About the Book This book presents a complete transla- tion of Bhanudatta’s Rasamanjari. The text is illustrated with 80 paintings of the Basohli and Nurpur Schools, which are characterized by vibrant colours and passionate expression. oe a ae Basohli Paintings Of The Rasamanjari M.S. RANDHAWA and S. D. BHAMBRI ABHINAYV QONINAV OUDLICATIONS NEW DELHI Gis ras / हु ee 124५ \ 1 Deptt of Arts ie 7 Fee OWT oF enh < First Published: 1981 © M. S. Randhawa & S. D. Bhambri Publishers Shakti Malik Abhinav Publications E-37 Hauz Khas, New Delhi-110016 Printed by M.M. Sharma At Parnassus Publishers & Printers Pvt. Ltd. H.S. 30 Kailash Colony, New Delhi Chapter I II Ill IV VI Vil Vill IX XI Contents Preface List of Illustrations Bhanudatta’s Rasamanjari Classification of Nayikas The Artless, the Adolescent and the Mature Parakiya Nayika Nayika who is in love with another man Love in Separation Pride and Obduracy, Garva and Mana Proshita Bhartrika Nayika : Nayika whose lover or husband is away.” yy Khandita Nayika Nayika who has been wronged The Nayika Estranged by a Quarrel es Kalahantarita The Neglected Nayika Vipralabdha The Yearning Nayika Utka Nayika Waiting for Her Lover with Bed Prepared The Vasakasajja The Loyally Loved Svadhina-patika Vil xl 28 28 42 42 48 48 34 54 ne 59 65 65 70 70 76 76 83 83 XII XIII XIV XV XVI XVII XVIII XIX Nayika Who Goes Out to Seek Her Lover Abhisarika Nayika Anticipating Separation Pravatsyat-patika Nayika Another Classification of Nayikas Uttama, Madhyama, Adhama Sakhis—Female Friends of the Nayika and Their Functions Nayaka Sakhas—Nayaka’s Friends Love in Separation Seeing the Lover Darshana References vi 89 97 97 103 103 107 114 129 133 144 144 149 Preface Shringara literature in Sanskrit and Hindi classics has a unique place in world literature. Shringara refers to love as represented in literature. Nayaka is the hero or lover. Nayika is the heroine or woman who is loved. Nayikas are classified according to their age or experience, their physique and talent. Shringara literature has its roots in Bharata’s Natyashastra, a treatise on dramaturgy, which dates back to 100 B.C. to second century A.D. It deals with the doctrine of rasa or flavour, and bhavas or emotions. ‘Then follows a subtle classification of women, according to mood, sentiment and situation called Nayika-bheda. The eight-fold classification of heroines is given, and female messengers, their qualities and functions are described. Jayadeva, the court poet of Lakshmanasena (A.D. 1179-1205), wrote the Sanskrit poem, the Gita Govinda, in which he described the love of Radha and Krishna in all its stages. Here Radha is the Nayika, and Krishna is the Nayaka. Eastern India became an important centre of Radha and Krishna cult in the fifteenth century. Vidyapati (fl A.D. 1400-1470) the poet of Bihar wrote in the sweet Maithili dialect on the loves of Radha and Krishna. A contemporary of Vidyapati was Chandi Das (fl A.D. 1420) who lived at Nannura in Birbhum district of West Bengal. In his Krishna Kirtana, Chandi Das describes the love of Radha and Krishna in different phases. Following the same tradition Bhanudatta, who belonged to Tirhut in Bihar, wrote his Rasamanjari, or Bouquet of Delight, in the fifteenth century. In Rasamanjari, the subject of Nayika-bheda is treated for its own sake for the first time in Indian literature. Rasamanjari has a unique place in Sanskrit love poetry. In the close of the sixteenth century, it provided the base for the Rasikapriya of the Hindi poet, Keshav Das of Orchha, which contains a more elaborate classification of Nayikas and Nayakas, and their moods and feelings. vii It is surprising how the Rasamanjari did not attract the attention of the British orientalists, who assiduously translated so many Sanskrit classics. It is the studies of Indian miniature paintings and their texts, which drew the attention of scholars to this delightful poem in the current century. The pioneer of studies in Indian miniature paintings, Dr Ananda K. Coomaraswamy, recorded eight paintings of the Rasa- manjari in Basohli style (or Jammu, as he called it) in 1926. However, he could not relate them to the Rasamanjari. Hirananda Shastri in 1936 read the colophon of series of paintings and discovered that the text of these paintings relates to Bhanudatta’s Rasamanjari. As a translation of the Rasamanjari in English was not available, scholars of Indian miniature paintings gave imaginary interpretation of the scenes shown in the paintings. In a painting, a cat and a rat are shown on roof-top below which the Nayika is sitting along with her Sakhi. The cat was interpreted as Krishna, chasing the rat, who was Radha. It is for the first time, a complete translation of the Rasamanjari has been provided, and it leaves no room for fanciful interpretation of animals or human beings depicted in paintings. The Rasamanjari is a long poem. It is only for convenience of the reader that the text has been split up into nineteen chapters. In this book we relate 87 paintings to the text. Collection of photographs of paintings which were scattered in collections of private collectors and museums was an arduous task. We are grateful to late Dr W.G. Archer, Keeper Emeritus, Victoria & Albert Museum, London, and the Keeper, Indian Section, Museum of Fine Arts, Boston, for providing photographs of the Rasamanjari paintings in their collections. We also acknowledge the help given by the Curator, Dogra Art Gallery, Jammu; Partap Museum, Srinagar; Chandigarh Museum; National Museum, New Delhi; Bharat Kala Bhavan, Banaras; Seth Kasturbhai Lalbhai, Ahmedabad; and Professor J.K. Galbraith in allowing the reproduction of photographs of paintings of the Rasamanjari in their collections. We further record our gratitude to Mr F.S. Aijazuddin for providing photographs of the paintings of the Rasamanjari in the collection of Lahore Museum and Pakistan Museum, Karachi. Vill This Bouquet of Delight of Bhanudatta illustrated with delightful paintings in Basohli and Nurpur styles of Pahari paintings will provide joy to many persons who will savour the sensuous beauty of Bhanu- datta’s poem and its rendering in painting by the artists of the Punjab Hill States. M. S. Randhawa S. D. Bhambri List of Illustrations Plate ie 10. Ei. . Jnata-Yauvana-Mugdha (Nayika conscious of her youth) (6); Prayer to Lord Shiva; Collection: Raja Dhruv Dev Chand of Lambagraon . Characteristics of Sviya Nayika (devoted wife) (3); Collection: Dogra Art Gallery, Jammu . Ajnata-Yauvana-Mugdha (Nayika unconscious of her youth) (5); Collection: Dogra Art Gallery, Jammu 9 Collection: Dogra Art Gallery, Jammu . Mugdha-Navodha (Nayika newly wedded) (7); Collection: Dogra Art Gallery, Jammu . Ativishrabdha-Navodha (Nayika with much love and trust) (9); Collection: Dogra Art Gallery, Jammu . Rati-Priya-Pragalbha (mature Nayika who delights in love) (10); Collection: Dogra Art Gallery, Jammu . Madhya-Dhira Nayika (youthful Nayika who expresses her anger ironically but remains firm in love) (12); Collection: Alma Latifi, Bombay . Praudha-Dhira (mature Nayika who expresses her anger ironically but remains firm in love) Praudha-Adhira Nayika (mature Nayika who expresses her anger bitterly) (16); Collection: Dogra Art Gallery, Jammu Praudha-Dhira-adhira (mature Nayika who expresses her anger ironically and bitterly) (17); Collection: Dogra Art Gallery, Jammu . Dhira-Jyeshtha and Kanishtha (the two Dhira Nayikas; Jyeshtha, who is loved more, and Kanishtha, who is loved less) (18); Collection: Dogra Art Gallery, Jammu . Dhiradhira (Jyeshtha and Kanishtha Praudha Nayikas) (20); Collection: Dogra Art Gallery, Jammu . Praudha Parakiya (married Nayika who is in love with another man) (21); Collection: Dogra Art Gallery, Jammu x1 13. 16. Hi. 19. 20. 21. 22: 23. 24. 25. 26. 22५ 28. 29. 30. Parakiya Gupta (Parakiya Nayika who conceals evidence of meeting with her lover) (22); Collection: Victoria and Albert Museum, London Vag-Vidagdha-Parakiya Nayika (clever in speech) (23); Collection: Kasturbhai Lalbhai, Ahmedabad Kriya-Vidagdha Nayika (clever in deed) (24); Collection: Victoria and Albert Museum, London . Lakshita-Parakiya Nayika (whose love has been disclosed) (25); Collection: Victoria and Albert Museum, London Anushayana-Prathama Nayika (who is sad on account of her meeting place having been destroyed) (27); Collection: Partap Museum, Srinagar Tritiyanushayana-Parakiya Nayika (who is sad at being unable to reach the meeting place) (29); Collection: Kasturbhai Lalbhai, Ahmedabad Kanyaka (unmarried Parakiya Nayika) (31); Collection: Dogra Art Gallery, Jammu Samanya Vanita Vasakasajja Nayika (courtesan) (32); Collection: Kasturbhai Lalbhai, Ahemdabad Anya-Sambhoga Dukhita Nayika (who is grieved at her beloved’s love for another woman) (33); Collection: Partap Museum, Srinagar Prem-Garvita Nayika (who is proud of her lover’s love for her) (34); Collection: Victoria and Albert Museum, London Rupa-Garvita (who is proud of her beauty) (35); Collection: Victoria and Albert Museum, London Laghu-Mana (Nayika’s low pride) (36); Collection: Dogra Art Gallery, Jammu Guru Mana (Nayika’s high pride) (38); Collection: Prof. J.K. Galbraith, Harvard University, Cambridge, USA Mugdha Proshita-Bhartrika (Mugdha Nayika whose husband is away) (39); Collection: A.K. Coomaraswamy Madhya Proshita-Bhartrika (Madhya Nayika whose husband is away) (40); Collection: Dogra Art Gallery, Jammu Praudha Proshita-Bhartrika (Praudha Nayika whose husband is away) (41); Collection: Dogra Art Gallery, Jammu Xli So), 33; 34. 39. 36. Si. 38. 39, 40. 1५ 42. 43. 44, 45. 46. 47. . Samanya Proshita-Bhartrika (courtesan whose lover is away) (43); Collection: Kasturbhai Lalbhai, Ahmedabad Mugdha Khandita (Mugdha Nayika who has been wronged) (44); Collection: National Museum, New Delhi Samanya Khandita (courtesan who has been wronged) (48); Collection: Kasturbhai Lalbhai, Ahmedabad Mugdha Kalahantarita (Mugdha Nayika estranged by a quarrel) (49); Collection: Dogra Art Gallery, Jammu Praudha Kalahantarita (Praudha Nayika estranged by a quarrel) (51); Collection: Dogra Art Gallery, Jammu Parakiya Kalahantarita (Parakiya Nayika estranged by a quarrel) (52); Collection: Dogra Art Gallery, Jammu Samanya Kalhantarita (courtesan estranged by a quarrel) (53); Collection: Dogra Art Gallery, Jammu Mugdha Vipralabdha (the neglected Mugdha Nayika) (54); Collection: Dogra Art Gallery, Jammu Parakiya Vipralabdha (the neglected Nayika) (57); Collection: Dogra Art Gallery, Jammu (Colour) Samanya Vipralabdha (the neglected courtesan) (58); Collection: Dogra Art Gallery, Jammu Mugdhotka (the yearning Mugdha Nayika) (59); Collection. Kasturbhai Lalbhai, Ahmedabad Madhyotka (the yearning Madhya Nayika) (60); Collection: Kasturbhai Lalbai, Ahmedabad Praudhotka (the yearning Praudha Nayika) (61); Collection: Kasturbhai Lalbhai, Ahmedabad Parakiya Utka (the yearning Parakiya Nayika) (62); Collection: Kasturbhai Lalbhai, Ahmedabad (Please read Illustration No. 43 on page 74 as Fiustration No. 44.) Samanya Utka (the yearning courtesan) (63); Collection: Kasturbhai Lalbhai, Ahmedabad Mugdha Vasakasajja (Mugdha Nayika waiting and _ preparing herself for the lover) (64); Collection: Dogra Art Gallery, Jammu Madhya Vasakasajja (Madhya Nayika waiting and preparing herself for the lover) (65); Collection: Lahore Museum (Colour) xiii 48. 49. 30. 51. 52. D3. 24, 35. 56. ot 58. 59. 60. 61. 62. 63. 64. Praudha Vasakasajja (Praudha Nayika waiting and preparing herself for the lover) (66); Collection: Dogra Art Gallery, Jammu Praudha Vasakasajja’s desire (67); Collection: Kasturbhai Lalbhai, Ahmedabad Parakiya Vasakasajja (Parakiya Nayika waiting and preparing herself for the lover) (68); Collection: Punjab Museum, Chandi- garh (Colour) Samanya Vasakasajja (the courtesan waiting and preparing her- self for the lover) (69); Collection: Dogra Art Gallery, Jammu Madhya Svadhina-Patika (Madhya Nayika who is loyally loved) (71); Collection: Dogra Art Gallery, Jammu Praudha Svadhina-Patika (Praudha Nayika who is loyally loved) (72); Collection: Dogra Art Gallery, Jammu Parakiya Svadhina-Patika (Parakiya Nayika who is loyally loved) (73); Collection: Dogra Art Gallery, Jammu Samanya Svadhina-Patika (courtesan who is loyally loved) (74); Collection: Dogra Art Gallery, Jammu Mugdha Abhisarika (Mugdha Nayika who goes out to seek her lover) (75); Collection: A-K. Coomaraswamy Madhya Abhisarika (Madhya Nayika who goes out to seek her lover) (76); Collection: Dogra Art Gallery, Jammu Praudha Abhisarika (Praudha Nayika who goes out to seek her lover) (77); Collection: Dogra Art Gallery, Jammu Parakiya Abhisarika (Parakiya Nayika who goes out to seek her lover) (78); Collection: Dogra Art Gallery, Jammu Jyotsna Abhisarika (Nayika who goes out to seek her lover on a moonlit night) (79); Collection: National Museum, New Delhi Samanya Abhisarika (courtesan who goes out to seek her lover) (82); Collection: Dogra Art Gallery, Jammu Madhya Pravatsyat-Patika (Madhya Nayika anticipating separa- tion) (85); Collection: Kasturbhai Lalbhai, Ahmedabad Parakiya Pravatsyat-Patika (Parakiya anticipating separation) (87); Collection: Dogra Art Gallery, Jammu Madhyama (Nayika who, though loving, reviles her lover for his lapses) (90); Collection: Dogra Art Gallery, Jammu XIV 65. 66. 67. 68. 69. 70. ike 72. (pox 74, 75. 76. ig 78. 19. 80. 81. 82. Adhama (Nayika who, though loved, insults her lover) (91); Collection: Kasturbhai Lalbhai, Ahmedabad Mandana (decoration of Nayika by Sakhi) (92); Collection: Kasturbhai Lalbhai, Ahmedabad Upalambha (reproachful complaint by Sakhi) (93); Collection: Dogra Art Gallery, Jammu Shiksha (instruction by Sakhi) (94); Collection: Kasturbhai Lalbhai, Ahmedabad Sakhikrita Parihasa (jesting by Sakhi) (95); Collection: Dogra Art Gallery, Jammu Virahanivedana (narration of the pain of separation by messenger- girl) (99); Collection: Dogra Art Gallery, Jammu Anukula Nayaka (Nayaka devoted only to his wife) (101); Collection: Bharat Kala Bhavan, Banaras Shatha Nayaka (Nayaka the rakish and hypocritical husband) (104); Collection: Museum of Fine Arts, Boston Upapati (Nayaka loving another’s wife) (105); Collection: Museum of Fine Arts, Boston Adhama Vaishika (Nayaka the rake) (109); Collection: Museum of Fine Arts, Boston Mani (the proud Nayaka) (110); Collection: Museum of Fine Arts, Boston Vaka Chatura (Nayaka clever in speech) (111); Collection: National Museum, New Delhi Cheshta Chatura (Nayaka clever in deed) (112); Collection: Museum of Fine Arts, Boston Proshitapati (Husband in separation) (113); Collection: Victoria and Albert Museum, London Proshita Upapati (Upapati in separation) (114); Collection: National Museum of Pakistan, Karachi (Colour) Vidushaka Sakha (Nayaka’s friend, the clown) (120); Collection: Victoria and Albert Museum, London Vipralambha (separation) (123); Collection: Victoria and Albert Museum, London Smriti (reminiscence) (126); Collection: Victoria and Albert Museum, London XV 83. 84. 85. 86. 87. Udvega (agitation) (128); Collection: Kasturbhai Lalbhai, Ahmedabad Unmada (frenzy) (130); Collection: Kasturbhai Lalbhai, Ahmedabad Jadata (stupor) (133); Collection: Victoria and Albert Museum, London Chitra Darshana (seeing of lover in picture) (135); Collection: Museum of Fine Arts, Boston Sakshat-Darshana (seeing lover to face fcec) (136); Collection: Bharat Kala Bhavan, Banaras xvi CHAPTER I Bhanudatta’s Rasamanjari India has had a tradition of love poetry since the time of the Vedas. In Bharata’s Natyashastra, a treatise on poetics and dramaturgy dating almost to the Ist century B.C., the theme of the Eight Nayikas is clearly mentioned. In Natyashastra as well as other early Sanskrit works the theme of Nayika-bheda is however treated as incidental to other subjects. It was in Bhanudatta’s Rasamanjari that the subject of Nayika-bheda was treated for its own sake for the first time. Bhanudatta belonged to Tirhut in Bihar and flourished in the close of the fifteenth century. In the last verse of Rasamanjari, num- bered 138, Bhanudatta mentions that he was the son of the poet Ganeshwara, a resident of the city of Mithila. Rasamanjari is an important record of the social life of the upper classes in India in the close of the fifteenth century. It reveals an ease- loving society in which plurality of wives was common. Most of the piquant situations described by Bhanudatta arise when the Nayaka tries to make love to his favourite without exciting the jealousy of the other. Apart from being a record of social life Rasamanjari also reveals the spiritual aspiration of the Hindus in the age. From its pages we learn how Krishnaism, the cult of a loving God, was finding popularity among the people. From the sixteenth century onwards Nayika-bheda became the favourite subject of Hindi poets. The most celebrated among them was Keshav Das who flourished about A.D. 1580. His home was in Tehri in Garhwal State and he migrated to Orchha in Central India. His Rasikapriya is obviously based on Bhanudatta’s Rasamanjari. Keshav Das, however, illustrated the various types of Nayakas and Nayikas 1 with examples derived from contemporary life. In this work Krishna is the Nayaka and Radha is the Nayika. In some verses Shiva is the Nayaka and Parvati the Nayika. In few Rama is the Nayaka and Sita is the Nayika. Though it has a remote religious flavour, Rasikapriya was written for the enjoyment of a prince with a large harem. Hence the subtle classification and analysis based on situation, moods, and phy- sical traits of women. In due course Moslem rulers also acquired taste for this type of literature. The next Hindi work of importance is Sundarasringara written by Sundar Das, court poet of Shah Jahan in A.D. 1631. In the latter half of the seventeenth century Akbar Shah wrote Sringaramanjari in Telugu. The work is based on Rasamanjari of Bhanudatta and a commentary on it called Amoda. The patron was Abdul Hasan Tana Shah, the king of Golconda, a liberal-minded ease- loving Muslim who enjoyed mixing with his Hindu subjects and partici- pated in their festivals. A translation of Sringaramanjari in English has been provided by Raghavan in a monograph entitled Sringara- manjari by Saint Akbar Shah. Paintings of the Rasamanjari In the seventeenth and eighteenth centuries Rasamanjari became a favourite text with the rulers of Rajasthan and the Punjab hill states. A series of paintings based on this text were painted for Raja Kirpal Pal of Basohli. Coomaraswamy published two paintings of the Rasamanjari in ‘Rajput Paintings’ (1916), viz., Plates XXVII A and 8 from his own collection which he described Pahari (Jammu). The first one he described as Virahini and the second as Abhisarika Nayika. He assumed that Plate XXVII B related to Keshav Das’s Rasikapriya. In addition to the two paintings mentioned above, Coomaraswamy recorded eight more paintings in the Catalogue of the Indian Collections of the Museum of Fine Arts, Boston, Part V, Rajput Paintings (1926). He could not relate them to Rasamanjari and merely states: ‘Evidently from an extensive series illustrating some treatise on Nayika-bheda; 2 The numbering of the folios represented ranges from 15-133. The series is characterised by strong colour with red borders onto which the picture intrudes.’* He also mistranslates some of the inscriptions. The discovery that this set of paintings relates to Bhanudatta’s Rasamanjari was made by Hirananda Shastri in 1936. Shastri also established that Basohli was the provenance of these paintings, and the patron was Raja Kirpal Pal of Basohli (A.D. 1675-1694). The painting which bears the colophon illustrates verse 136 of Rasamanjari describing “Sakshat-Darshan” (Fig. 81), and is now in the Bharat Kala Bhavan, Benares. The translation of the inscription on the colophon as provided by Shastri is as below: “In order to see the creation of God and to realise the hollow- ness of the world this (Chittarasamanjari), containing many pictures (which are) the wealth (i.e., creation) of mind, was caused to be prepared by Raja Kirpal Pal. (It was completed) on the auspicious day, the seventh tithi of the bright fortnight of Magha in the Vikrama year (which is) counted by the eyes, the arrows, the sages and the moon, i.e., 1752, in the town called Visvasthali (the modern Basohli) which lies on the beautiful banks of the Airavati (the modern Ravi), by Devidasa who is well-versed in the art of painting.’’** After Coomaraswamy and Hirananda Shastri, the next scholar who studied the Rasamanjari paintings is W.G. Archer. Discussing the theme of Basohli paintings and the work of Basohli artists in Loves of Krishna (1957), Archer observes—‘Their greatest achieve- ments, however, were two versions of Bhanudatta’s Rasamanjari, one of them completed in 1695, shortly after Raja Kirpal Pal’s death, the other almost certainly fifteen years earlier. The text in question is a treatise on poetics illustrating how romantic situations should best be treated in Sanskrit poetry—the conduct of mature mistresses, experi- enced lovers, sly go-betweens, clowns or jokers being all subjected to analysis. The subject of the text is secular romantic poetry and Krishna himself is never mentioned. Nonetheless, in producing their *Coomaraswamy, A.K.—Catalogue of the Indian Collections of the Museum of Fine Arts, Boston, Part II Rajput Painting, p. 170. **Shastri— Indian Pictorial Art as Developed in Book IIlustrations, p. 9. 3 illustrations, the artists made Krishna the central figure and we can only conclude that eschewing the obvious Rasikapriya, Raja Kirpal Pal had directed his artists to do for Sanskrit what Keshav Das had done for Hindi Poetry—to celebrate Krishna as the most varied and skilled of lovers and as acorollary show him ina whole variety of romantic and poetic situations. As a result Krishna was portrayed in a number of highly conflicting roles—as husband, rake, seducer, para- mour and gallant.’* Archer’s inferences regarding the dating of paintings of Rasa- manjari we will discuss later on. As a complete translation of the text of Rasamanjari was not available, his remark, that Krishna is not mentioned by name in the verses of Rasamanjari, is based on surmise. There are eleven verses in the Rasamanjari, viz , 29, 41, 61, 86, 94, 96, 99, 102, 119, 125 and 136, in which Krishna is mentioned by name. In some of these Radha is also mentioned as the Nayika. The Rasamanjari opens with a prayer to Shiva (verse 1) and in verse 16 Shiva and Parvati are again mentioned. The artist who painted the Basohli‘Rasamanjari of the Dogra Art Gallery, Jammu and other related collections usually depicts the Nayaka as Krishna even where his name is not mentioned in the text, and only in very few illustrations the Nayaka is a common mortal. On the other hand in the Nurpur Rasamanjari the Nayaka is depicted as a young man with moustache and shaven chin or a bearded gallant and only-in a few as Krishna. In 1958 Karl Khandalavala gave a review of the existing knowledge of the Rasamanjari paintings in his Pahari Miniature Painting. He dates Kasturbhai Lalbhai’s Rasamanjari nearabout A.D 1720 on the grounds of style and costumes. He also published a painting of Madhya Dhira Nayika (Fig. 8) which as he mentions in the text is from Alma Latifi collection, but in the caption he states that it is from the Kasturbhai Lalbhai’s collection. In the study supplement he reproduced fourteen paintings of the Rasamanjari, of which two are from the Bharat Kala Bhavan which were originally with Hirananda Shastri, one from the National Museum, six from the *Archer, W.G.—Loves of Krishna, p. 105. Catalogue of the Museum of Fine Arts, Boston, and five from the Kasturbhai set. Khandalavala published a note entitled ‘The Rasamanjari in Basohli Painting’ in Lalit Kala nos. 3-4,1956-57 (actually published in 1959) in which he quoted Shastri’s translation of the colophon of the series, and recorded twelve illustrations of Rasamanjari from the collections of Kasturbhai Lalbhai, Bharat Kala Bhavan, Benares, National Museum, New Delhi, and Museum of Fine Arts, Boston. He also provides a gist of classification of Nayakas and Nayikas based on Raghavan’s translation of ‘Akbar Shah’s Sringaramanjari’. He further provides a translation of the text of five Rasamanjari paintings. He violently disagrees with Archer regarding the Nurpur provenance of Kasturbhai paintings without giving any sound reason. The Rasamanjari paintings reproduced here relate to three series. The most extensive of these is distributed in the Dogra Art Gallery, Jammu, the Museum of Fine Arts, Boston, the Victoria and Albert Museum, London, the Central Museum, Lahore, the Chandigarh Museum, Chandigarh, and with private collectors. The entire series comprises 135 paintings. Rasamanjari has 138 verses out of which three cannot be illustrated. The paintings of this series have a horizontal for- mat, red borders with inscriptions on the top in Takri characters and serial numbers in Takri on the left. The Sanskrit verses are inscribed on the back in Devanagari. Very often the picture intrudes into the border. The architecture of pavilions is characteristic, with turrets, panelled doors, latticed windows, and plinths ending in grotesque animal heads. The interiors of rooms have alcoves in which fruit trays, rose water sprinklers, and flasks of wine are placed. The carpets have crude floral designs. Another characteristic is the highly conventionalised repre- sentation of trees out of which mangoes, cypresses, pomegranates, and rhododendrons can be identified. The treatment of clouds, lightning and rain is also typical. Above all, they are characterised by a charming facial formula for women, with a receding forehead, high nose, and wide lotus petal-like eyes. The women wear pearl necklaces, and some of their ornaments are studded with shining bluish green pieces cut out of beetle’s wings. Profuse portrayal of pearl necklaces is very charac- teristic of this series. The clothes of men are jamas of Aurangzeb period. Except for this, there is nothing Mughal about these paintings, 5 which have an individual style which stands out of the rest of Indian painting. The Rasamanjari paintings in the Dogra Art Gallery, Jammu, were in the collection of Pahda Kunj Lal of Basohli, whose ancestors were royal physicians to the rulers of Basohli. In 1956 Kunj Lal presented these paintings to Bakshi Ghulam Mohammad, Prime Minister of Jammu and Kashmir, who donated them to the Dogra Art Gallery, Jammu. Out of this collection we reproduce thirty-five. The senior author saw these paintings in 1957 on a visit to Basohli and Jammu. This collection is important as it is definitely linked with Basohli. The Rasamanjari paintings in the Victoria and Albert Museum, London, out of which we reproduce ten, and those in the Museum of Fine Arts, Boston, out of which six are reproduced here, all belong to the same series and have been probably acquired from the same source. I saw three paintings in the Pratap Museum, Srinagar, which are also out of the same series. Fig. 25 in the collection of Prof. J.K. Galbraith now gifted to Fogg Art Museum, Harvard University, Boston, and paintings in the collection of Central Museum, Lahore, and the Chandi- garh Museum, Chandigarh, are also from the same series. The senior author published four paintings in colour from this series in his book ‘Basohli Painting’ (1959). In an article published in the Roopa-Lekha, Vol. XXXI (1960) the senior author published ten paintings of the Rasamanjari from the collection of the Dogra Art Gallery, Jammu, and also provided English translation of the Sanskrit verses inscribed on the back. The Nayika in these paintings resembles the female atten- dants depicted in a portrait of Kirpal Pal published in ‘Basohli Painting’. This fact taken along with the appearance of Kirpal Pal who is shown as a middle-aged person indicates that these Rasaman- jari paintings were very probably painted circa A.D. 1680-1690. The second series of these paintings partly in the Bharat Kala Bhavan, Benares, and partly in the National Museum, New Delhi, were painted by artist Devi Das whose name is given in the colophon and the year as A.D. 1695. In these paintings the figures are squat, the nose is aquiline, and the facial formula is different (Figs. 67, 72 and 82). However, these paintings do not duplicate those in the first series. Maybe they belong to the same series. Surely a number of artists were employed to illustrate the Rasamanjari by Kirpal Pal, and hence 6 the differences in the facial formula and the treatment of landscape. The third series comprising 31 paintings is in the collection of Seth Kasturbhai Lalbhai of Ahmedabad, which he acquired from G.N. Tagore of Calcutta. This series is very distinctive in style and can easily be distinguished from the set in Dogra Art Gallery, Jammu and +n other related collections. This series was possibly painted at Nurpur about A.D. 1730 under the patronage of Raja Daya Dhata according to Archer. Daya Dhata figures as the Nayaka in this series. In the collection of the Wazir family of Nurpur are a number of paintings in which the female facial formula as well as the treatment of clouds and architecture is very similar to that in Kasturbhai Lalbhai’s Rasaman- jari. Out of this set we reproduce seventeen paintings. Fig. 1 in the collection of the Raja of Lambagraon is very likely also from the same series. जे 1 Prayer TO LorD Suiva; Collection: Raja Dhruy Dev Chand of Lambagraon आत्मीयं चरणं दधाति पुरतो निम्नोन्नतायां yfa स्वीयेनेव करेण BGT तरो: पुष्पं श्रमाशंकया | aed किच मृगत्वचा विरचिते निद्राति भागैनिजै- Va: प्रेमभरालसां प्रियतमामंगे दधानो ZT ॥ १॥ Prayer to Lord Shiva Apprehensive of discomfort to his sweetheart, Lord Shiva holds Parvati—who is languid with excessive love—to the left portion of his body; he extends his right foot forward on uneven ground; plucks a flower from the tree with his right hand, and sleeps to the right on the bed covered with a deer-skin. (1) INTRODUCTION Bhanudatta is composing this Rasamanjari to provide aesthetic Joy to the minds of the multitude of scholars, as if it were honey to the | bees. (2) CHAPTER II Classification of Nayikas The Artless, the Adolescent and the Mature Bhanudatta classifies Nayikas into three categories, v.z, one’s own (Sviya), another’s (Parakiya), and anybody’s (Samanya). Sviya is again divided into three types: the artless (Mugdha), the adolescent (Madhya), and the mature (Praudha). The Mugdha is divided into four types: Ajnata-Yauvana-Mugdha (Nayika unconscious of her youth), Jnata-Yauvana-Mugdha (Nayika conscious of her youth), Mugdha-Navodha (Nayika newly wedded), Vishrabdha-Navodha (Nayika who has just begun to love and trust), and Ativishrabdha-Navodha (Nayika with much love and trust). The adolescent (Madhya) is divided into six categories, viz., Madhya-Dhira (youthful Nayika who expresses anger ironically but remains firm in love), Madhya-Adhira (youthful Nayika who expresses anger bitterly), Madhya-Dhiradhira (youthful Nayika who expresses her anger ironically and bitterly), Praudha-Dhira (mature Nayika who expresses her anger ironically but remains firm in love), Praudha- Adhira (mature Nayika who expresses her anger bitterly), and Praudha-Dhiradhira (mature Nayika who expresses anger ironically and bitterly). The mature (Praudha) Nayika is divided into two categories, viz., Rati-Priya-Pragalbha (mature Nayika who delights in love), and Ananda-Sammohavati-Praudha (mature Nayika excessively delighting in love). A Nayaka may have two Nayikas. Out of these one who is loved more is called Jyeshtha, and one who is loved less is called Kanishtha. 9 They are divided into three categories, viz, Dhira-Jyeshtha and Kanishtha (the two Dhira Nayikas; Jyeshtha, who is loved more, and Kanishtha, who is loved less), Adhira-Jyeshtha and Kanishtha Nayikas, and Dhiradhira-Jyeshtha and Kanishtha Praudha Nayikas. 10 2 CHARACTERISTICS OF SvIYA NAYIKA (devoted wife) (3); Collection: Dogra Art Gallery, Jammu स्वीयाधम्मं गतागतकुतूहलं नयनयोरपांगावधि fend कुलनतश्रुवामधर एवं विश्वाम्यति । aa: प्रियतमश्रुते रतिथिरेव कोपक्रम: कदाचिदपि चेत्तदा मनसि केवल Asafa ॥ ३ ॥ Characteristics of Sviya Nayika (devoted wife) In a high-born woman, curiosity is confined within the corners of her eyes, and her smile stays on her lower lip. Her voice is meant to reach only her beloved’s hearing; and, if ever anger rises in her, it is only to get drowned in her mind. (3) ll मुग्धा Maca किल कामदेवधरणीपालेन काले TA aed वास्तुविधि विधास्यति तनौ तारुण्यमेणीह्रश: | Lear खंजनचातुरी मुखरुचा सौधाधरी माधुरी वाचा fea सुधासमुद्रलहरीलावण्यमामन्त्र्यते ।। ४ ॥ Mugdha Nayika (young and artless) Ordained by Kamadeva, the King, to reside for a long time in the body of the doe-eyed Nayika, her youth has resolved to worship her Lord at an auspicious moment with all the rituals of love. For this purpose, her eyes have invited the tremulousness of the Khanjana bird, her face the radiance of the moon, and her speech the sweetness of the waves of the nectarous sea. (4) 12 3. AJNATA-YAUVANA-MucpHA (Nayika unconscious of her youth) (5); Collection: Dogra Art Gallery, Jammu AAAAAAT मुग्धा नीरात्ती रमुपागता श्रवणयो: सीम्नि स्फुरन्नेत्रयो: श्रोत्रे लग्नमिदं किमुत्पलमिति ज्ञातुं करं न्यस्यति | दवालांकुरशंकया शशिमुखी रोमावलीं प्रोंछ॒ति श्रान्ताउस्मीति मुहु: सखीमविदितश्रोणीभरा पृच्छति ॥ ५॥ Ajnata-Y बच्एदाव-1 4 2६/० (Nayika unconscious of her youth) Youth has come unknown. The Nayika with moon-like face stands drying herself beside the pool. Her full-blown eyes look like lotuses in the reflection, and thinking that perhaps the flowers have stuck to her ears, she moves her hands to brush them away. Next her eyes drift to the downy hair on her person which she mistakes for algae and tries to wipe off. Her hips feel heavy, and in virginal innocence she asks her companion again and again, ‘Can it be that I am tired?’ (5) 13 4 JNATA-YAUVANA-MuGpHa (Nayika conscious of her youth) (6); Collection: Dogra Art Gallery, Jammu ज्ञातयौवना मुग्या स्वयम्भू: शम्भु रम्भोजलोचने ! त्वत्पयोधर:। नखेन कस्य धन्यस्य चन्द्रचुड़ो भविष्यति ॥ ६ ॥ Jnata-Yauvana-Mugdha (Nayika conscious of her youth) Sakhi to Nayika “O lotus-eyed beauty! Who will be the lucky one to imprint nail-marks on your blissful, well-grown bosom—as if to decorate Lord Shiva’s mop of hair—with the crescent moon?” (6) 14 5 MuGDHA-NAvcDHA (Nayika newly wedded) (7); Collection: Degra Art Gallery, Jammu मुग्धा नवोढा हस्ते धृताईपि शयने विनिवेशिता<पि क्रोड़े Harsh यतते बहिरेव गन्तुम्‌ । जानी महे नवबधूरथ ATA वश्या यः पारद स्थिरयितु क्षमते FT ॥ ७॥ Mugdha-Navodha (Nayika newly wedded) Drawn gently to the bed and locked in loving arms, the new bride out of modesty struggles to free herself. I believe it is as difficult to win over a new bride as it is to hold quicksilver steady on the palm. (7) on विश्रब्ध नवोढा दरमुकुलितनेत्रपालिनीवीनियमितबाहुक्वतो रुयु ग्म बन्ध म्‌ करकलितकुचस्थलं नवोढा रवपिति समीपमुपेत्य कस्य यूनः ॥ ८ ॥ Vishrabdha- Navodha (Nayika who has just begun to love and trust) A separated lover to himself “Who can be the (lucky) youth, whom the newly-married Nayika approached and with whom she sleeps with half-closed eyes, with one hand on her breasts, the other on the knot of the cord of her lower garment and her thighs tightly pressed together?” (8) 16 ); Collection: Dogra Art Gallery, Jammu 6 AtIvIsHRABDHA-NavopHa (Nayika with much love and trust (9 अतिविश्रब्ध नवोढा carer प्रियाननविलोकनहानिरेव स्वापच्युतौ प्रियकरग्रहणप्रसंग: | इत्थं सरोरुहमुखी परिचिन्तयन्ती स्वापं विधातुमपि हातुमपि प्रपेदे ॥ ६॥ Ativishrabdha-Navodha (Nayika with much love and trust) The modest Nayika is in a dilemma. To fall asleep is to lose sight of the adored one; to remain awake is torisk physical possession. Faced with this dilemma, she tosses restlessly on the bed. (9) 17 7 RATI-PRIYA-PRAGALBHA (Mature Nayika who delights in love) (10); Collection: Dogra Art Gallery, रतिप्रिया प्रगल्भा संस्पृश्य स्तनमाकलयूय aad संहिलष्य कण्ठस्थलं निष्पीयाधरबिम्बमम्बरमपाकृष्य व्युदस्यालकम्‌ । देवस्याम्बुजिनीपते: aged जिज्ञासमाने प्रिये वामाक्षीवसनांचले: श्रवणयोर्नीलोत्पलं fe नुते ॥ १० ॥ Rati-Priya-Pragalbha (mature N ayika who delights in love) The fugitive night flees as the lover busily consummates one love- rite after another—now sucking the nether lip (red like the Bimba fruit) touching the bosom, hugging the neck, loosening the braid, and remoy- ing the last veiling garments. Drowsily he asks if the sun has risen. The Nayika, lest the morning should bring the love-play to a close, hastily covers the lotuses in her ears with the hem of her garment, so that their opening may not announce the day. (10) 18 Jammu आनंद संमोहवती प्रोढ़ा नखक्षतुमुर: स्थलेड्धरतल रदस्य ब्रणं च्युता बकुलमालिका विगलिता a मुवतावलि:। रतान्तसमये AAT सकलमेतदालोकितं स्मृति: aa? च रति: aa? aaa? च तवालि! शिक्षाविधि: nee Ananda-Sammohavati-Praudha (mature Nayika excessively delighting in love) Nayika to Sakhi O Sakhi! I noticed the scratches on my bosom, the bites on my lower lip, the falling apart of my garland of maulashri flowers, and the shattering of my pearl-necklace only after the love-game. Where was gone my recollection of your advice about the proprieties of love- sport? (11) 19 8 Mapuya-Duira Nayika (youthful Nayika who expresses anger ironically but remains firm in love) (12) Collection: Alma Latifi, Bombay. मध्या धोरा लोलालिपूंजे ब्रजतो fast स्फारा बमृवु: श्रमवारिधारा: | देहे समीहे भवतो विधातुं धीरं समीरं नलिनीदले न ॥ १२ ॥ Madhya-Dhira (youthful Nayika who expresses anger ironically but remains firm in love) Nayika to unfaithful Nayaka “My darling, you appear to be coming from a bower full of a swarm of agitated bees, for your hot streaming perspiration afflicts you. I wish to comfort your limbs with this fan of lotus leaves’’. (12) The swarm of agitated bees are ०0 ther women to whom the unfaithful lover has been making love. 20 मध्या WAT जातस्ते निशि जागरो, मम पुनर्नेत्राम्बुज शोणिमा, निष्पीतं भवता मधु प्रवितत॑, व्याघूणितं मे मन: | भ्राम्यद्भूगंघने निकुंजभवने cet त्वया श्रीफलं, Gay: Gata मां हुतवहक्ररं: AT: Feat ॥ १३ ॥ Madhya-Adhira (youthful Nayika who expresses anger bitterly) Nayika to unfaithful Nayaka “You did not sleep the whole night, but redness is in my lotus eyes. Sweet wine (of love) was tasted by you to your heart’s content, but, contrarily, it is my mind which is agitated. You gained the Shriphala* in the green bower crowded with hovering bees, but Kama- deva is piercing me with flaming arrows”. (13) *This is suggestive of the other women’s bosom. मध्या धीरा5धीर कान्तानुरागचतुरो$सि मनोहरोडसि नाथो४सि faa नवयौवनभूषितो5सि । इत्थं निगद्य gear वदने प्रियस्य निःश्वस्य बाष्पलुलिता निहिता हृगन्ता:॥ १४॥ Madhya-Dhiradhira (youthful Nayika who expresses her anger ironically and bitterly) Nayika’s taunting remarks to Nayaka who is suspected of wooing another woman “You are well-versed in the art of pleasing your sweet-hearts. You are charming, you are my lord and you are glorious in your youthfulness’. Thus saying, the sweet-eyed Nayika sighed deeply and looked at her beloved’s face from the corners of her tear-laden eyes. (14) 21 9 PRAUDHA-DHIRA (mature Nayika who expresses her anger ironically but remains firm in love) प्रोढा धीरा नो det भजसे न जल्पसि सुधाधारा$्नुकारा गिरो ATs कुरुषे न वा परिजने कापप्रकाशच्छलात्‌ | इत्थं केतकगर्भगोरि! दयिते! कोपस्य संगोपन तत्स्यादेव, FATA: सहचरी Hata साचि स्मितम्‌ ॥ १५॥ The guilty Nayaka tries to amuse his Nayika who is trying to hide her anger Nayaka to Nayika “My sweet-heart, you are fair like the inner leaf of Ketaki. You are hesitating to sit on my bed and to speak gently tome. You are even avoiding to look towards me, on the pretext of showing anger to your servants. You are doing all this to conceal your anger, for other- wise why does your Sakhi smile obliquely”’. (15) Ketaki is Pandanus odoratissimus which produces fragrant spathes durin grains. Its tender sword-like leaves are white. 22 10 PrRAUpHA-ApDHIRA NAYIKA (mature Nayika who expresses anger bitterly) (16); Collection: Dogra Art Gallery, Jammu. SST अधीरा प्रतिफलमवलोक्य स्वीयमिन्दोः कलायां हरशिरसि परस्या वासमाशंकमाना | गिरिशमचलकन्या तजंयामास कम्प- प्रचलवलयचंचत्कान्तिभाजा करेण ॥ १६॥ Praudha-Adhira (mature Nayika who expresses anger bitterly ) When the daughter of the King of Mountains (Parvati) saw her reflection in the Moon on Lord Shiva’s forehead, she mistook it for another Nayika sporting with the Lord. So in anger she raised her trembling hand, adorned with glittering bracelets, to reproach her lord. (16) 23 11 PRAUDHA-DHIRA-ADHIRA (mature Nayika who expresses anger ironically and bitterly) (17); Collection: Dogra Art Gallery, Jammu. प्रोढ़ा धी राइधी रा तल्पोपान्तमुपेयुषि प्रियतमे वक्रीकृतग्रीवया काकुव्याकुलावाचि साचिहसितस्फूजत्कपोलश्रिया । हस्तन्यस्तकरे FAY TEA लाक्षारसक्षालित- प्रोष्ठीपृष्ठभयूखमांसलरुचो विस्फारिता दृष्टयः ॥ १७ ॥ Praudha-Dhira-adhira (mature Nayika who expresses anger ironically and bitterly) When the lover drew near her bed, the deer-eyed Nayika turned her face away. When she heard him imploring in a heavy and agitated voice, she smiled a little, and her cheeks became flushed. But as he took hold of her hand, she—with eyes wide open (with rage)—cast upon him a glance, which possessed the profuse brilliance of the rays, emanating from the back of a fish dipped in molten lac. (17) 24 and Kanishtha, who is loved less) (18); Collection: Dogra Art Gallery, Jammu. 12 Duira-JyESHTHA AND KANISHTHA (the two Dhira Nayikas; Jyeshtha, who is loved more, धीरा ज्येष्ठा कनिष्ठा च एकस्मिन्‌ शयने सरोरुहदशोविज्ञाय निद्रां तयो- रेकां पल्‍लवितावगुण्ठनपटा मुत्कन्धरो दृष्टवान्‌ | mazar: सविधं समेत्य निभृतव्यालोलहस्तांगुलि- व्यापारवसनांचल चपलयन्‌ स्वापच्युति HATA | १८ ॥ Dhira-Fyeshtha and Kanishtha (the two Dhira Nayikas; Jyeshtha, who is loved more, and Kanishtha, who is loved less) When the Nayaka raising his head, saw both of his lotus-eyed beloveds sleeping together in one bed, one of whom was veiling her face, he stealthily drew near the other, (Cae er sari and thus roused her from sleep. (18) eee) AS 25 अधीरा ज्येब्ठा कनिष्ठा च अन्त: कोपकषायिते प्रियतमे पश्यन्‌ घने कानने पुष्पस्यावचयाय नम्रवदनामेकां समायोजयत्‌ | अ्र्धोन्मी लितलोचनांचलचमत्काराभिरामाननां स्मेराद्राधरपल्लवां नववधूमन्यां समालिगति ॥ १६॥ Adhira-Fyeshtha and Kanishtha Nayikas Seeing both his beloved Nayikas red with anger, the Nayaka sent the elder one, whose face was down-cast, to the thick forest to fetch flowers. He then, embraces the younger one wearing a shining garment and with an attractive face who looks at him with drowsy eyes and a smile on her moist lips. (19) 26 13 DurraApHtra (Jyeshtha and Kanishtha Praudha Nayikas) (20); Collection: Dogra Art Gallery, Jammu. धी राष्धी रा ज्येब्ठा कनिष्ठा च धैयूर्याधैययपरिग्रहग्रहिलियां रंणीद्रशां: प्रीतये रत्नह्न्द्रमन्‍नकान्तिरूचिरं मुष्ठिद्रये न्‍्यस्तवान्‌ | एकस्या: कलयन्‌ करे प्रथमतों FF: परस्या प्रियो हस्ताहस्तिमिषात्स्पृशन्‌ कुचतटीमानन्दमाविन्दति ॥ २० ॥ Dhiradhira Jyeshtha and Kanishtha Praudha Nayikas To please both the Nayikas—the cunning Nayaka held two shining and beautiful jewels in the palms of his hands. He gave one to the elder one, and, on the pretext of handing over the second to the other, enjoyed the touch of her bosom. (20) 27 CHAPTER III Parakiya Nayika Nayika who is in love with another man Bhanudatta classifies Parakiya nayikas into eleven categories according to their intelligence, discovery of their love affair by others, etc. The first two categories are Parodha and Gupta. Parodha is a married Nayika who is in love with another man. Parakiya Gupta is one who conceals evidence of her meeting with her lover. Another two categories are the clever Nayikas. The one who is clever in speech is Vag-Vidagdha-Parakiya. The one who is clever in deed, is Kriya-Vidagdha Nayika. Parakiya Nayika whose love has been disclosed is called Lakshita-Parakiya Nayika. The Nayika who has a large number of lovers is called Kulata. The Nayika whose meeting place has been destroyed is called Anushayana Prathama Nayika. The Nayika who is sad on account of her future meeting place having been destroyed is designated as Dvitiyanushayana Nayika-Parakiya. Nayika who is sad at being unable to reach the meeting place is called Tritiyanushayana-Parakiya Nayika. The Nayika who is happy at the prospect of fruition of love is called Mudita Parakiya Nayika. An unmarried Nayika who is in love with another person is called Kanyaka. A Nayika who loves for the sake of money is called Samanya Vanita. A Nayika who is cheated by her messenger girl is called Anya-Sambhoga Dukhita Nayika. 28 bes * SPAR aC RNIN TIT ts 14 PARODHA PaRAKIYA (married Nayika who is in love with another man) (21); Collection: Dogra Art Gallery, Jammu. परकीया परोढा ao रेवाकुंज: कुसुमशरसेवासमुचित: समी रो5यं वेलादरविदलदेलापरिमल: | za प्रावृडड war नवजलदविन्यासचतुरा पराधीनंचेत: सखि! किमति कर्तु मृगयते ॥२१॥ Parakiya Parodha (married Nayika who is in love with another man) Nayika to Sakhi “0 Sakhi! This arbour on the bank of the Reva is a befitting place for propitiating Kama. The breeze is fragrant with the odour of half-blown cardamom flowers. This rainy season which brings forth new clouds laden with rain is a blessing. “0 Sakhi! My heart is under another's control and longs to give itself up to unspeakable pleasures’’. (21) 29 POSEN Se SALTS OF Aa unui uwan rr; २ * ! 15 PARAKIYA GupTA (Parakiya Nayika who conceals evidence of meeting with her lover) (22); Collection: Victoria and Albert Museum, London. परकोया गुप्ता waa: क्रध्यतु विद्विषन्तु सुहदो, निन्दन्तु वा यातरः, तस्मिन्‌ किन्तु न मन्दिरे सखि! पुन: card विधेयो मया। आखो राक्रमणाय कोणकुहरादुत्फालमातन्वती मर्जारी नखरे: खरे: कृतवती, कां कां न मे दुदंशाम्‌ ॥ २२॥ Parakiya Gupta (Parakiya Nayika who conceals evidence of meeting with lover). Naytka to Sakhi “O Sakhi! My mother-in-law may get angry, my friends may become hostile to me, and sisters-in-law may slander me; but I shall not sleep again in that house where the cat, suddenly pouncing in her attempt to attack a mouse coming out of a hole in the corner, scratched my body with her sharp nails”. (22) 30 16 VAG-VIDAGDHA-PARAKIYA NayIKA (clear in speech) (23); Collection: Kasturbhai Lalbhai. Ahmedabad. वाग्विदग्धा निबिडतमतमालवल्ली विचकिलराजिविराजितोपकण्ठे | पथिक ! समुचितस्तवाद्य तीत्रे सवितरि aa सरित्तटे निवास: ॥ २३॥ Vag-Vidagdha-Paraktya Nayika (clever in speech) “(0 traveller, the sun being piercingly hot today, it is proper for you to rest on the bank of the river, adorned with rows of jasmine creepers entwining tamala trees’. (23) Tamala—Cinnamomum tamala, an evergreen tree with a dark trunk and fragrant leaves. The reference by the Nyaika to Tamala trees entwined with jasmine creepers is an invitation for love-making. 91 17 Kriya-VIDAGDHA NAyIKA (clever in deed) (24); Collecticn: Victoria and Albert Museum, London, क्रियाविदग्धा दासाय भवननाथे बदरीमपनेतुमादिशति ॥ ane हरिणाक्षी पयसि कुठारं विनिक्षिपति ॥ २४॥ Kriya-Vidagdha Najika (clever in deed) A Sakhi to another “In the winter season, her husband having bidden the servant to cut the ‘ber’ tree, the doe-eyed Nayika dropped the axe into the water’’. (24) The implication is that the ‘ber’ tree was the place of rendezvous for the Parakiya Nayika which she did not like to be destroyed. This painting has been reproduced in colour in Barrett and Gray’s ‘Painting of India’, p- 103. Ber—Zizyphus jujuba—a thorny tree which bears delicious plum-like fruit in March. 32 18 LAKSHITA-PARAKIYA NAYIKA (whose love has been disclosed) (25); Collection: Victoria and Albert Museum, London. लक्षिता यद्‌ भूतं तद्‌ भूतं यद्‌ भूयात्तदपि वा भूयात्‌ ॥ यद्भवति तद्भवति वा विफलस्तव कोडपि गोपनायास: ॥ २५॥ Lakshita-Parakiya Nayika (whose love has been disclosed) A Sakhi who knows the Nayika’s secret, speaks to her thus in jest : “What was to happen has happened; what is to happen will happen; and what is happening is also happening. Any effort on your part at concealment is therefore useless.”’ (25) 33 FAST एते वारिकणान्‌ किरन्ति पुरुषान्‌ वषन्ति नाम्भोधरा: | शैलाः शाइलमुद्मन्ति न सृजन्त्येते पुनर्नायकान्‌ ॥ त्रेलोक्ये तखः फलानि gaa नेवारभन्ते TAT | धात: कातरमालपामि कुलटाहेतोस्त्वया कि FAT ॥ २६ ॥ Kulata Nayika (the Immoral Nayika) Nayika complains : “These clouds rain drops of water; they do not rain men. These mountains give birth to new plants but do not produce young men. The trees of the three worlds bear various kinds of fruits but not Nayakas. O God! I bemoan helplessly, for you have done nothing for me.”’ (26) 9.1. 19 ANUSHAYANA-PRATHAMA NAYIKA (who is sad on account of her meeting place having been destroyed)(27) ; Collection : Partap Museum, Srinagar. अनुशयाना प्रथमा समुपागतवति चेत्रे निपतति पत्र लवंगलतिकाया:। सुदृशः कपोलपाली शिव शिव तालीदलद्युति AAT ॥ Vo Ul Anushayana-Prathama Nayika (who is sad on account of her meeting place having been destroyed) The sweet-eyed Nayika turned pale like the leaves of a palmyra tree when she learnt that the clove creepers, which grew at her trysting place, had shed their leaves at the advent of the month of Chaitra. (27) 33 हद्वितीयानुशयाना निद्रालुकेकिमिथुनानी कपोतपोत व्याधुतनृतनमही रुहपललवा नि ॥ तत्रापि तन्वि! न वनानी कियन्ति सन्ति खिद्यस्व न प्रियतमस्य गुहं प्रयाहि ॥ २८॥ Doitiyanushayana-Parakiya Nayika (who is sad on account of her future meeting place having been destroyed) A Sakhi consoles Nayika : “O slender girl! Don’t be distressed ifthere are no longer any forests of trees covered with tender leaves, shaken by young pigeons and inhabited by drowsy Pairs of peacocks, Pray, go and meet your beloved one in his house.” (28) The Sakhi’s advice is sound and practical, 36 20 TRITIYANUSHAYANA-PARAKIYA NAYIKA (who is sad at being unable to reach the meeting place) (29); Collection: Kasturbhai Lalbhai, Ahmedabad. तृतीयानुशयाना कर्णकल्पितरसालमंजरीपिंजरीकृतकपोलमण्डल: | निष्पतनन्‍्नयनवारिधारया राधया मधुरिपुनिरीक्ष्यते ॥ २६ ॥ Tritiyanushayana-Parakiya Nayika (who is sad at being unable to reach the meeting place) Radha’s eyes were filled with tears (with remorse at not having kept the tryst) when she saw Lord Krishna wearing mango blossoms in his ears and his cheeks yellow with pollen (which was the proof of his having been to the proposed meeting-place). (29) 37 मुदिता गोष्ठेषु तिष्ठति पतिबंधिरा ननन्‍्दा नेत्रद्ययस्य न हि पाटवमस्ति ara: ॥ इत्थंनिशम्य तरुणी कुचकुम्भसीम्नि रोमांचकंचुकमुदंचितमाततान ॥ ३० ॥ Mudita-Parakiya Nayika (Nayika happy at the prospect of fruition of love) (30) On learning that her husband lived at the cowshed, that her nanad* was deaf and deorani** blind, the young Nayika was excited with joy and her bodice well-nigh burst by the pressure of her swelling bosom. *Husband’s sister. **Wife of husband’s younger brother. 38 1 KanyAKka (unmarried Parakiya Nayika) (31); Collection: Dogra Art Gallery. Jammu. HART किचित्कुंचितहा रयष्टि सरलश्र्वल्लि साचिस्मित | प्रान्तश्रान्तविलोचनद्युति भुजापय्येस्तकरणोत्पलम्‌ ॥ अंगुल्या स्फुरदंगुलीयकरुचा गण्डस्य BOAT HAM THAR सुकृतिनं सव्याजमालोकते ॥ ३१ ॥ Kanyaka (unmarried Parakiya Nayika) Her necklace swung to one side, her eye-brows straight, smiling from a corner of her mouth, the radiance of her agitated eyes streaming from the corners, and with the drooping lotus flower in her ear touch- ing her arm, the Nayika is looking at some fortunate youth, while pretending to scratch her cheek with a finger, adorned with a ring studded with a glittering jewel. (31) 39 22 SAMANYA VANITA VASAKASAJJA NAYIKA (courtesan) (32); Collection: Kasturbhai Lalbhai, Ahmedabad. सामान्य वनिता सामान्य वनिता वासकसज्जा नायिका इष्टवा प्रांगणगसन्निधों बहुधनं दातारमभ्यागत॑ वक्षोजो तनुत: परस्परमिवाइलेषं कुरंगीदृ॒श: ॥ आनन्दाश्रुपयांसि मुंचति मुहुर्मालामिषात्कुन्तलो afte: faa धनागमं कथयितु कर्णान्तिकं गच्छति ॥ ३२॥ Samanya Vanita (Nayika who loves for the sake of money) Seeing a rich man come near her house, the doe-eyed courtesan is so happy and possessed by passion that her breasts seem to be embracing each other. Her tresses are releasing tears of happiness in the form of the flowers from the garlands decorating them, and her eyes eager to tell the news of the advent of fortune are stretching to the ears. (32) 40 23 Anya-SAMBHOGA DUKHITA NayIKA (33); Collection: Partap Museum, Srinagar. ग्रन्य संभोगदुःखिता त्वं दूति! निरगा: aot न तु पापीयसों गुहम्‌ ॥ किशुकाभरणं देहे दृश्यते कथमन्यथा ॥ ३३ ॥ Anya Sambhoga Dukhita Nayika (who is grieved at her beloved’s love for another woman) Nayika is scolding the messenger girl whom she had sent to call Nayaka : “(0 girl! You do not seem to have gone to the house of my wicked lover, but instead to the arbour; for otherwise, these ornaments of red kinshuka flowers (or red nail-marks) would not have been seen on your body.” (33) Refers to nail-marks on the person of the messenger girl. 4] CHAPTER IV Love in Separation Pride and Obduracy, Garva and Mana Mana is separation of lovers on account of jealousy, obduracy, pride, impropriety of speech or conduct, or coldness. Mana may be low (laghu), medium (madhyama), or high (guru). A Nayika who is proud is called Garvita Nayika. The one who is proud of her lover’s love for her is called Prem-Garvita. The one who is proud of her beauty is called Rupa-Garvita. 42 24 Prem-GArvitA NAYIKA (who is proud of her lover's love for her) (34); Collection : Victoria and Albert Museum, London. प्रेमगाविता वपुषि तव तनोति रत्नभूषां प्रभुरिति धन्यतमा5सिकि ब्रवीमि | सखि! तनुनयनानन्‍्तरालभीरु: कलयति मे न विभूषणानि Brea: ॥ ३४॥ Prem-Garvita Nayika (who is proud of her 10ए275 love for her) Nayika to Sakht : “O Sakhi! I am unable to say how lucky you are, for your lover adorns your body with jewel-studded ornaments. But my beloved, afraid even of a slight interruption in his gazing at me, does not so decorate me.” (34) 43 ig ae ४५ व = Rennes OD VD 25 Rupa-Garvira (who is proud of her beauty) (35); Collection: Victoria and Albert Museum, London. रूपगविता कलयति कमलोपमानमक्ष्णो: प्रथयति वाचि सुधारसस्य साम्यम्‌ ॥ कथय सखि! किमाच रामि कानन्‍्ते समजनि तत्र सहिष्णुतेव दोष: ॥ ३५॥ Rupa-Garvita (who is proud of her beauty) Proud of her beauty, Nayika thus Speaks to her Sakhi : “O Sakhi, how should I treat my lord who compares the beauty of my eyes only with that of lotus flowers and the sweetness of my speech only with that of nectar? Forbearance is my only fault.”’ (35) 44 26 LAGHU-MANa (Nayika’s low pride) (36); Collection: Dogra Art Gallery, Jammu. लघु मान स्वेदाम्बुभि: क्वचन पिच्छिलमेतदंगं शोतोदरि! क्वचन कण्टकितं चकास्ति ॥ अन्यां विलोकयति भूषयति प्रियेडपि मान: कक्‍्व दास्यति ce aa det fae: ॥ ३६ ॥ Laghu Mana (Nayika’s low pride) Sakhi to Nayika : “O slim-waisted beauty! On seeing your beloved adorning another woman, your limbs moist with drops of perspiration appear charmingly smooth. Where is room for your indignation?” (36) 45 मध्यम मान यद्गोत्रस्खलनं तत्र भ्रमं यदि न Aaa ॥ रोमालिव्यालसंस्पर्श शपथं तन्वि! कारय ॥ ३७॥ Madhyama Mana (Nayika’s medium pride) Nayaka to Nayika : “0 slender girl! If on my uttering by mistake the name of another woman, you do not regard your feeling as one of misconceived suspicion, you should say this on oath by touching me with your serpentine tresses.” (37) 27 Guru Mana (Nayika’s high pride) (38); Collection: Prof. J.K. Galbraith, Harvard University, Cambridge, U.S.A. गुरु मान दयितस्य निरीक्ष्य भालदेशं चरणालकत्तकपिजरं सपत्नया: ॥ सुददशों नयनस्यथ कोणाभासा श्रुतिमुक्ता: शिखरोपमा बभूवु: ॥ ३८॥ Guru Mana (Nayika’s high pride) Seeing her beloved’s forehead red with the colour of the paint from another woman’s feet, the radiance of the corners of the eyes of the sweet-eyed Nayika made the pearls in her ears red as rubies. (38) The Nayika became very angry on detecting evidence of her lover’s unfaithfulness. 47 CHAPTER V Proshita Bhartrika Nayika Nayika whose lover or husband is away Proshita Bhartrika Nayika is a Nayika whose lover or husband is away. Such Nayika is classified into three categories, viz. Mugdha, Madhya and Praudha. Other two categories are Parakiya and Samanya. 48 pom ae | 28 MUGDHA PRosHITA-BHARTRIKA (Mugdha Nayika whose husband is away) (39); Collection ; A.K. Coomaraswamy. मुग्धा प्रोषितभत्‌ का ga दीघंतरं वहन्त्यपि सखीवर्गाय नो भाषते sara: Mad सूजन्त्यपि पुनः शेते न वा लज्जया ॥ कण्ठे गदगदवाचमंचति Ca धत्ते न बाष्पोदक सन्‍्तापं ASA यदम्बुजमुखी TEAS चेतोभव: ॥ ३६ ॥ Mugdha Proshita-Bhartrika (Mugdha Nayika whose husband is away) Though suffering the agony of separation for a long time, she does not speak to her friends. Having made a bed of water-lilies, she does not sleep on it out of modesty. Though her speech has been choked with emotion—she is controlling her tears out of bashfulness. Kamadeva alone knows the pains of separation suffered by the lotus- faced Nayika. (39) 49 29. MADHYA PROsHITA-BHARTRIXA (Madhya Nayika whose husband is away) (40); Collection: Dogra Art Gallery, Jammu. मध्या प्रोषितभत्‌ का वासस्तदेव वपुषो वलय॑ तदेव हस्तस्य सेव जधनस्य च रत्नकांची ॥ वाचालभू WAT सुरभो समस्त- मद्याधिक भवति ते सखि | कि निदानम्‌ ॥ ४० ॥ Madhya Proshita-Bhartrika (Madhya Nayika whose husband is away) Nayika to Sakhi : “O Sakhi! The garments on my body are the same; so are the bracelets on my wrist and the be-jewelled girdle round my waist. But in the springtime, made beautiful by noisy bumble-bees, all these things are now unbearable for me. What is the cause of this?” (40) 50 30. PRAUDHA PROSHITA-BHARTRIKA (Praudha Nayika whose hustand is away) (41); Collection: Dogra Art Gallery, Jammu. प्रौढ़ा प्रोषितभत्‌ का माला बालाम्बुजदलमयी मौक्तिकी हारयष्टि: कांची याते प्रभवति हरौ qua: प्रस्थितेव ॥ mag ब्र्‌ म: किमिह धमनी aaa वा नवेति ard Teles वलयं पाणिमूलं प्रयाति ॥ ४१॥ Praudha Proshita- Bharirika (Praudha Nayika whose husband is away) With the departure of her Lord Krishna, the Nayika (who has beautiful eye-brows) has discarded her garland of lotus-petals, her necklace of pearls and her girdle. Not only that, her armlet has reached her wrist as if to feel her pulse.* (41) *This is suggestive of the Nayika’s pining away. 51 परकोया प्रोषितभत्‌ का waa: Tana ददाति तदपि श्रूसंज्ञया गृह्मते सद्यो मर्म रशंकया न तु तया संस्पृश्यते पाणिना | यातुर्वाचि सुहृद्गणस्य वचसि प्रत्युत्तरं दीयते! इवासः किन्तु न मृच्यते हुतवहक्र: कुरंगीहशा ॥ ४२ ॥ Parakwa Proshita-Bhartrika (Parakiya whose lover is away) The deer-eyed Nayika accepts, with the movement of her eye- brows, the lotus leaves offered by her mother-in-law; she does not touch them with her hand for fear of producing the crackling sound of dry leaves. She replies to the questions of her sister-in-law and Sakhis, but (for fear of discovery) does not give out her breath, which is blazing like fire. (42) 52 31 SAMANYA PROSHITA-BHARTRIKA (Courtesan whose lover is away) (43); Collection: Kasturbhai Lalbhai, Ahmedabad. सामान्‍्या प्रोषितभत्‌ का विरहविदितमन्तः: प्रेम विज्ञाय ara: garcia वसु तस्मादेत्य मे दास्यतीति | मरिचनिचयमक्ष्णोन्येस्य बाष्पोदबिन्दून्‌ विसृजति पुरयोषिद्‌ द्वारदेशोपविष्टा ॥ ४३ ॥ Samanya Proshita-Bhartrika (Courtesan whose lover is away) Sitting at the door of her house, the courtesan sheds tears from her eyes by applying chilli-powder with the intention that her lover, on returning from the distant country and coming to know of her heart- felt love born of separation, will give money to her. (43) 33 CHAPTER VI Khandita Nayika Nayika who has been wronged Khandita is the Nayika who has been wronged by her lover or husband. Bhanudatta classifies the Khandita into five categories. The first three are Mugdha, Madhya and Praudha. The next two are Parakiya and Samanya. 54 32. MucGpHa KuHANpitA (Mugdha Nayika who has been wronged) (44); Collection: National Museum, New Delhi. मुग्धा खंडिता aa: fay कलशां कितमिति किमपि प्रष्टुमिच्छन्त्या: | नयन॑ नवोढसुद्ृश: प्राणेश: पाणिना पिदघे we ॥ Mugdha Khandita (Mugdha Nayika who has been wronged) As the newly married, beautiful-eyed Nayika wished to ask her lord regarding the imprint of kumkum from another woman’s bosom on his chest, he covered her eyes with his hands. (44) Heat खंडिता वक्षोजचिह्लितमुरो दयितस्य वीक्ष्य दीर्घ न fazeafafa जल्पति aa किचित्‌ ॥ प्रातजलेन वदनं परिमाजंयन्ती बाला विलोचनजलानि तिरोदधाति ॥ ४५॥ Madhya Khandita (Madhya Nayika who has been wronged) In the morning, seeing the chest of her lord spotted with kumkum marks from the other woman’s bosom, the Nayika neither heaves deep sighs nor admonishes him. She washes her face with water, thus con- cealing her tears. (45) sitet खंडिता मामुद्वीक्ष्य विपक्षपक्ष्मलद्शः पादाम्बुजालक्तके- रालिप्ताननमानतीकृतमुखी चित्रापितेवाभवत्‌ eal नींक्तवती न वा कृतवती निशश्वासकोष्णे zal प्रातमंगलमंगना करतलादादशंमादर्शयत्‌ ॥ ४६ ॥ Praudha Khandita (Praudha Nayika who has been wronged) Guilty husband to his friend : “Seeing in the morning my face coloured with the red paint of the other woman’s feet, my wife cast her face down and remained still as a painted picture. She did not utter harsh words, not did she let her eyes become inflamed with anger. Instead of holding the mirror in the palm of her hand, she put it in front of me.’ (46) 56 परकोया खंडिता ard निरीक्ष्य वलयांकितकण्ठदेशं मुक्तास्तया परभिया परुषा न ATA: | दूतीमुखे मृगहशा स्खलदम्बुपूरा दूरात्परं निदधिरे नयनान्तपाता: ॥ ४७ ॥ Parakiya Khandita (Parakiya Nayika who has been wronged) Seeing the imprint of another woman’s bracelets on her lover’s neck, the Nayika did not speak harsh words, out of fear of discovery by other people. From a distance she hesitatingly cast a side glance on the messenger girl through flooding tears. (47) 57 33, SaMANYA KHANDITA (Courtesan who has been wronged) (48); Collection: Kasturbhai Lalbhai, Ahmedabad. सामान्या खंडिता उरस्तव पयोधरांकितमिद कुतो मे क्षमा ततो मयि निधीयतां ag पुरा यदंगीकृतम्‌। इति प्रचलचेतस: प्रियतमस्य वारस्त्रिया ववणत्कनककंकण्ण करतलात्‌ समाकृष्यते ॥ ४८ II Samanya Khandita (Courtesan who has been wronged) “O Cheat! How can you be excused by me when I see your chest bearing red marks of some woman’s bosom? Give unto me, therefore, the riches you had previously promised.” So saying, the courtesan snatched the jingling bangle of gold from the hand of the lover, whose mind was wavering. (48) 58 CHAPTER VII The Nayika Estranged by a Quarrel Kalahantarita The Nayika estranged from her lover by a quarrel is called Kalahantarita. Bhanudatta divided Kalahantarita into five categories. The first three are based on age and experience, viz. Mugdha, Madhya and Praudha. The next two categories are Parakiya and Samanya. 59 34, MuGpHA KALAHANTARITA (Mugdha Nayika estranged by a quarrel) (49); Collection: Dogra Art Gallery, Jammu. Wat कलहांतरिता अनुनयति पति न लज्जमाना कथयति नापि सखीजनाय किचित्‌ | प्रसरति मलयानिले नवोढा वहति परन्तु चिराय eave: ॥ ४६ ॥ Mugdha Kalahantarita (Mugdha Nayika estranged by a quarrel) Out of modesty, the newly-wedded Nayika does not appease her husband, nor does she say anything to her friends. But when the Malaya* breeze blows, she feels an emptiness within. (49) *Name of a southern mountain, covered with sandal forests. 60 मध्या कलहांतरिता विरमति कथन विना न खदः सति कथने समुपति का$पि लज्जा | इति कलहमधोमुखी सखीभ्यो लपितुमनालपितुं समाचकांक्ष ॥ ५० ॥ Madhya Kalahantarita (Madhya Nayika estranged by a quarrel) Without telling her Sakhis about her quarrel with her lord, the Nayika cannot relieve her misery; but her formidable modesty prevents her. Thus, wanting to express herself and yet not to express herself before her friends, she stays with her face downcast. (50) 61 35. PRAUDHA KALAHANTARITA (Praudha Nayika estranged by a quarrel) (51); Collection: Dogra Ari Gallery, Jammu. ater कलहांतरिता ग्रकरो: fea नेत्र! शोणिमानं किमकार्षी: कर पद्मतजंनं वा | कलहं किमधा मुधा tas! हितमर्थ न विदन्ति दवद्धष्टा: ॥ ५१॥ Praudha Kalahantarita (Praudha Nayika estranged by a quarrel) Nayika ts repenting for her show of anger to Nayaka after the latter had apologised to appease her: “O eyes! It was in vain that you became red (with anger). O hand! Why did you threaten to assault him with the lotus-stalk? O tongue! Why did you utter quarrelsome words? Indeed, those who are in bad luck, cannot judge their own interest.” (51) The Nayika repents for her harsh treatment of the lover who is shown in the painting departing in a dejected mood, 62 36. PARAKIYA KALAHANTARITA (Parakiya Nayika estranged by a quarrel) (52); Collection: Dogra Art Gallery, Jammu. परकीया कलहांतरिता भर्तुयस्य FF गुरुघुलरभूद्‌ गोष्ठी कनिष्ठीकृता ay कोशधनं गतं सहचरी नीति: SAT दूरत: | निर्मुवता तृणवत्त्रपा परिचिता स्रोतस्विनी बिन्दुवत्‌ a क्रोधादवधीरितो हतधिया मातबंलीयान विधि: | ५२ ॥ Parakiya Kalahantarita (Parakiya Nayika estranged by a quarrel) “In anger I insulted and disappointed my love for whose sake once I belittled elders, ignored assemblages of people, gave up all patience, deserted my companions, discarded modesty considering it worthless like straw, and took the mightly river as a mere drop of water. O, mother! My reason was blighted, for fate is all powerful.” (52) 63 bs ‘eise-ro esata ERNE अर 2स0 काका RESON TREO IRE PASE Sai ey ee ee ee Re Pegi ek corte 00220" eerie ie iene erred 07277: शक 37. SAMANYA KALAHANTARITA (Courtesan estranged by a quarrel) (53); Collection: Dogra Art Gallery, Jammu, सामान्या कलहांतरिता यत्पंकेरहलक्ष्म पाणिकमल भाग्यालये यद्‌ गुरु- न्येस्तं व मम यलललाटफलके भाग्याक्षरं वेधसा | तत्सर्व सखि! यो यथार्थमकरोत्तस्मिन्‌ प्रकोप: कृतो धिक्‌ मां धिक्‌ मम जीवितं घिगतनुं धिक्‌ चेष्टितं घिग्वयः ॥ ५३ ॥ Samanya Kalahantarita (Courtesan estranged by a quarrel) Nayika to Sakhi “O Sakhi, there is a sign of lotus in my palm; Jupiter dominates the house of fortune in my horoscope and good luck has been written by God on my forehead. All these auspicious signs had fructified through my lover. Yetupon him I let loose my temper. Cursed is my life, my) love, my conduct and my youth.” (53) Li 64 CHAPTER VIII The Neglected Nayika Vipralabdha The Nayika who is neglected by her lover is called Vipralabdha. Bhanudatta classifies Vipralabdha into five classes. The first three are by age and experience, viz. Mugdha, Madhya and Praudha. The next two are in relation to their lovers, viz. Parakiya and Samanya. 65 38 MucGpHaA VIPRALABDHA (the neglected Mugdha Nayika) (54); Collection: Dogra Art Gallery, Jammu मुग्धा विप्रलब्धा आलीभि: शपथरनेककपटे: कुंजोदरं नीतया aa तच्च निरीक्ष्य विक्षुभितया न प्रस्थितं न स्थितम्‌ । न्यस्ता: किन्तु नवोढनीरजद्ृ॒शा BATHS रुषा ताम्यद्भू गकदम्बडम्बर चमत्का रस्पृशो दृष्टय: ॥ ५४ II Mugdha Vipralabdha (the neglected Mugdha Nayika) The new, lotus-eyed bride was taken to the bower by her Sakhis with trickery. Seeing it empty, her mind was stricken with agitation and she could neither stay nor leave the place. In this bewilderment, her indignant gaze fell on the marvel of the expansive Kadamba grove, full of frustrated bees, beyond the bower. (54) 66 Regt विप्रलब्धा संकेतकेलिगुहमेत्य fatter शुन्य- मेणीहशो निभृतनिश्वसिताधराया: | अर्घाक्षरं वचनमर्ध विका सि नेत्र ताम्बूलमधकवलीकृतमेव TEA MW ५५॥ Madhya Vipralabdha (the neglected Madhya Nayika) When the doe-eyed Nayika reached the lover’s tryst and did not find him, there was an unuttered sigh on her lip, her speech to the Sakhi was a mere half-spoken word, her eyes remained half-open, and in her trance she could not chew the betel leaf.* (55) *Lit. she could make a half morsel of the betel leaf. sitet विप्र लब्धा yea कुंजगुहं निरीक्ष्य कुटिलं विज्ञाय चेतोभवं gat नापि निवेदिता सहचरी पृष्टाईपि नो वा तया। शम्भो! शंकर! चन्द्रशेखर! हर! श्रीकण्ठ! घूलिन्‌! शिव! त्रायस्वेति परन्तु पंकजद्शा WAT aH स्तुति:॥ ५६ ॥ Praudha Vipralabdha (the neglected Praudha Nayika) Not finding her lord in the bower, and knowing Kamadeva’s villainy, the lotus-eyed lady made no request to the messenger girl, nor did she say anything to her Sakhi; instead, she began praying to Lord Shiva to save her from Kama.* (56) *Shiva was the destroyer of Kama. 67 39 PARAKIYA VIPRALABDHA (the neglected Nayika) (57); Collection : Dogra Art Gallery, Jammu परकीया विप्रलब्धा दत्त्वा धेयंभुजंगमूध्नि चरणावुल्लंध्य लज्जानदी- मंगीकृत्य खलान्धका रपटल aca न दृष्ट: प्रिय: | सनन्‍्तापाकुलया तया5थ Thea: पाथोधरे गजंति क्रोधाक्रान्तकृतान्तमत्तमहिषश्रान्त्या ZA योजिते ॥ ५७ ॥ Parakiya Vipralabdha (the neglected Parakiya Nayika) The slim Nayika, trampling with her feet the head of the serpent of patience and crossing the river of modesty, thrust her way in dark- ness to love’s tryst. When she did not find her lover there, she was heart-broken. The thundering black clouds overhead appeared to her like the roaring angry buffalo of Yama (the King of Death). (57) 68 a CYL, EC ESS ५ Jal - RCE ; . » हे yy ~ = a NCL EL. 40 SAMANYA VIPRALABDHA (the neglected courtesan) (58); Collection: Dogra Art Gallery, Jammu सामानन्‍्या विप्रलब्धा कपटवचनभाजा केनचिद्वा रयोषा सकलरसिकगोष्टीवंचिक्रा वचिताउसौ | इति विहसति fray गविक्षिप्तचक्षु- विकचकुसुमकान्तिच्छद्मना केलिकुंज: ॥ ५८॥ Samanya Vipralabdha (the neglected courtesan) Though adept in beguiling the entire lot of her lovers, the courte- san has herself been deceived (this time) by some one with the trickery of false words (of a promise to meet at the appointed place). The bower, as if looking around with restless bees as its eyes, seems to be laughing at the Nayika through its full-blown flowers. (58) 69 CHAPTER IX T | ° ° The Yearning Nayika Utka Utka is the Nayika who yearns for her lover. Utka is divided, firstly into three categories according to age and experience, viz. Mugdhotka, Madhyotka and Praudhotka. The next two categories of Utka are in relation to their lovers, viz. Parakiya and Samanya. 70 41 MucpuortKa (the yearning Mugdha Nayika) (59); Collection: Kasturbhai Lalbhai, Ahmedabad मुग्धोत्का यन्‍्नाद्यापि समागत: प्रिय इति प्राय: प्रपेदे परा- मित्थं Safa चिन्तयन्त्यपि सखीं न ब्रीडया प्रुच्छति | दीघे न श्वसितं दधाति चकित न प्रेक्षते केवल किचित्पक्वपलाण्डुपांडु रच धत्ते कपोलस्थलीम्‌ ॥ ५६ ॥ Mugdhotka (the yearning Mugdha Nayika) Her lover not having come to her, the Nayika, though suspecting that he frequently visits another woman, does not, out of modesty, ex- press herself to her Sakhi, nor heaves deep sighs, nor looks agitated; only her cheeks have turned somewhat pale.* (59) *Lit. pale like an onion 42 MapuyorkKa (the yearning Madhya Nayika) (60); Collection: Kasturbhai Lalbhai, Ahmedabad मध्योत्का आनेतुं न गता fag प्रियसखी? भीतो भुजंगात्किमु? क्रद्धो वा प्रतिबेधवाचि प्राणेश्वरो aaa | इत्थं कर्णसुवर्णकेतक रज पातोपघातच्छला- दक्ष्णो: को5पि नवोढनी रजमुखी बाष्पोदक Aalst ॥ ६० ॥ Madhyotka (the yearning Madhya Nayika) “Did my dear Sakhi not go to call him; or has he been frightened by snakes (on the way); or has he felt indignant on my having refused his advances towards me?” Thus contemplating, the Nayika, with her face like a newly-blown lotus, sheds tears, pretending pain in her eyes as if caused by the falling pollen-grains from the yellow kelaki flowers _ worn in her ears. (60) orn मै 72 43 PrauDHOTKA (the yearning Praudha Nayika) (61); Collection: Kasturbhai Lalbhai, Ahmedabad प्रोढोत्का भ्रा्तनिकु ज! सखी यूथि! रसाल बन्धों! मातस्तमस्विनि! पितस्तिमिर! प्रसीद । पुच्छामि किचिदिति नीरधराभिरामों दामोदरः कथय कि न समाजगाम ॥ ६१ ॥ Praudhotka (the yearning Praudha Nayika) In spite of the promise, Krishna did not reach the love tryst. So Radha asks the trees elc. “O brotherly bower; O friendly jasmine; O affectionate mango trees; O motherly dark night; O paternal darkness. Be pleased to tell me, for I ask you, why Lord Krishna bewitching as the clouds—has not come.” (61) 73 os t+. 3 tote | University from 1968 to 1976. He made P.A.U. the leading agricultural university in Asia. He is an authority on Pahari Painting and has a number of books on this subject to his credit. His co-author, Shri S. D. Bhambri, is a senior |. A. 5. officer who is at present Chief Secretary to the Haryana Government. He isa renowned scholar who has command over English as_ well as Sanskrit. Apart from the Rasamanjari, he has also translated the Rasikapriya of Keshav Das. #5% 1