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

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

चतुर्थोऽङ्कः 411 उर्वीम्—Earth. “सर्वंसहा वसुमती वसुधोर्वी वसुन्धरा”—अमरः । उद्दामसस्याम्—Adj. to उर्वीम् । Having luxuriant growth of crops. उद्दामं सस्यं यस्यां ( बहु ) ताम् । उत्—दम् + घञ् = उद्दामः, “उद्दामो बन्धरहिते स्वतन्त्रे च प्रचेतसि”—मेदिनी । Or उद्गतं दाम ( शृङ्खलं ) यस्मात् ( बहु ) सः । वासवः—Indra. त्रैविष्टपानाम्—Of the gods ; तृतीयं विष्टपं ( कर्मधा ) । N. B. Here the numeral त्रि has been used in the sense of पूरण i. e., तृतीय by the dictum “पूरणप्रत्ययस्तु वृत्तौ गतार्थत्वान्न प्रयुज्यते” । विष्टप is otherwise spelt as पिष्टप—“पिष्टपो विष्टपोऽप्यस्त्री भुवनं च नपुंसकम्” —चामरमाला । विष्टप means स्वर्ग । “नभो विष्टपं हर्षो गौर्नापृश्निश्चापि सुरालयः”— रत्नमाला । त्रिविष्टपे भवाः इति त्रिविष्टप + अण् by the rule “तत्र भवः” । विदधतु—वि—धा + लोट् अन्तु । विधिवत्—According to the rules. विधि + वतिप्रत्ययः अर्हार्थे । By the rule “तदर्हः” । इष्टैः—By Sacrifices ; यज् + क्तिन् भावे नपुंसके । करणे ३या । आकल्पान्तम्—Up to the end of cycle. कल्पस्य अन्तम् ( ६ष्ठीतत् ) कल्पान्तं यावत् आकल्पान्तम् ( अव्ययीभावः ) । कल्पलक्षणम् :— “मासेन स्यादहोरात्रः पैत्रे वर्षेण दैवतः । दैवे युगसहस्रे द्वे ब्राह्मः कल्पौ तु तौ नृणाम्” ॥ One month of human span is equivalent to one day of the Pitris (Manes). One solar year of human beings is equivalent to one day of the gods. Two thousand Yugas of the gods are equivalent to one whole day and night of Brahman. And one day or one night of Brahman is called a कल्प = 4320 millions of human years.

412 रत्नावली समुपचित—Adj. to सङ्गमः । समुपचितं सुखं यस्मिन् ( बहु ) सः । सम् - उप + चि + क्त = समुपचित, increased. निःशेषम्—Adv. to निर् नास्ति शेषः यस्मिन् यथा स्यात् तथा ( बहु ) । पिशुनजन etc.—पिशुनाः जनाः ( कर्मधा ) तेषां गौः ( षष्ठीतत् ) ताः । पिशुन means "wicked." "पिशुनः खलसूचकौ"—अमरः । दुर्जयाः—Difficult to be put down. दुर् - जि + खल् । वज्रलेपाः—Adj. to पिशुनजनगिरः । वज्रस्य लेपः इव लेप यस्याः ( बहु ) ताः । This a kind of hard cement difficult to be broken. Critical Remarks Act IV of the Drama is the working of विमर्श and निर्वहण सन्धि together as the result of which the plot arrives at its final conclusion. In Act IV Ságariká and Vasantaka being detected by the Queen in the furtherance of the clandestine love-intrigue with the King, the former were taken captives in the presence of the King to his utter remorse ; and Ságariká was imprisoned by the Queen within the palace beyond the knowledge of all persons of the harem. A false rumour was circulated that Ságariká was being taken to Ujjayinī. But subsequently all traces about the girl became lost in complete obscurity. This became an insurmountable difficulty in the way of the union of the hero and the heroine. The King gave up all hopes of regaining her. Here is the working of विमर्शसन्धि— “यत्र मुख्यफलोपाय उद्भिन्नो गर्भतोऽधिकः । शापाद्यैः सान्तरायश्च स विमर्श इति स्मृतः” ॥ साः दः ६।७९-८० Here the means of attaining the main result ( मुख्यफलोपाय ), viz., the union with Ságariká is intercepted by the undesirable

चतुर्थोऽङ्कः 413 incident of the imprisonment and disappearance of the heroine. This विमर्शसन्धि is very short. But the inventive genius of the poet ingeniously clarifies the situation by introducing the magician who with the secret direc- tion of Yaugandharāyaṇa produced an illusion of fire in the palace which caused an alarm in all, including Vāsavadattā who forgetting everything of the past, implored the King to save Sāgarikā whom she had imprisoned within the palace and whom she apprehended to be consumed in the fire (एसा क्खु मए णिग्घिणाए इध णिअडेण संजमिदा साअरिका विवज्जदि । ता तं परित्ताअदु अज्जउत्तो ) The King got the opportunity and delivered her from the fire which was a false (i. e., magical) one. Vasubhuti, the Simhalese minister, who after being rescued from the ship- wreck had thought Ratnāvalī to be lost and who then joined the army of Rumaṇvān in his expedition to Kosala, accidentally arrived at that very moment to see the Vatsa-King with a view to get consoled, and found Sāgarikā alive there. But for the introduction of the magician, the union would have been a haphazard one; so the episode of the magician has brought about the susccessful termination of the plot. After the deliverance of Sāgarikā from the fire by the King, all the matters point to the successful end of the drama, and all diverging points scattered throughout the drama, point to the final end i. e., the union of the hero and the heroine. Here is the conclusion of the निर्वहणसन्धि which is defined as — “बीजवन्तो मुखाद्यर्था विप्रकीर्णा यथायथम् । एकार्थमुपनीयन्ते यत्र निर्वहणं हि तत् ॥” सा० द० ६।८०-८१ The concluding speech of यौगन्धरायण with the King discloses how all the incidents manipulated throughout the Drama merged into one point i. e., the union which is aimed at in the subject-matter of the Drama. In Act IV which

114 रत्नावली is the concluding one, all the incidents, specially the incident of the performance of the magic, have been so skillfully arranged and handled, that nothing appears to abnormal, improper, irrelevent or out of context. Appearance of Bábhravya and Vasubhuti two ship-wrecked persons in the court of the King is quite suited to the occasion, and natural. Wearing of the pearl-necklace by the Vidushaka which gave a clue to Vasubhuti for being hopeful of Ságarika being alive, is a natural growth of the unhappy incident that befell Sagarika in Act III. This, together with the wonderful performance of the magician, gives a good and successful finishing touch to the theme of the Drama.

दीन् (8) ब-हून् प-श्य-ति वा-स-वे (8) PERFECT ANUSHTUBH! And the meaning: "While Indra (वासवे) was watching (पश्यति), [Shatanika] having killed many [asuras], Yamadamshtra and others, in battle (समरे यमदंष्ट्रादीन् बहून्)..."

Now let's check line 14: "हत्वा..." Wait, what are the syllables? ह-त्वा (2) Next: what kills Shatanika? Or having killed them? Wait, does it say: "हत्वा तांश्च संग्रामे प्राप मृत्युं स भूपतिः" ? Count syllables: ह-त्वा (2) तां-श्च (2) सं-ग्रा-मे (3) = 7 syllables? Missing 1 syllable! Wait, "हत्वा तांश्चैव संग्रामे"? Let's look at the letters in line 14: ह-त्वा (2) त-वं-च? No! Look at the characters between 'हत्वा' and 'संग्रामे': Letter 1: 'तं' or 'ता'? Wait, look at: 'तं' (1) 'च' (1) 'संग्रामे' (3)? That's 5 + 2 = 7 syllables. Wait, look at the characters: हत्वा Then: त - wait, is it 'तांश्च

416 रत्नावली ततश्च दिवसैस्तत्र श्लाघनायमनन्दिता । सत्सङ्गतिरिवाचारं पुत्ररत्नमसूत सा ॥ ६८ ॥ श्रीमानुदयनो नामा राजा जातो महायशाः ॥ ६९ ॥ हरिणाखेटके जातु भ्राम्यन्नुदयनोऽथ सः । शबरेण दृढाक्रान्तमटव्यां सर्पमैक्षत ॥ ७२ ॥ उवाच मुच्यतामेष सर्पो मद्वचनादिति ॥ ७५ श्रुत्वेत्युदयनस्त्यागी दत्त्वार्घं शबराय तम् । कटकं जननीदत्तं स तं सर्पममोचयत् ॥ ७८ ॥ गृहीतकटके जातं शबरे पुरतो गतिम् । कृत्वा स भुजगः प्रीतो जगादोदयनं तदा ॥ ७९ ॥ वसुनेमिरिति ख्यातो ज्येष्ठो भ्रातास्मि वासुकेः । इमां वीणां गृहाण त्वं मत्तः स्वरचिताख्या ॥ ८० ॥ ॥ इति कथासरित्सागरे कथामुखलम्बके प्रथमस्तरङ्गः ॥ तृतीयस्तरङ्गः ततः स वत्सराज्यञ्च प्राप्य पित्रा समर्पितम् । कौशाम्ब्यांवस्थितः सम्यक् शशासोदयनः प्रजाः ॥ १ ॥ यौगन्धरायणाद्येषु भरं विन्यस्य मन्त्रिषु । बभूव स शनैः राजा सुखेष्वेकान्ततत्परः ॥ २ ॥ सदा सिषेवे मृगयां वीणां घोषवतीं च ताम् । अस्तीहोज्जयिनी नाम नगरी भूषणं भुवः । यस्यां वसति विश्वेशो महाकालवपुः स्वयम् । तस्यां महेन्द्रवर्म्माख्यो राजाभूद् भूभृतां वरः । जयसेनाभिधानोऽस्य बभूव सदृशः सुतः ॥ ३३ ॥ जयसेनस्य तस्याथ पुत्रोऽप्रतिमविक्रमः । समुत्पन्नो महासेननामा नृपतिकुञ्जरः ॥ ३४

सोऽथ राजा स्वराज्यं तत् पालयन् समचिन्तयत् । न मे खङ्गोऽनुरूपोऽस्ति न च भार्या कुलोद्वहा ॥ ३५ ॥ इति सञ्चिन्त्य स नृपश्छिन्निकागृहमागमत् । तत्रातिष्ठन्निराहारी देवीमाराधयंश्चिरम् ॥ ३६ ॥ उत्कृत्याथ स्वमांसानि होमकर्म स चाकरोत् । ततः प्रसन्ना साक्षात् सा देवी चण्डी तमभ्यधात् ॥ ३७ ॥ प्रीतास्मि ते गृहाणैनं पुत्र खङ्गोत्तमं मम । एतत्प्रभावाच्छत्रूणामजेयस्त्वं भविष्यसि ॥ ३८ ॥ अतीव चण्डं कर्मेदं कृतं चैतद् यतस्त्वया । अतश्चण्डमहासेन इत्याख्या ते भविष्यति ॥ ४० ॥ स खङ्गो मत्तहस्तीन्द्रो नडागिरिरिति प्रभो । द्वे तस्य रत्ने शक्रस्य कुलिशैरावणाविव ॥ ४२ ॥ अगाच्चण्डमहासेनो मृगयायै महाटवीम् ॥ ४३ ॥ अतिप्रमाणं तत्रैकं वराह

एको गोपालको नाम द्वितीयः पालकस्तथा । ततस्तं नृपतिं स्वप्ने तुष्टो वक्ति स्म वासवः । प्राप्स्यस्यानन्यसदृशीं मत्प्रसादात् सुतामिति ॥ ७६ ॥ ततः कालेन जातास्य राज्ञः कन्या तु तन्वथ । दत्ता मे वासवेनेषा तुष्टेनेति स भूपतिः । नाम्ना वासवदत्तां तां तनयामकरोत्तदा ॥ ७८ ॥ ॥ इति कथासरित्सागरे कथामुखलम्बके तृतीयस्तरङ्गः ॥

चतुर्थस्तरङ्गः ( वासवदत्ताहरणोद्योगः )

इति सञ्चिन्त्य संमन्त्र्य स राजा मन्त्रिभिः सह । अकारयत् स्वसदृशं महान्तं यन्त्रहस्तिनम् ॥ ४ ॥ तं चान्तर्वीरपुरुषैः कृत्वा च्छन्नैरधिष्ठितम् । विन्ध्याटव्यां स निदधे राजा यन्त्रमयं गजम् ॥ ५ ॥ तत्रे तं चारपुरुषाः पश्यन्ति स्म विदूरतः । गजबन्धरंसासक्तवत्सराजीपजीविनः ॥ ६ ॥ ते च त्वरितमागत्य वत्सराजं व्यजिज्ञपन् । देव दृष्टो गजोऽस्माभिरेको विन्ध्यावने भ्रमन् ॥ ७ ॥ प्रातश्च मन्त्रिवचनं त्यक्त्वा गजतृष्णया । पुरस्कृत्यैव तांश्चारान् ययौ विन्ध्याटवीं प्रति ॥ १२ ॥ प्राप्य विन्ध्याटवीं तस्य गजस्य क्षोभशङ्कया । वत्सराजः स सैन्यानि दूरादेव न्यवारयत् ॥ १४ ॥ चारमात्रसहायस्तु वीणां घोषवतीं दधत् । निजव्यसनविस्तीर्णां तां विवेश महाटवीम् ॥ १५ ॥