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

102 रत्नावली कौसुम्भराग etc.—(1) With the skirt of the cloth (of Vāsavadattā) being beautifully dyed with the scarlet colour of कुसुम्भ flower, (N. B. The Queen wore a scarlet cloth to worship the deity). (2) Charming ( कान्ता ) with shining rays of the Sun and beautiful (रुचिर) on account of having the colour of a कुसुम्भ flower (i. e., at the advent of the spring the creeper assumed a garment of newly sprouted foliage reddish in colour). कौसुम्भस्य रागः ( लौहित्यं ) ( ६ष्ठीतत् ) तेन रुचिरः ( ३यातत् )...रुचिरः स्फुरन् च ( कर्मधा ) तादृशः अंशुकान्तः यस्याः ( बहु ) सा । Or कौसुम्भः रागः ( कर्मधा ) तेन रुचिरः ( ३यातत् ) । स्फुरन्तः अंशवः (कर्मधा) तैः कान्ता ( ३यातत् ) । कौसुम्भरागरुचिरा स्फुरदंशुकान्ता च (कर्मधा) । कुसुम्भ here means कुसुम्भद्रव in the case of the Queen. कुसुम्भ- विकारः इति कौसुम्भः meaning कुसुम्भ flowers. But in the case of the creeper कौसुम्भ means कुसुम्भपुष्पसम्बन्धी । In the previous case कौसुम्भ is noun meaning flower and in the latter case कौसुम्भ is adjective to राग । अंशुक means वस्त्र । बालप्रवाल etc.—Adj. to लता। बालानि प्रवालानि, यस्य ( बहु ) सः; तादृशः विटपी ( कर्मधा ) स प्रभवः ( उत्पत्तिस्थानं ) यस्याः ( बहु ) सा । प्रवाल means tender foliages. 'प्रवालोऽस्त्री किसलये वीणादण्डे च विद्रुमे'—इति मेदिनी। प्रभवति अस्मात् इति प्र-भू + अप् । = प्रभवः ( Source ). “प्रभवो जन्मकारणम्”...हैमः । विटपाः शाखाः अस्य सन्तीति विटप + अस्त्यर्थे इन् । विभ्राजसे—shine वि-भ्राज् + लट् + से । मकरकेतनम्—मकरः केतनम् ( चिह्नं ) यस्य ( बहु ) तम् । The metre is here वसन्ततिलक and the figure of speech is उपमा given rise to by श्लेष । Ch. of voice.—कान्ता...कान्तया अर्चयन्ती—अर्चयन्त्या प्रभवा—प्रभवया लतया...विभ्राज्यते । P. 54. Sloka 21. हरपूजा etc.—Engaged in worshipping हर

प्रथमोऽङ्कः 103 (god of love). The name स्मर is due to the loss of physical existence by कामदेव and to being only remembered in mind. उद्भिनापर etc.—Adj. to अशोकः। Having another tender twig sprouted up. उद्भिन्नः अपरः मृदुतरः किसलयः यस्य ( बहु ) सः। उद्—भिद् + क्त = उद्भिन्न shooting up. N. B. The Queen put her hand on the Ashoka tree and her hand being of reddish colour it seemed as if another tender twig sprouted up. The metre is आर्या and the figure of speech is उत्प्रेक्षा। Ch. of voice.—स्पृष्टं—किसलयम् अशोकं लक्षयामि ( अहम् )। Shloka 22. पाणिसम्पर्श etc. The joy of the touch of your hands. पाण्घोः स्पर्शः ( ६षीतत् ) तस्य उत्सवः ( ६षीतत् )। उत्सव means 'joy' here. अनङ्गत्वम्... The bodilessness is due to his being burnt by Shiva. The figure of speech is उत्प्रेक्षा and the metre is अनुष्टुप्। Ch. of voice.—अनङ्गेन अनेन...निन्दिष्यते।......पाणिसम्पर्शोत्सवेन... सम्भाव्येन......( भूयते )। or असौ संभाववान् पाणिसम्पर्शोत्सवं...। P. 56. कुसुमलोभ etc.—Adj. to मया। कुसुमस्य लोभः ( ६षीतत् ) तेन उत्क्षिप्तं ( ३यातत् ) तादृशं हृदयं यस्याः ( बहु ) तया। शुभदर्शनः—Of auspicious view. अमोघदर्शनः... with a view yielding success. By these two epithets Ságariká sincerely wishes her desire to be fulfilled in the form of her marriage with the King. P. 59. वैतालिकः—Bard; विविधः तालः = वितालः तेन जीवतीति विताल + ठक् = वैतालिकः who sings with different तालs।

104 रत्नावली Shloka 23. अस्तापास्त etc.—Adj. to रवौ। having all his rays cast on the Setting-mountain. अस्ते ( अस्ताचले ) अपास्ताः ( क्षिप्तात् ) तादृशाः समस्ताश्च ( कर्मधा ) तादृशः भासः यस्य ( बहु ) तस्मिन् । रवौ—भावे ७नी । सायन्तने—सायं + ट्युट् तुट्, च ( तन ) । आस्थानीम्—Assembly hall ; आतिष्ठन्ति अस्याम् इति आ - स्था + ल्युट्, by the rule 'करणाधिकरणयोश्च' स्त्रियां ङीप् । 'आस्थानी क्लीवमास्थानम्'—अमरः । सम्पतन्—Being assembled. सरोरुह etc.—Adj. to पादान् । Robbing the lotuses of their lustre. N. B. The King's feet are more beautiful than lotuses. At the rise of the moon lotuses lose their beauty. सरोरुहाणां द्युतिः ( ६तीतत् ) तान् मुष्णातीति सरोरुहद्युति-मुष् + क्विप् । Conj. मुष्णाति ( क्रयादि ) । प्रीत्युत्कर्षकन्तः—Adj. to तव and इन्दोः ; causing excessive delight. प्रीतेः उत्कर्षः (६तीतत् ) तं करोतीति प्रीत्युत्कर्ष - कृ + क्विप् । पादान्—(1) feet, (2) moon-beams. “पादा रश्म्यङ्घ्रितूर्यांशाः”—अमरः । उदयनस्य—(1) of the king उदयन, (2) rising ( moon ). उत् - दृ + ल्युट् । प्रतीक्षते—(1) waiting, (2) looking up ( in case of the moon). The metre is here शार्दूलविक्रीड़ित and the figure of speech is उपमा accentuated by श्लेष । Ch. of voice.......नृपजनेन...सम्पतता...प्रतीक्ष्यते । परप्रेष्य etc.—परस्य प्रेषणम् ( आदिेशः ) ( ६तीतत् ) तेन कर्षितम् । Troubled by carrying out the order of others (i. e., the Queen ). बहुमतम्—much valued. उत्सवपहृत etc.—Adj. to प्रजाभिः । उत्सवेन अपहृतं ( तृयातत् ) तादृशं चेतः येषां ( बहु ) तैः । Shloka 24. उदयतट etc.—Adj. to विभाभावम् । उदयस्य ( उदय-

, like ३! Yes, ३ (three)! ३यातत् = तृतीयातत्पुरुष. And ६ष्ठीतत् = षष्ठीतत्पुरुष. And what about after ।? अन्तः + धृ + क्त कर्त्तरि = Wait, let's look at the letter between + and +: Could it be हृ? No, it's: अन्तः + Wait, look at the glyph: Is it ऋ? In Bengali script, ऋ is ঋ. In Devanagari, ऋ has an upper left part, lower left part, and a vertical right line with a loop. Here, the letter is: A vertical stroke on the right, top bar. On the left, it has a shape like... wait, could it be इ? Wait! In some fonts, इ has a loop, but here it looks like: Top bar, short down stroke, then a loop to the left and back? Wait, what if it is धृ? No, why would it be धृ? Wait, what is the root of अन्तरित? अन्तर् + इ (इण्) + क्त! Wait, could it be इ? Look at इ in इति (line 13): In line 13: इति:

106 रत्नावली पङ्केन etc., the moon-like face is identified with the lotus (by त्वन्मुखपङ्कजेन ) । Here the face overshadowing the moon that is the cause of the निर्जितत्व of शङ्क, becomes lotus-like. Hence the identification of cause and effect here is giving rise to the figure of speech हेतु which is again mixed up with उत्प्रेक्षा। Again from the हेत्वलङ्कार arises the figure of speech प्रतीप which is defined as 'प्रसिद्धस्योपमानस्योपमेयत्वप्रकल्पनम्' ।—साः दः । निष्क्रान्ताः—Exeunt. At the end of an Act all the actors finish- ing the business as occuring in one day, should all go out of the stage. Cf. प्रत्यक्षनेतृचरितो बिन्दुव्याप्तिपुरस्कृतः । अङ्को नानाप्रकारार्थसंविधानरसाश्रयः ॥ “एकाहाचरितं कार्यमित्यासन्ननायकम् । पात्रै स्त्रिचतुरैरङ्कः तेषामन्तेऽस्य निर्गमः”— दशरूपक ( ३।३६-३७ ) । अङ्कः—"अङ्क इति रूढिशब्दो भावं रसैश्च रोहयत्यर्थान् । नानाविधानयुक्तो यस्मात्- त्माद भवेदङ्कः ॥"—भरत-नाट्यशास्त्रे । Also, vide verses 15-31, Ch. 20, ( Benares Ed. ). CRITICAL REMARKS Ratnávali belongs to a class of उपरूपक called नाटिका and is based pre-eminently upon the dramaturgic rules. In the first Act the action of which is centred in the royal palace of Udayana where on the occasion of the celebration of the Cupid- festival the heroine Ságariká, introduced as an attendant of Vásavadattá, catches the first sight of the hero and thus her attachment towards him begins. After the conventional Nándi songs and the introduction of the drama (Prologue) by Sutra- dhára, यौगन्धरायण by a tacit reference to a past incident gives rise to what is called बीज ( germ or seed of the plot ). This germ is

प्रथमोऽङ्कः 107 developed in course of the मुखसन्धि which with its twelve aspects उपक्षेप etc., connect the different incidents of the plot, viz., the Cupid-festival, enjoyment of the same by the King, invita- tion of the King by वासवदत्ता to मकरन्द garden to attend Cupid- worship, the accompaniment of सागरिका with वासवदत्ता there, Ságariká's first sight of the King and her excessive feeling of love towards the hero—and thus make an organic whole of the preliminary part of the plot. The मुखसन्धि works wholly throughout the 1st Act upon which the denouement of the drama in the subsequent Acts mainly depends. Throughout this Act the characters have been simply introduced with various incidents, but their individual peculiarities have not been given attention to. The heroine's falling in love with the King at the very first sight, that has been brought about by the ingenious arrangement of the incidents in the 1st Act, forms the solid foundation of the development of the main plot, viz., the marriage of उदयन and रत्नावली in the last Act. Therefore, बीज and प्रारम्भ—the two preliminary aspects of the plot together with the मुखसन्धि—form parts of what has transpired in the 1st Act.

द्वितीयोऽङ्कः

( ततः प्रविशति सारिकापञ्जरव्यग्रहस्ता^१ सुसङ्गता )

सुसङ्गता । हद्धी हद्धी ! अह कहिं दाणिं मम हत्थे इमं सारिअं णिक्खिविअ गदा मे पिअसही सागरिआ ? ता कहिं उण एणं पेक्खिस्सं ? ( अग्रतो विलोक्य^२ ) कहं एसा क्खु णिउणिआ इदो जेव्व आअच्छदि । ता जाव एदं पुच्छिस्सं । (क)

( ततः प्रविशति निपुणिका )

निपुणिका—( सविस्मयम् ) अच्चरिअं अच्चरिअं ! अणस्स- सरिसो पहावो मण्णे देवदाए । उवलद्धो क्खु मए भट्टिणो^३ वृत्तंतो । ता गदुअ भट्टिणीए णिवेदइस्सं । ( इति परिक्रामति) (ख)

सुसङ्गता—( उपसृत्य ) हला णिउणिए, कहिं दाणिं विब्भन्तचित्तसरिच्छा विअ इह

द्वितीयोऽङ्कः 109 निपुणिका—कहं सुसंगदा ! हला$^१$ सुसङ्गदे, सुट्ठु तुए जाणिदं । एदं खु मम विस्रम्भस्स कारणं ।—अज्ज किल भट्ठा सिरिपव्वदादो आगदस्स सिरिकंठ$^२$नामधेयस्स धम्मिअस्स सकासादो अकालकुसुम-संजणण$^३$दोहअं सिक्खिअ अत्तणो पडिग्गहिदं णोमालिअं कुसुमसमिद्धिसोभिअं करिस्सदित्ति तहिं एदं वुत्तंतं जाणिदुं देवीए पेसिदम्हि । तुमं उण कहिं पत्थिदा ? (क) सुसङ्गता—पिअसहिं सागरिअं अन्वेसिदुं । (ख) निपुणिका—सहि दिट्ठा मए दे पिअसही सागरिआ गहीद-समुग्गअचित्तफलअवट्टिआ ससुब्बिग्गा विअ कदलीघरं पबिसंती । ता गच्छ पिअसहिं । अहंपि देवीसआसं गमिस्सं । (ग) इति निष्क्रान्ते इति प्रवेशकः (क) कथं सुसङ्गता ! हला सुसङ्गते ! सुष्ठु त्वया ज्ञातम् । एतत् खलु मम विश्रम्भस्य कारणम्—अद्य किल भर्त्ता श्रीपर्वतात् आगतस्य श्रीकण्ठनामधेयस्य धार्मिकस्य सकाशात् अकाल-कुसुम-सञ्जननदोहदं शिक्षित्वा आत्मनः परिगृहीतां नवमालिकां कुसुम- समृद्धिशोभितां करिष्यति इति तत्र एतत् वृत्तान्तं ज्ञातुं देव्या प्रेषितास्मि । त्वं पुनः कुत्र प्रस्थिता ? (ख) प्रियसखीं सागरिकां अन्वेष्टुम् । (ग) सखि, दृष्टा मया प्रियसखी सागरिका गृहीतसमुद्गकचित्रफलकवर्तिका समुद्विग्ना इव कदलीगृहं प्रविशन्ती । तद् गच्छ प्रियसखीम् । अहमपि देवीसकाशं गमिष्यामि । 1 सखि । 2 सिरिखंडदाए । 3 समुग्गम ।

-ত-চ-ি-ত্-ত-া). Then: "অবধীর্য্য" (অ-ব-ধ-ী-র্য্য).

Let's check line : তিরস্কৃত্য অনালোক্য ইতি যাবৎ। শ্রীপর্ব্বতাৎ এতন্নাম্নঃ তান্ত্রিকাধিষ্ঠিতাৎ পর্ব্বতাৎ। "তিরস্কৃত্য অনালোক্য ইতি যাবৎ। শ্রীপর্ব্বতাৎ এতন্নাম্নঃ তান্ত্রিকাধিষ্ঠিতাৎ পর্ব্বতাৎ।"

Let's check line : অকালকুসুমসঞ্জননদোহদম্ অকালে স্বভাবতঃ উৎপত্তিকালাদন্যস্মিন্ সময়ে কুসুম- "অকালকুসুমসঞ্জননদোহদম্ অকালে স্বভাবতঃ উৎপত্তিকালাদন্যস্মিন্ সময়ে কুসুম-"

Let's check line : সঞ্জননম্ এব যঃ দোহদঃ, দোহং দদাতি ইতি 'খ্যাতৌঽনুপসর্গে কঃ', তম্ মন্ত্রাদিভিঃ Wait, look at "'খ্যাতৌঽনুপসর্গে কঃ'": Wait, is it 'খ্যাতৌ' or 'খাদৌ' or 'আতো'? Wait! Pāṇini sutra: "आतोऽनुपसर्गे कः" (ātō'nupasarge kaḥ, 3.2.3)! Look closely at the text: '

দ্বিতীয়োঽঙ্কঃ 111 নিকট হইতে অকালে কুসুমোৎপত্তি-ক্রিয়া শিক্ষা করিয়া তাঁহার নিজের পরিগৃহীত নব- মালিকাকে কুসুমরূপ ঐশ্বর্য্য দ্বারা শোভিত করিবেন—এই সংবাদ জানিবার জন্য দেবী আমাকে তথায় পাঠাইয়াছিলেন। তুমি আবার কোথায় যাইতেছ? সুসঙ্গতা—প্রিয়সখী সাগরিকাকে অন্বেষণ করিবার জন্য। নিপুণিকা—সখি, আমি তোমার প্রিয়সখী সাগরিকাকে মসীপাত্র, চিত্রফলক ও লেখনী (তূলিকা) লইয়া উদ্বিগ্নভাবে কদলীগৃহে প্রবেশ করিতে দেখিয়াছি। এখন সেই তোমার প্রিয়সখীর কাছে যাও। আমিও দেবীর নিকট যাইব। (নিষ্ক্রান্ত) প্রবেশক সমাপ্ত ( Enter Susangatá busily with a Sáriká in a cage. ) Eng. Trans. Alas! Alas! Where my dear friend Ságariká has gone now leaving this Sáriká (the talking bird) in my hand! Where shall I find her out? (Looking forward) Here comes Nipuniká; I shall enquire of her. ( Enter Nipuniká ) Nipuniká—(With wonder). It is really strange! Un- common is the power of the gods—I think. I have gathered the news of the lord ( King ) ; and now I shall go and report to the Queen." Susangatá ( Approaching ) Hallo Nipuniká! Where are you now going away in haste with your heart transported by wonder, disregarding me standing here? Nipuniká. How now, Susangatá ! Oh Susangatá! you have rightly ascertained. This is the cause of my wonder that to- day the lord (King), having learnt the craft of making flowers blossom out of season from a sage named Shrikantha hailing from the Shriparvata, will beautify his favourite Navamáliká (jasmine) with a luxuriance of flowers. This news, I have been sent there by the Queen to gather. But where are you going? Susangatá. To enquire of my dear friend Ságariká.

112 रत्नावली Nipunika. I saw your dear friend Sagarika entering the plantain-bower uneasy in mind with a casket, picture-board and a pen (brush). So go there to your dear friend. I too shall go to the Queen. (Exeunt) Here ends the Praveshaka (Interlude of an inferior type) (ततः प्रविशति गृहीतचित्रफलकवर्तिका मदनावस्थां नाटयन्ती सागरिका) सागरिका—¹हिअअ ! पसीद पसीद । किं इमिणा आया- समेत्तफलएण दुल्लहजणप्पत्थणाणुबन्धेण ? अच्चं च जेण एव्व दिट्ठेण दे ईरिसो संतावो णं वड्ढइ । (सविस्मयम्) पुणो वि तं ज्जेव पेक्खिदुं अहिलससित्ति अहो दे मूढदा ! अइ णिसंस² हिअअ ! जम्हादो पहुदि सह संवड्ढिदं इमं जणं परिहरिअ खणमेत्तदंसणपरिचिदं जणं अणुगच्छंतो कहं ण [L1

द्वितीयोऽङ्कः 113 जणस्स अण्णो दंसणोवाओ णत्थित्ति, ता जहा तहा आलि- क्खिअ णं पेक्खिस्सं । ( इति नाटेन लिखति ) (क) (क) हृदय, प्रसीद प्रसीद । किमनेन आयासमात्रफलेन दुर्लभजनप्रार्थनानुबन्धेन ? अप्यञ्च, येन दृष्टेन ते संवृद्धः सन्तापः ननु वर्द्धते पुनरपि तमेव प्रेक्षितु मभिलषसि इति अहो ते मूढता ! अयि नृशंस हृदय ! जन्मतः प्रभृति सह संवर्द्धितम् इमं जनं परित्यज्य क्षणमात्रदर्शनपरिचितं जनम् अनुगच्छन् कथं न लज्जसे ? अथवा कः तव दोषः ? अनङ्गशरपतनभीतेन त्वया एवं व्यवसितम् । अनङ्ग' तावदुपालभे । भगवन् कुसुमायुध, निर्ज्जितसकलसुरासुरो भूत्वा कथ' स्त्रीजनं प्रहरन् न लज्जसे ? अथवा अनङ्गो- ऽसि । सर्व्वथा मम मन्दभाग्याः अनेन दुर्निमित्तेन अवश्य' मरणमेव उपस्थितम् । तद् यावत् इह कोऽपि न आगच्छति तावदेव आलेख्यसमर्पितं जनं प्रेक्ष्य यथा- समीहित' करिष्यामि । यद्यपि मे अतिसाध्वसेन वेपते अयमतिमात्रम् अयमहस्तः, तथापि तस्य जनस्य अन्यो दर्शनोपायो नास्तीति, तत् यथा तथा आलिख्य ननु प्रेक्षिष्ये । हृदय प्रसीदेत्यारभ्य द्वितीयाङ्कस्य समाप्ति' यावत् प्रतिमुखसन्धिः । विस्तरः उपरिष्टाद् द्रष्टव्यम् । आयासमात्रफलेन श्रममात्रफलेन । प्रार्थनानुबन्धेन । प्रार्थनायाः अनुबन्धः पौनःपुन्यं तेन । मूढता अपाण्डित्यम् । व्यवसितम् अध्यवसितम् । निर्ज्जिताः निःशेषेण जिताः सकलाः सुराश्च असुराश्च येन सः । सर्व्वेषामुपरि अनङ्गस्य प्रभावो अनुक्त एव । अनङ्गोऽसीति। अनङ्गत्वेन हृदयराहित्यात् दयादिशीलोऽपि नास्ति, तस्मात् उपालम्भोऽपि निरर्थक एव । दुर्निमित्तेन अनङ्गबाणपतनरूपायुधलक्षणेन इत्यर्थः । आलेख्यसमर्पितम् चित्राङ्कितम् । यथासमीहितं यथेप्सितं मरणम् इति यावत्, करिष्यामि । उपरिष्टात् उद्वन्धनेन सागरि- कायाः प्राणत्यागप्रयासेन इदं समीहितं स्फुटीभविष्यति । अतिसाध्वसेन अतिभयेन । अयमहस्तः अयमसौ हस्तश्चेति समासः अवयवावयविनोरभेदात् । ( তারপর চিত্রফলক ও লেখনী লইয়া মদনাবেশ অভিনয় করিতে করিতে সাগরিকার প্রবেশ ) Beng. Trans. সাগরিকা—হৃদয়, প্রসন্ন হও, প্রসন্ন হও। কেবল দুঃখমাত্র-ফল এই দুর্লভ ব্যক্তির পুনঃ পুনঃ প্রার্থনায় কি প্রয়োজন? (সবিস্ময়ে) অধিকন্তু, যাহাকে দেখিলে তোমার সন্তাপ পরিবর্ধিত হয় পুনরায় তাহাকেই দেখিবার জন্য তুমি অভিলাষ 8

করিতেছে!—হায়, তোমার কি মূর্খতা! হে নৃশংস হৃদয়! জন্ম হইতে এক সঙ্গে পরিবর্দ্ধিত এই আমাকে পরিত্যাগ করিয়া ক্ষণমাত্র দর্শনে পরিচিত এই ব্যক্তির অনুধাবন করিতে তোমার কি লজ্জা হইতেছে না? অথবা, তোমার কি দোষ? অনঙ্গের শরপতনভয়ে ভীত হইয়াই তুমি এইরূপ করিয়াছ। (সজলনেত্রে) অনঙ্গকেই এখন তিরস্কার করিব। (কৃতাঞ্জলিপুটে জানু পাতিয়া) ভগবন্ কুসুমাযুধ, সুরাসুর সকলকে জয় করিয়াও স্ত্রীলোককে প্রহার করিতে তোমার কি লজ্জা হইতেছে না? (দীর্ঘনিশ্বাস পরিত্যাগ করিয়া) অথবা, তুমি যে অনঙ্গ! সর্ব্বথা এই দুর্নক্ষণ- হেতু মন্দভাগিনী আমার মরণই অবশ্য আসিয়া উপস্থিত হইল। (চিত্রফলক দেখিয়া) তবে যতক্ষণ পর্য্যন্ত এখানে কেহ না আসে, আমি ততক্ষণ চিত্রাঙ্কিত এই (অভিমত) জনকে দেখিয়া মনের বাসনা পূর্ণ করিব। (দৃঢ়ভাবে একাগ্রচিত্তে চিত্রফলক গ্রহণের অভিনয় করিয়া দীর্ঘনিশ্বাস ত্যাগপূর্ব্বক) যদিও অতিভয়ে আমার অগ্রহস্ত অত্যন্ত কম্পিত হইতেছে, তথাপি সেই লোকের দর্শনের অন্য কোনও উপায় নাই। এখন কোনও প্রকারে অঙ্কিত করিয়া দেখিব। (অঙ্কনাভিনয় করিলেন) Eng. Trans. (Then enter Ságariká, representing the state of love-sickness, with a picture-board and a pen) Ságariká. Oh my heart, be consoled. What is the use of desiring eagerly for a person difficult to be attained when that desire results only in painful trouble? (With *wonder) And moreover, what a foolishness on your part to desire to see again the person the sight of whom increases such painful agitation of yours! Oh cruel heart! Don't you feel ashamed to run after a person that has been familiar to you through a moment's sight only, leaving this one who has been brought up with you from the very birth? Or, what is your fault (in this matter)? You have acted thus only out of fear of the fall of the arrows of the bodiless god. (With tears) Now, I shall take Ananga (the bodiless god of love) to task. (Kneeling down with folded hands) Oh blessed lord of the flowery bow, being the victor of all demons and gods, dost thou not blush to waste thy might upon (lit. strike) a (defenceless) woman? (Sighing deeply) Or

द्वितीयोऽङ्कः 115 thou art truly without form (or sense) ! Ah, unfortunate that I am, my death by all means impends on account of this bad omen (due to this fatal cause). (Looking at the picture- board) Now, so long as no one approaches, I shall see my beloved one, as drawn in the picture, and then I shall do the desired thing. (Resolutely with undivided attention she gesticulates the taking up of the picture-board and with a deep sigh) Though my forearm trembles too much through excessive nervousness, yet as there is no other way of having the sight of that person than this, so I shall roughly make a sketch (draw the picture somehow or other) and then see him. (Represents drawing the picture). ( ततः प्रविशति सुसङ्गता ) सुसङ्गता—एदं तं कदलीघरं, ता पविशामि । (प्रवेशं नाटयति) एसा मे पियसही साअरिआ। किं उण एसा गुरुआणुराओ- क्खित्तहिअआ

? Let's look closely: the letter has a vertical line, a horizontal stroke in the middle going left, curving... wait, that's ज! Wait, जinजादिसोhas horizontal stroke to the right? No, Devanagariजhas a vertical line on the right, a horizontal stroke to the left, and a semicircle curving down and right! YES! Devanagariजis on the LEFT of the vertical stem! Devanagariवis also on the left of the vertical stem! How doजandवdiffer?वis a closed circle/oval:o|. जis an open curve: horizontal stroke to the left, then cup:--U|. Now look at the letter in L8: Is it closed like वor open likeज? It has a horizontal bar from the vertical stem, then curves down and up! It is OPEN! It is a ज! With िmatra:जि! And the next letter: व्व! So it is indeed जिव्व! सुण्ण'जिव्व! Wait, is there a dot over ण्ण? Let's check: सुण्ण'orसुण्णं? There is an apostrophe: सुण्ण'जिव्व`!

Now let's check line

অনবরতনিপতদ্-বাষ্পসলিলেন অনবরতং গলন্ নিপতত্ যত্ বাষ্পসলিলং তেন হেতৌ তৃতীয়া। রতিসনাথং রতিসহিতং কামদেবমিত্যর্থঃ। রতিন্যপদেশেন রতিচ্ছলেন। অকারণে ন কারণম্ অকারণম্ তস্মিন্, অত্র অভাবার্থে নঞ্। অন্যথাসম্ভাবিনি অন্যথা অন্যপ্রকারৈণ সম্ভাবয়সি কল্পয়সি যা সা ইতি সুপ্সুপান্তৌ ণিনিঃ। ( সুসঙ্গতার প্রবেশ ) Beng. Trans. সুসঙ্গত!—এই ত কদলীগৃহ, তবে ইহাতে প্রবেশ করি। (প্রবেশা- ভিনয় করিয়া অবলোকনপূর্ব্বক সবিস্ময়ে ) এই যে আমার প্রিয়সখী সাগরিকা! কিন্তু সে যেন কি এক গুরু অনুরাগতরে আকৃষ্টচিত্ত হইয়া কিছু একটি অঙ্কন করিতেছে, সেজন্য আমাকে দেখিতে পাইতেছে না। যাই হোক, আমি তাহার দৃষ্টিপথ পরিত্যাগ করিয়া সে কি অঙ্কন করিতেছে দেখি। ( আস্তে আস্তে তাহার পশ্চাতে যাইয়া আনন্দের সহিত ) এ কি, এ যে মহারাজের প্রতিমূর্ত্তি অঙ্কন করিয়াছে! সাধু, সাগরিকে, সাধু! অথবা রাজহংসী

118 রত্নাবলী সম্ভাবিনি (অনুরূপ আশঙ্কাকারিণি) ! তোমার এরূপ আলাপের প্রয়োজন কি ? সকল বৃত্তান্ত খুলিয়া বল। ( Enter Susangatá ) Eng. Trans. Susangatá. This is that plantain-bower. Let me enter it. ( Entering and looking—with surprise ) Ha, here is my dear friend Ságariká ! But apparently she is so intent upon painting something, with her mind transported by some great attachment that she does not notice even my approach. How- ever, I will keep out of her sight and see what she is painting. ( Approaches gently her back and looking with delight ) How now, she is drawing the king's (picture) ! Well done, Ságariká, well done ! Or, the royal female swan leaves not the lotus- crowded lake to sport elsewhere. Ságariká. ( With tears ) I have finished drawing his por- trait ) ; but since my tears are running down incessantly my sight cannot have a look at him ( in the picture ). ( Raises her head and while checking the tears sees Susangatá, hides the picture with her upper garment, with a smile ) How now Susangatá, my friend, please sit down here. Susangatá. ( Sitting and taking the picture-board by force ) My friend, who is this person whom you have drawn in the picture-board ? Ságariká. The deity Ananga in the festival of Cupid just commenced. Susangatá. ( With a smile ) Ah, your cleverness ! but the picture appears to be incomplete ( wanting in something). So I shall paint and make ( the god ) accompanied by Rati. ( Takes the brush and gesticulates the drawing of Ságariká under the pretext of painting the figure of Rati ). Ságariká. ( Seeing—angrily ) Oh Susangatá, why you have sketched my likeness here ?

vsजाणिदह्मि. It's definitely जाणिदह्मि(द + ह्म). - Line 7:(सुसङ्गताया हस्तं गृहीत्वा—प्रकाशम्) पियसहि ! महतो क्खु मे लज्जा, ता- wait, the footnote mark underक्खु? It's a comma ,underक्खु: wait, no, क्खु,with comma slightly lower. - Line 8:(क)is at the end. - Line 10:होदव्व'has apostrophe or anusvara? It hasहोदब्ब'orहोदव्व'? होदब्ब'(it usesबwith no slash, orव? Look at अवस्स'->व. Look at एव्व->व्व. Look at होदव्व'->व्व). - Line 14: इस्सदि । (ख) - Line 16:( इति मदनावस्थां नाटयति ) (ग) - Line 25:मुणालवलयाइँ->इँ` has candrabindu.

Looks solid, accurate to the print, cleanly formatted with lines marked.द्वितीयोऽङ्कः 119

Susangatá. ( With a smile ) My friend, do not be offended [L

120 रत्नावली

सुसङ्गता—(सागरिकाया हृदये हस्तं दत्वा) सहि ! समस्सस समस्सस । जाव इमाए दिग्घिआए णलिणीपत्ताइँ मुणालिआइं अ गेण्हिअ लहुं आअच्छामि । (निष्क्रम्य पुनः प्रविश्य च नाटयेन नलिनी- पत्रैः शयनीयं मृणालवलयानि च रचयित्वा परिशिष्टानि नलिनीपत्राणि सागरिकाया हृदये निक्षिपति ) (क) सागरिका—सहि ! अवणेहि इमाइं णलिणीपत्ताइँ मुणालि- आइं अ । अलं इमिणा । कीस अकारणे अत्ताणं आयासेसि ? (ख) दुल्हहजणअणुराओ लज्जा गरुई परव्वसो अप्पा । पियसहि ! बिसमं पेम्मं मरणं सरणं तु वरमेक्कं १ ॥१॥ (ग) ( इति मूर्च्छति ) (क) सखि, समाश्वसिहि समाश्वसिहि । यावद अस्याः दीर्घिकायाः नलिनीपत्राणि मृणालिकानि च गृहीत्वा लघु आगच्छामि । (ख) सखि, अपनय इमानि नलिनीपत्राणि मृणालिकानि च । अलमेतेन । कथम् अकारणे आत्मानं आयासयसि ? (ग) दुर्लभजनानुरागो लज्जा गुर्वी परवश आत्मा । प्रियसखि विषमं प्रेम मरणं शरणं तु वरमेकम् ॥ ज्ञातास्मि राज्ञः कृते मदनपीडितेदमिति सुसङ्गतया ज्ञातास्मीत्यर्थः । गृहीताक्षरा भाषणस्य अक्षराणि गृहीत्वा इत्यर्थः । मन्त्रयिष्यते कथयिष्यति । आयासयसि खेदं प्रापयसि । दुर्लभेति । दुर्लभः यः जनः उदयन इत्यर्थः । तस्मिन् अनुरागः आसक्तिः । लज्जा गुर्वी महती । एतस्मात् साक्षाद् भाषणं न भविष्यति, लेखप्रेषणादिना यदेव सम्भवति तदेव भविष्यतीत्यर्थः । आत्मा परस्य वासवदत्तायाः वशः पराधीनः यौगन्धरायणेन वासवदत्ता- हस्ते समर्पितत्वात् । अतः पराधीनः जनः स्वेच्छया किमपि कर्तुं न शक्नोति इति भावः । प्रेम अनुरागः विषमम् विपरीतम् । अतएवास्यामवस्थायां किं करणीयमिति आह । मरणम् एकं तु वरं श्रेष्ठं शरणम् आश्रयः । मरणेनैव सर्व्वथा मे शुभं भविष्य- 1 णवरमेक्कं ।

দ্বিতীয়োঽঙ্কঃ 121 তীতি। ণবরমিতি পাঠে ণ বরং যস্মাৎ ইতি অনুসমমিত্যর্থঃ । অথবা, মরণং বরং মরণং ণ(নু) কিম্ ইতি যোজনা । সর্ব্বথা মরণমেব শ্রেষ্ঠঃ আশ্রয় ইত্যর্থঃ ॥১॥ Prose. প্রিয়সখি, দুর্ল্লভজনানুরাগঃ, গুর্ব্বী লজ্জা, পরবশঃ আত্মা, প্রেম বিষমং ; একং মরণং তু বরং মরণং ( অথবা—মরণং বরং মরণং ন কিম্ ? ) ॥১॥ Beng. Trans. সাগরিকা—( লজ্জার সহিত—স্বগত ) নিশ্চয়ই প্রিয়সখীর নিকট ধরা পড়িয়াছি । ( সুসঙ্গতার হস্তধারণ করিয়া—প্রকাশ্যে) প্রিয়সখি, আমার লজ্জা বলবতী হইয়া পড়িয়াছে । সুতরাং এইরূপ কর, যাহাতে অপর কেহ এই ব্যাপার জানিতে না পারে । সুসঙ্গতা—সখি, লজ্জা করিও না । এইরূপ কন্যারত্নের এই রকম বরে অভিলাষ হওয়াই উচিত । তথাপি যাহাতে অপর কেহ এই ব্যাপার জানিতে না পারে সেইরূপ করিব । কিন্তু এই মেধাবিনী সারিকাই এই বিষয়ে (রহস্যভেদে) কারণস্বরূপ হইবে