Some Obscure Expressions in the Mrcchakatika
Summary
R P Poddar's article examines obscure expressions in the Mrcchakatika, arguing that many remain unresolved despite prior annotations and translations. The author analyzes several specific phrases to demonstrate their linguistic complexity and cultural context. In the First Act, the expression "prahe" is discussed, with Poddar interpreting it as "with hymn in praise" rather than previous translations. The Second Act features terms denoting lucky throws in dice, which Poddar connects to the names of the four yugas and archaeological finds of dice. The word "fT" is traced through the MahabhSrata and into modern Hindi, suggesting a derivation from "qf^T" meaning "throw." The author also addresses the phrase "beyond the paver of all people," offering a new interpretation based on the gambler Samvshaka's transition from a life of fear to ascetic confidence, noting the language's Apabhramsa traits. In the Fourth Act, Poddar links a remark about a door built around an idol to ancient Kaccz architectural practices. Finally, the word "s-arcsta" is analyzed, with the author proposing its connection to peeping deceptively and suggesting an origin related to a hyena's behavior, while noting existing translations by scholars such as Karmarkar, Kale, and Ryder. The article concludes by appending a list of obscure expressions and suggesting that some were modified in the Mrccbakatika to become more comprehensible in the Mrccbakatika.
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Conclusion
This article examines several obscure expressions in the Mrcchakatika, proposing new etymological and contextual interpretations. Key findings include the reinterpretation of Sakara’s verse in Act I, suggesting a demand for a hymn rather than a simple greeting, and the identification of dice-related terminology in Act II, linking terms to specific game scores and their evolution into later Hindi phrases. The analysis of Samvshaka’s verse in Act II argues for a translation reflecting his newfound confidence as an ascetic, contrasting his previous fearful state. Furthermore, the paper clarifies a passage in Act IV by explaining an ancient architectural practice of cutting doors into completed walls. Finally, the word in Act VIII is suggested to derive from a deceptive animal, like a hyena, rather than a generic trick. These findings enhance the understanding of the play’s linguistic layers, its connection to contemporary speech, and its potential textual variations.