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

92 रत्नावली
P. 30. Shloka 12. This shloka admits of double meaning.
भुजङ्गलोकः—(1) The dissolute people, (2) the world of snakes.
‘भुजङ्गी विटसर्पयोः’ ।
मणिविभूषण etc.--(1) With the flood of rays of jewel-orna-
ments ; (2) with flood of rays issuing out of gems likened unto
ornaments (on the head of the serpents). मणीनां विभूषणानि ( ६ठीतत् )
तेषां रश्मयः ( ६ठीतत् ) तेषां जालानि ( ६ठीतत् ) तैः or मणयः विभूषणानीव
( उपमानकर्मधा ) etc.
N. B. The serpents residing in the Pátála region have
gems on their heads and by the rays of those gems the dark
regions of Pátála are sometimes illuminated.
उद्यतफणा etc.—Adj. to भुजङ्गलोकः । (1) With syringes raised
up like hoods of snakes (2) with hoods raised like syringes. उद्यताः
फणाः ( कर्मधा ) तेषाम् आकृतिः इव आकृतिः येषां ( बहु ) तानि । तादृशानि
शृङ्गाणि यस्य ( बहु ) सः । Or फणानाम् आकृतिः ( ६ठीतत् ) फणाकृतिः ; सा
शृङ्गाणि इव (उपमित समास) by rule “उपमितं व्याघ्रादिभिः” etc., व्याघ्रादिराकृति-
गणत्वात् । उद्यतानि फणाकृति-शृङ्गाणि यस्य ( बहु ) सः ।
स्मारयति—Reminds ; सम्- स्मृ+णिच्+लट् ति ।
ह्रस्वत्व is by the rule ‘मितां ह्रस्वः ।’ But when excessive eager-
ness ( आध्यान ) is to be indicated the form will be संस्मारयति ।
Here संस्मारयति governs the 2nd case-ending माम् by rule “गतिबुद्धि-
प्रत्यवसानार्थशब्दकर्माकर्मकाणामणिकर्त्ता स णौ”। The root स्मृ is to be
regarded as being included within बुद्ध्यर्थक ( knowledge ) roots, so
its णिजन्त form governs the 2nd case-ending, otherwise it would
have governed the 3rd case-ending. स्मरयति here means स्मरणजन्य-
ज्ञानं जनयति ।

प्रथमोऽङ्कः 93
The sentence अयं भुजङ्गलोकः माम् पातालं संस्मारयति most probably
alludes to the incident of उदयन's early life when he rescued a
snake from the clutch of a S'abara and as a reward obtained
the lute घोषवती ( See intro. )
The metre is here वसन्ततिलकम्, The figure of speech is here
श्लेषानुप्राणितोत्प्रेक्षा mixed with स्मरणालङ्कार। The definition of स्मरण
“सदृशानुभवाद् वस्तुस्मृतिः स्मरणमुच्यते”—साः दः।
Here the similarity of पाताल having भुजङ्गलोक with their
syringe-like hoods etc., being put forth, the idea of the nether
regions is aptly brought to the mind of the King. Hence it is
a case of स्मरणालङ्कार।
Ch. of Voice..........शृङ्गेन भुजङ्गलोकेन......महं संस्मर्य्ये ।
P. 31. मदनवशविसंष्ठुलम्—Adverb, to नृत्यन्ति ; विसंष्ठुलं—unsteadily.
मदनवशेन विसंष्ठुलम् ( स्यात्तत् ) . मदनवश—the influence of passion.
वसन्ताभिगमम् नृत्यन्ती—dancing indicative of the spring-festival.
P. 32. द्विपदीखण्डम्—A portion of द्विपदी। द्विपदी is a kind of
Prakrita metre having two पादs divided into two parts each
of which contains 13 मात्राs. The definition of द्विपदी as given in
प्राकृतपैङ्गल is :—
बारह इन्दु जत्थ ही पढ़महि
दिज्जइ वेवि घणाहरं ।
तह पाइक्कजुअल परिसंठवहु
विविहचित्तसुन्दरं ॥ प्राकृत-पैङ्गल p. 257.
Here each of the पादs divided into two parts consists
of 28 मात्राs । The metre is so named owing to its having two

94 रत्नावली
पादs not in similarity with other metres that consist of 4
पादs ।
Sloka 13. कुसुमायुध etc.—This is an address to the spring
season that is described as the companion as well as messenger
of the god of love.
शिथिलित etc.—Adj. to दक्षिणपवनकः । Loosening the hard tie
of sensitiveness i. e., with the advent of the spring season the
ladies become overcome with the feeling of love and give up
their sensitiveness.
S'loka 14. विकसितबकुल etc.—Adj. to युवतिसार्थंकः । By whom
the Ashoka and Vakula trees are caused to blossom. It is a
poetic convention that the As'oka tree blossoms when struck
with feet by young women and the Vakula tree blossom, when
mouthful of wine is thrown at it by youthful ladies.
“पादाघातादशोकः विकसति बकुलं योषितामास्यमद्यैः”—साः दः
विकसित is here derived as वि - कस् + णिच् ( अन्तर्भावी ) + क्त कर्मणि ।
उत्कण्ठित etc.—Adj. to युवतिसार्थंकः । उत्कण्ठितानां प्रियाणां मेलकः ।
Those who cause the anxious to be united. मेलयतीति मिल + णिच्

• ण्वुल् ।
  प्रतिपालन—Adj. to युवतिसार्थंकः । Unable to wait further.
  ताम्यति—pines away. तम् + लट् । ति ( दिवादि ) ।
  युवतिसार्थंकः—युवतीनां सार्थः ( समूहः ) + स्वार्थे क ।
  Ch. of Voice. विकसितबकुलाशोककेन उत्कण्ठितप्रियमेलकेन प्रतिपालना-
  समर्थकेन युवतिसार्थकेन ताम्यते ।
  S'loka 15. लब्धप्रसरैः—Getting the opportunity. Adj. कुसुमबाणैः ।
  लब्धः प्रसरः यैः ( बहु ) तैः ।

प्रथमोऽङ्कः 95
P. 33. कुसुमबाणैः—कुसुमानि च ते बाणाः (कर्मधा) तैः । The god of
love has five flowers as his five arrows.
Cf.
“अरविन्दमशोकञ्च चूतञ्च नवमल्लिका ।
नीलोत्पलञ्च पञ्चैते पञ्चबाणस्य सायकाः” ॥
निर्भरः—Excessive.
Ch. of voice.......मधुमासेन......क्रियन्ते । विध्यते......कामेन ।
P. 34. S'loka 16. स्तनभर etc.—Adverb to क्रीड़न्त्या ; स्तनयोः भरः
(६ष्ठीतत्) तेन बिनमत् (३यातत्) तादृशं मध्यं (कर्मधा) तस्य भङ्गः (६ष्ठीतत्)
तस्मिन् अनपेक्षं (७मीतत्) नास्ति अपेक्षा (regard) यस्मिन् यथा स्यात् तथा (बहु)
इति अनपेक्षम् । अनपेक्ष means regardless, without paying any
heed to.
स्रग्दाम etc.—Obj. to त्यजति । स्रजः दाम (६ष्ठीतत्) तस्य शोभा (६ष्ठीतत्)
ताम् । आकुल—dishevelled.
केशपाशः—Beautiful tresses of hair. पाश is used here in the
sense of excellence.
क्षीवायाः—Intoxicated. “मत्ते शोण्डीत्कटक्षीबाः”। क्षीव् + क्त = क्षीबः
निपातनात् साधुः ।
द्विगुणतरम्—Here तर has been used in the sense of intensity.
N. B. The more the intoxicated woman is dancing and is
thus moving her body vehemently, the more her anklets are
making screaming sound as if out of pain.
व्यस्तः—tossed to and gro. वि — अस् (क्षेपणे) + क्त कर्मणि ।
कम्पानुबन्धात्—कम्पस्य अनुबन्धः (६ष्ठीतत्) तस्मात् । अनुबन्ध means,
succession, continuation.

96 रत्नावली
N. B. In this shloka the King describes the boisterous dance
of a woman who was under intoxication.
The metre is here स्रग्धरा। The figure of speech is here
उत्प्रेक्षा।
Ch. of voice. स्खलेन चाकुलेन केशपाशेन विरचिता—शोभा व्यज्यते।
नूपुराभ्यां पादलग्नाभ्यां चाभ्यां क्रन्दते। व्यसेन......हारेण दृश्यते।
P. 35. हताश—Unfortunate ( lit. whose hopes are gone ) ·
हता आशा यस्य ( बहु ) सः तत्सम्बोधने ।
P. 38. दास्याः पुत्रि—Oh, the daughter of a maid-servant. It is
used in the sense of opprobium, when it is in this अलुक् समास
form. Here a woman may not actnally be the daughter of a
maid-servant, but in the compounded form दासीपुत्री, the woman
must be the daughter of a slave-girl. The expression दास्याः पुत्रि is
often heard to be used in the Sanskrit dramas by the Vidu-
shakas towards the female attendants of the harem.
निर्वर्त्तयितव्या—should be performed. निर् + हत् + णिच् + तव्य + टाप्
स्त्रियाम् ।
सन्निहित—Present ; सम् – नि + धा + क्त ।
स्वस्तिवाचनकम्—This means the benedictory saying uttered by
a Brāhmana. Here it means the gift to be received by the
विदूषक as a result of his uttering benediction. स्वस्ति ( कल्याण )
वाच्यते यस्मिन् इति स्वस्ति – वच् + णिच् + ल्युट् अधिकरणे । स्वस्तिवाचनमेव इति
स्वस्तिवाचन + क स्वार्थे ।
P. 41. मलयमारुत etc.—Adj. to मकरन्दोद्यानम्। मलयमारुत — southern
breeze. आन्दोलित—shaken. मुकुलायमान—budding, blossoming.
सहकारमंजरी—Mango-blossom. प्रतिवद्ध—formed. पटवितान—canopy.
मत्तमधुकर etc.—Adj. to मकरन्दोद्यानम् । झङ्कार—humming sound:

प्रथमोऽङ्कः 97
कोकिलालाप—songs of the cuckoo. सुखावह—pleasant. मत्ताः मधुकराः
( कर्मधा ) तैः मुक्तः ( ३यातत् ) तादृशः झङ्कारः ( कर्मधा ) तेन मिलितः ( ३यातत् )
तादृशः कोकिलालापः ( कर्मधा ) सः एव सङ्गीतम् ( कर्मधा ) तेन सुखावहम् ( ३या-
तत् ) । आवहतीति आ - वह् + अच् पचादित्वात् आवहः meaning प्रापक । सुखस्य
आवहः ( ६ठीतत् ) ।
तवागमन etc.—showing respect at your arrival. Adj. to
मकरन्दोद्यानम् । आगमने दर्शितः ( सुप्सुपा ) तादृशः आदरः येन ( बहु ) तत् ।
Shloka 17. This shloka admits of double meaning as the
trees are compared with drunken persons.
उद्यद् etc.—having the lustre of an up-shooting coral. उद्यन्
विद्रुमः ( कर्मधा ) तस्य कान्तिः इव कान्तिः यस्य ( बहु ) तैः । विद्रुम means ‘coral’
‘विद्रुमो रत्नदण्डेऽपि प्रवालेऽपि पुमानयम्’—मेदिनी । Adj. to किसलयैः ।
ताम्रां त्विषम्—reddish hue ; त्विष् means कान्ति । N. B. Persons
hard drunk assume a reddish hue in their face.
कलैः भृङ्गालीविरुतैः—By sweet humming of swarms of bees.
आली means समूह. कल means sweet. “ध्वनौ तु मधुरास्फुटे कलः” । भृङ्गणाम्
आली ( ६ठीतत् ) तस्याः विरुतानि ( ६ठीतत् ) । वि - रु + क्त = विरुत humming
sound. तृतीया च उपलक्षणे ।
अविशदव्याहार etc.—Adj. to द्रुमाः । Displaying the fun of in-
articulate speech. न विशदः ( clear ) ( नञ्तत् ) । अविशदः व्याहारः
( उक्तिः ) ( कर्मधा ) तस्य लीला ( ६ठीतत् ) तां बिभ्रति ये ते ( उपपदतत् ) । वि

• आ + हृ + घञ् = व्याहारः, speech. “व्याहार उक्तिर्लपितम्”—अमरः । अविशद-
  व्याहारलीला - भृ + क्विप् । The expression yields the meanings
  thus—(1) the trees with the humming bees are, as it were,
  speaking indistinctly, (2) as persons under intoxication
  speak unintelligibly.
  7

98 रत्नावली
मलयनिल etc.—shaken by the southern breeze. Adj. to
शाखासमूहैः which is also तृतीया by “इत्थम्भूतलक्षणे ।” मलयागतः अनिलः
( शाकपार्थिववत् समासः ) तस्य आहतिः ( ६ठीतत् ) तया चलैः ( ३यातत् ) ।
घूर्णन्तः—reeling, moving to and fro. घूर्ण भ्रमणे + शतृ ।
N. B. (1) The trees are moving to and fro being tossed
by the southern breeze, (2) as the drunken persons are found
reeling under intoxication.
मधुप्रसङ्गजनिताम्—Adj. to भान्तिम् । (1) Caused by the contact
with मधु (spring season). (2) Caused by the contact with मधु
(wine). भान्ति—(1) movement (in the case of trees) ; (2) stagge-
ring (in the case of drunken persons).
N. B. The reading भान्तिं प्राप्य मधुप्रसङ्गमधुना etc., is bad, as it is
very difficult to be construed. So the either of the two
readings (1) भान्ति प्राप्य मधुप्रसङ्गमधुना मत्ता इवामी द्रुमाः or (2) भान्तिं
प्राप्य मधुप्रसङ्गजनितां मत्ता इवामी द्रुमाः should be adopted for good
construction.
The metre is here शार्दूलविक्रीडित and the figure of speech
is उपमा with श्लेष । Some hold that it is a case of स्वभावोक्ति as
the characteristics of a drunken person have been aptly
described.
Change of Voice.—...विक्षोभिः......—द्भिः घूर्णद्भिः मत्तैः......द्रुमैः
( स्थीयते ) ।
P. 44. Shloka 18. गण्डूषसेकासवः—the mouthful of wine.
गण्डूषश्चासौ सेकश्चेति (कर्मधा ) or गण्डूषस्य सेकः (६ठीतत्) तस्य आसवः (६ठीतत्) ;
आसव means wine—“मैरेयमासवः शीधुः” इत्यमरः । The Vakula tree
blossom by the mouthful of wine of the ladies. “विकसति बकुलो
योषितामास्यमद्यैः” । वास्यते—is scented. वास् to make fragrant.

...? Wait, look at line 24-25: अकालकुसुम etc.—न ( अन्यस्मिन् ) कालः = अकालः तस्मिन् कुसुमसमृद्धिः(wait, line 24:कुसुमसमृद्धमः? No, look at the dot above: is there a dot? No.) Wait, look at line 25: ( ७मीतत् ) तस्मिन् शृङ्गारः? Wait, let's read: ( ७मीतत् ) तस्मिन्Then:शृorस? Wait! Is it सङ्गात्? Look at the characters: स? No, it has a vertical line, wait: सwithऋ? No, Sanskrit doesn't have सृङ्गार. Look at शृङ्गारःin Sanskrit:शृङ्गार= love / decoration. Wait, "कुसुमसमृद्धेः तस्मिन् शृङ्गारः"? Wait! Could it be:कुसुमसमृद्धः ( ७मीतत् ) तस्मिन् शृङ्गारः ( ७मीतत् ) तेन ।? Wait, look at line 24 end: तस्मिन् कुसुमसमृद्धमः-> wait, is the last letterमःorयः? In old Indian prints, य`

100 रत्नावली
श्रद्धालु—means 'having confidence.' 'श्रद्धालुः श्रद्धया युक्तो' इत्यमरः ।
श्रत् + धा - आलुच् ताच्छील्ये = श्रद्धालु ।
अनुदिनम्—Throughout these days. दिनं दिनम् प्रति ( अव्ययीभावः ) ।
आयास्यते—is troubled. आ - यस् + णिच् + लट्_ ते कर्मणि ।
नवमालिका—This is a kind of creeper of which the flower is
used as an arrow of Cupid.
प्रकाशम्—Loudly. This is a dramatic direction. “सर्व्वश्राव्यं प्रकाशं
स्यादश्राव्यं स्वगतं मतम् ।”
दृष्टिगोचरम्—obj. to पतिता । दृष्टेः गोचरः ( ६ष्ठीतत् ) तम् । गोचर
means विषय । गावः ( अक्षीणि ) चरन्ति यस्मिन् इति गो + चर् + अधिकरणे घः
i.e., in which the senses like eyes and others are concentrated.
मदनमहोत्सव etc.—मदनस्य महोत्सवः ( ६ष्ठीतत् ) तस्मिन् पराधीनः (७मीतत्)
“परतन्त्रः पराधीनः” । Engaged in the Cupid-festival.
पुष्पावचयम्—Plucking of flowers. पुष्पाणाम् अवचयः ( ६ष्ठीतत् )
अव - चि + अच् = अवचयः Plucking. There is a difference between
अवचय and अवचाय । If the flowers or fruits are plucked by one's
own hand then the form अवचाय is used. Bhattoji says “हस्तादान
इत्यनेन प्रत्यासत्तिरादेयस्य लक्ष्यते । पुष्पप्रचायः । हस्तादाने किम् ? वृक्षाग्रस्थानां फलानां
यष्ट्या प्रचयं करोति । अस्तेये किम् ? पुष्पप्रचयश्चौर्येण ।” Cf.—वामन ( काव्य-
लङ्कारसूत्र )—“अवसरावचायङ्गद्योर्दीर्घञ्चक्रस्तव्यासी बालानाम्” ( ५।२।४० )। But
if those are plucked by means of a stick or other things then the
form अवचय is used. Again, when the stealing of flowers by a
thief is indicated then अवचय is used. Here from the expression
पुष्पावचयं करोति is appears that Ságariká was plucking flowers
from long trees by means of some other thing than hands.
P. 51. प्रद्युम्नम्—The son of Krishna and Rukmini. He is

पञ्चमोऽङ्क 101
regarded as an incarnation of Kámádeva who was burnt by
Shiva, and Shiva afterwards repenting his deed allowed Káma
to be born again in the womb of Rukmini, as he was very much
moved at the lamentation of Rati. Pradyumna killed Shambara
a demon who stole Pradyumna from the lying-in-room ; and the
latter was brought up in the demon's harem without his
knowledge.
Shloka 19. कुसुमसुकुमार etc.—कुसुमम् इव सुकुमारा ( उपमितकर्मधा )
तादृशी मूर्त्तिः यस्याः ( बहु ) सा ।
नियमेन—By observance of vows. तनुतरं मध्यम्—slenderer
waist. Cf:
"वसने परिधूसरे वसाना नियमक्षाममुखी धृतैकवेणिः ।
अतिनिष्करुणस्य शुद्धशीला मम दीर्घं विरहव्रतं बिभर्त्ति ॥"
S'ákuntala.
मकरकेतोः—The fish-bannered god (Cupid).
पार्श्वस्था चापयष्टिः—Like the bow lying by the side. Here the
image of प्रद्युम्न with his bow and arrows placed under the
Ashoka tree is meant.
The metre is here आर्या and the figure of speech is उपमा ।
Ch. of Voice—मूर्त्ता...दधत्या......पार्श्वस्थया चापयष्ट्या...आभायते ।
P. 53. Shloka 20. This shloka admits of double meaning as
Vásavadattá is compared with a creeper clinging to a tree.
प्रत्यग्रमज्जन etc.—(1) With your complexion brightened with
a fresh auspicious bath (that the Queen took for adoring
कामदेव ) । (2) With the lustre (of the creeper) being brightened
by a fresh sprinkling of water. प्रत्यग्र' मज्जनम् ( कर्मधा ) तस्य विविक्तः
( तृतीतत् ) तेन विविक्ता ( ष्यातत् ) तादृशी कान्तिः यस्याः ( बहु ) सा । प्रत्यग्र
means 'fresh.' वि—विच् + क्त = विविक्त, bright.

102 रत्नावली
कौसुम्भराग etc.—(1) With the skirt of the cloth (of Vāsavadattā)
being beautifully dyed with the scarlet colour of कुसुम्भ flower,
(N. B. The Queen wore a scarlet cloth to worship the deity).
(2) Charming ( कान्ता ) with shining rays of the Sun and beautiful
(रुचिर) on account of having the colour of a कुसुम्भ flower (i. e., at
the advent of the spring the creeper assumed a garment of newly
sprouted foliage reddish in colour). कौसुम्भस्य रागः ( लौहित्यं )
( ६ष्ठीतत् ) तेन रुचिरः ( ३यातत् )...रुचिरः स्फुरन् च ( कर्मधा ) तादृशः अंशुकान्तः
यस्याः ( बहु ) सा । Or कौसुम्भः रागः ( कर्मधा ) तेन रुचिरः ( ३यातत् ) । स्फुरन्तः
अंशवः (कर्मधा) तैः कान्ता ( ३यातत् ) । कौसुम्भरागरुचिरा स्फुरदंशुकान्ता च (कर्मधा) ।
कुसुम्भ here means कुसुम्भद्रव in the case of the Queen. कुसुम्भ-
विकारः इति कौसुम्भः meaning कुसुम्भ flowers. But in the case of the
creeper कौसुम्भ means कुसुम्भपुष्पसम्बन्धी । In the previous case कौसुम्भ
is noun meaning flower and in the latter case कौसुम्भ is
adjective to राग । अंशुक means वस्त्र ।
बालप्रवाल etc.—Adj. to लता। बालानि प्रवालानि, यस्य ( बहु ) सः;
तादृशः विटपी ( कर्मधा ) स प्रभवः ( उत्पत्तिस्थानं ) यस्याः ( बहु ) सा । प्रवाल
means tender foliages. 'प्रवालोऽस्त्री किसलये वीणादण्डे च विद्रुमे'—इति
मेदिनी। प्रभवति अस्मात् इति प्र-भू + अप् । = प्रभवः ( Source ). “प्रभवो
जन्मकारणम्”...हैमः । विटपाः शाखाः अस्य सन्तीति विटप + अस्त्यर्थे इन् ।
विभ्राजसे—shine वि-भ्राज् + लट् + से ।
मकरकेतनम्—मकरः केतनम् ( चिह्नं ) यस्य ( बहु ) तम् ।
The metre is here वसन्ततिलक and the figure of speech is
उपमा given rise to by श्लेष ।
Ch. of voice.—कान्ता...कान्तया अर्चयन्ती—अर्चयन्त्या प्रभवा—प्रभवया लतया...विभ्राज्यते ।
P. 54. Sloka 21. हरपूजा etc.—Engaged in worshipping हर

प्रथमोऽङ्कः 103
(god of love). The name स्मर is due to the loss of physical
existence by कामदेव and to being only remembered in mind.
उद्भिनापर etc.—Adj. to अशोकः। Having another tender twig
sprouted up. उद्भिन्नः अपरः मृदुतरः किसलयः यस्य ( बहु ) सः। उद्—भिद् +
क्त = उद्भिन्न shooting up.
N. B. The Queen put her hand on the Ashoka tree and
her hand being of reddish colour it seemed as if another tender
twig sprouted up. The metre is आर्या and the figure of speech
is उत्प्रेक्षा।
Ch. of voice.—स्पृष्टं—किसलयम् अशोकं लक्षयामि ( अहम् )।
Shloka 22. पाणिसम्पर्श etc. The joy of the touch of your hands.
पाण्घोः स्पर्शः ( ६षीतत् ) तस्य उत्सवः ( ६षीतत् )। उत्सव means 'joy'
here.
अनङ्गत्वम्... The bodilessness is due to his being burnt by
Shiva.
The figure of speech is उत्प्रेक्षा and the metre is अनुष्टुप्।
Ch. of voice.—अनङ्गेन अनेन...निन्दिष्यते।......पाणिसम्पर्शोत्सवेन...
सम्भाव्येन......( भूयते )। or असौ संभाववान् पाणिसम्पर्शोत्सवं...।
P. 56. कुसुमलोभ etc.—Adj. to मया। कुसुमस्य लोभः ( ६षीतत् ) तेन
उत्क्षिप्तं ( ३यातत् ) तादृशं हृदयं यस्याः ( बहु ) तया।
शुभदर्शनः—Of auspicious view. अमोघदर्शनः... with a view yielding
success. By these two epithets Ságariká sincerely wishes her
desire to be fulfilled in the form of her marriage with the
King.
P. 59. वैतालिकः—Bard; विविधः तालः = वितालः तेन जीवतीति विताल
+ ठक् = वैतालिकः who sings with different तालs।

104 रत्नावली
Shloka 23. अस्तापास्त etc.—Adj. to रवौ। having all his rays
cast on the Setting-mountain. अस्ते ( अस्ताचले ) अपास्ताः ( क्षिप्तात् )
तादृशाः समस्ताश्च ( कर्मधा ) तादृशः भासः यस्य ( बहु ) तस्मिन् । रवौ—भावे ७नी ।
सायन्तने—सायं + ट्युट् तुट्, च ( तन ) ।
आस्थानीम्—Assembly hall ; आतिष्ठन्ति अस्याम् इति आ - स्था + ल्युट्,
by the rule 'करणाधिकरणयोश्च' स्त्रियां ङीप् । 'आस्थानी क्लीवमास्थानम्'—अमरः ।
सम्पतन्—Being assembled.
सरोरुह etc.—Adj. to पादान् । Robbing the lotuses of their
lustre. N. B. The King's feet are more beautiful than lotuses.
At the rise of the moon lotuses lose their beauty. सरोरुहाणां द्युतिः
( ६तीतत् ) तान् मुष्णातीति सरोरुहद्युति-मुष् + क्विप् । Conj. मुष्णाति ( क्रयादि ) ।
प्रीत्युत्कर्षकन्तः—Adj. to तव and इन्दोः ; causing excessive delight.
प्रीतेः उत्कर्षः (६तीतत् ) तं करोतीति प्रीत्युत्कर्ष - कृ + क्विप् ।
पादान्—(1) feet, (2) moon-beams. “पादा रश्म्यङ्घ्रितूर्यांशाः”—अमरः ।
उदयनस्य—(1) of the king उदयन, (2) rising ( moon ). उत् -
दृ + ल्युट् ।
प्रतीक्षते—(1) waiting, (2) looking up ( in case of the moon).
The metre is here शार्दूलविक्रीड़ित and the figure of speech is उपमा
accentuated by श्लेष ।
Ch. of voice.......नृपजनेन...सम्पतता...प्रतीक्ष्यते ।
परप्रेष्य etc.—परस्य प्रेषणम् ( आदिेशः ) ( ६तीतत् ) तेन कर्षितम् ।
Troubled by carrying out the order of others (i. e., the Queen ).
बहुमतम्—much valued.
उत्सवपहृत etc.—Adj. to प्रजाभिः । उत्सवेन अपहृतं ( तृयातत् )
तादृशं चेतः येषां ( बहु ) तैः ।
Shloka 24. उदयतट etc.—Adj. to विभाभावम् । उदयस्य ( उदय-

, like ३!
Yes, ३ (three)! ३यातत् = तृतीयातत्पुरुष.
And ६ष्ठीतत् = षष्ठीतत्पुरुष.
And what about after ।?
अन्तः + धृ + क्त कर्त्तरि =
Wait, let's look at the letter between + and +:
Could it be हृ?
No, it's:
अन्तः +
Wait, look at the glyph:
Is it ऋ?
In Bengali script, ऋ is ঋ. In Devanagari, ऋ has an upper left part, lower left part, and a vertical right line with a loop.
Here, the letter is:
A vertical stroke on the right, top bar. On the left, it has a shape like... wait, could it be इ?
Wait! In some fonts, इ has a loop, but here it looks like:
Top bar, short down stroke, then a loop to the left and back?
Wait, what if it is धृ? No, why would it be धृ?
Wait, what is the root of अन्तरित?
अन्तर् + इ (इण्) + क्त!
Wait, could it be इ?
Look at इ in इति (line 13):
In line 13: इति:

106 रत्नावली
पङ्केन etc., the moon-like face is identified with the lotus (by
त्वन्मुखपङ्कजेन ) । Here the face overshadowing the moon that is
the cause of the निर्जितत्व of शङ्क, becomes lotus-like. Hence
the identification of cause and effect here is giving rise to the
figure of speech हेतु which is again mixed up with उत्प्रेक्षा।
Again from the हेत्वलङ्कार arises the figure of speech प्रतीप which
is defined as 'प्रसिद्धस्योपमानस्योपमेयत्वप्रकल्पनम्' ।—साः दः ।
निष्क्रान्ताः—Exeunt. At the end of an Act all the actors finish-
ing the business as occuring in one day, should all go out of
the stage. Cf. प्रत्यक्षनेतृचरितो बिन्दुव्याप्तिपुरस्कृतः ।
अङ्को नानाप्रकारार्थसंविधानरसाश्रयः ॥
“एकाहाचरितं कार्यमित्यासन्ननायकम् । पात्रै स्त्रिचतुरैरङ्कः तेषामन्तेऽस्य निर्गमः”—
दशरूपक ( ३।३६-३७ ) ।
अङ्कः—"अङ्क इति रूढिशब्दो भावं रसैश्च रोहयत्यर्थान् । नानाविधानयुक्तो यस्मात्-
त्माद भवेदङ्कः ॥"—भरत-नाट्यशास्त्रे । Also, vide verses 15-31, Ch. 20,
( Benares Ed. ).
CRITICAL REMARKS
Ratnávali belongs to a class of उपरूपक called नाटिका and is
based pre-eminently upon the dramaturgic rules. In the first
Act the action of which is centred in the royal palace of
Udayana where on the occasion of the celebration of the Cupid-
festival the heroine Ságariká, introduced as an attendant of
Vásavadattá, catches the first sight of the hero and thus her
attachment towards him begins. After the conventional Nándi
songs and the introduction of the drama (Prologue) by Sutra-
dhára, यौगन्धरायण by a tacit reference to a past incident gives rise
to what is called बीज ( germ or seed of the plot ). This germ is

प्रथमोऽङ्कः 107
developed in course of the मुखसन्धि which with its twelve aspects
उपक्षेप etc., connect the different incidents of the plot, viz.,
the Cupid-festival, enjoyment of the same by the King, invita-
tion of the King by वासवदत्ता to मकरन्द garden to attend Cupid-
worship, the accompaniment of सागरिका with वासवदत्ता there,
Ságariká's first sight of the King and her excessive feeling of
love towards the hero—and thus make an organic whole of the
preliminary part of the plot. The मुखसन्धि works wholly
throughout the 1st Act upon which the denouement of the
drama in the subsequent Acts mainly depends. Throughout this
Act the characters have been simply introduced with various
incidents, but their individual peculiarities have not been
given attention to. The heroine's falling in love with the King
at the very first sight, that has been brought about by the
ingenious arrangement of the incidents in the 1st Act, forms
the solid foundation of the development of the main plot,
viz., the marriage of उदयन and रत्नावली in the last Act.
Therefore, बीज and प्रारम्भ—the two preliminary aspects of the plot
together with the मुखसन्धि—form parts of what has transpired in
the 1st Act.

द्वितीयोऽङ्कः

( ततः प्रविशति सारिकापञ्जरव्यग्रहस्ता^१ सुसङ्गता )

सुसङ्गता । हद्धी हद्धी ! अह कहिं दाणिं मम हत्थे इमं
सारिअं णिक्खिविअ गदा मे पिअसही सागरिआ ? ता कहिं उण
एणं पेक्खिस्सं ? ( अग्रतो विलोक्य^२ ) कहं एसा क्खु णिउणिआ
इदो जेव्व आअच्छदि । ता जाव एदं पुच्छिस्सं । (क)

( ततः प्रविशति निपुणिका )

निपुणिका—( सविस्मयम् ) अच्चरिअं अच्चरिअं ! अणस्स-
सरिसो पहावो मण्णे देवदाए । उवलद्धो क्खु मए भट्टिणो^३
वृत्तंतो । ता गदुअ भट्टिणीए णिवेदइस्सं । ( इति परिक्रामति) (ख)

सुसङ्गता—( उपसृत्य ) हला णिउणिए, कहिं दाणिं
विब्भन्तचित्तसरिच्छा विअ इह

द्वितीयोऽङ्कः 109
निपुणिका—कहं सुसंगदा ! हला$^१$ सुसङ्गदे, सुट्ठु तुए
जाणिदं । एदं खु मम विस्रम्भस्स कारणं ।—अज्ज किल भट्ठा
सिरिपव्वदादो आगदस्स सिरिकंठ$^२$नामधेयस्स धम्मिअस्स
सकासादो अकालकुसुम-संजणण$^३$दोहअं सिक्खिअ अत्तणो
पडिग्गहिदं णोमालिअं कुसुमसमिद्धिसोभिअं करिस्सदित्ति
तहिं एदं वुत्तंतं जाणिदुं देवीए पेसिदम्हि । तुमं उण कहिं
पत्थिदा ? (क)
सुसङ्गता—पिअसहिं सागरिअं अन्वेसिदुं । (ख)
निपुणिका—सहि दिट्ठा मए दे पिअसही सागरिआ
गहीद-समुग्गअचित्तफलअवट्टिआ ससुब्बिग्गा विअ कदलीघरं
पबिसंती । ता गच्छ पिअसहिं । अहंपि देवीसआसं
गमिस्सं । (ग)
इति निष्क्रान्ते
इति प्रवेशकः
(क) कथं सुसङ्गता ! हला सुसङ्गते ! सुष्ठु त्वया ज्ञातम् । एतत् खलु मम
विश्रम्भस्य कारणम्—अद्य किल भर्त्ता श्रीपर्वतात् आगतस्य श्रीकण्ठनामधेयस्य धार्मिकस्य
सकाशात् अकाल-कुसुम-सञ्जननदोहदं शिक्षित्वा आत्मनः परिगृहीतां नवमालिकां कुसुम-
समृद्धिशोभितां करिष्यति इति तत्र एतत् वृत्तान्तं ज्ञातुं देव्या प्रेषितास्मि । त्वं पुनः कुत्र
प्रस्थिता ?
(ख) प्रियसखीं सागरिकां अन्वेष्टुम् ।
(ग) सखि, दृष्टा मया प्रियसखी सागरिका गृहीतसमुद्गकचित्रफलकवर्तिका
समुद्विग्ना इव कदलीगृहं प्रविशन्ती । तद् गच्छ प्रियसखीम् । अहमपि देवीसकाशं
गमिष्यामि ।
1 सखि । 2 सिरिखंडदाए । 3 समुग्गम ।

-ত-চ-ি-ত্-ত-া).
Then: "অবধীর্য্য" (অ-ব-ধ-ী-র্য্য).

Let's check line :
তিরস্কৃত্য অনালোক্য ইতি যাবৎ। শ্রীপর্ব্বতাৎ এতন্নাম্নঃ তান্ত্রিকাধিষ্ঠিতাৎ পর্ব্বতাৎ।
"তিরস্কৃত্য অনালোক্য ইতি যাবৎ। শ্রীপর্ব্বতাৎ এতন্নাম্নঃ তান্ত্রিকাধিষ্ঠিতাৎ পর্ব্বতাৎ।"

Let's check line :
অকালকুসুমসঞ্জননদোহদম্ অকালে স্বভাবতঃ উৎপত্তিকালাদন্যস্মিন্ সময়ে কুসুম-
"অকালকুসুমসঞ্জননদোহদম্ অকালে স্বভাবতঃ উৎপত্তিকালাদন্যস্মিন্ সময়ে কুসুম-"

Let's check line :
সঞ্জননম্ এব যঃ দোহদঃ, দোহং দদাতি ইতি 'খ্যাতৌঽনুপসর্গে কঃ', তম্ মন্ত্রাদিভিঃ
Wait, look at "'খ্যাতৌঽনুপসর্গে কঃ'":
Wait, is it 'খ্যাতৌ' or 'খাদৌ' or 'আতো'?
Wait! Pāṇini sutra: "आतोऽनुपसर्गे कः" (ātō'nupasarge kaḥ, 3.2.3)!
Look closely at the text:
'

দ্বিতীয়োঽঙ্কঃ 111
নিকট হইতে অকালে কুসুমোৎপত্তি-ক্রিয়া শিক্ষা করিয়া তাঁহার নিজের পরিগৃহীত নব-
মালিকাকে কুসুমরূপ ঐশ্বর্য্য দ্বারা শোভিত করিবেন—এই সংবাদ জানিবার জন্য দেবী
আমাকে তথায় পাঠাইয়াছিলেন। তুমি আবার কোথায় যাইতেছ?
সুসঙ্গতা—প্রিয়সখী সাগরিকাকে অন্বেষণ করিবার জন্য।
নিপুণিকা—সখি, আমি তোমার প্রিয়সখী সাগরিকাকে মসীপাত্র, চিত্রফলক ও লেখনী
(তূলিকা) লইয়া উদ্বিগ্নভাবে কদলীগৃহে প্রবেশ করিতে দেখিয়াছি। এখন সেই তোমার
প্রিয়সখীর কাছে যাও। আমিও দেবীর নিকট যাইব। (নিষ্ক্রান্ত)
প্রবেশক সমাপ্ত
( Enter Susangatá busily with a Sáriká in a cage. )
Eng. Trans. Alas! Alas! Where my dear friend
Ságariká has gone now leaving this Sáriká (the talking bird)
in my hand! Where shall I find her out? (Looking forward)
Here comes Nipuniká; I shall enquire of her.
( Enter Nipuniká )
Nipuniká—(With wonder). It is really strange! Un-
common is the power of the gods—I think. I have gathered
the news of the lord ( King ) ; and now I shall go and report
to the Queen."
Susangatá ( Approaching ) Hallo Nipuniká! Where
are you now going away in haste with your heart transported by
wonder, disregarding me standing here?
Nipuniká. How now, Susangatá ! Oh Susangatá! you have
rightly ascertained. This is the cause of my wonder that to-
day the lord (King), having learnt the craft of making flowers
blossom out of season from a sage named Shrikantha hailing
from the Shriparvata, will beautify his favourite Navamáliká
(jasmine) with a luxuriance of flowers. This news, I have been
sent there by the Queen to gather. But where are you going?
Susangatá. To enquire of my dear friend Ságariká.