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

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.

III The Metres used in the Play, their Definitions and Schemes. ━━━━━ ꩜ ━━━━━

1. Sanskrit verse is regulated by quantity, and not, as in English, by accent. A पद्य (stanza) consists usually of four पादस (quarters). A पाद is regulated either by the number of syllables (अक्षरs), or of syllable instants (मात्राs). When the पादs are all similar, it is called a समवृत्त, to which type most of the metres conform. There are अर्धसम वृत्तs, wherein the first quarter corresponds to the third, and the second to the fourth, called respectively the odd (विषम) and even (सम) quarters. A third class comprises विषमवृत्तs, but these are very seldom used.
2. The vowels अ, इ, उ, ऋ and ऌ are short, and the rest long. The quantity of a syllable is determined by its vowel. A syllable with a short vowel is called लघु ('light'), and a syllable with a long vowel is called गुरु ('heavy'). But a लघु syllable is considered as गुरु if it is followed by an anusvāra, or a visarga, or a conjunct consonant, or when it comes at the end of a पाद.¹
3. A set of three successive syllables is called a गण (foot). Marking a short syllable as ◡ and a long one as —, the different गणs,² which are 8 in number, may be exhibited as follows :— य ◡ ——, र — ◡ —, त —— ◡; भ — ◡ ◡; ज ◡ — ◡; स ◡ ◡ —, म — — —; and न ◡ ◡ ◡. In the definitions which are given below, a short syllable is indicated by the letter ल and a long one by ग.
4. The Priyadarśikā contains 49 slokas in all, of which two only are in Prākrit; and there are only seven different metres employed. So numerically and as regards the variety of metre, it is inferior to the other two plays. The Ratnā. contains 7 Prākrit stanzas and 78 in Sans. in 13 defferent metres, while the Nāgá has 123 stanzas in 12 different matres. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 1 सानुस्वारश्च दीर्घश्च विसर्गी च गुरुर्भवेत् । वर्णः संयोगपूर्वश्च तथा पादान्तगोऽपि वा ॥ 2 आदिमध्यावसानेषु यरता यान्ति लाघवम् । भजसा गौरवं यान्ति मनौ तु गुरुलाघवम् ॥

48 आर्या—Def यस्याः प्रथमे पादे द्वादश मात्रास्तथा तृतीयेऽपि । अष्टादश द्वितीये चतुर्थके पञ्चदश साऽऽर्या ॥ This belongs to the class of metres which are regulated by the number of मात्राs or syllabic instants. The four padas contain respectively 12, 18, 12 and 15 मात्राs I 5, 8, II 5, 9, III 1, 5, 9, 12, IV 6, 7, Gîtî—III 8 उपजाति—Def [ स्यादिन्द्रवज्रा यदि तौ जगौ ग उपेन्द्रवज्रा जतजास्ततोगौ । ] अनन्तरोदीरितलक्ष्मभाजौ पादौ यदीयावुपजातयस्ताः ॥ इत्थं किलान्यास्वपि मिश्रितासु वदन्ति जातिष्विदमेव नाम। An उपजाति is a mixture of one or more pâdas of इन्द्रवज्रा [ 11 syllables, Scheme—त, त, ज, ग, ग ], with one or more of उपेन्द्रवज्रा [ 11 syllables Scheme—ज, त, ज, ग, ग ], so as to form one stanza a mixture of other metres also, in this manner, is called an उपजाति The student should scan and find out in each case whether a pâda is in इन्द्रवज्रा or उपेन्द्रवज्रा I 4, III 3 मालिनी—Def ननमयययुतेयं मालिनी भोगिलोकैः । 15 Syllables Scheme—न, न, म, य, य The pause occurs after the 8th syllable II 8 वसन्ततिलका—Def उक्ता वसन्ततिलका तभजा जगौ ग । 14 Syllables Scheme—त, भ, ज, ज, ग, ग. I 10 III 2, IV 2, 4, 8 शार्दूलविक्रीडित—Def सूर्याश्वैर्यदि मः सजौ सततगा शार्दूलविक्रीडितम् । 19 Syllables Scheme—म, स, ज, स, त, त, ग The pause occurs after the 12th syllable This metre is very frequently used in this play I 1, 3, 6, 7, 11, II 1, 3, 6, 7, 10, III 4, 5, 7, 10, 13, 14, 15, IV 1, 3, 9 11. शिखरिणी—Def रसै रुद्रैश्छिन्ना यमनसभलागः शिखरिणी । 17 syllables Scheme—य, म, न, स, भ, ल, ग. The pause occurs after the 6th syll IV 10 स्रग्धरा—Def म्रोर्भनैर्यानां त्रयेण त्रिमुनियतियुता स्रग्धरा कीर्तितेयम् । 21 syllables Scheme—म र भ, न, य, य, य The pauses occur after the 7th and the 14th syllables This is the longest metre in ordinary use I 2, 9, 12, II 2, 4, III 11, IV 5, 12.

sense! Because in Kathasaritsagara (II. 1. 5), the text is literally: "लक्ष्मीविलासभवनं विभूषणमिव क्षितेः ॥" And here: लक्ष्मीविलासभवनंविभूषणमिव क्षितेः। (II. 1. 5) (or with a space: लक्ष्मीविलासभवनं विभूषणमिव क्षितेः।) Wait, is there a space between भवनं and विभूषणमिव? In the print, लक्ष्मीविलासभवनंविभूषणमिव is run together without space, then a small space, then क्षितेः।!

Let's check line 10: Bṛt. I., 10. or Rat. I., 10.? Look at line 10: Rat. I., 10. It was founded by Kuśâmba (son of Kuśa), tenth Wait, does it say Rat. or Bṛt.? Look at the capital letter: It is an R! Rat. I., 10.! Wait, or is it Bṛt.? Look at Râmâyaṇa in line 8: capital R. In line 10, the letter is R! Wait, but could it be Rat.? Yes, Rat. = Ratnā

INDEX OF IMPORTANT WORDS. (The figures refer to the pages of this Edition). अंगु 10 | अविरत 13,40 अंगुल 10 | अविरल 52 अग्रहस्त 39,40,58 | अविभ्रम 26 अङ्गराग 13 | अश्मीय 8 अजय 34 | असम्बद्ध 48 अतिशय 51 | आकुल 9 अत्याहित 46 | आक्रान्त 50,51 अनर्थ 41 | आदर 37 अनवरत 50 | आयास 10 अनुगत 38 | आयासिन 21 अनुनय 43,48 | आलवाल 11 अनुशायय (verb) 46 | आवर्जित 3 अनृण 4 | इन्द्रगोप 14 अन्तरित 54 | ईशान 56 अनिष्ट 53 | उग्गात 36 अपदेश 40 | उत्कृष्ट 11 अपराप् (verb) 21,25,56 | उत्तर 14 अपहार 40 | उत्कम्पित 6 अभिप्राय 3 | उत्तरीय 20 अभूमि 43 | उत्तल 21 अर्ह 10 | उत्पुच्छा 1 अलीक 22,41,57 | उत्सूक्त 44 अवगुण्ठित 31 | उद्गाढ 13,33 अवचय 18 | उद्गत 36 अवदान 10 | उद्गार 8 अवशाय 40 | उदासीनत्व 46 अवसर 28 | उद्दाम 13,59 अवसान 13 | उद्देश 35 अवस्कन्द 4,53 | उर्द्धेन 10 अवहेला 17 | उद्वेग 47,50 अवारित 10 | उद्विष्ट 13 अविकारित 40 | उन्मन्द 33 अविशय 52 | उभय 3

( 52 ) उपपन्न 4 | गहन 6 उपाध्याय 38 | गुप्ता 35 उपालम्भ 26 | गुल्म 15,17,23,27 ऊर्मी 59 | गोपुच्छा 34 ऊर्जित 36 | ग्रथित 35 ऋतुश 47 | घन 5, 37 ओप 38 | घोषवती 36 कटाक्ष 6 | चण्डाल 23 कटु 4 | चण्डी 48 कण्टकित 22 | चाटु 48 कन्दर 8 | चारक 6 कर्णपाली 11 | चित्रशाला 48 कल्य 54 | छवि 12 कलिका 55 | छाया 10 काचीगुण 32 | छुरित 9 कुक्कुटाण्ड 11 | छोटिका 52 कुट्टिम 14 | जर्जरीकृत 5 कुब्ज 48 | जृम्भिरा 57 कुवलय 20 | झटिति 51 कूट 9 | डम्बर 38 कृच्छ्र 56 | डम्बी 33 कृपण 9 | तपस्विनी 14,46,54 55 कृपाण 9 | तन्ति 49 केयूरिन् 32 | तीक्ष्ण 5 कथन् 10 | तुमुल 8 क्षामा 12 | तूर्ण 5 क्षोद 14 | त्रैविष्टप 59 खलखलायमान 6 | दण्डनीति 32 खेद 49 | दन्त 46,49 गगन 37 | दाशन् 42 गति 56 | दासेर 51 गद्गद 43 | दास्या पुत्र 6 गन्धर्वशाला 33 | दिष्ट्या 53 गम्भीर 49 | दिष्ट्या वृध् cau 56 गर्भदासी 19 | दीधिति 10

( ५३ ) दीर्घिका १०, ११, १४, १६ | पयोधर १९ दुर्य ५०, ५१ | परंपरा ३ दुर्दम ४ | परिगता ५ दुर्नेय ४२, ४४ | परिचर्या ५ दुर्विदग्धता २२ | परिच्छिन्न ३३ धृति २२ | परिश्रंश ५३ दून ३८ | परिमल १६ द्विरद ३६ | पर्यवबुद्ध १३ धातु ३८ | पर्याकुल १२, १८, २५ धामन् ५ | पल्लव २२, ४० धारागृह ११ | पादान ८ धीरता १८ | पारङ् २४ धूर ४८ | पाली १६ नरेन्द्रता ५७ | पिशुन ५९ नर्तितभ्रू २३, ३४ | पिशुनित ६ निगड-छ ६, २५ | पीठिका ३९ निगडन ३६ | पुत्तलिका २२ निक्षन ६ | पुलक ५७ निभृत ३५ | पुष्कर ६ नियत ४३, ५७ | प्रकट ५७ नियोग ५२ | प्रतिसरत्न ६ निर्दोष १८ | प्रतिभङ्ग ११ निर्भर ५२ | प्रतीप ५३ निकृति २४ | प्रतीहार ७ निर्व्याज ५ | प्रत्यक्ष १७ निर्मूढ ५, ५२, ५७ | प्रत्यभिज्ञान ३५ निःसह २६, ३९ | प्रथय ४८ नूपुर १६ | प्रमार्जन १७ नृप १० | प्रयोग ३ नेपथ्य ३, ३१ | प्रसन्न १३ पङ्कज २०, २६, ४७ | प्रस्फोट २९ पत्ति ८ | प्रसाद ४४, १८, ४९ पद्म १७, १९ | प्रस्थान ३ पद्मकोश १९ | प्रहरण ९ पद्धति ८ | प्रहार ५०

( 54 ) प्रेक्षणीयक 35 | लम्बित 38 प्रेक्षा 32 | लय 38 प्रेक्षागार 29 | वज्रलेप 59 प्रेक्षागृह 29 | वलभी 46,49 बन्धन 5,6,37 | वस्तु 2, 3 बन्धुजीव 44 | वादिन 37 बन्धूक 13 | वामक 37, 55 बर्ह 10 | वामन 48 बोध 50 | वारविभ्रमकणी 10 ब्राह्मण 12 | वारुणी 13 भाषित 33 | वासन 59 भिन्न 44 | वाहन 8 भूमिका 3,23,33 | विश्ल 16 भ्रूभङ्ग 44,50 | विगलित 44 मकरन्द 55 | विकृ caus. 50 मज्जन 10 | विन्ध्यमान 39 मञ्च 10,38,49 | विद्रुम 16,40 मन्यु 47 | विधि 49 मनोरथ 34 | विपत्ति 4 मरकत 14 | विपद् 4 महाब्राह्मण 12 | विभव 58 महार्घ 15 | विमर्द 8 मानस 37 | विमर्दित 8 मालती 26 | विमानित 32 मुकुलाय् 14 | विलक्ष 35,49 मुग्ध 50 | विशद 57 मुधा 44 | विधव्य 23 मुरज 42 | विषमा 53 मूर्त 17 | विषय 50 यत्सत्यं 9,16,51 | विषाद 20,41,47 यति 38 | वीणा 35 रन्ध्र 4 | वृन्त 13 राग 22,27,40 | वेदना 56 लघु 20,54,55 | वैतालिक 10 ललाटुका 26,29 | वैलक्ष्य 43