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

13 seen in the last Act that this she turns out to be. गीतनृत्त•— These are the first three of the 64 arts often referred to by Hindu writers and mentioned by Vātsyāyana in his Kāmasūtras, For these see our notes on Bha. Nīt. Śat. p. 42. नृत्त-is different from नृत्य and consists of the rhythmical movement of the body (without gesticulation) and is regulated by the mark- ing of musical intervals and time (नृत्तं ताललयाश्रयम् Das. R. I. 9). By आदि may 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 Śāk. V. 7, 8; Mudr. III. 20- 23; &c. Śl. 11. The cons. is ते स्नानभूमिं लीला.. संपादिनः शर्वो... लोकस्य ॰दानैः स्तनैः उल्लसिताः कलशैः इव अलंकृता. For comps. see com. उप- करण—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 Māl. V. 12 (स्नानीयवस्त्रक्रियया). वारविभ्रमवती—वार a multitude; विभ्रमवती a woman; cf. विलासवती; hence वारवि॰—a woman of the multitude, a courtezan or harlot; वार with any word meaning स्त्री has this sense. The courtezans formed also a part of the attendants of the harem. Cf. Kautilya's Arth.ś I. 20. आयास—Exer- tions 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. शातकुम्भ—gold; or golden; fr. शतकुम्भ gold (said to be found in the शतकुम्भ mountain); in this latter case the form 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—गृहीतजलकलशाः स्नानार्थमभिषेकदेवता इव वारयोषितः। Kād. p. 32. सहस्रदीधितिः—सहस्रं दीधितयो यस्य, दीध्यते that which shines इति दीधितिः fem, a ray of light. अये कथं &c.—We have almost the same words in the Nāga. 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 introducing a bard, as done by his great predecessor 2