Friday, June 10, 2016

The Lord of Death

Yama, "the restrainer", (or one of his cognates) is a much feared deity in many belief systems: His responsibilities include fetching the souls of the dead (either by himself or more commonly through the agency of his equally dreaded underlings, the yamadutas), and then holding trials to decide in what forms they deserve to be reborn and how they will be punished or rewarded in the interim. However, in the eyes of the authors of the following two-liners (or one-liners, depending on how you define a 'line'), there are some mortals who surpass Yama in ruthlessness.

(1) Devanagari text:
वैद्यः क्रूरो यमः क्रूरो वैद्यः क्रूरो यमादपि|
यमो हरत्यसूनेव वैद्यस्तु सवसूनसून्||

Harvard-Kyoto transliteration:

vaidyaH krUro yamaH krUro vaidyaH krUro yamAdapi| 
yamo haratyasUneva vaidyastu savasUnasUn||

Loose translation: While it is true that both the physician and Yama are cruel, the physician is crueler than Yama: Yama just takes away one's life whereas a physician steals one's wealth in addition to one's life.

Source: Thus spake Jantuketu (जन्तुकेतु), the boastful quack, in one of the extant manuscripts of the 12th century farce Latakamelaka (लटकमेलक), as noted by the editors (Mahamahopadhyaya Pandit Durgaprasad and Wasudev Laxman Sastri Pansikar) of the critical edition of the play published in 1923. So, assuming it is not a later interpolation, this snippet can be attributed to the playwright Shankhadhara (शङ्खधर).


(2) Devanagari text:
वैद्यराज नमस्तुभ्यं यमराजसहोदर|
यमस्तु हरति प्राणान् वैद्यः प्राणान् धनानि च||

Harvard-Kyoto transliteration:

vaidyarAja namastubhyaM yamarAjasahodara|
yamastu harati prANAn vaidyaH prANAn dhanAni ca||

Loose translation: O Great Physician! Brother of King Yama! I salute you! Yama just takes away one's life, a physician life as well as wealth.

Source: 15th century Subhaashitaavali Verse 2319.

(3) Devanagari text:
वैद्यराज नमस्तुभ्यं क्षपिताशेषामानव|
त्वयि विन्यस्तभारोऽयं कृतान्तः सुखमेधते||

Harvard-Kyoto transliteration:

vaidyarAja namastubhyaM kSapitAzeSamAnava|
tvayi vinyastabhAro(a)yaM kRtAntaH sukhamedhate||

Loose translation:  O Great Physician! I salute you, for you have decimated the human population  Yama can live in happiness and prosperity only because he has devolved his responsibilities to you.

Source: 14th century Shaarngadharapaddhati Verse 4038.

Notes: It is possible that all three of the above quotes started life as a single couplet that was orally transmitted and was hence remembered differently by different collectors; plagiarism (or a pastiche) cannot be ruled out either. Version (1) is my personal favorite for its clever use of repetitions.

Wednesday, June 8, 2016

Double entendre 4 contd.: The pestle strikes one last time

Today, I am just going to quote the remaining verses of the chapter on the "pestle" (मुसल) of Vajjalaggam (Chapter 56), my first two posts in this vein being this and this. Below are verses 539, 540, and 542 of this Prakrit anthology: The authors of all of these are unknown, and the Sanskrit renderings that I have provided in parentheses below the respective couplets are by Ratnadeva (रत्नदेव) unless otherwise noted. For a more detailed exposition of the wordplay, see this post. All my notes are inspired by Vishwanath Pathak's critical edition with translations and explanations, published in 1984. 

(1) Devanagari text:
 थोरगरुयाइ सुन्दरकञ्चीजुत्ताइ हुन्ति नियगेहे|
धन्नाणं महिलियाणं उक्खलसरिसाइ मुसलाइं||
(स्थूलदीर्घाणि सुन्दरकाञ्चीयुक्तानि भवन्ति निजगेहेधन्यानां महिलानामुदूखलसदृशानि मुषलानि||)

Harvard-Kyoto transliteration:

thoragaruAi sundarakaJcIjuttAi hunti niyagehe|
dhannANaM mahiliyANaM ukkhalasarisAi musalAi||
(sthUladIrghANi sundarakAJcIyuktAni bhavanti nijagehedhanyAnAM mahilAnAmudUkhalasadRzAni muSalAni||)

Loose translation: Fortunate is the woman who has in her own house a long stout pestle, furnished with a beautiful girdle, and proportionate to (her) mortar.

[There is some confusion about how to interpret the first adjective थोरगरुयाइ; although Ratnadeva translated it as स्थूलदीर्घाणि which means "stout and long", some scholars contend that it should be read as something like अल्पगुरुत्वानि, "not very heavy"; they view थोर as a word cognate with Modern Standard Hindi थोड़ा, Awadhi थोर, etc. which have an Apabhramsa antecedent थोड़, meaning "a little". According to Pathak, either reading might be admissible here, depending on the age, physical endurance, and experience of the person handling the "pestle".]

(2) Devanagari text:
 मुहभारियाइ सुट्ठु वि सुट्ठु वि कञ्चीइ दिढनिबद्धाइं|
अन्नाहि पि हु जुण्णुक्खलम्मि भज्जन्ति मुसलाइं||
(मुखभृतानि* सुष्ठ्वपि सुष्ठ्वपि काञ्च्या दृढनिबद्धानिअन्याभिरपि खलु जीर्णोदूखले भज्यन्ति मुषलानि||)
*मुखभारिकाणि (mukhabhArikANi) – Pathak

Harvard-Kyoto transliteration:

muhabhAriyAi suTThu vi suTThu vi kaJcIi diDhanibaddhAiM|
annAhi pi hu juNNukkhalammi bhajjanti musalAiM||
(mukhabhRtAni suSThvapi suSThvapi kAJcyA dRDhanibaddhAnianyAbhirapi khalu jIrNodUkhale bhajyanti muSalAni||)


Loose translation: In spite of being quite front-heavy and tightly ringed with girdles, (some) pestles end up breaking in others' old mortars.

['Old' connotes experience, and 'others' unfamiliarity; and 'breaking' might just refer to failing (perhaps by getting 'exhausted' too early) rather than sustaining an actual fracture :)]

(3) Devanagari text:
 भद्दमुहमण्डणं चिय दरपिहुलं तह य कञ्चिसोहिल्लं|
अन्नेसि पिय मुसलं पडिछन्दं तेण वच्चामो||
(भद्रमुखमण्डनमेवेषत्पृथुलं तथा च काञ्चिशोभितंअन्येषामेव मुषलं प्रतिच्छन्दं तेन व्रजामः||)

Harvard-Kyoto transliteration:

bhaddamuhamaNDaNaM ciya darapihulaM taha ya kaJcisohillaM|
annesi piya musalaM paDichhandaM teNa vaccAmo||
(bhadramukhamaNDanameveSatpRthulaM tathA ca kAJcizobhitamanyeSAmeva muSalaM praticchandaM tena vrajAmaH||)


Loose translation: Pestles that have beautiful front-ends, and are slightly plump and adorned with girdles  even if they belong to others  are good substitutes (for the one I own); hence I am setting off (to try them).

Tuesday, June 7, 2016

Morning rituals 3

Today's quote is near identical to the one in my first post on the theme of sanctimony – as they say, great minds ... often copy other great minds.

Devanagari text:
पीठीप्रक्षालनेन क्षितिपतिकथया सज्जनानां प्रवादैः
प्रातर्नीत्वार्धयामं कुशकुसुमसमारम्भणव्यग्रहस्ताः|
पश्चादेते निमज्जत्पुरयुवतिकुचाभोगदत्तेक्षणार्धाः
प्राणायामापदेशादिह सरिति सदा वासराणि क्षिपन्ति||

Harvard-Kyoto transliteration:

pIThIprakSAlanena kSitipatikathayA sajjanAnAM pravAdaiH
prAtarnItvArdhyAmaM kuzakusumasamArambhaNavyagrahastAH|
pazcAdete nimajjatpurayuvatikucAbhogadattekSaNArdhAH
prANAyAmApadezAdiha sariti sadA vAsarANi kSipanti||
 Anonymous

Loose translation: They always spend the first hour and a half of the morning washing their seats, telling stories about kings, gossiping about good people, and busily gathering sacred grass and flowers (for offerings), and the rest of the day catching glimpses of the full breasts of city lasses taking ritual dips, while pretending to perform breathing exercises (pranayama) on this river bank. 

Source: 14th century Shaarngadharapaddhati Verse 4028.

Notes: I have translated पीठी (pIThI) as 'seat' for want of a better word, assuming it to be identical to the more common पीठिका (pIThikA) which can denote a seat (stool, bench, etc.) or the plinth of an idol – it is the known origin of words in many Northern Indic languages for a low rectangular (usually wooden) seat with short or no legs on which a deity may be placed, a preacher may station themselves while delivering sermons, or any person may sit while dining (Hindustani: पीड़ी, पिड़िया; Maithili: पीढ़ी; Bengali: পিঁড়ি).

kathA (कथा) often refers to a long and highly embellished narrative, and might have been used by the poet to suggest that the individuals targeted by the above couplet were inventing tall tales to convince their listeners of their connections to the powers that be.

Saturday, June 4, 2016

Beauty

Hasyarnava (हास्यार्णव), "the ocean of laughter / comedy", a prahasana (प्रहसन) or farce authored by the Bengali playwright Jagadishwara Bhattacharya, is a "severe but grossly indelicate satire"1 of uncertain date (it is placed in the mid-18th century by the scholar Kali Kumar Dutta Shastri). At one point in the play, Kumativarman (कुमतिवर्मन्), the minister of the king Anayasindhu (अनयसिन्धु), is asked by Bandhura (बन्धुरा), an aged madam, in the presence of the king, to describe the queen consort; the minister satisfies her curiosity with the following stanza.

Devanagari text:
दर्शेन्दुतुल्यवदनाञ्जनपुञ्जगौरी
मार्जारचारुनयना घटपीनमध्या|
प्रोत्तुङ्गपीनकुचचुम्बितनाभिदेशा
त्रैलोक्यमोहवसतिः खलु कामिनी सा||
 जगदीश्वरभट्टाचार्य

Harvard-Kyoto transliteration:

darzendutulyavadanAJjanapuJjagaurI
mArjAracArunayanA ghaTapInamadhyA|
prottuGgapInakucacumbitanAbhidezA
trailokyamohavasatiH khalu kAminI sA||
 jagadIzvarabhaTTAcArya

Loose translation: That lady, whose face resembles the new moon, who is as 'fair' as a heap of kohl, whose eyes are as 'beautiful' as those of a cat, whose midriff is as bloated as that of a pitcher, and whose 'prominent and plump' breasts (appear to) kiss her navel, is verily a source of 'amazement' for (the inhabitants) of all three worlds.


Notes: Of course, the parts 
गौरी, चारु, प्रोत्तुङ्गपीन (corresponding to the words in quotes in the above translation) are used ironically. Moreover, मोह can be interpreted as "amazement" or "enchantment" (as I have done above), assuming that the speaker is being sarcastic, or as "fainting / loss of consciousness", if you want to take him literally. 


1 Friedrich von AdelungAn Historical Sketch Of Sanscrit Literature: With Copious Bibliographical Notices Of Sanscrit Works And Translations, 1832.

Wednesday, June 1, 2016

Double entendre 5: Brutal bedfellows

Here's a third chhekaapahnuti (छेकापह्नुति) or "say-and-deny" verse (the first two are here and here):

Devanagari text:
 रागी भिनत्ति निद्रां तल्पं न जहाति निष्ठुरं दशति|
चतुरे किं प्राणेशो न हि न हि सखि मत्कुणव्रातः||

Harvard-Kyoto transliteration:

rAgI bhinatti nidrAM talpaM na jahAti niSThuraM dazati|
cature kiM prANezo na hi na hi sakhi matkuNavrAtaH||
 Anonymous

Loose translation: 
Woman 1: Passionate (see notes), disrupts (my) sleep, does not leave (my) bed, and bites (me) mercilessly.
Woman 2: Clever woman, would that be the lord of your life?
Woman 1: Not at all, dear friend. But a swarm of bedbugs!

SourceThis couplet is preserved in multiple modern anthologies:
(1) Verse 2 of the chapter on chhekaapahnutis of Subhashita Ratnakara
(2) Verse 3 of the chapter on apahnutis of Udbhata Shloka Maalaa (उद्भटश्लोकमाला), "a wreath of extraordinary verses", compiled by the eminent Calcuttan scholar Purnachandra De Kabyaratna "Udbhatasagara" B.A. (काव्यरत्नोद्भटसागरोपाधिकश्रीपूर्णचन्द्रदेव), second edition published c. 1937;
(3) Verse 7 of the chapter on apahnutiof Subhashita Ratna Bhandagara.

NotesFor an erotic reading, rAgI (रागी) must be interpreted as 'passionate' – from rAga (राग), "passion / romantic love". But rAga can also refer to any color (or dye), especially red. Hence, as an adjective of "a swarm of bedbugs", rAgI assumes the meaning "red-colored".

The wordplay here relies on the use of the masculine noun vrAta (व्रात) to denote a swarm or multitude. 

Purnachandra Udbhatasagara provides the following Bengali verse translation of this distich:
নায়িকা – সাতিশয় রাগী, দেয় ঘুম ভাঙ্গাইয়া;
কিছুতেই নাহি যায় বিছানা ছাড়িয়া;
এরূপ নিষ্ঠুর হায় না দেখি কখন;
দংশন করিয়া মোরে করে জ্বালাতন!
সখী – কহ লো চতুরে! ইনি তব প্রাণেশ্বর?
নায়িকা – না না সখি! তাহা নয়,– ৎকুণ-নিকর!

There are several risqué songs in Hindi and related languages where the bedbug (khatmal, खटमल) has been used as a metaphor for a stealthy male lover.

Sunday, May 29, 2016

Transformations

Today's quote is a product of a society in which it was not uncommon for an upper-caste man to take multiple wives, some of whom were underage; so, I apologize in advance if it offends or distresses anyone.

Devanagari text:
अतिवत्सला सुशीला सेवाचतुरा मनोनुकूला च|
अजनि विनीता गृहिणी सपदि सपत्नीस्तनोद्भेदे||
 गोवर्धनाचार्य

Harvard-Kyoto transliteration:

ativatsalA suzIlA sevAcaturA mano*nukUlA ca|
ajani vinItA gRhiNI sapadi sapatnIstanodbhede||
 govardhanAcArya

Loose translation: The (older) housewife suddenly became overly affectionate, good-tempered, adept in serving (her husband), and humble – in short, a woman after her husband's own heart  as soon as her (much younger) co-wife started developing full breasts.

Source: 12th century Aryasaptashati (आर्यासप्तशती) Verse 2.

Wednesday, May 25, 2016

Imperfections

Rama and Sita are the leads of one of the most popular and enduring literary creations of humankind, the epic Ramayana. The climax of the main narrative is Rama's defeat of the rakshasa king Ravana (who had abducted Rama's wife Sita) with the help of an army of vanaras, who can best be described as a race of anthropomorphic tailed primates. This story has been told and retold over millennia across national borders in multiple languages, and most authors have extolled the flawless physical beauty and the impeccable character of each half of the couple. However, if we are to believe the following two verses, the female denizens of the vanara kingdom did discover a shortcoming in each of them that they found quite distressing.

Rama's defect:
Devanagari text:
रामोऽयमस्माकमतीवमोदनः कपिप्रियाणां गुणरूपचेष्टितैः|
हृद्यैरतुल्यातिशयैः सहानुजः किन्त्वस्य नास्मान्सुखयत्यपुच्छता||

Harvard-Kyoto transliteration:

ramo*yamasmAkamatIvamodanaH kapipriyANAM guNarUpaceSTitaiH|
hRdyairatulyAtizayaiH sahAnujaH kintvasya nAsmAnsukhayatyapucchatA||
 Anonymous

Loose translation: This Rama, accompanied by his younger brother, immensely delights us, the wives of simians, with his
 good qualities, handsome features, and conduct, which are heart-touching and beyond compare; what does not impress us at all is his lack of a tail.

Source: Quoted 
as an example of comical poetry in Kavyakaustubha, "the magical gem of poetry", an 18th century treatise on rhetoric by Baladeva Vidyabhushana, a prominent figure in Gaudiya Vaishnavism.


Sita's defect:
Devanagari text:
या एव सीतां ददृशुस्तदानीं रूपं मनोज्ञं प्रशशंसुरस्याः|
पश्चात् सुपुच्छं त्वनवेक्ष्य जग्मुः परं विषादं कपियोषितस्ताः||

Harvard-Kyoto transliteration:

yA eva sItAM dadRzustadAnIM rUpaM manojJaM prazazaMsurasyAH|
pazcAt supucchaM tvanavekSya jagmuH paraM viSAdaM kapiyoSitastAH||
– Anonymous

Loose translation: Every simian female who saw Sita, immediately started singing praises of her enchanting appearance; but, before long, they noticed that she did not have a beautiful tail, and all sank into profound sadness.


Source: Kavivacanasudha verse 214.

Notes: Of course these are imaginings of relatively modern poets trying to put a humorous twist on a familiar tale; the vanaris in almost all versions of the Ramayana are far too wise to view the absence of a caudal appendage on a human body as a deformity.


Pandit Tarakumar Kabiratna, the compiler of Kavivacanasudha, gives some context to the episode described in the second couplet: It happened after Sita was rescued from captivity and introduced to the wives of the monkey chieftains at Kishkindha. Here is his simple Bengali rendering:
সীতারে উদ্ধারি যবে শ্রীরাম আনিল,
যতেক বানরী তারে দেখিতে আইল;
জানকীর রূপ গুণ যে যে নিরখিল,
শতমুখে সকলেই প্রশংসা করিল;
সুন্দর লাঙ্গুল কিন্তু নাহি হেরি তায়,
 যতেক বানরী শেষে করে হায় হায়