Jeevanandanam
M.duraisv¡mi aiya´gar
Introduction
J¢v¡nandanam is a
rare and extraordinary allegorical Sanskrit play, which richly possesses all
the beauties and merits of classical dramatic fine-arts and the virtues of
medical science, coherently elucidating the excellence of v®d¡nta philosophy.
Our v®d¡ntins or Hindu philosophers and exponents of ¡yurv®da held that j¢va or Soul is an
immortal and indestructible entity. The ways and methods for the untroubled and
happy career and existence of this j¢v¡taman, both during the period of his
sojourn in the mortal and transient material human body and even after his
separation from it, have been explained by the poet in this play, both from the
points of view of medical science and v®d¡ntic philosophy. So this has as its
conclusion the everlasting bliss obtained by j¢va,the course of which is
expounded by the author through the triple agency of Medical Science, Dramatic
literature and concomitant methods of v®d¡nta, especially those of advaita
philosophy. The very title of the work j¢v¡nandana indicates fully the above
meaning and idea and a number of passages found in the text clearly illustrate
the same view and one among such identical passage is noted hereunder[i].
It is necessary, as a
prelude, to explain the reasons which actuated the poet to bring out this
dramatic work. To those well-versed in Sanskrit literature, k¤À¸ami¿ra’s prab°dhacandr°dayam and v®d¡nta d®¿ik¡’s sa´kalpa s£ry°dayam will b quite familiar, as philosophical
dramas of high literary merit. Scholars hold these classical literary works in
high esteem and consider that these make explicit to one and all the truths of
v®d¡nta, as related to advaita and vi¿iÀ¶¡dvaita schools of philosophy in not
only lucid, but also interesting manner, through dramatic form. Of these,
though the former is based in advaita doctrine, it, like sa´kalpa s£ry°daya,
considers and expounds as its object the supremacy of god ¿r¢ mah¡viÀ¸u and
gives exclusive prominence to viÀ¸ubhakti. The author of j¢v¡nandanam is a
great devotee of ¿iva[ii],To
explain and uphold his view as regards supremacy of ¿iva, he adopted the religious and literary
combination of the above tow plays, in trying to write out his own drama
vidy¡pari¸ayam[iii].
Both k¤À¸ami¿ra and v®d¡nta d®¿ika expresses their views and faith that
viÀ¸ubhakti is the proper means to obtain the final liberation mukti and both
of them introduce viÀ¸ubhakti as one of the important female characters in the
latter art of their works: whereas the auther of this drama expresses through
the hero, j¢var¡ja, his consecrational spirit towards ¿ivabhakti[iv]
from the very first act only of this play but also from the very beginning of
his vidy¡pari¸ayam[v].
J¢va is the hero in this drama as well as in vidy¡parinayam, and is frequently
described to be a great devotee of param®¿vara and param®¿vari or s¡mba-¿iva
from the commencement of both these works. The object of the poet is,
therefore, to create a vivid literary work depicting the supremacy of ¿iva in
drama form. The auther maintains this view-point as one of his chief objects up
to the end of this work and the very last line of the concluding verse of this
play too emphasizes the poet’s extraordinary ¿iva-bhakti[vi].
The description made in one of the concluding verses at the end of vidy¡pari¸ayam about the character of the prowess and mighty
display of Lord ¿iva or na¶ar¡ja, as a dram, which takes the shape of world
creation etc., and also the final passage bhavann¡¶akamidam[vii]
indicates in no uncertain terms, that the work vidy¡pari¸ayam as well as this
drama have been written with a view to promote ¿iva-bhakti among the readers of
these works and to establish ¿ivap¡ramya or supremacy of ¿iva.
¡nandar¡ya makhin was
not satisfied with merely being the author of vidy¡pari¸ayam illustrating the
supremacy of ¿iva and advaita philosophy. This great poet who has also delved
deep in ¡yurv®dic literature, thought fit to bring out the principles of this
science in the new form of a drama in order that medical men as well as the
rest who have literary tastes may understand the basic fundamentals of ¡yurv®da
and its applications; thus by accomplishing this set goal, he not only added to
the storehouse of the Sanskrit literature, but also did an immense service to
¡yurv®da, in trying to propagate it to one and all. This is the aim and object
of j¢v¡nandanam. That which cannot be brought out in the form of a drama
practically, can neither be science, learning, craft, art, meditation nor
knowledge, is a well known saying contained in the following sloka.
xÉ iÉSUôɺjÉÆ xÉ ºÉÉ
Ê´ÉtÉ xÉ iÉÎSUô±{ÉÆ xÉ iÉÉ& Eò±ÉÉ& *
xÉɺÉÉè ªÉÉäMÉÉä xÉ
iÉnÂùYÉÉxÉÆ xÉÉ]õEäò ªÉzÉ où¶ªÉiÉä**
In accordance with
and in consideration of this truth, that no subject, which cannot be brought
out as a drama on the stage, will be sufficiently of direct interest to or
attract the minds of men, a poineer attempt, without precedent, was made by the
poet, in dramatizing the fundamentals of medicine and thus adding incidentally,
to the treasures of literary world by means of this play j¢v¡nandanam. Probably
the poet considered that this ingenious method would go a long way, in creating
a lively interest in non-medical scholars too. Through their literary tastes,
for the science of ¡yurv®da (by agency of this work) and thus would expand its scope
and applicaility amongst all men. Even in this work, the theme of the supremacy
of ¿iva is the aim of the author. Thus this great scholar and poet of high
rank, knowing well that ¡yurv®da, unlike other abstract ¿¡str¡s, is interested
mainly in the material welfare of mankind, wanted to expound and propagate its
principles to non-medical learned men with literary tastes and decided that the
best and direct way of accomplishing this, was to bring out the quintessence of
this beneficial science in the form of a nice play; hence this medico-literary
drama. In accordance with k¡½id¡sa, who says to be able to follow the ways of
dharma and to achive sublimity not only in this world but also in the next our
bodily health is to be considered first[viii].
J¢v¡tman, who is the main character and hero in this play tries his best to
protect and preserve his bodily health, as the firs and indispensable step,
towards further activities, leading to realization of peace and happiness in
material and spiritual existance. The poet’s characterization of j¢va as the hero, buddhi
as the heroine, vijµ¡na and jµ¡na as his ministers and ¿raddh¡, dh¡ra¸a, sm¤ti
which are man’s laudable qualities as his good attendants
and various medicinal preparations as warriors in his army is somewhat
different from that of prab°dha candr°daya and sa´kalpa s£ry°daya. In these two
plays man’s ennobling and important qualities viv®ka and
sumati form the hero and heroine respectively; the opposing caste is made up of
man’s vicious and passionate (t¡masa and r¡jasa)
qualities led by mah¡-m°ha (delusion-male) and durmati (wickedness-female).
Here against him is the caste representing the diseases, and the most
formidable disease r¡jayakÀm¡ (consumption) leads them. In plays like prab°dha
candr°daya, the aim and end of viv®ka and his followers, is to tear asunder the
veil of temptation created by m¡ya or avidy¡ (illusion), destroy and overcome
mah¡-m°ha and other degrading qualities and thus finally achive mukti to j¢va.
But here in j¢v¡nandanam, j¢va himself with the help of his counsels vijµ¡na
(mainly) and jµ¡na takes as his primary and immediate role, that of destroying
enemies such as r¡jayakÀma and other diseases and thus achieve perfect bodily
health and as a final end, to attain j¢van-mukti and the eternal bliss or mukti
through the trace of Lord ¿iva[ix],
by virtuous deeds of dharma, made possible only by the perfect and stalwart
body. To those, who go through with interest, this play will be found to befit
great appreciation, in view of the fact that the clever combination of
religious truths of v®d¡nta with that of the main fundamentals of ¡yurv®dic
science, in a very suitable play and the high literary talent exhibited, make
the whole work, agrossing and deserving admiration by every one of high learning.
¡nandar¡ya makhin,
author of j¢v¡nandanam descended from holy progenitors, called yajv¡s, due to
their performance of many sacrificial rites or yajµ¡s, himself was a great
performer of y¡g¡s, (vide, his own expression y®n¡k¡ri sahasradakÀi¸amakhaÅ
1/7). His father was t¤yambakar¡ya yajva. The details of his ancestors and his
family will be dealt with further below. In addition to his high literary
talent and deep knowledge in v®d¡nta and great devotion to lord ¿iva, he was
also said to have excelled in politics and warfare as minister to Sarfoji and
Sahaji, Maharajas of Tanjore and a renowned soldier in their army[x].
This poet, well conversant with the literary merits and poetical excellence of
the ancient poets such as k¡½id¡sa, bhavabh£ti, vi¿akhadatta, k¤À¸ami¿ra,
v®d¡nta d®¿ika and others, has followed their ideas, methods of description and
lyrical grandeur in many parts of his play as might be evident from my detailed
commentary and explanations in the respective places. I have also, in many
appropriate places, in my nandini vy¡ghy¡nam indicated and explained as to how
the character of his descriptions and poetic style are almost like
mirror-images, those of the above mentioned poets, expecially k¤iÀ¸ami¿ra and
v®d¡nta d®¿ika. The reasons for my stating that his style etc., are like
mirror-images to those of the other poets will be evident, in as much as, the
image seen in a mirror is absolutely similar to the object, except that it has
undergone a lateral reversion; so too except for the difference that whereas
v®d¡nta d®¿ika and k¤À¸ami¿ra upheld the supremacy of viÀ¸u and devotion to him
through viÀ¸ubhakti, ¡nandar¡ya makhin emphasised, his strong belief and
supreme faith in ¿iva and devotion to him through ¿ivabhakti, in many other
respects the trend and character of this play are identical with those of the
other authors. It will be also evident from my nandini commentary in various
places, that the author, in the wake of the previous great poets, has closely
and regularly followed the dictions and dramatic rules throughout this work.
The author of this
drama unlike other poets, did not stop merely with great attachment to
literature, v®d¡nta and other arts. He went further. He had proved himself,
through this play, as one who possessed tastes, high knowledge and skill in the
healing science of medicine, which was a boon to suffering mankind. Even from
about two hundred years before, Tanjore palace was renowned for famed
medicines. Many may know, that a valuable dispensary or auÀadha ¿¡la containing
staple medicines prepared from dh¡t£s and l°h¡s (minerals and metals) capable
of curing even many chronic and complicated diseases, existed in the palace.
Some of us might also have heard of dhanvantari mahal along side of the famous
library, ¿arasvati mahal in the palace, where rare and valuable medical works,
were, with royal patronage, collected and kept. It is said, that the initial
founders of such a medical section and progenitors of its activities were
¡nandar¡ya makhin and his disciples. I feel convinced that the characterization
of the various important diseases, by this poet as dramatic personae and the
corresponding healing medicines for those, described suitably, during the
course of the play, if well studied, will be of great utility to all ¡yurv®dic
men well versed in Sanskrit literature. In the palace of Tanjore, he was the
dharm¡dhik¡rin or head of charities during the reign of mah¡r¡À¶ra kings,
Sahaji and Sarfoji in 17th century A.D. and was known to have
conferred great benefits to the people, especially to scholars of his age. I
like to narrate here a short biography of his and that of the mah¡r¡À¶ra kings
of Tanjore connected with his life as this will illustrate the rich cultural
renaissance of the period in which the poet lived.
The change of rule of
Tanjore, from the Nayaks to the mah¡r¡À¶r¡s, seems to have accelerated the
lines of cultural progress and especially that of belles lettres. The mah¡r¡tta rulers were greater and more
illustrious and enthusiastic patrons of literature and art than their
predecessors. Particularly the great Maharaja Sarfoji I (1800-1832) did the
greatest and most lasting service not only to his race but to the whole of
India when he launched upon the
monumental task of increasing the usefulness of the Tanjore Library. We are
told that he, whilst on a pilgrimage to Benares, bought every valuable
manuscript that was for sale and ordered a host of scholars to copy such of
those works that were too precious to be sold away by the owners.
The Maharattas
captured Tanjore and ruled it from 1676 A.D. to 1855 A.D., a long and peaceful
period indeed. During a period of about 350 years (inclusive of Nayak kings),
more thatn one hundred and twentyfive authors brought forth first rate valuable
works. The greatest of these kings was certainly Maharaja Sarfoji, who was the
founder of the world famous Tanjore Maharaja sarasvati mah¡l library.
A chronology of the
Nayak and Maharatta kings is given below.
Nayak kings
(1535-1673 A.D.)
1. Cavappa (Savappa) 1535-1561
2. Acyutappa (Achyutappa) 1561-1614
3. Raghun¡tha 1614-1633
4. Vijayar¡ghava 1633-1673
Maharatta kings
(1676-1855 A.D.)
1. ®k°ji I 1676-1683
2. Àah¡ji 1684-1710
3. Sarfoji I 1711-1720
4. Tukaji I 1729-1735
5. ®k°ji II
or bh¡v¡ s¡hib 1735-1736
6. Prat¡p simha 1741-1764
7. Tukaji II 1765-1787
8. Amarasimha 1788-1799
9. Sarfoji II 1800-1832
10. ¿iv¡ji 1832-1855
Amongst them ¿ah¡ji,
¿arbh°ji I, tuk¡ji I, ®k°ji II and ¿arbh°ji II were all king poets.
¿ah¡ji is the second
mah¡r¡¶¶a ruler. His name is not Indian one. It is said that, one of his
ancestors begot children on account of the blessings of a Fakir named Shah
Sherif and consequently the first son was named ¿ahji. But the sanskrit poets
gave to his name an Indian colour by making it Sahaji, Sarabhoji, Sivaji etc.
He patronized many men of letters as was well indicated by the presentation of
an agrah¡ram by name ¿ahaji puram (the modern tiruvisanall£r) to a group of
fourtysix pandits. He was himself well versed in Sanskrit, Maharatti, Telugu
etc. He had the title of abhinava bh°ja. The following works in Sanskrit are ascribed to him.
1. Candra¿®khara vil¡sa
2. ¿abd¡vat¡ra samanvaya
3. ¿abd¡vat¡ra sa´graha
4. ¿¤´g¡ra maµjari
Sarfoji I is the
third of the Maharatta rulers and brother of Sahaji. During his rule also,
literary activities thrived on. Some literary works in Sanskrit are ascribed to
his pen. R¡ghava caritam is said to be one of his works.
Tukaji or Tulaja
Maharaja I is the fourth Maharatta king. He was also a Sanskrit scholar himself
and had written many works.
1. N¡¶yav®d¡gama
2. Sa´g¢ta s¡r¡m¤ta
3. Dhanvantari vil¡sam
4. Dhanvantari s¡ranidhi
We learn that in
addition to his literary activities, he was also taking keen interest in
¡yurv®dic literature. Sarfoji Maharaja II was the son of Tulaji or Tukaji II.
He was the person mainly responsible for the development of the Tanjore
Library. He patronised many scholars. He started many Assemblies or sabh¡s,
such as dharma sabha, ny¡ya sabha, mudrita sabha and so on. Many scholars were
employed in such sabh¡s, one of his court seats contains the following verse.
{ÉÉ´ÉçiÉÒ{É®ú¨Éä·É®úÉè
{ÉÚhÉÇSÉxpùÊxɦÉÉxÉxÉÉè
ºÉ´ÉÇvɨÉÇÊ´ÉvÉÉè
¨ÉÖpùɺÉévÉEòÉè ¦É´ÉiÉÉÆ ºÉnùÉ**
The king honoured
such scholars, who were conversant with civil on religious law or
dharmayagµ¡s(dharmajµaÅ dharm¡dhik¡ri¸a¿ca). On the judgment etc. such scholars
give their signature in the following manner.
SammatiÅ
pradham¡dhyakÀa subrahma¸yavipa¿citaÅ
G°vindapurav¡stavy¡nantar¡masudh¢matam and so on.
This certainly proves
the place of the pa¸dits in his court. He sent often several Pandits far and
wide to collect many useful books. The following works are ascribed to his pen.
1. Kum¡rasambhavam campu
2. Mudr¡r¡kÀasa ch¡y¡
3. Sm¤ti sa´graha
4. Sm¤ti s¡ra samuccaya
Ekoji II, is the son
of Tukaji I (or Tulaji); he was otherwise known as bh¡vaji or bh¡va s¡hib. It
is said that he had written a work called prapaµc¡m¤ta s¡rasa´graha. There is,
however, a doubt whether this work was composed by one m¡dhava a protege of
this ruler.
¡nandar¡ya makhin:
Under this very brief historical survey some more details about our poet may be
given. He is the son of n¤sih¡r¡ya makhin and grand son of ga´g¡dhara makhin.
It was already noted that he was a minister and dharm¡dhik¡ri of Sahaji and
Sarfoji. This n¤simahar¡ya makhin is the n¤simham¡tya of bharadv¡ja family. He
was the minister of Ekoji, Sahaji, and Sarfoji I. He wrote the work dharmak£¶a.
vidy¡pari¸ayam which is one of the works of ¡nandar¡ya makhin is an allegorical
play like prab°dhacandr°dayam. According to this poet, this is an adaptation of
prab°dhacandr°dayam, sa´kalpa s£ry°dayam and bh¡van¡ puruÀ°ttama[xi].
¡nandar¡ya makhin’s another work is ¡¿val¡yana s£trav¤tti.
(vidy¡pari¸ayam, according to Mr.T.S.Kuppuswami Sastri, is the work by
v®dakavi, but attributed to his patron ¡nandar¡ya makhin). ¡nandar¡ya makhin
continued as minister and General during the regins of Sarfoji I and Tukaji. He
defeated in 1723 A.D. the combined forces of the Nayak kings of Madura and
Tondaman of Pudukotta, as is borne by Tanjore District Manual. He died in the
latter part of the reign of Tukaji I and was succeded by ghana¿y¡m pa¸dita.
This drama j¢v¡nandanam, we learn, was composed during the reign of Sahaji.
¡nandar¡ya makhin’s wife was jayanti and his son n¤simhar¡ya or
n¤simh¡m¡tya who has written t¤puravijaya campu[xii].
Bhagavantar¡ya, another brother of ¡nandar¡ya makhin’s father, was contemporary of the famous r¡mabhadra d¢kÀita, as
is seen from the drama entitled r¡ghav¡bhyudaya by bhagavantar¡ya. Mah¡mah°p¡dhy¡ya
durg¡pras¡d ¿¡stri in identifying Sahaji with (¿arabh°ji) Sarfoji I is incorrect.
Again the date of vidy¡pari¸ayam (1750 A.D.) is too incorrect. When
prat¡pasimha ascended the throne in 1741, ¡nandar¡ya makhin was dead as is
evident from ithiÀa ¿atakam composed by vaµc¢¿vara or kutti kavi[xiii].
The genealogy of ¡nandar¡ya makhin runs thus:
Bh¡vaji (of
bharadv¡ja g°tra)
Ga´g¡dhvarin I alias
Kak°ji pa¸dita
N¤simh¡dhvarin trayambak¡dhvarin bhagavantar¡ya (step brother of n¤simh¡dhvarin &
trayambak¡dhvarin)
¡nandar¡ya makhin ga´g¡dhar¡dhvarin
N¤simhar¡ya n¡r¡ya¸a (author of vikramas®na
campu)
So much about my
brief historical survey of the poet’s period. Next I want to explain the main
reasons for this attempt of mine in bringing out this new edition of this
drama. This is a literary medical play. This can well be understood and deeply
appreciated only by those, who possess good knowledge of Sanskrit literature
and Medical science. Thirty five years ago, when I passed out of the Madras
Ayurvedic College (then S.K.P.D. Ay.College), I happened to read this book,
which was published by Nirnaya sagar press in 1891. The contents of
j¢v¡nandanam were of absorbing interest to me. However, as I found from the
beginning to the end, this publication of Nirnaya sagar, was full of mistakes
and irregularities. I was much interested to procure another publication or
manuscript of this valuable work. As a result of my attempts, I was able to
procure a copy of this drama in Telugu script[xiv]
from my learned friend the late ¡tmakur gha¸¶¡¿atam ¿r¢niv¡s¡c¡rya. I found
this Telegu edition, was somewhat better than the former one. This copy was of
great help to me in correcting the many mistakes and unfitting passages in my
copy. As a mark of my such corrections, I wrote down a Sanskrit verse[xv]
(given in foot note) in my copy of N.S.edition. Only this book which in very
early days, I managed to correct and re-write, has been responsible for
publication by the Adayar Library of this work in complete and well finished
form and made it possible for me to write and bring out my Nandini commentary.
In fact, the intrinsic merit of this worthy drama of ¡nandar¡ya makhin on the
one hand and the innumerable errors that I find in Nirnaya Sagar edition on the
other, were the main factors which created in me an urge for bringing out a
reliable and good edition of this work with Mutatis
Mutandis and to write and include in this a detailed critical commentary
which will clearly bring out its high merit to the interested readers and
literary scholars.
The two Pandits,
Messrs.Durga Prasad and Kasinath Pandurang Parab, who edited that Nirnaya Sagar
Publication in k¡vyam¡la series, due to their inaccuracy and inability to edit
this rare work properly did not stop with printing and publishing this work
erroneously throughout, but went to the extent of criticizing that j¢v¡nandanam
had no poetical excellence, and put up an apology that, however, as this
dramatic work was in a complete form and would be useful for medical purposes,
they decided to publish it in k¡vyam¡la series[xvi].
I was, to say the least, pained and surprised and also amused by this most
unsuitable, unconsidered and hasty remarks made by those who published this
work. Even the second edition of this book published in 1933 by Nirnaya Sagar
Press carries these unfitting remarks without alteration, along with all other
mistakes. It is surprising to note that not only these two pundits passed this
ill judged and hasty remarks but Prof.Keith also followed them simply in his
work The Sanskrit Drama, P.253, by
stating vidy¡ pari¸aya and j¢v¡nandana have no merits. Now I would like to tell
my readers, that those proficient in Medical science, Sanskrit literature and
v®d¡nta philosophy, who go through this dram carefully and analytically, will
readily understand that this is one of the worthy classical brilliant plays in
Sanskrit literary field. My following analytical statements will clearly show
that these Pandits who edited the Nirnaya Sagar edition of j¢v¡nandanam, have
committed many miserable blunders and the real drama, as composed by the author
is on the contrary a delightful literary work.
Dramas in Sanskrit
adopt usually one of three sentiments (ras¡s) namely ¿¤´g¡ra, v¢ra and karu¸a
and include in frequent places, suitably according to contexts, the rest five
or six sentiments[xvii].
I.
This play
is based mainly on ¿¡nti rasa similar to sa´kalpa s£ry°daya, prab°dha
candr°daya and bh¡van¡ puruÀ°ttama. Many passages at the beginning such as
gurud®va dvijabhakta (1-6), yaÅ sn¡t°jani divyasindhusalil® (1-7), ¡r¡dhn°ti
yad®Àa bhaktibharita (1-8), etc., etc., in middle ah° ¿rutism¤tivih¢t¡n¡m
karma¸¡m prabh¡vaÅ, ®tadanujµayaiva nirvic¡ram¡nas®na, ay® mah¡nubh¡v¡ ¿ivabhakti,
h¤day¡nanda vidh¡tr¢ bhakti t¡m etc. and in the end a¿r¡ntapravahattuÀ¡ra
(5-3), tvadupad®¿ava¿amvadac®tas¡ (6-70), y¡ pratyakÀapad¡rtham¡traviÀay¡
(7-26) and a number of other passages in the conversation of j¢var¡ja and
others can be quoted as illustrative of the fact that this play is based on the
sentiment of rasa of ¿¡nti. Though the hero j¢va with the help of minister
vijµ¡na¿arma (a skillful minister with high proficiency in secular knowledge)
tried in all possible ways to prevent affliction like diseases and to preserve
perfect health of the material body to help achieving the four ends of human
life immediately, had as his ultimate aim through bhakti y°ga or devotion to
attain the supreme life of j¢van mukti (during the present life) and thus
schieve the final ever lastign goal of mukti through the graciousness of Lord
¿iva. Thus the main theme of this play is based on ¿¡nti rasa[xviii].
II.
The
readers can experience and enjoy the ¿¤´g¡ra rasa (the sentiment of love) in
this work which is almost dispensable for dramatic literature. It is employed
in various parts of this play in a lovely and pleasing manner[xix].
III.
The v¢ra
rasa (heroic sentiment) is employed by the author in respect of j¢var¡j¡’s colleagues and opponents headed by r¡jayakÀma in various places
in expounding their mutual valour, and capacities in their emphatic and
passionate conversations bringing out the intensive determination to destroy
their enemies. Also the passages referred to hereunder, as expressed by the
hero j¢var¡ja, his minister vijµ¡na ¿arma, the enemy king r¡jayakÀm¡, his
minister p¡¸du, enemy’s warriours such as unm¡da, a¿mari and others
narrating their grim and passionate characters, and their strength, capacity
and different powers, in highly emphatic and decisive manner, clearly show how
v¢ra rasa, has been forcefully and artistically blended in various appropriate
places[xx].
IV.
Karu¸a
rasa (pathetic sentiment) is also employed in many suitable places with equal
poignancy by the author[xxi].
Thus the passages mentioned in the foot note explaining the pitiful predicament
of j¢var¡ja afflicted by enemy diseases, j¢var¡ja explaining the trouble of
r¡jayakÀma, r¡jayakÀm¡’s lamentations on his having lost his
colleagues and relatives, k¡la condoling the bereavement of yakÀma by the loss
of his son and viÀ£c¢’s wailing utterances on the loss of her
children, etc., bring out very poignantly and with deep sense of pathos, the
karu¸¡ rasa.
V.
Even one
very critical, when he goes through so many grand and lofty stanzas and
passages such as m®gh¡kr¡nta diganta etc., in the text, will at once come to
the conclusion that this is one of the classical dramas of high standard, and
appreciate the manner in which the author has inserted the sentiment of marvel
of adbhuta rasa[xxii]
in this work.
VI.
This
author is also equally capable of writing in a humourous vein, with sparkling
wit. In the beginning of act III the conversation of n¡garika, puruÀa and
kinkara, the sentences in the commencement of Act IV like d®vy¡ buddhy¡ s¡dhu
pariv®Àa¸aÆ etc., containing light talks of vid£Àaka and the witty conversation
between ku˦a, kinkara and matsara in the Act V and several other dialogues
scattered in this drama, abound in scintillating humour and act as most
refreshing and pleasant interludes; especially, most of the words of the
vid£Àaka illustrate the good sense of humour or h¡sya rasa possessed by the
author[xxiii].
VII.
Bhay¡naka
rasa is that sentiment which creates fear amongst the audience witnessing the
play. The poet has introduced this sentiment of terror by stunning and striking
descriptions like praca¸damadap¡¸davaprahita etc., in various parts of the play
appropriately[xxiv].
VIII.
Bh¢bhatsa
rasa, is the sentiment creating disgust and detestation. There are many
passages and descriptions which denote this sentiment of disgust especially
like k¡ry¡ na c®tasi kum¡ra . . . .
kurm° vayaÆ tanubh¤t¡matikutsan¢yam etc., illustrated in suitable places[xxv].
IX.
The last
sentiment to be referred here is raudra rasa or sentiment of fury or wrath. The
character ga½aga¸da’s description of the fearful appearance of
p¡¸du due to his fury in the words ¡raktasa´kucap¡´ga and so on[xxvi],
the narration of the agonies of their victims by the character atis¡ra and the
description of the cruelties of v¡yu by j¢var¡ja are some of the examples which
indicate this sentiment introduced in the play in the fitting places according
to proper context.
Thus the ingenious
poet has inserted these nine sentiments or nava ras¡s resembling nine precious
jewels or navaratn¡s most suitably and appropriately in various parts and has
intertwned and coalesced the three golden plaits of medicine, literature and
v®d¡nta into this creation of his imagination, a real ka¸¶h¡bhara¸am (necklace)
of sarasvati. Hence, the statement that this work of art and science combined,
j¢v¡nandam (which yields intellectual pleasure, to all the learned and
intelligents) does not possess poetic charm, by the two Pandits in the Nirnaya
Sagar edition, is to say the least, most incongruous and absurd. To refute this
very unfounded criticism, has been my desire for quite a long time. The readers
will also readily understand, in contexts, as they read, that not only the
essence of these ras¡s like ¿¡nti, ¿¤´g¡ra etc., are well brought out, but also
that the words and passages conveying these sentiments, rhyme, fit well
phonetically and adorn the corresponding verses. The language used in the drama
is simple but lofty and the style of poetry striking and suitable to the
context everywhere[xxvii].
Not only poetry, but also the prose style closely resembles in fineness,
eloquence, and clarity that of bhatta b¡¸a and other renowned poets. So both
the eloquent style and the power of expression of thought and feeling in words
fill the pages of this play, and elevate its poetic excellence.
I have already
mentioned above the erroneous nature of the Nirnay Sagar edition. By not
properly studying the work, or even grasping the meanings of the sentences, and
with a complete disregard to the context above and below, and thus without
giving a thought, to correct the mistakes found if any in the manuscript copy,
this work was printed by the above press, in such a faulty manner. As examples
of this gross oversight and subsequent misunderstandings, I would like to point
out mainly one or two instances. J¢var¡ja, while seriously contemplating the
worship of Lord ¿iva in order to obtain rasa-sidhi (chemical medicament), often
recounting the acts of the Lord, begings to embellish soon after the greatness
and omnipotence of param®¿vari also whole heartedly; the poet brings out the
adoration of j¢var¡ja in many stanzas and passages. The hero j¢va exclaims in a
sentence having the meaning “As is param®¿vara, so too param®¿vari, the
possessor of indistinguishable and well nigh indiscernible and innumerable
forms (or svar£pam)”. This meaning has been very well clarified
further in the subsequent passages to this sentence such as bhaktiprahva
(1-43), d£r°dbh£ta (1-44), ¿astracchinna (1-45) and the words of the Queen (d®v¢) (s¡ khalu param®¿var¢ bahuvidhad®vat¡¿akti
r£p¡v¡vayav¡). But, for the absurd sentence, in place of the above in the
Nirnaya Sagar edition of 1891, ®vamanirdh¡ra¸¢yan¡n¡svar£p¡ bhagavat¢param®tat
only those who published them can offer any interpretation or explanation.
Should it not have been ®vamanirdh¡ra¸¢yan¡n¡svar£p¡ bhagavat¢ param®¿var¢ ?.
Even assuming that the error has crept in from their manuscript copy, if the
Pandits, who edited it had taken a little care to observe the following sentences
and note the proper context, there would have been no reason for this faulty
and meaningless passage. Again the word atha even in the very first line fo the
opening stanza is incorrect. There is no meaning in saying that “after the desired results, have been obtained by the rising of
lakÀmi, candra and others, the d®v¡s and asur¡s again resumed the churning of
the ocean.” If what they desired, had been obtained
already then there was no further necessity of continuing the very arduous
process of churning the ocean. Hence the minstake in the expression labdhv¡tha
labdh®psit®. For the entire object and aim of theose who churned the ocean even
after obtaining lakÀmi and others, was the supreme goal of extraction of am¤ta.
So the meaning of the correct reading runs like this. “though lakÀmi, candra and kalpataru v¤kÀa had been obtained, as
they had not yet achieved their desideratum that of acquiring am¤ta, they
resumed churning the ocean.” This is the exact idea of the auther. Again
the correct poetical text +kÉÉhÉÆ
Ê´É hÉ VÉÉhÉÉ< ®úÉVÉEòVVÉÆ EöònùÉä =hÉ* =¨¨ÉÉnùÉä ={ÉVÉÉ´ÉÉä ´ÉÉ BnùκºÉ
ºÉkÉÖ Ì½þ ÊeònùÉä** has been
distorted as a prose and that too in a meaningless and completely faulty way as
+kÉÉhÉÆ Ê´É hÉ VÉÉhÉÉÊnù
®úÉVÉEòVVÉÆ EöònùÉä =hÉ* =¨¨ÉÉnÆù ´ÉÉ =´ÉVÉÉ´ÉÆ ´ÉÉ ºÉkÉÖÊEònù¨ÉÂ** in Nirnaya Sagar edition. These and various
other absurd and improper passages and ungrammatical words and sentences and
irregularities scattered in Nirnaya Sagar book will be dealt with in a
comprehensive manner in my comparative statement appended to my Sanskrit
introduction bh£mik¡.
If I had stopped,
simply by examining, revising, re-writing and editing the text in correct form,
I felt that the true value and utility of this rare classical literary-medical
work, will still remain hidden from most Sanskrit-knowing readers, who by
simply going through the text onece, will not be able to take interest in and
realize the importance and beauties of this work. Especially as this work deals
mainly with the principles of medicine, those interested in literature, may not
have predilection to read and appreciate its contents. Also as very significant
and interesting literary matter is combined in many places with deep thoughts
of v®d¡nta, for those medical ment not well versed and familiar with sanskrit
literature and religious philosophy, the mere text, would not be useful. So, in
order that both these classes of readers may interest themselves in this work,
I considered that it is very necessary to write a detailed commentary for this
play, and to present it to the learned public along with the original correct
text; accordingly I have written out such a complete commentary Nandini.
Usually those who
write commentary for most of the plays will only show out in detail, the
various important meanings, figures of speech and other n¡taka lakÀa¸¡s, but
will not give a word by word meaning for all the passages. Many commentators,
assuming a basic literary knowledge on the part of the readers of high
classical works and dramas, do not deem it necessary to give a detailed
paraphrase word by word of the verses and sentences of the concerned work. But
my task in writing out a commentary for this extra-ordinary work is somewhat
different from others. As I have already explained, the considerations that
many medical men on the one hand, may not have sufficient proficiency in
Sanskrit and literary absorptive capacity, and that the non-medical men on the
other, may not be familiar with the medical technicalities, necessitated my
giving detailed paraphrase for almost all the passages as in the case of
smaller classical works, word by word. I have also in the required places,
pointed out clearly, as to which of the well known poets and writers,
¡nandar¡ya makhin has clearly followed in delineative style, comparisons and
verse compositions and have written out the corresponding sentences or passages
in the commentary. Of the wide use I made of the variant readings of the text
in the previously mentioned Telugu copy of j¢v¡nandanam and of my own
re-examinations with reference to contexts and of my further researches in this
work reconciling the text differences in order to rectify the many mistakes and
omissions found in Nirnaya Sagar edition published fifty years ago, I have
given suitable examples and explanatory remarks in the corresponding places in
my commentary. Above all, the medical technicalities present in the work have
been dealt with an exhaustive manner, without reservation, giving authoritative
statements in support of them, and the readers can find all the details even as
regards all the diseases and their remedies and treatments that are cited in
the text In addition, all the allusive matte, hinted or insinuated in the
suitable contexts present in the work in various places, have been explained and
expanded with adequate and authoritative evidence. On the whole, I feel
convinced that the readers themselves will realize the necessity of such a
detailed and critical commentary, in that without it, any judicious literary
man, who desires to somehow go through this play may not pick up immediate
interest by just going through some parts of the text at a first attempt and
that the inner and truly significant meaning conveyed by the passages, may not
be readily apparent, to ordinary Sanskrit knowing public in sufficiently
arresting manner.
After I read,
corrected and revised the text of this drama from beginning to the end, and
wrote a critical and exhaustive commentary, I used to wonder, whether, aware of
its high value, realizing its merits and importance, any would come forward to
make it alive and popular by printing and publishing it or as bhart¤hari said,
this medico-literary work of ¡nandar¡ya makhin with my correction, revision and
nandini commentary would in course of time vanish with me fruitlessly[xxviii]. Then it was that my esteemed friend
vaidyaratna Dr.G.sr¢niv¡sam£rti, being the director of Adyar library, came
forward unexpectedly to print and publish this work through the Adyar library,
and has now carried it through to its successful conclusion. This very kind
initiative of his and the responsibility he undetook in bringing out this
laudable and valuable work only illustrates and emphasizes, the great interest
he takes, in developing our classical Sanskrit Literature. I convey to him my
hear-felt thankfulness and appreciation for his part in bringing out this
publication and assure him that his kindness and the spirit of encouragement
will remain evergreen in my memory and in the memory of the readers of this
worthy dramatic work. The management of the vasanta press Adyar also deserves
my sincere thanks and appreciation for their patience and fine printing work
which they have executed without minding the tediousness of the Sanskrit
printing.
In conclusion I like
to say that this work, which has been, after a good deal of research and
critical study brought out up-to-date as far as possible, possesses all the
improvements that are necessaryh for creating interest in modern intellectual
men. Only with a view to make this excellent play more popular and readable, I
was obliged to write this very exhaustive commentary Nandini which has
developed vive to six times the size of the original text of j¢v¡nandanam. To
write this out completely inclusive of some appendices I required more than
five hundred foolscap sheets. I have tried my level best to make this work
perfect in all respects. So, despite my carefulness in revising, re-writing and
regulating, if any errors or mistakes have crept in, the whole responsibility
for these will be mine only. I hope that this newly revised, well brought out
up-to-date publication of this valuable dram j¢v¡nandanam with its new
vy¡khy¡nam nandini, will beget due and deserved appreciation from all those who
interest themselves in and value such treasures of our ancient store house of
knowledge comprising Art and Science.
M.duraisv¡mi aiya´gar
“¡ryag¤ham”
Vepery, Madras
12th May,
1947
[i]
ÊxÉÌVÉiÉ
ÊxÉÊJÉ±É Ê´É{ÉIÉÆ xÉÒ¯ûVÉ{ÉÖ®úºÉÖºlɨÉ{ÉMÉiÉÉiÉRÂóMɨÉÂ*
+½þ¨ÉÉMÉiªÉ Ê´ÉvÉɺªÉä {É®ú¨ÉÉxÉxnùÉΤvɨÉÉ{iÉEòɨÉÆ
i´ÉɨÉÂ** (4-24)
[ii]
This author’s version about his own ideal in
vidy¡pari¸ayam is as follows –
¸ÉÖÊiɺ¨ÉÞiÉÒÊiɽþɺÉÉMɨÉiÉxjÉÉÊnùʺÉrùºÉɨ¤ÉʶɴÉSÉ®úhÉ{ÉÊ®úSÉ®úiÉnùxÉÖºÉÆvÉÉxÉÊxÉ®úxiÉÊ®úiÉÊxÉÊJɱɴÉɺɮúºªÉ
¶É®ú¦É¨É½þÉ®úÉVɨÉÎxjÉʶÉJÉɨÉhÉä®úºªÉ …..* (|ɺiÉÉ´ÉxÉɪÉÉÆ)*
[iii]
¦ÉÉ´É, EÞò¹hÉʨɸÉ|ɦÉÞÊiÉʦɮújÉ ‘|ɤÉÉävÉSÉxpùÉänùªÉ” <ÊiÉ, ºÉRÂóEò±{ɺÉÚªÉÉænùªÉÆ
<ÊiÉ xªÉ¤ÉÎxvÉ xÉÉ¨É ¤É½ÖþvÉÉ |ÉÉSÉÒxÉè&*
ÊEò¨ÉxÉäxÉÉʦÉxɴɺÉÆ®Æú¦¦ÉähÉ* Thus
the author puts himself a question through the interlocfutor or parip¡r¿vaka in
vidy¡pari¸ayam.
[iv]
iÉjÉɺiÉä ʶɴɦÉÊHòÊ®úiªÉxÉÖ{ɨÉÉ
EòÉÊ{É |ɨÉÉänùɺ{ÉnÆù* (1.47)
iÉÉxÉuèùiÉÉÆ
º´É°ü{ÉähÉ ¦ÉËHò ¾þnùªÉ®úÎ\VÉxÉÓ*
º´ÉÒEÞòiªÉɽÆþ
¦ÉʴɹªÉÉ欃 |ÉÉ{iÉÉÊJɱɨÉxÉÉä®úlÉ&** (1.48)
[v]
|ɺiÉÉ´ÉxÉÉxÉxiÉ®Æú Ê´ÉtÉ{ÉÊ®úhɪÉä – |ÉlɨÉÆ {ÉÉjÉÆ Ê¶É´É¦ÉÊHò®äú´É* -
iÉiÉ& |ÉʴɶÉêiÉ Ê¶É´É¦ÉÊHò&* ʶɴɦÉÊHò& - +ÉÊnù¹]õÉκ¨É
{É®ú¨ÉEòɯûÊhÉEòªÉÉ {É®ú¨Éä·ÉªÉÉÇ* <iªÉÉÊnùEÆò*
[vi]
¦ÉÚªÉÉnùºªÉ Eò´ÉäζSÉ®úɪÉÖ®ú¯ûVÉÉä
¦ÉÊHò¶SÉ ¶Éè´ÉÒ oùføÉ* (7.35)
[vii]
ʴɱÉÒªÉ º´ÉÉÊ´ÉtÉPÉxɪɴÉÊxÉEòɪÉɨÉlÉ
´É½þxÉ ʴÉÊSÉjÉÆ xÉè{ÉlªÉÆ xÉ]õÊºÉ Ê¶É´É xÉÉxÉÉi¨ÉEòiɪÉÉ*
º´ÉªÉÆ
VÉÉOÉi{ɶªÉºªÉÊ{É SÉ {É®ú¨ÉÉxÉxnù¦ÉÊ®úiÉÉä VɪÉiªÉiªÉɶSɪÉÈ VÉMÉÊnùÊiÉ
¦É´ÉzÉÉ]õEòʨÉnù¨ÉÂ** (Ê´É.7.38)
[viii]
¶É®úÒ®ú¨ÉÉtÆ JɱÉÖ vɨÉǺÉÉvÉxɨÉÂ*
[ix]
ºÉ´Éæ%Ê{É |ɶÉʨÉiÉÉ Ê®ú{É´É&
{ÉÖ®äú%¦ÉÚnùÉ®úÉäMªÉ¨ÉèÊIÉÊ¹É ¦É´ÉxiɨÉÖ¨ÉɺɽþɪɨÉÂ*
ªÉÉäMÉÆ
iÉiɺi´ÉnÖù{ÉÊnù¹]õ¨É´ÉÉ{ªÉ VÉÒ´Éx¨ÉÖHòÉäκ¨É iÉä Eò¯ûhɪÉÉ ÊEò¨ÉiÉ& Ê|ɪÉÆ
¨Éä** (7.34)
[x]
Ê´ÉuùiEòÊ´ÉEò±{Éiɯû&
+ÉxÉxnù®úɪɨÉÊJÉ* ºÉ B¹É <½þ – MÉÖ¯ûnäù´ÉÊuùVɦÉHòÉä …… ʴɽþ®úÊiÉ ºÉ¨É®äú SÉ Ê´ÉGò¨ÉÉEÇò
<´É*
[xi]
Vidy¡pari¸ayam
has been published in the Nirnaya Sagar press in 1893., bh¡van¡puruÀ°ttamam is
an unpublished work. Its author is ratnakhe¶a ¿r¢niv¡sa d¢kÀita. This work
advocates advaita philosophy.
[xii] This is otherwise called haravijaya campu.
[xiii]
Vaµce¿vara (or kutti kavi) was of the
family of bh°sala and minister of Maharaja Tukaji I of Tanjore (1729-1735)
according to Mr.Krishnamachari’s literature. His mahiÀa ¿ataka is a
marvellous work combining praise and lore. He notes in his mahiÀa ¿ataka that
n¡n¡ji, ¿ah¡ji, ¿arabh®ndra (Sarfoji) and ¡nandar¡ya had all passed away, by
the time he wrote the work.
[xiv]
This was published by one Mudgal Vyasacharya
and printed at ¿advidy¡ mandira Press, Mysore in 1881, ten years earlier than
Nirnaya sagar edition. So this is the oldest printed book.
[xv]
+ɨÉÚ±ÉÉÊnùnù¨ÉÉi¨ÉEÚò¯ûʴɤÉövÉÉiÉÂ
¸ÉÒ ¸ÉÒÊxÉ´ÉɺÉÉʦÉvÉÉiÉÂ
+ÉxwÉÆ
xÉÉÊiÉÊ´ÉnÖù¹]õEòÉä¶É¨É{É®Æú |ÉÉ{iÉÆ Ê´É¨ÉÞ¶ªÉ º´ÉªÉÆ
VÉÒ´ÉÉxÉxnùxÉxÉÉ]õEÆò
ºÉÖ{ÉÊ`öiÉÆ ºÉƶÉéäÊvÉiÉÆ ¸ÉÒnÖù®èúº´ÉɨÉÒ
xÉɨÉEò´Éèt¶ÉɺjÉÊ´ÉnÖù¹ÉÉ
ºÉÉʽþiªÉºÉÆ{ÉVVÉÖ¹ÉÉ**
This was written
in my own copy of j¢v¡nandanam, after correcting it in 1910.
[xvi]
VÉÒ´ÉÉxÉxnùxÉä
ªÉtÊ{É xÉÉκiÉ EòÊ´Éi´ÉSɨÉiEòÉ®ú&, iÉlÉÉÊ{É ºÉÆÊ´ÉvÉÉxÉEò¨ÉxÉÖÎSUô¹]Æõ
ÊSÉÊEòiºÉɶÉɺjÉÉxÉÖEÚò±ÉʨÉÊiÉ EÞòi´Éè´ÉɺªÉ EòÉ´ªÉ¨ÉɱÉɪÉÉÆ |É´Éä¶É&* See
the foot not at the last page of the book of Nirnaya Sagar Press published in
1891 as well as 1933.
[xvii]
Nava
ras¡s or nine sentiments are - ¿¤´g¡ra, v¢ra, karu¸a, adbhuta, h¡sya,
bhay¡naka, bh¢bhatsa, raudra and ¿¡nti.
The ras¡s are usually eight; but sometimes ¿¡nta rasa is added. Thus making the
total number nine say k¡vya prak¡¿a -
ÊxÉ´ÉænùºlÉÉʪɨÉÉ´ÉÉä%κiÉ
¶ÉéxiÉÉäÊ{É xɴɨÉÉä ®úºÉ&*
[xviii]
¶ÉCªÉÆ iÉiÉ JɱÉÖ {ÉÖhb÷®úÒEòxÉMÉ®Æú
MÉxiÉÖÆ ¨ÉxÉÉäuùÉ®úiÉ-
ºiÉjÉɺiÉä
ʶɴɦÉÊHòÊ®úiªÉxÉÖ{ɨÉÉ EòÉÊ{É |ɨÉÉänùɺ{Énù¨ÉÂ*
où¹]Âõ´ÉÉ iÉÉÆ
|ÉlɨÉÆ iÉlÉÉ {ÉÊ®úSɪɺiɺªÉÉ Ê´ÉvÉäªÉºi´ÉªÉÉ
SÉi´ÉÉ®úÉä%Ê{É
¦É´ÉîxiÉ iÉä Eò®úiɱÉÆ |ÉÉ{iÉÉ& {ÉÖ¨ÉlÉÉÇ ªÉlÉÉ** (1.47)
This verse is
also one of such many important passages which express that the main sentiment
(rasa) adopted by this drama is ¿¡nti rasa and also the object of the hero is
to attain the four ends or puruÀ¡rth¡s. (The four ends of human life – dharma, artha, k¡ma and m°kÀa – taken collectively are called
caturvarga)
In addition to
the above quoted passages, a net work of such passages expressing ¿¡nti rasa
can be seen in the book.
[xix]
¿¤´g¡ra rasa –
prav¡½a m¤dul¡dhara, ¿½adha jaladhara j¡la, d¤À¶v¡k¤À¶akac¡Æ, dhammill®
ghanasannibh® and many other passages
[xx]
V¢ra
rasa – p¡d¡gh¡tatru¶ita, d£r°ddh£ta viÀ¡¸a,
¿astr¡¿astri gad¡gadi, m®gh¡kr¡ntadiganta, ¿astracchinnasur¡ri,
k°p¡dhm¡takakustha and many other passages bearing this sentiment can be seen
in the pages.
[xxi]
Karu¸a
rasa – g¡tram m® paritapyat®, nanu m®
duÅkhabh¡g¡tm¡, ga¸dasthalapras¤mar¡¿ru, j¢vasya dhvajinicar¡n, bh° bh° sut¡Å
and other passages
[xxii]
Adbhuta
rasa – p¡d¡gh¡ta tru¶ita, pur¡ ghalu
d®vad¡navairam¤t¡rthibhiÅ, d£r°dbh£taviÀ¡¸a, jara¶h¡pi k¡cidasat¢ and many
verses including those at the end of VII act.
[xxiii]
H¡sya
rasa – bibhr¡¸° mukhab¡huvakÀasi, pa¿y¡mi na
karacara¸am, bhasm¡val®padhaval¢k¤ta, amacca kim uvahasasi mam and a number of
other pages to be noted at.
[xxiv]
Bhay¡naka
rasa – v®l¡la´ghiprasarpatta¶avi¶api,
t¡r¡¿cy¡vayituÆ, d¤À¶v¡duÀk¤t¡par¡dhajanita and other descriptions found.
[xxv]
Bh¢bhatsa
rasa – g¤h¸¢y¡ma vyathayitumar®statpuram,
prasr¡v¡khy¡m pari¸atima, ¿a¿vanna¿varam®va and other passages
[xxvi]
J¤mbh¡vas¡r®
d¡ru¸am¡nana, d¤À¶va dakÀak¤t¡par¡dha, --¿cy¡vayituÆ ghan¡n vikiratuÆ and many
other examples.
[xxvii]
Act
I.¿½°ka 20, 37, 40, 41,43,45 Act II.2 ¿¤´g¡ra, 3,15 bh¢batsa, 16,20,21
bhay¡naka Act III. 4¿¤´g¡ra, 5,16,20,28 ¿¡nta, Act IV. 3,4 svabh¡v°kti, 5
¿¤´g¡ra, 7,13,47 ¿¤´g¡ra, 38 ¤tuvar¸anam Act V.5svabh¡v°kti, 19,23,29
svabh¡v°kti, 33 Act.VI. 3¿¡ntam, 4,5,8 karu¸am, 13 bh¢bhatsam, 37, 50
bhay¡nakam, 68 ¿°kam. Act.VII. 8,10,11,12,13,14,15,18
[xxviii]
¤ÉÉärùÉ®úÉä ¨ÉiºÉ®úOɺiÉÉ&
|ɦɴÉ& º¨ÉªÉnÚʹÉiÉÉ&
+¤ÉÉävÉÉä{ɽþiÉɶSÉÉxªÉä
VÉÒhÉǨÉRÂóMÉä ºÉÖ¦ÉÉʹÉiɨÉÂ**
