Bibliotheca Polyglotta

rna luṅ ’khyil pa g-yo bas ’o byas gdoṅ ldan ma | | dbugs rluṅ stug pos rnam par bskyod pa’i nu ma can | |
bstan pa min pa’i mig ldan (2)bud med rnams kyis ni | | ri dags mo rnams kyis bźin mṅon par gyen du lta | |

377. The prince, beholding his royal father bathed with tears and o’erwhelmed with grief, forthwith returned to his abode, and sat himself in silence to consider;

41. There he was gazed at by his wives with restless eyes, whose faces were kissed by their dangling earrings, and whose bosoms were shaken with their thick-coming sighs,--as by so many young fawns.

sa hi kāñcanaparvatāvadāto hṛdayonmādakaro varāṅganānām |
śravanāṅgavilocanātmabhāvān vacanasparśavapurguṇair jahāra || 5.42 ||

(12)宮中諸婇女親近圍遶侍
(13)伺候瞻顏色矚目不暫瞬
(14)猶若秋林鹿端視彼獵師
(15)太子正容貎猶若眞金山
(16)¹ 伎女共瞻察聽教候音顏
(17)敬畏察其心猶彼林中鹿

1. 伎＝妓＜三＞

gser gyi ri bo daṅ ’dra dkar ser mdog de ni | | yan lag mchog ma rnams kyi sñiṅ ni myos mdzad ciṅ | |
ṅag daṅ reg bya daṅ ni lus daṅ yon tan gyis | | thos byed lus daṅ lta byed bdag gi dṅos rnams (3)phrogs | |

378. All the women of the palace, coming towards him, waited as they circled him, and gazed in silence on his beauteous form. They gazed upon him not with furtive glance,
379. But like the deer in autumn brake looks wistfully at the hunter;
around the prince’s straight and handsome form, (bright) as the mountain of true gold (Sumeru),
380. The dancing women gathered doubtingly, waiting to hear him bid them sound their music; repressing every feeling of the heart through fear, even as the deer within the brake;

42. Bright like a golden mountain, and bewitching the hearts of the noble women, he enraptured their ears, limbs, eyes, and souls by his speech, touch, form, and qualities.

vigate divase tato vimānaṃ vapuṣā sūrya iva pradīpyamānaḥ |
timiraṃ vijighāṃsur ātmabhāsā ravir udyann iva merum āruroha || 5.43 ||

(18)漸已至日暮 (19)太子處幽夜
光明甚輝耀 (20)如日照須彌

ñin mo rnam par thal tshe de nas khaṅ bzaṅs la | | lus kyis ñi ma bźin du mṅon par gsal ba ni | |
rab rib rnam par ’joms ’dod bdag ñid snaṅ ba yis | | ñi ma śar ba lhun po la bźin kun nas ’dzegs | |

381. Now gradually the day began to wane, the prince still sitting in the evening light, his glory streaming forth in splendour, as the sun lights up Mount Sumeru;

43. When the day was gone, then, shining with his form like the sun, he ascended the palace, as the rising sun ascends Mount Meru, desiring to dispel the darkness by his own splendour.

kanakojjvaladīptadīpavṛkṣaṃ varakālāgurudhūpapūrṇagarbham |
adhiruhya sa vajrabhakticitraṃ pravaraṃ kāñcanam āsanaṃ siṣeve || 5.44 ||

坐於七寶座 (21)薫以妙栴檀
婇女衆圍遶 (22)奏犍撻婆音
如毘沙門子 (23)衆妙天樂聲

gser gyis ’bar źiṅ gsal ba’i sgron ma’i śiṅ daṅ ni | | aa ga ru (4)mchog nag po’i bdug pas gaṅ ba’i ltor | |
mṅon par ’dzegs nas rdo rjes spras śiṅ sna tshogs pa | | rab mchog gser gyi bźugs gdan la ni bsñen pa’o | |

382. Thus seated on his jewelled couch, surrounded by the fumes of sandal-wood, the dancing women took their places round; then sounded forth their heavenly (Gandharva) music,
383. Even as Vaisaman (Vaisravana) produces every kind of rare and heavenly sounds.

44. Having ascended, he repaired to a special golden seat decorated with embellishments of diamond, with tall lighted candlesticks ablaze with gold, and its interior filled with the incense of black aloe-wood.

tata uttamam uttamāṅganās taṃ¹ niśi tūryair upatasthur indrakalpam |
himavacchirasīva candragaure draviṇendrātmajam apsarogaṇaughāḥ || 5.45 ||

1. EBC: uttamāś ca nāryo

zla ba ltar dkar gaṅs daṅ ldan pa’i rtse mo na | | nor dbaṅ bdag ñid skyes la lha mo’i tshogs ’dus bźin | |
de nas lus mchog ma (5)rnams dbaṅ po daṅ mtshuṅs mchog | | de la mtshan mor sil sñan rnams kyis ñe bar gnas | |

45. Then the noblest of women waited during the night on the noblest of men who was like Indra himself, with a concert of musical instruments, as the crowds of heavenly nymphs wait on the son of the Lord of wealth upon the summit of Himavat, white like the moon.

paramair api divyatūryakalpaiḥ sa tu tair naiva ratiṃ yayau na harṣam |
paramārthasukhāya tasya sādhor abhiniścikramiṣā yato na reme || 5.46 ||

太子心所念 (24)第一遠離樂
雖作衆妙音 (25)亦不在其懷

mchog rab lha yi sil sñan ’dra ba rnams kyis kyaṅ | | de yaṅ de yis bskyed par ma gyur dga’ ba med | |
dam pa’i don gyi bden phyir legs pa de yi ni | | mṅon par ṅes par ’byuṅ ’dod gaṅ la dga’ (6)ma gyur | |

The thoughts which dwelt within the prince’s mind entirely drove from him desire for music,
384. And tho’ the sounds filled all the place, they fell upon his ear unnoticed.

46. But even by those beautiful instruments like heavenly music he was not moved to pleasure or delight; since his desire to go forth from his home to seek the bliss of the highest end was never lulled.

atha tatra surais tapovariṣṭhair akaniṣṭhair vyavasāyam asya buddhvā |
yugapat pramadājanasya nidrā vihitāsīd vikṛtāś ca gātraceṣṭāḥ || 5.47 ||

時淨居天子 (26)知太子時至
決定應出家 (27)忽然化來下
厭諸伎女衆 (28)悉皆令睡眠

de nas der ni brtul źugs mchog gyur ’og min gyi | | lha rnams kyis ni ’di yi ṅes pa rtogs nas ni | |
lus kyi rnam ’gyur rnam par ’gyur byas dus gcig la | | myos ma’i skye bo rnams ni gñid du ’gro bar byas | |

At this time the Deva of the Pure abode, knowing the prince’s time was come,
385. The destined time for quitting home, suddenly assumed a form and came to earth, to make the shapes of all the women unattractive, so that they might create disgust,

47. Then by the power of the heavenly beings most excellent in self-mortification, the Akanishthas, who knew the purpose of his heart, deep sleep was suddenly thrown on that company of women and their limbs and gestures became distorted.

abhavac chayitā hi tatra kācid viniveśya pracale kare kapolam |
dayitām api rukmapattracitrāṃ kupitevāṅkagatāṃ vihāya vīṇām || 5.48 ||

容儀不歛攝 (29)委縱露醜形
惛睡互低仰 (10a1)樂器亂縱横
傍倚或反² 側 (2)或復似投³ 深

2. 側＝倒＜三＞ 3. 深＝淵＜三＞

de la kha cig dga’ ba yin yaṅ khros pa bźin | | paṅ du son pa’i (7)gser gyi snod ni sna tshogs pa’i | |
pi Waṅ rnam par spaṅs nas lag pa g-yob la | | ’gram pa rnam par bkod nas ñal bar gyur pa’o | |

386. And no desire arise from thought of beauty. Their half-clad forms bent in ungainly attitudes, forgetful in their sleep, their bodies crooked or supine, the instruments of music lying scattered in disorder;
387. Leaning and facing one another, or with back to back, or like those beings thrown into the abyss,

48. One was lying there, resting her cheek on her trembling arm; leaving as in anger her lute, though dearly loved, which lay on her side, decorated with gold-leaf.

vibabhau karalagnaveṇur anyā stanavisrastasitāṃśukā śayānā |
ṛjuṣaṭpadapaṅktijuṣṭapadmā jalaphenaprahasattaṭā nadīva || 5.49 ||

’khyog min buṅ ba’i phreṅ ba sgra sgrogs padma daṅ | | chu bo’i ṅogs na chu sbur rab tu rgod pa bźin | |
gźan rnams nu mar rnam ñil dkar po’i dar gon źiṅ | | (20a1)gliṅ bu lag par sbyar źiṅ gñid log rnam par mdzes | |

49. Another shone with her flute clinging to her hand, lying with her white garments fallen from her bosom,--like a river whose banks are smiling with the foam of the water and whose lotuses are covered with a straight line of bees.

navapuṣkaragarbhakomalābhyāṃ tapanīyojjvalasaṃgatāṅgadābhyām |
svapiti sma tathāparā² bhujābhyāṃ parirabhya priyavan mṛdaṅgam eva || 5.50 ||

2. EBC: tathā purā.

de bźin gźan rnams padma gsar pa’i sñiṅ po ltar | | ’jam źiṅ gduṅ bya gser gyis ’bar ba’i dbu brgyan ni | |
’dus pa’i lag pa dag gis dga’ ba bźin du ni | | rdza rṅa ñid ni yoṅs su ’khyud (2)nas gñid log gyur | |

50. Another was sleeping, embracing her drum as a lover, with her two arms tender like the shoot of young lotus and bearing their bracelets closely linked, blazing with gold.

navahāṭakabhūṣaṇās tathānyā vasanaṃ pītam anuttamaṃ vasānāḥ |
avaśā ghananidrayā³ nipetur gajabhagnā iva karṇikāraśākhāḥ || 5.51 ||

3. EBC: vata nidrayā.

纓絡如曳鎖 (3)衣裳絞縛身
抱琴而偃地 (4)猶若受苦人
黄緑衣流散 (5)如摧迦尼華

de bźin gźan ni gsar ba’i gser gyis rnam brgyan źiṅ | | bgo ba’i gos ni ser po mchog dag gon pa ste | |
kar ni ka ra’i yal ga glaṅ pos bsgyel ba bźin | | dbaṅ med par ni sdug ma gñid kyis ’gyel bar gyur | |

their jewelled necklets bound about like chains, their clothes and undergarments swathed around their persons;
388. Grasping their instruments, stretched along the earth, even as those undergoing punishment at the hands of keepers (eunuchs), their garments in confusion, or like the broken kani flower (poppy?);

51. Others, decked with new golden ornaments and wearing peerless yellow garments, fell down alas! helpless with sleep, like the boughs of the Karnikâra broken by an elephant.

avalambya gavākṣapārśvam anyā śayitā cāpavibhugnagātrayaṣṭiḥ |
virarāja vilambicāruhārā racitā toraṇaśālabhañjikeva || 5.52 ||

縱體倚壁眠 (6)状若懸角弓
或手攀窓牖 (7)如似絞死尸
頻呻長欠呿 (8)⁴ 魘呼涕流涎

4. 魘呼＝厭汚＜三＞

de bźin gźan ni skar khuṅ (3)logs la sṅas nas ni | | ñal bar gyur pa’i lus kyi mchod sdoṅ rnams ’khyog pa | |
rta babs la ni śa la bhañdza ka bźin du | | mdzes pa’i do śal rnam par ’phyaṅ ba rnam par mdzes | |

389. Or some with bodies leaning in sleep against the wall, in fashion like a hanging bow or horn, or with their hands holding to the window-frames, and looking like an outstretched corpse;
390. Their mouths half opened or else gaping wide, the loathsome dribble trickling forth,

52. Another, leaning on the side of a window, with her willow-form bent like a bow, shone as she lay with her beautiful necklace hanging down, like a statue in an archway made by art.

maṇikuṇḍaladaṣṭapattralekhaṃ mukhapadmaṃ vinataṃ tathāparasyāḥ |
śatapattram ivārdhavakra⁴ nāḍaṃ sthitakāraṇḍavaghaṭṭitaṃ cakāśe || 5.53 ||

4. EBC: cakra.

de bźin gźan gyi źal gyi padma rnam rgyas śiṅ | | ’gram pa’i logs la nor bu’i rna luṅ gis (4)dmugs pa | |
’dab ma brgya pa’i sdoṅ bu’i phyed ni ’khyog pa la | | gnas pa’i kar ni da bas bskyod bźin g-yos par gyur | |

53. The lotus-face of another, bowed down, with the pinguent-lines on her person rubbed by the jewelled earrings, appeared to be a lotus with its stalk bent into a half-circle, and shaken by a duck standing on it.

aparāḥ śayitā yathopaviṣṭāḥ stanabhārair avanamyamānagātrāḥ |
upaguhya parasparaṃ virejur bhujapāśais tapanīyapārihāryaiḥ || 5.54 ||

蓬頭露醜形 (9)見若顛狂人
華鬘垂覆面 (10)或以面掩地
或擧身戰掉 (11)猶若獨搖鳥

gźan ni ji ltar rnam par źugs bźin gñid log ciṅ | | nu ma’i khur gyis mṅon par duṅ pa’i lus po rnams | |
lag pa’i źags pa gser gyi gdu bu can rnams kyis | | (5)phun tshun ñe bar ’khyud nas rnam par gnas te mdzes pa’o | |

their heads uncovered and in wild disorder, like some unreasoning madman’s;
391. The flower wreaths torn and hanging across their face, or slipping off the face upon the ground; others with body raised as if in fearful dread, just like the lonely desert(?) bird;

54. Others, lying as they sat, with their limbs oppressed by the weight of their bosoms, shone in their beauty, mutually clasping one another with their twining arms decorated with golden bracelets.

mahatīṃ parivādinīṃ ca kācid vanitāliṅgya sakhīm iva prasuptā |
vijughūrṇa calatsuvarṇasūtrā⁵ vadanenākulayoktrakeṇa⁶ || 5.55 ||

5. EBC: sūtrāṃ. 6. EBC: karṇikojjvalena.

rnam par g-yo źiṅ bskyod pa’i gser gyi skud pa can | | rna ba’i śog dril kun nas ’khrugs pa’i gdoṅ gis ni | |
yoṅs su smra ldan pi Waṅ chen po ’khyud nas ni | | bud med kha cig grogs mo bźin du gñid log go | |

55. And another damsel lay sound asleep, embracing her big lute as if it were a female friend, and rolled it about, while its golden strings trembled, with her own face bright with her shaken earrings.

paṇavaṃ yuvatir bhujāṃsadeśād avavisraṃsitacārupāśam anyā |
savilāsaratāntatāntam ūrvor vivare kāntam ivābhinīya śiśye || 5.56 ||

laṅ tsho ma (6)gźan lag pa’i dpuṅ pa’i yul las ni | | kun nas rnam ’phyaṅ mdzes pa’i logs can pa na Wa | |
sgyeg bcas dga’ ba’i mthar ni thaṅ chad sdug pa bźin | | brla gñis dag ni dbus su blaṅs nas ñal ba’o | |

56. Another lay, with her tabour,

aparā babhur nimīlitākṣyo vipulākṣyo ’pi śubhabhruvo ’pi satyaḥ |
pratisaṃkucitāravindakośāḥ savitary astam ite yathā nalinyaḥ || 5.57 ||

rab tu yaṅ dag ’khums gyur padma dmar po’i mdzod | | ñi ma nub par (7)gyur tshe rdziṅ bu rnams ji ltar | |
rnam rgyas mig daṅ mdzes pa’i smin ma yod na yaṅ | | gźan rnams mig rnams btsums śiṅ mdzes par ma gyur to | |

57. Others showed no lustre with their eyes shut, although they were really full-eyed and fair-browed,--like the lotus-beds with their buds closed at the setting of the sun.

śithilākulamūrdhajā tathānyā jaghanasrastavibhūṣaṇāṃśukāntā |
aśayiṣṭavikīrṇakaṇṭhasūtrā gajabhagnā pratiyātanāṅganeva⁷ || 5.58 ||

7. EBC: pratipātitāṅganeva.

de bźin gźan ni mgo skyes lhod pa las ’khrugs śiṅ | | rgyan daṅ dar rnams dpyi la rnam ñil de rnams ni | |
yan lag ma yi gzugs (20b1)brñan glaṅ pos bcom pa bźin | | mgrin pa’i skud pa’i do śal rnam par bkram źiṅ ñal | |

58. Another, with her hair loose and dishevelled, and her skirts and ornaments fallen from her loins, lay with her necklace in confusion, like a woman crushed by an elephant and then dropped.

aparās tv avaśā hriyā viyuktā dhṛtimatyo ’pi vapurguṇair upetāḥ |
viniśaśvasur ulbaṇaṃ⁸ śayānā vikṛtāḥ kṣipta⁹ bhujā jajṛmbhire ca || 5.59 ||

8. EBC: ulvaṇaṃ. 9. EBC: vikṛtākṣipta.

brtan ldan lus ni yon tan rnams daṅ ldan na yaṅ | | gźan rnams kyaṅ ni dbaṅ med ṅo tshad rnam spaṅs śiṅ | |
rnam par ’gyur źiṅ bskyod pa’i yan lag gya gyu daṅ | | dbugs ni rnam par rgyu (2)źiṅ lus po gsal bar gñid | |

59. Others, helpless and lost to shame, though naturally self-possessed and endued with all graces of person, breathed violently as they lay and yawned with their arms distorted and tossed about.

vyapaviddhavibhūṣaṇasrajo ’nyā visṛtāgranthana¹⁰ vāsaso visaṃjñāḥ |
animīlitaśuklaniścalākṣyo na virejuḥ śayitā gatāsukalpāḥ || 5.60 ||

10. EBC: visṛtāgranthana.

委身更相枕 (12)手足互相加
或顰蹙皺眉 (13)或⁵ 合眼開口
種種身散亂 (14)狼籍猶横屍

5. 合＝闔＜三＞

gźan gyi rgyan daṅ me tog phreṅ ba rnam brul źiṅ | | mdud pa’i gos rnams rnam par ñil gyur ’du śes med | |
btsums pa ma yin dkar po g-yo ba daṅ bral mig | | srog soṅ ro ltar ñal ba rnam par mdzes ma gyur | |

392. Or others pillowed on their neighbour’s lap, their hands and feet entwined together, whilst others smiled or knit their brows in turn, some with eyes closed and open mouth,
393. Their bodies lying in wild disorder, stretched here and there, like corpses thrown together.

60. Others, with their ornaments and garlands thrown off,--unconscious, with their garments spread out unfastened,--their bright eyes wide open and motionless,--lay without any beauty as if they were dead.

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