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

176 रत्नावली your stumbling footsteps, your heavy buttock will feel pain in the extreme. 17. Susangatí. She is very angry, Sire! take her forearm and pacify her. King. (Joyfully) Madam! as you advise. (Takes Sága- riká by the hand and feels the delight of her touch) Jester. Sire, now you have attained unprecedented beauty indeed! King. You say rightly. She is the very goddess of Fortune (Lakshmi) herself; her hand is the new shoot of the Párijáta tree; otherwise whence distil these dew-drops of Nectar in the form of sweat? 18. Susangatá. My friend, you are very cruel now; since though His Majesty catches hold of your hand you are not discarding your anger! Ságariká. (Frowning) Oh Sugangatá, will you not forbear still? King. My beloved Ságariká, it is not proper to continue (this) angry attitude towards your friend. Susangatá. (or Ság.) I shall not speak with you, my friend King. O resentful girl! it is not proper to cherish such attitude towards your intimate companions (who possess the same inclinations as yourself). Jester. Hey! she is a second Vásavadattá! (The King lets go Ságariká's hand with a start) Ságariká. (In a hurry) Susangatá, what to do now? Susangatí. Why, my friend, we can escape unperceived behind the branches of the Tamála tree. (Both exeunt) King. (Looking to one side with wonder) Where is the Queen Vásavadattí? Jester. Hallo! This is she. I said,—she (seems to be) a

द्वितीयोऽङ्कः 177 second Queen Vāsavadattā on account of the long continuance of her angry temper. राजा— प्राप्ता कथमपि दैवात् कण्ठमनीतैव¹ सा प्रकटरागा । रत्नावलीव कान्ता मम हस्ताद् भ्रंशिता भवता ॥१८॥ (ततः प्रविशति वासवदत्ता काञ्चनमाला च) वासवदत्ता—हञ्जे कंचणमाले ! अध केत्तिअ दूरे दाणिं सा अज्जउत्तेण परिगहिदा णोमालिआ ? (क) काञ्चनमाला—एदं कअलीघरं अदिक्कमिअ दीसदि । (ख) वासवदत्ता—तेण हि आदेसेहि मग्गं । तत्थ ज्जेब्ब² गच्छह्म । (ग) काञ्चनमाला—ता एदु एदु भट्टिणी । (घ) • (इति परिक्रामतः) राजा—क्वे दानीं प्रियतमा³द्रष्टव्या ? काञ्चनमाला—भट्टिणि ! जह समीवे भट्टा मंतेदि, तह (क) हञ्जे काञ्चनमाले, अथ कियद्दूरे इदानीं सा आर्यपुत्रेण परिगृहीता नवमालिका ? (ख) एतत् कदलीगृहमतिक्रम्य दृश्यते । (ग) तेन हि आदिशय मार्गम् । तत्र एव गच्छावः । (घ) तद् एतु एतु भर्त्री ! 1 चनीतैव । 2 तेण तहिं ज्जेब्ब । 3 प्रिया । 12

178 रत्नावली तक्केमि भट्टिणीं एव्व पडिवालअंतो चिट्ठदित्ति । ता उवसप्पदु भट्टिणी । (क) वासवदत्ता ( उपसृत्य ) जअदु जअदु अज्जउत्तो । (ख) विदूषकः—( कक्षायां फलकं निक्षिप्य उत्तरीयॆण प्रच्छादयति ) एसा क्खु देवी आगदा¹ । (ग) राजा—( अपवार्य्य ) वयस्य ! प्रच्छादय चित्रफलकम्² । देवि ! स्वागतम् ! इहास्यताम्³ । वासवदत्ता—( उपविश्य ) अज्जउत्त ! अध सच्चं ज्जेव्व कुसुमिदा णोमालिआ ? (घ) राजा—( सस्मितम् ) प्रथममागतैरस्माभिश्च चिरयसीति न सा दृष्टा । तदेहि । समेतावेव⁴ तां पश्यावः । वासवदत्ता—( निर्वर्ण्य ) अज्जउत्त-मुहाणुराआदो ज्जेव्व मए जाणिदं जहा कुसुमिदा णोमालिआत्ति । ता⁵ गमिस्सं । (ङ) (क) भवि', यथा समीपे भर्त्ता भज्यते, तथा तर्कयामि भर्त्रीमेव प्रतिपालयन् तिष्ठति । तद् उपसर्पतु भर्त्री । (ख) जयति जयति आर्य्यपुत्रः ! (ग) एषा खलु देवी आगता । (घ) आर्य्यपुत्र, अथ सत्यमिव कुसुमिता नवमालिका ? (ङ) आर्य्यपुत्रमुखानुरागात् एव मया ज्ञातं यथा कुसुमिता नवमालिका इति । तद् गमिष्यामि ? 1 पुस्तकान्तरे नास्ति । 2 विदूषको गृहीत्वा कक्षे निक्षिपति । 3 पुस्तकान्तरे नास्ति । 4 सहितावेव । 5 ता अ ।

द्वितीयोऽङ्कः 179 विदूषकः—भोदि ! जइ एव्वं ता जिदं अह्मेहिं¹ । (क) ( इति बाहू प्रसार्य्य नृत्यति । कच्छायाः फलकं पतति । तद् दृष्ट्वा विषादं नाटयति² ) ( राजापवार्याङ्गुल्या दर्शयन् वसन्तकमुखं पश्यति³ ) विदूषकः—( अपवार्य्य ) भो ! मा कुप्प । तुमं⁴ चिट्ठ । अह ज्जेव्व एत्थ जाणिस्स⁵ । (ख) काञ्चनमाला—( फलकं गृहीत्वा ) भट्टिणि ! पेक्ख दाव किं एत्थ चित्तफलए आलिहिदम् । (ग) (क) भवति, यदि एवं तत् जितमस्माभिः । (ख) भोः, मा कुप्य । त्वं तिष्ठ, अहमेवात्र ज्ञास्यामि । (ग) भर्त्रि, प्रेक्षस्व तावत् किमत्र चित्रफलके आलिखितम् । कथमपि दैवात् प्राप्ता अधिगता कण्ठम् अनीता एव ( कान्तापक्षे ) कण्ठाश्लेषम् अप्रापिता एव ; ( रत्नमालापक्षे ) कण्ठं गलदेशमप्रापितैव । प्रकटरागा ( कान्तापक्षे ) सुस्पष्टानुरागा ; ( रत्नमालापक्षे ) प्रकाशितलौहित्या । कान्ता रत्नावलीव मम हस्ताद् भ्रंशिता विस्राविता । वासवदत्तागमनमुत्प्रेक्ष्य राज्ञा सागरिकायाः हस्तावलम्बः परित्यक्तः । आर्यावृत्तम् । छेकानुप्रासोपमा ॥१८॥ प्रतिपालयन् अपेक्षमाणः मुखानुरागात् राज्ञः मुखलावण्यविशेषात् । Prose order.—कथमपि दैवात् प्राप्ता सा प्रकटरागा कान्ता रत्नावली इव कण्ठम् अनीता एव मम हस्तात् भवता भ्रंशिता ॥ १८ ॥ Beng. Trans. রাজা—ধিক্ মূর্খ,—উজ্জ্বল লোহিতবর্ণবিশিষ্ট। রত্নাবলীর ন্যায় সেই অনুরাগপ্রকাশকারিণী কান্তাকে দৈবযোগে বহু কষ্টে লাভ করিয়া কণ্ঠে ধারণ করিতে না করিতেই আমার হস্ত হইতে তোমাকর্তৃক ভ্রংশিত হইল ॥১৮॥ 1 ही ही भो ! जिदं जिदं ... । 2 कक्षात् पतितं फलकं दृष्ट्वा विषादं नाटयति । क्वचित् पुस्तके—तद् दृष्ट्वा विषादं नाटयतीति पाठः नास्ति । 3 (राजा अपवार्य्य विदूषकमङ्गुल्या तर्जयति) । 4 तुम हीही । 5 तुमं चिट्ठ इति क्वचित् नास्ति ; अहं ज्जेव्व पच्छादइस्सं ।

180 রত্নাবলী (তারপর বাসবদত্তা ও কাঞ্চনমালা প্রবেশ করিলেন) বাসবদত্তা—কাঞ্চনমালে, এখন আর কতদূরে আর্য্যপুত্র-পরিগৃহীতা সেই নবমালিকা রহিয়াছে? কাঞ্চনমালা—এই কদলীগৃহ অতিক্রম করিলেই দেখা যাইবে। বাসবদত্তা—তাহা হইলে পথ দেখাও। কাঞ্চনমালা—দেবি, আসুন আসুন। (উভয়ে পরিক্রমণ করিলেন) রাজা—বয়স্য, কোথায় এখন প্রিয়তমাকে দেখিতে পাওয়া যাইবে? কাঞ্চনমালা—দেবি, যখন নিকটেই মহারাজ কথা বলিতেছেন, তাহাতে আমার মনে হইতেছে যে তিনি আপনার অপেক্ষা করিয়া রহিয়াছেন। অতএব, (ঐদিকে) অগ্রসর হউন, দেবি! বাসবদত্তা—(অগ্রসর হইয়া) আর্য্যপুত্রের জয় হউক! বিদূষক—(কক্ষে চিত্রফলক নিক্ষেপ করিয়া উত্তরীয়দ্বারা আচ্ছাদিত করিলেন) এই যে দেবী আসিয়াছেন। রাজা—(দেবীকে আড়াল করিয়া বিদূষকের প্রতি) বয়স্য, চিত্রফলক লুকাইয়া ফেল। (দেবীর প্রতি প্রকাশ্যে) দেবি, কুশল ত। এইখানে উপবেশন করুন। বাসবদত্তা—(উপবেশন করিয়া) আর্য্যপুত্র, সত্যই কি নবমালিকা কুসুমিতা হইয়াছে? রাজা—(হাস্যের সহিত) দেবি, আমরা প্রথমে আসিলেও আপনি দেরী করিতেছেন দেখিয়া তাহা দেখি নাই। এখন আসুন, এক সঙ্গেই উহা দেখিব। বাসবদত্তা—(ভালরূপে দেখিয়া) আর্য্যপুত্রের মুখের রক্তিমাতা দেখিয়াই আমি জানিতে পারিয়াছি যে, নবমালিকা কুসুমিতা হইয়াছে। তা এখন (ফিরিয়া) যাই। বিদূষক—আর্য্যে, যদি তাহাই হয় তাহা হইলে আমাদের জয় হইয়াছে (দুই বাহু প্রসারণ করিয়া নৃত্য, কক্ষ হইতে চিত্রফলক পতন ও তাহা দেখিয়া বিষাদ) (রাজা দেবীকে আড়াল করিয়া বিদূষকের প্রতি ফিরিলেন ও সঙ্গোপনে অঙ্গুলিদ্বারা দেখাইয়া দিয়া বসন্তকের মুখের দিকে চাহিলেন) বিদূষক—(রাজার দিকে ফিরিয়া ও অন্য সকলকে আড়াল করিয়া অনুচ্চস্বরে)

দ্বিতীযোঽঙ্কঃ 181 ভোঃ, আপনি রাগ করিবেন না। আপনি থাকুন। এইখানে ( কি করিতে হইবে ) তাহা আমিই জানি। কাঞ্চনমালা—( ফলক গ্রহণ করিয়া ) দেবি, দেখুন দেখুন, এই চিত্রফলকে কি অঙ্কিত রহিয়াছে ! Eng. Trans. King. Out on thee, simpleton ! My be- loved one who had revealed her passion ( for me), like a jewel- necklace of manifest lustre, and who was somehow attained, was caused to slip away from my hand by you, before she (it) was placed on my neck. 19 (Then enter Vāsavadattā and Kāñchanamālā) Vásava. Well, Kánchanamálá, how far from here is my lord's favourite Navamáliká creep ? Kánchana. we shall see it after passing this plantain- bower. Vásava. So, show the path. We shall go there. Kanchana. Come this way, this way, Madam. (Both walk round) King. My friend, where is my beloved to be seen now ? Kánchana. Madam, when His Majesty is talking near by, then surely he must be waiting for you. So Madam, please advance in this direction, Vásava. (Approaching) Glory to Your Majesty ! Jester. (Hides the picture in his armpit and covers it with the upper garment) Here is come Her Majesty. King. ( Apart ) My friend cover the picture quick. Wel- come, Your Majesty ! Here, take your seat. Vásava (sitting) My lord, has the Navamáliká truly blossomed ? King. (Smiling) Though we have come earlier, yet finding you late in coming, we have not seen it as yet. So come, we shall now visit it together.

182 रत्नावली Vásava. (Looking scrutinizingly) My lord, I see by the ruddiness of your countenance that it has flowered. So let us (now) return. Jester. Your ladyship, if it be so, then we have won. (Stretches forth his two arms and dances; the picture falls from the armpit. Seeing that he gesticulates sorrow) [The King covering the view (of the Queen) points (it) out with his finger and looks towards the face of the Jester.] Jester. (Apart) Hallo! Donot be angry; you please wait (or keep quiet); I shall manage it. (I alone know what to do in these circumstances). Kánchana. (Picking up the picture) Behold, Madam, what is drawn in this picture-board ! वासवदत्ता—(निर्वर्ण्य—आत्मगतम्) अयं अज्जउत्तो । इयं उण साअरिआ ! (प्रकाशं राजानं प्रति) अज्जउत्त किं एदं१ ? (क) राजा२—(सवैलक्ष्यस्मितं कृत्वा अपवार्य) वयस्य ! किं ब्रवीमि ? विदूषकः—(अपवार्य) भो ! मा चिंतां करेहि३ । अहं उत्तरं दाइस्सं । (प्रकाशं वासवदत्तां प्रति) भत्ता किल दुक्खं लिहीयदिन्ति मम बचो४ सुणिअ पिअवअस्सेण एदं विन्नाणं५ दंसिदं । (ख) राजा—यथाह वसन्तकस्तथैवैतत् । (क) अयम् आर्यपुत्रः । इयं पुनः सागरिका ! आर्यपुत्र, किमिदम् ? (ख) भोः, मा चिन्तां कुरु । अहं उत्तरं दास्यामि । भर्त्रा किल दुःखं लिख्यते इति मम वचः श्रुत्वा प्रियवयस्येन एतत् विज्ञानं दर्शितम् । 1 किं णेदं ? 2 काञ्चन—भट्टिणि ! अहं पि एदं एव्व चिंतेमि । वासव— अज्जउत्त ! केण इदं आलिहिदं ? 3 भीदि ! णा अन्नधा संभवेदि । 4 आलि- हीयदिन्ति मम वअणं । 5 आलेख्यविण्णाणं ।

द्वितीयोऽङ्कः 183 वासवदत्ता—( फलकं निर्दिश्य ) अज्जउत्त ! एसा वि जा अवरा तुह समीवे आलिहिदा, ता किं अज्जवसंतअस्स विन्नाणं ? (क) राजा—( सवैक्लव्यस्मितम् ) देवि ! अलमन्यथा गृहीत्वा । इयं हि कापि कन्यका १ स्वचेतसैव परिकल्प्य आलिखिता, न तु दृष्टपूर्वा । विदूषक—सच्चं सबामि बम्हसुत्तेण जइ कदावि अम्हेहिं ईदिसो दिट्ठपुव्वा ! (ख) काञ्चनमाला—( अपवार्य ) भट्टिणि ! कदावि ईदिसं २घुण- क्खरं संभवदि ३ज्जेव्व । ता अलं कोवेण । (ग) वासवदत्ता—( अपवार्य ) अइ उज्जुए, एदस्स वल्लभच्चिदाइं ण जानासि ! बसंतओ क्खु एसो ! ( प्रकाशं राजानं प्रति ) अज्ज- उत्त ! मम उण एदं चित्तं पेक्खिअ४ सीसवेदणा

184 रत्नावली न मे दोषोऽस्तीति त्वमिदमपि च ज्ञास्यसि मृषा किमेतस्मिन् वक्तुं क्षममिति न वेद्मि प्रियतमे ॥ २० ॥ वासवदत्ता—( सवियं पटाञ्चलमाकर्षन्ती ) अज्जउत्त ! मा अण्णथा संभावेहि । सच्चं मं सीसवेदना बाहेदि¹ । ता गमिस्सं । (क) ( इति निष्क्रान्ता ) (क) आर्यपुत्र, मा अन्यथा संभावय । सत्यं मां शीर्षवेदना बाधते । तत् गमिष्यामि । सवैलक्ष्यम् विलक्षस्य विजितस्य विमूढस्य लज्जितस्य वा भावो वैलक्ष्यम् इति ष्यञ्- प्रत्ययः । तेन सह विद्यमानं यथा स्यात् तथा “विलक्षो विस्मयान्विते” इत्यमरः । आकृत्या आकृत्याः आकृतिरित्यर्थः । विज्ञाणम् आलिख्यानैपुण्यम् । ब्रह्मसूत्रेण यज्ञोपवीतेन । घुणाक्षरम् घुणः घुणाख्यः कीटविशेषः जातिस्वभावात् काष्ठं बिलिखन् काकतालीयन्यायेन

দ্বিতীয়াঙ্কঃ 185 Beng. Trans. বাসব—ইনি ত আৰ্য্যপুত্র; আর এ ত সাগরিকা ! (রাজার প্রতি) আৰ্য্যপুত্র, এ কি? রাজা—( বিস্ময়ের সহিত মৃদুহাস্য করিয়া বিদূষকের প্রতি ফিরিয়া অনুচ্চস্বরে ) বয়স্য, কি বলিব? বিদূষক—( রাজার প্রতি ফিরিয়া ) বয়স্য, চিন্তা করিবেন না। আমি উত্তর দিব। ( বাসবদত্তার প্রতি প্রকাশ্যে ) ভবতি, 'নিজের আকৃতি অতি কষ্টে অঙ্কিত করা যায়' —আমার এই বাক্য শুনিয়া প্রিয়বয়স্য এই চিত্রনৈপুণ্য দেখাইয়াছেন। রাজা—বসন্তক যাহা বলিলেন, এ তাহাই বটে। বাসবদত্তা—( চিত্রফলক দেখাইয়া ) আৰ্য্যপুত্র, আপনার সমীপে এই যে অপর একটা স্ত্রীলোক অঙ্কিত রহিয়াছে, একি আর্য্য বসন্তকের চিত্রনৈপুণ্য? রাজা—( বিস্ময়ের সহিত হাসিয়া ) দেবি, অন্য কিছু আশঙ্কা করিবেন না। (কোনও এক অজ্ঞাত কন্যাকে ) নিজের মনে কল্পনা করিয়া ইহাকে অঙ্কিত করিয়াছি, কিন্তু পূর্ব্বে ইহাকে কখনও দেখি নাই। বিদূষক—সত্যই যজ্ঞোপবীত স্পর্শ করিয়া শপথ করিতেছি—যদি কখনও পূর্ব্বে এরূপ রমণীকে দেখিয়া থাকি! কাঞ্চনমালা—( অনুচ্চস্বরে ) দেবি, কখনও কখনও এইরূপ ঘুণাক্ষর ( দৈবাৎ কার্য্য- সম্পাদন ) সম্ভব হইয়া থাকে। সুতরাং রাগ করিয়া প্রয়োজন নাই। বাসবদত্তা—( কাঞ্চনমালার প্রতি ফিরিয়া—অন্য সকলকে আড়াল করিয়া ) অয়ি সরলে, ইহার বক্রোক্তি তুমি জান না ( বুঝিতে পারিতেছ না )! ইনি বসন্তক ( আর কেউ নয় )! ( রাজার প্রতি প্রকাশ্যে ) আৰ্য্যপুত্র, আমার কিন্তু এই চিত্র দেখিয়া শিরোবেদনা উপস্থিত হইয়াছে। তা আপনি সুখে অবস্থান করুন। আমি চলিয়া যাইতেছি। ( গাত্রোত্থান পূর্ব্বক যাইতে উদ্যত ) রাজা—( বস্ত্রাঞ্চল ধরিয়া ) দেবি, 'আমার প্রতি প্রসন্ন হউন'—এই কথা কোপ না থাকিলে বলা ঠিক হয় না। 'পুনর্ব্বার এরূপ করিব না'—এইরূপ বলিলেও ( দোষ ) স্বীকার করিয়া লওয়া হয়। 'আমার দোষ নাই'—এই কথা বলিলে আপনি উহা মিথ্যা বলিয়াই ( স্থির ) জানিবেন। হে প্রিয়তমে, এই প্রকার অবস্থায় আমার কি বলা সম্ভবপর ( উচিত ), তাহা বুঝিতে পারিতেছি না ॥ ২০ ॥

186 রত্নাবলী বাসবদত্তা—( বিনয়ের সহিত বস্ত্রাঞ্চল আকর্ষণ করিয়া ) আর্য্যপুত্র, আপনি অন্য কিছু মনে করিবেন না। সত্যই শিরোবেদনা আমাকে কষ্ট দিতেছে। অতএব এখন যাই। ( উভয়ে নিষ্ক্রান্ত ) Eng. Trans. Vásava. (Looking at it scrutinizingly and to herself) This is my lord, and this is the Ságariká ! (Aloud to the King) What is this, my lord ? King. (With wonder and smile—Apart to the Jester) My friend, what shall I say ? Jester. (Apart) Oh ! Fear not, I shall give the reply. (Aloud to Vasavadattá). Madam, do not take it otherwise. Hearing my words that ‘it is very difficult to portray one's own likeness,’ my friend exhibited this specimen of his painting skill. King. It is as Vasantaka speaks. Vásava. (Pointing to the picture-board) My lord, and this female drawn (standing) near you,—is this a specimen of noble Vasantaka's skill ? King. (With wonder and smiling) O Queen, you should not suspect otherwise. This maiden is portrayed (here) with the help of the pure imagination of my own mind, and she (the original) was never visualized before. Jester. I will swear to the truth of this by my sacred thread, that such a (maiden) was never before seen by (either of) us ! Kánchana. (Apart) Oh Madam, this sort of accidental coincidence may occur sometimes ( in a fortuitous manner) ; so there is no necessity of getting angry (away with your anger). Vásava. (Apart) My simple girl, you do not understand his prevarications (evasive reply) ! He is Vasantaka for sooth (and none else) ! (Aloud to the King) My lord, while looking

द्वितीयोऽङ्कः 187 at this picture I have got a headache. So, stay in comfort, my lord. I am going. (Rises up to depart) King. (Catching hold of the fringes of her garment) My dearest one, I am really at a loss as to what I can possibly say (to you) in these circumstances. If I would say 'Be pleased', that would not be proper in the absence of (your) anger ; (If I would promise that) 'I shall do so no more,' that would be a sort of confession ; and (if I say that) 'I am not to blame', you will take it as false. 20. Vāsava. (Drawing back the ends of her garment gently —with politeness) Don't think it otherwise, my lord. It is true that a (severe) headache pains me. On that account I take leave. (Both exeunt) विदूषक—भो ! दिट्ठिआ वड्ढसे क्खेमेण १। अदिक्कंता एसा बासवदत्ता अकालब्यादावलो

188 रत्नावली राजा—तदेहि । देवीं प्रसादयितुमभ्यन्तरमेव प्रवि- शावः । [ इति निष्क्रान्तौ¹ ] इति कदलीगृहं नाम द्वितीयोऽङ्कः क्षेमेण सुखेन । अकालवातावली अकाले अनुचितकाले वातावली वातानां वायूनाम् आबली समूहः झम्पा इति यावत् । यथा अकालवातावली मेघादिसंयुक्ता सहसा चागम्य ध्वंसादिकं विधाय गच्छति तथैयं वासवदत्ता हठाद् चागम्य कोपादिकं कृत्वा गतेत्यर्थः । भ्रूभङ्ग इति । सहसा उद्गतेऽपि समुद्गतेऽपि भ्रूभङ्गे भ्रुकुटौ दयितया प्रियया वासवदत्तया स्वामिनं प्रति भ्रुकुटिप्रदर्शनं परिजनसमक्षे अनुचितमिति बुद्ध्या भ्रुकुटिगोपनार्थं वदनं परां नम्रतां नीतम् । अनेन वासवदत्तायाः आभिजात्यं सूच्यते । मां प्रति भेदकारि भेदं द्वैधं करोतीति हृदयस्पर्शि ईषत् हसितम् । साभि- प्रायेणार्द्धसनेनास्याः सामर्षोभिप्रायो लक्षितः । निष्ठुरं वचः न उक्तम् । आभिजात्यादिति भावः । अन्तः मध्ये बाष्पजड़ीकृतं बाष्पैः अश्रुभिः जड़ीकृतं जलीकृतं व्याप्तमिति यावत् । चक्षुः प्रभुतया क्रोधदमनसामर्थ्येन न विस्तारितं विकासितम् । कौपः प्रकटीकृतः प्रकाशितः किन्तु प्रश्रयः न मुक्तः नम्रत्वं न परित्यक्तम् ॥२१॥ शार्दूलविक्रीड़ितम् । चरण्यक्रदितं चरणे रोदनमिव हृष्टेत्यर्थः । Prose order.—सहसा उद्गतेऽपि भ्रूभङ्गे दयितया वदनं परां नम्रतां नीतम् ; मां प्रति भेदकारि ईषत् हसितं ; निष्ठुरं वचः नोक्तम् ; प्रभुतया अन्तर्बाष्पजड़ीकृतं चक्षुः न विस्तारितम् ; कोपय्च प्रकटीकृतः प्रश्रयश्च न मुक्तः ॥ २१ ॥ Beng. Trans. হে বয়স্য, ভাগ্যক্রমে আপনি উন্নতি লাভ করিতেছেন ( অর্থাৎ আপনার ভাগ্য ভাল—খুব বাঁচিয়া গিয়াছেন)। অকাল-ঝঞ্ঝার ন্যায় বাসবদত্তা ভালয় ভালয় চলিয়া গিয়াছেন। রাজা—দূর মূর্খ! এইরূপ পরিতোষে কোন লাভ নাই। দেবী যখন চলিয়া গেলেন তাঁহার নিগূঢ় (রুদ্ধ) ক্রোধবেগ তুমি লক্ষ্য কর নাই। দেখ— 1 इति निष्क्रान्ताः सर्व्वे ।

দ্বিতীয়োঽঙ্কঃ 189 ভ্রূকুটা সহসা সমুৎপন্ন হইলেও, আমার প্রিয়া তাঁহার বদনমণ্ডল অত্যন্ত নত করিলেন। আমার প্রতি (লক্ষ্য করিয়া) একটু হৃদয়ভেদী হাসি হাসিলেন; কিন্তু নিষ্ঠুর বাক্য প্রয়োগ করিলেন না। অশ্রুর দ্বারা চক্ষুর অভ্যন্তর পরিব্যাপ্ত হইলেও (ক্রোধ- দমন) সামর্থ্যহেতু চক্ষু বিস্ফারিত করিলেন না; এবং কোপ প্রকাশ করিলেও নম্রতা পরিত্যাগ করিলেন না। ২১। বিদূষক—দেবী বাসবদত্তা চলিয়া গিয়াছেন। (এখন আর) আপনি কেন অরণ্যে রোদন করিতেছেন? রাজা—এখন এস, দেবীকে সন্তুষ্ট করিবার জন্য অভ্যন্তরে প্রবেশ করি। (উভয়ে নিষ্ক্রান্ত) কদলীগৃহনামক দ্বিতীয় অঙ্ক সমাপ্ত Eng. Trans. Jester. Hallo; You have have had a lucky escape. (Lit. Thank God, you prosper!) Queen Vāsavadattá has disappeared without doing any harm, like a gale out of season. King. Away you blockhead! This is no occasion to rejoice. You have not noticed the concealed anger of the Queen when she departed. Just see— Though a* (passing) frown was suddenly knit, yet my be- loved hung down her head very low; she smiled a little at me—the smile piercing my (heart). She gave utterance to no angry (uncivil) words; though her eyes were filled with tears within (the socket), yet she did not expand them on account of her self-control. Thus though her anger was made manifest her politeness was not forsaken. 21. Jester. The Queen Vāsavadattá has departed. Now, why are you crying in the wilderness? King.—So, come let us now enter the inner apartment to to pacify her. (Exeunt) End of the Second Act entitled “The Plantain-bower.”

RATNAVALI Act II Notes In Act I after the बीजोपन्यास the collocation of different incidents helps the main plot to proceed in its way to develop- ment in the subsequent Acts. So, the love that has germinated in Ságariká's mind (Act I) at the very first sight of the King, comes to be intensified in Act, II when the meeting of the King with Ságariká is brought about. The प्रतिमुखसन्धि with its different constituent parts (अङ्ग) is worked out in this Act. One of the different incidents that bring about the meeting of the hero with the heroine and effect the intensity 'of love growing in each other's mind, is the episode of the Sáriká, a pet talking bird of the Queen, that was given in charge of Ságariká. This bird plays no insignificant part in the drama, for she attracts the King and the Jester to the plantain-bower when Susangatá brings about the first formal meeting of the two P. 108 सारिकापञ्जर etc.—Busily occupied with the cage of the starling in her hand. In Act I, we understand from Ságariká that the starling (given by the Queen in her charge) was left by Ságariká with Susangatá while she went to attend the Cupid-worship where she saw the King for the first time. अनन्यसदृशः—Adj. to प्रभावः। न अन्यसदृशः ( नञ्तत् ), अन्यस्य सदृशः

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द्वितीयोऽङ्कः 191 ( ष्ठीतत् ) । This refers to the miraculous power of Shrikantha- dása (or, Shrikhandadása) in producing untimely blossoms in the नवमालिका (Jasmine) creeper. सम् — दृश् + कञ् = सदृशः equal. विक्षिप्तचित्त etc.—Adj. to निपुणिका । विक्षेपेण क्षिप्तम् ( तृतीतत् ) तादृशं हृदयं यस्याः सा ( बहु ) । क्षिप्त—diverted. अवधीर्य्य—disregarding ; अव -धीर ( चुरादि ) + ल्यप् _ अतिक्रामसि—(are) passing away. P. 109 श्रीपर्ब्बतात्—It is otherwise named as the ‘श्रीशैल’ । Mr. Kale traces this hill to be situated near the Krishná river in the Deccan. In Sanskrit Literature, this place is referred to as the noted abode of the Tántrikas who are said to possess miraculous powers. In the Málatimádhava of Bhavabhuti, fre- quent

192 रत्नावली प्रतिगृहीताम्—‘Accepted’ ; here ‘favourite.’ कुसुमसमृद्धि—कुसुमस्य समृद्धिः ( ६ठीतत् ); तया शोभितम् ( ३यातत् ) । सम्—ऋध् + क्तिन् = समृद्धि, prosperity, hence growth ; गृहीतसमुद्गक etc.—Adj. to सागरिका। समुद्गकश्च चित्रफलकञ्च वर्तिका च ( द्वन्द्वः ) गृहीताः समुद्गकचित्रफलकवर्तिकाः यया सा ( बहु ) । समुद्गक means a box (or casket) containing materials for painting. “समुद्गकः सम्पुटकः” इत्यमरः; वर्तिका means the brush- like pen used in painting. चित्रफलक means “picture-board” (canvas). प्रवेशकः—Interlude of an inferior type. Those facts which are necessary for the development of the drama, but are not. to be represented by means of the Acts themselves are shown by अर्थोपक्षेपकs—cf :—“नीरसोऽनुचितस्तत्र संसूच्यो वस्तुविस्तरः” ( दशरूपक I. 57). विष्कम्भक and प्रवेशक are two different types of अर्थोपक्षेपकs. विष्कम्भक is already described ( P. 86). “वृत्तवर्तिष्यमाणानां कथांशानां निदर्शकः। संक्षिप्तार्थस्तु विष्कम्भ आदावङ्कस्य दर्शितः। मध्येन मध्यमाभ्यां वा पात्राभ्यां संप्रयोजितः। शुद्धः स्यात् स तु सङ्कीर्णो नीचमध्यमकल्पितः॥” ( सा. द. ६।५५-५६ ) A विष्कम्भक is usually used as an interlude, acted by one or two actors of the middle rank, or even with one actor of the middle rank and one of the lowest rank. But sometimes it may be used as a prelude also—“अपेक्षितं परित्यज्य नीरसं वस्तुविस्तरम्। यदा सन्दर्शयेत्किञ्चिदामुखानन्तरं तदा। कार्यो विष्कम्भको नाट्ये चामुखाक्षिप्तपात्रकः॥” ( सा. द ६।६१-६२)। The stock example is Ratnāvalī's prelude introduced by Yaugandharāyaṇa. A प्रवेशक, however, is always an interlude and can never be a prelude; it is invariably introduced by inferior characters—“प्रवेशकोऽनुदात्तोक्त्या नीचपात्रप्रयोजितः। अङ्कद्वयान्तर्विज्ञेयः शेषं विष्कम्भके यथा॥” ( सा. द. ६।५७)

द्वितीयोऽङ्कः 193 P. 112 मदनावस्थाम्—Love-sickness. This love-sick condition of Ságariká impels her to soliloquize as to the impossibility of her being united with the King, whom she saw for the first time in the Cupid-festival. She desires to have a view of the King again ; and she tries to fulfil this desire by painting a portrait of the King, as it is not possible for her to have any personal interview with him. दुर्लभजन etc.—दुर्लभः जनः (कर्मधा) तस्य प्रार्थना (६ष्ठीतत्) तस्याः अनुबन्धः (६ष्ठीतत्) तेन । अनु-बन्ध् + घञ् = अनुबन्धः, persistence, conti- nuation. उपालप्स्ये—shall scold ; उप - आ - लभ् + लुट्, स्ये । मन्दभागिन्याः —unfortunate ; मन्दः भागः (भाग्यम्) (कर्मधा) मन्दभागः यस्याः अस्तीति मन्दभाग + इनिः स्त्रियां ङीप् । भाग means 'fate', 'division' ; cf. "भागो रूपार्द्धके भागैकद्देशयोः"—मेदिनी । दुर्निमित्तेन—Ill omen ; दुष्टं निमित्तम् (प्रादि) तेन । दुर्निमित्त here refers to her 'love-sick condition' that had no prospect of immediate mitigation. सावष्टम्भम्—with fortitude ; अवष्टम्भेन सह विद्यमानं यथा स्यात् तथा । बहु । अव—स्तम्भ् + भावे घञ् by the rule "अवश्चालम्बनाविदूढ्ययोः।" अतिसाध्वसेन —Through extreme nervousness. अतिगतं साध्वसं (प्रादि) तेन । "भीतिर्भीः साध्वसं भयम्"—इत्यमरः । एकमनाः—with undiverted mind, एकं मनः यस्याः (बहु) सा । भयद्रुतः—भयञ्चासौ द्रुतश्चेति (कर्मधा) । The कर्मधारय compound generally takes place when विशेष्य and विशेषण are brought together (सामानाधिकरण्य) । In the example शुक्लवस्त्रम्, the शुक्लत्व and वस्त्रत्व are in one substratum and that is expressed otherwise 13

194 रत्नावली as शुक्लत्वावच्छिन्नवस्त्रत्वम्; here शुक्ल is adjective and वस्त्र is noun; so there सामानाधिकरण्य being complete, कर्मधारय compound is possible. But in अग्रहस्त there is no such सामानाधिकरण्य (the state of having the same substratum). अग्र is a different thing indicating the sense of one part of the hand and हस्त is another thing indicating the sense of the whole limb. So a solution can be arrived at by introducing a new relation between them viz., the relation of part and whole (अवयव and अवयवी). अग्र is a part and हस्त is the whole; so सामानाधिकरण्य is achieved. The aphorism of Vámana is “हस्ताग्रादयो गुणगुणिनोर्भेदाभेदात्” (भेदाभ्याम्) V. 2. 20. Cf : पव्च भद्दं मे अग्गहत्थादो पुप्फभाअणम्—Shákuntala IV. हस्ताग्र is the better form. Vide, Rághavabhatta's commentary on Shákuntala. P. 115 कमलाकरम्—A lotus-pond;

वि—अप—दिश् + घञ्। व्यपदेश means pretext. “व्यपदेशः पुमान् लक्ष्ये निमित्तव्याजयोरपि” इति मेदिनी। व्यपदेश also means--“family” (कुल)-- cf: “व्यपदेशमाविलयितुं किमीहसे” Śhákuntala V. 21. अकारणेन—न कारणम् (नञ्तत्) तस्मिन्; नञ् is used in the sense of अभाव। “तत्सादृश्यमभावश्च तदन्यत्वं तदल्पता। अप्राशस्त्यं विरोधश्च नञर्थाः षट् प्रकीर्त्तिताः।” अकारण is equivalent to कारणाभाव। अन्यथासम्भाविनि—Thinking otherwise of (me) or misrepresenting. अन्य + थाल् प्रकारार्थे। अन्यथा — सम् — भू + णिच् + णिनि by the rule “सुप्य- जातौ......” आलपितेन—आ — लप् + क्त भावे। तृतीया करणे; करण of साधन- क्रिया, (understood) by the rule “गम्यमानापि क्रिया कारकविभक्तौ प्रयोजिका।” P. 120. Shloka 1. दुर्लभजन etc.—दुर्लभः जनः (कर्मधा) तस्मिन् अनुरागः (७मीतत्); this refers to her love towards the King. अनु—रञ्ज

• घञ्। दुर् + लभ् + खल्। परवशः आत्मा—This expression refers to her being entirely under the control of Vâsavadattá, or this may refer to her mind being totally inclined towards the King. परेषाम् वशः (६तीतत्) = परवशः। मरणं etc.—construe एकं मरणं वरं शरणं नु। नु is here a particle implying वितर्क। एकं means ‘only’; or एकं मरणं नवरं (श्रेष्ठं) शरणम्; or एकं मरणं वरं शरणं न (किम्)? Ch. Voice.—अमानुरागेण (भूयते), गुर्व्या लज्जया (भूयते), परवशेन आत्मना (भूयते)......प्रेम्णा विषमेण (भूयते) एकेन मरणेन वरेण शरणेन...। P. 122. कलकलः—hubbub; this is an onomatopoetic word. Shloka 2. कृत्तावशेषम्—Adj. to शृङ्खलादाम्; कृत्तः अवशेषः यस्य (बहु) तत्। कृत् + क्त कर्मणि; Conj. कृन्तति (to cut), कृन्तः etc.