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

curiosity was roused by the sudden shaking of the mountain. कुमारे—Kārttikeya, 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; cf हित्वा तस्मिन् भुजगवलयं शंभुना दत्तहस्ता Meg. I. 63; करेण शम्भोर्वलयीकृतद्विजिह्वा Kum. V. 66. श्मशानचारी सततं व्यालाभरणभूषणः Śiva P. P. 2. पादावष्टम्भ०—पादेन अवष्टम्भः—supporting i. e. steadying it by the (pressure of the) foot., तेन; or पादस्य अवष्टम्भः the firm planting of. Śiva planted his foot firmly on the mountain to make it steady, which pressed down Rāvaṇa and-hence सीदद्वपुषि whose body was pained or afflicted. पाताल०—He was sinking down to the surface of Pātāla under the pressure exerted on the mountain by Śiva's foot. क्रुद्ध—He was angry that his moun- tain should have been torn up and his peace disturbed. आविर्भू- तधृतिः असन्तुष्ट—For idea cf. the śl. from Śiś. 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— आशीर्वादादिना नन्दयतीति नन्दः; नन्द एव नान्द्यः by adding अ (अण्) स्वार्थे (प्रज्ञादिभ्योऽण् ); 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 Nāndi is of four kinds, viz. नमस्कारात्मिकाऽऽशीर्वाचिकी चासौ. वस्तुवती तथा । नान्दी चतुर्धा निर्दिष्टा नाटकादिषु धीमद्भिः ॥ The subject matter of the plot ought to be slightly indicated in the Nāndī; and it is done in the present Nāndī also. Thus धूमध्वजः suggests Priya.'s long sorrow caused by her own state and her father's overthrow by the Kalinga-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 पदं 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 śl. refers to Dṛḍhavarman'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 reconcili- ation with him. See com. नान्द्यन्ते सूत्र०—supply आह, ब्रूते or some such word to complete the sense. Now the question arises—Who recited the Nāndī? If the Sūtra., according to the precept,—सूत्रधारः पठेत्तत्र मध्यमं स्वरमाश्रितः । नान्दीं पदैर्द्वादशभिः &c. (Nāt. Śā. V. 98), his name should have preceded the ślokas of the Nāndī.