कुमारसम्भवम् (महाकवि कालिदास - संस्कृत मूल एवं हिन्दी अनुवाद)

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INTRODUCTION 1 KÂLIDÂSA —THE AUTHOR. It is a matter of great pity that we possess practically no (1) His Life trustworthy account of the personal life of Kâlidâsa, the greatest Indian poet. Like most of the other poets of Sanskrit he has observed complete silence about himself, and following his example, later writers too have abstained themselves from throwing any light on his personal history Therefore the only sources to know something about him are, first, a number of traditions prevalent in the later period of classical Sanskrit, and, secondly, a few direct and indirect references contained in his works The traditions associate too many interesting incidents with his name At one place, for instance, he is said to have been a dunce in his youth and later on to have got his enlightenment through the grace of the goddess Kâlî, whence he is known Kâlidâsa Another tale says that he owes his skill in poetry to his wife A third one describes him as a shepherd by birth and a contemporary of King Bhoja of Dhârâ (1200 A D) One more asserts that he met with his death at the hands of a courtesan in Ceylon But it is doubtful if any of these and other allied tales are of any real worth in studying Kâlidâsa What seems probable is that the incidents of some other Kâlidâsa have been ascribed to the Kâlidâsa of the Raghuvansham and the Kumârasambhavam, who was the most famous of them That there have been a number of poets of Sanskrit, who bore the name, Kâlidâsa is proved by the

( 2 ) following couplet of Rajashekhar, who knew at least three of them — ‘ एकोऽपि जीयते हन्त कालिदासो न केनचित् । शृङ्गारे ललितोद्गारे कालिदासत्रयी किमु ॥ ’ In all this heap of fiction and legends only one thing is certain, viz., that he was a contemporary of King Vikramâditya. But to identify this Vikramaditya is by no means an easy task. More than one king bore this name and several others used it as a title. There was one Vikramaditya who founded the Vikrama Era in 57 B. C., while Chandragupta II (413 A. D.) and Samudragupta (480 A. D.) of the Gupta dynasty had adopted the word as an epithet. Now which of these Vikramadityas was our poet's patron is a puzzle, which still remains unsolved. To come to the second source of information, namely, the evidence gathered from the references contained in his works, we may hold it to be more reliable, though not infallible. On the authority of these references it can be said that he was a Brâhmana by caste and a devotee of Shiva by faith. His vivid and exact description of Ujjayinî, Kashmere, the Himalaya and some cities as well as parts of Northern India, lead the reader to infer that he had been personally to all these places. He was fully familiar with the life at royal courts and seems to have lived, unlike Bhavabhûti and Mâgha a prosperous, happy and popular life. Though fond of pleasures he was not licentious. He had a great regard for the fair sex and a noble idea of its chastity. This is warranted by the text of the Shâkuntala. He was an all-round scholar, possessed of a sound knowledge of the Vedic principles, Upanishadic philosophy, Paurânika mythology, various Darshanika systems, grammatical and prosodical rules, medical science and astronomy.

( 3 ) As has already been remarked, the problem of Kalidasa’s date (2) His Date is by no means an easy one, and it is nothing more than conjectures that we can take recourse to To sum up the various theories on the subject we may divide them into two main groups The adherents of the one hold that he flourished in the first century B C and was a contemporary of king Vikramâditya, the founder of the famous Vikrama Era, while the followers of the other, put him in the fifth or sixth century A D The arguments advanced by the former group may be summed up as follows — 1 The state of the law of inheritance and the severe penalty for theft and other crimes, as referred to in the Shâkuntala, point to the state of society and law as it existed prior to the Christian Era 2 Similarities in the works of Ashwaghosha, a Buddhist philosopher and poet of the first century A D and Kâlidâsa lead one to place the latter before the former, because the possibility is that Ashwaghosha borrowed from Kâlidâsa and not vice versa 3 A medallion discovered at Bhitâ, near Allahabad, on which is engraved a scene of two maidens watering plants and a king chasing a deer, and which is held to belong to the first century B C is considered by some scholars to represent the scene of the first act of the Shâkuntala Hence the drama must have been composed before it 4 Vatsabhatti, the author of the Mandasor inscription (472 A D ) draws help from the poetry of Kâlidâsa, therefore, Kâlidâsa must have lived prior to the beginning of the fifth century A D

( 4 ) 5 Last but not the least, is the evidence of his style, which is quite different from that of the writers of the medieval Sanskrit period Kalidasa's style is simple, while the later writers find pleasure in embellished composition abounding in long compounds, difficult puns, etc It is on the basis of such evidence that scholars like Dr Peterson believe that 'Kalidâsa stands near the beginning of the Christian Era, if, indeed, he does not overtop it ' The main arguments of the other group may be put forth thus — 1 Kalidasa's language (specially his Prâkrita) and style show a clear advance over those of the two earlier poets, Bhâsa and Ashwaghosha, who flourished in the first century B C and first century A D respectively. 2 Kalidâsa's works point to the state of perfection of Sanskrit literature which was attained during the reign of the Gupta kings, which period is known in the history as the "Golden Age for Brahmanism and Sanskrit" 3 There is a probable reference to Chandragupta II Vikramaditya (413 A D) in the title of the Vikramorvashîyam, and to his son Kumaragupta in the name of the Kumâra- sambhavam, and the remarkable allusion to the horse-sacrifice in the Mâlavikâgnimitram may remind one of Samudragupta's horse-sacrifice 4 The works of Kâlidâsa seem to be describing the social, political, religious and economical conditions of the Gupta period 5 The allusion to the Hûna kings in the Raghuvamsham suggests that Kalidâsa lived after their invasion of the Punjab, which is dated in the sixth century A D

( 5 ) From these arguments it must be clear that there is nothing conclusive and both the groups of scholars rely only on conjec- tures. In such circumstances the most can be said is that Kâlidâsa lived before 634 A. D., because he has been mentioned by name in the Aihole inscription of that date and also by Bâṇabhaṭṭa in his Harshacharitam, of the same time, or that he can safely be placed in the fifth century A. D. To say beyond that is open to serious opposition. As many as forty-one books have been ascribed to the pen (3) His Works of Kâlidâsa, but that is highly doubtful. Many of them are evidently unworthy of his name and seem to have been passed in his name by some bogus writers to win popularity for their compositions, or they belong to some other Kâlidâsa. Thus out of the long list only six are universally acknowledged as his own and some doubt is expressed about the genuineness of the seventh, viz., Ritu- samhâram. These seven may be classified as following:— (1) Kâvyas— 1. Raghuvamsham 2. Kumârasambhavam (11) Lyrics— 1. Meghadûtam 2. Ritusamhâram (111) Dramas— 1. Shâkuntalam 2. Vikramorvashîyam 3. Mâlavikâgnimitram Kâlidâsa is one of the most brilliant jewels in the diadem of (4) His Art— goddess Saraswatî, and he is unquestionably Style, etc the best poet of Sanskrit literature. If Bhavabhuti attempts to share with him the laurels of Sanskrit drama and Bharavi, Mâgha or Shrîharsha of Sanskrit Kâvya, there is none who can vie with him in both of these branches of literature put together. His Raghu- vamsham is one of the best of Sanskrit Kâvyas and the Shâkuntalam is far the best of Sanskrit dramas. Though the traditional verse— ' उपमा कालिदासस्य भारवेरर्थगौरवम् । नैषधे पदलालित्यं माघे सन्ति त्रयो गुणाः ॥ '

( 6 ) is, so far as our poet is concerned, a compliment in the right direction, it is not in the use of similes alone, but in the excellencies of poetry in general, that he excels all other Sanskrit poets. Unlike the compositions of Banabhatta and Dandin, in his works sentiment predominates the outer embel- lishments, and in contrast with Bhasa and Ashwaghosha, his language and style are quite in conformity with his noble imagination. He is the master of language as well as of poetic fancy. His style is simple, pure and chaste. It is brief as well as clear. The language flows without interruption and long com- pounds, involved construction and difficult puns are absent from it. It is easy but not without due ornamentation. (See Kumārasambhavam, Canto 5—verses 4, 18 and 78.) He does not use any redundant particles or other words, which are used so frequently in the epics in order to complete the number of syllables prescribed for a stanza. It is difficult to find out any words in his composition of verses which do not contribute something or other to their meaning and do not help in advancing the story further. Thus his poetry is free from both the loose construction of the epics and the affected composi- tions of the latter writers. For this he can be compared to Virgil, the immortal author of Aeneid. His style is of the Vaidarbha class, which consists of firmness and evenness of sound, perspicuity, uniformity, grace, tenderness, clearness of meaning, dignity of epithets, vigour, elegance and the use of metaphorical expressions.* In accordance with the spirit of this style he prefers suggestion to elaboration.

• • श्लेषः प्रसादः समता माधुर्यं सुकुमारता । अर्थव्यक्तिरुदारत्वमोजः कान्तिः समाधयः ॥ ' काव्यादर्श १ ४१ ।

( 7 ) One distinctive feature of Kâlidâsa's poetry is his love of nature. It is his vivid and life-like descriptions of natural scenery and natural objects, such as the Himâlaya, Mânasa lake, ocean, the Ganges, etc, which have won for him the title of "Poet of Nature" His descriptive powers are remarkable and while describing nature he strikes us as a part and parcel of it. One thing worth noticing in this connection is that he ascribes human feelings and even actions to inanimate objects of nature, which makes the scene very effective (See Kumara 5—17, 25) This is known in English as "Pathetic fallacy" and, in this respect, he may be compared to Wordsworth of English literature. Kâlidâsa has also succeeded in entering deep into human heart. His observation of its workings and feelings is remark- able and the manner in which he gives vent to them has added much to his glory. In the words of Humboldt "Tenderness in the expression of feelings and richness of creative fancy have assigned to him his lofty place among the poets of all nations" (See Kumara 5—1, 26, 67 and 58). His poetry is also profusely interspersed with the statement of "Universal truths". (See Kumara 5—45, 64, 75, 82 and 86). This shows his correct reading and vast experience of the workings of human mind and nature surrounding it. Of figures of speech, simile is his favourite and his poetry abounds in exceptionally charming use of it. (See Kumara 5—52, 61). But he does not seem to have neglected other important figures of sense. Thus he is equally rich in the employment of fancy (उत्प्रेक्षा) (see Kumara 5—25, 27 and 41), *corroboration (अर्थान्तरन्यास) (see Kumara 5—5, 31 and 64) and illustration (दृष्टान्त) (see Kumara 5—4), and one should not be

( 8 ) taken by surprise to see that he also uses the figures of sound whenever suitable for his text and this he does with great skill. Of the figures of sound alliteration ( अनुप्रास ) and repetition of syllables ( यमक ) are most common Thus, one can say that Kalidasa is a master of sense as well as of words These qualities have won for him an unqualified praise from Indian as well as foreign critics and poets In India he is regarded as "The lord of poets" ( कविकुलगुरु )* and his poetry as sweet as "honey-laden flowers "† He is an unrivalled poet‡ and his Shakuntala is the most charming of all dramas § Sir William Jones, who was the first to translate the Sha- kuntala into English, styles him as "the Indian Shakespeare' Professer Lassen pays his tribute to him by calling him "the brightest star in the firmament of Indian poetry," and the following compliment for the Shakuntala from Goethe, the great German poet is a well-known one — "Wouldst thou the young year’s blossoms and the fruits of its decline, And all by which the soul is charmed, enraptured, feasted, fed? Wouldst thou the earth and heaven itself in one sole name combine? I name thee, O Shakuntalâ, and all at once is said"

• "भासो हासः कविकुलगुरुः कालिदासो विलासः ।" जयदेव । † ‘निर्गतासु न वा कस्य कालिदासस्य सूक्तिषु । प्रीतिर्मधुरसार्द्रासु मञ्जरीष्विव जायते ॥" बाणभट्ट । ‡ "पुरा कवीनां गणनाप्रसङ्गे कनिष्ठिकाधिष्ठितकालिदासः । अद्यापि तत्तुल्यकवेरभावादनामिका सार्थवती बभूव ॥ § "काव्येषु नाटकं श्रेष्ठं तत्र रम्या शकुन्तला । तत्रापि चतुर्थोऽङ्कस्तत्र श्लोकचतुष्टयम् ॥"

( 9 ) II THE KUMÂRASAMBHAVAM—THE POEM The Kumârasambhavam is a Mahâkâvya. It is divided into cantos, its hero is a divine personage, (1) The Poem possessing the qualities of a Dhîrodâtta hero, —General re- its predominant sentiment is शृङ्गार having marks. करुण and शान्त as its accessories, its plot is mythological, it contains descriptions of cities, season, natural scenery, etc. Thus it fulfills the conditions laid down in the definition of a Mahâkâvya. The size of the Kumârasambhavam is a matter of con- troversy. Some recensions of the poem consist of 17 cantos, while some scholars say that it has 22 cantos. But the general belief is that only the first eight (1—8) cantos are from the pen of Kâlidasa and the rest were interpolated by some other writer afterwards. Mallinâtha, the well-known commentator has annotated only upto the eighth canto, and the main incident of the poem, viz., the birth of Kumâra, only potential, also has been reached in the eighth canto, so the story may be regarded as complete after it. The contents of the later cantos have little bearing on the main theme, and their style also convincingly indicates that cantos 9—17 are not from the pen of the writer of the first eight cantos. For the theme of the Kumârasambhavam, Kâlidâsa has chosen a story of divine beings, which provides him an oppor- tunity to take the loftiest flights of imagination. The scene of incidents is the grand Himâlaya, which, with its beautiful valleys and slopes, affords an occasion for describing natural scenes. The descriptions of Pârvatî, a young, beautiful maiden full of yearning to win over Shiva, have been completed with great skill. Her dismay at the defeat of Kâmadeva and the following determination to win over Shiva by means of severe austerities reveal that Kâlidâsa had powers to see into the

( 10 ) emotional side of Pârvatî's heart The honesty and sincerity with which Pârvatî practises penance have been disclosed with remarkable success, and the dialogue between an ascetic and Pârvatî is one of the best pieces of its kind in Sanskrit poetry Turning to the other incidents of the poem, no other poet would have been able to do so much justice to the imaginary attack of Kâma on Shiva, the victory of the latter upon the former and the pitiable lamentation of the bereaved Rati All this combined with the inherent qualities of Kâlidâsa's pen has achieved for the poem a high place in the line of the Sanskrit Mahâkâvyas, and one feels fully in concordance with Dr Ryder in thinking that " there are passages in the birth of the War-God of a piercing beauty which the world can never let die " Kâlidâsa has generally taken the theme of his poems from the ancient stock of stories, the Meghadûtam (2) The Source and the Mâlavikâgnimitram being the only of the Poem exceptions Some of his works deal with historical stories while others with mythological legends The Kumârasambhavam belongs to the latter class as the story of Shiva and Pârvatî is only a mythological one It is very ancient and is mentioned in a number of Purânas, but none of them has done so much justice to it as the Shiva Purâna. Kâlidâsa also seems to have borrowed the plot for his poem from this Purâna, but after borrowing the bare outlines, he, with the help of his poetical genius and rich fancy has given the story a new aspect. As has been remarked the chief incident of the story is the birth of Kumâra, an issue of Shiva and (3) The Title Pârvatî, so the poem has been named as "Kumârasambhavam" This name can be derived as कुमारस्य (कार्तिकेयस्य सम्भवः ( उत्पत्ति ) कुमारसम्भवः, स एवभेद्ोपचारात् कुमारसंभवं महाकाव्यम् । e, the birth of Kumâra, the same denotes the

11 ) poetry describing it by " the transference of an epithet," or, कुमारस्य सम्भवः कुमारसम्भवः, स वर्णितोऽस्मिन् काव्ये तत् कुमारसम्भवम् i. e., the poem in which the birth of Kumâra has been described will be called Kumârsambhavam. For the benefit of students we give below a summary of (4) The Story. the story of the first eight cantos in English :- Canto 1.—At the outset the reader meets with a graphic description of Himâlaya, the lord of mountains. From his wife Menâ he had a son and a daughter, named Mainâka and Pârvatî respectively. The latter is mentioned to have been in her previous birth Satî, the daughter of Daksha and the wife of Shiva. Then follows a description of Pârvatî's childhood and youth. When she is of marriageable age, her father is informed by Nârada, the ever-travelling sage, that she would be married to Shiva. Hearing this, Himâlaya sends his daughter with her two friends to wait upon Shiva, who had adopted the life of an ascetic after the death of his wife Satî. Canto 2.—Simultaneously with this the gods were being very much harassed in heaven by a demon, named Târaka, to get rid of whom they go to Brahmâ. They relate all their troubles to him and in reply are told that the only person who could rescue the world from the clutches of this demon would be the son of Shiva. At this the gods think of the marriage of Shiva and are informed by Brahmâ that Pârvatî, who was waiting upon Shiva, was the only suitable match for Shiva, and that the son got through their marriage will serve their purpose. Canto 3.—Then to create the passion of love in the heart of Shiva, Indra calls on Kâmadeva, who accompanied by Vasant (the Vernal Season) as his helper, sets out on his mission. The nature surrounding Shiva, all of a sudden, puts on the garb of कु० सं०—२

( 12 ) the spring season and all its objects, animate or inanimate, are filled with the passion of love. Shiva too for a while seems to be yielding to it, but very shortly consciousness is awakened in him. He holds Kâma responsible for the disturbance, and being angry with him, reduces him to ashes by means of the fire coming forth from his third eye. Suspecting danger, Himâlaya takes away his daughter and the plan of the gods seems to have been frustrated for the time being. Canto 4.—Kâma's sad end causes great grief to his wife Ratî who had accompanied him in his adventure. She weeps bitterly and piteously and decides to breathe her last by burning herself with the body of her beloved. But an incorporeal speech pacifies her by giving an assurance that her separation from Kâma was only temporary and that she would again be united with him. Canto 5.—Pârvatî, who had fallen in love with Shiva and whom she wanted to marry, seeing her object undone by the demise of Kâma, decides to win over her beloved by means of severe penance. Her mother dissuades her but she turning a deaf ear to her and taking permission of her father goes to a peak of the Himâlaya to practise austerities. She repairs to the place with her friends and commences her penance with all seriousness. Taking the vow of asceticism, she puts on the dress of ascetics, and. not minding the severity of elements, continues to mortify her body. She becomes renowned as an ideal ascetic and sages from far and near come to visit her. One day she is called on by a young ascetic, who was none but Shiva in disguise. First he pays a befitting tribute to the pious life of Pârvatî and then asks her the reason of her penance and knowing it to be to win over Shiva as her husband, he begins to point out the various defects of Shiva,

( 13 ) such as his fondness for inauspicious things, his unknown birth, his poverty, etc, and expects Pârvatî to give up her determination But Pârvatî, true to her sincerity, gives a suitable reply to all his arguments and gives a decisive proof of her adherence to Shiva At this the visitor appears in his real form and declares himself to be her slave This fills Parvati's heart with great joy Canto 6 —Being advised by Parvatî to procure her father's approval, Shiva despatches the Seven Sages to Himâlaya for the purpose They are received at his capital with proper ceremony, and, on being asked by Himâlaya, they disclose the object of their visit Himâlaya is too glad to hear it and readily gives his consent to the proposal The sages after fixing the day for marriage return to Shiva and preparations for it are forthwith undertaken Canto 7 —Due festivities begin at the capital of Himâlaya and preliminary rites in connection with the marriage are per- formed On the fixed day, Shiva with all his attendants and gods reaches the place of Himâlaya, where the party is received with due honour The procession of the bridegroom is enjoyed with particular interest by the inhabitants of the town Then the marriage ceremony is performed, and it being over the guests depart, but Shiva stays to live there Canto 8 —This canto opens with a description of love- affairs of the newly married couple After staying at his father-in-law's house for one month, Shiva with Pârvatî leaves the place for a honeymoon trip, during which he pays visits to various places of interest On reaching Gandhamâdana, he selects it for his residence and lives there with his consort in continuous pleasures One night they drink wine and spend the night in connubial pleasures

( 14 ) (5) Summary of the Fifth Canto in Sanskrit. शिवेन कामे भस्मसात्कृते पार्वती नितरां निराशा जाता, शिवप्राप्त्यर्थमुपायान्तरमपश्यन्ती च तपः कर्तुं निश्चितवती । तन्माता तु तां तपसो निवर्त्तयामास, परं दृढनिश्चया स्वजनकस्याज्ञामादाय स्वसखीभिः सह गौरीशिखरं जगाम तत्र च वल्कलं, जटाः, मौञ्जीं, अक्षसूत्रञ्च गृहीत्वा तपः प्रारब्धवती । तपःकाले सा भूमावेव शेते स्म, विलासादिरहिता बभूव, पादपमृगादिषु च प्रीतियुक्ता जाता । इतस्ततस्तस्या ख्यातिर्जाता मुनयश्च तद्दर्शनार्थं तमाजग्मुः । परं यदा च तया सामान्यसमाधिना फलं न लब्धं तदा सा महत्तपः अकरोत् । ग्रीष्मर्तौ सा पञ्चाग्नि तपः कृतवती, वर्षायामपि सा अनावृतस्थाने एव तस्थौ, हेमन्तर्तौ च रात्रीः शीतवायावपि जलमध्य एव न्यषसद् । अन्ते च तया वृक्षपत्राणामपि भक्षणं त्यक्तमतः सा ‘अपर्णा’ इति संज्ञामलभत । एवमेव कठिनं तपः कुर्वन्त्यां तस्यामेकदा तदाश्रमं ब्रह्मचारिवेषधारी कश्चित्साधुराजगाम । तया यथाविधि सत्कृतः स पार्वतीं कुशलं पप्रच्छ तदनु च तदाज्ञामादाय तस्याः तपःकारणं ज्ञातुमिच्छितवान् । पार्वती तु स्वयं किमप्यकथयित्वा स्वसखीं प्रतिवक्तुमादिदेश । सा हि तस्मै पार्वत्याः हरवरणविषयकं निश्चयं तद्वियोगकृतां तदीयांदयनीयां दशाञ्च निवेदितवती । श्रुत्वेदं स तत्सत्यतां प्रति पार्वतीं पप्रच्छ, तयाऽपि हरविषयकानुरागं प्रदर्श्य सोऽर्थः समर्थितः । तदा स शिवस्य अशुभवस्तुप्रीतिमत्त्वं, सर्पकङ्कणत्वं, गजाजिनधारणत्वं, श्मशानवासत्वं, चिताभस्मलेपनत्वं, वृद्धोक्षवाहनत्वं, देहविरूपत्वं, निर्धनत्वञ्च कथयित्वा तां तन्निश्चयात् निवारयितुं चेष्टते स्म । परं पार्वत्या प्रत्येकदोषस्य परीहारः कृतः, ब्रह्मचारि- कथिताः दोषाश्च शिवस्य गुणत्वेन प्रदर्शिताः । यदा च तया बटुः पुनरपि दोषकथनोत्सुको दृष्टस्तदा क्रुद्धा सा ततो गन्तुं प्रचक्रमे, परं ब्रह्मचारिवेष- धारी शिवः स्वं रूपमास्थाय तां जग्राह आत्मानञ्च तस्यै समर्पितवान्, यच्छ्रुत्वा पार्वती गतक्लमा जाता ।

कुमारसम्भवम् —:०:— पञ्चमः सर्गः —:०:— तथा समक्षं दहता मनोभवं पिनाकिना भग्नमनोरथा सती । निनिन्द रूपं हृदयेन पार्वती प्रियेषु सौभाग्यफला हि चारुता ॥१॥ मलिनाथकृता सञ्जीवनी टीका:—तथेति । पर्वतस्यापत्यं स्त्री पार्वती तथा तेन प्रकारेण अक्ष्णोःसमीपे समक्षं पुरतः । 'अव्ययं विभक्तिसमीपसमृद्धि'—इत्यादिनाव्ययीभावः । मनोभवं मन्मथ दहता भस्म कुर्वता पिनाकिना ईश्वरेण भग्नमनोरथा भग्नः खण्डितो मनोरथ अभिलाषो यस्या सा तथोक्ता सती हृदयेन मनसा रूपं सौन्दर्य निनिन्द । धिङ् मे रूपं यद्धरमनोहरणाय नाल- मिति गर्हितवतीत्यर्थ । युक्त चैतदित्याह—तथा हि । चारुता सौन्दर्य प्रियेषु पतिषु विषये सौभाग्यफला सौभाग्यं प्रियवाल्लभ्यं फलं यस्याः सा तथोक्ता । सौन्दर्यस्य तदेव फलं यद्धर्त्तृ सौभाग्यं लभ्यते । नोचेद्विफलं तदिति भावः । अस्मिन् सर्गे वंशस्थं वृत्तम्— 'जतौ तु वंशस्थमुदीरितं जरौ' इति लक्षणात् । PROSE ORDER :—पार्वती तथा समक्षं मनोभवं दहता पिना-

( २ ) किना भग्नमनोरथा सती हृदयेन रूपं निनिन्द । ( तथा ) हि चारुता प्रियेषु सौभाग्यफला । NOTES :—पार्वती-पर्वतस्य अपत्य स्त्री पार्वती ( पर्वत+अण् +ङीप्) The daughter of Mountain, i e, the Himalaya The suffix अण् is added in the sense of ' a descendant of' by 'तस्य अपत्यम् ' पाणिनि ४ १ ६२ Then ङीप् is added to make it feminine तथा—as described in the following verse—'क्रोधं प्रभो संहर संहरेति यावद्गिरः खे मरुतां चरन्ति । तावत्स वह्निर्भवनेत्रजन्मा भस्मावशेषं मदनं चकार ।' कुमारसम्भव ३.७२• समक्षं—(सं+अक्षि+टच् ) in her presence It is an अव्ययीभाव compound formed in the sense of nearness ( सामीप्य ) by 'अव्ययं विभक्तिसमीपसमृद्धि० ' पाणिनि २.१.६ अक्षि is made अक्ष by the addition of टच् by 'अव्ययीभावे शरत्प्रभृतिभ्यः' पाणिनि ५.४.१०४ मनोभवं—मनसि भवम् ; मनस भवः यस्य सः Mind-born, i e, Cupid दहता— burning Instrumental singular of दहत्, Present Participle of √दह् to burn पिनाकिना—( पिनाक+इनिः ) पिनाकः धनुः यस्य स पिनाकिन्, तेन । पिनाक being the name of the bow of Shiva, he is known as पिनाकिन् । 'पिनाको- ऽजगवं धनुः' इत्यमरः । भग्नमनोरथा—( √भञ्ज्+क्तः ) भग्नः मनोरथ. यस्याः सा one whose wishes are disappointed Cupid being turned to ashes, Parvati had lost hopes of her union with Shiva सती—Feminine Present Part of √अस् to be निनिन्द-कुत्सितवती blamed ; cursed Perfect ( लिट् ) of √णिदि कुत्सायां third person, singular. Parvati cursed her beauty because it failed

( ३ ) to win over Shiva हि-यतः because It is an indeclinable used in various senses Cf 'हि पादपूरणे हेतौ विशेषेऽप्यव- धारणे । प्रश्ने हेत्वपदेशे च सभ्रमासूययोरपि ॥' इति मेदिनीकोषः चारुता—(चारु+तल्) चारोः भावः (सौन्दर्य) beauty To form Abstract Nouns त्व or तल् is added by 'तस्य भावस्त्वतलौ' पाणिनि ५।१।११६। प्रियेषु—as regards one's beloved सौभाग्यफला—(सुभग+ष्यञ्) सुभागाया भावः सौभाग्यं good fortune सौभाग्यं फलं यस्याः सा having good fortune as result 'प्रियेषु सौभाग्यफला हि चारुता' is a sort of universal saying meaning that beauty has for its fruit good fortune as regards the beloved, i e, that alone is the real beauty which attracts one's beloved and makes him love it, otherwise it has no meaning, howsoever praiseworthy it may be in the eyes of others 'प्रियेषु सौभाग्यफला०' is also read as 'प्रिये सुसौभाग्य- फला०' in some recensions The metre of this and the following stanzas upto 84 is वंशस्थ, which is defined as 'जतौ तु वंशस्थमुदीरितं जरौ' i.e. ।ऽ। ऽऽ। ।ऽ। ऽ।ऽ Marks ऽ and । stand for long and short syllables respectively CHANGE OF VOICE :—पार्वत्या तथा समक्षं मनोभवं दहता पिनाकिना भग्नमनोरथया सत्या रूपं हृदयेन निनिन्दे, (तथा) हि चारुतया प्रियेषु सौभाग्यफलया (भूयते) ॥ १ ॥ HINDI TRANSLATION :—इस प्रकार आंखों के सामने ही

( ४ ) कामदेव को जलाने वाले शिव के द्वारा निष्फल इच्छा वाली पार्वती ने अन्दर से (अपनी) सुन्दरता की निन्दा की, क्योंकि सुन्दरता वही है जिसके द्वारा प्यारे का सुख मिले ॥ १ ॥ ENGLISH TRANSLATION :-Parvati, baffled in her hopes by Shiva who, thus, burnt the mind-born (Cupid) in her presence, cursed her beauty in her heart: for beauty has for its fruit good fortune as regards one's beloved. 1. PURPORT IN SANSKRIT :- शिवेन मदनदहनं रत्या च तत्कृते कृतं विलापं दर्शयित्वा कविकालिदासः शिवमभिमुखीकर्त्तुं पार्वत्या कृतं तपो वर्णयितुं श्लोकेऽस्मिन् तपोबीजं गौरी- नैराश्यं दर्शयति—यदा हि शिवेन स्वतृतीयनेत्राग्निना पार्वत्याः प्रत्यक्षमेव कामः भस्मसात्कृतस्तस्याः शिवपरिणयविषयिका- भिलाषा समूलं नष्टा। एवञ्च शिवेन नाकृष्टचित्तमात्मनः सौन्दर्यं पार्वती निन्दति स्म, यतः वल्लभस्य प्रेम तज्जनितं सुखञ्च सौन्दर्यस्य फलम्। यद्रूपं भर्त्रे न रोचते तन्निरर्थकमेव इति मत्वा सात्मानं धिक्कृतवती ॥ १ ॥ इयेष सा कर्तुमवन्ध्यरूपतां समाधिमास्थाय तपोभिरात्मनः। अवाप्यते वा कथमन्यथा द्वयं तथाविधं प्रेम पतिश्च तादृशः ॥ २ ॥ इयेषेति। सा पार्वती समाधिम् एकाग्रताम् आस्थाय अवलम्ब्य तपोभिः वक्ष्यमाणनियमैः करणभूतैः आत्मनः स्वस्य अवन्ध्यरूपतां सफलसौन्दर्यं कर्त्तुं इयेष इच्छति स्म। तपसा शिवं वशीकर्तुमुद्युक्ते- त्यर्थः। अन्यथा ततोऽन्यप्रकारेण कथं तत् द्वयं अवाप्यते। किं

( ५ ) द्वयम् ? तथाभूता विधा प्रकारो यस्य तत् तथाविधं प्रेम स्नेह । येनार्द्धाङ्गहरा हरस्य भवेदिति भावः । तादृशः पतिश्च । यो मृत्युञ्जय इति भावः । द्वयमेव खलु स्त्रीणामपेक्षितं यद्भर्तुर्वल्लभ्यं जीवद्भर्तृ- कत्व चेति । तच्च तपश्चर्यैकसाध्यमिति निश्चिकायेत्यर्थः। अत्र मनुः— ‘ यद्दुष्करं यद्दुरापं यद्दुर्गं यच्च दुस्तरम् । तत्सर्वं तपसा प्राप्यं तपो हि दुरतिक्रमम् ॥’ इति । PROSE ORDER —सा समाधिमास्थाय तपोभिः आत्मनः अवन्ध्यरूपतां कर्त्तु इयेष । वा अन्यथा तथाविधं प्रेम तादृशः पतिश्च ( इति ) द्वयं कथ अवाप्यते । NOTES :—समाधि—( सं + आ + √धा + किः ) Intense contemplation ( of any particular object so as to identity the contemplator with the object meditated upon ) This is the eighth and last stage of Yoga. Here it may also mean silence or a vow of intense devotion ( for Shiva ), or, a rigid rule of conduct आस्थाय—(आ + √स्था + क्त्वा—ल्यप् ) अवलम्ब्य taking re- course to तपोभिः—by means of austerities, the observ- ance of which warrants all sorts of success Cf The shloka of Manusmriti quoted above by Mallinatha. Decline तपस् as तपः, तपसी, तपांसि । तपः, तपसी, तपांसि । तपसा, तपोभ्याम् etc, अवन्ध्यरूपतां—न वन्ध्यं अवन्ध्यं Not barren, fruitful अवन्ध्य रूपं ( सौन्दर्य ) यस्याः सा अवन्ध्य- रूपा, तस्याः भावः अवन्ध्यरूपता, ताम् such as whose beauty was fruitful or it may be taken as न वन्ध्य अवन्ध्यं, अवन्ध्यं च तद्रूपं, अवन्ध्यरूपं तस्य भावः, ताम् a fruitful beauty इयेष— Perfect Third Person Singular of √इषु इच्छायाम् to wish.