paraAlokasya c’ a¯´srayam, Prakr.t¯ın¯am . ca prakr.t¯ın¯am . visarjanam . vis.a¯dam nis.a¯d’AaˆdhipaAsam o p¯ a vartanam v¯ a dam s¯ u t’ A ˆ . tath¯a, . . Ga˙ng¯ay¯a´s c’ aˆbhisam . t¯aram . Bharadv¯ajasya dar´sanam Bharadv¯aj’Aaˆbhyanuj˜na¯n¯ac Citrak¯ut.asya dar´sanam, V¯astuAkarmaAnive´sam . tath¯a . ca Bharat’Aa¯gamanam pras¯adanam . ca R¯amasya pitu´s ca salilaAkriy¯am, . P¯aduk”Aaˆgry’Aaˆbhis.ekam . ca Nandigr¯amaAniv¯asanam Dan.d.ak’Aaˆran.yaAgamanam . Sut¯ıks.n.ena sam¯agamam, Anas¯uy¯aAsamasy¯am ca a˙ n gaAr¯agasya c’ aˆrpan.am . ´S¯urpan.akhy¯a´s ca sam . v¯adam . vir¯upaAkaran.am . tath¯a, Vadham Khara A Tri´ s irasor utth¯ a nam R¯ a van asya ca . . . M¯ar¯ıcasya vadham c’ a iva Vaidehy¯ a haran am tath¯ a, ˆ . . . R¯aghavasya vil¯apam . ca gr.dhraAr¯ajaAnibarhan.am KabandhaAdar´sanam . c’ aˆiva Pamp¯ay¯a´s c’ aˆpi dar´sanam, ´Sarbary¯a dar´sanam . c’ aˆiva Han¯umadAdar´sanam . tath¯a vil¯apam c’ a iva Pamp¯ a y¯ a m R¯ a ghavasya mah” a tmanah., A ˆ ¯ . . . R s yam¯ u kasya gamanam Sugr¯ ı ven a sam¯ a gamam .. . . pratyay’Aoˆ tp¯adanam . sakhyam . V¯aliASugr¯ıvaAvigraham, V¯aliApramathanam . c’ aˆiva Sugr¯ıvaApratip¯adanam T¯ar¯aAvil¯apaAsamayam . vars.aAr¯atriAniv¯asanam, Kopam R¯ a ghava A sim . . hasya bal¯an¯am upasam . graham di´sah. prasth¯apanam . c’ aˆiva pr.thivy¯a´s ca nivedanam, A˙ngul¯ıyakaAd¯anam . ca r.ks.asya bilaAdar´sanam pr¯ay’Aoˆ pave´sanam . c’ aˆiva Sam . p¯ate´s c’ aˆpi dar´sanam, Parvat’Aa¯rohan.am . c’ aˆiva s¯agarasya ca la˙nghanam r¯atrau La˙nk¯aAprave´sam . ca ekasy’ aˆpi vicintanam, 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    and his departure for the next world, the dejection of the common people and their abandonment, the conversation with the Nish´ada chief and the return of the charioteer, the crossing of the Ganges and the meeting with Bharad·vaja, the arrival at Mount Chitra·kuta on the instructions of Bharad·vaja, the building of and dwelling in a hut and the coming of Bh´arata, the propitiation of Rama and the funeral libations for his father, the consecration of the wonderful . sandals and the dwelling in Nandi·grama, the journey to the D´andaka forest and the meeting with Sut´ıkshna, the encounter with Anas´uya and her presentation of the ointment, the conversation with Shurpa·nakha and her disfigurement, the slaying of Khara and Tri·shiras and the setting out of R´avana, the destruction of Mar´ıcha and the abduction of Vaid´ehi, the lamentation of R´aghava and the death of the vulture king, the encounter with Kab´andha and arrival at Lake Pampa, the encounters with Sh´abari and Hanum´an, and the lamentations of great R´aghava at Lake Pampa, the journey to Rishya·muka and the meeting . with Sugr´ıva, the engendering of confidence, the alliance, and the battle between Valin and Sugr´ıva, the slaying of Valin and the installation of Sugr´ıva, the lamentation of Tara, the agreement and the settling in for the rainy season, the anger of the lion of the R´aghavas, the marshalling of the troops, their being dispatched in all directions and the description of the earth, the giving of the ring, the discovery of Riksha’s cave, the fast until death and the encounter with Samp´ati, the ascent of the mountain and the leap over the ocean, the entry into Lanka by night and the solitary 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  ¯ anaAbh¯umiAgamanam avarodhasya dar´sanam Ap¯ a´sokaAvanik¯aAy¯anam . S¯ıt¯ay¯a´s c’ aˆpi dar´sanam, Abhij˜na¯naAprad¯anam . ca S¯ıt¯ay¯a´s c’ aˆpi bh¯as.an.am r¯aks.as¯ıAtarjanam . c’ aˆiva Trijat.a¯AsvapnaAdar´sanam, Man.iAprad¯anam . S¯ıt¯ay¯a vr.ks.aAbha˙ngam . tath” aˆiva ca r¯aks.as¯ıAvidravam . nibarhan.am, . c’ aˆiva kim . Akar¯an.a¯m Grahan.am v¯ a yu A s¯ u no´ s ca La˙ n k¯ a A d¯ a h’ Aaˆbhigarjanam . pratiplavanam ev’ aˆtha madh¯un¯am . haran.am . tath¯a, c’ a iva man i A niry¯ a tanam R¯aghav’Aa¯´sv¯asanam ˆ . . . tath¯a sam . gamam . ca samudrasya NalaAseto´s ca bandhanam, . Prat¯aram ca samudrasya r¯atrau La˙nk”Aaˆvarodhanam . Vibh¯ıs.an.ena sam . sargam . vadh’Aoˆ p¯ayaAnivedanam, Kumbhakarn.asya nidhanam . Meghan¯adaAnibarhan.am R¯avan.asya vin¯a´sam . ca S¯ıt”Aaˆv¯aptim areh. pure, Vibh¯ıs.an.’Aaˆbhis.ekam . ca Pus.pakasya ca dar´sanam Ayodhy¯ay¯a´s ca gamanam . Bharatena sam¯agamam, R¯am’Aaˆbhis.ek’Aaˆbhyudayam . sarvaAsainyaAvisarjanam svaAr¯as.t.raAra˜njanam . c’ aˆiva Vaidehy¯a´s ca visarjanam, An¯agatam ca yat kim . . cid R¯amasya vasuAdh¯aAtale tac cak¯ar’Aoˆ ttare k¯avye V¯alm¯ıkir bhagav¯an r.s.ih..

.

.

P¯ A¯  R¯amasya V¯alm¯ıkir bhagav¯an r.s.ih. cak¯ara caritam . kr.tsnam . vicitraApadam a¯tmav¯an. Kr.tv¯a tu tan mah¯aApr¯aj˜nah. saAbhavis.yam . sah’Aoˆ ttaram cintay¯am a¯sa, «ko nv etat prayu˜nj¯ıy¯ad iti?» prabhuh.. Tasya cintayam¯anasya maha”Ars.er bh¯avit’Aa¯tmanah. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    deliberations, the arrival at the drinking ground, the view . of the women’s quarters, the arrival at the ash´oka grove, and the meeting with Sita, the giving of the token of recognition and Sita’s speech, the threats of the r´akshasa women and the dream-vision of Tri·jata, Sita’s giving of the jewel and the breaking of the trees, the flight of the r´akshasa women and the slaughter of the servants, the capture of Vayu’s son Hanum´an, and the wailing at the burning of Lanka, the return leap, and the seizure of the mead, the consolation of R´aghava and the presentation of the jewel, the encounter with the ocean and the construction of Nala’s bridge, the . crossing of the ocean and the siege of Lanka by night, the alliance with Vibh´ıshana and his revelation of the means of destruction, the death of Kumbha·karna and the slaying of Megha·nada, the destruction of R´avana and the recovery of Sita in the enemy’s citadel, the consecration of Vibh´ıshana and the acquisition of the chariot P´ushpaka, the journey to Ay´odhya and the meeting with Bh´arata, the celebration of Rama’s consecration and his dismissal of all his troops, his pleasing the kingdom and his sending away Vaid´ehi— all of this did the holy seer Valm´ıki render into poetry. Even those events which had not yet befallen Rama on earth were rendered in the latter portion of his poem. I   Rama had regained his kingdom that the . holy and self-controlled seer Valm´ıki composed this entire history in such wonderful words. When the wise master had finished it, including the sections dealing with the future and final events, he thought, “Who should perform it?” And as the great contemplative seer was pondering this, 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  agr.hn.¯ıt¯am . tatah. p¯adau muniAves.au Ku´s¯ıALavau. Ku´s¯ıALavau tu dharmaAj˜nau r¯ajaAputrau ya´sasvinau bhr¯atarau svaraAsam . pannau dadar´s’ a¯´sramaAv¯asinau. .

Sa tu medh¯avinau dr.s.t.v¯a vedes.u parinis.t.hitau ved’Aoˆ pabr.m . han.’Aaˆrth¯aya t¯av agr¯ahayata prabhuh.. K¯avyam . R¯am¯ayan.am . kr.tsnam . S¯ıt¯ay¯a´s caritam . mahat PaulastyaAvadham ity eva cak¯ara caritaAvratah.. P¯at.hye geye ca madhuram . pram¯an.ais tribhir anvitam j¯atibhih. saptabhir yuktam . tantr¯ıAlayaAsamanvitam. H¯asyaA´sr.n˙ g¯araAk¯arun.yaAraudraAv¯ıraAbhay¯anakaih. b¯ıbhats’Aa¯diArasair yuktam . k¯avyam etad ag¯ayat¯am. Tau tu g¯andharvaAtattvaAj˜nau sth¯anaAm¯urcchanaAkovidau bhr¯atarau svaraAsam . pannau gandharv¯av iva r¯upin.au.

.

R¯upaAlaks.an.aAsam . pannau madhuraAsvaraAbh¯as.in.au bimb¯ad iv’ oˆ ddhr.tau bimbau R¯amaAdeh¯at tath” aˆparau. Tau r¯ajaAputrau k¯artsnyena dharmyam a¯khy¯anam uttamam v¯aco vidheyam . tat sarvam . kr.tv¯a k¯avyam aninditau. R.s.¯ın.a¯m . ca dviAj¯at¯ın¯am . s¯adh¯un¯am . ca sam¯agame yath”Aoˆ pade´sam . tattvaAj˜nau jagatus tau sam¯ahitau mah”Aa¯tm¯anau mah¯aAbh¯agau sarvaAlaks.an.aAlaks.itau. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    Kusha and Lava, in the guise of sages, came and touched his feet. He looked at the two glorious brothers, Kusha and Lava, who lived in his ashram, for they were sons of the king, familiar with the ways of righteousness, and had sweet voices. Perceiving that they were well grounded in the Vedas . and had excellent memories, he accepted them as students of Vedic exegesis. A man who always fulfilled his vows, he taught them the whole of this great poem, the Ram´ayana, which is the tale of Sita and the slaying of Paul´astya. It is sweet both when recited and when sung in the three tempos to the seven notes of the scale, and it is eminently suitable for the accompaniment of both stringed and percussion instruments. The two disciples sang the poem, which is replete with all the poetic sentiments: the humorous, the erotic, the piteous, the wrathful, the heroic, the terrifying, the loathsome and the rest. The brothers, beautiful as gandh´arvas, had beautiful voices and were well versed in the gandh´arvas’ musical art. They were expert in both articulation and modulation. Gifted . with beauty and auspicious marks, they spoke with sweet voices. Like twin reflections they seemed, born of the same image, Rama’s body. That unsurpassed tale is exemplary of righteousness, and so the two blameless sons of the king learned the entire poem by heart. And when they had done so, the two great and gifted men, who understood its essence and were marked by every auspicious sign, sang it as they had been instructed, with single-minded concentration before assemblies of seers, brahmans and good men. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  Tau kad¯a cit samet¯an¯am r.s.¯ın.a¯m . bh¯avit’Aa¯tman¯am a¯s¯ın¯an¯am . sam¯ıpaAsth¯av idam . k¯avyam ag¯ayat¯am. Tac chrutv¯a munayah. sarve b¯as.paApary¯akul’Ae¯ks.an.a¯h. «s¯adhu s¯adhv ity!» t¯av u¯ cuh. param . vismayam a¯gat¯ah.. .

Te pr¯ıtaAmanasah. sarve munayo dharmaAvatsal¯ah. pra´sa´sam . suh. pra´sastavyau g¯ayam¯anau Ku´s¯ıALavau: «Aho g¯ıtasya m¯adhuryam . ca vi´ses.atah.! . ´slok¯an¯am ciraAnirvr.ttam apy etat pratyaks.am iva dar´sitam.» Pravi´sya t¯av ubhau sus.t.hu tad¯a bh¯avam ag¯ayat¯am sahitau madhuram . pad¯a. . raktam . sam . pannam . svaraAsam Evam . pra´sasyam¯anau tau tapah.A´sl¯aghyair maha”Ars.ibhih. sam . raktataram atyartham . madhuram . t¯av ag¯ayat¯am. Pr¯ıtah. ka´s cin munis t¯abhy¯am . sam . sthitah. kala´sam . dadau

.

prasanno valkalam . ka´s cid dadau t¯abhy¯am . mah¯aAya´sa¯h.. ¯ scaryam idam a¯khy¯anam A´ munin¯ a sam prak¯ ırtitam . . param . kav¯ın¯am a¯dh¯aram . sam¯aptam . ca yath¯aAkramam. Pra´sasyam¯anau sarvatra kad¯a cit tatra g¯ayakau rathy¯asu r¯ajaAm¯arges.u dadar´sa Bharat’Aaˆgrajah.. SvaAve´sma c’ a¯n¯ıya tato bhr¯atarau sa Ku´s¯ıALavau p¯ujay¯am a¯sa p¯uj”Aaˆrhau R¯amah. ´satruAnibarhan.ah.. ¯ ınah. k¯an˜ cane divye sa ca sim As¯ . h’Aa¯sane prabhuh. upopavis.t.aih. sacivair bhr¯atr.bhi´s ca param . Atapah.. pannau t¯ a v ubhau v¯ ı n Dr.s.t.v¯a tu r¯upaAsam . . inau tatah. ´ uv¯aca Laks.man.am . R¯amah. Satrughnam . Bharatam . tath¯a. 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    Now on one occasion the two sang the poem in the presence of some pure-minded seers who were seated in an assembly. When the sages heard it, their eyes were clouded with tears and filled with the greatest wonder, they all said to the two, “Excellent, excellent!” All the sages, glad at heart . and loving righteousness, praised Kusha and Lava as they sang, for they were worthy of praise: “Ah, the sweetness of the singing and especially the poetry! Even though this all took place so long ago, it is as though it were happening before our very eyes.” Then the two of them together, entering fully into the emotion of the story, sang it with the full range of notes, sweetly and with feeling. Praised in this fashion by those great seers, who were themselves to be extolled for their asceticism, they sang more sweetly still and with still greater feeling. One sage there, delighted, gave them a water jar. Another, a man of great renown, gave them a bark-cloth mantle. This wondrous tale that the sage told and that he . completed in perfect sequence is the great source of inspiration for poets. Now it happened that on one occasion the elder brother of Bh´arata saw there those two singers who were being praised everywhere on the roads and royal highways. And Rama, the destroyer of his enemies, brought the brothers, Kusha and Lava, to his own dwelling, where he honored them, for they were worthy of honor. Then lord Rama, chastiser of his foes, seated on a heavenly throne of gold with his ministers and brothers sitting nearby, looked at the two beautiful youths with their lutes and spoke to L´akshmana, Shatru·ghna Bh´arata. “Let us listen to this tale, whose . 

C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

´   –  .

´ uyat¯am idam a¯khy¯anam anayor devaAvarcasoh. «Sr¯ vicitr’AaˆrthaApadam . samyag g¯ayator madhuraAsvaram. Imau mun¯ı p¯arthivaAlaks.man.’Aaˆnvitau Ku´s¯ılALavau c’ aˆiva mah¯aAtapasvinau mam’ aˆpi tad bh¯utiAkaram . pracaks.ate mah”Aaˆnubh¯avam . caritam . nibodhata.» Tatas tu tau R¯amaAvacah. pracodit¯av ag¯ayat¯am . pad¯a . m¯argaAvidh¯anaAsam sa c’ aˆpi R¯amah. paris.adAgatah. ´sanair bubh¯us.ay” a¯saktaman¯a babh¯uva ha.



C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

    words and meaning alike are wonderful, as it is sweetly sung by these two godlike men. For although these two sages, Kusha and Lava, are great ascetics, they bear all the marks of kings. Moreover, it is said that the profound tale they tell is highly beneficial, even for me. Listen to it.” Then, at a word from Rama, the two of them began to sing in the full perfection of the marga mode. And right there in the assembly, even Rama, in his desire to experience it fully, gradually permitted his mind to become enthralled.



C S L T.  Goldman (csl–.)  D  : ..

RB¯ K. V .

Robert P. Goldman is Professor of Sanskrit and Indian Studies at the University of California at Berkeley. He is director and general editor of the translation project of the critical edition of Valmíki’s Ramáyana and has also translated Book Five, “Súndara,” with Sally P. Goldman, with whom he has co-authored Deva·vani·pravéshika: An Introduction to the Sanskrit Language.

WWW.CLAYSANSKRITLIBRARY.COM

Valmíki’s Ramáyana is one of the two great national epics of India. The first book, “Boyhood,” introduces the young hero Rama and sets the scene for the adventures ahead. It begins with a fascinating excursus on the origins and function of poetry itself.

CLAY SANSKRIT LIBRARY

ramáyana

ramáyana

boyhood

book ONE

valmíki

boyhood

1

by valmíki goldman clay s For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

Translated by ROBERT P. GOLDMAN

Here is a new Clay Sanskrit Library publication of Book One (of seven) of Valmíki’s Ramáyana, the source revered throughout South Asia as the original account of the career of Rama, ideal man and incarnation of the great god Vishnu. In “Boyhood,” Rama, the crown prince of the city of Ayódhya, is a model son and warrior. His father, King Dasha· ratha, sends him to rescue a sage from persecution by demons, but first Rama must kill a fearsome ogress. That done, he drives out the demons, restores peace and attends a tournament in the neighboring city of Míthila; here he bends the bow that no other warrior can handle, winning the prize and the hand of Sita, the princess of Míthila. He and Sita and his brothers and their wives return in triumph to be fêted in Ayódhya. The epic prefaces Rama’s story with an elaborate account of the origins of the poem and of poetry itself, and a description of its early mode of recitation. This preamble is of great importance to an understanding of traditional Indian thinking on the subject of emotion and literary process.

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Sir James Mallinson translates and edits Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He has also translated Volume One of The Ocean of the Rivers of Story, as well as The Emperor of the Sorcerers (in two volumes), and Messenger Poems.

WWW.CL AYSANSKRITLIBRARY.COM After the scene-setting of Volume One the main narrative is now in full flow. Here Nara!váhana!datta, the hero, is born and reared to be king, while myths of the gods, famous legends, and comical stories feed as a flood of tributary tales into the ocean which is Soma!deva’s literary compendium.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Ocean Rivers Story vol2.indd 1

the ocean of the rivers of story ii

soma!deva

The Ocean of the Rivers of Story Volume Two by Soma!deva

mallinson

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library translation of Volume Two (of seven) of Soma!deva’s The Ocean of the Rivers of Story. Soma!deva wrote his vast book in Kashmir in the eleventh century CE, in order to amuse the troubled and pious Queen Súryavati in a time of upheaval. The frame narrative is so swamped in the flood of stories that it is not until the second volume of the CSL edition, 3,000 verses in, that Nara!váhana!datta, the protagonist, is born. Shiva has foretold his birth and said that he is a partial incarnation of the god of love and will become the emperor of the sorcerers. From here on the main narrative and many of the tales pouring into it describe the exploits of sorcerers and lovers. The central part of this volume, the Attainment entitled “Four Girls,” covers both: it is the story of how Shakti!deva won the four daughters of a sorcerer king who then gave him his throne. The volume ends with the events preceding the birth of Mádana!máñchuka, Nara!váhana!datta’s first and greatest love.

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

24/10/08 10:37:27

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

THE OCEAN OF THE RIVERS OF STORY VOLUME

TWO

TRANSLATED

BY

Sir James Mallinson

NEW

YORK

UNIVERSITY

JJC

FOUNDATION 

PRESS

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data [Kathāsaritsāgara. English & Sanskrit] The ocean of the rivers of story / by Somadeva ; translated by James Mallinson. p. cm. – (The Clay Sanskrit library) In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. Includes bibliographical references and index. ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper) . Tales–India–Early works to . I. Title. PK.SE  '.–dc 

CONTENTS CSL Conventions

vii

Introduction

xv

THE OCEAN OF THE RIVERS OF STORY II

Attainment III—Lavánaka Fifth Wave Sixth Wave

Attainment IV—The Birth of Nara·váhana·datta First Wave Second Wave Third Wave

Attainment V—Four Girls First Wave Second Wave Third Wave

Attainment VI—Mádana·mánchuka First Wave Second Wave Third Wave Fourth Wave Fifth Wave Sixth Wave

                 

Seventh Wave Eighth Wave

 

Notes



Emendations to the Sanskrit Text



Index



ATTAINMENT IV

THE BIRTH OF NARA·VÁHANA·DATTA

..

K



 . ||’|āghāta|sīmantita|kul’|âcalah. panthānam iva siddhīnām . diśañ jayati vighna|jit.

tato Vats’|ēśvaro rājā sa Kauśāmbyām avasthitah.

ek’|ātapatrām . bubhuje jitām Udayano mahīm. vidhāya sa|Rumanvatke bhāram . . Yaugandharāyane . vihār’|âika|rasaś c’ âbhūd Vasantaka|sakhah. sukhī. svayam . sa vādayan vīnā . m . devyā Vāsavadattayā Padmāvatyā ca sahitah. samgītakam asevata. . ..

devī|kākali|gītasya tad|vīnā . |ninadasya ca abhede vādan’|â˙ngus. tha . |kampo ’bhūd bheda|sūcakah. . harmy’|âgre nija|kīrty” êva jyotsnayā dhavale ca sah. dhārā|vigalitam . sīdhu papau madam iva dvisām. . ājahruh. svarna . |kalaśais tasya vār’|â˙nganā rahah. Smara|rājy’|âbhisek’ . madhu. . |âmbha iva rāg’| ôjjvalam ārakta| surasa| svaccham antah. | sphurita| tan| mukham upaninye dvayor madhye sa sva|cittam iv’ āsavam. īrsyā . |rusām . abhāve ’pi bha˙ngura|bhruni . rāgini . na mukhe tat tayo rājñyos tad|dr. s. tis āyayau. . trptim .

..

sa|madhu|sphatik’ tasya pāna|bhūh. . |ân|eka|casakā . babhau bāl’|ātap’|ārakta|sita|padm” êva padminī. 

    of obstacles, who, with mighty blows from his flapping ears, makes a parting in the chief mountain ranges as if he were marking the way to success, be victorious! Then Údayana, king of Vatsa, stayed in Kaushámbi and enjoyed the conquered earth, which was now under a single parasol. He placed the burdens of state on Yaugándharáyana and Rumánvat, and with Vasántaka as his companion he happily devoted himself to nothing but fun. Playing the lute himself, he enjoyed making music with Vásava·datta and Padmávati. In the absence of any difference between the sweet song of the queens and the sound of his lute, it was left to the flickering of his playing thumb to show that they were separate. And on the terrace of his palace, which the moonlight, as if it were his glory, made dazzling white, he drank wine flowing in torrents as if he were drinking the pride of his enemies. In private his courtesans brought brilliantly red wine ablaze with passion in golden pots as if it were water for consecrating him as the ruler of the kingdom of the god of love. As if it were his heart—impassioned, amorous and pure, their faces appearing within—he placed the drink—red, delicious and clear, their faces appearing within—between the two queens. Even though they were neither jealous nor angry, those queens’ faces were red with passion and had knitted brows: the king could not get enough of looking at them. There were many crystal glasses full of wine in the place where he drank and it glowed as if it were a bed of lotuses, its white flowers reddened by the morning sun.

M



..

..

..

       

antarā ca milad|vyādhah. palāśa|śyāma|kañcukah. sa sa|bānāsano bheje sv’|ôpamam . . mrga . |kānanam. jaghāna pa˙nka|kalusān . varāha|nivahāñ śaraih. timir’|âughān a|viralaih. karair iva marīcimān. vitrasta|prasrtās . tasmin kr. s. na . |sārāh. pradhāvite babhuh. pūrv’|âbhibhūtānām . katāk . sā . h. kakubhām iva. reje rakt’|ârunā . c’ âsya mahī mahisa . |ghātinah. sev’|āgat” êva tac|chr˙ . nga|pāta|muktā van’|ābjinī. ..

vyātta|vaktra|patat|prāsa|protesv . api mrg’ . |ârisu . |jīvitesu s’|ântar|garjita|niskrānta . . tutosa . sah. .

śvānah. śvabhre vane tasmims . tasya vartmasu vāgurāh. |rase. sā sv’|āyudh’|âika|siddhe ’bhūt prakriyā mrgayā .

evam . sukh’|ôpabhogesu . vartamānam . tam ekadā rājānam āsthāna|gatam . Nārado munir abhyagāt. nija|deha|prabhā|baddha|man. dalo man. dana . . m . divah. krt’ iva. . |âvatāras tejasvi|jāti|prīty” âmśumān . sa tena racit’|ātithyo muhuh. prahvena . bhū|bhrtā . prītah. ksa iva sthitvā rājānam . nam . . tam abhāsata. . ..

«śr. nu etat te, Vats’|ēśvara, vadāmy aham . samk . siptam . babhūva Pān. dur . iti te rājā pūrva|pitāmahah. . tav’ êva tasya dve eva bhavye bhārye babhūvatuh. ekā Kuntī dvitīyā ca Mādrī nāma mah”|âujasah. . 

  –  

Now and then he would get together with some hunters, take his bow and, wearing a jacket as dark green as a palásha tree, enjoy himself in the game park, which he resembled. With his arrows he killed hordes of mud-besmirched boars, like the sun destroying with its dense rays the ranks of darkness. When he chased them, the spotted antelopes fled, terrified, looking like side-glances from the directions which had earlier been conquered. And when he killed buffalo, the ground would shine red with blood, as if a bed of lotuses from the jungle, liberated from the goring of the buffaloes’ horns, had come to worship him. When the lions too were speared by his javelins falling in their gaping jaws, their life-breaths departing with a stifled roar, he was delighted. In his fondness for the chase, which he carried out using only his own weapons, his method was to have dogs down the holes in that forest and traps on the paths. While the king was living thus, enjoying these pleasures, one day the sage Nárada came to him when he was in his hall of audience. He wore a halo formed by the glow from his body and it was as if the sun, the adornment of the sky, had come down to earth out of affection for a fellow luminary. Showing him hospitality and bowing repeatedly, the king pleased Nárada, and after standing there for a moment or two, he said to the king, “Listen to this short tale that I am about to tell you, O king of Vatsa. You had an ancestor, a king called Pandu. Like you, that powerful king had just two lovely wives. One was called Kunti, the other Madri. Pandu conquered this earth with its girdle of oceans and 

..

..

       

..

..

sa Pān. du etām . h. prthivīm . . jitvā jaladhi|mekhalām |vyasanī vanam. sukhī kadā|cit prayayau mrgayā . tatra Kindama|nāmānam . sa munim . mukta|sāyakah. jaghāna mrga . |rūpena . sa|bhāryam . surata|sthitam. | sa munir mrga rūpa m tat tyaktvā kan. tha . . . |vivartibhih. prānai . h. śaśāpa tam . Pān. du . m . visa . n. na . m . mukta|kārmukam. ‹svaira|stho nirvimarśena hato ’ham . yat tvayā tatah. | bhāryā|sambhoga kāle te madvan m rtyur bhavisyati.› . . . ity āpta|śāpas tad|bhītyā tyakta|bhoga|sprho ’tha sah. . patnībhyām anvitah. Pān. dus . tasthau śānte tapo|vane. | tatra stho ’pi sa śāpena preritas tena c’ âikadā a|kasmāc cakame Mādrīm . priyām . prāpa ca pañcatām. tad evam nāma pramādo, nrpa, . mrgayā . . bhū|bhrtām . ksapitā hy anay” ânye ’pi nrpās te te mrgā . . . iva. ghora|nād” āmis’ . |âik’|âgrā rūksā . dhūmr’|ôrdhva|mūrdha|jā kunta|dantā katham . kuryād rāksas” . îva hi sā śivam? |rasam tasmād viphalam āyāsam . jahīhi mrgayā . vanya|vāhana|hant¯r. nā m samāna h prā na h. . . . . |samśaya . . | | | | tvam ca tvat pūrva ja prītyā priya h kalyā na pātra me . . . putraś ca tava Kām’|âmśo . yathā bhāvī tathā śr. nu. . pur” ân|a˙ng’|â˙nga|sambhūtyai Ratyā stutibhir arcitah. . tus. to idam . rahasi samk . sepam . . tasyāh. Śivo ’bhyadhāt. ‹avatīrya nij’|âmśena bhūmāv ārādhya mām . . svayam Gaurī putr’|ârthinī Kāmam asāv iti.› . janayisyaty . | | ataś Can. damahāsena sutā devī, nar’ êndra, sā . 

  –  

one day the happy king, who was addicted to hunting, went to the forest. There he let fly an arrow and killed a sage called Kíndama who was making love with his wife in the form of a deer. The sage abandoned his form as a deer and as his life-breaths struggled in his throat he cursed Pandu, who was despondent and had cast aside his bow. ‘Because you willfully killed me without thinking while I was making love with my wife, your death shall be like mine.’ After receiving this curse, he was terrified by it and lost the desire for pleasure. Accompanied by his two wives, Pandu took up residence in a peaceful penance grove. But while he was there, one day, driven on by the curse, he suddenly made love to his beloved Madri and died. Thus, O king, that which is called the chase is a folly of kings, for other kings too have been destroyed by it, just like all those deer. The chase is like a demoness—she has a terrific roar, thinks only of flesh, is cruel, her hair stands on end like smoke and her teeth are spears. How could she bring good? So give up your love of hunting—it is a vain exertion. The danger to the lives of those who kill wild animals is universal. And because of my affection for your ancestors, you, who are a worthy recipient of good fortune, are dear to me. Hear how your future son is to be a partial incarnation of the god of love. Long ago, when he had been worshipped with hymns of praise by Rati in order to restore the body of the bodiless god of love and was pleased, in private Shiva announced to her the following brief declaration: “Having partially incarnated herself, Párvati, desirous of a son, shall personally worship me on earth and she shall give birth to 

..

..

       

jātā Vāsavadatt” êyam mahisī . sampannā . . ca te. ..

tad esā ārādhya Kām’|âmśa sutam . Śambhum . . m . sosyate . sarva|vidyā|dharānā . m . yaś cakra|vartī bhavisyati.» . ity ukten’ ādrta m . |vacā rājñā prthvī . . tad|arpitām pratyarpya tasmai sa yayau Nārada’|rsir . a|darśanam. tasmin gate Vatsa|rājah. sa tad Vāsavadattayā jāta|putr’|êcchayā sākam . ninye tac|cintayā dinam. anyedyus tam . sa Vats’|ēśam upety’ āsthāna|vartinam Nityodit’|ākhyah. pravarah. pratīhāro vyajijñapat. «śiśuka|dvaya|samyuktā brāhmanī . . k” âpi durgatā dvāri sthitā, mahā|rāja, deva|darśana|kā˙nksi . nī.» . tac chrutv” âiv’ âbhyanujñāte tat|praveśe mahī|bhrtā .

..

brāhmanī . sā viveś’ âtra krśa . |pān. dura . |dhūsarā. mānen’ êva viśīrnena vāsasā vidhurī|krtā . . |dainya|nibhāv a˙ duhkha nke vibhratī bālakāv ubhau. .

krt’ ca sā rājānam . |ôcita|pranāmā . . vyajijñapat «brāhmanī . kula|jā c’ âham īdrśī . m . durgatim . gatā. daivād yugapad etau ca jātau dvau tanayau mama tad, deva, n’ âsti me stanyam etayor bhojanam . vinā. ten’ êha krpa . nā, . nātha, śaran’ . |āgata|vatsalam prāpt” âsmi devam adhunā prabhuh.» . śarana . m . pramānam . . 

  –  

the god of love.” And so, O king, the goddess has been born as Chanda·maha·sena’s daughter, Vásava·datta here, and has become your chief queen. So she, after worshipping Shiva, shall give birth to a son who is a partial incarnation of the god of love and will be the emperor of all the sorcerers.” When the king, whose words were respected, was told this, he offered Nárada the earth; the sage gave it back to him and vanished. After he had gone, the king of Vatsa and Vásava· datta, in whom the desire for a son had arisen, spent the day worrying about it. The next day, when the king of Vatsa was in his hall of audience, the head chamberlain, Nityódita by name, went up and announced to him, “Sire, some poor brahmin lady is at the gate with two children and wants to have an audience with your highness.” As soon as he heard this, the king gave his permission for her to enter and the brahmin lady came in. She was thin, pale and dusty. Made miserable by wearing clothes as tattered as her pride, she was carrying on her hips two children as if they were sorrow and poverty. After bowing appropriately before the king, she said to him, “I am a brahmin lady from a good family and this wretched state has befallen me. It happened that these two boys were born to me simultaneously, so, your highness, not having any food, I have no milk for them. Thus, my lord, in my state of wretchedness, I have come here to your highness, who is kind to those who come to him for protection, for help. Now it is up to your majesty.” 

..

..

        ..

..

..

tac chrutvā sa|dayo rājā sa pratīhāram ādiśat «iyam . Vāsavadattāyai devyai nītv” ârpyatām iti.» tataś ca karmanā . svena śubhen’ êv’ âgra|yāyinā nīt” âbhūn nikata . m . devyāh. pratīhārena . tena sā. rājñā visr. s. tā . m . buddhvā tām . pratīhārād upāgatām devī Vāsavadattā sā brāhmanī .m . śraddadhe|tarām. yugm’|âpatyām . ca paśyantī dīnām etām . vyacintayat | «aho vām’|âika|vrttitva m kim apy etat Prajāpate h! . . . aho vastuni mātsaryam aho bhaktir a|vastuni! n’ âdy’ âpy eko ’pi me jāto jātau tv asyām . yamāv imau!» evam ca sā devī snāna|kā˙nksi . samcintayantī . . nī . | brāhmanyāś ce tikās tasyā h snapan’ ādau samādiśat. . . . snapitā datta|vastrā ca tābhih. svādu ca bhojitā brāhmanī . s” âmbu|sikt” êva taptā bhūh. samudaśvasat. samāśvastā ca sā yuktyā kath”|ālāpaih. parīksitum . ksa . n’ . |ântare nijagade devyā Vāsavadattayā, «bho brāhmani . kathā kā|cit tvayā nah. kathyatām iti» tac chrutvā sā «tath” êty» uktvā kathām . vaktum . pracakrame. «pur” âbhūj Jayadatt’|ākhyah. sāmānyah. ko ’pi bhū|patih. Devadatt’|âbhidhānaś ca putras tasy’ ôdapadyata. yauvana|sthasya tasy’ âtha vivāham . tanayasya sah. vidhātum icchan nrpatir matimān ity acintayat, . | ‹veśy” êva balavad bhogyā rāja|śrīr ati|cañcalā vanijā an|anya|gā. . m . tu kula|str” îva sthirā laksmīr . tasmād vivāham . putrasya karomi vanijā . m . grhāt . rājye ’sya bahu|dāyāde yena n’ āpad bhavisyati.› . 

  –  

When he heard this, the king took pity and instructed his chamberlain to take the woman to Vásava·datta and entrust her to her. At this, leading her on as if he were her own good karma, the chamberlain took her to the queen. When Queen Vásava·datta found out from the chamberlain that the brahmin woman who had arrived had been sent by the king, she had greater trust in her. Seeing that the poor woman had two children, she thought, “Oh! This is a piece of the creator’s unswerving perversity! How niggardly he is towards one who is worthy and how kind to one who is not! I still have not had even one son, but this woman has had twin boys!” While thinking this, the queen, who was wanting to take a bath, instructed her servant girls to attend to the brahmin woman’s toilet. After being bathed, clothed and fed delicious food by them, the brahmin lady was as refreshed as scorched earth on being sprinkled with water. And soon after she had been refreshed, Queen Vásava·datta contrived to find out about her in conversation and said to her, “O brahmin lady, please tell us some story.” On hearing this, she said yes and started to tell a tale. “Long ago there lived some run-of-the-mill king called Jaya·datta and a son called Deva·datta was born to him. Then, when the boy had grown up and the king was wanting to arrange his marriage, being a wise man he thought to himself, ‘Like a courtesan, the prosperity of a king is extremely fickle and is to be enjoyed by he who has power, but the prosperity of merchants, like a woman from a respectable family, is assured and does not go elsewhere. Therefore I shall find my son a wife from a merchant household 

..

..

..

       

iti niścitya putrasya krte . vavre sa bhūpatih. vanijo . Vasudattasya kanyām . Pātaliputrakāt. . |vāñchayā Vasudatto ’pi sa dadau ślāghya|sambandha .

dūra|deś’|ântare ’py asmai rāja|putrāya tām . sutām. ..

pūrayām āsa ca tathā ratnair jāmātaram . sa tam agalad bahumāno ’sya yathā sva|pitr. |vaibhave. avāpt’|ādhya . |vanik . |putrī|sahiten’ âtha tena sah. tanayena samam . tasthau Jayadatta|nrpa . h. sukham. |sadmani ekadā tatra c’ āgatya s’|ôtkah. sambandhi .

sa vanig . Vasudattas tām . nināya sva|grha . m . sutām. tato ’kasmāt sa nr. |patir Jayadatto divam . yayau udbhūya gotra|jais tasya tac ca rājyam adhis. thitam. . tad|bhītyā tasya tanayo jananyā nijayā niśi Devadattas tu nīto ’bhūd anya|deśam a|laksita . h. . ..

|mānasā tatr’ āha rāja|putram . tam . mātā duhkhita .

‹devo ’sti cakra|vartī nah. prabhuh. pūrva|dig|īśvarah. tat|pārśvam vatsa, sah› . vraja. rājyam . te sādhayisyati, . . ity uktah. sa tadā mātrā rāja|putro jagāda tām, ‹tatra mām m . nisparikara . . gatam . ko bahu mamsyate?› . tac chrutvā punar apy evam . sā mātā tam abhāsata, . ‹śvaśurasya grha . m . gatvā tvam . hi prāpya tato dhanam krtvā . parikaram . gaccha nikata . m . cakra|vartinah.› . 

  –  

so that no disaster will befall his kingdom, to which there are many claimants.’ After deciding this, the king chose for his son the daughter of a merchant called Vasu·datta from Pátali·putra. And Vasu·datta, in his desire for a commendable alliance, betrothed his daughter to the prince, even though he was in a far-off land. He loaded his son-in-law with so many jewels that the boy’s respect for his father’s greatness dripped away. Then King Jaya·datta lived happily in the company of his son and the rich merchant’s daughter whom he had obtained. One day the merchant Vasu·datta came expectantly to the house of his daughter’s in-laws and took her to his home. Then suddenly King Jaya·datta died and the kingdom was taken over by relatives of his who had risen up. In fear of them the king’s son Deva·datta was taken away by his mother at night, unseen, to another country. There his mother, her mind troubled, said to the prince, ‘Our lord is his highness, the emperor, the ruler of the east. Go to him. He will get the kingdom for you.’ When his mother said this to him, the prince replied, ‘If I go there without a retinue, no one will show me respect.’ When she heard this, his mother insisted, saying, ‘Go to your father-in-law’s house, take some money from him, get a retinue and go to the emperor.’ 

..

..

       

iti sa prerito mātrā sa|lajjo ’pi nrp’ . |ātmajah. kramāt pratasthe sāyam . ca prāpa tac|chvāśuram . grham. . ..

pitr. |hīno vinas. ta . |śrīr bāspa . |pāt’|âbhiśa˙nkayā a|kāle n’ âśakac c’ âtra praves. tu . m . lajjayā niśi. nikate . sattra|bāhye ’tha sthitah. śvaśura|mandirāt naktam . rajjv” âvarohantīm a|kasmāt striyam aiksata. . ksa . nāc . ca bhāryām . svām eva tām . ratna|dyuti|bhāsvarām ulkām iv’ âbhra|patitām . parijñāy’ âbhyatapyata. sā tu tam m . dhūsara|ksāma . . dr. s. tv” . âpy a|parijānatī ‹ko ’s’ îty› aprcchat tac chrutvā ‹pāntho ’ham iti› so ’bravīt. . tatah. sā sattra|śāl”|ântah. praviveśa vanik . |sutā anvagād rāja|putro ’pi sa tām . guptam aveksitum. .

..

sā c’ âtra purusa . m . kam . |cid upāgāt puruso . ’pi tām ‹tvam . ciren’ . āgat” âs’ îti› pāda|ghātair atādayat. . tatah. sā dvi|gunī . |bhūta|rāgā pāpā prasādya tam purusa . m . tena sahitā tatra tasthau yadrcchayā. . tad dr. s. tvā . tu sa su|prajño rāja|putro vyacintayat ‹kopasy’ âyam . na kālo me sādhyam anyadd hi vartate. katham dvayoh. . ca prasaratv etac chastram . krpa . nayor . śatru|yogyam mama? . striyām asyām asmin vā nrpaśau . kim etayā ku|vadhvā vā krtyam etadd hi durvidheh. . |varsi mad|dhairy’|ālokana|krīdā . |naipunye . duhkha . . na . h. .

..

a|tulya|kula|sambandha h. s” âisā . . kim . v” âparādhyati muktvā bali|bhujam . kākī kokile ramate katham?› 

  –  

Urged on thus by his mother, the prince, even though he was ashamed, set forth and eventually reached his fatherin-law’s house in the evening. He had lost his father and his fortune, and shame and the fear of shedding tears made him unable to enter there at that untimely moment that night, so he stayed on the verandah of a nearby almshouse. During the night he suddenly noticed a woman climbing down a rope from his father-in-law’s house. A moment later he became very distressed when he recognized the woman as none other than his wife. Resplendent with the glitter of jewels, she resembled a shooting star fallen from a cloud. Even though she saw him, he was dusty and thin, and she did not recognize him. She asked him who he was and he replied that he was a traveler. Then the merchant’s daughter went into the hall of the almshouse and the prince followed, in order to watch her in secret. Once inside she went up to some man and the man, after telling her that she was late, kicked her repeatedly. Then the wicked girl, her passion redoubled, gratified him and willingly stayed there with the man. But on seeing this, the prince, who was very wise, said to himself, ‘Now is not the time for me to be angry for there is something else that I must see through. And how might this sword of mine, which is for worthy enemies, range against two wretches, this woman and this brute of a man? Anyway, there is no need to bother with my wicked wife, for this is the work of cruel fate, which, cleverly having fun by testing my fortitude, is raining down sorrows. It is the union of unequal families rather than this lady herself which is at fault. How is a lady crow to leave her husband, an eater of temple offerings, and sport with a koyal?’ 

..

..

..

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Sir James Mallinson translates and edits Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He has also translated Volume One of The Ocean of the Rivers of Story, as well as The Emperor of the Sorcerers (in two volumes), and Messenger Poems.

WWW.CL AYSANSKRITLIBRARY.COM After the scene-setting of Volume One the main narrative is now in full flow. Here Nara!váhana!datta, the hero, is born and reared to be king, while myths of the gods, famous legends, and comical stories feed as a flood of tributary tales into the ocean which is Soma!deva’s literary compendium.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Ocean Rivers Story vol2.indd 1

the ocean of the rivers of story ii

soma!deva

The Ocean of the Rivers of Story Volume Two by Soma!deva

mallinson

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

SIR JAMES MALLINSON

Here is a new Clay Sanskrit Library translation of Volume Two (of seven) of Soma!deva’s The Ocean of the Rivers of Story. Soma!deva wrote his vast book in Kashmir in the eleventh century CE, in order to amuse the troubled and pious Queen Súryavati in a time of upheaval. The frame narrative is so swamped in the flood of stories that it is not until the second volume of the CSL edition, 3,000 verses in, that Nara!váhana!datta, the protagonist, is born. Shiva has foretold his birth and said that he is a partial incarnation of the god of love and will become the emperor of the sorcerers. From here on the main narrative and many of the tales pouring into it describe the exploits of sorcerers and lovers. The central part of this volume, the Attainment entitled “Four Girls,” covers both: it is the story of how Shakti!deva won the four daughters of a sorcerer king who then gave him his throne. The volume ends with the events preceding the birth of Mádana!máñchuka, Nara!váhana!datta’s first and greatest love.

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

24/10/08 10:37:27

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WWW.CL AYSANSKRITLIBRARY.COM “Karna,” Book Eight of the Maha·bhárata, ends as it began with Karna’s death. In this key second volume much of the quarrel provoked during the dicing comes full circle, and much of the slight suffered by the five Pándava brothers – and especially by Dráupadi, their common wife – is avenged.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Karna II Cover.indd 1

CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of Volume Two (of two) of “Karna,” Book Eight of the Maha·bhárata.

Maha·bhárata

“Karna” narrates the eponymous hero’s two days as general of the Káurava army. Volume Two resumes the story on the war’s seventeenth and penultimate day. This will be a momentous day for the Bhárata clans and for a number of their most distinguished heroes, with several of the epic’s most telegraphed events reaching their climax.

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c l ay s

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Adam Bowles is Researcher in the School of Historical Studies at Monash University and an Honorary Research Fellow in the Asian Studies Program at La Trobe University, both in Melbourne, Australia. He has also translated Volume One of Maha·bhárata Book Eight, “Karna,” and is the author of .

maha· bhárata viii karna ii

Book Eight

Karna Volume Two

bowles

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ADAM BOWLES

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Not only will the epic’s most anticipated duel between its greatest champions Árjuna and Karna be played out to its cruel and tragic end, but one of the epic’s more gruesome episodes will also take place with Duhshásana meeting the fate that has long waited him since his brazen maltreatment of Dráupadi in the assembly hall. Thus two narrative arcs, with their origins at least as far back as the dice games which sowed the divisions that led to the war, come close to their conclusion in this pivotal volume. While rightly named after Karna, its tragic champion, this book can justifiably be said to belong to Dráupadi; it is an ode to her debasement by the Dhartaráshtras and a celebration of her revenge.

20/2/08 10:06:12 am

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SANSKRIT

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FOUNDED BY JOHN & JENNIFER CLAY

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EDITORS

Richard Gombrich Sheldon Pollock EDITED

BY

Isabelle Onians Somadeva Vasudeva

www.claysanskritlibrary.com www.nyupress.org

     Adam Bowles : a.m.

 .   Jan 

Artwork by Robert Beer. Typeset in Adobe Garamond at . : .+pt. XML-development by Stuart Brown. Editorial input from Dániel Balogh, Tomoyuki Kono & Eszter Somogyi. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

     Adam Bowles : a.m.

 .   Jan 

MAHĀBHĀRATA BOOK EIGHT

KARN . A VOLUME

TWO

TRANSLATED

BY

Adam Bowles

NEW

YORK

UNIVERSITY

JJC

FOUNDATION

PRESS



     Adam Bowles : a.m.

 .   Feb 

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Mahābhārata. Karnaparva. English & Sanskrit. . Mahābhārata. Book eight, Karna . / translated by Adam Bowles. -- st ed. p. cm. -- (The Clay Sanskrit library) Epic poetry. In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. Includes bibliographical references and index. ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper) I. Bowles, Adam. II. Title. III. Title: Karna. . BL..KE  .'--dc 

     Adam Bowles : a.m.

 .   Jan 

CONTENTS CSL Conventions

vii

Introduction

xv

MAHA·BHÁRATA VIII – KARNA II

–

The Peril of Yudhi·shthira



–

The Dispute of Árjuna and

–

Yudhi·shthira The Slaying of Duhshásana

 

–

The Slaying of Karna



Notes



Emendations to the Sanskrit Text



Additional Notes to Volume I



Proper Names and Epithets



Index



     Adam Bowles

 .   Jan  : a.m.

–

THE SLAYING OF KARNA

     Adam Bowles : a.m.

 .   Jan 

.

D

 uvāca: .

  , putrās tava mahā|rathāh, . . mahā|krodha|visā . vīrāh, . samaresv . a|palāyinah, .

daśa, rājan, mahā|vīryā Bhīmam . prācchādayañ śaraih. . Nisa˙ Dhanurdharah, . ngī, Kavacī, Pāśī, Dan. dadhāro, . . Alolupah, Vātavega|Suvarcasau, . Śalah, . Sa . n. dho, . ete sametya sahitā bhrātr. |vyasana|karśitāh. Bhīmasenam . mahā|bāhum . mārganai . h. samavārayan. sa vāryamāno . viśikhaih. samantāt tair mahā|rathaih, . Bhīmah. krodh’|âgni|rakt’|âksa . h, . kruddhah. Kāla iv’ ābabhau. .

tāms . tu bhallair mahā|vegair daśabhir daśa Bhāratān rukm’|â˙ngadān rukma|pu˙nkhaih. Pārtho ninye Yama|ksayam. . hatesu . tesu . vīresu, . pradudrāva balam . tava paśyatah. sūta|putrasya Pān. davasya bhay’|ârditam. . tatah. Karno, . mahā|rāja, praviveśa mahā|bhayam dr. s. tvā . Bhīmasya vikrāntam, Antakasya prajāsv iva. tasya tv ākāra|bhāva|jñah. Śalyah. samiti|śobhanah. uvāca vacanam . Karna . m . prāpta|kālam arim . |damam: 

     Adam Bowles : a.m.

 .   Jan 

B

 said:

  D had been killed, king, ten of . your courageous sons who were poisonous with rage,

mighty warriors and heroes who never retreated in battle, enveloped Bhima with arrows. Nishángin, Kávachin, Pashin, Danda·dhara, Dhanur·dhara, Alólupa, Shala, Shandha, Vata·vega and Suvárchas, listless due to the evil crime against their brother, together drew close to mighty-armed Bhima·sena and covered him in arrows. Obstructed on all sides by those mighty warriors with their arrows, Bhima was as radiant as Time the destroyer in rage, his eyes crimson with the fire of his fury. With ten high-speed broad- . headed arrows having nocks of gold, Pritha’s son sent those ten Bháratas sporting golden armlets to Yama’s realm. With those heroes killed, your army fled, racked with fear of the Pándava, while the charioteer’s son looked on. Karna then began to feel great trepidation, great king, after seeing the courage of Bhima which was like that of Death towards living things. Shalya, who dazzled in battle, recognized what his expression meant and spoke to Karna, a conqueror of enemies, these words suitable for the moment: 

     Adam Bowles : a.m.

 .   Jan 

·  –  

«mā vyathām . kuru, Rādheya! n’ âivam . tvayy upapadyate. ete dravanti rājāno Bhīmasena|bhay’|ârditāh; . Duryodhanaś ca sammū dho h. . . bhrātr. |vyasana|duhkhita . . .

Duhśāsanasya rudhire pīyamāne mah”|ātmanā, . vyāpanna|cetasaś c’ âiva śok’|ôpahata|cetasah, . Duryodhanam upāsante parivārya samantatah. Krpa c’ âite hata|śesā . |prabhrtayaś . . h. sah’|ôdarāh. . |puro|gamāh. Pān. davā labdha|laksāś . . ca Dhanamjaya .

tvām ev’ âbhimukhāh. śūrā yuddhāya samupāsthitāh. . sa tvam, . purusa . |śārdūla, pauruse . na . samāsthitah. ksatra . |dharmam . puras|krtya . pratyudyāhi Dhanamjayam! . bhāro hi Dhārtarās. tre . na . tvayi sarvah. samāhitah; . tam udvaha, mahā|bāho, yathā|śakti yathā|balam! jaye syād vipulā kīrtir, dhruvah. svargah. parājaye. .

Vr. sasenaś ca, Rādheya, samkruddhas tanayas tava . . tvayi moham abhidhāvati.» . samāpanne Pān. davān . etac chrutvā tu vacanam . Śalyasy’ â|mita|tejasah, . hrdi . c’ āvaśyakam . bhāvam . cakre yuddhāya su|sthiram. 

     Adam Bowles : a.m.

 .   Jan 

    –

“Don’t despair, son of Radha! It’s not right for you! Racked with fear of Bhima·sena, the kings flee, and Duryódhana is insensible, traumatized by the evil crime against his brother. Led by Kripa, the remaining warriors and his . brothers—their minds deranged and overwhelmed by grief on account of that mighty man drinking Duhshásana’s blood—completely surrounded Duryódhana and sat down at his side. The Pándava champions have achieved their goal and, led by Dhanañ·jaya, have turned towards you and approached for battle. You, tiger of men, must apply yourself with courage and, honoring the warriors’ code, charge out to meet Dhanañ·jaya! Dhrita·rashtra’s son has placed this entire burden on you, mighty-armed man, and you must bear it to the best of your ability and strength! In victory there shall be wide fame and in defeat ever-lasting heaven. Your son Vrisha·sena, furious on account of you becoming . demoralized, son of Radha, has attacked the Pándavas.” After hearing these words from Shalya, whose fiery energy had no limit, Karna decisively made up his mind that battle was inevitable. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

tatah. kruddho Vr. saseno ’bhyadhāvad . avasthitam . pramukhe Pān. dava . m . tam | | Vrk’ ôdara m, Kālam iv’ ātta da n da m, . . .. . gadā|hastam . yodhayantam . tvadīyān. tam abhyadhāvan Nakulah. pravīro rosād h. . amitram . pratudan pr. satkai . Karnasya putra m samare prah r s ta m, . . ... . purā jighāmsur Maghav” êva Jambham. . tato dhvajam . sphātika . |citra|kañcukam . ciccheda vīro Nakulah. ksure na, . . Karn’ . |ātmajasy’ êsv . |asanam . ca citram . bhallena jāmbūnada|citra|naddham. ath’ ânyad ādāya dhanuh. sa śīghram . . Karn’ abhyavidhyat . |ātmajah. Pān. davam . divyair mah”|âstrair Nakulam . krt’ . |âstro Duhśāsanasy’ âpacitim . . yiyāsuh.† . | tatah. kruddho Nakulas tam mah” ātmā . śarair mah”|ôlkā|pratimair avidhyat.† divyair astrair abhyavidhyac ca so ’pi Karnasya putro Nakulam . . krt’ . |âstrah. . śar’|âbhighātāc ca rusā ca, rājan, . svayā ca bhās” âstra|samīranāc . ca, jajvāla Karnasya suto ’timātram . iddho yath” ājy’|āhutibhir hut’|āśah. . Karnasya putro Nakulasya, rājan, . sarvān aśvān aksi . nod . uttam’|âstraih, . Vanāyu|jān vai Nakulasya śubhrān udagra|gān hema|jāl’|âvanaddhān. 

     Adam Bowles : a.m.

 .   Jan 

    –

Then in rage Vrisha·sena rushed at Wolf-belly Pándava who stood before him fighting your men with club in hand like Time the destroyer wielding his staff. In that battle the hero Nákula rushed at Karna’s ecstatic son, furiously running his enemy through with arrows, just as Mághavan had done long ago in his eagerness to kill the demon Jambha. With a razor arrow the hero Nákula next cut to pieces the crystal-speckled cloth banner of Karna’s son, and with a broad-headed arrow splintered his bow that was beautifully inlaid with gold. Yet Karna’s son was skilled with his weapons and, grab- . bing another fast bow in his eagerness to avenge Duhshásana, wounded Nákula with his powerful divine weapons. Mighty Nákula was infuriated and he wounded him with arrows that seemed like massive meteors. And Karna’s son, an expert in weapons, also wounded Nákula with his divine weapons. With a rage brought on by blows from arrows and with his own radiance brought on by his hurling of missiles, Karna’s son flared up beyond measure, like a fire kindled with offerings of ghee. King, Karna’s son destroyed all Nákula’s horses with superb missiles—Nákula’s beautiful horses with elevated gaits that were covered in golden mail and bred in Vanáyu! 

     Adam Bowles : a.m.

 .   Jan 

·  –  

tato hat’|âśvād avaruhya yānād, ādāya carm’ âmala|rukma|candram, ākāśa|samkāśam asim . . pragrhya, . dodhūyamānah. khagavac cacāra. . tato ’ntarikse . ca rath’|âśva|nāgam . ciccheda tūrna . m . Nakulaś citra|yodhī; te prāpatann asinā gām . viśastā, yath” âśva|medhe paśavah. śamitrā. dvi|sāhasrāh. pātitā yuddha|śaun. dā, . nānā|deśyāh, h. . su|bhrtā . h, . satya|samdhā . ekena śīghram . Nakulena krttā . h. jay’|ēpsun” ân|uttama|candan’|â˙ngāh. . tam āpatantam Nakula m so ’bhipatya . . samantatah. sāyakaih. pratyavidhyat. sa tudyamāno Nakulah. pr. satkair . vivyādha vīram. . sa cukopa viddhah. . mahā|bhaye raksyamā no . . mah”|ātmā bhrātrā Bhīmen’ âkarot tatra bhīmam. tam Kar na . . |putro vyadhamantam ekam . nar’|âśva|māta˙nga|rathān an|ekān krīdantam as. tā . . |daśabhih. pr. satkair . vivyādha vīram . Nakulam . su|rosa . h. . sa tena viddho ’tibhrśa . m . tarasvī mah”|āhave Vr. sasenena, rājan, . kruddhena dhāvan samare jighāmsu . h. Karn’ . |ātmajam . Pān. du . |suto nr. |vīrah. . . vitatya paksau . sahasā patantam . śyenam . yath” âiv’ āmisa . |lubdham ājau, avākirad Vr. sasenas tatas ta m . . śitaih. śarair Nakulam udāra|vīryam. 

     Adam Bowles : a.m.

 .   Jan 

    –

With its horses dead he then leaped from his vehicle and, seizing his shield decorated with spotless golden moons and grabbing his sky-like sword, he flew off like a bird, waving them ferociously. And then, employing various martial . arts through the air, Nákula quickly cut up chariots, horses and elephants. Dismembered by his sword, they collapsed to the ground like animals in a horse sacrifice cut up by the carver. Two thousand well paid men from various places who were true to their promises, keen for battle and whose bodies were sprinkled with the finest sandal, were singlehandedly felled and quickly cut up by Nákula in his hunger for victory. As Nákula flew towards him Vrisha·sena ran at him and wounded him all over with arrows. Yet while he was being punished, Nákula wounded that hero with arrows. Wounded, Vrisha·sena boiled with rage. Mighty Nákula terrorized that place while his brother Bhima protected him whenever there was serious danger. Karna’s furious son wounded Nákula with eighteen arrows as that hero cavorted about and struck down many men, horses, elephants and chariots on his own. Though he was horribly wounded by Vrisha·sena in that great battle, king, Pandu’s bold son—a hero of a man!— continued furiously running at him in that fight in his eagerness to kill Karna’s son. Vrisha·sena then sprayed that . man of immense courage with sharp arrows as Nákula flew at him like an eagle spreading its wings and flying over the battlefield in search of prey. Nákula took various paths with his sword, rendering the waves of Vrisha·sena’s arrows ineffective. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

sa tān moghāms . tasya kurvañ śar’|âughāmś . cacāra mārgān Nakulaś citra|rūpān. ath’ âsya tūrna . m . carato, nar’|êndra, khadgena citram . . Nakulasya tasya mah”|êsubhir vyadhamat Karna . . |putro mah”|āhave carma sahasra|tāram. tam . c’ āyasam, . niśitam . tīks. na . |dhāram, vikośam, ugram, . guru|bhāra|sāham, dvisac . |charīr’|ânta|karam, . su|ghoram ādhunvatah, . sarpam iv’ ôgra|rūpam, ksipra m amitra|sāhaś . . śaraih. sa . dbhir . cakarta khadga . m . niśitaih. su|vegaih, . punaś ca dīptair niśitaih. pr. satkai h. . stan’|ântare gādham ath’ âbhyavidhyat. . krtvā . tu tad dus. |karam ārya|jus. ta . m . anyair naraih. karma rane . mah”|ātmā yayau ratham . Bhīmasenasya, rājañ, śar’|âbhitapto Nakulas tvarāvān. .

sa Bhīmasenasya ratham . hat’|âśvo Mādrī|sutah. Karna . |sut’|âbhitaptah. āpupluve, simha . iv’ âcal’|âgram, . samprek syamā nasya Dhanamjayasya. . . . . 

     Adam Bowles : a.m.

 .   Jan 

    –

With huge arrows Karna’s son destroyed Nákula’s shield that was covered in a thousand stars as he speedily and spectacularly careered onwards with his sword in hand. And as Nákula waved his keen and formidable unsheathed sword, a terrifying weapon capable of immense tasks that could destroy the bodies of enemies like a fearsome snake, that vanquisher of enemies quickly cut down that sword with six sharp and fast shafts and, furthermore, badly wounded him in the center of the chest with sharp blazing arrows. After performing such deeds that were admired by noble people and which were difficult for other men, king, in the battle mighty Nákula, seared by arrows, hastily went to Bhima·sena’s chariot. His horses dead and seared by Karna’s . son, like a lion on to the summit of a mountain Madri’s son sprang into Bhima·sena’s chariot while Dhanañ·jaya was watching. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

tatah. kruddho Vr. saseno mah”|ātmā . vavarsa . tāv isu . |jālena vīrah, . mahā|rathāv eka|rathe sametau śaraih. prabhindann iva Pān. daveyau. . tasmin rathe nihate Pān. davasya . ksipra m . . ca khadge . viśikhair nikrtte, . | anye ca samhatya Kuru pravīrās . tato nyaghnañ śara|varsair . upetya. tau Pān. daveyau paritah. sametān, . samhūyamānāv iva havya|vāhau, . Bhīm’|Ârjunau Vr. sasenāya kruddhau . vavarsatu . h. śara|varsa . m . su|ghoram. ath’ âbravīn Mārutih. Phalgunam . ca, «paśyasv’ âinam Nakula m pī dyamānam! . . . | ayam ca no bādhate Kar na putras, . . tasmād bhavān pratyupayātu Kārnim!» . . sa tan niśamy’ âiva vacah. Kirītī . ratham . samāsādya Vrk’ . |ôdarasya, ath’ âbravīn Nakulo vīksya . vīram upāgatam, «śātaya śīghram enam!» . ity evam . uktah. sahasā Kirītī . bhrātrā samaksa m Nakulena samkhye, . . . | kapi|dhvajam Keśava sa mg rhīta m . . . . praisīd udagro V r sasenāya vāham. . .. 

     Adam Bowles : a.m.

 .   Jan 

    –

Vrisha·sena was then furious and with a spread of arrows that mighty hero rained down on both of them and almost ran through each Pándava with shafts as those mighty warriors huddled together on the one chariot. When the Pándava’s chariot had been destroyed and the sword quickly cut to pieces by arrows, other Kuru heroes joined together and then attacked, striking them with showers of arrows. Like a pair of sacrificial fires being fueled with oblations, the two furious Pándavas Bhima and Árjuna rained a dreadful shower of arrows down on Vrisha·sena and all over those who had joined together there. The son of the Wind-god then said to Phálguna, “Look! Nákula’s being hard pressed! Karna’s son hampers us, so you’ll have to counterattack Karna’s boy!” When he heard . these words, the Wearer of the crown drew near Wolf-belly’s chariot. Then Nákula saw that hero approach and said, “Kill him quickly!” Spoken to like this in the battle by his brother Nákula who stood before him, the fierce Wearer of the crown urged on his monkey-bannered vehicle steered by Késhava towards Vrisha·sena. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

 uvāca: . .

|âsim, N  viditvā chinna|bānāsan’ . .

viratham, ari|śar’|ārtam, . Karna . |putr’|âstra|bhagnam, pavana|dhuta|patākā, hrādino, valgit’|âśvā, vara|purusa . |niyuktās te rathāh. śīghram īyuh, . Drupada|suta|varis. thā . h. pañca, Śaineya|sa . s. thā, . Drupada|duhitr. |putrāh. pañca c’ âmitra|sāhāh, . dvirada|ratha|nar’|âśvān sūdayantas tvadīyān bhujaga|pati|nikāśair mārganair . ātta|śastrāh. . atha tava ratha|mukhyās tān pratīyus tvaranto |sutau ca, Drauni Krpa . |Hrdika . . |Duryodhanau ca,

Śakuni|suta|Vrkāś ca, Krātha|Devāvrdhau ca . . dvirada|jalada|ghosai . h. syandanaih. kārmukaiś ca. tava, nrpa, . rathi|vīrās† tān daś’|âikam . ca vīrān, nr. |vara, śara|var’|âgryais† tādayanto ’bhyarundhan. . nava|jalada|savarnair . hastibhis tān udīyur giri|śikhara|nikāśair bhīma|vegaih. Kulindāh. . i Dráupadi, who had one son to each of the five Pándavas 

     Adam Bowles : a.m.

 .   Jan 

    –

 said: T   realized that Nákula had been injured . by his foe’s arrows, stripped of his chariot, routed by the weapons of Karna’s son and that his bow and sword had been splintered, raucous chariots driven by the finest men quickly arrived with their horses galloping and their flags buffeted by the wind. The five superb sons of Drúpada, a sixth in Shini’s grandson, and the five enemy conquering sons of Drúpada’s daughteri wielded their weapons and destroyed your elephants, chariots, men and horses with arrows that were like snake-lords. Then on their elephants and chariots that thundered like clouds your foremost warriors Kripa, Hrídika’s son, Drona’s son, Duryódhana, Shákuni’s son, Vrika, Kratha and Devávridha* quickly went out to meet them with their bows. Then, king, your heroic chariot-warriors repulsed all eleven heroes, finest of men, pounding them with the very finest arrows. But Kulíndas rose up against them on elephants of fearsome speed that had the color of new clouds and that seemed like the peaks of mountains. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

su|kalpitā Haimavatā mad’|ôtkatā . | ran’ âbhikāmai h k rtibhi h samāsthitā h. . . . . | suvarna . jālair vitatā babhur gajās tathā, yathā khe jala|dāh. sa|vidyutah. . Kulinda|putro daśabhir mah”|âyasaih. Krpa bhrśam. . m . sa|sūt’|âśvam apīdayad . . tatah. Śaradvat|suta|sāyakair hatah. sah’ âiva nāgena papāta bhūtale. Kulinda|putr’|âvara|jas tu tomarair divākar’|âmśu . |pratimair ayas|mayaih. ratham nanāda; nardatas . ca viksobhya . tato ’sya Gāndhāra|patih. śiro ’harat. tatah. Kulindesu . hatesu . tesv . atha | prahr. s. ta rūpās tava te mahā|rathāh. . bhrśa . m . pradadhmur lavan’ . |âmbu|sambhavān, . | |pānayo parāmś ca bā n’ âsana ’bhyayuh. . . . . ath’ âbhavad yuddham at’|îva dāruna m . . punah. Kurūnā h. . m . saha Pān. du . |Srñjayai . | | śar’|âsi|śakty|r. s. ti gadā paraśvadhair . nar’|âśva|nāg’|âsu|haram . bhrś’ . |ākulam. nga|padātibhis tatah. . rath’|âśva|māta˙ parasparam . viprahat” âpatan†* ksitau, . yathā sa|vidyut|stanitā balāhakāh. samāhatā digbhya iv’ ôgra|mārutaih. . .

i Shákuni 

     Adam Bowles : a.m.

 .   Jan 

    –

Mounted by skilled men keen for a fight, those ruttish . and well-equipped Himalayan elephants encased in golden mail were as dazzling as clouds in the sky filled with lightning. A Kulínda prince badly hurt Kripa and his charioteer and horses with ten huge iron weapons. Then Sharádvat’s son struck him with arrows and he collapsed to the ground with his elephant. But a younger brother of the Kulínda prince rocked his chariot with lances made of iron that were like rays of the sun and then roared. But while he was roaring, the lord of Gandhárai then lopped off his head. Once these Kulíndas were killed, those mighty warriors of yours were in rapture and blew their ocean-born conches and then attacked their enemies with bows in hand. Again there was a terribly violent and appallingly chaotic battle between the Kurus and the Pándavas and Sríñjayas which stole the lives of men, horses and elephants with arrows, swords, spears, javelins, clubs and axes. They struck . one another with their chariots, horses, elephants and footsoldiers and collapsed to the ground like clouds filled with thunder and lightning struck by formidable winds from every direction. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

tatah. Śatānīka|hatān† mahā|gajāms, . tathā rathān, patti|ganā mś ca tān bahūn; . . jaghāna Bhojas tu hayān; ath’ âpatan ksanād viśastāh. Krtavarma na . . . h. śaraih. . ath’ âpare Drauni . |hatā mahā|dvipās trayah. sa|sarv’|āyudha|yodha|ketanāh. nipetur urvyām . vyasavo nipātitās tathā, yathā vajra|hatā mah”|âcalāh. . Kulinda|rāj’|âvara|jād anantarah. stan’|ântare patri|varair atādayat . | tav’ ātma|jam; tasya tav’ ātma ja h . . śaraih. śitaih. śarīram . vyahanad, dvipam . ca tam. sa nāga|rājah. saha rāja|sūnunā papāta, raktam . bahu sarvatah. ksaran, . Mahendra|vajra|prahato ’mbud’|āgame yathā jalam . gairika|parvatas, tathā. .

Kulinda|putra|prahito ’paro dvipah. Krātham . sa|sūt’|âśva|ratham . vyapothayat; tato ’patat Krātha|śar’|âbhidhāvitah. sah’|ēśvaro, vajra|hato yathā girih. . | rathī dvipa sthena hato ’patac charaih. Krāth’|âdhipah. parvata|jena dur|jayah. sa|vāji|sūt’|êsv . |asana|dhvajas tathā, yathā mahā|vāta|hato mahā|drumah. . 

     Adam Bowles : a.m.

 .   Jan 

    –

Next many mighty elephants, chariots and divisions of foot-soldiers were slain by Shataníka.* But the Bhoja Krita· varman then killed his horses and they immediately collapsed, dismembered by his arrows. Then three other massive elephants with all their weapons, warriors and flags were struck by Drona’s son and fell to the ground lifeless like huge mountains struck by thunderbolts. The next of kin to the Kulínda king’s younger brother wounded your son in the center of the chest with fine arrows. With his sharp arrows, your son struck his body and his elephant. That king of elephants collapsed together with the prince, streaming all over with copious amounts of blood like a red ocher mountain struck by mighty Indra’s thunderbolts and streaming water under a newly arrived cloud. Another elephant urged on by a Kulínda prince crushed . Kratha along with his charioteer, horses and chariot. Then along with its lord it was assailed by Kratha’s arrows and collapsed like a mountain struck by a thunderbolt. That indomitable chariot-warrior the lord of the Krathas had been struck with arrows by that mountain-born warrior straddling his elephant and he collapsed with his horses, charioteer, bow and banners, like a huge tree swept aside by a powerful wind. 

     Adam Bowles : a.m.

 .   Jan 

·  –  

Vrko . dvipa|stham . giri|rāja|vāsinam . bhrśa . m . śarair dvādaśabhih. parābhinat. tato Vrka . m . s’|âśva|ratham . mahā|dvipo drutam . caturbhiś caranair . vyapothayat. sa nāga|rājah. sa|niyantrko . ’patat tathā hato Babhru|sut’|êsubhir bhrśam. . . sa c’ âpi Devāvrdha . |sūnur arditah. papāta nunnah. Sahadeva|sūnunā. visā . na . |gātr’|âvara|yodha|pātinā gajena hantum . Śakunim . Kulinda|jah. jagāma vegena bhrś’ ârdaya mś . . ca tam. . tato ’sya Gāndhāra|patih. śiro ’harat. tatah. Śatānīka|hatā mahā|gajā, . hayā, rathāh, . patti|ganāś . ca tāvakāh, . | | Suparna vāta prahatā yath” ôragās, . tathā gatā gām vivaśā vicūrnitā . h. . tato ’bhyavidhyad bahubhih. śitaih. śaraih. Kali˙nga|putro Nakul’|ātmajam . smayan. tato ’sya kopād vicakarta Nākulih. |ānanam. śirah. ksure . n’ . âmbuja|samnibh’ . tatah. Śatānīkam avidhyad āyasais tribhih. śitaih. Karna . |suto, ’rjunam . tribhih, . tribhiś ca Bhīmam, . Nakulam . ca saptabhir, Janārdanam . dvādaśabhiś ca sāyakaih. . tad asya karm’ âtimanusya . |karmana . h. samīksya . hr. s. tā . h. Kuravo ’bhyapūjayan; parākrama|jñās tu Dhanamjayasya ye, . «huto ’yam agnāv! iti» tam . tu menire. i Shruta·karman ii Babhru 

     Adam Bowles : a.m.

 .   Jan 

    –

With twelve arrows Vrika brutally penetrated that elephant riding warrior who lived on the king of mountains. But then that mighty elephant quickly crushed Vrika and his horses and chariot with all four of his feet. Brutally struck by arrows from Babhru’s son that king of elephants collapsed with its mahout. But, wounded and driven back by Saha·deva’s son,i Devávridha’s sonii fell. A Kulínda prince sped towards Shákuni to kill him, brutally assaulting him with his elephant that could fell warriors with its tusks or its limbs. The lord of Gandhára then removed his head. Then mighty elephants, horses, chariots and hordes of . your foot-soldiers were struck down by Shataníka and, like snakes swept aside by the wind of Supárna’s wings, fell to the ground helpless and crushed. Next a grinning Kalínga prince wounded Nákula’s son with many sharp arrows. With a razor arrow Nákula’s boy then furiously tore off his head with its lotus-like mouth. Karna’s son then pummeled Shataníka with three iron arrows, Árjuna with three arrows, Bhima with three, Nákula with seven and Janárdana with twelve. As they witnessed this deed of that man of superhuman deeds, the Kurus were exhilarated and paid tribute to him. But those who knew of Dhanañ·jaya’s strength reckoned he was an offering for a sacrificial fire! 

     Adam Bowles : a.m.

 .   Jan 

skr it l

WWW.CL AYSANSKRITLIBRARY.COM “Karna,” Book Eight of the Maha·bhárata, ends as it began with Karna’s death. In this key second volume much of the quarrel provoked during the dicing comes full circle, and much of the slight suffered by the five Pándava brothers – and especially by Dráupadi, their common wife – is avenged.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Karna II Cover.indd 1

CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of Volume Two (of two) of “Karna,” Book Eight of the Maha·bhárata.

Maha·bhárata

“Karna” narrates the eponymous hero’s two days as general of the Káurava army. Volume Two resumes the story on the war’s seventeenth and penultimate day. This will be a momentous day for the Bhárata clans and for a number of their most distinguished heroes, with several of the epic’s most telegraphed events reaching their climax.

ar y

c l ay s

an

ib r

Adam Bowles is Researcher in the School of Historical Studies at Monash University and an Honorary Research Fellow in the Asian Studies Program at La Trobe University, both in Melbourne, Australia. He has also translated Volume One of Maha·bhárata Book Eight, “Karna,” and is the author of .

maha· bhárata viii karna ii

Book Eight

Karna Volume Two

bowles

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ADAM BOWLES

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Not only will the epic’s most anticipated duel between its greatest champions Árjuna and Karna be played out to its cruel and tragic end, but one of the epic’s more gruesome episodes will also take place with Duhshásana meeting the fate that has long waited him since his brazen maltreatment of Dráupadi in the assembly hall. Thus two narrative arcs, with their origins at least as far back as the dice games which sowed the divisions that led to the war, come close to their conclusion in this pivotal volume. While rightly named after Karna, its tragic champion, this book can justifiably be said to belong to Dráupadi; it is an ode to her debasement by the Dhartaráshtras and a celebration of her revenge.

20/2/08 10:06:12 am

(1997),

c l ay s

skr it l

WWW.CL AYSANSKRITLIBRARY.COM

and (1999).

In “Bhishma,” the first of the Maha·bhárata’s battle books, at the onset of the epic’s orgy of violence, the narrative rises up to the ethical plane. Integral to this chronicle of a clan’s factional property feud, the “Bhagavad Gita” is the ever-relevant text of a universal morality, infinitely adaptable in its philosophy of self-questioning.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Bhishma I Cover.indd 1

CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of Volume One (of two) of “Bhishma,” Book Six of the Maha·bhárata.

Maha·bhárata

“Bhishma,” the first of five battle books, narrates the first ten days of the war between the Káuravas and the Pándavas. This volume covers the first four days and includes the world-famous “Bhagavad Gita” (Song of the Lord), set here within its original epic context.

ar y

Ranajit Guha is the founding editor of and author of (2002),

an

ib r

Alex Cherniak is Lecturer in Sanskrit and Hindi at Tel Aviv University.

maha· bhárata vi bhishma i bhagavad gita

Book Six

Bhishma Volume One Including the “Bhagavad Gita” in Context

cherniak

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ALEX CHERNIAK With a Foreword by Ranajit Guha

In this “bible” of Indian civilization, at the moment battle is to begin, the charioteer Krishna emancipates his disciple Árjuna from his personal dilemma: whether to follow his righteous duty as a warrior and slay his opponent relatives in the just war, or to abstain from fighting and renounce the warrior code to which he is born. The “Gita” culminates in Krishna’s theophany, when he reveals himself in the horrendous form of Death as the alldevouring fire of Time, a manifestation notoriously echoed by Oppenheimer when he witnessed the first nuclear bomb exploding. The great survivor, the “Gita” is relevant to all our own times, as is its context and pretext, the bloody book of “Bhishma.”

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

2/5/08 15:30:01

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

    (. )   A C.       A  : ..

Artwork by Robert Beer. Typeset in Adobe Garamond at . : .+pt. XML-development by Stuart Brown. Editorial input from Dániel Balogh, Simon Brodbeck, Linda Covill, Ridi Faruque, Chris Gibbons, Tomoyuki Kono & Eszter Somogyi. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

    (. )   A C.       A  : ..

MAHĀBHĀRATA BOOK SIX

B H Ī S. M A VOLUME

ONE

INCLUDING THE “BHAGAVAD GĪTĀ” IN CONTEXT TRANSLATED

BY

Alex Cherniak WITH A FOREWORD BY RANAJIT GUHA

NEW

YORK

UNIVERSITY

JJC

FOUNDATION

PRESS



    (. )   A C.       A  : ..

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Mahābhārata. Bhīsmaparva. English & Sanskrit. . Mahābhārata. Book six, Bhīsma . / translated by Alex Cherniak; with a foreword by Ranajit Guha. -- st ed. p. cm. -- (The Clay Sanskrit library) Epic poetry. In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. “Including the ‘Bhagavadgītā’ in context”--Vol. . Includes bibliographical references and index. ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper) I. Cherniak, Alex. II. Bhagavadgita. English & Sanskrit. III. Title. BL..BE  .'–dc 

    (. )   A C.       A  : ..

CONTENTS CSL Conventions

vii

Foreword

xv

Introduction

xxi

MAHA·BHÁRATA VI – BHISHMA I

 –

On the Eve of the Great War Ill Omens and Divine Sight

 

–

Description of the Earth



–

Shocking News: Bhishma Fallen



–

Bhagavad Gita (Song of the Lord)





Yudhi·shthira Asks for Blessings



–

Battle Begins: Day One



–

Rearraying the Troops



–

Day Two



– –

Day Three Day Four

 

Notes



Emendations to the Sanskrit Text



Proper Names and Epithets



Index



    (. )   A C.       A  : ..

–

BHAGAVAD GITA (SONG OF THE LORD)

    (. )   A C.       A  : ..

.

.

.

 .  . . uvāca: | Kuru|ksetre samavetā yuyutsavah. . . māmakāh. Pān. davāś c’ âiva kim akurvata, Sañjaya? .

D

 uvāca: dr. s. tvā . tu Pān. dav’ . |ânīkam . vyūdha . m . Duryodhanas tadā ācāryam upasamgamya rājā vacanam abravīt: . | «paśy’ âitām Pā n du putrā nām, ācārya, mahatīm . .. . . camūm vyūdhā . m . Drupada|putrena . tava śisye . na . dhīmatā. atra śūrā mah”|êsv . |āsā Bhīm’|Ârjuna|samā yudhi: Yuyudhāno, Virātaś . ca, Drupadaś ca mahā|rathah; . | Dhr. s. taketuś, Cekitāna h, Kāśi rājaś ca vīryavān; . . Purujit, Kuntibhojaś ca, Śaibyaś ca nara|pu˙ngavah; . Yudhāmanyuś ca vikrānta, Uttamaujāś ca vīryavān; Saubhadro, Draupadeyāś ca. sarva eva mahā|rathāh. . | | asmākam . tu viśis. tā . ye, tān nibodha, dvi j’ ôttama. nāyakā mama sainyasya, samjñ” . |ârtham . tān bravīmi te: bhavān, Bhīsmaś ca, Karnaś ca samitim . . ca, Krpaś . . |jayah; . Aśvatthāmā, Vikarnaś ca, Saumadattis tath” âiva ca. . anye ca bahavah. śūrā mad|arthe tyakta|jīvitāh, . nānā|śastra|praharanā . h, . sarve yuddha|viśāradāh. . | a|paryāptam tad asmāka m bala m Bhī sm’ âbhirak sitam; . . . . . | paryāptam tv idam ete sā m bala m Bhīm’ âbhirak sitam. . . . . . ayanesu . ca sarvesu . yathā|bhāgam avasthitāh. Bhīsmam ev’ âbhiraksantu bhavantah. sarva eva hi!» . . 

    (. )   A C.       A  : ..

· said:   , eager to fight, on the field of righteousness, the field of Kuru, what did my sons and the sons of Pandu do, Sánjaya?

W

 said: Seeing the Pándava army drawn up for battle, King Duryódhana approached the teacher and spoke these words: “Master, behold this great host of Pandu’s sons, drawn up in battle array by your skillful pupil the son of Drúpada. Here are heroes, mighty archers, to match Bhima and Árjuna in battle: Yuyudhána, and Viráta, and the great warrior Drúpada; Dhrishta·ketu, Chekitána, and the valorous king of the Kashis; Púrujit, and Kunti·bhoja, and the bull-like king of the Shibis; and mighty Yudha·manyu, and valiant Uttamáujas; the son of Subhádra, and the sons of Dráupadi. And all of them are great warriors. As for our most distinguished men, listen, best of the twice-born. So we are clear, I will list my army’s leaders for you: yourself, and Bhishma and Karna, and Kripa victorious in battle; Ashva·tthaman and Vikárna, and the son of Soma·datta too. And many other heroes, armed with various weapons and missiles and all skilled in warfare, are ready to sacrifice their lives for my sake. Our army, protected by Bhishma, is unlimited; but theirs, protected by Bhima, is limited. So stationed at your positions on all fronts, protect that Bhishma, all of you!” 

    (. )   A C.       A  : ..

.

.

.

·  –  

.

.

tasya samjanayan harsa . . m . Kuru|vrddha h pitāmaha h. . . simha . |nādam . vinady’ ôccaih. śa˙nkham . dadhmau pratāpavān. tatah. śa˙nkhāś ca, bheryaś ca, panav’ . |ānaka|go|mukhāh. sahas” âiv’ âbhyahanyanta. sa śabdas tumulo ’bhavat. tatah. śvetair hayair yukte mahati syandane sthitau Mādhavah. Pān. davaś c’ âiva divyau śa˙nkhau pradadhmatuh. . . Pāñcajanyam H r sīkeśo; . .. Devadattam . Dhanañjayah; . | Paun. dra m dadhmau mahā śa˙ n kha m . . . bhīma|karmā Vrkodara h; . . Anantavijayam h; . rājā Kuntī|putro Yudhis. thira . . | Nakulah. Sahadevaś ca Sughosa Ma nipu spakau. . . . | Kāśyaś ca param’|êsv āsa h, Śikha n dī . . . . ca mahā|rathah; . Dhr. s. tadyumno, Virātaś . . ca, Sātyakiś c’ â|parājitah; . Drupado, Draupadeyāś ca |pate, sarvaśah, . prthivī . Saubhadraś ca mahā|bāhuh. śa˙nkhān dadhmuh. prthak prthak. . . sa ghoso Dhārtarā s trā nā m h rdayāni vyadārayat . .. . . . nabhaś ca prthivī m . . c’ âiva tumulo vyanunādayan. atha vyavasthitān dr. s. tvā kapi|dhvajah. . Dhārtarās. trān . | pravrtte śastra sa mpāte dhanur udyamya Pā n. dava . . . h. Hr. sīkeśa m . . tadā vākyam idam āha, mahī|pate. 

    (. )   A C.       A  : ..

  –

Causing him joy, the elder of the Kurus, the mighty grandfather, roared a great lion-like roar and blew his conch. And conches and kettledrums, tabors, drums and trumpets were sounded all at once, and there was a tumultuous din. Then, standing on a great chariot yoked with white horses, Mádhava and the son of Pandu blew their divine conches. Hrishi·kesha blew Pancha·janya; Dhanan·

.

jaya blew Deva·datta; Vrikódara of terrible deeds blew the great conch Paundra; King Yudhi·shthira, son of Kunti, blew Anánta·víjaya; Nákula and Saha·deva blew Sughósha and Mani·púshpaka. And the excellent archer of Kashi, and the great warrior Shikhándin; Dhrishta·dyumna and Viráta, and invincible Sátyaki; Drúpada and the sons of Dráupadi, and the mighty-armed son of Subhádra, all blew their conches, each his own, lord of the earth. That tumultuous noise, echoing through heaven and earth, broke the hearts of Dhrita·rashtra’s sons. The monkey-bannered Pándava, seeing Dhrita·rashtra’s troops arrayed for battle, raised his bow as the clash of arms began, and said these words to Hrishi·kesha, Your Majesty. 

    (. )   A C.       A  : ..

.

·  –  

 uvāca: senayor ubhayor madhye ratham . sthāpaya me, ’cyuta, | yāvad etān nirīkse ’ha m yoddhu kāmān avasthitān. . . | kair mayā saha yoddhavyam asmin rana . samudyame? yotsyamānān avekse . ’ham, . ya ete ’tra samāgatāh. | Dhārtarās. trasya dur buddher yuddhe priya|cikīrsava . . h. .

.

.

 uvāca: evam ukto Hr. sīkeśo Gudākeśena, Bhārata, . . senayor ubhayor madhye sthāpayitvā rath’|ôttamam Bhīsma . |Drona . |pramukhatah, . sarvesā . m . ca mahī|ksitām, . uvāca: «Pārtha, paśy’ âitān samavetān Kurūn iti!» tatr’ âpaśyat sthitān Pārthah. pit¯rn, . atha pitāmahān, ācāryān, mātulān, bhrāt¯rn, putrān, pautrān, sakhīms . . tathā, | śvaśurān, su hrdaś c’ âiva senayor ubhayor api. . tān samīksya . sa Kaunteyah. sarvān bandhūn avasthitān krpayā paray” āvis. to idam abravīt: . . visīdann .  uvāca: dr. s. tv” . êmān sva|janān, Kr. s. na, . yuyutsūn samavasthitān, sīdanti mama gātrāni, mukha m . . ca pariśusyati; . vepathuś ca śarīre me roma|harsaś . ca jāyate. Gān. dīva hastāt, tvak c’ âiva paridahyate. . m . sramsate . na ca śaknomy avasthātum, . bhramat’ îva ca me manah. . nimittāni ca paśyāmi viparītāni, Keśava, na ca śreyo ’nupaśyāmi hatvā sva|janam āhave. na kā˙nkse . vijayam, . Kr. s. na, . na ca rājyam, . sukhāni ca. kim no rājyena, Govinda? ki m bhogair jīvitena vā? . . 

    (. )   A C.       A  : ..

  –

 said: Áchyuta, put my chariot between the two armies so I can see the warriors drawn up keen on battling. Whom do I have to fight in this war? Let me see those who will fight, who have assembled here to do a favor in battle for Dhrita· rashtra’s evil-minded son.  said: Thus addressed by Guda·kesha, O descendant of Bharata, Hrishi·kesha put that excellent chariot between the two armies, opposite Bhishma, Drona, and all the kings, and said: “Partha, behold these assembled Kurus!” And standing there in both armies the son of Pritha saw fathers, grandfathers, teachers, uncles, brothers, sons, grandsons, companions, fathers-in-law, and friends. Seeing all those kinsmen in position, the son of Kunti was filled with profound compassion and said in despair:  said: Krishna, at the sight of my own kin standing here ready to fight, my limbs feel tired and my mouth has gone dry, my body is trembling and my hair is standing on end. Gandíva is slipping from my hand, and my skin is burning all over. I can’t stand up, and my mind seems to whirl. I see evil portents, Késhava, and I see no good in killing my own family in war. I don’t desire victory, Krishna, nor kingdom, nor pleasures. What use is the kingdom to us, Govínda, or enjoyments, or life itself? 

    (. )   A C.       A  : ..

.

.

·  –  

yesām . arthe kā˙nksita . m . no rājyam, . bhogāh, . sukhāni ca, ta ime ’vasthitā yuddhe prānā . ms . tyaktvā dhanāni ca: ācāryāh, . pitarah, . putrās, tath” âiva ca pitāmahāh, . mātulāh, tathā. . śvaśurāh, . pautrāh, . syālāh, . sambandhinas . .

etān na hantum icchāmi ghnato ’pi, Madhu|sūdana, api trailokya|rājyasya hetoh; . kim . nu mahī|krte! . nihatya Dhārtarās. trān nah. kā prītih. syāj, Janārdana? . pāpam ev’ āśrayed asmān hatv” âitān ātatāyinah; . tasmān n’ ârhā vayam . hantum . Dhārtarās. trān . sa|bāndhavān. sva|janam . hi katham . hatvā sukhinah. syāma, Mādhava? yady apy ete na paśyanti lobh’|ôpahata|cetasah. kula|ksaya . |krta . m . dosa . m, . mitra|drohe ca pātakam, katham . na jñeyam asmābhih. pāpād asmān nivartitum, kula|ksaya . |krta . m . dosa . m . prapaśyadbhir, Janārdana?

.

kula|ksaye pranaśyanti kula|dharmāh. sanātanāh; . . . dharme nas. te a|dharmo ’bhibhavaty uta. . kulam . krtsnam . adharm’|âbhibhavāt, Kr. s. na, kula|striyah; . pradusyanti . . strīsu Vārs. neya, jāyate varna h. . dus. tāsu, . . . |samkara . . samkaro narakāy’ âiva kula|ghnānām, . . kulasya ca; patanti pitaro hy esā . m . lupta|pin. d’ . |ôdaka|kriyāh. . |kārakaih. dosair . etaih. kula|ghnānām . varna . |samkara .

utsādyante jāti|dharmāh, . kula|dharmāś ca śāśvatāh. . utsanna|kula|dharmānā . m . manusyā . nā . m, . Janārdana, narake niyatam . vāso bhavat’, îty anuśuśruma. 

    (. )   A C.       A  : ..

  –

Those for whose sake we want kingdom, enjoyments, and pleasures are drawn up here for battle, ready to give up their lives and wealth: teachers, fathers, sons, grandfathers, uncles, fathers-in-law, grandsons, brothers-in-law, and other relatives. Though they would kill me, slayer of Madhu, I wouldn’t want to kill them even for the sovereignty of the triple-world; how much less, then, for the sake of the earth! What joy could there be for us, Janárdana, were we to kill Dhrita·rashtra’s sons? Were we to kill these murderers, evil would befall us; so we mustn’t kill Dhrita· rashtra’s sons, our kinsmen. For how could we be happy having killed our family, Mádhava? Even though they, blinded by greed, see no harm in ruining the whole family and no crime in betraying friends, why shouldn’t we, who realize the evil in destroying the family, know not to do it, Janárdana? When a family is destroyed the ancient family customs die; and when virtue has been lost, vice prevails over the whole family. When vice prevails the family’s women become corrupt; and from the corruption of women comes the mixing of social classes, Varshnéya.* Such mixing leads the family’s destroyers and the family itself to hell, for the ancestors fall if the offerings of rice and water aren’t made. The sins of the family-destroyers cause the mixing of classes and bring the eternal caste traditions and family rites to ruin. We have heard, Janárdana, that people whose family rites have been ruined are doomed to dwell in hell for certain. 

    (. )   A C.       A  : ..

.

.

·  –   .

aho bata! mahat pāpam . kartum . vyavasitā vayam, yad rājya|sukha|lobhena hantum . sva|janam udyatāh! . | | yadi mām a pratīkāram, a śastram . śastra|pānaya . h. Dhārtarās. trā m . rane . hanyus, tan me ksematara . . bhavet.  uvāca: evam uktv” Ârjunah. samkhye rath’|ôpastha upāviśat . |mānasah. visrjya . sa|śaram . cāpam . śoka|samvigna . .

.

.

 uvāca: .  ” āvis. tam . . aśru|pūrn’ . |ākul’|ēksa . nam . visīdantam idam . . vākyam uvāca Madhu|sūdanah. . | uvāca: kutas tvā kaśmalam idam samupasthitam? . visame . | | | an|ārya|jus. tam, a svargyam, a kīrti karam, Arjuna. . klaibyam mā sma gama h, Pārtha! n’ âitat tvayy upapadyate. . . | |tapa! ksudra m h rdaya daurbalya m tyaktv” ôtti s tha, paran . . . . ..  uvāca: katham Bhī smam aha m . . . samkhye, . | Drona m ca, Madhu sūdana . . isubhi h. pratiyotsyāmi? . pūj”|ârhāv, ari|sūdana. gurūn a|hatvā hi mah”|ânubhāvāñ chreyo bhoktum . bhaiksam . ap’ îha loke; hatv” ârtha|kāmāms tu gurūn ih’ âiva . bhuñjīya bhogān rudhira|pradigdhān. na c’ âitad vidmah, . kataran no garīyo: yad vā jayema, yadi vā no jayeyuh. . yān eva hatvā na jijīvisāmas, . te ’vasthitāh. pramukhe Dhārtarās. trā . h. . | | | | kārpanya do s’ ôpahata sva bhāva h . . . 

    (. )   A C.       A  : ..

  –

Woe! We are determined to commit a grave crime, since we are intent upon slaughtering our kinsmen out of greed for the kingdom and its pleasures! It would be better for me if Dhrita·rashtra’s sons, armed with weapons, were to kill me in battle unresisting and unarmed!

.

 said: With these words, his heart struck with grief, Árjuna cast aside his bow and arrows and sat down on his chariot platform, on the field of battle.  said: T   of Madhu spoke to Árjuna, who was dejected and overwhelmed with pity, his eyes blurred with tears.

.

  said: Why has this faintheartedness overcome you at this difficult time, Árjuna? Unworthy of the noble, it doesn’t lead to heaven but causes disgrace. Don’t succumb to cowardice, Partha! It doesn’t become you. Shake off this miserable weakness of heart and get up, scorcher of foes!  said: How can I confront Bhishma and Drona with arrows in battle, slayer of Madhu? They deserve my homage, enemyslayer. Better in this world to live on alms without killing the mighty elders; for were I to kill the elders, eager though they are for worldly gain, in this very world I would taste pleasures smeared with blood. And we don’t even know which is preferable: to vanquish or be vanquished. Dhrita· rashtra’s sons stand before us, but if we kill them we won’t 

    (. )   A C.       A  : ..

.

·  –  

prcchāmi tvām dha . . dharma|sammū . . |cetāh, . yac chreyah. syān niścitam, . brūhi tan me. śisyas . te ’ham; . śādhi mām . tvām . prapannam! na hi prapaśyāmi, mam’ âpanudyād yac chokam, ucchosa indriyānām, . nam . . avāpya bhūmāv a|sapatnam rddha m . . rājyam, api c’ ādhipatyam. . surānām .

.

.

 uvāca: evam uktvā Hr. sīkeśa m h, . . Gudākeśa . . paran|tapa, «na yotsya! iti» Govindam uktvā tūs. nī .m . babhūva ha. tam uvāca Hr. sīkeśa h prahasann iva, Bhārata, . . senayor ubhayor madhye visīdantam idam . . vacah. . | uvāca: a|śocyān anvaśocas tvam, . prajñā|vādāmś . ca bhāsase. . | | | gat’ âsūn a gat’ âsūmś . ca n’ ânuśocanti pan. ditā . h. . na tv ev’ âham . jātu n’ āsam, . na tvam, . n’ ême jan’|âdhipāh; . na c’ âiva na bhavisyāma h. sarve vayam atah. param. . dehino ’smin yathā dehe kaumāram, . yauvanam, . jarā, tathā deh’|ântara|prāptir. dhīras tatra na muhyati. |dāh, mātrā|sparśās tu, Kaunteya, śīt’|ôs. na . |sukha|duhkha . . āgam’|âpāyino, ’|nityās. tāms titik sasva, Bhārata. . . yam . hi na vyathayanty ete purusa . m, . purusa’ . |rsabha, . |sukham, sama|duhkha kalpate. . . dhīram, . so ’mrtatvāya . n’ âsato vidyate bhāvo, n’ âbhāvo vidyate satah. . | ubhayor api dr. s. to ’ntas tv anayos tattva darśibhi h. . . a|vināśi tu tad viddhi, yena sarvam idam . tatam; vināśam a|vyayasy’ âsya na kaś cit kartum arhati. 

    (. )   A C.       A  : ..

  –

want to live. My whole being afflicted with the vice of pity, my mind confused over my duty, I ask you to tell me for sure what would be best. I am your disciple; teach me, I am at your mercy! For were I to get an unrivaled thriving kingdom on earth and lordship even over the gods, I see no way to dispel the sorrow that withers my senses.  said: Having said this to Hrishi·kesha, Guda·kesha told Govínda “I won’t fight!” and fell silent, enemy-scorcher. And Hrishi·kesha, almost laughing, spoke to the distressed hero between the two armies, Bhárata.   said: You are grieving for those you shouldn’t grieve for, and yet you speak words of wisdom. But wise men don’t grieve for the dead or the living. There wasn’t a time when you and I and these lords of men didn’t exist; and none of us will cease to exist hereafter. Childhood, youth and old age befall the embodied soul’s body; and likewise it attains another body. A wise person isn’t confused by this. Contacts with the material world, Kauntéya,* cause feelings of cold and heat, pleasure and pain, but they are unstable, they come and go. Endure them, Bhárata. Bull of a man, the wise man whom these contacts don’t disturb, to whom pain and pleasure are one and the same, is fit for immortality. The non-existent can’t come into being, and the existent can’t cease to be. Those who see the truth* see the boundary between these two. So you should know that that by which all this is pervaded is indestructible; no one can bring about the destruction of this imperishable. It is only bodies that 

    (. )   A C.       A  : ..

.

.

·  –  

.

.

antavanta ime dehā nityasy’ ôktāh. śarīrina . h, . a|nāśino, ’|prameyasya. tasmād yudhyasva Bhārata! ya enam . vetti hantāram, . yaś c’ âinam . manyate hatam, ubhau tau na vijānīto. n’ âyam hanti, na hanyate. . na jāyate mriyate vā kadā cin; n’ âyam . bhūtvā bhavitā vā na bhūyah. . a|jo, nityah, . śāśvato ’yam, . purāno; . na hanyate hanyamāne śarīre. ved’ â|vināśinam, . nityam . ya enam a|jam, a|vyayam, katham sa puru sa h, Pārtha, kam . . . . ghātayati? hanti kam? vāsāmsi yathā vihāya . jīrnāni . navāni grh . nāti . naro ’parāni, . tathā śarīrāni vihāya jīr nāny . . anyāni samyāti navāni dehī. . n’ âinam . chindanti śastrāni; . n’ âinam . dahati pāvakah; . na c’ âinam mārutah. . kledayanty āpo; na śosayati . . a|cchedyo ’yam, a|dāhyo ’yam, a|kledyo, ’|śosya . eva ca. nityah, . sarva|gatah, . sthānur, . a|calo ’yam, . sanātanah. . a|vyakto ’yam, a|cintyo ’yam, a|vikāryo ’yam ucyate. tasmād evam . viditv” âinam . n’ ânuśocitum arhasi. | atha c’ âinam . nitya jātam, . nityam . vā manyase mrtam, . | tath” âpi tvam, mahā bāho n’ âina m śocitum arhasi. . . jātasya hi dhruvo mrtyur; dhruvam ca; . . janma mrtasya . tasmād a|parihārye ’rthe na tvam śocitum arhasi. . a|vyakt’|ādīni bhūtāni, vyakta|madhyāni, Bhārata, a|vyakta|nidhanāny eva. tatra kā paridevanā? 

    (. )   A C.       A  : ..

  –

are said to come to an end—the bodies of the eternal, indestructible, immeasurable embodied soul. So fight, Bhárata! Whoever thinks this soul can kill or be killed, doesn’t understand. It neither kills, nor is it killed. It isn’t born; it never dies; it isn’t something that comes into existence and then ceases to be. It is unborn, eternal, permanent, and primordial; it is not killed when the body is killed. If a man* knows it to be indestructible, eternal, unborn, and imperishable, Partha, how can he be made to kill? Whom can he kill? Just as a man casts off his worn-out clothes and puts on other new ones, so the embodied soul casts off its worn-out bodies and takes other new ones. Weapons can’t cut it; fire can’t burn it; water can’t wet it; wind can’t dry it. It is uncuttable, unburnable, unwettable, and undryable. It is eternal, all-pervading, fixed, immovable, everlasting. It is said to be unmanifest, inconceivable, and immutable. So, knowing it as such, you shouldn’t grieve. But even if you think of it as repeatedly born and repeatedly dying, strong-armed one, nonetheless you shouldn’t grieve. For death is certain for those who are born, and birth is certain for those who die; and so, this being inevitable, you shouldn’t grieve. Creatures are unmanifest at first, manifest in the middle, and unmanifest again at the end, Bhárata. What is there to mourn for in this? 

    (. )   A C.       A  : ..

.

.

·  –  

.

.

.

āścaryavat paśyati kaś cid enam, āścaryavad vadati tath” âiva c’ ânyah, . āścaryavac c’ âinam anyah. śr. noti; . śrutv” âpy enam . veda na c’ âiva kaś cit. dehī nityam a|vadhyo ’yam . dehe sarvasya, Bhārata; tasmāt sarvāni . bhūtāni na tvam . śocitum arhasi. sva|dharmam api c’ âveksya na vikampitum arhasi; . dharmyādd hi yuddhāc chreyo ’nyat ksatriyasya na vidyate. . yadrcchayā c’ ôpapannam . . svarga|dvāram apāvrtam . sukhinah. ksatriyā h, Pārtha, labhante yuddham īdrśam. . . . atha cet tvam imam dharmya m sa mgrāma m na karisyasi, . . . . . tatah. sva|dharmam . kīrtim . ca hitvā pāpam avāpsyasi. a|kīrtim te ’|vyayām; . c’ âpi bhūtāni kathayisyanti . | sambhāvitasya c’ â kīrtir mara nād atiricyate. . . bhayād ranād tvām . uparatam . mamsyante . . mahā|rathāh, . yesā . m . ca tvam . bahu|mato bhūtvā yāsyasi lāghavam. a|vācya|vādāmś tav’ â|hitāh. . ca bahūn vadisyanti . nindantas tava sāmarthyam; tato du hkhatara m . . . nu kim? hato vā prāpsyasi svargam, mahīm. . jitvā vā bhoksyase . tasmād uttis. tha, . Kaunteya, yuddhāya krta . |niścayah! . | | | | sukha|duhkhe same k rtvā, lābh’ â lābhau, jay’ â jayau, . . tato yuddhāya yujyasva. n’ âivam . pāpam avāpsyasi. esā buddhir; yoge tv imām . te ’bhihitā Sāmkhye . . śr. nu, . buddhyā yukto yayā, Pārtha, karma|bandham prahāsyasi. . n’ êh ’âbhikrama|nāśo ’sti, pratyavāyo na vidyate; sv|alpam apy asya dharmasya trāyate mahato bhayāt. vyavasāy’|ātmikā buddhir ek” êha, Kuru|nandana; bahu|śākhā hy an|antāś ca buddhayo ’|vyavasāyinām. 

    (. )   A C.       A  : ..

  –

Rarely does anyone see it, or speak of it, or hear of it; and even having heard of it no one really knows it. The soul is always inviolable in everyone’s body, Bhárata; so you shouldn’t grieve for any creature. You should attend to your own duty and stand firm, for there is nothing better for a warrior than a legitimate battle. Happy the warriors who find such a battle, Partha—an open door to heaven, arrived at by chance. But if you won’t wage this legitimate war, then, forsaking your duty and your fame, you will have committed a sin. For people will tell of your lasting disgrace; and to an honored man, disgrace is worse than death. The great warriors will think you withdrew from the battle out of fear, and though highly regarded by them before, you will be slighted. Your enemies too will say many unseemly things, disparaging your ability; and what could be more painful than that? Get up, son of Kunti, and resolve to fight! For you will either be killed and attain heaven, or you will prevail and enjoy the earth. Make yourself indifferent to pleasure and pain, profit and loss, victory and defeat, and so gird yourself for battle. In this way you will incur no evil. This understanding has been presented to you according to the Sankhya teaching;* now hear about it in relation to yoga practice. With this understanding, Partha, you will escape the bondage of the act. In this matter no attempts are in vain, there are no disappointments; even very little of this virtue can deliver one from great danger. There is one resolute understanding here, delight of the Kurus, but the understandings of the irresolute are multifarious without limit. 

    (. )   A C.       A  : ..

.

.

.

·  –  

yām imām m . puspitā . . vācam . pravadanty a|vipaścitah, . veda|vāda|ratāh, . Pārtha, «n’ ânyad ast’, îti» vādinah. kām’|ātmānah. svarga|parā janma|karma|phala|pradām kriyā|viśesa . |bahulām . bhog’|âiśvarya|gatim . prati. bhog’|âiśvarya|prasaktānām . tay” âpahrta . |cetasām vyavasāy’|ātmikā buddhih. samādhau na vidhīyate. .

traigunya vedā. nis|traigunyo . |visayā . . bhav’, Ârjuna, nirdvandvo, nitya|sattva|stho, nir|yoga|ksema, ātmavān. . |ôdake, yāvān artha udapāne sarvatah. samplut’ .

tāvān sarvesu vijānatah. . vedesu . brāhmanasya . . karmany . ev’ âdhikāras te, mā phalesu . kadā cana. mā karma|phala|hetur bhūr, mā te sa˙ngo ’stv a|karmani. . yoga|sthah. kuru karmāni . sa˙ngam . tyaktvā, Dhanañjaya, siddhy|a|siddhyoh. samo bhūtvā; samatvam . yoga ucyate. dūrena . hy avaram . karma buddhi|yogād, Dhanañjaya. buddhau śaranam anviccha; krpa . . nā . h. phala|hetavah. . .

buddhi|yukto jahāt’ îha ubhe su|krta . |dus. |krte; . tasmād yogāya yujyasva. yogah. karmasu kauśalam; karma|jam . buddhi|yuktā hi phalam . tyaktvā manīsi . na . h. janma|bandha|vinirmuktāh. padam . gacchanty an|āmayam. 

    (. )   A C.       A  : ..

  –

Delighting in the words of the Veda and claiming there is nothing else, undiscerning men, full of desire and bent on heaven, speak flowery words accompanied by particular rites, Partha, for the acquisition of pleasure and power; but these cause rebirth as the fruit of the acts. The resolute understanding, when settled, isn’t disturbed by the words of the mindless who cling to pleasure and power. The Vedas have the three modes* as their scope. Be free of the three modes, Árjuna, free of dualities, always established in purity, beyond acquisition and preservation, and self-possessed.* For the discerning brahmin, all the Vedas are as much use as a water-tank is when there are floods all around. You have a right to the action alone, never to its fruits. Don’t let the action’s fruits be your motivation, and don’t be attached to inactivity. Perform actions while established in yoga, Dhanan·jaya, having abandoned attachment, having become even-minded towards success and failure; for yoga is said to be evenness of mind. But action is far less important than the yoga attitude, Dhanan·jaya. Seek refuge in this attitude, for those who are motivated by the fruits are pitiful. The man of disciplined understanding leaves his deeds here, both good and bad; so be disciplined in yoga. Yoga is skillfulness in actions; the wise ones of disciplined understanding renounce the fruit produced by action and, released from the bondage of rebirth, they attain the perfect state. 

    (. )   A C.       A  : ..

.

.

·  –  

yadā te moha|kalilam . buddhir vyatitarisyati, . tadā gant” âsi nirvedam śrotavyasya śrutasya ca; . śruti|vipratipannā te yadā sthāsyati niścalā, samādhāv a|calā buddhis, tadā yogam avāpsyasi.

 uvāca: sthita|prajñasya kā bhāsā . samādhi|sthasya Keśava? | sthita dhīh. kim kim āsīta? vrajeta kim? . prabhāseta? . | uvāca: .

prajahāti yadā kāmān sarvān, Pārtha, mano|gatān, ātmany ev’ ātmanā tus. ta . h. sthita|prajñas tad” ôcyate. duhkhe sv . . an|udvigna|manāh, . sukhesu . vigata|sprha . h, . vīta|rāga|bhaya|krodhah, . sthita|dhīr munir ucyate. yah. sarvatr’|ân|abhisnehas, tat tat prāpya śubh’|â|śubham n’ âbhinandati na dves. ti, . tasya prajñā pratis. thitā. . yadā samharate c’ âya m, kūrmo ’˙ n gān’ îva, sarvaśa h. . . indriyān’ . îndriy’|ârthebhyas, tasya prajñā pratis. thitā. . visayā vinivartante nirāhārasya dehinah; . . rasa|varjam. . raso ’py asya param . dr. s. tvā . nivartate.

.

yatato hy api, Kaunteya, purusasya vipaścitah. . indriyāni pramāthīni haranti prasabha m . . manah. . | tāni sarvāni sa myamya yukta āsīta mat para h; . . . 

    (. )   A C.       A  : ..

  –

When your understanding passes beyond its tangle of delusion, then you will become indifferent to what should be heard and what has been heard; and when, parting company with such hearsay,* your understanding remains steady, fixed in concentration, then you will have achieved yoga.  said: How would you describe the man of steady wisdom who remains in concentration, Késhava? How might he whose thoughts are steadied speak? How might he sit? How might he walk?   said: When a man discards all desires from his mind, Partha, and by his own efforts becomes content within himself, then he is called a man of steady wisdom. He whose mind is unperturbed in times of sorrow, who has lost the craving for pleasures, and who is rid of passion, fear and anger, is called a sage of steadied thought. His wisdom is secure who is free of any affections and neither rejoices nor recoils on obtaining anything good or bad. When he completely withdraws his senses from the sense objects like a tortoise withdrawing its limbs, then his wisdom is secure. For the embodied one who doesn’t feed on them, the sense objects fade away; but their flavor doesn’t. For the one who has seen the highest, even his taste fades away. Even if a learned man tries hard, Kauntéya, the turbulent senses forcibly carry away his mind. He should restrain them and sit in yoga, intent on me; only when his senses are under control is his wisdom secure. When a man dwells 

    (. )   A C.       A  : ..

.

.

·  –  

.

.

vaśe hi yasy’ êndriyāni, . tasya prajñā pratis. thitā. . dhyāyato visayān pu msa h sa˙ n gas te s’ ûpajāyate. . . . . sa˙ngāt samjāyate kāmah, . . kāmāt krodho ’bhijāyate. krodhād bhavati sammoha h; smrti . . sammohāt . . |vibhramah; . | | | smrti bhra mśād buddhi nāśo; buddhi nāśāt pra naśyati. . . . | rāga|dvesa viyuktais tu vi sayān indriyaiś caran . . ātma|vaśyair vidhey’|ātmā prasādam adhigacchati. prasāde sarva|duhkhānā m . . hānir asy’ ôpajāyate, prasanna|cetaso hy āśu buddhih. paryavatis. thate. . nāsti buddhir a|yuktasya, na c’ â|yuktasya bhāvanā. na c’ â|bhāvayatah. śāntir; a|śāntasya kutah. sukham? indriyānā . m . hi caratām . yan mano ’nuvidhīyate, tad asya harati prajñām, . vāyur nāvam iv’ âmbhasi. tasmād yasya, mahā|bāho, nigrhītāni sarvaśah. . | indriyān’ îndriy’ ârthebhyas, tasya prajñā pratis. thitā. . . yā niśā sarva|bhūtānām, tasyā m jāgarti sa myamī; . . . yasyām . jāgrati bhūtāni, sā niśā paśyato muneh. . | | āpūryamānam a cala prati s tha m . .. . samudram āpah. praviśanti yadvat, tadvat kāmā yam . praviśanti sarve sa śāntim āpnoti; na kāma|kāmī. vihāya kāmān yah. sarvān pumāmś . carati nihsp . rha . h, . nirmamo, nir|aham . |kārah, . sa śāntim adhigacchati. esā . brāhmī sthitih, . Pārtha. n’ âinām . prāpya vimuhyati. sthitv” âsyām anta|kāle ’pi brahma|nirvānam rcchati. . . 

    (. )   A C.       A  : ..

  –

upon sense objects, he becomes attached to them. From attachment arises desire, and from desire, anger. From anger comes confusion; confusion disturbs the memory; when memory fails, so does understanding; and without understanding, one perishes. But the man whose self is restrained, who meets the sense objects with senses which are controlled by him and free of passion and aversion, attains serenity. In serenity all his sorrows come to an end, for a serene-minded man’s understanding soon becomes secure. The undisciplined man has no real understanding and no powers of contemplation. Without contemplation he has no peace, and how can there be happiness for those without peace? A mind that runs after the wandering senses carries away one’s wisdom like the wind tossing a boat on the water. And so, mighty-armed one, he whose senses are withdrawn altogether from sense objects is a man of secure wisdom. When it is night for all creatures, the self-restrained man is awake; and when all creatures are awake, it is night for the discerning sage. Water enters the ocean, but while being filled it remains unmoved in its depths. When this is how all desires affect a man, he attains peace; but he who cherishes desires is not like this. A man attains peace by abandoning all desires and acting without craving, selfishness or ego. This is the state of Brahman, Partha; having attained it, one is confused no longer. Remaining in it even at the time of death, one attains the nirvana* that is Brahman.* 

    (. )   A C.       A  : ..

.

.

(1997),

c l ay s

skr it l

WWW.CL AYSANSKRITLIBRARY.COM

and (1999).

In “Bhishma,” the first of the Maha·bhárata’s battle books, at the onset of the epic’s orgy of violence, the narrative rises up to the ethical plane. Integral to this chronicle of a clan’s factional property feud, the “Bhagavad Gita” is the ever-relevant text of a universal morality, infinitely adaptable in its philosophy of self-questioning.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Bhishma I Cover.indd 1

CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of Volume One (of two) of “Bhishma,” Book Six of the Maha·bhárata.

Maha·bhárata

“Bhishma,” the first of five battle books, narrates the first ten days of the war between the Káuravas and the Pándavas. This volume covers the first four days and includes the world-famous “Bhagavad Gita” (Song of the Lord), set here within its original epic context.

ar y

Ranajit Guha is the founding editor of and author of (2002),

an

ib r

Alex Cherniak is Lecturer in Sanskrit and Hindi at Tel Aviv University.

maha· bhárata vi bhishma i bhagavad gita

Book Six

Bhishma Volume One Including the “Bhagavad Gita” in Context

cherniak

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ALEX CHERNIAK With a Foreword by Ranajit Guha

In this “bible” of Indian civilization, at the moment battle is to begin, the charioteer Krishna emancipates his disciple Árjuna from his personal dilemma: whether to follow his righteous duty as a warrior and slay his opponent relatives in the just war, or to abstain from fighting and renounce the warrior code to which he is born. The “Gita” culminates in Krishna’s theophany, when he reveals himself in the horrendous form of Death as the alldevouring fire of Time, a manifestation notoriously echoed by Oppenheimer when he witnessed the first nuclear bomb exploding. The great survivor, the “Gita” is relevant to all our own times, as is its context and pretext, the bloody book of “Bhishma.”

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

2/5/08 15:30:01

c l ay s

skr it l

WWW.CL AYSANSKRITLIBRARY.COM The embassies which structure “Preparations for War,” Book Five of the Maha·bhárata, are futile formalities. Peace has no real chance. From the outset each side assembles their armies. But in this first volume’s great philosophical passage, the “Sanat·sujatíya,” the Indian epic hero’s fundamental question is addressed: Where does true honor lie?

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL War Prep I Cover.indd 1

CL AY SANSKRIT LIBRARY ar y

Gurcharan Das, former CEO of Procter & Gamble India, is author of the international bestseller as well as several plays, a novel, and numerous essays and countless columns.

an

ib r

Kathleen Garbutt translates Sanskrit literature for the JJC Foundation, copublishers (with NYU Press) of the Clay Sanskrit Library. She has also translated Maha·bhárata Book Four, “Viráta.”

maha·bhárata v preparations for war i

Maha·bhárata Book Five

Preparations for War Volume One

garbutt

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

KATHLEEN GARBUTT With a Foreword by Gurcharan Das NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Volume One (of two) of “Preparations for War,” Book Five of the Maha·bhárata. The Pándavas believe they have completed the terms of their exile, though Duryódhana claims that they did not live unknown for the full thirteenth year, since Árjuna was recognized in the battle at the end of the preceding book, “Viráta.” While the Pándavas and Kurus make their preparations for war they organize a series of embassies to negotiate peace. This volume constantly highlights the inevitability of conflict and the futility of negotiation. Yet most characters are concerned that war between family cannot fail to be sinful. In response to their dilemma we have the “Sanat·sujatíya,” a philosophical passage to rival the “Bhagavad gita,” albeit not as famous. Like the “Gita,” the “Sanat·sujatíya” tells that karma will not chain one in the cycle of rebirth, provided that one can refrain from desire. Through understanding the truth of non-duality, that the world is mere illusion, one can be subsumed into eternal existence with Brahman. This view of dharma recognizes the limits of goodness and is grounded in human self-interest without being amoral.

20/2/08 10:07:12 am

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITORS

Richard Gombrich Sheldon Pollock EDITED

BY

Isabelle Onians Somadeva Vasudeva

www.claysanskritlibrary.com www.nyupress.org

      (.)   Kathleen Garbutt  .  J  : ..

Artwork by Robert Beer. Typeset in Adobe Garamond at . : .+pt. XML-development by Stuart Brown. Editorial input from Dániel Balogh, Tomoyuki Kono & Eszter Somogyi. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.

      (.)   Kathleen Garbutt  .  J  : ..

MAHĀBHĀRATA BOOK FIVE

PREPARATIONS FOR WAR VOLUME

ONE

TRANSLATED

BY

Kathleen Garbutt WITH A FOREWORD BY GURCHARAN DAS

NEW

YORK

UNIVERSITY

JJC

FOUNDATION

PRESS



      (.)   Kathleen Garbutt  .  J  : ..

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN ---- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Mahābhārata. Udyogaparva. English & Sanskrit. Mahābhārata. Book five, Preparations for war / translated by Kathleen Garbutt. -- st ed. p. cm. -- (The Clay Sanskrit library) Epic poetry. In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. Includes bibliographical references and index. ISBN: ---- (cloth : alk. paper) I. Garbutt, Kathleen. II. Title. III. Title: Preparations for war. BL..UE  .'--dc 

      (.)   Kathleen Garbutt  .  J  : ..

CONTENTS CSL Conventions

vii

Foreword

xv

Introduction

xxvii

MAHA·BHÁRATA V – PREPARATIONS FOR WAR I

–

The First Embassy



–

Indra’s Misery

–

The First Embassy Arrives



–

Sáñjaya, the Second Envoy



–

Vídura’s Teachings



–

Sanat·sujáta’s Teachings



–

The Kurus’ Debate



–

The Blessed Lord’s Visit





Notes



Glossary of Common Names and Epithets



Index



      (.)   Kathleen Garbutt  .  J  : ..

–

VÍDURA’S TEACHINGS

      (.)   Kathleen Garbutt  .  J  : ..

 uvāca: . |.  mahā|prājño . Dhrtarā . s. tro . mahī|patih: . «Viduram icchāmi. . dras. tum . tam ih’ ānaya mā|ciram.» prahito Dhrtarā abravīt: . s. tre . na . dūtah. ksattāram . | | «īśvaras tvām mahā rājo, mahā prājña, did rk . . sati.» . evam uktas tu Vidurah. prāpya rāja|niveśanam abravīd: «Dhrtarā dvāh. |stham . s. trāya» . . «mām . prativedaya!»

D

 uvāca: . «Viduro ’yam anuprāpto, rāj’|êndra, tava śāsanāt. dras. tum icchati te pādau. kim . . karotu, praśādhi mām.»  . .  . . uvāca: «praveśaya mahā|prājñam . . Viduram . dīrgha|darśinam | aham hi Vidurasy’ âsya n’ â kalpo jātu darśane.» .  uvāca: . |rājasya dhīmatah, «praviś’ ântah. |puram, k sattar, mahā . . . ‹na hi te darśane ’|kalpo jātu› rāj” âbravīdd hi mām.»  uvāca: tatah. praviśya Viduro Dhrtarā . s. tra . |niveśanam, abravīt prāñjalir vākyam cintayāna m . . nar’|âdhipam: «Viduro ’ham, tava śāsanāt. . mahā|prājña, samprāptas . yadi kiñ cana kartavyam; ayam asmi, praśādhi mām.» 

      (.)   Kathleen Garbutt  .  J  : ..

 continued:  K D· said to his door-keeper: . “I want to see Vídura. Bring him here quickly.” So, sent by Dhrita·rashtra, the messenger said to the steward: “The lord, the great king, wishes to see you, wise man.” Addressed in this manner, Vídura went to the king’s apartment and said to the door-keeper: “Announce me to Dhrita· rashtra!”

W

 - said: “Vídura has come, lord of kings, at your command. He wishes to see your feet. Tell me what he should do.” · replied: “Let highly intelligent, far-sighted Vídura enter. It is cer- . tainly never inconvenient to see him.”  - said: “Enter the wise king’s inner chambers, steward, for the king has told me that it is certainly never inconvenient to see you.”  continued: Once he had entered Dhrita·rashtra’s apartment, Vídura folded his hands and spoke to the king, who was lost in thought: “It is me, Vídura, supremely wise man, and I have come here as you ordered. If there is anything I must do, then command me.” 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

 .  . . uvāca: «Sañjayo, Vidura, prāpto garhayitvā ca mām . gatah. . Ajātaśatroh. śvo vākyam . sabhā|madhye sa vaksyati. . . tasy’ âdya Kuru|vīrasya na vijñātam . vaco mayā. tan me dahati gātrāni, tad akār sīt prajāgaram. . . jāgrato dahyamānasya śreyo yad anupaśyasi, tad brūhi tvam . hi nas, tāta, dharm’|ârtha|kuśalo hy asi. yatah. prāptah. Sañjayah. Pān. davebhyo, . na me yathāvan manasah. praśāntih; . | sarv’|êndriyāny a prak rti m gatāni . . . ‹kim îty› eva me ’dya pracintā.» . vaksyat’, .  uvāca: «abhiyuktam . balavatā dur|balam, . hīna|sādhanam, hrta . |svam, . kāminam, . coram āviśanti prajāgarāh. . | kac cid etair mahā|dosair na sp r s to ’si, nar’ âdhipa? . ... kac cic ca para|vittesu na paritapyase?» . grdhyan .  .  . . uvāca: . «śrotum icchāmi te dharmyam . param m . naihśreyasa . . vacah. asmin rāja’|rsi . |vamśe . hi tvam ekah. prājña|sammata h.» . .  uvāca: «rājā laksa trailokyasy’ âdhipo bhavet . na . |sampannas . presyas c’ âiva, Dhrtarā h,* . te presitaś . . s. tra, . Yudhis. thira . . viparītataraś ca tvam h. . bhāga|dheyena sammata . arcisā c’ âiva dharm’|ātmā dharma|kovidah. . m . praksayāc . . ānrśa msyād, anukrośād, dharmāt, satyāt, parākramāt, . . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

· said: “Vídura, Sáñjaya came here, and once he’d blamed me for the present predicament, he left. He will tell us what Ajáta·shatru had to say in the midst of court tomorrow. At the moment I have no idea what the Kuru hero’s mes- . sage was. It burns my limbs, and it draws out my insomnia. Since you are skilled in what is right and profitable, tell me what you see as best for a sleepless and fevered man, my friend. Ever since Sáñjaya returned from the Pándavas my mind has not been properly at peace; all my senses have gone into turmoil as I wonder now what he will say.”  replied: “Insomnia visits the weak man who is attacked by a stronger opponent, it visits the man who has lost his means, who has lost himself, and it visits a lover or a thief. You are not touched by these great evils, are you, lord of men? Do you burn because you covet another man’s property?” · said: “I want to hear what beneficial advice of ultimate righ- . teousness you have to offer. For in the lineage of royal sages you alone are honored as wise.”  said: “King Yudhi·shthira, possessed of the proper characteristics, should be lord of the three realms. He is obedient to you, and you abused his obedience by exiling him, Dhrita· rashtra. You are the exact opposite of that man. Your loss of sight means that you are deemed unworthy of a share of the inheritance, despite the fact that you are virtuous in 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

gurutvāt tvayi samprek sya . . bahūn kleśāms . titiksate. . Duryodhane Saubale ca, Karne, tathā, . Duhśāsane . etesv . aiśvaryam ādhāya katham . tvam . bhūtim icchasi? .

ātma|jñānam, . samārambhas, titiksā, . dharma|nityatā yam arthān n’ âpakarsanti, sa vai pan. dita . . ucyate. nisevate praśastāni, ninditāni na sevate; . a|nāstikah, . śraddadhāna, etat pan. dita . |laksa . nam. . krodho, harsaś . ca, darpaś ca, hrī|stambho, mānya|mānitā yam arthān n’ âpakarsanti, sa vai pan. dita . . ucyate. yasya krtya . m . na jānanti mantram . vā mantritam . pare, krtam ev’ âsya jānanti, sa vai pan. dita . . ucyate. yasya krtya . m . na vighnanti śītam, us. na . m, . bhayam, . ratih, . samrddhir, a|samrddhir vā, sa vai pan. dita . . . ucyate.

.

yasya samsāri nī . . prajñā dharm’|ârthāv anuvartate, kāmād artham . vr. nīte . yah, . sa vai pan. dita . ucyate. yathā|śakti cikīrsanti, yathā|śakti ca kurvate, . na kiñ cid avamanyante narāh. pan. dita . |buddhayah. . ksipra m . . vijānāti ciram . śr. noti; . vijñāya c’ ârtham . bhajate na kāmāt; n’ â|samp . r. s. to . vyupayu˙nkte par’|ârthe; tat prajñānam . prathamam . pan. ditasya. . n’ â|prāpyam abhivāñchanti, nas. ta . m . n’ êcchanti śocitum, āpatsu ca na muhyanti narāh. pan. dita . |buddhayah. . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

your soul and skilled in moral law. Due to his benevolence, compassion, virtue, truth, strength, and the respect he observes towards you, he endures his many miseries. How can you wish for prosperity when you have invested power upon Duryódhana, Súbala’s son, Karna, and Duhshásana? It is the man whose self-knowledge, effort, endurance, . and eternal virtue do not drag down his goals, who is said to be wise. What distinguishes a wise man is his pursuit of laudable deeds and avoidance of reprehensible deeds. He is not unorthodox but has belief. The man whom anger, joy, greed, trumped-up modesty, or egotism cannot drag away from his purpose, is said to be wise. The man whose enemies do not know his intention, plan, or counsel, but merely know his actions, is said to be wise. The man whose plans are not obstructed by cold, heat, fear, love, wealth, or poverty, is said to be wise. The man . whose wise, transmigratory soul follows virtue and profit, and chooses profit over desire, is said to be wise. Wiseminded men want to do whatever they can, do do whatever they can, and do not spurn anything. This is the foremost sign of a wise man: he understands quickly but listens at leisure, he cultivates his aim with knowledge rather than from lust, and he does not meddle in other people’s business unless requested to. Wise-minded men do not long for the unattainable, they do not wish to grieve for what is lost, and they are not confused in times of disaster. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

niścitya yah. prakramate, n’ ântarvasati karmana . h, . a|vandhya|kālo, vaśy’|ātmā, sa vai pan. dita . ucyate. .

ārya|karmani . rajyante, bhūti|karmāni . kurvate, hitam Bharata’|rsabha. . ca n’ âbhyasūyanti pan. ditā, . . na hr. syaty ātma|sammāne, n’ âvamānena tapyate, . . Gā˙ngo hrada iv’ â|ksobhyo yah, . . sa pan. dita . ucyate. tattva|jñah. sarva|bhūtānām, . yoga|jñah. sarva|karmanām, . upāya|jño manusyā nā m nara h pa n dita ucyate. . . . . .. pravrtta . |vāk, citra|katha, ūhavān, pratibhānavān, āśu granthasya vaktā ca yah, . sa pan. dita . ucyate. śrutam . prajñ”|ânugam . yasya, prajñā c’ âiva śrut’|ânugā, |ārya|maryādah. pan. dit’ a|sambhinn’ . . |ākhyām . labheta sah. .

.

a|śrutaś ca samunnaddho, daridraś ca mahā|manāh, . arthāś c’ â|karmanā . prepsur mūdha . ity ucyate budhaih. . svam artham . yah. parityajya par’|ârtham anutis. thati, . mithy” ācarati mitr’|ârthe yaś ca, mūdha . h. sa ucyate. a|kāmān kāmayati yah, . kāmayānān parityajet, balavantam . ca yo dves. ti, . tam āhur mūdha . |cetasam. a|mitram . kurute mitram, . mitram . dves. ti . hinasti ca, karma c’ ārabhate dus. ta . m, . tam āhur mūdha . |cetasam. samsārayati krtyāni, sarvatra vicikitsate, . . ciram Bharata’|rsabha. . karoti ksipr’ . |ârthe, sa mūdho, . .

.

śrāddham na dadāti, daivatāni na c’ ârcati, . pitrbhyo . suhrn . |mitram . na labhate, tam āhur mūd. ha . |cetasam. 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

It is the man who acts upon his decision, who does not give up half way through, whose time is not unproductive, and who is self-disciplined, who is said to be wise. Wise men . are attracted to noble deeds, perform acts for wealth, but are not indignant at what is beneficial, bull of the Bharatas. The man who is not pleased when he is honored, nor burns when snubbed, but is as unruffled as a Ganges lake, is said to be wise. The man who knows the true nature of all creatures, who knows the practice of all acts, and knows the means of all men, is said to be wise. The man whose speech is eloquent, whose conversation is varied, who comprehends and is quick-witted, and who can teach a text quickly, is said to be wise. The man whose learning serves his wisdom and whose wisdom serves his learning, and who does not breach the customs of the noble, would win the title of wise man. The man who is not educated yet arrogant, a beggar yet . proud, and eager to attain his goal without work, is named a fool by wise men. The man who abandons his own goal, contributes to another man’s goal, and behaves deceitfully on behalf of a friend, is said to be a fool. They call a man idiotic-minded if he longs for the undesirable, abandons the desirable, and hates the stronger man. They call the man who treats his enemy like a friend, hates and harms his friend, and undertakes wicked deeds, idiotic-minded. Bull of the Bharatas, a fool broadcasts tasks which need to be done, questions everything, and takes ages to accomplish simple matters. They call a man idiotic- . minded if he does not give offerings to his ancestors, does not worship the gods, and does not take friends as allies. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

an|āhūtah. praviśati, a|pr. s. to . bahu bhāsate, . a|viśvaste viśvasiti mūdha . |cetā nar’|âdhamah. . param dose . ksipati . . na . vartamānah. svayam . tathā, yaś ca krudhyaty an|īśānah, narah. . sa ca mūdhatamo . . ātmano balam a|jñāya dharm’|ârtha|parivarjitam a|labhyam icchan naiskarmyān mūdha . . |buddhir ih’ ôcyate. a|śisya . m . śāsti yo, rājan, yaś ca śūnyam upāsate, kad|aryam . bhajate yaś ca, tam āhur mūdha . |cetasam. .

artham . mahāntam āsādya, vidyām aiśvaryam eva vā, vicaraty a|samunnaddho yah, . sa pan. dita . ucyate. ekah. sampannam aśnāti, vaste vāsaś ca śobhanam . yo ’|samvibhajya bhrtyebhya h, tatah? . . . ko nrśa . msataras . . ekah. pāpāni kurute, phalam . bhu˙nkte mahā|janah; . bhoktāro vipramucyante, kartā dose . na . lipyate. ekam . hanyān, na vā hanyād isur . mukto dhanusmatā; . buddhir buddhimat” ôtsr. s. tā . hanyād rās. tra . m . sa|rājakam. ekayā dve viniścitya, trīmś . caturbhir vaśe kuru, pañca jitvā, viditvā sa . t, . sapta hitvā sukhī bhava.

.

ekam . visa . |raso hanti, śastren’ . âikaś ca vadhyate; sa|rās. tra . m . sa|prajam . hanti rājānam . mantra|viplavah. . ekah. svādu na bhuñjīta, ekaś c’ ârthān na cintayet, eko na gacched adhvānam, . n’ âikah. suptesu . jāgryāt. . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

An idiot, the lowest of men, enters when uninvited, speaks endlessly when unasked, and puts his trust in the cynical. The man who blames someone else, when in fact it was he who was acting wickedly, and gets angry without any authority, is the most idiotic of men. The man who, unaware of his own strength, wants to attain what is unattainable, devoid of moral law and profit, without doing any work, is said to be foolish-minded. My king, they call a man idiotic-minded who teaches someone not his pupil, who serves a destitute man, and who shares with the miserly. But the man who has gained a . great goal, knowledge, or power, and who wanders around without arrogance, is said to be wise. Who is more malicious than the man who eats plentifully but alone, who dresses gloriously in his clothes, and who doesn’t share with his dependants? It takes only one man to commit evil acts for people at large to suffer the consequences. Those who experience the results are free from guilt, but the perpetrator is polluted by blame. A single arrow fired by an archer may or may not kill, but intelligence used by an intelligent man could destroy a kingdom and its king. Be happy by resolving upon two with one, bring three under your control with four, conquer five, understand the six, and disregard seven. A poisonous draft kills one, and . one person dies by the sword, but disastrous advice kills the king along with his kingdom and subjects. One should not eat tasty food alone, nor should one deliberate matters on one’s own. One should not go on a journey alone, or be the only one who wakes up when everyone else is sleeping. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

ekam ev’ â|dvitīyam . tad, yad, rājan, n’ âvabudhyase, satyam . svargasya sopānam . pār’|âvārasya naur iva. ekah. ksamāvatā m . . doso, . dvitīyo n’ ôpapadyate: yad enam yuktam a|śaktam . ksamayā . . manyate janah. . so ’sya doso hi paramam . na mantavyah; . ksamā . . balam; ksamā guno . . hy a|śaktānām, . śaktānām . bhūsa . na . m . ksamā. . .

ksamā vaśī|krtir kim . . loke, ksamayā . . na sādhyate? śānti|khadga dur|janah? . h. kare yasya, kim . karisyati . . a|tr. ne . patito vahnih. svayam ev’ ôpaśāmyati; a|ksamāvān param . . dosair . ātmānam . c’ âiva yojayet. eko dharmah. param âikā śāntir uttamā, . śreyah, . ksam” . vidy” âikā paramā trptir, a|hims” . . âika|sukh’|āvahā. dvāv imau grasate bhūmih, . sarpo bila|śayān iva, rājānam . c’ â|viroddhāram, . brāhmana . m . c’ â|pravāsinam. ˜ dve karmanī . narah. kurvann asmi l loke virocate: a|bruvan parusa . m . kiñ cid, a|sato ’n|arcayams . tathā.

.

dvāv imau, purusa . |vyāghra, para|pratyaya|kārinau: . striyah. kāmita|kāminyo, lokah. pūjita|pūjakah. . dvāv imau kan. takau tīks. nau . . śarīra|pariśosi . nau: . yaś c’ â|dhanah. kāmayate, yaś ca kupyaty an|īśvarah. . dvāv eva na virājete viparītena karmanā: . grha . |sthaś ca nirārambhah, . kāryavāmś . c’ âiva bhiksuka . h. . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

The One without a second,* a being whom you, my king, do not understand, is truth; the stairway to heaven, like a ferry between two shores. There is one and only one problem with the forgiving: people assume that a man who possesses forgiveness is incompetent. A man’s forgiveness should not be considered a fault but his greatest strength. For while forgiveness is a quality of the incompetent, forgiveness is also the adornment of the competent. Forgiveness is a means of subjuga- . tion on earth, for what goal is not achieved through forgiveness? What can a wicked man do when he has the sword of peace in his hand? Just as fire subsides when it has fallen on the grassless ground, so the man who does not forgive his enemy yokes himself with sins. Virtue is the one greatest good, forgiveness the one ultimate peace, knowledge the one greatest insight, and non-violence the one path to happiness. Just as a snake devours creatures that live in holes in the ground, so the earth devours these two: a king who does not fight, and a brahmin who does not go on pilgrimages. A man shines in this world by doing two things: not speaking unkindly, and not honoring anything wicked. These are the . two kinds of people who put all their faith in others, tigerlike man: women who love men because others love them, and those who honor men because others worship them. These are the two sharp, thorn-like diseases that emaciate the body: a low man full of desire, and a powerless man who is angry. There are two sets of people whose unconventional behavior means they are not illuminated: a householder who abstains from all work, and a mendicant 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

dvāv imau purusau, h: . rājan, svargasy’ ôpari tis. thata . . prabhuś ca ksamayā yukto, daridraś ca pradānavān. . nyāy’|āgatasya dravyasya boddhavyau dvāv atikramau: a|pātre pratipattiś ca, pātre c’ â|pratipādanam. .

dvāv ambhasi nives. tavyau gale baddhvā dr. dhā . . m . śilām: dhanavantam a|dātāram, . daridram . c’ â|tapasvinam. dvāv imau, purusa . |vyāghra, sūrya|man. dala . |bhedinau: parivrād. yoga|yuktaś ca, rane . c’ âbhimukho hatah. . tray’ ôpāyā manusyā . nā . m . śrūyante, Bharata’|rsabha: . kanīyān, madhyamah, . śres. tha, . iti› veda|vido viduh. . tri|vidhāh. purusā, . rājann: uttam’|âdhama|madhyamāh. . niyojayed yathāvat tāms . tri|vidhesv . eva karmasu. traya ev’ â|dhanā, rājan: bhāryā, dāsas, tathā sutah; . yat te samadhigacchanti, yasya te, tasya tad dhanam.

.

harana . m . ca para|svānām, . para|dār’|âbhimarśanam, suhrdaś ca parityāgas trayo dosā . . h. ksay’ . |āvahāh. . tri|vidham . narakasy’ êdam . dvāram . nāśanam ātmanah: . kāmah, . krodhas, tathā lobhas. tasmād etat trayam . tyajet. vara|pradānam . rājyam . ca putra|janma ca, Bhārata, śatroś ca moksa trīni . na . m . krcchrāt . . c’ âikam . ca tat samam. bhaktam . ca, bhajamānam . ca, ‹tav’ âsm’ îti› ca vādinam trīn etāñ charana ’pi na samtyajet. . m . prāptān visame . . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

engaged in work. There are two sets of men, my king, who stand beyond heaven: a master endowed with forgiveness, and a beggar who is generous. Wealth may be acquired correctly, but the following two actions must be understood as transgressions: giving it to an unworthy man, and not giving it to a worthy man. There . are two kinds of people who should have a solid rock tied to their neck and be drowned: a rich man who is ungenerous, and a beggar who is not austere. There are two things, tigerlike man, which split the disk of the sun: someone who practices the discipline of renunciation, and someone who dies face forward in battle. Bull of the Bharatas, there are said to be three states of men. Those who know the Veda know them as: inferior, middling, and greatest. There are three sorts of men, my king: the best, the worst, and the middling. One ought to match them properly to the three sorts of occupation. There are three groups who own no property, my king: wives, slaves, and sons; for whatever wealth they have passes to whoever owns them. Theft of someone else’s property, adultery with someone . else’s wife, and abandoning a friend are the three sins which bring destruction. The door to hell and self-destruction has three forms: desire, anger, and greed. Therefore, avoid these three. The giving of a boon, a kingdom, and the birth of sons, Bhárata, are three things which are equal to one: release from the trouble of an enemy. One who reveres you, one who begs you, saying ‘I am yours,’ and one who has come to you for refuge are three people whom one should not abandon even in times of trouble. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

catvāri rājñā tu mahā|balena varjyāny āhuh, tāni vidyāt; . pan. ditas .

alpa|prajñaih. saha mantram . na kuryān

na dīrgha|sūtrai, rabhasaiś, cāranaiś . ca.

.

catvāri te, tāta, grhe . vasantu

śriy” âbhijus. tasya grha . . |stha|dharme: vrddho jñātir, avasanna h . . kulīnah, . sakhā daridro, bhaginī c’ ân|apatyā.

catvāry āha, mahā|rāja, sādyaskāni Brhaspati h. .

prcchate tri|daś’|Êndrāya. tān’ îmāni nibodha me: .

devatānām anubhāvam . ca samkalpam, . . ca dhīmatām, vinayam . krta . |vidyānām, . vināśam . pāpa|karmanām. . catvāri karmāny . abhayam . |karāni .

bhayam . prayacchanty a|yathā|krtāni. . mān’|âgnihotram, uta māna|maunam, . mānen’ âdhītam, uta māna|yajñah. .

pañc’|âgnayo manusye . na . paricaryāh. prayatnatah: .

pitā, māt”, âgnir, ātmā ca, guruś ca, Bharata’|rsabha. . . pañc’ âiva pūjaya˜l loke yaśah. prāpnoti kevalam: devān, pit¯rn, . manusyā . mś . ca, bhiksūn . atithi|pañcamān. pañca tv” ânugamisyanti yatra yatra gamisyasi: . .

mitrāny, . a|mitrā, madhya|sthā, upajīvy’|ôpajīvinah. .

pañc’ êndriyasya martyasya chidram . ced ekam indriyam, tato ’sya sravati prajñā drte . h. pātrād iv’ ôdakam. 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

They say, and a wise man would know, that there are four things that should be avoided by a powerful king: he should not take advice from men of little intelligence, procrastinators, violent men, or spies. My friend, may you pos- . sess good fortune, living by the duties of a householder, and may these four reside with you: an elderly relative, a wellborn man who has fallen on hard times, a poverty stricken friend, and a childless sister. When asked by Indra, lord of the thirty gods, Brihas· pati replied that these four things can take immediate effect, great king. Learn them from me: the intention of the gods, the opinion of the wise, the training of the learned, and the destruction of miscreants. There are four things which create safety but which bestow fear when done improperly: an Agni·hotra sacrifice instituted through pride, proud silence, study through pride, and sacrifice done out of pride. A man should take care of five fires with effort: one’s father, one’s mother, fire itself, oneself, and one’s teacher, bull of the Bharatas. Only by worshipping these five does one . attain fame in this world: the gods, ancestors, men, mendicants, and guests are the fifth. Five things will go wherever you go, following you: friends, enemies, the indifferent, those upon whom you depend, and those who depend on you. If one of a mortal man’s five senses has a hole, then the knowledge runs out, just as water leaks from a leather water bag. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

sa . d. dosā . h. puruse . n’ . êha hātavyā bhūtim icchatā: nidrā, tandrī, bhayam, . krodha, ālasyam, . dīrgha|sūtratā. sa . d. imān puruso . jahyād bhinnām . nāvam iv’ ârnave: . a|pravaktāram ācāryam, an|adhīyānam rtvijam, . .

a|raksitāra m . . rājānam, . bhāryām . c’ â|priya|vādinīm, grāma|kāmam . ca gopālam, . vana|kāmam . ca nāpitam. sa . d. eva tu gunā . h. pumsā . na hātavyāh. kadā cana: satyam, dhrti . dānam, an|ālasyam, an|asūyā, ksamā, . . h. . arth’|āgamo, nityam a|rogitā ca, priyā ca bhāryā priya|vādinī ca, vaśyaś ca putro, ’rtha|karī ca vidyā sa . d. jīva|lokasya sukhāni, rājan. sa ātmani nityānām aiśvaryam . n. nām . . yo ’dhigacchati na sa pāpaih. kuto ’n|arthair yujyate vijit’|êndriyah. . sa . d. ime sa . tsu . jīvanti, saptamo n’ ôpalabhyate: caurāh. pramatte jīvanti, vyādhitesu . cikitsakāh, .

.

pramadāh. kāmayānesu, . yajamānesu . yājakāh, . rājā vivadamānesu, . nityam . mūrkhesu . pan. ditā . h. . sa . d. imāni vinaśyanti muhūrtam an|aveksa . nāt: . gāvah, h. . sevā, kr. sir, . bhāryā, vidyā, vr. sala . |samgati . . 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

A man who wishes for prosperity should avoid these six faults: sleep, laziness, fear, anger, sloth, and procrastination. A man should abstain from these six as though they were a broken ship on the sea: a teacher who does not teach, a priest who is not learned, a king who does not defend, a . nagging wife, a cowherd who longs for the village, and a barber who longs for the forest. But there are also six virtues that a man should never avoid: truth, generosity, industry, politeness, forgiveness, and constancy. My king, reaching one’s goals, constant health, an affectionate and kindly spoken wife, slaves, sons, and knowledge which brings profit, are the six pleasures of the world of the living. The man who achieves lordship over these eternal six within himself, and has his senses under control, will not meet evil or disadvantage from any quarter. These six live off another six, but no seventh can be found: thieves live off negligence, doctors live off the diseased, lust- . ful women live off lustful men, sacrificers off those who sacrifice, kings off the quarrelsome, and teachers always live off fools. These six are lost through a moment’s carelessness: cattle, servants, the harvest, one’s wife, knowledge, and a community of low born people. 

      (.)   Kathleen Garbutt  .  J  : ..

·  –    

sa . d. ete hy avamanyante nityam . pūrv’|ôpakārinam: . ācāryam . śiksitā . h. śisyā . h, . krta . |dārāś ca mātaram, nārīm . vigata|kāmās tu, krt’ . |ârthāś ca prayojakam, nāvam . nistīrna . |kāntārā, āturāś ca cikitsakam. ārogyam ānr. nyam a|vipravāsah, . . sadbhir manusyai h, . h. saha samprayoga . . sva|pratyay’|āvrttir, a|bhīta|vāsah. . sa . d. jīva|lokasya sukhāni, rājan. .

īrsur, . ghr. nī, . na samtu . s. ta . h, . krodhano, nitya|śa˙nkitah, . para|bhāgy’|ôpajīvī ca sa h. . d. ete nitya|duhkhitā . . sapta dosā . h. sadā rājñā hātavyā vyasan’|ôdayāh, . prāyaśo yair vinaśyanti krta . |mūlā ap’ īśvarāh: . striyo, ’ksā, pānam, . mrgayā, . . vāk|pārusya . m . ca pañcamam, mahac ca dan. da artha|dūsa eva ca. . |pārusyam, . . nam . as. tau h: . pūrva|nimittāni narasya vinaśisyata . . brāhmanān . prathamam . dves. ti, . brāhmanaiś . ca virudhyate, brāhmana . |svāni c’ ādatte, brāhmanā . mś . ca jighāmsati, . ramate nindayā c’ âisā . m, . praśamsā . m . n’ âbhinanadati,

.

n’ âinān smarati krtye . su, . yācitaś c’ âbhyasūyati. etān dosān . narah. prājño budhyed, buddhvā visarjayet. 

      (.)   Kathleen Garbutt  .  J  : ..

’  –

These six former benefactors are always treated contemptuously: so it is between students and teachers, married girls and their mothers, those whose desire has passed and their wives, those who have completed business transactions and their creditors, those who have crossed the wilderness and their vessel, as well as the sick and their doctors. Health, freedom from obligation, living in one’s home country, contact with good men, living free from fear, and living according to one’s own rules: these are the six pleasures of the world of the living, my king. The envious man, passionate . man, discontented man, angry man, distrustful man, and the man who depends on hand-outs from others, are the six who are eternally miserable. A king must always avoid the seven sins which are the means to ruin, and because of which, as a general rule, even firmly rooted kings perish: women, gambling, hunting, drinking, and insulting language as the fifth, as well as especially violent punishment, and putting wealth to bad use. There are eight omens of a man’s destruction: the first is his hatred of brahmins, next his fighting with brahmins, his theft of brahmins’ property, his wanting to kill brahmins, the pleasure he takes in ridiculing them, his displeasure in praising them, his failure to remember them in his affairs, . and his indignation when they entreat him. These are the faults which a wise man who makes use of his intelligence would be sensible to avoid. 

      (.)   Kathleen Garbutt  .  J  : ..

c l ay s

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WWW.CL AYSANSKRITLIBRARY.COM The embassies which structure “Preparations for War,” Book Five of the Maha·bhárata, are futile formalities. Peace has no real chance. From the outset each side assembles their armies. But in this first volume’s great philosophical passage, the “Sanat·sujatíya,” the Indian epic hero’s fundamental question is addressed: Where does true honor lie?

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL War Prep I Cover.indd 1

CL AY SANSKRIT LIBRARY ar y

Gurcharan Das, former CEO of Procter & Gamble India, is author of the international bestseller as well as several plays, a novel, and numerous essays and countless columns.

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Kathleen Garbutt translates Sanskrit literature for the JJC Foundation, copublishers (with NYU Press) of the Clay Sanskrit Library. She has also translated Maha·bhárata Book Four, “Viráta.”

maha·bhárata v preparations for war i

Maha·bhárata Book Five

Preparations for War Volume One

garbutt

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

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KATHLEEN GARBUTT With a Foreword by Gurcharan Das NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Volume One (of two) of “Preparations for War,” Book Five of the Maha·bhárata. The Pándavas believe they have completed the terms of their exile, though Duryódhana claims that they did not live unknown for the full thirteenth year, since Árjuna was recognized in the battle at the end of the preceding book, “Viráta.” While the Pándavas and Kurus make their preparations for war they organize a series of embassies to negotiate peace. This volume constantly highlights the inevitability of conflict and the futility of negotiation. Yet most characters are concerned that war between family cannot fail to be sinful. In response to their dilemma we have the “Sanat·sujatíya,” a philosophical passage to rival the “Bhagavad gita,” albeit not as famous. Like the “Gita,” the “Sanat·sujatíya” tells that karma will not chain one in the cycle of rebirth, provided that one can refrain from desire. Through understanding the truth of non-duality, that the world is mere illusion, one can be subsumed into eternal existence with Brahman. This view of dharma recognizes the limits of goodness and is grounded in human self-interest without being amoral.

20/2/08 10:07:12 am

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CL AY SANSKRIT LIBRARY ar y

c l ay s

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Kathleen Garbutt translates Sanskrit literature for the JJC Foundation, copublishers (with NYU Press) of the Clay Sanskrit Library. She has also translated Volume One of Maha·bhárata Book Five, “Preparations for War”, as well as Book Four, “Viráta.”

WWW.CL AYSANSKRITLIBRARY.COM While the first volume of “Preparations for War” showed the unlikelihood of peace, this second volume completes diplomacy’s total failure. Yet even on the brink of war, bleakness repeatedly and suddenly gives way to the heroism of a tragic anti-hero, the history of a sex-change, and rare visions of wondrous lands.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL War Prep II Cover.indd 1

maha·bhárata v preparations for war ii

Maha·bhárata Book Five

Preparations for War Volume Two

garbutt

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

KATHLEEN GARBUTT

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Volume Two (of two) of “Preparations for War,” Book Five of the Maha·bhárata. In this volume the fate of the Pándavas and Kurus is sealed, marking the turning point of the entire epic. The failure of diplomacy ensures war is now inevitable, and with this realization come dramatic arguments, miracles, and temptations. Like all great literature, the Maha·bhárata explores timeless problems of humanity. Here are explored the realities of human nature in times of conflict. The lust for power and bloodshed overwhelms all attempts at negotiation. Today, just as then, warmongers prevail; the observations of an ancient culture are far from obsolete. Interwoven with these somber acts are beautiful accounts of divinities, magical realms and legendary marvels, parables and tales which serve to balance the narrative’s cynicism and dread. This second volume of “Preparations for War” is a rich and entrancing mix of epic war and mythic wonderment. Black and white unexpectedly give way to shades of gray, and so the book continues to surprise the reader.

2/5/08 15:31:27

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

      (.)   Kathleen Garbutt  .  M  : ..

MAHĀBHĀRATA BOOK FIVE

PREPARATIONS FOR WAR VOLUME

TWO

TRANSLATED

BY

Kathleen Garbutt

NEW

YORK

UNIVERSITY

JJC

FOUNDATION

PRESS



      (.)   Kathleen Garbutt  .  M  : ..

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN ---- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Mahābhārata. Udyogaparva. English & Sanskrit. Mahābhārata. Book five, Preparations for war / translated by Kathleen Garbutt. – st ed. p. cm. – (The Clay Sanskrit library) Epic poetry. In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. Includes bibliographical references and index. ISBN: ---- (cloth : alk. paper) I. Garbutt, Kathleen. II. Title. III. Title: Preparations for war. BL..UE  .'–dc 

      (.)   Kathleen Garbutt  .  M  : ..

CONTENTS CSL Conventions

vii

Introduction

xv

MAHA·BHÁRATA V – PREPARATIONS FOR WAR II

–

Krishna’s Journey

–

The Meeting Begins



–

The Tale of Mátali



– The Tale of Gálava



– Yayáti’s Fall



– The Debate Continues



– The Tale of Vídula



– The Temptation of Karna



– Késhava Returns to the Pándavas



– Ulúka’s Embassy



– The Count of Chariots and Great Warriors



– The Tale of Amba



– Bhishma and Rama’s Duel Begins



      (.)   Kathleen Garbutt  .  M  : ..



– Rama is Defeated



– Shikhándini Becomes Shikhándin



Notes



Emendations to the Sanskrit Text



Glossary of Common Names and Epithets



Index



      (.)   Kathleen Garbutt  .  M  : ..

–

SHIKHÁNDINI BECOMES SHIKHÁNDIN

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

 uvāca: . Ś. , . Gā˙ngeya, kanyā bhūtvā purā tadā puruso . ’bhūd, yudhi śres. tha? . tan me brūhi, pitā|maha.

K

 . uvāca: bhāryā tu tasya, rāj’|êndra, Drupadasya mahī|pateh. mahisī . dayitā hy āsīd, a|putrā ca, viśām . pate. etasminn eva kāle tu Drupado vai mahī|patih. apaty’|ârthe, mahā|rāja, tosayām āsa Śa˙nkaram. . asmad|vadh’|ârtham niścitya tapo ghoram . . samāsthitah, . «rte . kanyām, . mahā|deva, putro me syād! iti» bruvan. «bhagavan, putram icchāmi Bhīsma . m . praticikīrsayā!» . ity ukto deva|devena «strī|pumāms . te bhavisyati. . nivartasva, mahī|pāla, n’ âitaj jātv anyathā bhavet.» sa tu gatvā ca nagaram . bhāryām idam uvāca ha: «krto yatno mayā, devi, putr’|ârthe tapasā mahān† . ‹kanyā bhūtvā pumān bhāvī, iti› c’ ôkto ’smi Śambhunā. punah. punar yācyamāno ‹dis. tam, ity› abravīc Chivah; . . ‹na tad|anyac ca bhavitā, bhavitavyam hi tat tathā.› » . tatah. sā niyatā bhūtvā rtu . |kāle manasvinī patnī Drupada|rājasya Drupadam . praviveśa ha. | |dr. s. tena lebhe garbham yathā kāla m vidhi karmanā . . . . | Pārsatasya, mahī pāla, yathā mā m Nārado ’bravīt. . . tato dadhāra sā devī garbham . rājīva|locanā; tām sa rājā priyā m bhāryā m . . . Drupadah, . Kuru|nandana, putra|snehān mahā|bāhuh. sukham paryacarat tadā. . 

      (.)   Kathleen Garbutt  .  M  : ..

 said:   S, born originally as a girl, then become a man, son of the Ganges, greatest fighter in war? Tell me, grandfather.

H

 replied: Lord of kings and earth, King Drúpada’s beloved queen had no sons. During this time King Drúpada appeased Shánkara for the sake of children, great sovereign, and, resolved upon my destruction, he practiced horrifying asceticism and prayed, “Great god, may I have a son rather than a daughter! Blessed lord, I want a son to take revenge upon Bhishma!” But he was told by the god of gods, “You will have a child who is male and female. Go back, earth-protector, for it will certainly not be otherwise.” So he went back to his city and told his wife: “I have made great effort for a son though asceticism, my queen, and Shambhu told me that I will have a daughter who will become a man. I begged Shiva over and over again, but he said, ‘It is fated. What must be will be just so, and not otherwise.’” The spirited wife of King Drúpada purified herself properly when her time came, and went to Drúpada. She conceived a child by Párshata, king, at the proper time in the manner prescribed by custom, so Nárada told me. The lotus-eyed queen bore her child in the womb, and longarmed King Drúpada happily fussed over his dear wife, descendant of the Kurus, out of affection for his son. 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

·  –    

.

.

.

sarvān abhiprāya|krtān bhāry” âlabhata, Kaurava, . a|putrasya sato rājño Drupadasya mahī|pateh. . yathā|kālam . tu sā devī mahisī . Drupadasya ha kanyām . pravara|rūpām . tu prājāyata, nar’|âdhipa. | a putrasya tu rājñah. sā Drupadasya manasvinī khyāpayām āsa, rāj’|êndra, «putro hy esa . mam’ êti» vai. tatah. sa rājā Drupadah. pracchannāyā, nar’|âdhipa, putravat putra|kāryāni . sarvāni . samakārayat, raksa . na . m . c’ âiva mantrasya mahisī . Drupadasya sā cakāra sarva|yatnena, bruvānā putra ity uta, . na ca tām . veda nagare kaś cid anyatra Pārsatāt. . |tejasah, śraddadhāno hi tad vākyam devasy’ âcyuta . . chādayām āsa tām . kanyām, . pumān iti ca so ’bravīt. jāta|karmāni . sarvāni . kārayām āsa pārthivah. pumvad vidhāna|yuktāni; Śikhan. d” . . îti ca tām . viduh. . aham ekas tu cārena, vacanān Nāradasya ca, . jñātavān deva|vākyena, Ambāyās tapasā tathā.  . uvāca:  . Drupadah. sutāyāh. sarva|karmasu, tato lekhy’|ādisu . tathā, śilpesu . ca, param . |tapa; | | | isv astre c’ âiva, rāj’ êndra, Dro na śi syo babhūva ha. . . . tasya mātā, mahā|rāja, rājānam . vara|varninī . codayām āsa bhāry”|ârtham kanyāyā h putravat tadā. . . |yauvanām tatas tām . Pārsato . dr. s. tvā . kanyām . samprāpta . striyam matvā tataś cintā m prapede saha bhāryayā. . . 

      (.)   Kathleen Garbutt  .  M  : ..

   –

Káurava, the wife of sonless King Drúpada, the lord of earth, had her every wish granted, and when the time came, Drúpada’s goddess queen gave birth to a beautiful daughter, lord of men. Sonless King Drúpada’s spirited wife announced that her child was a son, lord of kings. King Drúpada, O lord of men, arranged to have all the necessary ceremonies for sons perfomed for his secret daughter as though she were a son, and Drúpada’s wife protected her counsels, making every effort and proclaiming that her daughter was in fact a son. And no one in the city, barring Párshata, knew that the child was a girl. Trusting in the word of the eternally glorious god, the king concealed his daughter and claimed she was male. The king had all the proper and customary birth rites for a boy performed, and people knew her as Shikhándin. I alone knew, through a spy, Nárada’s words, the god’s words, and Amba’s asceticism.  continued: D  trouble over every matter concerning his daughter, such as writing and so on and the arts, enemyscorcher, and she was even a pupil of Drona’s in archery, lord of kings. The child’s flawlessly complexioned mother, great sovereign, urged the king to see about getting a wife for his daughter, as though she were a boy. Then, when Párshata saw that his daughter was reaching full maturity, it dawned on him that she was, in fact, a woman; and he and his wife became anxious. 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

·  –    

 uvāca: kanyā mam’ êyam yauvanam . samprāptā . . śōka|vardhinī; | mayā pracchāditā c’ êyam vacanāc chūla pā nina . . h. . .

.

” ôvāca: na tan mithyā, bhavisyati kathañ cana; . trailokya|kartā kasmādd hi vrthā vaktum ih’ ârhati? . yadi te rocate, rājan, vaksyāmi. śr. nu . . me vacah. . śrutv” êdānīm prapadyethā h svā m . . . matim, . Pr. sat’ . |ātmaja. kriyatām asya yatnena vidhivad dāra|samgraha h. . . bhavitā tad|vacah. satyam, iti me niścitā matih. . tatas tau niścayam . krtvā . tasmin kārye ’tha dampatī . varayām . cakratuh. kanyām . Daśārn’ . |âdhipateh. sutām. tato rājā Drupado rāja|simha . h. sarvān rājñah. kulatah. sanniśāmya Dāśārnakasya nr. |pates tanū|jām . . Śikhan. dine varayām āsa dārān. . Hiranyavarm” êti nrpo . . yo ’sau Dāśārnaka . h. smrta . h, . | sa ca prādān mahī pālah. kanyām . tasmai Śikhan. dine, . sa ca rājā Daśārne . su . mahān āsīt su|durjayah. |dharsā, Hiranyavarmā dur . . mahā|seno, mahā|manāh. . krte vivāhe tu tadā sā kanyā, rāja|sattama, . yauvanam . samanuprāptā sā ca kanyā Śikhan. dinī. . | krta dāra h Śikha n dī ca Kāmpilya m punar āgamat. . . .. . tatah. sā veda tām kanyā m kañ cit kāla m striya m . . . . kila. Hiranyavarma na . . h. kanyā jñātvā tām . tu Śikhan. dinīm, . dhātrīnā nyavedayat . m . ca sakhīnām . ca vrīdayānā . kanyām . Pañcāla|rājasya sutām . tām . vai Śikhan. dinīm. . mahā|rāja,



      (.)   Kathleen Garbutt  .  M  : ..

   –

 said: My daughter has matured into a woman, increasing my grief, and I have concealed her at the command of Shiva who carries his trident in hand.   replied: It can in no way whatsoever be wrong, great king, for why would the creator of the three worlds speak deceitfully? If it pleases you, king, I will speak. Listen to what I have to say, and when you have heard it you should then do what you think right, son of Príshata. Let our child’s marriage duly and carefully be arranged. The god’s words will come true. I am sure of it in my heart. So, when those two, the master and mistress of the house, had made up their minds on this task, they chose the maiden daughter of the king of Dashárna. Lion-like King Drúpada found out about the lineages of all kings, and chose the daughter of the king of Dashárna to be Shikhándin’s bride. Now, the Dashárnaka king was called Hiránya·varman, and the earth-protector bestowed his daughter upon Shikhándin. King Hiránya·varman was a mighty king in the Dashárna lands: invincible, unassailable, possessed of an enormous army, and high-minded. Once the marriage had taken place, greatest of kings, the girl reached full maturity, as did the lady Shikhándini. Once he had married, Shikhándin returned once more to Kampílya, and the wife, so they say, found out after a while that her husband was in fact a woman. When the daughter of Hiránya·varman realized that Shikhándin was in fact Shikhándini, she ashamedly revealed to her nurses 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

·  –     .

.

.

tatas tā, rāja|śārdūla, dhātryo Dāśārnikās tadā jagmur ārtim āsur eva ca. . parām . presyā . h, . presayām . tato Daśārn’ . |âdhipateh. presyā . h. sarvā nyavedayan vipralambham . yathā|vrtta . m; . sa ca cukrodha pārthivah. . Śikhan. dy rāja|kule tadā . api, mahā|rāja, pumvad . vijahāra mudā yuktah, strītva m n’ . . âiv’ âtirocayan. tatah. katipay’|âhasya tac chrutvā, Bharata’|rsabha, . Hiranyavarmā, rāj’|êndra, rosād . . ārtim . jagāma ha. tato Dāśārnako rājā tīvra|kopa|samanvitah. . dūtam prasthāpayām āsa Drupadasya niveśanam. . tato Drupadam āsādya dūtah. Kāñcanavarmana . h. eka ek’|ântam utsārya raho vacanam abravīt: «Dāśārna . |rājo, rājams, . tvām idam . vacanam abravīt, abhisa˙ . ngāt prakupito, vipralabdhas tvayā, ’n|agha: ‹avamanyase mām, . nr. |pate, nūnam . dur|mantritam . tava, yan me kanyām . sva|kany”|ârthe mohād yācitavān asi! tasy’ âdya vipralambhasya phalam . prāpnuhi, dur|mate! esa . tvām . sa|jan’|âmātyam uddharāmi! sthiro bhava!› »  . uvāca:   dūtena Drupadasya tadā, nrpa, . corasy’ êva grhītasya na prāvartata bhāratī. . sa yatnam akarot tīvram . sambandhiny anumānane, dūtair madhura|sambhā sair . . «na tad ast’ îti» samdiśan. . 

      (.)   Kathleen Garbutt  .  M  : ..

   –

and friends that the child of the Panchála king was in fact a girl, Shikhándini. Tiger-like king, the Dashárnika nurses were then extremely distressed, and they sent word of the subterfuge. The messengers all explained the whole deception, just as it had occurred, to the Dashárna king; and he became furious. For his part, O great king, Shikhándin happily behaved like a man in the royal palace, and did not overly highlight his womanhood. But when Hiránya·varman heard a few days later, bull of the Bharatas, he was terribly afflicted with fury, lord of kings. The Dashárnaka king, filled with acute rage, assigned a messenger to Drúpada’s house. Hiránya·varman’s messenger approached Drúpada alone, and, taking him aside, he said these words privately: “The Dashárna king has been deceived by you and is furious about his humiliation, so he sends this message to you, sinless sovereign: ‘You have insulted me, king, and I surely received bad advice from you, for you foolishly begged me for my daughter for the sake of what turns out to be your own daughter! Now reap the fruit of your subterfuge, wicked-minded man! I will annihilate you and your family and advisors! Be ready!’”  continued: A  the messenger in this way, Drúpada didn’t say a word, king, as though he were a thief caught redhanded. Instead, he made a great effort to conciliate his relation by sending sweet-speaking messengers to assure him 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

·  –    

.

.

.

sa rājā bhūya ev’ âtha jñātvā tattvam ath’ āgamat, kany” êti Pāñcāla|sutām . tvaramāno . viniryayau. tatah. sampre sayām āsa mitrā nām a|mit’|âujasām . . . duhitur vipralambham . tam . dhātrīnā . m . vacanāt tadā. | tatah. samudayam k rtvā balānā m rāja sattamah, . . . . abhiyāne matim . cakre Drupadam . prati, Bhārata. tatah. sammantrayām āsa mantribhih. sa mahī|patih. . | Hiranyavarmā, rāj’ êndra, Pāñcālyam . . pārthivam . prati. tatra vai niścitam . tesām . abhūd rājñām . mah”|ātmanām: «tathyam bhavati ced etat, kanyā, rājañ, Śikhan. dinī, . . baddhvā Pañcāla|rājānam ānayisyāmahe grham . . anyam . rājānam ādhāya Pañcālesu . nar’|ēśvaram | ghātayisyāma n r pati m Pāñcāla m . . . . sa|Śikhan. dinam.» . tat tad” ân|rtam ājñāya punar dūtān nar’|âdhipah. . prāsthāpayat Pārsatāya, «nihanm’ îti sthiro bhava!» .  . uvāca: sa hi prakrtyā . vai bhītah, . kilbisī . ca nar’|âdhipah, . | bhayam tīvram anuprāpto Drupada h p rthivī pati h. . . . . visrjya . dūtān Dāśārne . Drupadah. śoka|mūrcchitah. sametya bhāryām . rahite vākyam āha nar’|âdhipah. bhayena mahat” āvis. to, . hrdi . śokena c’ āhatah. | Pāñcāla rājo dayitām . mātaram . vai Śikhan. dina . h: . | |balah. «abhiyāsyati mām kopāt sambandhī su mahā . | Hiranyavarmā n r pati h kar samā no varūthinīm! . . . . . kim idānīm mūdhau kanyām imām . karisyāvo . . . prati? Śikhan. dī kila putras te kany” êti pariśa˙ n kita h. . . 

      (.)   Kathleen Garbutt  .  M  : ..

   –

that it was not true. But when the king had the truth confirmed again—that the Panchála prince was in fact a girl— he set out in a hurry. He sent word to his immeasurably energetic friends about the subterfuge played upon his daughter, trusting the testimony of her nurses. Then, raising his troops, the greatest of kings resolved to attack Drúpada, O Bhárata, and King Hiránya·varman debated with his advisors over means with which to deal with the Panchála king, lord of kings. Finally the high-souled kings came to a decision: “If Shikhándin really is a girl, king, then we will tie up the Panchála king and lead him home. We will install another king to be lord over the Panchálas, and we will kill the Panchála king and Shikhándin.” When he was made aware of their true decision, the lord of men sent messengers to Párshata once more, saying, “I will kill you! Be ready!”  continued: Since King Drúpada was both fearful by nature and, in this instance, culpable, the lord of earth was exceptionally scared. King Drúpada, stupefied by grief, sent messengers to Dashárna, and meeting his wife privately the Panchála king, filled with great fear and crushed by the grief in his heart, said to his dear wife, the mother of Shikhándin: “My incredibly powerful in-law, King Hiránya·varman, is marching against me in fury, dragging an army with him! What will we do about this girl now, fools that we are? Rumor has it that it is suspected that your son Shikhándin is really a girl. Apparently Hiránya·varman, with his allies, 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

·  –    

.

.

iti sañcintya yatnena sa|mitrah. sa|bal’|ânugah. ‹vañcito ’sm’ îti› manvāno mām . kil’ ôddhartum icchati! kim atra tathyam, . su|śroni, . mithyā kim? . brūhi, śobhane. śrutvā tvattah. śubham aham . vākyam . samvidhāsyāmy . . tathā. aham m . hi samśaya . . prāpto, bālā c’ êyam . Śikhándinī, tvam ca, rājñi, mahat k rcchra m sa mprāptā, vara|varnini. . . . . . | sā tvam sarva vimok sāya tattvam ākhyāhi p rcchata h; . . . . | | tathā vidadhyām, su śro ni, k rtyam āśu, śuci smite. . . . Śikhan. dini . ca mā bhais tvam, . vidhāsye tatra tattvatah. | krpay” âha m, var’ ārohe, vañcita h. putra|dharmatah; . . . | mayā Dāśārnako rājā vañcita h sa mahī pati h. . . . | tad ācaksva, mahā bhāge, vidhāsye tatra yadd hitam.» . jānatā hi nar’|êndrena . khyāpan’|ârtham . parasya vai | prakāśam . coditā devī pratyuvāca mahī patim.  . uvāca: . Ś.  mātā yathā|tattvam, . . nar’|âdhipa, ācacakse, . mahā|bāho, bhartre kanyām . Śikhan. dinīm. . «a|putrayā mayā, rājan, sa|patnīnām bhayād idam . kanyā Śikhan. dinī . jātā puruso . vai niveditā. tvayā c’ âiva, nara|śres. tha, . tan me prīty” ânumoditam, putra|karma krta . m . c’ âiva kanyāyāh, . pārthiva’|rsabha. . | bhāryā c’ ōdhā tvayā, rājan, Daśār n’ âdhipate h sutā, . . . | | | mayā ca pratyabhihitam deva vāky’ ârtha darśanāt, . 

      (.)   Kathleen Garbutt  .  M  : ..

   –

forces, and followers, is utterly convinced and wants to kill me, believing that he has been tricked! What is true and what is false, shapely-hipped lady? Tell me, beautiful lady. When I have heard your fine words I will implement your advice. I am certainly in danger, and so too is the child Shikhándini. You, my queen, are also plunged into great misfortune, flawlessly complexioned lady. Tell me the truth when asked, so that everyone may escape their doom. I will do what must swiftly be done, shapely-hipped and sweet-smiling lady. Don’t worry about Shikhándin, for I will act upon the truth of the matter, and with compassion. I was deceived by means of the lawful rights performed for a son, shapely-hipped lady, and so I inadvertently deceived the Dashárnaka king and earth-lord. So tell me, noble lady, how I may act for the good.” Though the lord of men did, in fact, know, he urged her publicly in order to denounce someone else. The queen answered the king.  continued: S’  told her husband the precise truth about her daughter Shikhándin, long-armed lord of men. “Since I had no sons, king, and I was afraid of the other wives, I had it made known that Shikhándin of dubious gender was a boy, though she was born a girl. You approved this because you loved me, greatest of men, and the rituals for a son were performed on a daughter, bull-like king. You married her to the Dashárna king’s daughter, and I ap

      (.)   Kathleen Garbutt  .  M  : ..

.

.

·  –    

.

.

.

‹kanyā bhūtvā pumān bhāv” îty› evam . c’ âitad upeksitam.» . etac chrutvā Drupado Yajñasenah. sarvam . tattvam . mantravidbhyo nivedya mantram rājā mantrayām āsa, rājan, . yathā|yuktam . raksa . ne . vai prajānām. sambandhakam . c’ âiva samarthya tasmin Dāśārnake vai nr. |patau, nar’|êndra, . svayam k rtvā . . vipralambham . yathāvan mantr’|âik’|âgro niścayam . vai jagāma. sva|bhāva|guptam nagaram āpat|kāle tu, Bhārata, . gopayām āsa, rāj’|êndra, sarvatah. samalamk . rtam, . ārtim . ca paramām . rājā jagāma saha bhāryayā Daśārna . |patinā sārdham . virodhe, Bharata’|rsabha. . «katham sambandhinā sārdha m . . na me syād vigraho mahān?» iti sañcintya manasā devatām arcayat tadā. tam . tu dr. s. tvā . tadā, rājan, devī deva|param . tadā arcām . prayuñjānam atho, bhāryā vacanam abravīt: «devānām . pratipattiś ca satyam . sādhu|matā satām. | kim u duhkh’ âr nava m prāpya? tasmād arcayatām . . . . gurūn, | daivatāni ca sarvāni . pūjyantām . bhūri daksi . nam, . agnayaś c’ âpi hūyantām . Dāśārna . |pratisedhane. . a|yuddhena nivrtti . m . ca manasā cintaya, prabho. devatānām prasādena sarvam etad bhavisyati. . . |locana, mantribhir mantritam . sārdham . tvayā, prthula . purasy’ âsy’ â|vināśāya yac ca, rājams, tathā kuru. . daivam . hi mānus’ . |ôpetam . bhrśa . m . sidhyati, pārthiva, 

      (.)   Kathleen Garbutt  .  M  : ..

   –

proved it, looking to the meaning of Rudra’s prophecy that the girl would become a man. I overlooked the problem.” Having heard this, King Drúpada Yajña·sena explained the entire truth of the matter to his advisors and took counsel, my king, as to the best course for the protection of his citizens. Lord of kings, he judged that the tie of kinship with the Dashárnaka king remained intact, despite the fact that he himself had cheated him, so he came to a decision, singlemindedly set on his counsel. Though the city had natural protection for times of disaster, Bhárata, he defended it by girding it all round, lord of kings. The king and his wife fell into the deepest depression over their quarrel with the king of Dashárna, bull of the Bharatas. Drúpada worshipped the gods in his mind as he pondered how he could avoid large-scale hostilities against a relative. As the queen watched him absorbed with the gods and busy worshipping them, his wife addressed him, king, saying: “Good men certainly regard observances for the gods as excellent. How much more so when sunk in an ocean of troubles? Therefore worship your gurus, honor all the gods with rich rewards, and make offerings into the fire to ward off Dashárna. Lord, ponder in your mind how to keep him back without resorting to war. Everything will turn out fine, by the grace of the gods. Large-eyed king, act according to your counsels with your advisors, to prevent the destruction of the city. Certainly, when fate is assisted by human exertion, success is great, king, but when the two are in opposition 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

.

·  –    

paraspara|virodhādd hi siddhir asti na c’ âitayoh. . tasmād vidhāya nagare vidhānam . sacivaih. saha arcayasva yathā|kāmam . daivatāni, viśām . pate!» evam samā nau . sambhā . . . tau dr. s. tvā . śoka|parāyanau . Śikhan. dinī . tadā kanyā vrīdit” . êva tapasvinī. tatah. sā cintayām āsa, «mat|krte ubhau . duhkhitāv . imāv, iti» tataś cakre matim . prāna . |vināśane. evam . sā niścayam . krtvā . bhrśa . m . śoka|parāyanā . nirjagāma grha . m . tyaktvā gahanam . nirjanam . vanam .

yakse nena pālitam. . na’ . rddhimatā, rājan, Sthūnākar . . tad|bhayād eva ca jano visarjayati tad vanam. |lepanam, tatra ca Sthūna . |bhavanam . sudhā|mrttika .

lāj’|ôllāpika|dhūm’|ādhyam, ucca|prākāra|toranam. . . tat praviśya Śikhan. dī . sā Drupadasy’ ātmajā, nrpa, . an|aśnātā bahu|titham . śarīram udaśosayat. . darśayām āsa tām h, . yaksa . h. Sthūno . mārdava|samyuta . . «kim artho ’yam h? . tav’ ārambha . . karisye. . brūhi mā|ciram!» «a|śakyam, iti» sā yaksa . m . punah. punar uvāca ha. «karisyām’ îti» vai ksipra m . . . pratyuvāc’ âtha guhyakah. . .

«dhan’|ēśvarasy’ ânucaro varado ’smi, nrp’ . |ātmaje, a|deyam api dāsyāmi. brūhi yat te vivaksitam.» . tatah. Śikhan. dī . tat sarvam akhilena nyavedayat tasmai yaksa nāya, Bhārata. . |pradhānāya Sthūnākar . . 

      (.)   Kathleen Garbutt  .  M  : ..

   –

to each other then there is assuredly no success. Therefore, worship the gods as much as you wish, lord of earth; but also act appropriately in the best interest of the city with your advisors!” When the maiden Shikhándini saw her parents talking, filled with grief, the austere girl was ashamed. Thinking it was her fault that they were both miserable, she made up her mind to end her life. With her decision made, she was greatly occupied with her grief, and she left her home and went to the dense, uninhabited forest. It was protected by a rich yaksha named Sthuna·karna, king, and people deserted the forest for fear of him. Sthuna’s house stood there, smeared with whitewashed clay, with a high wall and gateway, and rich with smoke from toasted rice cakes. Shikhándin, Drúpada’s daughter, entered the forest, king, and, fasting for many days, she desiccated her body. The yaksha Sthuna, filled with kindness, revealed himself to the girl, saying, “What goal are you trying to achieve? I will accomplish it. Tell me immediately!” But she kept replying to the yaksha, time and time again, saying: “It is impossible.” The gúhyaka quickly insisted, “I will do it! I am a follower of Kubéra the lord of wealth, and I am a granter of wishes, princess. I will grant the ungrantable. Tell me what you want to say.” So Shikhándin explained everything in detail to that chief yaksha, Sthuna·karna, O Bhárata. 

      (.)   Kathleen Garbutt  .  M  : ..

.

.

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Kathleen Garbutt translates Sanskrit literature for the JJC Foundation, copublishers (with NYU Press) of the Clay Sanskrit Library. She has also translated Volume One of Maha·bhárata Book Five, “Preparations for War”, as well as Book Four, “Viráta.”

WWW.CL AYSANSKRITLIBRARY.COM While the first volume of “Preparations for War” showed the unlikelihood of peace, this second volume completes diplomacy’s total failure. Yet even on the brink of war, bleakness repeatedly and suddenly gives way to the heroism of a tragic anti-hero, the history of a sex-change, and rare visions of wondrous lands.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL War Prep II Cover.indd 1

maha·bhárata v preparations for war ii

Maha·bhárata Book Five

Preparations for War Volume Two

garbutt

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

KATHLEEN GARBUTT

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Volume Two (of two) of “Preparations for War,” Book Five of the Maha·bhárata. In this volume the fate of the Pándavas and Kurus is sealed, marking the turning point of the entire epic. The failure of diplomacy ensures war is now inevitable, and with this realization come dramatic arguments, miracles, and temptations. Like all great literature, the Maha·bhárata explores timeless problems of humanity. Here are explored the realities of human nature in times of conflict. The lust for power and bloodshed overwhelms all attempts at negotiation. Today, just as then, warmongers prevail; the observations of an ancient culture are far from obsolete. Interwoven with these somber acts are beautiful accounts of divinities, magical realms and legendary marvels, parables and tales which serve to balance the narrative’s cynicism and dread. This second volume of “Preparations for War” is a rich and entrancing mix of epic war and mythic wonderment. Black and white unexpectedly give way to shades of gray, and so the book continues to surprise the reader.

2/5/08 15:31:27

Greg Bailey is Reader in Sanskrit at La Trobe University, Melbourne. Richard Gombrich has for the past twenty-eight years been Boden Professor of Sanskrit at Oxford University. He is General Editor of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

This anthology of the Love Lyrics of three Indian poets from the fourth to the eleventh centuries ce conjures up an atmosphere of love both sensual and social, ever in tension with love’s rejection or repression.

CLAY SANSKRIT LIBRARY

love lyrics

Love Lyrics

ámaru bhartri· hari bílhana

by ámaru & bhartri·hari Translated by GREG BAILEY

For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

clay s

bailey gombrich

& by bílhana Edited and translated by RICHARD GOMBRICH

Here is a new Clay Sanskrit Library translation of the Love Lyrics of three ancient Indian poets. Ámaru’s sophisticated seventh-century ce “Hundred Poems” are as much about the social aspects of courting, betrayal, feminine indignance and masculine selfpity as about sensuality. Bhartri·hari’s anthology “Love, Politics, Disenchantment” is the oldest of the three, from the fourth century. Interwoven throughout his three hundred idiosyncratic stanzas is a constant sense of skepticism about sensuality and love, economic and social power, and rejection of society and culture. In the eleventh century, Bílhana composed his intense “Fifty Stanzas of a Thief.” The poem is a thief ’s rhythmic remembrance, in the moments before his execution, of robbing a princess’s affections, and the clandestine pleasures of their love in both separation and enjoyment. The flavor of all these poems is the universalized aesthetic experience of love.

c  by the CSL. Copyright ! All rights reserved.

Love Lyrics

First Edition .

by Amaru, Bhartr.hari

The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN ---

Artwork by Robert Beer. Cover design by Isabelle Onians. Layout & typesetting by Somadeva Vasudeva. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

TRANSLATED BY

GREG BAILEY

& by Bilhan .a EDITED AND TRANSLATED BY

RICHARD GOMBRICH

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

Contents Sanskrit alphabetical order CSL conventions

 

LOVE LYRICS



Introduction by Greg Bailey



B·

Library of Congress Cataloging-in-Publication Data Love lyrics / by Amaru, Bhartrihari, and Bilhana ; edited and translated by Greg Bailey and Richard F. Gombrich. – st ed. p. cm. – (The Clay Sanskrit library) In English and Sanskrit; includes translations from Sanskrit. Includes translations and originals of Amaru’s Amaru´sataka, ´ Bhartr.hari’s Satakatraya, and Bilhan.a’s Caurapa˜nc¯a´sik¯a Includes bibliographical references and index. ISBN --- (cloth : alk. paper) . Love poetry, Sanskrit–Translations into English. I. Amaru. Amarusataka. English & Sanskrit. ´ II. Bhartr.hari. Satakatraya. English & Sanskrit. III. Bilhan.a, th cent. Caurapa˜nc¯a´sik¯a. English & Sanskrit. IV. Bailey, Greg, – V. Gombrich, Richard F. (Richard Francis), – VI. Series. PK.L  ’.–dc 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

Politics Passion Disenchantment

´ A Hundred Verses Introduction by Richard Gombrich

B´ı The Fifty Stanzas of a Thief

        

Notes  Index  A sandhi grid is printed on the inside of the back cover 

´ı:   

 

A

dy’ aˆpi t¯am . kanakaAcampakaAd¯amaAgaur¯ım . phull’AaˆravindaAvadan¯am . tanuAromaAr¯aj¯ım

supt’Aoˆ tthit¯am . madanaAvihvalaAs’Aalas’Aaˆn˙ g¯ım . vidy¯am . pram¯adaAgalit¯am iva cintay¯ami.

Ady’ aˆpi t¯am . . navaAyauvan’Aa¯d.hy¯am . ´sa´siAmukh¯ım p¯ınaAstan¯ım . punar aham . yadi gauraAk¯antim pa´sy¯ami manmathaA´sar’AaˆnalaAp¯ıd.it’Aaˆn˙ g¯ım . g¯atr¯an.i sam . prati karomi suA´s¯ıtal¯ani.

Ady’ aˆpi t¯am . . yadi punah. kamal’Aa¯yat’Aaˆks.¯ım pa´sy¯ami p¯ıvaraApayodharaAbh¯araAkhinn¯am sam . p¯ıd.ya b¯ahuAyugalena pib¯ami vaktram unmattavan madhukarah. kamalam . yath” eˆs.t.am.

Ady’ aˆpi t¯am . nidhuvanaAklamaAnih.Asah’Aaˆn˙ g¯ım a¯Ap¯an.d.uAgan.d.aApatit’AaˆlakaAkuntal’Aa¯lim pracchannaAp¯apaAkr.taAmantharam a¯vahant¯ım . kan.t.h’AaˆvasaktaAmr.duAb¯ahuAlat¯am . smar¯ami. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

S

till I recall her, golden as a wreath Of ch´ampaka flowers, her full-blown lotus face, Her slender line of down, her limbs confused By Passion, faint from passionate embrace; I recollect her as she rose from sleep Like knowledge carelessness has failed to keep. Still when I see the richness of her youth, The moon her face, the swelling of her breast. Her beauty’s pallor, and her every limb By Kama’s fire-bearing darts distressed, Even today as I recall that sight My limbs grow cold and shiver with delight. Still when her eyes, as lotus petals long, Like Fortune’s, goddess lotus-born, I see, And see her wearied by her bosom’s load, With both my arms clasping her close to me As honey-bee his darling lotus sips I would grow drunk on mead within her lips. Still I remember how her body lay Exhausted by our love, her pale cheeks lined With tumbled locks of hair, and round my neck The tendrils of her arms she tightly twined; Held me so close as if she bore within Her heart concealed some secret deed of sin. 

  

Ady’ aˆpi t¯am . surataAj¯agaraAgh¯urn.am¯anaA tiryagAvalatAtaralaAt¯arakaAd¯ırghaAnetr¯am ´sr.n˙ g¯araAs¯araAkamal’Aa¯karaAr¯ajaAham . s¯ım . vr¯ıd.a¯AvinamraAvadan¯am us.asi smar¯ami.

Ady’ aˆpi t¯am . . yadi punah. ´sravan.’Aa¯yat’Aaˆks.¯ım pa´sy¯ami d¯ırghaAvirahaAjvarit’Aaˆn˙ gaAyas.t.im a˙ngair aham . samupaguhya tato ’tig¯ad.ham . n’ oˆ nm¯ılay¯ami nayane na ca t¯am . tyaj¯ami.

Ady’ aˆpi t¯am . surataAt¯an.d.avaAs¯utraAdh¯ar¯ım . p¯urn.’AeˆnduAsundaraAmukh¯ım . madaAvihval’Aaˆn˙ g¯ım tanv¯ım . vi´sa¯laAjaghanaAstanaAbh¯araAnamr¯am . vy¯alolaAkuntalaAkal¯apavat¯ım . smar¯ami.

Ady’ aˆpi t¯am . masr.n.aAcandanaApa˙nkaAmi´sraA kast¯urik¯aAparimal’Aoˆ tthaAvisarpiAgandh¯am anyonyaAca˜ncuAput.aAcumbanaAkha˜njar¯ıt.aA yugm’Aaˆbhir¯amaAnayan¯am . ´sayane smar¯ami. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still I remember sleepless nights we passed In pleasure; her long eyes at break of day, Tremulous roving stars, threw sidelong looks Towards me, as in shame she turned away. A swan princess into a lotus bed Upon a lake of love inclined her head.



Still, could I once again behold my love, Her eyes so long they seemed to touch her ears, Could I behold my darling’s slender form, Long racked by parted lovers’ tender fears, I’d clasp that body wasted by love’s fever And close my eyes, and never more would leave her. Still I recall that lovely full-moon face, The disarray of her dishevelled tresses, The weight of ample hips and bosom, which Her dainty, passion-weary limbs depresses; These attributes her leading role enhance In love’s ecstatic, earth-dissolving dance. Still I recall the grace of her repose As she reclined, with perfume all around Arising from the fragrant musk of deer Blended with smoothest sandal finely ground. Her eyes in lovely fluttering imitate A curve-beaked wagtail billing with his mate. 

  Ady’ aˆpi t¯am . nidhuvane madhuAp¯anaArakt¯am . l¯ıl”Aaˆdhar¯am . kr.´saAtanum . capal’Aa¯yat’Aaˆks.¯ım k¯a´sm¯ıraApa˙nkaAmr.gaAn¯abhiAkr.t’Aaˆn˙ gaAr¯ag¯am . karp¯uraAp¯ugaAparip¯urn.aAmukh¯ım . smar¯ami.



Ady’ aˆpi tat kanakaAgauraAkr.t’Aaˆn˙ gaAr¯agam . prasvedaAbinduAvitatam . vadanam . priy¯ay¯ah. ante smar¯ami ratiAkhedaAvilolaAnetram . R¯ah’Auˆ par¯agaAparimuktam iv’ eˆnduAbimbam.

Ady’ aˆpi tan manasi sam . parivartate me r¯atrau mayi ks.utavati ks.itiAp¯alaAputry¯a «j¯ıv’ eˆti!» ma˙ngalaAvacah. parihr.tya kop¯at karn.e kr.tam . kanakaApatram an¯alapanty¯a.

Ady’ aˆpi t¯am . calaAcakoraAvilolaAnetr¯am . ´s¯ıt’Aaˆm . ´suAman.d.alaAmukh¯ım . kut.il’AaˆgraAke´sa¯m matt’AeˆbhaAkumbhaAsadr.´saAstanaAbh¯araAnamr¯am . bandh¯ukaApus.paAsadr.´s’Aa´us.t.haAput.a¯m . smar¯ami. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still I recall her flushed with love and wine, Great eyes in which the darting pupils swim, Her slender body and her sportive lips; On a ground of Kashmir saffron every limb With figures in black deer-musk ornamented; Her mouth with camphor and with betel scented. Still I remember my beloved’s face Gleaming with pearls of sweat and saffron’s gold; The abundant moisture and her wandering eyes All the fatigue of love’s fulfillment told. No brighter does the full-faced moon appear When from Eclipse’s jaws she frees her sphere.



Still I remember how one night, offended, The princess would not speak, and so refrained When I had sneezed from the auspicious words “Long life!,” by which such omens are restrained, But wordlessly upon her ear reset The golden leaf which was her amulet. Still I remember, ringed with curls, her face, A rotund moon on whose cool rays were fed Two swift chak´ora birds, her restless eyes; Her lips as the bandh´uka bloom were red; She bowed with heavy breasts as prominent As temples of a rutting elephant. 

  Ady’ aˆpi tatApran.ayaAbha˙nguraAdr.s.t.iAp¯atam . tasy¯ah. smar¯ami ratiAvibhramaAg¯atraAbha˙ngam vastr’Aaˆn˜ calaAskhalataAc¯aruApayodhar’Aaˆntam . dantaAcchadam . da´sanaAkhan.d.anaAman.d.anam . ca.

Ady’ aˆpy a´sokaAnavaApallavaAraktaAhast¯am . mukt¯aAphalaApracayaAcumbitaAc¯ucuk’Aaˆgr¯am antah. smit’Aoˆ cchvasitaAp¯an.d.uraAgan.d.aAbhittim . t¯am vallabh¯ a m alasa A ham sa A gatim smar¯ a mi. . . .



Ady’ aˆpi tatAkanakaAren.uAghan’Ao¯ ruAde´se nyastam . smar¯ami nakharaAks.ataAlaks.ma tasy¯ah. a¯kr.s.t.aAhemaArucir’Aaˆmbaram utthit¯ay¯a lajj¯aAva´sa¯t karaAdhr.tam . ca tato vrajanty¯ah..

Ady’ aˆpi t¯am . vidhr.taAkajjalaAc¯aruAnetr¯am . protphullaApus.paAnikar’Aa¯kulaAke´saAp¯a´sa¯m sind¯uraAsam . lulitaAmauktikaAh¯araAdant¯am a¯baddhaAhemaAkat.ak¯am . rahasi smar¯ami. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    *Still I recall the graceful coquetry Of those curved limbs, the loving sidelong look, The golden earrings beating on her cheeks As sweat-pearl glistening her body shook. Her slipping garment showed her lovely breast; Her lip was dented where my teeth had pressed. Still I recall my darling’s hands, as red As when the ash´oka tree new buds unfurls. Her gait was gentle, stately as a swan’s; Her nipples kissed by necklaces of pearls. Her pallid cheeks my memory beguile: They blossomed into dimples with her smile. Still I recall the gold-anointed thigh On which her gold-embroidered garment glinted. As she got up I tugged it to reveal The marks which my love-frenzied nails had printed. Then in embarrassment she would not stay But hid them with her hand and ran away.



Still I remember when I am alone The jet-black eyes collyrium had kissed; Her braided hair, one mass of full-blown flowers; And golden bangles dangling from each wrist. Sweet betel-juice had tinged her teeth with red— A string of pearls smeared with vermilion lead. 

  Ady’ aˆpi t¯am . galitaAbandhanaAke´saAp¯a´sa¯m . srastaAsrajam . smitaAsudh¯aAmadhur’Aaˆdhar’Aaˆus.t.h¯ım p¯ın’Aoˆ nnataAstanaAyug’Aoˆ pavic¯araAcumbanA mukt’Aa¯val¯ım . rahasi lolaAdr.´sam smar¯ami.

Ady’ aˆpi t¯am . dhavalaAve´smani ratnaAd¯ıpaA m¯al¯aAmay¯ukhaApat.alair dalit’AaˆndhaAk¯are svapn’Aoˆ dyame rahasi sam . mukhaAdar´san’Aoˆ tth¯am . lajj¯aAbhay’Aa¯rtaAnayan¯am anucintay¯ami.

Ady’ aˆpi t¯am . virahaAvahniAnip¯ıd.it’Aaˆn˙ g¯ım . tanv¯ım . kura˙ngaAnayan¯am . surat’AaˆikaAp¯atram n¯an¯aAvicitraAkr.taAman.d.anam a¯vahant¯ım . t¯am . r¯ajaAham . saAgaman¯am . suAdat¯ım . smar¯ami.



Ady’ aˆpi t¯am . vihasit¯am . kucaAbh¯araAnamr¯am . mukt¯aAkal¯apaAdhaval¯ıAkr.taAkan.t.haAde´sa¯m tatAkeliAmandaraAgirau kusum’Aa¯yudhasya k¯ant¯am . smar¯ami rucir’Aoˆ jjvalaApus.paAketum. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still when alone I recollect the smile Which tasted nectar-sweet upon her lip; I see the fastenings of her braided hair Slip from their place, and see the garlands slip; The wandering gaze, the string of pearls which rests Kissing a pair of full uplifted breasts. Still I recall how wreaths of jewel lamps, Garlanded round us in that palace white, Fragmented darkness with their mass of rays; Her eyes were pained in modesty and fright When I surprised her bending over me To spy her sleeping lover secretly. Still I remember in her slenderness The only vessel of my tender pleasure, Her limbs on fire with separation’s flame, Her teeth as lovely as the various treasure Of ornaments with which her body shone; Eyes of a deer, and movements of a swan. Still I recall my darling as she came, Bent by her bosom’s weight, to pleasure’s bower, House of the god who wounds with fiery darts, Herself a beautiful and full-blown flower. Her smile at me was radiance to bedeck The clustered pearls which gleamed upon her neck.





  Ady’ aˆpi c¯at.uA´sataAdurlalit’Aoˆ cit’Aaˆrtham . tasy¯ah. smar¯ami surataAklamaAvihval¯ay¯ah. avyaktaAnisvanitaAk¯ataraAkathyam¯anaA sam . k¯ırn.aAvarn.aAruciram . vacanam . priy¯ay¯ah..

Ady’ aˆpi t¯am . . surataAgh¯urn.aAnim¯ılit’Aaˆks.¯ım srast’Aaˆn˙ gaAyas.t.iAgalit’Aaˆm . ´sukaAke´saAp¯a´sa¯m ´sr.n˙ g¯araAv¯ariAruhaAk¯ananaAr¯ajaAham . s¯ım . janm’Aaˆntare ’pi nidhane ’py anucintay¯ami.

Ady’ aˆpi t¯am . . pran.ayin¯ım . mr.gaA´sa¯vak’Aaˆks.¯ım p¯ıy¯us.aApurn.aAkucaAkumbhaAyugam . vahant¯ım pa´sy¯amy aham . yadi punar divas’Aaˆvas¯ane svarg’AaˆpavargaAnaraAr¯ajaAsukham . tyaj¯ami.

Ady’ aˆpi t¯am . ks.itiAtale varaAk¯amin¯ın¯am . sarv’Aaˆn˙ gaAsundaratay¯a pratham’AaˆikaArekh¯am ´sr.n˙ g¯araAn¯at.akaAras’Aoˆ ttamaAp¯anaAp¯atr¯ım . a yudha A A b¯ a n k¯ant¯am smar¯ a mi kusum’ ¯ . aAkhinn¯am. . 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still I recall how my beloved spoke When weary with our play; her tongue, confused, Wished to assure me of her wild delight But stumbled on the flatteries she used. With timid murmurings and accents blurred How charmingly she jumbled every word. Still in another life I shall recall What I recall at this my hour of dying: The slender body of my royal swan Amid love’s lotus clusters languid lying; Her eyes were closed in pleasure as we revelled, Her garment loosened and her hair dishevelled. Still could I see once more, as day declines My loving mistress of the fawn-like eyes, Carrying like two nectar-laden jars Her swelling breasts, I would for such a prize Renounce the joys of royalty on earth, Heavenly bliss, and freedom from rebirth. Still I recall my darling, whom the shafts Of love, the flower-arrowed god, distress; Above the choicest beauties of the earth She shines with rays of flawless loveliness As the new moon, the cup from which I savor Where love is played the play’s essential flavor. 

  

Ady’ aˆpi t¯am . stimitaAvastram iv’ aˆn˙ gaAlagn¯am . praud.haAprat¯apaAmadan’AaˆnalaAtaptaAdeh¯am b¯al¯am an¯athaA´saran.a¯m anukampan¯ıy¯am . pr¯an.’Aaˆdhik¯am . ks.an.am aham . na hi vismar¯ami.

Ady’ aˆpi t¯am . . prathamato varaAsundar¯ın.a¯m sneh’AaˆikaAp¯atraAghat.it¯am avan”A¯ı´saAputr¯ım tapo jan¯a virahaAjah. sukum¯araAg¯atry¯ah. sod.hum . na ´sakyata iti praticintay¯ami.

Ady’ aˆpi vismayaAkar¯ım . trida´sa¯n vih¯aya buddhir bal¯ac calati me kim aham . karomi j¯anann api pratimuh¯urtam ih’ aˆntaAk¯ale k¯ant” eˆti vallabhatar” eˆti mam’ eˆti dh¯ır¯a.

Ady’ aˆpi t¯am . gamanam ity uditam . mad¯ıyam ´srutv” aˆiva bh¯ıruAharin.¯ım iva ca˜ncal’Aaˆks.¯ım v¯acah. skhaladAvigaladAa´sruAjal’Aa¯kul’Aaˆks.¯ım . sam . cintay¯ami guruA´sokaAvinamraAvaktr¯am. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still I recall her, clinging close to me As a wet garment, while the furious flame Of passion seared her body, a mere girl Who more to me than life itself became. No moment fails the piteous recollection Of her distress, who lacks her lord’s protection.



Still when I think of those of lovely form My thoughts turn first of all to the princess Whose tender limbs were surely formed to be The sole recipients of my tenderness. My fellow men, this absence from my fair Burns me with fiercer flame than I can bear. Still, though I know this is my final hour, O my bewilderer—what can I do?— My thoughts are ever and again constrained To leave the unaging gods and fly to you. My constant one, I think of you alone As dearest, as beloved, as my own. Still I recall her in whose eyes I saw The shy mobility of a gazelle. When she had heard that I must go from her Her tongue would falter on the word “Farewell”; From brimming eyes water of tears would flow, And with the weight of grief her head hung low. 

  Ady’ aˆpi j¯atu nipun.am . yatat¯a may” aˆpi dr.s.t.am . dr.´sa¯ jagati j¯atiAvidhe vadh¯un¯am saundaryaAnirjitaAratiAdvijaAr¯ajaAk¯anteh. k¯ant”Aa¯nanasya sadr´sa¯m vadanam . gun.air na.



Ady’ aˆpi t¯am . ks.an.aAviyogaAvis.’Aoˆ pamey¯am . sa˙nge punar bahutar¯am amr.t’Aaˆbhis.ek¯am majAj¯ıvaAdh¯aran.aAkar¯ım . madan¯at saAtandr¯am kim . BrahmaAKe´savaAHaraih.? suAdat¯ım . smar¯ami.

Ady’ aˆpi r¯ajaAgr.hato mayi n¯ıyamane durv¯araAbh¯ıs.an.aAkarair YamaAd¯utaAkalpaih. kim . kim . tay¯a bahuvidham . na kr.tam . madAarthe vaktum . na p¯aryata iti vyathate mano me.

Ady’ aˆpi me ni´si div¯a hr.dayam . dunoti p¯urn.’AeˆnduAsundaraAmukham . mama vallabh¯ay¯ah. l¯avan.yaAnirjitaAratiAks.ataAk¯amaAdarpam . bh¯uyah. purah. pratipadam . na vilokyate yat. 

C S L L L T. G. Bailey & R. Gombrich (csl–.) .  J  : ..

´ı:    Still, though my eye may diligently search This world, which is so full of every kind Of comely woman, yet the counterpart Of my beloved’s face I cannot find. She conquers by the beauty of that face Both Love’s beloved and the moon in grace. Still I recall the white-toothed girl, from whom It was poison for a moment to be parted; Then in renewed embrace anointing me With copious nectar, she new life imparted, Herself fatigued by love; if she is mine, Why do I need the trinity divine?



Still my mind flinches at the memory How from the royal palace I was led By fearsome men, who, ineluctable, Seemed envoys from the ruler of the dead. In grief I cannot tell how for my sake There was no effort that she did not make. Still does it pain my heart by night and day That I before me may no longer see At every step I take my darling’s face In full-moon beauty shining upon me. The god of love is wounded in his pride, For she is far more charming than his bride. 

Greg Bailey is Reader in Sanskrit at La Trobe University, Melbourne. Richard Gombrich has for the past twenty-eight years been Boden Professor of Sanskrit at Oxford University. He is General Editor of the Clay Sanskrit Library.

WWW.CLAYSANSKRITLIBRARY.COM

This anthology of the Love Lyrics of three Indian poets from the fourth to the eleventh centuries ce conjures up an atmosphere of love both sensual and social, ever in tension with love’s rejection or repression.

CLAY SANSKRIT LIBRARY

love lyrics

Love Lyrics

ámaru bhartri· hari bílhana

by ámaru & bhartri·hari Translated by GREG BAILEY

For a full list of titles, a searchable corpus of CSL texts and translations, and further information about the series, please visit: www.claysanskritlibrary.com

NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

ary

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature.

skrit l

ibr

an

clay s

bailey gombrich

& by bílhana Edited and translated by RICHARD GOMBRICH

Here is a new Clay Sanskrit Library translation of the Love Lyrics of three ancient Indian poets. Ámaru’s sophisticated seventh-century ce “Hundred Poems” are as much about the social aspects of courting, betrayal, feminine indignance and masculine selfpity as about sensuality. Bhartri·hari’s anthology “Love, Politics, Disenchantment” is the oldest of the three, from the fourth century. Interwoven throughout his three hundred idiosyncratic stanzas is a constant sense of skepticism about sensuality and love, economic and social power, and rejection of society and culture. In the eleventh century, Bílhana composed his intense “Fifty Stanzas of a Thief.” The poem is a thief ’s rhythmic remembrance, in the moments before his execution, of robbing a princess’s affections, and the clandestine pleasures of their love in both separation and enjoyment. The flavor of all these poems is the universalized aesthetic experience of love.

c l ay s

skr it l

CL AY SANSKRIT LIBRARY ar y

(with Kate Crosby), and is the author of .

an

ib r

Andrew Skilton is Senior Lecturer Emeritus in Indian Religions, University of Cardiff. He has also translated the

WWW.CL AYSANSKRITLIBRARY.COM Two plays from two of the great Sanskrit traditions, the Buddhist sacrifice by substitution of How the Nagas were Pleased and the Maha·bhárata villain transfigured in The Shattered Thighs. Both combine the classical pleasures of Indian literature with the most serious, and conventionally literarily taboo, issues of living and dying.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Nagas&Thighs.indd 1

how the nagas were pleased

How the Nagas Were Pleased

harsha

by Harsha

the shattered thighs

& The Shattered Thighs

bhasa

by Bhasa

&

skilton

jjc

Two plays that break the rules: both show the hero dying on stage, an inauspicious scenario forbidden in Sanskrit dramaturgy. From widely different ideological and social backgrounds, each evokes intense emotion in an exploration of love and heroism, conflict and peace, idealism and pragmatic reconciliation. Each portrays the reconciliation of hate and retaliation in love and mercy. King Harsha’s play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake (naga).

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

Here is a new Clay Sanskrit Library translation of How the Nagas were Pleased by Harsha, and Bhasa’s The Shattered Thighs.

ANDREW SKILTON

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Attributed to Bhasa, the illustrious predecessor to Kali·dasa, The Shattered Thighs transforms a crucial episode of the Maha·bhárata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Duryódhana’s infamous character is here inverted, where he is depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene. An ignoble man dies a hero’s death.

24/10/08 10:38:48

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

“HOW THE NĀGAS WERE PLEASED” b y H A R S. A

& “THE SHATTERED THIGHS” by BHĀSA TRANSLATED

BY

Andrew Skilton

NEW

YORK

UNIVERSITY

JJC

FOUNDATION 

PRESS

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Harsavardhana, King of Thānesar and Kanauj, fl. –. . [Nāgānanda. English & Sanskrit] “How the nagas were pleased” by Harsha ; & “The shattered thighs” by Bhasa / translated by Andrew Skilton. – st ed. p. cm. Plays. In English and Sanskrit (romanized) on facing pages. Includes bibliographical references and index. ISBN-: ---- (alk. paper) ISBN-: --- (alk. paper) . Sanskrit drama–Translations into English. I. Skilton, Andrew. II. Bhāsa. Ūrubha˙nga. English & Sanskrit. III. Title. IV. Title: Shattered thighs. PK.HN  '.–dc 

CONTENTS CSL Conventions Preface

vii xvii

HOW THE NAGAS WERE PLEASED

Introduction



Prologue



Act One Introductory Scene

 

Act Two Act Three Introductory Scene Act Four Act Five

    

THE SHATTERED THIGHS

Introduction



Prologue



Supporting Scene



Main Scene



Chāyā



Notes



Proper Names, Epithets, and Titles



Index



ACT TWO

.

tatah. praviśati s’| ôtkan. .thā   . ca. : (nihśvasy’, ātma| gatam) hiaa! taha nāma tadā tassim . . . | | jane lajjāe ma m param muhī karia dā ni m appa nā tahi m . . . . . . evva gaam . si tti aho de appambharittana . m. . ⇥ (prakāśam) hañje, ādesehi me bhaavadīe āadanassa maggam. . .⇥ : . na . m . candana . |ladā|gharaam . bhat.ti . |dāriā patthidā!⇥ : (sa| lajjam) sut.thu . tue sumarāvidam. . tā ehi, tahim . evva gacchamha.⇥ : . edu edu bhat.ti . |dāriā.⇥ (agrato gacchati.)

.

” âpy anyato gacchati. : . (p.r.s.thato d.r.s.tvā, ātma| gatam . . s’| ôdvegam) aho se sun. nahiaattana m! kaha m, ta m evva devīe bhava na m patthiā. ⇥ . . . . . . (prakāśam) bhat.ti . |dārie, na . m . ido candana . |ladā|gharaam. . tā ido ehi.⇥  sa| vilak.sam . sa| lajjam . ca tathā karoti. : . bhat.ti . |dārie, edam . candana . |ladā|gharaam. . tā pavisia canda|mani . |silā|dale uvavisadu bhat.ti . |dāriā.⇥ ubhe upaviśatah. .

.

: (nihśvasy’, ātma| gatam) bhaavam . kusum’|āuha, jena . . | tuvam rūva sohāe nijjido si, tassi m na kiñ ci tue kida m. . . . . . mam . puna . an. | avaraddham . abala tti karia paharanto kaham . na . lajjasi?⇥ (ātmānam . nirdiśya, madan’| âvasthām . 

Thereupon enters , lovesick, and her . . : (sighing, to herself ) Oh my heart! You made me turn away from that man out of embarrassment then, but now of your own accord you go right to him. You are so selfish. (out loud) Maid, show me the way to the altar of Her Ladyship. : Actually, Miss, you were going to the sandal vine bower! : (shyly) Thank you for reminding me. Come then, we may as well go straight there. : Come on, Miss, come along. (She goes ahead.) The  goes in another direction.

.

: (looking back, surprised, to herself ) Oh, she’s so absent-minded! Look how she’s started off for that place of the goddess. (out loud) Miss, actually the sandal vine bower is over here. So come this way. The  does so, shy and embarrassed. : Here is the sandal vine bower, Miss. May the princess go in and take a seat on the moonstone bench. They sit down. : (sighing, to herself ) Lord armed with flowers, though he has surpassed you in bodily beauty, you have done nothing to him.* But me, who has not offended you, how come you feel no shame striking me, presumably because I’m weak : a woman? (observing herself, 

.

    

nā.tayantī, prakāśam) hañje, kīsa una . edam . ghana . |palla| sūra | kirana va | niruddha . . m . tādisam . eva candana . | ladā | gharaam . na . me ajja sandāva|dukkham . avanedi? . ⇥ : aham . (sa| smitam) jānāmi . . ettha kārana . m! . kin tu a | sambhāvanīa ⇥ . m . ti bhat.ti . |dāriā na . tam . padivajjadi. . : (ātma| gatam) ālakkhida mhi imāe! taha vi pucchissam . dāva.⇥ (prakāśam) hañje, kim . tava edinā? . kahehi dāva, kim . tam . kārana . m? .⇥ : . eso de hia’|acchido varo.⇥ : (sa| har.sam . sa| sambhramam . c’ ôtthāy’ âgrato dvi| trāni . padāni gatvā) kahim, . kahim . so?⇥ .

: . (utthāya sa| smitam) bhat.ti . |dārie, ko «so?»⇥  sa| lajjam upaviśy’ âdho| mukhī ti.s.thati. : . bhat.ti . | dārie, na . m . edamhi vattu | kāmā, eso de hia’ | acchido varo devīe din. na . tti sivinae . patthāvide jo tak | khana . m . evva vimutta|kusuma|cāvo via bhaavam . maara| ddhao bhat.ti so de imassa sandāvassa . | dāriāe dit.tho. . kārana . m. . jena . evam . sahāva | sīdalam . pi candana . | ladā | gharaam . na . de ajja sandāva|dukkham . avanedi. . ⇥ 

 

acting a state of infatuation, out loud) Maid, how come this very same bower of sandal vines, where the sun’s rays are blocked by these thick shoots, isn’t taking away my horrid fever today? : (with a smile) I know what’s going on here! But the princess wouldn’t agree, and she’d say it’s impossible. : (to herself ) She’s seen through me! Even so, I’ll just ask. (aloud) What are you on about, maid? Just say, what is the reason? : It’s this treat : husband after your heart’s desire! : (with delight and agitation she gets up and takes two or three steps) Where, where is he? : (getting up with a smirk) Who’s “he,” Miss? The  sits down shyly and remains with her face cast down. : Actually I was going to say this, Miss, that the chap who was described in the dream as a treat : husband given by the goddess after your heart’s desire, was His Lordship with the mákara banner, but as if minus his bow and arrows, that the princess saw at that very moment.* He’s the cause of this fever of yours. That’s why even this naturally cool bower of sandal vine isn’t taking away your horrid fever today. 

.

    

: ( alakāni sajjayantī) hañje, Caüriā khu tuvam. . kim . de avaram . pacchādīadi. tā kahaïssam. .⇥ : . bhat.ti . | dārie, na . m . dāni .m . eva kahidam . iminā . var’ | ālāva | matta | janide . na . sambhamena. . tā mā santappa. jaï aham . Caüriā, tado so vi bhat.ti . | dāriam . a | pekkhanto na . muhūttaam . pi an. nahi . m . ahiramissadi tti, edam . pi mae ālakkhidam . eva.⇥ .

: (s’| âsram) hañje, kudo me ettiāni . bhāa|dheāni? . ⇥ : . bhat.ti . | dārie, mā evam . bhana. . kim . Mahu | mahano . | vaccha|tthalena Lacchi m an uvvahanto nivvudo hoi? ⇥ . . . : kim . vā su|ano . piam . vajjia an. na . m . bhanidu . m . jānādi? . sahi, ado vi sandāvo ahiadaram . mam . bāhei, jam . so mah”| ânubhāvo vāā|mettaena m . . vi a|kida|padivatti . . a|dakkhina . tti mam . sambhāvaïssidi.⇥ (iti roditi) : . bhat.ti . | dārie, mā roda.⇥ (utthāya candana| pallavam . g.rhītvā ni.spīdya h rdaye dadāti.) nam bha nāmi mā roda . . . . tti. aam . khu thana . | pat.ta . | din. no . candana . | pallava | raso imehi avirala | padantehi assu | bindūhi unhī . . | kido na . de hiaa | sandāva | dukkham . avanedi. . ⇥ (kadalī| patram ādāya vījati.) 

 

: (touching ’s curly locks) Maid, you certainly are Cháturika : a clever girl. Why hide any more from you? I will tell you. : Actually, Miss, you told it just now by your flurry at the mere mention of your treat : husband. So don’t distress yourself. If I am Cháturika : a clever girl, then it’s also clear to me that, while he’s not seeing the princess, he isn’t interested in anything else either, not for a moment. : (tearfully) Maid, how can I be so lucky?

.

: Don’t speak like that, Miss. Can the slayer of Madhu rest easy without carrying home Lakshmi on his chest?* : Don’t nice people know how to say anything other than pleasant things? My dear, even this makes the fever torment me more. That gentleman will think that I was rude, not behaving properly towards him with even a word. (Saying this she starts to weep.) : Don’t weep, Miss. (Getting up and taking a sandal shoot and crushing it, she drips the sap over ’s heart.) Really, I tell you, don’t weep. Hmm. This juice from the sandal shoot that I’ve put on your bodice is actually warmed up by the endless rain of tear drops. It’s not going to take away the horrid fever in your heart. (Taking a banana leaf, she fans her.) 

    

: (hastena nivārayantī) sahi, mā vījehi. unho . khu eso kadalī|dala|māruo.⇥ .

: . bhat.ti . |dārie, mā imassa dosam . karehi.⇥ kunasi . ghana . |candana . |laā| | pallava|samsagga sīdala m . . pi imam . nīsāsehi tuma m cia . . kadalī|dala|māruam . unha . m. . ⇥ [] : sahi, atthi ko vi imassa dukkhassa uvasam’|ôvāo?⇥ : . bhat.ti . |dārie, atthi, jadi so iha āacche.⇥ tatah. praviśati   ca. . : . vyāvrty’ . âiva sit’|âsit’|êksa . na . |rucā tān āśrame śākhinah. kurvatyā vitap’ . |âvasakta|vilasat| kr. s. n’ . |âjin’|âughān iva yad dr. s. to . ’smi tayā muner api puras, ten’ âiva mayy āhate, pusp’ . |êso, . bhavatā mudh” âiva kim iti ksipyanta ete śarāh? . . []

.

 . : . bho vaassa, kahim . khu gaam . de dhīrattana . m? .⇥ : . vayasya, nanu dhīra ev’ âsmi! kutah, . 

 

: (warding her off with her hand) My dear, don’t fan me. The breeze from this banana leaf is so hot. : You can’t blame this leaf, Miss.

.

It’s you heating the breeze from this banana leaf with your sighs, Even though its cooled from passing through the dense shoots of the sandal vines. : My dear, is there any remedy for this unhappiness? : If he were to come here, there is, Miss. Thereupon the  and his  enter. : I was seen by her too in front of the sage, just when she turned back, Her eyes shining light and dark, making the trees in the hermitage Look like a flood of dappled deer flashing amid the undergrowth. Since I’ve been stricken by that, flower-arrowed Lord, why do you fire these arrows without point? : Old chap, just where has your firmness gone? : I’m firm alright, my friend! Because, 

.

    

nītāh. kim . na niśāh. śaśā˙nka|rucayo? n’ āghrātam indīvaram? . kim n’ ônmīlita|mālatī|surabhayah. sodhā . h. prados’ . |ânilāh? . jha˙nkārah. kamal’|ākare madhulihām . kim vā mayā na śruto? . nirvyājam . vidhuresv . a|dhīra iti mām . ken’ âbhidhatte bhavān? [] atha vā, na samyag aham . bravīmi! vayasy’ Ātreya, strī|hrdayena na sodhā . . h. | ksiptā h kusum’ ê savo ’py Ana˙ngena . . . yen’ âdy’ âiva puras tava, vadāmi dhīra iti sa katham aham? []

.

 . : . (ātma| gatam) evam . ahīrattana . m . padivajjan. tena ācakkhido ne na hiaassa mahanto āveo. tā evam . . . . ācakkhāmi.⇥ (prakāśam) bho vaassa, kīsa tuvam ajja lahu . eva guru|jana . m . sussūsia iha āado?⇥ : . vayasya! sthāne khalv esa . praśnah. . kasya v” ânyasy’ âitat kathanīyam? adya khalu svapne jānāmi s” âiva priyatamā (a˙ngulyā nirdiśan) atra candana|latā|grhe . candrakānta|mani|śilāyām upavis. tā . pranaya . |kupitā kim api mām upālabhamān” êva rudatī mayā dr. s. tā. . tad icchāmi svapn’ | ânubhūta | dayitā | samāgama | ramye ’sminn eva pradeśe divasam ativāhayitum. tad ehi, gacchāvah. . 

 

Have I not passed whole nights bright with the moon? Have I not sniffed a blue lotus? Have I not had to put up with evening breezes scented by blossoming málati flowers? And have I not had to listen to the honey-suckers buzzing over a mass of lotuses? How can you say, without qualification, that of all love-sick people, I’m not firm in public?* Actually, what I said isn’t true! Atréya, my friend, With my heart on a woman, I cannot bear the flower darts shot by limbless Cupid, So how can I claim to you today that I am firm?

.

: (to himself ) By admitting his want of firmness like this, he reveals the great agitation in his heart. So this is how I’ll speak to him. (out loud) Haven’t you come rather quickly from seeing to your parents today, old man? : That’s a well-placed question, my friend. And who else could I speak to about it? Today, in a dream, I believe I saw that same most beloved woman (pointing with his finger) there in a bower of sandal vines seated on a moonstone bench, love-lorn, reproaching me over something and weeping. So I want to spend the day right there on that spot that’s so lovely because I met my beloved there in the dream. Come on, let’s go. 

    

parikrāmatah. . : . (karna . | dārie, pada | . m . dattvā sa| sambhramam) bhat.ti saddo via sunīadi! ⇥ . .

: (sa| sambhramam ātmānam . paśyantī) hañje, mā īdisam . āāram . pekkhia ko vi hiaam . me tulīadu. tā ut.thehi. . iminā . ratt’ | âsoa | pādavena . ovāridāo pekkhamha ko eso tti.⇥ tathā kurutah. .  . : . bho vaassa, edam . candana . | ladā | gharaam. . tā pavisamha.⇥ nā.tyena praviśatah. . : . (praviśya) candana|latā|grham idam . . | sa|candra|mani śilam api priyam . . na mama | candr’ ānanayā rahitam, . candrikayā mukham iva niśāyāh. . []

.

: vad. dhasi! so . (nāyakam . | dārie, dit.thiā . . . d.r.s.tvā) bhat.ti evva de hiaa|vallaho.⇥ : (d.r.s.tvā sa| har.sam . . sa| sādhvasam . ca) hañje, imam pekkhia na sakku nomi iha accāsa n ne thādu m. kadā i eso . . .. . . mam gacchamha.⇥ (s’| ōrukampam . pekkhe. tā ehi. an. nado . . pada| dvayam . dadāti.) : m . (vihasya) adikādare! iha t.thida . . pi ko tumam . pek| | khadi? na m visumarido antare ratt’ âsoa pādavo? tā iha . . eva cit.thamha. ⇥ . 

 

They both move about. : (listening with agitation) I think I can hear footsteps, Miss! : (looking at herself with agitation) Maid, whoever it is mustn’t see me in such a state and gauge my heart. So get up. Let’s hide behind this red ashóka tree* and see who it is.

.

They both do so. : Here’s a bower of sandal vines, old chap. Let’s go in then. They both act entering. : (having entered) This bower of sandal vines, even with a moonstone bench, is not pleasant to me Bereft as it is of her moon-like face, like the gloaming without the face of the moon. : (seeing the hero) Miss, you are in luck! It’s him, your favorite. : (looking with delight and anxiety) Maid, I can’t stay here watching him, it’s too close. It’s possible he might see me. Come on, let’s go somewhere else. (She takes a couple of steps with her thigh shaking.*) : (laughing aloud) You’re so timid! Who’ll see you right here? Have you forgotten the red ashóka tree between us? So, let’s stay right where we are. 

.

    

tathā kurutah. . .

 . : . (nirūpya) bho vaassa, esā sā canda|mani . |silā!⇥ . sa| bā.spam . niśvasiti. : tā avahidā . bhat.ti . | dārie, «esā s” êtti» ālāvo sunīadi. . sunamha. ⇥ . ubhe ākarnayata h. . .  . : . (hastena cālayan) bho vaassa, na . m . bhanāmi . | esā sā canda|mani sila tti. ⇥ .

.

: (hastena nirdiśan) . vayasya, samyag upalaksitam. . śaśi|mani . |śilā s” êyam, . yasyām . vipān. duram ānanam . . kara|kisalaye krtvā . vāme ghana|śvasit’|ôdgamā, cirayati mayi vyakt’|ākūtā manāk|sphuritair bhruvor niyamita|mano|manyur dr. s. tā . mayā rudatī priyā. [] tad asyām eva candra|kānta|mani . |śilāyām upaviśāvah. . : (vicintya) kā una . «esā» bhavissadi?⇥ : . bhat.ti . | dārie, jaha amme ovārida | sarīrāo edam . pekkhamha, taha tuvam pi ede na di t thā bhave. ⇥ . . ..

.

: jujjaï edam. . kim . puna . panaa . | kuvidam . pia | jana . m . hiae karia mantedi?⇥ 

 

They do so. : (noticing) Here she is, old chap, that moonstone bench!

.

The  sighs, in tears. : Miss, I heard someone say, “Here she is.” So we must pay attention and listen. They both listen. : (shaking him with his hand) I say, old chap! I said, “Here she is … the moonstone bench!” : Well spotted, my friend. (pointing with his hand)

.

Here is the moonstone bench whereon I saw her weeping, my beloved, Holding her wan face in the left of her tender hands, heaving deep sighs. When I was late her emotions were clear on her brow. It trembled a little, as she suppressed the anger in her mind. Let’s sit together then, right here on the moonstone bench. : (thoughtfully) Who can “she” be? : Just as we’ve seen him while we’ve been hiding, maybe he’s seen you as well, Miss. : That’s possible. But then why’s he fallen in love with her and why’s he talking about her as a lover who’s love-lorn? 

.

c l ay s

skr it l

CL AY SANSKRIT LIBRARY ar y

(with Kate Crosby), and is the author of .

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ib r

Andrew Skilton is Senior Lecturer Emeritus in Indian Religions, University of Cardiff. He has also translated the

WWW.CL AYSANSKRITLIBRARY.COM Two plays from two of the great Sanskrit traditions, the Buddhist sacrifice by substitution of How the Nagas were Pleased and the Maha·bhárata villain transfigured in The Shattered Thighs. Both combine the classical pleasures of Indian literature with the most serious, and conventionally literarily taboo, issues of living and dying.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Nagas&Thighs.indd 1

how the nagas were pleased

How the Nagas Were Pleased

harsha

by Harsha

the shattered thighs

& The Shattered Thighs

bhasa

by Bhasa

&

skilton

jjc

Two plays that break the rules: both show the hero dying on stage, an inauspicious scenario forbidden in Sanskrit dramaturgy. From widely different ideological and social backgrounds, each evokes intense emotion in an exploration of love and heroism, conflict and peace, idealism and pragmatic reconciliation. Each portrays the reconciliation of hate and retaliation in love and mercy. King Harsha’s play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake (naga).

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

Here is a new Clay Sanskrit Library translation of How the Nagas were Pleased by Harsha, and Bhasa’s The Shattered Thighs.

ANDREW SKILTON

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Attributed to Bhasa, the illustrious predecessor to Kali·dasa, The Shattered Thighs transforms a crucial episode of the Maha·bhárata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Duryódhana’s infamous character is here inverted, where he is depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene. An ignoble man dies a hero’s death.

24/10/08 10:38:48

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Linda Covill translates Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

handsome nanda

WWW.CL AYSANSKRITLIBRARY.COM In Ashva·ghosha’s drama of spiritual re-orientation, handsome Nanda is transformed from libertine to liberated man. The Buddha’s strong-arm and seductive tactics risk the imputation of a forced and dishonest conversion. But the suffering of each pleasure’s end is succeeded by a more enticing prospect, until Nanda attains the total bliss of enlightenment.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Handsome Nanda Cover.indd 1

Handsome Nanda by Ashva·ghosha

ashva· ghosha

covill

jjc

Nanda has it all—youth, money, good looks, and a kittenish wife who fulfills his sexual and emotional needs. He also has the Buddha, a dispassionate man of immense insight and self-containment, for an older brother. When Nanda is made a reluctant recruit to the Buddha’s order of monks, he is forced to confront his all-too-human enslavement to his erotic and romantic desires. Dating from the second century CE, Handsome Nanda portrays its hero’s spiritual makeover with compassion, psychological profundity, and great poetic skill. The Buddhist monk Ashva·ghosha’s ancient composition succeeds both as a work of poetry and as a Buddhist spiritual biography. Native of Saket, perhaps Ashva·ghosha too had been torn between his celibacydemanding faith and a beloved woman.

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

Here is a new Clay Sanskrit Library translation of Ashva·ghosha’s Handsome Nanda.

LINDA COVILL

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Nanda is not alone in being cured by the Buddha’s sugar-coated bitter pills; the famous penultimate verse identifies all who hear or read Handsome Nanda as patients on the path to liberation, because we have savored the medicine that is bottled in this honeyed poem.

14/8/07 1:52:34 pm

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

GENERAL EDITORS

RICHARD GOMBRICH SHELDON POLLOCK EDITED BY

ISABELLE ONIANS SOMADEVA VASUDEVA

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L E  Linda Covill  A  : ..

H N V .

c  by the CSL Copyright ! All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN: ---- (cloth : alk. paper)

Artwork by Robert Beer. Typeset in Adobe Garamond at 10.25 : 12.3+pt. XML-development by Stuart Brown. Editorial input from D´aniel Balogh, Tomoyuki Kono, & P´eter Sz´ant´o. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L E  Linda Covill  A  : ..

H N V .

Handsome Nanda by A´svaghos.a

TRANSLATED BY

LINDA COVILL

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L E  Linda Covill  A  : ..

H N V .

Library of Congress Cataloging-in-Publication Data A´svaghos.a [Saundarananda. English & Sanskrit] Handsome Nanda / by Asvaghosa ; translated by Linda Covill. – st ed. p. cm. – (The Clay Sanskrit library) In English and Sanskrit (romanized) on facing pages; includes translation from Sanskrit. Includes bibliographical references and index. ISBN ---- (cloth : alk. paper) . Gautama Buddha–Friends and associates–Poetry. . Nanda–Poetry. . Buddhist poetry–Translations into English. . Asvaghosa–Translations into English. I. Covill, Linda, - II. Title. BQ.NA  .’–dc 

C S L E  Linda Covill  A  : ..

H N V .

Contents Sanskrit alphabetical order



CSL conventions



HANDSOME NANDA Introduction



Invocation



Canto 

A Description of K´apila·vastu



Canto 

A Description of the King



Canto 

A Description of the Realized One



Canto 

His Wife’s Request



Canto 

Nanda is Made to Ordain



Canto 

His Wife’s Lament



Canto 

Nanda’s Lament



Canto 

The Attack on Women



Canto 

The Denunciation of Infatuation



Canto  A Lesson in Heaven



Canto 

The Condemnation of Heaven



Canto 

Comprehension



Canto 

The Conquest of the Senses by Moral Self-Restraint

Canto 

The Initial Point of Departure

C S L E  Linda Covill  A  : ..

H N V .

 

Abandoning Notions



Canto  Explanation of the Noble Truths



Canto  The Attainment of Deathlessness



Canto 

Canto 

His Instructions Revealed



Notes



Glossary of Common Names and Epithets



Index



Sandhi grid



C S L E  Linda Covill  A  : ..

H N V .

C S L E  Linda Covill  A  : ..

H N V .

Canto 4 His Wife’s Request

C S L E  Linda Covill  A  : ..

H N V .

m

 ¯ .  ’pi tu tatra dharmam . dharmam . prati j˜na¯tis.u c’ a¯dr.tes.u, pr¯as¯adaAsam . stho madan’AaˆikaAk¯aryah. priy¯aAsah¯ayo vijah¯ara Nandah.. sa cakrav¯aky” eˆva hi cakrav¯akas tay¯a sametah. priyay¯a priy’Aaˆrhah. ´ n’ aˆcintayad Vai´sravan.am . na Sakram . tatAsth¯anaAhetoh. kuta eva dharmam. laks.my¯a ca r¯upen.a ca Sundar” ˆıti stambhena garven.a ca M¯anin” ˆıti d¯ıpty¯a ca m¯anena ca Bh¯amin” ˆıti yato babh¯as.e triAvidhena n¯amn¯a. s¯a h¯asaAham . s¯a nayanaAdvireph¯a p¯ınaAstan’AaˆtyunnataApadmaAko´sa¯; bh¯uyo babh¯ase svaAkul’Aoˆ ditena str¯ıApadmin¯ı NandaAdiv¯akaren.a. . r¯ upen.a c’ aˆtyantaAmanoharen.a r¯up’Aaˆnur¯upen.a ca ces.t.itena, manus.yaAloke hi tad¯a babh¯uva s¯a sundar¯ı str¯ıs.u nares.u nandah.. s¯a devat¯a NandanaAc¯arin.” ˆıva kulasya nand¯ıAjanana´s ca Nandah. at¯ıtya marty¯an anupetya dev¯an sr.s.t.a¯v abh¯ut¯am iva bh¯utaAdh¯atr¯a. t¯am . Sundar¯ım . cen na labheta Nandah. s¯a v¯a nis.eveta na tam . nataAbhr¯uh., dvandvam . dhruvam . tad vikalam . na ´sobhet’ aˆnyonyaAh¯ın¯av iva r¯atriAcandrau. KandarpaARatyor iva laks.yaAbh¯utam . pramodaAn¯andyor iva n¯ıd.aAbh¯utam .



C S L E  Linda Covill  A  : ..

H N V .

T

  sage was in the city teaching the dharma, . and though his near relations honored the dharma, Nanda stayed in his palace with his wife, making love his only concern. For Nanda was fitted for love, and so lived united with his beloved like a chakra·vaka bird with its mate. In this situation he thought of neither V´aishravana nor Shakra, let alone the dharma. She was known by three different names: S´undari for her charm and beauty, M´anini for her stubbornness and disdain, and Bh´amini for her sparkle and willfulness. She seemed a lotus-pool in womanly form, with her laughter for swans, her eyes for bees and her swelling breasts as budding lotus calyxes; still more did she shine after the sun-like Nanda had arisen in her own family. With her . captivating beauty and manner to match, in the world of humankind she,S´undari, was the loveliest of women and he, Nanda, the happiest of men.* The Creator had made them greater than mortals, though not yet gods—she, walking the N´andana gardens like a divinity, and Nanda, bringer of joy to his kin. If Nanda had not won her, S´undari, or if she, arch-browed, had withheld herself from him, then the pair would surely have appeared impaired, like the night and the moon without each other. Blind with passion, the couple took their pleasure in each other, as though they were the targets of Kand´arpa and Rati, as though they were a home to joy and rapture, as though 

C S L E  Linda Covill  A  : ..

H N V .

  prahars.aAtus.t.yor iva p¯atraAbh¯utam . AaˆndhaAbh¯ utam. dvandvam sah’ a ram sta mad’ ˆ . . paraspar’Aoˆ dv¯ıks.an.aAtatApar’Aaˆks.am ., parasparaAvy¯ahr.taAsaktaAcittam paraspar’Aa¯´sles.aAhr.t’Aaˆn˙ gar¯agam . parasparam tan mithunam . . jah¯ara. . bh¯av’Aaˆnuraktau giriAnirjharaAsthau tau kim . nar¯ıAkim . purus.a¯v iv’ oˆ bhau, cikr¯ıd.atu´s c’ aˆbhivirejatu´s ca r¯upaA´sriy” aˆnyonyam iv’ a¯ks.ipantau. anyonyaAsam . r¯agaAvivardhanena tad dvandvam anyonyam ar¯ıramac ca, klam’Aaˆntare ’nyonyaAvinodanena sal¯ılam anyonyam am¯ımadac ca. vibh¯us.ay¯am a¯sa tatah. priy¯am . sa sis.evis.us t¯am . na mr.j”Aa¯vah’Aaˆrtham; sven’ aˆiva r¯upen.a vibh¯us.it¯a hi vibh¯us.an.a¯n¯am api bh¯us.an.am . s¯a. dattv” aˆtha s¯a darpan.am asya haste «mam’ aˆgrato dh¯araya t¯avad enam vi´ses.akam . y¯avad aham . karom’ ˆıty» uv¯aca k¯antam . sa ca tam . babh¯ara. bhartus tatah. ´sma´sru nir¯ıks.am¯an.a¯ vi´ses.akam . s” aˆpi cak¯ara t¯adr.k. ni´sv¯asaAv¯atena ca darpan.asya cikitsayitv¯a nijagh¯ana Nandah.. 

C S L E  Linda Covill  A  : ..

H N V .

 ’  they were a vessel for arousal and satiety. With eyes only for each other’s eyes, they hung upon each other’s words and rubbed off their cosmetics through caressing each other, so mutually absorbed was the couple. They were resplendent . in their play like a k´ınnari and a k´ımpurusha standing in a mountain waterfall intent on love, as though wishing to outdo each other in beauty and splendor. The couple gave each other pleasure by exciting passion in each other, while in languid moments they teasingly inebriated each other by way of mutual entertainment. At one time he arranged her jewellery on her, not to make her lovelier, but to do her a service; for she was so adorned by her own beauty that it was she who lent loveliness to her jewels. She put a mirror into his hand and said to her lover, “Just hold this in front of me while I do my vish´eshaka,”* and he held it. Then, looking at her husband’s mustache, she made up her vish´eshaka just like it, but Nanda blew on the mirror to remedy this. 

C S L E  Linda Covill  A  : ..

H N V .

  s¯a tena ces.t.a¯Alalitena bhartuh. ´sa¯t.hyena c’ aˆntarAmanas¯a jah¯asa bhavec ca rus.t.a¯ kila n¯ama tasmai lal¯at.aAjihm¯am . bhrukut.im . cak¯ara, ciks.epa karn.’Aoˆ tpalam asya c’ aˆm . se karen.a savyena mad’Aa¯lasena. pattr’Aaˆn˙ gulim . c’ aˆrdhaAnim¯ılit’Aaˆks.e vaktre ’sya t¯am eva vinirdudh¯ava. tata´s calanAn¯upuraAyoktrit¯abhy¯am . nakhaAprabh”Aoˆ dbh¯asitar’Aaˆn˙ gulibhy¯am padbhy¯am . . priy¯ay¯a nalin’Aoˆ pam¯abhy¯am m¯urdhn¯a bhay¯an n¯ama nan¯ama Nandah.. sa muktaApus.p’Aoˆ nmis.itena m¯urdhn¯a tatah. priy¯ay¯ah. priyaAkr.d babh¯ase suvarn.aAvedy¯am anil’Aaˆvabhagnah. pus.p’Aaˆtibh¯ar¯ad iva n¯agaAvr.ks.ah.. s¯a tam . stan’Aoˆ dvartitaAh¯araAyas.t.ir utth¯apay¯am a¯sa nip¯ıd.ya dorbhy¯am. «katham . Akr.to ’s’ ˆıti!» jah¯asa c’ oˆ ccair mukhena s¯ac¯ıAkr.taAkun.d.alena. . patyus tato darpan.aAsaktaAp¯an.er muhur muhur vaktram aveks.am¯an.a¯, tam¯alaApattr’Aa¯rdraAtale kapole sam¯apay¯am a¯sa vi´ses.akam . tat. tasy¯a mukham . . tat saAtam¯alaApattram t¯amr’Aaˆdhar’Aaˆus.t.ham . cikur’Aa¯yat’Aaˆks.am, rakt’Aaˆdhik’Aaˆgram . patitaAdvirepham . saA´saivalam . padmam iv’ aˆbabh¯ase. Nandas tato darpan.am a¯daren.a bibhrat tad¯a man.d.anaAs¯aks.iAbh¯utam .



C S L E  Linda Covill  A  : ..

H N V .

 ’  She smiled to herself at her husband’s cheekiness and . playful little game, but furrowed her brow as though annoyed, and with her left hand, languorous with wine, she threw the lotus from behind her ear at his shoulder. Then she smeared some of her make-up on his face and half-closed eyes. Nanda, in a pretence of fear, bent his head to his lover’s lotus feet—feet encircled with swaying anklets, with toes brightened by their shimmering nails. His head blossoming with loosened flowers as he begged his lover’s pardon, he resembled a naga plant overburdened with flowers, bending over its golden pedestal in the breeze.* She pressed him close in her arms and raised him up, making the strands of her pearl necklace lift off her breast. “What are you doing?” she cried laughingly, as her earrings were pushed sideways from her face. While she finished applying the vish´eshaka to her cheeks, . damp with tam´ala paste,* she kept looking at her husband’s face as he held the mirror in his hand. Her own face, with its tam´ala paste, lips touched with red and eyes extending to her hair, seemed a moss-bedecked, crimson-tipped lotus settled by bees. So Nanda dutifully held the mirror which bore witness to her act of adornment, and as he squinted to watch her maquillage, he observed his lover’s mischievous face. Nanda 

C S L E  Linda Covill  A  : ..

H N V .

  vi´ses.ak’Aaˆveks.an.aAkekar’Aaˆks.o lad.atApriy¯ay¯a vadanam . dadar´sa. tatAkun.d.al’Aa¯das.t.aAvi´ses.ak’Aaˆntam . k¯aran.d.avaAklis.t.am iv’ aˆravindam Nandah. priy¯ay¯a mukham ¯ıks.am¯an.o bh¯uyah. priy”Aa¯nandaAkaro babh¯uva. vim¯anaAkalpe sa vim¯anaAgarbhe tatas tath¯a c’ aˆiva nananda Nandah., Tath¯agata´s c’ a¯gataAbhaiks.aAk¯alo bhaiks.a¯ya tasya pravive´sa ve´sma. ˙ Amukho nis.Apran.aya´s ca tasthau . av¯an bhr¯atur gr.he ’nyasya gr.he yath” aˆiva. tasm¯ad atho pres.yaAjanaApram¯ad¯ad bhiks.a¯m aAlabdhv” aˆiva punar jag¯ama— k¯a cit pipes.’ aˆn˙ gaAvilepanam . hi, v¯aso ’˙ngan¯a k¯a cid av¯asayac ca, ayojayat sn¯anaAvidhim . tath” aˆny¯a, jagranthur any¯ah. surabh¯ıh. sraja´s ca. tasmin gr.he bhartur ata´s carantyah. kr¯ıd.”Aaˆnur¯upam . lalitam . niyogam k¯a´s cin na Buddham . dadr.´sur yuvatyo Buddhasya v” aˆis.a¯ niyatam . man¯ıs.a¯. 

C S L E  Linda Covill  A  : ..

H N V .

 ’  made his sweetheart happier than ever when he watched her face, the edge of its vish´eshaka smudged by her earrings so that it seemed a lotus nibbled by a kar´andava bird. While Nanda was thus enjoying himself in his palace, which was like a celestial palace, the Tath´agata, the realized one, entered his home for alms, since it was the time for his alms-round. Looking downwards and without ask- . ing for anything, he stood in his brother’s house as he would in the house of any other person. But he went away again without obtaining any alms because of the household’s preoccupation—one woman was grinding body-unguents, another was perfuming clothes, one was preparing a bath, and others were weaving fragrant garlands. The Buddha came to the unavoidable conclusion that the housemaids were so busy carrying out frivolous tasks related to their master’s dalliance that none of them noticed him. 

C S L E  Linda Covill  A  : ..

H N V .

  k¯a cit sthit¯a tatra tu harmyaApr.s.t.he gav¯aks.aApaks.e pran.idh¯aya caks.uh. vinis.patantam . Sugatam . dadar´sa payodaAgarbh¯ad iva d¯ıptam arkam. s¯a gauravam . tatra vic¯arya bhartuh. svay¯a ca bhakty” aˆrhatay” aˆrhata´s ca, Nandasya tasthau purato vivaks.us tadAa¯j˜nay¯a c’ eˆti tad” a¯cacaks.e: . «anugrah¯ay’ aˆsya janasya ´sa˙ nke gurur gr.ham . no bhagav¯an pravis.t.ah., bhiks.a¯m aAlabdhv¯a giram a¯sanam . v¯a ´su¯ ny¯ad aran.y¯ad iva y¯ati bh¯uyah..» ´srutv¯a maha”Ars.eh. sa gr.haAprave´sam . satk¯araAh¯ınam . ca punah. pray¯an.am, cac¯ala citr’Aa¯bharan.’AaˆmbaraAsrak kalpaAdrumo dh¯uta iv’ aˆnilena. kr.tv” aˆn˜ jalim . m¯urdhani padmaAkalpam . tatah. sa k¯ant¯am . gamanam . yay¯ace. «kartum . gamis.y¯ami gurau pran.a¯mam .. m¯am abhyanuj˜na¯tum ih’ aˆrhas’ ˆıti?» s¯a vepam¯an¯a parisasvaje tam . ´sa¯lam . lat¯a v¯ataAsam¯ırit” eˆva. dadar´sa c’ aˆ´sruAplutaAlolaAnetr¯a d¯ırgham . ca ni´svasya vaco ’bhyuv¯aca: «n’ aˆham . yiy¯asor guruAdar´san’Aaˆrtham arh¯ami kartum . tava dharmaAp¯ıd.a¯m. gacch’, a¯ryaAputr’, aˆihi ca ´s¯ıghram eva vi´ses.ako y¯avad ayam . na ´sus.kah.. . saced* bhaves tvam khalu d¯ırghaAs¯utro . dan.d.am mah¯ a ntam tvayi p¯atayeyam; . . 

C S L E  Linda Covill  A  : ..

H N V .

 ’  However, one woman at the top of the palace had glanced at a side-window, and she had seen the S´ugata emerging like the radiant sun from a cloud. Taking into consideration her master’s deep respect for the enlightened one as well as his worthiness and her own devotion to him, she approached Nanda to tell him, and spoke at his permission: “The Blessed . One, the guru, entered our house, presumably as a favor to you. He received no alms, no conversation, and no seat, and so he is going away as though from an empty forest.” When he heard that the great seer had come to his house, found no hospitality and left again, he trembled, seeming, with his bright decorations, garments and garlands, like a tree of Paradise swaying in the wind. Putting his hands together in the shape of a lotus, he raised them to his forehead and asked his wife if he might leave. “I would like to go and pay my respects to the guru. Will you let me?” She held him close and shivered like a wind-stirred creeper encircling a shala tree. Looking at him with her rolling eyes filled with tears, she sighed deeply and replied: “You wish to leave in order to see the guru, and I ought not to hinder you in your duty. Go, my dear husband, but come back quickly before my vish´eshaka dries. If you are late, . I will punish you severely; as you lie sleeping, I will keep waking you up by brushing against you with my breasts, but then refuse to talk to you. But if you hurry back to me before my vish´eshaka is dry, I will hold you in my arms, bare of ornaments and still damp with unguents.” Her voice shook 

C S L E  Linda Covill  A  : ..

H N V .

  muhur muhus tv¯am . ´sayitam . kuc¯abhy¯am . vibodhayeyam . ca na c’ a¯lapeyam. ath’ aˆpy anAa¯´sy¯anaAvi´ses.ak¯ay¯am . mayy es.yasi tvam . tvaritam . tatas tv¯am nip¯ıd.ayis.y¯ami bhujaAdvayena nirAbh¯us.an.en’ a¯rdraAvilepanena.» ity evam ukta´s ca nip¯ıd.ita´s ca tay” aˆAsaAvarn.aAsvanay¯a jag¯ada. «evam . karis.y¯ami. vimu˜nca, can.d.i, y¯avad gurur d¯uraAgato na me sah..» tatah. stan’Aoˆ dvartitaAcandan¯abhy¯am . mukto bhuj¯abhy¯am . na tu m¯anasena. vih¯aya ves.am . madan’Aaˆnur¯upam . satk¯araAyogyam . sa vapur babh¯ara. s¯a tam . pray¯antam . raman.am . pradadhyau pradhy¯anaA´su¯ nyaAsthitaAni´scal’Aaˆks.¯ı, sthit” oˆ ccaAkarn.a¯ vyapaviddhaA´sas.p¯a bhr¯antam . mr.gam . bhr¯antaAmukh¯ı mr.g” ˆıva. . didr.ks.ay” a¯ks.iptaAman¯a munes tu Nandah. pray¯an.am . prati tatvare ca, vivr.ttaAdr.s.t.i´s ca ´sanair yayau t¯am . kar” ˆıva pa´syan sa lad.atAkaren.um. ch¯at’Aoˆ dar¯ım . p¯ınaApayodhar’Ao¯ rum . sa Sundar¯ım . rukmaAdar¯ım iv’ aˆdreh. k¯aks.en.a pa´syan na tatarpa Nandah. pibann iv’ aˆikena jalam . karen.a. tam . gauravam . BuddhaAgatam . cakars.a bh¯ary”Aaˆnur¯agah. punar a¯cakars.a. so ’Ani´scay¯an n’ aˆpi yayau na tasthau turam . s tara˙nges.v iva r¯ajaAham . sah.. 

C S L E  Linda Covill  A  : ..

H N V .

 ’  as she spoke, and she embraced him. “I will,” he replied. “Now let me go, my little vixen, before the guru has gone too far.” So she let him go from her arms which were scented with sandal from her breast, but she did not let him go in her mind. He set aside the clothes suited to love-making, and made himself presentable for paying his respects. She contemplated her departing lover, her face troubled and her eyes empty and unmoving in her preoccupation, like a doe standing with ears pricked up and chewed grass falling from her mouth as she watches the stag wander off. With . his thoughts taken up by his wish to see the sage, Nanda hurried his departure, then lingered with a backward glance at her, like an elephant watching a playful she-elephant. But a glance at S´undari, her waist compact between her swelling breasts and thighs like a golden fissure in a mountain, could no more satisfy Nanda than drinking water with one hand. Reverence for the Buddha drew him on, love for his wife drew him back again. He hesitated, neither going nor staying, like a king-goose pushing forwards against the waves. However, once she was no longer in his sight, he came briskly out of the palace, only to hang back again, his heart 

C S L E  Linda Covill  A  : ..

H N V .

  aAdar´sanam . t’ uˆ pagata´s ca tasy¯a harmy¯at tata´s c’ aˆvatat¯ara t¯urn.am, ´srutv¯a tato n¯upuraAnisvanam . sa punar lalambe hr.daye gr.h¯ıtah.. sa k¯amaAr¯agen.a nigr.hyam¯an.o dharm’Aaˆnur¯agen.a ca kr.s.yam¯an.ah., jag¯ama duh.khena nivartyam¯anah. plavah. pratisrota iv’ a¯pag¯ay¯ah.. . tatah. kramair d¯ırghatamaih. pracakrame «katham . nu y¯ato na gurur bhaved» iti «svajeya t¯am . . c’ aˆiva vi´ses.akaApriy¯am katham . priy¯am a¯rdraAvi´ses.ak¯am» iti. atha sa pathi dadar´sa muktaAm¯anam . pitr.Anagare ’pi tath¯aAgat’Aaˆbhim¯anam da´saAbalam abhito vilambam¯anam . dhvajam anuy¯ana iv’ a¯indram arcyam¯anam. Saundaranande mah¯aAk¯avye Bh¯ary¯aAy¯acitako n¯ama caturthah. sargah..



C S L E  Linda Covill  A  : ..

H N V .

 ’  contracting, at the sound of her anklets. Kept back by his passion for love, and drawn forward by his attachment to dharma, he proceeded with difficulty, being turned about like a boat going upstream on a river. Then setting out with long strides, he thought “The guru . can’t possibly not be gone by now!” and “Perhaps I’ll be able to hug my darling girl, whose love is so special, while her vish´eshaka is still wet.” Then on the road he saw him of the ten powers,* free from pride even in his father’s city, and with all arrogance similarly gone, stopping everywhere and being worshipped like Indra’s banner in a procession. End of Canto : His Wife’s Request.



C S L E  Linda Covill  A  : ..

H N V .

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Linda Covill translates Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library.

handsome nanda

WWW.CL AYSANSKRITLIBRARY.COM In Ashva·ghosha’s drama of spiritual re-orientation, handsome Nanda is transformed from libertine to liberated man. The Buddha’s strong-arm and seductive tactics risk the imputation of a forced and dishonest conversion. But the suffering of each pleasure’s end is succeeded by a more enticing prospect, until Nanda attains the total bliss of enlightenment.

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Handsome Nanda Cover.indd 1

Handsome Nanda by Ashva·ghosha

ashva· ghosha

covill

jjc

Nanda has it all—youth, money, good looks, and a kittenish wife who fulfills his sexual and emotional needs. He also has the Buddha, a dispassionate man of immense insight and self-containment, for an older brother. When Nanda is made a reluctant recruit to the Buddha’s order of monks, he is forced to confront his all-too-human enslavement to his erotic and romantic desires. Dating from the second century CE, Handsome Nanda portrays its hero’s spiritual makeover with compassion, psychological profundity, and great poetic skill. The Buddhist monk Ashva·ghosha’s ancient composition succeeds both as a work of poetry and as a Buddhist spiritual biography. Native of Saket, perhaps Ashva·ghosha too had been torn between his celibacydemanding faith and a beloved woman.

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

Here is a new Clay Sanskrit Library translation of Ashva·ghosha’s Handsome Nanda.

LINDA COVILL

NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Nanda is not alone in being cured by the Buddha’s sugar-coated bitter pills; the famous penultimate verse identifies all who hear or read Handsome Nanda as patients on the path to liberation, because we have savored the medicine that is bottled in this honeyed poem.

14/8/07 1:52:34 pm

skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Lee Siegel is Professor of Religious Studies at the University of Hawaii. He is the author of numerous scholarly books as well as novels, including

gita! govínda

, , and . Sudipta Kaviraj is Professor of South Asian Politics at Columbia University. A member of the Subaltern Studies Collective, he is the author of

WWW.CL AYSANSKRITLIBRARY.COM Jaya!deva’s Gita!govínda is a world classic, the songs of a Krishna become the ideal lover, composed in the twelfth century for sophisticated aesthetes whose erotic sentiments and religious sensibilities together served, and were served by, the pleasures of poetry in performance.

and the editor of

love songs of radha and krishna

jaya!deva

Gita!govínda Love Songs of Radha and Krishna

by Jaya!deva siegel

and (with Sunil Khilnani) The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Gita.govínda.indd 1

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

LEE SIEGEL With a Foreword by Sudipta Kaviraj NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Jaya!deva’s Gita!govínda: Love Songs of Radha and Krishna. The Gita!govínda is a lyrical account of the illicit springtime love affair of Krishna and Radha, a god and goddess manifest on earth as a cowherd and milkmaid for the sake of relishing the sweet miseries and rapturous delights of erotic love. The narrative framing their bucolic songs was composed under royal patronage in northeastern India in the twelfth century. This Sanskrit classic was meant to be performed before an audience of connoisseurs of poetry and the erotic arts who, while sensually engaged in the world, were, at the same time, devoted to Krishna as Lord of the Universe. At once celebration of the sumptuous vicissitudes of carnal love and of the sublime transports of religious devotion, this great poem is a literary merger and aesthetic reconciliation of those realms of emotion and experience. The Gita!govínda became a vastly popular inspirational hymnal, a defining text of music, literature, and religion. Today, throughout India, Jaya!deva’s songs continue to be sung in fervent devotional adoration of Krishna.

24/10/08 10:39:46

THE

CLAY

SANSKRIT

LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY

GENERAL

EDITOR

Sheldon Pollock EDITED

BY

Isabelle Onians

www.claysanskritlibrary.com www.nyupress.org

Artwork by Robert Beer. Typeset in Adobe Garamond at . : .+pt. XML-development by Stuart Brown. Editorial input from Dániel Balogh, Chris Gibbons, Ridi Faruque & Tomoyuki Kono. Printed and bound in Great Britain by T.J. International, Cornwall, on acid-free paper.

GĪTAGOVINDA LOVE SONGS OF R Ā D H Ā A N D K R. S. N . A BY JAYADEVA TRANSLATED

BY

Lee Siegel WITH A FOREWORD BY SUDIPTA KAVIRAJ

NEW

YORK

UNIVERSITY

JJC

FOUNDATION 

PRESS

Copyright ©  by the CSL All rights reserved. First Edition  The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- (cloth : alk. paper) ISBN-: --- (cloth : alk. paper)

Library of Congress Cataloging-in-Publication Data Jayadeva [Gītagovindakāvya. English & Sanskrit] Love songs of Radha and Krishna / by Jayadeva ; translated by Lee Siegel. – st ed. p. cm. In English and Sanskrit (romanized) on facing pages; includes translations from Sanskrit. Includes bibliographical references and index. ISBN-: ---- (cl : alk. paper) ISBN-: --- (cl : alk. paper)

CONTENTS CSL Conventions

vii

Foreword

xvii

Introduction

xxv

GITA·GOVÍNDA LOVE SONGS OF RADHA AND KRISHNA

Canto  – Convivial Krishna Song One

 

Song Two



Song Three



Song Four



Canto  – Carefree Krishna Song Five Song Six

  

Canto  – Confounded Krishna Song Seven

 

Canto  – Captivated Krishna



Song Eight



Song Nine



Canto  – Craving Krishna



Song Ten



Song Eleven



Canto  – Coveted Krishna Song Twelve

 

Canto  – Cunning Krishna



Song Thirteen



Song Fourteen



Song Fifteen



Song Sixteen



Canto  – Confused Krishna Song Seventeen

 

Canto  – Callow Krishna Song Eighteen

 

Canto  – Clever Krishna Song Nineteen

 

Canto  – Contented Krishna Song Twenty

 

Song Twenty-one



Song Twenty-two



Canto  – Kindly Krishna



Song Twenty-three



Song Twenty-four



Notes



Index



SA H . S. THA . . SARGAH .

SOTKAN N H . THA|VAIKU . . THA . .

CANTO 

COVETED KRISHNA THE GOD WHO RULES VISHNU’S HEAVEN

.

A

 .  aśaktām . ciram anuraktām . latā|grhe . dr. s. tvā .

tac|caritam . Govinde manasija|mande sakhī prāha. prabandhah.  | rāgena (Gunakarī . . rūpaka| tālena gīyate.)

   rahasi bhavantam tad|adhara|madhura|madhūni pibantam; nātha Hare, sīdati Rādhā vāsa|grhe. .

dhruvapadam [.]

tvad|abhisarana . |rabhasena valantī patati padāni kiyanti calantī; nātha Hare, sīdati Rādhā vāsa|grhe. . [.] vihita|viśada|bisa|kisalaya|valayā jīvati param iha tava rati|kalayā; nātha Hare, sīdati Rādhā vāsa|grhe. . [.] .

muhur avalokita|man. dana . |līlā «Madhu|ripur aham,» iti bhāvana|śīlā, nātha Hare, sīdati Rādhā vāsa|grhe. . [.] 

I

   bower, Radha had been so persistently . impassioned that she was too weak to go to Krishna; Seeing her in such a sorry state, Radha’s friend went to him— he too languishing in love—to tell him of her condition: Song Twelve I  , she fancies that she sees you everywhere— You sip the honey from her lips as though you’re really there; Radha woefully awaits you, Lord Krishna, in her hideaway. Refrain Eagerly she rushed out to tryst with you, But stumbled and fell after just a step or two; Radha woefully awaits you, Lord Krishna, in her hideaway. Although she’s made a bracelet of lotus stem and leaf, Only your artful lovemaking can redeem her from her grief; Radha woefully awaits you, Lord Krishna, in her hideaway. Gazing at her ornaments, toying with what is true, “I am Krishna,” she declares, pretending she is you; Radha woefully awaits you, Lord Krishna, in her hideaway.

.



· –  

«tvaritam upaiti na katham abhisāram Harir?» iti vadati sakhīm anuvāram; nātha Hare, sīdati Rādhā vāsa|grhe. . [.] ślisyati, cumbati jala|dhara|kalpam . «Harir upagata,» iti timiram an|alpam; nātha Hare, sīdati Rādhā vāsa|grhe. . [.] bhavati vilambini vigalita|lajjā vilapati roditi vāsaka|sajjā; nātha Hare, sīdati Rādhā vāsa|grhe. . [.] śrī|Jayadeva|kaver idam uditam rasika|janam . tanutām atimuditam; nātha Hare, sīdati Rādhā vāsa|grhe. . [.]

T .

«vipula|pulaka|pālih, . sphīta|sīt|kāram antar| |kāku|vyākulam janita|jadima . . vyāharantī,

tava, kitava, vidhāy’ â|manda|kandarpa|cintām . rasa|jala|nidhi|magnā, dhyāna|lagnā mrg’ . |âksī.» . 

 

“Why doesn’t Krishna come to me right now?” She asks me, her friend, as if I’d know somehow. Radha woefully awaits you, Lord Krishna, in her hideaway. “Krishna has arrived,” she then cries aloud, Hugging and kissing the darkness, nothing but a cloud; Radha woefully awaits you, Lord Krishna, in her hideaway. She moans, she weeps, her composure melts away; She’s ready to receive you, and yet you still delay; Radha woefully awaits you, Lord Krishna, in her hideaway. May connoisseurs of poetry enjoy aesthetic bliss When, listening to my poetry, they hear a song like this. Radha woefully awaits you, Lord Krishna, in her hideaway.

T “Her skin bristles, hysterical, she moans and babbles, befuddled and depressed; All because of you, cheater that you are, The doe-eyed girl is out of her mind with extravagant passion, entranced in meditation on you, and drowning in an ocean of love.”

.



· –  

«a˙ngesv . ābharana . m . karoti bahuśah, . patre ’pi samcāri ni . . prāptam . tvām . pariśa˙nkate, vitanute śayyām, . ciram . dhyāyati; ity ākalpa|vikalpa|talpa|racanā| sa˙nkalpa|līlā|śata| vyāsakt” âpi vinā tvayā vara|tanur n’|âisā . niśām . nesyati.» . «kim . viśrāmyasi kr. s. na . | bhogi| bhavane bhān. dīra . |bhūmī|ruhi, bhrātar, yāsi na dr. s. ti . |gocaram itah. s’| ānanda| Nand’| āspadam?» Rādhāyā vacanam . tad|adhvaga|mukhān Nand’|ântike gopato Govindasya jayanti sāyam atithi| prāśastya|garbhā girah. .



 

“She has adorned herself, and every time a leaf rustles, imagining you’ve come, she spreads out the bedding, and thinks only of you; Despite hundreds of such games of make-believe, putting on jewels and preparing your bed, this lovely girl won’t survive the night without you.” “Why are you resting beneath that banyan tree, my brother?” Radha asked a traveler. “It’s full of blacksnakes. Why not go to Nanda’s comfortable home? You can see it from here.” Radha’s speech, repeated by that traveler in Nanda’s presence that evening, contained a secret message for Krishna:* (“The banyan tree is an abode for Krishna the lover. Why not go to that place of delightful delight?”) Glory to the words concealed in the greetings of a guest!



skr it l

CL AY SANSKRIT LIBRARY ar y

c l ay s

an

ib r

Lee Siegel is Professor of Religious Studies at the University of Hawaii. He is the author of numerous scholarly books as well as novels, including

gita! govínda

, , and . Sudipta Kaviraj is Professor of South Asian Politics at Columbia University. A member of the Subaltern Studies Collective, he is the author of

WWW.CL AYSANSKRITLIBRARY.COM Jaya!deva’s Gita!govínda is a world classic, the songs of a Krishna become the ideal lover, composed in the twelfth century for sophisticated aesthetes whose erotic sentiments and religious sensibilities together served, and were served by, the pleasures of poetry in performance.

and the editor of

love songs of radha and krishna

jaya!deva

Gita!govínda Love Songs of Radha and Krishna

by Jaya!deva siegel

and (with Sunil Khilnani) The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

CSL Gita.govínda.indd 1

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

LEE SIEGEL With a Foreword by Sudipta Kaviraj NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

Here is a new Clay Sanskrit Library translation of Jaya!deva’s Gita!govínda: Love Songs of Radha and Krishna. The Gita!govínda is a lyrical account of the illicit springtime love affair of Krishna and Radha, a god and goddess manifest on earth as a cowherd and milkmaid for the sake of relishing the sweet miseries and rapturous delights of erotic love. The narrative framing their bucolic songs was composed under royal patronage in northeastern India in the twelfth century. This Sanskrit classic was meant to be performed before an audience of connoisseurs of poetry and the erotic arts who, while sensually engaged in the world, were, at the same time, devoted to Krishna as Lord of the Universe. At once celebration of the sumptuous vicissitudes of carnal love and of the sublime transports of religious devotion, this great poem is a literary merger and aesthetic reconciliation of those realms of emotion and experience. The Gita!govínda became a vastly popular inspirational hymnal, a defining text of music, literature, and religion. Today, throughout India, Jaya!deva’s songs continue to be sung in fervent devotional adoration of Krishna.

24/10/08 10:39:46

skr it l

CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of The Five Discourses on Worldly Wisdom, well known also by its Sanskrit title as the “Pañcatantra.”

Five Discourses on Worldly Wisdom

The king despairs of his idle sons, so he hires a learned brahmin who promises to make their lessons in statecraft unmissable. The brahmin’s lessons are disguised as short stories, featuring animal protagonists.

ar y

c l ay s

an

ib r

Patrick Olivelle is Professor of Sanskrit and Indian Religions at the University of Texas at Austin. He has also edited and translated “The Early Upanishads,” “The Law Codes of Ancient India” and “Manu’s Code of Law.”

WWW.CL AYSANSKRITLIBRARY.COM The Five Discourses on Worldly Wisdom is the most famous collection of animal fables from India. No other Indian work has had a greater influence on world literature, and no other collection of stories has become as popular in India itself.

five discourses on worldly wisdom

by Vishnu·sharman

Since their authorship, probably in the third century ce, many of these narratives have traveled across the world, and are known in the West as the fables of Aesop and La Fontaine, and episodes of the Arabian Nights.

vishnu·sharman

olivelle

The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

jjc

PATRICK OLIVELLE NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

The Five Discourses on Worldly Wisdom is the book of India’s folk wisdom, teaching the principles of good government and public policy through the medium of delightful stories and pithy proverbs. Its positive attitude towards life and its advocacy of ambition, enterprise, and drive counters any preconception of passivity and other-worldliness in ancient Indian society. Anyone who reads The Five Discourses on Worldly Wisdom can understand the reasons for its extraordinary popularity.

THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

GENERAL EDITOR

RICHARD GOMBRICH EDITED BY

ISABELLE ONIANS SOMADEVA VASUDEVA

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

c  by the CSL. Copyright ! All rights reserved. First Edition . The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com www.nyupress.org ISBN-: ---- ISBN-: ---

Artwork by Robert Beer. Typeset in Adobe Garamond at 10.25 : 12.3+ pt. Printed in Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acid-free paper. Bound by Hunter & Foulis, Edinburgh, Scotland.

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

the five discourses on worldly wisdom by Vis.n . u´sarman TRANSLATED BY

PATRICK OLIVELLE

NEW YORK UNIVERSITY PRESS JJC FOUNDATION 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

Contents Sanskrit alphabetical order CSL conventions

 

FIVE DISCOURSES ON WORLDLY WISDOM Introduction



The Prelude to the Story



B I O C D  A



Book I Story  Story  Story  Story . Story ..

On Causing Dissension among Allies  The Monkey That Pulled the Wedge  The Jackal That Tried to Eat a Drum  The Adventures of an Ascetic  The Ascetic and the Rogue  How the Battling Rams Killed the Greedy Jackal  Story . A Weaver Cuts the Nose of a Bawd  Story  How the Crows Killed the Snake  Story . The Crab Cuts Off the Heron’s Head  Story  The Hare That Outwitted the Lion  Story  How the Louse Got Killed Trying to be Nice to a Bug  Story  How the Lion’s Servants Got the Camel Killed  Story  How the Sandpiper Defeated the Ocean  Story . The Turtle and the Geese 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

Story . The Fate of Three Fish: Farsighted, Quick-witted, and Inevitable Story  The Bird That Tried to Advise a Monkey Story  Two Friends and Betrayed Trust Story . How the Mongooses Ate the Heron’s Chicks Story  The Iron-Eating Mice

B II O S A Story  The Ascetic and the Mouse Story . The Woman Who Traded Sesame for Sesame Story .. How the Greedy Jackal Died Eating a Bowstring Story  How Chitr´anga Got Caught in a Trap B III O W  P:  C   O Story  The Ass in a Leopard’s Skin Story  The Owl is Elected King of Birds Story . The Hare Bluffs the Elephant Story . Partridge and Hare Take Their Case to the Cat Story  How the Rogues Tricked the Brahmin Story  The Old Merchant and His Young Wife Story  The Thief, the Ogre, and the Brahmin

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

         

       

Story  Story  Story 

How the Unfaithful Wife Tricked Her Foolish Husband The Mouse That Turned into a Girl Frogs Go for a Ride on the Back of a Snake

  

B IV O L W Y H G Story  The Ass Without Ears or a Heart

 

B V O H A Story  Building Castles in the Air Story  The Barber Who Killed the Monks

  

Notes Glossary Index A sandhi grid is printed on the inside of the back cover

   

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

Book III On War and Peace: The Story of the Crows and the Owls

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

a

’ ˆ  ¯  sam . dhi A vigraha A sam . bandham . k¯ak’ A oˆ l¯uk¯ıyam n¯ a ma tr t¯ ı yam tantram, yasy’ a yam a dˆ ¯ . . . yah. ´slokah.: na vi´svaset p¯urvaAvirodhitasya ´satro´s ca mitratvam up¯agatasya; dagdh¯am . . guh¯am . pa´syata gh¯ukaAp¯urn.a¯m k¯akaApran.¯ıtena hut’Aaˆ´sanena. [] r¯ajaAkum¯ar¯a u¯ cuh.: «katham . c’ aˆitat?» Vis.n.u´sarm” a¯ha: asti, kasmim . ´s cid van’ A oˆ dde´se mah¯an nyagrodha A vr.ks.ah. snigdha A bahala A parn.a A gulma A ch¯ayay¯a sv A a¯gatam iv’ aˆdhva A g¯an¯am . prayacchati. tatra Meghavarn.o n¯ama v¯ayasa A r¯ajah. prativasati sma, k¯akaAsahasraApariv¯arah.. . tatra n’ aˆtiAd¯ura ul¯ukaAsahasraApariv¯arah. Arimardano n¯am’ oˆ l¯ukaAr¯aja´s ca prativasati sma. sa c’ aˆikad¯a sahaAjaAvair’Aaˆnu´say¯ad ul¯uk’Aoˆ palabdhaAdurgaAvr.tt’Aaˆntah. K¯alaAbalaA´sakty¯a r¯atr¯av a¯gatya, mahat” oˆ l¯ukaAsam . gh¯atena tasy’ oˆ pari sam . nipatitah.. mahac ca tes.a¯m . k¯ak¯an¯am . kadanam . kr.tv¯a, apay¯atah.. anye A dyu´s ca prabh¯ata A samaye hata A ´ses.a¯n bhagna A ca˜ncu A paks.a A caran.a¯n any¯am . ´s ca sametya, ´sivir’ A aˆnus¯ara A pravicay’Aoˆ palabdhim kr tv¯ a , mantribhih. s’Aaˆrdham . . . Meghavarn.o mantrayitum a¯rabdhah.. «pratyaks.am etan mahad vi´sasanam asm¯akam . saApatnena Arimardanena kr.tam. dr.s.t.aAdurgaAm¯argo ’s¯av ava´syam adya r¯atrau labdh’Aaˆvasaro ’smadAaAbh¯av¯aya 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

W

   the Third Book, named “The Story of the Crows and the Owls Illustrating War and Peace.” This is its opening verse: In a man you have once antagonized, Or in a foe who has become a friend, you should never place your trust. See how the hideout filled with owls was burnt, by the fire carried by crows. []

The princes asked: “How did that happen?” Vishnu·sharman narrated this story. In a certain forest there was once a large banyan tree. It appeared to offer words of warm welcome to travellers with its cooling shade under its abundant foliage and cluster of trunks. In that tree lived a king of crows named Megha·varna, the Cloud-colored, with a retinue of a thousand crows. Not too far from that tree there also lived a king of owls . named Ari·m´ardana, the Crusher-of-Foes, with his retinue of a thousand owls. Ari·m´ardana had learned all about Megha·varna’s fortress from his owls. One day, driven by his inborn enmity towards crows, he came at night with a large squadron of owls and attacked Megha·varna with a force as formidable as Death itself. After inflicting a terrible massacre on the crows, he departed. The next morning Megha·varna assembled the crows that had escaped the slaughter, many with broken beaks, wings, and feet, and received a report on the condition of the camp. Then he opened a meeting of his ministers to obtain their counsel, telling them: “You see before your very eyes the massacre inflicted on us by our enemy Ari·m´ardana. Now 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     punar es.yati. tad aAh¯ınaAk¯alam up¯aya´s cintyat¯am . tadAvigh¯ato yath¯a bhavat’ ˆıti.» evam uktv¯a, ek’Aaˆnt¯ıAbh¯utah.. atha tasy’ aˆnvayaAparam . Apar”Aa¯gatah. pa˜nca saciv¯as tis.t.ha¯ . ¯ıv¯ı, Prad.¯ıv¯ı, Ciram nti. tad yath¯a: Ud.d.¯ıv¯ı, Sam . j¯ıv¯ı c’ . d.¯ıv¯ı, Ad eˆti. t¯an pratyekam . pras.t.um a¯rabdhah.. tes.a¯m a¯d¯av Ud.d.¯ıvinam . pr.s.t.av¯an: «bhadra, evam avasthite, kim anAantaram . karan.¯ıyam . manyase?» so ’brav¯ıt: «kim . may” aˆbhyadhikam . kim . cij j˜na¯yate? deva, yad eva ´sa¯stre ’bhihitam, tad eva vaks.y¯ami. kim . tu balavat¯a vigr.h¯ıtasya tadAanuprave´so vide´saAgamanam . v” eˆti.» .

tac chrutv¯a, Sam . . d.¯ıvinam a¯ha: «bhadra, bhav¯an katham manyata iti.» sa a¯ha: «deva, yad ev’ aˆnen’ aˆbhihitam: ‹balavat¯a vigr.h¯ıtasya vide´saAgamanam iti,› tan n’ aˆAkasm¯ad ekaApada eva durgaA parity¯agah. k¯aryah.. yato yuktam evam . sthite, dol¯a A vy¯ajena k¯alam . y¯apayitum. yad¯a bhayam . bhavis.yati, tad” aˆpay¯anam . karis.y¯amah.. yad¯a sv¯asthyam, tad¯a durga eva sth¯asy¯ama iti.» 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      that he has discovered the way into our fortress, given the opportunity, he is sure to return tonight to finish us off. So without delay we must think of a strategy to thwart him.” After saying this he withdrew to a secluded spot. Megha·varna had five ministers who had inherited the office, succeeding their forefathers. They were: Udd´ıvin, the High-flyer, Sand´ıvin, the Joint-flyer, Ad´ıvin, the Backward-flyer, Prad´ıvin, the Onward-flyer, and Chira˜n·jivin, the Long-lived. Megha·varna began to question each of them in turn. The first one he questioned was Udd´ıvin: “What do you think, my friend? Under these circumstances, what should we do now?” Udd´ıvin: “Am I a person who would know anything of special value? Your Majesty, I can only tell you what is written in the authoritative texts on the subject. When a person is attacked by someone stronger, he has only two options. He can either surrender to the other or go into exile.” After listening to him, Megha·varna asked Sand´ıvin: “And . you, my friend, what do you think?” Sand´ıvin: “This fellow’s advice, Your Majesty, is that when a person is attacked by someone stronger, he should go into exile. My response is that one should not abandon one’s fortress suddenly and without cause. The proper thing to do under the current circumstances is to bide our time following an on-again-off-again strategy. When danger threatens, we will flee. But so long as things are normal, we will remain right here in the fortress.” 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     tatas tasy’ aˆpi vacanam avadh¯arya, Pr¯ad.¯ıvinam . pr.s.t.av¯an: «bhavato ’tra ko ’bhipr¯ayah.?» so ’brav¯ıt: «r¯ajan, a¯tyayikam idam anAavaratam . gat’Aa¯gataAkaran.am. d¯ın’AaˆndhaAkubjaAv¯amanaAkun.iAkha˜njaAvy¯adhit’A oˆ paskar’Aa¯dibhir nayan’Aa¯nayanair eva vayam . vinas.t.a¯h.. yata evam . gate, sam . dhir eva ´sreyasAkara iti. yat k¯aran.am: pravr.ddhaAcakren.’ a¯kr¯anto r¯aj˜na¯ balavat” aˆAbalah. sam . dhino ’pakramet t¯urn.am . ko´saAdan.d.’Aa¯tmaAbh¯utaye. [] .

yatas tes.a¯m . sam . natim . kr.tv¯a, sukham anudvign¯a ih’ aˆiva sth¯asy¯ama iti.» ¯ . ¯ıvinam tasy’ aˆpi vacanam avadh¯arya, Ad . pr.s.t.av¯an: «bhadra, evam avasthite, asm¯akam kim pr¯ a pta Ak¯alam . . . manyase?» sa a¯ha: «varam aran.ye harin.a A romantha A kas.a¯y¯an.y ambh¯am . sy a¯sevit¯ani, na ca prabhutvaAras’Aa¯sv¯adinah. par’Aoˆ pasth¯ane kr.pan.aAj¯ıvitam iti. api ca: jy¯ay¯an na named aAsame; ’Asam’Aoˆ panamanam . mahat kas.t.am. garhitam etat pum s¯ a m . atiAnamanam s¯ a . hasaAdhan¯an¯am. [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      Megha·varna listened to him and then asked Prad´ıvin: “What is your view on the matter?” Prad´ıvin: “To be constantly going back and forth, Your Highness, would be suicidal. We will all be destroyed if we have to carry back and forth everything—the weak, the blind, the cripples, the dwarfs, the maimed, the lame, the sick, and all our belongings. So, under the circumstances, the best thing to do is to sue for peace. And the reason is this: When a strong king attacks with powerful troops, The weaker king should promptly sue for peace, To save his assets, army, and himself. [] So, we should make peace with them and continue to . live right here in comfort and free from anxiety.” Megha·varna listened to his advice also and then asked Ad´ıvin: “And you, my friend, what do you think is the appropriate thing for us to do under these circumstances?” Ad´ıvin: “For those who have tasted the sweet flavor of sovereignty, it is far better to live in the wilderness drinking water dirtied by the cud the deer chew than to lead a wretched life in the service of an enemy. Furthermore, A superior should never bow to one who is not his peer; To bow to people who are not one’s peers is a great disgrace. To yield so readily is unworthy Of real men, for whom valor is wealth. [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     api ca:

.

dan.d.a¯n¯am iva namat¯am ., pum . s¯am . ch¯ay¯a vivr.ddhim upay¯ati. ks.ayam eti c’ aˆtiAnamat¯am . tasm¯at pran.amen na c’ aˆtiAnamet. []

tai´s ca sah’ aˆsm¯akam . sam . dar´sanam eva na vidyate. sam .dar´sanena vin¯a katham . sam . dhir bhavis.yati? tat sarvath¯a yuddham eva nas taih. saha pus.kalam iti.» tato Meghavarn.as tes.a¯m . caturn.a¯m api pr.thak pr.thag abhipr¯ayam . j˜na¯tv¯a, Ciram . A j¯ıvinam a¯ha: «t¯ata, tvam asm¯akam . cirantano ’nvay’Aa¯gatah. sacivah.. ajasram . ca hit’Aaˆnves.¯ı. kim evam avasthite ’pi, adhun¯a pr¯aptaAk¯alam . manyase? yac ca tvam . br¯us.e, tad eva nah. ´sreyasAkaram iti.» evam ukte, Ciram . j¯ıvy a¯ha: «deva, kim ebhir n’ oˆ ktam asti, yatra mama vacan’Aaˆvak¯a´sah. sy¯at? iha hi sam . dhiAvigrahayoh. sam . dhir v¯a vigraho v¯a tau p¯urv’ A oˆ kt¯av eva. tath” aˆpi yad ¯ . ivin” aˆbhihitam, tat paks.a A vy¯avartan¯ay’ oˆ cyate. bhadra, Ad katham es.a¯m asm¯akam . ca yuddham . s¯am¯anyam? t¯avad aAs¯adh¯aran.am . yuddham asm¯akam. sarvath¯a te balavantah.. tatas taih saha na yuddham asm¯akam ucitam. tath¯a ca: 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      And again, A man’s shadow will lengthen when he bows, as a stick’s when it’s bent. But it disappears if you bend too much; So you should bow, but never bow too much. []

.

There is no common interest at all between the owls and us, and without such a common interest, how can we negotiate a peace? Considering everything, therefore, war is the best option for us.” Megha·varna, after taking stock of the views of all four of them one by one, then said to Chira˜n·jivin: “Father, you are our most senior hereditary minister, and you always have our welfare at heart. Under the current circumstances what do you think is the appropriate thing for us to do at this point? Whatever you say will clearly be the best course for us.” So petitioned, Chira˜n·jivin replied: “What is there for me to say, Your Majesty? Haven’t they already said everything? Between the alternatives of war and peace, we have already heard arguments in favor of pursuing the one and the other in the current circumstances. The advice of Ad´ıvin, however, would lead to the complete rout of our side. How, my friend, can there ever be an equal fight between us and the owls? Clearly, in any fight our side will come up short. They are more powerful in every way. So it will be unwise of us to start a war with them. As it is said: 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     pares.a¯m a¯tmana´s c’ aˆiva yo ’Avic¯arya bal’AaˆAbalam k¯ary¯ay’ oˆ ttis.t.hate moh¯ad, vy¯apadah. sa sam¯ıhate. [] .

laghus.v api vidh¯atavyam . gauravam . paripanthis.u, kr.tyAantaraAvidh¯at¯r.n.a¯m . bhavanti hy aAphal¯ah. kriy¯ah.. [] ks.am¯avantam arim . pr¯aj˜nam . k¯ale vikramaAsevinam par’Aa¯tmaAgun.aAdos.aAj˜nam anusmr.tya na vi´svaset. [] ´ ır yam ev’ aˆbhyupay¯ati Sr¯ up¯ayaAparitos.it¯a, nirAudvign¯a hi tatr’ a¯ste, na karaAgrahaAd¯us.it¯a. [] ´sa¯tayaty eva tej¯am . si d¯uraAstho ’py unnato ripuh.; s’Aa¯yudho ’pi nikr.s.t.’Aa¯tm¯a kim a¯sannah. karis.yati? [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      When, without weighing the relative strengths And weaknesses of yourself and your foes, You go rushing rashly into action, you’re courting disaster! []

Show great respect even to minor foes; if you act otherwise, your efforts are in vain. []

.

An enemy who is patient and wise, Who resorts to force at the proper time, Knows his and his foe’s strengths and weaknesses— Be watchful, never place your trust in him. [] When Fortune betakes herself to a man, Pleased by the sound policies he pursues, She will remain with that man, undisturbed; Her marriage to him will bring her no shame.* [] Even from afar, an exalted foe Is sure to eclipse a man’s majesty. Even though he is near and fully armed, what can a petty man do? [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     na bh¯ıto, na par¯amr.s.t.o, n’ aˆpay¯ato, na varjitah., n’ aˆA´sastro ’py avamantavyo, n’ aˆiko v” eˆti nay’Aaˆdhikaih.. [] .

yasya sidhyaty aAyatnena ´satruh., sa vijay¯ı narah.; ya ekatarat¯am . gatv¯a jay¯ı, vijita eva sah.. [] siddhim . va˜ncanay¯a vetti, parasAparaAvadhena v¯a. nirAup¯ayam .. . sukham . sv’Aaˆntam dvayoh. kim? iti cintyat¯am! [] mad’Aaˆvaliptaih., pi´sunair, lubdhaih., k¯am’Aa¯ta˙nkaih., ´sat.haih. darp’Aoˆ ddhataih., krodhaAparair dan.d.aAn¯ıtih. suAdurAgrah¯a. [] iyam . tv aAbhinnaAmary¯adaih., svAanu´sis.t.aih., kr.t’Aa¯tmabhih., sarvam . Asahair, up¯ayaAj˜nair, aAm¯ud.hair eva dh¯aryate. [] tat sarvath¯a yuddham eva na ´sreyas A karam iti. kasm¯at? jy¯ayas¯a virodho hastin¯a p¯adaAyuddham iv’ aˆik’AaˆntaAvin¯a´sa¯ya.» 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      Whether he’s frightened or is beaten up, Whether he’s in flight or is abandoned, Whether he’s unarmed or is all alone, You should never humiliate a man; So state the experts in sound policy. [] When his enemy yields without a fight, he’s a victor indeed. Winning after an uncertain battle, is truly a defeat. []

.

There are two ways one can achieve success: mutual slaughter or guile. Prosperity without sound policy brings about one’s own death. Consider which of the two you should choose. [] People who are haughty and malicious, Who are greedy, deceitful, full of lust, Who are prone to anger, puffed up with pride— Such people find it difficult to grasp the proper way to rule. [] It can be grasped, but only by those men Who stay within bounds and have been taught well, Well-disciplined, whose patience knows no bounds, Who are skilled in policy and are wise. [] So, it is absolutely clear that war is not to our advantage. And the reason is simple. Picking a fight with someone stronger is like a foot-soldier fighting with an elephant— you are sure to end up dead.” 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     .

Meghavarn.a a¯ha: «t¯ata, kathaya! kim . nis.pannam?» so ’brav¯ıt: «bhadra, sam . pradh¯aryat¯am etat. uktam . ca: y¯a hi pr¯an.aAparity¯agaA m¯ulyen’ aˆpi na labhyate, ´ ır mantraAvid¯am s¯a Sr¯ . ve´smany anAa¯hut” aˆpi dh¯avati. [] kramen.a yah. ´sa¯straAvido hit’Aaˆis.in.ah. kriy¯aAvibh¯age suAhr.do na pr.cchati. [] de´sam . balam . k¯aryam up¯ayam a¯yuh. sam . cintya yah. pr¯arabhate svaAkr.tyam, mah”Aoˆ dadhim . nadya iv’ aˆbhip¯urn.am . tam sam padah sat A purus am bhajante. [] . . . . .

.

´su¯ r¯ah., sarv’Aoˆ padh¯aA´suddh¯a, buddhimanto, vicaks.an.a¯h. sah¯ay¯ah. syur; nr.Apatvam . hi satAsah¯ayaAnibandhanam. [] vis.a¯n.aAsam . ghat.t.aAsamutthit’AaˆnalaA sphuli˙ngaAm¯al”Aa¯kulite ’pi dantin¯am ran.e ’pi p¯ıtv¯a tu ya´sa¯m . si vidvis.a¯m ., bhavaty aAvidv¯an na hi bh¯ajanam . ´sriyah.. [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      Megha·varna: “Tell me, father. What will be the out- . come?” Chira˜n·jivin: “Think about this, my friend. It is said: Even at the price of losing one’s life, Fortune cannot be won; Yet if you have strategic acumen, Uninvited she will run to your house. [] Not methodically seeking advice regarding your pursuits, From well-read friends of yours who wish you well, . []* ‘What is this place like? What are my forces? What’s to be done? What’s the right strategy? what’s the state of my life?’ When he embarks on a course of action, after weighing these points, Good Fortunes chase after that sterling man Like rivers, the ocean filled to the brim.* [] Assistants should be brave, prudent, and wise, of proven loyalty; For, without the help of good assistants, no king can ever rule. []

.

Though he has drunk the glory of his foes, In battles garlanded by fiery sparks, Flying from the striking of elephant tusks, Fortune visits not an ignorant man. [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     tat sarvath¯a gun.avatAsah¯ayaAparigraho vijig¯ıs.u¯ n.a¯m ek’AaˆntaAsiddhaye. uktam . ca: na vam . gun.am ., . ´saAm¯argaAkramaAlaks.an.am nir¯ıks.ate n’ aˆiva vapur, na c’ a¯gamam; ya eva ´su¯ rah. suAsah¯ayav¯an naras, tam eva Laks.m¯ı´s capal” aˆpi sevate. [] gun.es.v a¯dh¯araAbh¯utes.u phale kasy’ aˆsti sam . ´sayah.? nyasta´s c’ a¯tm¯a sat¯am . vr.tte vibh¯uti´s ca na durAlabh¯a. [] .

‹api k¯ırtyAartham a¯y¯anti n¯a´sam . sadyo ’tiAm¯aninah.? na c’ eˆcchanty aAya´soAmi´sram apy ev’ a¯nAantyam a¯yus.ah..› [] ‹jay¯ay’ oˆ tks.ipyat¯am . p¯ado daks.in.ah. kim vic¯ aryate? . m¯ulam . hi pr¯ahur a¯c¯ary¯a d¯ırghaAs¯utratvam a¯pad¯am.› [] ´srut’Aaˆpaviddhair etair v¯a vr.th¯a kim . ´sukaAbh¯as.itaih.? pr¯aj˜nas tvam . , tyajyat¯am . maunam .; yasya vel¯a, tad ucyat¯am! [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      To ensure complete success, a man intent on conquest must always surround himself with excellent assistants. For it is said: Fortune, fickle though she is, regards not Fine ancestry, great learning, or good looks, as marks of excellence; She waits only on a man who is brave, and has good attendants. [] When a man is anchored On the principles of sound policy,* Is there any doubt that he will succeed? And when he follows the path of good men, Prosperity is not hard to obtain. [] ‘Do not proud men lay down their lives forthwith for the sake of fame? They yearn not even for unending life mixed with infamy.’ []

.

‘Step forth with your right foot for victory; why do you still hesitate? Procrastination, the teachers declare, is the root of misfortune!’ [] Parrots’ prattle! Forget all such dribble, dismissed by learned men! You are wise. Don’t be silent any more. When the time has come, tell what must be done. [] 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     ‹mantraAm¯ulam . hi vijayam .› pravadanti man¯ıs.in.ah.; mantrasya punar a¯tm¯a ca buddhi´s c’ a¯yatanam . param. [] s.ad. eva khalu mantrasya dv¯ar¯an.i tu nar’Aaˆdhipa; vidit¯any eva te, t¯ata, k¯ırtayis.y¯ami k¯ırtiman: [] .

a¯tm¯anam . ca, . , mantriAd¯utam channam , tri A s avan a A kramam, . . . a¯k¯aram . bruvate s.as.t.ham; et¯av¯an mantraAni´scayah.. [] aAsam . gr.h¯ıtasya punar mantrasya ´sr.n.u yat phalam: aAh¯ınam . dharmaAk¯am¯abhy¯am artham . pr¯apnoti kevalam. [] atha vyavasit’Aaˆnuj˜na¯, chedanam . sam . ´sayasya ca, tasya ca j˜na¯nam aAni´sam . .— mantrin.a¯m . phalam. [] . triAvidham tad yath¯a yo mantro visrambhan.am . gacchati, tath¯a prayatitavyam. yat k¯aran.am: 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      For counsel is the root of victory, so have wise men declared. But the highest abode of good counsel is oneself and one’s mind! [] There are just six ways, we all know, O King, In which, Glorious King, counsel is betrayed. Although, son, you already know them all, I will mention them now. [] Oneself, one’s ministers and messengers, Secret agents and the three daily baths, The sixth, they say, is facial expressions. That’s the verdict regarding good counsel. []

.

But look at the rewards that counsel brings, when it is not divulged: One gains singular success in this world, Without damage to pleasure or virtue.* [] Three are the benefits ministers bring: They sanction decisions and remove doubts, Then there’s wisdom, which he can always tap. [] One should always strive to keep the counsel one receives confidential. And this is the reason: 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     mithy¯a pran.ihito mantrah. prayokt¯aram aAsam . ´sayam durAis.t.a iva vet¯alo n’ aˆAnihaty’ oˆ pa´sa¯myati. [] .

a¯tmaApaks.aAks.ay¯ay’ aˆiva paraApaks.’Aoˆ day¯aya ca mantraAdvaidham am¯aty¯an¯am . tan na sy¯ad iha bh¯utaye. [] a¯yaAvyayau yasya ca sam . vibhaktau, channa´s ca c¯aro, nibhr.ta´s ca mantrah., na c’ aˆApriyam . mantris.u yo brav¯ıti sa s¯agar’Aaˆnt¯am . pr.thiv¯ım . pra´sa¯sti. [] tad evam . punar brav¯ımi: ‹yuddham . na ´sreya iti.› sam .dhir apy a A ´sakyo ’rthah. saha A ja A vair’ A aˆnubandh¯an¯am. tad yadi may” aˆva´syam . mantrayitavam, tad apan¯ıyat¯am ete mantriAm¯atraAvyapade´saAkeval’Aoˆ paj¯ıvinah. kath¯aAku´sal¯ah.. na ca karan.¯ıyes.v a¯tyayikes.u s.at. A karn.am . rahasyam . phalavad bhavati.» tath¯a c’ aˆnus.t.hite, Meghavarn.a a¯ha: «t¯ata, b¯ala A bh¯av¯ad an A abhij˜no ’smi. yath¯a brav¯ıs.i, tath¯a karomi. tvad A a¯yattam . hi sarvam idam. tvam adhun” aˆrthaAv¯ad¯ı j˜na¯naAvij˜na¯naAsam .pannah. pitr.Akramen.a hit’Aaˆis.¯ı. kim . tu kaut¯uhalam ucyat¯am: katham . punar asm¯akam ul¯ukaih. saha vairam utpannam? iti.» 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

   :      Counsel wrongly applied, like a vampire* improperly invoked, Is not pacified until it has killed the man who employs it. [] When ministers give conflicting advice, It can only lead to his side’s defeat, And to the triumph of his enemies, never to his success. []

.

When one matches one’s income and outlay, Agents are secret, and counsel concealed, Says no unkind word to one’s ministers; One will rule the whole earth up to the sea. [] So, I tell you once more: war is not to our advantage. Peace, on the other hand, is also an impossible goal for those who have a natural enmity towards each other. If you insist that I give you my advice, then send away these people; they are here to gain a livelihood by their title as ‘Minister’ and are only good at talking. When there are emergency measures to be taken, secrets heard by six ears will be ineffective.” When this request had been carried out, Megha·varna said to Chira˜n·jivin: “Father, I am young and inexperienced. I will do as you advise; our entire life depends on you. You are the one who will tell us the truth; you have the knowledge and the wisdom; and you have my welfare at heart, for you have served my father before me. But I am curious about one thing. Tell me, how did this enmity between us and the owls come about?” 

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

     so ’brav¯ıt: «bhadra, v¯agAdos.a¯t. .

suAciram . hi caran nityam . gr¯ıs.me sasyam aAbuddhim¯an dv¯ıpiAcarmaApratichanno v¯agAdos.a¯d r¯asabho hatah..» [] so’ brav¯ıt: «katham . c’ aˆitat?» Ciram . j¯ıvy a¯ha:

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

    ’  Chira˜n·jivin: “It all started because of a stupid comment! Long did he graze nonstop in the corn fields; Many a summer day he spent grazing The fields of corn wearing a leopard’s skin; But due to a stupid comment he made, the foolish ass was killed.” [] Megha·varna asked: “How did that happen?” Chira˜n·jivin narrated this story:

C S L T.  P.Olivelle. (csl–.)  A  : ..

˜ P. V .

.

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CL AY SANSKRIT LIBRARY

Here is a new Clay Sanskrit Library translation of The Five Discourses on Worldly Wisdom, well known also by its Sanskrit title as the “Pañcatantra.”

Five Discourses on Worldly Wisdom

The king despairs of his idle sons, so he hires a learned brahmin who promises to make their lessons in statecraft unmissable. The brahmin’s lessons are disguised as short stories, featuring animal protagonists.

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Patrick Olivelle is Professor of Sanskrit and Indian Religions at the University of Texas at Austin. He has also edited and translated “The Early Upanishads,” “The Law Codes of Ancient India” and “Manu’s Code of Law.”

WWW.CL AYSANSKRITLIBRARY.COM The Five Discourses on Worldly Wisdom is the most famous collection of animal fables from India. No other Indian work has had a greater influence on world literature, and no other collection of stories has become as popular in India itself.

five discourses on worldly wisdom

by Vishnu·sharman

Since their authorship, probably in the third century ce, many of these narratives have traveled across the world, and are known in the West as the fables of Aesop and La Fontaine, and episodes of the Arabian Nights.

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The Clay Sanskrit Library is a unique series that, through original text and English translation, gives an international readership access to the beauty and variety of classical Sanskrit literature. For a full list of titles, a searchable corpus of CSL texts and translations, and further information, please visit: www.claysanskritlibrary.com

Translated by NEW YORK UNIVERSITY PRESS Washington Square New York, NY 10003 www.nyupress.org

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PATRICK OLIVELLE NEW YORK UNIVERSIT Y PRESS & JJC FOUNDATION

The Five Discourses on Worldly Wisdom is the book of India’s folk wisdom, teaching the principles of good government and public policy through the medium of delightful stories and pithy proverbs. Its positive attitude towards life and its advocacy of ambition, enterprise, and drive counters any preconception of passivity and other-worldliness in ancient Indian society. Anyone who reads The Five Discourses on Worldly Wisdom can understand the reasons for its extraordinary popularity.