CLAY SANSKRIT LIBRARY
THREE SATIRES
BY BHALLATA,
KSHEMENDRA
& NILA KANTHA
Edited & tmnsLited by
SO MAD EVA VASUDEVA
THE CLAY SANSKRIT LIBRARY
FOUNDED BY JOHN & JENNIFER CLAY
EDITED BY
RICHARD GOMBRICH
WWW.CLAYSANSKRITLIBRARY.COM
WWW.NYUPRESS.ORG
Copyright © 2005 by the CSL.
All rights reserved.
First Edition 2005.
The Clay Sanskrit Library is co-published by
New York University Press
and the JJC Foundation.
Further information about this volume
and the rest of the Clay Sanskrit Library
is available on the following websites:
www.claysanskritlibrary.com
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ISBN 0-8147-8814-9
Artwork by Robert Beer.
Cover design by Isabelle Onians.
Layout & typesettting by Somadeva Vasudeva.
Printed in Great Britain by St Edmundsbury Press Ltd,
Bury St Edmunds, Suffolk, on acid-free paper.
Bound by Hunter & Foulis, Edinburgh, Scotland.
THREE SATIRES
NTLAKANTHA, KSEMENDRA
& BHALLATA
EDITED AND TRANSLATED BY
SOMADEVA VASUDEVA
NEW YORK UNIVERSITY PRESS
JJC FOUNDATION
2005
Library of Congress Cataloging-in-Publication Data
Nilakantha DIksita, 17th cent.
[Kalividambana. English & Sanskrit]
Three satires / Nilakantha, Ksemendra & Bhallata ;
edited and translated by Somadeva Vasudeva.
p. cm. - (The Clay Sanskrit library)
In English and Sanskrit; includes translations from Sanskrit.
Includes bibliographical references and index.
ISBN 0-8147-8814-9 (cloth : alk. paper)
I. Title: 3 satires. II. Vasudeva, Somadeva.
III. Ksemendra, nth cent. Kalavilasa. English & Sanskrit.
IV. Bhallata, 9th cent. Bhallatasataka. English & Sanskrit.
V. Title. VI. Series.
PK3798.N54K313 2005
89i’.23-dc22 2004029512
CONTENTS
Sanskrit alphabetical order 7
CSL conventions 7
THREE SATIRES
Introduction 13
1. Bhallata: The Hundred Allegories 27
2. Kshemendra: The Grace of Guile 92
3. Nila-kantha: Mockery of the Kali Era 319
Notes 341
Bibliography 378
Index 383
A sandhi grid is printed on the inside of the back cover
SANSKRIT ALPHABETICAL ORDER
Vowels:
Gutturals:
Palatals:
Retroflex:
Labials:
Semivowels:
Spirants:
adiluurf 11 e ai o aum h
k kh ggh n
c chj jh n
t th d dh n
p ph b bh m
y r Iv
s' s s h
GUIDE TO SANSKRIT PRONUNCIATION
a but
a, a rather
i sit
l, i tee
u put
UyU boo
r vocalic r, American purdy
or English pretty
f lengthened r
l vocalic /, ab le
e, e, e made, esp. in Welsh pro¬
nunciation
ai bzte
o, o, o r<?pe, esp. Welsh pronun¬
ciation; Italian solo
au sound
m anusvdra nasalizes the pre¬
ceding vowel
h visarga , a voiceless aspira¬
tion (resembling English
h ), or like Scottish \och, or
an aspiration with a faint
echoing of the preceding
vowel so that taih is pro¬
nounced taih 1
k hick
kh blockhead
g g°
gh bighead
h anget
c chi\\
ch matchhead
j 7*og
jh aspirated j, hedgehog
h canyon
t retroflex t, try (with the
tip of tongue turned up
to touch the hard palate)
th same as the preceding but
aspirated
d retroflex d (with the tip
of tongue turned up to
touch the hard palate)
dh same as the preceding but
aspirated
n retroflex n (with the tip
of tongue turned up to
touch the hard palate)
t French rout
th ten t hook
7
THE THREE SATIRES
d
dinner
dh
guildhall
n
now
P
pi\\
ph
u^eaval
h
before
bh
a^orrent
m
mmd
y
ye s
r trilled, resembling the Ita¬
lian pronunciation of r
l /inger
v word
s' shove
s retroflex sh ( with the tip
of the tongue turned up
to touch the hard palate)
s hkf
h hood
CSL PUNCTUATION OF ENGLISH
The acute accent on Sanskrit words when they occur outside of the
Sanskrit text itself, marks stress, e.g. Ramayana. It is not part of tra¬
ditional Sanskrit orthography, transliteration or transcription, but we
supply it here to guide readers in the pronunciation of these unfamiliar
words. Since no Sanskrit word is accented on the last syllable it is not
necessary to accent disyllables, e.g. Rama.
The second CSL innovation designed to assist the reader in the pro¬
nunciation of lengthy unfamiliar words is to insert an unobtrusive mid¬
dle dot between semantic word breaks in compound names (provided
the word break does not fall on a vowel resulting from the fusion of
two vowels), e.g. Maha-bharata, but Ramayana (not Rama-ayana). Our
dot echoes the punctuating middle dot (•) found in the oldest surviv¬
ing samples of written Sanskrit, the Ashokan inscriptions of the third
century bce.
The deep layering of Sanskrit narrative has also dictated that we use
quotation marks only to announce the beginning and end of every direct
speech, and not at the beginning of every paragraph.
CSL PUNCTUATION OF SANSKRIT
The Sanskrit text is also punctuated, in accordance with the punc¬
tuation of the English translation. In mid-verse, the punctuation will
not alter the sandhi or the scansion. Proper names are capitalized, as are
the initial words of verses (or paragraphs in prose texts). Most Sanskrit
CSL CONVENTIONS
metres have four “feet” (pada): where possible we print the common
sloka metre on two lines. The capitalization of verse beginnings makes
it easy for the reader to recognize longer metres where it is necessary to
print the four metrical feet over four or eight lines. In the Sanskrit text,
we use French Guillemets (e.g. «kva samcicirsuh?») instead of English
quotation marks (e.g. “Where are you off to?”) to avoid confusion with
the apostrophes used for vowel elision in sandhi.
Sanskrit presents the learner with a challenge: sandhi (“euphonic com¬
bination”). Sandhi means that when two words are joined in connected
speech or writing (which in Sanskrit reflects speech), the last letter (or
even letters) of the first word often changes; compare the way we pro¬
nounce “the” in “the beginning” and “the end.”
In Sanskrit the first letter of the second word may also change; and if
both the last letter of the first word and the first letter of the second are
vowels, they may fuse. This has a parallel in English: a nasal consonant is
inserted between two vowels that would otherwise coalesce: “a pear” and
“an apple.” Sanskrit vowel fusion may produce ambiguity. The chart at
the back of each book gives the full sandhi system.
Fortunately it is not necessary to know these changes in order to start
reading Sanskrit. For that, what is important is to know the form of the
second word without sandhi (p vt-sandhi ), so that it can be recognized
or looked up in a dictionary. Therefore we are printing Sanskrit with a
system of punctuation that will indicate, unambiguously, the original
form of the second word, i.e., the form without sandhi. Such sandhi
mostly concerns the fusion of two vowels.
In Sanskrit, vowels may be short or long and are written differently
accordingly. We follow the general convention that a vowel with no
mark above it is short. Other books mark a long vowel either with a
bar called a macron ( a ) or with a circumflex (a). Our system uses the
macron, except that for initial vowels in sandhi we use a circumflex
to indicate that originally the vowel was short, or the shorter of two
possibilities (e rather than ai, o rather than au).
When we print initial a , before sandhi that vowel was a
i or e , i
u or o, u
ai, e
9
THE THREE SATIRES
au.
e,
o,
ai,
au,
a (i.e., the same)
i (i.e., the same)
u (i.e., the same)
i
u
ai
au
before sandhi there was a vowel a
FURTHER HELP WITH VOWEL SANDHI
When a final short vowel {a, i or u) has merged into a following
vowel, we print ’ at the end of the word, and when a final long vowel
(a, i or u) has merged into a following vowel we print ” at the end of
the word. The vast majority of these cases will concern a final a or a.
Examples:
What before sandhi was atra asti is represented as atr asti
atra aste
atr aste
kanya asti
kany ” asti
kanyd aste
kany” aste
atra iti
atr eti
kanyd iti
kany” eti
kanyd Ipsita
kany” epsita
Finally, three other points concerning the initial letter of the sec¬
ond word:
(1) A word that before sandhi begins with r (vowel), after sandhi
begins with r followed by a consonant: yatha” rtu represents pr z-sandhi
yatha rtu.
( 2 ) When before sandhi the previous word ends in t and the following
word begins with s', after sandhi the last letter of the previous word is c
and the following word begins with ch: syac chastravit represents pre-
sandhi sydt sastravit.
( 3 ) Where a word begins with h and the previous word ends with a
double consonant, this is our simplified spelling to show the pr z-sandhi
10
CSL CONVENTIONS
form: tad hasati is commonly written as tad dhasati, but we write tadd
hasati so that the original initial letter is obvious.
COMPOUNDS
We also punctuate the division of compounds (samasa), simply by
inserting a thin vertical line between words. There are words where
the decision whether to regard them as compounds is arbitrary. Our
principle has been to try to guide readers to the correct dictionary entries.
WORDPLAY
Classical Sanskrit literature can abound in puns (slesa). Such parono¬
masia, or wordplay, is raised to a high art; rarely is it a cliche. Multiple
meanings merge (slisyanti) into a single word or phrase. Most common
are pairs of meanings, but as many as ten separate meanings are attested.
To mark the parallel senses in the English, as well as the punning original
in the Sanskrit, we use a slanted font (different from italic) and a triple
colon (!) to separate the alternatives. E.g.
Yuktam Kadambarim srutva kavayo maunam asritah
Bana/dhvanav an|adhyayo bhavat’ iti smrtir yatah.
“It is right that poets should fall silent upon hearing the Kadamba-
ri, for the sacred law rules that recitation must be suspended when
the sound of an arrow: the poetry ofBana is heard.”
Someshvara-deva’s “Moonlight of Glory” 1 .15
II
THE THREE SATIRES
EXAMPLE
Where the Devanagari script reads:
eft i
g-iTF^ir fcrg-ffHTS'i-Rf f^T^RT^TWT^%^ll
Others would print:
kumbhasthall raksatu vo viklrnasindurarenur dviradananasya /
prasantaye vighnatamaschatanam nisthyutabalatapapallaveva //
We print:
Kumbha|sthall raksatu vo viklrna|sindura|renur dvirad’|ananasya
prasantaye vighna|tamas|chatanam nisthyuta|bar|atapa|pallav” eva.
And in English:
“May Ganesha’s domed forehead protect you! Streaked with vermilion
dust, it seems to be emitting the spreading rays of the rising sun to
pacify the teeming darkness of obstructions.”
Padma-gupta’s “Nava-sahasanka and the Serpent Princess” I.3
12
INTRODUCTION
INTRODUCTION
T he three satirists translated in this volume chose to
pursue three very different strategies in their composi¬
tions. We may surmise that they wrote to fulfil three equally
different aims, but these are not as clear-cut as might have
been expected.
All three were members of privileged and learned aris¬
tocracies linked to the royal court. While Bhallata suffered
a humiliating fall from his high rank of court-poet, Kshe-
mendra was an independently wealthy man of leisure, and
Nila-kantha endured a number of vicissitudes.
BHALLATA
Bhallata was a protege of King Avanti-varman of Kashmir
(reg. 855-883CE) a celebrated patron of eminent poets. 1 The
chronicler Kalhana reports that his successor, King Shan¬
kara-varman (reg. 883-902CE) discontinued this royal pa¬
tronage and that Bhallata and his poet peers were hence¬
forth forced to support themselves with lowly work. 2 While
Kalhana portrays the new king Shankara-varman as boorish
(he preferred to speak vernacular dialects instead of cul¬
tivated Sanskrit), a quite different picture of him can be
gleaned from the Agama/dambara, an historico-philosophi-
cal drama written by the logician Bhatta Jayanta, a contem¬
porary of Bhallata’s. There it is rather the learned elites who
are being ridiculed, and Shankara-varman is portrayed as
interested in statecraft rather than the fine arts.
“Bhallata’s Hundred Allegories” is a collection of “de¬
tached poems” (muktaka), each complete in itself, com¬
posed in sophisticated courtly Sanskrit in various metres.
“Detached poems” are usually classified as being “free of
15
THE THREE SATIRES
context” (a/nibaddha), so that there is no narrative linking
them. It is a common practise, however, to group verses that
are thematically related into units (sometimes called parya
or vrajyd).
“Bhallata’s Hundred Allegories” is the earliest known col¬
lection of detached poems devoted entirely to allegorical
satire (anyapadesa). The poet Bhallata is heir to a sophis¬
ticated verbal art, and both he and his intended audience
expect literature to be crafted with genius within the bounds
of formal rules. These verses of his allegories depend pri¬
marily on a few figures of speech (alankdras, as taught in
Sanskrit rhetorics) that relate two separate senses. The rela¬
tion of the two senses can be of various kinds: “fusion” (slesa
= paronomasia); the “intended sense” and the “unintended
sense” (prakrta-aprakrta in aprastuta/pmsamsd, lit. “presen¬
tation of a topic not under discussion”); “compounding”
(in samds’/okti lit. “compounded speech”) etc.
This second sense, that serves as a pretext, is usually quite
easy to interpret. Trees, which give shade and fruit to weary
travellers, represent charitable donors; gleaming jewels are
learned scholars ablaze with learning; hissing, venomous
serpents are miscreants whispering falsehoods, etc.
The general tone of the collection is one of resigned crit¬
icism, Bhallata laughs not so much at the folly of his con¬
temporaries as that he suffers from their mistakes. Bhallata
emphasises this pain by occasionally using tortuous syntax
for effect.
Bhallata’s verses are difficult, and they need to be read
slowly and carefully.
16
INTRODUCTION
KSHEMENDRA
The Kashmirian poet Kshemendra (fl. ca. 990/1010-1070
ce ), 3 was a prolific writer 4 whom recent scholars have var¬
iously charged with vulgarity and bad taste. 5
Many of Kshemendra’s compositions may offend mod¬
ern tastes, but a consequent vilification of his works’ literary
merit may be premature (he fares better if his work is judged
with the literary criteria prevalent in his time and milieu).
We need to take into account that no work of Kshe¬
mendra’s has ever been critically edited, that he had stud¬
ied literary theory with Abhinava-gupta, one of the greatest
Sanskrit rhetoricians, 6 and that his contemporaries credited
his works with poetic merit. One sure measure of Kshe¬
mendra’s popularity among traditional Sanskrit aesthetes is
the large number of his verses which are current in poetic
anthologies. 7 Even when the chronicler Kalhana censures a
lack of historical accuracy in Kshemendra’s now lost “List
of Kings ” he fairly acknowledges that it was “the work of a
poet.” 8 Kalhana has even flattered Kshemendra by rework¬
ing a number of his verses.
How, then are we to account for such discrepant recep¬
tions of his work?
Is it just the case that, as with so many other Sanskrit
poems, recent literary evaluations of Kshemendra’s satires
are based on current notions of what a literary work should
be? The short reply to such a reception, namely, that the
work was not written for the modern reader, will avail little,
for it is here presented to the modern reader. Nor would it be
fair to exhort readers to immerse themselves into the world
of the work, to understand the premises and prejudices of
17
THE THREE SATIRES
the author and his millieu. That, of course, is the job of the
editor and translator.
The reader must, however, be warned that one may not
blithely approach the works produced by one ancient clas¬
sical civilisation with readily preconceived norms derived
from another. 9 When Lapanich 10 laments that the so-
called “didactic” verses in the “ Grace of Guile” interrupt the
flow of the narrative, this tells us merely something about
what she believed poetic satire ought to be. To the trained
Sanskrit ear that Kshemendra was addressing, smoothly
flowing stories would have seemed fine in epic or Puranic
narrative, or as refreshing interludes. But Kshemendra was
no mere story-teller in the market-place. Like Bhallata, he
was a learned, aristocratic wordsmith who crafted complex
poems for connoisseurs (sahrdaya) who would scarcely be
interested in mere colorful tales. Even worse, Kshemen¬
dra’s audience would have perceived such as a monotonous
breach of poetic propriety (aucitya). As he himself observes:
An uncultivated man, who merely cobbles together verses
with difficidty, is a lousy poet, aware of only the lit¬
eral sense of words. Like some newly-arrived, over-awed
bumpkin in the depths of the big city, he has no idea
what to answer when questioned in an assembly of the
learned , n
The offending “didactic” verses, far from being a mere
interruption to the all-important narrative, are the focus
of Kshemendra’s poetic efforts. It is here that he shows his
talent. He lights up these verses with varied and entertaining
ornaments of speech (alahkdra), often involving learned
18
INTRODUCTION
puns (slesa) and satirical parallel meanings (samds’/okti) and
above all he is careful to do all of this with the restraint so
important to rhetoricians of his time.
Kshemendra wrote a satire very similar to the “Grace of
Guile” early on in his carreer: the Des’ / opadesa. This in
no way implies that it is an easier or even simpler work.
Quite the opposite, like many writers’ early work it is re¬
plete with learned puns and other rhetorical devices. In eight
“lessons” (upadesa) it ridicules wrong-doers, misers, pros¬
titutes, bawds, parasites, and assorted cheats. That work
consists of nothing but “didactic” verses. The “Grace of
Guile,” on the other hand, is arguably didactically superior
because Kshemendra has incorporated brief tales (drst’/dn-
ta) to exemplify and reinforce his moral judgements. The
result is the lighter and structurally more varied work of a
mature and evidently well-established poet at the height of
his powers.
Since it is not the narrative development alone that drove
Kshemendra’s creative art, we should not be too hasty to
judge his work by (for him) irrelevant standards. 12
What has Kshemendra himself said about his efforts?
Forestalling critics who may charge him with vulgarity,
Kshemendra prefaces one of his satires with a a disclaimer:
My labor is in no way meant for those who are tainted
even slightly by the symptoms of the disease which is the
conceit of sanctimoniousness.
Like many other satirists Kshemendra claims that his
intentions are entirely praiseworthy:
19
THE THREE SATIRES
Someone shamed by laughter will not persist in his wrongs.
To help him, I myself have made this effort d 4
But it remains questionable if this reflects merely a pater¬
nalistic concern with uplifting the lower orders of society. 15
Is his the voice of a Kashmirian moral majority, or a self-
appointed minority with moral pretenses? Do we see a
learned elite scorning the common people? Are they in¬
tended as a taxonomy of fallen characters? 16 Are there sec¬
tarian motivations? Who is the “public” for whose instruc¬
tion he claims to have written the “Grace of Guile”? 17 And
not least, how much of it is personal?
The scope for future scholarship is wide.
NILA-KANTHA
Nila-kantha Dikshita (fl. i6i3-?ce) was born into the
family of one the most important figures of sixteenth-cen¬
tury Sanskrit scholarship. As the grand-nephew of Appaya
Dikshita {fl. 1553-1625CE) he first studied philosophy (s'ds-
tra) and literature with his father and eventually became the
disciple of his grand-uncle.
Numerous hagiographical accounts agree at least that he
was active in the seventeenth century as minister at the court
ofTirumalai Nayaka of Maturai.
Although Nila-kantha provides ample information about
his ancestral lineage, he never himself mentions by name the
prince he served. 18
His “Mockery of the Kali Age” is a work in 102 anu-
stubh verses that provides a catalogue of fallen characters. It
was composed specifically for the amusement of the royal
20
INTRODUCTION
court. 19 As such, it was presumably intended as a warning
to his audience.
TEXTUAL CONSTITUTION
For “Bhallata’s Hundred Allegories” I have used the Kavyamala edi¬
tion, (gucchaka IV), Bombay 1899, and the polyglot critical edition by
Vedkumari Ghai & Rampratap, New Delhi 1985 .1 have also used the
anthologies citing Bhallata’s verses.
For the “Grace of Guile” I have prepared a new edition the bare
text without apparatus of which is published in this volume, using
the following manuscripts: P=Bhandarkar Oriental Research Institute
Poona, No. 65, 24 of 1873—74, ff. zi,Jaina Devanagari dated samvat 1931.
Q=Bhandarkar Oriental Research Institute Poona, No. 66, 373 of 1887-
91, ff. 22-34, sargas 5-10, Devanagari, undated. L=India Office Library
London, No. 114a, ff. 37, Devanagari, dated samvat yjz^. Three earlier
editions were also consulted: 1. Pandita Durgaprasada & KasInatha
Panduranga Parab (1886), 2. E.V.V. Raghavacarya & D.G. Padhye
(1961), 3. Lapanich (1973).
For the “Mockery of the Kali Age” I based my text of the edition of
P.-S.Filliozat, ifi 36, Pondichery 1967, collating it with the lithograph
edition by Keralavarma, Trivandrum 1886.
TRANSLATION
The translations offered do not pretend to be poetic. Such attempts
seem often doomed to failure, as had already been noted by Kumara-
jiva, the early translator of Sanskrit into Chinese(Translated from the
“Biography of Kumarajlva” in Hui-chiao’s Biographies of Eminent Monks
by Victor H. Mair & Tsu-Lin Mei (1991:382-3)):
Once Sanskrit is converted into Chinese, the subtle nuances are lost.
Though the general meaning gets across, there is no way to bridge the
gap in genre and style. It is like feeding another person with chewed -
over rice. Not only is the flavour lost, it will cause the other person to
vomit.
21
THE THREE SATIRES
Rather than risking such an outcome by attempting facile reductions
to contemporary fashions in English poetry, this translation strives to be
an aid so that readers may consult the original themselves and discover
whatever poetic beauty there is in the original.
NOTES
1 Rajatarangim 5.34.
2 Rajatarangim 5.204.
3 Only four of Ksemendra’s works are dated: [1.] the Samayama-
trka to the first day of the bright lunar fortnight of December—
January in the [Laukika] year [41] 25 = 1049/50 ce (epilogue
2ab : samvatsarepancavimsepausasukladivasare). [2.] Somendra
writes in his Introduction to Ksemendra s Avadanakalpalata
that it was completed during the Buddha’s birth-celebrations in
the bright fortnight of April-May of the [Laukika] year [41] 27
= 1052 ce ( Avadanakalpalata Introduction 16: samvatsare sapta-
vimse vaisakhasya sitodaye krteyam Kalpalatikd Jinajanmamaho-
tsave). [3.] The Aucityavicdracarca was completed in May—June
of the [Laukika] year[41] 34 = 1059 ce ( Aucityalamkaroddhara
b.o.r.1 ms no. 578/1887—91, colophon: nispannas cayam srima-
dAnantarajanaradhirajasamaye— samvatsare catustrimse jyesthe
sukle ’stame hani / Kavyaucityavicaro yam sisyavyutpattaye kr-
tah. [4.] The Dasavatdracarita to October—November of the
[Laukika] year [41] 41 = 1066 ce (epilogue 5abc: ekadhike ’bde
vihitas catvarimse sakartike rajye Kalasabhiibhartuh). Ksemen¬
dra further tells us that he wrote this work “while enjoying a
rest on the summit of the Tripuresvara mountain” (epilogue 3a:
tena snTripuresvarasailasikhare visrantisamtosina) , an ancient
site of great sanctity near Srinagara (see Stein (1900:192-3)).
Secondary literature frequently makes the false assertion that
the Brhatkathdmanjari is also dated. Sternbach (1979:1) places
it in 1039 CE > ^en (without explaining the discrepancy) in
1037 CE ( I 979 :I °)» where it had already been placed by Ma-
hajan (1956b) and Suryakanta (1954:6). This would put the
22
INTRODUCTION
verifiable beginning of Ksemendras literary career back by io
years, but it is based on no more than a misunderstanding of
Brhatkathamanjan 19.37. The verse states merely: kada cid eva
viprena sa dvadasyam upositah / prarthito Rdmayasasa sarasah
svacchacetasa. “At one time, he, full of love, who was fasting
on the twelfth [lunar day] was requested by the clear-minded
Brahmana RamayaSas.” Here dvadasyam cannot mean “in the
twelfth [Laukika] year,” e.g. 4112 = 1037 CE - The Brhatkathama -
njarl remains undated. We further know that his works were
composed in the reign of the Kashmirian kings Ananta (reg.
1028-63 ce) and Kalasa (reg. 1063-89 ce).
4 Sternbach (1979:2—5) lists forty-one works attributed to him,
of which twenty are no longer extant. Of these twenty, four
titles are however alternates (see Sternbach (1979:11 footnote
2)), and the Ddnaparijata is by a different author called Kse-
mendra Mahopadhyaya, hence we arrive at thirty-six works.
5 Sternbach (1974:81): “His work is often vulgar and it is not an
amusing comedy, but an acrid, cheap satire, often in bad taste.”
Sternbach (1974:77) does at least concede that: “Perhaps the
best of his satiric and didactic works is the Kaldvilasa. ”
6 Brhatkathamanjan 19.37.
7 See Sternbach (1979) for a list of 415 verses quoted in the
surviving classical anthologies.
8 Rdjatarangini 1.13: kavikarmani saty api.
9 The difficulty, of course, lies in discovering that something is
such a preconceived norm in the first place.
10 Lapanich (1979:9): ‘. . . the only defect found in the Kalavi-
lasa is that Kshemendra intersperses too many didactic verses
which interrupt the smooth flow of the didactic story.”
23
THE THREE SATIRES
11 Kavikanthabharana 5.1: na hi paricayahinah kevale kavya-
kaste kukavir abhinivistah spastasabdapravistah / vibudhasa-
dasi prstah klistadhlr vetti vaktum nava iva nagarantarga-
hvare ko ’py adhrstah. Elaborating on this verse, Ksheme-
ndra demands that a poet must be a cultivated scholar,
versed in: logic (tarka), grammar (vyakarana), dramaturgy
(Bharata), politics (Canakya), erotics (Vatsyayana), epic lit¬
erature (Bharata), the Rdmayana , the Moksopaya, (this is
the earliest dateable reference to this work), self-knowledge
(. dtmajnana ), metallurgy/chemistry ( dhatuvada ), gemology
{ratnapanksa) , medicine ( vaidyaka ), astronomy/astrology
( jyautisa ), archery {dhanurveda), elephant-lore {gajalaksa -
na ), equestrian science (turagalaksand) , physiognomy (pu-
rusalaksana) , gambling ( dyuta ), and sorcery {Indrajala) .
12 This will hardly be news to those familiar with a common type
of “criticism” often met in secondary literature on Sanskrit
poetry. As Warder & Kunjunni Raja (i986:xliv) remark in
their introduction to the Naisadh’/ananda: ‘Such persons are
incapable of grasping the significance of a classical play or of
enjoying dramatic poetry. It is shocking that they have con¬
demned this and many other plays, novels and poems without
troubling to read them, much worse that such empty arrogance
has been set up by others as “authority.”’
13 Desopadesa 3ab: ye dambhamayamayadosalesalipta na me tan
prati ko ’piyatnah. These words echo the famous disclaimer
of the playwright Bhava-bhuti’s Malatimadhava: ye nama ke
cid iha nah prathayanty avajnam/jananti[var: °u] te kim api
tan prati naisa yatnah.
14 Desopadesa 4: hasena lajjito ’tyantam na dosesu pravartate /
janas tadupakaraya mamayam svayam udyamah.
15 Unlike many more well-researched literatures, the study of San¬
skrit Kavya has not yet generated a substantial body of work
that could meaningfully contribute to its Rezeptionsgeschichte.
24
INTRODUCTION
16 As Baldissera (2000:153) notes: “It is a work that could well
compare with Theophrastus’ Characters .”
17 Kalavilasa 10.43: lokopadesavisayah.
18 P-.S. Filliozat (1967) has attempted to reconcile the conflict¬
ing hagiographical accounts with other data and provides a
fuller account.
19 “Mockery of the Kali Age” 102.
25
1
bhAllata’s
HUNDRED ALLEGORIES
' I 1 am bhavanim bhav’|amta|
klesajnasa|visaradam,
Saradam sarad’|ambhoda|
sita|simh’|asanam numah!
Yusmakam ambara|maneh prathame mayukhas
te mangalam vidadhat’ udaya|raga|bhajah
kurvanti ye divasa|janma|mah”|otsavesu
sindura|patala|mukhlr iva dik|purandhrlh.
Baddha yad/arpana/rasena vimarda/purvam
arthan katham jhatiti tan prakrtan na dadyuh?
caura iv’ atimrdavo mahatam kavlnam
arth ’/antarany api hathad vitarand sabdah.
Kaco manir manih kaco
yesam te ’nye hi dehinah.
santi te sudhiyo yesam
kacah kaco manir manih.
Nanv asraya|sthitir iyam tava, Kalaktita!
ken’ 6ttar’|ottara|visista|pad” opadista?
prag arnavasya hrdaye Vrsa|laksmano tha
kanthe ’dhuna vasasi vaci punah khalanam.
28
L et us praise Shiva’s consort Bhavani,
skilled at dispelling
the pain of mundane existence,
who as Eloquence,* sits on a lion-throne
as white as autumn clouds!
May the first rays of the sky-jewel,
rising red, bestow their blessing upon you.
They seem to redden* with red minium
the faces of the horizon-goddesses,
in celebration for the birth of the day.
The words of great poets,
chosen with deliberation : imprisoned
to convey a sentiment : yield,
why do they not give up
the intended meaning : stolen goods at once?
They surrender : admit to
deeper meanings : other thefts
only after a struggle : torture,
as if they were gentle : stealthy thieves.
A jewel is glass and glass is a jewel
for dumb beasts.*
For the wise
glass is glass and a jewel is a jewel.
Tell me, Venom! Who instigated
this elevation of yours to ever loftier eminence?
First in the heart of the ocean,
then in the throat of bull-bannered Shiva
now you reside in the words of the wicked.*
29
THE THREE SATIRES
Dravinam apadi, bhusanam utsave,
saranam atma|bhaye, nisi dipakah,
bahu|vidh’|ahhyTrpaMra|bhara|ksamo
bhavati ko ’pi bhavan iva sanjmanih?
Srir visrnkhala|khal’|abhisarika
vartmabhir ghana|tamo|malimasaih
sabda/matram api sodhum aksama
bhusanasya guninah samutthitam.
Mane n’ ecchati, varayaty upasame
ksmam alikhantyam hriyam
svatantrye parivrtya tisthati, karau
vyadhtiya dhairyam gate—
trsne tvam anubadhnata phalam iyat|
praptam janen’ amuna:
yah sprsto na pada sa eva caranau
sprastum na sammanyate.
30
BHALLATAS HUNDRED ALLEGORIES
A resource in an emergency, an adornment in festivity,
a refuge in danger, a light in darkness,
helpful : pretty in so many ways,*
can there be another true jewel like you?
The Goddess of Fortune
—a woman shamelessly eloping to her unworthy beau
by paths black with impenetrable darkness—
will not permit even the faintest tinkling
of her stringed girdle.
: will not heed even a single word
spoken by the virtuous.
O greed! By casting in my lot with you,
when honor would not permit it,
when restraint forbade it,
when shame scratched lines on the ground,
when free will recoiled, when fortitude left me
as my hands trembled,—
This has been my reward:
He whom I would not touch with my foot
permits me not to touch his feet.
3i
THE THREE SATIRES
Patatu variniyatu dig/antaram
visatu vahnim adho vrajatu ksitim
ravir asav iyat” asya gunesu ka
saka\a^oka\camatlkrtisu ksatih?
io Sadjvrttayah sad|asad|artha|vivekino ye
te pasya kldrsam amum samudaharanti
caur’jasad|prabhrtayo bruvate yad asya
tad grhyate yadi krtam tad ahas|karena.
Patah ptisno bhavati mahate n’ opatapaya, yasmat
kale prapte ka iha na yayur yanti yasyanti v” astam?
etavat tu vyathayatitaram loka/bahyais tamobhis
tasminn eva prakrti|mahati vyomni labdho ’vakasah.
Panktau visantu, ganitah pratilomajvrttya
purve bhaveyur iyat” apy athava traperan?
santo ’py asanta iva cet pratibhanti bhanor
bhas” avrte nabhasi slta|mayukha|mukhyah.
32
BHALLATAS HUNDRED ALLEGORIES
The sun may sink into the ocean : fall into a puddle,
may cross the horizon : run about naked,
may be resorbed into fire* : tumble into a fire,
may descend to the underworld : wallow in the mud.
Does this in any way diminish his merits : peculiarities
which delight : amuse the whole world?*
Consider how respectable people, io
who know truth from falsehood, speak of someone.
If you believe what thieves, prostitutes, and others say,
the day-maker sun has had it.
The sinking of the sun brings no great grief,
for in this world who has not, does not,
or will not depart when their time has come?
Just this is distressing—
darkness : the outcaste,
alien to light : black-skinned,
seizes its : his chance in the selfsame inherently vast sky.
The cold-rayed moon and his companions
may keep noble company : enter in single file,
reckoned back to front they may be considered leaders.
Despite all this—are they ashamed?
Though they exist it seems as if they do not
when the sky is flooded with the light of the sun.
33
THE THREE SATIRES
«Gate tasmin bhanau
tri|bhuvana|samunmesa|viraha|
vyatham candro nesyaty*
anucitam ato nasty asadrsam.
idam cetas|tapam
janayatitaram atra yad am!
pradlpah samjatas
timira|hati|baddh’j6ddhata|sikhah.
Suryad anyatra yac candre
’py arth’jasamsparsi tat krtam
kha|dyota iti kltasya
nama tustena kena cit.
15 Kltajmane! dinam adhuna
tarani|kar’]antarita|caru|sita|kiranam
ghana|santamasa|mallmasa|
dasa|disi nisi yad virajasi, tad anyat.
5 arrE’|antah|sphuritaya va krta|gun’|a-
dhyaropa|tucchaya va
tasmai katara|mohanaya mahaso
lesaya ma svasti bhut
yac chaya|cchuran’]arunena khacata
khadyota|namn” amuna
klten’ ahitaya hi jarigama|mani|
bhrantya vidambyamahe.
34
BHALLATAS HUNDRED ALLEGORIES
No thought could be more unworthy or incongruous than:
“Once the sun has set the moon will dispell all panic
as the triple world is lost to view.”
It stings the heart even more,
that these lamps should have popped up here,
their sputtering wicks raised to put an end to darkness.
The designation “Sky-illuminator,”
which is a misnomer for anything except the sun,
including even the moon—
Some beguiled man has used it for a firefly.
Firefly! It is day now, 15
the rays of the gentle, pale-beamed moon
are drowned by the rays of the sun.
It is beside the point,
that you gleam in the night
when the ten directions are pitch black
with impenetrable darkness.
We have been fooled by a bug called “glow-worm,”
shining as it sheds a reddish gleam,
to think it is a living jewel.
Cursed be that faint light,*
which flickers in the organism : the imagination,
which is trifling as its virtues are another’s,
which bedazzles the timid.
35
THE THREE SATIRES
Dant’|anta|kunta|mukhajsantata|pata|ghataj
samtadit’|6nnata|girir gaja eva vetti
pancasya|pani|pavi|panjara|pata|pldam
na krostukah sva|sisu|hunkrti|nasta|cestah.
Atyunnati|vyasaninah siraso dhun” aisa
svasy’ aiva catakajSisuh pranayam vidhattam
asy’ aitad icchati yadi pratatasu diksu
tah svacchajsltajmadhurah kva nu nama n’ apah.
So ’purvah rasana|viparyaya|vidhis
tat karnayos capalam
drstih sa mada|vismrta|sva|para|dik
kim bhtiyas” oktena va
ittham niscitavan asi bhramara he
yad varano dy’ apy asav
antahlsunya/karo nisevyata iti
bhratah ka esa grahah?
36
BHALLATAS HUNDRED ALLEGORIES
Only an elephant,
who batters towering cliffs
with relentless assaults of his spear-pointed tusks,
knows the pain of being struck
by a net of thunderbolts which are a lion’s paw-swipes—
Not a jackal,
whose spirit perishes at the yapping of a puppy.*
May now this young chdtaka bird persuade its own head,
which is obsessed with lofty ascent.
If it were so inclined,
where among the many other directions
would it not find clear, cool, sweet waters?*
This unfamiliar way of turning back the tongue,
this levity of the ears,
this delirious glance which has forgotten
the bounds of “mine” and “other’s”:
Why say more—Oh bee! you know all this!
My brother, what is this madness?
That even now you dance attendance on
this elephant : dolt
with his hollow trunk : empty hand.
37
THE THREE SATIRES
20 Tad vaidagdhyam samucita|payas|
toyajtattvam vivektum
samlapas te sa ca mrdu/padal
nyasa/hrdyo vilasah—
astam tavad, baka! yadi tatha
vetsi kim cic chlath’|amsas
tusnlm ev’ asitum api sakhe
tvam katham me na hamsah?
Pathi nipatitam sunye drstva
niravaran’ |ananam
nava|dadhi|ghatlm garv’|onnaddhah
samuddhura|kandharah
nija|samucitas tas tas cesta
vikara|sat’|akulo
yadi na kurute kakah kanah
kada nu karisyati?
Nrtyantah sikhino manoharam ami
sravyam pathantah suka
vlksyante na ta eva khalv iha rusa
varyanta ev’ athava
pantha|stri|grham ista|labha|kathanal
labdh’|anvayen’ amuna
sampraty etad anargalam bali|bhuja
mayavina bhujyate.
38
BHALLATAS HUNDRED ALLEGORIES
The skill of separating milk from water,
those pleasant tones : conversations,
that grace of soft footsteps : gentle words!
Never mind about all of that, heron!
If only you knew how to relax your shoulders a bit
and sit still, my friend,
then why should you not be a swan to me?
Spying an uncovered pot of fresh curd
fallen by the deserted road—
If the one-eyed* crow,
puffing himself up with pride,
stretching out his neck,
reeling with a hundred urges,
will not follow his instincts,
then when will he do so?
No longer can we see those gracefully dancing peacocks,
and those parrots reciting so sweetly;
to the contrary, they are angrily chased away.
Now this conjuror crow
gaining a foothold by a favorable prognostication,
freely enjoys the house of the absent traveller’s wife.
THE THREE SATIRES
Karabha! rabhasat
krostum vanchasy aho sravana|jvarah!
saranam athav” an|
rjvl dlrgha tav’ aiva siro|dhara
prthu|gala|bil’|a-
vrtti|srant” occarisyati vak cirad
iyati samaye
ko janlte bhavisyati kasya kim?
Antaschidrani bhuyamsi
kantaka bahavo bahih
katham kamala|nalasya
ma bhuvan bhangura gunah?
25 Kim dlrgha|dlrghesu gunesu padma
sitesv avacchadana|karanam te?
asty eva tan pasyati ced anarya
trast” eva Laksmlr na padam vidhatte.
Na pankad udbhutir
na jala/saha/vasalvyasanita
vapur digdham kantya
sthala|nalina ratna|dyuti|musa
vyadhasyad durvedha
hrdaya/laghimanam yadi na te
tvam ev’ aiko Laksmyah
paramam abhavisyah padam iha.
40
BHALLATAS HUNDRED ALLEGORIES
Camel! You’re about to bray aloud:
Ah, what an ear-fever!
Fortunately, your neck is long and crooked,
so your shriek,
spent by winding its way
through your long throat
will bellow forth after a long delay.
Who knows what might befall whom by then?
Many holes inside : failings within,
many thorns outside : foes without —
How could the hlaments : virtues
of the lotus-stalk*
not be fragile : a sham?
Why, O lotus, do you conceal
your long white hlaments : pure virtues ?
Its just this. If ignoble Lakshmi saw them
she might be fearful to tread here.*
O hibiscus,
your body is tinged with a lustre
surpassing the radiance of jewels.
You are not born from a mire,
you do not grow in water : befriend fools.
Had not the wretched creator fashioned you
with a flimsy core : ignoble heart:
You and only you
would be the abode of Lakshmi in this world.
THE THREE SATIRES
Uccair uccaratu dram
drl vartmani tarum samaruhya;
dig|vyapini sabda|gune
sankhah sambhavana|bhumih.
Sankho ’sthi|sesah sphutito mrto va
procchvasyate ’ny’|6cchvasitena satyam.
kim t’ uccaraty eva na so ’sya sabdah
sravyo na yo yo na sad|artha|samsl.
Yatha|pallava|puspas te
yathajpuspajphala’lrddhayah
yathajphala’|rddhi|svaroha
ha matah! kv’ agaman drumah?
30 Sadhv eva tad vidhav asya
vedha klisto na yad vrtha.
svarup’|ananurupena
candanasya phalena kim?
Grathita esa mithah|krtaisrrikhalair
visa|dharair adhiruhya maha\jadah
malayajah sumanobhir an|asrito
yad ata eva phalena viyujyate.
42
BHALLATAS HUNDRED ALLEGORIES
The cricket may chirp aloud
perched on a tree on the roadside;
But it is the conch-horn
that is the basis for the notion
that sound pervades all space.
A conch is a skeletal remnant, cracked or dead.
In truth, it blares forth with another’s breath.
Yet it emits no sound
that is not attractive
nor that does not praise something worthy.
Alas mother! Where have gone those trees—
whose flowers befitted their shoots,
whose abundance of fruit befitted their flowers
whose elevation befitted the wealth of their fruits?
It is good that the creator did not weary himself in vain
as he fashioned the sandalwood tree.
What use would have been an inadequate fruit?
Since this sandalwood tree
is exceedingly cool : ignorant,
is pinioned with intertwining venomous serpents,*
is not attended by flowers : the wise,
therefore he bears no fruit.
30
43
THE THREE SATIRES
Candane visa|dharan sahamahe
vastu sundaram aguptimat kutah?
raksitum vada kim atma|sausthavam
sancitah khadira kantakas tvaya?
Yat kin can’ anucitam apy ucit’|anubandhi:
kim candanasya na krtam kusumam phalam va?
lajjamahe bhrsam upakrama eva yatum
tasy’ antikam parigrhita|brhat|kutharah.
Labdham cirad amrtavat kim amrtyave syad?
dlrgham rasayanavad ayur uta pradadyat?
etat phalam yad ayam adhvaga|sapa|dagdhah
stabdhah khalah phalati varsa|satena talah.
35 Chinnas tapta|suhrt sa candana|tarur
yuyam palayy’ agata.
bhog 7a/)/3Ras'a|sukhasikah pratidinam
ta vismrtas tatra vah?
damstra|kotijvis’|6lkaya pratikrtam
tasya prahartur na cet
kim ten’ aiva saha svayam na lavaso
yatah stha bho bhoginah?
44
BHALLATAS HUNDRED ALLEGORIES
We put up with poisonous serpents on sandalwood trees,
how could anything beautiful be unprotected?
Is it to protect your comeliness, tell us,
O khddira tree,* that you bristle so with thorns?
No matter what the impropriety, it can have a positive result:
Why was the sandalwood tree
not given any flowers or fruit at all?
We feel abject shame even to approach it
wielding broad axes.
The fruit that this coarse villain of a palm tree,
burnt by the curses of passing wayfarers,
yields once in a hundred years—
Attained at long last,
does it bestow immortality like ambrosia?
Or does it rejuvenize like an elixir?
Lo serpents! 35
The sandal tree,
a friend to the scorched,
that you went to for shelter has been cut down.
Have you forgotten the comfort
as you coiled : enjoyed luxuries there
day by day?
If you will not repay its destroyer
with the flaming poison in your fangs
Why did you not seek ruin along with it?
45
THE THREE SATIRES
Samtosah kim? asaktata kim? athava
tasminn asambhavana?
lobho v” ayam? ut’ anavasthitir iyam?
pradvesa ev’ athava?
astam khalv anurupaya sa|phalaya
puspa|sriya durvidhe!
sambandho ’njanurupay” api na krtah
kim candanasya tvaya?
Kim jato ’si catus|pathe? ghanatara|
chayo si kim? chayaya
samnaddhah phalito ’si kim? phala|bharaih
purno ’si kim samnatah?
he sad|vrksa! sahasva samprati sakhe
sakha|sikh”|akarsanaj
ksobh’ jamotanajbhanj anani j anatah
svair eva duscesdtaih.
Sanlmulah pia.thit’\dnnatirghana/Iasac/
chayah sthitah sat/pathe
sevyah sadbhir it’ ldam akalayata
talo ’dhvagen’ asritah
pumsah saktir iyaty asau, sa tu phaled
ady’ athava svo ’thava
kale kv’ apy athava kada|cid athava
n’ ety atra Vedhah prabhuh
46
BHALLATAS HUNDRED ALLEGORIES
Was it contentedness? Was it inability?
Or was disregard for it?
Or was it greed? Or was it fickleness?
Or even hostility?
Wretched creator! Let’s not even talk about
a suitable load of fruit and splendor of flowers!
Why did you not endow the sandalwood tree
even with unsuitable ones?
Ah, good tree! Why were you born at a crossroad?
Why did you have to be rich in shade?
Being rich in shade, why did you bear fruit?
Being laden with burdens fruit,
why did you have to bow down?
Suffer now, for your own misdeeds, my friend,
as people drag, shake,
bend, and break the tips of your branches.
Considering that: its wot : his family' is good,
its height : his nobility is well-known,
its shade is abundant : his beauty is intense,
it stands on a good wad : he follows right conduct,
it is frequented by : he associates with the good;
the wayfarer sought the shelter of the palm tree.
This much is in the power of men—
but whether it will bear fruit today, tomorrow,
or at some future time, or never at all, is in God’s power.
47
THE THREE SATIRES
Tvan|mule purus’|ayusam gatam idam
dehena samsusyata
ksodiyamsam api ksanam param atah
saktih kutah pranitum?
tat svasty astu! vivrdddhim ehi mahatim!
ady’| api ka nas tvara?
kalyanin! phalit” asi tala|vitapin!
putresu pautresu va.
40 «Pasyamah kim ayam prapatsyata iti»
svalp’|abhrajsiddha|kriyair
darpad duram upeksitena balavatj
karm ’/eritair mantribhih.
labdh’|atma|prasarena raksitum ath’ a-
sakyena muktv” asanim
sphltas tadrg aho ghanena ripuna
dagdho giri|gramakah.
Sadh’ utpata|ghan’|augha sadhu! sudhiya
dhyeyam: «dharayam idam
ko ’nyah kartum alam?» tav’ aiva ghatate
karm’ edrsam duskaram.
sarvasy’ aupayikani yani kati|cit
ksetrani tatr’ asanih
sarv’|anaupayikesu dagdha|sikat’|a-
ranyesv apam vrstayah.
48
BHALLATAS HUNDRED ALLEGORIES
I have spent my life-span at your foot
withering my body.
How could I go on living
for even the shortest moment beyond this?
So fare thee well!
May you prosper richly!
How could I be in a hurry today?
My benefactor!
may you bear fruit
for my sons
or grandsons.
Thinking: “Let’s see if it dares draw near,”
the haughty mantra sorcerers : ministers
masters of but little cloud magic,
preoccupied with powerful rites : busy with weighty
matters of state, completely ignored
the invincible hostile cloud : massed enemy army
which seized its chance,
released its thunderbolt : missiles and alas!
burnt the thriving mountain village.
Bravo, cloud of doom, bravo! The wise must wonder:
“Who else on earth is capable of this?”
You alone can accomplish this difficult task.
You hurl your thunderbolt on whatever fields
are beneficial to all
and shower rain in scorched deserts
of no use to anybody.
4 °
49
THE THREE SATIRES
Labdhayam trsi go|mrgasya vihagasy’
anyasya va kasya cid
vrstya syad bhavadlyay” opakrtir ity
astam daviyasy adah!
asy’ atyantam abhajanasya jalad’ a-
rany’|osarasy’ api kim?
jata pasya! punah pur” eva parusa
s” aiv’ asya dagdha chavih.
Samcintya pan’|acaman’| 6 citani
toy’|antarany asya sisevisos tvam
nijair na jihresi jalair janasya
jaghanya|kary’|aupayikaih payodhe!
A|stri|sisu|prathita esa pipasitebhyah
samraksyate ’mbudhir apeyatay” aiva durat.
damstra|karala|makar’|ali|karalitabhih
kim bhayayaty aparam urmi|paramparabhih?
45 Sva|mahatmya|slagha|
guru|gahana|garjabhir abhitah
krusitva klisnasi
sruti|kuharam abdhe kim iti nah?
ih’ aikas cudalo
hy ajani kalasad yasya sakalaih
pipasor ambhobhis
culukam api no bhartum asakah.
50
BHALLATAS HUNDRED ALLEGORIES
When the gayal, or the bird, or any other was thirsty,
your rain gave succor.
Let’s completely forget about that for now!
O cloud! What use is it to this utterly worthless
saline wasteland?
Look! Its scorched surface
has become as hostile as it was before.
Hey ocean! Are you not ashamed of your water
used for unclean acts
in front of someone who resorts to you
after doubting
other waters’ fitness for drinking and sipping?
It is known even to women and children
that the ocean is shunned as undrinkable by the thirsty.
Why does it menace others
with buffeting waves
terrifying with ranks of mdkams
with gaping fanged mouths?
O ocean! Why do you assail our ears,
sounding the praises of your own greatness
with a deafening deep roar in all directions?
For, a certain sage was born in this world from a pot.*
When thirsty,
you were unable to fill his cupped hands
with all of your waters.
THE THREE SATIRES
Sarvasam tri|jagaty apam iyam asav
adharata tavakl
prollaso ’jam ath’ ambudhe! ’mbu/nicaye
s” eyam maha/sattvata
sevitva bahu| Madga/bhlsana|tanum
tvam eva vel”|acala|
grava|srotasi pana|tapa|kalaho
yat kv’ api nirvapyate.
N’ ddvegam yadi yasi yady avahitah
karnam dadasi ksanam
tvam prcchami yad ambudhe kim api tan
niscitya dehy uttaram:
nairasy’|atisay’|atimatra|nibhrtair
nihsvasya yad drsyase
trsyadbhih pathikaih kiyat tad adhikam
syad aurvadahad atah?
Bhidyate ’nupravisy’ antar yo yatha|rucy upadhina,
visuddhih kldrsi tasya jadasya sphatik’|asmanah?
52
BHALLATAS HUNDRED ALLEGORIES
It is because
you are the foundation of all the water in the triple world.
You swell with the tide : gladden with your store of water,
O Ocean!
You harbor many creatures : are magnanimous.
Approaching you,
your body terrifying
with many waves : threatening gestures
we endure the abuse caused by a burning drink
to be assuaged somewhere
in a rivulet in the mountains at the ends of the earth.
If you won’t swell up : lose your temper,
and lend me an attentive ear for a moment
let me ask you something, O ocean.
Reflect on it and give me an answer:
How much worse than the submarine fire
is it that you are gazed upon
by thirsty wayfarers
utterly stunned by total despair?
What sort of purity
does the dull crystal possess?
It changes according to the hue
of the thing that is seen through it.*
53
THE THREE SATIRES
Cintajmane! «bhuvi na kena cid isvarena
murdhna dhrto ’ham iti» mi sma sakhe visldah
n’ asty eva hi tvad|adhiropana|punya|bija|
saubhagya|yogyam iha kasya cid uttam’|angam.
50 Samvittir asty, atha gunah pratibhanti loke,
tad dhi prasastam iha kasya kim ucyatam va?
nanv evam eva sumane! Juta yavad|ayus.
tvam me jagat|prasahan’|aika|katha|sariram.
Cinta|manes trna|manes ca krtam vidhatra
ken’ obhayor api manitvam adah samanam?
n’ aiko ’rthitani dadad arthi|janaya khinno
grhnan jarat|trna|lavam tu na lajjate ’nyah
54
BHALLATAS HUNDRED ALLEGORIES
O wishgranting gem! “No king on earth
bears me on his head.”
My friend, do not despair at this thought.
For in this world,
nobody’s head is worthy of the blessing
won by the seed of meritorious deeds
justifying your investiture.
5 °
There must be recognition
before people can appreciate virtues.
So,
is anything of anybody ever praised in this world?
Pray tell!
O good jewel! This being so,
please shine : endure for as long as you are alive.
You are for me the sole embodiment
of the rumor that the world can be endured.
What kind of creator made the common jewelness
of the wishgranting jewel and the electric tourmaline?*
The one never tires in fulfilling the wishes of the suppliant;
the other is not ashamed to accept a bit of old straw.
55
THE THREE SATIRES
Dure kasya cid esa, ko ’py akrta|dhir
n’ aiv’ asya vetty antaram,
man! ko pi na yacate, mrgayate
ko ’py alpam alp’|asayah,
ittham prarthita|dana|durvyasanino
n’ audarya|rekh”|ojjvala
jar” anaipuna|dustaresu nikasa|
sthanesu cinta|maneh.
Par’|arthe yah pidam anubhavati bhange ’pi madhuro
yadlyah sarvesam iha khalu vikaro ’py abhimatah.
na samprapto vrddhim sa yadi bhrsam aksetra|patitah,
kim iksor doso ’sau na punar a|gunaya maru|bhuvah?
Amrah kim phala|bhara|namra|siraso?
ramya kim usma|cchidah
sa|cchayah kadall|drumah surabhayah?
kim puspitas campakah?
etas ta niravagrah’|ogra|karabh’| 6 -
llidh’|ardha|rudhah punah
samyo. bhramyasi mudha! nirmaruti kim
mithy” aiva martum marau?
56
BHALLATAS HUNDRED ALLEGORIES
It is remote for one,
another cannot perceive its essence,
an arrogant man does not entreat it,
the shallow minded man asks for trifles.
Consequently,
the glint of the wishgranting jewel’s generosity,
it being addicted to giving what is asked for,
has not appeared in places of trial
inaccessible without skill.
It endures pressing : torment for the benefit of others,
and remains sweet : kind even when broken,
its reRnedproduce : good work is without fail welcomed
by everyone in this world.
If it fails to prosper,
falling woefully astray on fallow ground:
Is this the fault of the sugar-cane
and not of the worthless wasteland?
Are there mango trees,
bowing their heads with burdens of fruits?
Are there fragrant, shady plantains
to dispel the heat?
Are there blossoming chdmpaka trees?
Here there are shami hardwoods,
straggly for being chewed by fierce wild camels.
Fool! Why, in vain,
are you straying to your death in this windless desert?
57
THE THREE SATIRES
55 Ajanmanah kusalam anv api re kujanman
pamso! tvaya yadi krtam vada tat tvam eva!
utthapito sy anala|sarathina yad|artham
dustena tat kuru, kalankaya visvam etat.
Nihsarah sutaram laghu|prakrtayo
yogya na karye kva cic
chusyanto ’dya jarat|trn’|ady|avayavah
praptah svatantrena ye
at 3 raA/s-ara|paran|mukhena dhig aho!
te maruten’ amuna
pasy’ atyanta|calena sadma mahatam
akasam aropita.
Ye jatya laghavah, sad” aiva gananam
yata na ye kutra cit,
padbhyam eva vimarditah pratidinam,
bhumau nillnas ciram,
utksiptas capal’|asayena maruta,
pasy’ antarikse ’dhuna
tunganam upari|sthitim ksiti|bhrtam
kurvanty ami pamsavah.
58
BHALLATAS HUNDRED ALLEGORIES
Fie upon you, lowborn dust! Have you ever accomplished 55
any good since your birth? Tell me!
Bring to pass that for which this evil wind,
the charioteer of fire,
has raised you up:
Befoul the world.
Altogether hollow, inherently flimsy,
useless for any task—
Woe, alas! Look! Today the wilful, volatile wind
turning away from the mountains : men of worth
has raised up
such bits of dry, withered straw as were at hand
into the sky, the abode of the great.
Inherently low,
never taken into any kind of account,
ground underfoot every day,
clinging to the ground for a long time—
Behold! Now, blown up by the unsteady wind,
these motes of dust soar in the sky,
above the towering, earth-supporting mountains.
59
THE THREE SATIRES
Re dandasuka! yad ayogyam ap’ Isvaras tvam
vatsalyato nayati nupura/dhama satyam;
avarjit’|ali|kula|jham|krti|murcchitani
kim sinjitani bhavatah ksamam eva kartum?
Maulau san|manayo grham giri|guha
tyagitvam atma|tvaco
niryatn’| 6 panatais ca vrttir anilair
ekatra cary” edrsi.
anyatr’ an|rju vartma vag dvi|rasana
drstau visam drsyate
ya dik tam anu dlpako jvalati. bho
bhogin, sakhe! kim nv idam?
6 o Kallola|vellita|drsat|parusa|praharai
ratnany amuni makar’|alaya! m” avamamsthah;
kim kaustubhena vihito bhavato na nama
yacna|prasarita|karah Purusottamo ’pi?
60
BHALLATAS HUNDRED ALLEGORIES
Fie upon you, serpent!
It is true that, though you are unworthy,
Shiva : the king, forsooth,
affectionately
adorns with you his ankles : led you to his feet.
Do you have the skill to susurrate,
outrivalling the rapturous humming of swarms of bees?
Friend snake! Why all this?
You wear excellent gems on your crest,
live in a mountain cave,
and relinquish your own skin.
You live off air, available without effort.
On the one hand, you behave like this.
On the other hand,
your path is crooked,
your tongue is forked,
your glance is poison,
a light gleams in whatever direction you glare.
O Ocean! Do not mistreat these jewels
with sharp blows of boulders rolling in the waves.
Did not the kdustubha jewel
bring even Vishnu to you
his hand held out to beg?
THE THREE SATIRES
Bhuyamsy asya mukhani nama vidit” ai-
v’ aste maha|pranata
Kadrvah sat|prasavo ’yam atra kupite
cintyam yath” edam jagat
trailoky’|adbhutam ldrsam tu caritam
Sesasya yen’ api sa
pronmrjy’ eva nivartita visa|dhara|
jnateya|durvrttita.
Varse samasta ev’ aikah
slaghyah ko ’py esa vasarah
janair mahattaya nlto
yo na purvair na c’ aparah.
Abaddha|krtrima|sata|jatil’|amsa|bhittir
aropito mrga|pateh padavim yadi sva
matt’|ebha|kumbha|tata|patana|lampatasya
nadam karisyati katham harin’|adhipasya?
62
BHALLATAS HUNDRED ALLEGORIES
The world-serpent Shesha’s heads are numerous,
his great power is renowned,
he is noble progeny of Kadru.
When he is angry the world is in peril.
Such are his exploits, the marvel of the triple world,
that his offense of belonging to snake-kind
seems wiped away.
Glorious is that wonderful day,
even if it be just one in the whole year,
spent in greatness, not enjoyed
by those who have gone before
nor by those who will come.
If a dog, festooned with a fake mane on his shoulders,
is put in place of a lion, king of beasts,
how can he roar like the lord of animals,
impatient to rend asunder the frontal lobes
of a rutting tusker?
63
THE THREE SATIRES
Kim idam ucitam suddhehii slistam svalpaksa/samunnateh 7 .
phala|parinater yuktam? praptam gxmalpranayasya va?
ksanam upagatah karn’|opantam parasya, purah sthitan
visikha! nipatan kruram duran nrsamsa nihamsi yat
65 Ami ye drsyante nanu subhaga|rupah, sajphalata
bhavaty esam yasya ksanam upagatanam visayatam
niraloke loke katham idam aho! caksur adhuna
samam jatam sarvair? na samam athav” anyair avayavaih?
Ahutesu vihaiigamesu masako
n’ ayan puro varyate
madhye|varidhi va vasams trnajmanir
dhatte manlnam rucam
kha|dyoto ’pi na kampate pracalitum
madhye ’pi tejasvinam
dhik samanyam acetanam prabhum iv’ a-
n|amrsta|tattv’|antaram.
64
BHALLATAS HUNDRED ALLEGORIES
Does it befit your accuracy : purity ?
Is it related to the position of your Retching : promotion
of your people?
Does it the behove of your preparation : past karma,
or does it befit your attachment to the bow-string : virtue?
O arrow : shaveling! That,
for an instant you reach the ear of the chief,
fly forth and cruelly strike down from afar
those who stand before you, o ruthless one.
These attractive forms that are seen 6 5
surely, they become fruitful
when they fleetingly become the objects of the eye.
Now, when the world is lightless,
alas! How is it that this eye has
just become the same as all the other organs?
Or rather they are not the same.*
When birds are summoned,
a mosquito who appears is not warded off.
A tourmaline* placed in the depths of the ocean
takes on the lustre of jewels.
A glow-worm fears not to move among the luminaries.
Curses upon similarity,
inconsiderate of actual differences.
6 5
THE THREE SATIRES
Hema|kara! sudhiye namo ’stu te!
dustaresu bahusah parlksitum
kancan’jabharanam asmana samam
yat tvay” aivam adhiropyate tulam.
Vrtta eva sa ghato ’ndha|kupa yas
tvat|prasadam api netum aksamah
mudritam tv adhama|cestitam tvaya
tan|mukh’|ambu|kanikah pradcchata.
Trna|maner manujasya ca tattvatah
kim ubhayor vipul’|asayat” ocyate
tanu|trn’|agra|lav’|avayavair yayor
avasite grahana|pratipadane.
70 Sata|padl sati pada|sate ksama
yadi na gos|padam apy ativartitum
kim iyata dvi|padasya Hanumato
jala|nidhi|kramane vivadamahe?
Na guru/vamsa/parigraha\saundata
na ca maha/guna/samgrahan\ada.rah
phala/vidhana/kath ” api na margane
kim iha lubdhaka/bala\^r)\e ’dhuna?
66
BHALLATAS HUNDRED ALLEGORIES
Goldsmith! Wise man, hail to you!
For to ascertain repeatedly what is undetermined
you place on your scales
ornaments of gold and weighing stones as equals.
O blind well! The pot has returned
unable to win your favor.
But you have sealed your low deed
by taking the droplets of water from its mouth.
In truth, what can one say about the liberality
of both the tourmaline and of man?
Their giving and taking extends only to
fragmentary bits of fine straw-tips.
If a centipede, equipped with a hundred feet,
is unable to cross a small puddle,
should we, on account of this,
dispute two-legged Hanuman’s leap across the ocean?
In the house of the young hunter : avaricious simpleton
there is
no devotion to selecting long bamboo : in discerning
noble lineages,
no zeal in twining cords : accumulating exalted virtues
no sign ofGxing the tips on arrows : hint of rewarding
the needy,
why linger here?
70
67
THE THREE SATIRES
Tanu|trn’|agra|dhrtena hrtas dram
ka iva tena na mauktika|sankaya
sa jala|bindur aho! viparlta|drg
jagad idam, vayam atra sa|cetanah.
Budhyamahe na bahudh” api vikalpayantah
kair namabhir vyapadisema maha|matlms tan
yesam asesa|bhuvan’jabharanasya hemnas
tattvam vivektum upalah paramam pramanam
Samraksitum krsim akari krsl|valena
pasy’ atmanah pratikrtis trna|puruso ’yam
stabdhasya niskriyatay” astajbhiyo ’sya nunam
asnanti gojmrga|ganah pura eva sasyam
75 Kasy’ animesa|nayane vidite div’|auko|
lokad rte, jagati te api vai grhltva
pinda|prasarita|mukhena time kim etad
drstam na balisa visad badisam tvay” antah?
68
BHALLATAS HUNDRED ALLEGORIES
Is there anyone, who is not taken in for a long time
by this thing
balanced on the tip of a slender blade of grass
wondering if it might be a pearl?
Ah! it is a droplet of water.
The world perceives it falsely.
I am aware of it.
I do not know, even after much reflection,
by what names I should call those great-minded persons
who use a stone as the ultimate proof
to discern the true value of gold,
the ornament of the entire world.
Look at this straw scarecrow made by the ploughman
in his own image to guard the Held.
Now, freed from fear
by the stillness of this propped up thing : lack of action of
this arrogant man
herds of deer feed on wheat right in front of it.
Who has unwinking eyes
except the heaven-dwelling gods?
Endowed with these on earth, O stupid fish,
why did you not detect the hook entering within
as your mouth opened for a morsel?
75
69
THE THREE SATIRES
Pumstvad apipravicaled yadi, yady adho ’pi
yayad, yadi pranayane na mahan api syat,
abhyuddharet tad api visvam it’ Idrs” lyam
ken’ api dik prakatita Purusottamena
Svjalp’|asayah sva|kula|silpa|vikalpam eva
yah kalpayan skhalati kaca|vanik pisacah
grastah sa kaustubha|man’|indra|sapatna|ratna|
niryatna|gumphanaka|vaikatik’|ersyay” antah
Tat|pratyarthitaya vrto, na tu krtah
samyak svatantro bhayat
«svasthas tan na nipatayed» iti yatha|
kamam na sampositah
samsusyan prsadamsa esa kurutam
mtika|sthito ’py atra kim
gehe kim bahuna? ’dhuna grha|pates
cauras caranty akhavah.
70
BHALLATAS HUNDRED ALLEGORIES
Even if one strays from manliness : becomes a woman,
even if one loses status : delves into the netherworld,
even if one humbles oneself when begged : becomes
a dwarf to beg
nevertheless one can rescue the world
this way was shown by a certain king : Vishnu.
This petty-minded demon of a glass-merchant
who blunders even while practising
the highly specialised art of his family
has become consumed with jealousy towards the jeweller
who can effortlessly string together
gems akin to the Kaustubha, king of jewels.
It was taken in because it was inimical to them,
but it was not given free scope.
Thinking: “If it is content
it will not hunt them down,” it was not fed its fill.
What can that scrawny cat, become a mute, do here?
Why say more?
Now the rats scurry about in the master’s house.
7i
THE THREE SATIRES
Evam cet ra/rasalsvabhavalmahima
jadyam kim etadrsam?
yady esa ca nisargatah saralata
kim granthimatt” edrsl?
mulam cec chuci« parikaja|srutir» iyam
kasmad? guna yady ami
kim chidranR sakhe mrnala bhavatas
tattvam na manyamahe!
80 Ye digdhv” eva krta visena, kusrrir
yesam kiyad ganyate
lokam hantum anagasam dvi|rasana,
randhresu ye jagrati
vyalas te ’pi dadhaty ami sad|asator
mudha manln murdhabhir
n’ aucityad guna|salinam kva cid api
bhramso ’sty alam cintaya!
72
BHALLATAS HUNDRED ALLEGORIES
If such is the greatness
of your inherent sweetness : worth, why this
coolness : imbecility ?
If such is your spontaneous straightness : forthrightness,
why this knottiness : perversion ?
If your root : origin is pure : noble,
why this appelation “mud-born”?
If these be fibres : virtues,
why these holes : defects ?
O lotus-stalk! My friend, I cannot figure you out!
Those who were created seemingly smeared
with venom,
whose sinuous movements : misdeeds
are beyond reckoning,
who have a forked tongue to slay the innocent,
who lurk in holes : are fault-Hnders,
—these serpents
though ignorant of good and bad
bear jewels in their hoods : place a worthy man in charge.
Nowhere do the virtuous fall from propriety.
Stop worrying!
80
73
THE THREE SATIRES
Aho strinam krauryam!
hata|rajani! dhik tvam! atisathe!
vrtha prakrant” eyam
timira|kabari|moksa|kusrtih
avaktavye pate
jana|nayana|nathasya sasinah
krtam snehasy’ anto-
citam udadhi|mukhyair nanu jadaih
Aho gehe|nardi
divasa|vi j iglsa]j vara|ruj a
pradlpah sva|sthane
glapayati mrs” amtin avayavan
udattaj svacchand’ | a-
kramana|hrta|visvasya tamasah?
parispandam drastum
mukham api ca kim sodham amuna?
Nam’ apy anya|taror nimllitam abhut
tat tavad unmllitam
prasthane skhalatah sva|vartmani vidher
apy udgrhltah karah
lokas c’ ayam a|drsta|darsana|bhuvah
drg+vaisasan mocito
yuktam kasthika lunavan yad asi tam
amr’|alim akaliklm.
74
BHALLATAS HUNDRED ALLEGORIES
Lo! the cruelty of women!
Wretched night! Fie upon you! Utter villainess!
Vainly you attempt this trick of releasing
the fillet of your hair.
Even the inert ocean & co. did what befitted
the end of their love
during the indescribable sinking of the moon,
lord of the people’s eyes.
Oho! The lamp, a defiant hero at home,
ablaze with the fever of conquering the day,
vainly soils its parts : family members.
Could it bear to behold
even the face : beginning of the darkness
that deprives the world of
its complete freedom of action?
Even the name of other trees was obscured
while it was exalted.
The hand of God who had stumbled
on his path was checked,
the world was spared the eye-distress
born from an unknown sight,
—you were right, O woodcutter, to cut down
the mango grove flowering out of season.
75
THE THREE SATIRES
Vat’|aharataya jagad visa|dharair asvasya nihsesitam
te grastah punar abhra|toya|kanika|tivrajvratair barhibhih
te ’pi krura|camuru|carmajvasanair nltah ksayam lubdhakair
dambhasya sphuritam vidann api jano jalmo gunan Ihate
85 Udha yena maha|dhurah su|visame
marge sad” aikakina
sodho yena kada cid eva na nije
gosthe ’nyajsaunda|dhvanih
asld yas tu gavam ganasya tilakas
tasy’ aiva sampraty aho!
dhik kastam dhavalasya jata|jaraso
goh panyam udghosyate
Asthan’|6dyoga|duhkham
jahihi! na hi nabhah pangu|samcara|yogyam.
sv’|ayasay’ aiva sadho
tava salabha! jav’|abhyasa|durvasan” eyam
te Devasy’ apy acintyas
catulita|bhuvan’|abhoga|vel”|avahela
mur|otkhat’Janumarg’|
agata|giri|guravas Tarksya|paks’|agra|vatah.
76
BHALLATAS HUNDRED ALLEGORIES
By feeding on air, snakes won
the world’s confidence, and wrought havoc.
They, in turn, were devoured by peacocks, who observe
the severe vow of feeding on drops of rainwater.
They, in turn, are slaughtered by hunters clad
in the coarse skin of chamuru deer.
Though perceiving this obvious hypocrisy,
a wretched person still craves such virtues.
He who all alone bore a great burden
on the uneven road,
who never tolerated another’s proud bellow in his pen,
who was the ornament of oxenkind,
now that the white ox has grown old,
what shame! His price is proclaimed aloud.
Abandon your misplaced effort!
The sky is no place for the lame to roam.
My good locust!
Your harmful inclination of flitting about
will only exhaust you.
Even the god Vishnu cannot conceive of the gusts
of wind, streaming from Garuda’s wing-tips
which effortlessly shake the bound sof the world,
and are heavily laden with mountains torn
from their roots in his path.
THE THREE SATIRES
Candren’ aiva taraftga|bhaftgi|mukharam
samvardhyaman’|ambhaso
dadyur jlvitam eva kim giri|saric
srotamsi yady ambudheh
tesv eva pratisamvidhana|vikalam
pasyatsu saksisv iva
drag darp’|oddhuram agatesv api na sa
kslyeta yady anyatha.
Kil’ aika|culukena yo munir aparam abdhim papau
sahasram api ghasmaro ’vikrtam esa tesam pibet
na sambhavati kim tv idam bata vikasi|dhamna vina?
sad apy asad iva sthitam sphuritam anta ojasvinam.
Gravano ’tra vibhusanam tri|jagato,
maryadaya sthlyate
nanv atr’ aiva vidhuh sthito hi vibudhah
sambhuya purn’|asisah
sete c’ odgata|nabhi|padma|vilasad|
brahm” eha Devah svayam
daivad eti jadah sva/kuksi/bhrtaye
so ’py ambudhir nimnatam
78
BHALLATAS HUNDRED ALLEGORIES
If the moon alone imbues life, garrulous
with fleeting waves,
to the ocean, swelling its waters,
then how could the mountain streams do so?
If this were not true,
then it would not be diminished
as they rush to it
headlong with a swagger,
to look on like bystanders,
helpless to render assistance.
The sage* who long ago drank the boundless ocean
with one handful,
voracious,* he could without harm
drink a thousand of them.
But, surely, this would not be possible without
a radiant brilliance?
Though it exists, it seems not to,
blazing within the powerful.
There are rocks : jewels in it,
it is the ornament of the triple world,
it stays within its bounds.
Indeed, the moon dwells in it alone,
it fulfilled the gods’ desires,
Vishnu himself sleeps upon it,
Brahma manifest on the lotus sprouting from his navel.
Fate decrees that even the water : ignorant ocean,*
sinks low to fill his belly : his submarine caves.
79
THE THREE SATIRES
90 Anlrsya srotaro! mama vacasi ced vacmi tad aham
svajpaksad bhetavyam na tu bahu vipaksat prabhavatah!
tamasy akrant’|ase kiyad api hi tejo ’vayavinah!
sva|saktya bhanty ete divasa|krti saty eva na punah.
Etat tasya mukhat kiyat kamalim|
patre kanam varino
yan mukta|manir ity amamsta sa jadah.
srnv anyad asmad api:
anguly|agra|laghu|kriya|pravilayiny
adlyamane sanaih
«kutr’ oddIya|gato mam’ ety» anudinam
nidrati n’ antah|suca.
Aste ’tr’ aiva sarasy, aho bata kiyan
samtosajpaksa|graho!
hamsasy’ asya manan na dhavati manah
srl|dhamni padme kva cit.
«supto ’dy’ api na budhyate tad itarams
tavat pratlksamahe!»
velam ity udaram|priya madhu|lihah
sodhum ksanam na ksamah
80
BHALLATAS HUNDRED ALLEGORIES
O listeners! If you will bear with me, I will speak.
Fear one’s own side, not the powerful foe!
How the stars shine
when the horizon is invaded by darkness!
When the sun shines,
they cannot shine by their own power.
It is no big deal
that the fool mistook the water drop
on the lotus leaf for a pearl.
Hear more about him:
As he gently picked it up
it dissolved by the slight motion of his fingertip.
“Where has it flown to?”
Now, every day, he cannot sleep with inner grief.
He dwells here in this lake.
Ah! how gratifying!
The swan’s mind does not hanker even slightly
after the lotus, the abode of Lakshmi.
Saying: “It’s asleep, even now it’s still not awake!
Let’s go wait on someone else first!”
The gluttonous bees cannot bear
a delay of even a moment.
THE THREE SATIRES
95
Bhekena kvanata sa|rosa|parusam
yat krsna|sarp’|anane
datum ganda(capetam ujjhita|bhiya
hastah samullasitah
yac c’ adho|mukham aksinl pidadhata
nagena tatra sthitam
tat sarvam visa|mantrino bhagavatah
kasy’ api lllayitam
Mrtyor asyam iv’ atatam dhanur idam
c’ aslvis’|abhah sarah
siksa s” api jit’|arjuna|prabhrtika
sarvatra nimna gatih
antah|krauryam aho sathasya madhuram
ha hari geyam mukhe
vyadhasy’ asya yatha bhavisyati tatha
manye vanam nir|mrgam
Ko ’yam bhranti|prakaras
tava pavana padam loka|pad’|ahatinam
tej asvi|vrata|sevye
nabhasi nayasi yat pamsu|puram pratistham
yasminn utthapyamane
jana|nayana|path’|6padravas tavad astam.
ken’ opayena sadhyo
vapusi kalusata|dosa esa tvay’ aiva
82
BHALLATAS HUNDRED ALLEGORIES
That an angrily croaking frog,
without fear, should raise its hand
to deliver a slap
in the face of a black cobra,
and that the serpent should remain there
lowering its face
closing its eyes
all this is the play of some powerful snake-sorcerer.
This strung bow is like the gaping mouth of Death,
and the arrows are like venomous snakes
his marksmanship exceeds that of Arjuna & co,
his movement is always stealthy.
Lo! the cruelty within the cunning hunter and, alas!
the sweet, captivating song : praise in his mouth.
With this I fear the forest will be emptied of animals.
What a blunder you are committing, o wind,
when you raise up the abundant dust,
crushed underfoot by the whole world
to prominence in the sky,
worthy of the company of a host of luminaries!
Let’s not even mention that the vision of the people
is impaired when it is raised up.
What remedy is there to rid this stain of filth
from your body?
THE THREE SATIRES
Ete te vijigisavo nrpa|grha|
dvar |arpit’ |aveksanah
ksipyante vasu|yacan”|ahita|dhiyah
kop’|oddhatair vetribhih
arthebhyo visay’|6pabhoga|virasair
n’ akari yair adaras
te tisthanti manasvinah sura|sarit|
tire manoharini.
Vata vantu kadamba|renu|sabala
nrtyantu sarpa|dvisah
s’|6tsaha nava|toya|bhara|guravo
muncantu nadam ghanah
magnam kanta|viyoga|duhkha|dahane
mam vlksya din’|ananam
vidyut kim sphurasi tvam apy akarune
stritve ’pi tulye sati
Prana yena samarpitas tava, balad yen’ aivam utthapitah
skandhe yena ciram dhrto ’si, vidadhe yas te saparyam api
tasy’ anta|smita|matrakena janayan jlv’|apaharam ksanad.
bhratah! pratyupakarinam dhuri param vetala|lllayase!
84
BHALLATAS HUNDRED ALLEGORIES
These ambitious men,
fixing their eyes to the royal gate,
intent on begging for wealth
are scattered by gatekeepers flying up in a rage.
The wise, made averse to wealth
by their shunning of worldly enjoyments,
rest on the delightful banks of the heavenly river.
The breezes waft, speckled with kadamba pollen,
peacocks, the foes of serpents, dance,
threatening clouds, laden with fresh water, thunder.
Seeing me, looking melancholy,
sinking in the fire of separation from my beloved
O lightning! Why are you flashing forth, merciless one, are
we not both women?
He who gave you life : hope,
who helped you stand up : powerfully promoted you
who carried you on his shoulders : retained you in
the army for a long time,
who adored you : gave you respect ,
in an instant, with no more than
a secret smile you take his life.
Brother! You are the epitome of the grateful
behaving thoroughly like a vampire!*
85
THE THREE SATIRES
Rajjva disah pravitatah salilam visena
khata mahl huta|bhuja jvalita van’|antah
vyadhah padany anusaranti grhlta|capah
kam desam asrayatu yutha|patir mrganam
ioo «Ayam varam eko nilaya iti, ratn’|akara iti»
srito ’smabhis trsna|taralita|manobhir jala|nidhih
ka evam janlte nija|karajputI|kotara|gatam
ksanad enam tamyat|timi|nikaram apasyati munih
Visalam salmalya nayana|subhagam vlksya kusumam
sukasy’ asld buddhih: «phalam api bhaved asya sadrsam!»
cir’laslnam tasmims ca phalam api daivat parinatam
vipake tulo ’ntah sapadi maruta so ’py apahrtah.
Sarva|praja|hita|krte Purusottamasya
vase, samasta!vibudha|prathit’|esta|siddhau
candr’|amsu|vrnda|vitata|dyutimaty amusmin
he kalakuta! tava janma katham payodhau?
86
BHALLATAS HUNDRED ALLEGORIES
The quarters are fenced off with ropes,
the water is impassable with poison,
the earth is dug up, the brushwood is set ablaze,
hunters, bows in hand, are hard on his heels;
whither can the chief of the herd flee?
Thinking: “This is the sole store of water, ioo
the mine of jewels!”
I approached the ocean, my heart aquiver with thirst.
Who could have known that the sage Agastya
would drink it down in a flash
from his hollow cupped hands
along with its teeming shoals of fish.
Espying the large, eye-delighting flower
of the silk-cotton tree
the parrot thought: “It’s fruit will be comparable!”
It sat on it for a long time and as luck would have it
a fruit grew.
When it was ripe
there was cotton inside
and even that was blown away by the wind.
The dwelling place of Vishnu,
benefactor of all,
the granter of countless wishes to all of the gods,
dazzlingly radiant with bundles of moon-beams,
-Ah! Kala-kuta poison,
how could you be born from that ocean?
87
THE THREE SATIRES
Phalita|ghana|vitapa|vighatita|
patu|dina|kara|mahasi lasati kalpa]tarau
chay”jarthl kah pasur api
bhavati jarad|virudham pranayl.
BHALLATAS HUNDRED ALLEGORIES
In the presence of a wishgranting tree,
skilled at dispelling the blaze of the sun with
its dense canopy of fruit-bearing boughs
is there even a dumb beast seeking shade,
that would be attracted to
a withered shrub?
89
KSHEMENDRA:
THE GRACE OF GUILE
1. SANCTIMONIOUSNESS
i.i A sti visalam kamala/lalital
pansvahga/mahgaJ’/ayacanam
Sri|pati]vaksah|sthalam iva
ram ’/ojjvalam ujjvalam nagaram.
Mani|bhu|bimbita|mukta|
pralamba|nivahena yatra £es’|ahih
bhavanani bibharti sada
bahudh” atmanam vibhajy’ aikah.
Vighno ’bhisarikanam
bhavana|ganah sphatika|prabha|vikatah
yatra virajati Rajanlj
timira|pata|prakata|lunthakah.
Yatra Trinayanajnayana|
jvalana|jval”|avall|salabha|vrttih
jlvati Manasajjanma
sasi|vadana|vadana|kanti|plyusaih.
i-5 Rati|lulitajlalita|lalana|
klamajjala|lava|vahino muhur yatra
slatha|kesa|kusumajparimala|
vasita|deha vahanty anilah.
92
T here is a vast, magnificent city
with mansions blessed
by the refining touch of wealth,
dazzling with riches.
It resembles the expansive chest of Shri’s consort Vishnu—
the happy mainstay ofLakshmi’s graceful embrace,
resplendent with the Kaustubha jewel. *
A city where the world-serpent Shesha*
tirelessly seems to prop up the palaces,
—refracting himself manifold though he is one—
by the opulence of dangling strings of pearls
reflected in jewelled floors.
Where gleam serried mansions,
glaring with crystalline radiance:*
brazen thieves of lady Night’s dark veil,
—a dilemma for women stealing to their lovers.
Where the God of love,*
who is prone to behave like a moth
drawn towards the wisps of flame
shooting from Shiva’s third eye,
is nurtured by the nectar of loveliness
in the countenance of moon-faced ladies.
Where steadily there waft breezes,
laden with droplets of perspiration
from the fatigue of ravishing, uninhibited women
exhausted by love-play,
and perfumed by the fragrance of the blossoms
in their loosened hair.
THE THREE SATIRES: KSHEMENDRA
Nava|bisa|kisalaya|kavalana|
kasaya|kala|hamsa|kala|ravo yatra
kamala|vanesu prasarati
Laksmya iva nupur’|aravah.
Nrtyan|mugdha|mayura|
marakata|dhara|grh’|avall satatam
s’|endr’|ayudha|ghana|nivaha
pravrn murt” eva yatr’ aste.
Sasi|kirana|pravarana|
sphatika|harmyesu harina|^av’|aksyah
yatra vibhanti sudh”|ambudhi|
dugdha|tarang’|odgata iv’ apsarasah.
Tatr abhud abhibhuta|
prabhutaimaya|nikaya!sata|dhurtah
sakala|kala|nilayanam
dhuryah sri|Muladev’|akhyah.
i.io Nana|dig|des’|agata|
dhurtair upajlvyamana|mati|vibhavah
sa prapa vipula/sampadam
atma|gunais cakra|vart” iva.
Bhukt’|ottaram sa|hrdayaih
asthanl|samsthitam kada cit tam
abhyetya sartha|vaho
datta|mah”|arh’|opahara|mani|casakah
Pranato Hiranyaguptah
sahitah putrena Candraguptena
prapt’|asana|satkarah
provaca muhurta|visrantah.
94
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Where the melodious cry of wild geese, warm in timbre
because their beaks are filled
with shoots and fresh sprouts,
spreads through the lotus-ponds,
as if it were the tinkling of Lakshmi’s anklets.
Where the rainy season seems to linger on
with a host of rainbows and clouds,
embodied in a row of emerald fountains,*
and dancing, tame peacocks.
Where ladies, with eyes like those of young does,
shine forth on crystalline pavilions
cloaked in moonlight,
like nymphs* born from the churned waves
of the ocean of nectar.
There dwelt the foremost repository of all guile: a cun¬
ning man named Mula-deva* who had mastered a hundred
categories of unsurpassed deceptions. Villains, depending i.io
for their livelihood on the prowess of his intellect, flocked
to him from remote lands.* He received enormous wealth,
just as an universal emperor exults in glory by his inher¬
ent virtues.
One day, after he had dined and was seated in his audience
hall with men of refined taste,* a caravan-leader approached
him and offered him a jewel-inlaid chalice as a priceless gift.
The bowing Hiranya-gupta, accompanied by his son Cha-
ndra-gupta, received a seat and due hospitality, and after a
brief rest, broke the silence:
95
THE THREE SATIRES: KSHEMENDRA
1.15
«Ayi! paricayajsa|pratibha
tava purato madrsam iyam van!
gramy’|angan” eva nagare
na tatha pragalbhyam ayati.
Pihita/Brhaspati/dhisano
rucirah prajna|marici|nicayas te
tigm’|amsor iva saha|jah
prosita/timirah karoty asah.
A|janm’|arjitajbahu|vidha|
mani|mauktika|kanaka|purna|kosasya
eko mam’ aisa stinuh
samjatah pascime vayasi.
Moha|sthanam balyam
yauvanam api madana|manas’|onmadam
anir|avalola|nalinI|
dala|jala|capalas ca vitta|cayah.
Harinyo harina|drsah
satatam bhog’|abjajmadhu|kari|dhurtah.
patita parampar” aisa
dosanam mama sutasy’ asya.
Dhurta|kara|kandukanam
vara!vadhu|carana|nupura|manmam
dhanika|grh’)6tpannanam
muktir nasty eva mugdhanam.
96
THE GRACE OF GUILE: SANCTIMONIOUSNESS
“Alas! Before you, this my voice,
which assumes the brazenness of familiarity,
dares not become too audacious,
as though it were a village girl in the city.
The magnitude of your illuminating rays of wisdom,
harboring the sagacity ofBrihas-pati, *
gives hope dispelling blindness;
As though it were a dazzling brother of the sun,
who eclipses the planet Jupiter
and frees the points of the compass from darkness.
Since my birth I have hoarded a treasury
brimming with many kinds of gems, pearls and gold.
Now, in the eve of my life
a single son has been born to me.
Infancy is a period of folly,
youth is a mental derangement wrought by love,
and the survival of accumulated wealth
is as uncertain as droplets of water
on the petals of water-lilies,
quivering in the breeze.*
Ravishing, doe-eyed damsels
are ever malicious like female bees
concealed in the lotus of enjoyment.
This chain of misadventures has befallen my son here.
Truly, there is no release for balls in the hands of cheats,*
for gems set in the anklets of prostitutes,
and for the naive scions of wealthy houses.
1.15
97
THE THREE SATIRES: KSHEMENDRA
Ajnatajdesa|kalas
capala|mukhah pangavo ’pi sa|plutayah
nava|vihaga iva mugdha
bhaksyante dhurta|marjaraih.
1.20 Airita|jana|tanayo ’yam
tava vidvan! nija|sut’|adhikah satyam:
na yatha prayati nasam
tath” asya buddhim prayaccha param.»
Iti vinaya|namra|sirasa
tena vaco yuktam uktam avadharya
tam uvaca Muladevah
priti|prasara|prasarit’|6sth’jagrah:
«Astam esa sutas te
mama bhavane nija iva. prayatna|parah
jnasyati may” opadistam
sanakaih sakalam kala|hrdayam.»
Iti tasya sasanena
svajsutam nihksipya tad|grhe matiman
natva tam s’|artha|yatih
prayayau nija|mandiram muditah.
Sithilita/karalpracaro
dhusara/kantir nirambaras taranih
abhavad alaksyah sanakaih
dhurtair iva nirjitah kitavah.
98
THE GRACE OF GUILE: SANCTIMONIOUSNESS
The untutored are like fledgling birds,
chattering on, incautious of time and place,
hopping about though they are yet unable to walk,
preyed on by swindler-cats.
Wise master! This son of your petitioner 1.20
who is verily more than another son of yours:
grant him your supreme wisdom
so that he does not perish!”
Acknowledging that he had pleaded his case diffidently,
with his head bowed in humility, Mula-deva addressed him,
the boundary of his lips giving way to a flood of goodwill:
“This son of yours may stay in my home as though he
were my own. With diligence, he will gradually come to
understand the complete heart of guile, in which I will
instruct him.”
The wise caravan-master consigned his son to Mula-deva’s
house as instructed, bowed to him and, delighted, departed
to his own mansion.
The sun gradually faded from sight,
with the radiance of its beams dwindling,
gleaming duskily without a clear outline,
Just like a gambler with an ashen complexion,
whose hand-control has become slack,
who has lost even his clothes,
eventually loses a fortune, plundered by cheats.
99
THE THREE SATIRES: KSHEMENDRA
1.25
Astam|ite divasa|kare
timira|bhara|dvirada|samsakta
sindura|patala|patala|
kantir iv’ agre babhau sandhya.
Tyakt” api pratidivasam
divasa|dyutir anujagama divasa|karam
anurakt” api na sandhya
hrdayam janati kah strinam.
Gagan’|angana|kamala|vane
sandhya|rage gate sanaih kv api
aprapta|pad’ |akulitam
babhrama ravi|bhramam timiram.
Tigm’|amsu|viraha|mohaih
timirair iva mllita babhuva mahl
tlvro janasya hi sada
yatah khalu vallabho bhavati.
RajanI raraja sitatara|
taraka|mukta|kalapajkrta|sobha
sabara|raman” iva paricita|
timira|mayura|cchad’|abharana.
100
THE GRACE OF GUILE: SANCTIMONIOUSNESS
When the day-maker had set,
a half-light shone on the summit
of the Western horizon-mountain,
as though it were the ruddy glow of a coat of red minium
adhering to the elephant that was darkness.*
Although she is deserted every day,
Daylight-splendor follows the Day-maker sun.
Twilight does not, though she is his beloved.*
Who can understand the hearts of women?
When the impassioned flush of Twilight
had gently faded away
into the lotus-pond of the courtyard of the firmament,
her paramour Darkness,
mistakenly fearing this heralded the arrival
of her husband the Sun,
flounced about without gaining a secure foothold.
The earth seemed to become obscured by gloom,
unconscious because of her separation
from the scorching-rayed sun.
For someone who is constant and fiery
is cherished as a lover.
The night was magnificent
like a forest-dwelling shdbara maiden,
made lovely with pearl necklaces
strung with whiter than white stars,
adorned with a peacock-cloak
made of intense darkness.
IOI
1.25
THE THREE SATIRES: KSHEMENDRA
1.30 Atha pathika|vadhu|dahanah
sanakair udabhun nisa|kar’|aIokah
kumuda|prabodha|duto
vyasana|gurus cakravaklnam.
Manmatha|sit’|atapatram
dig|vanita|sphatika|darpano vimalah
viraraja rajani|ramanl
sita|tilako yaminl|nathah.
Nija|kara|mrnala|valll
valaya|vilasl lalasa sita|kantih
gagana|tatinl|tat’|ante
rajani|karo raja|hamsa iva.
Syama susubhe sasina
taya mano|bhur madh’|utsavas tena
mada/m i/<A'ra|manasanam
ten’ api mrgl|drsam Ilia.
Dhurtah samrddhi|saciva
vicchayam padminlm parityajya
phullani vivisur alayah
s’|anandah kumuda|vrndani.
102
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Then, slowly, the light of the night-maker* rose up,
scorching the wives of those travelling afar,
a herald for the awakening of the night-blooming lilies,
a teacher of separation to the chakra-vaki * birds.
The lord of the night gleamed,
a white parasol for the God of love,
a crystal mirror for the ladies of the compass points,*
a white forehead-mark
on the beautiful damsel darkness.
The night-maker beamed with a pale beauty
like a flamingo on the verge of the banks
of the celestial river Mandakini,*
shimmering within an aura
of the encircling filaments of his own rays.
The dark night was made beautiful by the moon,
love by the night,
the spring festival by love,
and the charms of fawn-eyed girls,
their hearts merry with wine : thrilled with passion,
by the spring festival.*
Being libertines, mere fair-weather friends,
bees deserted the lackluster lotus,
and, in ecstasy,
fell upon the blossoming clusters of night-lilies.
1.30
I0 3
THE THREE SATIRES: KSHEMENDRA
1.35 Jyotsna|bhasma|smera
sulalita|sasi|sakala|pesala|kapala
tar” |asthi|patala|hara
susubhe kapalin” iva nisa.
Tasmin praudha|nisa|kara|
kirana|prakara|prakasit’|asese
nija|mani|bhavan’|6dyane
nirvartita|bhavana|samadhanah
sphatik’|asan’|6pavistah
saha Sasina nirvibhaga|mitrena
Kandalijmukhyaih sisyaih
samsevita|pada|plth’|antah.
Provaca Muladevo
vlksya ciram s’|artha|vaha|sutam agre
kurvan dasana|mayukhaih
lajja|llnam iva jyotsnam.
«Srnu putra vancakanam
sakala|kalajhrdaya|saram ati|kutilam
jnate bhavanti yasmin
ksana|ruci|capalah sriyo ’py acalah.
1.40 Eko ’smin bhava|gahane
trna|pallava|valaya|jala|samchannah
kupah patanti yasmin
mugdha|kuranga niralambe.
104
THE GRACE OF GUILE: SANCTIMONIOUSNESS
The night was radiant 1.35
like a female skull-bearing ascetic,*
shining with ash made of moonlight,
with a graceful skull-bowl
made of the pleasing lunar crescent,
with a necklace of bone-sections made of stars.
When the myriad rays
of the full moon had become altogether visible
in the inner garden of his jewelled mansion,
Mula-deva,
serenely composed after arising from his contemplations,
settled on a crystal seat
with his inseparable companion Shashin.
His disciples headed by Kandali
attended at the side of his foot-stool.
After gazing at the caravan-leader’s son who waited before
him for a long time, Mula-deva spoke, making the moon¬
light disappear with shame, as it were, with the light-rays
shining from his teeth.
“Hear, my son, the extremely crooked heart-essence of
all of the guile of swindlers. When this is grasped, wealth,
normally fleeting like a momentary flash, becomes stable.
In this thicket of existence there is a pit, 1.40
concealed by a web of grass, shoots and vines,
into whose bottomless void fall innocent deer.
105
THE THREE SATIRES: KSHEMENDRA
So ’yam nidhana/kumbho
dambho nama svabhava|gambhlrah
kutilaih kuhaka|bhujamgaih
samvrta|vadanah sthito loke.
M aya| rahasya| mantrah
cinta|manir Ipsit’|arthanam
dambhah prabhava|kari
dhurtanam Sri|vasl|karanam.
Matsyasy’ tv apsu sada
dambhasya jnayate gatih kena?
yasya na karau na caranau
na siro durlaksya ev’ asau.
Mantra|balena bhujamga
mugdha|kurangas ca kuta|yantrena
sthala|jalena vihanga
grhyante manavas ca dambhena.
1.45 Jana|hrdaya|vipralambho
maya/sthambho jagajljay’/arambhah
jayati sad”|anupalambho
nirgata|Dambhodayo dambhah.
106
THE GRACE OF GUILE: SANCTIMONIOUSNESS
This is the treasure-pot : funerary-urn*
called “sanctimoniousness,”
inherently unfathomable.
In this world its opening is veiled
by coiling villain-serpents.
For villains, sanctimoniousness is a secret magic spell,
a wish-fulfilling gem for all they crave, an empowerment,
a means to subjugate the Goddess of fortune.
Who can fathom the path of sanctimoniousness,
which is like that of a fish
perpetually submerged under water?
It is indeed difficult to make out the movements
of that which has no hands, no feet, no head.
Snakes are captured by the power of mantras,
trusting deer by a concealed trap,
birds by a net on the ground,
people by sanctimoniousness.
Sanctimoniousness is triumphant,
dismaying people’s hearts,
a paralysis induced by delusion overwhelming the world
: a pillar of deceit
erected to commemorate world-domination,
a perpetual unawareness,
an incarnation of Dambhodbhava.*
i-45
107
THE THREE SATIRES: KSHEMENDRA
Satat’ | avarta| bhrante
duhsaha|mayajsahasra|kutir|are
mulam dambho nabhih
vipulatare cakrika|cakre.
Nayana|nimTlana|mulah
sucira|snan’|ardra|cula|jala|siktah
dambha|taruh suci|kusumah
fbahu|sukhafsakha|sataih phalitah.
Vratajniyamair baka|dambhah
samvrta|niyamais ca kurma|jo dambhah
nibhrta|gati|nayana|niyamaih
ghoro marjara|jo dambhah.
Baka|dambho dambhajpatih
dambha|nar’|endras ca kurma|jo dambhah
marjara|dambha esa
prapto dambhesu cakravartitvam.
1.50 Nlca|nakha|smasru|kacas cull
jutl pralamba|kurco va
bahu|mrttika|pisacah
parimita|bhasl prapannajpadatrah;
108
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Sanctimoniousness is the base,
the hub in a vast wheel of circular reasoning,*
which has a thousand bent spokes
of unbearable absurdities,
which rolls astray whirling around incessantly.
With shut eyes for roots,
irrigated with water
dripping from hair moist from lengthy ritual ablutions,
the tree of sanctimoniousness
bears ritual purity for flowers
and yields fruit
with f upraised armsf for hundreds of branches.*
Through the penance of observing vows
arises the smugness of the heron,
through the penance of withdrawal,
the smugness peculiar to the tortoise,
through the penance of fixing the eyes impassively
on the path,
the terrifying smugness peculiar to cats.*
Heron-smugness is a chieftain among false pieties,
the smugness peculiar to the tortoise is a king,
but the smugness of cats has assumed imperial sovereignty.
A man* with trimmed nails, beard and hair,
a crested man, a man with matted locks, a long-beard,
a man obsessed with smearing himself with much clay,
a tight-lipped man, a man in boots;
1.50
109
THE THREE SATIRES: KSHEMENDRA
1-55
Sthula|granthi|pavitraka|
prsth’ |arpita|hema|valllkah
kaks’jarpita|pata|pallava|
ruddha|bhujo bhanda|hasta iva;
Anguli|bhanga|vikalpana|
vividha|vivada|pravrtta|pandityah
japa|capal’|austhah sajane
dhyana|paro nagara|raja|rathyasu;
S’|abhinay’|ancita|culukaih
acamanaih sucirajmajjanais drthe
sit|kara|danta|vlnaj
vedita|hemanta|duhsaha|snanah;
Snigdh’|etara|nikhil’|anga|
prakatita|sarvadika|mrttika|snanah
vistlrna|tilaka|carca
sucita|sarv’|6pacara|Sura|pujah;
$irasa bibharti kusumam
vinipatitam kaka|drstim iva—
evam|rupah puruso
yo yah sa sa dambhiko jiieyah.
iio
THE GRACE OF GUILE: SANCTIMONIOUSNESS
A man who has affixed a hema-valli*
on top of his large-knotted sacred thread,
a man who looks like he were holding
a casket in his hand,
because his arm is immobilised
by the border of his robe* tucked into his armpit;
A man displaying his erudition by various squabbles,*
by dithering and by gesticulated denials,
a man whose lips are animated with muttered prayers
in crowds,
a man absorbed in meditation
on the main streets of the city;
A man at a sacred ford
advertising the hardship of his ritual bath in mid-winter
with chattering teeth and hissing,
submerging himself interminably,
ritually rinsing his mouth
with hands bent into cupped hollows
in a dramatic gesture;
A man whose incessant dirt-baths
are betrayed by the scoured roughness of his entire body,
a man whose worship of the Gods
with unabridged ceremonies
can be deduced from the enormous mark
plastered on his forehead;
A man who wears a flower on his head
which looks like a crow’s eye* bobbing from side to side,
— any man of this sort must be recognised as a charlatan.
i-55
hi
THE THREE SATIRES: KSHEMENDRA
Nir|guna|loka|pranatah
sa|guna|stabdhah sva|bandhu|vidvesl
para|jana|karuna|bandhuh
klrty|arthl dambhiko dhurtah.
Kary’|6payoga|kale
pranata|siras catu|sata|karl
sajbhru|bhango maun!
krta|karyo dambhikah krurah.
Stambhita|Vibudha|samrddhih
daityo Diti|jo ’bhavat pura Jambhah.
Dambhah so ’yam nivasati
bhumi|tale bhuta|dehesu.
Suci|dambhah sama|dambhah
snataka|dambhah samadhi|dambhas ca
nihsprha|dambhasya tulam
yanti tu n’ aite sat’jamsena.
112
THE GRACE OF GUILE: SANCTIMONIOUSNESS
The charlatan is a villain who pays homage to the worthless,
who is arrogant to the worthy,
who is hostile to his own relatives,
who acts like a compassionate relative to strangers,
he is a man who craves fame.*
When he needs help in some undertaking,
the cruel charlatan bows his head
and ingratiates himself with a hundred flatteries.
But he frowns and remains silent
once his immediate goal is achieved.
Long ago, there was a titan called Jambha,* the son of Diti,
who had thwarted the Gods’ prosperity.
On the surface of the earth
he now dwells in the hearts of living beings
as sanctimoniousness.
The sanctimoniousness of purity,
the sanctimoniousness of quietism,
the sanctimoniousness of the sndtaka *
and the sanctimoniousness of exalted meditation:
These are not even equal to the hundredth part
of the sanctimoniousness of aloofness.
THE THREE SATIRES: KSHEMENDRA
i-6o Sauc’/asauca/vivadl
mrtjksayalkan svalbandhav’lasparsl
suci|dambhena jano ’yam
Visvamitratvam ayati.
Samhatajbahuvidha/s'arrFO
niksepa|dravina|vari|bahu|trsnah
satatam ahimsa|dambho
vadav”|agnih sarva|bhakso ’yam.
Khalvatah sthula|vapuh
suska|tanur muni|samana|rupo va
sataka|vestitajslrsah
114
caity’|6nnata|sikhara|duhkhiko v” api.
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Affected by the sanctimoniousness of purity
a person
quibbles about what is pure and what is impure,
squanders cleansing clay, *
does not touch his own relatives,
becomes an enemy to all and sundry,*
: he contests the distinction
between the pure and the impure, *
builds an earthen penance-hut,
becomes different from his own kin *
and thus becomes a veritable Vishva-mitra.
The sanctimoniousness of non-violence is a ceaseless,
all-devouring submarine fire,
which has destroyed all manner of creatures : treasures,
which thirsts for water in the form of deposited wealth.
The Snataka can be a bald man,
a fat man,
a man with a shrivelled body,
or a man resembling a sage,
a man with a cloth wound around his head,
or a man in agony
because his lofty crest
protrudes like a funeral mound.
THE THREE SATIRES: KSHEMENDRA
Mundo jatilo nagnah
chatrl dandl kasaya/clri va
bhasma/smera/sarlro
disi disi bhogl vijrmbhate dambhah.
Lobhah pit” ati|vrddho
jananl Maya sah’|odarah kutah
kutil’|akrtis ca grhinl
putro dambhasya humkarah.
1.65 Bhagavan pura Svayambhuh
krtva bhuvanani bhuta|sargam ca
virata|vyaparataya
suciram cint”|anvitas tasthau.
Drstva sa martya|loke
divya|drsa manusan niralamban
arj ava|yoga|visesad
aprapta|dhan’[adi|sambhogan,
MIlita|nayanah ksipram
sthitva maya|maye samadhane
asrjan nrnam vibhutyai
Dambham sambhavan”|adharam.
116
THE GRACE OF GUILE: SANCTIMONIOUSNESS
The sanctimoniousness of exalted contemplation
is a gaping serpent,
which proliferates in all lands.
It might be b!unt[-nosed] : a shaveling ascetic,
twisted around itself : a matted-hair ascetic,
unmarked : a naked ascetic,
hooded : a parasol-bearer,
stiff: a staff-bearer,
red-banded : a red-robe,
or with a body as white as ash : stark with white ash;*
Greed is the ancient father of sanctimoniousness,
Maya is his mother,
falsehood is his uterine brother,
deformity is his wife,
and the sneer Hum! is his son.*
Long ago, the blessed Self-born Brahma created the
worlds and species of living creatures. Thereafter he re¬
mained for a long time in contemplation, desisting from
all activity. With his divine eye he saw that the self-reliant
people in the world of the mortals had not appropriated the
pleasures of wealth etc., because of their peculiar adherence
to forthrightness. Closing his eyes he immersed himself im¬
mediately in a profound meditation imbued with the power
of creative illusion. He brought forth Dambha as a recep¬
tacle of esteem, to ensure the prosperity of men.
THE THREE SATIRES: KSHEMENDRA
Bibhranah kusa|pulim
pustaka|bharam kamandalum stinyam
nija|hrdaya|kutila|srrigam
dandam krsn’|ajinam khanitram ca;
Sthulatara|kusa|pavitraka|
lanchita|karnah pavitra|panis ca
suvyakta|munda|mastaka|
samvestita|cula|mula|sita|kusumah;
1.70 Kastha|stabdhajgrivo
japalcapal’losthah samadhi|lln’|aksah
rudr’jaksa|valayajhasto
mrt|paripurnam vahan maha|patrim;
Nayan’|ancalaih sa|kopaih
bhr|kutl|hum|kara|vadana|samjnabhih
bahuvidha|kadarthanabhih
kathit’|akhila|hrdaya|vanchito maunl;
Raksan para|samsparsam
sauc”|arthl Brahma|loke ’pi
Dambhah puro ’sya tasthau
utthita ev asan’|akanksl.
Tam drstva Paramesthi
llIa|krta|sakaIa|sarga|vargo 'pi
gaurava|vismaya|harsaih
nispand’|andolitas tasthau.
118
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Bearing a bundle* of purifying kusha grass,
a burden of scriptures,* an empty water-pot,
an antelope horn* as twisted as his own heart,
the skin of a black antelope and a hoe;
He had stuffed thick bunches of sacred grass*
behind his ears
wore a sacrificer’s ritual-ring* on his hand,
and the root of his topknot was encircled by white flowers
on his starkly clean-shaven head;
His neck was stiff like a plank,*
his lips restless with muttered prayers,
his eyes deadened by yogic trance,
a rudrdksha rosary wrapped around his hand,
holding a large bowl of purifying clay;
Mute, yet revealing all of the cravings lurking in his heart
with angry side glances, with grimaces,
grunting and frowning,
and by all kinds of irritations;
Wary of touching others;
requiring cleansing even
in the paradise-world of Brahma,
Dambha stood before the Creator, expecting a seat.
Seeing him, the Creator,
although he had with ease begotten all orders of creation,
was shaken with shivers,
brought on by a thrill of great incredulity.
ii9
1.70
THE THREE SATIRES: KSHEMENDRA
Akalpena sumahata
sahas” asya vaslkrtah param tena
Saptarsayo ’pi tasmai
pranatas tasthuh krt’|anjalayah.
1.75 Tasy’ ati|tlvra|niyamad
graste ’gastye ’tijvismayen’ eva
alpa|tapo|vrata|lajja|
kuncita|prsthe Vasisthe ca;
Ati|sarala|nija|muni|vratai
parigata|kutse ca kunite Kautse,
dambara|rahit’|atma|tapo|
niradare Narade vihite;
Nija|janu|samdhi|sikhare
Jamadagnau magna|vadane ca,
traste Visvamitre,
valita|gale Galave, Bhrgau bhagne;
Sucir’|6tthitam ati|kopad
asana|kamale nivista|drstim ca
sula|protam iv’ agre
nihspandam amanda|garva|guru|gatram.
120
THE GRACE OF GUILE: SANCTIMONIOUSNESS
The Seven Sages, too,
powerfully compelled by Dambha’s great pomp,
stood bowing, their hands folded in supplication.
While Agastya seemed to be devoured* by astonishment
with Dambha’s extremely severe abstentions,
while Vasishtha hunched his back in shame
at his own meagre store of austerities;*
While Kautsa shrank as if a slur had been cast
on his own very simple vow of silence,*
while Narada was made to feel contempt
for his own penances which lacked ostentation;*
While Jamad-agni buried his face
in the peaks of his own knee-caps,*
while Vishva-mitra trembled in fear,*
while Galava’s neck rolled about,
while Bhrigu was crushed;*
The four-faced Creator-god realized
that Dambha had been standing all the while,
and that he had furiously fixed his gaze
upon Brahmas lotus-throne.
He stood motionless as if impaled,
his limbs torpid with avid arrogance.
i-75
121
THE THREE SATIRES: KSHEMENDRA
Jnatva tam asan’|arthinam
avadad devas Catur|mukhah pritya
visrjan nija|dasanajruca
vihasann iva vahanam hamsam:
1.80 «Upavisa putra mam’ afike.
niyamena mahlyas” ati|citrena
arho ’si guna|gan’|odgata|
gaurava|samvadin” anena.»
Ity|ukto Visvasrja
tasy’ ankam asankaya sa|samkocah
abhyuksya varijmustya
krcchren’ opavisad Dambhah.
Dambha uvaca:
«n’ occair vacyam avasyam!
yadi vacyam hasta|padmena
acchadya vaktra|randhram,
sprsto na syam yath” asya|vat’|amsaih.»
Tat tasya saucam atulam
drstva harsa]smita|prabha^ubhrah
«Dambho ’s’ iti!» jagada
Prajapatis chotikam dattva.
122
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Realizing that he wanted to sit down,
Brahma spoke to him with a smile,
as though creating his vehicle, the wild white goose,
with the dazzle from his own teeth:
“My son, be seated on my lap.
You are worthy because your stupendous
and substantial self-restraint
accords with an earnestness born from a host of virtues.”
Addressed in this way by the All-creator,
Dambha, unhesitatingly, and with revulsion,
sprinkled his lap with a handful of water
and sat down with a show of discomfort.
Dambha said:
“You really must not speak so loud!
If you have to speak,
then cover your mouth with your lotus-hand,
so that I will not be touched
by the particles in the breath
streaming from your mouth.”*
Then, seeing his incomparable purity,
the Creator Praja-pati,
radiant with the lustre of his joyful smile,
snapped his fingers and said:
“You must be Dambha : phoney\
1.80
123
THE THREE SATIRES: KSHEMENDRA
«Uttistha sakala|jala|nidhi[
parikha|mani|mekhalam mahlm akhilam
avatirya bhunksva bhogan
vibudhair api tattvato na vijnatah.»
1.85 Ity adarad visrsto
vidhina samsara|sagara|gatanam
kanthe silam nibadhnan
martyanam avatatara mahlm.
Atha martya|lokam etya
bhrantva Dambho vanani nagarani
vinivesya Gauda|visaye
nija|jaya|ketum jagama disah.
Vacane Bahllkanam
vrata|niyame Pracya|daksinatyanam
adhikare Klranam
Dambhah sarvatra Gaudanam.
Ete Dambha|sahayah
pratigraha|sraddhajsiddha|curnena
kurvanti ye prabhate
yatas tato bhasmana tilakam.
Turnam sahasra/bhagaih
bhuvana|tale samvibhajya bhutani
murtah satatam nivasati
Dambho vadane ’dhikarana|bhattanam.
124
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Arise and descend to the earth,
encompassed by the jewel-girdle of the oceans,
and enjoy pleasures,
your true nature unrecognised even by the wise.”
Duly and respectfully dismissed,
he descended to earth,
tying a stone to the necks of mortals
doomed in the ocean.
Arriving in the world of mortals,
Dambha ranged through forests and cities.
He planted his triumphal banner in Bengal
and advanced in every direction.
Dambha lives in the speech of people in Balkh,
in the South-easterners’ observance of vows of penance,
in the authorities of Kashmir,
and everywhere in Bengal.
Those who make their forehead marks
with ash obtained from whatever source,
a magic powder
at funerary ceremonies involving donations,
are Dambha’s helpers.
Dambha quickly isolated : devastated*
the living beings on the surface of the earth
in thousands of different classes : with a thousand taxes,
and physically embodied himself
in the faces of those in charge.
1.85
125
THE THREE SATIRES: KSHEMENDRA
1.90 Guru|hrdayam avisad agre
palaka|hrdayam tapasvi|hrdayam ca
kutilam niyogi|hrdayam
dlksitajhrdayam svayam Dambhah.
Tad anu ca ganaka|cikitsaka|
sevaka|vanijam sa|hema|karanam
nata|bhata|gayaka|vacaka|
cakra|caranam ca hrdayani.
Amsaih pravisya hrdayam
vividhajvikaraih samastajj antunam
Dambho vivesa pascad
antaram api paksi|vrksanam.
Matsy’|arthl carati tapah
suciram nihspanda ekajpadena
tirthesu baka|tapasvl
tena vihangan gato Dambhah.
Vipula|jata|valkalinah
slt’|atapa|vrsti|kastitah satatam
vrksa phaI’|arthino yad
Dambhasya vijrmbhitam tad api.
1.95 Evam vicaranlyah
sarva|gatah sarva|hrt sada Dambhah.
jnate tasmin vividhe
viphala mayavinam maya.
126
THE GRACE OF GUILE: SANCTIMONIOUSNESS
Dambha himself first of all entered I - 9 °
the hearts of religious teachers,*
then the twisted hearts of provincial governors,*
the hearts of ascetics,
the hearts of commissioners,
and the hearts of initiates.*
Then he passed into the hearts of astrologers,
physicians, servants, merchants,
goldsmiths, actors, mercenaries,
singers, story-tellers, and jugglers.
Distributing himself, assuming many guises,
Dambha entered the hearts of all walking creatures,
then he even entered into birds and trees.*
The heron-ascetic struts about in sacred fords,
hungering for fish*
motionless on one leg;
through him Dambha reached the birds.
That trees should have many tangled roots
and be clad in bark,*
be ever battered by cold, heat and rain,
in the hope of bearing fruit,
that too, is the influence of Dambha.*
Therefore one must always be wary of Dambha 1.95
who has permeated everything, who destroys everything.
Once he is known in his diverse forms,
the spell of conjurors is broken.*
127
THE THREE SATIRES: KSHEMENDRA
Dambha|vikarah purato
vancaka|cakrasya kalpajvrkso ’yam.
Vamana|dambhena pura
Harina trailokyam akrantam.
iti maha|kavi|srI|Ksemendrajviracite
Kala|vilase
dambh’|akhyanam nama
prathamah sargah.
128
THE GRACE OF GUILE: SANCTIMONIOUSNESS
This diversity of Dambha is a wish-granting tree*
before the realm of deceivers.
Long ago, Hari vanquished the three worlds
by the sanctimoniousness of the Dwarf-incarnation.*
The first canto,
named the description of sanctimoniousness
in the “Grace of Guile”
composed by
the great poet Kshemendra.
129
THE GRACE OF GUILE
2. GREED
T OBHAH SADA vicintyO
lubdhebhyah sarvato bhayam drstam
kary ’ | akarya| vicaro
lobha|visamjnasya n’ asty eva.
Mayavilniyamalvibhramal
nihnavalvaicitrya/kutalkapatanam
sancaya/durga/’p\saca\\
sarva|saho mula|karanam lobhah.
Sattva|prasama|tapobhih
sattva|dhanaih sastra|vedibhir vijitah
lobho ’vatam pravistah
kutilam hrdayam kiratanam.
Kraya|vikraya|kuta|tula|
laghavajnihksepa|raksana|vyajaih
ete hi divasa|caura
musnanti muda janam vanijah.
2.5
Hrtva dhanam jananam
dinam akhilam vividha|kuta|mayabhih
vitarati grhe kiratah
kastena varatika|tritayam.
132
B eware of avarice,—
the threat of the avaricious is evident everywhere.
Someone oblivious with greed
does not care what is right or wrong.
Avarice,
a vicious obsession of hoarding : fend lurking in a
fordfed treasury
is capable of anything,
is the root cause
of frauds and deceits : camoufaged vaults,
of all kinds of prevarications : obstructions,
conflations : blind corners
and false agreements : magical boundaries.*
Defeated by knowers of sacred scripture,
rich in virilty,
virtuous, tranquil and penitent,
avarice crept into its den:
the crooked heart of merchants.
Merchants, indeed, are daylight-robbers,*
they delight in robbing people
by ploys such as witholding deposits,
using too light weights,
and sleight of hand while buying and selling.
All day long
the merchant relieves his customers of their money
with all kinds of scams and tricks.
But he frets to hand over three cowries
to support his household.*
THE THREE SATIRES: KSHEMENDRA
Akhyayik”|anuragl
vrajati sada punya|pustakam srotum.
dasta iva krsna|sarpaih
palayate dana|dharmebhyah.
Dvadasyam pitr|divase
samkramane soma|suryayor grahane
suciram snanam kurute,
na dadati kapardikam ekam.
Dattva disi disi drstim
yacaka/cakito vagunthanam krtva
caura iva kutila/carl
palayate vikata/rathyabhih.
Na dadati prativacanam
vikraya]kale satho vaniri mauni.
niksepa|pani|purusam
drstva sambhasanam kurute.
Uttisthati namati vanik
prcchati kusalam dadaty avasthanam
nihksepajpanim aptam
drstva dharmyah kathah kurute.
Kas cid vadati tam etya:
«dravinam niksipya hanta gant” asmi,
bhratah! param prabhate
visti|dinam kim karomy adya?»
134
THE GRACE OF GUILE 2: GREED
Fond of tales,*
he always runs along to hear the recitation
of pious books.
But he flees, as though bitten by black cobras,
from the duty of alms-giving.
On the twelfth lunar day,
on the day sacred to the ancestors,
during the solar transits,
during eclipses of the sun and moon,
he takes a long bath and does not donate* a single cowrie.
Just like a thief
he scans the directions : keeps a lookout,
he is alarmed by beggars : startled by questioners,
he hides himself behind a veil : disguise,
he makes detours : behaves suspiciously
and runs off down wide streets : escapes by secret
paths.
The mean merchant keeps mum, he gives no reply to
bargainers at the time of selling. Only when he has spot¬
ted a man with a deposit* in his hand does he strike up a
conversation.
He gets up and bows down as soon as he has seen some- 2.10
one respectable with a deposit in his hand, asks about his
wellbeing, offers a seat, and starts telling pious stories.
Someone comes to him and says: “Hullo! I will go abroad
after depositing my money with you, brother! But this
morning it happens to be the astrologically ominous vi-
shti-karana.* Shall I do so today?”
135
THE THREE SATIRES: KSHEMENDRA
Tac chrutva vikasita|drg
vadati sa mithy” aiva natayan khedam
karye prasarit’|aksah
punah punah parsvam avalokya:
«Tvad|adhInam sthanam idam,
kim tu ciram nyasa|palanam kathinam,
visamau ca desa|kalau.
sadho tava hanta daso ’ham.
Bhadra na dusit” aisa
niksepa|ksema|karinl sasta
ity|anubhutam satasah
karya|jnais tvam tu janasi.
2.15 Vistijdine kim api pura
nyastam ken’ api mitrena
turnam punar etya sanair
nltam ksemena kusalena.»
Ity|adi mugdha|buddher
asamanjasajvarnanam rahah krtva
grhnati kanaka|nikaram
nrtyams tat|tan|manorath’|opayam.
Tat|samcurnanaij ataih
kraya|vikraya|labha|rasibhir anantaih
bhanda|pratibhanda|cayaih
upahasati dhan’|adhinatham sah.
Purnah kadarya|vanijam
nihsambhoga nidhana|dhana|kumbhah
sldanti kuca|tata iva
duhkha|phala bala|vidhavanam.
136
THE GRACE OF GUILE 2: GREED
On hearing this with widening eyes he pretends to be
bothered. His eyes wander to his business, he glances side¬
ways again and again, and says:
“This establishment is at your service, my good man, but
it will be a nuisance to look after your deposit for long, time
and place are adverse. Alas! I am your servant. This half-day
of bhadra* is not unfavorable; it is taught that it ensures
the safety of a deposit. But as you know, this has been con¬
firmed hundreds of times by those knowledgeable in busi¬
ness. Some time ago a friend of mine deposited something
on a vishti day. He returned quickly and gradually withdrew
it safe and sound.”
After he has thus talked nonsense to the simple-minded
man in confidence, he dances as he relieves him of the hoard
of gold, the means to all of his desires.
With incalculable profit from buying and selling that
ground-down gold, with piles of goods for barter, he laughs
in mockery at the God of wealth.
The treasure-vats of miserly merchants,
brimming with stored wealth,
waste away : sink down
without being put to good use,
bringing sorrow,
just as do the breasts
of youthful widows.
2.15
137
THE THREE SATIRES: KSHEMENDRA
Dan’|opabhoga|virahita|
hiranya|raksa|krta|ksanah satatam
samsara|jlrna|mandira|
visamajmahajmusaka vanijah.
2-2.0 Atari samutkata/vestita/
vikata /patl/sph uta /phat ’/atopah
kutilam karicuka/nicitah
pura|pati|nama nidhi|vyalah.
Atha purusah sa dig|antam
bhrantva ken’ api daiva|yogena
nasta|dhano jana|rahitah
praptah suciran nijam desam.
Prcchati kam api sasankah:
«sa kiratah kva nu gato maha|sattvah?»
tam upetya vadati kas cit:
«tasy’ adya sakhe vibhutir any” aiva!
Vividha|nav’|amsuka|mrga|mada|
candana|karpura|maricajpuga|phalaih
khatika|hastah sa sada
ganayati kotlr muhurtena.
Asmin Meru|visale
vara|bhavane rucira|bhitti|krta|citre
pura|patin” apy anuyato
vasati sukham sa hi mahajjano nagare.»
2.25 Srutv” aitad atula[vismayaj
lolitajmaulih sa tad|grham gatva
dvari sthagitas tisthati
nispratibho jlrna|karpatah suciram.
138
THE GRACE OF GUILE 2: GREED
Merchants are revolting fat rats*
infesting the dilapidated mansion that is samsara .*
Ever biding their time,
they stash away gold
out of reach from enjoyment or charity.
As a serpent guarding a treasure
bearing the title ‘lord of the city,’
he goes about hunched over : slithers about windingly,
swathed in a robe : covered in scaly skin,
puffed up with a plainly visible hood
made of garish cloth wound high into a crest.
Doomed by fate, that man who had deposited his money
strayed to the ends of the earth. He lost his money and his
people and returned to his own land only after a lengthy
absence.
Full of apprehension, he asked someone: “Where has that
sagacious merchant gone?” Somebody approached him and
said: “My friend, nowadays, his circumstances are quite dif¬
ferent! Holding a piece of chalk in his hand, he ceaselessly
calculates crores per hour* by dealing with all kinds of new
fabrics, musk-perfume, sandalwood, camphor, black pep¬
per, and betel-nuts. He lives in style in the city, in yonder
exquisite palace, towering like Mount Meru, its bright walls
adorned with frescos. Even the governor of the city defers
to him.”
When he heard this he went to the merchant’s house,
his head reeling with utter amazement. Stunned, he stood
for a long time at the door, at a loss what to do, dressed in
worn-out rags.
2.20
2.25
139
THE THREE SATIRES: KSHEMENDRA
Tam tunga|bhavana|valabhi|
jal’|antarato vanik parijnaya
n’ occhvasiti nasta|cetah
tadita iva murdhni vajrena.
Upasrtya manda|mandam
katham api samprapta|nirjan’|avasarah
tarn yacate sa purusah
sva|dravinam prakatit’|abhijnah.
Tam vadati so ’nya|drstih
sa|bhru|bhangam vidhuta|hast’|agrah:
«vancaka|vacanah papo
vrtti|kslnah kuto ’yam ayatah?
Kas tvam? kasya suto va?
darsanam api na smarami, kim kathanaih?
ahaha kada kutra katham?
vada! kasya kim arpitam kena?
2.30 Pasyata kastham anistah
kali|kalah kldrso ’yam ayatah!
matto rtham esa vanchati
loko janati va sarvam.
Haragupta|kule ’smakam
niksepa|grahanam apy asambhavyam,
kim punar apahnav’|odgata|
ghorajmaha|pataka|sparsah?
Tad api sa tad”|abhisamsl
samtyajyo ’yam janah katham mahatam?
kathaya dinam! tad|divase
likhitam sarvam, svayam pasya!
Vrddho ’ham, nyastajbharah
putre, sa hi vetti likhitam me.»
140
THE GRACE OF GUILE 2: GREED
The merchant recognized him through the lattice-win¬
dow in the pinnacle of his lofty mansion and his mind went
numb, his breath ceased, he felt as if a thunderbolt had
struck him on his head.
Hesitantly, the man approached him, when he managed
to find an uncrowded opportunity. He refreshed his mem¬
ory, and asked for his money.
The merchant averted his eyes, frowned, shook his fingers
and said to him:
“Where has this evil wretch without any livelihood come
from, spouting falsehoods?
Who are you?
Whose son?
I do not remember ever seeing you:
How could I have talked with you?
Huh? When? Where? How?
Speak up!
Who gave what to whom?
Woe! Behold! What has it come to in this accursed, dark 2 - 3 °
age. This lunatic demands money, or else the public will
hear all about it. In our Hara-gupta* family even accepting
a deposit is unheard of, never mind the insinuation of the
perfidious, capital offence resulting from calumny.
But on the other hand, how can the great simply ignore
a man who insults with such an accusation? Say what day it
was! Everything was recorded on that day. See for yourself.
I am old. I have passed on the burden of management to
my son. He knows for sure what I have written.” With this
141
THE THREE SATIRES: KSHEMENDRA
iti tena vinasta|dhrtih
sa visrstas tat|sut’|antikam praptah.
«Tato janati!» «sa me putro
janati likhitam akhilam yat!»
iti tasya bhavati suciram
gat’|agatam kandukasy’ eva.
2.35 Raja|kula|dvara|gate
tasmin prayopaves’|arthe
sahate narapati|kopam
tyajati kirato na rupakasy’ amsam.
Paripiditah sa rajna
vividhair api yatana|sastraih
«mama haste niksiptam
kim cin nast’ iti» vakty eva.
Aurva iv ati|lubdha
bhavanti dhana|Iavana|vari|bahu|trsnah
trna|lavam iva nijajdeham
tyajanti lesam na vittasya.
Devam dhan’|adhinatham
Vaisravanam sakala|sampadam nilayam
Sukrah provaca pura
vitt’|arthl bala|mitram abhyetya:
«Purnah, sakhe, tav’ ayam
vibhavo vijit’|amar’|asur’|aisvaryah
harsam vidadhati param
suhrdam sokam ca satrunam.
142
THE GRACE OF GUILE 2: GREED
the merchant showed him the door. Faltering in determi¬
nation, he went to see the son.
“Father knows!”
“My son knows all that I have recorded!”
In this manner he went to and fro like a ball, interminably.
When he reached the gate* of the royal court and started
a solemn fast of starvation,* the merchant suffered the king’s
wrath, yet he did not give up a fraction of the money.
Even though the king had him tormented with all kinds
of instruments of torture, all he would say was: “Nothing
was handed over to me!”
The excessively avaricious
are like submarine fires thirsting
for the salt-water that is wealth.
They will give up their own bodies
as though they were bits of straw,
but not even a little bit of money.
Long ago,* Shukra,* in need of money, approached his
boyhood-friend Vaishravana, the God of wealth, the fund
of all affluence, and spoke:
“My friend! Your abundant glory, surpassing in majesty
the Gods and titans, gives utter joy to your friends and grief
to your enemies.
2-35
143
THE THREE SATIRES: KSHEMENDRA
2.40 Tvayi suhrdi vitta|Nathe
nihsvo ’ham bahu|kutumba|sambharah
sama|duhkha|sukham mitram
svadhlnatay” oditam prasamsanti.
Yasasi vihit’|adaranam
arthibhir upajivyamanajvibhavanam
abhijata|vamsa|janam
suhrd|upayogyah sriyo mahatam.
Upanatam atipunya|cayaih
sampurnam raksitam ca yatnena
sampadi vipadi tranam
bhavati nidhanam ca mitram ca.»
Ity|ukrah sa|pranayam
Daity’|acaryena nirjane Dhanadah
tarn uvaca vicintya dram
samruddhah sneha|lobhabhyam:
«Janami bala|mitram
tvam aham atyanta|sambhrta|sneham.
kim tu na jlvita|jlvam
dravina|lavam tyaktum Iso ’smi.
2.45 Sneh’|arthl bandhu|janah,
karyair bahubhir bhavanri mitrani,
darah sutas ca sulabha,
dhanam ekam durlabham loke.
Ati|sahasam ati|duskaram
atyjascaryam ca danam arthanam.
yo’ pi dadati sariram
na dadati sa vitta|lesam api.»
144
THE GRACE OF GUILE 2: GREED
While you, my friend, are the God of wealth, I, penni¬
less, am burdened with a huge family. A friend, constant in
happiness and hardship, who has achieved financial inde¬
pendence, is acclaimed.
It is quite in order for friends to avail themselves of the
wealth of the great, who are earnest about their reputation,
upon whose magnanimity the needy depend, who are born
in illustrious lineages.
A plentiful treasure-trove and a friend are both won
by amassing stockpiles of exceptional merits. In prosper¬
ity they are safeguarded with care, and in adversity they
afford protection.”
Thus, in all sincerity, the preceptor of the Daityas con¬
fided in him in private. The God of wealth pondered this
for a long while, torn between affection and avarice, and
finally said to him:
“I remember you as my boyhood companion with affec¬
tion beyond all measure.* But I cannot afford to give up
even a minuscule sum of money, the essence of life.*
A kinsman is someone who demands affection,
friends can be made by all kinds of favors,
wives and sons are easy to come by,—
it is wealth alone
that is difficult to win in this world.
Giving away money is extremely rash,
is beset with difficulties,
is a most startling feat.
Even someone who is ready to give up his own body
could not give up even a paltry amount of money.”
2.40
2.45
145
THE THREE SATIRES: KSHEMENDRA
Ity|asa|pariharaih
pratyakhyato Dhan’|adhinathena
bhagna|mukho lulita|matih
lajja|vakro yayau Sukrah.
Sa vicintya grhe suciram
sacivaih saha mayaya maha|yogi
hartum dravinam asesam
vivesa hrdayam Dhan’|esasya.
Sukr’|avistajsariro
Vaisravanah sakalam adbhuta|tyagah
tat|krta|sariketebhyah
pradadau vittam dvi|jatibhyah.
2 - 5 ° Kauberam dhanam akhilam
hrtva yate tha danav’|acarye
suciram Dhan’|adhinathah
susoca vijnaya tam mayam.
Hasta|nyasta|lalatah
saha Sankha|Mukunda|Kunda|Padm’|adyaih
samcintya Sukra|vikrtim
sa jagad’ osnam vinihsvasya:
«Suhrda marma(jnena
vyajan mayavin” ati|lubdhena
dhurtena vancito ’ham
Daity’|asraya|durjayena Sukrena.
Adhuna dravya|vihlnas
trna|lava|laghutam ksanena sampraptah
kathayami kasya duhkham?
karomi kim va? kva gacchami?
146
THE GRACE OF GUILE 2: GREED
Repudiated by the God of wealth, Shukra departed with
a haggard face, his hopes dashed. His mind was reeling, and
he was bent low with shame.
Back at home, he plotted with his counsellors for a long
time. Then the great yogi magically possessed* the heart
of the God of wealth in order to deprive him of all of his
money. With his body possessed by Shukra, Vaishravana
became startlingly generous and gave all of his wealth to
brahmins who were in league with Shukra.
After he had relieved Kubera of all of his wealth, the
preceptor of the Daityas withdrew. The God of wealth then
perceived the scheme and grieved for a long time.
He put his head in his hands and brooded over Shukra’s
sorcery with Shankha, Mukunda, Kunda, Padma etc.* He
lamented with a hot sigh:
“I have been duped by a thoroughly avaricious sorcerer
masquerading as a friend. The evil Shukra knows my weak¬
nesses, and he is unassailable since he has the support of the
daityas.
Now, bereft of wealth, I have all of a sudden become as
insignificant as piece of straw. To whom can I confide my
grief? What can I do? Where can I go?
2.50
147
THE THREE SATIRES: KSHEMENDRA
Dhana|rahitam tyajati jano,
jana|rahitam paribhavah samayanti.
paribhutasya sariram
vyasana|vikaro maha|bharah.
2.55 Dayitesu sariravatam
bata Dharma|lat”jalavalesu
dravinesu jlvitesu ca
sarvam yati prayatesu.
Vidvan subhago man!
visruta|karma kul’|onnatah surah
vittena bhavati sarvo,
vitta|vihlnas tu sad|guno ’py agunah.»
Iti duhsaha|dhana|viraha|
kles’|anala|losit’|asayo Dhana|pah
suciram vimrsya sacivair
devam Sarvam yayau saranam.
Prak|pratipanno rha sakha
visva|saranyo Mahesvaras tena
vijnapto nija|vrttam
dutam visasarja Sukraya.
Dur’|ahutam sahasa
prapram Sukram dhana|prabha|sukram
anjali|viracitajmukutam
provaca purah|sthiram Purajit:
2.60 «Mitram ayam Dravina|parih
bhavata bata! vancitah krra|jnena
mirra|drohe prasarati
na hi nama janah krra|ghno ’pi.
Aganita|yaSasa tyakta|
148
THE GRACE OF GUILE 2: GREED
Retainers desert a man stripped of wealth.
Without attendants, a man is shown contempt.
The body of a disgraced man becomes a heavy burden,
a pernicious blight.
Alas! When riches or life, 2 -55
cherished by embodied beings,
irrigation basins for the vine of the Law,
are lost, all is lost.
A man with money becomes all:
wise, handsome, respected, renowned, noble, valorous;
but without money,
even a virtuous man becomes infamous.”
The God of wealth, his hopes parched by the fire which
was the unbearable misery of losing his wealth, deliberated
with his counsellors for a long time, then sought refuge with
the God Shiva. Long ago he had gained a friend in Shiva,
a refuge accessible to everyone. Appraised of events, Shiva
sent a personal envoy to Shukra.
Summoned by the envoy, Shukra presented himself at
once, dazzling with the splendor of wealth, with a crown
made of his hands folded in reverence. Shiva, the destroyer
of the citadel, spoke to him as he stood before him:
“Dear me! Though fully conscious of your obligations, 2.60
you have cheated this friend of yours, the God of wealth.
Not even a selfish ingrate goes as far as harming a friend. My
good man! Who has ever deceived an affectionate friend,
innocent and trusting, as you have, heedless of your repu¬
tation, straying from your station?
149
THE THREE SATIRES: KSHEMENDRA
sthitina sadho tvaya yatha kena
snigdhe suhrdi niragasi
visvaste vancana kriyate?
Etat kim sruta|sadrsam
tvad|vrata|yogyam kul’|anurupam va
krtavan asi yat sumate
paribhuta|gun’|odayam karma?
Kim ayam sunay’|abhyasah
prasamo va guru|jan’|opadeso va
mati|vibhavah saha|jo va
vaiicakatam yena yato ’si?
Kasya na dayitam vittam?
cittam hriyate na kasya vittena?
kim tu yaso|dhana|lubdha
vanchanti na duskrtair arthan.
2.65 Ma ma malinaya vimalam
bhrgu|kulam akhilam malena lobhena.
lobha|jala|do hi satruh
visada|yaso|raja|hamsanam.
Tyaktva kirtim anantam
anil’|akula|jala|lav’|opaman arthan
grhnati yah sa madhye
dhurtanam kldrso dhurtah?
Utsrjya sadhu|vrttam
kutila|dhiya vancitah paro yena
atm” aiva mudha|matina
hata|sukrto vancitas tena.
150
THE GRACE OF GUILE 2 : GREED
Does this befit your learning, is it compatible with the
vows you observe, is it in keeping with your lineage, wise
man, that you have done a deed springing from a disregard
of virtue?
Was it perhaps your adherence to prudent conduct, or
your practice of tranquility, or the instruction of your teach¬
ers, or your inborn high-mindedness, that led you to become
a fraud?
To whom is wealth not dear? Who is not fascinated by
wealth? But those who long for the wealth of a good reputa¬
tion do not aspire to gain riches by illicit means. Do not! Do 2.65
not besmirch the entire, unsullied lineage of Bhrigu with
the stain of avarice! For the cloud of avarice is the enemy of
the swans of untainted repute.
What a villain among villains is he
who throws away immortal fame and prefers riches,
which are like droplets of water
blown about by the wind?
He who strays from good conduct
and with wily cunning deceives another,
that simpleton deceives only himself,
wiping out meritorious deeds done in the past.
THE THREE SATIRES: KSHEMENDRA
Nipatita|dusita|yasasam
nava|kisalaya|komala prakrty” aiva
apavada|visa|tar’|utthaih
amodair murchita laksmlh.
Na hi nama sajljananam
suddha|yasah sphatika|darpano vimalah
paribhava|duhkhita|janata|
nisvasair malinatam eti.
2.70 Asamanjasam atimalinam
mohad vyaktim samagatam karma,
tasya visuddhih kriyatam
para|vitta|samarpanen’ aiva.
Apavada|dhuli|dhusaram
amala|yaso mrjyatam sva|hastena!
asmad|vacanam kriyatam!
para|dhanam utsrjyatam etat!»
Ity|ukrah s’|anunayam
tri|bhuvana|gurun” api Deva|devena
parajdhana|nibaddhaitrsnah
provaca krt’|anjalih ^ukrah:
«Bhagavan, bhavatah sasanam
amar’|endra|kirita|kotijvisrantam
langhayati ko nu mohad
daurgatyam sattva|hari yadi na syat?
Yasya kslnasya grhe
bhrtya darah sutas ca sidanti
kary ’ | akarya| vicaro
dravin’|adanesu kas tasya?
152
THE GRACE OF GUILE 2 : GREED
For those who have fallen
and whose reputation has become tarnished,
good fortune,
which is by nature delicate
like a freshly sprouted tendril,
wilts with the fumes
given off by the toxic tree of infamy.*
For indeed, the pure repute of the virtuous,
is a veritable stainless crystal mirror,
that does not become tarnished
by the sighs of people anguished by humiliation.
Make amends for this unbecoming, despicable deed, per¬
petrated out of folly, by simply returning the money belong¬
ing to another.
Wipe clean with your own hand your pure reputation,
soiled by the dust of condemnation! Do what we say! Re¬
linquish the money belonging to another!”
Even though he was thus spoken to in conciliatory tones
by the God of gods, Shiva, the teacher of the triple world,
Shukra, resolute in his craving for another’s wealth, folded
his hands and spoke:
“Blessed one! Who would foolishly dare transgress your
command which rests on the myriad crowns of the foremost
Gods, were it not that destitution had robbed his good
sense?
What deliberation of right or wrong in the procuring
of money can there be for a wretch in whose house his
retainers, wives and sons languish in despair?
2.70
153
THE THREE SATIRES: KSHEMENDRA
2.75 Mitram ayam Dhana|natho
vipadi tranam vicintitah satatam.
vrddhim yatah sumahan
asa|bandhas ca me hrdaye.
Abhyetya yacito ’pi
tyaktva lajjam maya vigatajlajjah
cicched’ aisa mam’ asam
sahasa pratisedha|sastrena.
Tena prahrtam asastram
daho ’nagnis ca nirvisam maranam
vihitam sathena mohad
asajbharighah krto yena.
Tasman mam’ aisa satruh
sukrta|samam satru|vancan” apapam.
riktasya nirapavado
vyajen’ oparjito ’py arthah.
Anu dhanam api na
tyajyam mama bhavata jnapite satyam
vittam jivitam agryam.
jlvita|hanir dhana|tyagah.»
2.8° j t ; bhasamanam asakrd
Daitya|gurum prarthitam punar bahusah
kavali|cakara sahasa
pratisedha|rusa Virupaksah.
Jathar’|antare Purareh
pralay’|anaIaSvipula|bhIsan’|abhoge
prakvathyamana|kayah
Sukras cukrosa s’|akrosah.
154
THE GRACE OF GUILE 2: GREED
I had always considered the God of wealth as my friend, 2.75
and a shelter in adversity. A great expectation had grown
strong in my heart.
Even though I approached him and begged him, swal¬
lowing my pride, he, unabashed, brusquely severed my hope
with the blade of rejection.
That miscreant ignorantly shattered my hopes, wounded
me without a weapon, burnt me without fire, brought death
without venom.
Therefore he is my foe. Deceiving an enemy is equivalent
to a good deed, and not a sin. The wealth of an indigent
man, even if won by guile, is beyond reproach.
I need not give up even an atom of wealth when you
yourself have rightly just said that fame : wealth is the
vital spark. Giving up wealth is to lay down one’s life.”*
The teacher of the Daityas kept on prevaricating in this 2.80
way despite many repeated appeals. Angry at his obstinacy,
the three-eyed Shiva suddenly swallowed him down.
Shukra shrieked and cursed as his body stewed in the
terrifying cavern suffused with the world-ending fire inside
the belly of Shiva.
155
THE THREE SATIRES: KSHEMENDRA
«Tyaja dhanam!» iti Visamadrsa
punah punah prerito ’vadac Chukra:h
«nidhanam mam’ astu bhagavan
Dhanadajdhanam n’ anujanami.»
Atha dharana|pravrddha|
jvalana|jvala|sahasra|vikarale
Sukras cukrosa bhrsam
ghora|gabh!re Har’|odare patitah.
Tam uvaca Deva|devah:
«tyaja durgraha|dagdha parajvittam!
asminn udara|mah”|odadhi|
vadav”|agnau ma gamah pralayam.»
2.85 So Vadad: «ati(laya|tapa|
sphutit’|asthi|vasa|pravaha|bahar|agnau
varam iha maranam sreyo
dravina|kanam na tyajami s’|6cchvasah.»
Punar api ghoratar’|odgata|
kar|anala|dharan”|anale jvalati
Sukras cakre Devyah
stotram ksanajlesa|ses’|ayuh.
Stotra|pad’ |aradhitaya
Gaurya pranayajprasadite Rudre
tad|vacasa labdha|dhrtih
sukra|dvarena niryayau Sukrah.
Evam sva|bhava|lubdhah
tlvrataram yatanam api sahante
na tu samtyajanti vittam
kautilyam iv’ adhamah sahajam.
156
THE GRACE OF GUILE 2: GREED
“Yield the money!” Again and again Shiva urged him.
Shukra said: “Let me die, Blessed one! I will not give back
the money of the God of wealth. ”
Then Shukra plummeted downwards into the horrify¬
ing depths of Shiva’s bowels, horrendous with thousands of
seething flames intensified by his yogic fixation,* and wailed
aloud.
The God of gods said to him: “Stubborn wretch! Give
up the money of another! Don’t perish in the submarine fire
in my stomach-ocean!”
Shukra replied: “I prefer death here in this conflagration 2.85
fanned up with the marrow-fat streaming from my bones
cracking asunder by the extreme heat. I will not surrender
any money as long as I breathe.”
As the flames of Shiva’s yogic fixation and the ferocious
world-ending fire flared up yet more, Shukra, with the last
remaining moments of his life, composed a hymn to the
Goddess.
Then Gauri, propitiated by the words of his hymn, affec¬
tionately appeased Shiva, and Shukra regained his stability
by Shiva’s command and came forth as Shiva’s semen.
So, those avaricious by nature endure even savage torture
without giving up money, just as lowborn wretches cannot
give up their inbred dishonesty.
157
THE THREE SATIRES: KSHEMENDRA
Tasmal lobha|samuttha
kapata|kala kutila|vartinl maya
lubdha|hrdayesu nivasati.
n’ alubdho vancanam kurute.
iti maha|kavi|sri|Ksemendra|viracite
Kala|vilase
lobha|varnanam nama
dvitlyah sargah.
158
THE GRACE OF GUILE 2: GREED
Therefore, the art of fraud, born from avarice, a delusion
which moves crookedly, dwells in the hearts of the greedy.
A man who is not greedy does not cheat.
The second canto,
named the description of avarice,
in the “Grace of Guile” composed by
the great poet Kshemendra.
159
THE GRACE OF GUILE
3. LUST
amah kamaniyataya
kim api nikamam* karoti sammoham.
visam iva madhuna sahitam
madhurataya jlvanam harati.
Ete hi kama/kalitah
parimala /tin ’/ali/valaya /h umkaraih
sucita/danah karino
badhyante ksipram abalabhih.
Pad’|aghatam dasana/
cchedy’lankusalghatana/nigada/samrodhan
visaya/musitah kar’/mdrah
kim na smara/vancitah sahate?
DIrgha|vyasana|niruddho
bhru|bhang’Jajna|vidheyatam yatah
visayajvivaso manusyah
keli|sikhand” iva nartyate stribhih.
162
S ensuality, by its allure,
somehow manages to make infatuation desirable.
It destroys life by its sweetness,
like a poison taken with honey.
For elephants : men,
maddened by passion : incited to lust,
with their rut-fluid betrayed by the buzzing of encircling
bee-swarms attracted by its fragrance
: by the tinkling sounds of perfumed bracelets arrayed in
rows, and who bring suitably lavish gifts,
are quickly bound by their hind-legs : embraced by
women*
Does not a mighty elephant : lover,
deprived of his open range : blinded by sensual pleasures,
tricked by affection : duped by Cupid,
endure being kicked,*
let itself be shorn of its tusks : endure bites,
driven with a goad : nail scratches,
and fettered with iron chains : entwining in erotic
gymnastics?*
Women make a man,
rendered impotent by severe vices,
tamed to obey commands given by raised eye-brows,
overpowered by sensual pleasures,
dance like a pet peacock.
163
THE THREE SATIRES: KSHEMENDRA
3-5
Rakt ’/akarsana/sakta
mayabhir moha/dmira/rajanlsu
naryah pisacika iva
haranti hrdayani mugdhanam.
Ragi|mrga|vaguranam
hrdaya|dvipa|bandha|srrikhal’|aughanam
vyasana|nava|vallarlnam
strlnam na hi mucyate vasa|gah.
Samsara|citra|mayam
Sambara|Mayam Visnu|mayam ca
yo janati jit’|atma
so ’pi na janati yositam mayam.
Kusuma|sukumara|deha
vajra|sila|kathina|hrdaya|sadbhavah
janayanti kasya n’ antah
vicitra|caritah striyo moham?
164
THE GRACE OF GUILE 3 : LUST
Women, intent on attracting impassioned men 3.5
on nights dark with infatuation,
steal the hearts of the simple-minded with cunning,
just like demonesses,
: intent on drinking blood,
seize the hearts of their innocent victims
with sorcery on nights dark with witchcraft.*
There is no escape for those under the sway of women,
for they are snares
for the deer that are impassioned men,
they are a throng of chain-fetters
for the elephant that is the heart,
they are the thriving tangle-weed that is addiction.
Even a self-realised person,
who understands the strange delusion of transmigration,
the sorcery of Shambara,
and Vishnu’s Maya,
cannot grasp the deception of women.
With bodies as delicate as flowers,
with hearts tough like slabs of diamond,
whom do women, with their bizarre behavior,
not trouble deep within?
165
THE THREE SATIRES: KSHEMENDRA
Anurakta|j ana|virakta
namr’|otsikta virakta|raginyah
vancaka|vacan’|asakta
naryo ’sadbhava|bhasinyah.
3-io Jatah sa eva loke
bahu|jana|drsta vilasa|kusal’|angl
dhairya|dhvamsajpataka
yasya na patnl prabhur gehe.
Vijitasya mada|vikaraih
strlbhir mukasya nasta|samjnasya
grha|dhuli|patalam akhilam
vadane niksipyate bhartuh.
Krtak’|aparisphut’|aksara|
kama|kalabhih sva|bhava|mugdh” eva
tilakaya candra|bimbam
mugdha|patim yacate praudha.
Svaira|vihara|gat’|agata|
khinnayas tlrtha|darsana|vyajaih
bharta vilasa|vijitah
caranau mrdnati capalayah.
1 66
THE GRACE OF GUILE 3 : LUST
Women are hostile to those who show affection,
contemptuous of the subservient,
infatuated with the indifferent,
full of regard for the words of fraudsters,
and inclined to lie.
Only that man becomes master of his house,
who has a wife who is not frequented by many people,
whose limbs are not good at flirting gestures,
who is not a banner to the ruin of fortitude.
Women empty the whole dustbin
of household rubbish*
into the face of their husband who,
stupefied by infatuation,
remains dumb and witless.
In a loving, sweet tone with artificially indistinct syllables,
the bossy matron,
as though she were a naturally artless girl,
begs her dim husband
for the moon-disk as her forehead-ornament.
The fickle woman exhausts herself
by coming and going to amuse herself at will
with her lovers
under the pretext of going to see sacred fords.
Her husband, taken in by her affected coyness,
then massages her feet.
167
3.10
THE THREE SATIRES: KSHEMENDRA
3-H
Nayana|vikarair anyam
vacanair anyam vicestitair anyam
ramayati suraten’ anyam
strl bahu|rupa sva|bhavena.
Nija|pati|capala|kurangl
para|taru|bhrngl sva|bhava|matangl
mithya|vibhrama|bhangi
kutilajbhujangl nija kasya?
«Bahu|vidha|tarunajnirargala|
sambhoga|sukh’|artha|bhogim vesya
dhany” eti» vadanti sada
s’|occhvasa nirjane naryah.
Capala tisthati harmye
gayati rathy”|avalokinI svairam
dhavaty akaranam va
hasati sphatik’|asma|mal” eva.
«Pasur iva vaktum kartum
kim cid ayam mama patir na janati»
uktv” eti grhe sva|janam
purusa|vyaparam angana kurute.
Pratyutthanam kurute
vyavahara|gat’|agataih svayam yati
uccair vadati ca gehe
grhinl jlvan|mrtasy’ eva.
168
THE GRACE OF GUILE 3 : LUST
She loves one man by flirting with her eyes,
another with her words,
another with her gestures,
another physically-a woman inherently has many forms.*
A female antelope inconstant to her mate,
a female bee on another’s tree,
an outcaste by nature,
a wave of false coquetry,
a crooked serpent
—whose is she?
When alone, women always sigh, saying:
“Fortunate is a courtesan,
enjoying the pleasure of free union with many youths!”*
She is unpredictable: either she remains in her mansion,
sings and at will casts an eye on the street below,
or she runs or laughs for no reason,
seemingly garlanded with a rosary of rock-crystal.
“Like a brute,
this husband of mine does not know how to say or do
anything,”
saying this to her servants in the house,
the woman takes over the man’s business.*
The wife,
whose husband may as well be dead while still alive,
welcomes visitors,
goes herself for routine business,
and raises her voice in the house.
3-U
169
THE THREE SATIRES: KSHEMENDRA
3.20 Irsyalu|vrddha|bharya
sevaka|patni niyogi|kanta va
karu|kusllavajnari
lubdha|vadhuh sarthavahajvanita va;
GosthI|viharana|sIla
taruna|jane vatsala prakrty” aiva
para|guna|ganane sakta
nija|pati|dos’|abhidhayini satatam;
Alpa|dhana bahu|bhoga
rupavatl vikrta|rupa|bharya va
mugdha|vadhuh sakala|kala
manavatl mca|samgam’|6dvigna;
Dyuta|madhu|pana|nitya
dirgha|kathajglta|raginl|kusala
bahu|pums|call|vayasya
sura|jane prakrti|paksa|pat” aiva;
Tyaktajgrha|vyapara
bahu|vidha|vesa nirargala|tyaga
pratyuttara|sa|pratibha
satya|vihlna sva|bhava|nirlajja;
3.25 Kusal’janamaya|vartaj
prasna|para priti|pesal’|alapa
vijane vividha|krida|
170
THE GRACE OF GUILE 3 : LUST
The wife of a jealous old man,
the wife of a servant,
or the spouse of a commissioner,*
the woman of an artisan or a performer,
the wife of a lecher,*
the wife of a caravan-leader;
A woman accustomed to frequenting congregations,
a woman by nature fond of young people,
a woman addicted to recounting the virtues of other men,
a woman who incessantly lists the faults of her own husband;
A poor woman who spends much,
a beautiful woman or the wife of a misshapen man,
the wife of a naive man,
a woman proud of her skill in all of the arts,
a woman excited by associating with lowly people;
A woman who is always gambling and drinking,
a woman accomplished in singing musical modes,
songs and telling drawn out tales,
a woman whose companions have many affairs,
a woman who instinctively is partial to intrepid men;
A woman who neglects her household duties,
a woman with a large wardrobe of garments,
a woman free to leave the house,
a woman who gives audacious answers,
a woman without honesty,
an inherently shameless woman;
A woman given to queries about welfare,
health and gossip,
a woman whose speech is tender with affection,
a woman who is publicly a loyal Savitri* but in secret,
THE THREE SATIRES: KSHEMENDRA
dambarajsaunda prakasa|Savitri;
Kratu|tlrtha|sura|niketana|
ganaka|bhisag|bandhu|geha|gamana|para
bhojana|pana|bahu|vyaya|
yag’|6tsava|karinl sva|tantr” eva;
Bhiksuka|tapasajbhakta
sva|jana|vimukta mano|ram’|asakta
darsana|dlksa|rakta
dayita|virakta samadhi|samyukta;
GosthI|ranjana|mitra
vacanajvicitra sa|sabdajpadatra
gala|dhrta|yaga|pavitra
vijneya nasta|caritra.
Satat’/anurakta/dosa
mohita/janata bahu/grahas capalah
samdhyah striyah
pisacyo rakta/cchaya/harah krurah.
x 7 2
THE GRACE OF GUILE 3 : LUST
is addicted to an entanglement
of all kinds of amorous sports;
A woman keen to visit sacrifices,
sacred fords, temples, astrologers,
physicians, and relatives,
a woman who, as though she were independent,
arranges festivals of ceremonial offerings
with great expense for drink and food;
A woman devoted to monks and ascetics,
a woman abandoned by her kinsfolk,
a woman attached to pleasant things,
a woman desiring to see icons and have initiations,
a woman separated from her lover,
but with him in meditation;
A woman whose friends divert themselves
with social functions,
a woman who entertains with her words,
a woman with clattering shoes,
or a woman with sacrificial grass around her neck,
—such like must be known as a woman of loose conduct.
Women are twilight-skies,
are ever fond of vices : ever reddening the night,
delude people : delight people,
take many men : are full of planets,
are inconstant : last but a short while ;
they are cruel demonesses
beautiful with red cheeks : drawn by the life-glow of
blood.
173
THE THREE SATIRES: KSHEMENDRA
3.30 Kasya na vahana|yogya
mugdha|dhiyas tuccha|sasane lagnah
samdhataya prasama|rucah
capalasu strlsu ye dantah?
Srrigara|saurya|kathanam
asamanjasa|dana|varnana vividhah
etavad eva tasam
amantra|yantram vasl|karanam.
Kali|kaIa|timira|rajanT|
rajani|carlnam sahasra|mayanam
strlnam nrsamsa|caritaih
kasya na samjayate kampah?
Nirjita|dhana|pati|vibhavo
babhuva bhuvi visruto vanifijnathah
Dhanadatto nama pura
ratnanam asrayah payodhir iva.
Tasy’ abhavad vibhutih
murt” eva Manojbhuvah sulalit’|angl
tanaya nayanajvilasaih
vijit’|asa Vasumatl nama.
3.35 Pradadau sa tam aputrah
putra|pade vinihitam priyam putrlm
vanije vibhava|kul’|odaya|
tulyaya Samudra|dattaya.
Ramamanah sa taya saha
harin”|aksya svasura|mandire suciram
prayayau kada cid agre
dvlp’|ayatasya sarthasya.
174
THE GRACE OF GUILE 3: LUST
For whom might naive men, — 3.30
obedient to the slightest whim of women,
who have lost their dignity
because they have become emasculated,
who are subdued among women,—
not serve as beasts of burden?
Bragging of audacity in love,
and various boasts of gifts to unworthy people,*
this is sufficient to captivate* women
without using mantras or yantras.
Who does not tremble at the cruel deeds of women,
who are night-stalkers
on nights dark like the age of discord,
who know thousands of sorceries?
Once, there was a world-famous merchant-prince called
Dhana-datta who surpassed the God of wealth with his
splendor. Like the sea, he was a repository of gemstones.
He had a voluptuous daughter called Vasumati, the mag¬
nificence of the God of love embodied, as it were. With the
playful movements of her eyes she had conquered the points
of the compass.
Being sonless, he appointed his cherished daughter as heir 3.35
in place of a son, and gave her in marriage to the merchant
Samudra-datta, her equal in wealth and noble lineage.
For a long time Samudra-datta remained in his father-in-
law’s palace, enjoying the pleasures of love with the doe-eyed
maiden. Then, the time came when he set out at the head
of a trade caravan which had arrived from a foreign island.
175
THE THREE SATIRES: KSHEMENDRA
Patyau yate tarunl
janaka|grhe harmya|sikharam arudha
vilalasa vilasa|mahl|
keli|vilola sakhlbhih sa.
Saudhe Manmatha|rupam
prthu|nayana pathi dadarsa purusam sa
yam drstv” aiva gat” asyah
kv’ api dhrtih kumati|kupit” eva.
Sa tena capala|nayana
sahasa musit” eva harita|vicara
adhyavasay’|asakta nitaram
samvarane smara|vikarasya.
3.40 «$Ilam palaya capale!
ma pataya nimnag eva kula|kulam»
iti tam avadad iv occaih
kamp’|akula|mukhara|mekhala suciram.
Sa krtva vidita|katham
rahasi sakhim aninaya tam tarunam.
calitam hi kaminmam
dhartum saknoti kas cittam?
Kamam kama|vikasaih
suratajvilasaih sunarma|parihasaih
sahaja|premainivasaih
mumude sa svairini tena.
Atha krtajnija|dhana|krtyah
tvaritam dayita|vilokan’ jotkanthah
avisat Samudradattah
svasur’|avasam mah”|arambhah.
176
THE GRACE OF GUILE 3: LUST
While her husband was abroad, the young lady ascended
to the spires of her father’s palace and diverted herself by
playing games on the amusement-terraces* with her friends.
While she was among the spires, the large-eyed lady es¬
pied on the road a man, as beautiful as the God of love.
No sooner had she seen him, than her self-control slipped
away, as though angered by her improper thoughts.
The lady with tremulous eyes, deprived of her discern¬
ment, seemed as if she had been forcibly robbed by him,
and was incapable of mustering enough purpose of mind
to conceal the changes love had wrought in her.
Her girdle, tinkling because it was shaken by tremors,
seemed ever to call out to her in shrill tones:
“Hold on to your morals!
Do not drag down the limits of your family!”
In secret, she confided the affair to her friend and ordered:
“Bring me that young man!” For, who can grasp the volatile
mind of impassioned women?
The uninhibited woman made love with him to her
heart’s content, with rising passion, with playful gestures
during intercourse, with wit and humor, and with love-
nests chosen at fancy.*
Samudra-datta, with great haste, settled his financial af¬
fairs, and, longing to see his beloved wife, he rushed home
to his father-in-law’s residence.
3.40
177
THE THREE SATIRES: KSHEMENDRA
Vip ula| mah” | otsava| llla|
vyagra|janair bhoga|sampadam nicayaih
ati|vahya dinam dayita
sahitah sayyajgrhe sa yayau.
3.45 Viracita|varatara|sayane
baddha|vitane manorama|sthane
jrmbhita|saurabha|dhupe
sura|grha|rupe pradlpta|mani|dlpe.
Tatra sa madhu|kara|vilulita|*
locana|kamalam priyam samadaya
mada|gaja iva nava|nalinlm
bheje rati|lalasah sayyam.
S” api hrday’/antara/sthital
para/purusa/dhyana/baddha/Jabs ” aiva
tasthau nimllit’|aksl
dhyana|para yogin” iva ciram.
Alingana|paricumbanaJ
nIvi|vimoksesu bahutar’|6cchvasa
patyau sankucit’|angi
sasmara tam eva sila|haram.
Pranaya|kupit” eti matva
mugdhajpatis tam Samudradatto pi
pranipatya catu|karaih
kim api yayace prasadaya.
3.50 Para|purusa|raginlnam
vimukhlnam pranaya|kopajvamanam
purusa|pasavo vimudha
rajyante yositam adhikam.
178
THE GRACE OF GUILE 3: LUST
The day was spent with people revelling in the merri¬
ment of a huge festival, and with an exuberance of exquisite
entertainments. Then he retired with his beloved wife to
the sleeping-quarters.
They were furnished with an impeccable bed, covered 3.45
with a canopy, delightfully appointed, suffused with fra¬
grant incense, as beautiful as a palace of the Gods, and
provided with gleaming jewel-inlaid lamps.
There, he took hold of his beloved, whose eye-lotuses
were tremulous with flitting bee-pupils and, eager for love-
making, he went to bed, just as a rutting elephant enters a
pond full of fresh lilies.
Her thoughts, on the other hand, centered on that other
man who dwelt in her heart. She remained indifferent with
her eyes shut for a long time like a Yogini deep in meditation,
who has fixed as the goal of her meditation the supreme soul
which abides in the innermost heart.
Time and again she sighed while he embraced her, kissed
her and undid her garments. She shrank from her husband
and remembered only him who had robbed her virtue.*
Her naive husband Samudra-datta thought her to be co-
quettishly feigning anger.* He fell at her feet and tried hard
to mollify her with honeyed words.
For dim-witted man-beasts are even more fascinated by 3.50
women infatuated with other men, who are standoffish and
obstinate with feigned anger.
179
THE THREE SATIRES: KSHEMENDRA
Kim kriyate kamo yam
parajgata|kamah sva|tantra|kamas ca?
bata Sasa|dhara|raktayam
Samdhyayam Bhaskaro ragl.
Gudh’|6pavana|nikunje
nyastam sa vallabham sa|samketam
samcintya ciram sva|patim
visam iva sammurchita mene.
Nidra|mudrita|nayane
pranaya|srante Samudradatte sa
utthaya racitajvesa
sanakair gaman’jonmukhl tasthau.
Caurah ksane ’tha tasmin
madhujmatta|jane pravisya tad|bhavanam
gaman’|6nmukham apasyan
mukhar’jabharanam alaksyas tarn.
3-55 Arr’antare saf’/arikah
sanakaih Suralraja/vallabham kakubham
cakita iv asu cakampe
mllita/taram samalingya.
180
THE GRACE OF GUILE 3: LUST
How can love manage to be both
aimed at dependency on another
and also aimed at being independent?
Alas! The Sun loves lady Twilight
who loves the hare-marked Moon.*
For a long time she fantasized about her lover who lay
waiting in a concealed bower in a grove as agreed, and
swooning, she thought of her husband as venom.
At last, when Samudra-datta’s eyes were sealed by sleep,
exhausted as he was by his attemps to placate her, she arose,
quietly put on her garments, and paused, ready to leave.
Now, at that very moment, a thief entered the building
while the people were intoxicated with wine. Unnoticed, he
watched her as she stood there anxious to depart, tinkling
with ornaments.
Just then, the hare-marked moon,
which had slowly risen into the eastern quarter,
twinkling with stars,
suddenly Bickered* with a Hash, as it were.
: The moon,
slowly embracing the lady of the eastern quarter,
beloved by the king of Gods,
who had shut her eyes,
suddenly trembled,
exhilarated, as it were.
181
3-55
THE THREE SATIRES: KSHEMENDRA
Samkocita|kamalayah
kumuda|vij rmbha|viraj amanayah
prasasara Tuhina|kirano
Yaminyah kapata|hasa iva.
Ra vi/paritapa/sran tam
vlksya Divam prasarad/indu/s’/anandam
jahasur iva kumuda|vrndaih
ali|kula|jhankara|nirbhara vapyah.
Jagraha rajani|ramanl
sasi|karajhrta|timira|kancuk’|avarana
lajj”|anvit” eva puratah
kumud’|amod’|akul’|aIi|patala|patam.
Supta|jane tha nis”jardhe
candr’|aloke’pi vimalatam yate
tamas ’ iva nirvisanka
sa sanakair upavanam prayayau.
182
THE GRACE OF GUILE 3: LUST
The cold-rayed Moon came forth
as though he were pretending to be
the laughter of the Night,
who drew back her pale red lotus-lips,
and who was bright
with wide open night-lily-teeth.
On seeing the sky,
exhausted by the scorching heat of the sun,
rejoice at the rising of the moon,
: On seeing lady Div,
worn out by the passionate ardor of Ravi,
rejoice as he reaches his climax,
the ponds, seemed to laugh, as it were,
with clusters of night-lilies,
boisterous with the drone of bee-swarms.
The beautiful lady night,
her veiling bodice of darkness
pulled off by the rays* of the moon,
seemingly abashed,
veiled herself in a cloak of swarms of bees
excited by the scent of night-lilies.
Then, when everyone was asleep at midnight, the un¬
daunted lady quietly went to the grove in a darkness of
immorality,* as it were, even though the moon was bright.
183
THE THREE SATIRES: KSHEMENDRA
3.6° Atha sa vivesa vivasa
visama/sara/plosita nij’/dpavanam
channam bhusana/lobhad
anuyata vismitena caurena.
Tatra dadarsa vibhusitam
ujjvala|lalit’|amsukam lasat|kusumam
sanka|janakam vipine
paksibhir upalaksitam dayitam.
Hrdaya|dayita|viyoga|
jvalana|jvar|avall|taptam
din|mukhajvilasita|rucina
candrena kar’|analair dagdham.
Cira|sanketa|sthitya
mukt’|asam priyatama|punar|milane
vrks’|alambita|valll|
valay’|alambena vigalita|pranam.
Tam drstv” aiva villna
vilapantl vyasana|soka|samtrasaih
nipapata vallar” lva
kvanad|ali|valay’jakula tanvi.
3.65 Sammoha|mIlit’|aksI
suciram sthitva mahlm samalingya
sanakair avapta|jlva
vilalapa laghu|svaraih svairam.
184
THE GRACE OF GUILE 3: LUST
The impulsive woman, 3.60
burnt by the God of love
who bears an uneven number of arrows,
entered the familiar grove,
secretly followed by the astonished thief
out of greed for her ornaments
: like a hunted animal wounded by terrible arrows,
she entered her grove wishing to die, *
secretly followed by the gleeful hunter
greedy for trophies.
There she beheld her lover. He wore ornaments, was
clothed in a shimmering, sumptuous robe, he gleamed with
flowers, ominous in the thicket, he was advertised by birds.
He had been scorched by the banks of blazing flames
of separation from his heart’s beloved, and blistered by the
moon, whose splendor illuminated the quarters, with fires
which were his rays.
After waiting for a long time at the rendez-vous, he had
given up hope of ever meeting his beloved again. His life
had drained away as he hanged himself in the noose of a
vine dangling from a tree.
When she saw him, the slender lady faltered, and weeping
with shivers of grief at the tragedy, she fell to the ground
like a vine overrun by swarms of humming bees.
Her eyes closed in oblivion, she lay there for a long time, 3.65
embracing the earth. Then, slowly regaining consciousness,
she sobbed without holding back with feeble tones.
185
THE THREE SATIRES: KSHEMENDRA
«Ha ha! nayan’|ananda!
kva nu te purn’|endu|sundaram vadanam?
draksyami mandajbhagya
kim idam? kv’ aham kva me kantah!»
Iti taruna|karunam abala
vilapya pasam vimucya yatnena
anke dhrtv” asya mukham
cucumba jlvam ksipant” iva.
Sa tasya vadana|kamalam
nija|vadane mohita krtva
tambula|garbham akarot
fprakatita|sakara|rag” eva.f
Atha tasyah kusum’|otkara|
mrga|mada|dhup’|adi|saurabh’|ahutah
avisya sava|sarlram
nasam ciccheda vetalah.
3.70 Sa prapya capal’|6citam
anaya|phalam chinnajnasika gatva
bhavanam pravisya
bhartus taram «hah” eti» cukrosa.
Pratibuddhe sakala|jane
nada|traste Samudradatte ca
«sa nasika mrt” eyam
bhartra chinn” eti» cakranda.
svasur’|adi|bandhu|vargaih
prstah kupitaih Samudradatto’pi
vikritah para|dese
muka iv oce na kim cid api.
186
THE GRACE OF GUILE 3: LUST
“Alas! Alas! O delight of my eyes! Where now is your face,
handsome like the full moon? Will I, hapless woman, see it
again? What a gulf between between me and my lover!”
The frail woman lamented tenderly and pitifully. She
struggled to release the noose, held his face in her lap and
kissed him as though she were transferring life back into
him.
Dazed, she pressed her own mouth against his mouth-
lotus and transferred betelnut into it, fas though to demon¬
strate the depth of her lovef.
Now a Vetala was summoned by the fragrance of the piles
of flowers, musk-incense and the like. He entered the corpse
and bit off her nose.*
Reaping retribution for her misconduct appropriate to
her insolence, she escaped with a severed nose.* She entered
the house of her husband and shrieked aloud: “Alas! Alas!”
When everyone had been awakend, and Samudra-datta
was frightened by the noise, she wailed: “My nose is ruined,
cut off by my husband!”
When her angry kinsmen, headed by the father-in-law
questioned Samudra-datta, he said nothing at all, as though
he were a dumb person being sold in a foreign land.*
3.70
187
THE THREE SATIRES: KSHEMENDRA
Atha c’ asya samprabhate
bandhubhir avedite nrpa|sabhayam
tatr abhun nrpa|kopo
bahu|dhana|dandah Samudradattasya.
Cauro ’pi nikhila|vrttam
pratyaksam aveksya vismay’|avistah
avedya bhupajpuratah
prapya ca valay’|adi|satkaram;
3.75 Udyane sava|vadane
tasyas tam nasikam ca samdarsya
niskarana|suhrd|ucitam
suddhim vidadhe Samudradattasya.
Ity etah kutilatarah
krur’|acara gata|trapas capalah
yo nama vetti vamah
sa stribhir n’ aiva vancyate matiman.
iti maha|kavi|sri|Ksemendra|viracite
Kala|vilase
kama|varnanam nama
tritiyah sargah.
188
THE GRACE OF GUILE 3: LUST
So, in the morning her kinsmen reported the crime in
the royal court. The king’s wrath fell upon Samudra-datta
and he was fined a huge sum of money.
Now the thief who had witnessed the whole affair was
stricken with wonder. He reported it before the king, and
on receiving a reward of a bracelet and such like,
He pointed out her nose in the mouth of the corpse in 3.75
the grove. Thus he exonerated Samudra-datta as it would
have befitted a friend with no ulterior motive.
The wise man,
who truly understands such beautiful ladies
to be exceedingly crooked,
cruel in conduct, shameless and fickle,
is not deceived by women.*
The third canto,
named the depiction of lust,
in the “Grace of Guile” composed by
the great poet Kshemendra.
189
THE GRACE OF GUILE
4. UNFAITHFULNESS
T atr’ api vesa|yosah
kutilatarah kuta|raga|hrta|lokah
kapata|caritena yasam|
Vaisravanah pravanatam eti.
Harinyas catulatara
bahula/tarangas ca nimna/gaminyah
nadya iva jaladhi|madhye
vesya|hrdaye kalas catuh|sastih.
Vesa|kala nrtya|kala
glta|kala vakra|vlksana|kala ca
kami|parijnana|kala
grahana|kala mitra|vancana|kala ca;
Pana|kala keli|kala
surata|kal”|alingan’|antara|kala ca
Irsya|kali|keli|kala
ruditajkala kopa|samksaya|kala ca;
4-5 Cumbana|nakha|danta|kala
nirlajj”|avega|sambhrama|kala ca
virah’|asaha|raga|kala
kama|pratisedhajniscaya|kala ca;
Sveda|klama|kampa|kala
punar|ekanta|prasadhana|kala
netra|nimllana|nihsaha|
nispanda|kala mrt’|opama|kaIa ca;
192
A mong them, courtesans are the most perfidious.*
they ravish the world with feigned love,
to whom, by treacherous machinations,
even the God of wealth becomes a generous donor.
In the heart of courtesans
are sixty-four arts : motions ;*
they are ravishing : destructive, fickle : heave,
capricious : abound in waves,
and consort with mean characters : How downwards;
just as there are currents
in the ocean.*
The art of couture,
the art of dancing,
the art of singing, the art of sidelong glances,
the art of recognising lustful men,
the art of ensnaring, the art of deceiving friends;
The art of cocktail-making, the art of amorous sport,
the art of intercourse, the art of various embraces,
the arts of playful jealousy and quarrel,
the art of crying, the art of dissipating anger;
The arts of kissing, scratching and biting,*
the arts of being shameless, aroused, and ardent,
the art of passion which cannot endure separation,
the art of resolving to frustrate passion;
The arts of perspiring, fatigue and trembling,
the art of frequently freshening up in private,
the arts of shutting the eyes,
the art of appearing powerless and motionless,
the art of appearing dead;
4-5
193
THE THREE SATIRES: KSHEMENDRA
Nijajjananl|kalaha|kala
sad|grha|gaman’ |eksan’ |otsava|kala ca
sarvasv’|aharana|kala
yacna|kali|kala caura|parthiva|kala ca;
Gauravajsaithilya|kala
niskarana|dosa|bhasana|kala ca
sula|kal”|abhyanga|kala|
nidr” (aksijrajasvalavara|kala ca;
Ruksa|kala tlksna|kala|
gala|hasta|grh’|argar|arpana|kala ca
samtyakta| kamuk’ | ahrti |
darsana|yatrajstuti|kala ca;
4.10 Tlrth’jopavana)sur’|alayaj
viharana|hela|kala graha|kala ca
vasy”|ausadha|mantra|kala|
vrsyajkala kesa|ranjana|kala ca;
Bhiksuka|tapasa|bahujvidha|
punya|kala dvlpa|darsana|kala ca
khinna|kala)tri|sastya
paryante kuttinl|kala vesya.
194
THE GRACE OF GUILE 4: UNFAITHFULNESS
The art of brawling with her own mother,
the art of glad eyes when visiting her house,
the art of stealing everything,
the arts of being a king among thieves,
and a hero among scroungers;
The arts of indifference and cumbrousness,
and the art of slandering without cause,
the art of acute pain,
the art of applying unguents,
the arts of sleepy eyes
and being at the lowest ebb of menstruation;*
The art of being unkind,
the art of vehemence,
the art of locking,
the art of fastening her house’s door-bolt
the art of throttling,
the arts of calling back jilted lovers
and going to see deities, pilgrimages, and hymns of praise;
The arts of being frivoulous
while roaming about sacred fords, pleasure groves,
and temples,
the art of demonic possession,
the art of drugs and mantras used for subjugation,
the art of sexual stimulation,
the art of dyeing hair to disguise the age;
the art of knowing the many merits
of Buddhist monks and ascetics,
the art of visiting refuges,
and the sixty-third art being decrepitude
the courtesan ends up becoming a procuress.
4.10
195
THE THREE SATIRES: KSHEMENDRA
Ajnata|nama|varnesu
atm” api yay” arpyate dhan’|amsena
tasya api sad|bhavam
mrgayante megha|sankasam.
Nikhilalj ana|vancan’ |arj itam
akhila|dhanam raga|dagdha|hrdayanam
khadati guna|gana|bhagno
nagno hlno thava kas cit.
NIcas turag’|aroho
hasti|pakah khalataro thava silpi
vancita|sakala|jananam
tasam api vallabho bhavati.
4.15 Raja Vikramasimho
balavadbhir bhumipaih pura vijitah
man! yayau vidarbhan
Guna|yasasa mantrina sahitah.
Tatra sa vesya|bhavanam
pravisya bhuvi visrutam Vilasavatim
bheje ganikam bahu|dhana|
bhojyam aty|alpa|vibhavo ’pi.
Tam raja|laksanj6citam
ajjanu|bhujam vilokya prthu|sattvam
vividha|mani|kanaka|kosam
cakre sa tad|vyay’|adhinam.
Sahajam anuragam adbhutam
aucityam viksya bhu|patis tasyah
vismaya|vivasah premna
jagada vijane mah”|amatyam.
196
THE GRACE OF GUILE 4: UNFAITHFULNESS
She who, for a little money,
hands herself over to men whose name and caste is unkown,*
—her reality, which resembles that of clouds,
is still a matter of enquiry.
All of the money of men
whose hearts have been burnt by desire,
that she gained from deceiving everyone,
is eaten up by some depraved character,
a naked mendicant,
who has eradicated a host of virtues,
or even better someone lowborn.
A base man, a horseman,
an elephant-driver, or a villainous craftsman,
becomes the beloved of these courtesans
who have deceived all people.*
Long ago, king Vikrama-simha was defeated by powerful
enemy monarchs. Indignant, he went to Vidarbha with his
minister Guna-yashas.*
There, he entered a brothel and, although in reduced
circumstances, frequented the famous courtesan Vilasavati,
enjoyed by men of great wealth.
Perceiving him to be a man of great vigor, with arms
reaching down to his knees,* evidence confirming his royal
constitution, she put a treasury of gold and all variety of
jewels at his disposal.
Seeing her innate affection and remarkable decorum, the
king, unsettled with astonishment, affectionately spoke to
his chief minister in private:
4-U
197
THE THREE SATIRES: KSHEMENDRA
4.20
4.2.5
«Citram idam bahu vittam
ksapayati vesy” api mat|krte trnavat.
priti|padavlm visrsto
vesyanam dhana|nibandhano ragah.
Mithya dhana|lava|lobhad
anuragam darsayanti bandhakyah.
tad api dhanam visrjati ya
kas tasyah premni samdehah?*
Iti vacanam bhumi|pateh
srutva mantri vihasya s’|asuyah
tam uvaca «kasya rajan
vesya|carite ’sti visvasah?
Etah satya|vihlna
dhana|lava|llnah sukha|ksan’|adhinah
vesya visanti hrdayam
mukha|madhura nirvicaranam.
Prathama|samagama|sukha|da
madhye vyasana|pravasa|karinyah
paryante duhkha|phalah
pumsam asas ca vesyas ca.
Adyapi Hari|Haradibhih
Amarair api tattvato na vijnatah
bhrama/vibhrama/bah ulmoha
vesyah samsara|mayas ca.»
Iti saciva|vaco nr|patih
srutva krtva ca samvidam tena
mithya|mrtam atmanam
cakre vesya|pariksayai.
198
THE GRACE OF GUILE 4: UNFAITHFULNESS
“This is strange! Though she is a courtesan, she spares
no expense for my sake, as though money were straw. The
passion of courtesans depends on money, has forsaken the
path of love.
Harlots display affection falsely out of greed for a little
money. But she relinquishes that very money, so what doubt
could there be about her love?”
When he heard these words of the king, the minister
laughed and scornfully said to him: “O king! Who can
trust the dealings of a courtesan?
Courtesans are dishonest, they cling to scraps of wealth,
rely on a moment of pleasure, and, uttering sweet cries,
penetrate the hearts of injudicious men.
Men’s aspirations and courtesans are akin: They give plea¬
sure at the first encounter, in the intervening period they
cause calamity and exile, in the end they bear fruits of misery.
Until this very day, even the Gods headed by Hari and
Hara have not really managed to understand either the il¬
lusion of transmigration or courtesans, full of confusions,
deceptive appearances and fallacies : full of infatuation,
coquetry and giddiness. ”
The king listened to the minister’s speech, and agreed
on the ruse of pretending to be dead in order to test the
courtesan.*
4.20
4.25
199
THE THREE SATIRES: KSHEMENDRA
4.30
Tasmin kunapa|sarlre
vinyaste mantrina cita|vahnau
sahas” aiva Vilasavatl
vahni|bhuvam bhtisita prayayau.
Tam prabala|jvaIit’|ojjvala|
jvalana|jvala|nipata|s’javegam
dorbhyam alingya nrpo
«jlvam’ ity» abhyadhan muditah.
Tat tasyah prema drdham
satyam ca vicarya sambhrta|snehah
raja nininda mantrinam
asakrd vesya|gun’|abhimukhah.
Atha veSya|dhana|samcayam
atm’|adhlnam mahl|patir vipulam
adaya gaja|turamgama|
bhata|vikatam adade senam.
Sambhrtalvipulalbal’laughaih
jitva vasudh ’’/adhipan sa bhu|palah
nijam asasada mandalam
indur iv’ ananda|krt purnah.
Sarv’|antah|pura|kanta|
murdhni krtva bhu|bhuja Vilasavatl
susubhe Srir iva camara|
pavanjakulit’|alaka tanvl.
S” atha kada cin narajpatim
ek’|ante viracitjanjalih pranata
uce «natha maya tvam
kalpa|taruh sevitah svayam dasya.
200
THE GRACE OF GUILE 4: UNFAITHFULNESS
When the minister laid his corpse on the funeral pyre,
Vilasavati, immediately rushed to the cremation ground,
wearing her ornaments.*
As she was about to hurl herself headlong into the blazing
conflagration which flared up with fierce flames, the king
clasped her in his arms, and joyfully announced: “I live!”*
Then, convinced that her love was firm and true, the
thoroughly infatuated king scolded the minister not once,
being committed to the virtues of the courtesan.
Now, the king, using the amassed wealth of the courtesan
put at his disposal, built up a mighty army of elephants,
horses, and warriors.*
The king conquered the rulers of the earth with an in¬
undation of his well-equipped, vast forces and regained
his own realm, spreading delight like the moon, who out¬
matches the mountains by raising up huge, powerful tidal
Hoods.
The king installed Vilasavati at the head of the whole
harem; the slender lady, her locks fanned by a light wind
from Yak-tail whisks,* shone like Lakshmi.
Then, one day, when they were alone, she folded her
hands, bowed to the king, and said: “O lord, I have served
you as my wish-granting tree, abasing myself as a slave.
4.30
201
THE THREE SATIRES: KSHEMENDRA
Yadi nama kutra cid aham
yata te hetutam vibho laksmyah
tan mama saphalam asam
arhasi kartum prasadena.
Punya/phala/prapyanam
hrta/para/rajasam sva/bhava/vimalanam
tirthanam iva mahatam
na hi nama samagamo viphalah.
4.35 Abhavan mama ko’pi yuva
dayito dhana|jlvit’|adhikah preyan.
baddhah sa Vidarbha|pure
daivajvasac cora|rupena.
Tan|muktaye maya tvam
saktatarah sevito mahl|natha.
adhuna kriyatam ucitam
sattvasya kulasya sauryasya.»
Iti vancanam avapto
vismita iva tad|vaco nrpah srutva
suciram vilokya vasudham
sasmar’amatya|vacanam sah.
Atha tarn tath” aiva raja pari|
santvya vidarbha|bhu|bhujam jitva
bandhana|mukten’ asyah
caurena samagamam cakre.
Ity evam bahu|hrdaya
bahu|jihva bahu|karas ca bahu|mayah
tattvena sattva|rahitah
ko janati sphutam vesyah?
202
THE GRACE OF GUILE 4: UNFAITHFULNESS
If, in any way, O great one, I have contributed to your
fortune, then you should oblige me by fulfilling my hope.
An encounter with the great, who can be reached as the
reward of merit, who are not tainted with the defilements
of others, who are inherently pure, is like an encounter
with sacred fords : which are suitable to attain great merit,
which have destroyed the greatest sins, which are by nature
pellucid- it cannot be unprofitable.
I had a certain young lover, more dear to me than money
or life. As fate would have it, he is imprisoned in the city of
Vidarbha as a thief
Great king! I have served you according to my abilities in
order to free him. Now do what befits your character, your
lineage and your valour!”
When the king realised that he had been cheated he was
as if dumbfounded. He stared at the ground for a long time
and recalled the words of his minister.
Then the king nevertheless consoled her. He vanquished
the king of Vidarbha and brought about her reunion with
the thief released from prison.
Therefore, who can truly known courtesans, who have
many hearts, many tongues, many hands, many disguises,
who are really devoid of all essence?*
4-35
203
THE THREE SATIRES: KSHEMENDRA
4.40 Varnana|dayitah kas cid
dhana|dayito dasa|karma|dayito ’nyah
raksa|dayitas c’ anyo
vesyanam narma|dayito ’nyah.
iti maha|kavi|sri|Ksemendra|viracite
Kala|vilase
vesya|vrttam nama
caturthah sargah.
204
THE GRACE OF GUILE 4: UNFAITHFULNESS
Courtesans love one man for his praise, another for his
wealth, another for his servility, another for his protection,
another for diversion.
The fourth canto,
named the affairs of courtesans,
in the “Grace of Guile” composed by
the great poet Kshemendra.
4.40
205
THE GRACE OF GUILE
5. FRAUD
M oho nama jananam
sarva|haro harati buddhim ev’ adau,
gudhatarah sa ca nivasati
kayasthanam mukhe ca lekhe ca.
Aindava|kal” eva purna
nispanna sasyalvitta/sampatuh
grasta ksanena drsta
nihsesa divira/rahu/kalay” eva.
Jnatah samsara|kala
yogibhir apayata|raga|sammohaih,
na jnata divira|kalah
ken’ api bahu|prayatnena.
Kuta|kala|sata|sibiraih
jana|dhanajvivaraih ksaya|ksapa|timiraih
divirair eva samasta
grasta janata na kalena.
208
1 \ elusion indeed robs people of everything.
At its onset it strips away judgement.
Well concealed, it shelters in the mouth
and the writing of the scribe.*
A well-provisioned granary
is like the phase of the moon:
once espied it is, : it is observed to be
completely devoured : completely eclipsed
in an instant : for an instant
by the scribe’s cunning : the power of the sky-going
at making things vanish : eclipse-demon Rahu.*
Yogins,
freed from delusion and craving, can see through
the phantasms of transmigratory existence.
But nobody,
try as he may, can understand
the subterfuges of the scribe.
With a legion of hundreds of fraudulent talents,
with open pockets for the wealth of the people,
inscrutable like a moonless night,—
it is scribes who consume all humanity,
not time.
209
THE THREE SATIRES: KSHEMENDRA
5-5
Ete hi kala/purusah
prth utara / danda/prapata/ha ta /lokah
ganan’|aganana|pisacah
caranti bhurja|dhvaja loke.
Kas tesam visvasam
Yama|mahisa|visana|koti|kutilanam
vrajati na yasya visaktah
kanthe pasah Krt’|antena?
Kalam ’/agra/nirgata/masl/
bindu/vyajena sanjan ’/asru/kanaih
kayastha / khanyamana
roditi khinn ” eva rajya|srih.
Anka|nyasair visamaih
Maya|vanit”|alak’|avalT|kutilaih
ko nama jagati racitaih
kayasthair mohito na janah?
210
THE GRACE OF GUILE 5: FRAUD
For, 5-5
these men of black ink : minions of Death*
wreak havoc among the people : kill people
with the effluent of their large pens : blows from their
huge staffs.
They are demons of calculation and misreckoning,
who march across the earth
under a banner of birchbark.
Who would place his trust in them,
who are as crooked as the tips
of the horns of Yama’s bull,
unless Death, who brings the end
should fasten a noose around his throat?
The patron goddess of the kingdom,
plundered : raped
by scribes with inky semen
squirting from the tips of their reed-like penises,
seems to weep in anguish,
shedding kohl-stained teardrops : the tears ofAhjana,*
disguised as ink-drops squirting from reed-pens.*
Has anyone in the world not been duped
by the fabrications
of these scribes
who scribble distorted figures,
crooked like the curling locks of lady Maya?
211
THE THREE SATIRES: KSHEMENDRA
Maya/prapanca/samcaya/
vancita/visvair vinasitah satatam
visaya/grama/grasaih
kayasthair indriyair lokah.
5.10 Kutila lipi|vinyasa
drsyante kala|pasa|samkasah
kayastha|bhurja|sikhare
mandala|llna iva vyalah.
Ete hi Citraguptah
citra|dhiyo guptalharino divirah
rekhajmatra|vinasat
sahitam kurvanti ye rahitam.
Loke kalah prasiddhah
svalpatarah samcaranti diviranam,
gudha|kalah kila tesam
janati Kalih Krtanto va.
212
THE GRACE OF GUILE 5: FRAUD
The public
is relentlessly devastated by scribal bureaucrats,
who deceive all by false accounting
and officious documentation,
who are parasites on the villages in their influence;
just as the organs of perception,
: which reside in the body,
which grasp the range of sensory objects
and mislead everyone
with illusory manifestation and resorption,
continuously obstruct illumination.
Twisted jottings,
resembling the nooses of Death,
can be seen coiling like snakes
on the scribe’s birch-mountain.
For perverse-minded scribes,
who steal in secret : stealthily take life,
are hell’s scribal recorders of good and evil deeds.
By deleting a mere line
they can make the “possessor” (sa-hita),
the “dispossessed” (ra-hita).*
Few are the arts of the scribe
which pass as common knowledge.
Perhaps their secret arts are known
to Kali or to the Bringer of the End?
5.10
213
THE THREE SATIRES: KSHEMENDRA
Vakra|lipi|nyasa|kala
sakal’lankalnimllanajkala
satata|pravesa|samgraha|
lopa|kala vyaya|vivardhana|kala ca;
Grahya|pariccheda|kala
deya|dhan’|adana|karana|kala ca
utkocair harana|kala|
paryantajbhuvam palayana|kala ca;
5-15 Sesa|stha|viveka|kala|
calajrasi|samagra|bhaksana|kala ca
utpanna|gopan|kala
nasta|vislrna|pradarsana|kala ca;
Krayamanair bharana|kala
yojana|caryadibhih ksaya|kala ca
ekatra panca|dasyam
luntha|cikitsa|samasana|kala ca;
Nihsesa|bhurja|dahad
agama|nasas ca paryante
yena vina vyavahari
bhury|agrahane niralokah.
Sa/kalahkasya ksayino
nava/nava/rupasya vrddhi/bhajas ca
divirasya kalah kudlah
sodasa dos” / akarasy’ aitah.
214
THE GRACE OF GUILE 5: FRAUD
The art of ambiguous transcription,
the art of obscuring whole figures,
the art of always rifling the collected revenue,
the art of increasing expenditure;
the art of detaching a share of the profit,
the art of legal documentation for appropriating the dues,
the art of larceny through bribery,
the art of making off to a neighbouring region;
the art of removing surplus,
the art of completely swallowing up moveable property,
the art of withholding any gain,
the art of letting reappear what was wasted or squandered;
the art of gaining wages by purchasing,
the art of causing loss by fiddling travel expenses;
the art of sitting around in one place
for a fortnight for the treatment of lameness,
and finally, the destruction of evidence
by completely burning the birchbark document,
without which the litigant
remains in the dark regarding the retrieval of his gold.
These are the sixteen crooked arts of the scribe,
the mine of defects, who is smeared with ink-blots,
who diminishes wealth, who takes on many disguises,
who appropriates a share of one’s income.
These are the sixteen curved digits of the Night-maker,
who bears a mark, who wanes
and then again assumes a new form,
waxes, and moves in the sky*
5-U
215
THE THREE SATIRES: KSHEMENDRA
Kuta/sthah kaya|sthah
sarva/na/karena siddha/mantrena
gurava iva vidita/maya
vnti/cchedam ksanena kurvanti.
5.20 Harita|dhana|pana|vasanah
caurya|bhayad bandhubhih parityaktah
babhrama mahlm akhilam
tlvra|vyasanah pura kitavah.
Sa kada cid etya punyaih
Ujjayinlm tatra majjanam krtva
vicaran vijane Purahara|
mandiram avalokayam asa.
$uny’|ayatane gatva
varadam devam drstrva Maha|kalam
upalepana|kusumajphalaih
nirvyaparah siseve sah.
Stotra|japa|gIta|dIpaih
vipula|dhyanair nisasu nirnidrah
tasthau tatra sa suciram
duhsaha|daurgatya|nasaya.
Tasya kada cid bhaktya
subhajsatalhutya prasaditah sahasa
bhava|bhaya|harl bhagavan
Bhutapatih sambabhase tam:
216
THE GRACE OF GUILE 5: FRAUD
Scribes trust in falsehood,
they have mastered delusion and in an instant
can destroy a livelihood with their magical formula
which is made up entirely of “No’s”;
Just as gurus,
who have attained the unchanging supreme spirit,
and who have seen through delusion, can terminate
the continuation of rebirth with their perfect mantra
which denies the existence of everything.
Long ago, a severely addicted gambler was relieved of his
stake of money and home. Cast out by his relatives who
feared he would rob them, he roamed the entire earth.
One day, by virtue of his accumulated merit, he reached
the sacred city of Ujjayini. Strolling about there in solitude
after his ritual bath, he beheld a temple dedicated to Shiva
the Breaker of the Citadel.
He entered the deserted sanctuary and saw the idol of
Maha-kala, the God who grants boons. Abstaining from all
other activity, he worshipped with offerings of unguents,
flowers and fruit.
He remained there for a long time, wakeful at night with
hymns of praise, whispered prayers, chants, lighted lamps
and deep meditations, seeking deliverance from his unbear¬
able misfortune.
There came a time when, gratified by his devotion and
hundredfold-fair invocation, the revered Shiva, Lord of the
spirits, the dispeller of the dread of existence, suddenly spoke
to him:
5.20
217
THE THREE SATIRES: KSHEMENDRA
5.25 «Putra grhan’ ety» ukte
devena kapala|malikajsikhare
ekam kapalam asakrt
cakre samjnam Purarateh.
Ardh’|okte sthagitajvarah
sampldana|samjnaya kapalasya
tusnlm cakara Rudro
daridryat kitava|punyanam.
Snatum yate tasmin
vijane devah kapalam avadat tat
dant’|amsu|patala|pallm
Gangam iva darsayann agre:
«Asya kitavasya sadhoh
bhaktasya cira|sthitasya vara|dane
kasmat tvaya mam’ aisa
vihita sampldanaih samjna.»
Iti Bhagavata kapalam
prstam provaca sa|smitam sanakaih
visama|nayan’|6smajvigalan
maur|indu|sudha|rasair jlvat:
5.30 «Srnu Bhagavan yena maya
vijnapto ’si sva|bhava|saral’|atman
sulabho ’pi bodhyate va
niskaranam Isvarah kena?
Esa kitavo ’tiduhkhl|
daridryad virata|sakala|nija|krtyah
prasade ’smin racayati
lepana|bali|kusuma|dhup’|argham.
218
THE GRACE OF GUILE 5: FRAUD
“Son, accept....” No sooner had the God said this much, 5.25
than a skull at the crest of his chapletof human skulls of
human skullhumans repeatedly prodded the Enemy of the
Citadel with a signal.
Rudra, whose boon-granting was stifled in mid-sentence
by the tapping signal of the skull, fell silent, since now the
meagre merits acquired by the gambler were exhausted.
When that one had departed to bathe, the God spoke in
private to that skull, revealing at his front the sharp edge
of a skirt of brilliance shooting from his teeth, as though it
were the Ganges:
“Why, when I was about to fulfil the wish of this worthy
gambler, a long-time devotee, did you prod me with your
signal?”
Questioned in this way by the Revered One, the skull
smiled and softly replied, simultaneously withering beneath
the glare of his third eye and reviving with the nectar-elixir
of his crest-moon:
“O Lord whose disposition is forthright, hear why I have 5.30
apprised you. For who would admonish his master without
reason, even if he be easily approachable?
This miserable cheat, forsaking in his destitution all of his
own duties, renders you respectful homage with ablutions,
offerings, flowers and incense.
219
THE THREE SATIRES: KSHEMENDRA
5-35
DuhkhI bhavati tapasvl
dhana|rahitah sadaro bhavati dharme
bhrast’|adhikara|vibhavah
sarva|pranatah priyam|vado bhavati.
Arcayati deva|vipran
namati gurun vetti nirdhano mitram
kathino ’pi Ioha|pindas
taptah karmanyatam eti.
Vyasanajparitapta|hrdayah
tisthati sarvah sad|acare,
vibhava|mada|mohitanam
karma|smarane katha k” aiva?
Aisvary’|arthl Bhagavann
asa|pasena lambamano ’sau
kurute param saparyam,
prapt’|artho drsyate na punah.
Sv’|arth’|arthinah prayattah
prapt’|arthah sevakah sada viphalah,
na hi nama jagati kas cit
krta|karyah sevako bhavati.
Deva prasade ’smin
phala|jala|kusum’|adi|bhoga|samagrim
purne yate kitave
vijane n’ anye karisyanti.
Tasmat puny’|opanatam
kitavam samraksa sevakam satatam:
vara|danam asya bhagavan
nirvasanam atma|pujayah.»
220
THE GRACE OF GUILE 5: FRAUD
A wretch becomes penitent,
a pauper becomes earnest about religion,
divested of rank and prestige he bows to all.
Impoverished, he honors Gods and brahmins,
bows to gurus, and remembers his friends.
Although tough,
a lump of iron,* once scorched,
becomes malleable.
Anyone whose heart is burnt by adversity
adheres to righteous conduct,
but what notion is there of remembering duties
among those stultified by infatuation with their status?
O Revered One, this gambler, striving for power, dan¬
gling in the noose of hope, offers fervent adulation. When
he has got his reward he won’t be seen again.
Greedy for wealth of their own, servants are diligent, but
once they have gained riches they are uselessly idle, for on
this earth nobody self-sufficient is a servant.
O God, when this rewarded gambler has gone away, there
are no others in this desolate temple to provide fruits, water,
flowers and other comforts.
Therefore, hold on to this gambler who is luckily at hand
as a servant for good: to grant his wish, O Revered One, is
to exile your own worship.”
5-35
221
THE THREE SATIRES: KSHEMENDRA
$rutv” aitad vakrataram
vacanam prthu|vismaya|smerah
tam papraccha PinakI:
«kas tvam tattvena? kim karma?»
5.40 Iti prstam punar uce
sapadi kapalam vicintya sad|bhavam:
«Magadhanam aham abhavam
kayastha|kule svajkarmano vimukhah.
Snana/japa/vrata/niratah
tlrtha/rato vidita/sarvalsastr’larthah
tyaktva Bhaglrathyam
sarlrakatn tvat/padam praptah.»
Akarny’ aitad Bhagavan
uce: «kayastha eva satyam tvam
citram kaudlya|kalam
na tyajasi kapala|seso ’pi.»
Ity uktva smita|kiranaih
kurvann asa|latah kusuma|subhrah
snatv” agataya tasmai
kitavaya varam dadau varadah.
Krtva tat|kitava|hitam
pasyata ev’ asu tasya Sasimaulih
niskasitavams tac chira
uttamatama|munda|malika|pankteh.
222
THE GRACE OF GUILE y. FRAUD
Hearing this wily speech, Shiva, the bearer of the bow,
smiling wide in wonder, demanded: “Who are you really?
What was your profession?”
Thus questioned, the skull recalled his origins and quickly
replied: “I was born into a scribes’ family in Magadha, averse
to the legacy of my birth.
I delighted in ritual bathing, prayers and vows, was at¬
tracted to places of pilgrimage and conversant with the im¬
port of all the sacred texts. I abandoned my wretched body
in the Ganges and reached your abode.
: Actually, I embraced the legacy of my birth. I desisted
from ritual bathing, prayers and vows, was fond of strata¬
gems and had no idea of the meaning of any of the scriptures.
After giving up my soul, I reached your abode by way of
partaking of someone else’s share. ”*
On hearing this, the Adored One exclaimed: “So you are
a scribe! It is true! Strange that you cannot relinquish your
art of perfidy even though only your skull remains.”
This said, he illuminated the vine of the celestial quarters
with the radiance of his bright smile, so that it appeared
white with flowers. Then, the granter of boons fulfilled the
wish of the gambler who had returned from his bath.
After he had ensured the gambler’s welfare before the
scribe’s very eyes, moon-crested Shiva at once banished that
head from his most excellent chaplet of skulls.
5.40
223
THE THREE SATIRES: KSHEMENDRA
5.45 Ity evam kutila|kalam
sahajam malinam jana|ksaye niratam
Yama|damstram iva muncati
kayastho n’ asthi|seso ’pi.
Susthah ko nama janah
sa ta t ’/asuci/bhavaldusitalkalanam
dosa/krtam sakrtam iva
kayasthanam avastambhaih?
Asura|racita|prayatnad
vijnata divira|vancana yena
samraksita mati|mata
ratnajvati vasumatl tena.
iti maha|kavi|srI|Ksemendra|viracite
Kala|vilase
kayastha|caritam nama
pancamah sargah.
224
THE GRACE OF GUILE 5: FRAUD
Thus a scribe, even if he is mere bones,
cannot renounce his innate unclean art of crookedness,
which,
like the fang of death,
is bent on destroying people.
Who could possibly remain healthy with a blockage
of the seven bodily substrata
which are perpetually defiled by impure substances,
and which produce harmful matter such as excrement?
: Who could remain prosperous with the meddling
of scribes,
whose craft is always tainted by unscrupulous motives,
who defile like excrement1
The wise man,
who has scrutinised the scribe’s duplicity
with the care appropriate to the writings of a demon,
protects the earth rich in treasures.
The fifth canto,
named the exploits of the scribe,
in the “Grace of Guile”
composed by the great poet Kshemendra.
5-45
225
THE GRACE OF GUILE
6. INTOXICATION
T7 kah SAKALA|jananam
J —‘ hrdayesu krt’|aspado madah satruh
yen’ avista|sariro
na srnoti na pasyati stabdhah.
Vijit’|atmanam jananam
abhavad yah krta|yuge damo nama
so ’yam viparltataya
madah sthitah kali|yuge pumsam.
Maunam vadana/nikunanam
urdhv’/eksanam anya/laksyata c aksnoh
gatralvilepana/vestanam
agryam rupam madasy’ aitat.
^aurya|mado rupajmadah
srngara|madah kul’|onnati|madas ca
vibhava|mada|mula|jata
mada|vrksa dehinam ete.
6.5
Sul’larudha/samano
vata|stabdh’|opamo ’tha bhutajsamah,
bahu/bhoge vibhava|madah
prathama|jvara|samnipata|samah.
228
A FOE IS LODGED IN THE HEARTS of all people:
Intoxication. Possessed by it,
one sees nothing, hears nothing,
is transfixed.
The pursuit of “self-restraint” (da-ma),
common among the enlightened people of the golden age,
has in this decadent age
inverted to “self-indulgence” (ma-da).
The first signs of intoxication are
taciturnity : vows of silence,
sneering : pursing the lips for breath-control,
ambition : gazing upwards between the eyebrows,
looking at something else : focussing the eyes on the
beyond,
and daubing the limbs with lotions : dusting the limbs
and clasping them together.*
The mania of valor,
the giddiness of vanity,
the dizziness of infatuation
and the delirium of nobility,
—these are mankind’s trees of intoxication*
sprung from one root: pomposity.
A pompous man* 6.5
in the midst of affluence : over-indulging,
seems wracked by the onset of a morbid fever.*
He seems to be impaled on a stake : suffering from a colic,
appears to be bloated with blocked wind,
resembles a wraith.
229
THE THREE SATIRES: KSHEMENDRA
$aurya|mado bhuja|darsl
rupa|mado darpan’|adi|darsl ca
kamajmadah stri|darsl
vibhavajmadas tv esa jaty|andhah.
An tah/sukha /rasa /m urccha/
mllitajnayanah samahita/dhyanah
dhana|mada esa naranam
atm’laram’lopamah ko ’pi.
Unmadayaty avisaye
vividha/vikarah samasta/guna/hlnah
mudha|madas tv anyo ’yam
jayad vicitro niralambah.
Stambhan na pasyati bhuvam
khecara|darsl sada tapasvi|madah,
bhakti|mado ’dbhuta|kari
vismrta|dehas calah prakrty” aiva.
230
THE GRACE OF GUILE 6: INTOXICATION
The valor-maniac admires the arm,
the vain man gazes at mirrors and such like,
the infatuated man leers at women,
but the pompous man is born blind.
The “daze of riches”
manifests itself in people somehow
like the bliss of self-realisation:
brooding on hoarded wealth, : absorbed in meditation,
the eyes are shut
in a swoon : repose
at the sweet taste of a hidden elation : delight of inner
rapture.*
Yet another is the unstoppable “imbecile fixation.”
It deranges : causes euphoria
without incitement : when sensory objects are shunned,
is degenerative in many ways : has many stages,
has no virtues at all : is free from all attributes.
It is eccentric and baseless : wondrous and supportless.
Due to its paralysing nature,
the “stupor of the ascetic” does not see the ground
but instead looks always toward the sky-going celestials.
The “befuddlement of devotion,”
unsteady by nature,
performs miracles but neglects its own body.
231
THE THREE SATIRES: KSHEMENDRA
6.10 Akopa|rakta|nayanah
para|vah|matr’|asahah pralapl ca
visamah sruta|mada|nama
dhatu|ksobho nrnam murtah.
Satatajbhru|kuti|karalah
parus’|akrosI hath’|abhighata|parah
adhikara|madah pumsam
sarv’|asl raksasah krurah.
Purva|purusa|pratapa|
prathita|katha|vismrt’|anyajnija|krtyah
kula|mada ekah pumsam
su/dlrgha/darsl mah ’’/ajnanah.
Varjita /sakala/sparsah
sarv’/asuci/bhavanan niralambah
akase ’pi sa/lepah
saucajmado nitya/samkocah.
S’|avadhayah sarva|mada
nijajnija|mula|ksaye vinasyanti,
vara|mada ekah kutilo
vijrmbhate niravadhir bhogl.
232
THE GRACE OF GUILE 6: INTOXICATION
The harrowing “delirium of erudition”
is an embodied upheaval of the bodily elements:
The eyes are reddened by rising anger,
one is unable to bear the mere voice of others,
but is oneself a prattle.*
The “hysteria of authority” is an all-devouring,
brutal demon afflicting mankind.
It is loathsome with incessantly knitted eyebrows,
crudely abuses people,
and is prone to violent assault.
The “delirium of noble lineage”
is preoccupied with tedious tales of ancestral glory
but forgets its own duty towards others.
Unique among men,
it is a farsighted, great folly : an acute vulture.*
The “lunacy of purity”
cowers perpetually : is an uninterruptedyogic withdrawal.
recoils from the slightest contact : shuns any sensory
contact,
is friendless : a supportless trance
because it imagines everyone to be impure : by realising
that all sensory objects are unreal,
and fears contamination even from the sky : perceiving
even emptiness as an obstacle.
All these forms of insobriety are limited,
they pass away when their respective root is cut.
The “conceit of self-importance” stands alone:
an endless coiling serpent with gaping jaws.*
233
6.10
THE THREE SATIRES: KSHEMENDRA
6.15 Panajmadas tu jaghanyah
sarva|j ugups” [aspadam mahajmohah
ksaniko ’pi harati sahasa
varsa|sahasr’|arjitam sTlam.
Vidyavati vipra|vare
gavi hastini kukkure sva|pake ca
madya|madah sama|darsl
sva|para|vibhagam na janati.
Vigalitajsad|asad|bhedah
sama|kancana|losta|pasanah
prapto yogi|dasam api
narakam kslbah svayam patati.
Roditi gayati vihasati
dhavati vilapaty upaiti sammoham
bhajate vividha|vikaran
samsar’|adarsa|mandalah ksibah.
Para|pati|cumbana|saktam
pasyati dayitam na yati samtapam;
kslbo ’pi gadha |ragl
pltva madhu vlta|ragah kim?
234
THE GRACE OF GUILE 6: INTOXICATION
But liquor-induced drunkenness is vilest,
a condition entirely repulsive, a sheer stupidity.
Though lasting but a fleeting moment,
it abruptly strips away merit
amassed in thousands of years.
Drunkenness regards as equal
a learned and saintly brahmin, a cow,
an elephant, a dog and a dog-cooker,
and does not understand the distinction
between “mine” and “another’s.”*
Unhampered by the distinction between real and unreal,
considering gold, mud and stones to be the same,
the drunkard,
even though he has thus attained the state of the Yogin,
propels himself into hell.*
The drunkard is a mirror image of transmigration:
He weeps, he sings, he laughs,
he runs and bawls, falls prey to bewilderment,
swings from mood to mood.*
He can see his wife
engrossed in kissing the husband of another woman
and yet feel no outrage.
Has the drunkard,
even though he is extremely Hushed : passionate,
been freed from desire by guzzling liquor?
THE THREE SATIRES: KSHEMENDRA
6.20 Visrjati vasanam dure
vyasanam grhnati duhsaham ksibah
anjalijpatraih pibati ca
nija|mutra|vijrmbhitam candram.
Cyavanah pura maharsih
yauvanam Asvi|prayogato labdhva
yajne svayam krta|jnah
tau cakre Somajbhag’|arhau.
Kruddhas tam etya Sakrah
provaca: «mune! na vetsi kim api tvam?
bhisajav apankti|yogyau!
Som’|arhav Asvinau kasya?»
Iti bahusah Sura|patina
pratisiddho ’pi sva|tejasa Cyavanah
na cacala niscit’|atma
nija|krtyad Asvinoh pritya.
Tat|kop’|odyatajvajram
Jambharer ayatam bhujajstambham
astambhayan mun’|indrah
prabhava|sambhavana|patram.
6.25 Asrjac ca tad|vadhaya
Pralamba|kay’|opamam catur|damstram
yoj ana|sahasraj vipulam
krtya|rupam mah”|Asuram ghoram.
Ten’ avistah sahasa
bhlto Vajri tam ayayau saranam
«Somo ’stu Deva|bhisajoh»
iti c’ ovaca pranasta|dhrtih.
236
THE GRACE OF GUILE 6: INTOXICATION
The drunkard casts off his garments (vasana) far away 6.20
and takes up unbearable depravity (vyasana).
With his cupped hands he sips the moon
waxing in his own urine.
Long ago, the great seer Chyavana had regained his youth
by the ministration of the twin Ashvins. Grateful, he hon¬
ored them by entitling them to draughts of Soma at his
sacrifice.*
The enraged Indra appeared to him and reprimanded:
“Sage! Don’t you know anything? Physicians are unaccept¬
able as company at meals! Who would honor them with
Soma libations?”
Though the Lord of the Gods thus repeatedly forbade
him, the determined Chyavana, secure in his own might,
out of love for the Ashvins, did not waver from his resolve.
The best of seers paralysed Indra’s huge, pillar-like arm,
an object of awe due to its power, with thunderbolt raised
up in rage at him.
Then, to slay Indra, he fashioned a hideous, colossal 6.25
Asura whose body resembled that of Pralamba,* with four
fangs, whose bulk measured a thousand leagues in extent,
an incarnation of evil sorcery.
Indra the thunderbolt-bearer was violently possessed by
him. Dismayed, he came running to Chyavana seeking shel¬
ter, and failing in courage, he conceded: “The Gods’ twin
physicians may have their share of Soma!”
237
THE THREE SATIRES: KSHEMENDRA
Munir api karuna|sindhuh
bhltam pranatam mah”|Endram asvasya
Madam utsasarja ghoram
dyuta|stri|panajmrgayasu.
So ’yam asurah pramathl
munina kruddhena nirmito hrdaye
nivasati sarlra|bhajam
stambh’|akaro gunair baddhah,
Maune srijmattanam
nihspanda|drsi pravrddha|vibhavanam
bhru|bhanga|mukha|vikare
dhanikanam bhru|pute vit’|adlnam,
6.30 Jihvasu duta|vidusam
rupavatam dasana|kesa|vesesu
vaidyanam ostha|pute
grivayam guru|niyogi|ganakanam;
Skandha|tate subhatanam
hrdaye vanijam karesu silpavatam
gala|patr’|ahguli/Marig-e
chatranam stana|tatesu tarunlnam;
Udare sraddh’|arhanam
janghasu ca lekha|hara|purusanam
gandesu kunjaranam
barhe sikhinam gatau ca hamsanam.
238
THE GRACE OF GUILE 6: INTOXICATION
The seer for his part, a river of compassion, consoled great
Indra as he was frightened and humbled, and sent forth the
terrible demon “Intoxication” into gambling, women, drink
and hunting.
That rending demon, fashioned by the angry seer, now
dwells in the hearts of living beings in the guise of paralysis,
held in check by virtues.*
In the silence of those drunk with wealth,
in the immobile stare of those grown in stature,
in the faces of the wealthy, disfigured by frowning,
in the knitted eyebrows of rakes etc.;
In the tongues of envoys and scholars,
in the teeth, hair and garments of the beautiful,
in the puckered lips of physicians,
in the necks of gurus, of petty officials, and astrologers;
In the bulging shoulders of champions,
in the hearts of merchants,
in the hands of craftsmen,
in the stretched out throats,
torn birchbark-manuscripts
and bent fingers of students,
in the upright breasts of slender ladies;
In the bellies of those entitled to funerary offerings,
and in the calves of couriers,
in the cheeks of elephants,
in the tailfeathers of peacocks,
and in the gait of swans.
THE THREE SATIRES: KSHEMENDRA
Ity evam madanama
maha|graho bahu|vikara|drdha|mohah
ange kasthI|bhuto
vasati sada sarva|bhutanam.
iti maha|kavi|srI|Ksemendra|viracite
Kala|vilase
mada|varnana|nama
sasthah sargah.
240
THE GRACE OF GUILE 6: INTOXICATION
In this way the mighty demon called Intoxication,
having become insensible like a log,
a profound delusion assuming many forms,
for ever inhabits the bodies of all living beings.
The sixth canto, named the description of intoxication,
in the “Grace of Guile” composed by
the great poet Kshemendra.
241
THE GRACE OF GUILE
7. DEPRAVITY
rtho nama jananam
jlvitam akhila|kriya|kalapasya.
tam api haranty ati|dhurtas
chagala|gala gayana loke.
Nihsesarn kamal’lakara/kosarn
jagdhv”apikumudam asvadya
ksina gayana/bhrnga
matanga/pranayitam yanu.
Ghata/pata/sakata/skandha
bahu/dimbha m ukta Ikes aka /kalapah
ete yoni/pisaca
bhupa/bhujo gayana ghorah.
244
T he incentive for the vast profusion of human striving
is prosperity.
It is this
that utterly unscrupulous, goat-throated singers
plunder in this world.
Even though they have completely exhausted
the buds of the red day-lotus pond
and Snished off the white lilies,
the singer-bees, still emaciated,
yearn for the fragrant rut-fluid of elephants.
: After completely depleting their patron’s treasury
abounding in riches
and then tasting his anger,
the singer-rakes, impoverished,
solicit the meanest outcastes.*
Followed by caravans of carts crammed with
pots and blankets, a train of brats in tow,
with their dishevelled hair unkempt,
awful are these singers, royal parasites,
reared on meat.
: Followed by troops* in wedge-formation, *
striking kettle-drums* of war, in great affray,
equipped with quivers* of powerful missiles* and
arrows, *
terrible are these goblin-spawned,
regicidal* warriors of the God of war.*
245
THE THREE SATIRES: KSHEMENDRA
Tamasi varakas cauro
haha|karena yati samtrastah,
gayana|caurah prakatam
haha krtv” api nayati laksam ca.
7.5 Papadhadhaninigamasa|
dhadhamamasamasagadhama
krtva svara|pada|pallm
gayana|dhurtas caranty ete.
Kuril’/avarta/bhrantaih
vamsa/vikarais ca mukha/vikarais ca
gayati gayana|samgho
mardala|hastas dram maunl.
Amantrana|jaya|sabdaih
pratipada|jhamkara|gharghar’|aravaih
svayam| ukta|sadhu|vadair
antarayati gayano gltam.
246
THE GRACE OF GUILE 7: DEPRAVITY
The wretched thief moans: ‘Ah! Ah!’
and shudders as he skulks in rhe darkness.
The singer-thief also intones Ah! Ah!’
in broad daylight and carries off a fortune.
“Pd pd dha dha ni ni ga ma sa
dhd dha ma ma sa ma sa gd dha ma ”
rehearsing phrases* of the notes
of the musical scale in this way,
these singers are on the prowl.
The troupe of singers performs their song,
drum in hand,
it is faulty with convoluted “revolving ornamentations,
with mutilated “Bute ornamentations, ”
with a disHgured opening theme,
: reeling with crooked gyrations,
and with twisted spines, * with contorted faces,
their hands trembling like rattle-drums,
followed by lengthy silence.
The bard encumbers the song
with salutes and hails of: “Victory!,”
with gurgling noises, cymbal crashes,
with buzzing twangs after every musical phrase,
and applauds himself with cries of “Bravo!.”
247
7-5
THE THREE SATIRES: KSHEMENDRA
Jala|patite saktu|kane
matsyair bhukte sti k” api dharm’|aptih,
gayana|dattasu param
kotisv api bhavari praja|pida.
Mugdha|dhananam Vidhina
ruddhanam andha|kosa|kupesu
vihito vivrta|mah”|asyo
gayana|nama pranal’|aughah.
7.10
N’ aitat prakatita|dasana
gayana|dhurtah sad” aiva gayanti;
ete gat’|anugatikan
hasanti mugdhan grhlt’|arthah.
Pra tar gayana/dh urta
bhavand dhirah Sahara/keyurah
madhy’/ahne dyuta/jita
nagna bhagna niradharah.
248
THE GRACE OF GUILE 7: DEPRAVITY
Should a morsel of gruel be dropped into the water
and be swallowed by fish,
there may accrue some gain of merit.
But when donations are made to singers,
even if they be tens of millions,
public misery ensues.*
The Creator has made provision
for a large-mouthed, gaping overflow
called “singer”
on stagnant treasury-wells
for the clogged-up wealth of idiots.
It is not even the case
that this protruding-toothed rabble of minstrels
is always busy singing;
they are also busy laughing
at simpletons who follow the crowd
after they have grabbed their money.
Early in the morning,
the singer-libertines are undaunted,
adorned with pearl necklaces and gold armbands.
At midday,
beaten at dice, they stand disrobed,
humiliated and bereft of patronage.
: At dusk,
the singer-rakes are virile in thrilling* love-sport, *
at midday,
exhausted by love-play, they are still undressed,
aching and sapped of essence. *
7.10
249
THE THREE SATIRES: KSHEMENDRA
Stuti|vagura|nibaddhaih
vacana|saraih kapata|kuta|racanabhih
gltair gayana|lubdha
mugdha/mrganam haranti sarvasvam.
Nasta|svara|pada|gltaih
ksanena laksani gayano labdhva
«dasl|sutena dattam
kim?» iti vadan duhkhito yati.
Varjitajsadhu|dvija|varaj
vrddhayah sakala|soka|kalitayah
sapo yam eva Laksmya
gayana|bhojy” aiva yat satatam.
7.15 Devah pura suranam
adhinatho Naradam cir’|ayatam
papraccha Ioka|vrttam
caritam c’ aitan mahlpanam.
So ’vadad «avani|patlnam
jayinam bahu|dana|dharma|yajnanam
carata maya nr|loke
sura|pati|yogyah sriyo drstah.
250
THE GRACE OF GUILE 7: DEPRAVITY
Minstrel-hunters
take the wealth : life
of their foolish victims : innocent deer
by means of songs, composed with praise-snares,
with lyric-arrows, with arrangements
in the form of concealed traps.
Presented immediately with great largesse
for songs whose note-phrases have already faded away
the musician grumbles:
“What has he coughed up, that son of a slave,”
and walks out disgruntled.
Such is the curse of Lakshmi,
the Goddess of fortune,
that though haunted by everybody’s grief,
she must shun saintly Brahmins
and eminent, distinguished elders,
ever to be enjoyed by singers.
Long ago the god Indra, overlord of the celestials, en¬
quired from the sage Narada, who had arrived after a long
time, for news of the world, and how fared the earth-
protecting kings.
He replied: “As I wandered in the world of men I saw
among the victorious rulers of the earth, abounding in char¬
ity, Dharma and sacrifices, splendors befitting the king of
gods.
7-15
251
THE THREE SATIRES: KSHEMENDRA
7.20
Anu ca tvam spardhante
vibhavair Varunam Dhan’|adhinatham ca.
sata|makha|samjham asakrd
bahutara|yajna hasanty eva.»
Srutva tan muni|vacanam
jata|dvesah Satakratuh kopat
hartum dhanam pisacan
visasarja bhuvam nar’jendranam.
Te glta|nama|mantrah
sura|pati|distah pisacajsamghatah
hartum sakala|nrpanam
dhanam akhilam bhu|talam prayayuh.
Mayadasah prathamam
Dambaradasasca Prasiddhidasas ca
Ksayadasa|Lunthadasau
Kharadaso Vajradasas ca,
Vadavadasas c’ astau
te gatva martya|lokam ati|bhayajdah
vi vrt’ | asya| ghoraj kuhara
gayana|srsdm sasarjur ati|vikatam.
Tair ete hata|vibhava
disi disi hrta|sakala|lokajsarvasvah
yajn’|adisu bhu|patayo
jatah sithiI’|odyamah sarve.
252
THE GRACE OF GUILE 7: DEPRAVITY
And they rival you, Varuna, and the God of wealth
taken together with riches. They mock your title “having-a-
hundred-sacrifices” as they perform such worship not once,
but many times over.”
When he had heard the sage’s words, Indra, the hun¬
dredfold powerful one, his hostility flaring up, sent forth
demons to the earth, to plunder the wealth of the kings of
men.
This company of demons, Mantra-regents* called “songs”
commanded by Indra, the Lord of the Gods, advanced
against the earth, to seize the entire wealth of all kings.
Foremost among them was
the “Servant of ilusion,”
next the “Servant of verbosity,”
the “Servant of notoriety,”
the “Servant of ruin,”
the “Servant of pillage,”
the “Servant of harshness,”
the “Servant of the thunderbolt,”
and the “Servant of the submarine inferno.”
These eight extremely fearsome beings came into the
world of mortals, a hideous guttural roar in their gaping
jaws, and summoned forth the utterly horrible creation of
musicians.
All around, they impoverished these kings who seized the
wealth of the whole population. All of the earthly king’s zeal
for sacrifices and such like diminished.
253
7.20
THE THREE SATIRES: KSHEMENDRA
Ete hi karnajvivaraih
pravisya glta|cchalena bhu|panam
sahasa haranti hrdayam
karna|pisaca maha|ghorah.
Tasmad esam rastre
na dadati vikarinam pravesam yah
tasya sakar|artha|sampad|
yajnavatl Bhumir adhlna.
7.25 Nata|nartaka|cakra|carah
kusllavas carana vitas c’ aiva
aisvaryajsali|salabhas
caranti; tebhyah sriyam rakset.
Gayana|samghasy’| aikyad
uttisthati glta|nihsvanah sumahan
asthane dattaya
Laksmya iva sambhram ’/akrandah.
iti maha|kavi|sri|Ksemendra[viracite
Kala|vilase
gayanajvarnana|nama
saptamah sargah.
254
THE GRACE OF GUILE 7: DEPRAVITY
For, these terrifying ear-demons enter, in the guise of
songs, through the auditory passages of earth ruling lords,
and violently take hold of the heart.
Therefore, to him who refuses these corruptors entry into
his kingdom, the lady Earth, abounding with all fortune,
success and sacrifices, remains subservient.
Actors, dancers, jugglers, mimes, minstrels and procurers
swarm around as locusts on the rice of dominion; fortune
must be defended from them.
A mighty din of singing resounds
from the united horde of minstrels,
the distressed cry, as it were, ofLakshmi
offered in unbefitting matrimony,
: the confused disharmony of a Lakshmi-verse recited
in the wrong musical register.
The seventh canto, named the description of singers,
in the “Grace of Guile” composed by
the great poet Kshemendra.
255
7.25
THE GRACE OF GUILE
8. DECEPTION
' 1 atr api hema/kara
harana/kala/yoginah prthuldhyanah
ye dhamni bahala/laksmyah
sunyatvam darsayanty eva.
Saram sakala|dhananam
sampatsu vibhusanam vipadi raksa
ete haranti papah
satatam tejah param hemnah.
Sahas’ aiva dusayanti
sparsena suvarnam upahata|cchayam
nity’|asucayah papah
candala hema|karas ca.
Masrna|kas’|asmani nikaso
manda|rucih kraya|gata kala tesam
parusa|kas’|asmani nikaso
vikraya|kale ’pi labha|kala.
258
O f similar temper, also, are goldsmiths,
adepts in the art of gold : making things
disappear,
who, thanks to a far-fetched, visionary imagination,
can make a show of insolvency in the midst
of their fabulously prosperous residences.
: There are also Yogins
with the ability* to endure the hardship* of snow,
who, absorbed in profound meditation,
manifest the attainment of emptiness
in a state* replete with beatitude.*
These wicked goldsmiths incessantly seize
the essence of all possessions,
an ornament in prosperity
and a security in misfortune,—
the supreme splendor of gold.
A brief contact, and wicked outcastes, ever unclean,
pollute the higher castes,
corrupting their purity,
and just so, evil, unsavory goldsmiths
tarnish gold with their impetuous fumbling,
dimming its lustre.
Their ploy when buying
is a streak of dim lustre
on a soft touchstone.
At the time of selling,
the ploy of making profit is a streak
on a coarse stone as assay.*
THE THREE SATIRES: KSHEMENDRA
S’|opasnehah svedyah
sikthaka|mudro ’pi valuka|prayah
s’|osma ca yukti|bhedat
tul’|6palanam kalah panca.
Dvijputa sphota|vipaka
suvarna|rasajpayinl sa|tamra|kala
slsa|mala|kaca|curna|
grahana|para satjkala mtisa.
Vakra/mukhI visama/puta
susira/tala nyasta/parada mrdvl
katu/kaksya granthimatl
kusikyita bahu/guna puro/namra
vata/bhranta tanvi
gurvl va parusalpatra/dhnalcurna
nirjlvana sajtva
sodasa hemnas tulasu kalah.
THE GRACE OF GUILE 8. DECEPTION
The swindles with balance-stones are five:
Though stamped with an official-looking seal* of beeswax
they are made mostly of sand, and depending on the ploy,
they are soaked in water, dried, or heated.
Six are the foibles of the crucible:
It is a double vessel : has a double bottom*,
easily undergoes the calamity of bursting asunder,
it drinks up liquid gold,
it has a copper inlay, and is designed
to retain led and alkaline salt powder.
The scales for weighing gold have sixteen failings:
a bent indicator, unevenly matched bowls,
a perforated layer, they are loaded with mercury,
they are bendable, have an inert scale,
their cords are knotty, badly strung, and many-stranded,
they are out of balance before used,
can be disturbed by the wind, are too light, or too heavy,
they retain gold-dust in their coarse bowls,
and are magnetically static, or volatile.
: these are the sixteen traits of winter:
the points of the compass become hostile,
the hollows become impassable, the ground cracks open,
it becomes soft as if with quicksilver scattered about.
With severe wraps, knotted together,
indecorously looped around the body many times,
one leans forward, shaken by stormy winds,
whether one is thin or stout,
snowy powder clings to coarse garments,
and inanimate objects are blown about as though alive.*
261
THE THREE SATIRES: KSHEMENDRA
8.10
8.11-12
Mandah s’|avego va
madhyajcchinnah sa|sabda|phut|karah
patl slkara|karl
phut|karah sat|kalas tesam.
Jval’|avalayl dhuml
visphotl mandakah sphulingl ca
purva|dhrta|tamra|curnah
tesam api sat|kalo vahnih.
Prasnah katha vicitrah
kanduyanam amsuk’|antara|drstih
dinajvel”!arka|niriksanam
ati|haso maksik’|aksepah
kautuka|darsanam asakrt
sva|jana|kalih salilajpatra|bhangas ca
bahir api gamanam bahuso
dva|dasa cesta|kalas tesam.
Ghatitasy’ opari pakah
krtrima|varna|prakasan’|6tkarsi
tanu|gomay’|agni|madhye
lavana|ksar’|anulepena.
Samanya|loha|patra
bhumijnyaste ’pi kanta|lohajtale
dhavati vadanena tula
rikt” api muhuh supurn” eva.
262
THE GRACE OF GUILE 8. DECEPTION
Their blowing is sixfold:
puffing feebly or restlessly,
breaking off in the middle,
wheezing noisily, spluttering and hissing.
Their fire also has six aspects:
it can be ringed in flames,
smoky, roaring, smouldering, shedding sparks,
and is supplied with copper dust* placed in front of it.
Twelve are the traits of their behavior:
Questions, weird tales, scratching,
looking inside their garments,
checking the sun for time of day,
excessive laughter, swatting flies,
showing impatience,
much quarrel with their own people,
smashing the water-pot, and frequently going out.*
By smearing it with saline acid
in a gentle fire of cow-dung,
the finish of the worked article
becomes dazzlingly radiant with artificial color.
And because there is a magnetic layer
concealed in the ground,
the indicator of the scales,
with its bowls made of common iron,
suddenly jumps as if they were full,
though they are empty.
8.10
263
THE THREE SATIRES: KSHEMENDRA
8.15
Pratibaddhe jatu|yogye
praksipt’|antar|nigudha|kanaka|kanam
tulite purana|kale
mukhena hartum samayati.
Ujjvalane ’pi ca tesam
patanam ati|sukaram asma|kale ca
sadrsa|vicitr’|abharane
parivartana|laghav’|apasaras ca.
Purn’|adanam ghatane
dane ksamarpanam prabha|yogah
kal’laharanalvinasah
pratipurana|yacanam bahu|slesah.
Eka|dasa yukti|kalah
tesam etah samasena
ek” aiva kala mahatl:
nisi gamanam sarvam adaya.
Eta hema|karanam
vicara|labhyah kalas catuhjsastih
anyas tu nigudha|kalah
Sahasra|netro ’pi no vetti.
264
THE GRACE OF GUILE 8. DECEPTION
At the time of completion, 8.15
when the ornament is being weighed,
he proceeds to extract a concealed lump of gold,
which he had secreted within while the ornament
was being inlaid with the use of lac,
through a hole.
fWhen the fire flares up,
or when they are working with a touch-stone
it is exceedingly easy for them to strike off a piece,
or an exchange with a similar shining ornament
might occur, f *
fThey receive the full weight of gold for their work,
deliver...
they apply a glossy shine,
make timely collection impossible,
demand more material,
and use much double-talk.f
In brief these are their eleven practical arts.
Their ultimate art is to sneak away in the night,
taking everything with them.
Such are the sixty-four arts of goldsmiths
which can be inferred by reason,
but even thousand-eyed Indra does not know their other,
secret arts.
265
THE THREE SATIRES: KSHEMENDRA
8 . 20 Meruh sthito vidure
manusya|bhumim bhiya parityajya
bhlto ’vasyam cauryad
cauranam hema|karanam.
Kanaka|sila|Sata|samdhi|
prasrtajmaha|vivara|koti|samghataih
utklrnajsithila|sikharah
pura krto mtisakair Meruh.
Tatr akhir|akhu|sena|
nikhata|nakhar’|avalekhan’|6tkhataih
sithilita|mulah sahasa
babhuva Meruh pura niyatam.
Musaka|nakhar’|6tkhatah
SuMerur uccaistaram susubhe,
uddhutajkanaka|dhull|
patalaih kapila babhuh kakubhah.
Tasmin jarjara|sikhare
vivar’|6darajdalita|kataka|kuta|tate
kalp’l ant’ | agamane
bhayam avir abhud akhila|Devanam.
8.25 Tan uce divya|drsa
vilokya sarvan mun’|Isvaro ’gastyah:
«ete hi Brahma|ghna
nisacaras tridasa|samgare nihatah.
Jata musakajrupa
Merujnipate krt’|arambhah
vadhyah punar api bhavatam
asrama|bhangan muninam ca.»
266
THE GRACE OF GUILE 8. DECEPTION
Forsaking the world of men in fear, Mr. Meru towers far 8.20
away. Without a doubt he was afraid of the plundering of
the thieves called goldsmiths.
Long ago, rats, by the sheer number of huge tunnels
driven into the veins* of hundreds of gold-ore deposits,
made the peak of Mt. Meru teeter on the brink of collapse
by erosion.
Inevitably, the foundations of Mt. Meru were vehemently
shaken by the excavations burrowed by the claws of this
whole army of rats.
Mt. Meru, laid waste by the rat’s claws, became exceed¬
ingly beautiful, its peaks shone with a reddish hue, covered
by a veil of thrown up gold-dust.
Because its summit was shattered, because its ridges,
peaks and slopes were rent asunder by chasms and clefts, all
of the Gods became alarmed that the end of the eon was
upon them.
Agastya, lord of sages, scrutinised the calamity with his 8.25
divine eye and said to them all: “Forsooth, it is the night-
stalkers, slayers of brahmins, who were annihilated in the
war with the Gods!*
Reborn as rats, they are making efforts to topple Mt. Me¬
ru. You must destroy them again, for they have also de¬
stroyed the sanctuaries of the sages.”
267
THE THREE SATIRES: KSHEMENDRA
Srutv” aitan muni|vacanam
dhumena bil’lavallm samapurya
sapena purva|dagdhan
jagdhus tridasa maha|musan.
Te hema|harah
suvarna|karah ksitau jatah
janm’|abhyasad anisam
kancana|curnam nikarsanti.
Tasman mahl|patlnam
asambhave garadajcora|dasytinam
ekah suvarna|karo
nigrahyah sarvatha nityam.
iti maha|kavi|sri|Ksemendra|viracite
Kala|vilase
suvarna|kar’|otpattir nama
astamah sargah.
268
THE GRACE OF GUILE 8. DECEPTION
When they heard these words of the sage, the Gods filled
the row of holes with smoke and burnt the great rats, who,
in their previous existence, had been burnt by a curse.
These gold-robbers were then resurrected on earth as
goldsmiths.* In each rebirth they ceaselessly scratch together
gold-dust.
Therefore, in the absence of poisoners, thieves, or ban¬
dits, kings must ruthlessly persecute goldsmiths without
reprieve.*
The eighth canto,
named the origin of goldsmiths,
in the “Grace of Guile” composed by
the great poet Kshemendra.
269
THE GRACE OF GUILE
9. QUACKERY
V ancaka|maya mahatl
mahl|tale jaladhi|mekhale nikhile
nasta|dhiyam matsyanam
jal’|all dhivarair vihita.
Sarvasvam eva paramam
prana yesam krte prayatno ’yam,
Vaidya vedyah satatam
yesam haste sthitas te ’pi.
Ete hi dehi|daha
viraha iva duhsaha bhisajah;
grlsma|divasa iv’ ogra
bahu|trsnah sosayanty eva.
Vividh’|ausadhi|parivartair yogaih
jijiiasaya sva|vidyayah
hatva nrnam sahasram
pascad vaidyo bhavet siddhah.
5 Vinyasya rasi|cakram
graha|cintam natayan mukha|vikaraih
anuvadati cirad ganako
yat kim cit prasniken’ oktam.
Ganayati gagane ganakah
candrena samagamam Visakhayah
vividha|bhujamga|krld”|asaktam
grhinim na janati.
T here is a great veil of deception
covering the surface of
the whole, sea-girdled earth,
a train of nets set up by fishermen : cunning men
for fish whose wits have perished.*
The vital breaths are the ultimate possession,
all this striving is for their sake.
Know those, in whose hands they are at all times,
to be the Gods of the Vedas : physicians.*
For, these dire physicians
burn the body like separation from a lover;
like ferocious summer days,
they bring much thirst, and dehydrate.
The physician becomes a renowned success
after he has killed a thousand patients with his concoctions,
swapping around their various constituent drugs
in an attempt to figure out his own science.
After sketching the zodiac, 9.5
and affecting concern about the planets by pursing his lips,
after a long pause,
the astrologer finally paraphrases
whatever the questioner had asked.
The astrologer calculates
the rendez-vous of the constellation Vishakha*
with the moon in the sky,
unaware that his wife at home
is addicted to love-play with numerous paramours.
273
THE THREE SATIRES: KSHEMENDRA
Prathamam sva|vittam akhilam
kanak’|arthl bhasmasat svayam krtva
pascat sadhanan rasikan
vinasayaty esa varnika|nipunah.
«Sata|vedhI siddho me
sahasrajvedhl raso ’pi niryatah»
iti vadati dhatu|vadl
nagno ruksah krso malinah.
Tamra|ghat’|opamajsirso
dhurto ’pi rasayanl jara|jlrnah
kes’jotpadana|kathaya
khalvatan eva musnati.
9.10 Prahladana|suci|taraka|
sambara|ramanlj|ane ’pi baddh’|asah
bilv’jadibhir ati|kaml
hutva dhum’|andhatam eti.
«Khecarat” aptajpraya
yatnad yadi labhyate nabhah|kusumam;
uktah prayoga|vidbhir
masak’|asrhisu siddhayo vividhah.
274
THE GRACE OF GUILE 9: QUACKERY
First, the gold-maker*
reduces his own fortune to ashes in failed experiments.
Then, having become skilled in gold-plating,
he goes on to ruin wealthy alchemists.
The alchemist boasts:
“I have mastered the art of hundredfold-piercing mercury
and perfected even the thousandfold-piercing mercury.”
—He is naked,
shrivelled,
emaciated,
filthy.
The quack rejuvenator,
with a head bald like a copper pot,
withered with old age,
pilfers bald men with tales of sprouting hair.*
The lecher,
yearning for gorgeous mistresses
with exhilarating bright eyes,
makes burnt offerings of bilvas etc.
and is blinded by the smoke.*
“The state of being a sky-goer is readily attained
if one strives to get a sky-flower;*
sorcerers have revealed
that there are many powers in mosquito-bones.*
275
9.10
THE THREE SATIRES: KSHEMENDRA
Krsn’jasva|sakrd|vrtya
pasyati gagane sur’|Endra|caritani;
manduka|vasa|lipto
bhavati puman vallabho ’psarasam.»
Ity uktva punar asam
disi disi vilasanti dhurta|samghatah
yair vividha|siddhi|lubdhah
ksiptah sataso narah svabhre.
Vasy’|akarsana|yogi
pathi pathi raksam dadati narinam,
rati|kama|tantra|mulam
mulam mantram na janati.
9.15 Bahavo rathya|guravo
laghu|dlksah svaIpa|yogam utpadya
vyadhaya iva vardhante
mugdhanam dravina|dara|harah.
«Hastajstha dhana|rekha
vipulatar” asyah patis tu cala|cittah»
mrdnati kula|vadhunam
ity uktva kamala|komalam panim.
276
THE GRACE OF GUILE 9: QUACKERY
With an eye-salve made of the dung
of a black horse
one sees the doings of Indra in the sky;
smeared with frog-fat,
a man can become the lover of celestial nymphs.”
With such assertions,
hordes of swindlers perpetually fan hopes the world over,
casting down hundreds of men,
lusting for all kinds of powers,
into the chasms of hell.
On every street,
an adept at love-enchantment offers amulets to women,
without knowing
the magical roots* used in the science
nor the root-mantra.
Numerous street-gurus,
who have received only minor initiations
and mastered but little yoga,
rob the wealth and wives of the innocent,
proliferating like diseases.
Alleging that:
“The wealth-line in her hand is extensive,
but her husband is a half-wit,”
the palmist squeezes the tender hands of noble ladies.
9U
277
THE THREE SATIRES: KSHEMENDRA
Khadge ’ngusthe salile
pasyati vividham janajbhramam kanya
na prapyate tu cauro
moho ’sav indra|jalasya.
Khadati pibati ca dhurtah
pralapa|karl nrnam tal’|aghataih
cet’|avesam krtva
nirmantra|ksudra|dhupena.
«Kaksa|pute Nagarjuna|
likhita vartir vidhlyatam dhupe
sa dagdha mohad! iti»
dhurto ’gnau ksipati para|vittam.
9.20 Yaksl|putras cora
vijneyah kuta|dhupa|kartarah
yesam pratyaksa|phalam
darirdyam raja|dandas ca.
«Bahutara|dhanena vanija
putrl sa putravad|grhlt” eva
mad|adhln” eti» kathabhih
kany”|artham bhujyate dhurtaih.
Cintyas c’ engita|vadl
marma|jno hrdayajcaura ev’ asau
tisthati para|prayukto
mithya|badhiro ’thava mukah.
278
THE GRACE OF GUILE 9: QUACKERY
The virgin sees a diverse crowd of people
in a sword-blade, in her thumb-nail, or in water,
but the thief is not caught,
such is the futility of divinatory magic.*
The fraud gorges himself and drinks,
he prattles on, applauded by the public,
after he has made his low-born side-kick become possessed
using just a little incense and no mantras.*
“The collyrium described by Nagarjuna in th eKaksha-puta*
must be prepared in the smoke of incense.
By accident it has burnt!” With this excuse the villain
throws the wealth of other people
into the fire.
Sons of yakshis must be known as
thieves who produce narcotic fumigants;
for them the visible reward
is poverty and punishment by the king.*
“An extremely wealthy merchant
has appointed his daughter,
who is dependent on me,
as legal heir in place of a son,”*
with such tales
villains gorge themselves at the expense of a girl.
Suspect is also the specialist of physiognomy.*
A knower of vulnerabilities, he is a heart-thief.
He makes his appearance feigning to be deaf or mute,
masterminded by an adversary.
9.20
279
THE THREE SATIRES: KSHEMENDRA
Bhasma|smera vesya
vrddha sramana sa|daivata ganika
etah kula|narinam
caranti dhana|slla|harinyah.
«Vidhava tarunl sa|dhana
vanchati divyam bhavad|vidham ramanam*
dhurto jadam ity uktva
sarvasvam tasya bhaksayati.
9.25 Pratyaha|vetana|yuktah
karmasu ye karu|silpino dhtirtah
vilasanti karma|vighnaih
vijneyah kala|cauras te.
Aksa|vyajair vividhaih
ganana|hast’|adi|laghavair nipunah
dhurtas caranti gudham
prasiddha|kitava videsesu.
Bhojana|matr”|otpattih
bahu|vyayo dyuta|madya|vesyabhih
vijneyo grha(cauro
bandhu|jano vesma|daso va.
«Krtakam sastram asatyam,
saksad|drstas ca kena para]lokah?»
iti vadati yah sa sankyo
nirankuso matta|matangah.
280
THE GRACE OF GUILE 9: QUACKERY
A prostitute pallid with sacred ash,
an old nun, or a courtesan carrying an idol;
these destroyers
of the wealth and virtue of noble ladies
are on the prowl.
“A young, rich widow
lusts after a divine lover like you,”
saying this to a dim-wit
the villain eats into his money.
Corrupt artisans and craftsmen,
day-labourers who divert themselves
with disruptions to their job,
should be known as time-thieves.
Expert gamblers,
villains adept in dice-tricks, miscalculation,
and sleight of hand etc.,
pass unmarked in foreign lands.*
A relative,
who shows himself only at mealtimes,
who squanders a lot
on gambling, wine and loose women,
should be known as a house-thief
or house-fiend.
“Sacred scripture is fabrication and false.
Who has actually seen the hereafter?”
He who speaks thus should be feared
like a rutting elephant running out of control.
9.25
281
THE THREE SATIRES: KSHEMENDRA
Bahu|labha|lubdhajmanasam
haranti ye duhsahena lobhena
ma|dhanam adhika|vidagdha
vijneya labha|cauras te.
9-3° Des’|antara|sambhavibhih
bhoga|varair vamana|ramyaih
ye ’pi nayanti videsam
pasujsadrsan desa|cauras te.
Adhika|ran’|ambudhi|madhye
jvalanti vadav”|agnayah sakala|bhaksah
jitajjana|vinimayino ye
bhatt’|akhya jnana|coras te.
Vibhav’jambho|ruha|madhupa
duhsaha|vipad|anila|vega|vimukha ye
suhrdas te sukha|caurah
caranti laksml|lat”|ahutah.
282
THE GRACE OF GUILE 9: QUACKERY
Those who, skilled at excess,
with unbearable greed,
rake in the debts
of those hoping to make much profit,
should be known as profit-thieves.
Those who entice people abroad like cattle,
with the choice enjoyments
available in other lands,
enchanting with the praises heaped upon them,
are land-thieves.*
Those, who bear the title “honorable,”
who are all-devouring submarine fires
smoldering in the midst of
the oceans of law-courts,
who collude with the defeated party
to arrange the outcome,
are knowledge-thieves.
Friends, who are
honey-drinking bees on the lotus of prosperity,
who are blown away by the force
of the wind of unpalatable hardship,
are comfort-thieves, who rove about
attracted by the vine of fortune.
9.30
283
THE THREE SATIRES: KSHEMENDRA
Yad yat kim cid apurvam
para|carit’|akalpanad asambaddham
varnayati harsa|kari
bahu|vacanah karna|cauro ’sau.
Dosesu guna|stutibhih
sraddham utpadya catura/vacana ye
kurvanty abhinava|srstim*
sthiti|cauras te niracarah.
9.35 Atma|guna|khyad|parah
para|gunam acchadya vipula|yatnena
prabhavanti parama|dhurta
guna|cauras te vimudha|hrdayesu.
Vallabhatam upayatah
para|vallabhyam vicitra|paisunyaih
ye varayanti dhurta
matsaryad vrtti|cauras te.
Sama|dama|bhakti|vihlnas
tlvra|vrata|durgraha|grastah
abhibhavati pratipattya
sadhujjanam kIrti|cauro ’sau.
284
THE GRACE OF GUILE 9: QUACKERY
The entertainer who recounts all kinds of things
which are unheard of,
which are incoherent,
because he does not formulate
what was done by others,
is a talkative ear-thief.
Those, who, with pleasing voices : clever words
generate faith
by praising virtues where there are only defects,
create a rival world-order,
are lawless thieves of the bounds of morality.
Those utter villains, who,
intent on proclaiming their own virtues,
exert themselves mightily to obscure the virtues of others,
are virtue-thieves,
they wield influence among the simple-minded.
Those villains, who have won royal favor,
who out of jealousy obstruct others from royal favor
by all manner of backbiting,
are livelihood-thieves.
A man lacking in tranquility, restraint and devotion,
but seized by a mania to observe severe religious vows
overwhelms good people with his determination.
He is a renown-thief.
9-35
285
THE THREE SATIRES: KSHEMENDRA
N ana|hasa| vikaraih
bahu|vaidagdhyaih sa|narma|parihasaih
ramayati divasam asesam
prakrti|vyaparajcauro ’sau.
Bhaksita|nijajvibhava ye
parajvibhava|ksapana|diksitah pascat
anisam vesy”|avesa|
stuti|mukharas te vitas cintyah.
9.40 Ati|sucitaya na vrttim
grhnati karoti c’ agryam adhikaram
yo niyama|salila|matsyah
pariharyo ’sau tu nihsprha|niyogI.
Rathya|vanijah papah
svayam etya grhesu yat prayacchanti
tat ksana|ratnam udaram
bhavati param kaca|sakalam api.
Chand’|anuvartino ye
svabhr’|apate ’pi sadhu|vada|parah
sarvasva|harinas te
madhura visavad visanty antah.
286
THE GRACE OF GUILE 9: QUACKERY
The thief of habitual occupation fritters away
the whole day
shifting into diverse types of laughter,
with many clever quips
abounding in jokes and farces.
Those who have squandered
all of their own money
and then devote themselves to wasting the wealth of others,
who incessantly prattle on
acclaiming brothels,
are suspect as pimps.*
The abstemious commissioner,*
who discharges the highest office
but does not accept any wages
out of inordinate purity,
must be shunned
as a shark in the water of moderation.
Wicked street-peddlers call at houses uninvited.
Whatever they proffer,
becomes in a flash a jewel of distinction,
be it nothing but a bit of glass.
Sycophants, who are ready to cry “Bravo!”
even when one plummets into a chasm,
rob everything with a pleasing voice,
they spread within like poison.
9.40
287
THE THREE SATIRES: KSHEMENDRA
«Tava nara|patih prasadl
guna|ganana|parah param» vijane
uktv” eti raja|dasaih
sevaka|lokah sada musitah.
«Svapne may” abja|hasta
drsta §ris tvad|grham pravista ca
mas’|opavasa|tusta
Devi Srih sadara praha:
9.45 <Mad|bhaktas te dasyati
sarvam.> labdho maya tat tvam»
ity uktva saralanam
vilasanti grhe grhe dhurtah.
Pura|viplava|nagar’|6daya|
yajnajvivah’ |otsav’ |adi|j ana|samghe
pravisanti bandhu|vesah
pare ’pi sarv’|apaharaya.
Parijana|pan’|avasare
pibati na madyam, nisasu jagarti
dhyanajparah, svair’jarthl,
kim api ca kartum krt’|odyogah,
288
THE GRACE OF GUILE 9: QUACKERY
“The King is favorably inclined towards you,
he knows well to appreciate your many virtues.”
With such private avowals, the royal menials
ever rifle the servants.
“In a dream*
I saw the Goddess of fortune,
and she entered your house
with a lotus in her hand.
Gratified by my month-long fast,
the Goddess Lakshmi, though usually diffident,
spoke to me:
‘My devotee will give you everything’.
So I have come to you.”
With such pretenses, villains take advantage
of the simple-minded faithful,
house by house.
When crowds congregate
because the city is in affray,
because of sacrifices,
wedding-festivals or the like,
strangers dressed as kinsmen
intrude to carry off valuables.
When the company drinks
he does not touch wine.
He stays awake at night
absorbed in brooding.
He is inclined to be self-willed,
and has hatched plans for some venture.
9-45
289
THE THREE SATIRES: KSHEMENDRA
Na dadati prativacanam,
prativakti ca gadgad’|aksarair visamam
nasta|mukhah s’|occhvasah
pravepate tat|ksanam corah.
Yas c’ adhika|parisuddhim
prarthayate ratati yas ca s’jatopam
ghor’|apahnava|karI
sank’layatanam sa papah syat.
9.50
Pratyakse ’pi parokse
krtam akrtam kathitam apy anuktam ca
yah kurute nirvikrtih
sa param pumsam bhaya|sthanam.
Krta|krtaka|mugdha|bhavah
sandha iva stri|svabhava|samlapah
vicarati yah strl|madhye
sa Kama|devo grhe dhurtah.
290
THE GRACE OF GUILE 9: QUACKERY
He gives no answer.
Or he gives a reply
muffled with stammering.
He hides his face, he sighs,
he trembles in an instant:
the thief.
He, who demands inordinate purity
and clamors arrogantly,
that miscreant is a source of suspicion,
a source of terrifying dissimulation.
He who,
whether it was witnessed or not,
turns what has happened
into what has not happened,
and what was said
into what was not said,
without batting an eyelid,
he is the ultimate source of danger
for men.
The villain
who affects an artificial innocence,
who, like a eunuch,
talks in the manner of a woman,
who loiters around the women
is the God of love
in the house.
9.50
291
THE THREE SATIRES: KSHEMENDRA
Satatam adho|mukha|drstih
sati vibhave malina|gatra|vasanas ca
vilasan kosa|niyuktah
kosajgrhe musakas dmjah.
Tisthati yah sakala|dinam
grha|dasah priti|vesma|bhavanesu
grha|dlrgha|kathah kathayan
sa carah sarv’|atmana tyajyah.
Nindye bahu|dand’|arhe
karmani yah sarvatha pratarayati
a|j!va|bhIti|bhojyas
tena nibaddhah payo|rasih.
9.55 Drstva guhyam asesam
tasya rahasyam ca Illaya labdhva
dhurtena mugdha|Iokas
tena sila|pattake likhitah.
292
THE GRACE OF GUILE 9: QUACKERY
The treasurer
whose eyes are always cast down,
whose body and clothes are filthy
even though he has money,
who frolics in the treasury,
should be feared as a thief : rat.*
The servant attached to a house
who stays all day
in the inner apartments
as a favor,
telling long-winded tales about the house,
must be scrupulously avoided as a spy.
He who persistently instigates others to commit
sinful undertakings meriting severe punishment,
has dammed the ocean
which he must enjoy with apprehension
for the remainder of his life.
The villain,
once he has seen all
of the private affairs
of unsophisticated people,
and has without difficulty uncovered their secrets,
proceeds to inscribe them
on a stone slab.
9-55
293
THE THREE SATIRES: KSHEMENDRA
Raja|viruddham dravyam
rupyam va kuta|lekhyam anyad va
niksipya yaty alaksyam
dhurtas tesam vinasaya.
Ksudrah kslno ’pi grhe
labdh’|asvadah krto dhanair yena
visa|sastra|pasa|hastah
sa Pasa|hasto dhrtas tena.
Lajja|dhanah kullnah
sambhavita|suddha|slla|maryadah
narikriyate dhurtaih
prayena sa|garbhatnarlbhih.
Drstabhir abhijnabhih
krurabhih krtaka|vacana|mudrabhih
dhurto musnati vadhum
mugdham viprosite patyau.
9.60 Sa|jane ’pi sadhujvesa
vidhrt’|abharanas ca helaya dhurtah
dhlra haranti satatam
drste haso ’nyatha labhah.
294
THE GRACE OF GUILE 9: QUACKERY
To ruin them,
the villain plants illegal goods,
money banned by the king,
a forged document or something similar,
and then absconds unnoticed.
Someone who affords succor in his own house
to an emaciated wretch at his own expense,
is then held to ransom
by that veritable God of death
holding a poisoned knife and a noose.
By means of pregnant women,
villains commonly make a woman
of an easily embarrassed, highborn man
who respects the boundaries of pure conduct.*
When her husband is abroad,
a villain robs his innocent wife,
with cruel, made-up messages and seals,
with tokens of recognition which he has observed.
Even in the midst of people,
bold gentlemen-thieves dressed in respectable finery,*
bedecked with ornaments,
are ceaselessly stealing without effort.
If it is noticed, it is a joke,
if not, it is a gain.
9.60
295
THE THREE SATIRES: KSHEMENDRA
Dese krtva sphlte
kumbha|dhan’|adambarair grham purnam
niksepajlaksa|hari
varsena palayate dhurtah.
Susira|maya|kanaka|bhusana|
tanu|vasanaih samvrtas ca ptijyante
ripu|bhagna|raja|putra|
vyajena grhe grhe dhurtah.
Adaya desa|vrsabham
punya|cchagam ca dhurta|vikritam
mugdhasya duhkha|pakah
samargha|labh’)odito harsah.
S’|adhi|ksepas tyage
mahatam sampatsu yah krt’|asuyah
tasmai bhayena vittam
rikto ’pi dadati yatnena.
9.65 Nihsara|bhurja|saraih
krtva gantri|yutam maha|sartham
dhurto disi disi vicaran
dhanika|sahasrani musnati.
Dhurtah prasannajveso
nirdisya Surapaga|gaya|yatram
bandhu|nidhaya sarthe
dravinam grhnati mugdhebhyah.
296
THE GRACE OF GUILE 9: QUACKERY
Once the con-man,
who steals hundreds of thousands worth of deposits,
has crammed his house in a prosperous foreign land
with piles of treasure-vats,
he disappears within a year.
Bedecked with hollow golden ornaments and fine garments,
impostors are honored in house after house
in the guise of princes usurped by a common enemy.
After a fool has bought a lucky goat
from a swindler with a country bull,
his glee at a valuable bargain
ripens into grief.
Even an impoverished man, out of fear,
is intimidated into giving money to an extortionist
who is abusive when ignored,
who is envious of the prosperity of eminent people.*
With wares which are really worthless bundles of birchbark, 9.65
a villain sets up a vast caravan furnished with carts,
crisscrosses the world,
and robs thousands of wealthy people.
A fraud, dressed in discreet robes,
announces a pilgrimage to the river Ganges
and then takes money from simple people
in order to deposit
the cremated remains of relatives.
297
THE THREE SATIRES: KSHEMENDRA
Musnati sartha|ramanl
satim adaya nidraya mugdham.
dhurtena kuta|rupam
dattva nisi vancyate s” api.
Badhiram va mukam va
vanijam niksipya bhanda|salayam
dhurto nayati tvaraya bahu|mulyam varnaka|dravyam.
Kim cit paricaya|matraih
kim cid dharstyena katthanaih
kim cid vivada|kalahaih sarva|jno vancakas carati.
9.70 Mithya/dambaraldhaniko
mala/patrakalpanditah katha/jnanl
varnana/suras ca parah
Catur|mukho jrmbhate dhurtah.
Sarv’|avayava|vidhunana|
krta|samketan vibhajya gehesu
bhoktum vrajati digantan
vedh’|acaryo maha|dhurtah.
298
THE GRACE OF GUILE 9: QUACKERY
The caravan-harlot
steals the gown of a dozing simpleton.
Given a counterfeit coin by a villain,
she is cheated the same night.
A villain locks a deaf or dumb merchant
in his store-house
and quickly makes off
with heaps of stock and gold.
The cheat* sets out, omniscient,
in part through mere acquaintance,
in part through audacity,
in part through boasting,
in part through quarrel and disagreement.
Loudly asserting falsehoods, learned by reading title-pages,
expert in disputation, heroic in embellishment,
the villain is prominent as another four-faced Brahma
: who powerfully confounds falsehood,
who is the scholar seated on stainless lotus-petals,
who knows sacred lore,
who is heroic in creating the universe.*
After investing houses with stooges ready to fake
violent tremors in their whole bodies,
the great deceiver roams hither and thither
to enjoy himself as a master of piercing-initiation.*
9.70
299
THE THREE SATIRES: KSHEMENDRA
«Sata|varsikam amalakam
bhuktva sri|parvatad aham praptah»
dhurto vadati gurunam
puratah «Sakunim smaram’ iti.»
Ete lesena maya
kathita maya|kalas catuh|sastih;
ko vetti vancakanam
mayanam sata|sahasrani?
iti maha|kavi|sri|Ksemendrajviracite
Kala|vilase
nana|dhurta|varnanam nama
navamah sargah.
300
THE GRACE OF GUILE 9: QUACKERY
The villain proclaims in front of the gurus:
“I have come from Mt. Shri-parvata
where I have eaten
a hundred year old Myrobalan fruit.
I remember Shakuni.”*
These, succinctly told,
are the sixty-four arts of deceit.
Who knows
the hundreds of thousands of tricks of swindlers?
The ninth canto,
named the description of assorted villains,
in the “Grace of Guile” composed by
the great poet Kshemendra.
301
THE GRACE OF GUILE
10. VIRTUE
T7 TA VANCAKA| MAYA
-*— 4 vijneya na tu punah svayam sevyah
dharmyah kala|kalapo
vidusa|mayam Ipsito bhutyaih.
Dharmasya kala jyestha
bhuta|day”|akhya par’|opakaras ca
danam ksam” anasuya
satyam alobhah prasadas ca.
Arthasya sad”|otthanam
niyamah paripalanam krama|jnanam
sthane tyagah patutaj
anudvegah strlsv avisvasah.
Kamasya vesa|sobha
pesalata caruta gun’|otkarsah
pritih pranayo llla| citta|jnanam ca kantanam.
10.5 Moksasya viveka|ratih
prasamas trsna|ksayah sva|samtosah
sanga|tyagah sva|layah
samyam paramajprakasas ca.
Etas catustaya|kala
dvajtrimsat|krama|dhrtah samasta va
samsara|vancakanam
bhavanti vidyavatam.
304
O ne must know these tricks of charlatans,
but one should not pursue them oneself.
The wise seek their welfare
in the profusion of virtuous arts.
The most excellent arts of righteousness are known as
compassion for living beings, assistance to others,
charity, forbearance, goodwill, truthfulness,
contentment, and serenity.*
Of gain they are
unflagging exertion, regularity, saving,
knowledge of business, selling in due time,
proficiency, calm, and distrust in women.
Of pleasure they are
beautiful clothes, gentleness, elegance, excellent virtues,
affection, trust, playfulness,
and knowing the mind of the beloved.
Of liberation they are
a love of discernment, tranquility, eradication of craving,
self-contentment, giving up clinging, merging into the self,
equanimity, supreme illumination.
For wise deceivers of transmigration
these are the thirty-two arts
of the quartet of worldly aims
practised in order or all at once.*
10.5
305
THE THREE SATIRES: KSHEMENDRA
Matsarya|parityagah
priya|vaditvam sadhairyam akrodhah
vairagyam ca par’|arthe
sukhasya siddhah kalah panca.
Sat|sarigah kamajjayah
saucam guru|sevanam sad|acarah
srutam amalam yasasi ratih
mula|kalah sapta sllasya.
Tejah sattvam buddhih
vyavasayo nltir ingita|jnanam
pragalbhyam susahayah
krtajjnata mantra|raksanam tyagah;
io.io Anuragah pratipattih
mitr’|arjanam anrsamsyam astambhah
asrita|j anajvatsalyam
dasa|sapta kalah prabhavasya.
Maunam alaulyam ayacna
manasya ca jlvitam kala|tritayam
etah kala vidagdhaih
svajgatah karyas catuh|sastih.
sakta|virodhe gamanam
tat|pranatir va bal’|odaye vairam
artasya dharma|carya
duhkhe dhairyam sukhesv anutsekah;
Vibhavesu samvibhagah
satsu ratir mantra|samsaye prajna
nindyesu parafi|mukhata
bhesajam etat kala|dasakam.
306
THE GRACE OF GUILE IO: VIRTUE
Giving up envy, kindly speech, fortitude,
freedom from anger,
and dispassion towards the wealth of others,
are the five magical arts of happiness.*
The seven fundamental arts of integrity are:
association with the good,
vanquishing sensual desires, purity,
service to the preceptor, good conduct, stainless learning,
and striving for a good reputation.
Dignity, character, intelligence, determination, statecraft,
knowledge of gestures betraying secret intentions, boldness,
loyal friends, gratitude, confidentiality, generosity;
Devotion, sanctioned authority, acquisition of friends, 10.10
mercy, modesty, and kindness towards dependents
are the seventeen arts of power.
Reserve, firmness and not begging,
this triad of arts is the life of honor.
The wise should make
these sixty-four arts their own.
When opposed by a greater power
one should leave or bow to it,
one should show hostility when force is brought to bear,
righteous conduct towards the oppressed,
fortitude in suffering, courtesy in happiness;
Sharing in wealth, fondness for good people,
clear insight when counsels are doubtful,
and aversion to reprehensible people;
these ten arts are remedial.
307
THE THREE SATIRES: KSHEMENDRA
Gurujvacanam satyanam
karyanam go|dvi|jati|sura|puja
lobhah papatamanam
krodhah sarv’ |opatapa|janakanam;
10.15 Prajna sarva|gunanam
yasasvita vipula|vittajvibhavanam
seva duhkhataranam
asa prthu|kala|bhujaga|pasanam;
Danam ratnajnidhlnam
nirvairatvam sukha|pradesanam
yacna mana|haranam
darirdyam sapa|tapas’|arthanam;
Dharmah patheyanam
satyam mukha|padma|pavanataranam
vyasanam roga|gananam
alasyam grha|samrddhi|nasanam;
Nihsprhata slaghyanam
priya|vacanam sarva|madhuranam
darpas timira|bharanam
dambhah sarv’|opahasa|patranam;
Adrohah saucanam
acapalam vrata|visesa|niyamanam
paisunyam apriyanam
vrtti|cchedo nrsamsa|caritanam;
10.20 Karunyam punyanam
krta|jnata purusa|ratna|cihnanam
maya moha|matInam
krta|ghnata naraka|pata|hetunam;
308
THE GRACE OF GUILE IO: VIRTUE
In this world,* it is renown,
which is the guru’s word among truths,
the worship of cows, brahmins and Gods among deeds,
greed among heinous sins,
wrath among all that leads to sorrow;
Wisdom among all virtues,
prestige among all the dignities of vast affluence,
servitude among miseries,
hope among thick snares and black cobras;*
Charity among jewel treasures,
freedom from enmity among the happy realms,
begging among erasers of honor,
poverty among all penitences caused by curses;
Righteousness among waybreads,
truth among the purifiers of one’s mouth-lotus,
vice among epidemics of diseases,
sloth among the destroyers of the prosperity of a house;
Desirelessness among things worthy of praise,
kind words among all that is sweet,
arrogance among all that is impenetrably dark,
false piety among all that is laughable;
Absence of malice among purities,
steadfastness among the observances imposed
by difficult vows,
slander among unpleasant deeds,
severing a livelihood among mean acts;
Compassion among meritorious feats,
gratitude among the marks of the superior man,
deceit among foolish ideas,
ungratefulness among the causes for a downfall to hell;
10.15
10.20
309
THE THREE SATIRES: KSHEMENDRA
10.25
Madanas chala|cauranam
strl|vacanam jnati|bhedanam
kruras candalanam
fmayavl kali|yug’|avataranamf;
sastram mani|dlpanam
upadesas cabhisekanamab:
sneho visama|visanam
vesya|rago visarpa|kusthanam;
Bharya grha|saranam
putrah para|loka|bandhunam
satruh salyajsatanam
dusputrah kula|vinasanam;
Tarunyam ramyanam
rupam rucir’|opacara|vesanam
vrddhatvam klesanam
rogitvam nidhana|tulya|duhkhanam;
Prabhu|saktir bhagyanam
putra|janih sarva|saukhyanam
manah pusti|karanam
acarah karma|dharma|niratanam;
Samtoso rajyanam
satjsangas cakra|varti|vibhavanamab:
cinta sosa|karanam
vidvesah kotar’|agni|dahanam;
3 10
THE GRACE OF GUILE IO: VIRTUE
The God of love among sneaky thieves,
women’s words among dividers of kinsmen,
a cruel one among chanddlas*
a necromancer among those incarnated
in the age of darkness;
Scripture among jewel-lamps,
instruction among consecrations,
love among cruel poisons,
attraction to prostitutes among spreading rashes
and leprosies;*
A wife among domestic properties,
a son among relatives helpful for the next life,*
an enemy among hundreds of barbs,
a bad son among the destroyers of families;
Youth among lovely things,
beauty among splendid pomp and garments,
old age among afflictions,
sickness among agonies equal to death;
Sovereignty among good fortunes,
the birth of a son among all joys,
self-respect among invigoraters,
customary observance among those devoted
to ritual and religion;
Satisfaction among kingdoms,
good company among the glories of emperors,
worry among things which parch,
hatred among fires smoldering in hollow trees;
311
10.25
THE THREE SATIRES: KSHEMENDRA
Maitri visrambhanam
niryantranata mah”|arhajbhoganam
samkoco vyadhmam
kautilyam nirjal’|andha|kupanam;
Arjavam amalataranam
vinayo vara|ratna|mukutanam
dyutam durvyasananam
stri|jitata madhumatam pisacanam;
Tyago mani|valayanam
srutam ujjvala|karna|ratnanam
khala|maitri capalanam
durjanaiseva vrtha|prayasanam;
10.30 Nirvrtir udyananam
priya|darsanam amrta|varsanam
tattva|ratir labhyanam
murkha|sabha guna|viveka|nasanam;
Kutajah sa|phala|tarunam
saubhagyam krta|puravataranam
raja|kulam sakyanam
strl|hrdayam prakrti|kutilanam;
Aucityam stutyanam
guna|ragas candan’|adi|lepanam
kanya soka|karanam
buddhi|vihIno ’nukampyanam;
Vibhavah saubhagyanam
jana|ragah klrti|kandanam
madyam vetalanam
mrgaya gaja|gahana|yaksanam;
312
THE GRACE OF GUILE IO: VIRTUE
Amiability among intimate confidences,
independence among priceless enjoyments,
self-abasement among diseases,
duplicity among waterless concealed wells;
Sincerity among unsullied things,
modesty among diadems of choice gems
gambling among depravities
defeat by women among appealing goblins;
Renunciation among jewelled bracelets,
learning among dazzling earrings set with gems,
friendship with villains among uncertainties,
service to the wicked among futile endeavours;
Beatitude among gardens,
the glance of a friend among nectar-showers,
rejoicing in truth among things within reach,
an assembly of fools
among destroyers of the discernment of virtues;
The kutaja* among fruit-bearing trees,
good fortune among the consequences of former deeds,
the royal family among wherewithals,
a woman’s heart among the inherently deceitful;
Harmony among the praiseworthy,
attachment to virtue among unguents of sandalwood etc.,
a daughter among causes of grief,
the dunce among those deserving pity;
Wealth among good destinies,
popularity among the roots of renown,
drink among zombies,
hunting among yakshas in the elephant wilderness;
10.30
313
THE THREE SATIRES: KSHEMENDRA
Prasamah svasthya|karanam|
atma|ratis tlrtha|sevanam
lubdhah phala|rahitanam
acara|vivarjitah smasananam;
10.35 Nltih strl|raksananam
indriya|vijayah prabhavanam
Irsya yaksmajsatanam|
ayasah kusthana|marananam;
Mata mangalyanam
janakah sukrt’|otsav’|6padesanam
ghatas tlksna|saranam
marma|cheda|sit’|asi|sastranam;
Pranatir manyu|haranam
sauhardam krcchra|yacnanam
prabhu|bhaktir nltanam
yuddhi nidhanam saukhya|vlthlnam;
Punyam prapyatamanam
jnanam parama|prakasanam
klrtih samsare ’smin
saratara sarva|lokanam.
Jneyah kala|kalape|
kusalah sarv’|artha|tattva|vijnata
pravarataro loke ’smin|
brahmana iva sarva|varnanam.
10.40 Ity uktam satam etad
yo vetti subh’jasubh’|6daya|kalanam
tasy’ aiva vyavahare|
drsta drsta|prayojana laksmih.
3i4
THE GRACE OF GUILE IO: VIRTUE
Tranquility among health-tonics,
delight in the self among visits to sacred fords,
the hunter among those without merit,
the dissolute among burning grounds;
Prudence among ways to protect women,
conquest of the senses among mighty deeds,
jealousy among the hundred forms of consumption,
disrepute among inglorious deaths;
A mother among blessings,
a father among teachings for the festivity of good deeds,
murder among sharp arrows,
severing of the vital ligatures among bright razor weapons;
Deference among appeasers of anger,
friendship among things difficult to ask for,
devotion to God among guiding principles,
death in battle* among paths to happiness;
Merit among things one must attain,
knowledge among the brightest illuminations,
which is most precious to all people.
An adept at this whole collection of arts,
who discerns the truth of all things,
must be acknowledged as unsurpassed in this world,
just as a brahmin is among all the castes.
Fortune smiles, making her intention clear,
upon the endeavours of those alone who know
the one hundred arts just revealed,
which lead to either fortune or misfortune.
10.35
10.40
3i5
THE THREE SATIRES: KSHEMENDRA
Uktv” eti Muladevoj
visrjya sisyan krt’|ocit’|acarah
kirana|kalika|vikasam
ninaya nija|mandire rajanlm.
Kell|mayah smita|vikasa|kal”|abhiramah
sarv’|asray’|antara|kala|prakata|pradlpah
lok’|opadesa|visayah sukathajvicitro
bhuyat satam dayita esa Kala(vilasah.
Kala|vilasah Ksemendra|
pratibh”|ambhodhi|nirgatah
sas” lva manas’|ahladam
karotu satatam satamj
iti maha|kavi|sri[Ksemendra|viracite
Kala|vilase
sakala|kala|nirupanam nama
dasamah sargah.
316
THE GRACE OF GUILE IO: VIRTUE
This said, Mula-deva
dismissed his pupils with the appropriate rite,
and spent the remainder of the night,
which blossomed with clusters of rays,
in his own palace.
May this “Grace of Guile” be dear to the good:
Made up of amusements,
merry with the art of wide smiles,
a bright lamp on the inner workings of all dispositions,
meant as instruction for the public
relieved by edifying tales.
May the “Grace of Guile,”
which has come forth
from the ocean of Kshemendra’s talent,
ever delight the minds of the good,
as does the moon.
The tenth canto,
named the description of all arts,
in the “Grace of Guile” composed by
the great poet Kshemendra.
3i7
NILA-KANTHA:
MOCKERY OF THE KALI ERA
PANDITAH
\T a bhetavyam na boddhavyam
^ na sravyam vadino vacah
jhatiti prativaktavyam sabhasu vijiglsubhih!
Asambhramo, vilajjatvam, avajna prativadini,
haso, rajnah stavas c’ eti pane’ aite jaya|hetavah.
Uccair udghosya jetavyam madhya|sthas ced apanditah
pandito yadi tatr aiva paksa|pato ’dhiropyatam.
Lobho hetur dhanam sadhyam drstantas tu purohitah
atm”|otkarso nigamanam anumanesv ayam vidhih.
5 Abhyasyam lajjamanena tattvam jijnasuna ciram
jiglsuna hriyam tyaktva karyah kolahalo mahan.
Pathanair grantha|nirmanaih pratistha tavad apyate
evam ca tathya|vyutpattir ayuso ’nte bhaven na va?
Stotarah ke bhavisyanti murkhasya jagati|tale?
na stauti cet svayam ca svam kada tasy’ astu nirvrtih?
«Vacyatam! samayo ’tltah. spastam agre bhavisyati.»
iti pathayatam granthe kathinyam kutra vartate?
Agatitvam atisraddha jnan’|abhasena trptata
trayah sisya|guna hy ete murkh’|acaryasya bhagya|jah.
MANTRIKAH
io Yadi na kv’ api vidyayam sarvatha kramate matih
mantrikas tu bhavisyamo yogino yatayo ’pi va.
Avilambena samsiddhau mantrikair apyate yasah
vilambe karma|bahulyam vikhyapy’ avapyate dhanam.
320
ACADEMICS
I f you want to triumph in a meeting, do not be afraid,
do not pay attention, do not listen to the opponent’s
arguments,—just immediately contradict them! Unflappa¬
bility, shamelessness, contempt for the adversary, derision,
and praise of the king: these five are the grounds of victory.
If the arbitrator is not learned, one wins by shouting.
If he is learned one has only to insinuate bias: “Greed” is
the premise, “money” is the probandum, “the priest” is the
example, “personal advance” is the result: such is the correct
syllogistic procedure.*
The humble seeker after wisdom must ponder the truth 5
for a long time; the careerist has to set aside modesty and
cause a great commotion. A reputation is above all won by
composing works and by teaching; and might perhaps even
true erudition be achieved in this manner before the end of
life, or not?
Who, on this earth, will praise a fool? Were he not to
praise his own work, could he ever be happy? “Read on! We
are behind time. It will become clear further on,”—with
such a method of teaching, what could prove difficult in a
text? Resourcelessness, excessive faith, satisfaction with the
appearance of knowledge—these three qualities in a student
are a blessing for a dimwitted teacher.
SORCERERS*
Should our intellect absolutely fail to penetrate any sci- 10
ence at all, then we can always become mantra-sorcerers,
yogins, or ascetics. When success is immediate, mantra-
321
THREE SATIRES: NILA-KANTHA
Sukham sukhisu duhkham ca jlvanam duhkha|salisu
anugrahayate yesam te dhanyah kdialu mantrikah.
Yavad ajnanato maunam acaro va vilaksanah
tavan mahatmya|rupena paryavasyati mantrike.
JYAUTISIKAH
Caran vicarya daiva|jnair vaktavyam bhubhujam phalam
graha|cara|parijnanam tesam avasyakam yatah.
15 «Putra ity» eva pitari «kanyak” ety» eva matari
garbha|prasnesu kathayan daiva|jno vijayl bhavet.
Ayuh|prasne dlrgham ayur vacyam mauhurtikair janaih
jlvanto bahu|manyante mrtah praksyanti kam punah?
Sarvam koti|dvay’|opetam sarvam kala|dvay’|avadhi
sarvam vyamisram iva ca vaktavyam daiva|cintakaih.
Nirdhananam dhan’|avaptim dhaninam adhikam dhanam
bruvanah sarvatha grahya lokair jyautisika janah.
Satasya labhe tambulam sahasrasya tu bhojanam
daivajjnanam upalambho nityah karya|viparyaye.
20 Api sagara|paryanta vicetavya vasun|dhara
deso hy aratni|matre ’pi n’ asti daiva|jna|varjitah.
Varan ke cid grahan ke cit ke cid rksani janante
tritayam ye vijananti te vacas|patayah svayam.
322
MOCKERY OF THE KALI ERA
sorcerers become celebrities; when there is a delay, exorbi¬
tant rituals are prognosticated and they make money.
Blessed indeed are mantra-sorcerers, whose livelihood
benefits from both the happiness of the well-off and the
misery of the wretched. Provided the sorcerer keeps quiet
in his ignorance or adopts bizarre behavior, his greatness
is ensured.
ASTROLOGERS
Because insight gained from the movements (cam) of the
planets is indispensable for them, astrologers announce a
prediction to the king after consulting spies (earn).
When asked about a pregnancy, the astrologer wins if 15
he tells the father: “A son!” and the mother: “A daughter!”
When asked about the length of life, the astrologer predicts
a long life. Those who survive will be in awe of him. Who
will the dead call to account?
Astrologers should say that everything has two sides, ev¬
erything happens within two time-limits, and everything
appears to be in flux. The people will always welcome as¬
trologers who predict a gain of wealth to the impoverished,
and even more wealth to the wealthy. For a predicted gain
of a hundred, an astrologer earns some betelnut, for a pre¬
dicted gain of a thousand a meal, and for a predicted fiasco
eternal censure.
One may scour the earth up to the edge of the sea, 20
but nowhere is there even a single ell of land free from
astrologers. Some know the days, some the planets, some
the constellations,—those who know all three are veritable
Vachas-patis.* Fortune-tellers, interpreters of dreams, and
323
THREE SATIRES: NILA-KANTHA
Naimittikah svapnajdrso devat”|opasaka iti
nisarga|satravah srsta daiva|jnanam ami trayah.
BHISAJAH
Svasthair asadhya|rogais ca jantubhir n’ asti kim cana
katara d!rgha|rogas ca bhisajam bhagya|hetavah.
N’ atidhairyam pradatavyam n atibhltis ca rogini
naiscintyan n’ adime danam nairasyad eva n’ antime.
25 Bhaisajyam tu yatha|kamam pathyam tu kathinam vadet
arogyam vaidya|mahatmyad anyathatvam apathyatah.
Nidanam roga|namani satmy’|asatmye cikitsitam
sarvam apy upadeksyanti roginah sadane striyah.
Jrmbhamanesu rogesu mriyamanesu jantusu
roga|tatrvesu sanakair vyutpadyante cikitsakah.
Pravartan’|artham arambhe madhye tv ausadha|hetave
bahu|man’|artham ante ca jihlrsanti cikitsakah.
Lipsamanesu vaidyesu cirad asadya roginam
dayadah samprarohanti daiva|jna mantrika api.
30 Rogasy’ opakrame santvam
madhye kim|cid|dhana|vyayah
sanair anadarah santau
snato vaidyam na pasyati.
324
MOCKERY OF THE KALI ERA
priests;* these three natural enemies have been created for
astrologers.
PHYSICIANS
The healthy and the terminally ill are of no interest,
doctors thrive on hypochondriacs and those suffering from
chronic diseases. The patient must neither be given too
much hope nor too much fear. In the first case he will not
pay up because he has no worry, in the second because he
has no hope. .
A doctor prescribes medicine ad libitum, but insists on 25
a difficult, meager diet. If health is restored it is by the
greatness of the physician, if not, the dietary regimen was
not followed.
Pathology, diagnostic, what is agreeable and disagreeable,
treatment,—the women in the patient’s house will instruct
him in all.* As epidemics spread, as people succumb, doctors
learn, eventually, about the nature of diseases.*
Initially to make a housecall, in the interim for medicine,
at the end out of gratitude,—physicians demand payment.
When doctors, greedy for money, have at last secured a
patient, two co-inheritors pop up: the astrologer and the
mantra-sorcerer. *
At the onset of the disease the patient shows him kind- 30
ness, in the middle stage he parts with some money, as health
returns he looses interest in him, after the bath of conva-
lescense the physician has become a persona non grata.
325
THREE SATIRES: NILA-KANTHA
KAVAYAH
Daivajjnatvam man trikata bhaisajyam catu|kausalam
ek’|aikam artha|labhaya dvi|tri|yogas tu durlabhah.
Anrtam catu|vadas ca dhana|yogo mahan ayam
satyam vaidusyam ity esa yogo daridrya|karakah.
Kataryam durvinltatvam karpanyam avivekatam
sarvam marjanti kavayah sallnam musti|kimkarah.
Na karanam apeksante kavayah stotum udyatah
kim cid astuvatam tesam jihva phuraphurayate.
35 Stutam stuvanti kavayo na svato guna|darsinah
kitah kas cid «alih» nama—kiyatl tatra varnana?
Ek” aiva kavita pumsam gramay’ asvaya hastine
antato ’nnaya vastraya tambulaya ca kalpate.
Sabd’jakhyam aparam Brahma samdarbhena pariskrtam
vikriyate katipayair vrth” anyair viniyujyate.
Varnayanti nar’|abhasan Vanim labdhv” api ye janah
labdhv” api kama|dhenum te langale viniyunjate.
Prasamsanto nar’|abhasan pralapanto ’nyath” anyatha
katham tarantu kavayah kamajparamya|vadinah?.
40 Yat sandarbhe yad ullekhe yad vyangye nibhrtam manah
samadher api taj jyayah Sankaro yadi varnyate.
326
MOCKERY OF THE KALI ERA
POETS
Astrology, sorcery, medicine, skill in flattery: each on
its own is profitable, but it is rare to find two or three
together. Dishonesty and flattery are a great conjunction
auguring wealth; the conjunction of honesty and erudition
leads to poverty. Cowardice, barbarity, avarice, and lack of
judgment, poets can expunge it all, hirelings for a handful of
rice. Poets, poised to praise, require no reason: when they are
not praising something their tongues vibrate. Poets praise 35
what is already praised, they are not in fact appreciative of
virtues: there is a gnat called “bee,” —and what poetic labor
is wasted in its portrayal?
“Unique” is the poetry which men compose in return for
a village, for a horse, an elephant, when it comes to it for
a meal, for clothing, for some betel. The second Brahman
called “Speech,” arranged beautifully in poetic composition,
is peddled by some, is squandered in vain by others. These
wretches who, attaining the Goddess “Speech,” abuse her
to eulogise would-be heroes, they might even yoke a wish¬
granting cow to the plow!
Praising reprobates, twisting everything with their prat¬
tle, how can poets find salvation, professing that desire is
supreme?* Captive attention on whatever composition, on 40
whatever description, on whatever suggestion, is superior
to meditative trance, if Shiva is the topic.
32 7
THREE SATIRES: NILA-KANTHA
BANDHAVAH
Grhini bhaginl tasyah svasurau syala ity api
praninam kalina srstah panca prana ime ’pare.
Jamataro bhagineya matula dara|bandhavah
ajnata eva grhinam bhaksayanty akhu|vad grhe.
Matulasya balam mata jamatur duhita balam
svasurasya balam bharya svayam ev’ atither balam.
Jamatur vakrata tavad yavac chyalasya balata
prabudhyamane saralyam prabuddhe ’smin palayanam.
45 Bharya jyestha sisuh syalah svasruh svatantrya|vartinl
svasuras tu pravas” iti jamatur bhagya|dhoram.*.
Bhusanair vasanaih patraih putranam upalalanaih
sakrd agatya gacchantl kanya nirmarsti mandiram.
Grhinl sva|janam vakti susk’|aharam mit’|asanam
pati|paksyan tu bahv|asan kslrajpams taskaran api.
Bharye dve putrajsalinyau bhaginl pati|varjita
asranta|kalaho nama yogo yam grhajmedhinam.
Bharye dve bahavah putra daridryam roga|sambhavah
jlrnau ca mata|pitarav ek’|aikam narak’|adhikam.
UTTAMA’ j RNAH
50 Smrte sldanti gatrani, drste prajna vinasyati
aho! mahad idam bhutam uttama|rn’|abhisabditam.
Antako ’pi hi jantunam anta|kalam apeksate
na kala|niyamah kas cid uttama|rnasya vidyate.
328
MOCKERY OF THE KALI ERA
RELATIVES
A wife, her sister, her parents, and the brother-in-law:
these five additional vital breaths Kali has created for men.
Sons-in-law, nephews, maternal uncles, the in-laws, feed in
the house-holder’s home like rats without his knowledge.
The mother is the power behind the maternal uncle, the
daughter is the power behind the sons-in-law, the wife is
the power behind the father-in-law, the guest is his own
power. While the son-in-law is young—the brother-in-law
is deceitful; when he begins to understand—he is forthright;
when he has grown to understand—he takes flight.
A wife who is the eldest daughter, a brother-in-law who 45
is a child, a wilful mother-in-law, a father-in-law abroad,
this is an easy ride for the son-in-law. In just one visit,
a daughter departs with jewellery, garments, vessels, and
children’s toys,—pillaging the home.
A wife claims that her parents eat dry scraps, sparingly,
but that her husband’s parents are gluttons, drink milk, or
may even be thieves. Two wives blessed with many children,
and a sister without husband: this is a conjunction called
“incessant quarrel” for the house-holder. Two wives, many
children, poverty, disease, an aged father and mother, each
one is worse than hell.
MONEY-LENDERS
When he is remembered, the limbs hang loose, when he 50
is seen, the spirit perishes. Lo! Mighty is the wraith called
“money-lender.” Even Death awaits the last days of crea¬
tures, but a money-lender is not bound by time. We cannot
detect a fang in his mouth, nor a noose in his fist, never-
329
THREE SATIRES: NILA-KANTHA
Na pasyamo mukhe damstram na pasam va kar’|anjale
uttama|rnam aveksy’ aiva tath” apy udvejite manah.
DARIDRYAM
Satrau santvam pratlkarah sarva|rogesu bhesajam
mrtyau Mrtyun|jaya|dhyanam daridrye tu na kim cana.
Saktim karoti samcare sTt’|osne marsayaty api
dlpayaty udare vahnim daridryam param’jausadham.
55 Giram skhalantlm mllantim drstim padau visamsthulau
protsahayati yacnayam raj’jajn” eva daridrata.
Jlryanti raja|vidvesa jlryanty avihitany api
akimcanya|bal’|adhyanam antato ’sm” api jlryati.
N’ asya cora na pisuna na dayada na parthivah
dainyam rajyad api jyayo yadi tattvam prabudhyate.
DHANINAH
Prakasayaty ahamkaram pravartayati taskaran
protsahayati dayadal laksmih kim|cidjupasthita.
Vidambayanti ye nityam vidagdhan dhanino janah
ta eva tu vidambyante Iriya kim|cid|upeksitah.
60 Pramanya|buddhih stotresu devata|buddhir atmani
kita|buddhir manusyesu nutanayah sriyah phalam.
Srnvanta eva prcchanti pasyanto pi na janate
vidambanani dhanikah stotran’ ity eva manvate.
Avrtya sri|maden andhan anyo’|nya|krta|samvidah
svairam hasanti parsva|stha baP|onmatta|pisaca|vat.
330
MOCKERY OF THE KALI ERA
theless, as soon as the money-lender is spotted the heart
convulses.
POVERTY
Against an enemy peace-negotiations are the remedy,
there is a medicine for every disease, to ward off death there
is the Mrityun-jaya mantra, but against poverty there is
nothing. It gives one the strength to make one’s rounds,
even makes heat and cold bearable, kindles the digestive
fire,—poverty is the ultimate medicament.
Stammering words, lowered eyes, tottering feet—poverty 55
spurs one on to beg as does a royal condemnation. Those
abounding in utter destitution can digest the contempt of
the king, they can digest what is beyond the pale, and in
the end they can even digest stones. For him there are no
thieves, no denouncers, no inheritors, no kings,—poverty
is superior to kingship if seen for what it is.
THE RICH
A slight increase in prosperity heightens egoism, encour¬
ages thieves, and emboldens inheritors. But the rich who
always belittle the learned, are themselves derided when for¬
tune no longer smiles upon them. Believing flattery to be 60
fact, considering oneself divine, thinking common people
to be worms,—such is the result of new money.
Though they can hear they moot the question, though
they see they do not understand, the rich take even mock¬
ery to be praise. Hangers-on, colluding with each other in
secret, laugh freely at those blind with the intoxication of
wealth, as if they were children, deranged or demonically
possessed.*
331
THREE SATIRES: NILA-KANTHA
Stotavyaih stuyate nityam sevanlyais ca sevyate
na bibheti na jihreti tath” api dhaniko janah.
Ksanajmatram grah’|aveso yama|matram sura|madah
laksml|madas tu murkhanam a|deham anuvartate.
65 Srir masam ardha|masam va cestitva vinivartate
vikaras tu tad|arabdho nityo lasuna|gandha|vat.
Kanthe madah kodrava|jo hrdi tambulajjo madah
laksml|madas tu sarv’|ange putra|dara|mukhesv api.
Yatr’ asld asti va laksmls tatr onmadah pravartatam
kule ’py avataraty esa kusth’|apasmara|vat katham?
Adhyapayanti sastrani trnl|kurvanti panditan
vismarayanti jatim svam varatah pancasa kare
Bibhartu bhrtyan dhaniko dattam va deyam arthisu
yavad yacaka|sadharmyam taval loko na mrsyati.
PISUNAH
70 Dhana|bharo hi lokasya pisunair eva dharyate
katham te tarn laghu|kartum yatante ’paratha svatah?
Sram’|anurupam pisune kim upakriyate nrpaih?
dvi|gunam tri|gunam v” api Krt’|anto lalayisyati.
332
MOCKERY OF THE KALI ERA
He is ever lauded by those he ought to praise, he is served
by those deserving his service, despite this the wealthy man
knows no fear and no shame. Possession by an astrological
demon lasts but a moment, drunkenness lasts for a watch,
but the foolish are intoxicated with wealth for as long as
the body endures. The goddess of wealth lends a helping 65
hand for a month or perhaps for half a month and then
withdraws, but the change she brings to pass lasts for ever,
like the stench of garlic.
The inflammation wrought by ditch millet* numbs the
throat, betel-nut stuns the heart, but the stupor caused by
wealth affects the whole body, even the faces of wives and
children. It makes sense that delirium afflicts someone who
once was or still is wealthy, but how can it spread in a family,
like leprosy or epilepsy? Five or six small coins in the hand
give licence to lecture on science, consider the learned as
chaff, let one forget one’s caste.
The wealthy man may support his dependents, may give
charity to beggars, but as soon as he looks like he might ask
for a favor, nobody will suffer his presence.
INFORMERS
Surely, the world’s burden of wealth is borne by informers 70
alone; otherwise why are they striving all by themselves to
lighten it? Does the king compensate the informer with a
reward appropriate to his effort? Twice, and even three times
more, Death will care for him.
333
THREE SATIRES: NILA-KANTHA
Go|karne Bhadra|karne ca japo duskarma|nasanah
raja|karne japah sadyah sarva|karma|vinasanah.
Na sv’lartham kim cid icchanti na preryante ca kena cit
par’/arthesu pravartante sathah santas ca tulya|vat.
Kal’|antare hy anarthaya grdhro geh’|opari sthitah
khalo grha|samlpa|sthah sadyo ’narthaya dehinam.
LOBHINAH
75 Susk’|opavaso dharmesu bhaisajyesu ca langhanam
japa|yajnas ca yajnesu rocate lobhajlalinam.
«Kim vaksyat’ iti?» dhanikad yavad udvijate ’dhanah
«kim praksyat’ iti?» lubdho ’pi tavad udvijate tatah.
Sarvam atithya|sastr’jartham saksat kurvanti lobhinah
bhiksa|kavalam ek’|aikam ye hi pasyanti Meru|vat.
Dhana|palah pisaco hi datte svaminy upasthite
dhana|lubdhah pisacas tu na kasmai cana ditsate.
Dataro 'rthibhir arthyante datrbhih punar arthinah
kartr|karma|vyatlharad aho nimnjonnatam kiyat!
80 «Svasminn asati n’ arthasya raksakah sambhaved iti»
niscity’ aivam svayam api bhunkte lubdhah katham cana.
Prasthasyamanah praviset pratistheta dine dine
vicitran ullikhed vighnams tisthasur atithis ciram.
334
MOCKERY OF THE KALI ERA
Murmuring mantras at rhe sacred fords called “Cow¬
ear” and “Lucky-ear” annihilates past misdeeds. Murmuring
into the king’s ear at once annihilates all deeds. They have
no interest in their own affairs, they cannot be guided by
anyone, they meddle in other people’s business, the wicked
as well as the good, who for themselves want nothing, are
not goaded by anyone else, andactfrom the highest motives.
It seems a vulture perched on the house is an omen for some
future disaster, but a villain loitering near the house heralds
immediate doom.
THE AVARICIOUS
The avaricious favor the meager fast among religious ob- 75
servances, starving the system among medical cures, mur¬
mured prayers among sacrifices. Just as the pauper dreads
the rich: “What will he say?” so the avaricious dreads the
pauper: “What will he ask for?” The avaricious directly per¬
ceive the scriptural teaching* concerning hospitality, for
they perceive each mouthful of almsfood to be like Mt. Me-
ru.
The demon “treasurer” gives when his lord arrives, the
demon “miser” wants to give to nobody whomsoever. The
charitable are implored by the needy, then the needy by the
charitable. Lo! in this reversal of subject and object,—what
ups and downs!
Reasoning in this way: “If I were no longer alive, there 80
would be no guardian for my wealth,” the miser somehow
forces himself to eat. Day by day, on the verge of departing,*
he comes back in and stays put, pointing out all manner of
impediments,—he is a guest eager to draw out his visit.
335
THREE SATIRES: NILA-KANTHA
DHARMIKAH
Pradlyate vidusy ekam, kavau dasa, nate satam
sahasram dambhike loke srotriye tu na kim cana.
Ghatakam samyag aradhya vairagyam paramam vahet
tavad arthah prasiddhyanti yavac capalam avrtam.
«Ekatah sarva|sastrani tulasl|kastham ekatah»
vaktavyam kim cid ity uktam vastutas tulasl para.
85 Vismrtam Vahaten’ edam tulasyah pathata gunan
visvaisammohinl vitta|dayin” lti guna|dvayam.
Kauplnam bhasit’|alepo darbha rudr’|aksa|malika
maunam ek’|asika c’ eti murkhajsamjivanani sat.
Vasah punyesu tlrthesu prasiddhas ca mrto guruh
adhyapan’|avrttayas ca klrtanlya dhan’|arthibhih.
Mantrajbhramse sampradayah prayogas cyuta|samskrtau
desa|dharmas tv anacare prcchatam siddham uttaram.
Yatha jananti bahavo yatha vaksyanti datari
tatha dharmam caret sarvam na vrtha kim cid acaret.
90 Sada japa|pato haste madhye madhye ’ksi|milanam
«sarvam Brahm’ 6ti» vadas ca sadyah|pratyaya|hetavah.
A|madhy’|ahnam nadl|vasah samaje devat”|arcanam
santatam suci|vesas c’ ety etad dambhasya jivitam.
Tavad dlrgham nitya|karma yavat syad drastrjmelanam
tavat samksipyate sarvam yavad drasta na vidyate.
336
MOCKERY OF THE KALI ERA
THE PIOUS
One gives one to the learned, ten to the poet, a hun¬
dred to the actor, a thousand to the horde of sanctimonious
hypocrites, but nothing to the orthodox brahmin.* After
petitioning the pimp,* one should show off extreme aus¬
terity. Fortunes are gained, as long as the duplicity remains
concealed.
“On the one hand there are all the scriptures, on the
other there is the wood of the holy basil. ”* This is just a
figure of speech: in reality holy basil is supreme. Vahata,* 85
enumerating the properties of the holy basil, had forgotten
this pair of properties: the power of universal delusion and
the ability to provide wealth. A loin-cloth, a dusting of ash,
sacred darbha-grass, a rosary of mdrdksha beads, a vow of
silence, and sitting in solitude,*—six are the livelihoods of
the fool.
Lodging at sacred fords, a famous but dead guru, re¬
peated cycles of teaching, these are valued among people
on the make. When the mantra is wrong, it is “a tradition,”
when there are lapses in the rites, it is “an applied proce¬
dure,” when the comportment is improper, it is “a local
custom”—this is the effective answer to those who protest.
All religion should be practised so that many know of it,
so that they report it to a donor; do nothing pointlessly.
The rosary-veil ever in hand, closing the eyes from time to 90
time, prattling that “everything is Brahman,” these are the
causes for instant confidence.* Loitering by the river until
midday, worshipping the gods in public gatherings, always
wearing a religious costume, this is the life of hypocrisy.
337
THREE SATIRES: NILA-KANTHA
Ananda|baspa|romancau yasya sveccha|vasam|vadau
kim tasya sadhanair anyaih—kimkarah sarva|parthivah.
DURJANAH
Dandyamana vikurvanti lalyamanas tatas taram.
durjananam ato nyayyam dtirad eva visarjanam.
95 Adanam Isad|danam ca kim|cit|kopaya durdhiyam
sampurna|danam prakrtir viramo vaira|karanam.
Jyayan asamstavo dustair Irsyayai samstavah punah
apatya|sambandha|vidhih sv’|anarthay’ aiva kevalam.
Jnateyam jnana|hlnatvam pisunatvam daridrata
milanti yadi catvari tad dise ’pi namo namah.
Para|chidresu hrdayam para|vartasu ca sravah
Tpata\marmasu vacam ca khalanam asrjad vidhih.
Visena puccha|Iagnena vrscikah praninam iva
Kalina dasam’|amsena sarvah Kalo ’pi darunah.
ioo Yatra bharya|giro Veda yatra dharmo ’rtha|sadhanam
yatra svajpratibha manam tasmai sri|Kalaye namah!
Kamam astu jagat sarvam Kalasy’ asya Vasam|vadam
Kala|kalam prapannanam Kalah kim nah karisyati?
Kavina Nllakanthena Kaler etad vidambanam
racitam vidusam prityai rajasthan’|anumodanam.
338
MOCKERY OF THE KALI ERA
Long-winded daily ritual while there is a crowd of onlook¬
ers—when nobody is watching all is abbreviated.
For one who can shed tears of bliss and whose hair stands
on end at will, what need is there for other practices,—all
kings are his lackeys.
THE WICKED
Punishment makes them worse, kindness even more so.
Therefore, for the wicked the rule is distant exile. Giving 95
nothing and giving little provokes the anger of the evil-
minded just somewhat. They take giving to satiety for
granted, a cessation of gifts turns them rabid. Better no deal¬
ings with the wicked, familiarity engenders their jealousy.
A marital alliance with their offspring leads only to ruin.
Family, ignorance, slander, poverty, if these four meet in
the same person, then “Hail to the horizon.”*
The creator fashioned the heart of the wicked for the
bodily openings : failings of others, their ear for the ru¬
mors of others, and their voice for the vulnerable points*
of others.
Just as the whole scorpion terrifies living beings with
the poison lodged in its tail, so the whole of Time terrifies
living beings with its tenth part, the Kali era. Hail to the 100
glorious Kali era, where the words of the wife are the Veda,
where religion is a means to making money, where one’s
own fantasy is the law!
Granted, the world may be under the sway of this era, but
what can Time do to us who are sheltered by the Slayer of
Time, Shiva? The poet Nila-kantha composed this Mockery
of Kali for the delight of the learned and the pleasure of royal
court.
339
NOTES
THREE SATIRES: NILA-KANTHA
Bold references are to the English text; bold italic references are to the
Sanskrit text. An asterisk (* ) in the body of the text marks the word or
passage being annotated. Bh= “The Hundred Allegories of Bhallata”; G=
“The Grace of Guile”; M= “Mockery of the Kali Era”
Bh i Sharada is the patron Goddess of Kashmir, often identified
with Sarasvati, the Goddess of eloquence.
Bh 2 The commentary of Mahesvara [Mah] notes that such face¬
reddening was customary at the celebrations for the birth of
sons.
Bh 4 Mah: te nye dehino (hastacara)nadyavayavasya sarlrabharasya
vodhara eva, “They are mere bearers of the burden of the body
with its limbs such as hands and feet etc.”
Bh 5 Mah: “If a wicked person attains a minor position he strives to
rise higher and higher.”
Bh 6c abhyupakara°Q2J\ mean both “embellishment” and “assistance,
usefulness.”
Bh 9 Mahesvara comments: dinante svatejo ravir niksipatlti lokava -
dah, “It is popularly believed that the sun deposits its brilliance
into fire at the end of the day.”
Bh 9 The alleged misdemeanours of the sun punningingly describe
the antics of a drunkard. It may be possible to read loka as
having a second sense of “light” too but that struck me as
weak.
Bh 16 Faint of light: the unexpressed second subject is the ignoramus
scholar and his “trifling knowledge.”
Bh 17 Mah: dhiram dhtra eva vetti na murkhah, “Only the brave have
profound experiences, not fools.”
Bh 18 The commentator Maheshvara explains the intended sense as
follows: etad uktam bhavati: manasvl manam vihayavanatim
karoti cet sarvatra loke sulabham eva jivanam, tathapi manasvl
na karoty avanatim maranam eva kartum adhyavasyatlti, “This
34 2
NOTES
is what is meant: If a learned man were to give up his pride
and humble himself, he could easily get a living anywhere. If a
learned man, despite this does not humble himself, then he is
determined to die.” A.A. Ramanathan translates as follows in
the MaSuSam: “Let the young cataka bird cultivate friendship
with one who holds his head high like himself, for, if he is so
inclined, where will water pure, cool and sweet, not be available
in the broad expanse of the sky.” This implies that he had read
svasyeva but did not correct the text.
Bh 21 One-eyed crows are believed to roll their single eye from one
side of their head to the other.
Bh23 Lotus-stalk: Secondarily, kamala / nalasya shifts its sense to
something like “scion of the Kamala dynasty.”
Bh 25 Subhasitavali 922. This verse is not commented on by Mahe-
Svara. LaksmI, the Goddess of fortune, is in this verse portrayed
as a fickle woman fearing her beauty would be outshone by the
lotus.
Bh 31 Intertwining venomous serpents through secondary indication
(laksana) needs to shift its sense to something like: “is beholden
to evil men who have made pacts with each other.” I could not
produce this required sense by punning alone (slesa).
Bh 32 Khadira: =Acacia Catechu, an ugly, thorny hardwood tree.
Bh 45 The sage Agastya who drank the whole ocean.
BI148 My translation avoids the technical terminology of Sanskrit
philosophy used here. An upadhi is a “limiting adjunct,” a
mark which lies somewhere between a “property” (dharma) or
“characteristic” (laksana), and an “adventitious mark” (upala-
ksana). It serves to distinguish objects it qualifies but need not
perdure until the action it is involved in is completed. The
commonly given example is that of a row of crystals (sphati-
ka) placed before a row of china-rose blossoms (japakusuma).
The colour transmitted to the crystal by the blossom serves
343
THREE SATIRES: NILA-KANTHA
to distinguish the crystals, but once a crystal is selected and
removed the colour vanishes.
Bh 51 Electric tourmaline: Sometimes known as the “electric stone,”
tourmaline becomes statically charged when heated or rubbed,
attracting dust, bits of straw etc. The word tourmaline itself is
derived from trna/mani.
Bh 65 Maheshvara explains this apparent paradox by the fact that the
eyes do not function at night and are thus debased to the state
of all the other organs, yet they are not the same because the
other organs still function in the dark.
Bh 66 Tourmaline: See note to 51.
Bh 88 The sage Agdstya.
Bh 88 Ghasmara: Maheshvara takes this either as the submarine fire
or as Samhara-rudra. I follow Gai in taking it as an adjective
describing Agastya.
Bh 89 Read jala for jada in this pun.
Bh 98 The verse alludes to the tales of “Vikrama and the vampire.”
Kaustubha: Vishnu bears on his chest the fabulous Kaustubha
jewel, churned from ocean of milk, cf. Rdmayana 1.44.24.
G 1.2 Sesa: The world-serpent Sesa or Ananta bears the earth at the
behest of Brahma, cf. Mahabharata 1.32.18-24. Vibhajya : This
is appropriate, for Shesha is said to have one thousand heads.
G 1.3 Gleam: virdjati. This Parasmaipada form of the root raj with
the prefix vi- is not a grammatical lapse on Kshemendra’s part.
The form is attested in the Chandogyopanisad, the Mahdbha-
rata and the Rdmayana.
G 1.4 God of love: Kshemendra is alluding to Siva’s destruction of
the God of love with the fire shooting from his third eye ( Brah -
mapurana 36.1—135 etc.). See Kumdrasambhava 1—8 for the most
attractive retelling of this episode.
344
NOTES
G 1.7 Dhdragrha: sometimes also described as “shower-rooms,” cf
Mallinatha to Meghaduta 1.64.
G 1.8 Apsarases are celestial nymphs of surpassing beauty born from
the churning of the ocean by the Gods and Asuras, cf Rama-
yana i.44.i8ef; Agnipurdna 3; Ndtyasastra
G 1.9 Mula-deva: A legendary rogue, see Bloomfield (i9i7:6i9ff.).
G1.10 Remote lands: This is reminiscent of the opening of the Prakrit
Dhuttakhana of Haribhadra (fl. late eighth to early ninth cent.)
where hundreds of rogues headed by Mulasiri (Mulasri= Mu-
ladeva), Kandaria, Elasadha, Sasa, Khandavana, gather in a
garden pavilion outside Ujjainl. For the very similar virtues of
the ideal emperor who receives tribute from distant feudatories,
see Arthasastra 6.1.6.
Gi.ii Sahrdaya: a sensitive reader of poetry, or person of refined
taste. Such connoisseurship is defined as ‘the ability of attaining
identity with the heart of the poet’ ( Abhinavabharatl vol. 2
p. 339: kavihrdayatdddtmydpattiyogyata ).
G1.13 Brhaspati: The preceptor of the Gods and also the name of
the author of the root-text of the Carvaka materialists, the
Brhaspatisutra.
G1.16 The stages of life parody verses such as Vairdgyasataka 50, where
it is life itself that is uncertain, even in the midst of wealth. The
simile of water on lotus-leaves/petals is a distortion of Bhaga-
vadglta 5.10. See also Desopadesa 3.28.
G1.18 Dhurtakarakandukanam: A gambling game? Lapanich be¬
lieves this to be kandukaknda a “game famous among boys
and girls.” Sanskrit poets often describe the graceful ball-play
of young ladies (see Lienhard (1999:403-418)) but this seems
rather inappropriate here and I thus consider emending to
dhurtakarakantakanam , e.g. the “fingernails of villains” with a
transferred sense of: “there is no release from the clutches of
villains.”
345
THREE SATIRES: NILA-KANTHA
G 1.25 Ked glosses: timirasamuha eva hastl , e.g. a metaphor (rupaka):
“the elephant who was a mass of darkness.” Cf also Sisupalava-
dha 4.20. The mountain-elephant simile is appropriate because
the eight points of the compass are believed to be supported
by elephants. The name of the western elephant is Anjana.
This in itself alludes to the famous Anjanadri, Mountain of
Antimony, cf Kathasaritsagara VIII,108. Matanga: from Dvi-
rada by laksana. Punningly we may read the verse as: “When the
man who occupied her days had gone to sleep, lady Sandhya’s
chest shone, as if with the pale red lustre of a vermillion body-
paste because she was embracing an extremely dark-skinned
outcaste.”
G 1.26 The tragic love of the sun and twilight is a popular topos among
Sanskrit poets, cf Dhvanyaloka 1.13c, 3.34.
G 1.30 Night-maker: The moon.
G 1.30 chakravaki: The shelldrake, or brahmany duck. It is a Kavya
convention that monogamous shelldrake (cakravaka) couples
are doomed to spend each night in separation, calling out to
each other with plaintive cries.
G1.31 Ladies of the compass points: digvanita. The eight points of
the compass (asa, dis) are in Sanskrit poetry often personified
as beautiful ladies who are amorously involved with various
celestial bodies.
G1.32 Celestial river: The river Ganges has three currents (trisrota):
the earthly Ganga, the celestial Mandakini and the subter¬
ranean Bhagirathi. Cf Ramayana 1.43.6: ganga tripathaga na-
ma divya bhagirathiti cal tripatho bhavayantiti tatas tripathaga
smrta. To complete the simile in the formal manner of the
rhetoricians: the subject of comparison (upameya) is that the
moon must be shining at the border of the Milky Way, the
object of comparison (upamdna) is a flamingo on the banks
of a river, the common property (sadharanadharma) is “being
encircled with rays,” and the word triggering the simile (upa-
madyotaka) is “like” (iva). Since all of these four elements are
346
NOTES
explicitly mentioned, the simile is what later rhetoricians term
“complete” (purnopama).
G 1.33 The poetic ornament Kshemendra employs here is called a
“garland-metaphor” (maladipakalankara), cf. Kavyaprakasa
io.i8ab.
G 1.35 Female skull-bearing ascetic: Kapalika ascetics take on the vow
of wearing the “six accoutrements” (sanmudra) made of human
bone. Kshemendra here repeats a common simile, cf. e.g. Ka-
vyaprakasa io.7cd:tt. It is remarkable that literary references
to female skull-bearing ascetics tend to focus not on the sin¬
ister but on their beauty. Kshemendra, of course, also con¬
demns the fierce Kapalika ascetic, wearing a bone necklace, as
someone to be shunned {Darpadalana 7.14, 7.63). At Nltika-
Ipataru 84.19 he describes the Kapalika as follows: pitrvanavaso
mala narasthibhih pdrand suramamsaih /patram kapalam arghyo
narabalina bhairavo devah /, “He lives in the forest dedicated
to the manes, wears a necklace of human bones, he nourishes
himself with liquor and meat, his begging-bowl is a skull, his
respectful offering is made with human phlegm, his God is
Bhairava.”
G1.41 Nidhanakumbho : The urn in which the ashes of the deceased
are deposited after cremation until they are dispersed in the
Ganges or some other sacred ford, cf. Visnudharma 19.11. Dam-
bha conveys the senses of “religious hypocrisy,” “priggishness”
and “smugness.” The arrogance of religious hypocrites is also
the topic of the final chapter of Ksemendra’s Darpadalana.
G 1.45 Dambhodaya= Dambhodbhava, the invincible but arrogant
and quarrelsome emperor, cf. Mahabharata 5.94.5—35. He was
finally tamed by the two Rsis Nara and Narayana. Note the
six - ambha alliterations (anuprdsa). Kshemendra himself has
retold Dambhodbhava s tale at Darpadalana 5.29—45.
G 1.46 Circular reasoning: as a technical term in Nyaya-logic denotes
the fallacy of circular argument. The verse further parodies
347
THREE SATIRES: NILA-KANTHA
logical treatises such as the Hetucakra , an investigation of ad¬
missible syllogistic reasons used by logicians to ascertain the
validity of propositions.
G 1.47 I suspect an emendation is here required. Something like ud-
bahu ? Tree: With the simile of the flourishing tree Kshemen-
dra may be alluding to a well-known verse in the Manusmrti
9.255: nirbhayam tu bhavedyasya rastram bahubalasritam/ ta-
sya tad vardhate nityam sicyamana iva drumah , “A kingdom
which is secure, protected by the might of its ruler’s arm, will
ever flourish, like a well-watered tree.” Kshemendra is fond of
the tree simile, in Darpadalana 1.37 he describes a similar tree
sprouted from arrogance.
G 1.48 To adjust the sense for the heron we must read vrata with sec¬
ondary sense of “always eating the same food,” attested only
in lexicons. Smugness of the heron: Cf. Rajatarangim 5.305.
Ksemendra also uses the same metaphor for an aging courtesan
who pretends to be a widow, dresses in white and who then
performs religious ceremonies for her supposedly departed hus¬
band at a sacred ford. In this way she ensares a wealthy man who
believes her to be pious (see Samayamdtrka 2.28—30). Smugness
peculiar to cats: A parody of the modest practise of keeping
the gaze fixed on the ground when moving in public. Cf. the
puns on cats and herons in the description on the Vatsyayana
sages, Harsacarita 1, p. i 8 ^ _2 4 .
G1.50 Here, Kshemendra does not intend to ridicule false ascetics,
but merely hypocritical ascetics. Literary works attest to the
proliferation of spies and criminals disguised as false ascetics
(already mentioned in th zArthasastra). On hypocritical ascetics
see also Kathasaritsdgara II,2-5.
G1.51 Hemavalll: Hoy a Viridijlora. The practice of affixing apotropaic
herbs on to auspicious knots (mangalagranthi) is described in
the Krtyacintdmani cited in the Nirnayasindhu. It is possible
that this is the same string referred to in the second chap¬
ter of the Samayamdtrka. The prostitute, assuming the false
348
NOTES
name Ardhakslra, becomes the nurse to the son of the minis¬
ter Mitrasena. The boy wastes away with fever because of her
neglect, and as he lies dying she does the most vile thing possi¬
ble: she steals his protective hemasutrika (condemning him to
certain death) and runs away at night: drstva tatraturam balam
trnavat sutaragini / sa yayau nirdaya ratrau grhitva hemasutri-
kam (Samayamdtrka 2.73). Cf also Kuttammata 63. Armpit:
Ksemendra is here refining a motif he had already used at
Narmamala i.73ab.
G1.51 Robe: Cf Vasisthadharmaio. 20b: na sabdasastrabhiratasya mo-
kso na capi lokagrahane ratasya / na bhojanacchadanatatparasya
na capi ramyavasathapriyasya , “There is no liberation for a man
obsessed with grammar [and science], nor for a man fond of
seeing people, nor for a man interested in food and clothing,
nor for a man fond of beautiful dwellings.”
G 1.52 Squabbles: Cf Manusmrti 6.50: “[The ascetic] must not seek
to win almsfood by reading omens and portents, by astrology
or physiognomy, by instruction or by debates.”
G 1.55 Crow’s eye: Crows are believed to have but one eye which they
move from socket to socket. The emendation kakavistam iva
may also be considered: “like crow’s dropping fallen upon him.”
Meyer (i903:xlii) takes this to mean that he casts crow-glances
around.
G 1.56 Craves fame: cf. Yama cit. Yatidharmasamuccaya 7.45ab: la-
bhapujanimittam hi vyakhyanam sisyasamgrahah “For the sake
of profit and adulation, [false ascetics] discourse on scriptures
and collect disciples.”
G 1.58 Jambha was the leader of the Daityas who stole the nectar of
immortality from Dhanvantari, cf Agnipurana 3.
G1.59 Snataka: A brahmana who has taken the ritual bath which
marks the end of his studentship. The Manusmrti 11.1-2 enu¬
merates nine types, others give three. All support themselves
349
THREE SATIRES: NILA-KANTHA
by begging, Manu ordains that they must be given food and
money in proportion to their learning.
G1.60 Cleansing clay: Kshemendra is here probably insinuating that
the purity-manic appears to be continually smeared in clay
which makes him look filthy.
G 1.60 An enemy to all: E.g. visva+amitra. See Mahabharata 13.95.35
for Visvamitra’s own explanation of his name to the hag Ya-
tudhanl: visvedevas ca me mitram mitram asmi gavam tat ha
visvamitram iti khyatam , “I am called Visvamitra because the
Visvedevas are my friends, because I am a friend to cattle (vis)?
G 1.60 The pure and the impure: Cf Visvamitras justifications of his
theft of dog-flesh from the Candala in Mahabharata 12.139.
G 1.60 Different from his own kin: Visvamitra was born as a Ksatriya
but later on became a Brahmin by his penance, cf. Mahabha¬
rata 9«38.22cd.
G1.63 The ornament is a samasoktyalahkara , or “compounded ex¬
pression,” in which the subject (serpent) has only one sense
but all of the attributes are equally applicable to something
not explicitly mentioned, namely, an “ascetic.”
G 1.64 I am not sure which epic source Kshemendra is following
here. The Bhagavatapurana 4.8.2 mrsa dharmasya bharyasid
dambham mayam ca satruhanl asuta mithunam tat tu, makes
Dambha the twin of Maya and son of Adharma (son of Bra¬
hma) and Mrsa. The sound Hum is also a commonly used
destructive seed-mantra.
G 1.68 Bundle: puli f. “a bundle,” not in MW. For the ascetic’s para¬
phernalia cf Vaikhanasadharmasutra 2.6. In the Darpadalana
7.12—13 Kshemendra describes such vows and paraphernalia as
a form of bondage if the ascetic should be devoid of holiness.
Burden of scriptures: Vasistha, cit. in Yatidharmasamuccaya
7.47: atratmavyatirekena dvitiyam yadi pasyatH tatah sastrany
adhiyante sriiyate granthavistarah, “A person would undertake
the recitation of texts and the study of a lot of books only if
350
NOTES
he regards something in this world as a second reality besides
himself.” A horn: This presumably refers to the prohibition on
using the hands to scratch oneself during the Jyotistoma rite.
Instead, the horn of a black antelope is to be used ( Taittiriya-
samhita 6.1.3).
G 1.69 Bunches of sacred grass: pavitraka , two blades of kusha grass
used at sacrifices in purifying and sprinkling ghee. What might
be intended, is that these ear-ornaments reveal his status as one
who has officiated at prestigious sacrifices. Ritual-ring: A pa-
vitra is a ring worn on the ring-finger, made of twisted blades
of Kusa- or Darbha-grass, the tips of which project outwards
into a sort of brush, which is used to wipe away or sprinkle
(proksana) water etc. in rituals. Cf. Yajnavalkyasmrti 1.226. For
a similar description of the ascetic’s paraphernalia see Darpa -
dalana 7.68.
G 1.70 Neck stiff like a plank: compare Darpadalana 1.24 (also 1.57:
akharvagalah) , where Kshemendra describes a stiff neck as a
sign of arrogance. Similar is also Narmamdla 1.62: kasthasta-
bdhonnatagnvah.
G 1.75 Kshemendra is here using assonances (anuprasa-) to provide
fanciful new nirvacana-style etymologies for the sage’s names:
graste gastye. Devoured: A further allusion to the myth of
Agastya devouring the Asura Vatapi, cf. Mahabharata Aranya-
kaparvan 3.94.97. For Vasistha Kshemendra provides the fol¬
lowing analysis: alpa/tapo/vrata/lajjd/kundta ^rsthe. Hunched
his back: An allusion to Vasistha’s birth from a pot.
G 1.76 Note the alliteration . . . kutse. . . Kautse. Simple vow of si¬
lence: An allusion to Kautsa’s unwillingness to ask for money
from Raghu. Note the alliteration niradare. . . Narade.
G 1.77 Knee-caps: Another alliterative play on the etymology of his
name which Jamadagni gives to the hag YatudhanI, cf. Ma-
habharata 13.95.37: jajamadyajaja nama mrja mdha jijdyise ja-
madagnir iti khyatam ato mam, viddhi sobhane. Trembled in
351
THREE SATIRES: NILA-KANTHA
fear: That the fearless ViSvamitra should tremble in fear is
a hyperbole (atisayokti) demonstrating Dambha’s ridiculous
ascetic pomp. Neck rolled about: Galava, son of Visvamitra,
received his strange name because his mother, trying to raise
money to feed her other children during a famine, tied a rope
around his throat (gala) and in this manner led him to be sold.
Crushed: Perhaps an allusion to the myth of Nandi breaking
open the termite-hill which had risen up over the meditating
Bhrgu, cf. Padmapurana 20.
G 1.82 Dambha is here outdoing even the law-books. Manu states that
particles of water in the breath are not contaminating. This is
the reason why Brahma suddenly recognises who Dambha is.
G 1.89 Isolated: Deriving - bhajya from the root bhaj cl. 1, “to share.”
Devastated: Deriving -bhajya from ^ jbhahj cl. 7, “to break.”
G 1.90 Religious teachers: At Darpadalana 2.50 Kshemendra makes
Mati censure the sycophantic teacher who lives offhis students.
palaka = paripalaka, cf. Narmamala 1.62—70. Niyogin, “com¬
missioner,” a supervisor of villages who also settles civil and
criminal cases. Cf. Narmamala 1.97-127. Initiates into esoteric
cults consider their religions superior to mundane religion.
The unexpressed second sense: “[Just as a serpent], after creep¬
ing into the cavities of all of the Jantu-trees, by squeezing itself
in many ways, bit by bit, finally enters the hollows in trees full
of nesting birds.”
G 1.93 Matsyarthv. Hungering for fish or: “Someone observing the
fish-vow (matsyavrata).” Or: “Supplicating with the Matsyasu-
kta.”
G1.94 Clad in bark: For garments of bark (valkala) see Emeneau
1962. The verse echoes Ksemendras own Muktavall as cited at
Aucityavicdracarca 29 (84).
The unexpressed second subject are penitent ascetics burdened
with chunky matted locks, who wear bark garments, are con-
35 ^
NOTES
tinuously exposed to cold, heat and rain, and are eager for
rewards in heaven.
G 1.95 Can also be read as sada+adambhah: Adambha is a name of
Shiva. A parody of descriptions of Sadasiva as sarvajna, sarvaga
and sarvakrt, cf. Rauravatantra Upodghata 8.
G 1.96 Wish-granting tree: Five wish-granting trees are supposed to
have been produced by the churning of the milk-ocean, these
exist in the world of the Gods (devaloka). Dwarf: Visnu’s in¬
carnation as Vamana, an ascetic dwarf, cheated Bali out of the
possession of the three worlds by asking for only three steps of
land. Bali readily acceeded to such a paltry demand but Visnu
then in three steps covered the entire triple universe.
G 2.2 Cf. Arthasastra 2.5.2—4 for details about the construction of
a treasure vault. Kshemendra is not exaggerating, Kautilya
even recommends the construction of secret treasuries by con¬
demned men who are then immediately put to death. Ksheme¬
ndra associates treasuries with death also in his Darpadalana
2.70—71, where the miser Nanda finally dies in his treasury, with
his back resting against his pots of money, suffering because he
was too stingy to pay for medicine.
G 2.4 Kshemendra is here elaborating on Manu’s twofold classifica¬
tion of thieves, those who steal openly (prakasavancaka) and
those who do so in concealment, such as burglars, robbers, and
thieves, cf. Manusmrti 9.257.
G 2.5 For Kshemendra the stinginess of merchants is proverbial. See
especially Darpadalana 2.11—113. Kshemendra there recounts
the tale of the mean merchant Nanda, a miserable miser, who
is reborn as a pitifully deformed and diseased Candala and
is then raised with dog’s milk. When he one day happens to
beg for alms from his own former son Candana, he is brutally
beaten. Just then the Buddha happens to be passing by. With a
compassionate glance he cures the Candala’s leprosy and reveals
his former identity to his son. Three cowries: In Kshemendra s
353
THREE SATIRES: NILA-KANTHA
day, the cowrie was still in use as the lowest monetary unit
cf. Stein (1961:308-328), The Term Dlnnara and the Monetary
System ofKasmlr. Kshemendra describes a similarly tight-fisted
merchant in Samayamatrka 8.80.
G2.6 Fond of tales: Kalhana alleges that merchants like to listen
to the recitation of sacred texts because they are embezzlers
and hope for purification Rdjataranginl%. 7o8cd. Black cobra:
In the Darpadalana Kshemendra again associates misers with
black cobras, but there it is the miser himself who appears to
others like the ominous serpent.
G 2.7 Donate: See Kane, History ofDharmasdstra V. pp. 212, 243-5.
In his Darpadalana 6.8 Kshemendra criticises those who think
that giving alms during a solar eclipse constitutes liberality.
Rather, giving alms on such occasions was considered to profit
the donor. The merchant in the present verse is too greedy
to realise this. That it was common to consider all kinds of
contributing factors (such as the position of the sun) before
giving alms is evident also from Darpadalana 6.11. Kshemen¬
dra himself recounts his father Prakasendras liberality during
a solar eclipse in the Bharatamanjan Kaviprasasti 4: suryagrahe
tribhir laksair dattva krsnajinatrayam / alpaprado ’smity abhavat
ksanam lajjanatananah, “On the occasion of the solar eclipse
after he gave away three hundred thousand black antelope [-
skins], he stood with his head bowed in shame, thinking: ‘I
have given but little.’”
G 2.9 Deposit: Laws regarding the guarding and return of sealed
deposits were stringent and detailed, Cf. Manusmrti 8.179—
196.
G 2.11 A tale similar to the following is recounted by Kalhana at
Rajataranginl 8.123—158. Vistikarana: Visti is the seventh of
the immovable karanas. Each lunar day (tithi) is made up
of two karanas. Since Vistikarana is presided over by Yama,
the God of death, it is considered an extremely inauspicious
period for any new undertaking. Brhatsamhita 99.4c: na hi
354
NOTES
vistikrtam vidadhati subham , “For something undertaken dur¬
ing visti does not produce an auspicious [result].”
G 2.14 Bhadra : The merchant is deliberately using this alternate name
for Visti because it also means “auspicious.”
G 2.19 Rats: A rat infesting decrepit houses is occasionally encoun¬
tered as a motif used to warn of the future suffering of a fallen
ascetic. He is first reborn for sixty thousand years as a worm in
excrement. “Then,” says Satatapa (fit. Yatidharmasamuccaya
7-54ab: sunyagaresu ghoresu bhavaty akhuh sudarunah), “he will
become a horrible rat infesting dreadful abandoned houses.”
Samsara: The world of rebirth.
G 2.23 A muhurta is more precisely a time-period of about forty-eight
minutes.
G 2.31 Haragupta: The merchant of course intends Haraguptakula to
mean “family protected by Siva,” but it can also mean a “secret
gang of thieves,” e.g. haranasildnam guptakulam.
G2.35 The gate of the royal court: In the final instance, litigation
can be taken to the king himself. The legal formula for this is
a representation at the Royal Gate (mjadvara). Already in the
third-cent. ce Kroraina Prakrit documents we repeatedly en¬
counter the formula: ko pacima kalammi icheyati eta amnatha
karamnae rayadvarammi muhucotam apramana siyati tamda
prapta , “Whoever, at a later time, wishes to make this [agree¬
ment] otherwise, his representations at the royal gate shall be
without authority and he will be punished” (see Boyer, Rap-
son Senart 1920). Solemn fast to starvation (prayopavesa): for
this emendation cf. Rdjatarangim 6. 25—27 etc.
2.37-86 A retelling of a tale found in the Mahabharata.
G 2.38 §ukra: The son of Bhrgu and the teacher of the Daityas. Vai-
sravana or Kubera is the God of wealth.
G 2.44 I take the Bahuvrihi cpd. atyantasambhrtasneham adverbially
rather than adjectivally to tv dm. Essence of life: That misers
355
THREE SATIRES: NILA-KANTHA
consider money to be the essence of life is another popular
image in Kshemendra’s work, see for instance the words of
the mean merchant Nanda in Darpadalana 2.25—26, who con¬
cludes that “poverty is death.”
G 2.48 Possessed: The art of entering another’s body (whether alive
or dead) is described in Tantric texts such as Malimvijayotta.'
ra 21.9—19 (samkrantividhi ). See also Kathasaritsagara IV,46;
VII,ii4-5.
G 2.51 Sarikha, Mukunda, Kunda, and Padma are the names of some
of Kubera’s fabulous treasures. Here, the beings presiding over
them, who are part of Kubera’s retinue, are intended.
G 2.68 To complete the metaphor (sangarupaka), yarns, “good repu¬
tation,” must punningly also be taken as “water,” and “good
fortune” must be taken as the Goddess of fortune, LaksmI,
who faints from noxious fumes.
G 2.79 Shukra here twists Shiva’s words to mean the opposite. He can
do this because the word vitta has the double sense of “wealth”
and “fame.”
G 2.83 Dharana : Shiva is evidently practising the “fire fixation” (ague-
yidharana) which raises up the abdominal fire. In Shaiva Sad-
angayoga this is one of usually four or five “fixations which
are counted as one of the six ancillaries (anga) of yoga.” Cf.
Matangaparamesvara yp 2.35c—65.
Nikdmam: Hapax?
G 3.2 By their hind-legs: reading abalabhih as avarabhih. This is
permissible since va/ba and ra/la may be interchanged under
certain circumstances. A dual is not required as the elephants
are plural. For such puns (slesa) see Kavyadarsa 2.185 (jada/jala)
etc. It is possible that men ( karino , “handed creature”) is not
intended and that the ornament is thus a samdsokti (only the
epithets have double meanings, not the subject “elephants”)
rather than a fully worked out simile. Suitably lavish gifts:
356
NOTES
Su+ucita+dana. There may be a further set of puns with sexual
innuendos: °humkaraih is a particular humming sound used
in lovemaking, cf. Kamasutra 2.7 for the classification such
sounds. The members of the compound parimalalmali all are
also technical terms of erotic science but I am not able to
construe a convincing second meaning here.
G 3.3 Sensual pleasures: visaya. Kicks: Kicking forms part of ancient
Indian love play. Less convincingly: “fall at her feet.” Bites and
scratches with the nails: ankusaghatana, cf Kamasutra 2.4 on
the various techniques of amorous scratching (nakhakarma)
and biting (dasanacchedya). In the present case the more intense
variety, which breaks the skin (chedya) and leaves painful marks
(ksata, cihna) is intended. Entwining in erotic gymnastics: e.g.
an arthaslesa : nigada= bandha.
G 3.5 The image occurs already in Kuttanimata 3i6cd. Kshemendra
uses similar imagery also at Darpadalana 4.5, courtesans, he
says, devour the flesh and blood of men just as old age does.
G3.11 Dustbin: Dhulipatala may also mean “cloud of dust.”
G 3.14 Kshemendra has here reworked Nitisataka 47. See Sternbach
1953:
G 3.16 This indeed was the commonly understood duty of courte¬
sans. A procuress advises the young courtesan DohanI: putri!
kim etadyad ekam evalingyayauvanam viphallkarosi ? vesyanam
anekaih saha ramanakridocita, “Daughter! What is this, that
you waste your youth embracing only one man? For courte¬
sans, love-sport with many [men] is proper.”
G 3.18 Lapanich seems to read a double accusative construction with
kurute : “compells (sic) her relative to perform the functions of
a man in the house.”
G 3.20 Commissioner: niyogin see note to 1.90. Lecher: Lubdha might
equally be a “hunter” or a “greedy man.”
357
THREE SATIRES: NILA-KANTHA
G 3.25 Savitrl, the wife of Satyavan, by her virtue reprieved her hus¬
band from death, cf. Mahabharata 3.281.
G 3.31 Boasts of gifts: not only are the gifts made to unworthy peo¬
ple, but Manusmrti 4.236d {net dattvaparikirtayet) strictly for¬
bids publicizing charitable gifts. Captivate: vaslkarana : “mag¬
ical subjugation.”
G3.37 Amusement-terraces: E.g. vildsamahi = vilasavatayanam.
G 3.42 Note the skilful alliterations (anuprasa).
G3.46 Ked reads inappropriately madhumada : e.g. «eye-lotuses un¬
steady with sweet wine.»
3.48—52 Kalhana describes in very similar terms the symptoms of the
princess Anangalekha’s secret affair with the minister Khankha
(Rdjatarangini 3.501—5).
G3.49 For feigned anger cf. Dhanika to Dasarupaka 4-58cd: pre-
mapurvako vasikarah pranayah, tadbhange mdnah pranayama-
nah\ “Pranaya is the subjugation preceded by love, the disdain
shown when it is interrupted is coquettish anger.’”
G 3.51 The poetic ornament is an “apparent paradox” (gunasya gune-
na virodhabhasalankarah). The paradox is resolved by a slight
shift in the meaning of svatantra to “unrestrained.” Cf. Kavya-
prakasa 10.24—25b.
G3.55 Flickered with a flash: E.g. cakita < ^fkan, cf. Dhatupatha
1.488: kani diptikantigatisu. There is an indirect (samlaksyakra-
ma), sense-based (arthasaktimula) suggestion based on subordi¬
nated denotation (vivaksitdnyaparavacyadhvani) of the theme
(vastu) “stealthy love is thrilling” (cauraratasya ramyataratvam).
G 3.58 Kara: “ray,” punningly also: “hand.”
G 3.59 Tamas can mean both “darkness” and “ignorance.”
G 3.60 Wishing to die: vivasa.
358
NOTES
G3.69 The following story is also given in Vetalapahcavimsatika (of
Sivadasa) pp. i5fF. and in Kathasaritsagara 77.48ff. etc. Veta-
las are demons which animate dead corpses. The lady’s hot,
fragrant kisses are compared to the rites of the terrifying Vetala-
invocation, in which the adept makes offerings into a sacrificial
fire lit in the mouth of a hanged criminal. The corpse then
becomes animated by a Vetdla, and its tongue begins to rise
up. If the adept fails to cut it off, the Vetala will eat him. If he
succeeds, the tongue transforms into a magical sword which
gives him supernatural powers. Cf Picumata 15 (Mahayaga-
vetalasadhana), Harsacarita 3. Nose bitten off: For this motif
compare Kathasaritsagara 6.188; 9.76.
G 3.70 Severed nose: This is intended as a form of divine vengeance,
for faithless wives were often punished by cutting off their
noses, see Kathasaritsagara V,i23. Also Manusmrti 8.125.
G 3.72 Sold in a foreign land: Kshemendra uses the same image of
someone being sold in a foreign land in Darpadalana 3.15 to
ridicule the beauty of an inarticulate fool.
G 3.76 A paraphrase of Manusmrti 9.15-17.
G4.1 Courtesans: The reader may wish to consult Kamasutra 4.
Kshemendra discusses courtesans also in the third chapter of
the Desopadesa and he has even devoted an entire work to this
subject, the Samayamatrka. Vaisravana, or Kubera, the God
of wealth, is as notoriously stingy as prostitutes are said to be
greedy for money (cf. Mrcchakatika 5.35—7, Kuttanlmata 227—
8, Samayamatrka 4.18—25, 4.80—93). Ked reads sramanatdm eti ,
e.g. even “the God of wealth is reduced to a beggar-monk
by their machinations.” The morality Kshemendra puts for¬
ward here is more commonly found in prescriptions specific
to ascetics, cf Galava, cit. Yatidharmasamuccaya 10.105: sakrt
sadharanlm gatva hrahmahatydprayascittam caret , “If someone
has intercourse with a prostitute just once, he should perform
the penance prescribed for killing a Brahmin” (transl. Oliv-
elle 1995:171). Damodaragupta’s Kuttanlmata gives probably
359
THREE SATIRES: NILA-KANTHA
the more popular view in Kshemendra’s time (789a!): dararatih
samtataye kanduprasamaya cetikaslesah ), “Love of one’s wife
serves to continue the family-lineage, courtesans are embraced
to satisfy the itch.”
4.2 Here and in the following verses Kshemendra compares cour¬
tesans to rivers or streams. All of the descriptive epithets he lists
may have been intended to bear double meanings, but some
remain obscure to me. He makes a very similar punning com¬
parison between loose women and rivers in Darpadalana 1.65.
Sixty-four arts: Compare the list in Kamasutra 1.3.15. The var¬
ious lists of these arts found in Sanskrit literature are discussed
by Venkatasubbiah & Muller (1914:355-367).
G4.5 Scratching and biting: Cf Kamasutra 2.4.
G 4.8 Menstruation: An important skill, see Arthasastra 2.27.14-15
for the punishment of courtesans who refused to entertain
their paramour. Cf Manusmrti 4.40—42 for the prohibition
on connubial intercourse during the woman’s courses. Kshe¬
mendra accuses prostitutes of using this ploy also at Desopadesa
3.30.
G 4.12 Men whose name and caste is unkown: Prostitutes were re¬
quired to serve all customers e.g. Kuttammata 3i4ab: ujjhi-
tavrsayoga api ratisamaye naravisesanirapeksah. See the verses
collected in Sternbach (1953:64#).
G 4.14 Based on Kamasutra 2.9-39cd.
4.15—39 The same tale is also found in Soma-deva’s Kathdsaritsaga-
ra (book 10) 58.2—53. There the minister’s name is however
Anantaguna and the courtesan is called Kumudika.
G 4.17 Arms reaching down to his knees: Long arms were considered
an outward sign of greatness, cf Brhatsamhita 57.45a.
G4.25 Compare this with the tests and temptations advocated by
Kautilya to ascertain a minister’s loyalty, Arthasastra 10.
360
NOTES
G4.26 That she wore ornaments indicates that she was prepared to
cast herself into the flames.
G 4.27 Self-immolation: in the Samayamatrka 2.32—36, Kshemendra
makes the courtesan Arghagharghatika pretend to follow her
wealthy husband of one month into the fire also. The king
intervenes to save the apparently pious woman and she ends
up inheriting his fortune.
G4.29 For the historical truth behind such stories see for instance
the courtesan Sambavatl’s influence over the Tantrin soldiers,
Rajataranginl 5.296.
G 4.31 The use of chowries is usually reserved for royalty.
G 4.39 A parody of Visnu’s manifestation as Visvarupa, cf Bhagavad-
glta 11.16.
G 5.1 Cf Arthasdstra 2.7—8. Kayasthas are bureaucrats, scribes, ac¬
countants etc. See the Narmamala for their many grades and
duties (cf. Baldissera 2000). In Kshemendra’s satires the scribes
career usually ends with imprisonment or worse, see e.g. Da-
rpadalana 2.54.
G 5.2 My emendation aindavakaleva attempts to account for P’s vari¬
ant raudra and also to ensure that the simile is not defective.
Both Lapanich and the km edition read °kala iva and thus make
the object of the simile formally a plural, (pace the translations
of Schmidt and Lapanich) but the subject - sampattih is sin¬
gular. This is a poetical defect because the words expressing
the common property cannot be construed in concord with
both the subject and the object of the comparison. This prob¬
lem is discussed in the prose to Kavyaprakasa 10.55—6. Rahu:
The severed head of the dragon-like demon Rahu , who causes
eclipses by swallowing the sun or moon, is the ascending node—
the point in the ascending half of the moon’s orbit at which
it intersects the earth’s orbital plane from below. Divira : Kshe¬
mendra uses the word divira firstly in its conventional sense of
“scribe” (< Old Persian dibit) and secondly in its etymological
361
THREE SATIRES: NILA-KANTHA
sense of “sky-going” (< divi-ra). Thus the metaphor (mpaka)
divira-rahu'kala must be interpreted in two ways: “the power
of the sky-going Rahu,” and “the scribe’s ingenuity at making
things vanish.”
G 5.5 Black men: Kala denotes both the color “black” and the “God
of death” (derived from kal meaning ‘movement of time’).
The scribes are evidently black because they are smeared with
ink. The attendants of Death bear wooden staffs with which
they strike down those whose span of life has reached its end.
Birchbark: The prepared, soft inner bark of the birch tree (Skt.
bhurja) has been popular as a material for writing on in North¬
western India from before the common era until quite recently.
G 5.7 Raped: khanyamana, lit. “being dug into.” The tears of Ahjana:
Sanjanasru Anjana was the mother of the monkey-god Ha-
numan. When she was pregnant, Valin poured molten metal
alloys (pancaloha) into her womb trying to abort his future
rival.
G 5.11 Citragupta: The recorder of souls’ good and bad deeds who lives
in the realm of Yama, lord of the dead. cf. Mundakopanisat
1.20. By deleting a mere line: For a recorded perpetration of
this trick, see Rajatarahginl 6.39.
G 5.18 As is evident from this verse the preceding list needs to be
punningly construed with the 16 digits of the moon as well.
G 5.33 Lump of iron: Ksemendra has taken over this image from Si-
vasvamin’s Kapphinabhyudaya 4.28cd: dradhimam ayamayo hi
prajyatejo ’bhisangad vighatitakathinatvam yati karmanyabhd-
vam.
G 5.41 Partaking of a share: e.g. bhagin + rathya.
G 6.3 The attributes used to describe this intoxication punningly
describe the diametrically opposed restraint of the ideal yogin.
G 6.4 A parody of the inverted cosmic tree. See Bhagavadglta 15.1—2,
and Kathopanisad 6.1.
362
NOTES
G 6.5 In light of 6.7 it might be more appropriate to translate not
as “pompous man” but “pomposity” itself (so also at 6 .6.).
But the English reads better with this license. On samnipa -
ta as a cause of fever see Carakasamhita Nidanasthana 1.29.
The symptoms of this incurable fever are also Ksemendra’s
metaphors of choice to describe the arrogant “Superintendent”
(paripalaka) at Narmamala 1.62—64 (Baldissera 2000 fails to
connect verses 1.62—3 to the simile in 1.64 as they clearly should
be). Impaled on a stake: Or: suffering from a colic (sula).
G 6.7 A parody of Bhagavadgita 5.24: “He who is inwardly blissful,
who delights in the self, who has an inward illumination, that
Yogin, having become Brahma, goes to the Nirvana of Brah¬
man.”
G 6.10 Again medical imagery: “[The patients] eyes are reddened by
the outbreak of a morbid disorder of the humors, he is unable to
endure even the faintest sounds, and babbles.” Compare Kshe-
mendra’s description of the arrogant young Brahmin Tejonidhi
at Darpadalana 1.46. A similar lampoon of a scholar is also
given in the Padmaprabhrtaka in the prose after 16 describing
the grammarian Dattakalasi who has just been defeated in a
debate. A+kopa: “Outbreak of a disorder of the humors.”
G 6.12 An acute (mahd+ajnanam yasya sah) vulture (dlrghadarsl). This
“delirium of noble lineage” is treated in greater detail in the
Darpadalana 1.
G 6.14 A parody of Puranic cosmography. Just as the infinite world-
serpent Ananta supports the earth, so “self-importance” is the
base of the various trees of intoxication.
G 6.16 A parody of Bhagavadgita 5.18: “The wise see as equal the
learned and saintly brahmin, a cow, an elephant, a dog and
a dog-cooker.”
G6.17 An allusion to the Bhagavadgltas description of the Yogin
6.8cd: . . .yogi samalostasmakancanah, “. . . the Yogi, consid¬
ering as equal clods of earth, rocks and gold are the same.”
363
THREE SATIRES: NILA-KANTHA
Kshemendra makes a similar allusion at Darpadalana 2.60 and
at Desopadesa 1.6 he uses the image yet again to show that a
rogue who cares not for friend or foe etc. is equivalent to an
initiate who has received the highest liberating consecration
{nirvanadlksitah ).
G 6.18 A parody of the symptoms of certain mystical states. See,
for instance, Kulasara fol. 25V: udgiret kauliklm bhasarn mu-
drab andhamanekadha / hasate gay ate caiva nanacestani kurvate ,
“He speaks in mystical KaulikI language, spontaneously mani¬
fests various yogic seals, laughs, sings and fidgets.” Utpaladeva
describes the Shaiva devotee very similarly at Shivastotravall
15.3: rudanto vd hasanto va tvam uccaih pralapanty ami / bha-
ktah stutipadoccaropacarahprthageva te. See also Skandapurana
2i.47ab, Vadanyaya 2.
G 6.21 A retelling of the story told in Mahabharata 3.i22ff., Satapa-
thabrahmana 4.1.5ff., Jaiminlyabrahmana 3.i2off.
G 6.25 Pralamba was a notorious demon slain by Balarama.
G 6.28 Punningly: appearing immobilised, bound by cords.
G7.2 Riches: kamala. Third sense: After completely mangling (ja-
gdhva) the collection of Kamaladhruva songs, and then chewing
up the Kumudadhruva songs, the feeble (kslna) singer-drones now
show an interest (pranayita) in the compositions of Matanga s Br-
haddesi. Matanga is the author of an early musicological work:
the Brhaddesi. The impact of this verse occurs in two stages.
1. Initially the metaphor gayanabhrnga “singer-bee,” fuses two
obvious parallel paranomastic interpretations of the epithets,
[a] Thus we have kamalakara first as “a lotuspond,” kosa as “a
bud,” kumuda as “a waterlily” and kslna in the sense of “emaci¬
ated.” The verbs jhaks and a+svad retain theit literal meaning
of “consuming.” The subject gayanabhrnga itself may be read
as “humming bee.” The bee’s longing (pranayata) for the ichor
of rutting elephants (matanga) is a popular conceit in Sanskrit
Kavya. [b] Secondly kamalakara may be rendered as “a hoard of
364
NOTES
wealth,” kosa as a “treasury,” ku+mud as “displeasure” and ksina
as “impoverished.” Due to an incompatibility of the primary
sense (abhidha) of the verbs jhaks and a+svad with the contex¬
tual meaning of the verse (anvaya) —eg. wealth and displeasure
are not edible—their literal sense is barred (mukhyarthabadha)
and a secondary (laksanika) meaning is forced upon them: jhaks
> “squander,” much like the english devour can refer both to
the act of consumption as also to destruction; a+svad > “experi¬
ence, suffer.” The metaphor gayanabhrnga becomes singer-rake
(i bhrnga: “a libertine”) and matanga denotes an outcaste of ex¬
tremely low standing. The humor of the situation is that the
licentious singers first ruin their patron, are driven out by him,
and then, with no dignity or discernment, entreat even the
lowliest outcastes.
G 7.3 Troops: skandha. Wedge-formation: sakata. Ghatapata: Not
attested as a synonym for pataha kettledrums. Quivers: kalapa.
Powerful missiles: isaka. Arrows: muktaka . Regicidal: bhiipa-
bhuj. Warriors of the God of war: Gayana cf. Mahabharata
9.44.62a.
G 7.5 Padas: “musical phrases,” see Natyasastra 28.11,16-17; 32.28-
29. For the names of the notes (svara) see Natyasastra 28.21.
The concealed pun eludes me.
G 7.6 Faulty: bhranta. Revolving ornamentations: dvartaka is one of
the 33 tonal ornaments defined by Bharata, Matanga etc. See
5 r/;^^(?/fVarnalahkaraprakarana 6, Alankaralaksana 23: aroha-
varohabhyam astau svaran uccarya praksvaroccaranante kramaso
’stakala avartakah. Flute ornamentations: I am taking vamsa as
a synonym for the “flute-ornament” venvalankara. See Brhad'
desl Varnalankaraprakarana 6, Alankaralaksana 8: aknditavada-
rohavarohakramena saptakalo venuh. Opening theme: mukha.
Reeling: bhranta. Gyrations: avarta. Spines: vamsa.
G 7.8 Both because of the resultant higher taxation and because the
wrongdoing of the king is believed inevitably to result in some
sort of calamitous epidemic or natural disaster.
365
THREE SATIRES: NILA-KANTHA
G7.11 Thrilling: Sahara. Love-sport: -keyurah. Sapped of essence:
niradharah.
G 7.19 A parody of the Saivasiddhanta’s account of creation by eight
“sovereigns of mantra,” (vidyesvara, mantramahesvara).
G 8.1 Visionary imagination: prthudhyana. Yogins with the abil¬
ity (kala) to endure (aharana) the hardship (kara) of snow
(hema): An instance of sabdabhangaslesa, read compounded
as: hemakaraharanakalayoginah. State: dhamni. Replete with
beatitude: hahalalaksmyah. Kshemendra has based some of his
verses on chapters 2.13—14 of Kautilyas Arthasdstra.
G 8.4 A reversal of Arthasdstra 2.13.23—24: a touchstone (nikasa) with
the color of elephant-skin tinged with green, and reflective (pra-
tiragi'), is good for assaying at the time of selling. A durable,
rough, uneven-colored, and non-reflecting stone is good for
buying.
G 8.5 The goldsmith had to buy his counterweights from the super¬
intendent of weights and measures, the Pautava ( cf. Arthasd¬
stra 2.14.15-16). Furthermore, they needed to be stamped, for
a small fee, on a daily basis. To prevent the fiddles described
by Kshemendra, Arthasdstra 2.19.10 recommends that coun¬
terweights should be made of iron or of stones coming from
Magadha or Mekala which do not increase in weight when
soaked in water or decrease when heated.
G 8.6 Double bottom: Kshemendra here intends the mukamusa con¬
traption mentioned at Arthasdstra s 2.14.23. Bursting asun¬
der: This is the trick called “bleeding” (visravana) described
in Arthasdstra 2.14.24—25. The crucible is deliberately caused
to burst open and some grains of gold are then removed by
sleight of hand when it is fastened again. Copper inlay: Cf.
the practise of “adulteration” apasarita explained at Arthasdstra
2.14.20—22. Led and alkaline salt powder: Cf. the practices
known as “folding” (petaka) and “counterfeiting” (pinka) in
Arthasdstra 2.14.26-33 and 2.14.34-42.
3 66
NOTES
G 8.7 I count as follows: [1.] a bent indicator, [2.] unevenly matched
bowls, [3.] a perforated layer, [4.] they are loaded with mer¬
cury, [5.] they are bendable, [6.] have an inert scale (-kaksya),
[7.] (their cords are:) knotty, [8.] badly strung, and [9.] many-
stranded, [10.] they are out of balance before used, [11.] can be
disturbed by the wind, [12.] are too light, or [13.] too heavy,
[14.] they retain gold-dust in their coarse bowls, and [15.] are
(magnetically controlled to be) static, or [16.] volatile. Perfo¬
rated layer: E.g. to siphon off gold-dust. Loaded with mercury:
This probably corresponds to the Arthasastras 2.14.19 “hol¬
lowed out” (upakanthi) defect. A quantity of heavy mercury
travels along the hollow arms of the scales, altering the bal¬
ance. Static or volatile: The last two defects probably allude to
the Arthasastras final defect: that of being controlled magnet¬
ically (ayaskdnta ca dustatulah)', see Kaldvilasa 8.14. Quarters:
mukha. Hostile: vakra. Hollows: put a. Impassable: visama.
Ground tala. Cracked open: susira. Quicksilver: Kshemendra
must somehow have taken parada as a synonym (or by laksana )
for “snow.” Severe: katu. Wraps: kaksya. Knotted together: gra-
nthimatl. Indecorously looped around: kusikyita.
G 8.10 Copper dust: See the note on visrdvana to 8.6.
8.11-12 The Arthasastra (2.14.53) gives a similar list of behavioral oddi¬
ties as signs from which to infer a goldsmith has been misusing
alkaline salts etc. I understand these as indications not just of
shiftiness and guilt but as symptoms of self-poisoning. It is pos¬
sible that this was an inevitable occupational hazard, since gold
was often obtained amalgamated with mercury (rasaviddha),
cf. Arthasastra 2.13.3. Note, finally, that with a little ingenuity
this passage might equally be read as describing a dog.
8.16—17 These two verses must be corrupt, I cannot produce a satis¬
factory text ot translation.
G 8.21 Veins: samdhi , lit. “joints.”
367
THREE SATIRES: NILA-KANTHA
G 8.25 Gods: tridasa- Kslrasvamin’s commentary on the Amarakosa
claims that this term refers to the number of the Vedic gods,
“the thirty”: trir dasa parimanam esarn tridasah , but, as the
scriptural evidence he adduces shows, there are of course thirty-
three Gods ( trayastrimsad vai dehah somapah). Much more
plausible is the explanation offered by Jatarupa ad Amarakosa
1.1.7: balyayauvanapraudhatvakhyas tisro dasa esam iti tridasah ,
“ Tridasa-, are those who have [only] three stages of life, child¬
hood, youth and maturity [but no old age].”
G 8.28 According to Manusmrti 12.61 rebirth as a goldsmith is a pun¬
ishment for the theft of gems, coral or pearls in a previous
life.
G 8.29 A sentiment echoing Manusmrti 9.292: sarvakantakapapistham
hemakaram tu parthivah/pravartamanam anyaye chedayel lava-
sah ksuraih , “The king shall have the dishonest goldsmith, the
most evil thorn of all, cut into pieces with razors.”
G9.1 The con-men described in this section are what Manu calls
“thorns” (kantaka), cf. Manusmrti 9.253—60. By removing these
“thorns,” and by protecting the subjects, kings reach heaven.
G9.2 Vaidya: “physician” derived from vidya (vidya asty asya an);
and “belonging to the Veda” (veda+an).
G 9.6 The sixteenth lunar asterism. The moon is here fancied as the
lover of the lady Visakha, and the astrologer is a voyeur. Wife:
The choice of the word grhini for “wife,” is appropriate (padau-
citya) because Visakha is also a grhini, e.g. a “lunar mansion,”
of the moon. In the Darpadalana too, Kshemendra portrays
the astrologer as an idiot-savant, for despite his astral science
he cannot even figure out who is continuously robbing him.
G 9.7 Kanakarthin: also “greedy for gold.” The problem appears to
be that transmutational experiments required some gold as a
catalyst. See Kathasaritsagara III,161/2. Medhatithi on Manu¬
smrti 9.58b: “alchemists who pretend to change base metals into
precious metals.” Kalhana recounts that the king Jalauka was
368
NOTES
believed to have an alchemical substance which could trans¬
mute base metals into gold (Rdjatarangini i.iio, also another
account at 4.246—7).
G 9.9 Bald: Compare the story of the bald man and the hair-restorer
at Kathasaritsdgara V,83-4.
G 9.10 I have preferred the reading of KedL because the contrast be¬
tween the bright eyes of the celestial damsels and the lechers
blindness appears to be original.
G 9.11 Sky-flower: In Sanskrit philosophical texts sky-flowers and rab¬
bit’s horns are usually given as standard examples of completely
non-existent entities (atyantdbhava)', one cannot even imagine
them (vikalpakajnana), that is, one can imagine cow’s horns
on a rabbit, or pond-lotuses in the sky, but not horn of a rabbit
or a flower which grows in the sky.
9.11-12 Sorcery of this kind is taught already in the Atharvaveda. One
of the earliest sources to give more detailed recipes of magical
power-substances is the Arthasastra 14.1—4. The efficacy of the
magic Kshemendra is describing in these two verses depends
entirely on the power-substances, mantras etc. are not required.
G9.14 Root: Cf Manusmrti 9.290c. The rites involving the bury¬
ing of magical roots are meant to subjugate a person. The
lawbooks permit these rites if practised against a husband or
relative. Ksemendra also intends love-potions made with such
roots, cf Samayamdtrkd 2.25, and especially Dasavatdracarita
8.509—513 on the diseases wives caused their husbands with such
homemade concoctions.
G 9.17 In the divinatory practice of prasena or prasanna an oracular
apparition manifests in water, in a sword-blade, in a mirror, in
the eye of a virgin, or in the thumb-nail smeared with oil, in
the sun or moon etc. and there reveals the future or past events.
The vision appears either to a mantra-adept, or to a girl or boy
who has become possessed for the occasion.
369
THREE SATIRES: NILA-KANTHA
G9.18 In a story in the Kathasaritasagara (70.56-62) it is a high¬
born Ksatriya boy who serves as the medium. Kshemendra is
probably insinuating that only a lowly spirit would possess a
Ceta medium. On mcagraha , “lowly possessing spirits” such
as goblins, cf Abhinavabharati 17.yj (those so-possessed speak
vulgar Prakrit languages), dhupa: a ball of incense paste, for
most rituals preferably made o iyaksakardama, burned on coals
in a censer (dhupapatra).
G 9.19 The earliest reference to the famous “collyrium of Nagarjuna”
(nagarjunavarti) is provided by Vrnda’s Siddhayoga 61.148—152
(repeated verbatim by Cakrapani). He gives a recipe with 14
ingredients, including the expensive killed copper and blue
vitriol.
G 9.20 Kshemendra is here ridiculing the use of occult fumigants made
with all sorts of weird and wonderful ingredients. That they
should be peddled by “sons of yaksis may intend that they
are successful practitioners of rites to summon a yaksu At the
first meeting the yakst is supposed to address the successful
acolyte as: “putra!”, “my son!” Another vague connection I see
is that the most popular fumigant is called yaksakardama. Or,
perhaps cf Arthasdstra 13—14 for spies masquerading as Nagas,
Raksasas, Varuna and various Gods.
G 9.21 A man without a son may “appoint” his daughter as a so-called
putrika. Her sons subsequently inherit all of her father’s wealth.
If she dies without a son, her husband inherits. Cf. Manusmrti
9.I27-I39.
G9.22 Reader of body-language: ingitavadin. Cf Kulluka to Ma¬
nusmrti 9.258d: iksanika hastarekhadyavalokanena subhasubha-
phalakathanajivinah, “Physiognomists are people whose liveli¬
hood it is to descry auspicious and inauspicious fortunes by
investigating the lines on the palms etc.” This was not only
done with human beings but also with animals, chapters 91—92
of the Brhatsamhita are devoted to auspicious and inauspicious
marks of bovines and horses.
370
NOTES
G9.2 6 Cf. Manusmrti 9.258b.
G 9.30 Cf. Arthasastra 2.1.7.11 for the difficulties of colonising virgin
lands. Immigration by force or inducement is advocated.
G9.34 The expression abhinava/srstim echoes a famous benediction
verse composed by Abhinava-gupta, who taught Ksemendra
literature. Could this be intended as censure of his teacher?
G9.39 This corresponds more or less to the Kdmasutra (1.4.32) defi¬
nition of the pimp.
G 9.40 Commissioner: See 1.90.
G 9.44 Dream: Ksemendra is here by no means ridiculing the idea
that deities may appear in dreams itself, rather just the ex¬
ploitation of the faithful. Somendra records that Ksemendra
was encouraged in a dream by the Buddha to complete the
Avadanakalpalata. Sarada: Adj. meaning “shy” is attested only
in lexicons.
G9.52 Rat: Kshemendra likes to introduce the image of rats when
he describes treasuries. In Darpadalana 2.36 the miser Nandas
wife Mati points out that he stupidly starves himself taking
only rice-water while rats carry off the jewels stored up in his
treasury. The descriptive epithets shift their sense slightly when
construed with the rat: “. . . whose snout and eyes always face
downwards in case there might be something extra, who has
an unclean body and nest, who appears in the pantry.”
G 9.58 In the Dhuttakhana 5.79—no the cheat Khandavana uses just
such a ploy to blackmail a rich banker to pay her off. With a
recently deceased infant swaddled in layers of cloth she accosts
her victim. When his servants throw her out she wails that they
have murdered her baby. Alarmed that the uproar may reflect
badly on him the banker gives her a gold earring to remove the
dead child.
371
THREE SATIRES: NILA-KANTHA
G 9.60 Dressed in respectable finery: Kshemendra is perhaps referring
to what Manu calls the Bhadra swindlers. Cf Kulluka to Ma¬
nusmrti 9.253d: bhadrah kalyanakarapracchannapapa ye dha-
nagrahinah , “Respectable [thieves] are those who steal wealth
conceiling their evil and appearing respectable.”
G9.64 This verse probably refers to the “extortionists” (aupadhika)
mentioned in Manusmrti 9.258a. Kulluka glosses: aupadhika
bhayadarsanad ye dhanam up aj tv anti, “‘Extortionists’ are peo¬
ple who extort money by threats.”
G9.69 Cheat: vancaka. Medhatithi ad Manusmrti 9.258b glosses:
“Men who promise to transact business for others, and do
not keep their word.”
G 9.70 Kshemendra is fond of describing the failings of arrogant schol¬
ars. In the third chapter of his Darpadalana Kshemendra por¬
trays the career of Yavakrlta, the idiot son of the sage Bharad-
vaja. He performs penance and is rewarded with learning but
then becomes an egomaniac and quarrelsome nuisance who
irritates his own father by continuously babbling in difficult
Sanskrit metres. Since his learning lacks “peace of mind” (cetah-
santi) a tragedy ensues. Malapatraka : Lapanich takes this as
a synonym for malaprstha, “dust-jacket of a book.” We may
add that this malapatra does seem to have been inscribed, per¬
haps with summaries of contents or the like. See, for instance
Narmamald 2.36a, where Ksemendra is ridiculing the imbecile
Mathadaisika who walks about with his malapatra which is
there probably a kind of notebook or diary.
G9.71 Piercing initiation-guru: A “piercing initiation” (vedhadlksa)
is in Shaiva Tantric literature presented as a high salvific act
performed by a guru for a fortunate chosen few. The preceptor
enters the initiate s body and pierces various centres along the
central channel of his subtle body. As Kshemendra indicates,
the initiate perceives signs, such as trembling, while this is
taking place (cf. Tantraloka 29.236-82). The context Kshe¬
mendra describes appears to be much more humble: a low¬
life officiant does the rounds like a door-to-door salesman,
372
NOTES
tricking his gullible clients into parting with their money by
planting stooges to demonstrate the efficacity of his technique.
Sanderson has pointed out to me that the purpose of the vedha
Kshemendra describes is uncertain. Perhaps the guru comes to
a house and performs a vedhadiksa for the household, the stooge
serving to show that it is the real thing and perhaps to set off a
chain reaction in which the conned will believe that they too
have been touched by the Goddess. Or perhaps he comes and
offers to bless the household by performing a simple pujd of
the Goddess, the stooge’s performance being the proof that he
has succeeded in summoning her.
G 9.72 Shakuni: There are several mythical Sakunis who could be
meant but I take this as a more concrete reference to that
£akuni who is known from the Rdjatarangini as the great¬
grandfather of the famous emperor Asoka. Lapanich, reading:
kale sakunim smarami, translates: “I can summon a bird at the
right time.” This remains obscure to me. Schmidt believes the
fraud to be boasting: “I know how to fly like a bird.”
10.2—6 The four aims of life (purusartha).
G 10.6 The thirty-two arts are thus presented as thirty-two kalas of
a long mantra with four padas which the mantrin (<vidyavat)
manipulates in various ways (krama, samasta) for specific
rewards.
G 10.7 A parallel to magical powers such as leaving the earth (bhumi-
tydga), poetic power (kavitva) etc. promised as siddhis for the
perfection of various mantras.
G 10.14 Verses 14—38 make up a single sentence containing an elaborate
“consequential metaphor ” (paramparitarupaka), cf. Kavyapra -
kasa 10.9. The structure of the sentence is: “In this world, it is
renown, which is the Guru’s word among truths. . . knowledge
among supreme illuminations, that is indispensable for all peo¬
ple.”
373
THREE SATIRES: NILA-KANTHA
G 10.15
G10.21
G10.22
G10.23
G10.31
G 10.37
M 4
M10
M 21b
M 22b
M 26
M 27
M 29
Snares and black cobras: I am assuming that Kshemendra is
here using a common epic metaphor, which Emeneau (i960:
291—300) has shown to be a pi dvandva compound, e.g. “snakes
and bonds.”
chandalas: In Kavya literature outcastes are portrayed as inher¬
ently cruel. Kshemendra follows this convention unquestion-
ingly. In a story in Darpadalana 1, Kshemendra uses this prej¬
udice to show that the arrogant and cruel Brahmin Tejonidhi
was in fact the son of a Candala ( see especially Darpadalana
1.54—55). Necromancer: mayavin, cf. KathasaritsagaraW ,35.
Visarpa , Erysipelas.
The eldest son performs the funeral rites.
Kutaja Wrightia antidysenterica, also known as Indrayava, “In-
dra’s grain,” the seeds of which are used as a vermifuge.
Death in battle: As Ksemendra explains in Darpadalana 4.31,
the fallen hero could expect to be welcomed into heaven by
beautiful Apsarases such as Urvasl.
A parody of the standard example of a syllogistic inference
taught in Nyaya logic: the premise is smoke, the probandum is
fire, the example is the kitchen, the conclusion is the presence
of fire.
A mantra-sorcerer (mantrika) is an initiate into the cult of a
mantra-deity who has achieved supernatural power (siddhi).
Vachas-pati: the teacher of the gods.
Priests: Filliozat takes devatopasakah as “mediums.” I have
translated as “priests” for that is closer to the literal sense: “wor¬
shippers of gods.”
All: These are the five departments of Ayurvedic medicine.
Cf. Kalavilasa 9.4.
Filliozat translates differently: “Quand le medecin soutire
I’argent dun malade quil visite depuis longtemps...
374
NOTES
M 39 This is probably not a general statement about poets glorifying
love but rather a dig at the rhetoricians’ theories which teach
that the aesthetic sentiment of love is the most important in
poetry (cf. Dhvanyaloka 2.7).
M 45 DhoranI: sv. Amarakosa 2.7.1048 dhorana.
M 62 Children etc.: Nllakantha is here alluding to a Smrti list which
is a shorthand for all utterly unreliable persons.
M 77 An allusion to the scriptural teaching that any food one gives
to a mendicant becomes in the next world a reward of food
the size of Mt. Meru and any water one gives an ocean (See
Parasarasmrti 1.53).
M 81 Departing: or, reading prasthapyamanah : “Sent away each
day. . . .”
M 82 Orthodox brahmin: A srotriya is a brahmin learned in the Veda.
M 83 Ghataka: A ghataka is an agent who predominantly arranges
marriages, but Nllakantha here seems to consider him a kind
of pimp.
M 84 Wood of the holy basil: The TulasI tree is sacred to Vaisnavas
who fashion rosaries from its wood.
M 8 5 Vahata or Vagbhata is the author of a compendium of Materia
medica.
M 86 Ekasika: sitting alone or sitting in one place.
M 90 Sadyahpratyaya: “giving immediate proof of efficacy.”
M97 Hail to the horizon: I assume Nllakantha intends no more
than: “I will flee,” but it may be a reference to the mahapd'
thaprasthana , the rite in which the elderly brahmin leaves his
home and walks towards the Himalayas until he dies. Filliozat
translates: ‘Je salue la direction ou ces quatre sont reunis.
375
THREE SATIRES: NILA-KANTHA
M 98 Chidra means both ‘bodily opening’ and ‘fault’.
376
BIBLIOGRAPHY
THE THREE SATIRES
Adbhutasagara of Nihsahkasahkara Ballalasena , ed. MuralIdhara Sa-
rma, KaSI 1905.
Aucityavicaracarca ed. Kavyamala Guccha 1, Nirnaya Sagara Press, Bom¬
bay 1886.
Kalavilasa of Ksemendra ed. Pandita Durgaprasada & KasInatha
Panduranga Parab, Kavyamala Part 1, Bombay 1886.
— Ksemendra: His Kalavilasa, Pranee Lapanich, Pennsylvania dis¬
sertation, 1973.
— E.V.V. Raghavacarya & D.G. Padhye 1961.
Kapphinabhyudaya. Sivasvamins Kapphinabhyudaya or Exaltation of King
Kapphina, ed. Gauri Shankar, with an appendix and revised
romanized version of cantos 1—8 and 19 by M. Hahn, Delhi 1989.
Dhurtdkhyana Dhuttakhana of Haribhadra, ed. A.N. Upadhye, Singhi
Jain Series 19, Bombay 1944.
Desopadesa of Ksemendra, ed. Madhusudana Kaula SastrI, ksts 40,
Srinagara & Poona 1923.
Narmamala of Ksemendra, ed. Madhusudana Kaula SastrI, ksts 40,
Srinagara & Poona 1923.
Nirnayasindhuh of Kamalakara Bhatta, ed. Krsnambhatta Nene, Go-
palasastrI, Caukhamba Samskrta granthamala 265, Banarasa,
1930.
Bharatamanjan e d. M.M. Pandit Sivadatta & KasInath Pandurang
Parab, Kavyamala no. 64, Reprint Delhi 1984.
Manusmrti with the Manubhasya commentary of Medatithi, ed. Ganga-
natha Jha, Bibliotheca Indica no. 256, 2 vols., rasb, Calcutta
1932 & 1939.
— with the Manvarthamuktavall commentary of Kullukabhatta, ed.
J.L. SastrI, New Delhi reprinted 1990.
Mahabharata ed. V. Sukthankar wuth the cooperation of S.K. Belva-
lkar, A.B. Gajendragadkar, V. Kane, R.D. Karmarkar, P.L.
379
BIBLIOGRAPHY
Vaidya, S. Winternitz, R. Zimmerman etc., 19 vols., bori,
Poona 1927-59.
Rajataranginl of Kalhana, ed. Vishva Bandhu in collaboration with
BhIma Dev, K.S. Ramaswami SastrI and S. Bhaskaran Nair,
part 1 (tarariga-s 1-7), Woolner Indological Series No. 5, wri,
Hoshiarpur 1963; part 2 (taranga 8), Woolner Indological Series
No. 6, wri, Hoshiarpur 1965.
Samayamdtrka ed. M.M. Pandit Sivadatta & KasInath Pandurang
Parab, Kavyamala no. 10, Bombay 1925.
Siddhayoga ofVrnda, Vrndamadhavdparanamd Siddhayogah, ed. Hanu-
manta SastrI, Anandasramasamskrtagranthavall 27, Punyakhya-
pattane (Poona) 1894.
Subhasitaharavall ofHarikavi (Bhanubhatta), ed. Jagannatha Patha-
ka, GanganathaJhaKendriyaSamskrtavidyapItham, Text Series
No. 19, Allahabad 1984.
Suktimuktdva.ilofBhagadatta Jalhana, ed. E. Krishnamacharya, Gaek-
wad’s Oriental Series 82, Baroda 1938.
Bands Harsacarita ed. P.V. Kane, Bombay 1918.
SECONDARY LITERATURE
M.B. Emeneau Nagapasa, nagabandha, sarpabandha and related words,
Bulletin of the Deccan College Research Institute 20.1—4, Poona
i960, pp. 291-300.
— Barkcloth in India- Sanskrit Valkala, jaos 82.1,1962, pp. 167-170.
M. Hara TapO'dhana , Acta Asiatica 19,1970, pp. 58-76.
S. Lienhard Kanyakandukakrlda— BallspieljungerDamen, ZurEntwick-
lung eines Motivs der klassischen Sanskrit-Dichtung , Nachrichten
von der Akademie der Wissenschaften in Gottingen. Philologisch-
Historische Klasse ; Jahrg. 1999, Nr. 8, Gottingen 1999.
Victor H. Mair & Tsu-Lin Mei Sanskrit and Recent Style Poetry,
Harvard Journal of Asiatic Studies, Vol. 51, no. 2,1991, pp. 382—3.
J.J. Meyer Ksemendras Samayamdtrka , Altindische Schelmenbiicher 1,
Leipzig 1903.
380
THE THREE SATIRES
B. Mookerji Rasa-jala-nidhi ; or, Ocean of Indian Chemistry & Alche¬
my, Calcutta 1926.
Prafulla Chandra Ray A history of Hindu Chemistry from the Earliest
Times to the Middle of the 16th Century a.d., 2 Vols., Calcutta
1904-9.
E.V.V. Raghavacarya & D.G. Padhye Minor Works of Ksemendra,
Hyderabad 1961.
L. Sternbach Unknown verses attributed to Ksemendra, Akhila Bharatiya
Sanskrit Parishad, Lucknow 1979.
— Ganika-Vrtta-Samgrahah or Texts on Courtezans in Classical San -
skrit , Vishveshwaranand Indological Series No. 4, Hoshiarpur
1953 -
Suryakanta Ksemendra Studies , Poona 1954.
A. Venkatasubbiah & E. Muller The Kalas, jras 1914, pp. 355-367.
P.C. Dandiya & Y.M. Chopra CNS-active drugs from plants indigenous
to India, Department of Pharmacology, S. M. S. Medical College,
Jaipur, Ind. J. Pharmac. 1970, 2 (3), 67-90.
381
INDEX
THE THREE SATIRES
Sanskrit words are given according to the accented CSL pronuncuation aid
in the English alphabetical order. They are followed by the conventional
diacritics in brackets.
Abhinava-gupta, 17, 370
ablutions, 219
absurdities, 109
accountants, 360
accusation, 141
actors, 127, 337
Adambha, 352
Adharma, 350
adulation
fervent, 221
adversary, 321
affairs, 335
Agastya (Agastya), 121, 267
alchemist, 275
alkaline salt, 261, 366
alms, 353
almsfood, 335
aloofness, 113
amulets, 277
amusement-terraces, 177
Ananta, 23, 344, 363
Anantaguna, 360
Anangalekha, 357
Anjana
elephant of the West, 345
Anjanadri
Mountain of Antimony, 345
anklets, 95
antelope, 119
Apsaras, 373
archery, 24
Ardhaksira, 348
Arghagharghdtika, 360
arguments, 321
armbands, 249
army, 201
arrogance, 121, 309
arrow, 245
artificial color, 263
artisan, 171
arts
virtuous, 305
as white as ash, 117
ascending node, 361
ascetics, 173, 321
false, 348
female skull-bearing, 105, 347
hypocritical, 348
Kdpalika , 346
matted-hair, 117
stupor of, 231
ash, 337
Ashvins (Asvins), 237
assault
violent, 233
assay, 259
asterism, 367
astrologer, 127,173,239,273,323,
325, 367, 368
astrology, 24, 327
astronomy, 24
Ashdka, Asoka, ypi
atmajhana, 24
atom, 155
384
INDEX
audacity, 299
audience
hall, 95
with the king, 25
aura, 103
austerity, 337
authorities, 125
avarice, 151, 327
backbiting, 285
balance, 261
balance-stones, 261
Balardma, 363
bald men, 275
Baldissera, 24, 360
Bali, 352
Balkh, 125
ball, 143
bandits, 269
barbarity, 327
bard, 247
bark, 127
bath
ritual, 349
battle, 315, 373
beard
trimmed, 109
beatitude, 313
bee-swarms, 163
bees, 327
female, 97
beeswax, 261
beggar-monk, 359
beggars, 333
begging-bowl, 347
behavior
bizarre, 323
Bengal, 125
betel-nut, 187, 327, 333
Bhadra , 371
Bhagfrathi (Bhagirathi), 346
Bhairava, 347
Bharadvdja , 371
Bharata, 24, 364
Bhava-bhuti (Bhavabhuti), 24
Bhrigu (Bhrgu), 121,151, 351, 355
Biography of Kumdrajiva, 25
birchbark
banner of, 211
worthless bundles of, 297
bird, 103,107,127,185, 352, 372
fledgling, 99
bites, 163
black cobra, 309
blanket, 245
blindness, 97, 368
bliss, 339
blood, 165
Bloomfield, 345
blue vitriol, 369
boasting, 299
body
abandoning of, 223
neglect of own, 231
shrivelled, 115
bone, 157, 225
human, 347
bone-sections, 105
books, 135
boots, 109
bossy matron, 167
bowls, 261
boyhood-friend, 143
bracelet, 189
385
THE THREE SATIRES
Brahma (Brahma), 117, 119, 121,
123, 299, 344, 350, 351, 362
Brahman, 327, 337
brahmany duck, 346
brahmin, 147, 251, 350, 359
orthodox, 337
brazenness, 97
breasts, 239
breezes, 93
bribery, 215
Brihas-pati (Brhaspati), 97, 345
Bringer of the End, 213
brothel, 197, 287
brother
uterine, 117
brother-in-law, 329
Buddha, 22, 353
Buddhist, 25
bull
country, 297
of Yama, 211
burden,149
bureaucrats, 360
burning ground, 315
buzzing twangs, 247
Cakrapdni, 369
calumny, 141
Candanana, 353
Chandra-gupta (Candragupta),
95
canopy, 179
caravan, 175, 245, 297
caravan-harlot, 299
caravan-leader, 95,105
caravan-master, 99
cart, 245, 297
Carvaka, 345
caste, 333
cats
smugness peculiar to, 109
cattle, 349
cavern, 155
Canakya, 24
celebrities, 323
celestial, 277
censure
eternal, 323
central channel, 372
ceremonies
Buddhist, 25
unabridged, hi
Ceta, 369
chaff, 333
chains, 163
chalice, 95
champions, 239
chandala (candala), 311, 350, 353,
373
chaplet, 219
character
depraved, 197
charity, 333
charlatan, in
chataka (cataka), 37
chattering, 99
cheeks, 239
chemistry, 24
child, 329
children, 329, 331, 333
Chinese, 21
Chyavana (Cyavana), 237
claws, 267
clay
38 6
INDEX
smearing with, 109
clothing, 327
cloud of doom, 49
clouds, 197
cobras, 135, 353
coin, 333
counterfeit, 299
colic, 229, 362
collyrium, 279, 369
commissioner, 171,127
abstemious, 287
commotion, 321
compass points, 103, 346
complexion
ashen, 99
con-man, 297
condemnation, 153, 331
congregations, 171
connoisseur, 18
consecration, 311
liberating, 363
consumption
hundred forms of, 315
contamination, 233
contemplation
exalted, 117
convalescense, 325
copper, 261, 263
coquetry, 169
coral, 367
corpse, 187,189, 358
costume
religious, 337
counsellors, 147
counterweights, 365
courtesan, 169,199
the virtues of, 201
cow, 235
Cow-ear, 335
Cowardice, 327
cowrie, 135, 353
coyness, 167
Creator, 119, 339
creatures, 127
cremation ground, 201
crest
lofty, 115
crest-moon, 219
criminal, 358
crookedness, 225
crucible, 261
crystal mirror, 103
currents, 193
curse, 269
cymbal crashes, 247
daitya, 145, 147,155, 355
Dambha, 117, 119, 121, 123, 125,
127,129, 347, 350, 351
Dambhodbhava, 107, 347
arrogant and quarrelsome e-
mperor, 347
damsels
doe-eyed, 97
darbha , 337
dark age, 141
darkness, 97
Darkness
paramour of twilight, 101
Dattakalasi, 362
daughter, 175, 323, 329
appointed, 175, 369
cause of grief, 313
day-labourer, 281
387
THE THREE SATIRES
day-lotus, 245
day-maker, 101
death, 155, 157, 311, 315, 329, 333,
353. 357. 361
fang of, 225
deceit
pillar of, 107
deceiver, 129, 299, 305
deer
innocent, 105
delirium, 333
of erudition, 233
delusion, 107
demon, 333, 335, 358
demoness, 173s, 165
demonically possessed, 331
demons, 253
denouncers, 331
dependents, 333
deposit, 133, 135, 137, 141, 267,
*97> 354
deranged, 331
derision, 321
deserts, 49
desire, 327
despair, 153
destitution, 331
devotion
befuddlement of, 231
Dhana-datta, 175
dhanurveda, 24
Dhanvantari, 349
dharma, 343
dhatuvada, 24
diagnostic, 325
diamond, 165
dice, 249
dice-tricks, 281
diet
meager, 325
disaster
future, 335
disciples, 105
discord
age of, 175
disease, 325, 329
chronic, 325
disharmony, 255
dishonesty, 327
disputation, 299
disrepute, 315
ditch millet, 333
Diti , 113
Div, 183
divine eye, 267
doctors, 325
greedy for money, 325
document
forged, 295
documentation
legal, 215
does, 95
dog, 363, 367
dog’s milk, 353
dog-cooker, 235, 363
dog-flesh
theft of, 350
Dohani, 357
dominion, 255
donor, 337
doom, 335
door-to-door, 372
double-talk, 265
388
INDEX
dramaturgy, 24
dreams
interpreters of, 323
drinking, 171
drugs, 273
drunkard, 235
dumb, 167,187
dust-jacket, 371
dustbin, 167
Dwarf-incarnation, 129
dyuta, 24
ear, 335, 339
earrings, 313
earth, 49, 323
ecstasy, 103
egoism, 331
elders, 251
elephant, 163, 327
wilderness, 313
elephant-driver, 197
elephant-lore, 24
elephant-skin, 365
emaciated, 275
embellishment, 299
embezzlers, 353
emperor, 311
ideal, 345
empowerment, 107
emptiness
an obstacle, 233
enemy, 115,155, 331
eon
end of, 267
epic literature, 24
epidemic, 365
epidemics, 325
epilepsy, 333
equestrian science, 24
erosion, 267
erudition, 321, 327
eulogy, 25
evil sorcery, 237
exile, 339
experiments
failed, 275
transmutational, 368
extortionist, 297, 371
eye-brows, 163
eye-salve, 277
eyes, 95, 109, 117, 119, 137, 141,
169, 175, 177, 179, 181, 185,
187,193, 195, 223, 229, 231,
233, 275, 293, 362, 370
sleepy, 195
third, 93, 344
fabrication, 281
fair-weather friends, 103
faith, 321
fallacies, 199
falsehood, 141
fame, 151,155, 356
craving for, 113
fangs, 237, 329
farce, 287
fast, 335
month-long, 289
father, 315, 323
father-in-law, 175,187, 329
fawn-eyed girls, 103
fear, 325
fever, 348
fiasco, 323
fiddles, 365
389
THE THREE SATIRES
fields, 49
filaments, 103
finery, 295
fire, 149, 155, 157, 185, 263, 265,
279, 311, 331, 344, 356, 373
of cow-dung, 263
sacrificial, 358
submarine, 115, 283
fire fixation, 356
firmament
courtyard of the, 101
fish, 107, 249, 273
fishermen, 273
fist, 329
fixation, 157
flamingo, 103
flash
momentary, 105
flattery, 331
flies, 263
flowers, 119,187, 219
flute ornamentations, 247
fools, 321
assembly of, 313
foot-stool, 105
fords
sacred, 167
forehead-mark
white, 103
forehead-ornament, 167
foreign land
prosperous, 297
formula
magical, 217
fortune, 99, 331
Fortune-tellers, 323
fountains, 95
four-faced, 299
fragrance, 187
friendship, 315
frog-fat, 277
fumes, 153
fumigant, 279, 369
occult, 369
gajalaksana, 24
Galava (Galava), 121, 351
gambler, 99, 217, 221, 281
gambling, 24,171
Ganges, 219, 223, 297, 346, 347
gardens, 313
garland-metaphor, 346
garlic
stench of, 333
garments, 181, 329
Gauri, 157
gemology, 24
gems, 313, 367
set in the anklets of prostitu¬
tes, 97
gentlemen-thieves, 295
gestures
flirting, 167
ghataka, 374
gift
priceless, 95
girl, 279
artless, 167
glee, 297
gloom, 101
gluttons, 329
gnat, 327
goad, 163
goat
390
INDEX
lucky, 297
goblin-spawned, 245
goblins, 313, 369
God, 137,143,145, 147, 149,155,
157. 344
devotion to, 315
of death, 295, 354
of love, 93, 103, 175, 177, 185,
191. 344
of wealth, 145,175, 253, 359
Goddess, 157, 251, 289, 355, 372
of fortune, 107
Gods, hi, 113, 143 , 337 s, 345,
352.. 369
gold, 97, 137, 139, 197, 215, 235,
249,259,261,265,299,363,
366-368
liquid, 261
gold-dust, 261, 267, 269, 366
gold-maker, 275
gold-ore, 267
gold-plating, 275
gold-robbers, 269
golden ornaments
hollow, 297
goldsmiths, 127, 259, 265, 267,
269,365-367
goose, 123
gossip, 171
governors, 127
grammar, 24
grammarian, 362
granary
of wheat, 209
grass, 119
sacrificial, 173
greed, 283
grief, 297
grimaces, 119
grove, 185,189
gruel, 249
guardian, 335
guest, 335
guiding principles, 315
guile, 95
Guna-yashas (Gunayasas), 197
gurgling noises, 247
guru, 217, 221, 301
dead, 337
gymnastics, 163
gyrations, 247
hair, 339
sprouting, 275
trimmed, 109
hair-restorer, 368
half-light, 101
hand-control
slack, 99
happy realms, 309
Hara, 199
Hara-gupta, 141
Hari, 199
Harmony, 313
having-a-hundred-sacrifices, 253
head
severed, 361
health, 325
health-tonic, 315
heart, 331
of guile, 99
heart-essence
extremely crooked, 105
391
THE THREE SATIRES
hell, 329
chasms of, 277
hema-valli (hemavalli), hi
herbs
apotropaic, 348
hero, 373
heron
smugness of, 109
high-mindedness, 151
Hiranya-gupta (Hiranyagupta),
95
hirelings, 327
hoe, 119
hole, 265, 269
holy basil, 337
honesty, 327
hooded, 117
hope, 325
hopes, 147
horizon-mountain
Western, 101
horse, 327
dung of a black, 277
horseman, 197
hospitality, 95, 335
house-holder, 329
Hui-chiao, 25
hum (hum), 117
humors, 362
morbid disorder of, 362
hundredfold-piercing, 275
hunter, 185
hunting, 313
husband,329
dim, 167
hypochondriacs, 325
hypocrisy, 337
hypocrites, 337
icons, 173
idiot-savant, 368
idol, 281
ignorance, 323, 339
illumination, 305
illusion, 117
imbecile fixation, 231
immortality
nectar of, 349
impatience, 263
impostors, 297
in-laws, 329
incense, 219, 279, 369
India, 25
indicator, 261
indistinct syllables, 167
Indra, 237, 251, 253, 277
Indrajala, 24
Infancy, 97
infatuation, 163
informers, 333
ingrate, 149
inheritors, 331
initiate, 363
initiates, 127
initiations, 173
minor, 277
integrity, 307
intellect, 321
Intoxication, 229
iron, 263
lump of, 221
island
foreign, 175
Jamad-agni (Jamadagni), 121,351
392
INDEX
Jambha, 113
japakusuma, 343
jealousy, 315, 339
jewel-lamp, 311
jewelled floors, 93
jewellery, 329
jewels, 197, 370
joke, 287, 295
jugglers, 127, 255
Jupiter, 97
jyautisa, 24
Kalasa, 23
Kalhana (Kalhana), 17, 353, 354,
357 j 368
Kali, 213, 329, 339
Kamaladhruva, 363
Kandali (Kandali), 105
Kane, 353
Kdpalika , 346, 347
Kashmir, 125
Kaulikt language, 363
Kaustubha jewel, 344
Kautsa, 121, 351
Kautilya , 353, 360
kettle-drums, 245
khadira (khadira), 45
Kharikha, 357
killed copper, 369
kind words, 309
kindness, 325, 339
king, 23, 109, 143, 181, 189, 195,
197, 199, 201, 203, 323, 331,
333’ 355
praise of, 321
kingship, 331
kinsfolk, 173
kinsman, 145
kisses, 358
kitchen, 373
knee-caps, 121
knife
poisoned, 295
knots
auspicious, 348
knowledge
appearance of, 321
Kroraina Prakrit, 355
Kshemendra, 17—19, 23,129,159,
189, 205, 225, 241, 255, 269,
301, 317, 344, 346-363, 365,
366,368-373
Kubera, 147, 355
Kulluka, 370, 371
Kumara-jiva, 21
Kumudadhruva, 363
Kumudika, 360
Kunda, 147, 355
Kunjunni Raja, 24
kusha (kusa), 119
kutaja, 313
lac, 265
lack of judgment, 327
lackeys, 339
Lakshmi (Laksmi), 41, 95, 201,
251, ^ 55 ’ 289, 355
Lakshmi-verse, 255
laksana, 343
lameness
treatment of, 215
Lapanich, 18,21,23,345,357,361,
371, 372
larceny, 215
lattice-window, 141
393
THE THREE SATIRES
laughter, 263
Laukika, 22
Law, 149, 339
lawbook, 368
learned, 331
led, 261
leprosy, 333
liberation, 305, 349
libertines, 103
Lienhard, 345
life
length of, 323
stages of, 345
light-rays, 105
lilies, 103
lineage, 203
noble, 175
lips
animated with muttered pra¬
yers, hi
boundary of, 99
liquor, 235, 347
litigation, 355
locks
matted, 109
locusts, 255
logic, 24
loin-cloth, 337
Lord of the spirits, 217
lotus, 103
of enjoyment, 97
lotus-lips, 183
lotus-pond, 101
love, 97
tragic, 346
love-enchantment, 277
love-play, 93, 273
love-potion, 368
love-sport, 249
lover, 101, 167
Lucky-ear, 335
lunar crescent, 105
machinations, 193
Magadha (Magadha), 223, 365
magic, 368
divinatory, 279
magical art, 307
magnanimity, 145
magnetic layer, 263
magnetically static, 261
Mahajan, 22
Maha-kala
God who grants boons, 217
Mallinatha, 344
man
jealous old, 171
Mandakini (Mandakini), 103,
346
manes, 347
mansion, 99, 141
jewelled, 105
mantra-adept, 369
mantra-deity, 373
mantra-regents, 253
mantra-sorcerer, 321, 323, 325
mantras, 175, 279, 331, 335, 337,
368
power of, 107
mantrika, 373
Manu, 351, 371
marriage, 175, 374
marrow-fat, 157
Matanga, 363, 364
394
INDEX
materialists, 345
maternal uncles, 329
Mati, 352, 370
matrimony
unbefitting, 255
Maya (Maya), 117,165, 211
twin of, 350
meal, 323, 327
meat, 245, 347
Medhatithi, 371
medicament, 331
medicine, 24, 325, 327
Ayurvedic, 373
meditation, 173
exalted, 113
medium, 369
meeting, 321
Mekala, 365
men of refined taste, 95
mendicant
naked,197
mercenaries, 127
merchant, 127, 141
deaf or dumb, 299
mercury, 261, 275, 366, 367
merit, 145, 203, 235
Meru, 267
metallurgy, 24
metaphor, 345,355,361,364,372,
373
Meyer, 349
midnight, 183
milk, 329
milk-ocean, 352
Milky Way, 346
mimes, 255
mind
volatile, 177
minister, 348
minium
red, 101
minstrels, 255
miracles, 231
mirror
crystal, 153
image, 235
misadventures
chain of, 97
misdeeds, 335
miser, 335
misery, 249
Mitrasena, 348
mockery, 331
modes
musical, 171
modesty, 321
money, 141,143,145,147,153,157,
197> 3 2 3> 339
money-lender, 329, 331
monks, 173
Buddhist, 195
mood, 235
moon, 103,105,135,181,183,185,
187, 201, 237, 273, 317, 346,
361, 367-369
phase of, 209
moon-crested, 223
moon-disk, 167
moon-faced, 93
moonless night, 209
moonlight, 95,105
morals, 177
mosquito-bones, 275
395
THE THREE SATIRES
moth, 93
mother, 315, 323, 329
mother-in-law, 329
mound
funeral, 115
Mountain of Antimony, 345
mouth-lotus, 187, 309
Mrityun-jaya (Mrtyunjaya), 331
Mt. Meru, 267
Mt. Meru, 335
Mukunda, 147, 355
Mula-deva (Muladeva), 95, 99,
105, 317, 345
murder, 315
music, 25
musk-incense, 187
Myrobalan fruit, 301
Ndga, 369
Nagarjuna (Nagarjuna), 279,
369
nails
trimmed, 109
naked, 275
Nanda, 353, 370
Nandi, 351
Nara, 347
Narada (Narada), 121, 251
Narayana, 347
narrative, 18
neck, 119, 351
necromancer, 311
nectar-elixir, 219
nectar-shower, 313
nephews, 329
nets
train of, 273
night, 317
night-lilies, 103,183
night-lily-teeth, 183
night-maker, 103
night-stalker, 175, 267
Nirvana, 362
noose, 185, 295, 329
nose, 187,189
bitten off, 187
nun, 281
nurse, 348
Nyaya, 373
nymphs, 95
object, 335
observances
religious, 335
ocean, 125,193, 283, 317, 374
churning of, 344
of milk, 344
of nectar, 95
offence, 141
offerings, 219
funerary, 239
oil, 369
Old Persian, 361
Olivelle, 359
omen, 335
omniscient, 299
orbit, 361
ornaments, 181
outcaste, 169, 346
overflow, 249
Padma, 147, 355
palace, 175, 317
palmist, 277
paradise-world, 119
paralysis, 107, 239
396
INDEX
parasites, 245
parasol-bearer, 117
parents, 329
parody, 345, 373
particles, 123
Pathology, 325
patient, 273, 325
patronage, 249
pauper, 221, 335
Pautava, 365
payment, 325
peace of mind, 371
peace-negotiations, 331
peacock-cloak, 101
peacocks, 95,163, 239
pearls, 93, 367
penance, 125, 350
penance-hut
earthen, 115
perfidy, 223
performer, 171
perspiration, 93
petty officials, 239
phlegm, 347
physicians, 127,173,237,239,273,
325
physiognomy, 24, 279
piercing-initiation, 299
pieties
false, 109
pilgrimage
places of, 223
to the river Ganges, 297
pimp, 287, 337, 374
pit, 105
planets, 173, 273
plank, 119
pleasures, 163, 305
plow, 327
poet, 337
poetic composition, 327
poets, 327
poison, 287, 311, 339
poisoner, 269
politics, 24
pomposity, 229
pond, 245
possession, 352
demonic, 195
pot
copper, 275
poverty, 327, 329, 331, 339
power, 307
power-substances, 368
Praja-pati (Prajapati), 123
Prakrit, 369
prattle, 327
prayer, in, 119, 335
prediction, 323
pregnancy, 323
priests, 325
prison, 203
probandum, 373
procurers, 255
profession, 223
prosperity, 331
prostitute, 281, 311, 348, 359
prudence, 315
pun, 356
punishment, 339
puns, 19
pupils, 317
purity
397
THE THREE SATIRES
inordinate, 291
sanctimoniousness of, 115
purusalaksana, 24
pyre
funeral, 201
quack, 275
quarrel, 299, 329
quicksilver, 261
rabbit’s horn, 368
Raghu, 351
rags, 139
rain, 49
rainbows, 95
rakes, 239
raksasa, 369
Ramayasas, 23
rashes, 311
rat, 267
ratnapanksdy 24
rats, 269, 329, 370
rattle-drums, 247
Ravi, 183
ray, 103,105,183,185, 317, 346
razor weapons, 315
red-banded, 117
red-robe, 117
regicidal, 245
rejuvenator, 275
relatives, 115
religion, 221, 311, 337, 339, 352
religious hypocrisy, 347
remains
cremated, 297
remedy, 331
reprobates, 327
reputation, 321
resourcelessness, 321
retribution, 187
revolving ornamentations, 247
reward, 333
rhetoricians, 374
rhyme, 25
rice, 327
rice-water, 370
rich, 331
ritual, 311, 339
ritual bath
hardship of in mid-winter, hi
ritual purity, 109
ritual-ring, 119
rituals, 323
river, 337
celestial, 103
robe, hi, 139,185, 297
rock-crystal, 169
root-mantra, 277
roots, 368
magical, 277, 368
rosary, 119,169, 337, 374
rosary-veil, 337
royal menials, 289
rubbish
household, 167
rudraksha (rudraksa), 119, 337
ruin, 339
rut-fluid, 163, 245
sacrifices, 173, 253, 335
Sadasiva , 352
sages, 121, 267
salvation, 327
Sambavatl
the courtesan, 360
Samudra-datta (Samudradatta),
398
INDEX
175, 177, 181, 187, 189
sanctimoniousness, 107
sanctuaries, 267
sandalwood, 313
Sanderson, 372
Sandhya, 346
Sanskrit, 21
Satyavan, 357
Savitri (Sdvitri), 171, 357
Schmidt, 361, 372
science, 321, 333, 349, 356
astral, 368
of love, 277
scorching-rayed, 101
scorpion, 339
scratches, 163
scratching, 263
scribe, 209,211,213,215,223,225,
360,361
scripture, 25
sea
edge of, 323
seal, 261, 295
secret arts, 265
seeker, 321
seer, 239
self-abasement, 313
self-importance, 233
self-indulgence, 229
self-knowledge, 24
self-poisoning, 366
self-realisation, 231
self-respect, 311
self-restraint, 229
semen, 157
sensory objects, 231
serpent, 93, 139, 169, 233, 350,
352, 353
gaping, 117
servants, 127
shabara (sabara), 101
Shakuni (Sakuni), 301
shame, 147
shamelessness, 321
Shankha (Sankha), 147
Shashin (Sasin), 105
shelldrake, 346
Shesha (Sesa), 93
Shiva (Siva), 93,149,153,155,157,
217, 223, 327, 339, 356
shoes
clattering, 173
shoots, 95
Shri (Sri), 93
Shri-parvata (Sriparvata), 301
Shukra (Sukra), 143,147,149,155,
i57> 356
siddhi, 373
side glances, 119
side-kick, 279
signal, 219
simile
mountain-elephant, 345
sin, 155
singers, 127
sister, 329
skill in flattery, 327
skull-bowl, 105
skulls, 105, 219, 223, 347
chaplet of, 223
sky, 233
sky-flower, 275, 368
sky-goer, 275
399
THE THREE SATIRES
sky-going, 361
slabs
of diamond, 165
stone, 293
slander, 339
slave, 201
smile, 123
bright, 223
wide, 317
smoke, 269, 279
smugness, 347
smugness of cats, 109
snake, 213
snakes and bonds, 373
snares, 165
Snataka (Sndtaka), 115, 349
sanctimoniousness of, 113
sneering, 229
social functions, 173
Soma, 237
Soma-deva, 360
son, 95, 97, 99,105,113,123,141,
143, 145, 153, 175, 311, 323,
350, 351, 369
bad, 311
birth of, 311
eldest, 373
of a slave, 251
of Dambha, 117
son-in-law, 329
songs, 171, 255, 363
sorcerers, 275
sorcery, 24,147,165, 327
South-easterners, 125
sovereigns of mantra, 365
Sovereignty, 311
sparks, 263
speech, 125, 327
sphatika, 343
spies, 323
spines, 247
spirit, 329
spokes
bent, 109
spring festival, 103
sprouts, 95
staff-bearer, 117
stars, 105,181
starvation, 143
statecraft, 307
Stein, 22, 353
Sternbach, 22, 23
stiff, 117
stock, 299
stomach-ocean, 157
stones, 331
stooges, 299, 372
store-house, 299
stories, 135
story-tellers, 127
straw, 143,147
street-gurus, 277
street-peddlers, 287
strength, 331
student, 321
stupidity, 235
subject, 335
substrata
seven bodily, 225
subtle body, 372
sun, 97, 99, 101, 135, 183, 263,
346, 361, 369
superintendent of weights and
4OO
INDEX
measures, 365
swan, 151
swindler-cats, 99
swindlers, 105
sword, 358
sword-blade, 279
syllogistic, 321
taciturnity, 229
tail, 339
tailfeathers, 239
talent, 317
tales, 135,171
tangle-weed, 165
Tantrin soldiers, 360
tarka, 24
task, 49
taxation, 365
teacher
dimwitted, 321
teaching, 321, 337
teeth, 105,123, 219, 239
chattering, hi
Tejonidhi, 362, 373
temples, 173
termite-hill, 351
text, 321
Theophrastus, 24
thief, 135,181,185, 203, 247, 279,
291, 293
thieves, 93, 269, 279, 329, 331
thorn, 367
threat, 371
thumb-nail, 279
thunderbolt, 49,141, 237
time, 329
titans, 143
title-pages, 299
tongues, 327, 358
tortoise
smugness peculiar to, 109
torture, 143,157
touch-stone, 265, 259
toys, 329
tradition, 337
tragedy, 185, 371
trance, 119, 327
tranquility, 151
translator, 21
transmigration, 199, 235, 305
trap, 251
concealed, 107
travel expenses
fiddling of, 215
treasure-vats, 297
treasurer, 293, 335
treasury, 97,197, 245, 370
treasury-wells, 249
treatment, 325
tree, 127, 129, 153, 169, 185, 347,
348, 352
birch, 361
cosmic, 362
fruit-bearing, 313
hollow, 311
of intoxication, 229, 363
of sancimoniousness, 109
wish-granting, 201
trembling, 372
troops, 245
truth, 321
Tulasi, 374
tunnels, 267
turagalaksana, 24
401
THE THREE SATIRES
tusks, 163
Twilight, 101
Ujjayini, 217
unconscious, 101
unguents, 313
universal emperor, 95
upalaksana, 343
urine, 237
Urvasi, 373
Vachas-pati (Vacaspati), 323
Vagbhata, 375
Vahata (Vahata), 337, 375
vaidyaka, 24
Vaishravana (Vaisravana), 143,
147
Vaisnavas, 374
valour, 203
Vdmana , 352
Varuna (Varuna), 253, 369
Vasishtha (Vasistha), 121,350, 351
Vasumati (Vasumati), 175
Vdtdpi, 351
Vatsyayana, 24
Veda, 273, 339, 367
veil, 135
veins, 267
vermillion, 346
vessels, 329
Vetala (Vetala), 187, 358
victory, 321
Vidarbha, 197
city of, 203
king of, 203
Vikrama-simha, 197
Vilasavati (Vilasavati), 197, 201
village, 327
village girl, 97
villain, 95,107,113,151, 279, 281,
285, 289, 291, 293, 295, 297,
299, 301, 313, 335, 345
villain-serpents, 107
vine, 185
violent tremors, 299
virtue, 151, 327
Vishakha (Visdkha), 273, 367
Vishnu (Visnu), 93,165,344,352,
360
vishti-karana (vistikarana), 135
Vishva-mitra (Visvamitra), 115,
121, 350, 351
visitors, 169
Visvarupa, 360
Visvedevas, 349
vital breath, 273, 329
vital ligatures, 315
vital spark, 155
visti, 354
void
bottomless, 105
vomit, 21
vows
severe religious, 285
voyeur, 367
vulture, 335, 362
vyakarana, 24
Vrnda, 369
war, 267
Warder, 24
wardrobe, 171
water, 279
droplets of, 97
water-lilies
petals of, 97
402
INDEX
water-pot, 263
waybread, 309
wealth, 97,105, 323
wedge-formation, 245
well, 313
wheel of circular reasoning, 109
whisks
Yak-tail, 201
white parasol, 103
wicked, 339
widow, 281
wife, 117,167,169,171,177,179,
235, 273, 311, 329, 367
innocent, 295
of Satyavan, 357
wild geese, 95
wine, 181, 281
winter, 261
wisdom, 97
supreme, 99
wish-fulfilling gem, 107
wish-granting cow, 327
witchcraft, 165
witless, 167
wives, 145, 333
women, 165, 325
defeat by, 313
hearts of, 101
pregnant, 295
world-serpent, 344, 363
worms, 331
worry, 325
would-be heroes, 327
wraith, 229, 329
yakshas (yaksa), 313
yakshi (yaksl), 279
Yama, 349, 354, 361
yantra, 175
Yatudhani
the hag, 349
Yavakrita, 371
yoga, 277
yogi
yogic seals, 363
yogin, 147, 209, 321, 362
youth, 97
zodiac, 273
zombies, 313
403
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