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

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

322 रत्नावली वसन्तकः—(गहीत्वा णिरूप्प¹ सविस्मयम्) भोदि ! कुदो उण ईदिसस्स अलंकारस्स समागमो ? (क) सुसङ्गता—अज्ज ! मएवि सा कौतूहलेण पुच्छिदा आसि² । (ख) वसन्तकः—तदा ताए किं भणिदं ? (ग) सुसङ्गता—तदो सा उद्धं पेक्खिअ दीहं निस्ससिअ—सुसंगदे ! किं दाणिं तुह इमाए कथाएत्ति—भणिअ रोदितुं³ पउत्ता । (घ) वसन्तकः—णं कथिदं एव्व ताए⁴ । सामञ्जणदुलहेण इमिणा परिच्छदेण सब्बथा महाभिजणसमुप्पण्णाए ताए होदव्वं । सुसंगदे ! पिअवअस्सो दाणिं कहिं ? (ङ) सुसङ्गता—अज्ज ! एसो क्खु भट्टा देवीभवणादो निक्कमिअ फडिहसिलामंडवं गदो । ता गच्छदु अज्जो । अहंपि देवीए बासबदत्ताए परिचारिणी⁵ भविस्सं । (च) (इति निष्क्रान्तौ) इति प्रवेशकः (क) भवति, कुतः पुनः ईदृशस्य अलङ्कारस्य समागमः ? (ख) आर्य, मयापि कौतूहलेन पृष्टा चासीत् । (ग) तदा तया किं भणितम् ? (घ) ततः सा ऊर्ध्वं प्रेक्ष्य दीर्घं निःश्वस्य—सुसङ्गते, किमिदानीं तव अनया कथयेति भणित्वा रोदितुं प्रवृत्ता । (ङ) ननु कथितमेव तया । सामान्यजनदुर्लभेण अनेन परिच्छदेन महाभिजन- सम्पन्नया तया भवितव्यम् । सुसङ्गते, प्रियवयस्य इदानीं क्व ? (च) आर्य, एष खलु भर्त्ता देवीभवनात् निष्क्रम्य स्फटिकशिलामण्डपं गतः । तद् गच्छतु आर्यः । अहमपि देव्याः वासवदत्तायाः परिचारिणी भविष्यामि ।

1. निर्वण्यं । 2. मएवि कौतूहलेण पुच्छिदं अब्वे । 3. रोइदुं । 4. मए ।
2. पल्लवणिधी ।

चतुर्थोऽङ्कः 323 जीवितनिराशया जीवनं प्रति आशाशून्यया। सामान्यजनदुर्लभेऽस्मिन् साधारणजन- दुष्प्रापिणि परिच्छदेन अलङ्कारेण, अत्र रत्नमालया इत्यर्थः। महाभिजनसम्पन्नया कुलीन- वंशोद्भूतया। अन्यथा सदृशस्यालङ्कारस्य सर्व्वथा प्राप्ताभाव इत्यर्थः। देवीभवनात् वासव- दत्ताभवनात्। Beng. Trans, সুসঙ্গতা—সেই ( সাগরিকা ) নিজের জীবনে হতাশ হইয়া ‘এই রত্নমালা বসন্তককে সমর্পণ করিও’ এই বলিয়া আমার হস্তে সমর্পণ করিয়াছিলেন। তাহা এখন আর্য্য গ্রহণ করুন। বসন্তক---( সাস্রনেত্রে করুণভাবে—কর্ণ বন্ধ করিয়া ) আর্য্যে, আমার কিন্তু হস্ত এইরূপ ব্যাপারে ইহা ( বহন ) পরিধান করিবার জন্য প্রসারিত হইতেছে না। ( উভয়ের রোদন ) সুসঙ্গতা---( করযোড়ে ) এইটা গ্রহণ করিয়া তাঁহার প্রতি অনুগ্রহ প্রকাশ করুন। বসন্তক—( চিন্তা করিয়া ) অথবা, আন; এইটা লইয়া সাগরিকার বিরহে ক্লিষ্ট- হৃদয় প্রিয়বয়স্যের চিত্ত বিনোদন করিব। ( সুসঙ্গতা বসন্তকের হস্তে রত্নমালা দিলেন ) বসন্তক—( গ্রহণ করিয়া সবিস্ময়ে অবলোকন করতঃ ) কোথা হইতে এই অলঙ্কার আসিল? সুসঙ্গতা—আর্য্য, আমিও কৌতূহলবশতঃ তাঁহাকে জিজ্ঞাসা করিয়াছিলাম। বসন্তক—তখন তিনি কি বলিলেন? সুসঙ্গতা--তখন তিনি উর্দ্ধদিকে নিরীক্ষণ করিয়া দীর্ঘনিশ্বাস পরিত্যাগ করতঃ বলিলেন—‘সুসঙ্গতে, তোমার এখন এই কথা পাড়িয়া লাভ কি’? —এই বলিয়া রোদন করিতে লাগিলেন। বসন্তক—তাহাতে তিনি বলিলেন বৈ কি! সাধারণ লোকের দুর্লভ এই অলঙ্কার হইতে তাঁহাকে উচ্চবংশসম্ভূতা বলিয়া মনে হইতেছে। সুসঙ্গতে, বর্তমানে প্রিয়বয়স্য কোথায়? সুসঙ্গতা—আর্য্য, মহারাজ এখনই দেবী বাসবদত্তার প্রাসাদ হইতে বাহির হইয়া স্ফটিকশিলামণ্ডপে গমন করিয়াছেন। এখন ( সেইখানে ) গমন করুন! আমিও দেবী বাসবদত্তার পরিচারিকা হইব। ( উভয়ে নিষ্ক্রান্ত ) ইতি প্রবেশক

324 रत्नावली Eng. Trans. Susangatá—She herself, despaired of life, left with me this jewel-neclace saying, 'Present it to the worthy Vasantaka.' Pray accept it. Vasantaka—(Covering his ears—piteously and with tearful eyes) Excuse me, my hand does not stretch out to take this (sad offer) in such circumstances. (Both weep) Susangatá—(With folded hands) Please favour her by accepting this. Vasantaka—(Reflecting) Or, bring it (to me). By this I shall relieve the mind of my dear friend the King afflicted with the seperation from Ságariká. (Susangatá gives the necklace to Vasantaka) Vasantaka—(Accepts and looks with wonder) Madam, whence again, came such an ornament? Susangatá—Sir, I too asked her about it out of curiosity. Vasantaka—And what replied she? Susangatá—She looked up, sighed and said—'Susangatá, what is the use of these tales now'—and then burst into tears. Vasantaka—Indeed, she did disclose the matter by that. This ornament which is inaccessible to the people of the ordinary run, indicates that she surely belongs to some highly distinguished family. Susangatá, where is my dear friend now? Susangatá—Worthy sir, His Majesty went out of the Queen's apartment and went to the crystal alcove. Do you go (to him now). I must to go to attend Her Majesty. (Both exeunt) Here ends the Interlude. (ततः प्रविशति चासनस्थो राजा) राजा—(विचिन्त्य) सव्याजैः शपथैः प्रियेण वचसा चित्तानुवृत्त्याधिकं वैलक्ष्येण परेण पादपतनैर्वाक्यैः सखीनां मुहुः।

चतुर्थोऽङ्कः 325 ¹प्रत्यासत्तिमुपागता नहि तथा देवी रुदत्या यथा प्रक्षाल्यैव तयैष बाष्पसलिलैः कोपोऽपनीतः स्वयम् ॥१॥ ( सोत्कण्ठं निःश्वस्य) तावदिदानीं देव्यां ²प्रसादितायां सागरिका- चिन्तैव केवलं मां बाधते । कुतः— अम्भोजगर्भसुकुमारतनुस्तदासौ कण्ठग्रहे प्रथमरागघने विलीय । सद्यः पतन्मदनमार्गणरन्ध्रमार्गे- र्मन्ये मम प्रियतमा हृदयं प्रविष्टा ॥२॥ ( विचिन्त्य ) योऽपि मे विश्रामस्थानं वसन्तकः, सोऽपि देव्या संयतः³ । तत् कस्याग्रतो बाष्पमोक्षं करिष्ये ? ( इति निःश्वसिति ) ( ततः प्रविशति वसन्तकः ) वसन्तकः—( ⁴परिक्रम्यावलोक्य च सविषादम् ) एसो क्खु ⁵णिब्भरो- क्कंठापरिक्खामंपि, तणुं सलाहणिज्जलावण्णं समुव्वहंतो उदिदो दुदिआचंदो विअ अहिअदरं सोहदि पिअवअस्सो ! ता जाव णं उवसप्पामि । ( उपसृत्य ) सोत्थि भवदे ! भो दिट्ठिआ ⁶वड्ढसे ! देवीहत्थगदेनापि मए पुणोवि एदेहिं अच्छीहिं जं दिट्ठोसि । (क) (क) एष खलु निर्भरौत्कण्ठापरिम्लामपि श्लाघनीयलावण्यां तनुं समुद्वहन् उदितो द्वितीयाचन्द्रः इव अधिकतरं शोभते प्रियवयस्यः । तद् यावद् एनम् ( ननु ) उपसर्पामि । स्वस्ति भवते । भो दिष्ट्या वर्द्धसे !—देवीहस्तगतेनापि मया पुनरपि एताभ्याम् अक्षिभ्यां यद् दृष्टोऽसि । भो वयस्य, देव्या अनुगृहीतोऽसि ।

1. प्रत्यापत्तिम् । 2. प्रसन्नायाम् । 3. संयतस्तिष्ठति । 4. राजानं दृष्ट्वा ।
2. निरंतरक्कंठा । 6. दिट्ठिहि ।

326 रत्नावली राजा—( दृष्ट्वा सहर्षम् ) अये वसन्तकः प्राप्तः ! सखे ! परि- ष्वजस्व माम् । ( विदूषकः परिष्वजति ) वसन्तकः—भो वयस्स ! देवीए अनुग्गहिदह्नि । राजा—वेषेणैव निवेदितस्त्वया देव्याः प्रसादः । तत् कथ्यतामिदानीं सागरिकायाः का वार्त्तेति । वसन्तकः—( सवैलक्ष्यमधोमुखस्तिष्ठति ) राजा—वयस्य ! किं न कथयसि ? वसन्तकः—अप्पिअं त्ति णिवेदिदुं ण पारेमि । (क) (क) अप्रियमिति निवेदयितुं न पारयामि । सब्याजैः इति । सब्याजैः छलयुक्तैः शपथैः प्रियेण वचसा मधुरवाक्येन अधिकं चित्तानुवृत्त्या छन्दोऽनुगमनेन परेण निरतिशयेन वैलक्ष्येण विषादेन सह पादपतनैः सखीनां मुहुः वाक्येन अनुरोधवचनेन देवी तथा प्रत्यासत्तिं प्रसन्नताम् न उपागता प्राप्ता प्रापितेत्यर्थः । यथा रुदत्या तया एव देव्या वासवदत्तया एव बाष्पसलिलैः अश्रुजलैः कोपः अपनीतः दूरीकृतः । बाष्पजलपतनाद् अन्तर्गतकोपसम्भारस्य प्रक्षालितवात् कोपस्यापगम इत्यर्थः ॥१॥ बाधते पीडयति । कृत इति । अभोजगर्भसुकुमारतनुः अभ्रोजस्य पद्मस्य गर्भः अन्तः तद्वत् सुकुमारा कोमला तनुः देहः यस्याः सा । तदा साक्षात्कार- वसरे इत्यर्थः । असौ मम प्रियतमा सागरिका प्रथमरागघने मदङ्गे लयप्राप्तेव प्रथमः रागः अनुरागः तेन घने गाढे अनुरागातिशयैनेत्यर्थः । कण्ठग्रहे आलिङ्गने विलीय अनुरागातिशयाद् द्रवीभूय आनन्दरसतां प्राप्य इत्यर्थः । सद्यः इदानीमेव पतन्तः ये मदनमार्गणाः मदनबाणाः तेषां रन्ध्रमार्गैः छिद्रपदैः अवसरं प्राप्य इत्यर्थः । हृदयं प्रविष्टा यथा द्रवीभूतं वस्तु किञ्चित् रन्ध्रपथमवाप्य तेनैव अन्तः प्रविशति तद्वत् ॥२॥ विश्रामस्थानम् विनोदस्थानम् । संयतः बद्धः । बाष्पमोचं अश्रुमोचनम् । निर्भरा निरतिशया उत्कण्ठा तया परिक्षामां क्षीणाम् । श्लाघनीयलावण्यां मनोहरसौन्दर्ययुक्ताम् । परिष्वजस्व आलिङ्गय ।

सुकुमारतनुः (11 or 12 syllables? वसन्ततिलका?) अम्-भो-ज-गर्-भ-सु-कु-मा-र-त-नुः (11 syllables) Let's check the scansion of: अम् (G) भो (G) ज (L) गर् (G) भ (L) सु (L) कु (L) मा (G) र (L) त (L) नुः (G or L) Wait: सद्यः पतन्मदनमार्गणरन्ध्रमार्गैः सद् (G) यः (G) प (L) तन् (G) म (L) द (L) न (L) मार (G) ग (L) ण (L) रन् (G) ध्र (L) मार (G) गैः (G) Wait, वसन्ततिलका is: उक्ता वसन्ततिलका तभजा जगौ गः (14 syllables) G G L G L L L G L L G L G G Let's check line 4: सद्यः (G G) पतन् (L G) मदन (L L L) मार्गण (G L L) रन्ध्रमार्गैः (G L G G) Total: 14 syllables! सद्-यः (G G) प-तन् (L G) म-द-न (L L L) मार

328 রত্নাবলী রাজা—বেশ-ভূষা দর্শনেই তোমার উপর দেবীর প্রসাদ সূচিত হইতেছে। এখন সাগরিকার খবর কি বল ? বসন্তক—( সবিস্ময়ে অধোমুখ হইলেন ) রাজা—বয়স্য, বলিতেছ না কেন ? বসন্তক—অপ্রিয় সংবাদ নিবেদন করিতে পারিব না। Eng. Trans. (Then enter the King seated) King.—(Reflecting) By deceitful vows, sweet words, utmost humouring, prostrate supplications attended with extreme feeling of wonder and frequent requests of her friends, the Queen could not be appeased so much, as she herself has removed her anger, washing it away as it were, with the tears as she was weeping. 1. (Breathing heavily with anxiety). Now that the Queen is appeased, the anxiety about Ságariká pains me much. For— I think, my beloved with a form as delicate as the internal petal of the lotus, dissolved at the time of embrace—tight owing to the ardour of first love—has now ,found a passage into my heart through the channels made by the arrows of the god of love, shot just now. 2. (Reflecting) Now, Vasantaka who was the only source of my consolation ( confidence ) has been imprisoned by the Queen. So, in whose presence can I now shed tears ? (Sighs) (Then enter Vasanaka) Vasantaka—(Going round and looking with wonder) Yonder is my dear friend with a frame, emaciated with utmost care, but endowed with laudable gracefulness, shines still more radiantly as the moon of the second day of the bright fortnight. Now, I shall approach him. (Approaching) Be it all right with Your Majesty. Fortune favours you, as I have been able to see you with my eyes again, though I fell into the clutches of Her Majesty.