रत्नावली नाटिका (सम्राट हर्षवर्धन - शास्त्रीय नाटिका रत्न सम्पूर्ण ४ अङ्क सान्वय सटीक)

is of the same deplorable fate as his own body. The King
had the embrace of Ságariká and lost her at last. Similarly
the necklace which Ságariká used to wear in her neck
was separated from the touch of her body. In this respect
the necklace and the body of the King being of the same
fate, the King is getting much consolation from the necklace
of his beloved, as one of the two ill-fated friends consoles
the other.
कण्ठाश्लेषम्—Embrace in the neck. कण्ठस्य आश्लेषः ( ६ष्ठीतत् ) तम् ।
आ - श्लिष् + घञ् = आश्लेषः, embrace.
तुल्यावस्था—Adj. to सखी । तुल्या अवस्था यस्याः ( बहु ) सा ।
आश्वास्यते—Is consoled ; आ - श्वस् + णिच् + लट् ते कर्मणि ।
The metre is अनुष्टुप् and the figure of speech is उपमा ।
Ch. of voice—......प्रभ्रष्टा इयं तुल्यावस्थां सखीमिव इमां तनुम्
आश्वासयति ॥४॥
धृतिम् etc.—Will have patience. धृति means patience—“धृति-
र्योगान्तरे धैर्य्ये धारणाध्वरतुष्टिषु”—विश्वः ।
P. 334. अहोभिः—अपवर्गे तृतीया ।
अनेककरि etc.—Adj. बलसमुद्देन । न एकम् अनेकम् । करिश्च तुरगश्च
पत्तयश्च इति करितुरगपत्ति ( समाहारद्वन्द्वः ) by the rule “द्वन्द्वश्च प्राणितूर्य-
सेनाङ्गानाम्” इति क्लीवलिङ्गम् एकवचनम् । अनेकं करितुरगपत्ति ( कर्मधा ) तेन दुर्निवारः
( ३यातत् ) तेन ।
अवष्टभ्य—Besieging. अव - स्तम्भ् + ल्यप् । Conj. स्तभ्नाति etc.
( क्रयादि ) ।
समावासयितुम्—To encamp. सम् - अव + आस् ( to sit ) + णिच् + तुम् ।
हास्तिकप्रायम्—Adj. to चातसैन्यम् । हस्तिनां समूहः इति हास्तिकम्
हस्ती + ठक् by the rule “अचित्तहस्तिधेनोष्ठक्” । प्रायेण हास्तिकम् ( ३यातत् ) or

चतुर्थोऽङ्कः 397
हस्तिकं प्रायः यस्मिन् ( बहु ) । प्र - अय् (to go) + घञ् = प्रायः full of. “प्रायो
मरणानशने मृत्यौ बाहुल्यतुल्ययोः”—मेदिनी ।
सज्जीकृतवान्—Made ready. सज्ज - च्वि + कृ + क्तवतु ।
Pp. 334-35. Sl. 5. In this shloka Vijayavarman describes
how Rumaṇván the general of the King of Vatsa met the
adversary—the King of Kosala who came to fight with a large
army of elephants.
अभिमुखः—अभिगतं मुखं यस्य ( बहु ) सः ।
दिग्‌विभागान्—दिशां विभागाः ( ६ष्ठीतत् ) तान् ।
विन्ध्यं न—The large array of the big elephants of dark colour
presented a view of the Vindhya ranges.
द्विरदपति etc.—द्वौ रदौ येषां ( बहु ) ते द्विरदाः । तेषां पतयः ( ६ष्ठीतत् )
तेषां घटाः ( ६ष्ठीतत् ) तासां या सम्यक् पीडा यस्मिन् ( बहु ) तादृशः बन्धः ( कर्मधा )
तेन । बन्ध means सन्निवेश । ३या करणे । The alt. reading is
द्विपपतिप्रतना etc.
समदगज etc.—Adj. to रुमण्वान् । मदेन सह विद्यमानाः ( बहु ) तादृशाः
गजाः ( कर्मधा ) तेषां घटाः ( ६ष्ठीतत् ) तया उत्पिष्टा ( ३यातत् ) तादृशी पत्तिः
यस्य ( बहु ) सः । पत्ति means “Infantry,” पद् + क्तिन् ।
प्रत्यैच्छत—Encountered. प्रति - इष् + लङ् त् ।
वाञ्छित etc.—Adj. to रुमण्वान् । वाञ्छितस्य आप्तिः ( ६ष्ठीतत् ) तेन
द्विगुणितम् ( ३यातत् ) तादृशं रभसं यस्य ( बहु ) सः । द्वाभ्यां गुणितम् ( ३यातत् ) ।
N. B. Here वाञ्छिताप्ति means “The catching of the adversary
King of Kosala on a hip by Rumanván.” रभस means “speed.”
“रभसं वेगहर्षयोः” ।
The metre is स्रग्धरा । The figure of speech is उपमा ।
Ch. of voice.—...अभूयत......अभिमुखेन......रुन्धता......विमुखयता......
—पत्तिना...प्रत्यैष्यत......रभसेन सः...रुमण्वता ॥५॥

398 रत्नावलो
P. 335. Sl. 6. The description of the battle continues—the
King of Kosala is killed by Rumanván.
अस्त्रव्यस्त—व्यस्तानि शिरस्त्राणि यैः (बहु ) तानि व्यस्तशिरस्त्राणि, व्यस्तशिरस्त्राणि
शस्त्राणि (कर्मधा) अस्त्राणि च व्यस्तशिरस्त्राणि च (द्वन्द्वः) तेषां कषणानि (६ष्ठीतत् )
तैः। अस् (to throw) + ष्ट्रन् = अस्त्र, missiles which are thrown.
वि-अस् (to throw) + क्त कर्म्मणि प्र=व्यस्त thrown away. शिरसि त्रायते
इति उपपदसमासे शिरस् + त्रै + क = शिरस्त्रम्, helmet. कषण means "close
contact (संघर्ष )" तृतीया करणे । The expression अस्त्र......कषणैः is
construed with कृत्त in कृत्तोत्तमाङ्गं । The construction is justified
by the dictum "सापेक्षत्वेऽपि गमकत्वात् समासः।"
कृत्तोत्तमाङ्गं—Adj. to आजिमुखं । उत्तमानि अङ्गानि (कर्मधा) कृतानि
उत्तमाङ्गानि यस्मिन् (बहु) तस्मिन् । कृत्त = कृत् (to cut) + क्त कर्मणि । उत्तमाङ्ग
means "head"; cf. "सर्वेषु गात्रेषु शिरः प्रधानम्।"
व्यूढासृक् etc.—Adj. to आजिमुखे । असृजः सरित् (६ष्ठीतत् ) व्यूढा असृक्-
सरित् यस्मिन् (बहु) तस्मिन् । वि—वह् + क्त = व्यूढ meaning विन्यस्त, विसृत ।
"व्यूढः संहतविन्यस्ते पृथुलेऽप्यभिधेयवत्"—मेदिनी । असृक् means "blood"
used in neuter gender. Decline असृक्, असृजी, असृञ्जि etc.
स्वनत्प्रहरणं—Adj. to आजिमुखे । स्वनन्ति प्रहरणानि यस्मिन् (बहु) तस्मिन् ।
प्रह्रियते अनेन इति प्र - हृ + ल्युट् करणे = प्रहरणम्, weapon. "आयुधं तु
प्रहरणम्"—अमरः ।
वर्मोद्वलद् etc.—Adj. to आजिमुखे । वर्म्मणः उद्वलन् (५मीतत् ) तादृशः
वह्निः यस्मिन् (बहु) तस्मिन् । उत् - वल् + शतृ = उद्वलन् issuing out.
आजिमुखे...At the commencement of the battle. आजेः मुखम्
(६ष्ठीतत्) आजि means "battle."—"अथाजिः स्त्री समभूमौ च संग्रामे"
मेदिनी।
The metre is शार्दूलविक्रीडित । The figure of speech is अनुप्रास ।

चतुर्थोऽङ्कः 399
Ch. of voice. ...तम् कौशलपतिं .....रुषावान् मत्तद्विपस्थं हतवान् ।६।
P. 339. प्रहारव्रणित etc.—प्रहारेण व्रणितम् ( ३यातत् ) तादृशं हास्तिकम्
( कर्मधा ) प्रायेण प्रहारव्रणितहास्तिकम् ( ३यातन् ) or, बहु as before. व्रणाः अस्य
सञ्जातः इति व्रण + इतच् ( जातार्थे ) ।
P. 342. Sl. 7. इन्द्रजालिन्न etc. ...इन्द्रजालिकै पिनद्धम् ( ३मीयत ) तादृशं
नाम यस्य ( बहु ) तस्य । अपि-नह् + क्त कर्मणि । अ of अपि is elided by the
dictum “वष्टि भागुरिरल्लोपमवाप्योरुपसर्गयोः” ।
शम्बरस्य—It is the name of a demon who was a well-known
conjuror. He stole away प्रद्युम्न, the son कृष्ण and रुक्मिणी from
her lying-in-room by his magical power. The magical Black
Art is also popularly called शाम्बरी माया ।
P. 343. Sl. 8. In this shloka the magician vauntingly states
the impossibilities which he can cause to happen by his tricks.
ज्वलनः—Fire.
मध्याह्नं —अह्नः मध्यम् ( एकदेशीतत् ) तस्मिन् । It is in masculine
gender by the rule “गवाह्याहाः पुंसि ।”
अवष्टम्भः—Beginning. अव - स्तम्भ् + घञ् । “संरम्भारम्भयोः स्तम्भं ”—
हेमचन्द्रः ।
P. 346. Sl. 10. Here the magician by his miraculous power
shows to the audience various gods, demi-gods etc., in the sky.
In this connection the stanzas from Karpuramanjari where
Bhairavánanda speaks in laudation of his miraculous powers,
may be cited.
P. 347. Sl. 11. In this shloka the King observes various
deities seated in their aerial seats and celestial nymphs dancing.
रजनिकर etc.—With the digit of the moon on his crest. रज-

! IT IS "द्विदश"???
Wait, look at the first letter of line 9:
Is it 'द्वि'?
LOOK AT 'द्वि'!
'द' with 'व' beneath it = 'द्व'! With 'ि' = 'द्वि'!
LET'S LOOK AT IT:
Does it have an i-matra? YES!
Does it have 'द' with 'व' attached at the bottom?
YES! 'द्' + 'व' = 'द्व'!
With 'ि' = 'द्वि'!
Wait, is Indra "द्विदशपतिः"? NO, Indra is "विदशपतिः"? NO, "त्रिदशपतिः" (lord of the 30)!
Wait, but why would it say "द्वाधिकाः विरहिताश्च"?
Wait, could the letter be 'त्रि'?
What about 3?
"त्र्यधिकाः विरहिताश्च दश संख्या येषां ते त्रिदशाः"?
Wait, 10 + 3 = 13, 10 - 3 = 7!
Can "त्रिदशाः" mean "त्र्यधिकाः दश" or "त्रिभिः विरहिताः दश"?!
YES! That is an exact grammatical discussion on "त्रिदशाः"!
Let's verify this!
In Sanskrit grammar, for "त्रिदशाः" (meaning around 10, i.e. 7 to 13, or 30):
Under the sutra

चतुर्थोऽङ्कः 401
(शाकपार्थिवादिवत् समासः) । Such elephant is otherwise called गन्धहस्तिन्
which is characterized as
"यस्य गन्धं समादाय न तिष्ठन्ति प्रतिद्विपाः ।
तं गन्धहस्तिनं प्राहुर्नृपतीनां शुभावहम् ॥"
N. B. Vasubhuti was attracted by the imposing appea-
rance of these elephants.
निर्वर्णयन्—Closely observing; निर्—वर्ण् + शतृ । "निर्वर्णनं तु
निद्ध्यानं दर्शनालोकनेक्षणम्"—अमरः ।
वल्लभान्—Dear; adj. to तुरगान् । दयितं वल्लभं प्रियम्"—अमरः ।
क्षितिभृताम्—Of the kings; क्षिति—भृ + क्विप्, षष्ठी बहुवचन ।
गोष्ठीषु—Assembly. गावः (वाचः) अनेकाः तिष्ठन्ति अस्याम् इति गो—स्था

• घञर्थे कः, ङीष् गौरादित्वात् । "गोष्ठी सभासंलापयोः"—मेदिनी ।
  सद्योविस्मृत etc.—Adj. to अहम् । सिंहलानाम् ईशः (६ष्ठीतत्) तस्य विभवः
  (६ष्ठीतत्) सद्यः विस्मृतः (सुप्सपा) सद्योविस्मृतः सिंहलेशविभवः येन (बहु) सः ।
  कक्षाप्रदेशे—In one part of a room. कक्षायाः प्रदेशः (६ष्ठीतत्) तस्मिन् ।
  "कक्षा प्रकोष्ठा हर्म्यादेः"—अमरः ।
  द्वाःस्थेन—By the porter; द्वारि तिष्ठति यः सः द्वार—स्था + क ।
  ग्राम्यः—Rustic; ग्रामे भवः इति ग्राम + यत् ।
  N. B. Here Vasubhuti relates how he being filled with
  wonder at the sight of the excellence of wealth of the Vatsa-
  King has been regarded as a man freshly coming from a village
  and totally ignorant about the city-life. Vasubhuti has an
  experience of the abundance of wealth of his master, but here
  in Udayana's palace, the super-abundance has bewildered
  him even to such an extent as to make him act like a rustic.
  A man coming fresh from village becomes surprised to the
  extreme at the grandeur of a town. This bewildered look of
  Vasubhuti leads the porter to take him for a rustic.
  26

402 रत्नावली
The metre is शार्दूलविक्रीड़ितम् । The figure of speech is उदात्त
as the super-mundane grandeur has been described. “लोका-
तिशयसम्पत्तिवर्ण नोदात्तमुच्यते” साः दः १०।८४
Ch. of voice.— आक्षिप्तम्......निर्व्वर्ण यन्तम्......कृतम्......तिष्ठन्तम्...
...विभवम् दाःस्थः ग्राम्यं कृतवान् माम् ॥१२॥
Sl. 13. In this shloka Bābhravya, the chamberlain of
Udayana, describes his being in a state of excessive joy which
he feels at the prospect of seeing his master after a long time
after the ship-wreck in which he was one of the victims.
This joyful state also adds to the symptoms of his old age.
वृद्धिम्—Increase. वि – वृध् + क्तिन् । Obj. to प्रथयतितराम् ।
कम्पस्य—Tremor.
N. B. Old men tremble while walking.
प्रथयतितराम्—Redoubles. Nom. प्रहर्षः । प्रथ् + णिच् + लट् ति, then
तरप् is added by the rule “द्विवचनविभज्योपपदे तरवीयसुनौ” with आम्
(आम्) by the rule “किमेत्तिङव्ययघादाब्वद्रव्यप्रकर्षे” in the sense of
excellence. The form in लुङ् is अपप्रथत् ।
साध्वसवशात्—Out of nervousness. साध्वसस्य वशः (६ष्ठीतत्) तस्मात् ।
अविस्पष्टां—Indistinct ; Adj. to दृष्टिम् । न विस्पष्टाम् (नञ्तत्)
तिरयति—Covers. तिरः करोतीति तिरस् + णिच् + ल लट् ति ।
स्खलद्वर्णाम्—Adj. to वाणीम् । स्खलन्तः वर्णाः यस्यां (बहु) ताम् ।
With faltering syllables.
जड़यतितराम्—Makes indistinct or inarticulate. अतिशयेन जड़ां
करोतीति जड़ + णिच् + लट् ति, then तरप् is added along with आम् in
the sense of excellence.
N. B. Old men tremble, have short eye-sight and speak
with faltering voice. The chamberlain is an old man. In

addition to these symptoms of old age, he, out of excessive
joy, feels these faults doubled in him.
The metre is शिखरिणी ।
Ch. of voice.—विहङ्गिः प्रथ्यतेतराम्......अविस्पष्टा दृष्टिः तिर्य्यक्तं—स्खलद्-
वर्णा वाणी जड़ायंततराम्......परितोषेण क्रियते ॥१३॥
P. 356. सार्वभौमः—सर्वा भूमिः ( whole earth ) इति सर्व्वभूमिः। तस्याः
ईश्वरः इति सर्व्वभूमि + अण् , by the rule “तस्येश्वरः” = सार्वभौमः, a para-
mount monarch.
सिंहलेन्द्रस्य ..रत्नावली — “Ratnávalí was a daughter of the king
of Ceylon. In our play we find that the name of the king
was Vikramabáhu. But in the Mahávamsa the celebrated
Páli chronicle of Ceylon, the king is named as Vijayabáhu.
Vikramabáhu is mentioned there as being brother of रत्नावली
and son of Vijayabáhu.” ( Notes on Ratnávalí by S. C.
Vidyabhushan) “Ratnávalí of our play represents Padmávatí
of the Kathásaritságara and Anupamá of दिव्यावदान”। (Notes on
Ratnávalí by S. C. Vidyábhushan)
N B. In the स्वप्नवासवदत्त of भास, the story appears to have
been taken from बृहत्कथा almost as it is, but our present Drama
owes greatly to the inventive genius of Shri Harsha.
P. 359. लावणकेन वह्निना—The fire that broke out in Lávánaka,
a border-district of the kingdom of Magadha (as given in कथा-
सरित्सागर (Book III, Chapter II.)
P. 360. सम्बन्धलोपः etc.—Extinction of relationship.
N. B. The King of Ceylon is described as the maternal
uncle of Vásavadattá, the wife of Udayana. So the relation
between these two Kings is very close. When the rumour was
spread that Vásavadattá had been burnt in a fire that broke
out in Lávánaka, Vikrambáhu, the King of Simhala, with a
view to maintaining the previous intimate relation, agreed

An exact, line-by-line transcription of the Sanskrit commentary and notes page into pure Markdown:

404 रत्नावली
to give his daughter Ratnávali in marriage with Udayana,
the King of Vatsa, but not before that, with the idea that it
was not proper to cause any mental agony to his niece
Vásavadattá by inflicting a co-wife on her.
मन्दभागिनी—मन्दः भागः भाग्यम् ( कर्मधा ) = मन्दभागः, सः अस्याः अस्तीति
मन्द - भाग + इनिः + स्त्रीयांङीप् । भाग means "share", "fate."
दुरवगाहा—Intricate, inscrutable. दुर् — अव + गाह् + खल् + टाप् ।
निदर्शनम्—Instance ; निदर्शयति अनेन इति नि - दृश् + ल्युट्, करणं ।
Sl. 14. In this shloka a description of the fire that broke
out through the tricks of the magician is given.
हेमशृङ्गश्रियम्—हेम्नः शृङ्गानि ( ६ष्ठीतत् ) तेषां श्रीः ( ६ष्ठीतत् ) ताम् ;
[L

(skhalitaḥ)??? WAIT! Look at that: IS ITस्खलितः??? NO, look at the King being bewildered / mistaken: In Sanskrit, a mistake/slip is **स्खलितम्** or **स्खलितः**! Wait, does it look like स्खलितः? Let's look at the letter before लि: It has a loop on the left, connected to a right part? Wait, look at the dot: Wait, is it कथमित्यादि? Look at the text: क थ मि त्यादि . स्खलितः? Wait, let's look at the word before the dot: क वि र्ह्य त्रWait, does the first letter of that word have a loop? Wait! Look at line 16:क-वि-र्ह्य-त्र- wait! Let's compareकinकविwithकinकथमतिसम्भ्रमात्(line 19): Identical! Now look at the second glyph: In line 19:थinकथमतिसम्भ्रमात्` is: round left loop, top bar, vertical line.
In line 16, the second glyph has a vertical line on the right, and a

406 रत्नावली
N. B. The King means to say that the fire with its
destructive flames will not be able to do anything, to him, as
he has not been destroyed by the fire of separation which is
far more destructive than the fire burning the palace.
Thn metre is मालिनी and the figure of speech is रूपक । In the
construction the fire of separation is meant to be described
as superior to the fire burning the palace, which is उपमान ;
hence the व्यतिरेकालङ्कारध्वनि prevails here.
Ch. of voice.—विरम्यतां विरम्यतां मुच्यतां धूमानुबन्धः प्रकश्यते......चक्र-
वालम्...विरहहुतभुक् यं मां...दग्धवान्...त्वया किं क्रियते ॥ १६॥
मार्गोपदेशकः—मार्गस्य उपदेशकः ( षष्ठीतत् ) । Now the objection may
arise as to the validity of षष्ठीसमास with उपदेशक which ends
in अक, as the prohibition by rule “न तृजकाभ्यां कर्त्तरि” prevails.
So षष्ठीसमास is not allowed with words ending in तृच् and
अक in कर्तृवाच्य । But as the सूत्रकार himself uses the words of
such description in the षष्ठीसमास in his सूत्रs “जनिकर्त्तुः प्रकृतिः” and
“तत्प्रयोजको हेतुश्च”—words compounded with कर्त्तृ and प्रयोजक, the
prohibition of the rule “न तृजकाभ्यां कर्त्तरि” is not universal ; शेषे-
षष्ठीसमास is not prohibited ; only कर्तृषष्ठीसमासs are debarred
by the rule.
P. 366. भरतकुलम्—According to कथासरित्सागर, Udayana is
descended from the line of the Pándavas.
Arjuna
|
Abhimanyu
|
Parikshit
|
Janamejaya
|
Shatánika
|
Sahasránika & Mrigávati
|
Udayana & Vásavadattá.

चतुर्थोऽङ्कः 407
संशयतुल़ाम्—In a doubtful i. e., dangerous position. संशयस्य
तुला (६षीतत्) ताम् ।
P. 370. Sl. 17. Here the King finds Ságariká in chains and
surrounded by fire.
निगडसंयता—Tied with chains. निगडेन संयता (३यातत्)
N. B. Ságariká, when detected by the Queen to be by
the side of the King, was put in chains and was imprisoned
in the innermost part of the harem and a false rumour was
spread that she had been taken to Ujjayiní, only to throw
the King off her track.
The metre is पृथ्वी ।
Ch. of voice.—सहस्व बहलमेतं धूमोद्गमम्...धनेन च'शुकेन ज्वल्यते......
प्रवृत्तेन ।...खल्यते...निगडसंयतया। नीयते भवती। अहमेवावलम्ब्यं ॥१७॥
Sl. 18. धक्ष्यति—दह् + लुट्, स्यति ।
N. B. The King means to say that as the touch of
Ságariká is extremely cooling, fire cannot consume him.
लग्नः—लग्ज् + क्त।
Ch. of voice.—...लग्नेन...भवति...धक्ष्यंत हुताशनेन ।...सन्तापः...अनेन
स्पर्शेन...क्रियते... ॥१८॥
उच्छ्वसिताः—जीविताः । उत् - श्वस् + क्त कर्तरि ।
P. 371. Sl. 19. स्वप्ने मतिः etc.—The King cannot ascertain
whether he was under dream-effects or magical power.
Comp : स्वप्नो नु माया नु मतिभ्रमो नु etc.—Shákuntala VI. 10. Also
—"किं नु सत्यमिदं स्वप्नः सा भूयो दृश्यते मया"—स्वप्नवासवदत्त ६।१७
N. B. In this connection the Jester appropriately says
“भो ! मा संदेहं करेहि। इंदजालं ज्जेव्व एदं । भणिदं तेण दासीए पुत्तेण इंद-
जालिएण.....पेक्खिदव्वीति" reminding the King about what the
magician had said to the King when the latter asked the former

Wait, look at semicolon:; butLine 22:in the original and स्वप्नवासवदत्त, Vāsavadattā was by tricksLine 23:concealed from the eyes of Udayana who was made to believeLine 24:in the rumour of the Queen’s being burnt in the fire, until hisLine 25:marriage with पद्मावती was performed.`

Now let's check line 26:
अन्यकलत्र etc.—अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया ।
Wait, let's look at the spacing and characters:
अन्यकलत्र etc.—अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया ।
Wait, is it अन्यकलत्र or अन्यकलत्रं?
It says: अन्यकलत्र etc.
Then: —अन्यं कलत्रं ( कर्मधा ) तस्य संघटना ( ३यातत् ) तया ।
Wait, in ( ३यातत् ):
Is that ३यातत् or ३या तत् or ३यातत्.?
Look at the character: ३ then या then त then त् -> ( ३यातत् ) (meaning तृतीयातत्पुरुष).
Wait, look at line 28:
`जगत्स्वामित्व etc.—जगतः स्वामित्व

चतुर्थोऽङ्कः 409
Sovereignty by Udayana after his marriage with Ratnāvali as
it was prophesied by the Siddha previously.
Cf. “प्रच्छाद्य राजमहिषों नृपतेर्हितायं
कामं मया कृतमिदं हितमित्यवेक्ष्य ।
सिद्धेऽपि नाम मम कर्म्मणि पार्थिवोऽसौ
किं वक्ष्यतीति हृदयं परिशङ्कितं मे ॥
स्वप्नवासवदत्तम्, Act VI. 15.
The metre is शार्दूलविक्रीडितम् ।
Ch. of voice.—उपगतेन...वियोगेण महता (भूयते) or देवी...अभ्युप-
गतवती.. वियोगं महान्तम् । तया...देव्या...प्रापितया (भूयते) or अहं तां देवीं...
प्रापितवान् ।...प्रीतिः करिष्यते अनेन जगत्स्वामित्वलाभेन...शक्यते ॥१८॥
अत्यन्तमाननीयेषु—अत्यन्तं माननीयाः (सुप्सुपा) तेषु । मन् + णिच् + अनीय
विषयाधिकरणे ७मी ।
निरनुरोधवृत्ति—Adj. to स्वामिभक्तिव्रतम् । निर् नास्ति अनुरोधः यस्यां (बहु)
सा । तादृशी वृत्तिः (व्यवहारः) यस्मिन् (बहु) तत् । Allowing no con-
sideration of feeling. अनुरोध means 'Humouring of feeling.”
“अनुरोधोऽनुवर्त्तनम्”—अमरः । वृत्ति means 'conduct', 'behaviour'
(व्यवहार)।
स्वामिभक्ति etc.—स्वामिनि भक्तिः (७मीतत्) तस्याः व्रतम् (६ष्ठीतत्), the
vow of loyal discharge of duty.
P. 387. Sl. 21. This shloka is included within the भरतवाक्य
which forms the concluding portion of the drama, expressing
general prosperity of the people and successful termination of
the dramatic performance.
नीतः—It has two objects—(a) आत्मसमताम् (indirect) and
(b) विक्रमबाहुः (direct).

...Glyph 1:सुGlyph 2: has a curve likeगorश. Glyph 3: has a curve like तorश. Glyph 4: स्तGlyph 5:रGlyph 6:पGlyph 7:देWait, let's look atसुप्रशस्तरपदे: that matches सु-प्र-श-स्त-र-प-देremarkably well! Wait, could it beसुशस्तरपदे? Look at the width: it is about 6-7 letters wide. सुप्रशस्तरपदेis very plausible as a corrupted typesetting ofप्रशस्तपदेorसुप्रशस्तपद.... Let's look at the image: सुप्रशस्तरपदे`.

Wait, let's look at line 18:
नागाद्याः पुंसि श्रेष्ठार्थगोचराः”—अमरः ।

Let's check line 19:
यस्मै—चतुर्थी by the rule “स्पृहेरीप्सितः” ।
Wait, line 19 in the image:
यस्मै—चतुर्थी by the rule “स्पृहेरीप्सितः” ।
Let's check line 19 of the page:
`यस्मै—चतुर्थी by the rule “स्पृहेरीप

चतुर्थोऽङ्कः 411
उर्वीम्—Earth. “सर्वंसहा वसुमती वसुधोर्वी वसुन्धरा”—अमरः ।
उद्दामसस्याम्—Adj. to उर्वीम् । Having luxuriant growth of
crops. उद्दामं सस्यं यस्यां ( बहु ) ताम् । उत्—दम् + घञ् = उद्दामः, “उद्दामो
बन्धरहिते स्वतन्त्रे च प्रचेतसि”—मेदिनी । Or उद्गतं दाम ( शृङ्खलं ) यस्मात्
( बहु ) सः ।
वासवः—Indra.
त्रैविष्टपानाम्—Of the gods ; तृतीयं विष्टपं ( कर्मधा ) ।
N. B. Here the numeral त्रि has been used in the sense
of पूरण i. e., तृतीय by the dictum “पूरणप्रत्ययस्तु वृत्तौ गतार्थत्वान्न प्रयुज्यते” ।
विष्टप is otherwise spelt as पिष्टप—“पिष्टपो विष्टपोऽप्यस्त्री भुवनं च नपुंसकम्”
—चामरमाला । विष्टप means स्वर्ग । “नभो विष्टपं हर्षो गौर्नापृश्निश्चापि सुरालयः”—
रत्नमाला । त्रिविष्टपे भवाः इति त्रिविष्टप + अण् by the rule “तत्र भवः” ।
विदधतु—वि—धा + लोट् अन्तु ।
विधिवत्—According to the rules. विधि + वतिप्रत्ययः अर्हार्थे । By
the rule “तदर्हः” ।
इष्टैः—By Sacrifices ; यज् + क्तिन् भावे नपुंसके । करणे ३या ।
आकल्पान्तम्—Up to the end of cycle. कल्पस्य अन्तम् ( ६ष्ठीतत् )
कल्पान्तं यावत् आकल्पान्तम् ( अव्ययीभावः ) ।
कल्पलक्षणम् :—
“मासेन स्यादहोरात्रः पैत्रे वर्षेण दैवतः ।
दैवे युगसहस्रे द्वे ब्राह्मः कल्पौ तु तौ नृणाम्” ॥
One month of human span is equivalent to one day of the
Pitris (Manes). One solar year of human beings is equivalent
to one day of the gods. Two thousand Yugas of the gods are
equivalent to one whole day and night of Brahman. And
one day or one night of Brahman is called a कल्प = 4320
millions of human years.

412 रत्नावली
समुपचित—Adj. to सङ्गमः । समुपचितं सुखं यस्मिन् ( बहु ) सः । सम् -
उप + चि + क्त = समुपचित, increased.
निःशेषम्—Adv. to निर् नास्ति शेषः यस्मिन् यथा स्यात् तथा ( बहु ) ।
पिशुनजन etc.—पिशुनाः जनाः ( कर्मधा ) तेषां गौः ( षष्ठीतत् ) ताः । पिशुन
means "wicked." "पिशुनः खलसूचकौ"—अमरः ।
दुर्जयाः—Difficult to be put down. दुर् - जि + खल् ।
वज्रलेपाः—Adj. to पिशुनजनगिरः । वज्रस्य लेपः इव लेप यस्याः ( बहु )
ताः । This a kind of hard cement difficult to be broken.
Critical Remarks
Act IV of the Drama is the working of विमर्श and निर्वहण
सन्धि together as the result of which the plot arrives at
its final conclusion. In Act IV Ságariká and Vasantaka
being detected by the Queen in the furtherance of the
clandestine love-intrigue with the King, the former were taken
captives in the presence of the King to his utter remorse ; and
Ságariká was imprisoned by the Queen within the palace
beyond the knowledge of all persons of the harem. A false
rumour was circulated that Ságariká was being taken to
Ujjayinī. But subsequently all traces about the girl became
lost in complete obscurity. This became an insurmountable
difficulty in the way of the union of the hero and the heroine.
The King gave up all hopes of regaining her. Here is the
working of विमर्शसन्धि—
“यत्र मुख्यफलोपाय उद्भिन्नो गर्भतोऽधिकः ।
शापाद्यैः सान्तरायश्च स विमर्श इति स्मृतः” ॥ साः दः ६।७९-८०
Here the means of attaining the main result ( मुख्यफलोपाय ),
viz., the union with Ságariká is intercepted by the undesirable

चतुर्थोऽङ्कः 413
incident of the imprisonment and disappearance of the heroine.
This विमर्शसन्धि is very short.
But the inventive genius of the poet ingeniously clarifies the
situation by introducing the magician who with the secret direc-
tion of Yaugandharāyaṇa produced an illusion of fire in the
palace which caused an alarm in all, including Vāsavadattā who
forgetting everything of the past, implored the King to save
Sāgarikā whom she had imprisoned within the palace and
whom she apprehended to be consumed in the fire (एसा क्खु मए
णिग्घिणाए इध णिअडेण संजमिदा साअरिका विवज्जदि । ता तं परित्ताअदु अज्जउत्तो )
The King got the opportunity and delivered her from the
fire which was a false (i. e., magical) one. Vasubhuti, the
Simhalese minister, who after being rescued from the ship-
wreck had thought Ratnāvalī to be lost and who then joined
the army of Rumaṇvān in his expedition to Kosala, accidentally
arrived at that very moment to see the Vatsa-King with a
view to get consoled, and found Sāgarikā alive there. But for
the introduction of the magician, the union would have been
a haphazard one; so the episode of the magician has brought
about the susccessful termination of the plot. After the
deliverance of Sāgarikā from the fire by the King, all the
matters point to the successful end of the drama, and all
diverging points scattered throughout the drama, point to
the final end i. e., the union of the hero and the heroine.
Here is the conclusion of the निर्वहणसन्धि which is defined as —
“बीजवन्तो मुखाद्यर्था विप्रकीर्णा यथायथम् ।
एकार्थमुपनीयन्ते यत्र निर्वहणं हि तत् ॥” सा० द० ६।८०-८१
The concluding speech of यौगन्धरायण with the King discloses
how all the incidents manipulated throughout the Drama
merged into one point i. e., the union which is aimed
at in the subject-matter of the Drama. In Act IV which

114 रत्नावली
is the concluding one, all the incidents, specially the incident
of the performance of the magic, have been so skillfully
arranged and handled, that nothing appears to abnormal,
improper, irrelevent or out of context. Appearance of Bábhravya
and Vasubhuti two ship-wrecked persons in the court of the
King is quite suited to the occasion, and natural. Wearing
of the pearl-necklace by the Vidushaka which gave a clue to
Vasubhuti for being hopeful of Ságarika being alive, is a
natural growth of the unhappy incident that befell Sagarika
in Act III. This, together with the wonderful performance
of the magician, gives a good and successful finishing touch to
the theme of the Drama.

दीन् (8)
ब-हून् प-श्य-ति वा-स-वे (8)
PERFECT ANUSHTUBH!
And the meaning: "While Indra (वासवे) was watching (पश्यति), [Shatanika] having killed many [asuras], Yamadamshtra and others, in battle (समरे यमदंष्ट्रादीन् बहून्)..."

Now let's check line 14:
"हत्वा..."
Wait, what are the syllables?
ह-त्वा (2)
Next: what kills Shatanika? Or having killed them?
Wait, does it say:
"हत्वा तांश्च संग्रामे प्राप मृत्युं स भूपतिः" ?
Count syllables:
ह-त्वा (2) तां-श्च (2) सं-ग्रा-मे (3) = 7 syllables? Missing 1 syllable!
Wait, "हत्वा तांश्चैव संग्रामे"?
Let's look at the letters in line 14:
ह-त्वा (2)
त-वं-च? No!
Look at the characters between 'हत्वा' and 'संग्रामे':
Letter 1: 'तं' or 'ता'?
Wait, look at: 'तं' (1) 'च' (1) 'संग्रामे' (3)? That's 5 + 2 = 7 syllables.
Wait, look at the characters:
हत्वा
Then:
त - wait, is it 'तांश्च