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

XXX RATNAVALI
looked. Its author flourished at such a period when Sanskrit
poetry was having a transit from originality to artificiality. H. H.
Wilson observes, "the Ratnávalí in short may be taken as one of
the connecting links of the old and the new school as a not
unpleasing production of that middle region through which Hindu
poetry passed from elevation to extravagance."
Characters.—C. R. Devadhara observes, "most of the
characters in the play are traditional and the poet has delineated
them in exact conformity with the legend." The main interest
of the play depends upon the incidents that have helped the
action of the drama to move towards the successful end of the
plot. As the action of the play is circumscribed within the limit
of a few days, the characters have not been given the opportunity
of displaying their individual peculiarities which mostly ensure
the abiding interest in the drama. Wilson remarks, in the circum-
scribed limits of the action "we have no right to entail much
contrast or development of character and it is enough that all the
individuals introduced preserve their identity." The principal
characters are :—
(I) Yaugandharáyana :—He is an astute farsighted politician
bent heart and soul on the welfare and future good of his master.
He was alert to the foretelling of a fortune-teller that the marriage
with Ratnávali would ensure the paramount monarchy of his
master and so he caught the first opportunity of removing all
obstacles from this marriage. From the beginning to the
end he has uniformly and unerringly manipulated the matters
to a successful end. He knew that the girl rescued from the
sea was Ratnávali ; yet he did not disclose it at once and put her
under the care of Vásavadattá so that the King might have a
hankering for having her as his bride when she would get the
opportunity of coming across his sight. He became satisfied
and attained self-complacency when Ratnávali was given to the
King by Vásavadattá ( इदानीं सफलपरिश्रमोऽस्मि संवृत्तः,—IV ). His

:
Is it स्मृ or स्तु?
Wait, "स्तुतेरपि ते श्लाघ्यः" = "even of praise you are worthy / worthy even of praise!"
Wait, "श्लाघ्य" means "praiseworthy".
"स्तुतेरपि श्लाघ्यः" = "praiseworthy even beyond praise"? Or "स्मृतेरपि ते श्लाघ्यः" = "even in memory you are praiseworthy"?
Wait, look at the conjunct:
Does it look more like स्मृ or स्तु?
In either case, it has the 'े' on the 'त'!
Wait, look at the first letter:
It has स्, and beneath it, is it म or त?
Wait, look at स्मृत vs स्तुत:
In स्तु, 'त' is attached beneath 'स्'.
In स्मृ, 'म' is attached beneath 'स्', or 'स्' is half and followed by 'मृ'.
Here, notice that under the crossbar of 'स्', there is a loop!
A loop with a bottom curve to the left: that's म with ृ!
So it's स्मृतेरपि or स्तुतेरपि!
Wait, let's look at line 15:
`(साधु कोशलपते साधु, स्मृतेरपि ते श्लाघ

of a lady of noble birth and steady character. In the third act
when she comes to know the plot hatched by Vidushaka and
Susangatá she shows her ill temper but subsequently she repents
her own attitude towards the King and comes back to be reconciled
with him. (cf: हञ्जे काञ्चनमाले, तथा चरणनिपतितमार्यपुत्रमवधीय्यागच्छन्त्या
मयातिनिष्ठुरं कृतम्। तदिदानीं स्वयमेव नामार्यपुत्रमनुनेष्यामि—III)
This shows her nobility of character and unswerving love for
her lord. She imprisoned Ságariká so that she might not come
to the view of the king, but she never adopted the attitude quite
in contrary to her tender nature. When the fire broke out she
screamed out that Ságariká was within the palace and got anxious
for her rescue so that she might not perish in the fire. Ságariká
was her rival, she could easily see her perish in the fire, but
her noble birth and tender heart did not allow her to maintain that
inhuman attitude. Her magnaninity is further testified by her
attitude when she handed over Ságariká to the king for marriage.
By that she shows her utmost affectionate feeling towards Ságariká
when the latter was in the position of truly being her rival.
(4) Sagarika.—She is the heroine of the drama. Her original
name Ratnávali was disgnised by the trick of the minister
under the name of Ságariká as she was rescued from the sea. She
was being brought from Simhala for marriage with the king of the
Vatsas, but in the way she fell a victim to the accident. She was
embarassed at such an adverse fortune and being made over to
Vásavadattá she lived there as a docile, amiable and humble girl
utterly resigned to the sweet will of the Queen. The noticeable
thing in her character is her intense love for the King at the very
first sight and being unable to fulfil her object tried even to put
an•end to her life (सर्व्वथा मरणमेव मम मन्दभागिन्या उपेक्षितम्). As a lady
of high birth, simple nature, susceptible to a keen sense of self-
prestige it is quite likely that she should be despondent of her life
under the adverse circumtances—quite in contrary to the situation
under which she was born and brought up. She could have

RATNAVALI xxxiii
disclosed her identity to the Queen or to her friend Susangatá and
thus could have cleared the situation and the misunderstanding ;
but she did not do that as the keen sense of honour was always
alive within her. She was a charming and accomplished lady,
quite capable of attracting the mind of the hero who was thus
to have a temporary feud with his old love on her account.
(5) Vasantaka—He is the Vidushaka depicted in the conven-
tional manner of stereotyped humour and light and frivolous
talks. He is a constant companion of the King not in respect
of kingly duties, but in harem politics, mostly in love-affair.
The King consults and takes always his help in these love-matters.
His ugly appearance, stupidity, voraciousness make him a
laughing-stock of all. In the original, Vidushaka has been painted
with a nobler trait when he underwent a risk to rescue the King
from the palace of Chanda Mahásena. In administering the love-
affairs of the King he puts himself to trouble by being imprisoned
by the Queen. His love for his master is unbounded. On the
whole he is the only comic element on the stage bringing about
diversion in the midst of seriousness of the action of the play.
[Other minor characters] Vasubhuti—He is the minister of the
king Vikramabáhu of Ceylon. He accompained Ratnávali
but falling victim to shipwreck along with बाभ्रव्य, the
chamberlain of Udayana joined the army of Rumanván in his
expedition against the king of Kosala. He returned therefrom
with a heart full of sorrow at the misfortune that befell Ratná-
vali and was in a fix how he would console his master, the king.
This shows his extreme devotion for his lord.
Kánchanamálá —She is the maid-servant of the Queen. She is
always devoted to her mistress who puts utmost confidence in her.
She is always anxious for a good bond remaining between the
King and her mistress and thus she makes her mistress always
alert as soon as she comes to know of any sign of inconstancy of
the King whenever a misunderstanding is caused by mistake.

XXXIV RATNAVALI
Susangatá :—She is an attendant and friend of the heroine.
She is always anxious to see the union of her friend with the King
and with this end in view she does everything possible for
Ságariká who confides everything to her. She was in the
plot with Vidushaka for bringing about a meeting between Sága-
riká and the King. She did all this disinterestedly not knowing
even that her friend was the daughter of a king. She was al-
ways sympathetic towards Ságariká for the situation in which she
was put.
Dramatis Personae
Males
सूत्रधारः—The Stage-manager.
उदयनः—The king of Kauśámbi, the hero.
वसन्तकः—The Vidushaka, a court-wit to Udayana.
यौगन्धरायणः—The prime minister to Udayana.
वसुभूतिः—The minister to the king of Simhala.
बाभ्रव्यः—The chamberlain of Udayana who was sent to Ceylon as a
match-maker.
विजयवर्मा—A military officer, the nephew of Rumaṇván—the
Commander-in Chief of Udayana.
शम्बरसिद्धिः—A Magician.
Females
नटी—The wife of the Stage-manager (सूत्रधार).
वासवदत्ता—Udayanana's queen, the daughter of Mahásena.
रत्नावली—The daughter of the king of Ceylon named Vikramabáhu.
सागरिका—The disguised name of Ratnávali.
काञ्चनमाला—The maid-servant of the queen Vásavadattá.
सुसङ्गता—The attendant and friend of Ságariká.
चूतलतिका ⎫
मदनिका ⎬ The maid-servants of the harem of Udayana.
निपुणिका ⎭
वसुन्धरा—The female porter.
Persons referred to in the play.
विक्रमबाहुः—The king of Ceylon, the father of Ratnávali—the heroine.
रुमण्वान्—The general of Udayana.
मेधाविनी—A talking pet bird of the Queen that disclosd the plot of
Susangatá.

र्त्तिः' (कीर्त्तिः).

Line 15:
"श्रीहर्षदेवः 'काव्यं यशसेऽर्थकृते व्यवहारविदे' इत्यादिना काव्यशास्त्रस्य यशआदि-"
Notice "यशआदि-" (sandhi not applied, or यशआदि).

Line 16:
"श्रेयःसाधनतां पश्यन्, तत्र पुनः काव्यशास्त्रस्य दृश्य-श्रव्यभेदेन द्विविधत्वात् 'नाट्यं भिन्नरु-"

Line 17:
"चेर्जनस्य बहुधाप्येकं समाराधनम्' इति श्रव्यकाव्यापेक्षया दृश्यकाव्यस्य लोकचित्तहारि-"
(Quotation from Malavikagnimitra: 'नाट्यं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम्').

Line 18:
"तया उत्कर्षं, 'काव्यालापांश्च वर्जयेत्' इत्यादिनिषेधानामसत्काव्यविषयतां च विचारयन्"

Line 19:
"'रसो वै सः' इति श्रुतिवाक्येन रसानुभूतौ परमपुरुषार्थप्राप्तिबीजं निबध्नन्, पुनः अष्टधा"

Line 20:
"विभज्यमानानां रसानां मध्ये शृङ्गाररसस्य प्राधान्यं 'शृङ्गारी चेत् कविः काव्ये जातं रसमयं"
(Quotation from Dhvanyaloka: 'शृ

२ रत्नावली
जगत्' इत्यादिमहाजनवाक्यतातपर्य्यानुसारेण सम्यग् विविच्य शृङ्गाररसप्रधानां रत्नावलीं
नाम नाटिकां चिकीर्षुः ग्रन्थविघ्ननिराकरणमुखेन देवतास्तुतिद्वारा नान्दीश्लोकान्
अवतारयन् तत्र प्रथमम् आह—पादाग्रस्थितया इत्यादि। पादयोः अग्रे ताभ्यां
स्थितया अवतिष्ठमानया उच्चैर्भावार्थमित्यर्थः। मुहुः पुनः पुनः स्तनभरेण नम्रतां
प्रह्वताम् आनीतया प्रापितया शम्भोः शिवस्य, सस्पृहलोचनत्रयपथं सस्पृहं साकाङ्क्षं
लोचनत्रयं तस्य पन्थानं 'ऋक्पूरब्धूःपथामानक्षे इति समासान्तः अ-प्रत्ययः। यान्त्या
गच्छन्त्या ह्रीमत्या लज्जाशीलया प्रथमोद्भुतयौवनत्वात्, सपुलकस्वेदोद्गमोत्कम्पया पुलकः
रोमाञ्चः 'पुलको लोमहर्षणम्' स्वे दोद्गमः घर्मोत्पत्तिः उत्कम्पः वेपथुः च तैः सहिता तया।
सात्त्विकभावोदयात् देवाधिदेवे अनुरागः सूचितः। एवम्भूतया गिरिजया पार्व्वत्या तदारा-
धने तस्य शिवस्य आराधने पूजायां शिरसि ईङ्गितः अर्पयितुम् अभिप्रेतः क्षिप्तः कुसुमाञ्जलिः
अन्तरे पार्वतीशिवयोर्मध्ये विश्रिष्यन् विशीर्णः वः युष्मान् सामाजिकान् रङ्गान्तर्वर्त्तिनः पातु
रक्षतु। अत्रायमभिप्रायः—उच्चैर्वेदीमास्थितस्य शम्भोः शिरसि तन्तुष्ट्यर्थं पुष्पाञ्जलिं दातु-
कामा पार्व्वती यदा पादाग्राभ्यां स्थिता तदा देवेन मदनावेशात् निरीक्ष्यमाणा तया देव्या
लज्जावशात् पुष्पाञ्जलिः उभयोरन्तरे एव क्षिप्तः। शार्दूलविक्रीड़ितं वृत्तम्। काव्य-
लिङ्गमलङ्कारः, कुसुमाञ्जलेः अन्तरे पतनं प्रति पूर्व्वपादस्थितानां पदार्थानाम् हेतुभूतत्वात्।
अस्य श्लोकस्य मगणेन आरम्भात् ग्रन्थस्य शुभसमाप्तिः सूच्यते। यथोक्तं भामहेन—'क्षेमं
सर्व्वगुरुर्द्दत्ते मगणो भूमिदैवतः।” अन्येन च “मौ भूमिस्त्रिगुरुः श्रियं दिशति" इति ॥१॥
Prose. पादाग्रस्थितया मुहुः स्तनभरेण नम्रताम् आनीतया तदाराधने
सस्पृहलोचनत्रयपथं यान्त्या ह्रीमत्या सपुलकस्वेदोद्गमोत्कम्पया गिरिजया शम्भोः शिरसि
ईङ्गितः क्षिप्तः कुसुमाञ्जलिः अन्तरे विश्रिष्यन् वः पातु ॥१॥
Beng. Trans. তাঁহার (শিবের) আরাধনাকালে পাদাগ্রে দণ্ডায়মানা, স্তনভারে
পুনঃ পুনঃ বিনম্রগাত্রা পার্ব্বতীর প্রতি শিব পুনঃ পুনঃ নেত্রত্রয়দ্বারা সস্পৃহ দৃষ্টিপাত
করিতেছিলেন। (তাহাতে) পার্ব্বতীর রোমাঞ্চ, ঘর্ম্মোদ্গম ও ঈষৎকম্প হইয়া লজ্জার
উদ্রেক করিতেছিল। সেই হেতু পার্ব্বতীকর্তৃক তদীয় শিরোভাগে প্রদানার্থ ঈপ্সিত যে
কুসুমাঞ্জলি নিক্ষিপ্ত হইয়াও উভয়ের মধ্যস্থলে বিশ্লিষ্ট হইয়াছিল, সেই পুষ্পাঞ্জলি
তোমাদিগকে রক্ষা করুক ॥১॥

नान्दी ३
Eng. Trans. May the handful of flowers scattered in the
intervening space while intended to be offered on the head of
Shiva by the mountain-born Goddess, protect you—the Goddess
who stood erect on her tip-toes but who was caused to be bent
down again and again by the heaviness of her breasts, who came
often within the range of his (Shiva's) three wistful eyes
and who (thus) felt abashed with tremor, perspiration and
hairs standing erect on her body 1.
Eng. Expl. Shiva was seated on an elevated place.
Parvati was below the altar, and with a view to offering
flowers on the head of her lord, stood on her tip toes, so that
her hands full of flowers might easily reach his head In the
meantime while Shiva cast his wistful amorous glances on her
beautiful person, again and again bent down by the heaviness
of her breasts, she felt abashed; her body, perspiring through
excessive emotion of love, began to shiver with hairs standing
on their ends; in that position she could no longer sustain to
extend her hands aloft on Shiva's head and so the flowers,
without reaching their desired goal, fell scattered in the space
between the God and the Goddess.
अपिच—
औत्सुक्येन कृतत्वरा सहभुवा व्यावर्तमाना¹ ह्रिया
तैस्तैर्बन्धुवधूजनस्य वचनैर्नीताभिमुख्यं पुनः ।
दृष्ट्वाग्रे वर²मात्तसाध्वसरसा गौरी नवे सङ्गमे
संरोहत्पुलका हरेण हसता श्लिष्टा शिवायास्तु वः ॥२॥
विघ्नबाहुल्यमाशङ्कमानेन महाकविना तन्निरासार्थं प्रभूतमङ्गलकामनया पुनरेव
नान्दीश्लोको वितन्यते—अपिच—औत्सुक्येनेति । औत्सुक्येन पतिसन्निधौ गमनार्थं
1 व्यावर्तमाना। 2 परम्।

4
रत्नावली

औत्सुक्येन हेतुना कृतत्वरा कृतसम्भ्रमा सहभुवा सहजया ह्रिया लज्जया व्यावर्तमाना
परावृत्ता। व्यावर्तमाना इति पाठे विपूर्व्यकात् वृत्तधातोः णिजन्तात् कर्म्मणि शानच्। ह्रिया
इत्यत्र अनुक्ते कर्त्तरि तृतीया। बन्धुवधूजनस्य बन्धवः एव वध्वः तासां जनः सखीजनः
इत्यर्थः। तस्य; यद्वा बन्धूनां वधूजनस्य तैः तैः समग्रैः वचनैः अनुरोधवाक्यैः गौर्य्याः
पतिसमीपगमनप्रवृत्तिजननार्थमित्यर्थः। पुनः आभिमुख्यं साम्मुख्यं नीता प्रापिता; गौर्य्याः
विशेषणमेतत्। वरं पतिम् अग्रे दृष्ट्वा। परम् इति पाठे भृशमित्यर्थः। आत्तसाध्वसरसा
साध्वसं भयं च नवपरिणीतत्वात्, रसः अनुरागः च उद्गतयौवनत्वात्। आत्तौ गृहीतौ
प्राप्तौ साध्वसरसौ यया सा (गौरी) नवे सङ्गमे संसर्गे हसता हरेण शिवेन श्लिष्टा
आलिङ्गिता (अत एव) संरोढत्पुलका उद्गतरोमाञ्चा गौरी वः युष्माकं सामाजिकानां
शिवाय मङ्गलाय अस्तु भवतु। शार्दूलविक्रीड़ितं वृत्तम्। अत्र नवोढ़ाया गौर्य्याः यथावद्
वर्ण्यमानत्वात् स्वभावोक्तिः, संरोढत्पुलका इत्येतत् प्रति नवसङ्गमादिकस्य हेतुभूतत्वात्
काव्यलिङ्गमलङ्कारः ॥२॥

Prose. औत्सुक्येन कृतत्वरा सहभुवा ह्रिया व्यावर्तमाना पुनः बन्धुवधूजनस्य
तैः तैः वचनैः आभिमुख्यं नीता अग्रे वरम् दृष्ट्वा आत्तसाध्वसरसा नवे सङ्गमे हसता हरेण
श्लिष्टा संरोढत्पुलका गौरी वः शिवाय अस्तु ॥२॥

Beng. Trans. যে গৌরী (পতির সহিত নূতন মিলন হইবে বলিয়া) ঔৎসুক্যবশতঃ
সত্বর গমনপূর্ব্বক স্বভাবসিদ্ধ লজ্জাশীলতাহেতু প্রত্যাবৃত্ত হইয়া আসিতেছিলেন এবং যিনি
সখীদিগের নানা অনুরোধে (পতির) সম্মুখে উপনীত হইয়া তৎপ্রতি দৃষ্টিপাত করিলে
পর সেই অভিনব সম্মিলনে ভয়মিশ্রিত অনুরাগে যাঁহার রোমাঞ্চের আবির্ভাব হইয়াছিল,
সহাস্যবদন হরকর্তৃক আলিঙ্গিতা সেই গৌরী তোমাদের মঙ্গল বিধান করুন।২।

Eng. Trans. And also—May Gauri be propitious to you
—Gauri who having hastened through eagerness turned back
owing to her inborn bashfulness and who then being impelled
by various requests of her female friends was taken to (his)
presence but was caught with fear mingled with love (or fear
and feeling of love) as she looked upon (her) husband and
who with her hairs standing or their ends in her new union
was embraced by smiling Hara. 2.

नान्दी ५
अपिच—
सम्प्राप्तं मकरध्वजेन मथनं$^१$ त्वत्तो मदर्थे पुरा
तद्युक्तं बहुमार्गगां मम पुरो निर्लज्ज ! वोढुं$^२$ तव ।
तामेवानुनय स्वभावकुटिलां हे कृष्णकण्ठ ग्रहं
मुञ्चेत्याह रुषा यमद्रितनया लक्ष्मोश्च पायात् स वः ॥
(N. B. This Shloka seems to be an interpolation as this is
found to be omitted in some of the available mss.).
पुनरेव नान्दीश्लोकमाहतेति—अपि च—सम्प्राप्तं मकरध्वजेनेत्यादिना । क्वचित्
पुस्तके अस्य श्लोकस्य अदर्शनात् अस्य प्रक्षिप्तत्वमवगम्यते । (कृष्णपक्षे)—हे कृष्ण, पुरा
समुद्रमन्थनकाले मदर्थे मन्मथोत्पत्तौ लक्ष्याः लाभार्थमित्यर्थः । मकरध्वजेन समुद्रेण
कदनं पीडनं मन्थनमिति यावत् सम्प्राप्तम् । हे निर्लज्ज । तत् तस्मात् मम पुरः अग्रे बहु-
मार्गगां बहुभिः मार्गैः आत्मगोपनेन गच्छति या सा कुलटात्वात्, कुब्रामुद्दिश्य उक्तिरेषा ;
सरस्वतीं वा बंदादिबहुशास्त्रमार्गगामिनीं—बोढुं युक्तमिति काकुः ; न युक्तमित्यर्थः ।
तां भावकुटिला कुटिलभावविशिष्टा अनुनयस्व । ( मे ) कण्ठग्रहं कण्ठालिङ्गनं मुञ्च
परित्यज ।—इति एवंप्रकारेण लक्ष्मीः यं कृष्णं रुषा क्रोधेन प्राह सः वः पायात् रक्षेत् ।
पक्षे ( शिवपक्षे )—हे कृष्णकण्ठ नीलकण्ठ विषमभक्षणादित्यर्थः । मदर्थे माम् उद्दिश्य
तवानुकूल्यप्राप्त्यर्थं पुरा मकरध्वजेन कामदेवेन त्वत्तः—शिवमभिप्रेत्य उक्तिरेषा । मथनं पीडनं
स्तुत्युरिति यावत् । संप्राप्तम् । हे निर्लज्ज तत् तस्मात् मम पुरः बहुमार्गगां गङ्गां
वोढुं तव युक्तमिति काकुः ; न युक्तमित्यर्थः । स्वभावकुटिलां कुटिलगतिसम्पन्नां
नदीवेगस्य सर्व्वथा वक्रगमनस्वभावत्वादित्यर्थः । अनुनय । ग्रहं श्लेषं मुञ्च, इति रुषा
क्रोधेन अद्रितनया पार्वती यम् आह सः शिवः वः पायात् रक्षतु । शार्दूलविक्रीडितं
वृत्तम् ।
Prose. (शिवपक्षे) पुरा मदर्थे मकरध्वजेन त्वत्तो मथनं संप्राप्तम् ।
१ कदनं । २. वोदुमत्न ।

6 রত্নাবলী
( হৈ ) নির্লজ্জ, তদ্‌ মম পুরঃ তব বহুমার্গাং বোঢ়ুং যুক্তম্। হে কৃষ্ণকণ্ঠ, স্বভাবকুটিলাং
তাম্ এব অনুনয়, মদ্ গ্রহং মুঞ্চ, ইতি রুষা যম্ অদ্রিতনয়া আহ স বঃ পায়াৎ।
( কৃষ্ণপক্ষে ) পুরা মদর্থে মকরধ্বজেন ত্বত্তঃ কদনং সংপ্রাপ্তম্। ( হৈ ) নির্লজ্জ, তদ্‌ মম
পুরঃ তব বহুমার্গাং বোঢ়ুং যুক্তম্। হে কৃষ্ণ, ভাবকুটিলাং তাম্ অনুনয়স্ব, কণ্ঠগ্রহং মুঞ্চ,
ইতি রুষা যং লক্ষ্মীঃ আহ সঃ বঃ পায়াৎ।
Beng. Trans. ( শিবপক্ষে )—পুরাকালে আমারই জন্য কামদেব তোমার নিকট
হইতে ধ্বংসপ্রাপ্ত হইয়াছিল। হে নির্লজ্জ, আমার সম্মুখে সেই হেতু বহুমার্গা ( ত্রিপথ-
গামিনী ) গঙ্গাকে বহন করা তোমার পক্ষে যুক্তিযুক্ত বটে! স্বভাবতঃ কুটিলগতিবিশিষ্ট৷
তাহাকে ( গঙ্গাকে ) অনুনয় কর। হে কৃষ্ণকণ্ঠ ( নীলকণ্ঠ ) আমার গ্রহ অর্থাৎ দেহস্পর্শ
( অর্থাৎ আলিঙ্গন ) পরিত্যাগ কর।—পার্ব্বতী ক্রোধে যাঁহাকে এইরূপ বলিয়াছিলেন, তিনি
তোমাদিগকে রক্ষা করুন।
( কৃষ্ণপক্ষে )—পুরাকালে আমাকে লাভ করিবার জন্য সমুদ্র তোমাকর্তৃক মথিত
হইয়াছিল। হে নির্লজ্জ, আমার সম্মুখে শ্রুতিস্মৃত্যাদিবহুমার্গাবলম্বিনী ( সরস্বতীকে )
[ অথবা কুলটা ( কুব্জাকে ) ] বহন করা তোমার পক্ষে যুক্তিযুক্ত বটে! কুটিলভাববিশিষ্ট৷
তাহাকে তুমি অনুনয় কর। হে কৃষ্ণ, তুমি আমার কণ্ঠদেশ ধারণ পরিত্যাগ কর।—
ক্রোধে লক্ষ্মী যাঁহাকে এইরূপ বলিয়াছিলেন, সেই ( কৃষ্ণ ) তোমাদিগকে রক্ষা করুন।
Eng. Trans. ( In the case of Shiva )—‘Formerly the fish-
bannered deity suffered destruction from you for my sake. O
shameless one, so it is befitting of you to bear the river Ganga
( having many courses to flow) in my very presence ! O blue-
necked one, entreat her who is crooked ( in her course ) by her
nature ; give up embracing me’—May He who is thus said in
anger by the mountain-born Goddess, protect you.
( In the case of Krishna )—‘Formerly the ocean was
churned through your ( agency) for my sake. O shameless
one, so it behoves thee to bear Sarasvati (presiding over
different branches of learning) in my presence ! O Krishna,
entreat her who is crooked by nature ; give up embracing me’
—May He who was thus said by Lakshmi in anger, protect you.

नान्दी 7
अपिच—
क्रोधेद्धै¹र्दृष्टिपातैर्मुहु²रुपशमिता वह्नयोऽमी त्रयोऽपि
त्रासार्त्ता ऋत्विजोऽधश्चपलगणहतोष्णीषपट्टाः पतन्ति ।
दक्षः स्तौत्यस्य पत्नी विलपति ³करुणं⁴ विद्रुतं चापि⁵ देवैः
शंसन्नित्यात्तहासो⁶ मखमथनविधौ पातु देव्यै शिवो वः ॥३॥
पुनः श्लेषभूतमङ्गलविधानार्थं तृतीयं नान्दीश्लोकमाह—अपि च—क्रोधेद्धैरिति
अमी त्रयः अपि वह्नयः यज्ञाग्नयः आह्वनीयगार्हपत्यदक्षिणनामानः क्रोधेद्धैं
क्रोधप्रज्वलितैः । इन्धधातोः क्तः कर्मणि । त्रिभिः दृष्टिपातैः शिवस्य इत्यर्थः । उपशमिताः
निर्वापिताः यज्ञाधिष्ठाता अपिदेवोऽपि शिवक्रोधभयात् निर्वाणं गत इत्यर्थः । त्रासार्त्ताः
ऋत्विजः ऋतौ यजन्ति ये ते याजकाः “ऋत्विजौ याजकाश्च ते” इत्यमरः । चपलगणहतोष्णी-
षपट्टाः (सन्तः ) चपलाः चञ्चलाः गणाः शिवगणाः प्रमथादयः तैः हृतानि बलात् आकृष्टानि
उष्णीषपट्टानि शिरोवेष्टनवस्त्राणि येषां ते तथाविधाः सन्तः अधःपतन्ति उर्व्यैर्यज्ञभूमेः अधः
पतन्ति भयावेशादित्यर्थः । दक्षः स्तौति-शिवम् प्राणरक्षार्थम् इत्यर्थः। अस्य पत्नी प्रसूतिः करुणं
दीनम् असहायत्वात् विलपति क्रन्दति । करुणा इति पाठे भौतिकस्त्वति बोद्धव्यम् । देवैः
यज्ञसभायामाहूतैरित्यर्थः विद्रुतं पलायितम्-। इति एवं प्रकारेण मखमथनविधौ दक्षयज्ञविनाशे
आत्तहासः इसन् शिवः, अट्टहासः इति वा पाठः—देव्यै पार्व्वत्यै शंसन् कथयन् वः युष्मान्
सामाजिकान् पातु । पुरा दक्षप्रजापतिना अवज्ञातः शिवः यज्ञशालायां सतीमृत्युमवगम्य
रोषात् जटाभ्यन्तरात् वीरभद्रनामानं करालवेशं प्रमथं जनयित्वा तत्सहितः दक्षयज्ञं
विध्वंसयामास इति पौराणिकी वार्त्तानुसन्धेया । अत्र रौद्ररसः । स्रग्धरा वृत्तम् ॥ ३ ॥
Cf. “भवो भवान्या निधनं प्रजापतेरसत्कृताया अवगम्य नारदात् ।
स्वपार्षदसैन्यं च तदध्वरर्द्धिभिर्विद्रावितं क्रोधमपारमादधे ॥
क्रुद्धः सुदष्टौष्ठपुटः स धूर्जटिजटां तडिद्वह्निसटोपरोचिषम् ।
उत्कृत्य रुद्रः सहसोत्थितो हसन् गभीरनादी विससर्ज तां भुवि ॥
1 क्रोधान्धैः । 2 त्रिभिः । 3 प्रलपति । 4 करुणा । 5 चोपि । 6 नित्याट्टहासः ।

8 रत्नावली
ततोऽतिकायस्तनुवा स्पृशन्दिवं सङ्खबाहुर्घनबर्क् विसूर्व्यदृक् ।
करालदंष्ट्रा ज्वलदग्निमूर्द्धजः कपालमाली विविधोद्यतायुधः ॥
... ... ... ... ...
तावत् स रुद्रानुचरैर्महामखो नानाव्युधैर्वामनकैरुदायुधैः ॥
पिङ्गैः पिशङ्गैर्मकरीदराननैः पर्थ्याद्रवद्भिर्विददाम्वरुध्यत ॥
केचिद्बभञ्जुः प्राग्वंशं पत्नीशालां तथापरे ।
सद आग्नीध्रशालाञ्च तद्विहारं महानसम् ॥
रुरुजुर्यज्ञपात्राणि तथैकेऽग्नीननाशयन् ।
कुण्डेष्वमूत्रयन् केचिद्विभिदुर्वेदिमेखलाः ॥” Bhāgavata—४।५
Prose. क्रोधेद्धैः दृष्टिपातैः अमी त्रयोऽपि वह्नयः उपशमिताः । ऋत्विजः
चपलगणहतोष्णीषपट्टाः, त्रासात्र्ताः ( सन्तः ) अधःपतन्ति । दक्षः स्तौति, अस्य पत्नी करुणं
विलपति । देवैः विद्रुतमिति मखमथनविधौ देव्यै शंसन् साट्टहासः शिवः वः पातु ॥ ३ ॥
Beng. Trans. আরও দেখ—“ক্রোধ-প্রজ্বলিত দৃষ্টিপাতমাত্রেই ( দক্ষিণাগ্নি,
গার্হপত্য ও আহবনীয় নামক ) বহ্নিত্রয় নির্ব্বাপিত হইল। (আমার) স্বভাবচঞ্চল
প্রমথগণ ঋত্বিগ্গণের মস্তকস্থিত উষ্ণীষের বস্ত্র ছিনাইয়া লইলে তাঁহারা ( ঋত্বিগ্গণ )
ভয়ার্ত্ত হইয়া ( যজ্ঞবেদী হইতে ) নিম্নদেশে পতিত হইলেন। দক্ষ স্তব করিতে লাগিলেন।
তাঁহার পত্নী করুণ বিলাপ করিতে থাকিলেন ও দেবতাগণ ( প্রাণভয়ে ) পলায়ন করিলেন”।
—এই যজ্ঞধ্বংসের কথা দেবীর ( পার্ব্বতীর ) নিকট সহাস্যভরে যিনি বলিতেছিলেন
সেই শিব তোমাদিগকে রক্ষা করুন। ৩।
Eng. Trans. “All those three fires were instantly extin-
guished at the glaces blazing with wrath. The sacrificial priests
whose turbans were snatched away by (my) sprightly ganas
(impish attendants) fell down (from the elevated altar) being
overtaken with fear. Daksha began to eulogize; his wife began
to weep piteously; and the gods ran away (through fear)”—May
Shiva who was thus laughingly relating to the Goddess (Parvati)
the way of the destruction of the Sacrifice, protect you. 3.

नान्दी 9
Allusion. Daksha, the son of Brahmá and the father-
in-law of Shiva, performed a sacrifice and disregarded altogether
the share of the latter in the sacrifice. Sati the daughter of
Daksha, having heard of this from Narada could not brook
this insult towards her husband and went to the place of her
father's sacrifice against the will of Shiva. There she heard some
remarks of her father casting aspersions on the character of her
husband and she gave up her life in remorse in that sacrificial
enclosure. Being informed of this calamitous end of Sati by
Nandin, Shiva flew into a rage and creating a terrific destruc-
tive person named Virabhadra from his matted locks, rushed
towards Daksha's palace; and arriving there destroyed the
sacrifice, killed Daksha and left everything in a chaotic state.
Then he went on creating a havoc until he was pacified by
Brahmá and other gods.
किञ्च—
जितमुडुपतिना नमः सुरेभ्यो
द्विजवृषभा निरुपद्रवा भवन्तु ।
भवतु च पृथिवी समृद्धशस्या
प्रतपतु चन्द्रवपुर्नररेन्द्रचन्द्रः ॥ ४ ॥
पुनरपि मङ्गलात्मकं नान्दीश्लोकमुदाहरति—किञ्च—जितमित्यादिना । उडुपतिना
नक्षत्रपतिना चन्द्रेण जितम् सर्वोत्कर्षेण स्थितम् । जिधातोः भावे क्तः । अत्र चन्द्र-
प्रशंसायां भरतवंशोद्भवस्य कवेः श्रीहर्षस्य उत्कर्षः द्योत्यते । यद्वा चन्द्रस्य ओषधि-
पतित्वेन तज्जयेन चौषधीनां बाहुल्यं तेन प्रजोत्कर्षः इत्यपि ध्वनितम् । तथा च—
“चन्द्रनामाङ्किता कार्या स रसानां यतो निधिः” इति निर्देशादियं चन्द्रनामाङ्किता नान्दी कृता
ग्रन्थकृता । सुरेभ्यो देवेभ्यो नमः । द्विजवृषभाः ब्राह्मणश्रेष्ठाः निरुपद्रवाः विघ्नमुक्ताः भवन्तु ।
वृषभशब्दस्यात्र श्रेष्ठार्थवाचकत्वम्—“स्युरुत्तरपदे व्याघ्रपुङ्गवर्षभकुञ्जराः । सिंहशार्दूलना-
गाद्याः पुंसि श्रेष्ठार्थगोचराः” इत्यमरः । ब्राह्मणानां निरुपद्रवत्वं वेदानुष्ठानं राज्यस्य

मङ्गलञ्च शीतवति । पृथिवी च सस्यसम्पन्ना प्रभूतधान्यशालिशिला भवतु । चन्द्रवपुः चन्द्र इव
वपुः देहं यस्य सर्व्वाह्लादकत्वादित्यर्थः । नरेन्द्रचन्द्रः सर्वोत्कर्षेण वर्त्तमानः राजा—प्रकृत्यार-
गौडर्वः नायकः उदयनी वा—प्रतपतु प्रतापशीली भवतु । पुष्पिताग्रावृत्तम् । 'अयुजि
नयुगरफतो यकारो युजि च नजौ जरगाश्च पुष्पिताग्रा' इति लक्षणम् ॥ ४ ॥
Prose. उडुपतिना जितम् ; सुरेभ्यः नमः ; द्विजवृषभाः निरुपद्रवाः भवन्तु ;
पृथिवी च सर्व्वसस्या भवतु । चन्द्रवपुः नरेन्द्रचन्द्रः प्रतपतु ॥ ४ ॥
Beng. Trans. নক্ষত্রমণ্ডলাধিপতি চন্দ্রমায় জয় হউক, দেবগণকে নমস্কার করি।
দ্বিজশ্রেষ্ঠগণ নিরুপদ্রব হউন ; পৃথিবী শস্যসম্পন্না হউক এবং সোম্যমূর্তি মহারাজও প্রভাব-
সম্পন্ন হউন। ৪।
Eng. Trans. Glory to the moon, reverence to the gods.
Let the illustrious Brahmanas be free from troubles. May the
Earth be fertile aad may the king of moonlike loveliness shine
ever resplendent. 4.
(नाद्यन्ते)
सूत्रधारः—अलमतिविस्तरेण¹। अद्याहं वसन्तोत्सवे
सबहुमानमाहूय नानादिग्देशागतेन राज्ञः श्रीहर्षदेवस्य पाद-
पद्मोपजीविना राजसमूहेनोक्तो यथा—‘अस्मत्स्वामिना श्रीहर्ष-
देवेनापूर्व्ववस्तुरचनालङ्कृता रत्नावली नाम नाटिका कृतेत्यस्माभिः
श्रोत्रपरम्परया श्रुता, न तु प्रयोगतो दृष्टा। तत्तस्यैव राज्ञः
सकलजनहृदयाह्लादिनो बहुमानाद् अस्मासु चानुग्रहबुद्ध्या
यथावत् प्रयोगेण त्वया नाटयितव्या’ इति। ²तद्यावदिदानीं
नेपथ्यरचनां कृत्वा यथाभिलषितं सम्पादयामि।³ अये, आव-
र्ज्जितानि च मया सकलसामजिकानां मनांसीति मे निश्चयः।
यतः⁴--
पूर्वोक्तेन नान्दीश्लोकचतुष्टयेन ‘नान्दी काव्यार्थसूचिका’ इति नियममनुसृत्य तत्र
प्रथमश्लोकेन गिरिजया शिवानुकूल्यार्थं कुसुमाञ्जलिना तदाराधनद्वारा सागरिकया वत्स-
1 प्रसङ्गेन। 2. परिक्रम्यावलोक्य च। 3 परिषदमवलोक्य। 4 कुतः।

प्रस्तावना 11
राजानुकूल्यार्थं कामदेवपूजनं संक्षेपेण सूच्यते । औत्सुक्येन कृतत्वरा इत्यादिना
द्वितीयेन श्लोकेन बन्धूकपूजनेन पतिसांमुख्यमानीतया गौर्या चारुताजलकेलिरङ्गादावुपलम्भ-
हारिण द्वितीयाङ्के सागरिकायाः सुसदृशतया राजसमीपनयनं तद्दर्शनेन नायिकायाश्च
सात्त्विकभावोद्रेकः इत्यादिद्वितीयाङ्कतातपर्य्यं समासतः व्यज्यते । क्रोधिष्टं रित्यादितृतीयेन श्लोकेन
दग्धशशविनाशार्थं शिवक्रोधवर्णनद्वारेण देव्याः वासवदत्तायाः क्रोधः, दग्धतुल्या शिवक्रोध-
प्रशमनवर्णनेन राज्ञः देवीप्रसादनं, दग्धपल्लविलापवर्णनद्वारा सागरिकायाः असहायावस्था
चेति तृतीयाङ्कार्थः समासेन उपक्षिप्यते । चतुर्थश्लोकेन राज्ञः प्रकृतीनाञ्च सामान्यतः अभ्यु-
दयवर्णनेन चतुर्थाङ्के राज्ञः उदयनस्य कोशलविजयसागरिकालाभादयः काव्यार्थाः
सूचिताः । अत्र नान्दीश्लोकानां चतुष्कलात् चतुर्षु श्लोकेषु च पुनः षोडशपादानां वर्त्तमान-
त्वात् 'श्लोकपादः पदं केचित् सुप्तिङन्तमथापरे । परेऽवान्तरवाक्यैकस्वरूपं पदमूचिरे'
इति पदलक्षणेन इयं षोडशपदा नान्दी पत्रावलीसंज्ञा, अभिधेयस्यवस्तुनः समासेनाख्या
विन्यासात् । विस्तरस्तु आङ्गलभाषाटीकायां द्रष्टव्यः ।
नान्दीश्लोकान् समाप्य आह—नान्द्यन्ते । ततः सूत्रधारस्य प्रवेशः । सूत्रधारः इति । सूत्रं
प्रयोगव्यवस्थां यः धारयति स सूत्रधारः । अलमतिविस्तरेण । अधिकनान्दीश्लोकपाठेन प्रयोक्त-
व्यस्य वस्तुनः उपक्षेपे बिलम्बो मा भूदिति निषेधः । वसन्तोत्सवे मधूत्सवे फाल्गुनपौर्ण-
मासीमारभ्य पञ्चमीपर्य्यन्तं वर्त्तमाने इत्यर्थः । सबहुमानम् सयत्नम् । पादपद्मोपजीविना
एतेन श्रीहर्षदेवस्य सार्व्वभौमत्वं सूच्यते । अपूर्व्ववस्तुरचनालङ्कृता वत्सराजोदयनस्य चरित-
रूपं लोकमनोहारि वस्तु तस्य रचनया अलङ्कृता शोभिता । श्रोत्रपरम्परया श्रोत्राणां परम्परा
तया । प्रयोगतः अभिनयेन इत्यर्थः । सकलजनहृदयाह्लादिनः एतेन राज्ञः श्रीहर्षस्य
प्रकृतिप्रियत्वं व्यज्यते । अनुगृह्णीताः प्रयोगेण अनुगृहीता भविष्याम इत्यर्थः । यथा-
वत्प्रयोगेण नाटयितव्या अभिनेतव्या । नेपथ्यरचनां वेषरचनां "आकल्पो वेषो नेपथ्यम्"
इति । यथाभिलषितम् यथेप्सितं राजसमूहेनेत्यर्थः । आवर्जितानि वशीकृतानि अभिमुखी-
कृतानि इति यावत् । निश्चयः सन्देहाभावः ।
Beng. Trans. सूत्रधार—आर वाग्विस्तारेर प्रयोजन नाई। अद्य एई
बसन्तोत्सबे महाराज श्रीहर्षेर पादपद्मोपजीवी राजन्यवर्ग नानादिक् ओ देश हईते .
आसिया बहु सम्मान प्रदर्शनपूर्वक आमाके आदेश करियाछेन ये—'आमादेर प्रभु
महाराज श्रीहर्ष ये अपूर्व्व कथावस्तु रचना द्वारा परिशोभित रत्नावलीनामक नाटिका

12 রত্নাবলী
রচনা করিয়াছেন তাহা আমরা শ্রোত্রপরম্পরায় শুনিয়াছি, কিন্তু অভিনীত হইতে দেখি
নাই ; সুতরাং সকল লোকের চিত্তহারী সেই মহারাজের প্রতি সম্মান এবং আমাদের
প্রতি অনুগ্রহ প্রকাশপূর্ব্বক আপনি যথারীতি উহার অভিনয় করুন।' সেইজন্য আমি এখন
বেশরচনা করিয়া ইঁহাদের অভীষ্ট সম্পাদন করিব। অহো, আমার দ্বারা সমস্ত
সামাজিকগণের মন বশীভূত হইয়াছে (অর্থাৎ সকলে স্তিমিতভাব অবলম্বন করিয়াছেন)
ইহাতে আর সংশয় নাই।
Eng. Trans. Stage-manager—No need of prolixity.
Today in this occasion of the Spring-festival I have been called
with great respect by the circle of kings hailing from various
quarters and countries and dependent on the lotus-like feet of
the king Shri Harsha, and have been told by them in the follow-
ing manner—"We have heard from ear to ear that a Nátiká
named Rátnavali with unrivalled plot-construction has been
composed by our lord Shri Harsha ; but we have not seen it
being performed on the stage. So out of high regard towards
that king delighting the heart of the people and as an act of
condescension towards us, the drama should be performed
with proper dramatic technique and production." For that
reason I, having finished the dressing and make-up (of the
actors), shall do the work as desired.
Ah, the minds of the whole audience have been capti-
vated by me so far as my own conviction goes. For—
श्रीहर्षो निपुणः कविः परिषदप्येषा गुणग्राहिणी
लोके हारि च वत्सराजचरितं नाट्ये च दक्षा वयम् ।
वस्त्वेकैकमपीह वाञ्छितफलप्राप्तेः पदं किं पुनर्-
मद्भाग्योपचयादयं समुदितः सर्वो गुणानां गणः ॥ ५ ॥
तत्र हेतुमाह—श्रीहर्ष इति । श्रीहर्षः निपुणः कविः । एषा परिषद् श्रोतृमण्डली
गुणग्राहिणी, लोके भुवने वत्सराजचरितम् उदयनचरितं हारि चित्ताकर्षकम्, नाट्ये च
नाटकाभिनयकलायां वयं दक्षाः, एकैकं प्रत्येकम् उपर्युक्तानामित्यर्थः, वाञ्छितफलप्राप्तेः

प्रस्तावना 13
ईप्सितफललाभस्य पदम् आस्पदं कारणमिति यावत् । किं पुनः अधिकं किं ब्रवीमीत्यर्थः
मद्भाग्योपचयात् मम सौभाग्यातिशयात् सर्व्वः गुणानां गणः समुदितः मिलितः, तेन
साफल्यलाभविषये कोऽपि सन्देहो नास्तीति आशयः । शार्दूलविक्रीड़ितं वृत्तम्—तल्लक्षणं—
“सूर्याश्वैर्मसजस्ततः सगुरवः शार्दूलविक्रीड़ितम्” ॥ ५ ॥
Prose श्रीहर्षः निपुणः कविः ( भवति ), एषा परिषद् अपि गुण-
ग्राहिणी ( भवति ), लोके वत्सराजचरितं हारि, वयं च नाट्ये दक्षाः ( भवामः ), इह
एकैकं वस्तु अपि वाञ्छितफलप्राप्तेः पदम्, किं पुनः मद्भाग्योपचयात् सर्व्वः गुणानां
गणः समुदितः ॥ ५ ॥
Beng. Trans. শ্রীহর্ষ নিপুণ কবি, শ্রোতৃমণ্ডলী গুণগ্রাহী, বৎসরাজ উদয়নের
চরিত্র সাধারণের চিত্তাকর্ষক, আমরাও নাট্যকলায় সুনিপুণ। এস্থলে প্রত্যেক বিষয়টি
অভীষ্টফললাভের কারণ স্বরূপ; আর অধিক কি বলিব, আমার সৌভাগ্যাতিশয়ের ফলে
সকল সদ্‌গুণ একত্র সম্মিলিত হইয়াছে। ৫।
Eng Trans. Shri Harsha is a skilful poet ; this audience
is also capable of appreciating the merits (of performance ) ; we
too are adept in the histrionic art ;—any one of these is suffi-
cient on such occasions for the attainment of desired results ;
what to speak more—through excessive good luck of mine all
the excellences have accumulated together. 5.
तद् यावदहं गृहं गत्वा गृहिणीमाहूय सङ्गीतकमनु-
तिष्ठामि । ( परिक्रम्य नेपथ्याभिमुखमवलोक्य¹ च ) इदमस्मदीयं गृहम् ।
यावत् प्रविशामि । ( प्रविश्य—उच्चैः ) आर्ये, इतस्तावत् ।
( प्रविश्य )
नटी—अज्जउत्त, इअम्हि । आणवेदु अज्जो को णिओओ
अणुचिट्ठीअदुत्ति । (क)
(क) आर्य्यपुत्र, इयमस्मि । आज्ञापयतु आर्य्यः को नियोगः अनुष्ठीयताम् इति ।
सङ्गीतमेव सङ्गीतकं स्वार्थे कप्रत्ययः । आर्य्यपुत्र इति सूत्रधारं प्रति नट्याः सम्बोधनम् ।
1 विलोक्य ।

14 रत्नावली
“सर्ब्बस्त्रीभिः पतिर्वाच्य आर्य्यपुत्रेति यौवने” इति नियमात् । नियोगः आदेशः ।
Beng. Trans. সুতরাং গৃহে যাইয়া গৃহিণীকে ডাকিয়া সঙ্গীতের অনুষ্ঠান করিব।
( ইতস্ততঃ পরিক্রমণ পূর্ব্বক নেপথ্যের দিকে লক্ষ্য করিয়া ) ইহাই আমার গৃহ।
প্রবেশ করা যাউক। ( প্রবেশ করিয়া—উচ্চৈঃস্বরে ) আর্য্যে, এইদিকে এস।
( প্রবেশ করিয়া )
নটী—আৰ্য্যপুত্র, এই আসিয়াছি। কি আদেশ পালন করিতে হইবে?—আৰ্য্য
আদেশ করুন।
Eng Trans : So going home I shall call my wife and
then make arrangements for musical performence. (Walking
to and fro and then with his face towards the green-room)
this is my house , let me enter. (entering—aloud) O my lady,
come here.
( Entering )
Actress—O my husband, here I am ; please direct, my lord,
what order is to be carried out.
सूत्रधारः—आर्ये, रत्नावलीदर्शनसमुत्सुको¹ऽयं राजलोकः ।
तद् गृह्यतां² नेपथ्यम् ।
नटी—( सोद्बेगम्³ ) अज्जउत्त, णिञ्चिन्तो दाणिं सि तुमम् ।
ता कीस ण णच्चसि । मह मन्दभाआए उण एक्का ज्जेव्व
दुहिदा। सावि तुए कहिंवि देसन्तरे दिन्ना। कहं एक्क'
दूरदेसट्ठिदेण जामादुणा सह से पाणिग्गहणं भविस्सदित्ति
इमाए चिन्ताए अप्पावि ण मे पडिभादि, किं उण
णच्चिदव्वम् । (क)
(क) आर्य्यपुत्र, निश्चिन्त इदानीमसि त्वम्। तत् किमिति न नृत्यसि ! मम
मन्दभाग्यायाः पुनरेकैव दुहिता। सापि त्वया कस्मिंश्चिद्देशान्तरे दत्ता। कथमिव दूरदेश-

1 दर्शनीत्सुकः । 2 क्रियताम् । 3 निःश्वस्य सावेगम् ।

प्रस्तावना 15
स्थितेन जामाता सहस्याः पाणिग्रहणं भविष्यतीत्यनया चिन्तया आत्मापि न मे प्रतिभाति,
किं पुनर्नर्त्तितव्यम् ॥
आत्मापि न मे प्रतिभाति—"आत्मात्र बुद्धिः, सः अपि न मे प्रतिभाति उदेति ।
“आत्मा यत्नो धृतिर्बुद्धिः स्वभावो ब्रह्म वर्ष्म च” इत्यमरः ।
Beng. Trans. সূত্রধার—রত্নাবলী নাটক দেখিবার নিমিত্ত এই রাজন্যবর্গ
অত্যন্ত উৎসুক হইয়া রহিয়াছেন; সুতরাং বেশ রচনা কর।
নটী—( উদ্বেগের সহিত ) আর্য্যপুত্র, তুমি এখনও নিশ্চিন্ত হইয়া রহিয়াছ। তা' তুমি
নৃত্য করিবে না কেন। মন্দভাগিনী আমার একমাত্র কন্যা, তাহাকেও কোনও এক
দেশান্তরে দিবার অভিপ্রায় করিয়াছ। দূরদেশস্থিত সেই জামাতার সহিত কিরূপে পাণিগ্রহণ
হইবে এই চিন্তায় আমার বুদ্ধি যোগাইতেছে না, তা নৃত্য কি করিব ?
Eng. Trans. Stage-manager—These princes are very
eager for enjoying the performance of the Nátiká Ratnávali.
So get yourself prepared with dress and make-up.
Actress—(with anxiety) Ah my lord, you are even now
free from anxieties. And why should you not dance ! My
unfortunate self has only one daughter, and she is intended by
you to be given away in marriage in some distant country. My
intellect does not flash upon me owing to the anxiety as
to how her marriage would be possible with the son-in-law who
is residing at a distant place ; how then shall I act (or dance) ?
सूत्रधारः—आर्ये, दूरस्थेनेत्यलमुद्वेगेन : पश्य¹—
द्वीपादन्यस्मादपि मध्यादपि जलनिधेर्दिशोऽप्यन्तात् ।
आनीय झटिति घटयति विधिरभिमतमभिमुखीभूतः ॥६॥
( नेपथ्ये )
साधु, भरतपुत्र, साधु । एवमेतत् । कः सन्देहः । ( द्वीपात्
—॥६ इत्यादि पठति ) ।