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

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 ,

I know it. For the difference between torment caused by
आतप and मदन cf. Śak. III. 7 ( न तु ग्रीष्मस्यैवं सुभगपराद्धं युवतिषु । ).
अविश्रम्भशीला—One not habitually confiding; because A'r.
only hung down her face and did not admit the truth in
plain words. निभासनिभ—Here निभ has the sense of pretext
or guise of. दिवसै रात्रिभिरपि—may have been suggested by
मम पुनः कामो दिवसै रात्रिभिरपि । तपति अङ्गानि । Śak. III. 14. The
reading विरमत्यर्द्ध is grammatically inaccurate कुसुमशर—Kāma
is often spoken of as कुसुमशर-सायक, पुष्पसायक &c. न भणति—a
question, does it not say, not proclaim your true state? Sree.
reads this passage in a metrical form; see the foot-note. This
is perhaps better and more poetical-as if it is the sound Hāra
(due to &c and implying your love-torment). नलिनीपत्राणि—
Lotus-leaves and lotus-stalk-

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.

" or "वृद्धा"?
In L26:
"वृद्धा तातमाता भवति—It is not clear from the play whether"
Sâmkr. was some elderly near relative of the Queen or simply
one held in such reverence by her as to be called a mother.
नाटितव्यं—is used here in the sense of dramatic representation.
वेशोचिता—used to correspond in sound with वेशा (वृद्ध).
Wait, "वेशा (वृद्ध)." or "वेशा (वृद्धा)." or "वेषा (वृद्धा)."?
In L30: "वेशोचिता—used to correspond in sound with वेशा ( वृद्ध )."

Śl 2. शातकुम्भे—See I. 11. अवसक्त—hung up, festooned
with. युवतिभिः—It seems the performance was to be witnessed by
the fair of the city; hence Manoramâ was to play the role of the
king and not a male. सुरविमान०—Which is also रत्नजालशोभित
and occupied by the nymphs of heaven. It may mean an aerial
car, or a large house (विमानं मानं सामात्). The houses in great ancient
Wait,

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

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
[L33

28
P. 31. विबद्ध—(also आविद्ध) fastened, i e worn on Cf पञ्चद-
निबद्ध मण्डन (० ! ) मे प्रसाधीकृतं &c Rat III p 61 मनोरमे &c —
Manoramá was chosen to act the king's part as her features very
closely resembled those of the king See infra, p 30 sl 7
नडगिरि—(called मडागिरि according to Kathà , see Lam II Tar
13) was a powerful elephant in the possession of king
Mahásena It was riding this elephant that Pálaka, a son of
Mahásena, pursued king Udayana, after he had fled with
Vásavadattá, under cover of night having mounted a she elephant
ग्रहणं—It is said that Nadagiri once bolted away tearing off the
post to which he was tied and made terrible havoc in the city,
when king Udayana was asked to arrest his progress by the
magic influence of his lute, see Meg I 31
कञ्चुकी—This is the Kanch of Mahásena, king of Ujjayiní
appearing in the mimic play, part of which had already been
acted before Vásavadattá
Sl 3 In this by using epithets having a double application
the Kanchukí says that he discharges a duty similar to that
of a king. अन्त पुराणा—(1) The inmates of the harem, (2)
पुराणामन्त in the cities of his kingdom स्खलितानि—(1) Mistakes
or breaches of duty through carelessness, रक्षन्—preventing or
not disclosing or giving out, cf रथेन स्खलितेषु दृप्तमनसा यान मया नोद्धृत,
Veni II 1 A good king also (विनेता) prevents his subjects from
going astray, cf Ragh VI, 39 जरातुर —When referring to a
king may be taken in the sense of जरायां प्रशंसायामातुर eager to
win praise But it is not necessary to do so
P 32 दण्डनीत्या—Cf Sak V 3 आचार इत्यवहितेन मया गृहीता
या वेत्रयष्टिरवरोधगृहेषु राज्ञ । काले गते बहुतिथे मम सैव जाता प्रस्थानविक्लवगतेरवलम्ब-
नार्था ॥ (1) By being guided with a stick, having to support
myself on a stick, ( 2 ) दण्डनीति दण्डो नीयते अनया इति politics or
the science of government, administration of justice It is one
of the four lores or Vidyâs by which punishment is meted out
to culprits Cf आन्वीक्षिकी त्रयी वार्ता दण्डनीतिश्च शाश्वती । विद्या ह्येताश्चतस्रस्तु
लोकसंस्थितिहेतव ॥ आन्वीक्षिक्यां तु विज्ञानं धर्माधर्मौ त्रयीस्थितौ । अर्थानर्थौ तु
वार्तायां दण्डनीत्यां नयानयौ ॥ Kâm Nit This Sl is the same as
Nâg IV 1
विमानित—Discomfited, put to shame, hence defeated, over
powered ०सैन्यम्—should rather have been ०सेनेन ( सेना येन )
and so महासेनेन ( महती powerful superior, सेना यस्य ). The Kanch
being an elderly person simply says महासेनेन without any

29
honorific epithet. उदयनोत्सवं—A festival instituted to cele-
brate the capture of Udayana or rather his marriage with
Vāsavadattā; or perhaps the reading may be अयं मदनोत्सव and
hence the order to go to मन्मथोद्यान. रूपस्य योग्य: अनुरूप: अनुरूपः वेषः
&c. प्रेक्षा—Representation.
भद्रे तदादिश्यतां—Here we expect the stage-direction (अन्तःपुरे
विलोक्य)
Śl. 4. नूपुरिभि —नूपुरौ एषां विद्येते इति नूपुरिणः तैः having anklets on.
Explain केयूरिभिः, कुण्डलिभिः, &c. similarly. नितम्बफलकैः—नितम्बा
फलकाः (broad and extensive) इव, or प्रशस्ता नितम्बाः नितम्बफलकाः;
Karm. comp. Words like फलक, पट, भित्ति (e. g कपोलभित्ति), &c.
express प्राशस्त्य or excellence when forming the second member of a
Karm. comp. शिञ्जान—tinkling; pre. p. of शिञ् 2 A. to sound
(like anklets). काञ्चीगुण—the girdle bands. आपादित—reduced,
generated सहस्वस्तिकैः—स्वस्तिक a kind of mystic diagram denoting
good luck and auspiciousness; स्वस्ति कायति इति स्वस्तिकः fr स्वस्ति+कै
to sound I P. and affix (अ); Pāṇ. III. 2-3. Hence anything like
a Sva., as a house, &c; here a kind of head-ornament; or a
particular symbol made with scented rice-flour and triangular
in shape. स्वस्तिकः मङ्गलद्रव्ये यत्तु तण्डुलचूर्णेननिर्मितत्रिकोणाकारनिवासद्रव्यमिति
कल्पद्रुम ।" Pandit Krishnamachariar. परिचारिका०—परिचारिकाः
the maids in immediate attendance on the queens एतेषु—scil.
अन्तःपुरेषु.
अपूर्वे—Because adornment of the person in the case of the
inmates of the harem was an ordinary thing.
केवलं &c.—The sentence may end with समादिष्टः; I was ordered
by the King because the royal command must be given; or the
constr. may be समादिष्टोऽहं स्वाम्यादेश इति मत्वा &c.
P. 33. वीणा—Popularly called Bīṇa or the Indian lute is a
stringed instrument with a large round hollow bowl, a body
of thin wood and a neck with tuning pegs and metallic strings,
and with a hollow gourd attached to it on the other side of the
body.
काञ्चनमाला—was the attendant of Vāsavadattā in the palace
of Mahāsena and followed her as her principal maid also after
her marriage with Udayana In the Garbhanāṭaka she herself
plays her own part गन्धर्वशाला—the same as the प्रेक्षागृह. प्रविशति
आसनस्था—प्रविशति is discovered, seated. See notes p. 24.
वीणाचार्यः—i e. Vatsarāja. एक उन्मत्तः—This undoubtedly refers
to Yaugandharāyaṇa, the devoted minister of Vatsarāja, who in

the guise of a mad man, with Vasantaka, saw his master in his
prison in order to effect his release and gave him instructions as
to how that was to be done. चित्र—wonder, astonishment. भारित —
seized completely, or entirely overpowered by.
एष्टव्य &c.—The reading in the foot-note is better. सदृशा
सदृशे &c.—Cf. सर्वः सगन्धेषु विश्वसिति। द्वादश्यामारण्यके। Sak V p 132
राजपुत्र्या &c.—This speech is addressed to Vāsavadatta:
we expect here the stage-direction—वासवदत्तां प्रति. तन्त्री—The
string or wire of a musical instrument. घोषवती—a Vīṇā.
Here the name of the Vīṇā presented to king Udayana by
Vāsuki, See Kathā XI 3, See, however, Intro., the legend
about Udayana.
सारयति—Adjusts, puts into tune, or strikes to see if they were
in good order. रमणीय भवेत्—Because she could not have waited
for the king very long.
Sl. 5. शताप &c.—Construe शीतोष्णः यथा ममोग सन्तारमकृत्वा अध्वैव
न कुरुत, similarly उष्णा निःश्वासा यथा पूर्वमजलमधरमल्पमपन्चु तथा &c.
अजस्र—Constantly or continually, fr. जसू with न ( न जसतीति )
and aff. र which is added to दम्, कम्पू, सिम्, जसू, &c. ( Pāṇ. III.
2. 167 ), नम्र, कम्प्र, &c. जसू is always preceded by अ ( नञ् ) जसिन-
द्युभुवां विभासानन्दे भवति। अजस्रं सन्ततमित्यर्थः । Sid. Kau. This is an
अव्यय. मनोरथेषु सन्नि०—Thought of as being near accomplish-
ment. Cf. for a similar thought आसन्नमारिकाचिन्तारुणापि मम शान्दसन्द्रा
एव । Māl. Mād. V. 7. त्वदुपलब्ध समीपता विधी हृदयमुच्छ्वसितं मम विह्वलम् ।
Māl. III. 45 and for the idea somewhat differently expressed
अभिमुखयिदव काङ्क्षितसिद्धि मजति निर्वृत्निमेकपदे मनः । Vik. II. 9.
For an opposite idea cf. नीपं इतरतायोगं नयतीशे साधने यथातन्वे ।
Rat. III. 10.
सर्वं तच्चरितेनेव &c.—तच्चरितेन—his own deeds. शिक्षितव्यं to be
learned by way of acting. She means—As the king knows his
own acts then it will be easy for him to play his own part
without instruction. Nothing will go amiss, and the Queen
will not detect the fraud.
P. 35. दास्यादि नर्तन्ते—This speech of the Vidu. ought
to be taken as जनान्तिकं ( meant to be heard by the king alone ).
गुरुता—Weightiness, Importance (which makes a king humour maid-
servants even), for, मनस्वी कार्यार्थी गणयति न दुःखं न च सुखम्। Bh. Nīt. 81.
Śree. reads दाप्य इर and explains शारदी यधिका इव कार्य तेनतवमात क्रियन्ते।
निभृतम्—Adv. secretly, being concealed, or silently, or it may
be an adj. qualifying भवता. चित्रशाला—A picture gallery seems
to be here one adjoining to the concert-hall. आरब्धिवशा—विन्दु वर्ण