महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

इस पृष्ठ पर कोई पाठ (टेक्स्ट) उपलब्ध नहीं है, यह एक कोरा (blank) पृष्ठ है।

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THE HARVARD ORIENTAL SERIES VOLUME TWENTY-ONE

HARVARD ORIENTAL SERIES EDITED WITH THE COÖPERATION OF VARIOUS SCHOLARS BY CHARLES ROCKWELL LANMAN PROFESSOR AT HARVARD UNIVERSITY; HONORARY MEMBER OF THE ASIATIC SOCIETY OF BENGAL, THE SOCIÉTÉ ASIATIQUE, THE ROYAL ASIATIC SOCIETY (LONDON), AND THE DEUTSCHE MORGENLÄNDISCHE GESELLSCHAFT; CORRESPONDING MEMBER OF THE ROYAL SOCIETY OF SCIENCES AT GÖTTINGEN, THE IMPERIAL ACADEMY OF RUSSIA, AND THE INSTITUTE OF FRANCE Volume Twenty-one CAMBRIDGE, MASSACHUSETTS Harvard University Press 1915

RAMA'S LATER HISTORY OR UTTARA-RAMA-CHARITA AN ANCIENT HINDU DRAMA BY BHAVABHUTI CRITICALLY EDITED IN THE ORIGINAL SANSKRIT AND PRAKRIT WITH AN INTRODUCTION AND ENGLISH TRANSLATION AND NOTES AND VARIANTS, ETC., BY SHRIPAD KRISHNA BELVALKAR GRADUATE STUDENT OF HARVARD UNIVERSITY ASSISTANT TO THE PROFESSOR OF SANSKRIT AT DECCAN COLLEGE POONA, INDIA PART 1: INTRODUCTION AND TRANSLATION CAMBRIDGE, MASSACHUSETTS Harvard University Press 1915

The volumes of this Series may be had, in America, by addressing Messrs. GINN AND COMPANY, at New York or Chicago or San Francisco, or at the home-office, 29 Beacon Street, Boston, Mass.; in England, by addressing Messrs. GINN & Co., 9 St. Martin's Street, Leicester Square, London, W.C.; and in Continental Europe, by addressing Mr. Otto Harrassowitz, Leipzig.—For the titles and descriptions and prices, see the List at the end of this volume.

[Seal: ACADEMIAE HARVARDIANAE IN NOV ANG SIGILLVM CHRISTO ET VERITAS ECCLESIAE]

PK 3791 B58 U8 1915 pt. 1

[Stamp: LIBRARY / JUN 22 1964 / UNIVERSITY OF TORONTO / 908648]

PRINTED FROM TYPE AT THE UNIVERSITY PRESS, OXFORD, ENGLAND BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY

First edition, 1915, One Thousand Copies

महाकविश्रीभवभूतिप्रणीतम् उत्तररामचरितम् तत्र उपोद्धातानुवादादिसंवलितम् प्रथमं दलम् बिल्वावलिकरोपनाम्ना कृष्णात्मजेन श्रीपादाह्वेन हारवर्डविश्वविद्यालयनिर्देशेन प्रकाशतां नीतम् संवत् १९७१

TRANSLATION OF THE DEDICATORY STANZA That nectar of learning which [by your favour] I drank day after day for two years in succession—to make for it an adequate return is not indeed my part nor have I the power; and yet, this wreath of the three- petaled bilva-leaves your pupil Bilvāvalikara lays here at your feet in loyal regard. Bilvāvalikara is a Sanskritization of the name Belvalkar, literally, one who has in his hand a wreath of bilva. The bilva is a ternate or a compound leaf of three leaflets (dala), to which the three parts (dala) of this work (Translation, Text, Notes) are here likened in poetic word-play. The floret on the Sanskrit title-page is meant to represent the bilva.

TO CHARLES ROCKWELL LANMAN MY HONOURED TEACHER निपीतं यद्विद्यामृतमनुदिवं वर्षयुगलं न तत् कामं प्रत्यर्पयितुमधिकारो न विभवः । तथापि त्वद्भक्त्या त्रिदलयुतबिल्वावलिमिमां निधत्तेऽन्तेवासी पुरत इह बिल्वावलिकरः ॥

The three parts of this work upon Rāma's Later History form volumes 21 and 22 and 23 of the Harvard Oriental Series. The contents of the three parts are distributed as follows: Part 1: Introduction and English Translation. Part 2: Text in Sanskrit and Prākrit; Indexes of stanzas, metres, &c.; Parallel passages; Extracts from sources; Prākrit glossary. Part 3: Critical account of the critical apparatus; Notes, exegetic, critical, aesthetic, &c.; Variants; Appendixes. Part 1 was printed at the University Press, Oxford, England. Part 2 was printed at the Nirṇaya Sāgara Press of Bombay, India. A number of copies of the Text alone, for use in the colleges and universities of India, will be pub- lished at a nominal price. Applications may be made to Professor Belvalkar, Deccan College, Poona, India. The work upon Part 3 was far advanced at the time of Dr. Belvalkar's departure from Harvard in June, 1914, on his way home to India. His manuscript material for Part 3 and his books were dispatched by the steamship Fangturm, which is now (June, 1915) interned at a port of the Balearic Islands. That material included his collation- sheets, which give the readings of the various codices of this drama. On account of the great difficulty of getting those codices together again, it seems best to await the release of the steamship.

CONTENTS PAGE NOTE BY THE GENERAL EDITOR OF THIS SERIES . . . xiii A METHOD FOR CITING SANSKRIT DRAMAS. PROPOSED BY THE GENERAL EDITOR Method of citing the metrical parts of a play . . . . xvii Method of citing the prose parts of a play . . . . xvii Examples of the use of this method . . . . xvii Appeal to future editors to use this method . . . . xvii Importance of a good method of citation . . . . xviii Two aspects of the method: logical character, typographical expression . xviii Logically essential features of a good method . . . . xviii Canon 1: It should utilize the logical divisions of the text . . xix Canon 2: The numbering should start anew with each division . . xix Discord results from numbering stanzas in one sequence for entire play . xix Canon 3: The citations should be precise . . . . xix Canon 4: They should apply at once to text and translation and notes . xx Canon 5: And be such as to need little change for new editions . . xx The elements of the citations: There should be: xxi For verse and prose alike, a first element, an act-number . . . xxi For verse, a second element, a stanza-number . . . xxi And, if need be, a third element, namely, a letter (a, b, c, d) . . xxi For prose, a second element, the number of the last preceding stanza . xxii And always a third, an Arabic number, to show the subdivision . . xxii The subdivision of the prose passage should be the printed line . . xxiii Typographical devices for making this system usable . . . xxiv Additional device for making this method easy: corner-citations . . xxiv Minor typographic details . . . . . xxv Inconveniences resulting from lack of system or bad system . . xxv Lack of system, good or bad . . . . . xxv Citation by pages and multiple sequences of pagination . . . xxv Combinations of bad system and systemlessness . . . xxvi Examples from editions of the Mṛichchhakaṭika . . . xxvi b [H.O.S. 21]

Contents [x PAGE PREFACE . . . . . . . . . . . xxix INTRODUCTION . . . . . . . . . . xxxv Bhavabhūti, his life, and his date . . . . . . . . xxxv

1. Bhavabhūti's account of himself . . . . . . . xxxv
2. His family-home, Padmapura in the Berars . . . . . . xxxvi
3. Its identity with Padmāvatī (of the Mālatī-Mādhava) unproved . . xxxvi
4. Further biographical details . . . . . . . . xxxvii
5. Bhavabhūti's personality as inferred from his writings . . . xxxviii
6. His date: traditional story about Kālidāsa and Bhavabhūti . . xxxix
7. His works certainly influenced by Kālidāsa . . . . . xl
8. Bhavabhūti probably later than Bāṇa (about A. D. 610) . . . xli
9. Bh.'s identity with 'a pupil of Kumārila' (say 700–750) unproved . xli
10. Bhavabhūti certainly earlier than Rājaśekhara (about A. D. 900) . xlii
11. Date of Yaśovarman of Kanauj as determining that of Vākpatirāja . xliii
12. Date of Vākpatirāja's Gaüḍavaho not far from A. D. 736 . . . xliii
13. Bhavabhūti probably a little earlier than Vākpatirāja . . . xliv
14. Bhavabhūti probably flourished near the close of the seventh century . xlvi Bhavabhūti's works . . . . . . . . . . xlvi
15. Lost works of Bhavabhūti . . . . . . . . xlvi
16. Bhavabhūti's extant works . . . . . . . . xlvii Excursus: History of the Rāma-story . . . . . . . xlvii
17. Vālmīki's Rāmāyaṇa: its present form . . . . . . xlvii 18, A to 18, Q. Rāma-story as given in Vālmīki's Rāmāyaṇa . . xlviii
18. Vālmīki's Rāmāyaṇa not the sole source of our play . . . lv
19. Three forms of the Rāma-story in the Padma-Purāṇa . . . lv
20. The later history of Rāma as given by the Padma-Purāṇa . . lvii
21. Sources of the Rāmāyaṇa: historical element . . . . lviii
22. The Rāmāyaṇa a blending of history and allegory . . . . lix
23. Later modifications of the Rāma-story: 1. Buddhistic form . . lx
24. Later modifications of the Rāma-story: 2. Jain forms . . . lx 26, A to 26, F. Later modifications of the Rāma-story: 3. Hindu forms . lxi Bhavabhūti's early plays: Mahāvīra-charita, Mālatī-Mādhava . . lxiii
25. The Mahāvīra-charita . . . . . . . . lxiii
26. Bhavabhūti's departure from the Rāmāyaṇa . . . . lxiv
27. Technical significance of these changes . . . . . lxv
28. Merits of the Mahāvīra-charita . . . . . . . lxvi
29. Its defects . . . . . . . . . . lxvi

xi] Contents PAGE 32. The Mālatī-Mādhava . . . . . . . lxvii 33, A to 33, G. Analytic statement of its plot . . . . lxviii 34. Criticism of its plot . . . . . . lxxi 35. Technique of the Mālatī-Mādhava . . . . . lxxiii 36. Its advance over the Mahāvīra-charita . . . . lxxiii 37. Defects of the Mālatī-Mādhava . . . . . lxxv The present play : Uttara-Rāma-charita . . . . . lxxvi 38. Transition to the Uttara-Rāma-charita . . . . lxxvi 39. Special features of the Uttara-Rāma-charita . . . lxxvii 40. Technical perfection of the opening act . . . . lxxviii 41. The Uttara-Rāma-charita as a psychological study . . . lxxx 42. The Recognition-scene in the sixth act . . . . lxxxii 43. Other merits of the play . . . . . lxxxii 44. Defects of the play . . . . . . lxxxiv 45. Some common characteristics of the three plays . . . lxxxv Bhavabhūti as a poet . . . . . . lxxxvi 46. His shortcomings . . . . . . lxxxvi 47. His merits . . . . . . . lxxxvii 48. Conclusion . . . . . . . lxxxviii TRANSLATION OF THE PLAY UTTARA-RĀMA-CHARITA . . 1 Dramatis personae . . . . . . . 2 Main characters . . . . . . . 2 Interlocutors . . . . . . . 3 Synoptic analysis of the play . . . . . . 4 Prologue . . . . . . . . 4 Synoptic Analysis of Acts i to vii . . . . . 5 Translation of the play . . . . . . 15 Translation of Act i, The Picture-gallery . . . . 15 Translation of Act ii, Daṇḍakā revisited . . . . 31 Translation of Act iii, The Shadow . . . . . 41 Translation of Act iv, Kausalyā and Janaka . . . . 60 Translation of Act v, Princes in combat . . . . 73 Translation of Act vi, Princes recognized . . . . 82 Translation of Act vii, Reunion . . . . . 94

इस पृष्ठ पर कोई मुद्रित पाठ उपलब्ध नहीं है (यह पृष्ठ रिक्त है)।

NOTE BY THE GENERAL EDITOR OF THIS SERIES WITHIN the last decade, the West and the Far East have become virtually near neighbours. From the responsibilities of such neighbourhood there is no escape. We must have to do with the East, and as members of the world-family of nations we must treat the East aright. To treat the people of the East aright, we must respect them; and to respect them, we must know them. And in order that we may know them, competent scholars must study their history and make it accessible to the Occident. The business of the Orientalist is something that is in vital relation with the practical and political needs of to-day. It is a fact of happy augury that scholars of the East are joining hands with those of the West in the great work of helping each to understand the other. The work calls for just such co-operation, and above all things else for co-operation in a spirit of mutual sympathy and teachableness. There is much of great moment that America may learn, for example, from the history of the peoples of India, and much again that the Hindus may learn from us. But the lessons will indeed be of no avail, unless the spirit of arrogant self-sufficiency give way to the spirit of docility, and the spirit of unfriendly criticism to that of mutually helpful constructive effort. The relation of teacher and taught is here, in an eminent degree, a reciprocal one, for both East and West must be at once both teacher and taught. The whole spiritual and material background of the life of the East differs so completely from that of the West that neither can ever understand the other from a mere study of the other's literary monuments. Such study is indeed inexorably necessary, and it must be fortified by broad and rigorous training in the many-sided methods of to-day. But that is not enough. An Occidental who would faithfully interpret the East to the West must also know the life of the East from actual observation and experience, and must look at it from the Eastern angle of vision. Accordingly, for example, the Sanskrit professor of the next generation must have resided

Note by the General Editor [xiv] in India, have mixed (so far as possible) with its people, and have mastered at least one of the great modern vernaculars, such as Marāṭhī or Bengālī. And, on the other hand, since the Hindus themselves are already actively engaged in interpreting the East to the West, it is needful also that they visit us, not merely to learn our way of doing things, but also to look at life as we look at it, and thus to find out what things—such, let us say, as repose of spirit or the simple life—the West most needs to learn of the East. Sir William Jones and Henry Thomas Colebrooke, illustrious pioneers of Indic philology, are ideal examples of the spirit and methods that were and are and must ever remain exemplary. They went to India and learned of the Hindus, and to the work of making the East known to the West they gave, with heroic devotion, all that they had to give. And ever since their day, the business of the East India Company or of the Imperial Government has taken men to India who have proved to be not only faithful officials, but also Indianists of large achievement. With the spread of Sanskrit studies upon the Continent in the second third of the last century, there arose men who, like Eugène Burnouf or the lexicographers Böhtlingk and Roth, accomplished great things without ever visiting the Land of the Rose-apple. More recently, the ease and speed of ocean-travel have brought it about that the Indianists who have not visited India are few indeed. They feel that they must go; for thus, as so often in modern life, do greater opportunities make obligations greater. But it is not only for a better understanding of each other's hopes and aspirations that the Indianists of the two hemispheres must join forces. They must realize, far better than they now do, the importance of turning to account the modern methods of organization and business efficiency, and the modern progress of the graphic arts. The value of organization, and of combining the labours of isolated scholars for well-considered ends, is illustrated by the Kāvya-Mālā of Bombay and the Ānandāçrama Series of Poona. Moreover, as regards wide circulation and usefulness, complete works issued in such large groups or series as those, and in such form as only an adequate printing establishment can give them, have an enormous advantage over works issued singly or in incomplete parts, and at some obscure press, and in a small edition. Let me add that the work of eminent printers, such as the late Jāvaji Dādāji of Bombay, seems to me to be a very real service to science, and as such to deserve generous recognition from scholars.

xv] Note by the General Editor His Excellency the Prime Minister of Nepal sent lately to Oxford, to be copied photographically for the use of scholars, seventy manuscripts of the Nepal Durbar Library. Such enlightened co-operation between East and West deserves mention, not only by way of grateful acknowledgement, but also as an admirable example which—let us hope—may be followed by others. It suggests the establishment, perhaps at the Nirṇaya Sāgara Press in Bombay, of a central agency to which Hindu Librarians may safely entrust manuscripts for mechanical reproduction, without sending them to Europe. The requirements for such an establishment are by no means too hard to provide. They are (1) a safe place of storage, (2) the photographic apparatus, and (3) a competent operator.—See Postscript on the next page. It is with hope and with gladness that I lay before students of the history of the East the work of Doctor Belvalkar. I am glad that a Hindu, well versed in the learning of his native land, should think it worth while to learn of the West. And I hope that his residence in America may make his Eastern learning vastly more fruitful for us Occidentals than it ever could be, if he had not come hither to find out (as I said) what lessons from his country's past may best be taught to us. And I hope again that many in the coming years may follow his example, establishing thus most valuable relations of personal friendship and co-operation between Indianists of the Orient and the Occident. Aeschylus—as Athenaeus¹ reports—said that his dramas were fragments of the great banquet of Homer's table. And so of Sophocles: his Ajax, for example, is essentially the Ajax of the Iliad. In like manner, the material of the greatest Hindu dramatists, Bhāsa and Kālidāsa and Bhavabhūti, is in large measure taken from the Hindu epics.² Thus the play before us, Rāma's Later History, is, as appears from its title, a dramatization of the Rāmāyaṇa. Its author, Bhavabhūti, for knowledge ¹ viii. 39 . . . Αἰσχύλου, ὃς τὰς αὑτοῦ τραγῳδίας τεμάχη εἶναι ἔλεγε τῶν Ὁμήρου μεγάλων δείπνων. ² The Mahā-Bhārata itself, using the very same metaphor as Aeschylus, declares (i. 2. 389) that 'all the best poets live upon this story' of the Bhāratans. And it adds (385, 388) that 'the inspiration of the poets comes from this incomparable narrative', and that 'there is not a story in the world that does not go back to the Bhārata'. इदं कविवरैः सर्वैराख्यानमुपजीव्यते । इतिहासोत्तमादस्माज्जायन्ते कविबुद्धयः । अनाश्रित्यैतदाख्यानं कथा भुवि न विद्यते ॥

Note by the General Editor [xvi] of what was to him the classics, and for his use of that knowledge, may justly be compared with John Milton; and for the exquisite finish of his diction, we might call him the Thomas Gray of India. For the student of comparative literature, in particular of literary genetics and the history of the drama, this play has many aspects of interest which I hope the editor has not failed to put in a clear light. But it is for the student of the history of religions that the Rāma-legend is especially instructive: its hero has become a pattern, often quite divine, of all that is good and noble; Sītā is wifely fidelity incarnate; and the Rāmāyaṇa—translated from Sanskrit into the great vernaculars, Bengālī, Hindī, Marāṭhī, and so on, and especially the Rāmāyan of Tulsīdās—has become to untold millions literally a Bible to which they look for examples of virtue and for inspiration to righteous living. Our drama is accordingly one of the many forms into which the Indian genius has cast the story of its greatest popular hero, its deified hero; one of the many expressions of its loftiest ideals. May the knowledge of those ideals so enlarge our minds and our sympathies that, when we pass judgements on the East, we shall realize the truth of the Sanskrit proverb, ‘The whole world is one family’. C. R. Lanman. Harvard University, December, 1914. Postscript.—The prism-process was described by K. Krumbacher in an article entitled ‘Die Photographie im Dienste der Geisteswissenschaften’. This appeared in 1906 in the Neue Jahrbücher für das klassische Altertum, 17. 601–659, and was also published separately by Teubner, price marks 3.60. For further articles on the photographic reproduction of manuscripts, see The Nation, of New York, for March 5, 1908 (procédé Graffin), for March 19, 1908 (excellence of ‘good ordinary photographs’, and ease of making them), and for December 30, 1909 (apparatus of Carl von Arnhard of Munich). The Photostat, manufactured by the Eastman Kodak Co., is sold by the Commercial Camera Co. of Rochester, New York, for $500 or $750 or $1,100 according to the size. The Camera Co. issues a pamphlet entitled ‘The Photostat and its operation’. ‘The photostat is a simple and practical apparatus for the rapid photographing of printed or written docu- ments...directly upon the surface of sensitized paper with the image in correct position.... No previous knowledge of photography is necessary.’ For a great library or scientific society which is not too painfully hampered by lack of funds, and in which the apparatus will be much used, the photostat is unquestionably the best and in the long run the cheapest apparatus.

A METHOD FOR CITING SANSKRIT DRAMAS PROPOSED BY THE GENERAL EDITOR OF THIS SERIES Method of citing the metrical parts of a play.—These are cited by act, and by stanza as numbered from the beginning of that act, and by quarter or pāda, the pāda being indicated by a or b or c or d. Method of citing the prose parts of a play.—The prose lines between any two consecutive stanzas are numbered from the prior to the latter stanza, starting always anew from the prior stanza. A given line is cited by number of act and by number of prior stanza (counted as above) and by number of line as counted from said prior stanza.—If there is no prior stanza (that is, if the act begins with prose), a zero is put in place of the stanza number. Examples of the use of this method.—Thus, for this play, the Uttara- Rāma-charita, the citation iii. 2ᶜ means quarter or pāda 3 of stanza 2 of act iii, mohe mohe Rāmabhadrasya jīvam. Thus again iii. 2³ means prose-line 3 as counted from stanza 2 of act iii, Muralā—Katham iva. And iii. 0³ means prose-line 3 at the beginning of act iii, Muralā— Bhagavatī Tamase, &c. Appeal to future editors to use this method.—We might suppose a method of citation to be a matter wholly unworthy of the serious con- sideration of a great scholar, if we judge by the way in which such great scholars as Böhtlingk or Pischel have failed to consider it. And from the brevity of the foregoing three paragraphs, one might suppose the matter of a method of citation to be so simple as to call for no elaborate discussion. It is simple, but the simplicity is the outcome of a laborious consideration of complexities arising from bad methods or lack of method, which com- plexities are a constant annoyance to the scholar and a hindrance to his progress. The essentials of a good method are discussed on the following pages, and the need of a good method is made clear by showing the faults of some bad ones. A bad method puts the student to a deal of worse than useless trouble, and wastes his time, just as a good method saves it. A c [H.O.S. 21]