The Rámáyan of Válmíki - 77

deposited all the wooden vessels, the [upper] and lower fire-wood, and the
other pestle, in their proper places, they departed. The Ráxasas having
then slain a victim to their prince in the manner prescribed in the
Śástras, and enjoined by great rishis, cast [into the fire] the coverlet
of the king saturated with ghee. They then, Vibhíshaṇa included, with
afflicted hearts, adorned Rávaṇa with perfumes and garlands, and with
various vestments, and besprinkled him with fried grain. Vibhíshaṇa having
bathed, and having, with his clothes wet, scattered in proper form _tila_
seeds mixed with _darbha_ grass, and moistened with water, applied the
fire [to the pile].”


Page 496.

The following is a literal translation of Brahmá’s address to Ráma
according to the Calcutta edition, text and commentary:
“O Ráma, how dost thou, being the creator of all the world, best of all
those who have profound knowledge of the Upanishads and all-powerful as
thou art, suffer Sítá to fall in the fire? How dost thou not know thyself
as the best of the gods? Thou art one of the primeval Vasus,(1158) and
also their lord and creator. Thou art thyself the lord and first creator
of the three worlds. Thou art the eighth (that is Mahádeva) of the
Rudras,(1159) and also the fifth(1160) of the Sádhyas.(1161) (The poet
describes Ráma as made of the following gods) The Aśvinikumáras (the twin
divine physicians of the gods) are thy ears; the sun and the moon are thy
eyes; and thou hast been seen in the beginning and at the end of creation.
How dost thou neglect the daughter of Videha (Janaka} like a man whose
actions are directed by the dictates of nature?” Thus addressed by Indra,
Brahmá and the other gods, Ráma the descendant of Raghu, lord of the world
and the best of the virtuous, spoke to the chief of the gods. “As I take
myself to be a man of the name of Ráma and son of Daśaratha, therefore,
sir, please tell me who I am and whence have I come.” “O thou whose might
is never failing,” said Brahmá to Kákutstha the foremost of those who
thoroughly know Brahmá, “Thou art Náráyaṇa,(1162) almighty, possessed of
fortune, and armed with the discus. Thou art the boar(1163) with one tusk;
the conqueror of thy past and future foes. Thou art Brahmá true and
eternal or undecaying. Thou art Viśvaksena,(1164) having four arms; Thou
art Hrishíkeśa,(1165) whose bow is made of horn; Thou art Purusha,(1166)
the best of all beings; Thou art one who is never defeated by any body;
Thou art the holder of the sword (named Nandaka). Thou art Vishṇu (the
pervader of all); blue in colour: of great might; the commander of armies;
and lord of villages. Thou art truth. Thou art embodied intelligence,
forgiveness, control over the senses, creation, and destruction. Thou art
Upendra(1167) and Madhusúdana.(1168) Thou art the creator of Indra, the
ruler over all the world, Padmanábha,(1169) and destroyer of enemies in
the battle. The divine Rishis call thee shelter of refugees, as well as
the giver of shelter. Thou hast a thousand horns,(1170) a hundred
heads.(1171) Thou art respected of the respected; and the lord and first
creator of the three worlds. Thou art the forefather and shelter of
Siddhas,(1172) and Sádhyas.(1173) Thou art sacrifices; Vashaṭkára,(1174)
Omkára.(1175) Thou art beyond those who are beyond our senses. There is
none who knows who thou art and who knows thy beginning and end. Thou art
seen in all material objects, in Bráhmans, in cows, and also in all the
quarters, sky and streams. Thou hast a thousand feet, a hundred heads, and
a thousand eyes. Thou hast borne the material objects and the earth with
the mountains; and at the bottom of the ocean thou art seen the great
serpent. O Ráma, Thou hast borne the three worlds, gods, Gandharvas,(1176)
and demons. I am, O Ráma, thy heart; the goddess of learning is thy
tongue; the gods are the hairs of thy body; the closing of thy eyelids is
called the night: and their opening is called the day. The Vedas are thy
Sanskáras.(1177) Nothing can exist without thee. The whole world is thy
body; the surface of the earth is thy stability.”
O Śrívatsalakshaṇa, fire is thy anger, and the moon is thy favour. In the
time of thy incarnation named Vámana, thou didst pervade the three worlds
with thy three steps; and Mahendra was made the king of paradise by thee
having confined the fearful Bali.(1178) Sítá (thy wife) is Lakshmí; and
thou art the God Vishṇu,(1179) Krishṇa,(1180) and Prajápati. To kill Rávaṇ
thou hast assumed the form of a man; therefore, O best of the virtuous,
thou hast completed this task imposed by us (gods). O Ráma, Rávaṇa has
been killed by thee: now being joyful (i.e. having for some time reigned
in the kingdom of Ayodhyá,) go to paradise. O glorious Ráma, thy power and
thy valour are never failing. The visit to thee and the prayers made to
thee are never fruitless. Thy devotees will never be unsuccessful. Thy
devotees who obtain thee (thy favour) who art first and best of mankind,
shall obtain their desires in this world as well as in the next. They who
recite this prayer, founded on the Vedas (or first uttered by the sages),
and the old and divine account of (Ráma) shall never suffer defeat.”


Page 503. The Meeting.

The _Bharat-Miláp_ or meeting with Bharat, is the closing scene of the
dramatic representation of Ráma’s great victory and triumphant return
which takes place annually in October in many of the cities of Northern
India. The Rám-Lalá or Play of Ráma, as the great drama is called, is
performed in the open air and lasts with one day’s break through fifteen
successive days. At Benares there are three nearly simultaneous
performances, one provided by H. H. the Maharajah of Benares near his
palace at Ramnaggur, one by H. H. the Maharajah of Vizianagram near the
Missionary settlement at Sigra and at other places in the city, and one by
the leading gentry of the city at Chowká Ghát near the College. The scene
especially on the great day when the brothers meet is most interesting:
the procession of elephants with their gorgeous howdahs of silver and gold
and their magnificently dressed riders with priceless jewels sparkling in
their turbans, the enthusiasm of the thousands of spectators who fill the
streets and squares, the balconies and the housetops, the flowers that are
rained down upon the advancing car, the wild music, the shouting and the
joy, make an impression that is not easily forgotten.
_Still on his head, well trained in lore_
_Of duty, Ráma’s shoes he bore._
Ráma’s shoes are here regarded as the emblems of royalty or possession. We
may compare the Hebrew “Over Edom will I cast forth my shoe.” A curiously
similar passage occurs in LYSCHANDER’S _Chronicon Greenlandiæ Rhythmicon_:
“Han sendte til Irland sin skiden skoe,
Og böd den Konge. Som der monne boe,
Han skulde dem hæderlig bære
Pan Juuledag i sin kongelig Pragt,
Og kjende han havde sit Rige og Magt
Af Norges og Quernes Herre.”
He sent to Ireland his dirty shoes,
And commanded the king who lived there
To wear them with honour
On Christmas Day in his royal state,
And to own that he had his kingdom and power
From the Lord of Norway and the Isles.
_Notes & Queries, March 30, 1872._


Final Notes.

I end these notes with an extract which I translate from Signor Gorresio’s
Preface to the tenth volume of his Rámáyan, and I take this opportunity of
again thankfully acknowledging my great obligations to this eminent
Śanskritist from whom I have so frequently borrowed. As Mr. Muir has
observed, the Bengal recension which Signor Gorresio has most ably edited
is throughout an admirable commentary on the genuine Rámáyan of northern
India, and I have made constant reference to the faithful and elegant
translation which accompanies the text for assistance and confirmation in
difficulties:
“Towards the southern extremity and in the island of Lanká (Ceylon) there
existed undoubtedly a black and ferocious race, averse to the Aryans and
hostile to their mode of worship: their ramifications extended through the
islands of the Archipelago, and some traces of them remain in Java to this
day.
The Sanskrit-Indians, applying to this race a name expressive of hatred
which occurs in the Vedas as the name of hostile, savage and detested
beings, called it the Rákshas race: it is against these Rákshases that the
expedition of Ráma which the Rámáyan celebrates is directed. The
Sanskrit-Indians certainly altered in their traditions the real character
of this race: they attributed to it physical and moral qualities not found
in human nature; they transformed it into a race of giants; they
represented it as monstrous, hideous, truculent, changing forms at will,
blood-thirsty and ravenous, just as the Semites represented the races that
opposed them as impious, horrible and of monstrous size. But
notwithstanding these mythical exaggerations, which are partly due to the
genius of the Aryans so prone to magnify everything without measure, the
Rámáyan in the course of its epic narration has still preserved and noted
here and there some traits and peculiarities of the race which reveal its
true character. It represents the Rákshases as black of hue, and compares
them with black clouds and masses of black collyrium; it attributes to
them curly woolly hair and thick lips, it depicts them as loaded with
chains, collars and girdles of gold, and the other bright ornaments which
their race has always loved, and in which the kindred races of the Soudan
still delight. It describes them as worshippers of matter and force. They
are hostile to the religion of the Aryans whose rites and sacrifices they
disturb and ruin … Such is the Rákshas race as represented in the Rámáyan;
and the war of the Aryan Ráma forms the subject of the epic, a subject
certainly real and historical as far as regards its substance, but greatly
exaggerated by the ancient myth. In Sanskrit-Indian tradition are found
traces of another struggle of the Aryans with the Rákshas races, which
preceded the war of Ráma. According to some pauranic legends, Kárttavírya,
a descendant of the royal tribe of the Yádavas, contemporary with
Parasurama and a little anterior to Ráma, attacked Lanká and took Rávaṇ
prisoner. This well shows how ancient and how deeply rooted in the Aryan
race is the thought of this war which the Rámáyan celebrates.
“But,” says an eminent Indianist(1181) whose learning I highly appreciate,
“the Rámáyan is an allegorical epic, and no precise and historical value
can be assigned to it. Sítá signifies the furrow made by the plough, and
under this symbolical aspect has already appeared honoured with worship in
the hymns of the Rig-veda; Ráma is the bearer of the plough (this
assertion is entirely gratuitous); these two allegorical personages
represented agriculture introduced to the southern regions of India by the
race of the Kosalas from whom Ráma was descended; the Rákshases on whom he
makes war are races of demons and giants who have little or nothing human
about them; allegory therefore predominates in the poem, and the exact
reality of an historical event must not be looked for in it.” Such is
Professor Weber’s opinion. If he means to say that mythical fictions are
mingled with real events,
Forsan in alcun vero suo arco percuote,
as Dante says, and I fully concede the point. The interweaving of the myth
with the historical truth belongs to the essence, so to speak, of the
primitive epopeia. If Sítá is born, as the Rámáyan feigns, from the furrow
which King Janak opened when he ploughed the earth, not a whit more real
is the origin of Helen and Æneas as related in Homer and Virgil, and if
the characters in the Rámáyan exceed human nature, and in a greater degree
perhaps than is the case in analogous epics, this springs in part from the
nature of the subject and still more from the symbol-loving genius of the
orient. Still the characters of the Rámáyan, although they exceed more or
less the limits of human nature, act notwithstanding in the course of the
poem, speak, feel, rejoice and grieve according to the natural impulse of
human passions. But if by saying that the Rámáyan is an allegorical epic,
it is meant that its fundamental subject is nothing but allegory, that the
war of the Aryan Ráma against the Rákshas race is an allegory, that the
conquest of the southern region and of the island of Lanká is an allegory,
I do not hesitate to answer that such a presumption cannot be admitted and
that the thing is in my opinion impossible. Father Paolíno da S.
Bartolommeo,(1182) had already, together with other strange opinions of
his own on Indian matters, brought forward a similar idea, that is to say
that the exploit of Ráma which is the subject of the Rámáyan was a symbol
and represented the course of the sun: thus he imagined that Brahmá was
the earth, Vishṇu the water, and that his avatárs were the blessings
brought by the fertilizing waters, etc. But such ideas, born at a time
when Indo-sanskrit antiquities were enveloped in darkness, have been
dissipated by the light of new studies. How could an epic so dear in India
to the memory of the people, so deeply rooted for many centuries in the
minds of all, so propagated and diffused through all the dialects and
languages of those regions, which had become the source of many dramas
which are still represented in India, which is itself represented every
year with such magnificence and to such crowds of people in the
neighbourhood of Ayodhyá, a poem welcomed at its very birth with such
favour, as the legend relates, that the recitation of it by the first
wandering Rhapsodists has consecrated and made famous all the places
celebrated by them, and where Ráma made a shorter or longer stay, how, I
ask, could such an epic have been purely allegorical? How, upon a pure
invention, upon a simple allegory, could a poem have been composed of
about fifty thousand verses, relating with such force and power the
events, and giving details with such exactness? On a theme purely
allegorical there may easily be composed a short mythical poem, as for
example a poem on Proserpine or Psyche: but never an epic so full of
traditions and historical memories, so intimately connected with the life
of the people, as the Rámáyan.(1183) Excessive readiness to find allegory
whenever some traces of symbolism occur, where the myth partly veils the
historical reality, may lead and often has led to error. What poetical
work of mythical times could stand this mode of trial? could there not be
made, or rather has there not been made a work altogether allegorical, out
of the Homeric poems? We have all heard of the ingenious idea of the
anonymous writer, who in order to prove how easily we may pass beyond the
truth in our wish to seek and find allegory everywhere, undertook with
keen subtlety to prove that the great personality of Napoleon I. was
altogether allegorical and represented the sun. Napoleon was born in an
island, his course was from west to east, his twelve marshals were the
twelve signs of the zodiac, etc.
I conclude then, that the fundamental theme of the Rámáyan, that is to say
the war of the Aryan Ráma against the Rákshases, an Hamitic race settled
in the south, ought to be regarded as real and historical as far as
regards its substance, although the mythic element intermingled with the
true sometimes alters its natural and genuine aspect.
How then did the Indo-Sanskrit epopeia form and complete itself? What
elements did it interweave in its progress? How did it embody, how did it
clothe the naked and simple primitive datum? We must first of all remember
that the Indo-European races possessed the epic genius in the highest
degree, and that they alone in the different regions they occupied
produced epic poetry … But other causes and particular influences combined
to nourish and develop the epic germ of the Sanskrit-Indians. Already in
the Rig-veda are found hymns in which the Aryan genius preluded, so to
speak, to the future epopeia, in songs that celebrated the heroic deeds of
Indra, the combats and the victories of the tutelary Gods of the Aryan
races over enemies secret or open, human or superhuman, the exploits and
the memories of ancient heroes. More recently, at certain solemn
occasions, as the very learned A. Weber remarks, at the solemnity, for
example of the Aśvamedha or sacrifice of the horse, the praises of the
king who ordained the great rite were sung by bards and minstrels in songs
composed for the purpose, the memories of past times were recalled and
honourable mention was made of the just and pious kings of old. In the
_Bráhmaṇas_, a sort of prose commentaries annexed to the Vedas, are found
recorded stories and legends which allude to historical events of the past
ages, to ancient memories, and to mythical events. Such popular legends
which the _Bráhmaṇas_ undoubtedly gathered from tradition admirably suited
the epic tissue with which they were interwoven by successive hands.… Many
and various mythico-historical traditions, suitable for epic development,
were diffused among the Aryan races, those for example which are related
in the four chapters containing the description of the earth, the Descent
of the Ganges, etc. The epic genius however sometimes created beings of
its own and gave body and life to ideal conceptions. Some of the persons
in the Rámáyan must be, in my opinion, either personifications of the
forces of nature like those which are described with such vigour in the
_Sháhnámah_, or if not exactly created, exaggerated beyond human
proportions; others, vedic personages much more ancient than Ráma, were
introduced into the epic and woven into its narrations, to bring together
men who lived in different and distant ages, as has been the case in times
nearer to our own, in the epics, I mean, of the middle ages.
In the introduction I have discussed the antiquity of the Rámáyan; and by
means of those critical and inductive proofs which are all that an
antiquity without precise historical dates can furnish I have endeavoured
to establish with all the certainty that the subject admitted, that the
original composition of the Rámáyan is to be assigned to about the twelfth
century before the Christian era. Not that I believe that the epic then
sprang to life in the form in which we now possess it; I think, and I have
elsewhere expressed the opinion, that the poem during the course of its
rhapsodical and oral propagation appropriated by way of episodes,
traditions, legends and ancient myths.… But as far as regards the epic
poem properly so called which celebrates the expedition of Ráma against
the Rákshases I think that I have sufficiently shown that its origin and
first appearance should be placed about the twelfth century B.C.; nor have
I hitherto met with anything to oppose this chronological result, or to
oblige me to rectify or reject it.… But an eminent philologist already
quoted, deeply versed in these studies, A. Weber, has expressed in some of
his writings a totally different opinion; and the authority of his name,
if not the number and cogency of his arguments, compels me to say
something on the subject. From the fact or rather the assumption that
Megasthenes(1184) who lived some time in India has made no mention either
of the Mahábhárat or the Rámáyan Professor Weber argues that neither of
these poems could have existed at that time; as regards the Rámáyan, the
unity of its composition, the chain that binds together its different
parts, and its allegorical character, show it, says Professor Weber, to be
much more recent than the age to which I have assigned it, near to our own
era, and according to him, later than the Mahábhárat. As for Megasthenes
it should be observed, that he did not write a history of India, much less
a literary history or anything at all resembling one, but a simple
description, in great part physical, of India: whence, from his silence on
literary matters to draw inferences regarding the history of Sanskrit
literature would be the same thing as from the silence of a geologist with
respect to the literature of a country whose valleys, mountains, and
internal structure he is exploring, to conjecture that such and such a
poem or history not mentioned by him did not exist at his time. We have
only to look at the fragments of Megasthenes collected and published by
Schwanbeck to see what was the nature and scope of his _Indica_.… But only
a few fragments of Megasthenes are extant; and to pretend that they should
be argument and proof enough to judge the antiquity of a poem is to press
the laws of criticism too far. To Professor Weber’s argument as to the
more or less recent age of the Rámáyan from the unity of its composition,
I will make one sole reply, which is that if unity of composition were
really a proof of a more recent age, it would be necessary to reduce by a
thousand years at least the age of Homer and bring him down to the age of
Augustus and Virgil; for certainly there is much more unity of
composition, a greater accord and harmony of parts in the Iliad and the
Odyssey than in the Rámáyan. But in the fine arts perfection is no proof
of a recent age: while the experience and the continuous labour of
successive ages are necessary to extend and perfect the physical or
natural sciences, art which is spontaneous in its nature can produce and
has produced in remote times works of such perfection as later ages have
not been able to equal.”


INDEX OF PRINCIPAL NAMES

Abhijit, 24.
Abhikála, 176.
Abhíra, 444.
Abravanti, 374.
Aditi, 31, 57, 58, 125, 201, 245, 246.
Ádityas, 246, 403.
Agastya, 5, 9, 40, 132, 151, 239, 240, 242, 244, 262, 265, 280, 375, 480,
491, 500.
Ágneya, 178.
Agni, 28, 74, 109, 132, 240, 243, 276.
Agnivarṇa, 82, 220.
Agniketu, 433 note, 459.
Ahalyá, 60, 61, 62.
Ailadhána, 178.
Air, 2, 28, 203.
Airávat, 14, 110, 178, 246, 256, 267, 335, 399, 402, 415, 429, 437, 472.
Aja, 82, 220, 465.
Ájas, 270, 271.
Akampan, 265, 266, 468, 481.
Aksha, 6, 420, 469, 471.
Akurvati, 178.
Alaka, 203 note.
Alambúshá, 59, 198, 199.
Alarka, 104, 107.
Amarávatí, 13, 203 note, 286.
Ambarísha, 72, 73, 74, 82, 220.
Amúrtarajas, 46.
Anala, 455 note.
Analá, 245, 246.
Ananta, 373.
Anaraṇya, 81, 219, 470.
Anasúyá, 9, 226, 227, 228.
Andhak, 264.
Andhras, 549.
Anga, 38.
Angad, 342, 348, 350, 352 ff., 363, 364 note, 367, 374, 379 ff, 391, 402,
425 ff., 439, 442, 445, 448, 456, 458, 459, 475, 479 ff, 505.
Angas, 15, 18, 19, 21, 102.
Angiras, 133, 245.
Anjan, 14, 368, 369.
Anjaná, 392.
Anśudhána, 179.
Anśumán, 50, 53, 56, 82, 220.
Anuhláda, 370.
Aparparyat, 178.
Apartála, 175.
Apsarases, 57, 198, 199, 229, 378.
Aptoryám, 24.
Arishta, 424, 425.
Aríshṭanemi, 49, 245, 392.
Arjun, 86.
Arjuna, 518.
Arthasádhak, 14.
Aruṇ, 246,
Arundhatí, 19, 244, 413.
Aryaman, 124.
Áryan, 92.
Asamanj, 50, 53, 82, 138, 220.
Asit, 81, 219.
Aśok, 14, 175.
Aśoka, 6, 10, 101, 205, 278, 296, 297, 300, 318, 321, 357, 403, 444, 452,
456.
Asta, 377, 379 note.
Asurs, 57, 58, 380, 381, 387, 394, 407, 413, 420.
Aśvagríva, 246.
Aśvamedh, 29, 236 note.
Aśvapati, 89, 131, 178, 183.
Aśvatarí, 346.
Aśvin, 371.
Aśvíní, 343.
Aśvins, 28, 36, 60, 62, 163, 246, 339, 343, 403, 490.
Atikáya, 468, 478 ff.
Atirátra, 24.
Atri, 245, 561.
Aurva, 373 note.
Avantí, 374.
Avindhya, 415.
Ayodhyá, 4, 6, 11, 12, 14, 19, 32, 33, 38, 49, 70, 72, 79, 81, 83, 84, 85,
88, 95, 96, _passim_.
Ayomukh, 374.
Ayomukhi, 310.
Báhíka, 176.
Bahuputra, 245.
Bala, 264.
Bálakhilyas, 63, 235, 270, 271, 374.
Bali, 43, 59, 107, 275, 302, 421.
Báli, 5, 9, 29, 318, 324, 328, 329, 333 ff., 344, 356 ff., 362, 364, 366,
367, 379, 380, 391, 404, 412, 420, 440, 442, 448, 456, 458, 475, 478, 500,
503, 505.
Barbars, 66.
Beauty, 26, 29, 58, 88, 283, 455.
Bhadamadrá, 246.
Bhadra, 52.
Bhaga, 124, 243.
Bhagírath, 53, 54, 55, 82, 220, 372.
Bhágírathí, 56.
Bharadvája, 4, 7, 9, 10, 158, 159, 193, 196, 197, 199, 200, 201, 501.
Bharat, 4, 9, 10, 32, 81, 83, 84, 88, 89, 94, 97, _passim_.
Bharatas, 550.
Bháruṇḍa, 178.
Bhásí, 246.
Bhásakarṇa, 420.
Bhava, 78.
Bhímá, 198.
Bhogavatí, 12 note, 267, 375.
Bhrigu, 40, 63, 73, 81, 85, 86, 88, 133, 220.
Brahmá, 6, 7, 10, 19, 25, 26, 33, 38, 39, 42, 46, 48, 54, 56, 59, 61, 63,
65, 67, 68, 74, 75, 77, 81, _passim_.
Brahmadatta, 46, 47.
Brahmádikas, 133 note.
Bhrahmamálas, 548.
Budha, 287.
Buddhist, 219.
Cancer, 109.
Ceylon, 375 note.
Chaitra, 91.
Chaitraratha, 41, 178, 199, 267, 279, 315, 493.
Chakraván, 376.
Champá, 30.
Chaṇḍa, 448.
Chaṇḍála, 69, 70.
Chandra, 464.
Chatushṭom, 24.
Chitrá, 111, 250, 283.
Chitrakúṭa, 4, 9, 160, 161, 197, 200, 201, 202, 209, 235, 236, 317, 416,
501.
Chitraratha, 132.
Cholas, 549.
Chúli, 47.
Chyavan, 81, 220.
Dadhimukh, 426.
Dadhivakra, 364 note.
Daitya, 125, 152, 211, 246, 289, 306, 371, 418.
Daksha, 36, 78, 228, 245, 257, 396.
Dánav, 255, 270, 306, 307, 311, 371, 372, 382, 432, 443, 477.
Daṇḍak, 9, 99, 103, 117, 124, 126, 130, 166, 181, 199, 211, 238, 271, 374.
Daṇḍaká, 5.
Danú, 245, 246, 313.
Dapple skin, 64, 65.
Dardar, 110, 198.
Dardur, 448.
Darímukha, 371.
Daśárṇa, 374.
Dasáratha, 3, 9, 12, 14, 16, 18 ff., 25, 26, 29, 30, 32, 34, 41, 61, 62,
77, 79, 80 ff., 91, 92, 95, _passim_.
Dasyus, 444.
Devamíḍha, 82.
Devántak, 479, 480.
Devarát, 77, 82, 86.
Devasakhá, 378.
Devavatí, 515.
Dhanvantari, 57 note.
Dhanyamáliní, 481.
Dharmabhrit, 240.
Dharmapál, 14.
Dharmáraṇya, 46.
Dharmavardhan, 179.
Dhritaráshṭrí, 246.
Dhrishṭaketu, 82.
Dhrishṭi, 14, 202.
Dhruvasandhi, 81, 219.
Dhúmra, 371, 448.
Dhúmráksha, 433 note, 465, 466.
Dhúmráśva, 60, 481.
Dhundhumár, 81, 171, 219.
Dikshá, 44.
Dilípa, 5 note, 53, 54, 56, 82, 171, 190, 220.
Diti, 58, 59, 245, 246, 323.
Dragon, 101.
Driḍhanetra, 68.
Drishṭi, 202.
Droṇa, 464.
Drumakulya, 444.
Dundubhi, 333, 335, 338.
Durdhar, 420.
Durdharsha, 433 note.
Durjaya, 256 note.
Durmukha, 432, 433 note.
Durvásas, 521.
Dúshaṇ, 5, 250, 254, 255, 256, 258, 259, 261, 264, 265, 267-271, 294, 461,
502.
Dwida, 364 note.
Dwijihva, 474.
Dwivid, 371, 428, 430, 449, 451, 475, 483, 484.
Dwivida, 28.
Dyumatsena, 129.
Ekapádakas, 549.
Ekaśála, 179.
Fame, 26, 283.
Fate, 42, 68, 70, 71, 81, 119, 122, 123, 130, 181, 182, 195, 256, 293,
296, 309, 343, 349, 351, 354, 386, 404, 415, 439, 492.
Fire, 2, 30, 45, 49, 218, 374.
Fortune, 2, 58, 90, 94, 124, 146, 160, 188, 242, 244, 283, 449, 453.
Fire-god, 74, 124, 328.
Gádhi, 40, 48, 63, 64, 67, 68.
Gaja, 364 note, 371, 429, 449, 459.
Gálava, 518.
Gandhamádan, 28, 159, 381, 429, 446, 476.
Gandharva, 199, 256, 258, 259, 278, 285, 351, 396, 425, 437, 441, 454,
466, 468, 491.
Gandharvas, 267, 270, 281, 283, 306, 307, 308, 318, 364, 370, 375, 377,
388, 394, 409, 420, 432, 449, 455, 472.
Gandharví, 246, 265.
Gangá, 7, 9, 37, 38, 45, 48, 49, _passim_.
Garga, 133.
Garuḍ, 28, 29, 53, 246, 271, 373, 453, 465, 470, 475.
Gautam, 60, 61, 62, 505.
Gautama, 236.