Adhyaya 85

हिन्दी अर्थ

तथैव कामान् विविधान् समश्रुते हावाप्तकामश्च चिराय नन्दति श्रवणमुपेत्य शुभा मुनेस्तु वाच: । पुराणमेतच्चरितं महात्मना- मधीत्य बुद्धिं लभते च नेप्ठिकीम।

English

Thereupon Mahendra went to the city of Dwāravati having many doors and communicated secretly to Vāsudeva what Vajranābha had said. Thereat Janārddana said "O Vāsava, the horse-sacrifice of Vasudeva is now at hand. After its termination I will kill Vajranabha (20–22). O lord, O refuge of the pious, even the wind cannot enter into his city if Vajranābha does not wish it. At a convenient hour we will concert measures for entering there" (23).

हिन्दी अर्थ

सुखं भवन्तो5नुचरन्तु लोकम् मृषिकृतमद्भुतवीर्यकर्मणाम् । इन्द्रके पापको छुड़ानेवाले इस काव्यका पाठ करनेवाला पुरुष स्वयं भी पापसे मुक्त हो जाता है। साथ ही नाना प्रकारकी मनोवाडब्छित कामनाओंका उपभोग करता और आप्तकाम होकर चिरकालतक आनन्दमें मग्र रहता है॥६॥ जैसे बढ़े हुए वृक्ष अपने फूलोंसे फलको प्रकट करते हैं और फलसे पुनः वृक्ष उत्पन्न होते एवं बढ़ते हैं, उसी प्रकार महर्षि व्याससे प्रकट हुई उनकी यह वाणी वक्ताओंद्वारा बढ़ायी--

English

O descendant of Bharata, honored by Vāsudeva's son in his horse-sacrifice the king of gods set out (24). Even before the termination of Vasudeva's sacrifice the heroic Vāsava and Keshava, the foremost of celestials, began to think of means for entering into the city of Vajra (25).

हिन्दी अर्थ

प्रचारमें लायी जानेपर उन महर्षिके ही महत्त्वको बढ़ाती है॥७॥ इस ग्रन्थका पाठ अथवा श्रवण करनेवाला गुणवान् पुरुष यदि पुत्रहीन है तो उसे परम तेजस्वी पुत्र प्राप्त होते हैं, यदि वह धन, धर्म अथवा महत्त्वसे भ्रष्ट हुआ है तो पुनः अपनी उसी स्थितिको प्राप्त कर लेता है, उसे रोग नहीं होता, वह चिरकालतक बन्धनमें नहीं रहता तथा पुण्यकर्मका फल पाता है॥ ८॥ महर्षि व्यासकी इस मड्गलमयी वाणीको सुनकर कुमारी कन्या श्रेष्ठ पुरुषोंमेसे किसी अभीष्ट पतिको पाती है तथा वह उत्तम गुणोंसे सम्पन्न एवं शत्रुओंका मर्दन करनेवाले पराक्रमसे सुशोभित अनेक पुत्रोंको जन्म देती है क्षत्रियवृत्तिसे रहनेवाला पुरुष इस ग्रन्थके पाठ और श्रवणसे भूमण्डलपर विजय पाता, अनृपम धनका भागी होता और शत्रुओंको परास्त कर देता है। वैश्य प्रचुर धन प्राप्त करता है और शूद्र-जातिका पुरुष इसके श्रवणसे उत्तम गति पा लेता है॥१०॥ महात्माओंके चरित्रसे युक्त इस पुराणका अध्ययन करके मनुष्य नैप्ठिकी बुद्धि प्रात कर लेता है तथा वह दुःखोंका परित्याग करके आसक्तिशून्य एवं वीतराग होकर भूमण्डलपर

English

During the celebration of Vasudeva's sacrifice an actor, by name Bhadra, pleased the great saints with his beautiful acting. The leading Munis then asked him to pray for a boon. Thereupon saluting those best of Munis assembled in the horse-sacrifice, the actor Bhadra, resembling the king of gods himself, as desired by Krishna and as if urged on by the goddess of learning, prayed for the following boon (26-28).

हिन्दी अर्थ

विचरता रहता है॥ ११ ॥ मेरेद्वारा कहे गये इस आख्यानका ब्राह्मणोंके समाजमें चिन्तन एवं प्रवचन करते हुए आपलोग स्थिरता और धीरतापूर्वक इसका बारम्बार स्मरण करें और संसारमें सुखपूर्वक विचरें अद्भुत बल-पराक्रमवाले महात्माओंका यह चरित्र, जिसे महर्षि व्यासने ग्रन्थका रूप दिया है, मैंने संक्षेप और विस्तारके साथ कह सुनाया। शौनकजी! अब आप और किमपरमिच्छसि किं ब्रवीमि ते॥। १३ क्‍या सुनना चाहते हैं? मैं आपसे क्‍या कहूँ? इस प्रकार श्रीमहाभारतके खिलभाग हरिवंशके अन्तर्गत भविष्यपर्वमें भविष्यान्तग्रन्थके अर्थका प्रकाशविषयक छठा अध्याय पूरा हुआ

English

The actor said:—"O foremost of Munis, may I become the food of all the twice-born ones: may I range over the earth consisting of seven insular continents: may I, without any obstruction, range all over the sky: may I be gifted with strength and be not slain by all creatures mobile and immobile. May I assume any form I like either of one born, dead or immediately born. May not decrepitude overtake me and may the Munis always remain pleased with me" (29–32).

हिन्दी अर्थ

पुष्कर-प्रादुर्भावके विषयमें जनमेजयका प्रश्न और वैशम्पायनजीका उत्तर-- भगवान् नारायणकी महिमाका प्रतिपादन पुष्करे वै यथोद्भूता देवा: सर्षिगणा: पुरा श्रण्वतस्तस्य मे कीर्ति न तृप्तिभभिजायते कियन्तं चेव काल॑ वै शयिता पुरुषोत्तम: । किमर्थ च तथा शेते कश्च कालस्य सम्भव: कियता चैव कालेन प्रब॒ुध्यति सुराधिप:।

English

O king, the Munis said "So be it." That immortal-like one began to range all over the earth consisting of seven insular continents. He began to show his performances in the cities of the Dānava kings, in Uttarakura, Bhadrāshwa, Ketumāl and the island of Kalāmra. On the occasion of every Parva, that great actor, who had obtained the boon, used to come to Dwarakā adorned with the Yadavas (33–35).

हिन्दी अर्थ

कथमुत्थाय भगवानसूजन्निखिलं जगत् के प्रजापतयस्तात आसन पूर्व महामुने। कथ निर्मितवांश्षेव चित्र लोक॑ सनातनः कथमेकार्णवे घोरे नष्टे स्थावरजड्मे। नष्ठे देवासुरगणे प्रणष्टोरगराक्षसे

English

Thereupon, one day, the Divine Sakra, the king of gods, said to Dhārtarāshtra swans:–"O celestial birds, although you are the carriers of the gods and the pious, still you are our brothers on account of your being begotten by Kashyapa (36–37). Now the great duty of killing the enemies of the gods awaits us. You should satisfy it. But take care, don't divulge the counsel (38). If you do not obey the commands of the gods you will meet with a hard punishment. O foremost of swans, you can go anywhere you like (39). Therefore going to the most excellent city of Vajranabha where no one else can enter you should range in the tanks of his inner appartment (40). Vajranābha has a jewel of a daughter, peerless in beauty, in the three worlds, by name Prabhāvati who is fair like the rays of the moon (41). I have heard that her mother has obtained that beautiful daughter by virtue of the boon conferred by the goddess Haimavati (42). O Swans, her friends have kept that beautiful and chaste maiden for _Swayemvara_ and she too will select a husband of her own accord. Do you describe to her the various accomplishments, family, beauty, character, and age, of the high-souled Pradyumna (43-44). When you will find that the chaste daughter of Vajranābha has felt some attachment for Pradyumna, take carefully her news to Pradyumna and return with his message to her. In this work of an emissary you should, according to your intelligence, govern your eyes and faces. You should thus do me a good turn now (45–47). O swans, what more shall I speak, you should describe all these accomplishments of Pradyumna to her, which will likely attract Prabhāvati's mind; you should communicate to me and to my younger brother Krishna at Dwāravati daily what happens there (48–49). You should thus exert yourselves so long as the self-controlled Lord Pradyumna does not carry away Vajranābha's daughter (50). Those Dānavas, elated with the pride of the boon conferred by Brahmā, are not to be slain by the gods. So their destruction in the battle-field should be brought about by Pradyumna and other sons of gods (51). An actor, Bhadra by name, has of late obtained the boon (of entering into his city). So the Yadavas, headed by Pradyumna, will enter into Vajranābha's city in his guise (52). O Dhārtarāshtras, you are to do all that I have said. Besides for doing me this good you should do what more crops up in time. O swans, to enter into the city of Vajra depends on his will. The gods cannot enter there by any means whatsoever

हिन्दी अर्थ

नष्ठटानलानिले लोके नष्टाकाशमहीतले। तन्मे त्वमुपपन्नाय ब्रह्मन्नेतद्संशयम्। वक्तुमईसि धर्मिष्ठ यशो नारायणात्मकम् जनमेजयने . पूछा--योगवेत्ताओंके. स्वामी वैशम्पायनजी ! आप समुद्रके जलमें शयन करनेवाले भगवान् पद्मनाभके प्रभावका वर्णन कीजिये। साथ ही यह भी बताइये कि पुष्करमें-- भगवान्के नाभिकमलमें पहले देवताओं और ऋषियोंकी उत्पत्ति किस प्रकार हुई, इस सम्पूर्ण रहस्यपर प्रकाश डालिये; क्योंकि भगवान् श्रीहरिकी कीर्तिका श्रवण करनेसे मुझे तृप्ति नहीं होती है (अधिकाधिक सुननेकी इच्छा बढ़ती है) भगवान् पुरुषोत्तम कितने समयतक और किसलिये एकार्णवके जलमें शयन करते हैं तथा कालकी उत्पत्तिका कारण क्या है?॥३॥ सुरेश्वर विष्णु कितने समयमें जागते हैं और उस योगनिद्रासे उठकर वे भगवान् किस

English

Vaishampāyana said:—O king, from before the swans used to go to the city of Vajra. So hearing the words of Vāsava they at once went there (1). O hero, those birds jumped into the charming tanks filled with golden lotuses and lilies which could be touched. Although they had come many a time before they now astonished all with their polished and sweet words (2-3). O king Janamejaya, speaking in sweet words those celestial swans ranged in the tanks of Vajranābha's inner appartment and became his great favorites. He then said to those Dhārtarāstras the following words (4-5). "You speak these sweet words because you always live in the celestial region. Come here always whenever you will know of a great festival in my house. O swans living in the celestial region, regard this house of mine as your own and enter here confidently" (6–7). O descendant of Bharata, thus addressed by Vajranābha those birds entered into the palace of the king of Dānavas: for the work of the gods they spoke like men and made acquaintance with all speaking various words (8–9). At that time the women, who were living in the palaces of Kashya pa's sons (Dānavas) partakers of all forms of blessings, attained to great delight on hearing of that beautiful account of the swans (10).

हिन्दी अर्थ

प्रकार सम्पूर्ण जगत्की सृष्टि करते हैं ?2॥४॥ तात! महामुने! पूर्वकालमें कौन-कौन-से प्रजापति थे और सनातन श्रीहरिने इस विचित्र जगत्की सृष्टि किस प्रकार की थी ?॥ ५॥ मुने! उस भयानक एकार्णवमें जब कि समस्त चराचर प्राणी नष्ट हो जाते हैं, देवताओं और असुरोंका भी पता नहीं रहता, नाग और राक्षस भी कालके गालमें चले जाते हैं, अग्नि, वायु, आकाश और भूतलका भी कुछ पता नहीं चलता, महाभूतोंमें भारी उलट-फेर हो जाता है और संसार एक गहन गुफाके समान प्रतीत होता है, महाभूतोंके अधिपति महान् कर्म करनेवाले और महातेजस्वी सुरगुरुश्रेष्ठ भगवान् नारायण कैसे और किस विधिका आश्रय लेकर रहते हैं 2॥ ६--८॥ ब्रह्मन्! धर्मिष्ठ महर्षे! मैं शिष्यभावसे आपकी शरणमें आया हूँ, आप मुझसे भगवान् नारायणके यशका इस प्रकार वर्णन कीजिये कि मेरा सारा संशय दूर हो जाय॥ ९॥ भगवन्! हमलोग श्रद्धापूर्वक आपकी

English

Thus ranging in the inner appartment of Vajranābha, the swans saw his beautiful and smiling daughter Prabhāvati and made her acquaintance (11). Amongst them the goose Shuchimukhi contracted friendship with the princess of charming smiles (12). Relating hundreds of beautiful stories Shuchimukhi created the confidence of Vajranābha's daughter and one day she said to her (13). "O Prabhāvati, I consider you the most beautiful in the three worlds as regards your beauty, character and accomplishments. I wish to tell you some thing (14). O you of beautiful smiles, your youth is almost gone: that which is gone does not return like the water of a stream (15). There is no other happiness to women greater than enjoyment with men in this world. I tell you the truth, O auspicious lady (16). O you of fair limbs, although ordered by your father to make a free choice, why do you not select one of the gods or Asuras as your husband? (17) O youthful lady, many a bridegroom, endued with beauty, heroism and other accomplishments, come here and go away disregarded. O lady, when you do not like a bridegroom becoming your family and beauty, why should then, O you of fair limbs, Rukshmini's son Pradyumna, who has none in the three worlds equal to him, in bravery, accomplishments, pedigree and beauty, come here (18-20)? O you of a beautiful waist, although he is a man of men, that highly powerful and virtuous-souled one shines like a god amongst the gods and like one of them amongst the Dānavas (21). Seeing him the women cannot cheque their natural love as the cow cannot cheque its milk and the stream its water (22). I dare not compare his face with the full-moon, his eyes with lotuses and his gait with that of a lion (23). O fair lady, what more shall I say? The powerful Lord Vishnu, having brought Cupid (_the limbless god, Ananga_) under his subjection as one of his limbs, has created him as his son, extracting the very essence of the world (24). He was stolen away, in his childhood, by the sinful demon Shamvara: having slain him and kept his character unscathed he learnt all his illusory powers (25). All the accomplishments, that are worthy of being sought for in the three worlds, and all those that you can imagine, exist in Pradyumna. In his effulgence he is like fire, in patience he is like earth, in lustre he is like a lake." Hearing it Prabhāvati said to Suchimukhi (26–27):

हिन्दी अर्थ

बातें सुननेके लिये बैठे हैं, आप हमारे समक्ष महात्मा श्रीहरिके भूत और भविष्य अवतारोंको दृष्टिमें रखकर उनके सुयशका वर्णन कीजिये त्वद्वंशानघ पूतस्य कार्य कुरुकुलर्षभ श्रुणुष्वादिपुराणेभ्यो देवताभ्यो यथाश्रुति। ब्राह्मणानां च वदतां श्रुतोउस्माभि्महात्मनाम् विश्वात्मनो यं ब्रह्मापि न वेदयति तत्त्वतः श्रुतं मे विश्वदेवानां यद् रहस्यं महर्षिणाम्। तदिदं सर्वदेवानां तत्त्वतस्तत्त्ववादिनाम्

English

"O gentle lady, I have heard many a time from the conversation between my father and the intelligent Nārada that Vishnu is living in the land of men (28). With burning cars, Shrānga (bow) and club he has consumed the races of the Daityas. O honourable lady, he is the great enemy of the sons of Diti and should be shunned by them. The king of Danavas collects information about Vishnu from the Asuras who live in the branch cities for his well-being. O you of sweet smiles, every woman wishes that the family of her husband may be superior to that of her father. If you however can find out any means for bringing him here you will show me a great favour and purify our family. I ask you, O you of sweet words, tell me how Pradyumna, born in the family of Vrishnis, may become my husband. I have learnt from the conversation of elderly Asura women that Hari is a great enemy of the Daityas and gives them great trouble. I had heard before how Pradyumna was born and how the powerful Shamvara was killed by him. What more shall I say? Pradyumna is always present in my heart. But the means by which I may be united with him is solely wanted. O friend, learned you are no doubt; still as a maid servant of yours, I appoint you as my emissary. Point out to me the means by which I may be united with him." Thereupon consoling her Suchimukhi smilingly

हिन्दी अर्थ

तदध्यात्मविदां चिन्त्यं कारणं चैव कर्मिणाम्। अधिदेैवं च यद् हैवं तद् देवमिति संज्ञितम् यः कर्ता कारको बुद्धिर्मन: क्षेत्रज्ष एव च। प्रधानं पुरुष: शास्ता एकस्तदभिशब्द्यते काल: काल स्वपयति द्रष्टा स्वाधीन एव च। प्राण: पञ्नविधश्चैव ध्रुवमक्षरमेव चर स एवं भगवान् सर्व करोति विकरोति च

English

"O you of sweet smiles, I will go there as your emissary and communicate to him your great devotion (39). O you of beautiful waist, O you of sweet smiles, I will so exert that he may come here and you may become the consort of Cupid (40). O you of fair eyes, regard what I have said as true. Communicate to your father that I speak cleverly; you will reap a great benefit therefrom".

हिन्दी अर्थ

यो3स्मान् कारयते कर्म तेनास्म व्याकुलीकृता: । यजामहे तमेवेशं तमेवेच्छाम निर्वृता: वैशम्पायनजीने कहा--निष्पाप कुरुकुलश्रेष्ठ जनमेजय ! भगवान् नारायणके यशका ज्ञान प्राप्त करनेके लिये जो तुम्हें स्पृहा हो रही है, वह तुम्हारे कुलके अनुरूप ही है, ऐसी इच्छाका उदय होना पुण्यकर्मका फल है॥ ११॥ हमने पूर्वकालके पुरातन देवताओं तथा प्रवचन करनेवाले महात्मा ब्राह्मणोंके मुखसे श्रुतिके अनुसार भगवान् पद्मनाभके प्रभावका जैसा वर्णन सुना है, उसे बताता हूँ, सुनो॥ १२॥ भारत ! जिनका तपस्याके प्रभावसे दर्शन हुआ है, उन बृहस्पतिके समान तेजस्वी श्रीमान् गुरुदेव पराशरनन्दन द्वैपायन व्यासने इस विषयमें जैसा मुझे उपदेश दिया है और जैसा मैंने सुना है, उसका मैं अपनी बुद्धिके अनुसार वर्णन करता हूँ। केवल ऋषि होनेमात्रसे उनकी कही हुई बातोंको उन्हींकी भाँति ठीक-ठीक समझ लेना मेरे लिये भी सम्भव नहीं है॥ १३-१४॥ जिन्हें ब्रह्म भी ठीक-ठीक नहीं जानते, उन विश्वात्माके नारायणनामक परमतत्त्वको कौन जान

English

Thus spoken to by the goose Prabhāvati acted accordingly. The king of Dānavas said to the goose in his inner apartment. "O beautiful Suchimukhi, Prabhāvati has communicated to me about your cleverness in speaking. Do you describe to us becoming stories. Tell us what wonders you have seen in this world, not seen before by any and whether worthy or unworthy of being seen by others." O king, the goose then said to

हिन्दी अर्थ

सकता है॥ १५॥ जिनकी दृष्टिमें सब कुछ नारायणदेव ही हैं तथा जो स्वभावसे ही परमतत्त्वका प्रतिपादन करनेवाले हैं, उन विश्वेदेवों और महर्षियोंके मुखसे मैंने जो गोपनीय रहस्य सुना है, वह वास्तवमें यह नारायणका यश ही है॥१६॥ वह नारायण-तत्त्व ही अध्यात्मवेत्ता पुरुषोंके लिये चिन्तनीय वस्तु है, वही कर्मपरायण पुरुषोंका कारणतत्त्व है, वही अधिहैव और हैव है तथा उसीको प्रारब्ध या भाग्य नाम दिया गया है॥ १७॥ जो भूत और अधिभूत है, जो महर्षियोंका परम ज्ञेय तत्त्व है, जो सत्य है तथा जिसे वेदोंद्वारा देखा या जाना गया है, उस परमात्मतत्त्वको जो जानते हैं, वे ही वेदवेत्ता हैं॥ १८॥ जो कर्ता, कारक, बुद्धि, मन, क्षेत्रज्ञ, प्रधान पुरुष और शास्ता है, जो अकेला ही इन शब्दोंद्वारा प्रतिपादित होता है, वह एकमात्र परमात्मा ही जानने योग्य है॥ १९॥ वही काल बनकर कालको भी सुलाता है अर्थात् वही कालका भी काल है, वही सबका द्रष्टा

English

"O foremost of Dānavas, I have seen an intelligent saintly lady, by name Shāndili, perform a wonderful feat by the side of the mount Sumeru (46). That Shandili, the good friend of the auspicious daughter of the mountain chief (Uma) is large-minded and a great benefactress of the world (47). I have also seen the auspicious actor, who has obtained a boon from the Munis, who can assume shapes at his will, who always gives food to all in the three worlds and is liked by all. O sinless hero, that actor travels always in Uttarakuru, the island of Kalamra, Bhadrāshwa, Ketumal, and other islands. He knows many songs and dances of the gods and Gandharvas. And with his dancing he surprises the gods

हिन्दी अर्थ

तथा सर्वथा स्वतन्त्र है, पाँच प्रकारका प्राण भी वही है, वही ध्रुव एवं अक्षर ब्रह्म है॥२०॥ अनघ! उनकी उपासनामें तत्पर रहनेवाले पुरुषोंद्रार विविध भावोंसे उन्हींका प्रतिपादन किया जाता है। वे ही भगवान् सबको बनाते और बिगाड़ते हैं॥२१॥ जो हमसे कर्म कराता है, उसीने हमें विधि-निषेधके बन्धनमें बाँधकर व्याकुल कर रखा है। हम उसी ईश्वरका यज्ञोंद्वारा यजन करते हैं और शान्तभावसे उन्हींको पाना चाहते हैं जो वक्ता (वाणीका प्रवर्तक) है, जो वक्तव्य विषय इदं श्रुणुत यच्छेयो यच्चान्यत् परिजल्पथ॥ २३ है तथा जो वक्तापनका अभिमान रखनेवाले मुझ विश्व विश्वपतिर्देवा: सर्व नारायणात्मकम्

English

Vajranabha said:—"O goose, I had heard of this many a time before. The high-souled Siddhas and Chāranas had mentioned this to me (51). O daughter of a bird, I am also stricken with curiosity for seeing that actor who has obtained this boon. But there is none to speak of those accomplishments of mine to him, hearing which he will come to me (52)".

हिन्दी अर्थ

यत् किंचिच्चरमचराव्ययं त्रिलोके जीवात्माके रूपमें भी विद्यमान है, उसके स्वरूपका मैं तुम्हारे समक्ष प्रतिपादन करता हूँ, तुम इसे सुनो। जो मुख्य श्रेय (मोक्ष) है तथा तुमलोग जिस स्वर्ग आदि दूसरे श्रेयकी चर्चा करते हो, जो भाँति-भाँतिकी कथाएँ हैं तथा जो गहन श्रुतियाँ हैं, वह सब भगवान् नारायणका स्वरूप ही है। यह विश्व, इस विश्वके पालक तथा देवता सब-के-सब नारायणरूप ही हैं जो लौकिक सत्य और असत्य है, जो कारण और कार्य है, जो भूत है, जो परस्पर एक-दूसरेके जनक बीज- वृक्ष आदि हैं, जो भविष्य है तथा तीनों लोकोंमें जो कुछ भी चर-अचर और कूटस्थ वस्तु है, वह सब कुछ

English

The goose said:—O foremost of Asuras, that actor is an appreciator of merits. Hearing of accomplished persons he travels over the seven insular continents. O great Asura, if he hears of your great accomplishments, know him as already arrived here (53-54).

हिन्दी अर्थ

तत्सर्व॑ पुरुषवरः प्रभुर्वरिष्ठ: ॥ २५ सर्वश्रेष्ठ पुरुषप्रवर भगवान् नारायण ही हैं इस प्रकार श्रीयहाभारतके खिलभाग हरिवंशके अन्तर्गत भविष्यपर्वमें पुष्करप्रादुर्भावविषयक सातवाँ अध्याय पूरा हुआ सत्ययुग आदिके परिमाणका वर्णन तस्य तावच्छती संध्या द्विगुणा जनमेजय तत्र धर्मश्चतुष्पादों हाधर्म:ः पादविग्रह:। स्वधर्मनिरता: सन्‍्तो यजन्ते चैव मानवा:

English

Vajranabha said:—"O auspicious daughter of a bird, O goose! may good betide you. Do you so arrange that the actor may come here" (55).

हिन्दी अर्थ

स्थिता धर्मपरा विप्रा राजवृत्तौ स्थिता नृपा: । कृष्यामभिरता वैश्याः शूद्रा: शुश्रूषवस्तथा सदा सत्यं तपश्चेव धर्मश्वेव विवर्धते। सद्धिराचरितं यच्च क्रियते ख्यायते च यत् प्राणिनां धर्मबुद्धीनामपि चेन्नीचयोनिनाम् वैशम्पायनजी कहते हैं--जनमेजय ! विद्वान् पुरुष सत्ययुगकी आयुका प्रमाण चार हजार दिव्य वर्ष बताते हैं। उससे दूने सौ अर्थात् आठ सौ वर्षोकी उसकी संध्या होती है॥ १॥ उस युगमें धर्म अपने चारों

English

Thus despatched on an errand by Vajranābha, the swans went to Krishna and the king of gods and communicated to them every thing (56). Hearing it Adhokshaja engaged Pradyumna in the work of acquiring Prabhāvati and killing Vajranābha (57). O descendant of Bharata, resorting to his celestial Māyā Hari sent the Bhaimas there disguised as actors (58).

हिन्दी अर्थ

चरणोंसे सम्पन्न होता है तथा अधर्मका सारा शरीर एक ही पैरपर स्थित होता है। उस समय अपने धर्ममें तत्पर रहनेवाले साधु पुरुष प्राय: यज्ञोंद्वारा भगवान्का यजन किया करते हैं॥२॥ ब्राह्मण स्वधर्मपालनमें तत्पर रहते हैं, राजालोग राजोचित वृत्तिमें स्थित होते हैं, वैश्य कृषिकर्ममें लगे रहते हैं और शूद्र तीनों वर्णोकी सेवा करते हैं॥३॥ उस युगमें सत्य, तप और धर्मकी सदा ही वृद्धि होती है। साधु पुरुष जिसका आचरण करते हैं, उसीका दूसरोंको उपदेश देते हैं ॥४॥ भारत ! सत्ययुगमें सभी धर्मबुद्धि प्राणियोंका, जे नीच योनि या नीच कुलमें क्‍यों न उत्पन्न हुए हों, ऐसा ही बर्ताव होता है १. तप, शौच, दया और सत्य--ये धर्मके चार चरण हैं। तस्य तावच्छती संध्या द्विगुणा परिकीर्तिता

English

They dressed Pradyumna as the hero, Shāmva as his fool, Gada as his companion and dressed other Bhaimas with becoming dresses. Leading dancing girls were the fit heroines of that party. The actor Bhadra and his party were also suitably dressed. Thereupon ascending the cars driven by Pradyumna, the great car-warrior Yadavas set out on the mission of the highly powerful celestials. O king, at that time they all assumed the semblances of men and women as necessary though they were men. Thereupon they arrived at Supura, a dependant city of Vajra

हिन्दी अर्थ

द्वाभ्यामधर्म: पादाभ्यां त्रिभिर्ध्मों व्यवस्थित: । तत्र सत्यं च सत्त्वं च॒ कृते सर्व प्रवर्तत एष त्रेतायुगविधिविंहितो देवनिर्मितः। द्वापरस्यापि या चेष्टा तामपि श्रोतुमहसि तस्य तावच्छती संध्या द्विगुणा परिकीर्तिता शठा नैष्कृतिकाः क्षुद्रा जायन्ते कुरुपुड्रव

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

द्वाभ्यां धर्म: स्थित: पद्धयामधर्मस्त्रिभिरुत्थित: । विपर्ययं शनैर्यान्ति कृते ये धर्मसेतवः तत्राधर्म श्वतुष्पाद: स्याद् धर्म: पादविग्रह: । कामनिष्ठास्तमएछतन्ना जायन्ते तत्र मानवा: आस्तिको ब्रह्मवक्ता वा नरो भवति वै तदा अहंकारगृहीताश्च॒ प्रक्षीणरत्रेहबन्धना: । विप्रा: शूद्रसमाचारा: शूद्रास्त्वाचारलक्षणा: दूषकास्त्वाश्रमाणां च वर्णानां चैव संकरा:। अगम्यास्वभिरंस्यन्ते वर्तन्त्येवें कलौ युगे

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

यहाँ तीन हजार दिव्य वर्षोंका त्रेतायुग बताया जाता है। उसकी संध्या उससे दुगुने सौ (अर्थात् छः सौ) वर्षोकी बतायी गयी है॥६॥ उस युगमें धर्म तीन पैरोंसे और अधर्म दो पैरोंसे स्थित होता है। सत्ययुगमें सत्य और सत्त्गुण सब अविकलरूपसे विद्यमान रहते हैं॥ ७॥ परंतु त्रेतामें लोलुपता (कर्मफलकी स्पृहा)- से युक्त होनेके कारण सभी वर्ण विकारको प्राप्त होते हैं और चारों वर्णोमें विकृति आनेसे सब लोग दुर्बल हो जाते हैं॥८॥ यह त्रेतायुगकी स्थिति बतायी गयी, जिसका निर्माण साक्षात् भगवान्ने ही किया है। अब द्वापकी जो चेष्टा है, उसको भी तुम्हें सुन लेना चाहिए॥ ९॥ कुरुश्रेष्ठ ! द्वापरयुग दो हजार दिव्य वर्षोका होता है और उसकी संध्या चार सौ वर्षोंकी बतायी गयी है॥१०॥ कुरुपुड़्व! उस युगमें भी अर्थपरायण, ज्ञानी, रजोगुणसे आच्छन्न, शठ, दुष्टता करनेवाले और क्षुद्र ब्राह्मण आदि पैदा होते हैं॥११॥ उस समय

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

धर्म दो ही पैरोंसे स्थित होता है, किंतु अधर्म तीन पैरोंसे खड़ा होकर क्रमश: उत्थान करने लगता है। सत्ययुगमें जो धर्मकी मर्यादाएँ बँधी होती हैं, वे धीरे- धीरे इस युगमें आकर उलट जाती हैं ब्राह्मणत्वके भाव नष्ट हो जाते हैं, आस्तिकताकी दीवार ढह जाती है, द्वापरयुगके अन्तमें कलिधर्मका सम्मिश्रण हो जानेके कारण लोग ब्रत और उपवास छोड़ देते हैं॥ १३॥ क्रूर कलियुग अपनी दो सौ वर्षोकी संध्याके साथ एक हजार दिव्य वर्षोका बताया गया है उस युगमें अधर्म अपने चारों पैरोंसे सम्पन्न होता है, किंतु धर्मका शरीर एक ही पैरसे टिका रहता है। उस युगके मनुष्य प्रायः कामपरायण और तमोगुणसे आच्छन्न होते हैं॥ १५॥ कलिकालनमें प्रायः कोई मनुष्य उपवास करनेवाला, साधु, सत्यवादी, आस्तिक तथा ब्रह्मज्ञाकका उपदेश करनेवाला नहीं होता है

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

कलियुगके ब्राह्मण अहंकारके वशीभूत तथा स्नेहबन्धनसे शून्य हो शूद्रोंके समान आचारवाले हो जायँगे और शुद्र सदाचारका पालन करेंगे॥ १७॥ लोग आश्रमोंको कलझ्डलित करेंगे, वर्णसड्डर उत्पन्न होकर अगम्या न्रय्यां चैव न संदेहो युगान्ते जनमेजय। हैत्यानां मानवानां च यक्षगन्धर्वरक्षसाम् देवर्षीणां ब्रह्मर्षणां तथा राजर्षिणामपि। किंनराणामप्सरसां भुजड़ानां तथेव च

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

महाभूतपतिद्देवः पशञ्चभूतानि भूतकृत्। जगत्संहरणार्थाय कुरुते वैशसं महत् भूत्वा वहिर्दह्मयते सर्वलोकान् स्त्रियोंके साथ रमण करेंगे, कलियुगमें प्रायः लोगोंका ऐसा ही बर्ताव होता है॥ १८॥ इस प्रकार बारह हजार दिव्य वर्षोका एक चतुर्युग कहलाता है। यहाँ इकहत्तर चतुर्युगोंका एक मन्वन्तर कहा जाता है (इतने समयके बाद एक मनु नष्ट हो जाते हैं)॥१९॥ जनमेजय! युगान्त (प्रलय)-कालमें समस्त चराचर जगत्का नाश हो जाता है, इसमें संदेह नहीं है। तीनों वेदोंमें भी इसका वर्णन मिलता है। ज्ञानी पुरुष बारह हजार दिव्य वर्षोका एक चतुर्युग मानते हैं। इस चतुर्युगकी जब एक सहसत्र आवृत्ति हो जाती है, तब उसे ब्रह्माका एक दिन कहते हैं॥ २० ॥ पृथ्वीनाथ ! तदनन्तर ब्रह्माजीका वह दिन बीतनेपर समस्त देहधारियोंकी शारीरिक सुखमें

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

आसक्ति देखकर संहारकुशल रुद्रदेव समस्त देवताओं, ब्राह्मणों, हैत्यों, मनुष्यों, यक्षों, गन्धर्वों, राक्षसों, देवर्षियों, ब्रह्मर्षियों, राजर्षियों, किन्नरों, अप्सराओं, सर्पों, पर्वतों, नदियों, पशुओं, तिर्यक्योनिमें पड़े हुए जीवों, मृगों तथा पक्षियोंका भी महान् संहार करते हैं, महाभूतोंके पति वे भूतस्रष्टा भगवान् सारे भूतों एवं जगत्का संहार करनेके लिये ही उनकी सृष्टि करते हैं॥२१--२५॥ अपने दिनके अन्तमें रुद्रस्वरूप भगवान् ब्रह्मा सूर्य होकर समस्त लोकोंके नेत्र छीन लेते हैं, वायु होकर समस्त प्राणियोंके प्राण हर लेते हैं, अग्नि होकर समस्त लोकोंको दग्ध कर देते और मेघ बनकर पुनः बड़ी भारी वर्षा करते हैं (जिससे सब कुछ एकार्णवमें निमग्र मेघो भूत्वा भूय एवाभ्यवर्षत्॥ २६ हो जाता है)

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

इस प्रकार श्रीमहाभारतके खिलभाग हरिवंशके अन्तर्गत भविष्यपर्वमें पुष्करग्रादुर्भावके प्रसड़सें युग आदिके प्रमाणका वर्णनविषयक आठवाँ अध्याय पूरा हुआ प्रलयके पश्चात् एकार्णवके जलमें भगवान् नारायणका शयन ततो देवगणानां च सर्वेषामेव देहिनाम्। परमेष्ठिनं वरेण्यं च हषीकेशं समाश्रिता: अदहन्निखिलाल्लोकानुग्र: संवर्तकोइनलः

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

विमानानि च दिव्यानि पुराणि विविधानि च भस्मीभूतांस्ततः सर्वाललोकॉल्लोकगुरुहरि: । भूयो निर्वापयामास जलयुक्तेन कर्मणा वैश्म्पायनजी कहते हैं--जनमेजय ! योगेश्वर भगवान् नारायण सात मूर्ति (शिखा)-वाले अग्निदेवका रूप धारण करके अपनी प्रज्वलित किरणोंद्वारा समुद्रोंका जल सोख लेते हैं॥१॥ सारे समुद्रों, नदियों, कूपों और पर्वतोंका सम्पूर्ण जल अपनी किरणोंद्वारा पीकर पृथ्वीके सहस्रों टुकबड़े करके उसे रसातलमें ले जाकर वे रसातलका भी सारा उत्तम रस पी लेते हैं

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

जलमें क्लेद (गीलापन)-की सृष्टि करते हुए वे प्राणियोंको निश्चितरूपसे और जो कुछ देते हैं, वह सब प्रलयकालमें वे ही कमलनयन पुरुषोत्तम उनसे ले लेते हैं ॥४॥ वे श्रीहरि बलवान् वायु होकर सम्पूर्ण जगत्को कम्पित करते हुए उस वायुके द्वारा ही देवताओंमें प्राणसंचार करते हैं ॥ ५॥ तदनन्तर देवताओं तथा समस्त देहधारियोंकी जो सारी इन्द्रियाँ हैं तथा जो अन्य विषय आदि हैं, उनकी जहाँसे उत्पत्ति हुई है, वे उसी कारणतत्त्वमें लीन हो जाते हैं। गन्ध, प्राणेन्द्रिय और शरीर-ये तीनों गुण पृथ्वीके आश्रित हैं॥ ६॥ जिह्ा, रस और क्लेद--ये जलके आश्रित रहनेवाले गुण हैं। रूप, नेत्र और पाक--ये अग्निके आश्रित रहनेवाले गुण हैं॥ ७॥ स्पर्श, प्राण और चेष्टा--ये वायुके आश्रित रहनेवाले गुण हैं। (शब्द, श्रवणेन्द्रिय और आकाश-- ये शब्दके आश्रित रहनेवाले गुण हैं।) ये सब-के-सब परमेष्ठी एवं वरणीय भगवान् हृषीकेशके आश्रित होते हैं॥८॥ फिर भगवान्की प्रेरणासे उनकी किरणोंसे आवेष्टित हो वे देवगण, इन्द्रियसमुदाय आदि वायुसे आकर्षित हो एक-दूसरेके आश्रित होनेसे परस्पर संघर्ष करने लगे॥९॥ उनके संघर्षसे प्रकट हुई अग्नि सौ-

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

सौ स्थानोंमें जल उठी और महाभयंकर संवर्तक अग्निके रूपमें उद्भासित होने लगी। उसने सम्पूर्ण लोकोंको जलाकर भस्म कर दिया॥१०॥ उस संवर्तक अग्रिने प्रकारके नगर, पुण्य आश्रम, दिव्य शोभासे सम्पन्न मन्दिर सबको दग्ध कर डाला॥ ११-१२॥ तत्पश्चात् लोकगुरु श्रीहरिने भस्मीभूत हुए उन समस्त लोकोंको पुनः जलका संयोग करानेवाले उपायसे बुझा दिया सहस्त्रदूड्महातेजा भूत्वा कृष्णो महाघन: । दिव्यतोयेन हविषा तर्पयामास मेदिनीम्

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

ततः क्षीरनिकाशेन स्वादुना परमाम्भसा। शिवेन पुण्येन मही निर्वाणमगमत् परम् एकार्णवजला भूत्वा सर्वसत्त्वविवर्जिता: नष्टाकंपवनाकाशे सूक्ष्मे जनविवर्जिते एकार्णवजले ह्यासीद् योगी योगमुपागतः। अयुतानां सहस्त्राणि गतान्येकार्णवे5म्भसि।

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

एकार्णवविधि: को5यं यश्चैेव परिकीर्तित: । क एष पुरुषो नाम किंयोग: कश्च योगवान् एतावन्तमसौ कालमेकार्णवविधिं प्रति। करिष्यतीम॑ भगवानिति कश्रिन्न बुध्यते न स्मावगच्छते कश्िदृते तं देवमीश्वरम् नभः क्षितिं पवनमथ प्रकाशयन्

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

पितामहं श्रुतिनिलयं महामुनिं सहस्तरों नेत्रोंवाले उन महातेजस्वी श्रीकृष्णने महान् मेघ बनकर दिव्य जलरूपी हविष्यसे पृथ्वीकों तृप्त किया॥ १४॥ दूधके समान स्वादिष्ट उत्तम कल्याणकारी एवं पवित्र उस जलसे वह जलती हुई पृथ्वी पूर्णतः शान्त हो गयी॥ १५॥ वे पर्वत और वृक्ष आदि जलसे आच्छादित हो सब ओरसे जल-ही-जल धारण किये रहे और एकार्णवके जलमें विलीन होकर सब प्रकारके प्राणियोंसे शून्य हो गये॥ १६॥ पाँचों महाभूत भी उन अमित बलशाली भगवान विष्णुमें प्रविष्ट हो गये। जब सूर्य, वायु और आकाशका भी सूक्ष्म परमात्मतत्त्वमें लय हो गया, जीव-जन्तुओंका सर्वथा अभाव हो गया, अपने किसी अनिर्वचनीय पुरातन रूपका आश्रय ले पहलेके जलका शोषण और पान करके उस दिव्य एकार्णवके जलमें निवास करने लगे॥ १७-१८॥ वे योगी श्रीहरि योगका आश्रय ले एकार्णवके जलमें रहने

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

लगे; वहाँ रहते हुए उनके सहस्रों अयुतवर्ष व्यतीत हो गये। इन अव्यक्त परमेश्वरकों कोई भी व्यक्तरूपसे नहीं जान सकता जनमेजयने पूछा--जिसका यहाँ वर्णन किया है, इस एकार्णवकी विधि (अवधि) क्‍या है? अर्थात् भगवान् उसमें कबतक निवास करते हैं ? यह पुरुष कौन है? इसके योगका स्वरूप क्‍या है और योगवान् (योगेश्वर) कौन है ? वैशम्पायनजीने कहा--वे भगवान् इतने समयतक एकार्णव-विधिका पालन करेंगे अर्थात् इतने समयतक ही एकार्णवके जलमें रहेंगे, यह कोई नहीं जानता

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

(यह पुरुष अनिर्वचनीय है) न तो वह प्रमाता है, न द्र॒ष्टा है, न ज्ञाता है और न तटस्थ ही है, इन सबसे सर्वथा विलक्षण है। उसे उस परमेश्वरदेवके सिवा दूसरा कोई नहीं जान सकता (इसलिये उसका योग भी अनिर्वचनीय है)॥२२॥ जिन्होंने आकाश, पृथ्वी और वायुको प्रकाशित करते हुए समस्त भुवनोंमें विचरनेवाले, सुरेश्वर, प्रजापति वेदनिष्ठ महामुनि पितामह ब्रह्माको भी ज्ञानका उपदेश दिया, वे सबकी उत्पत्तिके कारणभूत भगवान् योगवान् (योगेश्वर) हैं, उन्होंने ही एकार्णवके जलमें शयन करना पसंद किया इस प्रकार श्रीमहाभारतके खिलभाग हरिवंशके अन्तर्गत भरविष्यपर्वमें पृष्करप्रादर्भावविषयक नवाँ अध्याय पूरा हुआ 38 पश्ाएक्षा5१एप्राक्षा5९ट८7032 का

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

एकार्णवमें भगवान् और मार्कण्डेयजीका संवाद एवमेकार्णवीभूते शेते लोके महाद्युतिः। प्रच्छाद्य सलिलं सर्व हरिनारायण: प्रभु: विरजस्को महाबाहुरक्षरं ब्रह्म यं विदु: आत्मरूपप्रकाशेन तपसा संवृतः प्रभुः। त्रिकमास्थाय काल तु ततः सुष्वाप सोउव्यय:

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

पुरुषो यज्ञ इत्येवं यत्परं परिकीर्तितम्। यच्चान्यत् पुरुषाख्य स्यात् सर्व तत् पुरुषोत्तम: ये च यज्ञपरा विप्रा ऋत्विजा इति संज्ञिता: । आत्मदेहात् पुरा भूता यज्ञेभ्य: श्रूयतां तदा ब्रह्माणं परम वक्त्रादुदूगातारं च सामगम्। होतारमथ चाध्वर्यु बाहुभ्यामसृजत् प्रभु: पाणिभ्यामथ चाग्मीक्च सुब्रह्मण्यं च यज्ञियम्। ग्रावाणमथ बाहुभ्यामुन्नेतारं च यज्ञियम् एवमेवैष भगवान् षोडशैताझ्जगत्पतिः। प्रवक्तून् सर्वयज्ञानामृत्विजो5सृजदुत्तमान्

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

तदेष वे वेदमय: पुरुषो यज्ञसम्मितः। वेदाश्व तन्‍्मया: सर्वे साड्जोपनिषदक्रिया: स्वपित्येकार्णवे चैव यदाश्चर्यमभूत्तदा। श्रूयते तद् यथावृत्तं मार्कण्डेयो यदन्वभूत् जीर्णो भगवतस्तस्य कुक्षावेव महामुनि:। बहुवर्षसहस्त्रायुस्तस्यैव वरतेजसा वैशम्पायनजी कहते हैं--जनमेजय ! आत्मस्वरूपको प्रकाशित करनेवाले तपसे सम्पन्न, सर्वसमर्थ, रजोगुणरहित महातेजस्वी, महाबाहु, अविनाशी, भगवान् नारायण हरिने इस प्रकार सम्पूर्ण जगत॒के एकार्णवमय हो जानेपर

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

सम्पूर्ण जलको आच्छादित करके उसमें शयन किया। ये वे ही भगवान् हैं, जिन्हें विद्वान पुरुष अविनाशी ब्रह्मके रूपमें जानते हैं। वे भूत, भविष्य और वर्तमान तीनों कालका आश्रय लेकर वहाँ सोये थे॥ १--३॥ जिस परम तत्त्वको यज्ञपुरुषके नामसे कहा गया है तथा पुरुष नामसे प्रसिद्ध जो अन्य वस्तुएँ हैं, वे सब पुरुषोत्तम श्रीहरि ही हैं॥४॥ यज्ञमें तत्पर रहनेवाले जो ब्राह्मण ऋत्विज् कहलाते हैं, वे उन्हीं परमात्मा श्रीहरिके श्रीविग्रहसे पूर्वकालमें प्रकट हुए थे। उस समय उन्होंने उनको किस तरह प्रकट किया, यह बताता हूँ; सुनो॥ ५॥ उन भगवानूने सर्वश्रेष्ठ ब्रह्मा और सामगान करनेवाले उद्गाताको अपने मुखसे उत्पन्न किया, होता और अध्वर्युकी सृष्टि अपनी दोनों भुजाओंसे की वेदाध्ययन करनेके कारण ब्राह्मणाच्छंसी नामवाला ब्राह्मण उन्हींसे प्रकट हुआ। उन्हींने प्रस्तोता और मैत्रावरुण नामक प्रशास्ताकी सृष्टि करके प्रतिप्रस्थाताको उत्पन्न किया॥७॥ भारत! उन्हीं भगवान्ने उदरसे

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

प्रतिहर्ता और पोताकी सृष्टि की। भरतनन्दन! उन्होंने मन और ऊरुसे अच्छावाक् और नेष्टाको उत्पन्न किया॥ ८॥ दोनों हाथोंसे आग्रीध्र और यज्ञसम्बन्धी सुब्रह्मण्यको उत्पन्न किया। भुजाओंसे ग्रावस्तोता और यज्ञसम्बन्धी उन्नेताकी सृष्टि कौ॥९॥ इस प्रकार इन जगदीश्वर भगवान् श्रीहरिने सम्पूर्ण यज्ञकर्मोंका उपदेश देनेवाले सोलह उत्तम ऋत्विजोंको सृष्टि की ये ही वेदमय और यज्ञसम्मित पुरुष हैं। छहों अड़्ों उपनिषदों और कर्मकाण्डसहित सम्पूर्ण वेद भी इन्हींके स्वरूप हैं ॥ ११॥ जब वे एकार्णवके जलमें शयन करते उसे मुनिवर मार्कण्डेयजीने ठीक-ठीक अनुभव किया था--ऐसा सुना जाता है॥ १२॥ महामुनि मार्कण्डेय उन भगवान् श्रीहरिके उदरमें ही जवानसे बूढ़े हो गये थे। उन भगवान्के ही उत्तम तेजसे मार्कण्डेयजीको अनेक

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

सहस्न वर्षोकी आयु प्राप्त हुई थी इस तरह वे तीर्थयात्राके प्रसंगसे भगवान्के उदरमें आश्रमानपि पुण्यां श्र तीर्थान्यायतनानि च॥ १४ ही भूमण्डलके तीर्थोमें विचरते रहे। उन्होंने वहाँ पवित्र देशान् राष्ट्राणि चित्राणि पुराणि विविधानि च। जपहोमरतः क्षान्तस्तपो घोर समाश्रित: निष्क्रामन्तं न चात्मानं जानीते देवमायया।

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

निष्क्रान्तस्तस्य वदनादेकार्णवमथो गतः। सर्वतस्तमसाच्छन्नं मार्कण्डेयो निरीक्षते देवदर्शनसंहष्टो विस्मयं चागमत् परम् व्यक्तमन्यतमो भावो होतेषां भविता मम। न॒ होीदूशमसंश्लिप्टमयुक्ते सत्यमर्हति कतमः स्यादयं लोक इति चिन्ताव्यवस्थित:

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

स देबं प्रष्टमणायाति को भवानिति विस्मयात्। तथेव च शनेर्भूयो मुनिः कुक्षिं प्रवेशित: पश्यते देवकुक्षिस्थान् यज्ञियाउ्छतशो द्विजान् 38 पद्राए्शाइ4कप्राका5९९८४णा 32 2 फणा आश्रमों, तीर्थों, देवालयों, देशों, विचित्र राष्ट्रों और नाना प्रकारके नगरोंका दर्शन किया। तत्पश्चात् वे घोर तपस्याका आश्रय ले जप और होममें संलग्न होकर अत्यन्त दुर्बल हो गये॥ १४-१५॥ इसके बाद एक दिन मार्कण्डेयजी धीरेसे भगवान्के मुखसे बाहर निकल आये। देवमायासे मोहित होकर वे अपना निकलना नहीं जान सके

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

भगवान्के मुखसे निकलकर मार्कण्डेयजी एकार्णवके जलमें आ गये, फिर तो उन्होंने अपने-आपको सब ओरसे अन्धकारसे आच्छन्न देखा॥ १७॥ अब उनके मनमें बड़ा भारी भय हुआ। अपने जीवनके लिये भी संशय उत्पन्न हो गया, परंतु भगवानके दर्शनसे उन्हें बड़ा हर्ष हुआ। वे बड़े विस्मयमें पड़ गये थे॥१८॥ वे मार्कण्डेयमुनि अत्यन्त शद्धित हो मध्यस्थकी भाँति इस प्रकार विचार करने लगे--“मेरी यह चिन्ता क्‍या है ? मुझे मोह हो गया है या स्वप्रका अनुभव हो रहा है ? निश्चय ही मेरा यह भाव चिन्ता, मोह और स्वप्रमेंसे ही कोई हो सकता है; क्योंकि ऐसी असम्बद्ध और अयुक्त बात कभी सत्य नहीं हो सकती॥ २०॥ जहाँ चन्द्रमा, सूर्य और वायुका दर्शन नहीं होता, पर्वत और भूतल

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

आच्छन्न हो गये हैं, ऐसा यह कौन-सा लोक है ?' इसी चिन्तामें डूबे हुए मार्कण्डेयजी खड़े रहे॥२१॥ वहाँ उन्होंने महासागरके मध्यमें मग्न होकर सोये हुए एक पर्वताकार पुरुषको भी देखा, जो सजल जलधरके समान जान पड़ता था॥ २२॥ वह पुरुष अपने तेजसे तप-सा रहा था। अपनी दीप़िसे उद्धासित-सा होता था। गम्भीरताके कारण जागता-सा जान पड़ता था और सर्पके समान उच्छवास ले रहा था॥ २३॥ वे मुनि आश्चर्यसे चकित होकर ज्यों ही भगवान्के पास यह पूछनेके लिये आये कि आप कोन हैं? त्यों ही फिर धीरेसे भगवान्के उदरमें पहुँचा दिये गये॥ २४॥ पुनः उनकी कुक्षिमें प्रवेश करनेपर मार्कण्डेयजी सुस्थिर हुए। वे एकार्णबकी घटनाको स्वप्रदर्शन समझते हुए फिर इधर-उधर विचरने लगे वे पहलेकी ही भाँति पृथ्वीपर घूमने और भूतल तथा स्वर्गके पवित्र पुण्यतीर्थोका दर्शन करने लगे

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

उन्होंने भगवान्के उदरमें स्थित हुए सैकड़ों यज्ञ-सम्बन्धी ब्राह्मणों और उत्तम दक्षिणाके साथ समाप्त होनेवाले यज्ञोंके अनुष्ठानमें लगे हुए यजमानोंको देखा सदवृत्तमाश्रिता: सर्वे वर्णा ब्राह्मणपूर्वकाः । चत्वारश्नाश्रमा: सम्यग् यथोदिष्टपदानुगा: वर्षाणां शतसाहस्र॑ मार्कण्डेयो महामुनिः । विचरन् पृथिवीं कृर्सत्रां न च कुक्ष्यन्तमैक्षत यथा चैकार्णवजले नीहारेण वृतान्तरे। अव्यक्तभीषणे लोके सर्वभूतविवर्जिते

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

बालमादित्यसंकाशं न शक्रोत्युपसर्पितुम् सो5चिन्तयद्थेकान्ते स्थित्वा सलिलसंनिधौ। पूर्वदृष्टमदं॑ नेति शड्डितो देवमायया अगाधे सलिलस्तब्धे मार्कण्डेय: प्लवन् मुनि:। न शान्ति लभते तत्र श्रमात् संत्रस्तविक्लव: तथेव भगवान् हंसो गतो योगेन बालताम्। बभाषे मेघतुल्येन स्वरेण पुरुषोत्तम: मा भेर्वत्स न भेतव्यमिहैवायाहि चान्तिकम्।

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

को मां नाम्ना कीर्तवते तप: परिभवन् मम। न होष समुदाचारो देवेष्वपि समाहितः। मां ब्रह्मापि स विश्वेशों दीर्घायुरिति भाषते एवमाभाषते क्रोधान्मार्कण्डेयो महामुनिः । अथेनं भगवान् भूयो बभाषे तत्परायणम् ब्राह्मण आदि सभी वर्णोके लोग सदाचारका पालन करते थे। ब्रह्मचर्य आदि चारों आश्रम उत्तम रीतिसे शास्त्रोक्त मर्यादाका अनुसरण करते थे॥ २८॥ महामुनि

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

रहे, परंतु कहीं भी उन्हें भगवान्के उदरका अन्त नहीं भगवान्के मुखसे बाहर निकल गये। वहाँ अव्यक्त एवं भीषण जगतमें जहाँ समस्त प्राणियोंका अभाव था, उन्होंने एकार्णवके जलमें, जिसका भीतरी भाग कुहरेसे घिरा हुआ था, बरगदकी शाखापर एक बालकको सोते होकर खड़े रह गये। उस सूर्यके समान तेजस्वी बालकके पास न जा सके ॥ ३२॥ उन्होंने जलके समीप एकान्तमें खड़े होकर सोचा कि मैंने पहले कभी ऐसा आश्चर्य नहीं देखा था, यह विचार आते ही वे देवमायाके प्रभावसे शद्धित हो गये॥३३॥ अगाध एवं सुस्थिर जलवाले एकार्णवमें तैरते हुए मार्कण्डेयमुनि श्रमसे भयभीत हो रहे थे, उन्हें वहाँ तनिक भी शान्ति नहीं मिलती थी॥३४॥ इतनेहीमें योगसे बालकरूप हुए हंसस्वरूप भगवान् पुरुषोत्तमने मेघके समान गम्भीर स्वरमें कहा

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

श्रीभगवान् बोले--बेटा! डरो मत! डरनेकी आवश्यकता नहीं है; यहीं मेरे निकट चले आओ! धीर मुनि मार्कण्डेय! तुम बालक हो, अतः श्रमसे पीड़ित हो रहे हो मार्कण्डेयजीने कहा--कौन मेरी तपस्या तथा अनेक सहस््र वर्षोकी आयुवाली अवस्थाका तिरस्कार करता हुआ मुझे नाम लेकर पुकार रहा है॥ ३७॥ देवताओंके यहाँ भी यह आचार प्रचलित नहीं है, साक्षात् लोकनाथ ब्रह्माजी भी मुझे दीर्घायु कहते हैं (मेरा नाम नहीं लेते हैं) ॥ ३८॥ किसने अपने जीवनका मोह त्याग दिया है, जो आज मुझ घोरशिराके तपका तिरस्कार करता हुआ मुझे मार्कण्डेय कहकर अपनी मौत देखना चाहता है वैशम्पायनजी कहते हैं--जनमेजय ! जब महामुनि मार्कण्डेय क्रोधपूर्वक इस प्रकार बोल रहे थे, उस समय भगवान्ने पुनः अपने शरणागत भक्त इन महर्षिसे यों कहा

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

अहं ते जनको वत्स हषीकेशः पिता गुरु: । आयुःप्रदाता पौराण: किमर्थ नोपसर्पति मां पुत्रकामः प्रथमं पिता ते हाड्रिरा मुनि: । पूर्वमाराधधामास तपस्तीब्रमुपाअत: द्रष्टमेकार्णवगतं क्रीडन्तं योगधर्मिणम् अथाकरोजन्नमस्कारं प्रणतः शिरसा प्रभुम् यदेकार्णवमध्यस्थ: शेषे त्वं बालरूपवानू

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

किंसंज्ञ: कश्च भगवाल्लोके विज्ञायसेडनघ। तर्कये त्वां महाभूत॑ न भूतमिह तिष्ठति अहं नारायणो ब्रह्मा सम्भव: सर्वदेहिनाम्। सर्वभूतोद्धभशकर: . सर्वभूतविनाशन: अहं सर्वाणि सत्त्वानि हैवतान्यखिलानि च। भुजगानामहं शेषस्ताक्ष्यों5हं सर्वपक्षचिणाम् अहं सहसर््रशीर्षा द्योर्य: पहैरभिसंवृतः। आदित्यो यज्ञपुरुषो देवो यज्ञमयो मखः। अहमग्निहव्यवाहे यादसां पतिरव्यय:

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

श्रीभगवान् बोले--वत्स ! मैं तुम्हें जन्म देनेवाला तुम्हारा पिता और गुरु हृषीकेश हूँ। तुम्हें दीर्घायु प्रदान करनेवाला पुरातन पुरुष मैं ही हूँ। तुम मेरे पास क्‍यों नहीं आते हो॥४१॥ पूर्वकालमें पुत्रकी इच्छावाले तुम्हारे पिता अज्िरामुनिने तीत्र तपस्याका आश्रय लेकर सर्वप्रथम मेरी ही आराधना की थी॥४२॥ तब मैंने प्रिय, महर्षि तुझ घोरशिराको उन्हें पुत्ररूपमें प्रदान किया॥ ४३ ॥ ऐसी स्थितिमें जो मुझसे अभिन्न नहीं हुआ है, वह दूसरा कोई भूत अचेतन होनेके कारण एकार्णवमें रहकर क्रीडा करनेवाले मुझ योगधर्मी परमात्माका दर्शन करनेका साहस नहीं कर सकता वैशम्पायनजी कहते हैं--जनमेजय ! यह सुनकर महातपस्वी मार्कण्डेयके मुखपर प्रसन्नता छा गयी, उनके नेत्र आश्चर्यसे खिल उठे, उन्होंने मस्तकपर दोनों हाथ जोड़ लिये॥ ४५ ॥ उन लोकपूजित दीर्घायु महर्षिने भगवान्के

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

मुखसे अपने नाम और गोत्रको सुनकर उनके चरणोंमें सिर झुका दिया और प्रणतभावसे नमस्कार किया मार्कण्डेय बोले--अनघ! आप इस एकार्णवके मध्यमें जो बालकरूप धारण करके शयन कर रहे हैं, आपकी इस मायाको मैं ठीक-ठीक जानना चाहता हूँ॥ ४७॥ निष्पाप परमेश्वर! सम्पूर्ण ऐश्वर्य, धर्म, यश और श्रीसे सम्पन्न आप कौन हैं? और किस नामसे लोकमें जाने जाते हैं ? मैं अनुमान करता हूँ कि आप कोई महान् भूत हैं, क्योंकि कोई साधारण भूत यहाँ नहीं ठहर सकता श्रीभगवान् बोले--मुने! में नारायण, समस्त देहधारियोंकी उत्पत्तिका कारणभूत ब्रह्मा, सम्पूर्ण भूतोंका उद्धव करनेवाला तथा समस्त भूतोंका संहार करनेमें समर्थ (रुद्र) हूँ॥ ४९ ॥ मैं ही शक्र नामसे प्रसिद्ध होकर इन्द्रपदपर

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

प्रतिष्ठित हुआ हूँ। मैं ही ऋतुओंका स्वामी संवत्सर हूँ। मैं ही प्रत्येक युगमें युगाक्ष और युगावर्त कहलाता हूँ॥ ५० ॥ मैं ही सम्पूर्ण प्राणी और समस्त देवता, सर्पोमें शेष तथा सारे पक्षियोंमें गरुड भी मैं ही हूँ॥ ५१॥ मैं सहसरों मस्तकोंसे युक्त विराट् पुरुष हूँ। मैं ही वह आकाश वा स्वर्ग हूँ, जो मेरे चरणचिह्नोंसे व्याप्त है। मैं ही सूर्यदेव, यज्ञपुरुष तथा तपोयज्ञ, योगयज्ञ आदि अनेक प्रकारके यज्ञोंसे सम्पन्न होनेवाला मख (महायज्ञ) भी मैं ही हूँ। मैं ही देवताओंको हविष्य पहुँचानेवाला अग्निदेव हूँ। जल- जन्तुओंका पालक अविनाशी वरुण भी मैं ही हूँ कृतान्तः सर्वभूतानां विश्वेषां कालसंज्ञित: अहं कर्म क्रिया जीव: सर्वेषां धर्मदर्शनः। निष्क्रिय: सर्वभूतेषु स्वात्मज्योति: सनातन:

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

प्रधान पुरुषो देवो5हमाहमस्त्वक्षयो5व्यय: । अहं धर्मस्तपश्चाहं सर्वाश्रमनिवासिनाम् अहं हयशिरो देवः क्षीरोदे यो महार्णवे। ऋतं सत्यं च परममहमेकः प्रजापति: वह्निः संवर्तको भूत्वा पिबंस्तोयमयं हवि: अहं पुराणं परम तथेवेह परायणम्। अहं भूतस्य भव्यस्य वर्तमानस्य सम्भव:

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

यत्किंचित् पश्यसे चैव यच्छुणोषि च किंचन। यच्चानुभवसे लोके तत् सर्व मामकं स्मृतम् शुश्रूषुर्मम धर्मेप्सु: कुक्षो चर सुखी भव भूमण्डलमें स्वधर्मानुष्ठानरूप तपसे विशुद्ध अन्त:करण- वाले पुरुषोंमेंसे जो अनेक जन्मोंतक चित्तवृत्तियोंका निरोधरूप योग साधनेवाला ब्रह्मवेत्ता संन्यासी है, वह जिस ब्रह्मका स्वरूप बताया जाता है, वह ब्रह्म मैं ही हूँ॥ ५३॥ जिसने विश्वात्माका साक्षात्कार कर लिया है, वह ज्ञानी मैं ही हूँ। मैं ही योगियोंमें परम योगवेत्ता हूँ। मैं ही समस्त प्राणियोंका अन्त करनेवाला कृतान्त एवं समस्त लोकोंका काल हूँ॥ ५४॥ मैं ही कर्म, क्रिया, जीव और सबको धर्मके स्वरूप या फलका दर्शन करानेवाला हूँ। मैं ही समस्त प्राणियोंमें अन्तर्यामीरूपसे स्थित, निष्क्रिय (साक्षी) आत्मज्योतिसे प्रकाशित सनातन परमात्मा हूँ॥ ५५॥ मैं ही प्रकृति, पुरुष और देवता हूँ।

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

मैं ही सबका आदिकारण, अक्षय एवं अव्यय परमेश्वर हूँ। मैं ही सम्पूर्ण आश्रमोंमें निवास करनेवाले पुरुषोंका धर्म और तप हूँ॥५६॥ मैं ही भगवान् हयग्रीव हूँ। जिन्होंने महान क्षीरसागरमें प्रकट हो वेदोंकी रक्षा की परमपद हूँ। मैं ही पूजनीय, मैं ही भव (शिव) और मैं ही विद्याओंका अधिपति हूँ॥ ५८ ॥ मैं ही अग्नि, मैं ही वायु, मैं ही भूमि और मैं ही आकाश हूँ। जल, समुद्र, अग्नि होकर जगत्के जलरूपी हविष्यको पी लेता हूँ॥ ६० ॥ मैं ही परम पुरातन ब्रह्म हूँ। मैं ही यहाँ सबका जगतू्की उत्पत्तिका कारण हूँ॥६१॥ तुम इस लोकमें

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

करते हो, वह सब मेरा ही स्वरूप माना गया है पूर्वकालमें मैंने ही विश्वकी सृष्टि की थी और आज भी मैं ही सृष्टि करूँगा। तुम मुझे देखो। मार्कण्डेय ! प्रत्येक युग (कल्प)-में सम्पूर्ण जगत्की सृष्टि मैं ही करूँगा॥ ६३ ॥ मार्कण्डेय ! यह सारा जगत् सम्पूर्णरूपसे मेरा ही स्वरूप है--ऐसा समझो। अब तुम धर्मोपदेश सुननेकी इच्छा रखकर मेरे धर्मकी प्राप्तिक लिये उत्सुक हो मेरे उदरमें विचरण करो और सुखी हो जाओ भविष्यपर्व एकादशो5ध्याय: ९२६७ मम ब्रह्मा शरीरस्थो देवाश्व ऋषिभि: सह। ब्रह्माजी मेरे ही शरीरमें स्थित हैं। ऋषियों- व्यक्तमव्यक्तयोगं॑ मामवगच्छापराजितम्॥ ६५ सहित देवता भी मेरी देहमें ही हैं। तुम मुझे व्यक्त जगत्स्वरूप, अव्यक्त योगरूप परमात्मा तथा किसीसे भी पराजित न होनेवाला विष्णु समझो॥६५॥ मैं

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

एकाक्षर मन्त्र अकार, तयक्षर मन्त्र प्रणव तथा त्रिपद अहमेकाक्षरों मन्त्रस्त्यक्षरश्षेव सर्वशः। त्रिवर्गकी प्राप्ति करनेवाला (और मोक्षकी भी प्राप्ति त्रिपदश्चेव परमस्त्रिवर्गार्थनिदर्शन: ॥ ६६ करानेवाला) परमात्मा हूँ वेशम्पायन उवाच वैशम्पायनजी कहते हैं--जनमेजय ! इस प्रकार महामुनि व्यासने इस वेदान्तप्रसिद्ध परमतत्त्वका पुराणोंमें

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

एवमेतत् पुराणेषु वेदान्ते च महामुनिः। वर्णन किया है। विश्वरूपधारी भगवान् बालमुकुन्दने वक्त्रे व्याहतवानाशु मार्कण्डेयं महामुनिम्। महामुनि मार्कण्डेयको अपने मुखमें डालनेके लिये छ उदरमें घुसा दिया॥६७॥ तत्पश्चात् भगवान्के उदरमें प्रविष्ट हुए मुनिश्रेष्ठ मार्कण्डेय हंसस्वरूप अविनाशी परमात्माकी आराधनाके लिये उत्सुक हो सुखपूर्वक विचरने लगे॥६८॥ चन्द्रमा और सूर्यसे रहित उस ४ एकार्णवर्में अनेक प्रकारके स्वरूपका आश्रय लेनेवाले तदक्षरं विविधमथाश्रितो वपु- हंस-नामधारी भगवान्, जो अक्षरब्रह्मरूप हैं, धीरे- महार्णवे व्यपगतचन्द्रभास्करे। धीरे विचरने लगे। फिर सृष्टिकाल आनेपर उन्होंने शनैश्वरन्प्रभुपिहंससंजञितो- ही जगत्की सृष्टि की तथा सदा ही विविध भौतिक 5उसृजजगद्वधिसृजति कालपर्यये ॥ ६९ वस्तुओंकी वे सृष्टि करते रहते हैं

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

इस प्रकार श्रीमहाभारतके खिलभाग हरिवंशके अन्तर्गत भविष्यपर्वमें गृष्करप्रादुर्भावके प्रसंगर्में मार्कण्डेयजीको भगवान्का दर्शनविषयक दसवाँ अध्याय पूरा हुआ ततो भगवतः कुक्षिं प्रविष्टो मुनिसत्तम:। रराम सुखमासाद्य शुश्रूषुहंसमव्ययम् परमात्माके द्वारा भूतोंकी सृष्टि तथा ब्रह्माजीको प्रकट करनेके लिये उनकी नाभिसे एक महानू पद्माका प्रादुर्भाव वैशम्पायन उवाच वैशम्पायनजी कहते हैं--जनमेजय! वे हंस-

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

संज्ञक परमात्मा कुम्भयोनि ब्रह्मर्षि वसिष्ठ होकर अपनी आपव:ः स विभुर्भूत्वा कारयामास वै तप:। कुम्भजनित देहको अपने आत्मा (समष्टिके अभिमानी छादयित्वा55त्मनो देहमात्मना कुम्भसम्भव: ॥ १ चेतन)-से आच्छादित करके तपस्या करने लगे ततो महात्मातिबलो मतिं लोकस्य सर्जने। भौतिक जगत् तथा उसके उपादानभूत पश्चमहाभूतोंकी महतां पशञ्ञभूतानां विश्वभूतो व्यचिन्तयत्॥ २ सृष्टिका विचार किया निराकाशे तोयमये सूक्ष्मे जगति गह्दरे

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

कृष्णवर्त्मा समभवत् प्रभुवैश्वानरोडर्चिमान्। आकाश छिद्र॒सम्भूत॑ं वायुराकाशसम्भव: दृष्ठा प्रीतियुतो देवो महाभूतादिभावनः ब्रह्मणो जन्म स हितं बहुरूपो विचिन्वति

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

आकाशरहित जलस्वरूप सूक्ष्म गुफामें जगत्के लीन हो जानेपर वहाँ उस समय तपस्यासे भावित अन्तःकरणवाले वे परमेश्वर जब इस प्रकार चिन्तन कर रहे थे, तब सलिलराशिमें स्थित हुए उन्होंने उस एकार्णवमें कुछ क्षोभ (हलचल) उत्पन्न कर दिया। तदनन्तर उनके मनमें जो सृष्टिविषयक संकल्पकी दूसरी तरंग उठी, उससे उस जलनमें सूक्ष्म छिद्र (आकाश या अवकाश) प्रकट हो गया॥ ३-४॥ तदनन्तर जो संकल्पकी पुनः तीसरी तरंग उठी, उससे उस आकाशमें शब्दकी गति हुई अर्थात् वे ईश्वर ही वहाँ शब्दरूपसे गतिशील हुए। उनके इस प्रकार गतिशील होनेमें वायुका वेग ही कारण था। यदि कहें उस समय वहाँ वायु कहाँ थी तो इसका उत्तर सुनो-वे ईश्वर वह छिद्र या अवकाश पाते ही अक्षोभ्य होकर भी स्वयं वायुरूपमें प्रकट हो वहाँ बढ़ने लगे (तात्पर्य यह है कि आकाशके अनन्तर उत्पन्न हुई वायु शब्द और गतिकी अभिव्यक्तिमें कारण हुई)॥ ५॥ उस बढ़ती हुई प्रबल वायुसे वह एकार्णका जल सब ओरसे क्षुब्ध हो उठा। उसमें बहुत-सी तरंगें उठकर परस्पर वेगसे टकराती हुई उस महासागरको मथने लगीं॥ ६॥ उस श्लुब्ध महासागरका

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

जल जब इस प्रकार मथा जाने लगा, तब उससे ज्वालामालाओंसे युक्त शक्तिशाली कृष्णवर्त्मा अग्निका प्रादुर्भाव हुआ॥ ७॥ उस अग्रिने वहाँ फैली हुई अगाध जलराशिको सोख लिया। उस जलराशिके क्षीण हो जानेसे वहाँका स्थान खाली हो गया और आकाश निकल आया॥ ८ ॥ अमृतरसके समान मधुर एवं पवित्र जल परमात्माके तेजसे प्रकट हुआ है। उस जलमें जो छिद्र प्रकट हुआ, उससे आकाशका आविर्भाव हुआ और आकाशसे वायुकी उत्पत्ति हुई॥९॥ घीके समान द्रवस्वरूप जो जल है, उसके पारस्परिक संघर्षसे पृथ्वीका प्रादुर्भाव हुआ। उस पृथ्वी या पार्थिव शरीरमें जठरानलका प्राकट्य हुआ, जो परम्परया जलसे ही उत्पन्न है। उसे देखकर महाभूतोंके आदिसष्टा परमात्मदेव बहुत प्रसन्न हुए॥१०॥ लोकसृष्टिके प्रयोजन और तत्त्वको जाननेवाले अनेक रूपधारी वे भगवान् प्रत्येक कल्पमें इस प्रकार भूतोंका प्राकट्य देखकर सृष्टि-

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

विस्तारके लिये हितकर ब्रह्माजीके जन्मका चिन्तन करते हैं (अर्थात् मानसिक संकल्पसे ब्रह्माजीको उत्पन्न करते हैं) एक सहस््र चतुर्युग बीतनेपर ब्रह्माजीका एक दिन यत्पृथिव्यां द्विजेन्द्राणां तपसा भावितात्मनाम्॥ १२ होता है (और इसी दिनसे वे सौ वर्षोतक जीवित देवो ब्रह्मणि विश्वेच्च नियोजयति योगवित् सहस्त्रपत्रं विरजो भास्कराभं हिरण्मयम्

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

रहते हैं)। वे ब्रह्मा पूर्वकल्पमें इस पृथ्वीपर तपस्यासे शुद्ध अन्तःकरणवाले द्विजराजोंमें श्रेष्ठ, ब्रह्मके उपासक, यत्रशील, अनेक जन्‍न्मोंतक चित्तवृत्तियोंका निरोध करनेवाले, ज्ञानवान, विश्वात्माका साक्षात्कार करनेवाले और योगियोंमें सर्वश्रेष्ठ योगवेत्ता रहे होते हैं योगवेत्ता विश्वेश्वदेव उन योगवानू, सबके लिये उपास्य तथा सम्पूर्ण ऐश्वर्थ और विक्रमसे सम्पन्न ब्रह्माजीकों वेद और जगत्की परम्परा बनाये रखनेके कार्यमें नियुक्त करते हैं॥१५४॥ ब्रह्माजीको नियुक्त करनेके अनन्तर भगवान् श्रीहरि अपने स्वरूपभूत उस महान् जलमें अच्युतरूपसे स्थित होते हैं और ये नियुक्त हुए तैजस ब्रह्मा प्राणियोंक कर्मवश उनके कर्मोसे उपरत होनेपर सोते तथा सबके कर्मोके

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).

हिन्दी अर्थ

उद्धव होनेपर नाना प्रकारसे क्रीडाएँ करते हुए आनन्दमग्र होते हैं॥ १५॥ उस समय जब कि ब्रह्माके जन्मका समय उपस्थित हुआ था, भगवान् श्रीहरिने अपनी नाभिसे एक सहस्रदल कमल प्रकट किया, जो रजोगुण या रजसे रहित सूर्यके समान तेजस्वी तथा सुवर्णमय था॥ १६॥ महात्मा श्रीहरिके शरीरसे प्रकट हो अत्यन्त मनोहर दिखायी देनेवाला वह अतिशय कान्तिमान् सुगन्धित कमल बड़ी शोभा पा रहा था। वह आगकी प्रज्वलित शिखाके समान अपनी उज्वल प्रभासे प्रकाशित हो रहा था। उसका तेज शरत्कालके इति श्रीमहाभारते खिलभागे हरिवंशे भविष्यपर्वणि पौष्करे महापद्योत्पत्ती एकादशो5्ध्याय: इस प्रकार श्रीमहाभारतके खिलभाग हरिवशके अन्तर्गत भविष्यपर्वमें पुष्करप्रादुर्भावके प्रसड्न्‍जमें महापद्यकी

English

Vaishampāyana said:—Thereupon king Vajramābha ordered the Asuras living in their own cities, "Give them most excellent rooms (1). Treat them as guests, give them various jewels and various raiments which please people (2)." Receiving the order of their Chief they did all this. And arriving there, the actors too, heard of before, excited their curiosity (3). With great delight they welcomed the actor with presents of jewels (4). Thereupon the actor, who had obtained the boon, pleased highly the citizens of Supura with his dancing (5). They gave a performance of the great epic Rāmāyana: the birth of the incomparable Vishnu for the destruction of the king of Rakshasas (Ravana) (6). How Lomapāda and Dasharatha had brought for Shānta, the Muni Rishwashringa through prostitutes (7). In that performance the actors so perfectly personated the characters of Rāma, Lakshmana, Shatrughna, Bharata, Rishwashringa and Sānta, that even the elderly Dānavas were startled and spoke repeatedly of the similarity of their appearances (8–9). Seeing their dresses, acting, entrance and introduction the Dānavas were filled with wonder. With particular parts of the performance the Asuras were so much pleased and attracted that they repeatedly rose up, expressed their appreciation and gave away charming necklaces of gold and Vaidurja, bracelets and cloths. After receiving their remuneration the actors, with separate slokas, eulogised the Asuras in order of their family and birth (9-13). O king, afterwards the inhabitants of the dependant cities communicated to Vajra nābha the arrival of the beautiful actors (14). O Bhārata, the king of Daityas had already heard of it. Now pleased he sent a messenger to bring the actor. At the mandate of the king of Dānavas, the Daityas, living in branch cities, took the Yadavas, disguised as actors, to the charming city of Vajra (15-16). For their accomodation, a beautiful house, built by the celestial architect, was offered, and necessary articles, by hundreds, were given them (17). There upon having set up a beautiful pandal the great Asura, Vajranābha, made a great festival with the actors (18). After they had been relieved of toil the highly powerful Vajranābha gave profuse jems and requested them to begin the play (19). O king, having kept the women of his family behind a screen at a place from which they could see all, the great Asura himself sat with his kinsmen (20). Then dressing themselves as actors, and arranging for the concert the Bhaimas, of dreadful deeds, went on with the performance (21). They first played various tunes on musical instruments, as Kansya, Venu, Muraja etc. Afterwards the women, brought by the Bhaimas, sang the Gandharva song _Chhalikya_, delightful to the mind and ears (22–23). Then with seven scales, _Gāndhāra_ and others, three _Grāmas_, and with _Rāgas_, _Vasanta_ and others, they sang sweetly the song of the sacred discension of Ganga (24). Hearing that sweet song of the coming down of Gangā set in time and tune Asuras rose up again and again and pleased the actors (25). For some business the powerful Pradyumna, who had assumed the guise of an actor, Gada and Shāmva conducted the Nāndi.³⁰⁶ After the termination of the Prologue Rukshmini's son sang the hymn, accompanied with beautiful gestures, of the descension of Gangā. Afterwards they began the performance of the drama Rambhābhisara,³⁰⁷ Shura acted the part of Rāvana, Monovati represented Rambhā, Pradyumna Nalakuvara and Shāmva his Vidushaka³⁰⁸ By their illusory powers the Yādavas represented the scene of Kailāsha (26-29). They acted how the wicked Rāvana was imprecated by Nalakuvara, worked up with anger and how Rambhā was consoled (30). After the performance of this drama, the glory of the high-souled Nārada by the heroic Yādavas, the Dānavas were pleased with the dancing of the highly powerful Bhaimas. They gave them costly apparels, jewelleries, necklaces set with costly jems, beautiful balloons, cars ranging in the sky, elephants coursing in the etherial region, cool and celestial sandal, Agura, and other scents and the valuable jem Chintāmani which gives all that is thought of. Giving away presents in this way at every scene those Dānavas were deprived of their riches and jewels. Even the women of the Danava-Chiefs shared the same fate (31–37).