रत्नावली नाटिका (सम्राट हर्षवर्धन - शास्त्रीय नाटिका रत्न सम्पूर्ण ४ अङ्क सान्वय सटीक)

218 रत्नावली developed stage of the main plot called प्रयत्न । The प्रतिमुखसन्धि is defined as :— “फलप्रधानोपायस्य मुखसन्धिनिवेशिनः । लक्ष्यालक्ष्य इवोद्भेदो यत्र प्रतिमुखं च तत्” ॥ ( साः दः ६।७७-७८ ) The love for the King which germinated in Ságariká's heart in Act I, was so long not known to anybody. But after- wards the painting drawn by the heroine for her own diver- sion made the matter known to Susangatá, and Vidushaka and the King, and was at last inferred by Vásavadattá who then flew into a rage. Vásavadattá's apprehension that Sígariká may someday come within the view of the King ( cf : 'यस्स ज्जेव्व दंसण- पधादो पअत्तेण रक्खीअदि, तस्स ज्जेव्व दिट्ठिगोअरं पडिदा भवे—p. 47.) has at last come to be true. In an artistic manner she has been introduced to the King. Susangatá had correctly apprehended that the starling might be the cause of disclosing the secret to others ; for the bird actually shows her wonderful intelligence at a proper time and proper place by reproducing the private conversation of the heroine and her confidante within the hearing of the hero. So this bird plays a significant part so far as the develop- ment of the plot is concerned. The episode of the monkey is also inseparably connected with the main plot ; the Sáriká ( which serves as the main cause of attracting the King into the plantain-bower ) would not have been freed, had not the cage been left alone by Susangatá and Ságariká, being frightened at the approach of the monkey that subsequently breaks open the cage. The King, cherishing his wholehearted love for Vásava-