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

xliii garment and cries out to Indīvarikā for help. Indīvarikā was at some distance away from her. So Vasantaka advises the King to run to her rescue. The King does so and gets an opportunity of embracing her. But instead of remaining silent he addresses her in a flattering stanza. A'raṇyikā, who supposed that she had been helped by Indīvarikā, 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 Indīvarikā in alarm and when the latter comes the King has to go away and hide himself. Âraṇyikā 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 atten- dant named Manoramā that a little play composed by Saṁkṛtyā- yanī, a learned friend of Queen Vāsavadattā, is to be per- formed for the amusement of the Queen. The play repre- sented an episode in the courtship of Queen Vāsavadattā and King Vatsarāja. Āraṇyikā is to play the part of Queen Vāsavadattā and the Queen's attendant, Manoramā, is to ap- pear in the role of King Vatsa. Manoramā while searching for A'raṇyikā in the garden finds her in her love-sick condition. She overhears Āraṇyikā lamenting her hopeless passion for the King. Manoramā tries to cheer her up. At this very moment the Vidūshaka arrives there in search of A'raṇyikā by the King's command. The two maidens overhear the King's confidant and learn of the King's passion for A'raṇyikā. In the conversation that follows between the Vidūshaka and Manoramā, 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 play- house attached to the palace. The Queen with her attendants and Sāṁkṛtyāyanī comes to witness the play. Āraṇyikā appears in the role of the Queen. But Manoramā 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 Manoramā'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