--o)0(o--

स तत्र मंचेषु मनोज्ञ वेषान्
सिंहासनस्थानुपचारवत्सु |
वैमानिकानां मरुतामपश्य
दाकृष्टलीलान्नरलोकपालान् || 6-1

स तत्र मंचेषु मनोज्ञ वेषान् सिंहासनस्थान् उपचारवत्सु वैमानिकानां मरुताम् अपश्यत् आकृष्ट लीलान् नर लोक पालान्

६-१. सः= he that prince aja; तत्र= there, in स्वयम्वर मण्डप - the hall of bride's personal selection of bridegroom; उपचारवत्सु= राज उपचार उपकरण युक्तेषु - which is having paraphernalia for attending kings; मंचेषु= on such podium; सिंहासनस्थान्= on thrones - befitting to visiting kings; मनोज्ञ वेषान्= charmingly, decorated; वैमानिकानां= those who travel in celestial aircrafts; मरुताम्= of such gods; आकृष्ट=आत्त= drwan, permeated; लीलान्= सौभाग्यान्=[celestials'] magnificence; आकृष्त वैमानिक मरुल्लीलान् - इति अर्थः= who have pre-empted the magnificence of gods who travel in celestial aircrafts; नर लोक पालान्= human, world, rulers; सापेक्षत्वात् अपि गमकत्वात् समासः= mundane kings who looked ultramundane; अपश्यत्= [ prince aja ] has seen.

In the hall of स्वयम्वर prince aja has seen other princes and kings who have come as suitors of princess इन्दुमति sitting on befitting thrones placed on a stepped podia, where apparatus required for the comforts of visiting kings, like fanning instruments, refreshment liquors etc are provided, and those mundane princes have decorating themselves charmingly and looked ultra mundane as though they have preempted the magnificence of celestials whose wont is to travel in aircrafts. [6-1]

The prince prince aja saw there the rulers of the human world of agreeable attire, seated on thrones over decorated dais, and exhi­bited the charms of the gods who wandered about in balloons. - N

Mark the peculiar construction - the grace, लील, of the मरुतः and hence the compound ought to have been something like आकृष्त मरुल्लीलान्, or there ought have been no compound at all; but instances like the present one are very common, see रतेर्ग्ऱ्^हीत्वा in the next stanza or देवदत्तस्य गुरुकुलम्, which are explained as सापेक्षत्वात् अपि गमकत्वात् समासः - KMJ

रतेर्गृहीतनुनयेन कामम्
प्रत्यर्पितस्वांगमिवेश्वरेण |
काकुत्स्थमालोकयतां नृपाणाम्
मनो बभूवेन्दुमतीनिराशम् || 6-2

रतेः गृहीत अनुनयेन कामम् प्रति अर्पित स्व अंगम् इव ईश्वरेण काकुत्स्थम् आलोकयतां नृपाणाम् मनः बभूव इन्दुमती निराशम्

6-2 . रतेः= of रति-देवि - consort of मन्मथ; गृहीत अनुनयेन =अच्चेप्तेद्, ब्य् अप्पेअसेमेन्त् - षिव ओन् अच्चेप्तिन्ग् ऱति-देवि'स् सुप्प्लिचतिओंस् तो हिम् तो रे-चोन्फ़ेर् फ्य्सिचल् बोद्य् तो मन्मथ; ईश्वरेण= by Ishvara, shiva; प्रति अर्पित= in return, given - restored; स्व अंगम्= his own, body - manmatha's winsome personality; कामम् इव [स्थितम्]=ळोवे-गोद्, अस् इफ़्, [व्हो इस् स्तयिन्ग् थेरे, अप्पेअरिन्ग्]; काकुत्स्थम्= one born in kakutstha dynasty, king prince aja;आलोकयतां= while seeing at him - at prince aja;नृपाणाम्= [other suitor] kings'; मनः= heart; इन्दुमती= in princess इन्दुमति; निर् आशम्= without, hope; बभूव= they [hearts] became; इन्दुमती सत् पतिम् एनम् प्रिन्चे अजम् विहाय न अस्मान् वरिष्यति इति निश्चिक्युः इति अर्थः, सर्वातिश्गय सौन्द्र्यम् अस्या इति भावः.

When the other suitor-kings have looked at prince - prince aja of ककुत्स्थ lineage their hearts became hopeless of winning the hand of princess इन्दुमति in the self-selection of her bridegroom, because the appearance of prince prince aja is more like lovegod मन्मथ, when he was with his own winsome physique, which physique had been burnt by shiva, but restored with invisibility by shiva on accepting the supplication of रति-देवि, the wife of मन्मथ, for such restoration. [6-2]

वैदर्भ निर्दिष्टमसौ कुमारः
कॢप्तेन सोपानपथेन मंचम् |
शिलाविभन्गैः मृगराज शाबः
तुंगम् नगोत्संगमिवारुरोह || 6-3

वैदर्भ निर्दिष्टम् असौ कुमारः कॢप्तेन सोपान पथेन मंचम् शिला विभन्गैः मृग राज शाबः तुंगम् नग उत्संगम् इव आरुरोह

6-3 . असौ कुमारः= this, young man - prince aja , the prince; वैदर्भ= vidarabha's king, by Bhoja; निर्दिष्टम्= indicated; मंचम्= podium; कॢप्तेन= su vihitena=well crafted; सोपान= stairs [ सोपान=सह=विद्यमानः; उप=उपरि; आनः= गमनम्]; पथेन= by path - by a flight of; मृग राज शाबः= animals', king's, son - lion cub - bigger than mere cub; शिला विभन्गैः=with boulders, preset with - straticulated; तुंगम्= to heights - of mountain / of podium; नग उत्संगम् इव=ओन् mountain's, peak, as with; आरुरोह= ascended.

This young man prince prince aja ascending a flight of well-crafted stairs reached a podium as ushered by bhoja, the king of vidarbha, as with a cub of lion ascending straticulated boulders to reach heights on a mountaintop. [6-3]

. Here lion cub - u.mA; prince aja - u.me; ascending - sA.dha; and this ascending is bilateral - u. q; anugAmidharma; flight of stairs - bimba; flight of boulders - pratibimba; podium - bimba; mountaintop - pratibimba; well-crafted stairs in palace / beautifully stratified boulders on mountain - ubhaya anvayi; anugAmitva - bimba prati bimba - bhAva - shleSa mishraNa .

परार्थ्यवर्णास्तरणोपपन्नमासेदिवान् रत्नवदासनम् सः |
भूयिष्टमासीदुपमेय कांति-
र्मयूर पृष्टाश्रयिणा गुहेन || 6-4

परार्थ्य वर्ण आस्तरण उपपन्नम् आसेदिवान् रत्नवत् आसनम् सः भूयिष्टम् आसीत् उपमेय कांतिः मयूर पृष्ट आश्रयिणा गुहेन

६-४. परार्थ्य= श्रेष्टा=the best; वर्ण= नील पीत आद्यओः=variegated colours; आस्तरण= कम्बल आदिना=with upholstery; उपपन्नम्= सन्गतम्=having, decorated with; रत्नवत्= रत्न खचितम्=studded with jewels; आसनम्= a high seat; आसेदिवान्= अधिष्टितवान्=one who assumed seat, sitting; सः= such as he is - prince aja; मयूर पृष्ट= peacock's, on the back of; आश्रयिणा= one who is biding, mounted on peacock; गुहेन= with कार्तिकेय, कुमार; भूयिष्टम्= superlative of बहु - muchly, significantly; उपमेय कांतिः आसीत्= comparable, with resplendence, he [ prince aja ] became.

On assuming a throne studded with jewels and upholstered with upholstery containing variegated colour work, prince prince aja has assumed certain resplendence significantly comparable to that of कुमर when he is mounted on the back of peacock. [6-4]

The idea is indeed very happy . A peacock with his feathers resembles a work studded with jewels. The peacock has been celebrated for its beauty and used as a model for seats. Thus, the celebrated peacock throne of Delhi. - KMJ.

Of course, this throne is shifted to London during British Raj. परार्थ्यवर्णास्तरणोपपन्न-रत्नखचितासनम् - bimba; back of peacock - pratibimba; आसेदिवान्, आश्रयी - different words are used for two sitters; hence this is vastu prati vasu nirUpaNa . Hence this is बिम्ब प्रतिबिम्ब, वस्तु प्रति वस्तु उपम is there.

तासु श्रिया राज परंपरासुप्रभा विशेषोदय दुर्निरीक्ष्यः |
सहस्रधा.आत्म व्यरुचद्विभक्तः
पयोमुचाम् पंक्तिषु विद्युतेव || 6-5

तासु श्रिया राज परंपरासु प्रभा विशेष उदय दुर् निरीक्ष्यः सहस्रधा आत्म व्यरुचत् विभक्तः पयः मुचाम् पंक्तिषु विद्युत् इव

६-५. तासु राज परंपरासु= in those, suitor-kings, rows - on podium; श्रिया= with [a particular] refulgence; पयः मुचाम् पंक्तिषु= water, releasers, among rows of - among rows of black clouds; विद्युतेव=विद्युता + इव= lightning, as with; सहस्रधा= thousand fold - innumerably; विभक्तः= distributed itself - streaks of lightning; प्रभा विशेष उदय= refulgence, peculiar property of, causation - in the wake of; दुर् निरीक्ष्यः= impossible, to look at; आत्म= श्रियः स्वरूपम्=personified Divine Refulgence, lady grandeur; व्यरुचत्= shone forth; तस्मिन् समये प्रत्येकम् संक्रान्त लक्ष्मी कतया तेषाम् किम् अपि दुरासदम् तेजः प्रादुरासीत् - इत्यर्थः.

Lady Grandeur's particular refulgence shone forth among the rows of suitor kings distributing itself among each of the kings, as with one lightning distributing itself into innumerable streaks among clouds, and in the wake of such peculiarity of Divine Refulgence it has become impossible to stare at them. [6-5]

Here streaks of lightning - u.mA; Divine Refulgence - u.me; distributing itself to many clouds / kings - sA.dha; rows of kings - bimba; rows of clouds - pratibimba; अनुगामित्व - बिम्ब प्रति बिम्ब मिश्र्ण .

तेषाम् महार्हासनसंस्थितानाम्
उदारनैपथ्यभृताम् स मध्ये |
रराज धाम्ना रघुसूनुरेव
कल्पद्रुमाणामिव पारिजातः || 6-6

तेषाम् महा अर्ह आसन संस्थितानाम् उदार नैपथ्य भृताम् स मध्येरराज धाम्ना रघु सूनुः एव कल्प द्रुमाणाम् इव पारिजातः

6-6 . महा अर्ह= most valuable; आसन संस्थितानाम्= on seats, among those who are sitting; उदार= ujjvala=gorgeously; नैपथ्य= वेष=with getups; भृताम्= having such getups; तेषाम् मध्ये= their [other kings,] in the midst of; कल्प द्रुमाणाम् [मध्ये]=कल्प - celestial, trees, [among]; पारिजातः इव= पारिजत plant, like; सः रघु सूनुः एव= he, that raghu's, legatee, alone; धाम्ना= तेजसा=with his own resplendence; [if it is भूम्ना=exceptionally]; रराज= shone forth.

In the midst of those suitor kings who are in gorgeous getups and sitting on most valuable seats, prince aja , the legatee of emperor रघु, alone shone forth with his resplendence as with पारिजात tree among the other celestial trees. [6-6]

In the previous stanza we are lead to gather that the suitor princes shone by the borrowed lustre of श्री; while raghu's legatee shone by his own lustre; he was so impressive . Reg. trees, accurately speaking कल्प द्रुम is only one tree among five celestial trees - मन्दार, पारिजातक सन्तान, कल्प-व्रिक्ष, हरि-चन्दन, but the plural is here used in the generic sense. This पारिजात was one of the fourteen jewels obtained by the churning of the Milky Ocean. KMJ.

पारिजात - u.mA; raghu's legatee - u.me; self-resplendence - sA.dha and anugAmidharma; इव - sA.vA; तेषाम्= स्वयम्वर आगतानाम् राज्ञाम् - bimba; कल्प द्रुमाणाम् - pratibimba; why the name of पारिजात is touched upon; because कल्प द्रुम fulfils all desires - कल्पयन्ति, पूरयन्ति मनोरथान् इति कल्पाः - so, the desire of prince aja is going to fructify now.

नेत्रव्रजाः पौर्प्रिन्चे अजनस्य तस्मिन् विहाय सर्वान्नृपतीन्निपेतुः |
मदोत्कटे रेचित पुष्पवृक्षा गंधद्विपे वन्य इव द्विरेफाः || 6-7

नेत्र व्रजाः पौर जनस्य तस्मिन् विहाय सर्वान् नृपतीन् निपेतुः मद उत्कटे रेचित पुष्प वृक्षा गंध द्विपे वन्य इव द्विरेफाः

६-७. पौर जनस्य= of city, people; नेत्र= eyes; व्रजाः= hosts of [eyes]; सर्वान् नृपतीन् विहाय= all, kings, on leaving off - refraining to gaze at other kings; तस्मिन्= on him, on prince aja;मद उत्कटे= ichor, on temples - ruttish elephants with ichor oozing on temples; वन्य= in forest - wild elephant; गंध द्विपे= on smelly, elephant; रेचित पुष्प वृक्षा= that are left off - leaving trees, flowered, trees; द्विरेफाः इव= honeybees, as with; निपेतुः= fell - eye fell on prince aja like honeybees.

Refraining from gazing at all the other suitor princes, the host of eyes of city dwelling hosts fell on prince aja , as with honeybees refraining from the flowered trees on which they are so far hovering for nectar fall upon a wild elephant when it nears with strong smelling ichor oozing on its temples. [6-7]

Here the swarm of honeybees - u.mA; host of eyes of people - u.me; leaving one place to go to the other - anugAmidharma; leaving off all kings - bimba; leaving off flowered trees - pratibimba . There is no अधिक विशेषणत्व दोष in this उपम.

अथ स्तुते वंदिभिरन्वयज्ञैः
सोमार्क वंश्ये नर देवलोके |
संचारिते चागरु सारयोनौ
धूपे समुत्सर्पति वैजयन्तीः || 6-8

अथ स्तुते वंदिभिः अन्वय ज्ञैः सोम अर्क वंश्ये नर देवलोके संचारिते च अगरु सार योनौ धूपे समुत्सर्पति वैजयन्तीः

6-8 . अथ= now; अन्वय ज्ञैः= lineage, knowers of; वंदिभिः= by panegyrists; सोम अर्क वंश्ये= reg. Moon, Sun, legatees of; नर देव लोके= humans, gods of, assembly - assembly of gods in human world - about the kings in that aseembly; स्तुते सति= eulogising, while; संचारिते= that is being wafted; अगरु सार योनौ= black aloe, its essence, as its cause - caused by the incense of black aloe; धूपे= incenses from such aloes; वैजयन्तीः= flags - decorative welcome flags in city; समुत्सर्पति [सम् उत् सर्प्] सति= wafting up, while it is; verses 8, 9, 10 एक-अन्वय - are to be parsed together; This stanza with the next two form what is technically called a विशेषक, the predicate विवेश being in stanza 10.

पुरोपकण्टोपवनाश्रयाणाम्
कलापिनामुद्धत नृत्त हेतौ |
प्राध्मात शंखे परितो दिगन्तान्
तूर्यस्वने मूछति मंगलार्थे || 6-9

पुर उपकण्ट उप वन आश्रयाणाम् कलापिनाम् उद्धत नृत्त हेतौ प्राध्मात शंखे परितः दिगन्तान् तूर्य स्वने मूछति मंगल अर्थे

6-9 . पुर= city's; उपकण्ट= outskirts, fringes; उप वन= in woodlands; आश्रयाणाम्= those that are dependent - living in such woodlands - peacocks; कलापिनाम्= of peacocks; उद्धत नृत्त= for frantic, dances; हेतौ= cause - which are becoming cause for such dances; प्रा ध्मात= well, bugled; शंखे= having conch-shells; मंगल अर्थे= for auspicious, purpose of; तूर्य स्वने= wind instrument's, by the sound of; परितः= around; दिक् अन्तान्= directions, up to end; मूछति सति= spreading, while it is so.

मनुष्यवाह्यम् चतुरंतयान
मध्यास्यकन्या परिवारशोभि |
विवेश मंचांतर राजमार्गम्
पतिम् वरा कॢप्त विवाहवेषा || 6-10

मनुष्य वाह्यम् चतुरंत यानम् अध्यास्य कन्या परिवार शोभि विवेश मंच अंतर राज मार्गम् पतिम् वरा कॢप्त विवाह वेषा

6-10 . पतिम्= husband; वरा= who is going to choose - इन्दुमति; कॢप्त विवाह वेषा= embellished, with marriage [time,] getup; कन्या= damsel - इन्दुमति; मनुष्य वाह्यम्= by men, carried - palanquin bearers; परिवार शोभि= with retinue, shining forth; चतुरंत= चतस्रः अस्रयः [ख़ोणः] यस्य तत् - carried on four corners; यानम्= vehicle - palanquin; अध्यास्य= mounting on; मंच अंतर= podia, in between; राज मार्गम्= royal, path - a broad passage between podia; विवेश= entered - princess इन्दुमति entered.

Now, while the whole assemblage of princes of the Solar and Lunar dynasties is being glorified by bards familiar with their pedigrees, while the smoke arising from the burning of अगुरु, black aloe incense, is curling up overtopping the several banners, welcome flags fluttering in sky, while the sound of auspicious musical instruments swelled by the dinning blasts of conch-shells spreading all round to the extreme limits so as to produce an impression is exciting the peacocks belonging to the gardens of the outskirts of the city मगध to dance frantically, there entered the princess who is the selector of her husband dressed in nuptial-garments in a palanquin carried by bearers and attended by a retinue of attendants; she came up the broad road left open between the rows of the daises. [KMJ] [6-8, 9, 10]

तस्मिन्विधानातिशये विधातुः
कन्यामये नेत्रशतैकलक्ष्ये |
निपेतुरन्तःकरणैर्नरेन्द्राः
देहैः स्थिताः केवलमासनेषु || 6-11

तस्मिन् विधान अतिशये विधातुः कन्यामये नेत्र शत एक लक्ष्ये निपेतुः अन्तःकरणैः नरेन्द्राः देहैः स्थिताः केवलम् आसनेषु

6-11 . नेत्र शत= eyes, for hundreds of; एक लक्ष्ये= only, target, cynosure; कन्यामये= on damsel; विधातुः= Creator; तस्मिन् विधान अतिशये= in that, of perfection, highest degree - chef-d'œuvre; नरेन्द्राः= [other suitor] kings; अन्तःकरणैः= by their hearts - that are filled with impassion; निपेतुः= fell down - bested; आसनेषु= in seats; देहैः केवलम् स्थिताः= with bodies, just, staying - physicaly avialble in seats minus their hearts or minds; देहान् अपि विस्मृत्य तत्र एव दत्त चित्ता बभूवुः इत्य्र्त्यः= other suitor kings had no bodily sensation while they are making sheep's eyes at her.

On seeing the chef-d'œuvre of the creator in the form of a lovely damsel, princess इन्दुमति, who presently is the cynosure of hundreds of eyes, the suitor kings became addle-pated and just stuck to their seats bodily, as their impassioned hearts have bested them out at her sight.

ताम् प्रत्यभिव्यक्त मनोरथानाम्
महीपतीनाम् प्रणयाग्रदूत्यः |
प्रवाल शोभा इव पादपानाम्
शृन्गार चेष्टा विविधा बभूवुः || 6-12

ताम् प्रति अभिव्यक्त मनोरथानाम् मही पतीनाम् प्रणय अग्र दूत्यः प्रवाल शोभा इव पादपानाम् शृंगार चेष्टा विविधा बभूवुः

6-12 . ताम् प्रति= her, towards; अभिव्यक्त मनोरथानाम्= prarUDha abhilASANAm=who betrayed, their ardent longing; मही पतीनाम्= for land, lords - for kings; प्रणय अग्र दूत्यः= in amorousness, foremost, messengers; विविधा शृंगार चेष्टा= many, amatory, gestures; पादपानाम्= for trees; प्रवाल शोभा इव= tender leaves, beauty, as with; बभूवुः= became.

The suitor kings betraying an ardent longing for the princess इन्दुमति have started sending many feelers with their amatory gestures, the foremost messengers in amorousness, as with trees which will put out tender leaves on seeing वसन्त लक्स्मि, the springtide.

Here शृंगार चेष्टा - u.mA; प्रवाल शोभ - u.me; starting to send, sprouting - anugAmi dharma; इव - sA.vA; kings interested in the princes - bimba; trees sprouting leaves - pratibimba; विविधा, प्रणय अग्र दूत्यः - उभय अन्वयि - adoptable on both sides; hence in this अनुगामित्व - बिम्ब प्रतिबिम्ब भाव - श्लेष मिश्रण - is there.

कश्चित्कराभ्यामुपगूढनाल
मालोल पत्राभिहतद्विरेफम् |
रजोभिरंतः परिवेषबन्धि
लीलारविंदम् भ्रमयांचकार || 6-13

कश्चित् कराभ्याम् उप गूढ नालम् आलोल पत्र अभिहत द्विरेफम् रजोभिः अंतः परिवेष बन्धि लीला अरविंदम् भ्रमयां चकार

6-13 . कश्चित्=राजा= a certain king; कराभ्याम्= पाणिभ्याम्=with palms; उप गूढ नालम्= गृहीत नालम्=handling, stem - of a lotus; आलोल पत्र= swaying, petals - of the lotus; अभिहत द्विरेफम्= beaten, honeybees - shoved off honey bees; रजोभिः= pollen; अंतः परिवेष बन्धि= inside, coil, winding; लीला= for sport; अरविंदम्= a lotus; भ्रमयां चकार= to spin, he made - started to twirl the lotus sportily;

A certain king sporting a lotus started to twirl its stem held in between both of his rubbing palms, while the swaying petals of that are shoving honeybees and its pollen is swirling inside the flower.

करस्थ लील अरविन्द वत् त्वयाऽहम् भ्रमयितव्य - इति नृप अभिप्रायः - that king meant by this gesture that, "you marry me and spin me in pleasures like this lotus...' हस्त घूऱ्णिकोऽयम् - अव लक्षणः - इति इन्दुमति अभिप्रायः - her thinking is, 'he is unfit to be a husband since he is just a juggler...' thus she dismissed him.

विस्रस्तमंसादपरो विलासी
रत्नानुविद्धांगदकोटिलग्नम् |
प्रालंबमुत्कृष्य यथाप्रदेशम्
निनाय साचीकृतचारुवक्त्रः || 6-14

विस्रस्तम् अंसात् अपरः विलासी रत्न अनुविद्धा अंगद कोटि लग्नम् प्रालंबम् उत्कृष्य यथा प्रदेशम् निनाय साची कृत चारु वक्त्रः

6-14 . विलासी= a voluptuary; अपरः= another - king; अंसात् विस्रस्तम्= from shoulder, slipped; रत्न अनुविद्धा= with gems, studded; अंगद कोटि लग्नम्= of bicep-ornament, in cusp, stuck; प्रालंबम्= a hanging pendant - lavaliere; उत्कृष्य= extricating it; साची कृत= sideways, on making - face turning sideways; चारु वक्त्रः सन्= handsome, face, he is having; यथा प्रदेशम्=अस् तो इत्स् प्रोपेर्, प्लचे; निनाय= he made it [pendant] to reach - braced it on his chest.

Another voluptuary king extricated his lavaliere which slipped from his shoulder and stuck in the cusp of his gem-studded bicep-ornament, and braced it on his chest in its proper place turning his handsome face to sideways.

प्रावार उत्क्षेपण च्छलेन अहम् त्वाम् एवम् परिरप्स्य इति न्ऱ्^प अभिप्रायाः - 'I will embrace you in a pranksome manner of adjusting some necklace of mine…' - is the view of that prince; गोपनीयम् किंचित् अन्गे अस्ति ततो अयम् प्रावृणुत इति इन्दुमति अभिप्रायः - 'he has something on his body that cannot be revealed, so he is hiding his body…' - is the view of इन्दुमति.

आकुंचिताग्रागुलिना ततोऽन्यः
किंचित्समावर्जित नेत्रशोभः |
तिर्यग्विसंसर्पिनखप्रभेण
पादेन हैमम् विलिलेख पीठम् || 6-15

आकुंचित अग्र अगुलिना ततः अन्यः किंचित् समावर्जित नेत्र शोभः तिर्यक् विसं सर्पि नख प्रभेण पादेन हैमम् विलिलेख पीठम्

6-15 . ततः अन्यः= then, another - suitor; किंचित् समावर्जित नेत्र शोभः सन्=a little, bending down, eyes', brilliance, he is; आकुंचित= [a little] bent; अग्र अगुलिना= with end part, of toe; तिर्यक्= crosswise; विसंसर्पि= casting; नख प्रभेण= nail's, with the glint of; पादेन= with such foot - having such nails; हैमम् पीठम्= golden, footstool; वि+लि+लेख= drew lines - with nail of toe;

Then another suitor prince with slightly downcast eyes started to draw lines on the golden footstool with a little bent edge of toe casting the glint of his toenails slightly aslant.

पाद अन्गुलिनाम् आकुन्चनेन त्वम् मत् समीपम् आगच्छ इति नृप अभिप्रायः - 'you come to me' is the idea of the king with bent toe; भूमि लेखको अयम् अव लक्षणः - इति इन्दुमति अभिप्रायम्; 'he is a scriber on earth which shows his misdemeanour,' is her opinion; भूमि विलेखनम् तु लक्ष्मी विनाश हेतुः - Drawing of lines on the ground is considered very inauspicious. So, she dismissed him.

निवेश्य वामम् भुजमासनार्थे
तत्सन्निवेशात् अधिकन्नतांसः |
कशिचिद्विवृत्त त्रिकभिन्न हारः
सुहृत्समाभाषण तत्परोऽभूत् || 6-16

विवेश्य वामम् भुजम् आसन अर्थे तत् सन्निवेशात् अधिक उन्नत अंसः कशिचित् विवृत्त त्रिक भिन्न हारः सुहृत् समाभाषण तत्परः आभूत्

6-16 . कशिचित्= someone - another king; वामम् भुजम्= left, shoulder; आसन अर्थे= seat's, on a part of - to a side of seat; निवेश्य= having kept; तत् सन्निवेशात्= by that [shoulder,] placement [to a side of seat]; अधिक उन्नत अंसः सन्= much, height, shoulder, he is having - a lopsided shoulder; विवृत्त= turned, twisted; त्रिक= backbone - it would be better to take it as the upper part of the spine between the shoulder blades - KMJ; भिन्न हारः= displaced, chest ornament -displaced in consequence of the twisting of the upper part of body; सुहृत्= with a friend - sitting on left; समाभाषण तत्परः आभूत्= in conversation, involved, he became.

Another one resting his left arm on a part of the seat and thus having the shoulder of the other side raised lopsidedly and as a consequence the pearl-necklace on his chest appearing only in halves, showed that he is deeply engaged in conversation with his friend. [6-16]

त्वया वामान्के निवेशितया सह एवम् वार्ताम् करिष्यति - इति नृप अभिप्रायः - 'I will place you in left and chitchat with you in this way,' is the idea of suitor; माम् दृष्ट्वा परान्मुखो अयम् न कार्य कर्ता - इति इन्दुमति आशयः - 'on seeing me he turned his face away, he is good for nothing, except to chitchat,' is the opinion of the princes.

विलासिनीविभ्रमदंतपत्रम्
अपांडुरम् केतकबर्हमन्यः |
प्रियानितंबोचितसन्निवेशैः
विपाटयामास युवा नखाग्रैः || 6-17

विलासिनी विभ्रम दंत पत्रम् आपांडुरम् केतक बर्हम् अन्यः प्रिया नितंब उचित सन्निवेशैः विपाटयामास युवा न्खाग्रैः

6-17 . अन्यः युवा= another, young man; विलासिनी= for a lady charmer; विभ्रम= विभ्रमार्थ=for the purpose of decoration; दंत पत्रम्= an ear-ornament - folded leaf stuck at the back side of ears; आपांडुरम्= a little yellowish - leaf; केतक बर्हम्= mogra, leaf; प्रिया नितंब= ladylove's, on buttocks; उचित= habituated; सन्निवेशैः= in keeping - fingers on buttocks; नख अग्रैः= with nails', edges; विपाटयामास= started to strip - the mogra leaf.

Another youngster started to tear an yellowish mogra leaf with the edges of his nails which are habituated to scratch the behinds of his ladyloves, where that leaf is the usual charming decorative hairslide of lady charmers at the back of their ears. [6-17]

अहम् तव नितम्बे एवम् नख व्रणादीन् दास्यामि इति ण्ऱ्^प अभिप्रायः - 'I will scratch your behinds with nails in this way,' is the expression of the suitor; तृण च्छेदकवत् पत्र पाटकोयम् - अवलक्षणः - इति इन्दुमत्या न अंगीकृतम् - 'he is just an ill-mannered shredder of flowers like a hopeless grass cutter,' thus इन्दुमति rejected him.

The केतकि ओर् मोग्र is often folded in the form of a rectangle and put in the head as a piece of decoration, and therefore, I am half-inclined to take दन्त पत्र to signify 'a comb' but unfortunately I find no authority for it. - KMJ .

Others say that the stiff blade like petal of this flower is folded and stuck like a comb in hair that too at the back of ears, as ladies will usually [used to] stick combs in buns while they lace braids. Now they are not applying hair oil even.

कुशेशयाताम्रतलेन कश्चित्करेण रेखा ध्व्प्रिन्चे अज लांचनेन |
रत्नांगुलीय प्रभयानुविद्धान्
उदीरयामास सलीलमक्षान् || 6-18

कुशेशय आताअम्र तलेन कश्चित् करेण रेखा ध्व्प्रिन्चे अज लाङ्छनेन रत्न अंगुलीय प्रभया अनुविद्धान् उदीरयामास सलीलम् अक्षान्

६-१८. कश्चित्= someone; कुशेशय= कुशे=जले - कुशम् शरम् वनम् नीरम् - names of water; thus on water, शेते= which reclines= कुशे शय=a lotus reclining on water; आ+ताअम्र= fully, red; तलेन= with such a reddish - palm; रेखा ध्व्प्रिन्चे अज लाङ्छनेन= lines, of a flagstaff, with such marks - in a reddish palm which has [palmistry] lines resembling flag post - certain lines on palm mark royalty, among them dhv prince aja is one; करेण= with such hand - having such a palm; रत्न अंगुलीय= jewelled, [finger] ring's prabhayA=with glint; अनुविद्धान्= covered over - this is a different sense from the sense at 6-63 for अनुविध्; अक्षान्= dice; स लीलम्= with sport - sportily; उदीरयामास= started to toss - this also means 'to speak'.

One of those suitors started to toss dice sportily with his hand on which the glint of his jeweled rings on fingers is overspreading, and which hand is having a very reddish palm comparable to a red lotus, on which an important line of palmistry called flagstaff is there. [6-18]

अहम् त्वया सह एवम् रंस्य - इति न्ऱ्^प अभिप्रायः - 'I will take delight in playing with you,' is the king's opinion; अक्ष चातुर्येण कापुरुष - इति इन्दुमति अभिप्रायः - 'he is a knavish gambler, forget him…' is the opinion of the princess.

कश्चिद्यथाभागमवस्थितेऽपि
स्वसन्निवेशाद्व्यतिलंघिनीव |
रत्नांशुगर्भांगुलिरंध्रमेकम्
व्यापारयामासकरंकिरीटे || 6-19

कश्चित् यथा भागम् अवस्थिते अपि स्व सन्निवेशात् व्यति लंघिनि इव रत्न अंशु गर्भ अंगुलि रंध्रम् एकम् व्यापारयामास करं किरीटे

6-19 . कश्चित्= someone; यथा भागम्= यथा स्थानम्=in its own place; अवस्थिते अपि= it is there, even though; स्व सन्निवेशात्= from its own, place; व्यति लंघिनि इव= much, slipped, as if; किरीटे= on the crown; रत्न अंशु गर्भ= diamonds, lustre, having inside; अंगुलि रंध्रम्= fingers, interstices; एकम् करं= one, hand; व्यापारयामास= started to fidget.

Some other suitor started to fidget one of his arms on his crown as if it has slipped from its place, and as though he is adjusting it to its proper place, and in doing so the lustre of diamonds filled the interstices of his fingers. [6-19]

कीरीट वत् मम शिरशि स्थिताम् अपि ताम् भारम् न मन्य इति णृपाभिप्रायः - 'though you sit on my head like crown, I don't mind you as weighty,' is the opinion of the king; शिरशि न्यस्त हस्तः - अयम् अवलक्षणः - इति इन्दुमति अभिप्रायः - 'he is placing hands on his head as if his house is drowned - he is an awkward lout,' is the opinion of princess.

ततो नृपाणाम् श्रुतवृत्तवंशा
पुंवत्प्रगल्भा प्रतिहाररक्षी |
प्राक्सन्निकर्षम् मगधेश्वरस्य
नीत्वा कुमारीमवदत्सुनंदा || 6-20

ततः नृपाणाम् श्रुत वृत्त वंशा पुंवत् प्रगल्हा प्रतिहार रक्षी प्राक् सन्निकर्षम् मगध ईश्वरस्य नीत्वा कुमारीम् अवदत् सुनंदा

6-20 . ततः= then; नृपाणाम्= of kings; श्रुत= heard of, familiar with; वृत्त वंशा= history, lineage - of suitor kings; प्रगल्भा= lady bold in speech, eloquent; सुनंदा= lady सुनन्द; प्रतिहार रक्षी= gate, keeper - chatelaine; प्राक्= firstly; कुमारीम्= young one - young princess इन्दुमति; मगध ईश्वरस्य सन्निकर्षम्= मगध'स्, lord's, to proximity; नीत्वा= on leading; पुंवत्= like a man - confidently; अवदत्= she spoke.

Then the chatelaine lady सुनन्द who is familiar with the histories and lineages of kings who have come as suitors, firstly led the young princess इन्दुमति to the proximity of the king of मगध province, and spoke this in a self-confident voice of a man.

असौ शरण्यश्शरणोन्मुखानाम्
अगाधसत्त्वोमगधप्रतिष्टः |
राजा प्रजारङ्जनलब्धवर्णः
परंतपोनाम यथार्थनामा || 6-21

असौ शरण्यः शरण उन्मुखानाम् अगाध सत्त्वः मगध प्रतिष्टः राजा प्रजा रंजन लब्ध वर्णः परंतपः नाम यथार्थ नामा

6-21 . शरण उन्मुखानाम्= for shelter, who are pro-faced - for shelter seekers; शरण्यः= a shelterer; अगाध सत्त्वः= one with unfathomable, energy; मगध प्रतिष्टः= on मगध kingdom, who holds sway; प्रजा रंजन= people, to make happy; लब्ध वर्णः= लब्ध उत्कर्षः=who received, laurels; असौ राजा= this, king; परंतपः नामा= enemy, scorcher, named; यथार्थ नाम= appropriate, named - true to his name.

"Here is king परम्तप who holds sway over मगध kingdom and whose energy is unfathomable, who is a shelterer to the shelter seekers, and who received laurels in keeping his subjects happy and enemies at bay, thus he is true to his name... [6-21]

कामम् नृपास्संतु सहस्रशोऽन्ये
राजन्वतीमाहुरनेन भूमिम् |
नक्षत्र तारा ग्रह संकुलापि
ज्योतिष्मती चंद्रमसैव रात्रिः || 6-22

कामम् नृपाः संतु सहस्रशः अन्ये राजन्वतीम् आहुः अनेन भूमिम् नक्षत्र तारा ग्रह संकुला अपि ज्योतिष्मती चंद्रमसा एव रात्रिः

6-22 . अन्ये नृपाः= other, kings; कामम्= maybe - this particle कामम् is used in various senses by authors, where the general meaning is 'forced assent,' and here it is 'let there be'; सहस्रशः= सहस्रैः सहस्रैः परिच्छिनाः=thousands and thousands; संतु= mayhap be there; भूमिम्= earth; अनेन= by him; राजन्वतीम्= having king - not राज वति; आहुः= they say; [ तथा हि=indeed]; नक्षत्र= न क्षरन्ति स्व स्थानात् न च्युतानि भवन्ति तानि नक्षत्राणि=those that do not fall or change their positions - fixed stars, but this term is restricted to 27 constellations only; तारा= तरन्त्याभिः इति=those that serve as guides to travellers; ग्रह= गृह्णन्ति सूर्य तेजांसि इति ग्रहाः - those that take shine from the sun, hence ग्रहाः, planets; संकुला अपि= replete with, even though; रात्रिः= a night; चंद्रमसा एव= by moon, alone; ज्योतिष्मती= will be brightened.

"The earth may perhaps have thousands of other kings, but she is said to be under good rule only through this king of मगध, as with a night though replete with constellations, stars and planets, it will be brightened only with the moon... [6-22]

In this अलन्कार is दृष्टान्त; earth - night; king - moon; other kings on earth - numerous stars on sky; प्रशस्त राजवत्व - प्रशस्त ज्योतिष्मत्त्व - will each become the mirrored object and its reflected object.

क्रियाप्रबन्धाअदयमध्वराणाम्
स्रमाहूतसहस्रनेत्रः |
शच्याश्चिरम् पांडुकपोललंबान्
मंदारशून्यानलकांश्चकार || 6-23

क्रिया प्रबन्धाअत् अयम् अध्वराणाम् prince ajaस्रम् आहूत सहस्र नेत्रः शच्याः चिरम् पांडु कपोल लंबान् मंदार शून्यान् अलकान् चकार

6-23 . अयम्= he, this king; अध्वराणाम्= of Vedic rituals; क्रिया प्रबन्धाअत्= works, by continuous undertaking; prince ajasram= always; आहूत= invited; सहस्र नेत्रः सन्= Thousand, eyed one - Indra, he [king] is having; चिरम्= for a long time; शच्याः= of shachi devi - consort of indra; अलकान्= curls, tresses; पांडु कपोल लंबान्= on white - palish, cheeks, dangling; मंदार शून्यान्= by मन्दार flowers, without; चकार= rendered became instrumental to render so.

This king has become instrumental in rendering the uncombed curls of शचि-देवि, the consort of इन्द्र, to dangle on her palish cheeks, and thus made her to remain undecorated with मन्दार flowers in her unkempt hair for a long, long times, because this king has continuously performed Vedic-rituals in which इन्द्र had to come from heaven to receive ritual oblations without a surcease...

Although the tree मन्दार is named here we are to understand the flowers of this tree by 'implication.'

अनेनचेदिच्छसि गृह्यमाणम्
पाणिम् वरेण्येन कुरु प्रवेशे |
प्रासदवातायनसंस्थितानाम्
नेत्रोत्सवम् पुष्पपुरांगनानाम् || 6-24

अनेन चेत् इच्छसि गृह्यमाणम् पाणिम् वरेण्येन कुरु प्रवेशे प्रासद वात अयन संस्थितानाम् नेत्र उत्सवम् पुष्प पुर अंगनानाम्

6-24 . वरेण्येन= most eligible, desirable one; अनेन= by him; गृह्यमाणम् पाणिम्= while being taken, palm - when he takes your palm in marriage; इच्छसि चेत्= you wish, if; प्रवेशे= on entering - his city as his bride; प्रासद= multi storied buildings; वात अयन= air, travellers - windows; संस्थितानाम्= those that are there in windows; पुष्प पुर= flower, city - पातलीपुत्र, Patna; अंगनानाम्= for womenfolk; नेत्र उत्सवम्= eye, festival; कुरु= you make.

"Should you wish that this most eligible prince may take your hand in marriage, let the womenfolk of पुष्पपुर, the capital of मगध, peering through the windows of their multi-storeyed buildings fill their eyes with festivity upon your entry into that city along with this king..." So said chatelaine सुनन्द to princess इन्दुमति. [6-24]

एवम् तयोक्ते तमवेक्ष्य किंचिद्
विस्रंसि दूर्वांकमधूकमाला |
ऋजुप्रणामक्रिययैव तन्वी
प्रत्यादिदेशैनमभाषमाणा || 6-25

एवम् तया उक्ते तम् अवेक्ष्य किंचित् विस्रंसि दूर्वा अंक मधूक माला ऋजु प्रणाम क्रियया एव तन्वी प्रति आदिदेश एनम् अभाषमाणा

6-25 . एवम्= in this way; तया उक्ते= by her [by सुनन्द] she who is said - इन्दुमति; तम्= him, prince of Magadha; अवेक्ष्य= on seeing; किंचित् विस्रंसि= a little, slipped - required readjustment; दूर्वा= sacred grass; अंक= embedded; मधूक= madhuka flowers; माला= she who has such a garland; तन्वी= slender girl - curvaceous इन्दुमति; एनम्= with him; अ+ भाषमाणा= without, talking - silently; ऋजु प्रणाम= with a plain, salutation - a matter of fact नमस्कार्; क्रियया एव= by gesture, alone; प्रति आदिदेश= counter, manded - turned him down.

When सुनन्द said in this way she that curvaceous princess इन्दुमति has seen the prince of मगध, whereupon the garland of मधुक flowers embedded with sacred grass held in her hands to grace the prospective bridegroom required a little readjustment in her handling, and adjusting it she silently made a matter of fact gesture of adjoining palms and bade adieu to him. [6-25]

A garland stuffed with sacred दर्भ grass is considered as an auspicious item; वर माल - garland with which the prospective bridegroom is garlanded, if selected.

तांसैव वेत्रग्रहणे नियुक्ता
राजांतरम् राजसुताम् निनाय |
समीरणोत्थेव तरंगरेखा
पद्मान्तरम् मानस राज हंसीम् || 6-26

तां सा एव वेत्र ग्रहणे नियुक्ता राजा अंतरम् राज सुताम् निनाय समीरण उत्था इव तरंग रेखा पद्म अन्तरम् मानस राज हंसीम्

6-26 . वेत्र ग्रहणे नियुक्ता= bamboo cane, wielder, one who is assigned to - सुनन्द who is assigned to act as a macebearer, where mace is a staff of office; सा एव= न अन्या, चित्तज्ञत्वात्=she, alone - सुनन्द - who knows the mind of इन्दुमति; तां राज सुताम्= her, king's, daughter - इन्दुमति; राजा अंतरम्= अन्य राजा=king, to another; समीरण= by air; उत्था= upheaved; तरंग रेखा= wave, lines - ripples; मानस राज हंसीम्= in Manasa lake, kingly, she-swan; पद्म अन्तरम् इव=to lotus, another one, as with; निनाय= led forth.

Because she is aware of princess इन्दुमति'स् thinking that chatelaine सुनन्द as a macebearer for that occasion led the princess to another suitor king as with a ripple when upheaved by a breeze wafts a she-swan from one lotus to another in मानस Lake.

राज सुत- bimba; राज हंस - pratibimba; राजा अंतर - bimba; पद्म अन्तरम् - pratibimba; तरंग पङ्क्ति - u.mA; सुनन्द - u.me; निनाय - लेद् फ़ोर्थ् - sA.dha; इव - sA.vA; anugAmitva bimba pratibimba bhAva mishraNa.

The cane-mace, staff of office, is the sine qua non of the warder who always walks before a royal personage. [KMJ]

जगाद चैनामयमंगनाथः
सुरांगनाप्रार्थित यौवनश्रीः |
विनीत नागः किल सूत्रकारैः
ऐन्द्रम् पदम् भूमिगतोऽपि भुङ्क्ते || 6-27

जगाद च एनाम् अयम् अंग नाथः सुर अंगना प्रार्थित यौवन श्रीः विनीत नागः किल सूत्र कारैः ऐन्द्रम् पदम् भूमि गतः अपि भुङ्क्ते

6-27 . एनाम्= to her, to इन्दुमति; जगाद च= said, also; अयम् अंग नाथः= he is, अन्ग'स्, lord; सुर अंगना= by celestial, females; प्रार्थित यौवन श्रीः= yearned for, youthfulness's, vivacity - he has such a vivacity; सूत्र कारैः= by aphorisms, makers of; विनीत= humbled down, trained; नागः= elephants - who has such elephants; किल= they say - किले इति ऐतिह्ये - legend says so; भूमि गतः अपि= on earth, he obtained, even though; ऐन्द्रम् पदम्= Indra's, position - दिग्ग् अप्सरो देवर्षि सेव्यतवम् ऐन्द्रम् पद शब्द अर्थः= a supreme position; भुङ्क्ते= he enjoys.

सुनन्द again said this to princess इन्दुमति, "here is the ruler of अन्ग kingdom whose youthful vivacity is yearned after by celestial damsels, and at whose instance experts in composing aphorisms have composed aphorisms on taming the elephant with which he got elephants tamed, they say so, by which he is enjoying the supreme position of इन्द्र even though he is on earth..." [6-27]

It is said that the king of अन्ग became unsuccessful in taming elephants running amuck and prayed इन्द्र for help . ईन्द्र sent sages called, पालकाप्य, राजपुत्र, अन्द् ंरिगचर्म who composed the art and science of taming elephants in aphorisms and taught it to the king of अन्ग. Hence he became the foremost tamer of elephants .

अनेन पर्यासयतास्र बिंदून्मुक्ताफल स्थूलतमान् स्तनेषु |
प्रत्यर्पिताश्शत्रुविलासिनीनाम्
उन्मुच्य सूत्रेण विनैव हाराः || 6-28

अनेन पर्यासयता अस्र बिंदून् मुक्ता फल स्थूल तमान् स्तनेषु प्रति अर्पितः शत्रु विलासिनीनाम् उन्मुच्य सूत्रेण विना एव हाराः

६-२८. शत्रु विलासिनीनाम् स्तनेषु= for enemies', ladyloves, on breasts; मुक्ता फल= pearls; स्थूल तमान्= large, higher in degree - larger than; अस्र बिंदून्= अश्रु बिन्दून्=tear, drops; पर्यासयता= causing to shed, to throw down; अनेन= by him - king of Anga; उन्मुच्य= hauling them out - taken away; सूत्रेण विना हाराः एव= thread, without, necklace, only; प्रति अर्पितः= in return, gave - returned; उत्प्रेख्स.

"This king of अन्ग made the wives of his enemies to throw off their ornaments and weep for their husbands shedding tears larger than pearls onto their breasts, and those tears continuously shed, in effect, appeared as stringless pearl necklaces given by him in lieu of real necklaces taken away by him... [6-28]

निसर्गभिन्नास्पदमेकसंस्थम्
अस्मिन् द्वयम् श्रीश्च सरस्वती च |
कांत्या गिरा सूनृतया च योग्या
त्वमेव कल्याणी तयोस्तृतीया || 6-29

निसर्ग भिन्न आस्पदम् एक संस्थम् अस्मिन् द्वयम् श्रीः च सरस्वती च कांत्या गिरा सूनृतया च योग्या त्वम् एव कल्याणी तयोः तृतीया

6-29 . निसर्ग= निसर्गतः=owing to their nature; भिन्न आस्पदम्= in different [places,] abodes - abiding in different locales; श्रीः च सरस्वती च= goddess Lakshmi, and, goddess Saraswati, also; द्वयम्= these two; अस्मिन्= in him; एक संस्थम्= at one, same place they are; ह्è कल्याणी= oh, blessed princess; कांत्या= by your loveliness; सूनृतया गिरा= by your truthful, words - by veraciousness; योग्या= a befitting one; त्वम् एव= you, alone are; तयोः= of them two; तृतीया= third one.

"By their nature the goddess of wealth and the goddess of learning will be abiding in two different locales, but they are found in one and the same place in this king of अन्ग, and oh, blessed princess, you by your loveliness and veraciousness are suited to become the third among those two goddesses, in case you choose him…" Thus सुनन्द said to इन्दुमति. [6-29]

अथांगरादवतार्य चक्षुः
याहीति जन्यामवदत्कुमारी |
नासौ न कांयो न च वेद संयक्
द्रष्टुम् न सा भिन्नरुचिर्हि लोकः || 6-30

अथ अंग राजात् अवतार्य चक्षुः याहि इति जन्याम् अवदत् कुमारी न असौ न कांयः न च वेद संयक् द्रष्टुम् न सा भिन्न रुचिः हि लोकः

6-30 . अथ= then; कुमारी= damsel - princess इन्दुमति; अंग राजात्= from anga, king; चक्षुः= eyes; अव तार्य= down, descending - lowering - eyes; जन्याम्= मातृ सखीम्=to the friend of her mother - to सुनन्द; याहि= move - move on, get going; इति अवदत्= thus, said; असौ= he, anga king; कांयः= कमनीय=wooable; न [इति] न= not, [thus,] it is not; सा च= she - princess, also; संयक् द्रष्टुम्= correctly, to see [ to distinguish]; न वेद= not, in the know of; [ इति= thus] न=it is not; [ किम् तु= why because]; लोकः भिन्न रुचिः हि= people are, with different, tastes, indeed.

Then, lowering her eyes from the king of अन्ग, princess इन्दुमति said to the friend of her mother सुनन्द, "get going…" and they moved from there; not that this king of अन्ग is not wooable, nor was it that the princess इन्दुमति did not understand how to distinguish correctly; but different people will have different tastes.

The axiom 'लोको भिन्न रुचिः' coined here has remained among people even today . Here अर्थान्तर न्यास अलन्कार is there.

ततः परम् दुष्प्रसहम् द्विषद्भिःनृपम् नियुक्ता प्रतिहार भूमौ |
निदर्शयामास विशेषदृश्यम्
इंदुम् नवोत्थानमिवेन्दुमत्यै || 6-31

ततः परम् दुष् प्रसहम् द्विषद्भिः नृपम् नियुक्ता प्रतिहार भूमौ निदर्शयामास विशेष दृश्यम् इंदुम् नव उत्थानम् इव इन्दुमत्यै

६-३१. ततः= then; प्रतिहार भूमौ= द्वार देशे=at door, place of - in the position of a doorkeeper, rather a custodian of palace-chambers, chataleine; नियुक्ता= she who is assigned - सुनन्द; द्विषद्भिः= by his enemies; दुष् प्रसहम्= hard, to withstand - in enmity; विशेष दृश्यम्= दर्शनीय रूपवन्तम्= one who is pleasant to look at; परम् नृपम्= at another, king; नव उत्थानम्= newly, risen; इंदुम् इव= at moon, as with; इन्दुमत्यै= for इन्दुमति; निदर्शयामास= started pointing out.

Then the custodian of palace-chambers lady सुनन्द pointed out to princess इन्दुमति another pleasant looking prince whom his enemies found it hard to withstand, just as people point out the newly risen moon. [6-31]

अवंतिनाथोऽयमुदग्रबाहुः
विशालवक्षास्तनुवृत्तमध्यः |
आरोप्य चक्रभ्रममुष्णतेजाः
त्वष्ट्रेव यत्नोल्लिखितो विभाति || 6-32

अवंति नाथः अयम् उदग्र बाहुः विशाल वक्षाः तनु वृत्त मध्यः आरोप्य चक्रभ्रमम् उष्ण तेजाः त्वष्ट्रा इव यत्न उल्लिखितः विभाति

6-32 . उदग्र बाहुः= दीर्घ बाहुः=long-armed; विशाल वक्षाः= broad, chested; तनु वृत्त मध्यः= slim, circumference, in middle - lion-waisted; अयम्= such as he is, he; अवंति नाथः= अवन्ति'स्, lord; त्वष्ट्रा= by Vishvakarma, Divine Architect; चक्र भ्रमम्= wheel, spinner - a machine with spinning wheel - revolving grindstone; आरोप्य= on mounting - the Sun; यत्न= यत्नेन=assiduously; उल्लिखितः= trimmed out, ground down; उष्ण तेजाः= one with scorching, refulgence - Sun; इव= like; विभाति= he [this prince] shines forth.

"This long-armed, broad-chested, lion-waisted lord of अवन्ति kingdom too shines forth like the sun, when विश्व-कर्म , the divine architect, assiduously ground down that sun by mounting him on a revolving grindstone..." [6-32]

त्वश्ट्र, or विश्वकर्म has a daughter called सन्ज्~ज्न, who is given in marriage to the Sun . She was unable to bear the severe resplendence of her husband, namely Sun. Then विश्वकर्म the father of the bride mounted the bridegroom, Sun, on a lathe like grinding machine and trimmed off a part of Sun's disc, which too was utilised in making viShNu's disc. With all his skills विश्वकर्म could trim off only one eighth of Sun's disc. Vishnu Purana.

अस्य प्रयाणेषु समग्रशक्तेःअग्रेसरैर्वाजिभिरुत्थितानि |
कुर्वन्ति सामन्त शिखामणीनाम्
प्रभाप्ररोहास्तमयम्रजांसि || 6-33

अस्य प्रयाणेषु समग्र शक्तेः अग्रेसरैः वाजिभिः उत्थितानि कुर्वन्ति सामन्त शिखा मणीनाम् प्रभा प्ररोह अस्तमयम् रजांसि

६-३३. समग्र शक्तेः= full-fledged, are his powers - powers appertaining to royalty are generally viewed to be made up of three elements - 1] कोश दण्ड बलम् प्रभु शक्तिः; २] विक्रम बल समुत्साह शक्ति; ३] साम दान भेदादि मन्त्र शक्ति; अस्य= his - king of avanti; प्रयाणेषु= in travels - here, in his campaigns; अग्रेसरैः= going in front; वाजिभिः= by horses; उत्थितानि रजांसि= raised, dust; सामन्त= of feudatories; शिखा मणीनाम्= crest, jewels'; प्रभा प्ररोह=तो लुस्त्रे, स्प्रौत्स्; अस्तमयम्= dusking; कुर्वन्ति= it does - dust is dusking the lustre sprouts; अस्य शत्रवः पराजीयन्त इति भावः.

"In the campaigns of this king of अवन्ति, who is in the possession of three elements of power, the heaps of dust raised by the horses running in front of his army will be dusking the lustre sprouting from the crest-jewels of feudatories. [6-33]

असौ महाकालनिकेतनस्य
वसन्नदूरे किल चंद्रमौलेः |
तमिस्रपक्षेऽपि सहप्रियाभिः
ज्योत्स्नावतो निर्विशति प्रदोषान् || 6-34

असौ महा काल निकेतनस्य वसन् अदूरे किल चंद्र मौलेः तमिस्र पक्षे अपि सह प्रियाभिः ज्योत्स्नावतः निर्विशति प्रदोषान्

6-34 . असौ= this one - avanti king; महा काल= the name of shiva's temple at ujjaini; निकेतनस्य= [that temple as his] abode; चंद्र मौलेः= of one with - moon, at crest - of shiva with crescent moon; अ+दूरे= not, distantly - very near; वसन्= while residing; तमिस्र पक्षे अपि= in dark, fortnight, even in; प्रियाभिः सह= ladyloves, along with; ज्योत्स्नावतः प्रदोषान्= moonlit, nights - as it were; निर्विशति किल= he lives - he enjoys, indeed.

"Residing very near to temple-abode of shiva, the महा-काल, the god with crescentic moon on his crest, this king of अवन्ति enjoys the moonlit nights along with his ladyloves even during dark fortnights... [6-34]

This concept is very poetically descried by कालिदास in मेघदूत 30 to 39 . The capital of अवन्ति kingdom is अवन्तिपुरि or उज्जैनि, also called विशाल, which is considered to be one of the seven most sacred cities in India to die, where eternal happiness - मोक्ष - is ensured.

अनेन यूना सह पार्थिवेनरंभोरु कच्चिन्मनसो रुचिस्ते |
शिप्रातरंगानिल कंपितासु
विहर्तुमुद्यान परंपरासु || 6-35

अनेन यूना सह पार्थिवेन रंभोरु कच्चित् मनसः रुचिः ते शिप्रा तरंग अनिल कंपितासु विहर्तुम् उद्यान परंपरासु

६-३५. ह्è रंभ ऊरु= oh, one with plantain-stalk like, thighs; यूना= ins . sing. of the irregular yuvan - a youth; अनेन पार्थिवेन सह= with him, with king, along with; शिप्रा= of श्रिप river - a river near ujjain, a tributary of chambalA; तरंग= of waves; अनिल= by breeze; कंपितासु= moved by, fanned by; उद्यान परंपरासु= in pleasure gardens, a series of; विहर्तुम्= to pleasure trip - to sport; ते मनसः रुचिः कच्चित्= your, heart's, longing, is there - do you wish to.

"Oh, princess with plantain-stalk like thighs, is there any longing in your heart to sport with this youthful king in the series of gardens that are fanned by the breezes wafted by the waves of शिप्र river in अवन्ति?" Thus सुनन्द asked for the opinion of इन्दुमति about king of अवन्ति. [6-35]

तस्मिन्नभिद्योतित बंधुपद्मे
प्रतापसंशोषित शत्रुपंके |
बबंध सानोत्तम सौकुमार्या
कुमुद्वती भानुमतीव भावम् || 6-36

तस्मिन् अभि द्योतित बंधु पद्मे प्रताप संशोषित शत्रु पंके बबंध सा न उत्तम सौकुमार्या कुमुद्वती भानुमती इव भावम्

6-36 . उत्तम सौकुमार्या= highly, pretty - princess; सा= she that इन्दुमति; अभि द्योतित= that are made to fully bloomed; बंधु= friends; पद्मे= lotuses - one having such lotuses - namely sun, whose friends are lotuses; प्रताप= by his valour; संशोषित= parched; शत्रु= enemies; पंके= [called] mire - sun who parches up mire as his enemy; तस्मिन्= in him - for avanti king; कुमुद्वती= white lotus that blooms by night; भानुमती= in one who has shine - Sun; इव= as with; भावम्= [any] notion, penchant; न बबंध= not, attached; न तत्र अनुरगम् चकार इति अर्थः= she had no penchant for Avanti king.

As with white-lotus blooming in night does not have a penchant for the sun who makes day-lotuses to bloom and parch the enemy called mire with his valorous torridity, she that highly pretty princess इन्दुमति also did not attach significance to the king of अवन्ति who with his valorous prowess made his friends to bloom like day-lotuses, and parched enemies like mud. [6-36]

The night-lotus कुमुद्वति - u.mA; इन्दुमति - u.me; to have a linking - anugAmi dharma - sA.dha; इव - सा.वा; king of अवन्ति - bimba; sun - pratibimba; बन्धव एव पद्मानि - बन्धु पद्मानि; अभिद्योतितानि बन्धु पद्मानि येन तस्मिन् - on king's side; बन्धवः च तानि पद्मानि च - बन्धु पद्मानि - अभिद्योतितानि बन्धु पद्मानि येन तस्मिन् - on the part of sun; प्रतापेन संशोषिताः - शत्रव एव पन्काः येन तस्मिन् - on the part of king of अवन्ति; शत्रवः च ते पन्काः च शत्रु पन्काः - प्रतापेन संशोषिताः - शत्रु पन्काः येन तस्मिन् - on the part of Sun; कुमुद्वति - चन्द्र प्रियः; पद्मिनि - सूर्य प्रियः; कुमुद्वती- शत्रुः - सूर्य नामः; अब्ज-अरि चन्द्र नामः; इन्दुः कुमुद बान्धवः; सप्त सप्तिः पद्म बन्धुः.

तामग्रतस्तामरसांतराभाम्
अनूपराजस्य गुणैरनूनाम् |
निधाय सृष्टिम् ललिताम् विधातुः
जगाद भूयः सुदतीम् सुनंदा || 6-37

ताम् अग्रतः तामरस अंतर आभाम् अनूप राजस्य गुणैः अनूनाम् निधाय सृष्टिम् ललिताम् विधातुः जगाद भूयः सुदतीम् सुनंदा

6-37 . सुनंदा= सुनन्द; तामरस अंतर आभाम्= red lotus flower, interior, in shine with; गुणैः= by characteristics; अ+नूनाम्= not, inferior - a superior princess; सुदतीम्= come of age - not सुदन्ति=one with good teeth; विधातुः ललिताम् सृष्टिम्= creator's, charming, creation; ताम्= her - such princess; अनूप राजस्य अग्रतः= anUpa, king's, before; निधाय= placing - the princess; भूयः जगाद= again, said.

Then lady सुनन्द led the princess इन्दुमति whose shine is like that of the corolla of a red lotus, a superior princess by her characteristics, a girl come of age, and a charming creation of the Creator, and placing such a princess before the king of अनूप that lady सुनन्द again said this to her. [6-37]

संग्राम निर्विष्टसहस्रबाहुः
अष्टादश द्वीप निखात यूपः |
अनन्यसाधारण राज शब्दो
बभूव योगी किल कार्तवीर्यः || 6-38

संग्राम निर्विष्ट सहस्र बाहुः अष्टा दश द्वीप निखात यूपः अनन्य साधारण राज शब्दः बभूव योगी किल कार्तवीर्यः

6-38 . संग्राम= in war; निर्विष्ट= अनुभूताः=experienced, manifested; सहस्र बाहुः= thousand, arms - य्द्धात् अन्यत्र द्वि भुज एव दृश्यत इति अर्थः - ordinarily only two arms are seen, but in wars they manifest like a thousand arms - ambidextrous ing; अष्टा दश= eight, ten - eighteen; द्वीप= in islands - of globe; निखात यूपः= staked, ritual posts - he staked them after winning those countries in battles - सार्वभौम; अन्+अन्य= not, by others; साधारण= generalised - न भवति अनन्य साधारण - not common, uncommon justification of title rA ज; राज शब्दः= one having - king's, title; योगी= one who engaged in metaphysical learning - a yogi; कार्तवीर्यः= king कार्तवीर्य; बभूव किल= was there, they say - isn't it.

"Once there was a king named कार्तवीर्य whose pair of arms used to manifest in wars as thousand arms because of his ambidexterity, who on performing Vedic rituals had staked ritual posts in all the eighteen continents of the world, who deserved, unlike others, the title of राज, and above all who was a yogi... isn't it… [6-38]

कार्तवीर्य अर्जुन was the king of हैहय people in central India . From दत्तत्रेय he obtained several boons among them a thousand arms, a golden chariot moving at his will, power to restrain wrong and the power to discover that wrong even if it lurked in the minds of people, invincibility by his enemies and death at the hands of a person renowned in the three worlds. He ruled over the earth with justice and performed ten thousand Vedic rituals. Vishnu Purana. - KMJ

अकार्यचिंता समकालमेवप्रादुर्भवंश्चापधरः पुरस्तात् |
अंतःशरीरेष्वपि यः प्रजानाम्
प्रत्यादिदेशाविनयम् विनेता || 6-39

अकार्य चिंता सम कालम् एव प्रादुर्भवन् चाप धरः पुरस्तात् अंतः शरीरेषु अपि यः प्रजानाम् प्रत्यादिदेश अविनयम् विनेता

६-३९. विनेता= विशेषेण नयति असौ=an exemplary leader; यः= who, which कार्तवीर्य was there; अ+कार्य= not, doable - wrong doing - evil; चिंता= thinking; सम कालम् एव= same, time, only - at the same time when an evil thought occurred; पुरस्तात्= before; चाप धरः= bow, wielding; प्रादुर्भवन् सन्= used to appear, while he was so; प्रजानाम्= of people; अंतः शरीरेषु अपि= inside, [subtle] bodies, even in - latent in people's thinking; अ+विनयम्= not, disciplined - indiscipline; प्रति आदिदेश= counter, ordered - used to counteract.

"As an exemplary leader he who used to appear before subjects wielding his bow the moment when an evil thought crosses their minds, and who used to counteract the indiscipline of subjects even if it cropped up latently in their thoughts, such a king कार्तवीर्य was there, isn't it... [6-39]

ज्याबंधनिष्पन्दभुजेन यस्य
विनिश्वसद्वक्त्र परंपरेण |
कारागृहे निर्जितवासवेन
लन्केश्वरेणोषित माप्रसादात् || 6-40

ज्या बंध निष्पन्द भुजेन यस्य विनिश्वसत् वक्त्र परंपरेण कारा गृहे निर्जित वासवेन लन्केश्वरेण उषितम् आप्रसादात्

6-40 . ज्या बंध= with bowstring, one who is tied; निष्पन्द भुजेन= motionless, arms - arms rendered motionless; विनिश्वसत्= suspiring; वक्त्र परंपरेण= faces, a row of - a row of ten mouths sighing furiously; निर्जित वासवेन= one who has conquered, Indra - such रावन; लन्केश्वरेण= लन्क'स्, lord - रावण; यस्य= in whose; कारा गृहे= arresting, house - jail; आ+प्रसादात्= until, grace is bestowed; उषितम्= one who has dwelled in - imprisoned - rAvana.

"In whose prison-house the lord of लन्क and the vanquisher of इन्द्र, namely रावण, had been imprisoned with twenty of his arms became motionless and with ten of his mouths furiously gasping for breath when tied down just with one bowstring of कार्तवीर्य, and who held that रावन as a prisoner until he was favourably disposed to release him… that powerful king कार्तवीर्य was there, isn't it... [6-40]

The reference in the stanza is to the incident when कार्तवीर्य अर्जुन while enjoying a bath in the waters of the River नर्मद with the females of his harem obstructed the flow of the water of the river . Taking advantage of the bed thus left dry down below, रावण commenced the worship of शिव लिन्ग there. When कार्तवीर्य came out of the river the obstruction was suddenly removed and the flow washed rAvaNa with the शिव लिन्ग. Irritated at this रावण challenged कार्तवीर्य to a fight in which he [ रावण] was defeated and taken prisoner. At the intercession of sage पुलस्त्य, कार्तवीर्य set rAvaNa at liberty. The Vayu Purana, however, says that kArtavIrya invaded lanka and there took rAvaNa as a prisoner. - KMJ

तस्यान्वये भूपतिरेष जातःप्रतीप इत्यागमवृद्धसेवी |
येनः श्रियः संश्रयदोषरूढं
स्वभावलोलेत्ययशः प्रमृष्टम् || 6-41

तस्यान्वये भूपतिरेष जातःप्रतीप इत्यागमवृद्धसेवी येनः श्रियः संश्रय दोषरूढं स्वभाव लोला इति अयशः प्रमृष्टम्

४१. आगमः= scriptures; वृद्ध= elders; सेवी= a servitor of - आगमः च वृद्धाः च, तान् सेवितुम् शीलः - one who follows Veda-s and elders; or, one who is a servitor of elders who are well-read in Veda-s; प्रतीप= प्रतीप - name of the king; इति= thus; एष भूपतिः= he is, the king; तस्य= his, that kArtavIrya arjuna's; अन्वये= in lineage; जातः= born in; येन= by whom, by which king pratIpa; संश्रय= पुंसः=with whom [glory] abides; दोष= flaws [of the persons on whom glory rests]; रूढं= caused by [on account of the flaws of that person on whom glory rests]; श्रियः= glory; स्वभाव लोला इति= by nature, fickle, thus; अ+यशः= ill, repute [of glory as she is fickle, mercurial]; प्रमृष्टम्=wiped out.

"In the lineage of such a kArtavIrya arjuna this prince is born . He is known as प्रतीप and he is a servitor of those that are well read in scriptures. Generally an ill repute is attached to श्री, the Lady of Glory that she is mercurial by her nature, which in fact is on account of the flaws of those persons with whom she abides… but this prince has wiped out that ill repute of mercuriality of Lady of Glory, because this prince is flawless... [6-41]

आयोधने कृष्णगतिं सहायमवाप्य यः क्षत्रियकालरात्रिम् |
धारां शितां रामपरश्वधस्य
संभावयत्युत्पलपत्रसाराम् || 6-42

आयोधने कृष्ण गतिं सहायम् अवाप्य यः क्षत्रिय काल रात्रिम् धारां शितां राम परश्वधस्य संभावयति उत्पल पत्र साराम्

४३. यः= who; आयोधने= in battle; कृष्ण गतिं= कृष्णा गतिः यस्य सः - which leaves a black trail - fire, here Firegod; सहायम्= assistance [of Fire-god ]; अवाप्य= having obtained - by the forefathers of pratIpa; क्षत्रिय काल रात्रिम्= for kshatriya-s, deadly, night - epoch ending night; राम= of parashu rAma; परश्वधस्य= of his axe - परस्य श्वम् धयति इति - enemy's, tomorrow, which ruins - the axe of parashu rAma that ruins the hopeful tomorrow of kshatriya-s; शितां धारां= sharp, edge - of axe; उत्पल पत्र= lotuses, petals; साराम्= as good as - in sharpness; संभावयति= he who deems - prince pratIpa; anvaya with 41 and 43 shloka-s.

"Having obtained the फ़िरेगोद् as an alley in battles through his ancestors, this prince प्रतीप considers the sharp edge of परशु-राम'स् axe, which by itself is the cataclysmal last-night of क्षत्रिय-s, to be no more than the petal of a lotus...

The reference is to the help received by नील, one of the kings of महिष्मति from Fire-god . नील had a daughter of exquisite beauty; she used to attend to the sacrificial fire of her father. agni, Fire-god, fell in love with her and his suit was accepted by the girl herself. The king came to know this and was very much incensed and wanted to punish Fire-god who used to enjoy the company of the princess in the disguise of a brAhmaNa. The deity disclosed his identity whereupon the king bestowed his daughter upon him as a recompense. Fire-god conferred a boon upon nIla that his soldiers should be always victorious. From that time those who invade the kingdom of the rulers of महिश्मति are consumed by fire. - mahAbhArata; sabha parva. - KMJ

अस्याङ्कलक्ष्मीर्भव दीर्घबाहोर्माहिष्मतीवप्रनितम्बकाञ्चीम् |
प्रासादजालैर्जलवेणिरंयां
रेवां यदि प्रेक्षितुमस्ति कामः || 6-43

अस्य अङ्क लक्ष्मीः भव दीर्घ बाहोः माहिष्मती वप्र नितम्ब काञ्चीम् प्रासाद जालैः जल वेणि रंयां रेवां यदि प्रेक्षितुम् अस्ति कामः

४३. माहिष्मती= of city mahIShmati; वप्र नितम्ब काञ्चीम्= compound wall, on hip, golden-cincture - a cincture around the hip called the compound wall of that city; जल वेणि रंयां= water, gushes, beautiful with; रेवां= at रेव river, नर्मद river; प्रासाद जालैः= of skyscrapers', from latticed windows; प्रेक्षितुम्= to see, to enjoy; कामः अस्ति यदि= desire, is there, if; दीर्घ बाहोः= of long, armed one - dextrous prince; अस्य= his; अङ्क लक्ष्मीः= in lap, goddess of fortune - consort, like Lakshmi, the consort of Vishnu, represented as sitting in the lap, or on the thigh of Vishnu; भव= you become.

"If you wish to enjoy the sight of River नर्मद through the latticed windows of skyscrapers of माहिशमति city, while that river will be beautiful with billowy water around the compound wall of that city like a golden-cincture around the waist of a lady, then you become the consort of this dexterous prince प्रतीप..." So said chatelaine सुनन्द to princess इन्दुमति. [6-43]

महिश्मति is said to have been situated on the River narmada between vindhya and the Riksha mountains somewhere near Jabalpoor where there are the celebrated marble rocks . ख़्ंज़्

तस्याः प्रकामं प्रियदर्शनोऽपिन स क्षितीशो रुचये बभूव |
शरत्प्रमृष्टाम्बुधरोपरोधः
शशीव पर्याप्तकलो नलिन्याः || 6-44

तस्याः प्रकामं प्रियदर्शनः अपि न सः क्षितीशः रुचये बभूव शरत् प्रमृष्ट अम्बु धर उपरोधः शशि इव पर्याप्त कलः नलिन्याः

४४. प्रकामं= excessively; प्रिय दर्शनः= pleasant, to see - handsome; अपि= even though; सः क्षितीशः= he, that king - prince pratIpa; शरत्= by autumn; प्रमृष्ट= removed; अम्बु धर= water, bearers - clouds; उपरोधः= one who has covering - निरस्त मेघ AvaraNa - one who has no covering of clouds as those clouds are already eliminated by autumn season; पर्याप्त कलः= fully fledged, in digits / arts - having all sixteen digits of waxing - with ref . to moon; versed in all 64 arts - with ref. to the prince; शशि नलिन्याः इव= moon, to day-lotus, as with; तस्याः= to her - to princess; रुचये= acceptable; न बभूव= not, [he, prince pratIpa,] became.

Even though prince प्रतीप is excessively handsome he is not acceptable to princess इन्दुमति, just as the moon though complete in all his sixteen waxing digits, and though autumn has already cleared cloudcover on him, remains unacceptable to a day-lotus. [6-44]

सा शूरसेनाधिपतिं सुषेण
मुद्दिश्य लोकान्तरगीतकीर्तिम् |
आचारशुद्धोभयवंशदीपं
शुद्धान्तरक्ष्या जगदे कुमारी || 6-45

सा शूरसेन अधिपतिं सुषेणम् उद्दिश्य लोक अन्तर गीत कीर्तिम् आचार शुद्ध उभय वंश दीपं शुद्धान्त रक्ष्या जगदे कुमारी

45 . लोक अन्तर गीत कीर्तिम्= worlds, intervening, sung, one who has such a fame - one whose fame is sung in intervening worlds other than this; आचार शुद्ध= by religious conventions, who are pure; उभय= both; वंश= dynasties - of his paternal as well as maternal dynasties; दीपं= a lamplight - of those two dynasties; शूरसेन= शूरसेन kingdom - near Mathura; अधिपतिं= lord of - shUrasena kingdom; सुषेणम्= at shushena, the king of shUrashena kingdom; उद्दिश्य= pointing out, with reference to; शुद्ध अन्तः [पुर]= flawless, palace-chambers; रक्ष्या= one who keeps guard - caretaker; सा कुमारी= she, that damsel इन्दुमति; जगदे= is said - इन्दुमति is addressed by the caretaker सुनन्द.

सुनन्द, the caretaker of the flawless palace-chambers, then addressed the damsel इन्दुमति with reference to सुशेण, the king of शूरसेन province, whose fame is chanted even in worlds other than this one, and who is, as it were, the lamplight of both his maternal and paternal dynasties which are pristine in their religious conventions. [5-45]

नीपान्वयः पार्थिव एष यज्वा
गुणैर्यमाश्रित्य परस्परेण |
सिद्धाश्रमं शान्तमिवेत्य सत्त्वैः
नैसर्गिकोऽप्युत्ससृजे विरोधः || 6-46

नीप अन्वयः पार्थिव एषः यज्वा गुणैः यम् आश्रित्य परस्परेण सिद्ध आश्रमं शान्तम् इव एत्य सत्त्वैः नैसर्गिकः अपि उत्ससृजे विरोधः

46 . यज्वा= nom . सिन्ग्. ओफ़् यज्वन्= a [regular] Vedic-ritualist; एषः पार्थिवः= this, king; नीप अन्वयः= nIpa, lineage - he is from; यम् आश्रित्य= whom, taking shelter of - having concentrated in him; गुणैः= by qualities - characteristics like ज्ञान-मौन, शक्ति-क्षम - i.e., knowledge-silence, power-tolerance etc; शान्तम्= tranquillity - is achieved; सिद्ध आश्रमं एत्य= saint's, hermitage, on coming to; सत्त्वैः= by beings - by animals like lion-elephant, cow-tiger, etc; इव= as if; नैसर्गिकः अपि= natural, though - though enmity is natural to those animals; परस्परेण विरोधः= mutual, antagonism; उत्ससृजे= is cast aside, abandoned.

"This king is the descendent of नीप lineage and he is a regular Vedic-ritualist, in whom several endowments are coexisting as if they have abandoned their natural variances just as wild animals forget their mutual and natural antagonism on coming to the hermitage of a saint where tranquillity ever reigns... [6-46]

यस्यात्मगेहे नयनाभिरामा
कान्तिर्हिमांशोरिव संनिविष्टा |
हर्ंयाग्रसंरूढतृणाङ्कुरेषु
तेजोऽविषह्यं रिपुमंदिरेषु || 6-47

यस्य आत्म गेहे नयन अभिरामा कान्तिः हिमांशोः इव संनिविष्टा हर्ंय अग्र संरूढ तृण अङ्कुरेषु तेजः अविषह्यं रिपु मंदिरेषु

47 . हिमांशोः=हिमाः अंशवः यस्य सः=whose beams are cool - the moon; [कान्तिः=splendour]; इव= like; नयन अभिरामा= for eyes, delightful; यस्य= whose; कान्तिः= splendour; आत्म गेहे संनिविष्टा= in his own, house, settled - that splendour of the king settled in his city/house itself; अ+वि+षह्यं= not, verily, endurable; तेजः= resplendence - of his valour; हर्ंय अग्र संरूढ तृण अङ्कुरेषु=on building, tops, overgrown, grass, blades; रिपु मंदिरेषु= enemies', in cities - मन्दिरम् नगरे गृह - इति विश्व कोश - मंदिरम् is a synonym to city also; [ सुसंनिविष्ठम्=settled down]; anvaya with next verse; he is such a king, namely susheNa, the king of शूरसेन - is the completing expression for each verse.

"He whose eye-pleasing splendour has settled down in his own house like moonshine with coolant moonbeams for his allies, while his unendurable resplendence of valour settled down on the grass blades sprouted on the rooftops of his enemies when they have fled abandoning their houses.... [6-47]

यस्यावरोधस्तनचन्दनानां
प्रक्षालनाद्वारिविहारकाले |
कलिन्दकन्या मथुरां गतापि
गङ्गोर्मिसंसक्त् prince aja लेव भाति || 6-48

यस्य अवरोध स्तन चन्दनानां प्रक्षालनात् वारि विहार काले कलिन्द कन्या मथुरां गता पि गङ्ग ऊर्मि संसक्त जला इव भाति

48 . यस्य वारि विहार काले= whose, water, sporting, at the time of - at the time of whose water sports with his harem; अवरोध= not 'screenable inner apartment' here - but the ladies of screenable palace-chambers, old word harem, while harem nowadays means a brothel house; स्तन चन्दनानां प्रक्षालनात्= breasts, sandalwood paste, by the way of washing; कलिन्द कन्या= Mt . Kalinda's, daughter - River kAlindi emerging from Mt. kalinda; मथुरां गता अपि= city of mathura, reached, though; गङ्ग ऊर्मि= River Ganga's, with ripples; संसक्त जला इव= mixed with, water, as though; भाति= shines forth; he is such a king, namely susheNa, the king of shUrasena - is the competing line.

"He who participates in the waters sports with his palace ladies in the river water of River कालिन्दि, aka River यमुना, the river daughter of Mt . कलिन्द, in consequence of which the sandalwood paste daubed on the breasts of those ladies gets washed imparting a creaminess to the water of that river, whereby that River यमुन appears to have merged with the ripples of River ganga, though it is still flowing down south at मथुरा without actually achieving confluence with गन्गा at प्रयाग... [6-48]

त्रस्तेन तार्क्ष्यात्किल कालियेनमणिं विसृष्टं यमुनौकसा यः |
वक्षःस्थलव्यापिरुचं दधानः
सकौस्तुभं ह्रेपयतीव कृष्णम् || 6-49

त्रस्तेन तार्क्ष्यात् किल कालियेन मणिं विसृष्टं यमुना ओकसा यः वक्षःस्थल व्यापि रुचं दधानः स कौस्तुभं ह्रीपयति इव कृष्णम्

४९. तार्क्ष्यात्= from garuDa, the Divine Eagle; त्रस्तेन= one who is tortured, harassed; यमुना= River yamuna; ओकसा= यमुना एव ओकः=[yamuna as his] dwelling place; कालियेन= by कालीय, the gigantic serpent; विसृष्टं= अभय दान=[gem] gaged - archaic stake, pledge; offer as a guarantee - [by KAlIya]; किल= they say so; वक्षःस्थल व्यापि= on broad-chest, overspreading; रुचं= pleasance, pleasant light of jewel; मणिं दधानः= [such a] jewel, wearing yaH=he who; स कौस्तुभं= with kausthubha jewel; कृष्णम्= विश्नुम्=Vishnu; ह्रीपयति इव= व्रीडयति इव=makes [Vishnu] feel ashamed, as though.

"Once the gigantic serpent कालिय entrusted the jewel on his hood to the ancestors of this king when he fled harassed by Divine Eagle garuDa to take shelter in the underwater of River yamuna, so they say.. . and now this king who wears that jewel whose lustre spreads on his broad-chest makes light of विष्णु even if विष्णु wears the divine jewel कौस्थुभ obtained from the churning of Milk Ocean...

कालीय was a huge serpent whose abode was the island रमणक. By his insolence he incurred the displeasure of garuDa and being defeated in the ensuing fight he sought shelter under the water of the yamuna in the kingdom of shUrasena, a ground forbidden to garuDa through the curse of सौभरि. - Brahma Vaivarta Purana. कौस्थुभ - कुम् - the earth; स्थुभ्नति इति कुस्थुभ - the sea; कुस्थुभस्य अयम् कौस्थुभ. [KMJ] The jewel कौस्थुभ was no recompense for protection. Hence अलंकार in this is उत्प्रेक्ष.

संभाव्य भर्तारममुं युवानम्मृदुप्रवालोत्तरपुष्पशय्ये |
वृन्दावने चैत्ररथादनूने
निर्विश्यतां सुन्दरि यौवनश्रीः || 6-50

संभाव्य भर्तारम् अमुं युवानम् मृदु प्रवाल उत्तर पुष्प शय्ये वृन्दावने चैत्ररथात् अनूने निर्विश्यतां सुन्दरि यौवन श्रीः

५०. युवानम्= young man; अमुं= him; भर्तारम्= as husband; संभाव्य= on considering, by honouring him as your husband; मृदु= soft; प्रवाल= tender leaves; उत्तर= upari prasArita=overspread; पुष्प शय्ये= on flower, bed; चैत्ररथात्= than chaitraratha, the pleasure gardens of kubera; अ+नूने= not, inferior [to those celestial gardens]; वृन्द वने= in bRinda, gardens - ब्ऱिन्दवन् is the garden named after Brinda, the daughter of king kedara, which girl sported in the company of shrIhari in those gardens; सुन्दरि= oh, pretty girl; यौवन श्रीः= [your] youth's, glory; निर्विश्यतां= [you] may enjoy.

"By honouring this young prince सुशेण as your husband, oh pretty girl, you will be enjoying your youth on flowered beds covered with tender leaves in ब्ऱिन्दवन garden, which in no way is inferior to चैत्ररथ, the pleasure garden of कुबेर... [6-50]

अध्यास्य चाम्भःपृषतोक्षितानि
शैलेयगन्धीनि शिलातलानि |
कलापिनां प्रावृषि पश्य नृत्यं
कान्तासु गोवर्धनकन्दरासु || 6-51

अध्यास्य च अम्भः पृषत उक्षितानि शैलेय गन्धीनि शिला तलानि कलापिनां प्रावृषि पश्य नृत्यं कान्तासु गोवर्धन कन्दरासु

51. [ किम्] च=further; प्रावृषि= in rainy season; कान्तासु= मनोहरासु=in beautiful; गोवर्धन कन्दरासु= in Mt . गोवर्धन, dales; अम्भः पृषत= with water, drops - with raindrops; उक्षितानि= sprinkled; शैलेय= शिलाजितु च शैलेयम् इति - विश्व कोश्= षिलाजित्- a stone based medicament; गन्धीनि= having perfume of - suh medicament; शिला तलानि अध्यास्य= on stone, slabs, sitting on; कलापिनां= of peacocks; नृत्यं= dance; पश्य= you see.

"Further, you may enjoy the dance of peacocks in the delightful dales of Mt . गोवर्धन during rainy seasons by sitting on the stone slabs which when wetted with raindrops will be fragrant with the scent of शिलाजित्..." So said Lady सुनन्द to princess इन्दुमति. [6-51]

गोवर्धन is the mountain where Krishna had amorous sports, and lifted it on his little finger. - Vishnu Purana.

नृपं तमावर्तमनोज्ञनाभिःसा व्यत्यगादन्यवधूर्भवित्री |
महीधरं मार्गवशादुपेतं
स्रोतोवहा सागरगामिनीव || 6-52

नृपं तम् आवर्त मनोज्ञ नाभिः सा व्यत्यगात् अन्य वधूः भवित्री मही धरं मार्ग वशात् उपेतं स्रोतोवहा सागर गामिनी इव

५२. आवर्त= eddy like; मनोज्ञ नाभिः= beautiful, one who has such a navel; अन्य वधूः= another [man's,] wife; भवित्री= fem . sing. of भवितु - she who is scheduled to become; सा= she, इन्दुमति; तम् नृपं= him, that king - susheNa; सागर गामिनी स्रोतोवहा= ocean, going, stream-carrier - river; मार्ग वशात् उपेतं= in path, chanced, neared - one which by chance is met on the way; मही धरं इव= earth, borne one - mountain, as with; व्यत्यगात्= moved past.

She who has a navel as beautiful as an eddy, and who is scheduled to become another man's wife, that princess इन्दुमति moved past that prince सुशेण of शूरसेन kingdom, just as an ocean bound river moves past a mountain met by chance on its way. [6-52]

Here u. ma - स्रोतोवह - river; u.me - इन्दुमति; sAdhAraNa dharma - moving past - river moving past a mountain if encountered on its path, इन्दुमति moving past the king of कलिन्ग because he happened to be on her way; cw - इव. 1] In आवर्त मनोज्ञ नाभि - there is समास भेद as said in these विग्रह वाक्या-s: आवर्त एव मनोज्ञा नाभि र्यस्स्या स्सा - eddy itself is the beautiful navel of the sheet of water of the river - on river's side; आवर्त इव मनोज्ञा नाभि र्यस्स्या स्सा - one having eddy-like beautiful navel on her belly which in turn is like the sheet of water of a river - on the side of princess. व्यत्यगात् - moved past - is the commonality applicable for both उपमान and उपमेय. अन्य वधूर्भवित्री - going to become another man's wife - बिम्ब; सागर गामिनी - river is also going to become another entity's wife, namely the wife of ocean, hence it is the प्रतिबिम्ब; तम् नृपम् - bimba; म्हीधरम् - pratibimba; मार्ग वशात् उपेतम् - common factor in respect of both the king and mountain. In this construction there is a मिश्रण, a mixture, of four elements - अनुगामित्व, बिंब प्रतिबिंब, भाव, श्लेष समास भेद elements. 2] श्रौति पूर्ण उपम.

अथाङ्गदाश्लिष्टभुजं भुजिष्याहेमाङ्गदं नाम कलिङ्गनाथम् |
आसेदुषीं सादितशत्रुपक्षं
बालामबालेन्दुमुखीं बभाषे || 6-53

अथ अङ्गद आश्लिष्ट भुजं भुजिष्या हेम अङ्गदं नाम कलिङ्ग नाथम् आसेदुषीं सादित शत्रु पक्षं बालाम् अबाल इन्दु मुखीं बभाषे

५३. अथ= then; भुजिष्या= किङ्करी=chambermaid - सुनन्द; अङ्गद आश्लिष्ट भुजं= with bicep ornaments, bound, one with such upper arms; सादित शत्रु पक्षं= extirpated, enemy, sides; हेम अङ्गदं नाम= हेमन्गद, known as; कलिङ्ग नाथम्= कलिन्ग, king of; आसेदुषीं= one who neared - इन्दुमति who by now neared such a prince; अ + बाल= not, very young - full grown [moon]; इन्दु मुखीं= to moon, faced one - to इन्दुमति; बालाम्= to [that] damsel इन्दुमति; बभाषे= [ सुनन्द] spoke.

Then the chambermaid सुनन्द addressed that damsel इन्दुमति whose face is like that of a full moon and who by now has come into the proximity of the prince of कलिन्ग, known as prince हेमान्गद, who is wearing bicep ornaments on his upper arms and who extirpated his foes. [6-53]

असौ महेन्द्राद्रिसमानसारः
पतिर्महेन्द्रस्य महोदधेश्च |
यस्य क्षरत् सैन्य ग् prince aja च्छलेन
यात्रासु यातीव पुरो महेन्द्रः || 6-54

असौ महेन्द्र अद्रि समान सारः पतिः महेन्द्रस्य मह उदधेः च यस्य क्षरत् सैन्य ग् prince ajaच्छलेन यात्रासु याति इव पुरः महेन्द्रः

54 . महेन्द्र अद्रि समान= to महेन्द्र, mountain, similar to - वल्लभचार्य cleaves this as mahendra - to Indra; अद्रि= to sun; समानः= comparable - to indra and sun; सारः= having calibre; असौ= he is - this hemAngada is; महेन्द्रस्य= of mahendra mountain; मह उदधेः च= of great, ocean, also; पतिः= lord of; यस्य यात्रासु= in whose, expeditions; क्षरत्= flowing - ichor - flowing from the temples of elephants; सैन्य ग् prince aja= war, elephants; च्छलेन= with their semblance; महेन्द्रः= Mt . ंअहेन्द्र; पुरः= in forefront; याति इव= is moving, as though.

"This king हेमनगद is equal to the Mt . महेन्द्र. He is the lord both of the Mt. महेन्द्र and a great ocean by that name. In the expeditions of this king, that Mt. महेन्द्र itself appears, as it were, to march in the forefront of his army under the semblance of his war-elephants on whose temples ichor will be oozing as a mark of their invigoration... [6-54]

ज्याघातरेखे सुभुजो भुजाभ्यांबिभर्ति यश्चापभृतां पुरोगः |
रिपुश्रियां साञ्जनबाष्पसेके
बन्दीकृतानामिव पद्धती द्वे || 6-55

ज्या घात रेखे सु भुजो भुजाभ्यां बिभर्ति यः चाप भृतां पुरोगः रिपु श्रियां स अञ्जन बाष्प सेके बन्दी कृतानाम् इव पद्धती द्वे

५५. सु भुजः= glorious, arms - one having them, the prince of कलिन्ग; चाप भृतां पुरोगः= bow, among wielders, foremost one - best archer; यः= who; बन्दी कृतानाम्= captive, who is made as - captivated; रिपु श्रियां= enemy's, grandeur; स अञ्जन= with, mascara; बाष्प सेके= teardrops, besprinkled to form runnels; पद्धती= पथि पङ्क्ती च=continous [two] lines; इव [स्थिते]= like, [available - on his palms]; द्वे= two; ज्या घात रेखे= ज्यायाः आघाताः=by bowstring, dented, lines - two continuous lines on his palms dented by continuous use of bowstring; भुजाभ्यां= with two arms - by this dual case said for both arms, the prince is a सव्यसाचि - capable to handle arrows with both hands, ambidextrous; बिभर्ति= he is bearing [those two scars made by bowstring - he is such a valorous prince; अलंकार - उत्प्रेक्ष.

"This prince with glorious arms is an ace archer and bears two dents on his palms made by the continuous use of his bowstring. Those two lines appear as two pathways for the runnels of teardrops mixed with the mascara of ladies called the grandeurs of his enemies, when this prince हेमान्गद captivated them... [6-55]

यमात्मनः सद्मनि संनिकृष्टोमन्द्रध्वनित्याजितयामतूर्यः |
प्रासादवातायनदृश्यवीचिः
प्रबोधयत्यर्णव एव सुप्तम् || 6-56

यम् आत्मनः सद्मनि सन्निकृष्टः मन्द्र ध्वनि त्याजित याम तूर्यः प्रासाद वात अयन दृश्य वीचिः प्रबोधयति अर्णवः एव सुप्तम्

५६. आत्मनः सद्मनि= in his own, house - palace; सुप्तम्= one who slept; यम्= whom; सन्निकृष्टः= available close by, in vicinity; प्रासाद= of palace; वात अयन= air, passages - from windows; दृश्य = one whose [waves] can be seen; वीचिः= who has waves [namely the ocean]; मन्द्र ध्वनि त्याजित= by rumbling, sound, suppressed - bugles of watches are rendered unnecessary by the rumbling sound of waves; याम तूर्यः= watches, bugle - and their sound; अर्णवः एव= [such] ocean, alone; प्रबोधयति= awakens - this king; अर्णव एव= ocean, alone; प्रबोधयति= wakes him up; अर्णवस्य एव तूर्य कारित्वात् वैअर्थम् समुद्रस्य अपि सेव्यः; किमुतान्येषाम् इति भावः - when the ocean itself is serving this king of kalinga as a bugler of watches, why reiterating that others are to be in his service? The anvaya that you may marry such a lordly king - is with next verse.

"When this king of कलिन्ग is adored by no less than the great ocean, then what to tell about commoners… why because, there is a great ocean in the vicinity of the mansion of this king of कलिन्ग whose waves can be seen from the windows of that mansion… for being in the proximity that ocean renders the regular bugles of watch-guards unnecessary to awaken this king in the mornings, because, the ocean-god himself gives watch-bugle with the rumbling sounds of his oceanic waves to wake up this king... [6-56]

अनेन सार्धं विहराम्बुराशे
स्तीरेषु तालीवनमर्मरेषु |
द्वीपान्तरानीतलवङ्गपुष्पै
रपाकृतस्वेदलवा मरुद्भिः || 6-57

अनेन सार्धं विहर अम्बु राशेः तीरेषु ताली वन मर्मरेषु द्वीप अन्तर आनीत लवङ्ग पुष्पैः अपाकृत स्वेद लवा मरुद्भिः

57 . अनेन= with him, with such a prince whose merits are said in above verses; सार्धं= along with - this prince; ताली वन मर्मरेषु= palm trees, groves of, in rustlings - in the rustling groves of palm trees; अम्बु राशेः= water, heap - ocean; तीरेषु= on shores; द्वीप अन्तर आनीत= from islands, interspersed, brought - breezes brought from the interspersing islands; लवङ्ग पुष्पैः मरुद्भिः= clove, flowers, with breezes - in the breezes wafting the fragrance of clove flowers; अपाकृत= removed; स्वेद लवा [सती]= sweat, drops [on becoming]; विहर= take jaunts, pleasure trips.

"With such a prince हेमान्गद of कलिन्ग kingdom you can take pleasure trips in the groves of palm trees full with rustling of palm leaves on the seashore to where breezes will be wafting the fragrance of clove flowers from the interspersed islands of that ocean, if you accept his hand in marriage..." lady सुनन्द said so to the princess.

प्रलोभिताप्याकृतिलोभनीया
विदर्भराजावरजा तयैवम् |
तस्मादपावर्तत दूरकृष्टा
नीत्येव लक्ष्मीः प्रतिकूलदैवात् || 6-58

प्रलोभिता अपि आकृति लोभनीया विदर्भ राजा अवरजा तया एवम् तस्मात् अपावर्तत दूर कृष्टा नीत्या इव लक्ष्मीः प्रतिकूल दैवात्

58 . आकृति लोभनीया= आकृत्या आकर्षणीया, न तु वर्णना मात्रेन - इत्यर्थः= one who is attracted by actual appearance, and not by mere description - इन्दुमति who can get attracted by the actuality of suitor king, not by सुनन्द's eulogy; विदर्भ राजा अवरजा= vidarbha, king's, later born - younger sister - इन्दुमति; तया= by her, by सुनन्द; एवम्= in this way; प्रलोभिता= excited, blandished; अपि= even though; नीत्या= by tactics; दूर कृष्टा= दूरम् आनीत=from a [great] distance, hauled; लक्ष्मीः=goddess of fortune; प्रतिकूल दैवात्= प्रतिकूलम् दैवम् यस्य तस्मात् पुंसः=one whose god is adverse - unfortunate fellow; इव= as with; तस्मात्= from him - from kalinga king; अप आवर्तत= to side, turned away.

Though caretaker सुनन्द blandished her in this way, that younger sister of the king of vidarbha, namely princess इन्दुमति, who is apt to get attracted by the physicality, has turned away from the prince of कलिन्ग, namely हेमान्गद, just as the goddess of fortune turns away from an unfortunate person however close she may have been hauled towards him by his tactics. [6-58]

अथोरगाख्यस्य पुरस्य नाथं
दौवारिकी देवसरूपमेत्य |
इतश्चकोराक्षि विलोकयेति
पूर्वानुशिष्टां निजगाद भोज्याम् || 6-59

अथ उरग आख्यस्य पुरस्य नाथं दौवारिकी देव स रूपम् एत्य इतः चकोर अक्षि विलोकय इति पूर्व अनुशिष्टां निजगाद भोज्याम्

59 . अथ= later; दौवारिकी= a female warder; देव स रूपम्= देवेन स रूपम् देव स रूपम् - तम्; समानम् रूपम् अस्य इति स रूपम्= divine featured; उरग= उरसा गच्छति इति उरग - generally a reptile, serpent, a city named after serpent - say नाग पट्टणम् - of Andhra; आख्यस्य= known as; पुरस्य नाथं= to [that] city [namely उरग चित्y , say नाग पट्टणम्] to its lord; एत्य= having gone to; ह्è चकोर अक्षि= oh, one whose eyes are like the eyes of चकोर bird; इतः विलोकय= here, you see; इति= thus; पूर्व अनुशिष्टां= पूर्वम् उक्त्वा पस्चात्द् वक्तव्यम् इन्जगाद इति अर्थः=firstly, on addressing= भोज्याम्=to bhoja's [sister]; नि जगाद= laying stress, said to.

Later, lady सुनन्द, the female warder of palace-chambers, having come to the divine-featured lord of the city known by the name of a serpent, firstly spoke to the younger sister of भोज, namely princess इन्दुमति saying, "look here, oh, princess with beautiful eyes like those of a चकोर bird..." and then spoke to her laying stress on the matter she is saying. [6-59]

The town referred to is नाग पट्टन्णम् in the राजमहेन्द्रि distinct in [the then] Madras Presidency - KMJ

पाण्ड्योऽयमंसार्पितलम्बहारः
कॢप्ताङ्गरागो हरिचन्दनेन |
आभाति बालातपरक्तसानु
स्सनिर्झरोद्गार इवाद्रिराजः || 6-60

पाण्ड्यः अयम् अंस अर्पित लम्ब हारः कॢप्त अङ्ग रागः हरि चन्दनेन आभाति बाल आतप रक्त सानुः स निर्झर उद्गारः इव अद्रि राजः

60 . अंस= on shoulder tops; अर्पित= given, adorned with; लम्ब हारः= dangling, chest-pendant - one who has a long chest pendant of pearls dangling from his shoulders; हरि चन्दनेन= by red sandalwood; कॢप्त अङ्ग रगः= decorated, body, colour - body colour shines forth as red sandalwood as that paste is smeared on his body; अयम्= he is - such as he is; पाण्ड्यः= पाण्डूनाम् निवासः, जनपदः पाण्डवः, तेषाम् राजः पाण्ड्यः - he is the king of पाण्ड्या-s; बाल आतप= young, sun - by rising sun; रक्त सानुः= reddened, mountain tops; स निर्झर उद्गारः= with, mountain rapids, streaming - mountain letting out rapids in streams; अद्रि राजः= mountain, lordly; इव= like - this king is like; आभाति= shines forth.

"This king whose long pendant of pearls is dangling from his shoulders, and whose body is shining forth with the tinge of red sandalwood as that paste is smeared on his body, and who appears like a lordly mountain letting streams of rapids on its mountainsides, and with its peaks flooded with the morning sunlight, is the prince of पाण्ड्य kingdom...

विन्ध्यस्य संस्तम्भयिता महाद्रे
र्निःशेषपीतोज्झितसिन्धुराजः |
प्रीत्याश्वमेधावभृथार्द्रमूर्ते
स्सौस्नातिको यस्य भवत्यगस्त्यः || 6-61

विन्ध्यस्य संस्तम्भयिता महा अद्रेः निःशेष पीत उज्झित सिन्धु राजः प्रीत्या अश्व मेध अवभृथ आर्द्र मूर्तेः सौस्नातिकः यस्य भवति अगस्त्यः

61 . विन्ध्यस्य महा अद्रेः= of Mt. vindhya, great, mountain; संस्तम्भयिता= one who stalled [its upward growth]; निःशेष= completely; पीत= drunk; उज्झित= spoted; सिन्धु राजः= rivers, lord of - ocean - one who drank ocean and spouted it out; अगस्त्यः= sage अगस्त्य; अश्व मेध= hose, ritual; अवभृथ= a sacrted bathg on completing that ritual; आर्द्र मूर्तेः= wet, with body - when his body is still wet after the sacred bath; यस्य= in whom; प्रीत्या= friendlily, not by pity; सौस्नातिकः= सुखेन स्नातः इति पृच्छन्तः - or - सुशोभनम् स्नातम् सुस्नातम् पृच्छति; पृच्छतौ सुस्नातादिभ्यः - those about whom enquiries are made if they have had a bath in due form after Vedic ritual, i.e., have you completed ritual procedurally' etc. will be enquired by Agastya. The questioner is Sage Agastya and the questioned king is the king of पाण्ड्य; भवति= he who becomes - king of pANDya; anvaya is with 60 verse - drawing sense 'he is such a king of pANDyA-s who is asked by no less than sage agastya, which sage has stopped the growth of mountain on one occasion, and which sage drank and spouted an ocean on another occasion, such a sage will be enquiring this king about this king's sacred bath after Vedic-ritual, and such a king is here as suitor to you...'

"Sage who stopped the upward growth of the great विन्ध्य mountain, who quaffed off and spouted out entire ocean, that sage अगस्त्य will be the catechiser of this king when this pANDyan king's body is still wet after the concluding sacred bath of अश्वमेध ritual enquiring, '…have you performed the ceremony of ablution after Vedic-ritual अश्वमेध properly....' [6-61]

अस्त्रं हरादाप्तवता दुरापं
येनेन्द्रलोकावजयाय दृप्तः |
पुरा जनस्थानविमर्दशङ्की
संधाय लङ्काधिपतिः प्रतस्थे || 6-62

अस्त्रं हरात् आप्तवता दुरापं येन इन्द्र लोक अपजयाय दृप्तः पुरा जनस्थान विमर्द शङ्की संधाय लङ्क अधिपतिः प्रतस्थे

62 . पुरा= in the days of yore; जनस्थान= जनस्थान - a stronghold of demon rAvaNa; वि मर्द= devastation; शङ्की= one who was doubting - rAvaNa; दृप्तः= insolent - demon; लङ्क अधिपतिः= lanka's, lord - rAvaNa; दुर् आपं= difficult, to be obtained; अस्त्रं= a missile; हरात्= from hara, shiva; आप्तवता= one who obtained; येन= by whom - rAvaNa; संधाय= having made peace - with the king of pANDya; इन्द्र लोक= Indra's, world; अपजयाय= not exactly victory, but gaining anything by conquest - as if to make Indra's heavean defeated - अवजयाय is another text; प्रतस्थे= embarked on - rAvaNa; anvaya with 60th verse - he who is such a king etc; इन्द्र विजयिनो रावणस्य अपि [पाण्ड्य राजा] विजेते इति अर्थः.

"No less than the haughty king of lanka, namely रावण, had to make truce with these pANDyan kings as he feared the devastation of his stronghold called जनस्थान at the hand of pANDya kings, because the pANDyan-s wielded a deadly missile called ब्रह्म-शिरो-अस्त्र, obtained through the grace of god shiva… so, rAvaNa firstly made pact with them and then went to conquer indra's heaven, because conquering heaven is nothing before conquering pANDyan empire… [6-62]

अनेन पाणौ विधिवद्गृहीते
महाकुलीनेन महीव गुर्वी |
रत्नानुविद्धार्णवमेखलाया
दिशः सपत्नी भव दक्षिणस्याः || 6-63

अनेन पाणौ विधिवत् गृहीते महा कुलीनेन मही इव गुर्वी रत्न अनुविद्ध अर्णव मेखलाया दिशः सपत्नी भव दक्षिणस्याः

63 . महा कुलीनेन= from a great, lineage; अनेन= by him; पाणौ= [your] hand; विधिवत् गृहीते [सति]= procedurally, taken, [when wedded]; गुर्वी मही इव= great, earth, as with; रत्न अनुविद्ध= gem, studded; अर्णव मेखलायाः= ocean , with girdle cincture - like great earth wearing ocean, like a lady wearing girdle cincture studded with gems; दक्षिणस्याः दिशः= to southern, quarter; सपत्नी= a co-wife - समानः पत्नी अस्या अस्तीइति सपत्नी; भव= you will become.

"When your hand is procedurally accepted by this pANDyan king, who belongs to an illustrious lineage of southern kings, you will not have another co-wife excepting the great pANDyan earth… hence, do thou become a co-wife of the lady called southern quarter who is engirt by the girdle of ocean studded with gems... then garland him… and then you will… [6-63]

The girdle studded with gems has threefold उपम. १] रत्नैः अनुविद्धः - रत्नानुविद्धः; स चासौ अर्णवः च - रत्नानुविद्धार्णवः - स एव मेखला यस्यास्सा - one who has a girdle studded with gems, which is also an ocean, rather ocean studded with gems - with ref. to earth in general. 2] अर्णव सदृशी मेखला - अर्णव मेखला - शाक पार्थिवादित्वात् मध्यम पद समासः - one whose girdle cincture is broad and beautiful like an ocean, and which is also studded with gems - with ref. to the princess इन्दुमति. 3] रत्नानुविद्ध एव मेखला यस्यास्सा - one whose girdle cincture, namely southern quarter, which is grit with an ocean which is studded with gems, because the southern ocean is famous for gems - with ref. to southern quarter.

ताम्बूलवल्लीपरिणद्धपूगास्वेला लतालिङ्गित चन्दनासु |
तमाल पत्रास्तरणासु शश्वत्
प्रसीद रंतुम् मलयस्थलीषु || 6-64

ताम्बूल वल्ली परिणद्ध पूगासु एला लत आलिङ्गित चन्दनासु तमाल पत्र अस्तरणासु शश्वत् प्रसीद रन्तुं मलय स्थलीषु

६४. ताम्बूल वल्ली= beetle-leaves, creepers; परिणद्ध= entwined with; पूगासु= in areca-palms groves; एला लत आलिङ्गित= with cardamom, creepers, embraced with; चन्दनासु= in such sandalwood tree groves; तमाल पत्र= with Tamala, leaves; अस्तरणासु= on layered beds; मलय स्थलीषु= on Mt . मलय, on level spots; शश्वत् प्रसीद रन्तुं= always, be pleased to, enjoy yourself.

"Be pleased to divert yourself always on the level spots of Mt . मलय where the areca-palms will be entwining the beetle-leaf creepers, cardamom creepers engirt the sandalwood trees and where the ground is covered with the layers of black तमल leaves... [6-64]

इन्दीवरश्यामतनुर्नृपोऽसौत्वं रोचनागौरशरीरयष्टिः |
अन्योन्यशोभापरिवृद्धये वां
योगस्तटित्तोयदयोरिवास्तु || 6-65

इन्दीवरश्यामतनुर्नृपोऽसौत्वं रोचनागौरशरीरयष्टिः अन्योन्य शोभा परिवृद्धये वां योगः तटित् तोयदयोः इव अस्तु

६५. असौ नृपः= this, prince is; इन्दीवर= indI - लक्ष्मी - तस्याः वरम् इष्टम् इन्दीवरम्, तदिव श्यामातनुः यस्य सः - blue lotus, Nympheae coerula and stellata; श्याम तनुः= blue-black, bodied - this prince; त्वं= yours is; रोचना= like gorocana; गौर= yellowish; शरीर= body; यष्टिः= this word primarily means a stick, or a pole but at the end of compounds meaning 'the body' it means slim, slender, e.g., सरसान्ग यष्टि - कु. सम्. V. ८५; तटित्= lightning; तोयदयोः= black cloud; इव= as with; वां योगः= of you two, union; अन्योन्य= each other's; शोभा= elegance; परिवृद्धये अस्तु= enhance, let it - let the elegance of you too may enhance.

"This prince has the complexion of a blue-lotus and your slim figure has the fairness of yellowish गोरोचन, and your union with him enhances the elegance of both of you as with the beauty of lightening and black cloud..." So said lady सुनन्द to princess इन्दुमति. [6-65]

In this verse: 1] u.mA - blue lotus; उंए - body; commonality - blue-blackness; च्व् - इव - like. 2] समासग-वचक लुप्त - उपम; cw unsaid in compound; u . म= रोचन, गोरोचन; u . मे - body of princess; commanlity for गोरोचन and princess - golden colour; cw - इव - this is लुप्त, unsaid here. 3] u. ma- slender like stick; u. me- slim body; c and cw are unsaid - लुप्त वाचक. 4] धर्म - वाचक लुप्त - उपम - u. ma- तटित् तोयद योग - unison of lightning and cloud; u. me - इन्दुमती पान्ड्यराज योग - unison of princess and pANDya prince; c - अन्योनय शोभा परिवर्थकत्व - this itself is the common dharma and commonality of a wedded life; cw - इव. Hence this has two वाचक लुप्त उपम-s, one धर्म लुप्त उपम, and one श्रौति पूर्ण उपम.

स्वसुर्विदर्भाधिपतेस्तदीयोलेभेऽन्तरं चेतसि नोपदेशः |
दिवाकरादर्शनबद्धकोशे
नक्षत्रनाथांशुरिवारविन्दे || 6-66

स्वसुः विदर्भ अधिपतेः तदीयः लेभे अन्तरं चेतसि न उपदेशः दिवाकर अदर्शन बद्ध कोशे नक्षत्र नाथ अंशुः इव अरविन्दे

६६. विदर्भ अधिपतेः स्वसुः= vidarbha's, lord's, sister's - इन्दुमति's; चेतसि= in heart; तदीयः= of her - of सुनन्द; उपदेशः= advise; दिवाकर= day maker - sun; अ+दर्शन= without, seeing - when unseen; बद्ध कोशे= bound, bud - in enfolded bud; अरविन्दे= in day-lotus; नक्षत्र नाथ= stars, lord of - moon's; अंशुः इव= moonbeam, as with; अन्तरं= lit. space - hence admission; न लेभे= not, took - it became inadmissible.

Chatelaine सुनन्द's advice found no admission into the heart of the sister of vidarbha's king, namely princess इन्दुमति, just as a ray of the lord of stars, namely the Moon, finds no entrance in the day-lotus when its petals are enfolded into a bud on the disappearance of the day maker, namely the Sun. [6-66]

संचारिणी दीपशिखेव रात्रौ
यं यं व्यतीयाय पतिंवरा सा |
नरेन्द्रमार्गाट्ट इव प्रपेदे
विवर्णभावं स स भूमिपालः || 6-67

संचारिणी दीप शिख इव रात्रौ यं यं व्यतीयाय पतिं वरा सा नरेन्द्र मार्ग अट्ट इव प्रपेदे विवर्ण भावं स स भूमि पालः

67 . पतिं वरा सा= husband, selector, she - she who has come to select her husband, इन्दुमति; रात्रौ संचारिणी दीप शिख इव= in night, moving, lamp's, [glittering] flame, as with; यं यं= whom, whom; [ भूमि पालम्=king, whomever]; व्यतीयाय= passed by; सः सः भूमिपालः= he, he, king - such and such a king; नरेन्द्र मार्ग= on king's, way; अट्ट= a turret, or a balustrade; इव= like; वि+वर्ण भावं= without, colour, aspect - they bore a colourless aspect; प्रपेदे= [that king] obtained - that king became colourless, he drew blank.

Princess इन्दुमति who came to choose her husband then moved like the glittering flame of a lamp on a king's way, and whichever prince she left behind was suffused with pallor just like a turret or balustrade on the king's way will be shrouded in darkness and becomes dim when left behind by the moving light on the king's way. [6-67]

There are two उपम-s in this: १] दीप शिख / राज मार्गे अट्ट; उ. मे - इन्दुमति, each prince left behind; च् - becoming pallid; cw - इव; And it is also - केवल श्लिष्ट परितोपम.

Owing to this comparison of heroine with the tongue of flame of a lamp, kAlidAsa acquired the nickname of दीप शिखा कालिदस , like माघ कवि acquiring a label like घण्टा माघ title, when he compared रैवत mountain, that has sun and moon on both of its sides, to an elephant - वहति गिरिरयम् विलंबि घण्टा... etc in शिशुपाल वध.

तस्यां रघोः सूनुरुपस्थितायांवृणीत वा नेति समाकुलोऽभूत् |
वामेतरः संशयमस्य बाहुः
केयूरबन्धोच्छ्वसितैर्नुनोद || 6-68

तस्यां रघोः सूनुः उपस्थितायां वृणीत वा न इति समाकुलः आभूत् वाम इतरः संशयम् अस्य बाहुः केयूर बन्ध उच्छ्वसितैः नुनोद

६८. तस्यां उपस्थितायां= of her, in proximity - when she came into his proximity; रघोः सूनुः= raghu's, son - prince प्रिन्चे अज; [ माम्= me]; वृणीत वा= [she] chooses, whether; न= not; [ वा=or]; whether she chooses me or not; इति= like this; समाकुलः आभूत्= anxious, he became; बुत्; अस्य= his; वाम इतरः बाहुः= left, other than, upper arm - right arm; केयूर बन्ध उच्छ्वसितैः= bicep-lets, tying place, by throbbing - owing to the throbbing of upper arm where bicep-ornaments are tied; संशयम् नुनोद= doubt, removed.

When princess इन्दुमति arrived before the son of emperor raghu, namely prince अज, he became uneasy whether she would choose him or not . But the throbbing of the upper right arm, where bicep-ornaments are usually tied, removed his misgivings. [6-68]

Light shuddering of right arm or eye of males, left arm or eye of females, is a good omen. सीत कपीन्द्र क्षणदा चराणाम् राजीव हेम ज्वलनोपमानानि | sugriiva raama praNaya pasa~Nge vaamaani netraaNi samam sphuranti || ४-५-३१ - वाल्मीकि रामायण. And दुश्यन्त in शाकुन्तल wonders: स्फुरति च मे बाहुः, कुतः फलम् इह अस्य?...

तं प्राप्य सर्वावयवानवद्यंन्व्यवर्त तान्योपगमात् कुमारी |
न हि प्रफुल्लं सहकारमेत्य
वृक्षान्तरं काङ्क्षति षट्पदालिः || 6-69

तं प्राप्य सर्व अवयव अनवद्यं न्यवर्तत अन्य उपगमात् कुमारी न हि प्रफुल्लं सहकारम् एत्य वृक्ष अन्तरं काङ्क्षति षट्पदालिः

६९. कुमारी= damsel - इन्दुमति; सर्व अवयव अनवद्यं= by all, limbs, faultless one - प्रिन्चे अज; तं प्राप्य= to him, on coming up; अन्य उपगमात् न्यवर्तत= other, to approach, refrained from - she stirred no further; षट्पद् आलिः= honeybees, a row of; प्रफुल्लं सहकारम् एत्य= fully bloomed, mango tree, on going to; वृक्ष अन्तरं= tree, another; न काङ्क्षति हि= not, desires [to go,] certainly.

That damsel इन्दुमति became stirless when she came to the fore of prince अज who is faultless in every limb, as a row of honeybees will certainly have no desire to approach any other tree when it has gone to a mango tree in full blossom. [6-69]

Here विशेष is justified by सामान्य, hence अर्थान्तर अलंकार.

तस्मिन् त्समावेशितचित्तवृत्ति
मिंदुप्रभा मिंदुमती मवेक्ष्य |
प्रचक्रमे वक्तुमनुक्रमज्ञा
सविस्तरं वाक्यमिदं सुनन्दा || 6-70

तस्मिन् समावेशित चित्त वृत्तिम् इन्दु प्रभाम् इन्दुमतीम् अवेक्ष्य प्रचक्रमे वक्तुम् अनुक्रमज्ञा स विस्तरं वाक्यम् इदं सुनन्दा

70 . तस्मिन्= in him, in प्रिन्चे अज; समावेशित चित्त वृत्तिम्= retained, heart's, activity - her heart inclined towards him; इन्दु प्रभाम्= आह्लादकत्वात् इन्दु सांयम्, न तु स्वरूपतः - moon, shine like, pleasant princess; इन्दुमतीम् अवेक्ष्य= at indumati, on seeing; अनु क्रम ज्ञा= due order, knower of; सुनन्दा= सुनन्द; इदं= this; स विस्तरं= with, elaboration - elaborately; वाक्यम् वक्तुम् प्रचक्रमे= sentence, to speak, started to.

Noticing that the heart of इन्दुमति, a princess as pleasant as moon, is inclined towards prince अज, then सुनन्द started to speak these words elaborately as she is well aware regulated speech. [6-70]

इक्ष्वाकुवंश्यः ककुदो नृपाणां
ककुत्स्थ इत्याहितलक्षणोऽभूत् |
काकुत्स्थशब्दं यत उन्नतेच्छाः
श्लाघ्यं दधत्युत्तरकोसलेन्द्राः || 6-71

इक्ष्वाकु वंश्यः ककुदः नृपाणां ककुत्स्थः इति आहित लक्षणः अभूत् काकुत्स्थ शब्दं यतः उन्नत इच्छाः श्लाघ्यं दधति उत्तर कोसल इन्द्राः

71 . इक्ष्वाकु वंश्यः नृपाणां= ikshvaku, linage, among kings; ककुदः= the foremost one; आहित लक्षणः= familiar, by characteristics - who made a mark for himself; ककुत्स्थः इति अभूत्= kakutstha, thus [known as,] was there; यतः= from where, from whom; उन्नत इच्छाः= of high, ideals; उत्तर कोसल इन्द्राः= north, kosala, kings; श्लाघ्यं= praiseworthy; काकुत्स्थ शब्दं= kakutstha, title; दधति= [they are] bearing.

"There lived a monarch of the इक्ष्वकु dynasty, the most eminent of kings who had made a mark for himself . From him forward the high-souled kings of north कोसल bear the proud patronymic of ककुत्स्थ... [6-71]

महेन्द्रमास्थाय महोक्षरूपंय स्संयति प्राप्तपिनाकिलीलः |
चकार बाणैरसुराङ्गनानां
गण्डस्थलीः प्रोषितपत्ररेखाः || 6-72

महेन्द्रम् आस्थाय महा उक्ष रूपं यः संयति प्राप्त पिनाकि लीलः चकार बाणैः असुर अङ्गनानां गण्ड स्थलीः प्रोषित पत्र रेखाः

७२. यः= who, which king kakustha; संयति= in battle; महा उक्ष रूपं= great, bull, in the form of; महेन्द्रम्= great Indra - Indra in bull's form; आस्थाय= taking up, bestriding; प्राप्त पिनाकि लीलः [सन्= ]=obtained, Shiva's, dexterity, while being so - while he attained the dexterity of shiva because he mounted a great bull; बाणैः= with arrows; असुर अङ्गनानां= demon, female's; गण्ड स्थलीः= cheeks, at the places of; प्रोषित= gone abroad, away from home - hence made to disappear; पत्र रेखाः= leafage, lines - ornamental leafage drawn on the cheeks of Asura females; चकार= he who made - अन्वय with earlier verse.

"Once इन्द्र assumed the form of a great bull and this ककुत्स्थ bestrode that bull. And while riding the bull ककुत्स्थ attained the dexterity of shiva, the destroyer, and made the pretty cheeks of असुर females bare of ornamental designs with his arrows...

ऐरावणास्फालनविश्लथं यःसंघट्टयन्नङ्गदमङ्गदेन |
उपेयुषः स्वामपि मूर्तिमग्र्याअ
मर्धासनं गोत्रभिदोऽधितष्ठौ || 6-73

ऐरावण अस्फालन विश्लथं यः संघट्टयन् अङ्गदम् अङ्गदेन उपेयुषः स्वाम् अपि मूर्तिम् अग्र्याअम् अर्ध आसनं गोत्रभिदः अधितष्ठौ

७३. यः= who - which ककुत्स्थ; ऐरावण= इरा - water, born in water - elephant emerged from the churning of ocean - आइरावत, elephant of Indra; अस्फालन= तस्य आस्फालनम्=by patting, by flapping that elephant with hand; विश्लथं= loosened, untied; अङ्गदम्= bicep-let - of Indra; अङ्गदेन= with the armlet of ककुत्स्थ; संघट्टयन्= rubbing; स्वाम्= his own - Indra's; अग्र्याअम् मूर्तिमुपेयुषः= best, physique, on getting beck - Indra after leaving bull's form and getting his own physique; गोत्र भिदः= गाम् त्रायन्ते इति गोत्राः [mountain s]; तान् भिन्दन्ति इति गोत्र भिद् - one who cuts [the wings] of mountains - Indra; अर्ध आसनं अपि= half, seat - throne, even; अधितष्ठौ= one who sat - ककुत्स्थ shared half throne with Indra; न केवलम् महोक्षरूप धारणः इन्द्रस्य ककुदम् आरुरुक्षत्; किंतु निज रूप धारिणोऽपि इन्द्रस्य अर्थासनम् इति अपि शब्द अर्थ्गः; अथवा अर्थासनंपीत्यपेरन्वयः; thus this prince is the legatee of such a ककुत्स्थ - अन्वय with earlier stanzas.

"It was this ककुत्स्थ who in heaven shared half the seat with the breaker of flying mountains, namely indra, even when that indra discarded the bull's form and resumed his original magnificent form… and it is he who rubbed shoulders with indra to the point of rasping his bicep-let with that indra that had been loosened with indra's continuous flapping of his elephant called आइरावत... thus this prince अज belongs to the lineage of such a heaven-mate पुरन्जय, the ककुत्स्थ… [6-73]

जातः कुले तस्य किलोरुकीर्तिः
कुलप्रदीपो नृपतिर्दिलीपः |
अतिष्ठदेकोनशतक्रतुत्वे
शक्राभ्यसूया विनिवृत्तये यः || 6-74

जातः कुले तस्य किल उरु कीर्तिः कुल प्रदीपः नृपतिः दिलीपः अतिष्ठत् एकोन शत क्रतुत्वे शक्र अभ्यसूया विनिवृत्तये यः

74 . उरु कीर्तिः= of great, renown; कुल प्रदीपः= for dynasty, who is the luminescence; दिलीपः [इति] नृपतिः= DilIpa, [thus known as,] a king; तस्य कुले जातः= in his [kakutstha's,] dynasty, is born; किल= they say; यः= who - which dilIpa; शक्र अभ्यसूया विनिवृत्तये= Indra's, indignation, to remove; एक न शत= one, less than, hundred - ninety nine; क्रतुत्वे= one who has those many Vedic-rituals; अतिष्ठत्= he [dilIpa] was there.

"In the dynasty of kakutstha a king of great renown and a luminescent personality of that dynasty took birth… he is known as emperor दिलीप and they say that though दिलीप could perform hundred Vedic-ritual, he stopped at ninety-nine just to keep down the indignation of indra... [6-74]

Indra never allows anyone to complete hundred Vedic-rituals . Here though Indra did not interfere that severely, king दिलीप out of his own magnanimity stopped performing 100th ritual.

यस्मिन्महीं शासति वाणिनीनांनिद्रां विहारार्धपथे गतानाम् |
वातोऽपि नास्रंसयदंशुकानि
को लम्बये दाहरणाय हस्तम् || 6-75

यस्मिन् महीं शासति वाणिनीनां निद्रां विहार अर्ध पथे गतानाम् वातः अपि न अस्रंसयत् अंशुकानि कः लम्बयेत् आहरणाय हस्तम्

७५. यस्मिन्= which - DilIpa; महीं शासति= earth, while reigning; विहार अर्ध पथे= rendezvous, half, way - when they are halfway on the path of rendezvous; निद्रां गतानाम्= sleep, who went into; वाणिनीनां= of wanton girls, carpulent women; अंशुकानि= garments; वातः अपि= wind, even; न अस्रंसयत्= not, moved; आहरणाय= for stealing; कः= who; हस्तम् लम्बयेत्= hand, stretches; अन्वय with 74th verse; in which dynasty such a king DilIpa is born, in the same dynasty प्रिन्चे अज is born.

"While king दिलीप was reigning over the earth, even the wind did not move the garments of crapulous women fallen asleep halfway on the road to their rendezvous… then, who could stretch forth his hand to commit a theft... [6-75]

पुत्रो रघुस्तस्य पदं प्रशास्ति
महाक्रतोर्विश्वजितः प्रयोक्ता |
चतुर्दिगावर्जितसंभृतां यो
मृत्पात्रशेषामकरोद्विभूतिम् || 6-76

पुत्रः रघुः तस्य पदं प्रशास्ति महाक्रतोः विश्वजितः प्रयोक्ता चतुर् दिक् आवर्जित संभृतां यः मृत् पात्र शेषाम् अकरोत् विभूतिम्

76 . विश्वजितः महा क्रतोः= Vishvajit named, great, Vedic-ritual; प्रयोक्ता= one who officiated; तस्य पुत्रः रघुः= his, son, raghu; पदं= स्थानम्= position - kingship; प्रशास्ति= assumed charge; यः= who - which raghu; चतुर् दिक् आवर्जित= from four, directions, brought; संभृतां= stored; विभूतिम्= riches, wealth; मृत् पात्र शेषाम्= earthen, pot, reduced - straitened - who straitened all riches to an earthen pot; अकरोत्= made; मृत् पात्रम् एव शेषो यस्यास्ताम्.

"He who performed the great Vedic-ritual called विश्वजित्, and who straitened all the riches amassed by him from all the four quarters as good as an earthen pot, such an emperor raghu, the son of king dilIpa, holds the place of his father at present... [6-76]

आरूढ मद्री नुदधीन् वितीर्णं
भुजंगमानां वसतिं प्रविष्टम् |
ऊर्ध्वं गतं यस्य न चानुबन्धि
यशः परिच्छेत्तुमियत्तयालम् || 6-77

आरूढम् अद्रीन् उदधीन् वितीर्णं भुजंगमानां वसतिं प्रविष्टम् ऊर्ध्वं गतं यस्य न च अनुबन्धि यशः परिच्छेत्तुम् इयत्तया अलम्

77 . अद्रीन् आरूढम्= on mountains, ascended; उदधीन् वितीर्णं= on oceans, spread over; भुजंगमानां वसतिं प्रविष्टम्= of reptiles, dwelling place, one that has entered - entered the netherworlds, पाताल, नागलोक; ऊर्ध्वं गतं= upward - to heaven, which has gone; अनुबन्धि च= ever-pervading, also; यस्य= whose - dilIpa's; यशः= renown; इयत्तया= इदम् परिमाणम् अस्य इयत्, इयत् भावः, तया - this much, that much; परिच्छेत्तुम्= to measure; न अलम्= not, easy; anmvaya with previous verses - whose fame, king raghu's fame, ascended to heaven etc., प्रिन्चे अज is such a king's son.

"He whose renown has ascended the mountains, overspread on oceans, entered the netherworld, and even has gone high up to heaven, and is still ever-pervading beyond all measurement or limit, such an emperor raghu is reigning t present... [6-77]

असौ कुमार स्तमजोऽनुजातः
त्रिविष्टपस्येव पतिं जयन्तः |
गुर्वीं धुरं यो भुवनस्य पित्रा
धुर्येण दंय स्सदृशं बिभर्ति || 6-78

असौ कुमारः तम् prince ajaH अनुजातः त्रिविष्टपस्य इव पतिं जयन्तः गुर्वीं धुरं यः भुवनस्य पित्रा धुर्येण दंयः सदृशं बिभर्ति

78 . असौ कुमारः= this one, प्रिन्चे अज, is heir-apparent - of raghu; त्रिविष्टपस्य= heaven's; पतिं= to lord - to Indra; जयन्तः इव= जयन्त, as with; तम् [रघुम्= ]=him [to raghu]; अनुजातः= took birth; दंयः= one who is under training - प्रिन्चे अज; यः= who; गुर्वीं भुवनस्य धुरं= weighty, earth's, burden - responsibility; धुर्येण= a capable one; पित्रा= with father - raghu who is experienced in kingcraft; सदृशं= similarly; बिभर्ति= bears - प्रिन्चे अज bears.

"And this heir-apparent प्रिन्चे अज took birth as the son of such an emperor raghu, as जयन्त took birth as the son of the lord of heaven, namely indra, and though this prince अज is still a trainee in kingcraft he bears the weighty yoke of the earth in a similar way of his experienced father raghu... [6-78]

कुलेन कान्त्या वयसा नवेनगुणैश्च तैस्तैर्विनयप्रधानैः |
त्वमात्मनस्तुल्यममुं वृणीष्व
रत्नं समागच्छतु काञ्चनेन || 6-79

कुलेन कान्त्या वयसा नवेन गुणैः च तैः तैः विनय प्रधानैः त्वम् आत्मनः तुल्यम् अमुं वृणीष्व रत्नं समागच्छतु काञ्चनेन

७९. कुलेन= by lineage; कान्त्या= by charm; नवेन वयसा= by new, age - by youngness, come of age; विनय प्रधानैः= modesty, being foremost; तैः तैः गुणैः च= by those, those, virtues, also; आत्मनः तुल्यम्= to you, equal; अमुं त्वम् वृणीष्व= him, you, choose - as husband; रत्नं काञ्चनेन समागच्छतु= jewel, with gold, let join.

"You may choose, if you please, this prince प्रिन्चे अज who is a coequal of yours by his lineage, charm, young age, and by several other virtues of which modesty is the chief . Let the jewel be united with gold..." So said lady सुनन्द to princess इन्दुमति about prince अज. [6-79]

अलंकार - प्रतिवस्तूपम. यत्र उपमान उपमेय वाक्ययोः एकः समानो धर्मः, पृतक् निर्देश्यते सा प्रति वस्तु उपम. | वाक्ययोरेक सामान्ये प्रतिवस्तू मता | तापेन भ्राजते सूरः शूरः चापेन राजते || प्रति वस्तु= प्रति वाक्य अर्थम्; उपमा= समानो धर्मः - अस्याम् इति व्युत्पतेः - अत्र एव 'भ्राजते' 'राजते' इति एक एव धर्मः उपमानोपमेय वाक्ययोः प्ऱ्^थक् भिन्न पदाभ्याम् निर्दिष्टः - कुवलयानन्दं

तत स्सुनन्दावचनावसाने
लज्जां तनूकृत्य नरेन्द्रकन्या |
दृष्ट्या प्रसादामलया कुमारं
प्रत्यग्रहीत्संवरणस्रजेव || 6-80

ततः सुनन्दा वचन अवसाने लज्जां तनू कृत्य नरेन्द्र कन्या दृष्ट्या प्रसाद अमलया कुमारं प्रत्यग्रहीत् संवरण स्रजा इव

80 . ततः सुनन्दा वचन अवसाने= then, सुनन्द's, words, at the conclusion of; नरेन्द्र कन्या= king's, daughter - princess इन्दुमति; लज्जां तनू कृत्य= coyness, lesser, on makinng; प्रसाद अमलया= प्रसादेन अमला=pleasing on account of satisfaction; दृष्ट्या= with such a glance; संवरण स्रजा इव= choosing, garland, as if - a garland put around the neck of whoever is chosen; कुमारं= that young man - प्रिन्चे अज; प्रत्यग्रहीत्= she received - she chose.

Then, at the conclusion of सुनन्द's speech, princess इन्दुमति lessening her coyness accepted the young prince अज as her husband by throwing a bright glance of satisfaction at him, as if that glance itself is the wooing garland. [6-80]

In this u.ma - choosing garland; u.me- glance of flower-like princess; c - choosing; cw - iva - as if . This tilts towards उत्प्रेख also.

सा यूनि तस्मिन्नभिलाषबन्धंशशाक शालीनतया न वक्तुम् |
रोमाञ्च लक्ष्येण स गात्रयष्टिं
भित्त्वा निराक्राम दरालकेश्याः || 6-81

सा यूनि तस्मिन्नभिलाषबन्धंशशाक शालीनतया न वक्तुम् रोमाञ्च लक्ष्येण स गात्र यष्टिं भित्त्वा निराक्रामत् अराल केश्याः

८१. सा= she - इन्दुमति; यूनि= youngster प्रिन्चे अज; तस्मिन्= in him; अभिलाष बन्धं= love, knot of; शालीनतया= by bashfulness; वक्तुम् न शशाक= to speak of, not, capable; [tathA api=even if it so]; अराल केश्याः= of that curly, haired one - of the princess; सः= that - intersedness; रोमाञ्च= by tingling of hair; लक्ष्येण= by marking; गात्र यष्टिं= body, stick like; भित्त्वा= penetrating; निराक्रामत्= came out.

Though princess इन्दुमति could not express her fixed love in regard to that young prince अज verbally, but the love of that curly-haired princess penetrated through her slender body and manifested in the form of hair-thrills. [6-81]

तथागतायां परिहासपूर्वं
सख्यां सखी वेत्रभृदाबभाषे |
आर्ये व्रजावोऽन्यत इत्यथैनां
वधूरसूयाकुटिलं ददर्श || 6-82

तथा गतायां परिहास पूर्वं सख्यां सखी वेत्रभृत् आबभाषे आर्ये व्रजावः अन्यतः इति अथ एनां वधूः असूया कुटिलं ददर्श

82 . सख्यां= of her friend - इन्दुमति; तथा गतायां= in that way, wnet into - when इन्दुमति went into a trance of love; परिहास पूर्वं= jesting, preceded by; सखी= friend, well-wisher; वेत्र भृत्= staff, bearer - warder सुनन्द; आबभाषे= spoke - to इन्दुमति; ह्è आर्ये= oh, lady; व्रजावः अन्यतः= let us go, somewhere else; इति= thus; अथ= then - on listening it; एनां= to her, to सुनन्द; वधूः= the bride, damsel - इन्दुमति; असूया= with resentment; कुटिलं= sidelong; ददर्श= she saw - she threw a resentful sidelong glance.

On observing that her friend इन्दुमति had tripped into a trance of love, warder सुनन्द jestingly spoke this to her, "oh, lady, let us go somewhere else..." at which the damsel इन्दुमति frowningly threw a sidelong glance at सुनन्द. [6-82]

सा चूर्णगौरं रघुनन्दनस्य
धात्रीकराभ्यां करभोपमोरूः |
आसञ्जयामास यथाप्रदेशं
कण्ठे गुणं मूर्तमिवानुरागम् || 6-83

सा चूर्ण गौरं रघुनन्दनस्य धात्री कराभ्यां करभ उपम ऊरूः आसञ्जयामास यथा प्रदेशं कण्ठे गुणं मूर्तम् इव अनुरागम्

83 . करभ= कर प्रदेश विशेषः - from wrist to the tip of small finger of a hand, a hand sized; उपम= similar to; ऊरूः= one having that much thighs - slender thighed इन्दुमति; सा= she - इन्दुमति; चूर्ण गौरं= with kumkum powder, which became red; गुणं= usually means a thread, here a thread to which flowers are knotted - garland; मूर्तम् अनुरागम् इव= embodiment, of [her] love, as though; धात्री कराभ्यां= with nurse सुनन्द's, hands; रघुनन्दनस्य कण्ठे= around Raghu's legatee - प्रिन्चे अज's, neck; यथा प्रदेशं= in correct position; आसञ्जयामास= garlanded; न तु स्व कर्रभ्याम् - अनौचित्यात् - The princess did not garland him with her own hands as it would be indecorous . So indumati used the hands of sunanda to garland prince aja.

Then that princess with slender-thighs इन्दुमति caused the bridal-garland, which is already reddened with auspicious कुंकुम् powder, to be properly placed by the hands of her nurse सुनन्द around the neck of raghu's son, prince अज, and then that reddish garland looked the very embodiment of her blushing love towards him. [6-83]

This is disputed as 'कल्पित उपम' and 'उत्प्रेक्ष'.

तया स्रजा मङ्गल पुष्पमय्याविशाल वक्षस्थल लम्बया सः |
अमंस्त कण्ठार्पित बाहुपाशां
विदर्भराजावरजां वरेण्यः || 6-84

तया स्रजा मङ्गल पुष्प मय्या विशाल वक्षस्थल लम्बया सः अमंस्त कण्ठ अर्पित बाहु पाशां विदर्भ राज अवरजां वरेण्यः

८४. वरेण्यः सः [प्रिन्चे अजः]= worthy to be chosen, he, that prince aja; मङ्गल पुष्प मय्या= which is with auspicious, flowers, full of; विशाल वक्षस्थल लम्बया= on braod, chest, danglinng; तया स्रजा= by that, garland; विदर्भ राज अवरजां= vidarbha's, king's, sister - इन्दुमति; कण्ठ अर्पित= around neck, dedicated; बाहु पाशां= arms, loop of; अमंस्त= felt.

By that garland of auspicious flowers looped around his broad chest that worthy prince अज felt as if princess इन्दुमति had whorled her delicate arms around his neck. [6-84]

शशिनमुपगतेयं कौमुदी मेघमुक्तं
जलनिधिमनुरूपं जह्नुकन्यावतीर्णा |
इति समगुणयोगप्रीतयस्तत्र पौराः
श्रवणकटु नृपाणामेकवाक्यं विवव्रुः || 6-85

शशिनम् उपगता इयं कौमुदी मेघ मुक्तं जल निधिम् अनुरूपं जह्नु कन्या अवतीर्णा इति सम गुण योग प्रीतयः तत्र पौराः श्रवण कटु नृपाणाम् एक वाक्यं विवव्रुः

85 . तत्र= there - in the hall of husband-selection; सम गुण= who have similar, qualities - प्रिन्चे अज, इन्दुमति; योग= by their union; प्रीतयः= gladdened; पौराः= citizens; इयं= this is - like; मेघ मुक्तं= by clouds, released; शशिनम्= moon; उपगता= neared; कौमुदी= moonshine; अनुरूपं जल निधिम्= suited for herself, water, treasure - ocean; अवतीर्णा= one who entered into; जह्नु कन्या= Sage Jahnu's, daughter - River Ganga; इति= thus; नृपाणाम् श्रवण कटु= to [other] kings, for ears, harsh; एक वाक्यं= inb one, voice; विवव्रुः= clearly said, eulogised.

The citizens available in the hall of bridegroom-selection eulogised the union of bride and bridegroom, whose characteristics are similar, in one voice . They said that इन्दुमति is like the moonshine that has come back to the moon when the moon is cleared of clouds covering him. And she is like River गन्ग descended to the ocean so suited to her. Of course, this talk remained harsh on the ears of other suitor kings still available there. [6-85]

The metre of this stanza is मालिनि. The अल्ंकार in this verse cannot be decided as 'निदर्शन' or 'ललित' hence this is termed as 'संदेहक' अलन्कार - कुवलयानन्द . In साहित्य दर्पण , विश्वनाथ कविराज has said as 'समासालंकार' - समम् स्यात् अनुरूप्येण, श्लाघा योग्यस्य वस्तुनः ||

प्रमुदितवरपक्षमेकतस्तत्क्षितिपतिमण्डलमन्यतो वितानम् |
उषसि सर इव प्रफ़ुल्लपद्मं कुमुदवनप्रतिपन्ननिद्रमासीत् || 6-86

प्रमुदित वर पक्षम् एकतः तत् क्षिति पति मण्डलम् अन्यतः वितानम् उषसि सरः इव प्रफुल्ल पद्मं कुमुद वन प्रतिपन्न निद्रम् आसीत्

८६. एकतः= on one side; प्रमुदित वर पक्षम्= gladdened, bridegroom's, party; अन्यतः= another side; वितानम्= blank with dejection; तत् क्षिति पति मण्डलम्= that, land, lords, assembly; उषसि= in morning; प्रफुल्ल पद्मं= fully bloomed, lotuses - under sun; कुमुद= white lotuses - those closing up in consequence of the disappearance of moon; वन= with a host of - such lotuses; प्रतिपन्न निद्रम्= which obtained, sleep - कुमुद flowers; सरः इव= lake, like - like a lake with such lotuses; आसीत्= it is - that hall for self-selecting the bridegroom became.

With the highly gladdened party of the bridegroom on one side, and with highly dejected party of rejected suitors on the other, that assembly of kings in the hall for self-selecting the bridegroom appeared as a morning time lake containing a host of white lotuses drowned in sleep with the disappearance of moon on one side, and with fully blooming lotuses on the other with the appearance of the sun. [6-86]

The metre used is पुष्पिताग्र. u. ma - उषः कालिक सरः; u. me- विवाह मण्डप; sA.va - iva; प्रमुदित पक्ष - bimba; विकसित पद्म - pratibimba; वितान राज मण्डल - bimba; निद्रित कुमुद वन - pratibimba; वितान, निद्रित शब्दाः - औपचारिक शब्दाः; Hence साधारण धर्म is said with बिंब प्रति बिंब भाव - उपचार - शब्दाः.

--o)0(o--

इति महाकवि कालिदास कृतौ रघुवंशे महाकाव्ये षष्ठः सर्गः

Thus this is 6th chapter in kAlidAsa 's raghuvamsham , the outstanding epic-poem of India

--o)0(o--

abbreviations, words used - explained

• Gopala Raghunath Nandargikar, 1897 – GRN, or N

• Krishnarao Mahadeva Joglekar, 1916 - KMJ, or simply J

उपम is roughly said as metaphor, transferred epithet, or condensed simile, or expanded simile, or whatever, but not stabilised, as with अतिशयोक्ति and उत्प्रेक्ष both made to fall under the category of a hyperbole.

• u.mA – o : उपमान - comparable object; or the object itself.

• u.me – oc : उपमेय - object compared.
  

• sA.dha – c: साधारण धर्म: commonality in sharing attributes.
  

• sA. vA – cw: साधरण वाचक: coupula, conjunctional word used.
  

• anu.dha– uq : अनुगामि धर्म : underlying quality of factors.
  

• बिम्ब - ओम्: object to be mirrored.
  

• प्रति-बिम्ब - मो: reflected object with mirror symmetry, mirrored object.
  

• श्लेष - innuendo: lexically mixing, imbibed in; better we use this innuendo=2 a remark with a double meaning, usu. suggestive; till pundits object.

• ज़ेउग्म : a figure of speech using a verb or adjective with two nouns, to one of which it is strictly applicable while the word appropriate to the other is not used (e.g. with weeping eyes and [sc. grieving] hearts).

• syllepsis : a figure of speech in which a word is applied to two others in different senses (e.g. caught the train and a bad cold) or to two others of which it grammatically suits one only (e.g. neither they nor it is working) - but not innuendo, or double meaning.

• अतिशयोक्ति- hybo: hyperbole.

• उत्प्रेक्ष - mglq: magniloqui, gasconade.

Out of many mind-boggling Sanskrit poetics, उपम is one, and only 23 of its shades are presented here as illustration. Please construe that hero is telling them to his heroine.

• 1] चन्द्र इव मुखम् मनोज्ञम्=Like moon your face is heart-pleasing - उपम अलन्कार.

• 2] चन्द्र इव मुखम् मुखम् इव चन्द्रः - That moon is like your face, and your face is like that moon - उपमेय उपमा अलन्कार.

• 3] मुखम् इव मुखम्=face is face - अनन्वय अलन्कार.

• 4] मुखम् इव चन्द्रः - moon is like your face - प्रतीप अलन्कार

• 5] चन्द्रम् दृष्ट्वा मुखम् स्मरामि - on seeing I reminisce your face - स्मरण अलन्कार

• 6] मुखम् एव चन्द्रः - your face is moon alone - रूपक अलन्कार

• 7] मुख चन्द्रेण तापः शामयति - on seeing moonlike face of yours, fervidity is lessening - परिणाम अलन्कार

• 8] किम् इदम् मुखम्? उत अहो! चन्द्रः - is this your face or that moon? - सन्देह अलन्कार.

• 9] चन्द्र इति चकोराः त्वत् मुखम् अनुधावन्ति - thinking your face is moon songbirds are after it - भ्रान्तिमत् अलन्कार

• 10] चन्द्र इति चकोराः, कमल इति भ्रमराः त्वत् मुखे रञ्जन्ति - thinking your face to be moon, songbirds and bees [wish to take] delight in it.

• 11] चम्द्रो अयम्, न मुखम् - this is moon, but not a face - अपह्नव

• 12] इदम् नूनम् चन्द्रः - this is definitely the moon - उत्प्रेक्ष

• 13] चन्द्रो अयम् भूपतिः - this king is the moon - अतिशयोक्ति

• 14] मुखेन चन्द्र कमले निर्जिते - moon or lotus is conquered by your face - तुल्य योगिता अलन्कार

• 15] निशि चन्द्रः त्वत् मुखम् च हृष्यति - night's moon delights your face - दीपक अलन्कार

• 16] त्वत् मुख एव अहम् रज्यामि, चन्द्र एव चकोरो रज्यते - I take delight in your face, while songbirds take delight in that moon - प्रति वस्तु उपम

• 17] दिवि चन्द्रो यथा, भुवि तथा त्वत् मुखम् भाति - as to how the moon shines in the sky, thus your face shines forth on the earth - दृष्टान्त अलन्कार

• 18] मुखम् चन्द्र श्रियम् भिभर्ति - your face is bearing the shine of that moon - निदर्शन अलन्कार

• 19] निष्कलन्कम् मुखम् चन्द्रात् अतिरिच्यते - immaculate face of yours is surpassing that moon - व्यतिरेक अलन्कार

• 20] त्वत् मुखेव सह निशासु चन्द्रो हृष्यति - along with your face, moon is also delightful in nights - सह उक्ति अलन्कार

• 21] मुखम् नेत्र अंक रुचिरम्, स्मित ज्योस्त्नो उपशोभितम् - your face is delightful with eyes called its embellishments, and with moonshine like smiles - समास उक्ति अलन्कार

• 22] अब्जेन त्वत् मुखम् तुल्यम् हरिणा हितसक्तिना - your face vies with moon who has a deer in him, [or, your face vies with rising sun with lotus...] अभन्ग सभन्ग श्लेष अलन्कार

• 23] मुखस्य पुइरतः चन्द्रो निष्प्रभः - before your face moon is loosing his shine – अ प्रस्तुत प्रशंश.