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

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seen in the last Act that this she turns out to be. गीतनृत्त•—
These are the first three of the 64 arts often referred to by
Hindu writers and mentioned by Vātsyāyana in his Kāmasūtras,
For these see our notes on Bha. Nīt. Śat. p. 42. नृत्त-is
different from नृत्य and consists of the rhythmical movement of
the body (without gesticulation) and is regulated by the mark-
ing of musical intervals and time (नृत्तं ताललयाश्रयम् Das. R. I. 9).
By आदि may be meant painting (आलेख्य) and others. These
were considered as a necessary part of the accomplishments of a
maiden of high family. '
वैतालिकः—A bard or minstrel, whose principal duty in
ancient times it was to announce metrically the close of the
divisions of the day; vide Vik. II. 1; Rat. I, 23, &c.; sometimes
two bards are mentioned; see Śāk. V. 7, 8; Mudr. III. 20-
23; &c.
Śl. 11. The cons. is ते स्नानभूमिं लीला.. संपादिनः शर्वो... लोकस्य
॰दानैः स्तनैः उल्लसिताः कलशैः इव अलंकृता. For comps. see com. उप-
करण—Articles necessary at a bath स्नानीयं—Unguents or
perfumed powders to be rubbed against the body; or a bathing
garment; or a garment for wiping off the body after a bath, as at
Māl. V. 12 (स्नानीयवस्त्रक्रियया). वारविभ्रमवती—वार a multitude;
विभ्रमवती a woman; cf. विलासवती; hence वारवि॰—a woman of the
multitude, a courtezan or harlot; वार with any word meaning स्त्री has
this sense. The courtezans formed also a part of the attendants
of the harem. Cf. Kautilya's Arth.ś I. 20. आयास—Exer-
tions in the discharge of their several duties. स्खलत्—dropping
or slipping down अव्यहित—not concealed, exposed to view.
व्यवहित—v. l spreading out. छाया—splendour, gleam. अवदात—
white, fair. शातकुम्भ—gold; or golden; fr. शतकुम्भ gold (said
to be found in the शतकुम्भ mountain); in this latter case the
form should be शातकौम्भ according to some. Their uncovered
breasts on account of their size and colour looked like other
pots of gold. For the presence of courtezans at the king's bath
cf. राज्ञः समन्तादुपतस्थुः—गृहीतजलकलशाः स्नानार्थमभिषेकदेवता इव वारयोषितः।
Kād. p. 32. सहस्रदीधितिः—सहस्रं दीधितयो यस्य, दीध्यते that which
shines इति दीधितिः fem, a ray of light.
अये कथं &c.—We have almost the same words in the Nāga.
introducing a description of the midday-sun with which the first
Act of that play as of this closes. Here the poet has used the
device of introducing a bard, as done by his great predecessor
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