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

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

288 रत्नावली ………मया…करः चिरं गृहीत्वा त्वयि न विन्यस्तः। The answer is—There are two verbs विन्यस्तः and गृहीत्वा with both of which करः is con- strued. विन्यस्त is the principal verb (आख्यात) and गृहीत्वा is the subsidiary verbal form being incomplete i. e., ending in क्त्वाच्। So, though the connection of करः is directly with the principal verb विन्यस्तः, yet its connection with गृहीत्वा is tacitly expressed by the dictum of काशिका—"प्रधानशक्ताभिधाने गुणशक्तिरभिहितवत् प्रकाशते"— commenting on this Haradatta in his पदमञ्जरी says—"आख्यातपदवाच्या क्रिया विशेय्यत्वात् प्रधानम्। विशेषणभूता त्वप्रधानम्। तद्द्वारिण तद्विषययोः शक्त्योरपि गुणप्रधानभावः। तत्र प्रधानानुवर्तित्वात् गुणानां तन्मुखप्रेक्षितत्वात् तद्विरुद्धकार्यारम्भा- भावात् यथायथं विभक्तिसिद्धिः"। The गुणीभूतक्रिया or the incomplete verbs depend upon the principal verbs to complete the predication. So the meaning expressed by the principal verb cannot be done otherwise by the incomplete verbs ; but, on the other hand, incomplete verbs help the principal verbs, in the matter of clear expression of the meaning of the construction. So, though करः is explicitly connected with विन्यस्तः the principal verb, yet it is implicitly taken to be construed with गृहीत्वा as well. विन्यस्तः—Is put ; वि-नि + अस् + क्त कर्मणि। The figure of speech is here काव्यलिङ्ग ; the 2nd line being the cause of the 1st one ; रूपकालङ्कार is also in करानलङ्कृतः etc. The metre is शार्दूलविक्रीडितम्। Ch. of voice.—सन्तापं करानलङ्कृतम् इमं……सहसे। न भूयते उप- शमेन च……। त्वया तन्वते। मूढः अहं……प्राप्तं……विन्यस्तवान्……स्पर्शं ……करम्। आश्चर्यम्—Wonder ; आ - चर् + यत्। "आश्चर्य्य मनितो" इति सुडागमः ;

तृतीयोऽङ्कः 289 otherwise आ - चर् + यत् results in आचर्य्य meaning गन्तव्य । Again आ

• चर् + ण्यत् = आचार्य्य meaning गुरु (preceptor). Shloka 2. दुर्लक्ष्यम्—Difficult to be perceived. दुर्लक्ष्यमिति ग्रन्थकारपाठे दुःशब्दोऽपकृष्टवचनः—अलक्ष्यम् इति भावः । लक्षि ( लक्ष् + णिच् ) + यत् शक्यार्थे ( कृत्यप्रत्यय ) । न लक्ष्यम् 'सहसुपा' इति अस्वपदविग्रहे नित्यसमासः । In the reading दुर्लक्ष, it is derived as दुर् — लक्ष् + णिच् + खल् । खल् is the appropriate suffix in the sense of difficulty or absence of difficulty, when a root is preceded by ईषत्, दुः or सु ( “ईषद्दुःसुषु कृच्छ्राकृच्छ्रार्थे खल्” ) . So दुर्लक्ष्य in the sense of 'difficult to notice' is not grammatically justifiable. Do not say दुःखेन लक्ष्यम् प्रादित्वात् । (Vide, Gita XI, A. Shastri, verse 17.) चल—Restless. N. B. Mind is called here दुर्लक्ष्य on account of its being atomic in nature according to the नैयायिकs— Cf. “साक्षात्कारी सुखादीनां करणं मन उच्यते । अयौगपद्याज् ज्ञानानां तस्याणुत्वमिहेष्यते ॥”—कारिकावली Kanáda also in his aphorism says “तद्भावादणु मनः”—वै-सू ७।१।२३ । Without mind knowledge is impossible inspite of other senses. In this connection श्रुति says, “अन्यत्रमना अभूवम् नाश्रौषम् अन्यत्रमना अभूवं नाद्राक्षमिति” । “न च मनसः सङ्कोचविकाशशालित्वात् उभयोपपत्तिरस्त्विति वाच्यम् । नानावयवतन्नाशादिकल्पने गौरवालाघवान्निरवयवस्यैव मनसः कल्पनादिति संक्षेपः”— मुक्तावली । That mind is restless, is attested in the गीता— अर्जुन उवाच— “चञ्चलं हि मनः कृष्ण ! प्रमाथि बलवद्दृढम् । तस्याहं निग्रहं मन्ये वायोरिव सुदुष्करम् ॥ 19

290 रत्नावली श्रीभगवानुवाच— असंशयं महाबाहो ! मनो दुर्निग्रहं चलम् । अभ्यासेन तु कौन्तेय ! वैराग्येण च गृह्यते ॥ ६।३४-३५ शिलीमुखैः—With arrows. समं—Simultaneously. N. B. The cause of wonder on the part of the King is this :—A target to be pierced is required to be visible and steady to the marksman. But though the mind of the King was unsteady in its nature as well as imperceptible owing to its atomic nature, still it was pierced simultaneously with all the arrows of Cupid. [ This indicates the god's almightiness. This expression of the King is due to his extreme love-sick condition. ] The figure of speeeh is here (1) विभावना owing to the effect of वेधन (piercing) being brought about without the existence of causes, viz.,—स्थिरत्व (steadiness) and सुलक्ष्यत्व (perceptibility). The definition of विभावना—“विभावना विना हेतुं कार्योत्पत्तिः” । (2) विरोधाभासालंकारः—As the विरोध arises when the invisible and unsteady mind is simultaneously pierced by many arrows. And the विरोध is refuted when विप्रलम्भ ( separation ) and the love- sick-condition of the King are taken into consideration. The metre is here अनुष्टुप् । Ch. of voice.—मनसा...चलेन...दुर्लक्ष्ये ण...कामः...एतत्...विद्धवान् ॥२॥ कुसुमधन्वन्—कुसुमं धनुर्यस्य ( बहु ) तत् सम्बोधने ; समासान्तः अनङ् by the rule “वा संज्ञायाम्” । कुसुमधन्वन् is declined like आत्मन् । The alter- native form is कुसुमधनुः । Sl. 3. मनोभवस्य—मनसि भवतीति मनस् - भू + अच् पचादित्वात् ।

तृतीयोऽङ्कः 291 . पञ्च बाणाः—The five recognized flowers are figuratively called the five arrows of the god of love. They are :— “अरविन्दमशोकञ्च चूतञ्च नवमल्लिका । नीलोत्पलञ्च पञ्चैते पञ्चबाणस्य सायकाः ॥” नियताः—Settled, fixed. नि - यम् + क्त कर्म्मणि । अस्मद्विधः—अस्माकं विधा इव विधा ( अवस्था ) यस्य ( बहु ) सः । This refers to his being himself in love-sick condition. लक्ष्यः—Mark, target. लक्ष् + णिच् + यत् । लोके...गतम्—It is known in the world that all love-sick per- sons are aimed at by the five arrows of the god of love. विप्रतीपम्—Reversed. विप्रतिगता आपो यस्मिन् ( बहु ), the प of अप् is changed into ई if it is preceeded by द्वि, अन्तर or उपसर्ग in a compound by the rule “द्व्यन्तरुपसर्गेभ्योऽप ईत्” । The समासान्त अ comes by the rule “ऋक्पूरब्धूःपथामानक्षे” । त्वयि—विषयाधिकरणे ७मी । असंख्याः—नास्ति संख्या येषां ( बहु ) तैः । Adj. to शरैः । अशरणः—नास्ति शरणं यस्य ( बहु ) सः । शरण means shelter etc. ‘शरणं गृहरक्षित्रोः’—अमरः । कामिजनः—कामिनां जनः ( ६ष्ठीतत् ) or कामी जनः कर्मधा । न् of कामिन् elided by the rule “नलोपः प्रातिपदिकान्तस्य” । कामिजनः is here in प्रथमा being the direct object of the root नी in नीतः—“गौणे कर्मणि दुह्यादेः प्रधाने नीहृकृष्वहाम्” । पञ्चताम्—(1) The state of being reduced to the number five. (2) Death. “पञ्चता मृत्युः”—अमरः । In death the five great elements पृथिवी, अप् etc. ( पञ्च महाभूत ), of which the gross physical body of ours is composed, are separated and merge in their

292 रत्नावली respective original substrata. So death is called पञ्चत्व or पञ्चता । “पृथिव्यादिपञ्चमहाभूतानां स्वांशसंक्रमणात् पृथक्त्वम्' इति भरतः। पञ्चताम् is in २या owing to its being the indirect object of the root नी in नीतः। N. B. The King here means to say, 'It is known in the world that numberless passionate persons are pierced by the five arrows of Cupid. But so far as his own poor case is concerned, the thing is quite reversed, as numberless (असंखा) arrows are leading the few passionate persons like his own self to पञ्चता (death). Cf. “सुभगे कोटिसंख्यात्वमुपेत्य मदनाशुगैः । वसन्ते पञ्चता त्यक्ता पञ्चतासीद् वियोगिनाम् ॥ Again, “तव कुसुमशरत्वं शीतरश्मित्वमिन्दो- र्द्वयमिदमयथार्थं दृश्यते मद्विधेषु ।” etc.—Shak. III. 3. The metre is here शार्दूलविक्रीडित । The figure of speech is here विरोधाभास, but विरोध is refuted when पञ्चता means death. There is a possibility of विषमालङ्कार here as well, for there is a discordance in the function of cause and effect. The god of love possessing five arrows and piercing numberless people became otherwise in function in the case of the King, when the arrows became numberless and the passionate persons were led to पञ्चता । The definition of विरोधाभास is— “विरोधश्चाविरोघेऽपि विरुद्धत्वेन यद्वचः'—काः प्रः १०।११० The definition of विषम is— “गुणी क्रिये वा यत् स्यातां विरुद्धे हेतुकार्ययोः । यहारब्धस्य वैकल्यमनर्थस्य च सम्भवः ॥ विरूपयोः सङ्घटना या च तद्विषम' मतम्” ॥ (सा. द. १०।७०-७१)

तृतीयोऽङ्कः 293 Ch. of voice.—बाणैः पञ्चभिः...नीयतेः......असङ्ख्येन जनेन यथाविधेन ......लक्ष्म्या वा...येन...गतेन...दृष्टेन तेन ।...विप्रतीपेन...इमं' विद्धं'...कामिजनम्... अशरणम् नीतवान् त्वं पश्यताम् । एवंविधावस्थम्—Put to such a condition. एवं विधा यस्याः ( बहु ) सा । एवं विधा अवस्था यस्य ( बहु ) तम् । Adj. to आत्मानम् । अन्तर्गूढकोप etc.—Adj. to देव्याः । अन्तर् गूढः (सुप्सुपा ) तादृशः कोपसम्भारः यस्याः ( बहु ) तस्याः । कोपस्य सम्भारः ( ६षीतत् ) ; सम्—भृ + घञ् = सम्भारः mass ; “सम्भारः सम्भृतौ गणः”—हेमचन्द्रः । लोचनगोचरताम्—Adj. to सागरिकाम् । लोचनयोः गोचरः ( ६षीतत् ) तं गता ( २यातत् ) ताम् । गावः इन्द्रियाणि चरन्त्यस्मिन् इति गो—चर + घः अधिकरण- वाच्ये । गोचर means विषय ( object ) तपस्विनीम्—Poor, wretched. “तपस्वी तापसे चानुकम्प्ये त्रिषु”—मेदिनी । तपस् + विनि स्त्रियां ङीप् । P. 228. Sl. 4. ह्रिया—Out of shame ; हेतौ ३या । ह्री + क्विप् = ह्रीः । सर्व्वस्य—६ष्ठी by the rule “क्तस्य च वर्त्तमाने” in connection with विदिता which ends in क्त here in the present tense. आत्मविषयाम्—Adj. to कथाम् । आत्मा विषयः यस्याः ( बहु ) ताम् । सखीषु—७मी by the rule—“यस्य च भावेन भावलक्षणम् ।” स्मेरासु—स्मि + र स्त्रियां टाप् । Adj. to सखीषु । Smiling. N. B.—When her friends smiled Ságariká thought that they were smiling with reference to her clandestine love in- trigue. So her bashfulness doubly increased. हृदयनिहित etc.—Adj. to प्रिया । हृदये निहितः ( ७मीतत् ) तादृशः आतङ्कः ( कर्मधा ) तेन विधुरा ( ३यातत् ) । विगता धूः यस्याः ( बहु ) सा = विधुरा, distressed. “विधुरं तु प्रविश्लेषे विकले विधुरा पुनः”—हेमचन्द्रः ।

294.                              रत्नावली
     

' The metre is शिखरिणी, the definition of which is “रसैरुद्रैश्छिन्ना यमनसभला गः शिखरिणी” । Ch. of voice.—...नीयते...विदितया भूयते...कल्प्यते कथा आत्मविषया... प्रकथ्यते...प्रियया...आस्यते...हृदयनिहितातङ्कविधुरया” ॥४॥ P. 232. कौशाम्बीराज्यलाभेन—कौशाम्बी is the capital of the वत्स kingdom. In the स्वप्नवासवदत्ता there is a reference that उदयन's position was sometimes jeopardized in his kingdom by his enemies and he was extricated from that awkward position by forming alliance with king दर्शक of मगध by marrying पद्मावती । प्रतिपालयति—Is waiting. प्रति - पा + णिच् + लट् ति । समीहित etc.—समीहितं ( desired ) कार्यं ( कर्मधा ) तस्य सिद्धिः (६ष्ठी- तत् ) तया । सम् + ईह् + क्त कर्मणि । P. 233. उपहसित etc.—Adj. to अमात्यः । बुद्ध्याः विभवः ( ६ष्ठीतत् ) बृहस्पतेः बुद्धिविभवः ( ६ष्ठीतत् ) उपहसितः बृहस्पतिबुद्धिविभवः येन ( बहु ) सः । कटकम्—Bangle. “कटको वलयोऽस्त्रियाम्—अमरः । गुर्व्वनुराग etc.—Adj. to सहस्ररश्मिः । गुरुः अनुरागः ( कर्मधा ) तेन सिक्तं ( ३यातत् ) तादृशं हृदयं यस्य ( बहु ) सः । अनुरागः means colour ; as such he is taken to be a lover with his heart full of love (अनुराग) and who is beckoned from a distance by a lady ( वधू ) in the form of evening. सन्ध्यावधू etc.—Adj. to सहस्ररश्मिः । सन्ध्या वधूरिव ( उपमितसमास ) तया दत्तः ( ३यातत् ) तादृशः सङ्केतः यस्मै ( बहु ) सः । अस्तगिरि etc.—अस्तगिरेः शिखरं ( ६ष्ठीतत् ) तदेव काननम् ( रूपक ) । The figure of speech in this sentence एषः खलु......सहस्ररश्मिः is परम्परितरूपकम् ।

तृतीयोऽङ्कः 295 P. 236. एकचक्रः—Adj. to रथः। The chariot of the sun has one wheel only— Cf. “एकचक्रो रथो यस्य दिव्यः कनकभूषणः। स मे भवतु सुप्रीतः पद्महस्तो दिवाकरः॥” ( आदित्यहृदयम् ) “एकचक्रो रथो यन्ता विकलो विषमा हयाः। आक्रमतेव तेजस्वी तथाप्येको नभस्तलम्॥” ( काव्यादर्शः । ) प्रभवति—is able ; प्र-भू + लट् ति। भुवनभ्रान्ति etc.—Adj. to अध्वानम्। भुवने भ्रान्तिः ( ७मीतत् ) तया दीर्घः ( ३यातत् ) तम्। भ्रान्ति here means भ्रमण—going around the surface of the earth. न्यस्तचिन्ता etc.—Adj. to अर्कः। अतिगतः भारः ( प्रादितत् ) चिन्तायाः अतिभारः ( षष्ठीतत् )। न्यस्तः चिन्तातिभारः येन ( बहु ) सः। N. B. The anxiety is how to arrive at the eastern direc- tion early in the morning. मनसि—It is construed with न्यस्त—a member of the compound —एकदेशान्वय by the rule “सापेक्षत्वेऽपि गमकत्वात् समासः”। सन्ध्याकृष्ट etc.—सन्ध्या आकृष्टाः ( ३यातत् ) आकृष्टाश्च अवशिष्टाश्च ( कर्मधा ) तादृशाः स्तबकाः ( कर्मधा ) तेषां परिकराः ( ६ष्ठीतत् ) तैः। करणे ३या। परिकर means समूह—“परिकरः पर्य्यङ्कपरिवारयोः। प्रगाढे गालिकाम्भे विवेकारम्भयोर्गणे”। —हैमः। परि — कृ + अप्। N. B. This expression means that in the evening time the sun is left with only a handful of scarlet rays. स्फुटहेम etc.—Adj. to अर्कः। With clearly visible golden

296 रत्नावली spokes. हेम्नः अराणि ( ६ठीतत् ) तेषां पंक्तयः ( ६ठीतत् ) स्पष्टाः हेमारपंक्तयः यस्य ( बहु ) सः। अर means spokes of a wheel. N. B. The handful of scarlet rays scattering on all sides appears like golden spokes of a wheel. अस्तक्षितिभृति—On the setting mountain, क्षितिं बिभर्त्ति इति क्षिति—भृ + क्विप्, सप्तम्येकवचने। दिक्-चक्रम्—दिग् एव चक्रम् ( रूपक, मयूरव्यंसकादित्वात् समासः ) । The idea of this shloka is this :—At the close of the day the sun is resting on the setting mountain with a handful of scarlet rays scattered on all sides from the western sky. The chariot by which the sun makes his aerial journey is said to have only one wheel. Now, the sun, lingering on the western horizon with his scarlet rays, appears to be troubled with the thought as to how he would be able to travel such a long weari- some course in a single-wheeled chariot in order, to give attend- ance in the eastern horizon punctually early in the next morn- ing. Hence it appears that he has taken his seat on the western hill with a view to solving the difficulty by furnishing his chariot with another wheel that he finds in the form of the circular horizon ( दिक्-चक्र ). And in order to use that horizon- circle as his second wheel, he appears to strengthen it first by joining to it his handful of golden rays as its spokes. The sun is here implicitly compared with a man possessing a strong sense of duty who in time makes everything ready for regular attendance to his duty every day. The metre is स्रग्धरा। The figure of speech is उत्प्रेक्षा। Ch. of voice.—एकचक्रेण......प्रभूयते......रथेन......न्यस्तचिन्तातिभारेण ......स्पष्टहेमारपंक्तिना व्यवस्थितेन एतेन...नीयते...अर्केण ॥५॥

तृतीयोऽङ्कः 297 Shloka 6. This shloka admits of double meaning as the setting sun is here implicitly compared with a lover bidding adieu to his beloved. पद्मवदने—(i) Lotus-faced (lady) ; (2) with lotus as face (lotus- bed or lotus-plant.) पद्मं वदनं यस्याः (बहु) सा (सरोरुहिणी) or पद्ममिव वदनं यस्याः (बहु) सा (नायिका) । समयः—(i) Time ; (ii) Swearing (in the case of a lover) “समयः शपथाचारकालसिद्धान्तसंविदः”—अमरः । सुप्ता—(i) Closed (for lotus-bed). (ii) Sleeping (for lady). प्रतिबोधनीया—(i) To be opened (for the lotus-bed). (ii) To be awakened (for the lady). अस्तमस्तक etc.—Adj. to सूर्यः as well as to the suggested नायक । (i) With his rays thrown on the setting hill. (ii) With his hand placed on the head bent down (through sorrow). अस्तस्य (अस्ताचलस्य) मस्तकं (६ष्ठीतत्) तस्मिन् निविष्टः (७मीतत्) तादृशः करः (किरणः) यस्य सः (बहु) । Or अस्तम् (अवनतं विक्षिप्तं वा) मस्तकम् (कर्मधा) तस्मिन् निविष्टः करः (हस्तः) यस्य (बहु) सः । N. B. When one swears by putting his hand on one’s head, it becomes more convincing. सरोरुहिण्याः—(i) Of the lotus-bed, or the lotus-pond, or the lotus-plant. (ii) The lady with lotus for her decoration. सरसि रोहति इति सरस्—रुह् + घञ् = सरोरुहम् lotus. सरोरुहम् अस्याः अस्तीति सरोरुह + इनि अस्त्यर्थे, स्त्रियां ङीप् = सरोरुहिणी, तस्याः । प्रत्यायनाम्—consolation. प्रति—इ + णिच् + युच् (अन) भावे स्त्रियां टाप् । Because here the root इ with णिच् is used in the sense of

बोध, the root इ is not changed into गम् and thus the form प्रत्या- गमयति is not available. The prevailing rule is “णौ गमिरबोधने” । The figure of speech is समासोक्तिः, as by the description of the behaviour of the setting sun, the behaviour of a parting lover is suggested. The definition of समासोक्ति is— “समासोक्तिः समैर्यत्र कार्यलिङ्गविशेषणैः । व्यवहारसमारोपः प्रकृतेऽन्यस्य वस्तुनः ॥ साः दः १०।५६-५७ The metre is वसन्ततिलकम् । ‘’ज्ञेयं वसन्ततिलकं तभजा जगौ गः” । Ch. of voice.—यातेन……भूयते……समयेन एतेन । सूर्यया…… भवत्या प्रतिबोधनीया (भूयते) । प्रत्यायना……भनेन……—करेण सूर्येण…… क्रियते ॥ ६ ॥ P. 237. बहुलीकृत etc.—Adj. to तिमिरसंघातः । With sparsely set rows of trees rendered dense. वनानां राजिः (६ष्ठीतत्) विरला वनराजिः (कर्मधा) तस्याः सन्निवेशः ६ष्ठीतत् बहुलीकृतः विरलवनराजिसन्निवेशः येन (बहु) सः । अबहलः बहलः कृतः इति बहुल + च्वि अभूततद्भावे + कृ + क्त कर्मणि । बहुल means घन । गृहीतघनपङ्क etc.—Adj. to तिमिरसंघातः । घनः पङ्कः (कर्मधा) गृहीतः घनपङ्कः (कर्मधा) तेन पीवराः (श्यावत्) तादृशाः वराहमहिषाः (कर्मधा) तद्वत् कृष्णा (उपमान कर्मधा) तादृशी छविः यस्य (बहु) सः । पीवर means stout. This adds to the deep dark colour of the gloom. तिमिरसंघातः—Mass of gloom. तिमिरस्य संघातः (६ष्ठीतत्) सम् - हन्

• घञ् = संघातः mass “संघातः पुंसि घाते च संहतौ नरकान्तरे”—मेदिनी । स्थगयति—स्थग् - संवरणे + लट्, ति । Cf. “विच्छिन्न मोहः स्थगयति कथं मन्दभाग्यः करोमि” । उः राः चः III. 38. क्रमात्—ल्यब् लोपे ५मी । क्रममवलम्ब्य इत्यर्थः । घटिद्रुम etc.—घटयश्च द्रुमाश्च पुरविभागाश्च (द्वन्द्वः) तान् । पुरस्य विभागाः (६ष्ठीतत्) ; different parts of the city.

तृतीयोऽङ्कः 299 तिरयति—Covers ; तिरः करोति इति तिरस् + णिच् + लट् ति = तिरयति which is a नामधातु । पीनत्वम्—Adj. to उपेतः । तदनु—तत् is here २या with कर्मप्रवचनीय अनु । ईक्षणपथम्—Adj. of तिरयति । Diff. reading ईक्षणफलम् । ईक्षणस्य पन्थाः ( ६ष्ठीतत् ) तम् । हरकण्ठद्युतिहरः—adj. to तमःसंघातः । हरस्य कण्ठम् ( ६ष्ठीतत् ) तस्य द्युतिः ( ६ष्ठीतत् ) तस्याः हरः ( षष्ठीतत् ) इति हरकण्ठद्युति - ह + अण् । The neck of हरः is black due to Haláhala poison ; cf. “पातु वो नीलकण्ठस्य कण्ठः श्यामाम्बुदोपमः” ( मृच्छकटिक १।२ ) N. B. This stanza is an apt description of the gradual approach of deep gloom over the world. Cf. “लिम्पतीव तमोऽङ्गानि वर्षतीवाञ्जनं नभः”—बालचरित and मृच्छकटिक । The metre is here शिखरिणी । Ch. of voice.—पूर्वा......स्थग्यते......पन्था......दिक्......क्रामता...... आटोद्रमपगविभागम्......तिर्य्यन्तं.........उपेतेन......तमःसंघातेन.........अनेन क्रियते हरकण्ठद्युतिहरेण ॥७॥ पिण्डीकृतान्धकारम्—Adj. to मकरन्दोद्यानम् । पिण्डीकृतः अन्धकारः यस्मिन् ( बहु ) तत् । पिण्ड् + च्वि + कृ + क्त कर्मणि । ' Sl. 8. पाली—Row ; spelt as पालिः also “पालिः कर्णलताग्रंऽश्यौ- पङ्क्त्यावडप्रभृतयोः”—मेदिनी । चम्पकानाम्—Here means चम्पक trees. पाटला पङ्क्तिः—पाटलानां पङ्क्तिः ( ६ष्ठीतत् ) पाटल is a kind of tree the flower of which is called the trumpet-flower (Bignonia Suaveolens). “पाटलिः पाटलाऽभीष्टा काचस्थाली फलेरुहा ह्रस्ववृन्ता कुवेराक्षी”— अमरः ।

300 रत्नावली नियतम्—Adv., positively. नि - यम् + क्त । घ्रायाघ्राय—The reduplication here is due to repetition of by the rule "आभीक्ष्ण्ये णमुल् च।" The expression means 'smelling repeatedly'. व्यक्तिम्—Distinction. वि - अञ्ज् + क्तिन् ; अनक्ति, आनञ्ज, अङ्क्ष्यति etc. द्विगुणतर etc.—Adj. to पन्थाः। द्विगुणतरं तमः ( कर्मधा ) तेन निरुद्धः ( ३यातत् ) । N. B. Though all directions have been enveloped in deep darkness, yet the King makes out the path through different avenues of trees by smelling the fragrance of their characteristic flowers. The metre is स्रग्धरा । Ch. of voice—पाल्या अनया...अनेन अमुना सुन्दरेण सिन्धुवारेण। सान्द्रया वीथ्या अनया पाटल्या...पङ्क्त्या एतया।...व्यक्तिः पथा प्रयायते द्विगुणतरतमोनिरुद्धे, तेन ......॥८॥ P. 241. मसृणमरकत etc.—मसृण means 'smooth.' मरकतमणिशिला- कुट्टिम। The paved floor of emeralds. सुखायमान—feeling relief. सुखं करोति इति सुख + क्यङ् + शानच् = सुखायमान which is a नामधातु। स्वगृहिणी etc.—Adj. to जनस्य। स्वस्य गृहिणी ( ६तीतत् ) तस्याः समागमः ( ६तीतत् ) तं परिभावयति ( तिरस्करोति—disregards) यः ( उप- पदतत् ) तस्य। One who disregards the union with his own wife. P. 245. Sl. 9. In this shloka the description of the behaviour of a woman waiting in tryst is given. प्रणयविशदाम्—Bright with love. प्रणयेन विशदा ( ३यातत् ) ताम्। घटयति—Brings in close contact. घट् + णिच् + लट् ति। कण्ठाश्लेषे—विषयाधिकरणे ७मी। कण्ठस्य आश्लेषः ( ६तीतत् ) तस्मिन्।