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

typo in the print for "अन्तरित" or "अन्तरित्य"? Wait, look at the derivation: "अन्तर—इ + क्ताच् ( ल्यप् ) ।" Wait, look at: अन्तरिच and क्ताच् BOTH have that same letter at the end! Wait! In the headword: अन्तरिच— In the derivation: अन्तर—इ + क्ताच् ( ल्यप् ) । WAIT! Look at both of them! Why do both have that letter? Wait, could the letter be 'त' with something? Wait, could the typesetter's font have a damaged 'त'? No, look at 'च' in 'सचकितम्'! In 'सचकितम्' (L2): 'स', then 'च'. In 'च': Horizontal top line. Vertical right line. From the middle of the vertical line, a horizontal goes left, curves down, curves right. That is Devanagari 'च'! Now look at the letter in L7: Wait, is it 'च'? Wait, look at the headword in L7: अ न् त र ि Then the letter: It has: a vertical right line? Wait, does it have a vertical line? Look at: अ - न् - त - र - ि - त् - य ? Wait, in 'त्य' (like in 'सत्य', 'नित्य'):

216 रत्नावली Vásavadattá takes it as due to the delight caused by the succe- ssful attempt at producing untimely blossoms in the नवमालिका creeper. P. 179. अहं......जाणिस्सं—I shall know all this, i.e., I shall manage everything. P. 182. सवैलक्ष्यम् विलक्षस्य विस्मितस्य भाव इति विलक्ष + ष्यञ् । वैलक्ष्येण सह विद्यमानं यथा स्यात् तथा ( बहु ) । आत्ता किल......दर्शितम्—This is an evasive answer of the Vidushaka to वासवदत्ता । विज्ञानम् means ‘skill.’ P. 183. घुणाक्षरम्—By accidental coincidence, in an unexpected manner. घुण is a kind of insect that bores into the wood or paper of its own accord. But sometimes while making such borings, the hole comes to resemble a letter which the insect did not actually mean to produce. The resemblance is a fortui- tous one. Hence the घुणाक्षरन्याय । N. B. Kánchanamálá, pacifying Vásavadattá, says that most prabably the King did not wilfully represent any parti- cular lady in the picture ( said to be drawn by him ) ; but while painting, such wonderful resemblance with Ságariká has occurred through mere chance. So she requests the Queen not to impute any motive in this matter. Shloka 20. घटते is proper. N. B. When this is not anger, the question of conciliation cannot reasonably arise. अभ्युपगमः—Confession. N. B. The reply ‘I shall not do this again’ implies the confession of some guilt done before. The metre is शिखरिणी । Ch. of voice. प्रसाद्यताम्......उच्येत......शक्यते । करिष्यते......भूयते अभ्युपगमेन !......न दीवेण भूयते......त्रास्यते......विद्यते ।

द्वितीयोऽङ्कः 217 P. 187. अकालवातावली—Untimely storm. अकाले वातावली ( ७मी तत् ) वातानाम् आवली ( ६ष्ठी तत् ) । Diff. reading is अकालवादलिका । कोपानुबन्धः—Persistence of anger. कोपस्य अनुबन्धः (६ष्ठी तत् ) । Shloka. 21. भेदकारि—adj. to हसितम् । Piercing into the heart, piercing smile (due to its sarcastic nature ) भेदं करोति इति भेद-कृ

• णिनिः "भेदो विदारणे द्वैधे उपजापविशेषयोः" हेमः । बाष्पजडीकृतम्—Adj to चक्षुः । बाष्पेण जडीकृतम् ( ३या तत् ) ; जडीकृतम् is equivalent to जलीकृतम् owing to the सावर्ण्य of ड, र and ल । जड़ी- कृतम् means covered with water. प्रभुतया—due to self-control. हेतौ ३या । प्रश्रयः—Humility. प्र—श्रि+अच् । N. B. This Shloka throughout indicates the highly digni- fied and aristocratic nature of Vāsavadattā who, inspite of her having sufficient reasons for being angry, did not trans- gress the limit of decorum befitting a high-born lady. प्रकटीकृतः—Expressed. प्रकट—च्वि + कृ + क्तः । The metre is शार्दूल- विक्रीडित । Ch. of voice......वदनेन नीतेन ( भूयते )......भेदकारिणा हसितेन...... निष्ठुरेण वचसा उक्तेन ( भूयते ) ......बाष्पजडीकृतेन चक्षुषा विस्तारितेन ( भूयते ) कोपं प्रकटीकृतवती दयिता मुक्तवती......प्रश्रयम् । Critical Estimate Act II is the natural and spotaneous development of Act I. The germ of the main plot which was sown and nourished by various incidents arranged under different stages of मुखसन्धि has now developed in Act II where prevails the प्रतिमुखसन्धि with its thirteen auxiliary constituents ( अङ्ग ) along with the

218 रत्नावली developed stage of the main plot called प्रयत्न । The प्रतिमुखसन्धि is defined as :— “फलप्रधानोपायस्य मुखसन्धिनिवेशिनः । लक्ष्यालक्ष्य इवोद्भेदो यत्र प्रतिमुखं च तत्” ॥ ( साः दः ६।७७-७८ ) The love for the King which germinated in Ságariká's heart in Act I, was so long not known to anybody. But after- wards the painting drawn by the heroine for her own diver- sion made the matter known to Susangatá, and Vidushaka and the King, and was at last inferred by Vásavadattá who then flew into a rage. Vásavadattá's apprehension that Sígariká may someday come within the view of the King ( cf : 'यस्स ज्जेव्व दंसण- पधादो पअत्तेण रक्खीअदि, तस्स ज्जेव्व दिट्ठिगोअरं पडिदा भवे—p. 47.) has at last come to be true. In an artistic manner she has been introduced to the King. Susangatá had correctly apprehended that the starling might be the cause of disclosing the secret to others ; for the bird actually shows her wonderful intelligence at a proper time and proper place by reproducing the private conversation of the heroine and her confidante within the hearing of the hero. So this bird plays a significant part so far as the develop- ment of the plot is concerned. The episode of the monkey is also inseparably connected with the main plot ; the Sáriká ( which serves as the main cause of attracting the King into the plantain-bower ) would not have been freed, had not the cage been left alone by Susangatá and Ságariká, being frightened at the approach of the monkey that subsequently breaks open the cage. The King, cherishing his wholehearted love for Vásava-

द्वितीयोऽङ्कः 219 dattá ( as seen in the Cupid-worship in Act I ), has now comp- letely changed ; his heart is now full of duplicity towards his old love for the sake of a new one to whom he has recently been introduced. This change is not at all sudden, but is gradually brought about through an aptly arranged collocation of different episodes and incidents. On the whole, every part of this Act has naturally developed itself from the corresponding incidents in Act I and nothing is here haphazardly done, or put forward as a patch-work for the mere justification of any stray incident. Everything is well-conceived, beautifully arran- ged and skilfully manipulated for the spontaneous develop- ment of the main action. The different characters have been gradually developed to show their individual peculiarities as contrasted with their mere delineation as in Act I. The character of Vásavadattá as developed in Act II, may be compared and contrasted with the characters of the two queens in Kálidása's Málavikágnimitra to which Shri Harsha is much indebted for his Ratnávali and Priyadarshiká. In Kálidásí's drama the chief Queen Dhárini is characterized for her grace, dignity and finally divine magnanimity despite the just cause for her jealousy and anger. But the second Queen Irávati is marked for her passionate impetuosity which leads her to constant eavesdropping and to an outbreak against the King forgetful of his rank and rights. In Ratnávali, Vásavadattá, on the other hand, is represented as a rather jealous though noble and kind-hearted lady whose love for her husband makes her resent too deeply his inconstancy. ──────

तृतीयोऽङ्कः ( ततः प्रविशति मदनिका ) मदनिका—( आकाशे ) कोसंबिए¹ ! अवि दिट्ठा तुए भट्ठिणो² सआसे कंचणमाला ण वेत्ति ? ( कर्णं दत्त्वाकर्ण्य³ ) किं भणासि— कोवि कालो ताए आगच्छिअ गदाएत्ति ? ता कहिं दाणिं पेक्खिस्सं ? ( अग्रतोऽवलोक्य ) कहं एसा क्खु कंचणमाला इदो ज्जेव्व आगच्छदि ! ता जाव णं उवसप्पामि । (क) ( ततः प्रविशति काञ्चनमाला ) काञ्चनमाला—( सोपहासम् ) साहु रे बसंतअ साहु ! अदि- सदो तुए अमच्चजोगंधराअणो वि इमाए संधिविग्गह- चिंताए । (ख) मदनिका—( सस्मितमुपसृत्य ) हला कंचणमाले ! किं अज्ज- वसंतएण किदं जेण सो एव्वं सलाहीअदि ? (ग) (क) कौशाम्बिके, अपि दृष्टा त्वया भर्तुः ( भर्त्रा ) सकाशे काञ्चनमाला न वा इति ? किं भणसि—कोऽपि कालः तस्याः आगत्य गतायाः इति ? तत् कुत्र इदानीं प्रेक्षिष्ये ? कथमेषा खलु काञ्चनमाला इत एव आगच्छति ! तद् यावत् ननु ( एनाम् ) उपसर्पामि । (ख) साधु रे, वसन्तक, साधु ! अतिशयितः त्वया अमात्ययौगन्धरायणोऽपि अनया संधिविग्रहचिन्तया । (ग) हला काञ्चनमाले, किमार्थ ( अद्य ) वसन्तकेन कृतं येन स एवं श्लाघ्यते ?

1. कौसंबिए, कीसंबिए ! 2. भट्टिणीसआसे । 3. कर्णं दत्त्वा ।

तृतीयाेऽङ्कः 221 काञ्चनमाला—हला मदणिए ! किं तब एदिणा पुच्छिदेण पओअणं ? तुमं इमं रहस्सं रक्खिदुं ण पारेसि । (क) मदनिका—सवामि देवीए चरणेहिं जइ कस्सवि पुरदो पआसेमि ! (ख) काञ्चनमाला--जइ एव्वं ता सुण, कहइस्सं । अज्ज क्खु मए राअकुलादी पड़िणिवत्तमाणाए चित्तसालिआदुवारे बसं- तअस्स सुसंगदाए समं आलाबो सुदो । (ग) मदनिका—( सकौतुकम् ) सहि ! कीदिसो ? (घ) काञ्चनमाला—जह—सुसंगदे ! णहि सागरिअं वज्जिअ पिअबअस्सस्स अण्णं किं पि अस्सत्थदाए कारणं¹ । ता एत्थ पड़ि- आरं चिंतेहि । (ङ) मदनिका—तदो सुसंगदाए किं भणिदं ? (च) काञ्चनमाला—तदो ताए एव्वं भणिदं—अज्ज क्खु देवीए (क) हला मदनिके, किं तव एतेन पृष्टेन प्रयोजनम् ? त्वमिदं रहस्यं रक्षितुं न पारयसि । (ख) शपामि ( शपे ) देव्याः चरणाभ्याम् ( चरणैः ) यदि कस्यापि पुरतः प्रकाशयामि ! (ग) यदि एवं तत् शृणु, कथयिष्यामि । अद्य खलु मया राजकुलात् प्रतिनिवर्त्त- मानया चित्रशालिकाद्वारे वसन्तकस्य सुसङ्गतया सममालापः श्रुतः । (घ) सखि, कीदृशः ? (ङ) यथा—सुसङ्गते, न सागरिकां वर्ज्जयित्वा प्रियवयस्यस्य अन्यत् किमपि अस्वस्थतायाः कारणम् । तदत्र प्रतिकारं चिन्तय । (च) ततः सुसङ्गतया किं भणितम् ? 1 कारणं ।

222 रत्नावली चित्तफलअबुसंतसंकिदाए साअरिअं मम हत्थे समप्पयं तीए जं नेवच्छं १ मे पसादीकिदं तदो तस्सिं २ ज्जेव विरइदभट्टिणो- वेसं साअरिअं गेण्हिअ अहं पि कंचणमालाविसधारिणी भविअ पदोसकाले ३ भट्टिणो ४ आगमिस्सं । तुमं बि इह आट्ठिदा पडि- बालइस्सि ५ । माहबीलदामण्डवे ताए सह भट्टिणो समागमो भविस्सदि ६ । (क) मदनिका—सुसंगदे ! इदासि ७ क्खु तुमं जइ ८ एब्बं परि- अणवच्छलं देइ ं ९ बंचेसि ! (ख) (क) ततः तया एवं भणितम्—अद्य खलु देव्या चित्रफलकवृत्तान्तशङ्कितया सागरिकां मम हस्ते समर्पयन्त्या यत् नेपथ्यं मे प्रसादीकृतं ततः तस्मिन् एव विरचितभर्त्तृ- वेशां सागरिकां गृहीत्वा अहमपि काञ्चनमालावैशधारिणी भूत्वा प्रदोषकाले भर्तुः आगमिष्यामि । त्वमपि इह चास्थिता प्रतिपालयिष्यसि । ततः माधवीलतामण्डपे तया सह भर्तुः समागमो भविष्यति । (ख) सुसङ्गते, इतासि त्वम् यदि एवं परिजनवत्सलां देवीं वञ्चयसि ! अथ द्वितीयाङ्के वत्सराजं प्रति सागरिकायाः रागातिशयं प्रदर्श्य वत्सराजस्य सागरिकायां अनुरागविशेषं दर्शयितुं तृतीयाङ्कमवतारयति । सागरिकां प्रति रागातिशयेन वासवदत्तया विच्छेदेन पुनः प्राप्त्या पुनः विच्छेदेन प्राप्त्या च अस्याङ्कस्य गर्भसन्धेः विषयी- भूतत्वम् इति गोलार्थः । आकाशे, आकाशभाषितेन उक्तिरित्यर्थः । तल्लक्षणम् दशरूपके “किं ब्रवीष्येवमित्यादि बिना पात्रं ब्रवीति यत् । श्रुत्वेवानुक्तमप्येकस्तत् स्यादा- काशभाषितम्” । सौतप्रासम् सोपहासम् । अतिशयितः अतिक्रान्तः सन्धिविग्रहचिन्तया सन्धिविग्रह- विचारणेन इत्यर्थः । यथा प्रधानामात्यः यौगन्धरायणः राज्यस्य सन्धिविग्रहादिकं चिन्तयति

1. णेवत्थं । 2. तेण ज्जेव । 3. पदोसी सञ्चामं । 4. इह (इध) । 5. तुमं पि चित्तसालिआदुवारि मं— । तुमं पि इह द्विती ज्जेव पड़िवालइस्सि, तदी... । 6. हुविस्सदि । 7. इदासा । 8. जा । 9. देविं ।

), in 'लक्ष्मण' (no), look at 'दूतिकाव्यापारं'? Wait, let's read the characters: द (da) ा (aa) ति (ti) व्या (vya) पा (pa) रं (ram) Yes, it literally looks like दातिव्यापारं or दूतीव्यापारं! Let's look at the Sanskrit commentary: "तथा त्वमपि तमतिक्रम्य राजान्तःपुरं नायिकामिलनविषये दातिव्यापारं नैपुण्येन विचारयसि।" Wait, what about the word before it? "नायिकामिलनविषये" - look at the end of the word: य with 'े'? Yes, 'विषये'! Wait, look at the image again: "नायिकामिलनविषये दातिव्यापारं" Let's look at line 3: "प्रसादीकृतम् प्रसादप्रकारेण" or "प्रसादरूपेण"? Look at: प्र सा द रू पे ण -> yes, "प्रसादरूपेण"! Wait, after that: "अनुग्रहरूपेण प्रदत्तम् ।" Wait, look at "प्रदत्तम्": प्र द त्त म् -> "प्रदत्तम् ।" Then: "नेपथ्यम् वेषः । अहमपि सुसङ्गतापि । परिजनवत्सलां" Line 5: "पर

224 রত্নাবলী কাঞ্চনমালা—তখন সে বলিল—'অদ্য দেবী চিত্রফলক ব্যাপারে শঙ্কিত হইয়া সাগ- রিকাকে আমার হস্তে সমর্পণকরতঃ অনুগ্রহস্বরূপে যে পরিচ্ছদ আমাকে দিয়াছেন, তাহাতে সাগরিকাকে ভর্ত্রীর বেশে সাজাইয়া আমিও কাঞ্চনমালার বেশ ধারণকরতঃ সন্ধ্যার সময় মহারাজের নিকট যাইব। তুমিও এইখানে থাকিয়া অপেক্ষা করিবে। তাহার পর মাধবীলতামণ্ডপে তাহার (সাগরিকার) সহিত মহারাজের মিলন হইবে'। মদনিকা—সুসঙ্গতে তুমি মরিয়াছ—যদি তুমি পরিজনের প্রতি এইরূপ স্নেহশীলা দেবীকে (এভাবে) বঞ্চিত কর! Eng. Trans.—(Enter Madaniká). Madaniká. (In the sky) Ho, Kaushámbiká! Have you seen Kánchanamálá near the King (Queen)? (Listening) what do you say: It is some time since she came and went away (again). So, where am I to find her? (Looking before her) Ah, here is Kánchanamála herself coming this very way; now, I shall approach her. (Enter Kánchanamálá) Kánchana. (Sarcastically) Bravo, Vasantaka, bravo! you have surpassed the (Prime) minister Yaugandharáyana even in the plan of peace and war! Madaniká. How now, Kánchanamálá! what has Vasantaka done to merit your praises in this way (that he is so eulogized)? Kánchanamálá. What occasion is there for your asking (why do you ask this)? You will not be able to keep the secret. Madaniká. I swear by the feet of the Queen, I will not mention (it) before anybody. Kánchanamálá. If so, then hear; I shall relate (it). As I was passing from the palace to-day, I overheard the conversation of Vasantaka and Susangatá behind the door of the picture-gallery. Madaniká. (With curiosity) Friend, of what nature (topic)?

तृतीयोऽङ्कः 225 Kánchanamala—It was this : 'There is no other cause of my dear friend's indisposition except Ságariká. Do you., Susangatí, devise a remedy ?" Madaniká—And then what replied Susangatí ? Kánchanamálá—She said—"The Queen being afraid of the picture-board affair has placed Ságariká under my charge today—giving me as a favour some of her clothes. With these I shall dress Ságariká as the Queen and myself as Kánchanamálá and thus disguised will approach His Majesty after sunset ; you come to this place (stay here) and wait (for me). Then there in the Mádhavi-creeper bower she will meet His Majesty." Madaniká—Susangatí, you are undone, if you (intend to) deceive the Queen who is so kind to her attendants ? काञ्चनमाला—हला मदणिए ! दाणिं तुमं कहिं पत्थिदा ? (क) मदनिका—अस्सत्थसरीरस्स भट्ठिणो कुसलवुत्तंतं जाणिदुं गदा तुमं चिरअसित्ति उत्तंमंतीए देवीए तुह सआसं पेसिदम्हि । (ख) काञ्चनमाला—अदिउजुआ सा देवी जा एव्वं पत्तिआ- यदि । (परिक्रम्यावलोक्य च) कहं एत्थ एसो क्खु भट्टा अस्सत्थ- दामिसेण अत्तणो मअणावत्थं पच्छादअंतो दंततोरणबलहीए (क) हला मदनिके, इदानीं त्वं कुत्र प्रस्थिता ? (ख) अस्वस्थशरीरस्य भर्तुः कुशलवृत्तान्तं ज्ञातुं गता त्वं चिरयसीति उत्ताम्यन्त्या देव्या तव सकाशं प्रेषितास्मि । 15

226 रत्नावली ऊपरि उवविट्ठो चिट्ठदि। ता एहि, एदं वृत्तंतं भट्टिणीए णिवेदेह्म। (क) ( इति निष्क्रान्ते ) इति प्रवेशकः (क) अति ऋजुका सा देवी या एवं प्रत्येति (प्रत्याय्यते)। कथमत्र खलु भर्त्ता अस्वस्थतामिषेण आत्मनः मदनावस्थां प्रच्छादयन् दन्ततोरणवलभ्याः उपरि उपविष्टः तिष्ठति। तदेहि एतं वृत्तान्तं भर्त्रे निवेदयावः। चिरयसि विलम्बसे इत्यर्थः। प्रत्येति विश्वसिति। अस्वस्थतामिषेण अस्वस्थताच्छलेन। अति ऋजुका अतिसरलस्वभावा। दन्ततोरणवलभ्याः हस्तिदन्तकृतबहिर्द्वारस्य वलभ्याः चन्द्रशालायाः 'गोपानसी तु वलभी छादने वक्रदारुणि' इत्यमरः। Beng. Trans.—কাঞ্চনমালা—তুমি এখন কোথায় যাইতেছ? মদনিকা—তুমি অসুস্থশরীর মহারাজের কুশল বৃত্তান্ত জানিবার জন্য তাঁহার নিকট গিয়াছিলে; তুমি দেরী করিতেছ দেখিয়া দেবী উৎকণ্ঠিত হইয়া আমাকে তোমার নিকট প্রেরণ করিয়াছেন। কাঞ্চনমালা—দেবী অত্যন্ত সরলস্বভাবা, সেই জন্য তিনি এইরূপ বিশ্বাস করেন। (পরিক্রমণ ও অবলোকন করিয়া) একি! এই যে মহারাজ অসুস্থতার ছলে নিজের মদনাবস্থা গোপন করিয়া হস্তিদন্তনির্ম্মিত প্রাসাদোপরিস্থিত গৃহে (বলভী) বর্তমান রহিয়াছেন। এখন এস, দেবীকে এই সংবাদ নিবেদন করি! (উভয়ে নিষ্ক্রান্ত) প্রবেশক সমাপ্ত Eng. Trans.—Kánchanamálá—And where are you now going? Madaniká—You went to bring the news of His Majesty who had become indisposed; but as you were making delay (in coming back), I was sent to you by Her Majesty who became very anxious (on that account). Kánchanamálá—Her Majesty is so simple that she readily believes in such things (is so easily deceived). (Walking

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तृतीयोऽङ्कः <span style="float: right;">227</span> round and observing) How now ! Here is the King who conceal- ing his love-sick condition under the pretext of illness, is sitting on the topmost pavillion over the ivory-gate. So, come along and let us carry the news to the Queen. (Exeunt) The End of the Interlude ( ततः प्रविशति मदनावस्थां नाटयन्नुपविष्टो राजा ) राजा—( सोत्कण्ठं निःश्वस्य ) सन्तापो हृदय ! स्मरानलकृतः सम्प्रत्ययं सह्यतां नास्तेऽत्रावोपशमोऽस्य, तां प्रति पुनः किं त्वं मुधा ताम्यसि ? यन्मूढेन मया तदा कथमपि प्राप्तो गृहीत्वा चिरं विन्यस्तस्त्वयि सान्द्रचन्दनरसस्पर्शो न तस्याः करः ॥१॥ अहो महदाश्चर्यम् ! **मनश्चलं प्रकृत्यैव दुर्लक्ष्यं

228 रत्नावली ह्रिया सर्व्वस्याधो¹ नयति विदितास्मीति वदनं द्वयोर्हृष्टालापं कलयति कथामात्मविषयाम् । सखीषु स्मेरासु प्रकटयति वैलक्ष्यमधिकं प्रिया प्रायेणास्ते हृदयनिहितातङ्कविधुरा ॥४॥ प्रेषितश्च मया तद्वृत्तान्वेषणाय वसन्तकः । तत् कथं चिरयति² ? ततः मदनिका-काञ्चनमालायाः निष्क्रमरणान्तरम् इत्यर्थः । सन्ताप इति । हे हृदय, सम्प्रति अधुना अयं अरालनक्रुतः मदनाननजनितः सन्तापः दाहः सह्यताम् त्वयेत्यर्थः । अस्य मदनाननस्य उपशमः शान्तिः नास्ति । मुधा वृथा तां सागरिकां प्रति उद्दिश्य इत्यर्थः । पुनः ताम्यसि उत्कण्ठितं भवसि । रुम्प्रति तस्याः केनाप्युपायेन लाभासम्भवात् अस्य दाहस्य प्रशमोपायः नास्तीति भावः । मूर्द्धन मूर्खेण मया तदा कथमपि कृच्छ्रात् इत्यर्थः । सान्द्रचन्दनरसस्पर्शः घनः यः चन्दनरसः तस्य स्पर्शः इव स्पर्श यस्य शीतलः इत्यर्थः । तस्याः करः त्वयि हृदये इत्यर्थः । न विन्यस्तः स्थापितः । हृदये तस्या शीतलकरस्थापनं हि प्रशमस्य एक एव उपायः आसीत् इति भावः । शार्दूलविक्रीड़ितं वृत्तम् । हेत्व- लङ्कारः ॥ १ ॥ मन इति । प्रकृत्या एव मनः चलं चञ्चलम् । तत् दुर्लच्यं दुर्ज्ञेयम् चक्षुर्विषयम् तार्किकसिद्धान्तेन मनसः अणुत्वात् इत्यर्थः । तथापि अस्य अणुत्वेऽपि कामेन मदनेन समं युगपत् सर्व्वैः शिलीमुखैः बाणैः विद्धम् । स्थूलरुपाणां वस्तूनामिन्द्रियग्राह्याणामिव बाणवेधस्य योग्यता बर्त्तते, यत्तु अणुत्वात् चक्षुरविषयत्वेनोच्यते तस्य बहुभिः बाणैः कथं वेधः स्यादिति मे विस्मयः । एतेन कामस्य सर्व्वातिशयिशक्तिमत्त्वं व्यज्यते । अत्र बाणवेधहेतुभूतस्य स्थूलत्वस्याभावेऽपि बाणवेधरूपकार्योत्पत्तेः विभावणालङ्कारः ॥२॥ कुसुमधन्वन् कामदेव इति सम्बुद्धिवचनम् । 'धनुषोऽनङ्' इति अनङ्-समासान्तः । १. सर्व्वस्यासौ अथवा सर्व्वस्याग्रे । २. न दृश्यते पुस्तकान्तरे । अथवा...... तद्वार्त्तान्वेषणाय कथं चिरयति वसन्तकः ?

बाणा इति। मनोभवस्य कामदेवस्य पञ्च बाणाः नियताः निश्चिताः। तेषां बाणानाम् असंख्यः संख्यारहितः अस्मद्विधः कामप्रपीड़ितः इत्यर्थः। जनः प्रायः लक्ष्यः शरव्यः इति यत् लोके प्रसिद्धिं गतं ख्यातम्, तत् त्वयि अधुना विप्रतीपं दृष्टम्। यस्मात् इति अनेन विप्रतीपत्वस्य कारणं दर्शयति। अयम् अशरणः असहायः निराश्रय इति यावत् कामिजनः मद्विधः इत्यर्थः। त्वया पञ्चतां पञ्चसंख्यावत्ताम्, अथवा पञ्चमहाभूततां मृत्युम् इति यावत्, नीतः। पूर्वं ते बाणाः पञ्च कामिजनाश्च असंख्या आसन्। अधुना पुनः वैपरीत्येन ते बाणाः असंख्या भूताः कामिजनान्तु पञ्चत्वं ( पञ्चसंख्याकत्वम् अथच मृत्यम् ) प्राप्ताः। शार्दूलविक्रीडितं वृत्तम् ॥३॥ एवंविधावस्थम् एवं विधा अवस्था दशा यस्य तम्। अन्तर्गूढकोपसम्भारयाः अन्तः मनसि गूढः निभृतः कोपसम्भारः क्रोधातिशयः यया तस्याः देव्याः लोचनगोचरगतां दृष्टि- विषयत्वम् आयान्तीम् ताम् एव तपस्विनीं दीनां सागरिकाम् अनुचिन्तयामि। हियेति। सर्व्वस्य अग्रे विदितास्मि मद्व्यापारः सर्व्वेषां जनानां ज्ञानगोचरमायात इति सा प्रिया सागरिका इत्यर्थः। ह्रिया लज्जया वदनम् अधो नयति। द्वयोः द्वयोः कयोरपि जनयोः आलापं भाषणं दृष्ट्वा आत्मविषयाम् आत्मसम्बन्धिनीं कथां कल्पयति चिन्तयति। सखीषु आशु हास्यवदनासु सतीसु सा वैलक्ष्यम् विक्षिप्तत्वं प्रकटयति प्रकाशयति। एवंप्रकारेण सा सागरिका हृदये निहितः यः आतङ्कः भयं तेन विधुरा विह्वला आस्ते तिष्ठति। शिखरिणी वृत्तम् ॥४॥ तद्वृत्तान्वेषणाय तस्याः सागरिकायाः वार्त्ता तस्याः अन्वेषणाय। इदं गर्भसन्धिमध्ये अन्वेषणम्। साहित्यदर्पणे गर्भसन्धिलक्षणम् द्रष्टव्यम्। Prose order :—हे हृदय, स्मरानलकृतः अयं सन्तापः सम्प्रति सह्यताम्। अस्य उपशमः नास्ति। तां प्रति मुधा पुनः किं त्वं ताम्यसि ?—यत् मूढेन मया तदा कथमपि प्राप्तः सान्द्रचन्दनरसस्पर्शः तस्याः करः चिरं गृहीत्वा ( अपि ) त्वयि न विन्यस्तः ॥१॥ मनः मे प्रकृत्या एव चलं दुर्लक्ष्यं च। तथापि एतत् कामेन सर्वैः शिलीमुखैः कथं समं विद्धम् ? ॥२॥ मनोभवस्य बाणाः पञ्च नियताः, तेषाम् अस्मद्विधः असंख्यः जनः प्रायः लक्ष्यः

শরের দ্বারা অসহায় Wait, look at L18: "অসংখ্য শরের দ্বারা" - is there any weird character? No, "অসংখ্য শরের দ্বারা অসহায়". কামিজনকে বিদ্ধ করিয়া পঞ্চত্ব প্রাপ্ত করাইতেছ ॥৩॥ ( চিন্তা করিয়া ) এইরূপ অবস্থায় পড়িয়া আমি আমার জন্য ততটা চিন্তা করিনা, যতটা আমি অন্তর্নিবদ্ধকোপা দেবীর দৃষ্টিপথে পতিতা অনুকম্পনীয়া সাগরিকার কথা চিন্তা করিতেছি। কেননা,— সকলে ( আমার কথা ) জানিতে পারিয়াছে এই ভাবিয়া আমার প্রিয়া লজ্জায় মুখ অবনত করিয়া থাকেন; দুইজনকে পরস্পর আলাপ করিতে দেখিলে, তাঁহার নিজের বিষয়ে কথা হইতেছে বলিয়া মনে করেন। সখীগণ ঈষৎ হাসিলে তাঁহার বৈলক্ষ্যের ভাব আরও অধিক প্রকাশ পায়। এইরূপে তিনি সর্ব্বদাই হৃদয়স্থিত আশঙ্কার দ্বারা ব্যাকুল হইয়া থাকেন ॥৪॥

Wait, look at line 11: "ও বহুক্ষণ গ্রহণ করিয়াও তোমার উপর বিন্যস্ত করি নাই ॥১॥" In line 12: "অহো কি মহৎ আশ্চর্য্য!—" (with dash). In line 14: "সকল বাণদ্বারা যুগপৎ এই ( মনকে ) কি প্রকারে বিদ্ধ করিলেন ? ॥২॥" In line 15: "( ঊর্

तृतीयोঽঙ্কঃ 231 আমি বসন্তককে তাঁহার সংবাদ আনিবার জন্য প্রেরণ করিয়াছি; সে এতক্ষণ দেরী করিতেছে কেন ? Eng. Trans. (Then enter the King seated gesticulating his love-sick state) King. Endure, my heart, for the present, the affliction caused by the fire of love. There is no means for its abatement at present and why do you pine for her again in vain? Fool as I was, I had then somehow grasped her hand as cool in touch as the thick sandal-paste and held it for long, but could not manage to place it on you at that time. 1. Oh, what a great wonder!—The mind is unsteady in its very nature and unperceivable (through eyes); inspite of that how could the god of love pierce this (heart) of mine simultaneously with all his arrows? 2. (Looking up) O god with the flowery bow! It has become well-known in the world that the mind-born god has only five arrows (lit., the five arrows of the mind-born deity are fixed) and persons, generally of my type to be aimed at with them, are without number. But now, in you this (usual state of things) is found to be reversed, as the helpless lover (like me) alone, being pierced with your countless arrows, is being led to the state of (being dissolved into) five elements (i. e., death). 3. (Reflecting) Yet I do not think so much for myself reduced to such a (pitiable) condition, as much I do for that poor Ságariká who then came within the sight of the Queen who suppressed within her the accumulated (smouldering) wrath. For— She turns down her countenance, thinking 'iny (secret) has been known to all'; observing two of her companions in conversation, she fancies the subject of the talk to be about her own self; and if her friends be smiling, she displays

232 रत्नावलो her wonder much more. Thus my beloved remains often perturbed with fear lodged in her heart. 4. I have sent Vasantaka to obtain particulars about her ; but why is he delaying (so long) ? ( ततः प्रविशति हृष्टो वसन्तकः ) विदूषकः—( सपरितोषम् ) हो ही भो ! अच्छरिअं अच्छ- रिअं ! कोसंबोरज्जलाहेणवि ण तादिसो पिअवअस्सस्स हि- अयपरितोसो ¹जादिसो मम सआसादो अज्ज पिअवअणं सुणिअ हुविस्सदित्ति तक्केमि । ता जाव गदूण पिअवअस्सस्स णिवेद- इस्सं । ( परिक्रम्यावलोक्य च ) कधं एसो पिअवअस्सो जधा इमं ज्जेव्व दिसं अवलोअन्तो चिट्ठदि तहा तक्केमि मं ज्जेव्व पडिवालेदि । ता जाव णं उवसप्पामि । ( इत्युपसृत्य ) जयदु जयदु पिअवअस्सो ! भो वअस्स ! दिट्ठिआ

तृतीयोऽङ्कः 233 राजा—(सपरितोषम्) वयस्य! दर्शनमपि भविष्यति प्रियायाः ? विदूषकः—(साहङ्कारम्) भो! कीस न भविस्सदि, जस्स दे उवहसिदबिहप्पइबुद्धिविहवो अहं अमच्चो ! (क) राजा—(विहस्य) न खलु चित्रम्! किं न सम्भाव्यते त्वयि! तत् कथय। विस्तरतः श्रोतुमिच्छामि। (विदूषकः कर्णे एवमेवं कथयति) राजा—(सपरितोषम्¹) इदं ते पारितोषिकम्। (इति हस्तादवतार्य² कटकं ददाति) विदूषकः—(कटकं परिधायात्मानं निर्वर्ण्य) भोदु, एवं दाव। इमं सुद्धसोवण्णकडअमण्डिअहत्थं अत्तणो बह्मणीए गदुअ दं- सइस्सं। (ख) राजा—(हस्ते गृहीत्वा निवारयन्) सखे, पश्चाद्दर्शयिष्यसि।

234 रत्नावली प्रियवचनं सागरिकानुरागरूपम् इत्यर्थः । प्रतिपालयति अपेक्षते । समीहितकार्य्यसिद्धया समीहितं यत् कार्यं तस्य सिद्धया साफल्येन । समीहिताभ्यधिकया इति पाठे समीहितात् सागरिकावार्त्तालाभरूपात् अभ्यधिकया तद्दर्शनलाभरूपया इत्यर्थः । उपहसितः तिरस्कृतः बृहस्पतेः बुद्धिविभवः बुद्धिरूपम् ऐश्वर्य्यं येन सः । गुरुः अनुरागः प्रेम लौहित्यञ्च तेन खिन्नं हृदयं यस्य सः । सन्ध्या एव वधूः नागरिका तया दत्तः कृतः सङ्केतः अमुकसमये त्वया अमुकस्थानमागन्तव्यमित्येवंरूपः यस्मै सः । सहस्ररश्मिः सूर्य्यः अस्तगिरिकाननम् अस्ताचलरूपं वनम् । अनुसरति । यथा कयाचित् नायिकया दत्त- सङ्केतः नायकः निर्दिष्टं निभृतम् अभिसरणीयांगं किञ्चित् काननम् अनुगच्छति तथा सूर्य्योऽपि सन्ध्यासमागमे वारुण्यां दिशि अस्ताचलशिखरमुपैति इति भावः । रूपकोत्- प्रेक्षयोः सङ्करः । समासोक्तिश्छविः । Beng. Trans.—( সহর্ষে বসন্তকের প্রবেশ ) বিদূষক—( সানন্দে ) হী হী ভো ! কি আশ্চর্য্য ! কি আশ্চর্য্য ! আজ আমার নিকট হইতে এই প্রিয় সংবাদ শ্রবণ করিয়া প্রিয়বয়স্যের মনে যেরূপ আনন্দ হইবে, আমার মনে হয় কোশাম্বীরাজ্য লাভ করিয়াও প্রিয়বয়স্যের সেইরূপ আনন্দ হয় নাই। ( পরি- ভ্রমণপূর্ব্বক অবলোকন করিয়া ) এই যে প্রিয়বয়স্য যেরূপ এইদিকে মুখ করিয়া তাকাইয়া আছেন, তাহাতে মনে হইতেছে যেন তিনি আমারই অপেক্ষা করিতেছেন। তবে অগ্রসর হই। ( অগ্রসর হইয়া ) প্রিয়বয়স্যের জয় হউক ! হে বয়স্য, আজ সৌভাগ্যক্রমে আপনি ঈপ্সিত কার্য্যসিদ্ধির ফলে অভ্যুদয় লাভ . করিয়াছেন। রাজা—( সানন্দে ) বয়স্য, প্রিয়া সাগরিকার কুশল ত ? বিদূষক—( সগর্ব্বে ) হে বয়স্য, অতি শীঘ্র নিজে দেখিয়াই বুঝিতে পারিবেন। রাজা—( সানন্দে ) বয়স্য, প্রিয়ার দর্শনও হইবে না কি ? বিদূষক—( অহঙ্কারের সহিত ) বৃহস্পতির বুদ্ধিবৈভবকে উপহাসকারী আমার মত অমাত্য যাঁহার, তাঁহার (এরূপ আকাঙ্ক্ষিত দর্শন) হইবে না কেন ? রাজা—( হাসিয়া ) কিছু আশ্চর্য্য নয়। তোমাতে কি না সম্ভবপর হয় ! তাহা হইলে বল—আমি সবিস্তরে শ্রবণ করিতে ইচ্ছা করি। ( বিদূষক কর্ণে এইরূপ বলিলেন )