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

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

addition to these symptoms of old age, he, out of excessive joy, feels these faults doubled in him. The metre is शिखरिणी । Ch. of voice.—विहङ्गिः प्रथ्यतेतराम्......अविस्पष्टा दृष्टिः तिर्य्यक्तं—स्खलद्- वर्णा वाणी जड़ायंततराम्......परितोषेण क्रियते ॥१३॥ P. 356. सार्वभौमः—सर्वा भूमिः ( whole earth ) इति सर्व्वभूमिः। तस्याः ईश्वरः इति सर्व्वभूमि + अण् , by the rule “तस्येश्वरः” = सार्वभौमः, a para- mount monarch. सिंहलेन्द्रस्य ..रत्नावली — “Ratnávalí was a daughter of the king of Ceylon. In our play we find that the name of the king was Vikramabáhu. But in the Mahávamsa the celebrated Páli chronicle of Ceylon, the king is named as Vijayabáhu. Vikramabáhu is mentioned there as being brother of रत्नावली and son of Vijayabáhu.” ( Notes on Ratnávalí by S. C. Vidyabhushan) “Ratnávalí of our play represents Padmávatí of the Kathásaritságara and Anupamá of दिव्यावदान”। (Notes on Ratnávalí by S. C. Vidyábhushan) N B. In the स्वप्नवासवदत्त of भास, the story appears to have been taken from बृहत्कथा almost as it is, but our present Drama owes greatly to the inventive genius of Shri Harsha. P. 359. लावणकेन वह्निना—The fire that broke out in Lávánaka, a border-district of the kingdom of Magadha (as given in कथा- सरित्सागर (Book III, Chapter II.) P. 360. सम्बन्धलोपः etc.—Extinction of relationship. N. B. The King of Ceylon is described as the maternal uncle of Vásavadattá, the wife of Udayana. So the relation between these two Kings is very close. When the rumour was spread that Vásavadattá had been burnt in a fire that broke out in Lávánaka, Vikrambáhu, the King of Simhala, with a view to maintaining the previous intimate relation, agreed

An exact, line-by-line transcription of the Sanskrit commentary and notes page into pure Markdown:

404 रत्नावली to give his daughter Ratnávali in marriage with Udayana, the King of Vatsa, but not before that, with the idea that it was not proper to cause any mental agony to his niece Vásavadattá by inflicting a co-wife on her. मन्दभागिनी—मन्दः भागः भाग्यम् ( कर्मधा ) = मन्दभागः, सः अस्याः अस्तीति मन्द - भाग + इनिः + स्त्रीयांङीप् । भाग means "share", "fate." दुरवगाहा—Intricate, inscrutable. दुर् — अव + गाह् + खल् + टाप् । निदर्शनम्—Instance ; निदर्शयति अनेन इति नि - दृश् + ल्युट्, करणं । Sl. 14. In this shloka a description of the fire that broke out through the tricks of the magician is given. हेमशृङ्गश्रियम्—हेम्नः शृङ्गानि ( ६ष्ठीतत् ) तेषां श्रीः ( ६ष्ठीतत् ) ताम् ; [L

(skhalitaḥ)??? WAIT! Look at that: IS ITस्खलितः??? NO, look at the King being bewildered / mistaken: In Sanskrit, a mistake/slip is **स्खलितम्** or **स्खलितः**! Wait, does it look like स्खलितः? Let's look at the letter before लि: It has a loop on the left, connected to a right part? Wait, look at the dot: Wait, is it कथमित्यादि? Look at the text: क थ मि त्यादि . स्खलितः? Wait, let's look at the word before the dot: क वि र्ह्य त्रWait, does the first letter of that word have a loop? Wait! Look at line 16:क-वि-र्ह्य-त्र- wait! Let's compareकinकविwithकinकथमतिसम्भ्रमात्(line 19): Identical! Now look at the second glyph: In line 19:थinकथमतिसम्भ्रमात्` is: round left loop, top bar, vertical line. In line 16, the second glyph has a vertical line on the right, and a

406 रत्नावली N. B. The King means to say that the fire with its destructive flames will not be able to do anything, to him, as he has not been destroyed by the fire of separation which is far more destructive than the fire burning the palace. Thn metre is मालिनी and the figure of speech is रूपक । In the construction the fire of separation is meant to be described as superior to the fire burning the palace, which is उपमान ; hence the व्यतिरेकालङ्कारध्वनि prevails here. Ch. of voice.—विरम्यतां विरम्यतां मुच्यतां धूमानुबन्धः प्रकश्यते......चक्र- वालम्...विरहहुतभुक् यं मां...दग्धवान्...त्वया किं क्रियते ॥ १६॥ मार्गोपदेशकः—मार्गस्य उपदेशकः ( षष्ठीतत् ) । Now the objection may arise as to the validity of षष्ठीसमास with उपदेशक which ends in अक, as the prohibition by rule “न तृजकाभ्यां कर्त्तरि” prevails. So षष्ठीसमास is not allowed with words ending in तृच् and अक in कर्तृवाच्य । But as the सूत्रकार himself uses the words of such description in the षष्ठीसमास in his सूत्रs “जनिकर्त्तुः प्रकृतिः” and “तत्प्रयोजको हेतुश्च”—words compounded with कर्त्तृ and प्रयोजक, the prohibition of the rule “न तृजकाभ्यां कर्त्तरि” is not universal ; शेषे- षष्ठीसमास is not prohibited ; only कर्तृषष्ठीसमासs are debarred by the rule. P. 366. भरतकुलम्—According to कथासरित्सागर, Udayana is descended from the line of the Pándavas. Arjuna | Abhimanyu | Parikshit | Janamejaya | Shatánika | Sahasránika & Mrigávati | Udayana & Vásavadattá.

चतुर्थोऽङ्कः 407 संशयतुल़ाम्—In a doubtful i. e., dangerous position. संशयस्य तुला (६षीतत्) ताम् । P. 370. Sl. 17. Here the King finds Ságariká in chains and surrounded by fire. निगडसंयता—Tied with chains. निगडेन संयता (३यातत्) N. B. Ságariká, when detected by the Queen to be by the side of the King, was put in chains and was imprisoned in the innermost part of the harem and a false rumour was spread that she had been taken to Ujjayiní, only to throw the King off her track. The metre is पृथ्वी । Ch. of voice.—सहस्व बहलमेतं धूमोद्गमम्...धनेन च'शुकेन ज्वल्यते...... प्रवृत्तेन ।...खल्यते...निगडसंयतया। नीयते भवती। अहमेवावलम्ब्यं ॥१७॥ Sl. 18. धक्ष्यति—दह् + लुट्, स्यति । N. B. The King means to say that as the touch of Ságariká is extremely cooling, fire cannot consume him. लग्नः—लग्ज् + क्त। Ch. of voice.—...लग्नेन...भवति...धक्ष्यंत हुताशनेन ।...सन्तापः...अनेन स्पर्शेन...क्रियते... ॥१८॥ उच्छ्वसिताः—जीविताः । उत् - श्वस् + क्त कर्तरि । P. 371. Sl. 19. स्वप्ने मतिः etc.—The King cannot ascertain whether he was under dream-effects or magical power. Comp : स्वप्नो नु माया नु मतिभ्रमो नु etc.—Shákuntala VI. 10. Also —"किं नु सत्यमिदं स्वप्नः सा भूयो दृश्यते मया"—स्वप्नवासवदत्त ६।१७ N. B. In this connection the Jester appropriately says “भो ! मा संदेहं करेहि। इंदजालं ज्जेव्व एदं । भणिदं तेण दासीए पुत्तेण इंद- जालिएण.....पेक्खिदव्वीति" reminding the King about what the magician had said to the King when the latter asked the former

Wait, look at semicolon:; butLine 22:in the original and स्वप्नवासवदत्त, Vāsavadattā was by tricksLine 23:concealed from the eyes of Udayana who was made to believeLine 24:in the rumour of the Queen’s being burnt in the fire, until hisLine 25:marriage with पद्मावती was performed.`

Now let's check line 26: अन्यकलत्र etc.—अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया । Wait, let's look at the spacing and characters: अन्यकलत्र etc.—अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया । Wait, is it अन्यकलत्र or अन्यकलत्रं? It says: अन्यकलत्र etc. Then: —अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया । Wait, in ( ३यातत् ): Is that ३यातत् or ३या तत् or ३यातत्.? Look at the character: ३ then या then त then त् -> ( ३यातत् ) (meaning तृतीयातत्पुरुष). Wait, look at line 28: `जगत्स्वामित्व etc.—जगतः स्वामित्व

चतुर्थोऽङ्कः 409 Sovereignty by Udayana after his marriage with Ratnāvali as it was prophesied by the Siddha previously. Cf. “प्रच्छाद्य राजमहिषों नृपतेर्हितायं कामं मया कृतमिदं हितमित्यवेक्ष्य । सिद्धेऽपि नाम मम कर्म्मणि पार्थिवोऽसौ किं वक्ष्यतीति हृदयं परिशङ्कितं मे ॥ स्वप्नवासवदत्तम्, Act VI. 15. The metre is शार्दूलविक्रीडितम् । Ch. of voice.—उपगतेन...वियोगेण महता (भूयते) or देवी...अभ्युप- गतवती.. वियोगं महान्तम् । तया...देव्या...प्रापितया (भूयते) or अहं तां देवीं... प्रापितवान् ।...प्रीतिः करिष्यते अनेन जगत्स्वामित्वलाभेन...शक्यते ॥१८॥ अत्यन्तमाननीयेषु—अत्यन्तं माननीयाः (सुप्सुपा) तेषु । मन् + णिच् + अनीय विषयाधिकरणे ७मी । निरनुरोधवृत्ति—Adj. to स्वामिभक्तिव्रतम् । निर् नास्ति अनुरोधः यस्यां (बहु) सा । तादृशी वृत्तिः (व्यवहारः) यस्मिन् (बहु) तत् । Allowing no con- sideration of feeling. अनुरोध means 'Humouring of feeling.” “अनुरोधोऽनुवर्त्तनम्”—अमरः । वृत्ति means 'conduct', 'behaviour' (व्यवहार)। स्वामिभक्ति etc.—स्वामिनि भक्तिः (७मीतत्) तस्याः व्रतम् (६ष्ठीतत्), the vow of loyal discharge of duty. P. 387. Sl. 21. This shloka is included within the भरतवाक्य which forms the concluding portion of the drama, expressing general prosperity of the people and successful termination of the dramatic performance. नीतः—It has two objects—(a) आत्मसमताम् (indirect) and (b) विक्रमबाहुः (direct).

...Glyph 1:सुGlyph 2: has a curve likeगorश. Glyph 3: has a curve like तorश. Glyph 4: स्तGlyph 5:रGlyph 6:पGlyph 7:देWait, let's look atसुप्रशस्तरपदे: that matches सु-प्र-श-स्त-र-प-देremarkably well! Wait, could it beसुशस्तरपदे? Look at the width: it is about 6-7 letters wide. सुप्रशस्तरपदेis very plausible as a corrupted typesetting ofप्रशस्तपदेorसुप्रशस्तपद.... Let's look at the image: सुप्रशस्तरपदे`.

Wait, let's look at line 18: नागाद्याः पुंसि श्रेष्ठार्थगोचराः”—अमरः ।

Let's check line 19: यस्मै—चतुर्थी by the rule “स्पृहेरीप्सितः” । Wait, line 19 in the image: यस्मै—चतुर्थी by the rule “स्पृहेरीप्सितः” । Let's check line 19 of the page: `यस्मै—चतुर्थी by the rule “स्पृहेरीप