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to be the chauranga in Marathi (a table), pavitrasana a chair, majjanāsana a big table or sofa which are used in places other than the Darbar hall where Simhasana is the only seat that is used.
Then comes the Chamarabhoga (enjoyment of a chauri in Marathi) or a bushy tail of the chamara used as a fly-whisk or a fan. This section includes fanning by (fans made of) Taḍapatra, Morchela or Kurchaka made up of the feathers of a peacock and the Valaka Vyajana i. e. the fan made up of Vala (or in Marathi).
Then comes the Asthanabhoga (enjoyment of holding the Darbar). The king should sit on the throne placed in the assembly hall (Darbar hall) and ask his Pratihāra to send a Sarvavahana (general invitation) to attend the Darbar. In response to the general invitation, first the women of the harem are allowed to enter the assembly hall. They come in palanquins fitted with curtains and accompanied by staff bearers (attendants on women's apartments) who carry sticks made of teak wood or cane. The chief duty of the staff bearer is to cry out "Go away, Go away" in order to make room for the palanquin to pass through crowded roads. The ladies of the harem, according to their positions, occupy their respective seats on all sides of the throne except the front. Their eyes are generally turned towards the king or they cast occasional glances at him in order that he may be in a pleasant mood. Other invited ladies come to the assembly hall on horses, mares or on foot. Thus women of different ages enter the hall finely dressed and richly adorned with ornaments of gold and jewels. Here the author incidentally gives. striking characteristics of the women belonging to different nationalities adjoining his territory. He carefully describes the women of Kuntala, Dravida, Mahārāṣṭra, Andhra and Gurjara but does not mention those of his own territory. The countries mentioned in this connection in a minor way fix the boundary of the territory over which Someśvara ruled.
In this connection peculiarities in dress of f and as stated in the body of the text, remind one of the beautiful in the commentary of the काव्यप्रकाश text "कामिनी कुचकलशवत् गूढं चमत्करोति.' ( 5th उल्लास ).
1. काश्विद् द्रविडकामिन्यः प्रकाशितपयोधराः ॥ 2. गुर्जर्यो वनिताः काश्विदापाणिकृत कञ्चुकाः ॥ 3. नान्ध्रीपयोधर हवातितरां प्रकाशो
नो गुर्जरीस्तन इवातितरां निगूढः । अर्थो गिरामपिहितः पिहितश्च कश्वित् सौभाग्यमेति मरहट्टवधूकुचाभः ॥
- मानसोल्लास.
-- मानसोल्लास.
women quoted
- काव्यप्रकाश 5th उल्लास - टीका.
Aho! Shrutgyanam
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