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

pp. 27-28. 19 [ Act III. (Enter VIDU'SHAKA) . 'VIDU'.—Very great, indeed, is my dear friend's pas- sion for Ar'anyika'. For having set side the affairs of state he has been diverting himself by thinking about a remedy to obtain her sight only. (Reflecting) Where shall I find her then? Or why; I will search for her just there, on the margin of the pond. (Walks on). MANO.—(Hearing) A sound like that of foot-steps is heard. So becoming concealed in the clump of plantains we shall see who is this (that is coming). (Both do accordingly and see). AR'AN.—Ah, he is the very Bràhmana, who is always at the side of the king. MANO.—How, Vasantaka himself! (Joyfully to- herself) May it be that way (i.e. as I wish it)? VIDU'.—(Looking in all directions) What! Has A'ran- yikà 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 us listen attentively. (AR'ANYIKA' listens eagerly and bashfully.) VIDU'.—(Dejectedly) When in the first place, at the bidding of my dear friend whose body has become languid owing to the very great torment of love, I looked for her at the residence of the queens Vāsavadattā, and Padmāvati and of other queens, and did not find her there, I came here, thinking I should search the place also where she was seen at the pond. But then she is not here also. What shall I do now? MANO.—Did my dear friend hear this? VIDU'.—(Reflecting) Or why! It was already said to me by my friend—If you do not find her, after searching for her, then come, taking from that very pond at least the lotus-leaves that have had their pleasure-giving coolness doubled by the touch of her hand. Then how am I to know these?

Act III. ] 20 pp. 28-29. MANO.—This is my opportunity. (Approaching and taking VIDU'. by the hand). Vasantaka, come on. I will show (also; expose) you. VIDU'.—(In alarm) Expose me! to whom? To the Queen? I have not, at all, said any thing. MANO.—Vasantaka, dismiss this fear. As you have described to have been the condition of your dear friend on account of Aranyikā, double of that has been the state of my dear friend on account of our lord. So see it, see it. VIDU'.—(Seeing, with joy) My labour has borne fruit. Hail to your ladyship! (ARANYIKA' bashfully casts off the lotus-leaves and rises). MANO.—Noble Vasantaka, at your mere sight my dear friend's affliction has vanished, so that she is herself removing the lotus-leaves. So your noble self should favour them (by taking them). AR'ANYIKA'—(With agitation), O you given to joking, why do you put me to shame? (She stands with her face slightly turned back). VIDU.—(With dejection) Let the lotuses remain. Your dear friend is extremely bashful. So how is their union to 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 have to 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 must be coming. (Enter the QUEEN, SAMKRITTYAYANI and the retinue according to rank.)

'pp. 30-31. 21 [ Act III. VA'SAVADATTA'—Revered lady, how wonderful is your poetic genius! For this story of my husband, with its secret incidents, although a mattter of experience, being dramatised (by you) raises our interest in it all the more, when being seen, as though it had not been seen before. SA'MK.—O you of long life, the merit of this subject is such that a poem though without excellence (insipid) necessarily causes delight to the ears of its hearers. See, Generally even an insignificant thing attains eminence by its connection with what is great; for even ashes come to be a decoration when applied to the broad temples of a rutting elephant. (1) VA'SAVA.—(With a smile) Revered lady, it is a patent fact (lit., is but known) that the son-in-law is loved by every one. So what is the use of thus continuing the conversation? It is better to see the very same representation. SA'MKR.—Just so. Indîvarikâ, lead the way to the play-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 hanging from the golden posts decked with hundreds of jewels, and occupied by the youthful damsels that have conquered (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, pros- perity, 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.—Aranyika,' go to the dressing room and decorate yourself with these very ornaments that are put on my person. (She removes the ornaments from her person and

Act III.] 22 pp 31-32. hands them over to A'ran.). Manoramá, you too take from Indivarikâ the ornaments that were given to my husband by my father when pleased by his capture of Nalagiri and decorate yourself, so that you will look quite like the King. (MANORAMA' takes the decorations from INDIVARIKA' and exit with ARANYIKA'). INDIVARIKA'—Here is a seat; may your Majesty sit down. VA'SAVA.—(Pointing to a seat) May your reverence sit down. (BOTH sit down). (Enter the CHAMBERLAIN having put on his dress). Looking after the management of the inner apart- ments, guarding against stumblings at every step, and now led by a staff, being broken down by old age, I imitate all the actions of a king, who, following the science of government, maintains order within cities and avoids errors of policy at every step. (3). I am commanded by Mahâsena, who bears a significant name and who has put to chagrin (overpowered) all the armies of his enemies, to inform the ladies of the harem thus—Tomorrow we are to celebrate the Udayana festival. Therefore you are to repair to the garden, of Love with your retinue splendid with dresses befitting the festival. SA'NK.—(Pointing to the CHAM.) Princess, the play has commenced. Please see it. CHAM.—So this is what I have to tell them—that they should go accompanied by their attendants and not attendants with their decorations put on. For, Among these (inmates of the harem) even the servants of the maids-in-attendance of the queens are conspicuous with their feet adorned with anklets, with their broad hips having gingling girdle-bands, with their large breasts decked with (lit. having beauty imparted to them by) pearl necklaces, with their arms having Keyuras (armlets) on them, and with their ears furnished

with Kundalas, their hands with bracelets and their hair with Swastikas. (4) There is nothing, indeed, unusual that is to be done here. Thinking that it is my master's order, I will simply communicate the remaining part of the king's order to the Princess. (Walking about and seeing.) Here has that (princess) Vâsavadattâ entered the music-hall followed by Kânchanamâlâ, lute in hand. I will just tell her. (Walks forth.) (Enter A'VANTIKA, in VÂSAVADATTA's costume, seated, and KÂNCHANAMÂ'LÂ, with a lute in her hand). A'RAN.—Friend, Kânchanamâlâ, why again is the music-master tarrying even to-day ? KA'NCH :—Princess, he has seen a crazy fellow ; and overpowered by wonder at hearing his words he has stayed there enjoying the fun (lit. laughing at him). A'RAN.—Maid, well does he ask him. Both are mad men, as it is said—'The like take pleasure in the like.' SÂ'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 word to you—To-morrow we are sure to hear you playing the lute. So you should be ready with Ghoshavatî fitted with new strings. AR'ANT—Sir, if so, quickly send the music-master. CHAMB.—Here I send Vatsarâja to you. (Exit). A'VANT.—Kânchanamâlâ, bring me the lute (Ghoshavatî). I will just examine its strings. (KÂ'NCHANAMÂ'LÂ' hands over the lute.) A'VANTIKA' puts it on her lap and strikes (or, adjusts) the strings). (Then enter MANORAMA' having put on VATSARÂJA's decorations). MANORAMA'—(To herself) Surely the King tarries. Is it that Vâsotaka did not tell him, or is he afraid T. 3

Act III.] 24* pp 34-35 of the Queen? If he comes now it will be a nice thing [Enter the King, and Vidûshaka with his body veiled] KING—The cool-rayed one (moon) does not cause affliction to me just to-day as at first, now only hot sighs do not parch my lip as they did constantly before, just now my mind is not vacant nor are the limbs languid as formerly, and my torment becomes reduced even as the desires of my heart are thought of (as near fulfilment) (5) Friend, did Manoramâ really say—"Since my dear friend is kept even out of the path of the King's sight by the Queen, this is the way to bring about their union To-day at night we are to enact before the Queen the play called Udayanacharita In it Âranyakâ will be Vâsavadattâ and I too Vatsarâja. Everything is to be learnt (acted) according to his own doings So having come and acting his part himself, let him enjoy the pleasure of her company " VIDÛ.—If you do not believe me, here is Manoramâ waiting, wearing your costume So approach her and ask her yourself KING—(Approaching MANORAMA) Manorama, is what Vasantaka says true? MANORAMA—Sire, quite true Decorate yourself with these ornaments (With these words she takes off the ornaments from her person and hands them over to the KING) (The KING puts them on) VIDÛ.—Here, indeed are kings thus made to dance (act) even by a maid servant Oh the importance of business (the object to be achieved)! KING—(Laughing) Fool, this is not the time for joking Silently enter the picture gallery and wait there with Manoramâ beholding our acting (Both act accordingly) A'RANY.—Kâñchanamâlâ, let alone the lute. Just I wish to ask you something

pp. 35-36 *25 [ Act III. KING—Let me hear ( to know ) which part of the story is being acted. (He listens attentively). KA'NCH—May the Princess ask. A'RANY.—Does my father really say so, viz.—"If playing on the lute Vatsarâja captivates me I will necessarily free him from captivity."? KING—(Entering with a toss of the curtain, joyfully ties a knot in the hem of his garment). Thus it will be. What doubt is there ? Having filled Pradyota with his attendants with wonder by my performance on the lute, I see that ere long I shall take away Vâsavadattâ. (6) . For all things have been well arranged by Yaugand- harâyaṇa. VA'SAVA.—(Rising at once) Prosperity ! prosperity to my husband ! KING—(To himself) How is it that I am recognized by the Queen ? SA'MKR.—(With a smile) Princess, away, away with this hurry ( or, confusion ). This is a play. KING—(To himself joyfully) Now I am made to breathe freely. VA'SAVA.—(Sitting down with a smile of embarrassment) What ! this is Manorama ! I thought it was my husband. Bravo, Manoramâ, bravo. Excellently acted. SA'MKR.—Princess, rightly, indeed, was confusion caused in you by Manoramâ. Consider— Here is that same form (of Vatsarâja), the cause of delight to the eyes; the same is the splendid costume ; self-same is this her gait here, that characterises an intoxicated elephant; the same is the exceedingly lofty dignity ; her grace the same, and the very same is her voice that resembles the rumble of water-charged clouds: here is presented before us, in his very person, the lord of the Vatsas himself by her, clever (in acting). (7).

Act III. ] 26 pp 36-37. VA SAVA.—O Indīvarikā, I was taught to play on the lute by my lord in fetters, so fetter him with this garland of blue lotuses. (Taking off from her head the garland of blue lotuses she gives it to her) (INDIVARIKA does as directed and sits down in the same place. A RANY.—Kānchanamālā, tell me, pray tell me. I ask— Does my father really say this, viz—"If Vatsarāja captivates me by his playing on the lute, then I will necessarily set him free from captivity " KĀNCHA.—Princess, he does, really. Act in such a way that, as a matter of fact, you will be highly esteemed by Vatsarāja. KING—Kānchanamālā has actually brought to pass what 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 of clouds the royal swan longs to go to the Mānasa lake, his residence, taking with him his mate. The swan among kings—Vatsarāja,—seeing the prison vault closed up with thick chains, desires to repair to his own abode, taking his beloved with him in order to reach (please her heart) (8). (VIDU,—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 not allow me to sleep! From the time my dear friend saw A'raṇyikā, I have not seen, along with him, what sleep is So I will go to some other place and sleep (Goes out and sleeps) (A RANYIKA sings again). Hurled into (powerfully affected with) a new passion, by the perverse Kāma, the female bee pines, eagerly longing to see her mate, of a charming sight (9)

pp. 37-39 , 27' [ Act III. 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 this performance) by the Vyañjana mode of playing (on the lute) in all its ten parts; this laya (tempo) here, distinguished by its three varieties of quick (allegro) intermediate (moderato) and slow (adagio) has been clearly marked in three ways; all the three pauses, Gopuchcha' and the rest, have been accomplished in due order: and the three modes of playing on instruments have been properly exhibited. (10) A'RANY.—(Clasping the lute rises from her seat and longingly looking at the King) Preceptor, I bow to you. KING—(With a smile) May you have that which I wish for you ! KA'NCH.—(Pointing to A'RANYIKA's seat) The preceptor should please sit just here. KING—(Having sat down) Where should the Princess sit now ? KA'NCH.—(With a smile) The Princess has just now been complimented by you with commendation of her skill. So she deserves to share the seat of the preceptor. KING—Let her sit here; she deserves (to occupy) half of the seat. Princess, sit down. (A'RANYIKA' looks at KA'NCHANAMA'LA'). KA'NCH.—(Smilingly) Princess, sit there. What is wrong in this ? (A'RANYIKA' sits down bashfully). VA'SAVA.—(Blushingly). The subject-matter has been added to by your reverence. I did not, at all, sit on the same seat with my husband at that time. KING—Princess, I wish to hear again. Play on the lute.

Act III ] 28 pp. 39-41 ARANY — (With a smile) Kánchanamálá, having played for a long time I feel exhausted So I shall not be able to play KANCH — Preceptor the Princess is greatly fatigued See how drops of perspiration are formed on her cheeks and her fingers (or fore-hands) tremble So let her be refreshed (by resting) for a short while KING — Kánchanamála you have said what is proper (Wishes to seize her by the hand Arany withdraws her hand) VASAVA — (Sarcastically) Lady this also has been overdone by you I am not certainly Kánchanamalá that can be misled by (such) composition [Or I should not be deceived (misrepresented) by Kánchanamalá's dramatic speech] SAMKR — (Smiling) O you of long life dramatic compo- sition must be of this nature ARANY — (With seeming anger) Go away Kanchan, go away I do not like you KANCH — (With a smile) If you do not like me standing here here I walk off (Starts to go) ARANY — (In confusion) Kánchana stay stay, here is the fore-hand offered to him KING — (Taking the hand of ARANYIKA) Can it be a lotus bud at once cooled by the contact of dew drops? Not such methinks is its power to delight (now) It has it at dawn only when it is left by (free from) the sun are there five moons in the form of fingers shedding a shower of coolness (or dew) Even that (the shower) burns (causes affliction) I know it—this is clearly ambrosia flowing under the guise of perspiration (11) By you moreover is implanted in my heart this Rága (passion—redness) with your hand clever in robbing the tender coral sprout of its beauty (12) ARANYIKA — (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 touch this Manoramá

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 ^ --

Act III. ] 30 pp 42-43 VIDÛ —Just think yourself—where is Âranyikâ and where Vasantaka ! VÂSAVA —Manoramâ, having well-secured him just come after me The acting he has arranged I will see now. MANÔRAMA—( To herself) Now life is put in me (Binds Vidu by the hand and then aloud) Miscreant, now reap the fruit of your evil policy VÂSAVA —(Approaching in a hurry) My lord, may this evil be averted ! (Removing with these words the garland of blue lotuses from his feet, ironically—) My Lord should forgive me that I, thinking that it was Manoramâ, caused you to be bound with a garland of blue lotuses (ARANYIKA stands, having moved away in fear) KING —(Rising suddenly and seeing MANORAMA , and VIDUSHAKA, to himself) How am I discovered by the Queen ? ( Acts being abashed) SÂMKRITYÂYANI—(Seeing all, with a smile) How has the representation turned out to be quite a different thing ? This is not the proper place for persons of my sort (Exit) KING—( To himself) Unusual is this way of showing anger I see that reconciliation is difficult to be brought about in this case (Musing) I will do this (Aloud) My Queen, let anger be set aside. VÂSAVADATTA —Husband, who is angry here ? KING—How, are you not angry ? Although your glance is affectionate, still the lustre of your eyes is red, this your choked voice, though there is sweetness in it, falters at every word, your hard breathings, though suppressed, are well observed from the heaving of your full bosom so this your anger, though restrained with evident effort, is clearly seen. (13) (Falling at her feet) Be pleased, my dear, be pleased.

pp. 43-44. 31 [ Act III. VA'SAVA.—A'raṇyikā, thinking that you are angry, my husband is saying to you—" Be pleased, my dear, be pleased. " So approach him. ( With these words she pulls her ). A'RAṆYIKĀ'—(In fright) Your Highness, I know nothing of this. VA'SAVA.—A'raṇyikā, how don't you know anything? Here I will teach you. Indīvarikā, seize her. VIDŪ.—Madam! To-day it being the Kaumudī 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 of your forehead by the knittings of the eyebrows? Why is this throbbing lip made to resemble the bandhujīva flower shaken by the breeze? And again this your waist is oppressed by the weight of your breasts throbbing all the more : give up your anger towards me : for the amusement of your mind alone this acting was performed by me. ( 14 ). Queen, be pleased, be pleased. (He falls at her feet.) VA'SAVA —Girl, the playing is over. Come then ; let us enter the inner apartment. (Exit). End of the mimic Play. KING—( Looking ) How is it that the Queen has gone without showing favour ? When I look at the face of the Queen and also at that of my beloved here pictured before me: the one streaked with the particles of perspiration and with eye-brows very fiercely contracted through anger, and the other with its lotus-like eyes greatly agitated through fear like those of a gazelle bounding with great speed, I, alarmed and yet having my mind full of longing, am thrown into a great difficulty. (15).

Act IV. ] 32 pp. 44-46. So I will just now go to my couch and think about the means of propitiating the Queen. ( Exeunt Omnes. ) END OF ACT III. ———— ACT IV ⸺o-o⸺ ( Enter MANORAMA' ) MANORAMA'—Oh the long continuity of the Queen's anger ! She does not take pity on my dear friend A'ranyikà, though confined for so long a time. The poor girl is not distressed so much by the hardships of her own imprisonment as by her despair to see the King. And such is her affliction that to-day I prevented her with great difficulty from killing herself. I have come having asked Vasantaka to communicate the matter to the King. ( Then enter KA'NCHANAMA'LA ). KA'NCHA—Strange that I did not find the revered Sàmkrityant though searching for her. ( Looking on ) I will then ask this Manoramà ( Going forth ) Manoramà, do you know where the revered Sámkrityā- yani is ? MANORAMA'—( Looking at her and wiping off her tears.) Friend, Kánchanamálà, I have seen her; but what have yon to do with her ? KA'NCHANA —To-day a lettor was sent by her Highness Angâravati. That being read, the Queen, with eyes filled with tears, began to feel greatly pained. So for her diversion I am searching for the venerable lady. MANORAMA'—Friend, but what was written in that letter ? KA'NCHANA.—She who is my sister is just like your mother; and her husband is ( as ) your father. So need this be told to you ? It is more than a year since

pp. 46–47. 33 [ Act IV. he has been taken a captive by the accursed king of the Kalingas. It is not proper, therefore, for your husband, who is his neighbour and powerful, thus to observe indifference on hearing of this undesirable occhrrence. MANORAMA'.—Friend Kânchanamâlâ, but who read the letter to the Queen when, indeed, it was ordered by our lord that the matter should not be communicated by any one to Her Highness. KA'NCHANA.—As I remained silent after reading it to myself, the Queen took it from my hand and read it herself. MANORAMA'—Then go you; here is the Queen sitting with 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 leaving Ar'anyikâ. The poor girl is quite tired of her life. Something disastrous might perchance happen. So I will go just there. (Exit.) (Enter seated VA'SAVADATTA' in distress, SA'MKRITYA'YANI and the retinue in order of rank.) SA'MKRIT.—Princess, away with agitation. Vatsarâja is not such. How can Vatsarâja rest unconcerned on knowing very well that the husband of your mother's sister is in such a plight? VA'SAVADATTA'.—Holy lady, now you are extremely simple-minded. What can he, who has nothing to do with me, have to do with one connected with me? It was meet for my mother to write to me about this. But she does not know that Vâsavadattâ is not such now (as she was before). This A'ranyikâ affair again has been witnessed by you with your own eyes. How do you say this then? SA'MKRIT.—Since it was witnessed by me, for that reason I say so. He surely acted that way at the Kaumudî festival to make you laugh (enjoy the fun). VA'SAVA.—Holy dame, this much is true here. I was so made to be laughed at that it is with difficulty

[Act IV. ] 34 pp. 57-48. -that I stand before your reverence through shame. So why continue that topic ? Surely it is by this partiality that I have been raised to such a high level (reduced to this state). (Weeps). SA'MKRIT.—Do not weep, Princess. Vatsarâja is not such (as would remain indifferent). (Looking about). Or why ; here comes he who will himself remove your sorrow. VA'SAVA.—These are now your ladyship's fancies ! (Enter KING and VIDUSHAKA). KING.—Friend, what is the way now to get my beloved released ? VIDU.—Friend, give up your dejection. I will tell you the way. KING.—(With joy) Friend, mention it very quickly. VIDU.—Friend, in the first place you are distin- guished by your two arms that have proved their valour in conflicts with your enemies in many a battle ; and again rendered more powerful by (or, and again possess) an irreistable army consisting of numerous elephants, horsemen and foot-soldiers. So having now hardpressed the harem with the whole bulk of your forces, set Aranyikâ free. KING.—Friend, you have advised what is impracti- cable. VIDU.—What is impracticable in this (since there is surely not a single man there save the hunch-backs, dwarfs, and the old chamberlain. KING.—(Despisingly) Fool, what nonsense yon talk ! Excepting the Queen's favour there is no other means to procure her release. So tell me how I shall gain the Queen's favour. VIDU.—Sir, support your life observing a month's fast. Thus will the fierce Devi (wrathful Queen) be pleased. KING.—(Smiling) Do not joke. Tell me how I should propitiate the Queen ?

pp. 43-50. 35 [ Act IV 'Shall I, being bold, obstruct her (course) standing, before her and smiling, clasp the dear one at the neck ? Or shall I cause her to be delighted by framing a speech couched in hundreds of flattering expressions ? Or shall I remain with folded hands having fallen before the Queen at her feet ? Truly, truly, I know not how the Queen'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 come just now having escaped from confinement with difficulty. So I will not go. KING.-(Smiling and clasping him by the neck, makes him turn back by force.) Fool, come on. (Walking round and looking on.) Here is the Queen sitting in the centre of the ivory-chamber. I will approach her. (Approaches abashed). (Vāsavadattā' rises from her seat languidly). Why have you left your seat ? away with this hurry to show respect to me. It is not proper thus to stand for me, O you with your waist wearied (thereby). Why is this person, who is won over by the favour of the mere casting of a glance, made to feel abashed by excessive courtesy ? (2). VĀ'SAVA.-(Closely observing his countenance.) Husband, you are now abashed (in deed) ! KING.-My dear, I am really abashed. For, although my guilt was visibly seen, I am endeavouring to appease you. SĀ'MKRIT.-(Pointing to a seat.) Sire, please sit down. KING.-(Pointing to a seat.) Let the Queen sit here. VĀ'SAVA.-Sits on the ground. KING.-Oh, the Queen has sat on the ground. I too will sit just here. (So sitting on the ground, with folded hands.) Beloved, be pleased, be pleased. Why do you cherish this deep-seated anger, when I have thus bowed to you ? O you with bewitching eyes, you do not knit your brows, but simply weep again and again ; with your T. 4

Act IV. ] 36 pp. 50-51. lower lip not much quivering you heave sighs without cessation; you do not give a reply, but remain with your 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 now torment 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 other cause? (SA'MKRITYA'YANI whispers it in the ear.) KING.—(Laughing.) If so, away with sorrow. I too knew it. But I did not say (anything about it) thinking that I should greet the Queen after the purpose had been accomplished. Otherwise how could I remain un- concerned in this Dhriḍhavarma matter? So several days have elapsed since tidings about it reached (here). This is the state of things there. With his outward territory overrun by our forces led by Vijayasena, and his power destroyed, the accursed Kalinga, rendered helpless, has been forced to seek protection from the rampart after having at once entered his fortress. (4) And him, Kalinga, thus situated—, rendered powerless by our attack as described above, with the activities of his warriors and servants decreasing day by day, and having his entire army routed as his elephants, horses and men are falling so as to be destroyed—, you will hear before long, O revered lady, as being either captured or slain in the battle, when in a day or two his fortress is levelled down from all sides by our forces. (5) SA'MKRIT.—Princess, I told your ladyship, at the earliest, that Vatsarāja would not remain without making a counter move. VA'SAVA.—If so, that is gratifying to me.

pp 51-52. 37 [ Act IV. (Enter Portress). PORTRESS.—Prosperity, prosperity to your Majesty! Here is Vijayasena, accompanied by Drdhavarman's Chamberlain, waiting at the door, with his eyes expanded through joy and wishing to communicate something 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 Vatsarāja! So I say nothing. KING.—Quickly ask them to come in. PORTRESS.—I will. (Exit). (Enter VIJAYASENA and the CHAMBERLAIN.) VIJAYA.—Dear chamberlain, at the thought that I am to see my master's feet to-day, I am truly ex- periencing an ecstasy of joy, indescribable and beyond comparison. CHAMBER.—This is true. See— Even ordinarily (lit., otherwise) a servant is filled with joy on beholding his master : how much more then must be he who has fully carried out the responsible task entrusted to him by his lord, by routing the enemy's forces? (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's command, Vijayasena, the conqueror of the foes, has set our master on the throne. (7) VA'SAVA.—My revered lady, do you recognize this chamberlain? SA'MKR.—How shall I not recognize him? Surely this is he by whom your aunt sent the letter to you. KING.—A momentous business has been accomplished by Vijayasena. (VIJAYASENA falls at his feet). KING.—Queen, I congratulate you. Drdhavarman has been reinstated on his throne.

Act IV ] 38 pp 52-53 QUEEN.—(With joy.) It is a favour to me. VIDU.—At the time of such good fortune, this must be done in this royal palace—(Pointing to the KING and acting playing on the lute) worship of the Preceptor, (showing his sacred thread) honour to a Brahmana ; (indicating ARANYIKA) and the release of all in custody. KING —(Aside, with a fillip) Well done, friend, well done ! VIDU —Madam, how is it that you do not pass any orders in this case. VASAVA —(Looking at SAMKRITYANI, with a smile) The knave has, indeed, got Aranyaká out of prison. SAMKR —What is the use of keeping the girl in custody ? VASAVA —Just as your reverence likes. SAMKR —If so, I myself will go and set her free. (Exit) CHAMBERLAIN —Here is another message sent by Drdhavarman—By your favour everything has been accomplished as desired. So this my life is yours (at your disposal), you have the right to use it as you please. (The KING remains with his face hung down through modesty) VIJAYASENA.—Sire, it is not possible at all to describe the great affection Drdhavarman feels for Your Majesty. CHAMBERLAIN —(Continuing) And although pain was caused to me that there was no alliance formed with you on account of the loss of my daughter, Priyadarsiká, who was affianced to you, still the same has been removed by you as the husband of Vásavadattá. VASAVA —(Tearfully) Noble chamberlain, how was my cousin lost ? CHAMBERLAIN —Princess, when in the course of the attack by the accursed Kalinga the inmates of the harem had fled here and there I took her who was fortunately seen by me, and thinking—'It is no longer advisable to stay here now', started to come to