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

112 रत्नावली
Nipunika. I saw your dear friend Sagarika entering the
plantain-bower uneasy in mind with a casket, picture-board
and a pen (brush). So go there to your dear friend. I too
shall go to the Queen. (Exeunt)
Here ends the Praveshaka (Interlude of an inferior type)
(ततः प्रविशति गृहीतचित्रफलकवर्तिका मदनावस्थां नाटयन्ती सागरिका)
सागरिका—¹हिअअ ! पसीद पसीद । किं इमिणा आया-
समेत्तफलएण दुल्लहजणप्पत्थणाणुबन्धेण ? अच्चं च जेण एव्व
दिट्ठेण दे ईरिसो संतावो णं वड्ढइ । (सविस्मयम्) पुणो वि
तं ज्जेव पेक्खिदुं अहिलससित्ति अहो दे मूढदा ! अइ
णिसंस² हिअअ ! जम्हादो पहुदि सह संवड्ढिदं इमं जणं
परिहरिअ खणमेत्तदंसणपरिचिदं जणं अणुगच्छंतो कहं ण
[L1

द्वितीयोऽङ्कः 113
जणस्स अण्णो दंसणोवाओ णत्थित्ति, ता जहा तहा आलि-
क्खिअ णं पेक्खिस्सं । ( इति नाटेन लिखति ) (क)
(क) हृदय, प्रसीद प्रसीद । किमनेन आयासमात्रफलेन दुर्लभजनप्रार्थनानुबन्धेन ?
अप्यञ्च, येन दृष्टेन ते संवृद्धः सन्तापः ननु वर्द्धते पुनरपि तमेव प्रेक्षितु मभिलषसि इति
अहो ते मूढता ! अयि नृशंस हृदय ! जन्मतः प्रभृति सह संवर्द्धितम् इमं जनं
परित्यज्य क्षणमात्रदर्शनपरिचितं जनम् अनुगच्छन् कथं न लज्जसे ? अथवा कः तव
दोषः ? अनङ्गशरपतनभीतेन त्वया एवं व्यवसितम् । अनङ्ग' तावदुपालभे । भगवन्
कुसुमायुध, निर्ज्जितसकलसुरासुरो भूत्वा कथ' स्त्रीजनं प्रहरन् न लज्जसे ? अथवा अनङ्गो-
ऽसि । सर्व्वथा मम मन्दभाग्याः अनेन दुर्निमित्तेन अवश्य' मरणमेव उपस्थितम् ।
तद् यावत् इह कोऽपि न आगच्छति तावदेव आलेख्यसमर्पितं जनं प्रेक्ष्य यथा-
समीहित' करिष्यामि । यद्यपि मे अतिसाध्वसेन वेपते अयमतिमात्रम् अयमहस्तः, तथापि
तस्य जनस्य अन्यो दर्शनोपायो नास्तीति, तत् यथा तथा आलिख्य ननु प्रेक्षिष्ये ।
हृदय प्रसीदेत्यारभ्य द्वितीयाङ्कस्य समाप्ति' यावत् प्रतिमुखसन्धिः । विस्तरः उपरिष्टाद्
द्रष्टव्यम् । आयासमात्रफलेन श्रममात्रफलेन । प्रार्थनानुबन्धेन । प्रार्थनायाः अनुबन्धः
पौनःपुन्यं तेन । मूढता अपाण्डित्यम् । व्यवसितम् अध्यवसितम् । निर्ज्जिताः निःशेषेण
जिताः सकलाः सुराश्च असुराश्च येन सः । सर्व्वेषामुपरि अनङ्गस्य प्रभावो अनुक्त एव ।
अनङ्गोऽसीति। अनङ्गत्वेन हृदयराहित्यात् दयादिशीलोऽपि नास्ति, तस्मात् उपालम्भोऽपि निरर्थक
एव । दुर्निमित्तेन अनङ्गबाणपतनरूपायुधलक्षणेन इत्यर्थः । आलेख्यसमर्पितम् चित्राङ्कितम् ।
यथासमीहितं यथेप्सितं मरणम् इति यावत्, करिष्यामि । उपरिष्टात् उद्वन्धनेन सागरि-
कायाः प्राणत्यागप्रयासेन इदं समीहितं स्फुटीभविष्यति । अतिसाध्वसेन अतिभयेन ।
अयमहस्तः अयमसौ हस्तश्चेति समासः अवयवावयविनोरभेदात् ।
( তারপর চিত্রফলক ও লেখনী লইয়া মদনাবেশ অভিনয় করিতে করিতে
সাগরিকার প্রবেশ )
Beng. Trans. সাগরিকা—হৃদয়, প্রসন্ন হও, প্রসন্ন হও। কেবল দুঃখমাত্র-ফল এই
দুর্লভ ব্যক্তির পুনঃ পুনঃ প্রার্থনায় কি প্রয়োজন? (সবিস্ময়ে) অধিকন্তু, যাহাকে দেখিলে
তোমার সন্তাপ পরিবর্ধিত হয় পুনরায় তাহাকেই দেখিবার জন্য তুমি অভিলাষ
8

করিতেছে!—হায়, তোমার কি মূর্খতা! হে নৃশংস হৃদয়! জন্ম হইতে এক সঙ্গে
পরিবর্দ্ধিত এই আমাকে পরিত্যাগ করিয়া ক্ষণমাত্র দর্শনে পরিচিত এই ব্যক্তির
অনুধাবন করিতে তোমার কি লজ্জা হইতেছে না? অথবা, তোমার কি দোষ?
অনঙ্গের শরপতনভয়ে ভীত হইয়াই তুমি এইরূপ করিয়াছ। (সজলনেত্রে) অনঙ্গকেই
এখন তিরস্কার করিব। (কৃতাঞ্জলিপুটে জানু পাতিয়া) ভগবন্ কুসুমাযুধ,
সুরাসুর সকলকে জয় করিয়াও স্ত্রীলোককে প্রহার করিতে তোমার কি লজ্জা হইতেছে
না? (দীর্ঘনিশ্বাস পরিত্যাগ করিয়া) অথবা, তুমি যে অনঙ্গ! সর্ব্বথা এই দুর্নক্ষণ-
হেতু মন্দভাগিনী আমার মরণই অবশ্য আসিয়া উপস্থিত হইল। (চিত্রফলক
দেখিয়া) তবে যতক্ষণ পর্য্যন্ত এখানে কেহ না আসে, আমি ততক্ষণ চিত্রাঙ্কিত এই
(অভিমত) জনকে দেখিয়া মনের বাসনা পূর্ণ করিব। (দৃঢ়ভাবে একাগ্রচিত্তে চিত্রফলক
গ্রহণের অভিনয় করিয়া দীর্ঘনিশ্বাস ত্যাগপূর্ব্বক) যদিও অতিভয়ে আমার অগ্রহস্ত
অত্যন্ত কম্পিত হইতেছে, তথাপি সেই লোকের দর্শনের অন্য কোনও উপায় নাই। এখন
কোনও প্রকারে অঙ্কিত করিয়া দেখিব। (অঙ্কনাভিনয় করিলেন)
Eng. Trans. (Then enter Ságariká, representing the
state of love-sickness, with a picture-board and a pen)
Ságariká. Oh my heart, be consoled. What is the use of
desiring eagerly for a person difficult to be attained when that
desire results only in painful trouble? (With *wonder) And
moreover, what a foolishness on your part to desire to see again
the person the sight of whom increases such painful agitation
of yours! Oh cruel heart! Don't you feel ashamed to run after a
person that has been familiar to you through a moment's sight
only, leaving this one who has been brought up with you from
the very birth? Or, what is your fault (in this matter)? You
have acted thus only out of fear of the fall of the arrows of the
bodiless god. (With tears) Now, I shall take Ananga (the
bodiless god of love) to task. (Kneeling down with folded
hands) Oh blessed lord of the flowery bow, being the victor of
all demons and gods, dost thou not blush to waste thy might
upon (lit. strike) a (defenceless) woman? (Sighing deeply) Or

द्वितीयोऽङ्कः 115
thou art truly without form (or sense) ! Ah, unfortunate that I
am, my death by all means impends on account of this bad
omen (due to this fatal cause). (Looking at the picture-
board) Now, so long as no one approaches, I shall see my
beloved one, as drawn in the picture, and then I shall do the
desired thing. (Resolutely with undivided attention she
gesticulates the taking up of the picture-board and with a deep
sigh) Though my forearm trembles too much through
excessive nervousness, yet as there is no other way of having
the sight of that person than this, so I shall roughly make a
sketch (draw the picture somehow or other) and then see
him. (Represents drawing the picture).
( ततः प्रविशति सुसङ्गता )
सुसङ्गता—एदं तं कदलीघरं, ता पविशामि । (प्रवेशं नाटयति)
एसा मे पियसही साअरिआ। किं उण एसा गुरुआणुराओ-
क्खित्तहिअआ

? Let's look closely: the letter has a vertical line, a horizontal stroke in the middle going left, curving... wait, that's ज! Wait, जinजादिसोhas horizontal stroke to the right? No, Devanagariजhas a vertical line on the right, a horizontal stroke to the left, and a semicircle curving down and right! YES! Devanagariजis on the LEFT of the vertical stem! Devanagariवis also on the left of the vertical stem! How doजandवdiffer?वis a closed circle/oval:o|. जis an open curve: horizontal stroke to the left, then cup:--U|. Now look at the letter in L8: Is it closed like वor open likeज? It has a horizontal bar from the vertical stem, then curves down and up! It is OPEN! It is a ज! With िmatra:जि! And the next letter: व्व! So it is indeed जिव्व! सुण्ण'जिव्व! Wait, is there a dot over ण्ण? Let's check: सुण्ण'orसुण्णं? There is an apostrophe: सुण्ण'जिव्व`!

Now let's check line

অনবরতনিপতদ্-বাষ্পসলিলেন অনবরতং গলন্ নিপতত্ যত্ বাষ্পসলিলং তেন হেতৌ
তৃতীয়া। রতিসনাথং রতিসহিতং কামদেবমিত্যর্থঃ। রতিন্যপদেশেন রতিচ্ছলেন।
অকারণে ন কারণম্ অকারণম্ তস্মিন্, অত্র অভাবার্থে নঞ্। অন্যথাসম্ভাবিনি অন্যথা
অন্যপ্রকারৈণ সম্ভাবয়সি কল্পয়সি যা সা ইতি সুপ্সুপান্তৌ ণিনিঃ।
( সুসঙ্গতার প্রবেশ )
Beng. Trans. সুসঙ্গত!—এই ত কদলীগৃহ, তবে ইহাতে প্রবেশ করি। (প্রবেশা-
ভিনয় করিয়া অবলোকনপূর্ব্বক সবিস্ময়ে ) এই যে আমার প্রিয়সখী সাগরিকা! কিন্তু
সে যেন কি এক গুরু অনুরাগতরে আকৃষ্টচিত্ত হইয়া কিছু একটি অঙ্কন করিতেছে, সেজন্য
আমাকে দেখিতে পাইতেছে না। যাই হোক, আমি তাহার দৃষ্টিপথ পরিত্যাগ করিয়া
সে কি অঙ্কন করিতেছে দেখি। ( আস্তে আস্তে তাহার পশ্চাতে যাইয়া আনন্দের
সহিত ) এ কি, এ যে মহারাজের প্রতিমূর্ত্তি অঙ্কন করিয়াছে! সাধু, সাগরিকে, সাধু!
অথবা রাজহংসী

118 রত্নাবলী
সম্ভাবিনি (অনুরূপ আশঙ্কাকারিণি) ! তোমার এরূপ আলাপের প্রয়োজন কি ? সকল
বৃত্তান্ত খুলিয়া বল।
( Enter Susangatá )
Eng. Trans. Susangatá. This is that plantain-bower. Let
me enter it. ( Entering and looking—with surprise ) Ha, here is
my dear friend Ságariká ! But apparently she is so intent upon
painting something, with her mind transported by some great
attachment that she does not notice even my approach. How-
ever, I will keep out of her sight and see what she is painting.
( Approaches gently her back and looking with delight ) How
now, she is drawing the king's (picture) ! Well done, Ságariká,
well done ! Or, the royal female swan leaves not the lotus-
crowded lake to sport elsewhere.
Ságariká. ( With tears ) I have finished drawing his por-
trait ) ; but since my tears are running down incessantly my
sight cannot have a look at him ( in the picture ). ( Raises
her head and while checking the tears sees Susangatá, hides
the picture with her upper garment, with a smile ) How now
Susangatá, my friend, please sit down here.
Susangatá. ( Sitting and taking the picture-board by force )
My friend, who is this person whom you have drawn in the
picture-board ?
Ságariká. The deity Ananga in the festival of Cupid
just commenced.
Susangatá. ( With a smile ) Ah, your cleverness ! but the
picture appears to be incomplete ( wanting in something).
So I shall paint and make ( the god ) accompanied by Rati.
( Takes the brush and gesticulates the drawing of Ságariká
under the pretext of painting the figure of Rati ).
Ságariká. ( Seeing—angrily ) Oh Susangatá, why you have
sketched my likeness here ?

vsजाणिदह्मि. It's definitely जाणिदह्मि` (द + ह्म).

• Line 7: (सुसङ्गताया हस्तं गृहीत्वा—प्रकाशम्) पियसहि ! महतो क्खु मे लज्जा, ता - wait, the footnote mark under क्खु? It's a comma , under क्खु: wait, no, क्खु, with comma slightly lower.
• Line 8: (क) is at the end.
• Line 10: होदव्व' has apostrophe or anusvara? It has होदब्ब' or होदव्व'? होदब्ब' (it uses ब with no slash, or व? Look at अवस्स' -> व. Look at एव्व -> व्व. Look at होदव्व' -> व्व).
• Line 14: इस्सदि । (ख)
• Line 16: ( इति मदनावस्थां नाटयति ) (ग)
• Line 25: मुणालवलयाइँ -> इँ has candrabindu.

Looks solid, accurate to the print, cleanly formatted with lines marked.द्वितीयोऽङ्कः 119
Susangatá. ( With a smile ) My friend, do not be offended
[L

120 रत्नावली

सुसङ्गता—(सागरिकाया हृदये हस्तं दत्वा) सहि ! समस्सस समस्सस ।
जाव इमाए दिग्घिआए णलिणीपत्ताइँ मुणालिआइं अ
गेण्हिअ लहुं आअच्छामि । (निष्क्रम्य पुनः प्रविश्य च नाटयेन नलिनी-
पत्रैः शयनीयं मृणालवलयानि च रचयित्वा परिशिष्टानि नलिनीपत्राणि सागरिकाया हृदये
निक्षिपति ) (क)
सागरिका—सहि ! अवणेहि इमाइं णलिणीपत्ताइँ मुणालि-
आइं अ । अलं इमिणा । कीस अकारणे अत्ताणं आयासेसि ? (ख)
दुल्हहजणअणुराओ लज्जा गरुई परव्वसो अप्पा ।
पियसहि ! बिसमं पेम्मं मरणं सरणं तु वरमेक्कं १ ॥१॥ (ग)
( इति मूर्च्छति )
(क) सखि, समाश्वसिहि समाश्वसिहि । यावद अस्याः दीर्घिकायाः नलिनीपत्राणि
मृणालिकानि च गृहीत्वा लघु आगच्छामि ।
(ख) सखि, अपनय इमानि नलिनीपत्राणि मृणालिकानि च । अलमेतेन । कथम्
अकारणे आत्मानं आयासयसि ?
(ग) दुर्लभजनानुरागो लज्जा गुर्वी परवश आत्मा ।
प्रियसखि विषमं प्रेम मरणं शरणं तु वरमेकम् ॥
ज्ञातास्मि राज्ञः कृते मदनपीडितेदमिति सुसङ्गतया ज्ञातास्मीत्यर्थः । गृहीताक्षरा भाषणस्य
अक्षराणि गृहीत्वा इत्यर्थः । मन्त्रयिष्यते कथयिष्यति । आयासयसि खेदं प्रापयसि ।
दुर्लभेति । दुर्लभः यः जनः उदयन इत्यर्थः । तस्मिन् अनुरागः आसक्तिः । लज्जा गुर्वी
महती । एतस्मात् साक्षाद् भाषणं न भविष्यति, लेखप्रेषणादिना यदेव सम्भवति तदेव
भविष्यतीत्यर्थः । आत्मा परस्य वासवदत्तायाः वशः पराधीनः यौगन्धरायणेन वासवदत्ता-
हस्ते समर्पितत्वात् । अतः पराधीनः जनः स्वेच्छया किमपि कर्तुं न शक्नोति इति
भावः । प्रेम अनुरागः विषमम् विपरीतम् । अतएवास्यामवस्थायां किं करणीयमिति
आह । मरणम् एकं तु वरं श्रेष्ठं शरणम् आश्रयः । मरणेनैव सर्व्वथा मे शुभं भविष्य-
1 णवरमेक्कं ।

দ্বিতীয়োঽঙ্কঃ 121
তীতি। ণবরমিতি পাঠে ণ বরং যস্মাৎ ইতি অনুসমমিত্যর্থঃ । অথবা, মরণং বরং মরণং
ণ(নু) কিম্ ইতি যোজনা । সর্ব্বথা মরণমেব শ্রেষ্ঠঃ আশ্রয় ইত্যর্থঃ ॥১॥
Prose. প্রিয়সখি, দুর্ল্লভজনানুরাগঃ, গুর্ব্বী লজ্জা, পরবশঃ আত্মা, প্রেম বিষমং ;
একং মরণং তু বরং মরণং ( অথবা—মরণং বরং মরণং ন কিম্ ? ) ॥১॥
Beng. Trans. সাগরিকা—( লজ্জার সহিত—স্বগত ) নিশ্চয়ই প্রিয়সখীর নিকট
ধরা পড়িয়াছি । ( সুসঙ্গতার হস্তধারণ করিয়া—প্রকাশ্যে) প্রিয়সখি, আমার লজ্জা বলবতী
হইয়া পড়িয়াছে । সুতরাং এইরূপ কর, যাহাতে অপর কেহ এই ব্যাপার জানিতে না
পারে ।
সুসঙ্গতা—সখি, লজ্জা করিও না । এইরূপ কন্যারত্নের এই রকম বরে অভিলাষ
হওয়াই উচিত । তথাপি যাহাতে অপর কেহ এই ব্যাপার জানিতে না পারে সেইরূপ করিব ।
কিন্তু এই মেধাবিনী সারিকাই এই বিষয়ে (রহস্যভেদে) কারণস্বরূপ হইবে

122 रत्नावली
groom. Still I shall act in a manner so that none else may
come to know of it. But it is more likely that this pratling
Sáriká may be the cause for it; as she, hearing this our conver-
sation, may sometimes repeat it in the presence of somebody.
Ságariká. So my affection still more overpowers me (Re-
presents the state of love-sickness).
Susangatá. (Catching hold of Ságariká's hand) My friend,
be consoled. I shall collect some lotus-leaves and lotus-stalks
from yonder lake and come back presently. (Exit and brings
some lotus leaves and lotus-stalks, forms a bed with the former
and makes bangles with the latter and then throws some leaves
upon Ságariká's bosom.)
Ságariká. (Enough, enough) my friend, take away these
lotus-leaves and stalks; there is no use of these. Why are you
taking trouble for nothing ?—
(My) attachment is towards a person attainable with diffi-
culty; (my) bashfulness (nervousness)is very great; my self is
under the control of another; my love is very painful (or un-
equal). O my dear friend, ( under the circumstances ) death
alone is my best refuge. 1 ( Faints )
सुसङ्गता—( सकरुणम् ) पियसहि ! साअरिए ! समस्सस सम-
स्सस । (क)
( नेपथ्ये कलकलः¹ )
कण्ठे भग्ना²वशेषं कनकमयमधः शृङ्खलादाम कर्षन्
क्रान्त्वा द्वाराणि हेलाचल³चरणरणत्किङ्किणीचक्रवालः ।
दृष्टादृष्टोऽङ्गनानामनुसृतसरणिः सम्भ्रमादश्वपालैः
प्रभ्रष्टोऽयं प्लवङ्गः प्रविशति नृपतेर्मन्दिरं मन्दुरायाः ॥२॥
(क) प्रियसखि, सागरिके, समाश्वसिहि समाश्वसिहि ।
1 नेपथ्यं । 2 भग्ना । 3 लीलचल ।

द्वितीयोऽङ्कः 123

अपिच—
नष्टं वर्षधरै¹र्मनुष्यगणनाभावादपास्य त्रपा-
मन्तः कञ्चुकिकञ्चुकस्य विशति त्रासादयं वामनः ।
पर्यन्ताश्रयिभिर्निजस्य सदृशं नाम्नः किरातैः कृतं
कुब्जा नीचतयैव यान्ति शनकैरालेक्षणाशङ्किनः ॥३॥

सुसङ्गता—( आकर्ण्याग्रतोऽवलोक्य ससम्भ्रममुत्थाय सागरिकां हस्ते गृहीत्वा )
सहि ! उट्ठेहि उट्ठेहि । एसो क्खु दुट्ठबाणरो इदो ज्जेब्ब
आगच्छदि । (क)

सागरिका—किं दाणिं करेह्म ? (ख)
सुसङ्गता—एहि । ²इमस्सिं तमालविडबांधकारे पवि-
सिअ एदं अदिवाहेह्म । (ग)

(क) सखि ! उत्तिष्ठ उत्तिष्ठ । एष खलु दुष्टवानरः इत एव आगच्छति ।
(ख) किम् इदानीं कुर्वः ?
(ग) एहि । अस्मिन् तमालविटपान्धकारे प्रविश्य एतमतिवाहयावः ।

कण्ठे इति । कृतावशेषं कृतः छिन्नः अवशेषः यस्य तत् । कनकमयम् सुवर्णघटितं
शृङ्खलादाम शृङ्खला चासौ दाम चेति कण्ठे अधः कर्षन् । हेलया लीलया चलाः चञ्चलाः
चरणाः तेषु रणन्तां ध्वनतां किङ्किणीनां चक्रवालं मण्डलं यस्य सः । अङ्गनानाम् दत्तातङ्कः
दत्तः आतङ्कः येन सः । सम्भ्रमात् भयात् अश्वपालैः अनुसृतसरणिः अनुसृतः सरणिः पन्थाः
यस्य सः । अयं प्लवङ्गः वानरः नृपतेः मन्दुरायाः प्रकृष्टः पलायितः मन्दिरं प्रविशति । स्रग्धरा
वृत्तम् ॥२॥ नष्टमिति । वर्षवरैः षण्ढैः मनुष्यगणनाभावात् स्त्रीत्वपुंस्त्वाद्युभयलक्षणविरहितत्वात्
तेषां मनुष्यमध्ये गणना न भवति । तैः विद्रुतं पलायितम् त्रपां लज्जाम् अपास्य परित्यज्य ।
वामनः खर्व्वः त्रासात् वानरभयात् कञ्चुकिकञ्चुकस्य कञ्चकिनः दीर्घचोलकस्य अन्तः

1 वर्षवरै । 2 ता अलक्खिदं ।

124 रत्नावली
प्रविशति ह्रस्वत्वात् । पर्य्यन्ताश्रयिभिः पर्यन्तेषु प्रान्तभूमिषु आश्रयणमणं कुर्व्वद्भिः भया-
दित्यर्थः । किरातैः किरं पर्य्यन्तभूमिम् अतन्ति निरन्तरं गच्छन्ति इति किर — अत् + कर्त्तरि
अण् इति किराताः तैः । नाम्नः सदृशं याथार्थ्यं कृतं प्रान्तभूमिपर्य्यटनशीलास्ते साम्प्रतं
प्रान्तभूमिमेवामाश्रयन्ते इति तैः स्वनामव्युत्पत्तेः याथार्थ्यं सम्पादितम् । आत्मावलोकनशङ्किनः
यथा ते वानरेण दृष्टाः न स्युरिति । कुब्जाः नीचतयैव अधः स्थित्या एव शनकैः मन्दं यान्ति ।
शार्दूलविक्रीड़ितं वृत्तम् । स्वभावोक्तिरत्रालङ्कारः ॥ ३ ॥ एतम् वानरम् अतिवाह्यावः
यापयावः ।
Prose. कण्ठे कृत्तावशिष्टं कनकमयं शृङ्खलादाम अधः कर्षन् हेलाचलचरण-
रणत्किङ्किणीचक्रवालः अश्वपालैः सम्भ्रमात् अनुसृतसरणिः अङ्गनानां दत्तातङ्कः अयं
प्लवङ्गः नृपतेः मन्दुरायाः प्रभ्रष्टः (सन्) द्वाराणि क्रान्त्वा मन्दिरं प्रविशति ॥२॥
मनुष्यगणनाभावात् त्रपाम् अपास्य वर्ष

দ্বিতীয়োঽঙ্কঃ 125
সাগরিকা—এখন কি করিব ?
সুসঙ্গতা—এস, এই তমালবৃক্ষের অন্ধকারে প্রবেশ করিয়া ইহাকে অতিক্রম করি।
Eng. Trans. Susangatá. (Piteously) My friend, be con-
soled, be consoled.
( A noise behind the scenes)
This monkey has escaped from the stable,carrying around
its neck a portion of the broken golden chain and passing
through many doors, with a circle of anklets, tinkling at the
free sportive motion of its feet, is entering into the palace
being followed by the horse-keepers in hot haste and
striking terror into the hearts of women ? 2.
Again, the eunuchs, not counted as men, lost to shame, flee
(from the path of the monkey) and the dwarf takes shelter
within the gown of the Chamberlain out of fear. The Kirátas
who live in the border-lands (i. e., guard the surrounding walls
of the harem ) are true to their designation and the hump-
backed persons move very slowly bowing themselves lowly as
if through fear of being discovered. 3.
Susangatá. (Hearing, she looks onward and having left
the seat in hot haste, catches hold of Ságariká in her hand) Up,
up, my friend. This wicked monkey is coming this way.
Ságariká. What shall we do now ?
Susangatá. Come, let us hide in the darkness of this Tamála
tree and pass it off.
( परिक्रम्योभे सभयं पश्यन्त्यावेकान्ते पर्य्यवस्थिते १)
सागरिका—कहं सुसंगदे तुए चित्तफलओ उज्झिदो ?
कदाबि कोबि तं पेक्खदि । (क)
(क) कथं सुसङ्गते त्वया चित्रफलकः उज्झितः ? कदापि कोऽपि तं प्रेक्षते ।
1 तथा कृत्वा उभे सभयं पश्यन्त्यौ स्थिते

126 रत्नावलो
सुसङ्गता—अइ सुत्थिदे ! किं अज्जवि चित्तफलएण
करिस्ससि ? एसोवि दहिभत्तलम्पडो एतं¹ पञ्जरं उग्घाडिअ
दुट्ठवाणरो अदिकंतो² । ³एसा क्खु मेहाविणी उड्डोणा
अण्णदो गच्छदि । ता एहि । लहुं अणुसरेम्ह । इमस्स आलावस्स
गहिदक्खरा कस्सवि पुरदो मंतइस्सदि । (क)
सागरिका—सहि एव्वं करेम्ह । (ख)
( इति परिक्रामतः )
( नेपथ्ये )
ही ही ! अच्छेरिअं अच्छेरिअं ! (ग)
सागरिका—( विलोक्य ) सुसंगदे ! जाणीअदि कहं पुणो दुट्ठ-
वाणरो ज्जेव्व आगच्छदि ! (घ)
सुसङ्गता—(दृष्ट्वा विहस्य) अइ काअरे ! मा भेहि ! भट्टिणो
पस्सवत्तो⁴ क्खु एसो अज्जवसन्तओ । (ङ)
( ततः प्रविशति वसन्तकः )
वसन्तकः—ही ही भो ! अच्छेरिअं अच्छेरिअं ! साहु रे
सिरिखंडदास धम्मिअ, साहु ! (च)
(क) अयि सुस्थिते ! किम् अद्यापि चित्रफलकेन करिष्यसि ? एषोऽपि दधिभक्त-
लम्पटः एतत् पञ्जरम् उद्घाट्य दुष्टवानरोऽतिक्रान्तः । एषा खलु मेधाविनी उड्डीना
अन्यतः गच्छति । तदेहि लघु अनुसरावः । अस्य आलापस्य गृहीताक्षरा कस्यापि पुरतो
मन्त्रयिष्यते ।
(ख) सखि, एवं कुर्वः ।
(ग) ही ही ! आश्चर्यम् आश्चर्यम् ! (घ) सुसङ्गते, ज्ञायते कथं पुनः दुष्टवानरः
एव आगच्छति । (ङ) अयि कातरे, न बिभीहि, भर्तुः पार्श्ववर्ती खलु एषः आर्य-
वसन्तकः । (च) ही ही भोः ! आश्चर्यम् आश्चर्यम् ! साधु रे श्रीखण्डदास धार्मिक, साधु !
1 सारिआपञ्जरं । 2 अपक्कंतो । 3 मेहाविणी । 4 पासवत्ती ।

দ্বিতীয়োঽঙ্কঃ 127
সাগরিকা—( সস্পৃহমবলোকয়তি) সহি সুসংগদে ! দংসণীও ক্খু
অঅং জণো ! (ক)
(ক) সখি সুসঙ্গতে, দর্শনীয়ঃ খলু অয়ং জনঃ।
সুস্থিতে নিরুদ্বেগে। দধিভক্তলম্পটঃ দধিমশ্রিতান্নভোজনে সুচতুরঃ বানরঃ ইতি
শেষঃ। অতিক্রান্তঃ পলায়িতঃ। গৃহীতাক্ষরা লব্ধপ্রস্তাবা মন্ত্ৰয়িষ্যতে কথয়িষ্যতি। পার্শ্ব-
বর্ত্তী সমীপস্থঃ। দর্শনীয়ঃ অস্য বিদূষকস্য মূঢ়ত্বেন আকৃত্যা চ।
Beng. Trans. ( উভয়ে পরিক্রমণ করিয়া সভয়ে দেখিতে দেখিতে একপার্শ্বে
উপবেশন করিল )
সাগরিকা—সুসঙ্গতে, তুমি কেন চিত্রফলকটী ছাড়িয়া আসিলে? কেহ কখনও
দেখিতে পারে।
সুসঙ্গতা—অয়ি সুস্থিতে! এখন চিত্রফলক লইয়া কি করিবে? এই সেই দধিমশ্রিত
অন্নভোজনে পটু দুষ্ট বানর—এই ( সারিকার ) পঞ্জরটি উদ্ঘাটিত করি

128 रत्नावली
(Both walk round and looking with fear, sit down
on one side )
Eng. Trans. Ságariká. Oh Susangatá, why have you
left the picture-board ? Somebody may by chance come
across it.
Susangatá. Oh thou safely situated now ! What would
you do now with the picture-board ? This wicked monkey, fond
of rice mixed with curd, has broken open the cage and has
escaped. This clever bird (Medhávini—Sáriká) too is now on
her wings and is going elsewhere. So let us follow her in
a hurry ; or she will repeat in the presence of somebody the
conversation which she has learnt by rote.
Ságariká. Friend, let us do so.
(Both walk round)
(Behind) Hullow ! what wonder ! what wonder !
Ságariká. (Looking) Oh Susangatá, I think that wicked
monkey is coming this way again.
Susangatá—(Looking—with a smile) Oh timid girl, do not
fear. It is our worthy Vasantaka who is the companion of our
lord, the King.
(Enter Vasantaka)
Vasantaka. Hullow ! Very strange indeed ! Bravo, O pious
Shrikhandadása, well done !
Ságariká. (Looks wistfully) Friend Susangatá, this person
is really worth seeing !
सुसङ्गता—सहि ! सुत्थिदे ! किं एदिणा दिट्ठेण ? दूरीभूदा¹
1 दूरे भोदि ।

। ( परिक्रम्यावलोक्य च ) एसो क्खु पिअवअस्सोWait, footnote mark 5 is afterणिवेदेमि: णिवेदेमि⁵ ।`

Line 9:
तस्स दोहअस्स लद्धपच्चअदाए परोक्खं बि तं णोमालिअं पच्चक्खं
Wait, is it लद्धपच्चअदाए?
Let's check Chhaya (L23): लब्धप्रत्ययतया.
In Prakrit: लद्धपच्चअदाए!
परोक्खं बि (or परोक्खं वि? Chhaya: परोक्षामपि -> परोक्खं बि or वि).
तं णोमालिअं -> तं णोमालिअं.
पच्चक्खं -> पच्चक्खं.

Line 10:
बिअ कुसुमिदं पेक्खंतो हरिसुप्फुल्ललोअणो इदो ज्जेब्ब आअ-
Wait, is it पेक्खंतो or पेक्खन्तो? पेक्खंतो (anusvara).
हरिसुप्फुल्ललोअणो - wait, look at फु: हरिसुप्फुल्ललोअणो (Sanskrit: हर्ष

130 रत्नावली
वसन्तकः—( सहसोपसृत्य ) जयदु जयदु पियवयस्सो ! भो
वयस्स ! दिठ्ठिआ वड्ढसि ( जेण दिन्नमेत्तेण ज्जेव तेण दोहएण इत्यादि
पुनः पठति ) (क)
(क) जयति जयति प्रियवयस्यः ! भो वयस्य, दिष्ट्या वर्द्धसे (येन दत्तमात्रेण
एव तेन दोहदेन ईदृशी नवमालिका संवृत्ता, येन निरन्तरोद्भिन्नकुसुमगुच्छाच्छादित-
विटपा उपहसन्ती इव लक्ष्यते देवीपरिगृहीतां माधवीलताम् । )
निर् नास्ति अन्तरम् अवकाशः यस्मिन् तत् निरन्तरं सन्ततं यथा तथा उद्भिन्नानि
उद्गतानि कुसुमानि तेषां गुच्छानि तैः आच्छादिताः विटपाः शाखाः यस्याः सा नवमालिका
राज्ञः परिगृहीता । देवीपरिगृहीतां माधवीलतामुपहसन्ती स्वकुसुमसमृद्ध्या इत्यर्थः ।
लब्धप्रत्ययतया लब्धविश्वास्तया । उद्दामेति । उद्दामा बद्धरंहिताः अतिप्रभूता च
उत्कलिकाः उत्कण्ठाः कोरकाश्च यस्याः ताम् । विपाण्डुरुचं विपाण्डुरा विशेषेण
पाण्डुवर्णा प्रियविरहेण पुष्पोद्गमेन च शुक्लवर्णत्वात् रुक् कान्तिः शोभा च यस्याः
ताम् । प्रारब्धजृम्भां प्रारब्धा जृम्भा जृम्भणं विकासश्च यस्याः ताम् 'जृम्भा विकास-जृम्भणयो-
स्त्रिषु' इति मेदिनी । अविरतैः निरवच्छिन्नैः श्वसनोद्गमैः श्वासोद्गमैः उद्गमैः वायुनामुद्गमैश्च
"श्वसनः स्पर्शने वायौ" इत्यमरः । आत्मनः आयासं खेदं भ्रमणजन्यं श्रमञ्च चातन्वतीं
कुर्व्वतीं समदनां मदनवशगां नारीमिव अद्य इमाम् उद्यानलताम् नवमालिकाम् इत्यर्थः ।
पश्यन् अद्य देव्याः वासवदत्तायाः मुखं कोपविपाटलद्युति कोपेन क्रोधेन विपाटला
विशेषेण पाटला श्वेतरक्ता, “श्वेतरक्तस्तु पाटलः” इत्यमरः, द्युतिः कान्तिः यस्य तत्
मुखम् ध्रुवं निश्चितं करिष्यामि । यथा काचित् नारी प्रियेण विशेषेणानुगृहीतामन्यां
नारीं समृद्धां विलोक्य ईर्ष्यया स्वमुखमारक्तिभावं करोति तथा कुसुमसमृद्ध्या राज्ञा अनु-
गृहीतां नवमालिकां विलोक्य वासवदत्ताया अपि मुखं रक्ताभं भविष्यति कोपेनेत्यर्थः ।
अत्र उक्तिभङ्ग्या सागरिकामुपक्षिपतीत्यर्थः ॥४॥ पताकास्थानकमेतत् ।
Prose order. उद्दामोत्कलिकां विपाण्डुरुचं अद्यत् प्रारब्धजृम्भां
अविरतैः श्वसनोद्गमैः चात्मनः चायासं चातन्वतीम् अद्य समदनां नारीम् इव इमाम्
उद्यानलतां पश्यन् अहम् अद्य ध्रुवं देव्याः मुखं कोपविपाटलद्युति करिष्यामि ॥४॥

দ্বিতীয়াঙ্কঃ 131
Beng. Trans হে নিরুদ্বেগে! ইহাকে দেখিয়া লাভ কি? সারিকা দূরে চলিয়া
গিয়াছে। তা এস, অনুসরণ করি।
:
( উভয়ে নিষ্ক্রান্ত )
বসন্তক—বাহবা, ধাৰ্ম্মিক শ্রীখণ্ডদাস, বাহবা! তোমার দোহদ (অর্থাৎ সাধ) দিবা-
মাত্রই নবমালিকা এইরূপ হইয়া গেল; সেইজন্য নিরন্তর সমুদ্গত কুসুমরাজি দ্বারা ইহার
শাখাসমূহ আচ্ছাদিত (অথবা শোভিত) হওয়ায় দেখা যাইতেছে যেন সে (নবমালিকা)
দেবীর পরিগৃহীতা মাধবীলতাকে উপহাস করিতেছে। এখন গিয়া প্রিয়বয়স্যকে এই কথা
নিবেদন করি। (পরিক্রমণপূর্ব্বক অবলোকন করিয়া) এই যে প্রিয়বয়স্য সেই দোহদের
উপর দৃঢ় বিশ্বাসহেতু অপ্রত্যক্ষ হইলেও নবমালিকাকে কুসুমিত হইতে যেন প্রত্যক্ষ
করিয়াই হর্ষোৎফুল্লনেত্রে এইদিকে আসিতেছেন। এখন উহার নিকট অগ্রসর হই।
(রাজার দিকে অগ্রসর হইল)
(যথানির্দ্দিষ্ট রাজার প্রবেশ)
রাজা—(সানন্দে) যেরূপ কোনও নারী বিষম উৎকণ্ঠায় আকুল হইয়া পাণ্ডুবর্ণ
ধারণ করে, ক্ষণে ক্ষণে তাহার জৃম্ভা প্রকাশ পায়, এবং অবিরত দীর্ঘনিশ্বাসের দ্বারা
নিজের আয়াস (মদনপীড়া) প্রকাশ করে—সেইরূপ এই উদ্যানলতা সমুদ্গত
কলিকা-(কোরক)-সমূহের বিকাশে শ্বেতবর্ণ ধারণ করিয়াছে—এবং নিরন্তর বায়ু-
সঞ্চালনের দ্বারা আন্দোলনের ফলে ইতস্ততঃ ভ্রমণ জন্য নিজের খেদ উৎপাদন করিতেছে।
—মদনবিহ্বলা পরকীয়া নারীর ন্যায় এই (লতাকে) দর্শনপূর্ব্বক আমি অদ্য নিশ্চয়ই
মহিষীর মুখের (কান্তি) কোপে পাটলবর্ণ (গোলাপী) করিয়া তুলিব ॥৪॥
বসন্তক—(সহর্ষে অগ্রসর হইয়া) প্রিয়বয়স্যের জয় হউক! হে বয়স্য, ভাগ্যক্রমে
আপনি আজ অভ্যুদয় লাভ করিয়াছেন। (এই বলিয়া পূর্ব্বোক্ত জেন দিঙ্মতেণ ইত্যাদি
আবৃত্তি করিতে লাগিলেন)
Eng. Trans. Sus. O you free from anxiety ! What is the
use of looking at him ? The Sáriká has gone to a great dis-
tance ; so come, let us follow her.
(Both exeunt)
Vasantaka. Well done, oh pious Shrîkhandadása ! well
done !—by whose wish yielding drug, as soon as applied, the