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

268 रत्नावलो सागरिका—( उपसृत्य ) ता जाब इमाए माहबौलदाए पासं बिरइअ असोअपादवे अप्पाणअं उब्ब'धिअ बावादेमि । ( इति लतापाशं रचयन्ती ) हा ताद ! हा अम्ब ! एसा दाणिं अहं अणाहा असरणा विवज्जामि मंदभाइणी ! (क) ( इति कण्ठे लतापाशम् अर्पयन्ती ) विदूषकः—( विलोक्य ) का उण एसा ! कहं उण देवी बासबदत्ता । ( ससम्भ्रमोपेतः ) भो वयस्स ! परित्ताहि परित्ताहि । एसा क्खु देवी बासवदत्ता अप्पाणं उब्ब'धिअ बावादेति । (ख) राजा—( ससम्भ्रममुपसृत्य ) क्वासौ क्वासौ ? विदूषकः—णं एसा । (ग) राजा—(¹कण्ठात् पाशमपनयन्) अयि साहसकारिणि ! किमिट- मकार्य्यं क्रियते ?— मम कण्ठग

तृतीयोऽङ्कः 269 यथासमीहितं यथेप्सितम्। उद्वध्ना उद्वन्धनेन इत्यर्थः। व्यापादयामि हनिष्यामि। ममेति। तव कण्ठस्थिते पाशे रज्जवाम् मम प्राणाः कण्ठगताः अहं मृतप्राय एव। अतः अस्मात् कारणाद् अयं स्वार्थप्रयत्नः स्वार्थात् स्वार्थहेतोः निजप्राणरक्षार्थम् इत्यर्थः, अयं प्रयत्नः चेष्टा त्वत्प्राणनाशनिवारणरूपा इत्यर्थः। त्वयि जीविते सति अहमपि जीवामि। अतो ममैव प्राणरक्षार्थं तव पाशमुन्मोचयितुमुत्सहे इत्यवधारय इत्यर्थः। साहसं सहसाकृतं यत् कार्यं हठकारितया तदेव साहसम्। अत्र असङ्गत्यलङ्कारः कार्य्य- कारणयोर्भिन्नदेशस्थितत्वात्। पाशस्य कारणत्वं, प्राणानां च कण्ठगतत्वात् कार्य्यत्वम्॥ १६॥ अत्र प्राप्त्याशा नाम कार्य्यस्य तृतीया अवस्था। [ साहित्यदर्पणं द्रष्टव्यम् ] Prose order—प्रिये! पाशे तव कण्ठगते मम प्राणाः कण्ठगताः। अतः अयं स्वार्थप्रयत्नः ( पाठान्तरे—स्वार्थः प्रयत्नः ); साहसं त्यज्यताम्॥१६॥ Beng. Trans. বসন্তক—হে বয়স্য, দেবী অত্যন্ত ক্রুদ্ধা হইয়াছেন। জানি না, তিনি কি করিবেন; কিন্তু সাগরিকার জীবন অত্যন্ত দুষ্কর হইয়া উঠিল বলিয়া অনুমান করিতেছি। রাজা—বয়স্য, আমিও ঐরূপ ভাবিতেছি। হা প্রিয়ে সাগরিকে! ( বাসবদত্তার বেশধারিণী সাগরিকার প্রবেশ ) সাগরিকা—( সোদ্বেগে ) এই দেবীবেশ পরিধান করিয়া এই সঙ্গীতশালা হইতে নির্গত হইয়া আসিবার সময় ভাগ্যে আমাকে কেহ দেখিতে পায় নাই! তাহা হইলে এখন এখানে কি করি? ( সাস্রনেত্রে চিন্তা করিতে লাগিলেন ) বিদূষক—ভো! আপনি বোকার মত বসিয়া আছেন কেন? এ বিষয়ে প্রতীকার চিন্তা করুন। রাজা—বয়স্য, আমিও উহাই চিন্তা করিতেছি। দেবীর অনুগ্রহ ছাড়া অন্য কোন উপায় দেখিতেছি না। তাহা হইলে এস, সেখানেই যাই। ( উভয়ের পরিক্রমণ ) সাগরিকা—( সাস্রনেত্রে চিন্তা করিয়া ) বরং এখন নিজেই উদ্বন্ধনের দ্বারা প্রাণত্যাগ করিব; তাহা হইলে সঙ্কেতের বৃত্তান্ত জানিতে পারিয়া দেবী সুসঙ্গতাকে যেরূপ

270 রত্নাবলী অপমানিত করিয়াছেন, আমাকে সেইরূপ হইতে হইবে না। এখন তাহা হইলে অশোক- বৃক্ষতলে যাইয়া স্বেপ্সিত সাধন করি। ( পরিক্রমণ করিলেন ) বিদূষক—( শুনিয়া ) থামুন, থামুন, মশায়। এই যে শব্দশব্দ শুনা যাইতেছে! আমি জানি, হয়ত বা কখনও পশ্চাৎ অনুতাপ করিয়া দেবী আবার আসিয়া থাকিতে পারেন। রাজা—বয়স্য, দেবী মহানুভাবা। হয়ত কখনও এই রকম হইতেও পারে; সুতরাং শীঘ্র নির্ণয় কর। বিদূষক—আপনার যেরূপ আদেশ। ( নিষ্ক্রান্ত ) সাগরিকা—( অগ্রসর হইয়া ) তাহা হইলে এই মাধবীলতার পাশ তৈয়ারী করিয়া উদ্বন্ধনে আত্মহত্যা করি। ( লতাপাশ রচনা করিয়া ) হা পিতঃ! হা মাতঃ! আমি মন্দভাগিনী আজ অনাথা ও নিরাশ্রয়া হইয়া প্রাণত্যাগ করিতেছি। ( কণ্ঠে লতাপাশ দিয়া ) বিদূষক—( অবলোকন করিয়া ) উনি আবার কে? এঁকি দেবী বাসবদত্তা যে! ( ব্যস্তভাবে উচ্চস্বরে ) হে বয়স্য, রক্ষা করুন। এই যে দেবী বাসবদত্তা উদ্বন্ধনে আত্মহত্যা করিতেছেন। রাজা—( সসম্ভ্রমে আসিয়া ) কই, কই, কোথায় তিনি? বিদূষক—এই যে তিনি। রাজা—( কণ্ঠ হইতে পাশ খুলিয়া ) অয়ি সাহসিকে, এই দুষ্কর কার্য্য করিতেছ কেন? —তোমার কণ্ঠে পাশ অর্পিত হওয়ায় আমার প্রাণ কণ্ঠাগত হইয়াছে! সেই হেতু স্বার্থের জন্যই (নিজ প্রাণরক্ষার জন্যই) এই প্রযত্ন (তোমার প্রাণরক্ষার চেষ্টা)। হে প্রিয়ে, এ দুঃসাহসিক কর্ম্ম পরিত্যাগ কর। ১৬। Eng. Trans.—Jester—Oh friend, the Queen is angry; as to what she will do, that is by no means certain. I think Ságariká's life would be made impossible.

तृतीयाङ्कः 271 King.—I, too, was thinking thus, my friend. Oh my beloved Ságariká! (Then enters Ságariká in the guise of the Queen) Ságariká—(Anxiously) I have luckily got clear of the music-hall and have come so far in this disguise of the Queen and have not been observed by anybody. But what shall I do now? (Thinks with tearful eyes) Jester—Hallo, why are you sitting like a fool? Think out some remedy. King—I have been thinking of it, my friend. There is no other way out but to secure the favour of the Queen. So, come. Let us be there. (Both walk round) Ságariká—(Thinking with tears in her eyes) It is better that I should put an end at once to my own life by hanging. Then like Susangatá I shall not have to submit to the insult of the Queen who has come to know all about the assignation. Now, I shall go to this Ashoka tree and do what I have conceived in my mind. (She goes round) Jester—(Hearing) Stop! Surely sounds of footsteps are heard. I know, perhaps the Queen having repented might have come back again. King—She is a lady of noble spirit; sometimes it may be so even. So be quick and ascertain. Jester—As Your Majesty commands. (Exit) Ságariká—(Approaching) Now, I shall hang myself to death by a noose made of this Mádhavi creeper. (Forming the noose with the creeper) Ah father! Ah mother! thus unbefriended and unsheltered I terminate my miserable existence (lit: I die, hapless that I am.) (Fastening the noose around her neck) Jester—(Looking) Now, who can she be! Ha! Queen

272 रत्नावलो Vāsavadattā! (In haste and loudly) Oh friend, save save! here Vāsavadattā is destroying herself by hanging. King—(Advancing hastily) Where—where is she? Jester—Verily, here is she. King—(Tearing the noose off her neck) O daring one, what horrid (rash) act is this being done? My own life trembles in my throat when the noose is on thy neck. So, this endeavour is for (my) own self. Forgo such desperate act, my beloved! 16. सागरिका—(राजानं दृष्ट्वा) ¹अयि! कधं एसो भट्ठा! (सहर्षमात्मगतम्) जं सच्चं एणं पेक्खिअ पुणोबि मे जीविदाहिलासो संबुत्तो। अहवा, एणं पेक्खिअ कदत्था भविअ सुहं अप्पाणअं उब्बंधिअ जीविदं परिच्चइस्सं। (प्रकाशम्) मुंचदु मुंचदु मं भट्ठा। पराहीणो क्खु अअं जणो ण उण ईरिसं अवसरं मरिदुं पावेदि²। तुमं पि देवीए मा अप्पाणं अवराहिणं करेसि। (इति पुनः कण्ठे पाशं दातुम् इच्छति) (क) राजा—(³निरूप्य सहर्षम्) कथं प्रिया मे सागरिका! (इति कण्ठात् पाशमाक्षिप्य) अलमलमुना ते साहसेनेदृशेन⁴ त्वरितमयि विमुञ्च त्वं लतापाशमेनम्। (क) अयि, कथमेष भर्त्ता! यत् सत्यम् एनं प्रेक्ष्य पुनरपि मे जीविताभिलाषः संवृत्तः। अथवा एनं प्रेक्ष्य कृतार्था भूत्वा सुखमात्मानम् उद्वध्य जीवितं परित्यक्ष्यामि। मुञ्चतु मुञ्चतु मां भर्त्ता। पराधीनः खलु अयं जनः न पुनः ईदृशं अवसरं मर्तुं प्राप्नोति। त्वमपि देव्याः मा आत्मानम् अपराधिगं कुरु।

1. अओ। 2. न इच्छति पुस्तकान्तरे। 3. निर्वर्ण्य सहर्षमात्मगतम्।
2. अलमलमतिमात्रं साहसेनामुना तं।

! That explains why it is printed with 'धौ'! It is literally printed as (अवधौरयित्वा) or (अवधौर्यित्वा).

Look at : आगच्छन्त्या मया अतिनिष्ठुरं कृतम् । तदिदानीं स्वयमेव गत्वा आर्यपुत्रम्

Look at : अनुनेष्यामि ।

Look at : (ग) का अन्या देवीं वर्जयित्वा एवं भणितुं जानाति ? वरं स एवं ( एव ) देवो Wait, is it "देवो" or "देवी"? In : "देवो" - it has an 'ो' on 'व'.

Look at : दुर्जनो भवतु, न पुनर्देवी ! तदेतु एतु देवी । Wait, "पुनर्देवी" has a space or not? "पुनर्देवी !" (or "पुनर् देवी !"). In image: "पुनर्देवी !".

Look at (Commentary): अयि जीवितेशे प्राणानामधीश्वरि, अधुना पाशबन्धनरूपेण ते साहसेन बलात्कारकृत-

Look at : कार्येण फलं न प्रयोजनम् । त्वम एतं लतापाशं मुञ्च परित्यज । मम चलितं गमनी- Wait, "त्वम" or "त्वम्"? Look at [

274 रत्नावली न्मुखं जीवितं निरोद्धुं गमनात् स्थगितुं बाहुपाशं बाहुबन्धनं क्षणं निधेहि। लतापाशं परित्यज्य बाहुपाशे मे कण्ठे निवेशिते मम जीवितं बाहुपार्श्वावलम्बं सत् संरक्षितं स्यात्। मालिनीवृत्तम् ॥१३॥ अनभ्रा अभ्रशून्या मेघविरहिता इति यावत्। अकालवातावली इत्यादि। इदं पताका- स्थानम्। तदानीमेव आगता देवी। Prose order—अयि जीवितेशि, अमुना ते अतिमात्रसाहसेन अलम्। त्वं त्वरितम् एनं लतापाशं मुञ्च। मम चलितमपि जीवितं निरोद्धुम् इह कण्ठे बाहुपाशं क्षणं निधेहि ॥१३॥ Beng. Trans. सागरिका—( राजाके देखिया ) आरे ए ये महाराज ! ( सहर्षे —आत्मगत ) सत्यइ आज इहाँके देखिया आमार आबार बाँचिबार जन्य इच्छा हइतेछे। अथवा, इहाँर दर्शने कृतार्थ हइया उद्बन्धने सुखे प्राणत्याग करिब। ( प्रकाशे ) छाड़ुन छाड़ुन आमाय, महाराज ! आमि पराधीन, मरिबार आर एमन सुयोग पाइब ना। आपनिओ देवीर निकट निजेके अपराधी करिबेन ना। ( एइ बलिया पुनराय कण्ठे पाशबन्धन दिते उद्यत हइलेन ) राजा—( आनन्देर सहित देखिया ) ए कि ! ए ये आमार प्रिया सागरिका ! ( कण्ठ हइते पाश उन्मोचन करिया ) अयि प्राणेश्वरि ! तोमार एइरूप अतिमात्र दुःसाहसिक कार्य्य करिबार कोन प्रयोजन नाइ। एइ लताबन्धन सत्वर परित्याग कर। आमार गमनोन्मुख प्राणके रक्षा करिबार निमित्त क्षणकेर जन्य आमार एइ कण्ठे बाहुपाश स्थापन कर। १३। ( निज कण्ठे बाहुपाश बन्धन करिया स्पर्शसुख अनुभव करिते करिते विदूषकेर प्रति ) वयस्य, ए ये बिना मेघे वृष्टि ( मेघ ना चाइते जल ) : विदूषक—हाँ, ताहाइ बटे, यदि अवश्य देवी वासवदत्ता अकाल-वातावली हइया ना आसेन ! ( काञ्चनमाला ओ वासवदत्तार प्रवेश ) वासवदत्ता—अयि काञ्चनमाले, सेइरूपे आमार चरणतले निपतित आर्यपुत्रके अवहेला करतः चलिया आसिया अतिशय निष्ठुर कार्य्य करियाछि। एखन निजे गियाइ आर्यपुत्रके अनुनय करिब।

तृतीयोऽङ्कः 275 কাঞ্চনমালা—দেবী ব্যতীত অন্য কে এইরূপ বলিতে জানে? বরং মহারাজই দুৰ্জ্জন হউন, কিন্তু তথাপি দেবী যেন না হন। এখন দেখি, আসুন। ( উভয়ের পরিক্রমণ ) Eng. Trans.—Ság. (Looking at the King) Ah! It is the King himself ! (Joyfully) It is indeed true that seeing him, desire for life occurs in me again (His sight inspires me anew with a desire for life). Or that, at least my wish being fulfilled by a sight of him, I shall happily hang myself to death. (Aloud) Let me go, my lord ! Dependent as I am, I shall not get an opportunity like this again to die. You, too, please do not offend the Queen. ( Again wants to put the noose around her neck) King—(Looking with joy) Ah, how now ! It is my beloved Ságariká ! (Snatches away the noose from her neck) No more of this sort of excessive daring on your part. Quickly give up this noose of creeper; and to arrest my fleeting life twine round my neck for an instant, the noose of thine arms, oh my beloved ! 17. (Puts her hands entwined round his neck and feeling the joy of her touch, —to the Jester) My friend, it rains without cloud ! Jester—Very true !-- if, however, the Queen Vásavadattá does not return like a sudden squall ! (Enter Vásavadattá and Kánchanamálá) Vásava—Oh Kánchanamálá, I have acted very cruelly by coming away disregarding my husband thus fallen at my feet. Now I must go personally and entreat him. Kánchana—Who else but your ladyship can speak in this strain ? However, rather the King be a knave, but not your ladyship. So, madam, come. (Both go round)

276 रत्नावलो राजा—अयि मुग्धे ! किमद्यापि मध्यस्थतया वयं विफल- मनोरथाः क्रियामहे ? काञ्चन—(कर्णं दत्त्वा) भट्टिणि ! जह समीबे एसो भट्टा मंतयदि तह तक्केमि तुमं ज्जेव्व अणुणेदुं आगच्छदि । ता उबसप्पदु भट्टिणो । (क) वासबदत्ता—ता अलक्खिदा एव्व पुट्ठदो गटुअ कंठे गेह्रिअ पसादइस्सं । (ख) विदूषकः—भोदि साअरिए ! बीसद्धा भविअ पिअबअस्स' आलावेहि । (ग) वासवदत्ता—(आकर्ण्य सविषादम्) कंचणमाले ! 'साअरिश्रा- बि एत्थ एव्व चिट्ठदि । ता सुणह्म । जाणिअ पच्छा उब- सप्पिस्सं । (इति तथा करोति) (घ) सागरिका—भट्टा ! किं एदिणा अलीकदक्खिणेण ? जीविदादो बि अहिअवल्लहाए देवीए पुणोबि अत्ताणअं अबरा- हिणं किं करेसि ? (ङ) (क) भर्त्रि, यथा समीपे एष भर्त्ता मन्त्रयते, तथा तर्कयामि त्वामेव अनुनेतुम् आगच्छति । तद् उपसर्पतु भर्त्री । •(ख) तद् अलक्षिता एव पृष्ठतः गत्वा कण्ठे गृहीत्वा प्रसादयिष्यामि । (ग) भवति सागरिके, विश्रब्धा भूत्वा प्रियवयस्यम् आलापय । (घ) काञ्चनमाले, सागरिकापि अत्र तिष्ठति । तच्छृणुवः । ज्ञात्वा पश्चात् उप- सर्पिष्यामि । (ङ) भर्तः, किमेतेन अलीकदाक्षिण्येन ? जीवितादपि अधिकवल्लभायाः देव्याः पुनरपि आत्मानम् अपराधिनं किं करोषि ?

1. कहं साअरिआ इदी जेव्व बाअदा !

तृतीयोऽङ्कः 277 राजा—अयि ! मिथ्यावादिनी खल्वसि । कुतः— श्वासोत्कम्पिनि कम्पितं कुचयुगे मौने प्रियं भाषितं वक्त्रे ऽस्याः कुटिलीकृतभ्रूणि तथा¹ यातं मया पादयोः । इत्थं नः सहजाभिजात्यजनिता सेवैव देव्याः परं प्रेमाबन्धविवर्द्धिताधिकरसा प्रीतिस्तु या सा त्वयि ॥१८॥ मध्यस्थतया चौदासीन्येन । विश्रब्धा निर्भयम् । अलीकदाक्षिण्येन मिथ्यादाक्षिण्येन अधिकवल्लभाया अधिकप्रियया । श्वासोत्कम्पिनीति । अस्याः श्वासेन घननिःश्वासेन उत्कम्पिनि वेपथुमति स्तनयुगे मया कम्पितम् । तस्याः मौने विरतवचनायां तस्यां मया प्रियं भाषितम् । कथितम् । कुटिलीकृतभ्रूणि कुटिलीकृता वक्रीकृता भ्रूः यस्य तस्मिन् वक्त्रे मुखे अस्याः देव्याः पादयोः मया यातं पतितम् । इत्थं यां देव्याः सेवा एव परं केवलं सा सहजं स्वाभाविकं यद् आभिजात्यं तेन जनिता कृता । आभिजात्यवशात् परं तामकोपयित्वा सेवयैव केवलया परितोषयाम्येव । त्वयि तु या प्रीतिः सा प्रेम्णः प्रणयस्य यः आबन्धः गाढ़त्वं तेन विवर्द्धितः अधिकः अतिशयः रसः अनुरागः यस्यां सा । एवम्भूता प्रीतिः त्वयि मे स्वाभाविकी इति भावः । शार्दूलविक्रीडितं वृत्तम् ॥१८॥ Prose order—अस्याः श्वासोत्कम्पिनि कुचयुगे मया कम्पितम्, मौने प्रियं भाषितम्, तथा वक्त्रे कुटिलीकृतभ्रूणि पादयोः पतितम् । इत्थं देव्याः नः सेवा परं सहजाभिजात्यजनिता एव । त्वयि तु या प्रीतिः सा प्रेमाबन्धविवर्द्धिताधिकरसा ( भवति ) ॥१८॥ Beng. Trans. রাজা—অয়ি সরলে, তুমি তোমার ঔদাসীন্যে আমাকে কি এখনও বিফলমনোরথ করিবে? ( অথবা, এখনও কেন বিফলমনোরথ করিতেছ? ) কাঞ্চনমালা—( শুনিয়া ) দেবি, যখন নিকটে মহারাজ কথা বলিতেছেন, তখন মনে হয় আপনাকেই অনুনয় করিবার জন্য আসিতেছেন। অতএব, দেবি, আপনি অগ্রসর হউন।

1. रुषा।

278 রত্নাবলী বাসবদত্তা—( সানন্দে ) অলক্ষিতভাবে পিছনদিকে গিয়া কণ্ঠালিঙ্গনের দ্বারা তাঁহাকে পরিতুষ্ট করিব। বিদূষক—আর্যে সাগরিকা, নির্ভয়ে প্রিয়বয়স্যের সঙ্গে আলাপ করুন। বাসবদত্তা—( শুনিয়া বিষাদের সহিত ) কাঞ্চনমালে, সাগরিকাও এখানে রহিয়াছে। তাহা হইলে শোনা যাক্। তারপর ( সব ) জানিয়া অগ্রসর হইব। সাগরিকা—মহারাজ, এই অলীক দাক্ষিণ্য দেখাইয়া আর ফল কি? জীবন হইতেও প্রিয়তরা দেবীর নিকট নিজেকে আর কেন অপরাধী করিতেছেন? রাজা—প্রিয়ে, তুমি তাহা হইলে মিথ্যা কথা বলিতেছ। কেননা,—ইঁহার ( বাসব- দত্তর ) কুচযুগ ঘনশ্বাসে উৎকস্পিত হইলে আমিও কম্পিত হই। ইনি মৌন থাকিলে আমি প্রিয় বাক্য বলি। ইঁহার মুখে ভ্রূকুটি দেখা দিলে আমি তখনই তাঁহার পাদযুগলে পতিত হই। এইরূপে মহিষীর যে সেবা মাত্র আমি করিয়া থাকি, তাহা কেবল ( তাঁহার ) স্বভাবসিদ্ধ আভিজাত্যজনিত। কিন্তু তোমার প্রতি যে প্রীতি, তাহাতে রস ( অনুরাগ ) গাঢ় প্রণয়ের দ্বারা অধিকতর বিবর্ধিত ॥১৪॥ Eng. Trans. King—Oh simple-hearted girl, why are you still baffling me in the fulfilment of my object by your indifference? Kánchanamálá—(Hearing) As His Majesty is talking near by, I think, he is probably approaching to coax you and you alone. Please advance, madam. Vásavadattá—(With joy) So, let us approach (gently) from behind and then I shall cast my arms round his neck and pacify him. Jester—Ah noble Ságariká, talk confidingly with my friend. Vásavadattá—( Hearing—with sorrow ) O Kánchanamálá, Ságariká too is here. Let us listen first and then I shall approach after ascertaining (everything in detail). Ságariká—What is the use of this false affection my lord? Why do you offend the Queen again, who is dearer than your own life even?

तृतीयोऽङ्कः 279 King—Oh ! You speak what is not quite true, my love. For, whenever her bosom swelled with deep sighs, I trembled. Also, whenever she became sullen, I talked to her sweetly. Whenever in her face the brows were knitted in a frown out of anger, I prostrated myself at her feet ; and thus nothing but my attendance (was shown) to the Queen due to (her) high birth ; but the affection I feel for you is full of vehement love springing from excessive attachment. [lit. : but the affection in which excessive flavour is caused by vehement love, is (reserved) for you (alone).] 18. वासवदत्ता—( उपसृत्य ) अज्जउत्त ! सरिसं ¹अज्जउत्त ! सरिसं एदं ! (क) राजा—( दृष्ट्वा सवैलक्ष्यम् ) देवि ! न खलु अकारणे मामुपा- लब्धुमर्हसि । त्वामेव मत्वा वेशसादृश्यविप्रलब्धा वयमिहा- गताः । तत् क्षम्यताम् । ( पादयोः पतति ) वासवदत्ता—( सरोषम् ) अज्जउत्त ! उट्ठेहि उट्ठेहि । किं अज्जवि सहजाभिजादाए सेवाए दुक्खं अणुभवीअदि ? (ख) राजा—( स्वगतम् ) किम् ! एतदपि श्रुतं देव्या ? तत् सर्व्वथा देवीप्रसादनं प्रति निराशीभूताः स्मः । ( इत्यधोमुखस्तिष्ठति ) विदूषकः—भोदि ! तुमं किल अत्ताणअं उब्बंघिअ (क) आर्यपुत्र, सदृशम् आर्यपुत्र ! सदृशमेतत् ! (ख) आर्यपुत्र, उत्तिष्ठ उत्तिष्ठ । किमद्यापि सहजाभिजातया सेवया ( सहजाभि- जातायाः सेवायाः ) दुःखमनुभूयते ?

1. अज्जउत्त ! सरिसं एदं । अथवा, सुठुं एदं, सरिसं एदं ।

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280 रत्नावली बावादेसित्ति¹ वेससारिस्समोहिदेण मए पिअवअस्सो एत्थ आणीदो । जइ मम बअणं ण पत्तिआअसि ता पेक्ख इमं लदापासं । ( इति लतापाशं दर्शयति ) (क) वासवदत्ता—( सकोपम् ) हंजे कंचणमाले ! एदेण एव्व लदापासेण बंधिअ गेण्ह एणं बम्हणं । एदं च दुट्ठकण्णअं² अग्गदो करेहि । (ख) काञ्चनमाला—जं भट्टिणी आणवेदि । ( इति लतापाशेन वसन्तअं³ गले बद्धा ताडयति ) इदास ! अणुभव दाब अत्तणो अविणअस्स⁴ फलं । देवीए दुब्बअणेहिं कडुइदाइं⁵ सोत्ताइन्ति सुमरेहि तं बअणं । सागरिए ! तुमंपि अग्गदो होहि । (ग) (क) भवति, त्वं किल आत्मानम् उद्दिश्य व्यापा

তৃতীয়াঙ্কঃ 281 রাজা—( সবিস্ময়ে দেখিয়া ) দেবি, অকারণে আমাকে তিরস্কার করা আপনার উচিত নহে। আপনাকে ভাবিয়া বেশসাদৃশ্যে ভ্রান্ত হইয়া আমরা এখানে আসিয়াছি। তাই আমাকে ক্ষমা করুন। (পদে পতন) বাসবদত্তা—( সরোষে ) আর্য্যপুত্র, উঠুন উঠুন। কেন আপনি আজও সহজাত অভিজাতার সেবায় ( অর্থাৎ স্বভাবতঃ উচ্চকুলসম্ভবা আমার সেবায় ) দুঃখ অনুভব করিতেছেন? রাজা—( স্বগত ) দেবী কি ইহাও শুনিয়াছেন! তাহা হইলে দেবীকে সন্তুষ্ট করার বিষয়ে আমি সর্ব্বপ্রকারে নিরাশ হইলাম। (অধোমুখে অবস্থান) বিদূষক—আয্যে, আপনি উদ্বন্ধনে আত্মহত্যা করিতেছেন, বেশসাদৃশ্য দ্বারা এইরূপে মোহিত হইয়া আমি প্রিয়বয়স্যকে এখানে লইয়া আসিয়াছি। যদি আমার কথা না বিশ্বাস করেন, তাহা হইলে এই লতাপাশ দেখুন। ( লতাপাশ প্রদর্শন ) বাসবদত্তা—( ক্রোধে ) কাঞ্চনমালে, এই লতাপাশেই ব্রাহ্মণকে বাঁধিয়া লও। আর এই দুষ্ট কন্যাকে আগে আগে লইয়া এস। কাঞ্চনমালা—দেবীর যাহা আদেশ। (লতাপাশ দ্বারা বসন্তককে গলদেশে বন্ধন ও প্রহার) হতভাগা, নিজের অবিনয়ের ফল এইবার অনুভব কর। ‘দেবীর দুষ্টবচনে কান ঝালা-পালা হইয়া গিয়াছে’—তোমার সেই কথা স্মরণ কর। সাগরিকা, তুমিও আগে আগে চল। Eng. Trans.—Vāsavadattā---(Approaching with anger) It is indeed becoming of you, my lord ! King—(Looking with surprise) O Queen, it does not behove you to take me to task for nothing. We, being misled by the resemblance of your dress, have come here, thinking her to be yourself. Now, pardon me. (Falls at her feet) Vāsavadattā—(with anger) Rise my lord, rise. What is the use of your being put to inconvenience still by the attendance on one naturally exalted in position ? King—(To himself) What ! has the Queen even over-

282 रत्नावली heard this ?—Then I feel utterly hopeless about appeasing her any more. Jester—Madam, having been deluded by the resemblance of (your) dress that you were committing suicide by hanging, I brought my dear friend here. If (your ladyship) does not believe me, then please see this noose of the creeper. (Shows the creeper-noose) Vásavadattá—(Angrily) Oh Kánchanamálá, arrest this Bráhmana by binding him with this very creeper-noose, and make this wicked wench go on before us. Kánchana--As your ladyship commands. (Puts the creeper- noose round the Jester's neck and beats him) Unfortunate fellow, now feel the consequence of your misconduct. (You had said that) the Queen's harsh words had been grating in the ears. Now remember those words. Ságariká, do you also move on before (us). सागरिका—( स्वगतम् ) अकिदपुच्छाए मँए मरिदुं बि अत्तणो इच्छाए ण अवाबिदम्¹ । (क) विदूषकः—( ²सविषादम् ) भो वयस्स ! सुमरेहि मं अणाधं देवीए बंधणादो बिबज्जंतं । ( इति राजानमवलोकयति ) (ख) ( ³वासवदत्ता राजानमवलोकयन्ती सागरिकां वसन्तकं च गृहीत्वा काञ्चनमालया सह निष्क्रान्ता ) (क) अकृतपृच्छया मया मर्तुमपि आत्मनः इच्छया न अवाप्तम् । (ख) भो वयस्य, स्मर मामनाथं देव्या बन्धनात् विपद्यमानम् ।

1. पारिदं । 2. सविषादं राजानमवलोक्य । 3. सर्व्वमादाय निष्क्रान्ता वासवदत्ता ।

राजा—( सखेदम् ) कष्ट' भोः, कष्टम् ! किं' देव्याः कृतदीर्घरोषमुषितस्निग्धस्मितं तन्मुखं ^1त्रस्तां सागरिकां सुसम्भृतरुषा सन्तर्ज्य'मानां तथा^2 । बद्धा नीतमितो वसन्तक'महं किं चिन्तयाम्यत्यहो^3 सर्व्वाकारकृतव्यथः क्षणमपि प्राप्नोमि नो निर्वृतिम् ॥१८॥ तत् किमिदानीमिह स्थितेन प्रयोजनम् ? देवीं प्रसादयितुम् अभ्यन्तरमेव प्रविशामि । इति निष्क्रान्ताः सर्व्वे इति सङ्केतक' नाम तृतीयोऽङ्कः विपद्यमानम् मरणमापन्नम् । किं' देव्याः इति । किमिति वितर्के । महिष्याः वासवदत्तायाः कृतेन दीर्घेण रोषेण क्रोधेन मुषितम् अपहृतम् स्निग्धस्मितं मधुरहास्यं यस्मिन् तत् मुखं चिन्तयामीत्यनेन सह सम्बन्धः । त्रस्तां भीतां सागरिकां तथा वासवदत्तया सन्तर्ज्य'मानां भर्त्स्यमानां सुसम्भृतरुषा संवर्द्धितक्रोधेन इत्यर्थः । बद्धा बन्धने क्षिप्ता इतः अस्मात् स्थानात् नीतं गृहीतं वसन्तक' किं चिन्तयामि ? सर्व्वेण आकारेण सर्व्वथा इत्यर्थः । कृता व्यथा मनःपीडा यस्य सः अहं क्षणमपि नो तु निर्वृतिं शान्तिं प्राप्नोमि । युगपत् बहूनामप्रियाणां संघटितत्वात् किं चिन्तयामि कि वा न चिन्तयामीति सर्व्वथा मनसः व्याकुलीभूतत्वात् न मे शान्तिरिवि अशान्तेः कारणम् । शार्दूलविक्रीडितं वृत्तम् ॥१८॥ Beng. Trans. सागरिका—हाय ! अकृतपुण्या আমি নিজের ইচ্ছায় মরিতেও পারিলাম না। विदूषक—( सविषादे রাজাকে দেখিয়া ) হে বয়স্য, দেবীকৃত বন্ধনে ম্রিয়মাণ অনাথ আমাকে স্মরণ রাখিবেন। ( রাজার প্রতি অবলোকন ) ( রাজার প্রতি অবলোকন করিতে করিতে বিদূষক ও সাগরিকা লইয়া কাঞ্চন- মালার সহিত বাসবদত্তার প্রস্থান )

1. किं वा सागरिकां शङ्कितदृशा । 2. तया । 3. चिन्तयाम्यद्धा भोः ।

284 রত্নাবলী রাজা—( খেদের সহিত ) হায়, কি কষ্ট!—দীর্ঘরোষে যাঁহার স্নিগ্ধহাস্য অপহৃত হইয়াছে, দেবী বাসবদত্তার সেই মুখকে চিন্তা করিব?—না অতিসংবর্দ্ধিত ক্রোধে ভৎসিতা ভীতা সাগরিকাকে চিন্তা করিব?—অথবা বন্ধনপূর্ব্বক এস্থান হইতে নীত বসন্তকের বিষয় চিন্তা করিব?—অহো, এইরূপে সর্ব্বপ্রকারে মনঃপীড়া প্রাপ্ত হইয়া আমি মুহূর্ত্তের জন্যও শান্তি পাইতেছি না। ১৯। আর এখন এখানে থাকিয়া আমার প্রয়োজন কি? দেবীকে সন্তুষ্ট করিবার জন্য অভ্যন্তরেই যাই। ( সকলে নিষ্ক্রান্ত ) সংকেত নামে তৃতীয় অঙ্ক সমাপ্ত Eng. Trans. Ságariká—(To herself) Alas ! Impious as I am, I have not been able even to die at my own will ! Jester—(With sorrow) Think of me, my dear friend, who am thus dying helplessly being bound down (by the order of) the Queen. (Looks at the King ) (Vásavadattá looks at the King and exit with the Jester and Ságariká, being accompanied by Kínchanamálá) King—(Aggrieved) Alas ! How miserable ! Shall I think of the Queen's face of which the sweet smile has been robbed by the protracted anger ?—Or frightened Ságariká rebuked by her out of her pent-up wrath ?—Or shall I think about Vasantaka who has been taken captive and taken away from this place ?— Thus, being pained by all means (lit : attacked with pain on all sides ), I cannot get any comfort even for a moment. 19. Then, what is the use of my staying here now ? Let me proceed to the inner apartment for the pacification of the Queen. ( All exeunt ) Here ends the Third Act entitled “The Assignation.”

RATNAVALI ACT III Notes Act III is introduced with an interlogue. The scene of action is laid in one part of the Royal Palace, where from the conversation of the two female attendants, the intrigue of Vasantaka and Susangatá (viz., bringing about an interview of the King with the heroine) is tacitly disclosed. Throughout this Act the main plot has approached to a great extent towards its final goal, but the achievement has been chequered by various obstacles. P. 220. आकाशे—In the air. This is a kind of stage-direction where an actor or an actress speaks to somebody outside the stage and shows that he or she hears his or her reply and repeats the same within the hearing of the audience. Cf .—“किं ब्रवीषीति यन्नाट्ये विना पात्रं प्रयुज्यते । श्रुत्वेवानुक्तमप्यर्थं तत् स्यादाकाशभाषितम् ॥” ( सा. द. ६।१४० ) अतिशयित—Surpassed. अति – शी + क्त कर्तरि । सन्धिविग्रहचिन्तया—(i) Plan of peace and war. (ii) Contrivance of union and separation in the harem of a king. There are six political expedients : सन्धि—(peace), विग्रह (war) यान ( expedition ), आसन (neutrality), द्वैध (duplicity or division), संश्रय ( taking shelter. ) सोत्प्रासम्—Sarcastically. उत्प्रासेन सह वर्त्तमानं (बहु) यथा तथा ; उत्-प्र –

orअ? Wait, it has a left curve, then ताः? Wait, look at हलायुधःon line 3. Does Halayudha have: Wait, in Amara: "स्यादवहासोत्प्रासौ तु सोपहासे समाविमौ" In Medini: ... In Halayudha: Wait, Halayudha 2.148 or somewhere: Let's look at the word:उपहास, उत्प्रास, अवहास. Wait! Is it: “... : सोऽवहासोत्प्रास...Wait, look at the top matras: There is an anusvara? No. There is an e-matra / o-matra: Look at the mark above the second word: It'sसो? Yes, there is ेon top andाon the side:सो. Then a ऽ(avagraha). Thenव(orङ्ग?). Look at the circle: it's open or closed? It's like व. Then हा(orह)? There is a vertical bar: हा. Then सो? There is an e-stroke on top and ाafterस. Then त्प्रा-त्conjoined withप्रा. Then स- simpleस`. Then

! Wait, what is before क्ष? Is it प? विपक्षः? Why would it say: "verb विपक्षः"? Wait! Could "verb" NOT be the English word "verb"? Wait, look at the letters: v e r b? Yes, 'v', 'e', 'r', 'b'! It is clearly "verb". Then why would it be followed by something meaning "is intended" or "is elided"? Wait! "verb विवक्षितः"? But there are only three letters! Wait, could it be: "verb विवक्षः"? No, Kale was an English/Sanskrit scholar, he wouldn't write ungrammatical "verb विवक्षः". Wait, could it be a misprint in the book? Look at line 18: "मनोरमः;" instead of "मनोरमायाम्" or "मनोरमायां"! The book definitely has typos (it's a 19th/early 20th century Indian print). Wait, could it be "verb विवक्षा"? Look at the end: is it a visarga ः or ा? Wait, look at the two dots: Are there two dots? Look at: वि [glyph] [glyph] Wait, is the first letter after 'verb