प्रियदर्शिका नाटिका (सम्राट हर्षवर्धन - चतुरङ्क शास्त्रीय नाटिका सान्वय सटीक)

pp 41–42. 29 [ Act III.
Vᴀ'sᴀᴠᴀᴅᴀ.—(Rising suddenly) Revered lady, you see
the representation. I, for myself, cannot bear to see
what is false.
Sᴀ'ᴍᴋʀ.—Princess, this Gandharva form of marriage
is sanctioned by the religious codes of law. What is
the matter for shame in this? This is a dramatic
representation. So it is not proper to go away causing
a break in the interest when there is no occasion for it.
Vᴀ'sᴀᴠᴀ.—(Walks away).
IɴᴅÍᴠᴀʀɪᴋᴀ'—(Looking on) Your Highness, Vasantaka,
is lying in deep sleep at the door of the Picture-gallery.
Vᴀ'sᴀᴠᴀ—(Observing carefully) This is Vasantaka,
indeed. (Reflecting.) The King also must be here.
So having roused him I will just ask him. (Wakes him
up.)
VɪᴅÛ.—(Rising dull with sleep and looking up
suddenly) Manoramā, has my dear friend come back
after having played his part; or is he acting still?
Vᴀ'sᴀᴠᴀ.—(With dejection) What! My husband is
acting? Where is Manorámá now?
VɪᴅÛ.—Here, waiting in the Picture-hall.
Mᴀɴᴏʀᴀᴍᴀ'—(With alarm, to herself) How was it
that the Queen asked him taking quite a different view
of the matter; and this foolish fellow too understanding
her in quite a different way spoiled the whole matter?
Vᴀ'sᴀᴠᴀ.—(Laughing angrily) Bravo! Manoramá,
bravo! nicely have you acted!
Mᴀɴᴏʀᴀᴍᴀ'—(Falling at her feet, trembling with fear.)
Your Highness! It is not, indeed, my fault in this
case. By this rascally fellow standing at the door
I was detained here, after taking the decorations from
me. And again, my voice, as I cried, was not heard
by anyone, as it was drowned in the sound of the
tabor.
Vᴀ'sᴠᴀ.—Get up, girl, I know it all. Vasantaka is
the chief manager in the play—The story of ^ --