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

चतुर्थोऽङ्कः 387
clearly that Ratnávali should be given to my husband.
(Decorating Ratnávali with her own ornaments and approaching
the King) My lord ! Accept this Ratnávali.
King—( Stretching out his hand with joy ) What favour
of the Queen is not prized most ! (Takes Ságariká by hand)
Vásava.—My lord ! Her relatives are far away from her.
So treat her in a manner that she may never have occasion to
remember them (with longing).
King—As Your Majesty commands.
Jester.—( Dances with joy ) Ha ! Ha ! Ah ! Victory to
you ! The whole world is now in the possession of my
dear friend.
वसुभूतिः—¹राजपुत्रि ! वासवदत्तां प्रणामेनार्चय ।
( रत्नावली तथा करोति )
बाभ्रव्यः—²देवि ! स्थाने देवीशब्दमुद्वहसि !
( वासवदत्ता रत्नावलीमालिङ्ग्य देवीशब्देन प्रसादं करोति )
बाभ्रव्यः—इदानीं सफलपरिश्रमः संवृत्तः ।
यौगन्ध—दैव ! तदुच्यतां किं ते भूयः प्रियमुपकरोमि ?
राजा—किमतःपरमपि प्रियमस्ति ! यतः—
नीतो विक्रमबाहुरात्मसमतां प्राप्तेयमुर्वीतले
सारं सागरिका ⁴तथा च भुवनप्राप्त्येकहेतुः प्रिया ।
देवी प्रीतिमुपागता च भगिनीलाभाज्जिताः कोसलाः
किं नास्ति त्वयि सत्यमात्यवृषभे यस्मै करोमि स्पृहाम्⁵ ॥२१॥
तथापीदमस्तु—

1. आयुष्मति, स्थाने देवीशब्दमुद्वहसि ! 2. न दृश्यते क्वचित् । 3. इदानीं
   सफलपरिश्रमोऽस्मि संवृत्तः । 4. ससागरमहीप्राप्त्येकहेतुः । 5. किं नामास्ति विधेयमत्र
   भुवने यस्मिन् करोमि स्पृहाम् ?

388 रत्नावलो
( भरतवाक्यम् )
उर्व्वीमुद्दामसस्यां जनयतु विसृजन् वासवो वृष्टिमिष्टा-
मिष्टैस्त्रैविष्टपानां विदधतु विधिवत् प्रीणनं विप्रमुख्याः ।
आकल्पान्तं च भूयात् समुपचितसुखः सङ्गमः सज्जनानां
निःशेषं यान्तु शान्तिं पिशुनजनगिरो दुर्ज्जया वज्रलेपाः ॥२२॥
( इति निष्क्रान्ताः सर्वे )
इति ऐन्द्रजालिको नाम चतुर्थोऽङ्कः
॥ अवसिता रत्नावली नाटिका ॥
नीत इति । विक्रमबाहुः सिंहलराजः आत्मसमतां आत्मतुल्यतां परिणयसम्बन्धेन
इत्यर्थः । नीतः प्रापितः । उर्व्वीतले भूतले सारं रत्नभूता भुवनप्राप्तौैकहेतुः समग्र-
पृथिवीलाभस्य एकैव कारणभूता प्रिया इयं सागरिका प्राप्ता । देवी वासवदत्ता भगिनी-
लाभात् सागरिकालाभात् । वासवदत्तायाः मातुलस्य सिंहलेश्वरस्य कन्या रत्नावली वासव-

चतुर्थोऽङ्कः 389
तैः विप्रैः देवप्रीणनकर्म्माचरणादिभिः त्रिदिविष्टपार्ज्जनं याच्यते। ततश्च आकल्पान्तं
सुखकरसज्जनसङ्गमहारैश्च रसकपनज्ञानान्द प्राप्तिः प्रार्थ्यते। इत्याशयः ॥२१॥
इति ऐन्द्रजालिको नाम चतुर्थोऽङ्कः
॥ अवसिताय श्रीहर्षदेवस्य कृतिरियं रत्नावली नाम नाटिका ॥
Prose order. विक्रमबाहुः आत्मसमतां नीतः, तथाच उर्व्वीतले सारं
भुवनप्राप्तेरेकहेतुः इयं प्रिया सागरिका प्राप्ता। देवी च भगिनीलाभात् प्रीतिम्
उपागता, कोशलाः जिताः ; त्वयि अमात्यवृषभे सति किं तत् नास्ति यस्मै स्पृहां
करोमि ? ॥२१॥
वासवः इष्टां वृष्टिं विसृजन् उर्व्वीम् उद्दामसस्यां जनयतु ; विप्रमुख्याः विधिवत्
दत्तैः त्रैविष्टपानां प्रीणनं विदधतु। सज्जनानां समुपचितसुखः सङ्गमः आकल्पान्तं च
भूयात् ; दुर्ज्जयाः वज्रलेपाः पिशुनवचगिरः निःशेषं शान्तिं यान्तु ॥२२॥
Beng. Trans. বসুম্ভূতি—রাজপুত্রি! বাসবদত্তাকে প্রণামের দ্বারা অর্চ্চিত কর।
(রত্নাবলী তাহাই করিলেন)
বাসব্বা—দেবি! যথার্থই আপনি ‘দেবী’ শব্দ গ্রহণ করিয়াছেন।
(বাসবদত্তা রত্নাবলীকে আলিঙ্গন করিয়া ‘দেবী’শব্দের দ্বারা রত্নাবলীকে
সম্মানিতা করিলেন)
বাভ্রব্য—এখন পরিশ্রম সফল হইল।
যৌগন্ধ—মহারাজ! বলুন আপনার আর কি প্রিয় কার্য্য সাধন করিব?
রাজা—ইহার পর কি আরও প্রিয়কার্য্য করিবার আছে! যেহেতু—
রাজ্য বিক্রমবাহুকে নিজের তুল্য (পদগৌরবে) করিয়া লইয়াছি। পৃথিবীর সারভূতা
সকলভুবনপ্রাপ্তির (সার্ব্বভৌম-পদপ্রাপ্তির) একমাত্র কারণ এই সাগরিকাকে প্রিয়ারূপে
পাইয়াছি। ভগিনীলাভে দেবী বাসবদত্তা প্রীতিলাভ করিয়াছেন। কোশল রাজ্য
জয় করা হইয়াছে; আর আপনার মত অমাত্যশ্রেষ্ঠ থাকিতে এমন কি জিনিষ নাই
যাহা আমি আকাঙ্ক্ষা করিতে পারি? ॥২১॥
তথাপি—ইহাই হউক,—
(ভরতবাক্য)
ইন্দ্র অভিমতরূপ বৃষ্টিপাত করিয়া পৃথিবীকে শস্যপূর্ণা করুন। বিপ্রশ্রেষ্ঠগণ যথাবিধি

390 রত্নাবলী
যজ্ঞের দ্বারা দেবতাগণের প্রীতিবিধান করুন। সাধুব্যক্তিগণের সংসর্গ সুখবৃদ্ধিকরতঃ
কল্পান্তস্থায়ী হউক ; এবং দুর্জ্জন ব্যক্তিগণের বজ্রতুল্য কঠোর দুর্জ্জয় কর্কশবাক্য নিঃশেষরূপে
প্রশমিত হউক ॥২২॥
( সকলে নিষ্ক্রান্ত )
ঐন্দ্রজালিকনামে চতুর্থ অঙ্ক সমাপ্ত
॥ শ্রীহর্ষকৃত রত্নাবলী-নাটিকা সমাপ্ত ॥
Eng. Trans. Vasubhuti—Princess, pay respectful reve-
rence to Vāsavadattá.
(Ratnávali does so)
Bábhravya—Madam, you justly possess the title of ‘Queen’.
(Vásavadattá embraces Ratnávali and addresses her
with the title of ‘Queen’).
Bábhravya—Now our troubles are crowned with success.
Yaugandha.—Your Majesty, what else can we perform to
please you ?
King.—Is there anything else still to be performed for
my delight ? Since—
Vikramabáhu has been made my own relation (lit : raised
to a status equal to my own) ; beloved Ságariká, the quint-
essence of the world, the cause of universal sovereignty, has
been obtained, and Queen ( Vásavadattá ) rejoices to find a
sister ( in her ), and the Kosalas are subdued. Moreover, when
there are you the best of the ministers, what other object
can there be in the world, for which I could entertain a
wish ? 21.
Yet, let this alone be my prayer—
May Indra with plentiful showers render the earth bountiful
of grain ; may the best of the Bráhmanas satisfy the gods
(lit : heavenly beings) with due performance of sacrifices ; may

चतुर्थोऽङ्कः 391
the extremely blissful association of the pious last until the
end of the Kalpas ( Cycles ) ; and may the appalling and
adamantine blasphemes of the wicked be silenced for
ever ! ! ! 22.
(All exeunt)
[Here ends the Fourth Act entitled “The Conjuror.”]
Here ends the Minor Drama Ratnavali Natika
composed by Lord Shri Harsha Deva.
॥ शुभमस्तु ॥

RATNAVALI
ACT IV
Notes
The action of Act IV takes place in the Royal Palace of
Vatsa. The Act is based upon the workings of विमर्श ( अवमर्श )
सन्धि and निर्वहण सन्धि ; since in the Nátiká, अवमर्शसन्धि is very brief.
(See Critical Remarks and Appendix ). Here in the Interlude,
Susangatá entering in a dejected mood relates the deplorable
fate of Ságariká who, after the incident related in Act III, has
been taken to some unknown destination by the enraged Queen
with a rumour that she has been sent to Ujjayiní, the capital
of the kingdom of Vásavadattá's father. Susangatá carries
out the request of Ságariká who handed over her jewel-necklace
( Ratnávali ) to be given to some worthy Bráhmana when she
was going to meet some terrible fate. This Jewel-necklace
being handed over to Vasantaka is worn by him at the
request of the King himself. It becomes a sort of help for the
the Simhalese minister Vasubhuti to recognize the Princess

चतुर्थोङ्कः 393
(what puts excessive strain on the mind) इति अति - आ + धा + क्त
कर्मणि । “अत्याहितं महाभीतिः कर्म जीवनपेक्षि च”—अमरः । जीवनपेक्षि कर्म
means “the deed that carries risk of life.” अत्याहितम् is adjectively
used to किमपि ।
तपस्विनी—Deserving compassion i. e., poor, wretched.
अर्धरात्रे—भावे ७मी ; रात्रेः अर्धम् ( एकदेशीतत् ) by the rule “अर्धं
॰नपुंसकम्” । रात्रि becomes रात्र—“रावाह्नाहाः पुंसि” । अर्धं = exact half.
P. 319. अतिनिघृ॑णम्—Very carefully ; निर् ( नास्ति ) घृणा यस्मिन् यथा
स्यात् तथा ( बहु ) ; अतिशयेन निघृ॑णम् ( प्रादितत् ) । घृणा means करुणा
according to अमर ।
P. 322. महाभिजनसमुत्पन्नया—महान् अभिजनः ( कर्मधा ) तस्मिन् समुत्पन्ना
( ७मीतत् ) तया । अभिजन means ‘family.’ “अभिजनः कुले कुलध्वजे
जन्मभूम्याम्”—हेमचन्द्रः ।
Pp. 324-25. Shloka 1. In this stanza the King means to say
that the angry Queen was not to be pacified by any means so
long as she maintained her pent-up anger ; but as soon as she
gave vent to her feelings by weeping, her anger abated. Out-
ward expression lessens ( to a great extent ) the tyranny of
unexpressed feelings. Cf. : “पूरोत्पीडे तड़ागस्य परीवाहः प्रतिक्रिया ।
शोकक्षोभे च हृदयं प्रलापैरेव धार्यते”—उत्तरचरिते III. 1.
सव्याजैः—Full of pretexts (excuses). व्याजेन सह विद्यमानाः ( बहु )
तैः । व्याज means pretext—“व्याजोऽपदेशो लक्ष्यं च”—अमरः ।
N. B. In order to create confidence in the mind of the
Queen regarding the faithful nature of his love, the King has
to swear to her with a play of tricks that he is not in love
with any other woman.

391 रत्नावली
चित्तानुवृत्त्या—करणे ३या ; चित्तस्य अनुवृत्तिः (६ष्ठीतत्) तया। अनुवृत्ति
means अनुगमन i. e., humouring.
प्रत्यासत्तिम्—Proximity, nearness ; hence favourable disposi-
tion. प्रति - आ + सद् + क्तिन् ।
N. B. The Queen’s anger was pacified by itself, when
she eased her suppressed feelings by means of weeping.
The metre is शार्दूलविक्रीड़ितम्। The figure of speech is समाधि,
as the effect (pacification of anger) has been produced by
some other cause, that is, weeping, swearing etc.
“समाधिः सुकरं कार्यं कारणान्तरयोगतः” काः प्रः १०।१२५
Ch. of voice—...उपागतया......देव्या (प्रत्यासत्तिरुपगता देव्या)...रुदती
सा कोपम् अपनीतवती ॥१॥
P. 325. Shloka 2. अम्भोजगर्भ etc.—अम्भसि जायते इति (उपपदतत्)
तस्य गर्भः (६ष्ठीतत्) तद्वत् सुकुमारा (उपमानकर्मधा) तादृशी तनुः यस्याः (बहु)
सा। अम्भोज means पद्म।
प्रथमरागघने—Adj. to कण्ठग्रहे। Deep with first love. प्रथमः
रागः (कर्मधा) तद्वत् घनः (उपमानकर्मधा) तस्मिन्। रञ्ज् + घञ् = रागः, love.
कण्ठग्रहे—Embrace. कण्ठस्य ग्रहः (६ष्ठीतत्) तस्मिन्।
विलीय—Melting.
N. B. The King means to say that his beloved Ságariká,
being embraced with the warmth of first love, has, as it were,
melted away and has found her way to his heart through
the space made by the arrows of Cupid, that is, he is in a
distracted condition owing to his heart being in a lovelorn
condition without Ságariká.
सद्यःपतन्मदनमार्ग ण etc.—करणे ३या। सद्यः पतन्तः (सुप्सुपा) मदनस्य
मार्गणाः (६ष्ठीतत्) सद्यः पतन्तः मदनमार्गणाः (कर्मधा) तेषां रन्ध्राणि (६ष्ठीतत्)

चतुर्थोऽङ्कः 395.
तेषां मार्गाः ( ६ष्ठीतत् ) तैः । मार्गण means "arrow"—"कलम्बमार्गणशराः"—
अमरः ।
The metre is वसन्ततिलकम् । The figure of speech is उत्प्रेक्षा ।
Ch. of voice—...तन्वा......अमुया...मन्यते......प्रियतमया......प्रविष्टया
( भूयते or, हृदयं प्रविष्टम् ) ॥२॥
विश्रामस्थानम्—विश्रामस्य स्थानम् ( ६ष्ठीतत् ) ; the form विश्राम is
erroneous according to Pánini. The proper form is विश्रम ।
The unjustifiability of the form is referred to in काशिका—"सूर्य-
विश्रामभूमिरित्येवमादिकं प्रयोगम् अन्याय्यमेव मन्यते इति" ।
निर्भरोत् etc.—निर् निःशेषेण भरः यस्यां सा ( बहु ) निर्भरा उत्कण्ठा
( कर्मधा ) तेन परिच्छामः ( ३यातत् ) तम् । परि — क्षै + क्त = परिच्छामः, ema-
ciated ; cf. “एवमुत्सुकोऽपि प्रियदर्शनो देवः”—Shákuntala, VI.
P. 329. Sl. 3. अदक्षिणम्—Not generous. न दक्षिणः ( नञ्तत् ) तम् ।
“दक्षिणे सरलोदारौ”—अमरः ।
N. B. The King says so because he could not yet follow
Ságariká to her fate, inspite of his hearing that something
calamitous has happened to his beloved.
मूषिताः—Deprived ; मुष ( to steal ) + कर्मणि क्त । Conj. मुष्णाति
etc. ( क्र्यादि ) ।
The metre is वसन्ततिलक । The figure of speech is दीपक
mingled with काव्यलिङ्ग ।
P. 330. निरनुरोधिता—The state of being in want of regard.
निर् — अनु + रुध् + णिनि स्त्रियामीप् = निरनुरोधिनी, तस्याः भावः इति निरनुरोधिनी

• तल् ( भावे ) + टाप् स्त्रियाम् ।
  Sl. 4. In this shloka the King observing the jewel-
  necklace offered by Vidushaka, means to say that the necklace

is of the same deplorable fate as his own body. The King
had the embrace of Ságariká and lost her at last. Similarly
the necklace which Ságariká used to wear in her neck
was separated from the touch of her body. In this respect
the necklace and the body of the King being of the same
fate, the King is getting much consolation from the necklace
of his beloved, as one of the two ill-fated friends consoles
the other.
कण्ठाश्लेषम्—Embrace in the neck. कण्ठस्य आश्लेषः ( ६ष्ठीतत् ) तम् ।
आ - श्लिष् + घञ् = आश्लेषः, embrace.
तुल्यावस्था—Adj. to सखी । तुल्या अवस्था यस्याः ( बहु ) सा ।
आश्वास्यते—Is consoled ; आ - श्वस् + णिच् + लट् ते कर्मणि ।
The metre is अनुष्टुप् and the figure of speech is उपमा ।
Ch. of voice—......प्रभ्रष्टा इयं तुल्यावस्थां सखीमिव इमां तनुम्
आश्वासयति ॥४॥
धृतिम् etc.—Will have patience. धृति means patience—“धृति-
र्योगान्तरे धैर्य्ये धारणाध्वरतुष्टिषु”—विश्वः ।
P. 334. अहोभिः—अपवर्गे तृतीया ।
अनेककरि etc.—Adj. बलसमुद्देन । न एकम् अनेकम् । करिश्च तुरगश्च
पत्तयश्च इति करितुरगपत्ति ( समाहारद्वन्द्वः ) by the rule “द्वन्द्वश्च प्राणितूर्य-
सेनाङ्गानाम्” इति क्लीवलिङ्गम् एकवचनम् । अनेकं करितुरगपत्ति ( कर्मधा ) तेन दुर्निवारः
( ३यातत् ) तेन ।
अवष्टभ्य—Besieging. अव - स्तम्भ् + ल्यप् । Conj. स्तभ्नाति etc.
( क्रयादि ) ।
समावासयितुम्—To encamp. सम् - अव + आस् ( to sit ) + णिच् + तुम् ।
हास्तिकप्रायम्—Adj. to चातसैन्यम् । हस्तिनां समूहः इति हास्तिकम्
हस्ती + ठक् by the rule “अचित्तहस्तिधेनोष्ठक्” । प्रायेण हास्तिकम् ( ३यातत् ) or

चतुर्थोऽङ्कः 397
हस्तिकं प्रायः यस्मिन् ( बहु ) । प्र - अय् (to go) + घञ् = प्रायः full of. “प्रायो
मरणानशने मृत्यौ बाहुल्यतुल्ययोः”—मेदिनी ।
सज्जीकृतवान्—Made ready. सज्ज - च्वि + कृ + क्तवतु ।
Pp. 334-35. Sl. 5. In this shloka Vijayavarman describes
how Rumaṇván the general of the King of Vatsa met the
adversary—the King of Kosala who came to fight with a large
army of elephants.
अभिमुखः—अभिगतं मुखं यस्य ( बहु ) सः ।
दिग्‌विभागान्—दिशां विभागाः ( ६ष्ठीतत् ) तान् ।
विन्ध्यं न—The large array of the big elephants of dark colour
presented a view of the Vindhya ranges.
द्विरदपति etc.—द्वौ रदौ येषां ( बहु ) ते द्विरदाः । तेषां पतयः ( ६ष्ठीतत् )
तेषां घटाः ( ६ष्ठीतत् ) तासां या सम्यक् पीडा यस्मिन् ( बहु ) तादृशः बन्धः ( कर्मधा )
तेन । बन्ध means सन्निवेश । ३या करणे । The alt. reading is
द्विपपतिप्रतना etc.
समदगज etc.—Adj. to रुमण्वान् । मदेन सह विद्यमानाः ( बहु ) तादृशाः
गजाः ( कर्मधा ) तेषां घटाः ( ६ष्ठीतत् ) तया उत्पिष्टा ( ३यातत् ) तादृशी पत्तिः
यस्य ( बहु ) सः । पत्ति means “Infantry,” पद् + क्तिन् ।
प्रत्यैच्छत—Encountered. प्रति - इष् + लङ् त् ।
वाञ्छित etc.—Adj. to रुमण्वान् । वाञ्छितस्य आप्तिः ( ६ष्ठीतत् ) तेन
द्विगुणितम् ( ३यातत् ) तादृशं रभसं यस्य ( बहु ) सः । द्वाभ्यां गुणितम् ( ३यातत् ) ।
N. B. Here वाञ्छिताप्ति means “The catching of the adversary
King of Kosala on a hip by Rumanván.” रभस means “speed.”
“रभसं वेगहर्षयोः” ।
The metre is स्रग्धरा । The figure of speech is उपमा ।
Ch. of voice.—...अभूयत......अभिमुखेन......रुन्धता......विमुखयता......
—पत्तिना...प्रत्यैष्यत......रभसेन सः...रुमण्वता ॥५॥

398 रत्नावलो
P. 335. Sl. 6. The description of the battle continues—the
King of Kosala is killed by Rumanván.
अस्त्रव्यस्त—व्यस्तानि शिरस्त्राणि यैः (बहु ) तानि व्यस्तशिरस्त्राणि, व्यस्तशिरस्त्राणि
शस्त्राणि (कर्मधा) अस्त्राणि च व्यस्तशिरस्त्राणि च (द्वन्द्वः) तेषां कषणानि (६ष्ठीतत् )
तैः। अस् (to throw) + ष्ट्रन् = अस्त्र, missiles which are thrown.
वि-अस् (to throw) + क्त कर्म्मणि प्र=व्यस्त thrown away. शिरसि त्रायते
इति उपपदसमासे शिरस् + त्रै + क = शिरस्त्रम्, helmet. कषण means "close
contact (संघर्ष )" तृतीया करणे । The expression अस्त्र......कषणैः is
construed with कृत्त in कृत्तोत्तमाङ्गं । The construction is justified
by the dictum "सापेक्षत्वेऽपि गमकत्वात् समासः।"
कृत्तोत्तमाङ्गं—Adj. to आजिमुखं । उत्तमानि अङ्गानि (कर्मधा) कृतानि
उत्तमाङ्गानि यस्मिन् (बहु) तस्मिन् । कृत्त = कृत् (to cut) + क्त कर्मणि । उत्तमाङ्ग
means "head"; cf. "सर्वेषु गात्रेषु शिरः प्रधानम्।"
व्यूढासृक् etc.—Adj. to आजिमुखे । असृजः सरित् (६ष्ठीतत् ) व्यूढा असृक्-
सरित् यस्मिन् (बहु) तस्मिन् । वि—वह् + क्त = व्यूढ meaning विन्यस्त, विसृत ।
"व्यूढः संहतविन्यस्ते पृथुलेऽप्यभिधेयवत्"—मेदिनी । असृक् means "blood"
used in neuter gender. Decline असृक्, असृजी, असृञ्जि etc.
स्वनत्प्रहरणं—Adj. to आजिमुखे । स्वनन्ति प्रहरणानि यस्मिन् (बहु) तस्मिन् ।
प्रह्रियते अनेन इति प्र - हृ + ल्युट् करणे = प्रहरणम्, weapon. "आयुधं तु
प्रहरणम्"—अमरः ।
वर्मोद्वलद् etc.—Adj. to आजिमुखे । वर्म्मणः उद्वलन् (५मीतत् ) तादृशः
वह्निः यस्मिन् (बहु) तस्मिन् । उत् - वल् + शतृ = उद्वलन् issuing out.
आजिमुखे...At the commencement of the battle. आजेः मुखम्
(६ष्ठीतत्) आजि means "battle."—"अथाजिः स्त्री समभूमौ च संग्रामे"
मेदिनी।
The metre is शार्दूलविक्रीडित । The figure of speech is अनुप्रास ।

चतुर्थोऽङ्कः 399
Ch. of voice. ...तम् कौशलपतिं .....रुषावान् मत्तद्विपस्थं हतवान् ।६।
P. 339. प्रहारव्रणित etc.—प्रहारेण व्रणितम् ( ३यातत् ) तादृशं हास्तिकम्
( कर्मधा ) प्रायेण प्रहारव्रणितहास्तिकम् ( ३यातन् ) or, बहु as before. व्रणाः अस्य
सञ्जातः इति व्रण + इतच् ( जातार्थे ) ।
P. 342. Sl. 7. इन्द्रजालिन्न etc. ...इन्द्रजालिकै पिनद्धम् ( ३मीयत ) तादृशं
नाम यस्य ( बहु ) तस्य । अपि-नह् + क्त कर्मणि । अ of अपि is elided by the
dictum “वष्टि भागुरिरल्लोपमवाप्योरुपसर्गयोः” ।
शम्बरस्य—It is the name of a demon who was a well-known
conjuror. He stole away प्रद्युम्न, the son कृष्ण and रुक्मिणी from
her lying-in-room by his magical power. The magical Black
Art is also popularly called शाम्बरी माया ।
P. 343. Sl. 8. In this shloka the magician vauntingly states
the impossibilities which he can cause to happen by his tricks.
ज्वलनः—Fire.
मध्याह्नं —अह्नः मध्यम् ( एकदेशीतत् ) तस्मिन् । It is in masculine
gender by the rule “गवाह्याहाः पुंसि ।”
अवष्टम्भः—Beginning. अव - स्तम्भ् + घञ् । “संरम्भारम्भयोः स्तम्भं ”—
हेमचन्द्रः ।
P. 346. Sl. 10. Here the magician by his miraculous power
shows to the audience various gods, demi-gods etc., in the sky.
In this connection the stanzas from Karpuramanjari where
Bhairavánanda speaks in laudation of his miraculous powers,
may be cited.
P. 347. Sl. 11. In this shloka the King observes various
deities seated in their aerial seats and celestial nymphs dancing.
रजनिकर etc.—With the digit of the moon on his crest. रज-

! IT IS "द्विदश"???
Wait, look at the first letter of line 9:
Is it 'द्वि'?
LOOK AT 'द्वि'!
'द' with 'व' beneath it = 'द्व'! With 'ि' = 'द्वि'!
LET'S LOOK AT IT:
Does it have an i-matra? YES!
Does it have 'द' with 'व' attached at the bottom?
YES! 'द्' + 'व' = 'द्व'!
With 'ि' = 'द्वि'!
Wait, is Indra "द्विदशपतिः"? NO, Indra is "विदशपतिः"? NO, "त्रिदशपतिः" (lord of the 30)!
Wait, but why would it say "द्वाधिकाः विरहिताश्च"?
Wait, could the letter be 'त्रि'?
What about 3?
"त्र्यधिकाः विरहिताश्च दश संख्या येषां ते त्रिदशाः"?
Wait, 10 + 3 = 13, 10 - 3 = 7!
Can "त्रिदशाः" mean "त्र्यधिकाः दश" or "त्रिभिः विरहिताः दश"?!
YES! That is an exact grammatical discussion on "त्रिदशाः"!
Let's verify this!
In Sanskrit grammar, for "त्रिदशाः" (meaning around 10, i.e. 7 to 13, or 30):
Under the sutra

चतुर्थोऽङ्कः 401
(शाकपार्थिवादिवत् समासः) । Such elephant is otherwise called गन्धहस्तिन्
which is characterized as
"यस्य गन्धं समादाय न तिष्ठन्ति प्रतिद्विपाः ।
तं गन्धहस्तिनं प्राहुर्नृपतीनां शुभावहम् ॥"
N. B. Vasubhuti was attracted by the imposing appea-
rance of these elephants.
निर्वर्णयन्—Closely observing; निर्—वर्ण् + शतृ । "निर्वर्णनं तु
निद्ध्यानं दर्शनालोकनेक्षणम्"—अमरः ।
वल्लभान्—Dear; adj. to तुरगान् । दयितं वल्लभं प्रियम्"—अमरः ।
क्षितिभृताम्—Of the kings; क्षिति—भृ + क्विप्, षष्ठी बहुवचन ।
गोष्ठीषु—Assembly. गावः (वाचः) अनेकाः तिष्ठन्ति अस्याम् इति गो—स्था

• घञर्थे कः, ङीष् गौरादित्वात् । "गोष्ठी सभासंलापयोः"—मेदिनी ।
  सद्योविस्मृत etc.—Adj. to अहम् । सिंहलानाम् ईशः (६ष्ठीतत्) तस्य विभवः
  (६ष्ठीतत्) सद्यः विस्मृतः (सुप्सपा) सद्योविस्मृतः सिंहलेशविभवः येन (बहु) सः ।
  कक्षाप्रदेशे—In one part of a room. कक्षायाः प्रदेशः (६ष्ठीतत्) तस्मिन् ।
  "कक्षा प्रकोष्ठा हर्म्यादेः"—अमरः ।
  द्वाःस्थेन—By the porter; द्वारि तिष्ठति यः सः द्वार—स्था + क ।
  ग्राम्यः—Rustic; ग्रामे भवः इति ग्राम + यत् ।
  N. B. Here Vasubhuti relates how he being filled with
  wonder at the sight of the excellence of wealth of the Vatsa-
  King has been regarded as a man freshly coming from a village
  and totally ignorant about the city-life. Vasubhuti has an
  experience of the abundance of wealth of his master, but here
  in Udayana's palace, the super-abundance has bewildered
  him even to such an extent as to make him act like a rustic.
  A man coming fresh from village becomes surprised to the
  extreme at the grandeur of a town. This bewildered look of
  Vasubhuti leads the porter to take him for a rustic.
  26

402 रत्नावली
The metre is शार्दूलविक्रीड़ितम् । The figure of speech is उदात्त
as the super-mundane grandeur has been described. “लोका-
तिशयसम्पत्तिवर्ण नोदात्तमुच्यते” साः दः १०।८४
Ch. of voice.— आक्षिप्तम्......निर्व्वर्ण यन्तम्......कृतम्......तिष्ठन्तम्...
...विभवम् दाःस्थः ग्राम्यं कृतवान् माम् ॥१२॥
Sl. 13. In this shloka Bābhravya, the chamberlain of
Udayana, describes his being in a state of excessive joy which
he feels at the prospect of seeing his master after a long time
after the ship-wreck in which he was one of the victims.
This joyful state also adds to the symptoms of his old age.
वृद्धिम्—Increase. वि – वृध् + क्तिन् । Obj. to प्रथयतितराम् ।
कम्पस्य—Tremor.
N. B. Old men tremble while walking.
प्रथयतितराम्—Redoubles. Nom. प्रहर्षः । प्रथ् + णिच् + लट् ति, then
तरप् is added by the rule “द्विवचनविभज्योपपदे तरवीयसुनौ” with आम्
(आम्) by the rule “किमेत्तिङव्ययघादाब्वद्रव्यप्रकर्षे” in the sense of
excellence. The form in लुङ् is अपप्रथत् ।
साध्वसवशात्—Out of nervousness. साध्वसस्य वशः (६ष्ठीतत्) तस्मात् ।
अविस्पष्टां—Indistinct ; Adj. to दृष्टिम् । न विस्पष्टाम् (नञ्तत्)
तिरयति—Covers. तिरः करोतीति तिरस् + णिच् + ल लट् ति ।
स्खलद्वर्णाम्—Adj. to वाणीम् । स्खलन्तः वर्णाः यस्यां (बहु) ताम् ।
With faltering syllables.
जड़यतितराम्—Makes indistinct or inarticulate. अतिशयेन जड़ां
करोतीति जड़ + णिच् + लट् ति, then तरप् is added along with आम् in
the sense of excellence.
N. B. Old men tremble, have short eye-sight and speak
with faltering voice. The chamberlain is an old man. In

addition to these symptoms of old age, he, out of excessive
joy, feels these faults doubled in him.
The metre is शिखरिणी ।
Ch. of voice.—विहङ्गिः प्रथ्यतेतराम्......अविस्पष्टा दृष्टिः तिर्य्यक्तं—स्खलद्-
वर्णा वाणी जड़ायंततराम्......परितोषेण क्रियते ॥१३॥
P. 356. सार्वभौमः—सर्वा भूमिः ( whole earth ) इति सर्व्वभूमिः। तस्याः
ईश्वरः इति सर्व्वभूमि + अण् , by the rule “तस्येश्वरः” = सार्वभौमः, a para-
mount monarch.
सिंहलेन्द्रस्य ..रत्नावली — “Ratnávalí was a daughter of the king
of Ceylon. In our play we find that the name of the king
was Vikramabáhu. But in the Mahávamsa the celebrated
Páli chronicle of Ceylon, the king is named as Vijayabáhu.
Vikramabáhu is mentioned there as being brother of रत्नावली
and son of Vijayabáhu.” ( Notes on Ratnávalí by S. C.
Vidyabhushan) “Ratnávalí of our play represents Padmávatí
of the Kathásaritságara and Anupamá of दिव्यावदान”। (Notes on
Ratnávalí by S. C. Vidyábhushan)
N B. In the स्वप्नवासवदत्त of भास, the story appears to have
been taken from बृहत्कथा almost as it is, but our present Drama
owes greatly to the inventive genius of Shri Harsha.
P. 359. लावणकेन वह्निना—The fire that broke out in Lávánaka,
a border-district of the kingdom of Magadha (as given in कथा-
सरित्सागर (Book III, Chapter II.)
P. 360. सम्बन्धलोपः etc.—Extinction of relationship.
N. B. The King of Ceylon is described as the maternal
uncle of Vásavadattá, the wife of Udayana. So the relation
between these two Kings is very close. When the rumour was
spread that Vásavadattá had been burnt in a fire that broke
out in Lávánaka, Vikrambáhu, the King of Simhala, with a
view to maintaining the previous intimate relation, agreed

An exact, line-by-line transcription of the Sanskrit commentary and notes page into pure Markdown:

404 रत्नावली
to give his daughter Ratnávali in marriage with Udayana,
the King of Vatsa, but not before that, with the idea that it
was not proper to cause any mental agony to his niece
Vásavadattá by inflicting a co-wife on her.
मन्दभागिनी—मन्दः भागः भाग्यम् ( कर्मधा ) = मन्दभागः, सः अस्याः अस्तीति
मन्द - भाग + इनिः + स्त्रीयांङीप् । भाग means "share", "fate."
दुरवगाहा—Intricate, inscrutable. दुर् — अव + गाह् + खल् + टाप् ।
निदर्शनम्—Instance ; निदर्शयति अनेन इति नि - दृश् + ल्युट्, करणं ।
Sl. 14. In this shloka a description of the fire that broke
out through the tricks of the magician is given.
हेमशृङ्गश्रियम्—हेम्नः शृङ्गानि ( ६ष्ठीतत् ) तेषां श्रीः ( ६ष्ठीतत् ) ताम् ;
[L

(skhalitaḥ)??? WAIT! Look at that: IS ITस्खलितः??? NO, look at the King being bewildered / mistaken: In Sanskrit, a mistake/slip is **स्खलितम्** or **स्खलितः**! Wait, does it look like स्खलितः? Let's look at the letter before लि: It has a loop on the left, connected to a right part? Wait, look at the dot: Wait, is it कथमित्यादि? Look at the text: क थ मि त्यादि . स्खलितः? Wait, let's look at the word before the dot: क वि र्ह्य त्रWait, does the first letter of that word have a loop? Wait! Look at line 16:क-वि-र्ह्य-त्र- wait! Let's compareकinकविwithकinकथमतिसम्भ्रमात्(line 19): Identical! Now look at the second glyph: In line 19:थinकथमतिसम्भ्रमात्` is: round left loop, top bar, vertical line.
In line 16, the second glyph has a vertical line on the right, and a

406 रत्नावली
N. B. The King means to say that the fire with its
destructive flames will not be able to do anything, to him, as
he has not been destroyed by the fire of separation which is
far more destructive than the fire burning the palace.
Thn metre is मालिनी and the figure of speech is रूपक । In the
construction the fire of separation is meant to be described
as superior to the fire burning the palace, which is उपमान ;
hence the व्यतिरेकालङ्कारध्वनि prevails here.
Ch. of voice.—विरम्यतां विरम्यतां मुच्यतां धूमानुबन्धः प्रकश्यते......चक्र-
वालम्...विरहहुतभुक् यं मां...दग्धवान्...त्वया किं क्रियते ॥ १६॥
मार्गोपदेशकः—मार्गस्य उपदेशकः ( षष्ठीतत् ) । Now the objection may
arise as to the validity of षष्ठीसमास with उपदेशक which ends
in अक, as the prohibition by rule “न तृजकाभ्यां कर्त्तरि” prevails.
So षष्ठीसमास is not allowed with words ending in तृच् and
अक in कर्तृवाच्य । But as the सूत्रकार himself uses the words of
such description in the षष्ठीसमास in his सूत्रs “जनिकर्त्तुः प्रकृतिः” and
“तत्प्रयोजको हेतुश्च”—words compounded with कर्त्तृ and प्रयोजक, the
prohibition of the rule “न तृजकाभ्यां कर्त्तरि” is not universal ; शेषे-
षष्ठीसमास is not prohibited ; only कर्तृषष्ठीसमासs are debarred
by the rule.
P. 366. भरतकुलम्—According to कथासरित्सागर, Udayana is
descended from the line of the Pándavas.
Arjuna
|
Abhimanyu
|
Parikshit
|
Janamejaya
|
Shatánika
|
Sahasránika & Mrigávati
|
Udayana & Vásavadattá.