कुमारसम्भवम् (महाकवि कालिदास - संस्कृत मूल एवं हिन्दी अनुवाद)

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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 ॥ '

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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 ।

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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

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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-

( २ )
किना भग्नमनोरथा सती हृदयेन रूपं निनिन्द । ( तथा ) हि चारुता
प्रियेषु सौभाग्यफला ।
NOTES :—पार्वती-पर्वतस्य अपत्य स्त्री पार्वती ( पर्वत+अण्
+ङीप्) The daughter of Mountain, i e, the Himalaya
The suffix अण् is added in the sense of ' a descendant
of' by 'तस्य अपत्यम् ' पाणिनि ४ १ ६२ Then ङीप् is added
to make it feminine तथा—as described in the following
verse—'क्रोधं प्रभो संहर संहरेति यावद्गिरः खे मरुतां चरन्ति ।
तावत्स वह्निर्भवनेत्रजन्मा भस्मावशेषं मदनं चकार ।' कुमारसम्भव
३.७२• समक्षं—(सं+अक्षि+टच् ) in her presence It is an
अव्ययीभाव compound formed in the sense of nearness
( सामीप्य ) by 'अव्ययं विभक्तिसमीपसमृद्धि० ' पाणिनि २.१.६
अक्षि is made अक्ष by the addition of टच् by 'अव्ययीभावे
शरत्प्रभृतिभ्यः' पाणिनि ५.४.१०४ मनोभवं—मनसि भवम् ;
मनस भवः यस्य सः Mind-born, i e, Cupid दहता—
burning Instrumental singular of दहत्, Present
Participle of √दह् to burn पिनाकिना—( पिनाक+इनिः )
पिनाकः धनुः यस्य स पिनाकिन्, तेन । पिनाक being the name
of the bow of Shiva, he is known as पिनाकिन् । 'पिनाको-
ऽजगवं धनुः' इत्यमरः । भग्नमनोरथा—( √भञ्ज्+क्तः ) भग्नः
मनोरथ. यस्याः सा one whose wishes are disappointed
Cupid being turned to ashes, Parvati had lost hopes
of her union with Shiva सती—Feminine Present
Part of √अस् to be निनिन्द-कुत्सितवती blamed ;
cursed Perfect ( लिट् ) of √णिदि कुत्सायां third person,
singular. Parvati cursed her beauty because it failed

( ३ )
to win over Shiva हि-यतः because It is an indeclinable
used in various senses Cf 'हि पादपूरणे हेतौ विशेषेऽप्यव-
धारणे । प्रश्ने हेत्वपदेशे च सभ्रमासूययोरपि ॥' इति मेदिनीकोषः
चारुता—(चारु+तल्) चारोः भावः (सौन्दर्य) beauty To
form Abstract Nouns त्व or तल् is added by 'तस्य
भावस्त्वतलौ' पाणिनि ५।१।११६। प्रियेषु—as regards one's
beloved सौभाग्यफला—(सुभग+ष्यञ्) सुभागाया भावः
सौभाग्यं good fortune सौभाग्यं फलं यस्याः सा having good
fortune as result
'प्रियेषु सौभाग्यफला हि चारुता' is a sort of universal
saying meaning that beauty has for its fruit good
fortune as regards the beloved, i e, that alone is the
real beauty which attracts one's beloved and makes
him love it, otherwise it has no meaning, howsoever
praiseworthy it may be in the eyes of others
'प्रियेषु सौभाग्यफला०' is also read as 'प्रिये सुसौभाग्य-
फला०' in some recensions
The metre of this and the following stanzas upto
84 is वंशस्थ, which is defined as 'जतौ तु वंशस्थमुदीरितं
जरौ' i.e. ।ऽ। ऽऽ। ।ऽ। ऽ।ऽ Marks ऽ and । stand for long
and short syllables respectively
CHANGE OF VOICE :—पार्वत्या तथा समक्षं मनोभवं दहता
पिनाकिना भग्नमनोरथया सत्या रूपं हृदयेन निनिन्दे, (तथा) हि
चारुतया प्रियेषु सौभाग्यफलया (भूयते) ॥ १ ॥
HINDI TRANSLATION :—इस प्रकार आंखों के सामने ही

( ४ )
कामदेव को जलाने वाले शिव के द्वारा निष्फल इच्छा वाली पार्वती
ने अन्दर से (अपनी) सुन्दरता की निन्दा की, क्योंकि सुन्दरता
वही है जिसके द्वारा प्यारे का सुख मिले ॥ १ ॥
ENGLISH TRANSLATION :-Parvati, baffled in her
hopes by Shiva who, thus, burnt the mind-born
(Cupid) in her presence, cursed her beauty in her
heart: for beauty has for its fruit good fortune as
regards one's beloved. 1.
PURPORT IN SANSKRIT :- शिवेन मदनदहनं रत्या च
तत्कृते कृतं विलापं दर्शयित्वा कविकालिदासः शिवमभिमुखीकर्त्तुं
पार्वत्या कृतं तपो वर्णयितुं श्लोकेऽस्मिन् तपोबीजं गौरी-
नैराश्यं दर्शयति—यदा हि शिवेन स्वतृतीयनेत्राग्निना पार्वत्याः
प्रत्यक्षमेव कामः भस्मसात्कृतस्तस्याः शिवपरिणयविषयिका-
भिलाषा समूलं नष्टा। एवञ्च शिवेन नाकृष्टचित्तमात्मनः
सौन्दर्यं पार्वती निन्दति स्म, यतः वल्लभस्य प्रेम तज्जनितं
सुखञ्च सौन्दर्यस्य फलम्। यद्रूपं भर्त्रे न रोचते तन्निरर्थकमेव
इति मत्वा सात्मानं धिक्कृतवती ॥ १ ॥
इयेष सा कर्तुमवन्ध्यरूपतां
समाधिमास्थाय तपोभिरात्मनः।
अवाप्यते वा कथमन्यथा द्वयं
तथाविधं प्रेम पतिश्च तादृशः ॥ २ ॥
इयेषेति। सा पार्वती समाधिम् एकाग्रताम् आस्थाय अवलम्ब्य
तपोभिः वक्ष्यमाणनियमैः करणभूतैः आत्मनः स्वस्य अवन्ध्यरूपतां
सफलसौन्दर्यं कर्त्तुं इयेष इच्छति स्म। तपसा शिवं वशीकर्तुमुद्युक्ते-
त्यर्थः। अन्यथा ततोऽन्यप्रकारेण कथं तत् द्वयं अवाप्यते। किं

( ५ )
द्वयम् ? तथाभूता विधा प्रकारो यस्य तत् तथाविधं प्रेम स्नेह ।
येनार्द्धाङ्गहरा हरस्य भवेदिति भावः । तादृशः पतिश्च । यो मृत्युञ्जय
इति भावः । द्वयमेव खलु स्त्रीणामपेक्षितं यद्भर्तुर्वल्लभ्यं जीवद्भर्तृ-
कत्व चेति । तच्च तपश्चर्यैकसाध्यमिति निश्चिकायेत्यर्थः। अत्र मनुः—
‘ यद्दुष्करं यद्दुरापं यद्दुर्गं यच्च दुस्तरम् । तत्सर्वं तपसा प्राप्यं
तपो हि दुरतिक्रमम् ॥’ इति ।
PROSE ORDER —सा समाधिमास्थाय तपोभिः आत्मनः
अवन्ध्यरूपतां कर्त्तु इयेष । वा अन्यथा तथाविधं प्रेम तादृशः
पतिश्च ( इति ) द्वयं कथ अवाप्यते ।
NOTES :—समाधि—( सं + आ + √धा + किः ) Intense
contemplation ( of any particular object so as to
identity the contemplator with the object meditated
upon ) This is the eighth and last stage of Yoga.
Here it may also mean silence or a vow of intense
devotion ( for Shiva ), or, a rigid rule of conduct
आस्थाय—(आ + √स्था + क्त्वा—ल्यप् ) अवलम्ब्य taking re-
course to तपोभिः—by means of austerities, the observ-
ance of which warrants all sorts of success Cf The
shloka of Manusmriti quoted above by Mallinatha.
Decline तपस् as तपः, तपसी, तपांसि । तपः, तपसी, तपांसि ।
तपसा, तपोभ्याम् etc, अवन्ध्यरूपतां—न वन्ध्यं अवन्ध्यं Not
barren, fruitful अवन्ध्य रूपं ( सौन्दर्य ) यस्याः सा अवन्ध्य-
रूपा, तस्याः भावः अवन्ध्यरूपता, ताम् such as whose beauty
was fruitful or it may be taken as न वन्ध्य अवन्ध्यं, अवन्ध्यं
च तद्रूपं, अवन्ध्यरूपं तस्य भावः, ताम् a fruitful beauty इयेष—
Perfect Third Person Singular of √इषु इच्छायाम् to wish.

( ६ )
For purposes of the सार्वधातुक लकारs it becomes
इच्छ्, e.g., इच्छति (लट्) इच्छतु (लोट्) etc. अन्यथा—otherwise
i. e., without resorting to penances. तथाविधं–तथा तादृशी
विधा प्रकारो यस्य तत् of that kind. That is, such love by
which she could become Shiva’s wife. प्रेम—स्नेहः love.
Decline as प्रेम, प्रेमणी-प्रेम्णी, प्रेमाणि । प्रेम, प्रेमणी-प्रेम्णी,
प्रेमाणि । प्रेम्णा, प्रेमभ्यां, प्रेमभिः । etc. तादृशः -( तत् + √ दृश्
+कञ्) of that sort, i. e., like Shiva, who is superhuman
and who is known as मृत्युञ्जय, conqueror of death.
According to Mallinatha women aspire for two things
with regard to their husbands, viz., first, undiminished
and constant love from them and secondly, longivity
for their husbands. These two things are suggested
respectively by तथाविधं प्रेम and तादृशः पतिः । अवाप्यते—
( अव + √ आप् + य + लट् ) लभ्यते is obtained. It is Passive
Pres. ( लट् ) Third Person Singular.
Some editions read अवन्ध्यकामतां for अवन्ध्यरूपतां
and तत् कथं for वा कथं ।
CHANGE OF VOICE :—तया समाधिमास्थाय तपोभिरात्म-
नोऽवन्ध्यरूपता कर्तुं ईषे ; वा अन्यथा तथाविधं प्रेम तादृशं पतिं
च द्वयं कथं अवाप्नोति ? ॥ २ ॥
HINDI TRANSLATION :—उसने ( पार्वती ने ) ध्यान लगा
कर तपस्या के द्वारा अपने सौन्दर्य को सार्थक करने की धारणा
की। नहीं तो उस प्रकार का स्नेह और वैसा स्वामी और किसी
प्रकार से कैसे मिल सकता है ? ॥ २ ॥
ENGLISH TRANSLATION :—She wished to make her

( ७ )
beauty fruitful by austerities, having recourse to con-
templation; how can otherwise be secured the two
things—such love and a husband of that sort? 2.
PURPORT IN SANSKRIT :—स्वरूपस्य निष्फलतामनुभूय
पार्वती सौन्दर्यं शिवाकर्षणे सफलीकर्त्तुं तप आचरितुं निश्चित-
वती । उपायान्तरमपश्यन्ती तपसा शिवमभिमुखीकर्त्तुमुद्यताभूदि-
त्यर्थः । कथं तपः साहाय्यं कामयाञ्चकारेति विषये कविः कथयति—
महादेवसदृशो वल्लभो यो हि मृत्युञ्जयः कथ्यते, तादृशोऽनुरागश्च
येन सा शिवस्य पत्नी स्यात् तपस्यां विना कथं संभवति । अन्य-
प्रकारेण दुर्लभं वस्तु तपसैव प्राप्यत इत्यर्थः ॥ २ ॥
निशम्य चैनां तपसे कृतोद्यमां
सुतां गिरीशप्रतिसक्तमानसाम् ।
उवाच मेना परिरभ्य वक्षसा
निवारयन्ती महतो मुनिव्रतात् ॥ ३ ॥
निशम्येति । मेना मेनका च गिरीशप्रतिसक्तमानसां हरासक्तचित्तां
तपसे तपश्चरणाय कृतोद्यमां कृतोद्योगां सुतां निशम्य श्रुत्वा एनां
पार्वतीं वक्षसा परिरभ्य आलिङ्ग्य महतः मुनिव्रतात् तपसः निवा-
रयन्ती उवाच । मुनिव्रतादित्यत्र यद्यपि मुनिव्रतस्य मेनकाया
अनीप्सितत्वात् ‘वारणार्थानामीप्सितः’ इति नापादानत्वं तथापि
कृतोद्यमामिति मानसप्रवेशोक्तत्वात् ‘ध्रुवमपायेऽपादानम्’ इति
अपादानत्वमेव स्यात् । यथाह भाष्यकारः—‘यच्च मिथ्या संप्राप्य
निवर्त्तते तच्च ध्रुवमपायेऽपादानम् इति प्रसिद्धम्’ ॥ इति ॥
PROSE ORDER :—मेना च गिरीशप्रतिसक्तमानसां एनां सुतां
तपसे कृतोद्यमां निशम्य वक्षसा परिरभ्य महतः मुनिव्रतात् निवार-
यन्ती उवाच ।

( ८ )
NOTES :—मेना—Name of the wife of Himalaya and
the mother of Parvati. She is also known as मेनका।
गिरीशप्रतिसक्तमानसाम्। गिरीश—( गिरि+ईश ) गिरेः ईशः
the lord of the mountain ( Kailasha), i. e., Shiva. A
name of Shiva. Cf. ‘ गिरीशो मृडः ’ इत्यमरः। प्रतिसक्त—
( प्रति+√ सञ्ज्+क्तः) अनुरक्त devoted or attached to.
गिरीशे प्रतिसक्तं मानसं यस्याः सा whose mind was fixed
upon Shiva. एनां—इमाम् ‘द्वितीयाटौस्स्वेनः’ । पाणिनि२.४.३४.
optionally prescribes the substitution of एन for इदम्
and एतद् in Acc. Instrumental, Sing. and Genitive
and Locative Duals when there is अन्वादेश i. e., their
proper forms have already been used in a previous
clause. तपसे—For austerities. Dative Sing. of तपस्,
The Dative is used by ‘ क्रियार्थोपपदस्य च कर्मणि
स्थानिनः।’ पाणिनि २.३.१४. i. e., the object governed by
an Infinitive Mood not actually used but implied is
put in the Dative. Here तपसे is equal to तपः कर्तुम्।
कृतोद्यमां—कृतः उद्यमो यया सा तां who was determined or
resolved ( to practise penances ). निशम्य—आकर्ण्य
having heard. वक्षसा—by her bosom. Decline as
वक्षः, वक्षसी, वक्षांसि । वक्षः, वक्षसी, वक्षांसि । परिरेभ्य—( परि
+√ रभ्+ल्यप् ) आलिङ्ग्य having embraced. Absolutive
form of √रभ् ( रभस्ये ) to act rashly or to long for ;
with परि it means ‘ to embrace ’ and with आ ‘ to
begin ’. मुनिव्रतात्—मुनेः व्रतात् मुनिव्रतात् the vow of
ascetics, i. e., penances. Here the Ablative Case should

( ६ )
have been enjoined by, ‘वारणार्थानामीप्सितः’ पाणिनि
१ ४ २७। ६, from which one is kept off is also put in
the Ablative, but according to Mallinath as penance
is not what was desired ( ईप्सित् ) by Mena, so this rule
is not applicable in this case and the Ablative has been
used on account of ध्रुवमपायेऽपादानम्’ पा० १ ४ २४ । ६,
the noun from which the motion, real or conceived,
takes place is put in the Ablative case But according
to some other commentators the former rule is
applicable in the present case निवारयन्ती--( नि + √वृ +
णिच् + शत्तृ + ङीप् ) warding off उवाच—said Perfect
of √ ब्रू or √वच् to speak Some edition give गिरीशं
प्रतिसक्त० for गिरीशप्रतिसक्त०
CHANGE OF VOICE :—मेनया गिरीशप्रतिसक्तमानसामेनां
सुतां तपसे कृतोद्यमां निशम्य वक्षसा परिरभ्य महतो मुनिव्रतात्
निवारयन्त्या ऊचे ॥ ३ ॥
HINDI TRANSLATION :—मेना, महादेव में आसक्त चित्त
वाली उस ( अपनी ) पुत्री को तप करने को उद्यत सुन कर,
( उसे ) छाती से लगाकर कठिन तप ( करने ) से रोकती हुई,
बोली ॥ ३ ॥
ENGLISH TRANSLATION —Mena, hearing that her
daughter, who had set her heart on Shiva, was deter-
mined to practise penance, clasped her to her bosom,
and, warding her off from the great vow of ascetics,
spoke to her ) 3
PURPORT IN SANSKRIT :—यदा हि पार्वत्याः जननी मेना-
श्रृणोत् यन्महादेवेऽत्यन्तमनुरक्ता पार्वती तपस्यया तमनुनेतुं कृत-

( १० )
निश्चया तदा सा महद्दुःखमवाप, पार्वतीं च स्वोरस्यालिङ्ग्य
तपोविषयकं निश्चयं त्यक्तुमुपदिदेश ॥ ३ ॥
मनीषिताः सन्ति गृहेषु देवताः
तपः क्व वत्से क्व च तावकं वपुः।
पदं सहेत भ्रमरस्य पेलवं
शिरीषपुष्पं न पुनः पतत्रिणः ॥ ४ ॥
सामान्यनिषेधमुक्त्वा विशेषनिषेधमाह । मनीषिता इति । हे
वत्से । मनस ईषिता इष्टाः मनीषिताः । शकन्ध्वादित्वात् साधुः ।
देवताः शर्वादयः गृहेषु सन्ति । त्व तान्नाराधयेतिशेषः । तपः क्व ।
तवेदं तावकम् । ' युष्मदस्मदोरन्यतरस्यां खञ् ' इत्यण्प्रत्यय ।
' तवकममकावेकवचने ' इति तवकादेशः । वपुः च क्व । तथा हि
पेलवं मृदुत्वं शिरीषपुष्पं भ्रमरस्य भृङ्गस्य पदं पदस्थिति सहेत ।
पतत्रिणः पुनः पक्षिणस्तु पदं न सहेत । अतिसौकुमार्याद्दिव्योप-
भोगयोग्यं ते वपुर्न दारुणतपः क्षममित्यर्थः । अत्र दृष्टान्ता-
लङ्कारः ॥ ४ ॥
Prose Order :—वत्से, मनीषिताः देवताः गृहेषु सन्ति,
तपः क्व, तावकं वपुश्च क्व ? पेलवं शिरीषपुष्पं भ्रमरस्य पदं सहेत,
पतत्रिणः पुनः न ॥ ४ ॥
Notes :—मनीषिताः—मनसः ईषिताः मनीषिताः desired;
wished , such as the mind would long for. ईषिताः is
Past Part. from √ ईष् गतिहिंसादर्शनेषु ' to see ' Here the
Compound is of मनस् and ईषित, in which the final
vowel with the following consonant ( अस् ) of मनस्
merges into the following word according to ' शकन्ध्वा-