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Three Satires (Clay Sanskrit Library) PDF

404 Pages·2005·2.33 MB·English
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THECLAYSANSKRITLIBRARY FOUNDEDBYJOHN&JENNIFERCLAY EDITEDBY RICHARDGOMBRICH WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG Copyright(cid:2)c 2005bytheCSL. Allrightsreserved. FirstEdition2005. TheClaySanskritLibraryisco-publishedby NewYorkUniversityPress andtheJJCFoundation. Furtherinformationaboutthisvolume andtherestoftheClaySanskritLibrary isavailableonthefollowingwebsites: www.claysanskritlibrary.com www.nyupress.org ISBN0-8147-8814-9 ArtworkbyRobertBeer. CoverdesignbyIsabelleOnians. Layout&typesetttingbySomadevaVasudeva. PrintedinGreatBritainbyStEdmundsburyPressLtd, BuryStEdmunds,Suffolk,onacid-freepaper. BoundbyHunter&Foulis,Edinburgh,Scotland. three satires N¯ılakantha, Ksemendra . . . & Bhallata . EDITEDANDTRANSLATEDBY SOMADEVA VASUDEVA NEW YORK UNIVERSITY PRESS JJC FOUNDATION 2005 LibraryofCongressCataloging-in-PublicationData N¯ılakan.t.haD¯ıks.ita,17thcent. [Kalivid.ambana.English&Sanskrit] Threesatires/Nilakantha,Ksemendra&Bhallata; editedandtranslatedbySomadevaVasudeva. p.cm.–(TheClaySanskritlibrary) InEnglishandSanskrit;includestranslationsfromSanskrit. Includesbibliographicalreferencesandindex. ISBN0-8147-8814-9(cloth:alk.paper) I.Title:3satires.II.Vasudeva,Somadeva. III.Ks.emendra,11thcent.Kala¯vila¯sa.English&Sanskrit. IV.Bhallat.a,9thcent.Bhallat.a´sataka.English&Sanskrit. V.Title.VI.Series. PK3798.N54K3132005 891’.23–dc222004029512 Contents 7 Sanskritalphabeticalorder 7 CSLconventions THREESATIRES 13 Introduction 1.Bha´llata:TheHundredAllegories 27 2.Ksheme´ndra:TheGraceofGuile 92 3.Nila·kantha:MockeryoftheKaliEra 319 341 Notes 378 Bibliography 383 Index Asandhigridisprintedontheinsideofthebackcover sanskritalphabeticalorder Vowels: aa¯i¯ıuu¯.r.¯r.l.¯leaioaum. h. Gutturals: kkhgghn˙ Palatals: cchjjhn˜ Retroflex: .t.thd. d.hn. Labials: pphbbhm Semivowels: yrlv Spirants: ´s.ssh guidetosanskritpronunciation a but k luck a¯,aˆ rather kh blockhead i sit g go ¯ı,ˆı fee gh bighead u put n˙ anger u¯,uˆ boo c chill .r vocalicr,Americanpurdy ch matchhead orEnglishpretty j jog .¯r lengthened.r jh aspiratedj,hedgehog .l vocalicl,able n˜ canyon e,ˆe,¯e made,esp.inWelshpro- .t retroflex t, try (with the nunciation tip of tongue turned up ai bite totouchthehardpalate) o,oˆ,o¯rope,esp.Welshpronun- .th sameastheprecedingbut ciation;Italiansolo aspirated au sound d. retroflex d (with the tip m. anusva¯ranasalizesthepre- of tongue turned up to cedingvowel touchthehardpalate) h. visarga,avoicelessaspira- d.h sameastheprecedingbut tion(resemblingEnglish aspirated h),orlikeScottishloch,or n. retroflex n (with the tip anaspirationwithafaint of tongue turned up to echoingofthepreceding touchthehardpalate) vowelsothattaih. ispro- t Frenchtout nouncedtaihi th tenthook 7 thethreesatires d dinner r trilled,resemblingtheIta- dh guildhall lianpronunciationofr n now l linger v word p pill ´s shore ph upheaval .s retroflexsh(withthetip b before ofthetongueturnedup bh abhorrent totouchthehardpalate) m mind s hiss y yes h hood cslpunctuationofenglish TheacuteaccentonSanskritwordswhentheyoccuroutsideofthe Sanskrittextitself,marksstress,e.g.Rama´yana.Itisnotpartoftra- ditionalSanskritorthography,transliterationortranscription,butwe supplyitheretoguidereadersinthepronunciationoftheseunfamiliar words.SincenoSanskritwordisaccentedonthelastsyllableitisnot necessarytoaccentdisyllables,e.g.Rama. ThesecondCSLinnovationdesignedtoassistthereaderinthepro- nunciationoflengthyunfamiliarwordsistoinsertanunobtrusivemid- dledotbetweensemanticwordbreaksincompoundnames(provided thewordbreakdoesnotfallonavowelresultingfromthefusionof twovowels),e.g.Maha·bha´rata,butRama´yana(notRama·a´yana).Our dotechoesthepunctuatingmiddledot(·)foundintheoldestsurviv- ingsamplesofwrittenSanskrit,theAshokaninscriptionsofthethird centurybce. ThedeeplayeringofSanskritnarrativehasalsodictatedthatweuse quotationmarksonlytoannouncethebeginningandendofeverydirect speech,andnotatthebeginningofeveryparagraph. cslpunctuationofsanskrit TheSanskrittextisalsopunctuated,inaccordancewiththepunc- tuationoftheEnglishtranslation.Inmid-verse,thepunctuationwill notalterthesandhiorthescansion.Propernamesarecapitalized,asare theinitialwordsofverses(orparagraphsinprosetexts).MostSanskrit 8 cslconventions metreshavefour“feet”(pa¯da):wherepossibleweprintthecommon ´slokametreontwolines.Thecapitalizationofversebeginningsmakes iteasyforthereadertorecognizelongermetreswhereitisnecessaryto printthefourmetricalfeetoverfouroreightlines.IntheSanskrittext, we use French Guillemets (e.g. «kva sam.cic¯ır.suh.?») instead of English quotationmarks(e.g.“Whereareyouoffto?”)toavoidconfusionwith theapostrophesusedforvowelelisioninsandhi. Sanskritpresentsthelearnerwithachallenge:sandhi(“euphoniccom- bination”).Sandhimeansthatwhentwowordsarejoinedinconnected speechorwriting(whichinSanskritreflectsspeech),thelastletter(or evenletters)ofthefirstwordoftenchanges;comparethewaywepro- nounce“the”in“thebeginning”and“theend.” InSanskritthefirstletterofthesecondwordmayalsochange;andif boththelastletterofthefirstwordandthefirstletterofthesecondare vowels,theymayfuse.ThishasaparallelinEnglish:anasalconsonantis insertedbetweentwovowelsthatwouldotherwisecoalesce:“apear”and “anapple.”Sanskritvowelfusionmayproduceambiguity.Thechartat thebackofeachbookgivesthefullsandhisystem. Fortunatelyitisnotnecessarytoknowthesechangesinordertostart readingSanskrit.Forthat,whatisimportantistoknowtheformofthe secondwordwithoutsandhi(pre-sandhi),sothatitcanberecognized orlookedupinadictionary.ThereforeweareprintingSanskritwitha systemofpunctuationthatwillindicate,unambiguously,theoriginal formofthesecondword,i.e.,theformwithoutsandhi.Suchsandhi mostlyconcernsthefusionoftwovowels. InSanskrit,vowelsmaybeshortorlongandarewrittendifferently accordingly. We follow the general convention that a vowel with no markaboveitisshort.Otherbooksmarkalongvoweleitherwitha barcalledamacron(a¯)orwithacircumflex(aˆ).Oursystemusesthe macron, except that for initial vowels in sandhi we use a circumflex toindicatethatoriginallythevowelwasshort,ortheshorteroftwo possibilities(eratherthanai,oratherthanau). Whenweprintinitialaˆ,beforesandhithatvowelwasa ˆıorˆe, i uˆoroˆ, u aˆi, e 9

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The Dark Age Ridiculed, by Níla·kantha, Beguiling Artistry, by Ksheméndra, The Hundred Allegories, by BhállataWritten over a period of nearly a thousand years, these works show three very different approaches to satire. Níla·kantha gets straight to the point: swindlers prey on stupidity.The ar
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