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

(स), न् (half-na), and दृ (dṛ): "सन्दृष्टोद्याने".

Line 5: "गान्धर्वविधिना तत्रसमुपयेमे स भूपतिः ॥"

Everything else is crystal clear. Let's format nicely line by line.XXVI तथा मञ्जुलिकेत्येवं नाम्नान्वर्थेन गोपिताम् । अपरामिव लावण्यजलधेरुद्गतां श्रियम् ॥ वस-तकसहायं सन्दृष्टोद्याने लतागृहे । गान्धर्वविधिना तत्रसमुपयेमे स भूपतिः ॥ तच्च वासवदत्ताऽथ ददर्श निभृतस्थिता । प्रचुकोप च बद्ध्वा च सा निनाय वसन्तकम् ॥ ततः प्रव्राजिकां वृद्धां सखीं पितृकुलागताम् । स साङ्कृत्यायनीं नाम शरणं शिश्रिये नृपः ॥ सा तां प्रसाद्य महिषीं तथा सैव कृताज्ञया । ददौ बन्धुमतीं राज्ञे पेशलं हि सतीमनः ॥ ततस्तं बन्धनाद्देवी सा मुमोच वसन्तकम् । [L1

XXVII above*. The story of Bandhumatī resembles that of Priya- darśikā, as the student can see from the passage from the कथासरित्सागर quoted above, the names उदयन, वत्सराज, वसन्तक, वासवदत्ता and साङ्कृत्यायनी, being common to both. Hence we con- clude that Harsha took for his basis the meagre story of Bandhumatī, perhaps written in greater detail in the बृहत्कथा, and worked it up into the present charming play. (3) TIME ANALYSIS OF THE PLAY. The action of the Priyadarśikā covers a period of a little over a year, from the autumn (शरद्) of one year to the autumn of another. For we are told in the Viṣkambhaka of the first Act by the chamberlain of Dṛḍhavarman, the king of the Anga country, that his master was already a captive of the king of Kalinga; and from the closing speech of the same chamberlain we learn that the season of the year is autumn; for he speaks of the uncommon severity of the autumnal heat and of the sun having passed from the zodiacal sign virgo to libra. From thiswe know that the month was A'svina, in which generally the sun is in libra. And we learn from the message sent by the Queen Aṅgāravatī to her daughter Vāsavadattā (see p. 46) some days after the events of the third act which happened on the full moon-day of Aśvina that it was more than a year since Dṛḍhavarman was taken a captive. So the action of the play spreads over a period of a year and a few days more. Act I. It is not possible exactly to fix the time of the action of the 1st Act. It begins in the forenoon of some day in the month of A'śvina some two hours before noon as the Act closes at mid-day (see Śl. 12). The King is introduced as holding conversation with his companion Vasantaka some day after his escape from prison and return

• There is also a third and a more faithful abridgement, which is also earlier, of the Bṛhatkathā, known as the Bṛhatkathāśloka- saṅgraha, by one, Buddhasvāmin. It is, however, incomplete, only 28 cantos being extant. In this also the events connected with the birth and early years of Udayana are narrated including his visits to the city of the Serpents and his acquisition there of the magic lute, Ghoṣavatī and of the art of taming elephants Col U. Ed. Introd. pp lxx, lxxi.

XXVIII to Kauśambî with Vâsavadattâ We learn from this conver- sation that Vatsarâja was incensed when he heard that Drdhavarman was taken prisoner and kept in custody by the King of Kalinga. So the news of Dṛhavarman's captivity must have reached Kaus'ambî by the time the Kanchuki in the Viṣkambhaka reaches Vindhyaketu's capital. Again in the same scene when Vijayasena narrates the account of his conquest and utter destruction of Vindhyaketu, we are told that he reached the abode of Vindhyaketu after a forced march of three days and that the attack was made at day- break. And we know from the speech of the Kanchuki in the Vis'kambhaka that all was over by the time‘he returned to Vindyketu's place from Agastya-tirtha where he had gone to bathe and that no trace of the attackers was found. So it follows that the battle was of short duration and Vijayasena, had left the place by or shortly after noon.; for when the Kanchukî arrived on the scene the sun was still very hot. Now Vijayasena must have taken at least three days to return to Kaus'ambî, so that he must have reached it on the seventh day from his starting from it. So the events mentioned in the Viskambhaka, viz. Vindhyaketu's destruction, the loss of the princess and the Chamberlain's resolve to go back to his captive master, must have taken place four days before the events of the first act. Act II An interval of at least one year (or more) separates the events of the first Act from those of the second; and for the following reasons. ( 1 ) It is clearly said in the Praves'aka of the fourth Act that Dṛḍhavarman was in custody for more than one year, and this interval can only be placed between the first two Acts, as the third and the fourth Acts follow pretty closely upon the second. (2) From the conversation between Indîvarikâ and A'raṇyikâ we learn that a great intimacy had grown up between them. Again from the same conversation we further learn of the Queen's intention to inform the King that A'raṇyikâ had reached marriageable age, in accordance with his own bidding that he should be reminded when she reached that age. And in the same scene when the King sees A'raṇyikâ and discovers that she is Vindyketu's daughter he exclaims—" Oh we have long been robbed " All this points to a long interval. (3) From the King's description of the beautiful scene presented by the

XXIX garden attached to the Dhârâgṛha and the tank in it, it is clear that autumn had just set in ; and that can be the autumn of the next year. The time of action of the second Act therefore, is some day in A'svina, as is evident also from the Queen's observing a fast in honour of the great sage Agastya and her intention to give a Svastivâyana on that occasion which is done after Bhâdrapada, (see p. 24 and com. thereon,) and the events mentioned therein take place late in the after- noon, as it is sunset when the King retires to his palace after his unexpected meeting with A'raṇyikâ. Act III—opens with the entrance of Manoramâ, rather late in the afternoon of the full-moon-day of A'svina. For in her speech Manoramâ tells us that the remaining portion of the play composed by Sâmkṛtyâyanî is to be acted before the Queen on the Kaumudî festival, which falls on the fifteenth day of A'svina, and that her friend A'raṇyikâ being absent- minded committed a mistake in her acting on the day. A'raṇyikâ then enters and appears from her conversation with her confidante Manoramâ to have been deeply affected with love for the King and pining for his company day and night. And from the lips of the Vidûshaka who enters next we learn that the King also is love-sick, passes his nights sleeplessly and finds pleasure in nothing but devising means to obtain a sight of A'raṇyika'. This shows that we must allow a period of five or six days at least to intervene between the second and the third Acts to account for the deep impression made on the minds of the lovers by each other's sight at their first meeting. When Manoramâ sees Vasantaka and learns from him how helpless his friend was on account of her friend A'raṇyikâ, she tells him how their meeting was to be brought about that very night when the acting was to be performed before the Queen. Vidûshaka then leaves her, and she starts to go to the play-house with A'raṇyikâ, and by the time they enter it, the twilight is already past (अतिक्कान्ता खलु सन्ध्या p. 31 ). So the action of the third Act begins late in the afternoon of the day and ends when it is bed time, after the breaking up of the Mimic play, by the Queen. See p. 44, King's speech. Act IV. A few days' interval separates the fourth Act from the third. For in the opening speech of Manoramâ she complains of the Queen's long continued anger and of the hardships of confinement to which her friend has been subjected.

XXX This shows that A'raṇyikā was in prison for some days. Again from the conversation between Sāṅkṛityāyanī and Vāsavadattā we learn that the Āraṇyikā-love affair was a recent event. And Vidūshaka's humorous suggestion to the King to observe a month's fast to gain the Queen's favour and his words farther on इदानीमेव कल्पशतप्रख्याते परि- वत्सरेऽस्मिन् p 40, show that not many days, even a week could have elapsed after the events of the 3rd Act. So the interval separating the third from the fourth Act must be a very short one. But we have no means of determining the exact hour of the day when the action of the fourth Act be- gins. It lasts for a period of about three hours. (4) GEOGRAPHY OF THE PLAY See Notes p 49. (5) TECHNICAL REMARKS It will be easily seen that the Priyadarśikā does not closely follow the various canons found in the Sans. treatises on dramaturgy, such as the Daśarūpaka and the Sāhityadarpaṇa, as the Ratnāvalī does. The Sandhis are not elaborated and well proportioned. The Sṛiṅgārarasa, the main sentiment of the play, is not well developed in its two parts विप्रलम्भ and संभोग. In this respect the Māl. is far superior to it. In it the king's passion (अनुराग) which is compared to a plant is gradually developed as declared by the poet himself in the words बद्धमूल, समुद्गतप्रवाल, मुकुलित (कुड्मलित,) and फलित, see IV. 1 A detailed description of the Sandhis and their aṅgas is not attempted here as it is not of much use to the junior students. As a Nāṭikā the Priya. conforms to the rules of dramaturgy on broad lines. As regards the three chief requisites, the वस्तु is प्रख्यात as the story of Udayana and Vāsavadattā was popular at the time the play was written. The Netā or hero is धीरललित (see ante p 9). The Heroine belongs to the variety known as मुग्धा (defined as मुग्धा नववयःकामा रतौ वामा मृदुः क्रुधि। Daś, R. II 16 ). The chief sentiment is शृङ्गार or love. There is an occasional infusion of Karuṇa as in the lament of A'raṇyikā (see pp. 15, 24) and when she drinks poison, in order to put an end to her miserable existence (see p. 54). There is also a slight tinge of the हास्यरस as when the Vidu. says एते खलु राजानो

XXXI दिष्ट्यापि वर्धयन्ते (p 38), or advises the King saying मासोपवासं कृत्वा &c. (p. 48). As regards the denouement and the general setting the play opens with the usual नान्दी. The प्रस्तावना is not in its usual style but rather on the model of Bhāsa, as no other character than the Sūtradhāra is introduced in it. In it the Sūtra. informs the audience of the name of the author, the title of the play and the occasion of its perform_ ance. Then there is a Viskambhaka in which the chamberlain of Dṛḍhavarman, King of the Aṅga country, briefly narrates the part of the story, a knowledge of which is necessary for the understanding of the events related in the play. The Bīja or seed is also cast when the Kañch. says—येन सापि राजकुमारी पद्मा कथमप्युत्सङ्गाद्योपनीय &c. (see p. 4). The Mukhasandhi begins where the King commits Āraṇyikā to the care of Vāsavadattā and terminates with the close of the 2nd Act. The Bīja germinates and sprouts up when the King sees Āraṇyikā (p. 18) and afterwards clasps her at the neck (p. 20). The प्रति- मुखसन्धि begins with the 3rd Act (see com.) wherein we have the गर्भसन्धि also. In the प्रति० there is यत्न for the attainment of the Phala or the final object; but to have it further postponed the poet has used the device of a गर्भनाटक,* which brings to light the King's intrigue and thus hinders the progress of love. In the fourth Act which is introduced by a Praveśaka, we have the अवमर्श and the निर्वहण Sandhis fused together, wherein the final object is attained; and the play closes with the usual Bharatavākya. (6) CRITICAL REMARKS ON HARSHA'S THREE PLAYS. Of the three plays of Harsha, the Ratnāvalī and the Priyadarśikā have the same subject-matter, i. e., the love intrigue of King Vatsa. Four characters are common to both of these plays, namely, King Vatsa, Queen Vāsavadattā, her attendant Kāñchanamālā and the Viduṣhaka Vasantaka Rumaṇvat, the usual general of the King's army is mentioned *गर्भनाटक also called गर्भाङ्क (An act containing a play in it) is defined as—अङ्कोदरप्रविष्टो यो रङ्गद्दार समाहितम् । अङ्गोऽपरः स गर्भाङ्कः सबीज- फलवान्निः Sah. D. VI. 20 'A Secondary Act, incorporated into a principal Act and having the characteristics of a play in brief, such as its preliminaries, introduction, its Bīja and its final end, is called गर्भाङ्क. This device has been used by Bhavabhūti in his Uttār., Act VII and by Rājaśekhara in his Bālarāmāyaṇa.

Ratnā. similar schemes are devised for the meeting of the lovers by Vasantaka and a maid servant. Other similar episodes in the fourth Act of both the plays are the imprisonment of Vasantaka and of the princesses and their rescue by the king, in one case from poison and in the other from fire, and the final sanction of the Queen to the marriage of the Heroine of each play with the Hero. Other minor similarities are pointed out in the notes. The Priyadarśikā, however, bears a closer resemblance 'to the Mālavikāgnimitra of Kālidāsa in the general outline of its plot, both being based on the story of Bandhumatī (see supra p. xxv). Thus the hand of the Princess Priya is promised to king Vatsa by her father while in the Māl. an alliance is sought with king Agnimitra by Mādhavasena by giving him in marriage his sister Mālavikā. Both Mādhav- sena and Dṛḍhavarman, Priy.'s father, are taken prisoners by rival kings and both are finally rescued by the Heroes of the two dramas. Mādhavasena's minister tries to bring Māl. to king Agnimitra, while it is Dṛḍh.'s chamberlain who tries to bring Priya to king Vatsa. Both meet with accidents: the heroine of the Māl. is brought by Vīrasena, the keeper of a border fort and given in charge of Dhāriṇī, Agnimitra's Queen, while Priya is brought by Vijayasena, the victorious commander of the army of Vatsa, to his master, who in his turn orders her to be committed to the care of his queen Vāsavadattā. Both the Heroines are taught dancing, singing &c., and both are accidentally seen by the respective Kings, and love springs up between the heroes and the heroines of the two plays. To bring about the meeting of the two lovers the mimic play is arranged in the Priy., while a dancing exhibition is arranged in the Māl. Mālavikā is seen with her attendant in a garden by the King and his confidant, and so is Āraṇyikā in the Priyadarśikā. We have Kauśikī, the sister of Mādhavasena's minister, in the role of a religious lady, appearing as a friend of the Queen in the Māl., and so we have Sāṁkṛtyāyanī in the third and fourth Acts of the Priy. The Vidu.'s careless talk in sleep in the Māl. betrays Mālavikā's meeting with the King, while Vasantaka's talk in sleep during the course of the Mimic play brings to light the ruse used for bringing about Āraṇyikā's meeting with the King in the Priy. The magic use of the ring bearing a snake

figure which counteracts the effect of poison in the case of the Vidu who feigns to be bitten by a serpent in the fourth Act of the Mâl. has its reflex in the King's counteracting the effect of poison on A'raṇyikâ by means of a charm. And finally we have the true identity of Mâl. revealed in the Mâl. in the last Act as that of A'raṇyikâ in the present play. The similarities of ideas, expressions &c. found between the Priy. and the Nâgânanda we have pointed out in the notes. The Nâgânanda is a Nâṭaka in five Acts and stands on a higher plane than the other two plays which are mere court- comedies. The play is of a unique type, since it depicts the grandeur of self-sacrifice in human life. As Dr. Keith remarks, "Harsha here rises to the task of depicting the emotions of self-sacrifice, charity, magnanimity, and resolution in the face of death" The Hero, Jîmûtavâhana, penetrated with the ideals of Buddhism, is convinced that to sacrifice oneself for the good of others is the highest duty. He has accepted the doctrine of non-violence and adheres to it so firmly that he will not make war even upon his enemy who has deprived him of his kingdom. When his friend and brother- in-law, Mitrâvasu, assures him of an easy victory over his enemy and the consequent restoration of his kingdom to him, Jîmutavâhana replies:— स्वशरीरमपि परार्थे यः खलु दद्यामयाचितः कृपया। राज्यस्य कृते स कथं प्राणिवधक्रौर्यमनुमन्ये॥ 'I will give my own life for the sake of another in compassion unasked; how then can I consent to the cruel slaughter of men merely for winning a kingdom." Here Harsha reveals himself in uttering these sentiments Harsha who had been once the hero of hundred battles and who by his brilliant victories over his enemies had become the Paramount Lord in Hindustan, was in the last part of his life a staunch follower of the Buddhistic doctrine of non-violence (अहिंसा). (7) THE PRINCIPAL CHARACTERS ON THE PLAY. VATSARA'JA (THE HERO). The Hero of the play Priyadarśikâ, Vatsarâja a King of Kauśâmbî, has many charming legends and stories woven round his name. It seems that his life full of romantic adventures, made a deep impression on the popular mind in old

XXXVI days, as is clear from the remark in the प्रस्तावना of the play, “लोके हारि च वत्सराजचरितं ।” Hence there are no references to his great deeds in this play save one adventure, viz., his escape from his captivity, in which he was kept by the powerful monarch, Mahasena Pradyota, of Avanti, and his carrying off the latter’s daughter and making her his Queen. And since the poet chose to write a Nāṭikā it was not his object also to present his hero in any of the serious aspects of his character. Bound by the hard and fast rules of Sans. Dramaturgy he has cast his characters in the conventional mould. He has taken care to show his hero in the enjoyment of courtly life, the stirring events of his public life having already won for him great popularity. We cannot, therefore, compare him with Agnimitra, the hero of the Mālavikāgnimitra. But compar- atively speaking the character of Vatsa is not so well developed in this play as it is in the Ratnavali. He belongs to the class of heroes called धीरललित,—‘Firm, gay, and tender- hearted.’ He is courteous and affectionate to his Queen while engaged in a new love adventure. As soon as he sees a charming young maiden, he falls in love with her and thinks of nothing but meeting her again and making love to her. He is helped in his love intrigue by his companion, the Vidushaka, and Manorama an attendant of the Queen. In the Mimic play in which by a cunning device he is given an opportunity of meeting Āraṇyikā, he proceeds to act towards her in such an ardent manner that he rouses the suspicion of his queen Vāsavadatta. When the Queen knows the whole truth and breaks up the play in anger, he apologises to her in all humility and even falls at her feet. Though his Queen does not accept his apology or relent, he tries his utmost to conciliate her. And when the Queen knowing that Āraṇyikā is her cousin Priyadarsika, places the latter’s hand in the King’s hand, he with delicacy withdraws his hand saying that he is satisfied that his Queen is reconciled. One noble trait of his character, however, is brought out when he appreciates the valour of his fallen enemy and ungrudgingly bestows praise on him in the words—शोभितं विन्ध्यकेतुना। साधु विन्ध्यकेतो साधु । राजपुत्रोचितं मार्गमनुगच्छतो समाश्वासिता एव वयं विन्ध्य- केतोर्गुणेन (Act I).

XXXVII. A'RANYIKA' OR PRIYADARS'IKA'. Priyadars'ikā is the Heroine of the play, as the very name of the play clearly shows it. She is called आरण्यिका up to the time of the denouement, because she was found in a forest. Priyadars'ikā is a colourless character, possessing no striking intellectual or moral qualities. She belongs to the variety of heroines known as मुग्धा, who is defined as—'मुग्धा नववयःकामा रतौ वामा मृदुः क्रुधि' । She is represented as a young maiden of rare beauty. As soon as the King catches sight of her he bursts into a panegyric of her beauty 'पातालाद्भुवनवलोकनधिया किं नागकन्यो- त्थिता । &c. ( Act II. 6 ). When she sees the King she falls in love with him and remarks that her father was right in promising her to him, thus preferring him to other suitors ( अयं स महाराजः । यस्याहं तातेन दत्ता । स्थाने खलु तातस्य पक्षपातः । ). She is extremely timid and sensitive. She laments that her passion is hopeless and will never find its fulfilment. She therefore longs for death that would relieve her of her sorrow- सर्वथा मरणं वर्जयित्वा कुतः मे हृदयस्य अन्या निर्वृतिः । Fortunately she is cheered up and helped by her friend मनोरमा. But she gives way to sorrow and despondency to such an extent that she actually takes poison. Thus Priyadars'ikā evinces none of those qualities which constitute a great character. There is, how- ever, one admirable trait in her character also. She does not reveal her identity to the last, even to her confidante Manoramā and this speaks highly for her keen sense of family honour. ——— VA'SAVADATTA'. Vāsavadattā is the chief Queen, elderly and majestic Her love for her lord is sincere and deep and her jealousy proceeds from her true deep love. In the Mimic play, when the King makes love to A'ranyikā, playing the part of the Queen, with great ardour, her suspicion is aroused. And when she learns the truth from the lips of the Vidushaka, who gave out the secret in his drowsiness, she breaks up the play in anger and orders both A'ranyikā and the Vidūshaka to be imprisoned as being accomplices in the plot. She spurns the conciliation and prostration of the king. She is truly a मानिनी (a proud self- respecting woman). She keeps Aranyikā for a pretty long time in prison. She is not easily appeased. When, however, she learns that A'ranyikā has taken poison, she is at once struck with penitence and immediately orders her to be

xxxvIII brought into the presence of the King, who is an expert in the treatment of poisons and magic formulas, for being restored to life. She is an affectionate niece, for we see her plunged in deep grief at the news of the long imprisonment of her aunt's husband (Act IV). The nobility of her mind is seen when she gladly bestows the hand of A'ranyikâ, whom she now knows to be her cousin, Priyadarsikâ, on the King in fulfilment of her father's promise. In fact the picture of the Queen drawn here, though not so magnificent as that of Dhârinî in the Mâl (see V. 19) is quite in keeping with the requirements of a Nâtikâ. THE VIDÛSHAKA. The Vidûshaka is a boon companion of the King who amuses him in his lonely hours. He is a Brâhmaṇa but without learning, great wit or wisdom. He is greedy and ever eager to receive gifts. He excites laughter by his appearance, quaint remarks and movements. He helps the King in his love-intrigue. When A'ranyikâ is attacked by bees and covering her face with a mantle calls to her friend for help, he cleverly advises the King to run to her rescue silently so that she may clasp him mistaking him for her friend. He is an accomplice in the scheme by which the King gets an oppor- tunity of meeting and making love to A'ranyikâ in the Mimic play. But he is light-headed and gives out the truth of the whole plot in his drowsy condition. He, however, sometimes makes very clever and appropriate remarks. When the chamberlain of Dṛidhavarman informs the King that the Kaling king was killed and Dṛidhavarman restored to his throne, the Vidushaka says in the hearing of the queen, ईदृशे अभ्युदये अस्मिन् राजकुले एतत् करणीयम् । ( राजानं निर्दिश्य वीणावादनं पाठयन् ) शुश्रूषता ( आत्मनो यशोराशिं दर्शयन् ) ब्राह्मणस्य सत्कारः , ( आरण्यिकां सुखयित्वा ) सबन्धधनमोक्ष इति । When the King succeeds in restoring A'ranyikâ to consciousness, the Vidûshaka again significantly reminds the Queen, “भवति दर्शनस्य पारितोषिकं विस्मृतम् ।

ix. DRAMATIS PERSONAE. ——: 0 :—— MALES. सूत्रधारः—The stage manager. वत्सराजः ( उदयनः )—The Hero, king of Kauśāmbī. विदूषकः ( वसन्तकः )—A Brāhmaṇa, the Hero's companion and confidant. रुमण्वत्—Minister of Vatsarāja. विजयसेनः—The commander of the army of Vatsarāja. विनयवसुः—The chamberlain of Dṛḍhavarman. FEMALES. आरण्यका—( Whose real name is प्रियदर्शिका, also called प्रियदर्शना ) The Heroine, daughter of king Dṛḍhavarman. वासवदत्ता—The Queen, wife of Vatsarāja and daughter of Mahāsena ( also called Pradyota ), king of Ujjain. काञ्चनमाला—An attendant-maid of the Queen मनोरमा—A maid-servant, confidante of A'raṇyikā. इन्दीवरिका—A maid-servant of the Queen. प्रतीहारी ( यशोधरा )—The female door-keeper or portress of Vatsarāja सांकृत्यायनी—An elderly holy lady, associate of Vāsavadattā. PERSONS &c. MENTIONED. यौगन्धरायणः—The chief minister of Vatsarāja. दृढवर्मन्—King of the Aṅga country and father of the Heroine. A bard, and Retinue of Vāsavadattā. SCENE. Praveśaka of Act I.—some part of the Vindhya forest. Rest of the Play—Kauśāmbī, the capital city of Udayana. ———

"? Ah, "हर्ष-" is at the end of line 20! Let's look at the very end of line 20: Is there a word? Wait, between "वदान्यस्य" and line end: Let's count words in line 20:

1. म्बर्याः
2. प्रणेता
3. धीमद्वाणः
4. स्वस्वामिनः
5. सुहृदश्च
6. वदान्यस्य
7. नृपस्य (wait, look at the word: is it "हर्षस्य"? No, "नृपस्य"?) Wait, look at line 20 after वदान्यस्य: There is a word: "हर्षस्य" or "नृपस्य"? Wait, it has two letters with a conjunct: "हर्षस्य"? "ह" then "र्षस्य"? Then "नृपस्योदारचरितस्य"? Wait, let's look at the end of line 20: It says: "नृपस्योदारचरितस्य"! Then line 21: "चरितकाव्याभिसंध्येण" or "हर्षचरित-"? Wait! In line 21: "हर्षचरिताख्यो गद्यप्रबन्ध एव" is in line 21-22: "सोऽयं निबन्धमञ्जरी हर्षचरिताख्यो गद्यप्रबन्ध एव..."!

Line 17: व्योपनिवद्धम् । अस्यां च नाटिकायामुपवर्णितं कथाभूतमङ्गाङ्गत्वमतो विभक्तं सारांशरूपेण Wait: "व्योपनिवद्धम्" or "व्योपनिवद्धम्" (with द्ध / ब्ध: 'व्योपनिवद्धम्' or 'व्योपनिवद्धम्') "अस्यां च नाटिकायामुपवर्णितं कथाभूतमङ्गाङ्गत्वमतो विभक्तं सारांशरूपेण" Wait, look at "कथाभूतमङ्गाङ्गत्वमतो विभक्तं" - wait: कथाभूत - no, look at: 'क' 'था' 'व' 'स्तु' 'अ' 'ङ्गा' 'ङ्ग' 'त' 'या' -> 'कथावस्तु अङ्गाङ्गतया'? Let's zoom into line 17: "अस्यां च नाटिकायामुपवर्णितं कथावस्तु..." Look at the letters: क (ka) था (thā) व (va) स्तु (stu) अ (a) ङ्गा (ṅgā) ङ्ग (ṅga) त (ta) या (yā) वि (vi) भ (bha) क्तं (ktaṃ) YES! "कथावस्त्वङ्गाङ्गतया विभक्तं सारांशरूपे

( ४३ ) एक एव विमर्दिताभिकबलक्रोधवेगो दारुणतरं संप्रहारं कृत्वा शत्रुबलमित्थमथाकुले कृत्वा पात्रप्रहारशतजर्जरितोरुवक्षा युधि निहतस्तथा सर्वमाख्यत् । व्यज्ञापयच्च देव सबन्धुपरिवारे हते विन्ध्यकेतौ शून्योभूते तत्स्थाने हा तात हा मातः इति कृतकृपणप्रलापा विन्ध्यकेतोर्बेशम्युपलब्ध्याभिजात्यानुरूपा कन्यका तदुहितेत्यस्मा- भिरानीता द्वारि तिष्ठति । तां प्रति देवः प्रमाणमिति । तत एतां वासवदत्तायै समर्पय । श्लक्ष्णया च देवी भगिनीबुद्ध्या स्वयेयं सर्वदा द्रष्टव्या विशिष्टकन्योचिते नृत्यगीतादि सर्वं शिक्षयितव्या चेति प्रतीहारीमादिदेश । वासवदत्तापि तामरण्याङ्कध्येत्यारण्यिकाशब्देन व्यपदिश्यै स्वान्तःपुरेऽस्थापयत् । तदनन्तरं वैतालिकेनाभिवन्दितमध् याह्नुरागमः स्नानाथैमुदति- . ष्ठन्नरपतिः । शाह च म्भणदन्तमभ्यन्तरं प्रविश्य कृतयथोचितक्रियाः सत्कृत्य विजयसेनं कलिङ्गोच्छित्तये प्रेषयान इति । द्वितीयाङ्के तावत्प्रथमं राज्ञो विदूषकेण सह प्रवेशः । तत्र गृहीतनतामुपवनारूक्षां स्नप्रियां द्रष्टुं सोत्कण्ठो वत्सराजो वयस्येन वसन्तकेन सहोत्कण्ठाविनोदनार्थं धारागृहो- द्यानं जगाम । अत्रान्तरे अगस्त्याय महर्घ्येदर्थं दातुकामया देव्या शेफालिकाकुसुम- मालां स्रतु गृहीत्वागच्छेदित्याज्ञाप्ता इन्दीवरिका नाम चेटी धारागृहोद्यानदीर्घिकायाः कमलो- न्नयवचित्य लवागच्छेत्यादिश्या आरण्यिकया सार्धं तदेवोद्यानमागतवती । यावच्च धारा- गृहोद्यानधिया स्फुटपङ्कजकान्तिहारिण्या हंसस्वनपुष्पसौगन्ध्यादिना रम्याया दीर्घिकाया दर्शनेन चाह्लादितचित्तो नृपो वसन्तकेन सह संभायमानस्तिष्ठति तावदारण्यिका तत्रा गता प्रत्यक्षचरीवोद्यानदेवता विदूषकेण दृष्टा । राज्ञे निवेदिता च । किंन्वियं नागकन्या भवेदाहोखिन्नृपर्तौ कौमुदीत्यादि वितर्कयन्नृप इन्दीवरिकारण्यकयोर्विम्भालापात्तां विन्ध्य- केतुदुहितेति ज्ञातवान् । अभवच्च तस्यामनुरक्तचित्तः । तदनन्तरं कमलान्व्यवचिन्वती मधुकैराक्रम्यमाणाऽरण्यिका तन्निवारणार्थं स्वसखीमाह्वयत् । तथा तां दृष्ट्वा विदूषको- पदेशाद्राज्ञा तूष्णीमुपगत्य रामवात्सग्यतं च सखीबुद्ध्याऽरण्यिका । वत्सराजोऽपि तां कण्ठे जग्राह स्वोत्तरीयेण भ्रमरान्निवारयितुमारेभे च । राजानं दृष्ट्वा सत्रायसं दूरमपसृता आरण्यिका से रासश्टुं पश्यन्ती स्वगतमाह अय स महाराजौ यस्याहं तातेन दत्ता । स्थाने खलु तातस्य पक्षपातःइति । अत्रान्तरे राक्षीराहाम्पाथैमागतामिन्दीवरिकां दृष्ट्वा राजाव- मन्तकक्ष कदलीगृह प्रविश्य स्थितौ । निर्गते चेन्दीवरिकारण्यके । वत्सराजोप्यारण्यकया हृनचित्तः क उपायः पुनरेतां द्रष्टुमिति चिन्तयन् परिणतप्रायं दिनमं दृष्ट्वा स्ववयस्यो गृहाभ्यन्तरं प्रविवेश । तृतीयाङ्के तावत्प्रथमं 'हजे मनोरमे यः स साङ्कृत्यायन्वार्यपुत्रस्य मम च वृत्तान्तो नाट्येोपनिबद्धस्तस्य नर्तितव्यशेषमद्य तुम्माभिः कौमुदीमहोत्सवे नर्तितव्यमिति देव्या वासवदत्तादाज्ञाया मनोरमायाः प्रवेशः । सा च ह्मः खलु आरण्यकया प्रियसख्या श्लथहृदययाग्यमेव नर्तितव्यथ पुनर्वासवदत्ताभूमिका तया यदि तथा स्थिते ततोमशं देवी कुप्यति । अतस्तामन्विष्योपारम्भ्य इति मनसि कृत्वा धारागृहोध्यान्दीर्घिकाम- गतवती । अपश्यच्च तां कदलीगृहं प्रविशन्तीम् । ततस्तस्या विश्रम्भभाषणाद्दन्मचुरेतु- रकतेयमिति ज्ञात्वा तामुपेत्य समाश्वास्य मदनसन्तप्ताङ्गामातस्त्याः शिशिरोप- चारेण संतापं लघूकर्तुं प्रायत्तत । अत्रान्तर आरण्यिकायां दृढमनुरङ्गेन वत्सराजेन प्रहितो

दरान्तकस्तत्रैवाजगाम। अकथयच्चात्मन सुहृद आरण्यिकाया कृते जातां दुरवस्थां याञ्चा- त्मन सख्यास्तादृशीमवस्थां तस्मै। ततो वसन्तकेनातिलङ्घ्यानुज्ञा से प्रियदर्शी कथमत्रतयो समागमो भविष्यतीत्युक्ता मनोरमा-अद्य राजानमभिमंत्र्यतया साङ्कृत्यायन्या कृतिकुसुमनचरितं नाम नाटकं देव्या पुरतो नर्तितव्यम्। तत्रारण्यिका वासवदत्ता भवि- ष्याति। अहमपि वत्सराज । तयस्तेनैव सर्वं शिक्षयितव्यम् । तदागत्य स्वयमेव स्वां भूमिकां कुर्वाण समागमोत्सवमनुभवतु महाराज । इति तस्य कर्णेऽकथयत्। वसन्त- कोपि हृष्टो यावदेव युवां नेपथ्यग्रहण कुरुथस्तावदेवाहं वयस्य गृहीत्वागच्छामीत्युक्त्वा स्वभर्तुरन्तिकमयात् । मनोरमापि स्वराम्भ्या सह प्रेक्षागृहमगात् । तत प्रवृत्ते गर्भनाटके भर्तुरभिनयातिशयमसद्हमाना कुपिता वासवदत्ता भगवत्याधिक कल्पित साम्यमिति सरोपमुक्त्वा काञ्चनमालासरिता प्रेक्षागृहान्निर्गता। दृष्टा च तया चित्रशालाद्वारे सुप्तौ वसन्तको । ततो राज्ञाप्यत्र भवितव्यमत एत बोधयित्वा पृच्छामीति काञ्चनमालामुक्त्वा तथा कृत्वा तमपृच्छत् । सोपि भूर्वोधैगुम मखलमेव तन्त्रमाबुलीकृतवान् । वासव- दत्तापि बध्यनामथं द्रक्ष्यामि तावदस्य प्रेक्षणीयमिति मनोरमामुक्त्वा भृत्यन्त राजानं गत्वा आरण्यिकां च हस्तेनाकृष्य इन्दीवरिके गृहाणेमामिति दासीमादिश्य राजा पाद- पतनेन प्रसाद्यमानोपि अकृत्वैव प्रसादं गता। ततो वत्सराजोपि शयनीयं गत्वा देव्या प्रसादनोपाय चिन्तयन्नित्यतिशाय निष्क्रान्त । चतुर्थाङ्के प्रवेशके मनोरमा प्रथम देव्या दीर्घरोषतां स्वसख्याया आरण्य- कायाश्च विषमवस्थामधिकृत्यवात्मन उद्वेगम विस्करोति। ततस्तां मिलिता काञ्चनमाल्यै- नकथयत् । अद्य देव्या स्वमात्राद्भारुप्रदाया प्रेषितो लेखाधिगत । तस्मिंश्च लिखित- मासीत्-तव मातृस्थाने स्थिताया मम भगिन्या भर्तुर्दृढवर्मण समधिकं राजनगरं हस्ति- द्वहस्तकेन रुद्धस्य । तत्र युष्मनेन वृत्तान्तं श्रुत्वापि गमर्थस्य ते भर्तुरेवमीदासीन्यमपल- मितुमिति । तद्वाचना प्रभृति दुर्मनायमानैव देवी तिष्ठतीति । तदनन्तरं देव्या सह साङ्कृत्यायन्त्या प्रवेश । तत्र यावत्साङ्कृत्यायनी नेदृशो वत्सराज इत्यादिवचनोपन्यासेन देवीं सान्त्वयति तावत्तस्या एव प्रमादनार्थं वत्सराजोपि तत्रोपस्थित । तत साङ्कृ- त्यायन्त्या अङ्कगतदेवीवदनस्तद्वैधुर्यंवशश्च वत्सराज प्राह-देवि नाहमस्मिन्विषये तदानीम क्षासम्। अनिष्ठान्तरसमुत्थात् मम कल्पितोऽचिन्तस्ये विनयगेने प्रेषितवान् । पतिरत्या- श्चर्यवहानि शास्त्राद्यन्तं वा आन्नाया । अथ श्रो वा वसिद्वहत्थं युद्धे बद्धं हतं वा बोध्य- मीति । तच्छ्रुत्वा वासवदत्ता यावदेवात्मन परितोषं दर्शयति तावदेव निहितकञ्चको रुद्धवेशुरुद्विग्ना विनयप्रयुक्ता गजेन्द्रो विजयसेना लब्धप्रोत्साहक एव्य शाभां प्रवि- पद्य स्थित । नितोट्टिता कञ्चुकिना रुण्णार्थे प्रतिपादितस्य रुडर्मण शृतवृत्तान्तंन पुरं गद्देश । अत्रान्तरे मनोरमा गर्भधममेत्य भर्तृनि आरण्यिका कस्यचिदपराधोने विषं पं गत्वा प्राणसंशये वर्तते इति वासवदत्तार्यै न्यवेदयत् । ततो देव्याज्ञाया तत्रा'नीतारण्डिका नागवैयाद्याद् गृहीतदंशविधेन वत्सराजेन विचिकित्सा स्वय्यागुंरभूत् । तां दृष्ट्वैव सा चिरण्मया मे राजपुत्री प्रियदर्शिका ते `गीतीति विजदुग्रंस्साद्रव्यया आकष्ट । तन्तः स्वभगिनीमनेन प्रीत्युक्ता देवी वासवदत्ता राज्ञो हस्ते प्रियदर्शिकामर्पियन्यी वत्सराज च प्रीतेन परिगृहीतम् । उत्तरतथा परं नटिका भरतवाक्येन कविला ॥

श्रीहर्षदेवविरचिता। ॥ प्रियदर्शिका ॥

॥ प्रथमोऽङ्कः ॥

धूमव्याकुलदृष्टिरिन्दुकिरणैराह्लादिताक्षी पुनः पश्यन्ती वरमुत्सुकानतमुखी भूयो ह्रिया ब्रह्मणः ॥ सेर्ष्या पादनखेन्दुदर्पणगते गङ्गां दधाने हरे स्पर्शादुत्पुलका करग्रहविधौ गौरी शिवायास्तु वः ॥ १ ॥ अपि च । कैलासाद्रावुदस्ते परिचलति गणेषूल्लसत्कौतुकेषु क्रोडं मातुः कुमारे विशति विषमुचि प्रेक्षमाणे सरोषम् । मौलौ पुण्यप्रवाहा सुरसरिदमला राजते यस्य वह्नौ भालः कण्ठे तमो वा त्रिभुवनभयहृद्यश्च भक्तार्तिहारी । ध्येयोयस्य शत्रुर्भवति भगवतो मन्मथो यातिशस्त- स्तस्मै सर्वेश्वराय प्रणतिरातिशयानन्दकन्दाय मेस्तु ॥ १ ॥ अथ तत्रभवान् महाकविः श्रीहर्षदेवः प्रियदर्शिकां नाम नाटिकां रिरचयिषुः प्रारि- प्सितस्य ग्रन्थस्याप्रतिसमाप्त्यर्थं मङ्गलस्यावश्यकर्तव्यतया पूर्वरङ्गप्रधानाङ्गभूतामष्टपदां नान्दीं श्लोकद्वयेन तावदुपनिबध्नाति—धूमेति । गौरी पार्वती वः सामाजिकानां शिवाय कल्याणायस्तु । कीदृशीत्याह—करग्रहविधौ विवाहप्रसङ्गे धूमेन हूयमानशमी- पलाशलाजादिसंस्पर्शाद् वैवाहिकाभिसमुत्थितेन व्याकुले दृष्टी नयने यस्याः सा तथोक्ता । पुनः इन्दुकिरणैः शिवशिरस्थचन्द्रमयूखैः आह्लादिते प्रमुदिते अक्षिणी यस्याः सा तथोक्ता । तथा च उत्सुक्योत्कण्ठिता सती वरं पतिं पश्यन्ती । भूयः ब्रह्मणः पुरोधसश्च- तुर्मुखस्य हिया लज्जया आनतमवनतं मुखं यस्यास्तादृशी । पुनश्च पादयोः नखाः पादनखा इन्दव इव पादनखेन्दवः । ते एव दर्पणानि तानि गते प्रतिबिम्बिते गङ्गां दधाने हरे सेर्ष्या । सपत्नीदर्शनेन जातासूयेत्यर्थः । पुनश्च स्पर्शाद् हरकरस्पर्शादुत्पुलका जातरोमाञ्चा । शार्दू- लविक्रीडितं वृत्तम् । तल्लक्षणं-सूर्याश्वैर्यदिमः सजौ सततगाः शार्दूलविक्रीडितम् ॥ इति ॥ १ ॥ विघ्नबाहुल्यशङ्कया पुनरपि मङ्गलमवतारयति-अपि चेति । कैलासेति । कैलासाद्रौ कैलासपर्वते उदस्ते रावणेनोत्क्षिप्ते परिचलति कम्पमाने सति । गणेषु प्रमथादिषु उल्लसदाविर्भवत्कौतुकं येषां तथा तेषु । कुमारे कार्त्तिकेये मातुः क्रोडं भुजान्तरं विशति सति । विषमुचि शिवस्याभरणभूते सर्पे सरोषं किमिदमिति प्रेक्षमाणे । १ पश्यन्तीव समु०. २ नतमुखी. ३ भूयोद्धिया.

२ | प्रियदर्शिकायां

पादावष्टम्भसीदद्वपुषि दशमुखे याति पातालमूलं क्रुद्धोऽप्याश्लिष्टमूर्तिर्भयघनममया पातु तुष्टः शिवो नः ॥ २ ॥ ( नान्द्यन्ते ) सूत्रधारः—( परिक्रम्य । ) अद्याहं वसन्तोत्सवे सबहुमानमाहूय नानादिग्देशादागतेन राज्ञः श्रीहर्षदेवस्य पादपद्मोपजीविना राजसमूहेनोक्तः । यथास्मत्स्वामिना श्रीहर्षदेवेनापूर्ववस्तुरचनालंकृता प्रियदर्शिका नाम तथा च पादस्य हरचरणस्य अवष्टम्भेन निर्भरनिक्षेपेण सीदत् खिद्यमानं वपुर्यस्य तस्मिन् दशमुखे पातालमूलं याति सति । रावणचेष्टितेन क्रुद्धोपि भयेन घनं दृढं यथा तथा उमया आश्लिष्टमूर्तिरसन् तुष्ट प्रीत शिव व पातु ॥ स्रग्धरा वृत्तम् । लक्षणं—म्र्भनैर्यानां त्रयेण त्रिमुनियुतियुता स्रग्धरा कीर्तितेयम् । इति ॥ २ ॥ श्लोकपादरूपाणि पदत्वान्यु- पगमतदष्टापदैयं नान्दी । तदुक्तं नाट्यप्रदीपे—श्लोकपादं पदं येथिनुचिस्तत्समाश्ररे । परेत्ववान्तरायथेस्वरूपं पदमूपिरे ॥ इति ॥ नान्दीश्रोकस्याद्यक्षयोरादौ भूर्देवताओ मगण प्रयुक्तस्तेन गणशुद्धि । उक्तं च भागतेन । क्षेमं सर्वगुहर्दसे मगणो भूमिदैवतः । इति । नान्द्यां मनाक् काव्यार्थसूचने कर्तव्यमित्युफल्यान्नदिनापि तथा कृतम् । तथाहि प्रथमश्लोके साक्षाद् गौरीशब्देन नाविवाख्याश भूम्यस्यानुलद्विरित्यनेन सरसा रात्रिमु- कण्ठभेन दत्तवृद्धलक्ष्खलत्कथिसिजो विवाह इत्युक्तिरित्येरितेने सरया षङ्कुविना कृतमवगाह्ने मुहुर्मुहुरथ स्निग्धकेनोराधयत्यलाभादयं पश्यन्ती वरमित्यनेन तस्या- यादृच्छिक मन्तराजदर्शनं तदुत्पन्नं सारामायगौहराश्चर्यं दिया प्रदान इत्यनेन रक्तानुरागस्य राज्ञ्या परिजनज्ञानवारीजिहीर्षया गोप्यं रोध्येत्यादिना गर्भनाटके मनोरमायाः स्थाने देवी- विप्रलम्भपूर्वं स्वयमेव भूयता राज्ञा संगतामारुन्धवां दृश देव्या शारुया स्पर्धाकुलतया इत्यनेन नायिकाया द्वितीयाङ्के षष्टवित कमलशनान्मित्यम सूचित रापुरल्लखमित्याद्य- र्थाजाते सूचितम् । द्वितीयश्लोवगतेन च कैलासशखित्यादिना कलिङ्गराजकृते स्तवर्मणो राज्यपरिश्रंश पादावष्टम्भेत्यादिना कलिङ्गनृपस्य य सराजसैनिकामन्तदिसयस्य दुर्ग- प्रवेशस्तद्विनाशाच्च आश्लिष्टमूर्तिरित्यनेन स्वकर्मण पुनद्राज्यप्राप्त्या परितुष्टाया राज्ञ्या राज्ञो हस्ते प्रियदर्शिकासमर्पणमित्यादि प्रबन्द्यार्थे सूचित ॥ नान्द्यन्त इति—नान्दीलक्षणमादिभरते—आशीर्वचनसंयुक्ता श्लोक काव्यार्थ- सूचकः । नान्दीति कथ्यंत तस्यां पदद्विनियमोपि वा । नान्दीपदैद्वादशभिरष्टाभिर्वाप्यल- कृता ॥ इति । एतल्लिक्षितंलाट्यदीपे—नन्दति पाव्यानि यथोदरर्गाः सुशील्या पारिषदाश्च सन्तः । यस्मादल राजनतिवृद्धिर्र्त तस्मादियं सा वथितेह नान्दी ॥ इति । सूत्रं प्रयोगनानुगर्न धारयति सूत्रधार । सङ्के—नाट्यस्य यदनुष्ठान तत्सूत्रं स्यात्स- बीजकम् । रङ्गदैवतमूहारान्तसूत्रधार उदीरित ॥ अनुद्रव्यगुणानेतु प्रदेशि च वस्तु । रङ्गप्रसाधनप्रौढः सूत्रधार इहोच्यते ॥ इति । नाना दिशो येषां ते नानादिशः । ते च ते देशाश्च तेभ्य आगतेन । अभिनूमानं पूर्वं यस्याः सा आदृत्यै । आदृतो या वस्तु वृत्तस्त राज्ञ रच्या घटना तथा अलंकृता । प्रियदर्शिका नामेति । नाटिका राज्ञादीनां १ हर •

प्रथमोऽङ्कः । ३ नाटिका कृतेत्यस्माभिः श्रोत्रपरंपरया श्रुतम्¹ । न तु प्रयोगतो दृष्टा² । तत्तस्यैव राज्ञः सर्वजनहृदयाह्लादिनो बहुमानादस्मासु चानुग्रहबुद्ध्या³ यथावत्प्रयोगेण त्वया नाटयितव्येति । तद्यावन्नेपथ्यरचनां कृत्वा यथा- भिलषितं संपादयामि । ( परितोऽवलोक्य । ) आवर्जितानि सामाजिकमनां-⁴ सीति मे निश्चयः⁵ । कुतः । श्रीहर्षो निपुणः कविः परिषद्प्येषा गुणग्राहिणी लोके हारि च वत्सराजचरितं नाट्ये च दक्षा वयम् । वस्त्वेकैकमपीह वाञ्छितफलप्राप्तेः पदं किं पुन- र्मद्भाग्योपचयादयं समुदितः सर्वो गुणानां गणः ॥ ३ ॥ ( नेपथ्याभिमुखमवलोक्य । ) अये । कथं प्रस्तावनामभ्युद्यते मयि विदितास्मद्- भित्रायोऽङ्गाधिपतेर्दृढव

४ प्रियदर्शिकायां प्रथमोऽङ्कः।

( ततः प्रविशति कञ्चुकी। ) कञ्चुकी—( सशोकाश्रमं नाटयन्। निश्वस्य। ) कष्टं भोः कष्टम्। राज्ञो विपद्बन्धुवियोगदुःखं देशच्युतिर्दुर्गममार्गखेदः। आस्वाद्यतेऽस्याः कटुनिष्फलायाः फलं मयैतच्चिरजीवितायाः॥४॥ ( सशोकं सविस्मयं च। ) तादृशस्यापि नामाप्रतिहतशक्तित्रयस्य रघुदिलीप- नलैतुल्यस्य देवस्य दृढवर्मणो मत्प्रार्थ्यमानाप्यनेन स्वदुहिता वत्सराजायै दत्तेति बद्धानुशयेन वत्सराजे बन्धनान्निस्र्त इति च लब्धरन्ध्रेण सहसागत्य कलिङ्गहतकेन विपत्तिरीदृशी क्रियत इति यत्सत्यमुपपन्नमपि न श्रद्दधे। कथमेकान्तनिष्ठुरमीदृशं च दैवमस्मासु। येन सापि राजपुत्री यथाकथंचिदेना वत्सराज