1893'] G. A. Grierson — Analysis of the Padumawati. 179 
CANTO XXII. 
The Marriage. 
The date fixed for the marriage. Tlie preparations (290). The 
dress for Ratna Sena (291 ). The marriage procession (292). Padma- 
vati mounts to the top of the palace and watches the procession (293). 
Her companions point out the bridegroom (294). Padmfivati’s happi- 
ness at seeing Ratna. She faints from ecstasy (295). She recovers 
and explains that she had fainted in sorrow at the thought of leaving 
her home (296). The arrival of the procession (297). The feast 
prepared. The table arrangements (298). The food at the feast (299). 
There is no music, and Ratna and his guests refuse to eat. The Pandit 
asks why (300). The king explains that there is no music. Sound was 
created before the Vedas. When Adam was created, knowledge 
entered into his body with sound. At mealtimes there should he 
enjoyment. The eyes, tongue, nose, and ears should all be gratified 
(301). The Pandit replies that music is intoxicating and excites the 
passions ; hence it is not allowed at meals (302). Sharbat and attar 
are distributed; the marriage ceremonies are performed (303). Con- 
tinuation of marriage ceremonies (304). Ratna Sena receives the dower, 
and is invited by Gandliarva S5na to remain in Simhala-dvlpa (305). 
CANTO XXIII. 
The Nuptial Chamber. 
Ratna Sena is given a palace to live in (306). Description of it 
(307). Of the slaves in the nuptial chamber (308). Of the nuptial bed 
(309). The bridesmaids separate the bride from the bride-groon till 
night-fall, and proceed to adorn the latter. The weariness of the hours 
without Padmavati (310). At night-fall the bridesmaids come and 
ask him (teasing him) where she is (311). Ratna entreats to bo 
allowed to meet her (312). (No. 313 not in any edition). His 
entreaties continued 1 (314). The bridesmaids tease him still. They 
say they do not know where she is. He is a Yogi. What has he to do 
with princesses ? She is busy with the twelve methods of adornment 
( dbharana ) which are as follows (315), — bathing, application of sandal, 
vermilion on the parting of the hair, a spangle on the forehead, colly- 
rium, earrings, nose-stud, betel to redden her lips, necklets, armlets, a 
girdle and anklets. Then there are the sixteen graces (griggara ), — four 
long, four short, four stout, and four thin (316). 
Description of Padmavati adorning herself (317). Her features 
1 310-314 are full of similes derived from chemistry. 
