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

प्रथमोऽङ्कः 53
কাঞ্চন—দেবি, স্বহস্তদত্ত কুসুমকুঙ্কুমবস্ত্রাদির দ্বারা শোভিত রক্তাশোকবৃক্ষের নিকট
যাইয়া ভগবান্ প্রদ্যুম্নের অর্চ্চনা করুন।
বাসব—আমার পুজোপকরণ লইয়া এস।
( কাঞ্চনমালা লইয়া আসিল, বাসবদত্তা সেইরূপ করিলেন )
Eng. Trans. Vásava—O Kánchanamalá, place the
image of lord Pradyumna under this Ashoka tree.
Kánchana—As your ladyship commands. (Acts accor-
dingly).
Jester—(Walking round and observing) O friend, as the
jingling sound of anklets are silent I think that the Queen
is come to the foot of the Ashoka tree.
King—Friend, you have well ascertained. Look, here is the
Queen. She who—
With her body as tender as flower, bears a waist
getting thinner through the observance of vows. And as such she
appears beautiful as the ( flowery ) bow-stick lying beside the
fish-bannered deity. 19.
So, let us approach. (Approaching) dear Vásavadattá!—
Vásava—(Looking up) Ah my lord! Victory be to my
lord! Let this place be decorated by you taking the seat. This
is a seat. Let it be occupied by my lord. ( The King sits down).
Kánchana—Madam! Having gone to the red Ashoka
tree beautified by flowers, saffron-paste and clothes offered by
your own hand, please adore the lord Pradyumna (Cupid).
Vásava—Bring here my articles of worship.
(Kánchanamálá brings and Vásavadattá acts accordingly)
राजा—प्रिये,¹
प्रत्यग्रमज्जनविशेषविविक्तकान्तिः²
कौसुम्भरागरुचिरस्फुरदंशुकाभा ।
1—(निरूप्य) प्रिये । 2—मूर्तिः ।

54 रत्नावली
विभ्राजसे मकरकेतनमर्च्चयन्ती
बालप्रवालविटपि-प्रभवा लतेव ॥२०॥
अपिच—
स्पृष्टस्त्वयैष¹ दयिते ! स्मरपूजाव्यापृतेन हस्तेन ।
उद्भिन्नापरमृदुतरकिसलय इव लक्ष्यतेऽशोकः ॥२१॥
अपिच—
अनङ्गोऽयमनङ्गत्वमद्य निन्दति ध्रुवम् ।
यदनेन न सम्प्राप्तः पाणिसंस्पर्शोत्सवस्तव ॥२२॥
काञ्चन—भट्टिणि ! अच्चिदो भअवं पज्जुम्णो । ता करेहि
भत्तुणो पूजासक्कारं² । (क)
वासव—तेण हि उवणेहि मे कुसुमाईं विलेवणं च । (ख)
काञ्चन—भट्टिणि ! एदं सब्बं सज्जं । (ग)
( वासवदत्ता गन्धेन राजानं पूजयति )
(क) भर्त्रि, अर्चितः भगवान् प्रद्युम्नः । तत् कुरु भर्तुः पूजासत्कारम् ।
(ख) तेन हि उपनय मे कुसुमानि विलेपनञ्च ।
(ग) भर्त्रि, एतत् सर्व्वं सज्जम् ।
प्रत्ययेति । प्रत्यग्रः नूतनः यः मज्जनविशेषः स्नानविशेषः तेन विविक्ता शुद्धा कान्तिः
शोभा यस्याः सा । ( लतापक्षे ) सद्यः मज्जनविशेषः सेचनविशेषः इति शेषं पूर्व्ववत् ।
कुसुमभं पुष्पविशेषः तस्य इदमिति कौसुम्भः यः रागः लौहित्यम् इत्यर्थः । तेन रुचिरः
शोभितः स्फुरन् विलसन् च अंशुकानां वस्त्राञ्चलं यस्याः सा । नियमपालनात् वासवदत्ता
लोहितवस्त्रं परिदधाना चासीदित्यर्थः । (लतापक्षे) कौसुम्भं कुसुमस्य इदम् इति तद्वत् रागः
लौहित्यं तेन रुचिरा चार्वी स्फुरद्भिः अंशुभिः किरणैः सूर्यकिरणैः कान्ता रमणीया मकर-
केतनं कामदेवम् अर्च्चयन्ती बालः नवोद्गतः प्रबालः यस्य सः विटपी वृक्षः प्रभवः उत्पत्ति-
1 स्वयैव । 2 उददं पूजासक्कारं ।

स्नानं यस्याः सा लता इव विभाजसि शोभसे त्वं वासवदत्तेति शेषः । वसन्ततिलकं वृत्तम् ।
ज्ञेया वाच्यप्रतीतिरियमुपमा ॥२०॥
स्पृष्टेति ॥ दयिते प्रिये स्मरपूजाव्यापृतेन हस्तेन त्वया स्पृष्टः एषः अशोकः
उद्भिन्नः उद्गतः अपरः अन्यः मृदुतरः कोमलतरः किसलयः पल्लवः यस्य सः इव लक्ष्यते
दृश्यते—इति वासवदत्तायाः आरक्तिमाभौ हस्तः अशोकतरोः द्वितीयपल्लवत्वेनोत्प्रेक्ष्यते ॥
आर्याच्छन्दम् । उत्प्रेक्षालङ्कारः ॥२१॥
अनङ्गेति । अनङ्गः हरनेत्राग्निना भस्मीभूतत्वात् कामदेवस्य अशरीरित्वम्, अयम्
आत्मनः अनङ्गत्वं निश्चितं निन्दिष्यति यस्मात् अनेन तव पाणिस्पर्शः न लब्धः इति भावः ।
उत्प्रेक्षालङ्कारः ॥२२॥
Prose. प्रत्यग्रमज्जनविशेषविविक्तकान्तिः (मूर्तिः) कौसुम्भरागरुचिरस्फुरदंशुका या
( त्वम् ) मकरकेतनमर्चयन्ती बालप्रवालविटपिप्रभवा लतेव विभाजसि ॥२०॥
दयिते, स्मरपूजाव्यापृतेन हस्तेन त्वया स्पृष्ट एषः अशोकः उद्भिन्नापरमृदुतरकिसलयः
इव लक्ष्यते ॥२१॥
अयम् अनङ्गः अद्य ध्रुवमनङ्गत्वं निन्दिष्यति । यत् अनेन तव पाणिस्पर्शोत्सवः
न संप्राप्तः ॥२२॥
Beng. Trans. প্রিয়ে,—তুমি সদ্যঃ স্নানবিশেষের দ্বারা পবিত্রকান্তি ও কুসুম্ভ-
রঞ্জিত উজ্জ্বল বসনপরিধান করিয়া মদনপূজায় ব্যাপৃত হওয়ায় (সদ্যঃস্নাত) নবপল্লবশোভিত
তরু হইতে সমুদ্ভূতা লতার ন্যায় শোভা পাইতেছ ।২০।
পুনশ্চ—প্রিয়ে, কামদেবের পূজায় ব্যাপৃত তোমার হস্তের দ্বারা স্পৃষ্ট এই অশোক
বৃক্ষকে দেখিয়া মনে হইতেছে যেন অন্য একটা অতি কোমল পল্লব ইহা হইতে সমূদ্গত
হইয়াছে।২১।
পুনশ্চ—আজ এই অনঙ্গ নিশ্চয়ই তাহার শরীরহীনতার নিন্দা করিবে, কারণ তোমার
পাণিস্পর্শজনিত পরমসুখ আজ সে পাইতে পারিল না।২২।
কাঞ্চন—দেবি, ভগবান্ প্রদ্যুম্নের অর্চ্চনা হইয়াছে। এখন মহারাজের যথাযোগ্য পূজা
ও অভ্যর্থনা করুন।
বাসব—তাহা হইলে কুসুম ও বিলেপন ( চন্দনাদি ) আনয়ন কর।
কাঞ্চন—দেবি, এ সকল প্রস্তুত রহিয়াছে।
( বাসবদত্তা রাজাকে পূজার অভিনয় করিলেন )

?
Wait, look at the glyphs:
"पूइस्सं ।"
Wait, why does it look like: 'पू', 'इ', 'स्सं'?
Wait, is the third character 'स्सं'? Yes, 'स्स' with an anusvara!
Wait, what is the character after 'स्सं'? There is an apostrophe: 'पूइस्सं' ।'
Wait, let's look at the footnote 1:
"1 कहं पक्खो ज्जेव्व भगवं कुसुमाउधो इह पूअं पडिच्छदि ।"
Wait, why does footnote 1 end with "पूअं पडिच्छदि"?
Because line 26 has "पूइस्सं"! The alternate reading replaces from line 23 "पेक्खिदो ज्जेव्व¹ अपुब्बो कुसुमाउहो... पूइस्सं¹"!!
Yes! Notice the quote mark after पूइस्सं: "पूइस्सं' ।"!
The footnote 1 is an alternate reading for the passage from "पेक्खिदो ज्जेव्व¹" to "पूइस्सं¹"!
"कहं पक्खो ज्जेव्व भगवं कुसुमाउधो इह पूअं पडिच्छदि ।"
That's why there is a footnote marker 1 after ज्जेव्व and an end-quote/marker after पूइस्सं!

And line 26 continues:
"(इति कुसुमानि प्रक्षिपति) णमो दे भग

प्रथमोऽङ्कः 57
मे भविस्ससि । (इति प्रणमति) अच्छरिअं अच्छरिअं । दिट्ठोवि
पुणो पेक्खिदव्वो । ता जाव ण कोबि मं पेक्खदि दाव च्चेव्व
गमिस्सं । (इति कतिचित् पदानि गच्छति) । (क)
काञ्चन—अज्ज वसन्तअ ! एहि संपदं तुमंपि सोत्थिवाअणं
पड़िच्छेहि । (ख)
( विदूषकः उपसर्पति )
वासव—( विलेपनकुसुमाभरणदानपूर्वकम् ) अज्ज ! सोत्थिवाअणं
पड़िच्छ (इत्यर्पयति) (ग) ।
विदूषक—(सहर्षं गृहीत्वा) सोत्थि भोदीए । (घ)
(क) हा धिक् हा धिक् ! कथं कुसुमलोभोत्क्षिप्तहृदयया अतिचिरं एव मया
कृतम् । तद् अनेन सिन्दुवारविटपेन अपाहतशरीरा भूत्वा प्रेक्षे । कथं प्रेक्षित
एव अपूर्व्वः कुसुमायुधः । अस्माकं तातस्य अन्तःपुरे चित्रगतः वर्ण्यते । इह प्रत्यक्षीकृतः,
तदहमपि एभिः कुसुमैः इह स्थिता एव भगवन्तं कुसुमायुधं पूजयिष्यामि । नमस्ते
भगवन् कुसुमायुध, शुभदर्शनो मे भविष्यसि । दृष्टं यद् द्रष्टव्यम् । अमोघदर्शनो मे
भविष्यसि । आश्चर्य्यं आश्चर्य्यं ! दृष्टोऽपि पुनः प्रेक्षितव्यः । तद् यावत् न कोऽपि
मां प्रेक्षते तावदेव गमिष्यामि ।
(ख) आर्य्य वसन्तक, एहि साम्प्रतं त्वमपि स्वस्तिवाचनं प्रतीच्छ ।
(ग) आर्य्य, स्वस्तिवाचनं प्रतीच्छ ।
(घ) स्वस्ति भवत्यै ।
हा धिगिति । कुसुमलोभेन उत्क्षिप्तम् अपवाहितं हृदयं यस्याः तया । शुभदर्शनः
कल्याणदर्शनः, अमोघदर्शनः सफलदर्शनः, एतेन वत्सराजं प्रति सागरिकायाः
अनुरागातिशयः व्यज्यते । स्वस्तिवाचनम् स्वस्ति कल्याणाय वाचनं ‘स्वस्ति स्यान् मङ्गले पुण्ये’
इति मेदिनी । आर्य्य इति विदूषकस्य ब्राह्मणत्वे तमुद्दिश्य उक्तिः ‘आर्येति ब्राह्मणं ब्रूयात्’
—भरतः

38 রত্নাবলী
Beng. Trans. সাগরিকা—হা ধিক্ হা ধিক্! কুসুমলোভে আমার মন বিক্ষিপ্ত
হওয়ায় আমি অনেক দেরী করিয়া ফেলিয়াছি। এখন এই সিন্দুবার বৃক্ষের আড়ালে
আত্মগোপন করিয়া দেখিব। (অবলোকন করিয়া) অপূর্ব্ব কুসুমাষুধই দেখিলাম!
আমার পিতার অন্তঃপুরে চিত্রে অঙ্কিত কামদেবের পূজা হইয়া থাকে। এখানে
সাক্ষাৎ দেখিতে পাওয়া গেল। এখন আমিও এই সমস্ত কুসুমের দ্বারা ভগবান্
কুসুমাষুধকে পূজা করি। (এই বলিয়া কুসুমসকল নিক্ষেপ করিলেন)। ভগবন্
কুসুমাষুধ, তোমাকে প্রণাম করি, তোমার দর্শন আমার কল্যাণের নিমিত্ত হউক। যাহা
দ্রষ্টব্য তাহা দেখা গেল। তোমার দর্শন আমার পক্ষে সাফল্যমণ্ডিত হউক। (প্রণাম
করিলেন)। আশ্চর্য্য, একবার দেখিলেও পুনরায় দেখিবার উপযুক্ত। তা যাহাতে কেহ
আমাকে দেখিতে না পায়, এমনভাবে আমি সরিয়া পড়ি। (কয়েক পদ গমন করিলেন)
কাঞ্চন—আর্য্য বসন্তক, এখন এস, তুমিও স্বস্তিবাচন গ্রহণ কর।
(বিদূষক নিকটবর্ত্তী হইল)
বাসব—(চন্দন, কুসুম ও আভরণ দান করিয়া) আর্য্য, স্বস্তিবাচন গ্রহণ করুন।
বিদূষক—(আনন্দে গ্রহণ করিয়া) মহিষীর কল্যাণ হউক।
Eng Trans. Ságariká—Alas ! Alas ! My mind being
diverted by the temptation of flowers I have made a great
delay. Now concealed behind the Sinduvára tree I shall
observe (the festival). (Looking) Oh I have seen an un-
foreseen flower-arrowed god. In the harem of my father the
deity Cupid as drawn in a picture is worshipped ; but here he
is seen in person. Now, I too shall worship the flower-
arrowed deity with these flowers. (Thus saying she offers
the flowers). Oh flower-arrowed god! I bow to thee ; let
this sight of yours be for the good of mine. What is worth
seeing has been observed today. May your sight be of
unfailing success to me. (Bowing down) Wonder, wonder !
though seen ( once ) he is to be seen again. Now, I shall slip
away so that no one can detect me.
Kánchana—Noble Vasantaka ! Now you too come here
and receive your benediction-presents.
(Vidushaka approaches)

प्रथमोऽङ्कः 59
Vasava—(offering sandal-paste, flowers and ornaments)
Noble Brahmana, please receive your benedictory presents.
Jester—(Accepting joyfully) Let good fortune attend your
ladyship !
( नेपथ्ये वैतालिकः पठति )
अस्तापास्तसमस्तभासि नभसः पारं प्रयाते रवौ,
आस्थानीं समये समं नृपजनः सायन्तने सम्पतन् ।
सम्प्रत्येष सरोरुहद्युतिमुषः¹ पादांस्तवासेवितुं
²प्रोद्युत्कर्षकृतो दृशामुदयनस्येन्दोरिवोदीक्षते ॥२३॥
सागरिका—³(श्रुत्वा सहर्षं परिक्रम्य राजानं दृष्ट्वा सस्पृहम्) कहं अअं
सो राआ उदअणो णाम जस्स अहं तादेण दिन्ना ! ता परप्पे-
सणकरिसिदं वि मे जीविदं एदस्स दंसणेण दाणिं बहुमदं
संबुत्तं ! (क)
राजा—कथमुत्सवापहृतचेतोभिरस्माभिः सन्ध्यातिक्रमोऽपि
नोपलक्षितः। ⁴देवि पश्य—
उदयतटान्तरितमियं प्राची सूचयति दिङ् निशानाथम् ।
परिपाण्डुना मुखेन प्रियमिव हृदयस्थितं रमणी ॥२४॥
देवि तदुत्तिष्ठावः⁶। आवासाभ्यन्तरमेव प्रविशावः।
( सर्वे उत्थाय परिक्रामन्ति )
(क) कथम् अयं सः राजा उदयनी यस्याहं तातेन दत्ता ! तत् परप्रेष्य-
कर्षितमपि मे जीवितं एतस्य दर्शनेन इदानीं बहुमतं संवृत्तम् !

1. ॰मुखाः 2. प्रभ्युत् 3. आकर्ण्य (सोद्वेगम्) 4. सम्प्रति परिक्षतमहः, देवि पश्य
2. तदुत्तिष्ठ ।

60 रत्नावली
सागरिका—कहं पत्थिदा देवी । भोदु । तुरिअं गमिस्सं । (राजानं
सस्पृहं दृष्ट्वा निःश्वस्य) कथं मन्दभाइणीए मए पेक्खिदुं वि चिरं ण
पारिदो अअं जणो । (क) (इति निष्क्रान्ता)
राजा—(परिक्रामन्)
देवि त्वन्मुखपङ्कजेन शशिनः शोभातिरस्कारिणा
पश्यान्यानि विनिर्जितानि सहसा गच्छन्ति विच्छायताम् ।
श्रुत्वा ते परिवारवारवनितागीतानि भृङ्गाङ्गना
लीयन्ते मुकुलान्तरेषु शनकैः सञ्जातलब्जा इव ॥२५॥
(इति निष्क्रान्ताः सर्वे)
इति मदनमहोत्सवो नाम प्रथमोऽङ्कः
(क) कथं प्रस्थिता देवी ! भवतु, त्वरितं गमिष्यामि । कथं मन्दभागिन्या मया
प्रेक्षितुमपि चिरं न पारितः अयं जनः ।
वैतालिकः मागधः । विविधाश्चासौ तालः, तेन चरतीति वैतालिकः स्तुतिकीर्त्तनविद् ।
अस्तापास्तेति । अस्ते अस्ताचले अपास्ताः निक्षिप्ताः समस्ताः भासः किरणा येन तस्मिन् रवौ
नभसः पारं प्रयाते अस्तङ्गते इत्यर्थः । सायन्तने समये सायं काले दृशां लोकनयनानां
प्रीत्युत्कर्षं कृतः आनन्दातिशयं विदधतः सुधामयूखत्वात्, (राजपक्षे) रञ्जनशीलत्वात्
रमणीयाकृतित्वाच्च इत्यर्थः । इन्दोः चन्द्रस्य इव तव सरोरुहद्युतिमुषः कमलशोभापहारिणः,
चन्द्रोदये कमलानां निमीलनेन शोभापगमात् । पादान् (चन्द्रपक्षे) मयूखान् (राजपक्षे)
चरणौ बहुवचनं त्वत्यादरात् इत्यर्थः । सेवितुं एषः नृपजनः प्रस्तावनायां पादपद्मोपजीवी
राजसमूह इति यदुक्तं तस्यैव समर्थनम् । सम्प्रति आस्थानीं राजसभां समं युगपत् सम्पतन्
उदीक्षते औत्सुक्येन अपेक्षते । ऊर्ध्वं प्रेक्षते च । शार्दूलविक्रीडितं वृत्तम् । श्लेषाणु-
प्राणितैयमुपमा । पादान् इत्यत्र श्लेषः ॥२३॥
तत्परेति । परस्य प्रेष्यं प्रेरणां परादेशकारित्वमिति यावत् वासवदत्तायाः आज्ञा-
कारित्वमिहस्य कथयतीति भावः । तेन परप्रेष्येण कथितं क्लिष्टमपि जीवितं एतस्य

प्रथमोऽङ्कः 61
उदयनस्य दर्शनेन इत्यर्थः । उदयतटेति । इयं प्राची पूर्वा दिक् उदयतटान्तरितं
उदयाचलाच्छन्नं निशानाथं रमणी हृदयस्थितं प्रियम् इव परिपाण्डुना (प्राचीपक्षे)
चन्द्रोदयात् प्रागेव धवलिमानमापन्नेन (रमणीपक्षे) म्लानेन मुखेन सूचयति । यथा
काचित् रमणी हृदयावस्थितम् अभिमतं जनं वदनपाण्डुतया सूचयति तथैवं
प्राची दिक् चन्द्रोदयात् प्राक् चासादितधवलिमा उदयाचलाच्छन्नं चन्द्रमुदीयमानं
सूचयतीति अभिप्रायः ॥ आर्यावृत्तम् । उपमालङ्कार ॥२४॥
देवीति । देवि शशिनः शोभातिरस्कारिणा तन्मुखपङ्कजेन मुखपद्मेन
अङ्गानि पद्मानि विनिर्जितानि सन्ति विच्छायतां मालिन्यं गच्छन्ति प्राप्नुवन्ति । परिवाराः
एव वारवनिताः तासां परिजनगणिकानाम् गीतानि श्रुत्वा भृङ्गाङ्गनाः सञ्जातलब्जाः
लज्जिताः इव वारवनितानां गीतेः उत्कर्षाद् इति भावः । मुकुलान्तरेषु शनकैः मन्दं
लीयन्ते समाश्रयन्ते ॥ शार्दूलविक्रीडितं वृत्तम् । उत्प्रेक्षालङ्कारः ॥२५॥
इति प्रथमोऽङ्कः
Prose order. अस्तापास्तसमस्तभासि रवौ नभसः पारं प्रयाते दृशां
प्रीत्युत्कर्षकृतः इन्दोः इव उदयनस्य तव सरोरुहद्युतिमुषः पादान् आसेवितुं सम्प्रति
एषः नृपजनः सायन्तने समये आस्थानीं सम्पतन् उदीक्षते ॥२३॥
इयं प्राची दिक् रमणी हृदयस्थितं प्रियम् इव परिपाण्डुना मुखेन उदयतटान्तरितं
निशानाथं सूचयति ॥२४॥
देवि, पश्य—शशिनः शोभातिरस्कारिणा तन्मुखपङ्कजेन विनिर्जितानि अङ्गानि सहसा
विच्छायतां गच्छन्ति । भृङ्गाङ्गनाः ते परिवारवारवनितागीतानि श्रुत्वा सञ्जातलब्जाः इव
शनकैः मुकुलान्तरेषु लीयन्ते ॥२५॥
নেপথ্যে বৈতালিক পাঠ করিল
Beng. Trans. অস্তাচলে কিরণরাশি নিক্ষেপ করিয়া সূর্য্যদেব নভোমণ্ডলের
পরপারে চলিয়া গেলে সভাস্থিত সমস্ত রাজলোক সায়ংকালে জনগণের দৃষ্টির আনন্দবর্দ্ধক
উদীয়মান চন্দ্রের ন্যায়—পদ্মের শোভাপহরণকারী আপনার পাদদ্বয় ( চন্দ্রপক্ষে
কিরণ ) সেবা করিবার নিমিত্ত অপেক্ষা করিয়া রহিয়াছেন ( চন্দ্রপক্ষে—উর্দ্ধদিকে নিরীক্ষণ
করিয়া রহিয়াছেন ) ॥২৩॥

62 রত্নাবলী
সাগরিকা—( শুনিয়া সহর্ষে প্রত্যাবর্ত্তন পূর্ব্বক সস্পৃহভাবে রাজাকে দেখিলেন ) এই কি
সেই রাজা উদয়ন যাঁহার হস্তে আমার পিতা আমাকে অর্পণ করিয়াছেন! এখন ইঁহাকে
দেখিয়া পরের আজ্ঞাপালনহেতু ক্লিষ্ট আমার জীবন আজ আমার নিকট বহু আদরের
বস্তু হইয়াছে!
রাজা—আমাদের চিত্ত উৎসবের দ্বারা অপহৃত হওয়ায় সন্ধ্যা যে অতিক্রান্ত হইয়াছে
তাহা আমরা লক্ষ্য করি নাই।
মহিষি, দেখ—যেমন কোনও রমণী নিজের হৃদয়স্থিত প্রিয়কে নিজের পাণ্ডুবর্ণ
মুখমণ্ডল দ্বারা সূচিত করে, সেইরূপ এই পূৰ্ব্বদিক্ শুভ্রবর্ণ দ্বারা উদয়াচলের অন্তরালে
আচ্ছন্ন চন্দ্রদেবের সূচনা করিতেছে॥২৪॥
তাহা হইলে গৃহাভ্যন্তরে প্রবেশ করা যাউক (সকলে উঠিয়া পরিক্রমণ করিলেন)
সাগরিকা—মহিষী কি প্রস্থান করিলেন? যাহা হউক, আমিও শীঘ্র যাইব। ( রাজাকে
সস্পৃহভাবে দেখিয়া নিঃশ্বাস পরিত্যাগ করিলেন।) আমি কিরূপ মন্দভাগিনী যে আমি
ইঁহাকে অধিকক্ষণ দেখিতেও পাইলাম না। ( নিষ্ক্রান্ত )
রাজা—(পরিক্রমণ করিয়া), দেবি, চন্দ্রের শোভাকে তোমার যে মুখপদ্ম তিরস্কার
করিয়াছে, দেখ সেই পদ্মের দ্বারা বিনির্জ্জিত হইয়া সহসা এই পদ্মগুলি মলিনতা প্রাপ্ত
হইয়াছে। তোমার বারবনিতা-পরিজনগণের গান শ্রবণ করিয়া ভ্রমরীগণ লজ্জায় অভিভূত
হইয়া মুকুলাভ্যন্তরে লুক্কায়িত হইতেছে॥২৫॥
(সকলে নিষ্ক্রান্ত)
মদনমহোৎসব নামে প্রথমাঙ্ক সমাপ্ত
Eng. Trans. (The bard sings out hehind the screen)
The Sun having traversed the sky after casting all his rays
on the Setting-mountain at the hour of evening, this host of
princes assembled in the chamber-hall looks up at present to
Udayana causing excessive joy to the sight (of the people) like
the rising moon, with a view to waiting upon your feet
(or the moon-beams) depriving the lotuses of their lustre. 23.
Ságariká—(Listening turns round in delight and seeing the
King with eagerness) How, is this the king Udayana to whom I
have been betrothed by my father! Now though my life is

प्रथमोऽङ्कः 63
harrowed by servitude unto others (Queen), yet at the sight of
this person, it (life) is of great worth to me at present.
King.—How it is that our mind being carried away by
the festival, we have not noticed the evening passing away !
O my lady, behold—
The eastern direction indicates by whiteness of appearance
the lord of the night (i.e., the moon) concealed behind the
Rising mountain, as a lovely woman does her beloved hidden
in her heart by means of her pale face. 24.
(All rise and walk round)
Ságariká—How, the Queen has departed ! Now I shall go
hastily. (Looking at the King with eagerness and breathing a
deep sigh) How unfortunate I am that I could not see this
person even for a long time !
(Exit)
King—(Going round), O Queen, behold,—the lotuses now
being humbled by your lotus-like face overshadowing the
beauty of the moon, suddenly grow lustreless ; the female bees
hearing the songs of your attendant.courtezans feel ashamed,
as it were, and slowly hide themselves within the buds (i.e.,
lotus-buds). 25.
(All exeunt)
Here ends the First Act entitled "The Great Cupid Festival."

Ratnavali
Act I
Notes
P. 1. महाकवि श्रीहर्षविरचिता—Apart from Harsha being a
great ruler he was a great poet who wrote three dramas namely
Ratnávali, Priyadars'iká and Nágánanda. The first two of
these mutually correspond in their subject-matter, but as regards
the third Shri Harsha wrote it with a Buddhistic tinge when in
the last stage of his life he was inclined towards Buddhism. But
the subject-matters of these three dramas are found in the
Kathásaritságara of Somadeva. That Shri Harsha was a
great poet and that he apart from his royal duties found
diversion in the cultivation of poetry is testified by Jayadeva
who puts him along with other great poets.
Cf. “यस्याश्चोरश्चिकुरनिकरः कर्णपूरो मयूरो
भासो हासः कविकुलगुरुः कालिदासो विलासः ।
हर्षो हर्षः हृदयवसतिः पञ्चबाणस्तु बाणः
केषां नैषा कथय कविताकामिनी कौतुकाय ॥”
रत्नावली—The name of the Drama after the name of the
heroine or according to some scholars after the jewel-necklace
that play a prominent part in the recognition of the heroine.
रत्नावलीम् अधिकृत्य कृता नाटिका इति रत्नावली + अण् by the rule ‘अधिकृत्य कृते
ग्रन्थे’ and the suffix अण् is elided by the rule ‘लुबाख्यायिकाभ्यो बहुलम् ।’
आख्यायिका here means all sorts of compositions in general.
Then begin the Nándi Shlokas for a good finis of the work
in accordance with the traditional practice of the Sanskrit play-

प्रथमोऽङ्कः 65
wrights. In the present work the Nándi Shlokas are 5 in
number of which one is regarded as an interpolation and so is
found absent in some editions.
पादाग्रस्थितया—Standing on tiptoe. पादयोः अग्रे ( ६ष्ठीतत् ) ; ताभ्याम्
स्थिता ( ३यातत् ) तया ; qualifying गिरिजाया ।
नम्रताम्—A stooping posture. नम्रायाः भावः इति नम्रा + त्व = नम्रत्व,
the पुंवद्भाव is provided by the rule त्वतलोर्गुणवचनस्य ।
शम्भोः—शं सुखं भावयतीति शम् + भू + णिच् + डु ; here is णिच् is impli-
citly added to the root भू ।
सस्पृहलोचनत्रयपथम्—The range of the three wistful eyes ( i. e.,
look of love ). स्पृहया सहितानि ( बहुव्रीहि ) तानि लोचनानि ( कर्मधा ) तेषां
त्रयम् ( ६ष्ठीतत् ) तस्य पन्थाः ( षष्ठीतत् ) ; the समासान्त अ is added to
पथिन् by the rule “ऋक्पूरब्धूःपथामानक्षे” ।
यान्त्या—या + शतृ + स्त्रियां ङीप् ; alt. form यात्या by the rule “भूदिवाद्योः
शतुर्नुम् वा तुदादिरुदादिराभ्यस्तस्य च.” The root या is of अदादि class.
ह्रीमत्या—Bashful. ह्रीः अस्याः विद्यते इति ह्री + मतुप् + स्त्रियां ङीप् तया ।
ह्री ( धातु ) + क्विप् = ह्रीः ।
ईङ्गितः—Intended. ईङ्ग् ( चेष्टायाम् ) + क्तः कर्मणि । Though the
root ईङ्ग् means a physical effort, yet all such efforts are based
upon volition ( सङ्कल्प ) । Cf. सर्वे सङ्कल्पजाः कामाः—मनु । Conj. ईङ्गते
( भ्वादि-आ ), ईङ्गाम्बभूव, ईङ्गामास etc. ईङ्गित here qualifies कुसुमाञ्जलिः ।
सपुलकस्वेद etc.—Adj. to गिरिजाया । पुलकश्च स्वेदोद्गमश्च उत्कम्पश्च
( द्वन्द्वः ), तैः सहिता या ( बहु ) तया । पुलक, स्वेद, etc., are the सात्त्विक
भावs which are eight in number. These are nothing but the
outward manifestations of eight different states of a strong
internal feeling indicating the calmness of self. ( सत्त्वं नाम
स्वात्मविश्रामप्रकाशकारी कश्चनान्तरो धर्मः—सा. द. )
5

66 रत्नावली
They are :—स्तम्भः स्वेदोऽथ रोमाञ्चः स्वरभङ्गोऽथ वेपथुः ।
वैवर्ण्यमश्रु प्रलय इत्यष्टौ सात्त्विकाः स्मृताः ॥ सा. दः
N. B. These सात्त्विकभावs arose in Pārvatī as a result of
strong feeling of love towards her lord who was also in a
similar condition. कम्प means tremor ‘अथ वेपथुः कम्पः’ इत्यमरः ।
विश्रियन्—Slipping. वि - श्लिष् + शतृ । Adj. to कुसुमाञ्जलिः ।
कुसुमाञ्जलिः—Handful of flowers. अञ्जलि literally means the
space created by joining two palms. Slipping or falling of
an अञ्जलि is an impossible meaning. So अञ्जलि by implied
meaning means here the flowers consisted in the अञ्जलि ।
अन्तरो—Intervening space.
वः—युष्मान् and अस्मान् are meant here by the rule of एकशेष
“त्यदादीनि सर्व्वैर्नित्यम्” ।
The metre is here शार्दूलविक्रीड़ित, the definition of which is
सूर्य्याश्वैर्मसजस्तताः सगुरवः शार्दूलविक्रीड़ितम् । The scansion is :—
$\quad\quad$ म $\quad\quad$ स $\quad\quad$ ज $\quad\quad$ स $\quad\quad$ त $\quad$ त $\quad$ ग
$\quad\quad$ — — — $\quad$ ‿ ‿ — $\quad$ ‿ — ‿ $\quad$ ‿ ‿ — $\quad$ — — ‿ $\quad$ — — ‿ $\quad$ —
$\quad$ पा दा ग्र स्थि त या मु हुः स्त न भ रे, णो न्नी त या न म्र तां
मगण = — — — $\quad\quad\quad\quad$ रगण = — ‿ —
सगण = ‿ ‿ — $\quad\quad\quad\quad$ नगण = ‿ ‿ ‿
जगण = ‿ — ‿ $\quad\quad\quad\quad$ यगण = ‿ — —
भगण = — ‿ ‿ $\quad\quad\quad\quad$ तगण = — — ‿
The figure of speech here is काव्यलिङ्ग ।
Ch. of voice :... ...ईहितेन...विश्रियता...कुसुमाञ्जलिना युष्माँ...
.........यूयम्......पाथ्वताम् ॥
P. 3. Shloka 2. औत्सुक्येन—out of eagerness. हेतौ ३या ।
उत्सुकस्य भावः इति उत्सुक + ष्यञ् ब्राह्मणादित्वात् ।

प्रथमोऽङ्कः 67
कृतत्वरा—Adj. to गौरी। कृता त्वरा यया सा (बहु )। Hastening.
सहजभुवा—Inherent, natural ; adj. to चीत्कृतेन सह भवतीति सह - भू

• क्विप् कर्तरि।
  व्यावर्तमाना—Turning back ; वि - आ-वृत् + शानच् ; adj. to गौरी।
  ह्रिया—हेतौ तया ; ह्री declined—ह्रीः, ह्रियो, ह्रियः etc.
  तैस्तैः—various. द्विवचनं वीप्सार्थे by the rule “नित्यवीप्सयोः”।
  N. B. In a construction तत् always as a rule follows यत् by
  the dictum “यत्तदोर्नित्यसम्बन्धः।” But here in the Shloka तैस्तैः has
  been used without reference to यच्छब्द in the construction. This
  is here justified by the provision “तच्छब्दस्य प्रक्रान्तप्रसिद्धानुभूतार्थत्वे
  यच्छब्दस्यार्थत्वम्”—साः दः ( VII ). “प्रक्रान्तप्रसिद्धानुभूतार्थतच्छब्दो यच्छब्दीपोदानं
  नापेक्षते”—काव्यप्रकाशः। Here reference of Shiva and Gauri comes
  from the previous Shloka, so reference by यत् is not required.
  बन्धुवधूजनस्य—बन्धुः एव वधूजनः (कर्मधा) or बन्धूनां वधूजनः (६ष्ठीतत् )।
  The wives of the relatives or female friends.
  वचनैः—Words of requests ; अनुक्ते कर्तरि ३या।
  आभिमुख्यम्—The state of standing in presence. मुखम् अभि (अव्ययी-
  भावः) अभिमुखम्। अभिमुखस्य भाव इति अभिमुख + ष्यञ्। आभिमुख्यं is
  the indirect object (गौणकर्म) of नीता। The construction is
  वचनैः गौरी आभिमुख्यं नीता (passive) ; वचनानि गौरीम् आभिमुखं नीतवन्ति
  (active).
  वरम्—Husband ; परमिति पाठे परम् आत्त-क्रियायाः विशेषणम्। परम्—
  too much.
  आत्तसाध्वसरसा—साध्वसञ्च रसश्च साध्वसरसौ (द्वन्द्वः)। आत्तौ साध्वसरसौ यया
  (बहु ) सा ; or साध्वसमेव रसः (कर्मधा) आत्तः साध्वसरसः यया (बहु ) सा।
  आ - दा + क्त = आत्त, alt. form आदत्त meaning गृहीत। साध्वस means

68 रत्नावली
'fright' ; रस means love. expression means "she was taken with
fright mingled with love." Fright is owing to her being newly
married. Love is owing to her hope of being united with her
beloved husband.
नवे सङ्गमे—In her new union.
संरोहत्पुलका—With her hairs standing on their end. This
state of Gauri indicates her strong feeling of love.
संरोहन्तः पुलकाः यस्याः ( बहु ) सा । “पुलको लोमहर्षणम्” इत्यमरः ।
श्लिष्टा—Embraced ; adj. to गौरी ; श्लिष् + क्त कर्मणि । Coj. श्लिष्यति
etc.
शिवाय—४र्थी by the rule ‘क्लृपि सम्पद्यमाने च’ ।
In this S'loka the sentiment is शृङ्गार with रति as स्थायी भाव ।
The metre is शार्दूलविक्रीडित as above. The figure of speech is
here स्वभावोक्ति as the manner of vivid description of the love of
newly married Gauri is only capable of being understood by
the poet.
The definition as given in Darpana is as :—
स्वभावोक्तिर्दुरुहार्थस्वक्रियारूपवर्णनम् ।
P. 7. S'loka 3. क्रोधिद्धैः—blazing with wrath ; adj. to दृष्टि-
पातैः । क्रोधेन इद्धाः ( ३यातत् ) तैः । इन्ध ( burn ) + क्त कर्मणि ।
दृष्टिपातैः—eye-glances. दृष्टीनां पाताः ( ६ष्ठीतत् ) तैः ।
त्रयः वह्नयः—Three sacrificial fires namely आहवनीय, गार्हपत्य and
दक्षिण ।
उपशमिताः—Extinguished. उप - शम् + णिच् + क्त कर्मणि ।
त्रासार्त्ताः—Adj. to ऋत्विजः ; त्रासेन आर्त्ताः or व्यस्ताः येषां ते ।
ऋत्विजः—Family-priests who worship ( for the यजमानs ) in

प्रथमोऽङ्कः 69
different seasons (i. e., times). ऋतौ यजन्ति ये ते इति ऋतु-यज् + क्विप् ।
The definition of ऋत्विक् as given in Manu is
“अग्न्याधेयं पाकयज्ञानग्निष्टोमादिकान् मखान् ।
यः करोति हतो यस्य स तस्यर्त्विगिहोच्यते ॥”
“ऋत्विजी याजकाश्च ते”—इत्यमरः ।
चपलगणहृत etc.—Adj to ऋत्विजः, with their cloths for turban
being snatched away by the Ganas (the formidable attendants).
चपलाः गणाः ( कर्मधा० ) तैः हृतानि ( श्यातान् ) तादृशानि उष्णीषपट्टानि येषां
ते । उष्णीषार्थं पट्टानि ( शाकपार्थिवादित्वात् समासः ) । उष्णीष means turban.
“उष्णीषः शिरोवेष्टः”—इत्यमरः ।
अधः पतन्ति—fall down below ( i. e., from the elevated sacri-
ficial altars ). They were dragged down from the elevated
place.
देवैः विद्रुतम्—The gods ran away ( through fear of life ).
वि - द्रु + क्त भावे । विद्रुत means ‘escape’, ‘run away’.
मखमथनविधौ—In the matter of the destruction of the sacrifice.
मखस्य मथनं ( षष्ठीतत् ) तस्य विधिः ( षष्ठीतत् ) तस्मिन् ।
आत्तहासः—Beginning to laugh. आत्तः हासः येन ( बहु ) सः । In
the reading of चण्डहास it means ‘boisterous’ laughter laughed by
Śiva at the time of destruction.
दैत्यै—क्रियायोगे ४र्थी । क्रिया is शंसन् ।
शंसन्—while relating.
This śloka refers to the destructive and horror-striking
laugh of Śiva for destroying the sacrifice of Daksha in order to
avenge the death of Sati ( see allusion ).
The sentiment is here रौद्र with क्रोध as the स्थायी भाव and

?
Look at the shape: it has two vertical-ish sides, a top bar, repha, ai-matra:
Wait, let's compare with 'मम्र्' or 'मभ्रै':
Notice the word:
म
भ्रै (or र्भै)
र्या (or र्यौ)
णां (or नां)
Wait, look at 'यौ' vs 'र्या':
Look at 'र्या' in 'स्रग्धरा कीर्तितेयम्': 'कीर्ति' has a repha on 'ति'.
In 'र्या', the repha is on top of 'या'.
Look at line 4:
There is:
म
म्र्भै ? Or र्भै ?
Wait, could it be:
"मभ्रैर्याणां" ?
Wait, look at the fourth character: it is णां (with dot).
Look at the third character: it is र्या (repha on ya, with aa matra).
Wait, look at the second character:
It has: a loop like bh (भ) or n (न)?
Wait! Could it be: "म्रो भ्नैर्याणां"?
Look at:
म with o-matra: म्रो !
Wait, does it have o-matra?
Look at 'म': there is an o-matra? No, the o-matra stroke is between म and the next letter?
Wait, what if the

प्रथमोऽङ्कः 71
तदयुक्तं—It implies a negative way of speaking as न युक्तम् ।
बहुमार्गगां—Refers to (1) the Ganges (that flows in various
ways) and (2) Sarasvati (who is explicable in various ways)
or Kubjá (by whom Krishna was befriended at Mathurá) who
adopts various way for satisfying her passion.
ताम्—गङ्गाम् or सरस्वतीम् ।
स्वभावकुटिलाम्—(1) Crooked (in course) by nature, (2) guile-
ful by disposition (refers to Sarasvati).
कृष्णकण्ठग्रहं मुञ्च—This impression can be constructed (1) in
the case of Krishna and (2) in the case of S'iva in the following
manner:—
(1) हे कृष्ण ! कण्ठग्रहं मुञ्च (Oh Krishna, give up embracing
my neck).
(2) हे कृष्णकण्ठ ! ग्रहं मुञ्च (Oh blue-necked S'iva, give up
catching hold of me).
अनुनय—Implore.
अद्रितनया—अद्रेः तनया (६ष्ठीतत्) ।
पायात्—पा + यात् आशिषि । पा धातु here means 'to protect'. The
figure of speech is here श्लेष । By the श्लिष्ट words such as मकर-
ध्वजेन etc., शिव and कृष्ण are simultaneously referred to. So the
two meanings referring to the two deities stand out prominent
like two fruits in one branch (एकवृन्तगतफलद्वयन्यायेन), one without
undermining the other. The metre is here शार्दूलविक्रीड़ित ।
Ch. of voice.......मथनेन.. सम्भ्रान्तेन (अभूयत) । तदयुक्तं न...
(भूयते) सा... स्वभावकुटिला... अनुनीयताम् ग्रहः मुच्यताम् ।...यः ऊचे अद्रितनयया
लक्ष्म्या च... तेन यूयम् पायेध्वम् ।

72 रत्नावली
P. 9. S'loka 4. उडुपतिना—The lord of stars i. e., the moon.
उडु means stars. “तारकाप्युडु वा स्त्रियाम्” इत्यमरः । उडुपतिना जितम्—Let
the lord of stars be attended with victory. The moon is the
lord of the herbs. By his victory, the prosperous condition of
herbs of the world is meant and thereby the general pros-
perity of the people of the country is indicated. जि + क्त भावे ।
द्विजवृषभाः—द्विजाः वृषभाः इव ( उपमितकर्मधा ) ; here the word वृषभ
meaning 'bull' is used in the sense of the best by the dictum
“स्यादुत्तरपदे व्याघ्रपुङ्गवर्षभकुञ्जराः । सिंहशार्दूलनागाद्याः पुंसि श्रेष्ठार्थगोचराः” इत्यमरः ।
निरुपद्रवाः—Free from troubles ; नास्ति उपद्रवः येषाम् ( बहु ) ते ।
उपद्रव means troubles, calamities, diseases etc.
समृद्धशस्या—Prosperous with harvests ; समृद्धं शस्यं यस्याः ( बहु ) सा ।
सम् – ऋध् + क्त = समृद्ध ।
प्रतपतु—Let shine or let assert.
चन्द्रवपुः—'Possessing a body like the moon'. चन्द्र इव वपुः यस्य
( बहु ) सः ।
नरेन्द्रचन्द्रः—नरेन्द्रः चन्द्रः इव 'उपमितं व्याघ्रादिभिः' इति समासः । Here an
indirect reference is made regarding the king Shri Harsha and
his prosperous reign. Here the metre is पुष्पिताग्रा “अयुजि नयुगरेफतो
यकारो युजि च नजौ जरगाश्च पुष्पिताग्रा” । In this metre the 1st and the
3rd lines of the s'loka contain 12 syllables ( अक्षरs) and the 2nd
and the 4th contain 13 syllables. The scansion is as follows
न न र य
︷ ︷ ︷ ︷
͝ ͝ ͝ ͝ ͝ ͝ – ͝ – ͝ – –
1st line : —जि त मु डु प ति ना न मः सु रै भ्यः