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

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.

196 रत्नावली कनकमयम्—कनकस्य विकारम् इति कनक + मयट् Adj. to शृङ्खलादाम ; कर्षन्—putting, dragging. N. B. While the monkey snapped the golden chain, a part of it remained fixed to its neck ; and when the monkey ran about this portion was dragged along. द्वाराणि क्रान्त्वा—Crossing or passing through the doors. हेलाचल etc.—Adj. to प्लवङ्गः। With the circle of anklets twinkling in its feet when it made sportive movements. हेलया चलाः (सुप्सुपा) तादृशाः चरणाः (कर्मधा) तेषु रणत् (७मीतत् or सुप्सुपा) तादृशं किङ्किणीचक्रवालं यस्य (बहु) सः। किङ्किणीनां चक्रवालम्। (६तीतत्)। N. B. As the monkey was a pet one, so out of fancy anklets were tied to its feet. अङ्गनानां दत्तातङ्कः—Striking terror to the hearts of the females. दत्तः आतङ्कः येन (बहु) सः। Here अङ्गनाना is to be construed with आतङ्क which is compounded with दत्त। This construction is justified by the dictum “सापेक्षत्वेऽपि गमकत्वात् समासः।” “आतङ्को भयपीडयोः”। अनुसृतसरणिः—Adj. to प्लवङ्गः। अनुसृतः सरणिः (path) यस्य (बहु) सः। “सरणिः पद्धतिः पन्थाः” इत्यमरः। अश्वपालैः is to be construed with अनुसृत। सम्भ्रमात्—In a hurry. ल्यब्लोपे पञ्चमी। प्रभ्रष्टः—escaped ; प्र - भ्रंश्

• क्त कर्तरि। मन्दुरायाः—From the stable. “वाजिशाला तु मन्दुरा” इत्यमरः। अपादाने पञ्चमी। मन्दिरम्—Palace. प्लवङ्गः—प्लवेन गच्छति इति प्लव - गम् + खच् ; that which goes by jumping (monkey). Here the metre is स्रग्धरा ; scansion given before.

द्वितीयोऽङ्कः 197 Ch. of Voice.—...कर्षता......चक्रवालिन......दशातरूहेण अनुसृतसरणिना ......प्रभवेन प्रवङ्गेन......प्रविश्यते ॥२॥ P. 123. Shloka 3. Here a description is given as to how the monkey getting free, created a turmoil all around. वर्षवरैर्नष्टम्—The eunuchs disappeared. “षण्ढो ( षण्ढौ ) वर्षवर- न्मन्थी” इत्यमरः। नश् + भावे क्त; here नश् धातु conveys the sense of अदर्शन। मनुष्यगणनामाभावात्—Owing to their not being reckoned as men proper. त्रपाम् अपास्य—Forsaking all sense of shame. अप - अस् (to throw)+ल्यप् । In fact the eunuchs, being devoid of manliness, are lost to the human feelings of shame and insult. कञ्चुकि- कञ्चुक—The surplice of the chamberlain. कञ्चुकमस्यास्तीति कञ्चुक + इन् । कञ्चुकी is the chamberlain in the charge

198 रत्नावली किराताः—किरं पर्य्यन्तभूमिम् (out-skirts) अतन्ति (move) इति किर - अत् + कर्त्तरि अण् । In the Manu Samhitá the Kirátas are described as व्रात्यक्षत्रियs-- Cf. “शनकैस्तु क्रियालोपादिमाः क्षत्रियजातयः । वृषलत्वं गता लोके ब्राह्मणादर्शनेन च ॥ पौण्ड्र काश्चौड्रद्रविडाः कम्बोजा यवनाः शकाः । पारदापह्लवाश्चीना किराता दरदाः खशाः ॥ Manu X. 43—44. नाम्नः सदृशं कृतम्—Have acted in accordance with the signi- ficance of their names. The expression means this—Kirátas are so-called because of their moving about in the border- land. Now, the Kirátas, who were in the King's palace, were frightened at the approach of the monkey and thus they out of fear took shelter in the border, viz., in one side of the palace. N. B. The eunuchs, dwarfs, Kirátas etc., 'referred to in this shloka, constitute the staff of the king in his inner appartments. Cf. ........................तद्वदवरोधे । वामनषण्ढकिरातम्लेच्छाभीराः शकारकुब्जाद्याः ॥ सा. दः (६।४३) “अन्तःपुरे वर्षवराः किराता मूकवामनाः । म्लेच्छाभीरशकाराद्याः स्वस्वकार्योपयोगिनः ॥ दशरूपक—(२।४४—४५) नीचतया—Stooping down. आत्मेक्षणशङ्किनः—Adj. to कुब्जाः ; being afraid of being detected by the monkey. आत्मनः ईक्षणम् ( दृष्टिपात् ) तद् आशङ्कते इति उपपदसमासे णिनिः । शनकैः—Slowly.

द्वितीयोऽङ्कः 199 The figure of speech is here स्वभावोक्ति (graphic description) The metre is शार्दूलविक्रीडित। Ch. voice.—...नष्टेन (भूयते)......वामनेन विश्यते। पर्यन्ताश्रयिनः किराताः ...कृतवन्तः। कुब्जैः......चात्म त्राणाशङ्किभिः ज्ञायते। P. 126. दधिभक्त etc.—Greedy of rice mixed with curd. दधि- मिश्रितं भक्तम् (शाकपार्थिवादित्वात् समासः) तत्र लम्पटः (७मीतत् or सुप्सुपा) or दध्ना भक्तम् 'अन्नं न व्यञ्जनम्' इतिवत् समासः। भक्त = Bengali भात। उद्घाट्य—opening उद्—घट् + णिच् + ल्यप्। N. B.—This episode of monkey let loose has a double importance : (1) By this sudden news the long-drawn conver- sation between Ságariká and Susangatá is artistically put a stop to. The plot and the sentiment should have a harmonious development :—"न चातिरसतो वस्तु दूरं विच्छिन्नतां नयेत्। रसं वा न तिरो- दध्याद्वस्त्वलङ्कारलक्षणैः"॥ (सा. द.) Here Ságariká and Susangatá's conversation was becoming rather dull being overfull with one sentiment (विप्रलम्भ). So the mixed feelings of fear and hurry are introduced by the monkey episode. This is the usual method of introductng रसान्तर; cf:—the elephant-episode of Shákuntala. (2) It is known that the Sáriká escapes from her cage broken open by the monkey and repeats what transpired between Ságariká and Susangatá at a place where the King and Vidu- shaka are seated and thus helps the development of the plot by bringing about a meeting of the hero and the heroine. This incident also hints that Ságariká, so long closely guarded by the Queen like her pet starling, is now about to go out of her control. She makes herself free in her movements mainly

200 रत्नावली with the help of the monkey-like Jester (just as the bird was freed by the monkey). This is an instance of 'Dramatic Prepa- ration.' P. 129. निरन्तरोद्भिन्न etc—With her branches covered with bunches of closely budded flowers.. निर् नास्ति अन्तरं यस्मिन् तत् (बहु) निरन्तरम् उद्भिन्नानि (सुप्सुपा) तादृशानि कुसुमानि (कर्मधा) तेषां गुच्छानि (६ष्ठीतत्) तैः आच्छादिताः (श्यातत्) तादृशाः विटपाः यस्याः (बहु) सा। उपहसन्ती—Laughing to scorn. N. B.—Here the नवमालिका creeper, being favoured by the King in disregard of the माधवी creeper of the Queen, foresha- dows the King's being favourably disposed more to Ságariká than to Vâsavadattá. This is called "Dramatic Foreshadowing". Shloka 4. This shloka admits of a double meaning, as the comparison of नवमालिका with a love-sick lady is set forth here. उद्दामोत्कलिकाम्—Adj. to (1) उद्यानलताम् & (2) नारीम्। (1) of which the buds have grown luxuriusly; (2) Whose anxiety has grown extremely. उद्दामाः उत्कलिकाः यस्याः (बहु) ताम्। उद्गतं दाम यस्यात् (बहु) स उद्दामः (unrestrained); “उद्दामो बन्धरहिते”—मेदिनी। उत्कलिका means (1) buds, (2) anxieties. “कलिका कोरकः पुमान्” इत्यमरः। “उत्कण्ठोत्कलिके समे” इत्यमरः। विपाण्डुरुचम्—Adj. to the same. (1) Lustre turned white (with flowers). (2) Complexion turned pale (through anxiety). विपाण्डुरा रुक् यस्याः (बहु) ताम्। विशेषेण पाण्डुरा (प्रादितत्)। प्रारब्धजृम्भाम्—Adj. to the same. (1) Having flowers beginning to bloom. (2) Having commenced yawning (due to despon-

द्वितीयोऽङ्कः 201 dency ). प्रारब्धा जृम्भा यस्याः ( बहु ) ताम् । जृम्भा means yawning as well as opening. “जृम्भा विकासजृम्भणयोस्त्रिषु”—मेदिनी । जृम्भ् धातु ( to yawn ) + घ स्त्रियाम् । आयासम्—abj. to सातन्वतीम् । आ—यस् + घञ् ; आयास means (1) movement ; (2) trouble undergone by her. The creeper is tossed about by the wind and the woman displays the trouble due to separation from her beloved. श्वसनोद्गमैः—(1) by the blowing of the wind, (2) by heavy breathing श्वस् + ल्युट् ; श्वसन means (1) wind “श्वसनः स्पर्शनो वायुः” इत्यमरः ; (2) breathing or sighs. श्वसनस्य उद्गमाः ( ६ष्ठीतत् ) तैः । करणे तृया । सातन्वतीम्—Adj. to लताम् or नारीम् । आ तन् + शतृ स्त्रियां ङीप् । समदनाम्—(1) Accompanied by the Spring or with Madana trees. (2) Under the power of love. कोप etc—Adj. to मुखम् । कोपेन विपाटलं ( ३या तत् ) तादृशी द्युतिः यस्य ( बहु ) तत् । The figure of speech is श्लेषानुप्रणितोपमा । The metre is शार्दूल- विक्रीडित । Ch. of voice......पश्यता......मया...करिष्यते । N. B. This verse has been quoted in दशरूपक as an example of पताकास्थानक on account of the use of similar adjectives to both creeper and woman. Here by the use of the adjectives, applica- ble both to लता and नारी, the present love-sick condition of Ságariká is indicated by way of reference to the नवमालिका creeper. “प्रस्तुतागन्तुभावस्य वस्तुनोऽन्योक्तिसूचकम् । पताकास्थानकं तुल्यसंविधानविशेषणम् ॥ ( दशरू १।१४ ) तुल्यविशेषणता यथा 'उद्दामोत्कलिकामित्यादि'” :

202 रत्नावली “द्वार्थो वचनविन्यासः सुश्लिष्टः काव्ययोजितः । प्रधानार्थान्तराक्षेपी पताकास्थानकं परम्” ॥ ( सा. द. ६।४८ ) चतुर्थं पताकास्थानमिदम् । पताकास्थान of this type may be called an instance of “Dramatic Irony”. P. 132. अचिन्त्याः—न चिन्त्याः ( नञ् तत् ) ; चिन्त् + ण्यत् or चिन्ति + यत् । प्रभावः—भू + घञ् = भावः ; प्रकृष्टः भावः ( प्रादितत् ) । Shloka 5. Here is described the miraculous power of gems, charms, and herbs by way of alluding to different Puránic in- cidents. श्रीपुरुषोत्तमस्य—श्रिया युक्तः पुरुषोत्तमः ( शाकपार्थिवादित्वात् समासः ) ; पुरुषेषु उत्तमः ( ७मीतत् ) . As षष्ठीसमास is barred in connexion with the superlative by the rule “न निर्धारणे”, ७मीतत्पुरुष is admitted here. But कैयट admits षष्ठीसमास in पुरुषोत्तम as this is no case of निर्धारण proper. पुरुष here means “the individual self.” पुरे शरीरे शेते इति पुरुषः । “पुरसंज्ञे शरीरेऽस्मिन् शयनात् पुरुषो हरिः । शकारस्य षकारोऽयं व्यत्ययेन प्रयुज्यते ॥” शङ्कर-दिग्विजयः । पुरुषोत्तम here means “the Universal Soul”. Cf. “द्वाविमौ पुरुषौ लोके क्षरश्चाक्षर एव च । क्षरः सर्वाणि भूतानि कूटस्थोऽक्षर उच्यते ॥ उत्तमः पुरुषस्त्वन्यः परमात्मेत्युदाहृतः । यस्मात् क्षरमतीतोऽहमक्षरादपि चोत्तमः । अतोऽस्मि लोके वेदे च प्रथितः पुरुषोत्तमः ॥” गीता (१५।१६—१८) So उत्तमः पुरुषः—कर्मधा ; राजदन्तादित्वात् पूर्वनिपातः । [ N. B. For details, vide, A. Shastri’s Gita XI, Pp. 14-15) मणिम्—This refers to the eminent jewel कौस्तुभ that was

द्वितीयोऽङ्कः 203 obtained along with Lakshmi by Vishnu from the ocean when it was churned ; and hence it is always worn by Him in His neck. नष्टम्—Disappeared, killed ; Nom. शत्रुभिः। नश् + क्त भावे । मन्त्रवरैः—Different reading मन्त्रबलैः or मन्त्रबलात् । मन्त्राणां वराः ( ६ष्ठीतत् ) तैः । Here षष्ठीसमास cannot be be barred by the rule “न निर्धारणे” ; for in a निर्धारण—three elements are required—(i) निर्धार्यमाण (that is singled out). (2) हेतु (reason for singling out). (3) यतो निर्धार्यते ( the group from which a thing is singled out). As these three requisites are not present here, the rule 'न निर्धारणे' will not apply ; so षष्ठीसमास is allowed. वसुधामूलं—In the nether region. वसुधायाः मूलम् ( ६ष्ठीतत् ) तस्मिन् । वसूनि दधाति इति वसु-धा + क “आतोऽनुपसर्गे कः”। हताः—

204 रत्नावलो monkey soldiers, seriously wounded by Meghanáda, were restored to their normal state. Cf. मृतसञ्जीवनीञ्चैव विशल्यकरणीमपि । सुवर्णा ( सावर्ण्य ) करणीं चैव सन्धानकरणीं तथा (सन्धानीं च महौषधिम्) ॥ ताः सर्वा हनुमन् गत्वा क्षिप्रमागन्तुमर्हसि । आश्वासय हरीन् प्राणै र्योजयस्वसहानुज ॥ ... ... ... तावुभौ मानुषराजपुत्रौ तं गन्धमाघ्राय महौषधीनाम् । बभूवतुस्तत्र तथा विशल्यावुत्तस्थुरन्ये च हरिप्रवीराः ॥ सर्व्वे विशल्या विरुजः क्षणेन हरिप्रवीरा निहताश्च ये स्युः । गन्धेन तासां प्रवरौषधीनां सुप्ता निशान्तेष्विव सम्प्रबुद्धाः।” रामायणे युद्धकाण्डम् (७४।३३—७०) Also cf :— “विशल्यकरणीं नाम्ना सावर्ण्य करणीं तथा । सञ्जीवकरणीं वीर सन्धानीञ्च महौषधिम् । सञ्जीवनार्थं वीरस्य लक्ष्मणस्य त्वमानय ॥” Ibid (१०२।२१—२२) The metre is here शार्दूलविक्रीडित ; scansion given before. Ch. Voice.—...नष्टेन ( अभूयत )......हतैः भुजङ्गैः उष्यते ।......वानर- भटैः मेघनादाहतैः यैः जीवितैः ( अभूयत ) ॥५॥ P. 133. विश्रम्भं—Adverb ; वि - श्रम्भ् + अ भावे । Shloka 6. स्पष्टाक्षरम् —With articulate sound. अल्पाङ्गत्वात्—On account of having a small bodily form. अनिर्ह्रादि—Adj. to इदम्। न निर्ह्रादी ( नञ्तत् )। निर् — ह्राद् ( चुरादि--to resound ) + णिनिः । Ch. Voice.—स्पष्टाक्षरेण अनेन मधुरेण......अनिर्ह्रादिना......सारिकया उद्यते ॥६॥

द्वितीयोऽङ्कः 205 The figure of speech is here उत्प्रेक्षा । पिशुनजन etc.—पिशुन means wicked ; पिशुना जनाः ( कर्मधा ) तेषां हृदय ( ६ष्ठीतत् ) तद्वत् कुटिलम् ( उपमित कर्मधा ) तम् । P 138. औदरिकस्य—glutton. उदर + ठक् by the rule "उदरादाद्यूने" । "आद्यूनः स्यादौदरिकः"—अमरः । अभ्यवहारः—Foodstuff. अभि—अव + हृ + घञ् । पर्य्यवस्यति—Is transformed ; परि—अव—सो + लट् ति । P. 140. कुरकुरायते—Is making inarticulate sound. This is an onomatopoetic word derived from the original sound कुरकुर which is made by the bird. P. 143. चतुर्वेदी—versed in the four Vedas ; चतुर्णां ऋग्यजुः सामाथर्व्वणां वेदाना समाहारः इति—चतुर्वेदम् (समाहारद्विगुः) चतुर्वेदम् अस्य अस्तीति चतुर्वेद + इनि by the rule 'अत इनिठनौ' । ऋचः—The versified Mantras of the R.V. ऋच्यन्ते स्तूयन्ते देवा अनया इति ऋच् + क्विप् । b 144. गाथिका—गाथा एव इति गाथिका, गाथा + स्वार्थे क स्त्रियाम् टाप् । गाथा is defined as a verse composed in a language other than Sanskrit. But in the broad sense of the word, it means the verse that is used as a song. "गाथा श्लोके संस्कृतान्यभाषार्थ्यागेयहस्तयोः"— मेदिनी । श्लाघ्ययौवनया—Having adorable youth. श्लाघ्यं यौवनं यस्याः ( बहु ) तया । जीवितनिरपेक्षया—Regardless of life. निर्—नास्ति अपेक्षा यस्याः ( बहु ) सा । जीविते निरपेक्षा ( सुप्सुपा ) । वक्रभणितैः—Crooked way of speaking. वक्राणि भणितानि ( कर्मधा ) तैः । भण् + क्त भावे = भणितम् ।