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

18 Agastya (the bright star 'Canopus' of the constellation Argo Navis in the Southern celestial hemisphere) rises, for the attainment of all desires Varāh in his Br Sam says that a king should offer an Arghya to Agastya for the attainment of great power, सांवत्सरावेदितदिग्निभागे भूपोऽर्घमर्घ्यं प्रददन् नृपच्छेत् । ch XII 15, for other particulars see 16–18 अस्ताभि०—Lit desiring i e about to set, occurs again at p 22 मुकुलायन्ते—Pres pass. of मुकुलायते denom from मुकुल are closed, lit are made to assume the condition of buds तपस्विनी—Lit a female ascetic, and as ascetics require protection from others तपस्विन् secondarily means 'one helpless or deserving pity, poor', cf इतस्तपस्वी वैरोचकिः Mudr III p 62 Śak p 95 P 15 ससाध्वसो०—साध्वसेन उद्वेगेन च सहितं यथा तथा, उद्वेग agitation, mental pain or distress नाम—is वाक्यार्थे आज्ञाप्य स्थितया—who used to command, स्था with the gerund shows continuity of the act एष दोष—is आज्ञातिकरण, that I have to obey others Sāgarikā also similarly refers to her misfortune that she has to serve, but not with regret as she had obtained a sight of the king (तत्परिप्रेषणदुःखितमपि मे जीवितमेतद् दर्शनेनेदानीं बहुमानं समुद्वहति । p 27) दुष्करमिदानीं &c—This at first appears to mean 'I have thought of doing a hard thing i e committing suicide But this does not seem to be intended A'rany finds it necessary to yield to her misfortune and says अथवा (used पक्षान्तरे) or why मया चिन्तितमिदानीं दुष्करं it is difficult to carry out my resolve Again अपि after एतद् in परमेतदपि will have no force She would rather prefer servitude than avoid it by revealing her high birth Had the first meaning been intended she would have said एतदेव यथाज्ञप्तिं further on also will be meaningless She has not said any where that she would kill herself (although like Sāgarikā she says it further on, see p 24) So यथाज्ञप्तिं must be taken to mean 'as ordered by the Queen', and this she proceeds to do in what follows महार्घ—महान् अर्घो यस्य, lit of high value, hence noble, exalted का गति—What course or help is there? this must be done गुल्म—a thicket or cluster निर्भर—filled with, full of (at the end of a comp) P 16 §1 4 Now he shows how the four senses (the fifth, tongue, being excluded) are gratified by the several things connected with the tank घ्रापयति—Denom fr घ्राण, घ्राणं करोति, according to the Gaṇasūtra प्रातिपदिकाद् धात्वर्थे बहुलं णिच् दृश्यते । सुपुष्पाह्लाद०—v l is not good, in the first place कुसुम will have to be taken in the secondary sense of सुरभिगन्ध, 2ndly the word आह्लाद is redundant as

the idea is expressed by सुखयति; thirdly the word occurs in the fourth line and such repetition is not poetic. सौधपाली—सुधा ( chunam paint ) अस्यास्तीति सौधः ( also सौध ) a mansion (अण् i, e. अ being added in the sense of possession ); पाली a row or series of, or rather पाली may mean 'the skirt or edge of'. परिमलबहुला— strong, or excellent by, or clearly perceived owing to, its perfume. Śl. 5. कान्ति—Splendour, beauty;—हारिणी—(1) Attractive or charming by; (2) attractive like. By a bold metaphor the दीर्घिका is compared to the दृष्टि of the goddess of the garden. For a similar comparison cf. कृष्णसारच्छविर्मोक्षौ दृश्यते काननश्रिया । वनशोभाव- लोकाय कटाक्ष इव पातितः ॥ Vik. IV. 31. कुसुमपरिमल०—This and the other epithets apply both to स्त्री and वनदेवता; for these see com परिमलेन सुगन्धा, the reading सुगन्धि is bad; for we cannot have the final इ as the smell is not invariably connected with the Veni, now see com.; a row of bees was attracted by the perfume of flowers in the braid of hair. This is clear from the use of the word अधरे ( मधुकरा ) further on, see p. 19. In the second case वेणिरिव मधुकरावलिर्यस्याः having the line of bees for her braid of hair. उज्ज्वलन्ती—Glowing, bright, radiant. The com- parison of the tender and slender arm of a woman to a creeper is common enough in Sans. literature. विकल्प—Different thoughts or surmises. यत्सत्यं—Which is the truth; treated as an indec. meaning 'to tell the truth, to be sure, surely.' P. 17 Śl. 6. भुवन—The world of mortals, the earth. ०परा—स्नेहेन परं यस्याः सा. पर at the end of a comp. means having 'anything as the highest object; hence solely devoted to, intent on, &c.' Cf. परिचर्यापरा Ragh I. 91 नागकन्या—A Nâga damsel. In the Nâgá it is the Vidû. who wonders if Malayavatî can be a goddess or a Nâga maiden; &c., see p 18. and cf. I. 15 The Nâgas, according to the Purânas are a race of semi-divine beings, inhabiting the nether world or Pâtala. They are gene- rally identified with serpents, the offspring of Kadru, a wife of Kâsyapa; as in the Nâgá., where Vâsuki is spoken of as their king, though the Bhg. makes a difference between them; see X. 28 ( सर्पाणामस्मि वासुकिः ); 29 ( अनन्तश्चास्मि नागानां ). They are described as having a human form with the expanded hood of a cobra, and sometimes as having the tail of a serpent. See Nâgá. V. 17. Their females are described as exquisitely beauti- ful (cf. Nág. I. 15 where the face of a Nâgi is said to be as lovely as the moon), and as sometimes intermarrying with men (e.g. Ulûpî marrying Arjuna).

20 Historically the Nâgas were a race of people who have left many traces behind them Nâgadwîpa was one of the seven divisions of Bhâratavarsha Kings of this race reigned at Mathurâ, Padmâvatî &c and the name, survives in Nâgapur They were probably a race distinct from the Hindus See Dowson's Cl Dic p 213 मिथ्या &c—i e She is superior to a नागी in beauty दृष्ट मया— This alludes to Vatsarâja s visit to the Nâga-world, described in Brh K manjarı (II 56-60) and referred to in Act IV (नाग- लोकाद्गृहीतविद्येति &c ) मूर्ती—having a bodily or corporal form, P P P of मूर्च्, ( in this sense, मूर्च्छित fainted ) कमलेन— उपलक्षिता marked by, the instrumental cannot be taken हेतौ (हेतुना) she looked like Lakshmî not because she had a lotus in her hand, but because she was beautiful like her and also had the lotus in her hand Lakshmî is represented as having a lotus in her hand, cf Kâd श्रियमिव हस्तस्थितकमलशोभाम्, p 24 उत्फुल्लारविन्दहस्तया आलिङ्गितो लक्ष्म्या, p 92, &c कमलिनी—कमला यस्यां विद्यन्ते इति a lotus plant, explain similarly मलिनी मलाप इव य०—cf अये दक्षिणेन पुष्प वाटिकायामालाप इव श्रूयते । Śâk I p 18 P 18 यदा एवाह—I, to whose care the maiden was commit ted यदेवा &c —This refers to the king's words यद्वा यस्योभ्या &c at p 10 ante पर्याकुल —Solaly engaged in, busy with मुषिता — Deceived, deluded, cf क्षिप्र न यात यदि न वञ्चिता स्म द्वय, Rat IV 3 निर्दोषदर्शना &c.—cf निर्दोषदर्शना हि कन्यका भवन्ति । Nâgâ l p 17. सरोष—असम्बद्ध &c —It is natural for a Hindu maiden of high birth (see the king's remark below) to display outward anger and to blush at the talk of her marriage by a friend, cf Sak l शकुन्तला—(सरोष) इमान सम्बद्धप्रलापिनी प्रियम्वदां &c p 34 धीरतया— gravity, firmness of mind hence dignified demeanour धन्य खलु —The same thought is expressed by Kâlî in rich poetic strain when he makes Dushyanta say—अनाघ्रातं &c न जाने भोक्तारं कमिह समुपस्थास्यति विधिः । Sak. II 10 विस्फुरितेन—Used as a noun for विस्फारेण the spreading lustre or splendour विस्फुरितेन VI—is bad, as विस्फुरण would add to the beauty of the lotuses P 19 Sl 7 अच्छिन्न—Uninterrupted, continuous अमृतबिन्दु— The Moon's body also sheds nectar दृशा—By her sight i e glances or looks दृशा—v l to the eyes of the beholders The former is better as it furnishes the cause of pleasure She gives delight by the succession of glances as the Moon does by the shower of nectar Read in the text दृशा for दृशो which has remained through oversight विगलत्पयो०--Owing to the breast garment slipping off; (2) owing to the drifting of the screen (पट

21 cloth) of clouds. चन्द्रमसतनोः—The poet says तनोः and not चन्द्रमसः and very happily, as he wants a fem. noun to correspond with तया. For it is the sensation of pleasure caused by the touch of a male or female that makes the other close the eyes ; hence the use of तद् in the mas. also ; cf. निमीलनाक्ष इव स्पर्श सुखयित्वा Vik. IV. p. 110; शृङ्गेण च स्पर्शन्निमीलिताक्षीं मृगीमकण्डूयत कृष्णसारः । Kum. III. 36. — करस्पर्शा०—कर ( 1 ) Hand ; (2) rays. मुकुलीभवन्ति—A Chvi. formation; assume the state of buds, i. e. close up. भ्रमरसंबाधा—This is doubtlessly suggested by the scene in Śa'k. where Śaku is troubled by a bee. The influence of Kâli., not only on the thoughts and ideas but on the language also of Harsha is observable in many places in this play. अपरे—i. e. other than those that gathered round her braid, attracted

सकलपृथ्वी &c. —Cf Śak. हला अशरणास्मि । उभे—पृथिव्या यः शरण- स तव समीप वर्तते । p 80 पक्षपात —A strong leaning towards or liking hence partiality, here choice

P 21 तव वदनस्यायं दोष —Cf for a similar thought अत्र आत्मनो यौवन उपलभस्व । Śak. I. p 20 कदलीगृहा०—In the Śak Śākuntalā addresses the bower of creepers where Dushyanta lay concealed at the approach of Gautami see p 89 ऊरुस्तम्भ — numbness or benumbing of the thighs स्तम्भ—Complete in- activity or torpor of limbs is one of the eight Sātvika bhāvas due to strong emotion for which see Sāh Dsr III 135 The ऊरुस्तम्भ was really due to the thrill caused by the touch of the king's hand but A'ran hides the truth by saying that it was due to the benumbing effect of the water This was a ruse used by her in order to be able to look longer at the king in the Kadalīvana cf Śak अभिनवकुशसूच्या परिक्षतं मे चरणं &c p 39 readings न खल्वविप्र &c० —cf अहो विस्मयः प्रार्थितार्थसिद्धौ । Śak III p 84

P 22 Sl 9 कण्टकिनं—कण्टका सन्जाता अस्य इन added by तदस्य सञ्जातं &c Pāṇ V 2 36 Having thorns on, with the hair bristling, horripilated, and hence कदम्बनीप कमल०—Here कमल stands for पद्म mas This is the effect produced on a lover by the touch of the loved one cf आसीद्वरः कण्टकितप्रकोष्ठः Ragh VII 20, and Vātsyāyana-कन्या तु प्रथमसमागमे खिन्नाङ्गयष्टिर् भवति दुरुहस्तु रोमाञ्चितो- म्गानि । Kāmasūtras

मम मूर्खस्य—V l is perhaps better he says so because the king had called him a fool above, see p 16 ante अलीकपाण्डित्य०—This is a retort flung at the king by Vidu for having called him a fool. He means you only affect learning (पाण्डित्य) you do not possess it विदग्ध is what is well burnt burnished, or polished hence refined, learned, wise, दुर्विदग्ध one not really skilled or learned vainly proud cf अलीक- शास्त्रग्रहणदुर्विदग्ध Ven III समाश्वासनं—something encouraging or comforting, निर्भर्त्सनं—Reproach a chiding अस्तमय —setting (of the sun) fr अस्त and अय (from अय् to go)—अभिलाषी—desirous of i e about to set this has occurred before

Sl 10 प्रियतमेव—Like the beloved one (A'ran ), the splendour of whose lotus face surpassed (eclipsed) that of the lotuses The idea occurs in Rat देवि वदनपङ्कजेन शशिनः शोभानिरस्कारिणा पङ्कजानि विनिर्जितानि सहसा गच्छन्ति बिम्बोष्ठताम् । I 25 राग —(1) passion, love (2) redness

23 P. 23. चक्राङ्गः—चक्र इत्याहो name यस्य; the bird usually called चक्रवाक (which also means the same thing—चक्र इत्युच्यते), hence it is also called रथाङ्गनामान्, रथाङ्गाह्वय, &c. It is the ruddy goose gene- rally described in Sans poetry as condemned to pass the night in separation from his mate. Hence separated lovers are compared to a pair of Chak. birds at night. अन्धकाराः—used here as an adj., अच् (अ) being added मत्वर्थे by Pâṇ. V. 2. 127; see com. अन्धकार आसां विद्यते dark, void of interest. जाताः—cf. for a similar thought differently. expressed.—राजा—रात्र्ये वैय्यर्थ्यमिव चक्षुषः संप्रति (after the departure of Urvâsî); Vik. II. p 54; and ‘And leaves the world to darkness and to me;’ Gray's Elegy, stanza I. There is a succession of similes in this Śl. Mark how the king falls a victim to the influence of love at the very first sight of the heroine. Kâli does not make his heroes yield so easily and helplessly to the power of love. ———— ACT III. —:o:— सांकृत्यायनी—appears from this play to be a lady of high rank and learning as she speaks in Sans. and is treated with respect even by the Queen. That she composed the Mimic play in a good style is clear from the Queen's speech below, see p. 30. The part played by her in this play is similar to that of the Pari- vrâjikâ in the Mâl. She is mentioned as a friend of Vâsavadattâ in the Kath. Sar; see Tar. XIV. 71 (ततः प्रव्राजितां तस्याः सखीं पितृकुलागताम् । स सांकृत्यायनी नाम शरणं शिश्रिये नृप. ॥) नाटकोप०—नाटके उपनिबद्धः made the subject matter of a play, dramatised, same as भवभूति's ‘अभिनेयार्थ. कृतः । Uttar IV. p. 119. कौमुदीमहोत्सव—The great autumnal festival celebrated on the full-moon day of A'śvina, when the moonlight is very bright, the sky being clear after the cessation of the rains and the disappearance of the clouds. It corresponds to the Kojâgari festival and has been often referred to by poets; see Mudra. III. p. 73; It precedes the Vasantotsava or spring festival referred to in Rat. I. कौमुदी moon-light is derived as कुमुदनामिव प्रकाशकत्वात्; fr. कुमुद मत्वर्थे अण् (अ) with the fem. affix ई, it is also derived as कौ on earth मोदन्ते जना यस्यां तेनासौ कौमुदी मता । Malli. on Ragh. III. 1 (where the reading is कौमुदीमह also ). वर्तितव्यं—Here नृत् has the technical sense of 'acting, representing on the stage, and does not mean

24 -simply dancing ' अन्यथैव नर्तित—Cf. for a similar mistake in acting the slip of tongue of Urvaśī when acting the part of Lakshmī, in the Vik when she said पुरूरवसि instead of पुरुषोत्तम विविक्तरूप०—A talk in full confidence that it would not be over heard by any one P. 24 प्रविशति भासनस्था—This might appear strange, but प्रविष् has a technical meaning It simply means to appear on the stage So this means A ra is discovered seated, the curtain being removed or lifted up हृदय दुर्लभं जन &c —So Sagarikā— हृदय प्रसीद प्रसीद किमेनयायासमात्रफलेन दुर्लभजनलुपनेन । Rat II p 30. हृदय निष्फलम्पादितभूमिष्ठितो मनोरथाद्विरम । किं मामायासयसि । Mal III p 47 अभागधेयता—misfortune, ill luck नास्ति भागधेयं यस्या सा अभागधेया तस्या भाव, धेय is added स्वार्थे to भाग, cf रूपधेय and नामधेय आभिजात्यसदृश &c —Kāli, however, makes Priyamvada con- gratulate her friend in language more elegant and impressive when he makes her add सागरं वर्जयित्वा कुत्र वा महानद्यवतरति &c , see Sak III p 72 सह्यवेदनमिव दुःख &c —Cf स्निग्धजनसंविभक्तं हि दुःखं सह्यवेदनं भवति । Sak III p 70. हृदयनिर्विशेषा—not differing from, identical with, my heart (like my second heart) Cf expressions like सुतनिर्विशेषा ( Ragh V 6 ), अपत्यनिर्विशेषाणि (Sak. VII p 185 ), आत्मनिर्विशेषा ( Uttar III p 78 ) तस्या अपि—Cf कुतो विभव स्निग्धजनस्येमं वृत्तान्तमाख्यातुम् । न जाने &c Mal. III p 43 सर्वथा मरण &c —Cf दुर्लभजनानुरागो विवशस्य मरणं शरणं Rat II 1 P 25 अतिभूमि—The highest point or pitch, climax तदवस्थापि—i e of me who am your very heart—refers to A ra 's speech हृदयनिर्विशेषा &c पर्याकुल —Solely engaged in thoughts about. अप सखीजन &c —This speech ought to be स्वगत, or we should adopt the reading in the foot note सखीजनपक्षपातेन &c पक्षपातेन—Cf सौहार्दमेव पश्यति, and पिया णाउ अई मद MAl III pp 46, 53 देवीराजनिगड &c —Cf सखि देवी विचिय न णाउ मम हृदयं निवसति । Mal III. p 53 कमलिनीपलाशवृन्त &c.—This is doubtless an echo of अभिनवमधुलीढस्य Sak V 1 मालतीं प्रेक्ष्य— &c मालती Jasmine, so—मालत्यामपि अनुकुलमुक्तेव भारतीमात्रा लभ्यमाना लक्ष्यते । Mal III p 38 लज्जालुका—लज्जालु is to be derived like कृपालु by adding उ (लु) to लज्जा + ला ( as in the case of मितद्रु) by the Vārtt on Pān III 2 180 (see com ), क is added to express pity आत्मा प्रच्छादयितुम्—Mark the use of the inf with verbs like युज्, शक् &c, the cons being आत्मा प्रच्छादयितुं न युज्यते । Cf युक्तं मलयवतीशरीरे बाष्पार्देन ताडयितुम्, Mal III 57 She means-you should not dissimulate do not say दारुणत्वेन say सज्जनत्वेन ,

I know it. For the difference between torment caused by आतप and मदन cf. Śak. III. 7 ( न तु ग्रीष्मस्यैवं सुभगपराद्धं युवतिषु । ). अविश्रम्भशीला—One not habitually confiding; because A'r. only hung down her face and did not admit the truth in plain words. निभासनिभ—Here निभ has the sense of pretext or guise of. दिवसै रात्रिभिरपि—may have been suggested by मम पुनः कामो दिवसै रात्रिभिरपि । तपति अङ्गानि । Śak. III. 14. The reading विरमत्यर्द्ध is grammatically inaccurate कुसुमशर—Kāma is often spoken of as कुसुमशर-सायक, पुष्पसायक &c. न भणति—a question, does it not say, not proclaim your true state? Sree. reads this passage in a metrical form; see the foot-note. This is perhaps better and more poetical-as if it is the sound Hāra (due to &c and implying your love-torment). नलिनीपत्राणि— Lotus-leaves and lotus-stalk-

26 Padmávatí was offered to him in marriage and he readily gave his consent. अन्यासां च &c.—The Kathá does not refer to any other queens of Udayana. यत्र तदपि—The cons. is यत्र यस्मिन्स्थाने तदपि स्यादभूत्. Or तद् may be translated as तां (दीर्घिकामपि). करतल &c.— This indicates the intensity of the king's passion, any thing connected with the object of his love is comforting to him. Dushyanta similarly derives consolation from the sight of the arbour occupied by the love-sick Śakuntalá. See Śak. III. 24. Dissolve करतलस्पर्शेन द्विगुणितं यथा तथा सुखानि च तानि शीतलानि च; सुख is an adj. here, cf. महतो धनुः सुखा, Ragh. III. 14, also 19. सुख may be derived as सुखयन्तीति तत् from सुख् denom. from सुख or better still सु सुखानि खानि इन्द्रियाणि अनेन. अह ते शापयामि—Vasa. misunderstands her and thinks that she will tell the Queen that he was in search of A'ran. and that there was some love-intrigue. P. 29. सावेग—Because her love-affected state was brought to Vidu.'s notice by Manoramá. Sree. omits द्विगुणतर, see readings. कर्णे कथयति—Mark the dramatic device used here to avoid an early disclosure of the plan which is set forth later on (see infra p. 34 where the king repeats what Manoramá whispered into Vasan.'s ear, mentioning also the name of the play that was to be enacted) that the interest of the audience in the incidents to follow may be well sustained. The plan suggested was that the king himself should act his part in place of Manoramá in the Garbhanáṭaka, A'ran. playing the role of the princess Vásavadattá. अपवार्य—The stage direction (opposed to प्रकाश) is used when a character says something aside so as to be heard only by the person addressed, excluding others with the tripatáka hand (i. e. all the fingers except the thumb and the one near the little finger raised so as to form three banners as it were). नेपथ्यग्रहण—Here नेपथ्य means the costume proper for a particular character. अतिक्रोपने—This she says because A'ra. got angry with her for saying येन रूपकमेव मन्मथेनापहस्तितमिति above. प्रेक्षागृह—प्रेक्षार्थं गृहं lit. a house for exhibition or representation, a play house. It was a hall or a house attached to the palace, usually used for instruction in music, singing and dancing and occasionally for the exhibition of dancing or the respresentation of plays. It is also referred to in the Mál. I, see p. 22.

" or "वृद्धा"? In L26: "वृद्धा तातमाता भवति—It is not clear from the play whether" Sâmkr. was some elderly near relative of the Queen or simply one held in such reverence by her as to be called a mother. नाटितव्यं—is used here in the sense of dramatic representation. वेशोचिता—used to correspond in sound with वेशा (वृद्ध). Wait, "वेशा (वृद्ध)." or "वेशा (वृद्धा)." or "वेषा (वृद्धा)."? In L30: "वेशोचिता—used to correspond in sound with वेशा ( वृद्ध )."

Śl 2. शातकुम्भे—See I. 11. अवसक्त—hung up, festooned with. युवतिभिः—It seems the performance was to be witnessed by the fair of the city; hence Manoramâ was to play the role of the king and not a male. सुरविमान०—Which is also रत्नजालशोभित and occupied by the nymphs of heaven. It may mean an aerial car, or a large house (विमानं मानं सामात्). The houses in great ancient Wait,

26 Padmávatí was offered to him in marriage and he readily gave his consent नान्यासां च &c.—The Kathá does not refer to any other queens of Udayana. यच्च तदपि—The cons. is यच्च यस्मिन्स्थाने तदपि स्थानम् Or तद् may be translated as तो (दीर्घिकामध्ये) करतल &c.— This indicates the intensity of the king's passion, any thing connected with the object of his love is comforting to him Dushyanta similarly derives consolation from the sight of the arbour occupied by the love-sick Sakuntalá See Śak III 24 Dissolve करतलस्पर्शेन द्विगुणितं यथा तथा सुखानि च तानि शीतलानि च, सुख is an adj here, cf मरुतो वपुः सुखा, Ragh III 14, also 19. सुख may be derived as सुखयन्ति सुख from सुखय् denom from सुख or better still सु सुखानि स्यति इन्द्रियाणि येनेन अह से ज्ञापयिष्यामि—Vasa misunderstands her and thinks that she will tell the Queen that he was in search of A'ran and that there was some love-intrigue P 29 ज्ञातेन—Because her love-affected state was brought to Vidá 's notice by Manoramá Sree omits द्विगुणतर, see readings. कर्णे कथयति—Mark the dramatic device used here to avoid an early disclosure of the plan which is set forth later on (see infra p 34 where the king repeats what Manoramá whispered into Vasan 's ear, mentioning also the name of the play that was to be enacted) that the interest of the audience in the incidents to follow may be well sustained The plan suggested was that the king himself should act his part in place of Manoramá in the Garbhanátaka, A'ran playing the role of the princess Vásavadattá अपवार्य—This stage direction (opposed to प्रकाश) is used when a character says something aside so as to be heard only by the person addressed excluding others with the tripataka hand (i. e. all the fingers except the thumb and the one near the little finger raised so as to form three banners as it were) योग्यनेपथ्यग्रहणे—Here नेपथ्य means the costume proper for a particular character अतिकोपयने—This she says because A'ra got angry with her for saying देवं एवमेव सन्निहितं संभावयन्त्यापि above प्रेक्षागृहं—प्रेक्षार्थं गृहं lit a house for exhibition or representation, a play house It was a hall or a house attached to the palace, usually used for instruction in music, singing and dancing and ocasionally for the exhibition of dancing or the respresentation of plays It is also referred to in the Mál. I; see p 22

27 P. 30. अहो—expresses admiration. This praise of course refers to the first part of the play that had been already acted. See p. 23. The 2nd part it seems was not seen by the Queen, as she finds much in it to be found fault with, as will appear from the subsequent representation. गूढपु०—qualifies आर्यपुत्रचरितं. सातङ्कमपि—and so likely to prove insipid and without interest. इव for अपि is quite out of place. आर्यपुत्र—The husband is addressed or referred to in dramas as आर्यपुत्र (the son of the father-in-law). आयुष्मति—This is a sort of blessing. Young people are to be addressed by elders as आयुष्मन् or -ती. आश्रयगुणः &c. —आश्रय the subject, the person or thing on which anything depends or rests; here the King and the Queen. Cf. पात्रविशेषन्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः । Mal. I. 6. क्रिया हि वस्तु- पहिता प्रसीदति Ragh. III. 27. असारम्—Lacking excellence; सार pithy sentences, charming sense, cf. for this sense ययाऽसि वाचस्पतिभाषणेन साराणि लब्धुं प्रहसन्प्रतीपं । शुकाह्वयस्त्वमृषिषे परेषां ; and गिरां प्रवृत्तौ मयि वीरसारैर्मान्या मदिच्छा नृपते- र्जयैषिणः । Vik. Ch. I 7; 28. Śl. 1. परिच्छित्—Trifling, unimportant or uninteresting. भस्मपङ्कः—Cf. गुणवज्जनसंसर्गाद्यान्ति स्वल्पोऽपि गौरवम् । पुष्पमालावगुण्ठेन मृच्छिरसि धार्यते ॥ Kshemendra. कुम्भतट—The surface or skirt of; or तट like गिरि may be प्राशस्त्ये; the large temples. It is difficult to see the propriety of the epithet मत्तः; perhaps the poet means that an infuriated elephant only is likely to butt against a heap of ashes and get his temples besmeared with the same. बह्मणो जामाता भवति—It is not clear from the play whether Sāṁkr. was some elderly near relative of the Queen or simply one held in such reverence by her as to be called a mother. अभिनयं—Is used here in the sense of dramatic representation. प्रेषणीयता—used to correspond in sound with वेसा (गृह ). Śl. 2. शातकुम्भे—See I. 11. अवसक्त—hung up, festooned [L33

28 P. 31. विबद्ध—(also आविद्ध) fastened, i e worn on Cf पञ्चद- निबद्ध मण्डन (० ! ) मे प्रसाधीकृतं &c Rat III p 61 मनोरमे &c — Manoramá was chosen to act the king's part as her features very closely resembled those of the king See infra, p 30 sl 7 नडगिरि—(called मडागिरि according to Kathà , see Lam II Tar 13) was a powerful elephant in the possession of king Mahásena It was riding this elephant that Pálaka, a son of Mahásena, pursued king Udayana, after he had fled with Vásavadattá, under cover of night having mounted a she elephant ग्रहणं—It is said that Nadagiri once bolted away tearing off the post to which he was tied and made terrible havoc in the city, when king Udayana was asked to arrest his progress by the magic influence of his lute, see Meg I 31 कञ्चुकी—This is the Kanch of Mahásena, king of Ujjayiní appearing in the mimic play, part of which had already been acted before Vásavadattá Sl 3 In this by using epithets having a double application the Kanchukí says that he discharges a duty similar to that of a king. अन्त पुराणा—(1) The inmates of the harem, (2) पुराणामन्त in the cities of his kingdom स्खलितानि—(1) Mistakes or breaches of duty through carelessness, रक्षन्—preventing or not disclosing or giving out, cf रथेन स्खलितेषु दृप्तमनसा यान मया नोद्धृत, Veni II 1 A good king also (विनेता) prevents his subjects from going astray, cf Ragh VI, 39 जरातुर —When referring to a king may be taken in the sense of जरायां प्रशंसायामातुर eager to win praise But it is not necessary to do so P 32 दण्डनीत्या—Cf Sak V 3 आचार इत्यवहितेन मया गृहीता या वेत्रयष्टिरवरोधगृहेषु राज्ञ । काले गते बहुतिथे मम सैव जाता प्रस्थानविक्लवगतेरवलम्ब- नार्था ॥ (1) By being guided with a stick, having to support myself on a stick, ( 2 ) दण्डनीति दण्डो नीयते अनया इति politics or the science of government, administration of justice It is one of the four lores or Vidyâs by which punishment is meted out to culprits Cf आन्वीक्षिकी त्रयी वार्ता दण्डनीतिश्च शाश्वती । विद्या ह्येताश्चतस्रस्तु लोकसंस्थितिहेतव ॥ आन्वीक्षिक्यां तु विज्ञानं धर्माधर्मौ त्रयीस्थितौ । अर्थानर्थौ तु वार्तायां दण्डनीत्यां नयानयौ ॥ Kâm Nit This Sl is the same as Nâg IV 1 विमानित—Discomfited, put to shame, hence defeated, over powered ०सैन्यम्—should rather have been ०सेनेन ( सेना येन ) and so महासेनेन ( महती powerful superior, सेना यस्य ). The Kanch being an elderly person simply says महासेनेन without any

29 honorific epithet. उदयनोत्सवं—A festival instituted to cele- brate the capture of Udayana or rather his marriage with Vāsavadattā; or perhaps the reading may be अयं मदनोत्सव and hence the order to go to मन्मथोद्यान. रूपस्य योग्य: अनुरूप: अनुरूपः वेषः &c. प्रेक्षा—Representation. भद्रे तदादिश्यतां—Here we expect the stage-direction (अन्तःपुरे विलोक्य) Śl. 4. नूपुरिभि —नूपुरौ एषां विद्येते इति नूपुरिणः तैः having anklets on. Explain केयूरिभिः, कुण्डलिभिः, &c. similarly. नितम्बफलकैः—नितम्बा फलकाः (broad and extensive) इव, or प्रशस्ता नितम्बाः नितम्बफलकाः; Karm. comp. Words like फलक, पट, भित्ति (e. g कपोलभित्ति), &c. express प्राशस्त्य or excellence when forming the second member of a Karm. comp. शिञ्जान—tinkling; pre. p. of शिञ् 2 A. to sound (like anklets). काञ्चीगुण—the girdle bands. आपादित—reduced, generated सहस्वस्तिकैः—स्वस्तिक a kind of mystic diagram denoting good luck and auspiciousness; स्वस्ति कायति इति स्वस्तिकः fr स्वस्ति+कै to sound I P. and affix (अ); Pāṇ. III. 2-3. Hence anything like a Sva., as a house, &c; here a kind of head-ornament; or a particular symbol made with scented rice-flour and triangular in shape. स्वस्तिकः मङ्गलद्रव्ये यत्तु तण्डुलचूर्णेननिर्मितत्रिकोणाकारनिवासद्रव्यमिति कल्पद्रुम ।" Pandit Krishnamachariar. परिचारिका०—परिचारिकाः the maids in immediate attendance on the queens एतेषु—scil. अन्तःपुरेषु. अपूर्वे—Because adornment of the person in the case of the inmates of the harem was an ordinary thing. केवलं &c.—The sentence may end with समादिष्टः; I was ordered by the King because the royal command must be given; or the constr. may be समादिष्टोऽहं स्वाम्यादेश इति मत्वा &c. P. 33. वीणा—Popularly called Bīṇa or the Indian lute is a stringed instrument with a large round hollow bowl, a body of thin wood and a neck with tuning pegs and metallic strings, and with a hollow gourd attached to it on the other side of the body. काञ्चनमाला—was the attendant of Vāsavadattā in the palace of Mahāsena and followed her as her principal maid also after her marriage with Udayana In the Garbhanāṭaka she herself plays her own part गन्धर्वशाला—the same as the प्रेक्षागृह. प्रविशति आसनस्था—प्रविशति is discovered, seated. See notes p. 24. वीणाचार्यः—i e. Vatsarāja. एक उन्मत्तः—This undoubtedly refers to Yaugandharāyaṇa, the devoted minister of Vatsarāja, who in

the guise of a mad man, with Vasantaka, saw his master in his prison in order to effect his release and gave him instructions as to how that was to be done. चित्र—wonder, astonishment. भारित — seized completely, or entirely overpowered by. एष्टव्य &c.—The reading in the foot-note is better. सदृशा सदृशे &c.—Cf. सर्वः सगन्धेषु विश्वसिति। द्वादश्यामारण्यके। Sak V p 132 राजपुत्र्या &c.—This speech is addressed to Vāsavadatta: we expect here the stage-direction—वासवदत्तां प्रति. तन्त्री—The string or wire of a musical instrument. घोषवती—a Vīṇā. Here the name of the Vīṇā presented to king Udayana by Vāsuki, See Kathā XI 3, See, however, Intro., the legend about Udayana. सारयति—Adjusts, puts into tune, or strikes to see if they were in good order. रमणीय भवेत्—Because she could not have waited for the king very long. Sl. 5. शताप &c.—Construe शीतोष्णः यथा ममोग सन्तारमकृत्वा अध्वैव न कुरुत, similarly उष्णा निःश्वासा यथा पूर्वमजलमधरमल्पमपन्चु तथा &c. अजस्र—Constantly or continually, fr. जसू with न ( न जसतीति ) and aff. र which is added to दम्, कम्पू, सिम्, जसू, &c. ( Pāṇ. III. 2. 167 ), नम्र, कम्प्र, &c. जसू is always preceded by अ ( नञ् ) जसिन- द्युभुवां विभासानन्दे भवति। अजस्रं सन्ततमित्यर्थः । Sid. Kau. This is an अव्यय. मनोरथेषु सन्नि०—Thought of as being near accomplish- ment. Cf. for a similar thought आसन्नमारिकाचिन्तारुणापि मम शान्दसन्द्रा एव । Māl. Mād. V. 7. त्वदुपलब्ध समीपता विधी हृदयमुच्छ्वसितं मम विह्वलम् । Māl. III. 45 and for the idea somewhat differently expressed अभिमुखयिदव काङ्क्षितसिद्धि मजति निर्वृत्निमेकपदे मनः । Vik. II. 9. For an opposite idea cf. नीपं इतरतायोगं नयतीशे साधने यथातन्वे । Rat. III. 10. सर्वं तच्चरितेनेव &c.—तच्चरितेन—his own deeds. शिक्षितव्यं to be learned by way of acting. She means—As the king knows his own acts then it will be easy for him to play his own part without instruction. Nothing will go amiss, and the Queen will not detect the fraud. P. 35. दास्यादि नर्तन्ते—This speech of the Vidu. ought to be taken as जनान्तिकं ( meant to be heard by the king alone ). गुरुता—Weightiness, Importance (which makes a king humour maid- servants even), for, मनस्वी कार्यार्थी गणयति न दुःखं न च सुखम्। Bh. Nīt. 81. Śree. reads दाप्य इर and explains शारदी यधिका इव कार्य तेनतवमात क्रियन्ते। निभृतम्—Adv. secretly, being concealed, or silently, or it may be an adj. qualifying भवता. चित्रशाला—A picture gallery seems to be here one adjoining to the concert-hall. आरब्धिवशा—विन्दु वर्ण

&c.. 'This speech of A'rn. is to be read directly after उत्सङ्गे वीणां कृत्वा सारयति । The entrance of Manoramâ, the king and Vida., the participants in the intrigue being considered as aside. उद्देशः—Part of the story, context ( so that he may know where his part begins ). अपहरसि मे—Transports me with joy, fascinates or infatuates me. The king overhears her and understands अपहरसि in the sense of 'takes me away.' सृजामि—the object being तम्. प्रविश्य—i. e. on the stage of the Garbhanâṭaka unseen by A'rn, Vâsa. and Kán. ग्रन्थिं बध्नामि—It seems from this to have been an old custom, which still prevails in many parts of India, to tie a knot generally at the end of a garment when there is some pronouncement or an auspicious omen in favour of one's desired object, and is therefore called शकुनग्रन्थि ( शकुनगांठ in Marâṭhi ). It is also tied when one is determined or definitely undertakes to do a thing (निश्चयसूचक) and wishes to be reminded of it. Śl. 6. अपहरामि—अपहरिष्यामि, pres. in the sense of immediate future. अपहरामि इति पश्यामि the whole line, however, is metrically faulty; but it is so found in almost all the printed editions. Śreenivasachariar reads.—नाहरणं न चिरादेवेति पश्यामि, but this seems to be a conjectural emendation, and is also syntactically in- accurate. We cannot connect उपनीय with अपहरण unless we supply स्थितेन—उपनीय स्थितेन मया, अह after पश्यामि is dropped as a useless addition, that might have originally got in through the carelessness of some scribe. सुसंनिहितं सर्वं &c.—Well arranged and brought within reach, i. e. made practicable. यौगन्ध०— युगन्धरस्य अपत्यं पुमान्; the son of Yugandhara, who was the chief minister of Vatsa's father, Sahasrânîka. Similarly the fathers of Rumạnvat and Vasantaka also were his father's servants. See Br K. M. II. 12, 13; सुतो युगन्धरस्यासीच्छ्रीमान्यौगन्धरायणः । रुमण्वान् सुप्रतीकस्य द्विजस्य च वसन्तकः ॥ यौगन्धरायणो मन्त्री रुमण्वान्वाहिनीपतिः । वसन्तको नर्मसुहृद्वाजपुत्रीसुहृत्ततः ॥ Ibid. 38, 39. Yaugandharâyaṇa was the devoted minister of Vatsarâja, the purpose of whose life was to see his master elevated to the rank of an emperor. When he heard that his master was put into custody he, leaving the cares of the kingdom to Rumạnvat, came to Ujjain with Vasantaka to concert a plan for his master's escape. There he entered the cemetery and by the help of a friendly Brahma- râkshasa, called योगेश्वर, he changed his own form into that of a dwarfish old hunch-back, and gave Vasantaka a deformed shape with a protuberant belly and projecting teeth and found access by

32 that means to the apartment of the Princess. There the two made themselves known to Vatsarâja. Then Yaugandharâyaṇa informed the king of the arrangements made for his escape with Vâsavadattâ (see ante notes p. 6 foot-note) and keeping Vasantaka there for his amusement returned to Kauśâmbî. वासवदत्ता (सहसोत्थाय)—Vâsav. forgets that she was one of the spectators and that Âraṇyikâ was playing her part in the mimic play and suddenly rises at the sight of the king. This of course has a different effect on the king who has a guilty conscience. He thought that the fraud was detected. ससंभ्रमेण— संभ्रम hurried respect or hurry to show respect. Cf. for this meaning गृहमुपगते संभ्रमविधिः Bh. Nît. कथं प्रत्यभि०—So Vâsa. in the Ratnâvalî—कथं जानामि (p. 71) when she goes disguised as Sâgarikâ to the rendezvous. प्रेक्षणीय०—Saṁk. means—why do you rise in a hurry, this is not the real king. P. 36. उच्छ्वासितोऽस्मि—I am made to breath a sigh of relief, life is put in me (by Saṁk.); this he says because he dreaded the anger of the queen. सविलक्षस्मितम्—विशेषेण लक्ष्यत इति विलक्षः, विलक्षेण स्मितेन सहितं यथा तथा, with a smile of amazement or wonder, विलक्षो विस्मयान्वितः Amara; or विगतं लक्षं यस्मात् तद्विलक्षं, with a smile of embarrassment or bewilderment. Śl. 7. तद्—s. c. of Vatsarâja. नयनोत्सवा०—रूपस्यावदाने नयनोत्सवकारिणीति, Mâl. Mâd. VI. 17, also II. 3. सा—s. c. which characterises king Vatsa. मत्तद्विरदो०—s. c. a stately and majestic or dignified gait. सत्त्व—dignity, or firmness, vigour, substance (inferrable from one's outward bearing or deportment). Cf. क्रियासिद्धिः सत्त्वे भवति महतां नोपकरणे Sub., सत्त्वौत्कर्षस्य धात्रा निचय इव कृतः &c., Mud. III. 22. ऊर्जित—great, p. p. p. of ऊर्ज् 10. cl. to become strong or powerful. सान्द्र— Dense, filled with water. मन्दह्रादानु०—A deep loud sound is the characteristic sign of a great man, cf. एष च दुन्दुभेरतिगम्भीर- स्वरो मेघ इव घूर्णन् श्रूयते । Kâd. p. 128, नवजलधरस्तनितगम्भीरया गिरा Ibid. p. 129, Uttar. VI. 17. बद्धेन—see ante I. 5, and Vidu.'s speech on p. 6. नीलोत्प०—निगलन—निगडन same as निगडनं chaining, fettering, n. from the denom. verb निगलयति. P. 37. निष्पादित &c.—This speech of the king is of course स्वगत. It is not heard by Âraṇ. or Kâñch. तदाऽभ्यर्थित०—The अभिलाष० was that Vâsa. should secure Vatsa's love. The reading आलिखितस्य for अर्थित० is not so good as it does not agree well with निष्पादितम्.

Śl. 8. घनरुद्धघनो०--This epithet is श्लिष्ट; the śl. having a side-meaning; see I. 5 supra -(1) covered or occupied by a dense line of clouds; (2) hidden from view by the compact or closely hemmed in prison walls. Sreekr. takes गगने in the sense of the dark prison (गगनसदृशे तमसा नीले चारके); in this case घन will mean well secured by the close fastened prison doors. मानसं-- (1) the lake Mánasa* on mount Kailása, to which swans are described as migrating at the approach of the monsoon; see Meg. I 11; Ragh. XIII. 60, (2) the mind. मानसमेतुं--cf. मानसमुपैति दैवं नियमता राजहंसीव । Rat I. 9. राजहंस--(1) A swan; (2) the best of kings, Vatsarája. Fig. अप्रस्तुतप्रशंसा. स्वप्नुं न ददासि--For a similar use cf. बाष्पस्तु न ददात्येनां द्रष्टुं चित्रगता- मपि Śak. VI. 22 लज्जैव कर्तुं न ददौ Kád. p 289. रात्रिंदिवं--A Dwandwa comp. the nasal added to रात्रि is by निपातन (irregular), see Pán. V. 4. 77; यदा प्रभृति--निद्रा न ददौ--Vidu.'s fondness for sleep is often referred to by poets, cf. Śak. II. रात्रावपि निकामं शयितव्यं नास्ति । He sometimes betrays the secret of his master and thus puts more impediments in his way by his prattlings in sleep, as here. Cf. in this respect his speech in the Mál. IV p. 83--विदू०-(उत्स्वप्नायते) भवति मालविके &c For an instance of prattling in sleep comp. the scene wherein Vásava- dattá sleeps in Bhása's Sva. Vas. V. Śl. 9. अभिनव--Now, hitherto unknown. क्षिप्ता--hurled into, i. e caused to be suddenly or forcibly smitten by passion. वामकेन--Káma is represented as वाम acting perversely, as making a person love one that is unattainable. Cf. रात्रौ कामः किल कामः Daś. Ch. , and वाम कामो मनुष्याणां &c Rámá. Sund. K. XXII. 4, where the Com. says वाम क्रूर इत्यर्थः । सव्ये क्रौर्ये सुन्दरे च वामः इति कोश । मधुकरिका--Sans poets represent even a female bee as longing for the company of her lover and enjoying amorous sports; cf. Kum. III. 36, and एषापि कुसुमनिषण्णा ......भवन्तमधुरतया प्रतिपालयति मधुकरी &c. Śak. VI. 19. उत्ताम्यति &c.--Cf. for the same thought differently expressed Mála.'s words नाथ मां पराधीनां त्वयि गणय सन्तृष्णाम् । Mál. II. 4 Herein also we have the अप्रस्तुतप्रशंसा as Vása.'s longing for the king is indicated by implication. अहो--expresses astonishment at the skill shown by Vása. in playing on the Víná and at her proficiency in singing. वादित्रं-- Performance or playing on the lute; fr. वाद् and the Unádi affix

• So called being created by Brahmá with his mind. कैलास- पर्वते राम मनसा निर्मितं परम् । ब्रह्मणा नरशार्दूल तेनेदं मानसं सरः ॥ Rámá.

34 इन by शूर्पणखीयो नियमः. Properly वाद्य, also called आतोद्य refers to the four kinds of musical instruments, viz (1) stringed instru- ments such as the Vīnā, wind instruments such as वेणु, instru- ments with mouths covered with hide, such as the मुरज, and instruments beaten, such as cymbals ( कांस्य, &c ). P. 38 Sl 10 This contains many technical terms of music. व्यञ्जनधातु—one of the four modes of playing on a lute. There are विस्तार, करण, आविद्ध and व्यञ्जन, see com., read विस्तारकरणाविद्ध &c. धातु—Properly an element that produces anything, here the act of producing musical notes or tunes by striking the strings of a musical instrument, see com. For its ten forms distinguished by the different ways of striking the strings with the fingers, see com. वृत्ति —V. l. for प्रवृत्ति means the relation between the vocal and instrumental music as the one or other is principal or subordinate, see com. Mr. Gadre quotes Rāghavabhaṭṭa on मयाऽपि गीतरागेण ( Śâk. I ) who says गीतरागेण श्रीरागादिना धातुना and says that धातु may mean Râga, the Râgas being ten, according to some authority. लय—seems to be used here for ताल though there is a technical difference between the two. ताल is musical measure or time ( तालः कालक्रियामानम् ) while लय is the union or agreement of song, dance and instrumental music. लय, however, falls under the general category of ताल—cf लयो दशनाट्याणां गतमशतालनाट्यवर्त्ती लयात्मकः कालविशेषः । उक्तं च प्रतारे—कालो जातो क्रियाङ्गानि मार्गशह्यकरा लयः । यतिः प्रसारकश्चेति तालप्राणा दश स्मृताः ॥ quoted from the com. on the Mallikâmârata by Gadre. The three kinds of लय or tempo are द्रुत or rapid ( allegro ), मध्य or middle ( moderato ) and विलम्बित or slow ( adagio ) corresponding to which are the three pauses समा, स्रोतोवहा and गोपुच्छा. See Nât. Śa 31 231 333. गोपुच्छ—Read गोपुच्छाप्रमुखा. गोपुच्छा ( so called because it re- sembles the tail of a cow—see com ) प्रशस्या यासा सा गोपुच्छाप्रमुखा. लय, ओघ and अनुगत are the three modes of playing on a वीणा ( वेणु ) ; see com, read in the com. वाद्यप्रपौथी instead of प्रवाद्यौ । For other particulars see the extract from Śivarâma's com. on this sl. in the Nâgânanda, given on p. 60. उपाध्याय —See com, fr. इ with उपाधि and aff. घ ( घञ् ) Properly a spiritual teacher. See Śak. V p. 118. एकदेशं तु वेदस्य वेदाङ्गान्यपि वा पुनः । योऽध्यापयति वृत्त्यर्थमुपाध्यायः स उच्यते ॥ Hence a teacher or preceptor in general. यदहमभिरुचामि &c.—This apparently means—may you be an adept in music as I wish you to be, the real meaning is--may you be my queen as I wish you to be. This is probably suggested by Kâs'yapa's words यदिच्छामि ते तदस्तु in Śâk. IV p. 110

35 P. 39. विद्यामानेन—By being honoured for her proficiency in the art. पीठिका—seat. शिष्याविशेषा—शिष्यासु विशेषा distinguished among pupils; an excellent pupil. Cf. अतिथिविशेष Śak. I. आकृतिविशेष &c. कार्यं—Subject matter. अधिकं—exceeding or not in the original, कृतं you have overdrawn the original This brings out- the extreme modesty of Vāsava. as a high-born and well-bred girl. She does not like to be so represented even before the inmates of the harem. P. 40 अधिकमेतदपि—Viz: making the king seize her hand. काव्येन—काव्य composition, hence poetic art. She means— Kāncha. may be deceived and speak in the way she is made to speak, but I cannot bear to see such false representation. Some read the two words as compounded. Then the meaning is—by the words put in Kān.'s mouth. I should not be placed in a false position by Kanchi's speech. The Queen does not appear [L