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

302 रत्नावली for without this Vásavadattá could not have known definitely the attitude of the King towards the heroine, though she had got indirect proof of it. The King mistook real Vásavadattá for Ságariká, as the former came to the secret place of appoint- ment being informed by Kánchanamálá about the plot of the Vidushaka and Susangatá. When Vásavadattá approached the King, he addressed her by the name Ságariká at which she flew into anger at the insincerity of the King and went away. But in the mean time real Ságariká, in the guise of Vásava- dattá trying to commit suicide out of self-reproach due to her secret love being known to others, was found by the Vidu- shaká and brought to the King with the impression that real Vásavadattá was committing suicide out of mortification. The King came to know her to be Sagarika in the dress of the Queen (for whom he was waiting there), only when she said— मुंच मुंच मं भद्दा, पराहीणी क्खु अअं जणो etc. When the King was busily engaged in expressing his love for Ságariká, Vásavadattá returned there simply with the view of pacifying the King who had been rather cruelly treated by her and found him there in a compromising position with Ságariká: and then she ordered the Vidushaka and Ságariká to be taken as captives. Thus the disguise episode borders almost on a 'Tragedy of errors', which happily for all ends in a comedy. The ingenious manipulation of this episode of disguise has enhan- ced the excellence of the main plot which terminates in Act IV with the union of the hero and the heroine, which ulti- mately appears to be congenial to all including even the rival Queen Vásavadattá. If this episode had not been in- troduced, the love between the King and the heroine would have remained secret and the wished-for union would have been done haphazardly. Thus the episode of disguise has contributed largely towards the development of the main plot

तृतीयाेऽङ्कः 303 of the drama maintaining dramatic propriety which is ensured by the natural development of action out of some normal incidents and episodes. Ságariká's confinement in the harem after the episode of disguise required the performance of the magical show which practically brought about the final union. The contrivance of disguise for passing a man incognito to bring about a desired end, is also very popular in western dramas. उत्ताम्यति—Getting anxious ; उत् - तम् + लट् , ति । Sl. 10. खरसन्तापः—खरस्य सन्तापः ( ६ष्ठीतत् ) । आसन्ने —Impending. प्रियसमागमे is understood ; आ - सद् - क्त कर्त्तरि । प्रावृषि—In the rainy season ; प्र - वृष् + क्विप् । दीर्घत्व in प्र is by the rule “नहिवृतिवृषिव्यधिरुचि-सहि-तनिषु कौ” । अभ्यर्णजलागमः—Adj. to दिवसः । जलस्य आगमः ( ६ष्ठीतत् ) अभ्यर्णः जलागमः यस्मिन् ( बहु ) सः । अभि - अर्द्द + कर्त्तरि क्त । The root अर्द्द preceeded by अभि meaning ‘near’ does not take इट् by the rule “अभेश्चाविदूर्र्ये” ; cf. अभ्यर्ण महाहवाय”—भट्टिः । अर्द्द meaning पीडा or याच्ञा takes इट् ( अर्द्दित ) । Cf. “कर एव तापहेतुः स एव मे प्रशमयिता जातः । दिवस इवाभ्रश्यामस्तपात्यये जीवलोकस्य” ॥ S'ákuntalá III. 10. The metre is आर्या । “यस्याः पादे प्रथमे द्वादश मात्रास्तथा तृतीयेऽपि । अष्टादश द्वितीये पञ्चदश चतुर्थके सार्या” ॥ — — ◡ ◡ — — — 1st line = ती व्रः ख र स न्ता पः २ २ १ १ २ २ २ = १२ मात्राs The 3rd line will correspond to the 1st

304 रत्नावली ˘ ˘ - - - ˘ - ˘ - - - 2nd line = न त था दो बा ध ते य था स ङ्गे १ १ २ २ २ १ २ १ २ २ २ = 18 मात्राs

• • ˘ ˘ - ˘ - ˘ ˘ - 4th line = अ भ्य ङ्ग ज ला ग मो दि व सः २ २ १ १ २ १ २ १ १ २ = 15 मात्राs N. B. The short vowel is equal to 1 mátrá and the long one to 2 mátrás (measures or units of time in pronunciation). The figure of speech is प्रतिवस्तूपमा which is defined as :— “... ... प्रतिवस्तूपमा तु सा । सामान्यस्य द्विरेकस्य यत्र वाक्यद्वये स्थितिः” ॥ काः प्रः -१०।१०१-१०२ Here two सामान्यधर्मs बाधन and ऽतापन, respectively of शरत्सन्तापः and अभ्यङ्गजलागमो दिवसः which are उपमेय and उपमान respectively, mean the same thing under different wordings. Barring this much this figure of speech corresponds to दृष्टान्त । Ch. of Voice :—तीव्रेण शरत्सन्तापेन ... बाध्यते ... तप्यते ... अभ्यङ्गजला- गमेन दिवसेन ॥१०॥ उत्कण्ठानिर्भरम्—Adv. निः निःशेषेण भरः यस्मिन् ( बहु ) तत् यथा स्यात् तथा = निर्भरम् ; उत्कण्ठया निर्भरम् ( ३यातत् ) । निर्भरम्—means निरतिशयम्— excessively—“अतिवेलभृशात्यर्थातिमात्रोद्गाढनिर्भरम्”—अमरः । उत्कण्ठा is defined as “रागे त्वलब्धविषये वेदना महती तु या । संशोषणी तु गात्राणां तामुत्कण्ठां विदुर्बुधाः” । P. 251. सभ्रुभङ्गम्—with frowning. भ्रुवः भङ्गः ( ६तीतत् ) तेन सह विद्यमानम् ( बहु ) । Shloka 11. The King here identifies different limbs of the supposed Ságariká with different cooling materials whence he expects relief of his love-sicken self.

तृतीयोऽङ्कः 305 शीतांशुः—शीताः अंशवः यस्य ( बहु ) सः। A beautiful face is usually compared with the moon. उत्पलं—Any water-lily—'स्यादुत्पलं कुवलयम्'—अमरः। In the construction उत्पल has been identified with दृशौ (eyes). Here उत्पल seems to mean इन्दीवर ('blue lotus'), which has the likeness of colour with the black pupils of the eyes. Amara gives कुवलय as a synonym of उत्पल and कुवलय means a blue lotus—"श्यामं शितिकण्ठनील कुवलयमिन्दीवरं च"। रम्भागर्भनिभम्--Adj. to ऊरुयुगलम्। The thighs are likened unto the interior of a plantain-tree in point of its colour, softness, coolness and plumpness. आह्लादकर etc.—आह्लादकराणि आखिलानि अङ्गानि यस्याः ( बहु ) सा। रभसात्—ल्यब् लोपे पञ्चमी। Out of joy—"रभसो वेगहर्षयोः"। अनङ्गताप etc

306 रत्नावली P. 254. विश्रब्धा—Confidently. वि—श्रम्भ् + क्त + स्त्रियाम् टाप् । “विश्रब्धः केलिकलहे विश्वासे प्रणये वधे”—हेमचन्द्रः । P. 255. कटुकितानि—कटुः एव इति कटु + स्वार्थे क = कटुकः । कटुक + इतच् तारकादित्वात् । कटुकित means “Embittered.” सुखयतु—सुखं करोतु इति सुख + णिच् ( तत् करोति तदाचष्टे—इत्यादिना ) + लोट् तु । अथवा सुख दुःख तत्क्रियायाम् + लोट् तु । मधुरवचन etc.—मधुराणि वचनानि ( कर्मधा ) तेषाम् उपन्यासः ( ६ष्ठीतत् ) । उप - नि - अस् + घञ् = उपन्यासः, use. प्रियंवदः—प्रियं वदतीति प्रिय - वद् + खच् । कुपितकामिनी—Adj. to मृगलाञ्छनः । कुपिता कामिनी ( कर्मधा ) तस्याः कपोलम् ( ६ष्ठीतत् ) तस्य सन्निभः ( ६ष्ठीतत् ) । As the checks of a lady grow reddish through anger, so the Eastern direction has assumed the reddish hue just on the eve of the rise of the moon. मृगलाञ्छनः—The moon ; मृगः लाञ्छनं ( कलङ्कः ) यस्य ( बहु ) सः । “कलङ्काङ्कौ लाञ्छणञ्च चिह्नं लक्ष्म च लक्षणम्”—अमरः । The spot on the moon is conventionally called मृग, हरिण (deer) and sometimes शशक, शश ( hare ) ; and accordingly the moon is called मृगाङ्क, शशाङ्क etc. Sl. 12. त्वद्वदनापहृत etc.—Adj. to निशानाथः । तव वदनं ( ६ष्ठीतत् ) तेन अपहृतम् कान्तिसर्व्वस्वं यस्य ( बहु ) सः । कान्तिः एव सर्व्वस्वम् ( रूपक—मयूर- व्यंसकादि ) सर्व्वस्वं ( कर्मधा ), कान्तिः सर्व्वस्वमिव ( उपमान कर्मधा ) । ऊर्ध्वकरः—(1) With rays scattered upwards. (2) With hands raised aloft. ऊर्ध्वः करः यस्य ( बहु ) सः । प्रतिकर्त्तुम्—To take revenge. N. B. Just as a person, being robbed of all (he had), takes

तृतीयोऽङ्कः 307 his stand on a lofty place and raises up his hand to wreak vengeance on his opponent, so the moon being outshadowed by the beauty of Ságariká's face is going up the mountain scattering his (handlike) rays upwards and thus he appears to be longing for taking revenge for the injury done to him. By this the excellence of the beauty of the face of the heroine, surpassing that of the moon, is indicated. The metre is आर्या । The figure of speech is उत्प्रेक्षा and समासोक्तिः । Ch. of Voice....कान्तिसर्व्वस्वेन......ऊर्ध्वकरेण...स्थितेन...निशानाथेन (भूयते) (or निशानाथेन स्थितम्) ॥१०॥ जडत्वम्—(1) मूर्खत्वम् or (2) जलमयत्वम् । The moon is said to be formed of water : cf. “सलिलमये शशिनि रवेर्दीधितयो मूर्च्छितास्तमो नैशं क्षपयन्ति ।” In the हरिवंश also the moon is described to have originated from the tears of the eyes of the sage अत्रि । Cf. “पिता सोमस्य वै राजन् जज्ञेऽत्रिर्भगवानृषिः । ब्रह्मणो मानसात् पूर्वं प्रजासर्गं विधित्सतः ॥ ... ... ... अनुत्तरं नाम तपो येन तप्तं महत् पुरा । त्रीणि वर्षसहस्राणि दिव्यानीति हि नः श्रुतम् । ततोर्ध्व रेतसस्तस्य स्थितस्यानिमिषस्य च । सोमत्वं तनूरापेदे महासत्त्वस्य भारत ॥ ऊर्ध्वमाचक्रमे तस्य सोमत्वं भावितात्मनः । नेत्राभ्यां वारि सुस्राव दशधा द्योतयद्दिशः । तं गर्भं विधिना दृष्ट्वा दश देव्यो दधुस्तदा । समेत्य धारयामासुर्न च ताः समशक्नुवन् ॥

308 : रत्नावली स ताभ्यः सहसैवाथ दिग्भ्यो गर्भः प्रभान्वितः । पपात भासयँल्लोकान् शीतांशुः सर्वभावनः ॥" ( हरिवंशे हरिवंशपर्वणि २५।१-८ ) P. 256. Sl. 13. In this shloka the King likes to establish the uselessness of the rise of the moon when the face of Ságariká, surpassing the beauty and radiance of the moon, is performing all its functions. किं......हन्ति—Does it not mar the beauty of the lotus? At the rise of the moon the lotuses fade away. Here Ságariká’s face is likened unto the moon ; so it causes the lotus to fade, i. e., it is more beautiful than the lotus. नयनानन्दम्—Delight of the eyes. The moon refreshes the eyes by its soothing rays. Ságariká’s face is also delightful to the eyes. विधत्ते—वि - धा - लट् त, आत्मनेपद by the rule, “स्वरितञितः कर्त्रभि- प्राये क्रियाफले।” But here कर्त्रभिप्राय in the क्रियाफल is not meant. The implication of the rule is loosely adhered to and is based upon “विवक्षा” as stated by भर्तृहरि— “क्रियाप्रवृत्तौ चाख्याता कैश्चित् स्वार्थपरार्थता । ... असती वा सती वापि विवक्षितनिबन्धना” ॥ झषकैतन—(1) Sea, the abode of fishes. (2) Fish-bannered Cupid, i. e., passion. झषः केतनं यस्य ( बहु ) तस्य । झष means fish—"पृथुरोमा झषो मत्स्यों मीनो वैसारिणोऽण्डजः"—अमरः ; केतन means banner—"पताका वैजयन्ती स्यात् केतनं ध्वजमस्त्रियाम् ।" अमरः । केतन means also गृह—"केतनं तु निमन्त्रणे गृहं केतौ च कृत्ये च" इति मेदिनी । N. B. At the rise of the moon, the sea swells and passion also increases. The moon-like face of Ságariká gives rise to

तृतीयोऽङ्कः ३०९ भवकेतन ( passion of love ) ; so it performs the function of the moon. आलोकमात्रेण—आलोक एव आलोकमात्रम् ( नित्यसमास ) तेन । वक्त्रेन्दौ—वक्त्रम् एव इन्दुः ( मयूरव्यंसकादि—रूपक ) तस्मिन् । भावे ७मी । अपरः शीतांशुः—Refers to the real moon in the sky. उज्जृम्भते—प्रकाशते । उत्—जृम्भ् + लट् ते । दर्पः स्यात् etc.—If the moon out of pride claims that he has got nectar, then that also is not enough for his superiority, inasmuch as Ságariká too has got nectar in her lips. बिम्बाधरे—बिम्बसदृशम् अधरम् ( शाकपार्थिवादिवत् समासः ) तस्मिन् । बिम्ब is a kind of fruit (called तेलाकुचा in Bengali) ; it becomes deep red when ripe. The scarlet lips of the ladies are likened unto this fruit. 'बिम्बस्तु प्रतिबिम्बे स्याद्वाच्य लिङ्गे बिम्बकाफले'—हेमचन्द्रः । Cf. "सुन्दारि तवाधरपटलं दर्शति बिम्बफलं शुकशावकः" । The figure of speech is रूपक । The metre is शार्दूलविक्रीड़ितम् । Ch. of Voice. ...रुचिः हन्यते ।...नयनानन्दः विधीयते ।...वृद्धिः... क्रियते ।...अनेनापरेण शीत गुणा उज्जृम्भ्यते । दर्पेण भूयते...भूयते ( तेन )... । सागरिकोत्क्षिप्त etc.—सागरिकया उत्क्षिप्तम् ( ३यातत् ) तादृशं हृदयं यस्य ( बहु ) सः । जीवितसंशयः—जीवितं संशयः ( ७मीतत् ) Doubt about life. What punishment she would mete out is not known. So the doubt is about the safety of life. अन्यगतानि—अन्यां गतानि ( २यातत् ) addressed to (or meant for) other ladies. P. 257. महानुभावा—Of great power ; महान् अनुभावः यस्याः ( बहु ) सा, भू + घञ् = भावः, अनुगतः भावः (प्रादितत्) = अनुभावः । अनुभव is perception ; but अनुभाव is power.

310 रत्नावली P. 261. प्रत्यक्षदृष्ट etc.—Adj. to अहम् । प्रत्यक्षं दृष्टं (सुप्सुपा) तादृशं व्यलीकं यस्य (बहु) सः । अक्ष्णः प्रति (अव्ययीभावः) । व्यलीक means undesir- able act—“व्यलीकं व्यङ्गवैलक्ष्याप्रियाकार्येषु पौंस्ने”—हेमचन्द्रः ; “व्यलीकमपराधः स्यात् ।” इति हलायुधः । Sl. 14. पाताम्रताम्—Reddishness (due to lac-dye, लाक्षारक्तताम् ) अपनयामि—Remove. विवर्णः—(1) Discoloured. (2) Lowly person. विगतः वर्णः यस्य (बहु) सः । “वर्णो द्विजातौ शुक्लादौ”—अमरः । ‘विवर्णः पामरो नीचः’—अमरः । The King looked completely washed out owing to bashfulness. He had also committed the offence like a lowly person ( विवर्णः ). लाक्षारक्ताम्—Adj. to पाताम्रताम् । लाक्षा is lac-dye which is [L

तृतीयोऽङ्कः 311 The metre is वसन्ततिलक। The figure of speech is परम्परित- रूपक। The super-imposition of इन्दुबिम्ब on मुख is the cause of the super-imposition of उपराग on कोप। Ch. of Voice.—आताम्रता अपनीयते......विवर्णेन एतेन लाक्षाकृता......। कोपोपरागजनिता......शमेन......करुणया भूयेत ॥१४॥ निर्लज्जः....कुप्यति—This is said sarcastically by Vāsavadattā. P. 262. अनर्थक्रमः—अनर्थानां क्रमः। ( ६ठीतत् ) "क्रमस्त्वनुक्रमे शक्तौ कम्प्ये चाक्रमणेऽपि च"—मेदिनी। Sl. 15. समारूढा—advanced सम्—आ—रुह् + क्त + स्त्रियां टाप्। Adj. to प्रीतिः। अनुदिनम्—दिनं दिनमनु ( अव्ययीभावः )। प्रणयबहुमानात्—हेतौ ५मी। प्रणयस्य बहुमानः ( ६ठीतत् ) तस्मात् । व्यलीकम्—Misdeed ; wrong doing. अकृतपूर्व्वम्—Adj. to व्यलीकम्। पूर्व्वं कृतम् कृतपूर्व्वम् ( सुप्सुपा ) न कृतपूर्व्वम् ( नञ्तत् ) । प्रकृष्टस्य—Excellent ; प्र — कृष् + क्त कर्म्मणि। स्खलितम्—Mistake, lapse ; “स्खलितं छलिते भ्रंशे”—हेमचन्द्रः। अविषह्यम्—Adj. स्खलितम्। वि—सह् + क्यप्, by the rule “शकिसहोश्च”। षत्व is by the rule “परिनिविभ्यः सेवसित etc.” The metre is शिखरिणी। The figure of speech is अर्थान्तरन्यास— “सामान्यं वा विशेषेण विशेषस्तेन वा यदि। कार्य्यं च कारणेनेदं कार्य्येण च समर्थ्यते। साधम्र्येणेतरेणार्थान्तरन्यासोऽष्टधा ततः” ॥ ( सा. द. १०।६१-६२ ) Here the particular is corroborated by the general. The last line of the stanza is a general statement corroborating the rest of the shloka.

312 रत्नावली P. 267. गृहीतपश्चात्तापा—Being repentant at last. पश्चात् तापः (सप्सुपा) गृहीतः पश्चात्तापः यया (बहु) सा । P. 268. Sl. 16. कण्ठगताः कण्ठं गताः ( २यातत् ) ; trembling at the throat, i.e., about to go out. स्वार्थप्रयत्नः—स्वस्य अर्थः ( ६ष्ठीतत् ) तस्मात् प्रयत्नः ( सुप्सुपा ) । N. B. The King here means to say that the exertion which he takes for saving Ságariká, is simply based on self-interest ; as on her very attempt at committing suicide, his life is almost gone. So, mainly in order to save his own life that he is trying to dissuade her from committing suicide. The figure of speech is here असङ्गति which is defined as :— “भिन्नदेशतयात्यन्तं कार्यकारणभूतयोः । युगपद्धर्मयोर्यत्र ख्यातिः सा स्यादसङ्गतिः ॥” (काः प्रः १०।१२४) Here the cause of death which is पाश, is elsewhere (i. e., in the neck of Ságariká ) but the effect ( i. e., 'death' ) is in the King. Ch. of Voice.—...कण्ठगतैः प्राणैः......स्वार्थप्रयत्नेन अनेन......त्यज साहसम् ॥१६॥ P. 272. Sl. 17. अतिमात्रम्—Adv. अतिगता मात्रा यस्मिन् तद् यथा स्यात् तथा ( बहु ) । “मात्रं लवधृतौ स्वार्थे कार्त्स्न्ये मात्रा परिच्छिदे । अक्षरावयवे द्रव्ये मानैक्ये कर्णभूषणे”—हेमः । P. 273. जीवितेशे—सम्बोधने प्रथमा । जीवितस्य ईशा ( ६ष्ठीतत् ) । ईशा = ईश् + क + स्त्रियां टाप् । The metre is मालिनी । “ननमयययुतेयं मालिनी भोगिलोकैः ।” न न म य य ◡ ◡ ◡ | ◡ ◡ ◡ | — — — | ◡ — — | ◡ — — अ ल म | ल म ति | मा त्रां, सा | ह से ने | दृ शे न The pauses are on the 8th and the 15th syllables.

तृतीयोऽङ्कः ३१३ Ch. of Voice.—...विमुच्यतां त्वया......लतापाशः अयम् ।......बाहुपाशः निधीयताम् ॥१७॥ अनभ्रा—Without clouds. नास्ति अभ्रं यस्यां ( बहु ) सा । न भ्रश्यन्ति आपो यस्मात् इति नञ्-भ्रंश्+ड । ‘‘न भ्रश्यन्ति यतस्तेभ्यः जलान्यभ्राणि तान्यतः’’ । ‘‘अभ्रं मेघो वारिवाहः’’—अमरः । अकालवातावलौ—वातानाम् आवली ( ६ष्ठीतत् ) अकाले वातावली ( ७मीतत् ) न ( अन्यः ) कालः अकालः ( नञ्तत् ) ; here नञ् is used in the sense of तदन्यत्व । N. B. This is an apt reply of the Jester to the King's statement—‘‘सखे इयमनभ्रा वृष्टिः ।’’ The sudden interview with Ságariká is taken by the King as a shower of rain without cloud. But the Jester, in excellent humour, apprehends it to be swept away by an unexpected gust of wind in the form of Queen Vásavadattá who enters immediately afterwards. This is very good example of Dramatic Irony or पताकास्थान । अवधीरयित्वा—Disregarding ; अवधीर् + णिच् + क्त्वा । But अव-धीर्

• णिच् + ल्यप् will give the form अवधीर्य्य । P. 273. मध्यस्थ—Indifferent. तस्य भावः मध्यस्थ + तल् + स्त्रियां टाप् । मुग्धे—Beautiful. ‘‘मुग्धन्तु सुन्दरे मूढे’’—मेदिनी । विफलमनोरथाः—Adj. to वयम् । विफलाः मनोरथाः येषा ( बहु ) ते । विगतं फलं यस्मात् ( प्रादि बहु ) सः विफलः । .. क्रियामहे — कृ + कर्मणि + लट्, महे । Nom. वयम् । अलीकदाक्षिण्येन—With false humouring, pseudo favour. अलीकं दाक्षिण्यम् ( कर्मधा ) तेन । अलीक means मिथ्या—‘‘अलीकं त्वप्रियेऽनृते’’— अमरः । दक्षिण means ‘he who follows the humour of others.’ ‘‘दक्षिणो दक्षिणोऽतसरलच्छन्दवर्त्तिषु । अवामे त्रिषु यज्ञादिविधिदाने दिशि स्त्रियाम्’’

314 रत्नावली मेदिनी । "दक्षिणस्तु परच्छन्दानुवर्त्तिनि।" दक्षिण + ष्यञ् ब्राह्मणादित्वात् = दाक्षिण्यम् । P. 277. Sl. 18. In this shloka the King likes to convince Ságariká that whatever courtesy he might have shown towards the Queen, is all nothing but mere formality. But his unflinching love is always towards Ságariká. श्वासोत्कम्पिनि—Adj. to कुचयुगे । Throbbing due to heavy sighs. श्वासेन उत्कम्पः ( ३यातत् ) । सोऽस्यास्ति श्वासोत्कम्प + इनि । कुचयुगे—भावे ७मी । मौने...भाषितम्—That is, when she observed silence due to some kind of dissatisfaction, I spoke sweet words in order to pacify her and broke her silence. मौन means silence. मुनि + षण् by the rule, "इगन्ताच्च लघुपूर्वात्" । कुटिलीकृत etc.—Adj. to वक्त्रे । कुटिलीकृते भ्रुवौ यस्मिन् ( बहु ) तस्मिन् । अकुटिलं कुटिलं कृतम् इति कुटिल + च्वि अभूततद्भाव + कृ + क्त-कर्मणि । वक्त्रे is भावे ७मी । यात'...पादयोः—I fell flat at her feet. ' सहजाभिजात्य etc.—Adj. to सेवा । सहजम् आभिजात्यम् •( कर्मधा ) तेन जनिता ( ३यातत् ) actuated by her noble pedigree. अभिजात means ‘born of high family’. ‘अभिजातस्तु कुलजे बुधे"—अमरः । अभिजातस्य भावः इति अभिजात + ष्यञ् = आभिजात्यम् । प्रेमाबन्ध—Adj. to प्रीतिः । प्रेम्नः आबन्धः ( ६ष्ठीतत् ) तेन विवर्द्धितः ( ३यातत् ) ...विवर्द्धितः अधिकश्च (कर्मधा) तादृशः रसः यस्याः (बहु) सा । आ—बन्ध् + घञ् = आबन्ध meaning सम्बन्धः । रस means ‘love’—"रसो गन्धरसे स्वादे तिक्तादौ विषरागयोः"—विश्वः । The metre is शार्दूलविक्रीडितम् । Ch. of Voice.—...( मया ) कम्पित्रेन ( भूयते ) ( अथवा अह कम्पितः ) प्रियेण भाषितेन ( भूयते ) [ अह प्रियं भाषितवान् ]...यातेन ( भूयते )...[ अह यातः or यातवान् ]...जनितया सेवया...रसया प्रीत्या यया तया... ॥१८॥

तृतीयोऽङ्कः 315 P. 279. विप्रलब्धाः —Deceived, bewildered. वि - प्र - लभ् + क्त कर्मणि । P. 283. Sl. 19. Here the King is in such a bewildered state of mind at the simultaneous occurence of so many unfavourable incidents, such as the pitiable plight of Ságariká, angry mood of Vásavadattá, binding of Vidushaka—that he cannot long concentrate his mind on any one of these, so that a proper remedy may be found out. कृतदीर्घ etc.—Adj. to मुखम्। दीर्घः रोषः ( कर्मधा ) कृतः दीर्घरोषः ( कर्मधा ) तेन मुषितम् ( ३यातत् ) तादृशं स्निग्धस्मितं यस्मिन् तत् । स्निग्धं स्मितम् ( कर्मधा ) । मुषित—मुष् ( to steal ) + क्त ; conj. मुष्णाति etc. सुसंभ्रतरुषा—With pent up anger ; सुसंभृता रुट् ( कर्मधा ) सु - सम्

• भृ + क्त कर्मणि = सुसंभृत ; accumulated, pent up. संतर्ज्यमानाम्—Scolded. सम्—तर्ज् + कर्मणि शानच् + स्त्रियां टाप् । सर्व्वाकार etc.—Adj. to अहम् । सर्व्वः आकारः ( कर्मधा ) तेन कृता ( ३या तत् ) तादृशी व्यथा यस्य ( बहु ) सः । सर्व्वाकार refers to all those three mishaps mentioned in the first three lines. निर्वृतिम्—निर् - वृ + क्ति । “अथ निर्वृतिर्मोक्षे मृत्यौ सुखे”—हेमचन्द्रः । Critical Estimate Act III opens in one part of the Royal Palace and the subject-matter is chiefly devoted to the incidents of disguise, which as the source of many an error, has been made artistic enough to help towards the development of the plot. The गर्भसन्धि, with its different constituents, such as रूप, प्रार्थना etc., covers the whole Act. The definition of गर्भसन्धि is— “फलप्रधानोपायस्य प्रागुद्भिन्नस्य वस्तुनः । गर्भो यत्र समुद्भे दो ह्रासान्वे षणवान् मुहुः” ॥ सा. द. ( ६।७८-७९ ) Here in this Act, the final result ( i. e., the union of the

316 रत्नावलो hero and heroine) is engulfed within the development of incidents in such a way that its final achievement, though expected to be accomplished, is not effected under the prevailing circumstances. Ságariká in the guise of Vāsavadattá was expected to be united with the King on the spot of secret assignation; but the secret information about this, given to the Queen who came there in time, frustrated the plot and ex- posed the King, who mistook real Vāsavadattá to be Ságariká in disguise. The King wanted to carry on a clandestine love-intrigue with real Ságariká who subsequently came to the place in the disguise of the Queen; but through irony of fate, the Queen, returning immediately with a view to pacify the King, detected the whole affair: and the King was thereby doubly exposed. The result was about to be achieved, when frustration came. The whole situation is manipulated in such a skilful and artistic manner that there is not the slightest tinge of impropriety anywhere. Everything appears to be natural and spontaneous. The main characters are found to be individualized in their particular trends of temperament. Vidushaka's character has been revealed here more clearly in its true colour than before. The King, the Queen, and Ságariká all show indivi- dual peculiarities of their respective characters.

ह under ह? No, ह is separate. Next is a conjunct of two टs: ट्ट. Wait, is it हट्टअ or हडक? Let's look at अ: अ is clearly the letter after it: हट्टअ !. Yes, देवहट्टअ ! * असामण्णरूवसोहा तादिसो तुए जइ णिम्मिदा ता कीस उण * तादिसो: wait, is it तादिसो or तादिसी? * Sanskrit chhaya (L15): असामान्यरूपशोभा तादृशी त्वया यदि निर्मिता... * In line 7: तादिसो! Look at the letter: त, ा, द, ि, स, ो -> तादिसो. Yes, it clearly has an o-matra: तादिसो. * ईदिसं अवत्थंतरं पाविदा । इअं च रअणमाला जीविद- * अवत्थंतरं: अ, व, त्थ, ं, त, र, ं. Yes. * पाविदा: प, ा, व, ि, `

318 रत्नावली

( ततः प्रविशति हृष्टो वसन्तकः ) वसन्तकः—ही ही भोः ! अज्ज क्खु पियवयस्सस्स पसादि- दाए तत्तभोदीए बासवदत्ताए बंधणादो मोचिअ सहस्सदिक्वेहिं मोदअलड्डुएहिं¹ उअरं मे सुपूरिदं किदं । अन्नं च, एदं पट्टंसुअजुअलं कण्णाभरणं² अ दिण्णं । ता जाव दाणिं पियवय- स्सस्स पेक्खिस्सं । (क) ( इति परिक्रामति ) सुसङ्गता—( रुदती सहसोपसृत्य ) अज्ज वसंतअ ! चिट्ठ ताव तुमं मुहुत्तअं । (ख) वसन्तकः—( दृष्ट्वा ) कथं³ सुसंगदा ! सुसंगदे ! एत्थ किं णिमित्तं रोदीअदि ? ण क्खु साअरिआए अच्चाहिदं किंपि संवृत्तं ? (ग) सुसङ्गता—एदं ज्जेव

चतुर्थोऽङ्कः 319 वसन्तकः—( सोद्वेगम् ) हा भोदि साअरिए ! हा असामञ्ञ- रूवसोहे ! हा मिदुभासिणि¹ ! अदिणिग्घिणं² देवीए किदं । तदो तदो ?— (क) (क) हा भवति सागरिके ! हा असामान्यरूपशोभे ! हा मृदुभाषिणि ! अति- निघृणं देव्या कृतम् । ततः ततः ?— लज्जालुके लज्जाशीले । उदारसीले उदारचरिते । सौम्यदर्शने स्निग्धालोके । दैवहतक कुत्सितदैव । प्रतिपाद्य समर्प्य । पट्टांशुकयुगलं क्षौमवस्त्रयुगलम् । अति- निघृणं अतिनिष्ठुरणम् । अत्याहितं महानिष्टम् । ( রত্নমালা হস্তে সাশ্রুনয়না সুসঙ্গতার প্রবেশ ) Beng. Trans. সুসঙ্গতা—( সকরুণ নিশ্বাস ফেলিয়া ) হা প্রিয়সখি সাগরিকে ! হা লজ্জাশীলে ! হা সখীজনপ্রিয়ে ! হা উদারচরিত্রে ! হা সৌম্যদর্শনে ! তুমি কোথায় গেলে? প্রত্যুত্তর দাও। ( রোদন করিয়া উর্দ্ধে অবলোকনকরতঃ নিশ্বাস ফেলিয়া ) রে নিষ্ঠুর হতভাগ্য দৈব ! সেইরূপ অসাধারণ রূপলাবণ্যযুক্ত করিয়া তাহাকে যদি নির্ম্মাণ করিলেই তবে আবার এইরূপ দশান্তরে ফেলিলে কেন? জীবনের প্রতি নিরাশ হইয়া—“এই রত্নমালা কোনও ব্রাহ্মণের হস্তে দান করিও”—এই বলিয়া তিনি রত্নমালাটি আমার হস্তে অর্পণ করিয়াছেন। আমিও এখন একজন ব্রাহ্মণের অন্বেষণ করি। ( নেপথ্যের দিকে অবলোকন করিয়া ) এই যে ব্রাহ্মণ বসন্তক এই দিকেই আসিতেছেন। ইঁহার হস্তে সমর্পণ করি। ( তারপর সহর্ষে বসন্তকের প্রবেশ ) বসন্তক—হাঃ, হাঃ! আরে আজ প্রিয়বয়স্য বাসবদত্তাকে সন্তুষ্ট করিলে বাসবদত্তা আমাকে বন্ধন হইতে মুক্ত করিয়া নিজ হস্তে মোদকলড্ডুকাদি দ্বারা আমার উদর উত্তমরূপে পূর্ণ করিয়া দিয়াছেন। আরও এই ক্ষৌমবস্ত্রযুগল এবং কর্ণাভরণ দিয়াছেন। এখন প্রিয়বয়স্যের সহিত সাক্ষাৎ করি। ( পরিক্রমণ ) সুসঙ্গতা—( রোদন করিতে করিতে সহসা অগ্রসর হইয়া ) আয্য বসন্তক ! এক মুহূর্ত্ত থামুন।

1. न दृश्यते पुस्तकान्तरे । 2. णिहुणं ।

320 রত্নাবলী

• বসন্তক—( দেখিয়া ) একি সুসঙ্গতা যে? সুসঙ্গতে, তুমি এখানে রোদন করিতেছ কেন? সাগরিকার কোনও কিছু বিপদ্ হয় নাই তো? সুসঙ্গতা—সেইটাই জানাইতে আসিয়াছি। সেই হতভাগিনীকে দেবী উজ্জয়িনী পাঠাইয়া দিয়াছেন এই প্রবাদ প্রচার করিয়া মধ্যরাত্রি উপস্থিত হইলে কোথায় তাহাকে লইয়া যাওয়া হইয়াছে জানা যায় নাই। বসন্তক—( উদ্বেগের সহিত ) হা আর্য্যে সাগরিকে! হা অসাধারণ রূপলাবণ্যযুক্তে! হা মৃদুভাষিণি! দেবী অত্যন্ত নিষ্ঠুর কার্য্য করিয়াছেন। তারপর তারপর?— Eng. Trans. ( Then enter Susangatá with tearful eyes with the jewel-necklace in her hand) Susangatá—( Sighing pitifully) Alas, friend Ságariká, my bashful, my affectionate (lit: affectionate towards her com- panions), my generous, my lovely friend, Whither are you gone? Give me reply. (Weeps and looks up with sighs) Oh relentless cursed Destiny! Why shouldst thou have endowed her with such unrivalled charms, to consign her to so hapless a fate? Despairing of her life, she has given me this jewel- necklace saying, 'offer it to some Bráhmana.' Now, I shall look for a Bráhmana. ( Looking towards the green-room ) Ah, here comes worthy Vasantaka, I shall give it to him. (Then enter Vasantaka in a joyful mood) Vasantaka—Excellent, excellent! Being appeased by my dear friend, Her Majesty Vásavadattá has restored me to freedom from bondage and has filled my belly with sweets offered with her own hands and further presented me with a pair silken cloths and these ear-rings. Now, I shall see my dear friend. (Goes around) Susangatá—(Weeping and approaching all on a sudden) Worthy Vasantaka, please wait a moment. Vasantaka—( Looking ) Hey Susangatá! Susangatá, why do you weep now? No disaster, I think, has overtaken Ságariká?

चतुर्थोऽङ्कः 321 Susangatá—This is just what I have come to inform you. A rumour has been spread by Her Majesty that the poor girl has been taken away off to Ujjayini, but it is not known whither she is taken away at midnight. Vasantaka—(Anxiously) Ah, alas! Poor Ságariká! A damsel of such unequalled charms and of such a gentle disposition! Indeed very cruel treatment has been meted out by the Queen. Then, what next?— सुसङ्गदा—एसा रअणमाला ताए जोविदणिरासाए अज्ज- बसंतअस्स हत्थे पडिवादेसुत्ति भणिअ मम हत्थे समप्पिदा। ता णं गेण्हदु अज्जो एदं। (क) वसन्तकः—(साश्रं सकरुणं—कर्णौ पिधाय) भोदि! ण मम ईदिसे पत्थाबे एदं वोढुं, ¹हत्थो ²पसरदि। (ख) (इत्युभौ रुदतः) सुसङ्गदा—(अञ्जलिं बद्ध्वा) ताए एव्व अणुग्गहं करंतो अंगी- करेदु एदं अज्जो। (ग) वसन्तकः—²(विचिन्त्य) अहबा, उबणेहि; जेण इमाए ज्जेव्व सागरिआबिरहकुं³ठिअं पिअवअस्स॑ बिणोदेमि। (घ) (⁴सुसङ्गता वसन्तकस्य हस्ते रत्नमालां ददाति) (क) एषा रत्नमाला तया जीवितनिराशया आर्यवसन्तकस्य प्रतिपादयेति भणित्वा मम हस्ते समर्पिता। तद् ननु गृहाण आर्य एताम्। (ख) भवति, न मम ईदृशे प्रस्तावे एतां वोढुं, हस्तः प्रसरति। (ग) तस्याः अनुग्रहं कुर्वन् अङ्गीकरोतु एताम् आर्यः। (घ) अथवा, उपनय; येन अनया एव सागरिकाविरहकुण्ठितं प्रियवयस्यं विनोदयामि।

1. कथं मम...एदं गेण्हिदुं...। 2. इत्या। 3. विरहक्कण्ठिदं। 4. सुसङ्गतोपनयति। 21