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

দ্বিতীযোঽঙ্কঃ 181
ভোঃ, আপনি রাগ করিবেন না। আপনি থাকুন। এইখানে ( কি করিতে হইবে )
তাহা আমিই জানি।
কাঞ্চনমালা—( ফলক গ্রহণ করিয়া ) দেবি, দেখুন দেখুন, এই চিত্রফলকে কি
অঙ্কিত রহিয়াছে !
Eng. Trans. King. Out on thee, simpleton ! My be-
loved one who had revealed her passion ( for me), like a jewel-
necklace of manifest lustre, and who was somehow attained,
was caused to slip away from my hand by you, before she (it)
was placed on my neck. 19
(Then enter Vāsavadattā and Kāñchanamālā)
Vásava. Well, Kánchanamálá, how far from here is my
lord's favourite Navamáliká creep ?
Kánchana. we shall see it after passing this plantain-
bower.
Vásava. So, show the path. We shall go there.
Kanchana. Come this way, this way, Madam. (Both
walk round)
King. My friend, where is my beloved to be seen now ?
Kánchana. Madam, when His Majesty is talking near by,
then surely he must be waiting for you. So Madam, please
advance in this direction,
Vásava. (Approaching) Glory to Your Majesty !
Jester. (Hides the picture in his armpit and covers it with
the upper garment) Here is come Her Majesty.
King. ( Apart ) My friend cover the picture quick. Wel-
come, Your Majesty ! Here, take your seat.
Vásava (sitting) My lord, has the Navamáliká truly
blossomed ?
King. (Smiling) Though we have come earlier, yet
finding you late in coming, we have not seen it as yet. So
come, we shall now visit it together.

182 रत्नावली
Vásava. (Looking scrutinizingly) My lord, I see by the
ruddiness of your countenance that it has flowered. So let
us (now) return.
Jester. Your ladyship, if it be so, then we have won.
(Stretches forth his two arms and dances; the picture falls
from the armpit. Seeing that he gesticulates sorrow)
[The King covering the view (of the Queen) points (it) out
with his finger and looks towards the face of the Jester.]
Jester. (Apart) Hallo! Donot be angry; you please
wait (or keep quiet); I shall manage it. (I alone know what
to do in these circumstances).
Kánchana. (Picking up the picture) Behold, Madam, what
is drawn in this picture-board !
वासवदत्ता—(निर्वर्ण्य—आत्मगतम्) अयं अज्जउत्तो । इयं
उण साअरिआ ! (प्रकाशं राजानं प्रति) अज्जउत्त किं एदं१ ? (क)
राजा२—(सवैलक्ष्यस्मितं कृत्वा अपवार्य) वयस्य ! किं ब्रवीमि ?
विदूषकः—(अपवार्य) भो ! मा चिंतां करेहि३ । अहं उत्तरं
दाइस्सं । (प्रकाशं वासवदत्तां प्रति) भत्ता किल दुक्खं लिहीयदिन्ति
मम बचो४ सुणिअ पिअवअस्सेण एदं विन्नाणं५ दंसिदं । (ख)
राजा—यथाह वसन्तकस्तथैवैतत् ।
(क) अयम् आर्यपुत्रः । इयं पुनः सागरिका ! आर्यपुत्र, किमिदम् ?
(ख) भोः, मा चिन्तां कुरु । अहं उत्तरं दास्यामि । भर्त्रा किल दुःखं
लिख्यते इति मम वचः श्रुत्वा प्रियवयस्येन एतत् विज्ञानं दर्शितम् ।
1 किं णेदं ? 2 काञ्चन—भट्टिणि ! अहं पि एदं एव्व चिंतेमि । वासव—
अज्जउत्त ! केण इदं आलिहिदं ? 3 भीदि ! णा अन्नधा संभवेदि । 4 आलि-
हीयदिन्ति मम वअणं । 5 आलेख्यविण्णाणं ।

द्वितीयोऽङ्कः 183
वासवदत्ता—( फलकं निर्दिश्य ) अज्जउत्त ! एसा वि जा अवरा
तुह समीवे आलिहिदा, ता किं अज्जवसंतअस्स विन्नाणं ? (क)
राजा—( सवैक्लव्यस्मितम् ) देवि ! अलमन्यथा गृहीत्वा । इयं
हि कापि कन्यका १ स्वचेतसैव परिकल्प्य आलिखिता, न तु
दृष्टपूर्वा ।
विदूषक—सच्चं सबामि बम्हसुत्तेण जइ कदावि अम्हेहिं
ईदिसो दिट्ठपुव्वा ! (ख)
काञ्चनमाला—( अपवार्य ) भट्टिणि ! कदावि ईदिसं २घुण-
क्खरं संभवदि ३ज्जेव्व । ता अलं कोवेण । (ग)
वासवदत्ता—( अपवार्य ) अइ उज्जुए, एदस्स वल्लभच्चिदाइं
ण जानासि ! बसंतओ क्खु एसो ! ( प्रकाशं राजानं प्रति ) अज्ज-
उत्त ! मम उण एदं चित्तं पेक्खिअ४ सीसवेदणा

184 रत्नावली
न मे दोषोऽस्तीति त्वमिदमपि च ज्ञास्यसि मृषा
किमेतस्मिन् वक्तुं क्षममिति न वेद्मि प्रियतमे ॥ २० ॥
वासवदत्ता—( सवियं पटाञ्चलमाकर्षन्ती ) अज्जउत्त ! मा अण्णथा
संभावेहि । सच्चं मं सीसवेदना बाहेदि¹ । ता गमिस्सं । (क)
( इति निष्क्रान्ता )
(क) आर्यपुत्र, मा अन्यथा संभावय । सत्यं मां शीर्षवेदना बाधते । तत्
गमिष्यामि ।
सवैलक्ष्यम् विलक्षस्य विजितस्य विमूढस्य लज्जितस्य वा भावो वैलक्ष्यम् इति ष्यञ्-
प्रत्ययः । तेन सह विद्यमानं यथा स्यात् तथा “विलक्षो विस्मयान्विते” इत्यमरः । आकृत्या
आकृत्याः आकृतिरित्यर्थः । विज्ञाणम् आलिख्यानैपुण्यम् । ब्रह्मसूत्रेण यज्ञोपवीतेन ।
घुणाक्षरम् घुणः घुणाख्यः कीटविशेषः जातिस्वभावात् काष्ठं बिलिखन् काकतालीयन्यायेन

দ্বিতীয়াঙ্কঃ 185
Beng. Trans. বাসব—ইনি ত আৰ্য্যপুত্র; আর এ ত সাগরিকা ! (রাজার প্রতি)
আৰ্য্যপুত্র, এ কি?
রাজা—( বিস্ময়ের সহিত মৃদুহাস্য করিয়া বিদূষকের প্রতি ফিরিয়া অনুচ্চস্বরে ) বয়স্য,
কি বলিব?
বিদূষক—( রাজার প্রতি ফিরিয়া ) বয়স্য, চিন্তা করিবেন না। আমি উত্তর দিব।
( বাসবদত্তার প্রতি প্রকাশ্যে ) ভবতি, 'নিজের আকৃতি অতি কষ্টে অঙ্কিত করা যায়'
—আমার এই বাক্য শুনিয়া প্রিয়বয়স্য এই চিত্রনৈপুণ্য দেখাইয়াছেন।
রাজা—বসন্তক যাহা বলিলেন, এ তাহাই বটে।
বাসবদত্তা—( চিত্রফলক দেখাইয়া ) আৰ্য্যপুত্র, আপনার সমীপে এই যে অপর
একটা স্ত্রীলোক অঙ্কিত রহিয়াছে, একি আর্য্য বসন্তকের চিত্রনৈপুণ্য?
রাজা—( বিস্ময়ের সহিত হাসিয়া ) দেবি, অন্য কিছু আশঙ্কা করিবেন না। (কোনও
এক অজ্ঞাত কন্যাকে ) নিজের মনে কল্পনা করিয়া ইহাকে অঙ্কিত করিয়াছি, কিন্তু পূর্ব্বে
ইহাকে কখনও দেখি নাই।
বিদূষক—সত্যই যজ্ঞোপবীত স্পর্শ করিয়া শপথ করিতেছি—যদি কখনও পূর্ব্বে এরূপ
রমণীকে দেখিয়া থাকি!
কাঞ্চনমালা—( অনুচ্চস্বরে ) দেবি, কখনও কখনও এইরূপ ঘুণাক্ষর ( দৈবাৎ কার্য্য-
সম্পাদন ) সম্ভব হইয়া থাকে। সুতরাং রাগ করিয়া প্রয়োজন নাই।
বাসবদত্তা—( কাঞ্চনমালার প্রতি ফিরিয়া—অন্য সকলকে আড়াল করিয়া )
অয়ি সরলে, ইহার বক্রোক্তি তুমি জান না ( বুঝিতে পারিতেছ না )! ইনি বসন্তক
( আর কেউ নয় )! ( রাজার প্রতি প্রকাশ্যে ) আৰ্য্যপুত্র, আমার কিন্তু এই চিত্র
দেখিয়া শিরোবেদনা উপস্থিত হইয়াছে। তা আপনি সুখে অবস্থান করুন। আমি
চলিয়া যাইতেছি।
( গাত্রোত্থান পূর্ব্বক যাইতে উদ্যত )
রাজা—( বস্ত্রাঞ্চল ধরিয়া ) দেবি, 'আমার প্রতি প্রসন্ন হউন'—এই কথা কোপ
না থাকিলে বলা ঠিক হয় না। 'পুনর্ব্বার এরূপ করিব না'—এইরূপ বলিলেও ( দোষ )
স্বীকার করিয়া লওয়া হয়। 'আমার দোষ নাই'—এই কথা বলিলে আপনি উহা
মিথ্যা বলিয়াই ( স্থির ) জানিবেন। হে প্রিয়তমে, এই প্রকার অবস্থায় আমার কি বলা
সম্ভবপর ( উচিত ), তাহা বুঝিতে পারিতেছি না ॥ ২০ ॥

186 রত্নাবলী
বাসবদত্তা—( বিনয়ের সহিত বস্ত্রাঞ্চল আকর্ষণ করিয়া ) আর্য্যপুত্র, আপনি অন্য
কিছু মনে করিবেন না। সত্যই শিরোবেদনা আমাকে কষ্ট দিতেছে। অতএব
এখন যাই।
( উভয়ে নিষ্ক্রান্ত )
Eng. Trans. Vásava. (Looking at it scrutinizingly and
to herself) This is my lord, and this is the Ságariká ! (Aloud
to the King) What is this, my lord ?
King. (With wonder and smile—Apart to the Jester)
My friend, what shall I say ?
Jester. (Apart) Oh ! Fear not, I shall give the reply. (Aloud
to Vasavadattá). Madam, do not take it otherwise. Hearing
my words that ‘it is very difficult to portray one's own likeness,’
my friend exhibited this specimen of his painting skill.
King. It is as Vasantaka speaks.
Vásava. (Pointing to the picture-board) My lord, and this
female drawn (standing) near you,—is this a specimen of noble
Vasantaka's skill ?
King. (With wonder and smiling) O Queen, you should
not suspect otherwise. This maiden is portrayed (here) with
the help of the pure imagination of my own mind, and she (the
original) was never visualized before.
Jester. I will swear to the truth of this by my sacred
thread, that such a (maiden) was never before seen by (either
of) us !
Kánchana. (Apart) Oh Madam, this sort of accidental
coincidence may occur sometimes ( in a fortuitous manner) ;
so there is no necessity of getting angry (away with your
anger).
Vásava. (Apart) My simple girl, you do not understand
his prevarications (evasive reply) ! He is Vasantaka for sooth
(and none else) ! (Aloud to the King) My lord, while looking

द्वितीयोऽङ्कः 187
at this picture I have got a headache. So, stay in comfort,
my lord. I am going. (Rises up to depart)
King. (Catching hold of the fringes of her garment) My
dearest one, I am really at a loss as to what I can possibly
say (to you) in these circumstances. If I would say 'Be
pleased', that would not be proper in the absence of (your)
anger ; (If I would promise that) 'I shall do so no more,' that
would be a sort of confession ; and (if I say that) 'I am not
to blame', you will take it as false. 20.
Vāsava. (Drawing back the ends of her garment gently
—with politeness) Don't think it otherwise, my lord. It is true
that a (severe) headache pains me. On that account I take
leave.
(Both exeunt)
विदूषक—भो ! दिट्ठिआ वड्ढसे क्खेमेण १। अदिक्कंता
एसा बासवदत्ता अकालब्यादावलो

188 रत्नावली
राजा—तदेहि । देवीं प्रसादयितुमभ्यन्तरमेव प्रवि-
शावः ।
[ इति निष्क्रान्तौ¹ ]
इति कदलीगृहं नाम द्वितीयोऽङ्कः
क्षेमेण सुखेन । अकालवातावली अकाले अनुचितकाले वातावली वातानां वायूनाम्
आबली समूहः झम्पा इति यावत् । यथा अकालवातावली मेघादिसंयुक्ता सहसा
चागम्य ध्वंसादिकं विधाय गच्छति तथैयं वासवदत्ता हठाद् चागम्य कोपादिकं कृत्वा
गतेत्यर्थः । भ्रूभङ्ग इति । सहसा उद्गतेऽपि समुद्गतेऽपि भ्रूभङ्गे भ्रुकुटौ दयितया
प्रियया वासवदत्तया स्वामिनं प्रति भ्रुकुटिप्रदर्शनं परिजनसमक्षे अनुचितमिति बुद्ध्या
भ्रुकुटिगोपनार्थं वदनं परां नम्रतां नीतम् । अनेन वासवदत्तायाः आभिजात्यं
सूच्यते । मां प्रति भेदकारि भेदं द्वैधं करोतीति हृदयस्पर्शि ईषत् हसितम् । साभि-
प्रायेणार्द्धसनेनास्याः सामर्षोभिप्रायो लक्षितः । निष्ठुरं वचः न उक्तम् । आभिजात्यादिति
भावः । अन्तः मध्ये बाष्पजड़ीकृतं बाष्पैः अश्रुभिः जड़ीकृतं जलीकृतं व्याप्तमिति यावत् ।
चक्षुः प्रभुतया क्रोधदमनसामर्थ्येन न विस्तारितं विकासितम् । कौपः प्रकटीकृतः प्रकाशितः
किन्तु प्रश्रयः न मुक्तः नम्रत्वं न परित्यक्तम् ॥२१॥ शार्दूलविक्रीड़ितम् । चरण्यक्रदितं
चरणे रोदनमिव हृष्टेत्यर्थः ।
Prose order.—सहसा उद्गतेऽपि भ्रूभङ्गे दयितया वदनं परां नम्रतां नीतम् ;
मां प्रति भेदकारि ईषत् हसितं ; निष्ठुरं वचः नोक्तम् ; प्रभुतया अन्तर्बाष्पजड़ीकृतं
चक्षुः न विस्तारितम् ; कोपय्च प्रकटीकृतः प्रश्रयश्च न मुक्तः ॥ २१ ॥
Beng. Trans. হে বয়স্য, ভাগ্যক্রমে আপনি উন্নতি লাভ করিতেছেন ( অর্থাৎ
আপনার ভাগ্য ভাল—খুব বাঁচিয়া গিয়াছেন)। অকাল-ঝঞ্ঝার ন্যায় বাসবদত্তা ভালয়
ভালয় চলিয়া গিয়াছেন।
রাজা—দূর মূর্খ! এইরূপ পরিতোষে কোন লাভ নাই। দেবী যখন চলিয়া গেলেন
তাঁহার নিগূঢ় (রুদ্ধ) ক্রোধবেগ তুমি লক্ষ্য কর নাই। দেখ—
1 इति निष्क्रान्ताः सर्व्वे ।

দ্বিতীয়োঽঙ্কঃ 189
ভ্রূকুটা সহসা সমুৎপন্ন হইলেও, আমার প্রিয়া তাঁহার বদনমণ্ডল অত্যন্ত নত
করিলেন। আমার প্রতি (লক্ষ্য করিয়া) একটু হৃদয়ভেদী হাসি হাসিলেন; কিন্তু
নিষ্ঠুর বাক্য প্রয়োগ করিলেন না। অশ্রুর দ্বারা চক্ষুর অভ্যন্তর পরিব্যাপ্ত হইলেও (ক্রোধ-
দমন) সামর্থ্যহেতু চক্ষু বিস্ফারিত করিলেন না; এবং কোপ প্রকাশ করিলেও নম্রতা
পরিত্যাগ করিলেন না। ২১।
বিদূষক—দেবী বাসবদত্তা চলিয়া গিয়াছেন। (এখন আর) আপনি কেন অরণ্যে
রোদন করিতেছেন?
রাজা—এখন এস, দেবীকে সন্তুষ্ট করিবার জন্য অভ্যন্তরে প্রবেশ করি।
(উভয়ে নিষ্ক্রান্ত)
কদলীগৃহনামক দ্বিতীয় অঙ্ক সমাপ্ত
Eng. Trans. Jester. Hallo; You have have had a
lucky escape. (Lit. Thank God, you prosper!) Queen
Vāsavadattá has disappeared without doing any harm, like a
gale out of season.
King. Away you blockhead! This is no occasion to
rejoice. You have not noticed the concealed anger of the
Queen when she departed. Just see—
Though a* (passing) frown was suddenly knit, yet my be-
loved hung down her head very low; she smiled a little at
me—the smile piercing my (heart). She gave utterance to no
angry (uncivil) words; though her eyes were filled with tears
within (the socket), yet she did not expand them on account
of her self-control. Thus though her anger was made manifest
her politeness was not forsaken. 21.
Jester. The Queen Vāsavadattá has departed. Now, why
are you crying in the wilderness?
King.—So, come let us now enter the inner apartment to
to pacify her. (Exeunt)
End of the Second Act entitled “The Plantain-bower.”

RATNAVALI
Act II
Notes
In Act I after the बीजोपन्यास the collocation of different
incidents helps the main plot to proceed in its way to develop-
ment in the subsequent Acts. So, the love that has germinated
in Ságariká's mind (Act I) at the very first sight of the King,
comes to be intensified in Act, II when the meeting of the
King with Ságariká is brought about. The प्रतिमुखसन्धि with its
different constituent parts (अङ्ग) is worked out in this Act. One
of the different incidents that bring about the meeting of the
hero with the heroine and effect the intensity 'of love growing
in each other's mind, is the episode of the Sáriká, a pet talking
bird of the Queen, that was given in charge of Ságariká.
This bird plays no insignificant part in the drama, for she
attracts the King and the Jester to the plantain-bower when
Susangatá brings about the first formal meeting of the two
P. 108 सारिकापञ्जर etc.—Busily occupied with the cage of the
starling in her hand. In Act I, we understand from Ságariká
that the starling (given by the Queen in her charge) was
left by Ságariká with Susangatá while she went to attend
the Cupid-worship where she saw the King for the first time.
अनन्यसदृशः—Adj. to प्रभावः। न अन्यसदृशः ( नञ्तत् ), अन्यस्य सदृशः

An accurate, line-by-line transcription of the page into Markdown:

द्वितीयोऽङ्कः 191
( ष्ठीतत् ) । This refers to the miraculous power of Shrikantha-
dása (or, Shrikhandadása) in producing untimely blossoms in
the नवमालिका (Jasmine) creeper. सम् — दृश् + कञ् = सदृशः equal.
विक्षिप्तचित्त etc.—Adj. to निपुणिका । विक्षेपेण क्षिप्तम् ( तृतीतत् ) तादृशं हृदयं
यस्याः सा ( बहु ) । क्षिप्त—diverted. अवधीर्य्य—disregarding ; अव -धीर
( चुरादि ) + ल्यप् _ अतिक्रामसि—(are) passing away.
P. 109 श्रीपर्ब्बतात्—It is otherwise named as the ‘श्रीशैल’ । Mr.
Kale traces this hill to be situated near the Krishná river
in the Deccan. In Sanskrit Literature, this place is referred
to as the noted abode of the Tántrikas who are said to possess
miraculous powers. In the Málatimádhava of Bhavabhuti, fre-
quent

192 रत्नावली
प्रतिगृहीताम्—‘Accepted’ ; here ‘favourite.’ कुसुमसमृद्धि—कुसुमस्य
समृद्धिः ( ६ठीतत् ); तया शोभितम् ( ३यातत् ) । सम्—ऋध् + क्तिन् = समृद्धि,
prosperity, hence growth ; गृहीतसमुद्गक etc.—Adj. to सागरिका।
समुद्गकश्च चित्रफलकञ्च वर्तिका च ( द्वन्द्वः ) गृहीताः समुद्गकचित्रफलकवर्तिकाः यया सा
( बहु ) । समुद्गक means a box (or casket) containing materials for
painting. “समुद्गकः सम्पुटकः” इत्यमरः; वर्तिका means the brush-
like pen used in painting. चित्रफलक means “picture-board”
(canvas).
प्रवेशकः—Interlude of an inferior type. Those facts which
are necessary for the development of the drama, but are not.
to be represented by means of the Acts themselves are shown
by अर्थोपक्षेपकs—cf :—“नीरसोऽनुचितस्तत्र संसूच्यो वस्तुविस्तरः” ( दशरूपक
I. 57). विष्कम्भक and प्रवेशक are two different types of अर्थोपक्षेपकs.
विष्कम्भक is already described ( P. 86). “वृत्तवर्तिष्यमाणानां कथांशानां
निदर्शकः। संक्षिप्तार्थस्तु विष्कम्भ आदावङ्कस्य दर्शितः। मध्येन मध्यमाभ्यां वा पात्राभ्यां
संप्रयोजितः। शुद्धः स्यात् स तु सङ्कीर्णो नीचमध्यमकल्पितः॥” ( सा. द. ६।५५-५६ )
A विष्कम्भक is usually used as an interlude, acted by one or
two actors of the middle rank, or even with one actor of the
middle rank and one of the lowest rank. But sometimes it may
be used as a prelude also—“अपेक्षितं परित्यज्य नीरसं वस्तुविस्तरम्।
यदा सन्दर्शयेत्किञ्चिदामुखानन्तरं तदा। कार्यो विष्कम्भको नाट्ये चामुखाक्षिप्तपात्रकः॥”
( सा. द ६।६१-६२)। The stock example is Ratnāvalī's prelude
introduced by Yaugandharāyaṇa. A प्रवेशक, however, is always
an interlude and can never be a prelude; it is invariably
introduced by inferior characters—“प्रवेशकोऽनुदात्तोक्त्या नीचपात्रप्रयोजितः।
अङ्कद्वयान्तर्विज्ञेयः शेषं विष्कम्भके यथा॥” ( सा. द. ६।५७)

द्वितीयोऽङ्कः 193
P. 112 मदनावस्थाम्—Love-sickness. This love-sick condition
of Ságariká impels her to soliloquize as to the impossibility
of her being united with the King, whom she saw for the
first time in the Cupid-festival. She desires to have a view
of the King again ; and she tries to fulfil this desire by painting
a portrait of the King, as it is not possible for her to have
any personal interview with him.
दुर्लभजन etc.—दुर्लभः जनः (कर्मधा) तस्य प्रार्थना (६ष्ठीतत्) तस्याः
अनुबन्धः (६ष्ठीतत्) तेन । अनु-बन्ध् + घञ् = अनुबन्धः, persistence, conti-
nuation.
उपालप्स्ये—shall scold ; उप - आ - लभ् + लुट्, स्ये । मन्दभागिन्याः
—unfortunate ; मन्दः भागः (भाग्यम्) (कर्मधा) मन्दभागः यस्याः अस्तीति
मन्दभाग + इनिः स्त्रियां ङीप् । भाग means 'fate', 'division' ; cf. "भागो
रूपार्द्धके भागैकद्देशयोः"—मेदिनी ।
दुर्निमित्तेन—Ill omen ; दुष्टं निमित्तम् (प्रादि) तेन । दुर्निमित्त here
refers to her 'love-sick condition' that had no prospect of
immediate mitigation.
सावष्टम्भम्—with fortitude ; अवष्टम्भेन सह विद्यमानं यथा स्यात् तथा ।
बहु । अव—स्तम्भ् + भावे घञ् by the rule "अवश्चालम्बनाविदूढ्ययोः।" अतिसाध्वसेन
—Through extreme nervousness. अतिगतं साध्वसं (प्रादि) तेन । "भीतिर्भीः
साध्वसं भयम्"—इत्यमरः ।
एकमनाः—with undiverted mind, एकं मनः यस्याः (बहु) सा ।
भयद्रुतः—भयञ्चासौ द्रुतश्चेति (कर्मधा) । The कर्मधारय compound
generally takes place when विशेष्य and विशेषण are brought
together (सामानाधिकरण्य) । In the example शुक्लवस्त्रम्, the शुक्लत्व and
वस्त्रत्व are in one substratum and that is expressed otherwise
13

194 रत्नावली
as शुक्लत्वावच्छिन्नवस्त्रत्वम्; here शुक्ल is adjective and वस्त्र is noun; so
there सामानाधिकरण्य being complete, कर्मधारय compound is possible.
But in अग्रहस्त there is no such सामानाधिकरण्य (the state
of having the same substratum). अग्र is a different thing
indicating the sense of one part of the hand and हस्त is another
thing indicating the sense of the whole limb. So a solution
can be arrived at by introducing a new relation between
them viz., the relation of part and whole (अवयव and अवयवी).
अग्र is a part and हस्त is the whole; so सामानाधिकरण्य is achieved.
The aphorism of Vámana is “हस्ताग्रादयो गुणगुणिनोर्भेदाभेदात्”
(भेदाभ्याम्) V. 2. 20. Cf : पव्च भद्दं मे अग्गहत्थादो पुप्फभाअणम्—Shákuntala
IV. हस्ताग्र is the better form. Vide, Rághavabhatta's commentary
on Shákuntala.
P. 115 कमलाकरम्—A lotus-pond;

वि—अप—दिश् + घञ्। व्यपदेश means pretext. “व्यपदेशः पुमान् लक्ष्ये
निमित्तव्याजयोरपि” इति मेदिनी। व्यपदेश also means--“family” (कुल)--
cf: “व्यपदेशमाविलयितुं किमीहसे” Śhákuntala V. 21.
अकारणेन—न कारणम् (नञ्तत्) तस्मिन्; नञ् is used in the
sense of अभाव। “तत्सादृश्यमभावश्च तदन्यत्वं तदल्पता। अप्राशस्त्यं विरोधश्च नञर्थाः
षट् प्रकीर्त्तिताः।” अकारण is equivalent to कारणाभाव।
अन्यथासम्भाविनि—Thinking otherwise of (me) or misrepresenting.
अन्य + थाल् प्रकारार्थे। अन्यथा — सम् — भू + णिच् + णिनि by the rule “सुप्य-
जातौ......” आलपितेन—आ — लप् + क्त भावे। तृतीया करणे; करण of साधन-
क्रिया, (understood) by the rule “गम्यमानापि क्रिया कारकविभक्तौ प्रयोजिका।”
P. 120. Shloka 1. दुर्लभजन etc.—दुर्लभः जनः (कर्मधा) तस्मिन् अनुरागः
(७मीतत्); this refers to her love towards the King. अनु—रञ्ज

• घञ्। दुर् + लभ् + खल्।
  परवशः आत्मा—This expression refers to her being entirely
  under the control of Vâsavadattá, or this may refer to her
  mind being totally inclined towards the King. परेषाम् वशः
  (६तीतत्) = परवशः।
  मरणं etc.—construe एकं मरणं वरं शरणं नु। नु is here a
  particle implying वितर्क। एकं means ‘only’; or एकं मरणं नवरं
  (श्रेष्ठं) शरणम्; or एकं मरणं वरं शरणं न (किम्)?
  Ch. Voice.—अमानुरागेण (भूयते), गुर्व्या लज्जया (भूयते), परवशेन
  आत्मना (भूयते)......प्रेम्णा विषमेण (भूयते) एकेन मरणेन वरेण शरणेन...।
  P. 122. कलकलः—hubbub; this is an onomatopoetic word.
  Shloka 2. कृत्तावशेषम्—Adj. to शृङ्खलादाम्; कृत्तः अवशेषः यस्य
  (बहु) तत्। कृत् + क्त कर्मणि; Conj. कृन्तति (to cut), कृन्तः etc.

196 रत्नावली
कनकमयम्—कनकस्य विकारम् इति कनक + मयट् Adj. to शृङ्खलादाम ;
कर्षन्—putting, dragging.
N. B. While the monkey snapped the golden chain, a
part of it remained fixed to its neck ; and when the monkey
ran about this portion was dragged along.
द्वाराणि क्रान्त्वा—Crossing or passing through the doors.
हेलाचल etc.—Adj. to प्लवङ्गः। With the circle of anklets
twinkling in its feet when it made sportive movements.
हेलया चलाः (सुप्सुपा) तादृशाः चरणाः (कर्मधा) तेषु रणत् (७मीतत् or
सुप्सुपा) तादृशं किङ्किणीचक्रवालं यस्य (बहु) सः। किङ्किणीनां चक्रवालम्।
(६तीतत्)।
N. B. As the monkey was a pet one, so out of fancy
anklets were tied to its feet.
अङ्गनानां दत्तातङ्कः—Striking terror to the hearts of the females.
दत्तः आतङ्कः येन (बहु) सः। Here अङ्गनाना is to be construed with
आतङ्क which is compounded with दत्त। This construction is
justified by the dictum “सापेक्षत्वेऽपि गमकत्वात् समासः।” “आतङ्को
भयपीडयोः”। अनुसृतसरणिः—Adj. to प्लवङ्गः। अनुसृतः सरणिः (path)
यस्य (बहु) सः। “सरणिः पद्धतिः पन्थाः” इत्यमरः। अश्वपालैः is to be construed
with अनुसृत।
सम्भ्रमात्—In a hurry. ल्यब्लोपे पञ्चमी। प्रभ्रष्टः—escaped ; प्र - भ्रंश्

• क्त कर्तरि। मन्दुरायाः—From the stable. “वाजिशाला तु मन्दुरा” इत्यमरः।
  अपादाने पञ्चमी।
  मन्दिरम्—Palace. प्लवङ्गः—प्लवेन गच्छति इति प्लव - गम् + खच् ; that
  which goes by jumping (monkey). Here the metre is स्रग्धरा ;
  scansion given before.

द्वितीयोऽङ्कः 197
Ch. of Voice.—...कर्षता......चक्रवालिन......दशातरूहेण अनुसृतसरणिना
......प्रभवेन प्रवङ्गेन......प्रविश्यते ॥२॥
P. 123. Shloka 3. Here a description is given as to how the
monkey getting free, created a turmoil all around.
वर्षवरैर्नष्टम्—The eunuchs disappeared. “षण्ढो ( षण्ढौ ) वर्षवर-
न्मन्थी” इत्यमरः। नश् + भावे क्त; here नश् धातु conveys the sense of
अदर्शन।
मनुष्यगणनामाभावात्—Owing to their not being reckoned as
men proper.
त्रपाम् अपास्य—Forsaking all sense of shame. अप - अस् (to
throw)+ल्यप् । In fact the eunuchs, being devoid of manliness,
are lost to the human feelings of shame and insult. कञ्चुकि-
कञ्चुक—The surplice of the chamberlain. कञ्चुकमस्यास्तीति कञ्चुक +
इन् । कञ्चुकी is the chamberlain in the charge

198 रत्नावली
किराताः—किरं पर्य्यन्तभूमिम् (out-skirts) अतन्ति (move) इति किर -
अत् + कर्त्तरि अण् ।
In the Manu Samhitá the Kirátas are described as
व्रात्यक्षत्रियs--
Cf. “शनकैस्तु क्रियालोपादिमाः क्षत्रियजातयः ।
वृषलत्वं गता लोके ब्राह्मणादर्शनेन च ॥
पौण्ड्र काश्चौड्रद्रविडाः कम्बोजा यवनाः शकाः ।
पारदापह्लवाश्चीना किराता दरदाः खशाः ॥
Manu X. 43—44.
नाम्नः सदृशं कृतम्—Have acted in accordance with the signi-
ficance of their names. The expression means this—Kirátas
are so-called because of their moving about in the border-
land. Now, the Kirátas, who were in the King's palace, were
frightened at the approach of the monkey and thus they
out of fear took shelter in the border, viz., in one side of the
palace.
N. B. The eunuchs, dwarfs, Kirátas etc., 'referred to in
this shloka, constitute the staff of the king in his inner
appartments.
Cf. ........................तद्वदवरोधे ।
वामनषण्ढकिरातम्लेच्छाभीराः शकारकुब्जाद्याः ॥ सा. दः (६।४३)
“अन्तःपुरे वर्षवराः किराता मूकवामनाः ।
म्लेच्छाभीरशकाराद्याः स्वस्वकार्योपयोगिनः ॥ दशरूपक—(२।४४—४५)
नीचतया—Stooping down.
आत्मेक्षणशङ्किनः—Adj. to कुब्जाः ; being afraid of being detected
by the monkey. आत्मनः ईक्षणम् ( दृष्टिपात् ) तद् आशङ्कते इति उपपदसमासे
णिनिः । शनकैः—Slowly.

द्वितीयोऽङ्कः 199
The figure of speech is here स्वभावोक्ति (graphic description)
The metre is शार्दूलविक्रीडित।
Ch. voice.—...नष्टेन (भूयते)......वामनेन विश्यते। पर्यन्ताश्रयिनः किराताः
...कृतवन्तः। कुब्जैः......चात्म त्राणाशङ्किभिः ज्ञायते।
P. 126. दधिभक्त etc.—Greedy of rice mixed with curd. दधि-
मिश्रितं भक्तम् (शाकपार्थिवादित्वात् समासः) तत्र लम्पटः (७मीतत् or सुप्सुपा) or
दध्ना भक्तम् 'अन्नं न व्यञ्जनम्' इतिवत् समासः। भक्त = Bengali भात।
उद्घाट्य—opening उद्—घट् + णिच् + ल्यप्।
N. B.—This episode of monkey let loose has a double
importance : (1) By this sudden news the long-drawn conver-
sation between Ságariká and Susangatá is artistically put a
stop to. The plot and the sentiment should have a harmonious
development :—"न चातिरसतो वस्तु दूरं विच्छिन्नतां नयेत्। रसं वा न तिरो-
दध्याद्वस्त्वलङ्कारलक्षणैः"॥ (सा. द.) Here Ságariká and Susangatá's
conversation was becoming rather dull being overfull with one
sentiment (विप्रलम्भ). So the mixed feelings of fear and hurry are
introduced by the monkey episode. This is the usual method
of introductng रसान्तर; cf:—the elephant-episode of Shákuntala.
(2) It is known that the Sáriká escapes from her cage broken
open by the monkey and repeats what transpired between
Ságariká and Susangatá at a place where the King and Vidu-
shaka are seated and thus helps the development of the plot by
bringing about a meeting of the hero and the heroine. This
incident also hints that Ságariká, so long closely guarded by
the Queen like her pet starling, is now about to go out of her
control. She makes herself free in her movements mainly

200 रत्नावली
with the help of the monkey-like Jester (just as the bird was
freed by the monkey). This is an instance of 'Dramatic Prepa-
ration.'
P. 129. निरन्तरोद्भिन्न etc—With her branches covered with
bunches of closely budded flowers..
निर् नास्ति अन्तरं यस्मिन् तत् (बहु) निरन्तरम् उद्भिन्नानि (सुप्सुपा) तादृशानि
कुसुमानि (कर्मधा) तेषां गुच्छानि (६ष्ठीतत्) तैः आच्छादिताः (श्यातत्) तादृशाः
विटपाः यस्याः (बहु) सा।
उपहसन्ती—Laughing to scorn.
N. B.—Here the नवमालिका creeper, being favoured by the
King in disregard of the माधवी creeper of the Queen, foresha-
dows the King's being favourably disposed more to Ságariká
than to Vâsavadattá. This is called "Dramatic Foreshadowing".
Shloka 4. This shloka admits of a double meaning, as
the comparison of नवमालिका with a love-sick lady is set forth
here.
उद्दामोत्कलिकाम्—Adj. to (1) उद्यानलताम् & (2) नारीम्। (1) of
which the buds have grown luxuriusly; (2) Whose anxiety has
grown extremely. उद्दामाः उत्कलिकाः यस्याः (बहु) ताम्। उद्गतं दाम
यस्यात् (बहु) स उद्दामः (unrestrained); “उद्दामो बन्धरहिते”—मेदिनी।
उत्कलिका means (1) buds, (2) anxieties. “कलिका कोरकः पुमान्”
इत्यमरः। “उत्कण्ठोत्कलिके समे” इत्यमरः।
विपाण्डुरुचम्—Adj. to the same. (1) Lustre turned white
(with flowers). (2) Complexion turned pale (through anxiety).
विपाण्डुरा रुक् यस्याः (बहु) ताम्। विशेषेण पाण्डुरा (प्रादितत्)।
प्रारब्धजृम्भाम्—Adj. to the same. (1) Having flowers beginning
to bloom. (2) Having commenced yawning (due to despon-