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

27
P. 30. अहो—expresses admiration. This praise of course
refers to the first part of the play that had been already acted.
See p. 23. The 2nd part it seems was not seen by the Queen, as
she finds much in it to be found fault with, as will appear from
the subsequent representation. गूढपु०—qualifies आर्यपुत्रचरितं.
सातङ्कमपि—and so likely to prove insipid and without interest.
इव for अपि is quite out of place. आर्यपुत्र—The husband is
addressed or referred to in dramas as आर्यपुत्र (the son of the
father-in-law). आयुष्मति—This is a sort of blessing. Young
people are to be addressed by elders as आयुष्मन् or -ती.
आश्रयगुणः &c. —आश्रय the subject, the person or thing on
which anything depends or rests; here the King and the Queen.
Cf. पात्रविशेषन्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः । Mal. I. 6. क्रिया हि वस्तु-
पहिता प्रसीदति Ragh. III. 27.
असारम्—Lacking excellence; सार pithy sentences, charming
sense, cf. for this sense ययाऽसि वाचस्पतिभाषणेन साराणि लब्धुं प्रहसन्प्रतीपं ।
शुकाह्वयस्त्वमृषिषे परेषां ; and गिरां प्रवृत्तौ मयि वीरसारैर्मान्या मदिच्छा नृपते-
र्जयैषिणः । Vik. Ch. I 7; 28.
Śl. 1. परिच्छित्—Trifling, unimportant or uninteresting.
भस्मपङ्कः—Cf. गुणवज्जनसंसर्गाद्यान्ति स्वल्पोऽपि गौरवम् । पुष्पमालावगुण्ठेन
मृच्छिरसि धार्यते ॥ Kshemendra. कुम्भतट—The surface or skirt of;
or तट like गिरि may be प्राशस्त्ये; the large temples. It is difficult
to see the propriety of the epithet मत्तः; perhaps the poet means
that an infuriated elephant only is likely to butt against a heap
of ashes and get his temples besmeared with the same.
बह्मणो जामाता भवति—It is not clear from the play whether
Sāṁkr. was some elderly near relative of the Queen or simply
one held in such reverence by her as to be called a mother.
अभिनयं—Is used here in the sense of dramatic representation.
प्रेषणीयता—used to correspond in sound with वेसा (गृह ).
Śl. 2. शातकुम्भे—See I. 11. अवसक्त—hung up, festooned
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