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

46 রত্নাবলী যুবতীগণের মুখাসবকে যেন সুগন্ধ করিতেছে। তরুণীর মুখচন্দ্র মদ্যপানের দ্বারা ঈষৎ সহাস্য তাম্রবর্ণ ধারণ করিলে পর আজ বহুদিন পরে চম্পকপুষ্পসমূহ (যেন) শোভা পাইতেছে। অশোকবৃক্ষে পাদাঘাতকালে নূপুরসমূহের গম্ভীর শব্দ অনুক্ষণ শুনিয়া ভ্রমরগণ যেন গীতের দ্বারা নূপুরধ্বনির অনুকরণ করিতেছে। ১৮। বিদূষক—(শুনিয়া) হে বয়স্য, নূপুরশব্দ যে অনুকরণ করিতেছে ইহারা মধুকর নহে। এই নূপুরশব্দ নিশ্চয়ই মহিষীর পরিজনবর্গের। রাজা—বয়স্য, তুমি ঠিকই অবধারণ করিয়াছ। (তারপর উজ্জ্বলবেশ ধারণ করিয়া বাসবদত্তা ও কাঞ্চনমালা এবং পূজোপকরণ হস্তে করিয়া সাগরিকা প্রবেশ করিলেন) বাসবদত্তা—ওলো কাঞ্চনমালে, মকরন্দ উদ্যানের পথ দেখাও। কাঞ্চন—দেবি, আসুন আসুন। বাসব—(পরিক্রমণ করিয়া) ওলো কাঞ্চনমালে! সে রক্তাশোকতরু আর কতদূর?— যেখানে আমি ভগবান্ কুসুমায়ুধের পূজা করিব। Eng. Trans. Also,— Tthese Vakula trees are rendering fragrant as it were, the mouthfuls of wine (of the ladies) thrown at their root. The moon-like faces of the youthful ladies having grown reddish with the flush of wine, the Cham-paka flowers appear to be smiling as it were to-day after a long time. Hearing the deep jingling sounds of the (ladies') anklets at the time of striking their feet against the Ashoka trees, swarms of bees are imitating as it were the jingling sounds by their humming song. 18. Jester (Hearing)—O friend, these are not the bees imita- ting the jingling of the anklets, but this is the sound of the anklets of the attendants of the Queen. King—You have ascertained rightly. (Then enter Vásavadattá in bright attire and Kánchana- málá and Ságariká with the articles of worship) Vásava.—Oh Kánchanamálá, show me the path leading to the Makaranda garden.

प्रथमोऽङ्कः 47 Kánch.—By this way, by this way, madam. Vása.—(Walking around) O Kánchanamálá, how much distant is the red Ashoka tree where I shall have to perform the worship of the flower-arrowed god ? काञ्च—भट्टिणि, आसण्णं ज्जेव्व किं ण पेक्खदि भट्टिणी । इअं क्खु सा णिरन्तरुब्भिण्णकुसुमसोहिणी भट्टिणीए पडिग्गि- हिदा माहबी लदा । एसावि अवरा णोमालिआ लदा जाए अकालकुसुमसुग्गमसद्धालुणा भट्टिणा अणुदिणं आआसीअदि अप्पा । ता एदं अदिक्कमिअ दीसदि ज्जेव्व सो रत्तासोअ- पाअवो जहिं देवी पूअं णिव्वत्तिस्सदि । (क) वासव—ता एहि, तहिं ज्जेव्व लहुं गच्छम्ह । (ख) काञ्चन—एदु एदु भट्टिणी । (ग) ( सर्वाः परिक्रामन्ति ) वासव—अअं सो रत्तासोअपाअवो जहिं अहं पूअं णिव्वत्तइस्सं । ता पूआणिमित्ताइं उवअरणाइं मे उव- णेहि । सागरिका ( उपसृत्य ),—भट्टिणि एदं सब्बं सज्जम् । (ङ) वासव ( निरूप्यात्मगतम् )—अहो पमादो परिअणस्स ! जस्स ज्जेव्व दंसणपधादो पअत्तेण रक्खीअदि तस्स ज्जेव्व दिट्ठि- गोचरं पडिदा भवे । भोदु, एदं दाव भणिस्सं । (प्रकाशम् ) हञ्जे सागरिए । कीस तुमं अज्ज मअणमहुस्सवपराहीणे परिअणे सारिअं उज्झिअ इहागदा । ता तहिं ज्जेव्व लहुं गच्छ । एदं पि सब्बं पूओवकरणं कञ्चणमालाए हत्थे समप्पेहि । (च) १. मे परिअणस्स । २. अलक्खिदा भविअ पेक्खिस्स'—एषोऽपि पाठः क्वचित् दृश्यते ।

48 रत्नावलो ⸱⸱ सागरिका—जं भट्टिणी आणवेदि। ( इति कतिचित् पदानि गत्वा आत्मगतम् ) सारिआ मए सुसङ्गदाए हत्थे समप्पिदा। एदंपि अत्थि मे पेक्खिदु' कोदूहलं किं जहा तादस्स अन्तेउरे भअव' अणंगो अच्चीअदि, इह वि तह ज्जेव्व किं अच्चहेत्ति। ता जाव इह पूजासमओ होदि, दाव अहंपि भअवन्तं अणंगं ज्जेव्व पूअइदु' कुसुमाइ' अवचिणिस्स' । ( इति कुसुमावचयं नाटयति ) ( छ ) (क) भर्त्तुरासन्न एव किं न प्रेक्षते भर्त्ता। इयं खलु सा निरन्तरोद्भिद्नकुसुम- शोभिनी भर्त्रा प्रतिगृहीता माधवीलता। एषापि अपरा नवमालिका लता यस्याः अकालकुसुम समुद्गमग्रहिलामुना भर्त्रा अनुदिन' आयास्यते आत्मा। तत् एतत् अतिक्रम्य दृश्यते एव स रक्ताशोकपादपो यत्र देवी पूजां निर्व्वर्त्तयिष्यति। (ख) तर्हिहि तत्र एव लघु गच्छामः। (ग) एतु एतु भर्त्ता। (घ) अयं सः रक्ताशोकपादपो यत्र अहं पूजां निर्व्वर्त्तयिष्यामि। तत् पूजानिमित्तानि उपकरणानि मे उपनय। (ङ) भर्त्त्रि, एतत् सर्व्वं सज्जम्। (च) अहो प्रमादः परिजनस्य ! यस्य एव दर्शनपथात् प्रयत्ने'न रक्ष्यते तस्य एव दृष्टिगोचर' पतिता भवेत्। भवतु, एतत् तावत् भणिष्यामि। हञ्जे सागरिके, कथ' त्वमद्य मदनमहोत्सवापराधीने परिजने सारिकां उज्झित्वा इहागता। तत् तत्र एव लघु गच्छ। एतदपि सर्व्वं पूजोपकरण' काञ्चनमालायाः हस्ते समर्पय। (छ) यद् भर्त्री आज्ञापयति। सारिका मया सुसङ्गतायाः हस्ते समर्पिता। एतदपि अस्ति प्रेक्षितु' मे कौतूहलम्—किं यथा तातस्य अन्तःपुरे भगवान् अनङ्गः अर्च्य'ते, इहापि तथा एव किम् अर्च्चयेति। तद् यावद् इह पूजासमयौ भवति, तावदहम् अपि भगवन्तम् अनङ्गमिव पूजयितु' कुसुमानि अवचेष्यामि। निरन्तर' सन्तत' • उद्भिन्नानि प्रस्फुटितानि कुसुमानि तैः १ शोभते या सा।

प्रथमोऽङ्कः 40 अकाले स्वाभाविककुसुमोत्पत्तिकालादन्यस्मिन् समये इत्यर्थः । श्रद्धालुना उत्सुकेन विश्वासवता इति यावत् । आयास्यते आयासः क्रियते । प्रमादः अनवधानता । यस्य एष इति राजानमुद्दिशति । दृष्टिगोचरं—दृष्टिविषये । गावः इन्द्रियाणि चरन्त्याष्विति गोचरः विषयः । मदनमहोत्सवे पराधीनाः नियुक्ताः अन्यकार्यकरणासमर्थाः इत्यर्थः । उज्झित्वा त्यक्त्वा । Beng. Trans.—কাঞ্চন—দেবি, আমরা নিকটেই আসিয়া পৌঁছিয়াছি। আপনি কি দেখিতে পাইতেছেন না যে, এই সেই আপনার পরিগৃহীতা মাধবীলতা নিরন্তর প্রস্ফুটিত কুসুমে শোভিত হইয়া রহিয়াছে। এই আর একটি নবমালিকা লতা। ইহাতে অকাল- পুষ্পোদ্গম হইবে এই বিশ্বাসে মহারাজ নিজে কিরূপ আয়াস পাইতেছেন। ইহা অতিক্রম করিলেই সেই রক্তাশোক বৃক্ষ দেখা যাইবে, যেখানে দেবী মদনদেবের পূজা করিবেন। বাসব—অতএব সেইখানেই শীঘ্র যাই চল। কাঞ্চন—দেবী, আসুন আসুন। ( সকলে পরিক্রমণ করিলেন ) বাসব—এই সেই রক্তাশোকবৃক্ষ যেখানে আমি পূজা সমাপ্ত করিব। অতএব পূজোচিত উপকরণসমূহ এইখানে লইয়া আইস। সাগরিকা—( নিকটে যাইয়া ) দেবি, এই সমস্ত প্রস্তুত রহিয়াছে। বাসব—(দেখিয়া—স্বগত) অহো পরিজনবর্গের কি অনবধানতা! যাহার দৃষ্টিপথ হইতে ইহাকে অতি যত্নের সহিত রক্ষা করা হইতেছে, (আজ) তাহারই দৃষ্টির বিষয়ীভূত হইবে। আচ্ছা, আমি এইরূপ বলিব। (প্রকাশ্যে) সাগরিকে, আজ মদনোৎসবে পরিজনবর্গ কার্যব্যাপৃত থাকায় তুমি কেন সারিকাকে পরিত্যাগ করিয়া এখানে আসিয়াছ? অতএব তুমি সেখানে শীঘ্র যাও এবং পূজোপকরণগুলি কাঞ্চনমালার হস্তে অর্পণ কর। সাগরিকা—দেবী যেরূপ আদেশ করেন। (কয়েক পদ যাইয়া—স্বগত) আমি সারিকাকে সুসঙ্গতার হস্তে অর্পণ করিয়াছি। এই পূজা দেখিবার জন্য আমারও কৌতূহল রহিয়াছে। আমার পিতার অন্তঃপুরে ভগবান্ অনঙ্গদেবের যেরূপ পূজা হয়, এখানে ইহা সেইরূপ অথবা অন্যপ্রকার। অতএব, অলক্ষিত থাকিয়া ইহা দেখিব। (পরি- ক্রমণ ও অবলোকন করিয়া) সুতরাং যতক্ষণ না পূজার সময় হয়, ততক্ষণ আমি ভগবান্ অনঙ্গদেবকে পূজা করিবার জন্য পুষ্প চয়ন করিব। ( নাট্যে কুসুমচয়ন প্রদর্শন )। 4

50 रत्नावली Eng. Trans. Kánchana—Madam, we have come near. Do you not find the Mádhavi creeper that was accepted by you and that looks beautiful with its bunches of thickly blooming flowers. This is another creeper called Navamáliká. It is for which much trouble is personally undergone by our lord everyday believing it to blossom out of season. Beyond that the red Ashoka tree will be visible, where your ladyship will worship the god of love. Vásava—Let us go there immediately. Kánchana—By this way, madam. ( All the female folk walk around ) Vásava—This is that red Ashoka tree where I shall finish the worship. So, come and bring me the articles of worship here. Ságariká—( Approaching ) All these are ready, madam. Vásava—(Looking at her—to herself) Oh, how careless are my attendants ! She will probably come within the sight of the very person from whose sight I have taken so much care to conceal her. However, I shall say thus. ( Aloud ) Oh Ságariká, why have you come here leaving the Sáriká (the female parrot ?) when all other attendants are fully engaged in the Cupid- festival ? So, go there immediately leaving all articles of worship in the hands of Kánchanamálá. Ságariká—As your ladyship commands. ( Then going a few steps—to herself ) I have made over the Sáriká in the hand of Susangatá. I have a curiosity to observe this festival whether the bodiless god of love is worshipped here in the same manner as in the harem of my father or otherwise. So keeping myself concealed I shall watch it. (Going round and seeing) So, until the time for worship comes I shall collect the flowers for worshipping god Cupid ( She gesticulates the action of collect- ing flowers.)

14. एत्थ उपविसदु अज्जउत्तो । (घ)
15. ( राजा नाट्येनोपविशति )
16. काञ्चन—भट्टिणि ! १सहत्थदिक्खेहिं कुसुमकुंकुमचंदनबा-
17. (क) काञ्चनमाले, प्रतिष्ठापय अशोकमूले भगवन्तं प्रद्युम्नम् ।
18. (ख) यद् भर्त्री आज्ञापयति ।
19. (ग) भो वयस्य, यथा विश्रान्तः नूपुरशब्दः तथा तर्कयामि आगता देवी
20. अशोकमूलमिति ।
21. (घ) कथम् आर्यपुत्रः ! जयति जयति आर्यपुत्रः ! अलङ्करोतु इमं देशम् आसन-
22. परिग्रहेण । एतदासनम् । अत्र उपविशतु आर्यपुत्रः ।
23. 1. सञ्चलदिक्खकुरुअ_मत्तविआणीदिदं कदुअ ।

Wait, in line 4: (इति तथा करोति ) - notice spaces around parenthesis: (ख) ( इति तथा करोति ) In line 11: ( उपसृत्य ) - space inside parentheses. In line 12: ( विलोक्य ) - space

52 रत्नावली सेहिं सोहिदं रत्तासोअपाअवं गदुअ अच्चीअदु भअवं पज्- जुण्णो । (क) वासव—उपणेहि मे पूओवकरणांइँ । (ख) ( काञ्चनमाला उपनयति, वासवदत्ता तथा करोति ) (क) भर्तृ, स्वहस्तदत्तः कुसुमकुङ्कुमचन्दनवासिभिः शोभितं रक्ताशोकं पादपं गत्वा अर्च्यतां भगवान् प्रद्युम्नः । (ख) उपनय मे पूजोपकरणानि । अवधारितम् अवधारणं कृतम् । कुसुममिव सुकुमारा कोमला मूर्तिः आकृतिः यस्याः सा । (चापपक्षे) कुसुमैः सुकुमारा मूर्तिर्यस्य, कामचापस्य कुसुममयत्वात् । नियमेन व्रतोपवासादिना हेतुभूतेन तनुतरं क्षीणतरं मध्यं कटिदेशं दधती धारयन्ती देवीति शेषः । (चापपक्षे) मध्यस्य स्वभावतः एव क्षीणतरत्वम् । मकरकेतोः कामदेवस्य पार्श्वस्था समीपस्था चापयष्टिः इव आभाति । वासवदत्तायाः सौन्दर्यस्य चित्ताकर्षकतया मनीभव- चापेण औपम्यम् । आर्यावृत्तम् । उत्प्रेक्षालङ्कारः ॥१८॥ Prose. कुसुमसुकुमारमूर्तिः ( सा ) नियमेन तनुतरं मध्यं दधती ( सती ) मकरकेतोः पार्श्वस्था चापयष्टिरिव आभाति ॥१८॥ Beng. Trans. বাসব—কাঞ্চনমালে, ভগবান্ প্রদ্যুম্ন( কামদেব )-কে অশোকমূলে প্রতিষ্ঠিত কর। কাঞ্চন—দেবী যাহা আদেশ করেন। ( সেইরূপ করিল ) বিদূষক—( পরিক্রমণপূর্ব্বক অবলোকন করিয়া ) হে বয়স্য, যখন নূপুরশব্দ নিস্তব্ধ হইয়াছে, তখন মনে হইতেছে মহিষী অশোকমূলে আসিয়াছেন। রাজা—বয়স্য, ঠিকই অবধারণ করিয়াছে। দেখ, এই যে মহিষী—কুসুমের ন্যায় তাঁহার মূর্তি সুকুমার। তিনি ব্রতপালনাদি দ্বারা ক্ষীণতর কটিদেশ বহন করিয়া মকরকেতু কামদেবের পার্শ্বস্থিত ( কুসুমসুকুমার ও ক্ষীণমধ্য ) চাপযষ্টির ন্যায় শোভা পাইতেছেন ৷১৮৷ এস, অগ্রসর হই। ( অগ্রসর হইয়া ) প্রিয়ে বাসবদত্তে— বাসব—( অবলোকন করিয়া ) এই যে আর্য্যপুত্র ! আর্য্যপুত্রের জয় হউক ! আসন গ্রহণ করিয়া এইস্থান অলঙ্কৃত করুন। এই আসন রহিয়াছে। ইহাতে আর্য্যপুত্র উপবেশন করুন। ( রাজা উপবেশন করিলেন )

प्रथमोऽङ्कः 53 কাঞ্চন—দেবি, স্বহস্তদত্ত কুসুমকুঙ্কুমবস্ত্রাদির দ্বারা শোভিত রক্তাশোকবৃক্ষের নিকট যাইয়া ভগবান্ প্রদ্যুম্নের অর্চ্চনা করুন। বাসব—আমার পুজোপকরণ লইয়া এস। ( কাঞ্চনমালা লইয়া আসিল, বাসবদত্তা সেইরূপ করিলেন ) Eng. Trans. Vásava—O Kánchanamalá, place the image of lord Pradyumna under this Ashoka tree. Kánchana—As your ladyship commands. (Acts accor- dingly). Jester—(Walking round and observing) O friend, as the jingling sound of anklets are silent I think that the Queen is come to the foot of the Ashoka tree. King—Friend, you have well ascertained. Look, here is the Queen. She who— With her body as tender as flower, bears a waist getting thinner through the observance of vows. And as such she appears beautiful as the ( flowery ) bow-stick lying beside the fish-bannered deity. 19. So, let us approach. (Approaching) dear Vásavadattá!— Vásava—(Looking up) Ah my lord! Victory be to my lord! Let this place be decorated by you taking the seat. This is a seat. Let it be occupied by my lord. ( The King sits down). Kánchana—Madam! Having gone to the red Ashoka tree beautified by flowers, saffron-paste and clothes offered by your own hand, please adore the lord Pradyumna (Cupid). Vásava—Bring here my articles of worship. (Kánchanamálá brings and Vásavadattá acts accordingly) राजा—प्रिये,¹ प्रत्यग्रमज्जनविशेषविविक्तकान्तिः² कौसुम्भरागरुचिरस्फुरदंशुकाभा । 1—(निरूप्य) प्रिये । 2—मूर्तिः ।

54 रत्नावली विभ्राजसे मकरकेतनमर्च्चयन्ती बालप्रवालविटपि-प्रभवा लतेव ॥२०॥ अपिच— स्पृष्टस्त्वयैष¹ दयिते ! स्मरपूजाव्यापृतेन हस्तेन । उद्भिन्नापरमृदुतरकिसलय इव लक्ष्यतेऽशोकः ॥२१॥ अपिच— अनङ्गोऽयमनङ्गत्वमद्य निन्दति ध्रुवम् । यदनेन न सम्प्राप्तः पाणिसंस्पर्शोत्सवस्तव ॥२२॥ काञ्चन—भट्टिणि ! अच्चिदो भअवं पज्जुम्णो । ता करेहि भत्तुणो पूजासक्कारं² । (क) वासव—तेण हि उवणेहि मे कुसुमाईं विलेवणं च । (ख) काञ्चन—भट्टिणि ! एदं सब्बं सज्जं । (ग) ( वासवदत्ता गन्धेन राजानं पूजयति ) (क) भर्त्रि, अर्चितः भगवान् प्रद्युम्नः । तत् कुरु भर्तुः पूजासत्कारम् । (ख) तेन हि उपनय मे कुसुमानि विलेपनञ्च । (ग) भर्त्रि, एतत् सर्व्वं सज्जम् । प्रत्ययेति । प्रत्यग्रः नूतनः यः मज्जनविशेषः स्नानविशेषः तेन विविक्ता शुद्धा कान्तिः शोभा यस्याः सा । ( लतापक्षे ) सद्यः मज्जनविशेषः सेचनविशेषः इति शेषं पूर्व्ववत् । कुसुमभं पुष्पविशेषः तस्य इदमिति कौसुम्भः यः रागः लौहित्यम् इत्यर्थः । तेन रुचिरः शोभितः स्फुरन् विलसन् च अंशुकानां वस्त्राञ्चलं यस्याः सा । नियमपालनात् वासवदत्ता लोहितवस्त्रं परिदधाना चासीदित्यर्थः । (लतापक्षे) कौसुम्भं कुसुमस्य इदम् इति तद्वत् रागः लौहित्यं तेन रुचिरा चार्वी स्फुरद्भिः अंशुभिः किरणैः सूर्यकिरणैः कान्ता रमणीया मकर- केतनं कामदेवम् अर्च्चयन्ती बालः नवोद्गतः प्रबालः यस्य सः विटपी वृक्षः प्रभवः उत्पत्ति- 1 स्वयैव । 2 उददं पूजासक्कारं ।

स्नानं यस्याः सा लता इव विभाजसि शोभसे त्वं वासवदत्तेति शेषः । वसन्ततिलकं वृत्तम् । ज्ञेया वाच्यप्रतीतिरियमुपमा ॥२०॥ स्पृष्टेति ॥ दयिते प्रिये स्मरपूजाव्यापृतेन हस्तेन त्वया स्पृष्टः एषः अशोकः उद्भिन्नः उद्गतः अपरः अन्यः मृदुतरः कोमलतरः किसलयः पल्लवः यस्य सः इव लक्ष्यते दृश्यते—इति वासवदत्तायाः आरक्तिमाभौ हस्तः अशोकतरोः द्वितीयपल्लवत्वेनोत्प्रेक्ष्यते ॥ आर्याच्छन्दम् । उत्प्रेक्षालङ्कारः ॥२१॥ अनङ्गेति । अनङ्गः हरनेत्राग्निना भस्मीभूतत्वात् कामदेवस्य अशरीरित्वम्, अयम् आत्मनः अनङ्गत्वं निश्चितं निन्दिष्यति यस्मात् अनेन तव पाणिस्पर्शः न लब्धः इति भावः । उत्प्रेक्षालङ्कारः ॥२२॥ Prose. प्रत्यग्रमज्जनविशेषविविक्तकान्तिः (मूर्तिः) कौसुम्भरागरुचिरस्फुरदंशुका या ( त्वम् ) मकरकेतनमर्चयन्ती बालप्रवालविटपिप्रभवा लतेव विभाजसि ॥२०॥ दयिते, स्मरपूजाव्यापृतेन हस्तेन त्वया स्पृष्ट एषः अशोकः उद्भिन्नापरमृदुतरकिसलयः इव लक्ष्यते ॥२१॥ अयम् अनङ्गः अद्य ध्रुवमनङ्गत्वं निन्दिष्यति । यत् अनेन तव पाणिस्पर्शोत्सवः न संप्राप्तः ॥२२॥ Beng. Trans. প্রিয়ে,—তুমি সদ্যঃ স্নানবিশেষের দ্বারা পবিত্রকান্তি ও কুসুম্ভ- রঞ্জিত উজ্জ্বল বসনপরিধান করিয়া মদনপূজায় ব্যাপৃত হওয়ায় (সদ্যঃস্নাত) নবপল্লবশোভিত তরু হইতে সমুদ্ভূতা লতার ন্যায় শোভা পাইতেছ ।২০। পুনশ্চ—প্রিয়ে, কামদেবের পূজায় ব্যাপৃত তোমার হস্তের দ্বারা স্পৃষ্ট এই অশোক বৃক্ষকে দেখিয়া মনে হইতেছে যেন অন্য একটা অতি কোমল পল্লব ইহা হইতে সমূদ্গত হইয়াছে।২১। পুনশ্চ—আজ এই অনঙ্গ নিশ্চয়ই তাহার শরীরহীনতার নিন্দা করিবে, কারণ তোমার পাণিস্পর্শজনিত পরমসুখ আজ সে পাইতে পারিল না।২২। কাঞ্চন—দেবি, ভগবান্ প্রদ্যুম্নের অর্চ্চনা হইয়াছে। এখন মহারাজের যথাযোগ্য পূজা ও অভ্যর্থনা করুন। বাসব—তাহা হইলে কুসুম ও বিলেপন ( চন্দনাদি ) আনয়ন কর। কাঞ্চন—দেবি, এ সকল প্রস্তুত রহিয়াছে। ( বাসবদত্তা রাজাকে পূজার অভিনয় করিলেন )

? Wait, look at the glyphs: "पूइस्सं ।" Wait, why does it look like: 'पू', 'इ', 'स्सं'? Wait, is the third character 'स्सं'? Yes, 'स्स' with an anusvara! Wait, what is the character after 'स्सं'? There is an apostrophe: 'पूइस्सं' ।' Wait, let's look at the footnote 1: "1 कहं पक्खो ज्जेव्व भगवं कुसुमाउधो इह पूअं पडिच्छदि ।" Wait, why does footnote 1 end with "पूअं पडिच्छदि"? Because line 26 has "पूइस्सं"! The alternate reading replaces from line 23 "पेक्खिदो ज्जेव्व¹ अपुब्बो कुसुमाउहो... पूइस्सं¹"!! Yes! Notice the quote mark after पूइस्सं: "पूइस्सं' ।"! The footnote 1 is an alternate reading for the passage from "पेक्खिदो ज्जेव्व¹" to "पूइस्सं¹"! "कहं पक्खो ज्जेव्व भगवं कुसुमाउधो इह पूअं पडिच्छदि ।" That's why there is a footnote marker 1 after ज्जेव्व and an end-quote/marker after पूइस्सं!

And line 26 continues: "(इति कुसुमानि प्रक्षिपति) णमो दे भग

प्रथमोऽङ्कः 57 मे भविस्ससि । (इति प्रणमति) अच्छरिअं अच्छरिअं । दिट्ठोवि पुणो पेक्खिदव्वो । ता जाव ण कोबि मं पेक्खदि दाव च्चेव्व गमिस्सं । (इति कतिचित् पदानि गच्छति) । (क) काञ्चन—अज्ज वसन्तअ ! एहि संपदं तुमंपि सोत्थिवाअणं पड़िच्छेहि । (ख) ( विदूषकः उपसर्पति ) वासव—( विलेपनकुसुमाभरणदानपूर्वकम् ) अज्ज ! सोत्थिवाअणं पड़िच्छ (इत्यर्पयति) (ग) । विदूषक—(सहर्षं गृहीत्वा) सोत्थि भोदीए । (घ) (क) हा धिक् हा धिक् ! कथं कुसुमलोभोत्क्षिप्तहृदयया अतिचिरं एव मया कृतम् । तद् अनेन सिन्दुवारविटपेन अपाहतशरीरा भूत्वा प्रेक्षे । कथं प्रेक्षित एव अपूर्व्वः कुसुमायुधः । अस्माकं तातस्य अन्तःपुरे चित्रगतः वर्ण्यते । इह प्रत्यक्षीकृतः, तदहमपि एभिः कुसुमैः इह स्थिता एव भगवन्तं कुसुमायुधं पूजयिष्यामि । नमस्ते भगवन् कुसुमायुध, शुभदर्शनो मे भविष्यसि । दृष्टं यद् द्रष्टव्यम् । अमोघदर्शनो मे भविष्यसि । आश्चर्य्यं आश्चर्य्यं ! दृष्टोऽपि पुनः प्रेक्षितव्यः । तद् यावत् न कोऽपि मां प्रेक्षते तावदेव गमिष्यामि । (ख) आर्य्य वसन्तक, एहि साम्प्रतं त्वमपि स्वस्तिवाचनं प्रतीच्छ । (ग) आर्य्य, स्वस्तिवाचनं प्रतीच्छ । (घ) स्वस्ति भवत्यै । हा धिगिति । कुसुमलोभेन उत्क्षिप्तम् अपवाहितं हृदयं यस्याः तया । शुभदर्शनः कल्याणदर्शनः, अमोघदर्शनः सफलदर्शनः, एतेन वत्सराजं प्रति सागरिकायाः अनुरागातिशयः व्यज्यते । स्वस्तिवाचनम् स्वस्ति कल्याणाय वाचनं ‘स्वस्ति स्यान् मङ्गले पुण्ये’ इति मेदिनी । आर्य्य इति विदूषकस्य ब्राह्मणत्वे तमुद्दिश्य उक्तिः ‘आर्येति ब्राह्मणं ब्रूयात्’ —भरतः

38 রত্নাবলী Beng. Trans. সাগরিকা—হা ধিক্ হা ধিক্! কুসুমলোভে আমার মন বিক্ষিপ্ত হওয়ায় আমি অনেক দেরী করিয়া ফেলিয়াছি। এখন এই সিন্দুবার বৃক্ষের আড়ালে আত্মগোপন করিয়া দেখিব। (অবলোকন করিয়া) অপূর্ব্ব কুসুমাষুধই দেখিলাম! আমার পিতার অন্তঃপুরে চিত্রে অঙ্কিত কামদেবের পূজা হইয়া থাকে। এখানে সাক্ষাৎ দেখিতে পাওয়া গেল। এখন আমিও এই সমস্ত কুসুমের দ্বারা ভগবান্ কুসুমাষুধকে পূজা করি। (এই বলিয়া কুসুমসকল নিক্ষেপ করিলেন)। ভগবন্ কুসুমাষুধ, তোমাকে প্রণাম করি, তোমার দর্শন আমার কল্যাণের নিমিত্ত হউক। যাহা দ্রষ্টব্য তাহা দেখা গেল। তোমার দর্শন আমার পক্ষে সাফল্যমণ্ডিত হউক। (প্রণাম করিলেন)। আশ্চর্য্য, একবার দেখিলেও পুনরায় দেখিবার উপযুক্ত। তা যাহাতে কেহ আমাকে দেখিতে না পায়, এমনভাবে আমি সরিয়া পড়ি। (কয়েক পদ গমন করিলেন) কাঞ্চন—আর্য্য বসন্তক, এখন এস, তুমিও স্বস্তিবাচন গ্রহণ কর। (বিদূষক নিকটবর্ত্তী হইল) বাসব—(চন্দন, কুসুম ও আভরণ দান করিয়া) আর্য্য, স্বস্তিবাচন গ্রহণ করুন। বিদূষক—(আনন্দে গ্রহণ করিয়া) মহিষীর কল্যাণ হউক। Eng Trans. Ságariká—Alas ! Alas ! My mind being diverted by the temptation of flowers I have made a great delay. Now concealed behind the Sinduvára tree I shall observe (the festival). (Looking) Oh I have seen an un- foreseen flower-arrowed god. In the harem of my father the deity Cupid as drawn in a picture is worshipped ; but here he is seen in person. Now, I too shall worship the flower- arrowed deity with these flowers. (Thus saying she offers the flowers). Oh flower-arrowed god! I bow to thee ; let this sight of yours be for the good of mine. What is worth seeing has been observed today. May your sight be of unfailing success to me. (Bowing down) Wonder, wonder ! though seen ( once ) he is to be seen again. Now, I shall slip away so that no one can detect me. Kánchana—Noble Vasantaka ! Now you too come here and receive your benediction-presents. (Vidushaka approaches)

प्रथमोऽङ्कः 59 Vasava—(offering sandal-paste, flowers and ornaments) Noble Brahmana, please receive your benedictory presents. Jester—(Accepting joyfully) Let good fortune attend your ladyship ! ( नेपथ्ये वैतालिकः पठति ) अस्तापास्तसमस्तभासि नभसः पारं प्रयाते रवौ, आस्थानीं समये समं नृपजनः सायन्तने सम्पतन् । सम्प्रत्येष सरोरुहद्युतिमुषः¹ पादांस्तवासेवितुं ²प्रोद्युत्कर्षकृतो दृशामुदयनस्येन्दोरिवोदीक्षते ॥२३॥ सागरिका—³(श्रुत्वा सहर्षं परिक्रम्य राजानं दृष्ट्वा सस्पृहम्) कहं अअं सो राआ उदअणो णाम जस्स अहं तादेण दिन्ना ! ता परप्पे- सणकरिसिदं वि मे जीविदं एदस्स दंसणेण दाणिं बहुमदं संबुत्तं ! (क) राजा—कथमुत्सवापहृतचेतोभिरस्माभिः सन्ध्यातिक्रमोऽपि नोपलक्षितः। ⁴देवि पश्य— उदयतटान्तरितमियं प्राची सूचयति दिङ् निशानाथम् । परिपाण्डुना मुखेन प्रियमिव हृदयस्थितं रमणी ॥२४॥ देवि तदुत्तिष्ठावः⁶। आवासाभ्यन्तरमेव प्रविशावः। ( सर्वे उत्थाय परिक्रामन्ति ) (क) कथम् अयं सः राजा उदयनी यस्याहं तातेन दत्ता ! तत् परप्रेष्य- कर्षितमपि मे जीवितं एतस्य दर्शनेन इदानीं बहुमतं संवृत्तम् !

1. ॰मुखाः 2. प्रभ्युत् 3. आकर्ण्य (सोद्वेगम्) 4. सम्प्रति परिक्षतमहः, देवि पश्य
2. तदुत्तिष्ठ ।

60 रत्नावली सागरिका—कहं पत्थिदा देवी । भोदु । तुरिअं गमिस्सं । (राजानं सस्पृहं दृष्ट्वा निःश्वस्य) कथं मन्दभाइणीए मए पेक्खिदुं वि चिरं ण पारिदो अअं जणो । (क) (इति निष्क्रान्ता) राजा—(परिक्रामन्) देवि त्वन्मुखपङ्कजेन शशिनः शोभातिरस्कारिणा पश्यान्यानि विनिर्जितानि सहसा गच्छन्ति विच्छायताम् । श्रुत्वा ते परिवारवारवनितागीतानि भृङ्गाङ्गना लीयन्ते मुकुलान्तरेषु शनकैः सञ्जातलब्जा इव ॥२५॥ (इति निष्क्रान्ताः सर्वे) इति मदनमहोत्सवो नाम प्रथमोऽङ्कः (क) कथं प्रस्थिता देवी ! भवतु, त्वरितं गमिष्यामि । कथं मन्दभागिन्या मया प्रेक्षितुमपि चिरं न पारितः अयं जनः । वैतालिकः मागधः । विविधाश्चासौ तालः, तेन चरतीति वैतालिकः स्तुतिकीर्त्तनविद् । अस्तापास्तेति । अस्ते अस्ताचले अपास्ताः निक्षिप्ताः समस्ताः भासः किरणा येन तस्मिन् रवौ नभसः पारं प्रयाते अस्तङ्गते इत्यर्थः । सायन्तने समये सायं काले दृशां लोकनयनानां प्रीत्युत्कर्षं कृतः आनन्दातिशयं विदधतः सुधामयूखत्वात्, (राजपक्षे) रञ्जनशीलत्वात् रमणीयाकृतित्वाच्च इत्यर्थः । इन्दोः चन्द्रस्य इव तव सरोरुहद्युतिमुषः कमलशोभापहारिणः, चन्द्रोदये कमलानां निमीलनेन शोभापगमात् । पादान् (चन्द्रपक्षे) मयूखान् (राजपक्षे) चरणौ बहुवचनं त्वत्यादरात् इत्यर्थः । सेवितुं एषः नृपजनः प्रस्तावनायां पादपद्मोपजीवी राजसमूह इति यदुक्तं तस्यैव समर्थनम् । सम्प्रति आस्थानीं राजसभां समं युगपत् सम्पतन् उदीक्षते औत्सुक्येन अपेक्षते । ऊर्ध्वं प्रेक्षते च । शार्दूलविक्रीडितं वृत्तम् । श्लेषाणु- प्राणितैयमुपमा । पादान् इत्यत्र श्लेषः ॥२३॥ तत्परेति । परस्य प्रेष्यं प्रेरणां परादेशकारित्वमिति यावत् वासवदत्तायाः आज्ञा- कारित्वमिहस्य कथयतीति भावः । तेन परप्रेष्येण कथितं क्लिष्टमपि जीवितं एतस्य

प्रथमोऽङ्कः 61 उदयनस्य दर्शनेन इत्यर्थः । उदयतटेति । इयं प्राची पूर्वा दिक् उदयतटान्तरितं उदयाचलाच्छन्नं निशानाथं रमणी हृदयस्थितं प्रियम् इव परिपाण्डुना (प्राचीपक्षे) चन्द्रोदयात् प्रागेव धवलिमानमापन्नेन (रमणीपक्षे) म्लानेन मुखेन सूचयति । यथा काचित् रमणी हृदयावस्थितम् अभिमतं जनं वदनपाण्डुतया सूचयति तथैवं प्राची दिक् चन्द्रोदयात् प्राक् चासादितधवलिमा उदयाचलाच्छन्नं चन्द्रमुदीयमानं सूचयतीति अभिप्रायः ॥ आर्यावृत्तम् । उपमालङ्कार ॥२४॥ देवीति । देवि शशिनः शोभातिरस्कारिणा तन्मुखपङ्कजेन मुखपद्मेन अङ्गानि पद्मानि विनिर्जितानि सन्ति विच्छायतां मालिन्यं गच्छन्ति प्राप्नुवन्ति । परिवाराः एव वारवनिताः तासां परिजनगणिकानाम् गीतानि श्रुत्वा भृङ्गाङ्गनाः सञ्जातलब्जाः लज्जिताः इव वारवनितानां गीतेः उत्कर्षाद् इति भावः । मुकुलान्तरेषु शनकैः मन्दं लीयन्ते समाश्रयन्ते ॥ शार्दूलविक्रीडितं वृत्तम् । उत्प्रेक्षालङ्कारः ॥२५॥ इति प्रथमोऽङ्कः Prose order. अस्तापास्तसमस्तभासि रवौ नभसः पारं प्रयाते दृशां प्रीत्युत्कर्षकृतः इन्दोः इव उदयनस्य तव सरोरुहद्युतिमुषः पादान् आसेवितुं सम्प्रति एषः नृपजनः सायन्तने समये आस्थानीं सम्पतन् उदीक्षते ॥२३॥ इयं प्राची दिक् रमणी हृदयस्थितं प्रियम् इव परिपाण्डुना मुखेन उदयतटान्तरितं निशानाथं सूचयति ॥२४॥ देवि, पश्य—शशिनः शोभातिरस्कारिणा तन्मुखपङ्कजेन विनिर्जितानि अङ्गानि सहसा विच्छायतां गच्छन्ति । भृङ्गाङ्गनाः ते परिवारवारवनितागीतानि श्रुत्वा सञ्जातलब्जाः इव शनकैः मुकुलान्तरेषु लीयन्ते ॥२५॥ নেপথ্যে বৈতালিক পাঠ করিল Beng. Trans. অস্তাচলে কিরণরাশি নিক্ষেপ করিয়া সূর্য্যদেব নভোমণ্ডলের পরপারে চলিয়া গেলে সভাস্থিত সমস্ত রাজলোক সায়ংকালে জনগণের দৃষ্টির আনন্দবর্দ্ধক উদীয়মান চন্দ্রের ন্যায়—পদ্মের শোভাপহরণকারী আপনার পাদদ্বয় ( চন্দ্রপক্ষে কিরণ ) সেবা করিবার নিমিত্ত অপেক্ষা করিয়া রহিয়াছেন ( চন্দ্রপক্ষে—উর্দ্ধদিকে নিরীক্ষণ করিয়া রহিয়াছেন ) ॥২৩॥

62 রত্নাবলী সাগরিকা—( শুনিয়া সহর্ষে প্রত্যাবর্ত্তন পূর্ব্বক সস্পৃহভাবে রাজাকে দেখিলেন ) এই কি সেই রাজা উদয়ন যাঁহার হস্তে আমার পিতা আমাকে অর্পণ করিয়াছেন! এখন ইঁহাকে দেখিয়া পরের আজ্ঞাপালনহেতু ক্লিষ্ট আমার জীবন আজ আমার নিকট বহু আদরের বস্তু হইয়াছে! রাজা—আমাদের চিত্ত উৎসবের দ্বারা অপহৃত হওয়ায় সন্ধ্যা যে অতিক্রান্ত হইয়াছে তাহা আমরা লক্ষ্য করি নাই। মহিষি, দেখ—যেমন কোনও রমণী নিজের হৃদয়স্থিত প্রিয়কে নিজের পাণ্ডুবর্ণ মুখমণ্ডল দ্বারা সূচিত করে, সেইরূপ এই পূৰ্ব্বদিক্ শুভ্রবর্ণ দ্বারা উদয়াচলের অন্তরালে আচ্ছন্ন চন্দ্রদেবের সূচনা করিতেছে॥২৪॥ তাহা হইলে গৃহাভ্যন্তরে প্রবেশ করা যাউক (সকলে উঠিয়া পরিক্রমণ করিলেন) সাগরিকা—মহিষী কি প্রস্থান করিলেন? যাহা হউক, আমিও শীঘ্র যাইব। ( রাজাকে সস্পৃহভাবে দেখিয়া নিঃশ্বাস পরিত্যাগ করিলেন।) আমি কিরূপ মন্দভাগিনী যে আমি ইঁহাকে অধিকক্ষণ দেখিতেও পাইলাম না। ( নিষ্ক্রান্ত ) রাজা—(পরিক্রমণ করিয়া), দেবি, চন্দ্রের শোভাকে তোমার যে মুখপদ্ম তিরস্কার করিয়াছে, দেখ সেই পদ্মের দ্বারা বিনির্জ্জিত হইয়া সহসা এই পদ্মগুলি মলিনতা প্রাপ্ত হইয়াছে। তোমার বারবনিতা-পরিজনগণের গান শ্রবণ করিয়া ভ্রমরীগণ লজ্জায় অভিভূত হইয়া মুকুলাভ্যন্তরে লুক্কায়িত হইতেছে॥২৫॥ (সকলে নিষ্ক্রান্ত) মদনমহোৎসব নামে প্রথমাঙ্ক সমাপ্ত Eng. Trans. (The bard sings out hehind the screen) The Sun having traversed the sky after casting all his rays on the Setting-mountain at the hour of evening, this host of princes assembled in the chamber-hall looks up at present to Udayana causing excessive joy to the sight (of the people) like the rising moon, with a view to waiting upon your feet (or the moon-beams) depriving the lotuses of their lustre. 23. Ságariká—(Listening turns round in delight and seeing the King with eagerness) How, is this the king Udayana to whom I have been betrothed by my father! Now though my life is

प्रथमोऽङ्कः 63 harrowed by servitude unto others (Queen), yet at the sight of this person, it (life) is of great worth to me at present. King.—How it is that our mind being carried away by the festival, we have not noticed the evening passing away ! O my lady, behold— The eastern direction indicates by whiteness of appearance the lord of the night (i.e., the moon) concealed behind the Rising mountain, as a lovely woman does her beloved hidden in her heart by means of her pale face. 24. (All rise and walk round) Ságariká—How, the Queen has departed ! Now I shall go hastily. (Looking at the King with eagerness and breathing a deep sigh) How unfortunate I am that I could not see this person even for a long time ! (Exit) King—(Going round), O Queen, behold,—the lotuses now being humbled by your lotus-like face overshadowing the beauty of the moon, suddenly grow lustreless ; the female bees hearing the songs of your attendant.courtezans feel ashamed, as it were, and slowly hide themselves within the buds (i.e., lotus-buds). 25. (All exeunt) Here ends the First Act entitled "The Great Cupid Festival."

Ratnavali Act I Notes P. 1. महाकवि श्रीहर्षविरचिता—Apart from Harsha being a great ruler he was a great poet who wrote three dramas namely Ratnávali, Priyadars'iká and Nágánanda. The first two of these mutually correspond in their subject-matter, but as regards the third Shri Harsha wrote it with a Buddhistic tinge when in the last stage of his life he was inclined towards Buddhism. But the subject-matters of these three dramas are found in the Kathásaritságara of Somadeva. That Shri Harsha was a great poet and that he apart from his royal duties found diversion in the cultivation of poetry is testified by Jayadeva who puts him along with other great poets. Cf. “यस्याश्चोरश्चिकुरनिकरः कर्णपूरो मयूरो भासो हासः कविकुलगुरुः कालिदासो विलासः । हर्षो हर्षः हृदयवसतिः पञ्चबाणस्तु बाणः केषां नैषा कथय कविताकामिनी कौतुकाय ॥” रत्नावली—The name of the Drama after the name of the heroine or according to some scholars after the jewel-necklace that play a prominent part in the recognition of the heroine. रत्नावलीम् अधिकृत्य कृता नाटिका इति रत्नावली + अण् by the rule ‘अधिकृत्य कृते ग्रन्थे’ and the suffix अण् is elided by the rule ‘लुबाख्यायिकाभ्यो बहुलम् ।’ आख्यायिका here means all sorts of compositions in general. Then begin the Nándi Shlokas for a good finis of the work in accordance with the traditional practice of the Sanskrit play-

प्रथमोऽङ्कः 65 wrights. In the present work the Nándi Shlokas are 5 in number of which one is regarded as an interpolation and so is found absent in some editions. पादाग्रस्थितया—Standing on tiptoe. पादयोः अग्रे ( ६ष्ठीतत् ) ; ताभ्याम् स्थिता ( ३यातत् ) तया ; qualifying गिरिजाया । नम्रताम्—A stooping posture. नम्रायाः भावः इति नम्रा + त्व = नम्रत्व, the पुंवद्भाव is provided by the rule त्वतलोर्गुणवचनस्य । शम्भोः—शं सुखं भावयतीति शम् + भू + णिच् + डु ; here is णिच् is impli- citly added to the root भू । सस्पृहलोचनत्रयपथम्—The range of the three wistful eyes ( i. e., look of love ). स्पृहया सहितानि ( बहुव्रीहि ) तानि लोचनानि ( कर्मधा ) तेषां त्रयम् ( ६ष्ठीतत् ) तस्य पन्थाः ( षष्ठीतत् ) ; the समासान्त अ is added to पथिन् by the rule “ऋक्पूरब्धूःपथामानक्षे” । यान्त्या—या + शतृ + स्त्रियां ङीप् ; alt. form यात्या by the rule “भूदिवाद्योः शतुर्नुम् वा तुदादिरुदादिराभ्यस्तस्य च.” The root या is of अदादि class. ह्रीमत्या—Bashful. ह्रीः अस्याः विद्यते इति ह्री + मतुप् + स्त्रियां ङीप् तया । ह्री ( धातु ) + क्विप् = ह्रीः । ईङ्गितः—Intended. ईङ्ग् ( चेष्टायाम् ) + क्तः कर्मणि । Though the root ईङ्ग् means a physical effort, yet all such efforts are based upon volition ( सङ्कल्प ) । Cf. सर्वे सङ्कल्पजाः कामाः—मनु । Conj. ईङ्गते ( भ्वादि-आ ), ईङ्गाम्बभूव, ईङ्गामास etc. ईङ्गित here qualifies कुसुमाञ्जलिः । सपुलकस्वेद etc.—Adj. to गिरिजाया । पुलकश्च स्वेदोद्गमश्च उत्कम्पश्च ( द्वन्द्वः ), तैः सहिता या ( बहु ) तया । पुलक, स्वेद, etc., are the सात्त्विक भावs which are eight in number. These are nothing but the outward manifestations of eight different states of a strong internal feeling indicating the calmness of self. ( सत्त्वं नाम स्वात्मविश्रामप्रकाशकारी कश्चनान्तरो धर्मः—सा. द. ) 5