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

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garment and cries out to Indīvarikā for help. Indīvarikā was
at some distance away from her. So Vasantaka advises
the King to run to her rescue. The King does so and
gets an opportunity of embracing her. But instead of
remaining silent he addresses her in a flattering stanza.
A'raṇyikā, who supposed that she had been helped by
Indīvarikā, is startled to find that her rescuer is king Vatsa.
She is, however, glad to find that it was he to whom her
father had promised her in marriage. She, however,
calls to Indīvarikā in alarm and when the latter comes the
King has to go away and hide himself. Âraṇyikā departs
with her companion, with a sad heart, smitten with love. The
king too departs, full of deep longing and anxious to meet
again the object of his new love.
Act III.—We learn from the monologue of a female atten-
dant named Manoramā that a little play composed by Saṁkṛtyā-
yanī, a learned friend of Queen Vāsavadattā, is to be per-
formed for the amusement of the Queen. The play repre-
sented an episode in the courtship of Queen Vāsavadattā
and King Vatsarāja. Āraṇyikā is to play the part of Queen
Vāsavadattā and the Queen's attendant, Manoramā, is to ap-
pear in the role of King Vatsa. Manoramā while searching for
A'raṇyikā in the garden finds her in her love-sick condition.
She overhears Āraṇyikā lamenting her hopeless passion for
the King. Manoramā tries to cheer her up. At this very
moment the Vidūshaka arrives there in search of A'raṇyikā
by the King's command. The two maidens overhear the
King's confidant and learn of the King's passion for A'raṇyikā.
In the conversation that follows between the Vidūshaka
and Manoramā, the latter whispers to him a device for
bringing about the meeting of the lovers. Next comes the
scene of the Mimic play. It is to be performed in the play-
house attached to the palace. The Queen with her
attendants and Sāṁkṛtyāyanī comes to witness the play.
Āraṇyikā appears in the role of the Queen. But
Manoramā does not play the part of the King. For
according to the device made known to the King through
his companion, it is arranged that the King shall play
his own part instead of Manoramā's playing it. The
King then enters secretly and begins to act his part in
the Mimic play. In playing his part he makes advances to