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

26
Padmávatí was offered to him in marriage and he readily gave
his consent
नान्यासां च &c.—The Kathá does not refer to any other
queens of Udayana. यच्च तदपि—The cons. is यच्च यस्मिन्स्थाने तदपि
स्थानम् Or तद् may be translated as तो (दीर्घिकामध्ये) 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 Sakuntalá See Śak III 24
Dissolve करतलस्पर्शेन द्विगुणितं यथा तथा सुखानि च तानि शीतलानि च, सुख
is an adj here, cf मरुतो वपुः सुखा, Ragh III 14, also 19. सुख
may be derived as सुखयन्ति सुख from सुखय् denom from सुख
or better still सु सुखानि स्यति इन्द्रियाणि येनेन
अह से ज्ञापयिष्यामि—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 ज्ञातेन—Because her love-affected state was brought
to Vidá '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 Garbhanátaka, A'ran playing the
role of the princess Vásavadattá अपवार्य—This 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 tripataka 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) योग्यनेपथ्यग्रहणे—Here नेपथ्य
means the costume proper for a particular character
अतिकोपयने—This she says because A'ra got angry with her
for saying देवं एवमेव सन्निहितं संभावयन्त्यापि above प्रेक्षागृहं—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 ocasionally for
the exhibition of dancing or the respresentation of plays It is
also referred to in the Mál. I; see p 22