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

चतुर्थोऽङ्कः 383 भौमो राजा भविष्यति । ततस्तत्प्रत्ययादस्माभिः ¹स्वामिनो- ऽर्थे बहुशः प्रार्थ्यमानेनापि सिंहलेश्वरेण देव्या वासवदत्ताया- श्चित्तखेदं परिहरता यदा न दत्ता— राजा—तदा किम् ? यौगन्ध—(सलज्जम्) तदा लावाणकेन वह्निना देवी दग्धेति प्रसिद्धिमूत्पाद्य तदन्तिकं बाभ्रव्यः प्रहितः । राजा—यौगन्धरायण ! ततः परं श्रुतं मया । अथेयं देवी- हस्ते किमित्यनुचिन्त्य स्थापिता ? विदूषकः—भो ²एदस्स अभिप्पाओ मया जाणिदो । अणा- चक्खिदं वि एदं जाणीअदि एव्व जह अंतेउरगदं एदं जाब अंतेउरगदो देवो सुहेण पेक्खिस्सदि । (क) राजा—यौगन्धरायण ! ³गृहीतस्तेऽभिप्रायो वसन्तकेन ? यौगन्ध—यदाज्ञापयति देवः । राजा—ऐन्द्रजालिकवृत्तान्तोऽपि मन्ये त्वत्प्रयोग एव ? यौगन्ध—अन्यथान्तःपुरे बद्धायाः अस्याः कुतो देवेन दर्शनम् ? अदृष्टायाश्च वसुभूतेः कुतः परिज्ञानम् ? (विचिन्त्य) परिज्ञातायाश्च भगिन्याः सम्प्रति यथा करणीयं तत्र देवी प्रमाणम् । (क) भोः, एतस्य अभिप्रायः मया ज्ञातः । अनाख्यातमपि एतद् ज्ञायते एव यथा अन्तःपुरगतां एतां यावद् अन्तःपुरगतो देवः सुखेन प्रेक्षिष्यते ।

1. स्वाम्यर्थम् । 2. भो अणाचक्खिदं वि एदं जाणीयदि जहा अन्तेउरगदा सुहेण दे णयणपहं गमिस्सदिन्ति । 3. गृहीताभिप्रायोऽसि ।

384 रत्नावली वासवदत्ता—(सस्मितम्) अज्ज अमच्च ! फुडं जेव्व किं ण भणासि जह अज्जउत्ते पडिवादेहि रण्णावलि'त्ति । (इति रत्नावलीं स्वकीयैराभरणैरलङ्कृत्य हस्ते गृहीत्वा राजानमुपसृत्य^1) देव ! पडिच्छ एदं रण्णावलिं । (क) राजा—(सहर्षं हस्तौ प्रसार्य) को देव्याः प्रसादो न बहुमन्यते ? (इति सागरिकां गृह्णाति) वासवदत्ता—अज्जउत्त ! दूरे क्खु एदाए ^2णादिकुलं । ता तह करेदु जह बंधुजणं ण सुमरेदि । (इति समर्पयति) (ख) राजा—यथाज्ञापयति देवी । विदूषकः—(सहर्षं नृत्यति) ही ही भो ! जयदु जयदु भवं ! पुहवी क्खु दाणिं हत्थे गदा पिववअस्सस्स । (ग) (क) आर्य अमात्य ! स्फुटमेव किं न भणसि—यथा आर्यपुत्रे प्रतिपादय रत्नावली- मिति । देव ! प्रतीच्छ एतां रत्नावलीम् । (ख) आर्यपुत्र ! दूरे खलु एतस्याः ज्ञातिकुलम् । तत् तथा करोतु यथा बन्धुजनं न स्मरति । (ग) ही ही भोः ! जयति जयति भवान् ! पृथिवी खलु इदानीं हस्ते गता प्रियवयस्यस्य । Beng. Trans. রাজা—বলুন, আপনি আমাকে না জানাইয়া কি করিয়াছেন ? যৌগন্ধ—মহারাজ ! আসন পরিগ্রহণ করুন । আপনাকে সমস্ত জানাইতেছি । ( সকলের রাজার সহিত যথাস্থানে উপবেশন ) যৌগন্ধ—মহারাজ শ্রবণ করুন । সিংহলরাজের কন্যা সিদ্ধকর্তৃক আদিষ্ট হইয়া- ছিলেন যে যিনি ইহার পাণিগ্রহণ করিবেন, তিনি সার্বভৌম রাজা হইবেন । আমরাও

1. राजा—(विहस्य) परित्रातायाश्च भगिन्या...तथा देवी प्रमाणम् । वास— अज्जउत्त ! फुडं जेव्व......जह पडिवादेहि मए रण्णावलिंत्ति । विदू—भोदि ! सुठु तुए जाणिदो पिववयअस्स अभिप्पाओ । वास—( हस्तौ प्रसार्य ) एहि रण्णावलि एहि, दाणिं किंपि हे मे वड्डिशिषाणशुरूवं कीदु । (इति रत्नावलीं स्वकीयैराभरणैः ......etc.) 2. पिदुकुलं ।

চতুর্থোঽঙ্কঃ 385 তাঁহাদের (সিদ্ধদের) কথায় বিশ্বাস স্থাপন করিয়া প্রভুর জন্য বহুবার সিংহলেশ্বরের নিকট রত্নাবলীকে প্রার্থনা করিলেও, সিংহলেশ্বর দেবী বাসবদত্তার মনোদুঃখ এড়াইবার জন্য (রত্নাবলীকে) যখন দিলেন না-- রাজা—তারপর কি হইল? যৌগন্ধ—(সলজ্জভাবে) তখন লাবাণক গ্রামে দেবী বাসবদত্তা অগ্নিতে দগ্ধ হইয়াছেন এই প্রবাদ প্রচার করিয়া তাঁহার (সিংহলেশ্বরের) নিকট বাভ্রব্যকে প্রেরণ করা হইল। রাজা—যৌগন্ধরায়ণ! তারপর আমি শুনিয়াছি। দেবী বাসবদত্তার হস্তে রত্নাবলীকে কি চিন্তা করিয়া স্থাপিত করিয়াছিলেন? বিদূষক—আমি ইহার অভিপ্রায় জানিয়াছি। না বলিলেও এইরূপ জানা যাইতেছে যে অন্তঃপুরস্থিতা তাঁহাকে (রত্নাবলীকে) মহারাজ অন্তঃপুরে যাইয়া সহজেই দেখিতে পাইবেন। রাজা—যৌগন্ধরায়ণ! বসন্তক আপনার অভিপ্রায় ঠিক বুঝিতে পারিয়াছে ত? যৌগন্ধ—মহারাজ যাহা বলেন! রাজা—আমার মনে হয় ঐন্দ্রজালিকের ব্যাপারও আপনার কৌশল-প্রয়োগ! যৌগন্ধ—তাহা না হইলে অন্তঃপুরে আবদ্ধা ইহার (রত্নাবলীর) সহিত মহারাজের সাক্ষাৎকার কিরূপে সম্ভবপর হইত? বসভূতিই বা না দেখিয়া কিরূপে ইঁহাকে চিনিতেন? (হাসিয়া) ভগিনীর সহিত পরিচয় হইবার পর এখন যাহা কর্ত্তব্য তদ্বিষয়ে দেবীই প্রমাণ। বাসবদত্তা—(সহাস্যে) আর্য্য অমাত্য। পরিষ্কার করিয়া বলিতেছেন না কেন যে, আর্য্যপুত্রকে রত্নাবলী সমর্পণ করুন। (রত্নাবলীকে স্বকীয় আভরণ দ্বারা অলঙ্কৃত করিয়া হস্তগ্রহণপূর্ব্বক রাজার নিকট অগ্রসর হইয়া) মহারাজ! এই রত্নাবলীকে গ্রহণ করুন। রাজা—(সহর্ষে হস্ত প্রসারিত করিয়া) দেবীর কোন্ অনুগ্রহকে না আদরের সহিত গ্রহণ করা হয়? (সাগরিকাকে গ্রহণ) বাসবদত্তা—আর্য্যপুত্র! ইহার জ্ঞাতিকুল দূরে রহিয়াছেন। আপনি এইরূপ আচরণ করিবেন যাহাতে এ অবস্থায় বন্ধুজনকে সে (রত্নাবলী) স্মরণ না করে। রাজা—দেবীর যাহা আদেশ। বিদূষক—(সহর্ষে নৃত্য করিয়া) হা হা! ভোঃ, আপনার জয় হউক! এখন সত্যই সমগ্র পৃথিবী প্রিয়বয়স্যের হস্তগত হইল। 25

386 रत्नावली Eng. Trans. King—Let me know what you have done without my knowledge. Yaugandha.—Please Your Majesty, be seated, and I shall relate to you everything. The daughter of the King of Simhala was prophesied by the Siddhas that he who would marry her would be a paramount monarch. We, too, having con- fidence in that, applied on behalf Your Majesty, to the King of Simhala, who with the object of avoiding the mental uneasiness of the Queen, was unwilling to give her (Ratnāvalī) (in marriage with you)- - King --What then ? Yaugandha.—(Bashfully) Then a rumour was set a-foot that the Queen had been burnt in the fire of Lāvānaka and Bābhravya was sent to him (the King of Simhala). King—Oh Yaugandharāyaṇa ! I have heard what ensued. But with what object in view, did you place her in the hands of the Queen ? Jester—Oh, I can guess his object. It can be guessed easily, even untold, that Your Majesty when present in the inner apartment would see her there in the harém easily. King—Oh Yaugandharāyaṇa ! Has not your object been guessed correctly by Vasantaka ? Yaugandha.—As Your Majesty says. King—I think you had some concern in the affairs of the conjuror also ? Yaugandha.—Otherwise how could Your Majesty catch sight of her ( Ratnāvalī ) imprisoned in the inner apartment ? And how else could Vasubhuti recognize her without seeing her ? (Laughing) Now, when the sister has been recognized, Her Majesty is the sole authority as to what would be done next. Vasava.—(Smiling) Worthy Minister ! Why don't you say

चतुर्थोऽङ्कः 387 clearly that Ratnávali should be given to my husband. (Decorating Ratnávali with her own ornaments and approaching the King) My lord ! Accept this Ratnávali. King—( Stretching out his hand with joy ) What favour of the Queen is not prized most ! (Takes Ságariká by hand) Vásava.—My lord ! Her relatives are far away from her. So treat her in a manner that she may never have occasion to remember them (with longing). King—As Your Majesty commands. Jester.—( Dances with joy ) Ha ! Ha ! Ah ! Victory to you ! The whole world is now in the possession of my dear friend. वसुभूतिः—¹राजपुत्रि ! वासवदत्तां प्रणामेनार्चय । ( रत्नावली तथा करोति ) बाभ्रव्यः—²देवि ! स्थाने देवीशब्दमुद्वहसि ! ( वासवदत्ता रत्नावलीमालिङ्ग्य देवीशब्देन प्रसादं करोति ) बाभ्रव्यः—इदानीं सफलपरिश्रमः संवृत्तः । यौगन्ध—दैव ! तदुच्यतां किं ते भूयः प्रियमुपकरोमि ? राजा—किमतःपरमपि प्रियमस्ति ! यतः— नीतो विक्रमबाहुरात्मसमतां प्राप्तेयमुर्वीतले सारं सागरिका ⁴तथा च भुवनप्राप्त्येकहेतुः प्रिया । देवी प्रीतिमुपागता च भगिनीलाभाज्जिताः कोसलाः किं नास्ति त्वयि सत्यमात्यवृषभे यस्मै करोमि स्पृहाम्⁵ ॥२१॥ तथापीदमस्तु—

1. आयुष्मति, स्थाने देवीशब्दमुद्वहसि ! 2. न दृश्यते क्वचित् । 3. इदानीं सफलपरिश्रमोऽस्मि संवृत्तः । 4. ससागरमहीप्राप्त्येकहेतुः । 5. किं नामास्ति विधेयमत्र भुवने यस्मिन् करोमि स्पृहाम् ?

388 रत्नावलो ( भरतवाक्यम् ) उर्व्वीमुद्दामसस्यां जनयतु विसृजन् वासवो वृष्टिमिष्टा- मिष्टैस्त्रैविष्टपानां विदधतु विधिवत् प्रीणनं विप्रमुख्याः । आकल्पान्तं च भूयात् समुपचितसुखः सङ्गमः सज्जनानां निःशेषं यान्तु शान्तिं पिशुनजनगिरो दुर्ज्जया वज्रलेपाः ॥२२॥ ( इति निष्क्रान्ताः सर्वे ) इति ऐन्द्रजालिको नाम चतुर्थोऽङ्कः ॥ अवसिता रत्नावली नाटिका ॥ नीत इति । विक्रमबाहुः सिंहलराजः आत्मसमतां आत्मतुल्यतां परिणयसम्बन्धेन इत्यर्थः । नीतः प्रापितः । उर्व्वीतले भूतले सारं रत्नभूता भुवनप्राप्तौैकहेतुः समग्र- पृथिवीलाभस्य एकैव कारणभूता प्रिया इयं सागरिका प्राप्ता । देवी वासवदत्ता भगिनी- लाभात् सागरिकालाभात् । वासवदत्तायाः मातुलस्य सिंहलेश्वरस्य कन्या रत्नावली वासव-

चतुर्थोऽङ्कः 389 तैः विप्रैः देवप्रीणनकर्म्माचरणादिभिः त्रिदिविष्टपार्ज्जनं याच्यते। ततश्च आकल्पान्तं सुखकरसज्जनसङ्गमहारैश्च रसकपनज्ञानान्द प्राप्तिः प्रार्थ्यते। इत्याशयः ॥२१॥ इति ऐन्द्रजालिको नाम चतुर्थोऽङ्कः ॥ अवसिताय श्रीहर्षदेवस्य कृतिरियं रत्नावली नाम नाटिका ॥ Prose order. विक्रमबाहुः आत्मसमतां नीतः, तथाच उर्व्वीतले सारं भुवनप्राप्तेरेकहेतुः इयं प्रिया सागरिका प्राप्ता। देवी च भगिनीलाभात् प्रीतिम् उपागता, कोशलाः जिताः ; त्वयि अमात्यवृषभे सति किं तत् नास्ति यस्मै स्पृहां करोमि ? ॥२१॥ वासवः इष्टां वृष्टिं विसृजन् उर्व्वीम् उद्दामसस्यां जनयतु ; विप्रमुख्याः विधिवत् दत्तैः त्रैविष्टपानां प्रीणनं विदधतु। सज्जनानां समुपचितसुखः सङ्गमः आकल्पान्तं च भूयात् ; दुर्ज्जयाः वज्रलेपाः पिशुनवचगिरः निःशेषं शान्तिं यान्तु ॥२२॥ Beng. Trans. বসুম্ভূতি—রাজপুত্রি! বাসবদত্তাকে প্রণামের দ্বারা অর্চ্চিত কর। (রত্নাবলী তাহাই করিলেন) বাসব্বা—দেবি! যথার্থই আপনি ‘দেবী’ শব্দ গ্রহণ করিয়াছেন। (বাসবদত্তা রত্নাবলীকে আলিঙ্গন করিয়া ‘দেবী’শব্দের দ্বারা রত্নাবলীকে সম্মানিতা করিলেন) বাভ্রব্য—এখন পরিশ্রম সফল হইল। যৌগন্ধ—মহারাজ! বলুন আপনার আর কি প্রিয় কার্য্য সাধন করিব? রাজা—ইহার পর কি আরও প্রিয়কার্য্য করিবার আছে! যেহেতু— রাজ্য বিক্রমবাহুকে নিজের তুল্য (পদগৌরবে) করিয়া লইয়াছি। পৃথিবীর সারভূতা সকলভুবনপ্রাপ্তির (সার্ব্বভৌম-পদপ্রাপ্তির) একমাত্র কারণ এই সাগরিকাকে প্রিয়ারূপে পাইয়াছি। ভগিনীলাভে দেবী বাসবদত্তা প্রীতিলাভ করিয়াছেন। কোশল রাজ্য জয় করা হইয়াছে; আর আপনার মত অমাত্যশ্রেষ্ঠ থাকিতে এমন কি জিনিষ নাই যাহা আমি আকাঙ্ক্ষা করিতে পারি? ॥২১॥ তথাপি—ইহাই হউক,— (ভরতবাক্য) ইন্দ্র অভিমতরূপ বৃষ্টিপাত করিয়া পৃথিবীকে শস্যপূর্ণা করুন। বিপ্রশ্রেষ্ঠগণ যথাবিধি

390 রত্নাবলী যজ্ঞের দ্বারা দেবতাগণের প্রীতিবিধান করুন। সাধুব্যক্তিগণের সংসর্গ সুখবৃদ্ধিকরতঃ কল্পান্তস্থায়ী হউক ; এবং দুর্জ্জন ব্যক্তিগণের বজ্রতুল্য কঠোর দুর্জ্জয় কর্কশবাক্য নিঃশেষরূপে প্রশমিত হউক ॥২২॥ ( সকলে নিষ্ক্রান্ত ) ঐন্দ্রজালিকনামে চতুর্থ অঙ্ক সমাপ্ত ॥ শ্রীহর্ষকৃত রত্নাবলী-নাটিকা সমাপ্ত ॥ Eng. Trans. Vasubhuti—Princess, pay respectful reve- rence to Vāsavadattá. (Ratnávali does so) Bábhravya—Madam, you justly possess the title of ‘Queen’. (Vásavadattá embraces Ratnávali and addresses her with the title of ‘Queen’). Bábhravya—Now our troubles are crowned with success. Yaugandha.—Your Majesty, what else can we perform to please you ? King.—Is there anything else still to be performed for my delight ? Since— Vikramabáhu has been made my own relation (lit : raised to a status equal to my own) ; beloved Ságariká, the quint- essence of the world, the cause of universal sovereignty, has been obtained, and Queen ( Vásavadattá ) rejoices to find a sister ( in her ), and the Kosalas are subdued. Moreover, when there are you the best of the ministers, what other object can there be in the world, for which I could entertain a wish ? 21. Yet, let this alone be my prayer— May Indra with plentiful showers render the earth bountiful of grain ; may the best of the Bráhmanas satisfy the gods (lit : heavenly beings) with due performance of sacrifices ; may

चतुर्थोऽङ्कः 391 the extremely blissful association of the pious last until the end of the Kalpas ( Cycles ) ; and may the appalling and adamantine blasphemes of the wicked be silenced for ever ! ! ! 22. (All exeunt) [Here ends the Fourth Act entitled “The Conjuror.”] Here ends the Minor Drama Ratnavali Natika composed by Lord Shri Harsha Deva. ॥ शुभमस्तु ॥

RATNAVALI ACT IV Notes The action of Act IV takes place in the Royal Palace of Vatsa. The Act is based upon the workings of विमर्श ( अवमर्श ) सन्धि and निर्वहण सन्धि ; since in the Nátiká, अवमर्शसन्धि is very brief. (See Critical Remarks and Appendix ). Here in the Interlude, Susangatá entering in a dejected mood relates the deplorable fate of Ságariká who, after the incident related in Act III, has been taken to some unknown destination by the enraged Queen with a rumour that she has been sent to Ujjayiní, the capital of the kingdom of Vásavadattá's father. Susangatá carries out the request of Ságariká who handed over her jewel-necklace ( Ratnávali ) to be given to some worthy Bráhmana when she was going to meet some terrible fate. This Jewel-necklace being handed over to Vasantaka is worn by him at the request of the King himself. It becomes a sort of help for the the Simhalese minister Vasubhuti to recognize the Princess

चतुर्थोङ्कः 393 (what puts excessive strain on the mind) इति अति - आ + धा + क्त कर्मणि । “अत्याहितं महाभीतिः कर्म जीवनपेक्षि च”—अमरः । जीवनपेक्षि कर्म means “the deed that carries risk of life.” अत्याहितम् is adjectively used to किमपि । तपस्विनी—Deserving compassion i. e., poor, wretched. अर्धरात्रे—भावे ७मी ; रात्रेः अर्धम् ( एकदेशीतत् ) by the rule “अर्धं ॰नपुंसकम्” । रात्रि becomes रात्र—“रावाह्नाहाः पुंसि” । अर्धं = exact half. P. 319. अतिनिघृ॑णम्—Very carefully ; निर् ( नास्ति ) घृणा यस्मिन् यथा स्यात् तथा ( बहु ) ; अतिशयेन निघृ॑णम् ( प्रादितत् ) । घृणा means करुणा according to अमर । P. 322. महाभिजनसमुत्पन्नया—महान् अभिजनः ( कर्मधा ) तस्मिन् समुत्पन्ना ( ७मीतत् ) तया । अभिजन means ‘family.’ “अभिजनः कुले कुलध्वजे जन्मभूम्याम्”—हेमचन्द्रः । Pp. 324-25. Shloka 1. In this stanza the King means to say that the angry Queen was not to be pacified by any means so long as she maintained her pent-up anger ; but as soon as she gave vent to her feelings by weeping, her anger abated. Out- ward expression lessens ( to a great extent ) the tyranny of unexpressed feelings. Cf. : “पूरोत्पीडे तड़ागस्य परीवाहः प्रतिक्रिया । शोकक्षोभे च हृदयं प्रलापैरेव धार्यते”—उत्तरचरिते III. 1. सव्याजैः—Full of pretexts (excuses). व्याजेन सह विद्यमानाः ( बहु ) तैः । व्याज means pretext—“व्याजोऽपदेशो लक्ष्यं च”—अमरः । N. B. In order to create confidence in the mind of the Queen regarding the faithful nature of his love, the King has to swear to her with a play of tricks that he is not in love with any other woman.

391 रत्नावली चित्तानुवृत्त्या—करणे ३या ; चित्तस्य अनुवृत्तिः (६ष्ठीतत्) तया। अनुवृत्ति means अनुगमन i. e., humouring. प्रत्यासत्तिम्—Proximity, nearness ; hence favourable disposi- tion. प्रति - आ + सद् + क्तिन् । N. B. The Queen’s anger was pacified by itself, when she eased her suppressed feelings by means of weeping. The metre is शार्दूलविक्रीड़ितम्। The figure of speech is समाधि, as the effect (pacification of anger) has been produced by some other cause, that is, weeping, swearing etc. “समाधिः सुकरं कार्यं कारणान्तरयोगतः” काः प्रः १०।१२५ Ch. of voice—...उपागतया......देव्या (प्रत्यासत्तिरुपगता देव्या)...रुदती सा कोपम् अपनीतवती ॥१॥ P. 325. Shloka 2. अम्भोजगर्भ etc.—अम्भसि जायते इति (उपपदतत्) तस्य गर्भः (६ष्ठीतत्) तद्वत् सुकुमारा (उपमानकर्मधा) तादृशी तनुः यस्याः (बहु) सा। अम्भोज means पद्म। प्रथमरागघने—Adj. to कण्ठग्रहे। Deep with first love. प्रथमः रागः (कर्मधा) तद्वत् घनः (उपमानकर्मधा) तस्मिन्। रञ्ज् + घञ् = रागः, love. कण्ठग्रहे—Embrace. कण्ठस्य ग्रहः (६ष्ठीतत्) तस्मिन्। विलीय—Melting. N. B. The King means to say that his beloved Ságariká, being embraced with the warmth of first love, has, as it were, melted away and has found her way to his heart through the space made by the arrows of Cupid, that is, he is in a distracted condition owing to his heart being in a lovelorn condition without Ságariká. सद्यःपतन्मदनमार्ग ण etc.—करणे ३या। सद्यः पतन्तः (सुप्सुपा) मदनस्य मार्गणाः (६ष्ठीतत्) सद्यः पतन्तः मदनमार्गणाः (कर्मधा) तेषां रन्ध्राणि (६ष्ठीतत्)

चतुर्थोऽङ्कः 395. तेषां मार्गाः ( ६ष्ठीतत् ) तैः । मार्गण means "arrow"—"कलम्बमार्गणशराः"— अमरः । The metre is वसन्ततिलकम् । The figure of speech is उत्प्रेक्षा । Ch. of voice—...तन्वा......अमुया...मन्यते......प्रियतमया......प्रविष्टया ( भूयते or, हृदयं प्रविष्टम् ) ॥२॥ विश्रामस्थानम्—विश्रामस्य स्थानम् ( ६ष्ठीतत् ) ; the form विश्राम is erroneous according to Pánini. The proper form is विश्रम । The unjustifiability of the form is referred to in काशिका—"सूर्य- विश्रामभूमिरित्येवमादिकं प्रयोगम् अन्याय्यमेव मन्यते इति" । निर्भरोत् etc.—निर् निःशेषेण भरः यस्यां सा ( बहु ) निर्भरा उत्कण्ठा ( कर्मधा ) तेन परिच्छामः ( ३यातत् ) तम् । परि — क्षै + क्त = परिच्छामः, ema- ciated ; cf. “एवमुत्सुकोऽपि प्रियदर्शनो देवः”—Shákuntala, VI. P. 329. Sl. 3. अदक्षिणम्—Not generous. न दक्षिणः ( नञ्तत् ) तम् । “दक्षिणे सरलोदारौ”—अमरः । N. B. The King says so because he could not yet follow Ságariká to her fate, inspite of his hearing that something calamitous has happened to his beloved. मूषिताः—Deprived ; मुष ( to steal ) + कर्मणि क्त । Conj. मुष्णाति etc. ( क्र्यादि ) । The metre is वसन्ततिलक । The figure of speech is दीपक mingled with काव्यलिङ्ग । P. 330. निरनुरोधिता—The state of being in want of regard. निर् — अनु + रुध् + णिनि स्त्रियामीप् = निरनुरोधिनी, तस्याः भावः इति निरनुरोधिनी

• तल् ( भावे ) + टाप् स्त्रियाम् । Sl. 4. In this shloka the King observing the jewel- necklace offered by Vidushaka, means to say that the necklace

is of the same deplorable fate as his own body. The King had the embrace of Ságariká and lost her at last. Similarly the necklace which Ságariká used to wear in her neck was separated from the touch of her body. In this respect the necklace and the body of the King being of the same fate, the King is getting much consolation from the necklace of his beloved, as one of the two ill-fated friends consoles the other. कण्ठाश्लेषम्—Embrace in the neck. कण्ठस्य आश्लेषः ( ६ष्ठीतत् ) तम् । आ - श्लिष् + घञ् = आश्लेषः, embrace. तुल्यावस्था—Adj. to सखी । तुल्या अवस्था यस्याः ( बहु ) सा । आश्वास्यते—Is consoled ; आ - श्वस् + णिच् + लट् ते कर्मणि । The metre is अनुष्टुप् and the figure of speech is उपमा । Ch. of voice—......प्रभ्रष्टा इयं तुल्यावस्थां सखीमिव इमां तनुम् आश्वासयति ॥४॥ धृतिम् etc.—Will have patience. धृति means patience—“धृति- र्योगान्तरे धैर्य्ये धारणाध्वरतुष्टिषु”—विश्वः । P. 334. अहोभिः—अपवर्गे तृतीया । अनेककरि etc.—Adj. बलसमुद्देन । न एकम् अनेकम् । करिश्च तुरगश्च पत्तयश्च इति करितुरगपत्ति ( समाहारद्वन्द्वः ) by the rule “द्वन्द्वश्च प्राणितूर्य- सेनाङ्गानाम्” इति क्लीवलिङ्गम् एकवचनम् । अनेकं करितुरगपत्ति ( कर्मधा ) तेन दुर्निवारः ( ३यातत् ) तेन । अवष्टभ्य—Besieging. अव - स्तम्भ् + ल्यप् । Conj. स्तभ्नाति etc. ( क्रयादि ) । समावासयितुम्—To encamp. सम् - अव + आस् ( to sit ) + णिच् + तुम् । हास्तिकप्रायम्—Adj. to चातसैन्यम् । हस्तिनां समूहः इति हास्तिकम् हस्ती + ठक् by the rule “अचित्तहस्तिधेनोष्ठक्” । प्रायेण हास्तिकम् ( ३यातत् ) or

चतुर्थोऽङ्कः 397 हस्तिकं प्रायः यस्मिन् ( बहु ) । प्र - अय् (to go) + घञ् = प्रायः full of. “प्रायो मरणानशने मृत्यौ बाहुल्यतुल्ययोः”—मेदिनी । सज्जीकृतवान्—Made ready. सज्ज - च्वि + कृ + क्तवतु । Pp. 334-35. Sl. 5. In this shloka Vijayavarman describes how Rumaṇván the general of the King of Vatsa met the adversary—the King of Kosala who came to fight with a large army of elephants. अभिमुखः—अभिगतं मुखं यस्य ( बहु ) सः । दिग्‌विभागान्—दिशां विभागाः ( ६ष्ठीतत् ) तान् । विन्ध्यं न—The large array of the big elephants of dark colour presented a view of the Vindhya ranges. द्विरदपति etc.—द्वौ रदौ येषां ( बहु ) ते द्विरदाः । तेषां पतयः ( ६ष्ठीतत् ) तेषां घटाः ( ६ष्ठीतत् ) तासां या सम्यक् पीडा यस्मिन् ( बहु ) तादृशः बन्धः ( कर्मधा ) तेन । बन्ध means सन्निवेश । ३या करणे । The alt. reading is द्विपपतिप्रतना etc. समदगज etc.—Adj. to रुमण्वान् । मदेन सह विद्यमानाः ( बहु ) तादृशाः गजाः ( कर्मधा ) तेषां घटाः ( ६ष्ठीतत् ) तया उत्पिष्टा ( ३यातत् ) तादृशी पत्तिः यस्य ( बहु ) सः । पत्ति means “Infantry,” पद् + क्तिन् । प्रत्यैच्छत—Encountered. प्रति - इष् + लङ् त् । वाञ्छित etc.—Adj. to रुमण्वान् । वाञ्छितस्य आप्तिः ( ६ष्ठीतत् ) तेन द्विगुणितम् ( ३यातत् ) तादृशं रभसं यस्य ( बहु ) सः । द्वाभ्यां गुणितम् ( ३यातत् ) । N. B. Here वाञ्छिताप्ति means “The catching of the adversary King of Kosala on a hip by Rumanván.” रभस means “speed.” “रभसं वेगहर्षयोः” । The metre is स्रग्धरा । The figure of speech is उपमा । Ch. of voice.—...अभूयत......अभिमुखेन......रुन्धता......विमुखयता...... —पत्तिना...प्रत्यैष्यत......रभसेन सः...रुमण्वता ॥५॥

398 रत्नावलो P. 335. Sl. 6. The description of the battle continues—the King of Kosala is killed by Rumanván. अस्त्रव्यस्त—व्यस्तानि शिरस्त्राणि यैः (बहु ) तानि व्यस्तशिरस्त्राणि, व्यस्तशिरस्त्राणि शस्त्राणि (कर्मधा) अस्त्राणि च व्यस्तशिरस्त्राणि च (द्वन्द्वः) तेषां कषणानि (६ष्ठीतत् ) तैः। अस् (to throw) + ष्ट्रन् = अस्त्र, missiles which are thrown. वि-अस् (to throw) + क्त कर्म्मणि प्र=व्यस्त thrown away. शिरसि त्रायते इति उपपदसमासे शिरस् + त्रै + क = शिरस्त्रम्, helmet. कषण means "close contact (संघर्ष )" तृतीया करणे । The expression अस्त्र......कषणैः is construed with कृत्त in कृत्तोत्तमाङ्गं । The construction is justified by the dictum "सापेक्षत्वेऽपि गमकत्वात् समासः।" कृत्तोत्तमाङ्गं—Adj. to आजिमुखं । उत्तमानि अङ्गानि (कर्मधा) कृतानि उत्तमाङ्गानि यस्मिन् (बहु) तस्मिन् । कृत्त = कृत् (to cut) + क्त कर्मणि । उत्तमाङ्ग means "head"; cf. "सर्वेषु गात्रेषु शिरः प्रधानम्।" व्यूढासृक् etc.—Adj. to आजिमुखे । असृजः सरित् (६ष्ठीतत् ) व्यूढा असृक्- सरित् यस्मिन् (बहु) तस्मिन् । वि—वह् + क्त = व्यूढ meaning विन्यस्त, विसृत । "व्यूढः संहतविन्यस्ते पृथुलेऽप्यभिधेयवत्"—मेदिनी । असृक् means "blood" used in neuter gender. Decline असृक्, असृजी, असृञ्जि etc. स्वनत्प्रहरणं—Adj. to आजिमुखे । स्वनन्ति प्रहरणानि यस्मिन् (बहु) तस्मिन् । प्रह्रियते अनेन इति प्र - हृ + ल्युट् करणे = प्रहरणम्, weapon. "आयुधं तु प्रहरणम्"—अमरः । वर्मोद्वलद् etc.—Adj. to आजिमुखे । वर्म्मणः उद्वलन् (५मीतत् ) तादृशः वह्निः यस्मिन् (बहु) तस्मिन् । उत् - वल् + शतृ = उद्वलन् issuing out. आजिमुखे...At the commencement of the battle. आजेः मुखम् (६ष्ठीतत्) आजि means "battle."—"अथाजिः स्त्री समभूमौ च संग्रामे" मेदिनी। The metre is शार्दूलविक्रीडित । The figure of speech is अनुप्रास ।

चतुर्थोऽङ्कः 399 Ch. of voice. ...तम् कौशलपतिं .....रुषावान् मत्तद्विपस्थं हतवान् ।६। P. 339. प्रहारव्रणित etc.—प्रहारेण व्रणितम् ( ३यातत् ) तादृशं हास्तिकम् ( कर्मधा ) प्रायेण प्रहारव्रणितहास्तिकम् ( ३यातन् ) or, बहु as before. व्रणाः अस्य सञ्जातः इति व्रण + इतच् ( जातार्थे ) । P. 342. Sl. 7. इन्द्रजालिन्न etc. ...इन्द्रजालिकै पिनद्धम् ( ३मीयत ) तादृशं नाम यस्य ( बहु ) तस्य । अपि-नह् + क्त कर्मणि । अ of अपि is elided by the dictum “वष्टि भागुरिरल्लोपमवाप्योरुपसर्गयोः” । शम्बरस्य—It is the name of a demon who was a well-known conjuror. He stole away प्रद्युम्न, the son कृष्ण and रुक्मिणी from her lying-in-room by his magical power. The magical Black Art is also popularly called शाम्बरी माया । P. 343. Sl. 8. In this shloka the magician vauntingly states the impossibilities which he can cause to happen by his tricks. ज्वलनः—Fire. मध्याह्नं —अह्नः मध्यम् ( एकदेशीतत् ) तस्मिन् । It is in masculine gender by the rule “गवाह्याहाः पुंसि ।” अवष्टम्भः—Beginning. अव - स्तम्भ् + घञ् । “संरम्भारम्भयोः स्तम्भं ”— हेमचन्द्रः । P. 346. Sl. 10. Here the magician by his miraculous power shows to the audience various gods, demi-gods etc., in the sky. In this connection the stanzas from Karpuramanjari where Bhairavánanda speaks in laudation of his miraculous powers, may be cited. P. 347. Sl. 11. In this shloka the King observes various deities seated in their aerial seats and celestial nymphs dancing. रजनिकर etc.—With the digit of the moon on his crest. रज-

! IT IS "द्विदश"??? Wait, look at the first letter of line 9: Is it 'द्वि'? LOOK AT 'द्वि'! 'द' with 'व' beneath it = 'द्व'! With 'ि' = 'द्वि'! LET'S LOOK AT IT: Does it have an i-matra? YES! Does it have 'द' with 'व' attached at the bottom? YES! 'द्' + 'व' = 'द्व'! With 'ि' = 'द्वि'! Wait, is Indra "द्विदशपतिः"? NO, Indra is "विदशपतिः"? NO, "त्रिदशपतिः" (lord of the 30)! Wait, but why would it say "द्वाधिकाः विरहिताश्च"? Wait, could the letter be 'त्रि'? What about 3? "त्र्यधिकाः विरहिताश्च दश संख्या येषां ते त्रिदशाः"? Wait, 10 + 3 = 13, 10 - 3 = 7! Can "त्रिदशाः" mean "त्र्यधिकाः दश" or "त्रिभिः विरहिताः दश"?! YES! That is an exact grammatical discussion on "त्रिदशाः"! Let's verify this! In Sanskrit grammar, for "त्रिदशाः" (meaning around 10, i.e. 7 to 13, or 30): Under the sutra

चतुर्थोऽङ्कः 401 (शाकपार्थिवादिवत् समासः) । Such elephant is otherwise called गन्धहस्तिन् which is characterized as "यस्य गन्धं समादाय न तिष्ठन्ति प्रतिद्विपाः । तं गन्धहस्तिनं प्राहुर्नृपतीनां शुभावहम् ॥" N. B. Vasubhuti was attracted by the imposing appea- rance of these elephants. निर्वर्णयन्—Closely observing; निर्—वर्ण् + शतृ । "निर्वर्णनं तु निद्ध्यानं दर्शनालोकनेक्षणम्"—अमरः । वल्लभान्—Dear; adj. to तुरगान् । दयितं वल्लभं प्रियम्"—अमरः । क्षितिभृताम्—Of the kings; क्षिति—भृ + क्विप्, षष्ठी बहुवचन । गोष्ठीषु—Assembly. गावः (वाचः) अनेकाः तिष्ठन्ति अस्याम् इति गो—स्था

• घञर्थे कः, ङीष् गौरादित्वात् । "गोष्ठी सभासंलापयोः"—मेदिनी । सद्योविस्मृत etc.—Adj. to अहम् । सिंहलानाम् ईशः (६ष्ठीतत्) तस्य विभवः (६ष्ठीतत्) सद्यः विस्मृतः (सुप्सपा) सद्योविस्मृतः सिंहलेशविभवः येन (बहु) सः । कक्षाप्रदेशे—In one part of a room. कक्षायाः प्रदेशः (६ष्ठीतत्) तस्मिन् । "कक्षा प्रकोष्ठा हर्म्यादेः"—अमरः । द्वाःस्थेन—By the porter; द्वारि तिष्ठति यः सः द्वार—स्था + क । ग्राम्यः—Rustic; ग्रामे भवः इति ग्राम + यत् । N. B. Here Vasubhuti relates how he being filled with wonder at the sight of the excellence of wealth of the Vatsa- King has been regarded as a man freshly coming from a village and totally ignorant about the city-life. Vasubhuti has an experience of the abundance of wealth of his master, but here in Udayana's palace, the super-abundance has bewildered him even to such an extent as to make him act like a rustic. A man coming fresh from village becomes surprised to the extreme at the grandeur of a town. This bewildered look of Vasubhuti leads the porter to take him for a rustic. 26

402 रत्नावली The metre is शार्दूलविक्रीड़ितम् । The figure of speech is उदात्त as the super-mundane grandeur has been described. “लोका- तिशयसम्पत्तिवर्ण नोदात्तमुच्यते” साः दः १०।८४ Ch. of voice.— आक्षिप्तम्......निर्व्वर्ण यन्तम्......कृतम्......तिष्ठन्तम्... ...विभवम् दाःस्थः ग्राम्यं कृतवान् माम् ॥१२॥ Sl. 13. In this shloka Bābhravya, the chamberlain of Udayana, describes his being in a state of excessive joy which he feels at the prospect of seeing his master after a long time after the ship-wreck in which he was one of the victims. This joyful state also adds to the symptoms of his old age. वृद्धिम्—Increase. वि – वृध् + क्तिन् । Obj. to प्रथयतितराम् । कम्पस्य—Tremor. N. B. Old men tremble while walking. प्रथयतितराम्—Redoubles. Nom. प्रहर्षः । प्रथ् + णिच् + लट् ति, then तरप् is added by the rule “द्विवचनविभज्योपपदे तरवीयसुनौ” with आम् (आम्) by the rule “किमेत्तिङव्ययघादाब्वद्रव्यप्रकर्षे” in the sense of excellence. The form in लुङ् is अपप्रथत् । साध्वसवशात्—Out of nervousness. साध्वसस्य वशः (६ष्ठीतत्) तस्मात् । अविस्पष्टां—Indistinct ; Adj. to दृष्टिम् । न विस्पष्टाम् (नञ्तत्) तिरयति—Covers. तिरः करोतीति तिरस् + णिच् + ल लट् ति । स्खलद्वर्णाम्—Adj. to वाणीम् । स्खलन्तः वर्णाः यस्यां (बहु) ताम् । With faltering syllables. जड़यतितराम्—Makes indistinct or inarticulate. अतिशयेन जड़ां करोतीति जड़ + णिच् + लट् ति, then तरप् is added along with आम् in the sense of excellence. N. B. Old men tremble, have short eye-sight and speak with faltering voice. The chamberlain is an old man. In