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

प्रथमोऽङ्कः 69 different seasons (i. e., times). ऋतौ यजन्ति ये ते इति ऋतु-यज् + क्विप् । The definition of ऋत्विक् as given in Manu is “अग्न्याधेयं पाकयज्ञानग्निष्टोमादिकान् मखान् । यः करोति हतो यस्य स तस्यर्त्विगिहोच्यते ॥” “ऋत्विजी याजकाश्च ते”—इत्यमरः । चपलगणहृत etc.—Adj to ऋत्विजः, with their cloths for turban being snatched away by the Ganas (the formidable attendants). चपलाः गणाः ( कर्मधा० ) तैः हृतानि ( श्यातान् ) तादृशानि उष्णीषपट्टानि येषां ते । उष्णीषार्थं पट्टानि ( शाकपार्थिवादित्वात् समासः ) । उष्णीष means turban. “उष्णीषः शिरोवेष्टः”—इत्यमरः । अधः पतन्ति—fall down below ( i. e., from the elevated sacri- ficial altars ). They were dragged down from the elevated place. देवैः विद्रुतम्—The gods ran away ( through fear of life ). वि - द्रु + क्त भावे । विद्रुत means ‘escape’, ‘run away’. मखमथनविधौ—In the matter of the destruction of the sacrifice. मखस्य मथनं ( षष्ठीतत् ) तस्य विधिः ( षष्ठीतत् ) तस्मिन् । आत्तहासः—Beginning to laugh. आत्तः हासः येन ( बहु ) सः । In the reading of चण्डहास it means ‘boisterous’ laughter laughed by Śiva at the time of destruction. दैत्यै—क्रियायोगे ४र्थी । क्रिया is शंसन् । शंसन्—while relating. This śloka refers to the destructive and horror-striking laugh of Śiva for destroying the sacrifice of Daksha in order to avenge the death of Sati ( see allusion ). The sentiment is here रौद्र with क्रोध as the स्थायी भाव and

? Look at the shape: it has two vertical-ish sides, a top bar, repha, ai-matra: Wait, let's compare with 'मम्र्' or 'मभ्रै': Notice the word: म भ्रै (or र्भै) र्या (or र्यौ) णां (or नां) Wait, look at 'यौ' vs 'र्या': Look at 'र्या' in 'स्रग्धरा कीर्तितेयम्': 'कीर्ति' has a repha on 'ति'. In 'र्या', the repha is on top of 'या'. Look at line 4: There is: म म्र्भै ? Or र्भै ? Wait, could it be: "मभ्रैर्याणां" ? Wait, look at the fourth character: it is णां (with dot). Look at the third character: it is र्या (repha on ya, with aa matra). Wait, look at the second character: It has: a loop like bh (भ) or n (न)? Wait! Could it be: "म्रो भ्नैर्याणां"? Look at: म with o-matra: म्रो ! Wait, does it have o-matra? Look at 'म': there is an o-matra? No, the o-matra stroke is between म and the next letter? Wait, what if the

प्रथमोऽङ्कः 71 तदयुक्तं—It implies a negative way of speaking as न युक्तम् । बहुमार्गगां—Refers to (1) the Ganges (that flows in various ways) and (2) Sarasvati (who is explicable in various ways) or Kubjá (by whom Krishna was befriended at Mathurá) who adopts various way for satisfying her passion. ताम्—गङ्गाम् or सरस्वतीम् । स्वभावकुटिलाम्—(1) Crooked (in course) by nature, (2) guile- ful by disposition (refers to Sarasvati). कृष्णकण्ठग्रहं मुञ्च—This impression can be constructed (1) in the case of Krishna and (2) in the case of S'iva in the following manner:— (1) हे कृष्ण ! कण्ठग्रहं मुञ्च (Oh Krishna, give up embracing my neck). (2) हे कृष्णकण्ठ ! ग्रहं मुञ्च (Oh blue-necked S'iva, give up catching hold of me). अनुनय—Implore. अद्रितनया—अद्रेः तनया (६ष्ठीतत्) । पायात्—पा + यात् आशिषि । पा धातु here means 'to protect'. The figure of speech is here श्लेष । By the श्लिष्ट words such as मकर- ध्वजेन etc., शिव and कृष्ण are simultaneously referred to. So the two meanings referring to the two deities stand out prominent like two fruits in one branch (एकवृन्तगतफलद्वयन्यायेन), one without undermining the other. The metre is here शार्दूलविक्रीड़ित । Ch. of voice.......मथनेन.. सम्भ्रान्तेन (अभूयत) । तदयुक्तं न... (भूयते) सा... स्वभावकुटिला... अनुनीयताम् ग्रहः मुच्यताम् ।...यः ऊचे अद्रितनयया लक्ष्म्या च... तेन यूयम् पायेध्वम् ।

72 रत्नावली P. 9. S'loka 4. उडुपतिना—The lord of stars i. e., the moon. उडु means stars. “तारकाप्युडु वा स्त्रियाम्” इत्यमरः । उडुपतिना जितम्—Let the lord of stars be attended with victory. The moon is the lord of the herbs. By his victory, the prosperous condition of herbs of the world is meant and thereby the general pros- perity of the people of the country is indicated. जि + क्त भावे । द्विजवृषभाः—द्विजाः वृषभाः इव ( उपमितकर्मधा ) ; here the word वृषभ meaning 'bull' is used in the sense of the best by the dictum “स्यादुत्तरपदे व्याघ्रपुङ्गवर्षभकुञ्जराः । सिंहशार्दूलनागाद्याः पुंसि श्रेष्ठार्थगोचराः” इत्यमरः । निरुपद्रवाः—Free from troubles ; नास्ति उपद्रवः येषाम् ( बहु ) ते । उपद्रव means troubles, calamities, diseases etc. समृद्धशस्या—Prosperous with harvests ; समृद्धं शस्यं यस्याः ( बहु ) सा । सम् – ऋध् + क्त = समृद्ध । प्रतपतु—Let shine or let assert. चन्द्रवपुः—'Possessing a body like the moon'. चन्द्र इव वपुः यस्य ( बहु ) सः । नरेन्द्रचन्द्रः—नरेन्द्रः चन्द्रः इव 'उपमितं व्याघ्रादिभिः' इति समासः । Here an indirect reference is made regarding the king Shri Harsha and his prosperous reign. Here the metre is पुष्पिताग्रा “अयुजि नयुगरेफतो यकारो युजि च नजौ जरगाश्च पुष्पिताग्रा” । In this metre the 1st and the 3rd lines of the s'loka contain 12 syllables ( अक्षरs) and the 2nd and the 4th contain 13 syllables. The scansion is as follows न न र य ︷ ︷ ︷ ︷ ͝ ͝ ͝ ͝ ͝ ͝ – ͝ – ͝ – – 1st line : —जि त मु डु प ति ना न मः सु रै भ्यः

'! So the first letter is क्रो! On the second letter: there is a vertical on the right and one stroke on top -> 'धो' or 'धी'? Wait, 'धी' has a curve that goes from the right bar over to the left! Wait, look at 'धी' in 'पृथिव्या' (line 8): 'थि' has the loop to the left. Look at 'धी' in 'क्रोधी': if the curve goes left from the top of the right bar, that is an 'ई' (ii-matra)! Wait, look at 'ई' in 'गौरी' (line 22): the 'री' has the vertical bar, and the curve goes to the left over the letter! Yes! In 'गौरी', 'री' has the curve going to the left! And in 'क्रोधी...', the second letter has EXACTLY the same curve going to the left as 'री' in 'गौरी'! So it is indeed ध + ई = धी! Wait, what about the first letter? The first letter also has a curve going to the left from a vertical bar? Wait! Look at the first letter: it has a vertical bar on the right, and a curve going to the left! Wait, does it have an o-matra or an ii-matra? Wait, if it's an ii-matra, why is there a vertical bar on the right of क? क doesn't have a vertical bar on the right naturally,

74 रत्नावली anger of S'iva creating havoc in the sacrifice of Daksha the anger of Vāsavadattá at her husband's insincerity is covertly suggested. The portion करुणं बिलपति is also applicable to the case of Ságariká ( cf. सागरिका हा तात हा मात: एवेदानीमहम् अनाथाशरणा etc. ). In the fourth s'loka जितम् etc., by the general prosperity, the prosperity of the king Udayana by the marriage with Ságariká is meant. Thus the fourth s'loka suggests the plot as devoloped in the fourth Act. Here षोडशपदा नान्दी, the definition of पद being— “श्लोकपाद' ‘पद’ केचित् सुप्तिङन्तमथापरे । परेऽवान्तरवाक्यैकस्वरूपं पदमूचिरे ॥” नाट्यप्रदीपः Here the श्लोकपाद is technically regarded as a पद ! But the provision of षोडशपदा नान्दी is not generally found. The general provision regulating the number of पदs is “नान्दी पदैर्द्वादश- भिरष्टाभिर्वा पद

प्रथमोऽङ्कः 75 In मन्दारमरन्द the regulation of the पदs in नान्दी is found as : “अष्टाभिर्दशभिः श्रेष्ठा तथा द्वादशभिः पदैः । अष्टादशपदैर्वापि द्वाविंशत्या पदैर्युता ॥”— The rhetorician विद्यानाथ is of opinion that the limitation of the number of the पदs in a नान्दी is not strictly observed— cf : ‘कैश्चिन्नान्द्यां पदनियमो नाभ्युपगतः’। In any case the नान्दी of रत्नावली is comparatively of abnormal length. नान्द्यन्ते—After the Nándi. This expression just after the four fore-going s'lokas indicates that those s'lokas constitute the नान्दी । If this expression had come just before the fore-going s'lokas as is the case with some old Mss. of विक्रमोर्व्वशी of Kálidása then these s'lokas would have been included within the drama proper, and then the question of the पदs would not have arisen. The definition of नान्दी is— “नन्दन्ति काव्यानि कवीन्द्रवर्गाः कुशीलवाः पारिषदाश्च सन्तः । यन्नादल'सञ्चनसिन्धुहंसौ तस्मादियं सा कथिताह नान्दी” ॥—नाट्यप्रदीपः । “आशीर्व्वचनसंयुक्ता स्तुतिर्य्यस्मात् प्रयुज्यते । देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता ॥” The नान्दी is here a part of पूर््व्वरङ्ग which acc. to Bharata consists of twenty-two parts with प्रत्याहार and others. But all other parts of पूर््व्वरङ्ग being left out in later times, नान्दी as essential for averting evils attending the performance of the drama, is retained as indispensable ; cf :— “यन्नाट्यवस्तुनः पूर्व्वं रङ्गविघ्नोपशान्तये । कुशीलवाः प्रकुर्व्वन्ति पूर््व्वरङ्गः स उच्यते ॥ प्रत्याहारादिकाङ्गान्यस्य भूयांसि यद्यपि । तथाप्यवश्यं कर्त्तव्या नान्दी विघ्नोपशान्तये ॥” साः दः ।

76 रत्नावलो P. 10. सूत्रधार:—The stage-manager. सूत्रं धारयतीति सूत्र + धृ + णिच् (स्वार्थे) + अण् by the rule “कर्म्मण्यण्। सूत्र means व्यवस्था (arrange- ment). ‘सूत्रं तन्तुव्यवस्थायाः’ इति मेदिनी। He who makes preliminary arrangement for introducing the drama is called सूत्रधार who is defined as— “नाट्योपकरणादीनि सूत्रमित्यभिधीयते। सूत्रं धारयतीत्यर्थे सूत्रधारी निगद्यते॥” The characteristics of सूत्रधार as enumerated by मातृगुप्ताचार्य्य are :— “चतुरातोद्यनिष्णातोऽनेकभूषासमावृतः। नानाभाषणतत्त्वज्ञो नीतिशास्त्रार्थ तत्त्ववित्॥ नानागतिप्रचारज्ञो रसभावविशारदः। नाट्यप्रयोगनिपुणो नानाशिल्पकथान्वितः॥ छन्दोविधानतत्त्वज्ञः सर्व्वशास्त्रविचक्षणः। तत्तद्गीतानुगलय-कलातालावधारणः॥ अवधाय प्रयोक्ता च योक्तॄणामुपदेशकः। एवं गुणगणोपेतः सूत्रधारोऽभिधीयते॥” His main function lies in the introduction of the drama proper after which he retires. Sutradhára is also identified with स्थापक whose presence is also found in some dramas. अलमति etc.—This expression implies the uselessness of नान्दी being extended too far. वसन्तोत्सवे—In the Spring-festival. वसन्तस्य उत्सवः (६ष्ठीतत्) तस्मिन्। This festival is celebrated in honour of Cupid on the 13th and 14th days in the bright half of the month of Chaitra. cf.

'मधुमासि तु सम्प्राप्ते शुक्लपक्षे चतुर्दशी । प्रोक्ता मदनभञ्जीति सिद्धिदा तु महोत्सवे ॥ पूजयिष्यन्ति ये मर्त्यास्तदङ्गभवपल्लवैः । ते यान्ति परमं स्थानं मदनस्य प्रभावतः ॥ चैत्रे मासि चतुर्दश्यां मदनस्य महोत्सबः । जुगुप्सितोक्तिभिश्चात्र गीतवाद्यादिभिर्भृशम् । भगवांस्तुष्यते कामः पुत्रपौत्रसमृद्धिदः ॥ ( तिथितत्त्वम् ) सबहुमानम्—with proper respect. बहुः मानः (कर्मधा ) तेन सह विद्यमानं यथा स्यात् ( बहु ) तथा ; आह्वय-क्रियायाः विशेषणम् । नानादिग्देशागतेन—coming from various quarters and countries. Adj. to राजसमूहेन । पादपद्मोपजीविना—subsisting on the lotus-like feet. पादौ पद्मे इव ( उपमितकर्मधा ) तयोः उपजीवी ( ६ष्ठीतत् ) or पादपद्मे उपजीवितुं शीलं यस्य उपपदतत्—पादपद्मोप — जीव् + णिनिः । तेन । This shows that Shri Harsha was the paramount monarch commanding suzerainty over all other princes. अपूर्व्ववस्तु etc.—Beautified by the construction of an attractive plot.' नास्ति पूर्व्वं यस्मात् तत् ( बहु ) ; अपूर्व्वं वस्तु ( plot ) ( कर्मधा ) तेन अलङ्कृता ( ३यातत् ) । Here the poet tacitly gives a hint of the innovations that he has made on the original plot of the वत्सराजचरितम् । रत्नावली—The name of the नाटिका after the heroine रत्नावली the daughter of the king Simhala. नाटिका, सट्टक other small dramas are named after the names of their heroines. cf. . 'नाटिका- सट्टकादीनां नायिकाभिर्विशेषणम् ।' श्रोत्रपरम्परया—श्रोत्राणां परम्परा ( ६ष्ठीतत् ) ; by hearsay.

78 रत्नावली प्रयोगतः—By way of representation. प्र - युज् + घञ् = प्रयोगः । प्रयोग + तसिल् (in ३या) = प्रयोगतः i.e., प्रयोगेण । सकलजन etc.—Adj. to राज्ञः । “Delighting the hearts of all people.” सकलाः जनाः (कर्मधा) तेषां हृदयानि (६ष्ठीतत्) तेषां आह्लादीनि (६ष्ठीतत्) तस्य । The epithet indicates the popularity attained by the King Shri Harsha. अनुग्रहबुद्ध्या—अनुग्रहस्य बुद्धिः (६ष्ठीतत्) ३या । यथावत्—In proper manner. नाटयितव्या—should be represented. नट् + णिच् + तव्य + टाप् = कर्मणि । नेपथ्यरचनाम्—नेपथ्यस्य रचना (६ष्ठीतत्) ताम् । नेपथ्य means ‘dress’ ‘आकल्पवेषौ नेपथ्यम्’ इत्यमरः । “रामादिव्यञ्जको वेषो नटे नेपथ्यमिष्यते”—भरतः । यथाभिलषितम्—As desired. अभिलषितमनतिक्रम्य (अव्ययीभावः) । आवर्जितानि—“Inclined” hence ‘attracted.’ आ - वृज् + णिच् + क्त कर्मणि । Comp.—“आवर्जिता किञ्चिदिव स्तनाभ्याम्” etc.—Kumara. III. सकलसामाजिकानाम्—of all audience. समाज + ठञ् (इक) = सामाजिकः who appreciates poetry ; सामाजिक is otherwise called सहृदय । Definition of सहृदय as given by अभिनवगुप्त is:— ‘येषां काव्यानुशीलनाभ्यासवशाद् विशदीभूते मनोमुकुरे । वर्णनीयतन्मयीभवनयोग्यता ते हृदयसंवादभाजः सहृदयाः ॥” —ध्वन्यालोकलोचनम् । निश्चयः—conviction. निः - चि + अप् । P. 12. परिषद्—Assembly (here audience by लक्षणा). परि - सद् + क्विप् । गुणग्राहिणी—Adj. to परिषद् । The audience should always be in the disposition of appreciating the merits of the poetry or drama. हारि—Attractive. Adj. to वत्सराजचरितम् । The story of the

प्रथमोऽङ्कः 79 king Udayana was very popular at that time (See Intro). The story of वत्सराज is described as an ancient legend in the Buddhist Sanskrit work दिव्यावदान etc. (See Intro). वत्सराजचरितम्—वत्सानां राजा ( ६ष्ठीतत् ) तस्य चरितम् । वत्सराज is उदयन । The position of वत्स country will be clear from the notes on कौशाम्बी, the capital of वत्स (See ante). एकैकम्—Each ; एकम् एकम् ( बहु ) by the rule “एकं बहुव्रीहिवत्” ‘द्विरुक्त एकशब्दो बहुव्रीहिवत् स्यात्—भट्टोजिदीक्षितः । वाञ्छितफलप्राप्तेः—वाञ्छितं कर्म्म (कर्म्मधा ) तस्य प्राप्तिः ( षष्ठीतत् ) तस्याः । The वाञ्छितफल is here the successful representation of the drama. मद्भाग्योपचयात्—Due to excessive good fortune of mine. मम भाग्यम् ( ६ष्ठीतत् ) तस्य उपचयः ( ६ष्ठीतत् ) तस्मात् । समुदितः—Assembled. सम्-उत्-इ+क्त कर्त्तरि । This s'loka is an example of प्ररोचना of भारती वृत्ति as it attracts the mind of the audience by means of speaking highly of circumstances ; cf. “उन्मुखीकरणं तत्र प्रशंसातः प्ररोचना”—दशरूपक । सङ्गीतकम्—सङ्गीतम् एव इति सङ्गीत + स्वार्थे क । सङ्गीतकम् here means music in general ; cf. “नृत्तं गीतं तथा वाद्यं त्रयं सङ्गीतमुच्यते” सङ्गीत- रत्नाकर । Change of voice :—श्रीहर्षेण निपुणेन कविना ( भूयते ), एतया परिषदा गुणग्राहिण्या ( भूयते )....वत्सराजचरितेन हारिणा (भूयते)...अस्माभिः दक्षैः ( भूयते ) । एकैकेन वस्तुना...पदेन ( भूयते ) । अनेन...सर्व्वेण...गणेन समुदितेन ( भूयते ) । P. 13. नेपथ्याभिमुखम्—Towards the green-room. नेपथ्यस्य अभि- मुखम् ( ६ष्ठीतत् ) ; मुखमभि ( अव्ययीभावः ) । Here नेपथ्य means जवनिका or screen— “नेपथ्यं स्याज्जवनिका रङ्गभूमिः प्रसाधनम्” इत्यमरः ।

80 रत्नावली अस्मदीयम्—ours ; अस्माकम् इदम् इति अस्मद् + छ ( ईय ) । P. 15. S'loka 6. द्वीपात्—Here refers to सिंहलद्वीपे whence the heroine was brought. घटयति—Brings about the union. अभिमुखीभूतः—turned towards one's face i.e., favourable. अभिमतम्—A desired person. अभि - मन् + क्त । This verse is the बीज or the germ of the play which tacitly refers to what will take place throughout the drama— cf. "अल्पमात्रं समुद्दिष्टं बहुधा यद् विसर्पति । फलस्य प्रथमो हेतुर्बीजं तदभिधीयते ॥" साः दः The metre is here आर्या ; definition given in Sans. Tika. भरतपुत्र—Actor. "भरता इत्यपि नटाः" इत्यमरः । Bharata Muni is the author of the नाट्यशास्त्र ; the first batch of actors were his hundred sons. So subsequent actors are also called his sons. P. 16. गृहीतयौगन्धरायण etc.—Taking the role of Yaugan- dharáyana. यौगन्धरायणस्य भूमिका ( ६ठीतत् ) गृहीता यौगन्धरायणभूमिका येन ( बहु ) सः । भूमिका means 'role' 'part'—'भूमिका रचनायां स्याद् वेषान्तर- परिग्रहे'—मेदिनी । प्रस्तावना—प्रस्तूयते अनया इति प्र—स्तु + ल्युट् ( अन ) करणवाच्य + टाप् । The prologue by which the subject-matter is introduced. Definition :— "नटी विदूषको वापि पारिपार्श्वि क एव वा । सूत्रधारेण सहिताः संलापं यत्र कुर्व्वते ॥ चित्रैर्वाक्यैः स्वकार्योत्थैः प्रस्तुताक्षेपिभिः मिथः । आमुखं तत्तु विज्ञेयं नाम्ना प्रस्तावनापि सा ॥" साः दः प्रस्तावना is divided under five heads such as :—उद्घात्यकः कथोद्घातः, प्रयोगातिशयः, प्रवर्त्तकम्, and अवलगितम् । Here in this play, the

प्रथमोऽङ्कः 81 कथोद्धात प्रस्तावना is applicable, as the dramatic subject-matter is introduced with the speech of the सूत्रधारः viz., द्वीपात् etc. The definition of कथोद्धातः as given in Darpana is :- “सूत्रधारस्य वाक्यं वा समादायार्थमस्य वा । भवेत् पात्रप्रवेशश्चे त् कथोद्धातः स उच्यते” ॥ P. 18. सिद्धादिष्ट etc.—Siddhas are those who have attained superhuman powers ( अष्टसिद्धि etc., ) such as foretelling what can- not be known otherwise. This expression alludes to the fact that रत्नावली, the daughter of the king of Simhala, was predicted by a foreteller that he who would marry the princess would be a paramount monarch. (See Intro). सिंहलेश्वरदुहितुः—refers to रत्नावली । The name Simhala is derived after the name of a king Simhabáhu otherwise named Simhala who was born of a lion that was subsequently killed by him. The king Simhabáhu and his descendants since then were called Simhalas after whom the land was named Simhala-pura. The legend is found in Páli Mahávamsa. प्रवहणभङ्गनिमग्नायाः—प्रवहण means ‘ship.’ प्रवहणस्य भङ्गः ( ६ष्ठीतत् ) तेन निमग्ना (drowned) (३यातत्) तस्याः । नि – मस्ज् + क्त + टाप् स्त्रियाम् । फलकासादनम्—Attainment of a plank (फलक)। फलकस्य आसादनम् (६ष्ठीतत्) आ – सद् + णिच् + ल्युट् । कौशाम्बीयेन—Belonging to Kaushámbi. कुशाम्बे न निर्वृत्ता इति कुशाम्ब + अण् by the rule ‘तेन निर्वृत्तम्’ इति अण्, स्त्रियां ङीप् = कौशाम्बी । कौशाम्ब्यां भवः इति कौशाम्बी + छ (ईय) by the rule “वृद्धाच्छः” = कौशाम्बीय । कौशाम्बी the capital of the वत्स kingdom, is named after its 6

82 रत्नावली founder कुशाम्ब the son of कुश, the tenth in descent from पुरूरवस् । cf. ब्रह्मयोनिर्महानासीत् कुशो नाम महातपाः । अक्लिष्ट-व्रतधर्मज्ञः सज्जनप्रतिपूजकः ॥ १ स महात्मा कुशीनायां युक्तायां सुमहाबलान् । वैदर्भ्यां जनयामास चतुरः सदृशान् सुतान् ॥ २ कुशाम्बं कुशनाभञ्च अमूर्त्तरजसं वसुम् । ... ... ... कुशाम्बस्तु महातेजाः कौशाम्बीमकरोत् पुरीम् ॥” ६ रामायण—आदि—३२ अः । कौशाम्बी is identified by Cunningham with the Kosam village on the Jumna about 30 miles above Allahabad. Hence an idea of the Vatsa kingdom extending from the border of the Punjab to the border of Magadha (from west to east) and from the Himalayas to the border of the Avanti kingdom can be comprehended. In order to strengthen the basis of the kingdom Yaugandharáyana wanted to bring about an alliance among Vatsa, Magadha and Avanti kings by matrimonial connections as given in स्वप्नवासवदत्त and कथासरित्सागर । तदवस्थायाः—सा एव अवस्था यस्याः ( बहु ) तस्याः । सम्भावनम्—Paying respect to ; finding out or taking care ; सम् — भू + णिच् + ल्युट् । प्रत्यभिज्ञानात्—By way of recognition. अभिज्ञायते अनेन इति अभि — ज्ञा + ल्युट् करणे । प्रतिगतं अभिज्ञानम् ( प्रादि ) तस्मात् । Here the minister refers to the incident in which a merchant rescuing रत्नावली from the sea made her over to Yaug, who recognised her to be the princess of Simhala by her jewel-necklace.

प्रथमोऽङ्कः 83 कोशलोच्छित्तये—कोशलस्य उच्छित्तिः ( ६हीतत् ) तस्यै ; उत्-छिद् + क्तिन् = उच्छित्ति ( extirpation). The king of Kosala was Udayana's rival. After he was extirpated, the next political move of उदयन was to make an alliance with the powerful royal family of Magadha which was the next border kingdom in the east. The Kosala kingdom was bordered by the Vindhya mountains in the North. It was ruled over by Kusha one of the sons of Rama- chandra. It can be fairly identified with the modern province of Berar or Gondwana. निष्पन्नप्रायम्—Adj. to प्रभुप्रयोजनम् । निष्पन्नः (accomplished) प्रायः ( बाहुल्यं, most part) यस्य ( बहु ) तत्—'प्रायो मरणानशने मृत्यौ बाहुल्यतुल्ययोः' —मेदिनी । धृतिम्—Satisfaction. cf. “चक्षुर्बध्नाति न धृतिं तद्रूपालीकदुर्ललितम् ।”— विक्रमोर्व्व । भृत्यभावः—Servitude. भृत्यस्य भावः ( ६हीतत् ) ; cf. “सेवा लाघवकारिणी कृतधियः स्थाने श्ववृत्तिं विदुः”—मुः राः । Here prevails 'परिकर' an aspect of मुखसन्धि ; as the subject- matter that is to happen is given here in fair detail. P. 20. St. 7. दत्तहस्तावलम्बे—The helping hand of fate being held out. हस्तस्य अवलम्बः ( आश्रयः ) ( ६हीतत् ) ; दत्तः हस्तावलम्बः यस्मिन् (बहु) तस्मिन् ; Adj. to प्रारम्भे । अवलम्ब means 'support', दैवेन दत्तहस्तावलम्बे—Here the construction is justified by the dictum ‘सापेक्षत्वेऽपि गमकत्वात् समासः’ । वृद्धिकेतौ—The cause of prosperity. स्वेच्छाचारी—Acting on one's own will. स्वेच्छया चरतीति स्वेच्छा - चर् + णिनि; by the rule “सुप्याजातौ णिनिः etc.”

84 रत्नावली N. B. The minister here means to say that though he has done everything on his own responsibility without the knowledge of the King and though his missison of doing good to the King is on the verge of being fulfilled under various favourable circumstances, yet he is afraid of his master who might think otherwise. The metre in this shloka is शालिनी which is defined as “मानौ गौ चेच्छालिनी वेदलोकैः” । The scansion is— म त त ग ग ¯ ¯ ¯ ¯ ¯ ˘ ¯ ¯ ˘ ¯ ¯ प्रा र म्भो ऽस्मिन् स्वा मि नः सि द्धि हे तौ, The pauses (यति) are on the 4th and the 11th syllables. The figure of speech is उत्प्रेक्षा । Ch. of Voice...........शान्त्या......भूयते । स्वेच्छाचारिणा......भीतेन ( भूयते ) । The shloka is an example of परिभास an aspect of मुखसन्धि । P. 21. अभिहन्यमान etc.—Beaten. अभि - हन् + शानच् कर्मणि । अभि- हन्यमानः मृदुमृदङ्गः ( कर्मधा ) तेन अनुगतं ( तृयातत् ) तादृशं गीतं ( कर्मधा ) तेन मधुरः ( तृयातत् or सुप्सुपा ) । समुच्चरति—Rises ; उद् + चर् becomes आत्मनेपद when used transitively by the rule “उदश्चरः सकर्मकात् ।” Here it is intransitive. चर्चरीध्वनिः—This is a sort mixture of sound produced by the clapping of hands accompanied with song—“चर्चरी गीतभेदे स्यात् केशभित्करशब्दयोः”—रुद्रः । मदनमह etc.—Adj. to पुरजनप्रमोदम् । ‘What is enhanced by Cupid-festival.’ मदनस्य महः ( ६ठीतत् ) तेन महीयान् ( तृयातत् ) तम् ।

प्रथमोऽङ्कः 85 मह meant उत्सव । "महस्तूत्सवतेजसोः" । महत् + ईयसुन् द्वितीयाकवचनम् = महीयांसम् । पुरजन-प्रमोदम्—The rejoicing of the citizens. पुरस्य जनाः ( ६ठीतत् ) तेषां प्रमोदः ( ६ठीतत् ) तम् । Shloka 8. This shloka admits of double meaning. The king उदयन is compared with कुसुमचाप । विश्रान्त etc.—(1) Whose talk about the war has ceased (King) (2) whose talk about the body has ceased ( Cupid ). विश्रान्ता विग्रहस्य कथा यस्य ( बहु ) सः । विग्रह means 'body', 'war'— “गात्रं वपुः संहननं शरीरं वर्ष्म विग्रहः”—अमरः । “विग्रहः कायविस्तारविभागे ना रणऽस्त्रियाम्”—मेदिनी । The king उदयन has been relieved of all troubles of war owing to the adversaries being totally vanquished. The god of love also being reduced to ashes by Shiva, no talk about his having a body ( विग्रह ) arises. रतिमान्—(1) causing delight ( रति ) to the people ( King ), (2) with Rati as his wife ( Cupid ). जनस्य चित्ते वसन्—(1) The popular king wins the heart of people ; (2) The god of love dwells in the mind as he is called मनसिज । प्रियवसन्तकः—(1) with Vasantaka ( the name of the विदूषक ) as his favourite ( King ) ; (2) with spring season ( वसन्त ) as his companion ( Cupid ). प्रियः वसन्तकः यस्य सः ( बहु ) or प्रियः वसन्तः यस्य सः ( बहु ), समासान्त-कप्प्रत्ययः । निजमहोत्सव etc.—निजः महोत्त्सवः ( कर्मधा ) तस्य दर्शनम् तस्मै । निज means 'own'. 'स्वके नित्ये निजं विदुः' । In the case of the King

"धी र ति मा ज न स्य" be an example? Wait! Look at: "धी" "र" "ता" "भा" "ज" "न" "स्य"?? Dhīratābhājanasya! (धी र ता भा ज न स्य) LOOK AT THAT! धी (dhī) र (ra) ता (tā) - wait, is letter 12 ता? No, it has an i-matra? Or is it ति? "धी र ति"? Wait, what if it's: "धी र ति भा ज न स्य"? Wait, "धी र" ... wait, look at the meter: Wait! If it is "धी र..." How many syllables are in: वि श्रान्त विग्रहकथेन (9 syllables) If you add 5 syllables, that's 14! Wait, count: वि (1) श्रा (2) न्त (3) वि (4) ग्र (5) ह (6) क (7) थे (8) न (9) Then: धी (10) र (11) ति (12) भा (13) ज (14)? Then what about न स्य? That would be 16! Wait, WHY would a Vasantatilaka line have 16 syllables? IT CANNOT! A Vasantatilaka line MUST have 14 syllables! Let's

प्रथमोऽङ्कः 87 prophecy of the सिद्ध, the shipwreck of रत्नावली etc., which are not to be represented in the drama proper. विदूषकः—He is the court-wit, a constant companion of the king in the harem affairs. His characteristics are enumerated as :— “नर्मभेदप्रयोगज्ञो हास्य-कृन्नायकस्य च । नर्मवादी स वै नर्मसचिवश्च विदूषकः ॥” “कुसुमवसन्ताद्यभिधः कर्मवपुर्वेशभाषाद्यैः । हास्यकरः कलहरतिर्विदूषकः स्यात् स्वकर्मज्ञः ” ॥ सा. दः M. Willams says, “His attempts at wit are never very successful and his allusions to the pleasures of the table of which he is a confessed votary, are absurd contrasted with the senten- tious solemnity of the despairing hero, crossed in the prosecu- tion of his love-suit” etc. P. 24. Shloka. 9. निर्जितशत्रु—Adj. to राज्यम् ; निर्जिताः शत्रवो यस्य (बहु) तत् । This indicates the King to be free from all outward troubles. योग्यसचिवे—Refers to यौगन्धरायण । युज् + ण्यत् or योग + यत् = योग्यः ; योग्यः सचिवः ( कर्मधा ) तस्मिन् । भरः न्यस्तः—charge given ; नि – अस् + क्त कर्मणि । भृ + अप् = भरः । सम्यक्-पालन etc.—Adj. to प्रजाः । पालन is protection and लालन is ‘caressing’, ‘fondling, ‘bringing up’. लल् धातु + णिच् + क्त कर्मणि —लालित । प्रशमिताशेष etc.—Adj. to प्रजाः ; प्र – शम् + णिच् + क्त = प्रशमित । उपसर्ग means—calamity, ‘उपसर्गः पुमान् रोगभेदोपप्लवयोरपि’ इति मेदिनी । नास्ति शेषः येषां ( बहु ) ते अशेषाः । तादृशाः उपसर्गाः ( कर्मधा ), प्रशमिताः अशेषापसर्गाः यासां ( बहु ) ताः । This indicates how उदयन was dutiful as a king.

88 रत्नावली प्रद्योतस्य सुता—Refers to वासवदत्ता। But in the कथासरित्सागर वासवदत्ता has been called the daughter of चण्डमहासेन of Avanti. प्रद्योत was the king of Magadha who was his adversary and at last with a view to forming an alliance with Magadha, यौगन्धरायण got पद्मावती the daughter of प्रद्योत married with उदयन by tricks. From the account of the कथासरित्सागर वासवदत्ता cannot be the daughter of प्रद्योत। In the Meghaduta वासवदत्ता has been described as the daughter of प्रद्योत and there the commentator attributes प्रद्योत to be another name of चण्डमहासेन। From an account of Pradotanna family given in the ललितविस्तर it can be fairly gathered that the प्रद्योत family reigned independently of Magadha. Now it can be concluded that Shri Harsha did not mean to refer to a particular person प्रद्योत by name but meant to refer to the प्रद्योत family from which चण्डमहासेन might have des- cended. वसन्त-समयः—spring-time. N. B. The King here means to say that he is feeling pleasure not only for the spring festival that is in course ; but or all other favourable circumstances which he as a king should not overlook. The god of love may rejoice at the festival being celebrated in his name, but as regards his own case he derives pleasure due to the collocation of propitious circum- stances in which he has the good of fortune of being put. The metre is here शार्दूल-विक्रीड़ितम्। As the King means to put his own case as superior to that of the god of love, so it is an example of व्यतिरेकालङ्कारध्वनिः। The figure of speech व्यतिरेक is not clearly put forth. Ch. of voice. निर्ज्जितशत्रुणा राज्ये न ( भूयते )••••ममेन समसेन भरैश्च