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

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

Act III.] 24* pp 34-35
of the Queen? If he comes now it will be a nice
thing
[Enter the King, and Vidûshaka with his body veiled]
KING—The cool-rayed one (moon) does not cause
affliction to me just to-day as at first, now only hot
sighs do not parch my lip as they did constantly before,
just now my mind is not vacant nor are the limbs
languid as formerly, and my torment becomes reduced
even as the desires of my heart are thought of (as near
fulfilment) (5)
Friend, did Manoramâ really say—"Since my dear
friend is kept even out of the path of the King's sight
by the Queen, this is the way to bring about their
union To-day at night we are to enact before the
Queen the play called Udayanacharita In it Âranyakâ
will be Vâsavadattâ and I too Vatsarâja. Everything
is to be learnt (acted) according to his own doings So
having come and acting his part himself, let him enjoy
the pleasure of her company "
VIDÛ.—If you do not believe me, here is Manoramâ
waiting, wearing your costume So approach her and
ask her yourself
KING—(Approaching MANORAMA) Manorama, is what
Vasantaka says true?
MANORAMA—Sire, quite true Decorate yourself with
these ornaments (With these words she takes off the
ornaments from her person and hands them over to the
KING)
(The KING puts them on)
VIDÛ.—Here, indeed are kings thus made to dance
(act) even by a maid servant Oh the importance of
business (the object to be achieved)!
KING—(Laughing) Fool, this is not the time for
joking Silently enter the picture gallery and wait
there with Manoramâ beholding our acting
(Both act accordingly)
A'RANY.—Kâñchanamâlâ, let alone the lute. Just
I wish to ask you something

pp. 35-36 *25 [ Act III.
KING—Let me hear ( to know ) which part of the
story is being acted. (He listens attentively).
KA'NCH—May the Princess ask.
A'RANY.—Does my father really say so, viz.—"If
playing on the lute Vatsarâja captivates me I will
necessarily free him from captivity."?
KING—(Entering with a toss of the curtain, joyfully
ties a knot in the hem of his garment). Thus it will be.
What doubt is there ?
Having filled Pradyota with his attendants with
wonder by my performance on the lute, I see that
ere long I shall take away Vâsavadattâ. (6) .
For all things have been well arranged by Yaugand-
harâyaṇa.
VA'SAVA.—(Rising at once) Prosperity ! prosperity to
my husband !
KING—(To himself) How is it that I am recognized
by the Queen ?
SA'MKR.—(With a smile) Princess, away, away with
this hurry ( or, confusion ). This is a play.
KING—(To himself joyfully) Now I am made to
breathe freely.
VA'SAVA.—(Sitting down with a smile of embarrassment)
What ! this is Manorama ! I thought it was my
husband. Bravo, Manoramâ, bravo. Excellently acted.
SA'MKR.—Princess, rightly, indeed, was confusion
caused in you by Manoramâ. Consider—
Here is that same form (of Vatsarâja), the cause of
delight to the eyes; the same is the splendid costume ;
self-same is this her gait here, that characterises an
intoxicated elephant; the same is the exceedingly lofty
dignity ; her grace the same, and the very same is
her voice that resembles the rumble of water-charged
clouds: here is presented before us, in his very person,
the lord of the Vatsas himself by her, clever (in
acting). (7).

Act III. ] 26 pp 36-37.
VA SAVA.—O Indīvarikā, I was taught to play on the
lute by my lord in fetters, so fetter him with this
garland of blue lotuses. (Taking off from her head the
garland of blue lotuses she gives it to her)
(INDIVARIKA does as directed and sits down in the same
place.
A RANY.—Kānchanamālā, tell me, pray tell me. I ask—
Does my father really say this, viz—"If Vatsarāja
captivates me by his playing on the lute, then I will
necessarily set him free from captivity "
KĀNCHA.—Princess, he does, really. Act in such
a way that, as a matter of fact, you will be highly
esteemed by Vatsarāja.
KING—Kānchanamālā has actually brought to pass
what was then desired by me.
A RANY.—If so I will play with care.
(Plays upon the lute, singing).
Observing the sky densely crowded with chains of
clouds the royal swan longs to go to the Mānasa lake,
his residence, taking with him his mate. The swan
among kings—Vatsarāja,—seeing the prison vault closed
up with thick chains, desires to repair to his own abode,
taking his beloved with him in order to reach (please
her heart) (8).
(VIDU,—gesticulates sleeping).
MANO.—(Shaking him with her hand) Vasantaka, see,
see, my friend is playing her part
VIDU.—(Angrily) Slave's daughter, you too do not
allow me to sleep! From the time my dear friend saw
A'raṇyikā, I have not seen, along with him, what sleep
is So I will go to some other place and sleep (Goes
out and sleeps)
(A RANYIKA sings again).
Hurled into (powerfully affected with) a new passion,
by the perverse Kāma, the female bee pines, eagerly
longing to see her mate, of a charming sight (9)

pp. 37-39 , 27' [ Act III.
KING—( Hearing the song the very moment and suddenly
going forth) Commendable, princess, commendable !
How charming the singing, how charming the playing
(on the lute) ! For,
Distinctness has now been attained here (in this
performance) by the Vyañjana mode of playing (on the
lute) in all its ten parts; this laya (tempo) here,
distinguished by its three varieties of quick (allegro)
intermediate (moderato) and slow (adagio) has been
clearly marked in three ways; all the three pauses,
Gopuchcha' and the rest, have been accomplished in due
order: and the three modes of playing on instruments
have been properly exhibited. (10)
A'RANY.—(Clasping the lute rises from her seat and
longingly looking at the King) Preceptor, I bow to you.
KING—(With a smile) May you have that which I wish
for you !
KA'NCH.—(Pointing to A'RANYIKA's seat) The preceptor
should please sit just here.
KING—(Having sat down) Where should the
Princess sit now ?
KA'NCH.—(With a smile) The Princess has just now
been complimented by you with commendation of her
skill. So she deserves to share the seat of the
preceptor.
KING—Let her sit here; she deserves (to occupy)
half of the seat. Princess, sit down.
(A'RANYIKA' looks at KA'NCHANAMA'LA').
KA'NCH.—(Smilingly) Princess, sit there. What is
wrong in this ?
(A'RANYIKA' sits down bashfully).
VA'SAVA.—(Blushingly). The subject-matter has been
added to by your reverence. I did not, at all, sit on the
same seat with my husband at that time.
KING—Princess, I wish to hear again. Play on the
lute.

Act III ] 28 pp. 39-41
ARANY — (With a smile) Kánchanamálá, having
played for a long time I feel exhausted So I shall
not be able to play
KANCH — Preceptor the Princess is greatly fatigued
See how drops of perspiration are formed on her cheeks
and her fingers (or fore-hands) tremble So let her
be refreshed (by resting) for a short while
KING — Kánchanamála you have said what is proper
(Wishes to seize her by the hand Arany withdraws her
hand)
VASAVA — (Sarcastically) Lady this also has been
overdone by you I am not certainly Kánchanamalá that
can be misled by (such) composition [Or I should
not be deceived (misrepresented) by Kánchanamalá's
dramatic speech]
SAMKR — (Smiling) O you of long life dramatic compo-
sition must be of this nature
ARANY — (With seeming anger) Go away Kanchan,
go away I do not like you
KANCH — (With a smile) If you do not like me
standing here here I walk off (Starts to go)
ARANY — (In confusion) Kánchana stay stay,
here is the fore-hand offered to him
KING — (Taking the hand of ARANYIKA)
Can it be a lotus bud at once cooled by the contact of
dew drops? Not such methinks is its power to delight
(now) It has it at dawn only when it is left by (free
from) the sun are there five moons in the form of fingers
shedding a shower of coolness (or dew) Even that
(the shower) burns (causes affliction) I know it—this
is clearly ambrosia flowing under the guise of
perspiration (11)
By you moreover is implanted in my heart this Rága
(passion—redness) with your hand clever in robbing
the tender coral sprout of its beauty (12)
ARANYIKA — (Exhibiting the peculiar sensation of touch)
Oh fie oh fie! my limbs commit a havoc in me
(experience a thrill of overpowering emotion) as I touch
this Manoramá

pp 41–42. 29 [ Act III.
Vᴀ'sᴀᴠᴀᴅᴀ.—(Rising suddenly) Revered lady, you see
the representation. I, for myself, cannot bear to see
what is false.
Sᴀ'ᴍᴋʀ.—Princess, this Gandharva form of marriage
is sanctioned by the religious codes of law. What is
the matter for shame in this? This is a dramatic
representation. So it is not proper to go away causing
a break in the interest when there is no occasion for it.
Vᴀ'sᴀᴠᴀ.—(Walks away).
IɴᴅÍᴠᴀʀɪᴋᴀ'—(Looking on) Your Highness, Vasantaka,
is lying in deep sleep at the door of the Picture-gallery.
Vᴀ'sᴀᴠᴀ—(Observing carefully) This is Vasantaka,
indeed. (Reflecting.) The King also must be here.
So having roused him I will just ask him. (Wakes him
up.)
VɪᴅÛ.—(Rising dull with sleep and looking up
suddenly) Manoramā, has my dear friend come back
after having played his part; or is he acting still?
Vᴀ'sᴀᴠᴀ.—(With dejection) What! My husband is
acting? Where is Manorámá now?
VɪᴅÛ.—Here, waiting in the Picture-hall.
Mᴀɴᴏʀᴀᴍᴀ'—(With alarm, to herself) How was it
that the Queen asked him taking quite a different view
of the matter; and this foolish fellow too understanding
her in quite a different way spoiled the whole matter?
Vᴀ'sᴀᴠᴀ.—(Laughing angrily) Bravo! Manoramá,
bravo! nicely have you acted!
Mᴀɴᴏʀᴀᴍᴀ'—(Falling at her feet, trembling with fear.)
Your Highness! It is not, indeed, my fault in this
case. By this rascally fellow standing at the door
I was detained here, after taking the decorations from
me. And again, my voice, as I cried, was not heard
by anyone, as it was drowned in the sound of the
tabor.
Vᴀ'sᴠᴀ.—Get up, girl, I know it all. Vasantaka is
the chief manager in the play—The story of ^ --

Act III. ] 30 pp 42-43
VIDÛ —Just think yourself—where is Âranyikâ and
where Vasantaka !
VÂSAVA —Manoramâ, having well-secured him just
come after me The acting he has arranged I will see
now.
MANÔRAMA—( To herself) Now life is put in me
(Binds Vidu by the hand and then aloud) Miscreant,
now reap the fruit of your evil policy
VÂSAVA —(Approaching in a hurry) My lord, may this
evil be averted ! (Removing with these words the garland
of blue lotuses from his feet, ironically—) My Lord should
forgive me that I, thinking that it was Manoramâ,
caused you to be bound with a garland of blue lotuses
(ARANYIKA stands, having moved away in fear)
KING —(Rising suddenly and seeing MANORAMA , and
VIDUSHAKA, to himself) How am I discovered by the
Queen ?
( Acts being abashed)
SÂMKRITYÂYANI—(Seeing all, with a smile) How has
the representation turned out to be quite a different
thing ? This is not the proper place for persons of my
sort (Exit)
KING—( To himself) Unusual is this way of showing
anger I see that reconciliation is difficult to be brought
about in this case (Musing) I will do this (Aloud)
My Queen, let anger be set aside.
VÂSAVADATTA —Husband, who is angry here ?
KING—How, are you not angry ?
Although your glance is affectionate, still the lustre
of your eyes is red, this your choked voice, though
there is sweetness in it, falters at every word, your
hard breathings, though suppressed, are well observed
from the heaving of your full bosom so this your
anger, though restrained with evident effort, is clearly
seen. (13)
(Falling at her feet) Be pleased, my dear, be pleased.

pp. 43-44. 31 [ Act III.
VA'SAVA.—A'raṇyikā, thinking that you are angry, my
husband is saying to you—" Be pleased, my dear, be
pleased. " So approach him.
( With these words she pulls her ).
A'RAṆYIKĀ'—(In fright) Your Highness, I know
nothing of this.
VA'SAVA.—A'raṇyikā, how don't you know anything?
Here I will teach you. Indīvarikā, seize her.
VIDŪ.—Madam! To-day it being the Kaumudī festival,
my friend performed the acting to divert your heart.
VA'SAVA—When I see this misbehaviour of your both,
I am moved to laughter.
KING—My Queen, away with misconception. See—
Why for nothing is this spot produced on the moon of
your forehead by the knittings of the eyebrows? Why
is this throbbing lip made to resemble the bandhujīva
flower shaken by the breeze? And again this your
waist is oppressed by the weight of your breasts
throbbing all the more : give up your anger towards me :
for the amusement of your mind alone this acting was
performed by me. ( 14 ).
Queen, be pleased, be pleased. (He falls at her
feet.)
VA'SAVA —Girl, the playing is over. Come then ; let
us enter the inner apartment. (Exit).
End of the mimic Play.
KING—( Looking ) How is it that the Queen has
gone without showing favour ?
When I look at the face of the Queen and also at that
of my beloved here pictured before me: the one streaked
with the particles of perspiration and with eye-brows
very fiercely contracted through anger, and the other
with its lotus-like eyes greatly agitated through fear
like those of a gazelle bounding with great speed, I,
alarmed and yet having my mind full of longing, am
thrown into a great difficulty. (15).