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

INTRODUCTION XXV Kuttanimata of Dámodaragupta, Málatímádhava of Bhavabhuti etc. The historical reference of the king Udayana is found in the Puranas and his name is also traced in the list of twenty-nine Puru kings who lived after the Mahábhárata war. "They lived in Hastinápura, but they removed to Kaus'ámbi in consequence of the destruction of their former capital by an inundation of the Ganges"—Introduction to Ratnávali by C. R. Devadhara. From the Pali literature such as Divyávadána, Mahávams'a etc., we can learn that he was a contemporary of Chanda Pradyota of Avanti ; and in the plays, stories of his long-drawn antagonism with Mahasena of Avanti being mitigated by his marriage with the latter's daughter Vásavadattá are referred to (vide Svapnavásava- dattam). The author of the present play Ratnávali might have taken the theme from these popular and historical sources. The systematic and detailed history of the king Udayana is set forth in the Brihatkathámanjari of Kshemedra (11th cent A. D.) Kathásaritságara of Somadeva (11th cent) and the Brihatkathá- s'lokasamgraha of Buddhasvámin (10th cent) [ See App. A ]. These three works are claimed to be the three recensions of the long lost famous work of popular tales बृहत्कथा written by Gunádhya in the 1st cent A. D. in Pais'áchi language. It is very difficult to ascertain how far these works conform closely to the contents of the original work Brihatkathá which is long lost sight of. Somadeva, the author compiler of the work Kathásaritságara claims that he has made an exact compilation of the essence of the contents of the बृहत्कथा (cf: बृहत्कथायाः सारस्य सङ्ग्रहं रचयाम्यहम्— Kathásarit. I. 3.) That S'ri Harsha surely consulted the Brihatkathá which was extant at his time is confirmed by the fact that the subject-matters of his three dramas are exactly found in detailed narration in the Kathásaritságara which is claimed by its author to be the exact copy of the essence of the बृहत्कथा. S'ri Harsha could not possibly consult the Kathásaritságara as the latter was compiled four hundred years after Harsha's reign.

xxvi RATNAVALI Again the question may arise that Harsha might have been indebted to Bhása the author of the thirteen famous plays of which two namely स्वप्नवासवदत्तम् and प्रतिज्ञायौगन्धरायणम् are written on the story of the king Udayana. But the subject-matter of these two plays of Bhása strictly conforms to the narration as given in the Kathásaritságara while S'ri Harsha takes the mere skeleton of the story and makes a marked improvement upon the original. This fact as well as the fact of the conformity of the subject-matter of his three plays to the narration given in the Kathásaritságara clearly proves that he was directly indebted for the subject-matter of his plays to the बृहत्कथा which was extant in his time and to which Bánabhatta, the court-poet of S'ri Harsha, declares himself to be indebted in the introductory stanzas of his Kádambari. Original and Shri Harsha's deviations.—In the Kathásaritságara the story of Udayana is divided into three stages. It the first stage which is not important to us is the miraculous incident of Udayana's birth, the rescue of a serpent-lord by him from a fowler and the presentation of a magical lute called Ghoshavati (referred to in स्वप्नवासवदत्तम्) to him by the serpent-lord, are related. The second stage relates the incident of the marriage of Vásavadattá, the daughter of Chanda Mahásena of Ujjayini with Udayana. Chanda Mahásena had a long-drawn enmity with the family of the Vatsa kings. Udayana hankered after the hand of the Vásavadattá but that could not be effected due to that hostile feeling. Mahásena was also desirous of having Udayana as his son-in-law. Now Mahásena taking the advantage of the weakness of Udayana viz., his extreme fondness for hunting, put an artificial wooden elephant with warriors inside its belly in the forest and Vatsarája going to shoot that elephant was captured by the hidden warriors and was taken to Mahásena who appointed Udayana a tutor to train Vásavadattá his daughter in lute-playing. Udayana remained there as a captive for a long time, after which Yaugandharáyana.

[Header] INTRODUCTION xxvii

the chief minister and Vasantaka, the Vidushaka, rescued the King by tricks. Vāsavadattá was also brought with him and the nuptials were finished in the Kaus'ámbi palace. In the subsequent history of Udayana a summary mention is made of the king's love with Virachitá the harem-attendant and his intrigue with the captive princess Bandhumati. The Queen detected their intrigues and took Vasantaka captive. The reconciliation was made by Sámkrityáyani who was the friend of Vāsavadattá. The third stage of the story relates the political motive of Yaugandhárayana who wanted to strengthen the foundation of the kingdom on a more secure basis. With that objective in view he had brought about the alliance between Mahásena and Udayana by the marriage of Vāsavadattá. He now wanted to bring about a matrimonial alliance with the royal family of Magadha. Ajátas'atru the king of Magadha had a beautiful daughter named Padmávati who was solicited in marriage for his master. But the king of Magadha did not want his daughter to be put in the posi- tion of a co-wife of Vāsavadattá for whom Udayana had an unflinching love. In order to remove this obstacle Yaugandharáyana took Vāsavadattá in confidence and one day in the absence of Uda- yana announced that Vāsavadattá had perished in a big fire that broke out in Lávánaka. Vāsavadattá under disguise travelled with Yaugandharáyana who called her his sister. Now fresh proposals for marriage of Padmávati with Udayana were made and Udayana went to Magadha and after the conclusion of the nuptial ceremo- nies returned to the capital. Vāsavadattá also returned to the capital and the deep-laid design of the minister came out to be successful as the king Udayana became a very powerful monarch due to the alliance with those eminent royal families. With this last stage of the story the subject-matter of Ratná- vali is connected. The subject-matter of स्वप्नवासवदत्तम् of Bhása strictly conforms to the story of the Kathásaritságara but in रत्नावली the author has made some important modifications. He has taken

xxviii RATNAVALI the broad fact of the original story upon which the subject-matter of his play is based and the names यौगन्धरायण, काञ्चनमाला, रुमण्वान्, वसन्तक, वासवदत्ता, लावणक of the original are found in the play ; but so far as the development of the main action is concerned he has made important modifications of the original. In the original the foreteller predicted that the marriage with Padmávatí, the daughter of the king of Magadha would make Udayana the paramount monarch ; but in the present play, the marriage of Udayana with Ratnávali, the daughter of Vikramabáhu, the king of Simhala was predicted to be the assurance of the paramount monarchy of the king Udayana. The shipwreck of Ratnávali (after- wards named Ságariká while she was being brought across the sea to the Vatsa kingdom) is the invention of the poet. The rumour of Vásavadattá being killed in the Lávánaka fire is common. In the original story Vásavadattá remained incognito in the Magadha palace ; and after the nuptial ceremony was finished with Padmávatí, Vásavadattá returned to the Kaus'ámbi palace. Here Ratnávali under the name of Ságariká was put under the care of Vásavadattá who could not recognize her until she was rescued from the fire that broke out in the palace by the magical skill of the magician. The introduction of the magician is the poet's own creation. General Estimate of the play.—Though Harsha is not original so far as the subject-matter of the Drama is concerned yet the inventive genius and the skill of a dramatist which he has shown is praiseworthy though not unique. Dr. Keith observes, "The originality of his Nátikás is not perhaps great, but he has effectively devised the plot in both (Ratnávali and Priyadars'iká) ; the action moves smoothly and in either play there is ingenuity. The scene of the magician's activity in the Ratnávali is depicted with humour and vivacity ; the parrot's escape and its chatter are sketched with piquancy and the exchange of costumes in the Ratnávali is natural and effective." Of all his plays the Ratnaváli specially

INTRODUCTION xxix

draws the admiration of its admirers particularly owing to its well-drawn characters and poetic beauties of the sanzas. What is of great interest in the Ratnávali is the good get-up and skilful manipulation of the incidents within the play. The marriage scheme of the minister on his own responsibility without the knowledge of anybody and the skilful performance of the magician helping the recognition of the heroine, the chattering of the parrot disclosing the plot and other minor incidents are well conceived and fitting the situations. Without the Magician's per- formance the union would have been a sudden and hap-hazard one. The style of Ratnávali is well conceived and well polished, plot well developed, characters possibly well depicted within the narrow limit of the action of the subject-matter and thus it is the best work of Harsha though not the best of the lot of the greatest lumi- naries like Bhása, Kálidása and Bhavabhuti in the literary firma- ment. Yet considering the burdensome duty of a ruler involved in continuous warfare and struggles, it is not a small achievement on the part of Harsha to elicit admiration from the public by his unflinching devotion to literary pursuits which resulted in the production of a typical drama like Ratnávali the merit of which is stated in short by an eighth century author Dámodaragupta ine his Kuttanimata as follows.— “श्लिष्टसन्धिवन्धं सत्पात्रं सुवर्णयोजितं सुतराम् । निपुणपरीक्षकदृष्टं राजति रत्नावलीरत्नम् ।” “The jewel of Ratnávali shines out effulgently by its well- constructed joints (of the plot), well-painted characters like pieces of gold being examined by the expert connoisseurs.” Harsha construc- ted the plot of Ratnávali strictly in accordance with the rules of dramaturgy ; so the later dramaturgic experts have cited copious illustrations from the Ratnávali to exemplify the rules regulating the Samskrit drama, they have set forth. In the history of Sanskrit drama the place of Ratnávali is by no means to be over-

XXX RATNAVALI looked. Its author flourished at such a period when Sanskrit poetry was having a transit from originality to artificiality. H. H. Wilson observes, "the Ratnávalí in short may be taken as one of the connecting links of the old and the new school as a not unpleasing production of that middle region through which Hindu poetry passed from elevation to extravagance." Characters.—C. R. Devadhara observes, "most of the characters in the play are traditional and the poet has delineated them in exact conformity with the legend." The main interest of the play depends upon the incidents that have helped the action of the drama to move towards the successful end of the plot. As the action of the play is circumscribed within the limit of a few days, the characters have not been given the opportunity of displaying their individual peculiarities which mostly ensure the abiding interest in the drama. Wilson remarks, in the circum- scribed limits of the action "we have no right to entail much contrast or development of character and it is enough that all the individuals introduced preserve their identity." The principal characters are :— (I) Yaugandharáyana :—He is an astute farsighted politician bent heart and soul on the welfare and future good of his master. He was alert to the foretelling of a fortune-teller that the marriage with Ratnávali would ensure the paramount monarchy of his master and so he caught the first opportunity of removing all obstacles from this marriage. From the beginning to the end he has uniformly and unerringly manipulated the matters to a successful end. He knew that the girl rescued from the sea was Ratnávali ; yet he did not disclose it at once and put her under the care of Vásavadattá so that the King might have a hankering for having her as his bride when she would get the opportunity of coming across his sight. He became satisfied and attained self-complacency when Ratnávali was given to the King by Vásavadattá ( इदानीं सफलपरिश्रमोऽस्मि संवृत्तः,—IV ). His

: Is it स्मृ or स्तु? Wait, "स्तुतेरपि ते श्लाघ्यः" = "even of praise you are worthy / worthy even of praise!" Wait, "श्लाघ्य" means "praiseworthy". "स्तुतेरपि श्लाघ्यः" = "praiseworthy even beyond praise"? Or "स्मृतेरपि ते श्लाघ्यः" = "even in memory you are praiseworthy"? Wait, look at the conjunct: Does it look more like स्मृ or स्तु? In either case, it has the 'े' on the 'त'! Wait, look at the first letter: It has स्, and beneath it, is it म or त? Wait, look at स्मृत vs स्तुत: In स्तु, 'त' is attached beneath 'स्'. In स्मृ, 'म' is attached beneath 'स्', or 'स्' is half and followed by 'मृ'. Here, notice that under the crossbar of 'स्', there is a loop! A loop with a bottom curve to the left: that's म with ृ! So it's स्मृतेरपि or स्तुतेरपि! Wait, let's look at line 15: `(साधु कोशलपते साधु, स्मृतेरपि ते श्लाघ

of a lady of noble birth and steady character. In the third act when she comes to know the plot hatched by Vidushaka and Susangatá she shows her ill temper but subsequently she repents her own attitude towards the King and comes back to be reconciled with him. (cf: हञ्जे काञ्चनमाले, तथा चरणनिपतितमार्यपुत्रमवधीय्यागच्छन्त्या मयातिनिष्ठुरं कृतम्। तदिदानीं स्वयमेव नामार्यपुत्रमनुनेष्यामि—III) This shows her nobility of character and unswerving love for her lord. She imprisoned Ságariká so that she might not come to the view of the king, but she never adopted the attitude quite in contrary to her tender nature. When the fire broke out she screamed out that Ságariká was within the palace and got anxious for her rescue so that she might not perish in the fire. Ságariká was her rival, she could easily see her perish in the fire, but her noble birth and tender heart did not allow her to maintain that inhuman attitude. Her magnaninity is further testified by her attitude when she handed over Ságariká to the king for marriage. By that she shows her utmost affectionate feeling towards Ságariká when the latter was in the position of truly being her rival. (4) Sagarika.—She is the heroine of the drama. Her original name Ratnávali was disgnised by the trick of the minister under the name of Ságariká as she was rescued from the sea. She was being brought from Simhala for marriage with the king of the Vatsas, but in the way she fell a victim to the accident. She was embarassed at such an adverse fortune and being made over to Vásavadattá she lived there as a docile, amiable and humble girl utterly resigned to the sweet will of the Queen. The noticeable thing in her character is her intense love for the King at the very first sight and being unable to fulfil her object tried even to put an•end to her life (सर्व्वथा मरणमेव मम मन्दभागिन्या उपेक्षितम्). As a lady of high birth, simple nature, susceptible to a keen sense of self- prestige it is quite likely that she should be despondent of her life under the adverse circumtances—quite in contrary to the situation under which she was born and brought up. She could have

RATNAVALI xxxiii disclosed her identity to the Queen or to her friend Susangatá and thus could have cleared the situation and the misunderstanding ; but she did not do that as the keen sense of honour was always alive within her. She was a charming and accomplished lady, quite capable of attracting the mind of the hero who was thus to have a temporary feud with his old love on her account. (5) Vasantaka—He is the Vidushaka depicted in the conven- tional manner of stereotyped humour and light and frivolous talks. He is a constant companion of the King not in respect of kingly duties, but in harem politics, mostly in love-affair. The King consults and takes always his help in these love-matters. His ugly appearance, stupidity, voraciousness make him a laughing-stock of all. In the original, Vidushaka has been painted with a nobler trait when he underwent a risk to rescue the King from the palace of Chanda Mahásena. In administering the love- affairs of the King he puts himself to trouble by being imprisoned by the Queen. His love for his master is unbounded. On the whole he is the only comic element on the stage bringing about diversion in the midst of seriousness of the action of the play. [Other minor characters] Vasubhuti—He is the minister of the king Vikramabáhu of Ceylon. He accompained Ratnávali but falling victim to shipwreck along with बाभ्रव्य, the chamberlain of Udayana joined the army of Rumanván in his expedition against the king of Kosala. He returned therefrom with a heart full of sorrow at the misfortune that befell Ratná- vali and was in a fix how he would console his master, the king. This shows his extreme devotion for his lord. Kánchanamálá —She is the maid-servant of the Queen. She is always devoted to her mistress who puts utmost confidence in her. She is always anxious for a good bond remaining between the King and her mistress and thus she makes her mistress always alert as soon as she comes to know of any sign of inconstancy of the King whenever a misunderstanding is caused by mistake.

XXXIV RATNAVALI Susangatá :—She is an attendant and friend of the heroine. She is always anxious to see the union of her friend with the King and with this end in view she does everything possible for Ságariká who confides everything to her. She was in the plot with Vidushaka for bringing about a meeting between Sága- riká and the King. She did all this disinterestedly not knowing even that her friend was the daughter of a king. She was al- ways sympathetic towards Ságariká for the situation in which she was put. Dramatis Personae Males सूत्रधारः—The Stage-manager. उदयनः—The king of Kauśámbi, the hero. वसन्तकः—The Vidushaka, a court-wit to Udayana. यौगन्धरायणः—The prime minister to Udayana. वसुभूतिः—The minister to the king of Simhala. बाभ्रव्यः—The chamberlain of Udayana who was sent to Ceylon as a match-maker. विजयवर्मा—A military officer, the nephew of Rumaṇván—the Commander-in Chief of Udayana. शम्बरसिद्धिः—A Magician. Females नटी—The wife of the Stage-manager (सूत्रधार). वासवदत्ता—Udayanana's queen, the daughter of Mahásena. रत्नावली—The daughter of the king of Ceylon named Vikramabáhu. सागरिका—The disguised name of Ratnávali. काञ्चनमाला—The maid-servant of the queen Vásavadattá. सुसङ्गता—The attendant and friend of Ságariká. चूतलतिका ⎫ मदनिका ⎬ The maid-servants of the harem of Udayana. निपुणिका ⎭ वसुन्धरा—The female porter. Persons referred to in the play. विक्रमबाहुः—The king of Ceylon, the father of Ratnávali—the heroine. रुमण्वान्—The general of Udayana. मेधाविनी—A talking pet bird of the Queen that disclosd the plot of Susangatá.

र्त्तिः' (कीर्त्तिः).

Line 15: "श्रीहर्षदेवः 'काव्यं यशसेऽर्थकृते व्यवहारविदे' इत्यादिना काव्यशास्त्रस्य यशआदि-" Notice "यशआदि-" (sandhi not applied, or यशआदि).

Line 16: "श्रेयःसाधनतां पश्यन्, तत्र पुनः काव्यशास्त्रस्य दृश्य-श्रव्यभेदेन द्विविधत्वात् 'नाट्यं भिन्नरु-"

Line 17: "चेर्जनस्य बहुधाप्येकं समाराधनम्' इति श्रव्यकाव्यापेक्षया दृश्यकाव्यस्य लोकचित्तहारि-" (Quotation from Malavikagnimitra: 'नाट्यं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम्').

Line 18: "तया उत्कर्षं, 'काव्यालापांश्च वर्जयेत्' इत्यादिनिषेधानामसत्काव्यविषयतां च विचारयन्"

Line 19: "'रसो वै सः' इति श्रुतिवाक्येन रसानुभूतौ परमपुरुषार्थप्राप्तिबीजं निबध्नन्, पुनः अष्टधा"

Line 20: "विभज्यमानानां रसानां मध्ये शृङ्गाररसस्य प्राधान्यं 'शृङ्गारी चेत् कविः काव्ये जातं रसमयं" (Quotation from Dhvanyaloka: 'शृ

२ रत्नावली जगत्' इत्यादिमहाजनवाक्यतातपर्य्यानुसारेण सम्यग् विविच्य शृङ्गाररसप्रधानां रत्नावलीं नाम नाटिकां चिकीर्षुः ग्रन्थविघ्ननिराकरणमुखेन देवतास्तुतिद्वारा नान्दीश्लोकान् अवतारयन् तत्र प्रथमम् आह—पादाग्रस्थितया इत्यादि। पादयोः अग्रे ताभ्यां स्थितया अवतिष्ठमानया उच्चैर्भावार्थमित्यर्थः। मुहुः पुनः पुनः स्तनभरेण नम्रतां प्रह्वताम् आनीतया प्रापितया शम्भोः शिवस्य, सस्पृहलोचनत्रयपथं सस्पृहं साकाङ्क्षं लोचनत्रयं तस्य पन्थानं 'ऋक्पूरब्धूःपथामानक्षे इति समासान्तः अ-प्रत्ययः। यान्त्या गच्छन्त्या ह्रीमत्या लज्जाशीलया प्रथमोद्भुतयौवनत्वात्, सपुलकस्वेदोद्गमोत्कम्पया पुलकः रोमाञ्चः 'पुलको लोमहर्षणम्' स्वे दोद्गमः घर्मोत्पत्तिः उत्कम्पः वेपथुः च तैः सहिता तया। सात्त्विकभावोदयात् देवाधिदेवे अनुरागः सूचितः। एवम्भूतया गिरिजया पार्व्वत्या तदारा- धने तस्य शिवस्य आराधने पूजायां शिरसि ईङ्गितः अर्पयितुम् अभिप्रेतः क्षिप्तः कुसुमाञ्जलिः अन्तरे पार्वतीशिवयोर्मध्ये विश्रिष्यन् विशीर्णः वः युष्मान् सामाजिकान् रङ्गान्तर्वर्त्तिनः पातु रक्षतु। अत्रायमभिप्रायः—उच्चैर्वेदीमास्थितस्य शम्भोः शिरसि तन्तुष्ट्यर्थं पुष्पाञ्जलिं दातु- कामा पार्व्वती यदा पादाग्राभ्यां स्थिता तदा देवेन मदनावेशात् निरीक्ष्यमाणा तया देव्या लज्जावशात् पुष्पाञ्जलिः उभयोरन्तरे एव क्षिप्तः। शार्दूलविक्रीड़ितं वृत्तम्। काव्य- लिङ्गमलङ्कारः, कुसुमाञ्जलेः अन्तरे पतनं प्रति पूर्व्वपादस्थितानां पदार्थानाम् हेतुभूतत्वात्। अस्य श्लोकस्य मगणेन आरम्भात् ग्रन्थस्य शुभसमाप्तिः सूच्यते। यथोक्तं भामहेन—'क्षेमं सर्व्वगुरुर्द्दत्ते मगणो भूमिदैवतः।” अन्येन च “मौ भूमिस्त्रिगुरुः श्रियं दिशति" इति ॥१॥ Prose. पादाग्रस्थितया मुहुः स्तनभरेण नम्रताम् आनीतया तदाराधने सस्पृहलोचनत्रयपथं यान्त्या ह्रीमत्या सपुलकस्वेदोद्गमोत्कम्पया गिरिजया शम्भोः शिरसि ईङ्गितः क्षिप्तः कुसुमाञ्जलिः अन्तरे विश्रिष्यन् वः पातु ॥१॥ Beng. Trans. তাঁহার (শিবের) আরাধনাকালে পাদাগ্রে দণ্ডায়মানা, স্তনভারে পুনঃ পুনঃ বিনম্রগাত্রা পার্ব্বতীর প্রতি শিব পুনঃ পুনঃ নেত্রত্রয়দ্বারা সস্পৃহ দৃষ্টিপাত করিতেছিলেন। (তাহাতে) পার্ব্বতীর রোমাঞ্চ, ঘর্ম্মোদ্গম ও ঈষৎকম্প হইয়া লজ্জার উদ্রেক করিতেছিল। সেই হেতু পার্ব্বতীকর্তৃক তদীয় শিরোভাগে প্রদানার্থ ঈপ্সিত যে কুসুমাঞ্জলি নিক্ষিপ্ত হইয়াও উভয়ের মধ্যস্থলে বিশ্লিষ্ট হইয়াছিল, সেই পুষ্পাঞ্জলি তোমাদিগকে রক্ষা করুক ॥১॥

नान्दी ३ Eng. Trans. May the handful of flowers scattered in the intervening space while intended to be offered on the head of Shiva by the mountain-born Goddess, protect you—the Goddess who stood erect on her tip-toes but who was caused to be bent down again and again by the heaviness of her breasts, who came often within the range of his (Shiva's) three wistful eyes and who (thus) felt abashed with tremor, perspiration and hairs standing erect on her body 1. Eng. Expl. Shiva was seated on an elevated place. Parvati was below the altar, and with a view to offering flowers on the head of her lord, stood on her tip toes, so that her hands full of flowers might easily reach his head In the meantime while Shiva cast his wistful amorous glances on her beautiful person, again and again bent down by the heaviness of her breasts, she felt abashed; her body, perspiring through excessive emotion of love, began to shiver with hairs standing on their ends; in that position she could no longer sustain to extend her hands aloft on Shiva's head and so the flowers, without reaching their desired goal, fell scattered in the space between the God and the Goddess. अपिच— औत्सुक्येन कृतत्वरा सहभुवा व्यावर्तमाना¹ ह्रिया तैस्तैर्बन्धुवधूजनस्य वचनैर्नीताभिमुख्यं पुनः । दृष्ट्वाग्रे वर²मात्तसाध्वसरसा गौरी नवे सङ्गमे संरोहत्पुलका हरेण हसता श्लिष्टा शिवायास्तु वः ॥२॥ विघ्नबाहुल्यमाशङ्कमानेन महाकविना तन्निरासार्थं प्रभूतमङ्गलकामनया पुनरेव नान्दीश्लोको वितन्यते—अपिच—औत्सुक्येनेति । औत्सुक्येन पतिसन्निधौ गमनार्थं 1 व्यावर्तमाना। 2 परम्।

4 रत्नावली

औत्सुक्येन हेतुना कृतत्वरा कृतसम्भ्रमा सहभुवा सहजया ह्रिया लज्जया व्यावर्तमाना परावृत्ता। व्यावर्तमाना इति पाठे विपूर्व्यकात् वृत्तधातोः णिजन्तात् कर्म्मणि शानच्। ह्रिया इत्यत्र अनुक्ते कर्त्तरि तृतीया। बन्धुवधूजनस्य बन्धवः एव वध्वः तासां जनः सखीजनः इत्यर्थः। तस्य; यद्वा बन्धूनां वधूजनस्य तैः तैः समग्रैः वचनैः अनुरोधवाक्यैः गौर्य्याः पतिसमीपगमनप्रवृत्तिजननार्थमित्यर्थः। पुनः आभिमुख्यं साम्मुख्यं नीता प्रापिता; गौर्य्याः विशेषणमेतत्। वरं पतिम् अग्रे दृष्ट्वा। परम् इति पाठे भृशमित्यर्थः। आत्तसाध्वसरसा साध्वसं भयं च नवपरिणीतत्वात्, रसः अनुरागः च उद्गतयौवनत्वात्। आत्तौ गृहीतौ प्राप्तौ साध्वसरसौ यया सा (गौरी) नवे सङ्गमे संसर्गे हसता हरेण शिवेन श्लिष्टा आलिङ्गिता (अत एव) संरोढत्पुलका उद्गतरोमाञ्चा गौरी वः युष्माकं सामाजिकानां शिवाय मङ्गलाय अस्तु भवतु। शार्दूलविक्रीड़ितं वृत्तम्। अत्र नवोढ़ाया गौर्य्याः यथावद् वर्ण्यमानत्वात् स्वभावोक्तिः, संरोढत्पुलका इत्येतत् प्रति नवसङ्गमादिकस्य हेतुभूतत्वात् काव्यलिङ्गमलङ्कारः ॥२॥

Prose. औत्सुक्येन कृतत्वरा सहभुवा ह्रिया व्यावर्तमाना पुनः बन्धुवधूजनस्य तैः तैः वचनैः आभिमुख्यं नीता अग्रे वरम् दृष्ट्वा आत्तसाध्वसरसा नवे सङ्गमे हसता हरेण श्लिष्टा संरोढत्पुलका गौरी वः शिवाय अस्तु ॥२॥

Beng. Trans. যে গৌরী (পতির সহিত নূতন মিলন হইবে বলিয়া) ঔৎসুক্যবশতঃ সত্বর গমনপূর্ব্বক স্বভাবসিদ্ধ লজ্জাশীলতাহেতু প্রত্যাবৃত্ত হইয়া আসিতেছিলেন এবং যিনি সখীদিগের নানা অনুরোধে (পতির) সম্মুখে উপনীত হইয়া তৎপ্রতি দৃষ্টিপাত করিলে পর সেই অভিনব সম্মিলনে ভয়মিশ্রিত অনুরাগে যাঁহার রোমাঞ্চের আবির্ভাব হইয়াছিল, সহাস্যবদন হরকর্তৃক আলিঙ্গিতা সেই গৌরী তোমাদের মঙ্গল বিধান করুন।২।

Eng. Trans. And also—May Gauri be propitious to you —Gauri who having hastened through eagerness turned back owing to her inborn bashfulness and who then being impelled by various requests of her female friends was taken to (his) presence but was caught with fear mingled with love (or fear and feeling of love) as she looked upon (her) husband and who with her hairs standing or their ends in her new union was embraced by smiling Hara. 2.

नान्दी ५ अपिच— सम्प्राप्तं मकरध्वजेन मथनं$^१$ त्वत्तो मदर्थे पुरा तद्युक्तं बहुमार्गगां मम पुरो निर्लज्ज ! वोढुं$^२$ तव । तामेवानुनय स्वभावकुटिलां हे कृष्णकण्ठ ग्रहं मुञ्चेत्याह रुषा यमद्रितनया लक्ष्मोश्च पायात् स वः ॥ (N. B. This Shloka seems to be an interpolation as this is found to be omitted in some of the available mss.). पुनरेव नान्दीश्लोकमाहतेति—अपि च—सम्प्राप्तं मकरध्वजेनेत्यादिना । क्वचित् पुस्तके अस्य श्लोकस्य अदर्शनात् अस्य प्रक्षिप्तत्वमवगम्यते । (कृष्णपक्षे)—हे कृष्ण, पुरा समुद्रमन्थनकाले मदर्थे मन्मथोत्पत्तौ लक्ष्याः लाभार्थमित्यर्थः । मकरध्वजेन समुद्रेण कदनं पीडनं मन्थनमिति यावत् सम्प्राप्तम् । हे निर्लज्ज । तत् तस्मात् मम पुरः अग्रे बहु- मार्गगां बहुभिः मार्गैः आत्मगोपनेन गच्छति या सा कुलटात्वात्, कुब्रामुद्दिश्य उक्तिरेषा ; सरस्वतीं वा बंदादिबहुशास्त्रमार्गगामिनीं—बोढुं युक्तमिति काकुः ; न युक्तमित्यर्थः । तां भावकुटिला कुटिलभावविशिष्टा अनुनयस्व । ( मे ) कण्ठग्रहं कण्ठालिङ्गनं मुञ्च परित्यज ।—इति एवंप्रकारेण लक्ष्मीः यं कृष्णं रुषा क्रोधेन प्राह सः वः पायात् रक्षेत् । पक्षे ( शिवपक्षे )—हे कृष्णकण्ठ नीलकण्ठ विषमभक्षणादित्यर्थः । मदर्थे माम् उद्दिश्य तवानुकूल्यप्राप्त्यर्थं पुरा मकरध्वजेन कामदेवेन त्वत्तः—शिवमभिप्रेत्य उक्तिरेषा । मथनं पीडनं स्तुत्युरिति यावत् । संप्राप्तम् । हे निर्लज्ज तत् तस्मात् मम पुरः बहुमार्गगां गङ्गां वोढुं तव युक्तमिति काकुः ; न युक्तमित्यर्थः । स्वभावकुटिलां कुटिलगतिसम्पन्नां नदीवेगस्य सर्व्वथा वक्रगमनस्वभावत्वादित्यर्थः । अनुनय । ग्रहं श्लेषं मुञ्च, इति रुषा क्रोधेन अद्रितनया पार्वती यम् आह सः शिवः वः पायात् रक्षतु । शार्दूलविक्रीडितं वृत्तम् । Prose. (शिवपक्षे) पुरा मदर्थे मकरध्वजेन त्वत्तो मथनं संप्राप्तम् । १ कदनं । २. वोदुमत्न ।

6 রত্নাবলী ( হৈ ) নির্লজ্জ, তদ্‌ মম পুরঃ তব বহুমার্গাং বোঢ়ুং যুক্তম্। হে কৃষ্ণকণ্ঠ, স্বভাবকুটিলাং তাম্ এব অনুনয়, মদ্ গ্রহং মুঞ্চ, ইতি রুষা যম্ অদ্রিতনয়া আহ স বঃ পায়াৎ। ( কৃষ্ণপক্ষে ) পুরা মদর্থে মকরধ্বজেন ত্বত্তঃ কদনং সংপ্রাপ্তম্। ( হৈ ) নির্লজ্জ, তদ্‌ মম পুরঃ তব বহুমার্গাং বোঢ়ুং যুক্তম্। হে কৃষ্ণ, ভাবকুটিলাং তাম্ অনুনয়স্ব, কণ্ঠগ্রহং মুঞ্চ, ইতি রুষা যং লক্ষ্মীঃ আহ সঃ বঃ পায়াৎ। Beng. Trans. ( শিবপক্ষে )—পুরাকালে আমারই জন্য কামদেব তোমার নিকট হইতে ধ্বংসপ্রাপ্ত হইয়াছিল। হে নির্লজ্জ, আমার সম্মুখে সেই হেতু বহুমার্গা ( ত্রিপথ- গামিনী ) গঙ্গাকে বহন করা তোমার পক্ষে যুক্তিযুক্ত বটে! স্বভাবতঃ কুটিলগতিবিশিষ্ট৷ তাহাকে ( গঙ্গাকে ) অনুনয় কর। হে কৃষ্ণকণ্ঠ ( নীলকণ্ঠ ) আমার গ্রহ অর্থাৎ দেহস্পর্শ ( অর্থাৎ আলিঙ্গন ) পরিত্যাগ কর।—পার্ব্বতী ক্রোধে যাঁহাকে এইরূপ বলিয়াছিলেন, তিনি তোমাদিগকে রক্ষা করুন। ( কৃষ্ণপক্ষে )—পুরাকালে আমাকে লাভ করিবার জন্য সমুদ্র তোমাকর্তৃক মথিত হইয়াছিল। হে নির্লজ্জ, আমার সম্মুখে শ্রুতিস্মৃত্যাদিবহুমার্গাবলম্বিনী ( সরস্বতীকে ) [ অথবা কুলটা ( কুব্জাকে ) ] বহন করা তোমার পক্ষে যুক্তিযুক্ত বটে! কুটিলভাববিশিষ্ট৷ তাহাকে তুমি অনুনয় কর। হে কৃষ্ণ, তুমি আমার কণ্ঠদেশ ধারণ পরিত্যাগ কর।— ক্রোধে লক্ষ্মী যাঁহাকে এইরূপ বলিয়াছিলেন, সেই ( কৃষ্ণ ) তোমাদিগকে রক্ষা করুন। Eng. Trans. ( In the case of Shiva )—‘Formerly the fish- bannered deity suffered destruction from you for my sake. O shameless one, so it is befitting of you to bear the river Ganga ( having many courses to flow) in my very presence ! O blue- necked one, entreat her who is crooked ( in her course ) by her nature ; give up embracing me’—May He who is thus said in anger by the mountain-born Goddess, protect you. ( In the case of Krishna )—‘Formerly the ocean was churned through your ( agency) for my sake. O shameless one, so it behoves thee to bear Sarasvati (presiding over different branches of learning) in my presence ! O Krishna, entreat her who is crooked by nature ; give up embracing me’ —May He who was thus said by Lakshmi in anger, protect you.

नान्दी 7 अपिच— क्रोधेद्धै¹र्दृष्टिपातैर्मुहु²रुपशमिता वह्नयोऽमी त्रयोऽपि त्रासार्त्ता ऋत्विजोऽधश्चपलगणहतोष्णीषपट्टाः पतन्ति । दक्षः स्तौत्यस्य पत्नी विलपति ³करुणं⁴ विद्रुतं चापि⁵ देवैः शंसन्नित्यात्तहासो⁶ मखमथनविधौ पातु देव्यै शिवो वः ॥३॥ पुनः श्लेषभूतमङ्गलविधानार्थं तृतीयं नान्दीश्लोकमाह—अपि च—क्रोधेद्धैरिति अमी त्रयः अपि वह्नयः यज्ञाग्नयः आह्वनीयगार्हपत्यदक्षिणनामानः क्रोधेद्धैं क्रोधप्रज्वलितैः । इन्धधातोः क्तः कर्मणि । त्रिभिः दृष्टिपातैः शिवस्य इत्यर्थः । उपशमिताः निर्वापिताः यज्ञाधिष्ठाता अपिदेवोऽपि शिवक्रोधभयात् निर्वाणं गत इत्यर्थः । त्रासार्त्ताः ऋत्विजः ऋतौ यजन्ति ये ते याजकाः “ऋत्विजौ याजकाश्च ते” इत्यमरः । चपलगणहतोष्णी- षपट्टाः (सन्तः ) चपलाः चञ्चलाः गणाः शिवगणाः प्रमथादयः तैः हृतानि बलात् आकृष्टानि उष्णीषपट्टानि शिरोवेष्टनवस्त्राणि येषां ते तथाविधाः सन्तः अधःपतन्ति उर्व्यैर्यज्ञभूमेः अधः पतन्ति भयावेशादित्यर्थः । दक्षः स्तौति-शिवम् प्राणरक्षार्थम् इत्यर्थः। अस्य पत्नी प्रसूतिः करुणं दीनम् असहायत्वात् विलपति क्रन्दति । करुणा इति पाठे भौतिकस्त्वति बोद्धव्यम् । देवैः यज्ञसभायामाहूतैरित्यर्थः विद्रुतं पलायितम्-। इति एवं प्रकारेण मखमथनविधौ दक्षयज्ञविनाशे आत्तहासः इसन् शिवः, अट्टहासः इति वा पाठः—देव्यै पार्व्वत्यै शंसन् कथयन् वः युष्मान् सामाजिकान् पातु । पुरा दक्षप्रजापतिना अवज्ञातः शिवः यज्ञशालायां सतीमृत्युमवगम्य रोषात् जटाभ्यन्तरात् वीरभद्रनामानं करालवेशं प्रमथं जनयित्वा तत्सहितः दक्षयज्ञं विध्वंसयामास इति पौराणिकी वार्त्तानुसन्धेया । अत्र रौद्ररसः । स्रग्धरा वृत्तम् ॥ ३ ॥ Cf. “भवो भवान्या निधनं प्रजापतेरसत्कृताया अवगम्य नारदात् । स्वपार्षदसैन्यं च तदध्वरर्द्धिभिर्विद्रावितं क्रोधमपारमादधे ॥ क्रुद्धः सुदष्टौष्ठपुटः स धूर्जटिजटां तडिद्वह्निसटोपरोचिषम् । उत्कृत्य रुद्रः सहसोत्थितो हसन् गभीरनादी विससर्ज तां भुवि ॥ 1 क्रोधान्धैः । 2 त्रिभिः । 3 प्रलपति । 4 करुणा । 5 चोपि । 6 नित्याट्टहासः ।

8 रत्नावली ततोऽतिकायस्तनुवा स्पृशन्दिवं सङ्खबाहुर्घनबर्क् विसूर्व्यदृक् । करालदंष्ट्रा ज्वलदग्निमूर्द्धजः कपालमाली विविधोद्यतायुधः ॥ ... ... ... ... ... तावत् स रुद्रानुचरैर्महामखो नानाव्युधैर्वामनकैरुदायुधैः ॥ पिङ्गैः पिशङ्गैर्मकरीदराननैः पर्थ्याद्रवद्भिर्विददाम्वरुध्यत ॥ केचिद्बभञ्जुः प्राग्वंशं पत्नीशालां तथापरे । सद आग्नीध्रशालाञ्च तद्विहारं महानसम् ॥ रुरुजुर्यज्ञपात्राणि तथैकेऽग्नीननाशयन् । कुण्डेष्वमूत्रयन् केचिद्विभिदुर्वेदिमेखलाः ॥” Bhāgavata—४।५ Prose. क्रोधेद्धैः दृष्टिपातैः अमी त्रयोऽपि वह्नयः उपशमिताः । ऋत्विजः चपलगणहतोष्णीषपट्टाः, त्रासात्र्ताः ( सन्तः ) अधःपतन्ति । दक्षः स्तौति, अस्य पत्नी करुणं विलपति । देवैः विद्रुतमिति मखमथनविधौ देव्यै शंसन् साट्टहासः शिवः वः पातु ॥ ३ ॥ Beng. Trans. আরও দেখ—“ক্রোধ-প্রজ্বলিত দৃষ্টিপাতমাত্রেই ( দক্ষিণাগ্নি, গার্হপত্য ও আহবনীয় নামক ) বহ্নিত্রয় নির্ব্বাপিত হইল। (আমার) স্বভাবচঞ্চল প্রমথগণ ঋত্বিগ্গণের মস্তকস্থিত উষ্ণীষের বস্ত্র ছিনাইয়া লইলে তাঁহারা ( ঋত্বিগ্গণ ) ভয়ার্ত্ত হইয়া ( যজ্ঞবেদী হইতে ) নিম্নদেশে পতিত হইলেন। দক্ষ স্তব করিতে লাগিলেন। তাঁহার পত্নী করুণ বিলাপ করিতে থাকিলেন ও দেবতাগণ ( প্রাণভয়ে ) পলায়ন করিলেন”। —এই যজ্ঞধ্বংসের কথা দেবীর ( পার্ব্বতীর ) নিকট সহাস্যভরে যিনি বলিতেছিলেন সেই শিব তোমাদিগকে রক্ষা করুন। ৩। Eng. Trans. “All those three fires were instantly extin- guished at the glaces blazing with wrath. The sacrificial priests whose turbans were snatched away by (my) sprightly ganas (impish attendants) fell down (from the elevated altar) being overtaken with fear. Daksha began to eulogize; his wife began to weep piteously; and the gods ran away (through fear)”—May Shiva who was thus laughingly relating to the Goddess (Parvati) the way of the destruction of the Sacrifice, protect you. 3.

नान्दी 9 Allusion. Daksha, the son of Brahmá and the father- in-law of Shiva, performed a sacrifice and disregarded altogether the share of the latter in the sacrifice. Sati the daughter of Daksha, having heard of this from Narada could not brook this insult towards her husband and went to the place of her father's sacrifice against the will of Shiva. There she heard some remarks of her father casting aspersions on the character of her husband and she gave up her life in remorse in that sacrificial enclosure. Being informed of this calamitous end of Sati by Nandin, Shiva flew into a rage and creating a terrific destruc- tive person named Virabhadra from his matted locks, rushed towards Daksha's palace; and arriving there destroyed the sacrifice, killed Daksha and left everything in a chaotic state. Then he went on creating a havoc until he was pacified by Brahmá and other gods. किञ्च— जितमुडुपतिना नमः सुरेभ्यो द्विजवृषभा निरुपद्रवा भवन्तु । भवतु च पृथिवी समृद्धशस्या प्रतपतु चन्द्रवपुर्नररेन्द्रचन्द्रः ॥ ४ ॥ पुनरपि मङ्गलात्मकं नान्दीश्लोकमुदाहरति—किञ्च—जितमित्यादिना । उडुपतिना नक्षत्रपतिना चन्द्रेण जितम् सर्वोत्कर्षेण स्थितम् । जिधातोः भावे क्तः । अत्र चन्द्र- प्रशंसायां भरतवंशोद्भवस्य कवेः श्रीहर्षस्य उत्कर्षः द्योत्यते । यद्वा चन्द्रस्य ओषधि- पतित्वेन तज्जयेन चौषधीनां बाहुल्यं तेन प्रजोत्कर्षः इत्यपि ध्वनितम् । तथा च— “चन्द्रनामाङ्किता कार्या स रसानां यतो निधिः” इति निर्देशादियं चन्द्रनामाङ्किता नान्दी कृता ग्रन्थकृता । सुरेभ्यो देवेभ्यो नमः । द्विजवृषभाः ब्राह्मणश्रेष्ठाः निरुपद्रवाः विघ्नमुक्ताः भवन्तु । वृषभशब्दस्यात्र श्रेष्ठार्थवाचकत्वम्—“स्युरुत्तरपदे व्याघ्रपुङ्गवर्षभकुञ्जराः । सिंहशार्दूलना- गाद्याः पुंसि श्रेष्ठार्थगोचराः” इत्यमरः । ब्राह्मणानां निरुपद्रवत्वं वेदानुष्ठानं राज्यस्य

मङ्गलञ्च शीतवति । पृथिवी च सस्यसम्पन्ना प्रभूतधान्यशालिशिला भवतु । चन्द्रवपुः चन्द्र इव वपुः देहं यस्य सर्व्वाह्लादकत्वादित्यर्थः । नरेन्द्रचन्द्रः सर्वोत्कर्षेण वर्त्तमानः राजा—प्रकृत्यार- गौडर्वः नायकः उदयनी वा—प्रतपतु प्रतापशीली भवतु । पुष्पिताग्रावृत्तम् । 'अयुजि नयुगरफतो यकारो युजि च नजौ जरगाश्च पुष्पिताग्रा' इति लक्षणम् ॥ ४ ॥ Prose. उडुपतिना जितम् ; सुरेभ्यः नमः ; द्विजवृषभाः निरुपद्रवाः भवन्तु ; पृथिवी च सर्व्वसस्या भवतु । चन्द्रवपुः नरेन्द्रचन्द्रः प्रतपतु ॥ ४ ॥ Beng. Trans. নক্ষত্রমণ্ডলাধিপতি চন্দ্রমায় জয় হউক, দেবগণকে নমস্কার করি। দ্বিজশ্রেষ্ঠগণ নিরুপদ্রব হউন ; পৃথিবী শস্যসম্পন্না হউক এবং সোম্যমূর্তি মহারাজও প্রভাব- সম্পন্ন হউন। ৪। Eng. Trans. Glory to the moon, reverence to the gods. Let the illustrious Brahmanas be free from troubles. May the Earth be fertile aad may the king of moonlike loveliness shine ever resplendent. 4. (नाद्यन्ते) सूत्रधारः—अलमतिविस्तरेण¹। अद्याहं वसन्तोत्सवे सबहुमानमाहूय नानादिग्देशागतेन राज्ञः श्रीहर्षदेवस्य पाद- पद्मोपजीविना राजसमूहेनोक्तो यथा—‘अस्मत्स्वामिना श्रीहर्ष- देवेनापूर्व्ववस्तुरचनालङ्कृता रत्नावली नाम नाटिका कृतेत्यस्माभिः श्रोत्रपरम्परया श्रुता, न तु प्रयोगतो दृष्टा। तत्तस्यैव राज्ञः सकलजनहृदयाह्लादिनो बहुमानाद् अस्मासु चानुग्रहबुद्ध्या यथावत् प्रयोगेण त्वया नाटयितव्या’ इति। ²तद्यावदिदानीं नेपथ्यरचनां कृत्वा यथाभिलषितं सम्पादयामि।³ अये, आव- र्ज्जितानि च मया सकलसामजिकानां मनांसीति मे निश्चयः। यतः⁴-- पूर्वोक्तेन नान्दीश्लोकचतुष्टयेन ‘नान्दी काव्यार्थसूचिका’ इति नियममनुसृत्य तत्र प्रथमश्लोकेन गिरिजया शिवानुकूल्यार्थं कुसुमाञ्जलिना तदाराधनद्वारा सागरिकया वत्स- 1 प्रसङ्गेन। 2. परिक्रम्यावलोक्य च। 3 परिषदमवलोक्य। 4 कुतः।