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

pp. 3-4. 2 [ Act I.
performance'. I will, therefore, in the first place
arrange the costumes ( or the tiring room ) and then
do as desired. (Looking around) I am quite convinced
that the minds of the spectators have been won over
(or favorably disposed ). For,
Śrī Harsha is a skilled poet; and this assembly too
is appreciative of merits; the story of king Vatsarāja
is attractive ( popular ) in the world; and we, on our part,
are expert in acting : each one of these circumstances
is, by itself, the source of the attainment of the desired
object; how much more so must then be this combi-
nation of all excellences that has come about through
the greatness ( lit. increase ) of my good luck !
(Looking towards the tiring room).
Ah, how now ! When I was just about to begin the
prologue, my brother, having known my intention, has
assumed the part of the chamberlain of Drdhavarman,
king of Angas, and is coming hitherwards. I will also
then put on the costume of the character to enter next.
[ Exit ].
End of the INDUCTION.
ACT I.
(Enter the Chamberlain)
CHAMB.-(Gesticulating fatigue accompanied by sorrow,
and sighing)
Alas ! Oh, pity !
The king's misfortune; grief caused by separation
from my kinsfolk; exile from the country; and the
fatigue of a difficult journey—thus is tasted by me
this fruit of my longevity of life, that has been bitter
and fruitless. (4).
(With sorrow and amazement ). That such a disaster
should have been brought over even such a one as
king Drdhavarman, whose three regal powers were
unobstructed, and who was a peer of Raghu, Dilīpa and

Act I. ] 3 pp. 4-5.
Nala, with a sudden attack, by the cursed king of the
Kalingas, who had cherished a feeling of resentment
at the thought that he had betrothed (promised) his
daughter to Vatsarāja, although solicited for himself
by him, and who found an opportunity (lit. a weak point)
in that king Vatsa did not return till then from captivity
—this, to tell the truth—I do not believe though it has
come to pass. How is it that fate has been exceedingly
cruel and thus disposed (adverse) towards us! For,
that princess I bore away from the tumult of the
assault of that sort and terrible like the destruction
time of the world and placed in the house of the forest-
king, Vindhyaketu, connected with a friendly bond
with king Dṛḍhavarman, thinking that I might some
how take her to king Vatsa and thereby free my master
from his obligation (lit. debt of promise). But when
I had gone to Agastya's holy pool to bathe, as it was
not far off, some people fell upon Vindhyaketu in an
instant, slew him, and depopulating the place like
demons, burnt it; and it is not known in what plight
the princess too now is. The whole place was carefully
searched by me; but I did not find out whether she was
carried off by those marauders or burnt by them.
So what am I, luckless one, to do! (Reflecting)
Ah! I have heard that Vatsarāja has escaped from
imprisonment and returned to Kauśāmbī, carrying off
with him Pradoyata's daughter. What! shall I go just
there then? (Sighing and observing his own condition.)
But what sort of thing shall I say, going there without
the princess? Ah! Vindhyaketu had said to me to-day
—"Don't you fear. His honour, the great king
Dṛḍhavarmā, is alive; and is in captivity greatly dis-
abled by severe wounds. I will, therefore, go to my
master and make the remaining part of my life blissful
(lit. fruitful) by serving his feet. (Going about and
looking up). Oh the extreme rigour of the autumnal
sun! since it is fonud to be extremely severe even by me
heated as I am by many afflictions.
This sun that is freed from the screen (lit. bond) of
clouds and has reached Libra after occupying Virgo, is

pp 5-6 4 [ Act I.
indeed, blazing fiercely, having regained his efful-
gence, as Vatsarāja, freed from close imprisonment is
shining pre-eminently, having attained eminence after
securing the princess and regained his own abode (i e.
capital or power). (5) (Exit)
End of the Vishkambhaka.
――――――
(Enter the KING and VIDÛSHAKA)
KING—The constancy (lit. the being unaffected) of my
servants was known, the talent of ministers was witnessed,
even friends were observed (as regards their sincerity), the
affection (loyalty) of the townsmen was realised all
the more, the passion for adventures in battle was
quite satisfied, and the jewel of women was obtained
what, indeed, have I not obtained from captivity, as
from piety practised without hypocrisy (sincerely)? (6)
VIDU.—(With displeasure) O friend, how do you
praise that whore's son, cursed Captivity? And that
is forgotten now, viz.—How you, like a newly
captured lordly elephant, with feet (steps) stumbling
on account of the shackles of clanking iron chains,
with the burning of the heart indicated by the pale
lotus like face (the dry tip of the trunk ), with eyes
up-raised and steady owing to the force of rage, and
with the path along the ground cleared with the huge
hands (torn up with the huge trunk), did not get the
comfort of sleep even during the nights.
KING—Vasantaka, you are, indeed, a wicked man.
Mark—
You saw the prison gloomy with darkness but
not the splendour of her moon-like face, you felt pain
at the clank of the chains, but heard not her sweet
accents the cruel prison guards are present to your
mind to-day and not her loving side glances you
behold the faults of confinement but not the merits of
Pradyota's daughter. (7)
VIDÛ—(With an air of pride) If at all confinement
brings in its train happiness, why do you then fasten

Act I. ] 5 pp. 7-8.
your wrath upon the Kalinga-King for having taken
Drdhavarman a captive ?
KING—(Smiling;) Fie upon you, fool! Every [one is
not Vatsarāja who can escape in this way from prison
taking a Vāsavadattá with him. So let this matter
(lit-topic) be dropped. It is many days since
Vijayasena was sent against Vindhyaketu. And no one
has come (brought tidings, ) from him till now. Let
therefore, the minister Rumanwan be called at once.
I wish to say something to him.
(Having entered—)
The Portress—Victory, victory, to Your Majesty !
Here are arrived at the door-region Vijayasena and
the minister, Rumaṇvat.
KING—Quickly usher them in.
POR.—As Your Majesty commands !
[Enter RUMANVAT and VIJAYASENA.]
RUMA.—(Musing.)
Although gone out the very moment, servants
generally enter a royal palace, full of apprehension,
as if they were guilty, even though without guilt. (8)
(Approaching) Prosperity to Sire ?
KING—(Pointing to a seat) Rumaṇvat, be seated here.
RUMAN.—(Sitting down, with a smile). Here is
Vijayasena, the conqueror of Vindhyaketu, bowing
(to you).
VIJA.—(does accordingly.)
KING.—(Embracing him graciously.) Is Your Honour
well ?
VIJA.—(I am) to-day by Sire's favour.
KING—Vijayasena, please be seated (VIJAYA. sits
down).
KING—Vijayasena, tell Vindhyaketu's acount.
VIJA—Sire, what more can I tell ? It is as it should
be when Sire is angry.
KING—Still I wish to hear it in detail.

pp 8-9 6 [ Act I.
VIJA.—May Your Majesty hear—Starting from here
according to Your Majesty's order, with an army of
elephants, cavalry and infantry, as directed, we traversed
the road though long in three days, and unexpectedly
fell upon Vindhyaketu at the time of day-break
KING —Then, then ?
VIJA —Then roused by hearing the tumultuous din
of our forces, he, Vindhyaketu, too, rushed out like a
lion from a cave of the Vindhya mountain and without
waiting for (the mastering of) his army and conveyances
and having a few followers that happened to be at
hand, proceeded at once to engage us, proclaiming his
name
KING—( Looking at RUMANVAT with a smile ) That
was creditably done by Vindhyaketu What then ?
VIJA.—Then when his companions were killed to a
man in a fierce onslaught by us, whose envy and
energy were doubled at the thought—‘Here is he, ’ he,
with the fury of his anger and strength enhanced by
the crushing blow, fought in a still fiercer manner
KING—Bravo, Vindhyaketu ! Excellent, excellent !
VIJAYA—What description can be given, Sire ! I
will tell in brief—
Having first of all, himself fighting on foot, crushed
the foot-soldiers by merely striking them hard with
his chest, and dispersed the terrified cavalry like a
herd of deer in the quarters with volleys of arrows
from afar, he discharged on all sides the whole stock
of his weapons and then quickly unsheathing his
sword, proceeded to enjoy the sport of cutting off
the plantain grove of the mass of elephants' trunks (9).
Making havoc, single-handed, in this way in our three-
fold army, with his towering shoulders covered with the
rays of his sword, Vindhyaketu, with his broad chest
shattered by hundreds of weapons, and exhausted after
a long time, was slain in the battle (10)
KING—Rumanvan, to tell the truth we are quite
put to shame by the death of Vindhyaketu, following
the path proper for worthy ( i e brave ) persons

Act I. ] 7 pp. 9–10.
RUMAN.—Sire, even the merits of an enemy produce
joy in persons of your type who side with virtues alone.
KING—Vijayasena, has Vindhyaketu a child, whereon
I may bestow ( lit. show ) the fruit of gratification ?
VIJAYA.—Sire, about this too I will tell you. When
Vindhyaketu had been thus slain with his kinsmen and
followers, and his wives followed him in death, when
the country people had taken shelter on the peaks of
the Vindhya mountains and the place had been desolate,
there was a maiden in Vindhyaketu's house whose
beauty was in keeping with her high birth and who was
uttering the piteous lament—oh father, oh mother! She
is brought here by us being taken to be his daughter,
and she is waiting at the door. Your Majesty is
to decide with regard to her ( i. e. as to how she is to-
be dealt with).
KING.—Yas'odharā, go yourself and deliver her over-
to Vāsavadattā and say to the Queen—She should be
always looked upon by you in the light of a sister and
should be taught everything proper for a maiden of
high birth, singing, dancing, playing upon instruments
and other accomplishments. And when she becomes
fit for being given away in marriage, you should
remind me.
PORTRESS—As Your Majesty commands.
( Behind the curtain—A BARD ).
By the breasts, gleaming with their beauty disclosed
owing to the garments slipping down through exertion
of the multitude of courtezans in the harem, getting
ready the auspicious articles and cosmetics necessary
for your pleasure-bath, your bathing room is adorned
(as if) with other kinds of raised golden pots (11).
KING—( Looking upwards ) Ah! how now! The divine
sun is occupying mid-heaven.' For now;
The water of the ponds (in the gardens) appears
to be boiling as it were with the heat of the rays of
the sun on account of the leapings of the Śafaras;
the peacock spreads out his tail looking like an

pp 11-12 8 [ Act II.
umbrella, though drooping from his sportive dance,
the fawn covetous of the water in the basins seeks
the circle of shades of the trees ; and the bee, having at
once left the cheek of the elephant, lurks (lit. enters)
under the lobe of his ear. ( 12 )
Rumanvan, get up, do get up. Having just entered
the inner apartment and performed the usual rites, we
will honour Vijayasena and dispatch him for annihila-
ting the king of Kalinga.
[Exeunt Omnes.]
END OF ACT I
——————
ACT II
——————
(Enter VIDUSHAKA).
Indīvarikā has, indeed, said to me—Noble Sir, Queen
Vāsavadattā, who has been observing the vow of a fast,
might call you to receive the Svastivāchana. I will,
therefore, bathe in the pond attached to the shower-
house and having gone into the presence of the Queen
will utter something in the manner of a cock (i. e.
in a gradually raised voice). Otherwise, how are
Brāhmanas like us to accept a donation in the royal
palace? (Looking towards the tiring room) Ah! Here
my dear friend has started to go to the very showerhouse-
garden to dispel the longing caused by the queen's
separation. So I will go with my friend himself and
do as (I said.).
(Enter the love-sick KING)
My mind yearns, to-day, to see that beloved of mine
who is emaciated, who wears only the auspicious
ornaments, who speaks slowly and with effort, who
subdues the beauty of the morning moon by her face
having a palish hue, and who is full of longing owing
to the observance of the rules of her fast, as if she
were in the condition produced by first love. (1)

Act II. ] 9 pp. 12–13.
VIDU.—(Approaching) Hail to your Honour! May
you prosper!
KING.—(Looking at him) Vasantaka, for what do you
appear to be delighted!
VIDU.—Because the Queen is going to honour a
Brāhmaṇa.
KING.—If so, how does it benefit you?
VIDU.—(With pride) Oh, such a Brāhmaṇa, indeed, that
I get the Svastivāchana-present first from the Queen in
the palace crowded with thousands of Brāhmaṇas, vers-
ed in four, five or even six Vedas.
KING.—(Laughing) Your Brāhmaṇaship (Vedic scho-
larship) is shown by the number of the Vedas (mention-
ed by you). Come then, great Brāhmaṇa. To the
shower-house garden itself we go now.
VIDU.—As your Majesty commands.
KING.—Lead the way.
VIDU.—Come, oh! Let us go. (Walking round and
looking on) O friend, see, the loveliness of the shower-
house-garden, the surface of the stone-slab in which is
soft on account of the various kinds of flowers ceaseless-
ly falling upon it, wherein the bunches of the Bakula
and the Jasmine flowers are broken by the weight of the
bees buried in the fragrance, where the cups of the
Bandhūka flowers are opened by the breezes richly
charged with the perfume of lotuses, and where the light
of the sun is obscured by the dense tamāla trees.
KING.—Friend, you have well described it. For, here,
By the stems of the Śephalikā flowers (scattered
about) the ground appears as if covered with small bits
of corals; the scent of the Saptachhada flowers at once
gives rise to the false idea of its being the odour of the
rut of elephants; and these bees here, having the colour
of their bodies tawny with (or having the tawny un-
guents of) the thick mass of pollen dropped from the
expanded lotuses, and intoxicated with the drafts of
liquor (honey), are humming something in indistinct
accents. (3).

pp 13-15 10 [ Act II
VIDU.—O friend! look, look at this too—this Saptaparna
tree here, the mass of the flowers of which is unceas-
ingly falling and which, therefore still looks as if it has
the drops of water falling through the interstices of its
leaves at the close of the rainy season ( or at the end of
a shower )
KING—Friend, happily observed There is much
that is like the rainy season (yet) For
Bearing softness ( of surface ) by the meadows which
rob ( possess or surpass) the beauty of the Śirīsha
flowers, and therefore having at once a pavement made
with the washed pieces ( or powder) of emerald the
ground here, on account of the heaps of Bandhūka flowers
dropped from their stems, now appears as if covered
with hundreds of cochineal insects (3)
( Enter a MAID )
MAID—I am ordered by Queen Vāsavadattā—Girl
Indīvarikā, to-day I have to present an Argha (offering
of worship) to the great sage Agastya Do you go then
and come back quickly taking with you a garland of
Śephālikā flowers Let this Āraṇyikā, too quickly
gather the full blown lotuses from the pond in the
shower house garden before they are closed up by the
sun when going to set and come back The poor girl
does not know that pond So I will take her with me
and go ( Looking towards the scenes ) This way
Āraṇyikā, come this way
( Enter ĀRAṆYIKĀ )
ĀRAṆYIKĀ—(With tears and dejection, to herself) That
I, who was born in that sort of ( so high a) race in that
way and who lived commanding others should now
do the bidding of others ! So it must be said that
there is nothing difficult for fate to bring about Or rather
it is my fault, since knowing this I did not destroy my
self So what shall I do now ! Or * it is now difficult for

• The passage may also be interpreted as—Or why ? A hard
  thing I have thought of now ( viz committing suicide ) I will
  do as I said ( i. e. kill myself ) But this does not appear to be
  intended See notes

Act II ] 13 pp. 18-19]
should be reminded of that", so I will put the king in
in mind of that, so that he will be engaged in thoughts
about a husband for her.
· KING.—(With joy) This then is that daughter of
Vindhyaketu. (With regret) Long have we been foiled
(or, robbed of her sight). Friend; this is indeed, a
maiden, to look at whom is not sinful. We shall see
her now without hesitation (or freely).
A'RAN.—(Angrily stopping her ears) Go you then. I
have nothing to do with you who talk nonsense.
· (The maid-servant goes and gesticulates the collecting of
flowers.
KING.—Oh, her nobility of birth has been greatly
manifested by her firmness (of mind). Friend, blessed,
indeed, will be he who will be the object of the happiness
of the touch of her body.
( ARANYIKA' acts the collecting of lotuses ).
VIDU.—O friend, mark, mark; wonderful, wonderful!
As she plucks the lotuses, she puts into the background
the beauty of the lotus-beds by the spreading lustre of
her hand moving in the water.
KING—Friend, this is quite true. See—
Having become the object of the touch of the hand of
her, who gives delight by her glances similar to that of
(given by) a continuous shower of the drops of nectar,
and who has assumed a peculiar loveliness owing to the
slipping of her breast garment, as of the rays of the body
of the moon that gives delight with a fitting shower of
nectareous drops and that becomes peculiarly charming
owing to the veil of clouds being removed, it is wonder-
ful, indeed, that these lotuses do not become closed up
at once. (7)
A'RANY.—(Gesticulating torment from bees) Oh fie! oh
fie! These other wicked bees, greatly annoying me as
they alight on the beds of blue lotuses, after leaving
the lotus plant, torment me here. (Covering her face

pp.-19-20. 14 [ Act II.
with her upper garment, in alarm) Friend—Indīvarikā,
save me, save me. These horrid bees will, indeed, as-
sail me.
VIDU.—Oh friend, your wishes are fulfilled. Before
that daughter of a born slave comes, you too, being
silent, approach her. She, on her part, knowing
Indīvarikā to be coming from the movement of feet
indicated by the sound of water, will just cling to you.
KING.—Bravo, friend, bravo! Your advice is oppor-
tune. (He approaches ARAṆYIKĀ).
A'RANY.—(Gesticulating the hearing of the sound of foot-
steps) Indīvarikā, come to me quickly, come to me
quickly. I am harassed by these wicked bees. (Clings
to the KING).
(The KING clasps her at the neck. ĀRAṆYIKĀ, removing
her upper garment from her face and without seeing
the KING acts looking at the bees.)
KING.—(Keeping off the bees with his upper garment).
O you, give up this dispiritedness (depression of
spirits); O timid one, these bees, drawn by their liking
for perfume light on the lotus of your face; if again
with your long eyes agitated through fear you will still
diffuse the beauty of a bed of blue lotuses, how will
they leave you?
ARANY.—(Exhibiting flurry on seeing the KING). How
now! this is not Indīvarikā! (Leaving the KING and
moving aside in alarm). Indīvarikā, come quickly, come
quickly; protect me.
VIDU.—Lady, when you are protected by Vatsarāja,
able to protect the whole world, you call out for the
maid-servant, Indīvarikā?
(The KING repeats—O you, give up &c.).
A'RANY.—(Looking at the KING with longing and
bashfulness, to herself). This is the great king to whom
I was given (betrothed) by my father. In the right
place was my father's preference, indeed!

Act II.] ·15 pp. 21-22.

• MAID—A'ranyikâ is, indeed, harassed by the wicked
  bees. So I will at once approach her and comfort her.
  A'ranyikâ, fear not; here I come.
  VIDU.—Move away, O, move away. Here Indîvarikâ
  is just coming. Seeing (if she sees) this affair, she will
  inform the Queen of it. (Pointing with the finger). So
  having entered this plantain-bower we shall wait for
  a while.
  (Both do accordingly).
  MAID.—(Approaching and touching her cheeks). Friend
  A'ranyakâ, this is the fault of your face resembling a
  lotus that the bees thus come to be guilty (or, the
  offenders—i.e., torment you). (Taking her by the hand)
  Come then; let us go. The day has drawn to its close.
  (They gesticulate departure).
  A'RANY.—(Looking towards the plaintain-bower) Friend
  Indivarikâ, owing to the extreme coldness of the water
  my thighs seem to be benumbed. So slowly, slowly,
  we shall go.
  MAID.—As you say. (Exeunt both).
  VIDU.—O, come; let us issue forth. Having taken
  her with her, that slave's daughter, Indivarikâ, has gone
  away.
  KING.—(Sighing) What, gone! Friend Vasantaka, not
  indeed is the desired object gained without impediment
  by those who are not lucky. (Looking) Friend, mark,
  mark!
  The bed of lotuses, although its lotuses are closed up,
  yet being thorny (horripilated) tells, as it were, of the
  pleasure derived from the touch of her tender sprout-like
  hand. (9).
  (Sighing) Friend, what is the means now to see her
  again?
  VIDU.—Sir, having yourself broken the doll you are
  crying now; you do not act according to the words of
  me, a Brāhmaṇa.
  KING.—What did I not do!

.pp. 22-23. 16 [ Act III.
VIDU.—That you have forgotten now. For I said—
Be silent and approach her. : Since you, having entered
into a very critical position, reproved her, in your affect-
ed wisdom due to vain knowledge, saying—Ah you, give
up this dispiritedness, &c., and such other words, why
do cry now? And again ask me the means to see her.
KING.—Oh, how does the fool call what was comfort-
giving a reproof!
VIDU.—It is just known who is a fool in this case.
Then why go on with this? The divine one having a
thousand rays (sun) is about to set. Come then; let us
enter just the inside (of the palace).
KING.—(Looking). Ah, the day has almost drawn to
its close. Alas! For now—
The splendour of the day, like my beloved, has gone,
taking away the beauty of the groups of lotuses; there
is observed a greater glow of Râga (redness—passion)
in the orb of the sun as in this heart of mine; the
wheel-named bird (ruddy goose) like me, is standing on
the margin of the lotus-pond, thinking of his mate; and
the directions have been suddenly darkened (void of
interest) to the world also, as to me. (10).
(Exeunt Omnes)
End of Act II.
————
ACT III.
————
(Enter MANORAMA')
MANORAMA'—I have been commanded by Queen
Vâsavadattâ saying—Manoramâ, my girl, to-day on the
occasion of the Kaumudî festival you have to perform the
remaining part of the episode about my husband and
myself which has been dramatised by Sâmkrityâyanî.
Yesterday, indeed, her part was wrongly played by my
dear friend, A'ranyikâ, being absent-minded. But if again
the same be done by her to-day when appearing in the
role of Vâsavadattâ', the Queen will necessarily get
angry. Where shall I find her then and reprove her?

pp. 23-25. 17 [ Act III.
(Looking on). Here is A'ranyikà entering the plantain-
bower on the bank of the pond, saying something to
herself. So hiding myself behind a bush I will listen
to her unrestrained (free) utterings.
(Enter AR'NYIKÁ, seated and acting love-sickness.)
AR'ANY.—( Sighing ) My heart, seeking an unobtaina-
ble person, why dost thou afflict me ?
MANO—This is then the cause of her absent-minded-
ness. But what again does she long for? Being attentive
I will hear her.
AR'ANY.—(With tears), How does the great king,
being of a pleasing appearance in that way, thus torment
me (now) ! Wonderful, wonderful ! (Sighing) Or rather,
this is my misfortune, and not the great king's fault.
MANO.—(Fearfully) How now ! the great king himself
is the object of her longing ! Noble, dear friend, noble !
Your desire is in accordance with your high-birth.
AR'ANY.—To whom, indeed, shall I relate this matter
and make the pain of my misery somewhat bearable ?
(Reflecting) Or why ! I have my dear friend, Manoramá,
who is not different from my heart. But to her even I
am not able to tell this through bashfulness. All
considered, whence can there be solace to my heart
other than death !
MANO.—(With tears) Alas ! alas ! the poor girl's pas-
sion has reached its climax. So what shall I do in
the matter ?
ARANY.—(With longing) This is the spot where,
tormented by the bees, I was supported by the great
king and comforted in the words—"O timid one, be not
afraid ".
MANO.—(Joyfully) What ! She also is seen by the king !
Then by all means there is a way for her to live. I will
then at once approach her and cheer her up. (Suddenly
advancing) Proper, indeed, it is to be bashful even
towards one's heart.
AR'ANY.—(Bashfully to herself) Oh fie, fie ! Every
thing has been heard by her. So it will be quite proper

Act III.] 18 pp. 25-26.
to disclose all to her. (Aloud; seizing her by the hand).
Dear friend, do not be angry, pray do not. It is bash-
fulness that is at fault.
MANO.—(Joyfully) Friend, away with hesitation. Tell
me this. Have you been really seen by the king or not?
AR'ANY.—(Bashfully with face hung down) My dear
friend has already heard everything.
` MANO.—If you have been seen by the king, then don't
you be worrying yourself. He himself will be eagerly
engaged in devising some means to see you.
AR'ANY.—This my friend speaks with partiality. O
you, lover of (blinded by love for) a friend, how can this
be (expected) from a person who is, indeed, bound by
the chains of the Queen's virtues.
MANO.—(Laughing) O you, silly girl (Lit. wanting in
clever perception), although the bee has its love for
the lotus plant, how can it, when it has seen the
Mālati (jasmine) and is eager to taste its new flavour,
rest quiet without obtaining it]
AR'AN.—What is the use of talking about this which
is impossible? Come away then. My limbs, which are
all the more tormented by the autumnal heat, do not
give up their heat even now.
MANO.—O you bashful one, it is not proper for you,
even when reduced to such a plight, to conceal the real

• state of your heart.
  (AR'ANYIKĀ' hangs down her face.)
  MANO.—O you naturally unconfiding one, what can
  you conceal now! Does not your passion, manifesting
  itself (lit. coming out) day and night, in the guise of
  sighs, as though it were the hum sound caused by the
  incessantly falling shower of the shafts of the flower-
  arrowed God (Cupid) tell it. (To herself) Or rather, this
  is not, indeed, the time for chiding her. So in the first
  place I will put some lotus-leaves on her bosom. (Rises,
  -and having taken some lotus-leaves from the pond places
  -them on AR'ANYAKA'S heart.) Let my friend take comfort,
  let my friend take comfort.

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

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

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

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

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