Zitierweise / cite as:
Somadeva <11. Jhdt. n. Chr.>: Kathāsaritsāgara : der Ozean der Erzählungsströme : ausgewählte Erzählungen / übersetzt und erläutert von Alois Payer. -- 2. Buch I, Welle 1. -- 5. Vers 47 - 66: Die Verfluchung Puṣpadantas und Mālyavats. -- Fassung vom 2006-11-24. -- http://www.payer.de/somadeva/soma025.htm
Erstmals publiziert: 2006-10-30
Überarbeitungen: 2006-11-24 [Korrekturen]; 2006-11-16 [Korrekturen]
Anlass: Lehrveranstaltung WS 2006/07
©opyright: Dieser Text steht der Allgemeinheit zur Verfügung. Eine Verwertung in Publikationen, die über übliche Zitate hinausgeht, bedarf der ausdrücklichen Genehmigung des Verfassers
Dieser Text ist Teil der Abteilung Sanskrit von Tüpfli's Global Village Library
Falls Sie die diakritischen Zeichen nicht dargestellt bekommen, installieren Sie eine Schrift mit Diakritika wie z.B. Tahoma.
Der Sanskrit-Text folgt im Wesentlichen folgender Ausgabe:
Somadevabhaṭṭa <11. Jhdt.>: Kathāsaritsāra / ed. by Durgāprasād and Kāśīnāth Pāṇḍurāṅg Parab. -- 4. ed. / revised by Wāsudev Laxman Śāstrī Paṇśikar. -- Bombay : Nirnaya-Sagar Press, 1930, -- 597 S. -- [in Devanāgarī]
Der von großen Dichter, dem Ehrwürdigen Gelehrten Somadeva verfasste Ozean der Erzählungsströme
Die Verse sind, wenn nichts anderes vermerkt ist, im Versmaß Śloka abgefasst.
Definition des Śloka in einem Śloka:
śloke ṣaṣṭhaṃ guru jñeyaṃ
sarvatra laghu pañcamam
dvicatuṣpādayor hrasvaṃ
saptamaṃ dīrgham anyayoḥ
"Im Śloka ist die sechste Silbe eines Pāda schwer, die fünfte in allen Pādas leicht
Die siebte Silbe ist im zweiten und vierten Pāda kurz, lang in den beiden anderen."
Das metrische Schema ist also:
̽ ̽ ̽ ̽ ˘ˉˉ ̽
̽ ̽ ̽ ̽ ˘ˉ˘ ̽
̽ ̽ ̽ ̽ ˘ˉˉ ̽
̽ ̽ ̽ ̽ ˘ˉ˘ ̽
Zur Metrik siehe:
Payer, Alois <1944 - >: Einführung in die Exegese von Sanskrittexten : Skript. -- Kap. 8: Die eigentliche Exegese, Teil II: Zu einzelnen Fragestellungen synchronen Verstehens. -- Anhang B: Zur Metrik von Sanskrittexten. -- URL: http://www.payer.de/exegese/exeg08b.htm
ekāntasukhino devā
manuṣyā nityaduḥkhitāḥ |
divyamānuṣaceṣṭā tu
parabhāgena hāriṇī |47|
47. Götter sind nur glücklich, Menschen sind stets von Unglück geschlagen; das Treiben der himmlischen Menschen1 aber ist hinreißend, weil es an verschiedenem teilhat.
Kommentar:
1 himmlischen Menschen: Halbgötter, Heroen (ἣρως)
vidyādharāṇāṃ caritam
atas te varṇayāmy aham |
iti devyā haro yāvad
vakti tāvad upāgatam |48|
48. Deshalb erzähle ich dir ein Vorkommnis bei den Vidyādhara1". So sprach der Zerstörer2 mit der Göttin bis zu folgendem Vorkommnis:
Kommentar:
1 Vidyādhara
"VIDYĀ-DHARA (mas.), VIDYĀ-DHARĪ (fem.). 'Possessors of knowledge.' A class of inferior deities inhabiting the regions between the earth and sky, and generally of benevolent disposition. They are attendants upon Indra, but they have chiefs and kings of their own, and are represented as intermarrying and having much intercourse with men. They are also called Kāma-rūpin, 'taking shapes at will;' Khecara and Nabhas-cara, 'moving in the air;' Priyaṃ-vada, 'sweet-spoken.'" [Quelle: Dowson, John <1820-1881>: A classical dictionary of Hindu mythology and religion, geography, history, and literature. -- London, Trübner, 1879. -- s.v. ]
2 Zerstörer: Hara: Śiva
prasādavittakaḥ śambhoḥ
puṣpadanto gaṇottamaḥ |
nyaṣedhi ca praveśo 'sya
nandinā dvāri tiṣṭhatā |49|
49. Puṣpadanta1, der Oberste im Gaṇa-Gefolge2, war bekannt dafür, dass er in der Gunst des Glücksbewirkers3 stand. Nandin4, der an der Türe stand, verwehrte ihm den Zutritt.
Kommentar:
1 Puṣpadanta
"PUSHPA-DANTA 'Flower-teeth.' i. One of the chief attendants of Śiva. He incurred his master's displeasure by listening to his private conversation with Pārvatī and talking of it afterwards. For this he was condemned to become a man, and so appeared in the form of the great grammarian Kātyāyana." [Quelle: Dowson, John <1820-1881>: A classical dictionary of Hindu mythology and religion, geography, history, and literature. -- London, Trübner, 1879. -- s.v. ]
2 Gaṇa-Gefolge
"GAṆA-DEVATĀS. ' Troops of deities.' Deities who generally appear, or are spoken of, in classes. Nine such classes are mentioned:—
- Ādityas ;
- Viśvas or Viśve-devas ;
- Vasus;
- Tuṣitas;
- Ābhāsvaras;
- Anilas;
- Mahārājikas;
- Sādhyas;
- Rudras.
These inferior deities are attendant upon Śiva., and under the command of Ganeśa. They dwell on Gaṇa-parvata, i.e., Kailāśa."
[Quelle: Dowson, John <1820-1881>: A classical dictionary of Hindu mythology and religion, geography, history, and literature. -- London, Trübner, 1879. -- s.v. ]
3 Glücksbewirker: śambhū = Name Śivas, aus śam + bhū erklärt: śam Indekl.: Partikel, der einen Segen oder Glückswunsch ausdrückt.
4 Nandin: siehe oben zu Vers 46
niṣkāraṇaṃ niṣedho 'dya
mamāpīti kutūhalāt |
alakṣito yogavaśāt
praviveśa sa tatkṣaṇāt |50|
50. "Grundlos ist, dass mir heute der Zugang verwehrt wird." Aus Neugier machte er sich kraft seiner yogischen Magie unsichtbar und trat augenblicklich ein.
praviṣṭaḥ śrutavān sarvaṃ
varṇyamānaṃ pinākinā |
vidyādharāṇāṃ saptānām
apūrvaṃ caritādbhutam |51|
51. Drinnen hörte er all die wunderbaren, zuvor von niemandem vernommenen Geschichten über die sieben Vidyādhara, die der Stab- und Bogenträger1 erzählte.
Kommentar
1 Stab- und Bogenträger: pinākin:
- pināka (1) ist der Stab Śivas, der als Knauf einen Kobrakopf trägt;
- pināka (2) ist der Name von Śivas Bogen
- (Pinaka ist darum auch die Bezeichnung für einen Raketenwerfer der indischen Armee.)
Abb.: pināka (1)[Bildquelle: Bunce, Fredrick W. ; Capdi, G. X.: A dictionary of Buddhist and Hindu iconography, illustrated : objects, devices, concepts, rites and related terms / by Fredrick W. Bunce ; illustrations by G. X. Capdi. -- New Delhi : Printworld, 1997. - XXVIII, 473 S. : zahlr. Ill. -- ISBN 81-246-0061-9. -- S. 228]
śrutvātha gatvā bhāryāyai
jayāyai so 'py avarṇayat |
ko hi vittaṃ rahasyaṃ vā
strīṣu śaknoti gūhitum |52|
52. Danach ging er zu seiner Gattin Jayā und erzählte es ihr. Wer kann schon einen Schatz oder ein Geheimnis vor Frauen verbergen?!
sāpi tadvismayāviṣṭā
gatvā girisutāgrataḥ |
jagau jayā pratīhārī
strīṣu vāksaṃyamaḥ kutaḥ |53|
53. Voll Staunen trat Jayā, die Pförtnerin, vor die Bergtochter und sang. Wo gibt es bei Frauen Zügelung der Rede?!
tataś cukopa girijā
nāpūrvaṃ varṇitaṃ tvayā |
jānāti hi jayāpy etad
iti ceśvaram abhyadhāt |54|
54. Da erzürnte die Bergtochter und sprach zum HERRN: "Du hast mir nichts Neues erzählt, denn Jayā kennt es auch!"
praṇidhānād atha jñātvā
jagādaivam umāpatiḥ |
yogībhūtvā praviśyedaṃ
puṣpadantas tadāśṛnot |55|
55. Durch angestrengtes Nachdenken erkannte der Gatte Umās1 was vorgefallen war und sprach zu ihr: "Puṣpadanta wurde ein Hexer, trat ein und hörte es dann.
Kommentar:
1 Umā = Pārvatī
jayāyai varṇitaṃ tena
ko 'nyo jānāti hi priye |
śrutvety ānāyayad devī
puṣpadantam atikrudhā |56|
56. Er hat es der Jayā erzählt. Wer sonst könnte es wissen, meine Liebe?" Die Göttin hörte diese Worte und ließ höchst erzürnt Puṣpadanta herbeiführen.
martyo bhavāvinīteti
vihvalaṃ taṃ śaśāpa sā |
mālyavantaṃ ca vijñaptiṃ
kurvāṇaṃ tatkṛte gaṇam |57|
"Werde ein Sterblicher, du Ungezogener!" verfluchte sie den Bestürzten und den Gaṇa Mālyavat (Mālyavān), der in dieser Angelegenheit ein Bittgesuch an sie richtete.
nipatya pādayos tābhyāṃ
jayayā saha bodhitā |
śāpāntaṃ prati śarvāṇī
śanair vacanam abravīt |58|
58. Die beiden fielen gemeinsam mit Jayā zu ihren Füßen und lenkten ihre Aufmerksamkeit auf ein Ende der Verfluchung. Da sprach Śarvāṇī1 bedächtig folgende Worte:
Kommentar:
1 Śarvāṇī: zu Śarva (= Śiva) Gehörige = Pārvatī
vindhyāṭavyāṃ kuberasya
śāpāt prāptaḥ piśācatāṃ |
supratīkābhidho yakṣaḥ
kāṇabhūtyākhyayā sthitaḥ |59|
59. "Supratīka, ein Yakṣa1, ist durch den Fluch Kuberas2 zu einem Piśāca3 geworden. Er lebt unter dem Namen Kāṇabhūti im Wald des Vindhyāgebirges4.
Kommentar:
1 Yakṣa
"Yakṣa (Sanskrit) or Yakkha (Pāli) is the name of a broad class of nature-spirits or minor deities who appear in Hindu and Buddhist mythology. The feminine form of the word is yakṣī or yakṣiṇī (Pāli: yakkhī or yakkhinī). General character
In both Hindu and Buddhist mythology, the yakṣa has a dual personality. On the one hand, a yakṣa may be an inoffensive nature-fairy, associated with woods and mountains; but there is a much darker version of the yakṣa, which is a kind of cannibalistic ogre, ghost or demon that haunts the wilderness and waylays and devours travelers, similar to the rakṣasas.
In Kālidāsa's poem Meghadūta, for instance, the yakṣa narrator is a romantic figure, pining with love for his missing beloved. By contrast, in the didactic Hindu dialogue of the Yakṣapraśnāḥ ("questions of the Yakṣa"), a dangerous cannibalistic Yakṣa, the tutelary spirit of a lake, threatens the life of the epic hero Yudhiṣṭhira.
The yakṣas may have originally been the tutelary gods of forests and villages, and were later viewed as the steward deities of the earth and the wealth buried beneath.
In Indian art, male yakṣas are portrayed either as fearsome warriors or as portly, stout and dwarf-like. Female yakṣas, known as yakṣiṇīs, are portrayed as beautiful young women with happy round faces and full breasts and hips.
Yakṣas in BuddhismIn Buddhist countries yakṣas are known under the following names: Chinese Pinyin: 夜叉 yè chā, Japanese: Yasha (夜叉), Burmese: ba-lu).
In Buddhist mythology, the yakṣa are the attendants of Vaiśravaṇa, the Guardian of the Northern Quarter, a beneficent god who protects the righteous. The term also refers to the twelve heavenly generals who guard the Buddha of Medicine (Sanskrit: Bhaiṣajya; Tibetan: sangs-rgyas sman-bla; Chinese and Japanese: 藥師如來)
Yaksha in Popular cultureYaksha is also the name of the original vampire in The Last Vampire Series by Christopher Pike. Christopher Pike used names from the Hindu pantheon for nearly all of the main characters.
YASHA is a Japanese television series in 11 episodes about a manmade "A80" virus that threatens the elderly population of Japan.
InuYasha is a manga and anime in which demons frequently appear.
In the video game Shin Megami Tensei: Digital Devil Saga 2, Yaksa is used as a classification for the stronger demons encountered in the game."
[Quelle: http://en.wikipedia.org/wiki/Yaksha. -- Zugriff am 2006-10-30]
2 Kubera
"Kubera (also Kuvera or Kuber) is the god of wealth and the lord of Uttaradisha in Hindu mythology. He is also known as Dhanapati, the lord of riches. He is one of the Guardians of the directions, representing the north. Kubera is also the son of Sage Vishrava (Vaisravana), and in this respect, he is also the elder brother of the Lord of Lanka, Ravana.
He is said to have performed austerities for a thousand years, in reward for which Brahma, the Creator, gave him immortality and made him god of wealth, guardian of all the treasures of the earth, which he was to give out to whom they were destined.
When Brahma appointed him God of Riches, he gave him Lanka (Ceylon) as his capital, and presented him, according to the Mahabharata, with the vehicle pushpaka, which was of immense size and ‘moved at the owner’s will at marvellous speed’. When Ravana captured Lanka, Kubera moved to his city of Alaka, in the Himalaya.
Kubera also credited money to Venkateshwara or Vishnu for his marriage with Padmavati. Thats the reason devotees / people when they go to Tirupati [Telugu: తిరుపతి] donate money in Venkateshwara's Hundi so that he can pay back to Kubera. According to the Vishnupuran this process will go on till the end of Kali yuga."
[Quelle: http://en.wikipedia.org/wiki/Kubera. -- Zugriff am 2006-10-30]
3 Piśāca
"Pishachas are flesh eating demons, according to Hindu mythology. Their origin is obscure, although some believe that they were created by Brahma. Another legend describes them as the sons of either Krodha (a Sanskrit word meaning anger) or of Daksha’s daughter Pishacha. They have been described to have a dark complexion with bulging veins and protruding, red eyes. They are believed to have their own language, which is called Paishachi. They like darkness and haunt cremation grounds along with other demons like Bhutas (meaning ghosts) and Vetals. Pishachas have the power to assume different forms at will, and may also become invisible. Sometimes, they possess human beings, and the victims are afflicted with a variety of maladies and abnormalities like insanity. Certain mantras are supposed to cure such afflicted persons, and drive away the Pishacha which may be possessing that particular human being. In order to keep the Pishachas away, they are given their share of offerings during certain religious functions and festivals."
[Quelle: http://en.wikipedia.org/wiki/Pishacha. -- Zugriff am 2006-10-30]
4 Vindhyāgebirge
Abb.: Lage des Vindhyāgebirges
[Bildquelle: Wikipedia]
"Das Vindhyagebirge ist ein bis zu 1100 Meter hoher Gebirgszug in Zentralindien. Er erstreckt sich über rund 1000 Kilometer in West-Ost-Richtung vom äußersten Osten des Bundesstaates Gujarat bis in den Südosten Uttar Pradeshs. Dabei verläuft er größtenteils durch Madhya Pradesh und parallel zum südlich gelegenen Satpuragebirge. Außerdem bildet er die nördliche Grenze des Dekkan-Hochlandes. Die Südabdachung zum Graben des Flusses Narmada ist steil, nach Norden fällt das Vindhyagebirge sanfter ab. Entwässert wird es im Norden von Nebenflüssen des Ganges, im Süden von der Narmada. Das Vindhya-Plateau ist nördlich des mittleren Abschnittes des Vindhyagebirges gelegen. Die beiden größten Städte Madhya Pradeshs, Indore und die Hauptstadt Bhopal, befinden sich dort."
[Quelle: http://de.wikipedia.org/wiki/Vindhyagebirge. -- Zugriff am 2006-10-30]
taṃ dṛṣṭvā saṃsmarañ jātiṃ
yadā tasmai kathām imāṃ |
puṣpadanta pravaktāsi
tadā śāpād vimokṣyase |60|
60. Puṣpadanta, wenn du diesen triffst und ihm - dich an diese Geburt erinnernd - diese Geschichte erzählst, dann wirst du vom Fluch befreit.
kāṇabhūteḥ kathāṃ tāṃ tu
yadā śroṣyati mālyavān |
kāṇabhūtau tadā mukte
kathāṃ prakhyāpya mokṣyate |61|
61. Wenn aber Mālyavat (Mālyavān) diese Geschichte von Kāṇabhūti hören wird, und wenn dann deswegen Kāṇabhūti befreit ist und Mālyavat die Geschichte weiter geoffenbart hat, dann wird auch er vom Fluch befreit."
ity uktvā śailatanayā
vyaramat tau ca tatkṣanāt |
vidyutpuñjāv iva gaṇau
dṛṣṭanaṣṭau babhūvatuḥ |62|
62. Nach diesen Worten schwieg die Tochter des Berges. Die beiden Gaṇa waren wie Blitzstrahlen augenblicks aus dem Gesichtsfeld verschwunden.
atha jātu yāti kāle
gaurī papraccha śaṅkaraṃ sadayā |
deva mayā tau śaptau
pramathavarau kutra bhuvi jātau |63|
63. Als dann einstmals die Zeit verging, fragte Gaurī1 voll Mitleid den Glücksbewirker2: "Gott, wo auf der Erde sind diese beiden von mir verfluchten hervorragenden Quälgeister3 wiedergeboren worden?"
Kommentar:
Versmaß:
Āryā (eine Jāti, d.h, ein morenzählendes Metrum)
yasyāḥ pāde prathame dvādaśamātrās tathā tṛtīye 'pi|
aṣṭādaśa dvitīye caturthake pañcadaśa sāryā ||"Eine Āryā hat im ersten Pāda (Versviertel) zwölf Moren (1 mātrā = 1 kurze Silbe), ebenso auch im dritten, im zweiten achtzehn, im vierten fünfzehn."
˘˘ˉ˘ˉ˘ˉˉ ( = 12 Moren)
ˉˉˉˉ˘ˉ˘ˉ˘˘ˉ (= 18 Moren)
ˉ˘˘ˉˉˉˉ (= 12 Moren)
˘˘˘˘ˉˉ˘˘˘ˉˉ(= 15 Moren)1 Gaurī
"In the Hindu religion, Gaurī or Dākshāyani is the Goddess of marital felicity and longevity; she is worshipped particularly by ladies to seek the long life of their husbands. An aspect of Devi, Dākshāyani is the consort of Shiva. Other names for Dākshāyani include Gaurī, Umā, Satī, Aparnā, Lalithā, Sivakāmini, and over a thousand others; a listing is to be found in the Lalithā Sahasranāmam.
LegendThe Goddess Umā, a personification of the divine Omkāra, took human birth at the bidding of Brahmā. She was born as a daughter of Daksha Prajāpati, a son of Brahmā and Prasuti's. She was named Gaurī, "the turmeric-hued one," since she was of the fair, golden complexion of auspicious turmeric. As the daughter of Daksha, she is also known as Dākshāyani.
Dakshayani weds ShivaIn bidding the Goddess Umā to take human birth, Brahmā's design was that she should please Shiva with humble devotions and wed him. It was natural that Gaurī, as a child, adored the tales and legends associated with Shiva and grew up an ardent devotee.
As Gaurī grew to womanhood, the idea of marrying anyone else, as proposed by her father, became anathema to her. Every proposal from valiant and rich kings made her crave evermore the ascetic of Kailāsa, the God of Gods, who bestowed all on this world and himself foreswore all.
To win the regard of the ascetic Shiva, the daughter of Daksha forsook the luxuries of her father's palace and retired to a forest, there to devote herself to austerities and the worship of Shiva. So rigorous were her penances that she gradually renounced food itself, at once stage subsisting on one bilva leaf a day, and then giving up even that nourishment; this particular abstinence earned her the sobriquet Aparnā. Her prayers finally bore fruit when, after testing her resolve, Shiva finally acceded to her wishes and consented to make her his bride.
An ecstatic Gaurī returned to her father's home to await her bridegroom, but found her father less than elated by the turn of events. The wedding was however held in due course, and Gaurī made her home with Shiva in Kailāsa. Daksha, depicted in legend as an arrogant king, did not get on with his renunciate son-in-law and basically cut his daughter away from her natal family.
Daksha's ArroganceDaksha once organized a grand yagna to which all the Gods were invited, with the exception of Gaurī and Shiva. Wanting to visit her parents, relatives and childhood friends, Gaurī sought to rationalize this omission. She reasoned within herself that her parents had neglected to make a formal invitation to them only because, as family, such formality was unnecessary; certainly, she needed no invitation to visit her own mother and would go anyway. Shiva sought to dissuade her, but she was resolved upon going; he then provided her with an escort of his ganas and bid her provoke no incident.
Dakshayani's Self-ImmolationGaurī was received coldly by her father. They were soon in the midst of a heated argument about the virtues (and alleged lack thereof) of Shiva. Every passing moment made it clearer to Gaurī that her father was entirely incapable of appreciating the many excellent qualities of her husband. The realization then came to Gaurī that this abuse was being heaped on Shiva only because he had wed her; she was the cause of this dishonour to her husband. She was consumed by rage against her father and loathing for his mentality.
Calling up a prayer that she may, in some future birth, be born the daughter of a father whom she could respect, Dākshāyani invoked her yogic powers and immolated herself.
Shiva's RageShiva sensed this catastrophe, and his rage was awesome. He created Virabhadra and Bhadrakāli, two ferocious goblins who wreaked havoc and mayhem on the scene of the horrific incident. Nearly all those present were indiscriminately felled overnight. Daksha himself was decapitated.
According to some traditions, it is believed that an angry Shiva performed the fearsome and awe-inspiring Tāndava dance with Gaurī's charred body on his shoulders. During this dance, Gauri's body came apart and the pieces fell at different places on earth. According to another version, Shiva placed Gaurī's body on his shoulder and ran about the world, crazed with grief. The Gods called upon Lord Vishnu to return Shiva to sanity. Vishnu used his Sudarshana Chakram to dismember Gaurī's lifeless body, following which Shiva regained his equanimity. Both versions state that Gaurī's body was thus dismembered into 51 pieces which fell on earth at various places. These 51 places are called Shakti Peethas, and are places of pilgrimage. This legend however is not accepted by mainstream traditions of south India and elsewhere.
After the night of horror, Shiva, the all-forgiving, restored all those slain to life and granted them his blessings. Even the abusive and culpable Daksha was restored both his life and his kingship. His decapitated head was substituted for that of a goat. Having learned his lesson, Daksha spent his remaining years as a devotee of Shiva.
AftermathDākshāyani was reborn as Pārvatī, daughter of Himavan, king of the mountains, and his wife, the apsaras Menā. This time, she was born the daughter of a father whom she could respect, a father who appreciated Shiva ardently. Naturally, Pārvatī sought and received Shiva as her husband.
This legend appears in detail in Tantra literature, in the Puranas and in Kālidāsa's lyrical Kumārasambhavam, an epic that deals primarily with the birth of Subrahmanya."
[Quelle: http://en.wikipedia.org/wiki/Dakshayani. -- Zugriff am 2006-10-30]
2 Glücksbewirker: Śaṅkara: Name Śivas
3 Quälgeister: pramatha: eine Klasse von Halbgöttern, die Diener Śivas sind
avadac ca candramauliḥ
kauśāmbīty asti yā mahānagarī |
tasyāṃ sa puṣpadanto
vararucināmā priye jātaḥ |64|
64. Er, der den Mond in der Haarflechte trägt, sprach: "Meine Liebe, es gibt die Großstadt Kauśambī1; in ihr ist Puṣpadanta unter dem Namen Vararuci2 wiedergeboren worden.
Kommentar
Versmaß:
Āryā (eine Jāti, d.h, ein morenzählendes Metrum)
In unsrem Fall:
˘˘ˉ˘ˉ˘ˉˉ ( = 12 Moren)
ˉˉˉˉ˘ˉ˘ˉ˘˘ˉ (= 18 Moren)
ˉˉ˘ˉ˘ˉˉ (= 12 Moren)
˘˘˘˘ˉˉ˘ˉˉˉ(= 15 Moren)1 Kauśambī: vermutlich die beiden heutigen Kosam's (Kosam-Inam und Kosam-Khiraj) an der Yamunā ca. 60 km. oberhalb von Allahabad (इलाहाबाद; الاهاباد)
Abb.: Lage von Kauśambī
(©MS Encarta)2 Vararuci = Kātyāyana, der Verfasser der Vārttikas zu Pāṇini's Aṣṭādhyāyī
"Kātyāyana aber erscheint in der Sage unter dem Namen Vararuci.
Vararuci gehört zu den berühmtesten Namen der indischen Literatur oder vielmehr der an literarische Persönlichkeiten anknüpfenden Sage. Denn tatsächlich kennen wir Vararuci nur als Verfasser der ältesten Prākritgrammatik und mehrerer unbedeutender Werke zur Sanskritgrammatik, sowie als Dichter einiger Strophen, die ihm in den Anthologien zugeschrieben werden. Die Sage aber, wie sie in der kaschmirischen Bṛhatkathā erzählt wurde, und wie sie uns Somadeva im Kathāsaritsāgara berichtet, macht ihn zum Rivalen des Pāṇini und zum Minister des Königs Nanda, und die merkwürdigsten Geschichten werden von ihm erzählt1. Nicht minder Wunderbares erzählt der Tibeter Tāranātha von Vararuci als einem Zeitgenossen des Nāgārjuna und Hofkaplan des Königs Udayana2. Und wieder eine andere Überlieferung macht ihn zu einem der »neun Edelsteine« am Hofe des Königs Vikramāditya. Wenn wir aber fragen, wie die Berühmtheit des Vararuci als Grammatiker zu erklären ist, so dürfte am wahrscheinlichsten die Annahme sein, dass der Verfasser der Vārttikas, der Vervollständiger der Grammatik des Pāṇini mit seinem vollen Namen Vararuci Kātyāyana geheißen hat. Denn keines der anderen Werke, die uns unter dem Namen des Vararuci überliefert sind, dürfte ihn zu solcher Berühmtheit gebracht haben. Wir müssen vielmehr annehmen, dass der Name Vararuci erst als Verfassername beliebt wurde, nachdem er schon berühmt war, und dass man, wie dies in Indien ja so häufig ist, verschiedenen Werken dadurch zur Berühmtheit verhelfen wollte, dass man sie dem berühmten Manne zuschrieb3. Auch der Vāraruca-saṃgraha4, eine Sammlung von 25 Kārikās, die sehr kurz über Kasuslehre, Komposita, Verbum und Wortbildung handeln, ist wahrscheinlich nur das Werk eines anonymen Verfassers, der sich mit dem altberühmten Namen Vararuci geschmückt hat."[Quelle: Winternitz, Moriz <1863 - 1937>: Geschichte der indischen Literatur. Stuttgart : Koehler. -- Band 3: Die Kunstdichtung, die wissenschaftliche Literatur, neuindische Literatur. - 1920. -- S. 390 - 392]
anyac ca mālyavān api
nagaravare supratiṣṭhitākhye saḥ
||
jāto guṇāḍhyanāmā
devi tayor eṣa vṛttāntaḥ |65|
65. Und ein anderes: Mālyavat (Mālyavān) ist in der vorzüglichen Stadt Supratiṣṭhitā1 unter dem Namen Guṇāḍhya2 wiedergeboren worden. Dies geschah mit den beiden, Göttin."
Kommentar:
Versmaß:
Āryā (eine Jāti, d.h, ein morenzählendes Metrum)
In unsrem Fall:
ˉˉ˘ˉ˘ˉ˘˘( = 12 Moren)
1 Supratiṣṭhitā in Pratiṣṭhāna = vermutlich das heutige Paithan an der Godāvarī in Maharashtra. (Auch das heutige Jhusi - - , gegenüber von Allahabad - इलाहाबाद; الاهاباد - gelegen, hieß Pratiṣṭhāna).
˘˘˘˘ˉˉ˘ˉ˘ˉˉˉ(= 18 Moren)
ˉˉ˘ˉ˘ˉˉ (= 12 Moren)
ˉ˘˘ˉˉ˘ˉˉˉ(= 15 Moren)
Abb.: Lage von Jhusi
(©MS Encarta)
Abb.: Lage von Paithan
(©MS Encarta)
"Paithan, formerly Pratishthana, was the capital of the Sātavāhana empire of ancient India. It is located within 50 kilometres of present-day Aurangābād [औरंगाबाद] on the Godavari River in Maharashtra. Paithan was home of the great Maharashtrian saint Eknath, whose tomb can be found there. The town is mostly famous today for its sarees — the Paithani. A major dam called Jaikwadi/Jayakwadi Dam is also located near Paithan. Sant Eknath Udyan is famous garden developed based on Mysore Garden. On August 9, 2006 Paithan experianced its worst flood in known history when floodgates of the Jayakwadi dam were opened near the town. It was done so because of heavy rainfall the region witnessed."
[Quelle: http://en.wikipedia.org/wiki/Pratishthana. -- Zugriff am 2006-10-30]
2 Guṇāḍhya: der Verfasser der Bṛhatkathā, siehe oben zu Vers 3.
evaṃ nivedya sa vibhuḥ
satatānuvṛtta-
bhṛtyāvamānavibhāvanasānutāpām |
kailāsaśailataṭakalpitakalpavallī-
līlāgṛheṣu dayitāṃ ramayann uvāsa |66|
66. So belehrte sie der Allmächtige. Sie empfand Reue, als sie die Schande der immer gehorsamen Diener erkannte. Der Allmächtige wohnte in den Spielhäusern aus Ranken des Weltwunschbaumes1, die an den Abhängen des Kailāsaberges2 errichtet waren und erfreute seine Gattin.
Kommentar:
Versmaß:
Ein Ardhasamavṛtta:
a, c: Vasantatilakā
b, d: ?ta bha ja ja ga ga (14)
ta bha bha ra ga (13)
ta bha ja ja ga ga (14)
ta bha bha ra ga (13)ˉˉ˘ˉ˘˘˘ˉ˘˘ˉ˘ˉˉ
ˉˉ˘ˉ˘˘ˉ˘˘ˉ˘ˉˉ
ˉˉ˘ˉ˘˘˘ˉ˘˘ˉ˘ˉˉ
ˉˉ˘ˉ˘˘ˉ˘˘ˉ˘ˉˉ1 Weltwunschbaum: kalpa, hier wohl = kalpadruma
"Kalpavriksha or Kalpataru is a wish-fulfilling divine tree. It originated during the churning of milk ocean, and King of gods, Indra took it to heavens. In INDIA, Coconut trees are also known as kalpataru. Kalpataru like kamadhenu fulfills whatever is asked." [Quelle: http://en.wikipedia.org/wiki/Kalpadruma. -- Zugriff am 2006-10-30]
2 Kailāsaberg: siehe oben zu Vers 15
iti mahākaviśrīsomadevabhaṭṭaviracite kathāsaritsāgare kathāpīṭhalambake prathamas taraṅgaḥ |
