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

pp. 27-28. 19 [ Act III.
(Enter VIDU'SHAKA) .
'VIDU'.—Very great, indeed, is my dear friend's pas-
sion for Ar'anyika'. For having set side the affairs of
state he has been diverting himself by thinking about a
remedy to obtain her sight only. (Reflecting) Where
shall I find her then? Or why; I will search for her
just there, on the margin of the pond. (Walks on).
MANO.—(Hearing) A sound like that of foot-steps is
heard. So becoming concealed in the clump of plantains
we shall see who is this (that is coming). (Both do
accordingly and see).
AR'AN.—Ah, he is the very Bràhmana, who is always
at the side of the king.
MANO.—How, Vasantaka himself! (Joyfully to-
herself) May it be that way (i.e. as I wish it)?
VIDU'.—(Looking in all directions) What! Has A'ran-
yikà really become Ar'anyikà (acting like a forest-bred
girl; or, gone to a forest, as she is not found here) now.
MANO.—(With a smile) Friend, the king's companion,
the Brahmana, is talking with respect to you. So let us
listen attentively.
(AR'ANYIKA' listens eagerly and bashfully.)
VIDU'.—(Dejectedly) When in the first place, at the
bidding of my dear friend whose body has become languid
owing to the very great torment of love, I looked for her
at the residence of the queens Vāsavadattā, and
Padmāvati and of other queens, and did not find her
there, I came here, thinking I should search the place
also where she was seen at the pond. But then she is
not here also. What shall I do now?
MANO.—Did my dear friend hear this?
VIDU'.—(Reflecting) Or why! It was already said to
me by my friend—If you do not find her, after searching
for her, then come, taking from that very pond at least
the lotus-leaves that have had their pleasure-giving
coolness doubled by the touch of her hand. Then how
am I to know these?

Act III. ] 20 pp. 28-29.
MANO.—This is my opportunity. (Approaching and
taking VIDU'. by the hand). Vasantaka, come on. I will
show (also; expose) you.
VIDU'.—(In alarm) Expose me! to whom? To the
Queen? I have not, at all, said any thing.
MANO.—Vasantaka, dismiss this fear. As you have
described to have been the condition of your dear friend
on account of Aranyikā, double of that has been the
state of my dear friend on account of our lord. So see
it, see it.
VIDU'.—(Seeing, with joy) My labour has borne fruit.
Hail to your ladyship!
(ARANYIKA' bashfully casts off the lotus-leaves and
rises).
MANO.—Noble Vasantaka, at your mere sight my dear
friend's affliction has vanished, so that she is herself
removing the lotus-leaves. So your noble self should
favour them (by taking them).
AR'ANYIKA'—(With agitation), O you given to joking,
why do you put me to shame? (She stands with her face
slightly turned back).
VIDU.—(With dejection) Let the lotuses remain. Your
dear friend is extremely bashful. So how is their union
to take place?
MANO.—(Musing for a moment, joyfully) Vasantaka,
in this way, it seems. (She whispers into his ear).
VIDU.—Excellent, dear friend; cleverly suggested!
(Aside) By the time you two put on your costumes,
I will come taking my friend with me. (Exit).
MANO.—O passionate one, get up, get up. We have
to act the remaining part of that very play. Come then;
let us go to the play-house. (Walking round and seeing)
Here is the play-house. Come then; let us enter in.
(Gesticulating entrance and looking about), Well done,
well done! Every thing is got ready; the Queen must
be coming.
(Enter the QUEEN, SAMKRITTYAYANI and the retinue
according to rank.)

'pp. 30-31. 21 [ Act III.
VA'SAVADATTA'—Revered lady, how wonderful is
your poetic genius! For this story of my husband, with
its secret incidents, although a mattter of experience,
being dramatised (by you) raises our interest in it all
the more, when being seen, as though it had not been
seen before.
SA'MK.—O you of long life, the merit of this subject is
such that a poem though without excellence (insipid)
necessarily causes delight to the ears of its hearers. See,
Generally even an insignificant thing attains eminence
by its connection with what is great; for even ashes
come to be a decoration when applied to the broad
temples of a rutting elephant. (1)
VA'SAVA.—(With a smile) Revered lady, it is a patent
fact (lit., is but known) that the son-in-law is loved by
every one. So what is the use of thus continuing the
conversation? It is better to see the very same
representation.
SA'MKR.—Just so. Indîvarikâ, lead the way to the
play-house.
MAID—Come, come, my Queen. (They all walk on.)
SA'MK.—(Looking on) Oh the loveliness of the play-
house!
Charming with the huge strings of pearls hanging
from the golden posts decked with hundreds of jewels,
and occupied by the youthful damsels that have
conquered (surpass in beauty) the nymphs of heaven,
this play-house appears like the (aerial vehicle, or)
residence of the gods. (2).
MANO. and ARAN.—(Approaching) Prosperity, pros-
perity, to the Queen!
VASAVA.—Manorama,' the twilight has indeed,
passed. Go you then, and quickly put on your costumes.
BOTH—As the Queen commands. (They start to go).
VA'SA.—Aranyika,' go to the dressing room and decorate
yourself with these very ornaments that are put on my
person. (She removes the ornaments from her person and

Act III.] 22 pp 31-32.
hands them over to A'ran.). Manoramá, you too take from
Indivarikâ the ornaments that were given to my
husband by my father when pleased by his capture of
Nalagiri and decorate yourself, so that you will look
quite like the King.
(MANORAMA' takes the decorations from INDIVARIKA' and
exit with ARANYIKA').
INDIVARIKA'—Here is a seat; may your Majesty sit
down.
VA'SAVA.—(Pointing to a seat) May your reverence sit
down.
(BOTH sit down).
(Enter the CHAMBERLAIN having put on his dress).
Looking after the management of the inner apart-
ments, guarding against stumblings at every step, and
now led by a staff, being broken down by old age,
I imitate all the actions of a king, who, following the
science of government, maintains order within cities and
avoids errors of policy at every step. (3).
I am commanded by Mahâsena, who bears a significant
name and who has put to chagrin (overpowered) all the
armies of his enemies, to inform the ladies of the harem
thus—Tomorrow we are to celebrate the Udayana
festival. Therefore you are to repair to the garden, of
Love with your retinue splendid with dresses befitting
the festival.
SA'NK.—(Pointing to the CHAM.) Princess, the play has
commenced. Please see it.
CHAM.—So this is what I have to tell them—that
they should go accompanied by their attendants and not
attendants with their decorations put on. For,
Among these (inmates of the harem) even the
servants of the maids-in-attendance of the queens are
conspicuous with their feet adorned with anklets, with
their broad hips having gingling girdle-bands, with their
large breasts decked with (lit. having beauty imparted
to them by) pearl necklaces, with their arms having
Keyuras (armlets) on them, and with their ears furnished

with Kundalas, their hands with bracelets and their
hair with Swastikas. (4)
There is nothing, indeed, unusual that is to be done
here. Thinking that it is my master's order, I will
simply communicate the remaining part of the king's
order to the Princess.
(Walking about and seeing.) Here has that (princess)
Vâsavadattâ entered the music-hall followed by
Kânchanamâlâ, lute in hand. I will just tell her.
(Walks forth.)
(Enter A'VANTIKA, in VÂSAVADATTA's costume, seated,
and KÂNCHANAMÂ'LÂ, with a lute in her hand).
A'RAN.—Friend, Kânchanamâlâ, why again is the
music-master tarrying even to-day ?
KA'NCH :—Princess, he has seen a crazy fellow ; and
overpowered by wonder at hearing his words he has
stayed there enjoying the fun (lit. laughing at him).
A'RAN.—Maid, well does he ask him. Both are mad
men, as it is said—'The like take pleasure in the like.'
SÂ'MKR—I see that her form is like that of a princess;
so with such a form she is sure to act your part well.
CHAM.—(Advancing) Princess, His Majesty sends word
to you—To-morrow we are sure to hear you playing the
lute. So you should be ready with Ghoshavatî fitted
with new strings.
AR'ANT—Sir, if so, quickly send the music-master.
CHAMB.—Here I send Vatsarâja to you. (Exit).
A'VANT.—Kânchanamâlâ, bring me the lute
(Ghoshavatî). I will just examine its strings.
(KÂ'NCHANAMÂ'LÂ' hands over the lute.)
A'VANTIKA' puts it on her lap and strikes (or, adjusts)
the strings).
(Then enter MANORAMA' having put on VATSARÂJA's
decorations).
MANORAMA'—(To herself) Surely the King tarries.
Is it that Vâsotaka did not tell him, or is he afraid
T. 3

Act III.] 24* pp 34-35
of the Queen? If he comes now it will be a nice
thing
[Enter the King, and Vidûshaka with his body veiled]
KING—The cool-rayed one (moon) does not cause
affliction to me just to-day as at first, now only hot
sighs do not parch my lip as they did constantly before,
just now my mind is not vacant nor are the limbs
languid as formerly, and my torment becomes reduced
even as the desires of my heart are thought of (as near
fulfilment) (5)
Friend, did Manoramâ really say—"Since my dear
friend is kept even out of the path of the King's sight
by the Queen, this is the way to bring about their
union To-day at night we are to enact before the
Queen the play called Udayanacharita In it Âranyakâ
will be Vâsavadattâ and I too Vatsarâja. Everything
is to be learnt (acted) according to his own doings So
having come and acting his part himself, let him enjoy
the pleasure of her company "
VIDÛ.—If you do not believe me, here is Manoramâ
waiting, wearing your costume So approach her and
ask her yourself
KING—(Approaching MANORAMA) Manorama, is what
Vasantaka says true?
MANORAMA—Sire, quite true Decorate yourself with
these ornaments (With these words she takes off the
ornaments from her person and hands them over to the
KING)
(The KING puts them on)
VIDÛ.—Here, indeed are kings thus made to dance
(act) even by a maid servant Oh the importance of
business (the object to be achieved)!
KING—(Laughing) Fool, this is not the time for
joking Silently enter the picture gallery and wait
there with Manoramâ beholding our acting
(Both act accordingly)
A'RANY.—Kâñchanamâlâ, let alone the lute. Just
I wish to ask you something

pp. 35-36 *25 [ Act III.
KING—Let me hear ( to know ) which part of the
story is being acted. (He listens attentively).
KA'NCH—May the Princess ask.
A'RANY.—Does my father really say so, viz.—"If
playing on the lute Vatsarâja captivates me I will
necessarily free him from captivity."?
KING—(Entering with a toss of the curtain, joyfully
ties a knot in the hem of his garment). Thus it will be.
What doubt is there ?
Having filled Pradyota with his attendants with
wonder by my performance on the lute, I see that
ere long I shall take away Vâsavadattâ. (6) .
For all things have been well arranged by Yaugand-
harâyaṇa.
VA'SAVA.—(Rising at once) Prosperity ! prosperity to
my husband !
KING—(To himself) How is it that I am recognized
by the Queen ?
SA'MKR.—(With a smile) Princess, away, away with
this hurry ( or, confusion ). This is a play.
KING—(To himself joyfully) Now I am made to
breathe freely.
VA'SAVA.—(Sitting down with a smile of embarrassment)
What ! this is Manorama ! I thought it was my
husband. Bravo, Manoramâ, bravo. Excellently acted.
SA'MKR.—Princess, rightly, indeed, was confusion
caused in you by Manoramâ. Consider—
Here is that same form (of Vatsarâja), the cause of
delight to the eyes; the same is the splendid costume ;
self-same is this her gait here, that characterises an
intoxicated elephant; the same is the exceedingly lofty
dignity ; her grace the same, and the very same is
her voice that resembles the rumble of water-charged
clouds: here is presented before us, in his very person,
the lord of the Vatsas himself by her, clever (in
acting). (7).

Act III. ] 26 pp 36-37.
VA SAVA.—O Indīvarikā, I was taught to play on the
lute by my lord in fetters, so fetter him with this
garland of blue lotuses. (Taking off from her head the
garland of blue lotuses she gives it to her)
(INDIVARIKA does as directed and sits down in the same
place.
A RANY.—Kānchanamālā, tell me, pray tell me. I ask—
Does my father really say this, viz—"If Vatsarāja
captivates me by his playing on the lute, then I will
necessarily set him free from captivity "
KĀNCHA.—Princess, he does, really. Act in such
a way that, as a matter of fact, you will be highly
esteemed by Vatsarāja.
KING—Kānchanamālā has actually brought to pass
what was then desired by me.
A RANY.—If so I will play with care.
(Plays upon the lute, singing).
Observing the sky densely crowded with chains of
clouds the royal swan longs to go to the Mānasa lake,
his residence, taking with him his mate. The swan
among kings—Vatsarāja,—seeing the prison vault closed
up with thick chains, desires to repair to his own abode,
taking his beloved with him in order to reach (please
her heart) (8).
(VIDU,—gesticulates sleeping).
MANO.—(Shaking him with her hand) Vasantaka, see,
see, my friend is playing her part
VIDU.—(Angrily) Slave's daughter, you too do not
allow me to sleep! From the time my dear friend saw
A'raṇyikā, I have not seen, along with him, what sleep
is So I will go to some other place and sleep (Goes
out and sleeps)
(A RANYIKA sings again).
Hurled into (powerfully affected with) a new passion,
by the perverse Kāma, the female bee pines, eagerly
longing to see her mate, of a charming sight (9)

pp. 37-39 , 27' [ Act III.
KING—( Hearing the song the very moment and suddenly
going forth) Commendable, princess, commendable !
How charming the singing, how charming the playing
(on the lute) ! For,
Distinctness has now been attained here (in this
performance) by the Vyañjana mode of playing (on the
lute) in all its ten parts; this laya (tempo) here,
distinguished by its three varieties of quick (allegro)
intermediate (moderato) and slow (adagio) has been
clearly marked in three ways; all the three pauses,
Gopuchcha' and the rest, have been accomplished in due
order: and the three modes of playing on instruments
have been properly exhibited. (10)
A'RANY.—(Clasping the lute rises from her seat and
longingly looking at the King) Preceptor, I bow to you.
KING—(With a smile) May you have that which I wish
for you !
KA'NCH.—(Pointing to A'RANYIKA's seat) The preceptor
should please sit just here.
KING—(Having sat down) Where should the
Princess sit now ?
KA'NCH.—(With a smile) The Princess has just now
been complimented by you with commendation of her
skill. So she deserves to share the seat of the
preceptor.
KING—Let her sit here; she deserves (to occupy)
half of the seat. Princess, sit down.
(A'RANYIKA' looks at KA'NCHANAMA'LA').
KA'NCH.—(Smilingly) Princess, sit there. What is
wrong in this ?
(A'RANYIKA' sits down bashfully).
VA'SAVA.—(Blushingly). The subject-matter has been
added to by your reverence. I did not, at all, sit on the
same seat with my husband at that time.
KING—Princess, I wish to hear again. Play on the
lute.

Act III ] 28 pp. 39-41
ARANY — (With a smile) Kánchanamálá, having
played for a long time I feel exhausted So I shall
not be able to play
KANCH — Preceptor the Princess is greatly fatigued
See how drops of perspiration are formed on her cheeks
and her fingers (or fore-hands) tremble So let her
be refreshed (by resting) for a short while
KING — Kánchanamála you have said what is proper
(Wishes to seize her by the hand Arany withdraws her
hand)
VASAVA — (Sarcastically) Lady this also has been
overdone by you I am not certainly Kánchanamalá that
can be misled by (such) composition [Or I should
not be deceived (misrepresented) by Kánchanamalá's
dramatic speech]
SAMKR — (Smiling) O you of long life dramatic compo-
sition must be of this nature
ARANY — (With seeming anger) Go away Kanchan,
go away I do not like you
KANCH — (With a smile) If you do not like me
standing here here I walk off (Starts to go)
ARANY — (In confusion) Kánchana stay stay,
here is the fore-hand offered to him
KING — (Taking the hand of ARANYIKA)
Can it be a lotus bud at once cooled by the contact of
dew drops? Not such methinks is its power to delight
(now) It has it at dawn only when it is left by (free
from) the sun are there five moons in the form of fingers
shedding a shower of coolness (or dew) Even that
(the shower) burns (causes affliction) I know it—this
is clearly ambrosia flowing under the guise of
perspiration (11)
By you moreover is implanted in my heart this Rága
(passion—redness) with your hand clever in robbing
the tender coral sprout of its beauty (12)
ARANYIKA — (Exhibiting the peculiar sensation of touch)
Oh fie oh fie! my limbs commit a havoc in me
(experience a thrill of overpowering emotion) as I touch
this Manoramá

pp 41–42. 29 [ Act III.
Vᴀ'sᴀᴠᴀᴅᴀ.—(Rising suddenly) Revered lady, you see
the representation. I, for myself, cannot bear to see
what is false.
Sᴀ'ᴍᴋʀ.—Princess, this Gandharva form of marriage
is sanctioned by the religious codes of law. What is
the matter for shame in this? This is a dramatic
representation. So it is not proper to go away causing
a break in the interest when there is no occasion for it.
Vᴀ'sᴀᴠᴀ.—(Walks away).
IɴᴅÍᴠᴀʀɪᴋᴀ'—(Looking on) Your Highness, Vasantaka,
is lying in deep sleep at the door of the Picture-gallery.
Vᴀ'sᴀᴠᴀ—(Observing carefully) This is Vasantaka,
indeed. (Reflecting.) The King also must be here.
So having roused him I will just ask him. (Wakes him
up.)
VɪᴅÛ.—(Rising dull with sleep and looking up
suddenly) Manoramā, has my dear friend come back
after having played his part; or is he acting still?
Vᴀ'sᴀᴠᴀ.—(With dejection) What! My husband is
acting? Where is Manorámá now?
VɪᴅÛ.—Here, waiting in the Picture-hall.
Mᴀɴᴏʀᴀᴍᴀ'—(With alarm, to herself) How was it
that the Queen asked him taking quite a different view
of the matter; and this foolish fellow too understanding
her in quite a different way spoiled the whole matter?
Vᴀ'sᴀᴠᴀ.—(Laughing angrily) Bravo! Manoramá,
bravo! nicely have you acted!
Mᴀɴᴏʀᴀᴍᴀ'—(Falling at her feet, trembling with fear.)
Your Highness! It is not, indeed, my fault in this
case. By this rascally fellow standing at the door
I was detained here, after taking the decorations from
me. And again, my voice, as I cried, was not heard
by anyone, as it was drowned in the sound of the
tabor.
Vᴀ'sᴠᴀ.—Get up, girl, I know it all. Vasantaka is
the chief manager in the play—The story of ^ --

Act III. ] 30 pp 42-43
VIDÛ —Just think yourself—where is Âranyikâ and
where Vasantaka !
VÂSAVA —Manoramâ, having well-secured him just
come after me The acting he has arranged I will see
now.
MANÔRAMA—( To herself) Now life is put in me
(Binds Vidu by the hand and then aloud) Miscreant,
now reap the fruit of your evil policy
VÂSAVA —(Approaching in a hurry) My lord, may this
evil be averted ! (Removing with these words the garland
of blue lotuses from his feet, ironically—) My Lord should
forgive me that I, thinking that it was Manoramâ,
caused you to be bound with a garland of blue lotuses
(ARANYIKA stands, having moved away in fear)
KING —(Rising suddenly and seeing MANORAMA , and
VIDUSHAKA, to himself) How am I discovered by the
Queen ?
( Acts being abashed)
SÂMKRITYÂYANI—(Seeing all, with a smile) How has
the representation turned out to be quite a different
thing ? This is not the proper place for persons of my
sort (Exit)
KING—( To himself) Unusual is this way of showing
anger I see that reconciliation is difficult to be brought
about in this case (Musing) I will do this (Aloud)
My Queen, let anger be set aside.
VÂSAVADATTA —Husband, who is angry here ?
KING—How, are you not angry ?
Although your glance is affectionate, still the lustre
of your eyes is red, this your choked voice, though
there is sweetness in it, falters at every word, your
hard breathings, though suppressed, are well observed
from the heaving of your full bosom so this your
anger, though restrained with evident effort, is clearly
seen. (13)
(Falling at her feet) Be pleased, my dear, be pleased.

pp. 43-44. 31 [ Act III.
VA'SAVA.—A'raṇyikā, thinking that you are angry, my
husband is saying to you—" Be pleased, my dear, be
pleased. " So approach him.
( With these words she pulls her ).
A'RAṆYIKĀ'—(In fright) Your Highness, I know
nothing of this.
VA'SAVA.—A'raṇyikā, how don't you know anything?
Here I will teach you. Indīvarikā, seize her.
VIDŪ.—Madam! To-day it being the Kaumudī festival,
my friend performed the acting to divert your heart.
VA'SAVA—When I see this misbehaviour of your both,
I am moved to laughter.
KING—My Queen, away with misconception. See—
Why for nothing is this spot produced on the moon of
your forehead by the knittings of the eyebrows? Why
is this throbbing lip made to resemble the bandhujīva
flower shaken by the breeze? And again this your
waist is oppressed by the weight of your breasts
throbbing all the more : give up your anger towards me :
for the amusement of your mind alone this acting was
performed by me. ( 14 ).
Queen, be pleased, be pleased. (He falls at her
feet.)
VA'SAVA —Girl, the playing is over. Come then ; let
us enter the inner apartment. (Exit).
End of the mimic Play.
KING—( Looking ) How is it that the Queen has
gone without showing favour ?
When I look at the face of the Queen and also at that
of my beloved here pictured before me: the one streaked
with the particles of perspiration and with eye-brows
very fiercely contracted through anger, and the other
with its lotus-like eyes greatly agitated through fear
like those of a gazelle bounding with great speed, I,
alarmed and yet having my mind full of longing, am
thrown into a great difficulty. (15).

Act IV. ] 32 pp. 44-46.
So I will just now go to my couch and think about
the means of propitiating the Queen.
( Exeunt Omnes. )
END OF ACT III.
————
ACT IV
⸺o-o⸺
( Enter MANORAMA' )
MANORAMA'—Oh the long continuity of the Queen's
anger ! She does not take pity on my dear friend
A'ranyikà, though confined for so long a time. The
poor girl is not distressed so much by the hardships
of her own imprisonment as by her despair to see the
King. And such is her affliction that to-day I
prevented her with great difficulty from killing
herself. I have come having asked Vasantaka to
communicate the matter to the King.
( Then enter KA'NCHANAMA'LA ).
KA'NCHA—Strange that I did not find the revered
Sàmkrityant though searching for her. ( Looking on )
I will then ask this Manoramà ( Going forth )
Manoramà, do you know where the revered Sámkrityā-
yani is ?
MANORAMA'—( Looking at her and wiping off her tears.)
Friend, Kánchanamálà, I have seen her; but what have
yon to do with her ?
KA'NCHANA —To-day a lettor was sent by her Highness
Angâravati. That being read, the Queen, with eyes
filled with tears, began to feel greatly pained. So for
her diversion I am searching for the venerable lady.
MANORAMA'—Friend, but what was written in that
letter ?
KA'NCHANA.—She who is my sister is just like your
mother; and her husband is ( as ) your father. So
need this be told to you ? It is more than a year since

pp. 46–47. 33 [ Act IV.
he has been taken a captive by the accursed king of
the Kalingas. It is not proper, therefore, for your
husband, who is his neighbour and powerful, thus to
observe indifference on hearing of this undesirable
occhrrence.
MANORAMA'.—Friend Kânchanamâlâ, but who read
the letter to the Queen when, indeed, it was ordered by
our lord that the matter should not be communicated
by any one to Her Highness.
KA'NCHANA.—As I remained silent after reading it
to myself, the Queen took it from my hand and read it
herself.
MANORAMA'—Then go you; here is the Queen sitting
with the very lady in the upper ivory chamber.
KA'NCHANA.—I will go there to the Queen. (Exit).
MA'NORAMA'.—It is a long time since I came leaving
Ar'anyikâ. The poor girl is quite tired of her life.
Something disastrous might perchance happen. So I
will go just there. (Exit.)
(Enter seated VA'SAVADATTA' in distress, SA'MKRITYA'YANI
and the retinue in order of rank.)
SA'MKRIT.—Princess, away with agitation. Vatsarâja
is not such. How can Vatsarâja rest unconcerned on
knowing very well that the husband of your mother's
sister is in such a plight?
VA'SAVADATTA'.—Holy lady, now you are extremely
simple-minded. What can he, who has nothing to do
with me, have to do with one connected with me? It
was meet for my mother to write to me about this.
But she does not know that Vâsavadattâ is not such now
(as she was before). This A'ranyikâ affair again
has been witnessed by you with your own eyes. How
do you say this then?
SA'MKRIT.—Since it was witnessed by me, for that
reason I say so. He surely acted that way at the
Kaumudî festival to make you laugh (enjoy the fun).
VA'SAVA.—Holy dame, this much is true here. I
was so made to be laughed at that it is with difficulty

[Act IV. ] 34 pp. 57-48.
-that I stand before your reverence through shame. So
why continue that topic ? Surely it is by this partiality
that I have been raised to such a high level (reduced
to this state). (Weeps).
SA'MKRIT.—Do not weep, Princess. Vatsarâja is not
such (as would remain indifferent). (Looking about). Or
why ; here comes he who will himself remove your
sorrow.
VA'SAVA.—These are now your ladyship's fancies !
(Enter KING and VIDUSHAKA).
KING.—Friend, what is the way now to get my beloved
released ?
VIDU.—Friend, give up your dejection. I will tell you
the way.
KING.—(With joy) Friend, mention it very quickly.
VIDU.—Friend, in the first place you are distin-
guished by your two arms that have proved their valour
in conflicts with your enemies in many a battle ; and
again rendered more powerful by (or, and again possess)
an irreistable army consisting of numerous elephants,
horsemen and foot-soldiers. So having now hardpressed
the harem with the whole bulk of your forces, set
Aranyikâ free.
KING.—Friend, you have advised what is impracti-
cable.
VIDU.—What is impracticable in this (since there is
surely not a single man there save the hunch-backs,
dwarfs, and the old chamberlain.
KING.—(Despisingly) Fool, what nonsense yon talk !
Excepting the Queen's favour there is no other means
to procure her release. So tell me how I shall gain
the Queen's favour.
VIDU.—Sir, support your life observing a month's
fast. Thus will the fierce Devi (wrathful Queen) be
pleased.
KING.—(Smiling) Do not joke. Tell me how I should
propitiate the Queen ?

pp. 43-50. 35 [ Act IV
'Shall I, being bold, obstruct her (course) standing,
before her and smiling, clasp the dear one at the neck ?
Or shall I cause her to be delighted by framing a speech
couched in hundreds of flattering expressions ? Or shall
I remain with folded hands having fallen before the
Queen at her feet ? Truly, truly, I know not how the
Queen's conciliation is to be effected. (1).
Come then; let us go into the Queen's presence.
VIDU'.-Go you, yourself. As for me I have come
just now having escaped from confinement with
difficulty. So I will not go.
KING.-(Smiling and clasping him by the neck, makes
him turn back by force.) Fool, come on. (Walking
round and looking on.) Here is the Queen sitting in the
centre of the ivory-chamber. I will approach her.
(Approaches abashed).
(Vāsavadattā' rises from her seat languidly).
Why have you left your seat ? away with this hurry
to show respect to me. It is not proper thus to stand
for me, O you with your waist wearied (thereby).
Why is this person, who is won over by the favour of
the mere casting of a glance, made to feel abashed by
excessive courtesy ? (2).
VĀ'SAVA.-(Closely observing his countenance.) Husband,
you are now abashed (in deed) !
KING.-My dear, I am really abashed. For, although
my guilt was visibly seen, I am endeavouring to appease
you.
SĀ'MKRIT.-(Pointing to a seat.) Sire, please sit down.
KING.-(Pointing to a seat.) Let the Queen sit here.
VĀ'SAVA.-Sits on the ground.
KING.-Oh, the Queen has sat on the ground. I too
will sit just here. (So sitting on the ground, with folded
hands.) Beloved, be pleased, be pleased. Why do you
cherish this deep-seated anger, when I have thus bowed
to you ?
O you with bewitching eyes, you do not knit your
brows, but simply weep again and again ; with your
T. 4

Act IV. ] 36 pp. 50-51.
lower lip not much quivering you heave sighs without
cessation; you do not give a reply, but remain with
your face hung down in deep meditation: your
suppressed anger greatly pains me like a hidden stroke
(i. e. wound caused by it). (3)
My beloved, be pleased.
VA'SA.—You are surely very happy. Why do you now
torment an afflicted person? Rise, who is angry here?
SA'MKR.—Get up, sire; what is the use of this?
Quite different is the cause of her affliction.
KING.—(In haste.) Revered lady, what is that other
cause?
(SA'MKRITYA'YANI whispers it in the ear.)
KING.—(Laughing.) If so, away with sorrow. I too
knew it. But I did not say (anything about it) thinking
that I should greet the Queen after the purpose had
been accomplished. Otherwise how could I remain un-
concerned in this Dhriḍhavarma matter? So several
days have elapsed since tidings about it reached (here).
This is the state of things there.
With his outward territory overrun by our forces
led by Vijayasena, and his power destroyed, the
accursed Kalinga, rendered helpless, has been forced
to seek protection from the rampart after having at
once entered his fortress. (4)
And him, Kalinga, thus situated—, rendered powerless
by our attack as described above, with the activities of
his warriors and servants decreasing day by day, and
having his entire army routed as his elephants, horses
and men are falling so as to be destroyed—, you will hear
before long, O revered lady, as being either captured
or slain in the battle, when in a day or two his fortress
is levelled down from all sides by our forces. (5)
SA'MKRIT.—Princess, I told your ladyship, at the
earliest, that Vatsarāja would not remain without
making a counter move.
VA'SAVA.—If so, that is gratifying to me.

pp 51-52. 37 [ Act IV.
(Enter Portress).
PORTRESS.—Prosperity, prosperity to your Majesty!
Here is Vijayasena, accompanied by Drdhavarman's
Chamberlain, waiting at the door, with his eyes
expanded through joy and wishing to communicate
something agreeable.
VA'SAVA —(With a smile) Revered lady, as I guess
I am entirely compensated (lit., satisfied) by my lord.
SA'MKR.—I am, indeed partial to Vatsarāja! So I
say nothing.
KING.—Quickly ask them to come in.
PORTRESS.—I will. (Exit).
(Enter VIJAYASENA and the CHAMBERLAIN.)
VIJAYA.—Dear chamberlain, at the thought that I
am to see my master's feet to-day, I am truly ex-
periencing an ecstasy of joy, indescribable and beyond
comparison.
CHAMBER.—This is true. See—
Even ordinarily (lit., otherwise) a servant is filled with
joy on beholding his master : how much more then must
be he who has fully carried out the responsible task
entrusted to him by his lord, by routing the enemy's
forces? (6)
BOTH.—(Approaching.) Victory, victory, to our master!
(The KING embraces them both).
CHAMBER.—Sire, my congratulations to you.
Having slain the cursed Kalinga at your Majesty's
command, Vijayasena, the conqueror of the foes, has
set our master on the throne. (7)
VA'SAVA.—My revered lady, do you recognize this
chamberlain?
SA'MKR.—How shall I not recognize him? Surely
this is he by whom your aunt sent the letter to you.
KING.—A momentous business has been accomplished
by Vijayasena.
(VIJAYASENA falls at his feet).
KING.—Queen, I congratulate you. Drdhavarman
has been reinstated on his throne.

Act IV ] 38 pp 52-53
QUEEN.—(With joy.) It is a favour to me.
VIDU.—At the time of such good fortune, this must
be done in this royal palace—(Pointing to the KING and
acting playing on the lute) worship of the Preceptor,
(showing his sacred thread) honour to a Brahmana ;
(indicating ARANYIKA) and the release of all in
custody.
KING —(Aside, with a fillip) Well done, friend, well
done !
VIDU —Madam, how is it that you do not pass any
orders in this case.
VASAVA —(Looking at SAMKRITYANI, with a smile)
The knave has, indeed, got Aranyaká out of prison.
SAMKR —What is the use of keeping the girl in
custody ?
VASAVA —Just as your reverence likes.
SAMKR —If so, I myself will go and set her free.
(Exit)
CHAMBERLAIN —Here is another message sent by
Drdhavarman—By your favour everything has been
accomplished as desired. So this my life is yours (at
your disposal), you have the right to use it as you please.
(The KING remains with his face hung down through
modesty)
VIJAYASENA.—Sire, it is not possible at all to describe
the great affection Drdhavarman feels for Your Majesty.
CHAMBERLAIN —(Continuing) And although pain was
caused to me that there was no alliance formed with
you on account of the loss of my daughter, Priyadarsiká,
who was affianced to you, still the same has been
removed by you as the husband of Vásavadattá.
VASAVA —(Tearfully) Noble chamberlain, how was
my cousin lost ?
CHAMBERLAIN —Princess, when in the course of the
attack by the accursed Kalinga the inmates of the
harem had fled here and there I took her who was
fortunately seen by me, and thinking—'It is no longer
advisable to stay here now', started to come to