कुमारसम्भवम् (महाकवि कालिदास - संस्कृत मूल एवं हिन्दी अनुवाद)

KÂLIDÂSA'S
KUMÂRASAMBHAVAM
CANTO V
CONTAINING
[Text, Sanskrit Commentary, Prose Order, Exhaustive
Grammatical and Explanatory Notes, Change of
Voice, Hindi and English Translation, Purport
in Sanskrit, an Introduction on the Author
and the Poem, etc ]
BY
MAHENDRA PRATAP SHASTRI, M A., M. O L.
Professor of Sanskrit, D A V. College, Dehra Dun.
ALLAHABAD
RAM NARAIN LAL
PUBLISHER AND BOOKSELLER
1941
Price Re. 1 As. 4

1 M 24
2nd Edition 1941

Dedicated
TO
The Memory
OF MY REVERED FATHER
THE LATE KR MADHAV SINGH JI
FROM WHOM
I received inspiration to study Sanskrit
MAHENDRA PRATAP SHASTRI

PREFACE.
THIS Edition of the Fifth Canto of the Kumâra-
sambhavam is meant to meet the requirements of
the students of the Intermediate classes. In it they
will find the text as well as annotations on it, and
thus they will be saved of the necessity of going for a
bigger edition containing the whole of the poem.
The notes contain almost all that is needed for a
student and if read with proper care they will prove
of great advantage to him Those who are regular
students in some college should not neglect the
lectures of their teachers, but should regard these notes
as a supplement to them. Only then they can make
the right use of these notes. As to the private
candidates, they can safely depend on these notes for
their success in the examination.
To acquaint the students with Kâlidâsa and his
poem, an introduction has been added to the notes,
which contains general as well as critical remarks.
The book has been brought out in a hurry, so it is
quite possible that some mistakes of printing or
otherwise may have escaped notice. For the pointing
out of them we shall be thankful to the reader and
corrections will be made in the next edition
The author feels grateful to Kale's edition of the
Kumârasambhavam, on which is based the text and
which he has consulted while writing these notes.
DEHRA DUN, \big}
August 1, 1935. \big} MAHENDRA PRATAP SHASTRI.

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INTRODUCTION
1 KÂLIDÂSA —THE AUTHOR.
It is a matter of great pity that we possess practically no
(1) His Life trustworthy account of the personal life of
Kâlidâsa, the greatest Indian poet. Like most
of the other poets of Sanskrit he has observed complete silence
about himself, and following his example, later writers too have
abstained themselves from throwing any light on his personal
history Therefore the only sources to know something about
him are, first, a number of traditions prevalent in the later period
of classical Sanskrit, and, secondly, a few direct and indirect
references contained in his works The traditions associate too
many interesting incidents with his name At one place, for
instance, he is said to have been a dunce in his youth and later
on to have got his enlightenment through the grace of the
goddess Kâlî, whence he is known Kâlidâsa Another tale says
that he owes his skill in poetry to his wife A third one describes
him as a shepherd by birth and a contemporary of King Bhoja
of Dhârâ (1200 A D) One more asserts that he met with his
death at the hands of a courtesan in Ceylon But it is doubtful
if any of these and other allied tales are of any real worth in
studying Kâlidâsa What seems probable is that the incidents
of some other Kâlidâsa have been ascribed to the Kâlidâsa of
the Raghuvansham and the Kumârasambhavam, who was the
most famous of them That there have been a number of poets
of Sanskrit, who bore the name, Kâlidâsa is proved by the

( 2 )
following couplet of Rajashekhar, who knew at least three of
them —
‘ एकोऽपि जीयते हन्त कालिदासो न केनचित् ।
शृङ्गारे ललितोद्गारे कालिदासत्रयी किमु ॥ ’
In all this heap of fiction and legends only one thing is
certain, viz., that he was a contemporary of King Vikramâditya.
But to identify this Vikramaditya is by no means an easy task.
More than one king bore this name and several others used it as
a title. There was one Vikramaditya who founded the Vikrama
Era in 57 B. C., while Chandragupta II (413 A. D.) and
Samudragupta (480 A. D.) of the Gupta dynasty had adopted
the word as an epithet. Now which of these Vikramadityas was
our poet's patron is a puzzle, which still remains unsolved.
To come to the second source of information, namely, the
evidence gathered from the references contained in his works,
we may hold it to be more reliable, though not infallible. On
the authority of these references it can be said that he was a
Brâhmana by caste and a devotee of Shiva by faith. His vivid
and exact description of Ujjayinî, Kashmere, the Himalaya and
some cities as well as parts of Northern India, lead the reader to
infer that he had been personally to all these places. He was
fully familiar with the life at royal courts and seems to have lived,
unlike Bhavabhûti and Mâgha a prosperous, happy and popular
life. Though fond of pleasures he was not licentious. He had
a great regard for the fair sex and a noble idea of its chastity.
This is warranted by the text of the Shâkuntala. He was an
all-round scholar, possessed of a sound knowledge of the Vedic
principles, Upanishadic philosophy, Paurânika mythology,
various Darshanika systems, grammatical and prosodical rules,
medical science and astronomy.

( 3 )
As has already been remarked, the problem of Kalidasa’s date
(2) His Date is by no means an easy one, and it is nothing
more than conjectures that we can take
recourse to To sum up the various theories on the subject we
may divide them into two main groups The adherents of the
one hold that he flourished in the first century B C and was a
contemporary of king Vikramâditya, the founder of the famous
Vikrama Era, while the followers of the other, put him in the
fifth or sixth century A D
The arguments advanced by the former group may be
summed up as follows —
1 The state of the law of inheritance and the severe
penalty for theft and other crimes, as referred to in the
Shâkuntala, point to the state of society and law as it existed
prior to the Christian Era
2 Similarities in the works of Ashwaghosha, a Buddhist
philosopher and poet of the first century A D and Kâlidâsa
lead one to place the latter before the former, because the
possibility is that Ashwaghosha borrowed from Kâlidâsa and
not vice versa
3 A medallion discovered at Bhitâ, near Allahabad, on
which is engraved a scene of two maidens watering plants and
a king chasing a deer, and which is held to belong to the first
century B C is considered by some scholars to represent the
scene of the first act of the Shâkuntala Hence the drama
must have been composed before it
4 Vatsabhatti, the author of the Mandasor inscription
(472 A D ) draws help from the poetry of Kâlidâsa, therefore,
Kâlidâsa must have lived prior to the beginning of the fifth
century A D

( 4 )
5 Last but not the least, is the evidence of his style,
which is quite different from that of the writers of the medieval
Sanskrit period Kalidasa's style is simple, while the later
writers find pleasure in embellished composition abounding in
long compounds, difficult puns, etc
It is on the basis of such evidence that scholars like
Dr Peterson believe that 'Kalidâsa stands near the beginning
of the Christian Era, if, indeed, he does not overtop it '
The main arguments of the other group may be put forth
thus —
1 Kalidasa's language (specially his Prâkrita) and style
show a clear advance over those of the two earlier poets, Bhâsa
and Ashwaghosha, who flourished in the first century B C and
first century A D respectively.
2 Kalidâsa's works point to the state of perfection of
Sanskrit literature which was attained during the reign of the
Gupta kings, which period is known in the history as the
"Golden Age for Brahmanism and Sanskrit"
3 There is a probable reference to Chandragupta II
Vikramaditya (413 A D) in the title of the Vikramorvashîyam,
and to his son Kumaragupta in the name of the Kumâra-
sambhavam, and the remarkable allusion to the horse-sacrifice
in the Mâlavikâgnimitram may remind one of Samudragupta's
horse-sacrifice
4 The works of Kâlidâsa seem to be describing the social,
political, religious and economical conditions of the Gupta
period
5 The allusion to the Hûna kings in the Raghuvamsham
suggests that Kalidâsa lived after their invasion of the Punjab,
which is dated in the sixth century A D

( 5 )
From these arguments it must be clear that there is nothing
conclusive and both the groups of scholars rely only on conjec-
tures. In such circumstances the most can be said is that
Kâlidâsa lived before 634 A. D., because he has been mentioned
by name in the Aihole inscription of that date and also by
Bâṇabhaṭṭa in his Harshacharitam, of the same time, or that
he can safely be placed in the fifth century A. D. To say beyond
that is open to serious opposition.
As many as forty-one books have been ascribed to the pen
(3) His Works of Kâlidâsa, but that is highly doubtful.
Many of them are evidently unworthy of his
name and seem to have been passed in his name by some bogus
writers to win popularity for their compositions, or they belong
to some other Kâlidâsa. Thus out of the long list only six
are universally acknowledged as his own and some doubt is
expressed about the genuineness of the seventh, viz., Ritu-
samhâram. These seven may be classified as following:—
(1) Kâvyas— 1. Raghuvamsham 2. Kumârasambhavam
(11) Lyrics— 1. Meghadûtam 2. Ritusamhâram
(111) Dramas— 1. Shâkuntalam 2. Vikramorvashîyam
3. Mâlavikâgnimitram
Kâlidâsa is one of the most brilliant jewels in the diadem of
(4) His Art— goddess Saraswatî, and he is unquestionably
Style, etc the best poet of Sanskrit literature. If
Bhavabhuti attempts to share with him the
laurels of Sanskrit drama and Bharavi, Mâgha or Shrîharsha
of Sanskrit Kâvya, there is none who can vie with him in
both of these branches of literature put together. His Raghu-
vamsham is one of the best of Sanskrit Kâvyas and the
Shâkuntalam is far the best of Sanskrit dramas. Though
the traditional verse—
' उपमा कालिदासस्य भारवेरर्थगौरवम् ।
नैषधे पदलालित्यं माघे सन्ति त्रयो गुणाः ॥ '

( 6 )
is, so far as our poet is concerned, a compliment in the right
direction, it is not in the use of similes alone, but in the
excellencies of poetry in general, that he excels all other
Sanskrit poets. Unlike the compositions of Banabhatta and
Dandin, in his works sentiment predominates the outer embel-
lishments, and in contrast with Bhasa and Ashwaghosha, his
language and style are quite in conformity with his noble
imagination. He is the master of language as well as of
poetic fancy.
His style is simple, pure and chaste. It is brief as well as
clear. The language flows without interruption and long com-
pounds, involved construction and difficult puns are absent
from it. It is easy but not without due ornamentation. (See
Kumārasambhavam, Canto 5—verses 4, 18 and 78.) He does
not use any redundant particles or other words, which are used
so frequently in the epics in order to complete the number of
syllables prescribed for a stanza. It is difficult to find out any
words in his composition of verses which do not contribute
something or other to their meaning and do not help in
advancing the story further. Thus his poetry is free from both
the loose construction of the epics and the affected composi-
tions of the latter writers. For this he can be compared to
Virgil, the immortal author of Aeneid. His style is of the
Vaidarbha class, which consists of firmness and evenness of
sound, perspicuity, uniformity, grace, tenderness, clearness of
meaning, dignity of epithets, vigour, elegance and the use of
metaphorical expressions.* In accordance with the spirit of
this style he prefers suggestion to elaboration.

• • श्लेषः प्रसादः समता माधुर्यं सुकुमारता । अर्थव्यक्तिरुदारत्वमोजः कान्तिः
  समाधयः ॥ ' काव्यादर्श १ ४१ ।

( 7 )
One distinctive feature of Kâlidâsa's poetry is his love of
nature. It is his vivid and life-like descriptions of natural
scenery and natural objects, such as the Himâlaya, Mânasa lake,
ocean, the Ganges, etc, which have won for him the title of
"Poet of Nature" His descriptive powers are remarkable and
while describing nature he strikes us as a part and parcel of it.
One thing worth noticing in this connection is that he ascribes
human feelings and even actions to inanimate objects of nature,
which makes the scene very effective (See Kumara 5—17, 25)
This is known in English as "Pathetic fallacy" and, in this
respect, he may be compared to Wordsworth of English
literature.
Kâlidâsa has also succeeded in entering deep into human
heart. His observation of its workings and feelings is remark-
able and the manner in which he gives vent to them has added
much to his glory. In the words of Humboldt "Tenderness in
the expression of feelings and richness of creative fancy have
assigned to him his lofty place among the poets of all nations"
(See Kumara 5—1, 26, 67 and 58). His poetry is also profusely
interspersed with the statement of "Universal truths". (See
Kumara 5—45, 64, 75, 82 and 86). This shows his correct
reading and vast experience of the workings of human mind
and nature surrounding it.
Of figures of speech, simile is his favourite and his poetry
abounds in exceptionally charming use of it. (See Kumara
5—52, 61). But he does not seem to have neglected other
important figures of sense. Thus he is equally rich in the
employment of fancy (उत्प्रेक्षा) (see Kumara 5—25, 27 and 41),
*corroboration (अर्थान्तरन्यास) (see Kumara 5—5, 31 and 64) and
illustration (दृष्टान्त) (see Kumara 5—4), and one should not be

( 8 )
taken by surprise to see that he also uses the figures of sound
whenever suitable for his text and this he does with great skill.
Of the figures of sound alliteration ( अनुप्रास ) and repetition of
syllables ( यमक ) are most common Thus, one can say that
Kalidasa is a master of sense as well as of words
These qualities have won for him an unqualified praise from
Indian as well as foreign critics and poets In India he is
regarded as "The lord of poets" ( कविकुलगुरु )* and his poetry
as sweet as "honey-laden flowers "† He is an unrivalled poet‡
and his Shakuntala is the most charming of all dramas §
Sir William Jones, who was the first to translate the Sha-
kuntala into English, styles him as "the Indian Shakespeare'
Professer Lassen pays his tribute to him by calling him "the
brightest star in the firmament of Indian poetry," and the
following compliment for the Shakuntala from Goethe, the
great German poet is a well-known one —
"Wouldst thou the young year’s blossoms and the fruits
of its decline,
And all by which the soul is charmed, enraptured,
feasted, fed?
Wouldst thou the earth and heaven itself in one sole
name combine?
I name thee, O Shakuntalâ, and all at once is said"

• "भासो हासः कविकुलगुरुः कालिदासो विलासः ।" जयदेव ।
  † ‘निर्गतासु न वा कस्य कालिदासस्य सूक्तिषु ।
  प्रीतिर्मधुरसार्द्रासु मञ्जरीष्विव जायते ॥" बाणभट्ट ।
  ‡ "पुरा कवीनां गणनाप्रसङ्गे कनिष्ठिकाधिष्ठितकालिदासः ।
  अद्यापि तत्तुल्यकवेरभावादनामिका सार्थवती बभूव ॥
  § "काव्येषु नाटकं श्रेष्ठं तत्र रम्या शकुन्तला ।
  तत्रापि चतुर्थोऽङ्कस्तत्र श्लोकचतुष्टयम् ॥"

( 9 )
II THE KUMÂRASAMBHAVAM—THE POEM
The Kumârasambhavam is a Mahâkâvya. It is divided
into cantos, its hero is a divine personage,
(1) The Poem possessing the qualities of a Dhîrodâtta hero,
—General re- its predominant sentiment is शृङ्गार having
marks. करुण and शान्त as its accessories, its plot is
mythological, it contains descriptions of cities, season,
natural scenery, etc. Thus it fulfills the conditions laid down
in the definition of a Mahâkâvya.
The size of the Kumârasambhavam is a matter of con-
troversy. Some recensions of the poem consist of 17 cantos,
while some scholars say that it has 22 cantos. But the general
belief is that only the first eight (1—8) cantos are from the
pen of Kâlidasa and the rest were interpolated by some other
writer afterwards. Mallinâtha, the well-known commentator
has annotated only upto the eighth canto, and the main
incident of the poem, viz., the birth of Kumâra, only potential,
also has been reached in the eighth canto, so the story may
be regarded as complete after it. The contents of the later
cantos have little bearing on the main theme, and their style
also convincingly indicates that cantos 9—17 are not from
the pen of the writer of the first eight cantos.
For the theme of the Kumârasambhavam, Kâlidâsa has
chosen a story of divine beings, which provides him an oppor-
tunity to take the loftiest flights of imagination. The scene
of incidents is the grand Himâlaya, which, with its beautiful
valleys and slopes, affords an occasion for describing natural
scenes. The descriptions of Pârvatî, a young, beautiful maiden
full of yearning to win over Shiva, have been completed with
great skill. Her dismay at the defeat of Kâmadeva and the
following determination to win over Shiva by means of severe
austerities reveal that Kâlidâsa had powers to see into the

( 10 )
emotional side of Pârvatî's heart The honesty and sincerity
with which Pârvatî practises penance have been disclosed with
remarkable success, and the dialogue between an ascetic and
Pârvatî is one of the best pieces of its kind in Sanskrit poetry
Turning to the other incidents of the poem, no other poet would
have been able to do so much justice to the imaginary attack
of Kâma on Shiva, the victory of the latter upon the former
and the pitiable lamentation of the bereaved Rati All this
combined with the inherent qualities of Kâlidâsa's pen has
achieved for the poem a high place in the line of the Sanskrit
Mahâkâvyas, and one feels fully in concordance with Dr
Ryder in thinking that " there are passages in the birth of the
War-God of a piercing beauty which the world can never
let die "
Kâlidâsa has generally taken the theme of his poems from
the ancient stock of stories, the Meghadûtam
(2) The Source and the Mâlavikâgnimitram being the only
of the Poem exceptions Some of his works deal with
historical stories while others with mythological legends The
Kumârasambhavam belongs to the latter class as the story of
Shiva and Pârvatî is only a mythological one It is very
ancient and is mentioned in a number of Purânas, but none
of them has done so much justice to it as the Shiva Purâna.
Kâlidâsa also seems to have borrowed the plot for his poem
from this Purâna, but after borrowing the bare outlines, he,
with the help of his poetical genius and rich fancy has given
the story a new aspect.
As has been remarked the chief incident of the story is the
birth of Kumâra, an issue of Shiva and
(3) The Title Pârvatî, so the poem has been named as
"Kumârasambhavam" This name can be derived as कुमारस्य
(कार्तिकेयस्य सम्भवः ( उत्पत्ति ) कुमारसम्भवः, स एवभेद्ोपचारात् कुमारसंभवं
महाकाव्यम् । e, the birth of Kumâra, the same denotes the

11 )
poetry describing it by " the transference of an epithet," or,
कुमारस्य सम्भवः कुमारसम्भवः, स वर्णितोऽस्मिन् काव्ये तत् कुमारसम्भवम्
i. e., the poem in which the birth of Kumâra has been described
will be called Kumârsambhavam.
For the benefit of students we give below a summary of
(4) The Story. the story of the first eight cantos in English :-
Canto 1.—At the outset the reader meets with a graphic
description of Himâlaya, the lord of mountains. From his wife
Menâ he had a son and a daughter, named Mainâka and
Pârvatî respectively. The latter is mentioned to have been in
her previous birth Satî, the daughter of Daksha and the wife
of Shiva. Then follows a description of Pârvatî's childhood
and youth. When she is of marriageable age, her father is
informed by Nârada, the ever-travelling sage, that she would
be married to Shiva. Hearing this, Himâlaya sends his
daughter with her two friends to wait upon Shiva, who had
adopted the life of an ascetic after the death of his wife Satî.
Canto 2.—Simultaneously with this the gods were being
very much harassed in heaven by a demon, named Târaka, to
get rid of whom they go to Brahmâ. They relate all their
troubles to him and in reply are told that the only person who
could rescue the world from the clutches of this demon would
be the son of Shiva. At this the gods think of the marriage
of Shiva and are informed by Brahmâ that Pârvatî, who was
waiting upon Shiva, was the only suitable match for Shiva,
and that the son got through their marriage will serve their
purpose.
Canto 3.—Then to create the passion of love in the heart
of Shiva, Indra calls on Kâmadeva, who accompanied by Vasant
(the Vernal Season) as his helper, sets out on his mission. The
nature surrounding Shiva, all of a sudden, puts on the garb of
कु० सं०—२

( 12 )
the spring season and all its objects, animate or inanimate, are
filled with the passion of love. Shiva too for a while seems to
be yielding to it, but very shortly consciousness is awakened in
him. He holds Kâma responsible for the disturbance, and
being angry with him, reduces him to ashes by means of the
fire coming forth from his third eye. Suspecting danger,
Himâlaya takes away his daughter and the plan of the gods
seems to have been frustrated for the time being.
Canto 4.—Kâma's sad end causes great grief to his wife
Ratî who had accompanied him in his adventure. She weeps
bitterly and piteously and decides to breathe her last by
burning herself with the body of her beloved. But an
incorporeal speech pacifies her by giving an assurance that her
separation from Kâma was only temporary and that she would
again be united with him.
Canto 5.—Pârvatî, who had fallen in love with Shiva and
whom she wanted to marry, seeing her object undone by the
demise of Kâma, decides to win over her beloved by means of
severe penance. Her mother dissuades her but she turning a
deaf ear to her and taking permission of her father goes to a
peak of the Himâlaya to practise austerities. She repairs to
the place with her friends and commences her penance with all
seriousness. Taking the vow of asceticism, she puts on the
dress of ascetics, and. not minding the severity of elements,
continues to mortify her body. She becomes renowned as an
ideal ascetic and sages from far and near come to visit her.
One day she is called on by a young ascetic, who was none
but Shiva in disguise. First he pays a befitting tribute to the
pious life of Pârvatî and then asks her the reason of her
penance and knowing it to be to win over Shiva as her
husband, he begins to point out the various defects of Shiva,

( 13 )
such as his fondness for inauspicious things, his unknown
birth, his poverty, etc, and expects Pârvatî to give up her
determination But Pârvatî, true to her sincerity, gives a
suitable reply to all his arguments and gives a decisive proof
of her adherence to Shiva At this the visitor appears in his
real form and declares himself to be her slave This fills
Parvati's heart with great joy
Canto 6 —Being advised by Parvatî to procure her father's
approval, Shiva despatches the Seven Sages to Himâlaya for
the purpose They are received at his capital with proper
ceremony, and, on being asked by Himâlaya, they disclose
the object of their visit Himâlaya is too glad to hear it and
readily gives his consent to the proposal The sages after
fixing the day for marriage return to Shiva and preparations
for it are forthwith undertaken
Canto 7 —Due festivities begin at the capital of Himâlaya
and preliminary rites in connection with the marriage are per-
formed On the fixed day, Shiva with all his attendants and
gods reaches the place of Himâlaya, where the party is received
with due honour The procession of the bridegroom is enjoyed
with particular interest by the inhabitants of the town Then
the marriage ceremony is performed, and it being over the
guests depart, but Shiva stays to live there
Canto 8 —This canto opens with a description of love-
affairs of the newly married couple After staying at his
father-in-law's house for one month, Shiva with Pârvatî leaves
the place for a honeymoon trip, during which he pays visits to
various places of interest On reaching Gandhamâdana, he
selects it for his residence and lives there with his consort in
continuous pleasures One night they drink wine and spend
the night in connubial pleasures

( 14 )
(5) Summary of the Fifth Canto in Sanskrit.
शिवेन कामे भस्मसात्कृते पार्वती नितरां निराशा जाता, शिवप्राप्त्यर्थमुपायान्तरमपश्यन्ती च तपः कर्तुं निश्चितवती । तन्माता तु तां तपसो
निवर्त्तयामास, परं दृढनिश्चया स्वजनकस्याज्ञामादाय स्वसखीभिः सह गौरीशिखरं जगाम तत्र च वल्कलं, जटाः, मौञ्जीं, अक्षसूत्रञ्च गृहीत्वा
तपः प्रारब्धवती । तपःकाले सा भूमावेव शेते स्म, विलासादिरहिता बभूव, पादपमृगादिषु च प्रीतियुक्ता जाता । इतस्ततस्तस्या ख्यातिर्जाता
मुनयश्च तद्दर्शनार्थं तमाजग्मुः । परं यदा च तया सामान्यसमाधिना फलं न लब्धं तदा सा महत्तपः अकरोत् । ग्रीष्मर्तौ सा पञ्चाग्नि तपः कृतवती,
वर्षायामपि सा अनावृतस्थाने एव तस्थौ, हेमन्तर्तौ च रात्रीः शीतवायावपि जलमध्य एव न्यषसद् । अन्ते च तया वृक्षपत्राणामपि भक्षणं त्यक्तमतः सा
‘अपर्णा’ इति संज्ञामलभत । एवमेव कठिनं तपः कुर्वन्त्यां तस्यामेकदा तदाश्रमं ब्रह्मचारिवेषधारी कश्चित्साधुराजगाम । तया यथाविधि सत्कृतः स
पार्वतीं कुशलं पप्रच्छ तदनु च तदाज्ञामादाय तस्याः तपःकारणं ज्ञातुमिच्छितवान् । पार्वती तु स्वयं किमप्यकथयित्वा स्वसखीं प्रतिवक्तुमादिदेश ।
सा हि तस्मै पार्वत्याः हरवरणविषयकं निश्चयं तद्वियोगकृतां तदीयांदयनीयां दशाञ्च निवेदितवती । श्रुत्वेदं स तत्सत्यतां प्रति पार्वतीं पप्रच्छ, तयाऽपि
हरविषयकानुरागं प्रदर्श्य सोऽर्थः समर्थितः । तदा स शिवस्य अशुभवस्तुप्रीतिमत्त्वं, सर्पकङ्कणत्वं, गजाजिनधारणत्वं, श्मशानवासत्वं, चिताभस्मलेपनत्वं,
वृद्धोक्षवाहनत्वं, देहविरूपत्वं, निर्धनत्वञ्च कथयित्वा तां तन्निश्चयात् निवारयितुं चेष्टते स्म । परं पार्वत्या प्रत्येकदोषस्य परीहारः कृतः, ब्रह्मचारि-
कथिताः दोषाश्च शिवस्य गुणत्वेन प्रदर्शिताः । यदा च तया बटुः पुनरपि दोषकथनोत्सुको दृष्टस्तदा क्रुद्धा सा ततो गन्तुं प्रचक्रमे, परं ब्रह्मचारिवेष-
धारी शिवः स्वं रूपमास्थाय तां जग्राह आत्मानञ्च तस्यै समर्पितवान्, यच्छ्रुत्वा पार्वती गतक्लमा जाता ।

कुमारसम्भवम्
—:०:—
पञ्चमः सर्गः
—:०:—
तथा समक्षं दहता मनोभवं
पिनाकिना भग्नमनोरथा सती ।
निनिन्द रूपं हृदयेन पार्वती
प्रियेषु सौभाग्यफला हि चारुता ॥१॥
मलिनाथकृता सञ्जीवनी टीका:—तथेति । पर्वतस्यापत्यं
स्त्री पार्वती तथा तेन प्रकारेण अक्ष्णोःसमीपे समक्षं पुरतः ।
'अव्ययं विभक्तिसमीपसमृद्धि'—इत्यादिनाव्ययीभावः । मनोभवं
मन्मथ दहता भस्म कुर्वता पिनाकिना ईश्वरेण भग्नमनोरथा भग्नः
खण्डितो मनोरथ अभिलाषो यस्या सा तथोक्ता सती हृदयेन
मनसा रूपं सौन्दर्य निनिन्द । धिङ् मे रूपं यद्धरमनोहरणाय नाल-
मिति गर्हितवतीत्यर्थ । युक्त चैतदित्याह—तथा हि । चारुता
सौन्दर्य प्रियेषु पतिषु विषये सौभाग्यफला सौभाग्यं प्रियवाल्लभ्यं
फलं यस्याः सा तथोक्ता । सौन्दर्यस्य तदेव फलं यद्धर्त्तृ सौभाग्यं
लभ्यते । नोचेद्विफलं तदिति भावः । अस्मिन् सर्गे वंशस्थं वृत्तम्—
'जतौ तु वंशस्थमुदीरितं जरौ' इति लक्षणात् ।
PROSE ORDER :—पार्वती तथा समक्षं मनोभवं दहता पिना-