Bhagasas lit., each in its proper place. It may also mean, 'according
to their respective division.'

27. Kalyana-patalam is explained by Nilakantha to mean suvarna
pattachchaditam.

28. One of the generals of Virata.

29. Some differences of reading are noticeable here, for Yasaswinau some
texts read Manaswinau, and for Vahusamravdhau--Vahusanrambhat; and for
Nakha-naki--Ratha-rathi.

30. Some texts read Ghanabiva for Ghanarva. The latter is unquestionably
better in form.

31. The word in the original is Muhurta equal to 48 minutes. Nilakantha
points out very ingeniously that the night being the seventh of the dark
fortnight, the moon would not rise till after 14 Dandas from the hour of
sunset, a Danda being equal to 24 minutes. A Muhurta, therefore implies
not 48 minutes exactly, but some time.

32. Some Vikshyainam, Nilakantha explains Sama as a word spoken by Bhima
for assuring the captive Virata, and Vikshya as 'assuring' or 'consoling
by a glance.' Perhaps this is right.

33. The adjective Bhima-sankasas as explained by Nilakantha is in this
sense, quoting the celebrated simile of Valmiki.

34. To understand the comparison would require in the reader a knowledge
of the mechanism of the Indian Vina. Briefly, the Vina consists of a
bamboo of about 3 cubits attached to two gourds towards its ends. Along the
bamboo which serves the purpose of a finger-board, is the main chord and
several thinner wires. All these pass over a number of frets, two and a
half heptachords, representing the total compass of the instrument. The
wires rest towards their ends on two pieces of ivory called Upadhanas in
Sanskrit or Swaris in Urdu.

35. Some read kaniasi for vaviasi. Both words are the same, and mean the
same thing.

36. Vedi-Vilagna madhya--Vedi in this connection means a wasp and not, as
explained by Mallinatha in his commentary of the Kumarasambhava, a
sacrificial platform. I would remark in passing that many of the most
poetic and striking adjectives in both the Raghu and the Kumarasambhava
of Kalidasa are borrowed unblushingly from the Ramayana and the
Mahabharata.

37. Padma patrabha-nibha may also mean 'of the splendour of the gem
called Marakata.' Nilakantha, however, shows that this would militate
against the adjective Kankojwalatwacham below.

38. The princess being of the complexion of burnished gold and Arjuna
dark as a mass of clouds, the comparison is exceedingly appropriate. The
Vaishnava poets of