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

comp., as मनोहारि, हृद्यहारि; Then: Letter 1:तwithु(तु) Letter 2:टे? Wait, is it त्रुष्टे? Wait, could it be तुष्टे? Yes, तुष्टेis very clear. Then:वwithि=वि षwithट=ष्ट र=र हwithा=हा रwithि=रि णwithी=णी -(hyphen) L37:हरहरो(orहरहरी?) Wait, look at the last letter of हरहरो: It has a vertical bar after 'र', and a top slant stroke. That is 'ो'! So it is हरहरोorहरहरौ? Wait, look at the first letter: ह? Or द? Wait, is it दरहरो? द र ह र ो` -> "दरहरो"!
Wait! दरहरो?
Wait, what does "दर" mean? "दर" means a little, or fear!
Wait, what about "तुष्टे"?
Wait, look at: "तुष्टे विष्टरहारिणी दरह

8
19th in succession from Janamejaya, which appears to be more
probable. Mahâsena, also called Chanda-Mahâsena, the king of
Ujjayinî, had a daughter of exquisite beauty, named Vâsavad-
attâ, whom he wished to give in marriage to Vatsarâja.
(According to another account to a king named Sanjaya,
see the quotation, from Mâl. Mâd. below.) With this
object he enticed Udayana to his city and kept him a
captive there. Being engaged to teach music to Vâsavadatta
he gained her heart and by the advice of his minister Yaugand-
harâyana managed to escape with her to his capital. They
were afterwards married in great pomp. For the full account
see Kathâ Lambaka II tar. 11, 12. हारि चरित—This
is proved by the various references to his name, cf.
प्राप्यावन्तीनुदयनकथाकोविदग्रामवृद्धान् । Megh. I. 30, प्रद्योतस्य प्रियदुहितरं
वत्सराजोऽत्र जह्रे । Ibid. I. 33; उत्तेजवापि सदृशं परिक्षेपणाय यौगन्धरायण
इवोदयनस्य राज्ञः । Mṛch. IV 26. वासवदत्ता च राज्ञे संजयाय पित्रा दत्तमत्मान-
मुदयनाय प्रायच्छत् । Mâl. Mâd. II. नाट्ये—नाट्य here means dramatic
representation. वयम्—by this he refers to himself and the other
actors. वस्तु—a thing, an item. this is different from वस्तु in
अपूर्ववस्तुरचना above. एकैक—एक repeated is to be taken as a Bah.
comp. (by एकं बहुव्रीहिवत् । Pan. VIII. 1. 9) and dissolved as
एकमेकं, the case term. of the first word being dropped in being
compounded. फल—is here reputation and money. पदं—an
abode, i. e. source of. पुन—implies पक्षान्तर (what then when
&c.) मद्भाग्येय—Here he refers to himself as he is the principal
person concerned. गुणानां—Favourable circumstances, advantages.
Cf. एकैकमध्यनर्थाय किमु यत्र चतुष्टयम् । Hit. I.
This śl. is quoted in the Sâh. D. and D—R. as an instance of
प्ररोचना (or that which attracts the attention of the audience to
the representation by a commendation of the poet, the play, the

• Mahâsena though an enemy of Udayana, wished to give his
  daughter Vâsavadattâ in marriage to him, but doubting if he would
  accept her, he thought of the following expedient for bringing
  about the union. Seeing that Udayana spent his days and nights in
  the forests he thought of making him a prisoner, and with this view
  he caused a wooden elephant to be made and concealed some armed
  men in it. It was then placed in the forest. When Udayana came
  across it, the armed men came out and seeing him alone seized and
  made him a prisoner. He was then brought before Mahâsena who
  gave his daughter Vâsavadattâ in his charge and told him that he
  would be set at liberty when he gave his daughter instructions and
  training in music (गान्धर्वविद्या). Gadre.

7
proficiency of the actors, &c.) one of the angas of भारतीवृत्ति, which
is thus defined—निवेदनं प्रयोज्यस्य निर्देशो देशकालयोः । काव्यार्थसूचकैः शब्दैः
सभावाञ्छितरञ्जनम् । कविकाव्यनटादीनां प्रशंसा च प्ररोचना ॥
नेपथ्याभि०—Towards the curtain or screen ( that separated the
tiring room behind the stage from the stage itself. अये—shows
surprise. –नान्द्युद्यते–engaged in, busy with; this reminds one of
Bhâsa, who begins some of his plays with अये कथं or किमु खलु
विज्ञापनाव्यग्रे, मयि ( see Svap., Pancha., Mad. Vyâ, &c. ). अङ्गाधि०—
For Anga, see Introd. दृढवर्मणः—does not seem to be the name of
a real historic personage. It is probably invented by the poet.
भूमिका—part. अस्मद्भ्राता—In the Ratnâ, also the younger brother
of the Sûtra. is introduced as assuming the character of
Yaugandharâya

8
the power arising from an efficient army and a good treasury
( स प्रभावः प्रतापश्च यत्तेजः कोषपुण्डजं Amara ); मन्त्रश० or the power aris-
ing from good counsel ( i. e a wise ministry ) and उत्साह or the
personal energy of the king. रघो०—रघु० was the celebrated son
of Dilipa, नल king of Nishada—names well known to the Indian
student. प्रार्थ्यमाना—earnestly sought, solicited. बद्धानु०—who
entertained a deep feeling of resentment. रन्ध्रान्वेषी—who found
a loop hole, i. e a weak point as Vatsarâja was not expected
to come to Dṛdh's assistance. पुलिन्द०—For पुलिन्द see Introd,
पुलिन्दानां जनपदानां राजा पुलिन्दः स चासौ हतकश्च । परमार्थ—To speak
the truth, truly. उपपन्न—Although come to pass or happened,
a fact. यथाकथञ्चित्—Lit as circumstances would permit, some-
how. अनृण—Free from debt. He believed that his master had
contracted a debt as it were, when he promised to give his
daughter in marriage to king Vatsa and that he ( Kanch )
would free him from it by taking the princess to king Vatsa.
अभ्यस्कन्दसम्भ्रम—The flurry and confusion caused by the attack,
the comparison to प्रलयकाल shows that the attack was sudden and
caused terrible havoc. अपवाह्य—The object is तां (राजपुत्रीं). आट-
विकस्य—अटव्यां भवः आटविकः ruling over a forest tract, a forest
king. विन्ध्यकेतोः—Vind. seems to have been a petty king as
he was so easily routed. अगस्त्यतीर्थ—appears from the context
to be some holy place in the Vindhya regions, near the hermitage
of Agastya described by Bana in his Kâda. An Agastyatîrtha,
a place of pilgrimage, is located in the province of Tinnevelly
in the extreme south of India. निहत्य—Having attacked.
दस्युभिः—By marauders or robbers. दस्यु is one of the old Vedic
words ( a class of demons or enemies of gods and men, slain by
Indra ) that remain in classical Sans. प्रद्योतः—Another name of
Mahâsena or Chanda mahâ. so say the commentators on Kâli 's
Meg. I. 34 wherein there is a reference to this king—प्रद्योतस्य
प्रियदुहिता वत्सराजस्य जह्रे) and this appears to be correct from Bhâsa's
Svap Vâ. According to the Kathâ, Pradyota was the king
of Magadha and a person different from Mahâsena. The name
of his daughter also was Padmâvatî. See Kathâ XV. 19. 20
and our note on प्रद्योत at Meg I. 34. कौशाम्बी—the capital of
the Vatsa country, was once a flourishing city, though now
remaining as an insignificant village. See Intro.
P. 5. जर्जरीकृत—Hacked or terribly disabled by, mangled.
सफलीविधासि—सफलय् a denom. from सफलं ( सफलं करिष्यामि ). शारदा-
तपस्य—The autumnal heat is described as very fierce. संश्राण—
Hot, burning.

:
Line 37: "Cf. नौपृष्ठे"
Line 38: "धोरि धर्मोय सर्वभिमेतहेतवे ।; and Mah. Bhār."
Wait! "धोरि धर्मोय सर्वभिमेतहेतवे ।;" ??
Wait! Look at the quote:
Mahābhārata quote:
"त्रिवर्गोयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।"
(This is a well-known quote from Mahabharata, Shanti Parva:
त्रिवर्गोऽयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।)
Now, what is the quote before it?
"Cf. ..."
What is "... धर्मोऽयं सर्वाभिमतहेतवे"?
Wait!
"सर्वभिमेतहेतवे" -> सर्वाभिमतहेतवे!
Wait, what precedes it?
Is it: "गौरिव पृष्ठे धूर्धोरि धर्मोऽयं..."?
Wait! "धूर्धोरि"? "धौरेय"? "धुर्य"?
Wait! Let's look at the letters at the end of line 37:
"Cf. नौपृष्ठे"
Wait, could it be:
"नृपृष्ठे"? No.
"गौः पृष्ठे"?
Wait, look at the first letter:
It has two diagonal strokes on top (au matra):
Wait, no, is it

पुत्र forms the second member ( षष्ठ्या आक्रोश । पुत्रेऽन्यतरस्याम् । Pân.
VI. 3. 21, 22 ); lit.—a whore's son, used humourously by the
Vidû. as a term of contempt; that cursed ( imprisonment ). It
is used with persons or with inanimate objects as here; cf. एते
दास्या पुत्रा अर्थकल्लवन्तः &c. Mṛch. I. p. 13. खत्खलायमान०—This
and the other epithets apply to the king as well as to the गजपति.
खत्खलायमान is the pres p of the Âtm. verb formed from खत्खल an
onomatopoetic word, by adding य ( क्यङ् ) A final आ ( डाच् ) is
added to the final half of a word indicating sound when the word
consists of at least two syllables; and words ending in आ take
the denom. aff य ( क्यङ् ) by लोहितादिडाभ्यः क्यष् । Pân. III. 1. 13.
For comp. see com प्रतिस्खलत्—stumbling at evey step. शून्य०—
शून्य properly lonely, solitary (शूना प्राणिवधाय हितं रहस्यस्थानत्वात् ), fr.
शूना animal slaughter and aff. य ( यत् ); here (1) शून्य without
animation, dejected, मुखपुष्कर lotus like face or countenance; (2)
शून्य dry, devoid of moisture मुखं cavity यस्य तादृशं पुष्कर the tip of
the trunk; तेन पिशुनितः indicated, हृदयसंतापो यस्य. The passage here
is somewhat obscure. Mr. Gadre following Jîv.'s ed reads शून्यदुष्कर
( दुःखर ) पिशुनहृदय०; but as remarked by him, it is difficult to
assign a meaning to this. It is explained as शून्यं unaffected by
any feeling दुष्करं experiencing pain, ( दुःखर v. l. दुःखं राति इति ) विशु-
नवत् indicating internal affliction ( अन्तःसंतापसूचकं ) यद् हृदयं तस्य
संतापो यस्य. But this is not satisfactory. शून्यदुष्करहृदयसंतापः v l.
is also equally unintelligible. It may be explained as शून्यश्चासौ
दुष्करहृदयसंतापश्च. उत्थंभित—raised and fixed upwards. गुरुकर—(1)
huge arms, (2) large trunk. अधिगतधरणीपृष्ठ.—v l. (1) lying on
the bare ground, (2) throwing himself on the surface of the earth.
अनिद्रासुखं—may also be taken as an adv. comp.; अविद्यमाने निद्रासुखे
यस्मिन्कर्मणि तद्यथा तथा । It is also explained as निद्रासुखस्याभाव अनिद्रा-
सुखे ( अर्थाभावेऽव्ययीभाव. ). The reading of the Mad. ed. निद्रासुखं न
प्राप्नोषि is easier. अनुवाचयसि—may mean—you repeatedly
spoke of. वसन्तक—This name occurs in the Rat. also and is
taken from the story of Udayana.
Śl. 7. चारकं—also mas, a prison; see Das ch. p 59 निगल—
same as निगड a chain, fetters, ल may be substituted for ड The śl.
shows how the impression made on the king's mind by the
charms of Vâsa. quite overshadowed the hardships of imprison-
ment. And this was a fact, cf. तस्य दृष्ट्वा तु तां कन्यां वत्सराजस्य मानसम् ।
तथा स्नेहाक्रममभूद्यथा मन्युमृक्षत । Kathâ II. 4 29. समर्थे—Because
he thought that he could here hit the king on his own ground.
Mark the pun on the word पद्मावति.

श्च? Look at रुमण्वाँश्च: रु म ण्व ा ँ श्च. Let's look at the candrabindu: it's above ा. So रुमण्वाँश्च`.

Line 12:
राज्यभारमुदूहतुः ॥ Lamb. III. 1. 4. तत्क्षणमपि &c.—It is
Wait, Lamb.? In Kathāsaritsāgara, the sections are called "Lambaka"! So Lamb. III. 1. 4.! Perfectly matches!

Line 15:
shows that even in ancient times the ministerial office was as not
Wait, look at was as not again.
Is it was as not?
Let's re-examine was as not:
w a s then space, then a s?
Wait, look at the letters:
w a s
Then:
Wait, is it a t? No, the second letter has a rounded top and bottom: s.
Wait, why was as not? Could it be a typo for was not? Yes, 19th-century Indian presses often had typos like this. We transcribe what is printed. It is was as not.

Line 25:
a foot-soldier; from पाद् changed to पद् (by पादस्य पदाज्यातिगोपहतेषु

५२
by the wholesale slaughter (of his followers) for comp. see com.
संप्रहार—a fight, battle, or striking, dealing out blows, cf. तद्भैरवा-
न्समुपसंहृतसंहार Uttar. VI. 7 (where सम्० may have both the
meanings), हृदि संहारे व्यक्ता राम निशाविहारी। Bhatt. II. 36
Śl. 9. पादात—The body of foot-soldiers, fr. पदाति and aff.
अण् (अ) by Pân. IV. 2. 38. See com. दूरात्—standing afar, दूर
० l. is not good as the idea is included in आत्ता नीता. अश्वीय—
cavalry, by Pán. IV. 2. 48 (see com ) the affixes छ (ईय)
and अण् (अ) are added to अश्व; so वार्श्व also
P. 9. प्रहरणनिवह—Cf for these चापचक्रकृपाणशक्तिलोमरगदाप्रभृतिषु ।
Kâd. I. p. 26. उत्खात—Having drawn out or unsheathed. ०फालन-
च्छेदलीला—छेद एव लीला (the sport of) तां is equivalent to स लीलया
छेदेन cutting off with the ease with which &c., cf. Ragh. XII. 96
(मां कूटशाल्मलीं भिन्द्याद् कदलीखम).
Śl. 10. गलवितप—see com. छुरित—inlaid or covered with
and chest would be equally possible according to the rules of
Bana grammer though not of Hindu chivalry. Cf. MBh. IX.
60. 5" Cal. Ed. p. 100. सत्पुरुषाचित—Worthy of a man leading a
pious life. A warrior killed while fighting face to face with
an enemy also attains heaven, see com. and cf. Ragh. VII. 51.
योधिता—Because he fought valiantly like a true hero and fell
only when overpowered by odds. See com.
अनुमृतान्—Followed him in death, i. e. immolated themselves
along with the dead body of their husband. सहधर्मचारिणी—A
wife. सहधर्मचरण is one of the principal objects of a Hindu
marriage, husband and wife (दम्पती) must perform the holy
rites together, cf. तदिदं प्रतिगृह्यतां सहधर्मचरणाय । Sak. V. p. 125
विन्ध्यशिखरा०—The constr. is जनपदेषु विन्ध्यशिखराश्रयत्सु. The
additional reading विनष्टेषु (had fled away) makes no good sense
for the whole will mean 'when the people of the country who
had already fled to the peaks of the Vind. mountain had fled
away.' But we are not told that they were pursued by the
victors. कृपण—miserable, pitiable. आभिजात्य०—endowed
with a beauty in keeping with or befitting her noble birth. अभि-
जातरूपा ० l.—possessed of excellent beauty. तां प्रति—As regards
her; how she is to be dealt with or what is to be done with her.
P. 10. यशोधरे—This is the name of the Fortress. भगिनी-
बुद्धया—In the light of, considering her as, your sister. It will be

13
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
2

14
Kâlidâsa in his Mâl II 12 to announce the mid-day which
enables the king to bring the Act to a close
Sl 12 कृच्छ्र—shows the intensity of the summer heat, cf
तप्तं वारि विहाय &c Vik II 23 शफर—a small fish, very active
and sparkling उद्वर्तन-—a darting or turning upwards cf.
बहुलशफरोद्वर्तनप्रेक्षितानि Meg I 43. दीर्घिका—A large pond oblong
in shape containing lotus plants and attached to large houses,
cf विकचतामरसां गृहदीर्घिका Ragh IX 37, also XVI 13 छत्रार्थ—
छत्रस्य इव भागो यस्य or better छत्रेण सदृशः, a nityasamâsa, cf
Amara—स्युरुत्तरपदे त्वमी । निभसंकाशनीकाशप्रतीकाशोपमादयः । बर्हभार—
बर्ह a peacock's tail hence बर्हिन्, बर्हिण a peacock,—भार the
mass of feathers, plumage
P 11 आलवाल—( आ+लप्+ला to take with आ and affix ड

1. 3. 31) a basin for water

15
'स्वस्ति' to the Yajamâns, and secondarily to the gift accomp-
anying such a ceremony. It also refers to a present (called
वायन-in Marathi वाण-for the Prákrit सोत्थिवाअन is also rendered
as स्वस्तिवाचन in Sans.) which consists of a small quantity of rice,
a cocoanut, a piece of cloth for a bodice, a comb, &c; or
sometimes of sweetmeats only-and is given to a Brâhmana by a
married woman whose husband is living (सुवासिनी). For other
particulars, see Rat. I. p. 17 and our note on the word; Vik. III.
pp. 77, 79. शब्दापयेत्—will call; fr. शब्द + आप् the taking up
or utterance of; शब्दार्थं करोति शब्दापयति by adding णिच् (अप) in
the sense of तत्करोति; see com. If the Prâkrit सहावेहि be rendered
as शब्दायैत then it is derived from शब्द and the affix क्यङ् (य)
which forms Atm. verbs (शब्दायते) by शब्दवैरकलहाभ्रकणे ।
Pân. III. 1. 17.
धारागृहं—A summer house or a large bath-room; lit. a house
furnished with water jets or fountains of water. Cf. शिलाविशे-
षानधिशय्य निन्युर्धारागृहेष्वातपमृद्धिमन्तः । Ragh. XVI 49—होद्यानं—The
garden containing the धारागृह. कुक्कुटवाई—Uttering anything
imitating the cry of a cock in the morning (i e. gradually
raising the tone and protracting the voice) so as to give it the
appearance of a Vedic passage. See Pân. I. 2. 27. Vidû. means
that he would recite something assuming the Vedic tone
when receiving the Vâyana. For Vidû.'s knowledge of the
Vedas, comp. the king's remark below, वेदहंसपयेण &c. p. 12.
प्रतिग्रह—has the technical sense of 'the acceptance of a gift
by a Brâhmana (which is his peculiar prerogative), see Manus. I.
88; Yâj.s. I. 118. उत्कण्ठा—An eager desire to see or a great
longing for, a beloved person. चिन्ता तु स्मृतिराध्यानं स्मरणं, सस्पृहे पुनः ।
उत्कण्ठोत्कलिके । इति शब्दार्णव. ।
P. 12. Śl. 1 मङ्गलमात्र०—For comp. see com; there are
certain ornaments and things, which are considered as auspicious
(being the emblems of Saubhâgya) and which a Hindu wife
cannot discard under any circumstances. These are-the mangala-
sutra (a wreath of small glass beads with gold ones, the Ku-
nkuma mark on the forehead, glass bangles, &c. Hence the
queen is described as wearing these even when under a vow,
when other gaudy ornaments are to be dispensed with. Cf.
Vik. III. 12 (सितांशुक मङ्गलमात्रभूषणा). मन्दोद्यमा०—मन्दोद्यमालापिनी
V. l. मन्दं यथा तथा उद्यत आलापो यस्याः speaking in words gently
uttered (on account of the weakness caused by fasting, ). •यामा-
लापिनी gives rise to an awkward comp; the comp. may also

16
be taken as मन्दं उद्यमो यस्मिन् स मन्दोद्यमः; म० आलसो यस्याः, in either
case it indicates extreme emaciation. प्रातस्तन—तन is affixed
to adverbs of time in the sense of 'belonging to that time',
cf. प्राक्तन, सायंतन, अद्यतन, &c. —नेन्दुद्युति—cf. प्रविगलच्छ्रम म्लानेन्दुद्युति वपुर्ने
Māl. Mâd. IV. 4. नियमोद०—is to be taken with शान्त and
the other accusatives. प्रथमानुराग०—For the effects of first
love not gratified and a maiden's being more attractive then, cf.
क्षामक्षामकपोलमाननं, शोच्या च प्रियदर्शना च मदनक्लिष्टेयमालक्ष्यते । Śak. IV. 8.
अर्चति—The pres. in the sense of 'immediate future, —is going
to honour with gifts. चतुर्वेद &c. —is evidently meant to be
jocular. For comp. see com. ब्राह्मण्य—ब्रह्म the Veda अधीते
(Pāṇ. VI. 2. 59) ब्रह्म जानाति (Pāṇ. VI. 2. 92) इति ब्राह्मणः, तस्य भावः,
Vedic scholarship. महाब्राह्मण—महत् when prefixed to such words
as ब्राह्मण, चेटा, is depreciatory (निन्दायां). So in the Rat. राजा—
(सस्मितं) साधु भवन्त महाब्राह्मण मुक्त्वा कोऽन्य एवमुन्मत्तप्रलपितं । II. p. 43.
P. 13. अविरत—Ceaselessly, incessantly. सुकुमार—soft to
touch; or secondarily, charming. उत्सङ्ग—the surface or upper
part of; cf. दृषदो वासितोत्सङ्गा Ragh. IV. 74, or उत्सङ्ग, the vicinity
of. निलीन—stuck fast. बकुल—also called केसर is a large and
tall tree having darkish green leaves and small round flowers of a
pale-brown or white colour and sweet-smelling. मालती—मां लक्ष्मीं
लातीति takes up, or मालं a garland तनोति, fr. तन्+ड • • अ) also
called सुमना (as it gratifies the mind by its smell) is a kind of
jasmine (jasminum grandiflorum) having flowers of an exceedingly
pleasing smell. Its oil is much prized as a perfume. उद्दामा—
दाम्ना उद्धत (free from the fastening string, i. e. restraint), or
उद्गतं दाम यस्य (may be उद्दामा or-म), moving unchecked, freely, or
proud, strong, the wind is poetically fancied as proudly moving
being charged with the fragrance of. पर्यवबुद्ध—completely (परि)
opened. बन्धूक—(also called बन्धुजीवक—बन्धुरिव जीव फल यस्य) is
an erect growing plant having flowers of a bright red colour
which expand at noon and drop next morning. Cf. Ragh. XI.
25 (wherein drops of blood are compared to the बन्धुजीव flowers),
Kir. IV. 7. बन्धन the calyces or stems of. तमाल—A dark barked
tree but having white flowers. पिहित—also अपिहित, the अ of अपि
and अव being optionally dropped. सश्रीकतां—Lit. its being
possessed of beauty, grandeur, loveliness, so Rat. I. प्रेक्षस्व तावद्
मदनमहोत्सवस्य सश्रीकताम् । p. 11.
Śl. 2. क्षुद्रप्रवाल—tiny pieces of coral. शेफालिका—शेते शेफा
bees अस्यां, is a small tree with rough scabrous leaves but fragrant

flowers; cf. शेफालिकाकुसुमगन्धमन्दोद्दहाणि। Rs. III. 14. सप्तच्छद—(छद
a leaf, hence also called सप्तपर्ण, सप्तपत्र &c. having seven leaves
per twig) Alstonia scholaris, is a large tree often referred to
by poets as having the strong odour of the ichor of elephants.
Cf. मदैः सप्तपर्णानां मदास्रवगन्धिभिः। Ragh. IV. 23. गजमदामोद्—
आमोद is not appropriate with मद; it simply means 'scent' here.
रज'ऽङ्गपिष्ट०—अङ्गराग unguent or paint applied to the body.
वारुणी—Liquor in the form of the honey of flowers. For a
similar thought, cf. अमी भीताग्धेर्मुखरनिलतामंदरशुभः परागैः पुष्पाणां प्रकट-
पटवासव्यतिकराः।.........शमन्तादापानोत्सवमुपगमन्तीव मधुपाः॥ Nag. III. 8.
एतदपि—the Prâkrit एदं should rather have been translated by
एतं as it refers to सप्तपर्णप्रादपं, which is mas. अविरल—In quick
succession, or, in clusters. वर्षाः—fem. pl.
Śl. 3. बिभ्राणा—The Nom.s qualify शितयः. मृदूनां बिभ्राणा may also
be taken separately. शिरीष—is a tall tree, attaining the height
of thirty feet. Its flowers are known for their extreme delicacy.
Cf. Kum. I. 41. Its flowers are worn by young ladies as
ornaments on their ears; cf. Śak. I. 4; Ragh XVI. 48; Meg.
II. 2.
P. 14. उत्प्रेक्षितं—उत्प्रेक्षा कृता; expressed metaphorically. श्रीहा-
रितिः—which possess (or, surpass) the beauty of, the Śirīsha
flowers being also of a darkish green colour, cf. शुकावलिम्ब्यर्कशिरीष-
कोमला। Kir. IV. 36. क्षोदः—क्षोद which usually means 'powder'
must be taken to mean pieces or fragments here, as the adj. शालिनः
will be inappropriate otherwise उत्करः—heaps, collections.
इन्द्रगोपक०—the Indragopa (cochineal) insects which appear
in clusters in the rainy season are also of a bright red colour
and hence the Utpreksha.
हञ्जे—A vocative particle used by a lady when addressing a
maid servant. See com.; हला is used between females of equal
rank or position. अगस्त्यमहर्घये—see the two quotations by
Pandit Krishnamachariar given in the com. अर्घः—A respectful
offering or oblation to a deity or a venerable person, &c. con-
sisting of rice, water, rubbed sandal, &c. The usual ingredients
are—आपः क्षीरं कुशाग्रं च दधि सर्पिः सतण्डुलम्। यवः सिद्धार्थकश्चैव अष्टाङ्गोऽर्घः
प्रकीर्तितः॥ So these flowers must be added to these, as in Yaj. I
289, as they are specially mentioned here Some translate अप्पो by
अर्घ्य; this is got by adding य to अर्घ by पादाभ्याञ्च। Pān. V. 4, 25.
अर्घः पूजाविधिः तदर्थं द्रव्यमर्घ्यम्। Sid. Kau. According to the second
śl. quoted in the com. an Arghya ought to be offered to Agastya
at the close of Bhādrapada (August—September), when

18
Agastya (the bright star 'Canopus' of the constellation Argo
Navis in the Southern celestial hemisphere) rises, for the
attainment of all desires Varāh in his Br Sam says that a
king should offer an Arghya to Agastya for the attainment of
great power, सांवत्सरावेदितदिग्निभागे भूपोऽर्घमर्घ्यं प्रददन् नृपच्छेत् । ch XII
15, for other particulars see 16–18 अस्ताभि०—Lit desiring
i e about to set, occurs again at p 22 मुकुलायन्ते—Pres pass.
of मुकुलायते denom from मुकुल are closed, lit are made to assume
the condition of buds तपस्विनी—Lit a female ascetic, and as
ascetics require protection from others तपस्विन् secondarily means
'one helpless or deserving pity, poor', cf इतस्तपस्वी वैरोचकिः Mudr
III p 62 Śak p 95
P 15 ससाध्वसो०—साध्वसेन उद्वेगेन च सहितं यथा तथा, उद्वेग agitation,
mental pain or distress नाम—is वाक्यार्थे आज्ञाप्य स्थितया—who
used to command, स्था with the gerund shows continuity of the
act एष दोष—is आज्ञातिकरण, that I have to obey others
Sāgarikā also similarly refers to her misfortune that she has to
serve, but not with regret as she had obtained a sight of the
king (तत्परिप्रेषणदुःखितमपि मे जीवितमेतद् दर्शनेनेदानीं बहुमानं समुद्वहति ।
p 27) दुष्करमिदानीं &c—This at first appears to mean 'I
have thought of doing a hard thing i e committing suicide
But this does not seem to be intended A'rany finds it necessary
to yield to her misfortune and says अथवा (used पक्षान्तरे) or why
मया चिन्तितमिदानीं दुष्करं it is difficult to carry out my resolve
Again अपि after एतद् in परमेतदपि will have no force She would
rather prefer servitude than avoid it by revealing her high birth
Had the first meaning been intended she would have said एतदेव
यथाज्ञप्तिं further on also will be meaningless She has not said
any where that she would kill herself (although like Sāgarikā
she says it further on, see p 24) So यथाज्ञप्तिं must be taken
to mean 'as ordered by the Queen', and this she proceeds to do
in what follows महार्घ—महान् अर्घो यस्य, lit of high value, hence
noble, exalted का गति—What course or help is there? this
must be done गुल्म—a thicket or cluster निर्भर—filled with,
full of (at the end of a comp)
P 16 §1 4 Now he shows how the four senses (the fifth,
tongue, being excluded) are gratified by the several things
connected with the tank घ्रापयति—Denom fr घ्राण, घ्राणं करोति,
according to the Gaṇasūtra प्रातिपदिकाद् धात्वर्थे बहुलं णिच् दृश्यते । सुपुष्पाह्लाद०—v l
is not good, in the first place कुसुम will have to be taken in the
secondary sense of सुरभिगन्ध, 2ndly the word आह्लाद is redundant as

the idea is expressed by सुखयति; thirdly the word occurs in the
fourth line and such repetition is not poetic. सौधपाली—सुधा
( chunam paint ) अस्यास्तीति सौधः ( also सौध ) a mansion (अण् i, e.
अ being added in the sense of possession ); पाली a row or series
of, or rather पाली may mean 'the skirt or edge of'. परिमलबहुला—
strong, or excellent by, or clearly perceived owing to, its perfume.
Śl. 5. कान्ति—Splendour, beauty;—हारिणी—(1) Attractive or
charming by; (2) attractive like. By a bold metaphor the
दीर्घिका is compared to the दृष्टि of the goddess of the garden. For
a similar comparison cf. कृष्णसारच्छविर्मोक्षौ दृश्यते काननश्रिया । वनशोभाव-
लोकाय कटाक्ष इव पातितः ॥ Vik. IV. 31. कुसुमपरिमल०—This and
the other epithets apply both to स्त्री and वनदेवता; for these see
com परिमलेन सुगन्धा, the reading सुगन्धि is bad; for we cannot have
the final इ as the smell is not invariably connected with the
Veni, now see com.; a row of bees was attracted by the
perfume of flowers in the braid of hair. This is clear from
the use of the word अधरे ( मधुकरा ) further on, see p. 19. In the
second case वेणिरिव मधुकरावलिर्यस्याः having the line of bees for her
braid of hair. उज्ज्वलन्ती—Glowing, bright, radiant. The com-
parison of the tender and slender arm of a woman to a creeper
is common enough in Sans. literature. विकल्प—Different
thoughts or surmises. यत्सत्यं—Which is the truth; treated as
an indec. meaning 'to tell the truth, to be sure, surely.'
P. 17 Śl. 6. भुवन—The world of mortals, the earth.
०परा—स्नेहेन परं यस्याः सा. पर at the end of a comp. means having
'anything as the highest object; hence solely devoted to, intent
on, &c.' Cf. परिचर्यापरा Ragh I. 91 नागकन्या—A Nâga damsel.
In the Nâgá it is the Vidû. who wonders if Malayavatî can
be a goddess or a Nâga maiden; &c., see p 18. and cf. I. 15
The Nâgas, according to the Purânas are a race of semi-divine
beings, inhabiting the nether world or Pâtala. They are gene-
rally identified with serpents, the offspring of Kadru, a wife
of Kâsyapa; as in the Nâgá., where Vâsuki is spoken of as
their king, though the Bhg. makes a difference between them;
see X. 28 ( सर्पाणामस्मि वासुकिः ); 29 ( अनन्तश्चास्मि नागानां ). They are
described as having a human form with the expanded hood of
a cobra, and sometimes as having the tail of a serpent. See
Nâgá. V. 17. Their females are described as exquisitely beauti-
ful (cf. Nág. I. 15 where the face of a Nâgi is said to be as
lovely as the moon), and as sometimes intermarrying with men
(e.g. Ulûpî marrying Arjuna).

20
Historically the Nâgas were a race of people who have left
many traces behind them Nâgadwîpa was one of the seven divisions
of Bhâratavarsha Kings of this race reigned at Mathurâ,
Padmâvatî &c and the name, survives in Nâgapur They were
probably a race distinct from the Hindus See Dowson's Cl Dic p 213
मिथ्या &c—i e She is superior to a नागी in beauty दृष्ट मया—
This alludes to Vatsarâja s visit to the Nâga-world, described
in Brh K manjarı (II 56-60) and referred to in Act IV (नाग-
लोकाद्गृहीतविद्येति &c ) मूर्ती—having a bodily or corporal form,
P P P of मूर्च्, ( in this sense, मूर्च्छित fainted ) कमलेन—
उपलक्षिता marked by, the instrumental cannot be taken हेतौ (हेतुना)
she looked like Lakshmî not because she had a lotus in
her hand, but because she was beautiful like her and also had the
lotus in her hand Lakshmî is represented as having a lotus in
her hand, cf Kâd श्रियमिव हस्तस्थितकमलशोभाम्, p 24 उत्फुल्लारविन्दहस्तया
आलिङ्गितो लक्ष्म्या, p 92, &c कमलिनी—कमला यस्यां विद्यन्ते इति a lotus
plant, explain similarly मलिनी मलाप इव य०—cf अये दक्षिणेन पुष्प
वाटिकायामालाप इव श्रूयते । Śâk I p 18
P 18 यदा एवाह—I, to whose care the maiden was commit
ted यदेवा &c —This refers to the king's words यद्वा यस्योभ्या &c
at p 10 ante पर्याकुल —Solaly engaged in, busy with मुषिता —
Deceived, deluded, cf क्षिप्र न यात यदि न वञ्चिता स्म द्वय, Rat IV 3
निर्दोषदर्शना &c.—cf निर्दोषदर्शना हि कन्यका भवन्ति । Nâgâ l p 17.
सरोष—असम्बद्ध &c —It is natural for a Hindu maiden of high
birth (see the king's remark below) to display outward anger
and to blush at the talk of her marriage by a friend, cf Sak l
शकुन्तला—(सरोष) इमान सम्बद्धप्रलापिनी प्रियम्वदां &c p 34 धीरतया—
gravity, firmness of mind hence dignified demeanour धन्य
खलु —The same thought is expressed by Kâlî in rich poetic
strain when he makes Dushyanta say—अनाघ्रातं &c न जाने भोक्तारं
कमिह समुपस्थास्यति विधिः । Sak. II 10 विस्फुरितेन—Used as a noun
for विस्फारेण the spreading lustre or splendour विस्फुरितेन VI—is
bad, as विस्फुरण would add to the beauty of the lotuses
P 19 Sl 7 अच्छिन्न—Uninterrupted, continuous अमृतबिन्दु—
The Moon's body also sheds nectar दृशा—By her sight i e
glances or looks दृशा—v l to the eyes of the beholders The
former is better as it furnishes the cause of pleasure She gives
delight by the succession of glances as the Moon does by the
shower of nectar Read in the text दृशा for दृशो which has
remained through oversight विगलत्पयो०--Owing to the breast
garment slipping off; (2) owing to the drifting of the screen (पट

21
cloth) of clouds. चन्द्रमसतनोः—The poet says तनोः and not चन्द्रमसः
and very happily, as he wants a fem. noun to correspond with
तया. For it is the sensation of pleasure caused by the touch of
a male or female that makes the other close the eyes ; hence the
use of तद् in the mas. also ; cf. निमीलनाक्ष इव स्पर्श सुखयित्वा Vik. IV.
p. 110; शृङ्गेण च स्पर्शन्निमीलिताक्षीं मृगीमकण्डूयत कृष्णसारः । Kum. III. 36.
— करस्पर्शा०—कर ( 1 ) Hand ; (2) rays. मुकुलीभवन्ति—A Chvi.
formation; assume the state of buds, i. e. close up.
भ्रमरसंबाधा—This is doubtlessly suggested by the scene in
Śa'k. where Śaku is troubled by a bee. The influence of Kâli., not
only on the thoughts and ideas but on the language also of Harsha
is observable in many places in this play. अपरे—i. e. other
than those that gathered round her braid, attracted

सकलपृथ्वी &c. —Cf Śak. हला अशरणास्मि । उभे—पृथिव्या यः शरण-
स तव समीप वर्तते । p 80 पक्षपात —A strong leaning towards
or liking hence partiality, here choice

P 21 तव वदनस्यायं दोष —Cf for a similar thought अत्र
आत्मनो यौवन उपलभस्व । Śak. I. p 20 कदलीगृहा०—In the
Śak Śākuntalā addresses the bower of creepers where Dushyanta
lay concealed at the approach of Gautami see p 89 ऊरुस्तम्भ —
numbness or benumbing of the thighs स्तम्भ—Complete in-
activity or torpor of limbs is one of the eight Sātvika bhāvas
due to strong emotion for which see Sāh Dsr III 135
The ऊरुस्तम्भ was really due to the thrill caused by the touch
of the king's hand but A'ran hides the truth by saying that it
was due to the benumbing effect of the water This was a ruse
used by her in order to be able to look longer at the king in the
Kadalīvana cf Śak अभिनवकुशसूच्या परिक्षतं मे चरणं &c p 39
readings न खल्वविप्र &c० —cf अहो विस्मयः प्रार्थितार्थसिद्धौ । Śak
III p 84

P 22 Sl 9 कण्टकिनं—कण्टका सन्जाता अस्य इन added by तदस्य
सञ्जातं &c Pāṇ V 2 36 Having thorns on, with the hair bristling,
horripilated, and hence कदम्बनीप कमल०—Here कमल stands for
पद्म mas This is the effect produced on a lover by the touch of
the loved one cf आसीद्वरः कण्टकितप्रकोष्ठः Ragh VII 20, and
Vātsyāyana-कन्या तु प्रथमसमागमे खिन्नाङ्गयष्टिर् भवति दुरुहस्तु रोमाञ्चितो-
म्गानि । Kāmasūtras

मम मूर्खस्य—V l is perhaps better he says so because
the king had called him a fool above, see p 16 ante
अलीकपाण्डित्य०—This is a retort flung at the king by
Vidu for having called him a fool. He means you only
affect learning (पाण्डित्य) you do not possess it विदग्ध is what is
well burnt burnished, or polished hence refined, learned, wise,
दुर्विदग्ध one not really skilled or learned vainly proud cf अलीक-
शास्त्रग्रहणदुर्विदग्ध Ven III समाश्वासनं—something encouraging or
comforting, निर्भर्त्सनं—Reproach a chiding अस्तमय —setting
(of the sun) fr अस्त and अय (from अय् to go)—अभिलाषी—desirous
of i e about to set this has occurred before

Sl 10 प्रियतमेव—Like the beloved one (A'ran ), the splendour
of whose lotus face surpassed (eclipsed) that of the lotuses
The idea occurs in Rat देवि वदनपङ्कजेन शशिनः शोभानिरस्कारिणा
पङ्कजानि विनिर्जितानि सहसा गच्छन्ति बिम्बोष्ठताम् । I 25 राग —(1)
passion, love (2) redness

23
P. 23. चक्राङ्गः—चक्र इत्याहो name यस्य; the bird usually called
चक्रवाक (which also means the same thing—चक्र इत्युच्यते), hence
it is also called रथाङ्गनामान्, रथाङ्गाह्वय, &c. It is the ruddy goose gene-
rally described in Sans poetry as condemned to pass the night in
separation from his mate. Hence separated lovers are compared
to a pair of Chak. birds at night. अन्धकाराः—used here as an
adj., अच् (अ) being added मत्वर्थे by Pâṇ. V. 2. 127; see com.
अन्धकार आसां विद्यते dark, void of interest. जाताः—cf. for a similar
thought differently. expressed.—राजा—रात्र्ये वैय्यर्थ्यमिव चक्षुषः संप्रति
(after the departure of Urvâsî); Vik. II. p 54; and ‘And
leaves the world to darkness and to me;’ Gray's Elegy, stanza I.
There is a succession of similes in this Śl. Mark how the king
falls a victim to the influence of love at the very first sight
of the heroine. Kâli does not make his heroes yield so easily
and helplessly to the power of love.
————
ACT III.
—:o:—
सांकृत्यायनी—appears from this play to be a lady of high rank
and learning as she speaks in Sans. and is treated with respect
even by the Queen. That she composed the Mimic play in a
good style is clear from the Queen's speech below, see p. 30. The
part played by her in this play is similar to that of the Pari-
vrâjikâ in the Mâl. She is mentioned as a friend of Vâsavadattâ
in the Kath. Sar; see Tar. XIV. 71 (ततः प्रव्राजितां तस्याः सखीं
पितृकुलागताम् । स सांकृत्यायनी नाम शरणं शिश्रिये नृप. ॥) नाटकोप०—नाटके
उपनिबद्धः made the subject matter of a play, dramatised, same as
भवभूति's ‘अभिनेयार्थ. कृतः । Uttar IV. p. 119. कौमुदीमहोत्सव—The
great autumnal festival celebrated on the full-moon day of
A'śvina, when the moonlight is very bright, the sky being clear
after the cessation of the rains and the disappearance of the
clouds. It corresponds to the Kojâgari festival and has been
often referred to by poets; see Mudra. III. p. 73; It precedes
the Vasantotsava or spring festival referred to in Rat. I. कौमुदी
moon-light is derived as कुमुदनामिव प्रकाशकत्वात्; fr. कुमुद मत्वर्थे अण्
(अ) with the fem. affix ई, it is also derived as कौ on earth मोदन्ते
जना यस्यां तेनासौ कौमुदी मता । Malli. on Ragh. III. 1 (where the
reading is कौमुदीमह also ). वर्तितव्यं—Here नृत् has the technical
sense of 'acting, representing on the stage, and does not mean

24
-simply dancing ' अन्यथैव नर्तित—Cf. for a similar mistake in
acting the slip of tongue of Urvaśī when acting the part of
Lakshmī, in the Vik when she said पुरूरवसि instead of पुरुषोत्तम
विविक्तरूप०—A talk in full confidence that it would not be over
heard by any one
P. 24 प्रविशति भासनस्था—This might appear strange, but
प्रविष् has a technical meaning It simply means to appear on
the stage So this means A ra is discovered seated, the curtain
being removed or lifted up हृदय दुर्लभं जन &c —So Sagarikā—
हृदय प्रसीद प्रसीद किमेनयायासमात्रफलेन दुर्लभजनलुपनेन । Rat II p 30.
हृदय निष्फलम्पादितभूमिष्ठितो मनोरथाद्विरम । किं मामायासयसि । Mal III
p 47 अभागधेयता—misfortune, ill luck नास्ति भागधेयं यस्या सा
अभागधेया तस्या भाव, धेय is added स्वार्थे to भाग, cf रूपधेय and नामधेय
आभिजात्यसदृश &c —Kāli, however, makes Priyamvada con-
gratulate her friend in language more elegant and impressive
when he makes her add सागरं वर्जयित्वा कुत्र वा महानद्यवतरति &c ,
see Sak III p 72 सह्यवेदनमिव दुःख &c —Cf स्निग्धजनसंविभक्तं
हि दुःखं सह्यवेदनं भवति । Sak III p 70. हृदयनिर्विशेषा—not
differing from, identical with, my heart (like my second heart)
Cf expressions like सुतनिर्विशेषा ( Ragh V 6 ), अपत्यनिर्विशेषाणि
(Sak. VII p 185 ), आत्मनिर्विशेषा ( Uttar III p 78 ) तस्या
अपि—Cf कुतो विभव स्निग्धजनस्येमं वृत्तान्तमाख्यातुम् । न जाने &c Mal.
III p 43 सर्वथा मरण &c —Cf दुर्लभजनानुरागो विवशस्य मरणं शरणं
Rat II 1
P 25 अतिभूमि—The highest point or pitch, climax
तदवस्थापि—i e of me who am your very heart—refers to A ra 's
speech हृदयनिर्विशेषा &c पर्याकुल —Solely engaged in thoughts
about. अप सखीजन &c —This speech ought to be स्वगत, or
we should adopt the reading in the foot note सखीजनपक्षपातेन
&c पक्षपातेन—Cf सौहार्दमेव पश्यति, and पिया णाउ अई मद MAl
III pp 46, 53 देवीराजनिगड &c —Cf सखि देवी विचिय न णाउ
मम हृदयं निवसति । Mal III. p 53 कमलिनीपलाशवृन्त &c.—This
is doubtless an echo of अभिनवमधुलीढस्य Sak V 1 मालतीं प्रेक्ष्य—
&c मालती Jasmine, so—मालत्यामपि अनुकुलमुक्तेव भारतीमात्रा लभ्यमाना
लक्ष्यते । Mal III p 38 लज्जालुका—लज्जालु is to be derived
like कृपालु by adding उ (लु) to लज्जा + ला ( as in the case of मितद्रु) by
the Vārtt on Pān III 2 180 (see com ), क is added to express
pity आत्मा प्रच्छादयितुम्—Mark the use of the inf with verbs like
युज्, शक् &c, the cons being आत्मा प्रच्छादयितुं न युज्यते । Cf युक्तं
मलयवतीशरीरे बाष्पार्देन ताडयितुम्, Mal III 57 She means-you
should not dissimulate do not say दारुणत्वेन say सज्जनत्वेन ,