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

! That explains why it is printed with 'धौ'! It is literally printed as (अवधौरयित्वा) or (अवधौर्यित्वा).

Look at :
आगच्छन्त्या मया अतिनिष्ठुरं कृतम् । तदिदानीं स्वयमेव गत्वा आर्यपुत्रम्

Look at :
अनुनेष्यामि ।

Look at :
(ग) का अन्या देवीं वर्जयित्वा एवं भणितुं जानाति ? वरं स एवं ( एव ) देवो
Wait, is it "देवो" or "देवी"?
In : "देवो" - it has an 'ो' on 'व'.

Look at :
दुर्जनो भवतु, न पुनर्देवी ! तदेतु एतु देवी ।
Wait, "पुनर्देवी" has a space or not? "पुनर्देवी !" (or "पुनर् देवी !"). In image: "पुनर्देवी !".

Look at (Commentary):
अयि जीवितेशे प्राणानामधीश्वरि, अधुना पाशबन्धनरूपेण ते साहसेन बलात्कारकृत-

Look at :
कार्येण फलं न प्रयोजनम् । त्वम एतं लतापाशं मुञ्च परित्यज । मम चलितं गमनी-
Wait, "त्वम" or "त्वम्"?
Look at [

274 रत्नावली
न्मुखं जीवितं निरोद्धुं गमनात् स्थगितुं बाहुपाशं बाहुबन्धनं क्षणं निधेहि। लतापाशं
परित्यज्य बाहुपाशे मे कण्ठे निवेशिते मम जीवितं बाहुपार्श्वावलम्बं सत् संरक्षितं स्यात्।
मालिनीवृत्तम् ॥१३॥
अनभ्रा अभ्रशून्या मेघविरहिता इति यावत्। अकालवातावली इत्यादि। इदं पताका-
स्थानम्। तदानीमेव आगता देवी।
Prose order—अयि जीवितेशि, अमुना ते अतिमात्रसाहसेन अलम्। त्वं
त्वरितम् एनं लतापाशं मुञ्च। मम चलितमपि जीवितं निरोद्धुम् इह कण्ठे बाहुपाशं
क्षणं निधेहि ॥१३॥
Beng. Trans. सागरिका—( राजाके देखिया ) आरे ए ये महाराज ! ( सहर्षे
—आत्मगत ) सत्यइ आज इहाँके देखिया आमार आबार बाँचिबार जन्य इच्छा हइतेछे।
अथवा, इहाँर दर्शने कृतार्थ हइया उद्बन्धने सुखे प्राणत्याग करिब। ( प्रकाशे ) छाड़ुन
छाड़ुन आमाय, महाराज ! आमि पराधीन, मरिबार आर एमन सुयोग पाइब ना।
आपनिओ देवीर निकट निजेके अपराधी करिबेन ना।
( एइ बलिया पुनराय कण्ठे पाशबन्धन दिते उद्यत हइलेन )
राजा—( आनन्देर सहित देखिया ) ए कि ! ए ये आमार प्रिया सागरिका ! ( कण्ठ
हइते पाश उन्मोचन करिया ) अयि प्राणेश्वरि ! तोमार एइरूप अतिमात्र दुःसाहसिक
कार्य्य करिबार कोन प्रयोजन नाइ। एइ लताबन्धन सत्वर परित्याग कर। आमार
गमनोन्मुख प्राणके रक्षा करिबार निमित्त क्षणकेर जन्य आमार एइ कण्ठे बाहुपाश
स्थापन कर। १३।
( निज कण्ठे बाहुपाश बन्धन करिया स्पर्शसुख अनुभव करिते करिते विदूषकेर प्रति )
वयस्य, ए ये बिना मेघे वृष्टि ( मेघ ना चाइते जल ) :
विदूषक—हाँ, ताहाइ बटे, यदि अवश्य देवी वासवदत्ता अकाल-वातावली हइया ना
आसेन !
( काञ्चनमाला ओ वासवदत्तार प्रवेश )
वासवदत्ता—अयि काञ्चनमाले, सेइरूपे आमार चरणतले निपतित आर्यपुत्रके
अवहेला करतः चलिया आसिया अतिशय निष्ठुर कार्य्य करियाछि। एखन निजे गियाइ
आर्यपुत्रके अनुनय करिब।

तृतीयोऽङ्कः 275
কাঞ্চনমালা—দেবী ব্যতীত অন্য কে এইরূপ বলিতে জানে? বরং মহারাজই দুৰ্জ্জন
হউন, কিন্তু তথাপি দেবী যেন না হন। এখন দেখি, আসুন।
( উভয়ের পরিক্রমণ )
Eng. Trans.—Ság. (Looking at the King) Ah! It is the
King himself ! (Joyfully) It is indeed true that seeing him,
desire for life occurs in me again (His sight inspires me anew
with a desire for life). Or that, at least my wish being
fulfilled by a sight of him, I shall happily hang myself to death.
(Aloud) Let me go, my lord ! Dependent as I am, I shall
not get an opportunity like this again to die. You, too,
please do not offend the Queen. ( Again wants to put the
noose around her neck)
King—(Looking with joy) Ah, how now ! It is my
beloved Ságariká ! (Snatches away the noose from her neck)
No more of this sort of excessive daring on your part.
Quickly give up this noose of creeper; and to arrest my
fleeting life twine round my neck for an instant, the noose of
thine arms, oh my beloved ! 17.
(Puts her hands entwined round his neck and feeling the
joy of her touch, —to the Jester) My friend, it rains without
cloud !
Jester—Very true !-- if, however, the Queen Vásavadattá
does not return like a sudden squall !
(Enter Vásavadattá and Kánchanamálá)
Vásava—Oh Kánchanamálá, I have acted very cruelly by
coming away disregarding my husband thus fallen at my feet.
Now I must go personally and entreat him.
Kánchana—Who else but your ladyship can speak in this
strain ? However, rather the King be a knave, but not your
ladyship. So, madam, come.
(Both go round)

276 रत्नावलो
राजा—अयि मुग्धे ! किमद्यापि मध्यस्थतया वयं विफल-
मनोरथाः क्रियामहे ?
काञ्चन—(कर्णं दत्त्वा) भट्टिणि ! जह समीबे एसो भट्टा मंतयदि
तह तक्केमि तुमं ज्जेव्व अणुणेदुं आगच्छदि । ता उबसप्पदु
भट्टिणो । (क)
वासबदत्ता—ता अलक्खिदा एव्व पुट्ठदो गटुअ कंठे
गेह्रिअ पसादइस्सं । (ख)
विदूषकः—भोदि साअरिए ! बीसद्धा भविअ पिअबअस्स'
आलावेहि । (ग)
वासवदत्ता—(आकर्ण्य सविषादम्) कंचणमाले ! 'साअरिश्रा-
बि एत्थ एव्व चिट्ठदि । ता सुणह्म । जाणिअ पच्छा उब-
सप्पिस्सं । (इति तथा करोति) (घ)
सागरिका—भट्टा ! किं एदिणा अलीकदक्खिणेण ?
जीविदादो बि अहिअवल्लहाए देवीए पुणोबि अत्ताणअं अबरा-
हिणं किं करेसि ? (ङ)
(क) भर्त्रि, यथा समीपे एष भर्त्ता मन्त्रयते, तथा तर्कयामि त्वामेव अनुनेतुम्
आगच्छति । तद् उपसर्पतु भर्त्री ।
•(ख) तद् अलक्षिता एव पृष्ठतः गत्वा कण्ठे गृहीत्वा प्रसादयिष्यामि ।
(ग) भवति सागरिके, विश्रब्धा भूत्वा प्रियवयस्यम् आलापय ।
(घ) काञ्चनमाले, सागरिकापि अत्र तिष्ठति । तच्छृणुवः । ज्ञात्वा पश्चात् उप-
सर्पिष्यामि ।
(ङ) भर्तः, किमेतेन अलीकदाक्षिण्येन ? जीवितादपि अधिकवल्लभायाः देव्याः
पुनरपि आत्मानम् अपराधिनं किं करोषि ?

1. कहं साअरिआ इदी जेव्व बाअदा !

तृतीयोऽङ्कः 277
राजा—अयि ! मिथ्यावादिनी खल्वसि । कुतः—
श्वासोत्कम्पिनि कम्पितं कुचयुगे मौने प्रियं भाषितं
वक्त्रे ऽस्याः कुटिलीकृतभ्रूणि तथा¹ यातं मया पादयोः ।
इत्थं नः सहजाभिजात्यजनिता सेवैव देव्याः परं
प्रेमाबन्धविवर्द्धिताधिकरसा प्रीतिस्तु या सा त्वयि ॥१८॥
मध्यस्थतया चौदासीन्येन । विश्रब्धा निर्भयम् । अलीकदाक्षिण्येन मिथ्यादाक्षिण्येन
अधिकवल्लभाया अधिकप्रियया । श्वासोत्कम्पिनीति । अस्याः श्वासेन घननिःश्वासेन
उत्कम्पिनि वेपथुमति स्तनयुगे मया कम्पितम् । तस्याः मौने विरतवचनायां तस्यां मया
प्रियं भाषितम् । कथितम् । कुटिलीकृतभ्रूणि कुटिलीकृता वक्रीकृता भ्रूः यस्य तस्मिन्
वक्त्रे मुखे अस्याः देव्याः पादयोः मया यातं पतितम् । इत्थं यां देव्याः सेवा एव परं
केवलं सा सहजं स्वाभाविकं यद् आभिजात्यं तेन जनिता कृता । आभिजात्यवशात् परं
तामकोपयित्वा सेवयैव केवलया परितोषयाम्येव । त्वयि तु या प्रीतिः सा प्रेम्णः प्रणयस्य
यः आबन्धः गाढ़त्वं तेन विवर्द्धितः अधिकः अतिशयः रसः अनुरागः यस्यां सा । एवम्भूता
प्रीतिः त्वयि मे स्वाभाविकी इति भावः । शार्दूलविक्रीडितं वृत्तम् ॥१८॥
Prose order—अस्याः श्वासोत्कम्पिनि कुचयुगे मया कम्पितम्, मौने प्रियं
भाषितम्, तथा वक्त्रे कुटिलीकृतभ्रूणि पादयोः पतितम् । इत्थं देव्याः नः सेवा परं
सहजाभिजात्यजनिता एव । त्वयि तु या प्रीतिः सा प्रेमाबन्धविवर्द्धिताधिकरसा
( भवति ) ॥१८॥
Beng. Trans. রাজা—অয়ি সরলে, তুমি তোমার ঔদাসীন্যে আমাকে কি এখনও
বিফলমনোরথ করিবে? ( অথবা, এখনও কেন বিফলমনোরথ করিতেছ? )
কাঞ্চনমালা—( শুনিয়া ) দেবি, যখন নিকটে মহারাজ কথা বলিতেছেন, তখন মনে
হয় আপনাকেই অনুনয় করিবার জন্য আসিতেছেন। অতএব, দেবি, আপনি অগ্রসর
হউন।

1. रुषा।

278 রত্নাবলী
বাসবদত্তা—( সানন্দে ) অলক্ষিতভাবে পিছনদিকে গিয়া কণ্ঠালিঙ্গনের দ্বারা
তাঁহাকে পরিতুষ্ট করিব।
বিদূষক—আর্যে সাগরিকা, নির্ভয়ে প্রিয়বয়স্যের সঙ্গে আলাপ করুন।
বাসবদত্তা—( শুনিয়া বিষাদের সহিত ) কাঞ্চনমালে, সাগরিকাও এখানে রহিয়াছে।
তাহা হইলে শোনা যাক্। তারপর ( সব ) জানিয়া অগ্রসর হইব।
সাগরিকা—মহারাজ, এই অলীক দাক্ষিণ্য দেখাইয়া আর ফল কি? জীবন হইতেও
প্রিয়তরা দেবীর নিকট নিজেকে আর কেন অপরাধী করিতেছেন?
রাজা—প্রিয়ে, তুমি তাহা হইলে মিথ্যা কথা বলিতেছ। কেননা,—ইঁহার ( বাসব-
দত্তর ) কুচযুগ ঘনশ্বাসে উৎকস্পিত হইলে আমিও কম্পিত হই। ইনি মৌন থাকিলে
আমি প্রিয় বাক্য বলি। ইঁহার মুখে ভ্রূকুটি দেখা দিলে আমি তখনই তাঁহার পাদযুগলে
পতিত হই। এইরূপে মহিষীর যে সেবা মাত্র আমি করিয়া থাকি, তাহা কেবল
( তাঁহার ) স্বভাবসিদ্ধ আভিজাত্যজনিত। কিন্তু তোমার প্রতি যে প্রীতি, তাহাতে রস
( অনুরাগ ) গাঢ় প্রণয়ের দ্বারা অধিকতর বিবর্ধিত ॥১৪॥
Eng. Trans. King—Oh simple-hearted girl, why are
you still baffling me in the fulfilment of my object by your
indifference?
Kánchanamálá—(Hearing) As His Majesty is talking
near by, I think, he is probably approaching to coax you and
you alone. Please advance, madam.
Vásavadattá—(With joy) So, let us approach (gently) from
behind and then I shall cast my arms round his neck and
pacify him.
Jester—Ah noble Ságariká, talk confidingly with my
friend.
Vásavadattá—( Hearing—with sorrow ) O Kánchanamálá,
Ságariká too is here. Let us listen first and then I shall
approach after ascertaining (everything in detail).
Ságariká—What is the use of this false affection my lord?
Why do you offend the Queen again, who is dearer than your
own life even?

तृतीयोऽङ्कः 279
King—Oh ! You speak what is not quite true, my love.
For, whenever her bosom swelled with deep sighs, I trembled.
Also, whenever she became sullen, I talked to her sweetly.
Whenever in her face the brows were knitted in a frown
out of anger, I prostrated myself at her feet ; and thus nothing
but my attendance (was shown) to the Queen due to (her) high
birth ; but the affection I feel for you is full of vehement love
springing from excessive attachment. [lit. : but the affection
in which excessive flavour is caused by vehement love, is
(reserved) for you (alone).] 18.
वासवदत्ता—( उपसृत्य ) अज्जउत्त ! सरिसं ¹अज्जउत्त !
सरिसं एदं ! (क)
राजा—( दृष्ट्वा सवैलक्ष्यम् ) देवि ! न खलु अकारणे मामुपा-
लब्धुमर्हसि । त्वामेव मत्वा वेशसादृश्यविप्रलब्धा वयमिहा-
गताः । तत् क्षम्यताम् ।
( पादयोः पतति )
वासवदत्ता—( सरोषम् ) अज्जउत्त ! उट्ठेहि उट्ठेहि । किं
अज्जवि सहजाभिजादाए सेवाए दुक्खं अणुभवीअदि ? (ख)
राजा—( स्वगतम् ) किम् ! एतदपि श्रुतं देव्या ? तत्
सर्व्वथा देवीप्रसादनं प्रति निराशीभूताः स्मः ।
( इत्यधोमुखस्तिष्ठति )
विदूषकः—भोदि ! तुमं किल अत्ताणअं उब्बंघिअ
(क) आर्यपुत्र, सदृशम् आर्यपुत्र ! सदृशमेतत् !
(ख) आर्यपुत्र, उत्तिष्ठ उत्तिष्ठ । किमद्यापि सहजाभिजातया सेवया ( सहजाभि-
जातायाः सेवायाः ) दुःखमनुभूयते ?

1. अज्जउत्त ! सरिसं एदं । अथवा, सुठुं एदं, सरिसं एदं ।

An accurate line-by-line transcription of the page into Unicode Devanagari:

280 रत्नावली
बावादेसित्ति¹ वेससारिस्समोहिदेण मए पिअवअस्सो एत्थ
आणीदो । जइ मम बअणं ण पत्तिआअसि ता पेक्ख इमं
लदापासं । ( इति लतापाशं दर्शयति ) (क)
वासवदत्ता—( सकोपम् ) हंजे कंचणमाले ! एदेण एव्व
लदापासेण बंधिअ गेण्ह एणं बम्हणं । एदं च दुट्ठकण्णअं²
अग्गदो करेहि । (ख)
काञ्चनमाला—जं भट्टिणी आणवेदि । ( इति लतापाशेन वसन्तअं³
गले बद्धा ताडयति ) इदास ! अणुभव दाब अत्तणो अविणअस्स⁴
फलं । देवीए दुब्बअणेहिं कडुइदाइं⁵ सोत्ताइन्ति सुमरेहि
तं बअणं । सागरिए ! तुमंपि अग्गदो होहि । (ग)
(क) भवति, त्वं किल आत्मानम् उद्दिश्य व्यापा

তৃতীয়াঙ্কঃ 281
রাজা—( সবিস্ময়ে দেখিয়া ) দেবি, অকারণে আমাকে তিরস্কার করা আপনার উচিত
নহে। আপনাকে ভাবিয়া বেশসাদৃশ্যে ভ্রান্ত হইয়া আমরা এখানে আসিয়াছি। তাই
আমাকে ক্ষমা করুন। (পদে পতন)
বাসবদত্তা—( সরোষে ) আর্য্যপুত্র, উঠুন উঠুন। কেন আপনি আজও সহজাত
অভিজাতার সেবায় ( অর্থাৎ স্বভাবতঃ উচ্চকুলসম্ভবা আমার সেবায় ) দুঃখ অনুভব
করিতেছেন?
রাজা—( স্বগত ) দেবী কি ইহাও শুনিয়াছেন! তাহা হইলে দেবীকে সন্তুষ্ট করার
বিষয়ে আমি সর্ব্বপ্রকারে নিরাশ হইলাম।
(অধোমুখে অবস্থান)
বিদূষক—আয্যে, আপনি উদ্বন্ধনে আত্মহত্যা করিতেছেন, বেশসাদৃশ্য দ্বারা এইরূপে
মোহিত হইয়া আমি প্রিয়বয়স্যকে এখানে লইয়া আসিয়াছি। যদি আমার কথা না
বিশ্বাস করেন, তাহা হইলে এই লতাপাশ দেখুন। ( লতাপাশ প্রদর্শন )
বাসবদত্তা—( ক্রোধে ) কাঞ্চনমালে, এই লতাপাশেই ব্রাহ্মণকে বাঁধিয়া লও। আর
এই দুষ্ট কন্যাকে আগে আগে লইয়া এস।
কাঞ্চনমালা—দেবীর যাহা আদেশ। (লতাপাশ দ্বারা বসন্তককে গলদেশে বন্ধন ও
প্রহার) হতভাগা, নিজের অবিনয়ের ফল এইবার অনুভব কর। ‘দেবীর দুষ্টবচনে কান
ঝালা-পালা হইয়া গিয়াছে’—তোমার সেই কথা স্মরণ কর। সাগরিকা, তুমিও আগে
আগে চল।
Eng. Trans.—Vāsavadattā---(Approaching with anger)
It is indeed becoming of you, my lord !
King—(Looking with surprise) O Queen, it does not behove
you to take me to task for nothing. We, being misled by
the resemblance of your dress, have come here, thinking her
to be yourself. Now, pardon me. (Falls at her feet)
Vāsavadattā—(with anger) Rise my lord, rise. What is
the use of your being put to inconvenience still by the
attendance on one naturally exalted in position ?
King—(To himself) What ! has the Queen even over-

282 रत्नावली
heard this ?—Then I feel utterly hopeless about appeasing her
any more.
Jester—Madam, having been deluded by the resemblance
of (your) dress that you were committing suicide by hanging,
I brought my dear friend here. If (your ladyship) does not
believe me, then please see this noose of the creeper. (Shows the
creeper-noose)
Vásavadattá—(Angrily) Oh Kánchanamálá, arrest this
Bráhmana by binding him with this very creeper-noose, and
make this wicked wench go on before us.
Kánchana--As your ladyship commands. (Puts the creeper-
noose round the Jester's neck and beats him) Unfortunate
fellow, now feel the consequence of your misconduct. (You
had said that) the Queen's harsh words had been grating in
the ears. Now remember those words. Ságariká, do you also
move on before (us).
सागरिका—( स्वगतम् ) अकिदपुच्छाए मँए मरिदुं बि
अत्तणो इच्छाए ण अवाबिदम्¹ । (क)
विदूषकः—( ²सविषादम् ) भो वयस्स ! सुमरेहि मं अणाधं
देवीए बंधणादो बिबज्जंतं । ( इति राजानमवलोकयति ) (ख)
( ³वासवदत्ता राजानमवलोकयन्ती सागरिकां वसन्तकं च गृहीत्वा काञ्चनमालया सह
निष्क्रान्ता )
(क) अकृतपृच्छया मया मर्तुमपि आत्मनः इच्छया न अवाप्तम् ।
(ख) भो वयस्य, स्मर मामनाथं देव्या बन्धनात् विपद्यमानम् ।

1. पारिदं । 2. सविषादं राजानमवलोक्य । 3. सर्व्वमादाय निष्क्रान्ता
   वासवदत्ता ।

राजा—( सखेदम् ) कष्ट' भोः, कष्टम् !
किं' देव्याः कृतदीर्घरोषमुषितस्निग्धस्मितं तन्मुखं
^1त्रस्तां सागरिकां सुसम्भृतरुषा सन्तर्ज्य'मानां तथा^2 ।
बद्धा नीतमितो वसन्तक'महं किं चिन्तयाम्यत्यहो^3
सर्व्वाकारकृतव्यथः क्षणमपि प्राप्नोमि नो निर्वृतिम् ॥१८॥
तत् किमिदानीमिह स्थितेन प्रयोजनम् ? देवीं प्रसादयितुम्
अभ्यन्तरमेव प्रविशामि ।
इति निष्क्रान्ताः सर्व्वे
इति सङ्केतक' नाम तृतीयोऽङ्कः
विपद्यमानम् मरणमापन्नम् । किं' देव्याः इति । किमिति वितर्के । महिष्याः
वासवदत्तायाः कृतेन दीर्घेण रोषेण क्रोधेन मुषितम् अपहृतम् स्निग्धस्मितं मधुरहास्यं
यस्मिन् तत् मुखं चिन्तयामीत्यनेन सह सम्बन्धः । त्रस्तां भीतां सागरिकां तथा
वासवदत्तया सन्तर्ज्य'मानां भर्त्स्यमानां सुसम्भृतरुषा संवर्द्धितक्रोधेन इत्यर्थः । बद्धा
बन्धने क्षिप्ता इतः अस्मात् स्थानात् नीतं गृहीतं वसन्तक' किं चिन्तयामि ? सर्व्वेण
आकारेण सर्व्वथा इत्यर्थः । कृता व्यथा मनःपीडा यस्य सः अहं क्षणमपि नो तु निर्वृतिं
शान्तिं प्राप्नोमि । युगपत् बहूनामप्रियाणां संघटितत्वात् किं चिन्तयामि कि वा न
चिन्तयामीति सर्व्वथा मनसः व्याकुलीभूतत्वात् न मे शान्तिरिवि अशान्तेः कारणम् ।
शार्दूलविक्रीडितं वृत्तम् ॥१८॥
Beng. Trans. सागरिका—हाय ! अकृतपुण्या আমি নিজের ইচ্ছায় মরিতেও
পারিলাম না।
विदूषक—( सविषादे রাজাকে দেখিয়া ) হে বয়স্য, দেবীকৃত বন্ধনে ম্রিয়মাণ অনাথ
আমাকে স্মরণ রাখিবেন।
( রাজার প্রতি অবলোকন )
( রাজার প্রতি অবলোকন করিতে করিতে বিদূষক ও সাগরিকা লইয়া কাঞ্চন-
মালার সহিত বাসবদত্তার প্রস্থান )

1. किं वा सागरिकां शङ्कितदृशा । 2. तया । 3. चिन्तयाम्यद्धा भोः ।

284 রত্নাবলী
রাজা—( খেদের সহিত ) হায়, কি কষ্ট!—দীর্ঘরোষে যাঁহার স্নিগ্ধহাস্য অপহৃত
হইয়াছে, দেবী বাসবদত্তার সেই মুখকে চিন্তা করিব?—না অতিসংবর্দ্ধিত ক্রোধে ভৎসিতা
ভীতা সাগরিকাকে চিন্তা করিব?—অথবা বন্ধনপূর্ব্বক এস্থান হইতে নীত বসন্তকের বিষয়
চিন্তা করিব?—অহো, এইরূপে সর্ব্বপ্রকারে মনঃপীড়া প্রাপ্ত হইয়া আমি মুহূর্ত্তের জন্যও
শান্তি পাইতেছি না। ১৯।
আর এখন এখানে থাকিয়া আমার প্রয়োজন কি? দেবীকে সন্তুষ্ট করিবার জন্য
অভ্যন্তরেই যাই।
( সকলে নিষ্ক্রান্ত )
সংকেত নামে তৃতীয় অঙ্ক সমাপ্ত
Eng. Trans. Ságariká—(To herself) Alas ! Impious as
I am, I have not been able even to die at my own will !
Jester—(With sorrow) Think of me, my dear friend, who
am thus dying helplessly being bound down (by the order of)
the Queen. (Looks at the King )
(Vásavadattá looks at the King and exit with the Jester and
Ságariká, being accompanied by Kínchanamálá)
King—(Aggrieved) Alas ! How miserable ! Shall I think of
the Queen's face of which the sweet smile has been robbed by
the protracted anger ?—Or frightened Ságariká rebuked by her
out of her pent-up wrath ?—Or shall I think about Vasantaka
who has been taken captive and taken away from this place ?—
Thus, being pained by all means (lit : attacked with pain on
all sides ), I cannot get any comfort even for a moment. 19.
Then, what is the use of my staying here now ? Let me
proceed to the inner apartment for the pacification of the
Queen.
( All exeunt )
Here ends the Third Act entitled “The Assignation.”

RATNAVALI
ACT III
Notes
Act III is introduced with an interlogue. The scene of
action is laid in one part of the Royal Palace, where from the
conversation of the two female attendants, the intrigue of
Vasantaka and Susangatá (viz., bringing about an interview of
the King with the heroine) is tacitly disclosed. Throughout
this Act the main plot has approached to a great extent
towards its final goal, but the achievement has been chequered
by various obstacles.
P. 220. आकाशे—In the air. This is a kind of stage-direction
where an actor or an actress speaks to somebody outside the
stage and shows that he or she hears his or her reply and
repeats the same within the hearing of the audience.
Cf .—“किं ब्रवीषीति यन्नाट्ये विना पात्रं प्रयुज्यते ।
श्रुत्वेवानुक्तमप्यर्थं तत् स्यादाकाशभाषितम् ॥” ( सा. द. ६।१४० )
अतिशयित—Surpassed. अति – शी + क्त कर्तरि ।
सन्धिविग्रहचिन्तया—(i) Plan of peace and war. (ii) Contrivance
of union and separation in the harem of a king.
There are six political expedients : सन्धि—(peace), विग्रह (war)
यान ( expedition ), आसन (neutrality), द्वैध (duplicity or division),
संश्रय ( taking shelter. )
सोत्प्रासम्—Sarcastically. उत्प्रासेन सह वर्त्तमानं (बहु) यथा तथा ; उत्-प्र –

orअ? Wait, it has a left curve, then ताः? Wait, look at हलायुधःon line 3. Does Halayudha have: Wait, in Amara: "स्यादवहासोत्प्रासौ तु सोपहासे समाविमौ" In Medini: ... In Halayudha: Wait, Halayudha 2.148 or somewhere: Let's look at the word:उपहास, उत्प्रास, अवहास. Wait! Is it: “... : सोऽवहासोत्प्रास...Wait, look at the top matras: There is an anusvara? No. There is an e-matra / o-matra: Look at the mark above the second word: It'sसो? Yes, there is ेon top andाon the side:सो. Then a ऽ(avagraha). Thenव(orङ्ग?). Look at the circle: it's open or closed? It's like व. Then हा(orह)? There is a vertical bar: हा. Then सो? There is an e-stroke on top and ाafterस. Then त्प्रा-त्conjoined withप्रा. Then स- simpleस`.
Then

!
Wait, what is before क्ष?
Is it प? विपक्षः?
Why would it say: "verb विपक्षः"?
Wait! Could "verb" NOT be the English word "verb"?
Wait, look at the letters:
v e r b?
Yes, 'v', 'e', 'r', 'b'! It is clearly "verb".
Then why would it be followed by something meaning "is intended" or "is elided"?
Wait! "verb विवक्षितः"? But there are only three letters!
Wait, could it be:
"verb विवक्षः"? No, Kale was an English/Sanskrit scholar, he wouldn't write ungrammatical "verb विवक्षः".
Wait, could it be a misprint in the book?
Look at line 18: "मनोरमः;" instead of "मनोरमायाम्" or "मनोरमायां"! The book definitely has typos (it's a 19th/early 20th century Indian print).
Wait, could it be "verb विवक्षा"?
Look at the end: is it a visarga ः or ा?
Wait, look at the two dots:
Are there two dots?
Look at:
वि [glyph] [glyph]
Wait, is the first letter after 'verb

288 रत्नावली
………मया…करः चिरं गृहीत्वा त्वयि न विन्यस्तः। The answer is—There
are two verbs विन्यस्तः and गृहीत्वा with both of which करः is con-
strued. विन्यस्त is the principal verb (आख्यात) and गृहीत्वा is the
subsidiary verbal form being incomplete i. e., ending in क्त्वाच्।
So, though the connection of करः is directly with the principal
verb विन्यस्तः, yet its connection with गृहीत्वा is tacitly expressed
by the dictum of काशिका—"प्रधानशक्ताभिधाने गुणशक्तिरभिहितवत् प्रकाशते"—
commenting on this Haradatta in his पदमञ्जरी says—"आख्यातपदवाच्या
क्रिया विशेय्यत्वात् प्रधानम्। विशेषणभूता त्वप्रधानम्। तद्द्वारिण तद्विषययोः शक्त्योरपि
गुणप्रधानभावः। तत्र प्रधानानुवर्तित्वात् गुणानां तन्मुखप्रेक्षितत्वात् तद्विरुद्धकार्यारम्भा-
भावात् यथायथं विभक्तिसिद्धिः"। The गुणीभूतक्रिया or the incomplete verbs
depend upon the principal verbs to complete the predication.
So the meaning expressed by the principal verb cannot be
done otherwise by the incomplete verbs ; but, on the other hand,
incomplete verbs help the principal verbs, in the matter of
clear expression of the meaning of the construction. So,
though करः is explicitly connected with विन्यस्तः the principal verb,
yet it is implicitly taken to be construed with गृहीत्वा as well.
विन्यस्तः—Is put ; वि-नि + अस् + क्त कर्मणि।
The figure of speech is here काव्यलिङ्ग ; the 2nd line being
the cause of the 1st one ; रूपकालङ्कार is also in करानलङ्कृतः etc.
The metre is शार्दूलविक्रीडितम्।
Ch. of voice.—सन्तापं करानलङ्कृतम् इमं……सहसे। न भूयते उप-
शमेन च……। त्वया तन्वते। मूढः अहं……प्राप्तं……विन्यस्तवान्……स्पर्शं
……करम्।
आश्चर्यम्—Wonder ; आ - चर् + यत्। "आश्चर्य्य मनितो" इति सुडागमः ;

तृतीयोऽङ्कः 289
otherwise आ - चर् + यत् results in आचर्य्य meaning गन्तव्य । Again आ

• चर् + ण्यत् = आचार्य्य meaning गुरु (preceptor).
  Shloka 2. दुर्लक्ष्यम्—Difficult to be perceived. दुर्लक्ष्यमिति
  ग्रन्थकारपाठे दुःशब्दोऽपकृष्टवचनः—अलक्ष्यम् इति भावः । लक्षि ( लक्ष् + णिच् ) + यत्
  शक्यार्थे ( कृत्यप्रत्यय ) । न लक्ष्यम् 'सहसुपा' इति अस्वपदविग्रहे नित्यसमासः । In
  the reading दुर्लक्ष, it is derived as दुर् — लक्ष् + णिच् + खल् । खल् is
  the appropriate suffix in the sense of difficulty or absence of
  difficulty, when a root is preceded by ईषत्, दुः or सु ( “ईषद्दुःसुषु
  कृच्छ्राकृच्छ्रार्थे खल्” ) . So दुर्लक्ष्य in the sense of 'difficult to notice'
  is not grammatically justifiable. Do not say दुःखेन लक्ष्यम् प्रादित्वात् ।
  (Vide, Gita XI, A. Shastri, verse 17.)
  चल—Restless.
  N. B. Mind is called here दुर्लक्ष्य on account of its being
  atomic in nature according to the नैयायिकs—
  Cf. “साक्षात्कारी सुखादीनां करणं मन उच्यते ।
  अयौगपद्याज् ज्ञानानां तस्याणुत्वमिहेष्यते ॥”—कारिकावली
  Kanáda also in his aphorism says “तद्भावादणु मनः”—वै-सू ७।१।२३ ।
  Without mind knowledge is impossible inspite of other senses.
  In this connection श्रुति says, “अन्यत्रमना अभूवम् नाश्रौषम् अन्यत्रमना अभूवं
  नाद्राक्षमिति” । “न च मनसः सङ्कोचविकाशशालित्वात् उभयोपपत्तिरस्त्विति वाच्यम् ।
  नानावयवतन्नाशादिकल्पने गौरवालाघवान्निरवयवस्यैव मनसः कल्पनादिति संक्षेपः”—
  मुक्तावली ।
  That mind is restless, is attested in the गीता—
  अर्जुन उवाच—
  “चञ्चलं हि मनः कृष्ण ! प्रमाथि बलवद्दृढम् ।
  तस्याहं निग्रहं मन्ये वायोरिव सुदुष्करम् ॥
  19

290 रत्नावली
श्रीभगवानुवाच—
असंशयं महाबाहो ! मनो दुर्निग्रहं चलम् ।
अभ्यासेन तु कौन्तेय ! वैराग्येण च गृह्यते ॥ ६।३४-३५
शिलीमुखैः—With arrows.
समं—Simultaneously.
N. B. The cause of wonder on the part of the King is
this :—A target to be pierced is required to be visible and
steady to the marksman. But though the mind of the King
was unsteady in its nature as well as imperceptible owing to its
atomic nature, still it was pierced simultaneously with all the
arrows of Cupid. [ This indicates the god's almightiness.
This expression of the King is due to his extreme love-sick
condition. ]
The figure of speeeh is here (1) विभावना owing to the effect
of वेधन (piercing) being brought about without the existence of
causes, viz.,—स्थिरत्व (steadiness) and सुलक्ष्यत्व (perceptibility).
The definition of विभावना—“विभावना विना हेतुं कार्योत्पत्तिः” ।
(2) विरोधाभासालंकारः—As the विरोध arises when the invisible
and unsteady mind is simultaneously pierced by many arrows.
And the विरोध is refuted when विप्रलम्भ ( separation ) and the love-
sick-condition of the King are taken into consideration. The
metre is here अनुष्टुप् ।
Ch. of voice.—मनसा...चलेन...दुर्लक्ष्ये ण...कामः...एतत्...विद्धवान् ॥२॥
कुसुमधन्वन्—कुसुमं धनुर्यस्य ( बहु ) तत् सम्बोधने ; समासान्तः अनङ् by the
rule “वा संज्ञायाम्” । कुसुमधन्वन् is declined like आत्मन् । The alter-
native form is कुसुमधनुः ।
Sl. 3. मनोभवस्य—मनसि भवतीति मनस् - भू + अच् पचादित्वात् ।

तृतीयोऽङ्कः 291
. पञ्च बाणाः—The five recognized flowers are figuratively called
the five arrows of the god of love. They are :—
“अरविन्दमशोकञ्च चूतञ्च नवमल्लिका ।
नीलोत्पलञ्च पञ्चैते पञ्चबाणस्य सायकाः ॥”
नियताः—Settled, fixed. नि - यम् + क्त कर्म्मणि ।
अस्मद्विधः—अस्माकं विधा इव विधा ( अवस्था ) यस्य ( बहु ) सः । This
refers to his being himself in love-sick condition.
लक्ष्यः—Mark, target. लक्ष् + णिच् + यत् ।
लोके...गतम्—It is known in the world that all love-sick per-
sons are aimed at by the five arrows of the god of love.
विप्रतीपम्—Reversed. विप्रतिगता आपो यस्मिन् ( बहु ), the प of अप् is
changed into ई if it is preceeded by द्वि, अन्तर or उपसर्ग in a
compound by the rule “द्व्यन्तरुपसर्गेभ्योऽप ईत्” । The समासान्त अ comes
by the rule “ऋक्पूरब्धूःपथामानक्षे” ।
त्वयि—विषयाधिकरणे ७मी ।
असंख्याः—नास्ति संख्या येषां ( बहु ) तैः । Adj. to शरैः ।
अशरणः—नास्ति शरणं यस्य ( बहु ) सः । शरण means shelter etc.
‘शरणं गृहरक्षित्रोः’—अमरः ।
कामिजनः—कामिनां जनः ( ६ष्ठीतत् ) or कामी जनः कर्मधा । न् of कामिन्
elided by the rule “नलोपः प्रातिपदिकान्तस्य” । कामिजनः is here in प्रथमा
being the direct object of the root नी in नीतः—“गौणे कर्मणि दुह्यादेः
प्रधाने नीहृकृष्वहाम्” ।
पञ्चताम्—(1) The state of being reduced to the number five.
(2) Death. “पञ्चता मृत्युः”—अमरः । In death the five great
elements पृथिवी, अप् etc. ( पञ्च महाभूत ), of which the gross physical
body of ours is composed, are separated and merge in their

292 रत्नावली
respective original substrata. So death is called पञ्चत्व or पञ्चता ।
“पृथिव्यादिपञ्चमहाभूतानां स्वांशसंक्रमणात् पृथक्त्वम्' इति भरतः। पञ्चताम् is in
२या owing to its being the indirect object of the root नी in नीतः।
N. B. The King here means to say, 'It is known in the
world that numberless passionate persons are pierced by the five
arrows of Cupid. But so far as his own poor case is concerned,
the thing is quite reversed, as numberless (असंखा) arrows are
leading the few passionate persons like his own self to पञ्चता
(death).
Cf. “सुभगे कोटिसंख्यात्वमुपेत्य मदनाशुगैः ।
वसन्ते पञ्चता त्यक्ता पञ्चतासीद् वियोगिनाम् ॥
Again,
“तव कुसुमशरत्वं शीतरश्मित्वमिन्दो-
र्द्वयमिदमयथार्थं दृश्यते मद्विधेषु ।” etc.—Shak. III. 3.
The metre is here शार्दूलविक्रीडित । The figure of speech is
here विरोधाभास, but विरोध is refuted when पञ्चता means death.
There is a possibility of विषमालङ्कार here as well, for there is a
discordance in the function of cause and effect. The god of
love possessing five arrows and piercing numberless people
became otherwise in function in the case of the King, when the
arrows became numberless and the passionate persons were led
to पञ्चता । The definition of विरोधाभास is—
“विरोधश्चाविरोघेऽपि विरुद्धत्वेन यद्वचः'—काः प्रः १०।११०
The definition of विषम is—
“गुणी क्रिये वा यत् स्यातां विरुद्धे हेतुकार्ययोः ।
यहारब्धस्य वैकल्यमनर्थस्य च सम्भवः ॥
विरूपयोः सङ्घटना या च तद्विषम' मतम्” ॥ (सा. द. १०।७०-७१)