महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

UNIVERSITY OF TORONTO
3 1761 01008654 4

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THE HARVARD ORIENTAL SERIES
VOLUME TWENTY-ONE

HARVARD ORIENTAL SERIES
EDITED
WITH THE COÖPERATION OF VARIOUS SCHOLARS
BY
CHARLES ROCKWELL LANMAN
PROFESSOR AT HARVARD UNIVERSITY; HONORARY MEMBER OF THE ASIATIC SOCIETY OF
BENGAL, THE SOCIÉTÉ ASIATIQUE, THE ROYAL ASIATIC SOCIETY (LONDON), AND
THE DEUTSCHE MORGENLÄNDISCHE GESELLSCHAFT; CORRESPONDING
MEMBER OF THE ROYAL SOCIETY OF SCIENCES AT GÖTTINGEN, THE
IMPERIAL ACADEMY OF RUSSIA, AND THE INSTITUTE OF FRANCE
Volume Twenty-one
CAMBRIDGE, MASSACHUSETTS
Harvard University Press
1915

RAMA'S LATER HISTORY
OR
UTTARA-RAMA-CHARITA
AN ANCIENT HINDU DRAMA BY BHAVABHUTI
CRITICALLY EDITED IN THE ORIGINAL SANSKRIT AND PRAKRIT
WITH AN INTRODUCTION AND ENGLISH TRANSLATION
AND NOTES AND VARIANTS, ETC., BY
SHRIPAD KRISHNA BELVALKAR
GRADUATE STUDENT OF HARVARD UNIVERSITY
ASSISTANT TO THE PROFESSOR OF SANSKRIT AT DECCAN COLLEGE
POONA, INDIA
PART 1: INTRODUCTION AND TRANSLATION
CAMBRIDGE, MASSACHUSETTS
Harvard University Press
1915

The volumes of this Series may be had, in America, by addressing Messrs. GINN
AND COMPANY, at New York or Chicago or San Francisco, or at the home-office,
29 Beacon Street, Boston, Mass.; in England, by addressing Messrs. GINN & Co.,
9 St. Martin's Street, Leicester Square, London, W.C.; and in Continental Europe, by
addressing Mr. Otto Harrassowitz, Leipzig.—For the titles and descriptions and prices,
see the List at the end of this volume.

[Seal: ACADEMIAE HARVARDIANAE IN NOV ANG SIGILLVM CHRISTO ET VERITAS ECCLESIAE]

PK
3791
B58 U8
1915
pt. 1

[Stamp: LIBRARY / JUN 22 1964 / UNIVERSITY OF TORONTO / 908648]

PRINTED FROM TYPE AT THE
UNIVERSITY PRESS, OXFORD, ENGLAND
BY HORACE HART, M.A.
PRINTER TO THE UNIVERSITY

First edition, 1915, One Thousand Copies

महाकविश्रीभवभूतिप्रणीतम्
उत्तररामचरितम्
तत्र
उपोद्धातानुवादादिसंवलितम्
प्रथमं दलम्
बिल्वावलिकरोपनाम्ना कृष्णात्मजेन श्रीपादाह्वेन
हारवर्डविश्वविद्यालयनिर्देशेन
प्रकाशतां नीतम्
संवत् १९७१

TRANSLATION OF THE DEDICATORY STANZA
That nectar of learning which [by your favour] I drank day after day
for two years in succession—to make for it an adequate return is not
indeed my part nor have I the power; and yet, this wreath of the three-
petaled bilva-leaves your pupil Bilvāvalikara lays here at your feet in
loyal regard.
Bilvāvalikara is a Sanskritization of the name Belvalkar, literally, one who has in his
hand a wreath of bilva. The bilva is a ternate or a compound leaf of three leaflets (dala),
to which the three parts (dala) of this work (Translation, Text, Notes) are here likened
in poetic word-play. The floret on the Sanskrit title-page is meant to represent the bilva.

TO
CHARLES ROCKWELL LANMAN
MY HONOURED TEACHER
निपीतं यद्विद्यामृतमनुदिवं वर्षयुगलं
न तत् कामं प्रत्यर्पयितुमधिकारो न विभवः ।
तथापि त्वद्भक्त्या त्रिदलयुतबिल्वावलिमिमां
निधत्तेऽन्तेवासी पुरत इह बिल्वावलिकरः ॥

The three parts of this work upon Rāma's Later History form volumes
21 and 22 and 23 of the Harvard Oriental Series. The contents of the
three parts are distributed as follows:
Part 1: Introduction and English Translation.
Part 2: Text in Sanskrit and Prākrit; Indexes of stanzas, metres, &c.;
Parallel passages; Extracts from sources; Prākrit glossary.
Part 3: Critical account of the critical apparatus; Notes, exegetic,
critical, aesthetic, &c.; Variants; Appendixes.
Part 1 was printed at the University Press, Oxford, England.
Part 2 was printed at the Nirṇaya Sāgara Press of Bombay, India. A number of
copies of the Text alone, for use in the colleges and universities of India, will be pub-
lished at a nominal price. Applications may be made to Professor Belvalkar, Deccan
College, Poona, India.
The work upon Part 3 was far advanced at the time of Dr. Belvalkar's departure
from Harvard in June, 1914, on his way home to India. His manuscript material for
Part 3 and his books were dispatched by the steamship Fangturm, which is now (June,
1915) interned at a port of the Balearic Islands. That material included his collation-
sheets, which give the readings of the various codices of this drama. On account of the
great difficulty of getting those codices together again, it seems best to await the release
of the steamship.

CONTENTS
PAGE
NOTE BY THE GENERAL EDITOR OF THIS SERIES . . . xiii
A METHOD FOR CITING SANSKRIT DRAMAS. PROPOSED BY THE
GENERAL EDITOR
Method of citing the metrical parts of a play . . . . xvii
Method of citing the prose parts of a play . . . . xvii
Examples of the use of this method . . . . xvii
Appeal to future editors to use this method . . . . xvii
Importance of a good method of citation . . . . xviii
Two aspects of the method: logical character, typographical expression . xviii
Logically essential features of a good method . . . . xviii
Canon 1: It should utilize the logical divisions of the text . . xix
Canon 2: The numbering should start anew with each division . . xix
Discord results from numbering stanzas in one sequence for entire play . xix
Canon 3: The citations should be precise . . . . xix
Canon 4: They should apply at once to text and translation and notes . xx
Canon 5: And be such as to need little change for new editions . . xx
The elements of the citations: There should be: xxi
For verse and prose alike, a first element, an act-number . . . xxi
For verse, a second element, a stanza-number . . . xxi
And, if need be, a third element, namely, a letter (a, b, c, d) . . xxi
For prose, a second element, the number of the last preceding stanza . xxii
And always a third, an Arabic number, to show the subdivision . . xxii
The subdivision of the prose passage should be the printed line . . xxiii
Typographical devices for making this system usable . . . xxiv
Additional device for making this method easy: corner-citations . . xxiv
Minor typographic details . . . . . xxv
Inconveniences resulting from lack of system or bad system . . xxv
Lack of system, good or bad . . . . . xxv
Citation by pages and multiple sequences of pagination . . . xxv
Combinations of bad system and systemlessness . . . xxvi
Examples from editions of the Mṛichchhakaṭika . . . xxvi
b [H.O.S. 21]

Contents [x
PAGE
PREFACE . . . . . . . . . . . xxix
INTRODUCTION . . . . . . . . . . xxxv
Bhavabhūti, his life, and his date . . . . . . . . xxxv

1. Bhavabhūti's account of himself . . . . . . . xxxv
2. His family-home, Padmapura in the Berars . . . . . . xxxvi
3. Its identity with Padmāvatī (of the Mālatī-Mādhava) unproved . . xxxvi
4. Further biographical details . . . . . . . . xxxvii
5. Bhavabhūti's personality as inferred from his writings . . . xxxviii
6. His date: traditional story about Kālidāsa and Bhavabhūti . . xxxix
7. His works certainly influenced by Kālidāsa . . . . . xl
8. Bhavabhūti probably later than Bāṇa (about A. D. 610) . . . xli
9. Bh.'s identity with 'a pupil of Kumārila' (say 700–750) unproved . xli
10. Bhavabhūti certainly earlier than Rājaśekhara (about A. D. 900) . xlii
11. Date of Yaśovarman of Kanauj as determining that of Vākpatirāja . xliii
12. Date of Vākpatirāja's Gaüḍavaho not far from A. D. 736 . . . xliii
13. Bhavabhūti probably a little earlier than Vākpatirāja . . . xliv
14. Bhavabhūti probably flourished near the close of the seventh century . xlvi
    Bhavabhūti's works . . . . . . . . . . xlvi
15. Lost works of Bhavabhūti . . . . . . . . xlvi
16. Bhavabhūti's extant works . . . . . . . . xlvii
    Excursus: History of the Rāma-story . . . . . . . xlvii
17. Vālmīki's Rāmāyaṇa: its present form . . . . . . xlvii
    18, A to 18, Q. Rāma-story as given in Vālmīki's Rāmāyaṇa . . xlviii
18. Vālmīki's Rāmāyaṇa not the sole source of our play . . . lv
19. Three forms of the Rāma-story in the Padma-Purāṇa . . . lv
20. The later history of Rāma as given by the Padma-Purāṇa . . lvii
21. Sources of the Rāmāyaṇa: historical element . . . . lviii
22. The Rāmāyaṇa a blending of history and allegory . . . . lix
23. Later modifications of the Rāma-story: 1. Buddhistic form . . lx
24. Later modifications of the Rāma-story: 2. Jain forms . . . lx
    26, A to 26, F. Later modifications of the Rāma-story: 3. Hindu forms . lxi
    Bhavabhūti's early plays: Mahāvīra-charita, Mālatī-Mādhava . . lxiii
25. The Mahāvīra-charita . . . . . . . . lxiii
26. Bhavabhūti's departure from the Rāmāyaṇa . . . . lxiv
27. Technical significance of these changes . . . . . lxv
28. Merits of the Mahāvīra-charita . . . . . . . lxvi
29. Its defects . . . . . . . . . . lxvi

xi] Contents
PAGE
32. The Mālatī-Mādhava . . . . . . . lxvii
33, A to 33, G. Analytic statement of its plot . . . . lxviii
34. Criticism of its plot . . . . . . lxxi
35. Technique of the Mālatī-Mādhava . . . . . lxxiii
36. Its advance over the Mahāvīra-charita . . . . lxxiii
37. Defects of the Mālatī-Mādhava . . . . . lxxv
The present play : Uttara-Rāma-charita . . . . . lxxvi
38. Transition to the Uttara-Rāma-charita . . . . lxxvi
39. Special features of the Uttara-Rāma-charita . . . lxxvii
40. Technical perfection of the opening act . . . . lxxviii
41. The Uttara-Rāma-charita as a psychological study . . . lxxx
42. The Recognition-scene in the sixth act . . . . lxxxii
43. Other merits of the play . . . . . lxxxii
44. Defects of the play . . . . . . lxxxiv
45. Some common characteristics of the three plays . . . lxxxv
Bhavabhūti as a poet . . . . . . lxxxvi
46. His shortcomings . . . . . . lxxxvi
47. His merits . . . . . . . lxxxvii
48. Conclusion . . . . . . . lxxxviii
TRANSLATION OF THE PLAY UTTARA-RĀMA-CHARITA . . 1
Dramatis personae . . . . . . . 2
Main characters . . . . . . . 2
Interlocutors . . . . . . . 3
Synoptic analysis of the play . . . . . . 4
Prologue . . . . . . . . 4
Synoptic Analysis of Acts i to vii . . . . . 5
Translation of the play . . . . . . 15
Translation of Act i, The Picture-gallery . . . . 15
Translation of Act ii, Daṇḍakā revisited . . . . 31
Translation of Act iii, The Shadow . . . . . 41
Translation of Act iv, Kausalyā and Janaka . . . . 60
Translation of Act v, Princes in combat . . . . 73
Translation of Act vi, Princes recognized . . . . 82
Translation of Act vii, Reunion . . . . . 94