25.  This sloka is not correctly printed in any of the texts that I have seen.  The reading that I adopt is that the second word is the participle of the root budh and not the instrumental of budhi; the last word again of the second line is a compound of valavatsu and avaleshu instead of (as printed in many books) valavatswavaleshu.  Any other reading would certainly be incorrect.  I have not consulted the Bombay text.

26.  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 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 Bengal never tire of this simile in speaking of Radha and Krishna in the groves of Vrindavana.