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·Poona Oriental Series No. 65
भासनाटकचक्र
चारुदत्तम्।
CĀRUDATTAM
A Sanskrit Drama in Four Acts Attributed to Bhāsa,
Critically edited with Introduction, Notes and
Translation
BY
C.R. DEVADHAR, M.A.,
Professor of Sanskrit,
FERGUSSON COLLEGE, POONA,
Second Edition : Revised
OB
POONA
ORIENTAL BOOK AGENCY
1943

·TABLE OF CONTENTS PAGES + + + E. . ... ... ... PREFACE DRAMATIS PERSONE IXTRODUCTION TEXT OF CARUDATTAI INDEX OF VERSES TRANSLATION VOTES iii iv V-viii 3-57 58 1-40 41-59 .. .. 4.. ... PREFACE TO THE FIRST EDITION The Cārudatta attributed to Bhāsa is of perennial interest to the student of Sanskrit literature, as it has given rise to the tantalising problem as to whether it is the original of the Vicchakațika, or an abridgment thereof. It is probable that there is a third alternative to the problem viz. the possibility that the Cārudatta is an abridgment of the play 'Daridra-Cārudatta' which is referred to as "a Rūpaka by many rhetoricians, and the relation between these three plays will be a matter for further research. We have proceeded on the assumption that 'Daridra- Cārudatta' is but an alternative title of the Mşcchakatika for reasons given in the introduction. In any case there could be no reasonable doubt that if such a play as the 'Daridra-Carudatta' has an independent existence, yet there must be a very close, and in fact, a genetic relation between all the three plays. The present edition is based upon Ganapati Sastri's edition, with occasional references to Morgenstierne's text as given in his “Über das Verhältnis Zwischen Cãrudatta and Mșcchakațika". I have made use of Ganpati Sāstri's commentary in translating and annotating, and have further referred to Woolner's translation. I here make my grateful acknowledgments to all these writers.

·(ii) I take this opportunity of expressing my gratitude to Dr. N. G. Sardesai, who has undertaken to bring out this publication and lastly my thanks are due to Mr. S. R. Sardesai, B.A., LL.B., the manager of the Samartha::Bharat Press, for the very nice printing and get-up of the work, 29th June 1939. C. R. DEVADHAR. PREFACE TO THE SECOND EDITION This edition is a little more than a mere reprint of the first edition. I have availed myself of the collation made by Dr. C. Kunhan Raja from a manuscript No. R. 3585 (g) in the Government Oriental MSS. Library, Madras, and a few of the readings have been adopted in this edition. These are indicated in the notes. I have revised the notes and have made a few additions thereto. I am very much indebted to Dr. C. Kunhan Raja for his courtesy in allowing me the use of his collation and articles on the subject. The death of Dr. N. G. Sardesai, the enthusiastic proprietor of The Poona Oriental Book Agency is a severe blow to all lovers of Oriental learning inasmuch as it deprives them of a genuine friend who had love for the subject and inspired that love in others. His son, however, Dr. R. N. Sardesai, has undertaken to carry on the noble work of his father, and I take this occasion to express my gratitude to him for bringing out this edition of the play. Prabhākara Niketana, Deccan Gymkhana, Poona 4. C. R. DEYADHAR. 21st February 1943. } ·DRAMATIS PERSONÆ Male :- 1. Nayaka 2. Vidūşaka 3. Sakára ... ... 4. Vita ... Cārudatta. Maitreya, friend to Cārudatta Samsthāna, a brother-in-law of the king. The parasitical companion of Sakāra. ... a Shampooer. ... a servant to Vasantasenā. Lover of Madanikā. a Seryant in Cārudatta's house. 5. Samvähaka ... 6. Cheța 7. Sajjalaka . 8. Vardhamănaka ... Female: 1. Ganikā 2. Brāhmani The Courtesan Vasantasenā. Wife of Cārudatta, 3. Radanikā A maid-servant of Cãrudatta. 4. Madanikā ... ... A maid-servant and confidante of Vasantasenā. 5. Vicchittikā... 6. Caturikā } Maids in Vasantasenā's house. Fesides these, there are the usual stage-manager and his wife, the actress.

·INTRODUCTION The Cărudarta presents a very interesting problem to the student of literature. As I have remarked elsewhere it stands apart from the group and has peculiarities which are not shared by the rest of the plays-such as the absence of the introductory verse, of the Bharatavāky! and the comparative prolixity of the prologue, in which again, contrary to usual practice, the Sūtradhāra speaks Prākſta. There is, moreover, no agreement in regard either to imagery, vocabulary, incidents and devices or dramatic irony, which is to be seen in the remaining plays. Recur. rences such as the use of the words सोपस्नेहता, (प्रतिमा, अभिषेक), परिस्पन्द (पञ्चरात्र), or of the sentences को काळो (प्रतिज्ञा, स्वप्न.) or अलमिदानी भवान् अतिमात्रं संतप्य । (स्वम and अविमारक), सवं आणेदु वज्जिअ भोअणं (स्वम IV.3 ) are neither Qumerous, nor peculiar so as to support the idea of common authorship. The stanza faqata AISEE fa etc. which is common to Carudatta and Bālacarita is to be met with in the Mşcchakaţika also. The Cărudatta is unknown to Sanskrit writers. There are numerous references to a play Daridra-Cārudatta, but these are in the first place references to a complete play and not to a fragment or what appears like one, and secondly, they are more likely than not references to the Mrcchakatika. The Daridra-Cārudatta is cited both in the Nāțyadarpana and the Abhinavabhārati as a 'Rūpaka' (which is a play comprising between five to ten acts) in the course of a discussion on free will and determination in its relation to the dramatic art. (ततो देवायत्तफले दरिद्रचारुदत्तादिरूपके पुरुषव्यापारस्य गौणत्वात्कथं प्रारम्भादय: स्युः ). This clearly refers to a conclusion which is brought about by Destiny' as in the Mịcchakaţika, where Cārudatta is saved from the gallows purely through the sudden turn of fortune in his favour when he himself had abandoned all hope of life. The # 35 Vide my "Plays ascribed to Bhāsa, their authenticity and merits."

·i CĂRUDATTA Daridra-Cārudatta cannot be the present play for the simple reason that in none of the Miss. is it called so, nor in the body of the play is the hero ever described as दरिद्रचारुदत्तः, but alrays as दरिद्रसार्थवाहपुत्रः चारुदत्तः, In the Mșcchakațika, however, the expression EEG occurs as many as eight times, and when we remember that our rhetoricians are in the habit of using alternative titles like वत्सराजचरितम् and रत्नावली for रत्नावली, we need make no doubt that the same referred to as a 4a is no other than the मृच्छकटिक. In regard to the relation between the Cārudatta and Mșcchakațika, opinion is sharply divided, some believing that the latter is a mere amplified replica of the former, *hile others hold the opinion that the Cārudtta is a mere abridgment of the Mşcchakatika. As I have thoroughly discussed this question elsewhere, I need only assert here my view that the Cārudatta is abridged from the first four acts of the Mrcchakatika, with a few additions and numerous alterations particularly in the verse portions. It gives us 55 verses for 143 verses in the corresponding portion of the Mş. out of which as many as 11 are altogether new. The remaining 44 are common to the two plays, but most of these have lost their smoothness and polish in the altered form in which they are presented in the Cārudatta. The main differences in the two versions may here be enumerated :-The most important of these is the complete absence of the political background which practically per. meates the play ele. Thus in the prologue there is a reference to king Palaka (कदा नु खलु त्वां कुपितेन राज्ञा पालकेन नववधूकेशकलापमिव ससुगन्धं च्छिद्यमानं प्रेक्षिष्ये). In act II Dardu. raka after his scuffle with Mathura, the keeper of the gambling house, refers to the forces of discontent that were rallying round आर्यक (कथितं च मम प्रियवयस्येन शर्विलकेन यथा ·INTRODUCTION vii SON किल आर्यकनामा गोपालदारक: सिद्धादेशेन समादिष्टो राजा भविष्यति । सर्वश्चास्मद्विधो जनः तमनुसरति). In act IV there is the pro. clamation that king. Pālaka, disturbed by the seer's pro. phesy has arrested Aryaka and flung him in a dungeon, whereupon Sarvilaka, who has just secured Madanikā for wife, leaves her to take care of herself and himself proceeds to join his revolutionary comrades. The Cârudatta studi. ously drops all these references. There is further no mention of Cârudatta's Rohasena. In the MI;. the child is spoken of as having come out of the inner court to enjoy the cool evening breeze and of having dropped into sleep outside ; hence the hero asks Vasantasenā, whom he mistakes for his maid Radanikā, to wrap the child with his mantle and take it inside the house. The Cārudatta, however, drops all reference to Rohasena but in so doing, does not succeed in covering up all traces of the abridgment, for it retains the sentence प्रवेश्यतां अभ्यन्तरम् of the मृच्छकटिक where the causal प्रवेश्यतां is all right since the maid is asked to take the child inside the house ; while in the Cārudatta var ai causal becomes meaningless and ungrammatical. Similarly there is no reference to a suit in the law.court (TOT EETT:). The servant of Sakāra (the c of the Tesale) is not at all mentioned, and lastly there is a very great change in the conception of the characters, parti. cularly that of the fac. To my mind all these changes are made with a definite purpose. The author of the Cārudatta, whosoever he was, wanted to make a pleasing comedy out of the first four acts of the Mệcchakaţika, and hence has avoided references to the political revolution, to Rohasena, and to the law-suit which is contemplated by the vengeful Sakāra. He has given us a stage-version of the first four acts and has attempted to give it the form of a complete play and not a fragment. Hence whatever was necessary to the subsequent development of the story, such as the law-suit, the servant of Sakára viz: Razee who is responsible for the swapping of the bullock-carts, Rohasena whose demand for ·CARUDATTA golden cart in place of his clay-cart gives Vasantsenă a pretext for once more leaving her ornaments in Cārudatta's house, and the political back-ground: all these are meti. culously aroided by our author. The remark Wat TEE represents to my mind the real state of affairs. The end of the fourth act (अमृताङ्कः नाटकाङ्कः संवृत्तः, and हताशे मा खलु वर्धय seems to point to the same conclusion that the author Wants to give finality to the play. With regard to the face scheme which is introduced fry our author ( रदनिके, गृहाणैतं सुवर्णालंकारं त्वम्। पष्ठयां सप्तम्यां च धारय । अहमष्टम्यामनध्याये धारयिष्यामि | we feel that confusion is worse confounded; for it necessitates the assumption that the entire action of the story covers but three days; for in the third act, when the vidūşaka returns home after the concert, he is reminded by the maid that it was the eighth day (the same fact is indicated by the verse stat pe TAT... 3129972FB:) and hence he was to take charge of the ornaments. Now in the first act the moon is described as rising up at about 9-30 or 10 p.m. which shows that it was 2014; while in act III the same is described as setting sometime after midnight, which clearly indicates 1941. This leads to the assumption that over a fortnight must have elapsed between the first and third act. But what then would happen to the Tithi Scheme: Vasantasenã left her ornaments with Cārudatta on et; they were in the keeping of the maid on Et and art and were handed over after midnight on the day to the Vidūşaka when he returned from the music concert, and were stolen from him towards dawn by Sarvilaka. This is a very serious inadvertence from which the Mịcchakatika is happily free, although it is not quite clear in regard to its time-sequence. With regard to the Prākſta of the play, we find that Samvāhaka, who speaks arreft in the Tagale, speaks the usual strat here. The Sakāra speaks Am as in the Mișcchakațika, with his peculiar idiosyncracy of using the palatal T for the sibilant . ;

·चारुदत्तस्य कथावस्तु। चारुदत्तो नाम कश्चित् सार्थवाहपुत्रो विप्र उदाराशयोऽर्थिषु गलितविभव- सर्वस्व उजयिन्यां श्रेष्ठिचत्वरे निवसति स्म । तस्मिन् दृढमनुरक्ता वसन्त- सेना नाम गणिका । अथ कदाचिद्राजवीथ्यां गच्छन्ती सा विटद्वितीयेन राज- श्यालेन शकारेणानुगम्यमाना संभ्रान्ता प्रदोषान्धकारपूरितगम्भीरायां रथ्यायां देवाचारुदत्तस्य भवनं प्राप्ता; तस्माद् गृहाद् दीपं गृहीत्वा निष्क्रामन्ती चार- दत्तचेटी रदनिकां दृष्ट्वा पटान्तेन दीपं निर्वाप्याभ्यन्तरं प्रविष्टा । अथ विटेन प्रोत्साहितो राजश्यालो वसन्तसेनाबुद्धया रदनिकां यावद् बलादाक्रष्टुमारभते स्म तावच्चारुदत्तवयस्यो मैत्रेयो दीपं गृहीत्वा तत्र प्राप्तः। स च तेन प्रधर्षितां चेटीं दृष्ट्वा भृशमेनं निर्भर्त्सयामास । अथ शकारो भवनगता वसन्त- सेना त्वया श्वो निर्यातयितव्या इति चारुदत्तं संदिश्य निष्कान्तः । वसन्तसेना तुपरिचारिकाभ्रान्त्या चारुदत्तेनाभ्यन्तरप्रवेशनायार्पितं सुमनोवासितं प्रावारकं गृहीत्वा विवर्धितमदना संवृत्ता । अनुपदमेव विदूषकरदनिकाप्रवेशाचारुदत्तः स्वं प्रमादं ज्ञातवान् । वसन्तसेनाप्यभयमेनं ययाचे । तस्य हस्ते च स्वीयान् सुवर्णालंकारान् निक्षिप्यायमैत्रेयेणानुगता स्वभवनं प्रतिनिववृते । ततोऽन्येाश्चारुदत्तसंवाहको द्यूतोपजीवी द्यूतकरभयाद् वसन्तसेनाभवनं प्रविष्टः शरणागतस्तयाभयदानेन विश्वसितश्चारुदत्तगुणान् प्रशशंस । अनन्तरं तस्याश्चेटः कर्णपूर आत्मनः परिस्पन्दं वर्णयितुमारब्धः । अनेन हि मोचितः कोऽपि वराकः प्रव्राजको हस्तिहस्तसंमर्दात् । ततोऽस्य पराक्रमेण तुष्टश्चारुदत्त एनमात्मनः प्रावारकं दत्तवान् । ततोऽस्य गुणानुरागित्वमौदार्य च चिन्तयन्ती वसन्तसेना दृढमुत्कण्ठिताऽभूत् । अथ कदाचिद्वसन्तसेनाचेट्या मदनिकायाः कामुकः सजलको नाम ताम- भुजिष्यां कर्तुं प्रवृत्तस्तस्या निष्कथार्थ रात्रौ चारुदत्तगृहे सन्धि कृत्वा वसन्त- सेनया निक्षितं सुवर्णभाण्डमपजहार । तच्च गृहीत्वा वसन्तसेनागृहं प्राप्तो मदनिकायै साहसं स्वीयं निवेदयामास । भित्यन्तरितया वसन्तसेनयाऽपि श्रुतं तद्गहस्यम् । अत्रान्तरे चारुदत्तसकाशात्प्राप्तो विदूषकः "सुवर्णभाण्डं तद् द्यूते ·हारित" इत्यपदिश्य तन्मूल्यत्वेन चारुदत्तपल्या समर्पिता रत्नावली तस्यै प्रादात् । सजलकोऽपि मदनिकावचनानुरोधेन 'आर्यचारुदत्तप्रेषितमिदं इति वदस्तस्या आर्पयत् । तया तु साहसं कृत्वानीतमिदं सुवर्णभाण्डमिति प्रत्याख्यातः । अन्ते तु प्रेम्णो विजृम्भितमेतदिति प्रीता मदनिकां स्वीयैराभ- रणैरलंकृत्य सजलकाय प्रदाय प्रवहणे तावारोप्य व्यसर्जयत् । स्वयं च चारु- दत्तमभिसर्तुमुद्यताऽभवत् । पात्राणि पुरुषाः- नायकः-दरिद्रसार्थवाहपुत्रः चारुदत्तः। विदूषकः-(मैत्रेयः) चारुदत्तस्य मित्रम् । शकार:-राजश्याल: संस्थानकः । विट: संवाहकः चेट:-(मृच्छकटिके कर्णपूरकः) वसन्तसेनायाः किङ्करः । सजलकः-(मृच्छकटिके शर्विलकः) मदनिकाकामुकः । स्त्रियः- गणिका-वसन्तसेना। ब्राह्मणी-चारुदत्तस्य पत्नी। रदनिका-चारुदत्तगृहे चेटी। सदनिका-वसन्तसेनायाः सखी चेटी च ।

·श्रीगणेशाय नमः। भासनाटकचक्रे चारुदत्तम् ( नान्द्यन्ते ततः प्रविशति सूत्रधारः।) सूत्रधारः-किण्णु खु अज्ज पच्चूस एव्व गेहादो णिक्यन्तस्स ३ बुभुक्खाए पुक्खरपत्तपडिदजळबिन्दू विअ चञ्चळाअन्ति विध मे अक्खीणि । (परिक्रम्य ) जाव गेहं गच्छिअ जाणामि किण्णु हु संविधा विहिदा ण वेत्ति । ( परिक्रम्य ) एवं अम्हाणं गेहं । जाव ६ पविसामि । (प्रविश्यावलोक्य) जह कोहीपरिवठ्ठणकाळसारा भूमी, उभामणसुगन्धो विअ गन्धो, सुणिमित्तं विअ परिभमन्तो वडिवस्सअजणो, किण्णुखु संविधा विहिदा। आदु बुभुक्खाए ९ ओदणम विअ जीवळोअं पेक्खामि । जाव अय्यं सहावेमि । अय्ये ! इदो दाव। [किन्नु खल्वद्य प्रत्यूष एवं गेहान्निष्कान्तस्य बुभुक्षया पुष्करपत्रपतितजलबिन्दू इव चञ्चलायेते इव मेऽक्षिणी । १२ यावद् गेहं गत्वा जानामि किन्नु खलु संविधा विहिता न वेति । एतदस्माकं गेहम् । यावत् प्रविशामि । यथा लौहीपरिवर्तनकालसारा भूमिः, स्नेहोद्भावनसुगन्ध इव गन्धः, सुनिमित्तमिव परिभ्रमन् वरि- १. वस्यकजनः, किन्नु खलु संविधा विहिता। अथवा बुभुक्षयौदनमयमिव जीवलोकं पश्यामि । यावदार्या शब्दापयामि । आयें ! इतस्तावत्।] नटी-अय्य! इअं म्हि । अय्य ! दिद्विआ खु सि आअदो। [आर्य ! १८ इयमस्मि ! आर्य ! दिष्ट्या खल्वस्यागतः।] सूत्रधारः-अय्ये ! किं अस्थि अम्हाणं गेहे को वि पादरासो। [आयें ! किमस्त्यस्माकं गेहे कोऽपि प्रातराशः।]

·चारुदत्ते [i.u_ -- २१ नी-अस्थि । [अस्ति।] सूत्रधारः-चिरं जीव । एवं सोभणाणि भोअणाणि दन्तिआ होहि। [चिरं जीव । एवं शोभनानि भोजनानि दात्री भव ।] २४ नटी-अय्य ! तुवं एव पडिवाळन्ती चिट्ठामि। [आर्य ! त्वामेव प्रतिपालयन्ती तिष्ठामि ।] सूत्रधारः-अय्ये ! किं अस्थि अभत्थिदं। [आयें ! किमत्यभ्य- २७ र्थितम् ।] नटी-अस्थि । [ अस्ति।] सूत्रधारः-एवं देवा तुमं अस्सासअन्तु । अय्ये ! किं किं । [एवं ३० देवास्त्वामाश्वासयन्तु । आयें ! किं किम् ।। नटी-घिदं गुळं दहिं तण्डुळा अ सव्वं अत्थि। [धृतं गुडो दधितण्डु- लाश्च सर्वमस्ति।] ३३ सूत्रधारः-एदं सव्वं अम्हाणं गेहे अस्थि । [ एतत् सर्वमस्माकं गेहेऽस्ति ।] नटी-णहि णहि । अन्तळावणे । [नहि नहि । अन्तरापणे।] ३६ सूत्रधारः-(सरोषम् ) आः अणय्ये! एवं दे आसा छिन्दी- अदु । अभावं च गमिस्ससि । अहं चण्डप्पवादळण्डिओ विअ वरण्डी पव्वदादो दूरं आरोविअ पाडिदो म्हि। [आः अनाय! ३९ एवं ते आशा छिद्यताम् । अभावं च गमिष्यसि । अहं चण्डप्रवात- लण्डित इव वरण्डः पर्वताद् दूरमारोप्य पातितोऽस्मि ।] नटी-मा भाआहि मा भाआहि । मुहुत्तअं पडिवाळेदु अय्यो। ४२ सव्वं सज्ज भविस्सदि। ळळू णाम एदं । अज्ज मम उववासस्स अय्यो सहायो होदु । [मा विभीहि मा बिभीहि । मुहूर्तकं प्रति- पालयत्वार्यः । सर्व सज्ज भविष्यति । लब्धं नामैतत् । अद्य ममोप- ४५ वासस्थायः सहायो भवतु ।] २ ·-i.] प्रथमोऽङ्कः। १९३ : सूत्रधारः-किण्णामहेओ अय्याए उववासो। [किनामधेय आया उपवासः । ] ४८ नटी-अभिरुववदी णाम । [अभिरूपपति म ।] सूत्रधारः-किं अण्णजादीए । [ किमन्थजात्याम् ।। नटी-आम | [ आम ।] ५१ सूत्रधार:-सव्वं दाव चिट्ठदु । को हु दाणि अय्याए उववासस्स उवदेसिओ। [ सर्व तावत् तिष्ठतु । को विदानीमाया उपवास- स्योपदेशिकः।] ५४ नटी-इमिणा वडिवस्सएण चुण्णगोद्रेण । [अनेन वरिवस्यकेन चूर्ण- गोष्ठेन।] सूत्रधारः-साहु चुण्णगोट्ट ! साहु । [साधु चूर्णगोष्ठ ! साधु ।] ५७ नटी-जइ अय्यस्य अणुग्गहो, तदो इच्छेअं अम्हारिसजणजोगं कच्चि बम्हणं निमन्तेढुं। [ यद्यार्यस्यानुग्रहः, तत इच्छेयमस्सादृशजन- योग्यं कञ्चिद् ब्राह्मणं निमन्त्रयितुम् ।] ६० सूत्रधारः-धम्मिट्ठो खु णिओओ । तेण पादरासो वि मे भवि- स्सदि । जइ एव्वं, पविसदु अय्या। अहं वि अम्हारिसजणजोगं कश्चि बम्हणं अण्णेसामि । [धर्मिष्ठः खलु नियोगः । तेन प्रातरा- ६३ शोऽपि मे भविष्यति । यद्येवं प्रविशत्वार्या । अहमप्यस्मादृशजनयोग्य कञ्चिद् ब्राह्मणमन्वेषे।] नटी-जं अय्यो आणवेदि । (निष्क्रान्तः) [ यदार्य आज्ञापयति ।] ६६ सूत्रधारः-कहिण्णु खु दरिद्दबम्हणं ळभेअं। (विलोक्य) एसो अय्य- चारुदत्तस्स वअस्सो अय्यमत्तेओ णाम बम्हणो इदो एव्व आअ- च्छदि । जाव उवणिमन्तेमि । (परिक्रम्य) अय्य ! णिमन्तिदो सि। ६९ आमन्तणस्स मा दरिद्द त्ति में अवमण्णेहि । सम्पण्णं अहिदव्वं भविस्सदि । घिदं गुळं दहिं तण्डुला अ सव्वं अत्थि। अविध १. पडिवेस्सएण. ३ ·- [i. चारुदत्ते दक्खिणामासआणि भविस्सन्ति। [कुन नु खलु दरिद्रब्राह्मणं लभेश्य । ७२ एष आर्यचारुदत्तस्य वयस्य आर्यमैत्रेयो नाम ब्राह्मण इत एवा- गच्छति । यावदुपनिमन्त्रयामि । आर्य ! निमन्त्रितोऽसि । आमन्त्रणस्थ्य मा दरिद्र इति मामवमन्यस्व। सम्पन्नमशितव्यं भविष्यति । घृतं ७. गुडो दधि तण्डुलाश्च सर्वमस्ति । अपि च दक्षिणामाषका भविष्यन्ति ।] (नेपथ्ये) अण्णं अण्णं णिमन्तेनु दाव भवं । अरित्तओ दाव अहं । [अन्थ्य- ७८ मन्यं निमन्त्रयतु तावद् भवान् । अरिक्तकस्तावदहम् ।] सूत्रधारः-- घिद्गुळदहिसुसमिद्धं धूविअसूवोवदंससम्भिण्णं । सकारदत्तमिटुं भुञ्जीअदु भत्तमय्येण ॥ १ ॥ [धृतगुडदधिसुसमृद्धं धूपितसूपोपदंशसम्भिन्नम् । सत्कारदत्तमिष्टं भुज्यतां भक्तमायण ॥१॥] (निष्क्रान्तः।) स्थापना। (ततः प्रविशति विदूषकः ।) ३ विदूषकः--अण्णं अण्णं णिमन्तेदु दाव भवं । अरित्तओदाव अहं । णं भणामि अहं अरित्तओ त्ति । किं भणासि-सम्पण्णं असणं अहिदव्वं भविस्सदि त्ति । अहं पुण जाणामि । अहिअमहुरस्स ६ अम्बस्स अजोग्गदाए अढि ण भक्खीअदि ति । किं दाणि मं उळाळिअ उळ्ळाळिअ भणासि । भणामि वावुदो त्ति। किं भणासि दक्खिणामासआणि भविस्सदि त्ति । एसो वाआ पञ्चा- ९ चक्खिदो हिअएण अणुबन्धीअमाणो गच्छीअदि। अहो अचा- ·-i. 1.4] प्रथमोऽङ्कः । १९५ हिदं । अहं वि णाम परस्स आमन्तणाणि त्ति तकेमि। जो अहं तत्तहोदो चारुदत्तस्स गेहे अहोरत्तपय्यत्तसिद्धेहि णाणाविधेहि १२ हिशुविद्धेहि ओग्गारणसुगन्धेहि भूक्खेवमत्तपडिच्छिदेहि अन्त- रन्तरपाणीएहि असणप्पआरेहि चित्तअरो विअ बहुमळ्ळएहि परिवुदो आअण्ठमत्तं अह्निअ चञ्चरवुसहो विअ मोदअख- १५ जएहि रोमन्थाअमाणो दिवसं खेवेमि, सो एव्व दाणि अहं तत्तहोदो चारुदत्तस्स दरिददाए समं पारावदेहि साहारणवृत्ति उवजीवन्तो अण्णहिं चरिअ चरिअ तस्स आवासं एव्व १८ गच्छामि । अण्णं च अच्छरिअं। मम उदरं अवत्थाविसेसं जाणादि । अप्पेणावि तुस्सदि । बहुअं वि ओदणभरं भरिस्सदि दीअमाणं । ण आएदि अदीअमाणं, ण पञ्चाचिक्खदि । ण खु २१ अहं एरिसेण ण सन्तुट्ठो। ता सट्ठीकिददेवकय्यस्स तत्तहोदो चारुदत्तस्स कारणादो गहीदो सुमणो अन्तळिक्खवासो अ। जाव से पस्सपरिवत्ती होमि । (परिक्रम्यावलोक्य ) एसो तत्तभवं २४ चारुदत्तो पभादचन्दो विअ सकरुणप्पिअदंसणो जहाविभवेण गिहदेवदाणि अञ्चअन्तो इदो एव्व आअच्छदि । जाव णं उवसप्पामि । (निष्क्रान्तः।). [अन्यमन्यं निमन्त्रयन्तु तावद् भवान् । २७ अरिक्तकस्तावदहम् । ननु भणाम्यहमरिक्तक इति । किं भणसि- सम्पन्नमशनमशितव्यं भविष्यतीति । अहं पुनर्जानामि । अधिकमधुरस्य आम्रस्य अयोग्यतया अस्थि न भक्ष्यत इति । किमिदानी मामुल्लाल्यो- ३० लाल्य भणसि । भणामि व्यापृत इति । किं भणसि-दक्षिणामाषका भविष्यन्तीति । एष वाचा प्रत्याख्यातो हृदयेनानुबध्यमानो गम्यते। अहो अत्याहितम् । अहमपि नाम परस्यामन्त्रणानीति तर्कयामि । योऽहं ३३ तत्रभवतश्चारुदत्तस्य गेहेऽहोरात्रपर्याप्तसिद्धैर्नानाविधैर्हिविद्वैरुद्वार- सुगन्धिभिः भ्रूक्षेपमात्रप्रतीष्टैरान्तरान्तरापानीयैरशनप्रकारैश्चित्रकर इव ·चारुदत्ते [i. 1. 35.... बहुमल्लकैः परिवृत आकण्ठमात्रमशित्वा चत्वरवृषभ इव मोदकखाद्यै ३६ रोमन्थायमानो दिवसं क्षिपामि, स एवेदानीमहं तत्रभवतश्चारुदत्तस्य दरिद्रतया समं पारावतैः साधारणवृत्तिमुपजीवन् अन्यत्र चरित्वा चरित्वा तस्यावासमेव गच्छामि । अन्यञ्चाश्चर्यम् । ममोदरमवस्था- ३९ विशेष जानाति । अल्पेनापि तुष्यति । बहुकमप्योदनभरं भरिष्यति दीयमानम् । न याचते अदीयमानं, न प्रत्याचष्टे । न खल्वहमीदृशेन न सन्तुष्टः । तत् षष्ठीकृतदेवकार्यस्य तत्रभवतश्चारुदत्तस्य कारणाद् गृही- ४२ तानि सुमनसोऽन्तरीयवासश्च । यावदस्य पार्श्वपरिवर्ती भवामि । एष तत्रभवांश्चारुदत्तः प्रभातचन्द्र इव सकरुणप्रियदर्शनो यथाविभवेन गृह- दैवतान्यर्चयन् इत एवागच्छति । यावदेनमुपसामि ।] ४५ (ततः प्रविशति बलिमुपहरन्नायको विदूषकश्चाङ्गेरिकाहस्ता चेटी च।) नायक:-(दीर्घ निःश्वस्य) भोः ! दारिद्र्यं खलु नाम मनस्विनः पुरुषस्य सोच्छासं मरणम् । कुतः, यासां बलिर्भवति मद्गृहदेहलीनां हंसैश्च सारसगणैश्च विभक्तपुष्पः । तास्वेव पूर्वबलिरूढयवाङ्कुरासु बीजाञ्जलिः पतति कीटमुखावलीढः ॥ २॥ विदूषकः-अळं दाणि भवं अदिमत्तं सन्तप्पिटुं । पुरुसजोवणाणि विअ गिहजोव्वणाणि खु दसाविसेसं अणुहोन्ति । आसमुद्दआण- ३ विपण्णविभवस्स बहुळपक्खचन्दस्स जोहापरिक्खओ विध भवदो एव्व रमणीओ अअं दरिदभावो। [अलमिदानी भवान- तिमानं सन्तप्तुम् । पुरुषयौवनानीव गृहयौवनानि खलु दशाविशेष- ६ मनुभवन्ति । आसमुद्रदानविपन्नविभवस्य बहुलपक्षचन्द्रस्य ज्योत्स्ना- परिक्षय इव भवत एव रमणीयोऽयं दरिद्रभावः।] ६

·-1.5]
प्रथमोऽङ्कः।
१९७
नायकः-न खल्वहं नष्टां श्रियमनुशोचामि। गुणरसज्ञस्य तु
९ पुरुषस्य व्यसनं दारुणतरं मां प्रतिभाति । कुतः,
सुखं हि दुःखान्यनुभूय शोभते
यथान्धकारादिव दीपदर्शनम् ।
सुखात्तु यो याति दशां दरिद्रतां
स्थितः शरीरेण मृतः स जीवति ॥ ३॥
विदूषकः-भो वअस्स! समुद्दपट्टणसारभूदो तादिसो अत्थसञ्चओ
कहिं गओ। [भो वयस्य ! समुद्रपत्तनसारभूतस्तादृशोऽर्थसञ्चयः
३ व गतः।]
नायक:-(निःश्वस्य) वयस्य ! यत्र गतानि मे भागधेयानि ।
!
पश्य,
क्षीणा ममार्थाः प्रणयिक्रियासु
विमानितं नैव परं स्मरामि ।
एतत्तु मे प्रत्ययदत्तमूल्यं
सत्त्वं सखे ! न क्षयमभ्युपैति ॥ ४ ॥
(चिन्तां नाटयति ।)
विदूषकः-किं भवं अत्थविभवं चिन्तेदि। [किं भवानर्थविभवं
३ चिन्तयति।]
नायक:-
सत्यं न मे धनविनाशगता विचिन्ता
भाग्यक्रमेण हि धनानि पुनर्भवन्ति ।
एतत्तु मां दहति नष्टधनश्रियो मे
यत् सौहृदानि सुजने शिथिलीभवन्ति ॥ ५॥

·१९८ चारुदत्ते [i.5.1 अपि च, दारिख्यात् पुरुषस्य बान्धवजनो वाक्ये न सन्तिष्ठते सत्त्वं हास्यमुपैति शीलशशिनः कान्तिः परिम्लायते । निर्वैरा विमुखीभवन्ति सुहृदः स्फीता भवन्त्यापदः पापं कर्म च यत् परैरपि कृतं तत्तस्य सम्भाव्यते ॥ ६॥ विदूषकः-एदे दाणि दासीएपुत्ता अत्थवावारा गोवदारआ विअ मसअभीदा गिहादो णिग्गच्छन्ति । धणविणासदुक्खस्स ३ उण चिन्तिअमाणस्स वसन्ते वुढस्स सरत्थम्बस्स विअ अङ्कुर- कुरा उन्भमन्ति । ता अळं भवदो सन्दावेण। [एत इदानीं दास्याः पुत्रा अर्थव्यापारा गोपदारका इव मशकभीता गृहाद् निर्गच्छन्ति । ६ धनविनाशदुःखस्य पुनश्चिन्त्यमानस्य वसन्ते वृद्धस्य शरस्तम्बस्ये- वाऽकुराकुरा उद्भ्रमन्ति । तदलं भवतः सन्तापेन।] नायकः-वयस्य ! किमर्थं सन्तापं करिष्ये। किञ्चाहं दरिद्रः, ९ यस्य मम, विभवानुवशा भार्या समदुःखसुखो भवान् । सत्त्वं च न परिभ्रष्टं यद् दरिद्रेषु दुर्लभम् ।। ७ ।। (ततः प्रविशति गणिका सम्भ्रान्ता विटेन शकारेण चानुगम्यमाना।) शकारः-चिट्ठ चिट्ठ वशञ्चशेणिए ! चिट्ठ किं याशि धावशि पधावशि पक्खळन्ती शाहु प्पशीद ण मळीअशि चिट्ठ दाव । कामेण शम्पदि हि डज्झइ मे शळळिं अङ्गाळमज्झपडिदे विअ चम्मखण्डे ॥ ८॥ ३ [तिष्ठ तिष्ठ वसन्तसेने तिष्ठ, ·-i. 11.3] प्रथमोऽङ्कः । १९९ किं यासि धावसि प्रधावसि प्रस्खलन्ती साधु प्रसीद न मार्यसे तिष्ट तावत् । कामेन सम्प्रति हि दह्यते से शरीर- मनारमध्यपतितमिव चर्मखण्डम् ॥ ८॥] विट:-वसन्तसेने! किं त्वं भयेन परिवर्तितसौकुमार्या नृत्तोपदेशविशदौ चरणौ क्षिपन्ती। उद्विग्नचञ्चलकटाक्षनिविष्टदृष्टि- ावानुसारचकिता हरिणीव यासि ॥ ९ ॥ शकारः-भावे ! एशा गच्छइ वशञ्चशेणिआ, दुवेहि अम्हेहि अणुबन्धअन्ती जहा शिगाळी विअ कुक्कुळेहि। शणूपुळा मेहळणादहाशा शवेट्टणं मे हळअं हळन्ती ।। १०॥ [भाव ! एषा गच्छति वसन्तसेना, द्वाभ्यामावाभ्यामनुबध्यमाना यथा शृगालीव कुक्कुराभ्याम् । सनूपुरा मेखलानादहासा सवेष्टनं मे हृदयं हरन्ती ॥ १०॥] विटः-वसन्तसेने किं त्वं पदात् पदशतानि निवेशयन्ती नागीव यासि पतगेन्द्रभयाभिभूता। वेगादहं प्रचलितः पवनोपमेयः किं त्वां ग्रहीतुमथवा न हि मेऽस्ति शक्तिः ॥ ११ ॥ गणिका-(समन्तादवलोक्य) पळ्ळवअ ! पळ्ळवअ! परहुदिए ! परहुदिए ! महुअरअ ! महुअरअ ! सारिए ! सारिए! हद्धि, ३ गट्ठो मे परिजणो। एत्थ स एव अप्पा रक्खिदव्वो। [पल्लवक ! ९ ·चारुदत्ते [i. 11, पल्लवक ! परभृतिके ! परभूतिके ! मधुकरक ! मधुकरक! शारिके ! शारिके ! । हा धिक्, नष्टो मे परिजनः । अत्र स्वयमेवात्मा रक्षितव्यः।] ६ शकारः-विळव विळव णाए! विळव पळ्ळवं वा, परहुदिअं वा, महुअरं वा, शालिवा, शव्वं वशश्चमाशं वा। के के तुमं परित्तआशि। किं वाशुदेवे शवपट्टणेशे कुन्तीशुदे वा जणमेजए वा। अहं तुर्म गहिअ केशहत्थे दुःशाशळे शीदमिवाहळामि ॥ १२॥ [विलप बिलप ज्ञाते ! विलप पल्लवं वा, परभृतिकां वा, मधुकर धा, शारिकां वा, सर्व वसन्तमासं वा । कः कस्त्वां परित्रास्यते । किं वासुदेवः शवपत्तनेशः कुन्तीसुतो वा जनमेजयो वा। अहं त्वां गृहीत्वा केशहस्ते दुःशासनः सीतामिवाहरामि ॥१२॥] विट:-वसन्तसेने! सर्वत्र भयानभिज्ञहृदयं मां कुरु । पश्य, परिचिततिमिरा मे शीलदोषेण रात्रि- बहुलतिमिरकालास्तीर्णपूर्वा विघट्टाः । युवतिजनसमक्षं काममेतन्न वाच्यं विपणिषु हतशेषा रक्षिणः साक्षिणो मे ॥ १३ ॥ गणिका-हं इदाणिं संसइदा संवुत्ता, जो अप्पगुणाणि स एव्व मन्तेदि । कहं एदे अकय्यं ण करिस्सन्ति । [ अहम् इदानी संश- ३ यिता संवृत्ता, य आत्मगुणान् स्वयमेव मन्त्रयते । कथमेतेऽकार्य न करिष्यन्ति ।] विटा-भवति ! क्रियतामस्माकमनुनयप्रग्रहः । पश्य, १० ·-1.15.] प्रथमोऽङ्कः। खु जनयति खलु रोष प्रश्रयो भिद्यमानः किमिव च रुषितानां दुष्करं मद्विधानाम् । अनुनयति समर्थः खड्गदीर्घः करोऽयं युवतिवधघृणाया मां शरीरं च रक्ष ॥ १४ ॥ गणिका-अणुणी वि से भाएदि। [अनुनयोऽपि खल्वस्व भाययति ।] ३ शकारः-वशञ्चशेणिए। शुटु भावे भणादि । वहुण्णिअदि खु दाव बळिअजणदुळ्ळहे अणुणए । पेक्ख वाशु ! आश क्खु तिक्खे शिहिगीवमेअए खिवेमि शीशं तव माळए हवा । अळं तु अम्हाळिशकाणि ळाशिअ मडे खु जो होइ ण णाम जीवइ ।॥ १५ ॥ वसन्तसेने ! सुष्टु भावो भणति । बहुमान्यते खलु तावद् बलवजन- दुर्लभोऽनुनयः । पश्य वासु ! असिः खलु तीक्ष्णः शिखिग्रीवामेचकः क्षिपामि शीष तव मारयेऽथवा। अलं स्वस्मादृशकान् रोषयित्वा मृतः खलु यो भवति न नाम जीवति॥१५] गणिका-अय्य! कुळउत्तजणस्स सीळपरितोसोवजीविणी गणिया खु अहं । [आर्य ! कुलपुत्रजनस्य शीलपरितोषोपजीविनी गणिका ३ खल्वहम् । विट:-अतः खलु प्रार्थ्यसे। गणिका-अय्य! इमादो जणादो किं इच्छीअदि सरीरं वा बाटु ६ अलङ्कारो वा। [आर्य ! अस्माज्जनात् किमिष्यते शरीरं वायवा- लङ्कारो वा।] विटः-न पुष्पमोक्षणमर्हति लता। कृतमलङ्कारेण ।

·चारुदत्ते [i.15.- ९ गणिका-अहं खु दाणि अत्ताणं ण सन्दावेअं। [अहं खल्विदा- नीमात्मानं न सन्तापयेयम् । ] १२ शकार:-वशञ्चशेणिए ! अहं भट्टिपुत्ते कामइदव्वे । [वसन्तसेने अहं भर्तृपुत्रः कामयितव्यः।] गणिका-सन्तो सि । [ शान्तोऽसि ।] १५ शकारः-शुणाहि भावे ! शुणाहि । एशा वशञ्चशेणिआ मं शन्तो शि त्ति भणादि । [शृणु भाव ! शृणु । एषा वसन्तसेना मां श्रान्तोऽसीति भणति ।] १८ विटः-(आत्मगतम्) आक्रुष्टमात्मानं न जानाति मूर्खः। ध्वंस इत्युक्ते श्रान्त इत्याच्छति । अपि च, अभिनयति वैचांसि सर्वगात्रैः किमपि किमप्यनवेक्षितार्थमाह । अनुचितगतिरप्रगल्भवाक्यः पुरुषमयस्य पशोर्नवावतारः ॥१६॥ (प्रकाशम् ) वसन्तसेने! किमिदं मत्सन्निधौ वेशवासविरुद्धम- भिहितम् । पश्य, तरुणजनसहायश्चिन्त्यतां वेशवासो विगणय गणिका त्वं मार्गजाता लतेव । वहास हि धनहार्य पण्यभूतं शरीरं सममुपचर भद्रे ! सुप्रियं चाप्रियं च ।। १७ ॥ गणिका-एसो मे अभिणिवेसो अभिजणेण तुळीअदि। [ एष मेऽभिनिवेशोऽभिजनेन तोल्यते । ] ३ शकारः-भावे ! एशा अन्धआळपूळिदगम्भीळा ळच्छा दीशइ । मा खु गाए एत्थ भंशइदव्वा । आ कामदेवाणुआणप्पहुदि णअण- !

·-1.20.] प्रथमोऽङ्कः। मत्तशत्थुळं दरिदशत्थवाहपुत्तं चालुदत्तवडुअं कामेदि एशा । इदं ६ तश्श गेहश्श पक्खदुवाळं। [भाव ! एषान्धकारपूरितगम्भीरा रथ्या दृश्यते । मा खलु ज्ञाता अत्र भ्रंशयितव्या। आ कामदेवानुयानात् प्रभृति नयनमात्रसंस्थुलं दरिद्रसार्थवाहपुत्रं चारुदत्तबटुकं कामयत ९ एषा । इदं तस्य गृहस्य पक्षद्वारम् ।] गणिका-(सहर्षमात्मगतम् ) एदं तस्स गेहं । दिद्विआ दाणिं अमि- त्तजणणिरोहेण पिअजणसमीवं उवणीदन्हि । भोदु, एवं दाव १२ करिस्सं । (अपसरति ।)[एतत् तस्य गेहम् । दिष्ट्येदानीममित्रजन- निरोधेन प्रियजनसमीपमुपनीतास्मि । भवतु, एवं तावत् करिष्यामि ।] शकारः-(विलोक्य ) भावे ! णद्वा णाए णट्ठा। [ भाव ! नष्टा १५ ज्ञाता नष्टा।] विट:-कथं नष्टा । अन्विष्यतामन्विष्यताम् । शकार:-भावे ! ण दिश्शदि । [भाव ! न दृश्यते । ] १८ विटः-हन्त वञ्चिताः स्मः । वसन्तसेने! उपलब्धेदानीमसि । कामं प्रदोषतिमिरेण न दृश्यसे त्वं सौदामनीव जलदोदरसन्निरुद्धा। त्वां सूचयिष्यति हि वायुवशोपनीतो गन्धश्च शब्दमुखराणि च भूषणानि ।। १८॥ (गाणिका मालामपनीय भूषणानि चोत्सारयति ।) विटः-अहो बलवांश्चायमन्धकारः । सम्प्रति हि, लिम्पतीव तमोऽङ्गानि वर्षतीवाञ्जनं नमः । असत्पुरुषसेवेव दृष्टिर्निष्फलतां गता ॥ १९॥ अपि च, सुलभशरणमाश्रयो भयानां वनगहनं तिमिरं च तुल्यमेव । उभयमपि हि रक्षतेऽन्धकारोजनयति यश्च भयानि यश्च भीतः ॥२० ·चारुदत्ते [i. 20. तथाहि- आलोकविशाला मे सहसा तिमिरप्रवेशसञ्छन्ना । उन्मीलितापि दृष्टिर्निमीलितेवान्धकारेण ॥ २१ ॥ गणिका-अम्महे भित्तिपरिणामसूइदं पक्खदुवाळं। असम्भो. अमळिणदाए इह अहिअं अन्धआरो। ता इह एव्व चिट्ठिस्सं । ३ (स्थिता।) [अहो भित्तिपरिणामसूचितं पक्षद्वारम् । असम्भोगमलिन- तयेहाधिकमन्धकारः । तद् इहैव स्थास्यामि ।] नायकः-मैत्रेय ! गच्छ, चतुष्पथे बलिमुपहर मातृभ्यः । ६ विदूषकः-ण मे सद्धा, अण्णो गच्छदु। [न मे श्रद्धा, अन्यो गच्छतु।] नायक:-किमर्थम् ! ९ विदूषकः-मम बुद्धी आदंसमण्डळगआ विअ छाआ वामेसु दक्षिणा दक्षिणेसु वामा होइ। [मम बुद्धिरादर्शमण्डलगतेव च्छाया वामेषु दक्षिणा दक्षिणेषु वामा भवति । ] १२ नायकः-मूर्ख ! यथाविभवेनार्च्यताम् । भक्त्या तुष्यन्ति देवतानि। तद् गम्यताम् । विदूषकः-एआई अहं कहं गमिस्सं । [ एकाक्यहं कथं गमिष्यामि।] १५ नायक:-रदनिके ! अनुगच्छात्रभवन्तम् । रदनिका-जं भट्टा आणवेदि । [यद् भाज्ञापयति । ] विदूषकः-भोदि ! दीवं अहं णइस्सं । [भवति ! दीपमहं नेष्यामि।] १८ नायकः-यथा भवान् मन्यते तथास्तु । विदूषकः-(दीपं गृहीत्वा) भो रदणिए! अवावुद पक्खदुवाळं । [भो रदनिके ! अपावृणु पक्षद्वारम् ।] २१ रदनिका-वह । (नाट्येन द्वारमपावृणोति) [ तथा।]

·-1.21.6]
प्रथमोऽङ्कः।
(गणिका वस्त्रान्तेन दीपं निर्वापयति ।)
विदूषक:-अविहा ! अविहा! [अविहा! अविहा !।
२४ नायकः-वयस्य ! किमेतत् ।
विदूषकः-अवावुदपक्खदुवारपिण्डीकिदप्पविद्वेण राअमग्गसङ्कि-
ण्णण वादेण सहसा णिग्गच्छन्तस्स मम हत्थे णिव्वावुदो दीवो।
२७ [अपावृतपक्षद्वारपिण्डीकृतप्रविष्टेन राजमार्गसङ्कीर्णेन बातेन सहसा
निगच्छतो मम हस्ते निर्वापितो दीपः । ]
नायकः-मूर्ख ! धिक् त्वाम् ।
३० विदूषकः-अप्पं खु मे अवरद्धं । रदणिए ! गच्छ, चउप्पहे मं पडि-
वाळेहि । जाव अहं वि अन्भन्तरच उस्साळादो दीवं गह्निअ
आअच्छामि । (निष्क्रान्तः।) [अल्पं खलु मेऽपराद्धम् । रदनिके !
३३ गच्छ, चतुष्पथे मां प्रतिपालथ । यावदहमप्यभ्यन्तरचतुश्शालाद् दीपं
गृहीत्वागच्छामि।
चेटी-अय्य ! तह । (परिक्रामति।) [आर्य! तथा ।]
३६ गणिका-दिद्विआ मम पवेसणिमित्तं अवावुदं पक्खदुवाळं ।
अळं चारित्तभएण। जाव पविसामि । ( अभ्यन्तरं प्रविश्य तिष्ठति।)
[दिष्ट्या मम प्रवेशनिमित्तमपावृतं पक्षद्वारम् । अलं चारित्रमयेन।
३९ यावत् प्रविशामि।]
विट:-(विलोक्यात्मगतम्) भवनान्निर्गत्य काचिदियमागच्छति ।
भवतु, अनया वराकं वञ्चयामि । (प्रकाशम् ) सुरभिस्नानधूपानु-
४२ विद्ध इव गन्धः।
शकारः-आम भावे ! शुणामि गन्धं शवणेहिं । अन्धआळपूळि-
दहिं णाशापुडेहिं शुष्टु ण पेक्खामि । [आम भाव ! शृणोमि गन्धं
४५ श्रवणाभ्याम् । अन्धकारपूरिताभ्यां नासापुटाभ्यां सुष्टु न पश्यामि ।]
विटः-तिष्ठ तिष्ट । क यास्यास । (चेटी गृह्णाति ।)
१५
चा. द.२

·- चारुदत्ते [i. 21.41- ( चेटी सभयं भूमौ पतिता।) ४८ शकारः-गण्ह भावे! गण्ह । [गृहाण भाव ! गृहाण । ] विट:- एषा हि वयसो दर्पात् कुलपुत्रावमानिनी । केशेषु कुसुमन्यासैः सेवितव्येषु धर्षिता ॥ २२ ॥ शकारः-भावे ! किं गहीदा । [भाव ! किं गृहीता ।] विट:-अथ किम् । एषा गन्धानुसारेण गृहीता। ३ शकारः-दाशीए पुत्तीए शीशं दाव छिन्दिअ पञ्चा माळइश्शं । [ दास्याःपुन्याः शीर्ष तावच्छित्त्वा पश्चान्मारयिष्यामि । ] विट:-गृह्यतां तावत् । ६ शकारः-(चेटों गृहीत्वा) एशा हि वाशू शिळाश ग्गहीदा केशेशु वाळेशु शिळोळुहेशु । कूजाहि कन्दाहि ळवाहि वात्तं महेश्शळं शङ्कळमिश्शळं वा ॥२३॥ [एषा हि वासूः शिरसि गृहीता केशेषु बालेषु शिरोरुहेषु । कूज क्रन्द लप वार्तं महेश्वरं शङ्करमीश्वरं वा ॥ २३॥] (चेटी बलादाकर्षति ।) चेटी-किं अय्यमिस्सेहि ववसिदं। [किमार्यमित्रैर्व्यवसितम्।] ३ शकारः-भावे ! जाणामि शळयोगेण ण होइ वशञ्चशेणिआ। [ भाव ! जानामि स्वरयोगेन न भवति वसन्तसेना।] विट:-न मोक्तव्या। वसन्तसेनैवैषा । एषा रङ्गप्रवेशेन कलानां चैव शिक्षया। स्वरान्तरेण दक्षा हि व्याहतु तन्न मुच्यताम् ।। २४॥ (प्रविश्य) विदूषकः-( दीपं गृहीत्वा ) राअमग्गसङ्किण्णेण सीअसुउमारेण ३ वादेण पदे पदे विक्खोहिअमाणजणिअतरङ्गतेळ्ळपुण्णभाअणं दीवं ·-1.25.13] प्रथमोऽङ्कः। २०७ कहं वि रक्खिअ गहिअ आअदो म्हि। [राजमार्गसङ्कीर्णेन शीत- सुकुमारेण वातेन पदे पदे विक्षोभ्यमाणजनिततरङ्गतैलपूर्णभाजनं दी ६ कथमपि रक्षित्वा गृहीत्वागतोऽस्मि ।] चेटी-(शकारं पादेन ताडयन्ती रुदित्वा) अय्य! मेत्तेअ! अयं परिभवो आटु अवळेवो । [आर्य ! मैत्रेय ! अयं परिभवोऽथवा- ९ बलेपः।] विदूषकः-मा दाव, मा दाव । (सखड्गं विटं शकारं च दृष्ट्वा शङ्कित- स्तिष्ठति ।) [मा तावद्, मा तावत् । ] १२ विट:-अये आर्यचारुदत्तस्य वयस्यो मैत्रेयः खल्वयम् । नेयमपि वसन्तसेना । महाब्राह्मण ! अन्यशङ्कया खल्विदमस्माभिरनुष्ठितं, न दर्पात् । पश्यतु भवान्, अकामा ह्रियतेऽस्माभिः काचित् स्वाधीनयौवना। सा भ्रष्टा शङ्कया तस्याः प्राप्तेयं शीलवश्वना ॥२५॥ शकारः-अविहा दळिद्दशत्थवाहपुत्तश चाळुदत्तवडुअश्श चेडी खु इअं, ण होह वशञ्चशेणिआ । शाहु, वशञ्चशेणिए ! ३ अन्धआळं कळिअ अन्तळा वश्विदे भावे, अहके दाव वञ्चिदे कूडकावडशीळए । शौवहा दुक्खडे कडे । [अविहा दरिद्रसार्थवाह- पुनस्य चारुदत्तबटुकस्य चेटी खल्वियं, न भवति वसन्तसेना। साधु ६ वसन्तसेने! साधु । अन्धकारं कृत्वान्तरा वञ्चितो भावः। अहं तावद् वञ्चितः कूटकपटशीलया। सर्वथा दुष्करं कृतम् ।] विदूषकः-मा दाव। ण जुत्तमिदं । [मा तावत् । न युक्तमिदम् । ] ९ विट:-भो महाब्राह्मण ! अयमनुनयसर्वस्वमञ्जलिः । विदूषकः-भोदु, भोदु। अणवरद्धो भवं । अणुणीदो अहं एव्व एत्थ अवरद्धो। [भवतु, भवतु । अनपराद्धो भवान् । अनुनीतोऽहमे- १२ वात्रापराद्धः।] शाहु !

·२०८ चारुदत्ते [i. 25.13- शकारः-भावे! दिढं खु भाआशि तं दळिद्दशत्थवाहपुत्तं चालुदत्तवडुअं। [ भाव ! दृढं खलु बिभेषि तं दरिद्रसार्थवाहपुत्रं १५ चारुदत्तबटुकम्। विट:-सत्यं भीतोऽस्मि । शकारः-किश्श भावे ! किश्श । [ कस्माद् भाव ! कस्मात् । ] १८ विट:-तस्य गुणेभ्यः । पश्यतु भवान, स मद्विधानां प्रणयैः कृशीकृतो न तस्य कश्चिद् विभवैरमण्डितः। निदाघसंशुष्क इव हृदो महान् नृणां तु तृष्णामपनीय शुष्यति ॥ २६ ॥ महाब्राह्मण ! अयमर्थः सार्थवाहपुत्रस्य न कथयितव्यः । (निष्क्रान्तो विटः।) शकारः-माळिश! वडुअ ! माळिश ! भणेहि तं दळिद्दशत्थवाह- ३ पुत्तं चाळुदत्तवडुअं मम वअणेण-ळाअशाळे शण्ठाणे शवट्टण शीशेण अणुवन्दिअ भणादि-णाडअइथिआ वशश्वशेणिआ णाम गणिआदारिआ शुवण्णवण्णा दुवेहि अम्मेहि बळकारेण णीअमाणा ६ महन्तेण शुवण्णानकारेण तव गेहं पविट्ठा । शा शुवे णिय्याअइ- दवा । मा दाव तव अ मम अ दाळुणो खोहो होदि त्ति । वडुअ! मालिश ! इदं च भणाहि-मा दाशीएपुत्त ! पारावदगळप्पविटुं ९ विअ मूळकन्दं शीशकवाळं मडमडाइशं । मा खु कवाडशम्पुडप्प- विटुं विअ पक्ककवित्थं शशिं दे चुण्णचुण्णं मडमडाइश्शं ति । [मारिष! बटुक ! मारिष ! भण तं दरिद्रसार्थवाहपुत्रं चारुदत्तबटुकं १२ मम वचनेन-राजश्यालः संस्थानकः सपट्टेन शीर्षणानुवन्ध भणति- नाटकस्त्री वसन्तसेना नाम गणिकादारिका सुवर्णवर्णा द्वाभ्यामावाभ्यां बलात्कारेण नीयमाना महता सुवर्णालङ्कारेण तव गेहं प्रविष्टा। सा १८ ·-i. 26.39 ] प्रथमोऽङ्कः । १५ श्वो निर्यातथितव्या । मा तावत् तव च मम च दारुणः क्षोभो भवतीति । बटुक ! मारिष! इदं च भण-मा दास्याःपुत्र! पारा- वतगलप्रविष्टमिव मूलकन्दं शीर्षकपालं मडमडायिष्यामि । मा खलु १८ कपाटसम्पुटप्रविष्टमिव पक्वकपित्थं शीर्ष ते चूर्णचूर्ण मडमडायिष्यामि इति ।] विदूषकः-भो ! तह । (शकारं दीपेनोद्वेजयति।) [ भोः ! तथा।] २१. शकारः-(सर्वतो विलोक्य) कहिं भावे। गदे भावे । अविहा भावे !। [व भावः । गतो भावः । अविहा भाव !।] (निष्क्रान्तः शकारः।) २४ विदूषकः-किदं देवकय्यं ति तत्तहोदो णिवेदइस्सामो। भोदि ! अवणीअदु दे हिअअमण्णू । अअं वुत्तन्तो अब्भन्तरं ण पेसि- दव्यो । [कृतं देवकार्यमिति तत्रभवतो निवेदयिष्यावः। भवति ! २७ अपनीयतां ते हृदयमन्युः। अयं वृत्तान्तोऽभ्यन्तरं न प्रेषयितव्यः।] चेटी-अय्य ! रदणिआ खु अहं । [ आर्य ! रदनिका खल्वहम् । ] विदूषकः-एहि गच्छामो । [एहि गच्छावः।] (उभौ परिक्रामतः ।) नायकः-भद्रे ! कृतं देवकार्यम् । गणिका-(आत्मगतम्) परिजणत्ति में सद्दावेदि। भोदु, रक्खि- ३३ दम्हि । [परिजन इति मां शब्दापयति। भवतु, रक्षितामि।] नायकः-मारुताभिलाषी प्रदोषः । तद् गृह्यतां प्रावारकम् । गणिका-(प्रावारकं गृहीत्वा सहर्षम् ) अणुदासीणं जोवणं से पड- ३६ वासगन्धो सूएदि । [अनुदासीनं यौवनमस्य पटवासगन्धः सूचयति।] नायक:-रदनिके! प्रवेश्यतामभ्यन्तरचतुःशालम् । गणिका-(आत्मगतम्) अभाइणी अहं अन्भन्तरप्पवेसस्स । ३९ [ अभागिन्यहमभ्यन्तरप्रवेशस्थ ।]

·२१० चारुदत्ते [i.26.40 नायकः-किमिदानीं न प्रविशसि । गणिका-इदाणिं अहं किं भणिस्सं । [इदानीमहं किं भणिप्यामि । ] ४२ नायक:-रदनिके ! किं विलम्बसे। ( रदनिकाविदूषकात्रुपसृत्य) चेटी-भट्टिदारअ ! इअं म्हि । [भर्तृदारक ! इयमस्मि । ] ४५ नायक:-इयमिदानी का । अविज्ञातप्रयुक्तेन धर्षिता मम वाससा । संवृता शरदभ्रेण चन्द्रलेखेव शोभते ।। २७ ।। गणिका-( आत्मगतम् ) दीवाळोअसूइदरूवो सो एव्व दाणि एसो, जस्स किदे अहं णिस्सासमत्तळक्खिदं सरीरं उव्वहामि । ३ [दीपालोकसूचितरूपः स एवेदानीमेषः, यस्य कृतेऽहं निःश्वासमात्र- रक्षितं शरीरमुबहामि।] विदूषकः-भो चारुदत्त ! राअसाळो सण्ठाणो सवट्टेण सीसेण ६ अणुवन्दिअ विण्णवेदि-णाडअइत्थिआ वसन्तसेणिआ णाम गणि- आदारिआ अम्हेहि वळक्कारेण , अमाणा महन्तेण सुवण्णालङ्कारेण तुम्हाणं गेहं पविट्ठा। सा सुवे णिर पाअइदव्वत्ति। [भोः चारुदत्त! ९ राजश्यालः संस्थानः सपट्टन शीर्षणानुवन्ध विज्ञापयति-नाटकस्त्री' वसन्तसेना नाम गणिकादारिकास्माभिर्बलात्कारेण नीयमाना महता सुवर्णालङ्कारेण युप्माकं गेहं प्रविष्टा । सा श्वो नियातयितव्येति ।] १२ गणिका-हं बळक्कारेण णीअमाणत्ति णं भणादि । भोदु, अअं पत्त- काळो। (प्रकाशम् ) अय्य! सरणागदम्हि । [हं बलात्कारेण नीय- मानेति ननु भणति । भवतु, अयं प्राप्तकालः । आर्य ! शरणागतास्मि।] १५ नायक:-न भेतव्यं, न भेतव्यम् । किं वसन्तसेनैषा । विदूषकः-अविहा वसन्तसेणा। (अपवार्य) भो चारुदत्त! वसन्तसेणा खु इअं, जा भवदा कामदेवाणुआणप्पहुदि णअण- ·-i. 28.19] प्रथमोऽङ्कः । २११ १८ मत्तसंस्थुदा सण्णिहिदमणोभवेण हिअएण उव्वहीअदि । ता पेक्खदु इअं। [अविहा वसन्तसेना। भो: चारुदत्त ! वसन्त- सेना खल्वियं, या भवता कामदेवानुयानप्रभृति नयनमात्रसंस्तुता २१ सन्निहितमनोभवेन हृदयेनोदुह्यते । तत् पश्यत्विमाम् । ] नायक:-वयस्य ! पश्याम्येना, यत्र मे पतितः कामः क्षीणे विभवसञ्चये। रोषः कुपुरुषस्येव स्वाङ्गेज्वेवावसीदति ।। २८ ।। गणिका-अदिण्णभूमिप्पवेसपरिसणेण अवरद्धा अहं अय्यं सीसेण पसादेमि। [अदत्तभूमिप्रवेशप्रधर्षणेनापराद्धाहमार्य शीर्षेण प्रसादयामि।] ३ नायक:-यद्येवमहमपि तावदविज्ञातप्रयुक्तेन प्रेष्यसमुदाचारेण सापराधो भवती प्रसादयामि । विदूषकः-भो! विवहन्ता इव सअडिअं दुन्विणीदबळीवदा ६ अण्णोणं सङ्किळेसन्ति । अहं दाणि कं पसादेमि। भोदु, दाणि रदणि पसादेमि । रदणिए ! पसीददु, पसीददु होदी। [भोः ! विवहन्ताविव शकटिकां दुर्विनीतबलीववन्योन्यं संक्लेशयतः । अह- ९ मिदानी के प्रसादयामि । भवतु, इदानीं रदनिकां प्रसादयामि । रदनिके ! प्रसीदतु, प्रसीदतु भवती।] नायक:-भवति ! परवानस्मि । किमनुतिष्ठति स्नेहः । १२ गणिका-(आत्मगतम् ) महुरं खु इच्छिदव्वं । अदक्खिणं खु पढम- दसणे जइच्छागदाए इह वसिढुं । ता एवं करिस्सं। (प्रकाशम् ) जइ मे अय्यो पसण्णो, अ मे अलङ्कारो इह एव्व चिट्ठछ । १५ अलङ्कारणिमित्तं पावा में अणुसरन्ति । अहं पि अय्येण रक्खिदा गेहं गन्तुमिच्छामि। [ मधुरं खल्वेष्टव्यम् । अदक्षिणं खलु प्रथम- दर्शने यदृच्छागतयेह वस्तुम् । तदेवं करिष्यामि । यदि मे आर्थः १८ प्रसन्नः अयं मेऽलङ्कार इहैव तिष्ठतु । अलङ्कारनिमित्तं पापा मामनु- सर न्ति । अहमप्यार्येण रक्षिता मेहं गन्तुमिच्छामि । २१ ·चारुदत्ते [i.28.20- नायक:-अन्वर्थमुपदिशति । मैत्रेय ! गृह्यताम् । २१ विदूषक:-ण मे सद्धा। [न मे श्रद्धा ।। नायक:-मूर्ख ! गृह्यताम् । विदूषकः-जं भवं आणवेदि। आणेदु भोदी। [यद् भवानाज्ञा- २४ पयति । आनयतु भवती।] ( गणिका विमुच्यालङ्कारं प्रयच्छति ।) विदूषकः-(गृहीत्वा) रदणिए ! गह्न एदं सुवग्णालङ्कारं तुवं । २७ सट्ठीए सत्तमीए अ धारेहि । अहं अट्ठमीए अणद्धाए धारइस्सं। [रदनिके ! गृहाणैतं सुवर्णालङ्कारं त्वम् । षष्ट्यां सप्तम्यां च धारय । अहमष्टम्यामनध्याये धारयिष्यामि ।] ३० चेटी-(विहत्य) सत्यं वक्खाणअन्तस्स भट्टिपुत्तस्स तदाणि अवसरो होदि । आणेदु अय्यो। ( गृहीत्वा निष्क्रान्ता ।) [शास्त्र व्याचक्षाणस्य भर्तृपुत्रस्य तदानीमवसरो भवति । आनयत्वार्यः।] ३३ नायक:-कोऽत्र भोः !। दीपिका तावत् । विदूषकः-भोः ! दीविआ गणिका विअ णिस्सिणेहा संवुत्ता। [भोः ! दीपिका गणिकेव निःस्नेहा संवृत्ता।] ३६ नायकः-कृतं दीपिकया । ( विलोक्य) उदितो भगवान् सर्वजन- सामान्यप्रदीपश्चन्द्रः। अतः खलु, उदयति हि शशाङ्कः क्लिन्नखर्जूरपाण्डु- युवतिजनसहायो राजमार्गप्रदीपः । तिमिरनिचयमध्ये रश्मयो यस्य गौरा हृतजल इव पङ्के क्षीरधाराः पतन्ति ॥ २९ ॥ भवति ! राजमार्गे निष्क्रमणः क्रियताम् । सखे! अनुगच्छात्र- भवतीम् । ३ विदूषकः-जं भवं आणवेदि । एदु एदु भोदी। [यद् भवानाज्ञा- पयति । एत्वेतु भवती।] (निष्क्रान्ताः सर्वे। ) प्रथमोऽङ्कः। २२ ·अथ द्वितीयोऽङ्कः। ( ततः प्रविशति गणिका चेटी च।) ३ गणिका- तदो तदो। [ततस्ततः।] केटी-अम्महे ण किञ्चि मए भणिदं । किं तदो तदो त्ति। [अम्महे न किञ्चिन्मया भणितम् । किं ततस्तत इति ।] ६ गणिका-हले ! किं मए मन्तिदं। [हजे ! किं मया मन्त्रितम् । ] चेटी-अज्जुए ! सिणेहो पुच्छदि, ण पुरोभाइदा । किं चिन्तीअदि । अज्जुके ! स्नेहः पृच्छति, न पुरोभागिता । किं चिन्स्यते।] १. गणिका-हले ! तुम दाव किं ति तक्केसि । [हजे ! त्वं तावत् किमिति तर्कयसि ।] चेटी-अप्पओअणदाए गणिआभावस्स अज्जुआ कं पि कामेदि त्ति १२ तक्केमि । [अप्रयोजनतया गणिकाभावस्याज्जुका कमपि कामयत इति तकयामि।] गणिका-सुटु तुए किदं । अवञ्चिदा दे दिट्ठी। ईदिसवण्णय्येव । सुष्टु स्वया कृतम् । अवञ्चिता ते दृष्टिः। ईदृशवणैव ।] चेटी-अणळंकिदं पि अज्जु मण्डिदं विअ पेक्खामि । कामो हि भअवं अणवगीदो ऊसुवो तरुणजणस्स । [अनलङ्कृतामप्यज्जुका १८ मण्डितामिव पश्यामि । कामो हि भगवाननवगीत उत्सवस्तरुणजन- स्य।] गणिका-हदासे! उक्कण्ठिदव्वे का दे रदी। हताशे ! उत्कण्ठितव्ये २१ का ते रतिः।] छेटी-अज्जुए! इच्छामि पुच्छिदुं बहुमाणो विअ रमणीओ कोचि राअकुमारो। [अज्जुके ! इच्छामि प्रष्टुं बहुमान इव रमणीयः कश्चिद् २४ राजकुमारः। १. पुरोभाइदाए. २३ १५ ·चारुदत्ते [ii. - गणिका-रमिदं इच्छामि, ण सेविदुं। [रन्तुमिच्छामि, न सेवितुम् ।] चेटी-किण्णु खु विज्जाविसेसरमणीओ कोच्चि बम्हणदारओ। २७ [किन्नु खलु विद्याविशेषरमणीयः कश्चिद् ब्राह्मणदारकः।] गणिका-अत्थि अदिबहुमदो विस्संभो । पूअणीओ खु सो जणो। [अत्यतिबहुमतो विसभः। पूजनीयः खलु स जनः।] ३० चेटी-किण्णु हु वणिजदारओ कोच्चि आगन्तुओ। [किन्नु खलु वणिग्दारकः कश्चिदागन्तुकः।] गणिका-उम्मत्तिए ! आसाच्छेदं उक्कण्ठन्ता का सहेदि। [उन्म- ३३ त्तिके ! आशाच्छेदमुत्कण्ठमाना का सहते।] चेटी-किं ण सकं सोढुं । को अम्हाणं मणोरहाउत्तो। [किं न शक्यं श्रोतुम् । कोऽस्माकं मनोरथावुत्तः।] ३६ गणिका-किं तुवं कामदेवाणुयाणे ण आअदा सि । [किं त्वं काम- देवानुयाने नागतासि।] चेटी-णं आअदम्हि । [नन्वागतास्मि । ] ३९ गणिका-केण उदासीणं मन्तसि । [ केनोदासीनं मन्त्रयसे।] चेटी- भणादु, भणादु अज्जुआ, भणादु। [भणतु, भणत्वज्जुका, भणतु।]] ४२ गणिका-हले ! सुणाहि दाव । अत्थि सत्थवाहपुत्तो चारुदत्तो णाम । [हजे ! श्रृणु तावत् । अस्ति सार्थवाहपुत्रश्चारुदत्तो नाम ।] चेटी-जेण सरणागदा तुवं रक्खिदा। [येन शरणागता त्वं रक्षिता।] ४५ गणिका-सो एव्व। [ स एव ।] चेटी-हद्धि, दरिदो क्खु सो। [हा धिक्, दरिद्रः खलुः सः।] गणिका-अदो क्खु कामीअदि। अदिदरिद्दपुरुससत्ता गणिआ ४८ अवअणीआ होइ। [अतः खलु काम्यते । अतिदरिद्रपुरुषसक्का गणिका अवचनीया भवति।] २४ ·-ii.] द्वितीयोऽङ्कः। २१५ चेटी:- -अज्जुए! उद्भूदपुप्फ सहआरं महुअरा उवासन्ति । ५१ [अज्जुके ! उद्धृतपुष्पं सहकारं मधुकरा उपासते ।। गणिका-हले ! एवं, उवासन्ति । दे महुअरा त्ति पुच्छीअन्ति । [हजे ! एवम्, उपासते । ते मधुकरा इति पृच्छ्यन्ते । ] ५४ चेटी-किं, विहवमन्ददाए वेसवासप्पसङ्गकादरो दुक्खं त्ति जइ ण आअच्छे। [किं, विभवमन्दतया वेशवासप्रसङ्गकातरो दुःखमिति यदि नागच्छेत् । ] ५७ गणिका-णं अहं तं काममि । [नन्वहं तं कामये ।] चेटी-जइ एत्तओ बहुमाणो, किं णाभिसरीअदि। [ यद्येतावान् बहुमानः, किं नाभिस्त्रियते । ६० गणिका-ण हुण गच्छामि। किन्तु सहसा अभिसरिदो पच्चुअआर- दुळ्ळभदाए पुणो मे दुळ्ळभो भवे त्ति विळम्बेमि । [ न खलु न गच्छामि । किन्तु सहसाभिसृतः प्रत्युपकारदुर्लभतया पुनम दुर्लभो ६३ भवेदिति विलम्बे । चेटी-हं, किं एतण्णिामित्तं तहिं एव्व सो अलङ्कारो ठाविदो। [हं, किमेतन्निमित्तं तत्रैव सोऽलङ्कारः स्थापितः।] ६६ गणिका-ईदिसं एव्य ! [इंदृशमेव । ] (ततः प्रविशत्यपटीक्षेपेण संवाहकः।) संवाहक:-अय्ये ! सरणागदो म्हि । [आयें ! शरणागतोऽस्मि ।] ६९ गणिका-अळं अय्यस्स सम्भमेण । [ अलमार्यस्य सम्भ्रमेण । ] चेटी-हं, को दाणि एसो। [हं क इदानीमेषः। ] गणिका-उम्मत्तिए ! किं सरणाअदो पुच्छीअदि। [ उन्मत्तिके ! ७२ किं शरणागतः पृच्छयते । ] चेटी-अवि णाम साहसिओ भवे । [ अपि नाम साहसिको भवेत् ।] गणिका-उम्मत्तिए ! गुणवन्तो रक्खिव्वो होदि । [उन्मत्तिके ! ७५ गुणवान् रक्षितव्यो भवति।] २५ ·चारुदत्ते [ii. 76 । संवाहक:-अय्ये! णं भएण उवआरो विस्सरिदो, ण परिभवेण । पेक्खदु अय्या, भीदाहवा परिसिदाहवा आवण्णाहवा सुळभचा- ७८ रित्तवञ्चणाहवा अवराहेढुं समत्था होन्ति । आयें ! ननु भयेनोपचारों विस्मृतः, न परिभवेन । पश्यत्वार्या, भीता अथवा प्रधर्षिता अथवा आपन्ना अथवा सुलभचारित्रवञ्चना वा अपराधयितुं समर्था भवन्ति ।] ८१ गणिका-भोदु, भोटु । विस्सत्थो भोदु अय्यो । गणिआ खु अहं । [भवतु, भवतु । विश्वस्तो भवत्वार्यः। गणिका खल्वहम् ।] संवाहक:-अभिजणेण, ण सीळेण । [ अभिजनेन, न शीलेन । ] ८४ गणिका-हले ! एवं विअ । [हले ! एवमिव । ] चेटी-अज्जुआ अय्यं पुच्छदि, कुदो अय्यस्स भअंति। [अज्जु- कार्य पृच्छति, कुत आर्यस्य भयमिति । ] ८७ संवाहक:-अय्ये ! धणिआदो। [आयें ! धनिकात् । ] गणिका-जइ एवं, आसणं देदु अय्यस्स । [यद्येवम् , आसनं दीयतामार्यस्य ।] ९० चेटी-तह । (आसनं ददाति ।) [तथा। ] गणिका-उवविसदु अय्यो। [उपविशत्वार्यः । ] संवाहकः-(स्वगतम् ) पूआविसेसेण जाणामि कय्यं ति। (उप- ९३ विशति ।) [ पूजाविशेषेण जानामि कार्यमिति ।] गणिका-हले! एवं विअ । [हले ! एवमिव । ] चेटी-अज्जुए! तह । अय्य! राअमग्गे विस्सत्थसम्पादं अय्यं काहूँ ९६ इच्छदि अज्जुआ । कस्स किं कत्तव्वं । [ अज्जुके ! तथा । आर्य ! राजमार्ग विश्वस्तसम्पातमार्य कर्तुमिच्छत्यज्जुका । कस्य किं कर्तव्यम् ।] संवाहक:-सुणादु अय्या। [ शृणोत्वार्या । ] ९९ गणिका-अवहिदम्हि । [ अवहितास्मि । ] संवाहकः-पाडळिपुत्त्रं मे जन्मभूमी। पकिदीए वणिजओ अहं । २६ ·-ii. 126] द्वितीयोऽङ्कः। तदो भाअधेअपरिवुत्तदाए दसाए संवाहअवुत्तिं उवजीवामि । १०२ [पाटलिपुत्रं मे जन्मभूमिः । प्रकृत्या वणिगहम् । ततो भागधेयपरिवृत्त- तया दशया संवाहकवृत्तिमुपजीवामि।] गणिका-संवाहओ अय्यो । सुउमारा कळा सिक्खिदा अय्येण । १०५ [संवाहक आर्यः । सुकुमारा कला शिक्षितार्येण । ] संवाहक:-कळेत्ति सिक्खिदा। आजीविअं दाणि संवुत्तम् । [कलेति शिक्षिता । आजीविकेदानी संवृत्ता।] १०८गणिका-णिव्वेदसूअअं विअ वअणं अय्यस्स। तदो तदो। [निवेदसूचकमिव बचनमार्यस्य । ततस्ततः । ] संवाहक:-अज्जुए! सो दाणि अहं आअन्तुआणं सुणिअ पुरुस- १११विसेसकोदूहळेण आअदो म्हि इमं उज्जअणिं । [ अज्जुके ! स इदानीमहमागन्तुकानां श्रुत्वा पुरुषविशेषकौतूहलेनागतोऽस्मीमामुज्जय- नीम् ।] ११४गणिका-तदो तदो। [ततस्ततः । संवाहकः-तदो इह आअदमत्त एव्व कोच्चि सत्थवाहपुत्तो समासा- दिदो। [सत इहागतमात्र एव कश्चित् सार्थवाहपुत्रः समासादितः।] ११७गणिका-केरिसो। [कीदृशः।] संवाहकः-आइदिमन्तो अविभमन्तो अणुच्छित्तो ळळिदो दळिद- दाए अविम्हओ चउरो महुरो दक्खो सदक्खिनो अभिमदो १२०आइदो तुट्ठो होदि । दय्य ण विकत्थेदि। अप्पं वि सुमरदि, बहुअं पि अवइदं विसुमरदि । अज्जुए! किं बहुणा, तस्स कुळवुत्तस्स गुणाणं चउच्मा पि सुदिग्घेण वि गिम्हदिअहेण १२३वण्णिदुं ण सकं । किं बहुणा, दक्खियदाए परकेरअं विस अत्तणो सरीरं धारेदि। [आकृतिमान् अविभ्रमन् अनुसिक्तो ललितो ललिततयाविस्मयश्चतुरो मधुरो दक्षः सदाक्षिण्योऽभिमत आचितस्तुष्टो २७ ·२१८ चारुदत्ते [ii. 18 १२६ भवति । दत्वा न विकत्थते । अल्पमपि स्मरति, बहुकमप्यपकृतं विस्मरति । अज्जुके ! किं बहुना, तस्य कुलपुत्रस्य गुणानां चतुर्भाग- मपि सुदीर्घेणापि ग्रीष्मदिवसेन वर्णयितुं न शक्यम् । किं बहुना, १२९ दक्षिणतया परकीयमिवात्मनः शरीरं धारयति । ] गणिका-(अपवार्य ) हङ्गे ! कोणु खु सो अय्यचारुदत्तस्स गुणाणं अणुकरेदि। [हों ! को नु खलु स आर्यचारुदत्तस्य गुणाना- १३२ मनुकरोति । चेटी-मम वि कोदूहळं सोढुं । कोणु हु उज्जअणिं अत्तणो गुणेहि मण्डेदि । [ममापि कौतूहलं श्रोतुम् । को नु खलूजयनीमात्मनो गुणै- १३५ मण्डयति ।] गणिका-तदो तदो। [ ततस्तत:।] संवाहकः-तदो तस्स गुणविकिणिदसरीरो विस्सरिदकळत्तो उव- १३८जीविओ संवुत्तो। [ततस्तस्य गुणविक्रीतशरीरो विस्मृतकलन उपजीवी संवृत्तः ।] गणिका-किं सो दरिहो। [किं स दरिद्रः।] १४१संवाहक:-कहं अणाचिक्खिदे अय्या जाणादि । [कथमनाख्यात आर्था जानाति।] गणिका-एअस्सि दुळ्ळहो गुणविभवो त्ति । तदो तदो। [एक- १४४ स्मिन् दुर्लभो गुणविभव इति । ततस्ततः ।] चेटी-को णाम सो अय्यो। [को नाम स आर्य:।] संवाहक:-अय्यचारुदत्तो णाम । [आर्यचारुदत्तो नाम । ] १४७गणिका-जुज्जइ । तदो तदो। [युज्यते । ततस्ततः।] संवाहकः-तदो सो विभवमन्ददाए अस्साहीणपरिजणो विसज्जि- अकुडुम्बभरणो चारित्तमत्तावसेसो सत्थवाहकुळे पडिवसदि । १५०अहं पि तेण अय्येण अब्भणुञादो -अण्णं उवचिट्ठदु त्ति । कहं २८ ·-ii. 17] द्वितीयोऽङ्कः । २१९ अण्णं एरिसं मणुस्सरअणं ळमेअंति, कहं च तस्स कोमळळ- ळिदमहुरसरीरप्परिसकिदत्थं मे हत्थं साहारणसरीरसम्मदेण सो- १५३अणीअं करिस्सं त्ति जादणिव्वेदो दद्धसरीररक्खणत्थं जूदोवजीवी संवुत्तो। [ततः स विभवमन्दतयास्वाधीनपरिजनो विसर्जितकुटुम्ब- भरणश्चारित्रमात्रावशेषः सार्थवाहकुले प्रतिवसति । अहमपि तेनार्येणा- १५६ भ्यनुज्ञातोऽन्यमुपतिष्ठतामिति । कथमन्यमीदृशं मनुष्यरत्नं लभेयेति, कथं च तस्य कोमलललितमधुरशरीरस्पर्शकृतार्थ मे हस्तं साधारणशरीर- संमर्दैन शोचनीयं करिष्यामीति जातनिवदो दग्धशरीररक्षणार्थं घूतो- १५.९ पजीवी संवृत्तः।] (गणिका सहर्षबाष्पं चेटीमवलोकयति ।) चेटी-तदो तदो। [ ततस्ततः।] १६२संवाहकः-तदो बहूणि दिणाणि मए पराइदेण पुरुसेण कदाइ अहं पि दहसु सुवण्णेसु पराइदो म्हि । [ततो बहूनि दिनानि मथा पराजितेन पुरुषेण कदाचिदहमपि दशसु सुवर्णेषु पराजितोऽस्मि ।] १६'गणिका-तदो तदो। [ततस्ततः।] संवाहक:-तदो अन्ज वेसमग्गे जइच्छोवणदो समासादिदो म्हि । तस्स भएण इह पविट्ठो। एवं अय्या जाणादु । [ततोग्ध १६८ वेशमाग यदृच्छोपनतः समासादितोऽस्मि । तस्य भयेनेह प्रविष्टः। एवमार्या जानातु ।] गणिका-(आत्मगतम् ) अहो अच्चाहिदं । एवं खु मण्णे वासपाद- १७१पविणासेण पक्खिणो आहिण्डन्ति त्ति । (प्रकाशम् ) एवं गदे अत्तकेरओ अय्यो । हळा ! एहि तं जणं विसज्जेहि। [अहो अत्याहितम् । एवं खलु मन्ये वासपादपविनाशेन पक्षिण आहिण्डन्त १७४ इति । एवं गत आत्मीय आर्यः। हला! एहि तं जनं विसर्जय। चेटी-तह । (निष्क्रान्ता।) [ तथा।] २९ !

·२२० [ii. is चारुदत्ते गणिका-ण ख अय्येण अत्यणिमित्ता चिन्ता कादवा । अय्यचारु- १७७दत्तो एव देदि त्ति अय्यो जाणादु। [न खल्वार्येणार्थनिमित्ता चिन्ता कर्तव्या । आर्यचारुदत्त एव ददातीत्यार्यों जानातु । ] (प्रविश्य ) चेटी-अज्जुए ! विसज्जिदो सो जणो, परितुटो गदो १८०अ।[अज्जुके ! विसर्जितः स जनः, परितुष्टो गतश्च ।] संवाहक:-अणुग्गहिदो म्हि । [ अनुगृहीतोऽस्मि । ] गणिका-गच्छदु अय्यो सुहिजणदसणेण पीदि णिव्वत्तेढुं । १८३ [गच्छत्वार्यः सुहृज्जनदर्शनेन प्रीति निर्वर्तयितुम् । ] संवाहकः-अन्ज एव कदाइ णिव्वेदेण पव्वजेअं। जइ इअं परिअणे सन्ता कळा भवे, तदो अय्याए अणुग्गहिदो भवेअं। [अद्यैव ९८६ कदाचित्रिवेदेन प्रव्रजेयम् । यदीयं परिजने सङ्क्रान्ता कला भवेत् , तत आर्ययानुगृहीतो भवेयम् । ] गणिका-जस्स किदे इअं कळा सिक्खिदा, सो एव्व अय्येण १८९उवचिट्ठिदव्वो भविस्सदि। [यस्य कृते इयं कला शिक्षिता, स एवार्येणोपस्थातव्यो भविष्यति ।] संवाहकः-(स्वगतम्) णिउणं खु पञ्चाचक्खिदो म्हि । को हि णाम १९२अप्पणा किदं पच्चुअआरेण विणासेदि। (प्रकाशम् ) अय्ये ! गच्छामि दाव अहं। [निपुणं खलु प्रत्याख्यातोऽस्मि । को हि नामात्मना कृतं प्रत्युपकारेग विनाशयति । आय! गच्छामि तावदहम्।] १९५गणिका-गच्छदु अय्यो पुणोदंसणाअ । [गच्छत्वार्यः पुनदर्श- नाय।] संवाहक:-अय्ये ! तह । (निष्क्रान्तः।) [ आर्थे ! तथा।] १९८गणिका-हं, सद्दो विअ । [ह शब्द इव ।] (प्रविश्य) चेट:-विच्छित्तिप! विच्छित्तिए! कहिं कहिं अज्जुआ। [विच्छि- २०१त्तिके ! विच्छित्तिके ! कुत्र कुत्राज्जुका।] ३० ·-ii. 216] द्वितीयोऽङ्कः। २२१ गणिका- हजे! किं एदं। [हजे ! किमेतत् । ] चेट:-हं, विप्पळद्धो म्हि, वादाअणणिक्खामिदपुव्वकाआए ओण- २०४मिअपओहराए कण्णऊरस्स परिप्फन्दो अज्जुआए जेण ण दिट्ठो। [हं, विप्रलब्धोऽस्मि, वातायननिष्कामितपूर्वकाययावनमितपयोधरया कर्णपूरस्य परिस्पन्दोऽज्जुकया येन न दृष्टः।] २०७गणिका-ळहुजणस्स सुळहो विम्हओ। किं दे उस्सेअस्स कारणम् । [लघुजनस्य सुलभो विस्मयः । किं ते उत्सेकस्य कारणम् । ] चेटः-सुणादु अज्जुआ-एसो उग्गवेगेण ओगाहणणिव्वत्तिदेण २१० पस्सुदमदगन्धं राअमगं करन्तेण मङ्गळहत्थिणा भइकवोदएण अणेअपुरुससङ्कुळेसु राअमग्गेसु उत्तरिअपडविराअदाए अहि- अळक्खणीओ कोच्चि पव्वइदो समासादिदो। [शृणोत्वज्जुका- २१३ एष उग्रवेगेनावगाहननिवर्तितेन प्रसुतमदगन्धं राजमार्ग कुर्वता मङ्गल- हस्तिला भद्रकपोतकेनानेकपुरुपसङ्कुलेषु राजमार्गेघूत्तरीयपटविरागत- याधिकलक्षणीयः कश्चित् प्रव्रजितः समासादितः।] २१६गणिका-हं, तदो तदो। [हं, ततस्ततः।] चेटः-तदो मए हथिहत्थामिद्दताडिअमाणो दन्तन्तरपरिवत्तमाणो हत्थिहत्यपडिदचरणो तदो हाहा विपाडिदोहा हा हदो त्ति जणवादे २१९संवुत्ते तदो दिण्णकरप्पहारेण परिवत्तिदं हत्थिं करिअ मोइदो सो परिव्वाजो। [ ततो मया हस्तिहस्तामर्दताड्यमानो दन्तान्तरपरिवर्त- मानो हस्तिहस्तपतितचरणः ततो हा हा विपाटितो, हा हा हत इति २२२ जनवादे संवृत्ते ततो दत्तकरप्रहारेण परिवर्तितं हस्तिनं कृत्वा मोचितः स परिव्राट् ।] गणिका-पिअं मे । तदो तदो। [प्रियं मे । ततस्ततः।] २२५चेटः-तदो सव्वो जणो भणादि-अहो चेडस्स कम्म त्ति। ण उण कोच्चि किं पि इच्छइ दाउं । तदो अज्जुए ! केण वि कुळवुत्तेण ३ ·227 २२२ चारुदत्ते [ii. उइदाणि आभरणट्ठाणाणि विळोइअ अशुटेणाणिअ वि उण २२८अळद्धं पेक्खिअ दव्वं उवाळमिअ दिग्धं णिस्ससिअ एत्तओ मे विभवो त्ति करिअ परिजणहत्थे अअं पावरओ पेसिदो। [ततः सर्वो जनो भणति-अहो चेटस्य कर्मेति । न पुनः कश्चित् किमपीच्छति २३१ दातुम् । ततोऽज्जुके! केनापि कुलपुत्रेणोचितान्याभरणस्थानानि विलोक्याङ्गुष्टेनानीयापि पुनरलब्धं प्रेक्ष्य दैवमुपालभ्य दीर्घ निःश्वस्यै- तावान् मे विभव इति कृत्वा परिजनहस्तेऽयं प्रावारकः प्रेषितः।] २३४गणिका-को णु खु अय्यचारुदत्तस्स गुणाणं अणुकरेदि । [को नु खल्वार्यचारुदत्तस्य गुणाननुकरोति ।] चेटी-अज्जुए! मम वि कोदूहळं अत्थि। को णु खु एसो। २३७ [अजुके ! ममापि कौतूहलमस्ति । को नु खल्वेषः ।। गणिका-केण वि साहुणा पुरुसेण होदव्वं । [ केनापि साधुना पुरुषेण भवितव्यम् ।] २४.० चेटी-साहु पुच्छीअदु दाव । [ साधु पृच्छयतां तावत् ।] गणिका-हले! एकपुरुसपक्खवादिदा सव्वगुणाणं हन्ति । [हजे ! एकपुरुषपक्षपातिता सर्वगुणान् हन्ति । ] २४३चेटी-भद्द ! से णाम तुवं जाणासि। [भद्र ! अस्थ नाम त्वं जानासि ।] चेट:-ण हु जाणामि । [न खलु जानामि ।] २४६गणिका-अदिळहु तुए किदं । [अतिलघु त्वथा कृतम्।] चेटी-जइ एवं, इह तुए को त्ति मन्तिदं। [यद्येवम् , इह त्वया क इति मन्त्रितम् ।] २४९चेटः-अहं एत्तअं तु जाणामि-भद्दओ अविम्हओ त्ति। [ अह- मेतावत् तु जानामि-भद्रकोऽविस्मय इति । ] १. किं ति. ३२ ·-ii. 1..] तृतीयोऽङ्कः। २२३ गणिका-एहि दाव तं पेक्खामो। [एहि तावत् तं पश्यामः।] २५२चेटः-पेक्खदु पेक्खदु अज्जुआ। एसो गच्छइ। [पश्यतु पश्य- स्वज्जुका । एष गच्छति। गणिका-(प्रासादाद् विलोक्य ) हङ्गे ! एसो हि सो अय्यचारुदत्तो २५५एव्व जण्णोववीदमत्तपावरओ गच्छइ। ता जाव दूरं गओ ण भविस्सदि एसो, पेक्खम्ह दाव णं। [हजे ! एष हि स आर्यचारु- दत्त एव यज्ञोपवीतमात्रप्रावारको गच्छति । तद् यावद् दूरं गतो न २५८ भविष्यत्येष, पश्यामस्तावदेनम्।] (निष्क्रान्ताः सर्वे ।) द्वितीयोऽङ्कः। अथ तृतीयोऽङ्कः। (ततः प्रविशति नायको विदूषकश्च ।) ३ नायकः-वयस्य ! वीणा नामासमुद्रोत्थितं रत्नम् । कुतः, उत्कण्ठितस्य हृदयानुगता सखीव सङ्कीर्णदोषरहिता विषयेषु गोष्ठी। क्रीडारसेषु मदनव्यसनेषु कान्ता स्त्रीणां तु कान्तरतिविघ्नकरी सपत्नी ॥१॥ विदूषकः-भो वयस्स ! को काळो किदपरिघोसणदाए णिस्सम्पादा राअमग्गा। कुक्कुरा वि ओसुत्ता। वरं णि ण ळभामो। अण्णं ३ च दाणि अच्छरीअं । इमं हदवीणं ण रमामि । अहिअदिढत्थाणे विच्छिण्णतन्तिआ होदु। [भो वयस्य ! कः कालः कृतपरिघोषण- तया निःसम्पाता राजमार्गाः । कुक्कुरा अप्यवसुप्ताः। वयं निद्रां न ६ लभामहे । अन्यच्चेदानीमाश्चर्यम् । इमां हतवीणां न रमे। अधिकदृढ- स्थाने विच्छिन्नतन्त्रीका भवतु।] ३३ ·चारुदत्ते [iii. 1.8- नायकः-वयस्य : भावशाबलेन बहुशः खल्वद्य मधुरं गीतम् । न ९ च भवान् रमते। विदूषकः-अदो एव्व एदं अहं ण रमामि । महुरं पि बहु खादिअं अजिण्णं होइ। [अत एवैतामहं न रमे । मधुरमपि बहु खादितम- १२ जीणं भवति । नायकः-सर्वथा सुव्यक्तं गीतम् । कुतः, रक्तं च तारमधुरं च समं स्फुटं च भावार्पितं च न च साभिनयप्रयोगम् । किं वा प्रशस्य विविधैर्बहु तत्तदुक्त्वा भित्यन्तरं यदि भवेद् युवतीति विद्याम् ॥२॥ विदूषकः-कामं पसंसेदु भवं । मम खु दाव गाअन्तो मणुस्सो इत्थिआ वि पठन्ती उभअं आदरं ण देदि। गाअन्तो दाव ३ मणुस्सो रत्तसुमणावेटिदो विअ पुरोहिदो दिढं ण सोहइ। इत्थिा वि पठन्ती छिण्णणासिआ विअ घेणुआ अदिविरुवा होइ। [कामं प्रशंसतु भवान् । मम खलु तावद् गायन् मनुष्यः स्न्यपि पठन्त्यु- ६ भयमादरं न ददाति । गायंस्तावन्मनुष्यो रक्तसुमनोवेष्टित इव पुरोहितो दृढं न शोभते । ख्यपि पठन्ती छिन्ननासिकेव धेनुरतिविरूपा भवति ।] ९ नायकः-सखे ! उपारूढोऽर्धरात्रः। स्थिरतिमिरा राजमार्गाः । निस्सम्पातपुरुषत्वात् प्रसुप्तेवोन्जयनी प्रतिभाति । कुतः, असौ हि दत्त्वा तिमिरावकाशमस्तं गतो ह्यष्टमपक्षचन्द्रः । तोयावगाढस्य वनद्विपस्थ विषाणकोटीव निमज्जमाना ॥३॥ विदूषकः-सुटु भवं भणादि। अन्तद्धिअमाणचन्दळद्धावआसो ओदरदी विअ पासादादो अन्धआरो। [सुष्टु भवान् भणति । ३ अन्तर्दधानचन्द्रलब्धावकाशोऽवतरतीव प्रासादादन्धकारः । ] ·-ii.4.] तृतीयोऽङ्कः । २२५ नायकः-(परिक्रम्य) इदमस्मदीयं गृहम् । वर्धमानवक : वर्धमानवक: विदूषकः-वद्धमाणवअ ! वद्धमाणवअ ! दुवारं अवावुन । [वर्ध- ६ मानवक ! वर्धमानवक ! द्वारमपावृणु।] (प्रविश्य) चेट:-अम्मो अय्यमेत्तेओ । [अम्मो आर्यमैत्रेयः।। ९ नायकः-वर्धमानवक! चेटः-अम्मो भट्टिदारओ। भट्टिदारअ ! वन्दामि! [अम्मो भर्तृदा- रकः । भर्तृदारक ! वन्दे ।] १२ नायक:-पादोदकमानय । चेट:-(परिक्रम्य ) इदं पादोद। (नायकस्य पादौ प्रक्षालयति ।) [इदं पादोदकम् ।] १५ विदूषकः-वड्ढमाणवअ! मम वि पादं पक्खाळेहि। [वर्धमानवक ! ममापि पादं प्रक्षालय ।] चेट:-सुहोदेसु पादेसु भूमीए पळोट्ठिदव्वं । उदकं विणासेहि । १८ अहव आणेहि । पक्खाळइस्सं । (नाट्येन विदूषकस्य पादौ प्रक्षा- लयति ।) [ सुधौतयोः पादयो म्यां प्रलोठितव्यम् । उदकं विनाशय । अथवानय । प्रक्षालयिष्यामि।] २१ विदूषकः-ण केवळं दासीएपुत्तेण पादा धोदा, मुहं वि धोदं । [ न केवलं दास्याः पुत्रेण पादौ धौतौ, मुखमपि धौतम् ।] नायकः-वयस्य ! इयं हि निद्रा नयनावलम्बिनी ललाटदेशादुपसर्पतीव माम् । अदृश्यमाना चपला जरेव या मनुष्यवीर्यं परिभूय वर्धते ॥४॥ मैत्रेय ! सुप्यताम्। (निष्कान्तश्चेटः।)

·२२६ चारुदत्ते [iii.4.8- ३ (प्रविश्याभरणसमुद्गहस्ता) चेटी-अय्यमेत्तेअ ! उद्धेहि उडेहि । [आर्यमैत्रेय ! उत्तिष्ठोत्तिष्ठ । ] विदूषकः-भोदि ! किं एदं। [भवति ! किमेतत् । ] ६ चेटी-इअं सुवण्णभण्डं सट्टीए सत्तमीए परिवेट्टामि। अट्ठमी खु अज। [इदं सुवर्णभाण्डं षष्ट्यां सप्तम्यां परिवर्तयामि । अष्टमी खल्वद्य।] ९ नायकः-इदं तद् वसन्तसेनायाः स्वकम् । चेटी-आम । भणादु भणादु भट्टिदारओ, गण्हदु त्ति । [आम । भणतु भणतु भर्तृदारकः गृह्णात्विति ।] १२ नायक:-मैत्रेय ! गृह्यताम् । विदूषकः-किं णिमित्तं असं अलङ्कारो अब्भन्तरचउस्साळं ण प्पवेसीअदि। [किन्निमित्तमयमलङ्कारोऽभ्यन्तरचतुःशालं न प्रवेश्यते। १५ नायकः-मूर्ख ! बाह्यजनधारितमलङ्कारं गृहजनो न द्रक्ष्यति । विदूषकः-का गई। आणेहि गण्हामि चोरोहिं गण्हिअमाणं । [का गतिः । आनय गृह्णामि चोरैर्गुह्यमाणम् । ] (चेटी दत्त्वा निष्क्रान्ता।) विदूषकः-भो ! किंणिमित्तं सो पावरओ तस्स गणिआपरिआर- अस्स दिण्णो। [भोः ! किनिमित्तं स प्रावारकस्तस्मै गणिकापरिचा- २१ रकाय दत्तः।] नायकः-सानुक्रोशतया । विदूषकः-इह वि साणुकोसदा। [इहापि सानुक्रोशता।] २४ नायक:-वयस्य ! मा मैवम् । विदूषकः-अहं भरिदगद्दभो विअ भूमीए पळोटामि। [अहं भरित- गर्दभ इव भूम्यां प्रलुठामि । ] ३६

·-iii.8.]
तृतीयोऽङ्कः।
२२७
२७ नायकः-निद्रा मां बाधते । तूष्णीं भव ।
विदूषकः-सअटु भवं सुहप्पबोहाअ । जाव अहं पि सुविस्सं ।
[शेतां भवान् सुखप्रबोधाय । यावदहमपि स्वप्स्यामि ।
(द्वावपि स्वपितः।)
(ततः प्रविशति सज्जलकः।)
सज्जलकः-एष भोः !
कृत्वा शरीरपरिणाहसुखप्रवेशं
शिक्षाबलेन च बलेन च कर्ममार्गम् ।
गच्छामि भूमिपरिसर्पणघृष्टपार्यो
निर्मुच्यमान इव जीर्णतनुर्भुजङ्गः ॥५॥
भोः ! वृक्षवाटिकापक्षद्वारे सन्धि छित्वा प्रविष्टोऽस्मि। यावदि-
दानी चतुःशालमुपसर्पामि । (सनिर्वेदं विचिन्त्य ) भोः
कामं नीचमिदं वदन्तु विवुधाः सुप्तेषु यद्वर्तते
विश्वस्तेषु हि वञ्चनापरिभवः शौर्यं न कार्कश्यता।
स्वाधीना वचनीयतापि तु वरं बद्धो न सेवाञ्जलि-
मार्गश्चैष नरेन्द्रसौप्तिकवधे पूर्वं कृतो द्रौणिना ॥ ६॥
(विचिन्त्य)
लुब्धोऽर्थवान् साधुजनावमानी वणिक् स्ववृत्तावतिकर्कशश्च ।
यस्तस्य गेहं यदि नाम लप्स्ये भवामि दुःखोपहतो न चित्ते ॥७॥
यद्वा तद्वा भवतु । किं वा न कारयति मन्मथः। यावदारभे कर्म । भोः !
देशः को नु जलावसेकशिथिलश्छेदादशब्दो भवेद्
भित्तीनां क नु दर्शितान्तरसुखः सन्धिः करालो भवेत् ।
क्षारक्षीणतया चलेष्टककृशं हयं क जीर्णं भवेत्
कुत्र स्त्रीजनदर्शनं च न भवेत् स्वन्तश्च यत्नो भवेत् ॥ ८॥

·२२८ चारुदत्ते [iii. 8. (परिक्रम्य ) इयं वास्तुविभागक्रिया। सोपस्नेहतया गृहविशिष्ट इवायं भवनविन्यासः । इह तावत् प्रवेशावकाशं करिष्ये । भोः ! ३ कीदृश इदानीं सन्धिच्छेदः कर्तव्यः स्यात् । सिंहाक्रान्तं पूर्णचन्द्र झषास्यं चन्द्रार्धं वा व्याघ्रवक्त्रं त्रिकोणम् । सन्धिच्छेदः पीठिका वा गजास्यमस्मत्पक्ष्या विस्मितास्ते कथं स्युः ॥९॥ भवतु, सिंहाक्रान्तमेव च्छेदयिष्ये । विदूषकः-भो ! जागत्ति खु भवं, णहि। [ भोः! जागर्ति खलु ३ भवान्, न हि । नायकः-किमर्थम् । विदूषकः-अहं खु दाव कत्तव्यकरत्थीकिदसङ्केदो विअ सकिअस- ६ मणओ णि ण ळभामि । वामं खु मे अक्खि फन्देदि । चोरो सन्धि छिन्ददी विअ पेक्खामि । जइ ईदिसी अवस्था अत्थाणं, जादीए दरिदो एव्व होमि। [ अहं खलु तावत् कर्तव्यकरस्त्रीकृतसङ्केत ९ इव शाक्यश्रमणको निद्रां न लभे । वामं खलु मेऽक्षि स्पन्दते । चोरः सन्धि छिनत्तीव पश्यामि । यदीदृश्यवस्थाऽर्थानां, जात्या दरिद्र एव भवामि ।] १२ नायकः-मूर्ख ! धिक् त्वाम् ! दारिद्यमभिलषसि । सजलक:-अथ केनेदानी सन्धिच्छेदमार्गः सूचयितव्यः स्यात् । नन्विदं दिवा ब्रह्मसूत्रं रात्रौ कर्मसूत्रं भविष्यति । अद्यास्य भित्तिषु मया निशि पाटितासु छेदात् समासु सकृदर्पितकाकलीषु । काल्यं विषादविमुखः प्रतिवेशवर्गो दोषांश्च मे वदतु कर्मसु कौशलं च ॥ १० ॥ नमः खरपटाय । नमो रात्रिगोचरेभ्यो देवेभ्यः। (तथा करोति ।)

·--ii. 13.]
तृतीयोऽङ्कः ।
२२९
हन्त अवसितं कर्म । प्रविशामस्तावत्। (प्रविश्य ) अये! ज्वलति
३ दीपः । अपसरामि तावत् । धिक्, सज्जलकः खल्वहम् ।
मार्जारः प्लवने वृकोऽपसरणे श्येनो गृहालोकने
निद्रा सुप्तमनुष्यवीर्यतुलने संसर्पणे पन्नगः ।
माया वर्णशरीरभेदकरणे
वाग् देशभाषान्तरे
दीपो रात्रिषु सङ्कटे च तिमिरं वायुः स्थले नौजले ॥ ११ ॥
(सर्वतो विलोक्य) आगन्तुकत्वादविदितसमृद्धिविस्तरः केवलं भवन-
प्रत्ययादिह प्रविष्टोऽस्मि । न चेदानी कञ्चित् परिच्छदाविशेष
३ पश्यामि । किन्नु खलु दरिद्र एवायम् । उताहो अयं संयमन-
निरर्थकं द्रष्टव्यं धारयति । अथवा, आभिजातोऽयं भवनविन्यासः।
उपभुक्तप्रनष्टविभवेनानेन भवितम् ।
तथा विभवमन्दोऽपि जन्मभूमिव्यपेक्षया ।
गृहं विक्रयकालेऽपि नीलस्नेहेन रक्षति ॥ १२ ॥
भवतु पश्यामस्तावत् । अथवा, न खलु में तुल्यावस्थः कुलपुत्रः
पीडयितव्यः। गच्छामि तावत् ।
३ विषदूकः-भो ! गण्ह एदं सुवण्णभण्डअं। [भोः! गृहाणैतत् सुवर्ण-
भाण्डम् ।
सज्जलक:-कथं सुवर्णभाण्डमित्याह । किं मां दृष्ट्वाऽभिभाषते ।
६ आहोस्वित् सत्त्वलाघवात् स्वप्नायते। भवतु पश्यामस्तावत् ।
(दृष्ट्वा ) भूतार्थं सुप्त एवायम् । तथाहि,
निःश्वासोऽस्य न शङ्कितो न विषमस्तुल्यान्तरं जायते
गात्रं सन्धिषु दीर्घतामुपगतं शय्याप्रमाणाधिकम् ।
दृष्टिाढानिमालिता न चपलं पक्ष्मान्तरं जायते
दीपं चैव न मर्षयेदभिमुखः स्यालक्षसुप्तो यदि ॥ १३ ॥

·चारुदत्ते [iii. 13.1 क नु खलु तत् । अये जर्जरप्रावरणैकदेशे दीपप्रभाव्यक्तीकृतरूपं दृश्यते । सुपरिगृहीतमनेन । अयमत्र प्राप्तकालः। इमे मया गृहीताः ३ शलभाः। दीपनिर्वापणार्थमेकं मुञ्चामि । (भ्रमरकरण्डकादेकं मुञ्चति ।) अये एष दीपं निर्वाप्य पतति । विदूषकः-अविहा णिव्वाविदो दीवो दाणि । मुसिदो म्हि । भो ६ चारुदत्त ! गण्ह एदं सुवण्णालङ्कारं । अहं खु भीदीए उप्पहप्पवुत्तो विअ वणिजो णि ण ळभामि । मम बम्हत्तणेण साविदो सि, जइ ण गण्हसि । [अविहा निर्वापितो दीप इद नीम् । मुषितोऽस्मि । ९ भोश्वारुदत्त ! गृहाणेमं सुवर्णालङ्कारम् । अहं खलु भीत्योत्पथप्रवृत्त इव वणिग् निद्रां न लभे। मम ब्रह्मत्वेन शापितोऽसि, यदि न गृह्णासि।] १२ सज्जलक:-किमत्र शपथपरिग्रहेण । एष प्रतिगृह्णामि । (गृह्णाति ।) विदूषकः-(दत्त्वा) अहं विक्किणिदभण्डओ विअ वणिजओ सुहं सइस्सं। [ अहं विक्रीतभाण्डक इव वणिक सुखं शयिष्ये।] १५ सज्जलकः-सुखं स्वपिहि महाब्राह्मण !। (विचिन्त्य) भोः ! ब्राह्मणेन विश्वासाद् दीयमानं मया हर्तव्यमासीत् । धिगस्तु खलु दारिख्यमनिर्वेदं च यौवनम् । यदिदं दारुणं कर्म निन्दामि च करोमि च ॥१४॥ (नेपथ्ये पटहशब्दः क्रियते ।) सज्जलकः-(कर्णं दत्त्वा ) अये प्रभातसमयः संवृत्तः । अपसरामि ३ तावत् । (निष्क्रान्तः सज्जलकः। (प्रविश्य) ६ चेटी-(साक्रन्दम् ) अय्यमेत्तेअ! अम्हाणं रुक्खवाडिआपक्ख- दुवाळे सन्धि छिन्दिअ चोरो पविट्ठो। [ आर्यमैत्रेय ! अस्माकं ·-- -ii. 14.] तृतीयोऽङ्कः । २३१ १८ वृक्षवाटिकापक्षद्वारे सन्धि छिवा चोरः प्रविष्टः।] ९ विदूषकः-(सहसोत्थाय) किं भणादि होदी। [किं भणति भवती ।। (चेटी रुक्खवाडिअत्ति पठति ।) विदूषक:-चोरं छिन्दिअ सन्धी पविट्ठो। [चोरं छित्वा सन्धिः प्रविष्टः।] १२ चेटी-हदास ! सन्धि छिन्दिअ चोरो पविट्ठो। [ हताश ! सन्धि छित्वा चोरः प्रविष्टः ।] विदूषकः-आअच्छ णं दंसेहि । [आगच्छ ननु दर्शय । ] १५ चेटी-(परिक्रम्य) एदं । [ एतत् । ] विदूषकः-अविहा दासीएवुत्तेण कुकुरेण पवेसो किदो । भोदि ! आअच्छ, चारुदत्तस्स पिअं णिवेदेमि । (उभावुपगम्य) भो चारुदत्त ! पिअं दे णिवेदोमि । [अविहा दास्याःपुत्रेण कुक्कुरेण प्रवेशः कृतः। भवति! आगच्छ २१ चारुदत्तस्य प्रियं निवेदयामि । भोश्वारुदत्त ! प्रियं ते निवेदयामि । नायकः-(बुवा) किं मे प्रियम् । ननु वसन्तसेना प्राप्ता । विदूषकः-ण खु वसन्तसेणा, वसन्तसेणो पत्तो। [ न खलु वसन्त- २४ सेना, वसन्तसेनः प्राप्तः।] नायक:-रदनिके ! किमेतत् । चेटी-भट्टिदारअ ! अम्हाणं रुक्खवाडिआपक्खदुवारे सन्धि २७ छिन्दिअ चारो पविट्ठो। [ भर्तृदारक ! अस्माकं वृक्षवाटिकापक्षद्वारे सन्धि छित्वा चोरः प्रविष्टः।] नायक:-किं चोरः प्रविष्टः। ३० विदूषकः-भो वअस्स ! सव्वहा तुवं भणासि, मुक्खो मेत्तेओ अपण्डिदो मेत्तेओ ति । णं मए सोभणं किदं तं सुवण्णभण्डअं तव हत्थे समप्पअन्तेण । [ भो वयस्य ! सर्वथा त्वं भणसि, मूल् ४१ ·चारुदत्ते - [ iii. 14.33- ३३ मैत्रेयोऽपण्डितो मैत्रेय इति । ननु मया शोभनं कृतं तत् सुवर्णभाण्डक तव हस्ते समर्पयता।] नायक:-किं भवता दत्तम् । ३६ विदूषक:-अहई। [ अथ किम् । ] नायकः कस्यां वेलायाम् । विदूषकः-अद्धरत्ते । [अर्धरात्रे।] ३९ नायक:-किमर्धरात्रे । बाढं दत्तम् । विदूषकः-भो चारुदत्त ! जं वेळं पडिबुद्धो आसि, तस्सि वेळा खु दिण्णं । । भोश्वारुदत्त ! यस्यां वेलायां प्रतिबुद्ध आसी:, तस्यां ४२ वेलायां खलु दत्तम् । ] नायकः-हन्त हृतं सुवर्णभाण्डकम् । विदूषकः-दाणिं मे हत्थे पडिच्छिदु अत्तभवं । [ इदानीं मम हस्ते ४५ प्रयच्छत्वत्रभवान् । ] नायकः-(आत्मगतम्) कः श्रद्धास्यति भूतार्थं सर्वो मां तुलयिष्यति । शङ्कनीया हि दोषेषु निष्प्रभावा दरिद्रता ॥ १५॥ (प्रविश्य) ब्राह्मणी-रदणिए! रदणिए! आअच्छ । णहि सुणादि। कवाडसहं ३ दाव करिस्सं । (तथा करोति ।) [रदनिके ! रदनिके! आगच्छ । न हि शृणोति । कवाटशब्दं तावत् करिष्यामि।] चेटी-हं, कवाडसहो विअ । भट्टिदारिआ मं सदावेदि। (परिक्रम्य) ६ भट्टिदारिए ! इअ म्हि । [हे, कवाटशब्द इव। भर्तृदारिका मां शब्दापयति । भर्तृदारिके ! इयमस्मि ।] ब्राह्मणी-ण परिक्खदो ण वावादिदो अय्यउत्तो अय्यमेत्तेओ वा। ९ [न परिक्षतो न व्यापादित आर्यपुत्र आर्यमैत्रेयो वा।] ४२ ·-iii. 16..] तृतीयोऽङ्कः । २३३ चेटी-कुसळी भट्टिदारओ अय्यमेत्तेओ अ। जो तस्स जणस्स अलङ्कारो चोरेण गहीदो। [कुशली भर्तृदारक आर्यमैत्रेयश्च । १२ यस्तस्य जनस्यालङ्कारश्चोरेण गृहीतः। ब्राह्मणी-किं भणासि चोरेण गहीद त्ति। [किं भणसि चोरेण गृहीत इति।] १५ चेटी-अह इं। [ अथ किं।] ब्राह्मणी-किंणु खु तस्स जणस्स दादव्वं भविस्सदि । अहव एदं दइस्सं । (कौँ स्पृष्ट्वा) हाद्धि ताळीपत्तं खु एदं । सो दाणि परि- १८ अओ में विळम्बेदि । किं दाणि करिस्सं । (विचिन्त्य) भोदु, दिटुं । मम चादिकुळादो ळद्धा सदसहस्समुळ्ळा मुत्तावळी । तं पि अय्यउत्तो सोढीरदाए पडिच्छदि। भोदु, एवं दाव २१ करिस्सं (निष्क्रान्ता) [किन्नु खलु तस्मै जनाय दातव्यं भवि- प्यति । अथवैतद् दास्यामि । हा धिक् तालीपत्रं खल्वेतत् । स इदानी परिचयो मां विडम्बयति । किमिदानी करिष्यामि । भवतु, दृष्टम् । २४ मम ज्ञातिकुलाद् लब्धा शतसहस्त्रमूल्या मुक्तावली । तामप्यार्यपुत्रः शौटीरतया प्रतीच्छति । भवतु, एवं तावत् करिष्यामि ।] विदूषकः-इमस्स अन्धआरुप्पादिदस्स अवराहस्स किदे भवन्तं २७ सीसेण पसादेमि । दाणिं मे हत्थे पडिच्छदु अत्तभवं । [ अस्थान्ध- कारोत्पादितस्यापराधस्य कृते भवन्तं शीर्षेण प्रसादयामि । इदानीं मे हस्ते प्रयच्छत्वत्रभवान् । ] ३० नायक:-किं भवानिदानी मां बाधते । भवांस्तावविश्वासी शीलज्ञो मम नित्यशः। किं पुनः स कलाजीवी वञ्चनापण्डितो जनः ॥ १६ ॥ विदूषकः-मण्णे मए मन्दभग्गेण कुम्भीळस्स हत्थे दिण्णं । (विषण्णस्तिष्ठति ।) [मन्ये मथा मन्दभाग्येन कुम्भीलस्य हस्ते दत्तम् । ]

·२३४
चारुदत्ते
[iii. 16.8-
(प्रविश्य)
ब्राह्मणी-रदणिए ! अय्यमेत्तेअं सद्दावेहि । [रदनिके ! आर्यमैत्रेयं
शब्दापय ।]
६ चेटी-अय्यमेत्तेअ! भट्टिदारिआ तुमं सद्दावेदि । [आर्यमैत्रेय !
भर्तृदारिका त्वां शब्दापयति ।]
विदूषकः-भोदि ! किं मं। [भवति ! किं माम् । ]
९ चेटी-आम । [आम ।]
विदूषकः-एस आअच्छामि । (उपसर्पति।) [एष आगच्छामि ।]
ब्राह्मणी-अय्यमेत्तेअ! इमं पडिग्गहं पडिगण्ह । [आर्यमैत्रेय !
१२ इमं प्रतिग्रहं प्रतिगृहाण । ]
विदूषकः-अवत्थाविरुद्धो
खु
अअं पदाणविभवो। कुदो एदस्स
आगमो। [अवस्थाविरुद्धः खल्वयं प्रदानविभवः । कुत एतस्या-
१५ गमः।]
ब्राह्मणी-णं सटुिं उववसामि । सव्वसारविभवेण बम्हणेण सोत्थि
वाअइदव्वं ति एसो इमस्स आगमो। [ननु षष्ठीमुपवसाभि ।
१८ सर्वसारविभवेन ब्राह्मणेन स्वस्ति वाचयितव्यमित्येषोऽस्यागमः।]
विदूषकः-अट्ठमी खु अज । [ अष्टमी खल्वद्य।]
ब्राह्मणी-पमादादो अदिक्कमो किदो । अज्ज पूआ णिव्वत्तीअदि ।
२१ [प्रमादाद् अतिक्रमः कृतः । अद्य पूजा निर्वय॑ते । ]
विदूषकः-अणणुरुवदाए पदाणस्स अणुक्कोसो विअ पडिभादि ।
(जनान्तिकम् ) रदणिए ! किं करिस्सं । [अननुरूपतया
२४ प्रदानस्थानुक्रोश इव प्रतिभाति । रदनिके ! किं करिष्यामि ।]
चेटी-(अपवार्य) किंणु खु तस्स जणस्स दादव्वं भविस्सदि त्ति
एणिमित्तं भट्टिदारओ सन्तप्पदि त्ति भट्टिदारिआ तव हत्थे
२७ दुइअ अय्यउत्तं अणिरिणं करिस्सामि त्ति एवं करेदि । ता गण्ह

·-iii. 17.] तृतीयोऽङ्कः । २३५ एदं। [किन्नु खलु तस्म जनाय दातव्यं भविष्यतीत्येतन्निमित्तं भर्तृदारकः संतप्यत इति भर्तृदारिका तव हस्ते दत्वार्यपुत्रमनृणं ३० करिष्यामीत्येवं करोति । तद् गृहाणैतत् । ] ब्राह्मणी-उदअसम्भवदाए मुत्तावळीए तव अदुळ्ळहदाए उवआरो विस्सरिदो । गण्ह एदं। (ददाति ।) [उदकसम्भवतया मुक्ता- ३३ वल्यास्तव च दुर्लभतयोपचारो विस्मृतः । गृहाणैतत् ।। विदूषकः-(गृहीत्वा ) सव्वं दाव चिट्ठदु । रोदिदी विअ होदीए दिट्ठी। [ सर्वं तावत् तिष्ठतु । रोदितीव भवत्या दृष्टिः।] ३६ ब्राह्मणी-देवउळधूमेण रोदाविदा । [ देवकुलधूमेन रोदिता।] विदूषकः-साविदासि तत्तहोदा चारुदत्तेण, जइ अलिअंभणासि । [शापितासि तत्रभवता चारुदत्तेन, यद्यलीकं भणसि।] ३९ ब्राह्मणी-हद्धि। (निष्क्रान्ता।)[ हा धिक् । ] विदूषकः-एसा वाआए दुक्खं रक्खिअ अस्सूहि सूइअ गआ। (उपगम्य ) भो! इदं । [एषा वाचा दुःखं रक्षित्वाऽश्रुभिः सूचयित्वा ४२ गता । भोः ! इदम् । ] नायक:-किमेतत्। विदूषकः-सरिसकुळदारसङ्गहस्स फळं । [सदृशकुलदारसंग्रहस्य ४५ फलम् । ] नायकः-किं ब्राह्मणी मामनुकम्पते । विदूषकः-एवं विअ । [एवमिव । ] ४८ नायक:-धिगात्मानम् । अद्य हतोऽस्मि । मयि द्रव्यक्षयक्षीणे स्त्रीद्रव्येणानुकम्पितः। अर्थतः पुरुषो नारी या नारी सार्थतः पुमान् ॥ १७॥ विदूषकः-तत्तहोदी हिअएण तुमं याचेदि । अहं सीसेण याचेमि। गण्ह एदं । [तत्रभवती हृदयेन त्वां याचते | अहं शीर्षेण याचे । ३ गृहाणैतत् ।]

·चारुदत्ते [iii. 17.- नायकः-तथा। (गृहीत्वा) वयस्य ! इमां मुक्तावली गृहीत्वा वसन्तसेनायाः सकाशं गच्छ। अर्थेषु काममुपलभ्य मनोरथो मे स्त्रीणां धनेष्वनुचितं प्रणयं करोति । माने च कार्यकरणे च विलम्बमानो धिग् भोः ! कुलं च पुरुषस्य दरिद्रतां च ॥ १८ ॥ विदूषकः-अहो अपमुळ्ळस्स सुवण्णभण्डअस्स किदे सदसहस्स- मुळ्ळा मुत्तावळी णीआदइदव्वा । [अहो अल्पमूल्यस्य सुवर्ण- ३ भाण्डकस्य कृते शतसहस्त्रमूल्या मुक्तावली निर्यातयितव्या । ] नायकः-वयस्य ! मा मैवम् । यं समालक्ष्य विश्वास न्यासोऽस्मासु कृतस्तया । तस्यैतन्महतो मूल्यं प्रत्ययस्य प्रदीयताम् ॥ १९ ॥ (निष्क्रान्ताः सर्वे ।) तृतीयोऽङ्कः। ! अथ चतुर्थोऽङ्कः। (ततः प्रविशति सोत्कण्ठा वसन्तसेना, चित्रफलकामादाय वर्तिकाकरण्डहस्ता चेटी च।) ३ गणिका-हले ! पेक्खासि सरिसो तस्स जणस्स । [हजे ! पश्यसि सदृशस्तस्य जनस्य ।] चेटी-अज्जुए! तस्सिं हत्थिविमदकोळाहळे बहुमाणपय्यत्थाए ६ दिट्टीए दूरदो दिट्ठो सो भट्टिदारओ ईदिसो एव्व। [अज्जुके ! तस्मिन् हस्तिविमर्दकोलाहले बहुमानपर्यस्तया दृष्टया दूरतो दृष्टः स भर्तृदारक ईदृश एव ।] ४६ ·-iv..] चतुर्थोऽङ्कः। । ९ गणिका-तुमं दाव दक्खो वेसवासजणो त्ति जणवादं पूरअन्ती अलिअंभणासि । [त्वं तावद् दक्षो वेशवासजन इति जनवादं पूरयन्त्यलोकं भणसि ।] १२ चेटी-किं एदं वेसवासजणो सव्वो दक्खिणो होइ त्ति । पेख्खदु अज्जुआ, चम्पआरामे पिचुमन्दा जाअन्ति । अदिसरिस त्तिमम हिअअं अहिरमदि । परमत्थदो एव्व पसंसीअदि, णं कामदेवो । १५ [किमेतद् वेशवासजनः सर्वो दक्षिणी भवतीति । पश्यत्वज्जुका, चम्पकारामे पिचुमन्दा जायन्ते । अतिसदृश इति मम हृदयमभिरमते । परमार्थत एव' प्रशस्यते, ननु कामदेवः।] १८ गणिका-हळे! सहीजणेण अवहसणीअत्तणं अत्तणो परिहरामि। [हले ! सखीजनेनापहसनीयत्वमात्मनः परिहरामि । ] चेटी-एदं जुज्जइ। सहीजणसपत्तिओ गणिआजणो णाम। [एतद् २१ युज्यते । सखीजनसपत्नीको गणिकाजनो नाम ।] ( ततः प्रविशत्याभरणहस्ताऽपरा चेटी।) चेटी-सुहं अज्जुआए। [सुखमज्जुकायाः।] २४ गणिका-हजे ! साअदं दे। [हजे ! स्वागतं ते।] चेटी-अब्जए ! अत्ता आणवेदि-इदं दुवारं पविट्ठ पोक्खरं उवावत्तिदं पहवणं । ता तुवरमाणमण्डणा गहीदावउण्ठणा आअ- २७ च्छदु त्ति। इह अलङ्कारं अळ ङ्करदु अज्जुआ। [अज्जुके ! अम्बाज्ञापयति-इदं द्वारं प्रविष्टं पौप्करमुपावर्तितं प्रवहणम् । तत् स्वरमाणमण्डना गृहीतावगुण्ठनागच्छत्विति । इहालङ्कारमलङ्करो- ३० त्वज्जुका ।] गणिका-किं अय्यचारुदत्तो मण्डइस्सिदि। [किमार्यचारुदत्तो मण्डयिष्यति ।] ४७ ·२३८ 33 चारुदत्ते [iv. ३३ चेटी-णहि, जेण अळङ्कारो पेसिदो सो राअसाळो सण्ठाणो। [न हि, येनालङ्कारः प्रेषितः स राजस्यालः संस्थानः।] गणिका-अवेहि अविणीदे !। [ अपेह्यविनीते ।] ३६ चेटी-पसीददु पसीददु अज्जुआ। सन्देसं खु अहं मन्तेमि । (पादयोः पतति ।) [प्रसीदतु प्रसीदत्वज्जुका । सन्देशं खल्वहं मन्त्रये।] गणिका-उद्वेहि उडेहि । कुसन्देसं असूआमि, ण तुवं । [ उत्तिष्ठो- ३९ त्तिष्ठ । कुसन्देशमसूयामि, न त्वाम् । ] चेटी-किं अहं अत्तं भणामि । [किमहमम्बां भणामि । ] गणिका-भणेहि अत्तं-जदा अय्यचारुदत्तो अभिसारइव्वो ४२ तदा मण्डेमि त्ति । [भणाम्बां-~यदाऽऽयंचारुदत्तोऽभिसारयितव्य- स्तदा मण्डयामीति ।] चेटी-तह । (निष्क्रान्ता।) [तथा।] (ततः प्रविशति सज्जलकः।) सज्जलक:- - कृत्वा निशायां वचनीयदोष निद्रां च हित्वा तिमिरं भयं च । स एव सूर्योदयमन्दवीर्यः शनैर्दिवाचन्द्र इवास्मि भीतः ॥१॥ दिष्टया कर्मान्ते प्रभातम् । यावदिदानी वसन्तसेनायाः परिचारि- काया मदनिकाया निष्क्रयार्थं मयेदं कृतम् । (परिक्रम्य) इदं ३ वसन्तसेनाया गृहम् । यावत् प्रविशामि । (प्रविश्य ) किन्नु खल्वभ्यन्तरस्था मदनिका । अथवा, पूर्वाह्ने गणिकानामभ्यन्तरे सान्निध्यम् । अतस्तत्रैव तया भवितव्यम् । यावच्छब्दापयामि । ६ मदनिके! मदनिके! चेटी-(आकये) सज्जळअस्स विअ सरो। वावुदा अज्जुआ। ता उवसप्पिस्सं। (उपगम्य) इअम्हि। [सज्जलकस्येव स्वरः। व्यापृता- ९ ज्जुका । तदुपसर्पिष्यामि । इयमस्मि । ] ४८ ·-iv. 1."] चतुर्थोऽङ्कः। २३९ । सज्जलका-इतस्तावत् । चेटी-किं तुवं सङ्किदवण्णो विअ। [ किं त्वं शङ्कितवर्ण इव।] १२ सज्जलकः-न खलु, किञ्चित् कथयितुकामः । गणिका-हजे ! इमं चित्तफळ सअणीए ठावेहि । (विलोक्य) कहिं गआ हदासा। अहव अदूरगआए होदव्वं । जाव णं १५ पेक्खिस्सं । (परिक्रम्यावलोक्य) अम्मो इअंसा अदिसिणिद्धाए दिट्ठीए केण वि मणुस्सेण पिबन्ती विअ सह मन्तअन्ती चिट्ठइ। तकेमि एसो जो कोवि कएण मं याचेदि । [हजे ! इदं चित्रफलकं १८ शयनीये स्थापय । कुत्र गता हताशा । अथवा अदूरगतया भवित- व्यम् । यावदेनां प्रेक्षिप्ये । अम्मो इयं साऽतिस्निग्धया दृष्टया केनापि मनुष्येण पिबन्तीव सह मन्त्रयमाणा तिष्ठति । तर्कयाम्येष यः कोऽपि २१ क्रयेण मां याचते।] सज्जलकः-श्रूयतां रहस्यम्। गणिका-अजुत्तं पररहस्सं सोहूँ, अहं गमिस्सं। [अयुक्तं पररहस्य २४ श्रोतुम्, अहं गमिष्यामि।] सज्जलक:-अपि वसन्तसेना (इत्यधोक्ते)। गणिका-अहं अहिइदा एदाअं कहाअं। होदु, सुणिसं दाव २७ भविस्सदि।। (पुनः प्रतिनिवृत्य स्थिता ।) अहमधिकृत्तस्यां कथा- याम् । भवतु, श्रोष्यामि तावद् भविष्यति ।] सज्जलकः-किं दास्यति त्वां निष्क्रयेण । ३० गणिका-सो एव्व एसो। होदु, सुणिस्सं । [स एवैषः। भवतु, श्रोष्यामि।] चेटी-सज्जळअ ! मम पदाणं पुढमं एव अज्जुआए उत्तं । [सज्ज- ३३ लक ! मम प्रदानं प्रथममेवाज्जुकयोक्तम् । ] सज्जलक:-तेन हीममस्यै प्रयच्छ, एवं वक्तव्या च- ·चारुदत्ते [iv. 2- अयं तव शरीरस्य प्रमाणादिव निर्मितः। अप्रकाश्यो ह्यलङ्कारो मत्स्नेहाद् धार्यतामिति ॥२॥ बेटी-पेक्खामि दाव । [पश्यामि तावत् । ] सज्जलक:-गृह्यताम् । (दर्शयति ।) ३ चेट्टी-दिट्ठपुरुषो विअ अअं अलङ्कारो। [दृष्टपूर्व इवायमलङ्कारः।] गणिका-ममकेरओ विअअअं अलङ्कारो। [मदीय इवायमलङ्कारः।] चेटी-भणाहि भणाहि। को इमस्स आअमो। [भण भण । ६ कोऽस्यागमः।] सज्जलक:-त्वत्स्नेहात् साहसं कृतम् । उभे-हं, साहसिओ। [हं, साहसिकः।] ९ चेटी-(आत्मगतम्) आ, अज्जुआए खु इमस्स आइदी कम्मदारुणदाए उव्वेअणीआ संवुत्ता। (प्रकाशम् ) हद्धि मम किदे उभअं संसइदं संवुत्तं तव सरीरं चारित्तं च। [आ, १२ अज्जुकायाः खल्वस्याकृतिः कर्मदारुणतयोद्वेजनीया संवृत्ता। हा धिग् मम कृते उभयं संशयितं संवृत्तं तव शरीरं चारित्रं च।] सज्जलक:-उन्मत्तिके ! साहसे खलु श्रीर्वसति । १५ चेटी-अपण्डिदो खु सि । को हि णाम जीविदेण सरीरं विकीणि- स्सदि । अह कस्स गेहे इअं विस्सासवञ्चणा किदा। [अपण्डितः खल्वसि । को हि नाम जीवितेन शरीरं विक्रेष्यति । अथ कस्य गेहे १८ इयं विश्वासवञ्चना कृता।] सज्जलक:-यथा प्रभाते मया श्रुतं-श्रष्टिचत्वरे प्रतिवसति सार्थवाहपुत्रश्चारुदत्तो नाम । २१ उभे-हुम्। सज्जलक:-अयि,

·-iv.5.]
चतुर्थोऽङ्कः।
२४१
विषादस्रस्तसर्वाङ्गी सम्भ्रमोत्फुल्ललोचना।
मृगीव शरविद्धाङ्गी कम्पसे चानुकम्पसे ॥ ३ ॥
चेटी-सञ्चं भणाहि । सत्थवाहकुळे साहसं करन्तेण तुए कोच्चि
कुळवुत्तो सत्येण अस्थि परिक्खदो वावादिदो वा। [सत्यं भण।
३ सार्थवाहकुले साहसं कुर्वता त्वया कश्चित् कुलपुत्रः शस्त्रेणास्ति
परिक्षतो व्यापादितो वा।]
गणिका-सुटु, मए वि पुच्छिदव्वं एदाए पुच्छिदं । [सुष्टु, मयापि
६ प्रष्टव्यमेतया पृष्टम् ।]
सज्जलक:-मदनिके ! एतावत् किं न पर्याप्तं, द्वितीयमप्यकार्य
करिष्यामि । न खल्वत्र शस्त्रेण कश्चित् परिक्षतो व्यापादितो वा।
९ चेटी-सज्जळअ ! सच्चं। [ सज्जलक ! सत्यम् । ]
सज्जलक:-सत्यम्।
चेटी-साहु सज्जळअ ! पिअं मे। [ साधु सज्जलक ! प्रियं मे।]
१२ सज्जलक:-किं किं प्रियमित्याह । ईशं मदनिके !
त्वत्स्नेहबद्धहृदयो हि करोम्यकार्य
सन्तुष्टपूर्वपुरुषेऽपि कुले प्रसूतः।
रक्षामि मन्मथगृहीतमिदं शरीरं
मित्रं च मां व्यपदिशस्यपरं च यासि ॥४॥
चेटी-सज्जळअ ! सुणाहि । अज्जुआए अअं अलङ्कारो। (कर्णे।)
एवं विअ। [सज्जलक ! शृणु। अज्जुकाया अयमलङ्कारः ।
३ एवमिव ।]
सज्जलक:-एवम् ।
अज्ञानाद् या मया पूर्व शाखा पत्रैर्वियोजिता ।
छायार्थी ग्रीष्मसन्तप्तस्तामेव पुनराश्रितः ॥ ५॥

·२४२ चारुदत्ते [ iv. 5.1- गणिका-सन्तप्पदि त्ति तक्कोमि एदेण अकय्यं किदं ति। [संत- प्यत इति तर्कयामि एतेनाकार्यं कृतमिति ।] ३ सज्जलकः-मदनिके ! एवं गते किं कर्तव्यम् । चेटी-तहिं एव णिय्यादेहि, णहि मण्डइस्सदि अज्जुआ। [तत्रैव निर्यातय, नहि मण्डयिष्यत्यज्जुका।] ६ सञ्जलक:-अथेदानीं सोऽमर्षान्मां चोर इति रक्षिपुरुषैाहयिष्यति चेदन किं करिष्यामि। चेटी-मा भाआहि मा भाआहि । कुळवुत्तो खु सो गुणाणं परितुस्सदि। ९ [मा विभीहि मा विभीहि । कुलपुत्रः खलु स गुणानां परितुष्यति।] गणिका-साहु भदे ! अवत्तव्वासि, अळङ्किदा विअ एदेण वअ- णेण। [साधु भद्रे ! अवक्तव्यासि, अलङ्कृतेवैतेन वचनेन । ] १२ सज्जलक:-सर्वथा न शक्ष्याम्यहं तत्र गन्तुम् । चेटी-अअं अण्णो उवाओ। [ अयमन्य उपायः।] गणिका-एदे गुणा वेसवासस्स। [ एते गुणा वेशवासस्य । ] १५ सज्जलक:-कोऽन्य उपायः। चेटी-णं तव रूप अज्जुआ अवि सत्थवाहपुत्तो अ। [ननु तव रूपज्ञाऽज्जुकापि सार्थवाहपुत्रश्च । ] १८ सज्जलक:-न खलु। चेटी-तेण हि इमं दाव अलङ्कारं तस्स सत्थवाहपुत्तस्स वअणादो अज्जुआए णिय्यादेहि । एवं च किदे तुवं रक्खिदो, सो अय्यो २१ अ अणिविण्णो भविस्सदि । अहं च पीडिदा ण भविस्सं । आदु अज्जुअं च पुणो वञ्चिअ पुणो एव्व दासभावो भवे । [ तेन हीम तावदलङ्कारं तस्य सार्थवाहपुत्रस्य वचनादज्जुकायै निर्यातय। एवं च २४ कृते त्वं रक्षितः, स आर्यश्चानिर्विण्णो भविष्यति । अहं च पीडितान भवि- प्यामि । अथवा अज्जुकां च पुनर्वञ्चयित्वा पुनरेव दासभावो भवेत्।] ५२ ·-iv. 5.501 चतुर्थोऽङ्कः। २४३ सज्जलक:-मदनिके! प्रीतोऽस्मि । २७ गणिका-भोदु अव्भन्तरं पविसिअ उवविसामि । (तथा करोति ।) [भवत्वभ्यन्तरं प्रविश्योपविशामि।] चेटी-सज्जळअ ! आअच्छ, कामदेवउळे म पडिवाळेहि । अहं ३० ओसरं जाणिअ अजुआए णिवेदेमि । [सज्जलक! आगच्छ, कामदेवकुले मां प्रतिपालय । अहमवसरं ज्ञात्वाज्जुकायै निवेदयामि । ] सज्जलक:-बाढम् । (निष्क्रान्तः।) (ततः प्रविशत्यपरा चेटी।) चेटी-सुहं अज्जुआए । एसो सत्थवाहपुत्तस्स सआसादो कोच्चि बम्हणो आअदो अज्जु पेक्खिढुं । [ सुखमज्जुकायाः । एष ३६ सार्थवाहपुत्रस्य सकाशात् कश्चिद् ब्राह्मण आगतोऽज्जुकां द्रष्टुम् ।] गणिका-(सादरम् ) गच्छ, सिग्धं पवेसेहि णं । [गच्छ, शीघ्र प्रवेशयैनम् ।] ३९ चेटी-तह । (उपसृत्य) एदु एदु अय्यो। [तथा । एत्वेत्वार्यः ! ] (प्रविश्य) विदूषकः-( सर्वतो विलोक्य ) अहो गणिआवाडस्स सस्सिरीअदा । ४२ णाणापट्टणसमागदेहि आअमिएहि पुत्थआ वाईअन्ति । संओज- अन्ति अ आहारप्पआराणि । वीणा वादीअन्ति । सुवण्णआरा अळङ्कारप्पआराणि आदरेण जोजअन्ति । [अहो गणिकावाटस्य ४५ सश्रीकता। नानापट्टणसमागतैरागमिकः पुस्तकानि बाच्यन्ते। संयोज्यन्ते चाहारप्रकाराः । वीणा वाद्यन्ते। सुवर्णकारा अलङ्कारप्रका- रानादरेण योजयन्ति ।] ४८ चेटी-एसा अज्जुआ । उवसप्पटु अय्यो। [ एषाज्जुका । उपसर्प- त्वार्यः।] विदूषकः-(उपगम्य) सोत्थि होदीए । [ स्वस्ति भवत्यै।]

·२४४ चारुदत्ते [iv.5.5- । ५१ गणिका-साअदं अय्यस्स । हजे! आसणं अय्यरस, पादोदकं च। [स्वागतमार्यस्य । हजे! आसनमार्यस्य, पादोदकं च । ] विदूषकः-(आत्मगतन् ) सव्वं आणेदु वज्जिअ भोअणं। [सर्व- ५४ मानयतु वर्जयित्वा भोजनम्।] चेटी-जं अज्जुआ आणवेदि । (आसनं ददाति पादोदकं च ।) उवविसदु अय्यो। [यदज्जुकाज्ञापयति । उपविशत्वार्यः।] ५७ विदूषकः-(उपविश्य ) पडिच्छदु आसणं भोदी। अहं किश्चि भणिढुं आअदो। प्रतोच्छत्वासनं भवती। अहं किञ्चिद् भणितु- मागतः।] ६० गणिका-(उपविश्य ) अवहिदम्हि । [ अवहितास्मि ।] विदूषकः-केत्तिअमत्तं खु तस्स अलङ्कारस्स मुळ्ळप्पमाणं । [किय- न्मानं खलु तस्यालङ्कारस्य मूल्यप्रमाणम्।] ६३ गणिका-किंणिमित्तं खु अय्यो पुच्छदि। [किनिमित्तं खल्वार्यः पृच्छति।] विदूषकः-सुणादु भोदी। तत्तहोदो चारुदत्तस्स गुणप्पञ्चा- ६६ अणणिमित्तं खु तुए अलङ्कारो तहिं णिक्खित्तो। सो तेण जूदे हारिदो। [शृणोतु भवती। तत्रभवतश्चारुदत्तस्य गुणप्रत्यायननिमित्तं खलु त्वयालङ्कारस्तस्मिन् निक्षिप्तः । स तेन छूते हारितः।] ६९ गणिका-जूदे । जुज्जइ । तदो तदो। [द्यूते । युज्यते । ततस्ततः।] विदूषकः-तदो तस्स अलङ्कारस्स मुळ्ळभूदं इमं मुत्तावळिं पडि- च्छदु भोदी। [ततस्तस्यालङ्कारस्य मूल्यभूतामिमां मुक्तावली प्रतीच्छतु ७२ भवती।] गणिका-( आत्मगतम् ) धिक् खु गणिआभावं । लुद्धत्ति में तुळ- अदि । जइ ण पडिच्छे, सो एव्व दोसो भविस्सदि। (प्रकाशम् ) ·-iv. 6.] चतुर्थोऽङ्कः। २४५ ७५ आणेदु अय्यो। [धिक खलु गणिकाभावम् । लुब्धेति मां तुलयति । यदि न प्रतीच्छामि, स एव दोषो भविष्यति । आनयत्वार्यः । विदूषकः-इदं गण्हदु भोदी। [इदं गृह्णातु भवती।] ७८ गणिका-(गृहीत्वा) पडिच्छिदं तए त्ति अय्यो णिवेदेदु । [प्रतीष्टं तयेत्याओं निवेदयतु।] विदूषकः-(आत्मगतम् ) कोवि उवआरो वि ण एदाए भणिदो। ८१ (प्रकाशम् । ) एवं होदु। (दत्वा निष्क्रान्तः । ) [ कोऽप्युपचारोऽपि नैतया भणितः। एवं भवतु ।] गणिका-साहु चारुदत्त ! साहु। भाअधेअपरिवुत्तदाए दसाए ८४ माणावमाणं रक्खिदं । [साधु चारुदत्त ! साधु । भागधेयपरिवृत्त- तायां दशायां मानावमानं रक्षितम्।] (प्रविश्य) ८७ मदनिका-अज्जुए! सत्थवाहपुत्तस्स सआसादो कोच्चि मणुस्सो आअदो इच्छइ अज्जु पेक्खिडं। [ अज्जुके ! सार्थवाहपुत्रस्य सकाशात् कश्चिद् मनुष्य आगत इच्छत्यज्जुकां द्रष्टुम् । ] ९० गणिका-किं दिट्ठपुरुवो णवदंसणो वा। [किं दृष्टपूर्वो नवदर्शनो वा] मदनिका-अज्जुए! णहि, तस्सकेरओ त्ति मे पडिभादि। [अज्जुके ! नहि, तदीय इति मे प्रतिभाति ।] ९३ गणिका-गच्छ, पवेसेहि णं। [गच्छ, प्रवेशयैनम् । ] मदनिका-तह । ( निष्क्रान्ता।) [तथा।] गणिका-अहो रमणिज्जदा अज्ज दिवसस्स। [अहो रमणीयताऽध ९६ दिवसस्य ।] (ततः प्रविशति मदनिका सज्जलकेन सह ।) सज्जलकः-कष्टा खल्वात्मशङ्का नाम, यः काश्चञ्चकितगतिर्निरीक्षते मां सम्भ्रान्तो द्रुतमुपसर्पति स्थितो वा। सर्वांस्तांस्तुलयति दोषतो मनो मे स्वैर्दोषैर्भवति हि शङ्कितो मनुष्यः।।६।।

·२४६
चारुदत्ते
[iv.6.1 -
मदनिका-एसा अज्जुआ। उवसप्पदु अय्यो। [ एषाज्जुका ।
उपसर्पत्वार्यः।]
३ सज्जलकः-(उपसृत्य ) सुखं भवत्यै ।
गणिका-साअदं अय्यस्स। हजे! आसणं देदु अय्यस्स।
[स्वागतमार्थस्य । हो ! आसनं दीयतामार्याय।]
६ सजलक:-भवतु भवतु। गृहीतमासनम् । त्वरिततरमनुष्ठेयं
किञ्चित् कार्यमस्ति ।
गणिका-एवं भणादु अय्यो। [ एवं, भणत्वार्यः।]
९ सज्जलक:-आर्यचारुदत्तेनास्मि प्रेषितः-यस्तावदलङ्कारो मम हस्ते
निक्षिप्तः, स त्वसंभोगमलिनतया गृहस्यासान्निध्यात् कौडुम्बिकानां
दुरारक्षः। तद् गृह्यताम् इति ।
१२ गणिका-इमं तस्स चारुदत्तस्स देदु अय्यो। [ इमं तस्मै चारु-
दत्ताय ददात्वार्यः।]
सजलकः-भवति ! न खल्वहं गच्छामि ।
१५ गणिका-अहं जाणामि तस्स गेहे साहसं करिअ आणीदो अअं
अलङ्कारो । तस्स गुणाणि अणुकम्पेदु अय्यो। [ अहं जानामि
तस्य गेहे साहसं कृत्वानीतोऽयमलङ्कारः। तस्य गुणाननुकम्पतामार्यः।]
१८ सज्जलक:-(आत्मगतम्) कथं विदितोऽस्म्यनया।
गणिका-को एत्थ, पवहणं दाव अय्यस्स। [कोऽत्र, प्रवहणं
तावदार्यस्य ।]
२१ गणिका-मिसदो विअ सुणीअदि । आअदेण पवहणेण होदव्वं
[नेमिशब्द इव श्रूयते । आगतेन प्रवहणेन भवितव्यम् ।]
गणिका-(स्वैराभरणैर्मदनिकामलङ्कृत्य) आरहदु अय्यो अय्याए
२४ सह पवहणं । [आरोहत्वार्य आर्यया सह प्रवहणम् । ]
मदनिका-अज्जुए! कि एदं। [ अज्जुके ! किमेतत् ।]

·-iv.7.11] चतुर्थोऽङ्कः। २४७ ३ गणिका-मा खु मा खु एवं मन्तिअ । अय्या खुसि दाणि संवुत्ता। २७ गण्हदु अय्यो! । (मदनिकां गृहीत्वा सज्जलकाय प्रयच्छति।) [मा खलु मा खल्वेवं मन्त्रयित्वा। आर्या खल्वसीदानी संवृत्ता। गृह्वात्वार्यः।] सज्जलक:-(आत्मगतम् ) भोः! कदा खल्वस्याः प्रतिकर्तव्यं भवि- ष्यति । अथवा, शान्तं शान्तं पापम् । नरः प्रत्युपकारार्थी विपत्तौ लभते फलम् । द्विषतामेव कालोऽस्तु योऽस्या भवतु तस्य वा ॥७॥ (तया सह निष्क्रान्तः सज्जलकः ।) गणिका-चउरिए!। [ चतुरिके ! ] (प्रविश्य) चेटी-अज्जुए ! इअम्हि । [अज्जुके ! इयमस्मि । ] गणिका-हले! पेक्ख जागरन्तीए मए सिविणो दिट्टो एव्वं । [हजे ! ६ पश्य जाग्रत्या मया स्वप्नो दृष्टः एवम् । ] चेटी-पिअं मे, अमुदंकणाड संवुत्तं । [ प्रियं मे, अमृताङ्कनाटकं संवृत्तम् ।] ९ गणिका-एहि इमं अळवारं गहिअ अय्यचारुदत्तं अभिसरि- स्सामो। [ एहीममलंकारं गृहीत्वार्यचारुदत्तमभिसरिष्यावः।] चेटी-अज्जुए ! तह । एदं पुण अभिसारिआसहाअभूदं दुदिणं १२ उण्णमिदं । [ अज्जुके ! तथा । एतत् पुनरभिसारिकासहायभूतं दुर्दिन- मुन्नमितम् ।] गणिका-हदासे ! मा हु वड्ढावेहि । [हताशे ! मा खलु वर्धय । ] १५ चेटी-एदु एदु अज्जुआ। [ एत्वेत्वज्जुका।] (निष्क्रान्ते।) चतुर्थोऽङ्कः।

·चारुदत्तस्य श्लोकानुक्रमणिका। III. अकामा ह्रियते अज्ञानाद् या अद्यास्य भित्तिषु अभिनयति अयं तव शरीर अर्थेषु कामं अविज्ञातप्रयुक्तेन आशि क्खु तिक्खे I. IV. I. I. III. III. असौ हि दत्वा आलोकविशाला इयं हि निद्रा उत्कण्ठितस्य उदयति हि शशा० एशा हि वाश एषा रङ्गप्रवेशन एषा हि वयसो का श्रद्धास्यति कामं नीचमिदं कामं प्रदोष I. IV. III. I. IV. III. I. I. III. I. III. III. I. I. I. I. III. III. I. I. I. I. I. IV. III. I. I. I. 25 तथा विभव 5 तरुणजन० 10 त्वत्स्नेहबद्ध 16 दारिश्चात् पुरुषस्य 2 दुवेहि अम्हेहि 18 देशः को नु जला० 27 धिगस्तु खलु 15 नरः प्रत्युपकारार्थी 3 निःश्वासोऽस्य 21 परिचिततिमिरा 4 भवांस्तावद् 1 मयि द्रव्यक्षयक्षीणे 29 मार्जारः प्लवने 23 यं समालक्ष्य 24 यः कश्चिञ्चकित 22 यत्र में पतितः 15 यासां बलिर्भवति 6 रक्तंच तार० 18 लिम्पतीव तमो 11 लुब्धोऽर्थवान् 9 8 विभवानुवशा 12 विषादस्रस्त० सत्यं न मे 1 5 समद्विधानां 4 सिंहाक्रान्तं 1 सुखं हि दुःखा० 14 सुलभशरण IV. III. I. III. III. III. III. IV. I. I. III. I. 12 17 4 6 10 8 14 7 13 13 16 17 11 19 6 28 2 2 19 7 . किं त्वं पदात् III. किं त्वं भयेन किं याशिधावशि किं वाशुजेवे कृत्वा निशायां कृत्वा शरीर० क्षीणा ममार्था धिदगुलदहि I. IV. I. I. III. I. I. 3 5 26 9 3 20 जनयति खलु ·CĀRUDATTA TRANSLATION Act I PROLOGUE (At the end of the Benediction, enter the Stage-manager.) STAGE-MANAGER—I left my house just at dawn to-day and now my eyes are, as it were, rolling with hunger like two drops of water on a lotus-leaf! ( Walking about) So I will go home and see if there is any arrangement made. (Moving about) This is our house. So I will go in. (Entering and turning round) As the floor has been blackened and variegated by the turning round of iron-pots, and there is the scent like the unctious smell of grease when being purified, and here are pious devotees moving about like some auspicious omen, so is it likely that arrangements (of a meal) are Or that in my hunger the whole world appears to me to be made of rice? I will just call my wife. Madam, will you come here a moment ? (Entering) ACTRESS-Here I am, sir; it is a good thing you have come. STAGE-MANAGER -Madam, is there anything for breakfast in our house ? ACTRESS-Yes, sir. STAGE-MANAGER-May you live long! Thus may you be (ever) the giver of good food ! ACTRESS-Sir, I have been waiting just for you. STAGE-MANAGER—Well, dear, is there what I want? ACTRESS-Yes, sir. 1 ·88 CĀRUDATTA [i.- STAGE-MANAGER--So may the gods bless you! Now what have you got, my dear? ACTRESS—There is ghee, raw sugar, curds and rice. STAGE-MANAGER-All this in our house? ACTRESS-No, no, in the market. STAGE-MANAGER Angrily) Oh, you vile woman, so may your hopes be cut off ! And you shall go to perdition, I am like a sheaf of grass lifted high up from the hill-top by a fierce wind and then let fall again. ACTRESS-Well, well, do not be alarmed. Wait a while, sir. Everything will be ready. Why, I have already got it. You will please assist me, sir, in my fast today. STAGE-MANAGER-What is the name of this fast of yours, madam? ACTRESS-It is a fast to get a worthy husband. STAGE-MANAGER-What, in the next life? ACTRESS—Quite so. STAGE-MANAGER-Let all that be. But who has advised you to adopt this fast? ACTRESS-This pious man, Cūrņagoștha. STAGE-MANAGER--Well done, Carnagoştha well done. ACTRESS--If you will favour me, sir, then I should like to invite some Brāhmaṇa worthy of our company. STAGE-MANAGER-A most pious command. So shall I get a good breakfast too. Well then, you go in, madam, and I, on my part, will find a Brāhmaṇa worthy of our company. ACTRESS-As you command, sir. (Exit) STAGE-MANAGER—Where can I find poor Brāhmana ? (Looking) Ah, here comes the noble Maitreya, the Brāhmaṇa who is Cärudatta's friend. So I will invite him. (Moving round) Sir, I invite you. In this matter of invitation, do not despise me on the ground of 2 a ·i. 1] ACT I 89 my poverty. There will be rich food to eat. There is ghee, raw sugar, curds, rice, everything; besides, you will have a gift of gold pieces, too. (Behind the scenes) Well, well, invite somebody else. I am not free. STAGE-MANAGER“Please to enjoy, good sir, this rice, well prepared with butter and raw sugar and curds, and served with hot curry and condiments, this exquisite rice offered with great respect. (1) (Exit) End of Prologue. (Then enter the Vidūşaka.) VIDUŞAKA-Well, well, invite some one else. I am not free. Well, I say I am not free. What say you? There will be rich food to eat? Well, but I know one would not eat the stone of the very sweetest mango, because that is improper. Now why would you keep on importuning me? I say I am engaged. What say you—'There will be a gift of gold coins ?' Ah, he appears to be repudiated in words (only), but my heart follows him. Oh, misery! That even I should be looking for the invitations of others ! I used to pass my days in Cārudatta's house ruminating savoury sweetmeats like a bull at the cross-roads, stuffed up to my very throat, surrounded by a variety of dishes like a painter by numerous pans of paint-dishes that were kept ready throughout the twenty-four hours, seasoned with asafetida, emitting a sweet fragrance at each breath, commanded by a mere lift of the brow, with numerous drinks thrown in ; but the same I, now that the noble Carudatta is poor, must live the life of common people, like the pigeons, moving about elsewhere for my food and then returning to his house. 3 ·90 CĀRUDATTA [i. 2- And there is another wonderful thing; my belly understands the changed condition. It is satisfied with quite a little; and it will bear a good weight of rice when it is offered. It does not demand what is not offered, nor reject (what is offered). Not that I am not satisfied with such a state of affairs. Here I have got for the noble Cārudatta, who has performed the religious duties (pertaining) to the sixth day, these flowers and this upper garment; so I will be by his side. (Stepping around and looking) Here is the noble Cārudatta, lovely and yet pitiful like the moon at dawn, stepping this way after worshipping the household deities according to his means. So I will approach him. (Exit) (Then enter the Hero offering oblation, the Vidūşaka, and a maid-servant with a basket in her hands.) HERO, (Sighing deeply)-Oh, poverty is indeed a living death to a high-minded person ; for On this threshold of my house, where swans and flocks of cranes separated the flowers from obtations, just there have grown the sprouts of corn of old oblations; and the handful of seeds offered there is eaten by mouths of worms, (2) VIDUŞAKA_Don't you, my friend, worry yourself too much. The young days of a house, like those of a man, are subject to changed conditions, Poverty certainly becomes you who have lost your wealth in charity over the entire land upto the sea, as the loss of light becomes the moon of the dark fortnight. HERO—Nay, I do not bewail my lost fortune. But the ruin of a man who knows the joys of virtue appears to me to be more frightful; for Happiness after the experience of misery is glorious 4 ·-1.6 ] ACT I 91 like the sight of a lamp in the midst of darkness; but he who comes to poverty after prosperity lives dead with a body alive. (3) VIDUŞAKA-Ah ! friend, where has it all gone, such boards of wealth, the choicest from sea and town: HERO, (Sighing)---Friend, gone where my fortuneis sunk. See, My wealth is spent in helping my friends ; nor do I remember any one that was refused. This my spirit, however, that has paid the price of confidence, does not perish. (4) (Gesticulates grief.) VIDUŞAKA-Are you grieving for wealth and prosperity? HERO-In truth, I am not brooding over the loss of riches; for it can come again with a turn of fortune ; but this is what burns me at heart, that with the loss of the splendour of riches, my friendship towards the good becomes relaxed. (5) Moreover, if a man be poor his kinsmen will not abide by his words, his magnanimity becomes ridiculous, and the lustre of the moon of character fades away. Without enmity his friends turn away from him and his difficulties multiply; while the evil deeds that others have done are put upon his head. (6) VIDUŞAKA–These damnable money transactions are leaving the house like cowherd-boys scared by flies. But the more you brood over the sorrow at loss of wealth, the more will it sprout up like each shoot of an old clump of reeds in spring. So enough of grieving over it. HERO-Friend, why should I be grieving? Moreover, am I poor Whose wife will follow my fortunes, and who have a friend in you that will share my joys and woes? C. 5 5 ·92 CĀRUDATTA [i. 7- + And, what is not found with the foor, I have not lost my magnanimity. (7) (Enter a courtesan in flurry followed by Vita and Sakāra.) SAKARA-Stop, stop, Vasantasenā, stop. Why do you go, run, race away stumbling? Well, be pleased, I won't slay you. Just stay; my body is now being burnt by love like a bit of leather fallen in the midst of burning cinders. (8) VITA-Vasantasenā, Why, with thy grace transformed in fright, thy feet which through instructions in dancing should lightly trip, (now) falling heavily, why dost thou flee like a gazelle frightened by a tiger's pursuit ? Why should thine eyes dart sidelong glances that are tremulous and frightened ? (9) SAKĀRA-Old man, here goes Vasantasena. Closely followed by us two like a she-jackal by a couple of hounds, with anklets on, and with the (merry) laughter of her tinkling girdle, she has stolen my heart with the pericardium. (10) VIȚA--Vasantasena, Covering a hundred steps in one step why dost thou glide away like a female snake overwhelmed with the fear of the lord of birds ? When I run at full speed, I am like the wind; or can I not indeed, catch thee? (11) COURTESAN, (Looking around). Pallavaka! Pallavaka ! Parabhrtikā! Parabhștikā! Madhukarikā! Madhukarikā ! Sārikā ! Sãrikā ! Alas, I have lost my servants ; so I must protect myself by myself. SAKĀRA-Shout away, lady, shout for the sprout, the cuckoo, the bee, the starling, or for the whole month of spring. Who, indeed, can protect thee? Will it be Vasudeva, the lord of the city of the dead, 6 ·-i, 151 ACT I 93 our or Janmejaya, the son of Kuati? Seizing thee by the tresses of thy hair, I shall carry thee off as Duśśāsana did Sita. (12) VITA-Vasantasenå, think of me as a man whose heart is entirely innocent of fearSee, The darkness of night is familiar to me from the rices of mv nature. I have already passed through side-allevs darkened by the murk of black nights. Though it should not be declared before a Foung woman, yet my witnesses are the guards of the marketplace who have escaped being murdered. (13) COURTESAN-Xow I am ir doubt of my life, since he raunts his own qualities. Hory will such abstain from evil deeds? VIȚA-Lady, do comply with request. Look you: a request refused generates anger; and what cannot persons like me do when in anger? You are wooed by this powerful hand of mine made long by the sword, Sare me and save yourself from the horror of a young woman's murder. '14) COURTESAN-Even his sooing is frightening. SAKĀRA-Vasantasenā, the old man speaks well. Surely one should make much of the wooing of a mighty man which is so rare. Look you, girl, Sharp is the sword, black like a peacock's neck. I will cut off your head or slay you. Have done with provoking men like us. When a person is dead, he surely lives no more. (15) COURTESAN–Good sir, I am but a courtesan who depends for her living on the virtuous satisfaction of the scions of noble families, VIȚA-Sure, that is why we are after you. COURTESAN-Good sir, what do you seek from me, my person or my ornaments ? 7 ·94 CĀRUDATTA [i. 16 >> VIȚA-A creeper should not be stripped of its flowers. Have done with your ornaments. COURTESAN-Let ine not worry myself now. SAKĀRA-Vasantasenā, you should make love to mea prince. COURTESAN-You will rest in pea .e. SAKĀRA-Listen, old man, listen. This Vasantasenā asks me to rest in peace. ViȚ:-(To himself) The dolt does not see that she is cursing him! When she says You will be dead" he thinks she means Tired. Moreover, He speaks, gesticulating with all his limbs; and what he says is utterly devoid of sense. His movements are improper, his speech vulgar. Here is a new incarnation of a beast in human form. (16) (Aloud) Vasantasenā, what is it you are saying to my face, so contrary to the ways of courtesans ? Look you. The courtesan's house must be reckoned as the resort of all young men ; think of yourself, a courtesan, as wayside creeper! Your body is like merchandise, to be purchased with money. So serve equally the man you love and the man you hate. (17) COURTESAN-He tests my liking by my birth. SAKĀRA-Old man, here is a lane filled with profound darkness. Don't let the girl give us the slip down there. Ever since the festival of the Love.God, she has been in love with the poor merchant's son, the lad Cărudatta, pleasing only to the eye. Here is the sidedoor of his house. COURTESAN ( Delighted, to herself)-This is his house. Fortunately the harassment of my enemies brings me close to my beloved. Well, I will do it. (Slips away.) SAKĀRA-Eh, old man, the wench is lost, she has slipped away. 8 a ·-j.21] ACT 1 95 VIȚA-How could she be lost: Search her out, do search her out. SAKĀKA-Old man, she is nowhere to be seen. VIȚA-Confound it all, we have been trifped up! Vasantasenā, you will soon be found out. Although you are not to be seen in the evening duska like lightning confined in the maw of a cloud, yet the perfume wafted by the breeze and the jingling orna. ments will betray you. (18) (The courtesan removes the garland and takes away her ornaments.) VIȚA-Ah! how profound is this darkness. For now, Darkness seems to anoint (my) limbs, and sky to rain down lampblack; while my sight is all profitless to me like service done to a vile person. (19) Moreover, As a ready shelter from dangers and also a thereof, darkness and a dense forest stand equal. For darkness protects both-the one that causes fear and the other that is troubled by it. (20) Moreover, My sight, which could take a wide view in light, being all of a sudden sealed by entering darkness, is as thouga closed though wide open, owing to the gloom. (21) COURTESAN—The change in the wall ( the break in the continuity of the wall) suggests a side-door. And the darkness here is intense as this part of the house) is not in use. So I shall wait here. (Stands still.) HERO-Maitreya, go, and make oblation to the mothers in source the square. VIDUŞAKA-I have no faith. Let someone else go. HERO What do you mean? 9 ·96 CĀRUDATTA [i. 21- VIDÜŞAKA-AIy intellect is like a reflection in a mirror, where right appears left and left, right. HERO-Idiot, one must worship according to one's means. Gods are pleased with one's devotion. So get along. VIDŞAKA--How can I go alone : HERO-Radanikā, follow this gentleman. RADASIKA- As my master commands. VIDOŞAKA-I will take the lamp, lady. HERO—Let it be, as you think. VIDIŞAKA-(Taking the lamp) Radanikā, open the side-door. RADASIKA-Very well. (Gesticulates opening of the door.) (The courtesan extinguishes the lamp with the skirt of her garment.) VIDUŞAKA-Alas! Alas! HERO-Friend, what is it : VIDŪŞAKA-As I was going out, a gust of wind from the street came massed up through the open side-door and put out the lamp in my hand. HERO-Idiot, fie upon you ! VIDEŞAKA-It was only a small mistake. Radanikā, go, wait for me in the square. I will join you in a moment with a lamp from the inner room. (Exit.) MAID-Very well, sir. (Moves about.) COURTESAN–Fortunately the door opens to admit me. I should not worry about my virtue. So I will enter. (Enters and waits.) VITA- Observing, to himself Here is some woman coming out of the house. Good, let me deceive this simpleton with her. (Aloud ) Here is perfume that appears to be mingled with the incense of a scented bath. SAKĀRA---Ay,old man, I can hear the smell with my ears, but I can't see it properly with 'my nostrils, they are so full of darkness. 10 v ·-i. 24] ACT I 97 VIȚA-Stop, stop, where are you going? (Seizes the maid.) (The maid falls to the ground in fright. ) SAKĀRA-Catch her, old man, catch her. VIȚA-Here is she, who spurned the scions of noble families in the pride of her youth, being dragged by her tresses that should be adorned with flowers. (22) SAKĀRA-Old man, have you caught her ? VIȚA--Yes, she is caught by the trail of the scent. SAKĀRA—Now, I will cut off the head of this slave girl and then kill her. VIȚA-Just catch hold of her. SAKĀRA-( Seizing the maid ) Now I have seized this wench, by the head, by the hair, by the tresses, by the locks ; now you may coo, or scream or squeal distressingly to the Great Lord, to Sankara, or to the Almighty. (23) (Drags the maid with force.) MAID-What are you about, gentlemen! SAKĀRA-Old man, I can tell from her voice that she is not Vasantasenā. VIȚA-Don't release her. She is Vasantasenā, and none else. Being on the stage, and trained in the arts, surely she is clever at speaking with a changed voice; so do not let her go. (24) (Entering) VIDUŞAKA-( Holding a lamp ) Here I come with the lamp, keeping it alight with the greatest difficulty, as at each step the oil in the bowl is shaken up into waves by the cool breeze blowing down the street. MAD-( Kicking Sakāra and crying) O sir, O Maitreya, is this insult or insolence ? 11 ·98 CĀRUDATTA [i, 25 VIDUŞAKA-None of that, now, none of that. (Stands in suspense at sight of Vița and Sakāra with swords in hand.) VIȚA-Why, this is Maitreya, friend to the noble Cärudatta. This, too, is not Vasantasena. Great Brahmin, we acted thus owing to mistaken identity and not through insolence. Look you, sir, We are after a certain lady, mistress of her youth, who did not love us; she gave us the slip; but through mistaking this lady for her, we have committed this breach of decorum. (25) ŚAKĀRA--Oh, damn ! She happens to be the maid-servant of that fellow Cārudatta, the son of a poor merchant, and not Vasantasenā. Good, Vasantasenā, good. Entering darkness in between you deceived the old man. And I was deceived by the deceitful tricky wench. That is wholly such a nasty business. VIDUŞAKA-Nay, now, this is not right. VIȚA-Oh Great Brāhmaṇa, here I fold my hands, which is the all-in-all of supplication. VIDUŞAKA-Well, well. It is not your fault. The fault is rather mine that I should let you entreat me. SAKĀRA--Old man, you seem to be mightily afraid of that brat Cārudatta, the son of a poor merchant. VIȚA-Truly, I am afraid of him. SAKĀRA—Why, old man, why? VIȚA--Because of his virtues. Look you, He is rendered poor by the suits of men like me ; nor is there any one who is not adorned by his riches. He is like an extensive lake dried up in summer, but dried up after quenching men's thirst. (26) Great Brāhmaṇa, please do not tell the merchant's son about this matter. (Exit Vita.) 12 ·-i. 26 ] ACT I 99 ŚAKĀRA-Māriņa, my lad, sir, speak to the poor merchant's son, the fellow Cārudatta, in my name-the King's Brother-in-law,Samsthāna salutes you with his turbaned head and says :--the dancing-girl Vasantasenā, fair as gold, the daughter of a courtesan, when pursued per force by two of us, has entered your house with a lot of golden ornaments. She must be handed over tomorrow. Otherwise there will be serious trouble between us. My lad, sir, you can also add-"Let me not, you son of a slave, break your skull like some bulbous root in the throat of a turtle dove ; let me not crack your head like a ripe wood-apple caught between two doors”. VIDÜŞAKA-Well, as you say. (Frightens the Sakāra with the lamp. ) SAKĀRA4 Looking all round him) Why, where is the old man? He is gone! Alas, the old man ! (Exit Sakāra.) VIDUŞAKA–Let us tell the noble gentleman that we have made the offering to the deities. Lady, put away resentment from your heart ; let not a word be said about this business inside the house. MAID-Sir, sure I am Radanikā. VIDUŞAKA--Come, let us go. (Both walk about. ) HERO-My good girl, is the offering to the deities made? COURTESAN-(To hereself He addresses me as his maid. Never mind, I am saved. HERO—The evening is breezy ; so take this mantle. COURTESAN-(Takes the mantle ; with joy) The perfume of the mantle suggests that his youth has not yet lost its ardour. HERO-Radanikā, you had better enter the inner room. COURTESAN-(Aside ) I have not the good fortune to enter the inner room. HERO-Well, why don't you enter ? 13 ·100 CĀRUDATTA [i. 27- COURTESAN–What am I to say now? HERO-Why do you tarry, Radanikā? (Radanikā and Viduşaka adrancing) MAID-My master, here I am. HERO-Who, then, is this lady? Contaminated by my garment which in ignorance I offered her, she shines like a digit of the moon covered up hy autumn clouds. (27) COURTESAN (Aside)-He is the same person the loveliness of whose form is revealed in the lamp-light, and for whose sake I bear a body kept together only by sighs. VIDUŞAKA-Well, Cārudatta, the king's brother-in-law, Samsthāna, salutes you with his turbaned head and says-" The dancing girl, Vasantasenā, the daughter of a courtesan, forcibly carried away by us, entered your house with a lot of golden ornaments. She must be handed over tomorrow”. COURTESAN—So he says forcibly carried away Well, then, this is the proper time. (Aloud ) Sir, I seek your protection. HERO---Don't be afraid, don't be afraid. Is this Vasantasenā? VIDUŞAKA-What! Vasantasenā! (Aside) Oh Cărudatta, this is that Vasantasenā, who since the festival of the Love-God is, though acquainted only with your eyes, borne by your heart where love is present. So look at her. HERO-Friend, I see her, On whom my love is fixed, when the hoard of my wealth is gone ; like the wrath of a coward it must subside in my own breast. (28) COURTESAN-I have done wrong by entering the place without invitation, and so with my bent head I beg your pardon. 6 ·-i. 28 ) ACT I 101 our HERO-If that be so, I, too, must beg to be excused for having unwittingly treated you as a servant. VIDUŞAKA-Like a pair of ill-trained bulls pulling a cart in opposite directions, these two are worrying one another. Now whom may I propitiate? Well, now I will beseech Radanikā. Radanikā, I beg of you to pardon me. Hero-Lady, I am your servant. What does love command me to do? COURTESAN (Aside)I should really seek what is sweet. But it would be rather improper to stay here on first meeting when I came here just by chance. So I will do this. (Aloud ) If, sir, you are pleased with me, let these my ornaments be left here, for the wicked men pursue me because of my ornaments. And I would like to go home under the protectioa of the noble gentleman. HERO-Her suggestion is quite proper. Maitreya, take (the ornaments). VIDŪŞAKA–Nay, I have no faith. HERO—Take them, you fool. VIDŪŞAKA-As you command. Bring them, lady. (Courtesan takes off her jewellery and hands it over.) VIDŪŞAKA, (Taking it Radanikā, take these golden ornaments; and you keep them on the sixth and seventh day. I will keep them on the eighth which is a holiday. MAID-( Laughing) Sure, the young master who is busy with his studies, will find some spare time on that day. Well, bring them, sir. (Takes them and exit.) HERO-Ho, who is there? Briog a lamp. VIDŪŞAKA—Sir, there is no oil in the lamp, as there is no love in a courtesan. 15 ·102 CĀRUDATTA [i. 29- HERO-Well, there is no need of a lamp. (Observing) Here rises the divine moon, the common lamp of the world. So, Pale as moist dates, the moon is up to light the royal road, a friend to young women; while through the gloom her white rays descend like streams of milk on dried up mire. (29) Lady, now you can go on the royal highway. Friend, follow the lady. VIDŪŞAKA-As you command. Come along, lady, come. (Exeunt Omnes. ) End of Act I. Act II (Then enter the Courtesan and a Maid.) COURTESAN–What next? MAID--But I said nothing. How do you ask "What next ?" COURTESAN-What did I say, my dear? MAID-Mistress, it is love, not officiousness, asks the question. What is in your mind? COURTESAN-What do you guess, my dear? MAID-I guess that owing to absence of the need to pursue a courtesan's profession, my mistress is in love with some one. COURTESAN-You have guessed rightly. You have an unerring understandiņg. That is what is really the matter with me. MAID-I think my mistress is adorned, though she is without her jewellery. The God of Love is an unexceptional festival of the young. COURTESAN-Silly girl, how can you love an object that causes anxious longing ? 16 ·-ii.) ACT II 103 MAID-Mistress dear, I want to ask if he is some prince as lovely as he is respectable. COURTESAN-I seek pleasure, not service. MAID-Can it be some Brahmin youth fascinating with his deep learning? COURTESAN-Perfect confidence is highly cherished. I should have to reverence such a person. MAID-Is it a visitor, some merchant's son ?. COURTESAN-Vad girl, what woman in lore would bear the blasting of her hopes ? MAID—Can I not hear, then, who is this our brother-in-lawelect ? COURTESAN-Were you not present at the Love-God's festival? MAID-Yes, I was. COURTESAN--Then why talk as if you know nothing? MAID-Speak out, mistress dear, speak out. COURTESAN-Listen, my dear. It is the merchant's son Cārudatta. MAID—Who protected you, when you sought shelter : COURTESAN—The same. MAID--Alas, but he is poor. COURTESAN—That is why I am in love with him. A courtesan in love with a poor man is not reproached. MAID-But, mistress, do the bees settle on a mango when it is past blossoming ? COURTESAN-Yes, my dear, they settle ; and that is why they are called (blamed as ) honey-seekers. MAID-But what if owing to loss of wealth he is shy of frequenting a courtesan's house, and does not come for fear that it would create trouble : COURTESAN-But I love him. MAID-If you have such high regard for him, why don't you go after him? 17 ·104 CĀRUDATTA [ii, COURTESAN-Not that I would not go. But if I go to him all of a sudden, and he finds himself unable to return my obligation, I will not be able to see him again; that is why I am tarrying. MAID-Ah, so that was why you left your ornaments at his place. COURTBSAN_That is it. ( Enter a Shampooer, with a hurried toss of the curtain. ) SHAMPOOER-Lady, I throw myself on your protection. COURTESAN-Come, do not have any fear. MAID-Oh, but who is this fellow ? COURTESAN-Mad girl, does one question a person who seeks shelter ? MAID-But supposing he is some violent fellow? COURTESAN—Silly girl, a man of virtue deserves to be protected. SHAMPOOER-Lady, I forgot my manners through fear, not through impudence. You see, noble lady, those who are frightened, or harried, or overwhelmed, or those of easy virtue, are prone to give offence. COURTESAN--Well, well. Be at your ease, sir. I am only a courtesan. SHAMPOOER-By birth only, not by character. COURTESAN-My dear, just so. MAID--Mistress wants to know from you, sir, what frightened you. SHAMPOOER- A creditor, lady. COURTESAN-If it is only that, give the gentleman a seat. MAID---Very well. ( Offers him a seat. ) COURTESAN—Sit down, sir. SHAMPOOER—(Aside) From this special hospitality, I infer I shall succeed in my object. ( Sits down. ) COURTESAN—My dear, just this. 18 ·-ii. لسه ACT II 105 MAID-Tery well, my lady. Sir, my mistress desires to make your movements on the royal road free of any embarrassments. What is to be done, and to whom : SHAMPOOZR--Listen, lady. COURTESAN-I am all attention. SHAMPOOER--Pāšaliputra is my birth-place. I am a trader by origin. But owing to reverse of fortune I now follow the profession of a shampooer. COURTESAN-So you are a shampooer. You have learnt a delicate art. SHAMPOOERMI learnt it as an art. But now it gives me mi livelihood. COURTESAN-Your words seem to betray bitterness. What then ? SHAMPOOER—Lady, so having heari about it from visitors, and being keen on seeing great men, I came to Ujjayini. COURTESAN-And then; SHAMPOOER--Immediately I came to this place, I met a certain merchant's son. COURTESANWhat was he like: SHAMPOOER—A fine figure of a man, self-possessed, free from conceit, of a gracious presence, but not vain of his graces ; clever and sweet, able and (yet) polite, esteemed, not flauning his virtues and contented. He gives, but boasts not of it; remembers even the smallest of good turns, and forgets even the greatest of wrongs. My lady, what need to say more? Even a long full day of summer will scarcely suffice to recount a quarter of the virtues of this noble youth. What more, he regards his own person as if it were for the use of others. COURTESAN-Aside ) My good girl, who could this be that emulates the virtues of the noble Cārudatta : 19 ·106 CĀRUDATTA MAID-I too am curious to know. Who could this be that adorns our city of Ujjayini with his virtues ? COURTESAN-What next? SHAMPOOER—Then, enslaved by his virtues, I forgot my wife and became his attendant, COURTESAN-Is he poor? SHAMPOOER-How could you tell that, lady, without being told : COUKTESAN”It is difficult to find all merits in one place. Well, go on. MAID-Who is the gentlemani SHAMPOOEK-Ibe noble Cārudatta, COURTESAN-Ihat is right. What more? SHAMPOOBR>I hen on account of his slender means, he dismissed his servants, and relieved of the burden of supporting a household, he is living in the merchant's house, with nothing left but his good name. I, too, was asked by him to serve another master. But filled with despair at the thought that I would never find another jewel of a man like him, and that I should not sully this hand of mine by shampooing common men after having touched his delicate, graceful, exquisite person, I turned to the profession of gamblers to keep this accursed body and soul together. (The courtesan looks at the maid with tears of joy.) MAID--And then ? SHAMPOOER-Ihen one day, I lost ten pieces of gold to a man from whom I had won for several days. COURTESAN-Well then ? SHAMPOOER-So to-day as I happened by chance to come to this courtesan's quarter, I was found ; and through fear of him I entered this house. So now your ladyship knows everything. 20 ·-ii.] ACT II 107 COURTESAN-Aside) Oh pity! So I think do the birds wander about on the destruction of the sheltering tree. (Aloud ) Under these circumstances, you are one of us. My girl, come, send away that person. MAID-Very well. (Exit.) COURTESAN—You need not be anxious about the money, You may regard that the noble Cárudatta has paid it. (Entering) MAID-I have dismissed that person. He went away satisfied. SHAMPOOER-I am much obliged. COURTESAN—You may now leave and join your friends and feel happy. SHAMPOOER—I am disgusted with the world, and may even this very day renounce it. But, Madam, if I can impart this art to one of your attendants, I shall feel grateful to you. COURTESAN-You should rather wait upon the very person for whose sake you learnt the art. SHAMPOOER--( Aside ) How cleverly has she declined my services ! For who would spoil a good turn by accepting a return for it? (Aloud ) Good-bye, lady.. COURTESAN-Yes, sir, good-bye, till we meet again. SHAMPOOER—Well, as you say, lady. (Exit. ) COURTESAN-Well, methinks I hear a sound, (Entering) ATTENDANT-Vicchittikā, Vicchittikā, where is my mistress: COURTESAN—My good girl, what is that : ATTENDANT-Oh, I feel cheated, that my mistress did not see Karņapūra's exploit by just leaning forward through the casement, with bosom bowed. COURTESAN-Small men are easily elated. What makes you feel so conceited ? C.6 21 ·108 CARUDATTA (ii. ATTENDANT--Mistress, listen : As the auspicious elephaat, Bhadrakapotaka, was returning at great speed from a bath, making the royal road fragrant with dripping ichor, he caught hold of an ascetic who was conspicuous by the red colour of his upper garment among a crowd of innumerable men in the street. COURTESAN-Well, what happened next? ATTENDANT_ Then the ascetic was lashed by the strokes of his trunk, was hauled up between his tusks, and snatched by the feet with his trunk, so that the people started crying “ Alas, alas, he is torn to pieces, he is killed "; then I turned back the elephant with blows of my fist and released the ascetic. COURTESAN-Oh, I feel so happy about it; well, what followed ATTENDANT-And then every one said, “How marvellous, this feat of the lad!” but nobody thought of rewarding me. Then, mistress, a certain noble youth glanced at those parts of his person where ornaments are usually worn, and felt with his fingers also, and finding Dothing, he blamed his fate and sighed deeply; and then he sent me this mantle through an attendant saying that was all he had. COURTESAN-Who can this be that: imitates the virtues of the noble Cārudatta ? MAID-Mistress, I am also curious to know that. Who could this one be ? COURTESAN--It must be some kindly gentleman, MAID-Well, ask him. COURTESAN-Ah, dear, partiality for one man destroys all other qualities. MAID-Good man, do you know his name? ATTENDANT-No, I don't know, 22 ·-iii. 1] ACT II 109 COURTESAN—That was very thoughtless of you. MAID--If so, of whom were you speaking now? ATTEXDAXT-I know this much--he is good and without conceit. COURTESAN-Come along, let us have a look at him. ATTENDANT-Look, mistress, look. Here he goes. COURTESAN -(Looking from her mansion) My dear, he is the noble Cārudatta himself, with nothing but his sacred thread for upper garment. Before he goes a long way off, let us have a look at him. (Exeunt Omnes) End of the Second Act. Act III (I'hen enter the Hero and the Vidūsaka. ) HERO-Friend, a lute is indeed a jewel not sprung from the sea. For Like a friend, it follows the lover's heart; it is a discourse of flawless melody on the objects of his love ; a beloved companion in the passionate delight of lovedalliance; a co-wife to ladies that comes between them and their loves. (1) VID UŞAKA-It is a long time, my friend, that the streets are deserted in response to proclamation. Even the dogs have gone to sleep. But we get no sleep. And here is moreover this other wonderful thing. I cannot enjoy this cursed lute. I wish it had its strings snapped in the stronger parts. HERO.-Friend, the singing to-day was mostly sweet owing to a variety of emotional effects; and yet you did not enjoy it ! VIDUŞAKA--That is exactly why I did not enjoy it. Even a sweet dish eaten in large quantities causes indigestion. 23 ·110 CĀRUDATTA (iii. 2- HERO-The singing was in every way clear. For, Passionate, loud and sweet, equable, clear, full of feeling, (although ) not accompained by gesturesmor what need to praise it highly in various ways by saying this and that if he were behind a wall, I should have thought it was a woman. (2) VIDUŞAKA-You may praise as you like. But I have no respect for a man who sings and a woman who studies, A man singing does not look well like a priest wearing garlands of red flowers. And a woman studying, looks as ugly as a cow with a slit nose, Hero--Friend, it is already mid-night. Darkness has settled in the streets, and the absence of any traffic makes Ujjayini appear to be hushed in sleep. For, Having made room for darkness, the moon of the eighth day sets as, when a wild elephant plunges into water, the ends of his tusk are gradually sunk. (3) VIDÜŞAKA-You are quite right. Darkness gets its chance from the sinking moon and seems to descend from the house-top. HERO—(Stepping round) Here is our house. Vardhamānaka ! Vardhamānaka ! VIDUŞAKA–Vardhamānaka ! Vardhamānaka, open the door. (Entering) SERVANT--Ho! the noble Maitreya ! HERO-Vardhamanaka ! SERVANT-Oh, my master ! Sir, I salute you. HERO-Bring water to wash our feet. SERVANT- Moving about ) Here is water to wash the feet. (Washes the hero's feet.) VIDÜŞAKA-Vardhamanaka, wash mine feet, too. SERVANT–When the feet are well washed, you will be rolling on the ground. Waste water? Or rather bring (your 24 ·iii. 4] ACT III feet) I will wash (them). (Gesticulates the washing of Vidūsaka's feet. ) VIDUŞAKA--0, the slave-boy has not only washed my feet but my face too. HERO-Friend, This sleep, that hangs upon the eyes, seems to creep over me from the region of the forehead, and swift and invisible like old age it grows in intensity as it saps a mortal's strength. (4) Maitreya, iet us sleep. (Exit servant. ) (Entering with a casket of jewellery in her hands) A MAID-Noble Maitreya, wake up, wake up. VIDUŞAKA-What is it, lady? MAID-I was to hand over this gold casket after the lapse of the sixth and seventh day. To-day is the eighth. HERO-Is that Vasantasenā's property? MAID-Yes. Tell him, master, tell him that he must take it. HERO-Take it, Maitreya. VIDUŞAKA-Why not take this jewellery inside the inner apartments ? HERO-Idiot! The mistress of the house must not jewellery worn by outsiders. VIDÜŞAKA-No help! Bring it; I will take what is (sure) to be stolen by thieves. (Maid gives it and exit. ) VIDUŞAKA-Now, why did you give your mantle to the courtesan's servant? HERO-Out of sympathy. VIDUŞAKA-What? Sympathy even for such a one? HERO-Friend, do not say so. VIDUŞAKA-I have to roll on the ground like an ass of burden. 25 see ·112 CĀRUDATTA [iii. 5- HERO“I am troubled by sleep. Keep quiet. VIDTŞAKA-Sleep well to rise a happy man. I, too, will sleep. (Both sleep. ) ( Then enter Sajjalaka.) SAJJALAKA-Here I am. By my strength and skill, I have made a passage for my work that would easily admit the breadth of my body. Now will I creep along the ground with my body rubbed like a snake that sheds his worn-out skin. (5) Ha, I have entered here by cutting a hole at the sidedoor of the garden-wall. So now I will get into the inner square. (Reflecting in sadness) Oh, Let wise men call it mean, this which goes on when folks are asleep --for it is cruelty and not valour to overpower by deceit those that repose in trust. Yet this condemnable position which leaves a man independent of others, is far better than the folded hands of servility; and this was the course adopted by Drona's son in days gone by when he slew the sleeping princes. (6) (Reflecting) I feel no compunction in my mind if I come across the bouse of a merchant who is rich and greedy, who disregards honest-men, and is ruthless in his business. (7) Let whatever happen! What will not the Love-God drive us to! Let me set to work. Oh ! Which is the spot that has become loose by running water and can be broken through without a sound? Where can a gaping hole be cut into the wall which with ease can give a view of the interior ? Where has the house become dilapidated, worn out with saltpetre and thinned by falling bricks ? Where is it that I may not encounter women and (yet) gain my purpose ? (8) 26 ·-iü. 10] ACT III 113 a 2 (Stepping round ) Here is ( revealed) the lay-out of the site. The presence of moisture shows this portion of the mansion to be the best suited for my purpose in the house. So here will I make a breach for entrance. Ha, but what kind of breach should I make now: Lion-stride or full moon: Mouth of fish or crescentmoon? Tiger-jaw or triangle Shall the breach ook like a seat or like an elephant's mouth? How can the votaries of my art be taken by surprise : (9) Well, I will cut the Lion-stride'. VIDTŞAKA-Oh, you are awake aren't you: HERO-What is it? VIDUŞAKA-I cannot sleep any more than Buddhist mendicant who has made an assignation with a serving wench. My left eye throbs. I fancy I see thief cutting a hole. If that is the feeling that wealth gives, I would belong to the tribe of the poor. HERO-Fie on you, you fool. You long for foverty y! SAJJALAKA-Now what shall I use to mark out the line of the breach? Why, this will do, sacred thread by day and measuring tape by night. When to-night I shall have breached the walls of tais (house ), leaving them even after cutting, and applying the cutting instrument but once, the neighbours with gloomy faces will at dawn, tomorrow, condemn my crime but praise my skill. (10) Bow to Kharapaţa. Pow to the Gods that go by night. (Does as decided on.) Well, well, I have finished my work. Let me now enter. (Entering) Ab, there is a lamp burning. I must move away. Tut! I am Sajjalaka; A cat to leap, a wolf to sneak away, a hawk to descry a house, sleep to gauge the strength of the slumbering, a snake to giide ; illusion itself in changing either form 27 ·114 CĂRUDATTA [iii, 11- or bue, goddess of speech to understand the dialects of the land, a light by night, darkness in dangers, the wind on land and a boat on water. (11) (Looking around) Being a stranger, I have no knowledge of the extent of (this man's ) affluence; but I have entered relying on the appearance of the house. But I find no special piece of furniture. Is he a poor man after all ? Or does he keep what is worth seeing concealed and hence out of use ? But, the mansion is nobly built. He must be a man who has dissipated his fortune on pleasure. Though so poor, yet out of love for his birth-place he keeps the house and dearly loves it, even when it is time to sell it. (12) Well, let me see. Or rather I should not trouble a gentleman who is in the same plight as myself. I will go. VIDUŞAKA--Oh, take this golden casket. SAJJALAKA–Did he say 'a golden casket'? Did he speak on seeing me? Or through want of courage he talks in sleep? Well, I must see. (Observing) He is really asleep. For His breathing is free from fear, even, and comes at equal intervals; the body lies stretched out at the joints, extended beyond the measure of the bed. His eyes are firmly closed, the space between the eyelashes not quivering. Had he been feigning sleep, he would not have borne the lamp in his face. (13) Now, where is it? Ah, it is revealed in the light of the lamp in a portion of the tattered mantle. He holds it firmly. This is a proper moment. Here I have some moths. I will release one to extinguish the lamp. (Releases one from a bee-box) Ha, he falls down after extinguishing the lamp. 28 ·-iii. 14) ACT III 115 VIDÜŞAKA-Alas! the lamp is out! I am robbed. Ho, Carudatta, take this golden casket. I cannot sleep for fright any more than a trader who has lost the right road. I conjure thee, by my Brahminhood, if thou dost not take it. SAJJALAKA-What need of imprecations: I will take it. VIDEŞAKA--Handing over) Now will I sleep undisturbed like a trader who has sold his merchandise. SAJJALAKA-Sleep sound, great Brahmin ! (Reflecting ) Ab! that I should take away what a Brahmin gives me in confidence ! 1 curse on poverty and on youth that knows no remorse, for I blame this wicked act and yet do it. (14) ( A drum is beaten behind the scenes.) SAJJALAKA-( Listening) Ah, it is morning. Well, I shall get away. (Exit Sajjalaka.) ( Entering) MAID-(Shouting) Noble Maitreya, a thief cut a hole in the side-door of our orchard and entered. VIDUŞAKA, (Rising in haste)-What say you, lady? (The maid repeats" In the orchard-' etc.) VIDŪŞAKA-Cut a hole in the thief? MAID-Confound the fool! A thief cut a hole and got in. VIDÜŞAKA-Well, come, show it to me. MAID—Stepping round ) There. TIDUŞAKA-O damn! That son of a slave-girl, that cur got in all right. Lady, come, let us tell the glad news to Cârudatta. ( Both advancing) Ho, Cārudatta, I have got some glad news for you. Hero--(Waking) What, glad news for me? Is Vasantasena come ? 29 ·116 CĀRUDATTA (iii. 15— VIDUŞAKA-Not Vasantasenā, but Vassantasena is come. HERO-Radanikā, what is it? MAID-Master, a thief has cut a hole in the side-door of our orchard and got in. HERO-What, a thief got in? VIDŪŞAKA--|Vell, friend, you always say Maitreya is an idiot, Maitreya is a blockhead.”' Have I not acted wisely in handing that golden casket to you? HERO-You handed that to me? VIDUŞAKA-Yes, of course. HERO-What time? VIDUŞAKA-At midnight. HERG-What, at midnight : Did you really give me? VIDŪŞAKA-Yes, Cārudatta, I gave it to you when you were awake. HERO-Alas! The golden casket has been stolen. VIDÜŞAKA-Now, give it back to me. HERO-(Aside ) Who will believe the truth? Everyone will suspect me. For in all crimes impotent poverty is an object of suspicion. (15) (Entering) 'THE BRAHMIN LADY-Radanika, Radanikā, come. She does not hear. Well I shall rap at the door. (Does so. ) MAID-Oh, a rap at the door. My mistress calls me. (Moving about ) Here I am, Mistress. LADY-I hope they are not hurt or killed, my husband or the noble Maitreya ? MAID—They are all right, my master and the noble Maitreya. But the jewellery of that person is stolen by burglars. LADY- Stolen by burglars, you say? MAID-Yes. 30 ·-iii, 161 ACT III 117 LADY--How is that person to be recompensed! Well, I will give this. (Touching her ears) Alas! This is only a palm leaf. How habit deceives me! What may I do now? (Reflecting) Well, I have it I have received. from my family a necklace worth a lakh. But would my lord accept it, out of pride: Well, this is what I will do. (Exit.) VIDTŞAKA-With bent head I beg your pardon for this fault which was caused by darkness. Now you may put it into my hands. HERO— Why do you worry me, now: You have all these days known my character, and set you do not believe me? How much more then that person that lives by her art and is clerer at deceit ? (16) VIDUŞAKA-So, methinks, unfortunate as I am, I must have put it into the hands of the burglar. (Stands apart in dejection. ) THE BRAHMIN Lady-Radanikā, call the noble Vaitreya. MAID-Noble Maitreya, the mistress calls you. VIDEŞAKA-What, me? MAID-Yes, of course. VIDTŞAKA-Well, I will come. (Advances.) LADY-Noble Maitreya, please to accept this present. VIDUŞAKA-Such a costly present ill goes with our condition. Whar is the occasion of this ( present)? LADY-Why, I observe a fast on the sixth day; and the occasion for it is my desire to secure the blessings of a Brahmin by making him the present of the best of my possessions. VIDŪŞAKA--But to-day is the eighth day. LADY—It was through mistake that it was not performed. So to-day I offer worship. 31 ·118 CĀRUDATTA (iii. 17- VIDUŞAKA--The present is so out of proportion (to the occasion ) that it seems to be made out of compassion. (Aside) What should I do, Rada nika. MAID | Aside) My mistress acts thus to free my master from debt by handing it to you, thinking that my master must be worried about what to give to that person. So accept it. LADY--As the pearl-string has sprung from water, and it is difficult to meet you, I have forgotten the formality. Take this. VIDUŞAKA-(Taking) Let everything be. But there are tears in your eyes. LADY-The temple smoke has brought those tears to my eyes. VIDUŞAKA-I conjure thee by the noble Cārudatta, if thou don't tell the truth. LADY---Alas! (Exit.) VIDUŞAKA-She has gone without speaking her grief in words but betraying it by her tears. (Advances) Ho, here it is, HERO-What is it? VIDUŞAKA--The fruit of marrying a lady from a family of equal rank. HERO-So my wife takes pity on me? VIDUŞAKA--Yes, that is it. HERO-Fie on me. To-day I feel a dead man. So powerless I am through loss of wealth, that a woman pities me with her wealth. Thus the man is in fact but a woman, and the woman, man, (17) VIDUŞAKA--The lady entreats you from her heart, I entreat you with my bowed head. Take this. HERO-Well, as you say. (Taking) Friend, take this pearlstring and go to Vasantasenā. My desire having indulged fully in my wealth now unworthily seeks woman's wealth, hanging between 32 ·is. ] ACT IV 119 my pride and my duty, Ofie, what good is a (noble ) family if a man is poor? (18) VIDOSAKA-Oh that a necklace worth a lakh is to be given to rocompense a golden casket worth but a trifle ! HERO-Friend, do not say so. Give this as the price of that great confidence which inspired her to make the deposit with us. (19) Exeunt Omnes End of the Third Act. 60 Act IV ( Enter Vasantasenä in love, and her maid with a pictureboard, holding a paint-box and brushes in her hand. ) COURTESAN—My good girl, do you think it is like him: MAID-Mistress, that is exactly how that noble youth looked when I saw him from a distance with eyes that sought him with great regard in the hubbub of riot caused by the elephant. COURTESAN—Now you speak falsely thus proving the proverb Sly are those that live in courtesans' quarter MAID-What is that? Every one in courtesans' quarter is so polite”: Look you, my mistress, Nimba trees do grow in a Campaka garden. My heart is charmed that it is so very like. I am praising it in very truth : he is indeed, the very God of Love. COURTESAN-My good girl, I want to avoid being ridiculed by my friends. VAID-That is right. Courtesans, they say, regard their friends as their rivals. (Enter another maid with ornaments in her hand.) MAID-Is my mistress well? COURTESAN–Well my good girl, you are welcome. 33 ·120 CĀRUDATTA [iv. 1 MAID-Mistress, mother bids :-"Here stands the lotus carriage brought into the gateway and turned round; so be quick with your ornaments and come along." Here are the ornaments please to put them on, mistress. COURTESAN-\Vhat! does the noble Cārudatta honour me with those ornaments ? MAID~No, no ; the person who sent these ornaments is the King's brother-in-law Samsthāna. COURTESAN-Get thee gone, impudent creature ! MAID--Forgive me, mistress, forgive me. I am simply repeating the message. (Falls at her feet.) COURTESAN-Rise, rise. I am impatient with the bad message, not with thee. MAID –What should I tell mother? COURIESAN-Tell mamma that I will put on the ornaments when I shall have to get out to meet the noble Cārudatta. MAID-Very well. (Exit.) (Then enter Sajjalaka. ) SAJJALAKA--At night I committed a condemnable wrong overcoming sleep and darkness and fear. But now at the rising of the Sun my courage gradually becomes fainter like the moon by day and I am filled with fear. (1) Fortunately the day dawned after I had finished my work. Now I have done this just to redeem Madanikā- Vasantasena's servant-maid. (Stepping round ) This is Vasantasenā's house. So I will enter. (Entering) Is Madanikâ in the inner part of the house? But, courtesans are in the inner part during the early part of the day. So she must be just there. So I will call her. Madanikā ! Madanikā ! MAID-(Listening) That sounds like Sajjalaka's voice. Mistress' is engaged. So I will advance (to him). (Advancing) Here I am. 34 ·iv. 21 ACT IV 121 SAJJALAKA-Come here, please. MAID-Why do you look so frightened : SAJJALAKA-Not at all; but I want to tell you something. COURTESAS-Well, my girl, put this picture-board on my bed. (Looking out ) Where is the fool gone? Or rather she must not have gone far. So I will look for her. (Stepping round and looking) Oh, there she is, talking to some man whom she seems to be drinking up with her very loring eyes. I think this is some one ho demands her of me by purchase. SAJJALAKA-Listen to a secret. COURTESAN-It is improper to listen to another's secret; I will go away. SAJJALAKA–Would Vasantasenā—(Stops when half through the words. ) COURTESAN-I am the subject of their conversation. Well, I will listen. (Turns back again and waits.) SAJJALAKA--Give you for a price : COURTESAN-~It is the same person. Well, I will listen. MAID-Sajjalaka, mistress has already spoken of my giving away SAJJALAKA-Well then, give this to her; and tell her thus. These ornaments seem to be made to the measure of your body. Show them not openly but wear them for love of me. (2) MAID-Let me have a look at them. SAJJALAKA–Take. (Shows.) MAID-It seems I have already seen these ornaments. COURTESAN—These ornaments appear like mine. MAID-Tell me, tell me, how did you come by these : SAJJALAKA-I acted daringly for love of you. BOTH-Oh, this rash fellow ! 35 ·122 CARUDATTA [ iv. 3- MAID-(To herself) His form has become detestable to my mistress on account of this violent deed. ( Aloud) Alas, for my take you have compromised both your person and character. SAJJALAKA--Idiot, fortune dwells with daring. MAID-You are so ignorant. Who will sell his body for his life? Now in whose house did you perpetrate this breach of faith? SAJJALAKA-As I learnt in the morning-it was Cärudatta, the merchant's son, who lives in the merchants' square. BOTH-Ha ! SAJJALAKA--All your limbs drooping in distress, eyes dilated in confusion, how you tremble like a doe pierced by shafts and (yet) are filled with compassion! (3) MAID-Tell the truth. In doing this violence in the mere chant's house, did you wound or kill with your weapon any noble youth? COURTESAN--Well, she asks exactly as I should have asked. SAJJALAKA-Madanikā, is this not enough that I should be adding another evil! Surely I have not wounded or killed any one with my weapon. MAID--Is that true, Sajjalaka? SAJJALAKA-Yes. MAID-That is good, Sajjalaka. That pleases me. SAJJALAKA-What pleases you—you said ? So, it is thus, Madanikā, My heart being bound for love of you, I commit this crime--though sprung in a family of ancestors who lived content. How I preserve passion-smitten frame and you call me a friend and yet go another ! (4) MAID-Sajjalaka, listen. These ornaments belong to my mistress. (Whispers in his ear.) It is thus. 36 to ·iv.51 ACT IT 123 SAJJALAKA-So, tortured by summer-heat and seeking shade, I have sought the self-same branch whose leaves erstwhile I stripped in ignorance. (5) COURTESAX-Since he is repenting-I think he has committed a crime. SAJJALAKA-Madanikā, what shall I do under the circumstances ? MAID-Return where they belong. My mistress will not put them on. SAJJALAKA-But if in anger he hands me over to the police as a thief, what shall I do, then : MAID-Don't be afraid. He is a gentleman who will be pleased with good qualities. COURTESAN—Good, dear girl, you are without reproach. How those words adorn you ! SAJJALAKA-But I find it absolutely impossible to go there. MAID_Here is another way. SAJJALAKA-What is that other way: MAID-Do the merchant's son and my nistress recognise you? SAJJALAKA-Not at all. MAID-In that case, give the jewellery to my mistress in the name of the merchant's son. That done, you will be safe, that gentleman will be free from anxiety and I shall have nothing to worry about. Otherwise, were I to deceive my mistress I shall again be a slave. SAJJALAKA-Madanika, I am pleased. COURTESAN-Well, I will retire to the inner room, and sit down. Does so.) MAID-Come, Sajjalaka, wait for me in the Love-God's temple. I shall speak to my mistress at the proper moment. SAJJALAKA-Very well. (Exit.) C.7 37 ·124 CĀRUDATTA [iv. 5m (Then enter another maid.) MAID-All happiness to my Lady. Here comes a certain Brahmin from the merchant's son to see my lady. COURTESAN~(Respectfully), Go, bring him quick. MAID-Very well. (Advancing) Come, come, sir. ( Entering) VIDÜŞAKA--( Looking all round) th, this splendour of the courtesan's house! Here are learned men from various towns busy reading books. Various delicacies are under preparation. Lutes are played on. Gold-smiths are carefully designing various kinds of jewellery. MAID-Here is my lady. Sir, please to advance. VIDUŞAKA Approaching ) Blessings to your ladyship. COURTESAN—You are welcome, sir. Vir dear, bring a seat for the gentleman, and water to wash his feet. MAID-As my lady commands. (Gives him a seat and water for his feet. ) Please take this seat, sir. VIDUŞAKA-( Sitting) Please sit down, lady. I have to say something. COURTESAN-(Sitting) I am all attention. VIDUŞAKA-What is the extent of the value of that jewellery? COURTESAN-Why do you ask me that, sir ? VIDUŞAKA-Listen, lady. You indeed deposited that jewellery with Cārudatta because you relied on his good qualities. But he has lost it in gambling. COURTESAN-In gambling? Well, that is right. What next? VIDEŞAKA-Please, therefore, to accept this pearl-necklace as price of the jewellery. COURTESAN (To herself )-Fie on this life of a courtesan! He despises me as a greedy woman. If I don't accept: it, it will be the same fault over again. (Aloud) Bring it, sir. VIDUŞAKA-Here it is, take it, lady, 38 ·-iv. 6] ACT IV 125 COURTESAN (Taking it)—Tell him, sir, that I have accepted it. VIDUŞAKA (To himshlf )-Well, she did not trouble to say a few formal words. (Aloud) Very well. (Gives and exit.) COURTESAN-Bravo, Cărudatta, Bravo! How in this reverse of fortune you have saved your pride from a fall! (Entering) MADANIKĀ–Mistress, here comes man from the mer. chant's son and wants to see you. COURTESAS–Have I seen him before, or is he a new comer? MADANIKÅ--No, mistress, I think he is some servant of that one. COURTESAN-Go, bring him in. MADANIKĀ-Very well. (Exit.) COURTESAX-Oh, what a lovely day! (Then enter Madanikā with Sajjalaka.) SAJJALAKA-How painful is an uneasy conscience ! If some one, walking briskly by, marks me, or if he quickly advances to me in confusion, or stands still, my mind suspects them all alike through its own guilt; for a man's own guilt makes him suspicious. (6) MADANIKĀ--Here is my lady. Advance, sir. SAJJALAKA ( Advances --All happiness to your la dyship. COURTESAN-Welcome, sir. My dear, give the gentleman a seat. SAJJALAKA-Let be, let be. Here I take a seat. I have some business which must be speedily attended to. COURTESAN-If so, speak out, sir. SAJJALAKA-I am sent by the noble Cārudatta with this message :-“It is difficult to take care of the jewellery entrusted to me because the house is in neglect through lack of use and the members of my family are away; so take it back.' COURTESAN-Well, sir, give it to Cārudatta. SAJJALAKA-Lady, surely I shall not go ( to him). 39 ·126 CĀRUDATTA [ iv. 7 COURTESAN-I believe, you have brought this jewellery by committing theft at his house. You should have some consideration for his virtues, sir. SAJJALAKA–To himself) How did she find me out ? COURTESAN-Who is thereBring a carriage for the gentleman. VADANIKĀMI seem to hear the sound of wheels ; so the carriage must have come. COURTESAN-( Adorning Madanikā with her jewellery) Sir, get into the carriage with the lady. MADANIKĀ--\Vhat is this, mistress? COURTESAN-Nay, don't say so. You are a free woman now. Take her, sir. (Taking hold of Madanikā, gives her over to Sajjalaka. ) SAJJALAKA-I To himself) When can I requite her? Or rather, let evil be averted, A man seeking to requite another, gains his wish (only) through (the latter's) calamity. May that calamity of hers or of his befall their enemies. (7) ( Exit Sajjalaka with her.) COURTESAN-Caturikā! (Entering) A MAID-Here I come, my lady. COURTESAN-My good girl, see, wide awake, I have seen a dream like this. MAID-I am glad ; that: is just the play known as The Ambrosial Act COURTESAN-Come, we shall take this jewellery and go to the noble Cārudatta. MAID-Good, my mistress. But, then, here is a storm come up a friend to ladies going to their lovers. COURTESAN-Now, wretch, don't increase ( my longing). MAID-Come, mistress, come. Exeunt. ) End of Act IV, >> 40 ·CĀRUDATTAM NOTES Act I P. 1. The Cârudatta stands apart from the other plays of the group in this that its prologue is altogether different from that in the other plays and is unique in several ways. There is no benedictory stanza--neither in the simple form nor in the form of the Judrālamkāra wherein the names of the principal characters are woven together; the Sūtradhāra speaks Prākſta, which is unusual; the subject-matter of the prelude has nothing to do with the Sūtradhāra's proper business of staging a play; in fact he is not even conscious of the fact that he is there to introduce a play to the audience; and lastly the prologue, unlike the prologues in the other plays, is very lengthy. T". जाव...जाणामि-the present tense in the sense of the future re according to यावत्-पुरानिपातयो' रिति भविष्यति लट्. 15. faut--preparation of food-rather an unusual sense-भोज्यसंविधानम् . If. लोही = लोही stands for the simple लोहकटाह of the मृच्छ०. उभामण = स्नेहोभावन०. As a matter of fact the Proper equivalent is स्नेहोद्भामण (स्नेह + उद्धामण) ; the expression is obscure, possibly it means The smell of grease when stirred and shaken". Dr. C. Kunhan Raja thinks that the expression is derived from Malayalam नेय्यप्प = a rice cake (379) fried in ghee (T) + Hur smell in Malayalam. So the passage means "I sense a sweet smell like the smell of cake fried in ghee". वडिवस्सअजणो-वरिवत्यकजन:- व्रतानुष्टापको धार्मिकजनः. Cf. वरिवस्था तु शुश्रृपा परिचर्याप्युपासना। 41 ·128 CĀRUDATTA [i." STATO II. 1422. Voolner takes the word in the sense of Attendants'. It is, however, suggested that the reading should be aftasutafa5469: i.e. neighbours; the characters T and a are so alike in Malayalam, that they are likely to be interchanged. P. 2.1". TE THOTIO... CREST ETRE.-Observe the construction ; we expect THAATI HRAGI rai-genetive instead of the accusative ; First again--paraphrased as craft -is obscure. As printed in the text has no Ms. authority. 13*. अन्तळावणे-(अन्तर् + आपणे) in the market. आपणे loc. would give the same sense, so that the word ? seems to be superfluous. 1. एवं...आसा छिन्दीअदु । अभावं च गमिस्ससि ।-C. the corresponding passage in to where symmetry is secured by the use of the form of the future of the verb in both the sentences:-एवं दे आसा छिज्जिस्सदि। अभावं अ गमिस्ससि । 17. चण्डप्पवादळण्डुओ विअ वरण्डी-This in place of the obscure tusmugant of the 750 GFzit can hardly give eroga:--nor can apogi give are:. It is, therefore, suggested that they should be altered to sait and aust respectively. As for uşsitit is possible to explain the form by fuga: derived from the root gue + the affix 306 ( ), on the analogy of नाशुक disappearing or perishing; कामुक, पातुक, धातुक, भावुक etc. 140. मा भाआहि-मा बिभीहि-Do not be alarmed ; in मृच्छ० we have मर्षयतु, Please forgive me"; and that is quite proper as the Sūtradhāra had got wild with her as is evident from his imprecations : एवं दे आसा छिन्दीअदु। अभावं च गमिस्ससि। P. 3. 149. 3720 Greig = in another i, e. the next birth, what in मच्छ० is described as पारलौकिकः 151. gra fast-This sentence occurs in many of the plays of the group; Cf. starHit# V. 583, arata III 42 93 ·-i. 1.187 ACT I 129 प्रतिज्ञा IV. 113. को अणु अय्याए उबवासस्स उवदेसिओ-the next sentence by atat in answer to this question runs thus :- इमिणा वडिवस्सएण चुण्णगोटेण।-This is rather queer, for we expect अवडिवस्सओ चुण्णगोहो. There is thus an anacoluthon. Further affarigo according to the ms. marked a is पडिवेस्सएण which would give प्रतिवेश्येन–by a neighbour. I. आमन्तणस्स मा दरिदं त्ति मं अवमण्णेहि । The construction is obscure. आमन्त्रणस्य is explained as सम्बन्धे पष्टी-आमन्त्रण- विषये मां दरिद्र इति मावमन्यस्व । The sentence is not to be found in मृच्छ०. P.+. I. 1. घिदगुळदहि etc. The verse is not to be found in मृच्छकटिक. धूविअसूवोवदंससम्भिण्णं-mixed with hot (धूपित) curry (सूप) and spice (उपदंश) or धूपित may be taken to mean हिमवादिवासितेन-mixed with scented curry and spice. सकारदत्तमि8-This is wrongly paraphrased as सत्कारदत्तमृष्टम् in Ganapati Sastri's text. मिहं is मिष्टं, मधुरम् । I. 16. 'अहि-should be अट्ठी-or अण्ठी from which the word आठी (Marathi) seems to be derived. Dr. C. Kunhan Rāja understands the word as being the Prākştisation of the Malayalam word अण्टि=stone. I. 18. एसो वाआ...गच्छीअदि-The sentence. is very obscure-what does एसो (एषः) the subject of गच्छीअदि (गम्यते) refer tor Obviously एष must be connected with प्रत्याख्यातः and अनुबध्यमानः so that it would mean "Here he goesdeclined in words but followed in my mind "; गच्छीअदि passive, however, hardly suits the context and will have to be emended to गच्छदि. Or गच्छीअदि (गम्यते) is to be understood in the sense of “ अवगम्यते" अर्थात् मया-" I know him to be one whom I have repudiated with words but whom I follow in my mind", i.e.although I have said “No" to his request, yet my mind is tempted by the offer. अहं विणाम... तक्केमि-The verb तर्कयामि is used here in a particular senseas Ganapati Sastri explains:-(सामिलार्ष) चिन्तयामि । 43 . - ·130 CĂRUDATTA [i. 1.4- as In मृच्छ० P. 5. I.' 12. ओग्गारणसुगन्धेहि-उद्गारणसुगन्धिभिः-Woolner translates "fragrant for gargling' taking it as an attribute of अन्तरन्तरपाणीएहि; but like other epithets this, too, must go with असणप्पआरेहि। The various kinds of dishes are so fragrant the breath from the mouth too is sweetened by them. I. 14 चच्चरवुसहो......रोमन्थाअमाणो-a common enough image of a glutton. Cf. मालविकाग्निमित्र-विपणिगतः इव वृषभः आर्यगौतमः। IV. 1540, I. 118. अण्णं च अच्छरिअं... खु...सन्तुहो। This portion is not found in the मृच्छकटिक. I. 11. सट्ठीकिददेवकरयस्स...this is षष्ठीकृतदेवकार्यस्य-or Ganapati Sastri paraphrases it-संस्थीकृतदेवकार्यस्य i. e. one who has performed worship of the gods in the proper manner; but if this is the meaning we rather expect "mige we cannot account for the dropping of the nasal. we have सिद्धीकिद० I. 1. अन्तळिक्खवासो-is rather अन्तरीक्षवासः than अन्तरीयवास: as paraphrased. The meaning of अन्तरीक्षवास is not clear-though it is obviously the TTTof which the Ganikā later on remarks अणुदासीणं जोवणं से पडवासगन्धो सूएदि । P. 6. I. 145. चाङ्गेरिकाहस्ता-The word चाङ्गेरिका is thus explained :-चुक्रिकाख्या वातपित्तहरा रुच्या काचिदोषधिः। चाभेरी चुक्रिका दन्तशठाम्बष्टाम्बललोणिका । इत्यमरः। It is the plant known as wood-sorrel. But it is not clear why the Tê carries it in her hand. We have the same stage-direction ( चाङ्गेरिकाहस्ता) in अविमारक Act IV. But मागधिका who is thus described says "भट्टिदारिकायै सुमणावण्णों मए आणीअदि" "I am taking unguent and flowers for the princess" It thus appears that she has in her hands a basket in which she carries these. Efter is probably a misreading for a star which means a basket. Dr. Weller in his translation of अविमारक renders चांगेरिकाहस्ता to mean “Carrying a basket in her hand '; obviously he accepts the reading वनेरिका for चा रिका; and as Dr. Morgen- 44 ·-1.5.] ACT I 131 sentence 98 stierne points out, the word aft' a basket' occurs in the FERRETETE (Ns.) P. 123. I. 146. girai ag...ATUE I–Vāmana cites a व्यसनं मोछ्वासं मरणम् ।. There is no reason to believe that he is citing our Tec, although the sentence is undeniably similar to the one in our text. It is interesting to note that वामन cites in the same context the sentence यूनं हि नाम पुरुषस्य असिंहासनं राज्यम् । which is found in the मृच्छकटिक and not चारुदत्त. Is it likely that व्यसनं सोच्छ्वासं मरणम् was to be found in the version of the मृच्छकटिक extant in the days of वामन ? I. 2. यामां बलि:-The stanza is cited by वामन. The question is · Did any know the and cite from it ? " Morgenstierne is at great pains to prove that the stanza in question is a quotation from the area and not from the मृच्छकटिक ; but it is not likely that वामन who cites the sentence द्यूतं हि नाम etc. from the मृच्छकटिक gres to the चारुदत्त for this stanza यासां बलि: etc., when he knew that the same belonged to the 32; and then there is one more decisive argument in favour of the view that this citing from the मृच्छ० and not चारु० in that वामन gives विलुप्तपूर्व: in the second line-which is found in 725 arrin place of the reading विभक्तपुष्पः of the चारुदत्त. of all the variants for the stanza this is certainly the most important and points to the fact that वामन was citing the मृच्छकटिक in which the reading विलुप्तपूर्वः of वामन's text is found. I. 2'. STAHESTTUT etc. - It is possible to read this as 3. समुहआण etc. समुद्रयानविपन्नविमवस्य-who lost his fortune in sea-voyage. P.7. I. 3. यथान्धकारादिव and दशां दरिद्रतां are certainly hard to understand-मृच्छकटिक gives us धनान्धकारप्विव and Terrah respectively. There is both 71 and 5 in the simile, one of which is redundant. समुद्दपट्टण...गओ। there is nothing corresponding to this sentence in the मृच्छ०. 45 ·132 CĀRUDATTA [i. 6- I. 4. The verse is not found in the so. As for verse 5 दारिद्यात...बान्धवजनो वाक्ये न सन्तिष्टते-the मृच्छकटिक gives the Yerse later on and with quite an appropriate context; for when is requested to go and offer worship to the mothers ( गच्छ, मातृभ्यो बलिमुपहर ) he declines the request, and hence Carudatta makes the remark-बान्धवजनो वाक्ये न संतिष्ठते।. 1.5. TAIETTRA a fituar-Woolner translates : ** My friends become indifferent to a man that is merely good. In मृच्छकटिक we have यत् सौहृदाद् अपि जनाः शिथि. Hall and this is obviously the meaning intended:. ** That the ties of friendship with the good relax." P. 8. I. 6. The verse is to be met with in the 929 II. 73. P. S. I. 61. patari-how very fine is the witticism of the so; the author of age has absolutely not understood the double entendre and gives us a flat simile. I. 7. The verse faratga etc. is found in Act III. 37 of the Togo in appropriate context. The next scene (aa: प्रविशति) is introduced abruptly in the चारुदत्त. In the मृच्छकटिक the hero says-तिष्ठ। तावदह समाधि निर्वतयामि । and we thus get a natural transition from one scene to the other. I. 8. धावशि पधावशि-मृच्छकटिक offers a better reading avoiding the repetition of the root धाव्. (किं याशि धावशि पलाशि). जज्झइ is emended into डज्झइ. P. 9. I. 11. Tra qarata Matarai-this is rather obscure ; Ganapati Sastri explains gets ridicat face पदन्यासं पदशतावकाशलङ्गनेन कुर्वती सती। i. e. from one step to the next she covers a distance of hundred steps. Woolner's translation “taking step aftet step by the hundred" is hardly convincing. In मृच्छ• we have किं त्वं पदैर्मम पदानि fastramit—“Outstepping my steps with yours. P. 10. 1. 116. g is vocative here, but the same form occurs later as nominative singular. It is paraphrased 46 ·-i. 17.') ACT I 133 arii. 01 e, either as ज्ञाते i.e. सगोत्र ART. Dr. C. Kunhan Raja suggests that it is the voc. sing. of 2017 Malayālam =a dog. I. 118. परित्तअशि-परित्रायते, रक्षति । But the form looks like second person singular; there is obviously some mistakemand the form may be emended to TFSIR I third person singular : moreover it is a form of the present rather than of the future-pareia is, therefore, not the proper rendering. 1. 12. FF arata etc. this is to be connected with Trand of the previous sentence. Woolner wrongly translates " Like Vishnu am I, the lord of the corps bazaar, or Janamejaya, Kunti's son. वाशुजेवे is incorrect for वाशुदेवे which is found in the Ms. collected by Dr. C. Kunhan Raja. Char_alha STIETÀ; but oh appears to be irregular-it should be आहळामि । I. 124, ARHITECİ Hİthe next is corrupt. Gaņapati-Sastri reads भयानभि(ज्ञ: झं) हृद (यं? ये) मां कुरु-and suggests that the proper reading is भयानभिज्ञं हृदये मां कुरु । However the reading given in the text is nearer the one found in the Mss. and gives a clear sense. I. 13. and 14. Both these verses are not to be met with in the मृच्छकटिक. बहुलतिमिरकाला: विधट्टा:-Side-alleys, sidestreets (विघट्टाः%विमार्गाः) dark (कालाः) with the darkness of the dark-nights (25=2401927) or with intense gloom. yaranaugurat: etc.-TO=TVP disgust, horror. Save me and save your body (IT) i. e. yourself, the horror of a woman's murder. P. 11. I. 142. भावे भणाशि-भावो भणति। भणाशि should be really unf. The emendation is made in the text. 1. 15. STT FE etc. the gezo gives quite a number of variants. सव in the second line should be तव. 47 ·134 CĀRUDATTA [i.17.- senses P. 12. I. 1514. सन्तो सि-the word gives two शान्तोऽसि i, e. मृतः भविष्यसि and श्रान्तः असि । this is made clear by विट's remark ध्वंस इत्युक्ते श्रान्त इत्यवगच्छति । I. 16. अभिनयति etc. the stanza is not to be found in the मृच्छ० by ES I. 171. एसो मे अभिणिवेसो etc.-This is rendered Woolner as The nobility appreciate my devotion"-that, however, is not the correct interpretation goeie raad should be taken to mean is made light of" as in हा अवस्थे तुलयसि-(मृच्छकटिक I.) or as in मेघदूत-अन्तःसारं धन तुलयितुं नानिलः शक्ष्यति त्वाम् (उ.मे)| where there is pun on तुलयति । What Vasantasenā means is this " He is making light of my resolve viz. कुलपुत्रशीलपरितोपोपजीविनी-'to live by the virtuous entertainment of the scions of nobility' on account of my birth and family (अभिजन) He thinks that as I am a courtezan by birth I am incapable of leading a life of virtue." It may also be interpreted to mean to test, examine we have done in the translation. I. 17. पूलिश of the original is emended into पूळिद. P. 13. I. 17. णअणमत्तशत्थुळं-नयनमात्रसंस्थुलम्-Woolner : " Firm only in her eyes." But the meaning seems to be "Uri" as Ganapatiśāstri has it; a fling at Cārudatta's poverty. णाए णट्ठा-गाए नार्या=न आर्या अनार्या इत्यर्थः। Here it is used as nom. singular. I. 18. कामं प्रदोष etc. It is to be remembered that in the 775180 as soon as the Vița learns that Vasantasenā is in love with Cårudatta, his attitude towards her is changed. He becomes friendly to her and makes every effort to help her to escape from the clutches of the brutal Sakāra. Thus he makes the Sakāra repeat the words वामतः तस्य (चारुदत्तस्य) गृहम् so as to give a hint to Vasantasena to effect her escape into Cārudatta's house, and also suggests to her by this 48 ·-i. 26.37 ) ACT I 135 stanza that although she is not to be seen owing to the darkness in the lane, yet she is being betrayed by the scent of her flowers and the jingle of her ornaments. All this sly cross-play of suggestion, however, is lost in the Carudatta where the Vita still remains one of the tormenters of Vasantasena. I. 19. 20. 21. In the zostanza 21 reialatie etc.. comes first and stanza 19 feriadia etc., afterwards ; while stanza 20 HTTUI etc., is not at ali to be met with. Mark à in the second line of this stanza, where the Atm. form comes in place of the regular Parsam. form a i. P. 14. 1. 211. HEUTE in the Fogo have भित्तिपरामरिस. which is simpler. परिणाम is explained as FURTHIa-the change in the wall i. e., the break in the continuity of the wall. Woolner's translation runs thus : "Oh, the side-door seems to be by the end of the wall; the gloom of disappointment makes the darkness thicker." What reading is adopted in this : ATHITHESE is explained thus :-असम्भोगेन अनुपभोगेन या मलिनता सुधालेपादिसं- स्कारविरहप्रयुक्ता तया। गणपतिशास्त्री। I. 213. मैत्रेय गच्छ etc. This occurs earlier in the मृच्छ• before the episode of Vasantasenā's pursuit by Sakāra ; we have already remarked on the abrupt and unnatural shifting of scenes in the Cārudatta. P. 15. I. 219. अवावुद पक्खदुवाळं-अपावृणु पक्षद्वारम् | How can अवावुद give अपावृणु? It seems that अवावुद is a misprint for atg-we thus understand the Vidūşaka asking the question-रदनिके अपावृतं पक्षहारन् । " Is the side-door opened? I. 21* forarget for the original forarget is adopted from Dr. C. Kunhan Raja's collation. I. 2186. मम पवेसणिमित्तं in place of मम अभुववत्तिणिमित्र विअ of the मृच्छ०, while the sentence अळं चारित्तभएण। is not to be found in मच्छ०.

·136 CĀRUDATTA [i. 28.11- 1. 2140.45. This incident is not to be found in the मृच्छ०. The Vita is painted here as a man who has absolutely no sense of delicacy and honour, and heartlessly tries to trick Sakāra by catching Radanikā and palming her off as Vasantasena on his brutal companion. P. 16. I. 24. The second line in the मच्छ० reads-वञ्चना- पण्डितत्वेन स्वरनैपुण्यमाश्रिता। I. 248. The beautiful simile of the मच्छ०-प्रदोषमन्दमारुतेन पशुबन्धोपनीतस्येव छागलस्यं हृदयं फुरफुरायते प्रदीपः। is lost on the author of the Cārudatta. P. 17. I. 24. चेटी (शकारं पादेन ताडयन्ती)-This boldness on the part of रदनिका is not to be seen in the मृच्छ०. P. 18. I. 26'. शुवण्णवण्णा-सुवर्णवर्णा-This, it is curious to note, is explained by Woolner as daughter of a courtesan. of the gold caste"! It is noteworthy that the words अधिअलणे ववहालं विणा found in this speech in the go are dropped in the Cārudatta. P. 1961. 2631. प्रवेश्यतां अभ्यन्तरचतुःशालम्-Here is a significant passage. In the मृच्छ० we learn that the child रोहसेन had come out to enjoy the evening breeze and was sleeping in the open. So Cārudatta asks the maid to take the mantle and wrapping up Thea with it, take him inside the house ('प्रवेश्यतां अभ्यंतरं अयं i. e. रोहसेनः). But the Cārudatta does not refer to A at all; and hence we have the awkward मारुताभिलापी प्रदोषसमय:-in place of मारुताभिलाषी प्रदोषसमय- शीतातः रोहसेनः।-while the causal form प्रवेश्यतां is inadvertently retained. Ganapati Sastri supplies अयं प्रावारक: as object of प्रवेश्यताम् . णअणमत्तसंस्थुदानयनमात्रसंस्तुता-Woolner: " Whom your eyes have extolled ever since etc.” ETET however means acquainted," as in “धावति पश्चादसंस्तुतं चेतः" शाकुन्तल I. सहीए सत्तमीए अधारेहि-अहं अहमीए etc. this तिथि scheme is not to be met with in the मृच्छ०. 50 ·-ii."" ] ACT II 137 P. 21. I. 281. giayfa --Woolner :-"What place is there for affection?” It, however, means What does love ( command me to ) do? I. 29. Ignasxalue:--This queer comparison is a substitute for the beautiful image कामिनीगण्डपाण्डुः । CS Act II P. 23. II . ROET geeft u GTTHTEETT Symmetry or uni. formity requires GTTHTSCI nominative in place of the instrumental. In the go the uniformity is kept. In the Caru. datta we shall have to supply some such verb :- पुरोभागितया ) पृच्छामि।. इंदिसवण्णय्येव-this is probably इंदिसवण्णथा एव-ईदृशवर्णका gal. 111. But fa etc. Woolaer "I see my mistress has made her toilet without her jewellery." He has altogether missed the point. What she means is I see my mistress to be adorned, though she is without her jewellery"; for it is love that makes her look so lovely. Safie - according to Woolner" The Lord of Love is the unsung festival of the young. "अणवगीद-अनवगीत however means "Unexceptional or blameless". #forca fol etc. Woolner :- “Silly girl, what can you feel for my beloved ?" But as गणपतिशास्त्री explains “ उत्कण्ठितव्ये प्राप्तव्ये इष्टवस्तुनि अप्राप्ते ते का रतिः-सन्तोषः प्राप्ते हि तस्मिन् ल युक्तः इत्यभिप्रायः। II. बहुमाणो विअ—बहुमानः is to be regarded as a बहुाहि compound- & FIT: TFT 7:-"as lovely as he is respectable." अस्थि अदिबहुमदो etc. What she means is "Love requires and cherishes perfect confidence (faa27:). This is not possible in a learned Brahmin who would always make one cious of a sense of distance owing to his learning. Hence one can only reverence him but not love him.” Voolner, however, renders it thus-"Do the highly respected ever relax their self-control ?" 51 cons- ·138 CĀRUDATTA (ii, 79_ 22 P. 24. 1134 HOITETST--Woolner translates "Can't I hear, then, who has possessed your heart ? But मनो- रथावुत्तो means The brother-in-law (TOTT Hitafrafa: 1) of your choice-the brother-in-law elect." She looks upon HIFAT as her sister and hence the man she loves in her heart is naturally a brother-in-law to her. P.25 II'. दे महुअरा ति पुच्छीअन्ति ।-पुच्छीअन्ति-पृच्छयन्ते..-. पर्यनुयुज्यन्ते उपालभ्यन्त इति यावत्। Woolner renders “ That is why they are called bees मृच्छ० reads वुञ्चन्ति-उच्यन्ते। which makes a clear meaning. Moreover the point here seems to be lost by the author of the Carudatta. The bees are called or blamed as a pleasure-seekers because they leave a mango past its blossoming. But the author understands that they are so called because they cling to it even when it is past its blossoming. IIFT. अपटाक्षेपेग-This should really be अपटीक्षेपेण which is the usual and proper word. 374018 is obviously a misprint in the original. #ate does not speak Arteft as in the Team. Moreover we do not get the gamblers' scene--the lively intermezzo of संवाहक, माथुर, दर्दुरक and द्यूतकर which makes the gezo such a pleasing and boisterous comedy. 11०. चेटी-हं को दाणि एसो। etc. The मृच्छकटिक does not at all contain this conversation between वसन्तसेना and चेटी. It is not clear what वसन्तसेना means by गुणवन्तो रक्खिदब्बो Etic! What is meant by Tuarai ! "A man of virtue ?" or A man possessed of some specific quality---say the art of the shampooer? In either case, how does Vasantasenā know that this stranger was गुणवान् ? P. 26. 1184 TfOFESTE! ga fast 1-The courtesan wants her maid to make inquiries about the shampooer; hence she says-"Well-thus." We expect some such stagedirection as वसन्तसेना चेटी संज्ञां ददाति। 27 52 ·-jï.3 ] ACT III 139 .. 2. पूआविसेसेण etc. Woolper understands the passage to mean Aatici art—"She is so polite about it, I suppose I must i. e. must sit down, However the import is From this special hospitality ( qanfaa ) I infer I shali succeed in my object. कार्यम्-धनिकोपद्रवपरिहारलक्षणं मदीप्सितं अनया सम्पादयितुं शक्यम् । as Ganapatisastri explains it. P. 27. 11118. CHHATT-The original reads TEHART which is obviously a misprint. 11320, STET. Saa: not flaunting his virtues. Ganapati Šāstri explains the word thus—a: : TOYOT: 1. Woolner takes it to mean Calm and collected”. Dr. C. Kunhan Raja's collation gives याचिद=याचितः। II. 142. HEH Zgi ya Hai fer-Woolner renders :-- "It is difficult to find wealth and merit together." He takes गुणविभवः as गुणा च विभवः च-a द्वंद्व compound; but that is hardly possible grammatically speaking. The ego gives दुल्लहा गुणा विहवा अ। which makes the meaning quite clear But as it is Taha can only mean wealth of merit", "all merits" P. 30. II. गच्छदु...सुहिजणदंसणेण पीदि णिवत्तेढुं। Wrongly translated by Voolner as :-* May you go, and give us the pleasure of seeing you again". P. 32. 11334. In place of TUNTUT Dr. C. Kunhan Raja's collation gives गुणाणि । . Act III P. 33. III. 1. Cracieat. JĪTE--Ganapati explains this thus:-विषयेषु नित्यसेवितव्येष्वथेषु मध्ये संकीर्णदोपरहिता रागfazatiat TIBÎ STRAAT:1. Hence- A discourse (PET) of flawless melody on the objects of his love (f977)." क्रीडारसेषु मदनव्यसनेषु-मदनव्यसन is intense passion or love : while STETTA is to be taken as adjectival qualifying . व्यसनेषु-क्रीडाभिः (by dalliances) रसः येषु-so that the expression means : in the passionate delight of love-dalliances. C.8 53 ·140 CĀRUDATTA [iii. 3.21_ III. 1!. This is a familiar expression in the plays of the group. Cf. FH III'S. III. 18. 5# carui o THIH--this is a rather curious construction :-इमा हतीणां न रमे। where the root रम् is used transitively in the sense of "to enjoy "__"I do enjoy this accursed lute." अहिअदिढत्थाणे-अधिकदृढस्थाने- in the stronger parts. Possibly the pegs of the lute are intended. P. 34. III. 1. भावशाबलेन-भावशाबल is भावचित्रता variety of emotions or emotional effects; but Woolner understands Hram as the name of the singer-Prof. Variegato ! III. 22. इत्थिआ विपठन्ती-this in मृच्छकटिक is इथिआ दाव सक्कदं पठन्ती (स्त्री संस्कृतं पठन्ती). The whole passage in the Zo is full of very racy humour. III. 3. TEN TÀI TEATTE:--the first act opens on the sixth day of the dark-half, as the moon is represented as rising towards the close of the act which shows that it was somewhere between 10 and 11 p.m.; the Vidūşaka gives the ornaments to Radanikā saying "गल एवं सुवण्णालङ्कारं तुवं सहीए सत्तमीए अ धारेहि।". Besides चारुदत्त is spoken of as पष्ठीकृतart: by his friend, the Viduşaka. In this act the moon is spoken of as setting sometime after mid-night on the eighth day-showing, thereby, that it is the eighth day of the bright half of the month; so that we have to allow the lapse of a fortnight or so between the first and third act. But from the arrangement between the and the facut regarding the days on which each was to keep the ornaments, it would appear that only three days must have osed between the first and third act. For the t says gaugog Agig ag an gi l. By introducing the farfer scheme, therefore, the author of the Cãrudatta has involved himself into an ineonsistency regarding time-sequence. 54 ·-iii. 15.20] ACT III 141 P. 35. III. 3::सुहोदेसु-Dr. C. Kunhan Raja's collation gives सुधौदेसु । III. 321. मुहं वि धादे-धादे should be changed into धोदं। परिवेटामि-परिवर्तयामि, निवर्तयामि । Hand over. P. 37. III. 5. निर्मुच्यमान इव. The image is employed in the स्वमवासवदत्त-निर्मुच्यमानभुजगोदरनिर्मलस्य etc. iv. 2. iii. 6. कार्कश्यता-An instance of a double abstract-nour: formation. From कर्कश we have prega and hence the addition of at in the same sense (re) is superfluous. iii. 7. This verse is not at all to be found in the मृच्छ०. iii. s. दर्शितान्तरसुख: सन्धिः-This has to be explained as दर्शितान्तरः अत एव सुम्वः । i. e. a hole ( मन्धिः ) which with ease can give a vier of the interior. The मच्छ० gives न च दर्शनान्तरगतः सन्धिः-i. e. a breach in the wall which will not be ( easily ) discovered. P. 38. III. 81. सोपस्नेहतया etc., the passage is somewhat obscure. We understand अयं भवनविन्यास: as this portion of the house" and गृहविशिष्टः = गृहे विशिष्टः-"peculiar i.e. best suited for my purpose, owing to moisture (सोपस्नेहतया)." The expression सोपस्नेहनया occurs also in SAHT III. 24. and अभिषेक 1.6. P. 38. III. 97. SETTI EH5-etc. This conversation between the विदूषक ani नायक shows that they are both awake. In the मृच्छ०, however, the विदूषक is represented as talking in his sleep (उत्स्वप्नायते) at this stage and it is not चारुदत्त who is his interlocutor but शर्विलक who cleverly poses for चारुदत्त. कत्तव्यकरथीकिदसङ्केदो विअ सक्किअसमणओ-This is not to be met with in मृच्छ०. III. 94. नन्विदं दिवा ब्रह्मसूत्रं रात्रो कर्मसूत्रं भविष्यति ।. Is it possible that there is a punning allusion here to the A3 of बादरायण and the कर्म (मीमांसा) सूत्रs of जैमिनि ? III. 10. काकलीषु-काकली seems to be some instrument for cutting holes. The word, however, according to दशकुमार 55 , ·142 CARUDATTA [iii. 15.87- P. 96 (N. S.) refers to some musical instrument by which one can ascertain whether a man is asleep or not. काल्यं- stry-the accusative of time. "At dawn.” III. 101. नमः खरपटाय-The same God is invoked in the मत्तविलासप्रहसन. (P. 15.) as the God of thieves. The मच्छ. has स्कन्द and other rutelary gods of thieres. P. 39. III. 11. The corresponding verse in मृच्छ० gives certainly better readings-निद्रा सुप्तमनुष्यवीयतुलने is सुतासुप्त- मनुष्यवीर्यतुलने श्वा । while संकटे च तिमिरं वायुः स्थले-is संकटेपु डुडुमः वाजी स्थले।. III. 11. संयमननिरर्थकम्-संयमनं भूमिस्थापनादिना गोपनं तेन निष्प्रयोजनम् । (गणपतिशास्त्री) III. 12. The verse is not there in the मृच्छ०. नीलस्नेहेन रक्षति is a very queer expression and is understood meta.. phorically by गणपतिशास्त्री-नीलो नीलीरागः तत्सदृशः स्नेहः, दृढनेहः इत्यर्थः। नीलीरागो हि वस्त्रादावारूढो नापैति तद्वदनपायः स्नेहो नीलस्नेह इहोक्तः। " नीलीरागः स्थिरप्रेमा इति यादवः।" P. +1. III. 1433. ण खु वसन्तसेगा, वसन्तसेगा पनो--This play on the word is to be met with in the V act of the मृच्छ० where the wit arising from it is put in a very elaborate charade. TETÈT is capable of being interpreted वसन्तश्येनः-the thief being compared to a swooping hawk. P. 43. III. 150.तं पि...सोीरदाए पडिच्छदि।-This is to be understood as an interrogative sentence. And would my husband accept in his pride?" सोढीरदाएशौटीरतया अभिमानेन. मृच्छकटिक gives अदिसोण्डीरदाए. Dr. C. Kunhan Raja's collation the gives णपडिच्छदि। which makes good sense. III. 154. पडिच्छदु-This is paraphrased as प्रयच्छतु which can hardly be, since पडिच्छदु-would be प्रताच्छतु. It seems necessary, therefore, to amend पडिच्छदु into पअच्छनु--प्रयच्छतु। III. 16. This is not found in मृच्छ०. p. 44. III. 160 सहि उववसामि-This in भृच्छ० रअणसाद -रलषष्ठीम् ।. How delicately is this scene managed in the 56 as ·-iv. 5.* ] ACT IV 143 *#1. The Cárudrtta show absolutely no delicacy; the Vid şaka is dolt enough to pester the last with questions and to probe her motires in giving such a gift. P. 45. III. 1634 CHHEZIT...Jam FFARETTI Now what is exactly meant ? Gaņapati Sastri esplains that FH77 refers to the precious quality of the string of pearls and as such a precious gift required a worthy recipient like the farthom it was hard to meet in time, she had neglected the proper formalities ! III. 163. देव उळधूमेग is read as देव उळम्पदविधमे in Dr. C. Kunhan Raja's collation. III. 17. ATT etc. How rugged and ungrammatical is the construction of the first line ! The मृच्छ० reads आन्ममाग्यक्षत. 5: Hit Tigaieta: 1 Dr. C. Kunhan Raja's collation gives अधुनायं पुमान् सा स्त्री या स्त्री मन्ये पुमानसौ ॥ P. 46. III. 174. Sairasi Terat etc. The hero in the मुच्छ. here gives the message यत् खत्वस्माभिः सुवर्णभाण्डमात्मीय. मिति कृत्वा विश्रम्भात् ते हारिनम्।. The message is wanting in Cārudatta ; but in act IV when the fact meets 447 he gives a similar message all right! III. 18. This is not to be met with in the go. Act IV P. 47. IV. पिचुमन्दा:-निम्बद्रुमाः। IV. DET FOTATISTI etc. What an idea ! The look upon their friends as their rivals! True, but brutally frank. In the ego we get a more polite and universal sentiment- सहीअणचित्ताणुवत्ती अबलाअणो भोदि। IV. R.-shaped like a lotus. arcaica etc. This observation on the life and habits of courtesans is original with our author. It is not to be met with in the मृच्छ०. 57 ·144 CĀRUDATTA [ iv. 72 P. 48. IV, 14. JA...gut # af This is rather ambiguous. I have translated it thus : This is some one who demands her of me by purchase.” But in this I have taken i as indirect object, and 'her' as direct object although it is not there. Is it likely that she is thinking of some one who is negotiating with her maid for the purchase of her own person? What a plain and vulgar idea that would be, although our author seems to be capable of such impropriety ! In the मृच्छ० we have :- एसो सो जणो एवं इच्छदि अभुजिस्सं काहूँ। (एष स जन: एनां इच्छति अभुजिल्या कर्तुम् ।). P. 51. IV. 4. caera etc. He suspects Madanikā's constancy, when she remarked that it pleased her to know that Cārudatta was not hurt. In the reso the poet takes this occasion to expatiate on the frailty of woman and gives as many as 9 verses (IV. 9-17) on this one theme. IV. 5. सज्जळअ आअच्छ, कामदेवउळे etc. The meeting of सज्जलक and वसन्तसेना is thus held in abeyance and the विदूपक is at this stage ushered into her presence. In the so, however, tra is immediately introduced to her and after मदनिका is given away to शर्विलक as his bride the विदूषक comes with Cārudatta's message. Again in place of the very lengthy description of agrada's mansion which we have in 75550, the Cárudatta gives but one brief passage of about four lines. P. 53. IV. 542. ESTIGACE-:- This is explained by Woolner to mean ‘Visitors'. But the word means Teg. P. 54. IV. 553. सन्वं आणेदु वज्जिअ भोअणं-Cf. स्वप्न IV. विदूषक:...सवं आणेदु भोदी वज्जिअ भोअणं । IV. 56. TETET ETTET-It should be remembered that in the previous act where the विदूषक is asked by चारुदत्त to go to HÀ with the pearl-necklace no such message is given to him. In the 1930, however, he is charged with the message in the III act and he delivers it when he sees her in act IV. 58 ·-iv. 77.] ACT IV 145 P. 57. IV. 695. #TE, AT E...741 füt etc. Woolner curiously enough translates this thus--" Restraining him with varning words you have now become his lawful wife". It appears that he adopts some such reading as मा स्खुमा खु। Fu T-737 3ERT E F etc. I. But he has not indicated this emendation anywhere, nor does there appear any warrant for such a change. 15. 7. 7: #94rtaff etc. The verse is not found in the मच्छ०. Wooiner's translation runs as follows: Tbe man who looks for recompense does but gain calamity. May destruction fall on those that hate them, either him or the lady." It seems that he has not rightly understood the drift of the passage. What Sajjalaka means is this :-If he desired to requite Vasantasenā, he could do so only when the latter suffered some calamity (faqat), so that to desire to requite her is to wish that some calamity should befall her. So rather than wish such a fauers to a friend and then seek to help him, why not wish that that fauris befell his or her enemies? IV.7. अमुदंकणाड-अमृताङ्कनाटकम्-We have in पद्मनाभृतकं, a भाण attributed to शूद्रक, a similar remark साधु भो: अमृतको (अमृताङ्क: ) नाटकाङ्कः संवृत्तः।; to my mind the whole conversation here seems to give finality to the play and that the remark in the colophon sargdi TT is well justified. The author did intend to abridge the first four acts only, and make out of them a pleasing comedy-the meeting of the hero and heroine being the sort of the play which is here suggested. There is no HETTI at the end. In place of निष्क्रान्ते Dr. C. Kunan Raja's collation gives निक्रान्ताः सर्वे and then comes समाप्तं चारुदत्तम् ।. 59

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