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Rama's Later History; Or, Uttara-Drama Charita

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Rama's Later History; Or, Uttara-Drama Charita 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 CAMBRIDGE, MASSACHUSETTS 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 3 / <2_ 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., and in 9 St. Martin's Street, Leicester Square, London, W.C. ; Continental Europe, by addressing Mr. Otto Harrassowitz, Leipzig. For the titles and descriptions and prices, see the List at the end of this volume. 379 / u* 908648 .l ft PRINTED FROM TYPE AT THE UNIVERSITY PRESS, OXFORD, ENGLAND BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY First edition, 1915, One Thousand Copies 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 nor have I the and this wreath of the three- my part power ; yet, petaled 6#ya-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 bilva is a ternate or a compound leaf of three leaflets (data), 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 CHAKLES ROCKWELL LANMAN MY HONOUKED TEACHER 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.; Parallel Extracts from sources Prakrit passages ; ; glossary. : the critical Part 3 Critical account of apparatus ; Notes, exegetic, &c. Variants critical, aesthetic, ; ; 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 Mrichchhakatika . xxvi b [H.O.S. 21] 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 Malati-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 Gaudavaho 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. Valmlki's Ramayana : its present form .... xlvii 18. A to 18, Q. Rama-story as given in Valmlki's Ramayana . xlviii 19. Valmlki's Ramayana not the sole source of our play ... Iv 20. Three forms of the Rama-story in the Padma-Purana ... Iv 21. The later history of Rama as given by the Padma-Purana . Ivii 22. Iviii 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 . Ix 25. Later modifications of the Rama-story : 2. Jain forms ... Ix Ixi 26. A to 26, F. Later modifications of the Rama-story : 3. Hindu forms . Ixiii Bhavabhuti's early plays : Mahavira-charita, Malati-Madhava 27. The Mahavira-charita . Ixiii 28. Bhavabhuti's departure from the Ramayana ..... Ixrv ' 29. Technical of these . Ixv significance changes . ,. 30. Merits of the Mahavira-charita Ixvi 31. Its defects Ixvi xi] Contents PAGE 32. The Malati-Madhava , . ... ; Ixvii 33. A to 33, G. Analytic statement of its plot . Izviii 34. Criticism of its plot . Ixxi 35. Technique of the Malatl-Madhava Ixxiii 36. Its advance over the Mahavira-charita . Ixxiii 37. Defects of the Malatl-Madhava Ixxv The present play : TJttara-Eama-charita Ixxvi 38. Transition to the Uttara-Kama-charita Ixxvi 39. Special features of the Uttara-Rama-charita .... Ixxvii 40. Technical perfection of the opening act ..... Ixxviii 41. The Uttara-Rama-charita as a psychological study . Ixxx 42. The Recognition-scene in the sixth act . Ixxxii 43. Other merits of the play . Ixxxii 44. Defects of the play Ixxxiv 45. Some common characteristics of the three plays .... Ixxxv Bhavabhuti as a poet Ixxx vi 46. His shortcomings ......... Ixxxvi 47. His merits Ixxxvii 48. Conclusion Ixxxviii TRANSLATION OF THE PLAY UTTARA-RAMA-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 The 15 i, Picture-gallery ...... Translation of Act Dandaka revisited 31 ii, ...... Translation of Act The Shadow 41 iii, ....... Translation of Act iv, Eausalya and Janaka ..... 60 Translation of Act v, Princes in combat ...... 73 Translation of Act vi, Princes recognized 82 Translation of Act vii, Reunion ....... 94 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 people of the East aright, we must respect them; and to respect them, 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. It is a fact of happy augury that scholars of the East are joining hands with those of the West in the great work of helping each to understand the other.
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