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

APPENDIX B 449
(4) निर्णयः (अनुभूतार्थकथनम्—relating experiences)—e. g. देव !
सेयं सिंहलेश्वरस्य दुहिता etc. (Pp. 382-83)
(5) परिभाषणम् (परिवादकृतं वाक्यम्)—e. g. अज्जउत्त ! लज्जेमि अहं
इमिणा अत्तणो णिमंससत्तणेण etc. (P. 379). दशरूपके—परिभाषा मिथो जल्पः—
किदावराहा खु,...ण मे णिवेदिदं (Pp. 378-79).
(6) प्रसादः (शुश्रूषादिपर्य्युपासनम्)—e. g. यौग......देव ! क्षम्यतां etc.
(P. 379).
(7) आनन्दः (वाञ्छितागमः)—e. g. राजा (सपरितोषम्)—यथाह देवी
(इति सागरिकाया बन्धनमपनयति) (P. 379).
(8) समयः (दुःखनियर्याणम्)—e. g. वास—(रत्नावलीमालिङ्ग्य) वहिणि !
समस्सस...(P. 376).
(9) कृतिः (लब्धार्थशमनम्)—राजा—को देव्याः प्रसादं...सुमरेदि (P. 384).
(10) भाषणम् (सामदानादि, मानाद्याप्तिः)—राजा—किमतः परमपि प्रियमस्ति ?
...स्पृहाम् (P. 387).
(11) पूर्व्ववाक्यम् (यथोक्तार्थोपदर्शनम्—दशरूपके पूर्वभावः कार्य्यदृष्टिः)—e.g.
यौगन्ध—परिज्ञातायाश्च भगिन्याः...रयणावली त्ति (Pp. 383-84).
(12) उपगूहनम् (अद्भुतसम्प्राप्तिः)—e. g. यथा उदयनस्य चक्रवर्त्तित्वलाभः
(strictly speaking there is no उपगूहनम् in रत्नावली ).
(13) काव्यसंहारः (वरप्रदानसम्प्राप्तिः)—e. g. किन्ते भूयः प्रियमुपकरोमि
etc. (P. 387).
(14) प्रशस्तिः (नृपदेशादिशान्तिः)—e. g. उर्व्वीमुद्दामसस्याम् etc. (P. 388).
It is to be noted here that अर्थप्रकृतिs, अवस्थाs and सन्धिs are inter-
related with one another. अर्थप्रकृतिs are the characteristics of
different अवस्थाs which are again the different stages of the
plot, and the सन्धिs are the connecting links between these
अवस्थाs.
29

450 रत्नावली
"Various devices are recognized to help the movement of
the intrigue, five of which are classed as internal junctures
(ántara-sandhi)...The Nátyashástra ignores the term internal
junctures but has the term special junctures or divisions
(sandhyantara) which includes the dream, the letter and
the message among many other miscellaneous elements
[Cf. :—Nátyashástra, Benares Edition, Chapter XXI, 48-51]...
The picture is used in the Ratnávali as the mode by which
the heroine satisfies her longings for her beloved, while Vásava-
dattá discovers Vatsa's infidelity through seeing the portrait
of Ságariká, painted beside that of the king by the mischievous
Susangatá....( Act II. Pp. 113, 116, 179, 185) Other devices
might have been included in the list such as that of assuming
a disguise on the stage, a device used by Harsha in the
Ratnávali..." (Keith, Sanskrit Drama, Pp. 302-303.)
"Similarly the theory recognizes as a separate element
the pro-episode (Patákásthánaka), an equivocal speech, or
situation which foreshadows an event whether near at hand
or distant. The Nátyashástra distinguishes four kinds of
equivoke...Thus in Act III of Ratnávali, when Vatsa hastens
to save Vásavadattá, as he thinks, from hanging herself, he
finds to his equal joy and surprise that he has rescued none
other than Ságariká herself...Finally we may have a double
entendre...in the Ratnávali Vatsa playfully suggests that his
earnest gaze on the creeper, which has borne blossoms out of
season may cause jealousy in the queen ; his words apply

APPENDIX B 451
equally to a maiden and in the sequel the queen is made
furiously angry by his ardent gaze at Ságariká. The Dasha-
rupa contents itself with two species, equivocation of situation
and deliberate equivocation of phrase, but there is general
agreement that pro-episodes may be used in any part of the
play and not merely in the first four junctures.”—Keith,
Sanskrit Drama, Pp. 303-304.
[cf. :— “यदार्थे चिन्त्यमानेऽपि तल्लिङ्गार्थः प्रयुज्यते ।
आगन्तुकेन भावेन पताकास्थानकं तु तत् ॥२१॥
सहसैवार्थसम्पत्तिर्गुणवत्युपचारतः ।
पताकास्थानकमिदं प्रथमं परिकीर्त्यते ॥२२॥
वचसातिशयश्लिष्टं (वचः साति ?) काव्यबन्धसमाश्रयम् ।
पताकास्थानकमिदं द्वितीयं परिकीर्तितम् ॥२३॥
अर्थोपक्षेपकं यत्तु लीनं सविनयं भवेत् ।
श्लिष्टप्रत्युत्तरोपेतं तृतीयमिदमिष्यते ॥२४॥
द्वयर्थो वचनविन्यासः सुश्लिष्टः काव्ययोजितः ।
उपन्यासः संयतश्च तच्चतुर्थमुदाहृतम् ॥२५॥
—N. S., Benares Edition, Chapter XXI ; for explanations,
vide, Sáhityadarpana, Chapter VI, 45-49.
Expl. of प्रथम पताकास्थान... वासवदत्तेयमिति यदा राजा तत्कण्ठपाशं मोचयति
तदा तदुक्त्या सागरिकेयमिति प्रत्याभिज्ञाय ‘कथम् ! प्रिया मे सागरिका !—अलमल-
मित्यादि । साः दः ६।४५ । Act III, Pp. 268-273.
Expl. of चतुर्थ पताकास्थान—“उद्दामोत्कलिकामित्यादि (Act II, P. 129).
अत्र भाव्यर्थः सूचित”—सा. दः ६।४६ ।
“प्रस्तुतागन्तुभावस्य वस्तुनोऽन्योक्तिसूचकम् ।
पताकास्थानकं तुल्यसंविधानविशेषणम् ॥”...१।१४

'452 रत्नावली
प्रासङ्गिकस्य भाविनोऽर्थस्य सूचकं रूपं पताकावद्भवतीति पताकास्थानकम्। तच्च
तुल्येतिवृत्ततया तुल्यविशेषणतया च द्विप्रकारम् अन्योक्तिसमासोक्तिभेदात्। यथा—
यातोऽस्मि पद्मनयने इत्यादि ( Act. III P. 236). यथा च तुल्यविशेषणतया—
उद्दामोत्कलिका मित्यादि ।"—दशरूपक १।१४ ]।
"Normally the actors speak aloud (prakásham) to be heard
by all those on the stage as well as by the audience, but
asides (?) (svagatam, átmagatam) are frequent, meant to be
heard by the audience alone. If the need arises for making
a remark to be heard by one actor only, it is made in the
form of a confidence (apaváritam, apavárya), while a private
conversation (janántikam) is arranged by the actors holding
up three fingers, the thumb (?) and ring finger being
curved inwards (tripatáka)...it is possible to avoid bringing
on a person by speaking in the air (ákáshabháshita) pretending
to hear the reply and repeating it, while a similar purpose
can be served by a voice from behind the scene."—Keith,
Sanskrit Drama, Pp. 304-305.
“सर्व्वश्राव्यं प्रकाशं स्यादश्राव्यं स्वगतम् मतम् ॥६४॥
त्रिपताककरेणान्यानपवार्य्यान्तरा कथाम् ॥६५॥
अन्योऽन्यामन्त्रणं यत् स्याज्जनान्ते तज्जनान्तिकम् ।
रहस्यं कथ्यतेऽन्यस्य परावृत्त्यापवारितम् ॥६६॥
किं ब्रवीष्येवमित्यादि विना पात्रं ब्रवीति यत् ।
श्रुत्वेवानुक्तमप्येकस्तत् स्यादाकाशभाषितम् ॥६७॥ —दशरूपक (१)
नाटिका लक्षणम् नाट्यशास्त्रे—
स्त्रीप्राया चतुरङ्का ललिताभिनयात्मिका विहितार्था ।
प्रवृत्तगीतपाठ्या रतिसम्भोगान्विता चैव ॥६२॥

्येष्ठा' (no ह)

• line 13: 'मनोहरा' (मनो-ह-रा): 'ह' is in line 13!
  Look at 'ह' in 'मनोहरा':
  It has a top bar, short vertical down, a curve right, then an S-like curve down to the left, and from the middle of the S, a loop/tail curves to the right!
  Now look at letter 2 in line 12:
  Does it look like that?
  NO! It has a vertical line, a loop on the left... wait, does it?
  Wait! Look at the top of letter 2:
  It is under the top bar.
  Wait, let's look at letter 1: 'स'.
  Letter 2: wait, is it 'हा'?
  Wait, what if it's 'दृ'?
  Could it be 'सदृशाङ्गे'?
  Look at 'सदृशाङ्गे':
  स (sa)
  दृ (dṛ) - wait! Does it look like 'दृ'?
  No, 'दृ' has a 'द' with 'ृ' below, like in 'एकद्वित्र्यङ्क' or 'सदृश'.
  Wait, what about 'सङ्गासङ्गे'?
  Look at letter 2: it clearly has the shape of 'ङ्गा' (like in 'चतुरङ्गादि').
  And letter 3 is 'स'.
  And letter 4: wait, is it

454 रत्नावली
beyond all is Vatsa in Harsha's dramas." He is usually
courteous (dakshina), i. e., "one who can find room in his
heart for more lovers than one; he seeks another to the
deep grief of the old, but he does not cease to feel affection
for his earlier love; such are the heroes of the Nátiká or
short heroic comedy, like Vatsa." (Keith, Sanskrit Drama,
Pp. 305-307).
"The king's confidant and devoted friend is the Vidu-
shaka, a Brahmin, ludicrous alike in dress, speech and
behaviour. He is a misshapen dwarf, baldheaded with
projecting teeth and eyes which makes himself ridiculous by
his silly chatter in Prakrit, and his greed for food and presents
of every kind. It is a regular part of the play for other
characters to make fun of him, but he is always by the king's
side, and the latter makes him his confidant in all affairs of
the heart, while the Vidushaka repays him by willing, if
frequently incompetent or unlucky, attempts at service.'. (Ibid,
Pp. 310-311).
"Others intimately associated with the royal household
are servants (cheta), the mercenaries, Kirátas or Mlecchas, the
chaplain...The minister (mantrin, amátya) is of good family,
of high intelligence, skilled in affairs human and divine and
devoted to the interests of the country (Cf. Yaugandharáyana).
The general (senápati) is also of high birth, incapable of
weakness, skilled in both the theory and practice of war and
kind of speech; ready to note the weakness of the enemy

APPENDIX B 455
and to direct at the suitable moment a campaign against him."
(Keith, Sanskrit Drama, P. 312).
"The chamberlain ( kanchukin ) is an old Brahmin worn
out in the service of the king, but still mentally alert and
skilled in his business of conveying the royal orders in the
palace. The enunchs (varshadhara) are effieminate and cowardly
but not lacking in savoir faire ; they find employment in
the king's amours." (Keith, Sanskrit Drama, P. 313.)
"The queen (devi) is...a daughter of a king, but she is more
proud than dignified, and intoxicated by her youth and
beauty, her mind is set on the pleasures of love." The chief
queen (Mahádevi) is "the equal in age and rank of her husband,
whose lapses in affection wound her without robbing her of
her sense of self-respect and dignity. In good fortune or evil
she is devoted to him and seeks ever his welfare." "The
doorkeeper (praithari) has the function of announcing to the
king such political events as the declaration of war and the
conclusion of peace." (Keith, Sanskrit Drama Pp. 312-313.)
"A king is styled as...Deva or Svámin by his courtiers,
while inferiors style him as Bhattá, master. A'rya, noble, is
is appropriate to Brahmins, ministers...while a wife should
address her husband as Aryaputra. Sages address an ascetic
as Sádhu : ministers are styled Amátya or Sachiva ; the king
calls his Vidushaka and is called by him, Vayasya, friend.
...The Vidushaka addresses the queen and her ladies as
Bhavati ; otherwise the queen is styled Bhattini or Svámini,

456 रत्नावली
a wife as A'ryá...Halá is used between friends of equal rank,
Hanjá is addressed to a servant.” (Keith, Sanskrit Drama,
P. 314.)
For, further, details, vide, Sáhityadarpana, Ch. VI. 144-158.
“राजा स्वामीति देवेति भर्त्य भंड़ेति चाधमैः ॥१४४॥
राजर्षिभिर्वयस्येति तथा विदूषकेण च ।
वयस्येत्यथवा नाम्ना वाच्यो राज्ञा विदूषकः ॥१४६॥
वाच्यौ नटीसूत्रधारावार्य्यनाम्ना परस्परम् ।
वदेद्राज्ञीं च चेटों च भवतीति विदूषकः ॥१४८॥
......वक्तव्योऽमात्य आर्य्येति चाधमैः ।
विप्रैरप्यममातेति सचिवेति च भण्यते ॥१५१॥
साधो इति तपस्वी च ... ...
हलेति सदृशी प्रेष्या हञ्जे ... ... ” ॥१५५॥
Also in नाट्यशास्त्र (Ch. XIX)—
“सर्व्वस्त्रीभिः पतिर्वाच्य आर्य्यपुत्रेति यौवने ।
राजन्वाऽथ सम्भाष्या सर्व्वाः परिजनेन तु ।
भट्टिनी स्वामिनी देवी इत्येवं नाटके बुधैः ॥२१॥
देवैति महिषी वाच्या राज्ञा परिजनेन च” ।
भाषाविभाग :—
पुरुषाणामनीचानां संस्कृतं ... ... ॥१५८॥
शौरसेनी प्रयोक्तव्या तादृशीनाञ्च योषिताम् ।
आसामेव तु गाथासु महाराष्ट्रीं प्रयोजयेत् ॥१५९॥
अत्रोक्ता मागधी भाषा राजान्तःपुरचारिणाम् ।
प्राच्या विदूषकादीनां ... ... ...
चेटीनामप्यनीचानामपि स्यात् शौरसेनिका ॥१६४॥
For, details, vide, Sáhityadarpana, Ch., VI, 158-169.

APPENDIX B 457
N. S., Benares Edition, Ch. XVIII, 23-49.
षट्त्रिंशल्लक्षणान्येव, नाट्यालङ्कृतयस्तथा ।
त्रयस्त्रिंशत् प्रयोज्यानि वीथ्यङ्गानि त्रयोदश ॥१७०॥
लास्याङ्गानि दश यथालाभं रसब्यपेक्षया” । (साः दः ६ष्ठ परि)
The details may be found in Sâhityadarpana Ch. VI, and
Nátyashástra Ch. XXI.
The Ratnávali is predominated by the erotic sentiment
( शृङ्गार ). The dominant emotion of love or attachment (rati)
existing in the hero Udayana,—coupled with the fundamental
determinant (álambana vibháva—Ságariká), inflamed by
excitant determinants (uddipana vibháva—creeper-bower,
spring season etc.), made cognizable by consequents (anubháva
—sidelong glances and embraces of the heroine) and strengthe-
ned by transitory feelings (vyabhichári bhávas) such as desire
etc.,—unfolds itself to the erotic sentiment ( शृङ्गाररस ).
Plot, characters and sentiment are not the only constituent
elements of drama ; the poet must be adept in adopting the
appropriate manner of style (vritti) for each
Dramatic style action...the style adds to the play the inde-
finable element of perfection which is
present in the highest beauty of feature or dress. The
manners......are four—the graceful ( Kaishiki ), the grand
(Sáttvati), the violent (Arabhati) and the verbal (Bhárati).”
‘The Ratnávali illustrates the first and the last with slight
traces of the other two. ( Cf : The monkey and the fire
episodes.)

458 रत्नावली
“The Nátyashastra gives seven different Prakrits as in use..
Shauraseni is the speech of the land between the Yamuná
and Gangá or Doab ; it is to be used ly the
Dialects ladies of the play, their friends and servants,
generally by ladies of good family and many
men of the middle class. Prácyá is assigned to to the Vidu-
shaka, but in fact he speaks practically Shauraseni, and there-
fore the term can only denote an eastern Shauraseni dialect,
...Maháráshtri is unknown to the Shástra ; it is assigned to
the verses of persons who use Shaurasni, by Dasharupa, while
the Sanskrit Drama limits it to the verses of women.......
Mágadhi ..is ascribed to all those men who live in the women’s
appartments ......
The addition of Cháyás or translation in Sanskrit to explain
the Prakrit, is normal in the manuscripts of the dramas and
it is certain that it is old, for it is alluded
Chá'ya' to by Rájashekhara in his Bálarámáyana.
Evidently even so early as A. D 900, there
was no public who cared for Prakrit without a Sanskrit
explanation” (Keith, Sanskrit Drama, P. 337).
The name of the Nátiká is generally in accordance with
that of the heroine—“नाटिकासट्टकादीनां नायिका-
Name of the
Nátiká निर्विशेषणम्” (साः दः ६।१४९). The acts are normally
simply membered ; in some cases names are
also given, “doubtless not by the poet”—as Prof. Keith
thinks.

APPENDIX B 459

General Criticism of the Drama

"Comparison with Kálidása is doubtless the cause why
Harsha has tended to receive less praise than is due to his.
dramas. The originality of his Natikás is not perhaps great,
but he has effectively devised the plot in both ; the action
moves smoothly, and in either play there is ingenuity. The
scene of the magician's activity...is depicted with humour
and vivacity ; the parrot's escape and its chatter are sketched
with piquancy ; and the exchange of costumes...is natural
and effective. ...It is true that that the plays are full of
reminiscences of the Málavikágnimitra, such as the escape
of the monkey, and the monkey that there frightens the little
princess...But in this artificial comedy elegance is sought,
not originality, and Harsha is a clever borrower....
The dominant emotion...is love of the type which apper-
tains to a noble and gay (dhira-lalita) hero, who is always
courteous (dakshina), whose loves, that is to say, mean very
little to him and who does not forget to assure the old love
of his devotion while playing with the new. This is a different
aspect of Vatsa's character from that displayed by Bhása
and admittedly a much inferior one. Vásavadattá suffers
equal deterioration; for she is no longer the wife who sacrifices
herself for her husband's good ; she is rather a jealous, though
noble and kind-hearted woman whose love for her husband
makes her resent too deeply his inconstancy. The heroine is
an ingénue with nothing but good looks and willingness.

460 रत्नावली
to be loved by the king whom she knows, though he does not,
to be destined by her father as her husband. Susangatá...is
a pleasant merry girl who makes excellent fun of her mistress.
The Vidushaka...is typical for his greediness, but his figure
lacks comic force ; he is, however, a pleasant enough character,
for his love for his master is genuine ; he is prepared to die
with him...though he thinks his action in rushing into the fire
quixotic. The magician is an amusing and clever sketch of
great pretentions allied to some juggling skill....
Harsha is fond of descriptions in the approved manner....
In imagination and grace he is certainly inferior to Kálidása,
but he possesses the great merit of simplicity of expression and
thought ; His Sanskrit is classical and precise ; his use of
figures of speech and thought restrained and in good taste.
There is fire in his description of a battle ( IV. 6 ). The
matching of the sound to the sense is admirable, while a
delicate perception is evinced in the line describing the king's
success in soothing the wounded queen (IV. 1). Pretty...is
the king's address to the fire (IV. 16). There is excellent
taste in Vatsa's address to the dead Kosala king. Such a
phrase may reveal to us the true Harsha himself, the winner
of many victories and the hero of one great disaster.
Harsha's Sanskrit is of the usual classical type, eschewing any
deviation from the beaten paths, and his Prakrits, mainly Shaura-
seni with Maháráshtri in verses, offer nothing of special inter-
est, beyond evidence of his careful study of Prakrit grammar.

APPENDIX B 461
His use of metrical forms, on the other hand, marks the
tendency to reject the simplicity of the earlier dramatists and
to insist on the use of the more elaborate metres, which in
themselves are wholly undramatic, but give a much wider
range of opportunity for the exhibition of merits of description.
Harsha's favourite is the Shárdulavikridita, which occurs
23 times in the Ratnávali." Sragdhará 11 times, Shloka
9 times, A'ryá 9 times, while Shálini, Hárini, Pushpitágrá,
Prithvi, Praharshini also occur. The Ratnávali also contains
a pretty pair of rhymed verses, each with pádas of 12 morae,
five Prakrit Aryás and one Giti. Keith Sanskrit, Drama,
Pp. 175-181.

APPENDIX C
THREE UNITIES
The three unities of place, action and time governing the
structure of the drama were introduced in the Greek Dramas
(See Introduction, Pp. iv-v). Of these the unity of action is
the most important. In the Ratnávalí, however, all these three
have been maintained without any prejudice to the plot.
The plot of the drama is enacted in the Palace of the
Vatsa-king in its different parts. The Drama proper begins
after Ratnávalí was put under the care of
Unity of place Vásavadattá in the harem. So all the occur-
ences having taken place in the Palace, the
unity of place has been maintained in this Drama, though it
is not usually given much importance in the Sanskrit drama.
What occurred to the heroine outside the Palace has not
been taken cognizance of within the plot.
Unity of action is the most important factor in the drama.
Minor actions, sub-plots and episodes within the drama have
been inseperably connected with one another
Unity of and as such they contribute greatly to the
action development of the plot. The Cupid-festival,
the plot of विदूषक and सुसङ्गता, the episodes of monkey, magical
fire etc.,—all these, when minutely gone through, clearly give

APPENDIX C 463
the idea of being inseperably linked with one another, so as to
be the different parts of one organic whole. The poet has
evinced a remarkable ingenuity in bringing together different
elements into the formation of a compact whole.
According to the Sanskrit dramatists, the strict limit of time
during which the action of an act takes place should vary from
two days upto one year (या च स्याद् वर्षपर्यन्तं कथा
Unity of time दिनद्वयादिजा). In the रत्नावली which is concerned
with the second marriage of उदयन, which in-
volves harem-politics in playing tricks and counter-tricks, the
action on which the plot is based, is of a very short duration.
Act I opens with the rejoicings of the people of Kaushámbi due
to the Cupid-festival commenced on the fourteenth day of
the bright half of the mouth of Chaitra (See Notes, Act I,
Pp. 76-77). The time occupied by the Act I is only a few
hours from the noon to the sunset of that very day.
In Act II the interlude opens on the same day as we know
from the conversation that Susangatá was seeking Ságariká
who left the Sáriká with her and went to see the Cupid-
worship. Then the painful agitation that we find in the
heroine shows that the action of Act II proper began on the
next day. Scrutinization reveals that the whole of Act II
covers one whole day, (viz., the Full-moon day of Chaitra, as
we find in Act III that the moon rises after deep darkness
sets in.)
The action of Act III must have taken place on the first

464 रत्नावली
or the second day after the Full-moon day. It could not take
place on the Full-moon day, as from the description of the
deep darkness setting in, it is quite evident that the moon
was of the dark fortnight. The scene of Act III proper is
laid towards the latter part of the afternoon when the King
became anxious to be present in the place of assignation
where Ságariká would come in the disguise of the Queen.
The whole of Act III continued after the moon-rise of that
evening and the Act closes when Ságariká being detected by
Vāsavadattá in the place of assignation was taken captive
along with the Vidusaka and was removed, as told by
Susangatá in the interlude before Act IV, to some unknown
destination in the midnight ( उबत्थिदे षद्धरत्ते ).
The action in Act IV is expected to have taken place on
the very next day after Act III. On that date the magician
came and thorough his wonderful feat the union of the hero
with the heroine was brought about.
Thus the action of the four Acts has been represented as
having taken place roughly within the period of four days
extending from the fourteenth day of the bright fortnight
to the second ( or third ) day of the dark half of the month of
Chaitra.
So the three unities, as enjoined by the authoritative
works on Sanskrit dramaturgy, have been strictly maintained
in the Drama.

APPENDIX D
University Questions with Answers
Q. 1. Give in your own words either in English or in
Sanskrit the main plot of Ratnávali and indicate the original
sources of this Drama. (C. U. 1931)
Ans. See Introduction (Pp. xix—xxviii)
Q. 2. Describe either in English or in Sanskrit the
मदनमहोत्सव at Kaushámbi (C. U. 1931)
Ans. प्रवृत्ते मदनमहोत्सवे समुत्थितं चर्चरीध्वनिमाकर्ण्य राजा उदयन-
सहर्षानमानसः प्रासादमधिरुह्य महोत्सबस्य रमणीयताम् सवसन्तकः परमौत्सुक्येन ददर्श ।
तत्र मधुमत्तकामिनीजनानां गृहीतशृङ्गकानामनवरतजलप्रहारेण जनितकौतूहला जनाः
उद्दामाहन्यमानमृदङ्गध्वनिभिर्दशदिशामुखं मुखरीकुर्व्वन्तो महोत्सबस्य रमणीयतां
द्विगुणिततरं वर्द्धयामासुः । क्वचिद्वा सन्दर्शनार्थमुपस्थितैर्विटजनैः प्रकीर्णानां

was taken to Avanti by tricks and was engaged
as an instructor in lute to Vāsavadattá in the palace and was
not allowed to come out therefrom. In course of time
Yaugandharáyana and Vasantaka came to Avanti under
disguises and rescued Udayana who took away with him
Vāsavadattá and ultimately Chanda Mahisena was compelled
Wait! Look at line 13:
"Chanda Mahisena" or "Chanda Mahásena"?
LOOK AT LINE 13 CAREFULLY!
"M-a-h-i-s-e-n-a"!
In line 7: "Chanda Mahásena"
In line 13: "Chanda Mahisena"! There is an 'i' with a dot! "Mahisena"!
And look at line 7 again: "Chanda Mahásena" or "Chanda Mahisena"?
Wait, in line 7: "Chanda Mahisena" too?!
Let's zoom in on line 7:
M - a - h - i - s - e - n - a
Wait, look at the letter between 'h' and 's':
It's an 'i'! Look at the dot above it!
"Chanda Mahisena" in line 7 as well!
Wait, let's re-

APPENDIX D 467
the King. In the meantime Vāsavadattá again came there
for pacifying the King who might have been offended with her
rough behaviour ( cf. हंजे कंचणमाले ! तं तदा चरणणिबडिदं अज्जउत्तं
अवधीरिश्र आवच्छकंतीए मए पदिकूलं किदं । ता दाणिं सच' च्वेव्व गदुश्र
अज्जउत्तं अणुणइस्सं' )। Coming to the place she found Ságariká
and the King together, when the Queen approached and said—
अज्जउत्त जुत्तं एदं सरिसं एदं । So this portion of the main theme
of the Drama is foreshadowed by what is said by Párvati and
Lakshmi to Shiva and Krishna respectively.
Q. 4. Explain Yaugandharáyaṇa's diplomacy in all its
aspects as revealed in Ratnávali (C. U. 1932).
Ans. See the story of the play in the Introduction, pp. xix-
xxiii.
Q. 5. Contrast the character of Vāsavadattá and Ratnávali
in Ratnávali (C. U. 1932).
Ans. See Introduction (Pp. xxxi—xxxii, and General
Criticism, Appendix B).
Q. 6. What is the बीज of Ratnávali? Trace its develop-
ment through the various Acts. (Madras University, 1899).
Ans. See the Critical Remarks at the end of Act I and II.
(Pp. 109-107; Pp. 217-219).
Q. 7. In which class of poetry रत्नावली is included? Who
is the hero of the drama? Discuss the title of the drama.
(Punjab University, 1901),
Ans. See the Introduction (Pp. xiii, xxiii-xiv, and Appendix
B, General Criticism).
13

468 रत्नावली
Q. 8. Explain :—
(a) उद्दामोत्कलिकां विपाण्डुरुचकं प्रारब्धजृम्भां क्षणात् etc. (C. U. 1931)
Ans. See Sans. Expl. and Notes. (Pp. 130-132, 200-202).
(b) नष्टं वर्षवरैर्मनुष्यगणनाभावादपास्य त्रपाम् etc. (C. U. 1932.)
Ans. See Sans. Expl. and Notes. (Pp. 123-125, 197-200)
(c) विह्वलिं कम्पस्य प्रथयतितरां साध्वसवशात् etc. (C. U. 1932.)
Ans. See Sans. Expl. and Notes (Pp. 353-354).
(d) पुरः पूर्वामिव स्थगयति ततोऽन्यामपि दिशम् etc. (Madras Uni-
versity, 1899.)
Ans. See Expl. (Pp. 241-244 ; Notes 298-299),
(e) दुल्लहजण अणुरारो लज्जा गुरुई etc. (Madras University 1899.)
Ans. See Notes (Pp. 120-122 ; 146-147 ; 195).
(f) किं देव्याः कृतदीर्घरोषमुषितस्निग्धच्छितं तन्मुखम् etc. (C. U. 1931.)
Ans. See Sans. Expl. and Notes. (Pp. 283-284 ; 315).
—————
Model Questions with Answers
Q. 1. How the dramatic theme is foreshadowed by the
नान्दीश्लोकs of Ratnávali ?
Ans. See notes on नान्दी (Pp. 73-75)
Q. 2. Narrate briefly three main episodes in Ratnávali
and show how they have helped towards the development and
conclusion of the Drama.
Ans. Hints :—(1) The episode of the Cupid-festival on
which occasion Vāsavadattá invites the King to be worshipped
as Cupid ; Ságariká comes there and sees the King for the first
time and the germ of love grows in her. (2) The episode of