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

' 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 ।

यहाँ पृष्ठ का पंक्ति-दर-पंक्ति लिप्यन्तरण प्रस्तुत है:

160 रत्नावली “कणी धान्यांशलेशयोः” इति हैमः । तेषां ओघः समूहः । स्वेदोद्गमः घर्मोत्पत्तिः अनेन सात्त्विकभावोद्रेकः ध्वनितः ॥ १२ ॥ श्लाघनीया धन्या । कमलिनीदलानि पद्मपत्राणि मृणालानि च । तैः विरचितं शयनीयं शय्या । परिम्लानमिति । पीनस्तनजघनसाङ्गात् परिम्लानं सम्मर्द्दितं तयोरुभयोर्विशालत्वाद् भारवत्त्वाच्च । उभयतः शय्यायाः उभयोर्भागे इत्यर्थः । तनोः मध्यस्य कटिदेशस्य परि- मिलनं सम्पर्कम् अप्राप्य कटिदेशस्य चौशल्यात् शय्यायां तस्थानलग्नपलाश शरीरसन्तापेन दाहस्य अभावः इत्यर्थः । हरितम् अविदग्धं शरीरतापाप्राप्तौ न विवर्णम् । श्लथे शिथिले भुजलते तयोः आक्षेपाः विक्षेपाः वलनानि चलनानि तैः मदनसन्तापाद् इत्यर्थः । [L1

द्वितीयोऽङ्कः 161 हा धिगिति। गुरुकाणुरागविस्स्रदयः गुरुकेण महता अनुरागेण प्रेम्ना -विस्स्रदयः विचित्रचित्तः। असम्बद्धं असंलपम्। अचेतने ऽपि चेतनावद्गत्या तस्य प्रलापोक्तिरित्यर्थः। Prose.—लिखन्त्यास्तस्याः एषः बाष्पाम्बुशीकरकणौघः मे वपुषि पतितः ( सन् ) करतलसंस्पर्शात् स्वेदोद्गम इव भाति ॥ १२ ॥ पीनस्तनजघनसाङ्गाद् उभयतः परि- म्लानम् तन्व्याः मध्यस्य अन्तः परिमिलनम् अप्राप्य हरितम् इदं नलिनीपत्रशयनं श्लथ- भुजलताविक्षेपवलनैः व्यत्यस्तं ( सन् ) कृशाङ्ग्याः सन्तापं वदति ॥ १३ ॥ एतत् विशालं पद्मिनीपत्रम् उरसि स्थितम् अन्तः मन्मथोत्थाम् अवस्थां न तथा कथयति यथा (एतत्) मण्डलाभ्याम् अतिशयपरितापम्लापिताङ्ग्याः अस्याः स्तनयुगपरिणाहं ब्रवीति ॥ १४ ॥ [

162 রত্নাবলী মণ্ডলের চিহ্ন দ্বারা) অতিশয় (অভ্যন্তরীণ) সন্তাপবশতঃ ক্লিষ্ট অবয়ববিশিষ্ট। ইহার স্তনযুগলের বিশালতাকে সূচিত করিতেছে। ১৪। বিদূষক—(মৃণাল তুলিয়া লইয়া) হে বয়স্য! এখন দেখুন—তাঁহারই পীনস্তনযোগ্যা পরিম্লান কোমল মৃণালহার অপর একটা পাওয়া গিয়াছে। রাজা—(গ্রহণ করিয়া বক্ষে স্থাপনপূর্ব্বক তিরস্কার করিলেন) হে জড়স্বভাব মৃণালহার! তাঁহার কুচকুম্ভ মধ্য হইতে পরিচ্যুত হইয়া কেন শুষ্ক হইয়া যাইতেছ? সেখানে (যখন) তোমার সূক্ষ্মতন্তুরও থাকিবার স্থান নাই, (তখন) তোমার (স্থান) কিরূপে হইবে? । ১৫। সুসঙ্গতা—(স্বগত) হা ধিক্, হা ধিক্! নিরতিশয় প্রেমপ্রযুক্ত মহারাজের হৃদয় চঞ্চল হইয়া উঠায় তিনি অসম্বদ্ধ প্রলাপ করিতে আরম্ভ করিয়াছেন। অতএব ইহার পর আর উপেক্ষা করা উচিত নহে। (প্রকাশ্যে) সখি, যাহার জন্য তুমি এখানে আসিয়াছ, তিনি এইখানে তোমার সম্মুখেই রহিয়াছেন। Eng. Trans. King. (Looking scrutinizingly) My friend ! It is true that I being delineated by her in the picture, feel (some) regard for my own self. Then why shall I not look at it ? Behold—The particles of the drops of her tears falling (on my portrait) while painting the picture, shine as the bursting forth of perspiration on the body due to the touch of her hands. 12. Susangatá. My friend, you alone are certainly fortunate (praiseworthy) !—Ah, you, for whom even the lord himself speaks in this strain. Jester. (Looking to one side) Hallo my friend ! here is noticed the bed composed of the wet lotus-leaves along with with the lotus-stalks indicating her love-sick condition. King. My friend, you have noticed well, inasmuch as this bed of lotus-leaves—that has faded away on both the extremities coming in contact with her well-developed breasts and thighs and that still remains green in the middle which has not come into touch with her slender waist and that has been

द्वितीयोऽङ्कः 163 out of order, owing to the convulsions and tossing of her creeper-like arms,—indicates the (internal) affection of that slender-bodied maiden. 13. Again,—this broad lotus-leaf that has reposed upon her bosom does not reveal so much her internal fervour of love (lit. love-sick condition), as it does indicate by means of the two circles (caused by the shape of her breasts) the expanse (fulness) of the two breasts (of the girl) whose limbs are pallied with intense heat. 14. Jester. (Gesticulating the picking up of the lotus-stalk) Ah my friend! behold, here is another vestige—a garland of faded soft lotus-stalks fitting the plump bosom of her alone. King. (Taking and placing it on his breast,—with reproach) Oh you who are stupid by nature! Oh you garland of lotus- stalks! why are you getting withered being fallen from the intervening space of her two pitcher-like breasts? There is no space there even for the fine fibre of yours, much less for you! 15. Susangatá. (Aside to herself) Alas! His Majesty, with his heart perturbed by an intense fervour of love, begins thus to talk incoherently even; so it will not be proper to overlook it after this. (Aloud) My friend, (the person) for whom you have come, is here personally present before you. सागरिका—(सास्रम्) सहि ! कस्स किदे अहं आअदा ? (क) सुसङ्गता—(विहस्य) अइ असंसङ्किदे ! णं चित्तफलअस्स, गेण्ह तं १ । (ख) सागरिका—(सरोषम्) अइ णिउणा क्खु तुमं बि ईदिसाणं (क) सखि ! कस्य कृते अहमागता ? (ख) अयि असम्यक्शङ्किते ! ननु चित्रफलकस्य, गृहाण तत् । 1 ता गेण्ह एदं ।

164 रत्नावलो . आलाबाणं । ता अन्नदो गमिस्सं । ( इति गन्तुमिच्छति ) (क) सुसङ्गता—अइ असहणे ! इह दाब मुहुत्तअं चिट्ठ, जाब इमादो कदलीघरादो चित्तफलअं गेण्हिअ आगच्छामि । (ख) सागरिका—सहि ! एव्वं करेहि । (ग) सुसङ्गता—एव्वं करेह्मि । (घ) ( सुसङ्गता कदलीगृहाभिमुखं परिक्रामति ) विदूषकः ( सुसङ्गतां दृष्ट्वा ससम्भ्रमम् ) भो वयस्स ! पच्छादेहि एदं चित्तफलअं इमिणा कदलीपत्तेण । एसा क्खु देवीए परिचारिआ सुसंगदा आगदा । (ङ) ( राजा पटान्तेन फलकमाच्छादयति ) सुसङ्गता—( उपसृत्य ) जयदु जयदु भट्टा । (च) राजा—सुसङ्गते ! स्वागतम् । इहोपविश्यताम् । ( सुसङ्गता उपविशति ) राजा—कथमिहस्थोऽहं भवत्या ज्ञातः ? ‘ सुसङ्गता—( विहस्य ) ण केवलं देवो, चित्तफलएण सह (क) अयि, निपुणा खलु त्वमपि ईदृशानामालापानाम् ! तद् अन्यतः गमिष्यामि । (ख) अयि असहने, इह तावत् मुहूर्त्तं तिष्ठ, यावद् अस्मात् कदलीगृहात् चित्र- फलकं गृहीत्वा आगच्छामि । (ग) सखि, एवं कुरु । (घ) एवं करोमि । (ङ) भो वयस्य, प्रच्छादय एतत् चित्रफलकम् अनेन कदलीपर्णेन । एषा खलु देव्याः परिचारिका सुसङ्गता आगता । (च) जयति जयति भर्त्ता ! 1 अइ अणिउणा क्खु तुए इंदिसाणं आलाबाणं ; अउसलक्खि तुह इंदिसाणं etc. 2 पुस्तकान्तरे नास्ति ।

दयिष्यामि।->तत् देव्यै गत्वा निवेदयिष्यामि।`

`(ख) भो वयस्य, सर्व्वं सम्भाव्यते। मुखरा खलु एषा गर्भदासी। तत् परितोषय`
Wait, `सर्व्वं` with double `व`.

`एनाम्।`

`अन्यशङ्किते अन्येन विपरीताभिप्रायेण शङ्किते। चित्रफलकस्य इति चित्रफलकस्य`

`कृते न तु पुनः राज्ञः कृते इति भावः। ईदृशानां वचः-पराणामित्यर्थः। स्वागतं सुष्ठु`
Wait, in L14: `ईदृशानां वचःपराणामित्यर्थः।` or `ईदृशानां वचः-पराणामित्यर्थः।`?
There is a small dash between `वचः` and `पराणामित्यर्थः`: `वचः-पराणामित्यर्थः।`

`पागतम् आगमनम् शुभागमनमित्यर्थः। गर्भदासी गर्भादारभ्य दासी आजन्मक्रीतदासी-`

`त्यर्थः। मुखरा कलहप्रिया, परकीय रहस्यप्रच्छादने असमर्था वा।`
Wait,

166 রত্নাবলী সাগরিকা—সখি, তাহাই কর। সুসঙ্গতা—হাঁ, তাহাই করি। ( সুসঙ্গতা কদলীগৃহভিমুখে পরিক্রমণ করিল ) বিদূষক—( সুসঙ্গতাকে দেখিয়া—সসম্ভ্রমে) হে বয়স্য, এই কদলীপত্রের দ্বারা চিত্রফলক আচ্ছাদিত করুন। এই যে দেবীর পরিচারিকা সুসঙ্গতা আসিয়া উপস্থিত। ( রাজা বস্ত্রাঞ্চলে চিত্রফলক আচ্ছাদিত করিলেন ) সুসঙ্গতা—( অগ্রসর হইয়া ) মহারাজের জয় হউক ! রাজা—সুসঙ্গতে, স্বাগত ! এইখানে উপবেশন কর। ( সুসঙ্গতা উপবেশন করিল ) রাজা—সুসঙ্গতে, আমি যে এইখানে রহিয়াছি, তুমি কিরূপে জানিলে ? সুসঙ্গতা—( হাসিয়া ) শুধু আপনাকে নয়, চিত্রফলক সহ সমস্ত বৃত্তান্তই আমি জানিয়াছি। এখন দেবীকে গিয়া সমস্ত নিবেদন করিব। বিদূষক—( মুখ ফিরাইয়া—সভয়ে) হে বয়স্য, ইহা দ্বারা সবই সম্ভবপর, এই গর্ভদাসীটা ( ভয়ানক ) মুখরা। ইহাকে পরিতুষ্ট করুন। রাজা—ঠিকই বলিয়াছ। ( সুসঙ্গতার হস্ত ধারণ করিয়া ) সুসঙ্গতে, ইহা ক্রীড়ামাত্র। অকারণে দেবীকে ব্যথা দেওয়া উচিত নয়। এই তোমার পারিতোষিক। ( কর্ণাভরণ প্রদান করিতে ইচ্ছা করিলেন ) Eng. Trans. Ságariká. (With intolerance) My friend, what did I come for, pray ? Susangatá. Oh, you who are prone to anticipate other things ! I say, for the picture-board (you have come) ; so take it. Ságariká—( With anger ) Ah you, too, are adept in this sort of talks ! So, I shall go elsewhere. ( Wants to depart) Susangatá. Oh, impatient one, just stop a moment, while I shall return with the picture-board from this plantain-bower. Ságariká. My friend, please do so. Susangatá Yes, I shall do that. ( Susangatá moves towards the plantain-bower ) Jester. (Seeing Susangatá—in a hurry) Oh, friend, just hide

द्वितीयोऽङ्कः 167 the picture-board with this plantain-leaf ; here comes Susangatá one of the Queen's attendants. ( The King hides the picture-board with his mantle ) Susangatí. ( Approaching ) Glory ( victory ) to Your Majesty ! King. Welcome, Susangatá ! Sit down here. ( Susangatá sits down ) How know you that I was here ? Susangatá. ( Laughing ) Not only your Majesty, but I have come to know everything in connection with the picture- board. So, now I am going to report all these to Her Majesty. Jester. ( Apart to the King—with fear ) Oh my friend ! Everything is possible ( with her ). This slave-girl is a great tattler ( or, this slave-maid is very quarrelsome ). So, rather appease her ( with bribe in the form of presents ). King—You have said rightly ( catching hold of Susangatá's hand ) Oh, Susangatá, this is but a matter of sport (jest) for which the Queen should not be troubled without reason. This is your reward. ( Takes off his earring and offers it to her. ) सुसङ्गता--(स्वगतम्) पसन्नो भट्टा¹। (प्रकाशम्² ) अलं सङ्काए । एदिणा भत्तुणो पसादेण अ कीलिदं ज्जेव्व । भत्तिणीए पसादेण बहुदरं कीलितं ज्जेव्व³। एस उण मे गरुओ पसादो करीअदु जं कीस तुए एत्थ चित्तफलए अहं आलिहिदेत्ति भणिअ कुविदा मे पिअसही सागरिआ चिट्ठदि। ता गटुअ पसादीअदु एसा। (क) (क) प्रसन्नो भर्त्ता। अलं शङ्कया। एतेन भर्तुः प्रसादेन च क्रीडितमेव। भर्त्र्याः प्रसादेन बहुतरं क्रीडितमेव। एष पुनर्मे गुरुकः प्रसादः क्रियतां यत्, कस्मात् त्वया अत्र चित्रफलके अहमालिखितेति भणित्वा कुपिता मे प्रियसखी सागरिका तिष्ठति। तद् गत्वा प्रसाद्यताम् एषा।

1. पुस्तकान्तरे नास्ति। 2. प्रणम्य सस्मितम्। 3. ता किं कण्डाइरयेण ?

' becomes 'भट्टा' (Bhaṭṭā) for king/master! Yes, "भट्टा" (bhaṭṭā) is standard vocative for king in drama!

Now let's check: चिट्ठदि² Yes, चिट्ठदि² । (क) And footnote 2: 2. पुस्तकान्तरे नास्ति ।

Line 4: राजा—आदिश मार्गम् ।

Line 5: सुसङ्गता—इदो इदो भट्टा³ । (ख) Footnote 3: 3. एदु एदु भट्टा । Chhaya (ख): (ख) इतः इतः भर्त्ता ।

Line 6: ( इति परिक्रामतः )

Line 7: विदूषकः—भो गेण्हामि एदं चित्तफलयं, एदस्स कज्जं Wait, is it चित्तफलयं or चित्तफलं? Look at line 7: भो गेण्हामि एदं चित्तफलयं, -> wait! Look at the word: चि त्त फ ल यं? Wait, between ल and ,: Is it चित्तफलअं or चित्तफलयं or चित्तफलं? Let's look closely:

द्वितीयोऽङ्कः 169 तक्केमि पधाबइणो बि एदं णिम्माइअ विम्हओ समुप्पण्णोत्ति । (क) राजा—वयस्य ! ममाप्येवं मनसि वर्त्तते— दृशः पृथुतरीकृता जितनिजाब्जपत्रत्विष- श्चतुर्भिरपि साधु साध्विति मुखैः समं व्याहृतम् । शिरांसि चलितानि विस्मयवशाद् ध्रुवं वेधसो¹ विधाय ललनां जगत्त्रयललामभूतामिमाम् ॥ १६ ॥ (क) ही ही भोः ! आश्चर्यम् आश्चर्यम् ! ईदृशं कन्यारत्नं मनुष्यलोके न दृश्यते । तत् तर्कयामि प्रजापतेरपि एतां निर्म्माय विस्मयः समुत्पन्न इति । क्रीडितम् एव विनोदनाथमित्यर्थः । जगतां स्वर्गमर्त्यपातालानां त्रयं तत्र ललामभूताम् भूषणभूताम् इमां कन्यां सागरिकारूपां विधाय निर्म्माय वेधसः ब्रह्मणः । वेधसा इति साधीयान् पाठः, अन्यथा विधाय इत्यनेन सहानुपपत्तिः स्यात् । विस्मयवशात् अस्या लावण्यातिशयदर्शनेनेत्यर्थः । जितनिजाब्जपत्रत्विषः निजम् अब्जं पद्मम् उपवेशनार्थमित्यर्थः । तस्य पत्राणि दलानि तेषां त्विट् । जिता निजाब्जपत्रस्य त्विट् याभिः ताः दृशः इत्यर्थः । पृथुतरीकृता विपुलीकृताः अलोकसामान्यरूपदर्शनेनेत्यर्थः । चतुर्भिः मुखैः अपि साधु साधु इति प्रशंसावचनं समं युगपत् व्याहृतम् उक्तम् । शिरांसि चलितानि कम्पितानि चलितानीति यावत् । चल् धातोः अन्तर्भावितणिजन्तत्वात् चलितानि इति । ध्रुवमिति उत्प्रेक्षायाम् । पृथ्वीवृत्तम्—"जसौ जसयला वसुग्रहयतिय पृथ्वी गुरुः” ॥ १६ ॥ Prose. जगत्त्रयललामभूताम् इमां विधाय वेधसः ( वेधसा वा ) विस्मयवशाद् ध्रुवं शिरांसि चलितानि, चतुर्भर्मुखैः साधु साध्विति समं व्याहृतम् जितनिजाब्जपत्रत्विषः दृशः पृथुतरीकृता ॥ १६ ॥ Beng. Trans. সুসঙ্গতা—( স্বগত ) মহারাজ প্রসন্ন হইয়াছেন । ( প্রকাশ্যে ) ভয় করিবেন না । মহারাজের অনুগ্রহে ( এই টুকু ) তামাসা করিলাম মাত্র । দেবীর অনুগ্রহে অনেক আমোদ করিয়াছি । এখন আমার প্রিয়সখী সাগরিকা—‘কেন তুমি আমাকে এই

1. वेधसा ।

170 রত্নাবলী চিত্রফলকে অঙ্কিত করিলে'—এই বলিয়া কুপিত হইয়াছেন। তা যাইয়া তাঁহাকে একটু সন্তুষ্ট করুন,—ইহাতেই আমার উপর মহান্ অনুগ্রহ ( করা হইবে )। রাজা—( সহসা উঠিয়া ) সুসঙ্গতে, তিনি কোথায় ? সুসঙ্গতা—মহারাজ, তিনি এই কদলীগুল্মের আড়ালে রহিয়াছেন। রাজা—( তাহা হইলে ) পথ দেখাও। সুসঙ্গতা—মহারাজ, এই যে এই দিকে। ( উভয়ে পরিক্রমণ করিলেন ) বিদূষক—আমি এই চিত্রফলকটী লইয়া যাইতেছি ; ইহার দ্বারা কাজ হইবে। ( সেইরূপ করিলেন ) ( সকলে কদলীগৃহ হইতে নিষ্ক্রান্ত হইলেন ) সাগরিকা—( রাজাকে দেখিয়া সহর্ষে সভয়ে কাঁপিতে কাঁপিতে স্বগত ) । হা ধিক্ হা ধিক্ ! ইঁহাকে দেখিয়া অতিশয় ভীতিবশতঃ এক পদ হইতে পদান্তরে চলিতে পারিতেছি না। তা এখন এখানে কি বা করিব ? বিদূষক—( সাগরিকাকে দেখিয়া ) আহা ! আহা ! কি আশ্চর্য্য ! কি আশ্চর্য্য ! ঈদৃশ কন্যারত্ন মনুষ্যলোকে দেখা যায় না। তা আমার মনে হয়, ইঁহাকে নির্মাণ করিয়া প্রজাপতিরও বিস্ময় উৎপন্ন হইয়াছে। রাজা—বয়স্য, আমারও এইরূপ মনে হইতেছে— ত্রিভুবনের অলঙ্কারভূতা এই কন্যাকে সৃষ্টি করিয়া বিস্ময়বশে ব্রহ্মা নিশ্চয়ই তাঁহার শির কম্পিত করিয়াছিলেন ও চতুর্মুখে যুগপৎ 'সাধু'বাদ উচ্চারণ করিয়াছিলেন এবং স্বকীয় পদ্মপুষ্পের পত্রের কান্তি-তিরস্কারী লোচনসমূহকে বিস্ফারিত করিয়াছিলেন ॥ ১৬ ॥ Eng. Trans. Susangatá—( To herself ) The King is now pleased. ( Aloud ) Your Majesty need not fear. I was but in jest through Your Majesty's grace ; and through Her Majesty's grace I have also indulged in jest thus many times. Now this will be a great favour unto me—my dear friend Ságariká is very angry with me saying, 'why have I been drawn by you in this picture-board' (and I shall be much obliged) if Your Majesty be pleased to approach her and appease her ( resentment ). King. (Springing up ) Susangatá ! where is she ?

द्वितीयोऽङ्कः 171 Susangatá. Your Majesty, she is concealed behind this plantain bower. King. Lead me there ( show me the way there ). Susangatá. This way, my lord ! ( Both walk round ) Jester. Let me take this picture-board ; there may be ( some ) necessity for it. ( Doing so ) ( All exeunt from the plantain-bower ) Ságariká. ( Seeing the King with joy, fear and tremor—to herself ) Alas ! Alas ! at the sight of this person I cannot move from one step to another through extreme nervousness ; so what shall I do here ? Jester. (Seeing Ságariká) Oh, how wonderful ! how wonder- ful ! such a jewel of a damsel is not to be found in this world of men. So, I guess that after creating her astonishment arose even in the Creator Himself. King. Friend ! such are my impressions also ( such is in my mind as well )— When the Creator created this lovely girl the ornament of the three worlds, His heads must have been surely shaken in wonder, His four mouths must have at once exclaimed ‘bravo, bravo’ in concert, and His eyes, surpassing the beauty of the petals of his own lotus, must have been expanded ( through delight and wonder ). 16. सागरिका—( सासूर्य सुसङ्गतामालोक्य ) सहि ! ईदिसो चित्त- फलओ तुए आणीदो ? ( इति गन्तुमिच्छति¹ ) । (क) राजा—दृष्टिं रुषा क्षिपसि, भामिनि ! यद्यपीमां स्निग्धे यमेष्यति तथापि न रूक्षभावम् । (क) सखि, ईदृशः चित्रफलकः त्वयानीतः !

1. इति गच्छति ।

172 रत्नावली त्यक्त्वा त्वरां व्रज पदैः¹ स्खलितैरयं ते खेदं गमिष्यति²गुरुर्नितरां नितम्बः ॥ १७ ॥ सुसङ्गता—भट्टा ! अदिकोवणा क्खु एसा । ता अग्गहत्थे³ गेण्हिअ पसादेहि णं । (क) राजा—( सानन्दम् ) यथाह भवती । ( सागरिकां हस्ते गृहीत्वा स्पर्शसुखं नाटयति ) विदूषकः—भो ! एसा क्खु तुए अपुव्वा सिरी समासादिदा ! ( ख ) राजा—वयस्य ! सत्यम् ।— श्रीरैषा पाणिरप्यस्याः पारिजातस्य पल्लवः । कुतोऽन्यथा पततेष⁴ स्वेदच्छद्मामृतद्रवः ॥ १८ ॥ सुसङ्गता—सहि ! अदिनिट्ठुरा दाणिं सि, तुमं, जा एव्वं भट्टिणा हत्थेबलंबिदा बि कोवं ण मुंचेसि⁵ । (ग) सागरिका—(ससम्भ्रमम्) अइ सुमङ्गदे ! अज्ज वि ण विरमसि ! ( घ ) (क) भर्तः, अतिकोपना खलु एषा । तद् अग्रहस्ते गृहीत्वा प्रसादय एनाम् । (ख) भोः, एषा खलु त्वया अपूर्वा श्रीः समासादिता । (ग) सखि, अतिनिष्ठुरा इदानीमसि त्वम्, या एवं भर्त्रा हस्ते अवलम्बितापि कोपं न मुञ्चसि । (घ) अयि सुसङ्गते ! अद्यापि न विरमसि !

1. पदस्खलितैः । 2. करिष्यति । 3. हत्थे । 4. स्रवतेषः । 5. अदक्खिणा ...गहिदावि ।

द्वितीयोऽङ्कः १७३ राजा—प्रिये सागरिके ! १न खलु सखीजने युक्तमेवं कोपानु- बन्धं कर्तुम्२ । विदूषकः३—भोदि ! बुभुक्खिदो बह्मणे विअ किं कुप्पसि ? ( क ) सुसङ्गता*—सहि ! तुए सह ण बोलइस्सं४ । (ख) राजा—अयि कोपने ! नैतद्युक्तं समानप्रतिपत्तिषु सखीषु५ । विदूषकः—एसा क्खु अवरा देवी बासबदत्ता ! (ग) ( राजा सचकितं सागरिकाया हस्तं मुञ्चति ) सागरिका—( ससम्भ्रमम्) सुसंगदे ! किं दाणिं करिस्सं ? (घ) सुसङ्गता—सहि ! एदं तमालविड़बं६ अंतरिअ इदो णि- क्कमह्म । (ङ) ( इति निष्क्रान्ते ) राजा—( पार्श्वतोऽवलोक्य सवैलक्ष्यम् ) क्कासौ देवी वासवदत्ता ? विदूषकः—७भो ! सा एदं । सा क्खु७ अवरा देवी बासबदत्ता अदिदीहररोसदाएत्ति भणिदं । ( च ) (क) भवति, बुभुक्षितः ब्राह्मणः इव किं कुप्यसि ? (ख) सखि, त्वया सह न वदिष्यामि । (ग) एषा खलु अपरा देवी वासवदत्ता ! (घ) सुसङ्गते, किमिदानीं करिष्यामि ? (ङ) सखि, एतं तमालविटपम् अन्तरित्वा निष्क्रामावः । (च) भोः, सा इदम् । सा खलु अपरा देवी वासवदत्ता अतिदीर्घरोषतयेति भणितम् । १. न खलु युज्यते सखीजने एवंविधः कोपानुबन्धः । २ अयि प्रसीद । ३, ४, ५. पुस्तकान्तरे न दृश्यते । ६. एदाए कदलीवीधियाए । ७. ण आणामि क सा । मए एसा क्खु...। or मा ण' एदं । पुस्तकान्तरेषु सागरिकाया उक्तिरियम् ।

(ya with dot below) or য়? It is 'য়া' (ya with dot and aa-kar: য়া). Wait, look at 'করিয়া': in Bengali 19th-century print: 'র' has a dot or cross? Bengali 'র' is ব with a diagonal slash or dot. 'য়' is য with a dot below. In "করিয়া": ক - রি - য়া. In "লইয়া": ল - ই - য়া. In "আসিয়াছ": আ - সি - য়া - ছ. In "যাইতে": যা - ই - তে. Line 20 ends with: "তুমি এইরূপ" Line 21: চিত্রফলক লইয়া আসিয়াছ ! ( যাইতে ইচ্ছা করিলেন ) Line 22: রাজা—হে কোপনে ! যদিও তুমি সক্রোধ দৃষ্টি নিক্ষেপ করিতেছ, তথাপি তোমার Wait, look at "সক্রোধ": In Line 22: "সক্রোধ দৃষ্টি নিক্ষেপ করিতেছ, তথাপি তোমার" Wait, in Line 20, was it "সক্রোধে"? "সাগরিকা—( সক্রোধে সুসঙ্গতার প্রতি অবলোকন করিয়া ) সখি, তুমি এইরূপ" Yes!

Line 23: স্নিগ্ধ ( দৃষ্টি ) কর্কশভাব ধারণ করিতেছে না। তুমি ত্বরা পরিত্যাগ করিয়া গমন কর ; Notice the semicolon: "