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

208 रत्नावली
advantage as His own lotus-seat must have certainly closed
up at the sight of her moonlike face. When the moon
rises, lotuses close. The lotus that is used as the seat of the
Creator did not so long close at the rise of the moon in the
sky, since it is far beyond the ordinary lunar region. But
her face, transcending the beauty of the moon in the sky,
caused the lotus-seat of the Creator even to close its petals ;
hence the disadvantage.
The figure of speech is here उत्प्रेक्षा and there is a suggestion
( ध्वनि ) of व्यतिरेकालंकार, as the face is indirectly referred to be
surpassing the beauty of the moon, which is suggested by the
expression अपूर्व्वपूर्णेन्दुम् ।
Ch. Voice.—दुःस्थितेन धात्रा ( भूयते ) ।
P. 153. परिहासशीलतया—Owing to your habit of making fun.
परिहासः शीलं यस्याः ( बहु ) सा इति परिहासशीला + भावे तल् स्त्रियां टाप्—
हेतौ तृतीया। शील means 'nature'. “शीलं स्वभावे सद्वृत्ते”—इत्यमरः।
P. 154. Shloka 11. कृच्छ्रात्—With difficulty. ल्यब्लोपे पञ्चमी।
व्यतीत्य—Passing over. वि—अति + इ + ल्यप् ।
सुचिरं भ्रान्त्वा—This implies the fulness of her buttocks.
त्रिवलीतरङ्गविषमं—Adj. to मध्ये। तिस्रः वल्यः इति त्रिवलीति संज्ञा।
The compound is justified by the rule “दिक्संख्ये संज्ञायाम्”। त्रिवल्यः
एव तरङ्गाः ( कर्मधा ) तैः विषमम्। ( ३यातत् ) तस्मिन्। The threefold
wrinkles on a young lady's belly is regarded by Sanskrit poets
as a conventional criterion of beauty.
निष्पन्दताम् आगता—Came to a stand-still.
N. B. Just as a person wandering here and there comes

द्वितीयोऽङ्कः 209
a stand-still when he gets a stream full of waves in his path, so
the King's eyes were fixed on the waist, adorned with beautiful
wrinkles, of the lady drawn in the picture.
मद्दृष्टिः.......तुङ्गौ स्तनौ—This suggests the wearisome uphill climb-
ing when a person naturally feels thirsty. Metre शार्दूलविक्रीड़ित ।
The figure of speech is समासोक्ति ।
समासोक्तिलक्षणम्—
“समासोक्तिः समैर्यत्र कार्य्यलिङ्गविशेषणैः ।
व्यवहारसमारोपः प्रकृतेऽन्यस्य वस्तुनः ॥
सा. दः. (१०।५१)
व्यवहारसमारोप means “Superimposition of the characteristics
of some other thing”.
Ch. Voice.—......आगतया महत्या तृषितया......प्रस्यन्दिनी लोचने
ईक्ष्यते ॥
P. 158. बहुमानः—A great regard.
Shloka 12. • बाष्पाम्बु etc.—बाष्पमेव अम्बु ( कर्मधा ) तस्य शीकराः (बिन्दवः)
६ठीतत् ; तेषां कणाः ( ६ठीतत् ) तेषाम् ओघः ( ६ठीतत् ) ।
Ch. Voice.—...पतितेन......कणौघेन स्वे दोर्द्वयेन...एतेन धार्यते ।
Shloka 13. परिम्लानम्—Withered, faded ; परि - म्लै + क्त ।
उभयतः—On both sides. उभ + तसिल् सप्तम्याम् । पीनस्तनजघनसङ्गात्—
Coming in contact with the developed breasts and hips. स्तनौ
जघने च ( द्वन्द्वः) पीने स्तनजघने ( कर्मधा ) तयोः सङ्गः ( ६ठीतत् ) तस्मात् ।
N. B. Due to extreme heat of the heroine's body on
account of her love-sickness, the bed of lotus-leaves faded
away being in touch with her limbs in both the extremes.
14

210 रत्नावली
तनोः मध्यस्य—Of the thin waist, or of the middle part of the
body. तनु as adjective means 'slender' and as noun 'body'
“स्त्रियां मूर्तिस्तनुस्तनूः”—अमरः । तनु is spelt as तनू as well.
परिमिलनमप्राप्य—Not being in touch. The waist being slender
did not touch the bed ; so the lotus-leaves remained green
( हरित ) in the middle of the bed. The commoner form is
परिमेलन ।
हरितम्—“पालाशो हरितो हरिन्”—अमरः । हरित means हरिद्वर्ण (green
colour) ; so in order to be used as an adjective it has मतुप्
after it. That is हरितम् = हरित + मतुप् । मतुप् being elided by
the rule ‘गुणवचनेभ्यो मतुपो लुगिष्टः’ (वा) । So हरितम् means here
हरितवर्ण वत् ।
व्यस्तन्यासम्—With the arrangement disordered. व्यस्तः न्यासः यस्य
( बहु ) तत् ; adj. to नलिनीपत्रशयनम् । व्यस्त = वि – अस् ( to throw )

• क्त कर्मणि । न्यास = नि – अस् + घञ् ।
  श्लथभुज etc.—With the tossing and rolling of the drooping
  slender hands. भुजौ लते इव ( उपमित समासः ) श्लथे भुजलते ( कर्मधा )
  तयोः आक्षेपवलनानि ( ६ष्ठीतत् ) आक्षेपाश्च वलनानि च ( द्वन्द्वः ) । आक्षेप—
  throwing ; वलनानि—rolling. कृशाङ्ग्याः—कृशानि अङ्गानि यस्याः ( बहु ) सा ;
  ङीप् by the वार्त्तिक ‘संयोगोपधत्वेऽपि अङ्गगात्रकण्ठेभ्यो वक्तव्यम् । Otherwise
  the form would have been कृशाङ्गा !
  The metre is शिखरिणी । “रसैः रुद्रैश्छिन्ना यमनसभला गः शिखरिणी”
  The scansion :—
  य म | न स भ ल ग
  ⏑ – – – – – | ⏑ ⏑ ⏑ ⏑ ⏑ – – ⏑ ⏑ ⏑ –
  प रि क्ता नं पी न | स्त न ज घ न स ङ्गा दु भ य तः

द्वितीयोऽङ्कः 211
This is a समवृत्त with pauses on 6th and 17th syllables.
Ch. of voice.—परिणामेन......हरितेन अनेन व्यस्तन्यासेन...सन्तापः उद्यते
नलिनीपत्रशयनेन ।
Shloka 14. मन्मथोत्थाम्—Adj. to अवस्थाम् । मन्मथेन उत्थाम् ( ३यातत् ) ।
उत्–स्था+क स्त्रियां टाप् । उत्था—produced. मनः मथ्नाति क्लिश्नाति इति
मनस्–मथ् + घञ् = मन्मथ । God of love that torments the mind.
P. 159. अतिशय etc.—Adj. to यस्याः । अतिशयेन परितापः ( सुप्_सुपा )
तेन म्लापितानि अङ्गानि यस्याः ( बहु ) तस्याः । म्लै + णिच् + क्त कर्म्मणि = म्लापित
or म्लपित ।
मण्डलाभ्याम्—By two circular orbs printed on the lotus-
leaves that were in touch with her two round breasts.
स्तन etc.—स्तनयोः युगम् ( ६ष्ठीतत् ) तस्य परिणाहः ( ६ष्ठीतत् ) ।
परि–नह् + घञ् = परिणाह largeness. “परिणाहो विशालता”—अमरः ।
The metre is मालिनी with यति on 8th and 15th syllables.
Ch. of Voice. स्थितेन......विशालेन पद्मिनीपत्रेण एतेन मन्मथोत्था अवस्था
......कथ्यते......स्तनयुगपरिणाहः......उच्यते ।
जड़प्रकृते—Referring to मृणालहार । जड़ा प्रकृतिः यस्य ( बहु ) सः,
सम्बोधने ।
शोषमायासि—Getting withered. शुष् + घञ् = शोषः ।
तावकस्य—Yours ; तव इदम् इति तावकम् “तवममककावेकवचने ।”
अवकाशः—Space.
भवतः किमु स्यात्—Her plump breasts are so closely set that
even the fibres of a lotus-stalk has no space between them.
Cf. “मृणालसूत्रान्तरमप्यलभ्यम्”—कुमार ( १।४० )
The metre in this Shloka is उपजाति which is composed of
इन्द्रवज्रा and उपेन्द्रवज्रा ; both of which are समवृत्तs of 11 syllables.

+क्विप् feminine gender, plural.Line 25: पृथुतरीकृताः—Expanded. पृथु means large. पृथु+तरप्=पृथुतर ।Line 26:पृथुतर+अभूततद्भावे च्वि+कृ+क्त । Here the गतिसमास is between पृथुतरीLine 27:+ कृत by the rule “ऊर्य्यादिच्चिडाचश्च” ।`

Let's check every character:
Line 16: गुर्व्वनुराग - with double व: गु + र् + व्व = गुर्व्वनुराग. Yes!
Line 16: (कर्म्मधा) - double म: कर्म्मधा. Yes!
Line 18: कार्म्मणि or कर्म्मणि? In line 18: क्त कार्म्मणि । Wait, look at it: क with aa-matra and repha: कार्म्मणि! Yes, printing artifact/error for कर्म्मणि.
Line 22: “ही ही विस्मयहास्ययोः’— (opening double quote, closing single quote).
Line 23: हैमः ।
Line 24: दृशः—दृश्+क्विप् feminine gender, plural.
Wait, look at दृश्+क्विप्: under 'दृश्' there is a virama: `

द्वितीयोऽङ्कः 213
जितनिज etc.—Adj. to दृशः। निजम् अब्जम् (कर्मधा) तस्य पत्रम्
(६ष्ठीतत्) तस्य विट् (६ष्ठीतत्) जिता निजाब्जपत्रविट् याभिः (बहु) ताः।
चलितानि—Shaken; चल् + णिच् + क्त कर्म्मणि। विध्ययवशात्—हेतौ ५मी;
विध्ययस्य वशः (६ष्ठीतत्) तस्मात्। विध्यय is due to the lucky hit of
the Creator in creating such an exquisitely beautiful girl.
जगद्वय etc.—जगतां द्वयं (६ष्ठीतत्) तस्य ललामम् (६ष्ठीतत्) तद् भूता
(सुप्सुपा)। ललाम means ‘ornament.’ स ललामभूतः पौरवाणाम्—Sháku.
Cf. चित्रे निवेश्य परिकल्पितसत्त्वयोगा
रूपोच्चयेन मनसा विधिना कृता नु।
स्त्रीरत्नसृष्टिरपरा प्रतिभाति सा मे
धातुर्विभुत्वमनुचिन्त्य वपुश्च तस्याः ॥ Shákuntala II. 9
Cf. “So perfect, that the gods who form’d you,
wondered
At their own skill and cry’d “A lucky hit
has mended our design”.
—Dryden—“All for Love,” Act I.
“Thou cunnig’st pattern of excelling nature”
—Othello, Act V., Sc. II.
The metre is पृथ्वी—“जसौ जसयला वसुग्रहयतिश्च पृथ्वी गुरुः ।”
The scansion :—
‿ ¯ ‿ ‿ ‿ ¯ ‿ ¯ | ‿ ‿ ¯ ‿ ¯ ‿ ‿ ‿ ¯ ¯
दृ शः पृ थु त री कृ ता | जि त नि जा ब्ज प त्र त्वि षः
⎯⎯⎯ ⎯⎯⎯ ⎯⎯ | ⎯⎯⎯ ⎯⎯⎯ ⎯⎯
ज स ज | स य ल ग
This metre is a समवृत्त of 17 syllables with यतिs on the
8th and the 17th syllables. The figure of speech is उत्प्रेक्षा।

Ch. of Voice. दृग्भिः—विद्भिः पृथुतरीकृताभिः ( अभूयत )......
व्यावृत्तेन ( भूयते ) शिरोभिः चलितैः ( अभूयत ) ।
P. 171 Shloka 17. भामिनि—Oh resentful lady ! “कोपना सैव
भामिनी” इत्यमरः ।
रूक्षभावम्—Harshness. रूक्षः भावः . ( कर्मधा ) रूक्ष means "rough"
etc. “रूक्षस्त्वप्रेमण्यचिक्वणे”—इत्यमरः । Also spelt as रुक्ष ।
The metre is वसन्ततिलक ।
Ch. of Voice.—......इमा दृष्टिः क्षिप्यतं स्निग्धया अनया रूक्षभावः......
एष्यते । ......व्रज्यताम् । गुरुणा नितम्बेन खेदः गमिष्यते (गम्यते) ।
P. 172. अपूर्व्वा—नास्ति पूर्व्वं यस्यात् ( बहु ) सा ।
Shloka 18. This Shloka is uttered by the King in
seconding the statement of the Vidushaka—‘भो ! एसा क्खु तुए अपुव्वा
सिरी समासादिदा’ (P. 172).
पारिजात—It is a celestial tree obtained from the ocean when
it was churned by the gods and the demons. Cf :—
“पञ्चैते देवतरवो मन्दारः पारिजातकः ।
सन्तानः कल्पवृक्षश्च पुंसि वा हरिचन्दनम्” ॥
स्वेदच्छद्म etc.—स्वेदस्य छद्म ( ६ष्ठीतत् ) तेन अमृतम् ( सुप्सुपा ) तस्य द्रवः
( षष्ठीतत् ) ।
Ch. of Voice.—एतया श्रिया ( भूयते )......पाणिना......पल्लवेन ( भूयते )
......पत्यते एतेन...द्रवेण ।
The figure of speech is रूपक ।
P. 173. बुभुक्षितः—Hungry. भुज् + सन् + च स्त्रियां टाप् = बुभुक्षा ; सा
अस्य जाता इति बुभुक्षा + इतच् = बुभुक्षित ।
समानप्रतिपत्तिषु—Of equal mental attitude. समाना प्रतिपत्तिः यासां (बहु)
तासु । प्रतिपत्तिः means ‘behaviour’ etc. “प्रतिपत्तिः प्रवृत्तौ च”—मेदिनी ।
Cf. ‘सामान्यप्रतिपत्तिपूर्व्वकमिदं दारेषु दृश्या त्वया’—Shakuntala. IV. 17.

typo in the print for "अन्तरित" or "अन्तरित्य"?
Wait, look at the derivation:
"अन्तर—इ + क्ताच् ( ल्यप् ) ।"
Wait, look at:
अन्तरिच
and
क्ताच्
BOTH have that same letter at the end!
Wait! In the headword:
अन्तरिच—
In the derivation:
अन्तर—इ + क्ताच् ( ल्यप् ) ।
WAIT! Look at both of them!
Why do both have that letter?
Wait, could the letter be 'त' with something?
Wait, could the typesetter's font have a damaged 'त'?
No, look at 'च' in 'सचकितम्'!
In 'सचकितम्' (L2):
'स', then 'च'.
In 'च':
Horizontal top line.
Vertical right line.
From the middle of the vertical line, a horizontal goes left, curves down, curves right. That is Devanagari 'च'!
Now look at the letter in L7:
Wait, is it 'च'?
Wait, look at the headword in L7:
अ
न्
त
र
ि
Then the letter:
It has: a vertical right line?
Wait, does it have a vertical line?
Look at:
अ - न् - त - र - ि - त् - य ?
Wait, in 'त्य' (like in 'सत्य', 'नित्य'):

216 रत्नावली
Vásavadattá takes it as due to the delight caused by the succe-
ssful attempt at producing untimely blossoms in the नवमालिका
creeper.
P. 179. अहं......जाणिस्सं—I shall know all this, i.e., I shall
manage everything.
P. 182. सवैलक्ष्यम् विलक्षस्य विस्मितस्य भाव इति विलक्ष + ष्यञ् । वैलक्ष्येण
सह विद्यमानं यथा स्यात् तथा ( बहु ) ।
आत्ता किल......दर्शितम्—This is an evasive answer of the
Vidushaka to वासवदत्ता । विज्ञानम् means ‘skill.’
P. 183. घुणाक्षरम्—By accidental coincidence, in an unexpected
manner. घुण is a kind of insect that bores into the wood or
paper of its own accord. But sometimes while making such
borings, the hole comes to resemble a letter which the insect
did not actually mean to produce. The resemblance is a fortui-
tous one. Hence the घुणाक्षरन्याय ।
N. B. Kánchanamálá, pacifying Vásavadattá, says that
most prabably the King did not wilfully represent any parti-
cular lady in the picture ( said to be drawn by him ) ; but
while painting, such wonderful resemblance with Ságariká has
occurred through mere chance. So she requests the Queen
not to impute any motive in this matter.
Shloka 20. घटते is proper. N. B. When this is not
anger, the question of conciliation cannot reasonably arise.
अभ्युपगमः—Confession. N. B. The reply ‘I shall not do
this again’ implies the confession of some guilt done before.
The metre is शिखरिणी ।
Ch. of voice. प्रसाद्यताम्......उच्येत......शक्यते । करिष्यते......भूयते
अभ्युपगमेन !......न दीवेण भूयते......त्रास्यते......विद्यते ।

द्वितीयोऽङ्कः 217
P. 187. अकालवातावली—Untimely storm. अकाले वातावली ( ७मी
तत् ) वातानाम् आवली ( ६ष्ठी तत् ) । Diff. reading is अकालवादलिका ।
कोपानुबन्धः—Persistence of anger. कोपस्य अनुबन्धः (६ष्ठी तत् ) ।
Shloka. 21. भेदकारि—adj. to हसितम् । Piercing into the heart,
piercing smile (due to its sarcastic nature ) भेदं करोति इति भेद-कृ

• णिनिः "भेदो विदारणे द्वैधे उपजापविशेषयोः" हेमः ।
  बाष्पजडीकृतम्—Adj to चक्षुः । बाष्पेण जडीकृतम् ( ३या तत् ) ; जडीकृतम्
  is equivalent to जलीकृतम् owing to the सावर्ण्य of ड, र and ल । जड़ी-
  कृतम् means covered with water.
  प्रभुतया—due to self-control. हेतौ ३या ।
  प्रश्रयः—Humility. प्र—श्रि+अच् ।
  N. B. This Shloka throughout indicates the highly digni-
  fied and aristocratic nature of Vāsavadattā who, inspite of
  her having sufficient reasons for being angry, did not trans-
  gress the limit of decorum befitting a high-born lady.
  प्रकटीकृतः—Expressed. प्रकट—च्वि + कृ + क्तः । The metre is शार्दूल-
  विक्रीडित ।
  Ch. of voice......वदनेन नीतेन ( भूयते )......भेदकारिणा हसितेन......
  निष्ठुरेण वचसा उक्तेन ( भूयते ) ......बाष्पजडीकृतेन चक्षुषा विस्तारितेन ( भूयते )
  कोपं प्रकटीकृतवती दयिता मुक्तवती......प्रश्रयम् ।
  Critical Estimate
  Act II is the natural and spotaneous development of Act I.
  The germ of the main plot which was sown and nourished by
  various incidents arranged under different stages of मुखसन्धि has
  now developed in Act II where prevails the प्रतिमुखसन्धि
  with its thirteen auxiliary constituents ( अङ्ग ) along with the

218 रत्नावली
developed stage of the main plot called प्रयत्न । The प्रतिमुखसन्धि
is defined as :—
“फलप्रधानोपायस्य मुखसन्धिनिवेशिनः ।
लक्ष्यालक्ष्य इवोद्भेदो यत्र प्रतिमुखं च तत्” ॥ ( साः दः ६।७७-७८ )
The love for the King which germinated in Ságariká's
heart in Act I, was so long not known to anybody. But after-
wards the painting drawn by the heroine for her own diver-
sion made the matter known to Susangatá, and Vidushaka and
the King, and was at last inferred by Vásavadattá who then
flew into a rage. Vásavadattá's apprehension that Sígariká may
someday come within the view of the King ( cf : 'यस्स ज्जेव्व दंसण-
पधादो पअत्तेण रक्खीअदि, तस्स ज्जेव्व दिट्ठिगोअरं पडिदा भवे—p. 47.) has at last
come to be true. In an artistic manner she has been introduced
to the King. Susangatá had correctly apprehended that the
starling might be the cause of disclosing the secret to others ;
for the bird actually shows her wonderful intelligence at a proper
time and proper place by reproducing the private conversation
of the heroine and her confidante within the hearing of the
hero. So this bird plays a significant part so far as the develop-
ment of the plot is concerned. The episode of the monkey is
also inseparably connected with the main plot ; the Sáriká
( which serves as the main cause of attracting the King into the
plantain-bower ) would not have been freed, had not the cage
been left alone by Susangatá and Ságariká, being frightened at
the approach of the monkey that subsequently breaks open the
cage. The King, cherishing his wholehearted love for Vásava-

द्वितीयोऽङ्कः 219
dattá ( as seen in the Cupid-worship in Act I ), has now comp-
letely changed ; his heart is now full of duplicity towards his
old love for the sake of a new one to whom he has recently
been introduced. This change is not at all sudden, but is
gradually brought about through an aptly arranged collocation
of different episodes and incidents. On the whole, every part of
this Act has naturally developed itself from the corresponding
incidents in Act I and nothing is here haphazardly done, or
put forward as a patch-work for the mere justification of any
stray incident. Everything is well-conceived, beautifully arran-
ged and skilfully manipulated for the spontaneous develop-
ment of the main action. The different characters have been
gradually developed to show their individual peculiarities as
contrasted with their mere delineation as in Act I.
The character of Vásavadattá as developed in Act II, may be
compared and contrasted with the characters of the two queens
in Kálidása's Málavikágnimitra to which Shri Harsha is much
indebted for his Ratnávali and Priyadarshiká. In Kálidásí's
drama the chief Queen Dhárini is characterized for her grace,
dignity and finally divine magnanimity despite the just cause for
her jealousy and anger. But the second Queen Irávati is
marked for her passionate impetuosity which leads her to
constant eavesdropping and to an outbreak against the King
forgetful of his rank and rights. In Ratnávali, Vásavadattá,
on the other hand, is represented as a rather jealous though
noble and kind-hearted lady whose love for her husband makes
her resent too deeply his inconstancy.
──────

तृतीयोऽङ्कः
( ततः प्रविशति मदनिका )
मदनिका—( आकाशे ) कोसंबिए¹ ! अवि दिट्ठा तुए भट्ठिणो²
सआसे कंचणमाला ण वेत्ति ? ( कर्णं दत्त्वाकर्ण्य³ ) किं भणासि—
कोवि कालो ताए आगच्छिअ गदाएत्ति ? ता कहिं दाणिं
पेक्खिस्सं ? ( अग्रतोऽवलोक्य ) कहं एसा क्खु कंचणमाला इदो
ज्जेव्व आगच्छदि ! ता जाव णं उवसप्पामि । (क)
( ततः प्रविशति काञ्चनमाला )
काञ्चनमाला—( सोपहासम् ) साहु रे बसंतअ साहु ! अदि-
सदो तुए अमच्चजोगंधराअणो वि इमाए संधिविग्गह-
चिंताए । (ख)
मदनिका—( सस्मितमुपसृत्य ) हला कंचणमाले ! किं अज्ज-
वसंतएण किदं जेण सो एव्वं सलाहीअदि ? (ग)
(क) कौशाम्बिके, अपि दृष्टा त्वया भर्तुः ( भर्त्रा ) सकाशे काञ्चनमाला न वा इति ?
किं भणसि—कोऽपि कालः तस्याः आगत्य गतायाः इति ? तत् कुत्र इदानीं प्रेक्षिष्ये ?
कथमेषा खलु काञ्चनमाला इत एव आगच्छति ! तद् यावत् ननु ( एनाम् )
उपसर्पामि ।
(ख) साधु रे, वसन्तक, साधु ! अतिशयितः त्वया अमात्ययौगन्धरायणोऽपि अनया
संधिविग्रहचिन्तया ।
(ग) हला काञ्चनमाले, किमार्थ ( अद्य ) वसन्तकेन कृतं येन स एवं श्लाघ्यते ?

1. कौसंबिए, कीसंबिए ! 2. भट्टिणीसआसे । 3. कर्णं दत्त्वा ।

तृतीयाेऽङ्कः 221
काञ्चनमाला—हला मदणिए ! किं तब एदिणा पुच्छिदेण
पओअणं ? तुमं इमं रहस्सं रक्खिदुं ण पारेसि । (क)
मदनिका—सवामि देवीए चरणेहिं जइ कस्सवि पुरदो
पआसेमि ! (ख)
काञ्चनमाला--जइ एव्वं ता सुण, कहइस्सं । अज्ज क्खु
मए राअकुलादी पड़िणिवत्तमाणाए चित्तसालिआदुवारे बसं-
तअस्स सुसंगदाए समं आलाबो सुदो । (ग)
मदनिका—( सकौतुकम् ) सहि ! कीदिसो ? (घ)
काञ्चनमाला—जह—सुसंगदे ! णहि सागरिअं वज्जिअ
पिअबअस्सस्स अण्णं किं पि अस्सत्थदाए कारणं¹ । ता एत्थ पड़ि-
आरं चिंतेहि । (ङ)
मदनिका—तदो सुसंगदाए किं भणिदं ? (च)
काञ्चनमाला—तदो ताए एव्वं भणिदं—अज्ज क्खु देवीए
(क) हला मदनिके, किं तव एतेन पृष्टेन प्रयोजनम् ? त्वमिदं रहस्यं रक्षितुं न
पारयसि ।
(ख) शपामि ( शपे ) देव्याः चरणाभ्याम् ( चरणैः ) यदि कस्यापि पुरतः
प्रकाशयामि !
(ग) यदि एवं तत् शृणु, कथयिष्यामि । अद्य खलु मया राजकुलात् प्रतिनिवर्त्त-
मानया चित्रशालिकाद्वारे वसन्तकस्य सुसङ्गतया सममालापः श्रुतः ।
(घ) सखि, कीदृशः ?
(ङ) यथा—सुसङ्गते, न सागरिकां वर्ज्जयित्वा प्रियवयस्यस्य अन्यत् किमपि
अस्वस्थतायाः कारणम् । तदत्र प्रतिकारं चिन्तय ।
(च) ततः सुसङ्गतया किं भणितम् ?
1 कारणं ।

222 रत्नावली
चित्तफलअबुसंतसंकिदाए साअरिअं मम हत्थे समप्पयं तीए
जं नेवच्छं १ मे पसादीकिदं तदो तस्सिं २ ज्जेव विरइदभट्टिणो-
वेसं साअरिअं गेण्हिअ अहं पि कंचणमालाविसधारिणी भविअ
पदोसकाले ३ भट्टिणो ४ आगमिस्सं । तुमं बि इह आट्ठिदा पडि-
बालइस्सि ५ । माहबीलदामण्डवे ताए सह भट्टिणो समागमो
भविस्सदि ६ । (क)
मदनिका—सुसंगदे ! इदासि ७ क्खु तुमं जइ ८ एब्बं परि-
अणवच्छलं देइ ं ९ बंचेसि ! (ख)
(क) ततः तया एवं भणितम्—अद्य खलु देव्या चित्रफलकवृत्तान्तशङ्कितया
सागरिकां मम हस्ते समर्पयन्त्या यत् नेपथ्यं मे प्रसादीकृतं ततः तस्मिन् एव विरचितभर्त्तृ-
वेशां सागरिकां गृहीत्वा अहमपि काञ्चनमालावैशधारिणी भूत्वा प्रदोषकाले भर्तुः
आगमिष्यामि । त्वमपि इह चास्थिता प्रतिपालयिष्यसि । ततः माधवीलतामण्डपे तया
सह भर्तुः समागमो भविष्यति ।
(ख) सुसङ्गते, इतासि त्वम् यदि एवं परिजनवत्सलां देवीं वञ्चयसि !
अथ द्वितीयाङ्के वत्सराजं प्रति सागरिकायाः रागातिशयं प्रदर्श्य वत्सराजस्य
सागरिकायां अनुरागविशेषं दर्शयितुं तृतीयाङ्कमवतारयति । सागरिकां प्रति रागातिशयेन
वासवदत्तया विच्छेदेन पुनः प्राप्त्या पुनः विच्छेदेन प्राप्त्या च अस्याङ्कस्य गर्भसन्धेः विषयी-
भूतत्वम् इति गोलार्थः । आकाशे, आकाशभाषितेन उक्तिरित्यर्थः । तल्लक्षणम्
दशरूपके “किं ब्रवीष्येवमित्यादि बिना पात्रं ब्रवीति यत् । श्रुत्वेवानुक्तमप्येकस्तत् स्यादा-
काशभाषितम्” ।
सौतप्रासम् सोपहासम् । अतिशयितः अतिक्रान्तः सन्धिविग्रहचिन्तया सन्धिविग्रह-
विचारणेन इत्यर्थः । यथा प्रधानामात्यः यौगन्धरायणः राज्यस्य सन्धिविग्रहादिकं चिन्तयति

1. णेवत्थं । 2. तेण ज्जेव । 3. पदोसी सञ्चामं । 4. इह
   (इध) । 5. तुमं पि चित्तसालिआदुवारि मं— । तुमं पि इह द्विती ज्जेव
   पड़िवालइस्सि, तदी... । 6. हुविस्सदि । 7. इदासा । 8. जा । 9. देविं ।

), in 'लक्ष्मण' (no), look at 'दूतिकाव्यापारं'?
Wait, let's read the characters:
द (da)
ा (aa)
ति (ti)
व्या (vya)
पा (pa)
रं (ram)
Yes, it literally looks like दातिव्यापारं or दूतीव्यापारं!
Let's look at the Sanskrit commentary:
"तथा त्वमपि तमतिक्रम्य राजान्तःपुरं नायिकामिलनविषये दातिव्यापारं नैपुण्येन विचारयसि।"
Wait, what about the word before it?
"नायिकामिलनविषये" - look at the end of the word:
य with 'े'? Yes, 'विषये'!
Wait, look at the image again:
"नायिकामिलनविषये दातिव्यापारं"
Let's look at line 3:
"प्रसादीकृतम् प्रसादप्रकारेण" or "प्रसादरूपेण"?
Look at: प्र सा द रू पे ण -> yes, "प्रसादरूपेण"!
Wait, after that:
"अनुग्रहरूपेण प्रदत्तम् ।"
Wait, look at "प्रदत्तम्":
प्र द त्त म् -> "प्रदत्तम् ।"
Then:
"नेपथ्यम् वेषः । अहमपि सुसङ्गतापि । परिजनवत्सलां"
Line 5:
"पर

224 রত্নাবলী
কাঞ্চনমালা—তখন সে বলিল—'অদ্য দেবী চিত্রফলক ব্যাপারে শঙ্কিত হইয়া সাগ-
রিকাকে আমার হস্তে সমর্পণকরতঃ অনুগ্রহস্বরূপে যে পরিচ্ছদ আমাকে দিয়াছেন, তাহাতে
সাগরিকাকে ভর্ত্রীর বেশে সাজাইয়া আমিও কাঞ্চনমালার বেশ ধারণকরতঃ সন্ধ্যার সময়
মহারাজের নিকট যাইব। তুমিও এইখানে থাকিয়া অপেক্ষা করিবে। তাহার পর
মাধবীলতামণ্ডপে তাহার (সাগরিকার) সহিত মহারাজের মিলন হইবে'।
মদনিকা—সুসঙ্গতে তুমি মরিয়াছ—যদি তুমি পরিজনের প্রতি এইরূপ স্নেহশীলা
দেবীকে (এভাবে) বঞ্চিত কর!
Eng. Trans.—(Enter Madaniká).
Madaniká. (In the sky) Ho, Kaushámbiká! Have you
seen Kánchanamálá near the King (Queen)? (Listening) what
do you say: It is some time since she came and went away
(again). So, where am I to find her?
(Looking before her) Ah, here is Kánchanamála herself
coming this very way; now, I shall approach her.
(Enter Kánchanamálá)
Kánchana. (Sarcastically) Bravo, Vasantaka, bravo! you
have surpassed the (Prime) minister Yaugandharáyana even in
the plan of peace and war!
Madaniká. How now, Kánchanamálá! what has Vasantaka
done to merit your praises in this way (that he is so
eulogized)?
Kánchanamálá. What occasion is there for your asking
(why do you ask this)? You will not be able to keep the secret.
Madaniká. I swear by the feet of the Queen, I will not
mention (it) before anybody.
Kánchanamálá. If so, then hear; I shall relate (it). As
I was passing from the palace to-day, I overheard the
conversation of Vasantaka and Susangatá behind the door
of the picture-gallery.
Madaniká. (With curiosity) Friend, of what nature
(topic)?

तृतीयोऽङ्कः 225
Kánchanamala—It was this : 'There is no other cause of
my dear friend's indisposition except Ságariká. Do you.,
Susangatí, devise a remedy ?"
Madaniká—And then what replied Susangatí ?
Kánchanamálá—She said—"The Queen being afraid of
the picture-board affair has placed Ságariká under my charge
today—giving me as a favour some of her clothes. With these I
shall dress Ságariká as the Queen and myself as Kánchanamálá
and thus disguised will approach His Majesty after sunset ; you
come to this place (stay here) and wait (for me). Then there in
the Mádhavi-creeper bower she will meet His Majesty."
Madaniká—Susangatí, you are undone, if you (intend to)
deceive the Queen who is so kind to her attendants ?
काञ्चनमाला—हला मदणिए ! दाणिं तुमं कहिं
पत्थिदा ? (क)
मदनिका—अस्सत्थसरीरस्स भट्ठिणो कुसलवुत्तंतं जाणिदुं
गदा तुमं चिरअसित्ति उत्तंमंतीए देवीए तुह सआसं
पेसिदम्हि । (ख)
काञ्चनमाला—अदिउजुआ सा देवी जा एव्वं पत्तिआ-
यदि । (परिक्रम्यावलोक्य च) कहं एत्थ एसो क्खु भट्टा अस्सत्थ-
दामिसेण अत्तणो मअणावत्थं पच्छादअंतो दंततोरणबलहीए
(क) हला मदनिके, इदानीं त्वं कुत्र प्रस्थिता ?
(ख) अस्वस्थशरीरस्य भर्तुः कुशलवृत्तान्तं ज्ञातुं गता त्वं चिरयसीति उत्ताम्यन्त्या
देव्या तव सकाशं प्रेषितास्मि ।
15

226 रत्नावली
ऊपरि उवविट्ठो चिट्ठदि। ता एहि, एदं वृत्तंतं भट्टिणीए
णिवेदेह्म। (क)
( इति निष्क्रान्ते )
इति प्रवेशकः
(क) अति ऋजुका सा देवी या एवं प्रत्येति (प्रत्याय्यते)। कथमत्र खलु
भर्त्ता अस्वस्थतामिषेण आत्मनः मदनावस्थां प्रच्छादयन् दन्ततोरणवलभ्याः उपरि उपविष्टः
तिष्ठति। तदेहि एतं वृत्तान्तं भर्त्रे निवेदयावः।
चिरयसि विलम्बसे इत्यर्थः। प्रत्येति विश्वसिति। अस्वस्थतामिषेण अस्वस्थताच्छलेन।
अति ऋजुका अतिसरलस्वभावा। दन्ततोरणवलभ्याः हस्तिदन्तकृतबहिर्द्वारस्य वलभ्याः
चन्द्रशालायाः 'गोपानसी तु वलभी छादने वक्रदारुणि' इत्यमरः।
Beng. Trans.—কাঞ্চনমালা—তুমি এখন কোথায় যাইতেছ?
মদনিকা—তুমি অসুস্থশরীর মহারাজের কুশল বৃত্তান্ত জানিবার জন্য তাঁহার নিকট
গিয়াছিলে; তুমি দেরী করিতেছ দেখিয়া দেবী উৎকণ্ঠিত হইয়া আমাকে তোমার
নিকট প্রেরণ করিয়াছেন।
কাঞ্চনমালা—দেবী অত্যন্ত সরলস্বভাবা, সেই জন্য তিনি এইরূপ বিশ্বাস করেন।
(পরিক্রমণ ও অবলোকন করিয়া) একি! এই যে মহারাজ অসুস্থতার ছলে নিজের
মদনাবস্থা গোপন করিয়া হস্তিদন্তনির্ম্মিত প্রাসাদোপরিস্থিত গৃহে (বলভী) বর্তমান
রহিয়াছেন। এখন এস, দেবীকে এই সংবাদ নিবেদন করি!
(উভয়ে নিষ্ক্রান্ত)
প্রবেশক সমাপ্ত
Eng. Trans.—Kánchanamálá—And where are you now
going?
Madaniká—You went to bring the news of His Majesty
who had become indisposed; but as you were making delay
(in coming back), I was sent to you by Her Majesty who
became very anxious (on that account).
Kánchanamálá—Her Majesty is so simple that she readily
believes in such things (is so easily deceived). (Walking

Here is the line-by-line transcription of the page:

तृतीयोऽङ्कः <span style="float: right;">227</span>
round and observing) How now ! Here is the King who conceal-
ing his love-sick condition under the pretext of illness, is sitting
on the topmost pavillion over the ivory-gate. So, come along
and let us carry the news to the Queen.
(Exeunt)
The End of the Interlude
( ततः प्रविशति मदनावस्थां नाटयन्नुपविष्टो राजा )
राजा—( सोत्कण्ठं निःश्वस्य )
सन्तापो हृदय ! स्मरानलकृतः सम्प्रत्ययं सह्यतां
नास्तेऽत्रावोपशमोऽस्य, तां प्रति पुनः किं त्वं मुधा ताम्यसि ?
यन्मूढेन मया तदा कथमपि प्राप्तो गृहीत्वा चिरं
विन्यस्तस्त्वयि सान्द्रचन्दनरसस्पर्शो न तस्याः करः ॥१॥
अहो महदाश्चर्यम् !
**मनश्चलं प्रकृत्यैव दुर्लक्ष्यं