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PREFACE.

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This edition of Sri Harshadeva’s Priyadarsika is prepared on the same lines as my editions of the Ratnavali and the Nàgànanda that have been already published, with a view to supply the University student with a text-book that will meet all his requirements, Care has also been taken to make the book useful to the general reader as well. A brief but sufficiently explanatory new commentary in Sanskrit has been added containing the solutions of difficult compounds, derivations of difficult words, &c. &c. Another feature of this edition is the Introduction wherein all that is necessary to be known about the author and the play has been succinctly put together for ready reference and systematic study. The figures of speech and the various technicalities. of Sanskrit dramaturgy are not given (except in a few cases) as they are not of much use to the junior University students. I have used the editions of Jivananda Vidyasagar, V. D. Gadre (1884), Pandit R. V. Krisnamacharia (1906), T. V. Sreenivasachariar (1908) and that published by the Columbia University 1923; and I am beholden to the editors of all these for help of one kind or another derived from them, specially to those of the last mentioned work. My thanks are also due to Mr. L. S. Bhàndàre B. A. S. T. C. who helped me in writing out the latter part of the introduction. Any suggestions as to improvement &c. will be gratefully received.

M. R. KA’LE.

BOMBAY
June, 1928.

INTRODUCTION.

I. THE SANSKRIT DRAMA.¹

We shall begin with a brief outline of the general structure and arrangement of the Sanskrit Drama, without a knowledge of which the technical remarks on the construction of the present play here, as well as those made in the Notes, will not be intelligible to the general reader².”).Poetry in Sanskrit, from its inherent nature, as apart from its intrinsic merit, is divided into two kinds— दृश्य ‘what is capable of being seen or exhibited’ and श्रव्य ‘what can only be heard or chanted’ The drama falls under the first division. Rúpaka’ is the general term in Sanskrit for all dramatic compositions, which also comprises a subordinate class called Uparúpaka. The Rúpaka,³ life. The sage Bharata is the founder of the science of music and dramaturgy and his work is styled the Natya Sastra. Natya is also called Rápa inasmuch as it has dris’yata or the capability of being seen, and Rûpaka inasmuch as its subjec–matter is represented by actors assuming particular characters.")³which has Rasa or Sentiment for its substratum, is divided into ten classes, viz., नाटकं सप्रकरणं भाणः प्रहसनं डिमः। व्यायोगसमवकरौ वीथ्यङ्केहामृगा इति॥. Of the Uparúpakas or Minor Dramas there are eighteen species, the most important of which are Natikâs, such as the Ratnâvalî, Viddhaśálabhañjikâ &c., Trotakas such as the Vikramorvasiya, &c.

Having thus disposed of the divisions into which the whole of the scenic art is capable of falling, we turn to the principle of division among the Rûpakas themselves, which is

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3 अवस्थानुकृतिर्नाट्यं रूपं दृश्यतयोच्यते। रूपकं तत्समावेशाद्दशधैवरसाश्रयम्॥ D.–R. रूप्यतेऽभिनयैर्यत्र वस्तु तद्रूपकं विदुः। नाटकाद्यैर्दशविधम्— Natya is another and perhaps a wider term for the drama or the dramatic art, and is so called because it represents the different situations in (the scenes presented by) life. The sage Bharata is the founder of the science of music and dramaturgy and his work is styled the Natya Sastra. Natya is also called Rápa inasmuch as it has dris’yata or the capability of being seen, and Rûpaka inasmuch as its subject-matter is represented by actors assuming particular characters.

threefold⁴— (1) वस्तु or the Plot of the play; (2) नेता or the Hero; and (3) रस or the Sentiment. These three are the essential constituents, nay, the very life-blood, of every dramaticpiece. Each of these we shall succicly deal with in its order.

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1 VASTU OR THE PLOT.

Vastu is primarily of two kinds: अधिकारिकाor ‘principal’ and प्रासंगिक or accessary.’ The Principal is that which relates to the chief characters or the persons concerned with the essential interest of the piece, and pervades the whole arrangement. The Accessary is that which appears in furtherance of the main topic, and is concerned with characters other than the Hero or the Heroine. This latter is of two kinds, viz., Pataka and Prakari, Pataka or banner’ is an episode by which the progress of the plot is illustrated, furthered or hindered (so as to give additional interest to it). It is of considerablelength and sometimes extends to the very end of a play. The Prakari is also an episodical incident—of limited duration and minor importance—one in which the principal characters take no part. Besides these two, there are three other elements requisite for the development of the plot. These are बीज or the seed, बिन्दु or the drop, and कार्य or the final issue. *Bija⁵*is the circumstance leading to the ultimate end briefly stated, which, as the plot develops, bears multifarious results and which is, as it were, the seed of the plot *Bindu⁶*is what cements a break in the plot caused by the introduction of some other incident. Karya is the final object of the plot which being attained the whole is finished.These five are technically called Arthaprakritis (अर्थप्रकृतयः).

The Vastu, which is thus divided into five classes, may again be divided into three classes according to the source of its derivation. It may be borrowed from history or tradition, or it may be fictitious, or mixed, i.e., partly drawn from history and partly the creation of the poet’s fancy. A Nataka belongs to the first class, & Prakarana to the second.

As regards its development a dramatic plot has five stages or conditions called Avasthas. They are (1) आरम्भbeginning

or setting on foot of the enterprise,(2) यत्न effort, (3) प्राप्त्याशा prospect of success, (4) नियताप्ति certain attainment through the removal of obstacles, and (5) फलागमobtainment of the desired object. While these five stages are in progress there must be some links to connect them with the principal and subordinate parts of the main action (the episodes and incidents). These are called the Samdhis or junctures. They are five in number, answering to the five Arthaprakritis, each of which they join with its corresponding stage, viz., मुख (Protasis or the opening juncture) प्रतिमुख(Epitasis).गर्भ (catastasis), अवमर्श (Peripeteia), and निर्वहण (Catastrophe), also called उपसंहृति or उपसंहार ). Thus Mukhasamdhi is the combination of the Bija and Arambha, i.e., wherein the seed is sown, so to speak, with all its Rasas. In the Pratimukha there is the means (yatna) to the chief end, as originally implied by the Bija in the Mukha which herein sprouts up. In the Garbha there is attainment and non-attainment of the desired end, implying a further sprouting up of the original Bija.There are impediments, but the main plot gains ground under resistance. The Avamarshasamdhi is that in which the seed attains a more luxuriant growth than in the Garbha, being accompanied by Niyatapti of the end, but whose final result is postponed further off by fresh impediments of various sorts, as in the Sàkuntala the King’s forgetting Sak,after marriage owing to Durvásas’ curse. The Nirvahana or consummation is the harmonious combination of all the aforesaid parts in the final catastrophe.

The subject-matter, whether historical, fictitious, or mixed, is from its inherent nature capable of a twofold division. It is divided into (1) सूच्य—deserving to be suggested or implied only, as being of a dry and otherwise unfit character; and (2)दृश्यश्रव्य—fit to be represented and heard as being highly sentimental and pleasing. The suggestions or implications are made in five ways—विष्कम्भचूलिकाङ्कास्याङ्कावतारप्रवेशकैः।. (1) For Vishkambha see Notes, Act I. (2) Chúlika is the suggestion of some incident from behind the scenes (नेपथ्ये). (3) An अङ्कास्य⁷is one wherein is suggested by the actors at the time of their departure the connexion between the Act finished and the one to be commenced, which otherwise would look disconnected, as the speech of Kámandakî and others at the

end of the 3rd Act of the Mal.-Madh. (4)अङ्कावतार⁸consists in implanting the seed of the subject-matter of an Act in the previous Act before it has drawn to its close, so that the Act following is a continuation of the one preceding; e.g., the sixth Act of the Sâk., the germ of which is cast at the end of the fifth Act; Mâlav.II. and Mâl.Mâd.II, are other instances. (5) For प्रवेशकऽee notes Act IV.

The subject–matter is further divided into three kinds— सर्वश्राव्यं or प्रकाशं, अश्राव्यं or स्वगतं and नियतश्राव्यम्. The last is of two kinds, जनान्तिक and अपवारितक (अपवार्य which is explained in the Notes). Independent of these divisions there is one called आकाशभाषित (आकाशे) or Speech from the void.

The styles or modes of action (वृत्तयः) to be followed in a drama are four in number, viz. शृङ्गारे कैशिकी वीरे सात्वत्यारभटी पुनः। रसे रौद्रे च बीभत्से वृत्तिः सर्वत्र भारती॥. Of these the Kaisiki (used in the Nátika) consists of music, dancing and love–sports, assisting the development of Śringára, and is delightful by that, and by the fascinating dresses worn by women. (See S.D., VI.124). It has four angas, viz. (1) नर्मor polite pleasantry, (2) नर्मस्फूर्ज (स्फञ्जaccording to D.-R.) or development of love, (3) नर्मस्फोट or the distant indication of love, and (4) नर्मगर्भor covert action for the furtherance of love (यथा मालतीमाधवे सखीरूपधारिणा माधवेन मालत्या मरणव्यवसायवारणम् ).

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2 NETA OR THE HERO.

The Here is required to be modest, decorous, comely, munificent, civil, of sweet address, eloquent, sprung from a noble family, &c.⁹Heroes are mentioned to be of four kinds, viz., धीरोदात्त, धीरललित, धीरशान्त and धीरोद्धत. ‘Dhiralalita, or Hero who is graceful and firm, is defined as निश्चिन्तो मृदुरनिशं कलापरोधीरललितः स्यात् (Sáh. D.III.23) i.e., one who is free from cares ever gentle and always given to the arts, like Vatsaraja. We are not concerned with the other three classes of Heroes

here. Each of these Heroes may be of one or other of four sorts. He may be. दक्षिणor ‘gallant,’i.e., equally devoted to many women, though principally attached to one; or शठ ‘sly’ i.e., one who being attached to one lady, covertly acts in a way unpleasant to her; or he may be धृष्ट‘bold,’openly making his professions to another, and notashamed even when reproached; or lastly he may be अनुकूल ‘favourable’ devoted to one Heroine only. The धीरोदात्त Hero has eight manly qualities—शोभा, विलास, माधुर्य, गाम्भीर्य, धैर्य, तेजस्, लालित्य and औदार्य.

Among the assistants of the Hero the principal is पीठमर्द, the hero of the Patâkâ or episode, clever in discourse, devoted to his master, and a little inferior to him in qualities. Next comes the Vidûshaka, his constant companion, whose business consists in the repartees of wit, in helping his friend in his love-intrigues, and thus assisting in the general dénouement of the play. The third, and of equal rank with the Vidûshaka, is Vita, who knows one art only and is thereby useful to the Hero. The Hero thus equipped may still take into his service ministers of state and ministers of religion, ascetics, allies &c., as well as eunuchs, mutes, barbarians (Yavanas) &c. Sometimes there may be a Rival-Hero called a who is avaricious, bold, impetuous, criminal and of evil conduct.

The Nâyikâ¹⁰ or the Heroine who must be possessed of qualities similar to those of the Hero is of three kinds. She may be the wife of the hero (स्वीया), as Sîta in the Uttar; or one belonging to another (अन्या or परकीया), or a common woman. (सामान्या or साधारणस्त्री) as Vasantasena in the Mrich. The परकीया may be a maiden (so called because she is in the power of her guardian) or the wife of another. But the latter must not be introduced as the Heroine in a play¹¹. The maiden’s love, however, better helps the rasa and is, therefore, the most favourite theme with many Sanskrit poets. Further divisions and subdivisions of the Nâyika are not introduced here, as they have very little to do with the construction of the drama. For her assistants the Heroine

may have a सखी, दासी, धात्रेयी, प्रतिवेशिका and others, possessing qualities corresponding to those of the friends of the Hero.

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3 RASA OR SENTIMENT.

Rasa is that lasting impression of feeling produced to his overwhelming delight in a man of poetic susceptibility by the proper action of the Vibhavas, and Anubhavas, as well as the Sattvika bhâvas and the Vyabhicharibhavas¹². Bhava (भाव)or ‘feeling’ is the complete pervasion of the heart by any emotion, whether of pleasure or of pain, arising from the object under sight. Vibhâva (विभाव) or an Excitant is that which being perceived nourishes the main sentiment. It is divided into (1) Alambana, that which is, as it were, the support or substratum of the Rasa—the person or thing with reference to whom or which a sentiment arises—such as the Hero or the Heroine, and (2) Uddipana or what excites or enhances (adds to the development of) the sentiment, such as the moon, the beauties of the vernal season, &c.; beauty, decorations, &c. of the principal characters, in the case of शृङ्गार. Anubhava or an Ensuant is the outward manifestation of the internal feeling through the eyes, face &c. The Sâttvika or natural bhavas are a subdivision of Anubhava, and are mentioned as eight in number—स्तम्भप्रलयरोमाञ्चाः स्वेदो वैवर्ण्यवपथू। अश्रुवैस्वर्यमित्यष्टौ।. The Vyabhicharis or the Accessaries are those bhavas which are not strictly confined to any Rasa, but appearing and disappearing, like waves in the ocean, they serve as feeders to the prevailing sentiment and strengthen it in different ways. Sthayibhava (स्थायिभाव) or the Permanent Sentiment¹³of a composition ‘is one—the ocean melting all salt into water—which not being interrupted by any sentiment contrary or akin to its nature occurring at intervals, converts all of them into its own nature. Now a Rasa would prove contrary to another if the आश्रय or substratum of both were the same. But as अङ्गी (principal) and अङ्ग (subordinate) a रस may be mixed with one or more of others.

There are eight Sthayibbavas, रति, हास, शोक, क्रोध, उत्साह, भय, जुगुप्सा, and विस्मय on which are based respectively the sentiments—शृङ्गारthe Erotic, the Comic, the Pathetic, रौद्र the Furious, वीर the Heroic, भयानक the Terrible, बीभत्स the Loathsome, and अद्भुत the Marvellous. There is a ninth sentiment, that of शान्त the Quietistic, having शमor tranquillity for its Sthâyibbâva. But it is not suited to dramatic purposes and rarely occurs as a main sentiment in a drama. Of these eight sentiments शृङ्गार and हास्य, वीर and अद्भुत, बीभत्स and भयानक, and रौद्रand करुणare akin to each other as they proceed from the same condition of the mind. As we are here mainly concerned with the Erotic, that being the prevailing sentiment in most Sans. plays, we will say something about it here. शृङ्गारis mainly divided into विप्रलम्भ or Love-in-separation and संभोग or Love-in-union. The former, the Dasarûpaka sub-divides into two kinds, अयोग the Non-consummation of marriage, and विप्रलम्भ the separation of the lovers deep in love after marriage. The former, which arises from the dependent position of one or the other of the parties or through distance or through the intervention of adverse fate, has ten stages, अभिलाष, चिन्ता &c. mentioned in the com.; चिन्ता occursthrough मान, प्रवास or some such cause; मान‘jealous anger,’ arises from a breach in the duties of love (प्रणयभङ्ग) and may be on both sides (rarely, however, the Nayaka is Mâni). Thisमान has several varieties, such as ईर्ष्यामान, आनुमानिकमान &c. It is capable of being dispelled in six ways: साम्ना भेदेन दानेन नत्युपेक्षारसान्तरैः— and is called, गुरु, लघुor मध्यमaccording to the greatness or the smallness of the effort required to make the Nâyikâ give it up. संभोग is when the two lovers are in the enjoyment of each other’s company, engaged in looking at each other, kissing each other, &c.

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4 THE GENERAL CONDUCT OF THE NATAKA.

Every dramatic piece opens with a Prelude or Prologue (प्रस्तावना) which is itself introduced by what is called the Nandi. This Nandi according to some must suggest the giftof the whole plot. The Sutradhara may sometimes retire after the recital of the Nândî, in which case another actor, called स्थापक (for he establishes as it were the topic of the play), takes his place. In the Prelude, which may begin with a brief allusion to the poes’s literary attainments, his genealogy, &c., the Sutradhara or the Sthâpaka suggests the sub-

jeet in the form of the Bija, or by a simple beginning, or by naming the character about to enter, as in the Sâkuntala. He must please the audience with sweet songs descriptive of some season and couched in the Bhârâti vritti. The प्रस्तवनाis of two kinds (1) प्ररोचनाas in the Rat., and (2) आमुख in which the Sutradhara holds conversation with the actress or his assistants, bearing on the subject to be introduced. This latter is of three kinds, of which one is प्रयोगतिशय. When the entry of a character is directly indicated by the Sutradhara, saying Here he enters,’ that is Proyogâtiśaya.

The Prelude being over, the piece is commenced, being hereafter arranged and exhibited in the manner indicated in the three foregoing Sections. The whole matter should be well determined and divided into Acts and Scenes. A Nataka may consist of from five to ten acts. The Hero should be of the Dhirodàtta class. The Sentiment should be शृङ्गार or वीर (or sometimes करुण), others being introduced as conducive to its development. Nothing should be introduced into the play which either misbeseems the Hero or is discordant with the main sentiment. An Act must not be tiresomely long, should be full of Rasa, and introduced by Vishkhambaka, &c., according to necessity. Its close is marked by the exit of all characters Such incidents as journeys, massacres, wars &c., should not be represented in a play; they may only be indicated. The death of the Hero must never be exhibited. This accounts for the somewhat monotonous character of Sanskrit plays, and the absence of tragedies in Sanskrit¹. The play should end, as it began, with & Benediction or

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1 Wilson observes—They (the Hindu plays) never offer a calamitous conclusion, which, as Johnson remarks, was enough to constitute Tragedy in Shakespeare’s days; and although they propose to excite all the emotions of the human breast, terror and pity included, they never effect this object by leaving a painful impression upon the mind of the spectator. The Hindus in fact have no Tradegy……….The absence of tragic catastrophe in the Hindu dramas is not merely an unconscious omission; such a catastrophe is prohibited by a positive rule. The conduct of what may be termed the classical drama of the Hindus is exemplary and dignified. Nor is its moral purport neglected; and one of their writers declares, in an illustration familiar to ancient and modern poetry, that the chief end of the Theatre is to disguise, by the insidious sweet, the unpalatable, but salutary bitter, of the cup.

prayer, called the Bharatavakya, which is repeated by the principal personage, not in his dramatic character but as a member of the dramatic party (भरत), and contains an expression of their wishes for general prosperity and happiness. The unity of interest or action must be maintained throughout.

As regards the language to be used in a piece, the Hero and the higher characters speak in classical Sanskrit, while females and the minor characters speak in the different Prakrit dialects.

The student will see from the foregoing sketch, that the characteristic peculiarities of the Indian Drama are mainly three (1) Its peculiar structure; (2) the absence of the distinctionbetween Comedy and Tragedy; and (3) the diversity of language to be spoken by the characters. The above–mentioned general characteristics of a Nataka belong with certain modifications to the other divisions of the Rûpaka as well.

Of the Uparûpakas we are concerned here with the Natikâ alone. We, therefore, give below its special features.

The Nátikâ:—This is defined by the Sahitya–Darpana as:―नाटिका क्लृप्तवृत्ता स्यात्स्त्रीप्राया चतुरङ्किका। प्रख्यातो धीरललितस्तत्र स्यान्नायको नृपः॥ स्यादन्तःपुरसंबद्धा संगीतव्यापृताथ वा। नवानुरागा कन्यात्र नायिका नृपवंशजा॥संप्रवर्तेत नेतास्यां देव्यास्त्रासेन शङ्कितः। देवी भवेत्पुनर्ज्येष्ठा प्रगल्भा नृपवंशजा॥ पदे पदे मानवती तद्वशः संगमो द्वयोः। वृत्तिः स्यात्कैशिकी स्वल्पविमर्शाः संधयः पुनः॥ The Nâțikâ should be based on an invented story, should consist of four Acts, and abound in female characters. Its Hero should be an illustrious king and of the Dhiralalita class. The Heroine should be a maiden of royal family (or a celestial one)¹⁴newly touched with Love, and should be either connected with the inner apartment (as an attendant of the Queen), or engaged in musical performance. The Hero should proceed in his love affair cautiously from fear of the Queen. The Queen should be a grown up lady, bold, and also of royal family. She should display her indignation at every step, and the union of the lovers should depend on her consent. The Kaisikî, with all its four parts, must be the Vritti employed, and of the Sandhis the Vimarsha should be partially introduced. The Das.R., however, does not sanction this. It says the Sandhis may be as in a Nataka (कैशिक्यङ्गैश्र्च-

तुर्भिश्च युक्ताङ्कैरिव नाटिका।) The principal Rasa should be Sringara.¹⁵It should be named after the Heroine according to the precept नाटिका सट्टकादीनां नायिकाभिर्विशेषणम्।

The points of difference between a Nataka and a Náțiká are:—(1) The plot of a nataka should be well–known, i. e. derived in its main features from history, while that of a Nâtikâ should be mainly invented. (2) In the former the Hero is Dhîrodâtta, while in the latter he is Dhiralalita. (3) While a Nátaka should have many males engaged in important affairs, the Nâtiká should have many females. (4) The former should have one principal sentiment, which may be either शृङ्कार or वीर, or करुण, while the latter should have शृङ्गार only. (5) A Nátaka may consist of five, seven, or even ten Acts; a Natîkâ of four only.

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II. THE POET.

(1) (A Short Sketch of the Life of Harsha also called
Śri-Harsh or Harshavardhana)

A century after the destruction of the Gupta Empire by the inroads of the Hunas, it fell to the lot of a petty rájah of Thaneshwar, named Prabhakara-vardhana, to lay the foundation of a new great Hindu Empire in Northern India. Prabbákaras vardhana, by his victories over the Hunas, Gurjaras, Malvas, and others, rose to such a power in Hindustan that he assumed the title of Mahárājādhirājā Parambhattaraka’ towards the close of the sixth century. He had two sons Rajya–vardhana and Harshavardhana, and a daughter named Rajyas’ri. Harshavardhana or Harsha was born about the year A. D. 590, ‘in the month of Jyeshtha, on the twelth day of the dark fortnight, the Pleiads being in the ascendant, just after the twilight time.’ Both the brothers grew up “admantine’ in the hardness of their frames and were trained in all the martial exercises of the time. In 604 A. D. when the Hunas again invaded the north-western frontier, the king sent his elder son, Rajyavardhana, to drive them away. Harsha accompanied his elder brother but engaged himself in hunting in the forests at the foot of the hills. In the meanwhile the king was suddenly seized with mortal illness and died. Harsha returned in time to be present by the

bed-side of bis dying father. Harsha’s mother, Queen Yas’omati immolated herself on the funeral pyre of her husband. Rajyavardhana who had defeated the Hunas, returned as soon as he heard of his father’s death. He was at once proclaimed king though his own desire was to turn out an ascetic, leaving the throne to his younger brother. Misfortunes still dogged the footsteps of the two brothers. Their brother-in-law, Grahavarma, the ruler of Kanauj, the husband of their sister Râjyas’rî, was slain in battle by the king of Malwa. The widowed queen was most cruelly treated and kept a prisoner at Kanauj. Rajyavardhana at once marched with a picked force against the king of Malwa and succeeded in his campaign of vengeance by inflicting upon him a crushing defeat. But Rajyavardhana was lured into a private conference and treacherously murdered by Sasámka, the King of Gauda (Central Bengal), the ally of the Malava King. The nobles unanimously chose Harsha as their sovereign and he assumed the reins of government in 606 A. D., a date which is marked as. The beginning of the Harsha era,’ Harsha, who was in deep grief owing to a succession of domestic misfortunes, accepted the throne with great reluctance. He did not assume the title of ‘king’ for some years, but called himself simply Rajaputra Siliâditya (Sun of Virtue). Mr. C. V. Vaidya says. that Harsha was not reluctant to ascend the throne of Thaneshwar but he had scruples to accept the throne of Kanauj, since the rightful heir to that throne was his widowed. sister, Rájyaśri. Harsha was only sixteen when he assumed the responsibilities of governing a large kingdom. He had first two great duties to accomplish, the recovery of his widowed sister and avenging the murder of his elder brother. He succeeded in rescuing his sister who had fled into the Vindhya forests and was at this time contemplating suicide. She afterwards assumed the yellow robe and became the devoted companion and counsellor of her royal brother. As regards his second object of punishing Sasámka, king. of Gauda, he seems to have succeeded in so far that he forced him to acknowledge his suzerainty. For nearly six years after his accession Harsha was engaged in incessant warfare with a view to bringing the whole of northern India under one domination. When Harsha had subjugated the whole of upper India, except the Punjab, he was formally crowned and

assumed the title of Mahārajādhirája. For the next thirtyfive years Harsha devoted most of his energy and time to the arts of peace and works of piety. But he did not enjoy complete peace or respite from war. In 620 A. D. he advanced against Pulakesin II, the great Chalukya king of the Deccan, but was defeated on the banks of the Narmada. This was the only failure in Harsha’s career of unbroken military successes. After this Harsha was content to accept the Narmada as his southern boundary. His last military exploit was the conquest of the district of Ganjam on the coast of the Bay of Bengal in 643. Harsha’s empire at the time of his death extended on the west up to the Valabhi kingdom in Saurashtra (Kathiawar) and on the east to the borders of Assam. Its southern boundary was the Narmada while in the north it included the whole of upper India except the Punjab. His suzerainty was acknowledged by the powerful rulers of Kámarupa (Assam), Valabhî (Gujarat) and Nepal. His court became well known in distant Buddhist countries and he exchanged embassies with the Chinese Empire. Harasha was a strong, vigorous and benevolent ruler. Like Asoka he was indefatigable in the discharge of his duties and was always touring through his dominions, supervising the work of his servants. Education was widely diffused and Buddhistic monasteries at Naland and other places, and ashramas of learned sages were liberally endowed by the King. He built numerous monasteries and erected stupas in his dominions. He also built rest-houses throughout his dominions, where not only food and drink were provided to the people, but doctors. attended upon the sick.

Harsha was naturally of a religious bent of mind and devoted several hours every day to religious exercises. He was originally a worshipper of Siva but in the latter part of his life he was strongly inclined to Buddhism. His widowed sister Rájyasrî, who had embraced Buddihistic faith, exercised great influence on his mind. But he divided his patronage between Brahmanism and Buddhism and did not. enforce his religious views on his subjects. He was tolerant of all faiths. He prohibited the slaughter of any living. animal and the use of flesh as food on pain of death.

A Chinese pilgrim named Hsuan Chuang or Hieun Tsang, who visited India during the reign of Harsha, in quest of

Buddhistic scriptures, stayed in Harsha’s dominions for 8 years (635-643). In his account of his travels this Chinese Buddhistic monk has graphically described the life and work of Harsha and the religious, social and political condition of India at the time. Harsha fell under the spell of Heun Tsang, in whose honour he held a grand assembly at Kanauj, the capital. The object of holding this assembly was to proclaim the doctrines of Mahayan Buddhism, as expounded by Hieun Teang, called the Master of the Law. At the conclusion of this assembly Hieun Tsang was invited to another great assembly held at Prayag at the confluence of the Ganga and Yamuna. This was the sixth of the quinquennial assemblies in which Harsha gave away his accumulated treasure to all the holy men of the various Indian religions, Buddhist, Bráhmanical, and Jain and to the poor and the destitute. It was Harsha’s custom to give away freely his accumulated wealth every five years. This assembly held in 643 was the last, since Harsha did not live to hold another such celebration.

Harsha was not only a great warrior, an able administrator and organizer but also an accomplished scholar and man of letters. He wrote three plays, Priyadarsika, Ratnavali and Náganand and a few minor poems. He was a most liberal patron of learned men and authors. Prominent among those who received patronage from Harsha and flourished at his court were the poets Báṇa and Mayura. Bána, in his historical romance Harsha-charita’ has given an account of the early life and deeds of his patron. Harsha was also a master of calligraphy, as is evidenced from his signature inscribed on the well–known Banskhera plate.

Harsha chose the town of Kanauj for his capital and turned it into a magnificent city, adorned with lofty buildings, tanks and gardens.

This great monarch died in A.D. 648, worn out with the toils of constant warfare and the cares of governing a vast empire, before he had reached his sixtieth year. Harsha was the last great Hindu king of Northern India. He left no heir behind him and his empire broke up after his death.

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2. HARSHA AS AN AUTHOR.

(Controversies regarding his Authorship.)

The three plays, Ratnâvali, Priyadarsiká, and Nagānand are attributed to Shri Harsha or Harsha-deva of Kanauj. But Harsha’s authorship has been questioned by some scholars Indian as well as European. In the first place some even doubt whether the same author wrote all the three plays. Now a perusal of the three dramas ought to lead everyone to the conclusion that all the three plays are the product of the same mind. The prologues in the three plays are exactly the same in wording, barring slight variations necessitated by the fact of the plays being different. In the prologue of each play Shri Harsha-Deva is mentioned as the author of the play—श्रीहर्षदेवेनअपूर्ववस्तुरचनालंकृता रत्नावली नाम नाटिका कृता—श्रीहर्षदेवेनअपूर्ववस्तुरचनालंकृता प्रियदर्शिका नामनाटिका कृता—श्रीहर्षदेवेन अपूर्वरचनालंकृतं विद्याधरजातकप्रतिनिबद्धं नागानन्दं नाम नाटकं कृतम्. Besides the closing benedictory stanza in Priyadars’ika and Rátnâvalî is the same and two identical stanzas occur in Priyadarsiká and Nâgánanda (Priyandars’ika, III-3, Nägānanda IV-1; Priya III. 10, Nāgā, I.14). In addition to these we notice similiarity of style and tone, parallels in situations, repeated phrases and expressions which unmistakably prove the common authorship of the three plays.

Now the next question is who is this Sri-Harsha-Deva that is mentioned in the three plays? Mr K. M. Pannikar in his monograph on Shri-Harsha of Kanauj mentions five Harshas as being known to ancient Indian History. The first is the half-mad tyrant of Kashmir who ruled that state from 1089-1101. The second is Shri-Harsha, the grandfather of king Bhoja, of Dháránagar. The third is Vikramaditya Harsha of Ujjain, at whose court Mátrgupta lived. The fourth is the author of Naishadhiya-Charita, and the fifth, the author of Kavyapradipa.

(1) Harsha-Deva, King of Kâshmere cannot be conceived of being an author of any literary work, judging from his career and character. Besides no literary work is attributed to him. (2) Shri Harsha of Dharanagar and grandfather of Bhoja lived in the earlier half of the 10th century. Damodar Gupta in his work called Kuttanimata gives at length the story of

Ratnávali, quotes the 24th verse of the 1st Act and praises it as a work of great merit¹⁶.Now this Damodar Gupta lived under Jayapîda of Kashmir (A.D. 779-813). The play of Ratnávali seems to have been widely known at this time, that is, the eighth century. It is impossible, therefore, that a king who lived in the 10th century could have written a play which had become fairly old and attained celebrity in the 8th century. This argument can be advanced with equal strength against the authorship of Harsha-Deva, king of Kashmir.

(3) Vikramaditya Harsha of Ujjain cannot be the same as Shri-Harsha, the author of the three plays, because the latter is uniformly known as Harsha without the title Vikramaditya, If the author of the plays had possessed the title he would surely not have neglected to assume it. Besides Harsha Vikramaditya was an orthodox Brahmana, while the author of the three plays shows a strong Buddhistic leaning in the Nāgānanda,

(4) (5) With regard to Shri Harsha, the author of Naishadhiya Charita, and Harsha, the author of Kavyapradipa, Mr. Pannikar dismisses them summarily on the ground that time places them out of the controversy. Harsha, the author of Naishidhîya Charita, who flourished under Jayachandra of Kanauj, lived about 1150 A.D. Among the works which he mentions as being composed by himself he does not mention any of these three plays. Besides his style, which is marked by crookedness of expressions, overstraining of words and distressing artificiality, is a marked contrast to the simple and elegant style of Ratnavali and its sister plays. Besides Harsha of Naishadhiya-Charita was not a king but simply a poet who flourished under the patronage of the king of Kashmir and afterwards of the king of Kanauj; while the Harsha of Ratnàvali and its sister plays was a Sovereign Lord, with princes from various kingdoms dependent on his lotus-like feet.’ See note or राजसमूहेण &c. p.2.

Now there remains Shri Harsha or Harsha-vardhana of Kanauj (606-648 A. D.) A careful examination of both the external and internal evidence leads us irresistibly to

the conclusion that this Shri Harsha of Kanauj must be the author of these plays. First, Bâṇa, a great court poet of Shri Harsha, in his biography of his master (हर्षचरित), speaks. in eulogistic terms of his learning and poetical genius— “ (1) काव्यकथास्वपीतममृतमुद्वमन्तम्” (2) “सर्वविद्यासंगीतगृहमिव सरस्वत्याः " &c. Allowing for the partiality of a protége for his patron and poetic exaggeration, it cannot be doubted that Shri Harsha was a scholar and author of some works. Secondly, the Chinese pilgrim I-tsing, who visited India in the last quarter of the 7th century, writes about king Shri Harsha, “King Siladitya (i.e. King Harsha) was exceedingly fond of literature—He versified the story of the Bodhisatwa. Jimûtavahana (Cloudborne) who surrendered himself in place of a Naga. This version was set to music (lit.—string and pipe); he had it performed by a band accompanied by dancing and acting, and thus popularized it in his time.” (Takakusu, I-tsing, p.163). This statement clearly shows that the author of the play Nāgānand is king Harsha, who lived in the 7th century. Thirdly, as we have pointed out before, Damodaragupta who flourished at the court of Jayapida of Kashmir (A. D. 779-813), quotes verses from Ratnavali, and praises the play as a work of great beauty, in his work called Kuttanimata. The play is ascribed by him to a king, who, it is quite clear, must be Shri Harsha, who lived in the 7th century. Fourthy, Soddhala, who lived in the 11th century A.D., in his Udayasundarikatha, mentions Harsha along with Vikramaditya, Munja, and Bhoja, as being both भूपाल (king) and कवीन्द्र (prince of poets) presiding over a. literary court (सभा). In another passage Soddhala punningly refers to Harsha (Joy) as ’the glorious Harsha’ (श्रीहर्ष) whose ‘joy lay in words (श्रीहर्ष) in his own assembly (निजसंसदि). The passage runs as follows:—श्रीहर्षेत्यवनिवर्तिषु पार्थिवेषुनाम्नैव केवलमजायत वस्तुतस्तु। गीहर्ष एष निजसंसदि येन राज्ञा संपूजितः कनककोटिशतेन बाणः॥ Fifthly, the famous poet Jayadeva, who lived in 11th century A.D. mentions Harsha as a poet with the earlier poets Bhāsa and Kālidās, and with his contemporaries Baṇa and Mayúra. He punningly calls Harsha the joy of Poetry. Sixthly, Madhusudan the editor of Mayura S’ataka, writing about A.D.1654, says that Bâna and Mayúra were the court poets of Shri-Harsha and calls Harsha ‘The chief of the race of poets and the author of the Natikâ called Ratnávali., Sixthly, in several Sanskrit anthologies, such as

‘Subbashitúvati’ and Sadhûktikarnāmrta² stanzas under the name of Harsha are quoted. Seventhly, there are epigraphicrecords which prove that Harsha was an author who not only wrote dramas, but also stray verses. The inscriptions on the well–known Banskhera and Madhuban plates are indisputably his own compositions. In the Banskhera plate (628 A.D.) which bears Harsha’s own signature we find—“It is the own hand of me, the Paramount Lord, the Glorious Harsha (स्वहस्तो मम महाराजाधिराज–श्री–हर्षस्य)” Among the verses inscribed on the plates. there is one which is very beautiful and runs thus:— कर्मणा मनसा वाचा कर्तव्यं प्राणिने हितम्। हर्षेणैतत् समाख्यातं धर्मार्जनमनुत्तमम्॥ Lastly, two short Sanskrit poems on Buddhistic are spirit attributed to Harsha. One of these is named, सुप्रभास्तोत्र, a morning hymn in praise of the Buddha and the other is called अष्टमहाश्रीचैत्यसंस्कृत स्तोत्र, a hymn to the eight Great Buddhist Shrines. These poems thoroughly harmonize with Harsha’s acceptance of Buddhistic doctrine in the latter part of his life.

It is, however, necessary, to mention and refute the theories started by some scholiasts that Harsha did not himself write these plays but got them written for him by a court poet of his, who was amply rewarded for his labour. This theory is based upon a sentence in the Kâvyaprakasha of Mammata, who lived about 1100 A.D. Mammata speaking of काव्यor poetry says that it leads to the acquisition of wealth, as in the case of Dhavaka and others from Shri Harsha and the like—श्रीहर्षादेर्धावकादीनामिव धनम्।. Several commentators have interpreted this text to mean that a poet, Dhavaka wrote a play by name Ratnâvalî for Shri–Harsha and obtained wealth from him. The commentator Nâgoji Bhatta comments on the sentence thus.—धावकः कविः। स हि श्रीहर्षनाम्ना रत्नावलीं कृत्वा बहु धनं लब्धवानिति प्रसिद्धम्। " In the manuscripts of काव्यप्रकाश found in Kashmir, the passage is read thus:—“श्रीहर्षादेबाणादीनामिव धनम् “The original text of Mammata, “श्रीहर्षादेर्धावकादीनामिव or “श्रीहर्षादेबाणादीनामिव धनम्” if interpreted naturally without reading into it any pre-conceived idea, would mean that poets like Dhawaka or Bâṇa obtained wealth from their patron, Shri Harsha, for their literary works. In other words these poets were liberally rewarded by their patron, King Harsha. This interpretation is natural and correct and is in conformity with the tradition which ascribes Ratnavali and its sister plays to Shri Harsha. The interpretation of the commentators, who lived several

centuries after the dramas had been written, does not satisfya historical or critical test. There is no positive evidence in favour of the statement that Dhavaka is the author of Ratnavali. No literary work under the name of Dhāvaka has come down to us. Besides nothing is known about Dhavaka. So, the theory that Dhavaka is the author of Ratnâvalîis not tenable in the face of the overwhelmingly strong evidence in favour of the authorship of Harsha of Ratnâvali and his other two plays. Another theory, that Bána is the author of Ratnavali is based on the variant reading of the passage in Kávyaprakasa; “श्रीहर्षादेवर्बाणादीनामिव धनम् “This theory which was set forth by Dr. Hall in his introduction to Vasavadatta is not tenable either. In the first place Báṇa’s style, as it is seen in his great works, Kâdambarî and Harshacharita is quite dissimilar to that of Ratnavali. Besides Ratnâvali nowhere betrays that high kind of poetry which is abundantly seen in Kadambari or Harshacharita. It is also difficult to believe that Bâṇa sold Ratnavali of all his works when he could have struck a much better bargain by selling his Kādambarî. Then again it has been proved that the author of Ratnavali is also the author of Nagânanda and it is impossible that Bâṇa who was a strict Brahmaṇa wrote Nágānanda which glorifies the Buddhistic doctrine. There is yet another theory which attributes these plays to Bhasa, who is praised by Kâlidása and whose plays have been recently discovered and published. This theory was first propounded by Mr. Nârâyan Shâstri of South India and afterwards upheld by Prof. S.M. Paranjpe of Poona. Mr. Shastri bases his theory on a passage from the कविविमर्ष of राजशेखर. But as the passage quoted by him seems to be spurious and its authenticity cannot be proved, his theory based upon it topples down. Mr. Paranjpe does not rely on this passage but argues independently to prove that Bbása is the real author of Nāgānanda and the other two plays. His whole position is based upon some parallel ideas, similar grammatical peculiarities and literary devices, which he has picked out from Bhása’s plays and the two plays Nāgāuand and Priyadarsiká. But mere similiarity of ideas and sentiments, and of grammatical and literary peculiarities has little value unless it is supported by other convincing arguments. Parallel ideas, and parallel literary devices or peculiarities even occur in the works of authors belonging to different ages and

to different countries. So, this argument of similar ideas, and of similar grammatical and literary peculiarities is not sound, especially when we find that the style of Bhasa is widely different from the style of Priyadarsiká and its sister plays. The style of Bhása is crude and is not elegant or graceful; while the style of Ratnavali and its sister plays is refined and graceful. The plays of Bhása evidently belong to a more distant age. The similarity of ideas &c. can be explained on the ground that the author of Ratnavali and the two plays might have read Bhása’s plays, as he did Kálîdásás also, and tried to imitate him in certain points. So, this theory about Bhasa’s authorship of the three plays in question, is also untenable. See also our Introd,to the Ratnâvalî.

We have thus disposed of all the theories about the authorship of the three plays, Priyadarsikā, Ratnavaliand Nāgānand. We have also examined the internal as well as the external evidence that is available to us and we are led to the irresistible conclusion that Shri Harsha of Kanauj, who reigned from 606-648 A.D., is the author of Ratnavali and the other two plays.

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(3) HARSHA AS A POET AND DRAMATIST.

Harshás merits as a poet and dramatist are certainly great. But he can be placed only in the second class among Sanskrit authors. Like many other playwrights he does not show originality in the invention of the plots of his dramas nor great skill or delicacy in the portraiture of character. But he shows considerable skill in the creation of incidents and situations necessary for dramatic effect* He has neither the imagination, the fancy and the grace of Kâlidâsa, nor Bhavabhûti’s loftiness of thought and depth and force of passion. As a dramatic artist and master of the language also he is inferior to either of them. But he has the great merit of simplicity of expression and thought. His style is free from the artificiality, overstraining of words, exaggeration of thought and sentiment, which characterise later Sanskrit literature. His Sanskrit is elegant and precise and his use of figures of speech and thought, is on the whole restrained and in good taste, coming as he does after Kàlidása

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• See infra. our remarks on the source of the plot

he does not, altogether escape the temptation to use long and difficult compounds and alliterations, of. for instance Vidú‘s speech at p.6, thepassage and अविरतपतद्विविध कुसुमसुकुमारशिलातलोत्सङ्गस्य &c. in the description of the palace, garden Priyadarsika, Act II. And for alliterations the stanzas, ‘पादातं पत्तिरेव प्रथमतरमुरःक्षेपमात्रेण पिष्ट्वा &c. (Ibid Act. I.5); ‘उर्वीमुद्दामसस्यां जनयतु विसृजन् वासवो वृष्टिमिष्टामिमिष्टैस्त्रैविष्टपानां &c.’ (Ibid Act IV. 12); and for the jingling collocation of words, लीलामङ्गलमज्जनोपकरणस्नानीयसम्पादिनः (Ibid Act I, II ); Ibid, Act, II, 1. He also occasionally indulges in puns, as घनबन्धनमुक्तोऽयं कन्याग्रहणात् परं तुलां प्राप्य &c. Ibid, Act I-5; घनबन्धनसंरुद्धं गगनं दृष्टा मानसं नेतुम — Ibid, III –8. For instances from the Rat. See our Introd. to that play, p.32. Harsha’s descriptions of gardens, the forest, the fountain, the mountain, the spring festival, the evening, the mid-day &c. are admirable. He undoubtedly took Kâlidâsa for his model, as is evidenced from many reminiscences of that great master in his plays. He has copied several ideas, literary devices and situations from Kalidasa’s plays, most of which have been pointed out in the notes. Harsha calls himself a skilful poet (निपुणः कविः) and we think that his estimate of his own merits is correct. His place is among the second–rate poets and dramatists in Sanskrit literature.

**II THE PLAY.

The Plot of the Priyadarsiká.**

The Priyadarsikâ is a romantic comedy in four acts and is named after the Heroine, the daughter of Drdhavarman, king of Anga, as required by the rules of dramaturgy. To enable the student to understand the story of the play before he reads the text we give its general outline below.

Act I—The chamberlain of Drdhavarman, king of Anga. appears and narrates a series of events. From his narration we learn that Drdhavarman, had a very beautiful daughter whose hand was repeatedly sought by the king of Kalinga, But Durdhavarman promised her in marriage to king Vatsa of Kausámbî. Stung by the rejection, the Kalinga-king made war upon Drdhavarman, ravaged his kingdom, and made him his captive. Drdhavarman’s daughter Priyadarsîka is carried in safety by her father’s faithful chamberlain and placed in charge of his ally, Vindhyaketu

king of the Vindhya forest. The chamberlain then goes to bathe at a holy place close by; but on his return finds that Vindhyaketu has been attacked and slain by some unknown enemy. The whole region is consigned to flames and no trace of the princess, Priyadarsikā, is to be found. The chamberlain further says that he has learned that king Vatsa, who had been held a prisoner by king Pradyota of Avanti, has escaped, carrying off the latter’s daughter, Vasavadattāwith him. The chamberlain then declares his intention of going to his master Drdhavarman and serving him. The next scene is at King Vatsa’s palace at Kausámbî. The King appears with his companion, the Vidû shaka. While they are talking Rumanvat, the minister, and Vijayasena, the commander-in-chief, arrive. Vijayasena, who had been sent to attack the forest-king, Vindhyaketu, gives an account of his victory, not omitting to mention how bravely and desperately Vindhyaketu fought and fell like a true soldier. He then informs the king that he has brought with him as a captive, a beautiful maiden, supposed to be Vindhyaketu’s daughter, who was found lamenting in his palace. The King at once gives orders that the girl be placed in charge of his queen Vasavadatta, and instructed in all the arts befitting her high rank. He further directs that he should be reminded when the girl attains marriageable age. As the Act closes the King expresses his intention of sending Vijayasena to extirpate the King of Kalinga

Act. II—Queen Vàsavadattá is observing a vow attended with a fast. The king, who is temporarily deprived of the Queen’s company, goes to the palace-garden with his companion, Vasantaka, to divert his longing. While walking there he happens to see Aranyika, who has come there at the command of the Queen in the company of one of the Queen’s attendants. Indivarikā, to gather lotuses for an offering to be presented to the sage Agastya. The king is struck with her matchless beauty and hides himself with his companion behind a cluster of trees to overhear the conversation between the two girls. From their conversation the King learns that the beautiful maiden is the daughter of Vindhyaketu, who has now attained marriageable age. In the mean-while Araṇyikā is assailed by bees, rushing out of the cluster of lotuses which she was plucking. She covers her face with her upper

garment and cries out to Indivarika for help. Indivarika was at some distance away from her. So Vasantaka advises the King to run to her rescue. The King does soand gets an opportunity of embracing her. But Instead of remaining silent he addresses her in a flattering stanza. Aranyika, who supposed that she had been helped by Indivarika, is startled to find that her rescuer is king Vatsa. She is, however, glad to find that it was he to whom her father had promised her in marriage. She, however, calls to Indivarikā in alarm and when the latter comes the King has to go away and hide himself. Aranyikā departs with her companion, with a sad heart, smitten with love. The king too departs, full of deep longing and anxious to meet again the object of his new love

Act III—We learn from the monologue of a female attendant named Manorama that a little play composed by Sâmkṛtyayanî, a learned friend of Queen Vasavadattâ, is to be performed for the amusement of the Queen. The play represented an episode in the courtship of Queen Vasavadattā and King Vatsaraja. Aranyika is to play the part of Queen Vasavadatta and the Queen’s attendant, Manorama, is to appear in the role of King Vatsa. Manorama while searching for Aranyika in the garden finds her in her love-sick condition. She overhears Aranyika lamenting her hopeless passion for the King. Monoramá tries to cheer her up. At this very moment the Vidushaka arrives there in search of Aranyika by the King’s command the two maidens overhear the King’s confidant and learn of the King’s passion for Araṇyikā. In the conversation that follows between the Vidushaka and Manorama, the latter whispers to him a device for bringing about the meeting of the lovers. Next comes the scene of the Mimic play. It is to be performed in the playhouse attached to the palace. The Queen with her attendants and Sámkrityayanî comes to witness the play. Aranyika appears in the role of the Queen. But Manorama does not play the part of the King. For according to the device made known to the King through his companion, it is arranged that the King shall play his own part instead of Manorama’s playing it. The King then enters secretly and begins to act his part in the Mimic play. In playing his part he makes advances to

Aranyika in such a manner as to rouse the suspicion of the Queen. The Queen rises from her seat in a fit of displeasure unable any longer to witness acting of that kind and goes out. She finds Vasantaka who has been asleep in the adjoining room. Thinking that the King may also be there, she rouses him, when he reveals the truth in his drowsiness. The Queen thus comes to know the whole trick and in her anger breaks up the play. She then orders both A’raṇyika and Vasantaka to be imprisoned and departs without listening to the apology of the King.

Act IV.— Manoramá enters and is sorely grieved to see that A’rṇyikâ has still been kept confined by the relentless Queen. The poor girls she says is in deep despair, not because of the hardships of the prison, but because she is not able to see the King. Just then Kánchanmālā, the Queen’s attendant, entersand informs Manorama that the Queen has been in deep distress since she received a letter from her mother, Angáravatî, informing her that King Dṛdhavarman, husband of her mother’s sister, has been held a captive for more than ayearby the Kalinga King, and taunting her for King Vatsa’s not having lifted a finger to rescue him. In the next scene Vasavadattâ appears, seated in the ivory–tower of the palace, attended by Sâmkṛtyāyanî. The latter tries to comfort the sorrowful Vâsavadattá, assuring her of the faithful affection of the king. At this time the King enters with the Vidûshaka, talking about the means of conciliating the Queen and setting A’raṇyikâ free from her captivity. He approaches Vásavadattá and tries to appease her. Being informed by Sámkṛtyáyanî of the real cause of the Queen’s sorrow, the king informs her of the expedition sent by him against the Kalinga king and how the latter’s armies have been defeated and how he expects shortly to hear of the complete overthrow and destruction of Kalinga. At this moment Vijayasena, the victorious general, land the chamberlain of Drdhavarman are announced. The chamberlain informs the king how Vijayasena defeated and slew the accursedking of Kalinga in battle and restored his masterDrdhavasman to his kingdom. He then narrates how Drdhavarman’s daughter Priyadarsi ká is lost and no trace of her can be found. At this moment Manoramá hurriedlty enters with the sad news that A’raṇyikā has drunk poison. On hearing this Vásavadattá is smitten with penitence

and at once orders her to be brought before the king who withhis knowledge of magic spells, will save her life. A’ranyika is then brought on the stage in a dying condition. The Chamberlain recognizes her and tells Vásavadatta that she is the lost Priyadarsikâ, the daughter of his master, king Drdhavarman. King Vatsa repeats his magic formulas which counteract the effect of the poison and A’raṇyiká is gradually restored to life. Vasavadattà is delighted to find that Aranyika, who is no other than her cousin Priyadarsika, also called Priyadarśaná is restored to life. She then places her cousin’s hand in the hand of the King, to indicate that she is his lawful wife, in accordance with the promise of Drdhavarman the play thus ends happily with the customary benedictory stanza, praying for universal peace, prosperity and contentment.

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(2) THE SOURCES OF THE PLOT OF THE PLAY.

The plot of the Priyadarsiká, in its general outline, is derived from the semi-legendary life of King Udayana as given in the Brhatkathá of Gunâdhya. The story of the loves of Udayana, king of Kausami, also called Vatsarája, and Va’savadatta and of his romantic adventures, seems to have been exceedingly popular in ancient India, judging from the fact that it has been referred to and turned to literary account by many Sanskrit poets. It is referred to by Kâlidasa in his Meghaduta,—“प्राप्यावन्तीनुदयनकथाकोविदग्रामवृद्धान् and प्रद्योतस्य प्रियदुहितरं वत्सराजोऽत्र जहृे; and by Sudraka in his Mrichchakatika,—यौगन्धरायण इवोदयनस्य राज्ञः Bhása, one of the earlier poets, has taken the love intrigues of Udayana for the theme of two of his plays—स्वप्नवासवदत्त and प्रतिज्ञायौगंधरायण. Subandhu in his wellknown Vasavadatta, deals with the adventures of Udayana in the acquisition of Vásavadatta. In theकथासरित्सागर of सोमदेवभट्ट, who lived in the 11th century, the story of उदयन is related at length. Udayana was the son of Sahasranîka (see note on Vatsara’ja p.3). Sahasrânîka married Mrgávati, the daughter of Krtavarman, king of Ayodhyâ. When Mrgávatî was pregnant, she had adesire to bathe in a pond of blood-water. While bathingshe was snatched away by a bird of the race of Garuda andleft on the Rising–mountain. A young sage saw her there lamenting and took her to

the hermitage of the sage Ja’madagnya. There she gave birth to her son, Udayana, who was taken care of by Jamadagnya there. Udayana while still a boy, once rescued the serpent Vasunemi, the elder brother of Vasuki, from a snake-charmer. The serpent, in gratitude, took Udayana to Pa’tala and bestowed upon him a lute and some unfading garlands and brought him back to Jamadagnya’s hermitage. Udayana after his accession to the throne indulged too much in hunting, especially in taming wild elephantsby the music of his lute Ghosavati. He set his heart upon marrying Vásavadattá, daughter of the powerful king चण्डमहासेन (also called प्रद्योत) of Ujjain and his queen Angáravati. Chandaalso wished to bestow his daughter in marriage on Vatsa. But the enmity between the two kings prevented such a union, by negotiations. Afterwards had Udayana seized and brought captive by a stratagem to Ujjain. He was kindly treated and ordered to teach music to Vàsavadatta. Thus Udayana had an opportunity of making love toVásavadattá. But he was a prisoner all the same. His astute minister यौगन्धरायण contrived a plan of rescuing his royal master and one night Udayana fled away with Vasavadattá who had been Won over to him without her father’ knowledge, and safely came to Kaus’ambi. In the बृहत्कथामञ्जरीof Kshemedra, written also in the eleventh century, the story of Udayana occurs and differs little from that related in the Kathásaritságara. The only variation is that young Udayana was taken to Pa’tala by the serpent whom he had rescued and there he married a Na’ga-damsel (नागकन्या) and obtained the lute Ghoshavatî.

Now the episode in Udayana’s courtship of Vásavadattá, which is dramatised in the Embryo—Act, agrees with what is related in the Kathá.; but the episode which forms the theme of the present play, viz. the love of Udayana and A’ranyiká, a captive princess, the daughter of the forest King Vindhyaketu, is not mentioned in the story of Udayana as related in the कथासरित्सागर.But the love intrigue of Udayana with a captive princess, Bandhumatî, which is briefly mentioned in theकथासरित्सागर resembles the plot of the Priyadarsiká. We quote from the कथासरित्सागर the following passage relating to Bandhumatî:—

किंच बन्धुमतीं नाम राजपुत्रीं भुजार्जिताम्।
गोपालकेन प्रहितां कन्यां देव्या उपायनम्॥

तथा मञ्जुलिकेत्येव नाम्नान्येनैव गोपिताम्।
अपरामिव लावण्यजलधेरुद्रतां श्रियम्॥

वसन्तक सहायः सन्दृष्ट्वोद्याने लतागृहे।
गान्धर्वविधिना गुप्तमुपयेमे स भूपतिः॥

तच्च वासवदत्तास्य ददर्श निभृतस्थिता।
प्रचुक्रोप च बद्ध्वाच सा निनाय वसन्तकम्॥

ततः प्रव्राजिकां तस्याः सखीं पितृकुलागताम्।
स सांकृत्यायनीं नाम शरणं शिश्रिये नृपः॥

सा तां प्रसाद्य महिषीं तया सैव कृताज्ञया।
ददौ बन्धुमतीं राज्ञे पेशलं हि सतीमनः॥

ततस्तं बन्धनाद्देवी सा मुमोच वसन्तकम्।
स चागत्याग्रतो राज्ञीं हसन्निव जगाद ताम्¹⁷॥

(Kathásaritságara II. 6. 67-73.)

But neither the कथासरित्सागर nor the बृहत्कथामञ्जरी can be the source from which Harsha derived his plot of the Priyadarsika, since these two works, which are professedly abridgements of the बृहत्कथा, were written in the eleventh century, while our author livedin the 7th century. Moreover we know that the story ofउदयनwas known to old writers like कालिदास and सुबंधु and even to more ancient writers like Sudraka and Bhasa. The source from which all these authorsderived their knowledge of the history of Udayana Vatsarája must, therefore, have been an ancient work, called बृहत्कथा,composed by गुणाढ्य who lived about the 1st century A. D. This बृहत्कथा or the large collection of stories was written in the पैशाचीlanguage (a low Prákrit dialect) and consisted of one lakh of verses. Thisgreat work was the inexhaustible storehouse of stories, from which many Sanskrit writers like Bhàsa, Kálidas, Bána, Shri-Harsha, Bhavabhūti, and others, derived the plots of their works.The original बृहत्कथाis not available at present but we have two excellent summaries of it, the बृहत्कथामञ्जरी by क्षेमेन्द्र and the कथासरित्सागर by सोमदेव, which we have mentioned

above*. The story of Bandhumatî resembles that of Priyadars’ikā, as the student can see from the passage from the कथासरित्सागर quoted above, the names उदयन, वत्सराज, वसन्तक, वासवदत्ता and साङ्कृत्यायनी, being common to both. Hence we conclude that Harsha took for his basis the meagre story of Bandhumatî, perhaps written in greater detail in the and worked it up into the present charming play.

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(3) TIME ANALYSIS OF THE PLAY.

The action of the Priyadarsiká covers a period of a little over a year, from the autumn (शरद्) of one year to the autumn of another. For we are told in the Vishkambhaka of the first Act by the chamberlain of Drdhavarman, the king of the Anga country, that his master was already a captive of the king of Kalinga; and from the closing speech of the same chamberlain we learn that the season of the year is autumn; for he speaks of the uncommon severity of the autumnal heat and of the sun having passed from the zodiacal sign virgo to libra. From this we know that the month was A’svina, in which generally the sun is in libra. And we learn from the message sent by the Queen Angáravati to her daughter Vasavadattâ (see p. 46) some days after the events of the third act which happened on the full moon-day of Aśvina that it was more than a year since Drdhavarman was taken a captive. So the action of the play spreads over a period of a year and a few days more.

Act I. It is not possible exactly to fix the time of the action of the 1st Act. It begins in the forenoon of some day in the mouth of A’svina some two hours before noon as the Act closes at mid–day (see Śl. 12). The King is introduced as holding conversation with his companion Vasantaka some day after his escape from prison and return.

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* There is also a third and a more faithful abridgement, which is also earlier, of the Brhatkatha, known as the Brhatkathas’ lokasangraha, by one, Buddhasva’min. It is, however, incomplete, only 28 cantos being extant. In this also the events connected with the birth and early years of Udayana are narrated including his visits to the city of the Serpents and his acquisition there of the magic flute, Ghoshavati (and of the art of taming elephants. Col.U.Ed.Introd. pp. lxx, lxxi.

to Kausambî with Vasavadattâ. We learn from this conversation that Vatsaraja was incensed when he heard that Drdhavarman was taken prisoner and kept in custody by the King of Kalinga. So the news of Drhavarman’s captivitymust have reached Kaus’ambî by the time the Kanchuki in the Vishkambhaka reaches Vindhyaketu’s capital. Again in the same scene when Vijayasena narrates the account of his conquest and utter destruction of Vindhyaketu, we are told that he reached the abode of Vindhyaketu after a forced march of three days and that the attack was made at daybreak. And we know from the speech of the Kanchukî in the Vis’kambhaka that all was over by the time he returned to Vindyaketu’s place from Agastya–tirtha where he had gone to bathe and that no trace of the attackers was found. So it follows that the battle was of short duration and Vijayasena, had left the place by or shortly after noon.; for when the Kanchuki arrived on the scene the sun was still very hot. Now Vijayasena must have taken at least three days to return to Kaus’ambî, so that he must have reached it on the seventh day from his starting from it. So the events mentioned in the Viskambhaka, viz. Vindhyaketu’s destruction, the loss of the princess and the Chamberlain’s resolve to go back to his captive master, must have taken place four days before the events of the first act.

Act II. An interval of at least one year (or more) separates the events of the first Act from those of the second; and for the following reasons. (1) It is clearly said in the Praves’aka of the fourth Act that Drdhavarman was in custody for more than one year; and this interval can only be placed between the first two Acts, as the third and the fourth Acts follow pretty closely upon the second. (2) From theconversation between Indivariká and A’ranyika we learn that a great intimacy had grown up between them. Again from the same conversation we further learn of the Queen’s intention to inform the King that A’ranyika had reached marriageable age, in accordance with his own bidding that he should be reminded when she reached that age. And in the same scene when the King sees A’ranyikâ and discovers that she is Vindyaketu’s daughter he exclaims—” Oh we have long been robbed.” All this points to a long interval. (3) From the King’s description of the beautiful scene presented by the

garden attached to the Dháràgṛha and the tank in it, it is clear that autumn had just set in; and that can be the autumn of the next year. The time of action of the second Act therefore, is some day in A’evina, as is evident also from the Queen’s observing a fast in honour of the great sage Agastya and her intention to give a Svastiváyana on that occasion which is done after Bhâdrapada, (see p.24 and com. thereon,) and the events mentioned therein take place late in the afternoon, as it is sunset when the King retires to his palace after his unexpected meeting with A’ranyika.

Act III—opens with the entrance of Manorama, rather late in the afternoon of the full-moon-day of A’svina. For in her speech Manorama tells us that the remaining portion of the play composed by Samkṛtyáyanî is to be acted before the Queen on the Kaumudi festival, which falls on the fifteenth day of A’svina, and that her friend A’raṇyiká being absent-minded committed a mistake in her acting on the day. A’raṇyiká then enters and appears from her conversation with her confidante Manoramaâ to have been deeply affected with love for the King and pining for his company day and night. And from the lips of the Vidúshaka who enters next we learn: that the King also is love-sick, passes his nights sleeplessly and finds pleasure in nothing but devising means to obtain a sight of A’rnyika’. This shows that we must allow a period of five or six days at least to intervene between the second and the third Acts to account for the deep impression made on the minds of the lovers by each other’s sight at their first meeting. When Manoramâ sees Vasantaka and learns from him how helpless his friend was on account of her friend A’ranyiká, she tells him how their meeting was to be broughtabout that very night when the acting was to be performed before the Queen. Vidûshaka then leaves her, and she startsto go to the play-house with A’raṇyiká, and by the time they enter it, the twilight is already past (अतिक्रान्ता खलु सन्ध्या p.31). So the action of the third Act begins late in the afternoon of the day and ends when it is bed time, after the breaking up of the Mimic play, by the Queen. See p. 44, King’s speech.

Act IV—A few days’ interval separates the fourth Act from the third. For in the opening speech of Manoramá she complains of the Queen’s long continued anger and of the hardships of confinement to which her friend has been subjected.

This shows that A’raṇyika was in prison for some days. Again from the conversation between Sámkṛityâyanî and Vasavadattá we learn that the A’raṇyiká-love affair was a recent event, And Vidushaka’s humorous suggestion to theKing to observe a month’s fast to gain the Queen’s favour and his words further on इदानीमेव बन्धनात्कथमपि परिभ्रश्यागतोस्मि p.40, show that not many days, even a week, could have elapsed after the events of the 3rd Act. So the interval separating the third from the fourth Act must be a very short one. But we have no means of determining theexact hour of the day when the action of the fourth Act begins. It lasts for a period of about three hours.

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(4) GEOGRAPHY OF THE PLAY.

See Notes p.49.

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(5) TECHNICAL REMARKS.

It will be easily seen that the Priyadarsikà does not closely follow the various canons found in the Sans. treatises on dramaturgy, such as the Dasarupaka and the Sahityadarpana, as the Ratnávali does. The Sandhis are not elaborated and well proportioned. The Sringârarasa, the main sentiment of the play, is not well developed in its two parts विप्रलम्भ and संभोग. In this respect the Mâl. is far superior to it. In it the king’s passion (अनुराग) which is compared to a plant is gradually developed as declared by the poet himself in the words बद्धमूलः, रूढरागप्रबालः, मुकुलितः (पुष्पित,) and फलितः; see IV. 1. A detailed description of the Sandhis and their angas is not attempted here as it is not of much use to the junior students. As a Nátiká the Priya. conforms to the rules of dramaturgy on broad lines. As regards the three chief requisites, the वस्तु is प्रख्यात as the story of Udayana and Vasavadattá was popular at the time the play was written. The Netá or hero is धीरललित(see ante p.9). The Heroine belongs to the variety known as मुग्धा (defined as मुग्धा नववयःकामा रतौ वामा मृदुः क्रुधि । Das. R. II. 16 ). The chief sentiment is शृङ्गार or love. There is an occasional infusion of Karuna as in the lament of A’raṇyiká (see pp. 15,24) and when she drinks poison, in order to put an end to her miserable existence (see p. 54). There is also a slight tinge of the हास्यरस as when the Vidu. says एते खलु राजानो

दास्यापि नर्त्यन्ते (p.38 ), or advises the King saying मासोपवासं कृत्वा&c. (p.48). As regards the denouement and the general a setting the play opens with the usual नान्दी. The प्रस्तावना isnot in its usual style but rather on the model of Bhása, as no other character than the Sûtradhára is introduced in it. In it the Sûtra. informs the audience of the name of theauthor, the title of the play and the occasion of its performance. Then there is a Viskambhaka in which the chamberlainof Drdhavarman, King of the Anga country, briefly narratesthe part of the story, a knowledge of which is necessary forthe understanding of the events related in the play. The Bija or seed is also cast when the Kanch. says—येन सापि राजपुत्री यथा कथंचिद्वत्सराजायोपनीय &c. sее p.4). The Mukhasandhi begins where the King commits A’raṇyiká to the care of Vasavadattá and terminates with the close of the 2nd Act. The Bija germinates and sprouts up when the King sees A’ranyiká (p. 18) and afterwards clasps her at the neck (p.20). The प्रतिमुखसन्धिbegins with the 3rd Act (see com.) wherein we have the गर्भसन्धि also. In the प्रतिthere is यत्न for the attainment of the Phala or the final object; but to have it further postponed the poet has used the device of a गर्भनाटक,*which brings to light the King’s intrigue and thus hinders the progress of love. In the fourth Act which is introduced by a Praveśaka, we have the अवमर्श and the निर्वहण Sandhis fused together, wherein the final object is attained; and the play closes with the usual Bharatavákya.

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(6) CRITICAL REMARKS ON HARSHA’S THREE PLAYS.

Of the three plays of Harsha, the Ratnâvali and the of Priyadars’ikâ have the same subject-matter, i.e., the loveintrigue of King Vatsa. Four characters are common to bothof these plays, namely, King Vatsa, Queen Vasavadatta, herattendant Kanchanamalá and the Vidushaka Vasantaka.Rumanvat, the usual general of the King’s army is mentioned

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* गर्भनाटक also called गर्भाङ्क (An act containing & play in it) is defined as—अङ्कोदरप्रविष्टो यो रङ्गद्वारा मुखादिमान्। अङ्कोपरः स गर्भाङ्कः सबीजफलवानपि॥ Sah.D.VI.20 ‘A Secondary Act, incorporated into a principal Act and having the characteristics of a play in brief, such as its preliminaries, introduction, its Bija and its final end, is called a गर्भाङ्क. This device has been used by Bhavabhúti in his Uttar., Act VII and by Rájas’ekhara in his Bâlarâmâyana.

in the Priyadarsikâ as a minister and Yaugandharayaṇa mentioned but once in the Mimic play. Both are Nâtikās in four acts. Both contain several parallel situations. Hence they are called sister plays. The Priyadars’ikā is undoubtedly the earliest production of the author, judging from its simplicity and crudeness of construction as compared with the other two plays. The Ratnâvalî comes next, since it is more elaborate, and more polished. The Nágánanda, though not so elaborate and polished as the Ratnâvali, has to be put last, as it is Buddhistic in its tenor and sets forth the author’s ideal of life in the last part of his life.

The Ratnavali is considered the best of the three plays of Harsha. It is pre–eminently a Sanskrit play which strictly conforms to the various canons of Sanskrit dramaturgy. It is for this reason that excerpts from this drama are frequently quoted by the later writers on dramaturgy. As we have pointed out, Damodargupta, a writer of the 8th century, in his Kuttanimata has highly eulogised this play. Dr. Macdonell, in his A History of Sanskrit Literature’ writes “Altogether Ratnâvali is an agreeable play with well drawn characters and many poetical beauties.” See our Intro, to Ratnávali, p. 30.

The Priyadarsiká, like the Rat., is a Nátiká named after the heroine Priya. who is known as A’raṇyiká up to the time of the denouement. This play is much inferior to the Ratnavali. The inventive genius and constructive skill of the poet do not shine out so pre–eminently in this play as they do in the other. But we must say to his credit that the actual development of the plot (the mere skeleton of which he got from the Bṛhatkathá) as it runs through all the four Acts to its finis is practically his own invention. The general simplicity of its style and form, the skill shown in the creation of the various incidents and situations which keep up the interest in the progress of plot and some striking descriptions in it make the play a pleasant reading. Some of the descriptions in the play are admirable—as the description of the palace–garden—वृन्तैः क्षुद्रप्रवालस्थगितमिव तलं भाति शेफालिकानां &c.—Act II, 2, 3; the description of the beauty of A’ranyika—“पातालाद्गुवानावलोकधिया किं नागकन्योत्थिता &c.” Act II. 6; the description of the angry Queen—“स्निगधं यद्यपि वीक्षितं&c.—Act. III, 13, 14, 15; &c. &c. The predominant sentiment in the Priyadarsikâ as in the Ratnavali is love (शृंगार); but it has not been properly

developed, as it has been in the Mâl, by his great predecessor, Kalidása. Harsha helps out his plot in both the plays by having recourse to superhuman agency. The King’s restoring the dying A’ran. to life by means of magic formulas excites the sentiment of wonder ( अद्भूत). Theimprisonment of Priyadarsikā gives rise to the sentiment of pathos (करुण); while the sentiment of terror (भयानक) is roused when she is brought in a dying condition on the stage. The most striking feature of the drama, however, is the introduction of an Embryo—Act (गर्भाङ्क) in the third Act, forming an integral part of the drama. The whole scene is cleverly designed and skilfully managed. Thisगर्भाङ्क reminds us of a similar play within a play in Bhavabhuti’s Uttarrámacharita and Shakespeare’s Hamlet. Dr. A. B. Keith in his The Sanskrit Drama,’ makes the following comments on the two sister plays—“The originality of his Natikás is not perhaps great, but he has effectively devised the plot in both; the action moves smoothly and in either way there is ingenuity. The scene of the magician’s activity in the Ratnávali is depicted with humour and vivacity; the parrot’s escape and its chatter are sketched with piquancy, and the exchange of costumes in the Ratnavalî is natural and effective. The double comedy in the Priyadars’iká is a happy thought; the intriguein Act IV is neatly conducted so as to show us Vásavadattá in the light of an affectionate niece, and the scene with thebee is attractive”.

The Priyadarssikà bears a close resemblance to its sister play Ratnávali, both as regards the general conception of the theme and the method of its development, and so there are naturally many similar ideas and parallel situations in it. Some of these we note below—

In Act I of the Priyad., we have mention, made of the disappearance of the princess A’iaṇry., by her father’s chamberlain and of her being subsequently brought to the king by his general Vijayasena; and we have in the introductory scene of the Rat. Yaungandharayaṇa, Vatsa’s minister telling us of the rescue of Sagariha from a ship-wreck. The scene in the garden in the second Act of Priy., wherein A’raṇyikâ in the company of Indivariká is seen by the king and his confidant has many points of resemblance to the scene in the 2nd Act of the Rat. In the third Act of the Priy, and also of the

Ratná. similar schemes are devised for the meeting of the lovers by Vasantaka and a maid–servant. Other similar episodes in the fourh Act of both the plays are the imprisonment of Vasantaka and of the princesses and their rescue by the king, in one case from poison and in the other from fire, and the final sanction of the Queen to the marriage of the Heroine of each play with the Hero. Other minor similarities are pointed out in the notes.

The Priyadareikā, however, bears a closer resemblance to the Málavikâgnimitra of Kálidása in the general outline of its plot, both being based on the story of Bandhumatî (see supra p. xxv). Thus the hand of the Princess Priya. is promised to king Vatsa by her father while in the Màl. an alliance is sought with king Agnimitra by Mâdhavasena by giving him in marriage his sister Malaviká. Both Madhavsena and Drdhavarman, Priy.’s father, are taken prisoners by rival kings and both are finally rescued by the Heroes of the two dramas. Madhavasena’s minister tries to bring Mål. to king Agnimitra, while it is Dṛdh.’s chamberlain who tries to bring Priya. to king Vatsa. Both meet with accidents: the heroine of the Mál. is brought by Virasena, the keeper of a border fort and given in charge of Dhárinî, Agnimitra’s Queen, while Priya. is brought by Vijayasena, the victorious commander of the army of Vatsa, to his master, who in his turn orders her to be committed to the care of his queen VasavadattâBoth the Heroines are taught dancing, singing &c., and both are accidentally seen by the respective Kings, and love springs up between the heroes and the heroines of the two plays. To bring about the meeting of the two lovers the mimic play is arranged in the Priy., while a dancing exhibition is arranged in the Mál. Màlavikâ is seen with her attendent in a garden by the King and his confidant and so is A’raṇyiká in the Priyadarsiká. We have Kausikî, the siser of Mádhavasena’s minister, in the role of a religious lady, appearing as a friend of the Queen in the Mâl., and so we have Sámkrtyáyanî in the third and fourth Acts of the Priy. The Vidû ’s careless talk in sleep in the Mâl. betrays Malavika’s meeting with the King, while Vasantaka’s talk in sleep during the course of the Mimic play brings to light the, ruse used for bringing about A’raṇyiká’s meeting with the King in the Priy. The magic use of the ring bearing a snake’s

figure which counteracts the effect of poison in the case of the Vidu. who feigns to be bitten by a serpent in the fourth Act of the Mål. has its reflex in the King’s counteracting the effect of poison on A’raṇyiká by means of a charm. And finally we have the true identity of Mál. revealed in the Mál. in the last Act as that of A’raṇyiká in the present play. The similarities of ideas, expressions &c. found between the Priy. and the Nâgánanda we have pointed out in the notes.

The Nágánanda is a Nataka in five Acts and stands on a higher plane than the other two plays which are mere court-comedies. The play is of a unique type, since it depicts the grandeur of self-sacrifice in human life. As Dr. Keith remarks, “Harsha here rises to the task of depicting the emotions of self-sacrifice, charity, magnanimity, and resolution in the face of death.” The Hero, Jimútaváhana, penetrated with the ideals of Buddhism, is convinced that to sacrifice oneself for the good of others is the highest duty. He has accepted the doctrine of non-violence and adheres to it so firmly that he will not make war even upon his enemy who has deprived him of his kingdom. When his friend and brother-in-law, Mitrāvasu, assures him of an easy victory over his enemy and the consequent restoration of his kingdom to him,

Jimutavahana replies:—

स्वशरीरमपि परार्थे यः खलु दद्यामयाचितः कृपया।
राज्यस्य कृते स कथं प्राणिवधक्रौर्यमनुमन्ये॥

‘I will give my own life for the sake of another in compassion unasked; how then can I consent to the cruel slaughter of men merely for winning a kingdom.” Here Harsha reveals himself in uttering these sentiments. Harsha who had been once the hero of hundred battles and who by his brilliant victories over his enemies had become the Paramount Lord in Hindustan, was in the last part of his life a staunch follower of the Buddbishtic doctrine of non-violence (अहिंसा).

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(7) THE PRINCIPAL CHARACTERS ON THE PLAY.

VATSARAJ (THE HERO).

The Hero of the play Priyadarsika, Vatsarája a king of Kausámbî, has many charming legends and stories woven round his name. It seems that his life full of romantic adventures, made a deep impression on the popular mind in old

days, as is clear from the remark in the प्रस्तावना of the play, “लोके हारि च वत्सराजचरितं.” Hence there are no references to his great deeds in this play save one adventure, viz., his escape from his captivity, in which he was kept by the powerful monarch, Mahasena Pradyota, of Avanti, and his carrying off the latter’s daughter and making her his Queen. And since the poet chose to write a Nátíká it was not his object also to present his hero in any of the serious aspects of his character, Bound by the hard and fast rules of Sans. Dramaturgy he has cast his characters in the conventional mould. He has taken care to show his hero in the enjoyment of courtly life, the stirring events of his public life having already won for him great popularity. We cannot, therefore, compare him with Agnimitra, the hero of the Mâlavikâgnimitra. But comparatively speaking the character of Vatsa is not so well developed in this play as it is in the Ratnavali. He belongs to the class of heroes called धीरललित,—‘Firm, gay, and tender-hearted.’ He is courteous and affectionate to his Queen while engaged in a new love adventure. As soon as he sees a charming young maiden, he falls in love with her and thinks of nothing but meeting her again and making love to her, He is helped in his love intrigue by his companion, the Vidushaka, and Manorama, an attendant of the Queen. In the Mimic play in which by a cunning device he is given an opportunity of meeting A’raṇyiká, he proceeds to act towards her in such an ardent manner that he rouses the suspicion of his queen Vasavadatta. When the Queen knows the whole truth and breaks up the play in anger, he apologises to her in all humility and even falls at her feet. Though his Queen does not accept his apology or relent, he tries his utmost to conciliate her. And when the Queen knowing that A’ranyika.is her cousin Priyadarsika, places the latter’s hand in the King’s hand, he with delicacy withdraws his hand saying that he is satisfied that his Queen is reconciled. One noble trait of his character, however is brought out when he appreciates the valour of his fallen enemy and ungrudgingly bestows praise on him in the words—शोभितं विन्ध्यकेतुना। साधु विन्ध्यकेतो साधु। सत्पुरुषोचितं मार्गमनुगच्छतो यत्सत्यं व्रीडिता एव वयं विन्ध्यकेतोर्मरणेन. (Act I.).

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A’RANYIKA OR PRIYADARS’IKA’.

Priyadarsikâ is the Heroine of the play, as the very name of the play clearly shows it. She is called आरण्यिकाup to the time of the denouement, because she was found in a forest. Priyadars’ikā is a colourless character, possessing no striking intellectual or moral qualities. She belongs to the variety of heroines known as मुग्धा, who is defined as—‘मुग्धा नववयःकामा रतौ वामा मृदुः क्रुधिः। She is represented as a young maiden of rare beauty. As soon as the King catches sight of her he bursts into a panegyric of her beauty ’ पातालाद्भुवनावलोकनधिया किं नागकन्योस्थिता।&c. (Act II. 6). When she sees the King she falls in love with him and remarks that her father was right in promising her to him, thus preferring him to other suitors (अयं स महाराजः। यस्याहं तातेन दत्ता। स्थाने खलु तातस्य पक्षपातः।). She is extremely timid and sensitive. She laments that her passion is hopeless and will never find its fulfilment. She therefore longs for death that would relieve her of her sorrow—सर्वथा मरणं वर्जयित्वा कुतः मे हृदयस्य अन्या निर्वृतिः । Fortunately she is cheered up and helped by her friend मनोरमा. But she gives way to sorrow and despondency to such an extent that she actually takes poison. Thus Priyadarsiká evinces qualities which constitute a great character. ever, one admirable trait in her character also. She does not reveal her identity to the last, even to her confidante Manoramā and this speaks highly for her keen sense of family honour.

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VA’SAVADATTA’.

Vasavadatta is the chief Queen, elderly and majestic. Her love for her lord is sincere and deep and her jealousy proceeds from her true deep love. In the Mimic play, when the King makes love to A’raṇyikā, playing the part of the Queen, with great ardour, her suspicion is aroused. And when she learns the truth from the lips of the Vidushaka, who gave out the secret in his drowsiness, she breaks up the play in anger and orders both A’raṇyikā and the Vidâshaka to be imprisoned as being accomplices in the plot. She spurns the conciliationand prostration of the king. She is truly a मानिनी(a proud self-respecting woman). She keeps Araṇyikā for a pretty long time in prison. She is not easily appeased. When, however, she learns that A’raṇyikā has taken poison, she is at once struck with penitence and immediately orders her to be

brought into the presence of the King, who is an expert in the treatment of poisons and magic formulas, for being restored to life. She is an affectionate niece, for we see her plunged in deep grief at the news of the long imprisonment of her aunt’s husband (Act IV). The nobility of her mind is seen when she gladly bestows the hand of A’ranyika, whom she now knows to be her cousin, Priyadarsikā, on the King, in fulfilment of her father’s promise. In fact the picture of the Queen drawn here, though not so magnificent as that of Dhárinî in the Mál. (see V.19) is quite in keeping with the requirements of a Nátiká.

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THE VIDUSHAKA.

The Vidûshaka is a boon companion of the King who amuses him in his lonely hours. He is a Bráhmaṇa but without learning, great wit or wisdom. He is greedy and ever eager to receive gifts. He excites laughter by his appearance, quaint remarks and movements. He helps the King in his love intrigue. When A’raṇyikā is attacked by bees and covering her face with a mantle callto her friend for help, he cleverly advises the King to run to her rescue silently so that she may clasp him mistaking him for her friend. He is an accomplice in the scheme by which the King gets an opportunity of meeting and making love to Ar’anyika in the Mimic play. But he is light-headed and gives out the truth of the whole plot in his drowsy condition. He, however, sometimes makes very clever and appropriate remarks When the chamberlain of Drdhavarman informs the King that the Kaling king was killed and Dṛdhavarman restored to his throne, the Vidushaka says in the hearing of the queen, ईदृशे अभ्युदये अस्मिन् राजकुले एतत् करणीयम्। (राजानं निर्दिश्य वीणावादनं नाटयन्) गुरुपूजा (आत्मनो यज्ञोपवीतं दर्शयन्) ब्राह्मणस्य संत्कारः, (आरण्यकां सूचयित्वा) सर्वबन्धनमोक्ष इति। When the King succeeds in restoring A’ranyika to consciousness, the Vidushaka again significantly reminds the Queen, “भवति……वैद्यस्य पारितोषिकं विस्मृतम्।

DRAMATIS PERSONAE.

——:o:——

MALES.

सूत्रधारः—The stage-manager.

वत्सराजः (उदयनः)—The Hero, king of Kauśambi.

विदूषकः (वसन्तकः)—A Brahmana, the Hero’s companion and confidant.

रुमन्वत्—Minister of Vatsarája.

विजयसेनः—The commander of the army of Vatsarája.

विनयवसुः—The chamberlain of Drdhavarman.

FEMALES.

आरण्यिका—(Whose real name is प्रियदर्शिका, also called (प्रियदर्शना) The Heroine, daughter of king Dṛdhavarman.

वासवदत्ता—The Queen, wife of Vatsarâja and daughter of Mahâsena (also called Pradyota), king of Ujjain.

काञ्चनमाला—An attendant-maid of the Queen.

मनोरमा—A maid-servant, confidante of A’ranyika.

इन्दीवरिका—A maid-servant of the Queen.

प्रतीहारी (यशोधरा)—The female door-keeper or portress ofVatsarâja

साङ्कृत्ययनी—An elderly holy lady, associate of Vasavadattâ.

PERSONS &c. MENTIONED.

यौगन्धरायणः—The chief minister of Vatsarája.

दृढवर्मन्—King of the Anga country and father of the Heroine. A bard, and Retinue of Vâsasvadattâ.

SCENE.

Praveśaka of Act I.—some part of the Vindhya forest.
Rest of the Play—Kaûsâmbî, the capital city of Udayana.

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भूमिका

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यस्याश्चोरश्चिकुरनिकुरः कर्णपूरो मयूरो
भासो हासः कविकुलगुरुः कालिदासो विलासः।
हर्षो हर्षो हृदयवसतिः पञ्चबाणस्तु बाणः
केषां नैषा कथय कविताकामिनी कौतुकाय॥

—जयदेवस्य।

इह खलु सकलविद्याकलाकलापादिपीठेऽस्मिन्भारते वर्षे निजयशःसुरभीकृतदिगन्तरालाः प्रतिभाशालिनः परःशताः कवीश्वरा भासकालिदासादयः स्वकृत्याभरणैर्वाग्वधूं मण्डयन्ति स्म। तेषां च केचन प्रबन्धप्रमोदितरसिकमण्डलाः शब्दसर्गार्जितोर्जितयशस्का विदग्धधुरीणाः प्रतापसंतापितारिचक्रावक्रेष्वप्यार्जवमुत्पादयन्तश्चक्रवर्तिनो राजानोऽभूवन्नित्यहो नवनवाश्चर्यनिर्माणचातुरी विधेः। श्रीसरस्वत्योः ख्यातनिसर्गभिन्नास्पदयोरप्येकसंस्थानं कस्य हि सहृदयस्य चेतः कुतूहलितं प्रमोदनिर्भरं च न कुर्यात्। एतेषु श्रीमच्छूद्रकयशोवर्मभीमटभोजादिषु कविनृपेष्वग्रेसरीभूतः श्रीहर्षाभिधः स्थानेश्वरेश्वरः चक्रवर्तिश्रीहर्षवर्धनाख्यया पुरावृत्तकोविदैरुद्धुष्यमाणकीर्तिर्नृपतिरितस्त्रयोदशशताद्वर्षेभ्यः प्राग्भारतभूमण्डलं प्रशशास। यस्य च प्रियदशिका—रत्नावली—नागानन्दसमाख्यं रूपकत्रयमद्य यावद्रसिकान्तःकरणग्रहणेनात्मनो निर्मातुर्यथार्थनामत्वं प्रख्यापयद्रसिकानां हर्षंसंवर्धयन्नाटकनिबन्धेषु गुणानुकूल्याद्वरीवर्ति। यस्य चेभ्यस्य सभ्यो गद्यकविमूर्धन्यपदवीमारूढः कादम्बर्याः प्रणेता श्रीभट्टबाणः स्वस्वामिनः शूरस्य वदान्यस्य विक्रान्तस्योदारचरितस्य चरितमाख्यायिकारूपेण सुललितपदबन्धं निबबन्ध। सोऽयं चित्तचमत्कारी हर्षचरिताख्यो गद्यप्रबन्ध एव श्रीहर्षनृपतेरितिवृत्तादिविज्ञाने प्रधानतया सहायतां समुपगच्छति प्राचीनवार्ताविविदिषूणामिति सुविदितमेव सुधियाम्। केचित्तु नव्यशिक्षिता नागानन्दादिरूपकप्रणेतृत्वं न श्रीहर्षवर्धननृपतेः किं तु कस्याप्यपरस्य तदनुजीविनः कवेरितिमन्यमानाः साग्रहं प्रत्यवतिष्ठन्ते। तेष्वपि भिन्नभिन्नमतप्रणाल्या महती विप्रतिपत्तिः। केचित्त्रयोविंशतिसंख्यकरूपककृतः श्रीमतो भासस्य, अन्ये हर्षवर्धनाश्रितपण्डितपारिषदानामेकतमस्य धावकस्य, अपरे चोपरिनिर्दिष्टगद्यगीर्वधूप्राणस्य श्रीबाणस्य न कथंचिदपि तावच्छ्रीहर्षस्य त्रितयमिदं रूपकाणामिति नानापरंपरानुसरणशीला बम्भ्रम्यमाणाः कष्टयन्ति चेतः शिष्टानाम्। सोऽयं सर्वोऽप्यूहसमूहो न विश्वसनीयत्वकक्षामवगाहत इति सविस्तरं विमर्शितमन्यत्रास्माभिरिति नात्र परतरं प्रस्तूयते।

श्रीमान्हर्षः सर्वत्र भासकालिदासादिमहाकव्युपदिष्टपथानुसरणपरः स्वकृतिषु वैदर्भीमेव रीतिमवलम्बितवानिति स्फुटमेवावलोकयताम्। यां च रीतिं श्रीबिल्हण इत्थमुपवर्णयामास—‘“ अनभ्रवृष्टिः श्रवणामृतस्य सरस्वतीविभ्रमजन्मभूमिः। वैदर्भ-

रीतिः कृतिनामुदेति सौभाग्यलाभप्रतिभूः पदानाम्॥” इति। प्रसादश्लेषमाधुर्यादिकाव्यगुणै र्द्विगुणीकृतसरसत्वमस्य प्रबन्धत्रये सर्वतः समुल्लसतितराम्। पद्येह्यसमस्तपदप्रचुरप्रचाराद्गद्येच सरलायाः सुस्पष्टाया वाचो निबन्धनात्कविरयं भवभूत्यादिपश्चात्तनकव्यपक्षेया सुतरां संमानार्ह इति संमतमेव विपश्चिताम् ।

एतदीयप्रबन्धत्रये परस्परानुगुणगुणगणनक्रमेण रत्नावलीसमाख्या नाटिकैव शेखरीभूता यामुद्दिश्याह कुट्टनीमते श्रीदामोदरगुप्तः—“आश्लिष्टसंधिबन्धं सत्पात्रसुवर्णयोजितं सुतराम्। निपुणपरीक्षकदृष्टं राजति रत्नावलीरत्नम्॥ इति। तदपेक्षया प्रियदर्शिका अतीव न्यूनगुणा। नागानन्दं त्वस्य कवेः चरमैव कृतिर्भवेदिति तस्य शान्तरसप्रधानाद्वस्तुस्वरूपात्सुव्यक्तमेव। नाट्यदृष्ट्या गुणपर्यालोचने मध्यस्थतामारूढं च। प्रियदर्शिकाया नाटिकात्वेन चत्वार एवाङ्काः। अत्र नायकः सुविख्यातचरितसौरभो बृहत्कथादिषु वर्णितहारिवृत्तान्तो वत्सराज उदयनो नाम धीरललितः। तस्य च उज्जयिनीनृपतेर्महासेनस्य प्रद्योतेत्यपरनामधेयस्यात्मजा वासवदत्ता पत्नी यात्र देवीति शब्देन व्यवहृता। नायिका च दृढवर्मनाम्नो राज्ञो दुहिता प्रियदर्शिका यस्या अत्र आरण्यिकेतिनाम्ना व्यवहारः। सा च मुग्धा। रसोऽत्र प्रधानः शृङ्गार एवाङ्गी। इतिवृत्तं चास्या बृहत्कथावर्तिवत्सराजचरितं बन्धुमतिचरितं चोपजीव्योपनिबद्धम्। अस्यां च नाटिकायामुपवर्णितं कथावस्त्वङ्कानुक्रमतो विभक्तं सारांशरूपेण अध्येतॄणां सुखावबोधायात्रोपनिबध्यते—

** प्रथमाङ्के** तावन्नान्दीपाठानन्तरं सूत्रधारभाषणे नाटिकाया अस्या कर्तुर्नामनिर्देशादेरुपन्यासः। ततो विष्कम्भके दृढवर्मनृपतेः कञ्चुकिनः प्रवेशस्तन्मुखेन पूर्ववृत्तस्य वस्तुनः किमपि निवेदनम्। तद्यथा— अङ्गाधिपतिर्दृढ़वर्मा मत्प्रार्थ्यमानापि स्वदुहिता कथमनेन वत्सराजाय दत्तेत्ति बद्धानुशयेन वत्सराजो बन्धनान्न निवर्तते इति च लब्धरन्ध्रेण कलिङ्गराजेन सहसागत्य बलादवस्कद्य गाढप्रहारजर्जरीकृतो बन्धनं नीतः। ततश्च तस्मिन्नवस्कन्दसम्भ्रमे दिष्ट्या कथंचिद् दृष्टा तद्दुहिता प्रियदर्शिका ‘अतः परं नात्र स्थातुं युक्तं यथा— कथंचिदेतां वत्सराजायोपनीय स्वामिनमनृणं करिष्यामीति मन्वानेन तत्कुञ्चुकिनापवाह्य दृढवर्मणो मित्रभावान्वितस्याटविकस्य नृपस्य विन्ध्यकेतोर्गृहे स्थापिता। स च कञ्चुकी नातिदूरस्थमगस्त्यतीर्थं स्नानार्थं गतः। यदा स निवृत्तस्तदा तत्स्थानं कैरपि सह विन्ध्यकेतुना स्मर्तव्यतां नीतमपश्यत्। ततः स्वामिनमेव गत्वा तत्पादपरिचर्यया जीवितं सफलयिष्यामीति सोपि निर्गतः। तदनन्तरं वत्सराजविदूषकयोः प्रवेशे वत्सराजेन भृत्यादीनामात्मन्यविचला निष्टा दृष्टा वासवदत्ता च स्त्रीरत्नमासादितमिति बन्धनप्रशंसा। ततो विन्ध्यकेतोरुपरि बहून्यहानि विजयसेनस्य प्रेषितस्य न चाद्यापि कोपि तत्सकाशादागत इति चिन्तापराय राज्ञे प्रतीहारी प्रविश्य देव विजयसेनोऽमात्यश्च रुमण्वान्प्रतीहारभूमिमुपस्थिताविति न्यवेदयत्। प्रवेष्टुं लब्धाज्ञौ च तौ प्रविश्योपाविशताम्। कुशलप्रश्नानंतरं विजयसेन कथय विन्ध्यकेतोर्वृत्तान्तं विस्तरतः श्रोतुमिच्छामीति राज्ञादिष्टो विजयसेनो यथाऽतर्कितं प्रातरेवनिपततो बलस्य तुमुलकलकलेन प्रतिबुद्धः विन्ध्यकेतुः केसरीव विन्ध्यकंदरान्निर्गत्य यथासंनिहितकतिपयसहायः सन् युयुधे यथा च निःशेषितसहायI

एक एव विमर्दिताधिकबलक्रोधवेगो दारुणतरं संप्रहारं कृत्वा शत्रुबलत्रितयमाकुलं कृत्वा शस्त्रप्रहारशतजर्जरितोरुवक्षा युधि निहतस्तथा सर्वमाख्यत्। व्यज्ञपयच्च देव सबन्धुपरिवारे हते विन्ध्यकेतौ शून्यीभूते तत्स्थाने हा तात हा मातः इति कृतकृषणप्रलापा विन्ध्यकेतोर्वेश्मन्युपलब्धाभिजात्यानुरूपा कन्यका तद्दुहितेत्यस्माभिरानीता द्वारि तिष्ठति। तां प्रति देवः प्रमाणमिति। तत एतां वासवदत्तायै समर्पय। वक्तव्या च देवी भगिनीबुध्या त्वयेयं सर्वदा द्रष्टव्या विशिष्टकन्यकोचितं नृत्यगीतादि सर्व शिक्षयितव्या चेति प्रतीहारीमादिदेश। वासवदत्तापि तामरण्याल्लब्धेत्यारण्यिकाशब्देन व्यपदिष्टां स्वान्तःपुरेऽस्थापयत्। तदनन्तरं वैतालिकेनावेदितमध्याह्नसमयः स्नानार्थमुदतिष्ठन्नरपतिः। आह च रुमण्वन्तमभ्यन्तरं प्रविश्य कृतयथोचितक्रियाः सत्कृत्य विजयसेनं कलिङ्गोच्छित्तये प्रेषयाम इति।

** द्वितीयाङ्के** तावत्प्रथमं राज्ञो विदूषकेण सह प्रवेशः। तत्र गृहीतव्रतामुपवासकृशां स्वप्रियां द्रष्टुं सोत्कण्ठो वत्सराजो वयस्येन वसन्तकेन सहोत्कण्ठाविनोदनार्थं धारागृहोद्यानं जगाम। अत्रान्तरे अगस्त्याय महर्षयेऽर्घ्यं दातुकामया देव्या शेफालिकाकुसुममालां लघु गृहीत्वागच्छेत्याज्ञप्ता इन्दीवरिका नाम चेटी धारागृहोद्यानदीर्घिकायाः कमलान्यवचित्य लघ्वागच्छेत्यादिष्टया आरण्यिकया सार्धं तदेवोद्यानमागतवती। यावच्च धारागृहोद्यानश्रिया स्फुटपङ्कजकान्तिहारिण्या हंसस्वनपुष्पसौगन्ध्यादिना रम्याया दीर्घिकाया दर्शनेन चाह्लादितचित्तो नृपो वसन्तकेन सह संभाषमाणस्तिष्ठति तावदारण्यिका तत्रागता प्रत्यक्षचरीवोद्यानदेवता विदूषकेण दृष्टा। राज्ञे निवेदिता च। किंन्वियं नागकन्या भवेदाहोस्विन्मूर्ती कौमुदीत्यादि वितर्कयन्नृप इन्दीवरिकारण्यकयोर्मिथआलापात्तां विन्ध्यकेतुदुहितेति ज्ञातवान्। अभवच्च तस्यामनुरक्तचितः। तदनन्तरं कमलान्यवचिन्वती मधुकरैरायास्यमानाऽरण्यिका तन्निवारणार्थं स्वसखीमाह्वयत्। तथा तां दृष्ट्वाविदूषकोपदेशाद्राजा तूष्णीमुपससार तमवालम्बत च सखीबुद्ध्याऽरण्यिका। वत्सराजोपि तां कण्ठे जग्राह स्वोत्तरीयेण भ्रमरान्निवारयितुमारेभे च। राजानं दृष्ट्वा ससाध्वसं दूरमपसृता आरण्यका तं सस्पृहं पश्यन्ती स्वगतमाह अयं स महाराजो यस्याहं तातेन दत्ता। स्थाने खलु तातस्य पक्षपात इति। अत्रान्तरे सखीसाहाय्यार्थमागतामिन्दीवरिकां दृष्ट्वाराजा वसन्तकश्चकदलीगृहं प्रविश्य स्थितौ। निर्गते चेन्दीवरिकारण्यके। वत्सराजोप्यारण्यिकया हृतचित्तः क उपायः पुनरेतां द्रष्टुमिति चिन्तयन् परिणतप्रायं दिवसं दृष्ट्वासवयस्यो गृहाभ्यन्तरं प्रविवेश।

** तृतीयाङ्के** तावत्प्रथमं ‘हञ्जे मनोरमे यः स साङ्कृत्यायन्यार्यपुत्रस्य मम च वृत्तान्तो नाटकोपनिबद्धस्तस्य नर्तितव्यशेषमद्य युष्माभिः कौमुदीमहोत्सवे नर्तितव्यमिति देव्या वासवदत्तयाज्ञप्ताया मनोरमायाः प्रवेशः। सा च ह्यः खलु आरण्यिकया प्रियसख्या शून्यहृदययान्यथैव नर्तितमद्य पुनर्वासवदत्ताभूमिकया तया यदि तथा क्रियते ततोवश्यं देवी कुप्यति। अतस्तामन्विष्योपालप्स्य इति मनसि कृत्वा धारागृहोद्यानदीर्घिकामागतवती। अपश्यच्च तां कदलीगृहं प्रविशन्तीम्। ततस्तस्या विश्रब्धभाषणाद्वत्सनृपेनुरक्तेयमिति ज्ञात्वा तामुपसृत्य समाश्वास्य मदनसन्तप्तगात्रायास्तस्याः शिशिरोपचारेण संतापं लघुकर्तुं प्रायतत। अत्रान्तर आरण्यिकायां दृढमनुरक्तेन वत्सराजेन प्रहितो

वसन्तकस्तत्रैवाजगाम। अवर्णयच्चात्मनः सुहृद आरण्यिकायाः कृते जातां दुरवस्थां साचात्मनः सख्यास्तादृशीमवस्थां तस्मै। ततो वसन्तकेनातिलज्जालुका ते प्रियसखी तत्कथमेतयोः समागमो भविष्यतीत्युक्ता मनोरमा—अद्य रात्रावस्माभिर्भगवत्याः साङ्कृत्यायन्याः कृतिरुदयनचरितं नाम नाटकं देव्याः पुरतो नर्तितव्यम्। तत्रारण्यिका वासवदत्ता भविष्यति। अहमपि वत्सराजः। तच्चरितेनैव सर्वं शिक्षयितव्यम्। तदागत्य स्वयमेव स्वां भूमिकां कुर्वाणः समागमोत्सवमनुभवतु महाराजः। इति तस्य कर्णेऽकथयत्। वसन्तकोपि हृष्टो यावदेव युवां नेपथ्यग्रहणं कुरुथस्तावदेवाहं वयस्यं गृहीत्वागच्छामीत्युक्त्वा स्वभर्तुरन्तिकमयात्। मनोरमापि स्वसख्या सह प्रेक्षागृहमगात्। ततः प्रवृत्ते गर्भनाटके भर्तुरभिनयातिशयमसहमाना कुपिता वासवदत्ता भगवत्याधिकं कल्पितं काव्यमिति सरोषमुक्त्वा काञ्चनमालासहिता प्रेक्षागृहान्निर्गता। दृष्टश्च तया चित्रशालाद्वारे सुप्तो वसन्तकः। ततो राज्ञाप्यत्र भवितव्यमत एतं बोधयित्वा पृच्छामीति कांचमालामुक्त्वा तथा कृत्वा तमपृच्छत्। सोपि मूर्खोर्धसुप्तः सकलमेवं तन्त्रमाकुलीकृतवान्। वासवदत्तापि बध्यतामयं द्रक्ष्यामि तावदस्य प्रेक्षणीयमिति मनोरमामुक्त्वा नृत्यन्तं राजानं गत्वा आरण्यिकां च हस्तेनाकृष्य इन्दीवारिके गृहाणेमामिति दासीमादिश्य राज्ञा पादपतनेन प्रसाद्यमानापि अकृत्वैव प्रसादं गता। ततो वत्सराजोपि शयनीयं गत्वा देव्याः प्रसादनोपायं चिन्तयामीत्यभिधाय निष्क्रान्तः।

चतुर्थाङ्के प्रवेशके मनोरमा प्रथमं देव्या दीर्घरोषतां स्वसख्याया आरण्यिकायाश्च चिरबन्धनमधिकृत्यात्मन उद्वेगमाविष्करोति। ततस्तां मिलिता काञ्चनमालैवमकथमत्। अद्य देव्या स्वमात्राङ्गारवत्या प्रेषितो लेखाधिगतः। तस्मिंश्च लिखितमासीत्—तव मातृस्थाने स्थिताया मम भगिन्या भर्तुर्दृढवर्मणः समधिकं संवत्सरं कलिङ्गहतकेन बद्धस्य। तन्न युक्तमेतं वृत्तान्तं श्रुत्वापि समर्थस्य ते भर्तुरेवमौदासिन्यमवलम्बितुमिति। तद्वाचनात्प्रभृति दुर्मनायमानैव देवी तिष्ठतीति। तदनन्तरं देव्याः सह साङ्कृत्यायन्या प्रवेशः। तत्र यावत्साङ्कृत्यायनी नेदृशो वत्सराज इत्यादिवचनोपन्यासेन देवीं सान्त्वयति तावत्तस्या एव प्रसादनार्थं वत्सराजोपि तत्रोपस्थितः। ततः साङ्कृत्यायन्या अवगतदेवीवैमनस्यहेतुर्वत्सराज आह—देवि नाहमस्मिन्विषये उदासीन आसम्। अतिमहान्खलु कालः मम कलिङ्गोच्छित्तये विजयसेनं प्रेषितवतः। कतिपयान्यप्यहानि तस्माद्वार्ताया आगतायाः। अद्य श्वो वा कलिङ्गहतकं युद्धे बद्धं हतं वा श्रोष्यसीति। तच्छ्रुत्वा वासवदत्ता यावदेवात्मनः परितोषं दर्शयति तावदेव निहतकलिङ्गो दृढवर्मकञ्चुकिना विनयवसुना समेतो विजयसेनो लब्धप्रवेशानुज्ञ एत्य राजानं प्रणिपत्य स्थितः। निवेदितश्च कञ्चुकिना स्वराज्ये प्रतिष्ठापितस्य दृढवर्मणः कृतज्ञतादर्शनपूर्वः संदेशः। अत्रान्तरे मनोरमा ससंभ्रममेत्य भट्टिनि आरण्यिका कल्यमिषेणानीतं विषं पीत्वा प्राणसंशये वर्तते इति वासवदत्तायै न्यवेदयत्। ततो देव्याज्ञया तत्रानीतारण्यिका नागलोकाद् गृहीतविषविद्येन वत्सराजेन चिकित्सता लब्धासुर्बभूव। तां दृष्ट्वेयमेव चिरनष्टा मे राजपुत्री प्रियदर्शिका ते भगिनीति विनयसुर्वासवदत्ताया आचष्ट। ततः स्वभगिनीलाभेन प्रीततरा देवी वासवदत्ता राज्ञो हस्ते प्रियदर्शिकामर्पितवती वत्सराजेन च प्रीतेन परिगृहीताम्। उपसंहता चेदं नाटिका भरतवाक्येन कविना॥

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श्रीहर्षदेवविरचिता।

॥प्रियदर्शिका॥

<MISSING_FIG href=”../books_images/U-IMG-1723919556SANNSKRIT.jpg”/>

॥प्रथमोङ्कः॥

<MISSING_FIG href=”../books_images/U-IMG-1723919670SANSSKRIT.jpg”/>

धूमव्याकुलदृष्टिरिन्दुकिरणैराह्लादिताक्षी पुनः
पश्यन्ती¹⁸ वरमुत्सुकानतमुखी¹⁹ भूयो²⁰ ह्रिया ब्रह्मणः॥
सेर्ष्या पादनखेन्दुदर्पणगते गङ्गां दधाने हरे
स्पर्शादुत्पुलका करग्रहविधौ गौरी शिवायास्तु वः॥१॥

अपि च।

कैलासाद्रावुदस्ते परिचलति गणेषूल्लसत्कौतुकेषु
क्रोडं मातुः कुमारे विशति विषमुचि प्रेक्षमाणे सरोषम्।

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मौलौ पुण्यप्रवाहा सुरसरिदमला राजते यस्य वांघ्रौ
कालः कण्ठे तनौ वा त्रिभुवनभयहृयश्व भक्तार्तिहारी।
पञ्चेषुर्यस्य शत्रुर्भवति भगवतो नंदनो वातिशस्त–
स्तस्मै सर्वेश्वराय प्रणतिरतिशयानंदकंदा मेस्तु॥१॥

** **अथ तत्रभवान् महाकविः श्रीहर्षदेवः प्रियदर्शिकां नाम नाटिकां रिरचयिषुः प्रारिप्सितस्य ग्रन्थस्याविघ्नसमाप्त्यर्थं मङ्गलस्यावश्यकर्तव्यतया पूर्वरङ्गप्रधानाङ्गभूतामष्टपदांनान्दीं श्लोकद्वयेन तावदुपनिबध्नाति–धूमेति। गौरी पार्वती वः सामाजिकानां शिवाय कल्याणायास्तु। कीदृशीत्याह—करग्रहविधौ विवाहमङ्गले धूमेन हूयमानशमीपल्लवलाजादिसंपर्काद् वैवाहिकाग्निसमुत्थितेन व्याकुले दृष्टी नयने यस्याः सा तथोक्ता। पुनः इन्दुकिरणैः शिवशिरस्थचन्द्रमयूखैः आह्लादिते प्रमुदिते अक्षिणी यस्याः सा तथोक्ता। तथा च उत्सुकोत्कण्ठिता सती वरं पतिं पश्यन्ती। भूयः ब्रह्मणः पुरोधसश्चतुर्मुखात् ह्रिया लज्जया आनतमवनतं मुखं यस्यास्तादृशी। पुनश्च पादयोः नखाः पादनखा इन्दव इव पादनखेन्दवः। ते एव दर्पणानि तानि गते प्रतिफलिते गङ्गां दधाने हरे सेर्ष्या। सपत्नीदर्शनेन जातासूयेत्यर्थः। पुनश्च स्पर्शाद् हरकरस्पर्शादुत्पुलका जातरोमाञ्चा। शार्दूलविक्रीडितं वृत्तम्। तल्लक्षणं–सूर्याश्वैर्यदिमः सजौ सततगाः शार्दूलविक्रीडितम्॥इति॥१॥ विघ्नबाहुल्यशङ्कया पुनरपि मङ्गलमवतारयति–अपि चेति। कैलासेति। कैलासाद्रौ कैलासपर्वते उदस्ते रावणेनोत्क्षिप्ते परिचलति कम्पमाने सति। गणेषुप्रमथादिषु उल्लसदाविर्भवत्कौतुकं येषां तथा सत्सु। कुमारे कार्तिकेये मातुः क्रोडं भुजान्तरं विशति सति। विषमुचि शिवस्याभरणभूते सर्पे सरोषं किमिदमिति प्रेक्षमाणे।

पादावष्टम्भसीदद्वपुषि दशमुखे याति पातालमूलं
क्रुद्धोऽप्याश्लिष्टमूर्तिर्भयघनमुमया पातु तुष्टः²¹ शिवो नः॥२॥

( नान्द्यन्ते )

सूत्रधारः—(परिक्रम्य।) अद्याहं वसन्तोत्सवे सबहुमानमाहूय नानादिग्देशादागतेन राज्ञः श्रीहर्षदेवस्य पादपद्मोपजीविना राजसमूहेनोक्तः। यथास्मत्स्वामिना श्रीहर्षदेवेनापूर्ववस्तुरचनालंकृता प्रियदर्शिका नाम

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तथा च पादस्य हरचरणस्य अवष्टम्भेन निर्भरनिवेशनेन सीदत् खिद्यमानं वपुर्यस्य तस्मिन दशमुखे पातालमूलं याति सति। रावणचेष्टितेन क्रुद्धोपि भयेन घनं दृढं यथा तथा उमया आश्लिष्टमूर्तिरतः तुष्टः प्रीतः शिवः वः पातु॥ स्रग्धरा वृत्तम्। तल्लक्षणं—म्रभ्रैर्यानां त्रयेण त्रिमुनियतियुता स्रग्धरा कीर्तितेयम्। इति॥२॥ श्लोकपादस्यापि पदत्वाभ्युपगमादष्टपदेयं नान्दी। तदुक्तं नाट्यप्रदीपे—श्लोकपादः पदं केचित्सुप्तिङन्तमथापरे। परेवान्तरवाक्यैकस्वरूपं पदमूचिरे॥इति॥ नान्दीश्लोकत्वादुभयोरादौ भूदेवताको मगणः प्रयुक्तस्तेन गणशुद्धिः। उक्तं च भामहेन। क्षेमं सर्वगुरुर्दत्ते मगणो भूमिदैवतः। इति। नान्द्यां मनाक् काव्यार्थसूचनं कर्तव्यमित्युक्तत्वात्कविनापि तथा कृतम्। तथाहि प्रथमश्लोके तावत् गौरीशब्देन नायिकारण्यका धूमव्याकुलदृष्टिरित्यनेन तस्याः स्वपितुर्दृढवर्मणः कलिङ्गहतककृतविपत्तिजो विषादः इन्दुकिरणैरित्यनेन तस्याः कञ्चुकिना कृतमपवाहनं सुहृन्नृपस्य विन्ध्यकेतोराश्रयलाभाद्धर्षः पश्यन्ती वरमित्यनेन तस्याः यादृच्छिकं वत्सराजदर्शनं तदुत्पन्नं तत्समागमौत्सुक्यं ह्रिया ब्रह्मण इत्यनेन स्वानुरागस्य राज्ञ्याःपरिजनज्ञानपरिजिहीर्षया गोपनं सेर्ष्येत्यादिना गर्भनाटके मनोरमायाः स्थाने देवीविप्रलम्भपूर्वं स्वयमेव नृत्यता राज्ञा संगतामारण्यकां दृष्ट्वा देव्या असूया स्पर्शादुत्पुलका इत्यनेन नायिकायाः द्वितीयाङ्के कण्टकितं कमलकाननमित्यत्र सूचितं सपुलकत्वमित्याद्यर्थजातं सूचितम्। द्वितीयश्लोकगतेन च कैलासाद्रावित्यादिना कलिङ्गराजकृते दृढवर्मणो राज्यपरिभ्रंशः पादावष्टम्भेत्यादिना कलिङ्गनृपस्य वत्सराजसैनिकाक्रान्तविषयस्य दुर्गप्रवेशस्तद्विनाशश्च आश्लिष्टमूर्तिरित्यनेन दृढवर्मणः पुनाराज्यप्राप्त्या परितुष्टाया राज्ञ्याराज्ञो हस्ते प्रियदशिर्कासमर्पणमित्यादि प्रबन्धार्थः सूचितः॥

** नान्द्यन्त इति—**नान्दीलक्षणमादिभरते—आशीर्नमस्क्रियारूपः श्लोकः काव्यार्थसूचकः। नान्दीति कथ्यते तस्यां पदादिनियमोपि वा। नान्दीपदैर्द्वादशभिरष्टाभिर्वाप्यलंकृता॥इति। एतन्निरुक्तिर्नाट्यप्रदी—नन्दन्ति काव्यानि कवीन्द्रवर्गाः कुशीलवाः पारिषदाश्च सन्तः। यस्मादलं सज्जनसिन्धुहंसी तस्मादियं सा कथितेह नान्दी॥ इति । सूत्रं प्रयोजनानुष्ठानं धारयति सूत्रधारः। तल्लक्षणं—नाट्यस्य यदनुष्ठानं तत्सूत्रं स्यात्सवीजकम्। रङ्गदैवतपूजाकृत्सूत्रधार उदीरितः॥ असूत्रयन्गुणान्नेतुः कवेरपि च वस्तुतः। रङ्गप्रसाधनप्रौढः सूत्रधार इहोच्यते॥ इति। नाना दिशो येषां ते नानादिशः। ते च ते देशाश्च तेभ्य आगतेन। अविद्यमानं पूर्वं यस्याः सा अपूर्वा। अपूर्वा या वस्तु इतिवृत्तं तस्य रचना घटना तया अलंकृता। प्रियदर्शिका नामेति। नाटिका सट्टकादीनां

नाटिका कृतेत्यस्माभिः श्रोत्रपरंपरया श्रुतम्²²। न तु प्र²³योगतो दृष्टा। तत्तस्यैव राज्ञः सर्वजनहृदयाह्लादिनो बहुमानादस्मासु चानुग्रहबुद्धया²⁴यथावत्प्रयोगेण त्वया नाटयितव्येति। तद्यावन्नेपथ्यरचनां कृत्वा यथाभिलषितं संपादयामि। (परितोऽवलोक्य।) आवर्जितानि सामाजिकम²⁵नां सीति मे निश्चयः²⁶। कुतः।

श्रीहर्षो निपुणः कविः परिषदप्येषा गुणग्राहिणी
लोके हारि च वत्सराजचरितं नाट्ये च दक्षा वयम्।
वस्त्वेकैकमपीह वाञ्छितफलप्राप्तेः पदं किं पुन-
र्मद्भाग्योपचयादयं समुदितः सर्वो गुणानां गणः॥३॥

(नेपथ्याभिमुखमवलोक्य।) अये। कथं प्रस्तावनाभ्युद्यते मयि विदितास्मदभिप्रायोऽङ्गाधिपतेर्दृढवर्मणः कञ्चुकिनो²⁷ भूमिकां कृत्वास्मद्भातेत²⁸एवाभिवर्तते। तद्यावदहमप्यनन्त²⁹रभूमिकां संपादयामि। (इति निष्क्रान्तः।)

इति प्रस्तावना।

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नायिकाभिर्विशेषणम्। इत्युक्त्या नायिकाया नाम्ना नाटिकानिर्देशः। नेपथ्यं नाट्योचितवेषकल्पनं रङ्गभूमिर्वा तस्य रचना। नेपथ्यं स्याज्जवनिका रङ्गभूमिः प्रसाधनम्। इत्यजयः। आवर्जितानि अभिमुखीकृतानि वशीकृतानि वा। समजन्त्यस्मिञ्जना इति समाजः। अधिकरणे घञ्। समाजं समवयन्ति सामाजिकाः।‘समवायान्समवैति ’ इति ठक्।

** श्रीहर्षइति।** श्रीहर्षः कविः निपुणः रमणीयकाव्यनिर्माणकुशलः। एषा परिषदपि गुणग्राहिणी। लोके वत्सराज उदयनः तस्य चरितं हारि मनोहरम्। वयं च नाट्ये अभिनयेनावस्थानुकृतौ दक्षा निष्णाताः। इह नाटिकाप्रयोगविषये उक्तेषु गुणेषु वा। एकैकमपि वस्तु वाञ्छितफलस्याभीष्टार्थसिद्धेः पदम्। किं पुनः मद्भाग्यस्योपचायत्प्रकर्षात्समुदितः अयं गुणानां गणः फलप्राप्तेः पदं स्यादिति वक्तव्यमित्यर्थः। शार्दूलविक्रीडितं वृत्तम्॥३॥ अद्याहमित्यारभ्य भारतीवृत्तिः। भारती संस्कृतप्रायो वाग्व्यापारो नटाश्रयः। इत्युक्तलक्षणा। तस्याश्चत्वारि अङ्गानि। प्ररोचना वीथी प्रहसनं प्रस्तावना चेति। तत्र प्ररोचनेयम्। काव्यार्थापत्तिरलंकारः। प्रस्तावनाभ्युद्यते प्रस्तावनां प्रयुञ्जाने। कञ्चुकिनः**—अन्तःपुरचरो राज्ञां वृद्धो विप्रो गुणान्वितः। सर्वकार्यार्थकुशलः कञ्चुकीत्यभिधीयते॥ मातृगुप्ताचार्या अपि आहुः—ये नित्यं सत्यसम्पन्ना कामदोषविवर्जिताः। ज्ञानविज्ञानकुशलाः कञ्चुकीयास्तु ते स्मृताः॥ इति। भूमिका वेषग्रहणम्। प्रस्तावना—**एतल्लक्षणं-नटी विदूषको वापि पारिपार्श्वक एव वा। सूत्रधारेणसंहिताः संलापं यत्र कुर्वते। चित्रैर्वाक्यैः स्वकार्योत्थैः प्रस्तुताक्षेपिभिर्मिथः। आमुखं तत्तु विज्ञेयं नाम्ना प्रस्तावनापि सा॥ इति॥ अत्र कर्तुमिष्टापि प्रस्तावना न कृता।

`प्रथमोङ्क।
<MISSING_FIG href=”../books_images/U-IMG-1723612487Capture.JPG”/>
(ततः प्रविशति कञ्चुकी।)

कञ्चुकी—(संशोकश्रमं³⁰ नाटयन्। निःश्वस्य।) कष्टं भोः कष्टम्।

राज्ञो विपद्बन्धुवियोगदुःखं देशच्युतिर्दुर्गममार्गखेदः।
आस्वाद्यतेऽस्याः कटुनिष्फलायाः फलं मयैतच्चिरजीवितायाः॥४॥

(सशोकं³¹ सविस्मयं च।) तादृशस्यापि नामाप्रतिहतशक्तित्रयस्य रघुदिलीपनलतु³²ल्यस्य देवस्य दृढवर्मणो मत्प्र³³र्थ्यमानाप्यनेन स्वदुहिता वत्सराजाय³⁴दत्तेति बद्धानुशयेन वत्सराजो³⁵ बन्धनान्न निवर्तत इति च लब्धरन्ध्रेण सहसागत्य कलिङ्गहतकेन विपत्तिरीदृशी क्रियत इति यत्सत्यमुपपन्नमपि न श्रद्दधे। कथमेकान्तनिष्ठुरमीदृशं च दैवमस्मासु। येन सापि राजपुत्री यथाकथंचिदेनां वत्सराजायोपनीय स्वामिनमनृणं करिष्यामीति मत्वा मया तादृशादपि प्रलयकालदारुणादवस्कन्दसंभ्रमादपवाह्य देवस्य दृढवर्मणो मित्रभावान्वि³⁶तस्यैवाटविकस्य नृपतेर्विन्ध्यकेतोर्गृहे स्थापिता सती स्नानाय नातिदूरमित्यगस्त्यतीर्थं गते मयि क्षणात्कैरपि निपत्य हते विन्ध्यकेतौ रक्षोंभिरिव निर्मानुषीकृते दग्धे स्थाने न³⁷ ज्ञायते कस्यामवस्थायां वर्तत इति। निपुणं च विचितमेतन्मया सर्वं स्थानम्। न च ज्ञातं किं तैरेव दस्युभिर्नीताथवा³⁸दग्धेति। तत्किं करोमि मन्दभाग्यः। (विचिन्त्य।) अये। श्रुतं³⁹ मया बन्धनात्परिभ्रष्टः प्रद्योततनयामपहृत्य वत्सराजः कौशाम्बीमागत इति।
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तामन्तरेणापि कञ्चुकिप्रवेशसूचनात्। अतः प्ररोचनैवेयमिति बोध्यम्। राज्ञ इति। राज्ञः मत्स्वामिनो दृढवर्मणः विपत्। बन्धूनां वियोगस्तेन दुःखम्। देशात् च्युतिःप्रभ्रंशः। दुर्गमे दुस्संचरे मार्गे मार्गगमनेनेत्यर्थः। खेदः श्रमः। कटुः दुर्विपाका रूक्षा वा निष्कला च या चिरजीविता दीर्घायुस्त्वं तस्या एतत्फलं मया आस्वा द्यते॥ उपजातिर्वृत्तम्॥४॥ अप्रतिहतमकुण्ठितं शक्तित्रयं यस्य तस्य। प्रभुशक्तिः उत्साहशक्तिः मन्त्रशक्तिश्चेति शक्तित्रयम्। बद्धः अनुशयः दीर्घद्वेषो येन। अनृणमविद्यमानं ऋणं यस्य तथाविधम्। तदिच्छामनुवर्त्यत्यर्थः। अवस्कंदोभियोगस्तस्य संभ्रमात्संरम्भात्। अटव्यां भव आटविकस्तस्य। विचितमन्विष्टम्। दस्युभिश्चौरैः। प्रद्योतः उज्जयिनीनायकः महासेनः। मगधेश्वर इति कथासरित्सागरे। कौशाम्बीमात्मनो

किं तत्रैव गच्छामि। (निःश्वस्यात्मनोऽवस्थां पश्यन्।) किमिव⁴⁰हि राजपुत्र्या विना तत्र गत्वा कथयिष्यामि। अये। कथितं चाद्य मम विन्ध्यकेतुना—“मा भैषीः। जीवति तत्रभवान्महाराजो दृढवर्मा गाढ⁴¹प्रहारजर्जरीकृतो बद्धस्तिष्ठति। “इति। तदधुना स्वामिनमेव गत्वा पाद⁴²परिचर्यया जीवितशेषमात्मनः सफलयिष्यामि।(परिक्रम्योर्ध्वमवलोक्य।) अहो अतिदारुणता शरदातपस्य। यदेवमनेकदुःखसंतापितेनापि मया तीक्ष्णो⁴³ऽवगम्यते।

घनबन्धनमुक्तोऽयं कन्याग्रहणात्परं⁴⁴ तुलां प्राप्य।
रविरधिगतस्वधामा प्रतपति खलु वत्सराज इव॥५॥

(इति निष्क्रान्तः।)
इति विष्कम्भकः।
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(ततः प्रविशति राजा विदूषकश्च।)

** राजा—**

भृत्यानामविकारिता परिगता दृष्टा मतिर्मन्त्रिणां
मित्राण्यप्युपलक्षितानि विदितः पौरानुरागोऽधिकम्।
निर्व्यूढा रणसाहसव्यसनिता स्त्रीरत्नमासादितं
निर्व्याजादिव धर्मतः किमिव न प्राप्तं मया बन्धनात्॥६॥

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नगरीम्। कुशाम्ब्रेन राज्ञा निर्मिता कौशाम्बी। जर्जरीकृतं विह्वलतामापादितम्। घनबन्धनेति। घनानां मेघानां बन्धनमुपरोधस्तस्मान्मुक्तः पक्षे घनं दृढं यत्प्रद्योतनृपकृतं बन्धनं तस्मान्मुक्तः कन्यायास्तदाख्यराशेः ग्रहणात्प्रवेशात्परमनन्तरं तुलां तुलाराशिं प्राप्य। पक्षे कन्यायाः प्रद्योततनयाया वासवदत्ताया ग्रहणात्परमूर्ध्वे तुलामुत्कर्षे प्राप्य। अयं रविः। अधिगतं स्वधाम स्ववेश्म कौशाम्बीति यावत्। स वत्सराज इव प्रतपति नितरां दहति। पक्षे प्रतापवान्भवति। श्लिष्टोपमा। पथ्यार्यावृत्तम्॥५॥ विष्कम्भकः। वृत्तवर्तिष्यमाणानां कथांशानां निदर्शकः। संक्षेपार्थस्तुविष्कम्भो मध्यपात्रप्रयोजितः। एकानेककृतः शुद्धः संकीर्णो नीचमध्यमैः॥ इति तल्लक्षणं दशरूपके। शुद्धः केवलमध्यमैः। पात्रैः प्रयोगो भाषैक्यात्संकीर्णो नीचमध्यमैः॥ आदौ विष्कम्भकं कुर्यान्नाटकेषु महाकविः। अपेक्षितं परित्यज्य नीरसं वस्तुविस्तरम्। इत्याद्यन्यत्र च। भृत्यानामिति। भृत्यानामविकारिता विकृतत्वाभावः। स्वामिभक्तिरिति यावत्। परिगता ज्ञाता। मन्त्रिणां मतिः प्रज्ञा दृष्टा । मित्राणि उपलक्षितानि यथार्थतया ज्ञातानि । पौराणां मयि अनुरागोपि अधिकं यथा तथा विदितः। रणे साहसं तत्र व्यसनितासक्तिर्निर्व्यूढा अनुष्टिता। स्त्रीरत्नं वासवदत्तारूपमासादितम्। निर्व्याजान्निष्कपटत्वेन फलाभिसन्धिराहित्येन वा अनुष्ठितात् धर्मत इव बन्धनान्मया किमिव न प्राप्तम्। सर्वमपि प्राप्तमित्यर्थः। शार्दूलविक्रीडितं वृत्तम्॥ लक्षणमुक्तम्॥६॥

विदूषकः—(सरोषम्।) भो वयस्य। कथं तमेव दास्याः पुत्रं⁴⁵.”) बंन्धनहतकं प्रशंससि। तदिदानीं विस्मृतम्⁴⁶ विस्मर (विसुमेराह )")।यत्तथा नवग्रह इव गजपतिः⁴⁷.")खलखलायमानलोहशृङ्खलाबन्धप्रतिस्खलच्चरणः शून्यमुख⁴⁸")पुष्करपिशुनितद्धृदयसंतापो रोषवशोत्तम्भितदृष्टिर्गुरु⁴⁹.")ककरस्फोटितधरणिमार्गोरजनीष्वप्यनिद्रासुखमनुभूतोसि⁵⁰; निद्रासुखं न प्राप्नोषि ( निद्दासुहं ण पावेसि ).")। (भो वअस्स। कहं तं एव्व दासीए उत्तं बन्धणहदअंपसंसेसि। तं दाणिं विसुमरिदं। जं तह णवग्गहो विअ गअवई खलखलाअमाणलोहसिङ्खलाबन्धपडिक्खलन्तचलणो सुण्णदुक्खरपिसुणिदहिअअसंदावो रोसवसुत्तम्भिददिठ्ठी गुरुअकरफोडिअधरणिमग्गो रअणीसु वि अणिद्दासुहं अणुहूदोसि।)

राजा—वसन्तक दुर्जनः खल्वसि। पश्य।

दृष्टं चारक⁵¹मन्धकारगहनं नो तन्मुखेन्दुयुतिः।
पीडा ते निगलस्वनेन मधुरास्तस्या गिरो न श्रुताः।
क्रूरा बन्धनरक्षिणोऽद्य मनसि स्निग्धाः कटाक्षा न ते
दोषान्पश्यसि बन्धनस्य न पुनः प्रद्योतपुत्र्या गुणान्॥७॥

विदूषकः—(सगर्वम्।) भोः। यदि तावद्बन्धनं⁵²”) सुखनिबन्धनं भवति।

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**विदूषकः—**नायकसहायान्यतमः। तल्लक्षणम्—कुसुमवसन्ताद्यभिधः कर्मवपुर्वेषभाषाद्यैः। हास्यकरः कलहरतिर्विदूषकः स्यात्स्वकर्मज्ञः॥ इति। विस्मृतं किमिति काकुः। नैतद्विस्मर्तुंशक्यमिति भावः। खलखलायमानः तथाशब्दं कुर्वन् यः लोहशृङ्खलाबन्धस्तेनपरिस्खलन्तौ चरणौ यस्य सः। उभयत्र समानम्। शून्यं यन्मुखपुष्करं मुखकमलं तेन पिशुनितः सूचितो हृदयसन्तापो येन। पक्षे मुखपुष्करं शुण्डाग्रम्। रोषवशेन क्रोधाधीनत्वात्क्रोधावेशेनेति यावत्। उत्तम्भिता दृष्टिर्येन सः। गुरुकः पृथुर्यः करो हस्तः शुण्डा च तेन स्फोटितो धरणिमार्गोयेन। दृष्टमिति। अन्धकारेण गहनं निबिडं चारकं कारागृहं त्वया दृष्टम्। मनसिकृतमित्यर्थ। ‘चारकं वन्धनालयः’ इति वैजयन्ती। तस्याः वासवदत्तायाः मुखेन्दुद्युतिः वदनचन्द्रकान्तिः नो न दृष्टा। निगडस्वनेन शृङ्खलाशब्देन ते पीडा। मधुरास्तस्या गिरः भाषणानि न श्रुताः। अद्य क्रूरा बन्धनरक्षिणः कारागृहरक्षकाः तव मनसि स्थिताः। न ते तादृशाः स्निग्धाः स्नेहपूर्णाः कटाक्षा नयनप्रान्तविलोकितानि मनसि स्थिता गोचरीभूताः। एवं बन्धनस्य दोषान् पश्यसि न पुनः प्रद्योतपुत्र्याः वासवदत्तायाः गुणान् पश्यसि। अवधारयसीत्यर्थः। बहुगुणसमुदाये अल्पदोषा मज्जन्तीति भावः। शार्दूलविक्रीडितं वृत्तम् । लक्षणमुक्तपूर्वम् ॥७॥

तत्कस्मात्त्वं दृढवमा बद्ध इति कलिङ्गराजस्योपरि रोषं बध्नासि⁵³")। (भो। जइ दाव बन्धणं सुहणिबन्धणं होइ ता कीस तुमं दिढवम्मा बद्धोत्ति कलिङ्गरण्णो उवरि रोसं बन्धेसि।)

राजा—(विहस्य।) धिङ्मूर्ख। न खलु सर्वो वत्सराजो य एवं वासवदत्तामवाप्य बन्धनान्निर्यास्यति। तदास्तां तावदियं कथा। विन्ध्यकेतोरुपरि बहून्यहानि⁵⁴ विजयसेनस्य प्रेषितस्य। न चाद्यापि तत्सकाशात्कश्चिदागतः। तदाहूयतां⁵⁵ तावदमात्यो रुमण्वान्। तेन सह किंचिदालपितुमिच्छामि।

( प्रविश्य।)

प्रतीहारी—जयतु जयतु देवः। एष खलु विजयसेनोऽमात्यो रूमण्वानपि प्रतीहारभूमिमुपस्थितौ। (जेदु जेदु देव्वो। एसो क्खु विजअसेणो अमच्चो रुमण्णो वि पडिहारभूमिं उवठ्ठिओ।)

राजा—त्वरितं प्रवेशय तौ।

प्रतीहारी—यद्देव आज्ञापयति। (जं देवो आणवेदि।) (इतिनिष्क्रान्ता।)

(ततः प्रविशति रुमण्वान्विजयसेनश्च)

रुमण्वान्—(विचिन्त्य।)

तत्क्षणमपि निष्क्रान्ताः कृतदोषा इव विनापि दोषेण।
प्रविशन्ति शङ्कमाना राजकुलं प्रायशो भृत्याः॥८॥

(उपसृत्य।) जयतु देवः।

राजा—(आसनं निर्दिश्य।) रुमण्वन्। इत आस्यताम्।

रुमण्वान्—(सस्मितमुपविश्य।) एष खलु जितविन्ध्यकेतुर्विजयसेनः⁵⁶ प्रणमति।

(विजयसेनस्तथा करोति।)

राजा—(सादरं परिष्वज्य।) अपि कुशली भवान्।

विजयसेनः—अद्य स्वामिनः प्रसादात्।

राजा—विजयसेन उपविश्यताम्⁵⁷।

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सुखनिबन्धनं सुखहेतु। तत्क्षणमिति। भृत्या राजसेवकाः तत्क्षणं तस्मिन्नेव क्षणे नृपतिपार्श्वान्निष्कान्ता निर्गता अपि दोषेण विनापि कृतदोषाः कृतापराधा इव शङ्कमाना सभयाः राजकुलं प्रविशन्ति। स्वभावोक्तिः। आर्या छन्दः॥८॥

(विजयसेन उपविशति।)

** राजा—**विजयसेन कथय विन्ध्यकेतोर्वृत्तान्तम्।

** विजयसेनः—**देव किमपरं कथयामि। यादृशः स्वामिनि कुपिते।

** राजा—**तथापि विस्तरतः श्रोतुमिच्छामि।

**विजयसेनः—**देव श्रूयताम्। इतो वयं देवपादादेशाद्यथादिष्टेन करितुरगपदातिसैन्येन महान्तमप्यध्वानं दिवसत्रयेणोल्लङ्घय प्रभातवेलायामतर्किता एव विन्ध्यकेतोरुपरि निपतिताः स्मः।

** राजा—** ततस्ततः।

**विजयसेनः—**ततः सोऽप्यस्मद्वलतु⁵⁸मुलकलकलाकर्णनेन प्रतिबुद्धः केसरीव विन्ध्यकन्दरान्निर्गत्य विन्ध्यकेतुरनपेक्षितबलवाहनो यथासंनिहितकतिपयसहायः सहसास्व⁵⁹नामोद्घोषयन्नस्मानभि⁶⁰योद्धुं प्रवृत्तः।

राजा—(रुमण्वन्तमवलोक्य सस्मितम्।) शोभितं विन्ध्यकेतुना। ततस्ततः।

**विजयसेनः—**ततोऽस्माभिरयमसाविति द्विगुण⁶¹तरबद्धमत्सरोत्साहैर्महता विमर्देन निःशेषितसहाय एक एव विमर्दिताधिकवलक्रोधवेगो दारुणतरं संप्रहारमकरोत्।

**राजा—**साधु विन्ध्यकेतो। साधु साधु।

**विजयसेनः—**किं वा वर्ण्यते देव। संक्षेपतो विज्ञापयामि।

पादातं पत्तिरेव प्रथमतरमुरःपेषमा⁶²त्रेण पिष्ट्वा
दूरान्नी⁶³त्वा शरौघैर्हरिणकुलमिव त्रस्तमश्वीयमाशाः।

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यादृश इति अतिदारुण इत्यर्थः। पादाभ्यां शत्रोः पुरो युद्धार्थमतति यातीति पदातिः। तुमुलः रणसंकुलः। कन्दरात् गुहायाः। अनवेक्षितं बलं सेना वाहनानि करितुरगरथादीनि येन। यथा संनिहिताः कतिपये सहाया यस्य सः। शोभितं शोभनं कृतमित्यर्थः। भावे क्तः। अतिशयेन द्वौ गुणौ यस्मिन्स द्विगुणतरः। यस्मिन्कर्मणि तद्यथा तथा इति वा। तथा बद्धो मत्सर उत्साहश्च यैस्ते तथोक्ताः तैः। विमर्दः कदनं नाशो वा। विमर्दितेन स्वसहायानां विमर्दनेन अधिको वृद्धिं गतो बलस्य क्रोधस्य च वेगो यस्य स तथा। संप्रहारं युद्धम्। पादातमिति। स विन्ध्यकेतुः पत्तिः पदातिः एव सन् प्रथमतरमुरसा स्ववक्षसा यःपेषः मर्दनं तन्मात्रेण एव पादातं पदातिसमूहम्। ‘भिक्षादिभ्योऽण्’ इत्यण्। पिष्ट्वा संचूर्ण्य। शरौघैः शरसमूहैः त्रस्तं हरिणकुलमिव अश्वीयमस्मदश्वसमूहम्। ‘केशाश्वाभ्यां यञ्छावन्यतरस्याम्’ इति छः। दूराद्दूरमाशा दिशो नीत्वा। दूरं विद्राव्येत्यर्थः। सर्वत्र

सर्वत्रोत्सृष्टसर्वप्रहरणनिवहस्तूर्णमुत्खाय खङ्गं
पश्चात्कर्तुं प्रवृत्तः करिकरकदली काननच्छेदलीलाम्॥९॥

एवं बलत्रितयमाकुलमेक एव
कुर्वन्कृपाणकिरण⁶⁴च्छुरितांसकूटः।
शस्त्रप्रहारशतजर्ज⁶⁵रितोरुवक्षाः
श्रान्तश्चिराद्विनिहतो युधि विन्ध्यकेतुः॥१०॥

** राजा**—रुमण्वन्। सत्पुरुषोचितं मार्गमनुगच्छतो यत्सत्यं व्रीडिताएव⁶⁶ वयं विन्ध्यकेतोर्मरणेन।

** रुमण्वान्—**देव त्वद्विधानामेवं गुणैकपक्षपातिनां रिपोरपि गुणाः प्रीतिं जनयन्ति।

** राजा—**विजयसेन अप्यस्ति विन्ध्यकेतोरपत्यं यत्रास्य परितोषस्य फलं दर्शयामि।

**विजयसेनः—देव इदमपि विज्ञापयामि। एवं सबन्धुपरिवारे हते विन्ध्यकेतौ तमनुसृतासु सहधर्मचारिणीषु विन्ध्यशिखराश्रितेषु जनपदेषु⁶⁷ शून्यीभूते तत्स्थाने “हा तात हा मातः⁶⁸” इति कृतकृपणप्रलापा विन्ध्यकेतोर्वेश्मन्यभि⁶⁹जात्यानुरूपा कन्यका तद्दुहितेत्यस्माभिरानीता द्वारि तिष्ठति। तां प्रति देवः प्रमाणम्।
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सर्वासु दिक्षु उत्सृष्टोः मुक्तः सर्वेषां प्रहरणानामायुधानां निवहः समूहो येन स तथोक्तः। तूर्णं शीघ्रं खड्गमुत्खाय कोशादाकृष्य। उत्पुर्वात्खनतेर्त्यप्। पश्चात्तदनन्तरं करिणां कराः शुण्डा एव कदल्यस्तासां काननं तस्य छेदस्य लीलां केलिम्। अनायासेन खण्डनमिति यावत्। कर्तुं प्रवृत्तः। स्रग्धरावृत्तम्। लक्षणमुक्तम्॥९॥
एवमिति। एवमेक एव बलत्रितयं त्रिविधं करितुरगपदातिरूपं सैन्यमाकुलं व्याकुलं कुर्वन्। कृपाणस्य खड्गस्य किरणैः छुरितो रूषितः अंसकूटोंऽसशिखरदेशो यस्य स तथोक्तः। शस्त्राणां प्रहारशतेन जर्जरितं विभिन्नमुरु विशालं वक्षो यस्य स तादृशः। चिराच्छ्रान्तः विन्ध्यकेतुः युधि विनिहतः। उदात्तालंकारः। वसन्ततिलका छन्दः। उक्ता वसन्ततिलका तभजा जगौगः। इति तल्लक्षणम्॥१०॥ सत्पुरुषोचितांतदुक्तं—**द्वाविमौ पुरुषौ लोके स्वर्गमण्डलभेदिनौ। परिव्राड् योगयुक्तश्च रणे चाभिमुखो हतः॥ इति। व्रीडिता लजां प्राप्ताः। एकस्य बहुभिर्घातादित्याशयः। बन्धवश्च परिवारश्च तैः सहितः सबन्धुपरिवारः तस्मिन्। सहधर्मचारिणीषु तत्पत्नीषु। कृतः कृपणः दीनः प्रलाप आर्तरवो यया सा। आभिजात्यं कुलीनता तस्यानुरूपा। देवः प्रमाणं

** राजा**—यशोधरे गच्छ⁷⁰। त्वमेव वासवदत्तायाः समर्पय। वक्तव्या च देवी। भगिनीबुद्ध्या त्वयैव सर्वदा द्रष्टव्या। गीतनृत्तवाद्यादिषु विशिष्टकन्यकोचितं सर्वं शिक्षयितव्या। यदा वरयोग्या भविष्यति तदा मां⁷¹स्मारयेति।

** प्रतीहारी**—यद्देवआज्ञापयति। (जं देवो आणवेदि।) (इति निष्क्रान्ता।)

(नेपथ्ये वैतालिकः।)

लीलामज्जनमङ्गलोपकरणस्नानीयसम्पादिनः
सर्वान्तःपुरवारविभ्रमवतीलोकस्य ते संप्रति।
आयासस्खलदंशुकाव्य⁷²वहितच्छायावदातैः स्तनै-
रुत्क्षिप्तापरशातकुम्भकलशेवालंकृता स्नानभूः॥११॥

** राजा**—( ऊर्ध्वमवलोक्य।) अये कथं नभोमध्यमध्यास्ते भगवान्सहस्रदीधितिः। संप्रति हि।

आमात्यर्कांशुतापक्कथदिव शफरोद्वर्तनैदीर्घिकाम्भ-
श्छत्राभं नृत्तलीलाशिथिलमपि शिखी बर्हभारं तनोति ।

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यथाकर्तव्यनिर्णये इत्यर्थः। विशिष्टकन्यकोत्तमकुलप्रसूता कन्या।वैतालिक इति। विविधेन तालेन चरतीति वैतालिकः बोधकरः। चरति इति ठक्। विविधतालः प्रयोजनमस्य इति वा ठञ्। एतल्लक्षणं भावप्रकाशे—तत्तत्प्रहरकयोग्यै रागैस्तत्कालवाचिकैः श्लोकैः। सरभसमेव वितालं गायन् वैतालिको भवति॥इति। **लीलेति। **ते तव स्नानभूः लीलया सविलासं यन्मज्जनं स्नानं तदेव मङ्गलं तस्य उपकरणानि यानि स्नानीयानि स्नानोपयुक्तगन्धचूर्णादीनि तानि सम्पादयितुं शीलमस्येति तस्य। सर्वो योऽन्तःपुरसम्बन्धी वारविभ्रमवतीलोकः वाराङ्गनाजनस्तस्य। आयासेन श्रमेण स्खलद् यदंशुकं स्तनोत्तरीयं तेन अव्यवहिता अनाच्छन्ना या छाया कान्तिः तया अवदातैः गौरत्वेन भासमानैः। छाया येषां ते तथा अवदाताश्च तैरिति वा। स्तनैः। उत्क्षिप्ता अपरे शातकुम्भस्य सुवर्णस्य कलशा यस्यां सा तथेव। सम्प्रति अलंकृता। उत्प्रेक्षालंकारः। शार्दूलविक्रीडितं वृत्तम्। लक्षणमुक्तं प्राक्॥११॥
**आभातीति।**दीर्घिकाया उद्यानवाप्या जलं शफराणां मत्स्यविशेषाणामुद्वर्तनैरुत्प्लवनैः। अर्काांशुतापेन सूर्यकिरणोष्मणा क्वथदिवाभाति। शिखी मयूरः। नृत्तलीलया शिथिलं विस्रस्तं। नृत्तलीलायां सूर्यतापात् शिथिलमिति वा। बर्हभारंपिच्छसमूहं

छायाचक्रं तरूणां हरिणशिशुरूपैत्यालवालाम्बुलुब्धः
सद्यस्त्यक्त्वा कपोलं विशति मधुकरः कर्णपालीं गजस्य॥१२॥

रुमण्वन्। उत्तिष्ठोत्तिष्ठ। प्रविश्याभ्यन्तरमेव कृतयथोचितक्रियाः सत्कृत्य विजयसेनं कलिङ्गो⁷³च्छित्तये प्रेषयामः।

( इति निष्क्रान्ताः सर्वे । )

इति प्रथमोऽङ्कः॥

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॥ द्वितीयोऽङ्कः ॥

<MISSING_FIG href=”../books_images/U-IMG-1723546373Capture14.JPG”/>

( ततः प्रविशति विदूषकः । )

विदूषकः—ननु भणितोऽस्मीन्दीवरिकया यथा-आर्य उपवासनियमस्थिता देवी वासवदत्ता स्वस्तिवाचननिमित्तं शब्दायेतेति⁷⁴। तद्यावद्धारागृहोद्यानदीर्घिकायां स्नात्वा देवीपार्श्वं गत्वा कुक्कुटवादं करिष्यामि। अन्यथा कथमस्माभिः सदृशा ब्राह्मणा राजकुले प्रतिग्रहं कुर्वन्ति। (नेपथ्याभिमुखमवलोक्य) कथमेष प्रियवयस्योऽद्य देव्या विरहोत्कण्ठाविनोदननिमित्तं धारागृहोद्यानमेव प्रस्थितः। तद्यावद्वयस्येन सहैव गत्वा यथोदितमनुष्ठास्यामि⁷⁵")। (णं भणिदोह्मिइन्दीवरिआए जह अज्ज उववासणिअमट्ठिआदेवी वासवदत्ता सोत्थिवाअणणिमित्तं सद्दावेदित्ति। ता जाव धाराघरुनाणदिग्धिआए ण्हाइअ देवीपासं गदुअ कुक्कुटवादं करिस्सं। अण्णहा कहं अह्माणं सरिसा ब्रह्मणा राअकुले पडिग्गहं करेन्ति। कहं एसो पिअवअस्सो अज्ज देवीए विरहुक्कण्ठविणोदणाणिमित्तं धाराघरुज्ञाणं एव्व पत्थिदो। ता जाव वअस्सेण सह एव्व गदुअ जहोदिदं अणुचिस्सिं।)

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छत्राभमातपत्रवत् तनोति विस्तारयति। हरिणशिशुः आ समन्तात् ल्वान् जलल्वान् आलातीत्यालवालम्। तस्मिन् यदम्बु तत्र लुब्धः सन् तरूणां छायाचक्रमुपैति। मधुकरश्च गजस्य कपोलं सद्यः त्यक्त्वा कर्णपाली श्रोत्रपुटं विशति। छायार्थमित्यर्थः स्वभावोक्तिः। खग्धरा वृत्तम्॥१२॥

ततः प्रविशतीति। स्वस्तिवायनं स्वस्तिवाचनार्थे व्रतोपायनम्। शब्दायेत आह्वयेदित्यर्थः। कुक्कुटवादं दम्भार्थं वेदमजानन्नपि उच्चैः पठनम्। कुक्कुटोनृतवादः स्यात् इति मेदिनी। उत्कण्ठा अभिलाषपूर्वा स्मृतिः। सर्वेन्द्रियसुखास्वादो यत्रास्तीत्यभिमन्यते। तत्प्राप्तीच्छां ससङ्कल्पामुत्कण्ठां कवयो विदुः॥ इति तल्लक्षणम्। तस्या विनोदनमपनयनम्। धारागृहं धारायन्त्रोपेतं गृहं धारागृहं धारागृहयुक्तमुद्यानं धारागृहोद्यानम्।

(ततः प्रविशति सोत्कण्ठो राजा।)

** राजा—**

क्षामां मङ्गलमात्रमण्डनभृतं मन्दोद्यमा⁷⁶लापिनी-
मापाण्डुच्छविना मुखेन विजितप्रातस्तनेन्दुद्युतिम्।
सोत्कण्ठां नियमोपवासविधिना चेतो ममोत्कण्ठते
तां द्रष्टुं प्रथमा⁷⁷नुरागजनितावस्थामिवाद्य प्रियाम्॥१॥

** विदूषकः—**(उपसृत्य।) स्वस्तिभवते। वर्धतां भगवान्। (सोत्थि हो। वडुदु भवं।)

** राजा**—(विलोक्य।) वसन्तक। कस्मात्प्रहृष्ट इव लक्ष्यसे।

** विदूषकः** —अर्चति खलु देवी ब्राह्मणम्। (अच्चदिक्खु देवी बहाणं)

** राजा** —यद्येवं ततः किम्।

विदूषकः—(सगर्वम्।) भोः।ईदृशः खलु ब्राह्मणः। यश्वतुर्वेदपञ्चवेदपड्डेदब्राह्मणसहस्रपर्याकुले राजकुले प्रथममहमेव⁷⁸ देवीसकाशा त्स्वस्तिवायनं⁷⁹ लभे। (भो।ईरिसो क्खु बह्मणो। जो चउव्वेदपञ्चवेदछवेद बम्हणसहस्सपज्जाउले राअउले पुढमं अहं एव्त्र देवीसआसादो सोत्थिवाआणं लहेभि)

** राजा—**(विहस्य।)वेदसंख्ययैवावेदितं ब्राह्मण्यम्। तदागच्छंमहाब्राह्मण। धारा⁸⁰गृहोद्यानमेव गच्छाव।

** विदूषकः**—यदेव आज्ञापयति। ( जं देवो आणवेदि । )

** राजा**—गच्छाग्रतः।

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क्षामामिति। नियमार्थं व्रतार्थमुपवासः तस्य विधिरनुष्ठानं तेन हेतुना क्षामांकृशाम्। मङ्गलानि कण्ठसूत्रनासामणिताटङ्कादीन्येव मङ्गलमात्राणि मण्डनानि विभर्तीति ताम्। मन्दं यथा तथा उद्यमेन प्रयत्नेनालपतीति तथा ताम्। आपाण्डुः छविः कान्तिर्यस्य तेनापाण्डुना मुखेन विजिता प्रातस्तनस्येन्दोद्युतिर्यया ताम्। सोत्कण्ठां च। अत एव प्रथमानुरागेण जनिता अवस्था कृशत्वादिलक्षणा यस्यास्तामिव तां तथानुरागिणीं प्रियामद्य द्रष्टुं मम चेतः उत्कण्ठते उत्सुकं भवति। उपमास्वभावोक्त्योः संसृष्टिरलंकारः। शार्दूलविक्रीडितं वृत्तम्॥१॥ चत्वारो वेदा येषां ते चतुर्वेदाः। एवमन्यत्र। पञ्चवेदेत्यादिः परिहासार्थमुक्तिः। महाब्राह्मणेति उपहासार्थम्। अत्र महच्छदो निन्दापरः। तदुक्तं—शंखे तैले तथा मांसे वैद्ये ज्यौतिषके द्विजे। यात्रायां पथि निद्रायां महच्छब्दो न दीयते॥ इति।

विदूषकः—भो एहि गच्छावः। (परिक्रम्यावलोक्य च।) भो वयस्य पश्य पश्य। अविरतपतद्विविधकुसुमसुकुमारशिलातलोत्सङ्गस्य परिमलनिलीनमधुकरभरभग्नवकुलमालतीलताजालकस्य कमलगन्धग्रहणो⁸¹. “)द्दाममारुतपर्यव⁸². “)बुद्धबन्धूकबन्धनस्याविरलतमालतरुपिहितातपप्रकाशस्यास्य धारागृहोद्यानस्य सश्रीकताम्। (भो एहि गच्छा। भो वअस्स पेक्ख पेक्ख। अविरदपडन्तविविहकुसुमसुउमालसिलाअलुच्छङ्गस्स परिमलणिलीणमहुअरभरभग्गबउलमालदीलदाजालअस्स कमलगन्धगहणुद्दाममारुदपर्जवबुद्धबन्धूअबन्धणस्स अविरलतमालत रुपिहिदातपप्पआसस्स अस्स धाराघरुजाणस्स सस्सरीअअं।)

** राजा—** वयस्य साध्वभिहितम्। अत्र हि।

वृन्तैः क्षुद्रप्रवालस्थगितमिव तलं भाति शेफालिकानां
गन्धः सप्तच्छदानां सपदि गजमदामोदमोहं करोति ।
एते चोन्निद्रपद्मच्युतबहल⁸³रजःपुञ्ज⁸⁴पिङ्गाङ्गरागा
गायन्त्यव्यक्तवाचः किमपि मधुलिहो वारुणीपानमत्ताः॥२॥

**विदूषकः—**भो वयस्य एतदपि तावत्पश्य पश्य। य एषोऽविरलपतत्कुसुमनिकरोऽद्यापि⁸⁵”) पत्रान्तरगलद्वर्षावसानसलिल⁸⁶.")बिन्दुरिव लक्ष्यते

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अविरतं यथा तथा पतन्ति यानि विविधानि कुसुमानि तैः सुकुमारः मृदुस्पर्शः मनोहरो चा शिलातलस्य उत्सङ्गो मध्यप्रदेशो यत्र तत् त्सङ्गं तस्य। परिमलेन निलीनाश्च ते मधुकराश्च तेषां भरेण भग्नानि बकुलानां मालतीलतानां जातिलतानां जालकानि पुष्पगुच्छायस्मिंस्तस्य। कमलानां गन्धस्य ग्रहणेन उद्दामा उत्कटो यो मारुतस्तेन पर्यवबुद्धानि विकसितानि बन्धूकानां बन्धूकपुष्पाणां बन्धनानि वृन्तानि यस्मिन् तस्य। अविरलाश्च ते तमालतरवश्च तैः पिहितो निवारित आतपप्रकाशः सूर्यालोको यस्मिन् तस्य।**वयस्य—**वयसा तुल्यः वयस्यः। ‘नौवयोधर्म’ इति यत्।वृन्तैरिति। शेफालिकानां निर्गुंडीकुसुमानां वृन्तैः बन्धनैः तलं भूमितलं क्षुदैः प्रवालैः अल्पैर्विदुमखण्डैः स्थगितमानृतमिव भाति। सप्तच्छदानां गन्धः सपदि तत्क्षणं गजमदस्य य आमोदः परिमलस्तस्य मोहं भ्रान्ति। तनोति जनयति। उन्निद्रेभ्यो विकसितेभ्यः पद्मेभ्यः च्युतः बहलः रजःपुञ्जः तेन पिङ्गः पीतवर्णः अङ्गरागः अङ्गवर्णो येषां ते। बहलरजःपुञ्ज एंव पीतोङ्गरागो येषामिति वा। वारुणीपानेन पुष्परसमधुपानेन मत्ता अत एव अव्यक्तवाचः एते मधुलिहो मधुकरावकिमपि गायन्ति। उत्प्रेक्षाभ्रान्तिमत्स्वभावोक्तीनां संसृष्टिः। स्रग्धरा वृत्तम्॥२॥अविरलेति। अविरलं निरन्तरं यथा तथा पतन्कुसुमनिकरो यस्य सः। अद्यापि पत्रान्तरेभ्यो गलन्तः वर्षावसानसलिलबिन्दवो यस्य स इव लक्ष्यते। तं पश्येति सम्बन्धः।

सप्तपर्णपादपः।(भो वअस्स। एदं पि दाव पेक्ख पेक्ख। जो एसो अविरलपडन्तकुसुमणिअरो अज्ज वि पत्तन्तरगलन्तवरिसावसाणसलिलबिन्दू विअ लक्खअदि सत्तवण्णपाअवो।)

** राजा—**वयस्य⁸⁷ सम्यगुत्प्रेक्षितम्। बह्वेव सदृशं जलदसमयस्य। तथाहि।

बिभ्राणा मृदुतां शिरीषकुसुमश्रीहारिभिः शाद्वलैः
सद्यः कल्पितकुट्टिमा मरकतक्षोदैरिव क्षालितैः।
एषा संप्रति बन्धनाद्विगलितैर्बन्धूकपुष्पोत्करै-
रद्यापि क्षितिरिन्द्रगोपकशतैश्छन्नेव संलक्ष्यते॥३॥

( ततः प्रविशति चेटी । )

** चेटी—**आज्ञप्तास्मि देव्या वासवदत्तया। हञ्जेइन्दीवरिके अद्य मयागस्त्यमहर्षयेऽर्घो दातव्यः⁸⁸। तद्गच्छ त्वम्। शेफालिकाकुसुम⁸⁹मालां लघु गृहीत्वागच्छेति। एषाप्यारण्यिका धारागृहोद्यानदीर्घिकाया यावदेव⁹⁰ तावदेवावचित्य.”) विकसितानि कमलानि नास्ताभिलाषिणा सूर्येण मुकुलाय्यन्ते तावदेव लघ्ववचित्यागच्छत्विति। एषा तपस्विनी⁹¹ तां दीर्घिकां न जानाति। तद्गृहीत्वा तां गमिष्यामि। (नेपथ्याभिमुखमवलोक्य।) इत⁹² इत आरण्यके एहि।(आणत्तह्मिदेवीए वासवदत्ताए। हञ्जेइन्दीवरिए। अज्ज मए अगत्थिमहेसिणो अग्घोदादव्वो। ता गच्छ तुमं। सेहालिआकुसुममालं लहु गेोव्हिअ आअच्छेत्ति। एसावि आरण्णिआ धाराघरुज्जाणदीहिआए जाव एव्व विअसिआई कमलाई ण अत्थाहिला-

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बिभ्राणेति। शिरीषकुसुमानां श्रियं शोभां हरन्तीति तैः शाद्वलैः शादहरितप्रदेशैः मृदुतां कोमलतां विभ्राणा। क्षालितैः निर्मृष्टैः मरकतक्षोदैः मरकतखण्डैः सद्यस्तत्क्षणं कल्पितकुट्टिमा इव स्थिता। एषा भूमिः सप्रति बन्धनाद्विगलितैः बन्धूकपुष्पाणामुत्करैः पुञ्जैःअद्यापि इन्द्रगोपकशतैः छन्ना इव लक्ष्यते। शार्दूलविक्रीडितं वृत्तम्॥ ३॥ हञ्जेइति चेटीं प्रति सम्बोधनम्। ‘हण्डे हञ्जेहलाह्वाने नीचां चेटीं सखीं प्रति’। इत्यमरः। अगस्त्य महर्षये। अत्र—अप्राप्ते भास्करे कन्यां शेषभूतैस्त्रिभिर्दिनैः। अर्ध्यं दद्युरगस्त्याय गौडदेशनिवासिनः॥ इति ब्रह्मवैवर्ते। भीमपराक्रमोंप—यस्तु भाद्रपदस्यान्त उदिते कलशोवद्धे। अर्घ्यं दद्यादगस्त्याय सर्वान्कामाँल्लभेत सः॥ इति। पद्यद्वयमुद्धृतं श्रीकृष्णसूरिभिः। अरण्ये भवा आरण्यिका।‘अरण्यान्मनुष्ये’ इत्यनेनारण्यशब्दाद्वुञ्। ‘प्रत्ययस्थात्कात्’• इति इत्त्वम् । मुकुलाय्यन्ते मुकुलवदाचरन्ति मुकुलायन्ते तथा क्रियन्ते। संकुच्यन्ते इत्यर्थः।

सिणा सुज्जेण मउलाविज्जन्ति ताव एव्व लहुअं अवचिणुअ आअच्छदुत्ति। एसा तवस्सिणी तं दीहिअं ण जाणादि। ता गेण्हिअ तं गमिस्सं। इदो इदो आरण्णिए एहि।)

(ततः प्रविशत्या रण्यिका।)

आरण्यिका—(सबा⁹³ध्पोद्वेगमात्मगतम्।) तथा नाम तादृशे वंश उत्पन्न⁹⁴.")यान्यजनमाज्ञाप्य स्थितया सांप्रतं परस्य मयाज्ञप्तिः कर्तव्येति नास्ति खलु दुष्करं दैवस्य। अथवा ममैवैष दोषो येन जानत्यापि न व्यापादित आत्मा। तत्किं सांप्रतं करिष्यामि। अथवा दुष्करमिदानीं मया चिन्तितम्। वरमेवैतदपि। न पुनरात्मनो महार्घं वंशं प्रकाशयन्त्या मया लघुकृत आत्मा। तत्का गतिः। यथाभणितमनुष्ठास्यामि। (तह णाम तारिसे वंसे उप्पण्णाए अण्णजणं आण्णाविअ ठ्ठिदाए संपदं परस्स मए आपत्ती कादव्वेत्ति णत्थि क्खु दुक्खरं देव्वस्। अहवा मह एव्व एसो दोसो जेण जाणन्तीए वि ण वावादिओ अप्पा। ता किं संपदं करिस्सं। अहवा दुक्खरं दाणिं मए चिन्तिदं। वरं एव्व एवंवि। ण उण अप्पणो महग्घं वंसं पआसअन्तीए मए लहूकिदो अप्पा। ता का गई। जहभणिदं अणुचिट्टिस्सं।)

**चेटी—**इत एह्यारण्यिके। (इदो एहि आरण्णिए।)

आर०—इयमागच्छामि। (श्रमं नाटयन्ती।) हञ्जे दूरे किमद्यापि दीर्घिका। ( इअं आअच्छामि। ह्ञ्जेदूरे किं अज्जवि दिग्घिआ। )

**चेटी—**एषा शेफालिकागुल्मान्तरिता। तदेहि अवतरावः।(अवतरणं नाटयतः।) (एसा सेद्दालिआगुम्मन्तरिआ। ता एहि ओदरह्म। )

**राजा—**वयस्य किमन्यदिव चिन्तयसि⁹⁵ । ननु ब्रवीमि बह्वेव सदृशं जल्दसमयस्येति। (विभ्राणा मृदुतामित्यादि पुनः पठति ।)

विदूषकः—(सक्रोधम्।) भोः त्वं तावदेतदन्यञ्चपश्यन्नुत्कण्ठानिर्भरं विनोदयस्यात्मानम्। मम पुनर्ब्राह्मणस्य स्वस्तिवाचनवेलातिक्रामति। तद्यावदहं त्वरितं दीर्घिकायां स्नात्वा देव्याः⁹⁶सकाशं गमिष्यामि। (भौ तुमं दाव एवं अण्णं अ पेक्खन्तो उक्कण्ठाणिन्भरं विणोदेसि अप्पाणं। मम उण बह्मणस्स सोत्थिवाअणवेला अदिक्कमदि। ता जाव अहं तुवरिअं दीहिआए व्हाइअ देवीएसआसं गमिस्सं।)

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तादृशे सुप्रसिद्धे। वरं मनाक्प्रियम्। महार्घमुदारम्। लघूकृतः लघुतां नीतः। गुल्मः स्तम्बः।

**राजा—**ननु मूर्ख पारंगता एव वयं दीर्घिकायाः। एवम केन्द्रियसुखा⁹⁷तिशयमनुभवन्नपि नोपलक्ष⁹⁸यसि। पश्य।

श्रोत्रं हंसस्वनोऽयं सुखयति दयितानूपुर⁹⁹ह्रदकारी
दृष्टिप्रीतिंविधत्ते तटतरुविवरालक्षिता सौधपाली।
गन्धेनाम्भोरुहाणां परिमल¹⁰⁰पटुना जायते घ्राणसौख्यं
गात्राणां¹⁰¹ ह्लादमेते विदधति मरुतो वारिसंपर्क¹⁰²शीताः॥४॥

तदेहि दीर्घिकातटमुपसर्पावः। (परिक्रम्यावलोक्य च।) वयस्य पश्य पश्य

उद्यानदेवतायाः स्फुटपङ्कजकान्तिहारिणी स्वच्छा।
दृष्टिरिव दीर्घिकेयं रमयति मां दर्श¹⁰³")नेनैव॥५॥

विदूषकः—(सकौतुकम्।) भो वयस्य पश्य पश्य। कैषा कुसुम परिमलसुगन्धवेणिमधुकर।वलिर्विद्रुमलतारुणहस्तपल्लवा उज्ज्वलत्तनुकोमल बाहुलता सत्यं प्रत्यक्षचरीवोद्यानदेवता स्त्री दृश्यते। (भो वअस्स पेक्ख पेक्ख। का एसा कुसुमपरिमलसुअन्धवेणीमहुअरावली विद्दुमलआरुणहत्थपल्लवा उज्जलन्ततणुकोमलबाहुलदा सच्चं पञ्चक्खचरी विअ उज्जाणदेवदा इत्थिआ दीसइ।)

** राजा—**(सकौतुकं विलोक्य।) वयस्य निरतिशयस्वरूपशोभाजनितबहुविकल्पेयम्। यत्सत्यमहमपि नावगच्छामि। पश्य।

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पारंगतास्तीरं प्राप्ताः। अनेकानि च तानिइन्द्रियाणि तेषां सुखातिशयमतिशयितं सुखमित्यर्थः। तदेव दर्शयति-श्रोत्रमिति। दयितायाः प्रेयस्या नूपुरस्येव ह्रादं शब्दं करोतीति तथा। दयितामञ्जीरशिञ्जितसदृश इत्यर्थः। अयं हंसस्वनः श्रोत्रं कर्णौ इत्यर्थः। सुखयति। तटतरूणां विवरेभ्यो लक्षिता दृष्टा सौधपाली तटस्थिताहपंक्तिः दृष्टेः नयनयोः प्रीतिं मुदं विधत्ते। अम्भोरुहाणां परिमलेन पटुना स्फुटेन गन्धेन सौरभ्येण घ्राणस्य सौख्यं जायते। एते वारिसंपर्केण शीताः मरुतो वायवः गात्राणां ह्लादं विदधति च। स्वभावोक्तिः। स्रग्धरा छंदः॥४॥ उद्यानेति। स्फुटानां विकसितानांपङ्कजानां कमलानां कान्त्या हरतीति हारिणी मनोहरा। दृष्टिपक्षे कान्तिवत् हारिणी। स्वच्छा उद्यानदेवताया दृष्टिः इव इयं दीर्घिका मां दर्शनेनैव रमयति। श्लिष्टोपमालंकारः। आर्योपगीतिः॥५॥

** कुसुमेति**।कुसुमानां वेण्यां धृतानां परिमलेन सुगन्धा वेणिस्तत्र मधुकरावली यस्याःसा। पक्षे कुसुमानामुद्यानस्थानां। वेणिभूता मधुकरावली यस्याः सा। विद्रुमलतेव प्रवाललतेव अरुणः रक्तः हस्तपल्लवो यस्याः। पक्षे हस्त इव पल्लवो यस्याः। उज्ज्वलन्ती तनुःकोमला च बाहुलता यस्याः। निरतिशया चासौ स्वरूपशोभा च। तया। निरतिशये स्वरूपं च शोभा च ताभ्यामिति वा। जनिता बहवो विकल्पा कल्पना यया सा

पातालाडुवनावलोकनपेरा¹⁰⁴ किं नागकन्योत्थिता
मिथ्या तत्खलु दृष्टमेव हि मया तस्मिन्कुतो¹⁰⁵ऽस्तीदृशी।
मूर्ता स्यादिह कौमुदी न घटते तस्या दिवा दर्शनं
केयं हस्ततलस्थितेन कमलेनालोक्यते श्रीरिव॥६॥

विदूषकः—(निरूप्य।) एषा खलु देव्याः परिचारिकेन्दीवरिका¹⁰⁶.")। तद्गुल्मान्तरितौ भूत्वा पश्यावः। (एसा क्खु देवीए परिआरिआ ‘इन्दीवरिआ। ता गुम्मन्तरिआ भविअ पेक्खह्म।)

(उभौ तथा कुरुतः।)

** चेटी—**(कमलिनीपत्रग्रहणं नाटयन्ती।)आरण्यके अवचिनु त्वं पद्मानि। अहमप्येतस्मिन्नलिनीपत्रे शेफालिकाकुसुमान्यवचित्य देवीसकाशं गमिष्यामि। (आरणिए अवइणुं तुमं पदुमाइं। अहं वि एदस्सि णलिनीपत्तम्मि सेहालिआकुसुमाई अवइणु देवीसआसं गमिस्सं।)

**राजा—**वयस्य संलाप इव वर्तते। तदवहिताः शृणुमः। कदाचिदित एव व्यक्तीभविष्यति।

(चेटी गमनं नाटयति।)

** आर०—**हला इन्दीवरिके। न शक्नोमि त्वया विना मुहूर्त¹⁰⁷मप्यत्रासितुम्। (हला इन्दीवरिए ण सक्कुणोमि तुए विणा मुहुत्तंवि एत्थ आसिदुं।)

** चेटी —**(विहस्य।) यादृशमद्य मया देव्या मन्त्रितं श्रुतं तादृशेन¹⁰⁸.”) ग चिरमेव मया विना त्वयासितव्यम्। (जादिसं अज्ज मए देवीए मन्तिदं सुदं तारिसेण चिरं एव्त्र मए विणा तुए आसिदव्वं।)

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तथोक्ता। पातालेति। भुवनस्य महीलोकस्यावलोकनपरा नागकन्यका पातालादुत्थिता किं स्यादिति विकल्पः। नैतत्स्यादित्याक्षिपति। तन्मिथ्या खलु। मया दृष्टमेव हि। तस्मिन्पाताले ईदृशी लावण्यसम्पन्ना कन्यका कुतः। इह मूर्त मूर्तिमती कौमुदी स्यात्। एतदपि न। तस्याः कौमुद्या दिवादर्शनं न घटते संभवति। केयं तर्हि याहस्ततलस्थितेनकमलेन श्रीः इव आलोक्यते। सन्देहालंकारः। शार्दूलविक्रीडितं वृत्तम्॥६॥

यादृशं यत्प्रकारकम्। त्वद्विवाहसम्बन्धीति गूढम्। मन्त्रितं भाषितम्। तादृशे न तदनु-

** आर०—**(सविषादम्।) किं देव्या मन्त्रितम्। (देवीए मन्तिदं।)

** चेटी—एतत्¹⁰⁹। तदैषाहं महाराजेन भणिता यथा—**यदैषा विन्ध केतुदुहिता वरयोग्या भविष्यति तदाहं स्मारयितव्य इति। तत्सांप्र महाराजं स्मारयामि येनास्या वरचिन्ता¹¹⁰")पर्याकुलो भविष्यति। (एवं तदा एसा अहं महाराएण भणिदा जह जदा एसा विञ्झकेदुदुहिदा वरजोग्गा भवि स्सदि तदा अहं सुमराइदव्वोत्ति। ता संपदं महाराअं सुमरावेमि जेण से वरचिन्ता पज्जाउलो भविस्सदि।)

** राजा—**(सहर्षम्।) इयं सा विन्ध्यकेतोर्दुहिता। (सानुतापम्।) चिरं¹¹¹ मुषिताः स्मो वयम्। वयस्य निर्दोषदर्शना कन्यका खल्वि¹¹²यम्। विश्रब्धमिदानीं पश्यामः।

** आर०—**(सरोषं कर्णौ पिधाय।) तद्गच्छ त्वम्। न मम त्वयासंबद्धप्रलापिन्या प्रयोजनम्। (ता गच्छ तुमं। ण मह तुए असंबद्धप्पलाविणीए पभोअणं।)

(चेट्यपसृत्य पुष्पावचयं नाटयति।)

**राजा—**अहो सुतरां प्रकटीकृतमाभिजात्यं धीरतया। वयस्य धन्यः खल्वसौ य एतदङ्गस्पर्शसुखभाजनं भविष्यति।

(आरण्यिका कमलावचयं नाटयति।)

**विदूषकः—**भो वयस्य पश्य पश्य। आश्चर्यमाश्चर्यम्। एषा सलिलचलत्करपल्लवप्रभाविस्तृतेनाप¹¹³.")हसितशोभं करोति कमल¹¹⁴वनमवचिन्वती। (भो वअस्स पेक्ख पेक्ख। अच्चरिअं अच्चरिअं। एसा सलिलचलन्तकरपल्लवप्पहावित्थिदेण ओहसिअसोहं करेदि कमलवणं अवचिणन्ती।)

राजा— वयस्य सत्य¹¹⁵मेवैतत्। पश्य।

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रोधादित्यर्थः। सानुतापमनुतापेन पश्चात्तापेन सहितं यथा तथा। विस्रब्धं यथा तथा। असम्बद्धं संदर्भरहितमनर्थकमिति यावत्। यदा वरयोग्या भविष्यतीत्यादि प्रलपतीतितथ। तया। एषा नर्मोक्तिः। एवं शाकुन्तलेपि इमामसम्बद्धप्रलापिनीं प्रियंवदामार्यायैगौतम्यै निवेदयिष्यामीति शकुन्तलावाक्यम्। एषा कमलानि अवचिन्वती सलिलेजले चरन्ती। करपल्लवस्य प्रभा तस्या विस्तृतेन विस्तारेण प्रसरणेनेत्यर्थः।

अच्छिन्नामृतविन्दु¹¹⁶वृष्टिसदृशीं प्रीतिं ददत्या द्दशां¹¹⁷
याताया विगलत्पयोधरपटाद्द्रष्टव्यतां कामपि
अस्याश्चन्द्रमसस्तनोरिव करस्पर्शास्पदत्वं गता
नैते यन्मुकुलीभवन्ति सहसा पद्मास्तदेवाद्भुतम्॥७॥

** आर०—**(भ्रमरबाधां¹¹⁸ नाटयन्ती।) हा धिक् हा धिक्। एते खल्वपरे परित्यज्य¹¹⁹.”) कमलिनीं नीलोत्पलवनानि समापतन्तो निपुणतरं बाधमाना आयासयन्ति मां दुष्टमधुकराः। (उत्तरीयेण मुखं पिधाय¹²⁰”) सभयम्।) हला इन्दीवरिके परित्रायस्व मां परित्रायस्व माम्। एते खलु दुष्टमधुकराः परिभविष्यन्ति। (हद्धि हद्धि। एदे क्खु अवरे परिचइअ कमलिणीं णीलुप्पलवणाईं समापडन्ता णिउणअरं बाधन्ता आआसअन्ति मं दुद्रुमहुअरा। इला इन्दीवरिए परित्ताएहि मं परित्ताएहि मं । एदे क्खु दुद्रमहुअरा परिभविस्सन्ति)

** विदूषकः—**भो वयस्य पूर्णास्ते मनोरथाः। यावदेव ग¹²¹र्भदास्याः सुता नागच्छति तावदेव त्वमपि तूष्णीको भूत्वोपसर्प। एषापि सलिलशब्दसू¹²².")चितेन पदसंचारेणेन्दीवरिकागच्छतीति ज्ञात्वा त्वा¹²³.")मेवावलम्विष्यते। (भो वअस्स पुण्णा दे मणोरहा। जाव एव्व गब्भदासीए सुदा ण आअच्छदि दाव एव्व तुमं वि तुण्हीको भविअ उवसप्प। एसा वि सलिलसद्दसूइदेण पअसंचारेण इन्दी- वरिआ आअच्छदित्ति जाणिअ तुमं एव्व ओलम्बिस्सदि।)

** राजा—**साधु वयस्य साधु। कालानुरूपमुपदिष्टम्।(इत्यारण्यक समीपमुपसर्पति।)
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अच्छिन्नेति। दृशां नयनानां पश्यतामितिशेषः। दृशेति पाठे अवलोकनेनेत्यर्थः। अच्छिन्ना अनवरता या अमृतबिन्दूनां वृष्टिस्तस्याः सदृशीं प्रीतिमानन्दं ददत्याः। विगलन्यः पयोधरपटः स्तनांशुकं तस्मात्कामपि अनिर्वचनीयां द्रष्टव्यतां दर्शनीयतां यातायाः। चन्द्रमसः पक्षे विगलन्नपसृतः य पयोधरो मेघः स एव पटस्तस्मात्। अतश्चन्द्रमस्तनोरिव अस्याः करस्पर्शास्पदत्वं हस्तसंपर्कस्य पक्षे किरणसंसर्गस्य आस्पदत्वं स्थानतां गता एते पद्माः कमलानि। वा पुंसि पद्ममिति पुल्लिंगता। सहसा न मुकुलीभवन्ति इति यत्तदेवाद्भुतम्। विशेषोक्तिः। शार्दूलविक्रीडितं वृत्तम्॥७॥ अपरे कुसुमसनाथवेण्याकृष्टाः प्रथमे। एते अन्ये इत्यर्थः। समापतन्तः संभूयाभिगच्छन्तः। निपुणतरं समधिकम्। द्विगुणतरमिति साधीयान्पाठः। परिभविष्यन्ति मामाक्राम्येयुरित्यर्थः। एवं शाकुन्तलेपि-हला परित्रायेथां मामनेन दुर्विनीतेन मधुकरे-

आर०—(पदशब्दाकर्णनं नाटयन्ती।) इन्दीवरिके लघूपसर्प लघुपसर्प। आकुलीकृतास्मि दुष्टमधुकरैः। (इन्दीवरिए। लहु उवसप्प लहु उवसप्प। आउलीकिदमि दुद्रमहुअरेहिं।(राजा¹²⁴नमवलम्बते।)

(राजा कण्ठे गृह्णाति। आरण्यिकोत्तरीयं मुखादपनीय
राजानमपश्यन्ती भ्रमरावलोकनं नाटयति।)

** राजा—**(स्वोत्तरयेण भ्रमरान्निवारयन्।)

अयि विसृज विषादं भीरु भृङ्गास्तवैते
परिमलरसलुब्धा वक्रपझे पत¹²⁵न्ति।
विकिरसि यदि भूयस्त्रासलोलायताक्षी
कुवलयवनलक्ष्मीं तत्कुतस्त्वां त्यजन्ति॥८॥

** आर०—**(राजानं दृष्ट्वा साध्वसं नाटयन्ती।) कथं नैषेन्दीवरिका। (सभयं राजानं त्यक्त्वापसरन्ती।) इन्दीवरिके। लघ्वागच्छ लघ्वागच्छ¹²⁶। परित्रायस्व माम्। (कहं ण एसा इन्दीवरिआ। इन्दीवरिए। लहु आअच्छ लहु आअच्छ। परित्ताएहि मं।)

**विदूषकः—**भवति सकलपृथ्वी¹²⁷परित्राणसमर्थेन वत्सराजेन परित्रायमाणा चेटीमिन्दीवरिकामाक्रन्दसि। (होदि सअलपुडवीपरित्ताणसमत्थेणवच्छराएण परित्ताअन्ती चेडिं इन्दीवरिअं अक्कन्दसि।

( राजा “अयि विसृज—” इत्यादि पुनः पठति।)

** आर०—**( राजानमवलोक्य सस्पृहं सलज्जं चात्मगतम्।) अयं खलु स महाराजो यस्याहं तातेन दत्ता। स्थाने खलु तातस्य पक्षपातः। (आकुलतां नाटयति।) (अअं क्खु सो महाराओ जस्स अहं तादेण दिण्ण-ठाणे क्खु तादस्स पव्खवादो।)
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णायास्यमानामिति। गर्भादारभ्य दासी गर्भदासी। तूष्णीकः मौनी। लघु शीघ्रम्। अयीति। अयि भीरु विषादं मुञ्च। एते परिमलरसे सौगन्ध्यास्वादे लुब्धा भृङ्गाःतव वक्रपद्मे पतन्ति। त्रासेन भयेन लोले चञ्चले आयते दीर्घे अक्षिणी यस्याः सा त्वं यदि भूयः कुवलयवनलक्ष्मीं इतस्ततो दृष्टिपातेन विकिरसि तर्हि त्वां कुतः “परित्यजन्ति। न त्यजेयुरेव। मालिनी वृत्तम्। ननमयययुतेयं मालिनी भोगिलोकैः। इति तल्लक्षणम्॥८॥ स्थाने युक्तः। पक्षपातः अतिशयितं प्रेम।

** चेटी—**आयासिता खल्वारण्यिका दुष्टमधुकरैः। तद्यावदुपसर्प्यः समाश्वासयामि। आरण्यके मा¹²⁸. “)विभिहि। एषोपगतास्मि। (आआसिआ क्खु आरण्णिआ दुद्रमहुअरेहिं। ता जाव उवसप्पिअ समस्सा सेमि। आरणिए मा भआहि। एसा उवअदम्हि।)

** विदूषकः—**भोः अपसरापसर। एषा खल्विन्दीवरिकागता। एत¹²⁹.. “) वृत्तान्तं प्रेक्ष्य देव्यै निवेदयिष्यति। (अङ्गुल्या निर्दिश्य।) तदिदमेव ,कदलीगृहं प्रविश्य मुहूर्तं तिष्ठावः। (भो ओसर ओसर। एसा क्खु इन्दीवरिआ आअदा। एदं उत्तन्तं पेक्खिअ देवीए णिवेदइस्सदि। ता इमं एव्व कदलीघरं. पविसिअ मुहुत्तं चिठ्ठह्म।)

(उभौ तथा कुरुतः।)

** चेटी—**(उपसृत्य कपोलौ स्पृशन्ती।) हञ्जेआरण्यिके। कमलसहशस्य तव वदनस्यायं दोषो यन्मधुकरा एवमपराध्यन्ति। (हस्ते गृहीत्वा।) तदेहि गच्छावः। परिणतो दिवसः। (हञ्जे आरण्णिए कमलसरिसस्स तुह वअणस्स अअं दोसो जं महुअरा एव्वं अवरज्झन्ति। ता एहि गच्छह्म। परिणदो दिअहो।)

(गमनं नाटयतः।)

** आर०—**(कदलीगृहाभिमुखमवलोक्य।) इन्दीवरिके अतिशिशिरतया सलिलस्योरुस्तम्भ¹³⁰ इव समुत्पन्नः। तच्छनैः शनैर्गच्छावः। (हञ्जे इन्दीवरिए अदिसिसिरदाए सलिलस्स ऊरुत्थम्भो विअ समुप्पण्णो। ता सणिअं सणिअं गच्छा।)

** चेटी—**तथा। (तह।)

(इति निष्कान्ते।)

** विदूषक—** भोः एहि निष्क्रामावः। तां गृहीत्वैषा दास्याः सुतेन्दीवरिका गता¹³¹।¹³² (भो एहि णिक्कमम। तं गोण्हअ एसा दासीए सुदा इन्दीवरिआ गदा।)

राजा—(निःश्वस्य।) कथं गता। सखे वसन्तक। न खल्वविघ्नमभिलषितमधन्यैः प्राप्यते। (विलोक्य।) सखे पश्य पश्य।

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ऊरुस्तम्भ ऊर्वोर्जडिमा। वस्तुतस्तु प्रियस्पर्शादयम्। अविघ्नमभिलषितमि०–एवं शाकुन्तलेपि–अहो विघ्नवत्यः प्रार्थितार्थसिद्धयः। इति।

आबद्धमुखमर्पादं कण्टकितं कमलकाननं तस्याः।
सुकुमारपाणिपल्लवसंस्पर्शसुखं कथयतीव॥९॥

(निःश्वस्य।) सखे। क इदानीमुपायः¹³³ पुनस्तां द्रष्टुम्।

** विदूषकः—**भोः त्वमेव पुत्तलिकां भङ्क्त्वेदानीं रोदिषि। न मम¹³⁴.")खलु ब्राह्मणस्य वचनं करोषि। (भो तुमे एव्व पुत्तलिअं भजिअ दाणिंरोदिसि। ण मह क्खु बह्मणस्स वअणं करेसि। )

** राजा–**किं मया न कृतम्।

** विदूषकः—**तदिदानीं विस्मृतम्। यथा तूष्णीको भूत्वोपसर्पैति मया भणितम्¹³⁵। अतिसंकटे यद्भवान्प्रविश्यालीकपाण्डित्यदुर्विदग्धतया “अयि विसृज विषादम्” इत्येतैरन्यैश्च कटुवचनैर्निर्भर्त्स्य सांप्रतं किं रोदिषि। पुनरप्युपायं पृच्छसि। (तं दाणिं विसुमरिदं। जह तुण्हीकोभविअउवसप्पत्ति मए भणिदं। अदिसंकडे जं भवं पविसिअ अलिअपंडिच्चदुव्विदद्धदाए अइविसिज विसादेत्ति एदेहिं अण्णेहिं अ कडुअवअणेहिं णिव्भञ्चिअसंपदं किं रोदिसि। पुणो वि उवाअं पुच्छसि।)

राजा—कथं समाश्वासनमपि निर्भासितमिति भणितं मूर्खेण।

** विदूषकः**—ज्ञातमेव कोऽत्र मूर्ख इति। तत्किमेतेन। अस्तमयाभिलाषी भगवान्सहस्र¹³⁶.")रश्मिः। तदेह्यभ्यन्तरमेव प्रविशावः। (जाणिदं एव्व को एत्थ मुक्खोत्ति। ता किं एदेण। अत्थमआहिलासी भअवं सहस्सरस्सी। ता एहि अब्भन्तरं एव्वपविसह्म।)

** राजा**—(विलोक्य।) अये परिणतप्रायो दिवसः। अहह। संप्रति हि—

हृत्वा पद्मवनद्युतिं प्रियतमेवेयं दिनश्रीर्गता
रागोऽस्मिन्मम चेतसीव सवितुर्विम्बेऽधिकं लक्ष्यते।

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आबद्धेति। इदं कमलकाननं पद्मत्रनं आबद्धं मुकुलितं मुखं यस्य तदाबद्धमुखमपि। कण्टकितं सञ्जातकण्टकं सरोमाञ्चं च सत्। तस्या आरण्यिकायाः यः सुकुमारः पाणिपल्लवः तस्य संस्पर्शेन जातं सुखं कथयतीव। उत्प्रेक्षालंकारः। पथ्यार्यावृत्तम्॥९॥ पुत्तलिकां पाञ्चालिकाम्। अतिसंकटे इति सोपहासम्। अलीकपाण्डित्यं मिथ्यावैदग्ध्यं तेन दुर्विदग्धः साभिमानः पण्डितंमन्य इत्यर्थः। तस्य भावस्तत्ता तया। अस्तमयमभिलषतेऽसावस्तमयाभिलाषी आसन्नास्तमय इत्यर्थः। कृत्वेति। इयं दिनश्रीः पद्मवनस्य कान्ति शोभां हृत्वा प्रिया आरण्यिका इव गता। अस्मिन्पुरोदृश्यमाने सवितुर्बिम्बे मम चेतसि इव रागो रक्तिमा अनुराग अधिकं

चक्राह्वोऽहमिव स्थितः सहचरीं ध्यायन्नलिन्यास्तटे
संजाता सहसा ममेव भुवनस्याप्यन्धकारा दिशः॥१०॥

(इति निष्क्रान्ताः सर्वे।)

इति द्वितीयोङ्कः।

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तृतीयोऽङ्कः।

<MISSING_FIG href=”../books_images/U-IMG-1723743015Capture25.JPG”/>

(ततः प्रविशति मनोरमा।)

**मनोरमा—**आज्ञमास्मि देव्या वासवदत्तया हञ्जेमनोरमे यः¹³⁷.”) स कसाङ्कृत्यायन्यार्यपुत्रस्य मम च वृत्तान्तो नाटकोपनिबद्धस्तस्य नर्तितव्यशेषमद्य युष्माभिः कौमुदीमहोत्सवे नर्तितव्यमिति। ह्यः खल्वारण्यिकया प्रियसख्या शून्यहृदययान्यथैव नर्तितम्। अद्य पुनर्वासवदत्ता¹³⁸.")भूमिकयातया यदि तथा क्रियते ततोऽवश्यं देवी कुप्यति। तत्कुत्र तावत्तां “प्रेक्ष्योपालप्स्ये। (विलोक्य।) एषारण्यिकात्मनैव किमपि किमपि मन्त्रपायमाणा दीर्घिकातीरे कदलीगृहं प्रविशति। तद्गुल्मान्तरिता भूत्वा श्रोष्यामितावदस्या विश्रब्धजल्पितानि। (आणत्तह्मिदेवीए वासवदत्ताए हञ्जेमणोरमे जं तं संकिच्चायणीए अज्जउत्तस्स मम अ उत्तन्तं णाडओवाणबद्धं तस्स णचिदव्वसेसं

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दृश्यते। चक्राह्नः चक्रवाकः अहमिव सहचरीं ध्यायन् नलिन्याः तटे स्थितः। दिशःमम इव भुवनस्यापि सहसा अन्धकाराः अन्धकारवत्यः। अनाह्लादकरा इत्यर्थः। जाताः।“अर्श आदिभ्योऽच्’ इति मत्वर्थीयः अच्। उपमा। शार्दूलविक्रीडितं वृत्तम्॥१०॥

इत आरभ्याङ्कसमाप्तिं यावत्प्रतिमुखगर्भसन्धी। तत्रादौ वत्सराजारण्यिकासमागमहेतोरनुरागबीजस्य द्वितीयाङ्कोपक्षिप्तस्य मनोरमाविदूषकाभ्यां ज्ञायमानतया’किंचिल्लक्ष्यस्य वासवदत्तयाऽज्ञाततया चालक्ष्यस्य दृश्यादृश्यरूपतयोद्भेदः प्रतिमुखसन्धिः। सांकृत्यायनी नाम काचित्परिव्राजिका ग्रन्थनिर्माणकुशला वासवदत्ताया विनोदयित्री।नर्तितव्यशेषं नाटयितव्यशेषम्। कौमुदीमहोत्सवे आश्विनस्य पूर्णिमायां क्रियमाणोत्सवे। शून्यमन्यविषयगतं हृदयं यस्याः सा। हृदयेनासंनिहितेत्यर्थः। तया।भूमिका वेषः। उपालप्स्ये दोषं दास्यामि। मन्त्रयमाणा आत्मना व्याहरन्ती।गुल्मः लतागहनं तेनान्तरिता पिहिता। विखन्धजल्पितानि स्वैरभाषितानि।

अज्ज तुझेहिं कोमदीमहूसवे णञ्चदव्वंति। हिओ क्खु आरण्णिआए पिअसहीए सुण्ण,हिअआए अण्णहा एव्त्र णञ्चिदं। अज्ज उण वासवदत्ताभूमिआए ताए जइ तह करीअदि तदों अवस्सं देवी कुप्पदि। ता कहिं दाव तां पेक्खिअ उवालम्भस्सं। एसा आरण्णिआ अप्पणा एव्व किं वि किं वि मन्तअन्ती दिग्घिआतीले कदलीघरअ पविसदि। ता गुम्मन्तरिआ भविअ सुणिस्सं दाव से विसद्धजप्पिदाणिं।)

(ततः प्रविशत्यासन¹³⁹.")स्था कामावस्थां नाटयन्त्यारण्यिका।)

** आर०**—(निःश्वस्य।) हृदय दुर्लभजनं प्रार्थयमानं त्वं कस्मान्मां दुःखितां करोषि। (हिअअ दुल्लहजणं पत्थभन्तो तुमं कीस मं दुक्खिदं करेसि।)

** मनो०—**तदेतदस्याः शून्यहृदयत्वस्य कारणम्। किं पुनरेषा प्रार्थयते। अवहिता तावच्छ्रोष्यामि। (तं एवं एदस्य सुण्णहिअअत्तणस्स करणं। किं उण एसा पत्थेदि। अवहिदा दाव सुणिस्सं।)

** आर०—**(सास्रम्।) कथं तथा नाम सौम्य¹⁴⁰.")दर्शनो भूत्वा महाराज एवं संतापयति माम्। आश्चर्यमाश्चर्यम्। (निःश्वस्य।) अथवा ममैवैषाऽभागधेयता। न पुनर्महाराजस्य दोषः। (कहं तह णाम सोम्मदंसंणो भविअ महाराओ एव्वं संदावेदि मं। अच्चरिअं अच्चरिअं।अहवा मह एव्व एसा अभा अहे अदा। ण उण महाराअस्स दोसो।)

** मनो०—**(सबाष्पम्।) कथं महाराज एवास्याः प्रार्थनीयः। साधु प्रियसखि साधु¹⁴¹। आभिजात्यसदृशस्तेऽभिलाषः। (कहं महाराओ एव्व से पत्थणिजो। साहु पिअसही साहु। अभिजाअसरिसो दे अहिलासो।)

**आर०—**कस्मै ताव¹⁴²")देतं वृत्तान्तं निवेद्य सह्यवेदनमिव दुःखं करिष्यामि। (विचिन्त्य।) अथवा अस्ति मे हृदयनिर्विशेषा प्रियसखी मनोरमा। तस्या अप्येतल्लज्जया न पारयामि कथयितुम्। सर्वथा मरणं वर्जयित्वा कुतो मे हृदयस्यान्या निर्वृतिः। (कस्स दाव एवं उत्तन्तं णिवेदिअ सज्झवेअणं विअ दुक्खं कारइस्सं। अहवा अत्थि मे हिअअणिव्विसेसा पिअसही मणोरमा। ताए वि एवं लज्जाए ण पारेमि कहिदुं। सव्वहा मरणं वज्जिअ कुदो मे हिअअस्स अण्णा णिव्वुदी।)

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दुर्लभजनं वत्सराजमित्यर्थः। प्रार्थयमानमभिलषत्। अवहिता सावधाना। अभागधेयता मन्दभाग्यत्वम्। हृदयान्निर्गतो विशेषो यस्याः सा। पारयामि शक्नोमि। निरृतिः सुखम्।

** मनोरमा—**(सास्रम्।) हा धिक् हा धिक्। अतिभूमिं गतोऽस्यास्तपस्विन्या अनुरागः। तत्किमिदानीमत्र करिष्यामि। (हद्धि हद्धि । अदिभूमिं गदो से तवस्सिणीए अणुराओ। ता किं दाणिं एत्थ करिस्सं।)

** आर०—**(साभिलाषम्।) अयं स उद्देशो यस्मिन्मधुकरैरायास्यमानावलम्ब्य महाराजेन समाश्र्वासितास्मि भीरु मा विभीहीति। (अअंसो उद्देसो जस्सिं महुअरेहिं आआसिज्जन्ती ओलम्बिअ महाराएण समस्सासिदि भीरु मा भआहित्ति।)

मनोरमा—(सहर्षम्।) कथमेषापि दृष्टा महाराजेन। सर्वथास्त्यस्या जीवितस्योपायः। यावदुपसृत्य समाश्र्वासयाम्येनाम्। (सहसोपसृत्य।) युक्तं नाम¹⁴³ हृदयस्यापि लज्जितुम्। (कहं एसा वि दिट्ठा महाराएण। सव्वहा अत्थिसे जीविदस्स उवाओ। जाव उवसप्पिअ समस्सासेमि णं । जुत्तं णाम हिअअस्स राजवि लज्जिदुं।)

** आर०—**(सलज्ज¹⁴⁴मात्मगतम्।) हा धिक् हा धिक्। सर्वं श्रुतमेतया। तदत्र युक्तमेव प्रकाशयितुम्। (प्रकाशं हस्ते गृहीत्वा।) प्रियसखि मा कुप्य मा कुप्य। लज्जैवात्रापराध्यति। (हद्धि हद्धि। सव्वं सुदं एदाए। ता एत्थ जुत्तं एव्व पआसइदुं। पिअसहि मा कुप्प मा कुप्प। लज्जाएव्व एत्थ अवरज्झदि।)

** मनो०—** (सहर्षम्।) सखि अलं शङ्कया। एतन्म आचक्ष्व। सत्यमेव त्वं महाराजेन दृष्टा न वेति। (सहि अलं संकाए। एदं मे आअक्ख। सच्चं एव्व तुमं महाराएण दिट्टा ण वेत्ति)

** आर०—**(सलज्जमधोमुखी) श्रुतमेव प्रियसख्या सर्वम्। (सुदं एव्व पिअसहीए सव्वं।)

** मनोरमा—**यदि दृष्टा महाराजेन त्वं तदलं संतापितेन। स एवेदानीं दर्श¹⁴⁵नोपायपर्याकुलो भविष्यति। (जइ दिट्टा महाराएण तुमं ता अलं संतप्पिदेण। सो एव्व दाणिं दंसणोवाअपज्जाउलो भविस्सदि।)

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अतिभूमिं परां कोटिम्। तपस्विन्याः अनुकम्प्यायाः। वराक्या इत्यर्थः। हृदयस्यापि स्वहृदयादव्यतिरिक्ताया ममेत्यर्थः। आत्मगतं, प्रकाशं–सर्वश्राव्यं प्रकाशं स्यादश्राव्यं स्वगतं मतम्। इति दशरूपके। दर्शनोपायपर्याकुलः दर्शनोपायचिन्ताव्यग्रः।

** आर०—**अयं¹⁴⁶ सखीजनः पक्षपातेन मन्त्र¹⁴⁶यते।अयि¹⁴⁷. “) सखि। पक्षपातिनि। देवीगुणनिगडनिबद्धे खलु तस्मिञ्जने कुत एतत्।(अथंसहीअणोपक्खवादे मन्तेदि। अइ सहिपक्खवादिणि। देवीगुणणिअलणिबद्धे तस्सिं जणे कुदो एदं।)

मनोरमा—(विहस्य!) हला अपण्डिते कमलिनीबद्धानुरागोऽपिमधुकरो मालतीं प्रेक्ष्याभिनवरसास्वादलम्पटः कुतस्तामनासाद्य स्थिति करोति। (हला अपण्डिदे कमलिणीबद्धाणुराओ वि महुअरो मालदा पेक्खिभ अहिणवरसास्सादलम्पडो कुदो तं अणासादिअ हिदिं करेदि।)

** आर०—**किमेतेनासंभावितेन। तदेहि¹⁴⁸। अधिकं खलु शरदातपेन संतप्तान्यद्यापि न मेऽङ्गानि संतापं मुञ्चन्ति। (किं एदिणा असंभाविदेण। ता एहि। अहिअं क्खु सरदादवेण संतप्पाइंअज्ज वि ण मे अङ्गाई संदावं मुञ्चन्दि।)

**मनोरमा—**अयि लज्जालुके न युक्तमेतदवस्थां गतयापि त आत्म प्रच्छादयितुम्। (अइ लज्जालुए ण जुत्तं एदावत्थं गदाए वि दे अप्पा पच्छादिदुं।)

(आरण्यिका मुखमवनमयति।)

**मनोरमा—**अयि अविश्रम्भशीले किमिदानीं प्रच्छादयसि। निश्वा¹⁴⁹ इति पद्यं क्वचित्.")सनिभविनिर्गतो दिवसं रात्रिमपि तवानुरागोऽविरतपतत्कुसुमशरशरनिवहप्रवृत्तहुङ्कारशब्द इव न भणति। (आत्मगतम्।) अथवा न खल्वयं काल उपालम्भस्य।तद्यावन्नलिनीपत्राण्यस्या हृदये दास्यामि।(उत्थाय

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देवीगुणा एव निगडः लोहबन्धस्तेन निबद्धे। मालतीं जातिपुष्पम्। लम्पटो लोलुपः। स्थितिं करोति स्वास्थ्यमेति। लज्जां लाति इति लज्जालुः। ‘मितद्वादिभ्य उपसंख्यानम् ‘इति वार्त्तिकेन डुः। सैव लज्जालुका। अविश्रम्भशीले प्रकृत्यात्मन्यविश्वासिनि। निश्वासनिभविनिर्गतः निश्वासच्छलेन विनिर्गतः। अविरतं पतन्यः कुसुमशरस्य मदनस्य शरनिवहो वाणसमूहस्तस्मात्प्रवृत्तः हुंकारशब्द इव। न भणति न तवावस्थां कथयति किम्।

दीर्घिकाया नलिनीपत्राणि गृहीत्वारण्यिकाया हृदये ददती।) समा¹⁵⁰श्वसितु सखी समाश्वसितु सखी।(अइ अविसम्भसीले किं दाणिं पच्छादेसि। णीसासणिहक्सु विणिग्गओ दिअहं रतिं वि तुज्झ अणुराओ अविरदपडन्तकुसुमसरसरणिवहपउत्तहुंकारसद्दो विअ ण भणइ।अहवा ण हु अअं कालो उवालम्भस्स। ता जाव णलिणीपत्ताईं से हिअए दाइस्सं। समस्तसदु सही समस्ससदु सही।)

(ततः प्रविशति विदूषकः।)

** विदूषकः—**अतिमहान् खलु प्रियवयस्यस्यारण्यिकाया उपर्यनुरागः। येन परित्यक्तराजकार्यस्तस्या एव दर्शनोपायं चिन्तयन्नात्मानं विनोदयति।(विचिन्त्य।) कुत्रे¹⁵¹दानीं तां प्रेक्षे। अथवा तत्रैव तावद् दीर्घिकायामन्विष्यामि। (परि¹⁵²क्रामति।) (अदिमहन्तो क्खु पिअवअस्सस्स आरण्णिआए दावरि अणुराओ। जेण परिच्चत्तराअकजो ताए एव्व दंसणोवाअं चिन्तयन्तो अप्पाणं. विणोदेइ। कहिं दाणिं तं पेक्खे।अहवा तर्हि एव्व दाव दिग्विआए अण्णेसामि।)

** मनोरमा—**(आकर्ण्य।) पदशब्द इव श्रूयते। तत्कदलीगुल्मान्तरिते भूत्वा प्रेक्षावहे तावत्क एष इति। (पदमद्दो विअ सुणीअदि। ता कदलीगुम्मन्तरिदा भविअ पेक्खह्मदाव को एसोत्ति।)

(उभे तथा कृत्वा पश्यतः।)

** आर०—**कथं स एव महाराजस्य पार्श्वपरिवर्ती ब्राह्मणः। (कहं सो एव्वमहाराअस्स पस्सपरिवट्ट बह्मणो।)

** मनोरमा—**कथं वसन्तक एव। (सहर्षमात्म¹⁵³गतम्।) अपि नाम तथा भवेत्। (कहं वसन्तओ एव्व। अवि णाम तह हवे।)

** विदूषकः—**(दिशोऽवलोक्य।) किमिदानीमारण्यिका सत्यमेक¹⁵⁴ संवृत्ता। (किं दाणिं आरण्णिआ सच्चं एव्व संवृत्ता।)

** मनोरमा—**(सस्मितम्।) सखि राजवयस्यः खलु ब्राह्मणस्त्वामुद्दिश्य मन्त्रयते। तत्तावदवहिते शृणुवः। (सहि राअवअस्सो क्खु बह्मणोतुमं उद्दिस्सिअ मन्तेदि। ता दाव अवहिदा सुणहा।)

(आरण्यिका सस्पृहं सलज्जं च शृणोति।)

** विदूषकः—**(सोद्वेगम्।) यदा¹⁵⁵ तावन्मया गुरुमदनसंतापनिस्सह–

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तथा भवेत् राजाज्ञयारण्यिकान्वेषणार्थमागतो भवोदित्याशयः। गुरुदुर्भरः मदनसंतापस्तेन

शरीरस्य प्रियवयस्यस्य वचनेन¹⁵⁶ देव्यो¹⁵⁷र्वासवदत्तापद्मावत्योरन्यासां च देवीनां भवनान्यन्विष्यता न सा दृष्टा तदा¹⁵⁸यत्र दीर्घिकायां दृष्टेदमपि तावत्प्रेक्षिष्य इत्यागतोऽस्मि। तद्यावदिहापि नास्ति। किमिदानीं करिष्ये।’ जदा दाब मए गुरुमअणसंदावर्णासहसरीरस्स पिअवअस्सस्स वअणेण देवीणं वासवदत्तापदुमावदीणं अण्णाणं अ देवीणं भवणाई अण्णेसन्तेण ण सा दिट्ठा तदा जहिं दिग्घिआए दिठ्ठाइदं सं वि दाव पेक्खिस्सं ति आअदोह्मि। ता जाव इह वि णत्थि। किं दाणिं करिस्सं।)

** मनोरमा—** श्रुतं प्रियसख्या। (सुदं पिअसहीए।)

विदूषकः—(विचिन्त्य।) अथवा भणित एवाहं वयस्येन। यदि तामन्विष्यन्न¹⁵⁹ प्रेक्षसे तत्ततोऽपि तावद्दीर्घिकातस्तस्याः करतलस्पर्श¹⁶⁰द्विगुणितसुखशीतलानि नलिनीपत्राणि गृहीत्वागच्छेति। तत्कथमेतानि ज्ञातव्यानि। (अहवा भणिदो एव्व अहं वअस्सेण। जइ तं अण्णेसन्तो ण पेक्खसि ता तदो वि दाव दिग्विआदो ताए करअलप्परिसदिउणिअसुहस्सीअलाइंणलिणीपत्ताइं गेण्हिअ आअच्छत्ति। ता कहं एदाइंजाणिदव्वाइं।)

** मनोरमा—**अयं ममावसरः। (उपसृत्य विदूषकं हस्ते गृहीत्वा।) वसन्तक एहि। अहं ते ज्ञापयामि। (अअं में अवसरो। वसन्तअ एहि। अहं दे जाणावेमि।)

** विदूषकः—**(सभयम्।) कस्य त्वं ज्ञापयसि। किं देव्याः। नखलु मया किमपि मन्त्रितम्। (कस्स तुमं जाणावेसि। किं देवीए। ण हु मए किं वि मन्तिदं।)

** मनोरमा—**वसन्तक अलं शङ्कया। यादृश्यारण्यिकायाः कृत आत्मनः प्रियवयस्यस्यावस्था त्वया वर्णिता ततो द्विगुणतरा भर्तुरपि कृते मम प्रियसख्या अवस्था। तत्पश्य पश्य। (उपसृत्यारण्यिकां दर्शयति।) (वसन्तअ अलं संकाए। जादिसी आरणिआए किदे अत्तणो पिअवअस्सस्स अवस्था तुए वण्णिदा तदो दिउणदरा¹⁶¹”) भट्टिणो वि किदे मम पिअसहीए अवत्था। ता पेख्ख पेख्ख।)

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निस्सहं दुर्बलं शरीरं यस्य तस्य। अस्वस्थवचनेन इति पाठे पर्याकुलवचनेन अस्वस्थ इति वचनेन वा। इदमपि दीर्घिकास्थानमपि। तस्याः करतलस्य स्पर्शेन द्विगुणितसुखानि च तानि शीतलानि च।

** विदूषकः—**(दृष्ट्वा सहर्षम्।) सफलो मे परिश्रमः। स्वस्ति भवत्यै।(सफलो मे परिस्समो। सोत्थि होदीए।)

(आरण्यका सलज्जं कमलिनीपत्राप्यपनीयोत्तिष्ठति।)

**मनोरमा—**आर्य वसन्तक। तव दर्शनेनैवापगतः प्रियसख्याः संतापो येन स्वयमेव नलिनीपत्राण्यपनयति। तदनुगृह्णात्वार्य इमानि। (अज्ज वसन्तअ तुह दंसणेण एव्वअवगदो¹⁶² पिअसहीए संदावो जेण सअं एव्व गलिणीपत्ताई अवणेइ। ता अणुगण्हादु अज्जो इमाईं।)

** आरण्यका—**(सावेगम्।) अयि परिहासशीले। कस्मान्मां लज्ज¹⁶³यसि।(किंचित्पराङ्मुखी तिष्ठति।) (अइ परिहाससीले। कीस मं लज्जावेसि।)

** विदूषकः—**(सविषादम्।) तिष्ठन्तु तावन्नलिनीपत्राणि। अतिलज्जालुका तेप्रियसखी।तत्कथमेतयोः समागमो भविष्यति।(चिठ्ठदु दाव णलिणीपत्ताइं। अदिलज्जालुआ दे पिअसही। ता कहं एदाणं समाअमो भविस्सदि।

** मनोरमा—**(क्षणं विचिन्त्य सहर्म्।) वसन्तएवमिव। (कर्णे कथयति।) (वसन्तअ एव्वं विअ।)

** विदूषकः—**साधु प्रियसखि साधु। (अपवार्य।) यावदेव युवांनेपथ्यग्रहणं कुरुथस्तावदेवाहमपि वयस्यं गृहीत्वागच्छामि। (इति निष्कान्तः।) साहु पिअसहि साहु¹⁶⁴। जाव एव्व तुझे णेवच्छग्गहणं करेत्थ दाव एव्वअहं वि वअस्सं गेण्हिअ आअच्छामि।)

**मनोरमा—**अतिकोपने उत्तिष्ठोत्तिष्ठ। नर्तितव्यमस्माभिस्तस्यैव नाटकस्य नर्तितशेषम्। तदेहि। प्रेक्षागृहमेव गच्छावः। (परिक्रम्यावलोक्य।) इदं प्रेक्षागारम्। यावदेहि प्रविशावः। (प्रविष्टकेनावलोक्य।) साधु साधु सर्वे सज्जीकृतम्। देव्यागन्तव्यम्। (अदिकोबणे। उट्ठेहि उट्ठेहि। णचिदव्वं¹⁶⁵.”) `अह्मेहिं तस्स एव्व णाडअस्स णचिदसेसं। ता एहि। पेक्खाघरं एव्व गच्छह्म। इदं पेक्खागारं¹⁶⁶। जाव एहि पविसह्य। साहु¹⁶⁷ साहु। सव्वं सज्जीकिदं। देवीए आअन्तव्वं।

(ततः प्रविशति देवी साङ्कृत्यायनी विभवतश्च परिवारः। )

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नेपथ्यग्रहणं वासवदत्तावत्सराजयोः वेषग्रहणमिति यावत्।

**वासवदत्ता—**भगवति अहो ते कवित्वम्। येनैतद्द्भूढवृत्तान्तं नाटकोपनिबद्धं सानुभवमप्यस्माकमार्यपुत्रचरितमदृष्टपूर्वमिव दृश्यमानमधिकतरं कौतूहलं वर्धयति। (भवअदि अहो दे कवित्तणं। जेण एदं गूढउत्तन्तं णाडओवाणबद्धं साणुभवं वि अह्माणं अज्जउत्तचरिदं अदिठ्ठपुव्वं विअ दिसन्तं अहिअअरं कोदूहलं वढ्ढअदि।

** साङ्कृत्यायनी—**आयुष्मति आश्रयगुण एवायमीदृशो यदसारमपि काव्यमवश्यमेव शृण्वतां श्रवणसुखमुत्पादयति¹⁶⁸। पश्य।

प्रायो यत्किंचिदपि प्राप्नोत्युत्कर्षमाश्रयान्महतः।
मत्तेभकुम्भतटगतमेति हि शृङ्गारतां भस्म॥१॥

** वासवदत्ता—**(सस्मितम्) भगवति सर्वस्य वल्लभो जामाता भवतीति ज्ञायत एवैतत्¹⁶⁹। तत्किमेतेन कथानुबन्धेन। वरं तदेव नर्तितव्यं द्रष्टुम्। (भअवदि सव्वस्स वल्लहो जामादो होदित्ति जाणिअदि एव्व एदं। ता किं एदिणा कहाणुबन्धेण । वरं तं एव्व णच्चि¹⁷⁰दव्वं दठ्ठुं।)

** साङ्कृत्यायनी—**एवम्। इन्दीवरिके प्रेक्षागृहमादेशय।

** चेटी—**एतु एतु भट्टिनी। (एदु एदु भट्टिणी।) (सर्वाः परिक्रामन्ति।)

** साङ्कृत्यायनी—**(विलोक्य !) अहो प्रेक्षणीयता प्रेक्षागृहस्य।

आभाति रत्नशतशोभितशातकुम्भ-
स्तम्भावसक्तपृथुमौक्तिकदामरम्यम्।
अध्यासितं युवतिभिर्विजिताप्सरोभिः
प्रेक्षागृहं सुरविमान समानमेतत्॥२॥

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-कवित्वं काव्यनिर्माणनैपुण्यम्। गूढः वृत्तान्तः यस्य तत्। नाटकोपनिबद्धं प्रयोगार्ह कृतम्। प्रेक्षागृहं नाट्यशाला। प्राय इति। यत्किचिन्निःसारं माहात्म्यरहितं वापि वस्तु महत आश्रयात्सम्बन्धात्प्रायः उत्कर्षमौत्कृष्टयं प्राप्नोति। अत्र दृष्टान्तमाह–भस्म असारत्वेन प्रसिद्धं मत्तेभस्य मत्तगजस्य कुम्भतटगतं सत् शृङ्गारतां शृङ्गारः भूषणं गजमण्डनविशेषो वा तत्तां प्राप्नोति हि ध्रुवम्॥१॥आभातीति। रत्नानां शतानि रत्नशतानि तैः शोभिताः शातकुम्भस्य सुवर्णस्य· स्तम्भास्तेषु अवसक्तानि पृथूनि मौक्तिकदामानि मुक्तामालास्तै रम्यम्। विजिताः स्वस्वरूपतिरस्कृता इत्यर्थः। अप्सरसो याभिस्ताभिः युवतिभिः अध्यासितमेतत्प्रेक्षागृहंसुरविमानसमानमाभाति। वसन्ततिलकं वृत्तम्। लक्षणमुक्तम्॥२॥

** मनोरमारण्यिके—**(उपसृत्य।) जयतु जयतु भट्टिनी।(जेदु जेदुभट्टिणी।)

** वासवदत्ता—**मनोरमे अतिक्रान्ता खलु संध्या। तद्गच्छतम्। लघु गृह्णीतं नेपथ्यम्। (मणो¹⁷¹रमे अदिक्कन्दा क्खु संज्झा ता गच्छह। लहु गण्हह णोवच्छं।)

** उभे —** यद्देव्याज्ञापयति। (इति प्रस्थिते।) (जं देवी आणवेदि।)

** वासवदत्ता—** आरण्यिके एतैरेव मदङ्गपिनद्धैराभरणैर्नेपथ्यभूमिं गत्वात्मानं प्रसाधय।(आभरणान्यङ्गादवतार्यारण्यिकायाः समर्पयति) मनोरमे त्वमपि नलगिरिग्रहणपरितुष्टेन तातेनार्यपुत्रस्य दत्तान्याभरणानीन्दीवरिकासकाशाद्गृहीत्वा नेपथ्यभूमिं गत्वात्मानं मण्डय येन सुसदृशी दृश्यसे महाराजस्य। (आरण्णिए एदेहिं एव्व मदङ्गपिणद्धेहिं आभरणेहिं णेवच्छभूमिं गदुअ अप्पाणं पसाहेहि। मणोरमे तुमं वि णलगिरिग्गहणपरितुट्टेण तादेण अज्जउत्तस्स दिण्णाईं आभरणाई इन्दीवरिआसआसादो गेण्हिअ णेवच्छभूमिअं गटुअ अप्पाणं मण्डेहि जेण सुसदिसी दीससि महाराअस्स।)

(मनोरमा इन्दीवरिकासकाशादाभरणानि गृहीत्वा सहारष्यिकया निष्क्रान्ता।)

** इन्दीवरिका —** इदमासनम्। उपविशतु भट्टिनी। (एदं¹⁷² आसणं। उवविसदु भट्टिणी)

वासवदत्ता—(आसनं निर्दिश्य।) उपविशतु भगवती। (उवविसदु भअवदी)

(उभे उपविशतः¹⁷³।)

(ततः प्रविशति गृहीतनेपथ्यः कञ्चुकी।)

** कञ्चुकी—**

अन्तःपुराणां विहितव्यवस्थः
पदे पदेऽहं स्खलितानि रक्षन्।

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मदङ्गपिनद्धैर्मदङ्गे बद्धैः। धारितैरित्यर्थः। प्रसाधय मण्डय। नलगिरिर्नाम इन्द्रदत्तःप्रद्योतस्य गजः तस्य आलानमुत्पाव्य प्रभ्रष्टस्य ग्रहणं तेन परितुष्टस्तेन। अन्तः-पुराणामिति। अन्तःपुराणामवरोधस्त्रीणां विहिता व्यवस्था व्यवस्थापनं येन सः। पदे पदे प्रतिपदं स्खलितानि प्रमादान् रक्षन् परिहरन्। राजदारान् प्रमादेभ्यो रक्षन्नित्यर्थः। संप्रति जरातुरः दण्डनीत्यां दण्डेन नीतिस्तमवलम्ब्य गमनं तेन नृपस्य सर्वचरितमनुकरोमि विडम्बयामि। नृपो पुराणामन्तः प्रजानां स्थितिपालनादिरूपां व्यवस्थां करोति। प्रजाः

जरातुरः संप्रति दण्डनीत्या
सर्वं नृपस्यानुकरोमि वृत्तम्॥३॥

भोः आज्ञापितोऽस्मि विमानिताशेषशत्रुसैन्येन यथार्थनाम्ना महासेनेन समादिश्यतामन्तःपुरेषु यथा—श्वो वयमुदयनोत्सवमनुभवामः। अतो युष्माभिरुत्सवानुरूपवेषोज्ज्वलेन परिजनेन सह मन्मथोद्यानं गन्तव्यमिति।

** साङ्कृत्यायनी—**(कञ्चुकिनं निर्दिश्य।) राजपुत्रि प्रवृत्ता प्रेक्षा दृश्यताम्।

** कञ्चुकी—**तदेत¹⁷⁴दादेष्टव्यं परिजनेन सह गन्तव्यमिति। न¹⁷⁵गृहीतनेपथ्येनेति। कुतः।

पादैर्नूपुरिभिर्नितम्बफलकैः शिञ्जानकाञ्चीगुणै-
र्हारापादितकान्तिभिः स्तनतटैः केयूरिभिर्बाहुभिः।
कर्णैः कुण्डलिभीः करैः सवलयैः सस्वस्तिकैर्मूर्धजै-
र्देवीनां परिचारिकापरिजनोऽप्येतेषु संदृश्यते॥४॥

न खलु किंचिदत्रापूर्वमनुष्ठेयम्। केवलं स्वाम्यादेश इति मत्वाहं समा¹⁷⁶दिष्टस्तदाज्ञाशेषं राजपुत्र्यै निवेदयामि। (परिक्रम्यावलोक्य च।) इयं

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प्रमादेभ्यो निवारयति। दण्डनीत्या अर्थशास्त्रानुसारेण प्रजा रक्षति च। दण्डनीतिनिरुक्तिस्तुदण्डेन नीयते चेदं दण्डं नयति वा पुनः। दण्डनीतिरिति ख्याता त्रीन् लोकानतिवर्तते॥ इति। श्लिष्टोपमालंकारः। वृत्तमुपजातिः। स्यादिन्द्रवज्रा यदि तौ जगौ गः। उपेन्द्रवज्रा जतजास्ततो गौ। अनन्तरोदीरितलक्ष्मभाजौ पादौ यदीयावुपजातयस्ताः॥इति तल्लक्षणम्॥३॥विमानितानि तिरस्कृतान्यशेषाणां शत्रूणां सैन्यानि येन। महासेनश्चण्डमहासेन इत्यपराभिध उज्जयिनीनृपः। प्रेक्षा नृत्तम् । प्रेक्षाधीरीक्षणं नृत्तम्। इति हैमः। **पादैरिति।**नूपुराणि मञ्जीरा एषां विद्यन्ते इति नूपुरिणस्तैः पादैः। शिञ्जानाः शब्दायमानाः काश्चीगुणा मेखलादामानि येषां येषु वा तैस्तथोक्तैः नितम्बफलकैः प्रशस्तनितम्बैः। हारैः मुक्तासरैः आपादिता निर्मिता कान्तिर्येषां तादृशैः स्तनतटैः। केयूरिभिः अङ्गदसहितैः बाहुभिः। कुण्डलिभिः कुण्डलधारिभिः कर्णैः। सवलयैः कङ्कणयुक्तैः करैः सस्वस्तिकैः स्वस्तिकाख्यालङ्कारधरैः। स्वस्तिकं मङ्गलः द्रव्यविशेषो वा तद्युक्तैः। मूर्धजैः केशपाशैः उपलक्षितः। देवीनां पूज्याया देव्याः। पूजार्थे बहुवचनम्। परिचारिकापरिजनः सेवकवर्गोपि एतेषु अन्तःपुरेषु दृश्यते। पूर्वमेव कृतनेपथ्यो वर्तते इत्यर्थः। शार्दूलविक्रीडतं वृत्तम्॥४॥

सा वासवदत्ता वीणाहस्तया काञ्चनमाल्यानुगम्यमाना गन्धर्वशालां प्रविष्टा। यावदस्याः कथयामि।(परिक्रामति)

(ततः प्रविशति गृहीतवासवदत्तानेपथ्यासनस्थारण्यिका
वीणाहस्ता काञ्चनमाला च।)

** आर०—**हला काञ्चनमाले कस्मात्पुनश्चिरय¹⁷⁷त्यद्यापि वीणाचार्यः।(हला कञ्चणमाले कीस उण चिराअदि अज्ज वि वीणाआरिओ।)

** काञ्च०—**भर्तृदारिके दृष्टस्तेनैक उन्मत्तः। तस्य वचनं श्रुत्वा¹⁷⁸. “) चित्रेण भावितोऽपहसंस्तिष्ठति। (भट्टिदारिए दिठ्ठोदेण एक्को उम्मत्तो।तस्स वअणं सुणिअ चित्तेण भाविदो ओहसन्तो चिठ्ठह्न।)

** आर०—**(सहस्ततालं विहस्य।) हञ्जेसुष्ठे्व¹⁷⁹ … रज्जन्तीति. “)तं पृच्छति। सदृशाः सदृशे रजन्त इति द्वावत्रोन्मत्तौ। (हञ्जे सुठु एदं पुच्छदि। सरिसा सरिसें रञ्जन्तित्ति दुवे एत्थ उम्मत्ता।)

** साङ्कृत्यायनी—**राजपुत्र्याः¹⁸⁰ सदृशमाकारं पश्याम्यस्यास्तादृशेनाकारेणावश्यं त्वदीयां भूमिकां संभावयिष्यति।

** कञ्चुकी—**(उपसृत्य।) राजपुत्रि देवस्त्वामाज्ञापयति। श्वोऽवश्यमस्माभिर्वीणां वादयन्ती श्रोतव्या। तत्त्वत्या नवतन्त्रीसज्जयाः घोषवत्याः स्थेयमिति।

** आर०—**आर्य यद्येवं लघु वीणाचार्यं विसर्जय। (अय्यजइ एवं लहु वीणाआरिअं विसज्जेहि।

** कञ्चुकी—**एष वत्सराजं प्रेषयामि। (इति निष्क्रान्तः।)

** आर०—**काञ्चनमाले उपनय मे घोषवतीं यावदस्यास्तन्त्रीः परीक्षे।

(कञ्चणमाले उवणेहि मे घोसवदीं जाव से तंतीओ परिक्खेमि।)

( काञ्चनमाला वीणामर्पयति। आरण्यिकोत्सङ्गे वीणां कृत्वा सारयति।)

(ततः प्रविशति गृहीतवत्सराजनेपथ्या मनोरमा।)

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वासवदत्तात्र वासवदत्तावेषधारिणी आरण्यका ज्ञेया। गंधर्वशाला प्रेक्षागृहम्। चित्रेण भावितो वैचित्र्यहृतचित्तः। सहस्ततालं हस्तौ प्रताड्य। सदृशाः सदृशे इ०–सर्वः सगन्धेषु विश्वसिति। द्वावप्यत्रारण्यकौ। इति समानार्थं वचनं शाकुन्तले। तादृशेन राजपुत्र्युचितेन। घोषवत्या वीणया सहितया। लघु शीघ्रम्। समदनावस्थो राजा स्वमनोवस्थामाह–

** मनोरमा—**(स्वगतम्।) चिरयति खलु महाराजः। किं न कथितं वसन्तकेन। अथवा देव्या बिभेति। यदीदानीमागच्छेत्ततो रमणीयं भवेत्। (चिराअदि वखु महाराओ किं णकहिदं वसन्तएण।अहवा देवीए भाअदि। जइ दाणिं आअच्छे तदो रमणिज्जं हवे।)

(ततः प्रविशति राजावगुण्ठितशरीरो विदूषकश्च।)

** राजा—**

संतापं प्रथमं तथा न कुरुते शीतांशुरद्यैव मे
निश्वासा ग्लपयन्त्यजस्रमधुनैवोष्णास्तथा नाधरम्।.
संप्रत्येव मनो न शून्यमलसान्यङ्गानि नो पूर्वव-
द्दुःखं याति मनोरथेषु तनुतां संचिन्त्यमानेष्वपि॥५॥

वयस्य सत्यमेवोक्तं मनोरमया। यथैषा मम प्रियसखी महाराजस्य देव्या दर्शनपथादपि रक्ष्यते तदयं समागमोपायः। अद्य रात्रावस्माभिरुदयनचरितं नाम नाटकं देव्याः पुरतो नर्तितव्यम्। तत्रारण्यिका वासवदत्ता भविष्यति। अहमपि वत्सराजः। तञ्चरितेनैव सर्वं शिक्षितव्यम्। तदागत्य स्वयमेव स्वां भूमिकां कुर्वाणः समागमोत्सवमनुभवत्विति।

** विदूषकः—**यदि मां न प्रत्याययस्येषा मनोरमा तव वेषं धारयन्ती तिष्ठति। तदुपसृत्य स्वयमेव पृच्छ। (जइ मं ण पत्तिआअसि एसा मणोरमा तुह वेसं धारअन्ती चिठ्ठइ। ता उवसप्पिअ सअं एव पुच्छ।)

** राजा—**(मनोरमामुपसृत्य।) मनोरमे सत्यमिदं यद्वसन्तकोऽभिधत्ते।

**मनोरमा—**भर्तः सत्यमेव। मण्डयैतैराभरणैरात्मानम्। (इत्याभरणान्यङ्गादवतार्य राज्ञे समर्पयति।) (भट्टा सञ्च्चं एव्व। मण्डअ एदेहिं आभरणेहिं अप्पाणं)

(राजा परिदधाति।)

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संतापमिति। शतिांशुः चन्द्रमा मे मम प्रथमं पूर्वे यथा संतापमकरोत् तथा अद्यैव नः कुरुते। तथा उष्णा निश्वासाः अधुनैव प्राग्यथा तथा अजस्रमनवरतमधरं न ग्लपयन्ति। सम्प्रत्येव पूर्ववत् मनः न शून्यमङ्गानि च नो नालसानि। तथाहि मनोरथेषु संचिन्त्यमानेषु सम्पन्नप्राया इति चिन्त्यमानेष्वपि दुःखं मनस्तापः तनुतां याति ह्रस्वीभवति॥ शार्दूलविक्रीडितं छन्दः॥५॥ निभृतेन निगूढम्।उद्देशः कथासंदर्भः। वीणां वादयन् वीणावादनशिक्षणप्रसङ्गेन। मय्यनुरागं जनयित्वेत्यर्थः। पटाक्षेपेण जवनिकामाक्षिप्य।आकस्मिकप्रवेशसूचनार्थमिदम्।

** विदूषकः—**एते खलु राजानो दास्या¹⁸¹")पि एवं नर्त्यन्ते। अहोकार्यस्य गुरुता। (एदे क्खु राणाओ दासीए वि एव्वं णच्चाविआन्ति। अहो कज्जस्स गरुअदा।)

** राजा—**(विहस्य।) मूर्ख नैष कालः परिहासस्य। निभृतेन चित्रशालां प्रविश्य मनोरमया सहास्मन्नृत्तं पश्यता स्थीयताम्।

(उभौ तथा कुरुतः।)

** आरण्यिका—**काञ्चनमाले तिष्ठतु वीणा। प्रक्ष्यामि तावत्किमपि। (कञ्चणमाले चिठ्ठदु वीणा। पुच्छिस्सं दाव किं वि)

** राजा—**शृणोमि तावत्कतमोऽयमुद्देशो वर्तते। (इत्यवहितः शृणोति।)

** काञ्चनमाला—**पृच्छतु भर्तृदारिका। ( पुच्छदु भट्टिदारिआ।)

** आर०—**सत्यमेव तातो मन्त्रयते एवं यथा–यदि वीणां वादयन्त्रपहरति मां वत्सराजोऽवश्यं बन्धनान्मुञ्चामीति। (सच्चं एव तादो मन्तेदि एव्वं जह जइ वीणं वादअन्तो अवहरेदि मं वच्छराओ अवस्सं बन्धणादो मुञ्चेमित्ति।)

** राजा—**(प्रविश्य पटाक्षेपेण सहर्षे वस्त्रान्ते ग्रथि¹⁸²तं बध्नाति।) एवमेतत्। कः संदेहः।

सपरिजनं प्रद्योतं विस्मयमुपनीय वादयन्वीणाम्।
वास¹⁸³वदत्तामपहरामि न चिरादेवेति पश्यामि॥६॥

यतः सुसं¹⁸⁴विहितं सर्वं यौगन्धरायणेन।

वासवदत्ता—(सहसोत्थाय।) जयतु जयत्वार्यपुत्रः। (जेदु जेदु अच्चउत्तो।)

** राजा—**(स्वगतम्।) कथं प्रत्यभिज्ञातोऽस्मि देव्या।

** साङ्कन्त्यायनी—**(सस्मितम्।) राजपुत्रि अलमलं संभ्रमेण। प्रेक्षणीयकमेतत्।

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ग्रथितं बध्नाति शुभशकुनं दृष्ट्वाऽभिमतसिद्धिसूचनार्थंवस्त्रपल्लवग्रन्थिबन्धनं लोकरीतिः। सपरिजनमिति। वीणां वादयन् मनोहारिणा वीणावादनेनेत्यर्थः। प्रद्योतं महासेनं सपरिजनं विस्मयमुपनीय प्रापय्य। वासवदत्तां न चिरादेवापहरामि अपहरिष्यामीति पश्यामि मन्ये। एतदुत्तरार्धं वृत्तलक्षणाननुसारि नातिमनोहरं चेति व्यक्तम्॥६॥ सुसंनिहितमिति पाठे सम्यक्संन्निधौ स्थापितम्। यौगन्धरायण उदयनस्य प्रधानामात्यः।

** राजा—**(आत्मगतं सहर्षम्) इदानीमुच्छ्वा¹⁸⁵सितोऽस्मि ।

** वासवदत्ता—**(सविलक्षस्मितमुपविश्य।) कथं मनोरमैषा। मया पुनर्ज्ञातमार्यपुत्र एष इति। साधु मनोरमे साधु। शोभनं नर्तितम्। (कहं मणोरमा¹⁸⁶एसा। मए उण जाणिदं अज्जउत्तो एसोत्ति। साहु मणोरमे साहु।-सोहणं णञ्चिदं।)

** साङ्कृत्या०—**राजपुत्रि स्थान एव कृता¹⁸⁷भ्रान्तिस्ते मनोरमया। पश्य।

रूपं तन्नयनोत्सवास्पदमिदं वेषः स एवोज्ज्वलः
सा मत्तद्विरदोचिता गतिरियं तत्सत्त्वमत्यूर्जितम्।
लीला सैव स एव सान्द्रजलदह्रादानुकारी स्वरः
साक्षाद्दर्शित एष नः कुशलया वत्सेश एवानया॥७॥

**वासवदत्ता—**हञ्जेइन्दीवरिके बद्धेनार्यपुत्रेणाहं वीणां शिक्षिता। तदस्य कुरु नीलोत्पलदामकेन निगडनम्। (शिरसोऽपनीय नीलोत्पलदामार्पयति।) (हञ्जे इन्दीवरिए। बद्धेण अज्जउत्तेण अहं वीणं सिक्खाविदा। ता से (करेहि णीलुप्पलदामरण णिअलणम्¹⁸⁸।)

(इन्दीवरिका तथा कृत्वा पुनस्तत्रैवोपवि¹⁸⁹शति।)

** आरण्यिका—**काञ्चनमाले कथय कथय। ननु सत्यमेव मन्त्रयते तातो यदि वीणां वादयन्नपहरति मां वत्सराजस्ततोऽवश्यं बन्धनान्मुञ्चामीति। (कञ्जणमाले कहेहि कहेहि। णं सच्च एव्व मन्तेदि तादो जइ वीणं वादअन्तो अवहरोद मं वच्छराओ तदो अवस्सं बन्धणादो मुञ्चेमित्ति।)

** काञ्चनमाला—**भर्तृदारिके सत्यम्¹⁹⁰। तथा कुरु यथा वत्सराजस्यावश्यं बहुमता भवसि। (भट्टिदारिए सच्चं।तह करेहि जह वच्छराअस्स अवस्सं बहुमदा होसि। )

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रूपमिति। इदं दृश्यमानं गृहीतवत्सराज भूमिकाया मनोरमायाः नयनानन्दकरं रूपं तद्वत्सराजस्यैव। तदभिन्नमेव। उज्ज्वलः वेषः स एव। इयमनया प्रकटीकृता मत्तद्विरदस्य मत्तगजस्योचिता तत्सदृशी गतिः सैव। उदयनस्यैव। अत्यूर्जितं अतिमहत् सत्त्वं मनोगाम्भीर्यं पैौरुषं वा तदेव। लीला सैव। सान्द्रः सजलः यः जलदस्तस्य ह्रादः स्वनस्तमनुकरोतीति तथा। तत्सदृशः। स्वरः स एव। एवं कुशलया नाट्यचतुरया अनया एष वत्सेश एव नः दर्शितः। शार्दूलविक्रीडितं वृत्तम्॥७॥

** राजा—**निष्पादितमेव काञ्चनमालया यत्तदास्माभिरभिलषितम्¹⁹¹।

** आरण्यका—**यद्येवं तदादरेण वादयिष्यामि। (गायन्ती वादयति) (जइ एव्वं ता आदरेण वादइस्सं।)

घनबन्धनसंरुद्धं गगनं दृष्ट्रा मानसमेतुम्¹⁹². “)॥
अभिलषति राजहंसो दयितां गृहीत्वात्मनो वसतिम्॥८॥

घणबन्धणसंरुद्धं गअणं दद्रुण माणसं एदुं¹⁹². “)॥

अहिलसइ राअहंसा दइअं घेऊण¹⁹³ अप्पणो वसइं॥

(विदूषको निद्रां नाटयति।)

** मनोरमा—**(हस्तेन चालयन्ती।) वसन्तक पश्य पश्य। प्रियसखी मे नृत्यति (वसन्तअ पेक्ख पेक्ख पिअसही मे णच्चइ।)

** विदूषकः—**(सरोषम्।) दास्याः सुते त्वमपि न ददासि स्वप्तुम्।यदाप्रभृति प्रियवयस्येनारण्यिका दृष्टा तदाप्रभृति तेन सह मया रात्रं¹⁹⁴. “)दिवं निद्रा न दृष्टा। तदन्यतो निष्क्रम्य स्वप्स्यामि। (निष्क्रम्य¹⁹⁵ शेते) (दासीए सुदे तुमं वि ण देसि सुविदुं। जदप्पहुदि पिअवअस्सेण आरणिआ दिठ्ठातदप्पहुदि तेण सह मए रत्तंदिवं णिद्दा ण दिठ्ठा। ता अण्णदो णिक्कमिअ सुविस्सं।)

(आरण्यका पुनर्गायति।)

अभिनवरागक्षिप्ता मधुकरिका वामकेन कामेन॥
उत्ताम्यति प्रार्थयमाना द्रष्टुं प्रियदर्शनं दयितम्॥९॥

अहिणवराअक्खित्ता महुअरिआ वामएण कामेण।
उत्तम्मइ पत्थन्ती दठ्ठंपिअदंसणं दइअं॥

** राजा—**(तत्क्षणं¹⁹⁶ श्रुत्वा सहसोपसृत्य।) साधु राजपुत्रि साधु। अहो गीतमहो वादित्रम्। तथाहि।

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निगडनं पदबन्धनम्। घनबन्धनेति। राजहंसः मरालः घनानां मेघानां बन्धनन संहत्या संरुद्धं व्याप्तं गगनं दृष्ट्वा दयितां गृहीत्वा आत्मनो वसतिं मानसं सर एतुमभिलषति। गूढार्थस्तु राजहंसो नृपश्रेष्ठो वत्सराजः गगनं तत्सदृशं कारागृहं घनबन्धनेन संरुद्धं निरुद्धं दृष्ट्वा दयितां वासवदत्तां गृहीत्वा शिष्यात्वेन स्वीकृत्य तस्या मानसमेतुं तस्मिन्ननुरागं जनयितुमिति यावत्। तत्र आत्मनो वसतिं निवासमभिलषति। अप्रस्तुतप्रशंसालंकारः॥८॥रात्रिंदिवं रात्रौ दिवा च। अचतुरेत्यादिना निपातः। अभिनवेति। वामकेन कुटिलेन दुर्लभवस्तुनि प्रवर्तकेनेत्यर्थः। कामेन अभिनवरागे क्षिप्ता मधुकरिका प्रियदर्शनं दयितं द्रष्टुं प्रार्थयमाना उत्कटतया वाञ्छन्ती उत्ताम्यति पर्याकुला भवति। अत्राप्रस्तुतभृङ्गीवर्णनेन नायिकाप्रतीतेरप्रस्तुतप्रशंसालंकारः॥९॥

व्यक्ति¹⁹⁷र्व्यञ्जनधातुना दशविधेनाप्यत्र लब्धाधु¹⁹⁸ना
विस्पष्टो द्रुतमध्यलम्बितपरिच्छिन्नस्त्रिधायं लयः।
गोपुच्छप्रमुखाः क्रमेण यतयस्तिस्रोऽपि संपादिता-
स्तत्वौघानुगताश्च वाद्यविधयः सम्यक्त्रयो दर्शिताः॥१०॥

** आरण्यिका–**(वीणां परिष्व¹⁹⁹ज्यासनादुत्थाय राजानं साभिलाषं पश्यन्ती।) उपाध्याय प्रणमामि। (उवज्झाअ पणमामि)

** राजा—**(सस्मितम्।) यदहमिच्छामि तत्ते भूयात्।

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वादित्रं वादनकौशलमित्यर्थः। व्यक्तिरिति। अधुना अत्र श्रवणपथमापतिते वाद्यानुगते गीते। व्यञ्जनधातुना व्यज्यन्ते विशेषा अनेनेति व्यञ्जनः स चासौ धातुश्च व्यञ्जनधातुः। वाद्यवादनोत्थस्वरो धातुः। तदुक्तं—ये प्रहारविशेषोत्थाः स्वरास्ते धातवो मताः। विस्तारकरणा विद्धव्यञ्जनाश्चेति धातवः॥ व्यञ्जनधातुर्वीणावादनप्रकारः। दशविधेन दशप्रकारेण। तदुक्तं मुनिना—इति दशविधः प्रयोज्यो वीणायां व्यञ्जनो धातुः। दाशविध्यं चोक्तं–व्यञ्जनधातोर्ज्ञेयं कलतलनिष्कोटितं तथोन्मृष्टम्। रेफोवमृष्टपुष्षावनुस्वनो बिन्दुरधरश्च॥ एतेषां लक्षणानि विस्तरभिया नोच्यन्ते। व्यक्तिर्लब्धा। वृत्तिर्लब्धेतिपाठे वृत्तिः गीतवाद्ययोर्गुणप्रधानत्वरूपा व्यवहृतिः। तदुक्तं वृत्तिर्गुणप्रधानत्वरूपा व्यवहृतिर्मता। चित्रा वृत्तिर्दक्षिणा च तिस्रः स्युरिति वृत्तयः॥ यत्र वाद्यप्रधानत्वं गीतस्य गुणता सा चित्रावृत्तिः। यत्र उभयोः समता सा वृत्तिवृत्तिः। यत्र गीतप्रधानता वाद्यस्य गुणता सा दक्षिणा वृत्तिः। अयं श्रूयमाणः लयः गीतवाद्यादीनां कालक्रियासाम्यं द्रुतः मध्यः लम्बितः इत्येवं परिच्छिन्नः त्रिधा त्रिप्रकारेण विस्पष्टः। क्रियानन्तरविश्रान्तिर्लयः स त्रिविधो मतः। द्रुतोमध्यो विलम्बश्चद्रुतः शीघ्रतमो मतः। द्विगुणद्विगुणौ ज्ञेयौ तस्मान्मध्यविलम्बितौ॥ गोपुच्छा पूर्वं लघुः मध्ये दीर्घा पुनः क्रमेण लघुतां प्राप्ता इत्येवं गोपुच्छस्वरूपा गोपुच्छा। तत्प्रमुखाः तिस्रोः यतयः समास्रोतोगतागोपुच्छासंज्ञाः यतयोपि संपादिताः निर्वाहिताः। तत्वं औघः अनुगतं च येषु ते तत्त्वौघानुगताः त्रयः वाद्यविधयः सम्यग्यथाशास्त्रं दर्शिताः। “एतेषां नियमनं चैवम्**—चित्रवृत्यां लयो द्रुतं यतिः समा वाद्यमोघमिति। वृत्तिवृत्यां लयो मध्यं यतिः स्रोतोगता वाद्यमनुगतमिति। दक्षिणवृत्यां लयो विलम्बितं यतिर्गोपुच्छा॥ वाद्यं तत्वमिति च। " इति श्रीनिवासाचार्याः। उक्तं च—**त्रिविधं गीते कार्ये वादित्रं वैणमेव वाद्यज्ञैः। तत्त्वं तथाप्यनुगतमोघो वा नैककरणं तु। लयतालवर्णपदयतिगीत्यक्षरवादकं भवेत्तत्वम्। गीतं तु यदनुगच्छत्यनुगतमिति तद्भवेद्वाद्यम्। अविद्धकरणबहुलं ह्युपर्युपरिपाणिकं द्रुतलयं च। अनपेक्षितगीतार्थं वाद्यमयौघो विधातव्यम्॥ इति। लयादीनामन्यान्यपि लक्षणान्युपलभ्यमानानीह विस्तरभिया नोक्तानि॥ शार्दूल० वृत्तम्॥१०॥ उपेत्याधीयते

** काञ्चनमाला—**(आरण्यिकाया आसनं निर्दिश्य।) इहैवोपविशतु उपाध्यायः। (इह एव्व उवविसदु उवज्झाओ)

** राजा—** (उपविश्य।) राजपुत्री क्केदानीमुपविशतु।

काञ्चनमाला—(सस्मितम्।) इदानीमेव भर्तृदारिका विद्या²⁰⁰मानेन परितोषिता युष्माभिः। तदर्हत्येवैपोपाध्यायपीठिकायाः। (दाणिं एव्व भट्टिदारिआ विज्जामाणेन परितोसिदा तुह्मेहिं। ता अरुहृदि एव्व एसा उवज्झाअपीठिआए।)

** राजा—**उपविशत्वर्हेयमर्धासनस्य। राजपुत्रि स्थीयताम्।

(आरण्यिका काञ्चममालां पश्यति।)

** काञ्चनमाला—**(सस्मितम्।) भर्तृदारिके उपविश। कोऽत्र दोषः। शिष्यविशेषा खलु त्वम्। (भट्टिदारिए उवविस। को एत्थ दोसो। सिस्सविसेसा क्खु त्वमं।)

(आरण्यका सलज्जमुपविशति।)

** वासवदत्ता—**(सलज्जम्।) भगवत्याधिकं कल्पितं काव्यम्। न खल्वहंतस्मिन्काल एकासने आर्यपुत्रेण सहोपविष्टा।(भअवदीये अहिअं कप्पिदं कव्वं। णहु अहं तस्सिं काले एक्कासणे अज्जउत्तेण सह उवविठ्ठा²⁰¹")।)

**राजा—**राजपुत्रि पुनः श्रोतुमिच्छामि। वादय वीणाम्।

आरण्यिका—(सस्मितम्।) काञ्चनमाले चिरं खलु मम वादयन्त्याः परिश्रमो जातः। इदानीं निःसहान्यङ्गानि। तन्न शक्नोमि वादयितुम्।(कञ्चणमाले चिरं खु मम वादअन्तीए परिस्समो जादो। दाणिं णिस्सहाई अङ्गाई। ता ण सक्कुणोमि वादइदुं।)

**काञ्चनमाला—**उपाध्याय सुष्ठु परिश्रान्ता भर्तृदारिका। कपोलतलबद्धस्वेदलवा²⁰²याः पश्यास्या वेपेते अग्रहस्तौ। तत्समाश्वस्ता भवतु ति। मुहूर्तम्।(उवज्झाअ सुष्ठु परिस्सन्ता भट्टिदारिआ। कवोलतलबद्धसेअलवाए पेक्ख से वेवन्ति अग्गहत्था। ता समस्सत्ता होतु मुहुत्तअं। )

** राजा—**काञ्चनमाले युक्तमभिहितम्। (हस्ते²⁰³नग्रहीतुमिच्छति।)

(आरण्यिका हस्तमपसारयति।)

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अस्मादित्युपाध्यायः। विद्यामानेन गानविद्याप्रावीण्यप्रशंसयेत्यर्थः। कपोलतले बद्धा स्वेदलवा यस्याः। अग्रौ च तौ हस्तौ च इति कर्मधारयः। हस्ताग्रहस्तयोर्गुणगुणिनो र्भेदाभेदादिति वामनः।

वासवदत्ता—(सासूयम्।) भगवति अधिकमेतदपि त्वया कृतम्। न खल्वहं काञ्चनमाला काव्येन वञ्चयितव्या। (भअवदि अहिअं एदं मनो वि तुए किदं। ण हु अअं कञ्चणमाला कव्वेण वञ्चइदव्वा।)

साङ्कृत्यायनी—(विहस्य।) आयुष्मति ईदृशमेव काव्यं भविष्यति।

आर०—(सरोषमिव।) अपेहि काञ्चनमाले अपेहि। न मेबहुमतासि। (अवेहि कञ्चणमाले अवेहि। ण मे बहुमदासि ।)

** काञ्चन०—**(सस्मितम्।) यद्यहं तिष्ठन्ती न बहुमता तदेषा गच्छामि। (इति निष्कान्ता।) ( जइ अहं चिठ्ठन्ती ण बहुमदा ता एसा²⁰⁴ गच्छाह्मि)

** आर०—**(ससंभ्रमम्।) काञ्चनमाले तिष्ठ तिष्ठ। अयमस्याग्रहस्तः समर्पितः। (कञ्चणमाले चिठ्ठचिठ्ठ।अहं से अग्गहत्थो समप्पिदो।)

** राजा—**(आरण्यिकाया हस्तं गृहीत्वा।)

सद्योऽवश्यायबिन्दुव्यतिकरशिशिरः किं भवेत्पद्मकोशो
ह्रादित्वं नास्य मन्ये सदृशमिदमुषस्येव वीततप²⁰⁵स्य।
मुञ्चन्त्येते हिमौघं नखरजनिकराः पञ्च किं सोऽपि दाही
ज्ञातं स्वेदापदेशादविरतममृतं स्यन्दते व्यक्तमेतत्॥११॥

अपि च।

एतेन बालविद्रुमपल्लवशोभापहारदक्षेण।
हृदये मम त्वयायं न्यस्तो रागः स्वहस्तेन॥१२॥

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** सद्य** इति। अयं मया गृहीतः करः सद्यस्तत्कालं य अवश्यायबिन्दूनां नीहारकणानां व्यतिकरः सम्बन्धस्तेन शिशिरः शीतलः पद्मकोश कमलमुकुलः भवेत्किम्। नैतत्संभवतीत्याह। अस्य नीहारकणसनाथस्य पद्ममुकुलस्य अधुनाह्लादित्वमानन्दकारित्वं न मन्ये। यतः वीतातपस्य आतपरहितस्य। पीतातपस्येति पाठे गृहीतबालातपस्य। अस्य उषस्येव सदृशं योग्यम्। उषस्येव पद्मकोशः आह्लादको भवेदिति भावः। वितर्कान्तरमाह एते पञ्च नखरजनिकराः नखचन्द्राः हिमौघं नीहारसंदोहं मुञ्चन्ति किम्। नैतदपि। यतः सोपि रजनिकरः दाही विरहिणां दहनशीलः। न तु सर्वदानन्दकरो यथायम्। तत्किमेतत्स्यादित्यत्र निर्णयमाह—ज्ञातं मया सभ्यगवगतम्। एतद् स्वेदापदेशात्स्वेदव्याजेन अमृतमविरतं स्यन्दते स्रवति। एतत् व्यक्तं स्पष्टमेव। संदेहापह्नतिसंकीर्णोत्प्रेक्षा। शार्दूलवि॰ वृत्तम्। एतेनेति। एतेन बालः यः विद्रुमपल्लवः प्रवालाङ्करस्तस्य शोभाया अपहारे मोषणे दक्षेण। अत्यन्तं तत्सदृशेन स्वहस्तेन त्वया मम हृदये अयं रागः रक्तिमा अनुरागश्च न्यस्तोऽर्पितः॥१२॥

आर०—(स्पर्शविशेषं नाटयन्ती।) हा धिक् हा धिक्। एतां मनोरमां स्पृशन्त्या अनर्थमेव मेऽङ्गानि कुर्वन्ति। (हद्धि हद्धि। एदं मणोरमं परिस²⁰⁶")न्तीए अणत्थं एव्व मे अङ्गाई करेन्ति।)।

वासवदत्ता—(सहसोत्थाय।) भगवति पश्य त्वम्। अहं पुनरलीकं न पारयामि प्रेक्षितुम्। (भअवदि पेक्ख तुमं। अहं उण अलिअं ण पारेमि पेक्खिदुं।)

**साङ्कृत्यायनी—**राजपुत्रि धर्मशास्त्रविहित एष गान्धर्वो विवाहः। किमत्र लज्जास्थानम्। प्रेक्षणीयकमिदम्। तन्न युक्तमस्थाने रसभङ्गं कृत्वा गन्तुम्।

(वासवदत्ता परिक्रामति।)

** इन्दीवरिका—**(विलोक्य।) भट्टिनि वसन्तकश्चित्रशालाद्वारे प्रसुप्तस्तिष्ठति।(भाट्टणि वसन्तओ चित्तसालादुवारे पसुतो चिट्टइ।)

** वासवदता—**(निरूप्य।) वसन्तक एवैषः। (विचिन्त्य।) राज्ञाप्यत्र भवितव्यम्। तद्बोधयित्वा प्रक्ष्यामि तावदेनम्। (प्रबोधयति।) (बसन्तओ एव्व एसो। रण्णा वि एत्थ होदव्वं। ता बोधिअ पुछिस्सं दाव णं।)

** विदूषकः—**(निद्राजडमुत्थाय सहसा विलोक्य।) मनोरमे किं नर्तित्वागतः प्रियवयस्यः। अथवा नृत्यत्येव। (मणोरमे किं णच्चिअ आअदो विअवअस्सो। आदु णच्चदि एव्व।)

** वासवदत्ता—**(सविषादम्।) कथमार्यपुत्रो नृत्यति। मनोरमेदानीं कुत्र।(कहं अज्जउत्तो णच्चदि। मणोरमा दाणिं कहिं।)

** विदूषकः—**एषा चित्रशालायां तिष्ठति। (एसा चित्तसालाए चिठ्ठइ।)

** मनो०—**(सभयमात्मगतम्।) कथमन्यथैव हृदये कृत्वा देव्या मन्त्रितम्। एतेनापि मूर्खबटुकेनान्यथैव बुद्ध्वासर्वमाकुलीकृतम्। (कहं अण्णा एव्व
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अनर्थमिव मेङ्गानि कुर्वन्ति कोपि दुःसहो मनोविकारो मेङ्गानि प्रज्वलयतीत्यर्थः। विकुर्वत इति पाठे मदनविकारवशानि भवन्तीत्यर्थः। अलीकमवास्तवम्। गान्धर्वः—तदुक्तं—क्षत्रियस्य तु गान्धर्वो विवाहः श्रेष्ठ उच्यते। इति। अत्र मनुः—इच्छयान्योन्यसंयोगः कन्यायाश्च वरस्य च। गान्धर्वः स तु विज्ञेयो मैथुन्यः कामसंभवः॥ इति। अस्थाने अकारणे अनुचिते काले वा। कुत्सितः बटुः बटुकः। कुत्सायां कन्।

हिअए करिअ देवीए मन्तिदं। एदेण वि मुक्खबडुएण अण्णहा एव्व बुद्धिअ सर्व आउलीकिदं।)

** वासवदत्ता—**(सरोषं हसन्ती।) साधु मनोरमे साधु। शोभनं त्वया नर्तितम्। (साहु मणोरमे साहु। सोहणं तुए णचिदं।)

** मनो०—**(सभयं कम्पमाना पादयोर्निपत्य।) भट्टिनि न खल्वहमत्रापराध्यामि। एतेन खलु हताशेन बलादलंकरणानि गृहीत्वा द्वारस्थितेनेह निरुद्धा। न पुनर्ममाक्रन्दन्त्याः शब्दो मुरजनिर्घोषान्तरितः केनापि श्रुतः।(भट्टिणि ण हु अहं एत्थ अवरज्झामि। एदेण खु हदासेण बलादो अलंकरणाइं गेण्हिअ दुवारट्ठिदेण इह णिरुद्धा। ण उण मह अक्कन्दन्तीए सद्दो मुरअणि²⁰⁷; मए आक्वन्दिदेवि… दरिदो (षान्तरितो) न केण वि सद्दो”)ग्धोसन्तरिओ केण वि सुदो।)

** वासवदत्ता—**हञ्जेउत्तिष्ठ। ज्ञातं सर्वम्। वसन्तकः खल्वारण्यिकावृत्तान्तनाटके सूत्रधारः। (हञ्जे उठ्ठेहि। जाणिदं सव्वं। वसन्तओ क्खुआरण्णिआउत्तन्तणाडए सुत्तधारो।)

** विदूषकः—**स्वयमेव चिन्तय। कुत्रारण्यिका कुत्र वसन्तक इति। (सअं एव्व चिन्तेहि। कहिं आरणिआ कहिं वसन्तओत्ति।)

** वासवदत्ता**—मनोरमे सुगृहीतं कृत्वैनमागच्छ तावत्। प्रेक्षणीयमस्य पश्यामि। (मणोरमे सुग्गहीदं करिअ णं आअच्छ²⁰⁸ दाव।पेक्खणीअं से पेक्खह्मि।)

** मनो०—**(स्वगतम्।) इदानीं समाश्वसितास्मि (विदूषकं करे बध्नाति। प्रकाशम्॥) हताश इदानीमनुभवात्मनो दुर्नयस्य फलम्। (दाणिं समस्ससिदह्मि। हदास दाणिंअणुभव अत्तणो दुण्णअस्स फलं।)

** वासवदत्ता—**(ससंभ्रममुपसृत्य।) आर्यपुत्र प्रतिहतमेतदमङ्गलम्। (इति पादयोर्नीलोत्पलदामापनयन्ती²⁰⁹ सोत्प्रासम्²¹⁰ मर्षयतु इत्यादि राजा वैलक्ष्यं नाटयति ’ इत्येतस्य परस्तात्पठ्यते पुस्तकान्तरे। जं इत्यत्र तुमं इ. पा. च.")।) मर्षत्वार्यपुत्रो यन्मनोरमेति कृत्वा नीलोत्पलदामकेन बन्धितोऽसि। (अज्जउत्त पडिहदं एदं अमङ्गलं। मरिसदु अज्जउत्तो जं मणोरमेत्ति करिअ णीलुप्पलदामएण बन्घाविदोसि।)

(आरण्यिका सभयमपसृत्य तिष्ठति।)

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आरण्यिकायाः वृत्तान्तो नृपेण समागम इत्यर्थः। स एव नाटकं तत्र सूत्रधारो योजकः। सुगृहीतं सुबद्धम्। दुर्नयस्याकुटिलनीतेः। असमीक्ष्यकारिताया इत्यर्थः। अन्यदन्यथापरिणामि।

** राजा—**(सहसोत्थाय विदूषकं मनोरमां च दृष्ट्वात्मगतम्।) कथं विज्ञातोस्मि देव्या²¹¹। (वैलक्ष्यं नाटयति।)

** साङ्कृत्यायनी—**(सर्वानवलोक्य सस्मितम्।) कथमन्यदेवेदं प्रेक्षणीयकं संवृत्तम्। अभूमिरियमस्मद्विधानाम्। (इति निष्क्रान्ता।)

** राजा—**(स्वगतम्।) अपूर्वोऽयं कोपप्रकारः। दुर्लभमत्रानुनयं पश्यामि। (विचिन्त्य।) एवं तावत्करिष्ये(प्रकाशम्।) देवि त्यज्यतां कोपः।

** वासवदत्ता**—आर्यपुत्र कोऽत्रकुपितः। (अज्जउत्त को एत्थ कुविदो)

** राजा—**कथं न कुपितासि।

स्निग्धं यद्यपि वीक्षितं नयनयोस्ताम्रा तथापि द्युति-
र्माधुर्येऽपि सति स्खलत्यनुपदं ते गद्गदा वागियम्।
निश्वासा नियता अपि स्तनभरोत्कम्पेन संलक्षिताः
कोपस्ते प्रकटप्रयत्न²¹²विधृतोऽप्येष स्फुटं लक्ष्यते॥१३॥

(पादयोर्निपत्य।) प्रसीद प्रिये प्रसीद।

** वासवदत्ता—**आरण्यिके त्वं कुपितेति संभावयन्नार्यपुत्रः प्रिये प्रसीदेति प्रसादयति। तदुपसर्प। (इति हस्तेनाकर्षति।) (आरण्णिए तुमं कुविदत्ति संभावअन्तो अज्जउत्तो पिए पसीदत्ति पसादअदि। ता उवसप्प।)

** आर०—**(सभयम्।) भट्टिनि न खल्वहं किमपि जानामि। (भट्टिणि ण हु अहं किं वि जाणामि।)

** वासवदत्ता—**आरण्यिके त्वं कथं न जानासि। इदानीं ते शिक्षयामि। इन्दीवरिके गृहाणैनाम्। (आरण्णिए तुमं कहं णआणासि। दाणिं दे सिक्खावेमि । इन्दीवरिए गेण्हएदं। )

** विदूषकः—**भवति अद्य कौमुदीमहोत्सवे तव चित्तमपहर्तुं वयस्येन प्रेक्षणीयमनुष्ठितम्। (होदि अज्ज कोमुदीमहूसवे तुह चित्तं अवहरिदुं वअस्सेण पेक्खणीअं अणुचिट्टिदं।)

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स्निग्धमिति। यद्यपि स्निग्धं स्नेहपूर्णं वीक्षितमीक्षणं तथापि नयनयोः द्युतिः ताम्रा। ताम्रत्वं कोपात्। माधुर्ये सत्यपि। बाह्यतो मधुरं भाषमाणाया अपीत्यर्थः। ते तव गद्गदा अस्फुटं प्रवर्तमाना वागनुपदं पदे पदे स्खलति। निश्वासाः नियता निरुद्धा अपि स्तनयोः उत्कम्पेन संलक्षिताः स्फुटं दृष्टाः। एवमेष ते कोपः प्रकटेन स्फुटेन प्रयत्नेन विधृतोऽन्तःसरूंद्वोपि स्फुटं प्रकटं लक्ष्यते। शार्दूल० वृत्तम्॥१३॥ तव चित्तमपहर्तुमाक्रष्टुं तव रञ्जनार्थमित्यर्थः।

** वासवदत्ता**—एतं युष्माकं दुर्नयं प्रेक्ष्य हासो मे जायते। (एदंतुह्माणं दुण्णअं पेक्खिअ हासो मे जाअदि।)

** राजा**— देवि अलमन्यथा विकल्पितेन²¹³। पश्य।

भ्रभङ्गैः क्रियते ललाटशशिनः कस्मात्कलङ्को मुधा²¹⁴
वाताकम्पितबन्धुजीवसमतां नीतोऽधरः किं स्फुरन्।
मध्यश्चाधिककम्पितस्तनभरेणायं पुनः खिद्यते
कोपं मुञ्च तवैव चित्तहरणायैतन्मया²¹⁵ क्रीडितम्॥१४॥

देवि प्रसीद प्रसीद। (इति पादयोः²¹⁶ पतति।)

** वासवदत्ता**—हञ्जेनिवृत्तं प्रेक्षणकम्। तदेहि । अभ्यन्तरमेव प्रविशावः। (इति निष्क्रान्ता²¹⁷।)(हञ्जे णिवुत्तं पेक्खणअं। ता एहि। अब्भन्तरं एव्व पविसह्म।)

इति गर्भनाटकम्।

** राजा**—(विलोक्य।) कथमकृत्वैव प्रसादं गता देवी।

स्वेदाम्भःकणभिन्नभीषणतरभ्रूभङ्गमेकं रुषा
त्रासेनापरमुत्प्लुतोत्प्लुतमृग²¹⁸व्यालोलनेत्रोत्पलम्।
उत्पश्यन्नहमग्रतो मुखमिदं देव्याः प्रियायास्तथा
भीतश्चोत्सुकमानसश्च महति क्षिप्तोऽस्म्यहं संकटे॥१५॥

तद्यावदिदानीं शयनीयं गत्वा देव्याः प्रसादनोपायं चिन्तयामि।

(इति निष्कान्ताः सर्वे।)

इति तृतीयोऽङ्कः।

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अन्यथाविकल्पितेन अहमारण्यिकायामासक्त इत्यादिसंशयेन। भ्रूभङ्गैरिति। कस्मात्केन हेतुना ललाटमेव शशी तस्य भ्रूभङ्गैः कोपजनितभ्रूविकारैः मुधा व्यर्थमकारणमिति यावत्। कलङ्कः क्रियते। ललाटशशी मलिनीक्रियते इत्यर्थः। किं किमर्थं स्फुरन् कोपात्कम्पमानः अधरः वातेनाकम्पितं यद्वन्धुजीवकुसुमं तस्य समतां तुल्यतां नीतः। कस्मात्पुनः अयं मध्यः अधिकं बलवत्कम्पितौ यौ स्तनौ तयोः भरेण खिद्यते खेदं प्राप्यते। कोपं मुञ्च यतो मया तव चित्तहरणायैवैतत् क्रीडितम्।शार्दूलविक्रीडितं वृत्तम्॥१४॥

स्वेदाम्भः इति। रुषा क्रोधेन हेतुभूतेन उत्पन्ना ये स्वेदाम्भःकणा घर्मजलबिन्दवस्तैः भिन्नं चितं च तत् भीषणतरा अतिशयेन भीषणा तथा भ्रूभङ्गा यत्र तादृक् च इदं पुरोदृश्यमानं देव्या मुखमेकम्।त्रासेन भयेन उत्प्लुतोत्प्लुतो वेगादग्रं धावन्यो मृगस्तस्येव व्यालोले अतिचञ्चले नेत्रोत्पले नेत्रकमले यस्य तादृक् प्रियाया आरण्यिकायाइदमपरं मुखमग्रत उत्पश्यन् विभावयन् अहं भीतश्च उत्सुकमानसश्च सन्महति संकटे क्षिप्तोस्मि। शार्दूल० वृत्तम्॥१५॥ इति तृतीयोङ्कः।

॥चतुर्थोऽङ्कः॥

<MISSING_FIG href=”../books_images/U-IMG-1723966082Screenshot2024-08-181257081.png”/>

(ततः प्रविशति मनोरमा)

मनोरमा— (सोद्वेगम्।) अहो दीर्घरोषता देव्याः। एतावन्तं कालं बद्धाया अपि प्रियसख्या आरण्यिकाया उपर्यनुकम्पां न गृह्णाति। सा तपस्विन्यात्मनो बन्धनस्य क्लेशेन तथा न संतप्यते यथा भतुर्दर्शननिराशतया। ईदृशं चास्या दुःखं येनाद्यैवात्मानं व्यापादयन्ती मया कथमपि निवारिता। एतं वृत्तान्तं भर्त्रे निवेदयेति वसन्तकं भणित्वागतास्मि।
(अहो दिग्घरोसदा देवीए। एत्तिअं²¹⁹ कालं वद्धाए पिअसहीए आरण्णिआए उवरि अणुकम्पं ण गेण्हइ। सा तवस्सिणी अत्तणो वन्धणस्स किलेसेण तह ण संतप्पदि जह भट्टिणो दंसणणिरासदाए। ईरिसं च से दुक्खं जेण अज्ज एव्व अत्ताणं वावादअन्ती मए कहं वि णिवारिदा। एदं उत्तन्तं भट्टिणो णिवेदेहित्ति वसन्तअं भणिअ आअदह्मि।)

(ततः प्रविशति काञ्चनमाला।)

**काञ्चनमाला—**कथमन्विष्यन्त्यापि मया भगवती साङ्कृत्यायनी न दृष्टा। (विलोक्य।) तदेतामपि तावन्मनोरमां प्रक्ष्यामि। (उपसृत्य।) मनोरमे अपि जानासि कुत्र भगवती साङ्कृत्यायनीति। (कहंअण्णेसन्तीए वि मए भअवई सङ्किच्चाअणी ण दिठ्ठा। ता एदं वि दाव मणोरमं पुच्छिस्सं। मणोरमे अवि जाणासि कहिं भअवई सङ्किच्चाअणित्ति। )

मनोरमा—(विलोक्याश्रूणि प्रमृज्य।) हला काञ्चनमाले दृष्टा। किं पुनस्तया प्रयोजनम्। (हला कञ्चणमाले दिट्ठा²²⁰। किं उण ताए पओअणं। )

**काञ्चनमाला—**मनोरमे अद्य देव्याङ्गारवत्या लेखः प्रेषितः। तस्मिन्वाचिते बाष्पपूर्णनयना दृढं संतप्तुमारब्धा देवी। तद्विनोद्ननिमित्तं तस्या भगवतीमन्विष्यामि। (मणोरमे अज्ज देवीए अङ्गारवदीए लेहो पेसिदो²²¹। तस्सि वाचिदे बप्फपुण्णणअणा दिढं संतप्पिदुं आरद्धा देवी। ता विणोदणणिमित्तं ताए भअवदिं अण्णेसामि।)

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अथ चतुर्थाङ्के अवशिष्टौ अवमर्शनिर्वहणसन्धी निर्वाह्येते। तत्र निष्क्रान्ता मनोरमा ततः प्रविशति मनोरमया धृता सविषवेगमात्मानं नाटयन्ती आरण्यिका एत्येतावत्पर्यन्तं वासवदत्ताप्रसत्या निरपायप्रियदर्शिकाप्राप्त्यवसायात्माऽवमर्शसन्धिः। अथ वासवदत्ताप्रसादमिच्छतो वत्सराजस्य प्रवेशं सूचयितुं प्रवेशकमारभते ततः प्रविशति मनोरमेति। तपस्विन्मनुकम्पार्हा। अङ्गारवती प्रद्योतस्य पत्नी वासवदत्ताया माता तद्विनोदननिमित्तं तस्या दुःखस्यापमार्जनार्थमित्यर्थः।

** मनोरमा—**हलाकिं पुनस्तस्मिंल्लेख आलिखितम्। (हला किं उण तस्सिं लेहे आलिहिदं।)

** काञ्चनमाला—** या मम भगिनी सा तव जनन्येव। तस्या भर्ता दृढवर्मा तातस्ते। तत्तव किमेतदाख्यातव्यम्। तस्य समधिकं संवत्सरं कलिङ्गहतकेन बद्धस्य। तन्न युक्तमेतं वृत्तान्तमनिष्टं श्रुत्वा समीपस्थितस्य समर्थस्य भर्तुस्त एवमुदासीनत्वमवलम्बितुमिति। (जा मह भइणी²²² सा तव जणणी एव्व। ताए भत्ता दिढवम्मा तादो दे। ता तव किं एदं आअक्खिदव्वं। तस्स समहिअं संवच्छरं कलिङ्गहदएण बद्धस्स। ता ण जुत्तं एवं उत्तन्तं²²³,”) अणिठ्ठं सुणिअ समीवाट्ठिदस्स समत्थस्स भत्तुणो दे एव्वंउदासीणत्तणं ओलम्बिदुंत्ति।)

** मनोरमा—**हला काञ्चनमाले। यदा तावदयं वृत्तान्तो भट्टिन्यै न केनापि विज्ञापितव्य इति भर्त्राज्ञप्तं तत्केन पुनरिदानीं स लेखः श्रावितः। (हला कञ्चणमाले जदा²²⁴.”) दाव अअं उत्तन्तो भट्टिणीए ण केण वि विण्णविइ²²⁵.")दिव्वोत्ति भट्टिणा आणत्तं ता केण उण दाणिं सो लेहो सुणाविदो।)

** काञ्चनमाला—**अनुवाच्य तूष्णींभूताया मम हस्ताद्गृहीत्वा स्वयमेव भट्टिन्या वाचितः। (अणुवाइअ तुण्हीभूदाए मह हत्थादो गेण्हिअ सअं एव्व भट्टिणीए वाइदो।)

** मनोरमा—**तेन गच्छ त्वम्। एषा खलु देवी तयैव सह दन्तवलभ्यां तिष्ठति। (तेण गच्छ तुमं। एसा क्खु देवी ताए एव्व सह दन्तवलहीए चिट्ठइ। )

** काञ्चनमाला—** तेन हि भट्टिनीसकाशं गमिष्यामि। (इति निष्क्रान्ता।) (तेण²²⁶.")हि भट्टिणीसआसं गमिस्सं।)

** मनोरमा—**चिरं खलु म आरण्यिकासकाशादागतायाः। दृढं च निर्विण्णा सा तपस्विन्यात्मनो जीवितेन। कदाचिदत्याहितं भवेत्। तत्तत्रैव गच्छामि। (इति निष्क्रान्ता।) (चिरं खु मे आरण्णिआसआसादो आअदाए। दिढं च णिव्विण्णा सा तवस्सिणी अत्तणो जीविदेण। कदाइ अच्चाहिदं भवे। ता तर्हि एव्व गच्छह्मि।)

(इति प्रवेशकः।)

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समर्थस्य प्रभाववतः। दन्तवलभी हस्तिदन्तविरचिता चन्द्रशाला तस्याम्। अत्याहितं महाभीतिरनिष्टामित्यर्थः। प्रवेशकः तद्वदेवानुदात्तोक्त्या नीचपात्रप्रयोजितः।

(ततः प्रविशति सोद्वेगासनस्था वासवदत्ता साङ्कृत्यायनी विभवतश्च परिवारः।)

** साङ्कृत्यायनी—** राजपुत्र अलमुद्वेगेन। नेदृशो वत्सराजः। कथमित्थंगतमपि भवत्या मातृष्वसृपतिं विज्ञाय वत्सराजो निश्चिन्तं स्थास्यति।

** वासवदत्ता—**(सास्रम्।) भगवति अतिऋजुकेदानीं त्वम्। यस्य मया न कार्यं तस्य मदीयेन किं कार्यम्। मातु²²⁷र्युक्तं ममैतदालिखितुम्। सा पुन²²⁸ वास ०”)र्न जानात्यद्यापि तादृशी न वासवदत्तेति। तव पुनरेष आरण्यिकावृत्तान्तः प्रत्यक्षः। तत्कथमेतद्भणासि। (भअवदि अदिउज्जुआ दाणिं तुमं। जस्स मए ण कज्जं तस्स ममकेरएण किं कज्जं। अज्जुआए जुत्तं मम एदं आलिहिदुं। सा उण ण आणादि अज्जवि तारिसी ण वासवदतेत्ति। तुह उण एदं आरण्णिआए उत्तन्तं पञ्चक्खं। ता कहं एदं भणासि।)

** साङ्कृत्यायनी—**यत एव मे प्रत्यक्षं तत एव ब्रवीमि। तेन ननु कौमुदीमहोत्सवे त्वां हासयितुं तथा क्रीडितम्।

** वासवदत्ता—**भगवति एतदत्र सत्यम्। तथा हासितास्मि येन च भगवत्याः पुरतो लज्जया कथमपि तिष्ठामि। तत्किं तदीयया कथया। नन्वेतेनैव पक्षपातेनैतावतीं भूमिं नीतास्मि। (इति रोदिति।) (भअवदि एदं एत्थ सच्चं। तह हासिदह्मिजेण भअवदीए पुरदो लज्जाए कहं वि चिट्ठामि। ता किं तक्वेरकाए कहाए। णं एदेण एव्व पक्खवादेण एत्तिअं भूमिं णीदह्मि।)

** साङ्कृत्यायनी—**अलं राजपुत्रि रुदितेन। नेदृशो वत्सराजः। (विलोक्य।) अथवा प्राप्त एवायं²²⁹ यस्ते मन्युप्रमार्जनं करोति।

** वासवदत्ता—** मनोरथा इदानीमेते भगवत्याः। (मणोरहा दाणिंएदे भअवदीए।)

(ततः प्रविशति राजा विदूषकश्च।)

** राजा—**वयस्य क इदानीमभ्युपायः प्रियां मोचयितुम्।

**विदूषकः—**भो वयस्य मुञ्च विषादम्। अहं त उपायं कथयिष्यामि। (भो अवस्स मुञ्च विसादं। अहं दे उवाअं कहइस्सं।)

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प्रवेशोङ्कद्वयस्यान्ते नीचपात्रप्रयोजितः॥ इति। अतिऋजुका अतिशयेन सरलस्वभावा। कपटमजानानेत्यर्थः। मया न कार्यं मामेवावधीरयति आरण्यिकासंक्रान्तप्रेमत्वादिति यावत्। आर्याया मन्मातुः। तादृशी तथानुरक्तभर्तृका। हासितास्मि हास्यास्पदं कृतास्मि। पक्षपातेन राज्ञः पक्षग्रहणेन।

** राजा—**(सहर्षम्।) वयस्य त्वरिततरमभिधीयताम्।

** विदूषकः—**भो त्वं तावदनेकसमरसंघट्टप्रभाववाहुशाली। पुनरप्यनेकगजतुरगपदातिदुर्विषहबलप्रमुदितः। तत्सर्वबलसंदोहेनान्तःपुरं सुपीडितं कृत्वेदानीमेवारण्यिकां मोचय। (भो तुमं दाव अणेअसमरसंघट्टप्पहावबाहु²³⁰. “)साली। पुणो वि अणेअगअतुरअपआइदुव्विसहबलसमुदिदो। ता सव्वबलसंदोहेण अन्तेउरं सुपीडिअं करिअ दाणिं एव्व आरण्णिअं मुच्चावेहि।)

** राजा—**वयस्य अशक्यमुपदिष्टम्।

** विदूषकः—** किमत्राशक्यम्। यतस्तावत्कुब्जवामनवृद्धकञ्चुकिवर्जितो मनुष्योऽपरो नास्ति तत्र। (किं एत्थ असक्कं। जो दाव कुज्जवामणबुढ्ढ²³¹. “)कचुइवज्जिदो मणुस्सो अवरो णात्थि तहिं।)

** राजा—**(सावज्ञम्) मूर्ख किमसंबद्धं प्रलपसि। देव्याः प्रसादं मुक्त्वा नान्यस्तस्या मोक्ष²³²णाभ्युपायः। तत्कथय कथं देवीं प्रसादयामि।

** विदूषकः—**भोः मासोपवासं कृत्वा जीवितं धारय। एवं देवी चण्डी प्रसत्स्यति। (भो आसोववासं करिअ जीविदं धारेहि। एव्वं²³³ देवी चण्डी पसीदिस्सदि।)

** राजा**:—(विहस्य।) अलं परिहासेन। कथय कथं देवीं प्रसादयामि²³⁴।

धृष्टः किं पुरतोऽवरुध्य विहसन्गृह्णामि कण्ठे प्रियां
किं वा चाटुशतप्रपञ्चरचनाप्रीतां करिष्यामि ताम्।
किं तिष्ठामि कृताञ्जलिर्निपतितो देव्याः पुरः²³⁵ पादयोः
सत्यं सत्यमहो न वेद्म्यनुनयो देव्याः कथं स्यादिति॥१॥

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अनेके ये समरेषु संघट्टाः शत्रुभिः संघर्षास्तत्र प्रभावः ययोस्तादृग्भ्यां बाहुभ्यां शालतेऽसौ। पाठान्तरे अनेकसमरसंघद्वेषु ये प्रहारास्तैः अङ्कितः बाहुः सालः सर्जतरुरिव यस्य सः। अनेके च ते गजाश्च तुरगाश्च पदातयः पत्तयश्च तै दुर्विषहं शत्रुभिः सोढुमशक्यं यद्बलं सेना तेन समुदितः युक्तः उन्नतो वा। बलसन्दोहेन बलसमुदायेन। कुब्जाः वक्रपृष्टा वामनाः खर्वा वृद्धाः कञ्चुकिनश्च। सर्वेपि दुर्बला इत्यर्थः। प्रसत्स्यति प्रसादमेष्यति। धृष्ट इति। धृष्टः धैर्यं दर्शयन् पुरतः स्थित्वेति शेषः। तस्या गतिमवरुध्य निरुध्य विहसन् प्रियां कण्ठे गृह्णामि आश्लिष्यामि। किंवा तां चाटूनां मधुरभाषणानां शतस्य प्रपञ्चेन विस्तारेण प्रीतां करिष्यामि।

तदेहि। देवीसकाशमेव गच्छावः।

** विदूषकः—**भोः गच्छ त्वम्। अहं पुनरिदानीमेव बन्धनात्कथमपि परिभ्रश्यागतोऽस्मि। तन्न गमिष्यामि। (भो गच्छ तुमं। अहं दाणिं एव्व बन्धणादो कहं वि परिव्भंसिअ आअदोह्मि। ता²³⁶ण गमिस्सं।)

** राजा—**(विहस्य कण्ठे गृहीत्वा बलान्निवर्तयति।) मूर्ख आगम्यतामागम्यताम्। (परिक्रम्यावलोक्य च।) इयं देवी दन्तबलभीमध्यमध्यास्ते²³⁷। यावदुपसर्पामि। (सलज्जमुपसर्पति।)

(वासवदत्ता सखेदमासनादुत्तिष्ठति।)

** राजा—**

किं मुक्तमासनमलं मयि संभ्रमेण
नोत्थातुमित्यमुचितं मम तान्तमध्ये।
दृष्टिप्रसादविधिमात्रहृतो जनोऽय-
मत्यादरेण किमिति क्रियते विलक्षः॥२॥

** वासवदत्ता—**(मुखं निरूप्य।) आर्यपुत्र विलक्ष इदानीं त्वं भवसि। (अज्जउत्त विलक्खो दाणिं तुमं होसि।)

** राजा—** प्रिये सत्यमहं विलक्षः। यत्प्रत्यक्षदृष्टापराधोऽपि भवतींप्रसादयितुं व्यवसितोऽस्मि।

** साङ्कृत्यायनी—**(आसनं निर्दिश्य।) महाराज क्रियतामासनपरिग्रहः।

** राजा—**(आसनं निर्दिश्य।) इत इतो देव्युपविशतु।

(वासवदत्ता भूमावुपविशति।)

** राजा—**आः कथं भूमावुपविष्टा देवी। अहमप्यत्रैवोपविशामि। (इति भूमावुपविश्य कृताञ्जलिः²³⁸।) प्रिये प्रसीद प्रसीद। किमेवं प्रणतेऽपि मयि गम्भीरतरं²³⁹ कोपमुद्वहसि।

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किंवा देव्याः पुरः पादयोः निपतितः तिष्ठामि। देव्याः प्रसादने प्रतिपत्तिमूढः अहं सत्यं सत्यं देव्या अनुनयः कथं स्यादिति न वेद्मि। शार्दूलवि० वृत्तम्॥१॥ किं मुक्तमिति। किं किंकारणमासनं मुक्तम्। मयि सम्भ्रमेण उपचारत्वरया अलम्।सम्भ्रमो मास्तु।हे तान्तमध्ये तान्तः क्लेशकृशः मध्यो यस्यास्तादृशि। इत्थमुत्थातुं नोचितम्। दृष्टिः मयि दृष्टिपात एव प्रसादस्तस्य विधिना करणेनैव केवलेन हृतः आत्मसाकृतोयं जनः। अहमित्यर्थः। अत्यादरेणातिसम्मानदर्शनेनेत्यर्थः। किमितिविलक्षः सलज्जः क्रियते। वसन्ततिलकं वृत्तम्॥२॥ निरूप्य निपुणे दृष्ट्वा। गम्भीरतरमत्यारूढं सहसापनेतुमशक्यमित्यर्थः।

भ्रूभङ्गं न करोषि रोदिषि मुहुर्मुग्धेक्षणे केवलं
नातिप्रस्फुरिताधरानवरतं निःश्वासमेवोज्झसि।
वाचं नापि ददासि तिष्ठसि परं प्रध्याननम्रानना
कोपस्ते स्तिमितो²⁴⁰निपीडयति मां गूढप्रहारोपमः॥३॥

प्रिये प्रसीद प्रसीद। (इति पादयोः पतति)

** वासवदत्ता—**अतिसुखितो नन्वसि। किमिदानीं दुःखितं जनं विकारयसि। उत्तिष्ठ²⁴¹कोऽत्र कुपितः। (अदिसुहिदो णं सि। किं दाणिं दुक्खिदं जणं विआरेसि। उठ्ठेहि को एत्थ कुविदो।)

** साङ्कृत्यायनी—** उत्तिष्ठ महाराज। किमनेन। अन्यदेव तावदुद्वेगकारणमस्याः।

** राजा—** (ससंभ्रमम्।) भगवति किमन्यत्।

(साङ्कृत्यायनी कर्णे कथयति।)

** राजा—** (विहस्य।) यद्येवमलमुद्वेगेन। मयापि ज्ञातम्। सिद्ध एवास्मिन्प्रयोजनेदेवीं तु दिष्ट्या²⁴² वर्धयिष्यामीति नोक्तम्। अन्यथा कथमहं दृढवर्मवृत्तान्ते विस्रब्धस्तिष्ठामि। तत्कतिपयान्यहानि तद्वार्तायाआगतायाः। इदं च तत्र वर्तते।

अस्मद्वलैर्विजयसेनपुरःसरैस्तै-
राक्रान्तबाह्यविषयो विहतप्रतापः।
दुर्गं कलिङ्गहतकः सहसा प्रविश्य
प्राकारमात्रशरणो²⁴³ऽशरणः कृतोऽसौ॥४॥

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भ्रूभङ्गमिति। हे मुग्धेक्षणे चारुनयने। तदर्हेपि मयि भ्रूभङ्गं न करोषि। सरोषंभ्रुकुटिं न बध्नासि। केवलं मुहुः रोदिषि। नातिप्रस्फुरितोऽधरो यस्यास्तादृशी अनवरतमजस्रं निश्वासमेव उज्झसि मुञ्चसि। वाचमपि न ददासि परं प्रत्युत प्रध्यानेन प्रकृष्टचिन्तया नम्रमवनतमाननं यस्याः तथासि। एवंस्तिमितो बहिरदत्तावकाशस्तव कोपः गूढः प्रहारस्तेनोपमा यस्य तत्सदृशो वा मां निपीडयति क्लिश्नातितराम्। शार्दूलवि०वृत्तम्॥३॥ अतिसुखित इति सोपालम्भम्। सिद्ध एवेति अस्मिन्कार्ये लब्धसिद्धिरेवास्मि। देवीं तु तस्मिन्सिद्ध इति शेषः। दृढवर्मवृत्तान्ते दृढवर्मण्यापद्ग्रते इत्यर्थः। अस्मद्बलैरिति। तैः प्रसिद्धैः विजयसेनः पुरःसरो येषां तैः अस्मद्बलैः आक्रान्तो व्याप्तो बाह्यो विषयो यस्य सः। विहतः प्रतापो यस्य स च तथोक्तः। असौ कलिङ्गश्चासौ हतकश्च कलिङ्गहतकः अशरणः अगतिकः सन् सहसा दुर्गं प्रविश्य। स्थित इति शेषोऽन्यथा ल्यबनुपपत्तेः। प्राकारमात्रं शरणं रक्षितृ यस्य तथा कृतः। वसन्ततिलकं

तदवस्थं च तं

निर्दिष्टाक्रान्त²⁴⁴मन्दं प्रतिदिनविरमद्वीरदासेरवृत्तं
शश्व²⁴⁵त्संशीर्यमाणद्विपतुरगनरक्षीणनिःशेषसैन्यम्।
अद्य श्वो वा²⁴⁶विभग्ने झटिति मम बलैः सर्वतस्तत्र दुर्गे
बद्धं युद्धे हतं वा भगवति न चिराच्छ्रोष्यसि त्वं कलिङ्गम्॥५॥

** साङ्कृत्यायनी—** राजपुत्रि प्रथमतरमेव भवत्याः कथितं मया कथमप्रतिविधाय वत्सराजः स्थास्यतीति।

** वासवत्ता—** यद्येवं प्रियं मे। (जइ एव्वं पिअं मे।)

(प्रविश्य।)

** प्रतीहारी—**जयतु जयतु भर्ता। एष खलु विजयसेनो दृढवर्मकञ्चुकिसहितो हर्षसमुत्फुल्ललोचनः प्रियं निवेदयितुकामो द्वारे तिष्ठति। (जेदु जेदु भट्टा। एसो क्खु विअअसेणो दिढम्मकञ्चुईसहिदो हरिससमुप्फुल्ललोअणो पिअं णिवेदिदुकामो दुवारे चिट्टइ।)

** वासवदत्ता—** (सस्मितम्।) भगवति यथा तर्कयामि परितोषितास्म्यार्यपुत्रेणेति। (भअवदि जह तक्केमि परिदोसिदह्मिअज्जउत्तेणेत्ति।)

** साङ्कृत्यायनी—** वत्सराजपक्षपातिनी खल्वहं न किंचिदपि ब्रवीमि।

** राजा—**शीघ्रं प्रवेशय तौ।

** प्रतीहारी—**तथा। (इति निष्क्रान्ता।) तह।

( ततः प्रविशति विजयसेनः कञ्चुकी च । )

** विजयसेनः—**भोः कञ्चुकिन्। अद्य स्वामिपादा द्रष्टव्या इति यत्सत्यमनुपमं कमपि सुखातिशयमनुभवामि।

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वृत्तम्॥४॥ निर्दिष्टेत्यादि। हे भगवति साङ्कृत्यायनीमुद्दिश्यैतत्। अद्य श्वो वा मम बलैः तत्र तस्मिन् दुर्गे झटिति शीघ्रं सर्वतः विभग्ने विध्वस्ते त्वं कलिङ्गं कलिङ्गराजमचिरादेव युद्धे बद्धं हतं वा श्रोष्यति। कथंभूतमित्याह। निर्दिष्टेनोपरिकथितेन आक्रान्तेन अभिद्रवेण मन्दं निरुत्साहं। निर्दिष्टाक्रन्दमन्देति पाठे निर्दिष्टो य आक्रन्दों दारुणो रणः। आक्रन्दो दारुणे रणे इत्यमरः। प्रतिदिनं दिने दिने विरमत् क्षीयमाणं वीराणां दासेराणां किंकराणां च। भृत्ये दासेरदासौ च इत्यमर। वृत्तं युद्धादिव्यापारो यस्य तम्। शश्वदजस्रं शीर्यमाणा ध्वस्यमाना द्विपा गजाः तुरगा नरा योधाश्च यस्मिन्। अतः क्षीणं निःशेषं बलं सैन्यं यस्य तम्। स्रग्धरा वृत्तम्॥५॥ वत्सराजपक्षपातिनी एतेनैव पक्षपातेनेत्यादि वासवदत्तावचनं मनसि कुर्वत्याः सोल्लुण्ठनोक्तिरियम्।

** कञ्चुकी**— विजयसेन²³⁸ अवितथमेतत्। पश्य।

सुखनिर्भरोऽन्यथापि स्वामिनमवलोक्य भवति भृत्यजनः।
किं पुनररिबलविघटननिर्व्यूढप्रभुनियोगभरः॥६॥

** उभौ**— (उपसृत्य।) जयतु जयतु स्वामी।

(राजा उभावपि परिष्वजते।)

** कञ्चुकी**— देव दिष्ट्या वर्धसे।

हत्वा कलिङ्गहतकं ह्यस्मत्स्वामी²⁴⁷ निवेशितो राज्ये।
देवस्य समादेशो²⁴⁸ निर्व्यूढो विजयसेनेन॥७॥

** वासवदत्ता**— अयि भगवति अभिजानास्येतं कञ्चुकिनम्। (अइ भअवइ अहिजाणासि एदं कञ्चुइं।)

** साङ्कृत्यायनी**— कथं नाभिजानामि। ननु स एष यस्य हस्तेमातृष्वसा ते पत्रिका²⁴⁹मनुप्रेषितवती।

** राजा**— साधु विजयसेनेन महा²⁵⁰व्यापारोऽनुष्ठितः।

(विजयसेनः पादयोः पतति।)

** राजा**— देवि दिष्ट्या वर्धसे। प्रतिष्ठितो राज्ये दृढवर्मा।

** वासवदत्ता** — (सहर्षम्।) अनुगृहीतास्मि²⁵¹ इत्यधिकं पुस्तकान्तरे.")। (अणुग्गहिदह्मि।)

** विदूषकः**— ईदृशेऽभ्युदयेऽस्मिन्राजकुल एतत्करणीयम्। (राजानंनिर्दिश्य वीणावादनं नाटयन्।) गुरुपूजा। (आत्मनो यज्ञोपवीतं दर्शयन्।)ब्राह्मणस्य सत्कारः। (आरण्यिकां सूचयन्।) सर्वबन्धनमोक्ष इति।(ईरिसे अब्भुदए अस्सिं राअउले एदं करणिज्जं। गुरुपूआ। बह्मणस्स सक्कारो।सव्वबन्धणमोक्खोत्ति।)

** राजा**— (वासवदत्तामपवार्य छोटिकां ददत्।) साधु वयस्य साधु।

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अवितथं सत्यम्। सुखेति। अन्यथापि महत्प्रभुकार्यकरणाभावेपिस्वामिनमवलोक्य भृत्यजनः सुखेन निर्भरः नितरां पूर्णो भवति। किं पुनः अरिबलस्यविघटनेन ध्वंसेनेति यावत् निर्व्यूढः साकल्येनोढः प्रभोर्नियोगस्य निर्दिष्टकार्यस्य भरः येनसः। सुखनिर्भरोभवेदिति वक्तव्यमित्यर्थः॥६॥ हत्वेति। विजयसेनेन कलिङ्गहतकंहत्वा अस्मत्स्वामी राज्ये निवेशितः प्रतिष्ठापितो हि। देवस्य समादेशः निर्व्यूढः स्वनुष्ठितःच॥७॥ अभ्युदये इष्टसम्पादनोत्सववेलायाम्। गुरुपूजा इष्टार्थनिवेदनेन सत्कारः।छोटिका अङ्गुष्टमध्यमयोर्झटिति संघर्षजन्यो ध्वनिविशेषः।

** विदूषकः**— भवति कथं त्वं न किमप्यत्र समादिशसि। (होदिकहं तुमं ण किं वि एत्थ समादिससि।)

** वासवदत्ता**— (साङ्कृत्यायनीमवलोक्य सस्मितम्।) मोचिता खलुहताशेनारण्यिका। (मोइदा क्खु हदासेण आरण्णिआ।)

** साङ्कृत्यायनी**— किं वा तपस्विन्यानया बद्धया।

** वासवदत्ता**— यथा भगवत्यै रोचते। (जह भअवदीए रोअदि।)

** साङ्कृत्यायनी**— यद्येवमहमेव²⁵²गत्वा तांमोचयिष्यामि।(इति निष्कान्ता।)

** कञ्चुकी**— इदमपरं संदिष्टं महाराजेन दृढवर्मणा। त्वत्प्रसादात्सर्वमेव यथाभिलषितं संपन्नम्। तदेते प्राणास्त्वदीयाः। यथेष्टमिमान्विनियोक्तुं त्वमेव प्रमाणमिति।

(राजा सलज्जमधोमुखस्तिष्ठति।)

** विजयसेनः**— देव न शक्यमेव²⁵³ देवं प्रति प्रीतिविशेषं दृढवर्मणः कथयितुम्।

** कञ्चुकी**— यद्यपि तुभ्यं प्रतिपादितायाः प्रियदर्शिकाया अस्मद्दुहितुः परिभ्रंशान्न मे संबन्धो जात इति दुःखमासीत्तथापि वासवदत्तायाःपरिणेत्रापि त्वया तदपनीतमेव।

** वासवदत्ता**— (सास्रम्।) आर्य कञ्चुकिन् कथं मे भगिनीपरिभ्रष्टा। (अज्ज कञ्चुइ कहं मे भइणी परिव्भट्ठा।)

** कञ्चुकी**— राजपुत्रि तस्मिन्कलिङ्गहतकावस्कन्दे विद्रुतेष्वितस्ततोऽन्तःपुरजनेषु दिष्ट्या दृष्टामिदानीं न युक्तमत्र स्थातुमिति तामहंगृहीत्वा वत्सराजान्तिकं प्रस्थितः। ततः संचिन्त्य तां विन्ध्यकेतोर्हस्तेनिक्षिप्य निर्गतोऽस्मि। यावत्प्रतीपमागच्छामि तावत्कैरपि तत्स्थानं सहविन्ध्यकेतुना स्मर्तव्यतां नीतम्।
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प्रतिपादितायाः संकल्पदत्तायाः। परिभ्रंशात्स्वहस्तस्खलनाद्विनाशाद्वा। कलिङ्गहतकस्यावस्कन्दः अभिद्रवः तस्मिन्। दिष्ट्या सुदैवात्। संचिन्त्य कार्ययुक्ततां विचार्य।प्रतीपमागच्छामि परापतामि।

** राजा**—(सस्मितम्।) विजयसेन किं कथयसि।

** कञ्चुकी**—तत्र चान्विष्यता मया न प्राप्ता। तदा²⁵⁴प्रभृति नाद्यापिविज्ञायते व वर्तत इति।

(प्रविश्य²⁵⁵ मनोरमा।)

** मनोरमा**—भट्टिनि प्राणसंशये वर्तते सा तपस्विनी। (भट्टिणीपाणसंसए वट्ठइसा²⁵⁶तवस्सिणी।)

** वासवदत्ता**—(सास्रम्।) किं पुनस्त्वं प्रियदर्शनावृत्तान्तं जानासि।(किं उण तुमं पिअदंसणाउत्तन्तं जाणासि।)

** मनोरमा**—न खल्वहं प्रियदर्शनावृत्तान्तं जानामि। एषा खल्वारण्यिका कल्यव्यपदेशेनानीतं विषं पीत्वा प्राणसंशये वर्तत इत्येवं मयानिवेदितम्। तत्परित्रायतां भट्टिनी। (रुदती पादयोः पतति।) (ण हु अहंपिअदंसणा उत्तन्तं जानामि। एसा क्खु आरण्णिआ कल्लव्वदेसेण आणीदं विसं पाइअपाणसंसए वट्टदित्ति एव्वं मए णिवेदिदं। ता परित्ताअदु भट्टिणी।)

वासवदत्ता—(स्वगतम्।) हा धिक् हा धिक्। प्रियदर्शनादुःखमपि मेऽन्तरितमारण्यिकावृत्तान्तेन। अतिदुर्जनः खलु लोकः। कदाचिन्मामन्यथा संभावयिष्यति। तदेतदत्र युक्तम्। (प्रकाशं ससंभ्रमम्।) मनोरमेलध्विहैवानय ताम्। नागलोकाद्गृहीतविषविद्य आर्यपुत्रोऽत्र कुशलः।(हद्धि हद्धि। पिअदंसणादुक्खं वि मे अन्तरिदं आरणिआउत्तन्तेण। अदिदुज्जणो क्खुलोओ। कदाइ मं अण्णहा संभावइस्सदि। ता एवं एत्थ जुत्तं। मणोरमे लहु इहएव्व आगेहि तं। णाअलोआदो गहिदविसविज्जो अज्जउत्तो एत्थ कुसलो।)

निष्कान्ता मनोरमा। ततः प्रविशति मनोरमया धृता
सविषवेगमात्मानं नाटयन्त्यारण्यिका।)

आरण्यिका—हला मनोरमे कस्मादिदानीं मामन्धकारं प्रवेशयसि।(हला मणोरमे कीस दाणिं मं अन्धआरं पवेसेसि।)

मनोरमा—(सविषादम्।) हा²⁵⁷ धिक् हा धिक्²⁵⁷। दृष्टिरप्यस्याः²⁵⁸")संक्रान्ता विषेणैव। (वासवदत्तां दृष्ट्वा।) भट्टिनि लघु परित्रायस्व लघु

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प्रियदर्शना प्रियदर्शिका। मनोरमावाक्ये सा तपस्विनी इत्यत्र सेत्यनेन कञ्चुकिप्रोक्ताराजकन्यैव परामृष्टा इति मन्यमानाया उक्तिरियम्। कल्यव्यपदेशेन कल्यं प्रातराशः तस्यव्यपदेशेन मिषेण यद्वा कल्या इति संस्कृतं तत्र कल्या मद्यम्। कल्यं प्रभाते क्लीबंस्यात् …। उपायवचनेपि स्यात्रिषु मद्येतु योषिति। इति मेदिनी। अन्यथा संभावयिष्यति अनयैव तस्यै विषं दत्तमिति तर्कयेत्।

परित्रायस्व। गुरुभूतमस्या विषम्। (हद्धि हद्धि। दिट्ठि वि से संकन्ता विसेणेव्व। भट्टिणि लहु परित्ताएहि लहु परित्ताएहि। गुरुईभूदं से विसं।)

वासवदत्ता—(ससंभ्रमं राजानं हस्ते गृहीत्वा।) आर्यपुत्र उत्तिष्ठोत्तिष्ठ। लघु विपद्यते खल्वेषा तपस्विनी। (सर्वे पश्यन्ति।) (अज्जउत्तउट्ठहि उट्ठेहि। लहु विवजज्जइ क्खु एसा तवस्सिणी।)

कञ्चुकी—(विलोक्य।) सुसदृशी खल्वियं मम राजपुत्र्याःप्रियदर्शनायाः। (वासवदत्तां निर्दिश्य।) राजपुत्रि कुत इयं कन्यका।

वासवदत्ता—आर्य विन्ध्यकेतोर्दुहिता। तं व्यापाद्य विजयसेनेनानीता। (अज्ज विञ्झकेउणो दुहिदा। तं वावादिअ विजयसेणेण आणीदा।)

कञ्चुकी—कुतस्तस्य दुहिता। सैवेयं मम राजपुत्री। हा हतोऽस्मिमन्दभाग्यः। (इति निपत्य भूमावुत्थाय।) राजपुत्रि इयं सा प्रियदर्शिकाभगिनी ते।

वासवदत्ता—आर्यपुत्र परित्रायस्व परित्रायस्व। मम भगिनीविपद्यते। (अज्जउत्त परित्ताएहि परित्ताएहि। मम भइणी विवज्जइ।)

राजा—समाश्वसिहि समाश्वसिहि। पश्यामस्तावत्। कष्टं भोः कष्टम्।

संजातसान्द्रमकरन्दरसां क्रमेण
पातुं गतश्च कलिकां कमलस्य भृङ्गः।
दग्धा निपत्य सहसैव हिमेन चासौ²⁵⁹
वामे विधौ न हि फलन्त्यभिवाञ्छितानि॥८॥

मनोरमे पृच्छ्यतां तावत्किं ते बोध इति।

मनोरमा—सखि किं ते बोधः। (सास्रं पुनश्चालयन्ती।) सखिननु भणामि किं ते बोध इति। (सहि किं दे बोधो। सहि णं भणामिकिं दे बोधोत्ति।)

प्रियदर्शिका—(अविस्पष्टम्।) यदेतदवस्थायापि मया न महाराजो दृष्टः।(इत्यर्धोक्ते भूमौ पतति।) (जं एदं²⁶⁰ ण मए।”) अवस्थानं गदाए वि मए ण महाराओ दिट्टो—

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गुरुभूतमत्यारूढम्। संजातेति। क्रमेण भ्रमणपरिपाट्या अवसरक्रमेण च। भृङ्गः संजातः सान्द्रः निबिडः मकरन्दरसो यस्यास्तां कमलस्य कलिकां पातुं गतश्च हिमेन तुषारेण सहसैव निपत्य असौ कलिका दग्धा च। द्वौ चकारौ कार्यस्य यौगपद्यं दर्शयतः। विधौवामे प्रतिकूले सति अभिवाञ्छितानि न फलन्ति सिद्ध्यन्ति हि निश्चयेन। अर्थान्तरन्यासः।

राजा—(सास्रम्।)

एषा मीलयतीदमीक्षणयुगं जाता ममान्धा दिशः
कण्ठोऽस्याः प्रतिरुध्यते मम गिरो निर्यान्ति कृच्छ्रादिमाः।
एतस्याः श्वसितं हृतं²⁶¹ मम तनुर्निश्चेष्टतामागता
मन्येऽस्या विषवेग एव हि परं सर्व तु दुःखं मम²⁶²॥९॥

वासवदत्ता—(सास्रम्) प्रियदर्शने उत्तिष्ठोत्तिष्ठ। पश्यैषमहाराजस्तिष्ठति। कथं वेदनाप्यस्या नष्टा। किमिदानीं मयापराद्धमजानत्या येन कुपिता नालपसि²⁶³ नाल.")। तत्प्रसीद प्रसीद। उत्तिष्ठोत्तिष्ठ। नखलु पुनरपरात्स्यामि²⁶⁴। (ऊर्ध्वमवलोक्य।) हा दैवहतक। किमिदानींमयापकृतं येनैतदवस्थां गता मे भगिन्यादर्शिता²⁶⁵। (प्रियदर्शिकाया उपरिपतति।) पिअदंसणे उट्ठेहि उट्ठेहि। पेक्ख एसो महाराओ चिट्ठइ। कहं वेअणा विसे णठ्ठा। किं दाणिं मए अवरज्झं अआणन्तीए जेण कुविदा णालवसि। ता पसीदपसीद। उट्ठेहि उट्ठेहि। ण हु पुणो अवरज्झिस्सं। हा देव्वहदअ किं दाणिं मए अवकिदं जेण एदावत्थं गदा मे भइणी आदंसिदा।)

विदूषकः—भो वयस्य कथं त्वं मूढ इव तिष्ठसि। नैष विषादस्य कालः। विषमा खलु गतिर्विषस्य। तद्दर्शयात्मनो विद्याप्रभावम्।(भो वअस्स कहं तुमं मूढोविअ चिट्ठसि। ण एसो विसादस्स कालो। विसमा क्खु गईविसस्स। ता दंसेहि अप्पणो विज्जापहावं।)

राजा—सत्यमेवैतत्। (प्रियदर्शिकामालोक्य।) मूढ एवाहमेतावतींवेलाम्। तदहमेनां जीवयामि। सलिलं सलिलम्।

विदूषकः—(निष्क्रम्य पुनः प्रविश्य।) भोः एतत्सलिलम्। (भो।एदं सलिलम्।

(राजोपसृत्य प्रियदर्शनाया उपरि हस्तं निधाय मन्त्रस्मरणं
नाटयति। प्रियदर्शिका शनैरुत्तिष्ठति।)

वासवदत्ता—आर्यपुत्र दिष्ट्या प्रत्युज्जीविता मे भगिनी।(अज्जउत्त दिट्ठिआ पच्चुज्जीविदा मे भइणी।)

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वसन्ततिलकं वृत्तम्॥८॥ एषेति। एषा प्रियदर्शिका विषाक्रान्त्या ईक्षणयुगंमीलयति। दिशो मम अन्धा जाताः। अस्याः कण्ठः प्रतिरुध्यते स्वरो निरुध्यते इमा ममगिरः शब्दाः कृच्छ्रान्निर्यान्ति। एतस्या श्वसितं हृतं मम तनुर्निश्रेष्टतां निर्व्यापारतामागता। अतः अस्या विषवेग एव मन्ये परं सर्वं तु दुःखं विषवेगजा पीडा मम।असङ्गतिरलंकारः। शार्दूल० वृत्तम्॥९॥

विजयसेनः—अहो देवस्य विद्याप्रभावः।

कञ्चुकी—अहो सर्वत्राप्रतिहता नरेन्द्रता देवस्य।

प्रियदर्शिका—(शनैरुत्थायोपविश्य च जृम्भिकां नाटयन्ती सविषादमविस्पष्टम्।) मनोरमे चिरं खलु सुप्तास्मि। (मणोरमे चिरं खु सुत्तह्मि।)

विदूषकः—भो वयस्य निर्व्यूढं ते वैद्यत्वम्। (भो वअस्स णिव्वूढं दे वेदित्तणं।)²⁶⁶. “)

(प्रियदर्शिका साभिलाषं राजानं निरूप्य सलज्जं किंचिदधोमुखी तिष्ठति।)

वासवदत्ता—(सहर्षम्) आर्यपुत्र किमिदानीमप्येषान्यथैव करोति।(अज्जउत्त। किं दाणिं वि एसा अण्णहेव्व करेदि।²⁶⁷,”))

राजा—(सस्मितम्।)

स्वभावस्था दृष्टिर्न भवति गिरो नातिविशदा²⁶⁸-
स्तनुः सीदत्येषा प्रकटपुलकस्वेदकणिका।
यथा चायं कम्पः स्तनभर परिक्लेशजनन-
स्तथा नाद्याप्यस्या नियतमखिलं शाम्यति विषम्॥१०॥

कञ्चुकी—(प्रियदर्शिकां निर्दिश्य।) राजपुत्रि एष ते पितुराज्ञाकरः²⁶⁹।(इति पादयोः पतति।)

प्रियदर्शिका—(विलोक्य।) कथं कञ्चुक्यार्यविनयवसुः। (सास्रम्।)हा तात। हा मातः²⁷⁰। (कहं कञ्चुई अज्जविणअवसू। हा ताद। हा अज्जूए।)

कञ्चुकी—राजपुत्रि अलं रुदितेन। कुशलिनौ ते पितरौ। वत्सराजप्रभावात्पुनस्तदवस्थमेव राज्यम्।

वासवदत्ता—(सास्रम्।) एह्यलीकशीले। इदानीमपि तावद्भगिनस्नेिहं दर्शय। (कण्ठे गृहीत्वा।) इदानीं समाश्वसितास्मि। (एहि अलिअसीले।दाणिं वि दाव भइणिआसिणेहं दंसेहि। दाणिं समस्सत्थम्मि।)
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वेदना चेतना। मूढः कर्तव्यतानभिज्ञः। नरेन्द्रत्वं प्रभुत्वं विषवैद्यता च। नरेन्द्रोवार्तिके राज्ञि विषवैद्ये च कथ्यते। इति विश्वः। स्वभावस्थेति—अस्या दृष्टिःस्वभावे प्रकृतौ तिष्ठतीति स्वभावस्था न भवति। गिरो वाचो नाति विशदाः परिस्फुटाः।प्रकटाः स्फुटं दृश्यमानाः पुलका रोमाञ्चाः स्वेदकणिकाश्च यस्यास्तथोक्ता एषातनुः सीदति ग्लायति। यथा च अस्या स्तनभरस्य परिक्लेशः पीडा तस्य जननःकारकः कम्पस्तथा। अद्यापि अस्याः अखिलं विषं नियतं न शाम्यति। अस्या विषबाधाद्यापि साकल्येन नापनीतेत्यर्थः। शिखरिणी वृत्तम्॥१०॥ समाश्वसितास्मि मनः—

विदूषकः—भवति त्वं भगिनीं गृहीत्वा कण्ठ एवं परितुष्टासि।वैद्यस्य पारितोषिकं विस्मृतम्। (होदि तुमं भइणिं गेह्णिअ कण्ठे एव्वं परितुठ्ठासि। वोदिअस्स²⁷¹ पारिदोसिअं विसुमरिदं।)

वासवदत्ता—वसन्तक न विस्मृतम्। (वसन्तअ ण विसुमरिदं।)

विदूषकः—(राजानं निर्दिश्य सस्मितम्।) वैद्य प्रसारय हस्तम्।भगिन्या अग्रहस्तं ते पारितोषिकं दापयिष्यामि। (वोदिअ पसारेहि हत्थं।भइणीए अग्गहत्थं दे पारिदोसिअं दाविस्सं।)

(राजा हस्तं प्रसारयति।)

(वासवदत्ता प्रियदर्शिकाहस्तमर्पयति।)

राजा—(हस्तमुपसंहृत्य²⁷²।) किमनया। संप्रत्येव कथमपि प्रसादितासि।

वासवदत्ता—कस्त्वमग्रहीतुम्। प्रथममेव तातेनेयं दत्ता। (कोतुमं अगण्हिदुं। पुढमं एव्व तादेण इअं दिण्णा।)

विदूषकः—भो माननीया खलु देवी। मास्याः प्रतिकूलं कुरु।(भो माणणीआ क्खु देवी। मा से पडिऊलं करेहि।)

(वासवदत्ता राज्ञो हस्तं बलादाकृष्य प्रियदर्शिकामर्पयति।)

राजा—(सस्मितम्।) देवी प्रभवति। कुतोऽस्माकमन्यथा कर्तुं विभवः।

वासवदत्ता—आर्यपुत्र अतोऽपि परं किं ते प्रियं क्रियताम्।(अज्जउत्त अदो वि परं किं दे पिअं करीअदु।)

राजा—किमतः परं प्रियम्। पश्य।

निःशेषं दृढवर्मणा पुनरपि स्वं राज्यमध्यासितं
त्वं कोपेन सुदूरमप्यपहृता सद्यः प्रसन्ना मम।
जीवन्ती प्रियदर्शना च भगिनी भूयस्त्वया सङ्गता
किं²⁷³ तत्स्यादपरं प्रियं प्रियतमे यत्सांप्रतं प्रार्थ्यते॥११॥

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स्वास्थ्यं लम्भितास्मि। विभवः सामर्थ्यम्। निःशेषमिति। दृढवर्मणा पुनरपिनिःशेषं स्वराज्यमध्यासितमधिष्ठितम्। कोपेन सुदूरमपहृता त्वमपि सद्यो मम प्रसन्ना।प्रियदर्शना भगिनी जीवन्ती सती त्वया भूयः पुनरपि सङ्गता। अतः हे प्रियतमे किं

तथापीदमस्तु।

(भरतवाक्यम्।)

उर्वीमुद्दामसस्यां जनयतु विसृजन्वासवो वृष्टिमिष्टा-
मिष्टैस्त्रैविष्टपानां विदधतु विधिवत्प्रीणनं विप्रमुख्याः।
आकल्पान्तं च भूयात्स्थिरसमुपचिता²⁷⁴ संगतिः सज्जनानां
निःशेषं यान्तु शान्तिं पिशुनजनगिरो दुःसहा²⁷⁵ वज्रलेपाः॥१२॥

(इति निष्क्रान्ताः सर्वे।)

इति²⁷⁶ चतुर्थोऽङ्कः

समाप्तेयं प्रियदर्शिका नाम नाटिका।

<MISSING_FIG href=”../books_images/U-IMG-1724235378Screenshot2024-08-21154556.png”/>

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तदपरं स्याद्यत्साम्प्रतं प्रार्थ्यते। न किंचिदप्यवशिष्टमित्यर्थः॥१॥ भरतवाक्यं नटवाक्यम्।नाटकाभिनयसमाप्तौ सामाजिकेभ्यो नटेनाशीर्दीयते इत्यर्थः। प्रस्तावनानन्तरं नटवाक्याभावादत्र भरतवाक्यमित्युक्तिः। इति शाकुन्तलटीकायां राघवभट्टः। उर्वीमिति। वासवइन्द्रः इष्टामभिलषितां वृष्टिं वर्षंविसृजन् मुञ्चन् उर्वी पृथ्वीमुद्दामानि उत्कटानि सस्यानिधान्यानि यस्यां तथा जनयतु करोतु। विप्रेषु मुख्या विप्रमुख्या द्विजश्रेष्टा विधिवद्यथाविधि इष्टैः कृतैः यज्ञैः। नपुंसके भावे क्तः। त्रिविष्टपं स्वर्गस्तत्र भवाः त्रैविष्टपा देवास्तेषाम्। तत्र भव इत्यण्। प्रीणनं विदधतु प्रीतिं जनयन्तु। सज्जनानां सङ्गतिश्च आकल्पान्तं प्रलयपर्यन्तं स्थिरा चासौ समुपचिता सम्यग्वृद्धा च भूयात्। दुःसहा दुर्जया इतिपाठे जेतुं कठिणाः। वज्रलेपा वज्रं सुधालेपनविशेषः। तस्य इव लेपः प्रसक्तिर्यासांतास्तथोक्ताः पिशुनजनगिरः खलवाचः निःशेषं यथा तथा शान्तिं यान्तु। अत्राशीर्नामनाट्याङ्गमुक्तम्। स्रग्धरा वृत्तम्॥ इति प्रियदर्शिकाटीकायां चतुर्थोङ्कः॥

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तृतीयाङ्कगतस्य व्यक्तिर्व्यञ्जनेति पद्यस्य नागानन्दान्तर्गतस्य शिवरामकृतटीका यथा—

व्यञ्जनधातुनेति। धातुर्वाद्यवादनविधिः। यदुक्तं—विस्तारः करणश्चैव आविद्धो व्यञ्जनस्तथा। चत्वारो धातवो ज्ञेया वादित्रकरणाश्रयाः॥ इति। तत्र व्यञ्जनधातुर्वीणाº— …बिन्दुरधरश्च॥ (पृ.३८ टीका द्रष्टव्या)। अङ्गुष्ठाभ्यां तु यत्तन्त्रीस्पर्शनं स्यात्कलं तु तत्।वामाङ्गुष्ठकमूलेन पीडनं तु तलं स्मृतम्॥ सर्वाङ्गुष्टप्रहारश्च निष्कोटितमिहोच्यते।सव्यप्रदेशिन्याघात उत्कृष्टं परिकीर्तितम्॥ सर्वाङ्गुलिसमाघातोरेफ इत्युच्यते बुधैः।तन्त्रीषु त्रिप्रकारं वा व्यवसृष्टमिति श्रुतम्॥ कनिष्ठाङ्गुष्ठसंयुक्तं पुष्पं तु परिकीर्तितम्।तलस्थानेधरन्यासस्तथानुस्वनितं भवेत्॥ गुर्वक्षरमयी तन्त्री बिन्दुरित्यभिधीयते। कनिष्ठाङ्गुष्ठकाभ्यां तु तन्त्रीभ्यामधरो गतम्॥ व्याससमासादेषामनुबन्धः सार्वधातुको ज्ञेयः॥आसारप्रसारविधिना सकलशाखासु सामग्रमिनुभवन् विस्तारः। शाखाभेदमात्रविधायीकरणः। तदन्योन्यानुरूपमेलनकृदाविद्धः। सर्वस्याप्यस्य मूलभूतो व्यञ्जयति विशेषानिति व्यञ्जनधातुः। दशविधेनापीति। बहुभिरपि धात्ववयवैरहमहमिकयात्र वादिते तत्तत्कालेस्वप्राकाश्यं प्रथीक्तियते। अमुना त्रिधा विस्पष्टोयं लय इति व्यक्तिमुपगच्छता व्यञ्जनधातुनैव सह लयभेदोप्यभिव्यक्तः। + + + नामतोपि लयभेदानुदीर्य पुनस्त्रिधेत्युक्तिस्तत्रैव राद्धादिभेदानुगतिव्यञ्जिका। पाणीनां त्रिविधः संयोगो राद्धं विद्धं शय्यागतमिति। एषु व्यवस्थितपाणिप्रयोगाणां लयानां यतीनां च संश्लेषनियमः। तद्यथासमा यतिर्लयश्चैव द्रुतो यत्र भवेदिह। तथैवोपरिपाणिश्च राद्धं वाद्यं तु तद्भवेत्॥ अवपाणिस्तु यत्र स्यात्प्रयोगो लम्बितो लयः। गोपुच्छा च यतिर्वाद्यं तद्वै शय्यागतं भवेत्॥स्रोतोगता यतिर्यत्र लयो मध्यस्तथैव च। समपाणिप्रयोगश्च विद्धवाद्यं तु तद्भवेत्॥एषु पुनस्तत्वौघानुगता इति त्रयो भेदाः। एते सर्वे लयादयः प्रयोगे परस्परपरिस्यूताः।अपि शब्देन व्यञ्जनधातोः परिपूर्णत्वमुक्तम्। द्रुतमध्येति। लम्बित इति विलम्बितउच्यते। यदुक्तं तालान्तरालवर्ती यः सकालो लय उच्यते। त्रिविधः स च विज्ञेयोद्रुतो मध्यो विलम्बितः॥ यतिर्विच्छेदः। तदुक्तं-तालच्छन्दोवगतिविधये वाद्यतेयो विरामो वाद्यैर्हीनः श्रवणसुभगो नामतः सा यतिः स्यात्। इति। लयगानाद्यतिःसम्यक् कथिता दत्तिलादिभिः। समा स्रोतोवहा चैव गोपुच्छा चेति सा त्रिधा॥इति च। तत्वौघानुगता इति। अत्रोक्तं-त्रिविधं गीते कार्यं इत्यादिः वाद्यमथौघो विधातव्यम्॥ इत्यर्न्तोऽशः टीकायामन्तर्भावितः ३८ पृष्टे द्रष्टव्यः। अत्र संख्यानिर्देशेनलब्धा विस्पष्टं संवादिता दर्शिता इति विशेषकथनेन च पूर्णत्वं प्रयोगे जितश्रमत्वं चप्रतिपाद्यते। अत एव अहो इति विस्मयहेतुत्वं समर्थितम्॥

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An Alphabetical Index of Verses occurring in the play.


अच्छिन्नामृतबिन्दुवृष्टि	II.7	पादातं पत्तिरेव प्रथम	I.9.
अन्तःपुराणां विहितव्यवस्थः	III.3.	पादैर्नृपुरिभिर्नितम्ब	III.4.
अयि विसृज विषादं भीरु	II.8.
अस्मद्बलैर्विजयसेन	IV.4.	प्रायो यत्किंचिदपि	III.1.
अभिनवरागक्षिप्ता	III.9.	बिभ्राणा मृदुतां शिरीष	II.3.
आबद्धमुखमपीदं कण्टकितं	II.9.	भृत्यानामविकारिता	I.6.
आभात्यर्कांशुतापक्वथदिव	I.12.	भ्रूभङ्गैः क्रियते ललाट	III.14.
आभाति रत्नशतशोभित	III.2.	भ्रूभङ्गं न करोषि रोदिषि	IV.3.
उद्यानदेवतायाः स्फुटपङ्कज	II.5.	राज्ञो विपद्बन्धुवियोग	I.4.
उर्वीमुद्दामसस्यां जनयतु	IV.12.	रूपं तन्नयनोत्सवास्पद	III.7.
एतेन बालविद्रुमपल्लव	III.12.	लीलामज्जनमङ्गलोपकरण	I.11.
एवं बलत्रितयमाकुल	I.10.	श्रीहर्षो निपुणः कविः	I.3.
एषा मीलयतीदमीक्षण	IV.9.	श्रोत्रं इंसस्वनोऽयं सुखयति	II.4.
किं मुक्तमासनमलं	IV.2.	वृन्तः क्षुद्रप्रवालस्थगित	II.2.
कैलासाद्रावुदस्ते परि	I.2.	व्यक्तिर्व्यञ्जनधातुना दश	III.10.
क्षामां मङ्गलमात्रमण्डन	II.1.	सद्योऽवश्यायबिन्दुव्यतिकर	III.11.
घनबन्धनमुक्तोऽयं	I.5.	सपरिजनं प्रद्योतं विस्मय	III.6.
घनबन्धनसंरुद्धं	III.8.	सुखनिर्भरोऽन्यथापि	IV.6.
तत्क्षणमपि निष्क्रान्ताः	I.8.	संजातसान्द्रमकरन्द	IV.8.
दृष्टं चारकमन्धकार	I.7.	संतापं प्रथमं तथा न कुरुते	III.5.
धूमव्याकुलदृष्टिरिन्दु	I.1.	स्निग्धं यद्यपि वीक्षितं	III.13.
धृष्टः किं पुरतोऽवरुध्य	IV.1.	स्वभावस्था दृष्टिर्न भवति	IV.10.
निर्दिष्टाक्रान्तमन्दं	IV.5.	स्वेदाम्भःकणभिन्नभीषण	III.15.
निःशेषं दृढवर्मणा	IV.11.	हत्वा कलिङ्गहतकम्	IV.7.
पातालाद्भुवनावलोकन	II.6.	हृत्वा पद्मवनद्युतिं	II.10.

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TRANSLATION.

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ACT I.

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I May Gaurî be propitious unto you; she, who at hermarriage rite had her sight troubled by the smoke (of thenuptial fire), but again whose eyes were gladdenedby the rays of the moon (on Śiva’s head ); who lookingwith longing at the bride-groom, had again her facehung down through Brahma’s shame; who was full ofjealousy at (when she beheld) Hara, reflected intothe mirror of the moon-like nails of her feet, bearingGangâ; and whose hair stood on end at his touch. (as he seized her hand)!

Moreover, may Śiva, who-though angry as the mountKailasa, being upheaved, quaked, when the ganashad their amazment rising, when Kumâra (Kârtikeya)was lurking under the lap of his mother, when theserpent (on the body of Śiva) was looking about withrage, and when the ten-headed one (Râ’vana) with hisbody groaning under the firm planting of his foot (topress down the mountain) was sinking to the depthof Pâtála was yet delighted at being closely embraced through fear by Umá, protect us!!

(At the end of the Benediction)

STAGE-MANAGER—( After walking round) To-day, atthe spring-festival, I being very respectfully called, havebeen thus addressed by the multitude of kings, dependenton the lotus feet of the illustrious king Sriharsha, andhere arrived from the regions in different directions—“We have heard it, coming from ear to ear, that ourmaster, Śri Harshadeva, has composed a Nâtìkà, Priyadarśikâ by name, graced with a novel arrangement of plot.But we have not seen it staged. Out of great deference,therefore, to that very king, the delighter of the heartsof all people, and with a disposition on your part tofavour us, you should represent the same with proper

performance’. I will, therefore, in the first placearrange the costumes (or the tiring room) and thendo as desired. (Looking around) I am quite convincedthat the minds of the spectators have been won over(or favourably disposed). For,

Śri Harsha is a skilled poet; and this assembly toois appreciative of merits; the story of king Vatsarájais attractive (popular) in the world; and we, on our part,are expert in acting: each one of these circumstancesis, by itself, the source of the attainment of the desiredobject; how much more so must then be this combination of all excellences that has come about throughthe greatness (lit. increase) of my good luck!

(Looking towards the tiring room).

Ah, how now! When I was just about to begin theprologue, my brother, having known my intention, hasassumed the part of the chamberlain of Dṛdhavarman,king of Angas, and is coming hitherwards. I will alsothen put on the costume of the character to enter next. [Exit].

End of the INDUCTION.

ACT I.

(Enter the Chamberlain)

CHAMB:— (Jesticulating fatigue accompanied by sorrow,and sighing)

Alas! Oh, pity !

The king’s misfortune; grief caused by separationfrom my kinsfolk; exile from the country; and thefatigue of a difficult journey—thus is tasted by methis fruit of my longevity of life, that has been bitterand fruitless. (4).

(With sorrow and amazement). That such a disastershould have been brought over even such a one asking Drdhavarman, whose three regal powers wereunobstructed, and who was a peer of Raghu, Dilipa and

Nala, with a sudden attack, by the cursed king of theKalingas, who had cherished a feeling of resentmentat the thought that he had betrothed (promised) hisdaughter to Vatsarâja, although solicited for himselfby him, and who found an opportunity (lit. a weak point)in that king Vatsa did not return till then from captivilty—this, to tell the truth–I do not believe though it hascome to pass. How is it that fate has been exceedinglycruel and thus disposed (adverse) towards us! For,that princess I bore away from the tumult of theassault of that sort and terrible like the destructiontime of the world and placed in the house of the forestking, Vindhyaketu, connected with a friendly bondwith king Dṛdhavarman, thinking that I might somehow take her to king Vatsa and thereby free my masterfrom his obligation (lit. debt of promise). But whenI had gone to Agastya’s holy pool to bathe, as it wasnot far off, some people fell upon Vindhyaketu in aninstant, slew him, and depopulating the place likedemons, burnt it; and it is not known in what plightthe princess too now is. The whole place was carefullysearched by me; but I did not find out whether she wascarried off by those marauders or burnt by them.So what am I, luckless one, to do! (Reflecting)Ah! I have heard that Vatsarája has escaped fromimprisonment and returned to Kausambi, carrying offwith him Pradoyata’s daughter. What! shall I go justthere then? (Sighing and observing his own condition.)But what sort of thing shall I say, going there withoutthe princess? Ah! Vindhyaketu had said to me to-day—“Don’t you fear. His honour, the great kingDrdhavarmâ, is alive; and is in captivity greatly disabled by severe wounds. I will, therefore, go to mymaster and make the remaining part of my life blissful(lit. fruitful) by serving his feet. (Going about andlooking up). Oh the extreme rigour of the autumnalsun! since it is found to be extremely severe even by meheated as I am by many afflictions.

This sun that is freed from the screen (lit. bond) ofclouds and has reached Libra after occupying Virgo, is

indeed, blazing fiercely, having regained his effulgence, as Vatsarája, freed from close imprisonment isshining pre-eminently, having attained eminence aftersecuring the princess and regained his own abode (i. ecapital or power). (5) (Exit)

End of the Vishkambhaka.

(Enter the KING and VIDÛSHAKA.)

KING—The constancy (lit. the being unaffected) of my servants was known; the talent of ministers was witnessed;even friends were observed (as regards their sincerity); theaffection (loyalty) of the townsmen was realised allthe more; the passion for adventures in battle wasquite satisfied; and the jewel of women was obtained:what, indeed, have I not obtained from captivity, asfrom piety practised without hypocrisy (sincerely)? (6)

VIDU;— (With displeasure) O friend, how do youpraise that whore’s son, cursed Captivity.’ And thatis forgotten now, *viz—*How you, like & newlycaptured lordly elephant, with feet (steps) stumblingon account of the shackles of clanking iron chains,with the burning of the heart indicated by the palelotus-like face (the dry tip of the trunk), with eyesup-raised and steady owing to the force of rage, andwith the path along the ground cleared with the hugehands (torn up with the huge trunk ), did not get thecomfort of sleep even during the nights.

KING—Vasantaka, you are, indeed, a wicked man.

Mark—

You saw the prison gloomy with darkness butnot the splendour of her moon-like face; you felt painat the clank of the chains, but heard not her sweetaccents; the cruel prison-guards are present to yourmind to-day and not her loving side-glances: youbehold the faults of confinement but not the merits ofPradyota’s daughter. (7)

VIDU.—(With an air of pride). If at all confinementbrings in its train happiness, why do you then fasten

your wrath upon the Kalinga-King for having takenDrdhavarman a captive ?

KING—(Smiling;) Fie upon you, fool! Every one isnot Vatsarája who can escape in this way from prisontaking a Vásavadattá with him. So let this matter(lit-topic) be dropped. It is many days sinceVijayasena was sent against Vindhyaketu. And no onehas come (brought tidings,) from him till now. Lettherefore, the minister Rumaṇwan be called at once.I wish to say something to him.

(Having entered—)

The Portress—Victory, victory, to Your Majesty!Here are arrived at the door-region Vijayasena and the minister, Rumaṇvat.

KING—Quickly usher them in.

POR.—As Your Majesty commands !

[Enter RUMANVAT and VIJAYASENA.]

Ruma.—(Musing.)

Although gone out the very moment, servantsgenerally enter a royal palace, full of apprehension,as if they were guilty, even though without guilt. (8)

(Approaching) Prosperity to Sire?

KING—(Pointing to a seat) Rumanvat, be seated here.

RUMAN.—(Sitting down, with a smile).Here isVijayasenā, the conqueror of Vindhyaketu, bowing(to you).

VIJA.—(does accordingly.)

KING.—(Embracing him graciously.) Is Your Honourwell?

VIJA.—(I am) to-day by Sire’s favour.

KING—Vijayasena, please be seated (VIJAYA. sitsdown).

KING—Vijayasena, tell Vindhyaketu’s acount.

VIJA—Sire, what more can I tell? It is as it shouldbe when Sire is angry.

KING—Still I wish to hear it in detail.

VIJA.—May Your Majesty hear-Starting from hereaccording to Your Majesty’s order, with an army ofelephants, cavalry and infantry, as directed, we traversedthe road though long in three days, and unexpectedlyfell upon Vindyaketu at the time of day-break.

KING.—Then, then?

VIJA.—Then roused: by hearing the tumultuous dinof our forces, he, Vindhyaketu, too, rushed out like alion from a cave of the Vindhya mountain and withoutwaiting for (the mustering of) his army and conveyancesand having a few followers that happened to be athand, proceeded at once to engage us, proclaiming hisname.

KING—(Looking at RUMANVAT with a smile). Thatwas creditably done by Vindhyaketu. What then?

VIJA.—Then when his companions were killed to aman in a fierce onslaught by us, whose envy andenergy were doubled at the thought—‘Here is he,’ he,with the fury of his anger and strength enhanced bythe crushing blow, fought in a still fiercer manner.

KING—Bravo, Vindhyaketu! Excellent, excellent!

VIJAYA—What description can be given, Sire! I highwill tell in brief—

Having first of all, himself fighting on foot, crushedthe foot-soldiers by merely striking them hard withhis chest, and dispersed the terrified cavalry like aherd of deer in the quarters with volleys of arrowsfrom afar, he discharged on all sides the whole stockof his weapons and then quickly unsheathing hissword, proceeded to enjoy the sport of cutting off ofthe plantain-grove of the mass of elephants’ trunks. (9)

Making havoc, single-handed, in this way in our three-fold army, with his towering shoulders covered with therays of his sword, Vindhyaketu, with his broad chestshattered by hundreds of weapons, and exhausted aftera long time, was slain in the battle. (10)

KING—Rumaṇvan, to tell the truth, we are quiteput to shame by the death of Vindhyaketu, followingthe path proper for worthy (i. e. brave) persons.

RUMAN.—Sire, even the merits of an enemy produce joy in persons of your type who side with virtues alone.

KING—Vijayasena, has Vindhyaketu a child, whereonI may bestow (lit. show) the fruit of gratification?

VIJAYA.—Sire, about this too I will tell you. WhenVindhyaketu had been thus slain with his kinsmen and followers, and his wives followed him in death, when the country people had taken shelter on the peaks of the Vindhya mountains and the place had been desolate, there was a maiden in Vindhyaketu’s house whosehis beauty was in keeping with her high birth and who wasattering the piteous lament—oh father, oh mother! She is brought here by us being taken to be his daughter,and she is waiting at the door. Your Majesty is to decide with regard to her (i. e. as to how she is to be dealt with).

KING.—Yaśodharâ, go yourself and deliver her overby to Vasavadattâand say to the Queen—She should bealways looked upon by you in the light of a sister andshould be taught everything proper for a maiden ofhigh birth, singing, dancing, playing upon instrumentsand other accomplishments. And when she becomesfit for being given away in marriage, you shouldremind me.

PORTBESS—As Your Majesty commands.

( Behind the curtain—A BARD).

By the breasts, gleaming with their beauty disclosedowing to the garments slipping down through exertionof the multitude of courtezans in the harem, gettingready the auspicious articles and cosmetics necessaryree for your pleasure-bath, your bathing room is adorned(as if) with other kinds of raised golden pots (11).

KING—(Looking upwards) Ah! how now! The divinesun is occupying mid-heaven.’ For now;

The water of the ponds (in the gardens) appearsto be boiling as it were with the heat of the rays of the sun on account of the leapings of the Śafaras;the peacock spreads out his tail looking like an

umbrella, though drooping from his sportive dance;the fawn covetous of the water in the basins seeksthe circle of shades of the trees; and the bee, having atonce left the cheek of the elephant, lurks (lit. enters)under the lobe of his ear. (12)

Rumaṇvan, get up; do get up. Having just enteredthe inner apartment and performed the usual rites, wewill honour Vijayasena and dispatch him for annihilating the king of Kalinga.

[Exeunt Omnes.]

END of ACT I

ACT II

(Enter VIDÚSHAKA).

Indîvarika has, indeed, said to me-Noble Sir, QueenVásavatta, who has been observing the vow of a fast,might call yau to receive the Svastivâchana. I will,therefore, bathe in the pond attached to the showerhouse and having gone into the presence of the Queenwill-utter something in the manner of a cock (i. e.in a gradually raised voice). Otherwise, how areBrahmaṇas like us to accept a donation in the royalpalace? (Looking towards the tiring room) Ah! Heremy dear friend has started to go to the very showerhousegarden to dispel the longing caused by the queen’sseparation. So I will go with my friend himself anddo as (I said.).

(Enter the love-sick KING).

My mind yearns, to-day, to see that beloved of minewho is emaciated, who wears only the auspiciousornaments, who speaks slowly and with effort, whosubdues the beauty of the morning moon by her facehaving a palish hue, and who is full of longing owingto the observance of the rules of her fast, as if shewere in the condition produced by first love. (1).

VIDU.—(Approaching) Hail to your Honour! Mayyou prosper!

KING.—(Looking at him) Vasantaka, for what do youappear to be delighted!

VIDU.—Because the Queen is going to honour aBrâhmaṇa.

KING.—If so, how does it benefit you?

VIDU.—(With pride) Oh, such a Bráhmana, indeed, thatI get the Svastiváchana-present first from the Queen inthe palace crowded with thousands of Brahmaṇas, versed in four, five or even six Vedas.

KING.—(Laughing) Your Brahmanaship (Vedic scholarship) is shown by the number of the Vedas (mentioned by you). Come then, great Brahmaṇa. To theshower-house garden itself we go now.

VIDU.—As your Majesty commands.

KING.—Lead the way.

VIDU.—Come, oh! Let us go. (Walking round andlooking on) O friend, see, the loveliness of the shower-house-garden, the surface of the stone-slab in which issoft on account of the various kinds of flowers ceaselessly falling upon it, wherein the bunches of the Bakulaand the Jasmine flowers are broken by the weight of thebees buried in the fragrance, where the cups of theBandhûka flowers are opened by the breezes richlycharged with the perfume of lotuses, and where the lightof the sun is obscured by the dense tamâla trees.

KING.—Friend, you have well described it. For, here,By the stems of the Sephalikâ flowers (scatteredabout) the ground appears as if covered with small bitsof corals; the scent of the Saptachhada flowers at oncegives rise to the false idea of its being the odour of therut of elephants; and these bees here, having the colourof their bodies tawny with (or having the tawny unguents of) the thick mass of pollen dropped from theexpanded lotuses, and intoxicated with the drafts ofliquor (honey), are humming something in indistinctaccents. (2).

VIDU.—O friend! look, look at this too-this Saptaparṇstree here, the mass of the flowers of which is unceasingly falling and which, therefore, still looks as if it hasitsthe drops of water falling through the interstices ofleaves at the close of the rainy season (or at the end ofa shower).

KING.—Friend, happily observed. There is muchthat is like the rainy season (yet).For

Bearing softness (of surface) by the meadows whichrob (possess or surpass) the beauty of the Śirìshaflowers, and therefore having at once a pavement madewith the washed pieces (or powder) of emerald, theground here, on account of the heaps of Bandhuka flowerdropped from their stems, now appears as if coveredwith hundreds of cochineal insects. (3)

(Enter a MAID).

MAID.—I am ordered by Queen Vàsavadattà—GirIndivarika, to-day I have to present an Argha (offeringof worship) to the great sage Agastya. Do you go thenand come back quickly taking with you a garland ofŚephálikâ flowers. Let this Aranyikà, too quicklygather the full-blown lotuses from the pond in theshower-house-garden before they are closed up by thesun when going to set and come back. The poor girldoes not know that pond. So I will take her with meand go. (Looking towards the scenes). This way Áranyikâ, come this way.

(Enter ARANYIKA ).

ARANYIKÁ.—(With tears and dejection, to herself). ThatI, who was born in that sort of (so high a) race in thatway and who lived commanding others, should nowdo the bidding of others! So it must be said thatthere is nothing difficult for fate to bring about. Or ratherit is my fault, since knowing this I did not destroy my-self. So what shall I do now! Or²⁷⁷………I willdo as I said (i..e. kill myself). But this does not appear to beintended. See notes.”) it is now difficult for

me to do what I had thought of. Better even this(state of things) than that I should lower myself bydisclosing my illustrious race. What help is there! I willdo as I am asked to do.

MAID.—Come here, Araṇyikâ.

Arà—Here I come. (Showing fatigue) Maid, is thepond still far off?

MAID.—It is here, hidden by the clumps of Śephâlikás. Come then; let us descend into it. (They jesticulate descent).

KING.—Friend, why do you seem to be thinking of some other thing? Do I not say—‘There is much; that is like the rainy season. (He repeats-Bearing softness &c.)

VIDU.—(Angrily) You divert yourself, being full oflonging, by looking at this and some other thing. Butthe time of me, a Bráhmana, to receive the Svastivachana is passing—so I will quickly bathe and go intothe Queen’s presence.

KING.—Ah, fool; we have already gone beyond thepond. Although thus experiencing the excess of gratification caused to all the senses, how do you not markthe it? See—

The cackle of the swans here sounding like the tinkleof the loved one’s anklets delights the ears; the side ofthe white mansion seen through the intervals of thetrees on the bank brings joy to the eyes; by the perfumeof the lotuses, clever in diffusing their fragrance, thenose feels gratified; and these breezes, cool by theircontact with water, cause delight to the limbs. (4)

Come then. Let us approach the margin of the pond.(Walking about and looking). Friend, look, look.

This silvery pond, captivating by the lustre of its fullblown lotuses, delights me by its mere sight, as thoughit were the eye of the goddess of the garden. (5)

VIDU….( With curiosity). O friend, behold—Who isthis female that is seen, with a cluster of beesround herbraid fragrant with the perfume of flowers, with tenderhands red like a coral-creeper, and with her creeper-like

arms radiant, thin and delicate,—like the very gardennymph moving in a visible form, with the row of bees forher braid, fragrant &c., having the sprouts for her handsrosy like &c., and the bright, slender and delicatecreepers for her arms?

KING—(Observing with curiosity). Friend, she is onewho gives rise to many surmises by the grace of herunsurpassed beauty. In short, I too do not know definitely. See—

Is she a Naga damsel that has risen from the netherworld intent on beholding the earth! That is, indeed, avain supposition; I have seen it (Pátala ); whence canthere be such a one in it; can she be moonlight in abodily form come here? The sight of that is not possibleduring the day. Who is she then that appears likeŚrî with a lotus held in the hand? (6)

VIDU.—(Observing carefully) Here is, indeed, theQueen’s maid-servant, Indivariká. So hiding ourselvesbehind a clump let us see.

(Both do so).

MAID.—(Acting the plucking of a lotus-leaf.) Áraṇyikā, you gather the lotuses; I too will gather theS’ephàlikà flowers in this lotus-leaf and repair to theQueen.

KING.—Friend, a conversation seems to go on. Letus therefore listen attentively. Perhaps it (who she is)will be clear from it.

(The Maid acts going).

ARÁ NYIKÁ.—Friend Indivarikà, I am not able to stayhere even for a muhurta without you.

MAID.—(Smiling). According to the sort of speech ofthe Queen I heard to-day, you will have long to staywithout me.

ÁRANYIKÁ.—(With dejection). What was said bythe Queen?

MAID.—This I was then told by the king thus—Whenthis daughter of Vindhyaketu becomes fit for marriage, I

should be, reminded of that”, so I will put the king inin mind of that; so that he will be engaged in thoughtsabout a husband for her.

KING.—(With joy) This then is that daughter ofVindhyaketu. (With regret) Long have we been foiled(or, robbed of her sight). Friend, this is indeed, amaiden, to look at whom is not sinful. We shall seeher now without hesitation (or freely).

ÁRAN.—(Angrily stopping her ears) Go you then. Ihave nothing to do with you who talk nonsense.

(The maid-servant goes and gesticulates the collecting offlowers.

KING.—Oh, her nobility of birth has been greatlymanifested by her firmness (of mind). Friend, blessed,indeed, will be he who will be the object of the happinessof the touch of her body.

(ARANYIKÁ acts the collecting of lotuses).

VIDU.—O friend, mark, mark; wonderful, wonderful!As she plucks the lotuses, she puts into the backgroundthe beauty of the lotus-beds by the spreading lustre ofher hand moving in the water.

KING—Friend, this is quite true. See—

Having become the object of the touch of the hand ofher, who gives delight by her glances similar to that of(given by) a continuous shower of the drops of nectar,and who has assumed a peculiar loveliness owing to theslipping of her breast garment, as of the rays of the bodyof the moon that gives delight with a fitting shower ofnectareous drops and that becomes peculiarly charmingowing to the veil of clouds being removed, it is wonderful, indeed, that these lotuses do not become closed upat once. (7)

ÁRANY.—(Gesticulating torment from bees) Oh.fie! ohfie! These other wicked, bees, greatly annoying me asthey alight on the beds of blue lotuses, after leavingthe lotus plant, torment me here.(Covering her face,

with her upper garment, in alarm) Friend Indivariká,save me, save me. These horrid bees will, indeed, assail me.

VIDU.—Oh friend, your wishes are fulfilled. Beforethat daughter of a born slave comes, you too, beingsilent, approach her. She, on her part, knowingIndivarikâ to be coming from the movement of feetindicated by the sound of water, will just cling to you.

KING.—Bravo, friend, bravo! Your advice is opportune. (He approaches ARANYIKÁ).

ÁRANY. —(Gesticulating the hearing of the sound of footsteps) Indîvarikâ, come to me quickly, come to mequickly. I am harassed by these wicked bees. (Clingsto the KING).

(The KING clasps her at the neck. ÁRANYîKÁ, removing
her upper garment from her face and without seeing
the KING acts looking at the beees.)

KING.—(Keeping off the bees with his upper garment).

O you, give up this dispiritedness (depression ofspirits); O timid one, these bees, drawn by their likingfor perfume light on the lotus of your face; if againwith your long eyes agitated through fear you will stilldiffuse the beauty of a bed of blue lotuses, how willthey leave you?

ARANY.—(Exhibiting flurry on seeing the KING). Hownow! this is not Indivarika! (Leaving the KING andmoving aside in alarm). Indîvariká, come quickly, comequickly; protect me.

VIDU.—Lady, when you are protected by Vatsarája,able to protect the whole world, you call out for themaid-servant, Indîvarikâ?

(The KING repeats—0 you, give up &c.).

ÁRANY.—(Looking at the KING with longing andbashfulness, to herself). This is the great king to whomI was given (betrothed) by my father. In the rightplace was my father’s preference, indeed!

MAID—Á’ranyikâ is, indeed, harassed by the wickedbees. So I will at once approach her and comfort her.Áranyiká, fear not; here I come.

VIDU.—Move away, O, move away. Here Indivarikáis just coming. Seeing (if she sees) this affair, she willinform the Queen of it. (Pointing with the finger). Sohaving entered this plantain-bower we shall wait fora while.

(Both do accordingly).

MAID.—(Approaching and touching her cheeks). FriendÂ’ranyakâ, this is the fault of your face resembling alotus that the bees thus come to be guilty (or, theoffenders—i.e., torment you). (Taking her by the hand)Come then; let us go. The day has drawn to its close.(They gesticulate departure).

ÂRANY.—(Looking towards the plaintain-bower) FriendIndîvarikā, owing to the extreme coldness of the watermy thighs seem to be benumbed. So slowly, slowly,we shall go.

MAID.—As you say. (Exeunt both).

VIDU.—O, come; let us issue forth.Having takenher with her, that slave’s daughter, Indivariká, has goneaway.

KING.—(Sighing) What, gone! Friend Vasantaka, notindeed is the desired object gained without impedimentby those who are not lucky. (Looking) Friend, mark,mark!

The bed of lotuses, although its lotuses are closed up,yet being thorny (horripilated) tells, as it were, of thepleasure derived from the touch of her tender sprout-likehand. (9).

(Sighing) Friend, what is the means now to see heragain?

VIDU.—Sir, having yourself broken the doll you arecrying now; you do not act according to the words ofme, a Brahmaṇa.

KING.—What did I not do!

VIDU.—That you have forgotten now. For I said—Be silent and approach her. Since you, having enteredinto a very critical position, reproved her, in your affected wisdom due to vain knowledge, saying-Ah you, giveup this dispiritedness, &c., and such other words, whydo cry now? And again ask me the means to see her.

KING.—Oh, how does the fool call what was comfortgiving a reproof!

VIDU.—It is just known who is a fool in this case,Then why go on with this? The divine one having athousand rays (sun) is about to set. Come then;let usenter just the inside (of the palace).

KING.—(Looking). Ah, the day has almost drawn toits close. Alas! For now—

The splendour of the day, like my beloved, has gone,taking away the beauty of the groups of lotuses; thereis observed a greater glow of Raga (redness—passion)in the orb of the sun as in this heart of mine; thewheel-named bird (ruddy goose) like me, is standing onthe margin of the lotus-pond, thinking of his mate; andthe directions have been suddenly darkened (void of (interest) to the world also, as to me. (10).

(Exeunt Omnes)

End of Act II.

ACT III.

———

(Enter MANORAMÁ)

MANORAMÁ—I have been commanded by QueenVásavadattá saying—Manoramá, my girl, to-day on theoccasion of the Kaumudi festival you have to perform theremaining part of the episode about my husband andmyself which has been dramatised by Sāmkrityāyanî,Yesterday, indeed, her part was wrongly played by mydear friend, Áraṇyikā, being absent-minded. But if againthe same be done by her to-day when appearing in therole of Våsavadattá, the Queen will necessarily getangry. Where shall I find her then and reprove her?

(Looking on). Here is Áranyikà entering the plantainbower on the bank of the pond, saying something toherself. So hiding myself behind a bush I will listento her unrestrained (free) utterings.

(Enter AR’NYIKÁ, seated and acting love-sickness.)

AR’ANY.—(Sighing) My heart, seeking an unobtainable person, why dost thou afflict me?

MANO—This is then the cause of her absent-mindedness. But what again does she long for? Being attentiveI will hear her.

AR’ANY.—(With tears) How does the great king,being of a pleasing appearance in that way, thus tormentme (now)! Wonderful, wonderful! (Sighing) Or rather,this is my misfortune, and not the great king’s fault.

MANO.—(Fearfully) How now! the great king himself is the object of her longing! Noble, dear friend, noble !Your desire is in accordance with your high birth.

AR’ANY.—To whom, indeed, shall I relate this matterand and make the pain of my misery somewhat bearable? (Reflecting) Or why! I have my dear friend, Manoramá,who is not different from my heart. But to her even Iam not able to tell this through bashfulness. Allconsidered, whence can there be solace to my heartother than death!

MANO.—(With tears) Alas! alas! the poor girl’s passion has reached its climax. So what shall I do inthe matter?

ARANY.—(With longing) This is the spot where,tormented by the bees, I was supported by the greatking and comforted in the words—“O timid one, be notafraid”.

MANO.—(Joyfully) What! She also is seen by the king!Then by all means there is a way for her to live. I willthen at once approach her and cheer her up. (Suddenlyadvancing) Proper, indeed, it is to be bashful eventowards one’s heart.

AR’ANY.—(Bashfully to herself) Oh fie, fie! Everything has been heard by her. So it will be quite proper

to disclose all to her. (Aloud; seizing her by the hand).Dear friend, do not be angry, pray do not. It is bashfulness that is at fault.

MANO.—(Joyfully) Friend, away with hesitation. Tellme this. Have you been really seen by the king or not?

AR’ANY.—(Bashfully with face hung down) My dearfriend has already heard everything.

MANO.—If you have been seen by the king, then don’tyou be worrying yourself. He himself will be eagerlyengaged in devising some means to see you.

AR’ANY.—This my friend speaks with partiality. Oyou, lover of (blinded by love for) a friend, how can thisbe (expected) from a person who is, indeed, bound bythe chains of the Queen’s virtues.

MANO.—(Laughing) O you, silly girl (Lit. wanting inclever perception), although the bee has its love forthe lotus plant, how can it, when it has seen theMàlati (jasmine) and is eager to taste its new flavour,rest quiet without obtaining it!

AR’AN.—What is the use of talking about this whichis impossible? Come away then. My limbs, which areall the more tormented by the autumnal heat, do notgive up their heat even now.

MANO.—O you bashful one, it is not proper for you,even when reduced to such a plight, to conceal the realstate of your heart.

(AR‘ANYIKA’hangs down her face.)

MANO.—O you naturally unconfiding one, what canyou conceal now! Does not your passion, manifestingitself (lit. coming out) day and night, in the guise ofsighs, as though it were the hum sound caused by theincessantly falling shower of the shafts of the flower-arrowed God (Cupid) tell it. (To herself) Or rather, this is not, indeed, the time for chiding her. So in the firstplace I will put some lotus-leaves on her bosom. (Rises,and having taken some lotus-leaves from the pond placesthem on AR’ANYAKA’s heart.) Let my friend take comfort,let my friend take comfort.

(Enter VIDÚSHAKA)

VIDU.—Very great, indeed, is my dear friend’s passion for Ar’anyiká. For having set side the affairs ofstate he has been diverting himself by thinking about aremedy to obtain her sight only. (Reflecting) Whereshall I find her then? Or why; I will search for herjust there, on the margin of the pond. (Walks on).

MANO—(Hearing) A sound like that of foot-steps isheard. So becoming concealed in the clump of plantains. we shall see who is this (that is coming). (Both doaccordingly and see).

AR’AN.—Ah, he is the very Bràhmana, who is alwaysat the side of the king.

MANO.—How, Vasantaka himself! (Joyfully toherself) May it be that way (i.e. as I wish it)?

VIDÚ—(Looking in all directions) What! Has Áranyikà really become Ar’anyikà (acting like a forest-bred-girl; or, gone to a forest, as she is not found here) now.

MANO.—(With a smile) Friend, the king’s companion,the Brahmana, is talking with respect to you. So let uslisten attentively.

(AR’ANYIKA’ listens eagerly and bashfully.)

VIDU.—(Dejectedly) When in the first place, at thebidding of my dear friend whose body has become languidowing to the very great torment of love, I looked for herat the residence of the queens Vāsavadattâ, andPadmavati and of other queens, and did not find her there, I came here, thinking I should search the placealso where she was seen at the pond. But then she isnot here also. What shall I do now?

MANO.—Did my dear friend hear this?

VIDU.—(Reflecting) Or why! It was already said tome by my friend—If you do not find her, after searchingfor her, then come, taking from that very pond at leastthe lotus-leaves that have had their pleasure-givingcoolness doubled by the touch of her hand. Then howam I to know these?

MANO.—This is my opportunity. (Approaching andtaking VIDU’. by the hand). Vasantaka, come on.I willshow (also; expose) you.

VIDÚ—(In alarm) Expose me ! to whom? To the Queen? I havenot, at all, said any thing.

MANO.—Vasantaka, dismiss this fear. As you have described to have been the condition of your dear friendon account of Aranyikà, double of that has been thestate of my dear friend on account of our lord. So seeit, see it.

VIDÚ.—(Seeing, with joy) My labour has borne fruit,Hail to your ladyship!

(ARANYIKÁ bashfully casts off the lotus-leaves andrises).

MANO.—Noble Vasantaka, at your mere sight my dearfriend’s affliction has vanished, so that she is herselfremoving the lotus-leaves. So your noble self shouldfavour them (by taking them).

AR’ANYIKA’—(With agitation), O you given to joking,why do you put me to shame? (She stands with her faceslightly turned back).

VIDU.—(With dejection) Let the lotuses remain. Yourdear friend is extremely bashful. So how is their unionto take place?

MANO.—(Musing for a moment, joyfully) Vasantaka,in this way, it seems. (She whispers into his ear).

VIDU.—Excellent, dear friend; cleverly suggested !

(Aside) By the time you two put on your costumes,I will come taking my friend with me. (Exit).

MANO.—O passionate one, get up, get up, We haveto act the remaining part of that very play. Come then;let us go to the play-house. (Walking round and seeing)Here is the play-house. Come then; let us enter in.(Gesticulating entrance and looking about), Well done,well done! Every thing is got ready; the Queen mustbe coming.

(Enter the QUEEN, SAMKRITYAYANI and, the retinus according to rank.) trank.)retinusaccordrank.)

VA’SAVADATTA’— Revered lady, how wonderful isyour poetic genius! For this story of my husband, withits secret incidents, although a mattter of experience,being dramatised (by you) raises our interest in it allthe more, when being seen, as though it had not beenseen before.

SA’MK—Oyou of long life, the merit of this subject issuch that a poem though without excellence (insipid)necessarily causes delight to the ears of its hearers. See,

Generally even an insignificant thing attains eminenceby its connection with what is great; for even ashescome to be a decoration when applied to the broadand temples of a rutting elephant. (1)

VA’SAVA.—(With a smile) Revered lady, it is a patentfact (lit., is but known) that the son-in-law is loved byevery one. So what is the use of thus continuing theconversation ? It isbetter to see the very same representation.

SA’MKR.—Just so. Indivarikâ, lead the way to theplay-house.

MAID—Come, come, my Queen. (They all walk on.)

SA’MK.—(Looking on) Oh the loveliness of the play-house!

Charming with the huge strings of pearls hangingfrom the golden posts decked with bundreds of jewels,and occupied by the youthful damsels that haveconquered (surpass in beauty) the nymphs of heaven, this play-house appears like the (aerial vehicle, or)residence of the gods. (2).

MANO. and ARAN.—(Approaching) Prosperity, prosperity, to the Queen!

VASAVA.—Manorama, the twilight has indeed,passed. Go you then, and quickly put on your costumes.

BOTH—As the Queen commands. (They start to go).

VA’SA.—Aranyiká, go to the dressing room and decorateyourself with these very ornaments that are put on my
person. (She removes the ornaments from her person and

hands them over toA’ran.). Manoramá, you too take fromIndivarika the ornaments that were given to myhusband by my father when pleased by his capture ofNalagiri and decorate yourself, so that you will lookquite like the King.

(MANORAMA’takes the decorations from INDIVARIKA’andexit with ARANYIKA’).

INDíVARIKA’—Here is a seat; may your Majesty sitdown.

VA’SAVA.—(Pointing to a seat) May your reverence sitdown.

(BOTH sit down).

(Enter the CHAMBERLAIN having put on his dress).

Looking after the management of the inner apartments, guarding against stumblings at every step, andnow led by a staff, being broken down by old age,I imitate all the actions of a king, who, following thescience of government, maintains order within cities andavoids errors of policy at every step. (3).

I am commanded by Mahâsena, who bears a significantname and who has put to chagrin (overpowered) all thearmies of his enemies, to inform the ladies of the haremthus — Tomorrow we are to celebrate the Udayanafestival. Therefore you are to repair to the garden ofLove with your retinue splendid with dresses befittingthe festival.

SA’MK.—(Pointing to the CHAм.) Princess, the play hascommenced. Please see it.

CHAM.—So this is what I have to tell them—thatthey should go accompanied by their attendants and notattendants with their decorations put on. For,

Among these (inmates of the harem) eventheservants of the maids-in-attendance of the queens areconspicuous with their feet adorned with anklets, withtheir broad hips having gingling girdle-bands, with theirlarge breasts decked with (lit. having beauty impartedto them by) pearl necklaces, with their arms havingKeyuras (armlets) on them, and with their ears furnished

with Kundalas, their hands with bracelets and theirhair with Swastikas. (4)

There is nothing, indeed, unusual that is to be donehere. Thinking that it is my master’s order, I willsimply communicate the remaining part of the king’sorder to the Princess.

(Walking about and seeing.) Here has that (princess)Vasavadattá enteredthe music-hall followed byKānchanamálá, lute in hand. I will just tell her.(Walks forth.)

(Enter A’RANYIKA, in VASAVADATTA’s costume, seated,and KANCHANAMA’LA, with a lute in her hand).

A’RAN—Friend, Kânchanamâlâ, why again is themusic-master tarrying even to-day?

KA’NOH—Princess, he has seen a crazy fellow; andoverpowered by wonder at hearing his words he hasstayed there enjoying the fun (lit. laughing at him).

A’RAN.—Maid, well does he ask him. Both are madmen, as it is said–The like take pleasure in the like.’

SA’MKR—I see that her form is like that of a princess;so with such a form she is sure to act your part well.

CHAM—(Advancing) Princess, His Majesty sends wordto you— To-morrow we are sure to hear you playing thelute. So you should be ready with Ghoshavati fittedwith new strings.

AR’ANY—Sir, if so, quickly send the music-master.

CHAMB.—Here I send Vatsarâja to you. (Exit).

ARA’NY—Kánchanamalá,bringme the lute(Ghoshavati). I will just examine its strings.

(KA’NCHANAMA’LA’hands over the lute.)

A’RANYIKÁ puts it on her lap and strikes (or, adjusts)the strings).

(Then enter MANORAMA’having put on VATSARA’JA’Sdecorations).

MANORAMA’—(To herself) Surely the King tarries.Is it that Vasantaka did not tell him, or is he afraid

of the Queen? If he comes now it will be a nicething.

[Enter the King, and Vidûshaka with his body veiled].

KING—The cool-rayed one (moon) does not causeaffliction to me just to-day as at first; now only hotsighs do not parch my lip as they did constantly before;just now my mind is not vacant nor are the limbslanguid as formerly; and my torment becomes reducedeven as the desires of my heart are thought of (as nearfulfilment). (5).

Friend, did Manoramá really say-“Since my dearfriend is kept even out of the path of the King’s sightby the Queen, this is the way to bring about theirunion. To-day at night we are to enact before theQueen the play called Udayanacharita. In it A’ranyikáwill be Vasavadattá and I too Vatsarája. Everythingis to be learnt (acted) according to his own doings. Sohaving come and acting his part himself, let him enjoythe pleasure of her company.”

Vidû.—If you do not believe me, here is Manoramáwaiting, wearing your costume. So approach her andask her yourself.

KING—(Approaching MANORAMA’) Manorama’, is whatVasantaka says true?

MANORAMA’—Sire, quite true. Decorate yourself withthese ornaments. (With these words she takes off theornaments from her person and hands them over to theKING).

(The KING puts them on).

VIDÛ.—Here, indeed, are kings thus made to dance(act) even by a maid-servant. Oh the importance ofbusiness (the object to be achieved) !

KING—(Laughing) Fool, this is not the time forjoking. Silently enter the picture gallery and waitthere with Manoramá, beholding our acting.

(BOTH act accordingly).

A’RANY—Kānchanamálá, let alone the Inte.JustI wish to ask you something.

KING—Let me hear (to know) which part of thestory is being acted. (He listens attentively).

KA’NCH—May the Princess ask.

A’RANY.—Does my father really say so, viz.—“Ifplaying onthe lute Vatsaraja captivates me I willnecessarily free him from captivity.”?

KING—(Entering with a toss of the curtain, joyfullyties a knot in the hem of his garment). Thus it will be.What doubt is there?

Having filled Pradyota with his attendants withwonder by my performance on the lute, I see thatere long I shall take away Vásavadattâ. (6)

For all things have been well arranged by Yaugandharāyaṇa.

VA’SAVA.—(Rising at once) Prosperity! prosperity tomy husband!

KING—(To himself) How is it that I am recognizedby the Queen?

SA’MKR.—(With a smile) Princess, away, away withthis hurry (or, confusion). This is a play.

KING—(To himself joyfully) Now I am made tobreathe freely.

VA’SAVA.—(Sitting down with a smile of embarrassment)What! this is Manorama’! I thought it was myhusband. Bravo, Manorama, bravo. Excellently acted.

SA’MKR.—Princess, rightly, indeed, was confusioncaused in you by Manoramá. Consider—

Hers is that same form (of Vatsarája), the cause ofdelight to the eyes; the same is the splendid costume;self-same is this her gait here, that characterises anintoxicated elephant; the same is the exceedingly loftydignity; her grace the same, and the very same isher voice that resembles the rumble of water-chargedclouds: here is presented before us, in his very person,the lord of the Vatsas himself by her, clever (inacting). (7).

VA’SAVA.—OIndìvarikā, I was taught to play on thelute by my lord in fetters; so fetter him with thisgarland of blue lotuses. (Taking off from her head thegarland of blue lotuses she gives it to her).

(INDIVARIKÁ does as directed and sits down in the sameplace.

*A’RANY.—Kanchanamálá, tell me, pray tell me. I askDoes my father really say this, viz.— “If Vatsarājacaptivates me by his playing on the lute, then I willnecessarily set him free from captivity.”

KA’NCHA.—Princess, he does, really. Act in sucha way that, as a matter of fact, you will be highlyesteemed by Vatsaraja.

KING—Kānchanamâlâ has actually brought to passwhat was then desired by me.

A’RANY.—If so I will play with care.

(Plays upon the lute, singing).

Observing the sky densely crowded with chains ofclouds the royal swan longs to go to the Mánasa lake,his residence, taking with him his mate. The swanamong kings-Vatsarája,-seeing the prison vault closedup with thick chains, desires to repair to his own abode,taking his: beloved with him in order to reach (pleaseher heart). (8).

(VIDü,—gesticulates sleeping).

MANO.—(Shaking him with her hand.) Vasantaka, see,see; my friend is playing her part.

VIDU.—(Angrily) Slave’s daughter, you too do notallow me to sleep! From the time my dear friend saw A’ranyika, I have not seen, along with him, what sleepis. So I will go to some other place and sleep. (Goesout and sleeps).

( A’RANYIKA’ sings again).

Hurled into (powerfully affected with) a new passion,by the perverse Kāma, the female bee pines, eagerlylonging to see her mate, of a charming sight. (9).

KING—(Hearing the song the very moment and suddenly going forth) Commendable, princess, commendable! How charming the singing, how charming the playing(on the lute)! For,

Distinctness has now been attained here (in thisperformance) by the Vyañjana mode of playing (on thelute) in all its ten parts; this laya (tempo) here,distinguished by its three varieties of quick (allegro)intermediate (moderato) and slow (adagio) has beenclearly marked in three ways; all the three pauses,Gopuchcha’and the rest, have been accomplished in dueorder: and the three modes of playing on instrumentshave been properly exhibited. (10)

A’RANY.—(Clasping the lute rises from her seat andlongingly looking at the King) Preceptor, I bow to you.

KING—(With a smile) May you have that which I wishfor you!

KA’NOH.—(Pointing to A’RANYIKÁ’s seat) The preceptorshould please sit just here.

KING—(Havingsat down) Where should thePrincess sit now?

KÁNOH.—(With a smile) The Princess has just nowbeen complimented by you with commendation of herskill. So she deserves to share the seat of thepreceptor.

KING—Let her sit here; she deserves (to occupy)half of the seat. Princess, sit down.

(A’RANYIKA’looks at KA’NOHANAMA’LA’).

KA’NCH.—(Smilingly) Princess, sit there. What iswrong in this ?

(A’RANYIKA’sits down bashfully).

VA`SAVA.—(Blushingly). The subject-matter has beenadded to by your reverence. I did not, at all, sit on thesame seat with my husband at that time.

KING—Princess, I wish to hear’ again. Play on thelute.

AR’ANY.—(With a smile) Kánchanamálá, havingplayed for a long time I feel exhausted. So I shallnot be able to play.

KANOH.—Preceptor, the Princess is greatly fatigued. See, how drops of perspiration are formed on her cheeksand her fingers (or fore-hands) tremble. So let herbe refreshed (by resting) for a short while.

KING—Kanchanamála, you have said what is proper.(Wishes to seize her by the hand. A’rany. withdraws herhand).

VASAVA.—(Sarcastically) Lady, this also has beenoverdone by you. I am not certainly Kánchanamalá thatcan be misled by (such) composition. [Or, I shouldnot be deceived (misrepresented) by Kānchanamàla’s dramatic speech].

SA’MKR.—(Smiling) O you of long life, dramatic composition must be of this nature.

A’RANY.—(With seeming anger) Go away, Kanchan.,go away. I do not like you.

KA’NOH.—(With a smile) If you do not like mestanding here, here I walk off. (Starts to go.)

AR’ANY—(In confusion) Kanchana., stay, stay;here is the fore-hand offered to him.

KING—(Taking the hand of A’RANYIKÁ).

Can it be a lotus-bud at once cooled by the contact ofdew-drops? Not such methinks is its power to delight(now); it has it at dawn only when it is left by (freefrom) the sun; are there five moons in the form of fingersshedding a shower of coolness (or dew). Even that(the shower). burns (causes affliction). I know it—thisis clearly ambrosia flowing under the guise ofperspiration. (11)

By you, moreover, is implanted in my heart this Rāga(passion-redness), with your hand clever in robbingthe tender coral sprout of its beauty. (12).

A’RANYIKA’—(Exhibiting the peculiar sensation of touch)Oh fie, oh fie! my limbs commit a havoc in me(experience a thrill of overpowering emotion) as I touchthis Manoramá.

VA’SAVADA.—(Rising suddenly) Revered lady, you seethe representation. I, for myself, cannot bear to seewhat is false.

SA’MKR.—Princess, this Gandharva form of marriageis sanctioned by the religious codes of law. What isthe matter for shame in this? This is a dramaticrepresentation. So it is not proper to go away causinga break in the interest when there is no occasion for it.

VA’SAVA.—(Walks away).

INDÎVARIKA’—(Looking on) Your Highness, Vasantaka,is lying in deep sleep at the door of the Picture-gallery.

VA’SAVA—(Observing carefully). This is Vasantaka,indeed. (Reflecting.) The King also must be here.So having:roused him I will just ask him. (Wakes himup.)

VIDÛ.—(Rising dull with sleep and looking upsuddenly) Manorama, has my dear friend come backafter having played his part; or is he acting still?

VA’SAVA.—(With dejection) What! My husband isacting? Where is Manorámá now?

VIDÛ.—Here, waiting in the Picture-hall.

MANORAMA’—(With alarm, to herself) How was itthat the Queen asked him taking quite a different viewof the matter; and this foolish fellow too understandingher in quite a different way spoiled the whole matter?

VA’SAVA.—(Laughing angrily) Bravo! Manoramá,bravo! nicely have you acted !

MANORAMA’—(Falling at her feet, trembling with fear.)Your Highness! It is not, indeed, my fault in thiscase. By this rascally fellow standing at the doorI was detained here, after taking the decorations fromme. And again, my voice, as I cried, was not heardby anyone, as it was drowned in the sound of thetator.

VA’SVA.—Get up, girl, I know it all. Vasantaka isthe chief manager in the play— The story of Âranyikā.

VIDU.—Just think yourself-where is A’ranyikà andwhere Vasantaka!

VA’SAVA.—Manoramá, having well-secured him justcome after me. The acting he has arranged I will seenow.

MANORAMA’—(To herself) Now life is put in me.(Binds Vidu. by the hand and thenaloud) Miscreant,now reap the fruit of your evil policy.

VÁSAVA.—(Approaching in a hurry) My lord, may thisevil be averted! (Removing with these words the garlandof blue lotuses from his feet, ironically–) My Lord shouldforgive me that I, thinking that it was Manoramá,caused you to be bound with a garland of blue lotuses.

(ARANYIKA’stands, having moved away in fear).

KING.—(Rising suddenly and seeing MANORAMA’, andVIDUSHAKA, to himself.) How am I discovered by theQueen?

(Acts being abashed).

SA’MKITYA’YANI’—(Seeing ali, with a smile) How hasthe representation turned out to be quite a differentthing? This is not the proper place for persons of mysort. (Exit).

KING—(To himself) Unusual is this way of showinganger. I see that reconciliation is difficult to be broughtabout in this case. (Musing) I will do this. (Aloud).My Queen, let anger be set aside.

VA’SAVADATTA’—Husband, who is angry here?

KING—How, are you not angry?

Although your glance is affectionate, still the lustreof your eyes is red; this your choked voice, thoughthere is sweetness in it, falters at every word; yourhard breathings, though suppressed, are well observedfrom the heaving of your full bosom: so this youranger, though restrained with evident effort, is clearlyseen. (13).

(Falling at her feet) Be pleased, my dear, be pleased.

VA’SAVA.—A’ranyikā, thinking that you are angry, myhusband is saying to you—“Be pleased, my dear, bepleased.” So approach him.

(With these words she pulls her).

A’RANYIKA’—(In fright) Your Highness, I knownothing of this.

VA’SAVA— A’ranyiká, how don’t you know anything?Here I will teach you. Indivarikà, seize her.

VIDÛ.—Madam! To-day it being the Kaumudi festival,my friend performed the acting to divert your heart.

VA’SAVA—When I see this misbehaviour of your both;I am moved to laughter.

KING—My Queen, away with misconception. See—

Why for nothing is this spot produced on the moon ofthe your forehead by the knittings of the eyebrows? Whyis this throbbing lip made to resemble the bandhujioaflower shaken by the breeze? And again this yourwaist is oppressed by the weight of your breaststhrobbing all the more : give up your anger towards me:for the amusement of your mind alone this acting wasmy performed by me. (14).

Queen, be pleased, be pleased. (He falls at herfeet.)

VA’SAVA.—Girl, the playing is over. Come-then ; letus enter the inner apartment. (Exit).

End of the mimic Play.

KING—(Looking) How is it that the Queen hasgone without showing favour?

When I look at the face of the Queen and also at thatof my beloved here pictured before me: the one streakedwith the particles of perspiration and with eye-browsvery fiercely contracted through anger, and the otherwith its lotus-like eyes greatly agitated through fearlike those of a gazelle bounding with great speed, I,alarmed and yet having my mind full of longing, amthrown into a great difficulty. (15).

So I will just now go to my couch and think aboutthe means of propitiating the Queen.

(Exeunt Omnes.)

END OF ACT III.

ACT IV

———

(Enter MANORAMA’)

MANORAMA’—Oh the long continuity of the Queen’sanger! She does not take pity on my dear friendA’ranyikà, though confined for so long a time. Thepoor girl is not distressed so much by the hardshipsof her own imprisonment as by her despair to see theKing. And such is her affliction that to-day Iprevented her with great difficulty from killing herself. I have come having asked Vasantaka tocommunicate the matter to the King.

(Then enter KA’NCHANAMA’LA ).

KA’NOHA.—Strange that I did not find the reveredSàmkritàyanî though searching for her. (Looking on)I will then ask this Manoramà. (Going forth)Manoramà, do you know where the revered Sámkrityà-yanî is?

MANORAMA’—(Looking at her and wiping off her tears.)Friend, Kánchanamálà, I have seen her; but what haveyou to do with her?

KA’NCHANA.—To-day a letter was sent by her HighnessAngâravati. That being read, the Queen, with eyesfilled with tears, began to feel greatly pained. So forher diversion I am searching for the venerable lady.

MANORAMA’—Friend, but what was written in thatletter?

KA’NCHANA.—She who is my sister is just like yourmother; and her husband is (as) your father. Soneed this be told to you? It is more than a year since

he has been taken a captive by the accursed king ofthe Kalingas. It is not proper, therefore, for yourhusband, who is his neighbour and powerful, thus toobserve indifference on hearing of this undesirableoccurrence.

MANORAMA’.—Friend Kànchanamálà, but who readthe letter to the Queen when, indeed, it was ordered byour lord that the matter should not be communicatedby any one to Her Highness.

KA’NCHANA.—As I remained silent after reading itto myself, the Queen took it from my hand and read itherself.

MANORAMA’—Then go you; here is the Queen sittingwith the very lady in the upper ivory chamber.

KA’NCHANA.—I will go there to the Queen. (Exit).

MA’NORAMA’.—It is a long time since I came leavingAr’anyiká. The poor girl is quite tired of her life.Something disastrous might perchance happen. So Iwill go just there. (Exit.)

(Enter seated VA’SAVADATTA’in distress, SA’MKRITYA’YANÎand the retinue in order of rank.)

SÁMKRIT.—Princess, away with agitation. Vatsarájais not such. How can Vatsarája rest unconcerned onknowing very well that the husband of your mother’ssister is in such a plight?

VA’SAVADATTA’.—Holy lady, now you are extremelysimple-minded. What can he, who has nothing to dowith me, have to do with one connected with me? Itwas meet for my mother to write to me about this.But she does not know that Vásavadattá is not such now(as she was before). This A’ranyiká affair againhas been witnessed by you with your own eyes. Howdo you say this then?

SA’MKRIT.—Since it was witnessed by me, for thatreason I say so. He surely acted that way at theKaumudi festival to make you laugh (enjoy the fun).

VA’SAVA.—Holy dame, this much is true here. Iwas so made to be laughed at that it is with difficulty

that I stand before your reverence through shame. Sowhy continue that topic? Surely it is by this partialitythat I have been raised to such a high level (reducedto this state). (Weeps).

SA’MKRIT.—Do not weep, Princess. Vatsarája is notsuch (as would remain indifferent). (Looking about). Orwhy; here comes he who will himself remove yoursorrow.

VA’SAVA.—These are now your ladyship’s fancies!

(Enter KING and VIDUSHAKA).

KING.—Friend, what is the way now to get my belovedreleased?

VIDU—Friend, give up your dejection. I will tellyouthe way.

KING.—(With joy) Friend, mention it very quickly.

VIDU—Friend, in the first place you are distinguished by your two arms that have proved their valourin conflicts with your enemies in many a battle; andagain rendered more powerful by (or, and again possess)an irreistible army consisting of numerous elephants,horsemen and foot-soldiers. So having now hard pressedthe harem with the whole bulk of your forces, set"Aranyiká free.

KING.—Friend, you have advised what is impracticable.

VIDU.—What is impracticable in this (since there issurely not a single man there save the hunch-backs,dwarfs, and the old chamberlain.

KING.—(Despisingly) Fool, what nonsense you talk!Excepting the Queen’s favour there is no other meansto procure her release. So tell me how I shall gainthe Queen’s favour.

VIDU.—Sir, support your life observing a month’sfast. Thus will the fierce Devi (wrathful Queen) be pleased.

KING.—(Smiling) Do not joke. Tell me how I shouldpropitiate the Queen?

Shall I, being bold, obstract her (course) standingbefore her and smiling, clasp the dear one at the neck?Or shall I cause her to be delighted by framing a speechcouched in hundreds of flattering expressions? Or shallI remain with folded hands having fallen before the Queen at her feet? Truly, truly, I know not how theQueen’s conciliation is to be effected. (1).

Come then; let us go into the Queen’s presence.

VIDU’.—Go you, yourself. As for me I have comejust now having escaped from confinement withdifficulty. So I will not go.

KING.—(Smiling and clasping him by the neck, makeshim turn back by force.) Fool, come on. (Walkinground and looking on.) Here is the Queen sitting in thecentre of the ivory-chamber. I will approach her.(Approaches abashed).

(Vāsavadatta’rises from her seat languidly).

Why have you left your seat? away with this hurryto show respect to me. It is not proper thus to standfor me, O you with your waist wearied (thereby).Why is this person, who is won over by the favour ofthe mere casting of a glance, made to feel abashed byexcessive courtesy! (2).

VA’SAVA.—(Closely observing his countenance.) Husband,you are now abashed (indeed)!

KING.—My dear, I am really abashed. For, althoughmy guilt was visibly seen, I am endeavouring to appease you.

SA’MKRIT.—(Pointing to a seat.) Sire, please sit down.

KING.—(Pointing to a seat.) Let the Queen sit here.

VA’SAVA—sits on the ground.

KING.—Oh, the Queen has sat on the ground. I toowill sit just here. (So sitting on the ground, with foldedhands.) Beloved, be pleased, be pleased. Why do youcherish this deep-seated anger, when I have thus bowedto you?

O you with bewitching eyes, you do not knit yourbrows, but simply weep again and again; with your4

lower lip not much quivering you heave sighs withoutcessation; you do not give a reply, but remain withyour face hung down in deep meditation: your suppressed anger greatly pains me like a hidden stroke(i. e. wound caused by it). (3)

My beloved, be pleased.

VA’SA.—You are surely very happy. Why do you nowtorment an afflicted person? Rise, who is angry here?

SA’MKR.—Get up, sire; what is the use of this?Quite different is the cause of her affliction.

KING.—(In haste.) Revered lady, what is that othercause?

(SA’MKBITYA’YANI whispers it in the ear.)

KING.—(Laughing.) If so, away with sorrow.I tooknew it. But I did not say (anything about it) thinkingthat I should greet the Queen after the purpose hadbeen accomplished. Otherwise how could I remain unconcerned in this Dhṛdhavarma matter? So severaldays have elapsed since tidings about it reached (here).This is the state of things there.

With his outward territory overrun by our forcesled by Vijayasena, and his power destroyed, theaccursed Kalinga, rendered helpless, has been forcedto seek protection from the rampart after having atonce entered his fortress. (4)

And him, Kalinga, thus situated—, rendered powerlessby our attack as described above, with the activities ofhis warriors and servants decreasing day by day, andhaving his entire army routed as his elephants, horsesand men are falling so as to be destroyed—, you will hearbefore long, O revered lady, as being either capturedor slain in the battle, when in a day or two his fortressis levelled down from all sides by our forces. (5)

SA’MKRIT.—Princess, I told your ladyship, at the byearliest, that Vatsarája would not remain withoutmaking a counter move.

VÁSAVA.—If so, that is gratifying to me.

(Enter Portress).

PORTRESS.—Prosperity, prosperity to your Majesty !Here is Vijayasena, accompanied by Dṛdhavarman’sChamberlain. waiting at the door, with his eyesexpanded through joy and wishing to communicatesomething agreeable.

VA’SAVA.—(With a smile) Revered lady, as I guess.I am entirely compensated (lit., satisfied) by my lord.

SA’MKR.—I am, indeed partial to Vatsarája! So Isay nothing.

KING.—Quickly ask them to come in.

PORTRESS.—I will. (Exit).

(Enter VIJAYASENA and the CHAMBERLAIN.)

VIJAYA.—Dear chamberlain, at the thought that Iam to see my master’s feet to-day, I am truly experiencing an ecstacy of joy, indescribable and beyond.comparison.

CHAMBER.—This is true. See—

Even ordinarily (lit., otherwise) a servant is filled withjoy on beholding his master: how much more then mustbe he who has fully carried out the responsible taskentrusted to him by his lord, by routing the enemy’sforces? (6)

BOTH.—(Approaching.) Victory, victory, to our master!

(The KING embraces them both).

CHAMBER.—Sire, my congratulations to you.

Having slain the cursed Kalinga at your Majesty’scommand, Vijayasena, the conqueror of the foes, hasset our master on the throne. (7)

VA’SAVA.—My revered lady, do yourecognize thischamberlain?

SA’MKR.—How shall I not recognize him? Surelythis is he by whom your aunt sent the letter to you.

KING.—A momentous business has been accomplishedby Vijayasena.

(VIJAYASENA falls at his feet).

KING.—Queen, I congratulate you. Dṛdhavarmanhas been reinstated on his throne.

QUEEN.—(With joy.) It is a favour to me.

VIDU.—At the time of such good fortune, this mustbe done in this royal palace—(Pointing to the KING andacting playing on the lute.) worship of the Preceptor;(showing his sacred thread) honour toa Bráhmaṇa;( indicating AR’ANYIKA’.)and the release of all incustody.

KING.—(Aside, with a fillip) Well done, friend, welldone!

VIDU.—Madam, how is it that you do not pass anyorders in this case.

VA’SAVA.—(Looking at SA’MKRITYANÎ, with a smile.)The knave has, indeed, got A’ranyaká out of prison.

SA’MKR.—What is the use of keeping the girl incustody?

VA’SAVA.—Just as your reverence likes.

SA’MKR.—If so, I myself will go and set her free.(Exit.)

CHAMBERLAIN.—Here is another message sent byDṛdhavarman—By your favour everything has beenaccomplished as desired. So this my life is yours (atyour disposal); you have the right to use it as you please.

(The KING remains with his face hung down throughmodesty.)

VIJAYASENA. Sire, it is not possible at all to describethe great affection Drdhavarman feels for Your Majesty.

CHAMBERLAIN.—(Continuing.) And although pain wascaused to me that there was no alliance formed withyou on account of the loss of my daughter, Priyadarsiká,who was affianced to you, still the same has beenremoved by you as the husband of Vásavadattá.

VA’SAVA.—(Tearfully.) Noble chamberlain, how wasmy cousin lost?

CHAMBERLAIN.—Princess, when in the course of theattack by the accursed Kalinga the inmates of theharem had fled here and there, I took her who wasfortunately seen by me, and thinking—‘It is no longeradvisable to stay here now’, started to come to

Vatsarája. Then after due consideration I committedher to Vindhyaketu’s care and went away. Just as Ireturned I found the place made, along with Vindhyaketu,a matter of memory by some people.

KING.—(With a smile.) Vijayasena, what do you say(to this)?

CHAMBERLAIN.—There although I searched for herI did not find her. And from that time to this day itis not known where she is—

(Enter MANORAMA’).

MANORAMA’.—Your Highness, the poor girl is indanger of life.

VA’SAVA.—(Weeping.) What! Do you know what hashappened to Priyadars’ana’?

MANORAMA—Certainly I do not know what hashappened to Priyadars’ana’. This A’ranyiká here drankthe poison brought to her under the guise of wine andis in peril of life. This is what I humbly said. So yourHighness should save her.(Falls at her feet weeping).

VÁSAVA.—(To herself.) Oh fie, fie! my grief forPriyadars’anáhas been hidden (eclipsed) by thisaccount of A’ranyiká. People are, to be sure, extremelywicked. They might, perchance, mis-judge me. Sothis is proper to be done in this case. ( Loudly andwith concern.) Manoramá, bring her quickly just here.My husband who has learnt the art of poison-curingwas in the world of the Nàgas is an expert in this matter.

(Exit Manoramá; then enter Aranyiká, supported byManorama, and exhibiting herself as suffering from theeffects of the poison.)

A’RANYIKÁ—Dear Manoramá, why are you leadingme into darkness?

MANORAMA’.—(With dismay.) Alas, alas! Her sightalso is affected by the poison. (To Vàsavadattá)Mistress, quickly save her, quickly save her. The poisonhas affected her seriously.

VA’SAVADATTA’.—(Taking the KING by the hand, in

agitation.) Rise, rise, my lord. The poor girl is fast dying.
CHAMBERLAIN.—(Observing her.) She surely resembles very much our princess, Priyadars’iká. (Referring to VA’SAVADATTA’.) Princess, whence is this maiden ?
VASAVA.—Sir, she is Vindyaketu’s daughter, brought here by Vijayasena after slaying him.
CHAMBER.—Whence could he have a daughter. This is the same, my princess. Alas! I am undone, a luckless man! (Falling on the ground and rising up.) Princess, this is that Priyadars’iká, your cousin.
VASAVA’.—Husband, save her, save her. My cousin is dying.
KING.—Be calm, be calm. Let me see first. (Aside) Pity, oh pity!
The bee in its course went to drink the lotus bud having abundant floral juice formed in it; and at the same time it was scorched up by the frost having suddenly fallen on it. When fate is adverse desires bear no fruit. (8)
(Aloud) Manoramá, ask her if she has consciousness.
MANORAMA’.—Friend, are you conscious! (Shaking her again, with tears.) Friend, I say, I ask you if you are conscious.
PRIYADAR.—( Indistinctly.) I say, even such as I am, I did not see His Majesty. (With this half-uttered she falls on the ground.)
KING.—(With tears, aside.)
She is closing this pair of her eyes (but) the quarters have been dark to me; her throat is choked; these words of mine escape me with difficulty; her breathing has stopped (lit. is taken away); my body has become paralysed (lit come to be in a state of motionlessness); I think the effect of poison only is hers; but mine is all the affliction caused by it. (9)
VA’SAVA.—(Weeping) Priyadars’aná, rise, oh rise. See; here is the King sitting. How is it that her consciousness is also lost? What wrong have I done you.

unknowingly, angry at which you do not talk to me? Be pleased, then, be pleased. Arise, arise. I will not give offence again, Ah, cursed fate! What evil deed was done by me now that my cousin is presented to me reduced to this plight?
VIDU.—My friend, why do you stand like one bewildered? This is not the time for dejection! Very serious, indeed, is the working of the poison. So show
the power of your art.
KING.—This is quite true. (Looking at PRIYADARS’IKA’.) I remained stupefied all this while. So I will restore her to life. Water, water.
VIDU.—(Going out and coming back again.) O here is water.
(The King advancing and placing his hand on bud Priyadars’ika, acts the silent repeating of the incantation;Priyadarsika’ slowly rises up.)
VA’SAVA.- My lord, thank God, my cousin has revived.
VIJAYASENA.—Oh the power of his Majesty’s knowledge!
CHAMBERLAIN.—Oh,unobstructed everywhere is the power of His Majesty as Narendra (sovereign-Poison-physician) !
PRIYADARS’IKA’.—(Slowly rising up and sitting, indicates yawning, then with dejection indistinctly.) Manoramà, I have, indeed, slept long.
VIDU.—O friend, your skill as a physician has been fully proved.
(PRIYADARS’IKA’, gazing longingly at the KING stands up bashfully, her face hung down a little.)
VA’SAVA.— Husband, why does she still act differently (like one not fully restored to sense)?
KING.—(With a smile).
Since her eye-sight is not restored to its natural state, her words are not very distinct; this her body reels, with horripilation and the drops of perspiration clearly

IMPORTANT ABBREVIATIONS.

——♦♦♦——

[TABLE]

•Annotated by the Editor.

NOTES.

——≍≍≍——

ACT I.

**P. 1.प्रियदर्शिका—**Properly the name of the heroine; it then metaphorically (by the metaphorical transference of an epithet अभेदोपचार) signifies the play of which Priya. is the Heroine. The poet’s other play, Ratnâvalî, is similarly named.
Following the custom of previous writers the poet begins his work with the usual Mangala, which consists of a salutation to the favourite deity or a benediction, and which is believed to have the power to remove obstacles in the way of, and to lead to a safe completion, the work undertaken. This is technically called Nândi in the case of dramas. The efficacy of a Mangala is thus stated by Patanjali in his Mahâbhâshya- मङ्गलादीनि मङ्गलमध्यानि मङ्गलान्तानि च शास्त्राणि प्रथन्ते वीरपुरुषकाव्यायुष्मत्पुरुषकाणि च भवन्त्यध्येतारश्च प्रवक्तारो भवन्ति। Śriharsha has glorified Párvatî and Śiva in this play, as he has done in the Ratná. also. He pays his veneration to Pârvati first, owing to her being the more respectable of the two, as being the mother of the world मातुरभ्यर्हितत्वात्is remarked by Malli. in his com. on Ragh. I. 1. ).
Śl. 1. The śl. describes the emotion of Gauri (Pârvatî) at the time of her marriage with Śiva, wherein Brahmâ, as was meet, was the officiating priest joining their hands. Cf. Śiva Pu.—ब्रह्मा सर्वं च तत्रत्यं कारयामास वै तदा । आवाहनं तथा पाद्यं सर्वंच विधिपूर्वकम्॥……………संस्थाप्याग्निं पुनस्तत्र वैवाहमकरोद्विधिम्॥&c. Construe—करग्रहविधौ धूमव्याकुलदृष्टिः पुनः इन्दुकिरणैः आह्लादिताक्षी उत्सुका वरं पश्यन्ती भूयः ब्रह्मणः ह्रिया आनतमुखी पादनखेन्दुदर्पणगते गङ्गां दधाने हरे सेर्ष्या स्पर्शाद् उत्पुलका गौरी वः शिवाय अस्तु ।
धुमव्या०—The smoke was due to the offerings made into the fire that witnessed the match; for the offerings of. हविःशमीपल्लवलाजगन्धी पुण्यः कृशानोरुदियाय धूमः। Ragh VII. 26. व्याकुल pained or disturbed. This was because the bride is required to inhale the smoke.लाजाहोमं कृत्वा धुममाजिघ्रेत् इति गृह्यविदः । Cf. Ragh. VII. 27. आचारधूमग्रहणाद्बभूव (वृद्धाचाराद्धूमग्रहणमित्येके ); see Kum. VII. 81. and cf. for the smoke Par. p. I. 1.इन्दुकिरणैः-When she looked up the pain was removed by the soothing rays of the moon on Śiva’s head. **उत्सुका-**This description is rather conventional. The bride is anxious to see her husband and gets the first opportunity to see him after the removal of the cloth held between the two when the Mangaláshtakas are over. But in

Gauri’s case she had already seen S’iva before the marriage हिया—She felt shame for fear of being observed by Brahmâ who ‘was there serving as the uniting priest. आनत०—may also be separated as नत०. भूयोह्रिया may also be taken as a comp. word ( through excessive shame ); but this is not very satisfactory. **सेर्ष्या—**Full of jealousy; for she saw Gangá on the head of Śiva’s image as mirrored in her bright nails. At first she had not seen her as she dared not look long at Siva in the presence of Brahmâ. Parvatî is often represented as jealous of Gangá regarded as her co-wife. Cf. Mud. I. 1; तद्युक्तं बहुभार्गगां मम पुरो निर्लज्जवोदुस्तव; Ratná. I. śl. between 2 and 3. **पादनखेन्दु०—**For comp. see com.; the double comparison is rather unpoetic. Strangely enough Sans. poets represent the nails of fine ladies (and also of men ) as lustrous enough to take in images. Cf. सिञ्जन्मणिनूपुरपुटेन…………अङ्गुष्ठेनाहूत इव चरणनखेषु निपपात। Kâd. p. 292.
**स्पर्शादुत्पुलका—**The standing of the hair on end caused by touch is one of the eight Sâtvika Bhâvas (or involuntary manifestations of strong feeling ). It is considered as the first outward indication of love and is often referred to by poets; cf. Vik.I. 11; Kum. VII. 77 (रोमोद्गमः प्रादुरभूदुमायाः), Ragh. VII. 22. &c.Cf. with this Ś1. आदौ प्रेमकषायिता हरमुखव्यापारलोला शनैर्व्रीडाभारविघूर्णिता, मुकुलिता धूमोद्गमव्याजतः। पत्युः संमिलिता दृशा सरभसव्यावर्तनव्याकुला पार्वत्याः परिणीतिमङ्गलविधौ दृष्टिः शिवायास्तु वः ॥ Pâr. p. I. 1. कैलासाद्रौ &c.—The reference here is to Rávana’s lifting up the mountain Kailaśa when it was shaken to its foundation, causing alarm to Pârvatî and others who lived on it. To quiet Pârvatî’s fear S’iva pressed down the mountain with his foot and Ràvaṇa escaped being crushed under it only by pacifying the deity. This is also constantly referred to by poets; cf. कैलासश्रियमिव दशमुखोन्मूलनक्षोभनिपतितां; Kâd p. 211; समुत्क्षिपन्यः पृथिवीभृतां वरं वरप्रदानस्य चकार शूलिनः। त्रसत्तुषाराद्रिसुताससंभ्रमस्वयंग्रहाश्लेषसुखेन निष्क्रयम्॥ Sis. I. 50; गत्वा चोर्ध्वं दशमुखभुजोछ्वासितप्रस्थसन्धेःकैलासस्य &c. Meg. I. 61; see also Rámá. Uttar. K. canto XVI. Construe उदस्ते कैलासाद्रौ परिचलति सति गणेषु उल्लसत्कौतुकेषु सत्सु, कुमारे मातुः क्रोडं विशति सति विषमुचि सरोषं पश्यति सति पादा०द्वपुषि दशमुखे पातालमूलं याति सति क्रुद्धोपि उमया भयघनम् आश्लिष्टमूर्तिः अतः तुष्टः शिवः वः पातु.
**उदस्ते—**Trown or torn up. **गणेषु—The ganas are the attendants of Śiva, being a race of demigods called Pramathas and are under the superintendance of Ganeśa, one of the demigods. They are, thus described in the KâlikâP.—विचित्ररूपाभरणा जटाचर्न्द्रार्धमण्डिताः। आकाशमार्गे गच्छन्तमनुगच्छन्ति नित्यशः॥ ध्यानस्थं परिचर्यन्ति सलिलादिभिरीश्वरम्। नानाशस्त्रधराः शम्भोगणास्तु प्रमथाः स्मृताः॥ &c. उल्लस०—**Their

curiosity was roused by the sudden shaking of the mountain.कुमारे–Kárttikeya, when an infant. विशति—i. e. through fear.विषमुचि–The serpent on the body of Śiva. Śiva is described as having huge serpents on his person, coiled round his neck, or arms, &c ; cfहित्वा तस्मिन् भुजगवलयं शंभुना दत्तहस्ता Meg. I. 63; करेण शम्भोर्वलयीकृताहिना Kum. V. 66. श्मशानचारी सततं व्यालाभरणभूषणः। S’iva P.

P. 2 पादाबष्ठम्भ०–पादेन अवष्ठम्भः-supporting i. e. steadying it by the ( pressure of the ) foot., तेन; or पादस्य अवष्टम्भः the firm planting of. S’iva planted his foot firmly on the mountain to make it steady, which pressed down Rávana and hence सीदद्वपुषिwhose body was pained or afflicted.पाताल०–He was sinking down to the surface of Pâtâla under the pressure exerted on the mountain by S’iva’s foot. कुद्धः-He was angry that his mountain should have been torn up and his peace disturbed. आश्लिष्टमूर्तिः-For idea cf. the śl. from Sis. quoted above.
नान्द्यन्ते–नान्दी is the stanza or stanzas of benediction. For its difinition see com.; it is derived as नन्दन्ति देवता अस्यामिति नान्दी; fr**.नन्द्** and aff. घञ् ( अ ) with the fem. ई added. Another way is- आशीर्योगादिना नन्दतीति नन्दः; नन्द एव नान्दः by adding अ (अण्) स्वार्थे ( प्रज्ञादित्वादण् ); ततः स्त्रियां ङीप्. As the drama developed the cumbrous preliminaries of the prelude (पूर्वरङ्ग) were dispensed with, नान्दी the most important of them being retained. It then formed an essential part of the prologue. This Nândî is of four kinds, viz. नमस्कृतिर्माङ्गलिकी आशीः पत्रावली तथा। नान्दी चतुर्धा निर्दिष्टा नाटकादिषु धीमता॥ The subject matter of the plot ought to be slightly indicated in the Nândî; and it is done in the present Nándî also. Thus धूमव्याकुsuggests Priya.’s long sorrow caused by her own state and her father’s overthrow by the Kaling,a-king.इन्दुकिरणैः&c.-refers to the delight caused to her eyes by the sight of the king and later of her father’s chamberlain.पश्यन्ती वरं refers to her looking longingly at the king Vatsa. and her desire for a union with him. आनतमुखी shows that she had to observe reserve for concealing her love from the Queen and her servants. The second ś1. refers to Dṛdhavarman’s overthrow and his being restored to power again by the interference of king Vatsa; as also to the queen’s anger and her final reconciliation with him. See com.

नान्द्यन्ते सूत्र ०–supply आह, ब्रूते or some such word to complete the sense. Now the question arises-Who recited the Nândî? If the Sûtra., according to the precept.-सुत्रधारः पठेत्तत्रमध्यमं स्वरमाश्रितः। नान्दीं पदैर्द्वादशभिः &c. ( Nát. Sû. V. 98 ), his name should have preceded the ślokas of the Nândi.

Two explanations are offered. The name of the Sûtra. is not put first because nothing but auspicious words can begin a work, Cf. in this connection the Sûtra of Pán. वृद्धिरादैच्which begins his अष्टाध्यायी ( and not आदैज्वृद्धिः like अदेङ् गुणः). The other is— Tha Sûtra. or manager of the पूर्वरङ्गrecited the Nándî. And he having retired, the manager of the play (नाटकस्य सू०) entered and began the play. But as the discussion is immaterial to the ordinary reader we do not further enter into it here.

**सुत्रधारः—**The chief manager of the play, who held as it were the threads of the business of the play. He assigned to the various actors the parts they were to play, instructed them and took a leading part in the prologue.

**वसन्तोत्सवे—**The vernal festival seems to have been one of the occasions on which plays were publicly staged. The spring festival was formerly celebrated from about the middle of the bright half of Chaitra to the full-moon day to mark the return of spring, when Kâmadeva or the god of love was worshipped with great pomp. According to some, the festival began from the 5th of Mágha and lasted for about two months. It is now identified with the Holi-festival in which people of all grades of society mix with one another and make merry. The Bhavishyottara Purána gives a full description of this, for which see Wilson’s H. T. p. 264. The passage from अद्याहंto सर्वो गुणानां गणःis almost the same in all the three plays of the poet, with इन्द्रोत्सवे instead of वसन्तोत्सवे ( which is an optional reading there also) in the Nâgânanda.

**श्रीहर्षः—**For Harsha see Introd.; देवस्य देव fr. दिव् to shine originally meant one shining or brilliant; then it came to mean a god (Lat, deus), and lastly came to be added to the names of kings as a term of respect and greatness; cf. Vikramadeva, Vikramankadeva, &c. **पादपद्मो०—**living or subsisting by (the support of) the lotus-like-feet &c.-a respectful way of saying -the humble servants or vassals of. **राजसमूहेन—**This refers especially to the eighteen kings that owed allegiance to Harsha and his two allies, the king of Valabhi and Bháskaravarman, king of Prágjyotisha (Assam). **अपूर्व—**goes with रचना;such as has not been shown before; novel, extraordinary. We cannot takeअपूर्व as qualifying वस्तुas the theme of the play was not invented by the poet. रचना is the skilful arrangement of the various parts and incidents leading to a charming end. The poet means that he has borrowed the theme but presented it in a new

charming way. **प्रियदर्शिका—**named after प्रिय०, the princess of Anga, and the heroine of the play.

P. 3. **नाटिका—**see Introd. See I. **परम्परा—**is a word by itself(अव्युत्पन्नं प्रातिपदिकं) meaning aseries or succession of श्रोत्र०-coming from ear to ear, hearsay.श्रुतं—श्रुताv.l. is bad as it cannot be syntactically connected with नाटिका owing to the presence of इति; or इति ought to be dropped. प्रयोगतः—प्रयोग is the representation or exhibition on the stage.**अनुग्रहबुध्या—With the thought or object of, i, e. with the wish to favour us. Cf. प्रणयिषु वा दाक्षिण्यादथवा सद्वस्तुपुरुषबहुमानात्। &c. Vik.I. 2. यथावत्–separately-in due form, in a proper way; or as compounded (यथावत्प्र०), representation in toto, or as it is; leaving out nothing. नैपथ्यरचनां—**The word नेपथ्य is derived as निनः(नि neu. the eye) or नेः ( ने a leader) पथ्यंgood, pleasing or beneficial to, and means-(1) dress, or (2) decoration; it also means, (3) the tiring room (where the decorations are made, or the actors put on their dress); and (4) the drop curtain (जवनिका).–रचना(here) the arrangement of the tiring room (such as the assignment of parts to the actors, giving them instructions as to costume, acting and so on).**आवर्जितानि—**p. p. p. of वृज्can with आto incline, &c.; drawn to us, attracted. **सामाजिकाः—**Those who gather in an assembly, the audience; ठक्(इक) is added to a word denoting combination in the sense of ’those who assemble there’; or समाजं रक्षन्तिthose who keep an assembly by their presence.
**निपुणः—**skilled in the art of poetry, i. e. having the skill attained by the observation of the ways of the world and by the study of the Śástra and good poems; cf. शक्तिर्निपुणतालोकशास्त्रकाव्याद्मवेक्षणात्Kâv. Рra. I. 2.गुणग्राहिणी–otherwise our skill will be vainly exhibited. This is an encouraging fact. Cf.

“And as you are known,
the first and happiest hearers of the town,”
Shakespeare’s Henry VIII, Prologue.

हारि—हर्तुं शीलमस्य naturally attractive; the word is generally used as the last part of a comp., as मनोहारि, हावहारि; तुष्टे विष्टपहारिणीष्टदहरौ Bh. N. 25, &c. वत्सराज ०—वत्सानां राजा वत्सराजः the king of the Vatsa country (for which, see Introd., geography of the play). This was Udayana, the son of Sahasrânîka, a king of the lunar race. This geneology is thus given in the Kathâs.—पाण्डु–अर्जुन–अभिमन्यु–परीक्षित्–जनमेजय–शतानीक–सहस्रानीक–उदयन. According to the Vishnu P., he was the son of a second Sahasrânîka,

19th in succession from Janamejaya, which appears to be more probable. Mahásena, also called Chanda-Mahásena, the king of Ujjayinî, had a daughter of exquisite beauty, named Vasavadattâ, whom he wished to give in marriage to Vâtsaraja. (According to another account to a king named Sanjaya; see the quotation, from. Mál. Mâd. below ).With thisobject he enticed***** Udayana to his city and kept him a captive there. Being engaged to teach music to Vâsavadattâhe gained her heart and by the advice of his minister Yaugand- haràyaṇa, managed to escape with her to his capital. They Were afterwards married in great pomp. For the full account see Kathâ. Lambaka II. tar. 11, 12. **हारि चरितं—**Thisis proved by the various references to his name; cf. प्राप्यावन्तीनुदयनकथाकोविदग्रामवृद्धान्। Meg. I. 30; प्रद्योतस्य प्रियदुहितरं वत्सरात्रोत्र जह्रे । Ibid. I. 33; उत्तेजयामि सुहृदः परिमोक्षणाय यौगन्धरायण इवोदयनस्य राज्ञः। Mrch. IV. 26. वासवदत्ता च राज्ञे संजयाय पित्रा दत्तमात्मानमुदयनाय प्रायच्छत्\। Mâl. Mad. II. नाट्ये—नाट्य here means dramatic representation. वयं—by this he refers to himself and the other actors. वस्तु -a thing, an item; this is different from वस्तु inअपूर्ववस्तुरचना above. एकैकं—एक repeated is to be taken as aBah. comp. (by एकं वहुव्रीहिवत् lPân. VIII. 1. 9) and dissolved as एकमेकं, the case term. of the first word being dropped in being compounded. **०फल—**is here reputation and money. **पदं–**an abode, i. e. source of.**पुनः—**implies पक्षान्तर(what then when &c.).**मद्धाग्योप०—Here he refers to himself, as he is the principal person concerned.गुणानां—**Favourable circumstances, advantages. Cf. **एकैकमप्यनर्थाय किमुयत्र चतुष्टयम् ।**Hit. I.

This śl. is quoted in the Sâh. D. and D.–R. as an instance of प्ररोचना(or that which attracts the attention of the audience to the representation by a commendation of the poet, the play, the
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* Mahâsena, though an enemy of Udayana, wished to give his daughter Vâsavadattâ in marriage to him, but doubting if he would accept her, he thought of the following expedient for bringing about the union. Seeing that Udayana spent his days and nights in the forests he thought of making him a prisoner, and with this view he caused a woooden elephant to be made and concealed some armed men in it. It was then placed in the forest. When Udayana came across it, the armed men came out and seeing him alone, seized and made him a prisoner. He was then brought before Mahâsena who gave his daughter Vâsavadattâ in his charge and told him that he would be set at liberty when he gave his daughter instructions and training in music **(गन्धर्वविद्या)•**Gadre•

proficiency of the actors, &c.) one of the angas of भारतीवृत्ति, which is thus defined**—निवेदनं प्रयोज्यस्य निर्देशो देशकालयोः**। काव्यार्थसूचकैः शब्दैः सभायाश्चित्तरञ्जनम्। कविकाव्यनटादीनां प्रशंसा च प्ररोचना ॥

** नेपथ्यामि०—**Towards the curtain or screen (that separated thetiring room behind the stage from the stage itself. **अये—shows surprise.–नाभ्युद्यते–**engaged in, busy with; this reminds one of Bhâsa, who begins some of his plays with अये कथं or किन्नु खलु विज्ञापनव्यग्रे मयि (see Svap., Pancha., Mad. Vyá., &c.).**अङ्गाधि०—**For Anga, see Introd.**दृढवर्मणः—**does not seem to be the name of a real historic personage. It is probably invented by the poet. भूमिका– part. **अस्मद्भ्राता—**In the Ratnâalso the younger brother of the Sûtra. is introduced as assuming the character of Yaugandharâyaṇa. This form of introduction is called प्रयोगातिशय. प्रस्तावना—प्रस्तावयति ( that which introduces the subject matter ) इति; fr. प्रस्तु+अन ( युच्) added कर्तरि, with the fem. **आ.**The प्रस्ता०is also called **आमुख;**for its definition, see com. The प्रस्ता०here is a simple affair, as in the plays of Bhâsa, no other character than the Sûtra. being introduced.

**P. 4. कञ्चुकी—**The Kanchuki forms almost a necessary character of Sans. plays. He is generally introduced as an old man lamenting over his misfortune, having to serve even when worn out by age. Cf. Vik. III. 1, Mud. III. 1, &c. He was probably so called from the long cloak (कच्चुक) he wore. He was the superintendent of the female apartments of kings, was a Brâhmana by caste and had various good qualities-see com. नाटयन्—नाटयित्वा &c. are used to indicate that the Actor shows that he does something or represents by some conventional gesture or expression a particular state of feelings or mood.
**राज्ञो विपत्—**shows how sincerely the Chamberlain loved his king.दुर्गम०—देशच्युनिthere was, but to make matters worse, he had to pass through tractless regions, as he had to bear with him secretly the princess.**अस्याः—**this, i. e. marked by such happenings. कटु०—कटुः अत एव निष्फला. कटु cannot be taken separately, as the happenings mentioned above were not the result of his long continued old age. Śl. quoted in Dhanika’s com. on D. R. IV. 9, as an example of dejection caused by misfortune (आपद् ).

**नाम—**as was well known ( प्राकाश्ये ); or it may be कुत्सने ( and yet, oh irony of fate).**अप्रतिहत—**Unobstructed, always successful. **शक्तित्रय—**The three regal powers, viz. प्रभावः or प्रभुश०—

the power arising from an efficient army and a good treasury (स प्रभावः प्रतापश्च यत्तेजः कोषदण्डजं Amara ); मन्त्रशo or the power arising from good counsel (i. e. a wise ministry), and उत्साह or the personal energy of the king. रघु०—रघु०was the celebrated son of Dilîpa; नल king of Nishada-names well known to the Indian student. **प्रार्थ्यमाना—**earnestly sought, solicited. **बद्धानु०—**who entertained a deep feeling of resentment. -who found लब्धरन्ध्रेण a loop-hole, i. e. a weak point, as Vatsarâja was not expected to come to Drdh.’s assistance.**कलिङ्ग०—**For कलिङ्ग see Introd.; कलिङ्गानां जनपदानां राजा कलिङ्गः **स चासौ हतकश्च ।यसत्यं—**To speak the truth, truly. **उपपन्नं—**Although come to pass or happened, a fact. **यथाकथंचित्—**Lit. as circumstances would permit, somehow. **अनृणं—Free from debt. He believed that his master had contracted a debt as it were, when he promised to give his daughter in marriage to king Vatsa and that he (Kanch.) would free him from it by taking the princess to king Vatsa.अवस्कन्दसम्भ्रम—**The flurry and confusion caused by the attack. the comparison to प्रलयकालshows that the attack was sudden and caused terrible havoc. **अपवाह्य—**The object is तां (राजपुत्रीं). आटविकस्य—अटव्यां भवः आटविकः ruling over a forest tract, a forest king.**विन्ध्यकेतोः—**Vind. seems to have been a petty king, as he was so easily routed.**अगस्त्यतीर्थ—**appears from the context to be some holy place in the Vindhya regions, near the hermitage of Agastya described by Bâna in his Káda. An Agastyatîrtha, a place of pilgrimage, is located in the province of Tinuevelly in the extreme south of India. **निपत्य—**Having attacked. **दस्युभिः—**By marauders or robbers. दस्यु is one of the old Vedic words (a class of demons or enemies of gods and men, slain by Indra) that remain in classical Sans. प्रद्योत०—Another name of Mahâsena or Chanda-mahá., so say the commentators on Kâli.’s Meg. I. 34. wherein there is a reference to this king—(प्रद्योतस्य प्रियदुहितरं वत्सराजोत्र जह्ने) and this appears to be correct from Bhása’s Svap. Vá. According to the Katha. Pradyota was the king of Magadha and a person different from Mahâsena. The name of his daughter also was Padmâvatî. See Kathâ. XV. 19. 20 and our note on प्रद्योत at Meg. I. 34. **कौशाम्बी—**the capital of the Vatsa country, was once a flourishing city, though now .remaining as an insignificant village. See Intro.

**P. 5.जर्जरीकृतः—**Hacked or terribly disabled by, mangled. सफलयिष्यामि—सफलय्adenom. from **सफलं ( सफलं करिष्यामि ). शरदातपस्य—**The autumnal heat is described as very fierce. **तीक्ष्णः—**Hot, burning.

S’I.05. घनबन्धनक् &c.—This and the other words in this S’I: are paronomastic (श्लिष्ट); cf. for a similar use of ślesha, Rat. I. 8. Cons.—घनबन्धनमुक्तः कन्याग्रहणात्परं तुलां प्राप्य अधिगतस्वधामा अयं रविः घनबन्ध० स्वधामा वत्सराज इव प्रतपति। घनब०—(1) The covering or screen formed by clouds; (2) close imprisonment. कन्या०—(1). entering into the sign Virgo; (2) The seizing of the Princess.परां तुलांv. l.**—**the sign libra coming next after **कन्या;(**2) High eminence, supreme greatness. अधिगतस्व०—(1) who had regained: his usual brilliancy; (2) who had come back to his abode or country. प्रतपति—(1) burns fiercely; (2) shows his power eminently. See com.

विष्कम्भकः—For def. see com.; it is an interlude at the beginning of an act, briefly indicating the events past and those to come. It is called S’uddha when introduced by one or more minor characters (मध्यपात्र) and संकीर्ण when introducted by minor and low(नीचमध्यम) characters.See also note on प्रवेशक infraAct IV, p. 46.

**विदुषकः—**The confidant and constant companion of the hero and one of the necessary characters of the Sans. plays. Although. a Bráhmana he is represented as ugly in appearance, fond of food. and easily falling asleep. He generally assists his chief in lovematters; but his principal duty is to stir laughter by his fantastic dress, &c.; see com.

Śl. 6. In this śl. the king states how his temporary imprisonment was beneficial to him in more ways than one. With the feeling of satisfaction expressed here cf. Rat. I. 9 and Nag. I. 7. अविकारिता—विकार एषामस्तीति विकारिणः न विका० अविकारिणः तेषां–भावः अविकारिता the state of being unaffected by disloyalty, &c., hence sincere loyalty, steady love.**परिगता—**Fully known; for this sense cf. परिगतपरिगन्तव्यं एव भवान्। Veni. III. p. 5. प्रथमपरिगतार्थस्तं रघुं संनिवृत्तंRagh.VII.71.मतिः—mental ability, insightin political matters.पौरानां–See Kathâ. II. 4. 34, 35.**निर्व्यूढा—**Fully carried out, put into execution. **रणसाहस—**see com.**व्यसनिता—**Extreme fondness for, love of.**निर्व्याजात्—**Free from guile or hypocrisy; practised with sincere devotion to God; cf. धर्मः प्रोज्झितकैतवः &c. Bhag. P. I. 1. 1; **किमिवं न प्राप्तं—**For धर्म (religious merit obtained by the proper performance of religious. rites) leads to the accomplishment of every thing. Cf. नोद्युङ्क्तेकोपि धर्माय सर्वाभिप्रेतहेतवे ।; and Mah. Bhár. त्रिवर्गोयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममुलं वदन्तिThe rhetorical fig. in this śl. is Vibhâvanâ.

**P. 6. दास्याः पुत्रं—**may also be a comp. word. There is an optional अलुक् of the Gen, when censure is implied and the word.

पुत्र forms the second member (षष्टया आक्रोशे। पुत्रे अन्यतरस्याम् । Pân, VI. 3. 21, 22**);** lit.-a whore’s son, used humourously by the Vidû, as a term of contempt; that cursed (imprisonment). It is used with persons or with inanimate objects as here; cf.ऐते दास्याः पुत्रा अर्थकल्यवर्ताः &c. Mrch. I. p. 13. खलखलायमान०—Thisand the other epithets apply to the king as well as to the गजपतिखलखलायमान‍is the pres. p. of the Atm. verb formed from खलखल an onomatopoetic word, by adding य(क्यष्). A final आ (डाच्) is added to the final half of a word indicating sound when the word consists of at least two syllables; and words ending in आtake the denom. aff. य (क्यष्) by लोहितादिडाज्भ्यः क्यष्। Pán. III. 1. 18. Forcomp. see com.प्रतिस्खलत्—stumbling at evey step. शून्य०–शून्य properly lonely, solitary (शूनायै प्राणिवधाय हितं रहस्यस्थानत्वात् ); fr. शूना animal slaughter and aft. य ( यत् ); here ( 1 ) शून्य without animation, dejected;मुखपुष्करंlotus-like face or countenance; (2)शून्य dry, devoid of moisture मुखं cavity यस्य तादृशं पुष्करं the tip of the trunk; तेन पिशुनितः indicated, हृदयसंतापो यस्य. The passage here is somewhat obscure. Mr. Gadre following Jîv.’s ed. reads शून्यदुष्कर( दुःखर ) पिशुनयद्धृदय ०; but as remarked by him, it is difficult to assign a meaning to this. It is explained as शून्यंunaffected by any feeling दुष्करं experiencing pain, ( दुःखरं v. I.दुःखं राति इति ) पिशुनयत् indicating internal affliction ( अन्तः सन्तापसूचकं ) यद् हृदयं तस्य संतापो यस्य. But this is not satisfactory. शून्यदुष्करहृदयसन्तापः v. I.. is also equally unintelligible. It may be explained as शुन्यश्चासौदुष्करहृदयसन्तापश्च. **उत्तम्भित—**raised and fixed upwards. गुरुकर—(1) huge arms; (2) large trunk. अधिगतधरणिपृष्ठ–v. I.(1) lying on the bare ground; (2) throwing himself on the surface of the earth. **अनिद्रासुखं—**may also be taken as an adv. comp. ; अविद्यमानं निद्रासुखं यस्मिन्कर्मणि तद्यथा तथा। It is also explained as निद्रासुखस्याभावः अनिद्रासुखं (अर्थाभावाच्ययीभावः). The reading of the Mad. ed. निद्रासुखं न प्राप्नोषि is easier. अनुवाचयसि–may mean-you repeatedly spoke of.वसन्तक–This name occurs in the Rat. also and is taken from the story of Udayana.

**ŚI.7. चारकं—**also mas., a prison; see Das. ch. p. 59. **निगल—**same as निगडa chain, fetters; ल may be substituted for ड. The śl. shows how the impression made on the king’s mind by the charms of Vása. quite overshadowed the hardships of imprisonment. And this was a fact; cf. तस्य दृष्ट्वा तु तां कन्यां वत्सराजस्य मानसम्। तथा स्नेहाक्तमभवन्न यथा मन्युमेक्षत ।Kathá. II. 4. 29. **सगर्वं—**Because he thought that he could here hit the king on his own ground. Mark the pun on the word बध्नासि.

P. 7.**विजयसेनस्य—In the Rat. it is Vijayavarman (the son of Ruma.’s sister) who figures as a general under Rumaṇvat. Why the expedition was sent against Vindhyaketu is not stated here. Káli., when he makes his hero Agnimitra send an expedition against an enemy furnishes a reason for it. अमात्य रुम०–Ruma. spoken of here as a minister appears in the Rat. (see p. 92 ) and elsewhere as a general of king Vatsa. In Bhâsa’s Sva. Vâs., however, he is called अमात्य; अस्ति रुमण्वानमात्यो दृढं प्रयत्नवान् &c. I. In the Kathâsar, he is mentioned as a general assisting Yaugandharáyana in state matters—यौगन्धरायणश्चास्य महामन्त्री दिवानिशम्। सेनापती रुमण्वांश्च राज्यभारमुदूहतुः॥ Lamb.III. 1. 4 तत्क्षणमपि &c.—**It is usual with ministers (and other servants) to pour forth such a complaint when going into the presence of their masters. This shows that even in ancient times the ministerial office was as not a rosy bed. Cf. Rat. I. 7, IV. 20 last lines; Mud. V. 12; and for & similar thought Mâl. अहो दुरासदोराजमहिमा। न च परिचितो न चाप्यगम्यश्चकितमुपैमि तथापि पार्श्वमस्य। I. 11. **०मपि—The force of अपि is this–though the interval between their first visit and the next be extremely short and so there is very little chance of their having committed a fault, still.
P. 8.यादृशः&c.—**This is meant as a compliment to the king. He means-as disastrous as can be expected when he is angry. **यथादिष्टेन—A Karm. Comp. पदाति—पादाभ्यामतति गच्छति इति पदातिः a foot-soldier; from पाद changed to पद ( by पादस्य पदाज्यातिगोपहतेषु Pân. VI. 3. 52 ) and अत्to go with affix अ(अण्). The mention of the threefold army here shows that the use of the chariots in battle, the fourth element of the ancient Hindu army, was abandoned at least in Harsha’s time. तुमुल—**Tumultuous.

** बलवाहनः—बल** army; वाहन vehicles, conveyances; cf. for this sense अपवर्जितं च कोशवाहनं; P. 63, तत्कोशवाहनमवशीर्णं p. 201, Das. ch. I, VIII; or बल infantry andवाहनhorse, i. e. cavalry; for वाहनmeaning a horse cf विना वाहनहस्तिभ्यो मुच्यतां सर्वबन्धनम् । Mud. VII. 17; Ragh. I. 48, IX. 25**. अनवेक्षित०–v.** l. Without inspecting and equipping &c. **यथासंनि०—**For comp. see com.**स्वनाम उद्धोषयन्—**It was customary for warriors to declare their names before engaging in combat; for it was held derogatory to the dignity of a hero of family to fight with a nameless person. **शोभितं —**What is worthy or creditable. **अयमसाविति —**i. e. at the sight of one whom we had to annihilate. **विमर्दः—**Hardpressing. **महता विमर्देन—**By a fierce attack, or charge.निःशेषित- To a man, totally. विमर्दिताधिक०—विमर्दितं is used as a noun here;

by the wholesale slaughter (of his followers ); for comp. see com.संप्रहारः-a fight, battle; or striking, dealing out blows; cf नद्गौरवात्समुपसंहृतसंप्रहार—Uttar. VI. 7 (where संप्र०may have both themeanings ); युधि संप्रहारं प्रचक्रतू रामनिशाविहारौ। Bhatti. II.36.
Śl. 9**.पादातं—**The body of foot-soldiers; fr.पदातिand aff. अण्(अ) by Pân. IV. 2. 38. See com.दूरात्—standing afar;दूरं v.l.is not good as the idea is included in आशाः नीत्वा. अश्चीयं—cavalry; by Pán. IV. 2. 48 (see com.), the affixes छ (ईय) andअण्(अ) are added to अश्च; so आश्चंalso.
P. 9. प्रहरणनिवहः—Cf. for these चापचक्रकृपाणशक्तितोमरगदाप्रभृतिषु। Kád. I. p. 26उत्खाय–Having drawn out or unsheathed.०काननच्छेदलीलां–छेद एव लीला ( the sport of ) तां is equivalent to स लीलया छेदनंcutting of with the ease with which &c.; cf. Ragh. XII, 96 (तां कूटशाल्मलीं चिच्छेद कदलीसुखम् );
S'1. 10. **बलत्रितयं—**see com. **छुरित—**inlaid or covered with.**अंसकूढः—**The shoulder blade; his towering shoulders.**जर्जरित—**Shattered. P. p. p. of जर्ज्(cau. which also occurs as झर्झ्)“the resolution into जर्जरित-ऊरु ( thighs ) वक्षाः ‘having wounded thighs and chest would be equally possible according to the rules of Sans. grammer, though not of Hindu chivalry. Cf. MBh. IX. 60. 5” Col. Ed. p. 105.**सत्पुरुपोचितं—Worthy of a man leading a pious life. A warrior killed while fighting face to face with an enemy also attains heaven; see com. and cf. Ragh. VII. 51.व्रीडिताः—**Because he fought valiantly like a true hero and fell only when overpowered by odds. See com.
**अनुसृतासु—**Followed him in death; i. e. immolated themselves along with the dead body of their husband. **सहधर्मचारिणी—**A wife;सहधर्मचरण is one of the principal objects of a Hindu marriage; husband and wife( a धर्मपत्नी) must perform the holy rites together; cf. नदियं प्रतिगृह्यनां सहधर्मचरणाय Śak. V. p. 125. **विन्ध्यशिखरा०—**The constr. is जनपदेषु विन्ध्यशिखराश्रितेषु. Theadditional reading विनष्टेषु(had fled away) makes no good sense; for the whole will mean ‘when the people of the country who had already fled to the peaks of the Vind. mountain had fled away. But we are not told that they were pursued by the victors. **कृपणः—**miserable, pitiable. **आभिजात्या०—**endowed with a beauty in keeping with or befitting her noble birth.अभिजातरुपा v. l.-possessed of excellent beauty. **तां प्रति—**As regards her i. e. how she is to be dealt with or what is to be done with her.
P. 10.**यशोधरे—**This is the name of the Portress.**भगिनीबुध्या—**in the light of, considering her as, your sister. It will be

seen in the last Act that this she turns out to be. **गीतनृत्त०—**These are the first three of the 64 arts often referred to by Hindu writers and mentioned by Vátsyáyana in his Kámasûtras, For these see our notes on Bha. Nit. Śat. p. 42. **नृत्त–**is different from नृत्यand consists of the rhythmical movement of the body (without gesticulation) and is regulated by the marking of musical intervals and time (नृत्तं ताल्लयाश्रयम् Das. R. I. 9). By आदिmay be meant painting (आलेख्य) and others. These were considered as a necessary part of the accomplishments of a maiden of high family.
**वैतालिकः—**A bard or minstrel, whose principal duty in ancient times it was to announce metrically the close of the divisions of the day; vide Vik. II. 1; Rat. I, 23, &c.; sometimes two bards are mentioned; see Sák. V. 7, 8; Mudr. III. 20- 23; &c.

Ś1. 11. The cons. is ते स्नानभूमिः लीला…संपादिनः सर्वा….लोकस्य ॰दातैः स्तनैः उत्क्षिप्ता॰ कलशैः इव अलंकृता. For comps. see com. **उपकरण—**Articles necessary at a bath. **स्नानीयं—**Unguents or perfumed powders to be rubbed against the body; or a bathing garment; or a garment for wiping off the body after a bath, as at Mál. V. 12 ( स्नानीयवस्त्रक्रियया ). वारविभ्रमवती—वार a multitude; विभ्रमवती a woman; cf. विलासवती; hence **वारवि०–**a woman of the multitude, a courtezan or harlot; वारwith any word meaning स्त्री has this sense. The courtezans formed also a part of the attendants of the harem. Cf. Kautilya’s Arth.s I. 20. **आयास—Exertions in the discharge of their several duties. स्खलत्—**dropping or slipping down.**अव्यहित—**not concealed, exposed to view. **व्यवहित—**v. l. spreading out. **छाया—**splendour, gleam. **अवदात—**white, fair. **शातकुभ्म—gold; or golden; fr. शतकम्भgold (said to be found in the शतकुम्भmountain ); in this latter case the from should be शातकौम्भ according to some. Their uncovered breasts on account of their size and colour looked like other pots of gold. For the presence of courtezans at the king’s bath cf . राज्ञः समन्तादुपतस्थुः—गृहीतजलकशाः स्नानार्थमभिषेकदेवता इव वारयोषितः। Kad. p. 32. सहस्रदीधितिः—सहस्रं दीधितयो यस्य;दीधीते that which shines इति दीधितिः fem., a ray of light.
अये कथं&c.—**We have almost the same words in the Nâga. introducing a description of the midday-sun with which the first Act of that play as of this closes. Here the poet has used the device of introduing a bard, as done by his great predecessor .

Kálidása in his Mál. II. 12. to announce the mid-day which enables the king to bring the Act to a close.
Śl. 12. **क्वथत्—**shows the intensity of the summer heat; cf.तप्तं वारि विहाय &c. Vik. II. 23. **शफर—**a small fish, very active. and sparkling. **उद्वर्तन—**a darting or turning upwards; cf चटुलशफरोद्वर्तनप्रेक्षितानि Meg. I. 43. दीर्घिका—A large pond oblong in shape containing lotus-plants and attached to large houses; cf. विकचतामरसा गृहदीर्घिकाः Ragh. IX. 37; also XVI. 13. छत्राभं—छत्रस्य इव आभा यस्य; or better छत्रेण सदृशः; a nityasamása; cf. Amara—स्युरुत्तरपदे त्वमी। निभसंकाशनीकाशप्रतीकाशोपमादयः। बर्हभारं—बर्ह a peacock’s tail; hence बर्हिन्, बर्हिण a peocock; —भारं the mass of feathers,plumage
P. 11. आलवालं—( आ + लव + ला to take with आ and affix क i. e. अ) a basin for water round the root of a tree; cf. Ragh. I. 51; also Vik.II. 23. **कपोलं—**to which it was attracted by the presence of ichor there. **कर्णपाली—**the lobe of the ear. **प्रविश्याभ्यन्तरं—**The midday was the time when the king could retire to the interior of the palace and enjoy his leisure according to his pleasure; cf. षष्ठे भागे त्वमपि दिवसस्यात्मनश्छन्दवर्ती। Vik. II.1 **कृतयथोचितक्रिया—**Bathing, offering worship to the deities, &c.; see Kâd. p. 33. कलिङ्गोच्छित्तये—cf. **कोसलोच्छित्तये—**Rat. I. p. 8. **विजयसेनं प्रेषयामः—**The reason for this expedition and the success achieved by Vija. are mentioned in Act IV. See pp. 46,50,52.

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ACT II.

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** आर्य—**A form of address for a Bráhmaṇa, a minister and an elder brother; विप्रामात्याग्रजाश्चार्याः &c. D. Ru. **उपवास०—**Queens are often mentioned as observing a fast and abiding by its attendant rules. A स्वस्तिवायन is given on such an occasion and the Vidû. being a Bráhmaṇa and a companion of the king naturally comes to be its recipient. See Vik. III. 12; Rat. I. pp. 17, 26.
स्वस्तिवाचन—(also –नक ) fr. स्वस्ति (indec. meaning ‘a blessing ’ ) and वच् cau. and aff. ल्युट् ( अन ); स्वस्ति वाच्यते अनेन that by which one is made to pronounce a blessing. Primarily it refers to a ceremony preliminary to the performance of a religious rite or some solemn observance in which the Bráhmaņas say

‘स्वस्ति’ to the Yajamána, and secondarily to the gift accompanying such a ceremony. It also refers to a present (called **वायन-**in Maráthi वाण-for the Prákrit सोत्थिवाअन is also rendered as स्वस्तिवायन in Sans.) which consists of a small quantity of rice, a cocoanut, a piece of cloth for a bodice, a comb, &c.; or sometimes of sweetmeats only-and is given to a Brahmana by a married woman whose husband is living (सुवासिनी). For other particulars, see Rat. I. p. 17 and our note on the word; Vik. III. pp. 77, 79. शब्दापयेत्—will call; fr. शब्द+आप the taking up or utterance of ; शब्दापं करोति शब्दापयति by adding णिच्(अय) in the sense ofतत्करोति; see com. If the Prákrit सद्दऐदि be rendered as शब्दायेत then it is derived from शब्द and the affix क्यङ् (य) which forms Atm. verbs ( शब्दायते ) by शब्दवैरकलहाभ्रकरणे। Pân. III. 1. 17.
धारागृहं—A summer house or a large bath-room; lit. a house furnished with water jets or fountains of water. Cf. शिलाबिशेषानधिशय्य निन्युर्धारागृहेष्वातपमृद्धिमन्तः । Ragh. XVI. 49–होद्यानं– The garden containing the धारागृह. कुक्कुटवादं–Uttering anything imitating the cry of a cock in the morning (ie. gradually raising the tone and protracting the voice) so as to give it the appearance of a Vedic passage. See Pán. I. 2. 27. Vidû. means that he would recite something assuming the Vedic tone when receiving the Vâyana. For Vidû.’s knowledge of the Vedas, comp. the king’s remark below, वेदसंख्ययैव&c. p. 12.
**प्रतिग्रह–**has the technical sense of ’the acceptance of a gift by a Bráhmaṇa (which is his peculiar prerogative); see Manus. I. 88; Yáj.s. I. 118. उत्कण्ठा—An eager desire to see or a great longing for, a beloved person. चिन्ता तु स्मृतिराध्यानं स्मरणं, सस्पृहे पुनः। उत्कण्ठोत्कलिके। इति शब्दार्णवः।
P. 12. Śl. 1.**मङ्गलमात्र०–**For comp. see com.; there are certain ornaments and things, which are considered as auspicious (being the emblems of Saubhâgya) and which a Hindn wife cannot discard under any circumstances. These are-the mangala- sutra (a wreath of small glass beads with gold ones, the Kumkuma mark on the forehead, glass bangles, &c. Hence the queen is described as wearing these even when under a vow, when other gaudy ornaments are to be dispensed with. Cf. Vik. III.12 ( सितांशुका मङ्गलमात्रभूषणा). मन्दोद्यमा०— मन्दोद्यतालापिनीं V.1. मन्दं यथा तथा उद्यत आलापो यस्याः speaking in words gently uttered (on account of the weakness caused by fasting,). व्द्यमालापिनीं gives rise to an awkward comp.; the comp. may also

be taken as मन्द उद्यमो यस्मिन् स मन्दोद्यमः; म० आलपो यस्याः; in either case it indicates extreme emaciation. प्रातस्तन–तन is affixed to adverbs of time in the sense of belonging to that time’; ef. प्राक्तन, सायंतन, अद्यतन, &c.–नेन्दुद्युतिं–cf.प्रविगलत्प्रभं प्रातश्चन्द्रद्युति वदनं Mâl. Mâd. IV. 4. **नियमोप०–**is to be taken with क्षामांand the other accusatives. **प्रथमानुराग०–**For the effects of firstlove not gratified and a maiden’s being more attractive then, cf. क्षामक्षामकपालमाननं, शोच्या च प्रियदर्शना च मदनक्लिष्टेयमालक्ष्यते। Śak. IV. 8.

अर्चति–The pres. in the sense of ‘immediate future;-is going to honour with gifts.चतुर्वेद&c.-is evidently meant to be jocular. For comp. see com. ब्राह्मण्यं—ब्रह्म the Veda अधीते ( Pân. VI. 2. 59) ब्रह्म जानाति ( Pán. VI. 2. 92 ) इति ब्राह्मणः; तस्य भावः; Vedic scholarslip. महाब्राह्मण–महत् when prefixed to such words as ब्राह्मण, वैद्य, is depreciatory (निन्दायां). So in the Rat. राजा–( सस्मितं) साधु भवन्तं महाब्राह्मणं मुक्त्वा कोन्य एवमृचानामभिज्ञः । II. p. 43.

P. 13. अविरतं-Ceaselessly, incessantly. सुकुमार–soft to touch; or secondarily, charming. **उत्सङ्ग–**the surface or upper part of; cf; दृषदो वासितोत्सङ्गाः Ragh. IV.74; or **उत्सङ्ग,**the vicinity of.निलीन–stuck fast, बकुल—also called केसर is a large and tall tree having darkish green leaves and small round flowers of a pale-brown or white colour and sweet-smelling. मालती–मां लक्ष्मीं लातीतिtakes up; or मालं a garland तनोति; fr. तन् + डः i.e.अ) also called सुमना(as it gratifies the mind by its smell) is a kind of jasmine (jasminum glandiforum) having flowers of an exceedingly pleasing smell. Its oil is much prized as a perfume.–उद्दामा दाम्रः उद्गतः (free from the fastening string, i. e. restraint); or उद्गतं दाम यस्य(may be उद्दामा or–मः); moving unchecked, freely; or proud, strong; the wind is poetically fancied as proudly moving being charged with the fragrance of **पर्यवबुद्ध–**completely (परि) opened. बन्धूक–(also called बन्धुजीवक–बन्धुरिव जीवं जलं यस्य ) is an erect growing plant having flowers of a bright red colour which expand at noon and drop next morning. Cf. Ragh. XI. 25 (wherein drops of blood are compared to the बन्धुजीवflowers); Kir. IV. 7.बन्धनthe cases or stems of. **तमाल–**A dark-barked tree but having white flowers. **पिहित–**also अपिहित the अof अपि and being optionally dropped. सश्रीकतां–Lit. its being possessed of beauty; grandeur, loveliness; so Rat. I. प्रेक्षस्व तावत् मदनमहोत्सवस्य सश्रीकताम् । p. 11.

Ś1. 2. **क्षुद्रप्रवाल—**tiny pieces of coral. शेफालिका—शेरते शेफाः bees अस्यां ; is a small tree with rough scabrous leaves but fragrant

flowers; cf. शेफालिकाकुसुमगन्धमनोहराणि l Rs.III.14. सप्तच्छद–(छद a leaf,hence also called सप्तपर्ण सप्तपत्र&c. having seven leaves per twig) Alstonia scholaris, is a large tree often referred to by poets as having the strong odour of the ichor of elephants. Cf. प्रसवैः सप्तपर्णानां मदरागसुगन्धिभिः। Ragh. IV. 23. गजमदामोद–आमोदis not appropriate with मद; it simply means ‘scent’ here. रजः–पुजपिङ्ग ०–अङ्गराग unguent or paint applied to the body. **वारुणी–**Liquor in the form of the honey of flowers. For a similar thought, cf. अमी गीतारम्भैर्मुखरितलता मंडपभुवः परागैः पुष्पाणांप्रकटपटवासव्यतिकराः।………….समन्तादापानोत्सवमनुभवन्तीव मधुपाः॥ Nag.III.8.

**एतदपि—**the Prákrit एदं should rather have been translated by एतं as it refers to सप्तपर्णप्रादप, which is mas. **अविरल–**In quick succession, or, in clusters. **वर्षाः–**fem. pl.

Śl. 3. **बिभ्राणा–**The Nom.s qualify क्षितिः मृदूतां विभ्राणा may also be taken separately. **शिरीष–**is a tall tree, attaining the height of thirty feet. Its flowers are known for their extreme delicacy. Cf. Kum. I. 41. Its flowers are worn by young ladies as ornaments on their ears; cf. Śak. I. 4; Ragh XVI. 48; Meg.II. 2.

P. 14. उत्प्रेक्षितं–उत्प्रेक्षा कृता; expressed metaphorically. **श्रीहारिमिः—**which possess (or, surpass) the beauty of, the Śirisha flowers being also of a darkish green colour; cf.शुकावलिर्व्यत्त्कशिरीषकोमला। Kir. IV. 36. क्षोदैः–क्षोद which usually means ’ powder’ must be taken to mean pieces or fragments here, as the adj. क्षालितैः will be inappropriate otherwise.**उत्करैः–**heaps, collections.**इन्द्रगोपक०–**the Indragopa (cochineal) insects which appearin in clusters in the rainy season are also of a bright red colour and hence the Utprekshâ.

**हञ्जे–**A vocative particle used by a lady when addressing a maid-servant. See com.; हलाis used between females of equal rank or position. **अगस्त्यमहर्षये–**see the two quotations by Pandit Krishnamachariar given in the com.**अर्घः–**A respectful offering or oblation to a deity or a venerable person, &c. consisting of rice, water, rubbed sandal, &c. The usual ingredients are – आपः क्षीरं कुशाग्रं च दधि सर्पिः सतण्डुलम्। यवः सिद्धार्थकश्चैव अष्टांगोर्घः प्रकीर्तितः॥So these flowers must be added to these, as in Yaj. I. 289, as they are specially mentioned here. Some translate अग्घोbyअर्घ्यं; this is got by adding य to अर्घ by पादार्घाभ्यां च । Pán. V. 4,25.अर्घःपूजाविधिः तदर्थंद्रव्यमर्घ्यम्। Sid. Kau. According to the second ś1. quoted in the com. an Arghya ought to be offered to Agastya at the close of Bhâdrapada (August-September), when

Agastya (the bright star ‘Canopus’ of the constellation Argo Naves in the Southern celestial hemisphere) rises, for the attainment of all desires. Varâh. in his Br. Sam, says that a king a should offer an Arghya to Agastya for the attainment of great power; सांवत्सरावेदितदिग्विभागे भूपोर्घमुर्व्यां प्रयतः प्रयच्छेत् । eb. XII. 15; for other particulars see 16-18. **अस्ताभि०—**Lit. desiring i. e. about to set; occurs again at p. 22.मुकुलाय्यन्ते—Pres. pass, ofमुकुलायते denom. from **मुकुल;are closed; lit. are made to assume the condition of buds. तपस्विनी—**Lit. a female ascetic; and as asceties require protection from others तपस्विन् secondarily means.‘one helpless or deserving pity, poor’; cf. हतस्तपस्वी वैरोचकः Muds III. p. 62. Śak. p. 95.

P. 15. सबाष्पो०—बाष्पेण उद्वेगेन च सहितं यथा तथा; उद्वेग agitation, mental pain or distress. **नाम—**is प्राकाश्ये. आज्ञाप्य स्थितया—who—used to command; स्था with the gerund shows continuity of the act. एष दोषः – vizआज्ञप्तिकरणं; that I have to obey others. Ságarikâ also similarly refers to her misfortune that she has to serve, but not with regret as she had obtained a sight of the king. (तत्परप्रेषणदूषितमपि मे जीवितमेतस्य दर्शनेनेदानीं बहुमतं संवृत्तम् । p. 27). दुष्करमिदानीं &c.—This at first appears to mean ‘I have thought of doing a hard thing i. e. committing suicide. But this does not seem to be intended. A’rany. finds it necessary to yield to her misfortune and says अथवा (used पक्षान्तरे ) or why मया चिन्तितमिदानां दुष्करं it is difficult to carry out my resolve. Again अपि after एतद् in वरमेतदपि will have no force. She would rather prefer servitude than avoid it by revealing her high birth. Had the first meaning been intended she would have said एतदेव यथाभणितंfurther on also will be meaningless. She has not said any where that she would kill herself (although like Sâgarikâ she says it further on; see p. 24. ). Soयथाभणिनं must be taken to mean’as ordered by the Queen’; and this she proceeds to do in whatfollows.महार्घं—महान् अर्घःयस्य; lit. of high value; hence noble, exalted. का **गतिः—**What course or help is there? this must be done.**गुल्म—a thicket or cluster. निर्भरं—**filled with, full of(at the end of a comp. ).

P. 16. Ś1. 4. Now he shows how the four senses (the fifth, tongue, being excluded) are gratified by the several things connected with the tank. **सुखयति—**Denom. fr. सुख; सुखं करोति, according to the Ganasútra तत्करोति तदाचष्टे।. **नूपुराह्लाद० v. l.**is not good; in the first place नूपुरwill have to be taken in the secondary sense of नूपुरनाद; 2ndly the word आह्लाद is redundant as

the idea is expressed by **सुखयति;**thirdly the word occurs in the fourth line and such repetition is not poetic. सौधपाली–सुधा ( chunam paint ) अस्यास्तीति सौधः ( also सौधं) a mansion (अण् i. e. अbeing added in the sense of possession ); पाली a row or series of; or rather पालीmay mean ’the skirt or edge of’.**परिमलपटुना—**strong, or excellent by, or clearly perceived owing to, its perfume.

Śl. 5. कान्ति—Splendour, beauty;–हारिणी—(1) Attractive or charming by; (2) attractive like. By a bold metaphor the दीर्घिका iscompared to the वृष्टिof the goddess of the garden. For a similar comparison cf . कृष्णसारछविर्योसौ दृश्यते काननश्रिया। वनशोभावलोकाय कटाक्ष इव पातितः॥ Vik. IV. 31. **कुसुमपरिमल०–**This and the other epithets apply both to स्त्री and वनदेवता; for these see .com. परिमलेन सुगन्धा; the reading सुगन्धि is bad; for we cannot have the final इ as the smell is not invariably connected with the Veni; now see com.; a row of bees was attracted by the perfume of flowers in the braid of hair. This is clear from the use of the word अपरे(मधुकरा) further on; see p. 19. In the second case ॰वेणिरिव मधुकरावलिर्यस्याः having the line of bees for her braid of hair. **उज्ज्वलन्ती—**Glowing, bright, radiant. The comparison of the tender and slender arm of a woman to a creeper is common enough in Sans. literature. **विकल्प–**Different thoughts or surmises.**यत्सत्यं—**Which is the truth; treated as an indec. meaning to tell the truth, to be sure, surely.’

P. 17. Śl. 6. **भुवन—**The world of mortals, the earth. ० परा—लोकनं परं यस्याः सा. पर at the end of a comp. means having ‘anything as the highest object; hence solely devoted to, intent on, &c.’ Cf. परिचर्यापर Ragh. I. 91. नागकन्या— A Nága damsel. In the Nágá. it is the Vidû. who wonders if Malayavati can be a goddess or a Nága maiden; &c., see p. 18. and cf. I. 15 The Nágas, according to the Purânas are a race of semi-divine beings, inhabiting the nether world or Pátala. They are generally identified with serpents, the offspring of Kadru, a wife of Kásyapa; as in the Nágá., where Vásuki is spoken of as their king, though the Bhg. makes a difference between them; seeX 28 ( सर्पाणामस्मि वासुकिः ); 29 ( अतन्तश्चास्मि नागानां ). They are described as having a human form with the expanded hood of a cobra, and sometimes as having the tail of a serpent. See Nágá. V. 17. Their females are described as exquisitely beautiful (cf. Nág. I. 15 where the face of a Nági is said to be as lovely as the moon), and as sometimes intermarrying with men (e.g. Ulapî marrying Arjuna).

Historically the Nâgas were a race of people who have left many traces behind them. Nâgadwipa was one of the seven divisions of Bharatavarsha. Kings of this race reigned at Mathura, Padmavati, &c. and the name, survives in Nagapur. They were .probably a race distinct from the Hindus. See Dowson’s Cl. Dic. p.213.

** मिथ्या** &c—i. e. She is superior to a नाग० in beauty. दृष्टं मया—This alludes to Vatsarája’s visit to the Nága-world, described in Brh. K.manjari (II. 56-60) and referred to in Act IV (नागलोकद्रृहीतविषविद्यः&c.). मूर्ती-having a bodily or corporal form; P. P. P. of मुर्च्छ, ( in this sense; मूर्च्छित fainted ). कमलेन—उपलक्षिता marked by; the instrumental cannot be taken हेतौ ( हेतुना ) she looked like Lakshmî not because she had a lotus in her hand, but because she was beautiful like her and also had the lotus in her hand. Lakshmî is represented as having a lotus in her hand; of. Kád. श्रियमिव हस्तस्थितकमलशोभाम्; P 24 उत्फुल्लारविन्दहस्तया आलिङ्गितो लक्ष्ग्या; p. 92, &c. कमलिनी—कमलान्यस्या विद्यन्ते इति a lotus-plant, explain similarly नलिनी. संलाप इव व०-०f. अये दक्षिणेन पुष्प- वाटिकायामालाप इव भूयते। Sak. I. p. 18.

P. 18.यदा **एषाहं—**I, to whose care the maiden was committed. यदैषा &c. — This refers to the king’s words यदा वरयोग्या &c. at p. 10 ante.**पर्याकुलः—**Solely engaged in, busy with. **मुषिताः—**Deceived, deluded; ef. शीघ्रं न यात यदि तन्मुषिताः स्थ यूयं; Rat. IV. 3.निर्दोषदर्शना &c. – of निर्दोषदर्शना हि कन्या भवन्ति । Nágá. 1 p. I7.सरोषं - असम्बद्ध &c.—It is natural for a Hindu maiden of high birth (see the king’s remark below) to display outward anger and to blush at the talk of her marriage by a friend; cf. Śa’k. 1.शकुन्तला— ( सरोषं ) … इमामसम्बद्धप्रलापिनीं प्रियंवदां &c. p. 34. **धीरतया—**gravity, firmness of mind; hence dignified demeanour. धन्यः खलुः—-The same thought is expressed by Káli. in rich poetic strain when ho makes Dushyanta say—अनाघ्रातं &c. न जाने भोक्तारं कमिह समुपस्थास्यति विधिः । Śak. II. 10. विस्तृतेन – Used as a noun for विस्तारेण the spreading lustre or splendour विच्छुरितेन VI. - is bad, as विच्छुरण would add to the beauty of the lotuses.

P. 19. Śl. 7.अच्छिन्न— -Uninterrupted, continuous.**अमृतबिन्दु—**The Moon’s body also sheds nectar.**दृशा—**By her sight i. e. glances or looks. दृशा—-v. l. to the eyes of the beholders. The former is better as it furnishes the cause of pleasure. She gives delight by the succession of glances as the Moon does by the shower of nectar. Read_in_the_text दृशा। for दृशां which has remained through oversight, **विगलत्पयो—**Owing to the breast garment slipping off; (2) owing to the drifting of the screen (Lit.

cloth) of clouds. **चन्द्रमसस्तनोः—**The poet says तनोः and not चन्द्रमसः and very happily, as he wants a fem. noun to correspond with तस्याः For it is the sensation of pleasure caused by the touch of a male or female that makes the other close the eyes; hence the use of पद्म in the mas. also ; cf. निमीलताक्ष एव स्पर्शं रूपयित्वा Vik. IV. 110; शृङ्गेण च स्पर्शनिमीलिताक्षीं मृगीमकण्डूयत कृष्णसारः । Kum. III. 36.

** करस्पर्शा०—कर** (1) Hand; (2) rays. **मुकुलीभवन्ति—**A Chvi.formation; assume the state of buds, i. e. close up.

** भ्रमरसंबाधां—**This is doubtlessly suggested by the scene in Sa’k. where Saku. is troubled by a bee. The influence of Káli., not only on the thoughts and ideas but on the language also of Harsha is observable in many places in this play. **अपरे—i. e. other than those that gathered round her braid, attracted by the smell of flowers worn thereon; see above p. 16. समापतन्तः— Coming in groups. परिभविष्यन्ति—**The sense of defile or pollute me’ by their touch is also implied.**गर्भदास्याः—**A born slave; see com. **सुता—**This is Vidu.’s humorous way of referring to maidservants ; see note on दास्याः पुत्रं above, p. 6. **शब्दश्रुतेन—**for सुचितेनis not a good reading as it gives rise to an awkward. comp. (०शब्दात् श्रुतेन ) and ०संचार has to be taken in the secondary (La’kshanika) sense of संचारशव्द.

P .20. **लघु—**Quickly, without loss of time; for this sense. cf. एतां लघु परित्रायतां भवान् Sak. II. p. 54; लघु उत्थितापि Ibid. IV. P .93; readings.**राजानमव०—This she did without turning back. आरण्यिकोत्तरीर्व&c.—**As the king clasped her round the neck A’ra. took off her upper garment from her head in order to ward off the bees by its hem, as women are wont to do.

ŚI. 8. परिमल०—परिमले यः रसःfondess for, love of; now see com. The परिमलmay be of the flowers in her Veņi, or better still, of her breath; cf. यदि सुराभिमवाप्स्यस्तन्मुखोच्छ्वासगन्धं&c Vik. IV. 22. This will also indicate her **पद्यिनीत्व. भुयः—**Abundantly, profusely. आयताक्षी—Sans. poets describe long eyes as a mark of beauty in the case of females. Cf. तदेतदुन्मीलय चक्षुरायतं Vik. I. 5; संभावयत्याननमायताक्षि। Ragh. XIII. 16.

** कुवलय०—see supra. p. 19. 1. 6. कुवलय is a beautiful water–lity(कोः पृथिव्या** वलयमिव शोभाकरत्वात् ) and is given in A. K. as a synonym of उत्पल.But it isgenerally used in the sense of a blue lotus ; श्यामं शितिकण्ठनीलं कुवलयमिन्दीवरं च नीलाब्जम्। नाभमाला.

** साध्वसं—**Agitation, perturbation; or fear.

** सकलपृथ्वी** &c**.—Cf. śak. हला अशरणास्मि ।** उभे—पृथिव्या यः शरणः स तव समीपं वर्तते । p.80.**पक्षपातः—**A strong leaning towards. or liking, hence partiality;here choice.

P. 21. **तव वदनस्यायं दोषः—**Cf. for a similar thought अत्र आत्मनोयौवनं उपालभस्व। Śak. I. p. 20. **कदलीगृहा०—**In theŚa’k. Śakuntalâ addresses the bower of creepers where Dushyanta. lay concealed at the approach of Gautamî; see p. 89. **ऊरुस्तम्भः—**numbness or benumbing of the thighs. स्तम्भ— Complete inactivity or torpor of limbs is one of the eight Sátvika bhávas due to strong emotion, for which see Sáh. Dar. III. 135. The ऊरुस्तम्भ was really due to the thrill caused by the touch of the king’s hand, but A’ran. hides the truth by saying that it was due to the benumbing effect of the water. This was a ruse used by her in order to be able to look longer at the king in the Kadalîvana; cf. Śak. अभिनवकुशसुच्या परिक्षतं मे चरणं &c. p. 39. readings. न खल्वविघ्रं&c.—cf.अहो विघ्नवत्यः प्रार्थितार्थसिद्धयः । Śak. III. p. 84.

P. 22. Śl. 9. कण्टकिनं—कण्टकाः संजाता अस्य; इत added by तदस्यसंजातं &c. Pán. V. 2. 36. Having thorns on; with the hair bristling, horripilated; and hence कथयतीव. कमल०— Here कमल stands for पद्म ma8. This is the effect produced on a lover by the touch of the loved one; cf.आसीद्वरः कण्टकितप्रकोष्ठःRagh. VII. 20; and Vástyáyana**—कन्या तु प्रथमसमागमे स्विन्नाङ्गुलिः भवति पुरुषस्तु** रोमाञ्चितो भवति । Kámasútras

** मम मूर्खस्य—**V. I. is perhaps better; he says so because the king had called him afool above; see p. 16 ante. **अलीकपाण्डित्य०—**This is a retort flung at the king by vidû. for having called him a fool. He means-you only affect learning (पाण्डित्य) you do not possess it. विदग्ध is what is well burnt, burnished, or polished; hence refined, learned, wise; दुर्विदग्ध one not really skilled or learned, vainly proud. cf. अलीकशस्त्रग्रहणदुर्विदग्ध Ven. III. **समाश्वासनं—**something encouraging or comforting **निर्भर्त्सनं—**Reproach, a chiding. **अस्तमयः—setting (of the sun ); fr. अस्तं and अय (from अय् to go )—अभिलाषी—**desirous. of, i. e. about to set; this has occurred before.

Śl. 10, प्रियतमेव—Like the beloved one (A’ran.), the splendour of whose lotus-face surpassed (eclipsed) that of the lotuses. The idea occurs in Rat. देवि त्वन्मुखपङ्कजेन शशिनः शोभातिरस्कारिणा पश्याब्जानि विनिर्जितानि सहसा गच्छन्ति विच्छायताम् ॥. 25. रागः—(1) passion, love; (2) redness.

P. 23. चक्राह्णः—चक्र इत्याहृा name यस्य; the bird usually called ‘चक्रवाक ( which also means the same thing**—चक्र इत्युच्यते )**; hence it is also called रथाङ्गनामन्, रथाङ्गाह्वय, &c. It is the ruddy goose generally described in Sans poetry as condemned to pass the night in separation from his mate. Hence separated lovers are compared to a pair of Ohak. birds at night. अन्धकाराः—used here as an adj.,अच्(अ) being added मत्वर्थे byPán. V. 2. 127; see com. अन्धकार आसां विद्यते dark, void of interest. जाताः—cf for a similar thought differently expressed.—राजा—सखे. वैयर्थ्यमिव चक्षुषः सम्प्रति (after the departure of Urvásî); Vik. II. p. 54; and ‘And leaves the world to darkness and to me;’ Gray’s Elegy, stanza I. There is a succession of similes in this Śl. Mark how the king falls a victim to the influence of love at the very first sight of the heroine. Káli does not make his heroes yield so easily and helplessly to the power of love.

**————— **

ACT III

———ः०ः———

** सांकृत्यायनी—**appears from this play to be a lady of high rank and learning as she speaks in Sans. and is treated with respect even by the Queen. That she composed the Mimic play in a good style is clear from the Queen’s speech below; see p. 30. The part played by her in this play is similar to that of the Parivrâjikâ in the Mâl. She is mentioned as a friend of Vâsavadattâin the Kath. Sar.; see Tar. XIV. 71 (ततः प्रव्राजिकां तस्याः सखींपितृकुलागताम्। स सांकृत्यायनीं नाम शरणं शिश्रिये नृपः॥ ) नाटकोप०—नाटके उपनिबद्धः made the subject matter of a play, dramatised, same as भवभूति’s ‘अभिनेयार्थः कृतः। Uttar. IV. p. 119. **कौमुदीमहोत्सव—**The great autumnal festival celebrated on the full-moon day of A’śvina, when the moonlight is very bright, the sky being clear after the cessation of the rains and the disappearance of the clouds. It corresponds to the Kojâgarî festival and has been often referred to by poets; see Mudra. III. p. 73; It precedes the Vasantotsava or spring festival referred to in Rat. I.कौमुदीmoon-light is derived as कुमुदानामियं प्रकाशकत्वात्; fr. कुमुद and अण् (अ) with the fem, affix ई; it is also derived as कौ on earth मोदन्त जना यस्यां तेनासौ कौमुदि मता। Malli. on Ragh. III. 1 (where the reading is कौमुदीमहं also ). **नर्तितव्यं —**Here नृत् has the technical sense of ‘acting,representing on the stage, and does not mean

simply dancing.’ **अन्यथैव नर्तितं—**Cf. for a similar mistake in acting the slip of tongue of Urvasî when acting the part of Lakshmî, in the Vik. when she said पुरूरवसि instead of **पुरुषोत्तमे. विश्रब्धज०—**A talk in full confidence that it would not be overheard by any one.

P. 24. प्रविशति आसनस्था—This might appear strange; but प्रविश्has a technical meaning. It simply means to appear on the stage. So this means A’ra. is discovered seated, the curtain being removed or lifted up. हृदय दुर्लभं जनं &c.—So Sâgarikâ—हृदय प्रसीद प्रसीद किमनेनायासमात्रफलेन दुर्लभजनानुबन्धेन। Rat. II. p. 30. हृदये निरवलम्बादतिभूमिलंघिनो मनोरथाद्विरम। किं मामायासयसि । Mâl. III. p. 47. **अभागधेयता—misfortune, ill-luck. नास्ति भागधेयं यस्याः सा अभागधेया तस्या भावः; धेय is added स्वार्थे to भाग; cf. रूपधेय and नामधेय. आभिजात्यसदृशः &c.—Kâli., however, makes Priyamvadâcongratulate her friend in language more elegant and impressive when hemakes her add सागरं वर्जयित्वा कुत्र वा महानद्यवतरति &c.; see S’ak. III. p. 72. सह्यवेदनमिव दुःखं &c.—**Cf. स्निग्धजनसंविभक्तं हि दुःखं सह्यवेदनं भवति। S’ákIII. p. 70. **हृदयनिर्विशेषा—**not differing from, identical with, my heart ( like my second heart ). Cf. expressions like सुतनिर्विशेषं ( Ragh. V. 6 ), अपत्यनिर्विशेषाणि (Śak. VII. p. 185 ), जातनिर्विशेषाः ( Uttar. III. p. 78 ). **तस्या अपि—**Cf. कुतो विभवः स्निग्धजनस्येमं वृत्तान्तमाख्यातुम्। न जाने &c, Mal, III. p. 43. सर्वथा मरणं &c. - Cf. दुर्लभजनानुरागो… प्रियसखि मरणं शरणं Rat. II. 1

P. 25. **अतिभूमिं—**The highest point or pitch; climax, **हृदयस्यापि—**i, e. of me who am your very heart—refers to A´ra.’s speech हृदयनिर्विशेषा &c. **पर्याकुलः—Solely engaged in thoughts about. अयं सखीजनः &c.—**This speech ought to be स्वगतं; or we should adopt the reading in the foot-note सखीजनपक्षपातेन &c. पक्षपातेन—Cf. सौहार्दमेवं पश्यति, and प्रिया खलु अहं तवं Mál, III. pp. 46, 53. देवीगुणनिगड &c.—Cf. सखि देवीं विचिन्त्य न खलु मम हृदयं विश्वसिति ।Mal. III. p. 53. कमलिनीबद्धानुरागः &c—This is doubtless an echo of अभिनवमधुलोलुपः Sak. V. 1. मालतीं प्रेक्ष्य—&c. मालती Jasmine; so—मालविकापि… अनुभुक्तमुक्तेव मालतीमाला म्लायमाना लक्ष्यते । Mál. III. p. 38. लज्जालुका—लज्जालु is to be derived like कृपालु by adding उ (डु) to लज्जा + ला ( as in the case of मितद्रु) by the Vártt. on Pàn. III. 2. 180 (see com.); क is added to express pity. आत्मा **प्रच्छादयितुम्—**Mark the use of the inf. with verbs like युज्, शक् &c., the cons. being आत्मा प्रच्छादयितुं न युज्यते। Cf. युक्तं नामायमशोको वामपादेन ताडयितुम्, Mal. III. 57. She means—you should not dissimulate; do not say शरदातपेन say मदनातपेन;

I know it. For the difference between torment caused by आतप and मदन cf Sak. III. 7 (न तु ग्रीष्मस्यैवं सुभगमपराद्धं युवतिषु।). **अविश्रभ्मशीला—**One not habitually confiding; because A’r. only hung down her face and did not admit the truth in plain words.**निश्चासनिभ—**Here निम has the sense of pretext or guise of **दिवसं रात्रिमपि—**may have been suggested by मम पुनः कामो दिवापि रात्रावपि। तपति अङ्गानि। Śak. III. 14. The reading दिवसरात्रं is grammatically inaccurate. **कुसुमशर—**Kâma is often spoken of as कुसुमशर—सायक, पुष्पसायक &c. **न भणति—**a question; does it not say, not proclaim your true state? Śree. reads this passage in a metrical form; see the foot-note. This is perhaps better and more poetical-as if it is the sound Hum (due to &c. and implying your love-torment). **नलिनीपत्राणि—**Lotus-leaves and lotus-stalk-rings are among the cooling remedies used for allaying love-fever ; cf सखि अपनयेमानि नलिनीपत्राणि मृणालवलयानि च। Rat II. p. 42. कस्येदमुशीरानुलेपनं मृणालवन्ति च **नलिनीपत्राणि नीयन्ते।**Śák. III. p. 65.

P. 27. **परित्यक्तराज०—**So एवं राज्यकार्याण्युज्झित्वा। Sâk II p. 45 **विनोदयति—**i. e. he finds pleasure in nothing else. **अपि नाम—**would that; I hope that तथा भवेत् **—**i. e.यथा मे मनसि वर्तते— may it be like that, i. e. can it be that he has been sent to search for A’ra. by the love-sick king? आरण्यिका सत्यमेव&c—i. e, has become really a forest-maiden by not acting like a city-maiden; else she should have known that the king was smitten with love for her and been within reachable distance; or, has she gone to a forest ? The reading सत्यमेव रण्यिका is simpler निस्सह— Quite unnerved, drooping.

P. 28. **अस्वस्थवचनेन—**V. 1. is bad. अस्वस्थ० cannot directly qualify वचन ; so it will bave to be taken as a Gen. Tat. (अस्वस्थस्यवचनं); it has no propriety after **०निस्सहस्य. वासवदत्ता०—**Padmávatî, the second queen of Vatsarája was the eister of Dars’aka (also called Harshaka), king of Magadha and a contemporary of Udayana. The story of her marriage is given by Bhása in his Sva. Vás. The kingdom of Udayana was usurped by a king named Aruņi, a rival of his. To regain it Yaugandharáyaṇa wanted to secure the assistance of the powerful king of Magadta; and Yau.’s subtle intellect suggested to him a stratagem. He caused a report to be spread that Vàsavadattâ perished in a fire at Lávanaka and thus paved the way for the marriage of his master with Padmávati. When Udayana visited R’ájagṛha, the capital of Maghadha, to seek the help of Dars’aka,

Padmávatîwas offered to him in marriage and he readily gave his consent.

**अन्यासां च &c—**The Kathá. does not refer to any other queens of Udayana. **यत्र तदपि—**The cons. is यत्र यस्मिन्स्थाने तदपि स्थानम्. Or तद् may be translated as तां ( दीर्घिकामपि ). करतल &c.—This indicates the intensity of the king’s passion; any thing connected with the object of his love is comforting to him,Dushyanta similarly derives consolation from the sight of the arbour occupied by the love-sick Śakuntalá. See Śak. III. 24.Dissolve करतलस्पर्शेन द्विगुणितं यथा तथा सुखानि च तानि शीतलानि च; सुख is an adj. here; cf.भरुतो ववुः सुखाः, Ragh III 14; also 19.सुख may be derived as सुखयतीति सुखं from सुखय् denom. from सुख; or better still सु सुखानि खानि इन्द्रियाणि अनेन.

**अहं ते ज्ञापयामि—**Vasa. misunderstands her and thinks that she will tell the Queen that he was in search of A’ran. and that there was some love —intrigue.

P. 29. **सावेगं—**Because her love affected state was brought to Vidû.’s notice by Manoramá. Sree, omits दिगुणतर; see readings.

**कर्णे कथयति—**Mark the dramatic device used here to avoid an early disclosure of the plan which is set forth later on,(see infra p. 34 where the king repeats what Manoramâwhispered into Vasan.’s ear, mentioning also the name of the play that was to be enacted) that the interest of the audience in the incidents to follow may be well sustained. The plan suggested was that the king himself should act his part in place of Manoramâin the Garbhanâtaka, A’raṇ. playing the role of the princess Vásavadattâ. अपवार्य०—This stage direction (opposed to प्रकाशं) is used when a character says something aside so as to be heard only by the person addressed excluding others with the tripatáka hand (i. e. all the fingers except the thumb and the one near the little finger raised so as to form three banners as it were ). **न्येपथ्यग्रहणं–**Here नेपथ्य means the costume proper for a particular character.

**अतिकोपने—**This she says because A’ra. got angry with her for saying येन स्वयमेवनलिनीपत्राण्यपनयति above. प्रेक्षागृहं—प्रेक्षार्थं गृहं lit, a house for exhibition or representation; a play-house. It was a hall or a house attached to the palace, usually used for instruction in music, singing and dancing and occasionally for the exhibition of dancing or the respresentation of plays. It is also referred to in the Mál. I; see p. 22.

P. 30. **अहो—**expresses admiration. This praise of courserefers to the first part of the play that had been already acted.See p. 23. The 2nd part it seems was not seen by the Queen, as she finds much in it to be found fault with, as will appear from the subsequent representation. **गूढवृo—**qualifies **आर्यपुत्रचरितं.सानुभवमपि—**and so likely to prove insipid and without interest. इब for अपि is quite out of place. **आर्यपुत्र०—**The husband is addressed or referred to in dramas as आर्यपुत्र—(the son of the father-in-law). **आयुष्मति—**This is a sort of blessing. Young people are to be addressed by elders as आयुष्मत् or-ती.

** आश्रयगुणः—&c.—आश्रय** the subject, the person or thing on which anything depends or rests; here the King and the Queen. Cf. पात्रविशेषन्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः । Mal. I. 6. क्रिया हि वस्तूपहिता प्रसीदति Ragh III. 27.

**असारम्—**Lacking excellence; सारpithy sentences, charming sense; cf. for this sense वचांसि वाचस्पतिमत्सरेण साराणि लब्धुं ग्रहमण्डलीव। मुक्ताक्षसूत्रत्वमुपैति यस्याः; and गिरां प्रवृत्तिर्मम नीरसापि मान्या भवित्री नृपतेश्चरित्रैः । Vik. Oh, I. 7; 28.

ŚI.1.**यत्किंचित्—**Trifling, unimportant or uninteresting. **आश्रयान्म०—**Cf. गुणवज्जनसंसर्गाद्याति त्वल्पोपि गौरवम्। पुष्पमालाऽनुषङ्गेण तृणं शिरसि धार्यते॥ Kshemendra. **कुम्भतट—**The surface or skirt of; or तट like भित्ति may be प्राशस्त्ये; the large temples. It is difficult. to seethe propriety of the epithet मत्त ; perhaps the poet means that an infuriated elephant only is likely to butt against a heap of ashes and get his temples besmeared with the same.

**वल्लभो जामाता भवति—**It is not clear from the play whethe•Sámkr. was some elderly near relative of the Queen or simply one held in such reverence by her as to be called a mother **नर्तितव्यं—**is used here in the sense of dramatic representation. **प्रेक्षणीयता—**used to correspond in sound with प्रेक्षा(गृह).

Ś.I. 2. **शातकृम्भं—**See I. 11. **अवसक्त—**hung up, festooned with. **युवतिभिः—**It seems the performance was to be witnessed by the fair of the city; hence Manoramâ was to play the role of the king and not a male. **सुरविमान०—**Which is also रत्नशतशोभित and occupied by the nymphs of heaven. It may mean an aerial car, or a large house (विगतं मानं यस्मात्). The houses in great ancient cities were large, and were decorated with strings of gems and crowded with beauties that rivalled the nymphs of heaven. Cf.सद्रत्नमुक्ताफलवज्रभाञ्जि विचित्रधातूनि सकाननानि। स्त्रीभिर्युर्तान्यप्सरसामिबोधैभरोः शिरांसीव गृहाणि यस्याम् । Bhatti I 7.

P. 31. पिनद्ध—(also अपिनद्ध) fastened, i.e. worn on. Cf. यत्तय..पिनद्धं मण्डनं (v. 1.) मे प्रसादीकृतं &c. Rat. III. p. 61. मनोरमे &c. - Manoramáwas chosen to act the king’s part as her features very closely resembled those of the king. See infra, p. 36. sl 7
नलगिरि—( called नडागिरि according to Kathà. ; see Lam II. Tar… 13) was a powerful elephant in the possession of king Mahásona. It was riding this elephant that Pálaka, a son of Mahâsena, pursued king Udayana, after he had fled with Vásavadattá, under cover of night having mounted a she-elephant.-**ग्रहण—**It is said that Nadagiri once bolted away tearing off the post to which he was tied and made terrible havoc in the city, when king Udayana was asked to arrest his progress by the magic influence of his lute; see Meg. I. 34.
**कञ्चुकी—**This is the Kanch of Mahâsena, king of Ujjayini’ appearing in the mimic-play, part of which had already been acted before Vâsavadattâ.

Śl. 3. In this by using epithets having a double application the Kanchikî says that he discharges a duty similar to that of a king. अन्तःपुराणां—(1) The inmates of the harem; (2) पुराणामन्तः in the cities of his kingdom. स्खलितानि—(1) Mistakes or breaches of duty through carelessness; **रक्षन्—**preventing ornot disclosing or giving out; cf. सर्वत्र स्खलितेषु दत्तमनसा यातं मया नोद्धतं; Veni. II. 1. A good king also (विनेता) prevents his subjects from. going astray; cf. Ragh. VI. 39. **जरातुरः—**When referring to a king may be taken in the sense of जरायां प्रशंसायामातुरः eager to win praise. But it is not necessary to do so.

P. 32. दण्डनीत्या - Cf. śak v. 3 आचार इत्यवहितेन मया गृहीता या वेत्रयष्टिरवरोधगृहेषु राज्ञः। काले गते बहुतिथे मम सैव जाता प्रस्थानविक्लवगतेरवलम्बनार्था॥(1) By being guided with a stick; having to support myself on a stick; ( 2 ) दण्डनीतिः दण्डो नीयते अनया इति politics or the science of government; administration of justice. It is one of the four lores or Vidyàs by which punishment is meted out to culprits. Cf. आन्वीक्षिकी त्रयी वार्ता दण्डनीतिश्च शाश्वती। विद्या ह्येताश्चतस्त्रस्तु लोकसंस्थितिहेतवः॥ आन्वीक्षिक्यां तु विज्ञानं धर्माधर्मौ त्रयीस्थितौ । अर्थार्थौतु वार्तायां दण्डनीत्यां नयानयौ॥Kâm. Nit. This Ś1. is the same as Nág. IV. 1.

**विमानित—**Discomfited, put to shame; hence defeated, overpowered,**०सैन्येन—**should rather have been ०सेनेन ( सेना येन ) and so महासेनेन (महती powerful, superior, सेना यस्य ). The Kanch. being an elderly person simply says महासेनेन without any

honorific epithet**. उदयनोत्सवं—**A festival instituted to celebrate the capture of Udayana or rather his marriage with Vásavadattâ; or perhaps the reading may be **वयं मदनोत्स०—**and. hence the order to go to मन्मथोद्यान, रूपस्य योग्यः अनुरूपः अनुरूपः वेषः &c. **प्रेक्षा—**Representation.

**तदेतदादेष्टव्यं—**Here we expect the stage-direction (अन्तःपुरं विलोक्य)

Ś1.4. नूपुरिभिः—नूपुरौ एवां विद्येते इति नूपूरिणः तैः having anklets on. Explain केयूरिभिः, कुण्डलिभिः, &c. similarly. नितम्बफलकैः—नितम्बाः फलकाः (broad and extensive ) इव, or प्रशस्ता नितम्बाः नितम्बफलकाः; Karm. comp. Words like फलक, **तट, भित्ति (**e. g कपोलभित्ति), &c.express प्राशास्त्यor excellence when forming the second member of a Karm. comp.**शिञ्जान—**tinkling; pre. p. of शिञ्ज्2 A. to sound (like anklets ). **काञ्चीगुण—**the girdle bands **आपादित—**reduced, generated. सस्वस्तिकैः—स्वस्तिक a kind of mystic diagram denoting good luck and auspiciousness; स्वस्ति कायति इति स्वस्तिकः fr. स्वस्ति+कै to sound I P. and affix ( अ ); Pân. III. 2-3. Hence anything like a Sva., as a house, &c.; here a kind of head-ornament; or a particular symbol made with scented rice-flour and triangular in shape स्वस्तिकः मङ्गलद्रव्यं तत्तु तण्डुलचूर्णनिर्मितत्रिकोणाकाराधिवासद्रव्यमिति कल्पद्रुमः।” Pandit Krishnamachariar. परिचारिका०—परिचारिकाः the maids in immediate attendance on the queens. **ऐतेषु—**scil. अन्तःपुरेषु.

**अपूर्वं—**Because adornment of the person in the case of the inmates of the harem was an ordinary thing.

केवलं &c.**—**The sentence may end with समादिष्टः; I was ordered by the King because the royal command must be given; or the constr. may be समादिष्टोहं स्वाम्यादेश इति मत्वा &c.

P. 33. **वीणा—**Popularly called Bîna or the Indian lute is a stringed instrument with a large round hollow bowl, a body of thin wood and a neck with tuning pegs and metallic strings, and with a hollow gourd attached to it on the other side of the body.

**काञ्चनमाला—**was the attendant of Vásavadattá in the palace of Mahâsena and followed her as her principal maid also after her marriage with Udayana. In the Garbhanâtaka she herself plays her own part **गन्धर्वशाला—**the same as the प्रेक्षागृह. प्रविशति आसनस्था—प्रविशति is discovered, seated. See notes p. 24. **बीणाचार्यः—**i. e. Vatsarája. **एक उन्मत्तः—**This undoubtedly refers to Yaugandharâyaṇa, the devoted minister of Vatsaraja, who in

the guise of a mad man, with Vasantaka, saw his master in his prison in order to effect his release and gave him instructions as to how that was to be done. **चित्रं—**wonder, astonishment. **भावितः—**seized completely, or entirely overpowered by.

सुष्ठेवं &c.**—The reading in the foot-note is better. सदृशा सदृशे &c.—**Cf. सर्वः सगन्धेषु विश्वसिति। द्वावप्यत्रारण्यकौ। Śak. V. p. 132.

राजपुत्र्याः &c.**—This speech is addressed to Vâsavadattá.: we expect here the stage-directio—वासवदत्तां प्रति तन्त्री—**Thestring or wire of a musical instrument. **घोषवती—**a Vîná. Here the name of the Vînâ. presented to king Udayana by Vásuki, SeeKatha. XI. 3. See, however, Intro., the legend about Udayana.

**सारयति—**Adjusts, puts into tune; or strikes to see if they were in good order. रमणीयं भवेत्— Because she could not have waited for the king very long.

Ś1. 5. संतापं &c.**—**Construe शीतांशुः यथा प्रथमं संतापमकरोत्तथा अद्यैव न कुरुते; similarly उष्णा निःश्वासा यथा पूर्वमजस्रमधरमग्लपयन् तथा &c. **अजस्रं—**Constantly or continually, fr. जस् with न (न जस्यति ) and aff. र which is added to नम्, कम्प्, स्मि, जस्, &c. ( Pân. III. 2. 167 ); नम्र, कम्प्र, &c.; जस् is always preceded by अ (नञ्) जसिर्नञ्पूर्वः क्रियासातत्ये वर्तते। अजस्रंसंततमित्यर्थः। Sid. Kau. This is an **अव्यय. मनोरथेषु संचि०—**Thought of as being near accomplishment. Cf. for a similar thought आशंसापरिकल्पितारवपि भवत्यानन्दसान्द्रो लयः । Mâl. Mâd. V. 7. त्वदुपलभ्य समीपगतां प्रियां हृदयमुच्छ्वसितं मभ विक्लवम्। Mâl. III. 45; and for the idea somewhat differently expressed अभिमुखीष्विव कांक्षितसिद्धिषु व्रजति निर्वृतिमेकपदे मनः। Vik. II. 9. For an opposite idea cf तीव्रः स्मरसंतापो न तथादौबाधते यथासन्ने। Rat III. 10.

सर्वं तच्चरितेनैव &c.**—तच्चरितेन—his own deeds. शिक्षितव्यं to be learned by way of acting. She means—**As the king knows his own acts then, it will be easy for him to play his own part without instruction. Nothing will go amiss; and the Queen will not detect the fraud.

P. 35. **दास्यापि नर्त्यन्ते—**This speech of the Vidu ought to be taken as अपवार्य(meant to be heard by the king alone). **गुरुता—**Weightiness, importance (which makes a king humour maid- servants even); for, मनस्वी कार्यार्थी गणयति न दुःखं न च सुखम्। Bh Nit. 81, Śree. reads दास्य इव and explains दास्यो गणिका **इव नर्त्यन्ते नर्तनभाजः क्रियन्ते। निभृतेन—**Adv secretly, being concealed; or silently; or it maybe an adj. qualifying **भवता. चित्रशाला—**A picture gallery; seems to be here one adjoining to the concert-hall. आरण्यिका—तिष्ठतु वीणा

&c.. This speech of A’ra. is to be read directly after अत्सङ्गे वीणां कृत्वा सारयति। The entrance of Monoramâ, the king and Vidu., the participants in the intrigue being considered as aside. **उद्देशः—**Part of the story, context (so that he may know where his part begins )

**अपहरति मां—**Transports me with joy, fascinates or infatuates me.The king overhears her and understands अपहरति in the sense of ‘takes me away.’ **मुञ्चामि—**the object being **तम्.प्रविश्य—**i. e. on the stage of the Garbhanátaka unseen by A’ra. Vása. and Kán **ग्रथितं बध्नाति–**It seems from this to have been an old custom, which still prevails in many parts of India, to tie a knot generally at the end of a garment when there is some pronouncement or an auspicious omen in favour of one’s desired object, and is therefore called शकुनग्रन्थि ( शकुनगांठ in Maráthi ), It is also tied when one is determined or definitely undertakes to do a thing (निश्चयसुचकं) and wishes to be reminded of it.

Ś1. 6. अपहरामि—अपहरिष्यामि, pres. in the sense of immediate future. अपहरामि इति पश्यामि the whole line, however, is metrically faulty; but it is so found in almost all the printed editions. Sreenivasachariar reads.—ताहरणं न चिरादेवेति पश्यामि; but this seems to be a conjectural emendation, and is also syntactically inaccurate. We cannot connect उपनीय with अपहरणं unless we supply स्थितेन—उपनीय स्थितेन मया, अहं after पश्यमि is dropped as a useless addition, that might have originally got in through the carelessness of some scribe.सुसंनिहितं सर्वं&c**.—**Well arranged and brought within reach, i. e. made practicable. यौगन्ध०—युगन्धरस्य अपत्यं पुमान् ; the son of Yugandhara, who was the chief minister of Vatsa.’s father, Sahasráníka. Similarly the fathers of Rumanvat and Vasantaka also were his father’s servants. See Br. K. M. II. 12, 13; सुतो युगन्धरस्यासीच्श्रीमान्यौगन्धरायणः। रुमण्वान् सुप्रतीपस्य द्विजस्य च वत्सन्तकः॥ यौगन्धरायणो मन्त्री रुमण्वान्वाहिनीपतिः। वसन्तको नर्मसुहृद्राजसूनोरभूत्ततः॥ Ibid. 38, 39. Yaugandharáyaṇa was the devoted minister of Vatsarâja, the purpose of whose life was to see his master elevated to the rank of an emperor. When he heard that his master was put into custody he, leaving the cares of the kingdom to Rumanvat, came to Ujjain with Vasantaka to concert a plan for his master’s escape. There he entered the cemetery and by the help of a friendly Brahmarákshasa, called **योगेश्चर,**he changed his own form into that of a dwarfish old hunch-back, and gave Vasantaka a deformed shape with a protuberent belly and projecting teeth and found access by

that means to the apartment of the Princess. There the two made themselves known to Vatsarâja. Then Yaugandharáyaṇa informed the king of the arrangements made for his escape with Vásavadattá (see ante notes p. 6 foot-note) and keeping Vasantaka there for his amusement returned to Kaus’ámbî.

**वासवदत्ता (सहसोत्थाय )—**Vásav. forgets that she was one of the spectators and that A’ranyika was playing her part in the mimic play and suddenly rises at the sight of the king. This of course has a different effect on the king who has a guilty conscience. He thought that the fraud was detected.संभ्रमेन—संभ्रम hurried respect or hurry to show respect. Cf. for this meaning गृहमुपगते संभ्रमविधिः Bh. Nît. कथं प्रत्यभि०—SOVása in the Ratnávalîकथं ज्ञातास्मि(p. 71) when she goes disguised as Ságariká to the rendezvous.

**प्रेक्षणीय०—**Śamk, means—why do you rise in a hurry; this iśnot the real king.

P. 36. उच्छ्वासितोस्मि— I am made to breath a sigh of relief; life is put in me (by Śamk.); this he says because he dreaded the anger of the queen. सविलक्षस्मितं—विशेषेण लक्षयतीति विलक्षं विलक्षेण स्मितेन सहितं यथा तथा; with a smile of amazement or wonder; विलक्षो विस्मयान्वितः Amara . ; or विगतं लक्षं यस्मात् तद्विलक्षं; with a smile of embarrassment or bewilderment.

Ś1. 7. **तद्—i.**e. of Vatsarája. नयनोत्सवा०—श्लाघ्यान्वयेति नयनोत्सवकारिणीतिMál. Mâd. VI. 17; also II. 3. **सा—i. e. which characterises king Vatsa. मत्तद्विरदो०—**i. e. a stately and majestic or dignified gait. **सत्त्वं—**dignity; or firmness, vigour, substance (inferrable from one’s outward bearing or_deportment ). Cf. क्रियासिद्धिः सत्त्वे भवति महतां नोपकरणे Sub.; सत्त्वोत्कर्षस्य धात्रा निधय इव कृताः &c., Mud. III. 22. **ऊर्जितं —**great; p. p. p. of ऊर्ज् 10 cl. to become strong or powerful.**सान्द्र—Dense, filled with water. जलदह्रादानु०—**A deep loud sound is the characteristic sign of a grest man; cf एष च दुन्दुभेरिवातिगम्भीरः स्वरयोगोऽस्य रुदतः श्रयते। Kád. p. 123; नवजलधरध्वानगम्भीरया गिरा Ibid. p. 129; Uttar. VI. 17. **बद्धेन—**see ante I . 5, and Vidû.’s speech on p. 6. नीलोत्प०—निगलनं—निगलनं same as निगडनं chaining, fettering; n. from the denom. verb निगडयति.

P. 37. निष्पादितं &c. This speech of the king is of course स्वगतं. It is not heard by A´ran. or Kánch. **तदाऽस्माभि०—**The अभिल० was that Vása, should secure Vatsa’s love. The reading आलपितव्यं for अभिल० is not so good as it does not agree well with निष्पादितम्.

ŚI. 8. **घनबन्धन०—**This epithet is ; श्लिष्ट; the sl. having a side-meaning; see I. 5 supra.-(1) covered or occupied by a denseline of clouds; (2) hidden from view by the compact or closely hemmed in prison walls. Sreekri. takes गगनं in the sense of the dark prison ( गगनसदृशं तमसा नीलं चारकं ); in this case घन० will mean well secured by the close fastened prison doors. मानसं—(1) the lake Mánasa* on mount Kailasa to which swans are described as migrating at the approach of the monsoon; see Meg. I 11; Ragh. XIII. 60; (2) the mind. मानसमेतुं—cf.मानसमुपैति केयं चित्रगता राजहंसीव। Rat. I. 9. राजहंस—(1) A swan;(2) the best of kings, Vatsarája. Fig. अप्रस्तुतप्रशंसा.

**स्वप्तुं न ददासि—**For a similar use cf. बाष्पस्तु न ददात्येनां द्रष्टुं चित्रगतामपि Sak, VI. 22. लज्जैव वक्तुं न ददौ Kád. p. 289.

**रात्रिंदिवं—**A Dwandwa comp. the nasal added to रात्रि is by निपातन ( irregular ); see Pán. V. 4. 77; यदा प्रभृति—निद्रा नदृष्टा—Vidu’s fondness for sleep is often referred to by poets; cf..Sak. IIरात्रावपि निकामं शयितव्यं नास्ति।He sometimes betrays thesecret of his master and thus puts more impediments in his way. by his prattlings in sleep, as here. Cf. in this respect his speech in the Mal. IV p. 83 —विदू०–( उत्स्वप्नायते) भवति मालविके &c. For an instance of prattling in sleep comp. the scene wherein Vásava- dattá sleeps in Bhá’sa’s Sva. Vas. V.

Ś1. 9.**अभिनव—**New, hitherto unknown. **क्षिप्ता—**hurled into, i. e. caused to be suddenly or forcibly smitten by passion. **वामकेन—**Káma is represented as वामacting perversely, as making a person love one that is unattainable. Cf. साखि वामः किल कामः Das. Oh. ; and वामः कामो मनुष्पाणां&c. Rámá. Sund. K. XXII. 4, where the Com. says वामः क्रूरः इत्यर्थः। सव्ये क्रौर्ये सुन्दरे च वामः। इति कोशः

** मधुकरिका—Sans. poets represent even a female bee as longing for the company of her lover and enjoying amorous sports; cf.- Kum. III. 36. and एषापि कुसुमनिषण्णा……… भवन्तमनुरक्ता प्रतिपालयति मधुकरी&c. Sak. VI. 19. उत्ताम्यति &c—**Cf. for the same thought differently expressed Mala’s words नाथ मां पराधीनां त्वयि गणय सतृष्णाम्। Mâl. II. 4. Herein also we havе thе अप्रस्तुतप्रशंसाas Vása.’s- longing for the king is indicated by implication.

**अहो—**expresses astonishment at the skill shown by Vâsa. in playing on the Vînâ and at her proficiency in singing. **वादित्रं—**Performance or playing on the lute; fr. वाद् and the Unâdi affix.
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*****So called being created by Brahmá with his mind. कैलासपर्वते राम मनसा निर्मितं परम्। **ब्रह्मणा नरशार्दूल तेनेदं मानसं सरः॥**Rámâ.

इव by भूवादिगृभ्यो णित्रन्.Properly वादित्र, also called आतोद्य, refers to the four kinds of musical instruments, viz. (1) stringed instruments such as the Viná, wind-instruments such as वेणू instrumentswith mouths covered with hide, such as the मुरज, and instruments beaten, such as cymbals (कांस्य,&c.).

P. 38. S1. 10. This contains many technical terms of music. **व्यञ्जनधातु—**one of the four modes of playing on a lute. These are विस्तार, करण, आविद्ध and व्यञ्जन; see com.; read विस्तारकरणाविद्ध &c.**धातु—**Properly an element that produces anything; here the act of producing musical notes or tunes by striking the strings of a musical instrument; see com. For its ten forms distinguished by the different ways of striking the strings with the fingers, see com. **वृत्तिः—**V. l. for व्यक्तिmeans the relation between the vocal and instrumental music as the one or other is principal or subordinate; see com. Mr. Gadre quotes Rághavabhatta on तवास्मिगीतरागेण( Sâk. I ) who says गीतरागेण श्रीरागादिना धातुना and says that धातुmay mean Rága, the Rágas being ten, according to some authority. **लयः—**seems to be used here for तालthough there is a technical difference between the two. ताल is musical measure or time (तालः कालक्रियामानं ) while लयं is the union or agreement of song, dance and instrumental music. लय,however, falls under the general category of ताल—cf—लयो दशतालप्राणान्यतमस्तालान्तरालवर्ती लयनात्मकः कालविशेषः। उक्तं च प्रस्तारे—कालो जातिः क्रियाङ्गानि मार्गग्रहकला लयः। यतिः प्रसारकश्चेति तालप्राणा दश स्मृताः॥ quoted from the com. on the Mallikâmaruta by Gadre. The three kinds of लयor tempo are द्रुतor rapid (allegro), मध्यor middle (moderato) and विलम्बित or slow (adagio) correspondingto which are the three pauses समा, स्रोतोगता and गोपुच्छा. See Nat. sa. 31. 331- 333. **गोपुच्छ०—**Read गोपुच्छाप्रमुखः;गोपुच्छा ( so called because it resembles the tail of a cow-see com.) प्रमुखा यासां ता गोपुच्छाप्रमुखाः तत्व, ओघ and अनुगत are the three modes of playing on & वीणा (वैणं ) ; see com.; read in the com वाद्यमथोघोinstead of मयोघोFor other particulars see the extract from Sivaráma’s com. on this sl. in the Nágánanda, given on. p. 60. उपाध्यायःSee com.; fr. इ with उपाधिand aff. अ (घञ्). Properly a spiritual teacher. See Sak. V. p. 118. एकदेशं तु वेदस्य वेदाङ्गान्यपि वा पुनः । योध्यापयति वृत्यर्थमुपाध्यायः स उच्यते ॥ Hence a teacher or preceptor in general

यदहमिच्छामि &c**.—This apparently means-may you be an adept in music as I wish you to be; the real meaning is—**may you be my queen as I wish you to be. This is probably suggested by Kás’yapa’s words यदिच्छामि ते तदस्तु in Śák IV. p. 110.

P. 39. **विद्मामानेन—**By being honoured for her proficiency in the art. **पीठिका—**seat. शिष्याविशेषा—शिष्यासु विशेषा distinguished among pupils; an excellent pupil. Cf. अथिविशेष Śak. I. आकृतिविशेष &c. **काव्यं —**Subject matter. **अधिकं—**exceeding or not in the original; कृतंyou have overdrawn the original This brings out- the extreme modesty of Vásava, as a high-born and well-bred girl. She does not like to be so represented even before the inmates of the harem.

P. 40. अधिकमेतदपि—Viz. making the king seize her hand. काव्येन—काव्य composition, hence poetic. art. She means— Kancha. may be deceived and speak in the way she is made to speak, but I cannot bear to see such false representation. Some read the two words as compounded. Then the meaning is**—**by the words put in Kán.’s month. I should not be placed in a false position by Kanch.’s speech. The Queen does not appear to have suspected any intrigue yet, to which Sámkri. could have been a party. This she does later on, when she discovers that it was the king who acted his own part. काव्यं भविष्यति **—**She means poetic art requires such additions for stage effect. आर०–सरोषमिव—A’ran., as was becoming a princess whom she was representing shows outward anger, seeing a hint to the king to seize her hand in Kanch.’s speech तत्समाश्वस्ता भवतु मुहुर्तं above. A’ran, however, was innocent as she did not know that it was the king himself who was playing his part, as is clear from her speech below—ऐतां मनोरमां स्पृशन्त्याः&c. Also because the plan was arranged without her knowledge by Manorama, who whispered into Vasantaka’s ear what was to be done and Vasantaka’s suggestion to her was aside. See p 29.

ŚI. 11. **अवश्यायः —**dew. **व्यतिकर—**contact. पद्मकोशः—A lotus bud The hand with its fingers closed and covered with drops of perspiration is compared to a lotus-bud drenched in dew-drops. ह्लादित्वं &c—Construe—अस्य (पद्मकोशस्य) ह्लादित्वं सदृशं न मन्ये। यतः अस्य पद्मकोशस्य वीतातपस्य उषसि एव इदं (i. e. which is now felt by me) ह्लादित्वं भवति। The reading पीतातपस्यis bad as there is no आतप at dawn. **नखरजनि०—**The comparison of nails to the moon is unusual if not unpoetical. सः अपि—i. e. हिमौघः (shed by the moon.) **दाही—**Burning; of course to love-sick persons; or to persons in separation. Cf विसृजति हिमगर्भैरग्निमिन्दुर्मयूखैः । Śak III. 3 ; and अमृतसृजोपि विरहाद्भवतो यदमूं दहन्ति हिमरश्मिरुचः । Sis IX. 68. **अपदेश—**Pretext, guise. Cf. कुतोन्यथा स्त्रवत्येष स्वेदच्छद्मामृतद्रवः । Rat. II. 18. The figures in this Śl. are संदेह, अपह्नुति, रूपक and उत्प्रेक्षा.

ŚI 12. **बाल—**tender. **अपहारदक्षेण—**Clever in robbing i. e. fully resembling. रागः—(1) redness; (2) passion.

P. 41. **अनर्थमिव कुर्वन्ति—**i. e feel an overpowering thrill through them. This was because it was the touch of a real male.

**अलीकं—**False. She feels that the scene was purposely so arranged. गान्धर्वो **वि०—**A marriage brought about by mutual consent; it was much in vogue among the ancient Kshatriyas, It is one of the eight forms of marriage recognised by Hindu law-givers. Cf. As’.v. Grh. I. 6. 5 मिथः समयं कृत्वोपयच्छेत स गान्धर्वः।and Manu. III. 26, 32 quoted in the com.

**अस्थाने—**Lit. at an improper place; when there is no occasion for it. **रस—**the interest awakened by the acting. **अन्यथैव—देव्या—**i. e. thinking that I might have allowed the king to actin my place. **अन्यथैव—**i. e. thinking that it was simple question, not having the sagacity to divine the Queen’s real object. **आकुलीकृतं—For the fact that Monoramáwas waiting thereshowed that she was acting in league with the king. बटुकेन—कimplies censure (कुत्सायां कन्।); the foolish fellow having no common sense.एतेन खलु&c.—**Mark how ready-witted Manoramá is. She casts the net on Vidú.; full sure that he would save her, even at the risk of incurring the queen’s displeasure.

P. 42 **मूर्खनिर्घोषा०—V. l. is bad. For मूर्ख can only refer to Vidû; but then if not Mano.’s cries, the loud voice of Vidû. would have attracted attention. सुत्रधारः—i. e. he has arranged the whole business. कुत्र आरण्यका कुत्र &c—कुत्र repeated like क्व-क्कshows the great disparity between the two. Where is Ara; your servant, and where poor Vasantaka. How can he dare take part in such an intrigue? प्रेक्षणीयमस्य&c.—Let me see how he enjoys the acting he has arranged. I shall just go to the king and expose the whole affair. Mr. Gadre compares the Marâthi expressin याचा आतां तमाशा पहातें. हताश अनुभव &c.—**Mark again how the sagacious Manoramá says this to lull all suspicion on the part of the Queen that she was in the intrigue. **बन्धितः—**caused to be bound or fettered; p. p. p. of बन्ध्cau.

P. 43. **कथं विज्ञातोस्मि—**The king is surprised as he did not expect that Manoramáwould be seen by the Queen and the ruse discovered. **अभूमिरियं—**Sámkrityayanî wants to show that she. being a holy personage should not be in a place where deceit was practised.

ŚI.13. **वीक्षितं—**P. p. p. used as a noun (वीक्षणं); cf. with this भ्रूभङ्गे सहसोद्गतेपि वदनं नीतंपरां नम्रतामीषन्मां प्रति भेदकारि हसितं नोत्कंवचोनिष्ठुरम्। अन्तर्वाष्पजडीकृतं प्रभुतया चक्षुर्न विस्फारितं कोपश्च प्रकटीकृतो दयितयां मुक्तश्च न प्रश्रयः॥ Rat. II. 21.

** अपूर्वोयं कोपप्रकारः—**Cf प्रिये अपूर्वोयमुपचारः । Mal. IV. p. 84

** आरण्यिके त्वंकुपितेति—**Here Vása.’s jealousy is well brought out. In this scene she is represented as इर्ष्याकषायिता. Bhása does not degrade her down to the level of ordinary women. But the cannons of dramaturgy require the chief queen in a Nâtiká to be jealous at every step. See Intro. p. 9. आरण्यिका—नाहं &c.—This was true; see supra note on .सरोषमिवp. 40. **गृहाणैनां—In the Rat also Ságariká and Vidû. are similarly treated. See Act III. p. 79.भवति अद्म कौमुदी&c.—This defence of the King by his friend, though ridiculous in the eyes of the Queen, has some point in it from Vidú.’s own stand point. He means—**This being the time of the Kaumudî festival some liberty of action may be allowed to men. And so my friend acted that way just to see how you would take it and thus to enjoy the fun. Hence the king finds in this a crutch on which to lean. Ses sl. 14, last line.

P. 44.**दुर्नयं—**ill-advised course of conduct, mischievous or wrong policy, misbehaviour. She says युष्माकं because she knows that Vidû. (whom she has already called आरण्यिकानाटके सुत्रधार) is the King’s principal accomplice in love-intrigues.**विकल्पित—**P. p. p. used as a noun; wrong supposition, suspicion (of a thing).

Ś1. 14. भ्रूभङ्गैः—भ्रूवोः भङ्गः भ्रूभङ्गः the knitting of the eyebrows; a frown. भ्रूभङ्गाःthe repeated knittings or frowns. The frown disfiguired her fair face.

** ललाटशशिनः—०शशी** that is now spotless and so superior to the moon.The comparison shows that the moon meant here is the moon of the 8th day of the bright half of a month; cf अष्टमीचन्द्रशकलाकारं ललाटदेशमुद्वहन्तं Kád. p. 19, 26. **बन्धूजीवसमतां—**The बन्धु०flower is bright red and hence the lip is compared to it; see . supra p. 13, note on **बन्धुक. मध्यः खिद्यते—**suffers pain, is oppressedwith the burden of; for the idea cf. क्रीडन्त्यांःपीडयेव स्तनभरविनमन्मध्यभङ्गानपेक्षम्। Rat. I. 16.

** अकृत्वैव प्रसावं**&.**—**The king uses the same words in the Rat. when Vása leaves him without minding his prostration at her feet; see Act III. p. 77. 4

ŚI.15. **भिन्न—**Broken through, streaked with; or mixed with; qualifies **मुखं. ऐकं–**i. e. of theQueen.**अपरं —**i. e. of A’raṇyika **उत्प्लुत्यो०—**bounding repeatedly, i. e. with great force and speed; the same as Káli’s उदग्रप्लुतत्वात् Śak. I. 7. The वीप्सा (repetition) shows the intensity of the action. उत्पश्यन्—As Ilook up to. **इदं—**this, i. e. standing before my eyes as fancied or pictured by my mind. The cons. is इदं रुषा स्वेदाम्भ&c.एकं,त्रासेन ॰त्पलमपरं मुखमुत्पश्यन् &c. Compare with this the concluding SI. of Rat III
** भीतश्च—च—**Here the two चऽhave the sense of ‘and yet’ or at the same time. तद्यावत्—And so the king in the Ratnávali—देवीं प्रसादयितुमभ्यन्तरमव प्रविशामि । Rat. III. p. 84.

——————

ACT IV.

———♦♦♦♦———

P. 45.**दीर्घरोषता—दीर्घोरोषो यस्याः सा दीर्घरोषा तस्या भावः दीर्घशेषता। एतावन्तं—एतत्परिमाणमस्य एतावांस्तम्। अङ्गारवती—**Queen of Mahâsena and mother of Vàsavadattá. She was the daughter of the Asura Amga’raka and the most beautiful maiden of the time. By a boon conferred upon him by the goddess Durgá Mahâsena got her for his wife after killing the demon. Cf. किं चाङ्गरवती नाम कन्यां त्रैलोक्यसुन्दरीम्।अङ्गारकासुरसुतां शीघ्रं भार्यामवाप्स्यसिII. Kathâ39; and for the story the s’lokas 43-73

P. 46. **या मम भगिनी—**The name of Angáravatî’s sister, the wife of Drdhavarman, is not given here; nor is mention made of her in the story alluded to above. So she seems to be a creation of the poet-this serves a double dramatic purpose. It makes the Queen readily give up her anger towards the king and also paves the way to the marriage of Aranyiká (who turns out to be Priyadarshika’, the daughter of the Queen’s aunt) with the king.

**विज्ञापयितव्यः—**should be told. Mark the use of the verbs आज्ञापय् and विज्ञापय् which are used respectively when something is said by a person superior in rank to one inferior in rank, and by one inferior in rank to one superior in rank.

**अनुवाच्य—Mark the sense of अनुवाचय् which means to read to oneself before reading aloud cf उभे ताममुद्राक्षगण्यनुवाच्य &c. Śak. I. p. 36. देवी–अनुवाचय तावद्यद्यविरुद्धं श्रोष्यामि।**Vik II. p. 56.
दन्तवलभ्यां—वलभि-भी is the uppermost room of a house; (here the palace and built of ivory). It is also mentioned in Rat. III.

एष खलु भर्ता…दन्ततोरणवलभ्यां तिष्ठति । P. 62. It is written with a shortइ(as in तां कस्यांचिद्भवनवलभौMeg. I. 41) or long ई **(**as in दृष्ट्वादृष्ट्वाभवनवलभीतुङ्गवातायनस्था। Mâl. Madh. I. 15) where Jagaddhara says—सौधोपरिकुटीं वलभीं विदुः । ) अत्याहितं—अतिशयेन आधीयते तन्निवारणार्थं मनो यस्मिन् a great calamity; or a rash deed endangering life. अत्याहितं महाभीतिः कर्म जीवानपेक्षि च । Amara. **भवेत्—**This gives a hint which prepares the audience for A’ra.’s swallowing poison , further on in the Act;. see p. 54.

P. 47. **नेदृशः—**not such i. e. indifferent. The scene opens while Sâm. and Vâsa. are conversing. This is a reply to Vásavadattâ who in her previous speech must have charged her husband with being indifferent to the calamity that had overtaken her aunt’s husband. **विज्ञाय—not only ज्ञात्वा; when he knows very well. तादृशी न— i. ethe sole object of his love. तव पुनःg:&c.—She means—**you have seen how the King has transferred his love entirely to A’ranyiká.

**यत एव मे प्रत्पक्षं—Sàmkr. means–**Because I witnessed it myself I know what it all really was. Vatsarája wanted to enjoy a joke by playing his part himself and telling you in the end how could not discover who the real actor was and thus to make you laugh. Had there been a love intrigue he would have taken care to keep Vasantaka and Manoramáout of the way. Of course this does not convince the Queen.

**हासितास्मि—**The Queen puns upon the word हासिता which means ‘made to laugh’ and ‘caused to be langhed at’, using it in the latter sense. **लज्जया—Because the King manifested his love for Aranyiká so openly. Even her maid-servants knew that she was no longer loved as before by the King. एतावतीं भूमिंgaf &c.—is ironical, She means—**I have been reduced to such a sad plight. **वासव०’**says **—**these are your sweet fancies; what does the King care for me now? This she says as प्रणयकुपिता. Similarly Dushyanta says to Vidu. in the Sâk. मनोरथा नाम तटप्रपाताः (V. 10).

P. 48. **संघट्ट—**Collision, close or hard fight. **समुदितः—possessed of; or rendered more powerful ( lit. elevated, lofty). सुपीडितं कृत्वा&c.—This suggestion of the Vidû. which is ridiculous on the very face is meant to stir laughter. कुब्जवामन& &c.–**These with the Kirâtas (see Rat. p. 36.) formed the usual male attendants of the harems of ancient kings. For their bravery cf. Rat. II. 3. मासोपवासं—मासमुपवासः मासो० Acc Tat. **देवी चण्डी—**There is a pun on the word चण्डीwhich means wrathful and is also e of

an epithet of the fierce goddess Durga whose favour is also obtained by fasting.

**धृष्टः—**has here the sense of ‘shamelessly bold ; cf कृतागा अपिनिःशंङ्कस्तर्जितोपि न लज्जितः। दृष्टदोषोपि मिथ्यावाक् कथितो धृष्टनायकः॥ Sah. D.चाटु—Pleasing or coaxing words; flattery; words of blandishment ( especially those addressed by a lover to his beloved )t cf. प्रियः प्रियायाः प्रकरोति चाटुम् । Rit. VI. I2 विरचितचाटुवचनरचनं चरणरचितप्रणिपातम् । Git. 11प्रपञ्च **—**extension ; fr. पच् ( पञ्च् ) 1 A to be clear or manifiest ( प्रपञ्चते इति ) ; and aff. अच् (अ)

P. 49. सखेदं—खेदेन (fatigue, languor ) सहितं यथा तथा।

Sl. 3. मयि—मद्विषयं; with regard to me; for me; the loc. is **वैषयिकी. मम-मदर्थम् तान्त—**wearied, languid; p. p. p. of तम् 4 p; tobe exhausted, &c.; Cf. ललितशिरीषपुष्पहननैरपि ताम्यति यत्। Mâl• Ma´d, V. 31; and as the fatigue may be due to slenderness तान्त may secondarily mean ‘slender.’ दृष्टिप्रसाद &c For a similar idea cf. प्रसादमाकाङ्क्षति यस्तवोत्सुकः स किं त्वया दासजनः प्रसाद्यते । Vik. III. 13. **विलक्षः—**abashed or put to shame; or embarrassed.

आर्यपुत्र विलक्षः&c.— is ironical. She means—you are not बिलक्ष ashamed but विलक्षःembarprassed, being an admirer of Âranyiká.

**सत्यमहं विलक्षः—**Cf. देवि एवं प्रत्यक्षदृष्टव्यलीकः किं ब्रवीमि। आताम्रतामपनयामि विलक्ष एषः &c. Rat. III. 14.

P. 50 Sl. 3. भ्रूभङ्गं—This is the first sign of anger. Cf. śak. V. 23. स्तिमितः P. P. p. of स्तिम् 4. p. to become fixed or rigid;steadied, held up, not allowed to manifiest itself, and hence causing pain inwardly. गूढप्रहारो०– गूढश्वासौ प्रहारश्च गूढप्रहारः स उपमा (in the sense of उपमानं ) यस्य ; or उपमाति इति उपमः (क i.e . अ being added to मा कर्तरि ); ०प्रहार उपमः यस्य प्रहारस्य or-रेण उपमा यस्य is inadmissible, as Pán. does not sanction such a Vyad. Bah, A third way is • प्रहारेण सदृशः, उपमा being treated like संकाश, निभ, &c.**—**a Nityasamása.

सुखितः—सुखमस्य संजातमसै। सुखितः; explain similarly **दुःखित. विकारयसि—**torment, afflict **सिद्धे एवास्मिन्ध०—**As that would have caused the Queen surprise and given her greater satisfaction.

SI. 4.**तै—**i.e.sowell known for their bravery. **बाह्यविषयः—i. e. the territory outside the fortress. दुर्गं &c—**Constru. अशरणः सहसा दुर्गं प्रविश्य स्थितः ( which must be supplied) असौ कलिङ्गहतकः प्राकारमात्रशरणः कृतः। प्राकारः ( here the rampart of the fort ) एव प्राकारमात्रं; now see com.

P. 51. Ś1. 5. निर्दिष्टा०–निर्दिष्टं-mentioned above. आक्रान्तं attack (p.p p. used as a noun आक्रान्ति which is also a variant here) तेन मन्दं

discomfited, with his power crippled (विहतप्रतापं ). निर्दिष्टाक्रन्दमन्दं V. 1.**—**here आक्रन्द means a battle; see com, दासेराः—Servants दास्या अपत्यं दासेयः by affixing एय ( ढक् ) which is added to words of two syllables ending in a fem. affix. (व्द्यचःPán. IV. 1. 121 ह्यचःस्त्रीप्रत्ययान्तादपत्ये ढक् Sid. Kau.); क्षुद्राभ्यो वा । Pán IV. 1. 131; when the female is of a low character ढ्रक्(एर) is optionally affixed; so दासेरः and दासेयः क्षुद्राः अङ्गहीनाः शीलहीनाश्चताभ्यो वा ढ्रक् \। Sid. Kau दासेर thus etymologically means a person of a low origin, and then a servant; and it is in this sense that the word is used here. See A.K. quoted in the com. The word दासेरis used for alliteration. **वृत्तं—**The working of, i. e. the schemes or activities of. The comp. may also he taken as वीराश्च ते दासेराश्च (his slavish warriors) according to कुत्सितानि कुत्सनैः । Pán. II. 1. 53. But that will not do here; as the king, who is an admirer of the heroic deeds of his enemies even, is not likely to speak disparangingly of the warriors here. नरःfoot soldiers. **अप्रतिविधाय—that is—**without taking measures to avenge the wrong done to Drdhavarman. **ततः प्रवि० कञ्चुकी च—**This is the chamberlainattached to the court of Dṛdhavarman, who had been serving his master in his captivity (see p. 5) now coming to see Vatsarája with a message from his royal master. **अद्यस्वामिपादाः—यमनुभवामि—**Mark the contrast this gives with Śl. 8 Act I.The reason is given in the next sl. by the Kanchukî. Vijaya. feels happy here, because he has achieved a great military featthat was sure to be hailed with great delight by the King and Queen. The conquest of Vindhyaketu was a comparatively insignificant matter. Cf. Rat. IV. **बाभ्रव्यः—वसुभूते अद्य खलुचिरात्स्वामिनं द्रक्ष्यामीति यत्सत्यमानन्दातिशयेन किमत्यवस्थान्तरमनुभवामि।**p.100

Śl. 6. **निर्भरः—**Excess; निःशेषः भरोत्र इति निर्भरः now see com. **अन्यथा—**Even when he has not executed a command; ordinarily. **निव्यूढे—**Fully carried out; completely executed. **नियोगभरः—**The responsibility of a duty; hence, an onerous task or momentous business, entrusted to him.

SI. 7. देवस्यसमादेशः &c.—This reading is preferable toदेवस्य समादेशाद्रिपुजयिना &c. as it brings out more prominently the signal service rendered by Vijayasena. ०देशोवस्थापितः V. I.**—**violates the metre and also is not appropriate.

पत्रिकां—पुत्रिकायुगं v. l. is bad, as we are not told anywhere in the play why the two girls were sent, nor is there a reference to them in what follows. **गुरुपूजा—**Here he refers to the King as Vàsavadattá’s Guru

** सर्वबंधनमोक्षः—It was customary to set prisoners free on an occasion of great joy, such as the birth of a son and heir to a King, a great victory over an invading powerful enemy, &c.; cf. Hemadri on Raghu III. 20—युवराजाभिषेके च** परचक्रावमर्दने। पुत्रजन्मनि वा मोक्षो बद्धस्य हि विधीयते॥cf Mal. V. p. 106, where the king, on hearing of the victory gained by his son (sl. 15) says—मौद्गल्य **मुच्यन्तां सर्वे वन्धनस्थाः।**Also IV. p. 73, where Vidû. says–दैवचिन्तकैर्विज्ञापितो राजा सोपसर्गं वो नक्षत्र सर्वबन्धनमोक्षः क्रियतामिति । see also Mrch X. p.

**छोढिका—Snapping the thumb and the middle finger together. P. 53. कथं त्वं&c.—The impatient Vidû. wanted Va’savadattá to give the order for the release of A’ra. at once. सम्बन्धः— Family connexion. वासवदत्तायाः परिणेत्रा &c.—**The pain is removed at the thought that you. as the husband of Va’sava. are connected with our family.**संचिन्त्य—**Thinking it to be a wise step. स्मर्तब्पतां **नीतं–**reduced to the condition of being remembered, made a matter of memory-a phrase often used in the sense of ‘utterly destroyed’. Cf. अवगम्य कथीकृतं वपुःKum. IV. 13. For this see the Chamberlain’s introductory speech in Act I.

P. 54.विजयसेन किं &c.**—**The king asks Vijayasena significantly. He knew that A’ranyaká was meant. **प्राणसंशयेवर्तते—**is in imminent danger (of life). This speech of Manoramá is so introduced as to be taken in connection with and serve as a reply to the Kanchuki’s words न ज्ञायते क्व वतर्ते इति। it is not known where she is—she is in great danger of life. This is a kind of what is called in dramaturgy a Patákásthána. Four different kinds of it are mentioned in the Sah.–D. One occurs when a speech is so arranged that it should serve as a reply to one preceding it, though uttered in a different context. See Sah. D. VI. 48.

**प्रियदर्शना—**seems to be another name of Priyadars’iká. **कल्प–**wine; see com. **दुःखमन्तरितं—**Not because she was inclined to love Priyadar. but because she feared that people might suspect her hand in the matter of the administration of the poison. अतिदुर्जनः खलु लोकः—Cf. Uttar.I. यथा स्त्रीणां तथा वाचां साधुत्वे दुर्जनो जनः। (sl. 5 ); सूत्रधारः—अतिदुर्जन इति वक्तव्यम्। नागलोकात &c.—It is not mentioned in the Katha that Udayana was taught the art of curing snake-bites and other kinds of poisons by means of incantations and drugs, when in Pátála. It is probably an invention of the poet to enable the king to resuscitate the heroine and thus to assist in the denouement in the last Act.

** विषवेग—**The circulation or effect of poison. **अन्धकारं प्रवेशयसि—**As her brain was affected by the poison her sight was bedimmed and all things appeared to be dark to her.

P. 55.**विपद्यते—**dies; cf. for this sense त्वमनाथा विपद्यसे। Uttar. I. 44; हा तात एष ते नरेन्द्रचित्ताराधनोपकरणं जनो विपद्यते। Mal. Mád. V. p. 107.

SI.8.गतश्च—दाग्धा च—The repetition ofच here expresses the simultaneous occurrence of two actions. **हिमेन—दग्धा—**These apparently appear to be contradictory terms or to be wanting in what is called योग्यता (fitness or power to express a meaning) as अग्निना सिञ्चति which is absurd. But here हिमेन दग्धा is quite intelligible, as the effects of extreme cold and heat on plants, foliage, flowers &c. are similar; cf. **हिमसेकविपत्तिरत्र मे नलिनी पूर्वर्निदर्शनं मता।**Ragh. VIII. 35. वाम—Adverse, unfavourable; cf. for a similar description—आपूर्णश्च कलाभिरिन्दुरमलो यातश्च राहोर्मुखं संजातश्च घनाघनो जलधरः शीर्णश्च वायोर्जवात्। निर्वृत्तश्च फलेग्रहिर्द्रुमवरो दग्धश्च दावाग्निना। &c. Mal. Mád. IX. 39.

** किं ते बोध.–**Have you consciousness, are you aware of anything?
P. 56. S1. 9. The poison was working on Priya., the effects were produed on the King, as he says. This was because their hearts were linked together by love; cf. स हि स्नेहात्मकस्तन्तुरन्तर्मर्माणि सीव्यति। Uttar. V. 17. This indicates the intensity of the King’s passion. The fig. of speech here is असङ्गति which occurs when a cause and its effect are represented as totally different, or separated (or in which there is an apparent violation of the relation between cause and effect ). विरुद्धं भिन्नदेशत्वं कार्यं हेत्वोरसंगतिः। विषं जलधरैः पीतं मूर्च्छिताः पथिकाङ्गनाः । Kuva; **भिन्नदेशतयात्यन्तं कार्यकारणभूतयोः। युगपद्धर्मयोर्यत्र ख्यातिः सा. स्यादसङ्गतिः॥**Kav. P. X. **वेदना—**Feeling or sensation, power of perception. **विषमा—**Adverse, alarming. **मन्त्रस्मरणं—**mental recitation.**नाटयति—**i. e. by the movement of the lips, looking at the person &c., accompanied by the sprinkling of water on the person operated on.

P. 57. **नरेन्द्रता—**The word नरेन्द्र here is श्लिष्ट ( paronomastic ). It means a king and also a विषवैद्यa physician skilled in curing poisons; cf. सुनिग्रहा नरेन्द्रण फणीन्द्रा इव शत्रवः। Sis. II. 88, where the word is used in both the senses. **इदानीमपि—**Even now, i. e, although revived.

** राजा–( सस्मितं )—**Because the king knew that her bewildered condition was due to the action of love at the sight of her lover. For the effects mentioned in the śl. are also due to love affection; of. Mal. Mâd. III. 8.

** अलीकशीले—**Falsely observing reserve or affecting modesty,has here the force of ‘thou naughty or obstinate girl.’

P. 58. कुतोस्माकमन्यथाकर्तुं&c —In the Rat. the King says—को देव्याः प्रसादो न बहुमन्यते। अतोपि परं &c.**—**This is the usual expression marking the close of a drama (the Sans. dramas always having a good end). This is called काव्यसंहार.

Śl. 11. Another feature of the Sans. drama is to enumerate good results attained in the stanza preceding the Bharatava’kya; cf. Rat, IV. 21. त्वं कोपेन &c.**—**So in Rat, देवी प्रीतिमुपागता.

** **P. 59. **भरतवाक्यं—**Lit. The speech of the actor (भरत), technically called प्रशस्ति. It is a sort of stage direction. It refers to the concluding sl. of a play containing an expression of good wishes put in the mouth of the chief actor, as a member of the dramatic party and not in the role of a dramatic personage, all acting being over or the Vákya enjoined by Bharata, the founder of dramatic art.

Śl. 12. This Śl. occurs as the closing stanza of the Ratnâvali also with some variations in the last two lines उद्दाम—दाम्नउद्गतानि उद्दामानिPrádi Tat.; growing unchecked, i. e. luxuri. antly or abundantly; now see com.वासवः—A name of Indra. It is variously derived as—वसोः अपत्यं पुमान्; or वसवो देवा वसूनि रत्नानि वा अस्य सन्ति; ज्योत्सादित्वात् अण् (अ) being added to वसु in the sense of possession (मत्वर्थे). Indra is the ruler of the firmament and the dispenser of rain. Cf. तव भवतु बिडौजाः प्राज्यवृद्धिः प्रजासु. Sak. VII. 34. **इष्टां—**as desired, i. e. timely and sufficient for the growth of corn.**इष्टैः—**By sacrifices; here इष्टis used as a “noun in the sense of इष्टि, त (क्त ) being added to यज् भावे ( to form an abstract noun). **त्रैविष्टपाः—**The gods; see com. **प्रीणनं—**gratification, pleasure. This is done by offering oblations to .them in sacrifices. cf. इष्टान्भोगान् हि वो देवा दास्यन्ते यज्ञभाविताः । Bg. III. 12. and Sâk त्वमपि विततयज्ञो वज्रिणं ( स्वर्गिणः the gods v. l.) प्रीणयस्व । VII. 34.

**विप्राः—**Learned Bráhmanas; जन्मना ब्राह्मणो ज्ञेयः संस्कारैर्द्विज उच्यते। विद्यया **याति विप्रत्वं त्रिभिः श्रोत्रिय उच्यते॥ आकल्पान्तं—**Kalpa is the period of the duration of creation. It extends over one thousand cycles of the four yugas.**स्थिरसमु०—**In the Rat. we have **समुपचितसुखः संगमः. वज्रलेपाः—**see com.; sticking hard to the mind; leaving a permanent impression on the mind. वज्रलेपalso is a kind of glue, so called because things joined by means of it remain stuck together permanently. For it see Vara’s. Brh. ch. 57.

————

APPENDICES

The Subhashitas occurring in the Play
(The figures refer to the pages of this edition ).

प्रविशन्ति शङ्कमाना राजकुलं प्रायशो भृत्याः। 8
गुणैकपक्षपातिनां रिपोरपि गुणाः प्रीतिं जनयन्ति। 9
नास्ति खलु दुष्करं दैवस्य। 15
न खल्वविघ्नमभिलषितमधन्यैः प्राप्यते। 21
प्रायो यत्किंचिदपि प्राप्नोत्युत्कर्षमाश्रयान्महतः। 30
सदृशाः सदृशे रज्यन्ते। 33
दुःखं याति मनोरथेषु तनुतां सङ्कल्प्यमानेष्वपि। 34
अतिदुर्जनः खलु लोकः।
वामे विधौ न हि फलन्त्यभिवाञ्छितानि। 55

—————

The flowers and the trees mentioned in the play.

**अम्भोरुह्—**A lotus, or water-lily in general.
उत्पल—A lotus ( Nymphaea²⁷⁸*) in general, refers to कमल ( seer Ragh. III 36 ), कुमुद, &c. 44.
**कदली—**The plantain tree. 9, 21, 23, 27.
**कमल—**A lotus ( Nelumbium Speciosum ) in general; कं जलं अलति (beautifies); or काम्यते इति what is desired owing to its beauty; from कम् and Uná. aff. अल ). 13, 14, 17, 18, 22, 55.
**कुवलय—**A synonym of उत्पल as given in Amarak; generally means ‘a blue lotus.’ 20
**तमाल—**Name of a tree having a very dark bark and leaves but. white flowers. 13
**नलिनी—**A lotus plant; a tank having lotuses in it. 17, 23, 26,
**नीलोत्पल—**The blue water-lily ( Nymphaea cyanea ) 19, 36, 42.
**पङ्कज—**A lotus. 16
पद्म—A lotus, generally one blooming at sunrise, 2, 13, 17, 19, 20,&c.
**बकुल—**Generally called Kesara, ( Mimusops Elengi ) 13
**बन्धुजीव—**Same as बन्धूक. 44.

**बन्धूक—**An erect growing plant (Pentapetes phoenicea) has large flowers of a bright red colour which expand at. noon; their juice is cooling and is used in some diesases, 13, 14.
**मालती—**A kind of jasmine (Jasminum grandiflorum) called चमेली. 13, 26.
**शिरीष—**A fragrant but very delicate flower, also the name of the tree (Mimosa sirissa also called Acacia speciosa) 14.
**शेफालिका—**A charming small tree (Nyctanthes arbour-tristes) the flowers have a delicious fragrance which is evanescent. 13, 14, 15, 17.
**सप्तच्छद}**Alstonia scolaris. 13, 14.
सप्तपर्ण }

——————

III

The Metres used in the Play , their Definitions and Schemes.

———♦♦♦———

Sanskrit verse is regulated by quantity, and not, as in English, by accent. A पद्य(stanza) consists usually of four पादs(quarters). A पादis regulated either by the number of syllables (अक्षरs**),** or of syllabic instants (मात्राs**).** When the पादs are all similar, it is called a समवृत्तto which type most of the metres conform. There are अर्धसमवृत्तs, wherein the first quarter corresponds to the third, and the second to the fourth, called respectively the odd (विषम) and even (सम) quarters. A third class comprises विषमवृत्तs, but these are very seldom used.
The vowels अ, इ, उ,ऋ and लृ are short, and the rest long. The quantity of a syllable is determined by its vowel. A syllable with a short vowel is called लघु(‘light’), and a syllable with a long vowel is called गुरु(‘heavy’). But a लघु syllable is considered as गुरु if it is followed by an anusvára, or a visarga, or a conjunct consonant, or when it comes at the end of a पाद²⁷⁹.

A set of three successive syllables is called a गण(foot). Marking a short syllable asand a long one as**—,**the different गणs,²⁸⁰ which are 8 in number, may be exhibited as follows:–य –– ; र– –; त– – ;भ– ; ज – ; स –; म– ––;and न…In the definitions which are given below, a short syllable is indicated by the letter ल and a long one by ग.

4.The Priyadarśiká contains 49 slokas in all, of which two only are in Prákrit; and there are only seven different metres employed. So numerically and as regards the variety of metre, it is inferior to the other two plays. The Ratná. contains 7 Prákrit stanzas and 78 in Sans. in 13 defferent metres, while the Nágá has 123 stanzas in 12 different matres.

** आर्या—**Def. यस्याः प्रथमे पादे द्वादश मात्रास्तथा तृतीयेऽपि । अष्टादश द्वेतीये चतुर्थके पञ्चदश साऽऽर्या ॥. This belongs to the class of metres which are regulated by the number of मात्राऽor syllabic instants. The four pádas contain respectively 12, 18, 12 and 15 मात्राऽ. I. 5, 8; II. 5, 9; III. 1, 3, 9, 12; IV. 6, 7; GitÎ—III. 8.

उपजाति—Def.[स्यादिन्द्रवज्रा यदि तौ जगौ गः उपेन्द्रवज्रा जतजास्ततोगौ।] अनन्तरोदीरितलक्ष्मभाजौपादौ यदीयावुपजातयस्ताः॥ इत्थं किलान्यास्वपि मिश्रितासु पदन्ति जातिष्विदमेव नाम ।. An उपजाति is a mixture of one or morepádas of इन्द्रवज्रा [ 11 syllables, Scheme —त, त, ज, ग, ग ], with one or more of उपेन्द्रवज्रा [ 11 syllables. Scheme —ज, त, ज, ग, ग ], : so as to form one stanza ; a mixture of other metres also, in this manner, is called an उपजाति. The student should scan and find out in each case whether a páda is in इन्द्रवज्रा or उपेन्द्रवज्रा.

I. 4; III. 3.

मालिनी—Def. ननमयययुतेयं मालिनी भोगिलोंकैः। 15 Syllables.Scheme—न, न, म, य, य. The pause occurs after the 8th syllable. II. 8.

**वसन्ततिलका—**Def. उक्ता वसन्ततिलका तभजा जगौ गः। 14Syllables. Scheme —त, भ, ज, ज, ग, ग.

I. 10. III. 2; IV. 2, 4, 8.

शार्दूलविक्रीडितं—Def. सूर्याश्वैर्यदि मः सजौ सततगाः शार्दूलविक्रीडितम् । 19 Syllables. Scheme—म, स, ज, स, त, त, ग. The pause occurs after the 12th syllable. This metre is very frequently used in this play.

I. 1, 3, 6, 7, 11, II 1, 3, 6, 7, 10; III 4, 5, 7, 10, 13, 14, 15; IV 1, 3, 9, 11.

शिखरिणी—Def. रसै र्रुद्रैच्छिन्ना यमनसभलागः शिखरिणी।. 17 syllables. Scheme—य, म, न, स, भ, ल, ग. The pause occurs after the 6th syll. IV. 10.

स्रग्धरा—Def.म्रभ्नैर्यानां त्रयेण त्रिमुनियतियुता स्रग्धरा कीर्तितेयम्। 21 · syllables. Scheme—म, र, भ, न, य, य, य. The pauses occur after the 7th and the 14th syllables. This is the longest metre in .ordinary use.

I. 2, 9, 12; II. 2, 4; III. 11; IV. 5, 12.

]

“The first Section is the same as that prefixed to my ed.of the Ratnávali.” ↩︎
“The information given here has been mainly called from the Dasarûpaka. The minor particulars not noticed here will be found in my Sahityasârasamgraha (Nir. Ed. ↩︎
“3 अवस्थानुकृतिर्नाट्यं रूपं दृश्यतयोच्यते। रूपकं तत्समावेशाद्दशधैवरसाश्रयम्॥ D.–R. रूप्यतेऽभिनयैर्यत्र वस्तु तद्रूपकं विदुः। नाटकाद्यैर्दशविधम्— Natya is another and perhaps a wider term for the drama or the dramatic art, and is so called because it represents the different situations in (the scenes presented by ↩︎
“वस्तु नेता रसस्तेषां भेदकः।.” ↩︎
“स्वल्पोद्दिष्टस्तु तद्धेतुर्बीजं विस्तार्यनकेधा।.” ↩︎
“अवान्तरार्थविच्छेदे बिन्दुरच्छेदकारणम्।.” ↩︎
“अङ्कान्तपात्रैरङ्कास्यं छिन्नाङ्कस्यार्थसूचनात्।.” ↩︎
“अङ्कावतारस्त्वङ्कान्ते पातोङ्कस्याविभागतः। The distinction, however, between an Ankâsya and an Ankâvatâra, is considered by some as merely imaginary. Viśvanâtha actually supplants the latter by Ankamukha which he defines as that where in one Act the substance of all the other Acts is suggested.” ↩︎
“नेता विनीतो मधुरस्त्यागी दक्षः प्रियंवदः। रक्तलोकः शुचिर्वामी रूढवंशः स्थिरो युवा॥ बुद्धयुत्साहस्मृतिप्रज्ञाकलामान समन्वितः। शूरो दृढश्व तेजस्वी शास्त्रचक्षुश्च धार्मिकः॥ भेदैश्चतुर्धा ललितशान्तोदात्तोद्धतरैयम्॥.” ↩︎
“स्वान्या साधारणस्त्रीति तद्गुणा नायिका त्रिधा।.” ↩︎
“2 अन्यस्त्री कन्यकोढा च नान्योढाङ्गिरसे क्वचित्. “We may observe however, to the honour of Hindu drama, that the Parakiya or she who is the wife of another person, is never to be made the object of dramatic intrigue; a prohibition that would have sadly cooled the imagination, and curbed the wit, of Dryden and Congreve” ↩︎
“विभावैरनुभावैश्च सात्त्विकैर्व्यभिचारिभिः। आनीयमानः स्वाद्यत्वं स्थायी भावो रसः स्मृतः॥ सुखदुःखादिकैर्भावैर्भावस्तद्भावभावनम्। ज्ञायमानतया तत्र विभावो भावपोषकृत्॥ आलम्बनोद्दीपनत्वप्रभेदेन स च द्विधा। अनुभावो विकारस्तु भावसंसूचनात्मकः॥” ↩︎
“विरुद्धैरविरुद्धैर्वा भाबैर्विच्छिद्यते न यः। आत्मभावं नयत्यन्यान्स स्थायी लवणाकरः॥” ↩︎
“नायिका तादृशीमुग्धा दिव्या चाथ मनोहरा। अन्तःपुरादिसम्बन्धादासन्ना श्रुतिदर्शनैः॥” ↩︎
“2 शृङ्गारोऽङ्गी सलक्षणः।” ↩︎
“आश्लिष्टसन्धिबधं सत्पात्रसुवर्णयोजितं सुतराम्। निपुणपरीक्षकदृष्टं राजति रत्नावलीरत्नम्॥” ↩︎
“*The King in the passage is Udayana, the sovereign of the Vatsas,the Queen is his consort Vasavadatta, Gopalaka is her brother, and Vasantaka is the King’s merry companion.” ↩︎
" पश्यन्तीव समु०.” ↩︎
" नतमुखी.” ↩︎
" भूयोह्रिया." ↩︎
" हृटः" ↩︎
“श्रुता.” ↩︎
“न प्रयो.” ↩︎
“बुद्धया वा.” ↩︎
" सामाजिकान" ↩︎
“निश्चयः कृतः” ↩︎
“आन्तः-पुरिककञ्चुकिभूमिकामादाय.” ↩︎
" आस्मत्तानः" ↩︎
" अन्तरभू०, तदर्थभू.." ↩︎
“शोक०, सशोकं श्रमं.” ↩︎
“सशोकवि० " ↩︎
" नहुष” ↩︎
" मत्प्रार्थने" ↩︎
“वत्सराजस्य” ↩︎
“राजोपि दृढबन्धने वर्तते” ↩︎
" न्विततया" ↩︎
" सापि न." ↩︎
“अथवा किमिदेव” ↩︎
“एवं श्रुतं-” ↩︎
" अहह राज ; किं कथ०. " ↩︎
“परंतु गाढ0” ↩︎
“चर्यया” ↩︎
“एतत्तैक्ष्ण्यं” ↩︎
" परां" ↩︎
“सुतं ( सुदं ↩︎
" ( तमिदानीं ↩︎
“यूथपतिः (जूहवई ↩︎
“शून्यदुष्करपिशुनयद्धृ० (सुण्णदुक्खर पिखणिज्जन्तहि० ↩︎
“ष्टिरधिगतधरणिपृष्ठः (अहिगदधरणिपिठो ↩︎
" अनुवाचयसि ( अणुवाचेसि ↩︎
" छादकं. " ↩︎
" निगडबन्धनं सुखबन्धनं (निअल० सुहब० ↩︎
“उद्वहसि (उव्वहारी ↩︎
" दिवसानि " ↩︎
" आह्वयताम०” ↩︎
“विन्ध्यकेतोर्विजेता,” ↩︎
“स्थीयताम्.” ↩︎
" बलकलकला०. " ↩︎
" खमुद्धो०” ↩︎
" अभियोक्तुं.” ↩︎
“द्विगुणबद्ध.” ↩︎
" क्षेप” ↩︎
" दूर.” ↩︎
" रुधिर." ↩︎
" झर्झरित." ↩︎
“इव” ↩︎
" पदेषु विनष्टेषु" ↩︎
“तात” ↩︎
" अभिजातरूपा." ↩︎
“गच्छ गच्छ” ↩︎
" अस्मान" ↩︎
“कव्यव०” ↩︎
" ङ्गहतकोच्छि०" ↩︎
“शब्दापयेत्” ↩︎
" यथोद्दिष्टं (जहोद्दिठ्ठं. ↩︎
" मन्दोद्यता० " ↩︎
" प्रचया०. " ↩︎
“प्रथममेव लभते " ↩︎
“वाचनं. " ↩︎
“धाराधरो.” ↩︎
" बहनो (वहणुद्दा० ↩︎
“प्रतिबुद्ध (पंडिबु० ↩︎
“बहुल” ↩︎
“काणपिङ्गा” ↩︎
" रोग्रपत्रा(णिअरो अग्गप ↩︎
“वसानसमयसलि० ( वसाणसमअ० ↩︎
“सम्यगुपलक्षितं वयस्येन। अत्र हि वह्णेव.” ↩︎
“अर्ध्य दातव्यम्.” ↩︎
“पुष्पाणि ल०” ↩︎
“यावदेव अस्ता सूर्येण न मुकुल्यन्ते कमलानि (जाव एव्व अत्था० णमुउलाविज्जन्ति कमलाई ↩︎
“तप आरण्यि. " ↩︎
" इत एहि आ.” ↩︎
“सबाष्पमात्म०” ↩︎
“उत्पन्ना दासजनमा० साम्प्रतं ( उप्पण्णा दासजणं आणाविअ संपदं ↩︎
“यंस्तिष्ठास” ↩︎
“देवीसकाशं.” ↩︎
“सुखमनु०.” ↩︎
" लभसे.” ↩︎
" राह्लाद.” ↩︎
“माला” ↩︎
" गात्रस्या. " ↩︎
" संस्पर्श.” ↩︎
" का पुनरेषा ( का उण. ↩︎
“धिया” ↩︎
“कुतस्त्वी०” ↩︎
“रिका आगच्छति ( आअच्छदि ↩︎
“एतन्नास्ति बहुषु पुस्तकेषु” ↩︎
" तादृशं ( तारिसं ↩︎
“तदाहं म० । यथा-यैषा वि० यदा” ↩︎
" न्तया प० (न्ताए प० ↩︎
“चिरमु०.” ↩︎
“एतनास्ति क्वचित् " ↩︎
“विच्छुरितेन (विच्छुरिदेण ↩︎
“कमलं. " ↩︎
“स्वल्पं.” ↩︎
“वृष्टिपात” ↩︎
" दृशा.” ↩︎
“संबाधं, नाटयति.” ↩︎
" परिवर्ज्य कमलनालो पलवनं समापद्विगुणतरमाया० ( परिवज्जिअ कमलणीलुप्पलवणं समा० दिउणदरं आ० ↩︎
" पिदधाति. ↩︎
" एषा दासी (एसा दासी” ↩︎
" श्रुतेन (सुणिदेण ↩︎
“स्वयमेव त्वामव० (सअं एव्व तुमं ↩︎
“इति रा०” ↩︎
“वसन्ति” ↩︎
" लघ्वेवागच्छागच्छ. " ↩︎
“भुवन० माणापि किं चेटीमा " ↩︎
“मा भैषीः मा भैषीः। एषागतास्मि (भा आहि एसा आअवह्नि ↩︎
“तदेतं (ता एवं ↩︎
“कम्पः” ↩︎
“अस्मात्परं तथा कुरुतः इत्यधिकं बहुषु पुस्तकेषु.” ↩︎
↩︎
“अभ्युपायः.” ↩︎
" मे मूर्खस्य ( मे मुक्रखस्स ↩︎
" तदा भणितः…..विदग्धः ‘अपि…कटुवचनैः भङ्त्वा साम्प्रतं” ↩︎
" दिवसकरः ( दिवसअरो ↩︎
“यत्सा० च चरितं ( चरिदं ↩︎
" वासवदत्ताया वेषं कृत्वा तथा नर्तिते देव्याः कोपो भविष्यति ( ० दत्ताए वेसं कदुअ तह णच्चिदे देवीए कोवो हुविस्सदि ↩︎
" त्यारण्यिका। (आ०— कामावस्थां नाटयन्ती निःश्वस्य। ↩︎
“शोभन ( शोहण० ↩︎
" साधु प्रियसखि " ↩︎
" इदानीं( दाणिं ↩︎
“१ नाम किं, हृदयस्य - सरखीजनस्य " ↩︎
" लज्जां नाटयन्ती आ०.” ↩︎
“तब दर्श” ↩︎
“एतद्वाक्यं नास्ति पुस्तकान्तरे” ↩︎ ↩︎
" सखीजनपक्षपातेन मन्त्रयसे ( सखीअणपक्खवादेन मन्तेसि ↩︎
" एतन्नास्ति क्वचित्.” ↩︎
“अस्य स्थाने—श्वासनिभान्निर्गतो दिवस रात्रिमपि तवानुरागः। अविरतपतन्मन्मथशरशतहुङ्कारशब्द इव ॥ (सासणिहा णिग्गमिओ दिअहं रत्तिंवि तुज्झ अणुराओ । अविरअपडंतमम्महसरसअहुंकार सदोव्व॥ ↩︎
“सखि समाश्वसिहि समा०” ↩︎
“तत्कु०. " ↩︎
" इति प०.” ↩︎
" स्वग०. " ↩︎
" एवारण्यिका.” ↩︎
“यदा तावन्मया इति नास्तिपुस्तकान्तरे।” ↩︎
“अस्वस्थव०.” ↩︎
“देव्या वासवदत्तायाः प्रेमावस्याश्च” ↩︎
“तदा यत्र दीर्घिकायां दृष्ट इति नास्ति क्व०.” ↩︎
“अन्वेषयन्. " ↩︎
“स्पर्शसुख” ↩︎
“० दरं उण ( ०तरं पुनः ↩︎
" ओगदो.” ↩︎
“लज्जापयसि.” ↩︎
" साहु पिअसहि.” ↩︎
“णच्चिदव्व ( नर्तितव्य० ↩︎
“०घरं. " ↩︎
" साधु एदं सज्जी०.” ↩︎
“यतीति. " ↩︎
“एव.” ↩︎
“णच्चिदं.” ↩︎
“एतन्नास्ति पुस्तकान्तरे” ↩︎
" इदं. " ↩︎
“आसनग्रहणं नाटयतः.” ↩︎
“एतावदेव” ↩︎
“गृहीत० नादेष्टव्यम् ; न वेषोज्वंलेनेति” ↩︎
" समादिष्टं.” ↩︎
“चिरयतेद्य. " ↩︎
“सुणिअ तेण भाविदत्थो हसन्तो (भावितार्थो हसन् ↩︎
“सुष्वेतद्भण्यते (भणीअदि ↩︎
“राजपुत्रि यादृशमाका ०.:” ↩︎
“दासीव्व (दास्य इव ↩︎
" ग्रन्थि” ↩︎
“दत्तापहरणमपि दत्ताहरणं; पश्याम्यहं” ↩︎
" सुसंनिहितं.” ↩︎
“उछ्वसि०” ↩︎
“रमा क्खु. " ↩︎
" कारिता भ्रान्तिर्मनो०” ↩︎
" णिअलं.” ↩︎
" तथैव.” ↩︎
" सत्यमेव.” ↩︎
“आलपितव्यम्. " ↩︎
“णेदुं ( नेतुं ↩︎ ↩︎
" घेत्तूण” ↩︎
“दिवारत्तं ( दिवारात्रिं ↩︎
“इति नि०” ↩︎
" एतन्नास्ति पुस्तकान्तरे.” ↩︎
“वृत्तिः” ↩︎
“अमुना.” ↩︎
“परित्यज्य.” ↩︎
“विद्यागुणपरि०-ध्यायपीठिकायै.” ↩︎
“उवठ्ठिदा ( उपस्थिता ↩︎
“स्वेदकणजालका। " ↩︎
“हस्ते” ↩︎
“अहं” ↩︎
“पीता०.” ↩︎
“न्तीए अग्गहत्थेण एव्व विकेरन्ति (न्त्या अग्रहस्तेनैव विकुर्वते ↩︎
“मुक्ख ( मूर्खनि० ↩︎
“आअच्छ। पेक्ख से पेक्खह्म.” ↩︎
“अपनयति।” ↩︎
“(सोत्प्रासं ↩︎
“एतन्नास्ति क्वचित.” ↩︎
" प्रसाद.” ↩︎
“विकल्पनेन” ↩︎
" अधुना. " ↩︎
“यैवं.” ↩︎
“पुन. पा. " ↩︎
“निष्क्रान्तः स्त्रीवर्गो विदूषकश्च " ↩︎
" मृगी” ↩︎
“कहं एत्तिअं.” ↩︎
" दिट्ठाए ताए किं पओ ०” ↩︎
“अणुप्पेसिदो.” ↩︎
“भइणिआ. " ↩︎
" वुत्तन्तं अनाचक्खिअ समीव० ( वृत्तान्तमनाख्याय समी० ↩︎
" जदो (यतः ↩︎
“वाइदव्वो (वाचयितव्यः ↩︎
" ता (ततः ↩︎
“अर्जुकायाः” ↩︎
“पुनर्जानाति…तादृशी एव (एव्व ↩︎
“अयं वत्स” ↩︎
" प्पहारङ्किदबाहुसालः (प्रहाराङ्कितबाहुसालः ↩︎
" मुद्धघेर (मुग्धगृह ↩︎
" मोक्षाभ्यु०” ↩︎
“जदि एव्वं” ↩︎
“प्रसादयिष्यामि” ↩︎
“पुनः.” ↩︎
“ता गमि०.” ↩︎
“भीमध्यास्ते” ↩︎
“एतन्नास्ति पुस्तकान्तरे.” ↩︎ ↩︎
" गभीर” ↩︎
“तोतिपी०” ↩︎
" उत्तिष्ट उत्तिष्ठ” ↩︎
“देवीं तुष्टया.” ↩︎
“णः किल वर्ततेस्रौ.” ↩︎
" टाक्रन्द” ↩︎
“सध्वंसं.” ↩︎
“वापि.” ↩︎
“सोस्मत्, अस्मत्स्वामिनि निवेशिते.” ↩︎
“देशोऽवस्थापितः,देशाद्रिपुजायना.” ↩︎
“काद्वयं—युगम्.” ↩︎
“महान.” ↩︎
“अस्मात्परं जयतु आर्यपुत्रः (जेदु अय्यवृत्तो ↩︎
“मेव तावन्मोचयामि” ↩︎
“शक्यते … प्रीतिविशेषः .” ↩︎
“ततः.” ↩︎
“ततः प्रविशति म०.” ↩︎
“एसा.” ↩︎
“एतन्नास्ति क्वचित्.” ↩︎ ↩︎
“दृष्टिदेशे आक्रान्तं(दिडिदेसे अक्कन्तं . ↩︎
“चासौ” ↩︎
“एदाए वि (एतयापि . ↩︎
“हतं.” ↩︎
“मयि.” ↩︎
“मां (मं ↩︎
“रप्यप०.” ↩︎
“भगिनी प्रियदर्शना.” ↩︎
“णिरूढं दे मन्तवादित्तणं (निरूढं ते मन्त्रवादित्वं ↩︎
“विसं अवत्थं करेदि (विषमवस्थां करोति ↩︎
“गिरा नातिविशदा.” ↩︎
“करः प्रणमति. " ↩︎
“अर्जुके.” ↩︎
“वैज्जस्स.” ↩︎
“परिहृत्य,” ↩︎
“नु स्यात्.” ↩︎
“स्थिरतरमुचिता.” ↩︎
“दुर्जयाः,” ↩︎
“इति श्रीमहाकविश्वीहर्षविरचितायां प्रियदर्शिकानाटिकायां च०.” ↩︎
“The passage may also be interpreted as-Or why?A HAI..thing I have thought of now (viz. committing suicide ↩︎
“* The L. names are taken from the Col. U. Ed.” ↩︎
“सानुस्वारश्च दीर्घश्च विसर्गी च गुरुर्भवेत् । वर्णः संयोगपूर्वश्च तथा पादान्तगोऽपि वा ॥ " ↩︎
“आदिमध्यावसानेषु यरना यान्ति लाघवम् । भजसा गौरवं यान्ति मनौ तु गुरुलाघवम् ॥” ↩︎