·First Edition 1930.
Second Edition
1935.
Third Edition 1944,
Fourth Edition 1955.

·INTRODUCTION
General
Literature has been divided by Sanskrit
zhetoricians into two classes that which can
be seen, and you that which can only be heard.
The 54150 can be represented on the stage. It is
also called a Rūpakam, so called because the Rūpa
or character of the heroes is ascribed to the actors.
Rūpakas are tenfold viz.,--Nāțaka, Prakarana,
Bhāna, Prahasana, Dima, Vyāyoga, Samavākāra,
Vithi, Anka and Ibāmrga. The difference between
these categories lies in the difference in the plot,
the hero and the emotion. The following ślokas
may be perused with advantage in this connection.
दृश्यथव्यत्वमेदेन
97:
दृश्यं तत्राभिनेयं तद्रूपारोपात्तु रूपकम् ॥
नाटकं सप्रकरणं भाणः प्रहसनं डिमः।
व्यायोगसमवाकारौ वीथ्यकेहामृगा दश ॥
वस्तु नेता रसस्तेषां भेदकः.
Before dealing with the requirements of a
Nāțaka as conceived by Sanskrit rhetoricians, it
will be necessary to say a few words about aeg,
TH and 777 in general, in order to enable the
reader to understand the full significance of those
requirements.
काव्यं द्विधा मतम् ।

·iv MĀLA VIKAGNIMITRA Vastu or plot is of three kinds---CT OF renowned by tradition, site or conceived by the poet, and hx or partly traditional and partly conceived by the poet. Vide Dasarūpaka :-seat- त्पाद्यमिश्रत्वभेदात्तत्त्रिविधं मतम्. Rasas or emotions that are considered to be the soul of poetry are nine in number-FT the erotic, re the humorous, For the pathetic, ta the furious, वीर the heroic, भयानक the frightful, बीभत्स the loathsome, a the marvellous and TFT the quietistic. Vide the following extract:- शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः। बीमत्साद्भुतशान्ताश्च रसाः पूर्वैरुदाहृताः ॥ According to Bharata, the founder of Sanskrit dramaturgy, only the first eight Rasas are recognized to the exclusion of Santa. The author of Dasarūpaka who follows in the wake of Bharata repudiates the śānta rasa and holds that though śānta has to be recognized in general poetry, it can have no place in a drama. सर्वथा नाटकादावभिनयात्मनि स्थायित्वमस्माभिः शमस्य निषिध्यते । तस्य समस्तव्यापार प्रविलयरूपस्या zfagraria i Consistently with his theory, Dhanika says that the dominant emotion in Nāgānanda is. दयावीर and not शान्त. Vide Preface to our edition of Nāgānanda. But the general trend of opinion among Alankarikas is in favour of the ninefold classification of Rasa as stated above.

·INTRODUCTION - Rasa has been defined in Dasarūpaka as follows: विभावैरनुभावैश्च सात्त्विकैर्व्यभिचारिभिः । आनीयमानः स्वादुत्वं स्थायी भावो रसः स्मृतः॥ Rasa consists of a perHra or sentiment which is rendered delectable by the cumulative influence of विभाव, अनुभावs and व्यभिचारिभावs. The nine स्थायिभावs or sentiments which make up the said nine Rasas are enumerated in order as follows: रतिहासश्च शोकश्च क्रोधोत्साहौ भयं तथा । जुगुप्साविस्मयशमाः स्थायिभावा नव क्रमात् ॥ They are-love, humour, grief, rage, valour, fear, diggust, wonder and tranquillity. Tra or love is the basis of शृङ्गार, शृङ्गार or the eroticemotion is twofold- संभोग and विप्रलम्भ, love in union and love in separation. संभोगशृङ्गार has been defined thus:- अनुकूलौ निषेवेते यत्रान्योन्यं विलासिनौ दर्शनस्पर्शनादीनि स संभोगो मुदान्वितः ॥ By way of illustration Daſarūpaka cites the following two ślokas from Uttararāmacharita :- किमपि किमपि मन्दं मन्दमासक्तियोगात्...Act I-2.7. विनिश्चेतुं शक्यो न सुखमिति वा दु:खमिति वा...Act I-35. विप्रलम्भशृङ्गार is sub-divided in to four classes-अयोग, मान, प्रवास and करुण. अयोग represents the separated stage of loving couples before union, and the other three kinds of FgSEH take place after their union. मान represents a separation due to love-quarrels. प्रवास is separation due to exile, of which the whole of ·Ti MĀLAVIKĀGNIMITRA . Meghasandeśa is a monumental example. Fily refers to the separation of lovers one of whom departs from life provided they join later on. The story of Pundarika and Mahāśvetā in Kadambari is an example of this kind of FH. It has been defined as follows: यूनोरेकतरस्मिन् गतवति लोकान्तरं पुनर्लभ्ये । विमनायते यदेकस्तदा भवेत्करुणविप्रलम्भाख्यः ॥ This differs from करुणरस inasmuch as the स्थायिभाव here is ta or the mutual love leading to a re-union, whereas in Karuna शोक or grief is the स्थायिभाव and there is no re-union. The distinction has been pointed out in Sāhityadarpaņa as follows: शोक: स्थायितया मिन्नो विप्रलम्भादयं रसः। विप्रलम्भे रतिः स्थायी पुन: संभोगहेतुकः ॥ CITH or the heroic emotion has been treated under three heads-hate as in the case of Yudhishthira, युद्धवीर as of Rama in Mahaviracharita and दयावीर as of Jimütavāhana in Nãgānanda. Heroes in general are considered to belong to four different types-धीरोदात्त, धीरोद्धत, धीरललित and strefa. Valour, magnanimity, strength of character, resoluteness and all other rare virtuos are the characteristics of a Dhīrodãtta. Rāma, Jimūtavābana and the like are examples of this type. Haughtiness due to strength and valour, love of power, self-glorification, emulation, greed and the like are characteristics of the Dhīroddhata. Parasu- ·INTRODUCTION vii rama, Bhimasena, Ravana and others fall under this category. Free from care, addicted to fine arts and love and easy-going is the Dhiralalita, of whom Vatsarāja, the hero of Ratnāvalī, is a typical example. Dhiraśānta is an average hero possessed of humility, sweetness, liberality and other good qualites, ordinarily a Brahmin, like Madhava in Malatimadhava. Vide Dasarupaka:- महासत्त्वोऽतिगम्भीरः क्षमावानविकत्थनः । स्थिरो निगूढाहंकारो धीरोदात्तो दृढव्रतः ॥ दर्पमात्सर्यभूयिष्ठो मायाच्छद्मपरायणः । धीरोद्धतस्त्वहंकारी चलश्चण्डो विकत्थनः ॥ निश्चिन्तो धीरललित: कलासक्तः सुखी मृदुः। सामान्यगुणयुक्तस्तु धीरशान्तो द्विजादिकः॥ As to what are preguts which every hero should possess, Dasarūpaka says- नेता विनीतो मधुरस्त्यागी दक्षः प्रियंवदः । रक्तलोकः शुचिर्वाग्ग्मी रूढ वंशः स्थिरो युवा ॥ बुद्धधुत्साहस्मृतिप्रज्ञाकलामानसमन्वितः। शूरो दृढश्च तेजस्वी शास्त्रचक्षुश्च धार्मिकः ॥ Heroes for the purpose of love or शृङ्गारनायकs as they are called, are also classified under four heads-अनुकूल or one who is attached to one woman, दक्षिण 'or one who accords equal treatment to several wives, uz or one who makes bold to appear before a woman when his affections are centred elsewhere, and 77 or one who secretly commits an atrocious act of infidelity. The definitions of the ·viii MĀLAVIKĀGNIMITRA above four types of Nāyaka are given in the following bloka :- एकायत्तोऽनुकूलः स्यात् तुल्योऽनेकत्र दक्षिणः । व्यकागा गतभीधृष्टः गूढविप्रियकृच्छठः ॥. Rāma is an example of Anuküla Nāyaka. The following śloka of Uttararāmacharita is generally cited to illustrate an Anukūlanāyaka. अद्वैतं सुखदुःखयोरनुगतं सर्वास्ववस्थासु य- द्विश्रामो हृदयस्य यत्र जरसा यस्मिन्नहार्यो रसः। कालेनावरणात्ययात्परिणते यस्नेहसारे स्थितं भद्रं तस्य सुमानुषस्य कथमप्येकं हि तत्प्रार्थ्यते ॥ I-39. Vatsarāja and Agnimitra are examples of Dakshiņanāyaka. An idea of Dakshiņanāyaka may be had from the following illustration in the Daśarūpaka- स्नाता तिष्ठति कुन्तलेश्वरसुता वारोऽङ्गराजस्वसुः इते रात्रिरियं जिता कमलया देवी प्रसाद्याद्य च । इत्यन्त:पुरसुन्दरीः प्रति मया विज्ञाय विज्ञापिते देवेनाप्रतिपत्तिमूढमनसा द्वित्राः स्थितं नाडिका: ॥ The following verse from Mālavikāgnimitra has also been cited in Dasarūpaka to illustrate Dakshiņa Nayaka:- उचितः प्रणयो वरं विहन्तुं बहवः खण्डनहेतवो हि दृष्टाः । उपचारविधिर्मनस्विनीनां न तु पूर्वाभ्यधिकोऽपि भावशून्यः ॥ III-3. For Dhrshta the following illustration is given there. लाक्षालक्ष्म ललाटपट्टमभित: केयूरमुद्रा गले वक्त्रे कज्जलकालिमा नयनयोस्ताम्बूलरागोऽपरः । दृष्ट्वा कोपविधायि मण्डन मिदं प्रातश्विर प्रेयसो लीलातामरसोदरे मृगदृशः श्वासा: समाप्तिं गताः ॥

·INTRODUCTION And for a Satha, the following illustration is given from Amarusataka :-- शठान्यस्याः काञ्चीमणिरणितमाकर्ण्य सहसा यदाश्लिष्यन्नेव प्रशिथिलभुजग्रन्थिरभवः । तदेतत्त्वाचक्षे घृतमधुमयत्वद्बहुवचो- विषेणाघूर्णन्ती किमपि न सखी मे गणयति ॥ Of these four types of heroes Agnimitra, the hero of this play, belongs to the Dakshina. type. Cf :- दाक्षिण्यं नाम बिम्बोष्ठि वैम्बिकानां कुलव्रतम् । तन्मे दीर्घाक्षि ये प्राणास्ते त्वदाशानिबन्धनाः ॥ Act IV-14. NANDI Nāndi means the introductory benediction at the beginning of every play. Nāndi consists in homage paid to the Deity, Brahmins, kings or the like, coupled with an invocation for blessing. Sāhityadarpaņa defines it as follows:- आशीर्वचनसंयुक्ता स्तुतिर्यस्मात्प्रयुज्यते । देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता ॥ In popular parlance the word Nāndi is used to denote a preliminary ceremony for the propitiation of manes, generally performed on the eve of any auspicious religious function like Upanayana, marriage etc. The word Nāndi as applied to the benedictory verse at the beginning of a drama has been derived by the author of Nāțyapradīpa thus:- ·MĀLAVIKĀGNIMITRA नन्दन्ति काव्यानि कवीन्द्रवर्गाः कुशीलवाः पारिषदाश्च सन्तः । यस्मादलं सज्जनसिन्धुहंसी तस्मादियं सा कथितेह नान्दी ।। नन्दन्ति अस्यामिति, अस्या इति वा नान्दी. Etymologically Nāndi means that by which poets, musicians. spectators or literary works are delighted or shine to advantage. The etymology of the word Nandi can also be explained in a different way. Frat is the bull of Lord Siva, and his back served as a stage formerly for the dance of Siva, which displayed the twofold varieties of Tāņdava and Lāsya. Since the back of Nandin served as a stage, the worship offered with a view to entry on the stage is called Nandi. नन्दी वृषः कोऽपि महेश्वरस्य रङ्गत्वमादौ किल खे जगाम । तद्रमुद्दिश्य कृतां तु पूजां नान्दीति तां नाट्य विदो वदन्ति ॥ Nāndī really means the Pūrvaranga ceremony i.e., the initial worship offered with a view to a successful staging of the play. But it has come to be used to denote the benedictory verses composed by the poet himself, and it is in this significance that it is used in the majority of plays including Māla vikāgnimitra. One of the essential requisites of a Nāndi śloka according to rhetoricians is that it should contain a brief indication of the plot of the play. अर्थतः शब्दतो वापि मनाकाव्यार्थसूचनम् ।

·INTRODUCTION
xi
In accordance with this rule the commentator
Rāma Pisharodi points out certain indications of
the plot of the drama in the Nândı sloka of this
play-en etc.
Firstly, there is in general an indication of a
hero with a unique sovereignty. By the first pāda
is suggested that the hero is at liberty to satisfy
his love, but does not choose to do so of his own
accord. The reference is to the unwillingness of
Agnimitra to take the hand of Malavikā without
the concurrence of Dhāriņi. By the second foot it
is indicated that the hero, though he remains in the
midst of his harem, does not find there his centre
of affections. The third pāda suggests the assistance
of a powerful ministry, heroic deeds as the conquest
of the king of Vidarbha and magnanimous acts
like the rescue of Mādhavasena. It also suggests
that the hero does not care much for his kingship,
being much engrossed in his love for the heroine.
And by the fourth pāda is suggested the removal
of the impediment that stands in the way of a
happy wedlock between the hero and the heroine.
SŪT RADHĀRA
सूत्रधारः means the Stage-Manager. सूत्रं (प्रयोगानुष्ठान)
धारयतीति सूत्रधार: One who holds the conduct of the
stage. This etymology is supported by the following
authority

·xii
MALAVIKĀGNIMITRA
नाव्योपकरणादीनि सूत्रमित्यभिधीयते ।
सूत्रं धारयतीत्यर्थे सूत्रधारो निगद्यते ॥
Mātſguptācbārya gives the following elaborate
definition of Sutradhara:-
चतुरातोद्यनिष्णातोऽनेकभूषासमावृतः ।
नानाभाषणतत्त्वज्ञो नीतिशास्त्रार्थतत्त्ववित् ॥
नानागतिप्रचारज्ञो रसभावविशारदः।
नाट्यप्रयोगनिपुणो नानाशिल्पकलान्वितः ॥
छन्दोविधानतत्त्वज्ञः सर्वशास्त्रविचक्षणः ।
तत्तद्गीतानुगलयकलातालावधारणः ॥
अवधाय प्रयोक्ता च योक्तृणामुपदेशकः ।
एवं गुणगणोपेतः सूत्रधारोऽभिधीयते ॥
The qualities required of a Sūtradhāra in the
above definition are too many that it leads us to
suppose that it refers to an ideal Sūtradhāra and
not to all Sūtradhāras.
In this play as in most others, the Sūtradhāra
enters upon the stage after the pronouncement of
the benedictory stanza. He may be called the
Sthāpaka or Sthāpanā Sūtradhāra, because he
introduces the play to the audience, and as such he
can be deemed to establish the foundation of the
-drama.
स च काव्यार्थस्थापनात् सूचनात्स्थापकः ।
He is different from Nandi Sūtradhāra whose
duty it is to perform the Pūrvaranga.

·INTRODUCTION xiii पूर्वरङ्ग विधायादौ सूत्रधारे विनिर्गते । प्रविश्य तद्वदपर: काव्यमास्थापयेनटः॥ सूचयेद्वस्तु बीजं वा मुखं पात्रमथापि वा ॥ As to which of the two Sūtradhāras should pronounce the opening benedictory stanzas or the 80-called Nāndī ślokas, there is a division in practice. In those plays where the entry of the Sūtradhāra is directed after the Nāndi ślokas, the Nāndi Sūtradhāra repeats the Nāndī ślokas, and the Sthāpanā Sūtradhāra conducts the Prelude. But in those plays where the entry of the Sūtradhāra is placed prior to the benedictory verses, the Sthāpanā Sūtradhāra bimself pronounces the Nandi ślokas and in continuation conducts the Prelude. This practice is comparatively very restricted and obtains in Saktibhadra's Ascharyachūdāmaņi and in all the thirteen plays ascribed to the authorship of Bhāsa by the editor of the Trivandrum Sanskrit Series. It may be observed that the author of Sāhityadarpaņa states that in Vikramorvašīya several manuscripts place the entry of Sūtradhāra before the Nāndi śloka and that the reading there adopted is the more appropriate of the two. Vide the following extract from Sāhityadarpaņa:- *TFERTAITEIT ofa: safa- इत्यादि । अत एव प्राक्तनपुस्तकेषु 'नान्यन्ते सूत्रधारः' इत्यनन्तरमेव 'वेदान्तेषु-' इत्यादि- लोकलिखनं दृश्यते । यच्च पश्चात् 'नान्द्यन्ते सूत्रधारः' इति लिखनं तस्या-- उक्तं च-- ·xiv MĀLA VIKĀGNIMITRA यमभिप्रायः -नान्यन्ते सूत्रधार इदं प्रयोजितवान, इतः प्रभृति मया नाटक- मुपादायत इति कवेरभिप्रायः सूचित इति । In the edition of Bhavabhūti's Uttararāmacharita in the Sri Balamanorama Series, the entry of the Sūtradhāra is placed before the Nāndi śloka, and it is supported by the high authority of the commentator Narayana. प्रस्तावना or the Prologue. स्थापना, प्रस्तावना and आमुखं are synonyms. In the Prastāvanā, the stage-director is expected to converse wittily with the actress or an assistant actor or a clown for the purpose of introducing the play to the spectators. सूत्रधारो नटी ब्रूते मारिषं वा विदूषकम् । स्वकार्यप्रस्तुताक्षेपि चित्रोक्त्या यत्तदामुखम् ॥ प्रस्तावना वा- And this introduction of the play to the audience can take place in any one of the three methods:-प्रयोगातिशय, कथोद्धात and प्रवृत्तक. Whenever a Sūtradbāra introduces the play by comparing himself with some character whose immediate entry is referred to by means of words like एषोऽयं, the method adopted is said to be प्रयोगातिशय. Vide Dasarāpaka:- एषोऽयमित्युपक्षेपात्सूत्रधार प्रयोगतः। पात्रप्रवेशो यत्रैष प्रयोगातिशयो मतः॥ This method is resorted to in Sakuntala by the following simile:- .

·INTRODUCTION XV तवास्मि गीतरागेण हारिणा प्रसभं हृतः । एष राजेव दुष्यन्तः सारङ्गेणातिरंहसा ।, in Malavikāgnimitra thus- शिरसा प्रथमगृहीतामाज्ञामिच्छामि परिषदः कर्तुम् । देव्या इव धारिण्याः सेवादक्षः परिजनोऽयम् ॥ and in Nāgānanda thus- पित्रोविधातुं शुश्रूषां त्यक्त्वैश्वर्यं क्रमागतम् । वनं याम्यहमप्येष यथा जीमूतवाहनः॥. The method of introducing the play known as कथोद्धात is deemed to be resorted to when the Sutradhāra uses words which are affirmed, repeated or reproduced in sense, first behind the scenes, and then after entering the stage, by the character that enters first. स्वेतिवृत्तसमं वाक्यमर्थं वा यत्र सूत्रिणः । गृहीत्वा प्रविशेत्पात्रं कथोद्धातो द्विधैव सः॥ In Ratnāvalı, the actor playing the part of Yaugandharāyaṇa first affirms the words of the Sūtradhāra by saying एवमेतत् कः संदेहः and immediately enters the stage, repeating the words of the Sūtradhāra--- द्वीपादन्यस्मात् etc. In Venisamhāra, the words of the Sūtradhāra are not actually repeated, but they are reproduced in purport by Bhimasena who enters first. सूत्रधारः-निर्वाणवैरदहनाः प्रशमादरीणां नन्दन्तु पाण्डुतनया: सह माधवेन । रक्तप्रसाधितभुवः क्षतविग्रहाश्च स्वस्था भवन्तु कुरुराजसुता: सभृत्याः ॥

·iri
MĀLAVIKĀGNIMITRA
(नेपथ्ये । साविक्षेपम् ।)
आः दुरात्मन् वृथामङ्गलपाठक शैलुषापशद,
लाक्षागृहानलविषानसभाप्रवेशैः प्राणेषु वित्तनिच येषु च नः प्रहृत्य ।
आकृष्य पाण्डववधूपरिधानकेशान् स्वस्था भवन्तु मयि जीवति धार्तराष्ट्राः ।।
(ततः प्रविशति सहदेबेनानुगम्यमानः क्रुद्धो भीमसेनः ।)
भीमसेन:-आः दुरात्मन् वृथामङ्गलपाठक शैलूषापशद
(लाक्षागृहानल-इत्यादि पुनः पठति ।)
A third method of introducing the play goes
by the name of 1977. It takes place when the
Sutradhāra describes a season in terms applicable
to the character that first enters the stage. Vide
the following extract from Dašarūpaka :-
कालसाम्यसमाक्षिप्तप्रवेशः : स्यात्प्रवृत्तकम् ॥
प्रवृत्तकालसमानगुणवर्णनया सूचितपात्रप्रवेशः प्रवृत्तकम् ॥ यथा-
आसादितप्रकटनिर्मलचन्द्रहास: प्राप्तः शरत्समय एष विशुद्धकान्तः ।
उत्खाय गाढतमसं घनकालमुग्रं रामो दशास्यमिव संभृतबन्धुजीवः ।।
(ततः प्रविशति यथानिर्दिष्टो रामः।)
..
VISHKAMBHA AND PRAVEŠAKA.
These are the two most popular of the five
methods by which the Sūchya portion of the plot is.
indicated in a drama. The इतिवृत्त or the plot of a
drama consists of two portions viz., सूच्य and असूच्य.
The portions that can be actually represented on
the stage go by the name of Asūchya. On the other

·INTRODUCTION xvii: hand, a battle and other similar things which are prohibited to be acted on the stage, uninteresting incidents and incidents that cover an unusually long period can only be indicated, and these things fall within the scope of the Suchya portion of the plot. The indication of a Süchya plot is described by rhetoricians to take place in five ways. They are विष्कम्भ, प्रवेशक, चूलिका, अङ्कास्य and अङ्कावतार. Vide Pratāparudriya :--- - इतिवृत्तं सूच्यमसूच्यं चेति द्विविधम् । असूच्यमपि द्विविधं-दृश्यं श्राव्यं च । तत्र सूच्यस्य सूचनाकमः पञ्चविधः । तथोक्तं दशरूपके- 'विष्कम्भचूलिकाङ्कास्य प्रवेशाङ्कावतारणैः' इति. Vishkambha is that preliminary scene in any act of a drama in which one or more middle characters take part and which briefly indicates past or future incidents. वृत्तवर्तिष्यमाणानां कथांशानां निदर्शकः । संक्षेपार्थस्तु विष्कम्भो मध्यपात्रप्रयोजितः ॥ A Vishkambha is of two kinds—and . In the Suddhavishkambha, middle characters (मध्यपात्रs) alone take part, and the conversation is carried on only in Sanskrit; whereas, in Misra, low characters (ofta4178) also take part, and the Vishkambha consists of a mixed dialogue in Sanskrit and Prākſt. स द्विविधः-शुद्धः संकीर्णश्चेति । केवलसंस्कृतप्रायः शुद्धः, संस्कृत- प्राकृतमिश्रितः संकीर्णः॥ 6 ·xviii MĀLAVIKĀGNIMITRA A Praveśaka is also similar to a Vishkambha in that it is intended for brevity and indicates past and future incidents. But there are certain salient points of difference between the two. In a Vishkambha, one or more Madhyapātras or middle characters take part, and Nīcbapātras or low characters also can be introduced; whereas a Pravesaka consists exclusively of low characters. And consequently, a Vishkambha, if Suddha, can be carried on entirely in Sanskrit, and, if Miśra, in a mixed dialogue of Sanskrit and Prākrt, whereas a Pravesaka is carried on only in Prākſt. A Vishkambha can be inserted at the beginning of any Act, but a Praveśaka can never be placed at the beginning of the first Act, perhaps because the exclusive introduction of low characters at the beginning is likely to detract from the dignity of the play and to impress the audience unfavourably. वृत्तवतिष्यमाणानां कथांशानां निदर्शकः । प्रवेशकस्तु नाद्येऽङ्के नीचपात्रप्रयोजितः ॥ Another method of suggesting the link between a prior and a later Act is by making some person or persons speak from behind the screen, and it goes by the name of Chūlikā. Sometimes, the characters at the end of a certain Act themselves indicato what follows in the next Act, and this method of suggestion is called Ankāsya. But where the later ·INTRODUCTION xix Act is so connected with the previous that it seems almost a continuation of it except for the fact that the poet has divided the plot into two Acts, the method followed by the poet is described by rhetoricians as an Ankāvatāra. This is a residuary device, and in all beginnings of Acts where none of the other four exists, it is supposed that the poet has resorted to the Ankāvatāra. अन्तर्यवनिकासंस्थैश्चूलिकार्थस्य सूचना । अङ्कान्तपात्रैरङ्कास्यमुत्तरातार्थसूचना ॥ यत्र स्यादुत्तराङ्कार्थः पूर्वाङ्कार्थानुसंगतः । असूचिताङ्कपात्रं तदङ्कावतरणं मतम् ॥ In Mālavikāgnimitra we have a Vishkambha of the Miśra type at the commencement of the First Act and Praveśakas at the beginning of the Third and Fifth Acts. In the Vishkambha of the First Act, besides the two low characters--Bakulāvalikā and Kāumudikā, a middle character, Gañadāsa by name, takes part, and the conversation is carried on both in Sanskrit and Prākrt. In other respects also this satisfies the definition of a Vishkambha. The story is briefly indicated of Queen Dhāriņi coming into contact with Mālavikā who is entrusted to a music master for training in Națya. Secondly, a ring bearing the seal of a serpent is referred to whose momentous significance will be disclosed as the plot develops. There is also an indication how ·MĀLAVIKAGNIMITRA jealously Dhāriņi guards Malavikā from the king's sight. The story is also narrated how in spite of the best efforts of Dhāriņi, the king comes to know of Malavika by means of a picture, whereby the love of the king for Mālavikā is faintly suggested, By introducing Gañadāsa who takes inordinate pride in his pupil, the future rupture between the two experts in the stage is forecast. There are similar other indications of past and future events which the reader can find out for himself from a close perusal of the Vishkambha. In contrast to this Vishkambha, the attention of the reader is drawn to the opening scenes in Act III. and Act V. There the opening scene is called a Pravešaka. In the third Act, two inferior characters, Samāhitikā and Madhukarikā take part, and the conversation is entirely in Prākrt. Similarly at the beginning of the fifth Act, Madhukarikā and: Sārasaka take part, and the conversation is entirely in Prākſt. As to the events indicated by the Praveśakas in the Third and Fifth Acts see notes at the beginning of the said Acts at Page 225 and Page 266 respectively.

·INTRODUCTION xxi Special The works that are recognized as the genuine production of Kālidāsa, the greatest of Sanskrit poets and dramatists, are Raghuvamśa, Kumārasambhava, Meghasandeśa, Abhijñāna Śākuntala, Vikramorvašīya and Mālavikāgnimitra, the first three being poems, and tbe last three dramas. With regard to the authorsbip of Rtusamhāra tbe preponderance of scholarly opinion is in favour of treating it also as Kālidāsa's genuine work. The Date of Kālidāsa. The most authoritative scholarly pronounce- 'ment on the date of Kālidāsa, the greatest of Sanskrit poets, is that of Mr. K. G. Sankar in his article in the Indian Historical Quarterly Vol I. No. 2. June 1925, pages 309 to 316, wherein he establishes that Kālidāsa was a protege of Vikrama śakāri of 58 B. C. The view propounded therein has generally met with the approval of scholars since its publication. It has also come to light that the favourite theory of some of the western savants that Ašvaghosha served as a model for Kālidāsa has thoroughly failed to stand the test of searching scrutiny. Judging from the evidence afforded by Mālawikāgnimitra about the date of the author, the ·xxii MĀLAVIKĀGNIMITRA upper limit may be fixed as the reign of Agnimitra who is known to have ruled in 148 B. C. The words of the actor-वर्तमानस्य कवेः कालिदासस्य in the Prologue to that play and the Bharatavākya pronounced by the actor after having stripped himself of the role of the king-आशास्यमीतिविगमप्रभृति प्रजानां संपत्स्यते न खलु गोप्तरि नाग्निमित्रे suggest that Kālidāsa's play was intended to be acted during the reign of Agnimitra. Any contrary argument based upon the analogy of similar references to Chandragupta in Visakhadatta's Mudrārakshasa cannot be accepted as conclusive; perhaps Viſakhadatta wrongly imitated Kālidāsa. But a good deal can be argued against the theory that Kālidāsa and Agnimitra were contemporaries. In any event it may be taken to have been fairly established that Kalidasa can never be assigned to a date later than the first century B. C. The Historical Background of the Play. Agnimitra, the hero of this play, is a historical personage and belongs to the Śunga dynasty of rulers who came into power after the Māuryas as kings of Magadha. Chandragupta, the founder of the Māurya dynasty is historically known to have met Alexander in 326 B. C., and then founded the kingdom of Magadha which continued to be ruled over by the members of his dynasty down to Brhadratha, the last of the Māurya race, for a period of ·INTRODUCTION xxiii 137 years. In 189 B. C. the commander-in-chief Pushpamitra slew his master Brhadratha, usurped his throne and founded the Sunga dynasty. Soon after, Pushpamitra seems to have installed his son Agnimitra on the throne, himself preferring to continue to be called the commander-in-chief as may be evident from the letter of invitation sent by him to Agnimitra on the eve of his performance of the horse-sacrifice referred to in the Fifth Act of this play. It is clear from the internal evidence afforded by this play that Agnimitra's sway extended as far as the northern bank of the river Narmadā, wherein he is described to have established his brother-in-law, commander Vīrasena, as his vassal in a fortress. The capital of Agnimitra is Vidišā, corresponding to the modern Bhilsa in Central India. Virasena is also perhaps a true historical personage. He is said to have led an attack on behalf of Agnimitra against Yajñasena, the king of Vidarbha, who is also a historical character. Ultimately, the king of Vidarbha is vanquished, and his kingdom divided between him and his cousin Madhavasena with the river river Varada corresponding to the modern Vārdha as their boundary from east to west in the middle. The son of Agnimitra was Prince Vasumitra who was engaged by his grandfather in the task of guarding the ·xxiv MĀLA VIKĀGNIMITRA sacrificial horse for the Aśvamedha sacrifice about to be performed. The prince successfully repels an attack of the Yavana troups and brings back the horse safely whereupon Pushpamitra completes his sacrifice. The Māurya sachiva referred to in the play as having been imprisoned is perhaps the brother of Bộbadratha. Mālavikā, the heroine of this play, must have been an historical person inasmuch as her matrimony with the king is made the ultimate goal of the plot in this play. The other two heroines, Dhāriņi and Irāvati, are also probably historical personages. Vāhatava, the minister of Agaimitra, and Sumati, the minister of Mādhavasena also might have been historical characters. The rest of the characters in the play are mostly fictitious. The scene of operation in this play is confined to Central India. The river Narmadā can be inferred to be the southern boundary of Agnimitra's territory. The Vidarbha kingdom lay to the south of the Narmadā; and the river Varadā, a tributary of the river Godāvari, divided the divided the Vidarbha kingdom into two halves which were allotted to Yajñasena and Madhavasena. The river Sindhu on 'whose banks a fight took place beween Vasumitra and Yavanas about the sacrificial horse is identified with one of the tributaries of the river Jumna. Strictly speaking, there is no reason to differ from ·INTRODUCTION XXV the traditional theory that Sindhu is identical with the Indus. The plot of the play affords us some glimpses of the state of society in Agnimitra's days. The art of dancing was much in favour as well as singing and painting. There was absolute tolerance of the Buddhistic faith. The Parivrājikā's prescription for snake-bite suggests that medical science was popular, and it had reached an advanced state as suggested by the supposed treatment by Dhruvasiddhi, The reference to the backward motion of Mars indicates that astronomy was well known. The proposed release of all prisoners as a corrective for the mischievous influences of planetary motions illustrates the hold of astrology over the people. The presents of largesses to Brahmins by the queen for the well-being of her son Vasumitra that had been sent out on expedition shows that the Brahmin class was held in high esteem. The performance of Aśvamedha by Pushpamitra brings out that men of those days including kings largely observed the rules of the Vedistic law of ritual. The forgetting of Gāyatri is referred to as the worst curse for a Brahmin. Caravan trade was flourishing between country and country, but jungles on the outskirts were subject to occasional de pradations by bandits. The administration of the kingdom was carried on an ·xxvi MĀLAVIKĀGNIMITRA perfectly well as also the policies of war and peace. The country was subject to menace from Yavanas (Greeks ?), but it was being successfully tackled. Peace and plenty reigned within the kingdom. Mālavikāgnimitra as a Nātaka. Now we propose to consider how far the requirements of a Nataka laid down by rhetoricians are complied with in this play. नाटके प्रख्यातमितिवृत्तं, धीरोदात्तो नायकः, शृङ्गारवीररसयोरन्यतरस्य प्राधान्यम् ॥ According to this definintion the plot in a 717 must be one already chronicled in the epics or handed down by tradition. Orthodox commentators trace the source of the plot of this drama to references to Agnimitra in Vishậupurāņa and Bhāgavata. It has been already pointed out when dealing with the date of Kalidasa that Kālidāsa lived very near the reign of Agnimitra, though not actually his contemporary. It is rather curious that a poet who details incidents about a hero of such recent date. should be supposed to have drawn his inspiration from a Purana rather than from fresh memories. A more rational interpretation of this requirement seems to be that the plot in a drama should have substantially a historical background. And this has been already dealt with. The second requirement relates to the hero viz., that he should be a stigia. No doubt attempts ·INTRODUCTION xxvii have been made to raise the level of the hero in our play to that of a Dhīrodatta, but it must be admitted that notwithstanding the echoes of wars and martial display, there is more of Dhiralalita in our hero. All his administrative work is done by his ministers, all his conquests are gained by his generals and the hero is seen busy nowhere except in love-intrigues. The proper view to be taken is that Kālidāsa cared little for the conventional trammels of dramaturgy. With regard to Rasa the rhetoricians postulate that at or PTT should be the dominant emotion of a Nāțaka. Though the principle is violated in Bhavabhūti's Uttararā macharita which exhibits the. domination of Karuņa, the critic may well be satisfied that in this play there is no deviation from the rule. Fit or love is obviously the dominant. emotion of the play. 6 Criticism Appreciative Remarks by scholars. The Muse of Kālidāsa with special reference to Sakuntala has been extolled by the great German poet Goethe in highly laudatory terms, whose oftquoted translation runs as follows: Would'st thou the young year's blossoms and the fruits of its decline, ·xxviii MĀLA VIKĀGNIMITRA And all by which the soul is charmed, epraptured, feasted, fed, Would'st thou the Earth and Heaven itself in ope sole name combine ? I name thee, O Sakuntala ! and all at once is said. Goethe. Schlegel besides assigning to Kālidāsa a high "position amongst the glorious company of the Sons of song, speaks of the delightful Sakuntalā which notwithstanding the colouring of a foreign climate bears in its general structure a striking resemblance to our romantic drama. Humboldt remarks :-Kālidāsa, the celebrated author of Sakuntalā is a masterly describer of the influence which Nature exercises upon the minds of lovers. Tenderness in the expression of feeling and richness of creative fancy have assigned to him his lofty place among the poets of all nations.' Sir William Jones eulogises Kālidāsa as the Shakespeare of India. Sir Monier Williams-'Of all the Indian dramatists and indeed of all Indian poets the most cele- · brated is Kálidāsa, the writer of the present play.' - The poetical merit of Kalidāsa's "Sakoontala' is so universally admitted that any remarks on this head "would be superfluous. I will merely observe that, in ·INTRODUCTION .xxix the opinion of learned natives, the Fourth Act which describes the departure of Sakoontala from the hermitage, contains the most obvious beauties; and that no one can read this Act, nor indeed any part of the play, without being struck with the richness and elevation of its author's genius, the exuberance and glow of his fancy, his ardent love of the beautiful, his deep sympathy with Nature and Nature's loveliest scenes, his profound knowledge of the human heart, his delicate appreciation of its most refined feelings, his familiarity with its conflicting sentiments and emotions.' Prof. Lassen refers to Kālidāsa as the highest star in the firmament of Indian Poetry. Ryder-'No other poot in any land has sung of happy love between man and woman as Kālidāsa sang. I know of no poet, unless it be Shakespeare, who has given the world a group of heroines so individual yet so universal ; heroines as true, astender, as brave, as are Indumati, Sītā, Pārvatī, the Yaksha's bride and Sakuntalā.' Keith-Kālidāsa represents the highest pitch of elegance, attained in Sanskrit style of the ele-. vated Kāvya character; he is master of the Vaidar.. bha style......He is admirably clear, and the propriety of his style is no less admirable.'

·XXX MALAVIKĀGNIMITRA The Greatness of Kalidāsa. The sweetness of Kālidāsa's poetry has elicited the high admiration of Bāņa conveyed in the following couplet in his Harshacharita :- निर्गतासु न वा कस्य कालिदासस्य सूक्तिषु । प्रीतिर्मधुरसार्दासु मञ्जरीष्विव जायते ॥ Who is not pleased with the poetic utterances of Kalidasa, which resemble flower-bunches flowing with honey? That Kālidāsa is the foremost of all poets is vividly stated in the following remark :- पुरा कवीनां गणनाप्रसङ्गे कनिष्ठिकाऽधिष्ठितकालिदासा । अद्यापि तत्तुल्यकवेरभावादनामिका सार्थकनामधेया ॥ In the Oriental method of counting, wafat or the little finger comes first, then the 7 the ringfinger and so on. The above quotation fancies that in days of old learned men assembled to take stock of poets. Every one counted Kālidāsa on the little finger. No name was forthcoming on the next finger, and thus अनामिका (न विद्यते नाम यस्यां सा) became true to its meaning. In Sakuntala as well as in his other two plays Kālidāsa does not strictly conform to the canons of dramaturgy like those embodied in Dasarūpaka which are certainly of a later origin. The dramatic genius of the poet has elicited high admiration ·INTRODUCTION xxxi from all quarters both indigenous and foreign as already shown under the head of 'Appreciative remarks by scholars.' To add to them will on our part be superfluous. Simple and lucid, the style of Kalidāsa is most charming and elegant in the whole field of Sanskrit literature. Free from long compounds and free from puns and the artificial devices of embellishment of a later date, Kalidasa's diction is melodious and goes straight to the heart of the hearer. No laboured construction, no straining of the syntax, his poetry is free from tiresome descriptions and vulgarity of conceits. He is a skilful artist of high poetic imagination, clever in delineating the emotions, developing his characters, giving a realistic picture of life and presenting the beauties of Nature. His verse is flowing and his prose is pithy. His emotions are dignified and sublime. His mastery of similes is well known and finds expression in the oft-quoted saying-3991 Fire, (afusa: 'पदलालित्यं भारवेरर्थगौरवम् । उपमा कालिदासस्य भवभूतेस्त्रयं क्वचित् ॥) (क्वचित in this stanza has been construed to refer to Uttararāmacharita). What is the order in which the three plays were composed by Kālidāsa? Mālavikāgnimitra is obviously his first production of the three. He says :- पुराणमित्येव न साधु सबै न चापि काव्यं नवमित्यवद्यम् । This shows that Kalidasa was just rising and had to fight his ·ΣΧxii MĀLAVIKĀGNIMITRA way into the galaxy of poets against current prejudices. This observation is confirmed by another remark of his-~-प्रथितयशसां भाससौमिल्लकविपुत्रादीनां प्रबन्धानतिक्रम्य कथं वर्तमानस्य कवेः कालिदासस्य कृतिषु बहुमानः. A feeling of youthful boastfulness is discernible in his remark in Malavikāgnimitra :-PT: 979tiere: A fool is led by the convictions of others. In Sakuntala the poet does not feel the need for introducing himself or fighting any prejudice of the audience. He simply says-कालिदासप्रथितवस्तुना नवेन नाटकेनोपस्थातव्यमस्माभिः. On the other hand the advance of years has blessed him with humility, and accordingly is his utterance of wisdom and humility in the ſãkuntala :- आ परितोषाद्विदुषां न साधु मन्ये प्रयोगविज्ञानम् । बलवदपि शिक्षितानामात्मन्य प्रत्ययं चेतः ।। Proof positive as to the ſākuntala being his latest production is furnished in the concluding stanza of benediction in the play in which he prays to Lord Śiva that he may be saved from a re-birth in the world :-~ममापि च क्षपयतु नीललोहितः पुनर्भवं परिगतशक्तिरात्मभूः- The sequence of these two plays having thus been fixed at the opposite ends, Vikramorvašīya naturally comes in the middle. The development of love in the three plays points to the same conclusion, The shortcomings of love in the first play are mitigated in the second. and totally removed in the last. Three heroines ·INTRODUCTION ixxiii there are in Malavikāgnimitra, two in Vikramor, vasiya and only one in ſākuntala. The so-called heroine in Malavikāgnimitra pales into insignificance by the side of the sublime majesty of the tolerant Dhāriņi and the sprightly movements of the coquettish Irāvati. A greater balance between the rivals Aušinarī and Urvaší is maintained in Vikramorvasiya, but in Sākuntala all the previous loves, if any, other than the heroine are discreetly kept in the background. The suppression of rival wives from the plot in Sakuntala saves the hero from many an awkward situation with which he is faced largely in Mālavikāgnimitra and in a less degree in Vikramorvasiya. It means that mistakes of the earlier play have been successfully avoided in the latest play. We have therefore no hesitation in concluding that Sakuntala is the last and best of the three plays composed by our poet. с ·xxxiv MĀLAVIKĀGNIMITRA Characters. AGNIMITRA *Abounding in kingly qualities' is the encomiom bestowed on Agoimitra by his minstrel-rea payu:, but the praise is sung by his own bard. The valiant father of a valiant son' is another trait referred to expressly-यस्याप्रधृष्यः प्रभवस्त्वमुच्चैः, but it is flattery by his own chamberlain. Love being the main theme of the play, events are lacking which would fully display the bravery or statesmanship of the hero. The curt reply of the king of Vidarbhas no doubt rouses the martial spirit of the hero, but the conquest of the foe is in fact done by his generals. Though brave, his bravery is rather founded on the heroism of bis father Pushyamitra and his son Vasumitra than on deeds of his own. Rightly confident in the statesmanship of his ministers, he leaves the administration of the kingdom entirely in their hands. His consequent indifference to the affairs of the state and the greater attention paid to matters of love have actually elicited the remark from his queen- यदि राजकार्येष्वीदृश्युपायनिपुणता आर्यपुत्रस्य, तत: शोभनं भवेत्. It would be well if such ingenuity of yours were directed towards the affairs of the state. As a conqueror, Agnimitra is generous towards his ·INTRODUCTION XXXV vanquished foe. He gives back half of the conquered kingdom to him. More than as a king, Agnimitra is depicted in this play as a lover. Agnimitra lived in days when polygamy was countenanced, particularly in the ruling class, of the Hindu society. Looked at with this background, it is in no wise strange that he should fall in love with the heroine when he has already a queen-Dhāriņi and a Bhogini-Irāvti. The heroes of a pretty large number of Sanskrit dramas are depicted as Dakshiņa nāyakas or heroes that accord equal treatment to all wives. Dushyanta, Purúravas, Vatsarāja and a host of others are presented as such in the different dramas, and the convention of the society has been appreciative of such heroes. As such, Agnimitra cannot be justly characterised as a reckless voluptuary. He as king is all-powerful. He can take the hand of Mālavikā at his will, but he wishes to realise his dream without wounding the feelings of his already wedded wife. This trait is brought out by the servant-maid in the Third Act thus:-बलवत्खलु साभिलाषो भर्ता तस्यां केवलं देव्या धारिण्याश्चित्तं रक्षन् आत्मनः प्रभुत्वं न दर्शयति. 6 In the end he takes the hand of Malavikā when it is offered by the queen herself. But how does he achieve it? Here it is that the weak point of the hero comes out. He longs to taste the fruit, but is too cowardly to devise the means himself.

·Xxxvi MĀLAVIKĀGNIMITRA His lack of initiative is well brought out by his comrade Vidushaka. भवानपि सूनोपरिचरो गृध्र इव आमिषलोलुप . He depends entirely on his accomplice for schemes to realise his dreams. His dependence in love-intrigues on his friend stands on a par with his dependence on bis ministers in matters of statecraft. In fact this trait is referred to by the hero himself when he says:-अयमपरः कार्यान्तरसचिवोऽस्मानुपस्थित:. In fact all the love-intrigues are done for him by his friend. The term Satha denoting a truant lover having been used by Irāvatī in a heated moment does not represent any real trait of Agnimitra. It is for or equal courtesy to all wedded wives that is conspicuously brought to play throughout the drama. In fact Agnimitra himself refers to chivalry as the hereditary Dharma of his family. Z # बिम्बोष्ठि बैम्बिकानां कुलव्रतम्. When Queen Dharini suspects. bim of having brought about the rupture between the two dance-masters, he tries to clear his character before her. When he is caught red-handed by Irāvati, he is profuse in his apologies to her. All his addresses to ladies are couched in sweet and polite language, and he resigns himself to the magnanimous temperament of Queen Dbāriņi for realising his own cherished love. VIDŪSHAKA The Vidūshaka of Mālavikāgnimitra stands unique in the whole range of Sanskrit drama. A ·INTRODUCTION Xxxvii resourceful schemer and a loyal accomplice of the king in all his vagaries, he is not the mere clown or king's jester which he is in other plays. His jokes are invariably actuated by motive; and his tricks alone account for the success of the hero. His witticisms and retorts, though ostensibly designed to excite laughter, play a large part in the development of the plot. When the king is impatiently longing for the first sight of Mālavikā in person, a thing which is jealously guarded against by the queen, Vidūshaka with his fertile imagination hits upon the happy device of setting up a quarrel between the two dance-masters. The shrewd Vidūshaka enlists the co-operation of the learned Kausiki whose status as a nun is utilised by her to the best advantage in influencing the queen's psychology right through the play. The demur of the queen to an exhibition of dance through pupils when the case of both the masters is presented before the king is effectively driven out by the ready wit and sarcastic remarks of Vidūshaka, some addressed to the queen, some to Gañadāsa and some to Kausiki-now by making innuendoes that the queen is interested in keeping up the prestige of her favourite dance-master, now by making the latter resolute in his longing to display the skill of his pupil in dance, now by apparently dissuading Ganadāsa on a risky display of skill, with the ·xxxviii MĀLAVIKĀGNIMITRA result that Mālavikā's dance is actually displayec before the king. The thing longed for comes to pass. Vidūshaka is ready with his next plan for bringing about a secret interview between the king and the heroine. The servant-maid Bakulā- Valikā is taken into confidence, and with her connivance the Vidüsbaka brings it about though eventually it is disturbed by the unexpected advent of Irāvati. Irãvati carries tales to Queen Dhāriņi about the infidelity of the king. A joke of Gautama makes the queen fall from the swing and disables her to move freely. To please Irāvati the queen commits Mālavikā to prison with strict orders not to release except on production of token from the queen. Rising equal to the occasion, the Vidūshaka invents the trick of snake bite, procures the signetring of the queen and effects a release of Malavikā and Bakulavalikă from prison. When the jailwarden Madhavikā makes a searching enquiry, he gives a fitting answer that he as king's servant is. deputed by the queen in the release of the prisoners as the release is intended for the benefit of the king in view of his bad stars. The second interview too comes to pass. In both the interviews it is Vidūshaka that extricates the hero from awkward dilemmas when confronted with jealous attacks from Irāvati. Even while blabbing in dream, he furthers the plot. The cunning plan of Vidūshaka is detected again by ·INTRODUCTION xxxix Iravati who rightly remarks-अयमस्य कामतन्त्रसचिवस्य उद्भिन्नो दुष्प्रयोगः 'This is the machination of this minister in charge of the department of love.' This remark sets out the character of Vidushaka briefly and exhaustively. That this is the chief trait of Vidūshaka is emphasised by the king himself almost at the beginning of the plot in his remark-3789: Farafrath Aastrantia:. His stupidity is feigned, and his love of diet is diplomatic. दृढं विपणिकन्दुरिव मे उदरा- rata. In short the Vidūshaka of this play is the king's Adhé par excellence, but for whose machinations the hero would have languished in vain for his love. DHĀRIŅI Kālidāsa's skill in characterisation comes out best in the female characters of this play. He presents two opposite types of womanly character, the magnanimous Dhāriņi and the jealous Irāvati whose traits are gradually revealed with the progress of the plot. No doubt at the outset Dhāriņi jealously guards the impressive personality of Malavikā from the sight of the king. She even tries to prevent the scheme of Vidüsbaka to display the dance of Mālavikā before the king from being carried out, but yields eventually. As the plot progresses, her magnanimity asserts itself. She forgives the faults of the king. She promises Mālavikā her desired ·MĀLA VIKĀGNIMITRA object if the Aśoka puts forth blossom in five days. She is charitable to the Vidūshaka, though conscious of his complicity in the love-intrigues of the king. She is moved to pity when a snake is supposed to have bitten him and offers him her sig. net-ring for effecting his cure from poison readily without a demur, Sbe is tolerant when the miguse of her signet-ring comes to light, and actually sends word to Irāvatī that she imprisoned Mālavikā and Bakulāvalikā only to respect her wishes, but that she would like to fulfil the desire of the king. As an ideal Hindu wife, she subordinates her interests to those of her husband. She is ever cordial and respectful towards him despite his vagaries. She does not utter a harsh word towards him even under great provocation. Her utmost hard behaviour towards her erring husband consists in a mere passing thought-Et staat 75g78. When the noble heredity of Princess Malavikā comes to her notice, she sincerely repents of having treated her as a maid-servant. Genial in temper, cordial in words and acts, dignified in behaviour and stately in her manners, Dhāriņi is quite an impressive character. In her association with the learned Kausiki and gifts to Brahmins on hearing her son's expedition for the steering of the sacrificial horse comes out her religious temperament. Her attitude towards Mālavikā beginning from the ·INTRODUCTION initiation in dance down to her admittance in the royal harem reveals her kindliness. Her nobility of character comes out in her acquiescence in the advent of a rival wife, a feature praised by the learned Kausiki thus:-प्रतिपक्षेणापि पतिं सेवन्ते भर्तृवत्सलाः TIETT:. In the result Dhāriņi remains without a parallel among feniale characters, perhaps in the whole range of Sanskrit drama. IRĀVATI Irāvati presents a strange contrast to Dhāriņī. She is very particular about her personal charms and asks her servant-maid Nipuņikā whether she appears attractive in her drunkenness. She is a matter-of-fact lady that is legitimately jealous of a rival participant in the king's love. The superior personality of Mālavikā strikes her with terror and envy. Her jealousy leads her to constant eavesdropping at many an interview between the king and his new love. An undignified coquette, she loses her temper at the infidelity of the king. She bluntly interrupts the interview of the king and the heroine with her angry words: पूरय पूरय । अयमशोकः कुसुमं न दर्शयति । अयं पुन: पुष्प्यति फलति च । She addresses sarcastic remarks to Malavikā and threatens her accomplice Bakulāvalikā. She taunts her husband with the word 77 and beats him with her girdle and refuses to be reconciled even by his prostration, ·MĀLAVIKĀGNIMITRA knowing as she did that his apologies were insincere. Exasperated by the king's courtship to his new love, she induces queen Dhāriņi to put Mālavikā and her maid in prison. At the second interview too, already enraged that she is at the mutter of Vidūshaka in dream for Mālavikā, she is further incensed at the release of Malavikā, and though she suspects the queen's partiality at the outset, accuses the Vidūshaka in strong terms when she comes to know that it was the trick of Vidū. shaka. The queen's tolerance leaves her no alternative except to submit to the inevitable, but it is the characater of Irāvati round which the whole plot of the drama turns and but for her the play would have lost much of its interest. MALAVIKĀ Introduced as a servant-maid, Mālavikā, the heroine of this play, appears as a girl marked for simplicity and made of fine mettle. Dhāriņi with her keen insight soos in her a potential expert in dance and bids the great dance-master Gañadāsa educate her in the art of the theatre. Her high accomplishments evoke the admiration of the tutor and rouse his surmises of her noble lineage. Her uncommon beauty presented but in the picture. wins the heart of the king and makes him eager for a personal sight. Her personal charms andi ·INTRODUCTION xliii. fine accomplishments elicit the unanimous approbation of all those who sit in judgment in the contest of skill. The sight of the king fills her: with love. Though at first in doubt, she is assured of the king's love by the mouth of Bakulāvalikā. But her reverence for the queen, matched only with that for Kausikī, is too great to give her any freedom of action. The promise of the queen to fulfil her desire if the Asoka blossoms in five days comes as a godsend, and her hope revives. The secret interviews with the king disclose her as. representing the gra type of heroine or an entrant in love as distinguished from Dhāriņi who is. efter or a veteran unshaken by momentary impulses. and from Irāvati who is wettl or a heroine that will easily lose the balance. But it is only when the plot is about to be wound up and she is disclosed as a born princess from the words of the two female artistes, a flood of light is thrown on her real character. For a full year she has suppressed her . noble birth and would not turn it into account for her benefit by its disclosure, but in silence suffers. all ordeals with fortitude. Notwithstanding: that she was in the ordinary course destined for matrimony with the king, she would have her dream crowned with success rather by dint of her own merit, than by a disclosure of her noble birth. Neither the king nor the queen nor even the:

·xliv MĀLAVIKÄGNIMITRA shrewd Vidūshaka in all the previous stages of the plot knows her either as a born princess or as one in the secret charge of the lady who posed herself as a Buddhistic nun. Making it appear as though it were a gift from the queen, she takes the band of the hero and rises to the status of a queen. PARIVRĀJIKA Moving as a Buddhistic nun, Paņdita Kāuśiki commands the respect and affection of every one in the royal household of Agrimtra. As a lady of high culture, she wins the heart of queen Dhāriņī and influences her psychology by tendering elderly advice now and then. As is common to the religious order to which she belongs, she with apparent unconcern deeply influences the trend of affairs in the royal house. The shrewd Vidūshaka finds in her a ready participant in his conspiracy to display the dance of Mālavikā in the presence of the king. Her judgment pronounced in the verse arenae: reveals her high profi- . ciency in the theory, of dance. She is in intimate touch with botb the king and the queen by her frequent visits. The recipe suggested by her for the pretended snake bite of Vidūshaka-gat GTET gaan shows that she has a practical working knowledge of the medical science as well. When the mystery hanging all the while over þer identity as lifted by the scene where the two artiste. girls ·INTRODUCTION xlv are presented to the king in the last Act, she is. really known as the widowed sister of Sumati, minister of Madhavasena, that had undergone many a toil and suffering in the past. In her: bereavement due to the loss of her brother Sumati who was killed in a scuffle by robbers in the woods, she finds to her great sorrow that his ward Mālavikā too was missing. Putting on the ascetic robes, she is glad to meet Mālavikā serving under queen, Dhāriņi by accident. Watching the growth of love between her and the king, she looks with an indulgent eye on their youthful pranks of love. Standing in loco parentis to Mālavikā, she keeps. it a guarded secret for a year as she wishes to allow matters to take their own course till she achieves her object of uniting Malavikā with the king. Her explanation to the queen that her silence was due to a seer's prophecy is not quite convincing. In short, while Vidūshaka's contribution to the development of the plot is active, hers is passive BAKULĀVALIKA Her character as an ideal Dūtī is dealt with in the Notes, especially under the verse 97193aa-a sregà a Act III. Verse 14. JAYASENĀ The part played by the female doorkeeper Jayasenā in the plot of the drama, though limited, ·xlvi MĀLAVIKĀGNIMITRA SA begins at a critical hour with the king'ş direction to Vidūshaka-FTŪGTAIFaria Tere in the Fourth Act. Taken into confidence by the king and Vidūshaka in the scheme for the release of Malavikā and Bakulávalikā, she takes the king to the apartment where the queen is lounging in an airy room due to her injured foot. Vidushaka comes upon the scene, pretending a snake's bite. She is bid by the king to fetch Dhruvasiddhi. She goes out and brings a pretended message from the doctor with the result that Vidūshaka procures the signet-ring of the queen and eữrects the release of the two ladies. · Jayasenā brings another fictitious message, now from the minister, that the king is sought for consultation on state-matters and takes him off from the queen's presence, thus leading to his second interview with the heroine. The other duties done by her later on are the announcement of the monkey-scare which frightens princess Vasulakshmi, taking the king to attend the honouring of the Asoka at the invitation of the queen, carrying the queen's message to Irāvati to reconcile her to the admittance of Mālavikā and her reply to the queen, the fetching of a pair of white silken cloths for donning on Mālavikā's person at the conferment of the title of queen on her by Dhāriņi -all these done by her in the ordinary discharge ..of her duties as a doorkeeper, ·INTRODUCTION xlvii Argument of the play. Act I. A maid-servant, Bakulāvalikā by name, is sent by Queen Dhariņī to enquire the dancemaster Gañadāsa as to the progress of his pupil Mālavikā who has been entrusted by her for training in the art of dance. On her way she meets another servant maid, Kāumudikā by name, and in the course of a conversation with her it is known that King Agnimitra has chanced to see Malavikā represented in a picture by the side of the queen and has begun to entertain love for her as a result of which Mālavikā is very jealously guarded by the queen from the sight of the king. Then Bakulāvalikā meets Ganadāsa who, in answer to the queen's enquiry, declares his very high appreciation of the talents of his pupil. In the course of the dialogue between Gañadāsa and Bakulāvalikā, it is known that Mālavikā was sent to the queen as a present by her brother Vīrasena, and Ganadāsa suspects that his pupil must have come of noble heredity. This is the story in the Vishkambha. Then begins the Act proper. The minister reads out to the king the letter of the king of Vidarbha sent in reply to a letter sent by Agnimitra calling on him to release. Madhavasena and his wife and sister who had been taken by force by a vassal of the king of Vidarbha. The reply states ·alviii MĀLAVIKĀGNIMITRA that Agnimitra should not meddle in the affair and that if Agoimitra should insist on the release of Madhavasena, the king of Vidarbha will be prepared to do it provided Agnimitra releases Minister Māurya, the brother-in-law of the king of Vidarbha. Agnimitra is irritated by this reply and declares war against the king of Vidarbha. Then the king who bad fallen in love with Mālavikā and directed Vidūshaka to find out a plan by which he can have an actual sight of Malavikā, meets Vidūshaka and enquires about the result of his endeavours. By this time the two stage-masters, Haradatta and Ganadāsa who had been set up by the ears by Vidūshaka seek an interview with the king on the ground that each had defamed the other. In the course of their complaint they offer a challenge to each other on their learning in the art of dance. At the suggestion of the king, the queen and the female ascetic are also invited to witness the contest. The female ascetic who makes common cause with the king declares that the efficiency of the disputants must be decided with reference to the effect of their teaching on their students. After some dissent, the queen is obliged to consent-to the course for the sake of Ganadāsa. The Parivrājikā who plays the umpire prescribes the Chhalita dance as the subject of dispute, and both the masters walk out and prepare their pupils for the contest.

·INTRODUCTION xlix Act II. Of the two stage-masters, Ganadāsa is given the first turn of exhibiting his training, and accordingly Mālavikā enters on the scene and plays the Chhalita dance. At the sight of Malavikā and her dance and music, the king's love for Malavikā takes deep root. After performing the dance she goes away, and the king is very much depressed by her disappearance. At this time the minstrel behind the scenes announces the advent of the midday by reason of which the king is called away to dinner, and Haradatta is promised his turn the next day. Act III. In the Interlude two servant-maids converse with each other in the course of which the result of the contest is made known that, in spite of the equal efficiency of the two masters, Ganadāsa's exhibition was praised by reason of the superiority of his pupil Mālavikā. In the Act proper the king is extremely uneasy by his love, and along with Vidūshaka goes to a garden for relief in pursuance of an engagement he had already fixed with Irāvatī. There he accidentally sees Mālavikā performing the Dohada for an Asoka tree in obedience to the command of the queen. The king and Vidūshaka remain hidden behind a thicket and follow the conversation between Mālavikā and the maid-servant Bakulā valikā in the course of which the latter makes the former resolute in her love for the king. Māla vikā, in the d ·1 MĀLAVIKĀGNIMITRA course of the Dohada, kicks the Asoka with her foot. Now the king and Vidūshaka enter, the latter pretending to take Mālavikā to task for thus spurning at the Aśoka, a good friend of the king. The king then communicates his love to Malavikā. At this stage Irāvatī who had been watching these movements appears before them by which all are puzzled. After apologizing to Irāvatī, both Mālavikā and Bakulāvalikā go out. Then Irāvati accuses her lover of infidelity, and the king after attempting an explanation falls at the feet of Irāvatī who then walks out in rage. Vidūshaka humorously observes to the king that by Irāvati's walk-out he is rid of a bother, and the king also falls in line with him. Act IV. Vidūshaka informs the king that the queen has consigned Mālavikā and her friend Bakulāvalikā to an underground dungeon on learning from Irávatī of love-making between Malavikā and the king, and also that the queen has issued strict orders to Madhavika who is in charge of the cellar never to release both the prisoners unless and until the seal of her signet-ring were produced. The king is grieved at the news of Mālavikā's imprisonment. In pursuance of a plot secretly intimated to the king, the king first goes to meet the queen and enquires her of the pain in her leg. Shortly, Vidūsbaka follows, raising a hue and cry, calling for succour and loudly lamenting that he has ·INTRODUCTION li been bit by a serpent, and with his thumb tightly bound by his sacrificial thread. On enquiry he says that this happened when he went to the garden to pluck flowers to interview the queen. The queen is touched to the quick on hearing that she has been the cause of Vidūshaka's danger to life. Parivrājikā. advises complacently an amputation or the cauterie of the bitten limb. Eventually, Vidūsbaka is taken to Doctor Dhruvasiddhi for treatment. The doorkeeper soon brings word that something bearing the seal of a serpent is required by the doctor in the performance of a ritual in the course of the treatment. The queen at once hands over her ring to the doorkeeper who walks out with it. The doorkeeper then enters to announce the news of the complete cure of Vidūshaka, and of the minister seeking an interview of the king. After advising the queen to resort to a cooler place, the king walks to the garden led by the doorkeeper, and meets Vidūshaka there. By this time Vidūshaka has with the aid of the queen's signet-ring effected the release of Mālavikā and Bakulāvalikā, and detains them in the summer house in a portion of the garden, When the king and Vidūshaka are stealthily watching them, Mālavikā grows jealous of Irāvati on seeing her being fondly looked at by the king in a picture. The king now presents himself before Mālavikā, and they exchange their love for each other.

·lii MĀLAVIKAGNIMITRA Bakulāvalikā and Vidūshaka walk out, leaving them in solitude. Now Irāvatī with the servant Nipuņikā is wending her way to the summer-house to crave the pardon of the king in picture in order to free herself from the breach of courtesy done to the king in disregarding his imploration. On their way Vidūshaka is seen by them, sleeping in a sitting posture and calling out the name of Mālavika in his dream. Irritated by this, Nipuņikā approved by Irāva tī lets fall a stick on him, and he at once wakes up crying out, Alas ! A serpent fallen on me. On hearing the cry the king hurries to the scene and Māla vikā follows. On seeing them Irāvatī speaks to the king in stinging language and cynically congratulates Bakulāvalikā on the success of her schemes. The king gives an ineffective explanation of his meeting with Malavikā. Irāvatī comes to learn through Nipuņikā that all this was the machination of Vidūshaka. The king finds himself in a fix in this situation, when much to his relief the doorkeeper comes in a hurry to intimate the sad condition of the princess Vasulakshmi who has been frightened out of her wits by a monkey. At the suggestion of Irāvatī, the king at once walks forth to console Vasulakshmi. Vidūshaka thanks the monkey for saving him from this predicament. Left alone, Mālavikā laments her fate when much to her joy she hears the news that the Aśoka has put ·INTRODUCTION liii forth buds before the lapse of five nights from the Dohada. 1 Act V. The fifth Act begins with the news of the victory of Agnimitra's army over the king of Vidarbha and the release of Madhavasena. Queen Dhāriņi has direced Parivrājikā to dress Mālavikā in a dress suited for wedlock, with the object of giving her in marriage to the king. She has also fixed with the king the altar under the Aśoka as a meeting place. In accordance with the engagement the king and Vidũshaka meet the Queen, Mālavikā and Parivrājikā under the shade of the tree. At the meeting, two artiste-girl sent from Vidarbha are introduced to the king. They recognize Mālavikā as their princess, the sister of Mādbavasena. The queen feels sorry for having treated the princess in the way in which she has done. From them the king learns that when Mādhavasena fell into the hands of his enemy, Minister Sumati secretly took out Mālavikā. The rest of the story about Malavikā is disclosed by the Parivrāji kā who is recognized by the artiste girls as Kāuśikī, the sister of Sumati, the minister of Madhavasena. She narrates that her brother secretly effected the escape of Mālavikā and herself, and with them joined a band of merchants destined for Vidiśā, with the object of meeting Agnimitra, that in a forest on the way the merchants were attacked by a band ·liv MĀLAVIKĀGNIMITRA of robbers, that in the skirmish Sumati lost his life, Kāusikī swooned, and by the time she recovered her senses Malavikāwas out of her sight. After cremating the body of her brother, Kāusikī took to ascetic robes, came to Vidiśā and chanced to meet Mālavikā in the queen's chambers when she learnt that from the foresters she passed into the hands of Vírasena and from him to the queen. Then Kāuśiki gives her reason for suppressing Mālavikā's parentage from the knowledge of the queen viz., that Malavika was bound to undergo servitude for one year in pursuance of a prophecy. The king gives directions to his minister that the conquered kingdom of Vidarbha should be divided into two. halves and that Yajñasena and Madhavasen a should be established in them separately. The king now receives a letter from his father Pushpamitra intimating that Vasumitra, the son of Agnimitra came out victorious in the protection of the sacrificial horse after crushing his enemies and that Agnimitra with his family should attend the Aśvamedha sacrifice about to be performed by his father. On the occasion of the happy news of her son's victoy,. the queen offers as a reward to the king the hand of Mālavikā, which he accepts, after the title of "Queen' is duly conferred on Mālavikā by the queen.. herself.

·DRAMATIS PERSONÆ सूत्रधारः पारिपाश्चिकः बकुलावलिका कौमुदिका गणदासः राजा (अग्निमित्रः) अमात्यः (वाहतवः) विदूषकः (गौतमः) कञ्चुकी (मौद्गल्यः) हरदत्तः धारिणी (देवी) परिब्राजिका (कौशिकी) मालविका वैतालिकः (वैतालिको) समाहितिका मधुकरिका (उद्यानपालिका) इरावती निपुणिका प्रतीहारी (जयसेना) परिजन: नागरिका सारसकः रजनिका ज्योत्स्निका Other Persons mentioned in the Play यज्ञसेनः (वैदर्भः) माधवसेनः सुमतिः पुष्पमित्रः वसुमित्रः वीरसेनः मौर्यसचिव: ध्रुवसिद्धिः वसुलक्ष्मीः माधविका चन्द्रिका

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·..॥ श्रीः॥ ॥ मालविकाग्निमित्रम् ॥ प्रथमोऽङ्कः । एकैश्वर्ये स्थितोऽपि प्रणतबहुफले यः स्वयं कृत्तिवासाः कान्तासंमिश्रदेहोऽप्यविषयमनसां यः परस्ताद्यतीनाम् । अष्टाभिर्यस्य कृत्स्नं जगदपि तनुभिर्बिभ्रतो नाभिमानः सन्मार्गालोकनाय व्यपनयतु स वस्तामसीं वृत्तिमीशः ।। १॥ MĀLAVIKĀGNIMITRA ACT THE FIRST MAY that Lord Siva dispel your state of darkness for your perception of the righteous path-He who, though situate in sole supremacy profusely fruitful to the reverent, is himself the wearer of the skin (of an elephant), who, though possessed of a body completely united with his spouse, transcends the ascetics whose minds are proof to sensuous appetites and who, though holding the entire Universe by means of his eight limbs, is possessed of no egotism. (1) ·MĀLAVIKĀGNIMITRA (नान्यन्ते) सूत्रधारः-(नेपथ्याभिमुखमवलोक्य) मारिष, इतस्तावत् । (प्रविश्य) यारिपार्श्विक:-भाव, अयमास्मि । सूत्रधार:-अभिहितोऽस्मि विद्वत्परिषदा-'कालिदासग्रथितवस्तु मालविकाग्निमित्रं नाम नाटकमस्मिन्वसन्तोत्सवे प्रयोक्तव्यम्' इति । तदारभ्यतां संगीतम् । पारिपार्श्विक: -मा तावत् । प्रथितयशसां भाससौमिल्लककविपु- त्रादीनां प्रबन्धानतिक्रम्य वर्तमानकवेः कालिदासस्य क्रियायां कथं बहुमानः । सूत्रधारः-अयि, विवेकश्रान्तमभिहितम् । पश्य- (At the end of the stage-benediction) Stage-director. (Looking towards the dressing room) Comrade, come here. (Enter) Assistant. Sir, here I am. . Stage-director. I have been told by the assembly of the learned that the drama known as Mālayikāgnimitra whose plot was shaped by Kālidāsa should be put on boards in this Spring festival. Therefore, begin the music. Assistant. Oh no. Whence is the regard for the work of Kālidāsa, a contemporary poet, in preference to the works of reputed authors like Bhāsa, Saumillaka and Kaviputra ?

·ACT THE FIRST 3 पुराणमित्येव न साधु सर्व न चापि काव्यं नवमित्यवद्यम् । सन्तः परीक्ष्यान्यतरद्भजन्ते मूढः परप्रत्ययनेयबुद्धिः ॥२॥ पारिपाश्चिक:---आर्यमिश्राः प्रमाणम् । सूत्रधारः---तेन हि त्वरतां भवान् । शिरसा प्रथमगृहीतामाज्ञामिच्छामि परिषदः कर्तुम् । देव्या इव धारिण्याः सेवादक्षः परिजनोऽयम् ॥ ३॥ ( इति निष्क्रान्तौ।) इति प्रस्तावना। Stage-director. Eh! You speak without discrimination. See- All poetry is not good, merely because it is old; nor is it faulty, because it is new. The wise, after examining (both), accept either. He is a fool whose mind is guided by the convictions of others. (2) Assistant. The venerable gentlemen (here assembled) are the best judges (in this matter). Stage-director. Therefore, make haste. I desire to perform the command of the assembly, which has been first received by me by the head, just like this servant who is diligent in the service of Queen Dhāriņī. (3) (Exeunt) END OF THE PROLOGUE ·4 MĀLAVIKĀGNIMITRA (ततः प्रविशति चेटी।) चेटी-१आज्ञप्तास्मि देव्या धारिण्या अचिरप्रवृत्तोपदेशं छलितं नाम नाट्यमन्तरेण कीदृशी मालविकेति नाट्याचार्यमार्यगण- दासं प्रष्टुम् । तद्यावत्संगीतशालां गच्छामि । ( इति परिकामति ।) (ततः प्रविशत्याभरणहस्ता द्वितीया चेटी।) प्रथमा-(द्वितीयां दृष्ट्वा) २सखि कौमुदिके, कुतस्त इयं धीरता । यत्समीपेनापि मामतिक्रामन्ती इतो दृष्टिं न ददासि । (Enter a Servant-maid) Servant-maid. I have been commanded by Queen Dhāriņi to enquire the dance-master, the revered Gañadása, how is Malavikā in the dance known as chhalita which has been recently taught her.. Therefore, I shall just go to the music-hall. [Walks about: (Enter a Second Servant-maid with an ornament in hand) First servant-maid. (Seeing the Second) Friend Kāumudikā, whence is this, your audacity, that, passing me though so near, you do not cast your glance this way? १. आणत्तम्हि देवीए धारिणीए, अइरप्पउत्तोवदेसं छलिअंणाम भट्ट अन्तरेण कीरिसी मालविअत्ति पट्टाअरिअं अज्जगणदासं पुच्छिदुं । ता जाक संगीदसालं गच्छम्मि। २. हला कोमुदीए, कुदो दे इअं धीरदा। जं समीवेण वि मं अदि- कमंदी इदो दिठिंण देसि । -

·ACT THE FIRST
5
द्वितीया-अंहो बकुलावलिका। सखि, इदं देव्याः शिल्पि-
सकाशादानीतं नागमुद्रासनाथमङ्गुलीयकं स्निग्धं निध्यायन्ती
तवोपालम्भे पतितास्मि ।
बकुलावलिका-(अङ्गुलीयं विलोक्य) २स्थाने खलु सज्जति दृष्टिः।
अनेनाङ्गुलीयकेनोद्भिन्नकिरणकेसरेण कुसुमित इव तेऽग्रहस्तः
प्रतिभाति ।
कौमुदिका-३सखि, कुत्र प्रस्थितासि ।
बकुलावलिका-४देव्या एव वचनेन नाट्याचार्यमार्यगणदासं
प्रष्टुम्----उपदेशग्रहणे कीदृशी मालविकेति ।
Second servant-maid. O Bakulāvalikā ! Friend,
engrossed in looking at this beautiful ring of the
queen just brought from its maker and bearing
the mark of a serpent, I have fallen a victim of
your censure.
Bakulāvalikā. (Looking at the ring) Your vision
concentrates upon a worthy object. By this ring
which sends forth rays resembling tender leaves,
your fore-arm looks as though it has put forth
flowers.
Kāumudikā. Friend, whereto have you started?
१. अम्हो बउलावलिआ। सहि इदं देवीए सिप्पिसआसादो आणीदं
प्याअमुद्दासणाई अङ्गुलीअअं सिणि णिज्झाअन्ती तुह उवालम्भे पडिदम्हि ।
२. ठाणे खु सजदि दिठ्ठी । इमिणा अङ्गुलीअएण उब्भिण्णकिरणकेसरेण
कुसुमिदो विअ दे अग्गहत्थो पडिभादि ।
३. हला, कहिं पत्थिदा सि । ४. देवीए एव्व वअणेण णट्टाअरिअं

·6 MALAVIKĀGNIMITRA .. कौमुदिका-१सखि, ईदृशेन व्यापारेणासंनिहितापि दृष्टा किल सा भी। बकुलावलिका-२आम ! स जनो देव्याः पार्श्वगतश्चित्रे दृष्टः। कौमुदिका-कथमिव । बकुलावलिका-४शृणु । चित्रशालां गता देवी प्रत्यग्रवर्णरागां चित्रलेखामाचार्यस्यावलोकयन्ती तिष्ठति । भर्ता तावदुपस्थितः । कौमुदिका–५ततस्ततः । Bakulāvalikā. At the bidding of the queen herself, to ask the dance-master, the revered Ganadasa, how is Mālavikā in receiving instruction, Kaumudikā. Friend, secluded as she is by reason of this avocation, she has been seen by the king ? Bakulāvalikā. Yes. She was seen in a picture by the side of the queen. Kaumudika. How? Bakulāvalikā. Listen. The queen that had been to the show-room stood, looking at a picture bearing fresh colour drawn by the painting master. The king came at that time. Kaumudikā. Then ? अजगणदासं पुच्छिदूं उवदेसग्गहणे कीरिसी मालविएत्ति । १. हला, ईरिसेण वावारेण असंणिहिदा वि दिठ्ठा किल सा भटुणा । २. आम । सो जणो देवीए पस्सगदो चित्ते दिछो। ३. कहं वि। सुणु । चित्तसालं गदा देवी पञ्चग्गवण्णराअं चित्तलेहं आआरिअस्सा बोलोअन्दी चिठ्ठदि । भट्टा दाव उवछिदो। ५. तदो तदो ।

·ACT THE FIRST 7 बकुलावलिका-१ उपचारानन्तरमेकासनोपविष्टेन भर्चा चित्रग- ताया देव्याः परिजनमध्यगतामासन्नचारिणीं दृष्ट्वा देवी पृष्टा । कौमुदिका-२किमिति । बकुलावलिका-३ 'देवि, अपूर्वेयं दारिका, तवासना आलिखिता किंनामधेया' इति । कौमुदिका-४नन्वाकृतिविशेष आदरः पदं करोति । ततस्ततः । बकुलावलिका–५ततोऽवधीरितवचनो भर्ता शङ्कितो देवीं पुनः पुनरनुबन्टुं प्रवृत्तः । यावद्देवी न कथयति तावत्कुमार्या वसुलक्ष्म्याख्यातम्'आवुत्त, एषा मालविका' इति । Bakulāvalikā. After a cordial reception, the king occupied the same seat as the queen, and on seeing a girl in the midst of attendants by the sido of the queen in the picture, interrogated her. Kaumudika. How? Bakulävalikā. Queen, this girl is new, and she is written by your side. What is her name? Kaumudika. Of course, attention fixes upon a distinguished figure. Then ? Bakulāvalikā. Then the king whose words were disregarded felt suspicion and began to press the उवआराणन्दरं एकासणोवविठूण भटुणा चित्तगदाए देवीए परि- अणमज्झगदं आसण्णआरिणिं देक्खिा देवी पुच्छिदा। २. किं ति। ३. देवि, अपुव्वा इअं दारिआ, तुह आसण्णा आलिहिदा किंणामहे- एत्ति। ४. णं आकिदिविसेसे आअरो पदं करेदि । तदो तदो। ५. तदो अवहीरिअवअणो भट्टा संकिदो देवीं पुणो पुणो अणुबन्धिदूं १.

·8 MĀLAVIKĀGNIMITRA कौमुदिका-(सस्मितम्) १सदृशं खलु बालभावस्य । अतः परं कथय। बकुलावलिका-२किमन्यत् । सांप्रतं मालविका सविशेषं भर्तु- दर्शनपथाद्रक्ष्यते । कौमुदिका-३सखि, अनुतिष्ठात्मनो नियोगम् । अहमप्येतद- मुलीयकं देव्यै उपनेष्यामि । (इति निष्क्रान्ता ।) बकुलावलिका-(परिक्रम्यावलोक्य) ४एष नाट्याचार्य आर्यगण- दासः संगीतशालात इदानीं निष्क्रामति । यावदस्य आत्मानं दर्शयामि । (इति परिकामति ।) queen again and again. When the queen did not reply, the princess Vasulakshmi said-'Brother-inlaw, she is Malavika.' Kaumudikā. (With a smile) Quite in keeping with her childhood. Tell me what next transpired. Bakulavalika. What next? Mālavikā is now particularly guarded from the sight of the king. Kāumudikā. Friend, do your duty. I shall also take this ring to the queen. [Exit, Bakulāvalikā. (Walking round and seeing) Here पउत्तो। जाव देवी ण कहेइ दाव कुमारीए वसुलच्छीए आचक्खिदम्-आउत्त एसा मालविएत्ति । १. सरिसं खु बालभावस्स । अदो वरं कहेहि । २. किं अण्णं । संपदं मालविआ सविसेसं भटुंणो देसणपहादो रक्खीअदि । अणुचिट्ठ अत्तणो णिओअं। अहं वि एवं अङ्गुलीअअं देवीए उवणइस्सम् । ४. एसो गट्टाअरिओ अजगणदासो संगीदसालादो दाणिं णिकमइ । जाव से अत्ताणं दंसेमि । . ३. हला, ·ACT THE FIRST 9 (प्रविश्य) गणदास:- -कामं खलु सर्वस्यापि कुलविद्या बहुमता। न पुन- रस्माकं नाट्यं प्रति मिथ्यागौरवम् । कुतः । देवानामिदमामनन्ति मुनयः कान्तं क्रतुं चाक्षुषं रुद्रेणेदमुमाकृतव्यतिकरे स्वाङ्गे विभक्तं द्विधा । त्रैगुण्योद्भवमत्र लोकचरितं नानारसं दृश्यते नाट्यं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम् ।। ४ ।। बकुलावलिका -(उपमृत्य) आर्य वन्दे । the dance-master, the revered Ganadasa, now comes out from the music-hall. I shall just present myself before him. [Walks about (Enter Ganadasa) Ganadāsa. No doubt, a hereditary lore is held in high esteem by everybody. But ours is no false pride about the art of the theatre. Because Sages deem this as a pleasant spectacular sacrifice for the gods. This was displayed in a twofold fashion by Rudra on his own person associated with Umā. The realities of the world resulting from the three different mentalities appear here in mani. fold gay colours. The theatre is the one source of pleasure in different ways to men of different tastes. (4) Bakulāvalikā. (Approaching) Sir, I bow to you. अज वन्दामि। १.

·10 MALAVIKĀGNIMITRA गणदास:-भद्रे, चिरं जीव । बकुलाबलिका-~~-१आर्य, देवी पृच्छति-'अप्युपदेशग्रहणे नाति- क्लेशयति वः शिष्या मालविका' इति । गणदासः-भद्रे, विज्ञाप्यतां देवी-'परमनिपुणा मेधाविनी च' इति । किंबहुना। यद्यत्प्रयोगविषये भाविकमुपदिश्यते मया तस्यै । तत्तद्विशेषकरणात्प्रत्युपदिशतीव मे बाला ॥ ५ ॥ बकुलावलिका-(आत्मगतं) २इरावतीमतिक्रामन्तीमिव पश्यामि । (प्रकाश) कृतार्थेदानी वः शिष्या, यस्यां गुरुजन एवं तुष्यति । Ganadāsa. Good girl, may you live long. Bakulavalika. Sir, the queen asks-'Does your pupil Mālavikā not tax you much in following your instruction ?' Ganadasa. Good girl, let the queen be informed, *She is very clever and quick in her grasp.' Why say more? Whichever dance is taught her by me for representation on the stage, the young girl seems to teach me in return by doing it with facility. (5) Bakulāvalikā. (To herself) She seems to me to surpass Iravati. (Aloud) Fortunate is your student now, with whom the preceptor is so much pleased, अज, देवी पुच्छदि-अवि उवदेसरगहणे णादिकिलेसेदि वो सिस्सा मालविअत्ति । २. इरावदि अदिकमंदिं विअ पेक्खामि । किदत्था दाणिं वो सिस्सा, जस्सि गुरुअणो एव्वं तुस्सदि । . १.

·: ACT THE FIRST 11 . गणदासः–भद्रे, तद्विधानामसुलभत्वात्पृच्छामि । कुतस्तत्पोत्र मायातम् । बकुलावलिका-१अस्ति देव्या वर्णावरो भ्राता वीरसेनो नाम भर्ना नर्मदातीरेऽन्तपालदुर्गे स्थापितः । तेन शिल्पाधिकारे योग्येयं दारिकेति भणित्वा भगिन्यै देव्यै उपायनं प्रेषिता । गणदासः- (स्वगत) आकृतिविनयप्रत्ययादेनाम नूनवस्तुको संभा.. वयामि । (प्रकाशं) भद्रे, मयापि यशस्विना भवितव्यम् । पश्य पात्रविशेषे न्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः । जलमिव समुद्रशुक्तौ मुक्ताफलतां पयोदस्य ॥ ६ ॥ Ganadāsa. Good girl, on account of the scarcity of such persons I ask you, “Whence does this meritorious girl hail ?' Bakulāvalikā. There is an inferior half-brother of the queen, named Vīrasena who has been established by the king in a fortress on the frontieron the banks of the Narmadā. Saying that this girl would make for a good artiste, she has been sent by him as a present to his sister, the queen. Ganadasa. (Within.) Judging from her personality and modesty, I daresay she has come of noble. parentage. (Aloud) Blessed girl, I am also bound to become famous. See- १. अस्थि देवीए वण्णावरो भादा वीरसेणो णाम भट्टणा णम्मदातीरे अन्दवालदुग्गे ठाविदो । तेण सिप्पाहिआरे जोग्गा इअं दारिअत्ति भणि भइणीए देवीए उवाअणं पेसिदा ।

·12
MALAVIKĀGNIMITRA
चकुलावलिका-१अथ कुत्र वः शिष्या ।
गण०-इदानीमेव पञ्चाङ्गाभिनयमुपदिश्य मया विश्रभ्यतामित्यभि-
हिता दीर्घिकावलोकनगवाक्षगता प्रवातमासेवमाना तिष्ठति ।
अकुलावलिका-२तेन ह्यनुजानातु मामाचार्यः । यावदस्या
आर्यस्य परितोषनिवेदनेनोत्साहं वर्धयामि ।
गणदास:-दृश्यतां सखी । अहमपि लब्धक्षणः स्वगृहं गच्छामि ।
(इति निष्क्रान्तौ ।)
इति मिश्रविष्कम्भः।
The learning of an instructor, when imparted
to a deserving pupil, gains in eminence just as the
'water of a cloud, falling into a sea-shell, becomes
pearl.
(6)
Bakulāvalikā. By the bye, where is your pupil ?
Ganadāsa. She has just now been taught the
dance consisting of five limbs and asked by me
to take rest, and having gone to the window which
opens the view to the lake, she stands enjoying the
breeze.
Bakulavalika. Then, master, give me leave so
that I may increase her zeal by informing her of
your satisfaction.
Ganadāsa. You may see your friend. Having
got leisure, I shall also go home.
[Exeunt
End of the Mixed Vishkambha.
१. अह कहिं वो सिस्सा। २. देण हि अणुजाणादु आआरिओ।
जाब से अजस्स परितोसणिवेदणेण ऊसाहं वड्ढेमि ।

·ACT THE FIRST. 13.. (ततः प्रविशत्येकान्तस्थितपरिजनो मन्त्रिणा लेखहस्तेनान्वास्यमानो राजा ।) राजा—(अनुवाचितलेखममात्यं विलोक्य) वाहतव, किं स प्रतिपद्यते वैदर्भः। अमात्यः-देव, आत्मविनाशम् । राजा-निदेशमिदानीं श्रोतुमिच्छामि । अमात्यः-इदमिदानीमनेन प्रतिलिखितम् । “पूज्येनाहमादिष्ट:- 'पितृव्यपुत्रो भवतः कुमारो माधवसेनः प्रतिश्रुतसंबन्धो ममोपान्तिकमुपसर्पन्नन्तरा त्वदीयेनान्तपालेनावस्कन्ध गृही- तः। स त्वया मदपेक्षया सकलत्रसोदयों मोक्तव्यः' इति । तन्न वो न विदितम् । यत्तुल्याभिजनेषु भूमिधरेषु राज्ञां (Enter the King with the Minister having a letter in hand seated behind, and retinue standing at a distance) King. (Looking at the minister who has perused the letter) Vāhatava, what does that king of Vidarbha propose ? Minister. His own ruin, my lord. King. I now desire to hear his ul tima tum. Minister. This is now his reply-'I have been thus commanded by Your Highness: "Your paternal uncle's son, Prince Madhavasena who had promised an alliance with me was, while coming to me, attacked in the middle and seized by a frontier chieftain of yours. For my sake he must be released by you along with his wife and sister." It is not.

·14 MĀLAVIKĀGNIMITRA प्रवृत्तिः । अतोऽत्र मध्यस्थः पूज्यो भवितुमर्हति । सोदर्या पुनरस्य ग्रहणविप्लवे विनष्टा । तदन्वेषणाय प्रयतिष्ये । अथ अवश्यमेव माधवसेनो मया पूज्येन मोचयितव्यः, श्रयता- मभिसंधिः मौर्यसचिवं विमुञ्चति यदि पूज्यः संयतं मम स्यालम् । मोक्ता माधवसेनं ततोऽहमपि बन्धनात्सद्यः॥७॥ इति । राजा-(सरोषं) कथं कार्यविनिमयेन मयि व्यवहरत्यनात्मज्ञः । वाहतव, प्रकृत्यमित्रः प्रतिकूलकारी च मे वैदर्भः । तद्या- तव्यपक्षे स्थितस्य पूर्वसंकल्पितसमुन्मूलनाय वीरसेनप्रमुख दण्डचक्रमाज्ञापय । unknown to you that kings deal with rulers of their own stock. Therefore, Your Highness ought to be neutral in this matter. But his sister has been lostin the hurly.burly of the capture, and I will strive my best to search for her. Or, if Your Highness insists that Madhavasena should be set free by me, then hear my terms If Your Highness releases my brother-in-law, the minister Māurya who has been incarcerated, then I shall also forth with release Madhavasena from prison' (7) King. (Indignantly) How does this reckless person speak to me in terms of a bargain? O Vahatava, the ruler of Vidarbha is my natural enemy and wrong-doer. Therefore, issue orders to the forces ·ACT THE FIRST 15 अमात्यः-यदादिशति देवः । राजा-अथवा किं भवान्मन्यते । अमात्यः-शास्त्रदृष्टमाह देवः । कुतः । अचिराधिष्ठितराज्यः शत्रुः प्रकृतिष्वरूढमूलत्वात् । नवसंरोपणशिथिलस्तरुरिव सुकरः समुद्धर्तुम् ।।८।। राजा-तेन ह्यवितथं तन्त्रकारवचनम् । इदमेव वचनं निमित्त- मादाय समुद्योजय तां सेनाम् । अमात्यः-तथा । (इति निष्क्रान्तः।) (परिजनश्च यथाव्यापार राजानमभितः स्थितः ।) headed by Virasena, as already resolved upon, for rooting him out as he ranks in the hostile camp. Minister, As Your Highness commands. King. Or, what do you think? Minister. Your Highness speaks in conformity 'with statecraft. For- An enemy recently established in kingdom, not having taken root in the minds of his subjects, is easy of extirpation just like a tree infirm by reason of fresh planting. (8) King. If so, unfailing are the pronouncements of lawgivers. Treating this statement itself as a sufficient cause, mobilise the army. Minister. Yes. [Erit (Servants stand by the side of the King in order of rank) ·16 MĀLAVILĀGNIMITRA (ततः प्रविशति विदूषकः।) विदूषकः-१आज्ञप्तोऽस्मि तत्रभवता राज्ञा- 'गौतम, चिन्तय तावदुपायम् , यथा मे यदृच्छादृष्टप्रतिकृतिर्मालविका प्रत्यक्ष- दर्शना भवति' इति । मया च तत्तथा कृतम् । यावदस्मै निवेदयामि । (इति परिकामति।) राजा-(विदूषकं दृष्ट्वा) अयमपरः कार्यान्तरसचिवोऽस्मानुपस्थितः । विदूषकः-(उपसृत्य) २वर्धतां भवान् । राजा--(सशिर:कम्प) इत आस्यताम् । (विदूषक उपविष्टः।) राजा-वयस्य, कच्चिदुपेयोपायदर्शने व्यापृतं ते प्रज्ञाचक्षुः । (Enter Vidushaka) Vidūshaka. I have been thus commanded by His: Highness: 'Gautama, think out a plan by which Mālavikā whose picture was seen by accident may be actually seen by me.' And I have done accordingly. I shall just inform him. (Walks about) King. (Looking at Vidushaka) Here is another person waiting on us, who is a minister in charge of a,different department. Vidūshaka. (Approaching) May you prosper. King. (With a ned of his head) Take your seat here. (Vidūshaka sits) King. Friend, was your intellectual eye directed in finding out a plan for the end in view ? १. आणत्तोम्हि तत्तहोदा रण्णा। गोदम, चिन्तहि दाव उवाअं, जह मे जदिच्छादिठ्ठपडिकिदी मालविआ पच्छक्खदसणा होदित्ति । मए वि तं तह किदं। जाव से णिवेदेमि । २. वड्ढदु भवं । कर ·ACT THE FIRST LZ. - विदूषकः-१प्रयोगसिद्धिं पृच्छ । राजा-कथमिव । विदूषकः (कर्णे) २एवमिव । राजा-साधु वयस्य, निपुणमुपक्रान्तम् । दुरधिगम सिद्धावप्य- स्मिन्नारम्भे वयमाशंसामहे । कुतः । अर्थ सप्रतिबन्धं प्रभुरधिगन्तुं सहायवानेव । दृश्यं तमसि न पश्यति दीपेन विना सचक्षुरपि ॥ ९॥ (नेपथ्ये) अलं बहु विकस्थ्य । राज्ञः समक्षभेवावयोरधरोत्तरयो- र्व्यक्तिर्भविष्यति । Vidashaka. Ask about the culmination of the plan. King. How? Vidashaka. (Whispers in the ear) Just so. King. Well, comrade, a clever beginning. We hope to succeed in this task, difficult as it may be. For-- He who has assistance is alone competent to realize an object which has impediments. A person though possessed of eyes, does not see an object in darkness without the aid of a lamp. (9) (Behind the scenes) Enough of bragging too much. In the presence of the king himself will be determined the inferior and the superior of us. १. पओअसिद्धिं पुच्छ । २. एव्वं विभ। 2 ·18 MĀLAVIKĀGNIMITRA राजा-(आकर्ण्य) वयस्य, त्वत्सुनीतिपादपस्येदं कुसुममुद्भिन्नम् । विदूषकः-फिलमपि द्रक्ष्यसि । (ततः प्रविशति कञ्चुकी।) कञ्चुकी-देव, अमात्यो विज्ञापयति-अनुष्ठिता प्रभोराज्ञेति । एतौ पुनहरदत्तगणदासौ उभावभिनयाचायौँ परस्परजयोद्यतौ । त्वां द्रष्टुमिच्छतः साक्षाद्भावाविव शरीरिणौ ॥ १० ॥ राजा-प्रवेशय तौ। कञ्चुकी- -यदाज्ञापयति देवः । (इति निष्क्रम्य पुनस्ताभ्यां सह प्रविश्य) इत इतो भवन्तौ King. (Listening) This is the flower put forth by the tree of your tactics. Vidushaka. You will see its fruit also. (Enter the Chamberlain) Chamberlain. My lord, the minister intimates that Your Highness's command has been carried out. But these two persons, Haradatta and Ganadasaboth masters of dramatic art, bent on vanquishing each other and looking like obvious embodiments of dramatic action, desire to see you in person. (10) King. Admit them. Chamberlain. As Your Highness commands. (Exit and re-enter with them both) Here, here, gentlemen. १. फलं वि दक्खिस्ससि ।

·ACT THE FIRST 19 हरदत्त:-(राजानमवलोक्य) अहो दुरासदो राजमहिमा । न च न परिचितो न चाप्यरम्य- चकितमुपैमि तथापि पार्श्वमस्य । सलिलनिधिरिव प्रतिक्षणं में भवति स एव नवो नवोऽयमक्ष्णोः ॥ ११ ॥ गणदास:-महत्खलु पुरुषाकारमिदं ज्योतिः । तथा हि- द्वारेनियुक्तपुरुषानुमतप्रवेशः सिंहासनान्तिकचरेण सहोपसर्पन् । तेजोभिरस्य विनिवर्तितदृष्टिपातै- वाक्याहते पुनरिव प्रतिवारितोऽस्मि ।। १२ ।। कञ्चुकी-एष देवः । उपसर्पतां भवन्तौ । Haradatta. (Looking at the king) Oh ! The unapproachable greatness of the king ! Neither is he unfamiliar nor otherwise than genial. Yet I approach his side with fear. Like the Ocean, he appears to my eyes new every mo- (11) Ganadāsa. Mighty indeed is the splendour taking this form of man ! Accordingly- Having got admittance by the authority of the person in charge of the gate and walking in along with the valet who is posted near the throne, I am repelled, as it were, though without words, by the rays of his splendour which dazzle my eyes. (12) Chamberlain. Here is His Highness. Both of you, draw near, ment.

·20 MALAVIKĀGNIMITRA उभौ-(उपसृत्य) विजयतां देवः । राजा-स्वागतं भवद्भयाम् । (परिजनं विलोक्य) आसने तावदत्र- भवतोः। (उभौ परिजनोपनीतयोरासनयोरुपविष्टौ ।) राजा--किमिदं शिष्योपदेशकाले युगपदाचार्ययोरुपस्थानम् । गणदासः-देव, श्रूयताम् । सुतीर्थादभिनयविद्या शिक्षिता । दत्तानुयोगश्चास्मि देवेन, देव्या च परिगृहीतः । राजा-दृढं जाने। ततः किम् । गणदास:-सोऽहममुना हरदत्तेन प्रधानपुरुषसमक्षम् 'अयं मे न पादरजसापि तुल्य' इत्यधिक्षिप्तः । Both. (Going near) Glory to Your Highness. King. Welcome to you both. (Looking at a servant) Seats for both these gentlemen. (Both sit on the seats brought by the servant) King. What does this mean--the arrival of both of you simultaneously at a time when you ought to be teaching your students ? Ganadasa. Your Highness, please listen. I have learnt the dramatic art from an ideal master. I have also been accorded recognition by Your High- And further, I have been patronised by Her Highness. King, True, I know. But what of that? Ganadāsa. With all that, I have been abused by this Haradatta in the presence of elderly men thus ness. -1 ·ACT THE FIRST 21 हरदत्तः—देव, अयमेव मयि प्रथमं परिवादकरः, अत्रभवतः किल मम च समुद्रपल्वलयोरिवान्तरमिति । तदत्रभवानिमं मां च शास्त्रे प्रयोगे च विमृशतु । देव एव नौ विशेषज्ञः प्रानिकः । विदूषकः-१समर्थं प्रतिज्ञातम् । गणदासः-प्रथमः कल्पः । अवहितो देवः श्रोतुमर्हति । राजा-तिष्ठतु तावत् । पक्षपातमत्र देवी मन्यते । तदस्याः पण्डित- कौशिकीसहितायाः समक्षमेव न्याय्यो व्यवहारः। विदूषकः-२सुष्टु भवान्भणति । This man is not equal even to the dust of my feet.' Haradatta. Your Highness, it was this man who is known to have first defa med me that as between his worthy self and myself the difference is as between the Ocean and a pond. Therefore, Your Highness will be pleased to examine him and me both in theory and practice. Your Highness will be the sole judge of our comparative merits. Vidūshaka. À proper challenge. Ganadāsa. An excellent course. Your Highness deserves to listen with attention. King. Let it remain. The queen will suspect partiality in the matter. It is therefore proper to hold the contest in her presence accompanied by the learned Kāusikī. Vidushaka. What you say is proper. १. समत्थं पडिण्णादं। भवं भणादि । २. सुट्छ

·22
MALAVIKĀGNIMITRA
आचायौं-यद्देवाय रोचते।
राजा-मौद्गल्य, अमुं प्रस्तावं निवेद्य पण्डितकौशिक्या सार्धमाहू-
यतां देवी।
कञ्चुकीयदाज्ञापयति देवः। (इति निष्क्रम्य सपरिवाजिकया देव्या सह
प्रविश्य) इत इतो भवती।
देवी-(परिव्राजिकां विलोक्य) १भगवति, हरदत्तस्य गणदासस्य च
संरम्भे कथं पश्यसि ।
परिव्राजिका–अलं स्वपक्षावसादशङ्कया। न परिहीयते प्रति.
द्वन्द्विनो गणदासः ।
देवी-२यद्यप्येवं, राजपरिग्रहोऽस्य प्रधानत्वमुपहरति ।
Both masters. As Your Highness pleases.
King. Māudgalya, let the queen be informed
of this incident and brought here along with the
learned Käuśikī.
Chamberlain. As your Highness commands.
(Exit and Enter with the Queen
accompanied by the Female ascetic)
Here, here, madam.
Queen. (Looking at the Female ascetic) Your
Holiness, in the contest between Haradatta and
Gañadāsa how do you anticipate the result?
Female ascetic. Enough of apprehending the
defeat of your side. Gañadāsa won't lag behind his
adversary.
१. भअवदि, हरदत्तस्स गणदासस्स अ संरम्भे कहं पेक्खसि ।
२. जइ वि.एव्वं, राअपरिग्गहो से पहाणतणं उवहरइ ।
: -

·.: ACT THE FIRST 23 परिवाजिका-अधिराज्ञीशब्दभाजनमात्मानमपि तावञ्चिन्तयतु भवती। पश्य । अतिमात्रभासुरत्वं पुष्यति भानोः परिग्रहादनलः। अधिगच्छति महिमानं चन्द्रोऽपि निशापरिगृहीतः ॥ १३ ॥ विदूषकः--१अविध अविध उपस्थिता पीठमर्दिकां पण्डित- कौशिकी पुरस्कृत्य देवी। राजा-पश्याम्येनाम् । यैषा- मङ्गलालंकृता भाति कौशिक्या यतिवेषया । त्रयी विग्रहवत्येव सममध्यात्मविद्यया ॥ १४ ॥ - Queen. Nevertheless the king's recognition confers eminence on him. Female ascetic. You must remember also yourself to be the holder of the title of queen. See- By the Sun's gift the Fire gets increased in refulgence. Favoured by the Night, the Moon also attains glory. (13) Vidūshaka. Oh! Ho ! The queen has come, preceded by her associate, the learned Kāusiki. King. I behold her, who- . Decked in auspicious attire and accompanied by Kāuśiki in the dress of an ascetic, (she) shines like the personification of the threefold Vedic lore assisted by the Philosophy of the Soul. (14) १. अविह अविह उवहिदा पीठमद्दिों पण्डिअकोसिइं पुरोकदुअ देवी ।

·24 MĀLAVIKĀGNIMITRA । परिव्राजिका -(उपेत्य) विजयतां देवः। राजा भगवति, अभिवादये। परित्राजिका- महासारप्रसवयोः सदृशक्षमयोयोः । धारिणीभूतधारिण्योर्भव भर्ता शरच्छतम् ।। १५ ।। धारिणी-१जयत्वार्यपुत्रः। राजा-स्वागतं देव्यै 1 (परिव्राजिकां विलोक्य) भगवति, क्रियता- मासनपरिग्रहः । (सर्वे उपविशन्ति ।) राजा--भगवति, अत्रभवतोहरदत्तगणदासयोः परस्परविज्ञान- संघर्षो जातः । तत्र भगवत्या प्राधिकपदमध्यासितव्यम् । Female ascetic. (Approaching) May Your Highness be victorious. King. I bow to Your Holiness. Female ascetic. May you for a hundred autumns be the lord of Dhāriņī giving birth to powerful offspring and of the Earth yielding produce in plenty, who are both alike in patience. (15) Dharint. Glory to my lord. King. Welcome to the queen. (Looking at the Female ascetic) Your Holiness, please take your seat. (All sit. down) King. Your Holiness, a mutual rivalry in know. ledge has arisen between the revered Haradatta १. जेदु अजउत्तो।

·? ACT THE FIRST 25 परिव्राजिका-(सस्मितं) अलमुपालम्भेन । पत्तने विद्यामानेऽपि ग्रामे रत्नपरीक्षा । राजा-मा मैवम् । पण्डितकौशिकी खलु भगवती । पक्षपाति- नावनयोरहं च देवी च । आचायौँ -सम्यगाह देवः । मध्यस्था भगवती नौ गुणदोषतः परिच्छेत्तुमर्हति राजा-तेन हि प्रस्तूयतां विवादवस्तु । परित्राजिका–देव, प्रयोगप्रधानं नाम नाट्यशास्त्रम् । किमत्र वाग्व्यवहारेण । कथं वा देवी मन्यते । -- and the revered Ganadāsa. Therefore, Your Holiness shall play herein the role of an examiner. Female ascetic. (With a smile) Enough of mockery. A gem to be tested in a village when there is a city ! King. No, not so. Your Holiness is in fact Kausiki, the learned. Myself and the queen are presumed to take sides. Both Masters. Your Highness says aright. Impartial that she is, Her Holiness shall decide after examining our merits and defects. King. Then let the contest be commenced, Female ascetic. Your Highness, practice is the essence of the dramatic art. What is the use of disputation here ? How does the queen think? Queen. If you ask me, I do not. at all relish a ·26 MALAVIKĀGNIMITRA देवी-यदि मां पृच्छसि, एतयोर्विवाद एव न मे रोचते । गणदास: --न मां देवी समानविद्यतः परिभवनीयमनुमन्तुमर्हति । विदूषकः - भवति, पश्याम उरभ्रसंपातम् । किं मुधा वेतन- दानेन । देवी-३ननु कलहप्रियोऽसि । विदूषकः मैवम् । अन्योन्यकलहप्रिययोर्मत्तहस्तिनोरेकतरस्मि- ननिर्जिते कुत उपशमः। राजा-ननु स्वाङ्गसौष्ठवातिशयमुभयोदृष्टवती भगवती । परिव्राजिका-अथ किम् । controversy between them. Ganadāsa. Queen, you must not allow me to be spoken ill of by my brethren in the art. Vidūshaka. Madam, let us witness a fight of goats. Why pay for it in vain ? Queen. Surely you are fond of quarrel. Vidushaka. Not so. When two mad elephants have a craving to fight with each other, whence could there be peace unless one is put down ? King. I suppose Your Holiness has scrutinized the fitness of the limbs of both ? Female ascetic. Yes. १. जइ मं पुच्छसि, एदाणं विवादो एव्व ण मे रोअदि । २. भोदि, देवखामो उरब्भसंवादं । किं मुहा वेअणदाणेण । ३. णं कलहप्पिओसि। मा एवं । अण्णोण्णकलहप्पिआणं मत्तहत्थीणं एक्कदरस्सि अणिजिदे कुदो उवसमो।

·ACT THE FIRST 27 राजा-तदिदानीमतः परं किमाभ्यां प्रत्याययितव्यम् । परिव्राजिका-~-(सस्मितं) तदेव वक्तुकामास्मि । श्लिष्टा क्रिया कस्यचिदात्मसंस्था संक्रान्तिरन्यस्य विशेषयुक्ता। यस्योभयं साधु स शिक्षकाणां धुरि प्रतिष्ठापयितव्य एव ॥ १६ ॥ विदूषकः-१श्रुतमार्याभ्यां भगवत्या वचनम् । एष पिण्डितार्थः,. उपदेशदर्शनेन निर्णय इति । हरदत्तः-परमरुचितं नः । गणदासः-देवि, एवमवस्थितम् । King. Then, what further proof are they now expected to give ? Female ascetic. (With a smile) I was about to tell the same. With some persons the practice of an art by themselves is excellent. With others the imparting of instruction takes the predominence. He alone ought to be placed in the forefront of teachers, in. whom both are good. (16) Vidashaka. Both of you have heard the state. ment of Her Holiness? The gist of it is that the. decision should be by testing your teaching. Haradatta. It is highly welcome to us. Ganadasa. Queen, is it so settled ? १. सुदं अजेहिं भअवदीए वअणं । एसो पिण्डिदत्यो उवदेसदसण णिण्णओत्ति. E .

·*28 MĀLAVIKĀGNIMITRA देवी-यदा पुनरमेधाविनी शिष्या उपदेशं मलिनयति, तदा आचार्यस्य दोषो नु। राजा-देवि, एवमापचते । विनेतुरद्रव्यपरिग्रहोऽपि बुद्धिलाघवं प्रकाशयति । देवी-(स्वगत) २यथेदानीम् । (गणदासं विलोक्य प्रकाश) अलमार्य- पुत्रस्योत्साहकारणं मनोरथं पूरयित्वा । विरम निरर्थ- कादारम्भात् । 'विदूषकः-- ३सुष्ठ भवती भणति ! भो गणदास, संगीतपदं लब्ध्वा सरस्वत्युपायनमोदकान् खादतः किं ते सुलभनिग्रहण विवादेन । Queen. If a dull student misuses the lessons taught her, is it the fault of the teacher ? King. Queen, it comes to this, that the choice of a bad pupil itself bespeaks want of wisdom on the part of the teacher. Queen (Aside) How now ? (Looking at Ganadāsa) (Aloud) Enough of your furtherance of the object in which my lord is enthusiastic. Desist from your fruitless endeavour. जदा उण अमेहाविणी सिस्सा उवदेसं मलिणेदि, तदा आआरि- अस्स दोसो णु। २. जह दाणिं । अलं अजउत्तस्स ऊसाहकारणं मणोरहं पूरिअ । विरम णिरत्थआदो आरम्भादो। ३. सुठ्ठ होदी भणादि। भो गणदास, संगीदपदं लम्भिअ सरस्सई- उवाअग मोदआइ खादमाणस्स किं दे सुलहणिग्गहेण विवादेण । १.

·ACT THE FIRST 29 श्रूयतामवसरप्राप्त-- गणदास:-सत्यमयमेवार्थों देवीवचनस्य । मिदम् । लब्धास्पदोऽसीति विवादभीरो- स्तितिक्षमाणस्य परेण निन्दाम् । यस्यागमः केवलजीविकायै तं ज्ञानपण्यं वणिज वदन्ति ॥ १७ ॥ देवी .१अचिरोपनीता ते शिष्या । तदपरिनिष्ठितस्योपदेशस्या- न्याय्यं प्रदर्शनम् । Vidushaka. Her Highness speaks right. OGanadasa, tasting as you do the sweetmeats offered to Goddess Sarasvati ever since you mastered the alphabet of music, why do you enter on a controversy which will easily bring about a defeat ? Ganadāsa. True, that will be the only meaning of Her Highness's words. Please hear what is imminent for me to say now. A man who fights shy of a contest because he is well provided in life and puts up with an insult from another and whose learning is a mere means of livelihood-people call him a merchant trading in knowledge. (17) Queen. Yourlady pupil was taken only recently. Therefore, it is not proper to put to test your incomplete teaching. १. अइरोवणीदा दे सिस्सा । ता अवरिणिछिदस्स उवदेसस्स अण्णाअं. पदंसणं ।

·:30 MALAVIKĀGNIMITRA गणदास:-अत एव मे निर्बन्धः । देवी-तेन हि द्वावपि भगवत्यै उपदेशं दर्शयतम् । परित्राजिका-देवि, नैतन्न्याय्यम् । सर्वज्ञस्याप्येकाकिनो निर्ण- याभ्युपगमो दोषाय । देवी-अपवार्य) २मूढे परिवाजिके, किं मां जाग्रतीमपि प्रसुप्ता- मिव करोषि । (इति सासूयं परावर्तते ।) (राजा देवीं परिव्राजिकाय दर्शयति ।) परित्राजिका-(विलोक्य) अनिमित्तमिन्दुवदने किमत्रभवतः पराङ्मुखी भवसि । प्रभवन्त्योऽपि हि भर्दषु कारणकोपाः कुटुम्बिन्यः ॥ १८॥ Garadāsa. That is exactly why I insist. Queen. Then both of you shall display your teaching to Her Holiness, Female.ascetic. Queen, this is not proper. It will be dangerous to accept the verdict of a single, though omniscient, person. Queen. (Within) O fool of a female ascetic, you "make me asleep, as it were, while awake. (The queen turns aside in envy. The king points out the queen to the Female ascetic) Female ascetic. (Seeing) O moon-faced lady, why do you turn away your face from His Highness without any cause ? १. तेण हि दुवे वि भअवदीए उवदेसं दंसेह । २. मुद्धे परिव्वजिए, किं मं जग्गदि वि पसुत्तं विअ करेसि ।

·AOT THE FIRST 31 विदूषकः अननु सकारणमेव । आत्मनः पक्षो रक्षितव्यः । (गणदासं विलोक्य) दिष्टया कोपव्याजेन देव्या परित्रातो भवान् । न खलु सुशिक्षितोऽपि सर्व उपदेशदर्शने निपुणो भवति । गणदासः—देवि, श्रयताम् । एवं जानन्ति । तदिदानीम्- विवादे दर्शयिष्यन्तं क्रियासंक्रान्तिमात्मनः । यदि मां नानुजानासि परित्यक्तोऽस्म्यहं त्वया ॥ १९ ॥ (आसनादुत्थातुमिच्छति ।) Masters as they are, housewives become angry with their husbands only for some sufficient reason. (18) Vidūshaka. Of course it is only for a reason. One should protect his own party. (Looking at Ganadāsa) Luckily you have been shielded by the queen under the guise of indignation. For, it is not every expert that will be able to offer his teaching for scrutiny. Ganadāsa. Queen, please listen. This is how people will understand. Now therefore If you do not permit me to display in a contest my skill in imparting instruction, I am forsaken by you. (19) (Desires to rise froin his seat) णं सकारणं एव्व । अत्तणो पक्खो रक्खिदव्यो । दिठुिआ कोव- व्वाजेण देवीए परित्तादो भवं । ण खु सुसिक्खिदो वि सव्वो उवदेसदसणे णिउणो होदि । १.

·32 MĀLAVIKĀGNIMITRA देवी-(स्वगतं) १का गतिः। (प्रकाश) प्रभवत्याचार्यः शिष्यजनस्य । गणदास:-चिरमपदे शङ्कितोऽस्मि । (राजानमवलोक्य) अनुज्ञातं देव्या । तदाज्ञापयतु देवः कस्मिन्नभिनेयवस्तुन्युपदेशं दर्श- यिष्यामि। राजा यत्रादिशति भगवती। परित्राजिका-किमपि देव्या मनसि वर्तते । ततः शङ्कितास्मि । देवी-२भण विस्रब्धम् । ननु प्रभविष्याम्यात्मनः परिजनस्य । राजा-मम चेति ब्रूहि । देवी-३भगवति, भणेदानीम् ! Queen. (To herself) What to do? (Aloud) The teacher is master of his pupil. Ganadāsa. I have long been unduly sceptical. (Looking at the king) Her Highness has granted permission. Therefore, Your Highness may order. In which topic of the Stage shall I exhibit my teaching? King. In the topic that Her Holiness directs. Female ascetic. Something is lurking in the mind of the queen. Hence I am hesitating. Queen. Tell boldly. Certainly I am master of my servant. King. Add-and also of me. Queen. Your Holiness, now speak out. १. का गई। पहवदि आआरिओ सिस्सजणस्स। २. भण वीसद्धं । णं पहविस्सं अत्तणो परिअणस्स । ३. भअवदि भण दाणिं ।

·ACT THE FIRST 33 विजयी भव । परिवाजिका–देव, चतुष्पादोद्भवं छलितं दुष्प्रयोजमुदाहरन्ति । तत्रैकार्थसंश्रयमुभयोः प्रयोगं पश्यामः । तावता ज्ञायत एवात्रभवतोरुपदेशान्तरम् । आचायौँ—यदाज्ञापयति भगवती । विदूषकः-तेन हि द्वावपि वर्गों प्रेक्षागृहे संगीतरचनां कृत्वा अत्रभवतो दूतं प्रेषयतम् । अथवा मृदङ्गशब्द एवं नः उत्थापयिष्यति । हरदत्तः--तथा। (इत्युत्तिष्ठति ।) ( गणदासो देवीं विलोकयति।) देवी--(गणदासं विलोक्य) २न हि विजयप्रत्यर्थिन्यहमार्यस्य । (आचायौं प्रस्थितौ।) Female ascetic. Your Highness, people describe the Chhalita type of dance consisting of four feet as difficult to enact. Therein let us compare the practice of both on an identical theme. By that the difference in teaching between the two gentlemen will certainly be known. Both masters. As Your Holiness commands. Vidīshala. Therefore, let both parties arrange for the musical performance in the amphitheatre and send a messenger to His Highness. Nay, the sound of the tabor will itself rouse us. Haradatta. Alright. (Rises) (Ganadāsa looks at the queen) १. देण हि दुवे वि वग्गा पेक्खाघरे संगीदरअणं करिअ अत्तहोदो दूदं पेसअन्तु । अहवा मिअङ्गसद्दो एव्व णो उठ्ठावइस्सदि। २. णहि विअअपञ्चस्थिणी अहं अजस्स । विआई होहि । 3 ·34 MĀLAVIKĀGNIMITRA परिव्राजिका-इतस्तावदाचार्यो । आचार्यों-(परिवृत्य) इमौ स्वः । परिव्राजिका निर्णयाधिकारे ब्रवीमि । सर्वाङ्गसौष्ठवाभिव्यक्तये विरलनेपथ्ययोः पात्रयोः प्रवेशोऽस्तु । उभौ-नेदमावयोरुपदेश्यम् । (इति निष्क्रान्तौ।) देवी--(राजानमवलोक्य) यदि राजकार्येष्वीदृश्युपायनिपुणतार्य- पुत्रस्य ततः शोभनं भवेत् । राजा-देवि, अलमन्यथा गृहीत्वा न खलु मनस्विनि मया प्रयुक्तमिदम् । प्रायः समानविद्याः परस्परयशःपुरोभागाः ॥ २० ॥ Queen. (Looking at Garadāsa) I am not at all minded to prevent your scoring a victory. May you come out victorious. (Both masters start) Female ascetic. Masters, here please. Both masters. (Turning back) Here are we. Female ascetic. I say in my capacity as umpire. Let both actors enter poorly dressed so as to display the beauty of their entire person. Both masters. We need not be reminded of it. [Exeunt Queen. (Looking at the king) My lord, it had been well, had you directed so much ingenuity of yours in the discharge of your kingly duties. King. O queen, १. जइ राअकजेसु ईरिसी उवाअणिउणदा अजउत्तस्स तदो सोहणं हवे।

·ACT THE FIRST 35 (नेपथ्ये मृदङ्गध्वनिः । सर्वे कर्ण ददति ।) परिवाजिका [-हन्त प्रवृत्तं संगीतम् । तथा ह्येषा जीमूतस्तनितविश्वविभिर्मयूरै- रुद्रीवैरनुरसितस्य पुष्करस्य । निदिन्युपहितमध्यमस्वरोत्था मायूरी मदयति मार्जना मनांसि ॥ २१ ॥ राजा-देवि, सामवायिका भवामः । देवी-(स्वगत) १अहो अविनय आर्यपुत्रस्य । (सर्वे उत्तिष्ठन्ति ।) Don't mistake me otherwise. O noble-minded lady, this is none of my doing. Persons proficient in the same learning are generally jealous of each other in reputation. (20) (The sound of tabor behind the scenes) (All lend their ears) Female ascetic. Oh ! Music has commenced. Therefore it is that This resonant beat of the drum known as Māyūrī, produced by the application of the middle tune and followed up by the notes of peacocks which mistake it for a thunder of clouds and lift their necks high into the air, ravishes our minds. (21) King. Queen, let us be spectators. Queen. (Within) Alas, the audacity of my lord ! (All rise) १. अहो अविणओ अजउत्तस्स ।

·36 MALAVIKĀGNIMITRA वयस्य, धीरं गच्छ । मा तत्रभवर्ती विदूषकः- -(अपवार्य) १भो घारिणी विसंवादयिष्यसि । राजा धैर्यावलम्बिनमपि त्वरयति मां मुरजवाद्यरागोऽयम् । अवतरतः सिद्धिपथं शब्दः स्वमनोरथस्येव ॥ २२ ॥ (इति निष्क्रान्ताः सर्वे ।) इति प्रथमोऽङ्कः। Vidūshaka. (Aside) Ofriend, walk steadily lest you should rouse the suspicions of Her Highness Dharini. King. In spite of my effort to keep my mental stability this pleasing sound of the drum makes me flurried as though it were the echo of my heart's desire about to fructify. (22) (Exeunt omnes) End of the First Act. १. भो वभस्स, धीरं गच्छ । मा तत्तहोदिं धारिणि विसंवादइस्ससि ।

·द्वितीयोऽङ्कः। (ततः प्रविशति संगीतरचनायां कृतायामासनस्थः सवयस्यो राजा धारिणी परिव्राजिका विभवतश्च परिवारः।) राजा-भगवति, अत्रभवतोराचार्ययोः कतरस्य प्रथममुपदेश द्रक्ष्यामः। परिव्राजिका-ननु समामेऽपि ज्ञानवृद्धभावे वयोवृद्धत्वाद्गणदास: पुरस्कारमहति । राजा-मौद्गल्य, एवमत्रभवतोरावेद्य नियोगमशून्यं कुरु । कञ्चुकी-यदाज्ञापयति देवः । (इति निष्क्रान्तः ।) ACT THE SECOND (Enter the King seated with his Friend, while music is in full swing, Dhāriņi, the Female ascetio and suitable retinue) King. Your Holiness, of these two revered masters, whose teaching shall we see first? Female ascetic. Although seniority in knowledge is no doubt equal, Gañadāsa deserves the first turn by reason of seniority in age. King. Māudgalya, put the command into effect by informing the two revered masters accordingly. Chamberlain. As Your Highness commands. (E.cit ·38 MALA VIKĀGNIMITRA (प्रविश्य) गणदास:-देव, शर्मिष्ठायाः कृतिर्लयमध्या चतुष्पादा । तस्यास्तु छलिकप्रयोगमेकमनाः श्रोतुमर्हति देवः । राजा-आचार्यबहुमानादवहितोऽस्मि । (निष्कान्तो गणदासः।) राजा-(जनान्तिकं) वयस्य, नेपथ्यगृहगतायाश्चक्षुर्दर्शनसमुत्सुकं तस्याः । संहर्तुमधीरतया व्यवसितमिव मे तिरस्करिणीम् ॥ १॥ विदूषकः--(अपवार्य) १उपस्थितं नयनमधु संनिहितमक्षिकं च । तदप्रमत्तः इदानी पिन (Enter Ganadasa.) Ganadāsa. Your Highness, there is the composition of Garmishthā attuned to the middle timing of the tone, consisting of four feet. Your Highness will listen with undivided attention to the Chhali. ka representation of the said song. King. I am all attention out of deference to the master. (Exit Ganadasa) King. (Aside) Friend, Eager to look at her who is behind the stage, my eyes (lit., eye) are intent, as it were, to withdraw the screen out of impatience. (1) Vidūshaka. (Aside) There is near at hand honey for your eyes, but in the company of the bee. Hence enjoy its taste now cautiously. १. उवछिदं णअणमहु संणिहिदमक्खि अ । ता अप्पमत्तो दाणिं पेहि ।

·ACT THE SECOND 39 (ततः प्रविशत्याचार्यप्रत्यवेक्ष्यमाणाङ्गसौष्ठवा मालविका ।) विदूषकः- (जनान्तिक) १प्रेक्षतां भवान् । न खल्वस्याः प्रतिच्छ- न्दात्परिहीयते मधुरता । राजा-~-(अपवार्य) वयस्य, चित्रगतायामस्यां कान्तिविसंवादशति मे हृदयम् । संप्रति शिथिलसमाधि मन्ये येनेयमालिखिता ॥ २ ॥ गणदास:-वत्से, मुक्तसाध्वसा सत्त्वस्था भव । राजा-(आत्मगतं) अहो सर्वस्थानानवद्यता रूपस्य । तथाहि । दीर्याक्षं शरदिन्दुकान्ति वदनं बाहू नतावंसयोः संक्षिप्तं निबिडोन्नतस्तनमुरः पार्श्वे प्रमृष्टे इव । मध्यः पाणिमितोऽमितं च जघनं पादावरालाङ्गुली छन्दो नर्तयितुर्यथैव मनसि श्लिष्टं तथास्या वपुः॥३॥ (Enter Mālavikā, the elegance of her limbs being observed by her master) Vidūshaka. (Aside) See. Her loveliness is very like that in the picture. King. (Aside) Friend, While she was in the picture, my mind apprehended an exaggeration of beauty, but now I think, the man by whom she was written had no enough concentration. (2) Ganadāsa. My dear girl, leave off nervousness and be firm. King. (To himself) Oh ! How absolutely free १. पेक्खदु भवं । ण खु से पडिच्छन्दादो परिहीअदि महुरदा ।

·40 MĀLAVIKĀGNIMITRA मालविका-(उपगानं कृत्वा चतुष्पादवस्तुकं गायति ।) दुर्लभः प्रियो मे तस्मिन् भव हृदय निराशम् अहो अपाङ्गको मे प्रस्फुरति किमपि वामकः। एष स चिरदृष्टः कथमुपनेतव्यो नाथ मां पराधीनां त्वयि गणय सतृष्णाम् ॥ ४॥ (इति यथारसमभिनयति ।) from flaws is her beauty ! Accordingly- Her face has long eyes and bears the lustre of the autumnal Moon; her hands branch off in a curve at the shoulders ; her chest is compact with overlapping high breasts ; her sides are planed off, as it were; her waist confines within the grasp of a hand; her hip is broad, and her feet have slanting toes. Her body is cast as though in conformity with the ideal in the mind of her dance-master. (3) Malavikā. (After singing the preparatory tune, sings the song consisting of four feet) My sweetheart is beyond my reach. O heart, give up all hopes about him. Hallooh ! My left eye throbs a little ! Here is he seen after long ! How am I to meet him again ? 'O lord, know me as a dependent and one fallen in love with thee. (4) (She shows gestures appropriate to the emotion) १. 'दुल्लहो पिओ मे तस्सि भव हिअअ णिरासं अझो अपङ्गओ मे पप्फुरइ किं वि वामओ । एसो सो चिरदिट्ठो कहं उवणइदव्वो माह में पराहीणं तुइ गणअ सतिण्हम् ।।

·ACT THE SECOND 41 विदूषकः- (जनान्तिक) १भो वयस्य, चतुष्पदवस्तुकं द्वारीकृत्य त्वय्युपक्षिप्त इवात्मा तत्रभवत्या । राजा-(जनान्तिकं) सखे, एवमेव ममापि हृदयम् । अनया खलु जनमिममनुरक्तं विद्धि नाथेति गेये वचनमभिनयन्त्या स्वाङ्गनिर्देशपूर्वम् । प्रणयगतिमदृष्ट्वा धारिणीसंनिकर्षा- दहमपि सुकुमारप्रार्थनाव्याजमुक्तः॥५॥ (मालविका गीतान्ते निष्क्रमितुमारब्धा।) विदूषकः-२भवति, तिष्ठ । किमपि वो विस्मृतः क्रमभेदः । Vidīshaka. (Aside) Friend, by the medium of this four-footed song she has as if surrendered herself to you. King. (Aside) Friend, likewise is my opinion too. As she sang the song, O Lord, know me as fallen. in love with thee,' and expressed its sense by means of gestures pointing to her own person, I imagine, I myself was addressed by her under the pretext of reciting an elegant appeal of love, she being at a loss to know any other means of communicating her love owing to the presence of Dhāriņi. (5) (After finishing the song, Mālavikā begins to start) Vidūshaka. Madam, stop. You have forgotten a certain step. १. भो वअस्स, चउप्पदवत्थुअं दुवारीकदुअ तुइ उवक्खित्तो विष अप्पा तत्तहोदीए । २. भोदि, चिछु । किवि वो विसुमरिदो कमभेदो।

·42
MALAVIKĀGNIMITRA
गणदासः-वत्से, उपदेशविशुद्धा यातुमर्हसि ।
(मालविका निवृत्य स्थिता।)
राजा-(आत्मगत) अहो, सर्वाखवस्थासु चारुता शोभान्तरं
पुष्यति । तथा हि ।
वामं संधिस्तिमितवलयं न्यस्य हस्तं नितम्बे
कृत्वा श्यामाविटपसदृशं स्रस्तमुक्तं द्वितीयम् ।
पादाङ्गुष्ठालुलितकुसुमे कुट्टिमे पातिताक्षं
नृत्तादस्याः स्थितमतितरां कान्तमृज्वायतार्धम् ।।६।।
देवी-ननु गौतमवचनमप्यार्यो हृदये करोति ।
Ganadāsa. My dear girl, you shall go after
clearing your education of all reproach.
(Malavika stands turning back:)
King. (To himself) Oh! Every kind of posture
lends a peculiar charm to her beauty ! For---
Resting, as she does, on the waist, her left hand
with bracelets motionless at the wrist, letting
the other hand hang at ease like the branch of a
Śyāmā creeper, casting her eyes at the dais covered
with flowers gently crushed by her great toe and
making the upper half of her body stand straight
and tall, her standing is much more fascinating
than her dance.
(6)
Queen. Do you take oven Gāutama's word
seriously, sir?
णं गोदमवअणं वि अज्जो हिअए करेदि ।
१.

·ACT THE SECOND गणदास:-देवि, मा मैवम् । देवप्रत्ययात्संभाव्यते सूक्ष्मदर्शिता गौतमत्य । मन्दोऽप्यमन्दतामेति संसर्गेण विपश्चितः । पङ्कच्छिदः फलस्येव निकर्षणाविलं पयः ॥ ७॥ (विदूषकं विलोक्य) शृणुमो विवक्षितमार्यस्य । विदूषकः—(गणदासं विलोक्य) साक्षिणीं तावत्पृच्छ । पश्चाद्यो मया क्रमभेदो लक्षितस्तं भणिष्यामि । गणदास:-भगवति, यथादृष्टमभिधीयताम् । गुणो वा दोषो वा। परिव्राजिका-यथादर्शनं सर्वमनवद्यम् । कुतः । Ganadāsa. Queen, no, don't say so. By virtue of the confidence reposed by His Highness, Gautama's. acuteness of perception is a possibility. Even a fool becomes enlightened by means of contact with a wise man, just as dirty water becomes pure by contact with the fruit capable of removing dirt. (7) (Looking at Vidushaka) Let us hear what you have to say, sir. Vidūshaka. (Looking at Ganadāsa) First ask the. umpire. Later on, I shall let you know the omission . that I observed. Ganadāsa. Rovered lady, tell what was seen by you-good or bad ? Female ascetic. Everything we saw was fault-. less. For १. सक्खिणिं दाव पुच्छ । पञ्चा जो मए कममेदो लक्खिदो तं भणिस्सं ।।

·MĀLAVIKĀGNIMITRA अङ्गैरन्तर्निहितवचनैः मूचितः सम्यगर्थः पादन्यासो लयमनुगतस्तन्मयत्वं रसेषु । शाखायोनिर्मदुरभिनयस्तद्विकल्पानुवृत्ती भावो भावं नुदति विषयादागबन्धः स एव ।। ८ ।। गणदास:-देवः कथं वा मन्यते । राजा-वयं स्वपक्षे शिथिलाभिमानाः संवृत्ताः । गणदास:-अद्य नर्तयितास्मि । उपदेशं विदुः शुद्धं सन्तस्तमुपदेशिनः। श्यामायते न युष्मासु यः काञ्चनमिवाग्निषु ॥ ९ ॥ The meaning of the song is well brought out by her limbs pregnant with expression; the movements of her feet are in keeping with the time of the music; there is absolute identification with the sentiments expressed ; her staging is full of action and gentle ; while the dance passes through its successive stages, the emotion drives away the heart from external objects, and the expression of her face is so well-known. (8) Ganadāsa. How does Your Highness think ? King. Our predilection for our side has been shattered. Ganadāsa. To-day have I become a dance-master. The wise deem that teaching of a teacher faultless, which shows itself to advantage in the presence of persons like you just as gold in the presence of fire. (9) ·ACT THE SECOND 45. देवी-१दिष्टया परीक्षकाराधनेनाधिकं वर्धते आर्यः । गणदासः--देवीपरिग्रहश्च मे वृद्धिहेतुः । (विदूषकं विलोक्य) गौतम, . वदेदानी यत्ते मनसि वर्तते । विदूषकः-२प्रथमोपदेशदर्शने प्रथमं ब्राह्मणस्य पूजा कर्तव्या । सा ननु वो विस्मृता । परिव्राजिका–अहो प्रयोगाभ्यन्तरः प्रश्नः । (सर्वे प्रहसिताः । मालविका स्मितं करोति ।) राजा-(आत्मगत) उपात्तसारश्चक्षुषो मे स्वविषयः । यदनेन स्मयमानमायताक्ष्याः किंचिदभिव्यक्तदशनशोभि मुखम् । असमग्रलक्ष्यकेसरमुच्छ्सदिव पङ्कजं दृष्टम् ॥१०॥ Queen. Fortunately, sir, you excel by giving satisfaction to those who sit in judgment. Ganadāsa. The queen's encouragement is the only cause of my success. (Looking at Vidūshaka) Gāutama, now tell what is in your mind. Vidashaka. At the first exhibition of a man's teaching, first is to be performed the worship of a Brahmin. That you have forgotten. Female ascetic. Oh, a question how strictly within the subject ! (All laugh. Malavikā smiles) King. (Aside) By this sight my eye has reach-- ed the height of its satisfaction. For- १. दिठुिआ परिक्खआराहणेण अहि वढ्इ अजो । २. पुढमोपदेसदसणे पुढमं बह्मणस्स पूआ कादव्वा । साणं वो विसुमरिदा ।

·MĀLA VIKĀGNIMITRA गणदासः-महाब्राह्मण, न खलु प्रथमं नेपथ्यप्रदर्शनमिदम् । अन्यथा कथं त्वां दक्षिणीयं न तर्पयिष्यामः। विदूषकः-१मया नाम मुग्धचातकेनेव शुष्कघनगर्जितेऽन्तरिक्षे जलपानमिष्टम् । परित्राजिका–एवमेव । विदूषकः-२भगवति, पण्डितपरितोषप्रत्यया ननु मूढा जातिः । यदि भगवत्या शोभनं भणितं तत इदमस्यै पारितोषिकं प्रय- च्छामि । (इति राज्ञो हस्तात्कटकमाकर्षति ।) It has seen the smiling face of that long-eyed damsel, beautified by teeth half exposed, just like an opening lotus-flower with its inside fibre partially Visible. (10) Ganadāsa. O big Brahmin, this is not our first exhibition at the stage. Otherwise, how would we fail to please a worshippable man like you ? Vidashaka. I havelonged, like a foolish chataka bird, to drink water in the sky where empty clouds have been thundering. Female ascetic. Even so. Vidushaka. Revered lady, the illiterate folkare simply guided by the satisfaction of the learned. If Your Holiness has spoken well of her performance, I shall for that reason give her this present. १. मए णाम मुद्धचादएण विअ सुक्खघणगजिदे अन्दरिक्खे जलपाणं इच्छिदं । २. भअवदि, पण्डिदपरितोसपञ्चआ णं मूढा जादी । जइ भअवदीए सोहणं भणिदं तदो इमं से पारितोसिपअच्छम्मि।

·ACT THE SECOND 47 देवी-तिष्ठ तावत् । गुणान्तरमजानन्किमिति त्वमाभरणं ददासि । विदूषकः-२परकीयमिति कृत्वा । देवी-(आचार्य विलोक्य) ३आर्य गणदास, ननु दर्शितोपदेशा ते शिष्या । गणदासः-वत्से, प्रतिष्ठस्वेदानीम् । (मालविका सहाचार्येण निष्क्रान्ता ।) विदूषकः-(राजानं विलोक्य जनान्तिकं) ४एतावानेव मे मतिविभवो भवन्तं सेवितुम् । राजा-(जनान्तिकं) अलमलं परिच्छेदेन । अहं हि, (So saying, draws a bangle from the king's hand) Queen. Just stop. Without knowing the distinetion in merit, why do you give away the ornament? Vidashaka. Because it is another's. Queen. (Looking at the teacher) Revered Gañadāsa, I suppose your pupil has given proof of her training. Ganadāsa. Dear child, start now. (Exit Malavika with her master) Vidushaka. (Looking at the king, aside) Such and such only is the potency of my intellect to serve you. १. चिठ्ठ दाव । गुणन्दरं अआणन्तो किंति तुमं आहरणं देसि । २. परकेरअं ति कदुअ । ३. अज्ज गणदास, णं दंसिदोवदेसा दे सिस्सा । ४. एत्तिओ एव्व मे मदिविहवो भवन्दं सेविदुं ।

·48 MĀLAVIKĀGNIMITRA भाग्यास्तमयमिवाक्ष्णोर्हदयस्य महोत्सवावसानमिव । द्वारपिधानमिव धृतेर्मन्ये तस्यास्तिरस्करणम् ॥ ११ ॥ विदूषकः-(जनान्तिक) १साधु त्वं दरिद्र आतुर इव वैद्येनोपनी- यमानमौषधमिच्छसि । (प्रविश्य) हरदत्तः-देव, मदीयमिदानीमुपदेशमवलोकयितुं क्रियतां प्रसादः। राजा-(आत्मगतं) अवसितो दर्शनार्थः । (दाक्षिण्यमवलम्ब्य, प्रकाशं) ननु पर्युत्सुका एव वयम् । हरदत्तः-अनुगृहीतोऽस्मि । King. (Aside) Enough, enough of limiting it. For:- I consider her disappearance as the extinction of happiness for my eyes, the termination of a big feast for my heart and a shutting of the door on my courage. (11) Vidashaka. (Aside) Very well. You expect. medicine to be administered by me just as an impecunious patient by a doctor. (Enter) Haradatta. My lord, Your Highness will be pleased to witness my performance now. King. (Within) My aim in witnessing is at an end. (Managing to be courteous, aloud) We are certainly eager. Haradatta. I am much obliged. १. साहु तुमं दरिदो आदुरो विअ वेजेण उवणिजमाण ओसह इच्छसि ।

·ACT THE SECOND 49 (नेपथ्ये) वैतालिका-जयतु जयतु देवः । उपारूढो मध्यमह्नः सविता । तथा हि । पत्रच्छायासु हंसा मुकुलितनयना दीपिकापभिनीनां सौधान्यत्यर्थतापाद्वलभिपरिचयद्वेषिपारावतानि । बिन्दुक्षेपान्पिपासुः परिसरति शिखी भ्रान्तिमद्वारियन्त्रं सर्वैरुजैः समग्रस्त्वमिव नृपगुणैर्दीप्यते सप्तसप्तिः॥१२॥ विदूषकः-१अविध अविध । अस्माकं भोजनवेलोपस्थिता, अत्रभवतोऽपि । उचितवेलातिकमाचिकित्सका दोषमुदाहरन्ति । हरदत्त, किमिदानी भणसि । (Behind the scenes) A minstrel. Victory, victory to the king. The mid-day has set in. Accordingly- Swans lie with closed eyelids under the shade of leaves of lotuses in tanks. Terraces contain doves detesting their residence in roofs on account of excessive heat. The peacock, desirous of drinking drops of water flung up, approaches the revolving water-fountain. And the Sun shines in the fulness. of his rays as you in the fulness of your kingly qualities. (12) Vidūshaka. Hurrah ! The hour of dinner has arrived for us as also for His Highness. Doctors condemn want of punctuality in meals. Haradatta, what do you say now ? १. अविह अविह् । अह्माणं भोअणवेला उवठ्ठिदा, अत्तहोदो वि । उइदवेलादिक्रमादो चिकिस्सआ दोसं उदाहरन्दि । हरदत्त, किं दाणिं भणसि । 4 ·50 MĀLAVIKĀGNIMITRA हरदत्तः नास्ति वचनस्यान्यस्यावकाशोऽत्र । राजा-तेन हि त्वदीयमुपदेशं श्वो वयं द्रक्ष्यामः । विश्राम्यतुं भवान् । हरदत्तः यदाज्ञापयति देवः। (इति निष्क्रान्तः।) देवी-निवर्तयत्वार्यपुत्रो मजनविधिम् । विदूषकः-२भवति, विशेषेण भोजने त्वरय । परिव्राजिका-(उत्थाय) स्वस्ति भवते । (इति सपरिजनया देव्या सह निष्क्रान्ता ।) विदूषकः-३भो ण केवलं रूपे, शिल्पेऽप्यद्वितीया मालविका । राजा-वयस्य, Haradatta. No room for any other discussion now. King. Then we will witness your teaching tomorrow. You may take rest. Haradatta. As Your Highness commands. [Exit Queen. My lord, take your bath. Vidushaka. Madam, urge him to his dinner in particular. Female ascetic. (Rising) Happiness be unto you. (Exit along with the Queen accompanied by retinue) Vidūshaka. Oh ! Mālavikā is matchless not only in beauty, but also in art. King. Friend, १. णिव्वट्टेदु अजउत्तो मजणविहिम् । २. भोदि, विसेसेण भोअणमि तुवरावेहि। ३. भो ण केवलं रूवे, सिप्पे वि अहुदीआ मालविआ।

·ACT THE SECOND 51 अन्याजसुन्दरीं तां विज्ञानेन ललितेन योजयता। उपकल्पितो विधात्राबाणः कामस्य विषदिग्धः॥१३॥ किं बहुना । चिन्तयितव्योऽस्मि ते । विदूषकः-१भवताप्यहम् । दृढं विपणिकन्दुरिव म उदराभ्यन्तरं दह्यते । राजा-एवमेव भवान्सुहृदर्थे त्वरताम् । विदूषकः-गृहीतं वचनम् । किंतु मेघावलीनिरुद्धा ज्योत्स्नेव पराधीनदर्शना तत्रभवती मालविका । भवानपि सूनोपरिचरो गृध्र इव आमिषलोलुपो भीरुकश्च । तस्मादनादर इव कार्यसिद्धिं प्रार्थयमानो मे रोचसे । Equipping, as it does, that intrinsically beautiful damsel with a charming knowledge of fine art, Destiny has prepared an arrow of love smearedo with venom. (13) In short, in future I have to be cared for by you. Vidūshaka. And I also by you. My belly is awfully blazing like a cauldron in a bazaar. King. Exactly in the same way you shall hasten to do your friend's mission. Vidushaka. I am agreed. But the lady Malavika, like the moonlight intercepted by clouds, has no १. भवदा वि अहं । दिदं विपणिकन्दु विअ मे उअरब्भन्दरं दज्झइ । २. गहीदं वअणे । किंदु मेहावलीणिरुद्धा जोण्हा विअ पराहीणदंसणा तत्तहोदी मालविआ । भवं वि सूणोवरिअरो गद्धो विअ आमिसलोलुमो भीरुओ अ। ता अणादरो विअ कजसिद्धिं पत्थअन्दो मे रोअसि ।

·52 MĀLAVIKĀGNIMITRA राजा-सखे, कथं भविष्यामि । सर्वान्तःपुरवनिताव्यापारप्रतिनिवृत्तहृदयस्य । सा वामलोचना मे स्नेहस्सैकायनीभूता ॥ १४ ॥ (इति निष्क्रान्ताः सर्वे ।) इति द्वितीयोऽङ्कः। independence in permitting herself to be seen. And you, like an eagle hovering round a slaughterhouse, hanker after the meat, but are too cowardly to have it. I would therefore like you to appear unconcerned and await success. King. Friend, how can I ? My heart having turned away from the attractions of all the ladies in my harem, that sweet-eyed damsel has become the sole centre of all my affection. (14) (Eseunt omnes) End of the Second Act.

·. तृतीयोऽङ्कः । (ततः प्रविशति परिव्राजिकायाः परिचारिका समाहितिका ।) समाहितिका-आज्ञप्तास्मि भगवत्या, देवस्योपायनाथ बीज- पूरकं गृहीत्वागच्छेति । तद्यावत्प्रमद्वनपालिकां मधुकरि- कामन्विष्यामि । (परिक्रम्यावलोक्य च) एषा तपनीयाशोकमव- लोकयन्ती तिष्ठति । यावदेनामुपसर्पामि । (ततः प्रविशत्युद्यानपालिका ।) समाहितिका-(उपसृत्य) २मधुकरिके, अपि सुखस्त उद्यानव्या- पारः । ACT THE THIRD (Enter Samāhitikā, a servant-maid of the Female ascetic) Samāhitikā. I have been commanded by Her Holiness-Take and bring a pomegranate fruit to be presented to His Highness. Therefore, I shall just search for Madhukarikā, the female watch of the garden. (Advancing and seeing) Lo, here she stands looking at the golden Asoka tree. I shall just approach her. १. आणत्तह्मि भवदीए देवस्स उवाअणथं बीजपूरअं गेव्हिअ आअच्छत्ति । ता जाव पमदवणपालिझं महुअरिवं अण्णेसामि । एसा तवणी- आसोअं ओलोअन्दी चिठुदि । जाव णं उवसप्पामि । २. महुअरिए, अवि सुहो दे उज्जाणव्वावारो।

·54 MALAVIKĀGNIMITRA 40 मधुकरिका-१अहो समाहितिका ! सखि, स्वागतं ते । समाहितिका-रहला, भगवत्याज्ञापयति-अरिक्तपाणिनास्मादृश- जनेन अर्थपतिर्द्रष्टव्यः । तद्वीजपूरकेण शुश्रूषितुमिच्छामीति । मधुकरिका–३ननु संनिहितमेव बीजपूरकम् । कथय तावदन्यो- न्यसंघर्षितयो ट्याचार्ययोरुपदेशं दृष्ट्वा कतरो दृष्ट्वा कतरो भगवत्या प्रशंसितः। (Enter the Female watch of the garden) Samāhitikā. (Approaching) Madhukarikā, are you getting on well with your garden-work ? Madhukarikā. Hallooh! Samāhitikā ! Friend, Welcome to you. Samāhitikā. Friend, Her Holiness commande thus : Ħis Highness has to be interviewed by persons like us without empty hands. Hence I desire to call on him with a pomegranate fruit.' Madhukarikā. Oh! Pomegranate is near at hand. Tell me first-After seeing the practice of both the competing veterans in the theatre, who was praised by Her Holiness? Samāhitikā. Of course, both are experts in theory as well as in practice. But, through the superior १. अह्मो समाहिदिआ ! सहि सागदं दे। हला, भअवदी आणवेदि ।, अरित्तपाणिणा अमारिसजणेण अत्थपदी दक्खिव्वो,। ता बीजपूरएण सुस्सूसिढुं इच्छम्मित्ति । ३. णं संणिहिदं एव्व बीजपूरअं । कहेहि दाव अण्णोपणसंघरिसिदा गट्टाअरिआणं उवदेसं दक्खिों कदरो भअवदीए पसंसिदो। २.

·ACT THE THIRD. 55 समाहितिका--द्वावपि किलागमिनौ प्रयोगनिपुणौ च । किंतु शिष्यागुणविशेषेण उन्नमितो गणदासः । मधुकरिका–२अथ मालविकागतं कोलीनं कथं श्रूयते । समाहितिका-३बलवत्खलु साभिलाषो भर्ता तस्याम् । केवलं देव्या धारिण्याश्चित्तं रक्षन्नात्मनः प्रभुत्वं न दर्शयति । माल- विकाप्येषु दिवसेष्वनुभूतमुक्तेव मालतीमाला म्लायमाना लक्ष्यते । अतः परं न जाने । विसर्जय माम् । मधुकरिका-४एतच्छाखावलम्बि बीजपूरकं गृहाण । merit of his lady-pupil, Ganadasa was extolled. Madhukarikā. Then how goes the rumour about Malavika? Samāhitikā. The king is certainly fast in love with her, but out of respect for the feelings of Queen Dhāriņī, he does not exercise his powers. And Mālavikā is seen all these days pining away just like a wreath of Mālatí flowers used and cast away. More than that I don't know. Send me off. Madhukarikā. Pluck the pomegranate fruit hanging on this branch. १. दुवे वि किल आअमिणा पओअणिउणा अ। किंदु सिस्सागुण- विसेसेण उण्णमिदो गणदासो । २. अह मालविआगदं कोलीणं कहं सुणीअदि । ३. बलिअं खु साहिलासो भट्टा तसि । केवलं देवीए धारिणीए चित्तं रक्खन्दो अत्तणो पहुत्तणं पा दंसेदि । मालविआ वि इमेसु दिअहेसु अणुहूदमुत्ता विअ मालदीमाला मिलाअमाणा लक्खिादि । अदो वरं ण जाणे । विसज्जेहि म । एदं साहावलम्बि बीजपूरअं गेह.।

·56 MĀLAVIKĀGNIMITRA , समाहितिका-(गृहीत्वा) पहला त्वमपीतः परं पेशलतरं साधुजन- शुश्रूषायाः फल मनुभव । (इति प्रस्थिता ।) मधुकरिका-२सखि, सममेव गच्छावः। अहमप्यस्य चिराय- माणकुसुमोद्गमस्य तपनीयाशोकस्य दोहदनिमित्तं देव्यै विज्ञा- पयामि । समाहितिका-३युज्यते । अधिकारः खलु तव । (इति निष्क्रान्ते ।) इति प्रवेशकः। (ततः प्रविशति कामयमानावस्थो राजा विदूषकश्च ।) राजा-(आत्मानं विलोक्य) Samāhitikā. (Plucking the fruit) Friend, may you get a still better reward for services rendered to the virtuous. (Starts) Madhukarikā. Friend, let us go together. I shall also inform the queen for performing the Dohala of this golden Aśoka which delays to put forth flowers. Samāhitikā. Proper, certainly it is your duty. (Exeunt) END OF THE INTERLUDE (Enter the love-lorn King and Vidushaka) King. (Looking at himself) हला तुमं वि इदो वरं पेसलदरं साहुजणसुस्सूसाए फलं अणुहोहि । २. सहि, समं एव्व गच्छद्म । अहं वि इमस्स चिराअमाणकुसुमोग्ग- मस्स तवणीआसोअस्स दोहदणिमित्तं देवीए विष्णवेमि । ३. जुज्जइ । अहिआरो क्खु तुह । १.

·ACT THE THIRD 57 शरीरं क्षामं स्यादसति दयितालिङ्गनसुखे भवेत्सास्त्रं चक्षुः क्षणमपि न सा दृश्यत इति । तया सारङ्गाक्ष्या त्वमसि न कदाचिद्विरहितं प्रसक्ते निर्वाणे हृदय परितापं व्रजसि किम् ॥ १ ॥ विदूषकः-१अलं भवतो धीरतामुज्झित्वा परिदेवितेन ! दृष्टा मया तत्रभवत्या मालविकायाः प्रियसखी बकुलावलिका । श्राविता च मया यद्भवता संदिष्टम् । राजा-ततः किमुक्तवती । विदूषकः-२विज्ञापय भर्तारम्-अनुगृहीतास्म्यनेन नियोगेन । The body may be emaciated, because it has not the pleasure of embracing the beloved; the eyes may be filled with tears as she is not seen even for a moment. But, O heart, you are never separated from that deer-eyed damsel ; when there is reason for absolute bliss, why do you lament? (1) Vidashaka. Enough of losing heart and lamenting. I have seen Bakulāvalikā, the dear companion of that lady Mālavikā. And she was told the message sent by you. King. What did she then say? अलं भवदो धीरदं उज्झिअ परिदेविदेण । दिठ्ठा मए तत्तहोदीए मालविआए पिअसही बउलावलिआ। सुणाविदा अ मए जं भवदा संदिटुं। विष्णवेहि भट्टारं-अणुगहीदह्मि इमिणा णिओएण । किंदु सा तवस्सिणी देवीए अहिअदरं रक्खिअमाणा णाअरक्खिदो विअ मणी ण सुहं समासादइदव्वा । तहवि घटइस्सं ति । a १. २.

·58 MĀLA VIKĀGNIMITRA किंतु सा तपस्विनी देव्याधिकतरं रक्ष्यमाणा नागरक्षित इव मणिर्न सुखं समासादयितव्या । तथापि घटयिष्यामीति । राजा-भगवन् संकल्पयोने, प्रतिबन्धवत्सु चापि विषयेष्वभिनि- वेश्य तथा प्रहरसि यथा जनोऽयं कालान्तरक्षमो न भवति । (सविस्मयम् ) क रुजा हृदयप्रमाथिनी क च ते विश्वसनीयमायुधम् । मृदु तीक्ष्णतरं यदुच्यते तदिदं मन्मथ दृश्यते त्वयि ॥२॥ विदूषकः-ननु भणामि तस्मिन्साधनीये कार्ये कृतो मयोपायो- पक्षेपः । तत्पर्यवस्थापयतु भवानात्मानम् । Vidushaka. Inform His Highness, 'I am' much obliged for this direction. But that unfortunate girl is not easy of access, being more carefully guarded by the queen like a gem guarded by a snake. However, I will see to it.' King. O Lord Cupid, by rousing enthusiasm in things beset with difficulties, you hit this person too hard to brook any delay. (With wonder) Where is the agony which tears asunder the heart, and where is your weapon, inoffensive to all appearance? O Love, soft but carping whichever is. said to be, is to be seen in you. Vidūshaka. I do say, I have already. carved out. a plan for achieving that object. Therefore, pick up courage. १. णं , भणामि तरिस साहणिज्जे कज्जे किदो मए उवाओवक्खेवो . ता पज्जवत्थावेदु भवं अत्ताणं । * . ।

·ACT THE THIRD. .
59
राजा-अथेमं दिवसशेषमुचितव्यापारविमुखेन चेतसा बनु खलु
यापयामि ।
विदूषकः-१ननु भवानद्य प्रथमं वसन्तावतारसूचकानि रक्ता-
शोककोरकाण्युपायनं प्रेष्य नववसन्तावतारव्यपदेशेनेरावत्या
निपुणिकामुखेन प्रार्थितः-इच्छाम्यार्यपुत्रेण सह दोलाधि-
रोहणमनुभवितुमिति । भवताप्यस्यै प्रतिज्ञातम् । तत्प्रमद्-
वनमेव गच्छावः ।
राजा-न क्षममिदम् ।
King. Where then shall I spend the rest of the :
day with a mind resigned from the habitual avoca--
tions?
Vidashaka. . To-day, apparently on the occasion
of the advent of the spring, after sending you a
present of the red Aśoka buds indicative of the
dawn of spring, you have been first requested
by Iravati through Nipunika-My lord, I should
like to have the pleasure of sitting by your side on
the swing.' And you have also promised her
accordingly. Therefore, let us both wend our way to
the garden.
King. It is not possible.
१. णं भवं अज्ज पुढमं वसन्दोदारसूअआइ रत्तासोअकोरआइ उवाअणं
पेसिअ णववसन्दावदारव्ववदेसेण इरावदीए णिउणिआमुहेण पत्थिदो । इच्छम्मि
अज्जउत्तेण सह दोलाहिरोहणं अणुहोवु ति । भवदा वि से पडिण्णादं । ता
पमदवणं एव्व गच्छा।
।
...

·60 MĀLAVIKĀGNIMITRA । विदूषकः-१कथमिव । राजा-वयस्य, निसर्गनिपुणाः स्त्रियः । कथं मामन्यसंक्रान्तहृदय- मुपलालयन्तमपि ते सखी न लक्षयिष्यति । अतः पश्यामि । उचितः प्रणयो वरं विहन्तुं बहवः खण्डनहेतवो हि दृष्टाः। उपचारविधिर्मनस्विनीनां न तु पूर्वाभ्यधिकोऽपि भावशून्यः ॥ ३॥ विदूषकः-२नार्हति भवानन्तः तःपुरप्रतिष्ठितं दाक्षिण्यमेकपदे पृष्ठतः कर्तुम् । राजा-(विचिन्त्य) तेन हि प्रमदवनमार्गमादेशय । Vidūshaka. Why? King. Friend, women are acute by nature. However courteous I may be, how will your friend fail to see through me, when my mind strays elsewhere? Therefore, I conclude- It is better to ignore the request of ladies-for many are the reasons seen for the disappointment • of a request-but not to serve them with overflowing courtesy without sincerity. (3) Vidūshaka. You ought not to cast off at one stroke all your chivalry so well known towards all the inmates of your harem. King. (Reflecting) Then point out the way to the garden. १. कहं विअ । २. णारिहदि भवं अन्देउरपडिछिदं दक्खिण्णं एकपदे पिट्ठदो काहुँ ।

·ACT THE THIRD 6. - विदूषकः-१इत इतो भवान् । (उभौ परिकामतः ।) विदूषकः-२वसन्तः किल पवनदरचालिपल्लवाङ्गुलीभिस्त्वरयतीव भवन्तम्-प्रमदवनं प्रविशत्विति । राजा-(स्पर्श रूपयित्वा ) अभिजातः खलु वसन्तः। सखे, पश्य । आमत्तानां श्रवणसुभगैः कूजितैः कोकिलानां सानुक्रोशं मनसिजरुजः सह्यतां पृच्छतेव । अङ्गे चूतप्रसवसुरभिर्दक्षिणो मारुतो मे सान्द्रस्पर्श करतल इव व्यापृतो माधवेन ॥ ४ ॥ विदूषकः- ३प्रविश निवृतिलाभाय । Vidashaka. Here, here, sir. (Both walk about) Vidushaka. The spring, with its fingers of tender leaves gently shaking in the breeze, seems to urge you on to enter the garden. King. (Feeling the pleasure of touch) The Spring is of course noble-born. Friend, see- The southern breeze, wafting the fragrance of mango flowers and sweeping over.my body, looks... like the pressing right hand applied by the Spring which, by means of the sweet cries of frantic cuckoos, seems to make enquiries, out of solicitude, as to my experience of the fever of passion. (4) Vidushaka. Enter the garden to enjoyits pleasures. १. इदो इदो भवं । २. वसन्दो किल पवणदरचालिपल्लवङ्गुलीहिं तुवरेदि वि. भवन्तं-पमदवणं पविसदुत्ति ३. पविस णिव्वुदिलाहा।

·62 MĀLAVIKĀGNIMITRA (उभौ प्रविशतः।) विदूषकः-१भो वयस्य, अवधानेन दृष्टिं धेहि । एतत्खलु भवन्तं विलोभयितुकामया प्रमदवनलक्ष्म्या युवतिवेषलज्जापयितृक वसन्तकुसुमनेपथ्यं गृहीतम् । राजा-ननु विस्मयादवलोकयामि । रक्ताशोकरुचा विशेषितगुणो बिम्बाधरालक्तका प्रत्याख्यातविशेषकं कुरबकं श्यामावदातारुणम् । आक्रान्ता तिलकक्रियापि तिलकैर्लग्गद्विरेफाञ्जनैः सावज्ञेव मुखप्रसाधनविधौ श्रीर्माधवी योषिताम् ॥ ५ ॥ (उभौ उद्यानशोभा निरूपयतः।) (Both enter) Vidishaka. Friend, look attentively. This is the garb of vernal'flowers, put on by Dame Beauty of -this garden, which puts to shame the attire of youthful ladies, as though she were desirous of winning your heart. King. Of course, I behold with wonder. The red dye of the lower lip resembling a Bimba fruit is surpassed in hue by the red Asoka the Kurabaka flowers of the blue, yellow and red types excel the ornamentation of faces by green leaves ; the part played by a black mark on the forehead is here much better performed by sesame flowers with bees sticking to them like collyrium. १. भो वअस्स, अवहाणेण दिहिँ धेहि । एदं खु भवन्दं विलोहइदु- कामाए पमदवणलच्छीए जुवइवेसलज्जापइत्तअं.वसन्दकुसुमणेवत्थं गहीदं । ..

·ACT THE THIRD 63. ३ (ततः प्रविशति पर्युत्सुका मालविका।) मालविका–१अविज्ञातहृदयं भर्तारमभिलषन्यात्मनोऽपि ताव- ल्लज्जे । कुतो विभवः स्निग्धस्य सखीजनस्येमं वृत्तान्तमाख्या- तुम् । न जानेऽप्रतीकारगुरुका वेदनां कियन्तं कालं मदनो मां नेष्यति । (कतिचित्पदानि गत्वा) कुत्र खलु प्रस्थितास्मि । (स्मृतिमभिनीय) आः संदिष्टास्मि देव्या -'गौतमचापलाहोला- परिभ्रष्टायाः सरुजो मम चरणः । त्वं तावद्गत्वा तपनीयाशो- कस्य दोहदं निर्वतय । यदि स पञ्चरात्राभ्यन्तरे कुसुम The beauty of the Spring is contemptuous, as it were, at the face-ornamentation of women. (5) (Both observe the beauty of the garden) (Enter Malavikā with an ancious face) Mālavikā. Longing for a husband whose heart is not yet known, I feel ashamed of myself. Where is the courage for me to divulge this news even to my best friends ? I don't know how long the God of Love is going to inflict on me this incurable and unbearable torture ! (Advancing a few steps) Wherefor am I starting ? (Exhibiting a flash of memory) Ah! I have been commanded by the queen "By a joke of Gāutama I fell down from the swinging plank whereby my foot has been injured. You, just go and perform the Dohala for the golden १. अविण्णादहिअ भट्टारं अहिलसन्दी अत्तणो वि दाव लज्जेमि । कुदो विहवो सिणिद्धस्स सहीजणस्स इमं वुत्तन्तं आचक्खिदं । ण जाणे अप्पडीआर- गुरुमं वेअणं केत्तिसं कालं मअणो मं गइस्सदि । कहिं खु पत्थिदह्मि । आ:

·64 MĀLAVIKAGNIMITRA दर्शयति, ततोऽहं तव (अन्तरा निःश्वस्य) अभिलाषपूरयितृकं प्रसादं दास्यामि'इति। तद्यावन्नियोगभूमिं प्रथमं गता भवामि । यावदनुपदं मम चरणालंकारहस्तया बकुलावलिकयागन्तव्यम् , परिदेवयिष्ये तावद्विस्रब्धं मुहूर्तकम् । (इति परिकामति।) विदूषकः- (दृष्ट्वा) हीही, इयं खलु सीधुपानोद्वेजितस्य मत्स्यण्डि- कोपनता। राजा-अये, किमेतत् । Asoka. If it puts on flowers before the lapse of five nights, then I will give you a reward which (heaving a sigh in the middle) will satisfy your desire.' Therefore, I shall first go to the place where I am to do my duty. Before Bakulāvalikā turns up with an anklet in her hand for my foot, I shall for a while freely ventilate my grief. (Walks on) Vidushaka. (Seeing) Oh! Ho! Here is sugarcandy available for one disgusted with the drink of arrack. King. Eh! What is this? Vidashaka. Here, near by is Malavika dressed in संदिकृमि देवीए-गोदमचावलादो दोलापरिभ्भट्टाए सरुजो मह चलणो । तुम दाव गदुअ तवणीआसोअस्स दोहदं णिव्वट्टहि । जदि सो पञ्चरत्तब्मन्दरे कुसुमं दंसेदि, तदो अहं तुह अहिलासपूरइत्तरं पसादं दाइस्सं ति। ता जाब णिओ- अभूमि पुढमं गदा होमि । जाब अणुपदं मह चलणालंकारहत्थाए बउलावलि- आए आअन्दव्वं, परिदेवइस्सं दाव वीसद्धं मुहुत्तरं । १. हीही, इअं खु सीहुपाणुव्वेजिदस्स मच्छण्डिआ उवणदा ।

·ACT THE THIRD 65 विदूषकः-१एषा खलु नातिपरिष्कृतवेषा उत्सुकेव एकाकिनी मालविकाऽदूरे वर्तते । राजा-(सहर्षे) कथं मालविका । विदूषकः -२अथ किम् । राजा- शक्यमिदानी जीवितमवलम्बितुम् । त्वदुपलभ्य समीपगतां प्रियां हृदयमुच्छ्रसितं मम विक्लबम् । तरुवृतां पथिकस्य पिपासतः सरितमारसितादिव सारसात् ॥ ६ ॥ अथ व तत्रभवती। विदूषकः-- ३एषा तरुराजिमध्यान्निष्क्रान्तेत एवागच्छति । a simple costume, appearing anxious and standing lonely. King. (Gladly) It is Malavika? Vidūshaka. Yes. King. Now it is possible for me to live. On learning from you about my beloved being near by, my gloomy heart has cheered up, just as the heart of a thirsty traveller would on coming to know of a river covered by trees from the rattling (6) Then, where is the lady ? Vidushaka. She is seen emerging from the midst एसा खु णादिपरिक्खिदवेसा ऊसुआ विअ एआइणी मालविआ अदूरे वट्टदि । अह इं। ३. एसा तरुराइमज्झादो णिकन्दा इदो एव्व आअच्छदि । 5 swan. १.

·66 MĀLAVIKĀGNIMITRA राजा—(विलोक्य सहर्षे) वयस्य, पश्याम्येनाम् । विपुलं नितम्बबिम्बे मध्ये क्षामं समुन्नतं कुचयोः। अत्यायतं नयनयोर्मम जीवितमेतदायाति ॥ ७ ॥ सखे, पूर्वस्मादवस्थान्तरमुपारूढा तत्रभवती । तथा हि । शरकाण्डपाण्डुगण्डस्थलेयमाभाति परिमिताभरणा । माधवपरिणतपत्रा कतिपयक्कुसुमेव कुन्दलता ॥८॥ विदूषकः--१एषापि भवानिव मदनव्याधिना परामृष्टा दृश्यते । राजा-सौहार्दमेवं पश्यति । मालविका-२अयं स ललितदोहदापेक्षी अगृहीतकुसुमनेपथ्यः of the row of trees and coming in this direction, King. (Seeing, with delight) Friend, I behold Extensive in the region lower down the hip, thin at the waist, lofty at the breasts and lengthy in eyes, here comes she, my very life. (7) Comrade, the lady has risen in attraction from what she was before. Accordingly- With cheeks white like the stalks of reed and with a few ornaments, she shines like a jasmine creeper with leaves ripe in the Spring and with a few flowers. (8) Vidushaka. She is also seen affected by the disease of love like yourself. King. Friendship sees thus. १. एसावि भवं विअ मअणव्वाहिणा परामिठा दीसइ । अअं सो ललिअदोहलावेक्खी अगहीदकुसुमणेवच्छो उक्कण्ठिदाए मह .

·ACT THE THIRD 67 उत्कण्ठिताया ममानुकरोत्यशोकः । यावदस्य प्रच्छायशीतले शिलापट्टके निषण्णाऽऽत्मानं विनोदयामि । विदूषक: ---श्रुतं भवता । उत्कण्ठितास्मीति तत्रभवत्या मन्त्रितम् । राजा-नैतावता भवन्तं प्रसन्नतकं मन्ये । कुतः।' वोढा कुरवकरजसां किसलयपुटभेदशीकरानुगतः । अनिमित्तामुत्कण्ठामपि जनयति मलयवातोऽयम् ॥ ९॥ (मालविकोपविष्टा ।) Malavika. This Asoka tree, awaiting the performance of an elegant Dohada and standing without its dress of flowers, likens itself unto me who am oppressed by anxiety. I shall just be seated on its stone-dais, cool by its shade, and divert myself. Vidashaka. You heard it? The lady expresses herself to be oppressed by anxiety. King. By this alone I am not inclined to view your argument as sound. For Carrying the dust of Kuravaka flowers and followed by a trail of water-sprays rising from the openings of buds of lotuses, this breeze blowing from Mount Malaya fills the mind with anxiety without any sufficient cause. (9) (Mālavikā sits down) अणुकरेदि असोओ । जाव से पच्छाअसीदले सिलापट्टए णिसण्णा अत्ताणं विणोदेमि। १. सुदं भवदा । उक्कण्ठिदम्मित्ति तत्तहोदीए मन्तिदं ।

·68 MĀLAVIKĀGNIMITRA राजा-वयस्य, इतस्तावत् । आवां लतान्तरितौ भवावः । विदूषकः-१इरावतीमिवादूरे प्रेक्षे । राजा-नहि कमलिनी दृष्ट्वा ग्राहमवेक्षते मतङ्गजः । (इति विलोकयन्स्थितः।) मालविका-२हृदय, निरवलम्बान्मनोरथाद्विरम । किं मामाया- सयसि। . (विदूषको राजानं वीक्षते।) राजा-प्रिये, पश्य महत्त्वं स्नेहस्य । औत्सुक्यहेतुं विवृणोषि न त्वं तत्त्वावबोधैकफलो न तर्कः। तथापि रम्भोरु करोमि लक्ष्य- मात्मानमेषां परिदेवितानाम् ॥ १० ॥ King. Friend, here please. Let us be hidden by the plants. Vidushaka. Not far off do I espy Iravati. King. After seeing a lotus-tank, an elephant does not mind the presence of a whale. (Stands looking) Malavikā. Heart, turn away from your hopeless ambition. Why do you worry me? (Vidushaka looks at the king) King. Ab, my beloved, look at the oddity of love. You do not explain the cause of your anxiety, १. इरावदिं विअ अदूरे पेक्खामि । २. हिमअ, हिरवलम्बादो मणोरहादो विरम । किं मं आआसेसि ।

·AOT THE THIRD 69 विदूषकः--१सांप्रतं भवतो निःसंशयं भविष्यति । एषार्पित- मदनसंदेशा विविक्ते एनां बकुलावलिकोपस्थिता । राजा-अपि स्मरेदस्मदभ्यर्थनाम् । विदूषकः--२किमिदानीमेषा दास्या दुहिता तव गुरुकं संदेश विस्मरति । अहमपि तावन्न विस्मरामि । (प्रविश्य चरणालंकारहस्ता) बकुलावलिका-३अपि सुखं सख्याः । मालविका-४अहो बकुलावलिका । सखि, स्वागतं ते। उपविश । and an inference does not necessarily sound in reality. Still, O damsel possessed of thighs resembling trunks of plantains, I imagine myself to be the object of your lamentations. (10) Vidūshaka. You will be presently cleared of your doubt. Here Bakulāvalikā who had been informed of your message of love goes to her in private. King. Will she remember our request ? Vidushaka. Will that damned slave of a girl forget your momentous errand now ? I myself do not forget it. (Enter with an anklet in her hand) Bakulāvalikā. Friend, are you doing well ? Malavika. Hallooh ! Bakulavalika! Friend, १. संपदं भवदो णिस्संस भविस्सदि । एसा अप्पिदमअणसंदेसा विवित्ते णं बउलावलिआ उवठुिदा । २. किं दाणिं एसा दासीए दुहिदा तुह गुरुअं संदेसं विसुमरेदि । अहं वि दाव ण विसुमरेमि । ३. अवि सुहं सहीए। ४. अह्मो बउलावलिआ । सहि, साअदं दे । उवविस ।

·70 MALAVIKĀGNIMITRA बकुलावलिका-(उपविश्य) १हला, त्वं तावदिदानी देव्या योग्य- दारिकेति नियुक्ता । तस्मादेकं ते चरणमुपनय । यावत्साल- क्तकं सनूपरं करोमि । मालविका-(आत्मगत) २हृदय, अलं सुखिततया-अयं विभव उपस्थित इति । कथमिदानीमात्मानं मोचयेयम् । अथवैतदेव मृत्युमण्डनं मे भविष्यति । बकुलावलिका–३किं विचारयसि । उत्सुका खल्वस्य तपनीया- शोकस्य मुकुलोद्गमे देवी। Welcome to you. Sitdown. Bakulāvalikā. (Sitting) Friend, you have been now deputed by the queen as you are a girl of merit. Therefore, stretch out one of your feet so that I may. provide it with the red dye (alaktaka) and the anklet. Malavika. (To herself) O heart, don't go into raptures that this bright occasion has arisen for you. How sball I now release myself ? Or, this itself shall be my funeral decoration. Bakulāvalikā. What are you brooding over ? The queen is indeed keen about the budding of this golden Asoka. १. हला, तुमं दाव दाणिं देवीए जोग्गदारिएत्ति णिउत्ता । ता एक दे चलणं उवणेहि । जाव सालत्तसंसणेउरं करेमि । २. हिअअ, अलं सुहिददाए-अअं विहवो उवठ्ठिदोत्ति । कहं दाणिं अत्ताणं मोचेझं। अहवा एदं एव्व मिच्छुमण्डणं मे भविस्सदि। ३. किं विआरेसि । ऊसुआ खु इमस्स तवणीआसोअस्स मुउलुग्गमे देवी।

·ACT THE THIRD 7 ॥ राजा-कथमशोकदोहदनिमित्तोऽयमारम्भः । विदूषकः-१किंनु खलु न जानासि अकारणाद्देवीमामन्तःपुर- नेपथ्येन न संयोजयिष्यतीति । मालविका-२हला, मर्षय तावदेनम् । (इति पादमुपहरति ।) बकुलावलिका–३अयि, शरीरमसि मे (इति नाट्येन चरणालंकारमारभते ।) राजा- चरणान्तनिवेशितां प्रियायाः सरसां पश्य वयस्य रागरेखाम् । प्रथमामिव पल्लवप्रसूति हरदग्धस्य मनोभवद्रुमस्य ॥ ११ ॥ King. What? Is it an attempt to perform the Dohada of the Asoka? Vidashaka. Don't you know the queen will not without reason provide this girl with the apparel of the harem? Mālavikā. Friend, I beg your pardon. (Offers her foot) Bakulāvalikā. Oh! You are my very body. (By gesture begins the decoration of foot) King. Friend, look at the red line of the wet dye applied to the surface of the foot of my beloved, which appears like the first crop of tender leaves of the tree of the God of Love burnt by Siva. (11) १. किंणु खु ण जाणासि अकालणादो देवी इमं अन्देउरणेवच्छेण ण संजोअइस्सदित्ति । २. हला, मरि सेहि दाव णं । ३. अइ, सरीरं सि मे । है ·72 MĀLAVIKĀGNIMITRA विदूषकः .१चरणानुरूपः खलु तत्रभवत्या अधिकार उपक्षिप्तः । राजा-सम्यगाह भवान् । नवकिसलयरागेणाग्रपादेन बाला स्फुरितनखरुचा द्वौ हन्तुमर्हत्यनेन । अकुसुमितमशोकं दोहदापेक्षया वा प्रणमितशिरसं वा कान्तमापराधम् ॥ १२ ॥ विदूषकः-२प्रहरिष्यति तत्रभवती त्वामपराद्धम् । राजा-मूर्ना प्रतिगृहीतं वचः सिद्धिदर्शिनो ब्राह्मणस्य । (ततः प्रविशति युक्तमदा इरावती चेटी च।) इरावती-३हले निपुणिके, शृणोमि बहुशो मदः किल स्त्रीजनस्य Vidishaka. Indeed a fitting duty has been ordained for Mālavikā's feet by Her Highness. King. Well said. With this fore-foot, red like fresh tender leaves and shining bright with the lustre of nails, the young lady may worthily kick two objects--either the flowerless Asoka in performing its Dohada, or the faithless lover caught red-handed, who bows down his head. (12) Vidushaka. The lady will kick you when you prave faithless to her. King. The utterance of the prophetic Brahmin is received with a bent head. १. चलणाणुरूवो खु तत्तहोदीए अहिआरो उवक्खित्तो। २. पहरिस्सदि तत्तहोदी तुम अवरद्धम् । ३. हले णिउणिए, सुणोमि बहुसो मदो किल

·ACT THE THIRD
73
विशेषमण्डनमिति । अपि सत्यो लोकवादोऽयम् ।
निपुणिका--१प्रथमं लोकवाद एव । अद्य पुनः सत्यः संवृत्तः ।
इरावती--२अलं मयि स्नेहेन । कुत इदानीमवगतं डोलागृहं प्रथम
गतो भतेति ।
निपुणिका-भट्टिन्या अखण्डितात्प्रणयात् ।
इरावती-४अलं सेवया । मध्यस्थतां गृहीत्वा भण ।
निपुणिका-५वसन्तोपायनलोलुपेनार्यगौतमेन कथितम् । त्वरतां
भट्टिनी।
(Enter Irāvatī slightly drunk, and her servant-maid)
Iravati. Girl Nipunika, I hear from many
quarters that drunkenness is an ornament for the
womenfolk Is this gossip true ?
Nipunikā. First it was only a gossip, but to-day
it is a fact.
Iravati. Enough of your fondness for me. How
do you know that the king has first gone forth to
the swinging chambers ?
Nipunikā. From your ever-triumphant love.
Iravati. Enough of glorification. Speak from an
impartial attitude.
इथिआजणस्स विसेसमण्डणं ति । अवि सच्चो लोअवादो अअं।
१. पुढमं लोअवाओ एव्व । अज्ज उण सच्चो संवुत्तो ।
२. अलं मइ सिणेहेण । कुदो दाणिं अवगदं डोलाघरं पुढमं गदो भट्टेत्ति ।
३. भट्टिणीए अखण्डिदादो पणआदो।
४. अलं सेवाए । मज्झत्थदं गह्निअ भणाहि ।
वसन्दोवाअणलोलुवेण अजगोदमेण कहिदं । तुवरदु भट्टिणी ।

·74 MALAVIKĀGNIMITRA इरावती--(अवस्थासदृशं परिक्रम्य) पहले, मदेन लाम्यन्ती मामार्य- पुत्रदर्शने हृदयं त्वरयति । चरणौ पुनर्मार्गे न प्रसरतः । निपुणिका-२ननु संप्राप्ते खो डोलागृहम् । इरावती-३निपुणिके, नात्रार्यपुत्रो दृश्यते । निपुणिका-~४अवलोकयतु भट्टिनी । परिहासनिमित्तं कुत्रापि गूढेन भर्ना भवितव्यम् । आवामपीमं प्रियङ्गुलतापरिक्षिप्त- मशोकशिलापट्टकं प्रविशावः । (इरावती तथा करोति।) Nipunikā. I have been told so by the venerable Gāutama who is longing for the Spring offerings. Make haste, madam. Irāvati. (Walking about in conformity with her state of mind). Girl, my mind hastens me in my uneasiness due to intoxication to see my lord, but my feet do not freely move on the road. Nipunikā. We have actually reached the swinging chambers. Irāvati. O Nipuņikā, my lord is not to be seen here. Nipunika. Look round, madam. The king must remain somewhere unseen for the sake of fun. १. हजे, मदेण किलामिअमाण में अज्जउत्तदंसणे हिअ तुवरेदि । चलणा उण मग्गे ण प्पसरन्दि । २. णं संपत्तह्म. डोलाघरं । ३. णिउणिए, ण एत्थ अज्जउत्तो दीसइ । ४. ओलोएदु भट्टिणी । परिहासणिमित्तं कहिं वि गूढेण भट्टिणा होदव्वं । अम्हे वि इमं पिअङ्गुलदापरिक्खित्तं असोअसिलापट्टों . पक्सिम ।

·ACT THE THIRD
75
निपुणिका-(परिक्रम्य विलोक्य) १अवलोकयतु भट्टिनी। चूताकुर
विचिन्वत्योरावयोः पिपीलिकाभिर्दष्टम् ।
इरावती-२किमिवैतत् ।
निपुणिका-३एषा बकुलावलिकाशोकपादपच्छायायां मालविका-
याश्चरणालंकारं निवर्तयति ।
इरावती-(शङ्का रूपयित्वा) ४अभूमिरियं मालविकायाः । कथमत्र
तर्कयसि ।
निपुणिका-५तर्कयामि दोलापरिभ्रष्टया सरुजचरणया देव्या
Let us also get to the stone-dais covered by lily
plants at the foot of the Aśoka.
(Irāvatī does so)
Nipunikā. (Walking round and looking) Look
here, madam. We are bitten by ants while search-,
ing for a mango-sprout.
Iravati. What is it ?
Nipunilca. Here, under the shade of the Asoka
tree, Bakulāvalikā decks the feet of Malavikā with
ornaments.
Irāvati. (Betraying suspicion) This is not the
right sort of place for Mālavikā. What do you
imagine ?
Nipunikā. I imagine that Mālavikā has been
१. ओलोएदु भट्टिणी । चूदङ्गुरं विचिण्णन्दीणं अह्माणं पिपीलिआहिं
दंसिदं । २. किं विअ एदं । ३. एसा बउलावलिआ असोअपाअवच्छाआए
मालविआए चलणालंकारं णिचट्टेदि । ४. अभूमी इअं मालविआए । कहं एत्थ
तक्केसि । ५. तक्केमि दोलापरिभंसिदाए सरुअचलणाए देवीए असोअदोहला-
-

·"76 MALAVIKĀGNIMITRA - अशोकदोहदाधिकारे मालविका नियुक्तेति । अन्यथा कथं देवी स्वयं धारितं नपुरयुगलं परिजनस्याभ्यनुज्ञास्यति । इरावती–१महती खल्वस्याः संभावना । निपुणिका-२किं नान्विध्यते भर्ता । इरावती-३हजे, न मे चरणावन्यतः प्रवर्तेते। मनोऽपि किमपि विकारयति । आशङ्कितस्य तावदन्तं गमिष्यामि । (मालविकां निर्वर्ण्य आत्मगतं) स्थाने खलु कातरं मे हृदयम् । directed to perform the Dohada ceremony for the Aſoka by the queen who, having had a fall from the cradle, got injured in her feet. Otherwise how would the queen permit the pair of anklets worn by herself to be used by a servant ? Irāvati. Indeed a great honour done to this woman, Nipuņikā. Don't you search for the lord ? Iravati. Maid, my feet do not turn anywhere else. And my mind somehow makes me uneasy. First I shall clear my doubt. (Looking at Mālavikā, to herself) My mind is indeed justly afraid. हिआरे मालविआ णिउत्तेत्ति । अण्णहा कहं देवी सअं धारिअं णूउरजुअलं परिअणस्स अब्भणुजाणिस्सदि। १. महदी क्खु से संभावणा । २. किंण अण्णेसीअदि भट्टा । ३. हले ण मे चलणा अण्णदो पवट्टन्दि। मणो वि किंवि विआरेदि। आसकिदस्स दाव अन्तं गमिस्सं । ठाणे क्खु कादरं मे हिअ।

·ACT THE THIRD
77
बकुलावलिका-(मालविकायै चरणं दर्शयन्ती) १अपि रोचते तेऽयं
रागरेखाविन्यासः।
मालविका-२आत्मनश्चरण इति लज्जे एनं प्रशंसितुम् । कथय
केन प्रसाधनकलायामभिविनीतासि ।
बकुलावलिका-३अत्र भर्तुः शिष्यास्मि ।
विदूषकः- त्वरस्वेदानी गुरुदक्षिणायै ।
मालविका-५दिष्टया न गर्वितासि ।
बकुलावलिका-६उपदेशानुरूपे चरणे लब्ध्वेदानी गर्विता भवि-
प्यामि । (आत्मगतं) हन्त, सिद्धं मे दूत्यम् । (प्रकाश) (रागं
Bakulāvalikā. (Pointing out to Malavikā her foot)
Do you like this design of red paint?
Malavikā. I am of course ashamed to praise it,
because it is my foot. Tell, by whom were you trained
in the art of ornamentation ?
Bakulāvalikā. I am a pupil of His Highness in
this matter.
Vidūshaka. Hasten now to receive your tuition-fee.
Mālavikā. I congratulate you on your humility.
Bakulāvalikā. But now I shall become puffed up
अवि रोअदि ते अराअरेहाविण्णासो। २. अत्तणो चलणं ति लज्जेमि
णं पसंसिदं । कहेहि केण पसाहणकलाए अहिविणीदासि । ३. एत्थ भत्तुणो
सीसह्मि । ४. तुवरेहि दाणिं गुरुदक्षिणाए । ५. दिठुिआ ण गग्विदासि ।
६. उवदेसाणुरूवे चलणे लम्भिअ दाणिं गम्विदा भविस्सं । हन्त सिद्धं मे
दुच्चम् । सहि, एकस्स दे चलणस्स अवसिदो राअणिक्खेवो । केवलं मुहमारुदो
लम्भइदम्वो । अहवा पवाद एवं ठाणं ।
१.

·78 MĀLAVIKĀGNIMITRA विलोक्य) सखि, एकस्य ते चरणस्यावसितो रागनिक्षेपः । केवलं मुखमारुतो लम्मयितव्यः । अथवा प्रवातमेतत्स्थानम् । राजा-सखे, पश्य पश्य । आालक्तकमस्याश्चरणं मुखमारुतेन वीजयितुम् । प्रतिपन्नः प्रथमतरः संप्रति सेवावकाशो मे ॥ १३ ॥ विदूषकः १कुतस्तेऽनुशयः । चिरं भवता एतत्क्रमेणानुभवि- तव्यम् । बकुलावलिका-२सखि, अरुणशतपत्रमिव शोभते ते चरणम् । सर्वथा भर्तुरङ्कपरिवर्तिनी भव । (इरावती निपुणिकामुखमवेक्षते ।) with the acquisition of two feet worthy of my training. (To herself) Oh ! My mission is performed. (Aloud, looking at the red paint) Friend, the painting of your one foot is finished. It has simply to be fanned by the mouth. Nay, this place has plenty of breeze. King. Friend, see, see- The first opportunity to serve her has now arrived for me to dry up her foot which is wet with .Alaktaka, by fanning it with my mouth. (13) Vidīshaka. Whence is your anxiety? This is to be long enjoyed by you in due course. Bakulāvalikā. Friend, your foot shines like a १. कुदो दे अणुसओ। चिरं भवदा एदं कमेण अणुहोदव्वं । २. सहि, अरुणसदपत्तं विअ सोहदि दे चलणं । सव्वहा भत्तणो अपरिवट्टिणी होहि ।

·ACT THE THIRD 79 राजा-ममेयमाशीः। मालविका-हला, अवचनीय मन्त्रयसे । बकुलावलिका-२मन्त्रयितव्यमेव मया मन्त्रितम् । मालविका-३प्रिया खल्वहं तव । बकुलावलिका-४न केवलं मम । मालविका-५कस्य वान्यस्य । बकुलावलिका-गुणेष्वभिनिवेशिनो भर्तुरपि । मालविका--"अलीकं मन्त्रयसे । एतदेव मयि नास्ति । red lotus. By all means you shall be seated on the king's lap. (Irāvatī looks at Nipunikā's face) King. This is my prayer. Mālavikā. Friend, you think of the unthinkable. Bakulāvalikā. I am thinking only of the thinkable. Malavika. I am so dear to you. Bakulāvalikā. Not merely to me. Mālavikā. To whom else ? - Bakulāvalikā. Also to the king who is an admirer of virtues. Malavikā. You err in thinking so. There is nothing of that sort in me. १. हला अवअणीअं मन्तेसि । २. मन्तिदव्वं एव्व मए मन्तिदं । ३. पिआ खु अहं तुह । ४. ण केवलं मह । ५. कस्स वा अण्णस्स । ६. गुणेसु अहिणिवेसिणो भत्तुणो वि। ७. अलीअं मन्तेसि । एदं एव्व मइ णत्ति ।

·80 MĀLA VIKĀGNIMITRA बकुलावलिका-१सत्यं त्वयि नास्ति । भर्तुः कृशेषु वरपाण्डुरेषु दृश्यतेऽङ्गेषु । निपुणिका-२प्रथमगणितमिव हताशाया उत्तरम् । बकुलावलिका-३अनुरागोऽनुरागेण प्रत्येष्टव्य इति सुजनवचनं प्रमाणीकुरु । मालविका-४किमात्मनश्छन्देन मन्त्रयसे । बकुलावलिका-५नहि नहि । भर्तुः खल्वेतानि प्रणयमृदुकान्य- क्षराणि बिम्बान्तरितानि । मालविका-६सखि, देवी चिन्तयित्वा न मे हृदयस्य प्रभविष्यामि । Bakulāvalikā. True, nothing in you. But it is seen in the thin and pale limbs of the king. Nipunikā. The answer of the wretched woman seems ready prepared in anticipation, Bakulávalikā. 'Love must be returned for love." Follow this precept of the good. Malavikā. What are you dreaming of your own accord? Bakulāvalikā. No, no. In fact these are the loving and tender words of the king through a different medium. १. सच्चं तुइ णत्ति । भत्तुणो किसेसु वरपण्डुरेसु दीसइ अङ्गेसु । २. पुढमगणिदं विअ हदासाए उत्तरं । ३. अणुराओ अणुराएण पच्चेट्टन्यो त्ति सुअणवअणं पमाणीकरेहि । ४. किं अत्तणो छन्देण मन्तेसि । ५. णहि णहि । भत्तुणो खु एदाइ पणअमिदुआइ अक्खराइ बिंबंदरिदाइ। ६. हला, देविं चिन्तिम ण मे हिअअस्स पहविस्सं ।

·ACT THE THIRD 81 बकुलावलिका-१मुग्धे, भ्रमरसंपातो भविष्यतीति वसन्ताव. तारसर्वस्वं किं न चूतप्रसवोऽवतंसयितव्यः । मालविका–२त्वं तावदुर्जाते ममात्यन्तसहायिनी भव । बकुलावलिका-३विमर्दसुरभिर्बकुलावलिका खल्वहम् । राजा-साधु बकुलावलिके, साधु । भावज्ञानानन्तरं प्रस्तुतेन प्रत्याख्याने दत्तयुक्तोत्तरेण । वाक्येनेयं स्थापिता स्खे निदेशे स्थाने प्राणाः कामिनां दृत्यधीनाः ॥ १४ ॥ Malavika. Friend, I am unable to permit my mind for that out of deference to the queen. Bakulāvalikā. Foolish girl, is the mango flower which is the essence of the Spring's advent not to be worn for ornament, simply because there will be worry from bees ? Mālavikā. You had better assist me best in this unfortunate plight. Bakulāvalikā. Indeed I am Bakulavalikā, a row of Bakula flowers that smell all the more sweet by pressure. King. Good, Bakulāvalikā, good. १. मुद्धे, भमरसंपादो भविस्स दित्ति वसन्तावदारसव्वस्सं किं ण चूदप्पसवो ओदंसिदव्वो। २. तुमं दाव दुजादे मह अञ्चन्दसहाइणी होहि । ३. विमद्दसुरही बउलावलिआ खु अहं । 6

·82
MĀLA VIKĀGNIMITRA
इरावती -१हजे, पश्य पश्य । कारितैवैतस्मिन् बकुलावलिकया
पदं मालविका ।
निपुणिका-भट्टिनि, निर्विकारस्याप्युत्सुकताजनक उपदेशः।
इरावती-३स्थाने खलु शङ्कितं मे हृदयम् । गृहीतार्थानन्तरं
चिन्तयिष्यामि ।
बकुलावलिका-४एष द्वितीयोऽपि ते निवृत्तपरिकर्मा चरणः ।
यावत् द्वावपि सनूपुरौ करोमि । (इति नाटयेन नूपुरयुगलमामुच्य)
By your talk which opened the topic after
ascertaining her mind and which furnished suitable
answers when objected to, she has been placed firm
in her resolve. Truly it is said, the life of lovers
depends upon lady-messengers.
(14)
Irāvati. Girl, see, see. Bakulāvalikā has made
Malavikā resolute in the matter,
Nipunikā. Madam, an advice that corrupts
even an innocent person !
Irāvati. My mind has suspected aright. Let me
know the facts and then think over,
Bakulāvalikā. This, your other foot also, has
been decorated. I shall just deck them both with
anklets. (Puts a pair of anklets on her feet by
१. हल्ले, पेक्ख पेक्ख । कारिदा एव्व एदस्सि बउलावलिआए पदं
मालविआ । २. भट्टिणि, णिन्विआरस्स वि ऊसुअदाजणओ उवदेसो ।
३. ठाणे खु संकिदं मे हिअअं। गहीदत्था अणन्तरं चिन्तइस्सं ।
४. एसो
दुदीओ वि दे णिव्वुत्तपरिकम्मा चलणो । जाव दुवे वि सणूउरे करेमि ।
हला, उठेहि । अणुचिठ्ठ देवीए असोअविआसइत्तअंणिओअं।

·ACT THE THIRD 83 हला, उत्तिष्ठ । अनुतिष्ठ देव्या अशोकविकासयितृकं नियोगम् । (उभे उत्तिष्ठतः।) इरावती-श्रुतं देव्या नियोग इति । भवत्विदानीम् । बकुलावलिका–२एष उपारूढराग उपभोगक्षमः पुरतस्ते वर्तते । मालविका-(सहर्षे) ३किं भर्ता । बकुलावलिका-(सस्मितं) ४न तावद्भः । एषोऽशोकशाखाव-, लम्बी पल्लवगुच्छः । अवतंसय तावदेनम् । विदूषकः-५श्रुतं भवता । राजा-सखे, पर्याप्तमेतावता कामिनाम् । gesture) Friend, rise. Perform the queen's command which would make the Asoka burst forth into flowers. (Both stand up) Irāvati. Did you hear that it is the queen's icommand ? Let it pass now. Bakulāvalikā. Intensely red (loving) and fit for your enjoyment, here stands in your front- Mālavikā. (Joyfully) Is it His Highness ? Bakulāvalikā. (Smiling) No, not His Highness. This bunch of tender leaves hanging on the branch of the Asoka tree. First, make this your ornament. Vidashaka. Did you hear? King. Friend, this is sufficient for lovers. १. सुदं देवीए णिओओत्ति । होदु दाणिं । २. एसो उवारूढराओ उव- सोअक्खमो पुरदो दे वइ । ३. किं भट्टा। ४. ण दाव भट्टा। एसो असोअसाहावलम्बी पल्लवगुच्छो । ओदंसेहि दाव णं। ५. सुदं भवदा।

·84 MALAVIKĀGNIMITRA अनातुरोत्कण्ठितयोः प्रसिध्यता समागमेनापि रतिर्न मां प्रति । परस्परप्राप्तिनिराशयोर्वरं शरीरनाशोऽपि समानुरागयोः ॥ १५ ॥ (मालविका रचितपल्लवावतंसा सलीलमशोकाय पादं प्रहिणोति ।) राजा-सखे, आदाय कर्णकिसलयमस्मादियमत्र चरणमर्पयति । उभयोः सदृशविनिमयादात्मानं वश्चितं मन्ये ॥१६॥ मालविका-१वामः खल्वेषोऽशोको यो व्यञ्जकं प्रमाणीकृत्य My appreciation does not go forth to a union which comes to pass between lovers one of whom is. indifferent and the other attached. To that I prefer the death of lovers who are hopeless of meeting each other, but who are equal in love with each other. (15) (Mālavikā, after adorning herself with tender leaves, directs her foot gracefully to the Aśoka) King. Friend, After taking the tender leaf for her earornament from the tree, she offers her foot to it. On seeing the suitable exchange between the two, I find I am duped. (16) Malavikā. Perverse is this Aſoka that does not put on a display of flowers in response to the १. वामो क्खु एसो असोओ जो व्वञ्जअं पमाणीकदुअ कुसुमुग्गमं ण दसेदि । अवि णाम अम्हाणं सम्भावणा सफला हवे।

·ACT THE THIRD 85 कुसुमोद्गमं न दर्शयति । अपि नामावयोः संभावना सफला भवेत् । बकुलावलिका-१हला, नास्ति ते दोषः । निर्गुणोऽयमशोको यदि कुसुमो दमन्थरो भवेद्य ईदृशं चरणसत्कारं लब्ध्वा । राजा- अनेन तनुमध्यया मुखरनूपुराराविणा नवाम्बुरुहकोमलेन चरणेन संभावितः । अशोक यदि सद्य एव मुकुलैन संपत्स्यसे वृथा वहसि दोहदं ललितकामिसाधारणम् ॥१७ सखे, वचनावसरपूर्वकं प्रवेष्टुमिच्छामि । विदूषकः-२एह्येनां परिहासयिष्यामि । Dohada. Will our expectation be fruitful ? Bakulavalika. Friend, you are not at fault. This Asoka will be worthless if, after receiving this honour from your foot, it delays to put on flowers. King. Being honoured by the lady possessed of a slender waist with this foot which is chattering by means of the jingling anklet and which is as tender as a fresh lotus, O Asoka, if you fail to put forth buds at once, you hold in vain the Dohada ceremony in common with graceful lovers. (17) Friend, I desire to enter, catching hold of an opportunity to speak. १. हला, णत्थि दे दोसो। णिग्गुणो अअं असोओ जइ कुसुमोन्भेद- सन्धरो हवे, जो ईरिसं चलणसकारं लम्भित्र । २. एहि णं परिहासइस्सं ।

·86 MALAVIKĀGNIMITRA (उभौ प्रवेशं कुरुतः।) निपुणिका-भट्टिनि, भर्तात्रैव प्रविशति । इरावती-२एवं प्रथमं मम चिन्तितं हृदयेन । विदूषकः-(उपसृत्य) ३भवति, न युक्तं नाम अत्रभवतः प्रिय- वयस्योऽयमशोको वामपादेन ताडयितुम् । उभे-(ससंभ्रम) ४अहो, भर्ता । विदूषकः-५वकुलावलिके, गृहीतार्थया त्वायात्रभवतीदृशमविनर्य कुर्वती कस्मान्न निवारिता । (मालविका भयं रूपयति ।) Vidushaka. Come. I shall make fun of her. (Both enter) Nipunikā. Madam, the king enters only here. Irāvatz. This was first anticipated by my mind. Vidashaka. (Approaching) Madam, it is improper for this Asoka, the dear companion of my esteemed friend, to be kicked by the left foot. Both. (In a flutter) On His Highness ! Vidashaka. Bakulāvalikā, why didn't you, knowing as you do the truth, prevent this lady from doing this outrage ? (Malavika.looks afraid) Nipunilca. Madam, see. The venerableGautama १. भट्टिणि, भट्टा एत्थ एव्व पविसदि । २. एव्वं पुढमं मम चिन्तिदं हिअएण। ३. होदि, ण जुत्तं णाम अत्तहोदो पिअवअस्सो अअं असोओ कामपादेण ताडिदु । ४. अम्हो, भट्टा। ५. बउलावलिए, गहीदत्थाए तुए अत्तहोदी ईरिसं अविणअं करन्ती कीस ण णिवारिदा ।

·ACT THE THIRD 87 निपुणिका -१भट्टिनि, पश्य । किं प्रवृत्तमार्यगौतमेन । इरावती-२६ .२कथं ब्रह्मबन्धुरन्यथा जीविष्यति बकुलावलिका-३आर्य, एषा देव्या नियोगमनुतिष्ठति । एत- स्मिन्नतिक्रमे परवतीयम् । प्रसीदतु भर्ता । (आत्मना सममेनां प्रणिपातयति ।) राजा-यद्येवमनपराधासि । उत्तिष्ठ भद्रे । (हस्ते गृहीत्वैनामुत्थापयति।) विदूषकः-४युज्यते । देव्यत्र मानयितव्या । राजा-- किसलयमृदोविलासिनि कठिने निहितस्य पादपस्कन्धे । चरणस्य न ते बाधा संप्रति वामोरु वामस्य ।। १८ ।। has taken to this? Irāvati. How else is the Brahmin loafer to geton ? Bakulāvalikā. Sir, she is carrrying out the queen's command. In this wrongful act, she has no freedom of choice. Beg Your Highness's pardon. (Makes Malavika prostrate, and herself prostrates) King. If so, you are not to blame. Rise, good lady. (Raises her after taking her by his hand) Vidishaka. Proper. The queen deserves to be congratulated on this choice. King. Ograceful lady with beautiful thighs, १. भट्टिणि, पेक्ख । किं पउत्तं अजगोदमेण । २. कहं बह्मबन्धू अण्णहा जीविस्सदि। ३. अज एसा देवीए णिओअं अणुचिठ्ठदि । एदस्सि अदिक्कमे परवदी इअं। पसीददु भट्टा । ४. जुजइ । देवी एत्थ माणइदव्वा । - ·88 MĀLAVIKĀGNIMITRA (मालविका लज्जां रूपयति ।) इरावती–१अहो नवनीतकल्पहृदय आर्यपुत्रः । मालविका-२बकुलावलिके, एहि । अनुष्ठितमात्मनो नियोगं देव्यै निवेदयावः । बकुलावलिका-३तेन हि विज्ञापय भर्तारं विसर्जयेति । राजा-भद्रे, यास्यसि । मम तावदुत्पन्नावसरमर्थित्वं श्रूयताम् । बकुलावलिका–४अवहिता शृणु । आज्ञापयतु भर्ता । is there no pain now in your left foot which is as tender as a tender leaf, now that it has been placed on the hard trunk of the tree? (18) (Malavika. looks abashed) Iravati. Oh! How soft like butter is my lord's heart! Malavika. Bakulavalika, come. Let us inform the queen of the performance of her command. Bakulāvalikā. Then, ask His Highness to leave you. King. Noble lady, you wish to go? Please listen to my request which the occasion calls forth. Bakulāvalika. Listen attentively. Your Highness will be pleased to order. King. For a long time past this person also १. अहो णवणीदकप्पहिअओ अजउत्तो २. बउलावलिए, एहि । अणुछिदं अत्तणो णिओअं देवीए णिवेदेम । ३. तेण हि विण्णावेहि भट्टारं विसजेहित्ति । ४. अवहिदा सुणाहि । आणवेदु भट्टा ।

·ACT THE THIRD 89 राजा- धृतिपुष्पमयमपि जनो बध्नाति न तादृशं चिरात्प्रभृति । स्पर्शामृतेन पूरय दोहदमस्याप्यनन्यरुचेः ॥ १९ ॥ इरावती-(सहसोपसृत्य) १पूरय पूरय । अशोक; कुसुमं न दर्श- यति । अयं पुनः पुष्प्यति फलति च । (सर्वे इरावतीं दृष्ट्वा संभ्रान्ताः ।) राजा-(अपवार्य) वयस्य, का प्रतिपत्तिरत्र । विदूषकः--२किमन्यत् । जवाबलमेव । इरावती-३बकुलावलिके, साधु त्वयोपक्रान्तम् । मालविके, त्वं तावत्कुरु सफलप्रार्थनमार्यपुत्रम् । does not put forth that flower of courage (which he originally had). By the nectar of your embrace, fructify the Dohada for this person also whose love goes forth, to none else. (19) Irāvati. (Suddenly coming near) Fructify, fructify. The Asoka does not put forth flowers. But this one does put forth flowers and also bears fruit. (All are puzzled at seeing Irāvati) King. (Aside) Friend, what do you suggest here? Vidushaka. What else ? Showing a clean pair of heels. Irāvatī. Bakulāvalikā, you have begun aright. १. पूरेहि पूरेहि। असोओ कुसुमं ण दंसेदि । अअं उण पुप्फइ फलइ अ। २. किं अण्णं । जङ्घाबलं एव्व । ३. बउलावलिए, साहु तुए उवक्कन्दं । मालविए, तुमं दाव करेहि सफलपत्थणं अज उत्तं ।

·90 MALAVIKĀGNIMITRA उमे–१प्रसीदतु भट्टिनी । का वयं भर्तुः प्रणयपरिग्रहस्य । (इति निष्क्रान्ते ।) इरावती-२अहो अविश्वसनीयाः पुरुषाः । मया खल्वात्मनो वञ्चना व्याधजनगीतिरक्तया हरिण्येवाशङ्कितया न विज्ञाता । विदूषकः--(जनान्तिक) ३भो प्रतिपद्यस्व किमप्युत्तरम् । कर्मगृही- तेनापि कुम्भीलकेन संधिच्छेदने शिक्षितोऽस्मीति वक्तव्यं भवति । " राजा-सुन्दरि, न मे मालविकया कश्चिदर्थः। मया त्वं चिर- यसीति यथाकथंचिदात्मा विनोदितः । Malavika, you had better make my lord's request. fruitful. Both. Beg your pardon, madam. Who are we to accede to the king's request ? [Exeunt Iravati. Oh ! Untrustworthy are men. The fraud played on me was never known to me as to an unsuspecting roe ravished by the music of a hunter. Vidushaka. (Aside) Oh ! Re tort something. A thief caught redhanded has to say, 'I was just. learning how to dig a mine.' King. Fair lady, I have nothing to do with १. पसीददु भट्टिणी। का व भट्टिणो पणअपरिग्गहस्स । २. अहो अविस्ससणीआ पुरिसा । मए खु अत्तणो वञ्चणा वाजण- गीदिरत्ताए हरिणीए विअ असंकिदाए ण विण्णादा। ३. भो पडिवजेहि किवि उत्तरं । कम्मगहीदेण वि कुम्भीलएंण संधिच्छेअणे सिक्खिदोम्मित्ति वत्तव्वं होदि। .

·ACT THE THIRD
91.
इरावती-विश्वसनीयोऽसि । मया न विज्ञातम्--ईदृशं विनोद--
वस्तुकमार्यपुत्रेणोपलब्धमिति । अन्यथा मन्दभागिन्यैवं न
क्रियते ।
ष्यामि ।
विदूषकः-२मा तावत्तत्रभवतो दाक्षिण्यस्योपरोधं भणतु । समा-
पत्तिदृष्टेन देव्याः परिजनेन संकथापि यद्यपराधः स्थाप्यते
अत्र त्वमेव प्रमाणम् ।
इरावती–३ननु संकथा नाम भवतु । किमित्यात्मानमायासयि-
(इति रुषा प्रस्थिता।)
Malavika. Simply because you were late, I had
been somehow diverting myself.
Irāvatī. You are reliable ! My lord, I didn't
know you had caught hold of such an object of
diversion. Otherwise, unfortunate that I am, I
would not have done like this.
Vidashaka. You should not attribute a with---
drawal of love on the part of my esteemed friend.
If a casual talk with the queen's servant seen
accidentally is made out to be a sin, you are the
only authority for tbat.
Irāvati. Let it be a casual talk. Why should I
trouble myself? (Starts forth in anger)
१. विस्ससणीओसि । मए ण विण्णादं ईरिसं विणोदवत्थुअं अजउत्तेण.
उवलद्धं ति । अण्णहा मन्दभाइणीए एव्वं ण करीअदि ।
मा दाव तत्तहोदो दक्खिण्णस्स उवरोहं भणदु । समावत्तिदिठेण"
देवीए परिअणेण संकहावि जइ अवराहो ठाविअदि एत्थ तुम एव्व पमाणं ।
३. णं संकहा णाम होदु । किंति अत्ताणं आआसइस्सं ।
२.

·92. MĀLAVIKĀGNIMITRA . राजा--(अनुसरन्) प्रसीदतु भवती । (इरावती रशनासंदानितचरणा व्रजत्येव ।) राजा-सुन्दरि, न शोभते प्रणयिनि जने निरपेक्षता । इरावती-- १शठ, अविश्वसनीयहृदयोऽसि । राजा-- शठ इति मयि तावदस्तु ते परिचयवत्यवधीरणा प्रिये । चरणपतितया न चण्डि तां विसृजसि मेखलयापिं याचिता ॥ २० ॥ इरावती-२झ्यमपि हताशा त्वामेवानुकरोति । (इति रशनामादाय राजानं ताडयितुमिच्छति ।) राजा-इयमिरावती King. (Following her) Be pleased, madam. (Irāvatī walks on, her feet being impeded by her girdle) King. O beautiful lady, your indifference to a loving person does not look well. Irāvatī. Traitor, your heart is untrustworthy. King. My dear, familiar that I am to you, you may condemn me as a traitor. Angry lady, you do not give up your contempt, though begged of by the girdle fallen at your feet. (20) Irāvatī. This wretched girdle also follows you only. (Taking the girdle, tries to beat the king) १. सठ, अविस्ससणीअहिअओसि । २. इअंपि हदासा तुम एव्व अणुकरेदि ।

·ACT THE THIRD 93. बाष्पासारा हेमकाचीगुणेन श्रोणीबिम्बादव्यपेक्षाच्यतेन । चण्डी चण्डं हन्तुमभ्युद्यता मां विद्युद्दाम्ना मेघराजीव विन्ध्यम् ॥ २१ ॥ इरावती-१किं मामेव भूयोऽप्यपराद्धां करोषि (इति रशनां हस्तेनावलम्बते।) राजा-- अपराधिनि मयि दण्ड संहरसि किमुद्यतं कुटिलकेशि । वर्धयसि विलसितं त्वं दासजनायात्र कुप्यसि च ॥२२॥ (आत्मगतं) नूनमिदानीमनुज्ञातम् । (इति पादयोः पतति ।) King. Letting fall showers of tears, this indignant lady Irāvati is bent upon beating my cruel self with the thread of her golden girdle fallen from her waist by inadvertence, like an array of clouds trying to overpower the Vindhya mountain by a streak of lightning. (21) Iravatī. How do you again accuse only me of guilt ? (Takes hold of the girdle by her hand) King. O lady possessed of curls, why do you withdraw the blow aimed at my guilty self ? By beating, you add to your grace notwithstanding that you fall foul with this slave of yours. (22) (To himself) Of course, this is now permissible. (Falls at her feet) १. किं मं एव्व भूयो वि अवरद्धं करेसि ।

·194 MĀLAVIKĀGNIMITRA इरावती-न खल्विमौ मालविकाचरणौ, यो ते हर्षदोहदं पूरयिष्यतः। (इति निष्क्रान्ता सह चेट्या।) विदूषकः २ उत्तिष्ठ । कृतप्रसादोऽसि । राजा--(उत्थाय इरावतीमपश्यन्) कथं गतैव प्रिया । विदूषकः-३ -३वयस्य, दिष्टया अनेनाविनयेनाप्रसन्ना गतैषा । तावदावां शीघ्रमेवापसरावो यावदङ्गारक इव सानुवर्क न करोति । राजा-अहो मनसिजवैषम्यम् । मन्ये प्रियाहृतमनास्तस्याः प्रणिपातलङ्घनं सेवाम् । एवं हि प्रणयवती सा शक्यमुपेक्षितुं कुपिता ॥ २३ ॥ (इति परिक्रम्य निष्क्रान्ताः सर्वे ।) इति तृतीयोऽङ्कः। Irāvatī. These are not the feet of Mālavikā which would bring about the fruition of a delightful Dohada for you. (Exit along with her maid-servant) Vidūshaka. Rise, you have been pardoned. King. (Rising and not seeing Irāvatī) How is it, the beloved has actually gone ? Vidushaka. Friend, fortunately she has gone १. ण खु इमे मालविआचलणा, जा दे हरिप्सदोहलं पूरइस्सन्दि । २. उठेहि । किदप्पसादोसि । ३. वअस्स, दिठुिआ इमस्स अविणअस्स अप्पसण्णा गदा एसा । दाव सं सिग्छ ओसराम जाव अङ्गारओ विअ सा अणुवक्कं ण करेदि ।

·चतुर्थोऽङ्कः। (ततः प्रविशति पर्युत्सुको राजा प्रतीहारी च ।) राजा—(आत्मगतं) तामाश्रित्य श्रुतिपथगतामास्थया बद्धमूलः संप्राप्तायां नयनविषयं रूढरागप्रवालः। हस्तस्पशैर्मुकुलित इव व्यक्तरोमोगमत्वा- कुर्यात्कान्तं मनसिजतरुमा रसज्ञं फलस्य ॥ १ ॥ out, indignant at this wrong. Let us therefore walk out soon so that she may not make a backward move towards us like Mars. King. Oh! The caprice of the God of Love ! I, whose heart has been won over by my beloved, consider Iravati's declining of my salutation as an act of condescension; for, only then is it possible for me to neglect that loving lady in her anger. (23) (Walking about, Exeunt Omnes) End of the Third Act. AOT THE FOURTH (Enter the King in a state of eager ness and the Female Doorkeeper) King. (To himself) May the tree of love which took its root by my passion for her when ·96 MALAVIKĀGNIMITRA (प्रकाश) सखे गौतम । प्रतीहारी--१जयतु जयतु भर्ता । असंनिहितो गौतमः । राजा-(आत्मगतं) आः, मालविकावृत्तान्तज्ञानाय मया प्रेषितः । (प्रविश्य) विदूषकः---२वर्धतां भवान् । राजा-जयसेने, जानीहि तावक देवी धारिणी. कथं वा सरुज- चरणत्वाद्विनोद्यत इति । she reached my ears, which put on the deep-red tender leaf of affection when she came within the range of my vision, and which put forth buds, as it were, by the hair visibly standing on the legs when she was touched by the handmay that tree of love make me an eager taster of its fruit. (1) (Aloud) Friend, Gāutama. Female Doorkeeper. Victory, victory to Your Highness. Gāutama is not present. King. (To himself) Oh! He was sent by me to enquire about the news of Mālavikā. (Enter) Vidushaka. May you prosper. King. Jayasena, ascertain where is the queen Dhāriņi and how she diverts herself from the pain in her injured leg. १. जेदु जेदु भट्टा । असंणिहिदो गोदमो। २. वड्दु भवं ।

·ACT THE FOURTH 97 प्रतीहारी–१यद्देव १यद्देव आज्ञापयति । (इति निष्क्रान्ता।) राजा-गौतम, को वृत्तान्तस्तत्रभव त्यास्ते सख्याः । विदूषकः-२यो बिडालगृहीतायाः परभृतिकायाः । राजा-(सविषादं) कथमिव । विदूषकः-३सा खलु तपस्विनी तया पिङ्गलाक्ष्या सारभाण्ड- भूमिगृहे मृत्युमुख इव निक्षिप्ता । राजा-ननु मत्संपर्कमुपलभ्य । विदूषकः-४अथ किम् । राजा-क एवं विमुखोऽस्माकम् येन चण्डीकृता देवी ! Female Doorkeeper. As Your Highness commands. [Erit King. Gāutama, what is the news about your friend, that worthy lady ? Vidashaka, The same as of a she-cuckoo seized by a cat. King, (In grief) How so? Vidüshaka. That poor lady has been relegated by that pink-eyed woman to a subterranean cell as unto the jaws of Death. King. I suppose, after knowing her association with me? Vidushaka. Yes. King. Who is that enemy of ours by whom १. जं देवो आणवेदि। २. जो बिडालगहीदाए परहुदिआए । ३. सा खु तवस्सिणी ताए पिङ्गलच्छीए सारभण्डभूमिगेहे मिच्चुमुहे विअ णिक्खित्ता । अह ई। ४.

·98 MALAVIKĀGNIMITRA विदूषकः-१शृणोतु भवान् । परिव्राजिका मे कथयति—ह्यः किल तत्रभवतीरावती रुजाविहस्तचरणां देवीं सुखपृच्छि- कागता। राजा-ततस्ततः। विदूषकः-२ततः सा देव्या पृष्टा—किं नु नावलोकितो वल्लभ- जन इति । ततस्तयोक्तम्-कुतो वा त उपचारः । यत्ते परिजनस्य वल्लभत्वं जानत्यपि पृच्छसीति । राजा-निर्भेदाहतेऽपि मालविकायामयमुपन्यासः शश्यति । ततस्ततः । the queen has been thus made angry with us ? Vidushaka. Hear please. The lady-ascetic tells me-Yesterday, Lady Iravati went to the queen who had been injured in her leg to enquire about her welfare.' King. Then? Vidūshaka. Then she was asked by the queen- *Didn't you meet your sweetheart?' Then she replied—Why all this courtesy from you? You ask this of me though you know the endearment of your servant.' King. Without further revelation, this १. सुणादु भवं । परिव्वाजिआ मे कहेदि । हिओ किल तत्तहोदी इरावदी रुजाविहत्थचलणं देवि सुहपुच्छिआ आअदा । २. तदो सा देवीए पुच्छिदा-किंणु ण ओलोइदो वल्लहजणोत्ति । तदो ताए उत्तं-कुदो वा दे उवआरो। जं दे परिअणस्स वल्लहत्तणं जाणन्ती पुच्छसित्ति ।

·ACT THE FOURTH 99 विदूषकः-१ततस्तयानुबध्यमानया भवतोऽविनयमन्तरेण परि- गृहीतार्थी कृता देवी। राजा-अहो दीर्घरोषता तत्रभवत्याः । अतः परं कथय । विदूषकः-२किमतः परम् । मालविका बकुलावलिका च निगल- पद्यावदृष्टसूर्यपादं पातालवासं नागकन्यके इवानुभवतः । राजा-कष्टं कष्टम् । मधुरस्वरा परभृता भ्रमरी च विबुद्धचूतसङ्गिन्यौ । कोटरमकालवृष्टया प्रबलपुरोवातया गमिते ॥ २ ॥ statement would suffice to rouse suspicions about Malavika. What then? Vidushaka. Then on being pressed, she made the queen cognisant of your impudent conduct. King. Oh ! How lasting is that lady's indignation! Tell, what later ? Vidishaka. What later? Malavika and Bakulavalikā, with chains in their feet, experience life in an underground dungeon beyond the reach of the Sun's rays, like two Nāga maidens. King. Wretched ! Wretched ! The sweet-voiced she-cuckoo and the she-bee, tasting the blooming mango flower, have been thrown into a cavity by an untimely shower of rain. led by a storm. (2) १. तदो ताए अणुबन्धिज्जमाणाए भवदो अविणअं अन्दरेण परिंगहि- दत्था किदा देवी । २. किं अदो वरं । मालविआ बउलावलिआ अ णअलपदीओ अदिट्ठसुजपादं पादालवासं णाअकण्णआओ विअ अणुहोन्ति ।

·MALAVIKĀGNIMITRA . वयस्य, अध्यत्र कस्यचिदुपक्रमस्य गतिः स्यात् । विदूषकः-१कथं भविष्यति । यत्सारभाण्डगृहे व्यापृता माध- विका देव्या संदिष्टा~ममाङ्गुलीयकमुद्रामदृष्ट्वा न मोक्तव्या स्वयेयं हताशा मालविका बकुलावलिका चेति । राजा-(निःश्वस्य । सपरामर्श) सखे, किमत्र कर्तव्यम् । विदूषकः--(विचिन्त्य) २अस्त्यत्रोपायः । राजा-क इव । विदूषकः-(सदृष्टिक्षेप) ३कोऽप्यदृष्टः शृणोति । कर्णे ते कथयामि । (इत्युपश्लिष्य कर्णे) एवमिव । Comrade, will there be some means of escape ? Vidashaka. How will there be? For, Madhavika. who is in charge of the store-room has been ordered by the queen-Without seeing the seal of my ring, this wretched Mālavikā and Bakulāvalikā should not be released by you.' King. (Sighing and reflecting) Friend, what is to be done here? Vidashaka. (Thinking) There is a plan. King. What? Vidashaka. (Winking) Somebody would hear -unseen. I shall tell in your ears. (Pressing closelys १. कहं भविस्सदि । जं सारभाण्डधरए वाउदा माहविआ देवीए संदिट्ठा । मह अङ्गुलीअअमुई अदेक्खिअ ण मोत्तव्वा तुए इअं हदासा माल- विआ बउलावलिआ अत्ति । २. अत्थि एत्थ उवाओ । ३. को वि अदिछो सुणोंदि। क्रपणे दे कहेमि । एवं विभ ·ACT THE FOURTH 101 राजा-(सहर्षे) साधु । प्रयुज्यतां सिद्धये । (प्रविश्य) प्रतीहारी-देव, प्रवातशयने देवी निषण्णा रक्तचन्दनधारिणा परिजनहस्तगतेन चरणेन भगवत्या कथाभिर्विनोद्यमाना तिष्ठति। राजा-अस्मत्प्रवेशयोग्योऽयमवसरः । विदूषकः-२तद्गच्छतु भवान् । अहमपि देवी द्रष्टुमरिक्तपाणि- भविष्यामि । राजा-जयसेनायास्तावत्संवेद्य गच्छ । विदूषकः-३तथा । (कर्णे) भवति, एवमिव । (इति निष्क्रान्तः।) awhispers in the ear) Just so. King. (Joyfully) Well. Push it on to success. (Enter) Female Doorkeeper. Your Highness, seated on a cushion where wind blows freely, and with her foot besmeared with red sandal paste, resting on the hands of a servant, the queen is being entertained by Her Holiness with tales. King. This is a good occasion for our entry. Vidushaka. You, therefore go. I shall also come without an empty hand to see the queen. King. Go after informing Jayasenā first. १. देव, पवादसअणम्मि देवी णिसण्णा रत्तचन्दणधारिणा परिअण- इत्थगदेण चलणेण भअवदीए कहाहिं विणोदिजमाणा चिठ्ठदि। ता गच्छदु भवं । अहं वि देविं पेक्खिदुं अरित्तपाणी भविस्सं । ३. तह । भोदि, एव्वं विअ । २.

·102 MALAVIKÄGNIMITRA राजा जयसेने तेन हि प्रवातशयनमार्गमादेशय । प्रतीहारी-१इत इतो देवः । (ततः प्रविशति शयनस्था देवी परिव्राजिका विभवतश्च परिवारः।) देवी--२भगवति, रमणीयं कथावस्तु । ततस्ततः । परिव्राजिका-(सदृष्टिक्षेप) अतः परं पुनः कथयिष्यामि । अत्र भवान्विदिशेश्वरः संप्राप्तः । देवी-३अहो, भर्ता । (अभ्युत्थातुमिच्छति ।) राजा-अलमलमुपचारयन्त्रणया । Vidashaka. Quite so. (Whispers in the ear) Madam, it will be like that. [Ecit King. Jayasenā, then point out the way to the airy bedroom. Female Doorkeeper. Here, here, Your Highness. (Enter the Queen seated on a cushion, the Female ascetic and suitable retinue) Queen. Most holy madam, interesting is the plot of the story. And then? Female ascetic. (With a wink of the eye) Furthermore I shall tell you later. The esteemed lord of the Vidiśas is come. Queen. Oh ! My lord ! [Tries to rise for welcoming hime King. Don't worry yourself to greet me. १. इदो इदो देवो । २. भअवदि, रमणिज कहावत्थु । तदो तदो। ३. अह्मो, भट्टा।

·ACT THE FOURTH 103 अनुचितनूपुरविरहं नाहीस तपनीयपीठिकालम्बम् । चरणं रुजापरीतं कलभाषिणि मां च पीडयितुम् ॥ ३ ॥ देवी-१जयत्वार्यपुत्रः। परित्राजिका-विजयतां देवः । राजा-(परिब्राजिकां प्रणम्योपविश्य) देवि, अपि सह्या ते वेदना । देवी-२अद्यास्ति मे विशेषः । (ततः प्रविशति यज्ञोपवीतसंवीताङ्गुष्टः संभ्रान्तो विदूषकः । ) विदूषकः ३परित्रायतां परित्रायताम् ! सर्पण मृत्युना दष्टोऽस्मि । (सर्वे विषण्णाः ।) O sweet-voiced lady, it is not proper for you to trouble me as well as your painful foot which is not habituated to a separation from the anklet and which now rests on the golden footstead. (3) Queen. Glory to my lord. Female ascetic. Victory to Your Highness. King. (Bowing to the Female ascetic and taking his seat) Queen, is your pain bearable ? Queen. I am improved to-day. (Enter Vidūshaka in a hurry with his thumb wound up by his sacrificial thread) Vidashaka. Save me, save me. I am bitten by a snake, verily Death. (All are grieved) १. जेदु अजउत्तो। २. अज अस्थि मे विसेसो। ३. परित्ताअदु परित्ताअदु। सप्पेण मिच्चुणा दट्टोसि ।

·104 MĀLAVIKĀGNIMITRA राजा-कष्टं कष्टम्। क भवान्परिभ्रान्तः । विदूषकः -१देवीं द्रक्ष्यामीत्याचारपुष्पग्रहण कारणात्प्रमदवनं गतो. ऽस्मि । देवी -२हा धिक् हा धिक् । नन्वहमेव ब्राह्मणस्य जीवितसंशय- निमित्तं जातास्मि । विदूषकः-३तस्मिन्नशोकस्तबककारणात्प्रसारिते मे हस्ते कोटर- निर्गतेन सर्परूपिणा कालेन दष्टोऽस्मि । नन्वते द्वे दंशपदे । (इति दंशं दर्शयति।) परित्राजिका-तेन हि दंशच्छेदः पूर्वकर्मेति श्रूयते । स तावदस्य क्रियताम् । King. Alas! Alas! Where were you roaming ? Vidashaka. In order to see the queen I went to the garden to fetch flowers as usual. Queen. Alas ! Alas ! I have myself been the cause of danger to the Brahmin's life ! Vidushaka. When I stretched out my hand for plucking the Asoka bunch there, I was bit by Death which took the form of a snake emerging out of a hollow. These are the two imprints of its fangs. (Shows the bite) Female ascetic. It is said that an amputation १. देविं दक्खिस्सं ति आआरपुप्फग्गहणकालणादो पमदवणं गदोसि । २. हद्धि हद्धि । णं अहं एव्व बह्मणस्स जीविदसंसअणिमित्तं जादह्मि । ३. तहिं असोअथवअकालणादो पसारिदे मे हत्थे कोडरणिग्गदेण सप्परूवेण कालेण दट्टोरि । णं एदे दुवे दंसणपदाइं।

·ACT THE FOURTH . 105 छेदो दंशस्य दाहो वा क्षतेर्वा रक्तमोक्षणम् । एतानि दष्टमात्राणामायुष्याः प्रतिपत्तयः ॥ ४ ॥ राजा-संप्रति विषवैद्यानां कर्म । जयसने, क्षिप्रमाहूयतां ध्रुव- सिद्धिः । प्रतीहारी -१यदेव आज्ञापयति । (इति निष्कान्ता।) विदूषकः-२अहो, पापेन मृत्युना गृहीतोऽस्मि । राजा -मा कातरो भूः । अविषोऽपि कदाचिदंशो भवेत् । विदूषकः-३कथं न भेष्यामि । सिमसिमायन्ति मेऽङ्गानि । . (इति विषवेगं रूपयति ।) of the bitten limb is the first duty. Hence let that be done for him first. An amputation or a cauterie of the bitten limb or the bleeding of the bite-these done to persons as soon as they are bitten are the cures that would confer longevity. (4) King. Now it is the duty of doctors who are specialists in poison-cure. Jayasena, bring Dhruvasiddhi at once. Female Doorkeeper. As Your Highness commands. [Exit Vidīshaka. Alas! I have been seized by cruel Death. King. Don't fear. The bite will perhaps not be venomous at all. जं देवो आणवेदि। २. अहो, पावेण मिच्छुणा गहीदोमि । ३. कहं ण भाइस्सं । सिमसिमाअन्ति मे अङ्गाई। १.

·106 MALAVIKĀGNIMITRA देवी-१हा, दर्शितमशुभं विकारेण । हला अवलम्बध्वमेनम् । (परिजन: ससंभ्रममवलम्बते ।) विदूषकः-(राजानं विलोक्य) २भो, भवतो बाल्यादपि प्रियवय- स्योऽस्मि ! तं विचार्यापुत्राया मे जनन्या योगक्षेमं वह । राजा---मा भैषीः । अचिरात्त्वां विषवैद्यश्चिकित्सते । स्थिरो भव । (प्रविश्य), जयसेना--३देव, आज्ञापितो ध्रुवसिद्धिर्विज्ञापयति---इहैवानीयतां स गौतम इति । Vidishaka. How shall I not fear? How excruciating is the pain of my limbs! (Gesiculates spread of poison) Queen. Ha ! Ominous is the change of colour. Friends, hold him. (The attendants support him in a hurry) Vidūshaka. (Looking at the king) I had been your dear friend from your infancy. In view of that, make provision for my mother on the loss of her only son. King. Don't fear. Ere long, the poison-doctor will cure you. Compose yourself. (Enter) Jayasenā. Your Highness, on receiving intimation of your order, Dhruvasiddhi informs-'Let that Gāutama be brought here only.' १. हा दंसिदं असुहं विआरेण । हला ओलम्बह णं । २. भो, भवदो बालादो वि पिअवअस्सोमि । तं विआरिअ अपुत्ताए मे जणणीए जोगक्खेमं वहेहि । ३. देव, आणाविदो धुवसिद्धी विण्णावेदि । इह एव्व आगीअदु सो गोदमत्ति ।

·ACT THE FOURTH 107 - राजा-तेन हि वर्षवरपरिगृहीतमेनं तत्रभवतः सकाशं प्रापय । जयसेना १तथा। विदूषकः-(देवीं विलोक्य) २भवति, जीवेयं वा न वा । यन्म-- यात्रभवन्तं सेवमानेन तेऽपराद्धं तन्मृध्यस्व । देवी-३दीर्घायुर्भव। (निष्क्रान्तो विदूषकः प्रतीहारी च।) राजा-~-प्रकृतिभीरुस्तपस्वी ध्रुवसिद्धिमपि यथार्थनामानं सिद्धि- मन्तं न मन्यते । (प्रविश्य) जयसेना -४जयतु भर्ता । ध्रुवसिद्धिर्विज्ञापयति -उदकुम्भविधा-- नेन सर्पमुद्रितं किमपि कल्पयितव्यम् । तदन्विष्यतामिति । King. Then take him to the revered doctor', supported by the eunuch. Jayasena. Yes. Vidushaka. (Looking at the queen) Madam, I may or may not live. Please excuse whatever wrong I may have done you while serving my esteemed friend. Queen. May you live long. (Exeunt Vidūshaka and the Female Doorkeeper) King. A coward by nature, this poor fellow does not consider efficient even Dhruvasiddhi (Certain Cure) who is rightly so-called. तह ॥ २. भोदि, जीवेअं वा ण वाजं भए अत्तभवंदं सेवमाणेण दे अवरद्धं तं मरिसेहि । ३, दीहाऊ होहि । ४. जेदु भट्टा । धुवसिद्धी विष्णवेदि--उदकुम्भविहाणेण सप्पमुद्दि किंवि कप्पिदव्वं । तं अण्णेसीअदुत्ति । १. .

·108 MALAVIKĀGNIMITRA देवी-१इदं सर्पमुद्रितमङ्गुलीयकम् । पश्चान्मम हस्ते देह्येतत् । (इत्यङ्गुलीयकं ददाति । प्रतीहारी नाटयेन गृह्णाति ।) राजा-जयसेने, कर्मसिद्धावाशु मां प्रतिपत्तिं नय । जयसेना--२यदेव आज्ञापयति । (इति निष्कान्ता।) परिब्राजिका–देव, यथा मे हृदयमाचष्टे तथा निर्विषो गौतमः । राजा-भूयादेवम् । (प्रविश्य) जयसेना-देव, निवृत्तविषवेगो गौतमो मुहूर्तेन प्रकृतिस्थः संवृत्तः। (Enter) Jayasenā. Glory to Your Highness. Dhruvasiddhi sends word-Something bearing the inark of a serpent is required for the performance of the Udakumbha ritual. Therefore, make a search for it.' Queen. Here is a ring bearing the mark of a serpent. Afterwards, give this in my own hands. (Hands over the ring. The Female Doorkeeper receives it by gesture) King Jayasenā, bring me news at once in the event of success. Jayasena.. As Your Highness commands. [Exit Female ascetic. Your Highness, my mind points that Gāutama is not affected by poison. King. १. इदं सप्पमुद्दिअं अङ्गुलीअों । पच्छा मम हत्थे देहि णं । २. जं देवो आणवेदि । ३. देव, णिवुत्तविसवेगो गोदमो मुहुत्तेण पकिदित्थो संवुत्तो । Be it so.

·ACT THE FOURTH
109.
देवी-१दिष्टया वचनीयान्मुक्तास्मि ।
जयसेना-२एष पुनरमात्यो वाहतवो विज्ञापयति । राजकार्य
वहु मन्त्रयितव्यम् । दर्शनेनानुग्रहमिच्छामीति ।
देवी-३गच्छत्वार्यपुत्रः कार्यसिद्धये ।
राजा-(उत्थाय) देवि, आतपाक्रान्तोऽयमुद्देशः । शीतक्रिया चास्य
प्रशस्ता। तदन्यत्र नीयतां शयनम् ।
देवी-४बालिकाः, आर्यपुत्रवचनमनुतिष्ठत ।
।
(Enter)
Jayasena. Your Highness, relieved from the
influence of poison, Gautama has been restored to
his normal condition in a moment.
Queen. Thank God. I have been saved from
calumny.
Jayasena. Minister Vābatava now informs—
*A good deal of state policy has to be discussed. I
desire to be favoured with an interview.'
Queen. My lord, go for crowning your attempts
with success.
King. (Rising) Queen, this place is affected
by the sun.
And for this wound, treatment by
cold is advisable. Therefore, let the bedding be
removed somewhere else.
१. दिठुिआ वअणीआदो मुत्तह्मि । २. एसो उण अमच्चो वाहतओ
विण्णावेदि, । राअकजं बहु मन्तिदव्वं । दसणेण अणुग्गहं इच्छामि ति ।
३. गच्छदु अजउत्तो कजसिद्धीए। ४. बालिआओ, अजउत्तवअणं अणुचिट्ठह ।
.

·110 MĀLAVIKĀGNIMITRA - परिजन: १तथा। (निष्कान्ता देवी परिव्राजिका परिजनश्च ।) राजा-जयसेने, गूढपथेन मां प्रमवनं प्रापय । जयसेना-२इत इतो देवः । राजा-(परिक्रम्य) जयसेने, ननु समाप्तकृत्यो गौतमः । जयसेना -३अथ किम् । राजा–इष्टाधिगमनिमित्तं प्रयोगमेकान्तसाधुमपि मत्वा । संदिग्धमेव सिद्धौ कातरमाशङ्कते चेतः ॥ ५ ॥ (प्रविश्य) विदूषकः-४जयतु भवान् । सिद्धानि मे सर्वमङ्गलकर्माणि । Queen. Girls, execute the orders of my lord. Servants. By all means. (Exeunt the Queen, the Female ascetic and the retinue) King. Jayasenā, take me on to the garden by a secret path. Jayasenā. Here, here, Your Highness. King. (Walking round Jayasenā, I suppose, Gautama has finished what all is to be done. Jayasena. Yes. King. Aware as it may be that the plan adopted for realizing my ambition is perfectly safe and sound, my mind, timid that it is, still entertains apprehensions about success. (5) तह। २. इदो इदो देवो। अह ई। ४, जेदु भवं । सिद्धाइ मे सव्वमङ्गलकम्माइ । " १.

·ACT THE FOURTH 111 । राजा-जयसेने, त्वमपि नियोगमशून्यं कुरु । जयसेना-१यदेव आज्ञपयति । (इति निष्क्रान्ता।) राजा-वयस्य क्षुद्रा माधविका । न खलु किंचिद्विचारितमनया। विदूषकः--२देव्या अङ्गुलीयकमुद्रां दृष्ट्वा कथं विचारयति । राजा न खलु मुद्रामधिकृत्य ब्रवीमि । तयोर्बद्धयोः किंनि- मित्तोऽयं मोक्षः । किं वा देव्याः परिजनमतिकन्य भवान्सं- दिष्टः । इत्येवमनया प्रष्टव्यम् । विदूषकः-३ननु पृष्टोऽस्मि । प्रत्युत्पन्नबुद्धिना मया कथितम् । (Enter) Vidūshaka. May you prosper. All my auspicious services for you have met with success. King. Jayasenā, you shall also be vigilant in the work entrusted to your charge. Jayasenā. As Your Highness commands. [Exit King. Friend, Mādhavikā has very poor brains. She has not a bit thought over the matter. Vidūshaka. Why does she think over it after seeing the queen's signet-ring? King. I am not speaking with reference to the .seal. She should have asked-What is the reason for the release of both from bondage ? And, why were you directed in preference to the queen's attendants ?' जं देवो आणवेदि। २. देवीए अङ्गुलीअअमुद्दिअं देक्खि कहं विआरेदि । ३. णं पुच्छिदोमि । पच्चुप्पण्णबुद्धिणा मए, कहिदं ।

·112 MĀLAVIKĀGNIMITRA -- । राजा-कथ्यताम् । विदूषकः-१भणितं मया-देवचिन्तकैर्विज्ञापितो राजा-सोप- सर्ग वो नक्षत्रम् । सर्वबन्धनमोक्षः क्रियतामिति । तच्छ्रुत्वा देव्येरावत्याश्चित्तं रक्षन्त्या राजा किल मोचयतीति त्वमेवैनां मोचयेत्यहं संदिष्टोऽस्मीति । ततो युज्यत इति तया संपा- दितोऽर्थः। राजा-(विदूषकं परिष्वज्य) सखे, प्रियोऽहं तव । नहि बुद्धिगुणेनैव सुहृदामर्थदर्शनम् । कार्यसिद्धिपथः सूक्ष्मः स्नेहेनाप्युपलभ्यते ॥ ६ ॥ Vidūshaka. Certainly I was asked, but resourceful that I am, I gave a reply. King Tell me. Vidishaka. I told her-" Astrologers have told the king, 'Your star is under an evil conjunction, and a release of all prisoners should be made.' On hearing the same, the queen, out of deference to the feelings of Irāvatī, directed me to do it, because it is the king that orders the release.” Then saying that it was proper, she did our wisb. King. (Embracing Vidushaka) Friend, dear I am . to you. १. भणिदं मए । देवचिन्तएहिं विण्णाविदो राआ । सोवसरगं वो णक्खत्तं । सव्वबन्धणमोक्खो करीअदुत्ति । तं सुणिअ देवीए इरावदीए चित्तं रक्खन्दीए राआ किल मोएदित्ति तुमं एव्व णं मोएहित्ति अहं संदिछोमि त्ति । तदो जुजदित्ति ताए संपादिदो अत्थो।

·ACT THE FOURTH. . 11.3 विदूषकः--१त्वरतां भवान् । समुद्रगृहे सखीसहितां मालविकां स्थापयित्वा भवन्तं प्रत्युद्गतोऽस्मि । राजा-अहमेनां संभावयामि । गच्छाग्रतः । विदूषकः-२एतु भवान् । (परिक्रम्य) इदं समुद्रगृहकम् । राजा-(साशङ्क) वयस्य, एषा कुसुमापचयव्यग्रहस्ता सख्यास्ते इरावत्याः परिचारिका चन्द्रिका समागच्छति । इतस्तावदावां भित्तिगूढौ भवावः । विदूषकः-३अहो कुम्भीलकैः कामुकैरपि परिहरणीया खलु चन्द्रिका। (उभौ यथोक्तं कुरुतः।) Not by the merit of intellect alone do men bring about about the realization of their friends' ambitions. The path of success, subtle though it be, is discovered by affection. (6) Vidashaka. Make haste.. Having stationed Mālavikā along with her companion in the summer-house, I came forth to you. King. Let me receive her. Walk in front of me. Vidashaka. Come along. (Walking forward) Here is the summer-house. King. (Suspiciously) Friend, here Chandrikā, the attendant of your friend Irāvatī, busy in plucking flowers by the hand. Let us. remain bidden by the wall. तुवरदु भवं । समुद्दघरए सहीसहिदं मालविकं ठाविअ भवन्दं पच्चुग्गदोसि । २. एदु भवं । इदं समुद्दघरअं। ३. अहो कुम्भीलएहिं: 8 comes १.

·114 MĀLAVIKĀGNIMITRA राजा-गौतम, कथं नु ते सखी मां प्रतिपालयति । एथेनां गवाक्षमाश्रित्यावलोकयावः। विदूषकः-१तथा । (उभौ विलोकयन्तौ तिष्ठतः।) (ततः प्रविशति मालविका बकुलावलिका च ।) बकुलावलिका-२हला, प्रणम भर्तारम् । राजा-मन्ये प्रतिकृतिं मे दर्शयति । मालविका -(सहर्षे) ३ नमस्ते । (द्वारमवलोक्य सविषाद) हला, विप्रलम्भयसि माम् । राजा--सखे, हर्षविषादाभ्यामत्रभवत्याः प्रीतोऽस्मि । Vidūshaka. Ha! Chandrikā (lit., Moonlight) is of course to be avoided by thieves as well as lovers. (Both do as stated) King. Gautama, how does your friend await me? Come on. Let us see her from the window. Vidushaka. Quite so. [Both stand seeing (Enter Mālavikā and Bakulāvalika) Bakulāvalikā. Friend, salute your lord. King. I think she shows my picture. Mālavikā. (Joyfully) I bow to you. (Looking at the threshold, with grief) Friend, you deceive me. King. Comrade, I feel gratified by the lady's joy and sorrow. कामुएहिं वि परिहरणिजा खु चन्दिआ। तह । हला, पणम भट्टारं । ३. णमो दे । हळा विप्पलम्भेसि मं । १. २.

·AOT THE FOURTH 115 सूर्योदये भवति या सूर्यास्तमये च पुण्डरीकस्य । वदनेन सुवदनायास्ते समवस्थे क्षणाढे ॥ ७ ॥ चकुलावलिका-१नन्वेष चित्रगतो भर्ता । उभे-(प्रणिपत्य) २जयतु भर्ता । मालविका-३हला, तदा ससंभ्रमदृष्टे भर्तृ रूपे अहं संमुख- स्थिता तथा न वितृष्णास्मि, यथा मया विभावितश्चित्रगतो भर्ता । विदूषकः-४श्रुतं भवता । अत्रभवत्या यथा दृष्टश्चित्रे न तथा दृष्टो भवानिति मन्त्रितम् । मुधेदानी मञ्जूषेव रत्नभाण्डं यौवनगर्व वहसि । What state befalls a lotus at sunrise and what befalls it at sunset-both of them have been put on in a moment by the face of this sweet-faced damsel. (7) Bakulāvalikā. Here is your lord in the picture. Both. (Kneeling) Victory to my lord. Malavikā. Friend, I was not so much pleased with the appearance of my lord in that hurried interview when I stood in front of him, as I am now when he is observed in the picture. १. णं एसो चित्तगदो भट्टा । २. जेदु भट्टा। ३. हला, तदा ससंभमदिठे भट्टिणो रूवे अहं संमुहठ्दिा तह ण वितिण्हह्मि, जह अज मए विभाविदो चित्तगदो भट्टा । ४. सुदं भवदा । अत्तहोदीए जह दिछो चित्ते ण तह दिछो भवं ति मन्तिदं । मुहा दाणि मजूसा विअ रअणभण्डं जोव्वणगव्वं वहेसि।

·116 MĀLAVIKĀGNIMITRA राजा--सखे, कुतूहलवानपि निसर्गशालीनः स्त्रीजनः । पश्य- कात्स्न्न निर्वर्णयितुं च रूप- मिच्छन्ति तत्पूर्वसमागमानाम् । न च प्रियेष्वायतलोचनानां समग्रपातीनि विलोचनानि ॥ ८॥ मालविका–१हला, कैषा पार्श्वपरिवृत्तवदनेन भर्ना स्निग्धया दृष्टया निध्यायते । बकुलावलिका-२नन्वियं भर्तुः पार्श्वगतेरावती । Vidushaka. You have heard it? The lady remarks, you didn't look so well as in the picture. In vain do you now hold your pride of youth, just as a box holds a jewel set with gems. King. Friend, though eager, the womenfolk are imbued with natural shyness. Seoma Women desire to have a full view of the handsome person of their lovers who meet them for the first time, but though they are possessed of lengthy eyes, their eyes do not fall fully on them. (8) Malavika. Fiend, who is this woman that is looked at with a loving eye by the king with his face turned sideways? Bakulāvalikā. Of course this is Irāvatî by the side of the king. १. हला, का एसा पासपरिउत्तवअणेण भट्टिणा सिणिद्धाए दिठ्ठीए णिज्झाईअदि। २. णं इअं भट्टिणो पासगदा इरावदी।

·ACT THE FOURTH 117 मालविका-१सखि, अदक्षिण इव भर्ता में प्रतिभाति । यः सर्वं देवीजनमुज्झित्वैकस्या मुखे बद्धलक्षः । बकुलावलिका--(आत्मगतं) २चित्रगतं भर्तारं परमार्थतः संकल्प्या- सूयति । भवतु । क्रीडिष्यामि तावदेतया । (प्रकाश) हला, भर्तुर्वल्लभैषा। मालविका–३ततः किमिदानीमात्मानमायसयामि । (इति सासूयं परावर्तते।) राजा-सखे, पश्य । Malavika. Friend, methinks the king shows undue preference in love-- who has centred his affections in one woman, leaving aside all the ladies of the royal harem. Bakulāvalikā. (To herself) Fancying the king in the picture as a true person, she is already envi- I shall presently make fun of her. (Aloud) Friend, this woman is the favourite of the king. Malavikā. Then why should I worry myself now ? (Turns back in envy) King. Friend, see- While she turns back her face in envy with १. सहि, अदक्खिणो विअ भट्टा मे पडिभादि । जो सव्वं देवीजणं उज्झिअ एकाए मुहे बद्धलक्खो । २. चित्तगदं भट्टारं परंमत्थदो संकप्पिअ असूअदि। होदु । कीडिस्सं दाव एदाए । हला, भट्टिणो वल्लहा एसा । ३. तदो किं दाणिं अत्ताणं आआसेमि । . ous. Be it so.

·118 MALAVIKĀGNIMITRA भूभङ्गमिन्नतिलकं स्फुरिताघरोष्ठ सासूयमाननमितः परिवर्तयन्त्या। कान्तापराधकुपितेष्वनया विनेतुः संदर्शितेव ललिताभिनयस्य शिक्षा ॥९॥ विदूषकः---१अनुनयसज्ज इदानीं भव । मालविका-२आर्यगौतमोऽप्यत्रैव सेवत एनम् । (पुन: स्थानान्तराभिमुखीभवितुमिच्छति।) बकुलावलिका-(मालविका रुद्धा) ३न खलु कुपितेदानीं त्वम् । मालविका-यदि चिरं कुपितामेव मां मन्यसे, एष प्रत्यानीयते कोपः। the black mark on the forehead split up by a knit of the eyebrows and with the lower lip throbbing, the lesson she learnt from her master seems to have been exhibited, of elegantly representing on the stage the several angry moods towards an erring lover. (9) Vidūshaka. Be now ready to apologize. Mäluvikā. Even the revered Gāutama assists him only here. (Again desires to go elsewhere) Bakulāvalikā. (Preventing Mālavikā) I suppose you are not irritated. Malavikā. If you simply persist in thinking me to be angry, I now withdraw my anger. १. अणुणअसज्जो दाणि होहि । २. अन्नगोदमो वि एत्थ एव्व सेवदि णं। ३. ण खु कुविदा दाणिं तुमं । जइ चिरं कुविदं एव्व मं मण्णेसि, ·ACT THE FOURTH 119 । राजा--(उपेत्य) कुप्यसि कुवलयनयने चित्रार्पितचेष्टया किमेवमयि । ननु तव साक्षादयमहमनन्यसाधारणो दासः ॥१०॥ बकुलावलिका-१जयतु भर्ता । मालविका- (आत्मगत) २कथं चित्रगतो भर्ता मयासूयितः । (सव्रीडवदना अञ्जलिं करोति ।) (राजा मदनकातर्य रूपयति ।) विदूषकः-३किं भवानुदासीन इव । राजा-अविश्वसनीयत्वात्सख्यास्ते । विदूषकः-४मा तावत्तत्रभवत्यां तवाविश्वासः । King. (Approaching) O lady endowed with eyes resembling a pair of blue lotuses, why do you take offence at an act of mine thus presented in a picture? Here I am directly and in person, your exclusive servant. (10) Bakulāvalikā. Victory to the king. Malavika. (To herself) How have I become jealous on seeing my lord in a picture ! (With a bashful face, joins her palms in respect) (The king displays his weakness of mind due to passion) Vidushaka. Why do you look indifferent ? King. On account of the unreliability of your friend. Vidushaka. You needn't distrust her. एसो पञ्चाणीअदि कोवो। १. जेदु भट्टा। २. कहं चित्तगदो भट्टा मए असूइदो । ३. किं भवं उदासीणो वि। ४. मा दाव अत्तहोदीए तुह अविस्सासो ·1120 MALAVIKĀGNIMITRA .१सखि, -- राजा-श्रूयताम् । पथि नयनयोः स्थित्वा स्वने तिरोभवति क्षणा- त्सरति सहसा बाह्वोर्मध्यं गतापि सखी तव । मनसिजरुजा क्लिष्टस्यैवं समागममायया कथमिव सखे विस्रब्धं स्यादिमा प्रति मे मनः ॥ ११ ॥ बकुलावलिका बहुशः किल त्वया विप्रलब्धो भर्ता। तत्तावदात्मा विश्वसनीयः क्रियताम् । मालविका–२सखि, मम पुनर्मन्दभाग्यायाः स्वप्नसमागमोऽपि भर्तुर्दुर्लभ आसीत् । King. Listen. After standing within the reach of my eyes in dreams, your friend disappears in a moment, and after getting into the very midst of my arms, she runs away all of a sudden. While I am thus languishing with the agony of love by the phantom of her union, friend, how will my mind entertain any confidence in her ? (11) Bakulavalikå. Friend, in many ways has the king been deceived by you. Conduct yourself in such a way as to inspire confidence. Malavikā. Friend, for my unfortunate self on the other hand, it was not possible to have a union with my lord even in dreams. १. सहि, बहुसो किल तुए विप्पलद्धो भट्टा । ता दाव अत्ता विस्स- सणिज्जो करीअदु। २. सहि, मह उण मन्दभग्गाए सिविणममाअमो विं भट्टियो दुलहो आसि ।

·ACT THE FOURTH 121 - बकुलावलिका-१भर्ता ददात्वस्या उत्तरम् । राजा- उत्तरेण किमात्मैव पश्चबाणाग्निसाक्षिकम् । तव सख्यै मया दत्तो न सेव्यः सेविता रहः॥१२॥ बकुलावलिका-२अनुगृहीतास्मि । विदूषकः-(परिक्रम्य ससंभ्रम) ३वकुलावलिके, एष बालाशोक- वृक्षस्य पल्लवानि हरिणो लचितुमागच्छति । एहि निवार- याव एनम् । बकुलावलिका-४तथा । (इति प्रस्थिता ।) राजा—एवमस्मद्रक्षणे वयस्ये नावहितेन भवितव्यम् । · Bakulāvalikā. Your Highness will give her an answer. King. What is the use of an answer ? My own self is surrendered by me to your friend in the presence of the fire of Cupid. I am her servant in private, not she for me. (12) Bakulavalika. I am highly obliged. Vidashaka. (Walking about in a hurry) Bakulāvalikā, this deer comes to devour the tender leaves of this young Asoka tree. Come along. We will prevent him. Bakulāvalikā. Alright. [Starts King. Comrade, in the same way you will have १. भट्टा देउ से उत्तरं। २. अणुगहिदह्मि । ३. बउलावलिए, एसो बाला- सोअरुक्खस्स पल्लवाइ हरिणो लविदुं आअच्छदि । एहि णिवारेम णं । ४. तह ।

·122 MALAVIKAGNIMITRA विदूषकः-१एतदपि गौतमो ननु संदिश्यते । बकुलावलिका-(परिक्रम्य) २आर्य गौतम, अहमप्रकाशे तिष्ठामि । त्वं द्वाररक्षको भव । विदूषकः-३युज्यते । (निष्क्रान्ता बकुलावलिका ।) विदूषका -(परिक्रम्यावलोक्य च) इदं तावत्स्फटिकस्थलम् । आसीनो भवामि । (इति तथा कृत्वा) अहो सुखस्पर्शता शिला- विशेषस्य । (इति निद्रायते ।) (मालविका ससाध्वसा तिष्ठति ।) to be watchful in protecting us. Vidūshaka. Even this need be mentioned to Gautama? Bakulāvalikā. (Walking about) Revered Gautama, I shall remain incognito. You, be the gatekeeper. Vidūshaka. Quite proper. Exit Bakulāvalikā. Vidūshaka. (Walking about and seeing) Here is a plot paved with crystal. I shall sit there. (Doing so) Oh ! How pleasant is the touch of this peculiar stone ! [Sleeps (Mālavikā stands afraid) १. एवं वि गोदमो णं संदिस्सइ । २. अज गोदम, अहं अप्पआसे चिठ्ठामि । तुम दुवाररक्खओ होहि । ३. जुज्जइ। ४. इदं दाव फलि- अत्थलं | आसीणो होमि । अहो सुहप्फरिसदा सिलाविसेसस्स ।

·ACT THE FOURTH 123. man- राजा- विसज सुन्दरि संगमसाध्वसं तव चिरात्प्रभृति प्रणयोन्मुखे । परिगृहाण गते सहकारतां त्वमतिमुक्तलताचरितं मयि ॥ १३ ॥ मालविका—१देव्या भयेनात्मनोऽपि प्रियं कर्तुं न पारयामि ! राजा-अयि, न भेतव्यम् । मालविका—(सोपहासं) २यो न बिभेति, स मया भट्टिनीदर्शने दृष्टसामो भर्ता । राजा- दाक्षिण्यं नाम बिम्बोष्ठि बैम्बिकानां कुलव्रतम् । तन्मे दीर्घाक्षि ये प्राणास्ते त्वदाशानिबन्धनाः ॥१४॥ King. Fair damsel, leave off your fear in joining me who have been long since eager for your love. Play the part of an A timukta creeper on me who am in the position of a mango tree. (13) Mālavikā. Out of fear for the queen, I am un. able to benefit myself. King. Oh! Don't fear. Mālavikā. (Jeering) In the presence of the queen, I have tested the courage of him who does not fear. १. देवीए भएण अत्तणो वि पिअं कार्दु ण पारेमि । २. जो ण भाएदि, सो भए भट्टिणीदसणे दिठ्ठसांमत्थो भट्टा ।

·124 MĀLAVIKĀGNIMITRA तदनुगृह्यतां चिरानुरक्तोऽयं जनः । (इति संश्लेषमभिनयति।) (मालविका नाट्येन परिहरति ।) राजा-(आत्मगत) रमणीयः खलु नवाङ्गनानां मदनविषयाव- तारः । एषा हि- हस्तं कम्पवती रुणद्धि रशनाव्यापारलोलाङ्गुलिं हस्तौ स्वो नयति स्तनावरणतामालिङ्गथमाना बलात् । पातुं पक्ष्मलनेत्रमुन्नमयतः साचीकरोत्याननं व्याजेनाप्यभिलाषपूरणसुखं निर्वर्तयत्येव मे ॥ १५ ॥ King. O damsel possessed of a lower lip resembling a Bimba fruit, it is the traditional duty of the descendants of Bimba to show equal courtesy to all wives. But, O long-eyed lady, my life and my whole life depends on hopes in you. (14) Therefore, attached since I am long towards you, bless me with your favour. (Makes show of an embrace) (Mālavikā avoids it by gesture) King. (Within) Pleasant indeed is the first experience of sexual bliss with newly wedded girls. She tremulously prevents my hand whose fingers are at work in untying her girdle. Being forcibly embraced, she covers her breasts with her hands. When I lift her face for kissing, she turris it away with eyes characterized by dense eyelashes. Even by a show of dissent, she certainly contributes to my happiness by fulfilling my desire. (15) ·ACT THE FOURTH 125 (ततः प्रविशतीरावती नियुणिका च ।) इरावती-१हजे निपुणिके, सत्यं त्वया संदिष्टं चन्द्रिकथा समुद्र- गृहालिन्दे आर्यगौतम एकाकी दृष्ट इति । निपुणिका-२अन्यथा कथं भट्टिन्यै विज्ञापयामि । इरावती-३तेन हि तवैव गच्छावः । संशयान्मुक्तं भर्तुः प्रियवयस्यं प्रेक्षितुं च । निपुणिका–४सावशेषमिव भट्टिन्या वचनम् । इरावती-५आम । चित्रगतं भर्तारं प्रसादयितुम् । निपुणिका-अथेदानी भव किं न प्रत्यनुनीयते । (Enter Iravati and Nipunika) Iravati. Girl Nipunika, is what you said true, that the venerable Gautama was seen alone by Chandrikā in the courtyard of the summer-house? Nipunikā. Otherwise how would I inform you, madam? Irāvati. Then let us go there only. To see my lord's dear friend saved from danger and to- Nipunika. Mistress, you have not finished your sentence. Iravati. No. And to implore the pardon of my lord in the picture. १. हले णिउणिए, सच्चं तुए संदिट्ट चन्दिआए समुद्दघरअलिन्दए अज्जगोदमो एआई दिछोति । २. अण्णहा कहं भट्टिणीए विण्णवेमि । ३. तेण हिं तहिं एव्व गच्छम । संसआदो मुत्तं भट्टिणो पिअवअस्सं पेक्खिदुं . ४. सावसेसं विअ भट्टिणीए वअणं । आम । चित्तगदं भट्टार पसादेहूँ। अह दाणि भट्टा एव्व किं ण पज्जणुणीअदि । ६..

·126 MALAVIKAGNIMITRA इरावती-मुग्धे, यादृशश्चित्रगतो न तादृश एव । अन्यसंक्रान्त- हृदय आर्यपुत्रः। केवलमुपचारातिक्रमं प्रमाष्टुंमयमारम्भः । निपुणिका-२इत इतो भट्टिनी । (उभे परिक्रामतः।) (प्रविश्य) चेटी-३जयतु भट्टिनी । देवी भणति -न मे एष मत्सरस्य कालः । केवलं तव खलु बहुमानं वर्धयितुं वयस्यया सह निगलबन्धने कृता मालविका । यद्यनुमन्यसे आर्यपुत्रस्य प्रियं कर्तुमिच्छामि । यत्तवेष्टं तन्मे भणेति । Nipunikā. Why not implore his pardon in person? Iravati. Foolish girl, my lord is not the same as he is in the picture. He has transferred his affections elsewhere. This attempt is only to free myself from a breach of courtesy. Nipunikā. Here, here, madam. [Both walk about (Enter) A servant-maid. Glory to you, madam. The queen sends word, 'This is no occasion for jealousy १. मुद्धे, जारिसो चित्तगदो ण तारिसो एव्व । अण्णसंकन्दहिअओ अजउत्तो। केवलं उवआरादिकम पमजिदूं अअं आरम्भो । २. इदो इदो भट्टिणी। ३. जेदु भट्टिणी। देवी भणादि । ण मे एसो मच्छरस्स कालो। केवलं तुह खु बहुमाणं वड्डेदु वअस्साए सह णिअलबन्धणे किदा मालविआ। जइ अणुमण्णेसि अजउत्तस्स पिअं काहूँ इच्छम्मि । जं तुह इच्छिअं तं मे भणाहि त्ति.। .

·ACT THE FOURTH 127 इरावती-नागरिके, विज्ञापय देवीम् । का वयं भट्टिनी नियो- जयितुम् । परिजननिग्रहेण मयि दर्शितः स्नेहः । वान्यस्य प्रसादेनायं जनो वर्धत इति । चेटी-२तथा । (इति निष्कान्ता।) निपुणिका—(परिक्रम्यावलोक्य च) ३भट्टिनि, एष द्वारोद्देशे समुद्र- गृहस्य विपणिगत इव बलीवर्द आर्यगौतम आसीन एव निद्रायते । on my part. Simply for the sake of respecting your wishes, Mālavikā, along with her friend, has been put in irons. If you don't mind, I should like to meet the wishes of my lord. Tell me what you desire.' Iravati. Nagarika, inform the queen-Who are we to give directions to the queen ? Her love for me has been amply shown by the punishment of her servant. To whose else favour do I owe. what I am? Servant-maid. Yes. [Exit Nipunikā. (Walking about and seeing) Madam, here at the threshold of the summer-house the venerable Gāutama sleeps while sitting, as a buir in the bazaar. १. णाअरिए, विण्णवेहि देवि। का वअं भट्टिणि णिओजेदुं । परिअण- णिग्गहेण मइ दंसिदो सिणेहो । कस्स वा अण्णस्स पसादेण अअं जणो वड्ढदित्ति । २. तह । ३. भट्टिणि, एसो दुवारुद्देसे समुद्दधरअस्स विपणि- गदो विअ बलीवदो अजगोदमो आसीणो एव्य गिद्दाअदि । .

·128 MĀLA VIKAGNIMITRA । इरावती--१अत्याहितम् । न खलु सावशेषविषविकारो भवेत् । निपुणिका-२प्रसन्नमुखवर्णो दृश्यते । अपि च ध्रुवसिद्धिना चिकित्सितः । तदस्याशङ्कनीयं पापम् । विदूषकः-(उत्स्वप्नायते) ३भवति मालविके । निपुणिका-४श्रुतं भट्टिन्या ! कस्यैष आत्मनीनो हताशः कितवः । सर्वकालमित एव स्वस्तिवाचनमोदकैः कुक्षिं पूरयित्वा सांप्रतं मालविकामुत्स्वप्नायते । Iravatı Horrible ! Would that he may not have any trace of poison left in him. Nipunikā. He is seen to have a bright face. Moreover, he has been cured by Dhruvasiddhi. Therefore, nothing untoward need be apprehended for him. Vidashaka, (Mutters in a dream) O lady Mālavika. Nipunikā. Was it heard by you, madam ? For whose benefit does this deceitful wretch exist ? Having always filled his stomach with sweetmeats offered here at benedictions, he now calls out in his dream for Mālavikā. १. अचाहिदं। ण खु सावसेसविसविआरो हवे । २. पसण्णमुहवण्णो दीसइ । अवि अ धुवसिद्धिणा चिइच्छिदो । ता से असङ्कणिज पावं। ३. भोदि मालविए। ४. सुदं भट्टिणीए । कस्स एसो अत्तणीणो हदासो किदवो । सव्वकालं इदो एव्व सोस्थिवाअणमोदएहिं कुच्छि पूरिअ संपदं मालविअं असिविणाअदि ।

·AOT THE FOURTH 129 । १ विदूषकः-१इरावतीमतिक्रामन्ती भव । निपुणिका-श्रुतमेतदत्याहितम् । इमं भुजंगभीरं ब्रह्मबन्धुमनेन भुजंगकुटिलेन दण्डकाष्ठेन स्तम्भान्तरिता भीषयिष्यामि । इरावती-३अर्हत्येव कृतघ्न उपद्रवस्य । (निपुणिका विदूषकस्योपरि दण्डकाष्ठं पातयति ।) विदूषकः-(सहसा प्रबुध्य) ४अविध अविध ! भो दर्वीकरो म उपरि पतितः । राजा-(सहसोपमृत्य) सखे, न भेतव्यं न भेतव्यम् । Vidīshaka. May you surpass Irāvati. Nipurrika. Did you hear this very abominable thing ? Hidden by this pillar, I will, with this stick curved like a snake, frighten this ignoble Brahmin who is already in panic of snake. Irāvati. This ungrateful fellow deserves to be chastised. (Nipunikā lets fall a stick on Vidītshaka) Vidushaka. (Waking suddenly) Alas ! Alas ! Oh! A serpent has fallen on me. King. (Coming near suddenly) Friend, don't fear, don't fear. १. इरावदि अदिक्कमन्दी होहि । २. सुदं एवं अचहिदं । इमं भुअङ्गभीरुअं बह्मबन्धुं इमिणा भुअङ्ग- कुडिलेग दण्डकछेण तम्भन्दरिदा भाअइस्सं । ३. अरुहदि एब्ब किदग्घो उवद्दवस्स । ४. अविह अविह । भो दविवअरो मे उवरि पडिदो। 9 ·130 MĀLAVIKĀGNIMITRA मालविका---(अनुसृत्य) १भतः, मा तावत्सहसा निष्काम। सर्प इति भणति । इरावती-रहा धिक् हा धिक् । भर्ता इत एव धावति । विदूषकः- (साहासं) रेकथं दण्डकाष्ठमेतत् । अहं पुनर्जाने यन्मया केतकीकण्टकैदशं कृत्वा सर्पस्येव दंशः कृतः तत्फलितमिति । (प्रविश्य पटाक्षेपेण) बकुलावलिका -४मा तावद्भर्ता प्रविशतु । इह कुटिलगतिः सर्प इव दृश्यते । Malavika. (Following) My lord, don't walk out suddenly. A serpent' is the cry. Iravati. O fie ! O fie ! My lord runs here only. Vidushaka. (With a laughter) Is this a stick ? I, for my part, thought that what I did in pretending a serpent's bite after making a scratch by the thorns of a Ketaki, had only proved too true. (Enter by throwing open the screen) Bakulāvalikā. Master, don't enter. Here seems to be a snake running zigzag. Irāvatī. (Approaching the king suddenly) Does the daylight engagement of the couple serve the purpose right? भट्टा, मा दाव सहसा णिकम । सप्पोत्ति भणादि। २. हद्धि हद्धि । भट्टा इदो एव्व धावदि । ३. कहं दण्डकळं एदं । अहं उण जाणे जं मए केदईकण्टएहिं दंसं करिअ सप्पस्स विअ दंसो किदो तं फलिदंति । मा दाव भट्टा पविसदु । इह कुडिलगई सप्पो विअ दीसइ ।

·ACT THE FOURTH 131 इरावती-(राजानं सहसोपसृत्य) १अपि निर्विघ्नमनोरथो दिवा संकेतो मिथुनस्य । (सर्वे इरावर्ती दृष्ट्वा संभ्रान्ताः।) राजा-प्रिये, अपूर्वोऽयमुपचारः। इरावती -२बकुलावलिके, दिष्टया दूत्याधिकारविषया संपूर्णा ते प्रतिज्ञा। बकुलावलिका–३प्रसीदतु भट्टिनी। किं नु खलु दर्दुरा व्याहर- न्तीति देवः पृथिव्यां वर्षितुं स्मरति । विदूषकः-४मा तावत् । भवत्या दर्शनमात्रेणात्रभवान्प्रणिपात- लङ्घनं विस्मृतः । भवती पुनरद्यापि प्रसादं न गृह्णाति । (All are puzzled at seeing Irāvati) King. Dear, novel is this sort of welcome. Iravatī. Bakulāvalikā, luckily you have succeeded in the vow you took as an intermediary. Bakulāvalikā. Beg your pardon, madam. Does. it begin to rain on the earth because frogs rattle ? Vidashaka. Oh! No! On merely seeing you, my esteemed friend has forgotten all about your refusal: of his imploration on bended knees, whereas you are still unrelenting. अवि णिव्विग्घमणोरहो दिवासंकेदो मिहुणस्स । २. बउलावलिए, दिठुिआ दुच्चाहिआर विसआ संपुण्णा दे पडिण्णा। ३. पसीददु भट्टिणी किं णु खु ददुरा वाहरन्दि त्ति देव्वो पुढवीए वरिसिर्दु सुमरदि। दाव । होदीए दसणमत्तेण अत्तभवं पणिवादलवणं विसुमरिदो । होदी उण अज्जवि पसाद ण गेण्हइ। १. मा ·132 MĀLAVIKĀGNIMITRA इरावती--कुपितापीदानी किं करिष्यामि । राजा-अस्थाने कोप इत्यनुपपन्नं त्वयि । तथा हि। कदा मुखं वरतनु कारणाहते तवागतं क्षणमपि कोपपात्रताम् । अपर्वणि ग्रहकलुषेन्दुमण्डला विभावरी कथय कथं भविष्यति ॥ १६ ॥ इरावती--२अस्थान इति सुष्टु व्याहृतमार्यपुत्रेण । अन्यसंक्रान्ते- ध्वस्माकं भागधेयेषु यदि पुनः कुप्येयम् , ततो हास्या भवेयम् । राजा-त्वमन्यथा कल्पयसि । अहं पुनः सत्यमेवात्र कोपस्थानं न पश्यामि । कुतः, Iravati. Indignant as I am, what can I do? King. It ill becomes you to take offence improperly. For- O beautiful lady, when did your face ever become the abode of anger even for a moment without any cause? Tell me how the night will have the moon's sphere darkened by the eclipse except on a full-moon day ? (16) Iravati. My lord, properly you said Improperly.' When our good fortunes have shifted to a different quarter, I will only niake myself a laughing stock if I were to take offence. १. कुविदा वि दाणिं किं करिस्सं । २. अठाणेत्ति सुछ बाहरिदं अजउत्तेण । अण्णसंकन्देसु अह्माण भाअहेएसु जदि उण कुप्पेअं, तदो हस्सा भवेअं।

·ACT THE FOURTH 133 नार्हति कृतापराधोऽप्युत्सवदिवसेषु परिजनो दण्डम् । इति मोचिते मयते प्रणिपतितुं मामुपगते च ॥ १७ ॥ इरावती-१निपुणिके, गच्छ । देवीं विज्ञापय–दृष्टं देव्याः पक्षपातित्वमद्येति । 'निपुणिका-२तथा । (इति निष्क्रान्ता।) विदूषकः--(आत्मगत) ३अहो अनर्थः संवृत्तः । बन्धनभ्रष्टो गृह- कपोतको बिडालिकालोके पतितः । (प्रविश्य) निपुणिका—(अपवार्य) ४भट्टिनि, यहच्छादृष्टया माधविकया- ख्यातम् । एवं खल्वेतन्निवृत्तमिति । (कर्णे कथयति ।) King. You imagine otherwise. But I really see no ground for your indignation. For- Even a guilty servant does not deserve punishment on festive days. With this idea these two persons were released by me, and they have come to pay their respects to me. (17) Iravati. Nipunika, go and inform the queen- "Your partiality has now been discovered by me.' Nipunikā. I will do so. [Exit Vidushaka. (To himself) Oh ! A calamity has ibefallen us. A domestic dove slipping out of a cage has fallen within the eyesight of a female cat. १. णिउणिए, गच्छ । देविं विण्णवेहि-दिळं देवीए पक्खवाइत्तण अबत्ति। तह ३. अह्मो अणत्थो संवुत्तो। बन्धणभट्टो घरकवोदओ बिडालिआलोए पडिदो। ४. भट्टिणि, जदिच्छादिट्टाए ·1134 MALAVIKÄGNIMITRA इरावती-(आत्मगत) १उपपन्नम् । सत्यमयमत्र ब्रह्मबन्धुनोद्भिनो दुष्प्रयोगः । (विदूषकं विलोक्य प्रकाशं) इयमस्य कामतन्त्र- सचिवस्य नीतिः । विदूषकः-२भवति, यदि नीत्या एकमप्यक्षरं पठेयम् ततो ननु गायत्रीमपि विस्मरेयम् । राजा--(आत्मगतं) कथंनु खल्वस्मात्संकटादात्मानं मोचयिष्यामि । (प्रविश्य) जयसेना--(सावेग) ३देव, कुमारी वसुलक्ष्मीः कन्दुकमनुधावन्ती (Enter) Nipuņikā. (Aside to Irāvati) Mistress, Mādhavikā who was accidentally seen by me said, it was accomplished in this manner. (Whispers in: the ear) ... Iravati. (To herself) True. This mischievous, plot must be the machination of the petty Brahmin. (Looking at Vidūshaka, aloud) This is the legal advice of this minister in charge of love-affairs. Vidushaka. Madam, had I read a syllable of law, I will surely forget even my Gayatri. King. (Within) How shall I release myself from this predicament? माहविआए आचक्खिदं एव्वं खु एदं णिव्वुत्तं ति । १. उववण्णं । सच्चं अर एत्थ बह्मबन्धुणा उब्भिण्णो दुप्पओओ। इझं इमस्स कामतन्तसचिवस्स णीदी। २. होदि, जइ णीदीए एकं वि अक्खरं पठेअंतदो णं गाअत्तिं वि विसुमरे ३. देव, कुमारी वसुलच्छी कन्दुअं अणुधावन्दी पिङ्गलवाणरेण बलि तासिदा अङ्कणिसण्णा देवीए पवादकिसलअं विअ वेवमाणा दाणिं वि पकिदिं पर ·ACT. THE FOURTH -135 पिङ्गलवानरेण वलवत्रासिता अङ्कनिषण्णा देव्याः प्रवात- किसलयमिव वेपमानेदानीमपि प्रकृतिं न प्रतिपद्यते । राजा--कष्टम् । कातरो बालभावः । इरावती- (सावेग) १त्वरतां त्वरतामार्यपुत्र एनां समाश्वासयितुम् । मा तावदस्याः संत्रासजनितो विकारो वर्धताम् । राजा-अहमेनां संज्ञापयामि । (इति सत्वरं परिक्रामति ।) विदूषकः-(आत्मगत) २साधु रे पिङ्गलवानर साधु । परित्रात- स्त्वया सपक्षः । (निष्क्रान्तो राजा विदूषकश्च इरावती निपुणिका प्रतीहारी च।) (Enter) Jayasenā. (In excitement) Your Highness, Princess Vasulakshmi, running in pursuit of a ball, has been frightened out of her wits by a yellow monkey. Seated on the lap of the queen and trembling like a tender leaf in a gust of wind, she does not yet recover her normal condition. King. Unhappy. Childhood is timid. Irāvati. (Anxiously) Make haste, make haste to console her. Let not her oppression by fear increase. King. I shall presently restore her to senses. [Walks forward in a hurry Vidashaka. (Within) Good, O yellow monkey, good. You have rescued one belonging to your fold. पडिवजइ। १. तुवरदु तुवरदु अजउत्तो णं समासासितूं । मा दाव से संतास- जणिदो विआरो वढ्दु । २. साहु रे पिङ्गलवाणर साहु । परित्तादो तुए सपक्खो।

·136
MĀLAVIKĀGNIMITRA
मालविका–१सखि, देवी चिन्तयित्वा वेपते मे हृदयम् । न
जानेऽतः परं किं वानुभवितव्यं भविष्यतीति !
(नेपथ्ये)
२आश्चर्यमाश्चर्यम् । अपूर्ण एव पञ्चरात्रे दोहदस्य मुकुलैः
संनद्धस्तपनीयाशोकः । यावद्देव्यै निवेदयामि ।
(उमे श्रुत्वा प्रहृष्टे भवतः।)
बकुलावलिका-३आश्वसितु सखी। सत्यप्रतिज्ञा देवी ।
मालविका-तेन हि प्रमदवनपालिकायाः पृष्ठतो भवावः ।
बकुलावलिका-५तथा ।
(इति निष्क्रान्ता: सर्वे ।)
इति चतुर्थोऽङ्कः।
---
(Exeunt King and Vidushaka, Irāvatī,
Nipunika and the Female doorkeeper)
Mālavikā. Friend, thinking of the queen, my
heart trembles. I don't know what further is in
store for me.
(Behind the scenes)
Miraculous, miraculous! Hardly had five nights
elapsed since the Dohada, when the golden Asoka
had put forth plenty of buds. I shall just inform
१. हला, देवि चिन्तिअ वेवदि मे हिअ । ण जाणे अदो वरं किं
चा अणुहविदन्वं हविस्सदित्ति। २. 'अचरिअं अच्चरिअं । अपुण्णे एव्व
पञ्चरत्ते दोहलस्स मुउलेहिं संणद्धो तवणीआसोओ । जाव देवीए णिवेदेमि ।
३. आससिदु सही। सच्चप्पण्णा देवी । ४. तेण हि पमदवणपालिआए
पिठ्दो होम्म ।। ५. तह।

·पञ्चमोऽङ्कः। (ततः प्रविशत्युद्यानपालिका ।) उद्यानपालिका-१उपक्षिप्तो मया कृतसत्कारविधेस्तपनीयाशो- कस्य वेदिकाबन्धः । यावदनुष्ठितनियोगमात्मानं देव्यै निवे- दयामि । (परिक्रम्य) अहो देवस्यानुकम्पनीया मालविका । the queen. (Both rejoice at hearing this) Bakulāvalikā. Friend, be consoled. The queen is always true to her promise. Malavika. Then, let us go behind the back of the woman in charge of the garden. Bakulavalika. Yes. (Exeunt Omnes) End of the Fourth Act. ACT THE FIFTH (Enter the Female garden-keeper) Female garden keeper. A raised pavement has been erected by me for this golden Asoka tree which has been duly honoured. I will therefore make myself known to the queen as having १. उवक्खित्तो मए किदसकारविहिणो तवणीआसोअस्स वेदिआ- बन्धो । जाव अणुठ्ठिदणिओअं अत्ताणं देवीए णिवेदेमि । अहो देव्वस्स अणु- ·138 MALAVIKAGNIMITRA यत्तस्यां तथा चण्डीकृता देव्यनेनाशोककुसुमवृत्तान्तेन प्रसाद- सुमुखी भविष्यति । कुत्र नु खलु देवी भवेत् । (विलोक्य) अहो, एष देव्याः परिजनाभ्यन्तरः किमपि जतुमुद्रालाञ्छितां मञ्जूषिकां गृहीत्वा चतुःशालात् कुब्जः सारसको निष्का- मति । प्रक्ष्यामि तावदेनम् । (ततः प्रविशति यथानिर्दिष्ट : कुजः।) उद्यानपालिका-(उपसृत्य) १सारसक, कुत्र प्रस्थितोऽसि । सारसकः-२मधुकरिके, वेदपारगाणां ब्राह्मणानां नित्यदक्षिणा performed her command, (Walking about) Alas ! Mālavikā ought to be taken pity upon by Providence. The queen who had been - so much enraged at her will be graciously pleased with her by this incident of the Asoka bloom. Where will the queen be? (Looking) Oh! This close attender of the queen, the bunchbacked Sārasaka, taking some chest sealed with wax, emerges from the courtyard. I shall just ask him. (Enter the Hunchbacked man in the manner mentioned) Female garden-keeper. (Approaching) Sārasakas. where have you started ? कम्पणीआ मालविआ। जं तस्सि तह चण्डीकिदा देवी इमिणा असोअकुसुम- वुत्तन्तेण पसादसुमुही हविस्सदि । कहिं णु खु देवी हवे। अह्मो, एसो देवीए परिअणब्भन्तरो किवि जदुमुद्दालञ्छिदं मञ्जूसि गेण्हिअ चदुस्सालादो कुजो सारसओ णिकामदि। पुच्छिस्सं दाव णं । १. सारसअ, कहिं पत्थिदोसि । महुअरिए वेअपारआणं बह्मणाणं णिच्चदक्खिणा दादव्वा । ता ·ACT THE FIFTH 139. दातव्या । तदायपुरोहितस्य हस्तं प्रापयिष्यामि । मधुकरिका-१किंनिमित्तम् । सारसकः-२यदाप्रभृति श्रुतं सेनापतिना यज्ञतुरगरक्षणे नियुक्तो भर्तृदारको वसुमित्र इति तदाप्रभृति तस्यायुषो निमित्तमष्टा- दशसुवर्णप्रमाणां दक्षिणां देवी दक्षिणीयैः प्रतिग्राह्यति । मधुकरिका-३युज्यते । अथ कुत्र देवी । किं वानुतिष्ठति । सारसकः-४मङ्गलगृह आसनस्था भूत्वा विदर्भविषयाद्धात्रा Sārasaka. Madhukarikā, the daily present has to be given to Brahmins learned in the Vedas. Hence I am going to deliver this into the hands of the High Priest. Madhukarika. What for? Sarasaka. Ever since the queen beard that the prince Vasumitra was employed by the commander- . in-chief in the protection of the sacrificial horse, she causes a largesse of eighteen golden coins to be received by worthy recipients for the sake of his. long life. Madhukarikā. Quite proper. Then where is the queen, and what does she do? Sārasaka. Seated in the religious apartment, अज्जपुरोहिदस्स हत्थं पावइस्सं । १. किंणिमित्तं । २. जदा पहुदि सुदं सेणावइणा जण्णतुरगरक्खणे गिउत्तो भट्टिदारओ वसुमित्तोत्ति, तदा पहुदि तस्स आउसो णिमित्तं अट्टादससुवण्णपमाणं दक्खिणं देवी दक्खिणीएहिं पडि- ग्गाहेदि। ३. जुज्जइ । अह कहिं देवी । किं वा अणुचिठ्ठदि । ४. मङ्गलघरे आसणत्था भविअ विदब्भक्सिआदो भादुणा वीरसेणेण पेसिदं लेहं लेहकरेटिं.

·140 MALAVIKĀGNIMITRA म वीरसेनेन प्रेषितं लेख लेखकरैर्वाच्यमानं शृणोति । मधुकरिका-१कः पुनर्विदर्भराजवृत्तान्तः श्रूयते । सारसकः-२वशीकृतः किल वीरसेनप्रमुखैर्भर्तुर्विजयदण्डैर्विदर्भ- नाथः । मोचितोऽस्य दायादो माधवसेनः । तेन महासाराणि रत्नानि वाहनानि शिल्पकारिकाभूयिष्ठं परिजनं चोपायनी- कृत्य भर्तुः सकाशं प्रेषितो दूतः श्वः किल भर्तारं द्रक्ष्यति । मधुकरिका-३गच्छ अनुतिष्ठात्मनो नियोगम् । अहमपि देवी द्रक्ष्यामि । (इति निष्क्रान्तौ ।) इति प्रवेशकः। she hears read out to her by writers the letter sent by her brother Virasena from Vidarbha. Madhukarika. What is the news heard about the king of Vidarbha? Sarasaka. The king of Vidarbha has been subjugated by our lord's victorious soldiers headed by Vīrasena. His kingman Madhavasena has been released. And he, after making a present of the best gems and beasts of burden and a retinue largely consisting of female artists, has sent to His Highness a messenger who will meet him to-morrow. वाइअमाणं सुणादि । १. को उण विदभराअवुत्तन्तो सुणीअदि । २ वसीकिदो किल वीरसेणप्पमुहेहिं भत्तुणो विजअदण्डेहिं विदब्भ- गाहो । मोइदो से दाआदो माहवसेणो । तेण महासाराइ रअणाइ वाहणाइ सिप्पआरिआभूइट्ठ परिअणं अ उवाअणीकरिअ भट्टिणो सआसं पेसिदो दूदो सुवो किल भट्टारं पेक्खिस्सदि । गच्छ अणुचिट्ठ अत्तणो णिओ। अहं वि देवि पेक्खिस्सं ।

·ACT THE FIFTH 141 (ततः प्रविशति प्रतीहारी।) प्रतीहारी-१आज्ञप्तास्म्यशोकसत्कारव्यापृतया देव्या-विज्ञापय आर्यपुत्रम् । इच्छाम्यार्यपुत्रेण सहाशोकवृक्षस्य प्रसूनलक्ष्मी प्रत्यक्षीकर्तुमिति । तद्यावद्धर्मासनगतं देवं प्रतिपालयामि । (इति परिक्रामति।) (नेपथ्ये) वैतालिको-दिष्टया दण्डेनैवारिशिरस्सु वर्तते देवः । Madhukarikā. Go on and do your duty. I shall also see Her Highness. [Esceunt PRELUDE (Enter the Female Doorkeeper) Female doorkeeper. I have been ordered by Her Highness who has betaken herself to the honouring of the Asoka thus-'Inform my lord that I desire in his company to witness the beauty of the flowers of the Asoka tree.' Therefore, I shall just await the arrival of His Highness who is now holding court. (Walks about) (Behind the scenes) Two minstrels. Fortunately by your military power, Your Highness stands above the heads of P your foes. First minstrel. Like the God of love in flesh and blood, taking deep delight in the sweet and १. आणत्तह्मि असोअसकारव्वावुदाए देवीए–विण्णवेहि अजउत्तं । इच्छामि अन्नउत्तेण सह असोअरुक्खस्स पसूणलच्छि पच्चक्खीकार्दुति । ता जाव धम्मासणगदं देवं पडिवालेमि ।

·142 MALAVIKĀGNIMITRA - ते प्रथम:- परभृतकलव्याहारेषु त्वमाचरतिर्म, नयसि विदिशातीरोद्यानेष्वनङ्ग इवाङ्गवान् । विजयकरिणामालानत्वं गतैः प्रबलस्य वरद वरदारोधोवृक्षैः सहावनतो रिपुः ॥१॥ द्वितीयः- विरचितपदं वीरप्रीत्या सुरोपम सूरिभि- श्वरितमुभयोर्मध्ये कृत्य स्थितं ऋथकेशिकान् । तव हृतवतो दण्डानीकैर्विदर्भपतेः श्रियं परिघगुरुभिदोभिः शौरेः प्रसह्य च रुक्मिणीम् ॥ २॥ gentle voices of cuckoos, you spend the Spring in the gardens on the outskirts of Vidiśā.' O giver of boons, the enemy of your mighty self has been bent down along with the trees on the banks of the Varadā, which served as tying posts for the • elephants of your army. (1) Second minstrel. O Angel-like lord, the deeds of both you and Krshņa-of you who have captured the wealthy kingdom of the lord of Vidarbha by your forces and of Kșshna who by his arms, mighty like bolts, forcibly seized Rukmini, the Goddess Lakshmi, born of the king of Vidarbha--are sung by poets out of love for the hero and have spread all over ithe country of Krathakāiśika. (2) Female Doorkeeper. Here comes His Highness ·ACT THE FIFTH 143 - प्रतीहारी-१एष जयशब्दसूचितप्रस्थानो भर्तेत एवागच्छति । अहमपि तावदस्य प्रमुखात्किमप्यपसृत्य एतन्मुखालिन्दतोरणं समाश्रिता भवामि । (इत्येकान्ते स्थिता ।) (ततः प्रविशति सवयस्यो राजा।) राजा- कान्तां विचिन्त्य सुलभेतरसंप्रयोगां श्रुत्वा विदर्भपतिमानमितं बलैश्च । धाराभिरातप इवाभिहतं सरोज दुःखायते मम मनः सुखमश्नुते च ॥३॥ विदूषकः-२यथाहं पश्यामि तथा एकान्तसुखितो भवान्भवि- ष्यति । whose advent is forecast by cries of victory. After moving back a little from his front, I shall resort to the outer door of this portico. (Stands aloof) (Enter the King with his companion) King. Knowing my sweetheart difficult to get at and hearing the king of Vidarbha cowed down by my forces, my heart both grieves and rejoices just as a lotus flower stricken by showers (of snow •or rain) standing in the Sun. (3) Vidashaka. I foresee, you are about to meet with unalloyed happiness. १. एसो जअसहसूइदप्पत्थाणो भट्टा इदो एव्व आअच्छदि । अहं वि दाव इमस्स पमुहादो किंवि ओसरिअ एवं मुहालिन्दतोरणं समस्सिदा होमि । २. जह अहं पेक्खामि तह एकन्दसुहिदो भवं हृविस्सदि ।

·144
MĀLAVIKĀGNIMITRA
राजा-कथमिव ।
विदूषकः-१अद्य किल देव्या धारिण्या पण्डितकौशिकी
भणिता। भगवति, यदि त्वं प्रसाधनगवं वहसि, तदर्शय
मालविकायाः शरीरे वैदर्भ विवाहनेपथ्यमिति । तयापि
सविशेषालंकृता मालविका । तत्रभवती कदापि पूरयेद्भवतो
मनोरथम् ।
राजा-सखे, मदपेक्षानुवृत्त्या निवृत्तेाया धारिण्याः पूर्वचरितः
संभाव्यमेतत् ।
King. How?
Vidashaka. To-day Queen Dbāriņī told the
learned Kausiki-Your Holiness, if you take pride
over your skill in ornamenation, exhibit it on
the body of Mālavikā by clothing her in the bridal
dress prevalent in Vidarbha.' And Malavikā has.
accordingly been decked by her exquisitely. Her
Highness will perhaps fulfill your heart's desire.
King. Friend, in view of her attitude towards
me in the past, this is quite likely of Dhāriņī who
in deference to my wish might have given up her
jealousy.
Female Doorkeeper. (Approaching) Glory
Your Highness. The queen sends you word-Let
अज्ज किल देवीए धारिणीए पण्डिदकोसिई भणिदा । भअवदि,
जइ तुमं पसाहणगव्वं वहेसि, ता दंसेहि मालविआए सरीरे वैदब्भं विवाहणे-
वच्छं ति । ताए वि सविसेसालंकिदा मालविआ । तत्तहोदी कदा वि पूरए
भवदो मणोरहे।
१.

·AOT THE FIFTH 145 प्रतीहारी–(उपगम्य) १जयतु भर्ता । देवी विज्ञापयति-तपनी- याशोकस्य कुसुमशोभादर्शनेन ममारम्भः सफलीक्रियतामिति । राजा ननु तत्रैव देवी । प्रतीहारी–२अथ किम् । यथार्हसंमानसुखितमन्तःपुरं विसृज्य मालविकापुरोगेणात्मनः परिजनेन सह देवं प्रतिपालयति । राजा-(सहर्षे विदूषकं विलोक्य) जयसेने, गच्छाप्रतः । प्रतीहारी–३इत इतो देवः । (इति परिकामति ।) विदूषकः-(विलोक्य) भो वयस्य, वयस्य, किंचित्परिवृत्तयौवन इव वसन्तः प्रमदवने लक्ष्यते । my undertaking be carried to fruition by our beholding the beauty of the flowers of the golden Asoka.' King. The queen is there? Female Doorkeeper. Yes. After bidding good bye to the inmates of the harem who have been gladdened by presents according to their deserts, the queep along with her retinue led by Mālavikā awaits the arrival of Your Highness. King. (Joyfully looking at Vidushaka) Jayasenā, go in front. Female Doorkeeper. Here, here, my lord. [Walks forward १. . जेदु भट्टा। देवी विष्णवेदि-तवणीआसोअस्स कुसुमसोहादसणेण मह आरम्भो सफलीकरीअदुत्ति । २. अह इं। जहारुहसंमाणसुहिदं अन्देउरं विसजिअ मालविआपुरोएण अत्तणो परिअणेण सह देवं पडिवालेदि । ३. . इदो इदो देवो। भो वअस्स किंचि . परिवुत्तजोव्वणो विअ वसन्तो 10 ४.

·146 MĀLAVIKĀGNIMITRA राजा-यथाह भवान् । अग्रे विकीर्णकुरवकफलजालविभिद्यमानसहकारम् । परिणामाभिमुखमृतोरुत्सुकयति यौवनं चेतः॥४॥ विदूषकः--(परिक्रम्य) अहो, अयं स दत्तनेपथ्य इव कुसुमस्तबकै- स्तपनीयाशोका। अवलोकयतु भवान् । राजा-स्थाने खल्वयं प्रसवमन्थरोऽभूत् । यदयमिदानीमनन्य- साधारणी शोभामुद्वहति । पश्य । सर्वाशोकतरूणां प्रथमं सूचितवसन्तविभवानाम् । निवृत्तदोहदेऽस्मिन्संक्रान्तानीव कुसुमानि ॥ ५ ॥ Vidashaka. (Seeing) Friend, in the flower-garden the Spring appears a little rejuvenated. King. Exactly as you say. The waning youth of the Spring wherein Kuravaka flowers lie scattered in front and mango trees bend by the weight of bunches of fruits, fills the mind with passion. Vidushaka. (Going forward) Oh ! This is the golden Aſoka which appears clad by bunches of flowers. Please see. King. Justly was this slow in putting forth flowers, now that it puts on uncommon beauty. Behold- The flowers of all the Asoka trees which first signified the glories of the Spring have migrated, पमदवणे लक्खीअदि । १. अहो, अअं सो दिण्णणेक्च्छो विभ कुसुमस्थवएहिं तवणीआसोओ। ओलोएदु भवं ।

·ACT THE FIFTH.. 147 अपि च विदूषकः--भोः, विस्रब्धो भव । अस्मासु संनिहितेष्वपि धारिणी पार्श्वपरिवर्तिनी मालविकामनुमन्यते । राजा-(सहर्षे) सखे, पश्य । मामियमभ्युत्तिष्ठति देवी विनयादनूत्थिता प्रियया । विस्तृतहस्तकमलया नरेन्द्रलक्ष्म्या वसुमतीव ॥ ६ ॥ (ततः प्रविशति धारिणी मालविका परिव्राजिका विभवतश्च परिवारः।) मालविका—(आत्मगतं) २जानामि निमित्तं कौतुकालंकारस्य । तथापि बिसिनीपत्रगतमिव सलिलं वेपते मे हृदयम् । दक्षिणेतरदपि मे नयनं बहुशः स्फुरति । as it were, to this tree as soon as its Dohada was performed. (5) Vidushaka. Oh! Be confident. Though we are close by, Dhāriņi permits Malavikā to be by her side. King. (Joyfully) Friend, see- Here the queen rises to meet me, being followed in her footsteps by my beloved with her folded palms stretched out in modesty, just like the Mother Earth being followed by the Goddess of kingship with a blooming lotus in her hand. (6) (Enter Dharini, Malavika, the Female ascetic and suitable retinue) Malavikā. (To herself) I know the reason for १. भो, वीसद्धो होहि । अमेसु संणिहिदेसु वि धारिणी पासपरिवहिणि मालविअं अणुमण्णेदि। जाणामि मिमित्त कोदुआलंकारस्स । तह कि बिसिगीपत्तगदं विभ ·148 MĀLAVIKĀGNIMITRA विदूषकः---भो वयस्य, विवाहनैपथ्येन सविशेषं खलु शोभते मालविका। राजा-पश्याम्याभरणालंकृतामेनाम् । यैषा अनतिलम्बिदुकूलनिवासिनी, बहुभिराभरणैः प्रतिभाति मे । उडुगणैरुदयोन्मुखचन्द्रिका गतहिमैरिव चैत्रविभावरी ॥ ७॥. देवी-(उपत्य) २जयत्वार्यपुत्रः । विदूषकः- -३वर्धतां भवती। this happy adornment. Nevertheless, my heart trembles like water standing on a lotus-leaf. Moreover, my left eye throbs frequently. Vidushaka. Friend, by the marital dress, Mālavikā shines to peculiar advantage. King. I see her decked with ornaments- Her who, wearing a white silk apparel hanging but not quite loose, and decked with a number of jewels, appears to me like the night of the Chāitra month lit by the rising moon and accompanied by clusters of stars free from the veil of snow. Queen. (Approaching) Victory to my lord. Vidashaka. May you prosper, madam. सलिलं वेवदि मे हिअअं । अविअ दक्खिणेदरं वि मे णअणं बहुसो फुरदि। १. भो वअस्स, विवाहणेवच्छेण सविसेसं खु सोहदि मालविआ । २. जेदु अजउत्तो। ३. वढदु भोदी। (7) ·ACT THE FIFTH 149 परिब्राजिका-विजयतां देवः । राजा-भगवति, अभिवादये । परिव्राजिका-अभिमतसिद्धिरस्तु । देवी--(सस्मिते) १आर्यपुत्र, एष तेऽस्माभिस्तरुणीजनसहायस्या- शोकः संकेतगृहं संकल्पितः । विदूषकः -२भोः, आराधितोऽसि । राजा-(सब्रीडमशोकममित: परिक्रामन्) नायं देव्या भाजनत्वं न नेयः सत्काराणामीदृशानामशोकः। यः सावज्ञो माधवश्रीनियोगे पुष्पैः शंसत्यादरं त्वत्प्रयत्ने ॥ ८॥ Female ascetic. Glory to Your Highness. King. Your Holiness, I prostrate. Female ascetic. May you attain your cherished object. Queen. (With a smile) My lord, this Asoka tree has been fixed by us as a rendezvous for you to meet the weaker sex in bloom. Vidushaka. Oh! The queen has favoured you. King. (Bashfully going round the Aśoka) This Asoka is not undeserving of this and similar honours bestowed by you, O queen, the Asoka which treated the bidding of the goddess of Spring १. अजउत्त, एसो दे अह्मेहिं तरुणीजणसहाअस्स असोओ संकेद- घरअं संकप्पिदो। २. भो आराहिओसि ।

·"150 MALAVIKĀGNIMITRA - विदूषकः-भोः, विस्रब्धो भूत्वा त्वं यौवनवतीमिमां पश्क . देवी--२काम् । विदूषकः-३तपनीयाशोकस्य कुसुमशोभाम् । (सर्व उपविशन्ति ।) राजा--(मालविकां विलोक्य, आत्मगतं) कष्टः खलु संनिधिविप्रयोगः। अहं रथाङ्गनामेव प्रिया सहचरीव मे । अननुज्ञातसंपर्का धारिणी रजनीव नौ ॥९॥ (प्रविश्य) कञ्चुकी-जयतु देवः । अमात्यो विज्ञापयति । तस्मिन्विदर्भwith contempt while it conveyed its respect for your wish by means of flowers. (8) Vidishalca. Oh! Fearlessly look at her standing in full bloom. Queen. Whom? Vidushaka. The beauty of the flowers of the golden Asoka. (All sit down) King. (Looking at Malavikā, to himself) Sad indeed is separation in company. I am like a Chakravāka, and my beloved is like a she-Chakravāka; and, Dhāriņí is like the night between us, preventing a union, (9) (Enter) Chamberlain. May Your Highness be victorious. The minister informs - Two female artistes १. भो, वीसद्धो भविअ तुसं जोव्वणवदि इमं पेक्ख । ३. तवणीआसोअस्स कुसुमसोहम् । २. के।

·ACT THE FIFTH 151 । राजोपायने द्वे शिल्पदारिके मार्गपरिश्रमादलसशरीरे इति पूर्व न प्रवेशिते । संप्रति देवोपस्थानयोग्ये । तत्राज्ञां देवो दातु- महतीति । राजा--प्रवेशय ते । कञ्चुकीयदाज्ञापयति देवः । (इति निष्क्रम्य ताभ्यां सह प्रविश्य) इत इतो भवत्यौ । प्रथमा-(जनान्तिकं) पहला रजनिके, अपूर्वमप्येतद्राजकुलं प्रवि- शन्त्याः प्रसीदति ममाभ्यन्तरगत आत्मा। द्वितीया-२ज्योत्मिके, ममाप्येवम् । अस्ति खलु लोकवादः- आगामि सुखं वा दुःखं वा हृदयसमवस्था कथयतीति । included in the present sent by the king of Vidarbha were not previously admitted as they were too fatigued by their journey on the way. Now they have become fit for Your Highness's interview. Your Highness may give your command in the matter.' King. Admit them. Chamberlain. As Your Highness cominands. (E.cit and Re-enter with them both) Here here, ladies. · First lady. (Aside) My dear Rajanikā, my heart buoys up though I enter this Royal House for the first time. Second lady. Jyotsnika, it is so for me also. हला रअणिए, अपुत्वं वि एवं राअउलं पविसन्दीए पसीदइ मे अब्भन्दरगदो अप्पा। २. जोसिणिए, मह वि एव्वं । अस्थि खु लोअवाओ- १.

·152
MĀLAVIKĀGNIMITRA
प्रथमा-१स इदानी सत्यो भवतु ।
कञ्चुकी- एष देव्या सह देवस्तिष्ठति । उपसर्पतां भवत्यौ ।
(उभे उपसर्पतः।)
(मालविका परिव्राजिका च चेट्यौ दृष्ट्वा परस्परमवलोकयतः।)
उभे-(प्रणिपत्य) २जयतु भर्ता । जयतु भट्टिनी ।
गजा-निषीदतम् ।
(उमे उपविष्टे ।)
राजा-कस्यां कलायामभिविनीते भवत्यौ ।
उभे-३मतः, संगीतेऽभ्यन्तरे स्वः । .
राजा-देवि, गृह्यतामनयोरन्यतरा।
There is the proverb that mind bespeaks the coming
happiness or misery.
First lady. Let it be true now.
Chamberlain, Here remains His Highness with
Her Highness. Both of you, go near.
(Both go near. Mālavikā and the Female ascetic
look at each other on seeing the two servant-maids)
Both. (Prostrating) Glory to the king. Glory
to the queen.
King. Take your seats.. (Both sit down)
King. Ladies, in which art are you trained ?
Both. Your Highness, we are trained in music.
King. Queen, take hold of one of these two.
आआमि सुहं वा दुक्खं वा हिअअसम वत्था कहेदित्ति।
१. सो दाणिं सच्चो होदु।
२. जेदुः भट्टा । जेदु भट्टिणी ।
३. भट्टा, संगीदे अब्भन्दरह्म ।

·ACT THE FIFTH 153 देवीं-मालविके इतः पश्य । कतरा ते संगीतसहायिनी रोचते। उभे-(मालविकां दृष्ट्वा) २अहो भर्तृदारिका ।। (इति प्रणम्य) जयतु जयतु भर्तृदारिका । (तया सह बाष्पं विसृजतः।) (सर्वे सविस्मयमवलोकयन्ति।) राजा-के भवत्यौ । का वेयम् । उभे-भतः, एषास्माकं भर्तृदारिका । राजा-कथमिव । उभे-४शृणोतु भर्ता । यः स भर्ती विजयदण्डैर्विदर्भनाथं वशीकृत्य बन्धनान्मोचितः कुमारो माधवसेनो नाम, तस्येयं कनीयसी भगिनी मालविका नाम । Queen. Malavika, look here. Whom would you like to sing along with you? Both. (Looking at Mālavikā) Oh! The princess! (Prostrating) Glory, glory to the princess. (Both shed tears along with her) (All gaze in wonder) King. Who are you, ladies? And, who is she ? Both. My lord, she is our princess. King. How ? Both. Your Highness will listen. The prince १. मालविए, इदो पेक्ख । कदरा ते संगीदसहाइणी रुच्चइ । २. अह्मो भट्टिदारिआ। जेदु जेदु भट्टिदारिआ। भट्टा, एसा अह्माणं भट्टिदारिआ । ४. सुणादु भट्टा । जो सो भट्टिणा विजअदण्डेहिं विदब्भणाहं वसी- .

·154 MALAVIKĀGNIMITRA देवी-कथं राजदारिकेयम् । चन्दनं खलु मया पादुकोप- योगेन दूषितम् । राजा -अथात्रभवती कथमित्थंभूता । मालविका-(निःश्वस्य आत्मगत) २विधेर्नियोगेन । द्वितीया-३शृणोतु भर्ता । दायादवसंगतेऽस्माकं भर्तृदारके माधवसेने तस्यामात्येनार्यसुमतिनास्मादृशं परिजनमुज्झित्वा गूढमपनीतैषा। Mādhavasena by name, who was released from fetters by Your Highness after subjugating the king of Vidarbha by means of your forces-of him she is the younger sister, Malavika by name. Queen. What ? Is she a princess ? I have trampled on sandalwood like shoes. King. Then how came the lady to this plight? Malavikā. (Heaving a deep sigh, within) By the will of Fate. Second lady. Your Highness will hear. When the prince Madhavasena fell into the hands of his enemy, she was secretly taken out by his minister, the venerable Sumati, leaving behind servants like us. करिअ बन्धणादो मोइओ कुमारो माहवसेणो णाम, तस्स इअं कणीअसी भइणी मालविआ णाम । १. कहं राअदारिआ इ । चन्दणं खु मए पादुओवओएण दूसिदं । २. विहिणो णिओएण। ३. सुणादु भट्टा । दाआदवसंगदे अह्माणं भट्टिदारए माहवसेणे तस्स ·ACT THE FIFTH 155 . राजा-श्रुतपूर्व मयैतावत् । ततस्ततः । उभे-१अतः परं न जानीवः । परित्राजिका-ततः परमहं मन्दभागिनी कथयिष्यामि । उभे--२आर्यकौशिक्या इव स्वरसंयोगः । मालविका--३अथ किम् । उभे- यतिवेषधारिण्यार्यकौशिकी दुःखेन विभाव्यते । भगवति, वन्दावहे । परिव्राजिका -स्वस्ति भवतीभ्याम् । राजा-कथमाप्तवर्गोऽयं भगवत्याः । King. I have already heard it. What then? Both. We don't know anything further. Female ascetic. Unfortunate that I am, I shall narrate what took place later. Both. The voice seems to be as of the venera-- ble Kausiki. Malavika. Exactly so. Both. The venerable Kāusikī is recognized with difficulty in her ascetic's guise. We both bow to Your Holiness. Female ascetic. Hail to both of you. King. What? Are they friends of Your Holiness? अमच्चेण अजसुमदिणा अमारिसं परिअणं उज्झिअ गूढं अवणीदा एसा । १. अदो वरं ण आणीमो। २. अन्नकोसिईए विअ सरसंजोओ। ३. अह इं। ४. जदिवेसधारिणी अजको सिई दुक्खेण विभावीअदि। भअवदि, वन्दामो।

·156 MĀLAVIKĀGNIMITRA 'परित्राजिका-एवमेतत् । विदूषकः-तेन हि कथयतु भगवत्यत्रभवत्या वृत्तान्तशेषम् । परिवाजिका---(सवैलव्य) -(सबैलव्य) तावच्छ्रयताम् । माधवसेनसचिवं सुमतिं ममाग्रजमवगच्छ । राजा-उपलब्धम् । ततस्ततः । परिव्राजिका-स इमां तथागत भ्रातृकां मया सार्धमपवाह्य भव- त्संबन्धाकाङ्ख्या पथिकसार्थं विदिशागामिनमनुप्रविष्टः । राजा-ततस्ततः। परिब्राजिकास चाटव्यन्तरे निविष्टो गताध्वा वणिग्जनः । राजा-ततस्ततः। Female ascetic. Yes. They are. Vidushaka. Then please tell us the rest of the news about this lady. Female ascetic. (With spirits depressed) Let it be heard. Know Sumati, the minister of Madhava. sena, as my elder brother. King. I note it. And then ? Female ascetic. When her brother was reduced to that plight, he (Sumati) caused her escape with me, and in order to associate with you, mingled in a band of travellers going to Vidisa. King: What then ? Female ascetic. The caravan halted in the backwoods, having traversed a long distance. King. What next? १. तेण हि कहेदु भअवदी अत्तहोदीए उत्तन्दसेसं । ।

·ACT THE FIFTH 157 परिव्राजिका-ततश्च । तूणीरपट्टपरिणद्धभुजान्तराल- मापाणिलम्बिशिखिबहकलापधारि । कोदण्डपाणि निनदत्प्रतिरोधकाना- मापातदुष्प्रसहमाविरभूदनीकम् ॥ १० ॥ (मालविका भयं रूपयति ।) विदूषकः- १भवति, मा बिभीहि । अतिक्रान्तं खलु तत्रभवती कथयति । राजा -ततस्ततः । परिवाजिका–ततो मुहूर्त बद्धयुद्धास्ते पराङ्मुखीकृताः सार्थ- वाहयोद्धारस्तस्करैः । Female ascetic. Afterwards- A roaring and formidable host of robbers whose chests were bound by the flaps of quivers. and who wore peacock-feathers hanging down right up to their heels appeared all of a sudden with: bows in their hands, (10)- (Malavikā exhibits fear) Vidushaka. Madam, don't fear. The revered lady refers to an incident of the past. King. And then ? Female ascetic. Then after giving battle for a while to the robbers, the merchant-warriors met. with a retreat. १. भोदि, मा भआहि। अदिकन्तं खु तत्तहोदी कहेदि ।

·11.58 MĀLAVIKĀGNIMITRA राजा-भगवति, अतः परमिदानी कष्टं श्रोतव्यम् परिव्राजिका -ततः स मत्सोदर्यः इमां परीप्सुर्दुर्जाते परामिभवकातराम् । भप्रियः प्रियैर्भर्तुरानृण्यमसुभिर्गतः ॥ ११ ॥ प्रथमा-१हा, हतः सुमतिः । द्वितीया-२अतः खलु भर्तृदारिकाया इयं समवस्था संवृत्ता । (परिव्राजिका बाष्पं विसृजति ।) राजा-भगवति, तनुत्यजामीदृशी लोकयात्रा । 'न शोच्यस्तत्र- भवान्सफलीकृतभर्तृपिण्डः । ततस्ततः। King. Your Highness, anything more miserable to. hear? Female ascetic. Then my brother, Desirous as he was to protect this girl who was - shivering with fear from the attack of enemies in that miserable state, and dear as his master was to him, discharged his obligation to his lord by the sacrifice of his dear life. (11). First lady. Alas ! Sumati has been slain ! Second lady. That is why the princess has been reduced to this plight. (The Female ascetic sheds tears) King. Your Holiness, such is life's journey to mortals. He is not to be lamented, who has so richly repaid the hand that fed him. What then ? १. हा, हदो सुमदी। २. अदो खु भट्टिदारिआए इअंसमवत्था संयुत्ता ।

·ACT THE FIFTH 159 परिवाजिका--ततोऽहं मोहमुपगता यावत्संज्ञा लभे, तावदियं दुर्लभदर्शना संवृत्ता। राजा-महत्खलु कृच्छ्रमनुभूतं भगवत्या । परित्राजिका-ततो भ्रातुः शरीरमग्निसात्कृत्य पुनर्नवीकृत- वैधव्यदुःखया मया त्वदीयं देशमवतीर्य इमे काषाये गृहीते। राजा-युक्तम् । सज्जनस्यैष पन्थाः। ततस्ततः । परित्राजिका-सेयमाटविकेभ्यो वीरसेनं वीरसेनाच देवीं गता, देवीगृहे लब्धप्रवेशया मया पुनदृष्टेयेतदवसानं कथायाः ! Female ascetic. Then I swooned, and by the time I recovered my senses this girl was beyond my sight. King. Your Holiness has indeed undergone very great hardship. Female ascetic. Then after cremating my brother's body, with the re-doubled misery of widowhood, I came to your kingdom and took these two red robes. King. Proper. This is the resort of the right- What then? Female ascetic. From the inhabitants of the forest this girl came to Vīrasena and from Vīrasena to the queen and was seen by me again when I chanced to enter the queen's home. This is the end of the story. Bous.

·160 MALAVIKĀGNIMITRA मालविका-(आत्मगत) १किं नु खलु सांप्रतं भर्ता भणति । राजा-अहो परिभवोपहारिणो विनिपाताः । कुतः । प्रेष्यभावेन नामेयं देवीशब्दक्षमा सती । स्थानीयवस्त्रक्रियया पत्रोणेवोपयुज्यते ॥ १२ ॥ देवी--२भगवति, त्वयाभिजनवती मालविकामनाचक्षाणयाऽसां- . प्रतं कृतम् । परिव्राजिका-शान्तं पापम् । कारणेनैव खलु मया नैभृत्यमव- लम्बितम् । देवी–३किमिव तत्कारणम् । Malavika. (Within) What is my lord now going to say ? King. Alas! Reverses bring in their trail insults. That is why- This noble lady fit to be designated a queen has been treated as a servant just as white silk as a bathing towel. (12) Queen. Your Holiness, you have improperly suppressed the noble birth of Mālavikā. Female ascetic. Peace, peace. I kept it confidential for some reason. Queen. What is that reason ? Female ascetic. Hear me. Whilo her father was alive, a certain religious seer who came on १. किं पुखु संपदं भट्टा भणादि । २. भअवदि, तुए अभिजणवदिं मालविअं अणाचक्खन्दीए असंपदं किदम् । ३. किं विअ तं कारणम् ।

·ACT THE FIFTH .. 161 परिव्राजिका श्रूयताम् । इयं पितरि जीवति केनापि देवयात्रा- गतेन सिद्धादेशेन साधुना मत्समक्षं समादिष्टा-संवत्सरमात्र- मियं प्रेष्यभावमनुभूय ततः सदृशभर्तृगामिनी भविष्यतीति । तमेनमवश्यंभाविनमादेशमस्या देवीपादशुश्रूषया परिणमन्त- मवेक्ष्य कालप्रतीक्षया मया साधु कृतमिति पश्यामि । राजा~युक्तोपेक्षा । (प्रविश्य) कञ्चुकी-देव, कथान्तरेणान्तरितमिदममात्यो विज्ञापयति । विदर्भगतमनुष्ठेयमवधारितमस्माभिः । देवस्य तावदभिप्रायं श्रोतुमिच्छामीति । राजा-मौद्गल्य, तत्रभवतोर्धात्रोर्यज्ञसेनमाधवसेनयोर्द्वराज्यमिदा. नीमवस्थापयितुकामोऽस्मि ।। pilgrimage delivered in my presence this prediction about her-She will undergo servitude for a year and then get a suitable husband.' I saw this inevitable prophecy coming into force by her serving at your feet, and I see I did well in waiting for the proper time. King. Your silence has been proper. (Enter) Chamberlain. The minister sends to Your Highness a message which he had forgotten in the midst of his duties-We have determined the programme as to what is to be done in the Vidarbha country... I should like to hear . Your Highness's opinion.' 11 ·162 MALAVIKĀGNIMITRA तौ पृथवरदाकूले शिष्टामुत्तरदक्षिणे । नक्तंदिवं विभज्योभौ शीतोष्णकिरणाविव ॥ १३ ॥ कञ्चुकी -देव, एवममात्यपरिषदे निवेदयामि। (राजाङ्गुल्यानुमन्यते। निष्क्रान्तः कन्चुकी।) प्रथमा--(जनान्तिकं) १भर्तृदारिके, दिष्टया भर्तृदारकोऽर्धराज्ये प्रतिष्ठां गमिष्यति । मालविका-२एतावत्तावद्वहुमन्तयम् , यज्जीवितसंशयान्मुक्तः । King. Māudgalya, I now desire to establish two separate kingdoms for the two worthy brothers-Yajinasena and Madhavasena. Let them divide between themselves and separately rule over the tracts on the northern and the southern banks of the Varadā just as the Moon and the Sun divide the night and the day between themselves and hold sway over them. (13) Chamberlain. My lord, I shall inform the cabinet accordingly. (The king signifies his approval by the finger) [Exit Chamberlain First lady. (Aside to Mālavikā) Princess, fortunately the prince is going to be provided with a half of the kingdom. Mālavikā. Primarily it is a source of congratulation that he has been rescued from danger to life. १. भट्टिदारिए, दिद्विआ भट्टिदारओ अद्धरजे पडिळं गमिस्सदि। २. एत्तिअं दाव बहुमन्दव्वं, जं जीविदसंसआदो मुत्तो।

·ACT THE FIFTH 163 (प्रविश्य) कञ्चुकी-विजयतां देवः। अमात्यो विज्ञापयति । अहो कल्याणी देवस्य बुद्धिः । मन्त्रिपरिषदोऽप्येवमेव दर्शनम् । कुतः । द्विधा विभक्तां श्रियमुद्वहन्तो धुरं रथाश्वाविव संग्रहीतुः। तौ स्थास्यतस्ते नृपती निदेशे परस्परोपग्रहनिर्विकारौ ।। १४॥ राजा-तेन हि मन्त्रिपरिषदं ब्रूहि । सेनान्ये वीरसेनाय लिख्य- तामेवं क्रियतामिति । कञ्चुकी-यदाज्ञापयति देवः । (इति निष्क्रम्य सप्रामृतक लेखं गृही- त्वा पुनः प्रविश्य) अनुष्ठिता प्रभोराज्ञा । अयं पुनरिदानी देवस्य (Enter) Chamberlain. Glory to Your Highness. The minister intimates, Oh, how happy is the king's idea! The cabinet also holds the same view. For Ruling over the kingdom divided into two and being at peace with each other, the two kings will remain under your control, just as two horses of a chariot would remain under the control of a charioteer, bearing the yoke divided into two without coming into mutual conflict.' (14) King. Then tell the council of ministers to write to the commander Vīrasena to do so. Chamberlain As Your Highness commands. Exit and Re-enter, taking a letter accompanied by a present) Your Highness's bidding has been done.

·164 MĀLAVIKĀGNIMITRA सेनापतेः पुष्पमित्रस्य सकाशात्सप्राभृतको लेखः प्राप्तः । . प्रत्यक्षीकरोत्वेन देवः। (राजा सहसोत्थाय प्रामृतकं सोपचारं परिगृह्य शिरसि कृत्वा परिजनायार्पयति । लेख च नाटयेनोद्वेष्टयति।) देवी-(आत्मगत) १अहो, ततोमुखमेव मे हृदयम् । श्रोष्यामि तावद्गुरुजनस्य कुशलानन्तरं पुत्रस्य वसुमित्रस्य वृत्तान्तम् । अतिभारे खलु सेनापतिना नियुक्तो मे पुत्रकः । राजा-(उपविश्य वाचयति ।) स्वस्ति । यज्ञशरणात्सेनापतिः पुष्प- मित्रो वैदिशस्थं पुत्रमायुष्मन्तमग्निमित्रं स्नेहात्परिष्वज्यानु- Here is a letter accompanied by a present recieved from the Commander-in-chief, His Excellency Pushpamitra. Your Highness will peruse it. (The king rises suddenly, receives the present with respect, places it on his head, hands it over to a servant and also opens the letter by gesture) Queen. (To herself) Oh! My mind is all in it.. After hearing about the welfare of the revered sire, I will enquire about the news of my son Vasumitra. In a very mighty task indeed has my boy been engaged by the commander-in-chief. King. (Sits and reads) All well. From the sacrificial ground, the commander-in-chief Pushpamitra intimates to his son Agnimitra at Vidisa १. अह्महे, तदोमुहं एव्व मे हिअभं । सुणिस्सं दाव गुरुअणस्स कुसला- णन्दर पुत्तस्स वसुमित्तस्स उत्तन्दं । अदिभारे खु सेणावइणा णिउलो के पुत्तओ।

·ACT THE FIFTH 165 दर्शयति । विदितमस्तु । योऽसौ राजयज्ञदीक्षितेन मया राज- पुत्रशतपरिवृतं वसुमित्रं गोप्तारमादिश्य संवत्सरोपावर्तनीयो निरर्गलस्तुरगो विसृष्टः, स सिन्धोर्दक्षिणे रोधसि चरन्न- श्वानीकेन यवनानां निषिद्धः। तत उभयोः सेनयोर्महाना- सीत्संमर्दः। (देवी विषादं नाटयति ।) राजा-कथमीदृशं संवृत्तम् । (शेषं पुनर्वाचयति ।) ततः परान्पराजित्य वसुमित्रेण धन्विना । प्रसह्य हियमाणो मे वाजिराजो निवर्तितः ॥ १५ ॥ देवी-१अनेनेदानीमाश्वसिति मे हृदयम् । after affectionately embracing him. Long live Agnimitra. Be it known. After taking upon myself the vow of the regal sacrifice and appointing Vasumitra surrounded by a hundred princes as the protector of the sacrificial horse, I let loose the horse so that he may be brought back at the expiry of a year. The said horse, while roaming over the southern bank of the river Sindhu, was arrested by à cavalry of Yavanas. Then a big fight ensued between the two armies. (The queen exhibits grief) King. How did it happen thus ? (Reads the rest) Then Vasumitra with his bow vanquished his foes and led back my gem of a horse whom they thad sought to take away by force. (15) Queen. My heart is now consoled by this news. १. इमिणा दाणिं अस्ससइ मे हिअझं।

·166 MALAVIKĀGNIMITRA राजा-(लेखशेषं वाचयति।) सोऽहमिदानीमंशुमतेव सगरः पौत्रेण प्रत्याहृताश्वो यक्ष्ये । तदिदानीमकालहीनं विगतरोषचेतसा भवता वधूजनेन सह यज्ञसेवनायागन्तव्यमिति । राजा-अनुगृहीतोऽस्मि । परित्राजिका-दिष्टया पुत्रविजयेन दम्पती वर्धते । (देवीं विलोक्य) भासि वीरपत्नीनां श्लाघ्यायां स्थापिता धुरि । वीरमूरिति शब्दोऽयं तनयात्त्वामुपस्थितः ॥ १६ ॥ विदूषकः-- भवति, परितुष्टोऽस्मि पितरमनुजातो वत्स इति । King. (Reads the rest of the letter) Now that my horse has been recovered by my grandson as Sagara's by his grandson Amsuman, I, like Sagara, propose to perform the sacrifice. Now therefore, with your mind relieved of anger, you must come in time to attend the sacrifice along with your family. King. I am blessed. Female ascetic. Happily, you, the parents, rise in glory by the victory of your son. (Looking at the queen) On account of your husband you were placed in the commendable foremost rank among the wives of heroes. Now by reason of your son this designation of a hero's mother has come forth to you. (16) १. होदि परितुट्टोमि पिदरं अणुजादो क्च्छोत्ति ।

·ACT THE FIFTH 167 परिव्राजिका-ननु कलभेन यूथपतिरनुकृतः । कञ्चुकी-नैतावता वीरविजृम्भितेन चित्तस्य नो विस्मयमादधाति । यस्थाप्रधृष्यः प्रभवस्त्वमुच्चै- रग्नेरपां दग्धुरिवोरुजन्मा ॥ १७॥ राजा-मौद्गल्य, यज्ञसेनस्यालमुररीकृत्य मुच्यन्तां सर्वे बन्ध- नस्थाः । कञ्चुकी न्यदाज्ञापयति देवः। (इति निष्कान्तः।) देवी-१जयसेने, गच्छ । इरावतीप्रमुखाणामन्तःपुराणां पुत्रस्य विजयवृत्तान्तं निवेदय । Vidūshaka. Madam, I am rejoiced that the boy has taken after his father. Female ascetic. Of course the babe-elephant has followed in the footsteps of the giant-elephant. Chamberlain. The prince does not strike our hearts with wonder by this heroic achievement; for, he is born of you, the formidable and the eminent, just as the fire that consumes the waters of the Ocean is born of the sage Urujanman. (17) King. Māudgalya, let all prisoners be released including Yajñasena's wife's brother. Chamberlain. As Your Highness commands. [Exit १. जअसेणे, गच्छ । इरावदिप्पमुहाणं अन्देउराणं पुतस्स विअअ- उत्तन्दं णिवेदेहि ।

·168 MÁLA VIKĀGNIMITRA प्रतीहारी-१तथा । (इति प्रस्थिता।) देवी-२एहि तावत् । प्रतीहारी-(प्रतिनिवृत्य) ३इयमस्मि । देवी-(जनान्तिक) ४यन्मयाशोकदोहदनियोगे मालविकायै प्रति. ज्ञातम् , तदस्या अभिजनं च निवेद्य मम वचनेनेरावतीमनु- नय । त्वयाहं सत्यान्न विभ्रंशयितव्येति । प्रतीहारी-५यद्भट्टिन्याज्ञापयति । (इति निष्क्रम्य पुनः प्रविश्य) Queen. Jayasena, go and inform Iravati and the other inmates of the harem of the news of their son's victory. Female Doorkeeper. Yes. (Starts) Queen. Come here. Female Doorkeeper. (Turning back) Here I am. Queen. (Aside) In respect of my promise to Malavika when I directed her to do the Dohada of the Asoka, reconcile Irāvati by informing her of Malavikā's high birth also and communicating this request of mine-'I should not be let down from the truth by you.' Female Doorkeeper. As Your Highness commands. (Exit and Re-enter) Your Highness, on १. तह। २. एहि दाव । ३. इअलि। ४. जंमए असोअदो- हलणिओए मालविआए पडिण्णादं, तं से अहिजणं अणिवेदिअ मह वअणेण इरावदि अणुणेहि । तुए अहं सच्चादो ण विभंसिदव्वेत्ति । ५. जं भट्टिणी आणवेदि । भट्टिणि, पुत्तविजअणिमित्तेण परितोसेण, अन्देउराणं आहरणाणं मञ्जूसझि संवुत्ता।

·ACT THB FIFTH
169
भट्टिनि, पुत्रविजयनिमित्तेन परितोषेणान्तःपुराणामामरणानां
मजूषास्मि संवृत्ता।
देवी-किमत्राश्चर्यम् । साधारणः खलु तासां मम चायमभ्यु-
दयः।
प्रतीहारी--(जनान्तिकं) २भट्टिनि, इरावती विज्ञापयति । सदृशं
खलु देव्याः प्रभवन्यास्तव वचनं प्रथमसंकल्पितं न युज्यते-
ऽन्यथाकर्तुमिति ।
देवी-
-३भगवति,
त्वयानुमतेच्छाम्यायसुमतिना प्रथमसंकल्पिता
मालविकामार्यपुत्रस्य प्रतिपादयितुम् ।
account of the exhilaration due to the prince's
victory, I have become the repository of jewels for
the ladies in the harem.
Queen. No wonder. Common is this happiness
to them and to me.
Female Doorkeeper. (Aside) Your Highness,
Irāvati informs, 'It is only just that the word first
given by Your Highness in the exercise of your
unfettered discretion should not be falsified.'
Queen. Your Holiness, with your permission
I propose to give the hand of Mālavikā to my lord
as originally intended by the revered Sumati.
१. किं एत्थ अच्चरिअं। साहारणो खु ताणं मह अ अ अब्भुदओ।
२. भट्टिणि, इरावदी विष्णवेदि । सरिसं खु देवीए पहवन्दीए तुह
वअणं पुढंमसंकप्पिदं ण जुजदि अण्णहा कार्बु ति ।
३. भअवदि, तुए अणुमदा इच्छामि अजसुमदिणा पुढमसंकप्पिदं
मालविअं अजउत्तस्स पडिवादेहूँ ।

·170
MALAVIKAGNIMITRA
परिव्राजिका-इदानीमपि त्वमेवास्याः प्रभवसि ।
देवी-(मालविका हस्ते गृहीत्वा) १इदमार्यपुत्रः प्रियनिवेदनानुरूपं
पारितोषिकं प्रतीच्छतु ।
(राजा सव्रीडं जोषमास्ते ।)
देवी-(सस्मितं) २किमवधीरयति मामार्यपुत्रः ।
विदूषकः-३भवति, एष लोकव्यवहारः सर्वोऽपि नववरो लज्जा-
तुरो भवतीति ।
(राजा विदूषकमवेक्षते ।)
विदूषकः-४अथ . वा देव्यैव कृतप्रणयविशेषां
कृतप्रणयविशेषां दत्तदेवीशब्दां
मालविकामत्रभवान्प्रतिग्रहीतुमिच्छति ।
Female ascetic. Even now you are her master.
Queen. (Taking Mālavikā by the hand) My lord,
please accept this, a fitting reward for giving good
news. (The king bashfully remains silent)
Queen. (With a smile) My lord, why do you
turn a deaf ear to my request ?
Vidashaka. Madam, it is our general experience
that all fresh bridegrooms feel shy.
(The king looks at Vidūshaka)
Vidushaka. Perhaps my worthy friend desires
to accept Malavika's hand with the title Queen'
kindly conferred on her by the queen herself.
१. इदं अज्ज उत्तो पिअणिवेदणाणुरूवं पारितोसिअं पडिच्छदु ।
२. किं अवधीरेदि मं अज्जउत्तो।
३. भोदि, एसो लोअव्ववहारो। सव्वो वि णववरो लज्जादुरो होदित्ति ।
अह वा देवीए एव किदप्पणअविसेसं दिण्णदेवीसई मालविरं
अत्तभवं पडिग्गहीदं इच्छदि।

·ACT THE FIFTH 171 देवी-१एतस्या राजदारिकाया अभिजनेनैव दत्तो देवीशब्दः । किं पुनरुक्तेन । परित्राजिका-मा मैवम् । अप्याकरसमुत्पन्ना मणिजातिरसंस्कृता । जातरूपेण कल्याणि न हि संयोगमर्हति ॥ १८ ॥ देवी-(स्मृत्वा) २मर्षयतु भगवती। अभ्युदयकथयोचितं न लक्षि- तम् । जयसेने, गच्छ तावत् । कौशेयपत्रोर्णयुगलमुपनय । प्रतीहारी-३यदेव्याज्ञापयति । (इति निष्कम्य पत्रोणे गृहीत्वा पुनः प्रविश्य) देवि, एतत् । Queen. By birth itself the title 'queen' is conferred on this princess. Why need repetition ? Female ascetic. No, not so. Good lady, though drawn out of a mine and belonging to the species of gems, a precious stone, if not polished, does not deserve to come into contact with gold. (18) Queen. (With a flash of memory) Your Holiness will pardon me. In this happy tale, I failed to notice the proper thing to do. Jayasena, go and bring a pair of white silken cloths. Female Doorkeeper. As Your Highness com - mands. (Exit and Re-enter with a pair of white: silk cloths) Your Highness, here it is. एदाए राअदारिआए अहिजणेण एव्व दिण्णो देवीसहो । किं पुणरुत्तेण । २. मरिसेदु भअवदी । अब्भुदअकहाए उइदं ण लक्खिदं । जअसेणे, गच्छ दाव । कोसेअपत्तोष्णजुअलं उवणेहि । ३. जं देवी आणवेदि । देवि, एदम् । १.

·172 MĀLA VIKĀGNIMITRA देवी-(मालविकामवकुण्ठ्य) ३ इदानीमार्यपुत्रः प्रतीच्छतु । राजा-देवि, त्वच्छासनादप्रत्युत्तरा वयम् । परिव्राजिका हन्त, प्रतिगृहीता। विदूषका–२अहो देव्या अनुकूलता । (देवी परिजनमवलोकयति ।) "परिजन:-(मालविकामुपेत्य) ३जयतु भट्टिनी । (देवी परिब्राजिकां निवर्णयति।) परिव्रांजिका-नैतच्चित्रं त्वयि । कुतः । प्रतिपक्षणापि पति सेवन्ते भर्तृवत्सलाः साध्व्यः । अन्यसरितां शतानि हि समुद्रगाः प्रापयन्त्यग्धिम् ॥ १९॥ Queen. (Covering Mālavikā's head by cloth) Now my lord, take her hand. King. Queen, we cannot resist your command. Female ascetic. Hurrah ! Her hand has been -taken. Vidushaka. Oh! How magnanimous is the queen! (The queen looks at her servants) Servants. (Approaching Malavikā) Glory to Your Highness. (The queen looks at the Female ascetic) Female ascetic. It is no wonder with you. For- Chaste wives to whom husbands are dear serve their lords even by consenting to the admission of .a rival wife. The rivers that flow into the sea take hundreds of other rivers to the Ocean, (19) १. दाणिं अजउत्तो पडिच्छदु। २. अह्मो देवीए अणुऊलदा। ३. जेदु भट्टिणी ।

·AOT THE FIFTH
173.
.
(प्रविश्य)
निपुणिका-'जयतु भर्ता । इरावती विज्ञापयति-यदुपचारा-
तिक्रमेण तदा भर्ने अपराद्धं, तत्स्वयमेव भर्तुरनुकूलं नाम
मयाचरितम् । सांप्रतं पूर्णमनोरथेन भर्ना प्रसादमात्रेण
संभावयितव्येति ।
देवी -रनिपुणिके, अवश्यं तस्याः संदेशं सेवितुमार्यपुत्रो.
ज्ञास्यति ।
निपुणिका–३यदेव्याज्ञापयति ।
(इति निष्क्रान्ता।
परिव्राजिका-देव, अहममुना युक्तसंबन्धेन चरितार्थ माधवसेनं
सभाजयितुमिच्छामि यदि मे तव प्रसादः ।
(Enter)
Nipunika. Glory to the king. Iravati informs
you-My lord, as regards the unfairness with
which I rejected your addresses, I have in fact
acted in your favour of my own accord. Now that
your desire has been realised, I should only like to
be favoured with your grace.'
Queen. Nipunika, my lord will certainly seer
his way to comply with her request.
Nipunikā. As Your Highness commands. [Exit:
१. जेदु भट्टा । इरावदी विण्णवेदि-जं उवआरादिक्रमेण तदा
भट्टिणो अवरद्धं, तं स एव्व भहिणो अणुऊलं णाम मए आभरिदं। संपदं
पुण्णमणोरहेण भत्तुणा पसादमेत्तेण संभावइदन्वत्ति । २. णिउणिए, अवस्सं.
ताए संदेसं सेविदुं अजउत्तो जाणिस्सदि । ३. जं देवी आणवेदि।

·174 MĀLAVIKĀGNIMITRA देवी-भगवति, न युक्तमस्मान्परित्यक्तम् । राजा--भगवति, मदीयेषु लेखेषु तत्रभवतस्त्वामुद्दिश्य सभाज- नाक्षराणि पातयिष्यामि । परिव्राजिका–युवयोः स्नेहन परवानयं जनः ! देवी--२आज्ञापयत्वार्यपुत्रः, किं भूयोऽपि प्रियमनुतिष्ठामि । राजा-किमतः परमपि प्रियमस्ति । तथापीदमस्तु । त्वं मे प्रसादसुमुखी भव चण्डि नित्य- मेतावदेव वरये प्रतिपक्षहेतोः। । Female ascetic. If Your Highness is so pleased with me, I should like to congratulate Madhavasena who has been fortunate enough to meet with this proper alliance. Queen. Your Holiness, it is not proper for you to leave us. King. Your Holiness, I shall, in my own letters to my worthy friend, put in words of congratulation on your behalf. Female ascetic. Owing to the attachment of you both, I am at your absolute disposal. Queen. My lord, command me, in what further way should I meet your wishes ? King. Is there anything dearer than this? Still let me say this १. भअवदि ण जुत्तं अह्मे परिच्चत्तुं । २. आणवेदु अजउत्तो, किं भूओ वि पिकं अणुचिठ्ठामि ।

·ACT THE FIFTH 175 (भरतवाक्यम् ।) आशास्थमीतिविगमप्रभृति प्रजानां संपत्स्यते न खलु गोसरि नाग्निमित्रे ॥२०॥ (इति निष्क्रान्ताः सर्वे ।) ॥ इति श्रीकालिदासस्य कृतौ मालविकाग्निमित्रे पञ्चमोऽङ्कः ॥ ॥ नाटकमिदं संपूर्णम् ॥ + O quick-tempered lady, favour me for ever with your cheerful countenance beaming with grace. This alone do I seek of you by reason of the advent of your rival. (Benediction) No other desideratum just as the removal of pests and the like disturbances ever remains to be desired for the subjects so long as the ruler is Agnimitra. (20) (Exeunt Omnes) THE End OF THE FIFTH ACT OF MA LA V I K AG NI M I TRA, THE WORK OF KĀLIDĀSA. END OF THE PLAY

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·NOTES ON MĀLAVIKĀGNIMITRA ACT THE FIRST It is usual for Sanskrit poets to begin their works with a benedictory verse generally known as Mangala. The Mangala sloka at the beginning of a drama is called a Nāndi. The object of Mangala is the removal of impediments that may stand in the way of the completion of the work begun. Mangala can be divided into three classes आशीस्, नमस्क्रिया and वस्तुनिर्देश. Asis is the invocation of a deity to confer blessings on the reader, poet or spectator, and this is ordinarily reported to at the beginning of Sanskrit dramas. The Nāndi śloka of Māla vikāgnimitra is an example of this kind of Mangala, for it invokes Lord Siva to dispel the darkness of spectators. The second kind of Mangala, Namaskriyā, lies in paying homage to the Deity nearest at heart to the poet. A typical example of Namaskāra-mangala is the opening verse of Kālidāsa's Raghuvamsa :amefaa ya arigated i Fa: fuait ara qatarhatt II. Vastu-nirdeśa, the third kind of Mangala, consists in a mere reference to some sublime object or a mention of some auspicious word or words. A typical example of this kind of Mangala 12 ·178 MĀLAVIKAGNIMITRA is found in the opening stanza of Kälidāsa's Kumārasambhava :-अस्त्युत्तरस्यां दिशि देवतात्मा हिमालयो नाम नगाधिराजः। पूर्वापरौ बारिनिधी वगाह्य स्थितः पृथिव्या इव मानदण्डः ॥. Here the sublime Himavān who is almost on a par with the gods is referred to. The above three kinds of Mangala are mentioned by Dandin in his oft-quoted saying: आचीनमस्क्रिया वस्तुनिर्देशो वापि तन्मुखम्. Page 1. gear. Hitt: II. The substantive portion in this verse is the fourth foot whose prose order is सः ईशः वः तामसीं वृत्तिं सन्मार्गालोकनाय व्यपनयतु May that Śiva dispel your state of darkness for your perceiving the righteous path. The preceding three feet are adjectival clauses correlative to #: adjecti. val to set: in the fourth foot. The first of these clauses arranged in prose order would be यः प्रणतबहुफले एकैश्वर्ये fiyatsia Eazi anaihi: (Harà understood) meaning-Who, though situate in unique supremacy capable of bestowing multifarious blessings on his worshippers, is himself the wearer of a skin. It is traditionally believed that Siva wears a tiger's skin for his lower cloth and an elephant's skin for his upper cloth, the latter being the skin of Gajamukhāsura slain by him in battle and worn as a trophy. Hence Siva is called शार्दूलचर्माम्बर and गजचर्मोत्तरीय. एकैश्वर्य means unrivalled Aiśvarya or supremacy. Aiśvarya consists of eight powers. अणिमा महिमा चैव गरिमा लविमा तथा । प्राप्तिः प्राका- म्यमीशत्वं वशित्वं चाष्टभूतयः ॥. The word प्रणतबहुफले is an adjective to एकैश्वर्ये. बहूनि फलानि यस्य ततु बहुफलं, प्रणतेभ्य: बहुफलं प्रणतबहुफलं ·ACT I-NOTES 179 तस्मिन्. yra means a devout worshipper, fin: is the Active participle of the root 79 (fax) to stand, meaning stationed. 379 is an Indeclinable meaning though, thereby implying a contradiction between the prior and the later passages. The contradiction is that Śiva is described to enjoy a matchless position by which he profusely showers blessings upon his devotees whereas he himself wears a mere skin for a cloth like a penniless man, Ei is an Indeclinable meaning himself. कृत्तिवासाः is an epithet of Siva. कृत्तिः qi: Tel : Whose garment is a skin. There is also another apparent contradiction in this Pada. apparently will be taken to mean the ownership of a single thing. The inconsistency lies in that the owner of a single thing, practically a pauper, should be in a position to confer multifarious benefits on his devotees. The contradiction is to be explained away by properly construing the word to mean matchless suzerainty. This is an instance of Virodhābhāsa in which Sanskrit poets frequently revel. The idea conveyed by the phrase porni fera: with reference to Lord Siva is repeated by this poet in the Nāndīśloka of Vikramorvašīya in this passage-यस्मिन्नीश्वर इत्यनन्यविषयः शब्दो यथार्थाक्षरः The prose order of the second foot which is the second adjectival clause qualifying ईशः is यः कान्तासंमिश्र- देहोऽपि अविषयमनसां यतीनां परस्तात् (भवति understood). कान्तया ·180 MĀLAVIKĀGNIMITRA संमिश्रः देहः यस्य सः कान्तासंमिश्रदेहः Whose body is united with his sweetheart. The reference here is to the traditional Ardhanārīśvara form of Siva. This idea is deftly brought out in his characteristic humorous strain by Nīlakanthadikshita in the Margala sloka of his नीलकण्ठविजयचम्पूः-वन्दे वाञ्छितलाभाय कर्म किं तन्न कथ्यते । किं दम्पतिमिति ब्रूयामुताहो दम्पती इति ॥ In this foot also there is . an antithesis. The two contradictory ideas are that Siva is perpetually in the company of his beloved, but that he is the greatest of ascetics leading a life of strict celibacy. This brings out Dhairya or courage as the outstanding virtue of Śiva. With regard to the question 'Who is a Dhira,' the following hemistich from Kumārasambhava may be referred to with advantage-विकारहेतौ सति विक्रियन्ते येषां न चेतांसि त एव धीराः. 4: gatai TEC Hafa Who is above asceties. Jataí is qualified by the adjective अविषयमनसां. विषयेषु मनः येषां ते विषयमनसः, ते न भवन्तीति अविषयमनसः Persons other than those whose minds are addicted to sensual pleasures. The idea conveyed by this Pāda is elaborately brought out by the following verse of Bhartrhari in his Vairagya Sataka:-एको रागिषु राजते प्रियतमादेहाहारी हरो नीरागेषु जनेषु मुक्तललनासङ्गो यस्मा- त्परः । दुर्वारस्मरबाणपन्नगविषव्याविद्धमुग्धो जनः शेषः कामविडम्बितान विषयान् भोक्तुं न मोक्तुं क्षमः ॥ The third foot gives the third adjectival clause governing ईशः. Its prose order is-अष्टाभिः तनुभिः कृत्स्नं जगदपि बिभ्रतो यस्य अभिमानः न (भवति understood) meaning न

·ACT I-NOTES
181
*who has no abhimāna or self-conceit, though holding
the entire universe by means of his eight limbs.'
The eight limbs of Siva by which He holds the
universe are referred to in the opening stanza of
Abhijnana Sakuntala by Kalidasa :-या सृष्टिः स्रष्टुराद्या
वहति विधिहुतं या हवियां च होत्री ये द्वे कालं विधत्तः श्रुतिविषयगुणा या
स्थिता व्याप्य विश्वम् । यामाहुः सर्वभूतप्रकृतिरिति यया प्राणिनः प्राणवन्तः
प्रत्यक्षाभिः प्रपन्नस्तनुभिरवतु वस्ताभिरष्टाभिरीशः ॥.
या स्रष्टुः आया सृष्टिः
refers to water. या विधिहुतं हविर्वहति refers to Fire. या
च होत्री refers to the Sacrificer, ये द्वे कालं विधत्तः to the
Sun and the Moon, श्रुतिविषयगुणा या स्थिता व्याप्य विश्वम् to
Akasa. or Ether, यामाहुः सर्वभूतप्रकृतिरिति to Prthivi or
Earth, TT SIFOA: 911777: to Vāyu or Air. In short
the eight limbs are the five bbūtas viz., Prthivī,
Ap, Tejas, Vāyu and Akāśa respectively meaning
earth, water, fire air and ether together with the
Sun and the Moon both of which stand for time,
and the sacrificer typifying the soul or Ātman,
अष्टाभिः तनुभिः. Note तनु meaning a body is feminine
in gender. In Sanskrit the gender of words is
not always determined by the gender of the objects
denoted by them. It is entirely regulated by the
rules of the Lingānušāsana and to be learnt by
practice. The word 3797 is always plural. Its
declension in all the three genders is as follows:-
अष्टौ-अष्ट, अष्टौ-अष्ट, अष्टाभिः अष्टभिः, अष्टाभ्यः-अष्टभ्यः, अष्टाभ्य:-
अष्टभ्यः, अष्टानां, अष्टासु-अष्टसु. बिभ्रतः is Genitive singular

·182 MALAVIKĀGNIMITRA of faut which is the Present active participle of to bear, 3rd conjugation, in the Parasmaipada. सन्मार्गालोकनाय is to be dissolved thus :-संश्चासौ मार्गश्च सन्मार्गः, तस्य आलोकनं तस्मै. सन्मार्ग means the virtuous path. It may also be interpreted thus. Márga means dance as may be seen from this Lakshana śloka-FTTT caftra तवेधा कथितं नाट्यवेदिभिः । तत्र मार्गो भवेन्नाटचं नाट्यवेदोक्तलक्षणम् ॥. In this view सन्मार्गा- 1979 will mean ‘for witnessing an excellent dance.' The reason why the removal of Tamovrtti is sought is that the enjoyment of the aesthetic pleasure in following a drama is believed to be impeded by an adverse state of the mind and that when the mind is relieved of that undesirable attitude, a real aesthetic delight comes into being in the mind of the spectator. This is similar to the Vedāntic idea that as soon as Avidyā which envelops the Atman is expelled, the soul derives the immeasurable delight of Brahmananda. Hat Har तामसी Born of lethargy; or तमस इयं तामसी Pertaining to Tamoguņa. 4g is the Imperative 3rd person singular of नी with वि and अप. by itself means to lead or carry, but tacked on with the prepositions fu and 379, means to remove or dispel. It is to be noted that in Sanskrit the sense of a root is very often changed by its preposition as may be seen from this Karika-उपसर्गेण धात्वर्थों बलादन्यत्र नीयते । प्रहारा- हारसंहारविहारपरिहारवत् ॥

·ACT I-NOTES 183 The commentator* suggests that the four Pādas of this ſloka refer to four purusbārthas, the first Pada to Artha or wealth, the second to Kāma or pleasure, the third to Dharma or virtue and the fourth to Moksha or salvation. It is usual for Sanskrit dramas to contain a brief indication of the plot in their opening benedictory verses, and this drama is no exception to that rule. See Introduction. Page 2. preta. Here begins the Prelude to this Act. The preceding sloka is what is called a Nāndī. For an explanation of the terms Nāndi and Sūtradhāra, see Introduction. नेपथ्याभिमुखमवलोक्य Looking towards the dressing room, a stage-direction. A9 is defined thus:- कुशीलवकुटुम्बस्य स्थानं यदतिशोभनम् । वर्णिकाग्रहणस्थानं नैपथ्यमिति तद्विदुः॥ नेपथ्य means also a dress. मारिष. The Prastavana or the Prelude in this drama consists of a dialogue between the Sūtradhāra and a Pāripārsvika i.e., an assitant actor. Sūtradhāra is a superior, and a Pāripārsvika is bis inferior. The Sütradhāra should address the Pāripārsvika as Mārisha, and the Pāripārsvika should address the Sūtradbāra as Bhava. भावोऽनुगेन सूत्री च मारिषस्तेन सोऽपि च. इतस्तावत् 3711798 is understood. *This term in our Notes refers to Sahçdayatilaka Rama Pisharodi, author of Sārārthadīpikā.

·184 MĀLAVIKĀGNIMITRA प्रविश्य. The assistant enters upon the stage in obedience to his master's command. पारिपाश्चिकः, परिपार्श्व यथा तथा वर्तत इति lit., One who stands by tbe side of the Sūtradhāra. अभिहितोऽस्मि etc. This is the statement of the Sutradhāra. अभिहितः Past Passive participle of धा with अमि. Vide Panini's sutra-दधातर्हिः. a विद्वत्परिषदा. This may be construed as षष्ठीतत्पुरुष or as a कर्मधारय. The derivations respectively are विदुषां परिषत् तया and विदुषी च सा परिषच्च तया. The message of the assembly of the learned delivered to the Sutradhāra is कालिदासग्रथितवस्तु मालविकाग्निमित्रं नाम नाटकं अस्मिन्वसन्तोत्सवे प्रयोक्तव्यम्. कालिदासेन प्रथितं वस्तु यस्य तत् Whose plot has been woven by Kālidāsa. Kālidāsa is so called, because he was a devotee of Kali. माल- विकाग्निमित्रं. This is the name of the drama, मालविका च अग्निमित्रश्च मालविकाग्निमित्रो तयोरिदं or मालविकाग्निमित्रौ अधिकृत्य कृतो ग्रन्थः मालकविाग्निमित्रं. Strictly speaking, according to the latter derivation, छप्रत्यय must be tacked on to the base. The result will be g at the end of the word. But this 3 or $drops optionally at the end of proper nouns by loosely applying the Vartika-लुबाख्यायिकाभ्यः प्रत्ययस्य बहुलम्. In some books the name is given as Halafati instead of Alfalfatus. Of course it can be called by both names. नाम is an Indeclinable connecting the two words मालविकाग्निमित्रं and नाटकम्.

·ACT I-NOTES 185 नाटकं A drama. For further particulars see Introduction, वसन्तोत्सवे. वसन्ते क्रियमाणः उत्सवः तस्मिन्. This is an example of मध्यमपदलोपिसमास i. e., a compound where the intermediate word disappears. Vasantotsava is known as Kāman paņdigai in Tamil. The choice of the Spring season is quite in keeping with the sentiment of the play which is Śrăgăra or love. To this effect there is also a maxim-विवाहे ग्रीष्ममाधवौ. तदारभ्यतां सङ्गीतम्. तत् is an अव्यय having the significance of तस्मात्. आरभ्यतां is the Imperative 3rd person singular of 7 with 371 in the Passive voice. सङ्गीतम् consists of three things-नृत्त or dance, गीत or vocal music and are or music by means of instruments. नृत्तं गीतं च वायं च त्रयं सङ्गीतमुच्यते. Then the Pāripārsvika says #1 atac meaning *Don't begin it at once.' The reason for the prohibition is furnished by the later sentence प्रथितयशसां etc. प्रथितं यशः येषां तेषां. Of the poets anterior to Kālidāsa, three are mentioned by name, and the rest are included by the word suf The three names specially mentioned are Bbāsa, Sāumillaka and Kaviputra. With regard to Bhāsa, the late Mahā mahopadhyāya Ganapati Sastri attributes to him the authorship of the following thirteen plays published in the Trivandrum Sanskrit Series :- स्वप्नवासवदत्त प्रतिज्ञायौगन्धरायण बालचरित अभिषेकनाटक पञ्चरात्र मध्य- मव्यायोग दूतवाक्य चारुदत्त प्रतिमानाटक अविमारक दूतघटोत्कच कर्णभार ·186 MALAVIKĀGNIMITRA and 5675. But it must be mentioned that there are no definite data to prove conclusively the authorship of these dramas. For further light on the subject see our Introduction to Svapnavāsavadatta. With regard to Sāumilla and Kaviputra, nothing definite is known. वर्तमानकवेः कालिदासस्य. The idea is that living poets are not generally honoured. Such being the case, how is it that the learned audience chose the work of Kālidāsa, a living poet, in disregard of renowned ancient poets. That a poet is honoured never during his life is clearly brought out by Nīlakantha Dikshita in his Sivalīlārnava by the following sloka :--19: affeafarera saia: प्राचामलङ्कारविदां प्रवादः । सर्वप्रबन्धानुगतस्तु मन्ये कर्तुः कवेर्जीवनमेव दोषः॥ क्रियायां means कृतो. विवेकश्रान्तं is an adverbial adjunct modifying safer and may be derived in two ways:-श्रान्तः (उत्सन्नः) विवेको यस्मिरस्तत् or विवेके (विवेक- दशायां) श्रान्तं (दुर्वलं). The reason why the Pāripārsvika's statement is described as foolish is furnished by the sloka that follows. Page 3. Verse 2. TUTTE etc. Retuge: 92- स्य प्रत्ययः परप्रत्यय:, तेन नेया बुद्धिः यस्य सः. The first hemistich of this verse indicates that this work might have been the earliest production of Kāļidāsa. आर्यमिश्राः प्रमाणम्. This implies that he will carry out the orders of the audience as they are the best judges in this matter.

·ACT I-NOTES -187 Verse 3. ETTET FTHTETTE etc. In the Uttarārdha of this verse, a reference is made to the character about to enter at the commencement of the play proper. The entry of Bakulāvalikā, the servant-maid of the queen Dhāriņī, is signified by the Sūtradhāra by this verse. The Sūtradhara says that he will briskly attend to the command of the audience in the same way as Bakulāvalikā about to enter the stage to the command of the queen. This mode of introducing the first character in a play is described by Sanskrit rhetoricians as प्रयोगातिशय. The same method is adopted in Sakuntala by the simile-एष राजेव दुष्यन्तः, a Thilag Here ends the Prelude.' For details about Prastāvanā, see Introduction, Page 4. ततः प्रविशति चेटी. Here begins the Vishkambha before the actual Anka begins. अचिरप्रवृत्तोपदेशं Whose instruction began recently. अचिरात् प्रवृत्तः उपदेश: यस्य तत्. छलितं is a particular kind of dance abounding in four kinds of gestures in unison with the time of the music best suited to SIHTT whereby a person's feelings are exhibited under the pretext of echoing another's sentiment in an incident of by-gone days. Vide the following two definitions of the same :- agfafayah- स्वरसमन्वितम् । शृङ्गाररसभूयिष्ठं सलयं छलितं विदुः ॥ तदेतच्छलितं नाम साक्षाद्यदमिनीयते । व्यपदिश्य पुरावृत्तं खाभिप्रायप्रकाशकम् ॥. छलितं and ·188 MĀLA VIKAGNIMITRA छलिक are indifferently used in the same sense. नाव्यमन्तरेण. Here अन्तरेण means अधिकृत्य in regard to. The Indeclinable 37-citut governg a noun in the Accusative case. Vide Pāṇini's sūtra:--3-807a tu yah. ari means the personation of a character by simulating the identity by means of gestures. अवस्थानुकृति- ट्विं. नाट्याचार्य नाटये आचार्यः तम्. आभरणं हस्ते यस्याः सा आभरणहस्ता. कुतस्ते इयं धीरता. इयं in this context means either peculiar or novel. Page 5. El is an interjection denoting either excessive wonder or joy. Claf97a]. It is usual to name servant-maids after creepers and the like. Bakulāvalikā literally means a row of Bakula flowers. aggre12TECT A ring bearing the mark of a serpent. The commentator however interprets it as a ring set with a gem having the effect of removing the venom of serpents. स्थाने खलु सज्जति दृष्टि:. This can be interpreted in two ways. (a) efe: (31f447 understood) सजति इति यत् तत् स्थाने. That your sight is concentrated on this ring is proper, Or, स्थाने दृष्टिः Hafa Your sight concentrates on a worthy object. Si Winculpatut is an adjective to rata. zísali: frunt "एव केसरा: यस्य तेन Wherein rays spring forth like flowerpetals. कुसुमितः कुसुमं अस्य संजातम् कुसुमितः, अग्रं चासौ हस्तश्च Hae: formed by treating the component and the composite as identical. If no such identity is intended the dissolution TR 318 will result in the ·ACT I-NOTES 189 Bompound हस्ताग्रं. Vide Vāmana: :-हस्ताग्राग्रहस्तादयो गुणगु- नोर्मेदाभेदात्. Page 6. चित्रे दृष्टः. भ; is understood. चित्ररेखा Drawing. प्रत्यप्रवर्णरागाम् प्रत्ययः वर्णानां रागः यस्यां सा ताम् In which the painting of colours is fresh. Page 7. एकासनोपविष्टेन Seated on the same seat with the queen. Sige means a sister's husband. Page 8. सदृशं खलु बालभावस्य. The word सदृशं governs a noun in the Genitive or the Instrumental case, Vide Pāņini's sūtra:rgielas9727 तृतीयान्यतरस्याम्. दर्शनपथात्. पथिन् at the end of a compound is changed to पथ. Vide Pānini's sūtra : #7438:49TATE. START TIL I shall show myself to him. Page 9.' Gañadāsa says that the dramatic art is a thing which he is legitimately proud of. Verse 4. arah etc. The reason for the excellence of the art of the theatre is explained in this verse. Its excellence consists in satisfying different tastes. This is set forth in the fourth Pada. The other three pādas go to show how it satisfies different tastes. In the first pāda the Nātya Vidyā is described to be a delightful and spectacular sacrifice to the gods. The words 534 and 377afia suggest thạt Nātya is enjoined by the Vedas. The word yayi suggests that it is laid down by Snörtis as ·190 MALAVIKĀGNIMITRA well. Whereas the ordinary sacrifice is onerous and its result unseen, this peculiar kind of sacrifice is delightful and its results are visible. The second pāda . proceeds on the footing that Nātyavidyā has been respected by very great persons. No less a person than Rudra has taken to it, and his taking the Ardhanārīśvara form is intended to exhibit the two different types of Nātya Vidyā viz., ताण्डव and लास्य, Tandava is a manly feat whereas Lāsya is a feminine grace. In this connection the following sloka from Daśarūpaka may be cited as a parallel. उद्धृत्योद्धृत्य सारं यमखिलनिगमान्नाट्यवेदं विरिञ्चिः चक्रे यस्य प्रयोगं मुनिरपि भरतस्ताण्डवं नीलकण्ठः । शर्वाणी लास्यमस्य प्रतिपदमपरं लक्ष्म कः कर्तुमीष्टे नाट्यानां किंतु किंचित्प्रगुणरचनया लक्षणं संक्षिपामि ॥ . Lāsya is described to be fyt-sweet or tender, and Tāņdava to be gem. Śiva is associated with Tandava, and Uma with Lasya. त्रैगुण्योद्भवं त्रयो गुणाः त्रैगुण्यं, तस्मादुद्भवम्. The three gunas referred to are either सत्त्व, रजस् and तसम् or सुख, दुःख and मोह. Everything of the world, whether misery or happiness, yields pure delight when represented on the stage. A parallel of this idea may be seen in the followång verse of Nilakantha Dikshita in Sivalilārņava. तन्त्रान्तरेषु प्रतिपाद्यमानास्ते ते पदार्था ननु ते त एव । निर्वेदमीशोकजुगुप्सितान्यप्यायान्ति साहित्यपथे रसत्वम् ॥

·ACT I-NOTES 191 लोकानां चरितं लोकचरितं The story of heroes in the world. नाना रसा: यस्मिन् कर्मणि तद्यथा भवति तथा नानारसं So as to yield a variety of happy emotions. Har रुचिः : यस्य सः भिन्नरूचिः. बहुधा In many ways. In the place of 1-ci in the first pāda, some books read शान्तं, and in the place of समाराधनम् in the fourth pada there is also a reading समाराधकम्. Then Bakulāvalikā approaches Ganadāsa and salutes him. Page 10. Gañadāsa blesses her and is informed by her of the enquiry of the queen about the progress of Mālavikā in the instruction imparted to her by him. In reply to this enquiry, Gañadāsa speaks of Mālavikā in very laudable terms. Verse 5. यद्यत्प्रयोगविषये etc. भावेन निवृत्तं भाविकं. भाव means the representation of emotions, and a means the dance known as alia wherein the hero's emotions of pain and pleasure are clearly represented. fag is used here also to connote all other kinds of dance. That means 'in the matter of practice.' ATEITETUT may be taken as one word or two words. In the former case it is to be split up as te gen fazla oita 'by a peculiar performance of it.' In the latter case the word 7710 is an object of signfera, and fahrerna is a separate word. "The word ga denotes the Utprekshāla kāra contained in the verse. The idea in the verse is that Malavikā is very clever in receiving and improving ·192 MĀLAVIKĀGNIMITRA upon the insrtuction imparted to her in the art of dance so much so that she seems in her turn to teach her teacher. On hearing the appreciative terms in which Gañadāsa spoke of Mālavikā, Bakulāvalikā says to herself that Mālavika seems to have surpassed Irāvati. Irāvati is one of the consorts of the king, proficient in dance and the allied arts. Bakulāvalikā then says to Ganadāsa that his pupil Mālavikā deserves to be congratulated on the happy impressions of her teacher about her. Page 11. Nextly, Gañadāsa puts a question which has long been obsessing his mind. By reason of the superior intelligence of his pupil he had been suspecting that she must have come of a noble family and therefore asks Bakulāvalikā how and from what source Malavikā happened to come there. Bakulávalikā replies fer etc. Vīrasena was the brother of the queen Dhāriņi. quae means lower in caste. Since the queen belonged to the Kshattriya caste, Vīrasena must be the son of Dbāriņi's father by a Vāiśya or Śūdra wife. This Virasena was one of the governunder the suzerainty of Agnimitra in a frontier province on the banks of the Narmadā, and he it was that sent Mālavikā as a present to the queen, stating that she was fit to be initiated in the fine arts. On hearing this Ganadāsa says to ors ·ACT I-NOTES 193 himself that Mālavikā must have come of noble heredity by reason of her personality and grace, and then says to Bakulāvalikā that he is destined to become famous by his pupil, and substantiates the same by a general statement in the verse that follows. Verse 6. पात्रविशेषे etc. पानविशेष in the context means a bright pupil, and arę a teacher. An art communicated to a bright student enhances the merit of the master. This is illustrated by the second hemistich of the verse by a reference to the rain-water which becomes pearl by getting into a shell in the sea under certain circumstances. This idea may be clearly noticed in the following passage of Bhartrhari also :-- FCI FireTyfaa सन्मौक्तिकं जायते. Page 12. Then Bakulāvalikā desires to meet Mālavikā and asks Ganadāsa where she is, and Ganadāsa replies gratia etc. पञ्चाङ्गाभिनय is the staging which is done by five limbs of the body viz., both hands, both feet and the head. Ganadāsa has only recently taught her Pañcbārgābhinaya and allowed her to take rest. दीपिकावलोकनगवाक्षगता Having resorted to the window which opens the view to a lake. दीर्घिका अवलोक्यतेऽनेनेति दीर्घिकावलोकनः, स चासौ गवाक्षश्च दीपिकावलोकनगवाक्षः, तं गता. प्रवातं प्रकृष्टः वातः प्रवातः a Good breeze. Then Bakulāvalikā takes leave of the master, stating that she will communicate to 13 ·194 MĀLAVIKĀGNIMITRA Mālavikā the good impressions of her master and thereby increase her enthusiasm. Then Gañadāsa permits her to do so and states that he is also going home. लब्धक्षणः लब्धः क्षण: येन सः Having obtained leisure. मिश्रविष्कम्भः. See Introduction. The chief points that have been brought out in this Vishkambha are that Mālavikā, the heroine, happened to come to Queen Dhārini as a maid-servant, that at her bidding she was undergoing training in the Nātya Vidyā, that she was possessed of extraordinary beauty and loveliness on account of which she was jealously guarded by the queen from the sight of the king, that nevertheless the king began to fall in love with her at the accidental sight of her picture and that she had been sent by Virasena. This Vishkambha also gives a hint that by reason of superior intelligence, deportment and personality, Mālavikā must have come of a noble family. Page 13. Now begins the Act proper with the entry of the king with his retinue standing at a distance and his minister with a letter in hand. 1a स्थिताः परिजनाः यस्य सः एकान्तस्थितपरिजनः Whose servants stand aloof. This suggests that the king is conferring with his minister in private.ee: EFTER Ex By one in whose hand there is a letter: अन्वास्यमानः is the Present passive participle of आस् ·+ ACT I-NOTES 195 with 3 to sit behind. Bir to sit, though intransitive, becomes transitive by the force of the preposition to meaning behind. TST refers to Agnimitra, the hero of the play. अनुवाचितः लेखः येन तम् galfandech By whom the letter was read out again. This shows that the king has not followed the letter at its first reading by the minister on account of abgent-mindedness, his mind being engrossed in love for Mālavikā. 3THT HE: STAICI:. 374 means 1 or near. 3 means a minister, lit., one who is near. Faster is the Indeclinable past participle of 717 with fo to see, meaning “having seen.' aega is the name of the minister. Fachfort ईश्वरः वैदर्भः The king of Vidarbha, प्रतिपद्यते. पद् with प्रति to think, also to agree. What does that king of Vidarbha propose? This suggests that the king is anxious to know only the purport of the letter. In short be desires to know whether the king of Vidarbha agrees or not to carry out the bidding of Agnimitra. The minister replies, 'My lord, his own ruin. This means that the king of Vidarbha is not prepared to accede to the request of Agnimitra and that therefore he will be crushed in battle by Agnimitra. agat in the context means an ultimátum. The king now desires to hear the language of the letter. The letter of Vāidarbha is then read out by the minister. It begins with पूज्यनाहमादिष्टः and ends with बन्धनात्सद्यः. पूज्य refers to ·7 196 MĀLAVIKĀGNIMITRA Agnimitra. The reply of Vāidarbha first recounts the message of Agnimitra which begins from faqazilgat: and ends with #1962:. The rest of the letter is his own reply. भवतः पितृव्यपुत्र: Your paternal uncle's son. प्रतिश्रुतः संबन्धः येन सः प्रतिश्रुतसंबन्ध: By whom an alliance had been promised. This suggests that Madhavasena was coming to give his sister Mālavikā in marriage to Agnimitra. On his way Madhavasena was attacked by a vassal of Väidarbha and captured by him. The message of Agnimitra is to the effect that Madhavasena, his wife and sister must at once be set free. तन्न वो न विदितम् It is not unknown to you. The double negative confirms the positive. rugag # Tiştira: is the general truth which is described as not unknown to Agnimitra. तुल्यः अभिजनः येषां तेषु Towards those whose family is the same. धरन्तीति धराः, भूमेः धराः तेषु भूमिधरेषु Towards kings, lit., those who bear the Earth. Page 14. era: Therefore i.e., as kings deal with kings of equal status. 377 In this matter. मध्यस्थः greit faghéfa. You ought to remain neutral. The idea is that Agnimitra should not insist on the release of Madhavasena, but of his sister, Vāidarbha therefore promises to search for her as she was missing. This is the first alternative with which Vaidarbha asks Agnimitra to be satisfied. The other alternative begins from y and states that if Agaimitra insists upon the release of Madhavasena, ·ACT I-NOTES 197 Vāidarbha in his turn insists as a condition precedent on the release of his brother-in-law-Minister Māurya from bondage by Agnimitra. Verse 7. i means a wife's brother. He is the Future participial form of a to release. The king becomes irritated by this reply and states कथं etc. कार्यविनिमय means an exchange of duties. आत्मानं जानातीति आत्मज्ञः, स न भवतीति अनात्मज्ञः One who does not know himself. प्रकृत्या अमित्रः प्रकृत्यमित्रः An enemy by nature: प्रतिकूलं कर्तुं शीलमस्य प्रतिकूलकारी One who is used to do mischief, ac is an Indeclinable in the sense of aw therefore. यातव्यपक्षे In the hostile camp. Vīrasena is the commander-in-chief of Agnimitra. QueTÅ FÅ TUTE An army for inflicting punishment, or usiai a3 An army of soldiers. The king gives orders to mobilise his army for attacking Vāidarbha. Page 15. Verse 8. अचिरं अधिष्ठितं राज्यं येन सः अचिराधि- fgart: By whom kingship has recently come to be occupied. sa means either subjects or ministers. रूढं न भवतीति अरूढं, अरूढं मूलं यस्य सः अरूढमूलः, तस्य भावः अरूढमूलत्वं तस्मात् अरूढमूलत्वात् By virtue of his being one whose footing is not firm. The simile for a king who has recently ascended the throne is described in the second half of the verse. STEGHS Cart applies both to the king and the tree. great and 174: 94c: Easy to do. समुद्धर्तुं Infinitive of purpose of हृ with सम् and उत् to uproot. This verse expresses a rule of Rājanīti.

·198 MĀLAVIKĀGNIMITRA उपस्थितः After taking the orders of the king, the minister goes out. Page 16. Then enters the Vidūshaka or the clown who, while coming, says that he was ordered by the king to find out a means for meeting Malavikā whose picture he had already chanced to see and that it has been done, and desires to inform the king of the same. The king looks at Vidūshaka and says अयमपरः etc. अन्यत् कार्य कार्यान्तरं, तस्मिन् सचिवः कार्यान्तरसचिव: A minister in a different work. अस्मान् Accusative plural of 37€ the royal we. Active participle of 2 with 34 to approach. On coming near, Vidushaka offers to the king the usual greeting of ašai 1917, and is asked by the king with a nod of his head to take his seat. On his doing so, the king asks him whether he had thought out a plan for seeing Mālavikā. Page 17. In reply Vidūshaka says, 'Enquire about the fruition of the plan.' This presumes that the plan has been thought out, put into effect and is about to bear fruit. On the king asking as to how it was done, Vidūshaka whispers in his ear, qui 'in the ear' is a stage-direction employed by dramatists whenever a secret is to be conveyed, the idea being that spectators will come to know it at a later stage निपुणमुपक्रान्तं Well begun. Verse 9. Tüt etc. This is a general statement which, as applied to the present case, justifies the 3 ·ACT I-NOTES 199 king in entertaining hopes as he has a valuable assistant in Vidushaka. प्रतिबन्धेन सह वर्तत इति सप्रतिबन्धं One that is attended by obstruction. सहाथ: अस्यास्तीति सहायवान् One who has assistance. द्रष्टुं योग्यं दृश्यं Fit to be seen. 447 ani. Paai-- the Indeclinable meaning 'without' always governs a noun in the Accusative, Instrumental or Ablative case. Vide Pāṇini's sūtra:- पृथग्विनानानाभिस्तृतीयान्यतरस्याम्. चक्षुषा सह वर्तत इति सचक्षुः. to etc. is a statement made behind the screen and the outcome of a quarrel between two stagemasters whose entry is foreshadowed. Page 18. caenifa etc. Here Vidūshaka's plan is described as a tree of which the statement just made behind the screen is the flower. Vidūshaka says that the fruit also will be seen, meaning that the ultimate object viz., the sight of Mālavikā, is about to be realized. At this stage enters the Chamberlain to inform the king that the two stagemasters seek his interview to decide upon their respective merits. Verse 10. ICT is dramatic action. The two masters look like two embodiments of dramatic action. The king bids the chamberlain admit them. The chamberlain takes the command of the king, goes out and re-enters along with the two stagemasters, ·200 MĀLA VIKĀGNIMITRA Page 19. On seeing the king, Haradatta, one of the stage-masters, exclaims—the giraat 79- HAI. BET is an interjection. TITAEHT RISTHIERT The glory of the king. राजन् may be derived as राजत इति 5 One who shines, or as Tarifa TEL One who pleases his subjects. Both these senses are relevant to the context in view of the fact that both his splendour and sweetness are referred to in the verse that follows. दुःखेन आसादयितुं शक्यः दुरासद: Difficult to approach. This is an instance of a Transferred Epithet ; for, the quality of being difficult to approach is transferred from the king to his Mahimā. Or, JT19 may mean difficult to know.' तथापि अस्य Verse 11. नच etc. The same idea is enlarged in this verse. BTT a af faa27 97, 375FT Fifa, que afayati. A parallel of this verse is found in the following verse of Raghuvarśa:- laqgür: # बभूवोपजीविनाम् । अधृष्यश्चाभिगम्यश्च यादोरत्नैरिवार्णवः ॥ Ganadāsa also makes his observations about the personality of the king hereg etc. 9598 377017 52 आकारो यस्य तत् पुरुषाकारं Whose shape resembles that of a man. The king is described as splendour itself in human form. Runt is used wherever a preceding sentence is sought to be amplified or substantiated by a following sentence. Verse 12. grtiaryti gitrary to means a doorkeeper. The locative suffix at the end of ar remains as it is ·ACT I-NOTES 201 even in a compound. This is an instance of Aluksamasa. द्वारेनियुक्तेन पुरुषेण अनुमतः प्रवेशः यस्य सः द्वारेनियुक्त- पुरुषानुमतप्रवेशः One whose entry has been sanctioned by the doorkeeper. सिंहासनान्तिकचर refers to the chamberlain. 54995 is the Present Active Participle of सूप् with उप to move near. वाक्याते. ऋते which is an Indeclinable meaning without always governs a noun in the Ablative case. Vide Pāņi. ni's sUtra:-अन्यारादितरर्तेदिक्छब्दाञ्चूत्तरपदाजाहियुक्ते. The chamberlain directs both of them to go near the king. Page 20. They both offer to the king the usual greeting of विजयतां देवः. The king welcomes then, and turning his eyes towards a servant, directs him to bring seats for the two masters, and they sit down on the seats brought by him. The king affecting ignorance questions them as to the cause of their coming together at a time when they should be engaged in teaching students. Gañadāsa begins his reply first, because the slander made of him by Haradatta was public and to his knowledge whereas the slander of Haradatta by Ganadāsa was only hearsay, Gañadāsa first recounts his qualifications in order to show the iniquity of Haradatta's slander. The first is that he had learnt the art of drama from an eminent master, The second is that he had the permission of the king to ·202 MĀLAVIKĀGNIMITRA -teach the art, and the third is that he was a favourite of the queen. The actual form of the slander of Ganadasa. by Haradatta is अयं मे न पाद- रजसाऽपि तुल्य:. Page 21. After Ganadāsa has levelled his complaint against Haradatta, the latter pleads provocation, stating that Gañadāsa was the first slanderer of the two. The actual form of Ganadāsa's slander is अत्रभवतः मम च समुद्रपल्वलयोरिवान्तरम्. The difference between myself and Haradatta is as. between the Ocean and a pond. pas means 'it is so talked about,' and has to be taken along with affarger:. A shrewd reader will here be able to see that this charge against Gañadāsa is false, and that it is only the doing of Vidūshaka. After stating his, complaint against Gañadāsa, Haradatta does not invite the king to decide who was the first wrongdoer, bur directly offers a challenge to Ganadāsa in the theory and practice of the stage and requests the king to adjudicate on their respective merits. Vidūshaka takes the opportunity to state that the challenge was well done. Gañadāsa takes up the challenge and requests the king to hear him. The king stops him by saying that to assure that no foul play has been practised on Gañadāsa, the presence of the queen and of the female ascetic Kāusiki at the test is necessary, The real object of the king is that if Ganadāsa were to exhibit the ·ACT I-NOTES 203 excellence of his training through his pupil Mālavikā, the previous consent of the queen will be necessary, and therefore the presence of the queen at the contest would facilitate his object in view. Page 22. Both the masters agree to the course suggested by the king by stating year staa. The noun denoting a person pleased, governed by the verb 57 and its synonyms takes the Dative case. Vide Pāṇini's sūtra :-8934fat staatu:. The king then calls the chamberlain by name and directs him to bring the queen together with Kausikī, and the chamberlain does his bidding accordingly. After her entry on the stage the queen enquires the female ascetic as to what she thought, would be the outcome of the contest between Haradatta and Gañadāsa. The female ascetic assures her, there is no need for anxiety, because Gañadāsa will not be worsted by an adversary, stating to 94719FICIEM. A noun governed by a takes the Instrumental case. Vide Panini's sutra-हेतौ and its vartika-गम्यमानाऽपि क्रिया कारकविभको प्रयोजिका. Then the queen expresses her doubt that in spite of the fact that Gañadāsa is. not inferior to anybody, Haradatta might probably command greater respect by virtue of his intimacy with the king. Page 23. The female ascetic who makes common cause with the king and Vidūshaka in the con-- spiracy laid out by them thinks that if the queen's ·204 MALAVIKĀGNIMITRA zeal in the contest were to abate the end in view will not be accomplished, and she therefore cheers her up by saying sarisit etc. If Haradatta has the king's favour, Ganadāsa bas the queen's favour, a no less important factor to be considered. By an analogy she even goes the length of saying that the queen's favour might outdo that of the king. Verse 13. ECHTETHETA etc. The analogy is set out in this verse. The fire increases in splendour by reason of the Sun's gift, whereas the Moon derives her glory by virtue of her association with the night. The idea in the first half of the verse is the traditional theory that the Sun transfers all his glory to the fire at the end of the day. The same idea may be noted in the following passage of Raghuvamsa :-दिनान्ते निहितं तेजः सवित्रेव हुताशन:. The two objects that are described in this verse to derive glory by associating with some other object are the fire and the Moon, and they correspond to Haradatta and Ganadāsa. The two objects through whose association the fire and the Moon are alleged to derive their splendour are the Sun .and the night, used in Sanskrit in the masculine and feminine genders respectively. A point of diſrerence may also be noted that while the fire at least appears dim in the day and only gets its splendour increased in the night by devolution from ·ACT I-NOTES 205 the Sun, the Moon which is absolutely unseen the day acquires its glory purely by its association with the night. This tends to establish the greater potency of the queen's favour as compared with that of the king's. On seeing the queen and the female ascetic, . Vidüshaka exclaims alera ataet etc. All is a perpetual companion of the queen, well-versed in fine arts. A Pīthamarda, on the other hand, means a perpetual companion of the king, well-versed in fine arts. Verse 14. Apoterat etc. The king describes the queen accompanied by Kāuśikī in her ascetic robes as the Vedic lore accompanied by the Vedantic lore. The propriety of the two similes is. brought out by the two adjectives Heat and ul as applied to the queen and Parivrājikā respectively. Trayi is so-called, because it consists of the three Vedas--Rk, Yajus and Saman. The Trayī therefore comprehends the Karmakāņda in which are enjoined innumerable sacrifices for the attainment of both temporal and spiritual bliss. The Adhyātma Vidyā which consists of Upanishads. deals with metaphysics or the knowledge of the self. Page 24. The female ascetic hails the king: in the usual form:-ayat 9: The root fetto ·-206 MĀLAVIKĀGNIMITRA conquer, though belonging to the Parasmāipada, takes the Atmanepada form when put in conjunction with the preposition fa. Vide Pāņini's sūtra : “विपराभ्यां जेः. विजयतां is the Imperative 3rd person singular of feat with fa. The king then offers his respects to the Parivrajika by saying भगवति अभिवा- दये. भगवति is the Vocative singular of भगवती, the feminine form of H1917. The word may be derived thus: भगः अस्यास्तिीति भगवान. The meaning of T is explained in the following verse of Amarakośa :- ऐश्वर्यस्य समग्रस्य वीर्यस्य यशसः श्रियः । ज्ञानवैराग्ययोश्चैव षण्णां भग इतीरणा ॥. The word भगवान् is also explained in a different way as follows:- उत्पत्तिं च विनाशं च भूतानामागति गतिम् । वेत्ति विद्यामविद्यां च स वाच्यो भगवानिति ॥ भगवति in the context is only a term of address. Vide Daga- -rupaka :-भगवन्तो वरैर्वाच्या विद्वद्देवर्षिलिङ्गिनः । विप्रामात्याग्रजाश्च. - HETETTTTTT: etc. In this verse. the Parivrăjikā confers her blessings on the king. The two adjectives महासारप्रसवयोः and सदृशक्षमयो: have got double meanings applicable to the queen and the Earth. In the case of the queen महासारप्रसवयोः has to be derived thus:-महान् सारः यस्य सः महासारः, स: प्रसवः यस्या: महासारप्रसवा One whose son is possessed of Åmmense strength. The word art here means might or power, and she means a son. As applied to the Earth it has to be derived thus:-महतां साराणां प्रसवः महासारप्रसव: The source of all precious things. महासार- प्रसवा च महासारप्रसवश्च महामारप्रसवौ तयोः महासारप्रसवयोः. सभी क्षमा ·ACT I-NOTES 207 . ययोस्ते सदृशक्षमे तयोः सदृशक्षमयो: Of the two whose patience is alike. Dhāriņi is the queen. Luft is the Earth. भूतानि धारयतीति भूतधारिणी. भव is the Imperative 2nd person singular of 7 to be. शरदां शतं शरच्छतं Accusative of time. Vide Pāņini's sūtra: -aleart- रत्यन्तसंयोगे, Dharini greets her lord thus:-जयत्वार्यपुत्र:. आर्यपुत्र is the word by which a woman generally refers to or addresses her husband in Sanskrit plays. The word eri means a venerable person, and therefore perhaps denotes both the parents-in-law. The king returns her greeting by the following greeting of his-स्वागतं देव्यै. सुष्ठु आगतं स्वागतं. Then the king requests the Parivrājikā to take her seat, and they all take their seats. 397497 means respected or venerable. प्रश्ने नियुक्तः प्राभिकः. The king invites her to be an arbiter between the two disputants. Page 25. The Female ascetic declines the offer on the ground that the king himself was best fitted. The king justifies his offer by saying that neither the queen nor himself was qualified to be an impartial judge, because Haradatta was a favourite of the king, and Gañadāsa a favourite of the queen. Both the Achāryas endorse the king's view that the Parivrājikā deserves to be an examiner on account of her impartiality. The king then directs that the subject-matter of dispute may be opened. The female ascetic says that the essence of Nātya ·208 MĀLAVIKĀGNIMITRA Šāstra lies in practice on the stage, that no amount of verbal disquisition on theories will do, and asks the queen whether she agrees there. Page 26. The queen replies that she does not even like the idea of a contest between the two. Her motive in saying so was really to keep Mālavikā out of the sight of the king. On hearing the queen's words, Gañadāsa protests on the ground that the queen's refusal to allow the controversy to go on will give an opportunity for others to ridicule him. Vidūshaka expresses his zeal to witness the contest. e79ff means yes. Page 27. The king asks the Parivräjikā as to what the two disputants are expected to show. The female ascetic replies तदेव वक्तुकामाऽस्मि. वक्तुं कामः यस्याः सा. Note the grammatical peculiarity that a तुमुनन्त drops its final मकार when followed by the words 7 and in a compound. Verse 16. आत्मनि संस्था यस्याः सा आत्मसंस्था. Vidūshaka clarifies that the purport of Parivrājikā's statement is that the merits of the two are to be judged by the nature of the training given by them to their pupils. Haradatta expresses his approval, counting upon the efficiency of his pupil Irāvati. Gañadāsa awaits the permission of the queen to accede to the proposal. Page 28. The queen on the other hand says that the suggestion is not happy because the lack ·ACT I-NOTES 209 of receptivity on the part of a disciple may reflect badly on the teacher. The same idea will be clearly seen from a parallel sloka of Bhavabhūti which runs thus: वितरति गुरुः प्राज्ञे विद्यां यथैव तथा जडे न तु खलु तयोाने शक्तिं करोत्यपहन्ति वा । भवति हि पुनर्भूयान्भेदः फलं प्रति तद्यथा प्रभवति शुचिर्बिम्बग्राहे मणिर्न मृदां चयः॥ The statement of the queen is rebutted by the king who says that the choice of a bad student by itself speaks ill of the discriminating capacity of a teacher. The queen forbids Gañadāsa to participate in the contest. Vidūshaka says at this moment to Gañadāsa that the queen did well in forbidding him to embark on an undertaking which will only put him to shame. In saying so he also hints that Gañadāsa has only a smattering of music and that he can only partake of the sweetmeats distributed to a teacher when the boys are first taught to read. Page 29. Gañadāsa agrees that such will be the meaning of the queen's statement. Verse 17. लब्धं आस्पदं येन सः लब्धास्पदः One by whom a post has been secured. fa means sfà eat:. आगमः means learning. वदन्ति is the predicate of which the subject 591: is understood. 14 ·210 MĀLAVIKAGNIMITRA The queen then argues with Gañadāsa that his student was newly taught and he will do well not to subject her training to scrutiny. न्यायात अनपेतं न्याय्यं, न न्याय्यं अन्याय्यं. Page 30. Ganadāsa says that that is the very reason why he insists on a contest. In order to avoid the king's seeing Malavikā, the queen states that both of them may show the quality of their training to the female ascetic. The female ascetic says that that was not a proper course and that it is not safe to trust the judgment of a single person though he may know everything. The queen says within herself, addressing the female ascetic, that she knows the point that Parivrājikā was driving at and turns away her face in resentment. Parivrājikā then tries to console the queen. Verse 18. इन्दुरिव वदनं यस्याः सा इन्दुवदना, तत्र संबुद्धिः gach. 37497: refers to the king. She says that the queen's rage at the king was unjustified, and substantiates it by a general statement that housewives, free as they are to do anything with their husbands, never become enraged without cause. कारणेनैव कोप: यासां ताः कारणकोपाः. Page 31. The clever Vidūshaka says that there was cause for the queen's attitude viz., to protect or favour her favourite Ganadāsa. And addressing Gañadāsa, he says that he was fortunately saved ·ACT I-NOTES 211 by the queen, for the display of a man's teaching is difficult even for experts. Gañadāsa then appeals to the queen for permission to exbibit his training. Page 32. Then the queen gives her permission unwillingly. Gañadāsa expresses a feeling of relief by saying face lents. This may mean either that Ganadāsa long entertained an apprehension that the queen would not permit him to exhibit his teaching, or that the queen herself had long entertained doubts about the efficiency of Gañadāsa's training. Then Gañadāsa addresses the king and asks what particular feat of the stage should be shown. The king leaves it to the Parivrājikā to decide. Parivrājikā hesitates to do it, because something was passing in the mind of the queen. The queen urges her to speak boldly and states ननु प्रभविष्याम्यात्मनः परिजनस्य. This implies that Parivrājikā is not a dependent of the queen and as such has no reason to fear her, or that whatever may now happen, the queen will frustrate the endeavours of the king and Parivrājikā as Mālavikā is only a dependent of hers. Page 33. Parivrājikā then decides on what particular branch the contest should be held. She chooses Chhalita, for it is generally described to be difficult to practise. चतुर्गों पादानाम् उद्भवः यस्मिन् or चतुर्थ्य: पादेभ्य उद्भवो यस्य चतुष्पादोद्भवं. दुःखेन प्रयोक्तुं शक्यं दुष्प्रयोजं. एकमर्थ संश्रयत इति एकार्थसंश्रयम्. उपदेशान्तरं means difference in .

·212 MALAVIKĀGNIMITRA teaching. Both the masters agree to this subject Vidūshaka says that both parties must finish the preliminary music and send word to the king. In a minute he rectifies himself, because the beat of drum will itself be sufficient notice. प्रेक्षागृह means. the stage. Haradatta rises first to start because of his freedom with the king. Gañadāsa takes the permission of the queen, and both the Acharyas start. Page 34. Parivrājikā says to them— fauidifat ब्रवीमि etc. निर्णयाधिकारे means either in the matter of arriving at a decision or in the capacity of an umpire. She says that both the student-actors should enter the stage without a cover. Her idea is to allow the king to have a look at the beauty of Malavikā's limbs. The two masters say that they need not be reminded of it, and both of them walk out of the stage. The queen then says to the king that if such intelligence were directed to hig. duties as a king, it would be worthy of him. The king then repudiates the queen's suggestion by saying that he had no hand in bringing about the contest and that it was purely the outcome of the intellectual rivalry between the two masters. Page 35. By this time the beat of drum had already begun behind the scenes.

·ACT I-NOTES 213 .. Verse 21. जीमूतस्तनित etc. The Parivrājikā describes the sound of drum in this verse. पुष्कर = बाध- भाण्ड मुरजः पुष्करस्य मायूरी मार्जना मनांसि मदयति. मायूरी is so-called, because it is liked by peacocks. मार्जना is the preliminary sounding of a drum so as to prepare it for a regular performance. The Mārjanā sound of a drum known as Māyūrī delights the hearts of hearers. जीमूतस्तनितविशङ्किभिः अत एव उद्रीवैः मयूरैः अनुरसितस्य qualifies पुष्करस्य. On hearing the sound of the drum peacocks take it for the thundering sound of clouds and hold up their necks in expectation of rain and send forth cries of joy which add to the sound of the drum. जीमूतस्य स्तनितं विशन्त इति तैः जीमूतस्तनितविशङ्किभिः. उद्गता ग्रीवा येषां तै: उद्रींवैः. Both these adjectives qualify मयूरैः. मार्जना is qualified by the two adjectives नि:दिनी and उपहितमध्यमस्वरोत्था उपहितेन मध्यमस्वरेण उत्था Produced by the middle tune applied. समवाये भवाः सामवायिकाः. The king says, 'Let us become spectators.' His idea is to convey to the queen that he has no more interest than that of a •spectator. All of them rise from their seats. Page 36. Vidūshaka speaks aside to the king भो वयस्य etc. Walk boldly lest you should give room to Dharini's suspicions. Verse 22. धैर्यावलम्बिनमपि. अयं मुरजवाद्यराग: धैर्यावल- म्बिनमपि मां त्वरयति. The sound of the drum is described in the second half of the verse-सिद्धिपथं अवतरत:

·214 MALAVIKĀGNIMITRA स्वमनोरथस्य शब्द इव स्थित:. The noise of the drum looks as though it were the voice of his heart's yearning about to fructify. Parece. qrati: at the end of a compound becomes पथ. Vide Pāņini's Sutra:- ऋक्पुरब्धःपथामानक्षे. END OF THE FIRST ACT. THE SECOND ACT वयस्येन सह The chief incident in this Act is the display of Mālavikā's dance and consequently the king's meeting of Mālavikā. The scene commences when the musical equipments are finished and the music party is in its full swing. Page 37. आसनस्थः आसने तिष्ठतीति आसनस्थ:. वर्तत इति सवयस्यः. fawaa: means suitable. The king asks the female ascetic, with whose display the contest should begin, to which she replies that Gañadāsa must have the first turn, because he is senior in age to Haradatta. Vrddhas or elders are of three kinds : 16961: Superiors in knowledge, algt: Elders in age, and sagt: Superiors in character. Māudgalya is the name of the chamberlain, tapi $6 means 'perform the duty of your office.' Page 38. Sarmishthā is the wife of Yayāti. A composition of hers consists of four feet and is ·ACT II-NOTES 215 attuned to the middle tune which is supposed to be best suited for śộngāra and Hāsya, the erotic and humorous emotions. Vide Bharata-FITETRI- योर्मध्यलयः. For for see notes at page 187. आचार्यबहुमानात् may be taken either as one word or as two words. In the latter case, Achārya must be taken to be in the Vocative case and addressed to Gañadāsa. Falf-nå means aside. Verse 1. qerare means the dressing room. Mālavikā is in the dressing room, preparing for the dance. The king's eye is longing to have a sight of her and is therefore described as bent upon removing the screen which keeps her out of his sight. उपस्थितं नयनमधु etc. Here Malavika is treated as honey, and Dhāriņi as a bee. guiga is'an Active participial form of me with 39 to approach. Vide Panini's sātra :-गत्यर्थाकर्मकश्लिषशीस्थासवसजनरुहीर्यतिभ्यश्च, Page 39. Verse 2. fagtatri etc. On seeing the picture of Mālavikā, the king had entertained doubts as to whether she was really so beautiful as represented in the picture; for, photos generally represent the original in better colours. But now on seeing Mālavikā in person, the king thinks that the picture did not bring out the entire beauty of the original. कान्तेः विसंवादः कान्तिविसंवादः, तं शङ्कत इति कान्ति- विसंवादशडि. शिथिल: समाधिः यस्य तं शिथिलसमाधि.

·216 MĀLAVIKĀGNIMITRA मुक्तं साध्वसं यया सा मुक्तसाध्वसा. सत्त्व means the steadiness of mind when there is reason for agitation. Verse 3. दीर्धाक्षं etc. The king describes how the beauty of Mālavikā is faultless in every limb. This verse refers to her eyes, face, hands, breast, sides, waist, hips, feet and toes. This verse consists of several clauses. (1) वदनं दीर्घाक्षं शरदिन्दुकान्ति. Her face is possessed of long eyes and splendour similar to that of the autumnal Moon. दीर्घ अक्षिणी यस्मिस्तत् दीर्घाक्षं. शरदः इन्दुः शरदिन्दुः, तस्य कान्तिरिव कान्ति: यस्य तत् शरदिन्दु- कान्ति. (2) बाहू अंसयोः नतो... (3) उर: निबिडोन्नतस्तनं (अत एव) संक्षिप्तम्. निबिडौ उन्नतौ च स्तनौ यस्य तत् निबिडोन्नतस्तनम्. (4) पार्श्व प्रमृष्टे इव. (5) मध्यः पाणिमितः. (6) जघनं अमितं. In the place of अमितं च जघनम् some books read नितम्बि जघनं. जघन and नितम्ब mean the portions of a woman's body in the front and at the back respectively just lower down the waist. पश्चान्नितम्बः स्त्रीकट्याः क्लीबे तु जघनं पुरः. (7) पादौ अरालाङ्गुली. (8) नर्तयितुः मनसि छन्दो यथैव तथा अस्या वपुः श्लिष्टं. छन्द means desire. नर्तयिता refers to Ganadāsa. Page 40. उपगान means a modulation of sounds that serves as a preliminary to the singing of regular music. चतुष्पादवस्तुकं a composition consisting .of four feet. Verse 4. दुर्लभः प्रियो मे. This song has been already referred to as a composition of Śarmishthā. It must have been originally addressed by Śarmishthā to her lover Yayāti. The essence of Chha lika ·ACT II-NOTES 217 women. Prayoga lies in expressing one's own feelings under the guise of those of others. Since it has been already indicated that this song is repeated in the Chhalika prayoga, the feelings described in the song must be equally applicable to Sarmishtbā and Mālavikā. In the first foot Śarmishthā addresses her mind and directs it to give up all hopes about her lover. In the second foot the left eye is described to throb, which is a good omen in the case of In the third foot it is said that the lover whom she was longing to see so long has been seen, but how to get at him again she does not know. In the fourth and last foot the lover is addressed and informed that she has fallen in love with him, but that she is under the control of another. In the statement of Sarmishthā the other under whose control she is said to be is perhaps Devayāni. In Mālavikā's statement it is of course Dhāriņī. The implication in the last foot is that, being under the control of another, she has no independence and that the initiative, if at all, must be taken by the lover himself. The poet also hints that Mālavikā is going to become the most favoured queen of Agnimitra just as Sarmishthā of Yayāti. The significance of this suggestion will be fully realized by a reference to the following extract from ſākuntala:-ययातेरिव शर्मिष्ठा भर्तुबहुमता भव.

·218 MALAVIKĀGNIMITRA Page 41. Verse 5. FARAHHOTO etc. In accordance with the maxim 1741 Faai yrafa, the king is of opinion as also Vidūshaka that the song sung by Malavikā was not a mere repetition of an ancient verse in a different context, but an actual communication of Mālavikā's heart to the king. The gestures accompanying the repetition of the song particularly in that portion which says, 'O Lord, know me as fallen in love with you' strengthen the king's presumption. The method by which this communication of ideas is made is referred to by the word सुकुमारप्रार्थनाव्याजं 'under the guise of a touching appeal addressed by a different person,' which is an adverbial adjunct modifying 3: or said. The idea is that though the verse दुर्लभः प्रियः was originally addressed by its author to her lover, there is reason to believe that it is Malavikā's own fervent appeal to the king. The necessity for the appeal is set out in the phrase spet I-since she did not find any other means of offering her love. The reason why she pretends to reproduce an ancient song is. given by the word atroffa-On account of the presence of Dhāriņi. # means Hi Me. falleg Imperative 2nd person singular of faç to know. गेय means a song and refers to the song दुर्लभः प्रियो मे. 777f means a statement, and it is qualified by the adjectival clause-नाथ इमं जनं अनुरक्तं विद्धीति: स्वाङ्गस्य निर्देशः पूर्वः यस्मिंस्तत्तथा स्वाङ्गनिर्देशपूर्व modifies अमिनयन्त्या. स्वाङ्ग here- ·ACT II-NOTES 219 refers to the person of the king as well as of Mālavikā. While saying 719 Mālavikā pointed at the king, and while saying Hi she pointed to herself. सुकुमारा प्रार्थना सुकुमारप्रार्थना तस्या व्याजः यस्मिंस्तत्तथा सुकुमार- प्रार्थनाव्याजं. सुकुमार refers to the literary merit known as सौकुमार्य or sweetness of expression. Then with the idea of detaining her for some more time for the sake of the king when she was about to go away, Vidushaka bids her stop, alleging that she forgot a particular step in her performance. क्रममेद means a particular order. Page 42. उपदेशे विशुद्धा उपदेशविशुद्धा Free from any omission in practice. Verse 6. वामं etc. Here the king describes the standing posture of Malavikā, wherein she rests her left hand on the waist, lets the other hang loosely and casts down her eyes on the floor. सन्धी स्तिमितं वलयं यस्मिंस्तत् संधिस्तिमितवलयं. त्रस्तं यथा तथा मुक्तं खस्तमुक्तं. पादाङ्गुष्ठेन आलुलितानि कुसुमानि यस्मिंस्तस्मिन् पादाङ्गुष्ठालुलितकुसुमे. पातिते अक्षिणी यस्मिंस्तत् पातिताक्षं adjectival to स्थितं. ऋजु. आयतं च अर्धे यस्मिस्तत् ऋज्वायताधं. Page 43. देवप्रत्ययात् By reason of the confidence : that the king reposes in Gautama. Verse 7. मन्दोऽप्यमन्दतामेति. A fool and a wise - man are compared to dirty water and the dust of Kataka fruit. The kataka is supposed to cleanse dirty water of all mud.

·220 MĀLAVIKĀGNIMITRA TAGJÖ As far as has been seen, or in conformity with scientific rules. Page 44. Verse 8, अङ्गैरन्तर्निहितवचनैः etc. This 'verse bings out that Mālavikā's dance satisfies the requirements of an ideal dance as laid down in Nātya Šāstra. The chief points to which particular attention is to be directed in a dance are the music, the representation of ideas by the gestures of hands, the manifestation of emotions by means of eyes, and the stamping and other movements of the feet so as to harmonize with the time of the music. It is also laid down that the hands, the eyes, the mind and the heart must all be concentrated to bring into play the Rasa or the underlying emotion. Vide the following quotation :- कण्ठेनालम्वयेद्गीतं हस्तेनार्थ प्रदर्शयेत् । चक्षुभ्यो दर्शयेद्भावं पादाभ्यां तालमाचरेत् ॥ यतो हस्तस्ततो दृष्टिः यतो दृष्टिस्ततो मनः। यतो मनस्ततो -भावो यतो भावस्ततो रस: ॥ In the first foot of the verse the poet describes the gestures of the limbs expressive of the thoughts, and in the second foot the harmony between the stamping of the feet and the time of the music and also the complete identification of the actor and the hero by the gestures expressive of the inner feelings. In the third foot are described the movements of the subsidiary limbs like fingers, and in the fourth foot is described how the emotions that are manifested by a combination of the several factors that are brought into play in ·AOT 11-NOTES 221 the course of the dance take complete possession of the heart of spectators. The last clause in the verse refers to the facial expression of the actor. The Tag. The commentator has differently interpreted this phrase from what we have given in the Translation. According to him here refers to the gestures indicative of the Rasa. The word aq in Fr refers to the character whose part is played by an actor. Temat: means deriving its source from subsidiary limbs. TIET refers to fingers and the other subsidiary limbs. 374 is described in Nātya Šāstra to be of two kinds :-981T or tender and आविद्ध or robust. मृदुः refers to the former. तद्विकल्पा- agat etc. sums up the effect of all the foregoing and following clauses describing the several stages and phases of the dance. El here refers to all the factors referred to in the several clauses of the verse. try means manifold exhibition, and Cafe means continuity. 12: means the emotion sought to be conveyed by the dance. 19 in the Accusative means the heart of spectators. Fazlia gefa Drives away the heart from external objects so as to concentrate it on itself. Trat: means the steadiness of facial expression. i means well-known i.e., known to Bharata Sastra. que refers to Haradatta. Verse 9. sugai fasi ys etc. A parallel of this verse is found in the following sloka of Raghu- ·-222 MALAVIKĀGNIMITRA * varisa:-तं सन्त: श्रोतुमर्हन्ति सदसयक्तिहेतवः । हेम्नः संलक्ष्यते ह्यमो • विशुद्धिः श्यामिकापि वा ॥. Note the peculiar formation of Tag: which is the 3rd person plural, Present tense of विद् to know. उपदेशिन: is the Genitive singular of - 346717. utrà Present tense, 3rd person singular of the nominal verb derived from 1 by the application of Pāņini's sūtra:mataifas(FKT: 719. Page 45. feat. Here the queen congratulates Gañadāsa on his having stood the test of examiners. aufae Here Gañadāsa attributes his good fortune to the queen's favour. Here has the force of ga. Vidushaka humorously says that the very first step in the exhibition of a dance, the propitiation of a Brahmin, has been forgotten by the actor. Het is Parivrājikā's observation about the remark of Vidūshaka. Saat: Touching the heart of the subject of dance. उपात्तः सारः यस्य सः उपात्तसारः. Verse 10. स्मयमानं etc. आयते अक्षिणी यस्याः तस्या आयताक्ष्या:. किंचिदभिव्यक्तदशनशोभि Shining with teeth slightly visible. The smiling face of Mālavikā with teeth slightly visible is compared to a blooming lotus with the :inside fibre partially visible. Page 46. Gañadāsa meets the objection of Vidūsbaka by stating that it was not his first exhibition. TIT BIE: grauit: Fit to be the recipient of ...a largesse. The dragging of the golden bangle from the king's hand by Vidūshaka makes clear how ·ACT II-NOTES 223 much Vidüshaka has set his heart on bringing about an union between Malavikā and the king. Page 47. qalita sal. This is a masterly stroke of Vidushaka, which brings out the excellence of Kālidāsa as an eminent humorist. Afer. The verb ki takes the Atmanepada when the preposition is affixed. Vide Pāṇini's Sūtra-R: स्थ:. अलमलं परिच्छेदेन. अलं governs the Instrumental •case. Vide Vartika-गम्यमानाऽपि क्रिया कारकविभक्तौ प्रयोजिका. Page 48. Verse 11. TAUTETHUTH etc. describes the depression of the king on the disappearance of Malavikā. Page 49. The minstrel intimates that the noon has come. उपारूढो मध्यमह्नः सविता. The Sun has reached the middle of the day. Verse 12. TELESOTTE etc. The noon is described in this verse. The doings of swans, doves and peacocks in the noon are described in order in the first three feet of the verse. Anfa: means the Sun, lit. one possessed of seven horses. The Sun shines in the fullness of his rays just as you in the fullness of your kingly qualities. The advent of the noon reminds Vidūshaka of his meal which he ought to take in time. Page 50. The advent of the noon defers the exhibition of Haradatta to some other day. The ·224 MALAVIKĀGNIMITRA queen asks the king to take his mid-day bath. Vidūshaka says that dinner is more important. After the exit of the queen and her retinue, the king and Vidushaka are left alone, when Vidūshaka remarks about the excellence of Mālavikā in staging. Page 51. चिन्तयितव्योऽस्मि ते. Hereafter you will have to watch me with anxiety. This means that it is quite likely that the king will faint and lose his senses by the disappointment of his love. facio: A boiler in the bazaar. Vidūshaka sums up the situation by saying that Mālavikā is difficult to see, whereas the king is too impatient and suggests to the king that he should affect indifference till his dream is realized. Page 52. कथं भविष्यामि. The phrase अनादर इव has to be imported here from the preceding sentence. This means that it is difficult for the king even to assume an air of indifference and that his anxiety is too patent to be concealed. Verse 14. Hairage etc. Mālavikā has become the sole centre of the king's affection. अन्तःपुरे विद्यमाना: वनिता: अन्तःपुरवनिताः, सर्वाश्च ता अन्तःपुरवनिताश्च सर्वान्त:- पुरवनिताः, तासु व्यापारः, तस्मात् प्रतिनिवृत्तं हृदयं यस्य तस्य सर्वान्तःपुरवनि- तान्यापारप्रतिनिवृत्तहृदयस्य. मे स्नेहस्य । एकम् अयनं एकायनं, अनेकायन एकायनं संपद्यमाना भूता एकायनीभूता. END OF THE SECOND ACT, ·THE THIRD ACT The third Act begins with a Pravesaka. A Pravešaka is carried on exclusively by low characters. The past incidents referred to here are the victory of Ganadāsa in the musical combat by reason of Mālavikā's superior performance and the growth of love between the king and Malavikā. The future incident forecast by this Praveśaka is the performance of Dobala for the Aśoka tree by Mālavikā at the bidding of Queen Dhāriņi. The con versation in this Interlude is carried on in Prākrt by the two characters known as Samähitikā and Madhukarikā, the former being a servant-maid of the female ascetic Kāuśikī, and the latter a female garden-keeper. The victory of Ganadāsa and the growth of love between the king and Malavikā are conveyed by the former, while the future incident, viz., Mālavikā's performing Dohala is faintly suggested from the words of Madhukarikā. It is quite in the nature of things that the servant-maid of Parivrājikā who almost holds the strings of destinies in this play should be made to communicate the said two past incidents to the garden-keeper who is not expected to be much in the know of things that are going on in the interior of the Royal House. At the same time, it may be noted that 15 ·226 MĀLAVIKĀGNIMITRA the petty garden-keeper's attempted communication to the queen of the necessity of a Dohada for the Aśoka turns out to be of momentous significance in the development of the plot in the play. Page 53. At the beginning of the Praveśaka, the servant-maid of Parivrājikā enters a garden, searching for its keeper, to get hold of a pomegranate fruit which the Parivrăjikā had bid her bring for interviewing the king. According to a different reading of the text, the interview which Parivrăjikā seeks is not of the king, but of the queen. देवस्योपायनार्थं बीजपूरकं गृहीत्वाऽऽगच्छ. This is the command of Parivrājikā to her servant. The reason for the fruit-offering is the well-known rule ferrera agrada राजानं दैवतं गुरुम् . While searching for the gardenkeeper, the servant of Parivrājikā happens to see her engrossed in witnessing an yellow Asoka tree and approaches her. Page 54. Greetings are exchanged by each other. She then delivers the errand for which she came. न रिक्तः अरिक्तः, अरिक्तः पाणिः यस्य तेन अरिक्तपाणिना. zágài means the king. The garden-keeper says that the fruit is near at hand, but desires to know the result of the contest between the two stagemasters. Page 55. The servant of the Parivrājikă replies that wbile both were equally learned and skilful in individual practice, Gañadāsa's discipline was ·ACT III-NOTES 227 applauded by Parivrājikā on account of the superiority of his pupil Mālavikā. This leads to an enquiry by the garden-keeper as to the truth of che rumour about Mālavikā. In reply Samāhitikā describes how the king and Malavikā have deeply fallen in love with each other and how the king conceals his love from the queen. अभिलापेण सह वर्तत इति साभिलाष:. पूर्व अनुभूता पश्चान्मुक्ता अनुभूतमुक्ता. FOTTATGT म्लातुं शीलमस्याः म्लायमाना. म्लै to fade belongs to the Parasmaipadi group of roots. Hence Fopart is formed by adding चानश् under Panini:-ताच्छील्यवयोवचनशक्तिषु चानश्. Thus far the servant of Parivrājikā has answered both the queries of the garden-keeper. Then the garden.keeper points out a fruit to her on the tree. Page 56. Samāhitikā in turn wishes her good luck. At this stage the garden-keeper wishes to &ccompany Samāhịtikā as she has to go to the queen for informing her about the Dohala of an Asoka tree which has not yet put forth flowers. The Act proper begins with the entry of the king and Vidūsbaka. Page 57. Verse 1. Looking at himself, the king observes af H etc. While there is reason for the pining of the body and the tears in his eyes, there is no reason for the heart undergoing apy suffering. The purport of this Sloka is that he is totally lost in ·228 MALAVIKĀGNIMITRA love for Mālavikā, which accounts for his languishing, for the tears in his eyes and for his absentmindedness. सारङ्गस्य अक्षिणी इव अक्षिणी यस्याः सा सारङ्गाक्षी तया सारङ्गाक्ष्या. त्वं refers to the heart. न कदाचिद्विरहितं Not separated at any time z.e., always associated with her. Rafat means unbounded bliss. प्रसक्के When there is reason for. He addresses his heart and asks why it suffers while it is always united with her and as such has reason to be overjoyed. Vidūshaka consoles him and says that he has spoken to Bakulāvalikā about the message of the king and that she has promised to act up to it, Page 58. तपस्विनी means pitiable. नागरक्षित इक Hlo: It is a popular belief that superior serpents. have gems on their hoods. agift is an Indeclinable meaning however. संकल्पः योनिः यस्य सः संकल्पयोनिः, तत्र संबुद्धिः संकल्पयोने . meaning-0 God Cupid lit., one born of the mind. By this utterance it is to be observed that the king is completely absent-minded on account of love and has not heard the words of Vidūshaka. Verse 2 हृदयं प्रकर्षेण मनातीति हृदयप्रमाथिनी. FGTT means 7 or fever. Note the grammatical rule- आपं चैव हलन्तानां यथा वाचा निशा दिशा. विश्वसनीयम् Which can be trusted not to do harm. The arrow of Cupid consisting of flowers, it is inconceivable, how with that he inflicts intolerable pain. The inconsistency ·ACT III-NOTES 229 between the ineffective weapon and the intolerable pain is sought to be explained away by reference to the proverb at sigurat. The proverb means that a thing which is soft becomes all the more sharp. This is exemplified by the minds of sages. Sages, though gentle by nature, are all the more ferocious when driven to fury. They generally never become angry, but when they are made to become so, the dire consequences are inconceivable. The king here says that what is conveyed by the said proverb is true in the case of the God of love. The reason for Vidūshaka's saying 'I do say' is the absent-mindedness of the king on account of which he has failed to hear what Vidūshaka has already said. 39131999: The foundations of a plan. piqe TUT Imperative mood, 3rd person singular of I with of and 377 in the Causal form. Page 59. The king then asks where he is to spend the rest of the day. This implies that he is unable to spend the time. The reason for the inability is set out by the adjective gagogi9fanda which qualifies चेतसा. 49UÀ Present tense, 1st person singular of 1 in the Causal forint. Vidūshaka now reminds the king of an engagement with Irāvatī fixed at her request which would enable him to spend the rest of the day. The engagement is one of enjoying the pleasure of swinging along with her in the garden. qaqakama Indicative ·230 MALAVIKĀGNIMITRA of the advent of Spring. The idea is that the Asoka and other trees put forth buds in plenty ir the spring. नववसन्तावतारव्यपदेशेन By reason of the dawn of the new Spring. Nipuņikā is the servantmaid of Irāvatī. Irāvati is one of the ladies of Agnimitra's harem. As distinguished from the queen who is Patta mahishī, Irāvatī is only a Bhoginī, the king's consort for the purpose of enjoyment. In pursuance of the said engagement, Vidūshaka suggests to the king a walk to the garden, Page 60. à PET Your friend' refers to Irāvati. Verse 3. grea: etc. It is better to disregard her request though proper, because several reasons. can be attributed for the same, whereas overflowing courtesy will not satisfy women, if not backed up by real affection, a: etc. may also mean that it is better to disregard a love with which a man has long been familiar, the reason being that familiarity breeds contempt. When there is no love, there is no use showering courtesy on ladies, for they are shrewd enough to detect it. बहवः खण्डनहेतवो हि दृष्टाः. This may mean that pressure of work and the like reasons may be thought of by Irāvatí as accounting for his absence; or, it may mean that several grounds exist for rousing Irā. vati's suspicions about the king's fidelity, and therefore he would do well not to present himself before her. The reasons for rousing the suspicions ·ACT III-NOTES 232 of Irāvatī are the visible signs already referred to in the verse reti # 79. According to this construction, the word 9457 is to be treated as conveging the peculiar meaning given to it in the Alankāra śāstra, 2137 is the state of being a aveaT who is one of the eight heroines in love. Efsat has been defined thus:- ज्ञातेऽन्यासङ्गविकृते खण्डितेयाकषायिता. cafusal is one possessed of jealousy at the sight of her lover's attachment to another. A typical example of aluent is to be seen in the following verse of Māgha cited by Daśarūpaka. नबनखपदमङ्गं गोपयस्यंशुकेन स्थगय सि पुनरोष्ठं पाणिना दन्तदष्टम् । प्रतिदिशमपरस्त्रीसङ्गशंसी विसर्पन्नवपरिमलगन्धः केन शक्यो वरीतुम् ।। Since there are several visible signs on his person which would make Irāvati suspect his love, his appearance before her would reduce him from the level of दक्षिणनायक to the inferior level of धृष्ट. As to the fourfold classification of Tarzag or love-heroes, see Introduction. दक्षिणस्य भावः दाक्षिण्यम् The state of being a Dakshina. Page 61. Vidūshaka describes the Spring as · inviting the king to enter the garden. An invitation is generally made by a beckoning with fingers. Here the tender leaves of trees in the garden moving slightly in the breeze, correspond to fingers. The actual form of invitation is gargai gaang. Here the subject 4715 is understood. The ·232 MĀLAVIKĀGNIMITRA king explains the propriety of the invitation given to him by the spring by a reference to the fact that the courtesy of the Spring is consistent with his magnanimity of character. 37TT: means highborn and as such one who knows the fitness of things. Verse 4. The fact that the spring is afla is established by the sloka 371497ai etc. Here the spring is described as one of the well-wishers of the king. For, the Spring acts as though a well-wisher would in the case of a patient suffering from sickness. A well-wisher would address sweet and gentle words to a sick man'in enquiring as to the condition of his health, and he would also affectionately place his right hand on the breast of the patient to find out the degree of heat produced by fever. The sweet sounds of peacocks which spring forth on account of the spring correspond to the gentle queries of a wellwisher to the patient. In the context the king who suffers from the sickness of love takes the place of a patient. The southern breeze carrying the fragrance of mango flowers, which freely blows on the body of the king, stands on the same footing as the right hand of a well-wisher touching the patient's body. प्रविश निर्वृतिलाभाय. Here is indication of the future meeting of Mālavikā and the king. an ·ACT III-NOTES 233 Page 62. gacas etc. Here the beauty of the garden is treated as a lady. She is said to put on the dress of flowers as a result of the spring. This dress is described as putting to shame the ordinary dress of ladies. The reason why she puts on this flower-dress is her desire to entice the heart of the king. Verse 5. The king then describes the beauty of the spring spread over the garden in the verse रक्ताशोकरुचा etc. माधवी श्री: The beauty of the spring is said to treat with contempt the ornamentation of face by ladies. The three details of ladies' ornamentation of a face are the red dye on the lower lip, the variegated paint on the cheeks and the caste-mark on the forehead. In all these three respects the spring's beauty has excelled ladies. Instead of the red paint on the lower lip, the spring shines by the natural redness of the red Asoka flowers. The function of the variegated paint on the cheeks is surpassed by the Kuravaka plants which profusely put forth flowers of the green, yellow and crimson colours. Instead of the black mark on the forehead, the spring is abounding in Tilaka flowers surrounded by bees which look like collyrium. Teraget: 3TETT: faFallETT!, aftha 3703779: PTFELTETTItha: The juice of Lākshā on the lower lip resembling a बिम्बफल. रक्तश्चासौ अशोकश्च रक्ताशोकः तस्य रुक् तया रक्ताशोकरुचा By the splendour of the red Asoka flower. Fastiga:

·234 MĀLAVIKĀGNIMITRA गुणः यस्मात् सः विशेषितगुणः Surpassed in quality or अवि- शेषितः गुणः यस्य सः अविशेषितगुणः Whose merit is equal. If the reading is fanfaatu:, it has to be dissolved as faaliga: qu: 7: One whose quality is treated with contempt. श्यामं च अवदातं च अरुणं च श्यामावदातारुणं. The singular in max has really a plural significance, because it refers to the species, and one individual Kuravaka cannot be of all the three colours mentioned. faa197 is the design of a plant usually painted on cheeks with different colours. It is also known भङ्ग. प्रत्याख्यातं विशेषकं येन तत् प्रत्याख्यातविशेषकं By whom the Višeshaka is set at naught. falsaf547 *p1#tat. The function of Tilaka is discharged by the Tilaka flowers. लग्नानि द्विरेफा एव अञ्जनानि येषु तैः malgrat. A dvirepha is so called, because the word 9which is generally used to denote a beecontains two rephas. as Page 63. Then enters Mālavikā from whose words are known her love for the king, her shame in expressing it to others, the severity of her love-sickness as also the fact that the queen has commanded her to perform the Dohada for the golden Aśoka tree and the queen's promise to give her what she wants if the Asoka tree puts forth flowers within five nights of the Dohada. It is also made known that Bakulāvalikā will presently come upon the scene with an anklet for Mālavikā in her hand, ·ACT III-NOTES 235 Page 64. इयं खलु सीधुपानोद्वेजितस्य मत्स्यण्डिका उपनता. मत्स्य ण्डिका has been defined thus: बालकेव नृशं सूक्ष्मा सुम्निग्धा सितपिङ्गला । मत्स्यण्डाकृतिसादृश्ययोगान्मत्स्याण्डिका. स्मृता ॥ मत्स्यण्डिका is in the form of tiny particles like sand and has a sweet taste. It is yellow-white in colour and resembles the eggs of fish in form. Perhaps it refers to the askā or ashtagrām sugar or saccharine. Mafao seems to be more appropriate to china sugar. The commentator takes the word Arrifūs to mean sugar-candy. It is used to remove the acid taste of wine. The purport is that the king who is disgusted with the ladies of the harem has now chanced to meet Mālavikā who surpasses all of them by her loveliness. Page 65. Verse 6.69334.7 is the Ablative singular of y54. The king's heart is compared to the heart of a thirsty traveller. Mālavikā who is behind the tree near by is compared to a river in the proximity surrounded by trees, and Vidūshaka is compared to a rattling swan foyha: is the Genitive singular of the Present Participial form of the desiderative of 9 to drink. Page 66. Verse 7. fago etc. Here Mālavikā is. intended by the word जीवित. gagna From the state in which the king last witnessed her i.e., at the time of dance. 377441 BET अवस्थान्तरं A different stage.

·236 MĀLAVIKĀGNIMITRA Verse 8. The present state of Mālavikā is described in the sloka ETS etc. शरस्य काण्ड: शरकाण्डः, स इव पाण्डु गण्डस्थलं यस्याः सा शरकाण्डपाण्डुगण्डस्थला. परिमितानि आभरणानि यस्याः सा परिमिताभरणा. माधवेन परिणतानि पत्राणि यस्याः सा माधवपरिणतपत्रा. कतिपयानि कुसुमानि यस्याः सा कतिपयकुसुमा. The pale cheeks of Mālavikā correspond to the white leaves of the jasmine creeper ripened by the spring. The few ornaments on her person correspond to the few flowers of the jasmine creeper. The pallor of Mālavikā's cheeks is of course due to her love for the king. Vidūshaka says to the king that she is also suffering from the sickness of love in the same way a's the king. ATEICHà qua. This is an instance of the figure of speech which in English is termed a Transferred epithet. The perception of a friend is attributed to friendship. 371 etc. si refers to the Asoka tree for which Mălavikā has been command- • ed to perform Dohada. ललितं दोहदं अपेक्षत इति ललितदो- हदापेक्षी. न गृहीतं अगृहीतं, कुसुमान्येव नेपथ्यं कुसुमनेपथ्यं, अगृहीतं कुसुमनेपथ्यं येन स: अगृहीतकुसुमनेपथ्य:. Page 67. HA 15mila. The Genitive here is to be justified by the rule ost St. An object which must be in the Accusative case may take the Genitive if the relationship sought to be conveyed by the suffix is the general relationship between the preceding noun and the verb which governs it. That is to say, in the present case, if the ·ACT III-NOTES 237 strict relationship of an object and a predicate be intended, the proper wording would be 14- करोति. But since the relationship here intended to be denoted is stripped of its limitations, the language employed is ममानुकरोति. Whatever may be the difference between the two in the view of strict grammar, there is in effect no difference in meaning. Here the Asoka tree is said to imitate Malavikā. The Asoka awaits an elegant Dohada for the purpose of bearing flowers, and Mālavikā awaits the taking of her hand by her lover. The Asoka has not borne flowers, and Mālavikā also by reason of her anxiety has not put on flowers. नैतावता. एतावता means by her mere statement that she is anxious. प्रसन्नः तर्कः यस्य तं प्रसन्नत. Te here refers to the inference of Vidūshaka that Mālavikā is in love with the king. 59 means faultless. Vidüshaka inferred the love of Malavikā from the anxiety admitted by her. The love of Mālavikā is the Sadhya or the thing sought to be inferred. Her anxiety is the ès or the thing from which the inference is drawn. The syllogism would be faultless, only if love be the invariable cause of anxiety. An effect raises a presumption of the pre-existence of a cause. But when there are several different causes by which an effect can be produced, it cannot be predicated which of the several causes has preceded the effect in a particular case. Therefore, unless there is something in.

·238 MĀLAVIKĀGNIMITRA addition to the Hetu, the inference in question will not be justified. One of the reasons that might contribute to the causing of anxiety is the southern breeze, the blowing of which instils in the mind of everybody a general feeling of passion. Verse 9. This is the idea in the verse atat etc. Hara: means the breeze blowing from the Malaya mountain. The Malaya mountain is traditionally believed to be situated in the south and abounding in sandal trees. The breeze proceeding therefrom will naturally be cool and fragrant. To add to its fragrance, the breeze carries with it a trail of the particles of dust of Kuravaka flowers. To add to its coolness, it carries with it water-particles taken from the midst of blooming lotuses. Such a breeze may instil passion without a reason. A parallel of this idea may be found in the following passage of Meghasandeśa as applied to a cloud. मेघालोके भवति सुखिनोऽप्यन्यथावृत्ति चेत:. alat is the noun form of the verb वढ् by the addition of the suffix तृच्. वोढा is the Nominative singular of ate. Paai gera किसलयपुटानि, तेषां भेदः किसलय पुटभेदः, शीकरैः अनुगतः शीकरानुगतः, किसलयपुटभेदेन शीकरानुगतः किसलयपुटभेदशीकरानुगत:. न विद्यते निमित्त यस्याः तां अनिमित्तां. मलयस्य वात: मलयवात: or मलयात् प्रवर्तमानो वातः. Page 68. Ut etc. Perch is the 2nd person singular, Imperative of 7 with . Tā which belongs -to Atmanepada takes the Parasmaipada when ·ACT III-NOTES 239 preceded by the Upasarga fâ. Vide Pāṇini's sūtra : व्यापरिभ्यो रमः. पश्य महत्त्वं नेहम्य Look at the power of love. In the place of hate there is also a reading ant which means perversity. The power of love lies in the fact that while there is nothing definite to show the cause of Mālavikā's anxiety the king surmises that all ber bewailment is for his sake. Verse 10. TETET atat: talaa17, ya FRS JFT: ATTIEC259. Inference cannot be safely depended upon for ascertaining the truth. For, very often there are misleading inferences. FH इव ऊरू यस्याः सा रम्भोरू:, तत्र संबुद्धिः रम्भोरु. The reason why the king imagines Mālavikā's anxiety to be due to himself will be apparent if we bear in mind the famous maxim in Sakuntala-कामी खतां पश्यति. Page 69. SIRI giea is a term of contempt. It is a single word and an example of the Aluksamāsa, Vide Panini's Sutra :-षष्ठया आक्रोशे. तव and गुरुकं as applied to Hğat show that the message will never be forgotten. Eft suggests that even an idiot like me does not forget; a fortiori Bakulāvalikā who is known for her intelligence. Page 70. 3771 qua: refers to the glory of wearing an ornament, of being painted red with Alaktaka and of being engaged in the performance of the Dohada. 36931 ec etc. implies that Mala- ·240 MĀLAVIKĀGNIMITRA vikā should not hesitate to offer her foot as requested by Bakulāvalikā, because it was the queen's command that Mālavikā should perform Dohada. Page 71. Verse 11. Turraraarai etc. The red lines painted on Mālavikā's foot are described as the first outcome of tender leaves of the tree of Love burnt by Siva. When trees are burnt, some of them put forth tender leaves after a time. The burning of Cupid by Lord Siva is a well-known story. Two Page 72. Verse 12. 2017.SYTTITUT etc. things are worthy of being kicked by her foot, viz., an Asoka that does not put forth flowers and a lover whose guilt is patent. स्फुरिता: नखरुचः यस्मिस्तेन स्फुरितनखरुचा. कुसुमं अस्य संजातं कुसुमितं, न कुसुमितं अकुसुमितं. आर्द्रः अपराध: यस्य 74 TIGİTTTT. The Aparādha intended here on the part of a lover is his calling out the name of another woman. Such a conduct on the part of the lover would naturally irritate a lady in whose presence such a thing is done. No wonder that the bending down of the head on the part of the lover and a kick by the foot of the beloved follow. This A parādba is one that is purposely committed by a lover so that he may enjoy the pleasure of a kick from his beloved's feet. Any other construction would derogate from the high rank as a Dakshiņanāyaka occupied by our hero and would reduce him to the plight of a Dhrshta.

·ACT III-NOTES 242 Page 73. STET gat: means 'in your case.' The query of Irāvati proceeds from an anxiety to appear handsome in the eyes of her lord. अलं मयि स्नेहेन shows her sincerity in putting the question. Stellusara gupta means by reason of the love which has never met with disappointment.' The commentator interprets it to mean 'on account of the request the like of which was never rejected.' Page 75. regi etc. Just as the bite of ants gives us trouble while searching for a mango sprout, so does the sight of Malavikā while searching for the lover. Tha: means an unusual place. Page 76. He wh: $41971. The queen's permitting her anklets to be used by Mālavikā and directing her to perform the Dohada are a very rare privilege which would raise her in the estimation of others. Page 77. 371587 Sto gra. Ut (Locative singular)+इति = चरण इतिं. Page 79. gaq means the state of being the object of the king's affection. aga af alffa conveysthe king does not love me at all. Page 80. हताशा refers to Bakulavalika. अनुरागः अनुरागेण प्रत्येष्टव्यः Passive potential participle of इष् with afa to reciprocate. If the reading is placati instead of gou; this is the meaning-The love of the king is to be tested by communicating signs of 16 ·242 MĀLAVIKĀGNIMITRA your love for him. The love of the other is to be tested by showing signs of one's own love in the first instance. Page 81. सह अयितुं शीलमस्याः सहायिनी. विमर्दसुरभिः as applied to a wreath of Bakula flowers, means- Increasing in fragrance when pressure is applied. As applied to Bakulāvalikā, it means—who will be seen at her best under trying circumstances. Verse 14. Sarai. Here the king describes the persuasiveness of Bakulāvalikā's counsel in its different stages, which is characteristic of an ideal Dūti. Several stages can be traced in the course of the conversation between Bakulāvalikā and Mālavikā by which the former has managed to bring down the latter to follow her advice. At first she ascertains the love of Malavikā for the king. For that purpose she opens the topic by saying सर्वथा भर्तुरङ्कपरिवर्तिनी भव. This she says in anticipation of a reply from Mālavikā. Exactly as Bakulāvalikā anticipated, Mālavikā replies 399 # intending thereby that a union of the king is beyond her reach. This shows that she would welcome it gladly if it were possible to have it. This is followed by a rejoinder from Bakulāvalikā -मन्त्रयितव्यमेव मया मन्त्रितं which is intended to convey that a union of the king is not beyond her reach. By the reply of Mālavikā which follows viz., a acas aa which means that it is only a pious wish on ·ACT III-NOTES 243 the part of Bakulāvalikā for the sake of her friend, the love of Mālavikā for the king is definitely known. After thus ascertaining the mind of Mālavikā, Bakulavalikā desires to reveal to her che king's love for her. This she cleverly does by supplementing the reply of Malavikā faz Ecati na by her own statement 750 A which necessitates the query of Mālavikā saite art, and ultimately the actual revelation is made-_Jūcafu fealer at Hoteft. Then comes the third stage when Mālavikā disowns all claim for the king's love. This is met by the statement of Bakulāvalikā- ni rafu FET I HU: कृशेषु वरपाण्डुरेषु दृश्यतेऽङ्गेषु. The objection of Malavika to Bakulāvalikā's statement is threefold. Firstly, it is not true that the king entertains any love for her. Secondly, it is Bakulāvalikā's own pious wish and not a regular communication of the king's message. Thirdly, her dependence on the queen deprives her of all freedom of action in the matter. The first objection is met by the statement of Bakulavalikā that the king's love for Mālavikā is patently seen in his person and will more clearly come to light if Mālavikā in her turn shows signs of love for him. The second objection of Malavikā set forth in her statement किमात्मनश्छन्देन मन्त्रयसे is answered by Bakulavalika thus:-न हि न हि। भर्तुः खल्वेतानि प्रणयमृदुकान्य- क्षराणि बिम्बान्तरितानि. The third objection is put forth thus :-देवी चिन्तयित्वा न मे हृदयस्य प्रभविष्यामि, for which ·244 MĀLAVIKĀGNIMITRA there is this suitable reply-भ्रमरसंपातो भविष्यतीति वसन्ता- वतारसर्वस्वं किं न चूतप्रसवोऽवतंसयितव्यः. Any further doubt that Mālavikā may entertain regarding the accomplishment of the end in view is completely removed by Bakulāvalikā's assertion of confidence in her own powers-विमर्दसुरभिर्बकुलावलिका खल्वहं. The whole of this dialogue is treated as one Vakya in the third foot of the verse. वाक्येनेयं स्थापिता स्वे निदेशे. The Nidesa that is referred to here is the mission of Bakulāvalikā to make Mālavikā intent on a union with the king. The four different ways in which the purpose of this dialogue was accomplished are भावज्ञान, प्रस्ताव, प्रत्याख्यान and युक्तोत्तरदान. Page 82. fafatareefa Even for one destitute of the passion of love. Tiga is the Active Participle of her to suspect. गृहीत: अर्थ: यया सा गृहीतार्था. निर्वृत्तं परिकर्म यस्य सः निवृत्तपरिकर्मा. नूपुराभ्यां सह वर्तते इति सनूपुरौ. Page 83, 61 is the usual term by which a female friend is addressed. Vide Amara :-ET- हाने नीचां चेटीं सखी प्रति. देव्या अशोकविकासयितृकं नियोगं refers to the performance of Dohada by Mālavikā by kicking the Asoka. 99 3415TTTT:. The language employed is so cleverly put as to apply to the king as well as to the cluster of tender leaves hanging in the Asoka tree. qefi conveys contentment. एतावता refers to. the listening to the words of love. Page 84. Verse 15. ni fa has the significance of #4. tfa: means satisfaction. There is no satisfaction ·ACT III-NOTES 245 - to me even by a union etc. The same idea is conyoyed in the following verse of Sakuntala: कामं प्रिया न सुलभा मनस्तु तद्भावदर्शनाश्वासि अकृतार्थेऽपि मनसिजे रतिमुभयप्रार्थना कुरुते ॥ Verse 16. STETT etc. Mālavikā takes from the Asoka a tender leaf for her ear-ornament. In return she offers it her foot. There is therefore a suitable exchange between the two. Consequently, the Asoka is very fortunate, whereas the king is quite unlucky in not being a party to such a pleasant exchange. The following statement of Dushyanta addressed to a bee under similar circumstances may be noted by way of parallel: चलापाङ्ग दृष्टः स्पृशसि बहुशो वेपथुमती रहस्याख्यायीव स्वनसि मृदु कर्णान्तिकचरः । करौ व्याधुन्वत्याः पिबसि रतिसर्वस्वमधर वयं तत्त्वान्वेषान्मधुकर हतास्त्वं खलु कृती॥ वामः Perverse. व्यञ्जकं means दोहदं. प्रमाणीकृत्य In pursuance of. Page 85. संभावना Anticipation of the Asoka putting forth flowers. निर्गुणोऽयं etc. The words यदि and : in this sentence are not quite consistent. Either of them is to be taken as a superfluous expression used for embellishing the sentence if the other is to be retained. Verse 17. अनेन etc. तनु: मध्यः यस्याः सा तनुमध्या. मुख रेण नूपुरेण आरावि तेन मुखरनूपुराराविणा. नवं अम्बुरुहं नवाम्बुरुहं, ·246 MĀLAVIKĀGNIMITRA नवाम्बुरुहमिव कोमलं नवाम्बुरुहकोमलं तेन नवाम्बुरुहकोमलेन. ललित- HTTÓ Which is held in common with a charning lover. बचनावसरपूर्वकं After creating some occasion for talk. Page 86. Sagai refers to the insult of kicking by foot the Asoka which is a friend of the king. Page 87. aas: 1an, Verse 18. PTT: etc. Mālavikā's foot is tender like lotus whereas the trunk of the tree is hard. A contact between the two is likely to give pain to the foot. किसलयमृदोः, वामस्य and निहितस्य are adjectives qualifying चरणस्य. वामस्य may mean either the left foot or the lovely foot. poa qualifies पादपस्कन्धे. विलासिनि and वामोरु are terms of address in the Vocative case referring to Malavikā. Page 88. BET alia TECH Tiga:. This is a rebuke of the king by Iravati. उत्पन्नः अवसर: यस्य तद 392 For which the suitable time has arrived. Page 89. Verse 19. fagoa etc. This is the request of the king to Mālavikā. 372 Fallslot implies like the Asoka. चिरात्प्रभृति For a long time past. तादृशं The same cheerfulness as before he saw her. yagcu.. Courage is metaphorically identified with a flower. Just as the Asoka tree has not put forth any flower for a long time past in expectation of Malavika's ·ACT III-NOTES 247 Dohada, so does the king not possess a brave heart ever since he saw her in anticipation of a union with Malavikā. Ce 7 Fulfil the Dobada. स्पर्श: अमृतमिव स्पर्शामृतं तेन. The Dohada for both the A śoka and the king is performed by her touch. In the case of the Asoka ya referred to is TETET and in the case of the king it is the 49197 which has been defined thus by Vātsyāyana:-- संमुखागतायां प्रयोज्यायां अन्यापदेशेन गच्छतो गात्रेण गात्रस्य स्पर्शनम् F294. This is one of the four kinds of embraces with a woman who has not previously joined with her lover, the other three being , 365 and पीडितक. अन्यस्मिन् (स्त्रीजने) रुचिः यस्य सः अन्यरुचिः, स न भवतीति अनन्यरुचिः. s@gfe: A plan of escape. जवावलं Running.. According to the reading road it would mean going down on knees. Page 90. का वयं भर्तुः प्रणयपरिग्रहस्य. प्रणय means either love or request. Page 91. va qoyd I would not have come here in search of you. अत्र त्वमेव प्रमाणम् You alone would hold thus. Page 92. Verse 20. 73. For an explanation of this term see Introduction. According to the maxim fantaz97 it is perhaps justifiable that Irāvati should disregard the king's request, but it is unnatural that she should turn a deaf ear to the request of her own girdle fallen at her feet. परिचयवत्यवधीरणा ·248 MĀLA VIKĀGNIMITRA may be split up as परिचयवति अवधीरणा or परिचयक्ती अवधी- TOTT, In the former case qfayala qualifies a meaning who am familiar, In the latter case परिचयवती is an adjective qualifying 3793Tu meaning which has been habitually resorted to. The whole of this dialogue brings out the character of Irāvati as an Adhiranāyikā as contrasted with Dhāriņi who belongs to the type of Dhiranāyikā. Note the following definition. धीरा सोत्प्रासवक्रोक्त्या मध्या साश्रु कृता- गसम् । खेदयेद्दयितं कोपात् अधीरा परुषाक्षरम् ॥ Page 93. Verse 21. OTETTT etc. In this simile clouds correspond to Irāvatī, showers of rain to her tears, lightning to her fallen girdle, and Mount Vindhya to the king. By comparing Irāvatī with a cloud it is suggested that she is perturbed by jealousy. By comparing the king with the Vindhya mountain it is implied that he cannot be made to budge an inch from his resolve. Još may be taken to be an adverbial adjunct governing are in which case it means furiously, or as an adjective qualifying मां in which case it means guilty. बाष्पाण्येव आसार: par: 1. This indicates that she weeps profusely. श्रोणीबिम्बादव्यपेक्षाच्युतेन shows that anger has taken full possession of her mind and that she has lost all self-control. Heat Attempts to beat me. किं मामेव भूयोऽप्यपराद्धां करोषि. The significance of मामेव is when you are the really guilty person why do, you heap sins on me. The significance of asta is

·ACT III--NOTES
249
that you have already provoked me to use abusive
language against you, that you have acquiesced in
the Vidũshaka's accusation against me in finding
fault with you for your interview with Mālavikā,
that you have made me guilty not only of an aftur
or the transgression of a lover's will, but also of
cruelty to the girdle in refusing its request, and that
not satisfied with all that, you further irritate me
so as to make me beat you. Or, it may mean that
when I simply wanted to take hold of my girdle you
attribute to me the sinful motive of trying to beat
you.
Verse 22. TOTTEEG etc. The word 2 at the
end of this verse has the force of but. In spite of
your indignation you are charming.
नूनमिदानीमनुज्ञातम् At this stage this is certainly
permitted. The falling down on knees by a lover is
sanctioned by Śástras for consoling a woman with
whom the other devices bave failed. This will be
clear from the following passage of Daśarūpaka:-
स्त्रीणामीाकृतो मानः कोपोऽन्यासङ्गिनि प्रिये ।
यथोत्तरं गुरुः षड्भिरुपायैस्तमुपाचरेत् ॥
साना मेदेन दानेन नत्युपेक्षारसान्तरैः।
तत्र प्रियवचः साम भेदस्तत्सख्युपार्जनम् ॥
दानं व्याजेन भूषादेः पादयोः पतनं नतिः ॥
The commentator gives a different meaning,
viz., now that Irāvatī has restrained herself from
beating the king she has permitted herself to yield

·250 MĀLAVIKĀGNIMITRA to the persuasion of the king. But the former meaning is more consistent with what follows, viz.. a spratsch. The departure of Irāvati is itself humorously described by Vidushaka as a blessing conferred by the deity before whom the king prostrated. Page 94. Rakai. Irāvati's departure is a blessing in disguise. BTH1T 5 F 370#. The occasional backward motion of planets is well-known in astronoiny. This shows that the science of astronomy was well known in India in the days of Kalidasa. BIET AARaqri. The perversity of love lies in the fact that Iravati's disregard of the king on his bended knees which under other cirumstances would be considered the worst piece of misfortune has now come to be regarded by the king as a high favour. Verse 23. a la means 'only on account of her refusal to accept my salutation,' 771 is an Inden clinable having the force of 77791. The neuter singular 71 governing an Infinitive of purpose can be used in juxtaposition with a noun in any gender or number according to usage. Cf. Sākuntala--TFTAT- विन्दसुरभिः कणवाही मालिनीतरङ्गाणाम् । अङ्गैरनगतप्तैर विरलमालिङ्गितुं पवनः ।। Cf. also Ramayana:-शक्यमञ्जलिभि: पातुं वाताः केतकगन्धिनः । Cf. Vikramorvašīya-7777 3cuts fangrai and also Mahabhashya-शक्यं श्वमांसादिभिरपि क्षुत्प्रतिहन्तुम् । END OF THE THIRD ACT. THIRD ·THE FOURTH ACT Page 95. Verse 1. Her etc. The love for Mālavikā is described as a tree planted by the king in his heart. As there are several stages in the growth of a tree, the several stages in the growth of the king's love for Malavikā are described in order. 4 tree first takes its root, and on growth puts forth tender leaves, and then puts forth buds, then flowers, and ultimately fruits. In the same way the love for Mālavikā took its sprout when the king first saw her in the picture and was told by Vasulakshmi who it was, and took its root when he became very eager to have a look at her. When she came to be actually seen at the dance, the tree of love put forth' its tender leaves, that is to say, his love became intense. Later on when the king happened to take her by the hand to raise her from the floor on which she had prostrated before him, apologizing for kicking the Aśoka, his hair stood on their ends by reason of the much-coveted contact of her hand. At this stage the tree of love might be treated as having put forth buds. The remaining stages ending with the bearing of fruits are summarized in the phrase रसज्ञं फलस्य. The taking of roots is mentioned in the first foot of the verse, the appearance of tender leaves in the second, the appearance of buds in the third, and the remaining:

·--252 MĀLAVIKĀGNIMITRA verse. . stages down to fruit-bearing in the last foot of the The word al at the very outset suggests that the king is ever dreaming of her. श्रुतेः पन्थाः श्रुतिपथः, तं गता तां श्रुतिपथगताम्. आश्रित्य means regarding. Bien or eagerness to see her corresponds to the root • of a tree. नयनविषयं संप्राप्तायां must be read with तस्यां "understood. रूढः राग एव प्रवालः यस्य सः रूढरागप्रवाल:. मुकुलानि अस्य संजातानि मुकुलित:. रोम्णां उद्गम: रोमोद्गमः, व्यक्तः रोमोद्गमः यस्य सः व्यक्तरोमोद्गमः, तस्य भावः तस्मात् व्यक्तरोमोगमत्वात्. कान्तं One who •desires to taste the fruit. रसं जानातीति रसज्ञः तं रसझं. Page 96. जयसेने जानीहि etc. The king sends away the doorkeeper under a pretext, so that he may have a confidential talk with Vidūshaka regarding Mālavikā. Page 97. तत्रभवत्यास्ते सख्या: refers to Malavika. तपस्विनी also refers to Malavika. पिङ्गलाक्षी is a term of contempt referring to Dhāriņi. सारभाण्डानां भूमिगृहं An underground cellar used for the safe custody of valuable articles. Page 98. सुखं प्रष्टुं सुखपृच्छिका In order to enquire of her welfare. Vide Panini's sutra:-तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्. उपचारः means the courteous statement made by the queen. परिजनस्य refers to Malavika. निर्भेदात् ऋते. ऋते is an Indeclinable meaning 'without' governing a noun in the Ablative case. Vide Pāņini's sūtra: अन्यारादितरर्तेदिक्छब्दाञ्चूत्तरपदाजाहियुक्ते. Page 99. Verse 2. मधुरखरा परभृता. Here a female cuckoo and a female bee are described to ·ACT IV--NOTES 253 have been relegated to the cavity of a tree by an untimely shower of rain following a storm, because they sat on a blooming mango flower. Applying this statement to the context, it is to be noted that. to the she-cuckoo corresponds Mālavikā, Bakulāvalikā to the she-bee, the underground cellar to the hollow of a tree, Dhāriņi to the untimely rainfall, Irāvatī to the fore-running storm, and the loving king to the blooming flower of a mango. Page 101. प्रकृष्टः वातः यस्मिंस्तत् प्रवातं, प्रवाते विद्यमानं शयन aftuz qatarla. fquor Past Active Participle of ther with a to sit. Hahl refers to Kāuśikī, The humour in fit: will be apparent with the progress of the plot. FÊT171Fa194 gaat 17735. The reason is that the king wants the Pratīhārī to participate in the scheme for its success. Page 102. ale tear is Agnimitra. 3471 ga यन्त्रणा तया उपचारयन्त्रणया. 349R means paying respects. yot means a troublesome act. You need not stand for offering your respects to me. Page 103. Verse 3. The reason for this prohibition is set out in the verse अनुचितनूपुरविरह. कलं भाषत इति ** Alfou at Hgte. There are three adjectives qualifying चरणम्-अनुचित: नूपुरविरहः यस्य तम् अनुचितनूपुरविरहं Which does not deserve a separation from the anklet or is. not habituated to a separation from the anklet; तपनीयमयी पीठिका तपनीयपीठिका, ताम् आलम्बत इति तं तपनीयपीठि- FRIED Which rests on a golden footstool; and ·254 MALAVIKĀGNIMITRA यज्ञार्थ exigia which, if taken as one word, has to be split up as 5 TuT qild ; otherwise 591 may be treated as the Instrumental singular or रुज्. पीडयितुं नाईसि. It is not proper for you to trouble your foot and myself, because of the injury to the leg caused at the time of slipping from the swing. fattat qa: Note the change to the Atmanepada, of the verb fe by reason of juxtaposition with a Vide Pāņini's Sūtra:- Faqui G:. Barea À fagia: There is improvement in me now. उपवीतं यज्ञोपवीतं. यज्ञोपवीतेन संवीतः अङ्गुष्ठः यस्य सः यज्ञोपवीतसंवीताङ्गुष्ठः. परित्रायतां is to be read with #919 understood referring to the king. The reason for tying the sacred thread round the thumb is to make it appear that it is done to stop the current of poison due to snake-bite. por mai. The snake is identified with death. Page 104. let : $21: The chopping off of the bitten limb. Page 105. Verse 4. आयुषे हिता: आयुष्याः. Bet etc. All this bewailment of Vidūshą ka is calculated to provoke the sympathy of the queen. Page 106. 298. An inauspicious result, perhaps death. afdrá Is indicated. fartur By the change of colour due to poison. 34921271: is used as though Vidushaka is already dead. This is so done, because death is imminent.. योगश्च क्षेमश्च अनयोः समाहारः योगक्षेमं. a means earning, and a means saving. मा.भैषीः.

·AOT IV-NOTES 255 Note the absence of are in the Aorist form of the Verb at on account of juxtaposition with the Indeclinable 77. Vide Pāṇini's sūtra: —HICUM. The reason for the Aorist in the place of the Imperative mood is that a predicate when juxtaposed with the particle ar takes optionally the Aorist terminations in substitution of the suffixes of all the ten Lakāras. Vide Pāņini's sútra:--Fife . leceh Present tense, 3rd person singular of fact to cure, formed by the application of Pāņini's sūtra :- 79: 77 and Kätyāyana's Vārtika thereon:--fouffastaert. Page 107. aga means an eunuch generally employed for service in the harem. as refers to the assistance rendered to the king in his loveintrigues. 2 and entei, e A TITIGIHI. 1964 FT. Here begins the part played by Jayasenā in the plot to effect the escape of Mālavikā. crufq917 is the procedure laid down in the Bhāiravītantra for removing a snake's poison. It is done by chanting mantras in the presence of a pot full of water in which something bearing the image of a serpent is to be thrown. Consistent with her magnanimity, the queen offers without hesitation her ring which bears the seal of a snake. Page 108. मां प्रतिपत्तिं नय Bring me news. Note the verb governs two objects. For a list of verbs governing two objects, note the following Karika:-दुयाच्पच्दण्धिप्रच्छिचिब्रूशासुजिमथ्मुषाम् । कर्मयुक्स्याइकथित ·256 MALAVIKĀGNIMITRA तथा स्थानीहकृष्वहाम् ॥. After कमसिद्धौ, सत्यां is understood. देव यथा मे हृदयमाचष्टे तथा निर्विषो गौतमः. This shows that Kāuśiki knows the plot of Vidūshaka and the king. Outwardly this is a prophecy of which her state of mind is supposed to be an index. For a parallel situation, compare this with the following statement of Dushyanta in Sakuntala. असंशयं क्षत्रपरिग्रहक्षमा यदार्यमस्यामभिलाषि मे मनः । सतां हि सन्देहपदेषु वस्तुषु प्रमाणमन्तःकरणप्रवृत्तयः ।। निर्गतं विषं यस्मात् सः निर्विषः. भूयात् is the formation: of भू in the Benedictive mood. निवृत्तः विषवेगः यस्य सः निवृत्तविषवेग:. प्रकृतौ तिष्ठतीति प्रकृतिस्थः. Page 109. एष पुनरमात्यो वाहतवो विज्ञापयति. Here again comes the part of Jayasenā in furthering the plot to bring about an interview between the king and Malavika. Page 110. गूढश्चासौ पन्थाश्च गूढपथः तेन गूढपथेन. Causal form of 2 with 4, 2nd person singular, Imperative mood. ng is a particle of interrogation. समाप्तं कृत्यं येन सः समाप्तकृत्यः, Verse 5. इष्टाधिगमनिमित्तं An instrument for the attainment of the desired end. The desired end is. the interview with Malavika. एकान्तसाधु Unmistakably sound. A parallel of this verse may be seen in the following sloka of Sakuntala :-आपरितोषाद्विदुषां न साधु मन्ये प्रयोगविज्ञानम् । बलवदपि शिक्षितानामात्मन्यप्रत्ययं चेतः ।। Page lll. नियोगमशून्यं कुरु Attend to your work: क्षुद्रा Dull. प्रापय ·ACT IVNOTES 257 Page 112. Verse 6. Hit qi TudE etc. Compare this with the following verse of Mudrārākshasa- अप्राज्ञेन च कातरेण च गुणः स्याद्भक्तियुक्तेन कः प्रज्ञाविक्रमशालिनोऽपि हि भवेत्ति भक्तिहीनात्फलम् । प्रज्ञाविक्रमभक्तयः समुदिता येषां गुणा भूतये ते भृत्या नृपतेः कलत्रमितरे संपत्सु चापत्सु च ॥ Page 113. Pue is the place where a rotating apparatus for sprinkling water is fixed. AT, lit., moonshine, is the name of an attendant of Iravati. Vidūshaka with his resourcefulness utilises her name for his usual witticism. Page 114. As soon as Bakulāvalikā directs Malavikā to bow to the king, Mālavikā who little knew that she refers to the picture, is overjoyed to think that her lover is near at band, but is presently undeceived and grows dejected. Page 115. Verse 7. The king who has been watching from behind all the movements of Mālavikā is supremely pleased that the ideas of his presence and absence respectively cause so much pleasure and pain to Malavikā, and says patct etc. At sunrise the lotus blooms, and at sunset it fades. Similarly, when she was given to understand that the king was near, her face gladdened, and when she heard otherwise it became gloomy. शोभनं वदनं यस्याः सा सुवदना तस्याः सुवदनायाः. ते, समवस्थे and ऊढे are all in the dual number, Barve is the Past passive participle of 17 ·-258 MĀLAVIKĀGNIMITRA a to bear, formed by the application of Pāṇini's sūtras :-apelsidiai Papa, et Ti, at 9: and costů पूर्वस्य दीर्घोऽणः. नन्वेष चित्रगतो भर्ता. Here at last Bakulavalika gives out what she means. TET etc. is the observation of Mālavikā about the picture. Agafuar brings out how even in the direct presence of the king, Malavikā had not such a full view of the king as when she now sees him in the picture. The reason for the contrast is furnished by the adjective HET. A refers either to the fear of Mālavikā in the presence of the king or to her fear for Irāvatī. The reading would be better if she is .added just after यथा. a faqsur means not satisfied. यथा etc. has to be expanded thus. यथाद्य वितृष्णाऽस्मि यतः (यदा वा) मया चित्रगतो भर्ता विभावित:. विभावित: means fully seen. #55109 Tag Just as a chest contains a jewel to no purpose, you bear the pride of youth in vain. Page 116. Verse 8. कात्स्न्येन etc. स एव पूर्वः समागमो येषां तेषां तत्पूर्वसमागमानाम् . Page 117. BT: Opposite of Dakshina. For दक्षिण see Introduction. Page 118. Verse 9. The turning away of the face by Mālavikā in jealousy is described by the king in the verse भ्रूभङ्गभिन्नतिलकं ete. ध्रुवोर्भङ्गः भ्रूभङ्गः, तेन मिन्नं तिलकं यस्मिंस्तत् भ्रूभङ्गभिन्नतिलक qualifying आननं. The face wherein the black mark on the forehead is ·ACT IV-NOTES 259 split up by the knitting of brows. This is a symbol of jealousy and consequential anger. 29rat sites अधरोष्ठः, स्फुरितः अधरोष्ठः यस्मिंस्तत् स्फुरिताधरोष्ठम्. असूयया सह वर्तत इति सासूर्य. This may be taken as qualifying आननं or as an adverbial adjunct modifying परिवर्तयन्त्या. In fact all the first three words of this verse may also be taken as modifying traditi. a means कोप, कान्तापराधेषु कुपितानि तेषु कान्तापराधकुपितेषु. It seems as though she exhibits the instruction imparted by Ganadāsa in the matter of representing the posture of a maiden who is angry with her lover for his infidelity. Page 119. Verse 10. urfa etc. 92 a 743 यस्याः तत्र संबुद्धिः कुवलयनयने. The eyes of maidens are generally compared by poets to black or blue lotuses. of is to be taken along with कुवलयनयने, एवं with चित्रार्पितagol. You ought not to think hard of me by the pictorial representation of my conduct. 5 brings out the contrast that while my infidelity is only on the picture, my devotion is seen in me in flesh and blood. Page 120. Verse 11. TUTARTT: etc. Here the king gives his reason why he doubts Mālapika's sincerity. The first foot of the verse describes her appearance before the king in his dreams, the second his attempt to embrace her and her sudden disappearance. This is attributed by the king to the insincerity of Malavikā.

·260 MĀLAVIKĀGNIMITRA Mālavikā, when urged by Bakulāvalikā, replies that she had not even the pleasure of the sight of the king in dreams, implying thereby that her love for the king had resulted in absolute sleeplessness. Page 121. Verse 12. stiu etc. The marriagepledge is generally made in the presence of the fire. Here God Cupid takes the place of fire. न सेव्यः सेविता रह: has to be construed thus. (अत: अहमस्या) रह: aan, 7 02:. I am to pay her homage, not she to me. a361260 etc. This is only a hint to Bakulavalikā to go forth and leave the couple alone. For a similar situation see śākuntala, III Act where Priyamvadā says: -अनसूये, यथैष इतस्ततो दत्तदृष्टिः पर्युत्सुको मृगपोतको मातरमन्वेषते । एहि संयोजयाव एनम् । Page 123. Verse 13. As soon as they are left alone, the king addresses his words of love thusfaço goeit etc. Compare this verse with the following sloka of Sakuntala addressed by Dushyanta to his sweetheart. अयं स ते तिष्ठति संगमोत्सुको विशङ्कसे भीरु यतोऽ- वधीरणाम् । लभेत वा प्रार्थयिता न वा श्रियं श्रिया दुरापः कथमीप्सितो भवेत् ॥ The vocative of address Hoch shows that the king is no longer able to brook any delay, being completely won over by her beauty. संगमसाध्वस means nervousness preventing a union. The commentator interprets it as 'fear from anybody else in uniting with me.' सहकारतां गते मयि त्वमतिमुक्तलताचरितं परिगृहाण. This. is an invitation to Mālavikā by the king to have ·ACT IV-NOTES 261 an embrace in the Latāveshtitaka form. For a definition of this form of embrace, see the following sutra in the Vātsyāyana tan tra :-लतेव शालमावेष्टयन्ती चुम्बनार्थ मुखमवनमयेत् । उद्धृतमन्दसीत्कृता तमाश्रिता वा किंचिद्रामणीयक पश्येत्तल्लतावेष्टितकम्. भट्टिनी refers to Iravati. Verse 14. neque FH etc. The vocative eine indicates the king's eagerness to kiss her lips. The members of the family of Agnimitra are called Baimbikas, perhaps because they are descended from Bimbasāra or from some other king having Bimba in.his name. दक्षिणस्य भावः दाक्षिण्यं. This alone accounts for my previous apologetic attitude towards Irāvatī. बिम्बे इव ओष्ठौ यस्याः तत्र संबुद्धिः बिम्बोष्ठि. Note the peculiar sandhi rule applicable here:-ओत्वोष्ठयोः समासे चा. तत् has the force of तथापि However. The courtesy to Iravati was shown merely in the mechanical discharge of a hereditary duty. But the be-all and end-all of my life lies in my hopes for you. Page 124. Verse 15. हस्तं कम्पवती etc. This verse brings out the मुग्धावस्था of Malavika of the रतवामा type. A parallel of this is to be found in the following Verse of Kumārasambava:--व्याहृता प्रतिवचो न संदधे गन्तु- मैच्छदवलम्बितांशुका। सेवते स्म शयनं पराङ्मुखी सा तथापि रतये पिना- Feaa: 11 When the king extends his hand to untie her girdle, Malavika wards it off. रशनायां व्यापार: रशनाव्या- पारः, तस्मिन् लोला अङ्गुलयो यस्य तं रशनाच्यापारलोलाङ्गुलिम्. When ·262 MĀLAVIKĀGNIMITRA . embraced forcibly, she hides her breasts with her hands. स्तनयोरावरणं, तस्य भावः तां स्तनावरणतां The state of being a cover for the breasts. The subject ger governs : the predicates रुणद्धि, नयति, साचीकरोति and निर्वर्तयति which occur in the four feet of the verse in order. #at the end of the verse is also to be taken to the third foot so as to form the Genitive absolute HTTÀ. The genitive absolute is generally formed when disregard is intended to be conveyed. Vide Pāṇini's sūtra:- 27912. Regardless of my lifting it for kissing, she turns away her face. 459 Tauft alta. पक्ष्मले नेत्रे यस्मिंस्तत् पक्ष्मलनेत्रं. ब्याजेनापि means 'even under the guise of disapproval.' ge after para shows that the king does not feel aggrieved by her apparent disagreement. Page 125. aa fè means since Gāutama is alone. संशयान्मुक्तं Saved from danger. तेन हि suggests that the reason for Irāvati's going forward is to meet Gāutama to enquire of his health, which is fully set out by the sentence संशयान्मुक्तं भर्तुः प्रियवयस्य प्रेक्षितुं. But the word at the end of this sentence will not be consistent unless Irāvati has something else in her mind. This is made clear by the succeeding sentence of Nipunika-सावशेषमिव भट्टिन्या वचनम्. Your sentence seems as though unfinished. The other object is to propitiate her lord in the picture. The picture referred to here seems to be the one referred to already as hanging in the Samudragpha, about ·ACT IV-NOTES 263 which there has been already a sensational dialogue between Bakulāvalikā and Malavikā. Page 126. 349TtTia ShH refers to the conduct of Irāvatī in turning a deaf ear to the entreaties of her husband on bended knees. न मे एष मत्सरस्य काल:. This is not the time for me to harbour envy. The reason for this becomes clear in the next Act, viz., that her son has been engaged in the onerous duty of guarding the sacrificial borse of his grandfather Pushpamitra and that she is therefore deeply concerned in his well-being. तव खलु बहुमानं वर्धयितुं Simply to respect your wishes. Fe fi comprebends the release of Mālavikā and bringing about a wedlock between her and the king. Page 127. TRST is the name of the messengergirl of the queen sent to Irāvati. This is the only occasion in which this cbaracter appears on the stage. It is to be noted that the reply of Irāvati does not contain a specific approval of the course proposed to be adopted by the queen. Page 128. पापम् An untoward thing. उत्स्वप्नायते is a verb formed from the noun grea: which means an utterance in a dream. 3cha RT: HTa wellwishing friend. eple is an Accusative of time. Vide Pāņini's Sūtra : -45 alin. कालाध्वनोरत्यन्तसंयोगे. स्वस्तिवाचन- HICOS: With sweets presented at the time of invoking the blessings of Brahmins and others. affca19 ·264 MALAVIKĀGNIMITRA refers to the process by which a person seeks the blessings of elders in statements which generally end with warraISTUE, and the persons thus addressed say in their turn 79116d for every such prayer. Page 129. इरावतीमतिकामन्ती 49 Excel Irāvati, naturally in point of stu177 i.e., by being better loved by the king. Page 130. 31 gafa I rather thought. Page 131. Aake Of Mālavikā and the king. The sagt attributed to Bakulāvalikā is that of joining the king with Malavika. दूत्यानुरूपोऽधिकारः दूत्याधिकारः, स विषयो यस्याः दूत्याधिकारविषया Whose object is the discharge of the duties of a Dūtī. Dūtīs play an important part in love-plays in Sanskrit. They serve as an overbridge between the hero and the heroine. Bakulāvalikā is an ideal Dūtī. किं नु खलु etc. It rains, not because frogs rattle. The king loves Mālavikā, not because I act the intermediary. The rain falls of its own accord. Frogs simply indicate the rainfall. The king loves her of his own accord. I simply follow him. देवो वर्षति is an idiomatic expression for stating 'It rains.' 1 arqa Vidūshaka assumes an apparently impartial attitude and passes this remark on the conduct of Irāvati. Page 132. Pa is an Indeclinable meaning proper, and Spa is the opposite of it. तथा हि is generally used where à preceding brief statement ·ACT IV-NOTES 265 is sought to be substantiated by a succeeding amplification. Verse 16. at 79: TET: 79 ügis: Trap A damsel possessed of an excellent body.age, 09 Te कारणात् ऋते कदा क्षणमपि कोपपात्रतामागतम्. पर्व includes both the Full Moon and the New Moon days. In the context it refers only to the Full Moon, because the eclipse of the Moon is described in the stanza. The analogy is between the night and Irāvatī, the moon and Irāvati's face, the eclipse and Irāvatī's indignation, and the absence of the Full Moon and want of sufficient cause. Page 133. Verse 17. gå in the verge refers to Malavika and Bakulavalikā. fagforeta 17755 etc. This statement of Iravati proceeds on the assumption that the queen has Teleased them from the cellar. Madhavikā is the female guard of the cellar. Soyufa. Nipuņikā tells Irāvati the scheme of Viļūshaka and the consequent release of the two prisoners. Page 134. कामतन्त्रसचिव Private secretary to the king in the department of love. The forgetting of Gayatri is treated as the worst curse for a Brahmin. Vasulakshmi is the younger sister of Dhāriņī. Page 135. HFTITUÀ 1st person singular, Pre- :sent tense, of the causal form of 1 with Á, to be ·256 MĀLAVIKĀGNIMITRA in one's senses. 98: refers humorously to Vidữshaka, because the monkey and himself belong to the same category. Or it may refer to the king, because the king is Vidūshaka's Sapaksha or friend. Page 136. पञ्चानां , रात्रीणां समाहारः पञ्चरात्रं तस्मिन् पञ्चरात्रे. The masculine gender laid down by Pāņini: -IC- हाः पुंसि is overruled by the Vartika-संख्यापूर्वं रात्रं क्लीबम्. #East refers to the promise of Dhāriņi to give Malavikā what she wants. END OF THE FOURTH ACT. THE FIFTH ACT The Fifth Act begins with a Praveśaka which, according to its definition already explained, is a dialogue carried on fully by low characters. The two characters that carry on the conversation in this Interlude are the female garden-keeper whose name is Madhukarikā and the hunchbacked attendant of the queen called Sārasaka. In the course of the dialogue it is known that the army of Agnimitra has 'vanquished the king of Vidarbha and released Madhavasena from prison and that the queen is going to grant Mālavikā her desire by giving her in matrimony to the king. The former is an incident of the past, and the latter of the future.

·ACT V-NOTES 267 Page 137. Barsaari indicates that the queen had commanded the garden-keeper to prepare a platform at the foot of the Asoka. Page 138. चतसृणां शालानां समाहारः चतुःशालं A meeting place of four roads. aut is defined by Mīmāmsakas as equalizagad or the hire for procuring the services of an officiating priest. Page 139. FRETTA. The object of this verb is इमां पेटिकां understood. सेनापतिना. The word पति at the end of a coinpound is to be declined like th. Vide Panini's sutra :-पतिः समास एव. दक्षिणायाः अहैं: दक्षिणायैः. Hoa is the apartment where worship of God and similar other religious functions are performed. Page 140. वशीकृतः किल. Herein is narrated the most important incident for which this Interlude is put in. Virasena is the commander-in-chief of Agnimitra's army. विजयाथै दण्डा: विजयदण्डाः Forces for the purpose of conquest. Madhavasena, soon after his release, has sent a present consisting of valuable gems, riding horses, elephants etc., and a retinue consisting mostly of maid artists. With them a messenger has been sent, who is to see the king the next day. Page 142. Verse 1. 977756TIETIG. The gist of this bloka is that while the king remains quite at ease in the garden of his city, his foe has been crushed abroad by his army. Construe :~38917 347759 á ·268 MĀLAVIKĀGNIMITRA हे वरद expr परभृतकलव्याहारेषु आत्तरतिः सन् विदिशातीरोद्यानेषु मधुं नयसि. प्रबलस्य ते रिपुः ते विजयकरिणां आलानत्वं गतैः वरदारोधोवृक्षः सह अवनत:. Vidiśā is the name of Agnimitra's city, Modern Bhilsa, and at means outskirts. The plural in gelag suggests the multiplicity of the plots of the garden occupied by the king. The points of similarity between the king and God Cupid are these. The king takes delight in hearing the sweet voices of cuckoos. Cupid uses the voices of cuckoos as one of his accompaniments to instil passion in the minds of men. Both these ideas are concurrently conveyed by the ion परभृतकलव्याहारेषु आत्तरतिः. The king spends the spring season happily. Cupid takes the spring with him. Both these ideas are deftly conveyed by one expression मधुं नयसि. प्रकृष्ट बलं यस्य तस्य Whose army is powerful. Varadā is the name of a river in Vidarbha where the militant forces were stationed. It corresponds to the modern Wardha, a tributary of the Godavari. The army of Agnimitra consisted of a large number of elephants which by their might easily uprooted the trees to which they were tied, and consequently the trees fell down. In the same way Agnimitra's foe also was cowed down to submis. sion. The vocative 97 prognosticates the future grant of territories to Yajñasena and Madhavasena. Verse 2. विरचितपदं etc. हे सुरोपम. सुरेण उपमा यस्य 77 Agte. This is in keeping with the comparison ·ACT V-NOTES 269 that is instituted later on in this śloka between Lord Kșshņa and the king. ऋथकैशिक is another name of the Vidarbha country. The plural is used at the end of the word, because in Sanskrit, words denoting countries are generally used in the plural number. उभयोश्चरितं कथकैशिकान् मध्येकृत्य स्थितं. This implies. that the only next person to display heroic feats. in the land of Vidarbha after Krshna was our hero Agnimitra. 3H31: refers to Krshņa and the king.. Hug is one word meaning-having in the middle. The valour of both Krshṇa and Agnimitra contains within its fold the land of Vidarbha. In other. words the marvellous feats of both these persons have spread throughout the Vidarbhadeśa, perhaps. also beyond it as is suggested by the expression मध्येकृत्य. चरितं is qualified by the adjective विरचितपदम्.. Whenever poets desire to compose poetry they can only think of Kệshṇa and Agnimitra. tesisht suggests that poets are actuated solely by love for the ideal hero in composing songs about Krshna and the king. The idea denoted by the word JH: is. amplified by the next two feet of this verse beginning with तव हृतवतः. दण्डानीकै: विदर्भपतेः श्रियं हृतवतस्तव refers . to Agnimitra. परिघगुरुभि: दोभिः रुक्मिणी प्रसह्य हृतवत: शौरेश्च refers to Krshna. विदर्भपतेः श्रियं may be even taken as. qualifying stuff, in which case it would mean Frauf who is no othěr than the goddess Lakshmi born of the king of Vidarbha. STEL as modifying naa: is applicable both in the case of Krshňa and.

·270 MĀLAVIKĀGNIMITRA the king. fuff meaning abounding in wealth may also be taken along with the third foot which refers to the king by treating it as an adjective of विदर्भपते: i. Here the analogy is to be noticed between the king and Křshņa, the king's forces and Kệshna's mighty arms, and the wealthy kingdom of Vidarbha and Rukmiņi, daughter of the king of Vidarbha. The plural in afa: is justified because of the four hands of Vishņu. Page 143. जयस्य शब्द:, जय इति शब्दो वा जयशब्दः, तेन सूचितं प्रस्थानं यस्य सः जयशब्दसूचितप्रस्थानः Whose starting is indicated by the cries of victory. Verse 3. traf etc. The king's mind feels both miserable and happy, miserable because an interview with Mālavikā is beyond his reach, happy because the hostile king of Vidarbha has been subjugated. It is compared to a lotus which by reason of the Sun is blooming and at the same time tending to close on account of showers of snow. gasocierea: Enjoying unalloyed happiness. The idea is that out of the feelings of misery and happiness admitted by the king the former will disappear and the latter will remain. It also suggests that Vidüshaka is in possession of facts which would warrant a happy forecast. Page 144. In 37 fes etc. Vidūshaka gives out his reason for his sanguineness.

·ACT V-NOTES 271 Page 146. Verse 4. Ta Frentur etc. The whole of the first ardha and hifage in the second ardha are adjectives qualifying #API774. The spring which is on the other side of its noontide makes the heart excited. The excitement is perhaps due to the fact that the spring, the fittest season for enjoying the honeymoon, is fast disappearing. FUHHHÉ expressly means tending to close. The two visible signs of the impending departure of the spring are described in the first half of the verse by a single compound word. The two signs are the fall of flowers from the Kuravaka trees and the richness of ripe fruits on the mango trees. Bà faqaturf: $2991: यस्मिंस्तत् अग्रेविकीर्णकुरवकं, फलानां जालानि फलजालानि तैः विभिद्यमानाः सहकाराः यस्मिस्तत् फलजालविभिद्यमानसहकारं. अग्रेविकीर्णकुरवकं च तत् 'फलजालविभिद्यमानसहकारं च अग्रे...सहकारं. दत्तं नेपथ्यं यस्मै स: दत्तनेपथ्यः. Verse 5. FETT etc. This verse would suggest to the mind of a Sahrdaya the picture of the heroine in whom all the affections of the king have become exclusively concentrated. The other ladies of the harem like the other Asoka trees that put forth flowers in the infancy of the spring have had their days and have now ceased to be of interest to the king whereas Mālavikā like the Asoka in question which now appears with a thousandfold greater richness of beautiful flowers has now become the object of the king's all-engrossing attention.

·272 MALAVIKĀGNIMITRA The suggestion of the heroine's picture to the mind's eye will receive confirmation if we bear in mind Mälavikā's own staternent in the Third Act comparing herself to the Asoka tree before it put forth flowers-अयं स ललितदोहदापेक्षी अगृहीतकुसुमनेपथ्यः उत्कण्ठि-. तायाः ममानुकरोत्यशोकः । Page 147. Verse 6. THE etc. Construe. gjat H1Hxyfersfa This queen greets me. The word qat is qualified by the phrase i921 fafata stafazar Followed by my beloved modestly standing behind. The verb FIT with 37, though intransitive by itself, becomes transitive by the force of the preposition H. A similar use may be seen in expressions like अन्वासितमरुन्धत्या.. विनयादनूत्थिता qualifies both देवी and वसुमती. विनयात् may. be taken to modify both अनूत्थिता and अभ्युत्तिष्ठति. विस्तृतis an adjective of double meaning qualifying both प्रियया and नरेन्द्रलक्ष्म्या. As applicable to Mālavikā, it has to be split up thus:--EFT: Afhal हस्तकमलं, विस्तृतं हस्तकमलं यस्याः सा तया. The farate referred to herein is due to the añjalibandha in which the hands are joined together. As applicable to Narendralakshmī, the compound has to be dissolved thus.. हस्ते कमल हस्तकमलं, विस्तृत हस्तकमलं यस्याः तया In whose hand. there is a full-blown lotus. The allusion here is to the traditional notion that Goddess Lakshmi has a lotus flower in her hand. नरेन्द्रलक्ष्म्या विनयादनूत्थिता वसु- Hadia. The comparison of Mālavikā with the Goddess of wealth and Dhāriņt with the Mother Earth

·ACT V-NOTES
273
suggests that Mālavikā is highly suitable for the
enjoyment of the king and Dhāriņi will be kind
enough to tolerate it. In the place of arger 41
there is also a reading araca 187971 according to
which Mälavikā is actually identified by the poet
with Goddess Lakshmi without and forgetful of the
lotus flower which she used to hold in her hand.
FIT etc. The idea is that Malavikā is aware
of the fact that queen Dhāriņī desires to give her in
marriage to the king. The reason for the trembling
of Malavika's heart like water on a lotus leaf is due
to her apprehensions as to what would actually
take place. The throbbing of the left eye in the
case of women is believed to be an auspicious omen.
Refer to the following verse of Rāmāyaṇa in the
Sundara Kānda describing the state of Sītā just
before her meeting Hanūmān:-
तस्याः पुनर्वाममरालपक्ष्मराजीवृतं कृष्णविशालशुकम् ।
प्रास्पन्दतैकं नयनं सुकेश्या मीनाहतं पद्ममिवाभिताम्रम् ॥
Page 148. Verse 7. faoita etc. Here Malavikā
is compared to a night of the Chāitra month in the
spring. Just as the vernal night shines white by
the light of the rising Moon, Mālavikā shines by
her white silk dress. Corresponding to the stars in
the night, there are ornaments on the person of
Malavika. नातिलम्बत इति अनतिलम्बि, अनतिलम्बि दुकूलं निवस्त इति
18

·274 MĀLAVIKĀGNIMITRA अनतिलम्बिदुकूलनिवासिनी. The white silk garment and orna. ments are put on her in view of her fast approach. ing wedding. उदये उन्मुखी चन्द्रिका यस्यां सा उदयोन्मुखचन्द्रिका. Page 149. Verse 8. ari etc. Construe:--33743777: देव्याः ईदृशानां सत्काराणां भाजनत्वं न नेयो न. The सत्कारs referred to are the bidding of Dhāriņi to Mālavikā to perform its Dohada, her bidding to the garden-keeper to erect a platform at its foot and her fixing it as the rendezvous for the king to meet herself and Malavikā. The reason why the Asoka deserves all the respect shown by the queen is furnished by the latter half of the verse. While the Asoka treated with contempt the bidding of Dame Spring to put forth flowers, it has tamely followed the bidding of the queen. Page 150, Verse 9. TÉ TOTFATÀTT etc. रथाङ्गनामा means the Chakravāka bird. The male and female Chakravākas separate during nights and unite in the daytime. The king corresponds to the male Chakravāka, Mālavikā to the female Chakra vāka, and Dhāriņi to the night which does not admit of a union between the two. is the Genitive dual of अस्मद्. Page 152. 59atai Imperative 3rd person dual of hy with 39 to approach. fra Imperative 2nd person dual of me with a to sit.

·ACT V-NOTES 275 Page 153. sittent is the comparative form of युवन् with the feminine suffix. युवन् is positive, यवीयस् or कनीयस् is comparative, and यविष्ठ or कनिष्ठ is superlative. That Mālavikā is the younger sister of Madhavasena is now for the first time publicly made known in the play through the two artist girls. Page 154. Sandalwood is too high and sacred a thing to be used for shoes. The poet now begins to unravel the mystery about the advent of Mālavikā in the king's palace. When her brother Madhavasena fell into the hands of his foe, his minister Sumati effected her escape. This portion of the story is narrated by one of the artist girls. Page 155. The further developments are unknown to them, but known to the nun Kāuśiki who takes up the story at that stage and carries it through. As soon as she begins to narrate the story, she is recognized by the two artist-girls to be Kausiki, the sister of minister Sumati. Page 156. From # gai Kāuśiki's narration of the story begins. Sumati took Malavika and Kāuśiki secretly and mingled in a company of merchants travelling towards Vidišā so that he might reach Agnimitra. Page 157. Verse 10. On the way a band of robbers appeared before the merchant-sojourners. The host ·276 MALAVIKĀGNIMITRA of robbers is described in the verse तूणीरपट्ट etc. प्रति- रोधकानाम् अनीकं आविरभूत्. All the other words in the sloka are adjectives to अनीकम्. तूणीराणां पट्टैः परिणद्धानि भुजानां अन्तरालानि यस्य तत् तूणीरपट्टपरिणद्धभुजान्तरालम्. Quivers are generally carried on the back, but the straps go round from one side of the shoulder to the breast lower down the arm-pit at the other end. TFFUT- मभिव्याप्य आपाणि, तथा लम्बत इति आपाणिलम्बी, शिखिनां बर्हाणि शिखिबहा॑णि तेषां कलापः शिखिबहकलापः, आपाणिलम्बी चासौ शिखिबह- कलापश्च तस्य धारि आपार्णिलम्बिशिखिबहकलापधारि. The robbers have got peacocks' feathers hanging right up to the heels. कोदण्डानि पाणिषु यस्य तत् कोदण्डपाणि. They have bows in their hands. Faça is the present participle of नद् with नि to roar. दुःखेन प्रसोढुं शक्यं दुष्प्रसहं, आपातेन (or आपातेनापि) दुष्प्रसहं आपातदुष्प्रसह Difficult to withstand on account of the suddenness of attack or difficult to withstand even in a slight encounter. Page 158. Verse 11. इमां etc. पर्याप्तुं इच्छु: परीप्सुः Desirous of saving. दुर्जाते In the calamity. भर्तृप्रिय: may be dissolved as भर्तुः प्रियः or भर्ता प्रियो यस्य सः, the latter being more appropriate to the context. न विद्यते ऋणं यस्य सः अनृणः, तस्य भावः आनृण्यम् Freedom from debt or obligation. Sumati discharged his obligation to his master by sacrificing his dear life in order to protect his master's daughter Malavika. असुभिः. Note असुः is always plural. Vide Amara:-पुंसि भूम्न्यसवः प्राणाः. तनुं त्यजन्तीति तनुत्यजः तेषां तनुत्यजां means mortals i.e., those who are bound to leave their bodies. Exit ·ACT V-NOTES 277 तव अयं 717 Such is life in the world. sache: 12:. असफलं सफलं संपद्यमानं कृतं सफलीकृतं भर्तृपिण्डं येन सः सफलीकृतभर्तृ- jors: Who has justified the feed of his master. Death being common to all mortals, Sumati has excelled all others by courting death for the purpose of repaying his obligation to his master. There is no reason for lamenting his death. Page 159. अग्निसात्कृत्य. The suffix सात् at the end of that has the force of 37etta. Vide Pāņini's sātra:-तदधीनवचने. पुनर्नवीकृत वैधव्यदुःखया. The grief on account of the loss of her husband became renewed or re-doubled by the death of her brother. त्वदीयः तं त्वदीयं. anter is the Indeclinable past participle of with अव to arrive at. कषायेण रञ्जिते काषाये. Yellow robes are generally worn by ascetics. harga 9791:. This shows that the Buddhistic religion was tolerated in the courts of Hindu princes of those days and that the religious order of Buddhistic mendicants commanded profound respect at the hands of Hindu kings and that they were even allowed to influence deeply domestic affairs in the Royal household. अटव्यां भवाः आटविकाः तेभ्यः आटविकेभ्यः From the foresters. लब्धः प्रवेश: यया तया लब्धप्रवेशया. अवसान is the noun form of सो with अव to end. Page 160. Verse 12. The insult to Mālavikā brought about by adversity is set forth in the verse gouhaa etc. Just as a white silk cloth fit for wearing on festive occasions ill deserves to be used as How ·278 MĀLAVIKĀGNIMITRA a bathing towel Mālavikā who merits the term of queen has been unjustly treated as a servant. ETIA Ara aratai, mai a aa a 7 ae fyti TAITTEETTI, Tá ro is used to deny a preceding statement made by another and to express that it is most disagreeable. 70 is formed by a combination of the root TH and the tent which is ordinarily a past passive or active participle. In the context, denotes the future tense and the desire of the speaker. Vide Pāṇini's sūtra :- 375HTİ 779= which means that the terminations conveying the past and present tenses are optionally used to denote also the future, provided the desire of the speaker is intended to be expressed. Therefore strictly speaking, शान्तं पापं = पापं शाम्यतु Let the sin of suppression subside. Page 161. The reason for Parivrājika's suppression of the parentage of Mālavikā is set out in gå foak etc. देवयात्रार्थमागतेन देवयात्रागतेन. सिद्धः आदेशो यस्य तेन सिद्धादेशेन By one whose prediction never fails. Jazz 59. The explanation of this stage-direction is beset with considerable difficulty, because there is no previous direction for the exit of the chamberlain and as such his entry is ununderstandable. Pandit R. V. Krishnamachariar suggests the meaning that the chamberlain who has been all along remaining at a distance from the time when he introduced the artist girls now comes near the king. In that ·ACT V-NOTES 279 was case there is the further difficulty in the explanation of the statement कथान्तरेणान्तरितमिदममात्यो विज्ञापयति which shows that he is delivering a message of the minister to the king. When was the message communicated to the chamberlain by the minister ? Formerly another message sent by him regarding the introduction of the artist girls. Mr. Krishnamachariar's suggestion is that firstly the minister sent the message relating to the artist girls, which was duly communicated by the chamberlain, then the king bids the chamberlain bring the two artist girls, and while he is out to bring them the minister must have communicated the second message which by reason of the imminent introduction of the artist girls was forgotten by the chamberlain up to now and therefore he delivers the second message as soon as he recalls it. In this interpretation, aturard would mean--forgotten by the chamberlain himself by reason of the talk about another topic. There is also another explanation which seems to be more acceptable. glage itself must be taken in the sense of निष्कम्य पुनः प्रविश्य. The chamberlain goes out of the stage and returns in a minute. According to this interpretation 10717- ha would mean that the minister himself withheld the information, because he had other urgent duties. to attend to. It is quite natural that the minister would have numberless duties, particularly relating ·280 MĀLAVIKĀGNIMITRA to disarmament, soon after the conquest, and they having been finished, the minister awaits the orders of the king regarding the disposal of the kingdom conquered recently. The word frafta is better interpreted by the word 'intercepted' than 'forgotten,' That means that the minister has always been anxious to send the message to the king, but by reason of more important pressing work at hand he has been unable to do it, and that he does it at the earliest possible opportunity. The interpretation which would attribute fargetfulness either to the minister or to the chamberlain would detract from their character as an ideal minister or an ideal chamberlain. Moreover, the second message being a political one and as such more heavy than the introduction of the artist girls, it is not likely that a vigilant chamberlain would forget it. In the second of the interpretations कथान्तरेणान्तरित मिदममात्यो विज्ञापयति may be taken to be one sentence whereas according to Mr. Krishnamachariar's construction we have to split it up as two sentences कथान्तरेणान्तरितमिदम् and अमात्यो विज्ञापयति. The present tense in fagia would be more appropriate to the theory that the information was given by the minister just then. In any event the word aaga has to be strained in the context. faina means relating to the Vidarbha kingdom. aut: tist: Hra: कर्म वा द्वैराज्यं Bifurcation. viz., ·ACT V-NOTES 281 Page 162. Verse 13. ai refers to Yajñasena and Madhavasena. 997 means separately. Yajñasena will Tule over half of the kingdom divided by metes and bounds, and Madhavasena will be the ruler of the other half. The line of demarcation between the two dominions is set out by the words वरदाकूले उत्तरre. One of them will be the ruler of the tract to the north of the river Varadā, the other of the tract to the south. Ter# Imperative mood, 3rd person dual of शास् to rule. नक्तं च दिवा च नक्तंदिवं-an Indeclinable meaning day and night. ftalatot is the Moon, because his rays are cool. Jsort Rot is the Sun, because his rays are hot. Just as the San and the Moon divide the day and the night between themselves, Mādhavasena and Yajñasena will divide the kingdom between themselves. भर्तृदारकः refers to Madhavasena. जीवितसंशयात् refers to the danger to life apprehended from his cousin and foe, Yajñasena. Page 163. xa çfa zia meaning view, Verse 14. fear fahini qualifies both fiti and ri. उद्वहन्तौ qualities both नृपती and रथाश्वौ. निदेशे is governed by both the nouns in the possessive case and संग्रहीतुः. परस्परोपग्रहनिर्विकारौ applies both to नृपती and रथाश्वौ. Construe:-द्विधा विभक्तां श्रियं उद्वहन्तौ तौ नृपती परस्परोपग्रहनिर्वि- 'कारौ सन्तौ ते निदेशे, द्विधा विभक्तां धुरमुद्वहन्तौ रथाश्वौ परस्परोपग्रहनिर्विकारौ सन्तौ संग्रहीतुः निदेशे इव स्थास्यतः. In the place of परस्परोपग्रह निर्वि- ·282 MĀLAVIKĀGNIMITRA कारौ some books read परस्परानुग्रहनिर्विकारौ which means: who by virtue of mutual friendship would be at peace. The word 3997 has been interpreted by the commentator to mean 599 ta according to which the compound would mean—who would be mutually helpful and therefore at peace. But it would be more natural to construe 340€ to mean obstruction or share. The idea is that by establishing these two rulers side by side, one will act as a check upon the other and the balance of power would be maintained so that there will be no further trouble to Agnimitra from either. प्राभूत means a present. प्राभृतेन सह वर्तत इति सप्राभृतकम्.. It will presently be made clear that the present is sent by Pushpamitra to his son Agnimitra. Hisar HTTTT. The command referred to here is the one to the chamberlain to communicate to the minister to direct the commander-in-chief to execute the orders of the king with reference to the establishment of two kingdoms under the rulership of Yajñasena and Madhavasena. 9a: following 37 indicates that a different topic is introduced. Pushpamitra was originally the commander-in-chief of the Māuryan king Brhadratha who was slain by him, and he afterwards installed his own Agnimitra in the kingdom, himself preferring to be the commander-in-chief as before. This event is also chronicled in the Vishņupurāņa.

·ACT V-NOTES
283
Page 164. Pfft etc. Note carefully the ancient
mode of letter-writing. The following particulars
are enumerated in order:-The news of happiness,
the place of writing, the description and name of
the sender, the description, name and residence of
the addressee, greetings and the body of the letter
beginning with 'Be it known' in which the actual
message is set out.
Page 165. TTT is the Ašvamedha sacrifice.
Vasumitra is the son of Agnimitra.
Verse 15. वाजिनां राजा वाजिराजः, The word राजन
at the end of a Tatpurusha compound becomes TG,
Vide Pāņini's sūtra:- THTE:fazia.
आश्वसिति. Note the interception of इ between
the root and the termination, which is a peculiarity
in the case of the following roots रुद्, स्वप्, श्वम्, अन्
and Tat when followed by a strong termination
whose initial letter is any consonant other than 7.
Vide Pānini's sūtra : -रुदादिभ्यः सार्वधातुके.
Page 166. For a full story of Sagara and his
sacrifice, refer to Rāmāyaṇa, Bālakānda, sargas
39 to 41. कालेन हीनं न भवति यथा तथा अकालहीन In such a
way as it would not be deprived of its proper time,
i.e., in time. Frattawah. The rage of Agnimitra
may be against his father, because he engaged his
son in a risky enterprise likely to endanger his life
without his permission, or the anger may be against
the Yavanas who dared to affront his son. In the

·284 MĀLAVIKĀGNIMITRA latter interpretation Pushpamitra may be treated as consoling his son in view of the fact that no room ought to be given to passion or ill-feeling at a time when the auspicious sacrifice is to be performed. Another commentator draws largely on his imagination to suggest that the word facratiqaani indicates previous ill-feeling between Pushpamitra and his son which alone accounts for his separate residence and that the comparison of Vasumitra with Amśumān suggests that Agnimitra stands on a par with Asamañja. It seems the said commentator goes too far, for it is hardly likely that our poet would have treated his hero as equal to Asamafija when in all other contexts he is represented as an ideal hero. If at all any ill-feeling is suggested, it must not be due to any fact other than that the son was put to undergo this very heavy risk without his father's permission. sa at the end of the letter is to be taken along with विदितमस्तु. जाया च पतिश्च Creat. Vide Pāṇini's sūtra :-- /raifeg of and its Vartika:-जायाशब्दस्य जंभावो दभावश्च वा निपात्यते. Vide Amarakośa:--qat Fiat Fiat Hiofuani z at. . Verse 16. वीरः पतिः यस्याः सा वीरपती. Note the interception of in pfà in the compound. Vide Panini's sutra:-नित्यं सपन्यादिषु. वीरं सूत इति वीरसू. तनयात् The Ablative here is to be explained either by the Vartika ल्यब्लोपे कर्मण्यधिकरणे च in which case it may be .amplified as तनयं निमित्तीकृत्य, or by the Sutra-विभाषा ·ACT V-NOTES 285 yhtsfazia in the peculiar Yogavibhāga interpretation without the word gut. P. 167. V. 17. : FH YFU A: 56571. The story of Aurva is elaborately mentioned in Mahabharata, Adiparva, Sargas 194 to 196. One Kshattriya king, Kệtavīrya by name, performed a big Soma sacrifice at the end of which he gave away most of his wealth by way of Dakshiņā to his officiating priest born of the sage Bhrgu. After the death of the king, his descendants were reduced to abject poverty and consequently approached the descendants of Bhrgu, imagining that they had a moral claim to get back the money given away to them by their ancestor. The Bhārgavas were very reluctant to part with their money. But being afraid of aggression from the Kshatriyas.. some dug the earth and hid their wealth there, some gave it away to other Brahmins, and some were forced to give it to the descendants of Krtavírya. Later, wben once a Kshattriya of the royal family happened to dig the earth, he found. plenty of money stored and hidden in the ground which he showed to his friends whereupon the warriors of the royal family were enraged at the Bhārgavas whom they shot down by arrows. The whole family of Bhrgus was about to become extinct, because the Kshattriyas slew not only the adults and male members of the Bhrgu race but also the women and children in the womb. Out ·.286 MĀLAVIKĀGNIMITRA :of fear from the Kārtavīryas, the Bhrgu women fled to distant places, out of whom one Brahmin woman fled to the Himālayas. By that time she had conceived a child which she bore not in the womb as usual, but in her thigh so as to protect the child from the notice of Kshattriyas. She bore the child for a hundred years. When this matter was brought to the notice of Kärta vīryas by another woman, they came ferociously and attempted to destroy the unborn child, but the child who was known as Aurva came out of his own accord with enormous brilliance which dazzled the eyes of Kārtavīryas and made them 'blind. Then Aurva took upon himself the vow of destroying the whole world for having permitted his ancestors to be siain unrighteously. At this stage his deceased ancestors intervened and requested him to forbear from the terrible task which he had undertaken. To this Aurva replied that since he had once let out his anger outrun, it would not stop until its object was achieved and that it would otherwise consume. himself. His ancestors on the other hand finally succeeded in directing the fire of his anger to be let into the ocean for consuming the waters there, and thus his anger at last found a vent. This fire took a face like that of a horse, and it is called बडबाग्नि. Page 169. FEITO: etc. This is because Dhāriņi's son is treated by every woman in the ·ACT V-NOTES 287 harem as her own son. Tag etc. By this Irāvati endorses her approval of Dhāriņi's endeavour, Page 170. hac refers to the news of the son's victory. e qifallet. Mālavikā is referred to as the prize given to the king on the occasion of his delivering a happy news. news. किमवधीरयति. This question is put by the queen, because the king did not take up the hand of Malavikā at once. The king's idea is that she should be married as a queen and not as an ordinary consort like Irāvatī. राजा विदूषकमवेक्षते. The idea of the king in looking at Vidūshaka is that Vidūshaka should make it clear that Malavikā should be conferred the status of a queen by Dhāriņi herself, Page 171. gaf 199#PTT: etc. Mr. Krishnamachariar infers from this statement that Dhāriņi was a bit reluctant at first to confer the status of a queen on Mālavikā. But the later stage-direction स्मृत्वा and Dharini's statement अभ्युदयकथया उचितं न लक्षितं rather show Dhārini's forgetfulness of the formalities than her reluctance in conferring the queen's status on Malavikā. Verse 18. 37471&TEETH etc. The nominative of address rattfor as applied to Dhāriņi is quite apt here, because she brings about the marriage of Mālyaikā and the king. This verse reminds us of the passage in Raghuvamsa रत्नं समागच्छतु काश्चनेन which ·288 MĀLAVIKĀGNIMITRA our poet uses on the eve of the marriage between Indumati and Aja. The implication in this verse is that just as a gem deserves a golden setting only after being polished, Mālavikā deserves to join the king only after being made a queen by Dhāriņi. #faragalugar. A pair of white silken clothes. seems to be one of the Royal insignia. Page 172. sant Rafai paauza. The idea of the queen in looking at the female ascetic is that she has. carried into effect what Parivrājikā desired most. Verse 19. प्रतिपक्षणापि etc. प्रतिपक्ष here means a co-wife. The Ocean is supposed to be the lover of all rivers--those that flow into the sea and those that do not. The rivers that flow into the Ocean which are in the position of wives take along with them the water of other rivers which are their tributaries and which rank as co-wives. In the same way chaste women who hold their husbands dear give room to a co-wife if the husband so desires. Page 173. af SHITHIOT #Hafa. Here Irāvatī craves the king's pardon for having rejected his respects. Compare this with the last versewbere the king apologizes to Dhāriņī, whereas here Trāvati apologizes to the king. This difference is due to the difference in character between Dhāriņi and Irāvati. PTE HUTI. Here Pārivrājikā expresses her ·ACT V-NOTES 289 wish to leave the place and go to Madharasena, because her millenium has been reached. Page 174. Both the king and the queen dissuade her, from that course, and Parivrājikā accedes to their request to stop with them. किं भूयोऽपि प्रिय. hafaETA, In Sanskrit dramas there is a practice to put this question in the mouth of a person who is chiefly responsible for bringig about the most cherished object of a hero which is the ultimate object of the plot. This question which is addressed to the king is in consonance with that well-established practice. fra: Ferata. The idea is that nothing is dearer to Agnimitra than the hand of Mālavikā. Since that has been got, there is nothing to be prayed for except the one prayer that is set out in the first half of the succeeding verse. Verse 20. aj À TAICELET etc. By reason of the existence of a co-wife it is natural to expect the queen to be hot-tempered towards the king at times. Hence the request of the king to the queen to be ever tolerant towards him. The word afus is used in anticipation of the possibility of jealousy for a rival wife and is quite in keeping with a prayer for indulgence which follows. Page 175. a. Itis are of six kinds. Effe- रनावृष्टिः मूषकाः शलभाः शुकाः । अत्यासन्नाश्च राजानः षडेता ईतयः 19 ·290 MĀLAVIKAGNIMITRA Fal: 11 This list can only be considered to be illustrative and not exhaustive of all the categories of Iti. The removal of Itis and similar things does not remain to be wished for so long as Agnimitra is the ruler. Kāta yavema takes the word Agnimitra to connote rulers of all times, because the Bharatavākya that is employed at the end of a drama must be applicable to all times. It should be noted that the last two feet of the verse alone constitute the Bharatavākya. भरतवाक्यम् is a benedictory statement with which a play closes, and it is so called in honour of Bharata, the founder of Sanskrit Dramaturgy. The last two feet of this verse are to be distinguished from the first two inasmuch as the first two are the words of the actor playing the part of the king, and the last two are the words of the actor as an actor simpliciter. Bharata means also a Nața. So Bharatavākya may mean a Naţa's vākya. From the last two feet of this verse we find that Bharatavākya need not necessarily be a benediction and may be in the form of a mere statement of a happy state of affairs. END OF THE FIFTH ACT.

·PROSODY
A Sloka consists of four pādas or feet. For
the purpose of scanning metres, eight Gañas are
recognized in Sanskrit, each Gaņa consisting of
three syllables. Their names and definitions are set
forth in the following verse.
आदिमध्यावसानेषु यरता यान्ति लाघवम् ।
HEAT ita etifea तु गुरुलाघवे॥
The यगण, रगण and तगण are short in their first,
second and third syllables respectively, the other
two syllables in each being long. The TUT, ETTU
and EU are long in their first, second and third
syllables respectively, the other two syllables in
each being short. In the Hiru and qu all the
three syllables are long and short respectively. Je
is the Sanskrit word for a long syllable, and
for a short syllable. The essence of a syllable is a
vowel. All ge or short vowels go to make up ng
or short syllables, and all are or long vowels go to
make up ge or long syllables. All short vowels
followed by a conjunct consonant, Anusvåra or
Visarga orqat the end of a pāda are deemed to be
long
এ
a

·292 MALAVIKĀGNIMITRA A Padya or śloka may be either a 78 or Vịtta is entirely regulated by Gaņas or the trisyllabic combinations mentioned above. Jāti is regulated by the number of syllabic instants in each quarter. 1. Stref is the most prominent of Jātis, and it has been defined thus:- यस्या: पादे प्रथमे द्वादश मात्रास्तथा तृतीयेऽपि । अष्टादश द्वितीये चतुर्थके पञ्चदश सार्या ॥ In a verse belonging to the Aryā metre, the first and third quarters each contain twelve Mātrās or syllabic instants, the second eighteen Mātrās, and the fourth fifteen. All the Laghu vowels are supposed to contain one Mātrā, and all the Gurus: two Mātrās. Example :- Act I. Slokas 3, 5, 6, 7, 8, 9, 13, 18, 20 & 22. Act II. 1, 2, 10, 11, 13 & 14. Act III. 7, 8, 9, 13, 16, 18, 19, 22 & 23, Act IV. 2, 3, 5, 7, 10 & 17. Act V. 4, 5, 6 & 19. ... g. We now pass on to Vịttas or metres regulated by gaņas or the number and position of syllables. Vrttas may be either समवृत्त or अर्धसमवृत्त or विषमवृत्त.. In Samavrtta metres all the four feet contain the same number of syllables. In the Ardhasamavrtta metres the first and third quarters contain the same

·PROSODY
293
aumber of syllables, and similarly the second and
fourth quarters; the first and second feet as
also the third and fourth feet are not equal in the
number of syllables. In the Vishamavrtta metres
all the four feet are dissimilar in size. Vide the
following extract from Vittaratnākara :-
सममर्धसमं वृत्तं विषमं च तथापरम् ॥
अघ्रयो यस्य चत्वारस्तुल्यलक्षणलक्षिताः।
तच्छन्दःशास्त्रतत्त्वज्ञाः समं वृत्तं प्रचक्षते ।।
प्रथमांघ्रिसमो यस्य तृतीयश्चरणो भवेत् ।
द्वितीयस्तुर्यवद्वृत्तं तदर्धसममुच्यते ॥
यस्य पादचतुष्केऽपि लक्ष्म भिन्नं परस्परम् ।
तदाहुर्विषमं वृत्तं छन्दश्शास्त्रविशारदाः ॥
2. वियोगिनी also called सुन्दरी, is an अर्धसमवृत्त
metre with 10 syllables in each of the 1st and 3rd.
pādas and 11 syllables in the 2nd and 4th pādas.
Definition :-विषमे ससजा गुरुः समे सभरा लोऽथ गुरुर्वियोगिनी.
The odd quarters consist of 2 सगणS, जगण and गुरु, and
the even quarters consist of सगण, भगण, रगण, लघु and
गुरु. Example:-Act III. Verse 2.
3. मालभारिणी, a variety of औपच्छन्दसिक, is an
अर्धसमवृत्त metre with 11 syllables in the odd pādas
and 12 syllables in the even padas. Definition:-
विषमे ससजा गुरू समे चेत् सभरा येन तु मालभारिणीयम्. The odd
quarters consist of 2 सगणS, जगण and 2 गुरुs, and the
even quarters consist of the ganas-स, भ, र and य.
Example:-Act III. Verses 3 & 11.

·294
MALAVIKĀGNIMITRA
4. BTTTTT is a metre with 11 syllables in
each of the odd pādas and 12 syllables in the even
pādas. Definition :
-yat 7727 : # 79797fHÉ
75. The odd quarters contain in order 2 707078,
रगण, लधु and गुरु, and the even quarters नगण, 2 जगण
and prot. Example :- Act III. Verse 20.
5. पुष्पिताग्रा is an अर्धसमवृत्त metre with 12
syllables in each of the 1st and 3rd pādas and 13
syllables in the 2nd and 4th pādas as per the
following definition:-अयुजि नयुगरेफतो यकारो युजि तु नजो
जरगाव पुष्पिताग्रा. The odd quarters consist of 2
नगणs, रगण and यगण, and the even quarters consist
of नगण, 2. जगण, रगण and one guru. Example:
Act I. Verse 11.
The rest of the metres that occur in this play
are all Samavſttas.
6. अनुष्टुभ् or the Sloka metre consisting of
eight syllables in each quarter is the most common
of the Vșttas. It has been defined thus:-
पञ्चमं लघु सर्वत्र सप्तमं द्विचतुर्थयोः ।
विजानीयादेतच्छलोकस्य
लक्षणम् ॥
In the sloka metre the 5th syllable in all the
four feet is short, and the 6th and 7th syllables in
each of the 2nd and 4th feet are long and short
respectively. Example :-
षष्ठं गुरु

·PROSODY 295 9 Act I. Verses 10, 14, 15 & 19. Act II. 7 & 9. Act IV. 4, 6, 12 & 14. Act V. 9, 11, 12, 13, 15, 16 & 18. 7. इन्द्रवज्रा is the type of a metre with eleven syllables in each quarter and is defined thus:-- स्यादिन्द्रवज्रा ततजास्ततो गौ. It means that Indravajra should contain in order 2 तगणs, जगण and 2 गुरुड. Example:--Act V, verse 17. 8. Systê is a metre in which both Indravajrā and Upendravajrā metres combine. Upendravajrā is a metre with 11 syllables in a quarter and resembles Indravajra in all respects except that the first syllable in every quarter is a laghu instead of a guru, and its definition is 34999 Farfast it. In Upajāti, one or more quarters conforming to the definition of Indravajrā co-exist with one or more quarters which conform to the definition of Upendravajrā. The following is its definition:—3777TR- तलक्ष्मभाजौ पादौ यदीयावुपजातयस्ता:. The following are illustrations of the Upajati metre. Act I. Verses 2, 16 & 17. Act III. 10. Act IV. 8. Act V. 14. 9. Treat is a metre with ll syllables in a quarter, its definition being मात्तौ गौ चेच्छालिनी वेदलोकैः

·296
MĀLAVIKĀGNIMITRA
It consists of HTUT, 2 puts and 2 gurus. Example:-
Act III. Verses 14 & 21.
Act V.
8.
10. STR is a metre with 12 syllables in a
quarter and consists of जगण, तगण, जगण and रगण. जतो
Já Terugtrå Ft. Example :-Act III. verse 15.
11. gafasifaa is another metre with 12
syllables in a quarter consisting of #7707, 2 Huty and
TITUT. Definition :--aastantie 7 H. Example :--
Act III. verse 6. Act IV. verse 13. Act V. verse 7.
12. TEU is a metre with 13 syllables in a
quarter, its definition being व्याशाभिर्मनजरगा: प्रहर्षिणीयम्.
Praharshini consists of मगण, नगण, जगण, रगण and गुरु in
every, quarter. Example:--Act I. Verse 21.
13. lett is another metre with 13 syllables
in a quarter, and it has been defined thus:-579517
गिति रुचिरा चतुर्ग्रहै:. It consists of the following:-जगण,
HTTUT, ATTUT, thu and ye. Example: Act IV. Verse 16.
4
14. qerarat is a metre with 14 syllables
in a quarter and has been defined thus:-371-8-
'तिलका तभजा जगौ गः. It consists of तगण, भगण, 2 जगण's and
2 gurus. Example:-Act I. verse 12. Act IV.
Verse 9. Act V. verses 3, 10 & 20.
15. Arcait is a metre with 15 syllables in a
'quarter consisting of 2 नगणs, मगण and 2 यगणs.

·PROSODY 297 Definition:-ननमयययुतेयं मालिनी भोगिलोकः. Example:-- Act II. verse 5. Act III. verse 12. 16. geat is a metre with 17 syllables in a quarter consisting of जगण, सगण, जगण, संगण, यगण, लघु and गुरु. Definition:--जसौ जसयला वसुग्रहय तिश्च पृथ्वी गुरु:. Example:-Act III. Verse 17. 17. मन्दाक्रान्ता is a me tre with 17 syllables in a quarter consisting of मगण, भगण, नगण, 2 तगणs and 2 गुरुs. Definition:-मन्दाक्रान्ता जलधिषडगैम्भॊ नतौ ताद्गुरू चे. Illustrations: Act II. verses 6 & 8. Act III. verse 4. Act IV. verse 1. 18. शिखरिणी is another metre with 17 syllables in a quarter. Definition :-रसैरुट्टैश्छिन्ना यमनसभला ग: शिखरिणी. It consists of यगण, मगण, नगण, सगण, भगण, laghu and guru. Example : -Act III. Verse 1. : 19. group is another metre with 17 syllables in a quarter, defined thus: नसमरसला ग: पड्वेदेहयेहरिणी मता. It consists of नगण, सगण, मगण, रगण, सगग, laghu and guru. Example: Act IV. verse 11. Act V. verses 1&2. 20. Tiedlapiſsa is a metre with 19 syllables in a quarter and has been defined thus. सूश्चिमसजस्तताः सगुरवः शार्दूलविक्रीडितम्. It consists of मगण, सगण, जगण, सगण, 2 तगणs and guru. Illustrations. Act I. verse 4; Act II. verse 3; Act III. verse 5%; Act IV. verse 15. , ·298 MALAVIKĀGNIMITRA 21. ETTETTI is a metre with 21 syllables in a quarter and has been defined thus:- नभ्नैर्यानां त्रयेण त्रिमुनियतियुता स्रग्धरा कीर्तितेयम्. It consists of the following 7 ganas-म, र, भ, न and: 3 यगणs. Illustrations :-Act I verse 1; Act II.. verse 12. POPULAR AXIOMS IN THE PLAY Page: 3 7 9. Act I. पुराणमित्येव न साधु सबै न चापि काव्यं नवमित्यवद्यम् । सन्तः परीक्ष्यान्यतरद्भजन्ते मूढः परप्रत्ययनेयबुद्धिः ॥ नन्वाकृति विशेष आदरः पदं करोति कामं खलु सर्वस्यापि कुलविद्या बहुमता नाटयं मिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम् पात्रविशेषे न्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः । जलमिव समुद्रशुक्तौ मुक्ताफलतां पयोदस्य ॥ तुल्याभिजनेषु भूमिधरेषु राज्ञां प्रवृत्तिः अचिराधिष्ठितराज्य: : शत्रुः प्रकृतिष्वरूढमूलत्वात् । नवसंरोपणशिथिलस्तरुरिव सुकरः समुद्धर्तुम् ॥ अर्थ सप्रतिबन्धं प्रभुरधिगन्तुं सहायवानेव । दृश्यं तमसि न पश्यति दीपेन विना सचक्षुरपि ॥ अतिमात्रभासुरत्वं पुष्यति भानोः परिग्रहादनलः । अधिगच्छति महिमानं चन्द्रोऽपि निशापरिगृहीतः ॥ 11 13. 15. 17 23.

·AXIOMS 299 : Act Page I. पत्तने विद्यमानेऽपि ग्रामे रत्नपरीक्षा 25 प्रयोगप्रधानं नाम नाट्यशास्त्रम् पश्याम उरभ्रसंपातम् । किं मुधा वेतनदानेन 26 अन्योन्यकलहप्रिययोर्मत्तहस्तिनोरेकतरस्मिन्न निर्जिते कुत उपशमः श्लिष्टा क्रिया कस्यचिदात्मसंस्था संक्रान्तिरन्यस्य विशेषयुक्ता। यस्योभयं साधु स शिक्षकाणां धुरि प्रतिष्ठापयितव्य एव ॥ 27 विनेतुरद्रव्यपरिग्रहोऽपि बुद्धिलाघवं प्रकाशयति 28 लब्धास्पदोऽस्मीति विवादभीरोस्तितिक्षमाणस्य परेण निन्दाम् । यस्यागमः केवलजीविकायै तं ज्ञानपण्यं वणिज वदन्ति ॥ 29 अपरिनिष्ठितस्योपदेशस्यान्याय्यं प्रदर्शनम् सर्वज्ञस्याप्येकाकिनो निर्णयाभ्युपगमो दोषाय 30 प्रभवन्त्योऽपि हि भर्तृषु कारणकोपाः कुटुम्विन्यः न खलु सुशिक्षितोऽपि सर्व उपदेशदर्शने निपुणो भवति 31 प्रभवत्याचार्यः शिष्यजनस्य 32. प्रायः समानविद्याः परस्परयशःपुरोभागाः 34 II. उपस्थितं नयनमधु संनिहितमक्षिकं च 38 मन्दोऽप्यमन्दतामेति संसर्गेण विपश्चितः। पङ्कच्छिदः फलस्येव निकर्षणाविलं पयः॥ 43 उपदेशं विदुः शुद्धं सन्तस्तमुपदेशिनः । श्यामायते न युष्मासु यः काञ्चनमिवाग्निषु ॥ 44 मुग्धचातकेनेव शुष्कघनगर्जितेऽन्तरिक्षे जलपानमिष्टम् 46 पण्डितपरितोषप्रत्यया ननु मूढा जाति: . साधु त्वं दरिद्र आतुर इव वैद्येनोपनीयमानमौषधमिच्छसि 48. उचितवेलातिकमाचिकित्सका दोषमुदाहरन्ति 49. दृढं विपणिकन्दुरिव उदराभ्यन्तरं दह्यते 51.

·:300 MĀLAVIKĀGNIMITRA . Act Page 51 II. मेघावलीनिरुद्धा ज्योत्स्नेव पराधीनदर्शना सूनोपरिचरो गृध्र इव आमिषलोलुपो भीरुकश्च " 58 60 64 68 72 75 III. मृदु तीक्ष्णतरं निसर्गनिपुणाः स्त्रियः उचित: प्रणयो वरं विहन्तुं बहवः खण्डनहेतवो हि दृष्टाः । उपचारविधिर्मनस्विनीनां नतु पूर्वाभ्यधिकोऽपि भावशून्यः ॥ इयं खलु सीधुपानोद्वेजितस्य मत्स्यण्डिकोपनता नहि कमलिनी दृष्ट्वा ग्राहमवेक्षते मतङ्गजः तत्वावबोधैकफलो न तर्कः मदः किल स्त्रीजनस्य विशेषमण्डनम् चूताङ्कुरं विचिन्वत्योरावयोः पिपीलिकाभिर्दष्टम् भ्रमरपातो भविष्यतीति वसन्तावतारसर्वस्वं किं न चूतप्रसवोऽवतंसयितव्य: स्थाने प्राणा: कामिनां दूत्यधीना: अनातुरोत्कण्ठितयोः प्रसिध्यता समागमेनापि रतिर्न मां प्रति । परस्परप्राप्तिनिराशयोर्वरं शरीरनाशोऽपि समानुरागयोः ॥ अहो अविश्वसनीयाः पुरुषा: कर्मगृहीतेनापि कुम्भीलकेन संधिच्छेदने शिक्षितोऽस्मीति वक्तव्यं भवति न शोभते प्रणयिनि जने निरपेक्षता 81 " 84 90 " 92 104 IV. दंशच्छेदः पूर्वकर्म छेदो दंशस्य दाहो वा क्षतेर्वा रक्तमोक्षणम् । एतानि दष्टमात्राणामायुष्या: प्रतिपत्तयः ॥ इष्टाधिगमनिमित्तं प्रयोगमेकान्तसाधुमपि मत्वा । संदिग्धमेव सिद्धौ कातरमाशङ्कते चेतः ॥ .. 105 110 ·AXIOMS 301 Act Page: 112. 113 115 116 124 127 131 132 133 IV. नहि बुद्धिगुणेनैव सुहृदामर्थदर्शनम् । कार्यसिद्धिपथः सूक्ष्मः न्नेहेनाप्युपलभ्यते ॥ कुम्भीलकैः कामुकैरपि परिहरणीया खलु चन्द्रिका मुधेदानी मञ्जूषेव रत्नभाण्डं यौवनगवं वहसि कात्स्न्येन निर्वर्णयितुं च रूपमिच्छन्ति तत्पूर्वसमागमानाम् । न च प्रियेष्वायतलोचनानां समग्रपातीनि विलोचनानि ।। रमणीयः खलु नवाङ्गनानां मदनविषयावतार: विपणिगत इव बलीव आसीन एव निद्रायते किं नु खलु दर्दुरा व्याहरन्तीति देवः पृथिव्यां वर्षितुं स्मरति अपर्वणि ग्रहकलुषेन्दुमण्डला विभावरी कथय कथं भविष्यति नाईति कृतापराधोऽप्युत्सवदिवसेषु परिजनो दण्डम् बन्धनभ्रष्टो गृहकपोतको बिडालिकालोके पतितः कातरो बालभावः V. कष्टः खलु संनिधिविप्रयोगः आगामि सुखं वा दुःखं वा हृदयसमवस्था कथयति चन्दनं खलु मया पादुकोपयोगेन दूषितम् अहो परिभवोपहारिणो विनिपाताः स्नानीयवस्त्रक्रियया पत्रोणेवोपयुज्यते ननु कलमेन यूथपतिरनुकृतः सर्वोऽपि नववरो लज्जातुरो भवति अप्याकरसमुत्पन्ना मणिजातिरसंस्कृता। जातरूपेण कल्याणि न हि संयोगमर्हति ॥ प्रतिपक्षणापि पति सेवन्ते भर्तृवत्सलाः साध्न्यः । अन्यसरितां शतानि हि समुद्रगाः प्रापयन्त्यब्धिम् ॥ 135 150. 151 154 160 " 167 170 171 172

·Madras University Questions.
Subject-matter.
1. Describe the part played by Pandita Kausikī
in Malavikāgnimitra.
1931 March
2. What are the eight mūrtis of Siva?
3. What do you learn from Mālavikāgnimitra
regarding Kālidāsa's conception of an ideal
teacher ?
4. Explain the purpose served by the scene where
the Vidúshaka was bitten by a snake.
-5. Bring out the significance of the scene where
both Haradatta and Gañadāsa appear before
the king.
1931 September
6. Sketch briefly the part played by the Vidūshaka
in Mālavikāgnimitra.
ny. Contrast the character of Irāvatī with that of
Dhāriņi referring to the incidents in the play.
1992 March
8. Refer in full detail to the circumstances that
forced Dhāriņi to permit Gañadāsa to answer
the challenge offered by his rival.
9. How far were Bakulāvalikā and Jayasenā
helpful to king Agnimitra in achieving his
purpose ?
10. Compare the description of the advent of
Spring in the Mālavikāgnimitra with that in
Kumārasambhava.

·QUESTIONS 303 11. What is Kālidāsa's conception of true love as you know from Mālavikāgnimitra and Kumārasambhava? 1933 March 12. Give an estimate of Agnimitra as a monarch. 13. What do you gather about Kālidāsa's ideas on education from a study of the text prescribed for you? 1933 Sept. 14. Show how Pandita Kauśiki was from the beginning cautiously promoting the interest of Mālavikā. 15. Make clear how the following incidents help the development of the plot. (i) The battle with the Vidarbha king. (ii) Pushpamitra's horse-sacrifice. 16. Write briefly what you know about the predecessors of Kālidāsa in the dramatic literature. 1944 March 17. What is Irāvati's role in Malavikāgnimitram ? Contrast her character with that of Dhāriņi. 1944 Sept. 18. Describe clearly the historical background in the story of Milavikāgnimitra. 19. Examine at length the statement that the Vidūshaka in this play is the best specimen of Kālidāsa's creative genius. 1945 March ·304 MĀLAVIRĀGNIMITRA V 20. Trace the love-story of Malavikā. 21. दाक्षिण्यं नाम बिम्बोष्ठि बैम्बिकानां कुलव्रतम्-Illustrate this: with reference to the character of Agnimitra with as many instances as possible. 1945 Septa 22. Trace the development of the plot in Mālavi. kāgnimitram. 23. Examine the statement that the hero of the play isa धीरोदात्त. 24. Write in your words how Gañadāsa eulogises the art of dancing. 1946 March 25. The Vidūsbaka's stratagems to secure his master the sight of his beloved are amusing'. Substantiate this statement with examples from Mālavikāgnimitram. 26. Sketch the character of Mālavikā. 27. Explain the purpose served by the following in the development of the plot of Mālavikāgnimitram : (i) The DIEETTO scene in Act III. (ii) The same in Act V. 1946 Sept. 28. Narrate the circumstances by which Mālavikā happened to serve as a maid of Dhārinī. 1955 March ·QUESTIONS 305 Translate into English:-- 1931 March " " " 1. श्लिष्टा क्रिया... Act I Verse 16 2. कदा मुखं... IV 16 3. आमत्तानां... III 4 4. प्रतिपक्षणापि... V 19 5. चित्रगतायामस्यां... II 2 6. पत्रच्छायासु हंसा... II 12 7. पत्रच्छायासु हंसा... II 12 8. उचित: प्रणयो... III 3 9. न च न परिचितो... I 11 10. अनातुरोत्कण्ठितयो:... III 15 11. द्वारेनियुक्त... I 12 12. उपदेशं विदुः शुद्धं... II 9 13. आमत्तानां श्रवणसुभगैः...III 4 14. पंत्रच्छायासु... II 12 15. द्विधाविभक्तां... 14 1931 Sept. 1933 March 1933 Sept. 1944 March 1944 Sept. " " 1945 March " 1945 Sept. 1946 March " 1946 Sept. Annotate: - 1. मृदु तीक्ष्णतरं यदुच्यते तदिदं मन्मथ दृश्यते त्वयि 2. मुग्धे भ्रमरसंबाधोऽस्तीति किं न वसन्तावतारसर्वस्वं नवचूतप्रसवोऽवतंसनीयः 1931 March 3. त्रयी विग्रहवत्येव सममध्यात्मविद्यया 4. किंनु खलु दर्दुरा व्याहरन्तीति देवः पृथिव्यां वर्षितुं स्मरति 5. एवं हि प्रणयवती सा शक्यमुपेक्षितुं कुपिता 1932 March 6. यस्याप्रधृष्यः प्रभवस्त्वमुच्चैरग्नेरपां दग्धुरिवोरुजन्मा 7. सावज्ञेव मुखप्रसाधन विधौ श्रीर्माधवी योषिता 1933 March 20 ·306 MĀLAVIKĀGNIMITRA 8. अर्हत्येष कृतघ्न उपद्रवस्य । 9. तं ज्ञानपण्यं वणिज वदन्ति । 1944 March 10. पश्याम उरभ्रसंपातम् । कि मुधा वेतनदानेन । 11. मूढः परप्रत्ययनेयबुद्धिः । 1944 Sept. 12. तत्त्वावबोधैकरसो न तर्कः । 13. पण्डितपरितोषप्रत्यया ननु मूढा जातिः। 1945 Marche 14. स्थाने प्राणाः कामिनां दूत्यधीनाः। 15. किं नु खलु दर्दुरा व्याहरन्तीति देवः पृथिवीं विस्मरति । 1945 Sept. 1931 March 1981 Sept.. ७ 16 17 15 7 4 10 16 2 10 3 " 1982 March " Explain :-- 1, श्लिष्टा क्रिया... Act I Verse 2. लब्धास्पदोऽस्मीति... I 3. अनातुरोत्कण्ठितयोः... III 4. मन्दोऽप्यमन्दतामेति... II 5. देवानामिदमामनन्ति... I 6. औत्सुक्यहेतुं विवृणोषि... III 7. कदा मुखं वरतनु.. IV 8. क रुजा हृदयप्रमाथिनी III 9. स्मयमानमायताक्ष्या:... II 10. उचितः प्रणयो... III 11. तामाश्रित्य श्रुति... IV 12. विरचितपदं... V 13. त्वदुपलभ्य समीपगतां... III 14. अप्याकरसमुत्पन्ना... V 15. तूणीरपट्टपरिणद्ध... V 16. भाग्यास्तमय... II 17. शरकाण्डपाण्डु... III 18. इमां परीप्सु... V " 1938 March " " 2 " 6 18 10 1938 Sept. 1944 March 1944 Sept. " 11 1945 March 8 11 1945 Sept- ·QUESTIONS 307 Explain with reference to the context:- 1. अपर्वणि प्रहकलुषेन्दुमण्डला विभावरी कथय कथं भविष्यति 2. चूताङ्कुरं विचिन्वत्योरावयोः पिपीलिकाभिर्दष्टम् 3. पत्तने सति ग्रामे रत्नपरीक्षा • 1981 Sept. 4. सीधुपानोद्वेजितस्य मत्स्यण्डिकोपनता 5. कर्मगृहीतेन कुम्भीलकेन संधिच्छेदने शिक्षितोऽस्मीति वक्तव्यं भवति 1938 Sept- 6. ननु कलभेन यूथपतिरनुकृतः। 7. अप्याकरसमुत्पन्ना Act V.-18 1946 Sept. Miscellaneous:--- Quote a śloka from your text in which the iidea is parallel to अन्तःसागरशुक्तिमध्यपतितं सन्मौक्तिकं जायते 1931 Sept. - . Write short notes on: प्रवेशकः, जनान्तिकं, नान्दी, पञ्चाङ्गाभिनयः 1932 March प्रस्तावना, विष्कम्भः, कञ्चुकी, वैतालिक: 1988 Sept. पीठमर्दिका, विष्कम्भः, विदूषकः 1944 Sept. कौलीन, Give the meanings of :-ब्रह्मबन्धुः, शरच्छतम् ॥ भ्रूभाभिन्नतिलक ... नयस्य शिक्षा॥ महासारप्रसवयोः 1946 March 1946 Sept. Write grammatical notes on: दास्या दुहिता, वक्तुकाम:, मा भैषीः, दर्शनपथः, अग्रहस्तः, उचितः प्रणयो वरं विहन्तुम्, मम ह्यनुकरोत्यशोकः, बहुना, अलं बहु विकत्थ्य, अयं न मे पादरजसापि तुल्यः । किं

·308
MĀLAVIKĀGNIMITRA
Derive:-
मन्मथः, राजकं, प्रणतबहुफले, अचिराधिष्ठितराज्य:,
Bring out the force of the underlined portions in:
पत्रोणं वोपयुज्यते, ब्रह्मबन्धुः, मा तावत्, आर्यपुत्रः.
Change the Voice:-
1. परित्यक्तोऽस्म्यहं त्वया ।
2. उमे पातालवासमनुभवतः ।
3. परिवाजिकयाँ मे कथितम् ।
4. मुच्यन्ता सर्वे बन्धनस्थाः।

·INDEX OF VERSES. Page Page: 18 1 अग्रे विकीर्णकुरवक अझैरन्तर्निहितवचनैः अचिराधिष्ठितराज्य: अतिमात्रभासुरत्वं अनतिलम्बिदुकूल अनातुरोत्कण्ठितयोः अनिमित्तमिन्दुवदने अनुचितनूपुरविरह अनेन तनुमध्यया अपराधिनि मयि दण्ड अप्याकरसमुत्पन्ना अर्थ सप्रतिबन्ध अलमन्यथा गृहीत्वा अव्याजसुन्दरीं तां अहं रथाङ्गनामेव आदाय कर्णकिसलय आमत्तानां श्रवणसुभगैः भालतकमस्या इमां परी सुर्दुर्जाते इष्टाधिगमनिमित्त उचित: प्रणयो वरं उत्तरेण किमात्मैव उपदेशं विदुः शुद्धं 146 उभावभिनयाचार्यो 44 एकैश्वर्ये स्थितोऽपि 15 औत्सुक्यहेतुं विवृणोषि 23 कदा मुखं वरतनु 148 कान्तां विचिन्त्य 84 कात्स्न्यन निर्वर्णयितुं 30 किसलयमृदोविलासिनि 103 कुप्यसि कुवलयनयने 85 करुजा हृदयप्रमाथिनी 93 चरणान्तनिवेशितां 171 चित्रगतायामस्या 17 छेदो दंशस्य दाहो वा 34 जनमिममनुरक्तं 51 जीमूतस्तनित विशति 150 ततः परान्पराजित्य 84 तामाश्रित्य श्रुतिपथ 61 तूणीरपट्टपरिणद्ध 78 तौ पृथग्वरदाकूले 158 स्वदुपलभ्य समीपगतां 110 त्वं मे प्रसादसुमुखी 60 दाक्षिण्यं नाम बिम्बोष्ठि , 121 दीर्घाक्षं शरदिन्दुकान्ति 44 · दुर्लभः प्रियो में 68 132 143 116 87 119 58 71 39. 105. 41 35. 165. 95 157 162 65. 174 123 39.. . .

·:310 MĀLAVIKĀGNIMITRA Page Page 99 43 94 24 147 देवानामिदमामनन्ति द्वारेनियुक्तपुरुषा द्विधा विभक्तां श्रिय धृतिपुष्पमयमपि "धैर्यावलम्बिनमपि न च न परिचितो नवकिसलयरागेणा व हि बुद्धिगुणेनैव नायं देव्या भाजनत्वं नाहति कृतापराधो - नेपथ्यगृहगताया नैतावता वीरविजृम्भि पत्रच्छायासु हंसा पथि नयनयोः स्थित्वा परभृतकलव्याहारेषु पात्रविशेषे न्यस्तं पुराणमित्येव न साधु प्रतिपक्षेणापि पतिं प्रेष्यभावेन नामेयं बाष्पासारा हेमकाञ्ची भासि वीरपत्नीनां भाग्यास्तमयमिवाक्षणोः भावज्ञानानन्तरं भ्रूभङ्गभिन्नतिलकं मङ्गलालंकृता भाति 9 मधुरस्वरा परमृता 19 मन्दोऽप्यमन्दतामेति 163 मन्ये प्रियाहृतमनाः 89 महासारप्रसवयोः 36 मामियमभ्युत्तिष्ठति 19 मौर्यसचिव विमुञ्चति 72 यद्यत्प्रयोगविषये 112. रक्ताशोकरुचा विशेषित 149 लब्धास्पदोऽस्मीति 133 वामं संधिस्तिमितवलयं 38 विपुलं नितम्बबिम्बे 167 विरचितपदं वीरप्रीत्या 49 विवादे दर्शयिष्यन्तं 120 विसृज सुन्दरि संगम 142 वोढा कुरबकरजसां 11 शठ इति मयि तावदस्तु 3 शरकाण्डपाण्डुगण्ड 172 शरीरं क्षामं स्यादसति 160 शिरसा प्रथमगृहीतां 93 क्लिष्टा क्रिया कस्यचिदा 166 सर्वान्तःपुरवनिता 48 सर्वाशोकतरूणां 81 सूर्योदये भवति या 118 स्मयमानमायताक्ष्याः 23 हस्तं कम्पवती रुणद्धि 14 10 62 29 42 66 142 31 123 67 92 66 57 3 27 52 146 115 45 124

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