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

26
Padmávatí was offered to him in marriage and he readily gave
his consent.
अन्यासां च &c.—The Kathá does not refer to any other
queens of Udayana. यत्र तदपि—The cons. is यत्र यस्मिन्स्थाने तदपि
स्यादभूत्. Or तद् may be translated as तां (दीर्घिकामपि). करतल &c.—
This indicates the intensity of the king's passion, any thing
connected with the object of his love is comforting to him.
Dushyanta similarly derives consolation from the sight of the
arbour occupied by the love-sick Śakuntalá. See Śak. III. 24.
Dissolve करतलस्पर्शेन द्विगुणितं यथा तथा सुखानि च तानि शीतलानि च; सुख
is an adj. here, cf. महतो धनुः सुखा, Ragh. III. 14, also 19. सुख
may be derived as सुखयन्तीति तत् from सुख् denom. from सुख
or better still सु सुखानि खानि इन्द्रियाणि अनेन.
अह ते शापयामि—Vasa. misunderstands her and thinks that she
will tell the Queen that he was in search of A'ran. and that
there was some love-intrigue.
P. 29. सावेग—Because her love-affected state was brought
to Vidu.'s notice by Manoramá. Sree. omits द्विगुणतर, see readings.
कर्णे कथयति—Mark the dramatic device used here to avoid
an early disclosure of the plan which is set forth later on
(see infra p. 34 where the king repeats what Manoramá
whispered into Vasan.'s ear, mentioning also the name of the
play that was to be enacted) that the interest of the audience
in the incidents to follow may be well sustained. The plan
suggested was that the king himself should act his part in
place of Manoramá in the Garbhanáṭaka, A'ran. playing the
role of the princess Vásavadattá. अपवार्य—The stage
direction (opposed to प्रकाश) is used when a character says
something aside so as to be heard only by the person addressed,
excluding others with the tripatáka hand (i. e. all the fingers
except the thumb and the one near the little finger raised so as
to form three banners as it were). नेपथ्यग्रहण—Here नेपथ्य
means the costume proper for a particular character.
अतिक्रोपने—This she says because A'ra. got angry with her
for saying येन रूपकमेव मन्मथेनापहस्तितमिति above. प्रेक्षागृह—प्रेक्षार्थं गृहं
lit. a house for exhibition or representation, a play house. It
was a hall or a house attached to the palace, usually used for
instruction in music, singing and dancing and occasionally for
the exhibition of dancing or the respresentation of plays. It is
also referred to in the Mál. I, see p. 22.