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

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

&c.. 'This speech of A'rn. is to be read directly after उत्सङ्गे वीणां
कृत्वा सारयति । The entrance of Manoramâ, the king and Vida.,
the participants in the intrigue being considered as aside.
उद्देशः—Part of the story, context ( so that he may know where
his part begins ).
अपहरसि मे—Transports me with joy, fascinates or infatuates
me. The king overhears her and understands अपहरसि in the
sense of 'takes me away.' सृजामि—the object being तम्.
प्रविश्य—i. e. on the stage of the Garbhanâṭaka unseen by A'rn,
Vâsa. and Kán. ग्रन्थिं बध्नामि—It seems from this to have been
an old custom, which still prevails in many parts of India, to
tie a knot generally at the end of a garment when there is some
pronouncement or an auspicious omen in favour of one's desired
object, and is therefore called शकुनग्रन्थि ( शकुनगांठ in Marâṭhi ).
It is also tied when one is determined or definitely undertakes to
do a thing (निश्चयसूचक) and wishes to be reminded of it.
Śl. 6. अपहरामि—अपहरिष्यामि, pres. in the sense of immediate
future. अपहरामि इति पश्यामि the whole line, however, is metrically
faulty; but it is so found in almost all the printed editions.
Śreenivasachariar reads.—नाहरणं न चिरादेवेति पश्यामि, but this seems
to be a conjectural emendation, and is also syntactically in-
accurate. We cannot connect उपनीय with अपहरण unless we
supply स्थितेन—उपनीय स्थितेन मया, अह after पश्यामि is dropped as a
useless addition, that might have originally got in through
the carelessness of some scribe. सुसंनिहितं सर्वं &c.—Well arranged
and brought within reach, i. e. made practicable. यौगन्ध०—
युगन्धरस्य अपत्यं पुमान्; the son of Yugandhara, who was the chief
minister of Vatsa's father, Sahasrânîka. Similarly the fathers
of Rumạnvat and Vasantaka also were his father's servants. See
Br K. M. II. 12, 13; सुतो युगन्धरस्यासीच्छ्रीमान्यौगन्धरायणः । रुमण्वान्
सुप्रतीकस्य द्विजस्य च वसन्तकः ॥ यौगन्धरायणो मन्त्री रुमण्वान्वाहिनीपतिः । वसन्तको
नर्मसुहृद्वाजपुत्रीसुहृत्ततः ॥ Ibid. 38, 39. Yaugandharâyaṇa was the
devoted minister of Vatsarâja, the purpose of whose life was to
see his master elevated to the rank of an emperor. When he
heard that his master was put into custody he, leaving the
cares of the kingdom to Rumạnvat, came to Ujjain with
Vasantaka to concert a plan for his master's escape. There he
entered the cemetery and by the help of a friendly Brahma-
râkshasa, called योगेश्वर, he changed his own form into that of a
dwarfish old hunch-back, and gave Vasantaka a deformed shape
with a protuberant belly and projecting teeth and found access by

32
that means to the apartment of the Princess. There the two
made themselves known to Vatsarâja. Then Yaugandharâyaṇa
informed the king of the arrangements made for his escape with
Vâsavadattâ (see ante notes p. 6 foot-note) and keeping
Vasantaka there for his amusement returned to Kauśâmbî.
वासवदत्ता (सहसोत्थाय)—Vâsav. forgets that she was one of the
spectators and that Âraṇyikâ was playing her part in the
mimic play and suddenly rises at the sight of the king. This
of course has a different effect on the king who has a guilty
conscience. He thought that the fraud was detected. ससंभ्रमेण—
संभ्रम hurried respect or hurry to show respect. Cf. for this
meaning गृहमुपगते संभ्रमविधिः Bh. Nît. कथं प्रत्यभि०—So Vâsa.
in the Ratnâvalî—कथं जानामि (p. 71) when she goes disguised
as Sâgarikâ to the rendezvous.
प्रेक्षणीय०—Saṁk. means—why do you rise in a hurry, this is
not the real king.
P. 36. उच्छ्वासितोऽस्मि—I am made to breath a sigh of
relief, life is put in me (by Saṁk.); this he says because he
dreaded the anger of the queen. सविलक्षस्मितम्—विशेषेण लक्ष्यत इति
विलक्षः, विलक्षेण स्मितेन सहितं यथा तथा, with a smile of amazement or
wonder, विलक्षो विस्मयान्वितः Amara; or विगतं लक्षं यस्मात् तद्विलक्षं, with
a smile of embarrassment or bewilderment.
Śl. 7. तद्—s. c. of Vatsarâja. नयनोत्सवा०—रूपस्यावदाने
नयनोत्सवकारिणीति, Mâl. Mâd. VI. 17, also II. 3. सा—s. c. which
characterises king Vatsa. मत्तद्विरदो०—s. c. a stately and
majestic or dignified gait. सत्त्व—dignity, or firmness,
vigour, substance (inferrable from one's outward bearing
or deportment). Cf. क्रियासिद्धिः सत्त्वे भवति महतां नोपकरणे Sub.,
सत्त्वौत्कर्षस्य धात्रा निचय इव कृतः &c., Mud. III. 22. ऊर्जित—great,
p. p. p. of ऊर्ज् 10. cl. to become strong or powerful. सान्द्र—
Dense, filled with water. मन्दह्रादानु०—A deep loud sound is
the characteristic sign of a great man, cf. एष च दुन्दुभेरतिगम्भीर-
स्वरो मेघ इव घूर्णन् श्रूयते । Kâd. p. 128, नवजलधरस्तनितगम्भीरया गिरा Ibid.
p. 129, Uttar. VI. 17. बद्धेन—see ante I. 5, and Vidu.'s speech
on p. 6. नीलोत्प०—निगलन—निगडन same as निगडनं chaining,
fettering, n. from the denom. verb निगलयति.
P. 37. निष्पादित &c.—This speech of the king is of course स्वगत.
It is not heard by Âraṇ. or Kâñch. तदाऽभ्यर्थित०—The अभिलाष०
was that Vâsa. should secure Vatsa's love. The reading आलिखितस्य
for अर्थित० is not so good as it does not agree well with निष्पादितम्.

Śl. 8. घनरुद्धघनो०--This epithet is श्लिष्ट; the śl. having a
side-meaning; see I. 5 supra -(1) covered or occupied by a dense
line of clouds; (2) hidden from view by the compact or closely
hemmed in prison walls. Sreekr. takes गगने in the sense of the
dark prison (गगनसदृशे तमसा नीले चारके); in this case घन will
mean well secured by the close fastened prison doors. मानसं--
(1) the lake Mánasa* on mount Kailása, to which swans are
described as migrating at the approach of the monsoon; see Meg.
I 11; Ragh. XIII. 60, (2) the mind. मानसमेतुं--cf. मानसमुपैति दैवं
नियमता राजहंसीव । Rat I. 9. राजहंस--(1) A swan; (2) the best of
kings, Vatsarája. Fig. अप्रस्तुतप्रशंसा.
स्वप्नुं न ददासि--For a similar use cf. बाष्पस्तु न ददात्येनां द्रष्टुं चित्रगता-
मपि Śak. VI. 22 लज्जैव कर्तुं न ददौ Kád. p 289.
रात्रिंदिवं--A Dwandwa comp. the nasal added to रात्रि is by
निपातन (irregular), see Pán. V. 4. 77; यदा प्रभृति--निद्रा न
ददौ--Vidu.'s fondness for sleep is often referred to by poets, cf.
Śak. II. रात्रावपि निकामं शयितव्यं नास्ति । He sometimes betrays the
secret of his master and thus puts more impediments in his way
by his prattlings in sleep, as here. Cf. in this respect his speech
in the Mál. IV p. 83--विदू०-(उत्स्वप्नायते) भवति मालविके &c For an
instance of prattling in sleep comp. the scene wherein Vásava-
dattá sleeps in Bhása's Sva. Vas. V.
Śl. 9. अभिनव--Now, hitherto unknown. क्षिप्ता--hurled
into, i. e caused to be suddenly or forcibly smitten by passion.
वामकेन--Káma is represented as वाम acting perversely, as making
a person love one that is unattainable. Cf. रात्रौ कामः किल कामः
Daś. Ch. , and वाम कामो मनुष्याणां &c Rámá. Sund. K. XXII.
4, where the Com. says वाम क्रूर इत्यर्थः । सव्ये क्रौर्ये सुन्दरे च वामः
इति कोश ।
मधुकरिका--Sans poets represent even a female bee as longing
for the company of her lover and enjoying amorous sports; cf.
Kum. III. 36, and एषापि कुसुमनिषण्णा ......भवन्तमधुरतया प्रतिपालयति
मधुकरी &c. Śak. VI. 19. उत्ताम्यति &c.--Cf. for the same thought
differently expressed Mála.'s words नाथ मां पराधीनां त्वयि गणय सन्तृष्णाम् ।
Mál. II. 4 Herein also we have the अप्रस्तुतप्रशंसा as Vása.'s
longing for the king is indicated by implication.
अहो--expresses astonishment at the skill shown by Vása. in
playing on the Víná and at her proficiency in singing. वादित्रं--
Performance or playing on the lute; fr. वाद् and the Unádi affix

• So called being created by Brahmá with his mind. कैलास-
  पर्वते राम मनसा निर्मितं परम् । ब्रह्मणा नरशार्दूल तेनेदं मानसं सरः ॥ Rámá.

34
इन by शूर्पणखीयो नियमः. Properly वाद्य, also called आतोद्य refers to
the four kinds of musical instruments, viz (1) stringed instru-
ments such as the Vīnā, wind instruments such as वेणु, instru-
ments with mouths covered with hide, such as the मुरज, and
instruments beaten, such as cymbals ( कांस्य, &c ).
P. 38 Sl 10 This contains many technical terms of music.
व्यञ्जनधातु—one of the four modes of playing on a lute. There
are विस्तार, करण, आविद्ध and व्यञ्जन, see com., read विस्तारकरणाविद्ध &c.
धातु—Properly an element that produces anything, here the act
of producing musical notes or tunes by striking the strings of a
musical instrument, see com. For its ten forms distinguished
by the different ways of striking the strings with the fingers,
see com. वृत्ति —V. l. for प्रवृत्ति means the relation between the
vocal and instrumental music as the one or other is principal or
subordinate, see com. Mr. Gadre quotes Rāghavabhaṭṭa on मयाऽपि
गीतरागेण ( Śâk. I ) who says गीतरागेण श्रीरागादिना धातुना and says that
धातु may mean Râga, the Râgas being ten, according to some
authority. लय—seems to be used here for ताल though there is
a technical difference between the two. ताल is musical measure
or time ( तालः कालक्रियामानम् ) while लय is the union or agreement
of song, dance and instrumental music. लय, however, falls under
the general category of ताल—cf लयो दशनाट्याणां गतमशतालनाट्यवर्त्ती
लयात्मकः कालविशेषः । उक्तं च प्रतारे—कालो जातो क्रियाङ्गानि मार्गशह्यकरा
लयः । यतिः प्रसारकश्चेति तालप्राणा दश स्मृताः ॥ quoted from the com.
on the Mallikâmârata by Gadre. The three kinds of लय or
tempo are द्रुत or rapid ( allegro ), मध्य or middle ( moderato )
and विलम्बित or slow ( adagio ) corresponding to which
are the three pauses समा, स्रोतोवहा and गोपुच्छा. See Nât. Śa 31 231
333. गोपुच्छ—Read गोपुच्छाप्रमुखा. गोपुच्छा ( so called because it re-
sembles the tail of a cow—see com ) प्रशस्या यासा सा गोपुच्छाप्रमुखा. लय,
ओघ and अनुगत are the three modes of playing on a वीणा ( वेणु ) ;
see com, read in the com. वाद्यप्रपौथी instead of प्रवाद्यौ । For other
particulars see the extract from Śivarâma's com. on this sl. in the
Nâgânanda, given on p. 60. उपाध्याय —See com, fr. इ with उपाधि
and aff. घ ( घञ् ) Properly a spiritual teacher. See Śak. V
p. 118. एकदेशं तु वेदस्य वेदाङ्गान्यपि वा पुनः । योऽध्यापयति वृत्त्यर्थमुपाध्यायः स
उच्यते ॥ Hence a teacher or preceptor in general.
यदहमभिरुचामि &c.—This apparently means—may you be an
adept in music as I wish you to be, the real meaning is--may you
be my queen as I wish you to be. This is probably suggested
by Kâs'yapa's words यदिच्छामि ते तदस्तु in Śâk. IV p. 110

35
P. 39. विद्यामानेन—By being honoured for her proficiency in
the art. पीठिका—seat. शिष्याविशेषा—शिष्यासु विशेषा distinguished
among pupils; an excellent pupil. Cf. अतिथिविशेष Śak. I. आकृतिविशेष
&c. कार्यं—Subject matter. अधिकं—exceeding or not in the
original, कृतं you have overdrawn the original This brings out-
the extreme modesty of Vāsava. as a high-born and well-bred
girl. She does not like to be so represented even before the
inmates of the harem.
P. 40 अधिकमेतदपि—Viz: making the king seize her hand.
काव्येन—काव्य composition, hence poetic art. She means—
Kāncha. may be deceived and speak in the way she is made to
speak, but I cannot bear to see such false representation. Some
read the two words as compounded. Then the meaning is—by
the words put in Kān.'s mouth. I should not be placed in a
false position by Kanchi's speech. The Queen does not appear
[L

36
Śl 12 बाल—tender अपहारदक्षेण—Clever in robbing * *
fully resembling राग —(1) redness, (2) passion
P 41 अनर्थमिव कुर्वन्ति—i e feel an overpowering thrill
through them This was because it was the touch of a real male
अलीक—False She feels that the scene was purposely so ar-
ranged गान्धर्वे वि०—A marriage brought about by mutual
consent; it was much in vogue among the ancient Kshatriyas
It is one of the eight forms of marriage recognised by Hindu
law givers Cf As' v Grh I, 6 5 मिथः समयं कृत्वोपयच्छेत स गान्धर्वः ।
and Manu III 26, 32 quoted in the com
अस्थाने—Lit at an improper place, when there is no occasion
for it रस—the interest awakened by the acting अन्यथैव—
दृष्ट्या—i e thinking that I might have allowed the king to act
in my place अन्यथैव—i e thinking that it was a simple
question, not having the sagacity to divine the Queen's real object
आकुलीकृत—For the fact that Manoramá was waiting there
showed that she was acting in league with the king यदुक्तन्त—क्त
implies censure (कुत्सितं क्तम् । ), the foolish fellow having no
common sense एतन रत्न &c—Mark how ready witted Mano
ramá is She casts the net on Vidu full sure that he would
save her even at the risk of incurring the queen's displeasure
P 42 मूर्खनिर्घोषा०—V l is bad For मूर्ख can only refer to
Vidu, but then if not Mano 'scries, the loud voice of Vidù would
have attracted attention सूत्रधार —i e he has arranged the whole
business क्व आरण्यका क्व &c—क्व repeated like क्व क्व shows
the great disparity between the two Where is Ara, your
servant and where poor Vasantaka How can he dare take part
in such an intrigue ? प्रेक्षणीयमस्य &c—Let me see how he enjoys
the acting he has arranged I shall just go to the king and
expose the whole affair Mr Gadre compares the Marathi
expression याचा आतां तमाशा पहान इतश्च अनुभव &c —Mark again
how the sagacious Manoramá says this to lull all suspicion on
the part of the Queen that she was in the intrigue बन्धित —
caused to be bound or fettered; p p p of बन्ध् cau
P 43 कथं विज्ञातोस्मि—The king is surprised as he did not
expect that Manoramá would be seen by the Queen and the ruse
discovered अभूभिरिय—Sámkrityáyani wants to show that she
being a holy personage should not be in a place where deceit
was practised

37
ŚL. 13. वीक्षितं—P p p used as a noun (वीक्षणं), cf. with this
भ्रूभङ्गे सहसोद्गतेऽपि वदनं भीतं परो नह्यतामीषन्मो प्रति भेदकारि हसितं नोक्तं वचो
निष्ठुरम् । अन्तर्बाष्पजडीकृतं प्रभुतया चक्षुर्न विस्फारितं कोपश्च प्रकटीकृतो ऽविनय।
मुक्त्वा च नम्रः ॥ Rat. II. 21.
अपूर्वोऽयं कोपप्रकारः—Cf प्रिये अपूर्वोऽयमुपचारः। Māl. IV. p. 84.
आरण्यिके म्वं कुपितेति—Here Vāsa.'s jealousy is well brought
out. In this scene she is represented as ईर्ष्यारूषायिता. Bhāsa does
not degrade her down to the level of ordinary women. But the
cannons of dramaturgy require the chief queen in a Nāṭikā
to be jealous at every step. See Intro. p. 9. आरण्यिका—
णाहं &c.—This was true; see supra note on सदोषमिव p. 40.
गृहाणेनां—In the Rat also Sâgarikâ and Vidû. are similarly
treated See Act III p. 79. भवति भय कोदृशी &c.—This
defence of the King by his friend, though ridiculous in the eyes
of the Queen, has some point in it from Vidû 's own stand
point. He means—This being the time of the Kaumudī
festival some liberty of action may be allowed to men. And so
my friend acted that way just to see how you would take it
and thus to enjoy the fun Hence the king finds in this a crutch
on which to lean. See śl 14, last line
P. 44. दुर्नयं—ill advised course of conduct, mischievous or
wrong policy, misbehaviour. She says दुण्र्णयं because she
knows that Vidû. (whom she has already called आरण्यकानाटकके
सत्रधार ) is the King's principal accomplice in love-intrigues.
विकल्पित—P p p used as a noun; wrong supposition, suspicion
(of a thing).
Śl 14. भ्रूभङ्गैः—भ्रूवोः भङ्गः भ्रूभङ्ग the knitting of the eye-
brows; a frown. भ्रूभङ्गैः the repeated knittings or frowns The
frown disfigured her fair face.
कलाटशशिन – ०शशी that is now spotless and so superior to
the moon. The comparison shows that the moon meant here is the
moon of the 8th day of the bright half of a month; cf अष्टमीचन्द्र-
शकलाकार ललाटदेशमुद्वहन्तं Kâd. p. 19, 26. बन्धूजीवसमतां—The बन्धु०
flower is bright red and hence the lip is compared to it; see
supra p. 13, note on बन्धूक. मष्या स्थियते—suffers pain, is oppressed
with the burden of; for the idea cf. क्रीडन्त्वाः पीडयेत स्तनभर-
विणमन्मध्यमक्लानपक्ष्व् । Rat. 1. 16.
अकृतेव प्रसादे &c.—The king uses the same words in the Rat.
when Vāsa leaves him without minding his prostration at her
feet; see Act III. p. 77.
4

38
Sl 15 भिन्न—Broken through, streaked with, or mixed
with, qualifies मुखं एक : • of the Queen अपर— : • of
Aranyikā उत्प्लुत्यो०—bounding repeatedly ; • with great force
and speed the same as Kāli 's उदञ्चिततरात् Śak I 7 The वीप्सा
(repetition) shows the intensity of the action उद्वीक्ष्य—As
I look up to इद—this ; • standing before my eyes as fancied
or pictured by my mind The cons is इदं रूपं प्रेक्षाम &c एक,
त्रासेन ०वलमपर गणरूपश्यन् &c Compare with this the concluding
Sl of Rat III
भीतश्च–च–Here the two चs have the sense of 'and yet' or at
the same time तथा च—And so the king in the Ratnāvalī—देवी
प्रसादयितुमभ्यन्तरमेव प्रविशामि। Rat III p 84
ACT IV
───«o»───
P 45 दीर्घरोषता—दीर्घो रोषो यस्या सा दीर्घरोषा तस्या भावः दीर्घरोषता ।
एतावन्त—एतत्परिमाणमस्य एतावान् तम् । अङ्गारवती—Queen of Mahasena
and mother of Vāsavadattā She was the daughter of the Asura
Angāraka and the most beautiful maiden of the time By a
boon conferred upon him by the goddess Durgā Mahasena got
her for his wife after killing the demon Cf किं चाङ्गारवती नाम
कन्या त्रैलोक्यसुन्दरीम् । अङ्गारकासुरसुतां शीघ्र भार्यामवाप्स्यसि ॥ Katha
II 39, and for the story the slokas 42–73
P 46 या मम भगिनी—The name of Angāravatī's sister,
the wife of Dṛḍhavarman, is not given here, nor is mention
made of her in the story alluded to above So she seems to be
a creation of the poet—this serves a double dramatic purpose
It makes the Queen readily give up her anger towards
the king and also paves the way to the marriage of Aranyikā
(who turns out to be Priyadarsika, the daughter of the Queen's
aunt) with the king
विज्ञापयितव्य—should be told Mark the use of the verbs
आज्ञापय् and विज्ञापय् which are used respectively when something
is said by a person superior in rank to one inferior in rank,
and by one inferior in rank to one superior in rank
अनुवाच्य—Mark the sense of अनुवाचय् which means to read
to oneself before reading aloud Cf उभे नाममुद्राक्षराण्यनुवाच्य &c
Śak I p 36 देवी—अनुवाचय तावद् यद्यविरुद्धं श्रोष्यामि। Vik II p 56
दन्तवलभी—वलभि-भी is the uppermost room of a house, (here of
the palace and built of ivory) It is also mentioned in Rat. III

39
एष खलु गर्ता...दन्ततोरणफलम्बो निठति । p. 62. It is written with a short
इ ( as in तां कस्यांचिद्भवनवलभौ Meg. I. 41) or long ई ( as in दृष्ट्वा दृष्ट्वा
भवनवलभीतुङ्गवातायनस्था। Māl. Madh I. 15) where Jagaddhara says—
सौधोपरिकुटरी वलभी विदुः । ) अत्याहितं—अतिशयेन आधीयते तन्निवारणार्थं मनो
यस्मिन् a great calamity; or a rash deed endangering life अत्याहितं
महाभीतिः कर्म जीवानपेति च । Amara. भवेत्—This gives a
hint which prepares the audience for A'ra.'s swallowing poison
further on in the Act;. see p. 54.
P. 47. नेदृशः—not such i. e. indifferent. The scene opens
while Sām. and Vāsa are conversing. This is a reply to
Vāsavadattā who in her previous speech must have charged her
husband with being indifferent to the calamity that had overtaken
her aunt's husband. विज्ञाय—not only ज्ञात्वा, when he knows very
well. तादृशी न—i. e the sole object of his love. तव पुन &c.—She
means—you have seen how the King has transferred his love
entirely to A'raṇyikā.
यत एव मे प्रत्यक्षं—Sāmkr. means—Because I witnessed it myself
I know what it all really was. Vatsarāja wanted to enjoy a joke
by playing his part himself and telling you in the end how
you could not discover who the real actor was and thus to make
you laugh Had there been a love intrigue he would have taken
care to keep Vasantaka and Manoramā out of the way. Of course
this does not convince the Queen.
हासितास्मि—The Queen puns upon the word हासिता which means
'made to laugh' and 'caused to be laughed at', using it in the
latter sense. लज्जया—Because the King manifested his love for
Araṇyikā so openly. Even her maid-servants knew that she
was no longer loved as before by the King. एतावतीं भूमिं &c.—is
ironical. She means—I have been reduced to such a sad plight.
वासव० says—these are your sweet fancies; what does the King care
for me now ? This she says as प्रणयकुपिता. Similarly Dushyanta
says to Vidu. in the Śāk. मनोरथा नाम तटप्रपाता (V. 10 ).
P. 48. संघट्ट—Collision, close or hard fight. समुदितः—
possessed of ; or rendered more powerful ( lit. elevated, lofty ).
समुदितं कृत्वा &c.—This suggestion of the Vidū. which is ridicu-
lous on the very face is meant to stir laughter. कुब्जवामन &c —
These with the Kirātas (see Rat. p. 36.) formed the usual male at-
tendants of the harems of ancient kings. For their bravery cf.
Rat. II. 3. मासोपवासं—मासमुपवास मासो० Acc Tat. देवी चण्डी—
There is a pun on the word चण्डी which means wrathful and is also

an epithet of the fierce goddess Durgā whose favour is also
obtained by fasting.
धृष्ट — has here the sense of 'shamelessly bold, cf कृतागा अपि
निश्शङ्कस्तर्जितोऽपि न लज्जित । दृष्टदोषोऽपि मिथ्यावाक् कथितो धृष्टनायक ॥ Sah D.
चाटु — Pleasing or coaxing words, flattery, words of blandish-
ment (especially those addressed by a lover to his beloved); cf
प्रिये प्रियाणि प्रकरोति चाटुम् । Rat VI 12 विरचितचाटुवचनरचन चरणनिहितप्रणि
पातम् । Git. 11; प्रपञ्च — extension fr पच् (पञ्च्) 1 A to be clear or
manifest (प्रपञ्चते इति), and aff अच् (अ)
P 49. सखेद — खेदेन (fatigue, languor) सहितं यथा तथा ।
Sl. 3 मयि — मद्विषये, with regard to me for me, the loc is
वैषयिकी मम-मह्यम् तान्त — wearied, languid, p p p of तम् 4 p,
to be