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

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

pp. 53–55. 39 [Act IV. Vatsarāja. Then after due consideration I committed her to Vindhyaketu's care and went away. Just as I returned I found the place made, along with Vindhya- kètu, a matter of memory by some people. KING.—(With a smile.) Vijayasena, what do you say (to this) ? CHAMBERLAIN—There although I searched for her I did not find her. And from that time to this day it is not known where she is— (Enter MANORAMA'). MANORAMA'.—Your Highness, the poor girl is in danger of life. VA'SAVA'.—(Weeping.) What! Do you know what has happened to Priyadars'ana' ? MANORAMA—Certainly I do not know what has happened to Priyadars'ana'. This A'ranyiká here drank the poison brought to her under the guise of wine and is in peril of life. This is what I humbly said So your Highness should save her. (Falls at her feet weeping). VA'SAVA'.—(To herself.) Oh fie, fie! my grief for Priyadars'aná has been hidden (eclipsed) by this account of A'ranyiká. People are, to be sure, extremely wicked. They might, perchance, mis-judge me. So this is proper to be done in this case. (Loudly and with concern.) Manoramá, bring her quickly just here. My husband who has learnt the art of poison-curing in the world of the Nàgas is an expert in this matter. (Exit Manoramá; then enter Aranyiká, supported by Manoramá, and exhibiting herself as suffering from the effects of the poison.) A'RANYIKA'.—Dear Manoramá, why are you leading me into darkness? MANORAMA'.—(With dismay.) Alas, alas! Her sight also is affected by the poison. (To Vāsavadattá) Mistress, quickly save her, quickly save her. The poison has affected her seriously. VA'SAVADATTA'.—(Taking the KING by the hand, in

Act IV. ] 40 pp 55-56. agitation.) Rise, rise, my lord. The poor girl is fast dying. CHAMBERLAIN.—(Observing her.) She surely resembles very much our princess, Priyadarśikā. (Referring to VĀSAVADATTĀ.) Princess, whence is this maiden? VĀSAVA.—Sir, she is Vindhyaketu's daughter, brought here by Vijayasena after slaying him. CHAMBER.—Whence could he have a daughter. This is the same, my princess. Alas! I am undone, a luck- less man! (Falling on the ground and rising up.) Princess, this is that Priyadarśikā, your cousin VĀSAVA'.—Husband, save her, save her. My cousin is dying. KING.—Be calm, be calm. Let me see first. (Aside) Pity, oh pity! The bee in its course went to drink the lotus bud having abundant floral juice formed in it; and at the same time it was scorched up by the frost having suddenly fallen on it. When fate is adverse desires bear no fruit. (8) (Aloud) Manoramā, ask her if she has consciousness. MANORAMĀ.—Friend, are you conscious! (Shaking her again, with tears.) Friend, I say, I ask you if you are conscious. PRIYADAR.—(Indistinctly.) I say, even such as I am, I did not see His Majesty. (With this half-uttered she falls on the ground.) KING.—(With tears, aside.) She is closing this pair of her eyes (but) the quarters have been dark to me; her throat is choked; these words of mine escape me with difficulty; her breathing has stopped (lit. is taken away); my body has become paralysed (lit. come to be in a state of motionlessness); I think the effect of poison only is hers; but mine is all the affliction caused by it. (9) VĀSAVA.—(Weeping) Priyadarśikā, rise, oh rise. See; here is the King sitting. How is it that her con- sciousness is also lost? What wrong have I done you

pp. 56-57. 41 Act IV. unknowingly, angry at which you do not talk to me? Be pleased, then, be pleased. Arise, arise. I will not give offence again, Ah, cursed fate! What evil deed was done by me now that my cousin is presented to me reduced to this plight? VIDU.—My friend, why do you stand like one bewil- dered? This is not the time for dejection! Very serious, indeed, is the working of the poison. So show the power of your art. KING.—This is quite true. (Looking at PRIYADARS'IKA'.) I remained stupefied all this while. So I will restore her to life. Water, water. VIDU.—(Going out and coming back again.) O here is water. (The King advancing and placing his hand on Priyadars'ika, acts the silent repeating of the incantation; Priyad'arsika' slowly rises up.) VA'SAVA.—My lord, thank God, my cousin has revived. VIJAYASENA.—Oh the power of his Majesty's know- ledge! CHAMBERLAIN.—Oh, unobstructed everywhere is the power of His Majesty as Narendra (sovereign— Poison-physician)! PRIYADARS'IKA'.—(Slowly rising up and sitting, indicates yawning, then with dejection indistinctly.) Manorama, I have, indeed, slept long. VIDU.—O friend, your skill as a physician has been fully proved. (PRIYADARS'IKA', gazing longingly at the KING stands up bashfully, her face hung down a little.) VA'SAVA.—Husband, why does she still act differently (like one not fully restored to sense)? KING.—(With a smile). Since her eye-sight is not restored to its natural state, her words are not very distinct; this her body reels, with horripilation and the drops of perspiration clearly

IMPORTANT ABBREVIATIONS. —oOo— Ak., Amara.—Amarakośa. Bg.—Bhagavadgītā Bhav.—Bhartṛihari's Śatakas (N. and V.).* Bhaṭṭi—Bhaṭṭikāvya (I.—V.).* Bṛih.-S—Bṛihatsaṁhitā. Col. U. Ed.—Columbia Uni- versity Edition of the Play. Cf.—Compare. Ch.—Chapter. Bṛ K. M.—Bṛhatkathāmañjarī. Com.—Commentary; commen- tator. D. K.—Daśakumāracharita. D.-R.—Daśa-Rūpaka. Gīt.—Gītagovinda. Hitop.—Hitopadeśa. Kād.—Kādambarī. Kathā.—Kathāsaritsāgara. Kāv., K.-D—Kāvyādarśa. K.-P.—Kāvyaprakāśa. Kum.—Kumārasambhava. (I—VII). Mālav.—Mālavikāgnimitra. Malli.—Mallinātha Māl.-Mādh.—Mālatī- Mādhava. M.-S.—Manusmṛiti. Megh.—Meghadūta*. Mṛich.—Mṛichchhakaṭika.* Mudrā.—Mudrārākshasa*, Nāg.—Nāgānanda.* Pañchar.—Pañcharātra of Bhāsa.* Priy.—Priyadarśikā. Pt.—Pañchatantra.* Ragh.—Raghuvamśa. (I.-X.)* Rām.—Rāmāyaṇa. Ratn.—Ratnāvalī.* Ṛitus.—Ṛitusaṁhāra.* S.—Sūtra. Śāk.—Śākuntala of Kālidāsa.* S.-D.—Sāhityadarpaṇa. Sid.-Kau.—Siddhānta- Kaumudī. Śree—Śreenivāsachariar. Śiś.—Śiśupālavadha. Subhā.—Subhāshita. Svap-Vās.—Svapnavāsava- datta of Bhāsa. Uttar.—Uttararāmacharita.* Vārt.—Vārttika. Veṇī.—Veṇīsaṁhāra.* Vikr.—Vikramorvaśīya.* Vikr.-Ch.—Vikramāṅkadeva- charita of Bilhaṇa. *Annotated by the Editor.

NOTES. —————— ACT I. P. 1. प्रियदर्शिका—Properly the name of the heroine; it then metaphorically (by the metaphorical transference of an epithet अभेदोपचार) signifies the play of which Priya. is the Heroine. The poet's other play, Ratnâvalî, is similarly named. Following the custom of previous writers the poet begins his work with the usual Mangala, which consists of a salutation to the favourite deity or a benediction, and which is believed to have the power to remove obstacles in the way of, and to lead to a safe completion, the work undertaken. This is techni- cally called Nândî in the case of dramas. The efficacy of a Mangala is thus stated by Patanjali in his Mahâbhâshya— मङ्गलादीनि मङ्गलमध्यानि मङ्गलान्तानि च शास्त्राणि प्रथन्ते वीरपुरुषकाण्यायुष्मत्पुरुषकाणि च भवन्त्यध्येतारश्च प्रवक्तारो भवन्ति । Śrîharsha has glorified Pârvatî and Śiva in this play, as he has done in the Ratnâ. also. He pays his veneration to Pârvatî first, owing to her being the more respect- able of the two, as being the mother of the world (मातुरभ्यर्हितत्वात् as remarked by Malli. in his com. on Ragh. I. 1.). Śl 1. The śl. describes the emotion of Gaurî (Pârvatî) at the time of her marriage with Śiva, wherein Brahmâ, as was meet, was the officiating priest joining their hands. Cf. Śiva Pu.—ब्रह्मा सर्वं च तत्रत्यं कारयामास वै तदा । आवाहनं तथा पाद्यं सर्वं च विधिपूर्व- कम् ॥......... संस्थाप्याग्निं पुनस्तत्र वैवाहमकरोद्विधिम् ॥ &c. Construe—करग्रह- विधौ धूमव्याकुलदृष्टिः पुनः इन्दुकिरणैः आह्लादिताक्षी उत्सुका वरं पश्यन्ती भूयः ब्रह्मणः ह्रिया आनतमुखी पादनखेन्दुदर्पणगते गङ्गां दधाने हरे सेर्ष्या स्पर्शाद् उत्पुळका गौरी वः शिवाय अस्तु । धूमव्या०—The smoke was due to the offerings made into the fire that witnessed the match; for the offerings cf. हविःशमीवृक्षलता- जगन्धी पुण्यः कृशानोरुदियाय धूमः । Ragh. VII. 26. व्याकुल pained or disturbed. This was because the bride is required to inhale the smoke. लाजाहोमं कृत्वा धूममाजिघ्रेत् इति गृह्यविदः । Cf Ragh. VII. 27. आचारधूमग्रहणाद्बभूव (वृद्धाचाराद्धूमग्रहणमित्येके); see Kum. VII. 81. and cf. for the smoke Par. p. I. 1. इन्दुकिरणैः—When she looked up the pain was removed by the soothing rays of the moon on Śiva's head. उत्सुका—This description is rather conventional. The bride is anxious to see her husband and gets the first opportunity to see him after the removal of the cloth held between the two when the Mangaḷâshtakas are over. But in

2 Gauri's case she had already seen S'iva before the marriage ह्रिया--She felt shame for fear of being observed by Brahmá who was there serving as the uniting priest. आनत०—may also be separated as नत०. भूयोह्न्रिया may also be taken as a comp. word (through excessive shame); but this is not very satisfactory. सेर्ष्या--Full of jealousy; for she saw Gangá on the head of S'iva's image as mirrored in her bright nails. At first she had not seen her as she dared not look long at S'iva in the presence of Brahmá. Párvati is often represented as jealous of Gangá regard- ed as her co-wife. Cf. Mud. I. 1; तद्युक्तं वधूपार्श्वं मम पुरो निर्लज्ज- योद्युताय; Ratná. I. śl. between 2 and 3. पादनखेन्दु०—For comp. see com.; the double comparison is rather unpoetic. Strangely enough Sans. poets represent the nails of fine ladies (and also of men) as lustrous enough to take in images. Cf. तिङ्मणिमुकुरपुटेन ........अनुचेनाह्वत इव चरणनखेषु निपपात । Kád. p. 292. स्पर्शोत्पुलका—The standing of the hair on end caused by touch is one of the eight Sátvika Bhávas (or involuntary manifesta- tions of strong feeling). It is considered as the first outward indication of love and is often referred to by poets; cf. Vik. I. 11; Kum. VII. 77 (रोमोद्गमः प्रादुद्भूदुमायाः), Ragh. VII. 22. &c. Cf. with this śl. आदौ वेगफणायिता हरमुखव्यापारलोला शनैर्ब्रीडाभारविघूर्णिता मुकुलिता तूष्णीदमव्याभृतः । पत्युः संमिलिता दृशा सरभसव्यापर्तनव्याकुला पार्वत्याः परिणतिमङ्गलविधौ दृष्टिः शिवायास्तु वः ॥ Pár. p 1. l. 1. कैलासाद्रौ &c.—The reference here is to Rávana's lifting up the mountain Kailása when it was shaken to its foundation, causing alarm to Párvatí and others who lived on it. To quiet Párvati's fear S'iva pressed down the mountain with his foot and Rávana escaped being crushed under it only by pacifying the deity. This is also constantly referred to by poets; cf. कैलासशिखरेण दशमुखीमपूतनखोन्निपातिता; Kád. p. 211; समुत्सिपन्धः पृथिवीभृतां वरे शरप्रदानस्य चकार शूलिनः । असमुपाराद्धिसुताससंभ्रम- स्वदोर्महाक्षेपसुखेन निष्कयम् ॥ Sis.' I. 50; गावा चोर्ध्वं दशमुखभुजोच्छ्वासितप्रस्थसन्धेः कैलासस्य &c. Meg. I. 61; see also Rámá, Uttar. K. canto XVI. Construe उद्गस्ते कैलासाद्रौ सचलति सति गणेषु सत्रासकौतुकेषु सत्सु, कुमारे मातुः क्रोडं विशति सति विभूषने सरोषं पश्यति सति पादाङ्गुष्ठे दशमुखे पातालमूलं याति सति क्रुद्धोपि उमया भयघनम् आलिङ्गितः अतः तुष्टः शिवः वः पातु.

• उद्गस्ते—Trown or torn up. गणेषु—The gaṇas are the atten- dants of Śiva, being a race of demigods called Pramathas and are under the superintendance of Ganeśa, one of the demigods. They are thus described in the Káliká P.—विचित्रकुसुमाभरणा जटाश्चन्द्रार्धमण्डि- ताः । आकाशमार्गे गच्छन्तमब्रुवञ्छान्ति निग्रहाः ॥ ध्यानस्थं परिचर्यन्ति ललिताङ्गिमिरौ- श्वरम् । मानाशस्त्रधराः शम्भोर्गणास्तु प्रमथाः स्मृताः ॥ &c. सत्रास०—Their

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.

4 Two explanations are offered. The name of the Sūtra. is not put first because nothing but auspicious words can begin a work. Cf. in this connection the Sutra of Pān. वृद्धिरादैच् which begins his अष्टाध्यायी (and not अदेङ्गुण् like अदेङ् गुण ). The other is—The Sutra or manager of the पूर्वरङ्ग recited the Nándi. And he having retired, the manager of the play (नाटकस्य सू०) entered and began the play. But as the discussion is immaterial to the ordinary reader we do not further enter into it here. सूत्रधार—The chief manager of the play, who held as it were the threads of the business of the play. He assigned to the various actors the parts they were to play, instructed them and took a leading part in the prologue. वसन्तोत्सवे—The vernal festival seems to have been one of the occasions on which plays were publicly staged. The spring festival was formerly celebrated from about the middle of the bright half of Chaitra to the full moon day to mark the return of spring, when Kāmadeva or the god of love was worshipped with great pomp. According to some, the festival began from the 5th of Māgha and lasted for about two months. It is now identified with the Holi festival in which people of all grades of society mix with one another and make merry. The Bhavish- yottara Purāna gives a full description of this, for which see Wilson's H. T. p. 264. The passage from अद्य तु to सर्वो गुणानां गणः is almost the same in all the three plays of the poet, with इन्द्रोत्सवे instead of वसन्तोत्सव (which is an optional reading there also) in the Nagananda. श्रीहर्ष—For Harsha see Introd., देवस्य-देव fr. दिव् to shine originally meant one shining or brilliant, then it came to mean 'a god' (Lat. deus), and lastly came to be added to the names of kings as a term of respect and greatness, cf. Vikramadeva, Vikramānkadeva, &c. पादपद्मो०—living or subsisting by (the support of) the lotus like-feet &c.—a respectful way of saying —the humble servants or vassals of. राजसमूहेन—This refers especially to the eighteen kings that owed allegiance to Harsha and his two allies the king of Valabhi and Bhāskaravarman, king of Prāgjyotisha (Assam). अपूर्व—goes with रचना, such as has not been shown before, novel, extraordinary. We cannot take अपूर्व as qualifying वस्तु as the theme of the play was not invented by the poet. रचना is the skilful arrangement of the various parts and incidents leading to a charming end. The poet means that he has borrowed the theme but presented it in a new

comp., as मनोहारि, हृद्यहारि; Then: Letter 1:तwithु(तु) Letter 2:टे? Wait, is it त्रुष्टे? Wait, could it be तुष्टे? Yes, तुष्टेis very clear. Then:वwithि=वि षwithट=ष्ट र=र हwithा=हा रwithि=रि णwithी=णी -(hyphen) L37:हरहरो(orहरहरी?) Wait, look at the last letter of हरहरो: It has a vertical bar after 'र', and a top slant stroke. That is 'ो'! So it is हरहरोorहरहरौ? Wait, look at the first letter: ह? Or द? Wait, is it दरहरो? द र ह र ो` -> "दरहरो"! Wait! दरहरो? Wait, what does "दर" mean? "दर" means a little, or fear! Wait, what about "तुष्टे"? Wait, look at: "तुष्टे विष्टरहारिणी दरह

8 19th in succession from Janamejaya, which appears to be more probable. Mahâsena, also called Chanda-Mahâsena, the king of Ujjayinî, had a daughter of exquisite beauty, named Vâsavad- attâ, whom he wished to give in marriage to Vatsarâja. (According to another account to a king named Sanjaya, see the quotation, from Mâl. Mâd. below.) With this object he enticed Udayana to his city and kept him a captive there. Being engaged to teach music to Vâsavadatta he gained her heart and by the advice of his minister Yaugand- harâyana managed to escape with her to his capital. They were afterwards married in great pomp. For the full account see Kathâ Lambaka II tar. 11, 12. हारि चरित—This is proved by the various references to his name, cf. प्राप्यावन्तीनुदयनकथाकोविदग्रामवृद्धान् । Megh. I. 30, प्रद्योतस्य प्रियदुहितरं वत्सराजोऽत्र जह्रे । Ibid. I. 33; उत्तेजवापि सदृशं परिक्षेपणाय यौगन्धरायण इवोदयनस्य राज्ञः । Mṛch. IV 26. वासवदत्ता च राज्ञे संजयाय पित्रा दत्तमत्मान- मुदयनाय प्रायच्छत् । Mâl. Mâd. II. नाट्ये—नाट्य here means dramatic representation. वयम्—by this he refers to himself and the other actors. वस्तु—a thing, an item. this is different from वस्तु in अपूर्ववस्तुरचना above. एकैक—एक repeated is to be taken as a Bah. comp. (by एकं बहुव्रीहिवत् । Pan. VIII. 1. 9) and dissolved as एकमेकं, the case term. of the first word being dropped in being compounded. फल—is here reputation and money. पदं—an abode, i. e. source of. पुन—implies पक्षान्तर (what then when &c.) मद्भाग्येय—Here he refers to himself as he is the principal person concerned. गुणानां—Favourable circumstances, advantages. Cf. एकैकमध्यनर्थाय किमु यत्र चतुष्टयम् । Hit. I. This śl. is quoted in the Sâh. D. and D—R. as an instance of प्ररोचना (or that which attracts the attention of the audience to the representation by a commendation of the poet, the play, the

• Mahâsena though an enemy of Udayana, wished to give his daughter Vâsavadattâ in marriage to him, but doubting if he would accept her, he thought of the following expedient for bringing about the union. Seeing that Udayana spent his days and nights in the forests he thought of making him a prisoner, and with this view he caused a wooden elephant to be made and concealed some armed men in it. It was then placed in the forest. When Udayana came across it, the armed men came out and seeing him alone seized and made him a prisoner. He was then brought before Mahâsena who gave his daughter Vâsavadattâ in his charge and told him that he would be set at liberty when he gave his daughter instructions and training in music (गान्धर्वविद्या). Gadre.

7 proficiency of the actors, &c.) one of the angas of भारतीवृत्ति, which is thus defined—निवेदनं प्रयोज्यस्य निर्देशो देशकालयोः । काव्यार्थसूचकैः शब्दैः सभावाञ्छितरञ्जनम् । कविकाव्यनटादीनां प्रशंसा च प्ररोचना ॥ नेपथ्याभि०—Towards the curtain or screen ( that separated the tiring room behind the stage from the stage itself. अये—shows surprise. –नान्द्युद्यते–engaged in, busy with; this reminds one of Bhâsa, who begins some of his plays with अये कथं or किमु खलु विज्ञापनाव्यग्रे, मयि ( see Svap., Pancha., Mad. Vyâ, &c. ). अङ्गाधि०— For Anga, see Introd. दृढवर्मणः—does not seem to be the name of a real historic personage. It is probably invented by the poet. भूमिका—part. अस्मद्भ्राता—In the Ratnâ, also the younger brother of the Sûtra. is introduced as assuming the character of Yaugandharâya

8 the power arising from an efficient army and a good treasury ( स प्रभावः प्रतापश्च यत्तेजः कोषपुण्डजं Amara ); मन्त्रश० or the power aris- ing from good counsel ( i. e a wise ministry ) and उत्साह or the personal energy of the king. रघो०—रघु० was the celebrated son of Dilipa, नल king of Nishada—names well known to the Indian student. प्रार्थ्यमाना—earnestly sought, solicited. बद्धानु०—who entertained a deep feeling of resentment. रन्ध्रान्वेषी—who found a loop hole, i. e a weak point as Vatsarâja was not expected to come to Dṛdh's assistance. पुलिन्द०—For पुलिन्द see Introd, पुलिन्दानां जनपदानां राजा पुलिन्दः स चासौ हतकश्च । परमार्थ—To speak the truth, truly. उपपन्न—Although come to pass or happened, a fact. यथाकथञ्चित्—Lit as circumstances would permit, some- how. अनृण—Free from debt. He believed that his master had contracted a debt as it were, when he promised to give his daughter in marriage to king Vatsa and that he ( Kanch ) would free him from it by taking the princess to king Vatsa. अभ्यस्कन्दसम्भ्रम—The flurry and confusion caused by the attack, the comparison to प्रलयकाल shows that the attack was sudden and caused terrible havoc. अपवाह्य—The object is तां (राजपुत्रीं). आट- विकस्य—अटव्यां भवः आटविकः ruling over a forest tract, a forest king. विन्ध्यकेतोः—Vind. seems to have been a petty king as he was so easily routed. अगस्त्यतीर्थ—appears from the context to be some holy place in the Vindhya regions, near the hermitage of Agastya described by Bana in his Kâda. An Agastyatîrtha, a place of pilgrimage, is located in the province of Tinnevelly in the extreme south of India. निहत्य—Having attacked. दस्युभिः—By marauders or robbers. दस्यु is one of the old Vedic words ( a class of demons or enemies of gods and men, slain by Indra ) that remain in classical Sans. प्रद्योतः—Another name of Mahâsena or Chanda mahâ. so say the commentators on Kâli 's Meg. I. 34 wherein there is a reference to this king—प्रद्योतस्य प्रियदुहिता वत्सराजस्य जह्रे) and this appears to be correct from Bhâsa's Svap Vâ. According to the Kathâ, Pradyota was the king of Magadha and a person different from Mahâsena. The name of his daughter also was Padmâvatî. See Kathâ XV. 19. 20 and our note on प्रद्योत at Meg I. 34. कौशाम्बी—the capital of the Vatsa country, was once a flourishing city, though now remaining as an insignificant village. See Intro. P. 5. जर्जरीकृत—Hacked or terribly disabled by, mangled. सफलीविधासि—सफलय् a denom. from सफलं ( सफलं करिष्यामि ). शारदा- तपस्य—The autumnal heat is described as very fierce. संश्राण— Hot, burning.

: Line 37: "Cf. नौपृष्ठे" Line 38: "धोरि धर्मोय सर्वभिमेतहेतवे ।; and Mah. Bhār." Wait! "धोरि धर्मोय सर्वभिमेतहेतवे ।;" ?? Wait! Look at the quote: Mahābhārata quote: "त्रिवर्गोयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।" (This is a well-known quote from Mahabharata, Shanti Parva: त्रिवर्गोऽयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।) Now, what is the quote before it? "Cf. ..." What is "... धर्मोऽयं सर्वाभिमतहेतवे"? Wait! "सर्वभिमेतहेतवे" -> सर्वाभिमतहेतवे! Wait, what precedes it? Is it: "गौरिव पृष्ठे धूर्धोरि धर्मोऽयं..."? Wait! "धूर्धोरि"? "धौरेय"? "धुर्य"? Wait! Let's look at the letters at the end of line 37: "Cf. नौपृष्ठे" Wait, could it be: "नृपृष्ठे"? No. "गौः पृष्ठे"? Wait, look at the first letter: It has two diagonal strokes on top (au matra): Wait, no, is it

पुत्र forms the second member ( षष्ठ्या आक्रोश । पुत्रेऽन्यतरस्याम् । Pân. VI. 3. 21, 22 ); lit.—a whore's son, used humourously by the Vidû. as a term of contempt; that cursed ( imprisonment ). It is used with persons or with inanimate objects as here; cf. एते दास्या पुत्रा अर्थकल्लवन्तः &c. Mṛch. I. p. 13. खत्खलायमान०—This and the other epithets apply to the king as well as to the गजपति. खत्खलायमान is the pres p of the Âtm. verb formed from खत्खल an onomatopoetic word, by adding य ( क्यङ् ) A final आ ( डाच् ) is added to the final half of a word indicating sound when the word consists of at least two syllables; and words ending in आ take the denom. aff य ( क्यङ् ) by लोहितादिडाभ्यः क्यष् । Pân. III. 1. 13. For comp. see com प्रतिस्खलत्—stumbling at evey step. शून्य०— शून्य properly lonely, solitary (शूना प्राणिवधाय हितं रहस्यस्थानत्वात् ), fr. शूना animal slaughter and aff. य ( यत् ); here (1) शून्य without animation, dejected, मुखपुष्कर lotus like face or countenance; (2) शून्य dry, devoid of moisture मुखं cavity यस्य तादृशं पुष्कर the tip of the trunk; तेन पिशुनितः indicated, हृदयसंतापो यस्य. The passage here is somewhat obscure. Mr. Gadre following Jîv.'s ed reads शून्यदुष्कर ( दुःखर ) पिशुनहृदय०; but as remarked by him, it is difficult to assign a meaning to this. It is explained as शून्यं unaffected by any feeling दुष्करं experiencing pain, ( दुःखर v. l. दुःखं राति इति ) विशु- नवत् indicating internal affliction ( अन्तःसंतापसूचकं ) यद् हृदयं तस्य संतापो यस्य. But this is not satisfactory. शून्यदुष्करहृदयसंतापः v l. is also equally unintelligible. It may be explained as शून्यश्चासौ दुष्करहृदयसंतापश्च. उत्थंभित—raised and fixed upwards. गुरुकर—(1) huge arms, (2) large trunk. अधिगतधरणीपृष्ठ.—v l. (1) lying on the bare ground, (2) throwing himself on the surface of the earth. अनिद्रासुखं—may also be taken as an adv. comp.; अविद्यमाने निद्रासुखे यस्मिन्कर्मणि तद्यथा तथा । It is also explained as निद्रासुखस्याभाव अनिद्रा- सुखे ( अर्थाभावेऽव्ययीभाव. ). The reading of the Mad. ed. निद्रासुखं न प्राप्नोषि is easier. अनुवाचयसि—may mean—you repeatedly spoke of. वसन्तक—This name occurs in the Rat. also and is taken from the story of Udayana. Śl. 7. चारकं—also mas, a prison; see Das ch. p 59 निगल— same as निगड a chain, fetters, ल may be substituted for ड The śl. shows how the impression made on the king's mind by the charms of Vâsa. quite overshadowed the hardships of imprison- ment. And this was a fact, cf. तस्य दृष्ट्वा तु तां कन्यां वत्सराजस्य मानसम् । तथा स्नेहाक्रममभूद्यथा मन्युमृक्षत । Kathâ II. 4 29. समर्थे—Because he thought that he could here hit the king on his own ground. Mark the pun on the word पद्मावति.

श्च? Look at रुमण्वाँश्च: रु म ण्व ा ँ श्च. Let's look at the candrabindu: it's above ा. So रुमण्वाँश्च`.

Line 12: राज्यभारमुदूहतुः ॥ Lamb. III. 1. 4. तत्क्षणमपि &c.—It is Wait, Lamb.? In Kathāsaritsāgara, the sections are called "Lambaka"! So Lamb. III. 1. 4.! Perfectly matches!

Line 15: shows that even in ancient times the ministerial office was as not Wait, look at was as not again. Is it was as not? Let's re-examine was as not: w a s then space, then a s? Wait, look at the letters: w a s Then: Wait, is it a t? No, the second letter has a rounded top and bottom: s. Wait, why was as not? Could it be a typo for was not? Yes, 19th-century Indian presses often had typos like this. We transcribe what is printed. It is was as not.

Line 25: a foot-soldier; from पाद् changed to पद् (by पादस्य पदाज्यातिगोपहतेषु

५२ by the wholesale slaughter (of his followers) for comp. see com. संप्रहार—a fight, battle, or striking, dealing out blows, cf. तद्भैरवा- न्समुपसंहृतसंहार Uttar. VI. 7 (where सम्० may have both the meanings), हृदि संहारे व्यक्ता राम निशाविहारी। Bhatt. II. 36 Śl. 9. पादात—The body of foot-soldiers, fr. पदाति and aff. अण् (अ) by Pân. IV. 2. 38. See com. दूरात्—standing afar, दूर ० l. is not good as the idea is included in आत्ता नीता. अश्वीय— cavalry, by Pán. IV. 2. 48 (see com ) the affixes छ (ईय) and अण् (अ) are added to अश्व; so वार्श्व also P. 9. प्रहरणनिवह—Cf for these चापचक्रकृपाणशक्तिलोमरगदाप्रभृतिषु । Kâd. I. p. 26. उत्खात—Having drawn out or unsheathed. ०फालन- च्छेदलीला—छेद एव लीला (the sport of) तां is equivalent to स लीलया छेदेन cutting off with the ease with which &c., cf. Ragh. XII. 96 (मां कूटशाल्मलीं भिन्द्याद् कदलीखम). Śl. 10. गलवितप—see com. छुरित—inlaid or covered with and chest would be equally possible according to the rules of Bana grammer though not of Hindu chivalry. Cf. MBh. IX. 60. 5" Cal. Ed. p. 100. सत्पुरुषाचित—Worthy of a man leading a pious life. A warrior killed while fighting face to face with an enemy also attains heaven, see com. and cf. Ragh. VII. 51. योधिता—Because he fought valiantly like a true hero and fell only when overpowered by odds. See com. अनुमृतान्—Followed him in death, i. e. immolated themselves along with the dead body of their husband. सहधर्मचारिणी—A wife. सहधर्मचरण is one of the principal objects of a Hindu marriage, husband and wife (दम्पती) must perform the holy rites together, cf. तदिदं प्रतिगृह्यतां सहधर्मचरणाय । Sak. V. p. 125 विन्ध्यशिखरा०—The constr. is जनपदेषु विन्ध्यशिखराश्रयत्सु. The additional reading विनष्टेषु (had fled away) makes no good sense for the whole will mean 'when the people of the country who had already fled to the peaks of the Vind. mountain had fled away.' But we are not told that they were pursued by the victors. कृपण—miserable, pitiable. आभिजात्य०—endowed with a beauty in keeping with or befitting her noble birth. अभि- जातरूपा ० l.—possessed of excellent beauty. तां प्रति—As regards her; how she is to be dealt with or what is to be done with her. P. 10. यशोधरे—This is the name of the Fortress. भगिनी- बुद्धया—In the light of, considering her as, your sister. It will be

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