Rama's Later History; Or, Uttara-Rama
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V$ NOV 30 1917 •• i yj-sioa TKZ*m Sectfos . H33 v.ei Digitized by the Internet Archive in 2016 https://archive.org/details/ramaslaterhistorOObhav THE HARVARD ORIENTAL SERIES VOLUME TWENTY-ONE & HARVARD ORIENTAL SERIES EDITED WITH THE COOPERATION OF VARIOUS SCHOLARS BY CHARLES ROCKWELL LANMAN PROFESSOR AT HARVARD UNIVERSITY; HONORARY MEMBER OF THE ASIATIC SOCIETY OF BENGAL, THE SOCIETE ASIATIQUE, THE ROYAL ASIATIC SOCIETY (LONDON), AND THE DEUTSCHE MORGENLANDISCHE GESELLSCHAFT ; CORRESPONDING MEMBER OF THE ROYAL SOCIETY OF SCIENCES AT GOTTINGEN, THE IMPERIAL ACADEMY OF RUSSIA, AND THE INSTITUTE OF FRANCE Dolume ^went^one CAMBRIDGE, MASSACHUSETTS Ibarvarfc University press 1915 RAMA’S LATER HISTORY OR UTTARA-RAMA-CHARITA AN ANCIENT HINDU DRAMA BY BHAVABHUTI CRITICALLY EDITED IN THE ORIGINAL SANSKRIT AND PRAKRIT WITH AN INTRODUCTION AND ENGLISH TRANSLATION AND NOTES AND VARIANTS, ETC., BY SHRIPAD KRISHNA BELVALKAR GRADUATE STUDENT OF HARVARD UNIVERSITY ASSISTANT TO THE PROFESSOR OF SANSKRIT AT DECCAN COLLEGE POONA, INDIA PART 1 : INTRODUCTION AND TRANSLATION CAMBRIDGE, MASSACHUSETTS Ibarvarb University press 1915 The volumes of this Series may be had, in America, by addressing Messrs. Ginn and Company, at New York or Chicago or San Francisco, or at the home-office, 29 Beacon Street, Boston, Mass.; in England, by addressing Messrs. Ginn & Co., 9 St. Martin’s Street, Leicester Square, London, W.C. ; and in Continental Europe, by addressing Mr. Otto Harrassowitz, Leipzig. —For the titles and descriptions and prices, see the List at the end of this volume. PRINTED FROM TYPE AT THE UNIVERSITY PRESS, OXFORD, ENGLAND BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY First edition, 1915, One Thousand Copies *WJUW^5T ^TT^Tl^ TRANSLATION OF THE DEDICATORY STANZA That nectar of learning which [by your favour] I drank day after day for two years in succession—to make for it an adequate return is not indeed my part nor have I the power and yet, this wreath of the three- ; petaled bilva - leaves your pupil Bilvavalikara lays here at your feet in loyal regard. Bilvavalikara is a Sanskritization of the name Belvalkar, literally, one who has in his hand a wreath of bilva. The bilea is a ternate or a compound leaf of three leaflets (dala), to which the three parts ( dala ) of this work (Translation, Text, Notes) are here likened in poetic word-play. The floret on the Sanskrit title-page is meant to represent the bilva. TO CHARLES ROCKWELL LANMAN MY HONOURED TEACHER * \kwn l ^ fwnte II The three parts of this work upon Rama’s Later History form volumes 21 and 22 and 23 of the Harvard Oriental Series. The contents of the three parts are distributed as follows : Part 1 : Introduction and English Translation. Part 2 : Text in Sanskrit and Prakrit; Indexes of stanzas, metres, &c.; glossary. Parallel passages ; Extracts from sources ; Prakrit : critical apparatus Part 3 Critical account of the ; Notes, exegetic, critical, aesthetic, &c.; Variants; Appendixes. Part 1 was printed at the University Press, Oxford, England. Part 2 was printed at the Nirnaya Sagara Press of Bombay, India. A number of copies of the Text alone, for use in the colleges and universities of India, will be pub- lished at a nominal price. Applications may be made to Professor Belvalkar, Deccan College, Poona, India. The work upon Part 3 was far advanced at the time of Dr. Belvalkar’s departure from Harvard in June, 1914, on his way home to India. His manuscript material for Part 3 and his books were dispatched by the steamship Fangturm, which is now (June, 1915) interned at a port of the Balearic Islands. That material included his collation- sheets, which give the readings of the various codices of this drama. On account of the great difficulty of getting those codices together again, it seems best to await the release of the steamship. CONTENTS PAGE Note by the General Editor of this Series . xiii A METHOD FOR CITING SANSKRIT DRAMAS. PROPOSED BY THE General Editor Method of citing the metrical parts of a play ..... xvii Method of citing the prose parts of a play xvii Examples of the use of this method ....... xvii Appeal to future editors to use this method ...... xvii Importance of a good method of citation ....... xviii Two aspects of the method : logical character, typographical expression . xviii Logically essential features of a good method ..... xviii Canon 1 : It should utilize the logical divisions of the text . xix Canon 2 : The numbering should start anew with each division . xix Discord results from numbering stanzas in one sequence for entire play . xix Canon 3 : The citations should be precise ...... xix Canon 4 : They should apply at once to text and translation and notes . xx Canon 5 : And be such as to need little change for new editions . xx The elements of the citations : There should be : xxi For verse and prose alike, a first element, an act-number . xxi For verse, a second element, a stanza-number ..... xxi And, if need be, a third element, namely, a letter (a, b, c, d) . xxi For prose, a second element, the number of the last preceding stanza . xxii And always a third, an Arabic number, to show the subdivision . xxii The subdivision of the prose passage should be the printed line . xxiii Typographical devices for making this system usable . xxiv Additional device for making this method easy : corner-citations . xxiv Minor typographic details ......... xxv Inconveniences resulting from lack of system or bad system . xxv Lack of system, good or bad ......... xxv Citation by pages and multiple sequences of pagination .... xxv Combinations of bad system and systemlessness ..... xxvi Examples from editions of the Mrichchliakatika ..... xxvi b [h.O.S. 2l] Contents [x PAGE Preface xxix Introduction xxxv Bhavabhuti, his life, and his date ....... xxxv 1. Bhavabhuti’s account of himself ....... xxxv 2. His family-home, Padmapura in the Berars ..... xxxvi 3. Its identity with Padmavatl (of the Malatl-Madhava) unproved . xxxvi 4. Further biographical details xxxvii 5. Bhavabhuti’s personality as inferred from his writings . xxxviii 6. His date : traditional story about Kalidasa and Bhavabhuti . xxxix 7. His works certainly influenced by Kalidasa ..... xl 8. Bhavabhuti probably later than Bana (about a. d. 610) ... xli 9. Bh.’s identity with ‘a pupil of Kumarila’ (say 700-750) unproved . xli 10. Bhavabhuti certainly earlier than Rajasekhara (about a. d. 900) . xlii 11. Date of Yasovarman of Kanauj as determining that of Vakpatiraja xliii 12. Date of Vakpatiraja’s Gatidavaho not far from a.d. 736 . xliii 13. Bhavabhuti probably a little earlier than Vakpatiraja . xliv 14. Bhavabhuti probably flourished near the close of the seventh century xlvi Bhavabhuti’s works .......... xlvi 15. Lost works of Bhavabhuti ....... xlvi 16. Bhavabhuti’s extant works ........ xlvii Excursus : History of the Rama-story ...... xlvii 17. : Valmiki’s Ramayana its present form . ..... xlvii 18. A to 18, Q. Rama-story as given in Valmiki’s Ramayana . xlviii 19. Valmiki’s Ramayana not the sole source of our play ... lv 20. Three forms of the Rama-story in the Padma-Purana ... lv 21. The later history of Rama as given by the Padma-Purana . Ivii 22. lviii Sources of the Ramayana : historical element .... 23. The Ramayana a blending of history and allegory .... lix 24. Later modifications of the Rama-story : 1. Buddhistic form . lx 25. Later modifications of the Rama-story : 2. Jain forms ... lx 26. A to 26, F. Later modifications of the Rama-story : 3. Hindu forms lxi Bhavabhuti’s early plays : Mahavira-charita, Malatl-Madhava . lxiii 27. The Mahavira-charita ......... lxiii 28. Bhavabhuti’s departure from the Ramayana ..... lxiv 29. Technical significance of these changes ...... lxv 30. Merits of the Mahavira-charita ....... lxvi 31. Its defects ........... lxvi xi] Contents PAGE 32. The Malatl-Madhava lxvii 33. A to 33, G. Analytic statement of its plot ..... lxviii 34. Criticism of its plot ......... lxxi 35. Technique of the Malatl-Madhava ...... lxxiii 36. Its advance over the Mahavlra-charita ..... lxxiii 37. Defects of the Malatl-Madhava ....... lxxv The present play : Uttara-Rama-charita ..... lxxvi 38. Transition to the Uttara-Rama-charita ..... lxxvi 39. Special features of the Uttara-Rama-charita .... lxxvii 40. Technical perfection of the opening act ..... lxxviii 41. The Uttara-Rama-charita as a psychological study . lxxx 42. The Recognition-scene in the sixth act ..... lxxxii 43. Other merits of the play lxxxii 44. Defects of the play ......... lxxxiv 45. Some common characteristics of the three plays .... lxxxv Bhavabhuti as a poet Ixxxvi 46. His shortcomings ......... Ixxxvi 47. His merits ........... lxxxvii 48. Conclusion lxxxviii Translation of the play Uttara-Bama-charita . l Dramatis personae .......... 2 Main characters .......... 2 Interlocutors ........... 3 Synoptic analysis of the play 4 Prologue ............ 4 Synoptic Analysis of Acts i to vii 5 Translation of the play 15 Translation of Act i, The Picture-gallery ...... 15 Translation of Act ii, Dandaka revisited ...... 31 Translation of Act iii, The Shadow ....... 41 Translation of Act iv, Kausalya and Janaka ..... 60 Translation of Act v, Princes in combat 73 Translation of Act vi, Princes recognized ...... 82 Translation of Act vii, Reunion . 94 I NOTE BY THE GENERAL EDITOR OF THIS SERIES Within the last decade, the West and the Far East have become virtually near neighbours. From the responsibilities of such neighbourhood there is no escape. We must have to do with the East, and as members of the world-family of nations we must treat the East aright. To treat the of the East aright, we must respect them and to respect them, people ; we must know them. And in order that we may know them, competent scholars must study their history and make it accessible to the Occident. The business of the Orientalist is something that is in vital relation with the practical and political needs of to-day.