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

Name: प्रियदर्शिका नाटिका (सम्राट हर्षवर्धन - चतुरङ्क शास्त्रीय नाटिका सान्वय सटीक)
Author: सम्राट हर्षवर्धन

Priyadarshika Natika of Emperor Harsha with Commentary

सम्राट हर्षवर्धन द्वारा

DevanagariHindipublished184 पृष्ठ

पृष्ठ 173स्थायी लिंक

विषवेग—The circulation or effect of poison. अन्धकारं प्रवेशयसि—
As her brain was affected by the poison her sight was bedimmed
and all things appeared to be dark to her.
P. 55. विपद्यते—dies; cf. for this sense त्वमनाथा विपद्यसे। Uttar.
I. 44; हा मात एव ते नरेन्द्रप्रियाराधनोपकरणं जनो विपद्यते। Mâl. Mâd.
V. p. 107.
Śl. 8. गतश्च—दग्धा च—The repetition of च here expresses the
simultaneous occurrence of two actions. हिमेन—दग्धा—These
apparently appear to be contradictory terms or to be wanting in
what is called योग्यता (fitness or power to express a meaning) as
वह्निना सिञ्चति which is absurd. But here हिमेन दग्धा is quite intelli-
gible, as the effects of extreme cold and heat on plants, foliage,
flowers &c. are similar; cf. हिमसेकविपत्तिरत्र मे नलिनी पूर्वन्निदर्शनं मता।
Ragh VIII. 35. वाम—Adverse, unfavourable; cf. for a similar
description—आयुर्नश कलाभिरिन्दुरमलो यातश्च राहोर्मुखं सञ्जानश्च धनाधनो जलधरः
शीर्णश्च भावोर्जवन्त्। निर्वृत्तश्च फलेप्रहिर्दुमवरो दग्धश्च दावानिना। &c. Mâl. Mâd
IX. 39.
किं ते चेष्ट.—Have you consciousness, are you aware of anything?
P. 56 Śl. 9. The poison was working on Priya, the effects
were produced on the King, as he says. This was because their hearts
were linked together by love; cf. स हि स्नेहात्मकस्तन्तुरन्तर्मर्माणि सीव्यति।
Uttar. V. 17. This indicates the intensity of the King's passion.
The fig. of speech here is असङ्गति which occurs when a cause and
its effect are represented as totally different, or separated (or in
which there is an apparent violation of the relation between
cause and effect). विरुद्धं भिन्नदेशत्वं कार्य हेत्वोरसंगतिः। विषं जलधरैः पीतं
मूच्छिताः पथिकाङ्गनाः। Kuva, भिन्नदेशतयापन्नं कार्यकारणभूतयोः। युगपद्धर्म-
यौरैक्यं ख्यातिः सा स्यादसङ्गतिः ॥ Kav. P. X. वेदना—Feeling or sensa-
tion, power of perception विषमा—Adverse, alarming. मन्त्र-
स्मरणं—mental recitation नाटयति—i. e. by the movement of
the lips, looking at the person &c., accompanied by the sprinkling
of water on the person operated on.
P. 57. नरेन्द्रता—The word नरेन्द्र here is श्लिष्ट (paronomastic).
It means a king and also a विषवैद्य a physician skilled in curing
poisons, cf. सुनिग्रहा नरेन्द्रेण फणीन्द्रा इव शत्रवः। Śiś. II. 88, where
the word is used in both the senses. इदानीमपि—Even now, i. e.
although revived.
राजा-(सस्मितं)—Because the king knew that her bewildered
condition was due to the action of love at the sight of her lover.
For the effects mentioned in the śl. are also due to love affection;
cf. Mâl. Mâd. III. 8.

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`44

अलिकशङ्किते—Falsely observing reserve or affecting modesty,
has here the force of 'thou naughty or obstinate girl.'
P 58 कृतमस्माकं यथारुचि &c.—In the Rat the King says—
को देव्या प्रसादो न बहुमन्यते । अतोऽपि परं &c.—This is the usual
expression marking the close of a drama (the Sans drames
always having a good end) This is called काव्यसंहार.
Śl 11 Another feature of the Sans drama is to enumerate
good results attained in the stanza preceding the Bharatavâkya,
cf. Rat. IV 21 त्वं कौविन्द &c.—So in Rat देवी धीनिपुणागता
P 59 भरतवाक्यं—Lit The speech of the actor ( भरत )'
technically called प्रशास्ति It is a sort of stage direction. It
refers to the concluding sl of a play containing an expression
of good wishes put in the mouth of the chief actor, as a
member of the dramatic party and not in the role of a dramatic
personage, all acting being over or the Vâkya enjoined by
Bharata, the founder of dramatic art
Śl 12. This Sl. occurs as the closing stanza of the Ratna-
vali also with some variations in the last two lines उद्दाम—
दाम्नो उद्गतानि उद्दामानि Prâdi Tat growing unchecked,

पृष्ठ 175स्थायी लिंक

45
APPENDICES
I
The Subháshitas occurring in the Play
(The figures refer to the pages of this edition)
प्रविशन्ति शङ्कमाना राजकुलं प्रायशो भृत्याः । 8
गुणैकपक्षपातिनां रिपोरपि गुणाः प्रीतिं जनयन्ति । 9
नास्ति खलु दुष्करं दैवस्य । 15
न खल्वखिन्नमभिलषितमप्यन्यैः प्राप्यते । 21
प्रायो यत्किंचिदपि प्राप्तोत्कर्षमाश्रयान्महतः । 30
सदृशाः सदृशे रज्यन्ते । 33
दुःखं याति मनोरथेषु तनुतां सङ्कल्पमानेष्वपि । 34
अतिदुर्जनः खलु लोकः ।
वामे विधौ न हि फलन्त्यभिवाञ्छितानि । 55
II
The flowers and the trees mentioned in the play.
अम्भोरुह्—A lotus, or water-lily in general.
उत्पल—A lotus (Nymphaea*) in general, refers to कमल (see-
Ragh. III 36 ), कुमुद, &c. 44.
कदली—The plantain tree. 9, 21, 23, 27.
कमल—A lotus (Nalumbium Speciosum) in general, क जलं अलति
(beautifies), or काम्यते इति what is desired owing to its
beauty; from कम् and Uná. aff अल्). 13, 14, 17, 18, 22, 55.
कुवलय—A synonym of उत्पल as given in Amarak; generally
means 'a blue lotus' 20
तमाल—Name of a tree having a very dark bark and leaves but
white flowers 13
नलिनी—A lotus plant, a tank having lotuses in it. 17, 23, 26,
नीलोत्पल—The blue water-lily (Nymphaea cyanea) 19, 36, 42.
पङ्कज—A lotus. 16
पद्म—A lotus, generally one blooming at sunrise, 2, 13, 17,
19, 20, &c.
बकुल—Generally called Kesara, (Mimusops Elengi) 13
बन्धुजीव—Same as बन्धूक. 44.

The L. names are taken from the Col. U. Ed.

पृष्ठ 176स्थायी लिंक

46
बन्धूक—An erect growing plant (Pentapetes phoenicea) has
large flowers of a bright red colour which expand at
noon; their juice is cooling and is used in some
diseases. 13, 14.
मालती—A kind of jasmine (Jasminum grandiflorum) called
चमेली. 13, 26.
शिरीष—A fragrant but very delicate flower, also the name of the
tree (Mimosa sirissa also called Acacia speciosa) 14
शेफालिका—A charming small tree (Nyctanthes arbour-tristis)
the flowers have a delicious fragrance which is
evanescent. 13, 14, 15, 17.
सप्तच्छद }
सप्तपर्ण } Alstonia scolaris. 13, 14.

पृष्ठ 177स्थायी लिंक

III
The Metres used in the Play, their
Definitions and Schemes.
━━━━━ ꩜ ━━━━━

Sanskrit verse is regulated by quantity, and not, as
in English, by accent. A पद्य (stanza) consists usually of
four पादस (quarters). A पाद is regulated either by the number
of syllables (अक्षरs), or of syllable instants (मात्राs). When
the पादs are all similar, it is called a समवृत्त, to which type
most of the metres conform. There are अर्धसम वृत्तs, wherein
the first quarter corresponds to the third, and the second
to the fourth, called respectively the odd (विषम) and even
(सम) quarters. A third class comprises विषमवृत्तs, but these
are very seldom used.
The vowels अ, इ, उ, ऋ and ऌ are short, and the rest
long. The quantity of a syllable is determined by its vowel.
A syllable with a short vowel is called लघु ('light'), and a
syllable with a long vowel is called गुरु ('heavy'). But a लघु
syllable is considered as गुरु if it is followed by an anusvāra,
or a visarga, or a conjunct consonant, or when it comes at the
end of a पाद.¹
A set of three successive syllables is called a गण
(foot). Marking a short syllable as ◡ and a long one as —,
the different गणs,² which are 8 in number, may be exhibited
as follows :— य ◡ ——, र — ◡ —, त —— ◡; भ — ◡ ◡; ज ◡ — ◡;
स ◡ ◡ —, म — — —; and न ◡ ◡ ◡. In the definitions which
are given below, a short syllable is indicated by the letter ल
and a long one by ग.
The Priyadarśikā contains 49 slokas in all, of which
two only are in Prākrit; and there are only seven different
metres employed. So numerically and as regards the variety
of metre, it is inferior to the other two plays. The Ratnā.
contains 7 Prākrit stanzas and 78 in Sans. in 13 defferent
metres, while the Nāgá has 123 stanzas in 12 different matres.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
1 सानुस्वारश्च दीर्घश्च विसर्गी च गुरुर्भवेत् ।
वर्णः संयोगपूर्वश्च तथा पादान्तगोऽपि वा ॥
2 आदिमध्यावसानेषु यरता यान्ति लाघवम् ।
भजसा गौरवं यान्ति मनौ तु गुरुलाघवम् ॥

पृष्ठ 178स्थायी लिंक

48
आर्या—Def यस्याः प्रथमे पादे द्वादश मात्रास्तथा तृतीयेऽपि । अष्टादश
द्वितीये चतुर्थके पञ्चदश साऽऽर्या ॥ This belongs to the class of metres
which are regulated by the number of मात्राs or syllabic instants.
The four padas contain respectively 12, 18, 12 and 15 मात्राs
I 5, 8, II 5, 9, III 1, 5, 9, 12, IV 6, 7, Gîtî—III 8
उपजाति—Def [ स्यादिन्द्रवज्रा यदि तौ जगौ ग उपेन्द्रवज्रा जतजास्ततोगौ । ]
अनन्तरोदीरितलक्ष्मभाजौ पादौ यदीयावुपजातयस्ताः ॥ इत्थं किलान्यास्वपि मिश्रितासु
वदन्ति जातिष्विदमेव नाम। An उपजाति is a mixture of one or more
pâdas of इन्द्रवज्रा [ 11 syllables, Scheme—त, त, ज, ग, ग ], with
one or more of उपेन्द्रवज्रा [ 11 syllables Scheme—ज, त, ज, ग, ग ],
so as to form one stanza a mixture of other metres also, in this
manner, is called an उपजाति The student should scan and find
out in each case whether a pâda is in इन्द्रवज्रा or उपेन्द्रवज्रा
I 4, III 3
मालिनी—Def ननमयययुतेयं मालिनी भोगिलोकैः । 15 Syllables
Scheme—न, न, म, य, य The pause occurs after the 8th syllable
II 8
वसन्ततिलका—Def उक्ता वसन्ततिलका तभजा जगौ ग । 14
Syllables Scheme—त, भ, ज, ज, ग, ग.
I 10 III 2, IV 2, 4, 8
शार्दूलविक्रीडित—Def सूर्याश्वैर्यदि मः सजौ सततगा शार्दूलविक्रीडितम् ।
19 Syllables Scheme—म, स, ज, स, त, त, ग The pause occurs
after the 12th syllable This metre is very frequently used in
this play
I 1, 3, 6, 7, 11, II 1, 3, 6, 7, 10, III 4, 5, 7, 10, 13,
14, 15, IV 1, 3, 9 11.
शिखरिणी—Def रसै रुद्रैश्छिन्ना यमनसभलागः शिखरिणी । 17
syllables Scheme—य, म, न, स, भ, ल, ग. The pause occurs after
the 6th syll IV 10
स्रग्धरा—Def म्रोर्भनैर्यानां त्रयेण त्रिमुनियतियुता स्रग्धरा कीर्तितेयम् । 21
syllables Scheme—म र भ, न, य, य, य The pauses occur after
the 7th and the 14th syllables This is the longest metre in
ordinary use
I 2, 9, 12, II 2, 4, III 11, IV 5, 12.

पृष्ठ 179स्थायी लिंक

sense! Because in Kathasaritsagara (II. 1. 5), the text is literally:
"लक्ष्मीविलासभवनं विभूषणमिव क्षितेः ॥"
And here:
लक्ष्मीविलासभवनंविभूषणमिव क्षितेः। (II. 1. 5) (or with a space: लक्ष्मीविलासभवनं विभूषणमिव क्षितेः।)
Wait, is there a space between भवनं and विभूषणमिव?
In the print, लक्ष्मीविलासभवनंविभूषणमिव is run together without space, then a small space, then क्षितेः।!

Let's check line 10:
Bṛt. I., 10. or Rat. I., 10.?
Look at line 10:
Rat. I., 10. It was founded by Kuśâmba (son of Kuśa), tenth
Wait, does it say Rat. or Bṛt.?
Look at the capital letter:
It is an R! Rat. I., 10.!
Wait, or is it Bṛt.?
Look at Râmâyaṇa in line 8: capital R.
In line 10, the letter is R!
Wait, but could it be Rat.?
Yes, Rat. = Ratnā

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