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

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

36 Śl 12 बाल—tender अपहारदक्षेण—Clever in robbing * * fully resembling राग —(1) redness, (2) passion P 41 अनर्थमिव कुर्वन्ति—i e feel an overpowering thrill through them This was because it was the touch of a real male अलीक—False She feels that the scene was purposely so ar- ranged गान्धर्वे वि०—A marriage brought about by mutual consent; it was much in vogue among the ancient Kshatriyas It is one of the eight forms of marriage recognised by Hindu law givers Cf As' v Grh I, 6 5 मिथः समयं कृत्वोपयच्छेत स गान्धर्वः । and Manu III 26, 32 quoted in the com अस्थाने—Lit at an improper place, when there is no occasion for it रस—the interest awakened by the acting अन्यथैव— दृष्ट्या—i e thinking that I might have allowed the king to act in my place अन्यथैव—i e thinking that it was a simple question, not having the sagacity to divine the Queen's real object आकुलीकृत—For the fact that Manoramá was waiting there showed that she was acting in league with the king यदुक्तन्त—क्त implies censure (कुत्सितं क्तम् । ), the foolish fellow having no common sense एतन रत्न &c—Mark how ready witted Mano ramá is She casts the net on Vidu full sure that he would save her even at the risk of incurring the queen's displeasure P 42 मूर्खनिर्घोषा०—V l is bad For मूर्ख can only refer to Vidu, but then if not Mano 'scries, the loud voice of Vidù would have attracted attention सूत्रधार —i e he has arranged the whole business क्व आरण्यका क्व &c—क्व repeated like क्व क्व shows the great disparity between the two Where is Ara, your servant and where poor Vasantaka How can he dare take part in such an intrigue ? प्रेक्षणीयमस्य &c—Let me see how he enjoys the acting he has arranged I shall just go to the king and expose the whole affair Mr Gadre compares the Marathi expression याचा आतां तमाशा पहान इतश्च अनुभव &c —Mark again how the sagacious Manoramá says this to lull all suspicion on the part of the Queen that she was in the intrigue बन्धित — caused to be bound or fettered; p p p of बन्ध् cau P 43 कथं विज्ञातोस्मि—The king is surprised as he did not expect that Manoramá would be seen by the Queen and the ruse discovered अभूभिरिय—Sámkrityáyani wants to show that she being a holy personage should not be in a place where deceit was practised

37 ŚL. 13. वीक्षितं—P p p used as a noun (वीक्षणं), cf. with this भ्रूभङ्गे सहसोद्गतेऽपि वदनं भीतं परो नह्यतामीषन्मो प्रति भेदकारि हसितं नोक्तं वचो निष्ठुरम् । अन्तर्बाष्पजडीकृतं प्रभुतया चक्षुर्न विस्फारितं कोपश्च प्रकटीकृतो ऽविनय। मुक्त्वा च नम्रः ॥ Rat. II. 21. अपूर्वोऽयं कोपप्रकारः—Cf प्रिये अपूर्वोऽयमुपचारः। Māl. IV. p. 84. आरण्यिके म्वं कुपितेति—Here Vāsa.'s jealousy is well brought out. In this scene she is represented as ईर्ष्यारूषायिता. Bhāsa does not degrade her down to the level of ordinary women. But the cannons of dramaturgy require the chief queen in a Nāṭikā to be jealous at every step. See Intro. p. 9. आरण्यिका— णाहं &c.—This was true; see supra note on सदोषमिव p. 40. गृहाणेनां—In the Rat also Sâgarikâ and Vidû. are similarly treated See Act III p. 79. भवति भय कोदृशी &c.—This defence of the King by his friend, though ridiculous in the eyes of the Queen, has some point in it from Vidû 's own stand point. He means—This being the time of the Kaumudī festival some liberty of action may be allowed to men. And so my friend acted that way just to see how you would take it and thus to enjoy the fun Hence the king finds in this a crutch on which to lean. See śl 14, last line P. 44. दुर्नयं—ill advised course of conduct, mischievous or wrong policy, misbehaviour. She says दुण्र्णयं because she knows that Vidû. (whom she has already called आरण्यकानाटकके सत्रधार ) is the King's principal accomplice in love-intrigues. विकल्पित—P p p used as a noun; wrong supposition, suspicion (of a thing). Śl 14. भ्रूभङ्गैः—भ्रूवोः भङ्गः भ्रूभङ्ग the knitting of the eye- brows; a frown. भ्रूभङ्गैः the repeated knittings or frowns The frown disfigured her fair face. कलाटशशिन – ०शशी that is now spotless and so superior to the moon. The comparison shows that the moon meant here is the moon of the 8th day of the bright half of a month; cf अष्टमीचन्द्र- शकलाकार ललाटदेशमुद्वहन्तं Kâd. p. 19, 26. बन्धूजीवसमतां—The बन्धु० flower is bright red and hence the lip is compared to it; see supra p. 13, note on बन्धूक. मष्या स्थियते—suffers pain, is oppressed with the burden of; for the idea cf. क्रीडन्त्वाः पीडयेत स्तनभर- विणमन्मध्यमक्लानपक्ष्व् । Rat. 1. 16. अकृतेव प्रसादे &c.—The king uses the same words in the Rat. when Vāsa leaves him without minding his prostration at her feet; see Act III. p. 77. 4

38 Sl 15 भिन्न—Broken through, streaked with, or mixed with, qualifies मुखं एक : • of the Queen अपर— : • of Aranyikā उत्प्लुत्यो०—bounding repeatedly ; • with great force and speed the same as Kāli 's उदञ्चिततरात् Śak I 7 The वीप्सा (repetition) shows the intensity of the action उद्वीक्ष्य—As I look up to इद—this ; • standing before my eyes as fancied or pictured by my mind The cons is इदं रूपं प्रेक्षाम &c एक, त्रासेन ०वलमपर गणरूपश्यन् &c Compare with this the concluding Sl of Rat III भीतश्च–च–Here the two चs have the sense of 'and yet' or at the same time तथा च—And so the king in the Ratnāvalī—देवी प्रसादयितुमभ्यन्तरमेव प्रविशामि। Rat III p 84 ACT IV ───«o»─── P 45 दीर्घरोषता—दीर्घो रोषो यस्या सा दीर्घरोषा तस्या भावः दीर्घरोषता । एतावन्त—एतत्परिमाणमस्य एतावान् तम् । अङ्गारवती—Queen of Mahasena and mother of Vāsavadattā She was the daughter of the Asura Angāraka and the most beautiful maiden of the time By a boon conferred upon him by the goddess Durgā Mahasena got her for his wife after killing the demon Cf किं चाङ्गारवती नाम कन्या त्रैलोक्यसुन्दरीम् । अङ्गारकासुरसुतां शीघ्र भार्यामवाप्स्यसि ॥ Katha II 39, and for the story the slokas 42–73 P 46 या मम भगिनी—The name of Angāravatī's sister, the wife of Dṛḍhavarman, is not given here, nor is mention made of her in the story alluded to above So she seems to be a creation of the poet—this serves a double dramatic purpose It makes the Queen readily give up her anger towards the king and also paves the way to the marriage of Aranyikā (who turns out to be Priyadarsika, the daughter of the Queen's aunt) with the king विज्ञापयितव्य—should be told Mark the use of the verbs आज्ञापय् and विज्ञापय् which are used respectively when something is said by a person superior in rank to one inferior in rank, and by one inferior in rank to one superior in rank अनुवाच्य—Mark the sense of अनुवाचय् which means to read to oneself before reading aloud Cf उभे नाममुद्राक्षराण्यनुवाच्य &c Śak I p 36 देवी—अनुवाचय तावद् यद्यविरुद्धं श्रोष्यामि। Vik II p 56 दन्तवलभी—वलभि-भी is the uppermost room of a house, (here of the palace and built of ivory) It is also mentioned in Rat. III

39 एष खलु गर्ता...दन्ततोरणफलम्बो निठति । p. 62. It is written with a short इ ( as in तां कस्यांचिद्भवनवलभौ Meg. I. 41) or long ई ( as in दृष्ट्वा दृष्ट्वा भवनवलभीतुङ्गवातायनस्था। Māl. Madh I. 15) where Jagaddhara says— सौधोपरिकुटरी वलभी विदुः । ) अत्याहितं—अतिशयेन आधीयते तन्निवारणार्थं मनो यस्मिन् a great calamity; or a rash deed endangering life अत्याहितं महाभीतिः कर्म जीवानपेति च । Amara. भवेत्—This gives a hint which prepares the audience for A'ra.'s swallowing poison further on in the Act;. see p. 54. P. 47. नेदृशः—not such i. e. indifferent. The scene opens while Sām. and Vāsa are conversing. This is a reply to Vāsavadattā who in her previous speech must have charged her husband with being indifferent to the calamity that had overtaken her aunt's husband. विज्ञाय—not only ज्ञात्वा, when he knows very well. तादृशी न—i. e the sole object of his love. तव पुन &c.—She means—you have seen how the King has transferred his love entirely to A'raṇyikā. यत एव मे प्रत्यक्षं—Sāmkr. means—Because I witnessed it myself I know what it all really was. Vatsarāja wanted to enjoy a joke by playing his part himself and telling you in the end how you could not discover who the real actor was and thus to make you laugh Had there been a love intrigue he would have taken care to keep Vasantaka and Manoramā out of the way. Of course this does not convince the Queen. हासितास्मि—The Queen puns upon the word हासिता which means 'made to laugh' and 'caused to be laughed at', using it in the latter sense. लज्जया—Because the King manifested his love for Araṇyikā so openly. Even her maid-servants knew that she was no longer loved as before by the King. एतावतीं भूमिं &c.—is ironical. She means—I have been reduced to such a sad plight. वासव० says—these are your sweet fancies; what does the King care for me now ? This she says as प्रणयकुपिता. Similarly Dushyanta says to Vidu. in the Śāk. मनोरथा नाम तटप्रपाता (V. 10 ). P. 48. संघट्ट—Collision, close or hard fight. समुदितः— possessed of ; or rendered more powerful ( lit. elevated, lofty ). समुदितं कृत्वा &c.—This suggestion of the Vidū. which is ridicu- lous on the very face is meant to stir laughter. कुब्जवामन &c — These with the Kirātas (see Rat. p. 36.) formed the usual male at- tendants of the harems of ancient kings. For their bravery cf. Rat. II. 3. मासोपवासं—मासमुपवास मासो० Acc Tat. देवी चण्डी— There is a pun on the word चण्डी which means wrathful and is also

an epithet of the fierce goddess Durgā whose favour is also obtained by fasting. धृष्ट — has here the sense of 'shamelessly bold, cf कृतागा अपि निश्शङ्कस्तर्जितोऽपि न लज्जित । दृष्टदोषोऽपि मिथ्यावाक् कथितो धृष्टनायक ॥ Sah D. चाटु — Pleasing or coaxing words, flattery, words of blandish- ment (especially those addressed by a lover to his beloved); cf प्रिये प्रियाणि प्रकरोति चाटुम् । Rat VI 12 विरचितचाटुवचनरचन चरणनिहितप्रणि पातम् । Git. 11; प्रपञ्च — extension fr पच् (पञ्च्) 1 A to be clear or manifest (प्रपञ्चते इति), and aff अच् (अ) P 49. सखेद — खेदेन (fatigue, languor) सहितं यथा तथा । Sl. 3 मयि — मद्विषये, with regard to me for me, the loc is वैषयिकी मम-मह्यम् तान्त — wearied, languid, p p p of तम् 4 p, to be

discomfited, with his power crippled (विहतप्रतापं ). निर्दिष्टमाक्रन्दमन्दं V. l.—here आक्रन्द means a battle; see com. दासेराः—Servants दास्या अपत्यं दासेय. by affixing एय ( ढक् ) which is added to words of two syllables ending in a fem. affix. (द्वाचः Pâṇ IV. 1. 121 द्वाचः स्त्रीप्रत्ययान्तादपत्ये ढक् Sid. Kau.); क्षुद्राभ्यो वा । Pâṇ IV. 1. 131; when the female is of a low character ढ्रञ् ( एरक् ) is optionally affixed; so दासेराः and दासेयाः क्षुद्राः अङ्गहीनाः शीलहीनाश्च ताभ्यो वा ढ्रक् । Sid. Kau. दासेर thus etymologically means a person of a low origin; and then a servant; and it is in this sense that the word is used here. See A.K. quoted in the com. The word दासेर is used for alliterat- ion. वृत्तं—The working of, i. e. the schemes or activities of. The

42 सर्वबन्धनमोक्ष —It was customary to set prisoners free on an occasion of great joy, such as the birth of a son and heir to a King, a great victory over an invading powerful enemy, &c, cf Hemādri on Raghu III 20—युवराजाभिषेके च परचक्रावमर्दने । पुत्र- जन्मनि वा मोक्षो बद्धस्य हि विधीयते ॥ cf Māl V p 106, where the king, on hearing of the victory gained by his son (sl 15) says— मौद्गल्य मुच्यन्तां सर्वे बन्धनस्थाः । Also IV p. 73, where Vidu says— देवभिन्नकैरितिज्ञापिते राजा सोपसर्ग वो नक्षत्र सर्वबन्धनमोक्षः क्रियतामिति । see also Mṛch X p छोटिका—Snapping the thumb and the middle finger together P 53 कथं सा &c —The impatient Vidu wanted Vāsavadattā to give the order for the release of A ra at once सम्बन्ध — Family connexion वासवदत्तायाः परिग्रहेण &c —The pain is removed at the thought that you, as the husband of Vāsava are connected with our family सञ्चिन्त्य—Thinking it to be a wise step स्मर्तव्यतां नीत—reduced to the condition of being remembered, made a matter of memory—a phrase often used in the sense of ‘utterly destroyed’ Cf अपास्य कथंहीवृत्तं वपु Kum IV 13 For this see the Chamberlain's introductory speech in Act I P 54 विजयसेन किं &c —The king asks Vijayasena signi- ficantly He knew that A ranyaká was meant प्राणसंशये वर्तते— is in imminent danger (of life) This speech of Manoramā is so introduced as to be taken in connection with and serve as a reply to the Kanchuki's words न ज्ञायते क्व वर्तते इति । It is not known where she is—she is in great danger of life This is a kind of what is called in dramaturgy a Patākāsthāna Four different kinds of it are mentioned in the Sāh -D One occurs when a speech is so arranged that it should serve as a reply to one preceding it, though uttered in a different context See Sāh D VI 48 प्रियदर्शना—seems to be another name of Priyadarsikā कल्प- wine, see com दुःखमन्तरित—Not because she was inclined to love Priyadar but because she feared that people might suspect her hand in the matter of the administration of the poison. अतिदुर्जनः खलु लोकः—Cf Uttar I यथा स्त्रीणां तथा वाचां साधुत्वे दुर्जनो जनः । (sl 5), सुखपार—अतिदुर्जन इति वक्तव्यम् । नागलोकात् &c — It is not mentioned in the Kathā that Udayana was taught the art of curing snake bites and other kinds of poisons by means of incantations and drugs, when in Pātāla It is probably an invention of the poet to enable the king to resuscitate the heroine and thus to assist in the dénouement in the last Act

43

विषवेग—The circulation or effect of poison. अन्धकारं प्रवेशयसि— As her brain was affected by the poison her sight was bedimmed and all things appeared to be dark to her. P. 55. विपद्यते—dies; cf. for this sense त्वमनाथा विपद्यसे। Uttar. I. 44; हा मात एव ते नरेन्द्रप्रियाराधनोपकरणं जनो विपद्यते। Mâl. Mâd. V. p. 107. Śl. 8. गतश्च—दग्धा च—The repetition of च here expresses the simultaneous occurrence of two actions. हिमेन—दग्धा—These apparently appear to be contradictory terms or to be wanting in what is called योग्यता (fitness or power to express a meaning) as वह्निना सिञ्चति which is absurd. But here हिमेन दग्धा is quite intelli- gible, as the effects of extreme cold and heat on plants, foliage, flowers &c. are similar; cf. हिमसेकविपत्तिरत्र मे नलिनी पूर्वन्निदर्शनं मता। Ragh VIII. 35. वाम—Adverse, unfavourable; cf. for a similar description—आयुर्नश कलाभिरिन्दुरमलो यातश्च राहोर्मुखं सञ्जानश्च धनाधनो जलधरः शीर्णश्च भावोर्जवन्त्। निर्वृत्तश्च फलेप्रहिर्दुमवरो दग्धश्च दावानिना। &c. Mâl. Mâd IX. 39. किं ते चेष्ट.—Have you consciousness, are you aware of anything? P. 56 Śl. 9. The poison was working on Priya, the effects were produced on the King, as he says. This was because their hearts were linked together by love; cf. स हि स्नेहात्मकस्तन्तुरन्तर्मर्माणि सीव्यति। Uttar. V. 17. This indicates the intensity of the King's passion. The fig. of speech here is असङ्गति which occurs when a cause and its effect are represented as totally different, or separated (or in which there is an apparent violation of the relation between cause and effect). विरुद्धं भिन्नदेशत्वं कार्य हेत्वोरसंगतिः। विषं जलधरैः पीतं मूच्छिताः पथिकाङ्गनाः। Kuva, भिन्नदेशतयापन्नं कार्यकारणभूतयोः। युगपद्धर्म- यौरैक्यं ख्यातिः सा स्यादसङ्गतिः ॥ Kav. P. X. वेदना—Feeling or sensa- tion, power of perception विषमा—Adverse, alarming. मन्त्र- स्मरणं—mental recitation नाटयति—i. e. by the movement of the lips, looking at the person &c., accompanied by the sprinkling of water on the person operated on. P. 57. नरेन्द्रता—The word नरेन्द्र here is श्लिष्ट (paronomastic). It means a king and also a विषवैद्य a physician skilled in curing poisons, cf. सुनिग्रहा नरेन्द्रेण फणीन्द्रा इव शत्रवः। Śiś. II. 88, where the word is used in both the senses. इदानीमपि—Even now, i. e. although revived. राजा-(सस्मितं)—Because the king knew that her bewildered condition was due to the action of love at the sight of her lover. For the effects mentioned in the śl. are also due to love affection; cf. Mâl. Mâd. III. 8.

`44

अलिकशङ्किते—Falsely observing reserve or affecting modesty, has here the force of 'thou naughty or obstinate girl.' P 58 कृतमस्माकं यथारुचि &c.—In the Rat the King says— को देव्या प्रसादो न बहुमन्यते । अतोऽपि परं &c.—This is the usual expression marking the close of a drama (the Sans drames always having a good end) This is called काव्यसंहार. Śl 11 Another feature of the Sans drama is to enumerate good results attained in the stanza preceding the Bharatavâkya, cf. Rat. IV 21 त्वं कौविन्द &c.—So in Rat देवी धीनिपुणागता P 59 भरतवाक्यं—Lit The speech of the actor ( भरत )' technically called प्रशास्ति It is a sort of stage direction. It refers to the concluding sl of a play containing an expression of good wishes put in the mouth of the chief actor, as a member of the dramatic party and not in the role of a dramatic personage, all acting being over or the Vâkya enjoined by Bharata, the founder of dramatic art Śl 12. This Sl. occurs as the closing stanza of the Ratna- vali also with some variations in the last two lines उद्दाम— दाम्नो उद्गतानि उद्दामानि Prâdi Tat growing unchecked,

45 APPENDICES I The Subháshitas occurring in the Play (The figures refer to the pages of this edition) प्रविशन्ति शङ्कमाना राजकुलं प्रायशो भृत्याः । 8 गुणैकपक्षपातिनां रिपोरपि गुणाः प्रीतिं जनयन्ति । 9 नास्ति खलु दुष्करं दैवस्य । 15 न खल्वखिन्नमभिलषितमप्यन्यैः प्राप्यते । 21 प्रायो यत्किंचिदपि प्राप्तोत्कर्षमाश्रयान्महतः । 30 सदृशाः सदृशे रज्यन्ते । 33 दुःखं याति मनोरथेषु तनुतां सङ्कल्पमानेष्वपि । 34 अतिदुर्जनः खलु लोकः । वामे विधौ न हि फलन्त्यभिवाञ्छितानि । 55 II The flowers and the trees mentioned in the play. अम्भोरुह्—A lotus, or water-lily in general. उत्पल—A lotus (Nymphaea*) in general, refers to कमल (see- Ragh. III 36 ), कुमुद, &c. 44. कदली—The plantain tree. 9, 21, 23, 27. कमल—A lotus (Nalumbium Speciosum) in general, क जलं अलति (beautifies), or काम्यते इति what is desired owing to its beauty; from कम् and Uná. aff अल्). 13, 14, 17, 18, 22, 55. कुवलय—A synonym of उत्पल as given in Amarak; generally means 'a blue lotus' 20 तमाल—Name of a tree having a very dark bark and leaves but white flowers 13 नलिनी—A lotus plant, a tank having lotuses in it. 17, 23, 26, नीलोत्पल—The blue water-lily (Nymphaea cyanea) 19, 36, 42. पङ्कज—A lotus. 16 पद्म—A lotus, generally one blooming at sunrise, 2, 13, 17, 19, 20, &c. बकुल—Generally called Kesara, (Mimusops Elengi) 13 बन्धुजीव—Same as बन्धूक. 44.

• The L. names are taken from the Col. U. Ed.

46 बन्धूक—An erect growing plant (Pentapetes phoenicea) has large flowers of a bright red colour which expand at noon; their juice is cooling and is used in some diseases. 13, 14. मालती—A kind of jasmine (Jasminum grandiflorum) called चमेली. 13, 26. शिरीष—A fragrant but very delicate flower, also the name of the tree (Mimosa sirissa also called Acacia speciosa) 14 शेफालिका—A charming small tree (Nyctanthes arbour-tristis) the flowers have a delicious fragrance which is evanescent. 13, 14, 15, 17. सप्तच्छद } सप्तपर्ण } Alstonia scolaris. 13, 14.