DANDIN: KAVYADARSA, Pariccheda 1 based on the edition by S.K. Belvalkar, Poona 1924. Input by Reinhold Gruenendahl PLAIN TEXT VERSION 旼컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴커 � THIS TEXT FILE IS FOR REFERENCE PURPOSES ONLY! � � COPYRIGHT AND TERMS OF USAGE AS FOR SOURCE FILE. � � � � Text converted to Classical Sanskrit Extended � � (CSX) encoding: � � � � description character = ASCII � � � � long a � 224 � � long A � 226 � � long i � 227 � � long I � 228 � � long u � 229 � � long U � 230 � � vocalic r � 231 � � vocalic R � 232 � � long vocalic r � 233 � � vocalic l � 235 � � long vocalic l � 237 � � velar n � 239 � � velar N � 240 � � palatal n � 164 � � palatal N � 165 � � retroflex t � 241 � � retroflex T � 242 � � retroflex d � 243 � � retroflex D � 244 � � retroflex n � 245 � � retroflex N � 246 � � palatal s � 247 � � palatal S � 248 � � retroflex s � 249 � � retroflex S � 250 � � anusvara � 252 � � anusvara (overdot) � 167 � � capital anusvara � 253 � � visarga � 254 � � (capital visarga 255) � � long e � 185 � � long o � 186 � � � � additional: � � l underbar � 215 � � r underbar � 159 � � n underbar � 173 � � k underbar � 201 � � t underbar � 194 � � � � Other characters of the CSX encoding table are � � not included. Accents have been dropped in order � � to facilitate word search. � 읕컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴켸 atha k�vy�dar�a� Pariccheda 1 caturmukhamukh�mbhoja- vanaha�savadh�r mama / m�nase ramat盛 d�rgha� sarva�ukl� sarasvat� // 1.1 // p�rva妬str性i sa�h�tya prayog�n upalak�ya ca / yath�s�marthyam asm�bhi� kriyate k�vyalak�a�am // 1.2 // iha �i亢�nu�i亢�n盛 �i亢�n�m api sarvath� / v�c�m eva pras�dena lokay�tr� pravartate // 1.3 // idam andha� tama� k�tsna� j�yeta bhuvanatrayam / yadi �abd�hvaya� jyotir �sa�s�ra� na d�pyate // 1.4 // �dir�jaya�obimbam �dar�a� pr�pya v涉mayam / te咸m asa�nidh�ne 'pi na svaya� pa�ya na�yati // 1.5 // gaur gau� k�madugh� samyak prayukt� smaryate budhai� / du�prayukt� punar gotva� prayoktu� saiva �a�sati // 1.6 // tad alpam api nopek�ya� k�vye du亢a� katha� cana / sy�d vapu� sundaram api �vitre�aikena durbhagam // 1.7 // gu�ado咸n a妬straj쨅� katha� vibhajate nara� / kim andhasy�dhik�ro 'sti r�pabhedopalabdhi�u // 1.8 // ata� praj�n盛 vyutpattim abhisa�dh�ya s�raya� / v�c盛 vicitram�rg性盛 nibabandhu� kriy�vidhim // 1.9 // tai� �ar�ra� ca k�vy�n�m ala�k�r成 ca dar�it筬 / �ar�ra� t�vadi亢�rtha- vyavacchinn� pad�val� // 1.10 // padya� gadya� ca mi�ra� ca tat tridhaiva vyavasthitam / padya� catu�pad� tac ca v�tta� j�tir iti dvidh� // 1.11 // chandovicity盛 sakalas tatprabandho nidar�ita� / s� vidy� naus vivik緘鎚� gambh�ra� k�vyas�garam // 1.12 // muktaka� kulaka� ko�a� sa�gh�ta iti t�d惡a� / sargabandh盛�ar�patv�d anukta� padyavistara� // 1.13 // sargabandho mah�k�vyam ucyate tasya lak�a�am / 成�r namaskriy� vastu- nirde�o v�pi tanmukham // 1.14 // itih�sakathodbh�tam itarad v� sad成rayam / caturvargaphal�yatta� caturod�ttan�yakam // 1.15 // nagar�r�ava�ailartu- candr�rkodayavar�anai� / udy�nasalilakr身�- madhup�naratotsavai� // 1.16 // vipralambhair viv�hai� ca kum�rodayavar�anai� / mantrad�tapray性�ji- n�yak�bhyudayair api // 1.17 // ala�k�tam asa�k�ipta� rasabh�vanirantaram / sargair anativist�r�ai� �ravyav�ttai� susa�dhibhi� // 1.18 // sarvatra bhinnav�tt�ntair upeta� lokara쨓anam / k�vya� kalpottarasth�yi j�yate sadala�k�ti // 1.19 // ny�nam apy atra yai�kai�cid a�gai� k�vya� na du�yati / yady up�tte�u sa�pattir �r�dhayati tadvida� // 1.20 // gu�ata� pr�g upanyasya n�yaka� tena vidvi咸m / nir�kara�am ity e�a m�rga� prak�tisundara� // 1.21 // va嚆av�rya�rut�d�ni var�ayitv� ripor api / tajjay�n n�yakotkar�a- var�ana� ca dhinoti na� // 1.22 // ap�da� padasa�t�no gadyam �khy�yik� kath� / iti tasya prabhedau dvau tayor �khy�yik� kila // 1.23 // n�yakenaiva v�cy�ny� n�yakenetare�a v� / svagu鎚vi�kriy� do�o n�tra bh�t�rtha�a�sina� // 1.24 // api tv aniyamo d敖�as tatr�py anyair ud�ra鎚t / anyo vakt� svaya� veti k�d�g v� bhedalak�a�am // 1.25 // vaktra� c�paravaktra� ca socchv�satva� ca bhedakam / cihnam �khy�yik�y成 cet prasa�gena kath�sv api // 1.26 // vaktra and aparavaktra meteres, and having divisions and divisions are the distinguishing features of short narratives, and are also (found) in stories by means of subsidiary narratives bhedaka: breaking into/through, piercing, disinguishing vaktra and aparavaktra (metres) ucchv�sa: breathing, division of book cihna: characteristic, mark �khy�yika: short narrative prasa�ga: subsidiary plot indulgence in, gratification of �ry�divatprave�a� ki� na vaktr�paravaktrayo� / bheda� ca d敖�o lamb�dir ucchv�so v�stu ki� tata� // 1.27 // why are entrances which consist of nobles [or �rya metres?], etc. not of vaktras which follow vaktras? and how is a division (ucchvaso) is seen to be distinct from hanging, etc. Let it be lamba: hanging apara: later, lower tat kath�khy�yikety ek� j�ti� sa�jㅰdvay涉kit� / atraiv�ntarbhavi�yanti �e咸� c�khy�naj�taya� // 1.28 // one group has two names - katha and akhyayika and the rest of the classes of akhyana: narrative a�kita: marked, counted, numbered samjㅰ: name kany�hara�asa�gr�ma- vipralambhoday�daya� / sargabandhasam� eva naite vai�e�ik� gu鎚� // 1.29 // [bringing together a taking of a daughter --> successful marriage of a daughter] and obtaining wisdom [or a brahmin?]: these are not indeed the specific qualities of literary composition vipra: ( in prosody ) a proceleusmatic Col. (wtf? - doh) kanya: girl, daughter hara�a: taking of sa�graha: seizing, bringing together, taking, collecting ud�y�a: going up to udaya: rising, becoming visible, conclusion, following word, success kavibh�vak�ta� cihnam anyatr�pi na du�yati / mukham i亢�rthasa�siddhyai ki� hi na sy�t k�t�tman�m // 1.30 // the mark (cihnam) that is made by being a poet does not cause defilement even elsewhere. for why would there not be a mouth of one with a disciplined soul for the establishment of a goal which is desired? mukham: is this adverbial? k�t�tman: one whose spirit is disciplined du�yati: become defiled, impure bh�vakarman: neuter and passive state mi�r性i n葉ak�d�ni te咸m anyatra vistara� / gadyapadyamay� k�cit camp�r ity abhidh�yate // 1.31 // the mixed (forms of kavya), plays etc, are extensive (-ly dealt with) elsewhere something consisting of (both) verse and prose is called 'camp�' camp�: 'a kind of elaborate composition in which the same subject is continued through alternations in prose and verse) gadya: prose padya: verse abhidh�yate: should be called vistara: long, extensive (as a story) n葉aka: play, acting tad etad v涉maya� bh�ya� sa�sk�ta� pr�k�ta� tath� / apabhra嚆a� ca mi�ra� cety �hur �ry成 caturvidham // 1.32 // furthermore, the [�ry�s - nobles, �ptas - skilled, trustworthy people] declare literature to be of four types: sanskrit, prakrit, apabhram�a, and mixed that which consists of of words, beyond (bh�yah) sanskrit, such is prakrit and apabhramsa and mixed. it is said by the nobles to be of four types va�mayam: consisting of words-->literature bh�ya�: furthermore sa�sk�ta� n�ma daiv� v�g anv�khy�t� mahar�ibhi� / tadbhavas tatsamo de鬪ty aneka� pr�k�takrama� // 1.33 // the holy speech called sanskrit has been expounded by the great seers. The several gradations of prakrit are that which is derived from that (i.e. from sanskrit), the same as that (ie borrowings from sanskrit), and colloquial speech (i.e. completely different from sanskrit) de鬪: speech of country --> colloquial/vulgar speech tatbhava: ?being like that? tatsamo: synonynous with mah�r晟�r成ray盛 bh晟盛 prak敖�a� pr�k�ta� vidu� / s�gara� s�ktiratn�n盛 setubandh�di yanmayam // 1.34 // (people) know that the superior prakrit is the speech of maharasthra. Works such as the setubandha, an ocean of jewels of sayings, consist of it (maharashtra dialect) ################################### # # this is where I begin, 2005/01/24 # ################################### s�gara: ocean setubandhu: creation of a bridge/causeway sukti-ratn�: beautiful jewels prak敖ta: long, superior, distinguished �aurasen� ca gau昌 ca l葉� c�ny� ca t�d惡� / y�ti pr�k�tam ity eva� vyavah�re�u sa�nidhim // 1.35 // '�aurasen� and gau昌 and l葉� and others of that kind can be seen (lit. go to perceptibility) in daily usage, and so are known as 'prakrti' vyavah�ra: practice, custom, daily usage sa�nidhi: perceptibility �aurasena: n. of a dialect gau昌: n. of a style l葉�: n. of a style of speech/writing �bh�r�digira� k�vye�v apabhra嚆a iti sm�t筬 / 妬stre�u sa�sk�t�d anyad apabhra嚆atayoditam // 1.36 // in poetry, the singing of cowherds, etc. is considered as apabhramsa. In technical literature, (anything) other than sanskrit is refered to by the term apabhramsa (lit. by apabhramsa-ness) udita: (p. part. of vac - not udita=elevated) �bh�ra: cowherd, n. of a people, n. of a language sa�sk�ta� sargabandh�di pr�k�ta� skandhak�dikam / osar�d�ny apabhra嚆o n葉ak�di tu mi�rakam // 1.37 // compositions in chapters (are written in) sanskrit, (metres) such as skhandhaka (use) prakrit, osara etc. (use) apabhram�a, but drama, etc is mixed but apabhram�as such as 'osara' are mixed in plays, etc. sargabandha: poem or composition divided into chapters skandhaka: n. of an �rya metre mi�raka: mixed kath�pi sarvabh晟�bhi� sa�sk�tena ca badhyate / bh�tabh晟�may尋 pr�hur adbhut�rth盛 b�hatkath�m // 1.38 // and stories, etc, are composed in all tongues, as well as in sanskrit they say that the b�hatkath�, with marvellous contacts, consists of bh�tabh晟a ('the language of demons') katha: story bh�tabh�sa: 'language of demons' - name of a language b�hatkath�: 'great narrative' - name of a work adbhuta-arth�m: about wonderful things? commentators gloss 'sa�sk�tena ca' as 'sa�skrten�pi' [b�hatkath� is a fascinating text. It isn't extant, but is referred to frequently, and 2 summaries of it survive. Both of these match, suggesting that it really did exist. It was written in the 'pisaci' (?) language, which is not known except by various (bizarre) rules given in ancient grammars. Pisacii is described, here and elsewhere, as the language of 'flesh-eating goblins' l�syacchalita�amy�di prek咸rtham itarat puna� / �ravyam eveti sai咸pi dvay� gatir ud�h�t� // 1.39 // [styles of drama] such as l�sya, cchalita are for the purpose of looking at (prek�a); but the rest are for listening (�ravya): this is said to be the double route l�sya: dance; style of dramatic composition with abrumpt transitions between sanskrit and prakrit (not �alita: distinguished by - the sandhi is wrong for that) cchalita:cheated, deceived. name of style of drama �amya: to be arranged, tired, finished, destroyed prek�a: viewing, watching; entertainment, public show itara: each other? �ravya: audible, praiseworthy ud�h�ta: said, declared, illustrated, called asty aneko gir盛 m�rga� s�k�mabheda� parasparam / tatra vaidarbhagau昌yau var�yete prasphu焌ntarau // 1.40 // there exist multiple styles of song, subtly distinct from each other among them vaidharba and gau�i (dual) are said to have clear differences s�k�ma: fine, tiny, subtle, keen, precise, bheda: difference, division varn: describe,paint, color, spread vaidharbha: relating to vidharbha (region, people) prasphu�a: known, published, clear amtara: difference �le�a� pras�da� samat� m�dhurya� sukum�rat� / arthavyaktir ud�ratva� oja�k�ntisam�dhaya� // 1.41 // [just a list of qualities of poetry - see following verses for proper definitions] �le�a: clinging to, connection, embracing burning characteristic of good composition: double meaning, ambiguity pras�da: purity, clearness of style, m�dhurya: stylistic grace 'consisting of the employment of separated words in a sentence' sukum�rata: tenderness ojas: strenght, elaborate style (with lots of compounds) arthavykta: clearness of the sense --vyakta: adorned with, evidently, developed, evolved ud�ratva: nobleness, elegance of speech k�nta: n. of a metre, lovely k�nt�: 'beauty enhanced by love' sam�dhi: accomplishement, completion, n. of a figure of speech iti vaidarbham�rgasya pr性� da�a gu鎚� sm�t筬 / e咸� viparyaya� pr�yo lak�yate gau�avartmani // 1.42 // ...' these ten qualities are known as the life-breath (pr性�) of the vidharbha style. The opposite of these is generally seen in the gau�a style pr性a: full pr�ya: mostly viparyaya: opposite, reverse [�le�a vs. �ithila] �li亢am asp敖�a�aithilyam alpapr性�k�arottaram / �ithila� m�lat�m�l� lol�likalil� yath� // 1.43 // slistam is untouched by slackness; �ithila has a great degree of non-aspiration, as in 'the jasmine garland is covered with bees moving to and fro' �li�ta: closely joined, open to double interpretation �ithila: looseness �aitilya: slack uttara: high, excellent m�lat�m�l�: jasmine garland. also n. of a metre, n. of a lexicon alpapr性a: weak aspiration, slight breathing asp敖�a: (can also, but not here, mean 'not touched by the vocal organs --> vowels, anusv�ra and sibilants') lul: set in motion lola: shaking about, changing alika: n. of a poet kalila: impenetrable anupr�sadhiy� gau�ais tad i亢a� bandhagaurav�t / vaidarbhair m�lat�d�ma la�ghita� bhramarair iti // 1.44 // ...from the perspective on alliteration that is taught by the gau�i style, on account of hte heaviness of the style. From a vaidharba perspective, 'the jasmine-garland is covered with bees' [but with less alliteration] anupr�sadhiy�: alliteration i亢am: taught, desired (cf. s涉khya usage) la�ghita�: overtrodden m�lat�d�ma: flower-garland (word avoids an l) bhramara: bee gaurava: weight [pras�da vs. vyutpanna] pras�davat prasiddh�rtham indor ind�varadyuti / lak�ma lak�m尋 tanot�ti prat�tisubhaga� vaca� // 1.45 // That which has a well-known meaning (artham) is pras�da: 'the mark of the moon with the appearance of a blue lotus extends its beauty' is a speech which is nice because of being easy to understand prat�ti: ease of comprenension subhaga: nice lak�m尋: beauty prassidha: well-known ind�vara: blue lotus dyuti: appearance lak�ma: mark vyutpannam iti gau昌yair n�tir掩ham ap實yate / yath�natyarjun�bjanma- sad�k咸�ko balak�agu� // 1.46 // that which is derived (as opposed to known from general usage) is desired by the gau�a style, even if it is unconventional. For example: 'the white-rayed one with a spot like a non-white lotus' valak�a (=balak�a): white guh: cow (is this in the list of non-cow words in pata쨓ali?). Hence 'ray' (so says John, and he must have his reasons) balak�aguh: having white rays -->the moon �bjamna: water-born-->lotus an-ati-arjuna: not very white -->dark 涉ka: mark sad�k�a: like n�tr掩ham: not very conventional--> unconventional vyutpanna: derived (ut-pad) # #this is where I start preparing for the 05/02/01 class # [samat� vs. vai�amya] sama� bandhe�v avi�ama� te m�dusphu�amadhyam筬 / bandh� m�dusphu�onmi�ra- var�aviny�sayonaya� // 1.47 // in composition (bandhe�u) the same is not-different (sama� avi�amam), in the middle of the soft (m�du) and the extended (sphu�a) composition is the birthplace (yonayah) of the arrangement (viny�sa) of style (var�a - lit. color) , mixed with the tender and the open avi�ama: equal, not different m�du: soft, delicate, tender sphu�a: extended, open unmi�ra: variegated, mixed with viny�sa: uttering words of despair, establishment, arrangement, composition yoni: womb, place of origin kokil�l�pav�c�lo m�m eti malay�nila� / ucchalacch�kar�cch�ccha- nirjhar�mbha�ka�ok�ita� // 1.48 // with loose vowels/sibilants/�, and high letters weakly aspirated �ithilam is the metre malatimala, like the impenetrable -->incomprehensible bee-moving-about candanapra�ayodgandhir mando malayam�ruta� / spardhate ruddhamaddhairyo varar�m�mukh�nilai� // 1.49 // the slow Malaya wind, having perfume guided by sandal, competes with the wind from the mouths of excellent women, ...??? anila: air, wind r�m�: lovely woman vara: choosing; better, best ruddha: obstructed, blocked by manda: slow malayamarut: wind from Malaya udgandhi: perfume pra�aya: guidance, conduct. display setting forth, affection candana: sandal spardh: to compete, rival, struggle for (loc) ity an�locya vai�amyam arth�la�k�ra�ambarau / apek�am性� vav�dhe paurasty� k�vyapaddhati� // 1.50 // thus. not having considered (the device demonstrated in the previous verse), with respect to the great noise of the ornamentation of the object, there is unevenness (but) it is considered (i.e. used?), it is auspicious (lit. increased - vav�dhe) with respect to the paddhati writings in verse, which are situated in front (i.e. aforementioned?) an�locya: not having considered, [or 'unseen'? - doh] vai�amya: unevenness, inequality, wickedness, calamity �ambara: great noise apek�: look away, look round, respect, have regard for vav�dhe: increased. intensative? paurastya: situated in front paddhati: 'foot-stroke', way, path, class of writings such as ceremonial guidebooks [m�dhurya] madhura� rasavad v�ci vastuny api rasasthiti� / yena m�dhyanti dh�manto madhuneva madhuvrat筬 // 1.51 // passion-filled madhura (softness?) is (?in reference to? - nb case of sthitih) the establishment of passion even in factual speech by which (i.e. by madhura) WTF dh�mat: wise madhu-vrat筬: ?honey-vows madhyanti: in the middle; rasa: one of the (poetic) passions rasavat: having the passions vastu: a thing that exists, dawn, reality v�ci: in speech? [(1.) anupr�sa (�abd�la�k�ra) vs. var鎚v�tti] yay� kay�cic chruty� yat sam�nam anubh�yate / tadr�p� hi pad�satti� s�nupr�s� ras�vah� // 1.52 // PONDER THIS anubh�: enclose, embrace, notice, experience, understand, help �satti: vicinity, proximity, uninterrupted sequence pada-�satti: sequence of words sa-anupr�s�: with alliteration rasavaha: producing rasa e�a r�j� yad� lak�m尋 pr�ptav�n brahma�apriya� / tata� prabh�ti dharmasya loke 'sminn utsavo 'bhavat // 1.53 // When this attainment of wealth by the king is dear to brahmans then, beginning with the world of dharma, passion/striving (utsavo) would be non-existent with respect to this. lak�mi: sign, wealth, beauty praptavat: having attainment? prabh�ti: beginning, +loc - beginning with utsava: passion, enterprise, beginning it�da� n�d�ta� gau�air anupr�sas tu tatpriya� / anupr�s�d api pr�yo vaidarbhair idam i�yate // 1.54 // ...thus. This is non disrespected by the gau�a school, but alliteration is dear to that (i.e. to gau�a) This main part (pr�ya) is taught (wished) by vidharba, even because of alliteration anupr�sa: alliteration d�ta: respected, nonoured na+adrtam: not non-respected pr�ya: main part var鎚v�ttir anupr�sa� p�de�u ca pade�u ca / p�rv�nubhavasa�sk�ra- bodhin� yady ad�rat� // 1.55 // varnavrt is alliteration (anupr�sa) in this and that line of verse if the mental impressions of the results of previous (actions) are nearby (verb adura-ta?) [what is the difference between pada and p�da?] var�av�tt: rhythm based on stresses p�da: caesura. also same as pada anubhava: perception, experience, consequence ad�ra: near candre �aranni�otta�se kundastavakavibhrame / indran�lanibha� lak�ma sa�dadh�ty anila� �riyam // 1.56 // with respect to (loc) the moon, the night-earring of the god of love, moving about in homage to a water-pot (is this something about a reflection?) the splendid (lak�ma) wind pulls together (sa�dadhati) things excellent like sapphire indran�la (-nibha): sapphire(-like) sa�-dh�: put together, mend, restore ku出a: pot, pitcher stava: praise stavaka: praise, eulogy to stavaka: bunch of flowers vibhrama: whirling about, agitation, mistake, blunder, 'feminine coquetry' utta�sa: earring, wreath on crown of head, ornament, 'crest chaplet' ni�a: at night? �ara: (fr. �r�, to destroy, to rend) c�ru candramasa� bh�ru bimba� pa�yaitad ambare / manmano manmath�kr�nta� nirdaya� hantum udyatam // 1.57 // [pa�ya-etad?] The image (i.e. reflection) of the moon (candramasam( looks at this dear timid thing (bh�ru) in the sky (ambare). the god of love, reaching out in passion, pitiless, ready to kill bimbab: reflection ambara: clothes, cotton, sky, lip, saffron, perfume chandramasa: the moon, n. of a river bh�ru: afraid, timid, jackal, centipede c�ru: dear, lovely, beautiful, agreeably man-man: consisting of thought? --> god of love, confidential whisper manmatha: love, god of love kr�nta: extended, attacking, invading udyata: held up, offered, begun, ready for, active, chapter ity anupr�sam icchanti n�tid�r�ntara�rutim / na tu r�m�mukh�mbhoja- sad惡a� candram� iti // 1.58 // Thus. they want (or 'wanting') alliteration, with a hearing not excessively distant (i.e. not with too much distance between the alliterative sounds) but not 'the moon, like the lotus-face of r�ma' d�r�ntara: wide space, long interval �ruti: answer, promise, hearing --> sound smara� khara� khala� k�nta� k�ya� kopa� ca na� k惡a� / cyuto m�no 'dhiko r�go moho j�to 'savo gat筬 // 1.59 // [wtf? this is just an example, so not too bothered] khara: sharp khala: floor, contest k�ya: body kopa: anger k惡a: small, emaciated, weak ity �di bandhap�ru�ya� �aithilya� ca nigacchati / ato naivam anupr�sa� d�k�in�ty筬 prayu쨓ate // 1.60 // what begins with this is a forced construction, and enters into looseness Thus anuprasa (alliteration) is not used by the southern (school) ni-gam: resort to, enter, acquire knowledge of �aitilya: looseness, laxity bahndhap�ru�ya: 'forced construction of words' # 15/2/05 preparation begins here [(2.) yamaka (�abd�la�k�ra; Vw.)] �v�tti� var�asa�gh�ta- gocar盛 yamaka� vidu� / tat tu naik�ntamadhuram ata� pa�c�d vidh�syate // 1.61 // They know that yamaka is the repetition of a range of connected sounds But this is not the sweetness of a single (i.e. identical) end - this is taught later yamaka: doubling, repetition �v�tti: repitition samgh�ta: mass, cluster gocara: range, scope? [(3.) agr�myat� (arth�la�k�ra) vs. gr�myat�] k�ma� sarvo 'py ala�k�ro rasam arthe ni�a쨇ati / tath�py agr�myataivaita� bh�ra� vahati bh�yas� // 1.62 // also, every device (alamkara) is connected, with respect to its purpose, to desire (and) rasa there too this (evam) carries the same burden even in the wild agr�mya: not rustic --> (a) townmade, (b) wild bh�yasa: more nisa쨇: 'is connected with'? kanye k�mayam�na� m盛 na tva� k�mayase katham / iti gr�myo 'yam arth�tm� vairasy�ya prakalpate // 1.63 // O girl, wishing to love, how do you not love yourself? thus, this rural self-purpose is contrived for the sake of lack of rasa [is arth�tmo a compound, or artha+atm�] kany�: a girl (voc. sing or nva dual) prakl�p: succeed, appoin, contrive, settle, ascertaine. +gen: put in place of vairasya: fr. vi-rasa --> disagreeableness, repugnance, bad taste k�ma� kandarpac性彰lo mayi v�m�k�i nirdaya� / tvayi nirmatsaro di亢yety agr�myo 'rtho ras�vaha� // 1.64 // a lustful outcaste is pitiless, with splendid eyes for me, love, without jealousy is shown to you. thus the meaning of urbane (poetry) carries passion nirmatsara: without jealousy di亢a: appointed, shown, assigned nirdaya: pitiless v�ma-ak�a: the letter 'e'??? (=v�ma-netra) kandarpa: lust candala: outcast �abde 'pi gr�myat�sty eva s� sabhyetarak�rtan�t / yath� yak�r�dipada� ratyutsavanir�pa�e // 1.65 // that is rural even in words because of the vulgar repetition just as words beginning with ya-kara (the letter ya) with respect to the beginning of a fetival of joy rati: pleasure utsava: festival, joy, nir�pa�a: stating, defining, determining sabhyetara: vulga k�rtana: repeating, saying, telling padasa�dh�nav�tty� v� v�ky�rthatvena v� puna� / du�prat�tikara� gr�mya� yath� y� bhavata� priy� // 1.66 // but either through the activity of a union (samdh�na) of words, or through significence/purposefulness of speech, rural is a causer of bad results, like that which is dear to the existing (???) prat�ti: result khara� prah�tya vi�r�nta� puru�o v�ryav�n iti / evam �di na �a�santi m�rgayor ubhayor api // 1.67 // 'a powerful man, having attacked what is sharp/hard, rests' people like this man do not rest even by other roads khara: hard, sharp, rough prah�: hurl, throw vi�r�nta: resting, at peace viryavat: strong, powerful bhagin�bhagavaty�di sarvatraiv�numanyate / vibhaktam iti m�dhuryam ucyate sukum�rat� // 1.68 // 'the division is consented to by fortunate women everywhere' the tender softness is spoken bhagini: woman, sister bhagavati: fortunate, prosperous anumanyate: approve, assent to vibhaktam: divided, distributed, having a share [sukum�rat� vs. d�pta] ani亢hur�k�arapr�ya� sukum�ram ihe�yate / bandha�aithilyado�as tu dar�ita� sarvakomale // 1.69 // here, tenderness is desired, as the main part of the non-harsh letters but the fault of tied looseness is seen in that which is entirely soft ani亢hura: not hars ma出al�k�tya barh性i ka椿hair madhurag�tibhi� / kal�pina� pran�tyanti k�le j�m�tam�lini // 1.70 // the tail-feathers of a peacock, made into a circle (=mandala?0 by the sound (ka椿ha) of its soft song, dances at the time of the grey mountain kal�pin: peacock j�m�ta: mountain, cloud, the sun, n. of a metre malina: dark barha: tail-feather (esp. of a peacock) # here I begin preparing, 17/2/05 ity an�rjita ev�rtho n�la�k�ro 'pi t�d惡a� / sukum�ratayaivaitad �rohati sat盛 mana� // 1.71 // thus: a weak meaning, an ornament of the same kind this very tender mind ascends (�rohati) to the blazing (d�ptam) hair (sat盛) sat�: matted hari, braid of hair, crest; multitude an�rjita: weak, not proud, not strong d�ptam ity aparair bh�mn� k�cchrodyam api badhyate / nyak�e�a k�ayita� pak�a� k�atriy性盛 k�a鎚d iti // 1.72 // by means of an unsurpassed ground, even the raising of something bad is bound a bird is destroyed by a buffalo (or: a philosophy is defeated by its inferior), because of the moment (?opportunity?) of the k�atriyas nyak�a: low, inferior, whole, buffalo, grass k�ayita: destroyed apara: without a superior k�cchra: painful, wicked, difficult udyam: go up? [arthavyakti vs. neyatva] arthavyaktir aneyatvam arthasya hari�oddh�t� / bh廬 khurak�u黜an�g�s�g- lohit�d udadher iti // 1.73 // clarity is non-obscurity of the meaning: 'the bearer of the brown, the earth, is a water-bearer because of the redness of the sound of snakes trampled by hooves arthavyakti: arthavyakti: clearness of the sense neyatva: to-be-seenness, to-be-guided-ness ?? hari�a: yellow or brown in colour uddhrta: lifted up udadhi: holding water --> cloud, river, sea lohita: redness bh�: ?some for of bhava? khura: hoof k�u黜a: trampled s�k: inarticulate sound mah� mah�var�he�a lohit�d uddh�todadhe� / it�yaty eva nirdi亢e neyatvam urag�s�ja� // 1.74 // the great one has a lifted-up water-carrier because of the blood from the great carrier thus the blood of the snake goes to obscurity indeed as regards (i.e. compared to?) the preceding nirdi亢a: pointed out, stated as�j: blood uraga:: snake mah�var�ha: great boar, incarnation of vi巷u ned惡a� bahu manyate m�rgayor ubhayor api / na hi prat�ti� subhag� �abdany�yavila�ghin� // 1.75 // something like this is not thought much of by either school for prosperity does not follow from transgression of the rules of speech vila�gin: stepping beyond, transgressing �abda-ny�ya: the logic/standard of words, subh�ga: fortunate, wealthy prat�ti: going towards, following from [ud�ratvam] utkar�av�n gu�a� ka�cid yasminn ukte prat�yate / tadud�r�hvaya� tena san�th� k�vyapaddhati� // 1.76 // some exaggerated quality which is contrary to what is being said that is 'elegance' - by it, the path of poetry is protected prat�yata: opposed san�tha: having a master or protector, protected by+instr ud�ratva: nobleness, liberality, energy, elegance of expression ud�ra: very good, eloquent, energetic. a failure in rhetoric (the pathetic fallacy) utkar�a: superior, excessive, exaggerated, much, elevation, conceit, boasting arthin盛 k�pa鎚 d敖�is tvanmukhe patit� sak�t / tadavasth� punar deva n�nyasya mukham �k�ate // 1.77 // the gaze of a wretched suitor has instantly fallen on your face, but a god in the same position does not see (or is it passive?) the face of another sak�t: instantly k�pana: pitiable, wretched, inclined to grieve. low, vile arthin: one having a purpose --> follower, active, industrious, one wanting something+instr, libidinous, a suitor tad-avastha: in the same position iti ty�gasya v�kye 'sminn utkar�a� s�dhu lak�yate / anenaiva path�nyatra sam�nany�yam �hyat�m // 1.78 // the superior noble is marked in this speech of abandonment another school is considered equal to this (?) Uh: note, pay attention to s�dhu: hitting the mark, efficient, straight, right, noble, utkar�a: superior, much, excessive, increase, boasting, conceit ty�ga: fr. tyaj - abandoning �l�ghyair vi�e�a�air yuktam ud�ra� kai�cid i�yate / yath� l�l�mbujakr身�- sarohem涉gad�daya� // 1.79 // nobility is taught by some to be suitable for praise and distinction just as: kr身a: playing, sporting saroha: rising? �l�ghya: flattery, trust, praise vi�e�ana: distinction ud�ra: noble [ojas] oja� sam�sabh�yastvam etad gadyasya j�vitam / padye 'py ad�k�i鎚ty�n�m idam eka� par�ya�am // 1.80 // ojas is the multiplicity of (compounds?). This is the lifeblood of prose. this is the single aim of the (?non-southerners?), even in verse ojas: strength, power (sama-sa-)bh�yastva: (with equal) multitude/preponderance/increase sam�sa: composition gadya: prose, to be spoken ad�k�in: left (hand) par�ya�a: aim, essence, last resort tad gur嶪盛 lagh�n盛 ca b�huly�lpatvami�ra�ai� / ucc�vacaprak�ra� tad d惡yam �khy�yik�di�u // 1.81 // that type (prak�ra) of high speech is seen in short narratives (�khy�yik�), etc, by means of many-ness, few-ness, and moderation of heavy and light astamastakaparyasta- samast�rk盛�usa�star� / p�nastanasthit�t�mra- kamravastreva v�ru鰍 // 1.82 // The West (v�ru鰍) has a scattered mass of lightning-bolts/rays and sunbeams, having a composition surrounded by the top of mt. asta, like clothing (vastra) that is red (�t�mra) and kovely (kamra) standing on a full breast kamra: loving, desirable vastra: clothing asta-mastaka: the top of the mountain Asta paryasta: surrounded by, spread, thrown about samasta: compound arka: ray, flash of lightning am�u: ray, sunbeam, thread sa�stara: spreading, extension, covering, scattered mass iti padye 'pi paurasty� badhnanty ojasvin�r gira� / anye tv an�kula� h�dyam icchanty ojo gir盛 yath� // 1.83 // thus, according to the paurastya (style), even in verse a song (gira�) that has ojas (ojasvin?) connects (i.e. has compounds) but in the other (style) they teach a consistent interior, like the ojas of a song an�kula: regular, not confused, consistent h�dya: internal, pleasing, heart-ish, red arsenic, she-goat, savoury payodharata�otsa�ga- lagnasa�dhy�tap盛�uk� / kasya k�m�tura� ceto v�ru鰍 na kari�yati // 1.84 // having warm (tapa) twilight (sa�dhy�) rays (am�uka) attached to the the level area/hip/lap (utsa�ga) of the breast-slope of which love-sick person (k�m�tura) does the West not scatter? [everything is the wrong case] k霓: scatter, heap up? (i.e. not from karomi at all) sa�dhy�: holding together, union, twilight [k�nti vs. atyukti] k�nta� sarvajagatk�nta� laukik�rth�natikram�t / tac ca v�rtt�bhidh�ne�u var�an�sv api d惡yate // 1.85 // charm is charm for all the world because of not going beyond worldly purposes/objects and that is seen even in describing/vocabulary of/proximity to (abhidh�na) ordinary things (v�rtta) in description (var�ana) v�rtta: healthy, ordinary, well-functioning vartt�: business, livelihood k�nti (loveliness, charm) �tyukti: hyperbole, verbosity g�h性i n�ma t�ny eva tapor成ir bhav�d惡a� / sa�bh�vayati y�ny eva p�vanai� p�dap盛subhi� // 1.86 // these things are called 'houses' because of the accumulation of tapas of the sight of being those it will meet by purifying tree-rays anayor anavady涉gi stanayor j�mbham性ayo� / avak成o na pary�ptas tava b�hulat�ntare // 1.87 // of the other the limb of faultlessness of the breast, consisting of swelling ?power? is not obtained by that wr2 the multiple interior anavadya: faultless a�gi: limb-haver stanayor: pair of breasts? j�mbha: yawning, blossoming, swelling paryapta: obtained, gained, finished, completed avak成o? m性aya? iti sa�bh�vyam evaitad vi�e咸khy�nasa�sk�tam / k�nta� bhavati sarvasya lokay�tr�nuvartina� // 1.88 // thus only the compilation of a particular story is to be respected (sambh�vya) it is beloved of all the conductors of everyday life akhyana: communication, telling, story sa�sk�ta: prepared, completed, put together lok�t�ta iv�tyartham adhy�ropya vivak�ita� / yo 'rthas ten�ti tu�yanti vidagdh� netare jan筬 // 1.89 // like something excessive (aty-artha) gone past in the world (loka-at�ta) vivak�ita: wished or intended to be spoken, essential, literal, desired object adhy�ropa: wrong attribution, erroneous transferring of a statement from one thing to another which meaning by that (tena) excessively (ati) people please scholars and not others tu�yati. rt. tu� to please, satisfy. it will satisfy devadhi巷yam iv�r�dhyam adyaprabh�ti no g�ham / yu�matp�daraja�p�ta- dhautani��e�akilbi�am // 1.90 // from today the house/temple is for us like the seat of a god, fit to be worshipped, having sin entirely washed away by the falling of your foot-dust (pada-rajas) [does g�ham here mean a temple?] adyaprabh�ti: after today devadhiSNya: seat of a god, divine incense �r�dhya: to be made favourable, to be worshipped - dhauta: washed, purified kilbisa: sin alpa� nirmitam �k成am an�locyaiva vedhas� / idam eva�vidha� bh�vi bhavaty筬 stanaj?h?�mbha�am // 1.91 // little void is constructed having considered only the wise this thing of such a form ?in the future? (bh�vin) is an opening of the breast j�mbhana: causing to yawn, bursting open, slackness, stretching limbs nirmita: built, constructed �k成a: space an-�locya: not having considered vedhas: ???the wise??? idam atyuktir ity uktam etad gau�opal�litam / prasth�na� pr�kpra鰍ta� tu s�ram anyasya vartmana� // 1.92 // 'this because of verbosity/hyperbole' this is said to be liked (upalalita - lit. caressed, fondled) by the Gauda style but the essence of the other style (vartman: road -->school) is above all (pr西c) taught (pra鰍ta) to be ?departure? (prasth�na) [sam�dhi] anyadharmas tato 'nyatra lokas�m�nurodhin� / samyag �dh�yate yatra sa sam�dhi� sm�to yath� // 1.93 // then different characteristics (anyadharma), complying with (anurodhina) these things (ima) in the world together the reach where concentration is remembered, just as kumud�ni nim�l�ni kamal�ny unmi�anti ca / iti netrakriy�dhy�s�l labdh� tadv�cin� �ruti� // 1.94 // closed (nimilani) lotuses (kumudani) and kamala-lotuses open thus, having taken ?adhy�sa? of the action of the eye the ear is its speech ni�亢hy�todg�r�av�nt�di gau�av�ttivyap成rayam / atisundaram anyatra gr�myakak咸� vig�hate // 1.95 // udg�r�a: vomited forth v�nta: vomited praising nothing (nihstuti) vyap成raya: self-reliance atisundara: very beautiful vigah: plunge into, bathe, pierce, agitate kak�a: wood, hiding place, underwood padm�ny ark盛�uni�亢hy�t筬 p�tv� p�vakavipru�a� / bh�yo vamant�va mukhair udg�r鎚ru�are�ubhi� // 1.96 // lotuses arka: sun amzu: rays nih-sthyuta: ejected out having drunk its shining (pavaka) drops (vipru�a) furthermore as if vomiting (vamanti) from its mouth with the particles (re�u) of the dawn vomited iti h�dyam ah�dya� tu ni�亢h�vati vadh�r iti / yugapan naikadharm性�m adhy�sa� ca sm�to yath� // 1.97 // thus is the heartly, but the non-heartly spits out (ni-sth�v) its wife fittingly not-one-dharma sitting and is remembered like gurugarbhabharakl�nt筬 stanantyo meghapa�ktaya� / acal�dhityakotsa�gam im筬 samadhi�erate // 1.98 // tired (kl�nta) from the burden (bhara) of a heavy womb (or the womb of a guru) in another breast (stanantya) quintet of clouds (megha-pa�kta) adhiyaka: table-land, land on upper part of a mountain utsa�ga: lap, hip utsa�ga�ayana� sakhy筬 stanana� gaurava� klama� / it�me garbhi鰍dharm� bahavo 'py atra dar�it筬 // 1.99 // exhaustion (klama) the heavy breast resting on the table-land (lap? contortionism?) thus in it is seen here even many times in these dharmas of pregnant people garbhini: having a womb (-->pregnant?) tad etat k�vyasarvasva� sam�dhir n�ma yo gu�a� / kavis�rtha� samagro 'pi tam ekam anugacchati // 1.100 // this is that concentration of all poetry which is called 'gu�a' (ornament, device/) successful poetry (kavi-sa-artha) even in every case (samagra) follows this alone iti m�rgadvaya� bhinna� tatsvar�panir�pa鎚t / tadbhed�s tu na �akyante vaktu� pratikavi sthit筬 // 1.101 // thus the two styles are divided by having and not having the form of that but the division they are not able to speak established for every poet (kavi) ik�uk檻ragu彰d�n盛 m�dhuryasy�ntara� mahat / tath�pi na tad �khy�tu� sarasvaty�pi �akyate // 1.102 // ik�u: sugar-cane, eyelash k檻ra: milk gu�a: sugar, molasses, sugar in lumps the greatness of sugar-cane, milk and molasses is within sweetness so too not even sarasvati is able to tell (akhyati) naisargik� ca pratibh� �ruta� ca bahu nirmalam / amanda� c�bhiyogo 'sy筬 k�ra�a� k�vyasa�pada� // 1.103 // and it is heard that the cast-off shines forth and much is spotless and the quick (amanda) exertion/effort (abhiyoga) of this cause, furnished with (sampada) poetry prati-bh�: shine forth naisargika: cast off. n. of particular transgressions na vidyate yady api p�rvav�san�- gu鎚nubandhi pratibh�nam adbhutam / �rutena yatnena ca v�g up�sit� dhruva� karoty eva kamapy anugraham // 1.104 // it is not known if also connected with (anubandhi) the devices (guna) existing previously wonderful (adbhuta) brilliance (pratibh�na) by listening and by effort speech is honoured (up�sit�), it, indeed, makes it fixed, even some kindness (anugraha) tad astatandrair ani�a� sarasvat� �ram�d up�sy� khalu k�rtim �psubhi� / k惡e kavitve 'pi jan筬 k�ta�ram筬 vidagdhago亢h實u vihartum 失ate // 1.105 // that, by eight rows, without night (i.e. uninterrupted, without sleep, incessant), sarasvati, because of exhaustion (�ram�d), indeed, fame desired (ipsubhi) up�s: throw off even in the case of feeble poet-hood, people who have achieved exhaustion i�ate: ????are ruled? vihartum: to separate vidagdha: undigested, burnt up, consumed, digested go亢ha: cow-shed, meeting place kr�a: weak, emaciated // iti k�vy�dar�e m�rgavibh�go n�ma prathama� pariccheda� //