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

यहाँ पृष्ठ 140 का सम्पूर्ण पाठ दिया गया है:

140 रत्नावली ( इतूभावाकर्ण्यतः ) वसन्तकः—भो वयस्स ! सुदं तुए अं एदाए मंतिदं—सहि ! अदोवि मे अधिक्खदरं संतावो वड्ढदि । सहि ! अवणेहि इमाइं णलिणीपत्ताईं मुणालवलआइं च । अलं एदिणा । कीस अकारणे अत्ताणं आयासेसि ? ( क ) राजा—वयस्य ! न केवलं श्रुतम्, अभिप्रायोऽपि लक्षितः । वसन्तकः—भो वयस्स ! अज्जवि कुरकुराइदि एव्व एसा सारिआ दासीए धीआ । ता सव्वं सुणिअ अक्खाइस्सं । ( ख ) (क) भो वयस्य, श्रुतं त्वया यत् एतया मन्त्रितं—सखि, अतोऽपि मे अधिकतरं सन्तापो वर्धते । सखि, अपनय इमानि नलिनीपत्राणि मृणालवलयानि च । अलमेतेन । कस्मात् अकारणे आ

দ্বিতীয়োঽঙ্কঃ 141 যেরূপ কামদেবকে অঙ্কিত করিয়াছ, আমিও সেইরূপ রতিদেবীকে অঙ্কিত করিয়াছি। অতএব, হে অন্যথা আশঙ্কাকারিণি! তোমার এইরূপ আলাপ করিবার কি প্রয়োজন? সকল বৃত্তান্ত খুলিয়া বল।' ভো বয়স্য, এই ব্যাপারটা কি? রাজা—বয়স্য, আমার মনে হইতেছে কোনও কামিনী অনুরাগবশতঃ নিজের হৃদয়- বল্লভকে (চিত্রে) অঙ্কিত করিয়া কামদেব বলিয়া ছলপূর্ব্বক সখীর সম্মুখে গোপন করিয়া- ছিল। তার পর সখীও চিনিতে পারিয়া চতুরতার সহিত সেই (চিত্রে) রতিচ্ছলে সেই স্ত্রীলোকটিকে অঙ্কিত করিয়া প্রদর্শিত করিয়াছে। বিদূষক—(তুড়ি দিয়া) বয়স্য, ঠিক, ইহা যুক্তিযুক্ত বটে! রাজা—বয়স্য, চুপ কর! আবার আলাপ করিতেছে। শোনা যাক। (উভয়ে শুনিতে লাগিলেন) বিদূষক—ভো! ও আবার এইরূপ বলিতেছে—'সখি, লজ্জা করিও না। এইরূপ কন্যারত্নের অবশ্য এইরূপ বরে অভিলাষ হওয়াই উচিত'। রাজা—(নিশ্চয় ইহার) কোন যুক্তি আছে। বিদূষক—বয়স্য, পাণ্ডিত্যের গর্ব্ব করিবেন না। আমি ইহার মুখ হইতে সমস্ত শুনিয়া (আপনাকে) ব্যাখ্যা করিয়া (বুঝাইয়া) দিব। এই যে কন্যাকে অঙ্কিত করা হইয়াছে সে (যথার্থই) দর্শন-যোগ্যা! রাজা—যদি তাহাই হয়, তবে মন দিয়া শোনা যাক। এখানে আমাদের কৌতূহলের অবকাশ আছে। (উভয়ে শুনিতে লাগিলেন) বসন্তক—বয়স্য, সে যাহা বলিল আপনি তাহা শুনিয়াছেন—'সখি, এইজন্যই আমার অধিকতর সন্তাপ বৃদ্ধি পাইতেছে। সখি, এই নলিনীপত্র ও মৃণালবলয়গুলি অপসারিত কর। কি জন্য অকারণে নিজেকে (এত) কষ্ট দিতেছ'? রাজা—বয়স্য, আমি কেবল শুনি নাই, (ইহার) অভিপ্রায়ও বুঝিয়াছি। বসন্তক—বয়স্য, এখনও পর্য্যন্ত এই দাসীপুত্রী সারিকা অস্পষ্ট ভাবে (কুরকুর করিয়া) আবার কি বলিতেছে। অতএব, সেই সকল শুনিয়া ব্যাখ্যা করিব। Eng. Trans. Vasantaka. (She) says that let something be given to this Bráhmaṇa to eat. King. Everything is transformed to an eatable to a glutton. Come, say truly what does the Sáriká utter ?

142 रत्नावली Vasantaka. (Listening) O friend, you have heard what she has said. She says—'my friend, who is this that has been delineated by you (in the picture) ? The blessed bodiless god (Ananga) when the great Cupid-festival set in'—(is her reply). (She) speaks again—'why have I been delineated here by you ? Friend, why are you getting offended without reason ? I have portrayed a Rati ( Psyche ) similar to the Kámadeva (Cupid) which has been drawn by you. O you who are apt to think otherwise (misinterpret), what is the use of these talks of yours ? Speak out truly everything.' O friend, what does this mean ? King, Oh friend, I surmise, some female having drawn her sweet-heart's portrait out of love, concealed (the fact) before her companion (by passing the portrait off) as the picture of the god of love ; her friend, too, having found it out, ingeniously delineated her in the character of Rati (Kama's wife). Vasantaka. (Snapping the fore-finger) very likely, very likely, my friend ? King. O my friend, be silent ; she speaks again ; let us hear. ( They listen ) Vasantaka. Oh friend, she is again chattering—'My friend, do not be ashamed ! A jewel of a maiden of this (your) type must needs have a desire for a bridegroom of such worth.' King—Surely, there must be some reason. Vasantaka—Oh, friend, do not presume upon your own scholarship. I shall expound all she says when she has finished. The lady that is painted, is surely charming to look at. King—If it be so, then let us hear attentively. There is a scope for our curiosity in this matter. ( Both listen )

द्वितोयोऽङ्कः 143 Vasantaka. Very well, my friend, you have heard what she says—'My friend, affliction is growing more on this account. My friend, take away these lotus-leaves and stalks. Enough of these, Why are you taking trouble for nothing?' King. My friend, not only I have heard, but also I have gathered the purport thereof. Vasantaka. O friend, this harlot's daughter of a starling still chatters ; but I shall explain all after I hear. राजा—युक्तमभिहितम् । ( पुनराकर्ण्यतः ) वसन्तकः—भो वयस्स ! एसा क्खु सारिआ दासीए धीआ चउव्वेदी बह्मणो विअ रिचाईं भणिदुं पउत्‍ता । (क) राजा—वयस्य, कथय । किमप्यन्यचेतसा मया नावधारितं किमनयोक्तमिति । वसन्तकः—भो ! एव्वं भणादि— दुलहजणअणुराओ लज्जा गरुई परव्वसो अप्पा । पियसहि ! बिसमं पेम्मं मरणं सरणं तु वरमेक्कं ॥७॥ (ख) राजा—( सस्मितम् ) एवंविधं भवन्तं ब्राह्मणं ¹मुक्त्वा कोऽन्य एवंविधानामृचामभिज्ञः ? वसन्तकः— तदो किं णु क्खु एदं ? (ग) (क) भो वयस्य, एषा खलु सारिका दास्याः पुत्री चतुर्वेदी ब्राह्मण इव ऋचो भणितुं प्रवृत्ता । (ख) भोः, एवं भणति— दुर्लभजनानुरागो लज्जा गुर्वी परवश आत्मा । प्रियसखि विषमं प्रेम मरणं शरणं तु वरमेकम् ॥ (ग) ततः किं नु खलु इदम् ? 1 साधु भवन्तं महाब्राह्मणम् ।

and write अन्नहा (or अण्णहा). Wait, line 8 has अन्नहा and line 13 has अन्नहा. Wait, look at the loop: is it न् + न? Yes, न्नहा.

*   **Line 9:**
    `( हस्ताल' दत्त्वा उच्चैर्विहसति ) (ख)`
    Wait, is it `हस्ताल'` or `हस्तालं`?
    Look at the apostrophe: `हस्ताल'` with an upper apostrophe? In old prints, an apostrophe is sometimes used for an elision or as an anusvara: `हस्तालं` or `हस्ताल'`.
    Wait, look at line 3: `तदो किं कहिअ' ?` - there it's definitely representing anusvara `ं`!
    Wait, in line 6: `भो ! किं एदेहि' वक्कभणिदेहि' ?`
    Notice `एदेहि'` and `वक्कभणिदेहि'`! They both have apostrophes representing anusvara!
    Wait, let's look closely at line 6:
    `भो ! किं एदेहिं वक्कभणिदेहिं ?` - the dot is elevated like a high comma/apostrophe: `एदेहिं` / `एदेहि'`.
    Wait, in modern Devanagari transcription, should we preserve the exact character or use standard

" - wait, look at "दास्याः पुत्र्याः": "पुत्र्याः" or "पुत्राः"? In L9: "पुत्र्याः" - wait, look at the letter: प + ु = पु; then 'त्र्याः' or 'व्राः'? Wait, look at L9: "दास्याः पुत्राः" or "पुत्र्याः"? Look at the image: 'प' + 'ु' + 'त्र्याः' - wait, is there a 'य'-फला? It looks like "पुत्राः" or "पुत्र्याः"? Wait, दास्याःपुत्रः is an abuse! In Sanskrit, "दास्याः पुत्रः" (son of a slave) is very common, but for a female (सारिका), would it be "दास्याः पुत्राः" or "दास्याः पुत्र्याः"? Look at L9: 'पु' followed by 'त्राः'? Wait, look at 'पु' in L9: There is 'प' with 'ु', then 'त्र' with 'ा' and visarga ':'. It looks like "पुत्राः" or "पुत्र्याः"? Wait, look at: "भोः अलं दास्याः पुत्राः सारिकायाः" or "पुत्र्याः"? Wait, look at the word: प + ु + त + र... wait, is there an aa-matra? Yes, and visarga. But where is the

146 রত্নাবলী Beng. Trans. রাজা—ঠিকই বলিয়াছ। (আবার উভয়ে শুনিতে লাগিলেন) বসন্তক:—হে বয়স্য, এই দাসীপুত্রী সারিকা চতুর্বেদজ্ঞ ব্রাহ্মণের ন্যায় ষড়মন্ত্র পাঠ করিতে আরম্ভ করিল। রাজা—বয়স্য, কি বল। সে যে কি বলিল, আমি অন্যমনস্ক হওয়া হেতু বুঝিতে পারি নাই। বসন্তক—সে এইরূপ বলিতেছে,—দুর্লভ জনের প্রতি অনুরাগ, লজ্জা বলবতী ও আত্মা পরাধীন। হে প্রিয়সখি, প্রেম অতি বিষম, এক মরণই শ্রেষ্ঠ আশ্রয়। ৭। রাজা—(হাসিয়া) তোমার মত এইরূপ ব্রাহ্মণ ব্যতীত আর অন্য কে এই প্রকার ষড়মন্ত্র বিষয়ে অভিজ্ঞ হইতে পারে? বসন্তক—তাহা হইলে ইহা কি? রাজা—ইহা গাথাবিশেষ। বসন্তক—কি! গাথা! তাহা হইলে কি বলিল? রাজা—কোন প্রশংসনীয়-যৌবনবিশিষ্ট। কামিনী নিজের প্রিয়তমকে না পাইয়া জীবনের প্রতি নিরাশ হওয়ায় এইরূপ বলিতেছে। বসন্তক—(উচ্চ হাস্য করিয়া) এইরূপ বক্রোক্তি করিয়া লাভ কি? সরলভাবে বলিয়া ফেলুন না—‘আমাকে (অর্থাৎ রাজাকে) না পাইয়া (এইরূপ করিতেছে)’ । তাহা না হইলে অন্য কোন্ লোককে কামদেবচ্ছলে গোপন করা হইতেছে? (হাততালি দিয়া উচ্চ হাস্য করিলেন) রাজা—(ঊর্ধ্বে অবলোকন করিয়া) ধিক্ মূর্খ! তোমার এত উচ্চ হাসিতে বেচারী সারিকা ভয়ে উড়িয়া অন্য কোথায় চলিয়া গেল। (উভয়ে অনুসন্ধান করিতে লাগিলেন) বসন্তক—(দেখিয়া) হে বয়স্য, অন্য কিছু মনে করিবেন না। সে এই কদলীগৃহে গিয়াছে; তা আসুন, অনুসরণ করি। (উভয়ে পরিক্রমণ করিলেন) রাজা—দুর্বার মদনব্যথা পাইয়া তন্বী তাঁহার সখীগণের সম্মুখে যাহা বলিয়াছেন, তাহা শিশু-শুক-সারিকা প্রভৃতি পুনর্বার আবৃত্তি করিলে যাঁহারা ধন্য (পুণ্যবান্) তাঁহাদেরই কর্ণগোচর হয়।৮।

দ্বিতীয়োঽঙ্কঃ 147 বসন্তক—হে বয়স্য, এই ত কদলী-গৃহ। আসুন তবে প্রবেশ করি। ( উভয়ে প্রবেশ করিলেন ) বসন্তক—হে বয়স্য, এই দাসীপুত্রী সারিকার অন্বেষণে ক্লেশ পাইবার কোন প্রয়োজন নাই। এখন এই মলয়-পবন দ্বারা আন্দোলিত নব কদলীবৃক্ষের পত্রচ্ছায়ায় শীতল এই শিলাতলে উপবেশন করিয়া কিছুক্ষণ বিশ্রাম করা যাউক, আসুন। Eng. Trans. King. You have spoken rightly. (Again both listen) Vasantaka. O friend, this daughter of a slave-girl (harlot) Sáriká is reciting the hymns of the Rigveda like a Brāhmana well versed in the four Vedas. King. Friend, tell me (what she said); as, with attention diverted, I could not catch what she said. Vasantaka. O, she speaks thus :-- My love is directed towards a person who is difficult to be attained ; great is my bashfulness (nervousness) ; and my self is dependent on another. My dear friend! love (of mine) is extremely painful (or unequal). And so surely death alone is my best refuge. 7. King. (Smiling) With the exception of your self, a worthy Brāhmana, what other learned Brāhmana (who else) would be skilled in such Rik verses? Vasantaka. Why then, what is it? King. This is a gáthá (popular verse) indeed ! Vasantaka. What, is it a gáthá! then what is implied (by it) ? King. Some lady of commendable youth may be supposed to have spoken (the sentence) being indifferent to her life because of being unable to attain her dearest. Vasantaka. (Laughing loudly) Oh, what is the use of these tortuous expressions ? Why not say straightforward—"The

148 रत्नावली damsel not being able to attain me''...; otherwise, who else (but your own self) could have been concealed under the pretext of the god of the flowery bow? (Claps his hands and laughs loudly) King. (Looking up) Peace, you fool! Your loud laughter has so frightened the poor bird that she has flown away some- where else. (Both search) Vasantaka. (Looking) Oh friend, do not think otherwise. She has entered the plantain-bower. So let us follow her. (Both walk round) King. Enduring the irresistible pain caused by the flowery shafts (of Cupid), whatever the delicate maid spoke to her female companions, the same being repeated by a child, a parrot and a Sáriká (or, a young parrot and a Sáriká) become a welcome guest in the ear passage of the fortunate. 8. Vasantaka. O friend, here is the plantain-bower; let us enter it. (Enter both) Vasantaka. What is the use of taking the trouble of chasing that slave-girl Sáriká? Let us rest for a while on this slab of stone which is cooled by the (shade of the) leaves of these newly-grown banana plants wafted by the soft southern breeze. राजा—यदभिरुचितं भवते । (इत्युपविशतः) राजा—(निःश्वस्य—दुर्व्वारामिति पुनः पठति) वसन्तकः—(पार्श्वतोऽवलोक्य) भो वयस्स ! एदेण उग्घाडिददु- वारेण दुट्ठवाणरेण ताए पञ्जरेण होदव्वं । (क) (क) भो वयस्य, एतेन उद्घाटितद्वारेण दुष्टवानरेण तस्याः पञ्जरेण भवितव्यम् ।

द्वितीयोऽङ्कः 149 राजा—वयस्य ! निरूप्यताम् । वसन्तकः—जं भवं आणवेदि । (परिक्रम्यावलोक्य च) एसो वि चित्तफलओ, जाव णं गेह्णामि । (गृहीत्वा निरूप्य च हर्षं नाटयति) (क) राजा—(सकौतुकम्) वयस्य ! किमेतत् ? वसन्तकः—भो वयस्स ! दिट्ठिआ वड्ढसि ! एदं जं मए भणिदं । तुमं ज्जेव्व एत्थ आलिहिदो । अण्णहा को अत्तो कुसुमचावव्ववदेसेण णिह्णोबअदित्ति । (ख) राजा—(सहर्षं हस्तौ प्रसार्य) सखे ! दर्शय दर्शय । वसन्तकः—ण दे दंसइस्सं । सावि कण्णआ एत्थ एव्व आलिहिदा । ता किं पारिदोसिएण विणा ईदिसं कण्णारअणं दंसीअदि ? (ग) राजा—(कटक मपर्यस्य च बलाद् गृहीत्वा पश्यति । विलोक्य सविस्मयम् ) वयस्य ! पश्य पश्य— लोलावधूतपद्मा कथयन्ती पक्षपातमधिकं नः । मानसमुपैति केयं चित्रगता राजहंसीव ॥८॥ अपिच— विधायापूर्वपूर्णेन्दुमस्या मुखमभूद् ध्रुवम् । धाता निजासनाम्भोजविनिमीलनदुःखितः ॥१०॥ (क) यद् भवान् आज्ञापयति । एषः अपि चित्रफलकः, यावत् ननु (एनं) गृह्णामि । (ग) भो वयस्य, दिष्ट्या वर्धसे ! एतत् तत् यन्मया भणितम् । त्वमेव अत्र आलिखितः । अन्यथा कीदृशः कुसुमचापव्यपदेशेन निह्नुयते इति ? (घ) न ते दर्शयिष्यामि । सापि कन्यका अत्र एव आलिखिता । तत् किं पारितोषिकेन विना ईदृशं कन्यारत्नं दर्श्यते ?

• a 'छ'! AND A 'छ' HAS TWO LOOPS/CURVES! So half-'च' + 'छ' looks like: a loop on the left, connected to 'छ' on the right, which has a loop and a curl! THAT LOOKS EXACTLY LIKE WHAT IS IN LINE 10 AND LINE 17! Wait, let's check line 17: Is line 17 also half-'च' + 'छ'? YES! In line 17, after 'गु', it's half-'च' + 'छ' + 'ा' = 'च्छा'! Then 'न्ता' + 'र' + 'ि' + 'त' + 'ा' = "गुच्छान्तरिता"! Wait, let's re-examine line 17: "तत् कदलीगृहगुच्छान्तरिता भूत्वा प्रेक्षावहे।" Wait, is "गुच्छान्तरिता" a valid Sanskrit word? YES! "गुच्छ" (guccha) in Sanskrit means a bunch, cluster of blossoms or shrubs! "कदलीगृहगुच्छान्तरिता" = hidden in the cluster/foliage of the plantain-house! And in Prakrit (line 10-11): "ता कदलीघर-गुच्छां-" "तरिदा भविअ पेक्खह्म²। (घ)" Wait, let's look at the hyphen: "कदलीघर-गुच्छां-"

द्वितीयोऽङ्कः 151 विशेषेण निमीलनेन मुकुलीभवनेन दुःस्थितः दुःखेनावस्थितः ध्रुवम् अभूत्। चन्द्रोदये कमलानां निमीलनं भवति इति प्रसिद्धेः। आत्मना कृतेन अपूर्व्वमुखचन्द्रेण स्वस्खासन- कमलं निमीलितमभूद् इति धातुः आसनसङ्कोचेन स्वस्थानच्युतिरासीत् इति भावः। Prose order. लीलावधूतपद्मा नः अधिकं पक्षपातं कथयन्ती का इयं राज- हंसीव ( नः ) मानसमुपैति ॥९॥ धाता अस्याः अपूर्व्वपूर्णेन्दु मुखं विधाय ध्रुवं निजासनाम्भोजविनिमीलनदुःखितः अभूत् ॥१०॥ Beng. Trans.—রাজা—যাহা তোমার অভিরুচি। ( উভয়ে উপবেশন করিলেন ) রাজা—( নিশ্বাস ফেলিয়া দুর্ব্বারম্ ইত্যাদি শ্লোকটি পুনরায় পাঠ করিলেন ) বসন্তক—( একপার্শ্বে অবলোকন করিয়া ) হে বয়স্য, এই সেই সারিকার পঞ্জর হইতে পারে। সেই দুষ্ট বানর সম্ভবতঃ ইহারই দ্বার উদ্ঘাটিত করিয়া দিয়াছে। রাজা—ভাল করিয়া দেখ, বয়স্য ! বসন্তক—যাহা আপনি আদেশ করেন। ( পরিক্রমণ ও অবলোকন করিয়া ) এই যে চিত্রফলকটিও এখানে। এখন এইটা গ্রহণ করি। ( গ্রহণপূর্ব্বক অবলোকন করিয়া হর্ষ প্রকাশ ) রাজা—( কৌতুকের সহিত ) বয়স্য, ওটা কি ? বসন্তক—ভাগ্যক্রমে আপনি উন্নতি লাভ করিতেছেন। আমি যে আপনাকেই বলিতে- ছিলাম—আপনিই ইহাতে অঙ্কিত হইয়াছেন, তা না হইলে অন্য কাহাকে কামদেবচ্ছলে গোপন করা হইবে ? রাজা—( সহর্ষে দুই হস্ত প্রসারিত করিয়া ) সখে, দেখি দেখি ! বসন্তক—না আপনাকে দেখাইব না। সেই কন্যাও এখানে অঙ্কিত রহিয়াছে। পারিতোষিক বিনা কি এইরূপ কন্যারত্ন দেখান যায় ? রাজা—( বলয় অর্পণ করিয়াই সবলে গ্রহণ করতঃ দেখিলেন ) বয়স্য, দেখ দেখ,— রাজহংসী যেমন অবলীলাক্রমে পদ্মকে কম্পিত করিয়া পক্ষবিস্তারপূর্ব্বক মানস- সরোবরে গমন করে, সেইরূপ কে এই ( কন্যা ) লীলাবিলাসে লক্ষ্মীকেও পরাজিত করিয়া আমার প্রতি অধিক স্নেহ প্রদর্শন করতঃ আমার চিত্তে প্রবেশ করি- তেছেন ? ।৭।

152 রত্নাবলী পুনশ্চ— ব্রহ্মা ইঁহার মুখকে অপূৰ্ব্ব পূর্ণচন্দ্রসদৃশ করিয়া সৃষ্টি করায় তাঁহার নিজের আসনপদ্ম নিমীলিত হইয়া যাওয়াতে নিশ্চয়ই তাঁহার (আসনে) অবস্থান কষ্টকর হইয়াছিল ॥১০॥ ( তারপর সুসঙ্গতা ও সাগরিকার প্রবেশ ) সাগরিকা—সখি সুসঙ্গতে, আমরা সারিকাকে পাইলাম না। এখন চিত্রফলকখানি কদলীগৃহ হইতে শীঘ্র লইয়া আসি। সুসঙ্গতা—তাহাই করা যাউক। ( উভয়েই কদলীগৃহের নিকটে চলিলেন ) বসন্তক—হে বয়স্য, কিজন্য ইঁহাকে অবনতমুখী করিয়া অঙ্কিত করা হইয়াছে? সুসঙ্গতা—সখি, যখন বসন্তক কথা বলিতেছেন, তখন মনে হইতেছে মহারাজও এখানে নিশ্চয় আছেন। তবে এস, কদলীগৃহের গুল্মান্তরালে থাকিয়া দেখি। ( উভয়ে শুনিতে লাগিলেন ) Eng. Trans. King. As you please (they sit and the King sighs and repeats the verse—Enduring……etc.) Vasantaka. (Looking to one side) O friend, this must be the cage of that Sáriká broken open probably by that wicked monkey. King. Friend, observe carefully. Vasantaka. As you command (Walking round and looking) Here is the picture-board too. I shall take it up. ( Takes it up, looks, and expresses delight) King. (Eagerly) What is that? Vasantaka. O friend, fortunately you are in good luck. Just as I said, here you are delineated (in the picture). Who but yourself could have been concealed under the pretext of the god of the flowery bow? King. (Holding out his hands with delight) My friend, just let me see, (show it to me). Vasantaka. I shall not show you now. That damsel too is here delineated. So, is such a jewel of a girl to be shown without any reward?

द्वितोयोऽङ्कः 153 King. (gives him a bracelet and at once taking the picture by force looks at it. Looking—with surprise) Ha ! behold, my friend— What lovely damsel drawn in the picture is this, that waving a lotus with graceful flurry (or overshadowing the fame of Padmá or Lakshmi by her graceful flurry), and showing much more affection towards me, is occupying my mind, as a lovely swan, shaking the lotus by graceful move- ment and flapping her wings, retire to the Mánasa lake. 9. Again,—Surely, the Creator having created her face like an unforeseen full moon underwent sorrow (lit. became badly seated) when the lotus used for his seat got closed. 10. (Then enter Ságariká and Susangatá) Ságariká. My friend Susangatá, we could not get at the parrot. So let us get the picture-board from the plantain- bower and come back very soon. Susangatá. Let us do that. (They approach) Vasantaka—Ha ! friend, why has she been drawn with her face downwards ? Susangatá. (Hearing) My friend, as I hear Vasantaka talking, so I suspect that the King also must be here. Let us therefore, conceal ourselves amongst the plants of the plantain- bower and see. ( Both hear ) राजा—वयस्य ! पश्य पश्य—( 'विधायापूर्व्वपूर्णेन्दुमित्यादि पुनः पठति ) सुसङ्गता—सखि ! दिट्ठिआ वड्ढसि ! एसो दे हिअअवल्लहो तुमं ज्जेव्व वण्णेदि । (क) सागरिका—( सलज्जम् ) सहि ! कीस परिहाससीलदाए इमं जणं लहुं करेसि ? (ख) (क) सखि, दिष्ट्या वर्धसे ! एष ते हृदयवल्लभः त्वामेव वर्णयति । (ख) सखि, कस्मात् परिहासशीलतया इमं जनं लघुं करोषि ?

154 रत्नावली वसन्तकः—( राजानं चालयित्वा ) णं भणामि—कीस एसा ओणदमुही आलिहिदा ? (क) राजा—वयस्य ! सारिकयैव सकलमावेदितम् । सुसङ्गता—( विहस्य ) सहि ! दंसिदं सारिआए अत्तणो मेहा- बित्तणं । (ख) वसन्तकः—अवि सुहायदि दे लोअणं ण वेत्ति ? (ग) सागरिका—( स्वगतम् ) किं एसो भणिस्सदित्ति । सच्चं ज्जेव्व मरणजीविदाणं अन्तरे वट्टामि । (घ) राजा—सुखयतीति किमुच्यते !— कृच्छ्रादूरुयुगं व्यतीत्य सुचिरं भ्रान्त्वा नितम्बस्थले मध्ये स्यास्त्रिवलीतरङ्गविषमे निष्पन्दतामागता । मद्दृष्टिस्तृषितेव सम्प्रति शनैरारुह्य तुङ्गौ स्तनौ साकाङ्क्षं मुहुरीक्षते जललवप्रस्यन्दिनी लोचने ॥११॥ सागरिका—( श्रुत्वा—स्वगतम्) हिअअ, पसीद पसीद ! समस्सस समस्सस ! मणोरहोवि दे दाणिं एत्तिअं भूमिं गदो । (ङ) (क) ननु भणामि । कस्यादिय मवनतमुखी चालिखिता ? (ख) सखि, दर्शितं सारिकया चात्मनो मेधावित्वम् । (ग) अपि सुखयति ते लोचनं न वा इति ? (घ) किमेष भणिष्यतीति । सत्यमेव मरणजीवितयोः अन्तरे वर्ते । (ङ) हृदय, प्रसीद प्रसीद ! समाश्वसिहि समाश्वसिहि ! मनोरथोऽपि ते इदानीं एतावतीं भूमिं गतः । 1 ससाध्वसम् ।

' or 'ऽ'? Wait, what if it's "र्ऽाकुलं"? That doesn't exist. Wait, is it "र्त्ताकुलं"? A 'त' with 'त' conjunct (त्त), with an aa-matra and a repha? Wait! In some Devanagari fonts, 'त्त' looks like a vertical stroke with a horizontal curl. But look at the shape: It looks like: Letter 1: a consonant with bottom curve. Letter 2: looks like 'ऽ' or 'डा'? Wait, what if it's "क्रीडाकुलं"? Let's check: 'क्री' (क with r-stroke and ii-matra) + 'डा' (ड with aa-matra) = "क्रीडाकुलं" !! LOOK AT IT! 'क्री' : 'क' with bottom slant '्र' and top 'ी' (ii-matra)? Wait, does it have an 'ी' matra? Look at the top: yes, a loop going right! And the next letter: 'ड' with 'ा' (aa-matra)! Wait, does 'ड' look like that? 'ड' looks EXACTLY like an avagraha / 'ड'! And after 'ड' is an aa-matra: 'डा'! Wait, is it "क्रीडाकुलं"? Wait, why would a woman have "क्रीडाकुलं भ्रमणम्"? Wait

ৌ? Wait, let's look at: ইবthen:মম: no, it's দৃষ্টিঃ? Wait, let's look at the characters: It says: দৃষ্টী? Wait, could it be: তৃষিতা ইব দৃষ্টিঃ স্তনৌ আরুহ্য? Wait, look at: ইবThen:দ্বে? Wait, look at the first glyph: It has a top horizontal line, then a loop down to the left... wait, it's দৃষ্টী? Wait, look at দৃ: in হৃদয়বল্লভ(line 7), look atহৃ. Look at দৃষ্টিin line 16: "আমার দৃষ্টি অতি কষ্টে" -> look atদৃষ্টিin line 16! In line 16:দৃষ্টিisদ+ৃ+ষ্টি! Now compare দৃষ্টিin line 16 with the word in line 3: In line 3, afterইব: Wait, it doesn't look like দৃষ্টি! Wait, what DOES it look like? Let's look at line 3 after ইব: There is a word: ম? ল? Wait, could it be: মুহুঃ? No, মুহুঃis in line 4:মু

द्वितीयोऽङ्कः 137 Eng. Trans. King. Friend ! behold, behold—(Repeats the shloka বিধায়াপূর্ব্ব etc. ) Susa. You are in luck, my friend ! your sweet-heart is describing you ( dwelling upon your charms ). Ság. ( Bashfully ) My friend ! out of your inborn tendency to cutting jokes, why do you ( how can you ) make so light of me ? Vás. (Pushing the King) Now I ask you, why has she been painted with her face cast down ? King. Friend ! The Sáriká has told us all. Sus. ( Smiling ) That Sáriká has revealed her power of repeating whatever she hears ( lit. retentive faculty or intelli- gence ). Vas. ( Well ), does ( she ) please your eyes ? Ság. ( To herself ) what will he say ( in reply ) ? True indeed ! I hang between life and death ! King. Please ( my eyes ) say you ! (What to speak of how she pleases my eyes ! )— My sight, passing over the pair of thighs with difficulty and wandering over the buttocks for a long time, has stood still coming to the middle ( waist ) uneven with the three wave-like folds ( wrinkles of her belly ) ; and now slowly ascending the pair of high ( plump ) breasts, is like a thirsty creature, wist- fully looking again and again at her eyes, from which oozes drops of water ( tears ). 11. Ság. ( Hearing—to herself ) My heart ! be pleased and consoled ! your desire also has travelled so far ! Sus. My friend ! do you hear ? Ság. ( Smiling ) You do hear please ; ah, you, whose skill in painting ( or whose execution of the portrait is being des- cribed ( i. e., praised ). Vas. (Looking at the picture) Well friend ! why this want

158 रत्नावलो of self-confidence in you—the covetable union with whom is thus highly thought of by even such ( beautiful ) girls —that you are not noticing your own self drawn here in this picture by her ? राजा ( निर्वर्ण्य ) अनया लिखितोऽहमिति यत् सत्यमात्मन्येव बहुमानः, तत् कथं न पश्यामि ? पश्य— भाति पतितो लिखन्त्यास्तस्या बाष्पाम्बुशीकरकणौघः । खेदोद्गम इव करतलसंस्पर्शादेष¹ मे वपुषि ॥ १२ ॥ सुसङ्गता—सहि ! तुमं' ज्जेब्ब एका सिलाहणीया जाए भट्टावि एब्बं मंतीअदि² । (क) विदूषकः ( पार्श्वतोऽवलोक्य ) भो वयस्स ! एदं खु ताए सरस- कमलिणीदलमुणालविरइदं मदणावस्थासूअअं सअणीअअं लक्खीअदि । (ख) राजा—निपुणमुपलक्षितम् । तथाहि— परिम्लानं पीनस्तनजघनसाङ्गादुभयत- स्तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् । इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैः कृशाङ्ग्याः सन्तापं वदति नलिनीपत्रशयनम् ॥ १३ ॥ अपिच--- स्थितमुरसि विशालं पद्मिनीपत्रमेतत् कथयति न तथाऽन्तर्मन्मथोत्थामवस्थाम् । (क) सखि, त्वमेव एका श्लाघनीया यया भर्त्तापि एवं मन्त्र्यते । (ख) भो वयस्य, एतत् खलु तस्याः सरसकमलिनीदलसृणालविरचितं मदनावस्था- सूचकं शयनीयं लक्ष्यते । 1 देव। 2 तुमं' जेब्ब धणा सिलाहणीया य जाए भट्टा एब्बं संतीसीअदि ।

द्वितीयोऽङ्कः 159 अतिशय^1परितापम्नापिताङ्गा^2 यथास्याः स्तनयुगपरिणाहं मण्डलाभ्यां ब्रवीति ॥ १४ ॥ विदूषकः—( नाट्येन मृणालिकां गृहीत्वा ) भो वयस्स ! अअं क्खु उबलद्धो^3 अवरो ताए ज्जेव्व पीणत्थणजोग्गो^4 किलिसंतकोमल- मुणालहारो, ता पेक्खदु भवं । (क) राजा—( गृहीत्वोरसि विन्यस्य सोपालम्भम् ) अयि जडप्रकृते ! परिस्रुतस्तत्कुचकुम्भमध्यात् किं शोषमायासि मृणालहार ? न सूक्ष्मतन्तोरपि तावकस्य तत्रावकाशो भवतः किमु^5 स्यात् ? ॥ १५ ॥ सुसङ्गता—( आत्मगतम् ) हद्धी हद्धी ! गुरुआणुराअक्खित्त- हिअओ भट्ठा असंबद्धं वि मंतिदुं पउत्तो ! ता अदो अवरं उण ण जुत्तं छबेक्किदुं^6 दाव । ( प्रकाशम् ) सहि ! जस्स किदे तुमं आगदा, सो अअं दे पुरदो चिट्ठदि । (ख) (क) भो वयस्य, अयं खलु उपलब्धः अपरः तस्या एव पीनस्तनयोग्यः क्लिश्यत्- कोमलमृणालहारः, तत् प्रेक्षतां भवान् । (ख) हा धिक् ! हा धिक् ! गुरुकानुरागक्षिप्तहृदयः भर्त्ता असम्बद्धमपि मन्त्रयितुं प्रवृत्तः । तत् अतोऽपरं (अतः परं) पुनर्न युक्तमुपेक्षितुं तावत् । सखि, यस्य कृते त्वमागता सोऽयं ते पुरतः तिष्ठति । बहुमानः आदरः । भातीति । बाष्पाणां नेत्रजलानां शीकरकणाः जलकणाः 1 अतिगुरु । 2 म्नापिताभ्यां । 3 अअं चवरी ताए ; उभअदो । 4 इदं ; वल्लभा । 5 कथम् । 6 अबेक्खिदुं, भोदु एव्वं दाव ।