प्रियदर्शिका नाटिका (सम्राट हर्षवर्धन - चतुरङ्क शास्त्रीय नाटिका सान्वय सटीक)

pp 41–42. 29 [ Act III. Vᴀ'sᴀᴠᴀᴅᴀ.—(Rising suddenly) Revered lady, you see the representation. I, for myself, cannot bear to see what is false. Sᴀ'ᴍᴋʀ.—Princess, this Gandharva form of marriage is sanctioned by the religious codes of law. What is the matter for shame in this? This is a dramatic representation. So it is not proper to go away causing a break in the interest when there is no occasion for it. Vᴀ'sᴀᴠᴀ.—(Walks away). IɴᴅÍᴠᴀʀɪᴋᴀ'—(Looking on) Your Highness, Vasantaka, is lying in deep sleep at the door of the Picture-gallery. Vᴀ'sᴀᴠᴀ—(Observing carefully) This is Vasantaka, indeed. (Reflecting.) The King also must be here. So having roused him I will just ask him. (Wakes him up.) VɪᴅÛ.—(Rising dull with sleep and looking up suddenly) Manoramā, has my dear friend come back after having played his part; or is he acting still? Vᴀ'sᴀᴠᴀ.—(With dejection) What! My husband is acting? Where is Manorámá now? VɪᴅÛ.—Here, waiting in the Picture-hall. Mᴀɴᴏʀᴀᴍᴀ'—(With alarm, to herself) How was it that the Queen asked him taking quite a different view of the matter; and this foolish fellow too understanding her in quite a different way spoiled the whole matter? Vᴀ'sᴀᴠᴀ.—(Laughing angrily) Bravo! Manoramá, bravo! nicely have you acted! Mᴀɴᴏʀᴀᴍᴀ'—(Falling at her feet, trembling with fear.) Your Highness! It is not, indeed, my fault in this case. By this rascally fellow standing at the door I was detained here, after taking the decorations from me. And again, my voice, as I cried, was not heard by anyone, as it was drowned in the sound of the tabor. Vᴀ'sᴠᴀ.—Get up, girl, I know it all. Vasantaka is the chief manager in the play—The story of ^ --