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

pp 13-15 10 [ Act II VIDU.—O friend! look, look at this too—this Saptaparna tree here, the mass of the flowers of which is unceas- ingly falling and which, therefore still looks as if it has the drops of water falling through the interstices of its leaves at the close of the rainy season ( or at the end of a shower ) KING—Friend, happily observed There is much that is like the rainy season (yet) For Bearing softness ( of surface ) by the meadows which rob ( possess or surpass) the beauty of the Śirīsha flowers, and therefore having at once a pavement made with the washed pieces ( or powder) of emerald the ground here, on account of the heaps of Bandhūka flowers dropped from their stems, now appears as if covered with hundreds of cochineal insects (3) ( Enter a MAID ) MAID—I am ordered by Queen Vāsavadattā—Girl Indīvarikā, to-day I have to present an Argha (offering of worship) to the great sage Agastya Do you go then and come back quickly taking with you a garland of Śephālikā flowers Let this Āraṇyikā, too quickly gather the full blown lotuses from the pond in the shower house garden before they are closed up by the sun when going to set and come back The poor girl does not know that pond So I will take her with me and go ( Looking towards the scenes ) This way Āraṇyikā, come this way ( Enter ĀRAṆYIKĀ ) ĀRAṆYIKĀ—(With tears and dejection, to herself) That I, who was born in that sort of ( so high a) race in that way and who lived commanding others should now do the bidding of others ! So it must be said that there is nothing difficult for fate to bring about Or rather it is my fault, since knowing this I did not destroy my self So what shall I do now ! Or * it is now difficult for

• The passage may also be interpreted as—Or why ? A hard thing I have thought of now ( viz committing suicide ) I will do as I said ( i. e. kill myself ) But this does not appear to be intended See notes

Act II ] 13 pp. 18-19] should be reminded of that", so I will put the king in in mind of that, so that he will be engaged in thoughts about a husband for her. · KING.—(With joy) This then is that daughter of Vindhyaketu. (With regret) Long have we been foiled (or, robbed of her sight). Friend; this is indeed, a maiden, to look at whom is not sinful. We shall see her now without hesitation (or freely). A'RAN.—(Angrily stopping her ears) Go you then. I have nothing to do with you who talk nonsense. · (The maid-servant goes and gesticulates the collecting of flowers. KING.—Oh, her nobility of birth has been greatly manifested by her firmness (of mind). Friend, blessed, indeed, will be he who will be the object of the happiness of the touch of her body. ( ARANYIKA' acts the collecting of lotuses ). VIDU.—O friend, mark, mark; wonderful, wonderful! As she plucks the lotuses, she puts into the background the beauty of the lotus-beds by the spreading lustre of her hand moving in the water. KING—Friend, this is quite true. See— Having become the object of the touch of the hand of her, who gives delight by her glances similar to that of (given by) a continuous shower of the drops of nectar, and who has assumed a peculiar loveliness owing to the slipping of her breast garment, as of the rays of the body of the moon that gives delight with a fitting shower of nectareous drops and that becomes peculiarly charming owing to the veil of clouds being removed, it is wonder- ful, indeed, that these lotuses do not become closed up at once. (7) A'RANY.—(Gesticulating torment from bees) Oh fie! oh fie! These other wicked bees, greatly annoying me as they alight on the beds of blue lotuses, after leaving the lotus plant, torment me here. (Covering her face

pp.-19-20. 14 [ Act II. with her upper garment, in alarm) Friend—Indīvarikā, save me, save me. These horrid bees will, indeed, as- sail me. VIDU.—Oh friend, your wishes are fulfilled. Before that daughter of a born slave comes, you too, being silent, approach her. She, on her part, knowing Indīvarikā to be coming from the movement of feet indicated by the sound of water, will just cling to you. KING.—Bravo, friend, bravo! Your advice is oppor- tune. (He approaches ARAṆYIKĀ). A'RANY.—(Gesticulating the hearing of the sound of foot- steps) Indīvarikā, come to me quickly, come to me quickly. I am harassed by these wicked bees. (Clings to the KING). (The KING clasps her at the neck. ĀRAṆYIKĀ, removing her upper garment from her face and without seeing the KING acts looking at the bees.) KING.—(Keeping off the bees with his upper garment). O you, give up this dispiritedness (depression of spirits); O timid one, these bees, drawn by their liking for perfume light on the lotus of your face; if again with your long eyes agitated through fear you will still diffuse the beauty of a bed of blue lotuses, how will they leave you? ARANY.—(Exhibiting flurry on seeing the KING). How now! this is not Indīvarikā! (Leaving the KING and moving aside in alarm). Indīvarikā, come quickly, come quickly; protect me. VIDU.—Lady, when you are protected by Vatsarāja, able to protect the whole world, you call out for the maid-servant, Indīvarikā? (The KING repeats—O you, give up &c.). A'RANY.—(Looking at the KING with longing and bashfulness, to herself). This is the great king to whom I was given (betrothed) by my father. In the right place was my father's preference, indeed!

Act II.] ·15 pp. 21-22.

• MAID—A'ranyikâ is, indeed, harassed by the wicked bees. So I will at once approach her and comfort her. A'ranyikâ, fear not; here I come. VIDU.—Move away, O, move away. Here Indîvarikâ is just coming. Seeing (if she sees) this affair, she will inform the Queen of it. (Pointing with the finger). So having entered this plantain-bower we shall wait for a while. (Both do accordingly). MAID.—(Approaching and touching her cheeks). Friend A'ranyakâ, this is the fault of your face resembling a lotus that the bees thus come to be guilty (or, the offenders—i.e., torment you). (Taking her by the hand) Come then; let us go. The day has drawn to its close. (They gesticulate departure). A'RANY.—(Looking towards the plaintain-bower) Friend Indivarikâ, owing to the extreme coldness of the water my thighs seem to be benumbed. So slowly, slowly, we shall go. MAID.—As you say. (Exeunt both). VIDU.—O, come; let us issue forth. Having taken her with her, that slave's daughter, Indivarikâ, has gone away. KING.—(Sighing) What, gone! Friend Vasantaka, not indeed is the desired object gained without impediment by those who are not lucky. (Looking) Friend, mark, mark! The bed of lotuses, although its lotuses are closed up, yet being thorny (horripilated) tells, as it were, of the pleasure derived from the touch of her tender sprout-like hand. (9). (Sighing) Friend, what is the means now to see her again? VIDU.—Sir, having yourself broken the doll you are crying now; you do not act according to the words of me, a Brāhmaṇa. KING.—What did I not do!

.pp. 22-23. 16 [ Act III. VIDU.—That you have forgotten now. For I said— Be silent and approach her. : Since you, having entered into a very critical position, reproved her, in your affect- ed wisdom due to vain knowledge, saying—Ah you, give up this dispiritedness, &c., and such other words, why do cry now? And again ask me the means to see her. KING.—Oh, how does the fool call what was comfort- giving a reproof! VIDU.—It is just known who is a fool in this case. Then why go on with this? The divine one having a thousand rays (sun) is about to set. Come then; let us enter just the inside (of the palace). KING.—(Looking). Ah, the day has almost drawn to its close. Alas! For now— The splendour of the day, like my beloved, has gone, taking away the beauty of the groups of lotuses; there is observed a greater glow of Râga (redness—passion) in the orb of the sun as in this heart of mine; the wheel-named bird (ruddy goose) like me, is standing on the margin of the lotus-pond, thinking of his mate; and the directions have been suddenly darkened (void of interest) to the world also, as to me. (10). (Exeunt Omnes) End of Act II. ———— ACT III. ———— (Enter MANORAMA') MANORAMA'—I have been commanded by Queen Vâsavadattâ saying—Manoramâ, my girl, to-day on the occasion of the Kaumudî festival you have to perform the remaining part of the episode about my husband and myself which has been dramatised by Sâmkrityâyanî. Yesterday, indeed, her part was wrongly played by my dear friend, A'ranyikâ, being absent-minded. But if again the same be done by her to-day when appearing in the role of Vâsavadattâ', the Queen will necessarily get angry. Where shall I find her then and reprove her?

pp. 23-25. 17 [ Act III. (Looking on). Here is A'ranyikà entering the plantain- bower on the bank of the pond, saying something to herself. So hiding myself behind a bush I will listen to her unrestrained (free) utterings. (Enter AR'NYIKÁ, seated and acting love-sickness.) AR'ANY.—( Sighing ) My heart, seeking an unobtaina- ble person, why dost thou afflict me ? MANO—This is then the cause of her absent-minded- ness. But what again does she long for? Being attentive I will hear her. AR'ANY.—(With tears), How does the great king, being of a pleasing appearance in that way, thus torment me (now) ! Wonderful, wonderful ! (Sighing) Or rather, this is my misfortune, and not the great king's fault. MANO.—(Fearfully) How now ! the great king himself is the object of her longing ! Noble, dear friend, noble ! Your desire is in accordance with your high-birth. AR'ANY.—To whom, indeed, shall I relate this matter and make the pain of my misery somewhat bearable ? (Reflecting) Or why ! I have my dear friend, Manoramá, who is not different from my heart. But to her even I am not able to tell this through bashfulness. All considered, whence can there be solace to my heart other than death ! MANO.—(With tears) Alas ! alas ! the poor girl's pas- sion has reached its climax. So what shall I do in the matter ? ARANY.—(With longing) This is the spot where, tormented by the bees, I was supported by the great king and comforted in the words—"O timid one, be not afraid ". MANO.—(Joyfully) What ! She also is seen by the king ! Then by all means there is a way for her to live. I will then at once approach her and cheer her up. (Suddenly advancing) Proper, indeed, it is to be bashful even towards one's heart. AR'ANY.—(Bashfully to herself) Oh fie, fie ! Every thing has been heard by her. So it will be quite proper

Act III.] 18 pp. 25-26. to disclose all to her. (Aloud; seizing her by the hand). Dear friend, do not be angry, pray do not. It is bash- fulness that is at fault. MANO.—(Joyfully) Friend, away with hesitation. Tell me this. Have you been really seen by the king or not? AR'ANY.—(Bashfully with face hung down) My dear friend has already heard everything. ` MANO.—If you have been seen by the king, then don't you be worrying yourself. He himself will be eagerly engaged in devising some means to see you. AR'ANY.—This my friend speaks with partiality. O you, lover of (blinded by love for) a friend, how can this be (expected) from a person who is, indeed, bound by the chains of the Queen's virtues. MANO.—(Laughing) O you, silly girl (Lit. wanting in clever perception), although the bee has its love for the lotus plant, how can it, when it has seen the Mālati (jasmine) and is eager to taste its new flavour, rest quiet without obtaining it] AR'AN.—What is the use of talking about this which is impossible? Come away then. My limbs, which are all the more tormented by the autumnal heat, do not give up their heat even now. MANO.—O you bashful one, it is not proper for you, even when reduced to such a plight, to conceal the real

• state of your heart. (AR'ANYIKĀ' hangs down her face.) MANO.—O you naturally unconfiding one, what can you conceal now! Does not your passion, manifesting itself (lit. coming out) day and night, in the guise of sighs, as though it were the hum sound caused by the incessantly falling shower of the shafts of the flower- arrowed God (Cupid) tell it. (To herself) Or rather, this is not, indeed, the time for chiding her. So in the first place I will put some lotus-leaves on her bosom. (Rises, -and having taken some lotus-leaves from the pond places -them on AR'ANYAKA'S heart.) Let my friend take comfort, let my friend take comfort.

pp. 27-28. 19 [ Act III. (Enter VIDU'SHAKA) . 'VIDU'.—Very great, indeed, is my dear friend's pas- sion for Ar'anyika'. For having set side the affairs of state he has been diverting himself by thinking about a remedy to obtain her sight only. (Reflecting) Where shall I find her then? Or why; I will search for her just there, on the margin of the pond. (Walks on). MANO.—(Hearing) A sound like that of foot-steps is heard. So becoming concealed in the clump of plantains we shall see who is this (that is coming). (Both do accordingly and see). AR'AN.—Ah, he is the very Bràhmana, who is always at the side of the king. MANO.—How, Vasantaka himself! (Joyfully to- herself) May it be that way (i.e. as I wish it)? VIDU'.—(Looking in all directions) What! Has A'ran- yikà really become Ar'anyikà (acting like a forest-bred girl; or, gone to a forest, as she is not found here) now. MANO.—(With a smile) Friend, the king's companion, the Brahmana, is talking with respect to you. So let us listen attentively. (AR'ANYIKA' listens eagerly and bashfully.) VIDU'.—(Dejectedly) When in the first place, at the bidding of my dear friend whose body has become languid owing to the very great torment of love, I looked for her at the residence of the queens Vāsavadattā, and Padmāvati and of other queens, and did not find her there, I came here, thinking I should search the place also where she was seen at the pond. But then she is not here also. What shall I do now? MANO.—Did my dear friend hear this? VIDU'.—(Reflecting) Or why! It was already said to me by my friend—If you do not find her, after searching for her, then come, taking from that very pond at least the lotus-leaves that have had their pleasure-giving coolness doubled by the touch of her hand. Then how am I to know these?

Act III. ] 20 pp. 28-29. MANO.—This is my opportunity. (Approaching and taking VIDU'. by the hand). Vasantaka, come on. I will show (also; expose) you. VIDU'.—(In alarm) Expose me! to whom? To the Queen? I have not, at all, said any thing. MANO.—Vasantaka, dismiss this fear. As you have described to have been the condition of your dear friend on account of Aranyikā, double of that has been the state of my dear friend on account of our lord. So see it, see it. VIDU'.—(Seeing, with joy) My labour has borne fruit. Hail to your ladyship! (ARANYIKA' bashfully casts off the lotus-leaves and rises). MANO.—Noble Vasantaka, at your mere sight my dear friend's affliction has vanished, so that she is herself removing the lotus-leaves. So your noble self should favour them (by taking them). AR'ANYIKA'—(With agitation), O you given to joking, why do you put me to shame? (She stands with her face slightly turned back). VIDU.—(With dejection) Let the lotuses remain. Your dear friend is extremely bashful. So how is their union to take place? MANO.—(Musing for a moment, joyfully) Vasantaka, in this way, it seems. (She whispers into his ear). VIDU.—Excellent, dear friend; cleverly suggested! (Aside) By the time you two put on your costumes, I will come taking my friend with me. (Exit). MANO.—O passionate one, get up, get up. We have to act the remaining part of that very play. Come then; let us go to the play-house. (Walking round and seeing) Here is the play-house. Come then; let us enter in. (Gesticulating entrance and looking about), Well done, well done! Every thing is got ready; the Queen must be coming. (Enter the QUEEN, SAMKRITTYAYANI and the retinue according to rank.)

'pp. 30-31. 21 [ Act III. VA'SAVADATTA'—Revered lady, how wonderful is your poetic genius! For this story of my husband, with its secret incidents, although a mattter of experience, being dramatised (by you) raises our interest in it all the more, when being seen, as though it had not been seen before. SA'MK.—O you of long life, the merit of this subject is such that a poem though without excellence (insipid) necessarily causes delight to the ears of its hearers. See, Generally even an insignificant thing attains eminence by its connection with what is great; for even ashes come to be a decoration when applied to the broad temples of a rutting elephant. (1) VA'SAVA.—(With a smile) Revered lady, it is a patent fact (lit., is but known) that the son-in-law is loved by every one. So what is the use of thus continuing the conversation? It is better to see the very same representation. SA'MKR.—Just so. Indîvarikâ, lead the way to the play-house. MAID—Come, come, my Queen. (They all walk on.) SA'MK.—(Looking on) Oh the loveliness of the play- house! Charming with the huge strings of pearls hanging from the golden posts decked with hundreds of jewels, and occupied by the youthful damsels that have conquered (surpass in beauty) the nymphs of heaven, this play-house appears like the (aerial vehicle, or) residence of the gods. (2). MANO. and ARAN.—(Approaching) Prosperity, pros- perity, to the Queen! VASAVA.—Manorama,' the twilight has indeed, passed. Go you then, and quickly put on your costumes. BOTH—As the Queen commands. (They start to go). VA'SA.—Aranyika,' go to the dressing room and decorate yourself with these very ornaments that are put on my person. (She removes the ornaments from her person and

Act III.] 22 pp 31-32. hands them over to A'ran.). Manoramá, you too take from Indivarikâ the ornaments that were given to my husband by my father when pleased by his capture of Nalagiri and decorate yourself, so that you will look quite like the King. (MANORAMA' takes the decorations from INDIVARIKA' and exit with ARANYIKA'). INDIVARIKA'—Here is a seat; may your Majesty sit down. VA'SAVA.—(Pointing to a seat) May your reverence sit down. (BOTH sit down). (Enter the CHAMBERLAIN having put on his dress). Looking after the management of the inner apart- ments, guarding against stumblings at every step, and now led by a staff, being broken down by old age, I imitate all the actions of a king, who, following the science of government, maintains order within cities and avoids errors of policy at every step. (3). I am commanded by Mahâsena, who bears a significant name and who has put to chagrin (overpowered) all the armies of his enemies, to inform the ladies of the harem thus—Tomorrow we are to celebrate the Udayana festival. Therefore you are to repair to the garden, of Love with your retinue splendid with dresses befitting the festival. SA'NK.—(Pointing to the CHAM.) Princess, the play has commenced. Please see it. CHAM.—So this is what I have to tell them—that they should go accompanied by their attendants and not attendants with their decorations put on. For, Among these (inmates of the harem) even the servants of the maids-in-attendance of the queens are conspicuous with their feet adorned with anklets, with their broad hips having gingling girdle-bands, with their large breasts decked with (lit. having beauty imparted to them by) pearl necklaces, with their arms having Keyuras (armlets) on them, and with their ears furnished

with Kundalas, their hands with bracelets and their hair with Swastikas. (4) There is nothing, indeed, unusual that is to be done here. Thinking that it is my master's order, I will simply communicate the remaining part of the king's order to the Princess. (Walking about and seeing.) Here has that (princess) Vâsavadattâ entered the music-hall followed by Kânchanamâlâ, lute in hand. I will just tell her. (Walks forth.) (Enter A'VANTIKA, in VÂSAVADATTA's costume, seated, and KÂNCHANAMÂ'LÂ, with a lute in her hand). A'RAN.—Friend, Kânchanamâlâ, why again is the music-master tarrying even to-day ? KA'NCH :—Princess, he has seen a crazy fellow ; and overpowered by wonder at hearing his words he has stayed there enjoying the fun (lit. laughing at him). A'RAN.—Maid, well does he ask him. Both are mad men, as it is said—'The like take pleasure in the like.' SÂ'MKR—I see that her form is like that of a princess; so with such a form she is sure to act your part well. CHAM.—(Advancing) Princess, His Majesty sends word to you—To-morrow we are sure to hear you playing the lute. So you should be ready with Ghoshavatî fitted with new strings. AR'ANT—Sir, if so, quickly send the music-master. CHAMB.—Here I send Vatsarâja to you. (Exit). A'VANT.—Kânchanamâlâ, bring me the lute (Ghoshavatî). I will just examine its strings. (KÂ'NCHANAMÂ'LÂ' hands over the lute.) A'VANTIKA' puts it on her lap and strikes (or, adjusts) the strings). (Then enter MANORAMA' having put on VATSARÂJA's decorations). MANORAMA'—(To herself) Surely the King tarries. Is it that Vâsotaka did not tell him, or is he afraid T. 3

Act III.] 24* pp 34-35 of the Queen? If he comes now it will be a nice thing [Enter the King, and Vidûshaka with his body veiled] KING—The cool-rayed one (moon) does not cause affliction to me just to-day as at first, now only hot sighs do not parch my lip as they did constantly before, just now my mind is not vacant nor are the limbs languid as formerly, and my torment becomes reduced even as the desires of my heart are thought of (as near fulfilment) (5) Friend, did Manoramâ really say—"Since my dear friend is kept even out of the path of the King's sight by the Queen, this is the way to bring about their union To-day at night we are to enact before the Queen the play called Udayanacharita In it Âranyakâ will be Vâsavadattâ and I too Vatsarâja. Everything is to be learnt (acted) according to his own doings So having come and acting his part himself, let him enjoy the pleasure of her company " VIDÛ.—If you do not believe me, here is Manoramâ waiting, wearing your costume So approach her and ask her yourself KING—(Approaching MANORAMA) Manorama, is what Vasantaka says true? MANORAMA—Sire, quite true Decorate yourself with these ornaments (With these words she takes off the ornaments from her person and hands them over to the KING) (The KING puts them on) VIDÛ.—Here, indeed are kings thus made to dance (act) even by a maid servant Oh the importance of business (the object to be achieved)! KING—(Laughing) Fool, this is not the time for joking Silently enter the picture gallery and wait there with Manoramâ beholding our acting (Both act accordingly) A'RANY.—Kâñchanamâlâ, let alone the lute. Just I wish to ask you something

pp. 35-36 *25 [ Act III. KING—Let me hear ( to know ) which part of the story is being acted. (He listens attentively). KA'NCH—May the Princess ask. A'RANY.—Does my father really say so, viz.—"If playing on the lute Vatsarâja captivates me I will necessarily free him from captivity."? KING—(Entering with a toss of the curtain, joyfully ties a knot in the hem of his garment). Thus it will be. What doubt is there ? Having filled Pradyota with his attendants with wonder by my performance on the lute, I see that ere long I shall take away Vâsavadattâ. (6) . For all things have been well arranged by Yaugand- harâyaṇa. VA'SAVA.—(Rising at once) Prosperity ! prosperity to my husband ! KING—(To himself) How is it that I am recognized by the Queen ? SA'MKR.—(With a smile) Princess, away, away with this hurry ( or, confusion ). This is a play. KING—(To himself joyfully) Now I am made to breathe freely. VA'SAVA.—(Sitting down with a smile of embarrassment) What ! this is Manorama ! I thought it was my husband. Bravo, Manoramâ, bravo. Excellently acted. SA'MKR.—Princess, rightly, indeed, was confusion caused in you by Manoramâ. Consider— Here is that same form (of Vatsarâja), the cause of delight to the eyes; the same is the splendid costume ; self-same is this her gait here, that characterises an intoxicated elephant; the same is the exceedingly lofty dignity ; her grace the same, and the very same is her voice that resembles the rumble of water-charged clouds: here is presented before us, in his very person, the lord of the Vatsas himself by her, clever (in acting). (7).

Act III. ] 26 pp 36-37. VA SAVA.—O Indīvarikā, I was taught to play on the lute by my lord in fetters, so fetter him with this garland of blue lotuses. (Taking off from her head the garland of blue lotuses she gives it to her) (INDIVARIKA does as directed and sits down in the same place. A RANY.—Kānchanamālā, tell me, pray tell me. I ask— Does my father really say this, viz—"If Vatsarāja captivates me by his playing on the lute, then I will necessarily set him free from captivity " KĀNCHA.—Princess, he does, really. Act in such a way that, as a matter of fact, you will be highly esteemed by Vatsarāja. KING—Kānchanamālā has actually brought to pass what was then desired by me. A RANY.—If so I will play with care. (Plays upon the lute, singing). Observing the sky densely crowded with chains of clouds the royal swan longs to go to the Mānasa lake, his residence, taking with him his mate. The swan among kings—Vatsarāja,—seeing the prison vault closed up with thick chains, desires to repair to his own abode, taking his beloved with him in order to reach (please her heart) (8). (VIDU,—gesticulates sleeping). MANO.—(Shaking him with her hand) Vasantaka, see, see, my friend is playing her part VIDU.—(Angrily) Slave's daughter, you too do not allow me to sleep! From the time my dear friend saw A'raṇyikā, I have not seen, along with him, what sleep is So I will go to some other place and sleep (Goes out and sleeps) (A RANYIKA sings again). Hurled into (powerfully affected with) a new passion, by the perverse Kāma, the female bee pines, eagerly longing to see her mate, of a charming sight (9)

pp. 37-39 , 27' [ Act III. KING—( Hearing the song the very moment and suddenly going forth) Commendable, princess, commendable ! How charming the singing, how charming the playing (on the lute) ! For, Distinctness has now been attained here (in this performance) by the Vyañjana mode of playing (on the lute) in all its ten parts; this laya (tempo) here, distinguished by its three varieties of quick (allegro) intermediate (moderato) and slow (adagio) has been clearly marked in three ways; all the three pauses, Gopuchcha' and the rest, have been accomplished in due order: and the three modes of playing on instruments have been properly exhibited. (10) A'RANY.—(Clasping the lute rises from her seat and longingly looking at the King) Preceptor, I bow to you. KING—(With a smile) May you have that which I wish for you ! KA'NCH.—(Pointing to A'RANYIKA's seat) The preceptor should please sit just here. KING—(Having sat down) Where should the Princess sit now ? KA'NCH.—(With a smile) The Princess has just now been complimented by you with commendation of her skill. So she deserves to share the seat of the preceptor. KING—Let her sit here; she deserves (to occupy) half of the seat. Princess, sit down. (A'RANYIKA' looks at KA'NCHANAMA'LA'). KA'NCH.—(Smilingly) Princess, sit there. What is wrong in this ? (A'RANYIKA' sits down bashfully). VA'SAVA.—(Blushingly). The subject-matter has been added to by your reverence. I did not, at all, sit on the same seat with my husband at that time. KING—Princess, I wish to hear again. Play on the lute.

Act III ] 28 pp. 39-41 ARANY — (With a smile) Kánchanamálá, having played for a long time I feel exhausted So I shall not be able to play KANCH — Preceptor the Princess is greatly fatigued See how drops of perspiration are formed on her cheeks and her fingers (or fore-hands) tremble So let her be refreshed (by resting) for a short while KING — Kánchanamála you have said what is proper (Wishes to seize her by the hand Arany withdraws her hand) VASAVA — (Sarcastically) Lady this also has been overdone by you I am not certainly Kánchanamalá that can be misled by (such) composition [Or I should not be deceived (misrepresented) by Kánchanamalá's dramatic speech] SAMKR — (Smiling) O you of long life dramatic compo- sition must be of this nature ARANY — (With seeming anger) Go away Kanchan, go away I do not like you KANCH — (With a smile) If you do not like me standing here here I walk off (Starts to go) ARANY — (In confusion) Kánchana stay stay, here is the fore-hand offered to him KING — (Taking the hand of ARANYIKA) Can it be a lotus bud at once cooled by the contact of dew drops? Not such methinks is its power to delight (now) It has it at dawn only when it is left by (free from) the sun are there five moons in the form of fingers shedding a shower of coolness (or dew) Even that (the shower) burns (causes affliction) I know it—this is clearly ambrosia flowing under the guise of perspiration (11) By you moreover is implanted in my heart this Rága (passion—redness) with your hand clever in robbing the tender coral sprout of its beauty (12) ARANYIKA — (Exhibiting the peculiar sensation of touch) Oh fie oh fie! my limbs commit a havoc in me (experience a thrill of overpowering emotion) as I touch this Manoramá

pp 41–42. 29 [ Act III. Vᴀ'sᴀᴠᴀᴅᴀ.—(Rising suddenly) Revered lady, you see the representation. I, for myself, cannot bear to see what is false. Sᴀ'ᴍᴋʀ.—Princess, this Gandharva form of marriage is sanctioned by the religious codes of law. What is the matter for shame in this? This is a dramatic representation. So it is not proper to go away causing a break in the interest when there is no occasion for it. Vᴀ'sᴀᴠᴀ.—(Walks away). IɴᴅÍᴠᴀʀɪᴋᴀ'—(Looking on) Your Highness, Vasantaka, is lying in deep sleep at the door of the Picture-gallery. Vᴀ'sᴀᴠᴀ—(Observing carefully) This is Vasantaka, indeed. (Reflecting.) The King also must be here. So having roused him I will just ask him. (Wakes him up.) VɪᴅÛ.—(Rising dull with sleep and looking up suddenly) Manoramā, has my dear friend come back after having played his part; or is he acting still? Vᴀ'sᴀᴠᴀ.—(With dejection) What! My husband is acting? Where is Manorámá now? VɪᴅÛ.—Here, waiting in the Picture-hall. Mᴀɴᴏʀᴀᴍᴀ'—(With alarm, to herself) How was it that the Queen asked him taking quite a different view of the matter; and this foolish fellow too understanding her in quite a different way spoiled the whole matter? Vᴀ'sᴀᴠᴀ.—(Laughing angrily) Bravo! Manoramá, bravo! nicely have you acted! Mᴀɴᴏʀᴀᴍᴀ'—(Falling at her feet, trembling with fear.) Your Highness! It is not, indeed, my fault in this case. By this rascally fellow standing at the door I was detained here, after taking the decorations from me. And again, my voice, as I cried, was not heard by anyone, as it was drowned in the sound of the tabor. Vᴀ'sᴠᴀ.—Get up, girl, I know it all. Vasantaka is the chief manager in the play—The story of ^ --

Act III. ] 30 pp 42-43 VIDÛ —Just think yourself—where is Âranyikâ and where Vasantaka ! VÂSAVA —Manoramâ, having well-secured him just come after me The acting he has arranged I will see now. MANÔRAMA—( To herself) Now life is put in me (Binds Vidu by the hand and then aloud) Miscreant, now reap the fruit of your evil policy VÂSAVA —(Approaching in a hurry) My lord, may this evil be averted ! (Removing with these words the garland of blue lotuses from his feet, ironically—) My Lord should forgive me that I, thinking that it was Manoramâ, caused you to be bound with a garland of blue lotuses (ARANYIKA stands, having moved away in fear) KING —(Rising suddenly and seeing MANORAMA , and VIDUSHAKA, to himself) How am I discovered by the Queen ? ( Acts being abashed) SÂMKRITYÂYANI—(Seeing all, with a smile) How has the representation turned out to be quite a different thing ? This is not the proper place for persons of my sort (Exit) KING—( To himself) Unusual is this way of showing anger I see that reconciliation is difficult to be brought about in this case (Musing) I will do this (Aloud) My Queen, let anger be set aside. VÂSAVADATTA —Husband, who is angry here ? KING—How, are you not angry ? Although your glance is affectionate, still the lustre of your eyes is red, this your choked voice, though there is sweetness in it, falters at every word, your hard breathings, though suppressed, are well observed from the heaving of your full bosom so this your anger, though restrained with evident effort, is clearly seen. (13) (Falling at her feet) Be pleased, my dear, be pleased.

pp. 43-44. 31 [ Act III. VA'SAVA.—A'raṇyikā, thinking that you are angry, my husband is saying to you—" Be pleased, my dear, be pleased. " So approach him. ( With these words she pulls her ). A'RAṆYIKĀ'—(In fright) Your Highness, I know nothing of this. VA'SAVA.—A'raṇyikā, how don't you know anything? Here I will teach you. Indīvarikā, seize her. VIDŪ.—Madam! To-day it being the Kaumudī festival, my friend performed the acting to divert your heart. VA'SAVA—When I see this misbehaviour of your both, I am moved to laughter. KING—My Queen, away with misconception. See— Why for nothing is this spot produced on the moon of your forehead by the knittings of the eyebrows? Why is this throbbing lip made to resemble the bandhujīva flower shaken by the breeze? And again this your waist is oppressed by the weight of your breasts throbbing all the more : give up your anger towards me : for the amusement of your mind alone this acting was performed by me. ( 14 ). Queen, be pleased, be pleased. (He falls at her feet.) VA'SAVA —Girl, the playing is over. Come then ; let us enter the inner apartment. (Exit). End of the mimic Play. KING—( Looking ) How is it that the Queen has gone without showing favour ? When I look at the face of the Queen and also at that of my beloved here pictured before me: the one streaked with the particles of perspiration and with eye-brows very fiercely contracted through anger, and the other with its lotus-like eyes greatly agitated through fear like those of a gazelle bounding with great speed, I, alarmed and yet having my mind full of longing, am thrown into a great difficulty. (15).