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Accession No.
No. Ans6 4256

·THE STUDENT'S PRACTICAL EDITION OF
KÂLIDÂSA'S
VIKRAMORVASIYAM.
EDITED WITH
An Introduction, Sanskrit Text most conveniently
arranged, Literal English Translation,
and Copious Notes.
BY
GAJANAN BHASKAR VAIDYA, B. A.
1894.
Price Rs. 2. (Postage Extra.)
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·TO TOOKARAM TATYA ESQ., F.T.S., Director and Physician in charge of the Charitable Homeopathic Dispensary of the Theosophical Society, I DEDICATE THIS BOOK With feelings which words cannot express, And in memory of the Year 1892, when he by charitable homeopathic And mesmeric treatment, cured MY BROTHER SUNDERRAO Who was suffering from fever and enlargement of Liver and whose case was pronounced To be hopeless by an M. D. of Bombay. The Kashmir Book Stail, Srinagar (Kashmir. · I sledicate, I consecrate with tears. TEXSYSON

·No text on this page.

·INTRODUCTION. I. On the 7th of February 1891, we opened two morning classes to teach Sanskrit, under the name of The Bombay Sanskrit School. There we commenced to teach the drama of Vikramorvas'i'ya to the senior class, and as we went on studying and teaching it, the original vague idea of editing it was defined and dereloped, and the result is this edition now offered to the students of Sanskrit. Our Text is based on (a) The old edition of Mr. S. P. Pandit, (b) His new edition in which he has adopted different readings in some places, (c) The Hertford edition (1819) of Sir M. Williams, (d) The Nirnayasayar edition & (c) The numerous variants given by Mr. S. P. Pandit in the footnotes. We have printed the Sanskrit translations of all the Prákrit passages in the body of the text and given the corresponding Prakrit passages in the form of footnotes; and we trust our readers will find this to be a very convenient arrangement. We have also made a few necessary additions and alterations in the text. They are : (1) P 1 L.3 the word ar arided for convenience. (2) P. 16 L. 13 we have nsed the plural à ai Fr, for in the next verse there is the plural 4. (3) P. 52 L 19 and P. 53 L. ? the words arii 379317 inserted because they are necessary. (1) P. 62 L. 17 the word a added because the verse contains no verb. (5) P. 63 L. 17 the word retrică added for convenience. (6) P 64 L. 12 the word ag is substi. tuted for tã and (7) P. 78 L. 13 the word is substituted for that the obscene word tiã (sexual enjoyment) is omitted because a teacher blushes to read it in the class and the student to hear it. (8) P. 67 L. 11 the four lines of IV, 32 being four lines of one verse are printed together, while in other books they are given at intervals. (9) P. 69 L. 19 the words E: are inserted, for the verse wants a subject and a verb (10) P. 37 L. 11 we read मुकुलं व्यालीयते षट्पदः instead of मकुलान्यालीयते SZT, for the singular is in keeping with the singulars in the verse. We have made these changes on our own responsibility. They are not to be found in the existing editions or the variants given in them. We have taken every care to give a literal Translation, having availed ourselves of all the materials at our disposal, especially the two translations by H. H. Wilson and E. B. Cowell, and a manuscript Note-book kindly lent to us by our friend Mr. Trivikram Kashinath Pitre, B. A., who had also lent to us an old edition of the play containing marginal notes dictated by the late Principal V. S. Apte. Our Notes is the most important part of our book. No pains have been spared in preparing it. In it we have given and ·vi INTRODUCTION. discussed all the important variants, and given quotations from Wilson's & Cowell's translations, some of which are calculated to throw some light on difficult passages and give a clearer idea. II. Almost nothing is known about the Life of Kâlidása. It is also not easy to say exactly which works he wrote: but the following are generally attributed to him-(1) #THEIT ( 2 ) art- #44 ( 3 ) Tei ( 4 ) haga ( 5 ) a ( 6 ) rahT4 ( 7 ) FSfã7 (8) May (9) Fitria (10) ITAICK ( 11 ) ##554 (12) FTC (13) gsqartie (14) 2143536 and ( 15 ) TAT- A. Some criticism about his style &c. is given in the notes. Wilson thus compares his two plays, शाकुंतल and विक्रमोर्वशीय :- * The drama of Vikramorras'i'ya is atributed to Kalidasa, the author of S'akuntala. The introductory observation of the manager in the prelude is our evidence to this effect; and it is corroborated by the correspondence of these two compositions in many of their characteristic merits and defects. The subject of each is taken from heroic mythology and royal demigod and nymph of more than human mould are the hero and heroine of either; there is the same vivacity of des. cription and tenderness of feeling in both; the like delicate beauty in the thoughts, and extreme elegance in the style. It may be difficult to decide to which the palm belongs: the story of the present play (Vikramorvas'i'ya) is perhaps more skilfully woven and the incidents rise out of each other more naturally than in S'akuntala, while on the other hand there is perhaps no one personage in it so interesting as the heroine of that drama.' * Kalidasa displays the richness of poetical gezius, the exuberance of imagination, the warmth and play of fancy, profound knowledge of human heart, delicate appreciation of its most refined and tender emotions, familiarity with the workings and counterworkings of its conflicting feelings—which entitle him to rank as the Shakespeare of India.' M. Williams. III. Some discussion about the age or Date of this Shakespeare of India will be found at the end of this edition. IV. The plot of the play. (Act I.) The hero of this play is the king Purúravas, the son of Budha and llá. He is of the lunar race and his capital is Pratishthána, near Allahabad. His queen is Auśinarí, the daughter of Kâśírája. One day while returning after paying his respects to the god Sun, he hears in the way some one thus crying aloud for help Help, help ! if any friend be nigh To aid the daughters of the sky! He looks about and seeing the nymphs asks them what kind of help they require. He learns from them that their friends, ·INTRODUCTION. vii Urvasi and Chitralekhá, have been carried away by the demon Kesin. He tells them to wait for him on the Hemakúta mountain, pursues the demon, and rescuing those two nymphs brings them back to Hemakuta, and thus Secure the king extracts the dart That rankles in each anxious heart. But on his way back to Hemakuta, the king sees in Urvasi' all beauty com passed in a female form ': they look at each other and fall in love, but neither knows the feeling of the other. They are all welcomed in the words For both the boons our thanks be pou red The prince unharmed and friends restored, by the nymphs waiting for them on Hemakuta, where comes also Chitraratha Gandharva. He is sent by Indra (who is informed by Nárada of the capture of Urvaſi) to pursue the demon but learns on his way that the demon is defeated by Purúravas and so comes now to see the king, whom he requests to accompany him to Indra direct from Hemakuta. The king humbly refuses to goes to Pratishthana to attend to some urgent business of the kingdom, and they all go to Svarga, Urvasi saying to herself- Ah me, ah! when again Shall I behold my brave deliverer! (Act II). Then after returning to his city, the king is found to be absent-minded by his qncen Auśinari. She sends her faithful maid-servant, Nipuņiká to Vidúshaka, the intimate friend of the king, to ask him why the king is so, and learns from hin that he is in love with a nymph by name Urvasi. Thereupon, her pride is insulted and she starts from the palace to see the king in the pleasure-garden. The king on his part dismisses his court early and goes to the pleasure-garden accompanied by the Buffoon alone. There come also Urvaſi and Chitralekhá but they remain invisible for a while. They ascertain from the unreserved conversation of the king and the Buffoon that the king loves Urvasi but is not aware of her feeling. Therefore she, there and then, writes a loveletter on a birch-leaf (Bhúrja patra)- Thon wrongst me lord ! to think I do not feel Alike the pains that o'er thy bosom steal,' and drops it before the king. After he has read it, they both (Urvasi and Chitralekha) appear before him risibly. But as soon as ·viii INTRODUCTION. kif tneri mutual thanks-giving begins, a Messenger-from-the-gods comes and takes with him Urvasi and Chitralekhá back to Svarga, for, they have to take parts in a drama named Lakshmisivayamvara to be performed under the management of the sage Bharata. This again in the pleasure-garden, the king and the Buffoon remain alone. The king asks him where is that love-letter?' Vidúshaka finds that he has lost it and says that it must have gone away with Urvasi ! But the king blames him for his carelessness and then they both begin a very hot search for it. That letter is really carried away by the wind and it now catches the sight of Auśinari and Nipuņiká who having started from the palace to see the king, have now approached the pleasure-garden. Nipuņiká takes up the letter and reads it out to the queen who is thereby made doubly sure of the fact that the king is after Urvasí. They come where the king and the Buffoon are engaged in its search, and the queen censuring the king and disregarding all his conciliatory words and even prostration, goes are--cin anger after saying to the king- Not yours the offence my lord ! 'tis mine who tarry Here where my presence is not wished.' But the king is sure that she will soon pardon him and be reconciled. The king and the Buffoon then go home to bathe and dine ; for, 'Tis past midday. Exhausted by the heat The peacock plunges in the scanty pool. The parrot from his wiry bower complains And calls for water to allay his thirst. (Act III.) The Messenger-from-the-gods takes Urvasí and Chitralekha to Svarga to take parts in the drama of Lakshmi- Svayamvara : and they do take parts, Urvasi of Lakshmi and Chitralekhâ of Lakshmi's friend Váruņi. But it so happens that Urvasi, being asked by her friend as to whom she loves, says I love Purúravas' instead of saying "I love Purushottama' as she ought to have said suitably to her assumed character of Lakshmi, When she commits this mistake, the sage Bharata gets angry and curses her and banishes her out of the confines of Heaven. But Indra kindly says to her - According to this curse go to the earth Go, and be happy with the prince my friend; But when he views the son that thou shalt bear bim Then hitherward direct thy prompt return.'

·INTRODUCTION. enjoy their honeymoon! There the king happens to look very ardently at a Vidyadhara-girl. Urvasi noticing this becoines angry, and leaving the king enters, unconsciously, the forbidden grounds of the park of the ever celibate Kumára (son of Sankara) and is transformed into a creeper, according to the rule laid down by the deity that any woman entering his park would be so transformed and would be restored to her former state only when touched by a jewel (Sangamaniya) produced from the red lac applied to his mother Gauri's feet. This transformation is not noticed by the king. He wanders in the forest to search for her, and asks birds and beasts and stones and all to give him back his wife or at least to tell him where she has gone, as Rama once did while searching for Sítá. He wanders like a madman from place to place, almost like the mad king Lear of Shakespeare, but at last finds the jewel Sangamaniya. Then with that jewel in hand he approaches the Creeper and says And might relenting fate restore To these fond arms the nymph I mourn, I'd bear her hence, and never more To these forbidden haunts return' Then he touches the creeper and there and then Urvasi appears and thus The sacred jem that owes its ruby glow To the bright tint of Gauri's sacred feet Alone effects their union. She asks his pardon and then they go back to Pratishthána riding upon a cloud which Urvaší makes to serve as a balloon by her supernatural power: The ardent swan his mate recovers And all his spirit is delight; With her aloft in air he hovers And homeward wings his joyous flight! (Act V.) After they return to the capital, it so happens tha the dear Sangamaniya-jewel is carried away by a vulture. The bird goes to the hermitage of Chyavana where bis pupil Ayuh, Urvasi's son, who has been there for these 12 years and more kil's the bird with his arrow. The arrow and the jewel are carried to the king by a police officer and the king reads these words aved on the arrow—This arrgy belangstgietis toe vessel from chau TeoVP ind Chyar ·INTRODUCTION. ix Thereupon, Urvasi and Chitralekhá come to the king's palace, Maniharmya, and remaining invisible, observe whatever takes place there. The queen, as anticipated by the king, repents that she disregarded the king's prostration, and then pretending to perform a religious ceremony (a vrata) sends word to the king - Be pleased to wait for me on the surface of the Maņiharmyapalace : there I wish to worship the Moon under your majesty's auspices. Accordingly, the king and the Buffoon go to the surface of the Maņiharmya-palace, where tomes the queen with the materials of worship (and where also Urvasi and Chitralekhá are already standing invisibly.) After worshipping the Moon, the queen says to the king 'I am no more angry. You may marry the woman you love and I promise to look upon her as my dear friend,' and then she goes away to take her meals after the whole day's fast. The invisible personages (Urvasi and Chitralekhá) remain looking at what passes there, but as soon as the queen departs, they step forward visibly and Urvaší says . If the queen has given me in marriage to the king, I am certainly his lawfully married wife.' The king accepts her hand, and Chitralekhá returns to Heaven to attend to her duties. Here the Buffoon too retires and asks the king and Urvasi to go to the bed-chamber. Before going, however, Urvasi requests the king to pardon her for being late in coming to him to gratify his wishes, but he truly says to her — Nay, say not so, the joy that follows grief Gains richer zest from agonies foregone. The traveller who faint pursues his track In the fierce day, alone can tell how sweet The grateful shelter of the friendly tree.' (Act IV.) (Urvasí is pregnant but her pregnancy is only partially noticed by the king, who has to leave her and go to Naimisha-forest to attend a sacrificial session for 12 years, and be absent from her so long. After his departure, Urvasi gives birth to a son whom, unnoticed by any one, she takes to the hermitage of the sage, Chyavana, and keeps him there, apparently for being educated, but really to avoid his being seen by the king. After 12 years' sacrificial session, the king returns to the palace and then) Urvasi, who being a nymph_was with jathu Then hitherward direc- the Get return. .8.4 ·INTRODUCTION. xi Ascetic and the boy to the king. The Female Ascetic hands over the boy to Urvasi and goes back. Urvasí explains to the king why their son was sent to the liermitage as soon as he was born and says—Now that you have seen the face of your son born to me, I am bound to obey the order of Indra and must presently return to Heaven.' Then all are sorry and the king determines to lead a forest-life after giving his kingdom in the charge of his son who, though a boy, is in his opinion fit to rule ; for- Kings are in boyhood monarchs, and endowed With powers inborn to rule the race of man: Nature, not age, gives fitness. But at the crisis there comes Nárada with a message from Indra and says 'Urvrši is allowed by Indra to live with you as long as you live; so you may now crown your son king and enjoy her company uninterruptedly to your leart's content.' In the end the king prayerfully says- May learning and prosperity oppose No more each other, as their wont, as foes. But in a friendly bond together twined Ensure the real welfare of mankind. V. The Sources of the Plot. The story of Purúravay and Urvas'í is differently told in different places. From the Plot given above and from its versions given below our readers will know what changes the Poet has made and how he has improved upon the original. (a) The Vedic version-In Heaven, Urvas'i incurs the displeasure of Mitrávaruna Rishi who sentences ber to become the wife of a Man. She comes to Pratishthina and there her charms do not fail to attract the heart of Parúravag. He proposes a matrimonial alliance with her. The proposes two conditions--(1) That the king should keep her two goats quite eafe and (2) That she should never see him naked. But the Gandharvas miss her and try to recover her as soon as the curse is over. To bring about the violation of the two conditions, they, at night, carry away the goats, whose bleat awakens the king and Urvas'i. The king leaps naked ont of his bed and rescues the goats and brings them back but the Gandharvas produce a flash of lightning in whose light Urvas'ı sees the king naked. Then she goes back to heaven. The king's intellect is affected and he, in distress, wanders over the world, and thus wanılering comes to Kurukshetra. There he sees Urvas'i and recognises her. She refuses to return to his palace but consents to pay a visit to him one night in a year. But he sighs for her permanent society. The Gandharvas pity his distress and give him a vessel charged with fire to perform a sacrifice. He neglects the vessel from ·xii INTRODUCTION. which two trees are prodnced. Their branches produce a fire with which he performs a sacritice and getting the rank of a Gandharva, is elevated to the regions of Svarya and there enjoys the constant society of his beloved l'rvas'i. (b) The Pour:inic version-Different Poranas relate the story diff. erentiy, but Matsyapurinn tellsit more agreeably to the tenor of the drama. It begins the story as in our play and thus goes on-One ciar Indra invited the king to a festival at which was represented the drama of Lakshmisvayamvara. Urvast being engrosseil by the admiration of the king for. got what she hail to enact. Bharata cursed her out of Svarga and sent. enced that even on earth she would be separated from the king and for 55 years be transformed to a line. (c) The Lșihatkatlisira-version-P'uniravasis of Innar race and is a devotee of Vishnu. He once goes to Heaven and seeing l’rvas'í longs for her. Vishnu asks Indra, through Narada, to give her to him. They are then married and live bappily. Then a war comes and he gets a victory for the gods. He is invited to Svarga to nttend a dramatic representation. There Rambhal commits a mistake ind he laughs at her. She says 'yon are a man and can't know godi's music.' He replies 'But a god. dess-Urvas'i-luas taught me.' He is cursed by the celestial musician (l'umburu) and is separated from Urvas'i. The king then goes to Badarik s'rama to get the favour of Viehnu. By Vishnu's order Urvas'i is returned to him by the govis. (d) Wilson says:--The whole plot of Vikramorrasiya is an allegory: Hero is the Sun and heroine is the Dawn. They are together for a time in the morning and then they are separated. The Sun alone wanders over hills and dales and rivers and then at the close of the day they are again united. We humbly request all our rea:lers to let us know any changes and corrections that they may have to suggest. We are thankful to those friends who helped us, to the managers of the Tatvavivechaka Press who kindly arranged to print out our book in less than two months, to our brothers and our dear friend Mr. Anant Nilkant Pitkar who did us a welcome service while, the book was being carried through the press; and finally to the Great God who enabled us to sustain our energy from first to last for many months of hard work. And now in the end we only pray विधेयासुदेवाः परमरमणीयां परिणति प्रयत्नः सर्वोऽयं फलतु शिवतातिश्च भवतु । 73, LOHARCHAL, MARKET P. 0. I G. B. VAIDYA. Bombay, 30th November, 1894.

·अथ विक्रमोर्वशीयम् । (नोदी।) वेदांतेषु यमाहुरेकपुरुषं व्याप्य स्थितं रोदसी यस्मिन्नीश्वर इत्यनन्यविषयः शब्दो यथार्थाक्षरः । अंतर्यश्च मुमुक्षुभिर्नियमितप्राणादिभिर्मुग्यते सः स्थाणुः स्थिरभक्तियोगसुलभो निःश्रेयसायास्तु वः ॥ १॥ (मांद्यते ।) सूत्रधारः-अलमतिविस्तरेण । ( नेपथ्याभिमुखमवलोक्य । ) मारिष, इतस्तावत् । ( प्रविश्य पारिपार्श्वकः।) पारिपार्श्वक:-भाव, अयमस्मि । सूत्रधारः-मारिष, बहुशस्तु परिषदा पूर्वेषां कवीनां दृष्टाः प्रयोगवंधाः । सोऽहमद्य विक्रमोर्वशीयं नामापूर्व नाटकं प्रयोक्ष्ये । तदुच्यतां पात्रवर्गः स्वेषु स्वेषु पाठेष्वसंमूतैर्भवितव्यमिति । पारिपार्धकः-यदाज्ञापयति भावः । ( इति निष्क्रांतः ।) सूत्रधारः-यावदिदानीमार्यमिश्रान्विज्ञापयामि । (प्रणिपत्य) भोः प्रणयिषु वा दाक्षिण्यादथवा सदस्तुपुरुषबहुमानात् । शृणुत मनोभिरवहितैः क्रियामिमां कालिदासस्य ॥ २ ॥ (नेपथ्ये ।) परित्रायतां परित्रायतां यःसुरपक्षपाती, यस्य वांबरतले गतिरस्ति । (नेपथ्ये ।) परित्ताभदु परित्तामा जो सुरपक्ववादी, जस्स वा अंबरअले .. गदी अस्थि ।। 4 ·विक्रमोर्वशीये सूत्रधारः-(कर्ण दत्त्वा ।) अये, किं नु खलु मद्विज्ञापनानंतर- मार्तानां कुररीणामिवाकाशे शब्दः श्रूयते । (27 मत्तानां कुसुमरसेन षट्पदानां शब्दोऽयं परभृतनाद एष धीरः । आकाशे सुरगणसेविते समंतात् किं नार्यः कलमधुराक्षरं प्रगीताः ॥ ३ ॥ (विचित्य ।) भवतु । ज्ञातम् । ऊरूद्भवा नरसखस्य मुनेः सुरखी कैलासनाथमुपसृत्य निवर्तमाना । बंदीकता विबुधशत्रुभिरर्धमार्गे क्रंदत्यतः करुणमप्सरसां गणोऽयम् ॥ ४ ॥ (इति निष्क्रांतः।) प्रस्तावना। (ततः प्रविशंत्यप्सरसः।) अप्सरस:-परित्रायतां परित्रायतां यः सुरपक्षपाती, यस्य वांवरतले गतिरस्ति । (ततः प्रविशति राजा रयेन सूतश्च ।) राजा-अलमलमाकंदितेन । सूर्योपस्थानात्प्रतिनिवृत्तं पुरूरवसं मामुपेत्य कथ्यतां कुतो भवत्यः परित्रातव्या इति । रंभा-असुरावलेपात् । राजा-किं पुनरसुरावलेपेन भवतीनामपराद्धम् । अप्सरसः-परित्ताअदु परित्ताअदु जो सुरपक्ववादी, जस्स वा अंवस्- अले गदी अस्थि । रंभा-असुरावलेवादो।

·प्रथमोंकः। मेनका-शृणोतु महाराजः । राजा-कथ्यताम् । मेनका-या तपोविशेषशंकितस्य सुकुमारं प्रहरणं महेंद्रस्य, प्रत्यादेशो रूपगर्वितायाः श्रियः, अलंकारः स्वर्गस्य, सा नः प्रिय- सख्युर्वशी कुबेरभवनान्निवर्तमाना समापत्तिदृष्टेन हिरण्यपुरवासिना केशिना दानवेन चित्रलेखाद्वितीया बंदिग्राहं गृहीता । राजा-अपि ज्ञायते कतमेन दिग्भागेन गतः स जाल्म इति । सहजन्या-पूर्वोत्तरेण । राजा-तेन हि मुच्यतां विषादः । यतिष्ये वः प्रियसखीप्र- त्यानयनाय । रंभा-सदृशं खल्वेतत्सोमादकांतरस्य । राजा-क्व पुना भवत्यः प्रतिपालयिष्यति । अप्सरस:-एतस्मिन्हमकूटशिखरे । राना-सूत, ऐशानी दिशं प्रति प्रेरयाश्वानाशुगमनाय । सूत:-यदाज्ञापयत्यायुष्मान् । (इति यथोक्तं करोति ।) राजा-(रथवेगं निरूपयन् ।) सूत, साधु साधु । अनेन रथ- मेनका-सुणादु महाराओ। मेनका-जा तवोविसेससंकिदस्स सुउमारं पहरणं महिंदस्स, पच्चादेसो रूवगविदाए सिरीए, अलंकारो सग्गस्स, सा णो पिअसही उव्वसी कुवेरभव- णादो णिवद्यमाणा समावत्तिदिटेण हिरण्णउरवासिणा केसिणा दाणवेण चित्त- लेहादुदीआ वंदिग्गाहं गहिदा । सहजन्या-पुव्वुत्तरेण । रंभा-सरिसं खु एवं सोमादो एकंदरस्स । अप्सरसः-इमस्सि हेमकूडसिहरे ।

·४ विक्रमोर्वशीये वेगेन पूर्वप्रस्थितं वैनतेयमप्यासादयेयम् , किं पुनस्तमपकारिणं मघोनः । तथा हि। अग्रे यांति रथस्य रेणुपदवीं चूर्णीभवंतो घनाः चक्रभ्रांतिररांतरेषु जनयत्यन्यामिवारावलीम् । चित्रन्यस्तमिवाचलं हयशिरस्यायामवच्चामरं यष्टयग्रे च समं स्थितो ध्वजपटः प्रांते च वेगानिलात्॥५॥ (निष्क्रांतो रथेन राजा सूतश्च ।) रंभा-सख्यः, गतो राजर्षिः । तद्वयमपि यथानिर्दिष्टं प्रदेश संक्रमामहे । मेनका-सखि, एवं कुर्मः । शेषाः–तथा । ( इति सर्वाः शैलाधिरोहणं रूपयित्वा स्थिताः।) रंभा-अपि नाम स राजर्षिः समुद्धरेनो हृदयशल्यम् । मेनका-सखि, मा ते संशयो भूत् । रंभा-ननु दुर्जया दानवाः । मेनका-उपस्थितसंपरायो महेंद्रोऽपि मध्यमलोकात्सबहुमा- नमानाय्य तमेव विबुधविजयाय सेनामुखे नियोजयति । रंभा-हला, गदो राएसी । ता अझे वि जहणिरिहं पदेसं संकमामो । मेनका-सहि, एवं करेम्ह । शेषाः-तह । रंभा-अवि णाम सो राएसी समुबरे णो हिअभसावं । मेनका-सहि, मा दे संसओ हो । रंभा-णं दुबा दाणवा । मेनका-उवहिदसंपराभो महिंदोवि मज्झमलोआदो सबहुमाणं भाणाविभ तं एव विषुधविजआअ सेणामुहे णिभोजेदि ।

·प्रथमोंकः। ६ रंभा-सर्वथा इंहाप्ययं विजयी भवतु । (क्षणमात्रं स्थित्वा ।) सख्यः, समाश्वसित समाश्वसित । एष उच्चलितहरिणकेतनस्तस्य राजर्षेः सोमदत्तो रथो दृश्यते । न खलु सोऽकृतार्थों निवर्तिप्यते । (सर्वा उच्चक्षुषो विलोकयंति ।) (ततः प्रविशति रथारूढो राजा सूतश्च । चित्रलेखादक्षिणहस्तावलंबित भवनिमीलिताक्षी चोर्वशी।) चित्रलेखा-समाश्वसितु समाश्वसितु प्रियसखी । राजा-सुंदरि, समाश्वसिहि समाश्वसिहि । गतं भयं भीरु सुरारिसंभवं त्रिलोकरक्षी महिमा हि वजिणः । तदेतदुन्मीलय चक्षुरायतं निशावसाने नलिनीव पंकजम् ॥ ६ ॥ चित्रलेखा-अहो, कथमुच्छसितमात्रसंभावितजीविता अद्या- प्येषा संज्ञां न प्रतिपद्यते । राजा-मद्रे, बलवदत्रभवती परित्रस्ता । तथा हि । मंदारकुसुमदाम्ना गुरुरस्याः सूच्यते हृदयकंपः । मुहुरुच्छ्रसता मध्ये परिणाहवतोः पयोधरयोः ॥ ७ ॥ चित्रलेखा-सखि उर्वशि, पर्यवस्थापयात्मानम् । अनप्स- रेव में प्रतिभासि । रभा-सब्वहा इह वि स विअई भोदु । हला, समास्ससध समास्ससध। एसो उच्चलिदहरिणकेदणो तेस्स राएसिणो सोमदत्तो रहो दीसदि । ण खु सो अकिदत्यो णिवत्तिस्सदि । चित्रलेखा--समस्ससदु समस्ससदु पिअसही । चित्रलेखा-अम्महे, कहं उस्ससिदमेत्तसंभाविदजीविदा अज्ज वि एसा सणं ण पडिवज्जदि। चित्रलेखा-सहि उव्वसि, पज्जवत्थावेहि अत्ताणं । अणच्छा विअ मे पडिहासि ।

·विक्रमोर्वशीये राजा- मुंचति न तावदस्या भयकंपः कुमुमकोमलं हृदयम् । सिचयांतेन कथंचित्स्तनमध्योच्छ्ासिना कथितः ।। ८ ॥ ( उर्वशी प्रत्यागच्छति ।) राजा-(सहर्षम् ।) अयि चित्रलेखे, दिष्टया वर्धसे | प्रकृति- मापद्यते ते प्रियसखी । पश्य । आविर्भूते शशिनि तमसा मुच्यमानेव रात्रिः नैशस्यार्चिहुतभुज इव च्छिन्नभूयिष्ठधूमा। मोहेनांतर्वरतनुरियं लक्ष्यते मुक्तकल्पा गंगा रोधःपतनकलुषा गच्छतीव प्रसादम् ॥ ९ ॥ चित्रलेखा-सखि उर्वशि, विश्रब्धा भव । पराभूताः खलु ते त्रिदशपरिपंथिनो हताशा दानवाः । उर्वशी-(चक्षुषी उन्मील्य । ) किं प्रभावदर्शिना महेंद्रेण । चित्रलेखा-न महेंद्रेण । महेंद्रसदृशानुभावेनानेन राजर्षिणा। उर्वशी-(राजानमवलोक्य । आत्मगतम्।) उपकृतं खलु मे दानवैः। राजा-(प्रकृतिस्थामुर्वशी निर्वर्ण्य । आत्मगतम् ।) स्थाने खलु नारायणमृषि विलोभयंत्यस्तदूरुसंभवामिमां विलोक्य वीडिताः सर्वा अप्सरसः । अथवा नेयं तपस्विनः सृष्टिर्भवितुमर्हतीत्यवैमि । तथा हि । अस्याः सर्गविधौ प्रजापतिरभूच्चंद्रो नु कांतिप्रदः शृंगारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः । चित्रलेखा-सहि उव्वसि, विस्सद्धा होहि । पराभूदा खु दे तिदसपरि- पंधिणो हदासा दाणवा । उर्वशी-कि पहावदंसिणा महिंदेण । चित्रलेखा-ण महिंदेण । महिंदसरिसाणुभावेण इमिणा राएसिणा। उर्वशी-उवकिदं खु मे दाणवेहि ।

·प्रथमोंकः । shus 11 वेदाभ्यासजडः कथं नु विषयव्यावृत्तकौतूहलो निर्मातुं प्रभवेन्मनोहरमिदं रूपं पुराणो मुनिः ॥ १० ॥ उर्वशी-सखि चित्रलेखे, स सखीजनः कुत्र खलु भवेत् । चित्रलेखा-सखि, अभयप्रदायी महाराजो जानाति । राजा-(उर्वशीमवलोकयन् ।) महति विषादे वर्तते सखीजनः । पश्यतु भवती। यदृच्छया त्वं सकृदप्यवंध्ययोः पथि स्थिता सुंदरि यस्य नेत्रयोः । त्वया विना सोऽपि समुत्सुको भवेत् सखीजनस्ते किमु रुढसौहृदः ॥ ११ ॥ उर्वशी-(अपवार्य।) अभिजातं खल्वस्य वचनम् । अथवा चंद्रादमृतमिति किमत्राश्चर्यम् । (प्रकाशम् ।) अत एवैनं प्रेक्षितुं त्वरते मे हृदयम् । राजा-(हस्तेन दर्शयन् ।) एताः सुतनु मुखं ते सख्यः पश्यंति हेमकूटगताः । उत्सुकनयना लोकाश्चंद्रमिवोपप्लवान्मुक्तम् ॥ १२॥ चित्रलेखा-सखि, पश्य । उर्वशी-(राजानं सस्पृहं पश्यंती।) ननु समदुःखः पीयते नय- नाभ्याम् । उर्वशी-सहि चित्तलेहे, सो सहीजणो कहिं खु भवे । चित्रलेखा-सहि, अभअप्पदाई महाराओ जाणादि । उर्वशी-अहिजादं खु से वअणं । अहवा चंदादो अमिअं त्ति किं एत्थ अच्चरिअं । अदो एव पं पेक्खिदं तुवरदि मे हिअअं। चित्रलेखा-सहि, पेक्ख । उर्वशी-णं समदुक्खो पिवीअदि जयहिं ।

·विक्रमोर्वशीये चित्रलेखा-(सस्मितम् । साकूतम् ।) अयि, कः । उर्वशी-ननु सखीजनः । रंमा-(सहर्षमवलोक्य । ) एष चित्रलेखाद्वितीयामुर्वशी गृहीत्वा विशाखासमीपगत इव चंद्रः समुपस्थितो राजर्षिः । मेनका (निर्वर्ण्य । ) हे अपि नः प्रिये उपनते । इयं प्रत्या- नीता प्रियसखी, अयं चापरिक्षतो महाराज इति । सहजन्या-सखि, युक्तं भणसि । दुर्जयाः खलु दानवाः । राजा-सूत, इदं तच्छैलशिखरम् । अवतारय रथम् । सूतः यदाज्ञापयत्यायुष्मान् । (इति तथा करोति ।) राजा-(रथोद्धातं रूपयित्वा । आत्मगतम् ।) हंत, दत्तफलो मे विषमावतारः । यदयं रथसंक्षोभादंसेनांसो रथोपमश्रोण्याः । स्पृष्टः सरोमविक्रियमंकुरितमनोभवेनेव ॥ १३ ॥ उर्वशी-(सबीडम् । ) सखि, किमपि परतोऽपसर । चित्रलेखा-(सस्मितम् । ) नाहं शक्नोमि । चित्रलेखा-अयि, को। उर्वशी-णं सहिअणो । रंभा-एसो चित्तलेहादुदीअं उध्वसिं गेण्डिा विसाहासमीवगदो विष चंदो समुवद्विदो राएसी। मेनका-दुवे वि णो पिआणि उवणदाणि । इमं पचाणीदा पिअसही, अअं अ अपरिक्खदो महाराओ त्ति । सहजन्या-सहि, जुत्तं भणासि । दुबआ खु दाणवा । उर्वशी-सहि, कि वि परदो ओसर । चित्रलेखा-णाई सकेमि ।

·प्रथमोंकः । ९ रंभा-सख्यः, एत प्रियकारिणं संभावयामो राजर्षिम् । शेषाः-एवं कुर्मः। (सर्वा उपसर्पति ।) राजा-सूत, स्थापय तावद्रथम् । यावत्पुनरियं सुधूरुत्सुकाभिः समुत्सुका । सखीभिर्याति संपर्क लताभिः श्रीरिवार्तवी ॥ १४ ॥ ( सूतस्तथा करोति ।) अप्सरस:-दिष्टया महाराजो विजयेन वर्धते । राजा-भवत्यश्च सखीसमागमेन । J.. उर्वशी-(चित्रलेखादत्तहस्तावलंवा रथादवतीर्य । ) सख्यः, एत पीडितं मां परिष्वजध्वम् । न खलु मे आसीदाशा यथा भूयोऽपि सखीजनं प्रेक्षिप्य इति । (सख्यः सत्वरं परिष्वजंते।) रंभा-(साशंसम् । ) सर्वथा महाराजः कल्पशतानि पृथ्वी पालयिता भवतु। (नेपथ्ये कलकलः ।) सूतः-आयुष्मन्, पूर्वस्यां दिशि महता रथवेगेनोपदर्शितः शब्दः। अयं च गगनात्कोऽपि तप्तचामीकरांगदः । अवरोहति शैलाग्रं तडित्वानिव तोयदः ॥ १५ ॥ रंभा हला, एध पिअआरिणं संभावेझ राएसि । शेषाः-एव्वं करेन । अप्सरसः-दिहिआ महाराओ वि.एण वदि । उर्वशी-हला, एध पीडिदं मं परिस्सजथ । ण खु मे आसि आसा जहा भूओ वि सहीअणं पेक्खिस्सं त्ति । रंभा-सन्वहा महाराओ कप्पसदाई पुहवि पालअंतो होदु ।

·१० विक्रमोर्वशीये अप्सरस:-( पश्यंत्यः । ) अहो, चित्ररथः । (ततः प्रविशति चित्ररथः ।) चित्ररथः-(राजानमुपसृत्य सबहुमानम् ।) दिष्टया महेंद्रोपका- पर्याप्तन विक्रममहिम्ना वर्धते भवान् । राजा-अये, गंधर्वराजः । (रथादवीर्य । ) स्वागतं प्रियसुहृदे। (परस्परं हस्तौ स्पृशतः ।) राजा-वयस्य, किमागमनकारणम् । चित्ररथः-भद्र, केशिना दानवेनापहृतामुर्वशी नारदादुपश्रुत्य प्रत्याहरणार्थमस्याः शतक्रतुना गंधर्वसेना समादिष्टा । ततो वयम- तरा चारणेभ्यस्त्वदीयं जयोदाहरणं श्रुत्वा त्वामिहस्थमुपागताः । स भवानिमां पुरस्कृत्य सहास्माभिर्मघवंतं द्रष्टुमर्हति । महत्खलु तत्रम- वतो मघोनः प्रियमनुष्ठितं भवता । पुरा नारायणेनेयमतिसृष्टा मरुत्वते । दैत्यहस्तादथाच्छिद्य सुहृदा संप्रति त्वया ॥ १६ ॥ राजा-सखे, मा मैवम् । ननु वज्रिण एव वीर्यमेतत् विजयंते द्विषतो यदस्य पक्ष्याः । वसुधाधरकंदराविसी प्रतिशब्दोऽपि हरेभिनत्ति नागान् ॥ १७ ॥ चित्ररथः-युक्तमेतत् । अनुत्सेकः खलु विक्रमालंकारः । राजा-सखे, नायमवसरो मे शतक्रतुं द्रष्टुम् । त्वमेवात्रभ- वतीं प्रभोरंतिकं प्रापय । अप्सरस:-अंमो, चित्तरहो।

·प्रथमोकः । (८ ११ चित्ररथ:-यथा भवान्मन्यते । इत इतो भवत्यः । (अप्सरसः प्रस्थिताः ।) उर्वशी-(जनांतिकम् ।) सखि चित्रलेखे, उपकारिणमपि राजर्षि न शक्नोम्यामंत्रयितुम् । तत्वं मे मुखं भव । चित्रलेखा-(राजानमुपसृत्य।) महाराज, उर्वशी विज्ञापयति... राजा-किमाज्ञापयति । चित्रलेखा-"महाराजेनाम्यनुज्ञातेच्छामि प्रियसखीमिव म- हाराजस्य कीर्ति महेंद्रलोकं नेतुमिति । राजा-(सविषादम् । ) गम्यतां पुनर्दर्शनाय । (सर्वा अप्सरसः सगंधर्वा आकाशोत्पतनं रूपयंति ।) उर्वशी (उत्पतनभंग रूपयित्वा ।) अहो, लताविटपे ममैका- वली लना । ( परिवृत्य राजानं पश्यंती । ) सखि चित्रलेखे, मोचय तावदेनाम् । चित्रलेखा-(राजानं विलोक्य सस्मितम् ।) आम्, दृढं खलु लग्ना सा । दुर्मोचनीयेव मे प्रतिभाति । उर्वशी--अलं परिहासेन । मोचयैनाम् । उर्वशी-सहि चित्तलेह, उवआरिणं वि राएसिं ण सक्कणोमि आमंतेदुं । ता तुमं मे मुहं होहि । चित्रलेखा-महाराअ, उव्वसी विष्णवेदि" चित्रलेखा- 'महाराएण अब्भमुण्णादा इच्छामि पिअहिं विष महाराअस्स कित्ति महिंदलोअं णेदु त्ति । उर्वशी-अंमो, लताविडवे मे एआवली लग्गा । सहि चित्तलेहे, मोआ- बेहि दाव णं । चित्रलेखा-आम, दिदं खु लग्गा सा । दुंमोआ विअ मे पबिहादि । उर्वशी-अलं परिहासेण । मोआवेहि मं ।

·१२ विक्रमोर्वशीये चित्रलेखा-भवतु । यतिष्ये तावत् । उर्वशी-(स्मितं कृत्वा ।) प्रियसखि, स्मर तावदेतदात्मनो वचनम् । (चित्रलेखा मोचनं नाटयति ।) राजा-(आत्मगतम् ।) प्रियमाचरितं लते त्वया मे गमनेऽस्याः क्षणविघ्नमाचरंत्या। यदियं पुनरप्यपांगनेत्रा परिवृत्तार्धमुखी मयाद्य दृष्टा ॥ १८ ॥ (चित्रलेखा मोचयति । उर्वशी राजानमवलोक्य, सनिःश्वासमुत्पतंतं सखीजनं पश्यति ।) सूतः-आयुष्मन्, अदः सुरेंद्रस्य कृतापराधान् प्रक्षिप्य दैत्याँल्लवणांबुराशौ । वायव्यमस्त्रं शरधिं पुनस्ते महोरगः श्वभ्रमिव प्रविष्टम् ॥ १९ ।। राजा-तेन ह्युपश्लेषय रथं यावदारोहामि । (सूतस्तथा करोति । राजा नाट्येन रथमारोहति।) उर्वशी-(राजानमवलोकयंती सनिःश्वासमारमगतम् ।) अपि नाम पुनरप्येनमुपकारिणं प्रेक्षिष्ये । (इति सगंधर्वा सहसखी मिनिष्क्रांता।) राजा-(उर्वशीमार्गोन्मुखो भूत्वा ।) अहो नु खलु दुर्लभाभिनि- वेशी मदनः । चित्रलेखा-होदु । जदिस्सं दाव । उर्वशी-पिभसहि, सुमरेहि दाव एवं अत्तणो वर्ण । उर्वशी-अवि णाम पुणो वि एणं स्वआरिण पेक्सिस ।

·प्रथमोंकः। १३ grup एषा मनो मे प्रसभं शरीरात पितः पदं मध्यममुत्पतंती। सुरांगना कर्षति खंडितापात् सूत्रं मृणालादिव राजहंसी ॥ २० ॥ (इति निष्क्रांती।) इति प्रथमोंकः । 2 ·द्वितीयोंकः। (ततः प्रविशति विदूषकः ।) विदूषकः-ही ही भोः, निमंत्रणैकपरवशो ब्राह्मण इक राजरहस्येन स्फुटन्न शक्नोमि जनाकीर्णे आत्मनो जिव्हां धारयितुम् । तद्यावत्तत्रभवान्वयस्यः कार्यासनादुत्तिष्टति तावदेतस्मिन्विरलजनसं- पाते विमानोत्संगपरिसरे स्थास्यामि । (परिक्रम्य स्थितः ।) (ततः प्रविशति चेटी।) चेटी-आज्ञप्तास्मि देव्या काशीराजपुत्र्या-'हं निपुणिके, यतः प्रभृति भगवतः सूर्यस्योपस्थानं कृत्वा प्रतिनिवृत्त आर्यपुत्रस्तत आरभ्य शून्यहृदय इव लक्ष्यते । तत्तस्य प्रियवयस्यादार्यमाणवका- जानीहि तावदस्योत्कंठाकारणम्' इति । तत्कथं खलु मया स ब्रह्मबंधुरतिसंधेयः । अथवा विरलतृणलग्नमिवावश्यायसलिलं चिरं तस्मिन्रहस्यं न तिष्ठति । यावदेनमन्विष्यामि । (परिक्रम्यावलोक्य च।) अहो, एष आलेख्यवानर इव किमपि तूष्णीभूत आर्यमाणवकस्ति- ष्ठति । यावदेनमुपसमि । (उपसत्य ।) आर्य, वंदे । विदूषकः-ही ही भो, णिमंतणेकफरवसो वह्मणो विअ राअस्हस्सेण फुट- माणो ण सकणोमि जनाइण्णे अत्तणो जी धारिदुं । ता जाव तत्तभवं वअस्सो कजासणादो उद्वेदि दाव इमस्सि विरलजणसंवादे विमाणुच्छंगपरिसरे चिहिस्सं। चेटी-आणतमि देवीए कासिराअपुत्तिए-'हजे णिउणिए, जदो पहुदि भअवदो सुजस्स उवत्थाणं करिअ पडिणिवुत्तो अजउत्तो तदो आरहिअ सुण्ण- हिअओ विअ लक्खीअदि । ता तस्स पिअवअस्सादो अजमाणवआदो जाणाहि दाव से उक्कंठाकालणं'–त्ति । ता कहं खु मए सो बम्हपंधू अदिसं- धेओ । अहवा विरलतणलग्गं विभ अवस्साअसलिलं चिरं तस्सि रहस्सं ण चिदि । जाव गं अण्णेसामि । अंमो, एसो आलेक्खवाणरो विअ किं कि तुाहभूदो अजमाणवओ चिदि । जाव णं उत्सप्पामि । अब, वंदामि ।

·द्वितीयोंकः । विदूषकः-स्वस्ति भवत्यै । (स्वगतम् ।) इमां दुष्टचेटिका प्रेक्ष्य तद्राजरहस्यं हृदयं भित्त्वा निष्कामतीव । (प्रकाशम् ।) निपु- णिके, संगीतव्यापारमुज्झित्वा क प्रस्थितासि । निपुणिका-देव्या वचनेनार्यमेव प्रेक्षितुम् । विदूषकः-किं तत्रभवत्याज्ञापयति । निपुणिका-आर्य, देवी भगति-'सदाप्यार्यों मयि पक्ष- पाती, न मामनुचितवेदनादुःखितामुपेक्षते'-इति । विदूषकः-( सवितर्कम् ।) निपुणिके, किंवा वयस्येन तत्रभ- वत्याः किमपि प्रतिकूलमाचरितम् । निपुणिका-आर्य, यन्निमित्तं किल भर्ता उत्कंठितः, तस्याः स्त्रिया नामधेयेन भर्ना देवी आलपिता। विदूषकः-( आत्मगतम् । ) कथं स्वयमेव तत्रभवता रहस्य- विदूषकः सत्थि भौदीए । इमं दुटुचेडिअं पेक्खि तं राअरहस्स हिअअं भिदिक्ष णिकमदि विअ । णिउणिए, संगीदवावारं उज्झिअ कहि पत्थिदा सि। निपुणिका-देवीए वअणेण अजं एव्व पैक्खिहुँ । विदूषकः किं तत्तभोदी आणवेदि। निपुणिका-अज, देवी भणादि-'सदा वि अनो मइ पक्खवादी, ण मं अणुइदवेअणादुक्खिदं उवेक्खदि'-त्ति । विदूषकः-णिउणिए, किंवा वअस्सेण तत्तभौदीए किं वि पहिउलं आचरिदं । निपुणिका-अज, जंणिमित्तं किल भट्टा उत्कंठिदो, ताए इथिआए णामधेएण भक्षिणा देवी आलविदा । विदूषकः-कई स एव तत्तभवदा रहस्सभेदो किदो । ता ·१६ विक्रमोर्वशीये भेदः कृतः । तत्किमिदानीमहं जिव्हायंत्रणेन दुःखमनुभवामि । ( प्रकाशम् । ) किमामंत्रिता तत्रभवती उर्वशीति । निपुणिका-आम् । आर्य, का सा उर्वशी। विदूषकः-अस्त्युर्वशीत्यप्सराः । तस्या दर्शनेनोन्मादितस्त- त्रभवान्न केवलं तत्रभवती, मामपि विनोदविमुखो दृढं पीडयति । निपुणिका-(स्वगतम् । ) कृतं मया भेदनं भर्तृ रहस्यदु- र्गस्य । (प्रकाशम् । ) आर्य, किं तावद्देव्यै निवेदयामि । विदूषकः-निपुणिके, विज्ञापय मम वचनेन तत्रभवतीम्- 'यते तावन्मृगतृप्णिकाया निवर्तयितुं वयस्यं, ततो देव्या मुखं प्रेक्षिप्ये' इति । निपुणिका-यदार्य आज्ञापयति । ( इति निष्क्रांता ।) (नेपथ्ये वैतालिकाः ।) जयतु जयतु देवः । आ लोकांतात्प्रतिहततमोवृत्तिरासां प्रजानां तुल्योद्योगस्तव च सवितुश्चाधिकारो मतो नः । तिष्ठत्येष क्षणमधिपतिज्योतिषां व्योममध्ये षष्ठे भागे त्वमपि लभसे देव विश्रांतिमह्नः ॥ १ ॥ किं दाणि अहं जीहाजंतणेण दुक्खं अणुहवामि । किं आमंतिदा तत्तभोदी उव्वसि त्ति। निपुणिका-आम् । अज, का सा उव्वसी । विदूषकः-अत्ति उव्वासि त्ति अच्छरा । ताए दंसणेण उमादिदो तत्त- भवं ण केवलं तत्तभोदि, मं वि विणोदविमुहो दिदं पीडेदि । निपुणिका-किदं मए भेअणं भटिणो रहस्सदुग्गस्स । अज, किं दाव देवीए णिवेदोमि । विदूषकः-णिउणिए, विष्णवेहि मम वअणेण तत्तभोदि-जदामि दाव मिअतिण्हिआदो णिवत्तेनुं व अस्सं, तदो देवीए मुहं पेक्खिस्सं'-त्ति । निपुणिका-जं अनो आणवेदि ।

·द्वितीयोंकः। १७ विदूषकः-(कर्ण दत्त्वा ।) एष कार्यासनादुत्थित इत एवाग- च्छति प्रियवयस्यः । यावदस्य पार्श्ववर्ती भवामि । (इति निष्क्रांतः।) प्रवेशकः। (ततः प्रविशत्युत्कंठितो राजा विदूषकश्च ।) राजा-(निःश्वस्य ।) आ दर्शनात्प्रविष्टा सा मे सुरलोकसुंदरी हृदयम् । बाणेन मकरकेतोः कृतमार्गमवंध्यपातेन ॥ २ ॥ विदूषकः-(स्वगतम् ।) संपीडिता खलु तावत्तपस्विनी का- शीराजपुत्री। राजा-(निरीक्ष्य । ) अपि रक्ष्यते भवता रहस्यनिक्षेपः । विदूषकः-(सविषादमात्मगतम् । ) हा धिक् हा धिक, अभि- संहितोऽस्मि दास्याःपुत्र्या । अन्यथा न मां वयस्य एवं पृच्छेत् । राजा-(साशंकम् । ) किं भवांस्तूष्णीमास्ते । विदूषकः-एवं खलु मया नियंत्रिता जिव्हा, यद्भवतोऽपि सहसा प्रतिवचनं न ददामि । राजा--युक्तमेतत् । अथ क्वेदानीमात्मानं विनोदयेयम् । विदूषकः-भोः, महानसं गच्छावः । विदूषकः-एसो कजासणादो उठ्ठिदो इदो एव्व आअच्छदि पिअव- अस्सो । जाव से पासवत्ती होमि । विदूषकः-संपीडिदा खु दाव तवस्सिणी कासिराअउत्ती। विदूषकः-हद्धी हद्धी, अहिसंधिदोसि दासीएपुत्तिआए । अण्णधा ण मं वअस्सो एव्वं पुच्छदि । विदूषकः-एव्वं खु मए णितिदा जीहा, जं भवदो वि सहसा पडिव- अणं ण देमि । विदूषकः-भो, माणसं गच्छद्म ।

·१८ विक्रमोर्वशीये राजा-किं तत्र । विदूषकः-तत्र खलु पंचविधस्याभ्यवहारस्योपनतसंभारस्य योजनां प्रेक्षमाणाभ्यां शक्यमुत्कंठा विनोदयितुम् । राजा-(सस्मितम् ।) तत्रेप्सितसंनिधानाद्भवान्स्यते । मया खलु दुर्लभप्रार्थिना कथमात्मा विनोदयितव्यः । विदूषकः-ननु भवांस्तत्रभवत्या उर्वश्या दर्शनपथं गतः । राजा-ततः किम् । विदूषकः-तन्न खलु सा ते दुर्लभेति समर्थये । राजा-सखे, पक्षपातोऽयमित्यवधार्यताम् । विदूषकः-एतावन्मंत्रयमाणेन भवता वर्धितं मे कौतूहलम् । किं तत्र भवत्युवश्यद्वितीया रूपेण, अहमिव विरूपतया । राजा-वयस्य माणवक, प्रत्यवयवमशक्यवर्णनां तामवेहि । समासतः श्रूयताम् । विदूषकः-अवहितोऽस्मि । राजा- आभरणस्याभरणं प्रसाधनविधेः प्रसाधनविशेषः । उपमानस्यापि सखे प्रत्युपमानं वपुस्तस्याः ॥ ३ ॥ विदूषकः-तहिं खु पंचविहस्स अन्भवहारस्स उवणदसंभारस्स जोअणां पेक्खमाणेहिं सकं उक्कंठा विणोदेहूँ । विदूषकः–णं भवं तत्तभोदीए उव्यसीए दसणपहं गदो। विदूषकः-ता ण खु सा दे दुल्लह त्ति समत्थेमि । विदूषकः-एत्तिरं मंतअंतेण भवदा वडिदं मे कोदहलम् । किं तत्त- भोदी उव्वसी अदुदीआ रूपेण, अहंविअ विरूवदाए । विदूषकः-अवहिदो म्हि ।

·द्वितीयोंकः। १९ विदूषकः-अतः खलु भवता दिव्यरसाभिलाषिणा चातकव्रतं गृहीतम् । क तावदिदानी भवान्प्रस्थितः । राजा-वयस्य, विविक्तादृते नान्यदुत्सुकस्य शरणमस्ति । तद्भवान्प्रमदवनमार्गमादेशयतु । विदूषकः-(स्मतम्।) का गतिः । (प्रकाशम्।) इत इतो भवान् । (इति परिक्रामतः ।) विदूषकः-एष प्रमदवनपरिसरः । एतेन प्रमदवननोदितेनेव प्रत्युद्गतो भवानागंतुको दक्षिणमारुतेन । राजा-(विलोक्य । ) उपपन्नमिदं विशेषणमस्य वायोः। अयं हि, निषिचन्माधवीमेतां लतां कौंदी च नर्तयन् । स्नेहदाक्षिण्ययोर्योगात्कामीव प्रतिभाति मे ॥ ४ ॥ विदूषकः-ईदृश एव तवाभिनिवेशो भवतु । ( इति परिक्रामन् ।) एतत्प्रमदवनद्वारम् । प्रविशतु भवान् । राजा-प्रविशाग्रतः । ( उभौ प्रवेशं नाटयतः ।) राजा-(अप्रतो विलोक्य । ) वयस्य, मया न साधु समर्थित- मापत्प्रतीकारः किल प्रमदवनाद्यानप्रवेश इति । विविक्षुर्यदहं तूर्णमुद्यानं तापशांतये । स्रोतोजवोह्यमानस्य प्रतीपतरणं हि तत् ॥ ५ ॥ विदूषकः-अदो खु भवदा दिव्वरसाहिलासिणा चादअव्वदं गहिदं । कहिं दाव दाणि भवं पत्थिदो। विदूषकः-का गदी । इदो इदो भवं । विदूषकः-एसो पमदवणपरिसरो । एदेण पमदवणणोदिदेण विअ पच्चुग्गदो भवं आअंतुओ दक्षिणमारुदेण । विदूषकः-ईरिसौ एव दे अहिणिवेसो होदु । एदं पमदवणदुवार पविस भवं ।

·२० विक्रमोर्वशीये विदूषकः-कथमिव । राजा- इदममुलभवस्तुप्रार्थनादुर्निवारं प्रथममपि मनो मे पंचबाणः क्षिणोति । किमुत मलयवातोन्मूलितापांडुपत्रैः उपवनसहकारैर्दर्शितेप्वंकुरेषु ॥ ६ ॥ विदूषकः-अलं परिदेवितेन । अचिरेण तवेष्टसंपादनेनानंग एव ते सहायो भविष्यति । राजा-प्रतिगृहीतं ब्राह्मणवचनम् । (इति परिकामतः।) विदूषकः-प्रेक्षतां भवान्वसंतावतारसूचकमभिरामत्वं प्रमदव- नस्य । राजा-ननु प्रतिपादपमेवावलोकयामि । अत्र हि । अग्रे स्त्रीनखपाटलं कुरबकं श्यामं द्वयोर्भागयोः रक्ताशोकमुपोढरागसुभगं भेदोन्मुखं तिष्ठति । ईषद्बद्धरजःकणाग्रकपिशा चूते नवा मंजरी मुग्धत्वस्य च यौवनस्य च सखे मध्ये मधुश्रीः स्थिता ॥७॥ विदूषकः-भोः, एष खलु मणिशिलापट्टसनाथोऽतिमुक्तल- विदूषकः-कहं वि। विदूषकः-अलं परिदेविदेण । अइरेण दे इहसंपादणेण अणंगो एव दे सहाओ भविस्सदि । विदूषकः-पेक्खदु भवं वसंतावदारसूअअं अहिराअत्तणं पमदवणस्स । विदूषकः-भो, एसो खु मणिसिलापट्टअसणाहो अदिमुत्तलदामंडको ·द्वितीयोंकः । २१ तामंडपो भ्रमरसंघट्टपतितैः कुसुमैः स्वयमिव कृतोपचारो भवंतं प्रती- च्छति । तदनुगृह्यतां तावदेषः । राजा-यथा भवते रोचते । (परिक्रम्योपविशतः ।) विदूषकः-इदानीमिह सुखासीनो भवॉल्ललितलताविलोभ्यमा- ननयन उर्वशीगतामुत्कंठां विनोदयतु । राजा-(निःश्वस्य ।) मम कुसुमितास्वपि सखे नोपवनलतासु नम्रविटपासु । चक्षुर्बध्नाति धृतिं तद्रूपालोकदुर्ललितम् ॥ ८ ॥ तदुपायश्चित्यतां यथा सफलप्रार्थनो भवेयम् । विदूषकः-(विहस्य ।) भोः, अहल्याकामुकस्य महेंद्रस्य वैद्यः सचिवः, उर्वशीपर्युत्सुकस्य च भवतोऽहं, द्वावप्यत्रोन्मत्तौ । राजा-मा मैवम् । अतिस्नेहः खलु कार्यदर्शी । तदुपायश्चि- त्यताम् । विदूषकः-एष चिंतयामि । मा पुनः परिदेवितेन मम समाधि भिद्धि । ( इति चिंता नाटयति ।) राजा-(निमित्तं सूचयित्वा । स्वगतम् । ) न सुलभा सकलेंदुमुखी च सा किमपि चेदमनंगविचेष्टितम् । भमरसंघपडिदेहि कुसुमेहिं सअं विअ किदोवआरो भवंतं पडिच्छदि । ता अणुगेण्हिअदु दाव एसो। विदूषकः-दाणिं इह सुहासीणो भवं ललिदलदाविलोहीअमाणणअणो उव्वसीगदं उकंठं विणोदेदु । विदूषकः-भो अहल्लाकामुअस्स महिंदस्त वजो सचिवो, उध्वसीपज्जु. च्छअस्स अ भवदो अहम् , दुवेवि एत्य उंमत्ता। विदूषकः-एसो चितेमि । मा उण परिदेविदेण मम समाधि भिधि ।

·२२ विक्रमोर्वशीये अभिमुखीष्विव कांक्षितसिद्धिषु व्रजति निर्वृतिमेकपदे मनः ॥ ९ ॥ (इति जाताशस्तिष्ठति ।) (ततः प्रविशत्याकाशयानेनोर्वशी चित्रलेखा च ।) चित्रलेखा-हला, क्वेदानीमनिर्दिष्ट कारणं गम्यते । उर्वशी-(मदनवेदनामभिनीय सलज्जम् ।) सखि, तदा हेमकूट- शिखरे लताविटपेन क्षणविनिताकाशगमनां मामुपहस्य किमिदानी पृच्छसि 'क्व गम्यते' इति । चित्रलेखा-किं नु खलु तस्य राजर्षेः पुरूरवसः सकाशं प्रस्थितासि । उर्वशी-अथ किम् । अयं मेऽपहस्तितलज्जो व्यवसायः । चित्रलेखा-कः पुनः सख्या तत्र पुरतः प्रेषितः । उर्वशी-ननु हृदयम् । चित्रलेखा-तथापि स्वयमेव साधु संप्रधार्यतां तावत् । उर्वशी-सखि, मदनः खलु मां नियोजयति । किमत्र संप्रधार्यते । चित्रलेखा-अतःपरं नास्ति मे वचनम् । चित्रलेखा-हला, कहिं दाणिं अणिदिढकालणं गच्छीअदि । उर्वशी-सहि, तदा हेमकूडसिहरे लदाविडवेण खणविग्घिदआभामग- मणं मं ओहसिअ किं दाणि पुच्छसि 'काहं गच्छीअदि' त्ति । चित्रलेखा-किं णु खु तस्स राएसिणो पुरूरवस्त सआसं पत्थिदा सि । उर्वशी-अह इं । अअं मे अवहत्थिदलज्जो ववसाओ । चित्रलेखा-को उण सहीए तहिं पुढमं पेसिदो । उर्वशी–णं हिअअं। चित्रलेखा-तधा वि स एव साहु संपधारिअदु दाव । उर्वशी-सहि, मअणो खु मं णिओएदि । किं एत्य संपधारीअदि । चित्रलेखा-अदोवरं णत्थि मे वअणम् ।

·द्वितीयोंकः। २३ उर्वशी-तेन ह्यादिश्यतां मार्गों येन तत्र गच्छंत्योरंतरायो न भवेत् । चित्रलेखा-सखि, विस्त्रब्धा भव । ननु भगवता देवगुरुणा अपराजितां नाम शिखाबंधनविद्यामुपदिशता त्रिदशप्रतिपक्षस्या- लंघनीये कृते स्वः । उर्वशी-(सलजम् ।) अहो विस्मृतं मे हृदयम् । (उभे भ्रमणं रूपयतः ।) चित्रलेखा-सखि, प्रेक्षस्व प्रेक्षस्व । एतद्भगवत्याः भागीरथ्याः, यमुनासंगमविशेषपावनेषु, सलिलेष्वात्मानमवलोकयत इव प्रतिष्ठा- नस्य शिखाभरणभूतं तस्य राजर्भवनमुपस्थिते स्वः । उर्वशी-( सस्पृहमवलोक्य ।) ननु वक्तव्यं स्थानांतरगतः स्वर्ग इति । (विमृश्य । ) सखि, क्व नु खलु स आपन्नानुकंपी भवेत् । चित्रलेखा-हला, एतस्मिन्नंदनवनैकदेश इव प्रमदवने अव- तीर्य ज्ञास्यावः । (उभे अवतरत: ।) उर्वशी-तेण हि आदिसीअदु मम्गो जेण तहिं गच्छंतीण अंतराओ ण भवे । चित्रलेखा-सहि, विस्सद्धा होहि । णं भअवदा देवगुरुणा अवराइदं माम सिहावंधणविज्ज उवदिसतेण तिदसपडियक्खस्स अलंघणिजा कद ह्म । उर्वशी-अहो विसुमारदं मे हिअअं। चित्रलेखा-सहि, पेक्ख पेक्ख । एदं भअवदीए भाईरहीए, जमुणासं- गमविसेसपावणेसु, सलिलेसु अत्ताणअं ओलोअंतस्स विअ पइठाणस्स सिहा- भरणभूदं तस्स राएसिणो भवणं उवद्विद म्ह । उर्वशी- वत्तवं ठाणंतरगदो सग्गो त्ति । सहि, कहिं णु खु सो आव- ण्णाणुकंपी भवे । चित्रलेखा-हला, एदस्सि गंदणवणेकसे विभ पमदवणे अवदरिअ जाणिस्सामो।

·२४ विक्रमोर्वशीये चित्रलेखा-(राजानं दृष्ट्वा सहर्षम । ) सखि, एष खलु प्रथमो- दित इव चंद्रः, कौमुदीमिव त्वां प्रतीच्छति । उर्वशी-(विलोक्य ।) हला, इदानी प्रथमदर्शनात्सविशेष प्रियदर्शनो महाराजः प्रतिभाति । चित्रलेखा-युज्यते । तदेहि, उपसविः । उर्वशी-न तावदुपसर्पिष्ये । तिरस्करिणीप्रतिच्छन्ना पार्श्वग- ताऽस्य भूत्वा श्रोष्यामि तावत्, पार्श्ववर्तिना वयस्येन सह विजने, किं मंत्रयमाणस्तिष्ठतीति । चित्रलेखा-यत्ते रोचते । (उभे यथोक्तमनुतिष्ठतः ।) विदूषकः-भोः, चिंतितो मया दुर्लभप्रणयिनीसमागमोपायः । (राजा तूष्णीमास्ते।) उर्वशी-(सेय॑म् ।) का नु खलु धन्या स्त्री, या अनेन प्रार्थ्य- मानात्मानं कृतार्थयति । चित्रलेखा-सहि, एसो खु पदमोदिदो विअ चंदो, कोमुदि विअ तुम पडिच्छदि । उर्वशी-हला, दाणि पढमदंसणादो सविसेसं पिअदंसणो महाराओ पढिहादि। चित्रलेखा-जुजदि । ता एहि, उवसप्पम्ह । उर्वशी-ण दाव उवसप्पिस्सम् । तिरक्चरिणीपडिच्छण्णा पासगदा से भविअ सुणिस्सं दाव, पासवत्तिणा वअस्सेण सह विअणे, किं मंतअंतो चिट्ठदि त्ति। चित्रलेखा-जदे रोअदि विदूषकः-भो,चिंतिदो मए दुल्लहप्पणइणीसमाअमोवाओ। उर्वशी '-का णु खु धण्णा इत्थिआ, जा इमिणा पत्थिअमाणा अत्ताणअं किदित्थेइ ।

·द्वितीयोंकः । २५ चित्रलेखा-किं पुनर्मानुष्यं विडंब्यते । उर्वशी-सखि, विभेमि सहसा प्रभावाद्विज्ञातुम् । विदूषकः-भोः, ननु भणामि चिंतितो मया उपाय इति । राजा-तेन हि कथ्यताम् । विदूषकः-स्वप्नसमागमकारिणी निद्रां सेवतां भवान् । अथवा तत्रभवत्या उर्वश्याः प्रतिकृति चित्रफलक आलिख्यावलोकयस्तिष्ठतु । उर्वशी-(सहर्षमात्मगतम् ।) हीनसत्त्व हृदय, समाश्वसिहि समाश्वसिहि । राजा-उभयमप्यनुपपन्नम् । पश्य । हृदयमिषुभिः कामस्यांतः सशल्यमिदं सदा कथमुपलभे निद्रां स्वप्ने समागमकारिणीम् । न च सुवदनामालेख्येऽपि प्रियामसमाप्य तां मम नयनयोरुद्वाप्पत्वं सखे न भविष्यति ॥ १० ॥ चित्रलेखा-श्रुतं त्वया वचनम् । उर्वशी-सखि, श्रुतं । न पुनः पर्याप्तं हृदयस्य । विदूषकः-एतावानेव मे मतिविभवः । चित्रलेखा-किं उण माणुस्स विडंबीअदि । उर्वशी-सहि, भीआमि सहसा पभावादो विण्णादु । विदूषकः-भो, णं भणामि चितिदो मए उवाओ त्ति । विदूषकः-सिविणअसमाअमआरिणि णिदं सेवदु भवम् । अहवा तत्त- भोदीए उव्वसीए पडिकिदिं चित्तफल ए आलिहिअ ओलोअंतो चिट्टदु । उर्वशी-हीणसत्त हिअअ, समस्सस समस्सस । चित्रलेखा-सुदं तुए वअणम् । उर्वशी-सहि सुदं । ण उण पज्जत्तं हिअअस्स । विदूषकः-एत्तिओ एव्व मे मदिविहवो । 3 ·२६ विक्रमोर्वशीये राजा-(निःश्वस्य ।) नितांतकठिनां रुजं मम न वेद सा मानसी प्रभावविदितानुरागमवमन्यते वापि माम् । अलब्धफलनीरसं मम विधाय तस्मिञ्जने समागममनोरथं भवतु पंचबाणः कृती ॥ ११ ॥ चित्रलेखा-सखि, श्रुतं त्वया । उर्वशी-हा धिक् हा धिक् । मामेवमवगच्छति। (सस्तीमवलोक्य ।) सखि, असमर्थास्म्यग्रतो भूत्वास्य प्रतिवचनस्य । तत्प्रभावनिर्मितेन भूर्जपत्रेण संपादितोत्तरा भवितुमिच्छामि । चित्रलेखा-हला, अनुमतं मे । (उर्वशी नाट्येन ससंभ्रममभिलिख्यांतरा क्षिपति ।) विदूषकः-( दृष्ट्वा ससंभ्रमम् ।) अविधा अविधा । भोः, किं नु खलु एतत् । मुगनिर्मोकः किं मां खादितुं निपतितः । राजा-(विभाव्य विहस्य च ।) वयस्य, नायं भुजंगनिर्मोकः । भूर्जपत्रगतोऽयमक्षरविन्यासः । विदूषकः-ननु अदृष्टयोर्वश्या भवतः परिदेवितं श्रुत्वा विस- र्जितः भविष्यति । चित्रलेखा-सहि, सुदं तुए । उर्वशी-हद्धी हद्धी । मं एव्वं अवगच्छदि । सहि, असमत्थ मि अग्गदो भविअ से पडिवअणस्स । ता पहावाणिमिदेण भुज्जवत्तेण संपादिदउत्तरा होदुम् इच्छामि। चित्रलेखा-हला, अणुमदं मे । विदूषकः-अविहा अविहा । भो, किं गु खु एदं । भुअंगणिमोअं कि में खादितुं णिवडिदम् । विदूषकः-णं अदिवाए उव्वसीए भवदो परिदेविदं सुणिम विसज्जिदो भविस्सदि।

·द्वितीयोंकः ।
२७
राजा-नास्त्यगतिर्मनोरथानाम् । (गृहीत्वानुवाच्य च, सहर्षम् । )
सखे, प्रसन्नस्ते तर्कः।
विदूषकः-ही ही भोः, किं ब्राह्मणवचनान्यन्यथा भवंति ।
तदिदानी प्रसीदतु भवान् । यदत्र लिखितं तच्छ्रोतुमिच्छामि ।
उर्वशी-साधु । आर्य, नागरिकोऽसि ।
राजा-बयस्य, श्रूयताम् ।
विदूषकः-अवहितोऽस्मि ।
राजा-(वाचयति ।)
खामिन्संभाविता यथाहं त्वयाऽज्ञाता
तथानुरक्तस्य यदि नाम तवोपरि ।
कि मे ललितपारिजातशयनीये भवंति
नंदनवनवाता अप्यत्युष्णकाः शरीरके ॥ १२॥'
उर्वशी-किं नु खलु सांप्रतं भणिष्यति ।
चित्रलेखा-ननु भणितमेव म्लानकमलनालायमानैरंगैः ।
विदूषकः-ही ही भो, किं वह्मणवअणाणि अण्णधा होति । ता दाणि
रसीददु भवं । जं एत्थ लिहिदं तं सुणिदुं इच्छामि ।
उर्वशी-साहु । मज्ज, णारिओसि ।
विदूषकः-अवहिदो म्हि ।
राजा-'सामिअ संभाविआ जह अहं तुए अणुमिआ
तह अणुरतस्स जह णाम तुह उवरि ।
कि मे ललिअपारिजाअसअणिज्जयंमि होंति
जंदणवणवादा वि अच्चुण्हआ सरीरए ॥१२॥'
उर्वशी-कि णु खु संपदं भणिस्सदि ।
चित्रलेखा-णं भणिदं एव मिलाणकमलणालाप्रमाणेहिं अंगेहि।

·२८ विक्रमोर्वशीये विदूषकः-दिष्टया, मया बुभुक्षितेन स्वस्तिवायनमिवोपलब्धं भवतोत्कंठितन समाश्वासनम् । राजा-समाश्वासनमिति किमुच्यते । तुल्यानुरागपिशुनं ललितार्थबंधं पत्रे निवेशितमुदाहरणं प्रियायाः । उत्पक्ष्मणो मम सखे मदिरेक्षणायाः तस्याः समागतमिवाननमाननेन ॥ १३ ॥ उर्वशी-अत्रावयोः समविभागा प्रीतिः। राजा-वयस्य, अंगुलिस्वेदेन दूष्येरन्नक्षराणि । धार्यतामयं मम प्रियायाः स्वहस्तः । विदूषकः-( गृहीत्वा ।) किमिदानीं तत्रभवत्युवंशी भवतो मनोरथानां कुसुमं दर्शयित्वा फले विसंवदति । उर्वशी-सखि, यावदुपगमनकातरं हृदयं पर्यवस्थापयामि ताव- त्वमस्यात्मानं दर्शयित्वा यन्मम क्षमं तद्भण । चित्रलेखा-तथा । (इति तिरस्करिणीमपनीय राजानमुपेत्य ।) जयतु जयतु महाराजः । विदूषकः-दिद्विआ, मए बुभुक्खिदेण सोत्थिवाअणं विअ उवलद्धं भवदा उकंठिदेण समासासणं । उर्वशी-एत्थ णो समविभाआ पीदी । विदूषकः-किं दाणि तत्तभोदी उव्वसी भवदो मणोरहाणं कुसुमं दंसिअ फले विसंवददि । उर्वशी-सहि, जाव उवगमणकादरं हिअअं पज्जवत्थावेमि दाव तुम से अत्ताणं दंसिअ ज मे खमं तं भणाहि । चित्रलेखा-तह । जेदु जेदु महाराओ।

·द्वितीयोंकः । २९ राजा-( दृष्टा, सहर्षम् । ) स्वागतं भवत्यै । (पार्श्वमवलोक्य । ) भद्रे, न तथा नंदयसि मां सख्या विरहिता तया । संगमे दृष्टपूर्वेव यमुना गंगया विना ॥ १४ ॥ चित्रलेखा-ननु प्रथमं मेघराजिदृश्यते, पश्चाद्विद्युल्लता । विदूषकः-( अपवार्य । ) कथं नैषोर्वशी । तस्यास्तत्रभवत्या अभिमता सहचरीयम् । राजा-एतदासनमास्यताम् । चित्रलेखा-उर्वशी महाराज शिरमा प्रणम्य विज्ञापयति..." राजा-किमाज्ञापयति । चित्रलेखा-..." तस्मिन्सुरारिसंभवे दुर्जाते महाराज एव मम शरणमासीत् । साहं सांप्रतं तव दर्शनसमुत्थेन मदनेन बलवद्वाध्यमाना भूयोऽपि महाराजस्यानुकंपनीया भवामि ' इति । राजा-अयि भद्रमुखि, पर्युत्सुकां कथयसि प्रियदर्शनां तां आतं न पश्यसि पुरूरवसं तदर्थे । साधारणोऽयमुभयोः प्रणयः स्मरस्य तप्तेन तप्तमयसा घटनाय योग्यम् ॥ १५ ॥ चित्रलेखा-णं पढमं मेहराई दीसदि, पच्छा विज्जुल्लदा । विदूषकः-कहं ण एसा उध्वसी । ताए तत्तभोदीए अहिमदा सहअरी इअं। चित्रलेखा-उध्वसी महाराअं सिरसा पणमिअ विण्णवेदि चित्रलेखा-.."तस्सि सुरारिसंभवे दुज्जादे महागओ एव मम सरणं आसि । सा अहं संपदं तुह दंसणसमुत्थेण मअणेण बलिअं वाधिअमाणा भूओ वि महाराअस्स अणुकंपणीआ होमि' त्ति ।

·३० विक्रमोर्वशीये चित्रलेखा-(उर्वशीमुपेत्य ।) सखि, एहि । त्वत्तोऽपि निर्द- यतरं मदनं प्रेक्ष्य प्रियतमस्य ते दूत्यस्मि संवृत्ता । उर्वशी—(तिरस्करिणीमपर्नाय ।) अहो लघु त्वयानवेक्षितमु- ज्झितास्मि । चित्रलेखा-(सस्मितम् । ) सखि, इतो मुहूर्तादेव ज्ञास्यामि का कामुज्झिप्यतीति । आचारं तावत्प्रतिपद्यस्व । उर्वशी—(ससाध्वसं राजानमुपेत्य प्रणम्य च, सबीडम् ।) जयतु जयतु महाराजः । राजा-(सहर्षम् ।) मुंदरि, मया नाम जितं यस्य त्वयायं समुदीर्यते । जयशब्दः सहस्राक्षादगतः पुरुषांतरम् ॥ ११ ॥ (हस्ते गृहीत्वैनामुपवेशयति ।) विदूषकः-भवति, राज्ञः प्रियवयस्यो ब्राह्मणः किं न वंद्यते । (उर्वशी सस्मितं प्रणमति ।) विदूषकः-स्वस्ति भवत्यै । (नेपथ्ये देवदूतः।) चित्रलेखे, त्वरय त्वरयोर्वशीम् । चित्रलेखा-सहि, एहि । तुवत्तो वि णिभदरं मअणं पेक्खि पिअ- अमस्स दे दूदि म्हि संवुत्ता। उर्वशी-अंमहे लहुअंतुए अणवेक्खिदं उमिद सि । चित्रलेखा-सहि, इदो मुहुत्तादो एव जाणिस्सं का कं उज्झिस्सदि त्ति । आआरं दाव पहिवज्ज । उर्वशी-जेदु जेदु महाराओ। विदूषकः-भोदि, रण्णो पिअवअस्सो बम्हणो किं न वंदिअदि । विदूषकः-सस्थि भोदीए।

·द्वितीयोंकः। ३१ मुनिना भरतेन यः प्रयोगो मवतीष्वष्टरसाश्रयो नियुक्तः । ललिताभिनयं तमद्य भर्ता मरुतां द्रष्टुमनाः सलोकपालः ॥ १७ ॥ (सर्वे कर्ण ददति । उर्वशी विषादं रूपयति ।) चित्रलेखा-श्रुतं प्रियसख्या देवदूतस्य वचनम् । तदनुमा- न्यतां महाराजः। उर्वशी-(निःश्वस्य ।) नास्ति मे वाचा । चित्रलेखा-महाराज, उर्वशी विज्ञापयति-'परवशोऽयं जनः। तन्महाराजेनाम्यनुज्ञाता इच्छामि देवेष्वनपराद्धमात्मानं कर्तुम्'-इति। राजा-(कथं कथमपि वाचं व्यवस्थाप्य ।) नास्मि भवत्योरीश्वर- नियोगप्रत्यर्थी । स्मर्तव्यस्त्वयं जनः । (उर्वशी वियोगदुःखं रूपयित्वा राजानं पश्यंती सह सख्या निष्क्रांता।) राजा-(निःश्वस्य ।) सखे, वैयर्थ्यमिव मे चक्षुषोः संप्रति । विदूषकः-(पत्रं दर्शयितुकामः ।) ननु एतत् (इति अर्धोक्ते सविषादमात्मगतम् ।) हा धिक् हा धिक्, उर्वशीदर्शनविस्मितेन मया तद्भूर्जपत्रं प्रभ्रष्टमपि हस्तात्प्रमादेन न विज्ञातम् । राजा-भद्र, किमसि वक्तुकाम इव । चित्रलेखा-सुदं पिअसहीए देवदुदस्स वअणं । ता अणुमाणीअदु महा- राओ। उर्वशी-पत्थि मे वाआ। चित्रलेखा-महाराअ, उच्वसी विण्णवेदि-'परवसो अअं जणो । तर महाराएण अन्भणुण्णादा इच्छामि देवेसु अणवरद्धं अत्ताण कादु'-त्ति । विदूषकः-णं एवं "हदी हद्धी, उव्वसीदसणविम्हिदेण मए तं भुज्जव- तसं पन्म वि इत्यादी पमादण ण विण्णादं ।

·३२ विक्रमोर्वशीये विदूषकः-एवं वक्तुकामोऽस्मि-मा भवानंगानि मुंचतु, दृढं खलु त्वयि बद्धभावा उर्वशी, न सा इतोगतमनुरागं शिथिलयति- इति । राजा-ममाप्येतदाशंसि मनः । तया खलु प्रस्थाने, अनीशया शरीरस्य स्ववशं हृदयं मयि । स्तनकंपक्रियालक्ष्यैर्व्यस्तं निःश्वसितैरिव ॥ १८ ॥ विदूषकः-(स्वगतम् ।) वेपते मे हृदयमिमां वेलामत्रभवता तस्य भूर्जपत्रस्य नाम ग्रहीतव्यमिति । राजा-वयस्य, केनेदानीं दृष्टिं विलोभयामि । (स्मृत्वा ।) आः, उपनयतु भवान्भूर्जपत्रम् । विदूषकः-(सर्वतो दृष्ट्वा विषादं नाटयति।) हंत, न दृश्यते । भोः, दिव्यं खलु तद्भूर्जपत्रं, गतमुर्वश्या मार्गेण । राजा-(सासूयम् ।) अहो, सर्वत्र प्रमादी वैधेयः । ननु विचि- नोतु भवान् । विदूषकः-(उत्थाय ।) ननु इतो भवेत् , इह वा भवेत् , इह वा भवेत् । (इति विचेतव्यं नाटयति ।) (ततः प्रविशति सपरिवारा काशीराजपुत्री देवी, चेटी च ।) विदूषकः-एव्वं वत्तुकामोमि-मा भवं अंगाई मुंचदु, दिदं खु तुइ बद्धभावा उव्वसी, ण सा इदोगदं अणुराअं सिढिलेदि-त्ति । विदूषकः-वेवदि मे हिअअं इमं वेलं अत्तभवदा तस्स भुज्जवत्तस्स णाम गेण्डिदव्वं त्ति। विदूषकः-हेत, ण दिस्सदि । भो, दिव्वं खु तं भुज्जवत्तं, गदं उव्वसीए मग्गेण । विदूषकः-णं इदो भवे, इह वा भवे, इह वा भवे ।

·द्वितीयोंकः। ३३ देवी-हंजे निपुणिके, सत्यं त्वया भणितमिदं लतागेहं प्रवि- शनार्यमाणवकसहाय आर्यपुत्रो दृष्ट इति । निपुणिका-किमन्यथा भटिनी मया कदापि विज्ञापितपूर्वा । देवी-तेन हि लताविटपांतरिता श्रोष्यामि तावदस्य विश्रब्धा- मंत्रितानि, यत्त्वया कथितं तत्सत्यं न वेति । निपुणिका-यद्भहिन्यै रोचते । देवी-(परिक्रम्य पुरस्तादवलोक्य च।) हंजे निपुणिके, किं नु खल्वेतज्जीर्णचीवरमिवेतोमुखं दक्षिणमारुतेनानीयते । निपुणिका-(विभाव्य । ) भट्टिनि, परिवर्तनविभाविताक्षरं भूर्ज- पत्रं खल्वेतत् । हंत, भट्टिन्या एव नूपुरकोव्यै लग्नम् । (गृहीत्वा ।) ननु वाच्यतामेतत् । देवी-अनुवाचय तावदेतत् । यद्यविरुद्धं ततः श्रोप्यामि । निपुणिका-(तथा कृत्वा । ) भट्टिनि, तदेव कौलीनमिव प्रति- देवी-हंजे णिउणिए, सच्चं तुए भाणदं इमं लदागेहं पविसंतो अज्जमा- णवअसहाओ अज्जउत्तो दिट्ठो त्ति । निपुणिका-कि अण्णहा भट्टिणी मए कदावि विण्णविदपुब्वा । देवी-तेण हि तदाविडवंतरिदा सुणिस्सं दाव से विसद्धामंतिदाणि, जं तुए कहिदं तं सच्चं ण वात्त । निपुणिका-जं भटिणीए रुच्चदि । देवी-हंजे णिउणिए, किं णु खु एदं जिण्णचीअरं विअ इदोमुहं दक्खि- णमारुदेण आणीअदि । निपुणिका-भट्टिणी, पडिवत्तणविभाविदक्खरं भुज्जवत्तं खु एदं । हत, भट्टिणीए एव्व णेउरकोडीए लग्गं । णं वाईअदु एदम् । देवी-अणुवाएहि दाव एदम् । जदि अविरुद्धं तदो सुणिस्सं । निपुणिका-भष्टिणि, तं एव्व कोलीणं विअ पडिहादि । भट्टारअं उद्दि ·विक्रमोर्वशीये भाति । भट्टारकमुद्दिश्योर्वश्या काव्यबंध इति तर्कयामि । आर्यमा- णवकप्रमादेन चावयोर्हस्तमागत इति । देवी-तेन ह्यस्य गृहीतार्था भवामि । (निपुणिका वाचयति ।) देवी-( श्रुत्वा । ) अत्रानेनैवोपायनेन तमप्सरःकामुकं प्रेक्षे । निपुणिका-तथा । (इति परिजनसहिते लतागृहं परिक्रामतः।) विदूषकः-(विलोक्य । ) भो वयस्य, किमेतत्पवनवशगामि प्रमदवनसमीपगतक्रीडापर्वतपर्यते दृश्यते । राजा-(उत्थाय।) भगवन्वसंतप्रिय दक्षिणवायो, वासार्थ हर संभृतं सुरभिणा पौष्पं रजो वीरुधां किं कार्य भवतो हृतेन दयितास्नेहस्वहस्तेन मे जानीते हि मनोविनोदनशतैरेवंविधैर्धारित कामात जनमंजनां प्रति भवानालक्षितप्रार्थनः ॥ १९ ॥ निपुणिका-भट्टिनि, प्रेक्षस्व प्रेक्षस्व । एतस्यैवान्वेषणा वर्तते । देवी-ननु पश्यामि तावत् । तूष्णीं तिष्ठ । सिअ उन्बसीए कव्वबंधो त्ति तकमि । अज्जमाणवअपमादेण अ अह्माणं इत्थं आगदो त्ति। देवी-तेण हि से गहिदत्था होमि । देवी-एत्य इमिणा एव्व उवाअणेण दं अच्छाकामु पेक्खामि । निपुणिका-तह। विदूषकः-भो वअस्स, किं एवं पवणवसगामि पमदवणसमीवगदकी- लापव्वदपज्जंते दीसदि । निपुणिका-भट्टिणि, पेक्ख पेक्ख । एदस्स एव्व अण्णेसणा वदि । देवी-णं पेक्खामि दाव । तुहि चिह।

·द्वितीयोंकः। विदूषकः-(सविषादम् ।) हा धिक् हा धिक् भोः, म्लायमा- नकेशरच्छविना मयूरपिच्छेन विप्रलब्धोऽस्मि । राजा-सर्वथा हतोऽस्मि । देवी-(सहसोपसृत्य ।) आर्यपुत्र, अलमावेगेन । एतत्तद्भूर्ज- पत्रम् । राजा-(ससंभ्रमम् ।) अये देवी । स्वागतं देव्यै । विदूषकः-(अपवार्य ।) दुरागतमिदानीं संवृत्तम् । राजा-(जनांतिकम् ।) वयस्य किमत्र प्रतिविधेयम् । विदूषकः-(अपवार्य ।) लोत्रेण गृहीतस्य कुंभीरकस्यास्ति वा प्रतिवचनम् । राजा-(जनांतिकम् ।) मूढ, नायं परिहासकालः । (प्रकाशम्।) देवि, नेदं मया मृग्यते । अयं खलु परान्वेषणार्थमारंभः । देवी-युज्यते आत्मनः सौभाग्यं प्रच्छादयितुम् । विदूषकः-भवति, त्वरयास्य भोजनं यत्पित्तोपशमनसमर्थ भवति । देवी-निपुणिके, शोभनं खलु ब्राह्मणेनाश्वासितो वयस्यः । विदूषकः-हृद्धी हबी भो, मिलाअमाणकेसरच्छविणा मोरपिच्छेण विप्पलद्धो सि। देवी-अज्जउत्त, अलं आवेएण । एदं तं भुज्जवत्तं । विदूषकः-दुरागदं दाणि संवृत्तं । विदूषकः-लोत्थेण गहिदस्स कुंभिलअस्स अस्थि वा पडिवअणं । देवी-जुज्जदि अत्तणो सोहग्गं पच्छादेहूँ। विदूषकः-मोदि, तुवरेहि से भोअणं जं पित्तोवसमणसमत्थं होदि। देवी-णिउणिए, सोहणं खु बम्हणेण आसासिदो वअस्सो।

·विक्रमोर्वशीये विदूषकः-भवति, ननु पश्य आश्वासितः पिशाचोऽपि भोजनेन । राजा-मूर्ख, बलादपराधिनं मां प्रतिपादयसि । देवी -नास्ति खलु भवतोऽपराधः । अहमेवात्रापराडा, या प्रतिकूलदर्शना भूत्वाग्रतस्ते तिष्ठामि । इतोऽहं गमिष्यामि । निपु- णिके, एहि गच्छामः । (इति कोपं नाटयित्वा प्रस्थिता ।) राजा-(अनुसृत्य ।) अपराधी नामाहं प्रसीद रंभोरु विरम संरंभात् । सेव्यो जनश्च कुपितः कथं नु दासो निरपराधः ॥ २० ॥ (इति पादयोः पतति ।) देवी-(स्वगतम् ।) मा खलु लघुहृदयाहमनुनयं बहु मन्ये । किंत्वदाक्षिण्यकृतात्पश्चात्तापाद्विभमि । (इति राजानमपहाय सपरिवारा निष्क्रांता।) विदूषकः-प्रावृण्नदीवाप्रसन्ना गता देवी । तदुत्तिष्ठ उत्तिष्ठ । राजा-(उत्थाय ।) वयस्य, नेदमनुपपन्नम् । पश्य, प्रियवचनकृतोऽपि योषितां दयितजनानुनयो रसाढते । प्रविशति हृदयं न तद्विदा माणिरिव कृत्रिमरागयोजितः ॥ २१ ॥ विदूषकः-भोदि. णं पेक्ख आसासिदो पिसाचोवि भोअणेण । देवी–णत्थि खु भवदो अवराहो । अहं एव्व एत्थ अवरद्धा, जा पडि- उलदसणा भविअ अग्गदो दे चिट्ठामि । इदो अहं गमिस्सं । णिउणिए, एहि गच्छर। देवी-मा खु लहुहिअआ अहं अणुणअं बहु मण्णे । किं दु अदक्खिण्ण- किदस्स पच्छादावस्स भाएमि । विदूषकः-पाउसणदि विअ अप्पसण्णा गदा देवी । ता उद्वेहि उद्यहि ।

·द्वितीयोंकः। ३७ विदूषकः-अनुकूलमेवात्रभवत एतत् । न खल्वक्षिदुःखितो- ऽभिमुखे दीपशिखां सहते । राजा-मा मैवम् । उर्वशीगतमनसोऽपि मे स एव देव्यां बहुमानः । किंतु प्रणिपातलंघनादहमस्यां धैर्यमवलंबिष्ये । विदूषकः-भोः, तिष्ठतु तावद्भवतो धीरता । बुभुक्षितस्य ब्राह्मणस्य जीवितमवलंबतां भवान् । समयः खलु स्नानभोजनं सेवितुम् । राजा-(उर्ध्वमवलोक्य ।) गतमर्ध दिवसस्य । अतः खलु । उष्णालुः शिशिरे निषीदति तरोर्मूलालवाले शिखी निर्भिद्योपरि कर्णिकारमुकुलं व्यालीयते षट्पदः । तप्तं वारि विहाय तीरनलिनी कारंडवः सेवते क्रीडावेश्मनि चैष पंजरशुकः लांतो जलं याचते ॥२२॥ (इति निष्क्रांतौ।) इति द्वितीयोंकः । विदूषकः-अणुउलं एव्व एत्थभवदो एदं । ण खु अक्खिदुक्खिदो अहिमुहे दीवसिहं सहेदि । विदूषकः-भो, चिट्ठदु दाव भवदो धीरदा । बुभुक्खिदस्स बम्हणस्स जीविदं अवलंबदु भवं । समओ खु ण्हाणभोअणं सेविदं । 4 ·अथ तृतीयोंकः । (ततः प्रविशतो भरतशिष्यो गालवः-सखे पेलव, महेंद्रभवनं गच्छता भगवतोपाध्यायेन त्वमासनं प्रतिग्राहितः । अग्निशरणसंरक्षणाय स्थापितोऽहम् । अतः खलु पृच्छामि, अपि गुरोः प्रयोगेण दिव्या परिषदाराधिता । पेलवः-गालव, न जाने आराधिता न वा इति । तस्मिन्पुनः सरस्वतीकृतकाव्यबंधे लक्ष्मीस्वयंवरे तेषु तेषु रसांतरेषु तन्मयी आसीत् । किंतु गालव:-सदोषावकाश इव ते वाक्यशेषः । पेलव:-आम् , तस्मिन्नुर्वश्या वचनं. प्रमादस्खलितमासीत् । गालव:-कथमिव । पेलवः-लक्ष्मीभूमिकायां वर्तमानोर्वशी वारुणीभूमिकायां वर्त- मानया मेनकया पृष्टा—'सखि, समागता एते त्रैलोक्यसुपुरुषाः, सकेशवाश्च लोकपालाः । कतमस्मिस्ते भावाभिनिवेशः' इति । गालव:-ततस्ततः । पेलवः-गालव, ण जणि आराहिदा ण वत्ति । तस्सि उण सरस्सईकिद- कव्वबंधे लच्छीसअंवरे तेसु तेसु रसंतरेसु तंमयी आसि । किंतु..... पेलवः-आम्, तस्सि उव्वसीए वअणं पमादक्खलिदं आसि । पेलवः-लच्छीभूमिआए वमाणा उध्वसी वारुणीभूमिआए वड्माणाए मेणआए पुच्छिदा-'सहि, समागदा एदे तेलोकसुपुरिसा, सकेशवा अ लोअ- वाला । कदमस्सि ते भावाहिणिवेसो'-त्ति ।

·तृतीयोंकः। ३९ पेलवः-ततस्तया 'पुरुषोत्तमे ' इति भणितव्ये 'पुरूरवसि इति तस्या निर्गता वाणी। गालवः-भवितव्यतानुविधायीनि इंद्रियाणि । न खलु ताम- भिक्रुद्धो गुरुः । पेलवः-सा खलु शप्तोपाध्यायेन । महेंद्रेण पुनरनुगृहीता । गालव:-कथमिव । पेलव:-'येन ममोपदेशस्त्वया लंधितस्तेन न ते दिव्यं स्थान भविष्यति' इति उपाध्यायस्य शापः । महेंद्रेण पुनः प्रेक्षणावसाने लज्जावनतमुखी सा एवं भणिता—'यस्मिस्त्वं बद्धभावासि तस्य मे रणसहायस्य राजर्षेः प्रियमत्र करणीयम् । तत्तावत्वं यथाकाम पुरूरवसमुपतिष्ठव यावत्स त्वयि दृष्टसंतानो भवेत् -इति । गालवः-सदृशमेतत्पुरुषांतरविदो महेंद्रस्य । पेलवः-(सूर्यमवलोक्य ।) कथाप्रसंगेनास्माभिरपराद्धाभिषेकवेला खलु उपाध्यायस्य । तदेहि । अस्य पार्श्ववर्तिनौ भवावः । गालव:-तथा। (इति निष्क्रांतो।) मिश्रविष्कंभकः। पेलवः-तदो ताए ‘पुरुसत्तमे' त्ति भणिदव्वे 'पुरूरवसि' त्ति ताए निग्गदा वाणी। पेलवः-सा खु सत्ता उवज्झाएण | महिंदेण उण अणुगहिदा। पेलवः-'जेण मम उवदेसो तुए लंघिदो तेण ण दे दिव्वं ठाणं हविस्सदि' त्ति उवज्झाअस्स सावो । महिंदेण उण पेक्खणावसाणे लज्जावणदमुही सा एव्वं मणिदा-'जस्सि तुमं बद्धभावा सि तस्स मे रणसहाअस्स राएसिणो पिअं एत्थ करणिज्ज । ता दाव तुमं जहाकामं पुरूरवसं उवचि जाव मो तुइ दिवसंताणो भोदि'-त्ति । पेलव:-कधापसंगेण अमेहि अवरद्धा अहिसे अवेला खु उवज्झाअस्स । ता एहि । से पासवत्तिणो होम ।

·४०
विक्रमोर्वशीये
..
(ततः प्रविशति कंचुकी।)
कंचुकी-(विनिःश्वस्य।)
सर्वः कल्ये वयसि यतते लब्धुमर्थान्कुटुंबी
पश्चात्पुत्रैरपहृतभरः कल्पते विश्रमाय ।
अस्माकं तु प्रतिदिनमियं साधयंती प्रतिष्ठा
सेवाकारा परिणतिरभूत्स्त्रीषु कष्टोऽधिकारः ॥ १ ॥
( परिक्रम्य ।) आदिष्टोऽस्मि सनियमया काशिराजपुत्र्या-'व्रत-
संपादनाथ मया मानमुत्सृज्य निपुणिकामुखेन पूर्व याचितो महा-
राजः । तदेव त्वं मवचनाद्विज्ञापय '-इति । यावदहमिदानीमवसि-
तसंध्याजाप्यं महाराजं पश्यामि । (परिक्रम्यावलोक्य च ।) रमणीयः
खलु दिवसावसानवृत्तांतो राजवेश्मनः । इह हि,
उत्कीर्णा इव वासयष्टिषु निशानिद्रालसा बहिणो
धूपैर्जालविनिःसृतैर्वलभयः संदिग्धपारावताः ।
आचारप्रयतः सपुष्पबलिषु स्थानेषु चार्चिष्मती:
संध्यामंगलदीपिका विभजते शुद्धांतवृद्धो जनः ॥ २ ॥
( नेपथ्याभिमुखमवलोक्य ।) अये, इत एव प्रस्थितो देवः ।
परिजनवनिताकरार्पिताभिः
परिवृत एष विभाति दीपिकाभिः ।
गिरिरिव गतिमानपक्षलोपात्
अनुतटपुष्पितकर्णिकारयष्टिः ॥ ३ ॥
यावदेनमवलोकनमार्गे स्थितः प्रतिपालयामि । ( परिक्रम्य स्थितः।)
(ततः प्रविशति यथानिर्दिष्टो राजा विदूषकश्च ।)
राजा-(स्वगतम् ।) आः,
कार्यातरितोत्कंठं दिनं मया नीतमनतिकृच्छ्रेण ।
अविनोददीर्घयामा कथं नु रात्रिर्गमयितव्या ॥ ४ ॥

·तृतीयोंकः। कंचुकी-(उपसृत्य ।) जयतु जयतु देवः । देव, देवी विज्ञा- पयति-'मणिहर्म्यष्टष्ठे सुदर्शनश्चंद्रः । तत्र संनिहितेन देवेन प्रति- पालयितुमिच्छामि यावद्रोहिणीसंयोगः' इति । राजा-आर्य लातव्य, विज्ञाप्यतां देवी ‘यस्ते छंदः' इति । कंचुकी--यदाज्ञापयति देवः । (इति निष्क्रांतः ।) राजा-वयस्य, किं परमार्थत एव देव्या व्रतनिमित्तोऽयमारंभः स्यात् । विदूषकः-भोः, तर्कयामि संजातपश्चात्तापा तत्रभवती व्रता- पदेशेन भवतः प्रणिपातलंघनं प्रमाटुकामेति । राजा-उपपन्नं भवानाह । अवधूतप्रणिपाताः पश्चात्संतप्यमानमनसो हि । विविधैरनुतप्यते दयितानुनयैर्मनस्विन्यः ॥ ५ ॥ तदादेशय मणिहर्म्यपृष्ठमार्गम् । विदूषकः-इत इतो भवान् । एतेन गंगातरंगसश्रीकेण स्फटि- कमणिसोपानेनारोहतु भवान्प्रदोषावसररमणीयं मणिहर्म्यपृष्ठम् । राजा-आरोहाग्रतः । (सर्वे सोपानारोहणं नाटयंति।) विदूषकः-(निरूप्य ।) भोः, प्रत्यासन्नेन चंद्रोदयेन भवित- व्यम् , यथा तिमिररिच्यमानं पूर्वदिङ्मुखमालोकसुभगं दृश्यते । विषकः-भो, तक्केमि संजादपच्छादावा तत्तभोदी वदावदेसेण भवदो पणिपादलंघणं पमज्जिदुकाम त्ति । विदूषकः-इदो इदो भवं । इमिणा गंगातरंगसस्सिरीएण फलिहमणि- सोवाणेण आरोहदु भवं पदोसावसररमणिज्जं मणिहंमिअ पिढे । विदूषकः-भो, पञ्चासण्णेण चंदोदएण होदव्वं, जह तिमिररेईअमाणं पुनदिसामुहं आलोअसुहअं दीसदि ।

·४२ विक्रमोर्वशीये राजा-सम्यग्भवान्मन्यते । उदयगूढशशांकमरीचिभिः तमसि दूरतरं प्रतिसारिते। अलकसंयमनादिव लोचने हरति मे हरिवाहनदिङ्मुखम् ॥ ६ ॥ विदृषक:-(विलोक्य । ) ही ही भोः, एष खलु खंडमोदकस- श्रीक उदितो राजा द्विजातीनाम् | राजा-(सस्मितम् ।) सर्वत्रौदरिकस्याभ्यवहार्यमेव विषयः । (प्रांजलिः प्रणम्य ।) भगवन् क्षपानाथ, रविमावसते सतां क्रियायै सुधया तर्पयते सुरान्पितूंश्च । तमसां निशि मूर्छतां निहत्रे हरचूडानिहितात्मने नमस्ते ॥ ७ ॥ ( इति उपतिष्टते ।) विदूषकः-भोः, ब्राह्मणसंक्रामिताक्षरेण ते पितामहेनाभ्यनु- ज्ञातोऽसि । तदासनस्थितो भव, यावदहमपि सुखासीनो भवामि । राजा-(विदूषकवचनं परिगृह्योपविष्टः, परिजनं विलोक्य ।) अभि- व्यक्तायां चंद्रिकायां किं दीपिकापौनरुक्त्येन । तद्विश्नाम्यंतु भवत्यः । परिजनः--यद्देव आज्ञापयति । (इति निष्क्रांतः ।) विदूषकः-ही ही भो, एसो खु खंडमोदअसस्सिरीओ उदिदो राआ दुआदीणं । विदूषकः-भो, बम्हणसंकमिदक्खरेण दे पिदामहेण अब्भणुण्णादो सि । ता आसणविदो होहि, जाव अहं वि सुहासीणो होमि । परिजनः-जं देवो आणवेदि ।

·तृतीयोंकः । ४३ राजा--(चंद्रमसमवलोक्य, विदूषकं प्रति ।) वयस्य, परं मुहूर्ता- दागमनं देव्याः । तद्विविक्ते कथयिष्यामि स्वामवस्थाम् । विदूषकः-ननु दृश्यते एव सा । किंतु तादृशमनुरागं प्रेक्ष्य शक्यं खल्वाशाबंधनात्मानं धारयितुम् । राजा-एवमेतत् । बलवान्पुनर्मे मनसोऽभितापः । नद्या इव प्रवाहो विषमशिलासंकटस्खलितवेगः । विनितसमागमसुखो मनसिशयः शतगुणी भवति ॥ ८ ॥ विदूषकः-भोः, यथा परिहीयमाणैरेगैरधिकं शोभसे तथाऽदूरे प्रियासमागमं ते प्रेक्षे । राजा-(निमित्तं सूचयन् ।) वयस्य, वचोभिराशाजननैर्भवानिव गुरुव्यथम् । अयं मां स्पंदितैर्वाहुराश्वासयति दक्षिणः ॥ ९ ॥ विदूषकः-न खल्वन्यथा ब्राह्मणस्य वचनम् । (राजा सप्रत्याशस्तिष्ठति ।) (ततः प्रविशति आकाशयानेनाभिसारिकावेषा उर्वशी चित्रलेखा च।) उर्वशी-(आत्मानमवलोक्य ।) हला चित्रलेखे, अपि रोचते तेऽयं ममाल्पाभरणभूषितो नीलांशुकपरिग्रहोऽभिसारिकावेपः । विदृषकः-णं दीसदि एव्व सा । किंदु तारिसं अणुराअं पेक्निअ सक खु आसाबंधेण अत्ताणं धारेहूं । विदूषकः-भो, जहा परिहीअमाणेहि अंगेहिं अहिअं सोहसि तहा अरे पिआसमागमं दे पेक्खामि । विदूषकः-ण खु अण्णहा बह्मणस्स वअणं । उर्वशी-हला चित्तलेहे, अवि रोअदि दे अभं मम अप्पाभरणभूसिदो गीलंसुअपरिग्गहो अहिसारिआवेसो।

·४४ विक्रमोर्वशीये चित्रलेखा-सखि, नास्ति मे वाग्विभवः प्रशंसितुम् । इदं तु चिंतयामि, अपि नामहं पुरूरवा भवेयमिति । उर्वशी-सखि, मदनः खलु त्वामाज्ञापयति । तच्छीघ्रं नय मां तस्य सुभगस्य वसतिम् । चित्रलेखा-(विलोक्य ।) नन्वेतत्परिवर्तितमिव कैलासशिखरं प्रियतमस्य ते भवनमुपगते स्वः । उर्वशी-तेन हि प्रभावाज्जानीहि तावत्क्क स मम हृदयचोरः, किं वानुतिष्ठतीति । चित्रलेखा-(ध्यात्वा, विहस्यात्मगतम् । ) भवतु । क्रीडिष्यामि तावदेतया । (प्रकाशम् ।) हला, दृष्टो मया एष मनोरथलब्धप्रिया- समागमसुखमनुभवन्नुपभोगक्षमेऽवकाशे तिष्ठतीति । उर्वशी-(विषादं नाटयति । निःश्वस्य ।) धन्यः स जनो य एवं भवेत् । चित्रलेखा-मुग्धे, का पुनश्चिंता त्वया विनान्यप्रियासमाममस्य। चित्रलेखा-सहि, णत्थि मे बाआविहवो पसंसिदं । इदं तु चिंतेमि, अवि णाम अहं पुरूरवा भवेअं त्ति । उर्वशी-सहि, मदणो खु तुम आणवेदी । ता सिघं णेहि मं तस्स सुह- अस्स वसदि। चित्रलेखा-णं एवं परिवत्तिदं विअ केलाससिहरं पिअदमस्स दे भवणं उवगद झा उर्वशी-तेण हि पहावदो जाणाहि दाव कहिं सो मम हिअअचोरो, किं वा अणुचिढदि त्ति । चित्रलेखा-भोदु, कीलिस्सं दाव एदाए । हला, दिट्ठो मए एसो मणो- रहलद्धपिआसमाअमसुहं अणुहवंतो उवहोअक्खमे ओआसे चिट्ठदि त्ति । उर्वशी-पण्णो सो जणो जो एव्वं भवे । चित्रलेखा-मुद्धे, का उण चिता लुए विणा अण्पपिआसमाअमस्स ।

·तृतीयोंकः । ४५ उर्वशी-(सोच्छासम् । ) सखि, अदक्षिणं संदिग्धे मे हृदयम् । चित्रलेखा-(विलोक्य ।) एष मणिहर्म्यप्रासादपृष्ठगतो वय- स्यमात्रसहायो राजर्षिः । तदेहि उपसाव एनम् । ( उभे अवतरतः ।) राजा-वयस्य, रजन्या सह विजृभते मदनबाधा । उर्वशी-अनिभिन्नार्थेनानेन वचनेनाकंपितं मे हृदयम् । तदं- चर्हिते एव शृणुवः अस्य स्वैरालापं, यावदावयोः संशयच्छेदो भवति । चित्रलेखा-यत्ते रोचते । विदूषकः-नन्वेतऽमृतगर्भाः सेव्यतां चंद्रपादाः । राजा-वयस्य, एवमादिभिरनुपक्रम्योऽयमातंकः । पश्य । कुसुमशयनं न प्रत्यग्रं न चंद्रमरीचयो न च मलयजं सर्वांगीणं न वा मणियष्टयः । मनसिजरुजं सा वा दिव्या ममालमपोहितुं....... उर्वशी-(उरसि हस्तं दत्त्वा ।) का वा अपरा । राजा- रहसि लघयेदारब्धा वा तदाश्रयिणी कथा ॥ १० ॥ उर्वशी-सहि, अदक्खिणं संदेहदि मे हिअअं । चित्रलेखा-एसो मणिहमिअप्पासादपिट्ठगदो वअस्समेत्तसहाओ राएसी। ता एहि उवसप्पाम णं । उर्वशी-अणिभिण्णत्थेण इमिणा वअणेण आकपिदं मे हिअअं । ता अंतरिदा एव सुणाम से सेरालावं, जाव णो संसअच्छेदो होदि । चित्रलेखा-जं दे रोअदि । विदूषकः-णं इमे अमिअगभा सेवी अंदु चंदवादा । उर्वशी का वा अवरा ।

·४६ विक्रमोर्वशीये उर्वशी-हृदय, मामुग्मित्वा इतः संक्रांतेन त्वयेदानी फलम- पलब्धम् । विदूपक:-आम् । अहमपि प्रार्थयमानो यदा मिष्टहरिणी- मांसभोजनं न लभे तदैतत्संकीर्तयत्नाश्वासयाम्यात्मानम् । राजा-संपद्यते पुनरिदं भवतः । विदूषकः-भवानपि तामचिरेण प्राप्स्यसि । राजा-सखे, एवं मन्ये... चित्रलेखा-शृणु असंतुष्टे, शृणु । विदूषकः-कथमिव । राजा- अयं तस्या रथक्षोभादंसेनांसो निपीडितः । एकः कृती शरीरऽस्मिन् शेषमंगं भुवो भरः ॥ ११ ॥ चित्रलेखा-सखि, किमिदानी विलंब्यते । उर्वशी-(सहसोपसत्य । ) हला, अग्रतोऽपि मम स्थिताया उदासीन इव महाराजः । उर्वशी-हिअ मं उज्झिम इदो संकंतेण तुए दाणिं फलं उवलखें। विदूषकः-आम् | हं वि पत्थयंतो जदा मिट्ठहरिणीमसभोअणं ण लहे तदा णं संकित्तअंतो आसासमि अत्ताणं । विदूषकः-भवं वि तं अइरेण पाविस्सदि । चित्रलेखा-सुणु असंतुढे, सुणु । विदूषकः-कहं वि। चित्रलेखा-सहि, कि दाणि विलंबीअदि । उर्वशी-हला, अग्गदो वि मम द्विदाए उदासीणो विअ महाराओ।

·. तृतीयोंकः। चित्रलेखा-(सस्मितम् ।) अयि अतित्वरित, अनाक्षिप्ततिर- स्करिणीकासि । (नेपथ्ये।) इत इतो भहिनी। (सर्वे कर्णे ददति । उर्वशी सह सख्या विषण्णा ।) विदूषकः-(सविस्मयम् ।) अयि भोः, उपस्थिता देवी । तद्वाचंयमो भव । राजा-भवानपि संवृताकारमास्ताम् । उर्वशी-सखि, किमत्र करणीयम् । चित्रलेखा-अलमावेगेन । अंतर्हिते इदानीमावाम् । विहित- नियमवेषा राजर्षिमहिषी दृश्यते । तन्नैषा इह चिरं स्थास्यति । (ततः प्रविशति औपहारिकहस्तपरिजना देवी चेटी च ।) देवी-(परिक्रम्य चंद्रमसमवलोक्य च । ) हंजे निपुणिके, एष रोहिणीसंयोगेनाधिकं शोभते भगवान् मृगलांछनः । चेटी-ननु भटिनीसहितो भर्ता विशेषरमणीयः । (इति सर्वे परिक्रामति ।) विदूषकः-( दृष्ट्वा । ) भोः, न जानामि स्वस्तिवायनं मे ददा- चित्रलेखा-अइ अदितुवरिदे, अणक्खित्ततिरक्खरिणीआ सि । (नेपथ्ये ।) इदो इदो भटिणी । विदूषकः-अइ भो, उवहिदा देवी । ता वाचंजमा होहि । उर्वशी-सहि, किं एत्थ करणिज्जं । चित्रलेखा-अलं आवेएण । अंतरिदा दाणिं वयं । विहिदणिअमवसः राएसिमहिसी दीसदि । ता ण एसा इह चिरं चिट्ठीस्सदि । देवी-हंजे णिउणिए, एसो रोहिणीसंजोएण अहिअं सोहदि भभवं मित्र- लंछणो। चेटी-णं भट्टिणीसहिदो भद्य विसेसरमणिज्जो । विदूषकः-भो, ण जाणामि सोस्थिवाअणं मे देइ त्ति, आदु वदव्ववदे- ·४८ विक्रमोर्वशीये तीति, अथवा व्रतव्यपदेशेन मुक्तरोषा भवतः प्रणिपातलंघनं प्रमा- टुंकामेति, अद्य मेऽक्ष्णोः शुभदर्शना देवी । राजा-( सस्मितम् ।) उभयमपि घटते । तथापि भवता यत्पश्चादाभिहितं तन्मां प्रति भाति । यदत्रभवती, सितांशुका मंगलमात्रभूषणा पवित्रदुर्वांकुरलांछितालका । व्रतापदेशोज्झितगर्ववृत्तिना मयि प्रसन्ना वपुषैव लक्ष्यते ॥ १२ ॥ देवी-( उपसृत्य । ) जयतु जयतु आर्यपुत्रः । परिजन:-जयतु जयतु भट्टारकः । विदूषकः-स्वस्ति भवत्यै । राजा-स्वागतं देव्यै । (ता हस्तेन गृहीत्वोपवेशयति ।) उर्वशी-हला, स्थाने खलु इयं देवीशब्देनोपर्यते । न किमपि परिहीयते शच्या ओजस्वितया । चित्रलेखा-साधु असूयापरांमुखं मंत्रितं त्वया । देवी-आर्यपुत्रं पुरस्कृत्य कोऽपि व्रतविशेषो मया संपाद- नीयः । तन्मुहूर्तमुपरोधः सह्यताम् । सेण मुक्करोसा भवदो पणिपादलंघणं. पमज्जिदुकामः त्ति, अज्ज मे अक्खीणं सुहदसणा देवी। देवी-जेदु जेदु अज्जउत्तो । परिजनः-जेदु जेदु भट्टारओ। विदूषकः-सत्थि भोदीए। उर्वशी–हला, ठाणे खु इअं देवीसहेण उवअरीअदि । णः किं वि परिही. अदि सचीए ओजस्सिदाए । चित्रलेखा-साहु असूआपरंमुहं मंतिदं तुए। देवी-अज्जउत्तं पुरोकरिअ को वि वदविसेसो मए संपादणीभो । ता मुहुत्तं उवरोधो सहीअदु।

·तृतीयोंकः । ४९ राजा-मा मैवम् । अनुग्रहः खलु अयं नोपरोधः । विदूषकः-ईदृशः स्वस्तिवायनवानुपरोधो बहुशो भवतु । राजा-किनामधेयमेतद्देव्या व्रतम् । ( देवी निपुणिकामुखमवेक्षते ।) निपुणिका-भर्तः, 'प्रियानुप्रसादनं' नाम । राजा-(देवीं विलोक्य ।) यद्येवम्, अनेन कल्याणि मृणाल कोमलं व्रतेन गात्रं ग्लपयस्यकारणम् । प्रसादमाकांक्षति यस्तवोत्सुकः स किं त्वया दासजनः प्रसाद्यते ॥ १३ ॥ उर्वशी-महान्खलु अस्य एतस्यां बहुमानः । चित्रलेखा-अयि मुग्धे, अन्यसंक्रांतप्रेमाणो नागरिका भार्या- यामधिकं दक्षिणा भवंति । देवी-(सस्मितम् ।) नन्वेतस्य व्रतपरिग्रहस्यायं प्रभावो यदे- तावन्मंत्रित आर्यपुत्रः । विदूषकः-विरमतु भवान् । न युक्तं सुभाषितं प्रत्याचरितुम् । विदूषकः-ईरिसो सोत्थिवाअणवंतो उवरोहो बहुसो होदु । निपुणिका-भट्टा, "पिआणुप्पसादणं' णाम । उर्वशी-महंतो खु से इमस्सि बहुमाणो । चित्रलेखा-अइ मुद्धे, अण्णसंकंतप्पेमाणो णाअरिआ भारिआए अहिअं दक्खिणा होति । देवी-णं इमस्स वदपरिग्गहस्स अअं पहावो जं एत्तिअं मंताविदो अज्जउत्तो। विदूषकः-विरमदु भवं । न जुत्तं सुहासिदं पच्चाचरिदुं । ४४६.१४ 5 ·५० विक्रमोर्वशीये देवी-दारिकाः, आनयतौपहारिकं यावन्मणिहर्म्यपृष्ठगतांश्चंद्र- पादान मि । परिजन:-यद्भट्टिनी आज्ञापयति । एष गंधकुसुमाग्रुपहारः । देवी-उपनयत । ( नाट्येन गंधपुष्पादिभिश्चंद्रपादानभ्यर्च्य ।) हंजे निपुणिके, एतानौपहारिकमोदकानार्यमाणवकं लंभय । निपुणिका-यद्भट्टिन्याज्ञापयति । आर्य माणवक, इदं तावत्ते । विदूषकः-(मोदकशरावं गृहीत्वा । ) स्वस्ति भवत्यै । बहुफलं तवैतहतं भवतु । देवी-आर्यपुत्र, इतस्तावत् । राजा-अयमास्मि । देवी-(राज्ञः पूजामभिनीय, प्रांजलिः प्रणम्य । ) एषाहं देवतामि- थुनं रोहिणीमृगलांछनं साक्षीकृत्यार्यपुत्रमनुप्रसादयामि–'अद्य- प्रभृति, यां स्त्रियमार्यपुत्रः प्रार्थयते या चार्यपुत्रस्य समागमप्रण- यिनी तया सह मया प्रीतिबंधेन वर्तितव्यम् ' - इति । देवी-दारिआओ, आणेध ओवहारिअं जाव मणिहंमिअपिट्ठगदे चंद. पादे अच्चेमि । परिजनः-जं भट्टिणी आणवेदि । एसो गंधकुसुमादिउवहारो। देवी-उवणेध । हंजे णिउणिए, इमे ओवहारिअमोदए अज्जमाणवअं लंभावेहि । निपुणिका-जं भटिणी आणवेदि । अज्ज माणवअ एवं दाव दे । विदूषकः-सोत्थि भोदीए । बहुफलो दे एसो वदो भोदु । देवी-अज्जउत्त, इदो दाव । देवी-एसा अहं देवदामिहुणं रोहिणीमिअलंछणं सक्खीकरिअ अज्ज- उत्तं अणुप्पसादेमि-'अज्जप्पहुदि, जं इस्थिअं अज्जउत्तो पत्थेदि जा अ अजउत्तस्स समाअमप्पणयिणी ताए सह मए पीदिबंधेण वत्तिदव्वं'-त्ति।

·तृतीयोंकः । ५१ उर्वशी-अहो, न जाने किंपरमस्या वचनमिति । मम पुनर्वि- श्वासविशदं हृदयं संवृत्तम् । चित्रलेखा-सखि, महानुभावया पतिव्रतयाम्यनुज्ञातः, अनंत- रायस्ते प्रियसमागमो भविष्यति । विदूषकः-(अपवार्य । ) भिन्नहस्ते मत्स्ये पलायिते निर्विण्णो धीवरो भणति-'गच्छ, धर्मो मे भविष्यति' धर्मों मे भविष्यति' इति । (प्रकाशम् ।) भवति किं तादृशस्ते प्रियस्तत्रभवान् । देवी-मूढ, अहं खलु आत्मनः सुखावसानेनार्यपुत्रं निर्वृतशरीरं कर्तुमिच्छामि । एतावता चिंतय तावत्प्रियो न वेति । राजा- दातुं वा प्रभवसि मामन्यस्मै कर्तुमेव वा दासम् । नाहं पुनस्तथा त्वयि यथा हि मां शंकसे भीरु ॥ १४ ॥ देवी-भव वा मा वा । यथानिर्दिष्टं संपादितं मया प्रिया- नुप्रसादनं नाम व्रतम् । दारिकाः, एत गच्छामः । (इति प्रस्थिता ।) राजा-प्रिये, न खलु प्रसादितोऽस्मि यदि संप्रति विहाय . गम्यते । उर्वशी-अंमहे, ण आणे किंपरं से वअणं त्ति । मम उण विस्सासविसदं हिअ संवुत्तं । चित्रलेखा-सहि, महाणुहावाए पदिव्वदाए अब्भणुण्णादो, अणंतराओ दे पिअसमाअमो हविस्सदि । विदूषकः-भिण्णहत्थे मच्छे पलायिदे णिविण्णो धीवरो भणादि-गच्छ, धंमो मे हविस्सदि'-त्ति । भोदि, कि तारिसो दे पिओ तत्तभवं । देवी-मूढ, अहं खु अत्तणो सुहावसाणेण अज्जउत्तं णिन्वुदसरीरं कादं इच्छामि । एत्तिएण चितेहि दाव पिओ ण वत्ति । देवी-होहि क मा वा । जधाणिद्दिई संपादिदं मए पिआणुप्पसादणं णाम वदं । दारिआओ, एध गच्छद ।

·५२ विक्रमोर्वशीये देवी-आर्यपुत्र, अलंधितपूर्वो मया नियमः । ( इति सपरिवारा निष्क्रांता।) उर्वशी-सखि, प्रियकलत्रो राजर्षिः । न पुनर्हृदयं निवर्तयितुं शक्नोमि । चित्रलेखा-किं पुनस्त्वया निराशया निवर्त्यते । राजा-(आसनमुपेत्य ।) वयस्य, न खलु दूरं गता देवी । विदूपकः-भण विश्रब्धं यदसि वक्तुकामः । असाध्य इति वैद्यनातुर इव, स्वैरं मुक्तो भवास्तत्रभवत्या । राजा-अपि नाम उर्वशी उर्वशी-अद्य कृतार्था भवेत् । राजा- गूढा नूपुरशब्दमात्रमपि मे कांतं श्रुतौ पातयेत पश्चादेत्य शनैः करांवुजवृते कुर्वीत वा लोचने । हर्येऽस्मिन्नवतीर्य साध्वसवशान्मंदायमाना बलात् आनीयेत पदात्पदं चतुरया सख्या ममोपांतिकम् ॥१५॥ चित्रलेखा-सखि उर्वशि, इमं तावदस्य मनोरथं संपादय । उर्वशी-(ससाध्वसम् । ) भवतु । क्रीडिप्यामि तावत् । (इति तिरस्करिणीमपनीय, पृष्ठतो गत्वा राज्ञो नयने संवृणोति ।) देवी-अज्जउत्त, अलंघिदपुवो मए णिअमो । उर्वशी-सहि, पिअकलत्तो गएसी । ण उण हिअअं णिवत्तेढुं सकेमि । चित्रलेखा-कि उण तुए णिरासाए णिवत्तीअदि । विदूषकः-भण विस्सद्धं जं सि वत्तुकामो । असझो त्ति वेज्जेण आदुरो विअ, सेरं मुत्तो भवं तत्तहोदीए । उर्वशी-अज्ज किदत्था भवे । चित्रलेखा-सहि उव्वसि, इमं दाव से मणोरहं संपादेहि । उर्वशी-भोदु । कीलिस्सं दाव ।

·तृतीयोंकः । ५३ (चित्रलेखा तिरस्करिणीमपनीय, विदूषकं संज्ञापयति ।। विदूषकः-भो वयस्य, का पुनः एषा । राजा-(स्पर्श रूपयित्वा ।) सखे, नारायणोरुसंभवा सेयं वरोरुः। विदूषकः-कथं भवानवगच्छति । राजा-किमत्र ज्ञेयम् । अंगमनगक्लिष्टं सुखयेदन्या न मे करस्पर्शात् । नोसिति तपनकिरणैश्चंद्रस्येवांशुभिः कुमुदम् ॥ १६ ॥ उर्वशी-(हस्तौ अपनीय उत्तिष्ठति । किंचिदपसृत्य ।) जयतु जयतु महाराजः। राजा-मुंदरि, स्वागतम् । ( इति एकासने उपवेशयति ।) चित्रलेखा-अपि सुखं वयस्यस्य । राजा-नन्वेतदुपपन्नम् । उर्वशी–हला, देव्या दत्तो महाराजः । अतोऽस्य प्रणय- वतीव शरीरसंपर्क गतास्मि । मा खलु मां पुरोभागिनी समर्थयस्व । विदूपक:-कथं, इहैव युवयोरस्तमितः सूर्यः । राजा-( उर्वशीमवलोकयन् ।) देव्या दत्त इति यदि व्यापारं व्रजसि मे शरीरेऽस्मिन् । प्रथमं कस्यानुमते चोरितमयि मे त्वया हृदयम् ॥ १७ ॥ विदूषकः-भो वअस्स, का उण एसा । विदूषकः–कहं भवं अवगच्छदि । उर्वशी-जेदु जेदु महाराओ। चित्रलेखा-अवि सुहं व अस्सस्स । उर्वशी–हला, देवीए दिण्णो महाराओ । अदो से पणअवदी विष सरीरसंपकं गदाह्मि । मा खु मं पुरोभाइणि समत्येहि । विदूषकः-कहं, इह ज्जेव तुह्माणं अत्थमिदो सुज्जो ।

·विक्रमोर्वशीये चित्रलेखा-वयस्य, निरुत्तरा एषा । सांप्रतं मम विज्ञापना श्रूयताम् । राजा-अवहितोऽस्मि । चित्रलेखा-वसंतानंतरे उष्णसमये भगवान्सूर्यों मयोपचरि- तव्यः । तद्यथेयं मे प्रियसखी स्वर्गाय नोत्कंठते तथा वयस्येन कर्तव्यम् । विदूषकः-किं वा स्वर्गे स्मर्तव्यम् । न वा तत्राश्यते न वा पीयते । केवलमनिमिषैर्नयनैर्मीना विडंब्यते । राजा-भद्रे, अनिदेश्यसुखः स्वर्गः कस्तं विस्मारयिष्यति । अनन्यनारीसामान्यो दासस्त्वस्याः पुरूरवाः ॥१८॥ चित्रलेखा-अनुगृहीतास्मि । हला उर्वशि, अकातरा भूत्वा विसर्जय माम् । उर्वशी-(चित्रलेखां परिष्वज्य, सकरुणम् ।) सखि, मा खलु मां विस्मर। चित्रलेखा-(सस्मितम् । ) वयस्येन संगता त्वमेव एतन्मया याचितव्या । ( इति राजानं प्रणम्य निष्क्रांता.।) चित्रलेखा-वअस्स, णिरुत्तरा एसा। संपदं मह विण्णवणा सुणीअदु । चित्रलेखा-वसंताणंतरे उण्हसाए भअवं सुज्जो मए उवचरिदव्यो । ता जहा इअं मे पिअसही सग्गस्स ण उक्कंठेदि तहा वअस्सेण कादव्वं । विदूषकः-किं वा सग्गे सुमरिदव्वं । ष वा तत्थ अण्हीअदि ण वा पीअदि । केवलं अणिमिसेहिं णअणेहिं मीणा विडंबीअंति । चित्रलेखा-अणुगहिदह्मि । हला उव्वसि,अकादरा भविभ विसज्जेहि मं। उर्वशी-सहि, मा खु मं विसुमरेहि । चित्रलेखा-अस्सेण संगदा तुमं एन्व एवं मए जाचिदव्या ।

·तृतीयोंकः। ६५ विदूषकः-दिष्टया मनोरथसंपत्या वर्धते भवान् । राजा-इयं तावदृद्धिर्मम । पश्य । सामंतमौलिमणिरंजितपादपीठं एकातपत्रमवनेन तथा प्रभुत्वम् । अस्याः सखे चरणयोरहमद्य कांतं आज्ञाकरत्वमधिगम्य यथा कृतार्थः ॥ १९ ॥ उर्वशी-नास्ति मे वाग्विभवोऽतः प्रियतरं मंत्रयितुम् । राजा-(उर्वशी हस्तेनावलंब्य ।) अहो, विरुद्धसंवर्धन ईप्सित- लामो नाम । यतः, पादास्त एव शशिनः सुखयंति गात्रं बाणास्त एव मदनस्य मनोनुकूलाः । संरंभरूक्षमिव सुंदरि यद्यदासीत् त्वत्संगमेन मम तत्तदिवानुनीतम् ॥ २० ॥ उर्वशी-अपराद्धास्मि चिरकारिकार्यपुत्रस्य । राजा-सुंदरि, मा मैवम् । यदेवोपनतं दुःखात्सुखं तद्रसवत्तरं । निर्वाणाय तरुच्छाया तप्तस्य हि विशेषतः ॥ २१ ॥ विदूषकः-भोः, सेविताः प्रदोषरमणीयाश्चंद्रपादाः । समयः खलु ते वासगृहप्रवेशस्य । राजा-तेन हि सख्यास्ते मार्गमादेशय । विदूषकः-दिद्विआ मणोरहसंपदीए वड्डदि भवं । उर्वशी–णत्थि मे वाआविहवो अदो पिअदरं मंतिदूं । उर्वशी-अवरह्मि चिरकारिआ अज्जउत्तस्स । विदूषकः-भो, सेविदा पदोसरमणीआ चंदवादा । समओ खु दे वास- घरपवेसस्स।

·५६ विक्रमोर्वशीये विदूषकः-इत इतो भवती । ( इति सर्वे परिकामंति।) राजा-सुंदरि, इयमिदानी मेऽभ्यर्थना । उर्वशी-कीदृशी सा। राजा- अनुपनतमनोरथस्य पूर्व शतगुणितेव गता मम त्रियामा । यदि तु तव समागमे तथैव प्रसरति सुभ्र ततः कृती भवेयम् ॥ २२ ॥ (इति निष्क्रांताः सर्वे ।) इति तृतीयोंकः। विदूषकः-इदो इदो भवदी । उर्वशी-कीरिसी सा ।

·अथ चतुर्थोकः। [प्रियसखीवियोगविमनाः सखी हंसी व्याकुला समुलपति । सूर्यकरस्पर्शविकसिततामरसे सरोवरोत्संगे ॥ १ ॥ ] (ततः प्रविशति विमनस्का चित्रलेखा सहजन्या च ।) [ सहचरीदुःखालीढं सरोवरे स्निग्धम् । बाप्पाववल्गितनयनं ताम्यति हंसीयुगलम् ॥ २ ॥] सहजन्या-(चित्रलेखां विलोक्य सखेदम् ।) सखि चित्रलेखे, म्लायमानशतपत्रस्येव ते मुखस्य छाया हृदयस्यास्वस्थतां सूचयति । तत्कथय मे निर्वेदकारणम् । ते समदुःखा भवितुमिच्छामि । चित्रलेखा-(सकरुणम् ।) सखि, अप्सरोवारपर्यायेणेहभगवतः सूर्यस्य पादमूलोपस्थानं वर्तत इति बलवत्खलु उर्वश्यै उत्कंठितास्मि । सहजन्या-सखि, जाने युवयोरन्योन्यस्नेहम् । ततस्ततः । [पिअसहिविओअविमणा सहिं हंसी वाउला समुल्लवइ । सूरकरफंसविअसितामरसे सरवरूसंगे ॥ १ ॥ [ सहअग्दुिक्खालिद्धरं सरवरअंमि सिणिों वाहोवग्गिअणअणअं तंमइ हंसीजुअलअं ॥ २॥] सहजन्या-सहि चित्तलेहे, मिलाअमाणसदवत्तस्स विअ दे मुहस्म छाआ हिअअस्स अस्सत्थदं सूएदि । ता कहेहि मे णिव्वेदकारणं । दे समदुक्खा भविद् इच्छमि । चित्रलेखा-सहि, अच्छरावारपज्जाएण इहभअवदो सुज्जस्स पादमूलो- वड्डाणं वदि त्ति बलिअं खु उव्वसीए उकंठिदम्हि । सहजन्या-सहि, जाणे वो अण्णोण्णसिणेहं । तदो तदो।

·विक्रमोर्वशीये चित्रलेखा-ततः ‘एतेषु दिवसेषु को नु खलु वृत्तांतः' इति प्रणिधानस्थितया मयात्याहितमुपलब्धम् । सहजन्या-(सावेगम् । ) सखि, कीदृशं तत् । चित्रलेखा-(सकरुणम् ।) उर्वशी किल तं रतिसहायं राज- र्षिममात्येषु निवेशितराज्यधुरं गृहीत्वा गंधमादनवनं विहर्तुं गता । सहजन्या-(सश्लाघम् । ) स नाम संभोगो यस्तादृशेषु प्रदे- शेषु । ततस्ततः। चित्रलेखा-तत्र खलु-मंदाकिन्याः पुलिनेषु गता, सिकता- पर्वतकेलीभिः क्रीडंती, विद्याधरदारिका उदयवती नाम तेन राज- र्षिणा निध्याता—इति कुपिता उर्वशी । सहजन्या-भवितव्यम् । दूरारूढः खलु प्रणयोऽसहनः । ततस्ततः। चित्रलेखा-ततः सा भर्तुरनुनयमप्रतिपद्यमाना गुरुशापसमू- चित्रलेखा-तदो ‘इमाइं दिवसाई को णु खु वुतांतो' त्ति पणिधाण- हिदाए मए अच्चाहिदं उवलद्धं । सहजन्या-सहि, कीरिसं तं । चित्रलेखा-उव्वसी किल तं रदिसहाअं राएसिं अमच्चेसु णिवेसिदरज्ज. धुरं गेण्हिअ गंधमादणवणं विहरिदुं गदा । सहजन्या-सो णाम संभोओ जो तारिसेसु पदेसेसु । तदो तदो। चित्रलेखा-तहिं खु-मंदाइणीए पुलिणेसु गदा, सिअदापव्वदकेलीहिं कीलमाणा, विज्जाधरदारिआ उदयवदी णाम देण राएसिणा णिज्झाइद-त्ति कुविदा उव्वसी। सहजन्या-होदव्वं । दूरारूढो खु पणओ असहणो । तदो तदो। चित्रलेखा-तदो सा भत्तुणो अणुणअं अप्पडिवज्जमाणा गुरुसावसंमू ·चतुर्थोंकः । ५९ ढहृदया विस्मृतदेवतानियमा स्त्रीजनपरिहरणीयं कुमारवनं प्रविष्टा । प्रवेशानंतरं च काननोपांतवर्तिलताभावेन परिणतमस्या रूपम् । सहजन्या-(सकिम् ।) सर्वथा नास्ति विधेरलंघनीयं नाम, येन तादृशस्यानुरागस्यायमेवैकपदे अन्यादृशः परिणामः संवृत्तः । अथ किमवस्थः स राजर्षिः । चित्रलेखा-सोऽपि तस्मिन्नेव कानने प्रियतमां विचिन्वन्नहो- रात्रानतिवाहयति । (नभोऽवलोक्य । ) एतेन पुनर्निर्वृतानामप्युत्कंठा- कारिणा मेघोदयेनानाधीनो भविष्यति । [ सहचरीदुःखालीढं सरोवरे स्निग्धम् । अविरलबाप्पजला ताम्यति हंसीयुगलम् ॥ ३ ॥] सहजन्या, सखि, न खलु तादृशा आकृतिविशेषाश्चिरं दुःख- भागिनो भवंति । तदवश्यं किमप्यनुग्रहनिमित्तं भूयोऽपि समागम- कारणं भविष्यति । ( प्राची दिशं विलोक्य । ) तदेहि । उदयोन्मुखस्य भगवतः सूर्यस्योपस्थानं कुर्वः । दहिअआ विसुमरिददेवदाणिअमा इथिआजणपरिहरणिज्ज कुमारवणं पविट्ठा । पवेसाणंतरं अकाणणोवंतवत्तिलदाभावेण परिणदं से रूपम् । सहजन्या-सव्वधा णत्थि विहिणो अलंघणिज्जं णाम, जेण ताग्सिस्स अणुराअस्स असं एव्व एकपदे अण्णारिसो पलिणामो संवुत्तो। अह किमवत्थो सो राएसी। चित्रलेखा-सो वि तस्सि एव्व काणणे पिअदम विचिणंतो अहोरात्ते अदिवाहेदि । इमिणा उण णिव्वुदाणं वि उक्कंठाकारिणा मेहोदएण अणत्या- हीणो हविस्सदि। [ सहअरिदुक्खालिद सरवरऑमि सिणिद्धअं। अविरलवाहजलोल्लअं तंमइ हंसीजुअलअं ॥ ३ ॥] सहजन्या-सहि ण खु तारिसा आकिदिविसेसा चिरं दुक्खभाइणों होति । ता अवस्सं किंवि अणुग्गहणिमित्तं भूवोवि समाअमकारणं हविस्सदि। ना एहि । उदअंमुहस्स भअवदो सुज्जस्स उवद्वाणं करेम्ह ।

·६० विक्रमोर्वशीये [ चिंतादूनमानसिका सहचरीदर्शनलालसिका । विकसितकमलमनोहरे विहरति हंसी सरोवरे ॥ ४ ॥] (इति निष्क्रांते ।) प्रवेशकः। [ गहनं गजेंद्रनाथः प्रियाविरहोन्मादप्रकटितविकारः। विशति तरुकुसुमकिसलयभूषितनिजदेहप्राग्भारः॥५॥] (ततः प्रविशति आकाशबद्धलक्ष्यः उन्मत्तवेषो राजा ।) राजा-( सक्रोधम् । ) आः दुरात्मन् रक्षः, तिष्ठ तिष्ठ । क्व मे प्रियतमामादाय गच्छसि । (विलोक्य।) हंत, शैलशिखराद्गगन- मुत्पत्य बाणैर्मामभिवर्षति । [ हृदयाहितप्रियादुखः सरोवरे धुतपक्षः । बाप्पाववल्गितनयनस्ताभ्यति हंसयुवा ॥ ६ ॥] ( लोष्टं गृहीत्वा हंतुं धावन्, विभाव्य सकरुणम् ।) कथम् , नवजलधरः संनद्धोऽयं न दृप्तनिशाचरः सुरधनुरिदं दूराकृष्टं न नाम शरासनम् । अयमपि पटुर्धारासारो न बाणपरंपरा कनकनिकपस्निग्धा विद्युत्प्रिया न ममोर्वशी ॥ ७॥ [ चिंतादुमिअमाणसिआ सहअरिदसणलालसिआ। विअसिअकमलमणोहरए विहरइ हंसी सरवरए ॥४॥] [गहणं गइंदणाहो पिअविरहुंमाअपअलिअविआरो। विसइ तरुकुसुमकिसलअभूसिअणिअदेहपन्भारो ॥५॥] [ हिअआहिअपिअदुक्खओ सरवरए धुदपक्खओ। वाहोवग्गिअणअणी तंमइ हंसजुआणओ ॥ ६ ॥]

·चतुर्थोकः। ६१ [ मया ज्ञातं मृगलोचनां निशाचरः कोऽपि हरति । यावन्नु नवतडिच्छयामलो धाराधरो वर्षति ॥ ८॥] (विचित्य सकरुणम् । ) क नु खलु सा रंभोरूर्गता स्यात् । तिष्ठेत्कोपवशात्प्रभावपिहिता दीर्घ न सा कुप्यति स्वर्गायोत्पतिता भवेन्मयि पुनर्भावार्द्रमस्या मनः । तां हर्तु विबुधद्विषोऽपि न च मे शक्ताः पुरोवर्तिनी सा चात्यंतमदर्शनं नयनयोर्यातेति कोऽयं विधिः ॥९॥ ( इति दिशोऽवलोक्य, सनिःश्वासम् । ) अये, परावृत्तभागधेयानां दुःखं दुःखानुबंधि । कुतः । अयमेकपदे तया वियोगः प्रियया चोपनतः सुदुःसहो मे । नववारिधरोदयादहोभिः भवितव्यं च निरातपत्वरम्यैः ॥ १० ॥ [ जलधर संहरैतं कोपमाज्ञप्तः अविरलधारासाराक्रांतदिङ्मुखः । ए अहं पृथ्वी भ्रमन्यदि प्रियां प्रेक्षे तदा यद्यत्करिष्यसि तत्तत्सहिप्ये ॥ ११ ॥ (विहस्य ।) मुधैव खलु मया मनसः परितापवृद्धिरुपेक्ष्यते । यथा मुनयोऽपि व्याहरंति ‘राजा कालस्य कारणम् ' इति । तत्किमहं जलदसमयं न प्रत्यादिशामि । [ मई जाणिअ मिअलोअणि णिसअरु कोइ हरेइ । जाव णु णवतलिसामल धाराधरु वरिसेइ ॥ ८ ॥ [ जलहर संहर एहु कोपई आढत्तओ अविरलधारासारदिसामुहकंतओ। ए मई पुहवि भमंतो जइ पिअ पेक्सिमि तव्वे जं जु करीहिसि तं तु सहीहिमि ॥ ११॥] 6 ·१२ विक्रमोर्वशीये [गंधोन्मादितमधुकरगीतैः वाद्यमानैः परमृततूर्यैः । प्रसृतपवनोहेल्लितपल्लवनिकरः सुललितविविधप्रकारं नृत्यति कल्पतरुः ॥ १२॥] अथवा न प्रत्यादिशामि जलदसमयं, यत्प्रावृषेण्यैरेव लिंगैर्मम राजो- पचारः संप्रति । कथमिव । विद्युल्लेखाकनकरुचिरं श्रीवितानं ममानं व्याधूयते निचुलतरुभिमंजरीचामराणि । धर्मच्छेदात्पटुतरगिरो वंदिनो नीलकंठाः धाराहारोपनयनपरा नैगमाः सानुमंतः ॥ १३ ॥ भवतु । किमेवं परिच्छदश्लाघया । यावदस्मिन्कानने तां प्रियाम- न्वेषयामि। [ दयितारहितोऽधिकं दुःखितो विरहानुगतः परिमंथरः । गिरिकानने कुसुमोज्ज्वले गजयूथपतिर्बहुक्षीणगतिः (भ्रमति ) ॥ १४ ॥] (परिक्रम्यावलोक्य च ।) हंत हंत, व्यवसितस्य मे संदीपनमिव संवृ- त्तम् । कुतः । [गंधुमाइअमहुअरगीएहिं वजंतेहिं परहुअतूरेहि। पसरिअपवणुध्वेलिअपनवणिअरु सुललिअविविहपारं गच्चइ कप्पअरु ॥ १२ ॥] [दइभारहिओ अहिअं दुहिओ विरहाणुगओ परिमंथरओ। गिरिकाणणए कुसुमुबलए गजजूहबई पहुसीणगई (भमई) ॥१४॥]

·.. चतुर्थोकः । ६३ आरक्तराजिमिरियं कुसुमैर्नवकंदली सलिलगभैः । कोपादतर्वाष्पे स्मरयति मां लोचने तस्याः ॥ १५ ॥ इतो गतेति कथं नु तत्रभवती मया सूचयितव्या । यतः । पद्यां स्पृशेद्वसुमती यदि सा सुगात्री मेघाभिवृष्टसिकतासु वनस्थलीषु । पश्चान्नता गुरुनितंबतया ततोऽस्याः दृश्येत चारुपदपंक्तिरलक्तकांका ॥ ११ ॥ (परिक्रम्यावलोक्य च, सहर्षम् ।) उपलब्धमुपलक्षणं येन तस्याः कोप- नाया मार्गोऽनुमीयते । हृतोष्ठरागैर्नयनोदबिंदुभिः निमग्ननानिपतद्भिरंकितम् । च्युतं रुषा भिन्नगतेरसंशयं शुकोदरश्याममिदं स्तनांशुकम् ॥ १७ ॥ मवतु । आदास्ये तावत् । (परिक्रम्य विभाव्य च, सासम् ।) कथं, सेंद्रगोपं नवशाहलमिदम् । कुतो नु खलु निर्जने वने प्रियाप्रवृत्तिर- वगमयितव्या । (शिखिनं दृष्टा ।) अये, अयमासारोच्छुसितशैलेय- स्थलीपाषाणमारूढः आलोकयति पयोदान्प्रबलपुरोवातताडितशिखंडः । केकागर्भेण शिखी दूरोन्नमितेन कंठेन ॥ १८ ॥ (उपेत्य ।) भवतु । यावदेनं पृच्छामि । [ संप्राप्तविसूरणः त्वरितं परवारणः । प्रियतमादर्शनलालसः गजवरो विस्मितमानसः ।। १९ ।। (अंजलि [संपत्तविसूरणओ तुरिअं परवारणी पिअहमदंसणलालसओ गजवर विम्हिअमाणसओ ॥१९॥ बड़ा ।)

·६४
विक्रमोर्वशीये
बहिण त्वामित्यभ्यर्थये आचक्ष्व मे तत्
अत्र वने भ्रमता यदि त्वया दृष्टा सा मम कांता ।
निशामय मृगांकसदृशवदना हंसगतिः
अनेन चिन्हेन ज्ञास्यस्याख्यातं तव मया ॥ २० ॥ ]
नीलकंठ ममोत्कंठा वनेऽस्मिन्वनिता त्वया ।
दीर्घापांगा सितापांग दृष्टा दृष्टिक्षमा भवेत् ॥ २१ ॥
( विलोक्य ।) कथमदत्त्वैव प्रतिवचनं नर्तितुं प्रवृत्तः । किं नु खलु
हर्षकारणमस्य । (विचिंत्य ।) आं, ज्ञातम् ।
मृदुपवनविभिन्नो मत्प्रियाया विनाशात्
घनरुचिरकलापो निःसपत्नोऽस्य जातः ।
बहुविगलितबंधे केशपाशे सुकेश्याः
सति कुसुमसनाथे कं हरेदेष बीं ॥ २२ ॥
भवतु । परव्यसननिर्वृतं न खलु एनं पृच्छामि । (परिक्रम्यावलोक्य
च ।) अये, इयमातपांतसंधुक्षितमदा जंबूविटपमध्यास्ते परभृता ।
विहंगमेषु पंडिता जातिरेषा । यावदेनामभ्यर्थये ।
[ विद्याधरकाननलीनः
दुःखविनिर्गतबाष्पोत्पीडः ।
दूरोत्सारितहृदयानंदः
अंबरमानेन भ्रमति गजेंद्रः ॥ २३ ॥
बहिण पइं इअ अब्भत्थिअमि आअक्खहि मं ता
एत्थ वणे भमंते जइ पई दिट्ठी सा मह कंता।
णिसमाहि मिअंकसरिसवअणा हंसगई
ए चिण्हे जाणिहिसि आअक्खिउ तुज्झ मई ॥ २०॥]
[विज्जज्झरकाणणलीणओ
दुक्खविणिग्गअवाहुप्पीडओ।
दूरोसारिअ हिअआणंदओ
अंबरमाणे भमइ गइंदओ ॥ २३ ॥

·चतुर्थोकः । १५ (इति नर्तित्वा जानुभ्यां च स्थित्वा ।) हेरे हेरे, परभृते मधुरप्रलापिनि, कांते नंदनवने स्वच्छंदं भ्रमंती । यदि त्वया प्रियतमा सा मम दृष्टा तर्वाचक्ष्व मे परपुष्टे ॥ २४ ॥] मवति, त्वां कामिनो मदनदूतिमुदाहरंति मानावभंगनिपुणं त्वममोघमस्त्रम् । तामानय प्रियतमां मम वा समीप मां वा नयाशु कलभाषिणि यत्र कांता ॥ २५ ॥ किमाह भवती । 'कथं त्वामेवमनुरक्तं विहाय गता' इति । (अप्रतोऽवलोक्य । ) शृणोतु भवती । कुपिता न तु कोपकारणं सकदप्यात्मगतं स्मराम्यहम् । प्रभुता रमणेषु योषितां न हि भावस्खलितान्यपेक्षते ॥ २६ ॥ (ससंभ्रममुपविश्य, अनंतरं जानुभ्यां स्थित्वा 'कुपिता' इति पुनः पठित्वा उत्थाय विलोक्य च ।) कथं कथाविच्छेदकारिणी स्वकार्ये एव व्यासक्ता । अथवा, महदपि परदुःखं शीतलं सम्यगाहुः प्रणयमगणयिवा यन्ममापद्गतस्य । हेले हेले, परहुअ महुरपलाविणि, कंती णदणवण सच्छंद भमंती। जद पई पिअअम सा महु दिट्ठी ता आअक्खहि महु परपुहि ॥ २४ ॥]

·विक्रमोर्वशीये अधरमिव मदांधा पातुमेषा प्रवृत्ता फलमभिमुखपाकं राजनंबूद्रुमस्य ॥ २७ ॥ एवंगतेऽपि प्रियेव मे मंजुस्वनेति न मे कोपोऽस्याम् । सुखमास्तो भवती । इतो वयं साधयामस्तावत् । (परिक्रम्य कर्ण दत्वा ।) अये, दक्षिणेन वनधारां प्रियाचरणनिक्षेपशंसी नूपुररवः श्रूयते । याव- देनमनुगच्छामि । (परिक्रम्य ।) [ प्रियतमाविरहालांतवदनः अविरलबाष्पजलाकुलनयनः । दुःसहदुःखविसंष्ठुलगमनः प्रसृतगुरुतापदीप्तांगः। अधिकं दूनमानसः कानने भ्रमति गजेंद्रः ॥२८॥ (अनंतरे द्विपदिकया दिशोऽवलोक्य ।) प्रियकरिणीवियुक्तो गुरुशोकानलदीप्तः । बाप्पजलाकुललोचनः करिवरो भ्रमति समाकुलः ॥२९॥] (सकरुणम् ।) हा धिक् कष्टम् । मेघश्यामा दिशो दृष्ट्वा मानसोत्सुकचेतसाम् । कूजितं राजहंसानां नेदं नूपुरशिंजितम् ॥ ३० ॥ [पिअअमविरहकिलामिअवअणश्री अविरलवाहजलाउलणअणओ। दूसहदुक्खविसंठुलगमणओ पसरिअउरुतावदीविअअंगओ। अहिलं दुमिअ माणसओ काणणं भमइ गइंदओ ॥२८॥ पिअकरिणीविच्छोइअओ गुरुसोआणलदीविअओ। वाहजलाउललोअणओ करिवरु भमह समाउली ॥ २९॥]

·चतुर्थाकः।
१७
भवतु । यावदेते मानसोत्सुकाः पतत्रिणः सरसोऽस्मानोत्पति
तावदेतेभ्यः प्रियाप्रवृत्तिरवगमयितव्या । (उपसृत्य ।) भो भो जल-
विहंगमरान,
पश्चात्सरः प्रतिगमिष्यसि मानसं तत्
पाथेयमुत्सृज बिसं ग्रहणाय भूयः ।
मां तावदुद्धर शुचो दयिताप्रवृत्या
स्वार्थात्सतां गुरुतरा प्रणयिक्रियैव ॥ ३१ ॥
अये, यथोन्मुखो विलोकयति तथा 'मानसोत्सुकेन मया न लक्षिता
इति एवं वचनमाह ।
[रे रे हंस कि गोप्यते
गत्यनुसारेण मया लक्ष्यते ।
केन तव शिक्षिता एषा गतिर्लालसा
सा त्वया दृष्टा जघनभरालसा ॥ ३२ ।। ]
यदि हंस गता न ते नतभ्रूः
सरसो रोधसि दर्शनं प्रिया मे ।
मदखेलपदं कथं नु तस्याः
सकलं चोर गतं त्वया गृहीतम् ॥ ३३ ॥
अतश्च, (इति अंजलि बडा।)
हंस प्रयच्छ मे कांतां गतिरस्यास्त्वया हृता ।
विभावितैकदेशेन देयं यदमियुज्यते ॥ ३४ ॥
[रेरे हंसा कि गोइज्जह
गइअणुसारें मई लक्खिज्जह ।
कई पई सिक्खिउ ए गइ लालस
सा पर दिही जहणभरालस ॥ ३२॥

·६८ विक्रमोर्वशीये (विहस्य । ) 'एष चोरानुशासी राजा' इति भयादुत्पतितः । याव- दन्यमवकाशमवगाहिये । (परिक्रम्यावलोक्य च।) अयमिदानी प्रियासहायश्चक्रवाकः । तावदेनं पृच्छामि । [ मर्मररणितमनोहरे कुसुमिततरुवरपल्लवे । दयिताविरहोन्मादितः कानने भ्रमति गजेंद्रः ॥ ३५॥ गोरोचनाकुंकुमवर्ण चक्र भण माम् । मधुवासरे क्रीडंती धन्या न दृष्टा त्वया ॥ ३६ ॥] रथांगनामन् वियुतो रथांगश्रोणिबिंबया । अयं त्वां पृच्छति रथी मनोरथशतैर्वृतः ॥ ३७॥ कथं 'कः कः' इत्याहं माम् । मा तावत् । न खलु विदि- सोऽहमस्य। सूर्याचंद्रमसौ यस्य मातामहपितामहौ । स्वयं वृतः पतिभ्यामुर्वश्या च भुवा च यः ॥ ३८ ॥ कथं तूष्णी स्थितः । भवतु । उपालभे तावदेनम् । सरसि नलिनी पत्रेणापि त्वमावृतविग्रहां ननु सहचरी दूरे मत्वा विरौषि समुत्सुकः। इति च भवतो जायास्नेहात्पृथस्थितिभीरता माय च विधुरे भावः कांताप्रवृत्तिपराङ्मुखः ॥ ३९ ॥ [मंमररणिअमणोहरए कुसुमिअतरुवरपल्लवए। दयिआविरहुंमाइअओ काणणे भमइ गइंदओ ॥ ३५ ॥ गोरोअणाकुंकुमवण्णा चक्का भणइ मई । महुवासर कीलंती धणिआ ण दिट्ठी पइं ॥ ३६ ॥]

·चतुर्थोकः । ६९ सर्वथा मदीयानां भागधेयानां विपर्यायेण प्रभावप्रकाशः । यावद- न्यमवकाशमवगाहिष्ये । (पदांतरे स्थित्वा ।) भवतु । न तावद्ग- च्छामि । (परिक्रम्यावलोक्य च।) इदं रुणद्धि मां पद्भमंतःकूजितषट्पदम् मया दृष्टाधरं तस्याः ससीत्कारमिवाननम् ॥ ४० ॥ भवतु । इतो गतस्य मे अनुशयो मा भूदिति अस्मिन्नपि कमलसे- विनि मधुकरे प्रणयित्वं करिष्ये । [ एकक्रमवर्धितगुरुतरप्रेमरसेन । हंसयुवा क्रीडति कामरसेन ॥ ४१ ॥] मधुकर मदिराक्ष्याः शंस तस्याः प्रवृत्ति (विभाव्य ।) वरतनुरथवासौ नैव दृष्टा त्वया मे । यदि सुरभिमवाप्स्यस्तन्मुखोच्छ्ासगंधं तव रतिरभविष्यत्पुंडरीके किमस्मिन् ॥ ४२ ॥ साधयामस्तावत् । (इति परिक्रम्यावलोक्य च । ) अये, एप नीपस्कं. धनिषण्णहस्तः करिणीसहायो नागराजस्तिष्ठति । अस्मात्प्रियोदंत- मुपलप्स्ये । यावदेनमुपसर्पामि । [करिणीविरहसंतापितः । कानने गंधोद्धतमधुकरः (भ्रमति गजेंद्रः) ॥ ४३ ॥] (विलोक्य ।) अथवा न त्वरा कार्या । न तावदयमुपसर्पणकालः । अयमचिरोद्गतपल्लवमुपनीतं प्रियकरेणुहस्तेन । अभिलषतु तावदासवसुरभिरसं शल्लकीभंगम् ॥ ४४ ॥ [एक्कक्कमवड्डिअगुरुअरपेम्मरसें । हंसजुआणओ कीलइ कामरसें ॥४१॥] [करिणीविरहसंताविअओ। काणणे गंधुटुअमहुअरु (भमइ गइंदओ) ॥ ४३ ॥ ] ·विक्रमोर्वशीये - (क्षणमात्रं स्थित्वा । अवलोक्य ।) हंत, कृतान्हिकः संवृत्तः । भवतु । समीपमस्य गत्वा पृच्छामि । [ अहं त्वां पृच्छामि आचक्ष्व गजवर ललितप्रहारेण नाशिततरुवर । दूरविनिर्जितशशधरकांतिः दृष्टा प्रिया त्वया संमुखं यांती ॥ ४५ ॥] (पदद्वयं पुरतः उपसृत्य ।) मदकल युवतिशशिकला गजयूथप यूथिकाशबलकेशी । स्थिरयौवना स्थिता ते दूरालोके सुखालोका ॥ ४६ ॥ (आकर्ण्य सहर्षम् ।) अहह, अनेन भवतः स्निग्धमंद्रेण गजितेन प्रियोपलंभशंसिना समाश्वासितोऽस्मि । साधर्म्याच्च त्वयि मे भूयसी प्रीतिः । मामाहुः पृथिवीभृतामधिपतिं नागाधिराजो भवान् अव्युच्छिन्नपृथुप्रवृत्ति भवतो दानं ममाप्यर्थिषु । स्त्रीरत्नेषु ममोर्वशी प्रियतमा यूथे तवेयं वशा सर्व मामनु ते प्रियाविरहनां त्वं तु व्यथां मानुभूः ॥ ४७॥ सुखमास्तां भवान् । साधयामस्तावत् । (परिक्रम्य । पार्श्वतो दृष्टिं दत्त्वा।) अये, अयमसौ सुरभिकंदरो नाम विशेषरमणीयः सानुमानालो- क्यते । प्रियश्चायमप्सरसाम् । अपि नाम सा सुतनुरस्योपत्यकाया- मुपलभ्येत । (परिक्रम्यावलोक्य च ।) कथमंधकारः । भवतु, विद्य- प्रकाशेनावलोकयामि । हंत, मदीयैर्दुरितपरिणामैमेघोऽपि शत-ह- दाशून्यः संवृत्तः । तथापि शिलोच्चयमेनमपृष्ट्वा न निवर्तिये । [हउं पइं पुच्छिमि आक्खहि गवरु ललिअपहारें णासिअतरुवर । दूरविणिज्जिअससहरुकंती दिही पित्र पई समुह जंती ॥४५॥]

·चतुर्थाकः। ७१ [प्रसृतखरखुरदारितमेदिनिर्वनगहनेऽविचलः । परिसर्पति पश्यत लीनो निजकार्योद्युक्तः कोलः ।। ४८॥] अपि वनांतरमल्पकुचांतरा श्रयति पर्वत पर्वसु संनता। इदमनंमपरिग्रहमंगना पृथुनितंब नितंबवती तव ॥ १९ ॥ कथं तूष्णीमेव आस्ते । शंके विप्रकर्षान्न शृणोतीति । भवतु, समी- पेऽस्य गत्वा पुनरेनं पृच्छामि । [स्फटिकशिलातलनिर्मलनिर्झर बहुविधकुसुमै विरचितशेखर । किंनरमधुरोद्गीतमनोहर दर्शय मम प्रियतमां महीधर ॥ १०॥] (इति परिक्रम्य, अंजलिं बवा।) सर्वक्षितिभृतां नाथ दृष्टा सर्वांगसुंदरी । रामा रम्ये वनांतेऽस्मिन्मया विरहिता त्वया ॥ ११ ॥ (नेपथ्ये तदेव । आकर्ण्य सहर्षम् ।) कथं यथाक्रम 'दृष्टा' इत्याह । मवानपि अतः प्रियतरं शृणोतु । कहि मे प्रियतमा । (पुनरेव सर्वक्षितिभृतां नाथ' इति पठति । नेपथ्ये तदेव । आकर्ण्य विभाव्य च ।) हा धिक् । ममैवायं कंदरमुखविसी प्रतिशब्दः । (इति मूर्च्छति । उत्थाय सक्किादम् । ) अहह, तोऽस्मि । अस्यास्तावगिरिनद्यास्तीरे [परिसरिअखरखुरदारिअमेइणि वणगहणे अविचालु । परिसप्पइ पेच्छह लीणो णिअकज्नुज्जुअ कोलु ॥ ४८ ॥] [फलिहसिलाहलर्णिमलणिज्यरू बहुविहकुसुमें विरइअसेहरु । किंणस्महुरुग्गीअमणोहरू देखावहि महु फिलम महिहरु ॥५०॥]

·७२ विक्रमोर्वशीये स्थितस्तरंगवातमासेविष्ये । (परिक्रम्य अवलोक्य च ।) इमां नवांबु- कलुषामपि स्रोतोवहां पश्यतो मे रमते मनः । कुतः । तरंगभ्रूभंगा क्षुभितविहगश्रेणिरशना विकर्षती फेनं वसनमिव संरंभशिथिलम् । यथाविद्धं याति स्खलितमभिसंधाय बहुशो नदीमावेनेयं ध्रुवमसहना सा परिणता ॥ १२ ॥ भवतु, प्रसादयामि तावदेनाम् । (अंजलिं बद्धा ।) [प्रसीद प्रियतमे सुंदरि नदि क्षुभिताकरुणविहंगमे नदि । सुरसरित्तीरसमुत्सुके नदि अलिकुलझंकारिते नदि ॥ १३ ॥ पूर्वदिक्पवनाहतकल्लोलोगतबाहुः मेघांगैर्नृत्यति सललितं जलनिधिनाथः । हंसविहंगमकुंकुमशंखकृताभरणः करिमकराकुलकृष्णकमलकृतावरणः । वेलासलिलोद्वेल्लितदत्तहस्ततालः; अवस्तृणाति दश दिशो रुष्ट्वा नवमेधकालः ॥५४॥] [ पसीअ पिअअम सुंदरिए गए खुहिआकरुणविहंगमए गए। सुरसरितीरसमसुअए गए अलिउलझंकारिअए गए ॥ ५३॥ पुवदिसापवणाहअकल्लोलुग्गवाहओ मेहअअंगें णच्चइ सललिअ जलणिहिणाहओ। हंसविहंगमकुंकुमसंखकआभरणु करिमअराउलकसणकमलकआवरणु । घेलासलिलुवेलिअहत्थदिष्णतालु; ओत्थरह दस दिस रुंधेविणु णवमेहआलु ॥ ५४॥]

·चतुर्थोकः।
७३
त्वयि निबद्धरतौ प्रियवादिनि
प्रणयभंगपराङ्मुखचेतसि ।
कमपराधलवं मयि पश्यसि
त्यजसि मानिनि दासजनं यतः ॥ ५५ ॥
कथं तूष्णीमेव आस्ते । (विचित्य ।) अथवा परमार्थसरिदेवैषा । न
खलूर्वशी पुरूरवसमपहाय समुद्राभिसारिणी भविष्यति । भवतु ।
अनिर्वेदप्राप्याणि श्रेयांसि । यावत्तमेव प्रदेशं गच्छामि यत्र मे
नयनयोः सा सुनयना तिरोहिता । (परिक्रम्य विलोक्य च ।) इम
तावत्प्रियाप्रवृत्तये सारंगमासीनमभ्यर्थये ।
[ अभिनवकुसुमस्तबकिततरुवरस्य परिसरे
मदकलकोकिलकूजितरवझंकारमनोहरे ।
नंदनविपिने निजकरिणीविरहानलेन संतप्तो
विचरति गजाधिपतिरैरावतनामा ॥ ५६ ॥]
कृष्णसारच्छविर्योऽसौ दृश्यते काननश्रिया ।
नवशस्यावलोकाय कटाक्ष इव पातितः ॥ १७ ॥
(विलोक्य ।) किं नु खलु मामवधीरयन्निवान्यतोमुखः संवृत्तः। ( दृष्ट्वा ।)
अस्यांतिकमायांती शिशुना स्तनपायिना मृगी रुद्धा ।
तामयमनन्यदृष्टिर्भुनग्रीवो विलोकयति ॥ १८ ॥
[ सुरसुंदरी जघनभरालसा पीनोत्तुंगघनस्तनी
स्थिरयौवना लनुशरीरा हंसगतिः ।
गगनोज्ज्वलकानने मृगलोचना भ्रमंती
दृष्टा त्वया तर्हि विरहसमुद्रांतरादुत्तारय माम् ॥१९॥]
[ सुरसुंदरि जहणभरालस पीणुत्तुंगघणत्यगी
थिरजोव्वण तणुसरीरि हंसगई ।
गअणुज्जलकाणणे मिअलोअणि भमंती
दिट्ठी पई तह विरहसमुइंतरें उत्तारहि मई ॥ ५९ ॥

·OC विक्रमोर्वशीये ( उपसृत्य अंजलि वधवा ।) हंहो हरिणीपते, अपि दृष्टवानसि मम प्रियां वने कथयामि ते तदुपलक्षणं शृणु । पृथुलोचना सहचरी यथैव ते सुभगं तथैव खलु सापि वीक्षते ॥ ६ ॥ कथमनादृत्य मद्वचनं कलत्राभिमुखं स्थितः । उपपद्यते । परिभ- वास्पदं दशाविपर्ययः । यावदितोऽहमन्यमवकाशमवगाहिये । (परिक्रम्य अवलोक्य च ।) हन्त, दृष्टमुपलक्षणं तस्या मार्गस्य । रक्तकदंबः सोऽयं प्रियया धर्मातशंसि यस्यैकम् । कुसुममसमग्रकेसरविषममपि कृतं शिखाभरणम् ॥ ६१ ॥ (परिक्रम्य अशोकमवलोक्य च ।) रक्ताशोक कृशोदरी क्वनु गता त्यक्त्वानुरक्तं जनं..." (पवनधूयमानमूर्धानमवलोक्य सक्रोधम् ।) नो दृष्टेति मुधैव चालयसि किं वाताभिभूतं शिरः । उत्कंठाघटमानषट्पदघटासंघट्टदष्टच्छदः तत्पादाहतिमंतरेण भवतः पुष्पोद्गमोऽयं कुतः ॥ १२ ॥ भवतु । सुखमास्तां भवान् । (परिक्रम्य अवलोक्य च ।) किं नु खलु एतच्छिलाभेदांतरगतं नितांतरक्तमवलोक्यते । प्रभालेपी, नायं हरिहतगजस्यामिषलवः स्फुलिंगो वा नाग्नेर्गहनमभिवृष्टं यत इदम् । (विभाव्य ।) अये रक्ताशोकप्रसवसमरागो मणिरयं यमुद्धर्तु पूषा व्यवसित इवालंबितकरः ॥ १३ ॥ अहो, अयं हरति मे मनः । भवतु । आदास्ये तावदेनम् ।

·चतुर्थोकः। [ प्रणयिनीबद्धाशाको बाष्पाकुलनिजनयनः । गजपतिर्गहने दुःखितः भ्रमति क्षामितवदनः ॥ ६४ ॥] (प्रहणं नाटयति । गृहीत्वा ।) अथवा । मंदारपुष्पैरधिवासितायां यस्याः शिखायामयमर्पणीयः । सैव प्रिया संप्रति दुर्लभा मे किमेनमस्त्रोपहतं करोमि ॥ ६५ ॥ (इत्युत्सृजति ।) (नेपथ्ये।) वत्स, गृह्यतां गृह्यताम् । संगमनीय इति मणिः शैलसुताचरणरागयोनिरयम् । आवहति धार्यमाणः संगममचिरात्प्रियजनेन ॥ ६६ ॥ राजा-(कर्ण दत्त्वा।) को नु खलु मामेवमनुशास्ति । ( अवलोक्य । ) अये, अनुकंपते मां कश्चिन्मृगचारी मुनिर्भगवान् । भगवन् , अनुगृहीतोऽस्मि अहमुपदेशाद्भवतः । ( मणिमादाय । ) हहो संगमनीय, तया वियुक्तस्य विलग्नमध्यया भविष्यसि त्वं यदि संगमाय मे । ततः करिष्यामि भवंतमात्मनः शिखामणिं बालमिवेंदुमीश्वरः ॥ ६७ ॥ ( परिक्रम्य अवलोक्य च ।) अये, किं नु खलु कुसुमरहितामपि लता- मिमां पश्यतो मे मनो रमते | अथवा स्थाने मनोरमा ममेयम् । इयं हि, [ पणयिणिवद्धासाइअओ वाहाउलणिअणअणओ। गअवह गहणे दूहिअओ भमइ क्वामिअवअणओ ॥ ६४ ॥]

·७६ विक्रमोर्वशीये तन्वी मेघजलार्द्रपल्लवतया धौताधरेवाश्रुभिः शून्येवाभरणैः स्वकालविरहाद्विश्रांतपुष्पोद्रमा । चिंतामौनमिवास्थिता मधुलिहां शब्दविना लक्ष्यते चंडी मामवधूय पादपतितं जातानुतापेव सा ॥ १८ ॥ यावदस्यां प्रियानुकारिण्यां परिष्वंगप्रणयी भवामि । [लते प्रेक्षस्व विना हृदयेन भ्रमामि यदि विधियोगेन पुनस्तां प्राप्नोमि । तदरण्येन विना करोमि निभ्रांति पुनर्न प्रवेशयामि तां कृतांताम् ॥ ६९ ॥] (इति उपसृत्य लतां आलिंगति । ततः प्रविशति तत्स्थाने एव उर्वशी।) राजा (निमीलिताक्ष एव स्पर्श रूपयित्वा।) अये, उर्वशीगा- संस्पर्शादिव निर्वृतं मे शरीरम् । तथापि नास्ति विश्वासः । कुतः। समर्थये यत्प्रथमं प्रियां प्रति क्षणेन तन्मे परिवर्ततेऽन्यथा । अतो विनिद्रे सहसा विलोचने करोमि न स्पर्शविभावितप्रियः ॥ ७० ॥ ( शनैश्चक्षुषी उन्मील्य । ) कथं सत्यमेव प्रियतमा । ( इति मच्छितः पतति ।) उर्वशी-(वाष्पं विसृज्य।) समाश्वसितु समाश्वसितु महाराजः। [ लए पेक्ख विणु हिअएं भमामि जइ विहिजोएं पुणि तहिं पाविमि। ता रणे विणु करमि णिभंती पुणु णइ मेछुइं दाह कलंती ॥६॥] उर्वशी-समस्ससदु समस्ससदु महाराओ।

·चतुर्योकः । राजा-(संज्ञा लब्ध्वा ।) प्रिये, अद्य जीवितम् । त्वद्वियोगोद्भवे तन्वि मया तमसि मज्जता । दिष्टया प्रत्युपलब्धासि चेतनेव गतासुना ॥ ७१ ॥ उर्वशी-अभ्यंतरकरणया मया प्रत्यक्षीकृतवृत्तांतः खलु महाराजः। राजा-'अभ्यंतरकरणया' इति न खलु ते वचनार्थमवैमि । उर्वशी-कथयिष्यामि । एतत्तावत्प्रसीदतु महाराजो यन्मया कोपवशं गतया एतदवस्थांतरं प्रापितो महाराजः । राजा-कल्याणि, न तावदहं प्रसादयितव्यः । त्वद्दर्शनादेव प्रसन्नबाह्यांतःकरणोऽन्तरात्मा । तत्कथय कथमियंतं कालमव- स्थिता मया विना भवती । [ मयूरः परभृता हंसो रथांगः अलिगंजः पर्वतः सरित्कुरंगमः । तव कारणेनारण्ये भ्रमता को न खलु पृष्टो मया रुदता ॥ ७२ ॥ उर्वशी-एवमंतःकरणप्रत्यक्षीकृतवृत्तांतो महाराजः । राजा-प्रिये, 'अंतःकरणं' इति न खल्ववगच्छामि । ] उर्वशी-अभंतरकरणाए मए पच्चक्खीकिदवुत्तांतो खु महाराओ। उर्वशी-कहइस्से । इदं दाव पसीददु महाराओ जं मए कोववसं गदाए एवं अवत्यंतरं पाविदो महाराओ। [ मोरा परहुअ हंस रहंग अलि ग पव्यअ सरिअ कुरंगम । तुज्झह कारण रण्ण भमंतें को ण हु पुच्छिअ मई रोअंते ॥ ७२॥ उर्वशी-एवं अंतकरणपश्चक्खीकिद वुत्तंतो महाराओ।

·८ विक्रमोर्वशीये उर्वशी-शृणोतु महाराजः । पुरा भगवता कुमारेण शाश्वत कुमारव्रतं गृहीत्वा अकलुषो नाम गंधमादनकच्छोऽध्यासितः । कृतश्चेष विधिः । राजा-क इव । उर्वशी-' या किल स्त्री इमं प्रदेश प्रविशति सा लताभावेन परिणंस्यति' इति । कृतश्चायं शापांतः ‘गौरीचरणरागसंभवं मणि विना ततो न मोश्यते ' इति । ततोऽहं गुरुशापसंमूढहृदया देवता- समयं विस्मृत्यागृहीतानुनया स्त्रीजनपरिहरणीयं कुमारवनं प्रविष्टा । प्रवेशानंतरमेव च काननोपांतवर्तिवासंतीलताभावेन परिणतं मे रूपम् । राजा-प्रिये, सर्वमुपपन्नम् । श्रमखेदमुप्तमपि मां शयने या मन्यसे प्रवासगतम् । सा त्वं प्रिये सहेथाः कथं मदीयं चिरवियोगम् ॥ ७३ ॥ इदं तद्यथाकथितं त्वत्संगमनिमित्तं मुनेरुपलभ्य, मणिप्रभावादासा- दिता त्वमस्माभिः । (इति मणि दर्शयति ।) उर्वशी-अहो, संगमनीयोऽयं मणिः । अतः खलु महाराजे- नालिंगितमात्रा एव प्रकृतिस्थास्मि संवृत्ता । ( मणिमादाय मूर्धनि वहति ।) उर्घशी-सुणादु महाराओ । पुरा भअवदा कुमारेण सासदं कुमारवदं गेण्हिअ अकलुसो णाम गंधमादणकच्छो अज्झासिदो। किदो अ एस विही । उर्वशी-'जा किल इथिआ इमं पदेसं पविसदि सा लदाभावेण परिण- मिस्सदि 'ति । किदो अ अअं सावांतो 'गोरीचरणराअसंभवं मणि विणा तदो मुच्चिस्सदि' त्ति । तदो अहं गुरुसावसंमूढहिअआ देवदासमभं विसुम- रिअ अगहिदाणुणआ इथिआजणपरिहरणीअं कुमारवणं पविट्ठा । पवेसानंतरं एव्व अ काणणोवंतवत्तिवासंतीलदाभाएण परिणदं मे रूवम् । उर्वशी-अंमो, संगमणीओ अअं मणी । अदो खु महाराएण आलिंगिद- मेत्त जेव्व पकिदित्य म्हि संवुत्ता।

·चतुर्थोंकः । ७९ राजा-एवमेव सुंदरि क्षणमात्रं स्थीयताम् । स्फुरता विच्छुरितमिदं रागेण मणेर्ललाटनिहितस्य । श्रियमुद्दहति मुखं ते बालातपरक्तकमलस्य ॥ ७४ ॥ उर्वशी-प्रियंवद, महान्खलु कालस्तव प्रतिष्ठानाम्निर्गतस्य । कदाचिदसूयिष्यंति मह्यं प्रकृतयः । तदेहि निवर्तावहे । राजा-यदाह भवती । (इति उत्तिष्ठतः।) उर्वशी-अथ, कथं महाराजो गंतुमिच्छति । राजा- अचिरप्रभाविलसितैः पताकिना सुरकार्मुकाभिनवचित्रशोभिना । गमितेन खेलगमने विमानतां नय मां नवेन वसतिं पयोमुचा ॥ ७५ ॥ [प्राप्तसहचरीसंगमः पुलकप्रसाधितांगः । स्वेच्छाप्राप्तविमानो विहरति हंसयुवा ॥ ७६ ॥] (इति निष्क्रांतो।) इति चतुर्थोंकः। उर्वशी-पिअंवद, महंतो खु कालो तुए पइहाणदो णिग्गदस्स । कदाइ असूइस्संति मं पकिदीओ । ता एहि णिवुत्तम्ह । उर्वशी-अध, कधं महाराओ गंतुं इच्छदि । [पाविअसहअरिसंगमओ पुलअपसाहिअअंगअओ। सेच्छापत्तविमाणओ विहरइ हंसजुआणओ ॥ ७६ ॥]

·अथ पंचमोंकः। (ततः प्रविशति हृष्टो विदूषकः ।) विदूषकः-ही ही भोः, दिष्टया चिरस्य कालस्य उर्वशीस- हायो नंदनवनप्रमुखेषु देवतारण्येषु विहृत्य प्रतिनिवृत्तः प्रियवयस्यः । प्रविश्य नगरमिदानी ससत्कारोपचारैः प्रकृतिभिरनुरज्यमानो राज्य करोति । संतानत्वं वर्जयित्वा न किमप्यस्य हीनम् । अद्य तिथिवि- शेष इति भगवत्योगंगायमुनयोः संगमे देवीभिः सह कृताभिषेकः सांप्रतमुपकार्या प्रविष्टः । तद्यावत्तत्रभवतोऽलंकियमाणस्यानुलेपन माल्ये आग्रभागी भवामि । (इति परिक्रायति ।) ( नेपथ्ये ।) हा धिक् हा धिक् । दुकूलोत्तरच्छदे तालवृताधारे निक्षिप्य नीयमानो मया भर्तुरभ्यंतरविलासिनीमौलिरत्नयोग्यो मणिरामिषशं- किना गृध्रेणाक्षिप्तः । विदूषकः-(कर्ण दत्त्वा ।) अत्याहितमत्याहितम् । परम- विदूषकः-ही ही भो, दिद्विआ चिरस्स कालस्स उव्वसीसहाओ चंदण- वणप्पमुहेसु देवदारणेसु विहरिभ परिणिवुत्तो पिअवअस्सो। पविसि पर दाणि ससकारोवारेहि पकिदीहिं अणुरज्जतो रज्जं करेदि। संताणतणं वज्जिा ण किवि से हीण । अज्ज तिहिविसेसो त्ति प्रभवदीणं गंगाजणाणं संगमे देवीहि सह किदाहिसेओ संपदं उवआरिअं पविहो । ता जाव तत्तभवदो अलंकरीअमा- णस्स अणुरेवणमाले अग्गभागी होमि । ( नेपथ्ये । ) हबी हदी । दुउलुत्तरच्छदे तालवेंटाधारे णिक्खिविअ णीअ. माणो मए भट्टिणो अभंतरविलासिणीमोलिरअणजोग्गो मणी आमिससंकिणा गिद्धेण अक्खित्तो। विदूषकः-भचाहिदै भचाहिदं । परमबहुमदो खु सो वभसस्स संग- ·पंचमोंकः । ८१ बहुमतः खलु स वयस्यस्य संगमनीयो नाम चूडामणिः । अतः खलु असमाप्तनेपथ्य एव तत्रभवानासनादुत्थाय इत आगच्छति । यावदेनमुपसमि । (इति निष्क्रांतः।) प्रवेशकः। (ततः प्रविशति सावेगपरिजनो राजा।) राजा-वेधक वेधक, आत्मनो वधमाहर्ता वासौ विहगतस्करः । येन तत्प्रथमं स्तेयं गोप्तुरेव गृहे कृतम् ॥ १ ॥ किरातः-एष एष खलु मुखकोटिलग्नहेमसूत्रेण मणिनालि- खन्निवाकाशं परिभ्रमति । राजा-पश्याम्येनम् । असौ मुखालंबितहेमसूत्रं बिभ्रन्मणि मंडलचारशीघ्र । अलातचक्रप्रतिमं विहंगः तद्रागलेखावलयं तनोति ॥२॥ किं नु खलु अत्र कर्तव्यम् । विदूषकः-(उपेत्य ।) भोः, अलमत्र घृणया । अपराधी शासनीयः। राजा-सम्यगाह भवान् । धनुर्धनुस्तावत् । मणीओ णाम चूडामणी । अदो खु असमत्तणेवच्छो एव्व तत्तभवं आसणादो उहिम इदो आअच्छदि । जाव णं उबसप्पामि । किरातः-एसो एसो खु मुहकोडिलग्गहेमसुत्तेण मणिणा आलिहंतो विभ आआसं पडिभमदि। विदूषकः-भो, अलं एत्य घिणाए । अवराही सासणीओ।

·८२ विक्रमोर्वशीये यवनी-एषा आनेष्यामि । ( इति निष्क्रांता।) राजा-वयस्य, न दृश्यते स विहगाधमः । क नु खलु गतः। विदूषकः-भोः, इतो दक्षिणांतेनापगतः स शासनीयः कुणप- भोजनः । राजा-(परिवृत्य अवलोक्य च।) दृष्ट इदानीम् । प्रभापल्लवितेनासौ करोति मणिना खगः । अशोकस्तबकेनेव दिङ्मुखस्यावतंसकम् ॥ ३ ॥ यवनी-(चापहस्ता प्रविश्य ।) भर्तः, एतद्धस्तावापसहितं शरा- सनम् । राजा-किमिदानीं शरासनेन । बाणपथमतीतः स व्यभो- अनः । तथा हि। आभाति मणिविशेषो दूरमिदानी पतत्रिणा नीतः । नक्तमिव लोहितांगः परुषघनच्छेदसंयुक्तः ॥ ४ ॥ (कंचुकिनं विलोक्य ।) आर्य लातव्य । कंचुकी-आज्ञापयतु देवः । राजा-मद्वचनादुच्यतां नागरिकः ' सायं निवासवृक्षाश्रयी विचीयतां स विहगदस्युः' इति । कंचुकी-यदाज्ञापयति देवः । ( इति निष्क्रांतः ।) विदूषकः-भोः, उपविशतु भवान्सांप्रतम् । क्व गतः स रत्न- कुंभीरको भवतः शासनान्मोक्ष्यते । यवनी-एसा आणयिस्सं । विदूषकः-भो, इदो दक्खिणतेन अवगदो सो सासणीओ कुणवमोअणो। यवनी-भट्टा, एवं हत्थावावसहिदं सरासणं । विदूषकः-भो, उवविसद भवं संपदं । कहिं गदो सो रमणकुंभीलो भवदो सासणादो मुच्चिस्सदि ।

·पंचमोंकः। .. ८३ राजा-(विदूषकेण सहोपविश्य ।) वयस्य, रत्नमिति न मे तस्मिन्मणौ प्रियत्वं विहंगमाक्षिप्ते । प्रियया तेनास्मि सखे संगमनीयेन संगमितः ॥ ५ ॥ विदूषकः-ननु परिगतार्थोऽस्मि कृतो भवता । (ततः प्रविशति सशरं मणिमादाय कंचुकी ।) कंचुकी-जयतु जयतु देवः । अनेन निर्भिन्नतनुः स वध्यो रोषेण ते मार्गणतां गतेन । प्राप्तापराधोचितमंतरिक्षात् समौलिरत्नः पतितः पतत्री ॥६॥ ( सर्वे विस्मयं रूपयंति ।) कंचुकी-अद्भिः प्रक्षालितोऽयं मणिः कस्मै प्रदीयताम् । राजा-वेधक, गच्छ । अग्निशुद्धमेनं कृत्वा पेटकं प्रवेशय । किरातः-यद्भर्ताज्ञापयति । ( इति मणिं गृहीत्वा निष्क्रांतः।) राजा-आर्य लातव्य, जानीते भवान्कस्यायं बाण इति । कंचुकी-नामांकितोऽयं दृश्यते। न तु मे वर्णविचारक्षमा दृष्टिः। राजा-तेन हि उपनय शरं यावदहं निरूपयामि । (कंचुकी तथा करोति । राजा नामाक्षराण्यनुवाच्य, विचारयति ।) कंचुकी-यावदहं नियोगमशून्यं करोमि । ( इति निष्क्रांतः।) विदूषकः-किं भवान्विचारयति । राजा-शृणु तावत्प्रहर्तुर्नामाक्षराणि । विदृषकः-णं परिगदत्यो म्हि किदो भवदा । किरातः-जं भट्ठा आणवेदि । विदूषकः-किं भवं विआरेदि ।

·८४ विक्रमोर्वशीये विदूषकः-अवहितोऽस्मि । राजा-श्रूयताम् । ( इति वाचयति ।) 'उर्वशीसंभवस्यायमैलसूनोर्धनुष्मतः । कुमारस्यायुषो बाणः प्रहर्तुढिषदायुषाम् ॥ ७ ॥' विदूषकः-(सपरितोषम् । ) दिष्ट्या संतानेन वर्धते भवान् । राजा-सखे, कथमेतत् । अन्यत्र नैमिषेयसत्रादवियुक्तोऽहमु- श्या । न च मया कदाचिदपि गर्भव्यक्तिरालक्षिता, कुत एव प्रसूतिः । किंतु आविलपयोधराग्रं लवलीदलपांडुराननच्छायम् । कानि दिनानि वपुरमूत्केवलमलसेक्षणं तस्याः ॥ ८॥ विदूषकः-मा भवान्सर्व मानुषीधर्म दिव्यासु संभावयतु । प्रभावनिगूढानि तासां चरितानि । राजा-अस्तु तावदेवं यथा भवानाह । पुत्रसंवरणे तु किमिव कारणं तत्रभवत्याः। विदूषकः-'मा वृद्धां मां राजा परिहरिष्यति' इति । राजा-कृतं परिहासेन । चिंत्यताम् । विदूषक:–को देवतारहस्यानि तर्कयिष्यति । (प्रविश्य कंचुकी।) विदूषकः-अवहिदो म्हि । विदूषकः-दिहिआ संताणेण वड्डदि भवं । विदूषकः-मा भवं सव्वं माणुसीधमं दिव्यासु संभावेदु । पहावनिगूढाई ताणं चरिदाई। विदूषकः-'मा बुडि मं राआ परिहरिस्सदि'त्ति । विदूषकः-को देवदारहस्साई तक्कइस्सदि ।

·पंचमोंकः । ८५ कंचुकी-जयतु जयतु देवः । देव, च्यवनाश्रमात्कुमारं गृहीत्वा संप्राप्ता तापसी देवं द्रष्टुमिच्छति । राजा-उभयमप्यविलंबितं प्रवेशय । कंचुकी-यदाज्ञापयति देवः । ( इति निर्गम्य चापहस्तेन कुमा- रेण तापस्या च सह प्रविष्टः ।) कंचुकी-इत इतो भगवती । ( सर्वे परिकामंति।) विदूषकः-(विलोक्य । ) किं नु खलु स एष तत्रभवान्क्षत्रिय- कुमारको यस्य नामांकितो गृध्रलक्ष्यवेधी अर्धनाराचः । तथा हि बहुतरं भवतोऽनुकरोति । राजा-स्यादेवम् । अतः खलु, बाप्पायते निपतिता मम दृष्टिरस्मिन् वात्सल्यबंधि हृदयं मनसः प्रसादः । संजातवेपथुभिरुज्झितधैर्यवृत्तिः इच्छामि चैनमदयं परिरब्धुमंगैः ॥ ९ ॥ कंचुकी-भगवति, एवं स्थीयताम् । (तापसीकुमारी स्थिती।) राजा-अंब, अभिवादये । तापसी-महाभाग, सोमवंशविस्तारयिता भव । (आत्मगतम्।) अहो, अनाख्यातोऽपि विज्ञात एव अस्य राजर्षेरायुषश्च औरसः संबंधः । ( प्रकाशम् । ) जात, प्रणम ते गुरुम् । विषकः-किं णु खु सो एसो तत्तभवं खत्तिअकुमारओ जस्स णाम- किदो गिद्धलक्खवेधी अद्धणाराओ । तह हि बहुअरं भवदो अणुकरेदि । तापसी-महाभाग, सोमवंसवित्थारइत्तओ होहि । अम्हो, अणाच- क्खिदोवि विण्णादो एव्व इमस्स राएसिणो आउसो अ ओरसो संबंधो । जाद, पणम दे गुरुं । 8 ·८६ विक्रमोर्वशीये (कुमारश्चापगर्भमंजलिं बद्धा प्रणमति ।) राजा-वत्स, आयुष्मान्भव । कुमार:-(स्वगतम् ।) यदि हार्दमिदं श्रुत्वा पिता ममायं सुतोऽहमस्येति । उत्संगवर्धितानां गुरुषु भवेत्कीदृशः स्नेहः ॥ १० ॥ राजा-भगवति, किमागमनप्रयोजनम् । तापसी-शृणोतु महाराजः । एष दीर्घायुरायुर्जातमात्र एव उर्वश्या किमपि निमित्तमवेक्ष्य मम हस्ते न्यासीकृतः । यत्क्षत्रिय- कुमारस्य जातकर्मादि विधानं तदस्य भगवता च्यवनेनाशेषमनु- ष्ठितम् । गृहीतविद्यो धनुर्वेदेऽभिविनीतः । राजा-सनाथः खलु संवृत्तः । तापसी-अद्य पुष्पसमित्कुशनिमित्तं ऋषिकुमारकैः सह गते- नानेनाश्रमविरुद्धमाचरितम् । विदूषकः-(सावेगम् । ) किमिव । तापसी-गृहीतामिषः किल गृध्रः पादपशिखरे निलीयमा- नोऽनेन लक्ष्यीकृतो बाणस्य । ( विदूषको राजानमवलोकयति ।) तापसी-सुणादु महाराओ । एसो दीहाऊ आउ जादमेत्तो एव्व उव्व- सीए किंवि णिमित्तं अवेक्खिअ मम हस्ते णासीकिदो । खत्तिभकुमारअस्स जादकंमादि विहाणं तं से भअवदा चवणेण असेसं अाँचद्विदं । गहिदविज्जो धणुव्वेदे अहिविणीदो। तापसी-अज्ज पुप्फसमिधकुसणिमित्तं इसिकुमारएहिं सह गदेण इमिणा अस्समविरुद्धं आअरिदं । विदूषकः-किं वि। तापसी-गहिदामिसो किल गिद्धो पादवसिंहरे णिलीअमाणो अण लक्खीकिदो बाणस्स ।

·पंचमोंकः । राजा-ततस्ततः । तापसी-तत उपलब्धवृत्तांतेन भगवता च्यवनेनाहं समादिष्टा निर्यातयैनमुर्वशीहस्ते न्यासम् ' इति । तदिच्छामि देवीमुर्वशी प्रेक्षितुम् । राजा-तेन हि आसनमनुगृह्णातु भगवती । (तापसी उपनीते आसने उपविशति ।) राजा-आर्य लातव्य, आहूयतामुर्वशी । कंचुकी-यदाज्ञापयति देवः । ( इति निष्क्रांतः ।) राजा (कुमारमवलोक्य ।) एहि एहि वत्स । सर्वांगीणः स्पर्शः सुतस्य किल तेन मामुपगतेन । आल्हादयस्व तावचंद्रकरश्चंद्रकांतमिव ॥ ११ ॥ तापसी-जात, नंदय पितरम् । (कुमारो राजानमुपगम्य पादग्रहणं करोति ।) राजा-(कुमारमालिंग्य पादपीठे चोपवेश्य । ) वत्स, इतस्तव पितुः प्रियसख ब्राह्मणमशंकितो वंदस्व । विदूषकः-किमिति शंकिष्यते । ननु आश्रमवासपरिचित एव शाखामृगः। कुमार:-( सस्मितम् । ) तात, वंदे । विदूषकः-स्वस्ति भवते । वर्धतां भवान् । तापसी-तत उवलद्ध उत्तंतेण भअवदा चवणेण अहं समादिट्ठा ‘णिज्जा- देहि एवं उध्वसीहत्थे णासं' त्ति । ता इच्छामि देवि उव्वसि पेक्खिदुं । तापसी-जाद, गंदेहि पिदरम् । विदूषकः-किति संकिस्सदि । णं अस्समवासपरिचिदो एव साहा. मिओ। विदूषकः-सोत्थि भवदो । बहुदु भवं ।

·८ विक्रमोर्वशीये (ततः प्रविशति उर्वशी कंचुकी च ।) कंचुकी-इत इतो देवी। उर्वशी—(कुमारमवलोक्य ।) को नु खलु एष सबाणासनः पादपीठे स्वयं महाराजेन संयम्यमानशिखंडकस्तिष्ठति । (तापसी दृष्ट्वा । ) अहो, सत्यवतीसूचितोऽयं मे पुत्रक आयुः । महान्खलु संवृत्तः । ( इति सहर्ष परिकामति ।) राजा-(उर्वशी दृष्ट्वा ।) वत्स, इयं ते. जननी प्राप्ता त्वदालोकनतत्परा । स्नेहप्रस्नवनिर्मिन्नमुद्वहंती स्तनांशुकम् ॥ १२ ॥ तापसी-जात, एहि । प्रत्युद्गच्छ मातरम् । (इति कुमारेण सह उर्वशीमुपसर्पति ।) उर्वशी-अंब, पादवंदनं करोमि । तापसी-वत्से, भर्तुर्बहुमता भव । कुमार:-अंब, अभिवादये । उर्वशी-(कुमारमुन्नमितमुखं परिष्वज्य ।) वत्स, पितरमाराध- यिता भव । (राजानमुपेत्य । ) जयतु जयतु महाराजः । राजा-स्वागतं पुत्रवत्यै । इत आस्यताम् । (इति अर्धासनं ददाति ।) (उर्वशी उपविशति । सर्वे यथोचितमुपविशति ।) उर्वशी–को णु खु एसो सवाणासणो पादपीठे सरं महाराएण संजमी- अमाणसिहंडओ चिट्ठदि । अंमो, सच्चवदीसूइदो अअं मे पुत्तओ आऊ । महंतो खु संवुत्तो। तापसी-जाद एहि । पञ्चुग्गच्छ मादरं । उर्वशी-अंव, पादवंदणं करोमि । तापसी-वच्छे, भत्तुणो बहुमदा होहि । उर्वशी-वच्छ, पिदरं आराधइत्तओ होहि । जेदु जेदु महाराओ।

·पंचमोंकः। ८९ तापसी-वत्से, एष गृहीतविद्य आयुः सांप्रतं कवचहरः संवृत्तः । तदेतस्य ते भर्तुः समक्षं निर्यातितो हस्तनिक्षेपः । तद्वि- सर्जयितुमिच्छामि । उपरुध्यते ममाश्रमधर्मः । उर्वशी-चिरस्यार्या दृष्ट्वा अधिकतरमवितृष्णास्मि । न शक्नोमि विस्रष्टुम् । अन्याय्यं पुनरुपरोद्भुम् । तद्गच्छतु आर्या पुनदर्शनाय । राजा-अंब, भगवते च्यवनाय मां प्रणिपातय । तापसी-एवं भवतु । कुमारः-आर्ये, सत्यं यदि निवर्तसे मामपि आश्रमं नेतुमर्हसि । राजा-अयि वत्स, उषितं त्वया पूर्वस्मिन्नाश्रमे । द्वितीयम- ध्यासितुं तव समयः। तापसी-जात, गुरोर्वचनमनुतिष्ठ । कुमारः-तेन हि, यः सुप्तवान्मदंके शिखंडकंडूयनोपलब्धसुखः । तं मे जातकलापं प्रेषय मणिकंठकं शिखिनम् ॥ १३ ॥ तापसी-(विहस्य । ) एवं करोमि । तापसी-वच्छे, एसो गहिदविज्जो आउ संपदं कवअहरो संवुत्तो । ता एदस्स दे भत्तुणो समक्खं णिज्जादिदो हत्थणिक्खेवो।ता विसज्जेतुं इच्छामि । उवरुज्झइ मह अस्समधंमो। उर्वशी-चिरस्स अज्जं देखिअ अहिअदरं अवितिण्हम्हि । ण सकणोमि विसज्जिहुँ । अन्याय्यं उण उवरोहिदुं । ता गच्छदु अज्जा पुणोदसणाअ । तापसी-एव्वं भोदु । तापसी-जाद, गुरुणो वअणं अणुचिट्ठ । तापसी-एवं करेमि ।

·९० विक्रमोर्वशीये उर्वशी-भगवति, पादवंदनं करोमि । राजा-भगवति, प्रणमामि । तापसी-स्वस्ति भवतु युप्मभ्यम् । ( इति निष्क्रांता। ) राजा-(उर्वशी प्रति ।) कल्याणि, अद्याहं पुत्रिणामय्यः सत्पुत्रेणामुना तव । पौलोमीसंभवेनेव जयतेन पुरंदरः ॥ १४ ॥ ( उर्वशी स्मृत्वा रोदिति ।) विदूषकः-(विलोक्य सावेगम् । ) भोः, किं नु खलु सांप्रतम- त्रभवती एकपदे अश्रुमुखी संवृत्ता । राजा-( सावेगम् ।) किं सुंदरि प्ररुदितासि ममोपनीते वंशस्थितेरधिगमान्महति प्रमोदे । पीनस्तनोपरिनिपातिभिरानयंती मुक्तावलीविरचनां पुनरुक्तिमस्त्रैः ॥ १५ ॥ ( इति अस्या बाष्पं प्रमाष्टि । ) उर्वशी-शृणोतु महाराजः । प्रथमं पुनः पुत्रदर्शनसमुत्थेनानं- देन विस्मृतास्मि । इदानी महेंद्रसंकीर्तनेन स्मृतः समयः मम हृदय- मायासयति । राजा-कथ्यतां समयः । उर्वशी--भअवदि, पादवंदणं करोमि । तापसी-सोत्थि भोदु तुम्हाणम् । विदूषकः-भो, किं णु खु संपदं अत्तहोदी एकवदे अस्सुमुही संवुत्ता । उर्वशी-सुणादु महाराओ । पढमं उण पुत्तदंसणसमुत्थेण आणंदेण विसु- मरिद म्हि । दाणिं महिंदसंकित्तणेण सुमरिओ समओ मह हिअ आआ- सेदि।

·पंचमोंकः । उर्वशी-अहं पुरा महाराजगृहीतहृदया गुरुशापसंमूढा महें- द्रेण आज्ञापिता....... राजा-किमिति । उर्वशी-....' यदा स मे प्रियसखो राजर्षिस्त्वयि समुत्पन्नस्य वंशकरस्य मुखं प्रेक्षिष्यते तदा त्वया भूयोऽपि मम समीपमागंत- व्यम्' इति । ततो मया. महाराजवियोगभीरुतया जातमात्र एव विद्यागमनिमित्तं भगवतश्यवनस्याश्रमे एष पुत्रक आर्यायाः सत्य- वत्या हस्ते अप्रकाशं निक्षिप्तः । अद्य पितुराराधनसमर्थः संवृत्त इति कलयंत्या तया निर्यातित एष मे दीर्घायुरायुः । तदेतावान्मे महाराजेन सह संवासः । ( सर्वे विषादं नाटयंति । राजा मोहमुपगच्छति ।) विदूषकः-अब्रह्मण्यमब्रह्मण्यम् । कंचुकी-समाश्वसितु समाश्वसितु महाराजः । राजा-(समाश्वस्य सनिःश्वासम् ।) अहो, सुखप्रार्थता दैवस्य । आश्वासितस्य मम नाम सुतोपलब्ध्या सद्यस्त्वया सह कृशोदरि विप्रयोगः । व्यावर्तितातपरुनः : प्रथमाभ्रवृष्टया वृक्षस्य वैद्युत इवाग्निरुपस्थितोऽयम् ॥ १६ ॥ उर्वशी-अहं पुरा महाराअगहिदहिअआ गुरुसावसंमूढा महिंदेण आणत्ता' उर्वशी जदा सो मे पिअसहो राएसी तुइ समुप्पण्णस्स वंसकरस्स मुहं पेक्खिस्सदि तदा तुए भूओ वि मम समीवं आअंतव्वं' त्ति । तदो मए महाराविओअभीरुदाए जादमेत्तो एव्व विज्जागमणिमित्तं भअवदो चवणस्स अस्समे एसो पुत्तओ अज्जा ए सच्चवदीए हत्थे अप्पआसं णिक्खित्तो । अज्ज पिदुणो आराहणसमत्यो संवुत्तो त्ति कलअंतीए ताए णिज्जादिदो एसो मे दीहाउ आउ । ता एत्तिओ मे महाराएण सह संवासो । विदूषकः-अव्वम्हण्णं अव्वम्हण्णम् ।

·९२ विक्रमोर्वशीये विदूषक:-अयं सोऽर्थः अनर्थानुबंधः संवृत्तः । सांप्रत तर्क- यामि अत्रभवता वल्कलं गृहीत्वा तपोवनं गंतव्यमिति । उर्वशी-मामपि मंदभागिनी कृतविनयस्य पुत्रस्य लाभानंतरं स्वर्गारोहणेन अवसितकार्यां विप्रयोगमुखी महाराजः समर्थयिष्यति । राजा-सुंदरि, मा मैवम् । न हि सुलभवियोगा कर्तुमात्मप्रियाणि प्रभवति परवत्ता शासने तिष्ठ भर्तुः । अहमपि तव सूनावद्य विन्यस्य राज्यं विचरितमृगयूथान्याश्रयिष्ये वनानि ॥ १७ ॥ कुमारः-नार्हति तातः पुंगवधारितायां धुरि दम्यं नियो- जयितुम् । राजा-अयि वत्स, मा मैवम् । शमयति गजानन्यान्गंधद्विपः कलभोऽपि सन् भवति सुतरां वेगोदनं भुजंगशिशोर्विषम् । भुवमधिपतिर्बालावस्थोऽप्यलं परिरक्षितुम् न खलु वयसा जात्यैवायं स्वकार्यसहो भरः ॥ १८ ॥ आर्य लातव्य, कंचुकी-आज्ञापयतु देवः । राजा-"मद्वचनादमात्यपरिषदं ब्रूहि संभ्रियतामायुषो राज्याभिषेकः' इति । कंचुकी-यदाज्ञापयति देवः । ( इति दुःखितो निष्क्रांतः।) (सर्वे दृष्टिविघातं रूपयंति ।) विदूषकः-अअं सो अत्थो अणत्थाणुबंधो संवुत्तो । संपदं तकोम अत्त- भवदा वक्कलं गेण्हिअ तवोवणं गंदव्वं त्ति । उर्वशी-मं वि मंदभाइणि किदविणअस्स पुत्तस्स लाभाणंतरं सग्गारो. हणेण अवसितकर्ज विप्पओअमुहीं महाराओ समत्वहस्सदि ।

·पंचमोंकः । ९३ राजा-(आकाशमवलोक्य । ) किं नु खलु निरभ्रे विद्युत्संपातः। उर्वशी-(विलोक्य ।) अहो, भगवान् नारदः । राजा-(निपुणमवलोक्य । ) अये, भगवान् नारदः । य एषः, गोरोचनानिकपपिंगजटाकलापः संलक्ष्यते शशिकलामलवीतसूत्रः । मुक्तागुणातिशयसंभृतमंडनश्रीः हेमप्ररोह इव जंगमकल्पवृक्षः ॥ १९ ॥ अयं तावदस्मै । उर्वशी-( यथोक्तमादाय । ) इयं भगवते अर्हणा । (ततः प्रविशति नारदः । सर्वे उत्तिष्टंति ।) नारद:-विजयतां विजयतां मध्यमलोकपालः । राजा-(उर्वशीहस्तादय॑मादाय आवय॑ च ।) भगवन, अभि- वादये। उर्वशी-भगवन्, प्रणमामि । नारद:-अविरहितौ दंपती भूयास्ताम् । राजा-(आत्मगतम् । ) अपि नाम एवं स्यात् । (कुमारमा- लिष्य, प्रकाशम् । ) वत्स, भगवंतमभिवादयस्व । कुमारः-भगवन्, और्वशेय आयुः प्रणमति । नारदः-आयुष्मानेधि । राजा-अयं विष्टरोऽनुगृह्यताम् । नारद:-तथा । ( इति उपविष्टः ।) (सर्वे नारदमनु उपविशति ।) उर्वशी-अंमो, भअयं णारदो। उर्वशी-इअं भअवदे अरिहणा । उर्वशी-भअवं, पणमामि ।

·९४ विक्रमोर्वशीये ' राजा-(सविनयम् । ) भगवन, किमागमनप्रयोजनम् । नारद:-राजन्, श्रूयतां महेंद्रसंदेशः । राजा-अवहितोऽस्मि । नारदः--प्रभावदर्शी मघवा वनगमनाय कृतबुद्धिं भवंतम- नुशास्ति' राजा-किमाज्ञापयति । नारद: ." त्रिकालदर्शिभिर्मुनिभिरादिष्टो महान्सुरासुरसं- गरो भावी । भवांश्च सांयुगीनः सहायो नः । तेन न त्वया शस्त्रं संन्यस्तव्यम् । इयं चोर्वशी यावदायुस्तव सहधर्मचारिणी भवतु इति । उर्वशी-(अपवार्य ।) अहो, शल्यमिव मे हृदयादपनीतम् । राजा-परवानस्मि देवेश्वरेण । नारद:-युक्तम् । त्वत्कार्य वासवः कुर्यात्त्वं च तस्येष्टमाचरेः । सूर्यः समेधयत्यग्निमग्निः सूर्यच तेजसा ॥ २० ॥ (आकाशमवलोक्य ।) रंभे, उपनीयतां स्वयं महेंद्रेण संभृतः कुमार- स्यायुषो यौवराज्याभिषेकः । ( प्रविष्टा यथोक्तहस्ता अप्सरसः ।) अप्सरस:-भगवन्, एते अभिषेकसंभाराः । नारदः-उपवेश्यतामयमायुष्मान्भद्रपीठे । रंभा-इतो वत्स । ( इति कुमारं भद्रपीठे उपवेशयति ।) उर्वशी-अंमहे, सल्लं विअ मे हिअआदो अवणीदं । अप्सरसः-मअवं इमे अभिसअसंभारा। रंभा-इदो वच्छ ।

·पंचमोंकः । ९५ नारदः-(कुमारस्य शिरसि कलशमावर्ण्य । ) रंभे, निर्वय॑तां शेषो विधिः । रंभा-(यथोक्त निर्वर्त्य । ) वत्स, प्रणम भगवंतं पितरौ च । (कुमारो यथाक्रमं प्रणमति ।) नारद:-वस्ति भवते । राजा-कुलधुरंधरो भव । उर्वशी-पितुराराधको भव । (नेपथ्ये वैतालिकद्वयम् ।) वैतालिकौ-विजयतां युवराजः । प्रथम:- अमरमुनिरिवात्रिर्ब्रह्मणोऽत्रेरिवेंदु: बुध इव शिशिरांशोधनस्येव देवः । भव पितुरनुरूपस्त्वं गुणैर्लोककांतैः अतिशयिनि समस्ता वंश एवाशिषस्ते ॥ २१ ॥ द्वितीयः- तव पितरि पुरस्तादुन्नतानां स्थितेऽस्मिन् स्थितिमति च विभक्ता त्वय्यनाकंपधैर्य । अधिकतरमिदानी राजते राजलक्ष्मीः हिमवति जलधौ च व्यस्ततोयेव गंगा ॥ २२ ॥ अप्सरस:-(उर्वशीमुपेत्य । ) दिष्ट्या प्रियसखी पुत्रस्य युव- राजश्रिया भर्तुरविरहेण च वर्धते । रंभा-वच्छ, पणम भअवंतं पिदरो अ। उर्वशी-पिदुणो आराहओ होहि । अप्सरसः-दिद्विआ पिअसही पुत्तस्स जुवराअसिरीए भत्तुणो अविरहेण अ वड्डदि ।

·विक्रमोर्वशीये उर्वशी-ननु साधारण एषोऽभ्युदयः । (कुमारं हस्ते गृहीत्वा।) एहि वत्स, ज्येष्ठमातरमभिवंदस्व । (कुमारः प्रतिष्टते।) राजा-तिष्ठ । सममेव तत्रभवत्याः समीपं यास्यामस्तावत् । नारद:- आयुषो यौवराज्यश्रीः स्मारयत्यात्मजस्य ते । अभिषिक्तं महासेनं सैनापत्ये मरुत्वता ॥ २३ ॥ राजा-अनुगृहीतोस्मि मघवता । नारद:-भो राजन्, किं ते भूयः प्रियं उपकरोतु पाक- शासनः । राजा-यदि मे मघवा प्रसन्नः किमतः परमिच्छामि । तथापि इदमस्तु । (भरतवाक्यम् ।) परस्परविरोधिन्योरेकसंश्रयदुर्लभम् । संगतं श्रीसरस्वत्योभूतयेऽस्तु सदा सताम् ॥ २४ ॥ अपि च । सर्वस्तरतु दुर्गाणि सर्वो भद्राणि पश्यतु । सर्वः कामानवाप्नोतु सर्वः सर्वत्र नंदतु ॥ २५ ॥ (इति निष्क्रांताः सर्वे।) इति पंचमोंकः। समाप्तमिदं श्रीकालिदासकृतं विक्रमोर्वशीयं नाम नाटकम् । उर्वशी-णं साधारणो एसो अन्भुदओ। एहि वच्छ, जेहमादरं अभि. वंदेहि ।

·prolix.() = lengthy worry toons & as & speech of inter THE VIKRAMORVAŠÍYA OF KÁLIDÁSA. (Benediction.) May that S'iva, easy to be obtained by firm devotion and meditation, bring about your final bliss : He-whom they call, in the Vedantas, the Supreme Spirit pervading heaven and earth; in whose case, the epithet I'śvara (Rulerof-all), not applicable to anyone else, is significant in every syllable; and who is sought within by those who desire salvation, after they have restrained their prúņa and other (four) winds ! (After the benediction.) Manager.-No need of prolixity. (Looking towards the dressing-room.) Friend, (come) here please. (An actor having entered.) Actor.-Sir, here am I. Manager.-Friend, the plays of former poets have indeed been seen acted on the stage on several occasions, by this assembly. I, therefore, shall today represent on the stage a new drama by name Vikramorvasiya. So, let the company of actors be told to be careful in their respective parts. Actor.-As your honour commands. (Goes out.) Manager.-Now, in the meanwhile. I shall reqnest these honourable men. (Bowing dlown.) Sirs ! (Please) listen, with attentive minds, to this composition of Kálidása, either out of kindness to (us) your humble servants, or out of respect for the good hero of the play.

·2 este (Behind the curtain.) May he may he protect us, who is a friend of the gods and who has access to the sky ! Manager.-(Listening.) Oh! how is it that a voice. like that of kurari-birds in distress, is heard in the sky, Etter my request? (w this be the warbling of bees intoxicated with honer. or the deep sound of cuckoos ; or have any women coinmenced to sing meloliously in the sky frequented on all sides by collections of gods? (Thinking.) Well, I see it. The celestial woman, born from the thigh of the Sage. the friend of Vara, as she was returning after having attended upon the Lord of Kailása, has been taken prisover in the midway by the enemies of the gods: that is why this group of nymphs is crying piteously. (Gious out.) THE END OF THE INTRODUCTORY DIALOGUE. (Then enter some nymphs.) Nymphs.—Mar he-may he protect us, who is afriend of the gods and who has access to the sky! ( Then enters the king in a chariot, and the charioteer.) King.-Away, away with your crying. Come to me. Purúravas, who have returned after having attended upon the Sun, and tell me from whom your ladyships are to be saved. Rambha'.-From the outrage of the demons. King.-But what offence of your ladyships has been committed by the outrage of the demons ? Menaka'.-Let your majesty hear. King.-Tell it (please). Menaka'.-That our dear friend Urvasi, who is the delicate weapon of the great Indra, whenever he is afraid ·3 of great ansterities, who pnts to shame Lakshmi prond of her beanty, (and) who is the ornament of heaven, has been, while returning from the palace of Kubera, taken prisoner together with Chitralekhá by the demon Kesin residing in Hiranyapura, whom we saw all of a sudden. King.-Is it known in what direction the rogue has gone ? Sahajanya'.-In the north-east. King.—Then give up your sorrow. I shall try to bring back your dear friend. Rambha'.—This is indeed worthy of you who are only one degree removed from the moon. King.–But where will your ladyships wait for me? Nymphs.-On the top of this Hemakúta-mountain. King.-Charioteer ! drive the horses in the north-eastern direction, so that we may go fast. Charioteer.-As the long-lived one commands. (Does us directed.) King.–(Indicating the speed of the chariot.) Charioteer! well done, well done. With this speed of the chariot I shall overtake even Garada though he may have started before me ; how much more easily then that offender of Indra ? For, In front of the chariot the clouds being reduced to powder follow the path of dust ; the revolution of wheels produees, as if were, another series of spokes in the intervals of (original) spokes ; the long choweries on the heads of horses stand motionless, as if they were drawn in a picture ; and the banner-cloth lies evenly between the point of its staff and its own end, on account of the wind poroduced by the speed. (The king and the charioteer yo out in the chariot.) Rambha'.-Friends ! the royal sage is gone. Therefore we shall also go to the place as appointed.

·4 Menaka'.-Friend! we shall do so. Other Nymphs.--Yes. ( Then all represent ascent on the mountain and stand.) Rambha'.--Will that royal sage, indeed, succeed in taking out the dart (of anguish) from our hearts ? Menaka'.-Friend ! do not entertain any doubt. Rambha'.---Surely, the demons are difficult to conqner. Menaka'.--Even the great Indra himself, when a war is at hand, calling him up from the middle world with great respect, appoints him at the head of his army to win victory for the gods. Rambha'.- May he be altogether victorions in this case also. (Stunding still for a moment.) Oh friends ! take courage, take courage. Here appears the chariot, by name Somadatta, of that royal sage, with its banner, that bears the ensign of the deer on it, flashing up. Indeed he will not return without having accomplished his object. (Al look up.) (Then enters the king in his chariot and the charioteer ; also Crrasi leaning on the right hand of Chitralekhi and with eyes closed in terror.) Chitralekha'.—Let my dear friend cheer np: let my dear friend cheer np. King.--O lovely lady! cheer np, cheer up. 1) timid one! the fear arising from the enemies of the gods has ended, for the power of Indra protects the three worlds. Therefore open these your long eyes, just as a lotus-creeper opens its lotuses at the end of the night. Chitralekha'.-Alas! how is it that she, who is known to be alive only by her hard breathing, does not yet regain her consciousness! King.–My good lady! her ladyship was greatly alarmed. For, ·The heavy beating of her heart is indicated by the garland of Mandára-flowers, which is repeatedly moving up and down between her large breasts. Chitralekha'.--Dear Urvasi! compose yourself. You seem to me to be no Apsaras (heavenly nymplı) at all. King.–The tremor caused by fear does not vet leave her heart which is as tender as a flower ; it is indicated. though with difficulty, by the end of her cloth as it rises and falls between her breasts. (Urraši comes to herself.) King.—(Joyfully.) O Chitralekhá, I congratulate you. Your dear friend is regaining her consciousness. See, This beantiful lady, in her mind being almost free from her swoon, appears like the night being free from darkness at the rising of the moon, or like the flame of nocturnal fire when smoke has almost disappeared from it, or like the Ganges regaining her clearness after becoming turbid by the fall of her banks. Chitralekha'.-Friend Urvasi ! leave all fear. For, the wretched demons, the enemies of the gods, have been defeated. Urvas'i'.-Opening her eyes.) Was it by the great Indra who can see by his supernatural power? Chitralekha'.- Not by the great Indra, but by this royal sage whose prowess is equal to that of the great Indra. Urvas'i'.-(Seeing the king ; to herself.) Indeed, the demons have done a great service to me. King.–(Beholding Urraśí restored to her natural state; to himself.) Indeed, it was quite proper that all the celestial nymphs, while trying to allure the sage Náráyaņa, were put to shame at seeing this lady sprung from his thigh ; or rather, I feel sure that she cannot at all have been the creation of an ascetic. Therefore, ·6 Say, was it the moon, the giver of brightness, who became the creator in the act of her creation ; or was it Cupid himself whose sole sentiment consists in love ; or was it the month, the treasure of flowers ? For, how indeed could an aged ascetic, dulled by the study of the Vedas, and having desires turned away from the pleasnres of sense (how could he) have been able to create such a charming form as this! #Urvas'i'.-Friend Chitralekhá! where indeed can our friends be? Chitralekha'.-Friend! the lord, who has given us protection, knows. King:-(Looking at Urraśí.) The friends are in great distress. Let your ladyship consider : Even he, in the range of whose eyes yon may have but once quite accidentally fallen and thus made them fruitful, even he, fair lady, will pine away without you ; how much more then, your friends whose friendship (for you) is deeprooted! Urvas'i'.—(Aside to her friend.) His words are indeed noble. Or rather, what wonder is there that nectar should flow ont of the moon ! (Aloud.) Hence is it that my heart is so impatient to see them. King.—(Pointing with his hand.) There, fair lady, are your friends standing on the Hema kúta-mountain, and looking at your face with anxious eyes, as people (eagerly gaze) at the moon freed from the eclipse. Chitralekha'.-Friend ! see. Urvas'i'.- (Looking at the king longingly.) Yes, here is the sharer of my sorrow being seen (by me) with both (of my) eyes. Chitralekha'.-(Smiling ; meaningly.) Oh, who? Urvas'i'.- I mean sakhíjanah (our friends.)

·7 Rambha':-(Looking joyously.) Here comes the royal sage bringing with him Urvasi together with Chitralekhá. like the moon in company with the two Viśákhás. Menaka'.-observing carefully.) Both the things have come to pass as blessings to us: that, here our dear friend is brought back, and that here his majesty comes unhurt. Sahajanya'.-Friend ! yon say rightly : for, the demons are difficult to conquer. King.-Charioteer! here is the top of that mountain : let the chariot descend. Charioteer. -As the long-lived one commands. (Then he does so.) King.-(Showing the sudden shaking of the chariot ; to himself.) Ah, my descent on uneven space has borne me a fruit. Because, owing to the sudden shaking of the chariot, my shoulder was touched by that of hers, whose hips are (rouud) like wheels, so as to cause the hair to stand erect ; and thus it (her shoulder) has, as it were, inade Love to put forth sprouts. Urvas'i'.-(Being ashamed.) Friend ! (please) move a little further. Chitralekha'. (Smilingly.) I cannot. Rambha'.--Friend ! come, we shall go to receive the royal sage, our benefactor. Other Nymphs.- We shall do so. ( All approach him.) King.-Charioteer! just stop the chariot ; So that, this lady having beautiful eyebrows, who is herself anxious, may meet again her anxious friends, just as the Beauty of the Spring meets the creepers.

·8 ( The charioteer does 80.) Nymphs.-We congratulate your majesty upon your victory. King. And (I congratulate) your ladyships npon your union with your friend. Urvas'i'.-(Getting down the chariot, supported by the hand offered by Chitralekhú.) Friends! come, embrace me closely. Indeed, I had no hope that I should (ever) see my friends again. (Her friends embrace her in quick succession.) Rambha'.-(In a tone of prayer.) May your majesty, by all means, be the protector of the earth for hundreds of Kalpas ! (A confused noise behind the curtain.) Charioteer.—Oh long-lived one! in the easterly direction a noise is caused by the great speed of a chariot. And here does some one, having an armlet made of brilliant gold, descend upon the top of the mountain from the sky, like a cloud accompanied by lightning. Nymphs.--(Seeing.) Oh! it is Chitraratha ! (Then enters Chitraratha.) Chitraratha.-(Advancing to the king ; with great respect.) Your honour is to be congratulated upon the greatness of your prowess which is able to confer an obligation upon the great Indra. King.-Oh! it is the king of the Gandharvas! (Alighting from the chariot.) Welcome to my dear friend. (They grasp each other's hand.) King.–Friend ! what is the reason of (your) coming ? Chitraratha.-My good sir ! as soon as Indra heard from Nárada that Urvaší was carried off by the demon Kesin, he ordered the arıny of the Gandharvas to (rescue ·and) bring her back. Then having, on our way, heard from the bards the praise of your victory, we have come to you here. Therefore it behoves your honour to accompany 118 to see Indra, and to present her to him. Your honour has indeed done a very welcome service to the great Indra. Formerly she was given to Indra by Náráyaņa, and now by you his friend, having rescned her from the hand of the demon. King.-No, friend, don't say so. Is it not indeed (through) the prowess of Indra himself that his friends conquer his enemies ? Even the echo of a lion arising from the caves of mountains, frightens away elephants. Chitraratha.—This is quite proper; for, modesty is the ornament of valonr. King.-Friend ! this is not the time for me to go to) see Indra. You yourself take her ladyship to the lord. Chitraratha.-As your honour wishes. This way, this way ladies. (The nymphs set out.) Urvas'i'.-(Aside to her friend.) Friend Chitralekha ! I am not able to ask leave of the royal sage though he is our benefactor. Therefore you be my spokesman. Chitralekha'.-( Going near the king.) Lord! Urvasi begs to say.. King.-What does she command ? Chitralekha'.- ...... I, being permitted by your majesty, desire to take your majesty's fame, as a dear friend, to the world of the great Indra.' King.-(With sorrow.) May you go to meet again! (All the nymphs, together with the Gandharcus, gesticulate going up into the sky.)

·10 Urvas'i'.-(Gesticulating a hindrance in her going up.) Oh, my necklace is entangled into the branch of a creeper. ( Turning and looking at the king.) Friend Chitralekhá! please, disentangle this. Chitralekha'.—(Looking at the king and smiling.) Ah! it is indeed firmly entangled. It appears to me rather difficult to be disentangled. Urvas'i'.-Away with joking. Pray, extricate it. Chitralekha'.-Well then, I will just try. Urvas'i'.-(Smiling.) My dear friend! please remember these words of yours. (Chitralekhá gesticulates extricating.) King.-(To himself.) Oh creeper! thon, causing a momentary obstacle in her going, hast done me a service, since this lady was once again seen by me to-day with her face half turned and her eyes turned towards the corners. (Chitralekhá extricates. Irraré after looking at the king beholds, with a sigh, her companions flying up.) Charioteer.-Oh long-lived one! Here your arrow, presided over by Váyu, after having thrown down into the ocean the demons, who had given an offence to the lord of gods, has again entered the quiver, just as a large serpent enters its hole. King.-Then bring near the chariot, so that I may ascend. (The charioteer does so. The king ascends the chariot by gesticulation.) Urvas'i'.—(Looking at the king, with a sigh, to herself:) Shall I-shall I ever see this benefactor again! (She goes away with the Gandharvas and her companions.) King.--(Turning up his face towards Urraši's way) Oh, how strange it is that the god of love (always) directs the mind towards an object that is difficult to get.

·11
This heavenly woman, flying up into the middle pace of
her father, forcibly draws away my mind from my body, its
a female swan draws out the fibre from a lotus-stalk, thie
ends of which have been cnt off.
(Then they both go out.)
THE END OF ACT I.

·ACT II. (Then enters the Buffoon.) Buffoon.-Ha, ha! I shall not be able to hold my tongne in the crowd of the people on account of the secret of the king bursting out from me, as a Bráhmaņa who is solely engrossed in the invitation received. Therefore, until his hononr, my friend, rises from his official seat, I shall remain in the neighbourhood of this 'Vimánotsangapalace where the gathering of the people is very thin. (Walks about and stands.) (Then enters a Female serrant.) Female Servant.--I am directed by her majesty, the daughter of the king of Kási, thus-Oh (my faithful) Nipuņiká! ever since his majesty returned after having attended upon the holy Sun, he appears to be somewhat absent-minded. Therefore just ascertain from his clear friend, the venerable Máňavaka, the cause of his sadness.' Then, in what way indeed is that wretch of a Bráhmaņa to be deceived by me? Or why, a sacret will not long remain in him, as a dew-drop on a thin blade of grass. I shall (therefore) just seek him. (Walking about and seeing him.) Oh, here stands the venerable Máňavaka, remaining silent for some reason or other like a monkey drawn in a picture. I shall just go up to him. ( Going near. ) Honoured Sir, I salute (you). Buffoon.-Hail to your ladyship. (To himself.) The moment that I see this wretched maid-servaut the secret of the king tries to go out by breaking open my heart. (Aloud.) Oh Nipuniká! where are you going, setting aside the business of singing ? Nipunika'.-To see the honoured one himself by the command of the queen. Buffoon.-What does her highness command?

·ACT II. 13 Nipuņika'.—Sir, the queen says— 'Your honour always sympathises with me, and will not neglect me who am distressed by unusnal sufferings.' Buffoon.—(With a suspicion.) Oh Nipuņiká! May it be that my friend has done anything to offend her ladyship? Nipuņika'.—Honoured sir! the queen was actnally addres. sed by his majesty by the name of the woman for whom his majesty has been pining. Buffoon.-(To himself.) What! has his honour himself revealed the secret ? Why then shall I now suffer pain by restraining my tongue? (Aloud.) What was her ladyship addressed by the name of Urvaší? Nipuņika'.— Yes. Sir, who is that Urvasí? Buffoon.-She is a nymph by name Urvasi. His honour maddened by seeing her, greatly pains not only her ladyship but pains me too by being averse to recreation. Nipunika':-( To herself.) I have made a breach in the stronghold of the lord's secret. (Aloud.) Honoured sir, what shall I now say to the queen ? Buffoon.-Oh Nipuņiká ! In my name respectfully tell her ladyship this—I shall first try to turn my friend back from (running after) the mirage, and then shall (come to) see your laclyship's face. Nipuņika'.-As your honour commands. (Goes out.) (Bchind the curtain, the bards.) May the king be ever victorions ! Thy power and that of the sun appear to us to ilo similar functions : thine removing the criminal tendencies of the subjects beyond the confines of thy kingdom, and that of the sun dispelling the mass of darkness beyond the limits of the world. This lord of splendours staus stationary for it moment in the middle of the sky, and thou too, Oh king ! takest thy rest in the sixth portion of the day. 2 ·14 VIKRAMORVAS'I'YA. Buffoon.-(Listening.) Here comes, in this very direction, my dear friend risen from his official seat. I shall, therefore, be by his side. (Goes out.) THE END OF THE INTRODUCTORY SCENE. (Then enters the sorrowful king and the Buffoon.) King.-(Hearing a sigh of grief.) That heavenly Beauty, ever since I saw her, has entered my heart, in which an opening was made by the unfailing arrow of Cupid. Buffoon.-( To himself.) Rightly then, the poor daughter of the king of Káśí is distressed ! King. (Looking fixedly at him.) Is the secret entrusted to you kept safe ? Buffoon.—(Sorrowfully, to himself.) Alas, alas! I have been deceivel by that wretched maid ; otherwise my friend would not have asked me so. King:-(With a suspicion.) · Why does your honour remain silent ? Buffoon.-I have so (fast) restrained my tongne that I cannot reply even to your honour at once. King. It is well; but where shall I now try to divert myself ? Buffoon.-Sir, let us go to the kitchen. King.–What is there? Buffoon.--There it is quite possible for us to drive away onr uneasiness by looking at the preparation of the five kinds of food, the requisite materials for which are bronght together. King.-(With a smile.) Yon will be pleased there on account of the presence of your favourite things. But how shall I, who desire the unattainable, be able to divert myself ? Buffoon.-Is it not that your hononr has fallen in the range of the lady Urvasi's sight?

·ACT II. 15 King.- What of that ? Buffoon.—Then I believe that she is not at all difficult for you to obtain. King.–Friend ! know that this is only your partiality (for me). Buffoon.-Your honour has increased my curiosity by saying so. Is the lady Urvasí so matchless in beauty as I am in deformity ? King.–Friend Mánavaka ! know her to be impossible to describe limb by limb. Hear of her as a whole. Buffoon.-I am attentive. King.-Oh friend ! her body is the ornament of ornaments, an excellent decoration of all decorations, and even the standard (of comparison) of all the standards (of comparison.) Buffoon.-Hence it is, I see, that your honour, longing for heavenly rasa (love), has taken the vow of a Chátaka (who longs for the water of the cloud.) But where is your honour going now? King:-Friend ! for one who is uneasy there is no better refuge than solitude. Therefore, let your honour lead the way to the pleasure-garden. Buffoon.-(To himself.) What help is there! (Aloud.) This way, this way, your honour. (Then they both walk about.) Buffoon.—Here is the neighbourhood of the pleasuregarden. Your honour has been received as a guest by this south-wind, as if directed by the pleasure-garden. King.-(Observing.) This epithet is quite proper for this wind. Because, Filling with honey-drops the Mádhaví-creeper and making the Káundi-creeper dance, and thus having united in himself sneha (honey) and dákshinya (southerliness), ·16 VIKRAMORVAS'I'YA. he appears to me like a lover (who combines in himself sneha, love, to one and dakshinya, mere politeness, to another woman). Buffoon.—May your attachment too be of the very same pature. (Walking about.) Here is the entrance to the pleasure-garden. Let your honour enter. King.--You enter first. (Both gesticulate entering.) King.--(Seeing before him.) Oh friend! I was not right in thinking that my entering the pleasure-garden would really be a remedy for my affliction. The fact that I was desirous of quickly entering the garden for the allaying of heat, was indeed like the swimming against the current on the part of a person borne down by the rapidity of the stream. Buffoon.-How so? King.–Already the five-arrowed-god torments my mind which is difficult to be withdrawn from its desire for aw unattainable object; how much more then (will it be tormented now) when the mango-trees in the garden, from which the slightly grey leaves have been plucked off by the Malayabreezes, show forth new spronts ? Buffoon.-Enough of your lamentatious. Ere long, the god-of-love himself will become your friend by accomplishing your desired object. King.-I accept the words of a Bráhmaņu. (Then they walk about.) Buffoon.-Let your honour mark the beauty of the pleasure-garden indicative of the advent of the Spring. King.-Why, I see it in every tree ; for here, The Kurabaka-flower in its forepart is as red as the nails of a woman, and is dark-blue on the two sides. The bud of the red Asoka, charming on account of its advanced redness, stands ready to burst open. On the mango-trec there is a ·ACT II. 17 new blossom which towards the end is yellowish on account of the particles of pollen being as yet only imperfectly formed in it. Thus, my friend! the Beauty of the Spring stands between infancy and youth. Buffoon.-Sir, here is waiting for your majesty the bower of Atimukta-creepers, being furnished with a slab of jewelled stone, and having as it were himself prepared the materials of reception by means of flowers fallen down on account of the bees coming in contact with them. So, please confer a favour npon it. King. As you please. ( Walking about, they sit down.) Buffoon.—Now let your honour drive away the uneasiness with regard to Urvasí, by sitting here at ease and having eyes pleased by looking at the lovely creepers. King:-( Ilearing a sigh.) Friend ! my eyes grown fastidious by having seen her beanty, find no pleasure in the garden-creepers thongh they have put forth blossom and have branches bending down (in consequence). Therefore think ont some remedy so that I may have my desire fulfilled. Buffoon.-(Laughing.) Sir, the physician as the helper of the great Indra longing tor Áhalys, and I of you longing for Urvasi, are both mail (out of place) in such affairs. King.--No, do not say so. For, great affection can find ont what is to be done. So, please think ont a remedy. Buffoon.-Here I am thinking. But please do not isturb my meditation by your lamentation. (Then he gesticulates meditation.) King.-(Showing that he felt a yoorl omen, says to himself.) Thongh on the one hand that lady with a face bright like the full moon is not easy to obtain, still on the other ·18 VIKRAMORVAS'I'YA. hand there is this (favonrable) working of Capid for some reason or other. My mind at once feels glad as if the accomplishment of the desired object were at hand ! (Remains l'spectant.) (Then enter Urrasi and Chitralekhá passing through the sky.) Chitralekha'.-Friend! where are yon now going without mentioning the reason ? Urvas'i'.-(Showing love-sorrow, bashfully.) Friend ! having on that day joked with me whose flying into the sky was obstructed for a moment by the branch of a creeper ou the peak of the Hemakúta-mountain, why do you now ask me (such a question as) where are yon going'? Chitralekha'.- Are yon then really set out to visit the royal sage Purúravas ? Urvas'i'.—Quite so. Such is indeed my purpose in which I have disregarded all shame. Chitralekha'.—But who has been sent there, by my friend, before her ? Urvas'i'.- Why, my heart. Chitralekha'.-Yet even now, just consider well with yourself (again). Urvas'i'.-Friend ! the god of love himself directs me : . what is there to be considered ? Chitralekha'.—Then I have nothing more to say. Urvas'i'.—Well then, lead that way, going by which we should meet with no obstacle. Chitralekha'.-Friend ! be fearless. Are we not indeed made proof against the attacks of the enemies of the gods, by his holiness the preceptor of the gods, who has taught us the spell of tying the hair, by name Aparájitá (the Invincible) ? Urvas'i'.-(Bashfully.) Oh ! my heart had forgotten it.

·AOT I. 19 (Both gesticulate flying.) Chitralekha'.-Friend ! look here, look here. We have approached the palace of the royal sage, which forms the crest-ornament of the town of Pratishthána which is as it were looking at itself (reflected) into the waters of the sacred Ganges made more holy by her confluence with the Jamna. Urvas'i'.—(Observing with longing looks.) Rather say that it is heaven itself transferred to another place. (Thinking.) Friend ! where indeed may he be, who always sympathises with the distressed ! Chitralekha'.-Friend! having descended into this pleasure-garden, which looks like a part of the Nandanapark, we shall ascertain it. (They both descend.) Chitralekha'.—(Seeing the king ; with delight.) Friend! here indeed is he, like the moon just risen, waiting for you, like the moonlight. Urvas'i'.-(Observing.) Friend! now his majesty appears more lovely than when I first saw him. Chitralekha'.-Quite right! Come then let as approach him. Urvas'i'.— I will not approach him yet. I will first conceal myself by the power of Tiraskariņi (the magic veil) and thus standing by his side, will listen to what he is speaking in private with his friend who is near him. Chitralekha'.-As you like. (They both do so.) Buffoon.--Sir, I have found ont a remedy by which you may be united with your beloved who is difficult to obtain. (The king still remains silent.) Urvas'i'.—(Enriously.) Who indeed may that happy woman be, who knows herself to be blessed in being sought by such a person as this !

·20 VIKRAMORVAS'I'YA. Chitralekha'.-Bnt why do yon act like human beings? Urvas'i'.-Friend ! I am afraid to ascertain it all at once by means of my supernatural power. Buffoon.--Sir, why, I say I have found out a remedy. King.–Well then, speak it out. Buffoon.—Let yonr honour enjoy sleep which would bring about union in the dream ; or draw an image of the lady Urvasi on a drawing-board, and remain looking at it. Urvas'i'.—(With delight, to herself.) Oh my timid heart! take courage, take courage. King.–Both are impracticable. See, My heart is always pierced internally with the arrows of Cupid, how shall I then enjoy sleep which might bring about union in the dream ? Nor will the tears, Oh friend ! fail to rise in my eyes before I have fully drawn the picture of my beloved having beautiful face. Chitralekha'.-Did you hear this speech ? Urvas'i'.-Friend ! I heard it, but it is not enough for my heart. Buffoon.-Thus far only extends the power of my intellect. King.(Heaving a sigh.) Either she does not know the very painful agony of my mind, or does not care for me even after knowing my love by means of her supernatural power. May, therefore, the five-arrowed-god think himself triumphant by making my desire of union with that person vain on account of its not having reaped its fruit. Ohitralekha'.-Friend ! did you hear ? Urvas'i'.—Alas, alas that he should think of me thng ! (Looking at her friend.) Friend ! I am unable to answer him by standing before him. So, I wish to send him a reply (written) on a birch-leaf prodnced by my supernatural power.

·ACT II. 2 Chitralekha'.-Friend ! I approve of it. (Urcaé gesticulates writing hurriedly and throws the letter between the king and the buffoon.) Buffoon.—(Seeing it, in fear.) Alas, oh heavens ! Sir, what can this be? Is it a serpent's cast-off skin fallen to eat me ap? King:-(Observing minutely and then smiling.) Friend ! this is not a slongh of a serpent. This is some writing written on a birch-leaf. Buffoon.—Perhaps it may have been sent by Urvas'i', remaining invisible, after having heard your lamentation. King.There is nothing to which one's desires cannot go. (Taking and reading it to himself ; joyfully.) Friend ! your guess was right. Buffoon.-Ah, Sir! do the words of a Brâhmaņa ever become falsified ? Then Sir, oblige me now : I wish to hear what is written there. Urvas'i'.-Well done. Sir, you are a clever person. King.-Friend ! here. Buffoon.-I am attentive. King:-(Reads out.) Oh lord! if I, misunderstood by you, am really such as I have been considered to be, towards you who love me, - why then should even the (cool) breezes from the Nandanagarden be felt very hot on my body lying down on a bed of tender Párijáta flowers ?' Urvas'i'.—What, indeed, will he say now? Chitralekha'.-—Why, it is already said by his limbs which are (finnerved) like a faded lotus-stalk. Buffoon.-I am glad that your honour, afflicted with a longing, has obtained consolation just as I, when hungry, get auspicious present of sweatmeat. King.-Why do you say consolation (only)? This declaration of my beloved, committed to writing, ·22 VIKRAMORVAS'I'YA. and indicating eqnal love, as well as having a meaning charmingly expressed, is as it were Oh friend! the mouth of her who has fascinating eyes, that has come in contact with the month of me whose eyelashes are upturned. Urvas'i'.--Now our love is of equal shares. King-Friend! the letters will be spoiled by the sweat of my fingers : preserve, therefore, the antograph of my beloved. Buffoon.-(Taking.) What, -will now the lady Urvasi, having made your desires to blossom, fail to bring forth the fruit ? Urvas'i'.-Friend ! while I compose my heart which is too timid to approach, you present yourself before him and say what is worthy of me. Chitralekha'.—Very well. (Remoring her magic reil and going near the king.) Victory, victory to your highness! King:-(Seeing, joyfully.) Welcome to your ladyship. (After having looked at her side.) Oh good lady! Now yon, who are without your friend, do not please me so much as when I formerly saw you together, like the Jamna withont the Ganges, seen before at their confluence. Chitralekha'.—Why, first is seen a line of clouds and then the lightning Buffoon. Aside to the king.) She is not Urvasi then—but she is only an esteemed friend of her ladyship! King.- Please take this seat. Chitralekha'.-Urvasi, having saluted your majesty by (bending) her head, begs to say... King:--What does she command. Chitralekha'.- .... In that crisis of danger caused by the enemies of the gods, your majesty alone was my saviour. I, therefore, who am now greatly tormented by love arisen from your sight by me, beg to be again pitied by your majesty' ·ACT II. 23 .. King:-Ah, my good lady! You speak of that lovely lady as being excessively uneasy (for me), but you do not see that Purúravas (also) is greatly afflicted on her account. The longing of love is eqnal in both of us : heated iron is fit to be united with heated iron ! Chitralekha'.—(Returning to Urcaść.) Friend ! come on. Seeing Madana even more cruel towards him than towards you, I have become the messenger from your lover. Urvas'i'. Removing her magic veil.) Alas, how lightly and suddenly hast thou deserted me! Chitralekha'.—(Smiling.) Friend ! just after a moment I shall see who deserts whom. But in the first place make the customary salutation. Urvas'i'.-(llurriedly approaches the king and saluting says with bashfulness.) Victory, victory to your majesty! King:-( Joyfully.) Oh lovely lady ! I have indeed become victorious, of whom this word victory, not applied to any other person than Indra, is attered by you. (He seizes her hand and makes her sit down.) Buffoon.-Oh lady! why do you not salute me, a Bráhmana and a dear friend of the king? (Urcaśí smiles and bows to him.) Buffoon.—May all be well with your ladyship! ( Behind the curtain, a messenger of the gods.) Oh Chitralekhá! hasten, hasten away Urvasí. The lord of the gods, along with the guardians of the quarters, is desirous of seeing today that dramatic performance which is attended with graceful acting and which, embodying the eight sentiments, has been taught to (nymphs like ) yon by the sage Bharata. ( They all listen; Urvaší shows distress.) Chitralekha'.-My dear friend has heard the words ·24 VIKRAMORVAS'I'YA. of the messenger. Therefore let his majesty be asked for leave to go. Urvas'i'.—(Sighing.) I cannot speak. Chitralekha'.—Sir! Urvasi begs to say, 'I am a person dependent upon others; therefore, being permitted by your majesty, I wish to make myself blameless towards the gods.' King Collecting his words with great difficulty.) I do not wish to come in the way of the order of your lord. But this person shonld be remembered. (Creaść, showing sorrow of separation and looking at the king, goes out with her friend.) King:-(With a sigh.) Friend ! now my eyes are, as it were, quite useless. Buffoon.-(Wishing to show the birch-leaf.) Why, here is the .. (This being half-said, with sorrow to himself.) Alas, alas ! that birch-leaf, though dropped down from my hand, was not, through inattention, noticed by me, being struck with wonder at the sight of Urvaší. King.–My good friend! what is it that you seem desirons of speaking ? Buffoon.-I mean to say this— Let not your honour (allow the limbs to droop, through) despair. Urvasi has in fact firmly fixed her heart on you : she will not relax the bonds of love which she feels for you.' King.–My mind also cherishes the same hope. For by her, at the time of departure, Not being mistress of her body, the heart over which she had control, was as it were placed in me by means of sighs indicated by the tremor of her breasts. Buffoon.-( To himself.) My heart trembles, for his majesty may at this time ask for the birch-leaf. King:-Friend ! by what shall I now divert my sight? (Recollecting.) Oh! bring me the birch-leaf.

·ACT II. 25 Buffoon.--(Looking all round, shows sorrow.) Alas! it is not (to be) seen. Surely, sir, it was a heavenly birchleaf and it must have gone after Urvasi. King. (Ingrily.) Oh! the fool is careless everywhere. Well, you should look for it. Buffoon.-(Getting up.) Surely it must be here, or here, or at least here. (Thus he gesticulates searching.) (Then enters the queen, the daughter of the king of Káki, with her retinue, and her Female Serrant.) Queen.-Oh (my faithful) Nipuņiká ! did you speak ont the truth that his majesty, accompanied by the venerable Máňavaka, was seen (by yon ) entering the bower of creepers ? Nipuņika'.-Has your ladyship been ever before informed falsely by me? Queen.-Well then I, being concealed behind the cluster of creepers, shall just hear his confidential conversation, to ascertain whether what you told me was true or not. Nipuņika'.--As the queen likes. Queen.-(Walking about and looking before her.) 0 Nipuņiká ! what possibly is this, like an old rag, that is being carried in this direction by the sontherly breeze? Nipunika'.—(Observing carefully.) Oh queen! surely this is a birch-leaf, on which some writing is seen as it turns ronnd and round. Oh! it has come close to the anklet of your ladyship. (Taking it.) Shall I read it ont? Queen.-First read it to yourself. If it be not antit (for me to hear) I shall hear. Nipuņika'.—(Having done so.) Oh qneen! it appears to be connected with) the same scandal. I think this is a poetical composition of Urvasi with reference to his lordship, and that it must have come to our hands through the carelessness of the venerable Mánavaka. Queen.-If so, I should (like to) know its contents. 3 ·26 VIKRAMORVAS'I'YA. (Nipuniká reads it out.) Queen.-(Having heard it.) I shall just not see the lover of the nymph with this very present. Nipuņika'.- Very well. (Then they both enter the bower of creepers with the retinue.) Buffoon.-(Observing.) Oh friend! what is it that appears near the side of the pleasure-mountain situated near the pleasure-garden, and is being driven by the wind ? King.-(Getting up.) Oh revered southerly wind, the favourite of the Spring! For the purpose of smelling, carry away the pollen of the flowers of creepers, which is produced by the Spring. What is the use of your taking away the affectionate autograph of my beloved ? Yon, who have manifested your love towards Aujaná, are already aware that a love-sick person sustains himself by hundreds of such things which are calculated to please the mind. Nipunika'.-Oh my mistress ! look-look ! there is a search going on for this very thing. Queen.-Why then, let me see it. You remain qniet. Buffoon.-(With sorrow.) Alas, alas! Sir, I have been deceived by the feather of a peacock, having the colour of a faded Kesara-flower. King.-I am in every way undone ! Queen.-(Suddenly going near.) My lord ! do not be anxions : here is that birch-leaf. King.-(In great confusion.) Oh, (here comes) the queen! Welcome to my queen. Buffoon.-(Aside to the king.) Now it has become an ill-come thing. King.-(Aside to his neighbour, the Buffoon.) Friend! what remedy should be adopted now? Buffoon.-(Aside to the king.) Can å thief, canght with the stolen property, have at all anything to say in reply?

·ACT II. 27 King.Aside to the Buffoon.) You fool! this is not the time for jesting. (Aloud.) Oh queen! it is not this that is being songht by me. It is indeed something else for which the search was commenced. Queen.-It is quite natural for you to conceal your good-luck! Buffoon.—Oh lady! hasten his meals which would be able to suppress the bile. Queen.-Oh Nipuņiká! how well has the Bráhmaņa supported his friend ! Buffoon.-Why, you see, oh qneen! even a ghost is conciliated by the offer of food. King.-Yon blockhead! yon prove me guilty perforce. Queen.-Indeed it is not your fault. It is I who am at fault in this case, since, though my sight is unwelcome to you, I am standing before you. I shall go away hence. Oh Nipuņiká ! Come let us go. (Showing anger, she sets out.) King.-(Going after her.) I am really the guilty person; Oh fairest one! be pleased and give up your anger. If the person to be served is angry, how possibly then can the servant be without fault? (So saying, he falls at her feet.) Queen.-(To herself.) I am not so light-hearted as to set high value on this supplication. But I am rather afraid of the repentance that will be caused (iu me) by my ancourteousness. (Then, leaving the king she goes away with her retinue.) Buffoon.—The queen has gone away unpacified, like a turbid river in the rainy season. Rise, therefore, rise. King:-(Rising.) Friend! this is not annatural. See, The conciliation of a lover, though cousisting of sweet words, yet being without real love, does not find an access to the hearts of beloveds who know what sincerity is, just as a jewel dyed with an artificial colour, but being without ·VIKRAMORVAS'I'YA. genuine water, vloes not get any value in the minds of those who are expert in jewelry. Buffoon.-- This is quite favonrable to your honour ; for, ir person who has sore eyes cannot bear the flame of a lamp before him. King.–No, do not say so. Though my mind is fixed on Urvasi, still I have the same respect for the queen as before. But I shall support myself with patience as regards the latter, since she hus slighted my prostration. Buffoon.-Sir, let your patience be aside for a while. Support the life of this hungry Bráhmaņa; for, it is high time for us to bathe and take our meals. King. (Looking upward.) The half of the day is already gone : and therefore it is that, The peacock being scorched by heat sits in the cool basin at the foot of the tree ; the bee breaking open from above the Karņikára-bud lies hid inside it ; the waterfowl leaving the hot water betakes itself to the lotus-plant near the bank ; and this parrot confined in a cage in the pleasurehouse, being exhausted, begs for water. (They both go out.) THE END OF ACT II.

·ACT III. (Then enter two pupils of Bharata.) Ga'lava.-Friend Pelava ! you were made to carry the seat by his holiness the preceptor while going to the palace of the great Indra. I was kept (back) to guard the firesanctuary. Hence it is that I ask you was the celestial audience pleased by the dramatic performance of our preceptor ?? Pelava.-Oh Gálava ! I do not know whether it was pleased or not. But during (the performance of) that play, called Lakshmi-svayamvara, composed by Sarasvati, it was wholly absorbed in the several sentiments (represented in acting). However...... Ga'lava.—Yonr unfinished sentence shows that there was some occasion for finding fault. Pelava.—Yes. In it, Urvaší made a slip in her speech through want of attention. Ga'lava.-How was it? Pelava.-Urvasi, acting the part of Lakshmi, was asked by Menaká, acting the part of Váruņi,— Friend ! here are assembled the best persons in the three worlds, and the guardians of all quarters together with Keśava ; on whom do you fix your love ?' Galava.-And what next? Pelava.-Then, while she ought to have said on Purnshottama,' the words on Purúravas,' escaped her lips. Ga'lava—The organs of sense act in accordance with destiny. But was not our preceptor angry with her ? Pelava.-She was of course cursed by the preceptor. But she was favoured by the great Indra. Galava.-How was it ? Pelava.—The curse of the preceptor was this · Since you have transgressed my instructions, there will be no ·30 VIKRAMORVAS'I'YA. place in heaven for you.' But at the conclusion of the dramatic representation, she (who was standing) with her face bent down in shame was thus addressed by the great Indra— In this matter I must do a service to the royal sage who is my friend in battles and on whom you have fixed your love. You, therefore, (go and) live with Parúravas in accordance with your desires until he sees a son born of yon.' Ga'lava.—This was worthy of the great Indra who knows (the hearts of) other persons. Pelava.-(Looking at the sun.) You see we have in the course of conversation, transgressed the bathing time of onr preceptor. Come then, let us (go and) be by his side. Ga'lava.- Very well. (They both go out.) THE END OF THE MIŚRA-VISHKAMBHAKA. (Then enters the Chamberlain.) Chamberlain.—(Heaving a sigh of grief.) Every marrried man tries to acquire wealth in his prime of life, and afterwards being relieved of his burden by his sons he is allowed to take rest. But in our case the old age has taken the form of service, every day confirming our fixity in the position : painful is the office of looking after the ladies of the harem )! (Walking about.) I have been thus ordered by the danghter of the king of Káśí, who has andertaken a vow -To aid me in the fulfilment of my vow his majesty has been already requested, through Nipuņikà, by me having set aside my anger. You kindly make the same reqnest in my name.' I will, therefore, now call upon his majesty who must have finished his evening prayers. (Walking about and seeing.) Pleasing indeed is the scene presented by the royal palace at the close of the day. For, here ·Аст . 31 The peacocks drowsy with nightly sleep are (sitting) on the perching rods (as motionless) as if they were sculptured (figures). The roofs have pigeons which cannot be distinguished from the volumes of the incense-smoke issuing from the windows. And the elderly persons of the harem, devout in the performance of customary formalities, are placing the lighted auspicious lamps of the evening on the appointed spots strewn over with the offerings of flowers. (Looking towards the curtain.) Ah ! the king is coming in this very direction, He, surrounded by torches held in the hands by female attendants, appears like a mountain being in motion when its wings were not cut off and having the (tall) Karņikárastalks flowered along its sides. So, I shall wait for him, standing in the range of his sight. (Walks about and stands.) ( Then enters the king as described, and the Buffoon.) King. (To himself.) Alas ! I managed to pass with no great difficulty, the day in which sorrow was forgotten in business affairs. But how possibly would the night be passed with its (periods of) hours tedious on account of the absence of any diversion ! Chamberlain.-(Going near.) May the king be ever victorious. Lord! the qneen begs to say “The moon can be well viewed from the surface of the Maniharmyapalace. There I wish to wait, with your majesty being present, till the union (of the moon) with Rohiņi.' King.--Noble Látavya ! let the queen be informed that it shall be as she desires. Chamberlain.--As your lordship commands. (He goes out.) King.-Friend ! can this action of the queen be really for the performance of a vow ? Buffoon.-Sir, I fancy that her ladyship being fall of ·32 VIKRAMORVAS'I'YA. repentance is desirous of atoning for the slighting of your prostration, under the pretext of & vow. King.-What you say is possible. For, the proud (but virtuons) women, having (first) scornfully rejected the prostration of their husbands bat afterwards having their minds full of repentance, are stang with remorse at (the recollection of) the various conciliatory acts of their husbands. Then, lead the way to the surface of the Maņiharmya palace. Buffoon.—This way, this way your majesty. Let your majesty ascend to the surface of the Maạibarmya-palace pleasant at the evening time, by means of this flight of steps made of crystal stones and having the beautifnl appearance of the waves of the Ganges. King.-Yon ascend before us. (All act ascending the flight of steps.) Buffoon.-(Obserring.) Sir, the rise of the moon must be very near ; because the face of the eastern quarter, becoming freed from darkness, appears agreeable to look at. King.-You think rightly. The darkness having been dispelled to a great distance by the rays of the moon hid behind the eastern mountain, the face of the eastern direction attracts my eyes, as if on account of the hair being tied np. Buffoon. (Seeing.) Ah, ah, Sir ! here has actually risen the king of the twice-born looking as beautiful as a round ball of sugar. King.-(Smiling.) Some eatable is always the principal topic (in the conversation) of a glutton. (Folding his hands and bowing.) Oh god, the lord of Night! Bow to you who enter into the sun in order to enable the pions people to perform their rites, (yon) who gratify the gode and the manes with nectar, who dispel the mass of darkness ·ACT III. 33 prevailing at night, and who have placed yourself on the creat of Hara. (Then he offers his prayers.) Buffoon.-Sir, your prayers are accepted by your (paternal) grand-father communicating his words (of approval) through (me) a Bráhmaņa. Therefore, take your seat, so that I too may sit at ease. King:-(Accepting the words of the Buffoon he sits down, and looking at the attendants says.) When moonlight is distinct what is the use of these superfluous lights! So, you can (retire to) take rest. Attendants.- As the lord commands. (They go out.) King.-(Haring looked at the moon, says to the Buffoon.) Friend! the queen will come after a while. So, I will tell you my (present) state while we are still alone. Buffoon.--Why, it is quite apparent. But seeing that sort of affection, it is quite possible for you to support yourself by the tie of hope. King.--Quite so. But great is the torment of my mind. Like the stream of a river whose speed is impeded by its being hemmed in by uneven stones, my love, whose happiness of union is obstructed, increases hundred-fold. Buffoon.-Sir, since you appear more beautiful with your limbs emaciated, I see that your union with your beloved is at hand. King.--(Showing that he felt an omen.) Friend ! This right arm, by its throbbings, comforts me whose anguish is great, just as you do with your words inspiring hope. Buffoon.-Of course the words of & Bráhmana will never become untrue. (The king remains in a hopeful attitude.) (Then enters, passing through the sky, Urraść dressed as a woman going to meet her lover, and Chitralekhá.)

·34 VIKRAMORVAS'I'YA. to Urvas't'.-(Looking at herself.) Friend Chitralekbá ! do you like this my dress of an Abhisáriká, decorated with a few ornaments and consisting of blue silken garments ? Chitralekha'.-Friend ! I have no power of speech to praise it. But this is in my mind—I wish I were Purúravas ! Urvas'i'.-Friend ! indeed the god of love orders you : so, take me quickly to the abode of that lovely one. Chitralekha'.-(Observing.) Why, here have we come to the palace of your lover, which is as it were the summit of Kailása changed into (this) another form. Urvas'i'.- Well then, just ascertain by means of your sapernatural power where that captivator of my heart is and what he is doing. Chitralekha':-(Haring contemplated, smiles and says to herself.) Well—I will jest with her awhile. (Aloud.) Friend ! I see that he is in a place fit for enjoyment and is enjoying the pleasure of union with his beloved obtained by desire. Urvas'i'.—(Expresses despair. Then heaving a sigh.) Blessed is the person who may be so ! Chitralekha'.-Ah silly one! tell me what thonght there can be (in him) about union with a beloved other than you. Urvas'i'.-(Breathing a sigh of relief.) Friend! my heart comes to be in doubt because it is weak. Chitralekha'.-(Seeing.) Here is the royal sage sitting on the surface of the Maņiharmya-palace, accompanied by his friend alone. Come then, let us approach him. (They both descend.) King.-Friend! the torments of love increase with the night. Urvas'i'.—My heart trembles at these words, the sense of which is not quite clear. So, let us hear his confidential talk, remaining concealed, until our doubt is removed.

·ACT IIT. 38 Chitralekha'.- As you like. Buffoon.-Why, (to alleviate affliction ) you should enjoy these rays of the moon which are full of nectar. King.-Friend ! this affliction (of my mind) is not to be cured with snch means as these. For behold, Neither a fresh bed of flowers, nor the rays of the moon, nor the sandal-pigment besmeared over the whole body, nor jewel-necklaces are able to alleviate my pangs of love : but either the celestial lady herself (will be able to alleviate them), or ...... Urvas'i'.-(Placing her hand on her bosom.) Or who other ? King.- ...... The talk commenced with reference to her in private (will be able to alleviate them.) Urvas'i'.--Oh heart ! now you have reaped the fruit of having gone over to him after leaving me. Buffoon.-Qnite so: I too, when feeling a desire for the food of delicious flesh of deer I cannot get it, console myself by talking about it. King.--It is, however, (soon) obtained by your hononr. Buffoon.-Your honour too will get her soon. King.-Friend ! I think that......... Chitralekha':-Hear (now) yon, who are not (yet) sa tisfied, hear. Buffoon.- What is that? King.---...... This shoulder, which was pressed by hers owing to the sudden shaking of the chariot, is the only happy limb out of the whole body: the rest of my body is & mere burden to the earth. Chitralekha'.-Friend! why do yon delay now.? Urvas'i'.—(Hurriedly going near.) Friend ! althongh I am standing before his majesty, he appears quite indifferent (to me).

·36 VIKRAMORVAS'I'YA. Chitralekha'.—(Smiling.) Oh impatient one ! you have not as yet taken off the magic veil. (Behind the curtain.) This way, this way your ladyship. (All listen. Urraść with her friend looks dejected.) Buffoon.-(With surprise.) Oh sir ! the queen is approaching ; therefore hold your tongue. King.-Yon too shonld conceal the expression of your face. Urvas'i'.-Friend! what is to be done now? Chitralekha'.-Do not be alarmed. At this time we are both invisible. The qneen of the royal sage appears to have put on a dress befitting the observance of a vow. Therefore she will not stay here long. (Then enters the queen with attendants having materials of worship in their hands, and her Female Serrant.) Queen.-(Walking about and looking at the moon.) Oh (my faithful) Nipuņikâ ! this god moon appears more lovely by his meeting with Rohini. Female Servant.-Why, his lordship will appear (still) more lovely when the queen has joined him. (Then they all walk about.) Buffoon.—(Seeing.) Sir, today the queen appears wellpleased to my eyes,—I do not know whether because she is going to give me a present of sweatmeats, or because having given up anger under the pretext of (the observance of ) a vow she is desirous of making amends for the slighting of your prostration. King.–Smiling.) Both are possible : but rather what you said last appears to me to be the case. For her ladyship, Dressed in a white garment, decked only with a few) auspicious ornaments, and having her hair decorated with the spronts of the sacred Dúrvá-grass, appears to be re- ·ACT III. 37 . conciled to me by her very bodily appearance which has dismissed its haughty bearing under the pretext of (performing) a vow. Queen.-(Going near.) Victory, victory to your majesty. Attendants.—May his lordship be ever victorious. Buffoon.-May all be well with your ladyship. King.-- Welcome to the queen. (He seizes her hand and makes her sit down.) Urvas'i'.-Friend ! it is indeed quite proper that she is addressed by the title of Deví. She is not in the slightest degree inferior to S'achi in point of majestic splendour. Chitralekha'.-It is creditable to you that you have said this without jealousy. Queen.-Some special vow is to be fulfilled hy me in company with your lordship; therefore be pleased to excuse the trouble for a moment. King.--No, do not say so ; this is really a favour and no trouble. Buffoon.-May such trouble, which is accompanied by presents of sweetmeats, often take place. King.- What is the name of this vow of the queen ? (The queen looks at Nipuniká's face.) Nipunika'.-Lord! it is called Priyánnprasádana' (l'onciliation of the husband). King.-(Looking at the queen.) If it be so, Oh blessed lady! by this vow you for nothing wear ont your body which is as tender as a lotns-stalk. Why is that humble servant, who anxiously longs for yonr favour, (thun) propitiated by you ? Urvas'i'.-Great indeed is his regard for her. Chitralekha'.-Ah, silly one ! gallants, who have trausferred their love to other ladies. become more courteous towards their married wives. .. 4 ·VIKRAMORVAS'I'ra. Queen.-(With a smile.) Is it not in leed the efficacy of this observance of a vow that his majesty was induced to speak in this strain ? Buffoon. -Let your honour say nothing. It is not proper to coutraulict such delightful words. Queen.-Girls ! bring here the materials of worship so that I may worship the rays of the moon which have fallen on the surface of the Maniharmya-palace. Attendants.- As the queen commands. Here are the materials of worship composed of sandal-pigment, tiers de Queen.-Bring near. (Ilaring worshipped, by acting, the rrys oj the moon with the materials oj worship consisting of sandal-pigment, flowers f..) Oh Nipuniká! give these sweetmeats as presents to the honourable Máňavaka. Nipuņika'.--As the queen orders. Oh venerable Máņavitka ! this is for you. Buffoon.-(Taking the dish of the sweetmeats.) God bless your bulyship. May this pour vow yield you ranny fruits ! Queen. My loril ! be pleased to come here for a moment. King.--Here I am. Queen-(.!fter gesticulating the worship of the king, foluling hur hames together and boring.) Having called, to witness, the divine pair Rohiņi and the moon, I thus propitiate your lordship: From today I shall certainly behave on terms of friendship with that lady for whom your lordship is longing and who herself is desirous of union with your lordship. Urvas'i'. -Oh, I do not understand what the real import of her words is. Yet my heart feels confident and is at ease. Chitralekha'.-Friend ! your union with your lover ·ACT III. 39 will meet with no obstacle, since it is sanctioned by the noble lady devoted to her husband. · Buffoon.-(Aside to the king.) When a fish runs away breaking loose from the hand (net), the fisherman though disappointed says-Go thou, I shall get religious merit.' (Aloud.) Oh queen ! is his highness only so (little) dear to you? Queen.-You fool! in reality I am trying to console his lordship even at the sacrifice of my own happiness : judge, then, from this whether he is dear to me or not. King.-Yon have every right either to give me, your humble servant, away to others, or to keep me in your own service. But, oh timid one! I assure you I am not towards yon as you suspect me to be. Queen.-May you be (so) or may you not be. I have performed the Priyánuprasátlana-vow as prescribedl. Girls ! come let us go. (So saying she starts.) King.-Oh my beloved ! I am not at all propitiated by you if you now leave me and go away. Queen.-My lord! I have never before transgressed the rules of a sacred vow. (So saying she goes away with her retinue.) Urvas'i'.--Friend! the royal sage is found of his wife : yet I am not able to withdraw my heart from him. Chitralekha'.-But why should you withdraw it in despair King:-(Returning to his seat.) Friend ! has not the qheen gone far away! Buffoon.-Say freely whatever you wish. Her ladyship has left you to your own will, considering your case hopeless, as a doctor leaves a patient to his fate, having decided that he is incurable. King. Would that Urvasi....... Urvas'i'.-- Jay have her desires fulfilled today!

·40 VIKRAMORVAS'I'YA. .. King:- ... Being herself invisible may make at least the sweet sound of her anklets fall in my ears ; or that she, coming from behind quietly, may cover my eyes with her lotus-like hands; or that descending on this mansion she, lagging behind through fear, may be brought near me perforce by her clever friend, step by step ! Chitralekha'.-Friend Urvasi ! now fulfil this desire of his. Urvas'i'.-(Timidly.) Very well ; I will sport with him il moment. (So saying, she removes the magic veil and stepping behind the king covers his eyes.) (Chitralekhú, after removing the magic veil, makes a sion to the Buffoon.) Buffoon.-Oh friend ! who can she be? King.--( Showing that he felt the touch.) Friend ! she must be the same beautiful-thighed lady sprung from the thigh of Väráyaņa. Buffoon.—How does your honour know it? King.-- What is to be known there? No other lady by the touch of her hand, can gratify my hody tormented by the god of love ; a inoon-lotus does not open by the rays of the sum but by the rays of the moon alone. Urvas'i'.-(Taking away her hands she stands up; and going a little away from him, says.) Victory, victory, to your majesty. King.-Oh lovely lady! welcome to you. (Then he makes her sit on his own seat.) Chitralekha'.--I hope my friend has happiness. King.-Yes, here it has come. Urvas'i'.-Friend ! his majesty has been given to me by the queen ; therefore I have come in contact with his body like his own loving wife. Do not, please, consider me tu be self-willed. Buffoon.- What ! did the sun set to you here?

·AOT III. 41 King.-(Looking at Urvasi.) If you (now) claim my body on the ground that I have been given to you by the queen, then, pray tell me, with whose permission did you steal away my heart at first ? Chitralekha'.-Friend! she has no reply to give. Now please listen to my request. King.-I am attentive. Chitralekha'.-In the hot season, succeeding the Spring the god Sun has to be worshipped by me ; therefore you my friend will be pleased to act in such a manner that this my friend (Urvasi) may not pine for heaven. Buffoon.- What indeed is there in heaven worth remembering ? Nothing is eaten or nothing is drunk there ; (all that is done is that) only the fishes are imitated by twinkleless eyes. King.--Oh blessed lady! The heaven has pleasures which are indescribable : who can cause it to be forgotten ? Bit (be assured that) Purúravas will be her humble servant not common to any other lady. Chitralekha'.-I am obliged (to you). Friend Urvasi ! be free from fear and allow me to go. Urvas'i'.--(Embracing Chitralekhá, says in a pathetic tone.) Friend ! pray, do not forget me. Chitralekha'.-(Smiling.) It is rather you to whom this request ought to be made by me now that you are united with (this) my friend (the king.) (So saying she bows to the king and goes out.) Buffoon.-I congratulate your honour on the fulfilment of your desires. King.--This is really the height of my glory : behold I was not so satisfied by getting the supreme sovereignty of the earth when my foot-stool was brightened by the jewels on the crowns of the tributary princes, as I have been today by having secured the pleasant service of her feet.

·VIKRAMORSASI'TA. Urvasi'.--I have no power of speech to say something TUOR agreeable than this. King.--(Taking Urer by the hamil.) Ah! it is wondertil that the fultilment of the desired objects presents same thines in quite opposite toets. Fur, The rays of the monks are the same (as before, but now) they give pleasure to muy boudy. The arrows of Love are the same (its before, but now) they are agreeable to my mind. (In short) whatever, oh lovely lady! was disagreeable to me, as if thronyh anger, has now become agreeable owing to my union with yon. Urvasi.-I who delayed long have (thereby) committela great fult against your highness. King.-Oh lovely lady! dou't say so, don't. That happiness alone which is not after misery is very pleasing. For, its is well known, the shade of a tree tends to give delight more especially to one who is scorched by heat. Buffoon.-Sir, you have (sufficiently) enjoyed the rars of the moon, which are delightful at the evening time. It is really high time for you to enter your bed-chamlxr. King.--If so, then show the way to your friend (Crvasi). Buffoon. - This way, this way pour ladyship. (Then they all walk about.) King Oh lovely lady! this is now my desire. Urvasi.- What is it? King.--Formerly when the object of my desire was mattaineil, my night passel as if lengthened an hundrealfold ; if, perchance, it will pass at the same rate now that I am in company with you, then wh lovely lady: I shall be hapry indeed! ( Then all go out.) THE END OF Act III.

·ACT IV. [ A female swan, sad on account of the separation from her dear friend, and overcome with sorrow, is lamenting over her friend by the side of a lake, the lotuses in which are blown by the touch of the rays of the sun.] (Then enters Chitralekhá who is very sad, and Sahajanya.) [ A pair of female swans, loving each other, and wholly engrossed in sorrow for a friend, is mourning on the lake, with eyes full of tears.] Sahajanya'.-Looking at Chitralekhi, with sorrow.) Oh.friend Chitralekhá! the expression of your face like that of a fading lotns, indicates the uneasiness of your heart. Therefore, tell me the cause of your grief. I wish to share with you your sorrow. Chitralekha'.--(In a sorrorful tore.) Friend! there has been my attendance on the cod Sun in the order of the turn of service which the nymphs have to perform, and therefore I was really full of longing regrets for Urvasi. Sahajanya'.--Friend ! I know your matual affection. But what further? Chitralekha'.-Then, when I put myself in contemplation to see how it was faring with lier in these days, I came to kuow a great calamity. Sahajanya'.-(lnciously.) Friend! what is that? Chitralekha'.-(llournfully.) It appears that for the sake of enjoying pleasure, Urvasi went to the Gandhamádana-forest, taking with her the royal sayo who took with him the goddess of love in her (Urvasi's) own person and who had entrusted tho responsibilities of government to his ministers. Sahajanya'.-(E.cpressing opprobation.) That is indeed enjoyment which is to be had in regions of that naturo! Well proceed. Chitralekha', --There, it appears, Urvasi became angry because the royal sage gazed at a Vidyúlhara-girl by name ·VIKRAMORVAS'I'YA. Udayavati who had gone to the sandy beach of the Ganges and was indulging in the game of raising hillocks of sand. Sahajanya'.—That is quite possible, for intense love is unforgiving. But what followed ? Chitralekha'.- Then, not accepting the apology of her lord, and having her heart stupified by the curse of the preceptor and (therefore) forgetting the rule laid down by the deity, she entered the Kumára-park which ought to be avoided by women. And immediately after entering, her form was changed into that of a creeper growing near the boundary of that park. Sahajanya'.-(In great distress.) Surely there is nothing that is not subject to fate, since all of a sudden such has been the unnatural result of that sort of love. But in what state is the royal sage? Chitralekha'.-He too is passing his days and nights in the same forest, ever searching for his beloved. (Looking at the sky.) But owing to the appearance of these clouds which cause uneasiness even to those who are happy, he will be subjected to calamity. [ A pair of female swans, loving each other, and wholly engrossed in sorrow for a friend, is mourning on the lake, being wet with the water of ceaseless tears.] Sahajanya'.-Friend ! such noble persons as these are never doomed to long misery. So, assuredly there will be some means, due to some one's favour, which will bring abont their union once more. (Looking at the castern quarter.) Come then, let us (go to) wait upon the god Sun who is about to rise. [A female swan, whose mind is afflicted with anxiety, and who longs to see her friend, is sporting on the lake which is beautiful on account of the full-blown lotuses.] ( Then they both go out.) THE END OF THE INTRODUCTORY SCENE. [ The lord of elephants, in whom the effects of madness ·ACT IV. 45 due to the separation from his beloved are manifest, is entering the forest, having the fore-part of his body decorated with the sprouts and flowers of trees.] (Then enters the king dressed like a madman and with his gaze fixed on the sky.) King:-(Angrily.) You wicked demon ! stay, stay. Where are you going taking away my beloved? (Observing.) Alas, having gone up to the sky from the summit of the mountain, he is showering down arrows upon me. [ A young swan, in his heart entertaining sorrow for his beloved, and having ruffled plumage, is mourning on the lake, with eyes full of tears.] (Fle takes a clod of earth and runs to strike, but obserra ing, says mournfully.) Oh what ! This is a new cloud ready (to shower) and no haughty. demon ; this is the rainbow greatly curved and no archers bow as I imagined ; tiis too is a sharp shower of rain and no succession of arrows; and that which shines like the line of gold (on the touchstone) is lightning and not my dear Urvasí. (I thought that a demon was carrying away the fawoeyed one ; but really a cloud, yellowish on account of the new lightning on it, is showering] (Haring thought a moment, he says in a mournful roice.) Where indeed may that plantain-thighed one have gone? May she have throngh anger concealed herself by means of her supernatural power?--But she does not remain angry for a long time. May she have flown up to heaven ?--- But her heart is full of affection for me. Even the enemies of the gods are not able to take her away from my presence and yet she has gone altogether beyond the reach of my eyes ! what a strange act of fate is this !! (Looking towards the directions, and hearing a sigh of grief.) Ah, in the case of those whose fortune has become adverse to them, one misfortune is followed by another. For, ·16 VIKRAMORVAS'I'YA. On the one hand there is this insupportable seperation from my beloved fallen to my lot all of a sudden, while on the other these days are sure to be painfully) delightful owing to their being free from (excessive) heat on account of the rise of the new clouds. [Oh you cloud, who have filled all quarters with continuous showers of rain, give up this fierceness at my command. Oh, (hear me) it wandering over the earth I happen to see my beloved, then whatsoever you will like to) do I shall bear it.] (With a smil..) In vain indeed do I neglect the increase of the torments of my mind. For, even the sages say that a king is the maker of time. Then why do I not countermand the rainy season? · [The heavenly tree is dancing in various graceful ways, having its abundant foliage shaken by the wind that is (swiftly) blowing, and (accompanied) with the resounding musical instruments in the form of the cuckoos and with the songs of the bees maddened with perfume.] Or rather I shall not countermand the rainy season, becanse by these very characteristics of the rainy season is now supplied my formal pomp of royalty. Thus- The clou dlecked with gold in the form of the lives of lightning is my canopy of state. By the Vichuli-trees, my chouries are waved in the form of their (fanlike) sprouts. The peacocks, with their voices louder ou account of the disappearance of summer, are my bards. And the mountains engaged in offering presents in the form of streams are my citizens. Let that be. What is the good of thus praising my pomp of royal dignity? I shall, therefore, look out for my (lost) beloved in this forest. [Here (is wandering) the lord of the herd of elephants in the mountain-grove brilliant with blossoms, walking with a very languid motion and being intensely distressed because ·ACT IV. 47 he is bereft of his love, and being made extremely slow becanse he is full of (the pangs of) separation.] (Walking about and seeing.) Alas, alas! Resolved as I am (to look out for her), here is (something which acts as) an augmentation to my distress. For, This new Kandali-tree with its flowers having red lines on and water inside them, painfully reminds me of the eyes of my beloved having tears in them on account of anger. How indeed should I trace that her ladyship has gone by a particular way ? For, If that handsome lady were to touch the earth with her feet (somewhere) in these forest-grounds, the sand on which has been moistened by the shower of rain, then a beautiful line of footsteps would have been seen marked with red lac, and deep in the hind-part on account of the heaviness of her hips. (Walking about and seeing, he says joyfully.) Here is found out a mark from which the way taken by that angry lady can be easily inferred. Here is her breast-garment dark-green like the belly of a parrot, which must undoubtedly have fallen down while that lady having deep navel was walking (quickly) with broken steps throngh anger, and which is marked with drops of tears which as they fell down carried with them the red colour applied to her lower lip. Very well; I shall just take it up. (IValking about and observing carefully, says with tears.) Oh what! this is only a plot of new grass with the Indragopa-insects thereon. Whence indeed can the intelligence of my beloved be obtained in this tenantless forest ? (Seeing a peacock.) Ah! here seated on a stone in the rocky soil emitting vapour owing to the rain-shower. A peacock, with his crest struck by a strong fore-wind, is gazing at the clouds with his neck raised aloft and filled with cries (peculiar to him.)

·VIKRAMORVASI'YA. (Going near.) Well ! I shall now ask him. [ Full of sorrow, and longing for the sight of his beloved, a great elephant, the repeller of his enemies, passes hurriedly on, being bewildered in mind. (Folding his hands together.) Ob peacock! I beseech you thus-tell me if you, wandering in this forest, have seen my (lost) beloved. o hear me! her face is like the moon, and her manner of walking is like that of the swan: by this sign you will know her, (for) I have told it to you.] Oh peacock with white-cornered eyes! is it that you have seen in this forest my beloved who is the cause of my anxiety, who has long eyes, and who is worthy to be seen? (Obsering.) Oh what! he has begun to dance without giving me any reply. What possib's may be the cause of his delight? (Considering.) Yes, I see it --- Owing to the disappearance of my beloved, his tail which is as glossy 29 a cloud and which is (now) ontspread by gentle breeze, has no rival left now. But if the braid of hair of that fair-haired la ly, the arrangement of which would (sometimes ) become much disordered, were in existence being furnished with flowers, then whom would this peacock charm? Well! I shall no more ask him who takes delight in the miseries of others. (Walking about and seeing.) Ah ! here is a cuckoo sitting on a branch of Jambú-tree, with her passion inflamed on account of the disappearance of heat. Of (all classes of) birds this class is very clever. I shall therefore request her. [ Dwelling in the forest of the Vidyádharas, the lord of elephants, with tears flowing from his eyes through grief and with the joy of his heart banished far away, is wandering with the majesty of a cloud. (Dancing and then kneeling.) Oh, oh! Oh yon cuckoo singing sweetly ! if at all you have seen ·ACT IV. 49 my beloved wandering at will in this lovely Nandanaforest, then tell me oh cuckoo !] Oh lady Lovers call you the messenger of the god of love. You are his unerring arrow skilled to humble pride. Either bring my (lost) beloved to me or take me soon O sweetsinger! to the place where that fair lady is. What did your ladyship say? Did your ladyship ask me how she has gone leaving me who am so devoted to her? (Seeing before him.) Then let your ladyship hear : She was angry, but then I cannot recollect even a single cause of her anger due to me. Generally, the ascendency of young women over their lovers stands in no need of any deviation, (for them to get angry) from faithful love (on 26. the part of the lovers.) (Sits down hastily and then kneeling recites she was angry foc.' again, and observiny says.) Oh what ! she has applied herself to her own work making thus an end of all our talk. Or rather, 27. It is truly said that the affliction of others thongh very great is bearable ; for, unheeding the request of me who ilm in distress, she who is blinded with passion, is intent on tasting the fruit of the Rájajambú-tree, almost ripe, as if it were the lower lip (of her lover.) Though snch is the case I am not augry with her, for she has as sweet a voice as my beloved. May your ladyship fare well. Now we shall go from this place. (Walliing about and listening.) Ah ! on the right side of this avenne of trees is heard a sound of anklets indicating the inovement of the feet of my beloved (walking there.) Therefore, I shall follow it. (Walking about.) [With his face pale in consequence of the separation from his beloved, with his eyes filled with the water of ceaseless tears, with his motion unsteady in consequence of unbearable sorrow, with his body burning on account of the strong fever pervading it, and with his mind greatly er ·50 VIKRAMORVAS'I'ya. afflicted, (thos) the lord of elephants is wandering in the forest. (Then looking in all directions with Dripadiká.) Separated from his loved mate, and consuined with the tire of intense grief, a great elephant is wandering, bing bewildered and having eyes filled with the drops of tears.] (Journfully.) Alas, alas ! This is not the tinkling of anklets but the warbling of the swans whose minds have become anxious to go to the Minasi-lake by seeing the directions durkened by clonds. Well ! before these birds, which are auxious to go to the Muasa-lake, huve flown up from this luke. I must try to get the intelligence of my beloved from them. (Going mear.) Oh you lord of the aquatic birds ! You will go to the Mánasa-lake afterwards ; therefore leave the lotus-stalk, the provision of yoor journey, whiclı you may take up again. But first relieve me of my grief by giving nie the intelligence of my beloved: for, to (the mind of) the good the basiness of the supplicants is far more important than their self-interest. Ah! since he looks up (towards the sky), his reply, I infer, is . She was not noticed by me as I was anxious to go to the Mánasa-lake.' (Oh you swan! why do yon conceal (rour having seen her)? I know that you have seen her ) by your imitating hier manner of walking. (For else) who taught you this. graceful gait? (So it is plain) you ninst have seen her who walks slowly owing to the heaviness of her hips. ] If, oh swan! my beloved with arched eyebrows has not been seen by you on the bank of this lake, then 0 you robber! how could you have stolen that entire gait of hers, in which steps were playful on account of ardent passion ? And therefore, (Folding his hands together.)

·ACT IV. 51 shi -1 Oh swan! give me my beloved whose gait you have stolen ; for, (the whole of) that which is claimed should be given by him in whose possession a part of it is discovered. (Smiling.) He has flown away in fear, knowing that I am the king who punishes thieves. Therefore I shall go to some other place. (Walking about and seeing.) Now here is a Chakraváka-bird accompanied by his mate. I shall, therefore, ask him. [Maddened on acconnt of the separation from his mate, the lord of elephants is wandering in the forest, which is attractive in consequence of the rustling sound (of leaves), and is (brilliant) with the blossoms of its great trees in full flower. Oh Chakraváka-bird having yellow and red colour ! tell me-Have you not seen that happy lady playing in this Spring season?] Oh bird named Rathánga! this warrior, who is separated from his beloved having hips round like the wheels of a chariot, and who is subject to hundreds of desires, is asking you. Oh what! he asks me who—who are you?' That must not be allowed. Am I not really known to him ? I- Of whom the sun and the moon are respectively the maternal and the paternal grandfather, and who am the lord of Urvasi and the earth, chosen by both of them of their own accord? Oh what! he is (still) silent. Well then, I shall now tannt him. When your mate is only concealed by a lotus-leaf in the lake, is it not indeed that you cry aloud anxiously supposing her to bave been far removed ? Such is your fear of being left alone owing to your affection for your mate, and yet the tendency of your disposition is averse to giving me the intelligence of my beloved although I am actually separated from her. In every respect my fate is displaying its power in an ·52 VIKRAMORVAS'I'YA. adverse way. I shall now go to another place. (Stopping at another step.) Well, I shall not go just now. (Walking about and seeing.) This lotus, with bees humming in it, forces me to stop as if it were the month of my beloved uttering a hissing sound when the lower lip is kissed by me. Well! I shall make a request even to this bee enjoying this lotus, so that I may not feel repentance after I have gone from this place. [A young swan is sporting, entirely surrendered to his passion in which the sentiment of love is greatly increased all at once.] Oh bee ! tell me the news abont that lady who has fascinating eyes. (Thinking.) Or rather, that my fair beloved has not at all been seen by you. For, if you had tasted the sweet fragrance of the breath issuing from her mouth, then would you have felt any love for this lotas ? We go now. (Walking about and seeing.) Ah! here is standing the lord of elephants accompanied by his mate and having his trunk rested on a branch of the Nípa-tree. I shall try to obtain the intelligence of my beloved from him. Therefore I shall go near him. [Afflicted in consequence of the separation from his mate, (the lord of elephants is wandering) in the forest, with the perfume-maddened bees (clustering round him.)] (Observing.) Or rather I must not make haste ; for, this is not the time to approach him. Let him first taste the twig torn from the S'allakitree and (now) offered to him by his dear mate with her trank, a twig-which has leaves newly put forth and whose juice is sweet like wine. (Waiting for a moment, and seeing.) Ah ! he has finished taking his meals. Well then, I shall go near him and ask him. [I ask yon, oh best of elephants ! answer me ; oh you ;

·ACT IV. 53 who can destroy the biggest tree with a blow (struck) in sport! have you seen my beloved, whose beauty far surpasses that of the moon, passing in front of you ?] (Hoancing two steps.) Oh you lord of the herd of elephants, who are under the influerre of rut ! has that lady of permanent youth ever come il the range of your far-reaching sight ? she-who is like the digit of the (new) moon amongst young women, whose hur are beantitied with Yúthiká-flowers, and who has a chæming appearance. (Ilearing, joyfully.) Ah! I have been consoled by this your rour, charming as well as yrave, because it indicates that you lave seen my beloved (with your own eyes). And I have great attachment for you on account of your resemblance with me. They call me the lord of kings, yon are the lord of elephants. Your temple-juice is such that its flow is continuous anl copions, and such is also my liberality towards the supplicants. Amongst all excellent women Urvaší to me is dearest as this mate is to you in this herd. Every particular of yonrs resembles that of inine: but may you never suffer the pain of separation from the beloved ! May your honour live happily. We shall now yo. (Halking about, and custing his look on one sile.) Ah! here I see that mountain named Surabhikandara wbich is supremely charming. It is a favourite with the nymphis. 1 hope, that beantiful lady will be found in the low land (at the foot) of this mountain. (Walking about and seeing.) Oh ! what a deep gloom is here! However, I shall see by the light of the lightning. Alas! as a consequence of my own sinful actions, even the cloud has become destitute of lightning. Still, I shall not go back without having asked this mountain. C-[See! a wild boar cugaged in his own business, is wandering about in the thick part of the forest, having ·54 VIKRAMORVAS'I'YA. entered it with a resolute heart, and cleaving the ground with his sharp hoofs stretched out.] Oh mountain having expansive slopes ! has the lady wit! handsome hips and bent at the joints and the distance between whose breasts is small, taken resort in the interor of this your forest which is the property of the Goi of love ? Oh what! he is all silent. I fear he cannot bear because he is at a great distance. Well, I shall ge near him and ask him again. [Show me my beloved' oħ moitain ! whose spings of water are as glistening as the surface of the crystal stone, for whom a head-garland is prepared by various sorts of flowers, and (you) who are made charming by the sweet songs of the Kinnaras !] (Then walking about ard folding his hands together.) Oh lord of all mountains ! has the lady, beantial in every limb and separated from me been seen by you in this lovely part of the forest ! (The same verse is repeated behind the curtain ; listening, joyfully.) Oh what! he replies that he has seen her, uttering the (same) words in the same order. May your honour too hear something more agreeable than this ! Where is my beloved then ? (He aguin recites 'Oh lord of all mountains fe.'; the same is again repeated belvind the curtain. Hearing and recognising.) Ah, alas! it is my own echo proceeding from the month of the cave. (He faints. Then rising, says sorrowfully.) Ah! I am fatigued. I shall therefore, sitting on the bank of this monntainriver, enjoy the cool) broeze blowing from the waves. (Walking about and seeing.) My mind is delighted at seeing this river though rendered turbid by fresh (rainwater.) For, I am sure, this is that same passionate lady transformed into a river, since it goes in a zigzag way, stopping at and avoiding various inequalities (as if she is walking crookedly ·ACT IV. 55 referring now and then to my faults), having the waves for frowning eyebrows and the row of frightened birds for the girdle, and dragging along with it the foam as if it were her cloth loosened through excitement (due to anger.) Well, I shall now propitiate her. (Folding his hands together.) (Oh river—having birds which are agitated and unkind to me! Oh river-who are anxious to reach the shores of the Ganges! Oh ye river-resonant with the (humming of the) swarms of bees ! Be appeased, oh fair ope! oh river, my beloved ! 5 2. Having thrown np the arms in the form of waves dasheck up by the (violent) easterly wind, the Lord of the seas is dancing gracefully with the (reflected) clonds for his limbs, having for his (feet-)ornaments the reddish conch-shells together with swans and other birds, whose covering (of clothes and garlands) is composed of blue lotuses thickly surrounded by elephants and crocodiles, and to whose dance time is beaten by the water repeatedly striking against the shore ; (In the meantime) the new rainy season is pervading all the ten quarters and giving them a gloomy appearance.] In me who have fixed my love on yon, who always speak pleasing words, and whose mind is averse to any violation of love, (in such a person) what small fault do you see, for which you Oh proud lady ! abandon this your huruble servant ? Oh what! she is all silent. (Thinking.) Or rather it is a river in reality ; for, Urvasi will not leave Parúravas and go to meet the ocean (as his mistress). Let it be. Good things are to be obtained by not despairing. Therefore I shall go to the very place where that fair-eyed one became invisible to my eyes. (Walking about and seeing.) Meanwhile I shall request this deer, that is sitting here, for the parpose of getting information about my beloved, [In the proximity of a big tree having clasters of new ·56 VIKRAMORVAS'I'YA. flowers, the lord of elephants by name Airávata consumed by the fire of separation from his mate, is wandering in the Nandana-forest, which is rendered charming by the murmuring sound of the warbling of cuckoos singing sweetly iu consequence of love-intoxication.] (I shall request this deer) who, with his black-spotted skin, seems to be a glance cast by the Beauty of the forest to behold the new herbage. (Observing.) Why indeed has he turned his face in another direction as if disregarding me ? (Seeing.) The doe, while approaching him, was stopped by her young one desirous of sucking the adder : at her he is looking with a steadfast gaze, by turning his neck. [If the fawn-eyed celestial lady, walking slowly owing to the heaviness of her hips, with her breasts large high and fully developed, whose yonth is permanent, whose body is slender and whose gait is like that of a swan,-if she, wandering in the forest lighted up by the (splendour of the) sky, has been seen by yon, then do deliver me from the midst of the sea of (sorrow due to separation.] (Going near and folding his hands together.) Oh you lord of the doe! Have you seen my beloved in the forest ? I tell you her characteristic, listen ! She too casts a pleasing look just as your mate does with her long eyes. Oh what! disregarding my words, he stands with his face (turned) towards his mate. It is natural ; (for) the reverse of fortune is an object of contempt. From hence I shall now go to another place. (Walking about and seeing.) Ah ! I see a trace of her way. This is that same red-flowering Kadamba-tree, one of whose flowers indicating the end of summer was put into the hair as a crest-ornament by my beloved, although it was hard on account of its filaments not being fully formed. ( Walking about and seeing an Aśoka-tree.) Oh red-flowered Asoka ! where possibly may that thin- ·ACT IV. waisted lady have gone leaving (me) a person devoted to her? ( Seeing it with its head being shaken by the wind, says angrily.) Why do you falsely nod your head, as if) affected by rheumatism, to say that you have not seen her? for, unless you received a kick of her foot how could these your flowers have come into existence, flowers-whose petals are bitten by the cluster of bees that come with eagerness and closely gather together ? Well, may your honour live happily. (Halking about and seeing.) What indeed can this be that is seen in the crevice of the rock and is intensely red ? This, being surrounded with lustre, cannot be a piece of flesh of an elephant killed by a lion. Nor can it be a spark of fire, for this forest has been rained upon. (Recognising.) Ah! this is a jewel having red colour like that of the blossom of red Asoka, to take up which the sun is as it were endeavouring with his rays stretched out (like hands). Ah! it attracts my mind. Well, I shall jast take it up. [With his hopes fixed on his beloved, with his eyes filled with tear-drops, and with his face emaciated, the lord of elephants is wandering in the forest being distressed.] (Gesticulates taking it up. Haring taken it.). Or rather, (If ) my beloved, in whose crest, scented with the Mandára-flowers, this (jewel) deserves to be placed, is herself difficult to be obtained at present, why then should I spoil it by my tears ? (So saying he throws it down.) (Behind the curtain.) Oh child! take it up, take it up. This is the jewel, called Sangamaniya, produced from the red lac applied to the feet of Párvati, which when possessed (by any one) brings about in a short time the union with the beloved person.

·58 VIKRAMORVAS'I'YA. King.Listening.) Who can he be that directs me thus ? (Seeing.) Ah ! some holy sage, living the life of a deer, takes compassion on me. Oh sir ! I have been obliged to you for your advice. (Taking up the jewel.) Oh you Sangamaniya ! If you will bring about the union of me, who am separated from my beloved having slender waist, then I will make you my crest-jewel as the god S'iva did the young moon. ( Walking about and seeing.) Ah! why is it that my mind is delighted as I am looking at this creeper though it is destitute of flowers ? Or it is but proper that it should delight my mind. For, this Slender creeper, having its leaves washed by the rainwater appears to me as if its lower lip was washed with tears. It having ceased to put forth flowers owing to the absence of its (flowering) season, appears as if it is destitute of ornaments. It being unaccompanied by the humming sound of bees appears as if it is standing in silence owing to sorrowful thoughts : (thus) it looks as if that passionate lady having spurned me when fallen at her feet is (subsequently) stung with remorse. Therefore I am desirous of embracing this creeper which resembles my beloved. [Oh creeper ! look here, I am wandering having lost my heart. If fortunately I get her again, then I shall go away out of this forest and shall not allow that cruel lady to enter it again.] (Going near, he embraces the creeper. Then enters Urvasé in its place.) King.-(With his eyes still closed he gesticulates the feeling of touch.) Ah ! my body feels delighted as if by (its having come in) contact with the limbs of Urvasi, However, I have no confidence. For, That whịch I first judge to be pertaining to my beloved turns out to be another in a moment. Therefore I, who ·ACT IV. 59 (believe to) have got my beloved (at least) by the toneh will not open my eyes at once. (Slowly opening his eyes.) Oh what! it is really my beloved. (He faints and falls.) Urvas'i'.-(Shedding tears.) Revive, revive my lord. King.(Regaining consciousness.) Oh dearest ! it is today that I have (real) life. Oh beautiful lady! I am glad that, as consciousness is got back by a dead person, so you have been got back by me who was sinking deep into darkness arising from your separation. Urvas'i'.—The state of your majesty was indeed clearly seen by me who had (not lost) my internal organs. King. I do not at all understand the meaning of your expression · Abhyantarakaraṇayá' (having internal organs). Urvas'i'.-I shall tell (you). But first may your majesty he pleased to excuse me that your majesty was reduced to this state by me when under the influence of anger. King.-Oh blessed lady! there is no more need for propitiating me. At yonr very sight my inmost soul, with its external and internal organs, is (completely) pleased. So, tell me how for so long a time your ladyship remained without (coming to) me. ( By me wandering through the forest in seareh of you, was asked with tears, a peacock, a cuckoo, a swan, a ruddygoose, a bee, an elephant, a mountain, a river, an antelope, and in fact, who not ? Urvas'i'.-All this account about your majesty has been witnessed by my internal organs. King.-My dear! I do not really understand what you mean by ‘Antahkarana' (internal organ.)] Urvas'i'. - Listen my lord. Formerly the holy Kártikeya, having taken the vow of perpetual celibacy, resorted to the bordering region of the Gandhamádana-forest by name Akalusha, and made this rule...

·60 VIKRAMORVAS'I'YA, King.-What was it ? Urvas'i'.-...Whosoever of women will enter this region, she shall be transformed into the form of a creeper.' And he made this the end of the curse— She shall not be released from that form except by (means of) the jewel produced from the red lac applied to the feet of Párvati.' Then I, having my heart stupified by the curse of the preceptor and (therefore)not remembering the rule of the deity, entered the Kumára-park which ought to be shunned by women, (after I left you) not accepting your apology. And as soon as I entered, my form was transformed into that of a Vásanti-creeper growing near the boundary of that park. King.–My dear! all is explained (now). How (else) could yon, oh my beloved ! endure a long separation from me, you-who consider me to have gone on a journey even when I fall asleep on the bed being wearied with fatigne ? Having learnt from a sage that this was the means of my union with you, just as you mentioned it, I obtained you through the supernatural power of this jewel. (Then he shows her the jewel.) Urvas'i'. -Ah! this is the Sangamaniya-jewel. And hence it is that I resumed my original form as soon as I was embraced by your majesty. (Taking the jewel she places it on her own head.) King.-Oh beautiful lady! just remain so for a moment. Your face, overspread with the shining red lustre of the jewel placed on your head, bears the beauty of a (sun-)lotus reddened by the rays of the early sun. Urvas'i'.-Oh sweet-speaker ! it is indeed a long time since you left Pratisthána. Perhaps your subjects would blame me. So, come let us go back. King.--As your ladyship says.

·AOT IV. 61 (Then they both get up.) Urvas'1.-Now, in what way wonld your majesty like to go? King.-Oh you having a sportive gait! take me home on a new cloud made to serve as a balloon, supplied with a flag by the flashes of lightning, and decorated with a new painting in the form of the rain-bow. ( Being united with his beloved, having his body decorated by the hair standing erect (with joy), and obtaining a heavenly car according to his desire, a young swan is fying away sportively.] (Then they both go out.) THE END OF Act IV. Mustankisfra A ont en BBC Radkorea het rend land a Wspred hman hechong 6 ·ACT V. (Then enters the delighted Buffoon.) Buffoon.—Ah, ah! I am glad that my dear friend, having enjoyed himself in company with Urvasi in the sacred forests the most prominent of which is the Nandanapark, has returned after a long time. Now after having entered the city, he rules his kingdom being honoured by his subjects with respectful salutations (and presents). Nothing is wanting to him except issue. Today being a sacred day, his majesty bathed with his queens at the confluence of the holy Ganga and Yamuná, and has now entered his tent. I shall therefore go and take the first share of the flowers and ointments of his majesty who is being decorated, (Then he walks about.) (Behind the curtain.) Alas, alas ! the (red) jewel used as the crest-jewel by his majesty's most intimate wife has been snatched away by a vulture mistaking it for a piece of flesh, while I was carrying it in a small basket of palm-leaves spread over with a piece of (white) silken cloth. Buffoon. Listening.) Alas! alas, a great calamity has befallen, For, the crest-jewel by name Sangamaniya was highly valued by my friend ; and hence it is that his majesty is coming in this direction, having left his seat before finishing his toilet. Therefore, I shall approach him. (Goes out.) END OF THE INTRODUCTORY SCENE. ( Then enters the king with his attendants in excitement.) King.-Oh Vedhaka, oh Vedhaka ! Where is that thief-of-a-bird who has brought upon himself his own death and who has committed his first theft in the house of the protector himself ? if Mountaineer.-Here, here is he hovering, as ·АСТ Р. 63 drawing lines in the sky with the jewel the golden string of which is held in the point of his beak. King.–(Yes) I see him. This bird holding the jewel with its golden thread . hanging down from his beak, and quickly wheeling round, describes a circle of the line of its red colour resembling the circle described by a (whirling) fire-brand. But what is to be done now? Buffoon.-(Going near.) Sir, no mercy (should be shown) in this case. The offender must be punished. King.-Your honour speaks rightly. The bow, the bow please. Yavani'.-Here I bring it. (Goes out.) King.-Friend ! the wretched bird is not to be seen. Where possibly should he have gone? Buffoon.—Sir, the vulture that must be punished has flown away here in the southerly direction. King.–(Turning round and seeing.) I see it now. This bird supplies an ear-ornament to (the face of) that quarter of the sky, with the jewel glowing with lustre, as if with a bunch of (red) Asoka-flowers. Yavani'.-(Entering with a bow in her hand.) My lord! here is the bow together with the arm-guard. King.-What is the use of the bow now ? That eaterof-raw-Hesh has gone beyond the range of my arrow. So that, That excellent jewel now carried afar by the bird, appears like the planet Mars at night being in contact with a piece of thick cloud. . (Looking at the Chamberlain.) Noble Látavya ! Chamberlain.-May yonr highness command. King.–Please say to the chief police-officer in my name, that he should search for that thief-of-a-bird when it shall resort to its perching tree in the evening.

·64 VIKRAMORVAS'I'YA. Chamberlain.-As your highness commands. (He goes out.) Buffoon.-Sir, may your honour now sit down. Where can the robber of the jewel go so as to escape your punishment? King.-(Sitting down together with the Buffoon.) Friend ! I do not prize the jewel, which is snatched away by the bird, merely because it is a jewel, but because Oh friend! by that Sangamaniya-jewel I have been united with my beloved. Buffoon.-Yes, you have told me so before. (Then enters the Chamberlain bringing with him a jewel with an arrow.) Chamberlain.–Victory, victory to the lord. That bird, which deserved to be killed, fell down from the sky along with the crest-jewel, having its body pierced by this your anger transformed into an arrow, and thus getting its due for its offence. (All express astonishment.) Chamberlain.—To whom should this jewel, washed with water, be given ? King.--Oh Vedhaka! go ; get it purified by fire and let it be kept in a box. Mountaineer.- As your lordship commands. (Then he goes out taking with him the jewel.) King.-Noble Látavya! does your honour know to whom this arrow belongs ? Chamberlain.-It seems to have a name engraved on it. But my sight is not able to distinguish the letters. King.--Well then bring the arrow here so that I may ascertain them. (The Chamberlain does accordingly. The king reads to himself the letters forming the name, and thinks.)

·AOT V. 65 Chamberlain.-Now. I (go and) attend to my duties (Then he goes out.) Buffoon.- What are you thinking of ? King.-- Just hear the letters forming the name of the killer. Buffoon. I am attentive. King.--Hear. (He reads.) “This is the arrow of the prince Áynh, the son of Aila; born of Urvasi, an archer and destroyer of the lives of his enemies." Buffoon.-(With delight.) I congratulate yonr honour apon your having got a son. King.-Friend ! how is that? I have never been separated from Urvaší except when I attended the sacrificial session in the Naimisha-forest. During all (other) time I did not observe any marks of pregnancy, much less the birth of a child. However, For some days, her body had merely the nipples of the breasts dark-coloured, the complexion of her face pale as the leaf of a Lavali-creeper, and the eyes languid. Buffoon.-Your honour need not suppose all human attributes (to be existing ) in celestial nymphs. Their actions are concealed by their supernatural power. King.-Let it be as you say. But what reason could there be for her to conceal her son ? Buffoon.--So that your highness may not desert her as growing old ! King, -Have done with jesting. Think seriously. Buffoon.-Who can guess the secrets of celestial beings? (The Chamberlain haring entered.) Chamberlain.--May the king be ever victorious. My lord ! a female ascetic has come from the hermitage of Chyavana bringing with her a boy, and wishes to see your majesty.

·66 VIKRAMORVAS'I'YA. King.–Bring both of them in, without delay. Chamberlain.- As the lord commands. (Then he goes out and re-enters with the female ascetic and the boy haring a bow in his hand.) Chamberlain.—This way, this way holy lady! (AIL the three walk about.) Buffoon.—(Observing.) May this be the same 'Kshatriya-boy whose arrow, inscribed with a name, pierced the the vulture as its mark (aimed at)? For, he resembles your honor very much. King.-It may be so, and hence it is that, My eyes as they fall on him are filled with tears ; my heart feels affection as towards a son, and my mind is delighted ; and I, who have lost all strength of mind, wish to embrace him closely with my trembling limbs. Chamberlain.-Holy madam ! please wait here. (The female ascetic and the boy stand.) King.–Mother! I salute you. Female Ascetic.-Oh noble one! may you perpetuate the lunar race. (To herself.) Ah! the relation of father and son between this royal sage and A'yuh is clearly seen though not told (by any one). (Aloud.) Child ! salute thy father. (The boy folds his hands with the bow and salutes him.) King:--Child ! may you live long ! Youth.—(To himself.) If so much affection springs up (in me) by merely hearing that he is my father and I am his son, how much must be the affection towards the parents (in the minds) of those (children) who are brought up on their laps. King.--Oh holy lady! what is the reason of your coming ? Female Ascetic.-Let the great king hear. This longlived A'yuh, as soon as he was born, was delivered into my ·ACT V. 67 hands as a deposit by Urvasí having some object in view; and the rites, such as the birth ceremony and others, as prescribed for a son of Kshatriya, have all been performed in his case by the venerable Chyavan. After he had received general education, he was initiated into the science of archery. King.-(Then) he has indeed got a protector. Female Ascetic.—Today when he had gone along with the sons of the ascetics to gather flowers fuel and Kuśa-grass, he acted against the (rules of the) hermitlife. Buffoon.-(Anxiously.) How was it ? Female Ascetic.-I hear, a vulture that had brought a piece of flesh and had taken its seat on the top of a tree, was aimed at (and killed) by him with his arrow. (The Buffoon looks at the king.) King.–And what followed then ? Female Ascetio.—Then the venerable Chyavana upon getting information about it, bid me to return the deposit into the hands of Urvasí. I wish therefore to see the lady Urvasi. King.-Well then let your holy ladyship take the seat. (The female ascetic sits on a seat brought to her.) King.–Noble Látavya ! let Urvaší be called. Chamberlain.-As your highness commands. (He goes out.) King:-(Looking at the boy.) Come here, child ! come here. It is said that the touch of the son pervades (and gratifies) the whole body. Therefore coming to me at once gladden me, as the rays of the moon gladden the moon-stone. Female Ascetic.—Child ! (go and) gladden thy father.

·68 VIKRAMORVAS'I'YA, (The boy approaches the king and respectfully clasps his feet.) King. (Embracing the boy and making him sit on the fooi-stool.) Child ! salute this Bráhmaṇa here who is the dear friend of your father, without any fear. Buffoon.—Why will he fear? Sarely he must have been acquainted with a monkey by his residenoe in a hermitage. Youth.-(With a smile) Papa, I salute you. Buffoon.-God bless you. May you prosper. (Then enters Urvast and the Chamberlain.) Chamderlain. This way, this way lady. Urvas'i' (Seeing the boy.) Who indeed can he be who with his bow is sitting on the foot-stool, his hair being tied into a knot by his majesty himself ? (Seeing the female ascetic.) Ah! this is my son A'yuh as is indicated by the presence of Satyavati. He has grown up a good deal indeed. (So saying she walks on joyfully.) King:-(Seeing Urraść.) Child ! Here comes thy mother intently looking at thee and wearing a breast-cloth through which the flow of affection (in the form of milk) has penetrated, Female Ascetic.-Child I come on, (letus) go to receive thy mother(She goes near Urvaší with the boy.) Urvas'i'.--Mother! I salute thy feet. Female Ascetio.---Dear daughter! (may you ever) be honoured by your husband. Youth.-Mother! I salute you. Urvas'i'.—(Embracing the boy with his face raised.) May you always please your father. (Approaching the hing.) May the great king be ever victorious. King-Welcome to you who have got a son ;(come and) sit here. (Ile gives hor half of his seat.)

·ACT v. 69 (Urraśł sits dolon. All sit in their proper places.) Female Ascetic.-- Dear daughter! this A'yuh has received education and has now become able to wear an armour ; therefore this deposit (placed into my hands) has been returned in the presence of your husband. So I wish to be allowed to go : my duties in the hermitage are obstructed. Urvas'i'.-Having seen your holy ladyship after a long time I am very much desirous (of your company). I cannot allow your ladyship to go. But to detain your ladyslip is improper. Therefore may your ladyship go to meet again! King.-Mother! give my salutation to the venerable Chyavana. Female Ascetic.-It shall be so. Youth.-Reverend lady ! if you are really going back, pray take me also to the hermitage. King.-Oh child ! you have already lived in the first order of life. It is time for you now to enter upon the secoud. Female Ascetic.—Child! follow the advice of your father. Youth.- Weil then, Send me the peacock Manikantha when he has got his plumage, who used to sleep on my lap feeling happy by iny gently rubbing his crest. Female Ascetic.—(Smiling.) I will do so. Urvas'i'.-Reverend lady! I salute thy feet. King.--Reverend laily ! I bow to yon. Female Ascetic.--Good-bye to you. (So saying she goes out.) King.-(Urrači.) Oh blessed one! Today I have become the foremost of those who have yot sons, by means of this your good son, as Purandar by Jayanta born of Paulomí.

·72 VIKRAMORVAS'I'YA. (All show that their eyes are dazzled.) King. Looking up at the sky.) How is it that there is a flash of lightning in the cloudless sky? Urvas'i'. -- Observing closely.) Ah! it is the holy Nárada. King:-(Observing closely.) Yes, it is the holy Nárada who, With his cluster of matted hair yellowish like the streaks of Gorochaná, and with his sacred thread as white as the digit of the new moon, appears as if he were the moving Kalpavriksha-tree having golden branches and being beautifully decorated with the excellent strings of pearls. Please get the materials of reception for him. Urvas'i'.-(Taking what is mentioned above.) Here are the materials of reception for his holiness. (Then enters Nárada. All rise.) Na'rada...Victory, victory to the guardian of the middle world ! King:-(Taking the materials of reception from the hands of Urvast, and offering them to Na'rada.) Revered Sir! I salute you. Urvas'i'. -Holy Sir, I bow to you. Na'rada. ---May you, husband and wife, be never separated (from each other.) King:-(To himself.) I hope that it will be so. (Embracing the boy, aloud.) Child I salute his holiness. Youth.-Holy sir ! A'yuh the son of Urvaší salutes you. Na'rada.—May you be long-lived ! King.–Please take this seat. Na'rada.–Very well. (So saying he sits down.) (All sit down after Na'rada.) King:-(Humbly.) Holy sir, what may be the cause of thy coming ?

·ACT V. 71 Oh slender-waisted one! is here this sudden separation from you fallen to my lot, like the fire of lightning falling upon a tree whose pain of heat has just been removed by the first shower from the clond. Buffoon.-See how that good fortune has given rise to a chain of misfortunes. For, now I fear his majesty is sure to put on bark garments and go to a forest for penance. Urvas'i'.—And moreover, the great king will think that I, who am unfortunate, consider to have finished my business, when I now go to heaven, after getting back my son who has received education; and that therefore I am ready to leave him. King.-Oh fair lady! don't think so, don't. For, the dependence upon others, which causes separation easily, does not allow one to do what is dear to him. Do you therefore obey the order of your lord; and I, on my part, having entrusted the kingdom to (the care of) your son, shall betake myself to the forests over which roam the the herds of deer. Youth.-Papa will be pleased not to harness a young bullock to a yoke which hitherto hus been borne by a grownup bull. King.- Dear child ! don't say so, don't. An elephant of a superior kind, though but a cub, subdues other (ordinary) elephants. The poison of even a young serpent is very deadly in its effects. So a sovereign lord though but a young boy is able to protect the earth. For, this eminent power which enables one to do his duty arises from nature itself and not froni age. Oh noble Látavya ....... Chamberlain.-May the lord command. King....... Say to the council of ministers in my name 'Let the coronation of (the prince) A'yuh be arranged for.' Chamberlain.-As the king commands. (Goes out sorrowfully.)

·i + VIKRAMORVAS'I'YA. (The prince salutes them in that order.) Na'rada.-Welfare to your honour. King.-Be the most prominent person in the family. Urvas'i'.-Always try to please your father. (Behind the curtain, two bards.) Two Bards.-Glory to the heir-apparent. First Bard.—May you be worthy of your father with your qualities liked by the people, as the divine sage Atri of Brahma', as the inoon of Atri, as Budha of the moon, and as his majesty of Budha for, in your distinguished family the highest of all blessings have already borne their fruit. Second Bard.—The royal splendour divided between this your father who is the foremost of the great and you who have virtuous conduct and undaunted courage, shines now all the more, as the Ganges does, having its waters divided between the Himalaya (who is the highest of the bigh) and the ocean (who is immovable and of unshakable gravity.) Nymphs.-(Going near Urraść.) We congratulate ou dear friend upon her son's beivg (crowned) heir-apparent and her being no more liable to be separated from her husband. Urvas'i'.---Surely this good-fortune is common to us all. ( Taking the prince by the hand.) Come child, (go with me and) salute your eldest mother. (The prince begins to go.) King.–Wait, we shall just go to her ladyship together. Na'rada.--This splendid scene of the installation of your son A'yuh as heir-apparent calls to my mind (the glory of a Mahásena when he was invested with the command of the forces by Indra. King.-I am favoured by Indra. Na'rada.-Oh king! what more good should Indra do to you ? King.-If Indra is pleased with me what more need I wish! However may this come to pass-

·ACT V.
(A saying in honour of Bharata.)
May there always be the union of the goddesses of wealth
and learning, who are hostile to each other,-a union which
is difficult to be found in one place, for the welfare of the
good!
And moreover.
May every one pass safely throngh his difficulties ! may
every one behold good fortune! may every one attain his
desires ! and every one be everywhere happy !!
(Then all go out.)
THE END OF ACT V.
THE END OF THE DRAMA OF VIKRAMORVAS'I'YA
COMPOSED BY KA'LIDA'SA.

·No text on this page.

·NOTES. Abbreviations:-A. D.=Apte's Dictionary. Bhá. Hralata. C. = Prof. Edward Byles Cowell. G. - Apte's Guide to Sanskrit Composition. Ká.= argai. K.G. = Higher Sanskrit Grammar, by Mr. M. R. Kale, B. A. Ku. = 41(. M.= Hrā Palas. Me. = 6707. Mm.= frasarya. M. W. D. = Monier William's Dictionary. P. = Shankar Pandurang Pandit, M.A. R.=TTiT. Ru.= 6TTTTT. S. = r. U. 37THata. W.= Prof. H. H. Wilson. Act I. P. 1. L. 1. BTY-A particle used at the beginning and supposed to indicate auspiciousness, like the particle Om. P. 1. L. 2. Tartu-(a)'T TA gázfr, ai acaraan.' This dissolution appears to be far-fetched, and the idea · Urvas'i won by valour' is not sufficiently suggestive of the character of the play. (b) The commentator Katavema says 'n IT a TFT EN HIZKI 43137: GETTFi: sia #9917:', trailition has it that the king Vikrama had the title of Purúravas. It means the drama of Urvas'i dedicated to, or composed under the patronage of the king Vikrama.' It is likely that our poet intended to veil the real sense, (by which he meant to immortalize the name of his patron and which must have been quite intelligible to the audience and the readers of those days,) by the ambiguous word Vikrama cf.' :' P. 10 L. 21. & see our note thereon. Instances are not wanting of the poets having meant to perpetuate the memory of their patrons in the titles of their works: thus Vidyanatha patronized by Pratáparudra names his work · Pratáparudra' and Hemachandra patronized by Siddharája calls his work Siddhahemachandra.' It appears, therefore, that Kalidasa must have live at the court of a king Vikrama, or probably the king Vikramaditya of 56 B. C. The termination 5 has the sense of with reference to. The adjectival forin Vikramırvas'iya is better than Vikramwrvas'i, as s'akuntala is better than Sakuntala P. 1. L. 3. aifi-Agreeably to the national prejudices & the religious complexion of the occasions on which dramas were represented, every play begins with a benedictory verse invoking the protection of a deity ·78 NOTES. in favour of the au lience. It is so called because it causes gratification to gods & to men. Def.: 'देवद्विजनृपादीनां आशीर्वचनपूर्विका । नंदति देवता यस्या तस्मात्रांदीति कीर्तिता ॥.' See our note on नांयते. P. 1. L. 8. P. 1. L. 4. वेदांतेषु-In the Upanishads which form the last portion of Veda and are to be studied in the end. They treat of the nature and relation of Jívátmá and Paramátmá, contain the essential doctrines and teach the ultimate aim of Veda. रंगनाथ says that 'वेदांतेषु ' is an उपलक्षण implying 'पुराणादिषु अपि.' P. 1. L. 4. यमाहुः-'Whom the sages or wise men (तत्त्वविदः) describe as. P. 1. L. 4. एकपुरुषं-The Supreme Spirit, the original source of all. lle alone exists from eternity, all emanates from him & in him will all vanish. He is called Purusha either because he is Purána, ancient, or because he reposes in body (पुरि देहे शेते इति)-for according to Vedánta-philosophy the Jívátmá in the human body is identical with Paramátmá. P. 1. L. 4. 53Ca fty - Who remains after having pervaded; who is so great that even after occupying heaven & earth there remains some part of him without space to occupy. cf. पुरुषसूक्त-स भूमि विश्वतो वृत्वा अत्य- तिष्ठदशांगुलम् ' P. But रंग says ' द्यावापृथिव्यौ व्याप्य स्थित । व्यापको हि भगवान् रुद्रः इति.' cf. अतिविषयगुणा या स्थिता व्याप्य विश्व ' S. I. 1. and 'पूर्वापरौ तोयनिधी वगाह्य स्थितः पृथिव्या इव मानदंड: ' Ku. I. 1. where commentators do not take the sense of aras'ishtatva. It may therefore mean simply vyåpnivantam “pervading, spread through all space.' P. 1. L. 4. रोदसी--Upper & lower world;' from रोदस् n. upper world, heaven, which is the seat of the roaring winds ( 57 to cry, roar). P. 1. L. 5. अनन्यविषयः- न विद्यते अन्यः विषयः वाच्यः यस्य । ईश्वरशब्दस्य शिवमात्रवाचकत्वम्. ef. द्वितीयगामी न हि शब्द एषः' R. III. 49 (exclusively applicable ), and 'अनन्यनारीसामान्यः ' P. 54. L. 12. (exclusively devotel). P. 1. L. 5. शब्दो यथार्थाक्षरः- यौगिकी संज्ञा. अर्थ अनतिक्रम्य वर्तते अक्ष- राणि यस्मिन्. cf. 'यस्यार्थयुक्तो गिरिराजशब्दः ' Ku. I. 13. 'परंतपो नाम यथार्थ- नामा' R. VI. 21. 'राजा-अर्थवान्खलु मे राजशब्दः' S. V. ( where अर्थवान् सप्रयोजनः-राघवभह.) Significant name. To whom alone, in its full ineaning belongs the title of Lord.' C. P. 1. L. 6. अंतर्मुग्यते= हृदये, चेतसा ध्यायते i. e. by contemplation. cf. 'ईश्वरः सर्वभूतानां हदेशेऽर्जुन तिष्ठति.'-गीता. XVIII. 61. P. 1. L. 6. नियमितप्राणादिभिः =(a) नियमित+प्राणादि restraining (यम् ) ·ACT І. 79 five vital winds ( 770, 37977, 17, 5917, 5419 ), or rather (b) @27 STTT+Tg by means of suspended breath and other penances. P. 1. L. 7. FYIT:-A name of S'iva, existent or eternal, from fer to be. Some say he is so called because he stood as firin and motionless as a post ( Sthánu ) while practising penances,' Felpaa raven EAT (Fa: Forca: Fa:.' It is to be noted that in several places in his works, our poet refers to the god Sliva; (1) 978À: 9776ara a carrier- ÀUTT' S. I. 1. (2) 1719 579797 # para HIT M. I. 1. (3) 'Fa: fair ad gráãgrit 'R. I. 1. (4) S. VII. 35. ( 5 ) God S'iva forms the subject of Ku. (6) Me. I. 33, 34, 35 This may go to prove that he was a clevotee of Siva, althongh tra lition and his name itself make him a devotee of a goddess. But in his Setukávya he inyokes Vishnu, and in his works there are many passages praising Vishnu and describing him as the supreme God, 'TÀ VA İR. X. 16, 18. While in Ku. II. 4,9 he describes Brahmade, as the highest Goul,'han. And in Ku. VII. 44 he says that all the three are one;' ha tiara mag ar' • This verse (ku. VII. 11 ) shows how strongly the ancient Hindlu trailitions corroborate evangelical truth. (the Christian doctrine of Trinity in Unity-El.) and set it forth almost in the very words of the Athanasian creer-Rev. K. M. Banerjea. P. 1. L. 7. FEUTHIRTÆ41-( a ) +41, FTT: arnica 377991: 1111: HTÀ: ( 1T: 3917-19.), unswerving application to lovotion; or rather (b) etraffiti, FATTI F: 119, where 11t=contemplation, concentration of inind, the systematic practice of abstract meditation. The Sunkyo and Yngo are two of the Shaddarx'ernax or six Hindu philosophies. The first. established by kupilu. Tous not acknowlena Supreme Being & is called Virks' ruraxinkhya. The second, established by Patanjali. acknowledges the existence of a Supreme Being anıl is calle Nerurusiinkhy; it is a subulivision of the origina! Sankhya but is practically reckoneel as it separate system and goes by the name of Yoga-philosoply. It chietly aims at teaching the means by which the human soul may attain complete union (IT-İT ) with the Supreme Being. P. 1. L. 7. FAI=(«) anvä 17: JEI aa aa 48:, final beatitude or eternal felicity, or rather ( b ) arra ha a, ( cf. निरतिशय) श्रेयः here being comparative of श्रीमत् or प्रशस्थ ; to which nothing is superior; most excellent. Supreme happiness. * Inferior enjoyment in heaven is not an object of desire to the more enthusiastic of the Hindus is it is but tinite, and after its cessation the indi- ·SO NOTES. vidual is born again in the world, and exposed to the calamities of a frail existence. The great aim of devotion is union with the Supreme or Universal Spirit in which case the soul no more assumes a perishable shape'-W. As to the intimate connection between स्थिरभक्तियोग and निःश्रेयस् or मोक्ष cf. गीता VIII.-14, 15, 16- 'अनन्यचेताः सततं यो मां स्मरति नित्यशः । तस्याहं सुलभः पार्थ नित्ययुक्तस्य योगिनः॥ मामुपेत्य पुनर्जन्म दुःखालयमशाश्वतम् । नाप्नुवंति महात्मानः संसिद्धिं परमां गताः ।। आब्रह्मभुवनालोकाः पुनरावर्तिनोऽर्जुन । मामुपेत्य तु कौंतेय पुनर्जन्म न विद्यते ॥ P. 1. L. 8. iga-arja : means, after the benediction is ended, the same person continues to speak as Sutradhára. It appears to have been the intention of the original writers to distinguish between the real character of the Sútradhára viz., that of a Bráhmana while he recited the Nándi and his assumed character of Sultradhára while he carried on the dialogue of the prastà caná as a stage-manager. For the definition of Na'ndi see our note on that word. P. 1. L. 3. It is further thus described frafraſe IT: 1: 518212*,'i.e. besides containing a prayer it is supposed to contain an allusion to the plot of the play. Thus here, aciag-in the particular country of that name, Brahmávarta (where Brahma means the Vedas ) or the whole Aryà varta. 4918- Ti-of whom (viz. the king Purúravas ) all wise men speak as the Supreme ruler. 67169 FLV --whose fame has spread through both the worlds. q ***92772fat-in whose case the title Ruler is true in every sense. siat. qua-The Yogins, who ought to think of God and none else all the time, (they too) often remember him and admiringly say to themselves what a good ruler Purúraras is: the like of him the world has never witnessed.' Ħ***:—That firm-minded (or godlike, Teq: agal) king who is devoted to his obedient subjects, and obedient to his devoted beloved-may the rule of that king be a blessing to you ! P. 1. L. 9. THI:- Tigrai yratâ qarta sia. 'FIZT 4 779 G* FUCHEF# i irigaaqzika T*T zalita: l' The director or principal actor who arranges the cast of characters, instructs them & takes a leading part in the prastávaná. This word being derived from Sútra thread and Dhara holder, puller, appears to have been originally applied to an exhibitor of doils and paperfigures which danced while he spoke. It is probable that such exhibitions preceded dramatic performances. P. 1. L. 9. 978-37and på meaning enough of govern the Instrumental case. 27., in this sense may also be used with a gerund, as 3765 Tetcal. G. 57.

·ACT I. 81 P. 1. L. 9. नेपथ्य-(as वेतन, wages, is used for वर्तन, 80 नेपथ्य for नर्पध्य or नृपथ्य, न नर characters & पथ्य suitable ) वेषपरिग्रहस्थलं a room, behind the curtain, where the actors assume suitable characters. P. 1. L. 10. मारिष ( for मार्ष from मर्ष derived from मृष् to hare patience. To forgive ) A respectable person. In drainas it is used by Sútradhára in the vocative ( Sir!) as a respectable mode of address to one of the principal actors. P. 1. L. 10. JafrTT-Ara indicates 'first, without delay.' G. 278. P. 1. L. 11. gfTE3T-expresses the idea of 'hastily, at once? which ara does not. P. 1. L. 11. Tren: 78 5T aga organet quâ sia. Op means side पशूना समूहः, the region of the ribs (पशु). Def. 'सूत्रधारस्य 9 4: 9945àseal 1 foaia Tiigi : ll,' an assistant of the manager. P. 1. L. 13. OFTTET ÇET: TOTT YT:-Others read 'graet ETTTT: gäuT', 'OTTOTT TECF434.' The objection to these readings is that gáy is a mere literary composition, while ay is a dramatic composition intended to be represented on the stage. P. reads aftaar a: प्रयोगबंधः' but certainly since कवीनां is plural, the plural प्रयोगबंधाः gives a better sense & is therefore preferable. P. 1. L. 14. 157#-Sometimes the forms of aç are used with the first & second personal pronouns & with demonstratives for the sake of emphasis, often translated by therefore, then;' cf. 'HISTHF-H- Jaat** TEM 49 97' R. I. 5. and #aar jagra si' R. II 40.' 47' P. 10. L. 11.; M. W. D. gives ATSTH=I myself ;' therefore in the present instance we may translate it by · But, I on my part.' P. 1. L. 14. n-aroni qê 7E7, the like of which did not exist before ; quite new. But in S. I also tê says 'ad 21H arq 114.' Thus the word appears to be simply complimentary. P. 1. L. 14. *-- The general term for all dramatic compositions is 59 (59 form, character; Fq to represent on the stage), it being their chief object to embody characters and feelings and to exhibit the natural indications of passion. cf. दृश्यं तत्राभिनेयं तद्पारोपातु रूपकम् ' A Ripreka creates feelings & satisfies all the conditions of a Kürya; it is therefore called a Kávya, with this difference that it is a 1578127, while 1977, TyiT &c. are 317618 which can be heard but cannot be seen represented on the stage. A Rúpaka is divided into ten classes, such as in, ·82 NOTES. TATT, TT, T&#7 &c. Thus a Nátaka is a class of Rúpaka & is & 24. It is thus defined :- 'नाटकं ख्यातवृत्तं स्यात्यंचसंधिसमन्वितं । पंचाधिका दशपरास्तत्रांकाः परिकीर्तिताः॥ प्रख्यातवंशो राजर्षिीरोदात्तः प्रतापवान् । दिव्योऽथ दिव्यादिव्यो वा गुणवानायको मतः ॥ एक एव भवेदंगी शृगारो वीर एव वा । अंगमन्ये रसाः सर्वे कार्य निर्वहणेऽद्भुतम् ॥' It is the most perfect kind of dramatic composition; its subject should always be celebrated & important; it has five technical divisions or joints; it consists of not fewer than 5 acts & not more than 10. The, hero, being of a noble & famous family, should be brave & noble-ininded powerful & meritorious; & he must be a monarch, demigod or divinity. It has only one principal sentiment, love or heroism. This is common to Greek tragedies. But in Greek dramas there are unities of action, time and place: here of action alone. Another important difference is the total absence of distinction between Tragedy and Comedy, for the Hindu plays never offer a calamitous conclusion. Tragic catastrophe is prohibited by positive rules. The chief end of the Hindu Theatre is to disguise by the insidious sweet, the unpalatable but salutary bitter of the cup Length of Hindu plays is another peculiarity. The precise division of Hindu plays into acts discriminates them from Greek compositions in which division into acts was unknown. W. Instead of नाटकं, some read 'प्रोटकं ' which is thus defined 'सप्ताष्टनवपंचांक IT34417TÅ I Få AH HETTE: goo .' All dramatic writings are arranged into two classes, and 399; and 3969 has 18 subdivisious, viz., tre, ah, 912117, 7*TOT &c; A., and M. Wm. in their Dictionaries, and w. in his Hindu Theatre vol. I. P. XXXI. say that Vikramoroas'ıya is a Trotaka, for though there is no Vidúshaka in every act, still the मुख्यलक्षण is present in the play. रंगनाथ says 'प्रत्यकं सविदूषक- त्वात् अत्र शृंगारो अंगी । प्रत्यकं सविदूषकं इति तु प्रायिकाभिप्रायम् । शृंगारांगित्वम इह विवक्षितम् । तेन कस्मिभिदंके सविदूषकत्वव्यभिचारेऽपि न क्षतिः । अन्यत् सर्व arena.' Not satisfied with this, in our opinion, lame defence we prefer the title art. There is no There is no Vidúxhaka in the 1st and 4th acts; and Trotaka is a division of U parúpaka which is described as a minor, inferior sort of dramatic composition,' which certainly Vikramorrax'iya is not. P. 1. L. 15. qii-(95 to read or repeat aloud.) 977:, Recitation. Part. Others read 'orag'. P. 1. L. 15. Fej-The impersonal forms raazi &*16* are used in their literal sense of being, should be, when the noun or adjective coming after be in the English sentence must agree with the agent as an ordinary adjective G. 157 ( a).

·ACTI. 83 P. 1. L. 17. भार्थमिश्रान्-(m. pl.) An assembly of honourable men. 'पूज्ये मिश्रवचनं नित्यबहुवचनांतम्'-रंग• If मिश्र be taken as a noun (m.), it is an affix applied to the names of great men in the sense of ' respectable person;' then आर्यमिश्रान् means पूज्यार्यजनान् or simply आर्यान. But if misra be taken as an adjective, it means — Having a mixture or collection of, consisting chiefly of;' then आर्यमिश्रान् is an adj. & श्रोतृजनान् is understood. We prefer the first. Some read आर्यविदग्धमिश्रान्="for the • nost part worthy & learned persons.' P. 1. L. 18. प्रणयिषु-प्रणी I. U. to apply, to request. प्रणयिन् a friend, an humble petitioner. 'प्रगयिषु स्वविद्याविशेषं पश्यतेति प्रार्थयमानेषु अस्मासु.' cf. 'स्वार्थात्सतां गुरुतरा प्रगयिक्रियैव ' P. 67. L. 8. This verse shows the modesty of the poet. All writings of Kálidása begin with such morlest expressions. cf. 'आपरिताषाद्विदुषां न साधु मन्ये प्रयोगविज्ञानम् ' S. I. 2. 'क्व सूर्यप्रभवो वंशः क्व चाल्पविषया मतिः' R. I. 2. See R. I. 2-10. This verve also shows that by this time our poet's fanic was more established than when he wrote Milarikāynimitra. (cf. 'वर्तमान कवेः कालिदासस्य क्रियायां कथं परिषदो बहुमानः' M. I. 'पुराणमित्येव न साधु सर्व न चापि काव्यं नवमित्यवद्यम्' M. 1. 2.) but less than when he wrote his masterpiece the S'akuntulu in which he offers no such apology. P. 1. L. 18. दाक्षिण्यात्-(दश् I. U. to be able. दक्ष adj. clever. दक्षिण ailj. skilful, dakshina is applied to the right hand as it is the most skilful; thus dakshina carne to inean right, straightfoward, sincere, honest, kind.) दाक्षिण्य here Imeans kindness ; cf. 'दाक्षिण्य ' P. 19. L. 12. P. 1. L. 18. सद्वस्तुपुरुषबहुमानात् = सदस्तु सदितिवृनं, पुरुषो वर्णनीयो नायक, तयोः आदरातिशयात् । समांचोनं वृत्त यस्य एतादृशस्य पुरुषस्य प्रशस्तकथानायकस्य वा गौरवात् । वस्तु =(वस् to live. वस्तु really existing thing, essence. ) Maith plot or a drama, subject or umatter of a poetic composition. cf. ' भगवति आतेरमणीयं कथावस्तु ' M. I. 'चिंतितं मया गीतवस्तु ' S. III. बहुमानः, simply respect' M. Win. • The business of every piece is termed its rastu. its substance or thing.' W. P. 1. L. 19. क्रिया-Literary work. cf. 'कालिदासस्य क्रिया यां कथं परिषदो बहुमानः' M. I. P. 1. L. 21. पक्षपाती-पक्ष side, & पक्षपातिन् (पक्षे पताते leans to a side) taking the side or allhering to the party of. cf. 'पक्षपातिनो देवा आप पांडवानाम्' वेणीसंहार III. and 'आर्यो मयि पक्षपाती' P. 15. L. 7. P. 1. L. 21. वा-'and, as well, also.' G. 302 (a) P. 2. L. 2. भये-expresses surprise or wonder. G. 249.

·84 NOTES. P. 2. L. 2. Pergi 71-viz. that contained in soprang argut' P. I. L. 18. P. 2. L. 3. Traini-38 distressed, struck by calamity, terrified. (from # to injure, with ani). cf. artar a: Tü'S. I. 11. TAT- 4719a9' R. III. 31. P. 2. L. 3. pectori-Fi is a female osprey ( marathi-tec ). mit in. from to sound, cry; or perhaps it is an onomatopoetic name, the cry of the bird being Kurara-kurara. This bind is found near water and being very timid it flies away with shrill cries at the slightest approach of danger. cf. grit ragih atas 7-41797. 'F*qaratia que en fitta 49: 'R XIV. 68. P. 2. L. 4. TATTO.-P. omits this verse. P. 2. L. 5. TT-The cuckoo ( Kokila ) is so called because it is nourished by others; & thence its nourisher, the crow, is called qru. The cuckoo is supposed to leave its eggs in the nest of the crow to be hatchext. In Act ll. the cuckoo is calleil parabhritá and para pushtá In his note on Ku. VI. 2, Rev. K. M. Banerjea says 'parabhritá like anga pushtá means one reared up by a stranger, not its own mother, as the kokila is said to be ; the motherbird, not being able to hatch its own eggs leaves that duty to another-a crow.' cf. friartes thah995 aft: qtual: ag gana il's. V. 22. • Nursing of a stranger nest.' W. P. 2. L. 7. - Praha rak'-iro Whether...or. Instead of a ant:, some read '74,'the lailies of the demigods; but then the whole verse will be unintelligible. And since Kim the word of uncertainty is quite necessary, we reject the other reading as incorrect. P. 2. L. 7. PAYtrei-AYTI Bratia afTinti sa 72 72.5 means ' indistinct & sweet,' but since there is the word HR after it, * must be taken to mean simply "Indistinct, inarticulate, low;' but cf. Saga: ota : FRÅTT: 'S. V., where THE says 'Rist Ayer Szulay.' P. 2. L. 7. gofrar:-used in active sense. G. 152. Tij gaatinto cf. Tantarga: 'Patrao IV. 17. where प्रनृत्ता- dancing P. 2. L. 9. 75*7-56 m. thigh ( go to cover, hide.) Read next note.

·ACT I. 85 P. 2. L. 9. #THEF ga:-Once upon a time two sages, Nara and Nárayana were practising austerities in Badarikás'rama. They were saints on friendly terms with each other and so they are called Munis and one is said to be the Sakhá of the other. Their ascetic exercises alarmed Indra, who sent some nymphs to allure them and disturb their austerities as he once sent Menaká to allure Vis'vamitra. But unlike Vis'vámitra, the father of the lovely S'akuntalá, Náráyana taking up a flower placed it on his thigh, when a beautiful nymph ( Urvas'i) appeared from it, who is therefore called U'rúdbhavá. The superiority of her charms covered the nymphs of heaven with shame, who went back to heaven carrying Urvas'í to Indra as a present from Nárayana. cf. 'ger arredaj atrager 46à 'P. 10. L. 14. In ancient writings Mara and Narayana are said to be sages and in some places, gols. In Hariranġa, it appears, Náráyana is taken to be a Rishi 'नारायणोरुं निर्भिय संभूता वरवर्णिनी । ऐलस्य दयिता देवी योषिद्रत्नं किमुर्वशी ॥ In later writings Nara is described to be the wisest man and Váráyana to be the god Vishnu; and they are sometimes identified with Arjuna and Krishna. They are also said to be two incarnations of Vishnu out of twentyfour. Our poet calls Máráyana a sage and also identifies him with the god Vishnu ; cf. 'Farrà a trata 1404: Taital: 3THTH:' P. 6. L. 17. ant'ta a À TAY Tera rag: 93 99798.' P. 13. L. 2. Thus he makes use of narratives, stories and myths, though they may contra liet each other, as a Poet and not as an historian. He mostly bases his poems on ancient writings just as Shakespeare does on the ancient chronicles and ballarls. He aims at poetry, not history. P. 2. L. 9. grat-a female gol, a celestial woman, and not wife of a gol. cf. grital 'P. 13. L. 4.'rgai 'P. 73. L. 20. & S. VII. 5. P. 2. L. 10. कैलासनाथमुपसृत्य-The word कैलासनाथ expresses both शिव and कुबेर, but here it refers to कुबेर, for cf. 'कुबेरभवनानिवर्तमाना' P. 3. L. G. For उपसृत्य soine read अनुसृत्य or उपनृत्य. P. 2. L. 11. बंदीकृता--This form is technically called a विकरण or a chvi-forination. The termination chvi is added to nouns or indeclinables to express that a person or thing not being like what is denoted by the base to which it is a ded, becomes or is made like it.' K. G. $ 238. näret srid, aastacia 897417: or ála a: 30: The chvi-formations are classed as Prepositional Tatpurusha Compounds.' K. G. $ 147. P. 2. L. 12. cena: 164-P. & others read '6677: '& translate "cry for protection, shriek for succour.' But Tri cannot grammatically be the object of a tra an intransitive verb; perhaps ar इति कंदति would be correct. P. 2. L. 12. TCHTR--( TC 73759: Aita Tesla) cf. 38 4491- 6 ** 8 ·SC NOTES. GT TAITEHTC2: 13.074TFT JF arhs4a7 Il.' They are & class of feinale divinities who reside in the sky. They are very fond of bathing, and are endowed with superhuman power. They are servants of Indra who, when alarmed by the rigorous austerities of some mighty sage, sendis down one or more of them to disturb his penance. The word is usually plural but sometimes the singular is used, as well as the form अप्सरा. 'आपः समनसो वर्षाः अप्सरस्तिकताः समाः । एते स्त्रियां बहुवे स्युः एकवेप्यु. TITIL According to the kúšikhandla of Námáyone there are 35 millions of these nymphs, but only a few are the subject of Pauránie or poetical narrations : such as I, 99%, THI, TA. Mr. Gritlith in his translation of Rámáy but this sings their origin: - Then from the agitatel deep upsprung The levrion of perut xár, so namel That to the watery element they owed Their being. P. 2. L. 12. 194—"This here that I see coming in this direction.' P. 2 L. 14. प्रस्तावना--Every संस्कृत play is introduced by आमुख or qwa. Def.: नटी विदुषको वापि पारिपार्श्वक एव वा । सूत्रधारेण सहिताः संलापं यत्र कुर्वते । चित्रै क्यैः स्वकार्याथै ः प्रस्तुतापेक्षिमिथः ।आमुखं तनु विज्ञेयं बुधैः प्रस्तावनापि सा ।। It is of 5 kinds 'ITET: TRIA: TUTT726a2r i Taista a Serather:.' In the present case the fearaar is technically calledditlang'in which a part or performance is superseded by another in such a manner that a character is suddenly brought on the stage. i. e. where the Nirudhára goes out hinting the entrance of a character and thus performs 1. part supernding that which he has apparently intended for his own viz., dancing. ' TTT Test: 93 54 lat 91991TT19- FACT II'S SETT TT 927 Brgf: TIT: 3771127 THTH TT- ऽयम् इत्यंतेन अप्सरसा प्रवेशं सूचयित्वा निष्क्रांतेन सूत्रधारेण स्वप्रयोगमतिशयानः एव STT TT gfa t121:. In the Hindu drama generally every piece opens with an Introdluction in which the audience are made acquainted with the author, his works, and such part of the prior events as it is necessary for the spectators to know. In the Hindu Theatre the Introcluction differs from such preliminary performances of other people by leading immerliately into the business of the drama. W. . The introduction of the dramas of Kálidása nerer contains any explanation of their plots or subjects ( as does that of the plays of other poets like Bharabh úti-Ed.) and it always glides imperceptibly, as it were, from the reality of the stage-manager and his assistant into the scenic commencement of the play,' Pi's Preface to M, ·ACT I. 87 P. 2. L. 15. girifto ""--The place where the scene of Act I. is laid is a part of the Himalaya-range of Mountains. P. 2. L. 19. TruraTZ ** --- 3964ri is service or prayer. But here it means personal attendance upon. cf. अब खलु नवेन नाटकेन उपस्थातव्यं STEIN' S. I. What the nature of this ceremony was, and whether it was a Nitya (daily) or Vaimittika (occasional) Vidhi, is not quite clear. A part of the daily evening prayer of the Bráh manas is callel Parunopasthana, but they have to pray by mind and not to attend upon Varuna personally. From the play it appears to us that Suryopasthána was a Vaimittika or occasional Vidhi ; for (1) '77: quia 49797: HET JET maar tangan: 3/11: a: 31727 727677: 37 7 ;' P. 14. L. 10. This obviously refers to his visit to the Sun on the previous day and it does not contain any such word as Adya (today.) (2) In the division of king's day and night there is no hour appointed for Suryoprosthuna-personal attendance. (3) Throughout the drama, it is nowhere again mentionel, which might have been if it were a laily duty, and (+) From the end of Act III. and the beginning of Act IV. it appears that chitralekha, the dear friend of Urrat. had to attend upon the Sun every day; and while thus attenling she was sorry not to have heart for many days anything about U'rrusi, who was in the king's palace, 'अप्सरोवार पर्यायेण सूर्यस्य पादमूलोपस्थानं वर्तते इति बलवत्खलु उर्वश्यै उत्कंठितास्मि' P. 57. L. 11. Tag TÀTia:' P. 58. L. 2. Now if the king had to attend upon the Sun laily, Chitralekhe would have received from him daily infornition about her friend Urraske. In this speech the king mentions his name &c., to inspire the territiel nymphs with contience in his being the proper person they wanted to help them. For, they knew him by his name (cf. 'a: palaura' P. 4. L. 17.). And now the mention of that name indicates to them that he is grat; and the fact of his having returned from the place of Súry shows that he is अंबरतलगतिः, P. 2. L. 21. Tarra--377251 (from 377 T to smear, lefile, inflame,) means pride; but here it has the sense of Violence, haughty an! outrageous conduct towards a woman.' 318 is, in post-Vedic times, ilerived from 37 not and gr gou. But originally when the Persians and the Hindlus livell together, they called a gol by the name 3787 (3460), 31: 917 01 T 42, having (spiritual) life, Spirit: or created by Prajapati with his breath (axu.). In the oldest part of Rig-reda, asura is used for Supreme Spirit. When they guarreller, the Persians in anger said to the Hinclus your derns are elevils;' and the Hindus retaliatel by saying your axum ( ahuri, supreme Spirit) is a demon.' Thus the Hindus lost the word XXV which so long meant to them 'a goxl.' But their genius did not fail them: they at once coined a word sura for god, from the very word asura ( which now to them signi- ·88 NOTES. fied not-a-god) by taking away 3T as if it was a negative particle in the formation of असुर. (cf. सित and :असित. असित black is a original word and not a componnd of 37 and ha. However af came to be looked upon as a negative particle and a then signified · white '). The ArgoT thus accounts for the names सुर and असुर 'सुराप्रतिग्रहादेवाः सुरा इत्यभिविश्रुताः । अप्रतिग्रहणा- तस्याः दैतेयाश्चासुरास्तथा ॥.' P. 2. L. 22. अपराद्धम-अपराधः कृतः ( what wrong has been done to you?) The construction is impersonal passive (Bhaveprayogah) but the form is used in an active sense. try with 379 in the sense of to offend generally governs the locative in the sense of the accusative and sometimes the Genitive.' G. 100. cf. 'इच्छामि देवेषु अनपराद्धमात्मानं कर्तुम् ' P. 31. L. 11. 'अपराद्धास्मि चिरकारिका आर्यपुत्रस्य.' P. 55. L. 15. 'कस्मिन्नपि पूजा अपराद्धा शकुंतला' 8. IV. अपराध् in this sense is also used with dative 'न दूये सात्वतीसूनुः यन्मह्यं अपराध्यति'-शिशुपाल II. 11. P. 3. L. 4. तपोविशेषशंकितस्य..."-It is supposed that Indra would lose his high authority in heaven if a man succeeded in performing great austerities ( tapovis'esha ). So whenever a man tries to practise them, Indra being frightened ( s'ankita ) sends nymphs to disturb him. cf. 'नारायण मृषि विलोभयंत्यः अप्सरसः' P. 6. L. 18. 'जातशंकैः देवैः मेनका नाम अप्सराः प्रेषिता नियमविनकारिणी' S. I. 'अस्ति खलु अन्यसमाधिभीरुत्वं देवानाम् , S. I. & R. VIII. 79:- चरतः किल दुश्चरं तपस्तृणबिंदोः परिशंकितःपुरा । प्रजिघाय समाधिभेदिनी हरिरस्मै हरिणी सुरांगनाम् ।। P. 3. L. 4. महेंद्रस्य-इंद्र is the lord of gods; a Vedic conception about him is that he is the god of the sky or atmosphere & is identical with the Sun (Surya ) ( इंद् to shine or be powerful ). This the readers would do well to bear in mind while reading the following character of Indra. The god Indra is the Jupiter, the god of the firmament. He is the highest god. His most famous weapon is the thunderbolt with which he kills demons (i. e. breaks clouds ) and sends down rain for the good of mankind. He is assisted by Maruts or storm-gods. His friends are never slain or defeated ; (this idea is present to our poet's mind in ' ननु वज्रिण एव वीर्यमेतत् । विजयंते द्विषतो यदस्य पक्ष्याः ||' P. 10.. L. 17.). In later myth he falls in the second rank and is inferior to Brahma, Vishnu and Mahesa, but is the chief of the other gods and is therefore styleel देवेंद्र &c. (cf. 'सुरेंद्र' P. 12. L. 14). He is regent of the east quarter (cf. 'हरिवाहनदिदमुखम् ' P. 42. L. 6. ) and his world is called Svarga. He is frequently at war with the asuras whom he constantly dreads. The Indra of the myth is said to have seduced array (cf. 'अहल्याकामुकस्य ' P. 21. L. 12. and see our note thereon). He is also in ·ACT I. 89 .. constant dread of the sages practising potent penances (cf. तपोविशेषशंकित. P. 3. L. 4. ) and sends down nymphs to beguile their minds. He cut off wings (clouds) of mountains. (cf. 'अपक्षलोपात् ' P. 40. L. 20.). His wife is Indrání; son Jayanta ; capital Amarárati ; garden Nandana ; elephant Airárata ; his bow the rainbow; and his sword Parjanya. His characteristics and attributes occurring in the text can be easily marked by the reader while reading it; some of them such as पाकशासन, पुरंदर, शतक्रतु, सहस्त्राक्ष, and others are explained in our Notes in their proper places. P. 3. L. 5. प्रत्यादेशो-(प्रत्यादिश् to repel, put into back-ground ). One who puts another to shame or eclipses the fame of. cf. 'यदि एवं प्रत्या- देशः इदानी रूपवतीना'S. II. P. 3. L. 5. अलंकारः स्वर्गस्य--Some read 'अलंकारः सर्गस्य' but सर्ग, creation, has no propriety here. P. 3. L. 6. समापत्ति--( समापद् 4. A. to rush upon; come together.) Meeting, accidental encounter. यदृच्छा; यदृच्छासंगतिः; cf. 'समापत्तिदृष्टेन देव्याः परिजनेन' M. III. P. 3. L. 6. हिरण्यपुर--A town of the demons in the atmosphere. Their architect Mayasura built three cities ( Tripura ) for thein, one of gold ( hiranya ) in the sky, a second of silver in the air, & the third of iron on earth. P. 3. L. 7. चित्रलेखाद्वितीया--The words द्वितीय & तृतीय, at the end of compounds have the sense of coinpanion, partner, friend.' cf. 'ततः प्रविशति आत्मनातृतीयो वैखानसः' S. I. (दो शिष्यो स्वयं तृतीयः इत्यर्थः). P. 3. L. 7. बंदिमाहं--बंदिवत् or बंदी यथा गृह्यते तथा. The word वंदिन् m. (वंदी f. वदि f.) means a bard & a captive, & is derived from वंद to praise ; but in the sense of a captive it is more properly spelt äica & is probably connected with बंधू. The form बंदिग्राहम् is णमुल or gerund in अम्. It is formed by alling अम् immediately to the root and making the same changes as before the of the passive Aorist ; as क्षेपम् having thrown. G. 162. The णमुल् of ग्रह् is often usert in a cognate sense; as, तं जीवग्राहं गृहाणि. G. 167. cf. 'नवमालिका-आर्य, इयं नो भर्तृदारिका कात्यायन्याः धरणार्चनं कृत्वा निवर्तमाना मध्येपथं केनापि मायाविना बंदिग्राहं गृहीता.' Ru. II. P. 3. L. 8. अपि ज्ञायते-When used at the beginning of a sentence अपि introduces a question. G. 247. cf. 'अपि नाम एवं स्यात्' P. 93. L. 17. P. 3. L. 8. HF:--( one who recites or reads badly; a man of low caste; ) contemptible person, a wretch. Cf. 'अपचो जाल्मः ( a bul cook ). पतुं न शक्नोति इति एवं आक्रोश्यते । अवि. क्षिपः ( unable to distribute well ).' पाणिनि VI. 2. 158. 'जाल्मोऽसमीक्ष्यकारी ·90 NOTES. स्यात् '--अमर. (जाल्म. असमीक्ष्यकारी द्वे यो गुणदोषान् अविमृश्य करोति तस्य), and 'विवर्णः पामरो नीचः प्राकृतश्च पृथग्जनः । विहीनोऽसदो जाल्मः क्षुल्लकश्चेतरश्च सः॥' P. 3. L. 9. पूर्वोत्तरेण--पूर्वस्याः उत्तरस्याश्च दिशोः यदंतरालं स दिग्विभागः पूर्वो- त्तरा ( f. noun ). पूर्वोत्तर is adj. पूर्वोत्तरेण दिग्भागेन. cf. 'ऐशानी दिशं प्रति P. 3. L. 15. for पूर्वोत्तरेण, some read 'ऐशान्या दिशा.' P. 3. L. 12. सदृशं--सदृश, like, governs Genitive or Instrumental. G. 52. 117. What you say is like ( worthy of) the descendant of the Moon.' cf. 'श्रुतस्य किं तत् स दृशं कुलस्य' R. XIV. 61. P. 3. L. 12. सोमादेकांतरस्य--एको बुधः अंतरं व्यवधानं यस्य. The king, on his father's side, was thus descended: ब्रह्मा-अत्रि-सोम-बुध-पुरूरवस्. cf. 'अमर मुनिरिवात्रिर्ब्रह्मणोऽत्रेरिवेटुः, बुध इव शिशिरांशोबोधनस्येव देवः' P. 95. L. 12. 'सूर्याचंद मसौं यस्य मातामहपिता महौ' P. 68. L. 15. In ऋग्वेद the word इंद् ( from रंद् to issue out) means a drop, a drop of Soma-juice, SON itself; a globule, a round body, the moon. Thus Indu having two sensus, Soma-plant and the moon, those two words ( Soma and moon ) became synonyms and Soma-plant gave its attributes such as ओषधीश &c.. to Soma-moon. Thus Soma (सु to extract ) came to signify * the Moon,' both being connected with Indu. For more information about Soma, see P.'s note on R. II. 73. in his edition of that poem. P. 3. L. 15. भाशुगमनाय--आशु गंतुं as in 'प्रियसखीप्रत्यानयनाय' P. 3. .. 10. (प्रत्यानेतुं ). “ The dative of an abstract noun is often used to express the sense of the infinitive of purpose from the root.' G. 65. (b.) •Urge the horses to their utmost speed.' C. 'Urge the steeds to swiftest flight.' w. P. 3. L. 16. आयुष्मान्--Generally used by elderly & respectable persons, ( such as Sarathi and Kanchuki whose professions were respectable ) in addressing a nobly-born person; a Brāhmana is also so ad. dressed in saluting. P. 3. L. 17. सूत--(सू to incite, impel ) Driver. P. 4. L. 2. वैनतेय--विनतायाः अपत्यं पुमान् वैनतेयः गरुडः । विनतापुत्रः P. 4. L. 2. किं पुनः किम् is usually joined to उ, उत, or पुनः, in the sense of how much more,'"how much less.' G. 267. The king expects aid of Indra & so he thinks he can overtake the demon easily. See 'ननु वजिण एव वीर्यमेतत् ' P. 10 L. 17. P. 4. L. 3. मघोनः--मघवन् (मंह to give or honour ) is an epithet of इंद. It means 'distributing gifts (मघ), a person who institutes a sacrifice & pays the priests. The term came to be applied to Indra in post- Vedic literature. See our note on 9 P. 96. L. 12.

·ACT I. 91 P. 4. L. 4. रेणुपदवी०- रणुपदवी रेणुमार्ग यांति go or rise upwards. रथस्य उपरि रेणुवत् उत्सर्पति. P. reads 'रेणुवदमी'; but there is no such dennonstrative adj. like art in the next three lines, so we avoid it in the first also by adopting the simpler & more natural reading रेणुपदवीं. P. 4 L. 5. अरांतरेषु०--अरः or अरं, ( इयर्ति गच्छति अनेन) Spoke or radius of a wheel. cf. 'अरैः संधार्यते नाभि भी चाराः प्रतिष्ठिताः'. “The swift rolling of the wheels seems to create a second range of spokes between the first.'C. P. 4. L. 6. चित्रन्यस्तमिवाचलं--cf. 'निष्कंपचामरशिखाः निभृतो कर्णाः' S. I. 8. Some read 'चित्रारंभविनिश्चलं.' P. 4. L. 6. आयामवच्चामरं--आयम् to stretch out ; आयामः length. चामरं each chowrie ; चमर्याः विकारः तत्पुच्छनिर्मितत्वात्. The chowrie is used on the heads of horses & is reckonel as one of the insignia of royalty. cf. 'व्याधूयंते निचुलतरुभिमंजरीचामराणि' P. 62. L. 9. P. 4. L. 7. वेगानिलात्--This word is to be construed with the first three lines also. वेगात् उत्पनः अनिलः वेगानिलः. P. 4. L. 9. राजर्षिः--(also spelt राजऋषिः) A saint-like king. A man of Kshatriya caste, who by his pious life and austere devotion comes to be regarded as a sage. ( The two other classes are देवर्षि & ब्रह्मर्षि.) cf.s. I. अथवा उपपत्रमेत दृषिभ्यो नातिभिने राजनि । कुतः अध्याक्रांता वमतिर मुनाप्याश्रमे सर्व भाग्ये रक्षायोगादयमपि तपः प्रत्यहं संचिनोति । अस्यापि द्यां स्पृशति वशिनश्चारणद्वंद्वगीतः पुण्यः शब्दो मुनिरिति मुहुः केवलं राजपूर्वः ।। P. 4. L. 9. प्रदेशं--ris. हेमकूटशिखरं. See P. 3. L. 14. P. 4. L. 12. शेषाः--Some onit शेषाः--तथा. P. reals this speech and the next stage direction together, thus (शेषास्तथेति शैलाधिरोहणं रूपयित्वा स्थिताः।) in which there are two mistakes (1) तथा is wrong, for it ought to be in the प्राकृत form Fह & (2) शेषाः agrees with स्थिताः which is again wrong, for those who were स्थिताः were सर्वाः & not शेषाः alone. P. 4. L. 14. अपि नाम--(see our note on अपि P. 3. L. 8. ). At the beginning of a sentence, at sometimes shows hope, espectation; and is used with the potential inool; but when it has that sense, it is generally joined with नाम, & has the sense of Is it likely, may it be!' G. 247. P. 4. L. 14. शल्यं--(चल्, शल् to go, run ) ef. 'हृदयामिषुभिः कामस्यांतः सशस्यमिदं सदा' P. 25. L. 11. 'अवगच्छति मूढचेतनः प्रियनाशं हदि शल्यमर्पितम्.' R. VIII. 88.

·92 NOTES. P. 4. L. 15. मा भूत--मा, a particle of prohibition, is usually joined with the Imperative; it is also joined with the Aorist, (as here) when the augment अ is dropped. Some read ‘मा ते संशयो भवतु.' P. 4. L. 16. ननु--Combination of न and नु, but now treated as a separate word in the sense of certainly ( with an interrogative force ). It is also used as a corrective word like chy' in English; G. 286. ef. 'ननु वजिण एव वीर्यमेतत् ' P. 10. L. 17. P. omits this speech. P. 4. L. 17. संपराय-(सं, परा towards and इ to go; to meet together in conflict ). With the whole sentence cf. 'त्रिकालदर्शिभिर्मुनिभिरादिष्टो महान्सु- रासुरसंगरो भावी । भवांश्च सांयुगीनः सहायो नः।' P. 94. L. 8. P. 4. L. 17. मध्यमलोकात्-The earth is the middle world, Heaven being the highest & Pātāla the lowest. भुवः मध्यमत्वं तु स्वर्गपातालापेक्षया. P. 4. L. 18. आनाय्य--Having caused to be brought. The अय of the causal is dropped, the vowel changes being retained, before the 4 of the indeclinable past participle.' Dr. Bhandarkar's IInd Book. XXI. 10. ( Thus, आनाय् causal base + अय +य;after dropping अय, we get आनाय् +य-आनाय्य.) P. 4 L. 18. तमेव.."--P. reads 'तमेव विजयसेनामुखे नियोजयति.' विजयाय नियुक्का सेमा विजयसेना. विजयसंपादयित्री, विजयार्थिनी. The king दुष्यंत also thus assisted the gods. P. 5. L. 2. A--By 2T ( in every way ) she wishes that the king should rescue their friends and should come back himself uninjured; cf. 'द्वे अपि नः प्रिये उपनते । इयं प्रत्यानीता प्रियसखी, अयं च अपरिक्षतो महाराज इति ।' P. 8. L. 6. P. 5. L. 2. क्षणमात्रं स्थित्वा--This speech of रंभा, P.& others split into two : thus, रंभा--सर्वथा भवतु. सहजन्या--सख्यः "निवर्तिध्यते. As to the stage direction (क्षणमात्र स्थित्वा ।) P. in his old edition, reads it after Rambha's speech, where it is meaningless unless Rambhá is made to speak something after it. He, in his new edition, reads it before the speech of Sahajanya, but there too it is meaningless unless Sahajanyá is made to say something before it. And P. in his foot-notes says " The MS. G. does not make a separate speech of सख्यः "निवर्तिष्यते' : this he ought to have adopted. P. 5. L. 3. केतनं--(कित्, same as चित्, to observe, notice. That which is noticed ; Form, sign). The ensign of a warrior. Flag or banner. 'हरिणकेतनः, हरिणः केतने ध्वजे यस्य सः । सोमेन चंद्रण दत्तः। चंद्रीयत्वादेव च हरि- ण वजत्वमपि युक्तम् ।'--रंगनाथ. P. 5. L. 11. त्रिलोकरक्षी..."--The king modestly attributes his success to the power of इंद्र.cf. 'ननु वजिण एव वीर्यमेतत् ' P. 10. L. 17.त्रिलोकं, the three ·ACT I. 93 . ( separate) worlds. त्रिलोकी, the three worlds taken together, the universe. त्रिलोकः, an inhabitant of the three worlds. P. 5. L. 12. चक्षुः आयतं--The long-cornered (आयत) eyes are a mark of beauty. cf. 'अपांगनेत्रा.' P. 12. L. 9. & see our note thereon. Here चक्षुः means 'each eye' like चामरं P. 4. L. 6. P. 5. L. 13.निशावसाने....--cf. 'परिगतमिव प्रारंभेऽन्ह श्रिया सरसीरुह' Mm. x. & 'नवोषसा भिन्नमिवैकपंकजं. ' S. VII. 16. P. reads the fourth line thus 'महोत्पलं प्रत्युषसीव पद्मिनी, but it does not correspond to the idea in the 1st three lines so well as our reading does, where निशावसाने corresponds to गतं भयं (भये गते सति .. भयावसाने ) in the first line. भयावसाने त्वं चक्षुः उन्मीलय, यथा निशावसाने नलिनी पंकजं उन्माल याति. P. 5. L. 14. उच्छ्रसितमात्रसंभावितजीविता--उन्छसितमात्रेण संभावितं जीवितं यस्याः. श्वसित is simple breathing, while उच्छृसित is heavy breathing due to fright or fatigue. But for her breathing, there is no symptom of life.' C. 'Her sighs alone declare her to be conscious' W. P. reads 'उच्च- सितमात्रजीविता.' P. 5. L. 16. परित्रस्ता--परि strengthens the meaning, as in पर्युत्सुका. P. 5. L. 17. मंदार.."--दामन् from दा to bind. परिणाहवान् expansive from परिणाह breadth, circumference (परिणह to encircle ). As the heart palpitated, the garland showed corresponding motion or throbbing action. P. omits this verse. - P. 5. L. 19. अनप्सरेव प्रतिभासि--( mark, here the word is अप्सरा) • This weakness ill becomes a nymph of heaven.' W. 'One might have deemed that thou wast no nymph of heaven at all.' C. cf. It sinells of mortality'-Shakespeare. P. 6. L. 3. मुंचति......"--तावत् means अद्यापि. With the whole cf. 'अद्यापि स्तनवेपथु जनयति श्वासः प्रमाणाधिकः' S. I. 26. This verse as real by P. does not seem Kalidasian, for he reads पंचति न तावदस्याः कंपं कुसुम- समबंधनं हृदयं । पश्य हरिचंदनेन स्तन मध्यो च्यासिना कथितम् ॥'; in the first place, we say ज्वरः शरीरं न मुंचात, therefore हृदयं ( as agent ) कंपं न मुचति is to be avoided. Secondly, 54 as referring to Try is not appropriate. Lastly the idea in the second line is absurd, for he could not see her bosom to which हरिचंदन may have been applied. सिचयांत-वनप्रांत. सिचय garment, cloth. P. 6. L. 6. दिष्टया वर्धसे--(दिश् to show, command, rule ; दिष्टि fate that rules ; good fortune ; thus ) though dishtya is the Intsrumental of dishti, it is now treated as a particle and is joined to the root vridh in the sense of Happily,' 'I am glad.' G. 280. -- ·Si NOTES P. 6. L. 6. Trangga--ra is usual or natural state ( as it was before the accident ); प्रकृति आपद् or प्रकृतौ स्था, to come to one's senses. P. 6. L. 9. ÀSTE GA49:- TÁ AN: :. (I to sacrifice, to offer oblations ) gay oblation-eater.' Fire. P. 6. L. 9. 1918-- GET R: JiTT: 49: IRTE AT TH P. 6. L. 10. मुक्तकल्पा--The terminations कल्प, देश्य, देशीय are added to nouns and adjectives to express equality with, or little inferiority to. They denote similarity with a degree of inferiority. P. 6. L. 11. Tagato--P. reads 'Tozala THTH.' Some suggest that 'गच्छतीव प्रसादं' should be construerl with वरतनुः and गंगा, while P. wishes to take it with all, viz. t, 11 aras: and fit. But in doing so there is unnecessary superfluity and no economy; and there would then be two qualifying expressions in each of the first three lines but only one in the last. So we construe it with it alone. P. 6. L. 12. --Here it indicates reason. G. 271 ( 5). But in P. 3. L. 12 and P. 5. L. 4. it means 'indeed'G. 271 ( 1). P. 6. L. 13. Tr:--ra: : 0, gods have three stages of life viz. childhood, youth, and manhool, but no old age. Soine dissolve the compound thus व्यधिकाः त्रिरावृत्ताः दश where त्रिरावृत्ताः दश means 3 x 10= 30; this number with 3 ( 571T:) becomes 33: but this is a mere shift to make the number of gods thirty-three. 'ETICI ET GITATO hai (only 30 ) -912. 'EET: or 30 is, in round number, a name for 33 deities' M. W. D. P. 6. L. 13. Fars:--Lit. whose hopes are frustrated, and hence wretched, baffled in despair ’-W. With the whole speech cf. Nie RT TA TT 99:' Mm. P. 6. L. 13. ar:--Lit. sons of a daughter of H (CAT: 37971 gr graa:). They are called a gas, enemies ( lit. standing in the way to oppose) of the gods, for they are in perpetual hostilities against them. P. 6. L. 14, 7475:--We would prefer to translate this word not by power supernatural, but superhuman or rather supernormal, unusual ;' for if such a power, which is not inet with in the ordinary daily run of life, did or does exist in gods or godlike men, ( like Nárada ) it cannot but be natural; for even gods and godlike inen ( granting that they haul and have real existence ) must after all be part and parcel of Nature, and so their powers too, however unusual they may appear to the uninitiated eye! Above and beyond Nature nothing can be!! cf.

·ACT I, 95 "We believe in nothing supernatural, as I have told you already.The powers which they (say, godlike persons-Ed.) exercise are simply the development of potencies lying latent in every man and woman, and the existence of which even official science begins to recognise.' The Key to Theosophy, by Maulame H. P. Blavatsky. P. 290. P. 6. L. 16. 393ITÀ:--39*IT:57:, for, the outrage gave her an opportunity to see the king's face. For the grammatical construction cf. 'GET'--377014: 57: P. 2. L. 22. The past participles of transitive verbs used intransitively are often used impersonally with an instrumental construction. G. 151. P. 6. L. 17. Fyrào ".--Though Ferà is Locative (=in the proper place ) it is used as an adverb in the sense of it is quite proper that.' G. 304. For alTIGT &c., see our note on FACET :'P. 2. L. 9. P. unnecessarily auldssã' after 37-ATH: in this speech. For the grammatical construction of Sar: see onr note on quar: P. 2. L. 7. In this speech. the king means to say that gánit is really so beautiful that there was no wonder if all the nymphs felt ashamed when they saw her. lalui:, ! 48 TAL. P. omits 'gía Bhira ;' 38A=I consider, perceive; 273+3. Verbs signifying motion ( as or 79 ) mean to know or perceiro when prefixel by 31a P. 6. L. 20. I--Here has an interrogative force involving some doubt or uncertainty. G, 285. P. 6. L. 20. iiat:--P. reals piagh:' which is not a good compound. कांतिपदः is better though not syminetrical with शृंगार करसः anl वेदाभ्य सजडः, In his edition of #1544 P. 649, 1971 says #75: 3777 ia- प्रभः इ ते पाठस्तु न रुचिरः' P. 6 L. 21. iiica:--VTT: ça (#: TA: 797. That excels in the graces of love.' P. His whole soul immersed in love.' C. The word Tit is probably connected with Tt in the sense of the rising of desire.' M. W. D. P. 6. L. 21. 9671T:--Rich or abounling in flowers. 3711 ( 2115 to dig up ) means a mine or a rich source of anything. P. 7. L. 2. TEITHFG:-a91 TiêT 33: HT: ( probably from its to be cold or dull. 5 adlj. cold, stupid, apathetic, senseless. garā gaiyara.) cf. 43427, 4349: P. 40. L. 14. P. 7. L. 2. #UTTO "--1, like T, is often compounded with interrogative pronouns, in the sense of possibly' Indeed' «I should like to know.' G. 285. faqasary770--977: 22i alacri qk9.

·96 NOTE6. P. 7 L 3. Fairie. This heart-bewitching beauty.' C. gur- (ger i ) of #artea:. With the whole verse cf. the idens in JET: Ad againg TT-share a 4979 YT:'Mm, ang बीप कथं वा स्यादस्य रूपस्य संभवः । न प्रभातरलं ज्योतिरुदेति वसुधातलात् ॥' S 1.21. P. 7. L. 5. Preto --(P. reads 374795741.779 means protection, free dom from fear ( 37+49 ). Whose presence gives an assurance of safety “who has delivered us froin our fears.' C. must be knowing'. The present tense in Sanskrit corresponds to the present progressive in English.' G. 185. Mr. Pandit translates thus- The king knows, as he commanded them (our friends) not to be afraid and asks the readers to understand that Chitralekhá, being carried away by the demons along with Urras', haul overheari the kiny wort (अलं असं आनंदितेन ke. P. 2. L. 19.) adressed to her friends at the foot of the Hema kúta-mountain. But we beg to differ from him. For if Chitral khá could hear the king's words, she and the demon must have been within sight of the king and her frienils near the mountain; and then the king would not have asked the question or arga 9 THT- 17 Ta: # TSH via 'P. 3. L. 8. ; also Sahajanyá insteal of answering ga Ti P. 3. L. 9. woull have actually pointed at the demon with her ting.r. Thus both the question and the answer show that the demon haul gone away beyond the reach of sight (and of course hearing) and therefore Chitra- I khá could not have heard the king's wonis. We think (in P. 7. L. 3.) Chitralekhá means to say:-The king who has given us protection and who came to our rescue, must have done so at the request of our friends and so he must be knowing where they now are. The word 37499814 may be a tanya191 ( significant epithet ) in this sense that as he is 374998ret, our helper, he will certainly lead us to our friends and restore them back to us quite safe : for unless he gives us our friends quite safe he can't be said fully and properly to be an 3749967. P. 7. L. 8. Togar--( 9€ RE to go, move, act. Acting as one likes. Self-will or accident.) 47egt is usually used in the Instrumental singular and is translated by accidentally.'cf. 89191TÈA' P. 3 L. 6. P. 7. L. 10. ATSO "--The king apparently makes a general remark, but really he describes his own feelings. सोऽपि समुत्सुको भवेदिति सामान्योन्या आत्मनि प्रतीयमानमौत्सुक्यं सूचयति. P. 7. L. 11. -Cf. pk ga: P. 4. L. 2. and see our note thereon. P. 7. L. 11. FTĦET:--P. reads the fourth line thus ' eHTE 1& ATÂTRE,' but does not say what he understands by 32. He simply quotes tal-'ACTTHEAT #THAR RECORT a'thus he seems to ·ACT I. 97 take it as meaning full of feeling, warm.' But रूढ, firm, deep-rooted, is very well contrasted with यदृच्छया and सकृत् ;. and कालिदास uses आई in the sense of ner, fresh, as in 'प्रणिहितशिरसं वा कांतमापराधं' M. III. 12. 'आान् नैऋतशस्त्रमार्गान् ' ( fresh wounds ) R. XIV. 4: thus आईसौहृदः may give the idea of momentary, fresh, love. P. 7. L. 12. अपवार्य--(अपवृ Caus. to conceal ) अपवारितं, अपवारितकेन, and अपवार्य inul. frequently occur in dramas in the sense of apurt, insidle to another' (opposed to 95131.) It is speaking in such a way that only the person anlddressoil may hear it. Def.: 'रहस्यं तु यदन्यस्य परावृत्य प्रकाश्यते । तद्भवेदप- वारितम् ।।.' P.T. L. 12. अभिजातं--(अभिजन् to be born of a high family.) Fit to be spoken by a nobly horn person; courteous, polite as in अभिजातं वारितः मधुकरः S. VI. ( courteously, न्याय्यं यथा स्यादेव--राघवभट्ट.) cf. 'अभिजातः किल वसंतः' M. III. where in his notes P. translates अभिजात by nobly sympathising.' For 3 far, soue real'.' P. 7. L. 12. अथवा..."--"And it is but right, for &c...' of 'रुक्मिणी- न केवलं अस्य दर्शनं मधुरं वचन मपि । अथवा का खलु वर्णना चंद्रः सुधोदारीति lu. II. The idea that the moon is the source of nectar may be due to the Soma-plant being identities with the moon. See our note on ĀTĀCRITTE? P.3. L. 12. P. 7. L. 17. उत्सुकनयनाः०--For उत्सुकनयना लोकाः P. reals 'प्रयाग- नप्रसादम् ; but प्रसाद is never ussel with reference to चंद्र, its use being restricterl to मुख and जल, P. 7. L. 17. उपप्तवात्--उपवः ( उपm to cover with, to distress ) a portent or natural phenomenon foreboiling evil, particularly an eclipse of the sun or moon. P. 7. L. 19. ननु समदुःख.. -- For ननु here anil in P. 8. L. 3. see our note on 75 P. 4. L. 16. M.Wm.'s elition reals this speech thus ' - दुःखसुखः पीयते लोचनाभ्याम्. In A's Dictionary umler पा it is thus given समदुःखः पीयते नयनाभ्याम्.' P. rearls thus 'उर्वशी--( राजानं सस्पृहं पश्यंती । ) समदुःखः पिबतीब मां नयनैः ।' We reject P's reading for the following reasons. speech of Urrax's has to be applied to the king and to her friends on the mountain. (1) In P's realing the agents of पिबति are सखीजनः anal the king severally : in that case the friends being many, the plural ta: may apply to asa,. but in the case of the king the plural is incorrect unless we take it in the sense of glancex which is unusual. (2) Again, if the king is the agent of rara we expect some such stage-lirection ( Tin AFC 877 TATÁ पश्यंती।), for unless Urraxi observes स्पृहा in him. she cammot appropriately 9 ·98 NOTES. say of him as fafa ('he looks intently at ma'). (3) By this speech Urraxli covertly intends to attract the attention of Chitralekhá to her own feelings of love for the king, which purpose cannot be well served if the king is the looker-on. (3) The best argument in support of our reading is that it is a direct response to Chitralekha's invitation Hica .' That Chitralekhá became aware of Urcar'i's state of mind is indlicated by her question 'T' which she asks after noticing that Urras'í was really looking at the king, though apparently she meant to say that she was looking at the friends as told to do by Chitralekhá in 'ata FT.' cf. C's translation Urrax'í-My eyes «Irink in that sharer of my joys and sorrows. Chitralekhá-Whom meanest thou! Urras'i-Whom should I mean but yonler troop of my friends ? The word 797 is derived from fi to carry, lrail : for the eye is the guiding or leading organ. Here the root 91 is used in the sense of 'look at intently or eagerly ;' it is also use:l with reference to th: ear in the sense of • listen to intently:' cf. 'STĪTS: Grefrai:' Bhî. II. 1) (ft ftari, argi Triorat--L. R. Vaidya:) P. 8. L. 2. Ara -3190 (to sound ) meaning, intention. #135.74 meaningly, significantly, ( often occurring in plays as a stage direction). P. 8. L. 2. TET--A vocative particle in licating a gentle or kind inquiry, in the sense of friend, prithee.' G. 248. P. 8. L. 5. विशाखासमीपगतः--विशाखा is one of the two stars चित्रा, and lattial which form a constellation. Sometimes the moon is said to approach चित्रा, and विशाखा is left to be inferrel as in 'हिमनिर्मुक्तयोोगे चित्राचंदमसोरिव.' R. I. 46. Somatim3s for चित्रा and विशाख, the dual विशाखे is usel, as in 'Titig ra TTİRSE 37.'S. III. In the present case gishi zar correspon is to astrarea, and retai- द्वितीया to 'वित्राद्वितीया' which can be easily inferrel froin विशाखा. P. 8. L. 6. À TITO-For both the boons our thanks be pourel, The prince unharmed and friends restored.' W. 'Two things pleasing to us have come to pass.'— Notebook. Two delightful things have now happenel to us.' C. But these renderings do not bring out the force of 39. Veniká mzanz-Here happen two things, and both are such that we hwe every reason to be thankful for them; to which Sihajanyó respon is in the next speech-Well sayəst thou that these are things on which we should congratulate ourselves much, because the demons are conquerable. P. 8. L. 9. aa TECT--viz. that of the Hemakuta mountain where the nymphs, the friends of Urvas'i, had promised to remain awaiting the arrival of the king. See P. 3. Ll. 13, 14. P. 8. L. 11. rehati--gra: ( 37 TT) TTTTTTİ TTET Tatia: P. 8. L. 11. -- a somatim 33 expresse s' Joy.' G. 305.

·ACTI. 99 P. 8. L. 12. विषमावतारः--विषम (वि+सम) rough or uneven ground; it may also mean a difficult undertaking' but this sense is not quite applicable here. Some real thus 'सफलो मे विषयावतारः' and understand by विषयावतार 'विषयाणां रूपरसादीनां अवतरणं यस्मिन् descent in corporeal form or possessionof a boly': a meaning which seems to be good but is farfetched and inappropriate. P. 8. L. 14. सरोमविक्रियम्--सरोमांचं यथा भवति तथा स्पृष्टः. रोमविक्रिया is the change of the hair of the body, their bristling or erection. The thrill of joy, terror, or surprise makes the hair on the body stand erect. रोमन् n. hair on the body. P. 8. L. 14. अंकुरितमनोभवेन--अंकुरितः मनोभवः येन अंसेन (बहुव्रीहिः) P. in his old edition reals 'अंकुरितं मनसिजेनेव.' Some reall the verse thus 'यदिदं रथसंक्षोभादंगेनांगं ममायतेक्षणया । स्पृष्टं सरो- मकंटकमंकुरितं मनसिजेनेव.' The king describes the hair standing erect as being the young prouts of the future tree of love. The seed of the tree was sown when the parties met; it now put forth sprouts when they came in closer contact ; it will blossom when they come to know cach other's love, and will bear fruit when the union takes place. cf. 'किमिदानीं तत्रभवती उर्वशी भवतो मनोरथानां कुसुमं दर्शयित्वा फले विसंवदति ' P. 28. L. 12. anil M. IV. 1:- तामाश्रित्य श्रुतिपथगतामास्थया लब्धमूलः संप्राप्तायां नयनविषयं रूढरागप्रवालः । हस्तस्पर्श मुकुलित इव व्यक्तरोमोगतत्वात् कुर्याक्लोतं मनसिजतरुमी रसज्ञं फलस्य ।। P. 9. L. 2. संभावयामः-संभू caus. to honour, to pay respects to, cf. 'प्रातोऽसि संभावयितुं वनान्माम्' R. V. 11. P. 9. L. 9. दिष्टया.."--For etymology &c, see our note on that word P.6. L. 6. The particle दिष्ट्या is often useal with the root वृध् and दिष्टया वृध् is translatel by .to congratulate one upon something,' the subject of qy being the person congratulaterl upon and the matter of congratulation being put in the Instrumental case. G. 280 ( a ). P. 9. L. 12. alisa--adv. fast, from aig to squeeze or press. P. 9. L. 12. भूयः--(comparative of बहु; more, further on, again ). P. 9. L. 15. कल्पशतानि--here means, for many years. कल्पः is a day of Brahmá or 1000 Yugas, being 432 inillion years of mortals, measuring the duration of the world. At the end of a Kalpa the world is absorberl into Brahma, and hence Kalpa is sometimes used for Kalpánta, the destruction of the world. At the ·100 NOTES. beginning of the next Kulpa, the universe is again evolved out of Brahma, anul assumes objective manifestation. P. 9. L. 15. qeni qrarear--Nouns ending in į are used with the Accusative insteal of the Genitive when habit or disposition is intended to be expressel, as ar stigar 47 (P. 88. L. 16.) always keep thy father pleased;' but ita har, EZET Fi &c. G. 118. P. 9. L. 18. Fui lere-- ( being identified with the Sun by the Vedic poets, certainly ) resides in the East and therefore Chitraratha, now sent by him, comes from that quarter. P. 9. L. 18. Trama:--from ITTot caus. to exhibit. P. 9. L. 20. Er--( TI FATTHC 4541) P. 9. L. 20. 317*--( aj graag 1 ) bracelet worn on the upper arm. P. 10. L. 2. ---39€Sometimes denotes surprise as caused by meeting with some person or thing unexpectedly. G. 251. (Prakrita 37+HT; 'अम्मो अम्मह इत्यैतत् विस्मयद्योतनाविधौ.') P. 10. L. 2. 79:--King of the cityás; he was one of the 16 sons of **99 by his wife .. cf. 6379 : 779: ETÀ ATGTi 1952Tİ Çgi a: a:954: 19772: 714 797993' Ká. P. 10. L. 4. raggr--see our note on that word P. 9. L. 9. P. 10. L. 5. Figar--hta is greatness of valour or great valour Here, as well as in 37TÀ: crit:' P. 10. L. 21. the word rikrama is said to convey a compliment to (probably Vikramaditya of 56 B. C. or ) some king Vikram who must have been the patron of Kilidása and before whom this play may have been performeil. See our note on the title .@hairy' P. 1. L. 2. P. 10. L. 6. 79--39 is principally used to express surprise. G. 249. cf. 'TÀ FAIT: ' S. VI. By 379 the speaker means to say "I did not expect to see him here now.' P. 10. L. 6. FITTÄ--In greeting, the Dative is used with words like Fait. G. 67 (d). P. 10. L. 8. Torto--P. omits this very useful speech of the king given by his Ms. 'K.' Its absence makes the next speech of Chitraratha look all abrupt. P. 10. L. 9. Freia--( TTET YRIT, aq gula ) aITE is a celebrated Devarshi, deified saint or divine sage. He is one of the 10 sons of Brahmá. He is represented as a messenger from gous to men and from men to go«ls. (In Act V. he comes to the king ·ACT I. 101 Purúraras as a messenger from Indra. See P. 94. L. 3.) He always wandere from one world to another singing praises of Goul, with his lute ( riņá) in hand. He is one of the best devotees of God. cf. the following quoted by Prof. P. N. Pátankar in his notes on S.- प्रल्हादनारदपराशरपुंडरीकव्यासांबरीषशुकशौनकभीष्मदाल्भ्यान् । भीष्मार्जुनांगदवसिष्ठबिभीषणादीन्युण्यानिमान्परमभागवतानमामि ।। P. 10. L. 10. शतक्रतुना--शतक्रतु is an epithet of इंद्र. See our note on महेंद्र P. 3. L. 4. Originally Kratu meant power ( 7 ) both mental and physical i. e'. wisdom and strength. 'Kratu never has in Riyreda the sense of sucrifier which was afterwards attributed to it. Thus Slutakratu-Indirazhe whose strength is as the strength of a hundrel.'-- Prof. l'. Peterson in his notes on The Hymns from Rig reda. But in post-velic times kratu came to signify sacrifice and so S'atukratu=one who has performed a hundrel sacrifies. See our mote on मघोनः P. 4. L. 3. cf. 'अपूर्ण मेकेन शतक्रतूपमः शतं क्रतूनामपवित्रमाप सः' R. III. 38. However, Golbole and Parab in their notes on S. VI. say. He is so called because the rank which he occupies is unattainable excepting thr: ugh a hundral 1x'cumrulha or horse-sacrifices, P. 10. L. 11. चारणेभ्यः--(चर् ; चारयात कीर्ति ) चारण is a wandering singer; a barıl; a celestial singer. P. 10. L. 11. जयोदाहरणं--जयख्यापनं. 'यशो जयोदाहरणम्'--हैम. (उदाहरणं is a declaratory song ) a sort of panegyric beginning with the words like जयति. cf. 'पत्रे निवेशितमुदाहरणं प्रियायाः' P. 28. L. 6. anal 'जयोदाहरणं बाह्वोः गाप- यामास किनरान्' R. IV. 78. P. 10. L. 12. पुरस्कृत्य--- Taking charge of.' पुरः कृ to place before, introdluce, present. cf. 'मद्ववचनात्स राजा शकुंतलां पुरस्कृत्य वक्तव्यः' S. IV. मघवंतं--See our note on मघोनः P. 4. L. 3. Part of this prose passage is thus given in M. Wm's clition: ACATI अनंतरं विमानचारिभ्यः त्वदीयं यशोराशिमुपश्रुत्य त्वामिहस्थमपागतः । भवानिमां समादाय महें - द्रष्टुमर्हति. ॥ P. 10. L. 14. अतिसृष्टा--दत्ता. See our note on 'नरसखस्य ' P. 2. L. 9. मरुत्वते --मरुत्वान is इंद् the lord of gorls ( मरुत् wind, storingol, god). See our note on महेंद्र. P. 3. L. 4. P. 10. L. 17. ननु०"--For ननु see our note on that word P. 4. L. 16. वजिण:--वजिन् is इंद्र having thunderbolt for his weapon. cf. अत्र खलु शतक्रतोरेव महिमा स्तुत्यः 'सिध्यंति कर्मसु महत्स्वपि यत्रियोज्याः । संभावनागुणमवेहि तमीश्वराणाम् ' S. VII. 4. 'त्रिलोकरक्ष महिमा हि वत्रिणः' P. 5. L. 11. पक्ष्यः पक्षे भवः partisan, friend, ally. cf. पक्षपाती. P. 1. L. 21.

·102 NOTES. P. 10. L. 19. TEUTYT:-- a mountain is called 947 because it is supposed to support or hold (ų) the earth. cf. a. P. 10. L. 19. an af-- As it rolls forth from.'C. P. reads The Hai' and translates which reaches a den’; but it is not echo that reaches a den. The roar reaches a den and its echo proceeds from it. cf. ET- Chi Trastot:' P. 71. L. 20. In the 4th line, for 3r some read 'fe' but 3719 very prominently brings out the idea that the actual presence of the Lion (or Indra) is not necessary, for eren his echo is sufficient. P. 10. L. 20. af--Dis perses. cf. Arrogantia Trang2' S. I. 28. For me some real 'F' Art-(tegra 37:, म अगः नागः; can we not derive it from नग mountain, नगे भवः नागः? M. Wm. D. says al't may be derived from 5 to distress, 7 being substituted for &). P. 10. L. 21. 37TÀ:0***—For ag see our note on that word P. 6, L. 12. For a T-see our notes on 'HHTET' P. 10. L. 5. and hast'P. 1. L. 2. This also is said to contain a compliment to the king Vikrama. With the whole cf. “Modesty is the handmaid of heroism.' P. 11. L. 4. Fratran-See our note on 37971 P. 7. L. 12. As a stage direction it is an indeclinable. When usel as a noun tia means secret communication, whispering or speaking aside to the neighbour. Def. 'grar argari act 2 अन्योन्यामंत्रणं यत्स्याज्जनांते तज्जनांतिकं ॥' (where त्रिपताक means a hand with three fingers stretched out ). P. 11. L. 5. E-Lit. be my mouth. Be my voice.'c. It means 'Speak to him on my behalf.' P. 11. L. 8. ARTTITO—This is a round-about way of saying 'I beg your permission to go back to heaven.' cf. Illustrious Sir, my friend commands me ask Your leave to carry back with her to heaven, As one she dearly cherishes, your fame.' W. For a similar construction of the Marathi passage from the Kesari of 26th June 1894-HT altares af 167 $, 793 Tare S TÈ परत गेले; इतकेच नव्हे तर त्यांनी आपली सखी ह्मणून नामर्दपणाची अपकीर्ति आपल्या TTTTT! P. 11. L. 10. TUTTO"-P. says, this is not an invitation but only a formal way of saying 'good-bye;' we, however, think it contains his hope or expectation and is an invitation very politely expressed; and if so, it is well explained by TF--377iqat api T: 97&ta' S. VI. cf. Farewell! I trust erelong to meet again.' W.

·ACT I. 103 P. 11. L. 12. उत्पतनभंगं०-"Pretending to be stopped in her flight.' C. P. 11. L. 12. एकावली-(also spelt एकावलिः) a single string of pearls, beads &c. It is a long necklace reaching upto the feet. cf. 'एकावली कंठ- विभूषणं वः'-विक्रमांकदेव. Some read 'एषा एकावली वैजयंतिका मे लग्ना.' P. 11. L. 15. आम्-Yes; also spelt आम. cf. 'आम, देवि, आम' Ru. V. 0—Chitralekhá jokingly ineans to say that Urvas'i' has fallen in love with the king. P. 11. L. 17. PITEIÊT-Urvas'i's meaning is well espresse l in 'ITT- प्रस्तावोऽयं न खलु परिहासस्य विषयः' Mn. IX. 44. P. 12. L. 2. भवतु-(Some real 'तथापि.') Let it pass. 'भवतु इति निषेधे । अस्तु भवतु पूर्यतां इति निषेधे इत्युक्तेः'--राघवभट्ट's commentary on s. The meaning is that haqin.licates something about to be done, contrary to that to which things were ten ling before.' K, T. Telang's Notes on Mudrárákshasa, P. 36. P. 12. L. 4. वचनं-i.e. Your remarks 'दृढं लग्ना &c.' as well as your promise 'यतिष्ये तावत्.' Chitralekha has to remember these and act up to them. cf. 'तदा मा उपहस्य..' P.22. L.7. P. 12. L. 9. अपांगनेत्रा-अपांगः=( अप अंगति तिर्यक् चलति नेत्रं यत्र ।) outer corner or angle of the eye. 379ial having eyes with beautiful or long outer corners. (cf. arga TP. 5. L. 12. and see our notes thereon. El.) A better interpretation woull however be, with the eyes turned towards the corners : 379ing: ita asi.r. casting sidelong looks.: A. D. Whose eyes are in their corners Taking sitle looks. अपांगयोः नेत्रे यस्याः.'". P. 12. L. 10. परिवृत्तार्धमुखी-परिवृत्तं अर्ध मुखं यस्याः अत एव अपांगयुक्त नेत्रे यस्याः एतादृशी दृष्टा. A similar scene occurs in S. I. 10 which the king there thus refers in S. 11. 12:- दर्भाकुरेण चरणः क्षत इत्यकांडे तन्वी स्थिता कतिचिदेव पदानि गत्वा । आसीद्विवृत्तवदना च विमोचयंती शाखामु वल्कल मसन मपि द्रुमाणां ॥ P. 12. L. 10. अद्य-For अद्य P reals 'हि' which is improper, becauso being synonymous with 77 ( in the thiril line ) it is superfluous. 350 is better and has a propriety of its own; for, it has to be construeil with ga, and thus ga: 273 means "again or a second time on one anil the same day (अद्य)' (the first time being of course in the chariot while returning from Hiranyapura to Hemakuta ). P. 12. L. 14. सुरेंद्रस्य कृतापराधान्-This is not as grammatical as * कृतसुरेंद्रापराधान्.'

·104 NOTES. P. 12. L. 15. लवणांबुराशौ-लवणांबुराशि is the sea or mass of salt water (as opposed to the other six seas of milk, honey &c. ) P. 12. L. 16. 1976UTO"-art is algar Så or ary: gaat TET sent off with a मंत्र addressed to the god वायुः ( also spelt वायवीय) अस्त्रं अस्यते क्षिप्यते यत्. An अस्त्र is throun, while a शस्त्र cuts. Every अन has its own 7. Tre is an arrow-holder (ur) or a quiver. This word determines the sense of अस्त्र as being 'an arrow.' उरगः=उरसा staylā. JIĘ TH 99. A serpent that crawls or goes by his belly: = ti a hole or chasm. +1 to pierce or bore. Some ilerive it thus farà यत्र, or यत् श्वानं बिभर्ति, a cornerhole. In this verse the idea appears to be that an arrow is discharged accompanied by a command from the discharger who has trained and developed his will-power which gives portionate potency to the charm. The arrow obeys the force of the Will. oes the work intenderl. anil again returns in obedience to the same Will, like an obe lient servant unflinchingly obeying the behest of his master. This has reference to some hidden forces of Nature and latent powers in man, which were known to our forefathers and which could be easily wielleil by those who knew how to do so. Such ideas are scattered throughout the ancient Aryan literature, and in our ignorance we call them ille fancies of the poets: but call them idle fancies or mysterious riddles, they are nevertheless based on truth and natural laws. They seem to be superstitions, because a key to their solution is alas! now altogether lost. But thanks to the progress of modern science, the patient researches of the practical psychologists and the singlehanded but lisinterested and noble work of the much calumniatel Theosophical Society, these unexplained laws of Nature are being investigate and found out. May their labours be crownel with success and may our ancient writings be vindicated and scientifically explainel to the almiration anıl calification of the whole world!! P. 12. L. 18. 94-99174. ( 3919 to approach, but caus. to bring near.) cf. 'a le STTTT 2016 (692' (as read by others) P. 83. L. 18. P. 12. L. 20. TIT AIR-See our note on these words, P. 4. L. 14. P. 12. L. 22. BIET T-34È sometimes shows painful surprise, sorrow or regret. G. 251. 3TÈTICS (#1:) generally indicates surprise often agreeable. दुर्लभाभिनिवेशी-some read दुर्लभाभिलाषी.' 'Alas ! that love should always desire the unattainable.'C. aast: ineans, devotion, ardent longing for '; ( alast to be attached to, with accusative. G. 31. caus. to turn or direct towards. अभिनिवेशी here seems to mean अभिनिवेशयितुं शीलं यस्य.) cf. 'भगवन् संकल्पयोंने प्रतिबंधवत्सु अपि विषयेषु अभिनिवेश्य तथा TETIT TOT ITSi #rajara: 5 Harà.' M. III. P. 13. L. 2. F*--( ind. past part. of T4, THE to overpower. cf. நமது ·ACT II. 105 fer-by violence. ) 44:force; 7 ind. perforce. The beauteous nymph bears off my heart in triumph.' W. P. 13, L. 3.'ag: 960***—See our note on 'ITHOFT'P. 2. L. 9. The ai qe is the iniddle region or sky. Here the poet identifies the ancient Rishi-Nárayana with the gol-Náráyanı or Vishnu whose third region is the sky. The Vedic-poets have «lescri. beul the Sun as traversing the universe in three paces ( 9 ) which lesignate the three daily stations of the Sun, the first being on the eastern horizon, the milille one at the zenith ( cf. frag: TTTTrasmiradi 579 P. 16. L. 17. ), and the thirl on the western horizon. The Puuráníc story of Vámanáratára grew out of this Verlie conception. Thus Vishnu was a name of the Sun. Subsequently Vishnu was lookerl upon as an independent deity and callel Tririkrama or three-pacel: then Vishnu being identified with Rishi-Náráyaņa, the father of Urrusi, the sky is said to be the middle pace of her father (ga:). cf. Saepe a STT: 49: F: Ta o TGI 04. and 'akt ZEIT PATET AFB at Ticarry agia Arif' S. VII. 6, in a note on which Gotbole and Parab say . The second striile of Ilari or Visliņu at the time of putting town and overthrowiny Buli. The story runs thus - A demon namel Buli hail by his devotion. craineil the dominion of the three workils. Vixhan undertook to trick him out of his powers, and assuming the form of a Vámatnu or warf he appeared before the giant and beggel, as a boon, as much and as he could have in three steps. This was granteil, and the goul immoliately expanded himself till he filled the world, deprivel Bali of the carth at the first step of heaven at the second, but in consideration of some merit left Pátálu still unler his rule.' P. 13. L. 4. 51--71. P. to pull (but F7 6. U. to plough ) dfsararao=In this verse primar corresponils to TIÂ, 47: to 1, Tata to gara, and what correspon is to disarra is zasil147- tasala ( hita) inferred from the secoul line. Act II. P. 14. L. 2. fatti:-The scene of Act II. is lail at the garden of the palace of Purúraras at Pratishthanat. P. 14. L. 3. f:--( 1; face aulj. corruptor, abuser, jocular, witty. ) a jester. Buffoon. The humorous companion and confilential friend of the hero in a play who excites mirth by his quaint dress &c. by allowing himself to be made the butt of ridicule by almost every boly. He is a Bráhmana. Def.:(«) paina: Elazar att*: (1) $948 Prah: agarrarà: 1 TIF7*T: fattialäqa: FTE*AT: 13 Vita and Vidúxhaka are peculiar to Hinau Theatre. It is true that they correspond to the parasite of Greek comely and Buffoon of others;

·106 NOTES. but ita is never rendered contemptible, and Vidushaka is always a Brálmarur. W. P. 14. P. 4. -- it sta acertadata:. Some readac anfare भोः' to explain which रंगनाथ quotes 'अदृष्टाश्रुतसंप्रातौ अविदाविदभोः पदम् ।' P. 14. L. 4. Qira T7T: -atta għa qat:. Wholly engrossed in the thought that he has received an invitation. • Like a Brahmana totally engrossed in the thought that he has received an invitation to dinner. Tidushaku means that the secret which the king has entrusted to him threatens to burst out-he is going to burst with the secret-just as the fact of a Bráh mana having received an invitation to dinner bursts out from him. When Brah manax ( the professional ones, not all-El.) receive an invitation to a feast they cannot contain the good news within themselves but must perforce communicate it to others.' P. P. 14. L. 5. TEFT7 27--P. reads 'F52#1:' which is grammatically wrong, for it ought to be 'FCH:'( 697 6. P. and 1. U. to break forth. ). cf. ' Far Thir#: attiratūT ESZA 57 sia gaygios अवतस्थे.'Ka. Some suggest the realing 'स्फुटता राजरहस्येन' the illea of स्फुट going with the secret and not the person, for they say it is the secret that breaks out; but see '751 (TFİ ETİ Fara Sana' P. 15. L. 3. P. 14. P. 5. a--(8715, to spreal over.) P. reals simply afi prof.' Mark that ariiof or plot is used as a noun here, though really it is an adj. and is so useil in S. 1.10. Fark of Hà T7ETH IETĀS.' Villúshuka is not now standing in a crowd of the people. He is in the garlen and means to say . If I leave this place and go out in the public street, then I shall not be able to .' 7Th being equivalent to a the present having the meaning of immeliate Future. G. 186 (a). For 'Porosita' P. reals' Foet traga.' P. 14. L. 6. Trafara--ffi is the seat of transacting business. (cf. WAAi julgient seat. Afhalara arazi TZ U. ) cf. qua: Tartaroj 4981TTAT HET Tar.'R. VIII. 18. P. 14. L. 6. 31a8fa--has, like 9711A, the sense of Future. G. 186. (a) P. 14, L. 6. संपाते--संपातः like जनाकीर्ण or आकीर्ण means a crowd or gathering, from #97 fall or meet together. P. 14. L. 8. aa-red to serve or 'send out as a messenger ) & female servant. $$=a vocative particle used in addressing a maid-servant. 'हंडे हंजे हलाव्हाने नीर्चा चेटीं सखी प्रति' ( respectively.) उपस्थानं--Ses our note on सूर्योपस्थानात् P. 2. L. 19. For सूर्यस्य उपस्थानं P. reads 'अर्कस्य उपस्थानं.'

·ACT II. 107 P. 14. L. 11. शून्यहृदयः-- He is no longer the same; he must have left his heart behind him.' W. P. 14. L. 12. उत्कंठा-(Lit. having the neck uplifted, to see with eagerness) uneasiness, regret, missing something or some person. Distraction of mind. P. 14. L. 13. ब्रह्मबंधुः--Here used of विदूषक in contempt. It is a contemptuous term for a ब्राह्मण. (cf. marathi भटु). It means ब्राह्मणः बंधुः इव or ब्राह्मणसदृशः, one belonging to the class of ब्राह्मणs but not doing the duty of that class (जात्या ब्राह्मगः किंतु ब्राह्मणाचाररहितः) प्रातः सायं च संध्या यः उपेक्षते यः विप्राचाररहितः निंद्यकर्मकारी सः ब्रह्मबंधुः cf. 'स्त्रीशूद्विजबंधूणां त्रयी न श्रुतिगोचरा । इति भारतमाख्यानं मुनिना कृपया कृतं ॥'-वेदार्थप्रकाश. and ‘स्वयमेव ब्रह्मबंधुना उद्भित्रो दुर्गप्रयोगः' sail of विदूषक by इरावती. M. IV. P. 14. L. 13. अतिसंधेय:-अतिसंधा is to overrearh; to deceive hin out of his secret. To trick the secret out of him.' P. The idea seems to be to deceive him by entering into his confidence, as is well brought out in the sentence 'भगवन् कुसुमायुध, त्वया चंद्रमसा च विश्वसनीयाभ्यां अतिसंधीयते कामिजनसार्थः' S. III. P. 14. L. 13. अवश्यायसलिलं.--अवश्यायः m. Frost, lew (श्य to dry ap, wither, with 377 ) A secret can rest no longer in his breast, than morning dew upon the grass.' C. cf. 'नलिनीदलगतजल मतितरलं '-मोहमुद्गर. V. cf. also what दुष्यंत says of विदूषक in S. II. 'चपलोऽयं बटुः'. P. 14. L. 15. किमपि--"Owing to some cause or other.' P. 'Deep in thought on something or other.' C. cf. 'किमपि चेदमनंगविचेष्टितं' P. 21. L.20. P. 15. L. 2. स्वस्ति--( originally noun. f. n. ) ind. शुभमस्तु . 'स्वस्त्यस्तु ते' R. V. 17. In greeting, Dative is useal with such words. G. 67 (d).cf. 'स्वागतं प्रियमुहदे' P. 10. L. 6. and see our not thereon. P. 15. L. 3. निष्क्रामतीव--P. omits “इव' but it has a special force of its own. cf. “The king's secret begins bursting my heart, and well nigh forces its way out.'C. P. 15. L. 4. संगीतव्यापारं--Music-practice'-C. संगीतं is triple symphony or singing accompanied by instrumental music and dancing. ' वायं नर्तनं च त्रयं संगीतमुच्यते.' P. 15. L. 5. 299--19 here means command, order, direction. वचनेन and more frequently वचनात् are used in the sense of • In the nam of' 'By the order of.' P. 15. P. 8. न"उपेक्षते--This indicates that the queen is in great distress not experienced before. Really speaking these words are ·108 NOTES. Nipuniká's own, and it is a trick invented by herself to deceive Vidúshaka out of his secret. P. 15. L. 9. qfans--at is a particle of interrogation. cf. Mar Tis 3769 AZTET'S. VII. "Why, what is the matter, has my royal friend done anything to displease her ?' W. P. 15. L. 11. JATO--GFT:ET. This is also an invention of the cunning maid-servant. FATTO--This is technically termed ' Fasi', making mistakes in names. It is everywhere alluded to by Sanskrit poets. cf. griga qarla aragraarha:gina Elita Farasa Fagr yara a granel'S. VI. 5. P. 16. L. 2. (5752T--By restraining the tongue, i. e. by making a strong and painful effort to keep the secret. P. 16. L. 4. 1O.--P. omits 'la gior-3714 i Brf #TAT @A:-- ſea sala 37AT: I ' and reads JET: Trano ''as a continuation of the last speech of Vidúshaka. But it is natural to suppose that Vidashoka required a reply to his question 'किं आमंत्रिता तत्रभवती उर्वशीति, and that Nipunika wished to know who Urvas'i' was. P. 16. L. 6. Tere:6--(lagt drive away, remove fatigue. ) averse to all sorts of recreation. cf. 'रम्यं द्वेष्टि यथा पुरा प्रकृतिभिर्न प्रत्यहं a.' S. VI. 5. It was the duty of Vidushaku to please the king, but on this occasion he was sorry to find that nothing that he did could please the king. P. 16. L. 7. Pa to "----I have broken open my lord's impregnable secret.' C. P. 16. L. 8. godt fra IA--For ( dative ) P. wrongly reads "2677:' (genitive ); for "The causal of ac with Rê governs the Dative of the person to whom something is told.' G. 68. cf. THE T ha- TA'S. IV. PETITÀI 117917 Fagara:'S. IV. TET: THE TO aag' R. II. 68. The mistake on the part of Mr. Pandit arose from the Genitive case in the corresponding Prákrit words, viz. Taig arô.' In Prákrit there is no Datire case, and when the idea of Dative is to be expressed, Genitire is nged for it. Therefore in translating Prákrit-Genitive-forms in. to Sanskrit we must see which case is required by the rules of the Sanskrit Syntax; e. g. (a) in the present case there is targ (Gen.) in Prákrit, but by Sanskrit Syntax faca requires Dative, and so c# ought to be translated by go here. (b) In the next speech of Vidúshaha we have the Prákrit words 'Tai' where dag is again Genitive, and Sanskrit Syntax also requires Genitive, therefore in that case Ti ·ACT 11. 109 is equal to : gå. Students should note this fact very carefully, for mistakes are often committed in such cases. Let us note one more case In Godbole and Parab's edition of S'úkuntala P. 102. (Act III.) we have * Hra o ST HOTTEFA=Eartai ajaaat HTTYET' which is palpably wrong: it ought to be स्वागतं अविलं बने मनोरथाय, tor, स्वागतं, in Sanskrit, governs Dative. See G. 67 (a). The grammatical construction of Prakrit is marked by some peculiarities such as the want of a dnal number, and dative case, and the employe ment of but one conjugation. The lower species have a common termination for every modification of gender, number, and person. It everywhere substitutes indistinct pronunciation for the clear and definite utterance of Sanskrit. It changes the # of the nouns of relationship (ag HIT, H137 ). It drops the ending consonant ( as FE, AT ). Neuter gender is sometimes changed to masculine. Generally it has only the 2st conjugation. It substitutes Parasmai puila for ît manrpada. In it the only tenses and moods are Present, Second Future and Imperative. Prákrit passive uses active terminations, for ît manrpaila is never used in it, at least in I'rose. The sacred dialect of the Bandilax and Jainax was Prikrit. “This simplification of grammatical construction looks like the spontaneous substitution of practical to theoretical perfection in actual speech. and tempts us to think that Prakrit was once a spoken Jauguage." W. P. 16 L. 10. TIT Fier: farina – To cure him of this ille fancy of his.'W. in. the longing for उर्वशी. cf. 'सेतोवहां पथि निकामजलां stalez ora: A 9797- ACTRITT IS. VI. 16. The TTTT (deerthirst) is the inirage or the illusory appearance of water in a desert (HTI). In hot and sandy countries, the vapour of the atmosphere appears in the distance like a sheet of water. The deer are deceived by this watery appearance. To quench their thirst in hot afternoons they try to approach this water but never reach it and at last it disappears towards the evening. P. 16. L. 13. :-P. rearls dance#:' singular, but in the next verse he rearls with us 'F' plural; to avoid this inconsistency we have retained 7: (plural) and choose to real date: 219;!. coull be many is supported by R. V. 65. मूतात्मजाः सवयसः प्रथितप्रबोधं FaYTT TÊN (THEITTE:' (977791:= i7: the sons of baris.) dames:, (rarat: a Tatia, one who sings in different tunes. ) a bard whose duty was to awaken the prince at dawn with music and song, and to praise him and to extol the merits of his ancestors to encourage him. It was his duty also to announce in verse the fixed periods into which king's time was divided and to make him conscious of a duty, as in the present case, which he is likely to forget while engaged in his 10 ·110 NOTES. business. वैतालिकः तत्तत्प्रहरयोग्यैः रागैः तत्कालवाचिभिः श्लोकैः सरभसं एव वितालं गायन वैतालिको भवति । P. 16. L. 15. आ--आ showing limit or मर्यादा governs Ablative G. 84. प्रतिहततमोवृत्ति."-तमोवृत्ति has two meanings (1) the spread or mass of darkness and (2) inclination to do wrong. cf. 'नियमयसि कुमार्ग. प्रस्थितानात्तदंड' S. V. 8. In Sankhya-philosophy tamas, mental darkness or ignorance, is one of the three qualities or constituents of everything in Nature, the other two being सत्व and रजस्. प्रतिहततमोवृत्तिः निरस्तपापाचरणः; प्रतिहता निरस्ता तमसः तमोगुणस्य वृत्तिः व्यापारः येन सः. The विक्रमोर्वशीय resembles मेघदूत in thoughts, in expressions and in allusions. cf. 'नित्यज्योत्स्नाः प्रतिहत तमोवृत्तिरम्याः प्रदोषाः ' Me. II. 3. P. 16. Ll. 16-18. मतः--The Past Participle of मन् is used in the sense of Present Tense and construed with Genitive. G. 154. 7:- For T: some read À to make it agree with their singular ares:' in the stage-direction, P. 16. L. 13. P. reads 'तुल्योद्योगस्तव दिनकृतश्चाधिकारो मतो नः' तिष्ठति-सूर्यो मध्यान्हे क्षगमात्र विश्राम्यति इति पौराणिकप्रसिद्धिः. एषः-Some read एकः in the sense of alone, but एषः brings more prominently and directly to the mind of the hearer (the king) the position of the sun at that time. ज्योतिषां--' of stars.' C. षष्ठे भागे..."--षष्ठे स्वैरविहारो मंत्रो वा सेव्यः इति नीतिकृतश्चाणक्य दयः--रंगनाथ. P. reals the fourth line thus 'षष्ठे भागे त्वमपि दिवसस्यात्मनश्छंदवर्ती ' and translates ' and thou too followest thy own will at the 6th division of the day.' cf. '(नेपथ्ये । ) सुखाय माध्यंदिनी संध्या भवतु देवस्य' Ru. II. From the Dasakumáracharita it appears that day and night of the king were each divided into 8 portions of 11 hours cach. Thus Day : (1) To dress ant au lit his accounts. (2) To pronounce judgment in suits appealel to him (3) To breakfast. (4) To receive and make presents. (6) Todiscuss political questions with ministers and councillors. (6) In harem (apparently referred to in our play). (7) To review troops. (8) To hold military council. Night: (1) To receive reports of spies. (2) To dine. (3) To peruse sacred books. (4) and (5) To sleep. (6) To purify boly. (7) To consult ministers and instruct officers. (8) To be with the priest. Wilson says. The author of the play has conformel to this distribution, bringing Purûraras from council at the sixth portion of the day (i.e. at 1-30 p.m.-El).' And Mr. Pandit says . The sixth division of the day is that which commences at 1-30 p.m. and lasts till 3 p.m., the day being dividel into eight parts.' But we beg to differ from these high authorities ; wa think that this distribution of time is not strictly observed by the poet, and that he roughly divides the day into 12 parts. Thus now (at the beginning of the second act) it is nearly 12 a. m., for otherwise the third line ·ACT II. 111 . 'तिष्ठत्येषः क्षणमधिपतिर्योतिषां व्योममध्ये' will be quite unintelligible and have no propriety (even if one reals एकः for एषः) if the time be past 1-30 p.m.; and then according to our supposition, at the end of the 2nd Act it will be only just past 12 a. m. when the heat is most oppressive ( see 950115: FETIST निषीदति &c. P. 37. L. 10.), when it is 'समयः खलु स्नानभोजनं सेवितुं । P.37. L. 7. anl when it is just 'गतं 'गतं अर्ध दिवसस्य.' P. 37. L. 9. cf. 'इति एवं उच्चारयति एव तस्मिन् अशिशिरकिरणं अंबरतलस्य मध्यमारूढम् आवेदयन् मध्यान्ह शंखध्वनिः उदतिष्ठत् । तमाकर्ण्य च समासनस्नानसमयः विसर्जितराजलोक, क्षितिपतिः आस्थानमंडपात उत्तस्थौ ।.' K.i. P. 17. Ll. 2-4. कार्यासनात्--See our note on that word P. 14. L. 6. पार्थवी--See our note on पारिपार्श्वकः P. 1. L. 11. प्रवेशकः -Def. 'प्रवे- शकोऽनुदात्तेोक्त्या नीचपात्रप्रयोजितः । अंकद्वयांतर्विज्ञेयः शेषं विष्कंभके यथा.' As to विभक, 'वृत्तवतिष्यमाणानां कथांशानां निदर्शकः। संक्षितार्थस्तु विष्कंभ पादावंकस्य दर्शितः ॥ मध्येन मध्यमाभ्यां वा पात्राभ्यां संप्रयोजितः । शुद्धः स्यात्स तु संकीर्णी नीचमध्यमकल्पितः ॥' The Premiere is the Intrulucer: An interlude acted by inferior characters (such its servants, butfoon &c. who speak Prákritu) for the purpose of acquainting the itere with events not represented on the stage but it knowleriye of which is essential for the proper understanding of what follows. (Like the Tishkimblaku it connects the story of the drama and the sublivisions of the plot by briefly referring to what has occurred in the intervals of the acts or what is likely to happen at the end. It never occurs at the beginning of the tirst act or at the end of the last). P. 17. Ll. H-7. उत्कंठितो-See our note on उत्कंठा P. 14. L. 12. आ qatar.--cf. Wilson's metrical translation "One glance sufficert; the umerring shaft of love Laid bear the path and gave a really access To that celestial nymph, to seat herself Throneal in my heart.' P. 17. Ll. 8-11. मकरकेतो:--The gorl of love is called मकरकेतु (or 47:) i. 1. having fish on his banner or having fish for his emblem. कृतमार्ग--विद्धंः alj. of हृदयं. अवंध्यपातेन--adj. of बाणेन, whose tlescent or fall (पात) is never (अ) fruitless (वंध्य. from बंध् , 14 whose nenstrual discharge is stopped, barren, childless; hence बंध्य or वंध्य means fruitless). संपीडिता खलु-Wilson tries to explain खलु thus 'That is exactly why-: or, she has a sufficient cause to be.' तपfer-(agre17 ascetic, menslicant, poor, distresserl, pitiable, thus) तपस्विन is now usually usell as a word of pity 'तपस्वी चानुकंपार्हः' अमर. निक्षेपः--anything depositel without a seal in trust.

·112 NOTES. P. 17. LI. 12-13. अभिसहितः--See our note on अतिसंधेयः P. 14. L. 13. cf. 'जनं विद्वानेकः सकल मभिसंधाय कपटैः। तटस्थः स्वानर्थान् घटयात च भौनं च भजते ।।' Mm. I. 14. दास्याःपुच्या--दास्याःपुत्रः (a whore-son) and दास्या-पुत्री are terms of abuse and have lost their literal sense. Cf. 'महात प्रत्यूषे दास्या पुत्रैः शकुनिलुब्धः प्रतिबोधितोऽस्मि.' S. II. (where राघवभट्ट says तस्य विदूषकस्य उद्रेगदायित्वात् गालिप्रदानं.) गालिप्रदानं.) 'एष दास्याःपुत्रः मधुकरः '६. VI. 'हंहो दास्या पुत्र स्व.द्रजालिक ' Ru. II. In the अलक of the Genitive the noun in the Genitive may retain its case-en ling when reproach is implied. K. G. $ 135 (e). 14-18. तूष्णी--तुष् to be calm (cf. जोषं from जुष् ) and the terniination नीम्. नियंत्रिता...सहसा-'My tongue is so accustomed to the restraint I have put upon it, that I cannot answer off-hand, even your inquiries.'W. HEHT is again used in the sense of at once in a विनिद्रे सहसा विलोचने ' P. 76. L. 17. महानसं--n. or m. (अनस् n. fool. from अन्; अनिति जीवति अनेन). P. 18. Ll. 3-4. पंचविध, Of five kinds viz.,(1) भक्ष्य to be chewed and then eaten. (2) भोज्य to be eaten without chewing. (3) ले ह्य to be licked. (4) चोष्य to be suckel and (5) पेय. अभ्यवहारस्य-अभ्यवहारः or अभ्यवहार्य (from अभ्यवह to collect or use as fool ) fooil. The very sight of the dishes in course of preparation will be sufficient to ilissipate all melancholy ideas.'W. शक्यं उत्कंठा विनोदयितुम् --P. reals शक्षा उत्कंठा विन दायितुं ; but cf. 'नहि देहभृता शक्यं त्यक्त कर्माण्यशेषत:'---गीता. XIIII. II. 'एवं हि प्रणयवती सा शक्यं उपेक्षितुं कुपिता' M. III. 22. P.'s realing is not wrong but शक्यं is better. अत्र शक्यमिति अव्ययम्. Regular construction would require शक्यं to be an adj. 'दैवी च सिद्धिरपि लंघयितुं न शक्या'-मृच्छ० VI. रंगनाथ says 'शक्यं श्वमांसादिभिरपि क्षत् प्रतिहतुं इति महाभाष्यकारप्रयोगात् उत्कंठा विनोदयितुं शक्यं इति साधु । शक्यं इति अत्र शक्या इति अर्थः ।' 'The form 444 is sometimes usel as a prelicative word with an intinitive in a passive sense, the real object of the infinitive being in the nominative case' A.D. cf. शक्यं आलिंगितुं पवनः' S. III. 4. where राघवभट्ट 35 5. III. 4. where राघवभट्ट says 'ननु शकिसहोश्च इति कर्मणि यकि कृते सह्यं शक्यं इति रूपम् । तेन सह पवनस्य भिन्नलिंगस्य सामान्याधि- करण्यं कुत इति चेन्न । महाभाष्यवचन सिद्धम् । शक्यं च श्वमांसादिभिरपि क्षुत्पतिहंतुम् इति । तथा च वामनसूत्रम् शक्पमिति रूपं विलिंगवचनस्यापि कर्माभिधायां सामान्यो- पक्रमात इति ।' in our text विनो दायितं is of course a passive Infinitive, · T.. be removedl ;' for more particulars about such Infinitives see G. 178, 179. 180. P. 18. Ll. 5-7. ईप्सित--From the Desiderative base of आप. दुर्लभ- प्रार्थिना--"who only seek the unattainable.'C. P. reads 'दुर्लभप्रार्थनः, दुर्लभं प्रार्थनं प्रार्थितं कामः यस्य सः (आत्मा.) ननु०...--for ननु see our notes ·ACT II. 113 on ननु P. 4. L. 16. and P. 7. L. 19. “May I ask if the person of your highness was not beheld by the lady gasit?' W. fat means-I am sure she must have seen you; and if she has, she must have fallen in love with you who are so beautiful, and she is therefore not retur. P. 18. L. 10. THISTO"=The King neans—You being my friend are partial to me and therefore think that my beauty will certainly attract her.' (cf. 'på: aid 34 azah' S. II.) He means- * I am not worthy of her: so immensely beautiful she is.' Some read this speech thus-qaralsa JETİ AGTET 3 : va.'— * but highest beauty is wonderfully or unusually partial to her. But this is not in keeping with the context, for such a plain statement is not calculated to raise the curiosity of Vidushuka expressed in his next speech 'gara-874- माणेन भवता वर्धितं मे कौतूहल म्.' P. 18. LI. 11-12. raggi= (from the interrogative adv. Fa, and 325 calling out). SEAT 15979ro=( . Frantaj qeTT:) P. reals in his new edition 'अहमिव मुरूपतया अद्वितीया रूपेण' while in his old elition the reading is that which we have a lopterl. Vidúshaka is always ugly and deformed and looks like a monkey. He refers to himself in 311147 Tia: tagt:' P. 87. L. 17. and “Ary i ağ tar77 HY I gitara: 5771 ATH:'M. IV. where Mr. l'aulit's mote is . Viduxhaku is not only regarded by others as belonging to the fraternity of animals but even he himself does so in keeping with his character of a buffoon.' Quite so: and for the same reason, not only lo others regard him ugly, but he ist also do so himself in keeping with bis character of a buffoon.' However, in the present instance, insteal of TETTU, Mr. Pandit in his new edition reals ETT and say's The 24umption that he is handsome involving a transparent and therefore humorous implication that he is ugly is better than a leclaration to that effect.' But 977, though prosaic, is ludicrous enough and harmonizes well with the character of the Buffoon, namely, that of being outspoken. cf. मयापि मृत्पिडबुद्धिना aera erag.' S. VI. (where he does not say a girar.) P. 18. Ll. 14-17. F:- In short. Summarily' With the whole cf. 'arg49:-, 977774 farai 17g i aeria 441.' Ru. II. TOTO **Her form is the ornament of ornaments; itself alles the grace to all lovely decorations, and it mocks the similitude of all comparisons. C. Her loveliness yields splendour to her ornaments, Her purity gives fragrance to her perfumes.'W. cf. 177077419952:

·114 NOTES. विभूषण भारः'Ru. IV. प्रसाधनविधि is the thing used in decoration, 'means of decoration or ornaments.' प्रत्युपमानं is a counter-comparison. काटयवेम says, उपमानस्थापि चंद्रादेरपि प्रत्युपमानं । चंद्रादयः कीदृशाः इति जिज्ञासायां उर्वश्याः मुखायवयवाः तेषां उपमानानि भवति इत्यर्थः। वपुःशब्देन अवgar: geja 1.' That is, ornaments and decorations beautify other girls, but this one herself beautifies those very ornaments and decorations. Other girls are fair like the moon and soft like the flower but this one is the standard to which the moon and the flower are compared.' P. Thus in her case we have to say "The moon is like her face,' which involves a counter-comparison, for the simple and usual form of comparison is 'The face of a lady is like the moon.' ef. Ku. I. 49 :- सर्वोपमाद्रव्यसमुच्चयेन यथाप्रदेशं विनिवोश तेन । सा निमिता विश्वमृजा प्रयत्नात् एकस्थसंदर्यदिदृक्षयैव ॥ The whole of this description is compassed in a single line in Tennyson's • The Princess'- 'All beauty compassed in a female form.' While giving the vedic verson of the Plot, Wilson thus describes Urrak “She was delicately and symmetrically formel, was graceful in her gestures and fascinating in her manners; her voice was music, her countenance was dressed in smiles, and her beauty was such as might enchant the world.'! P. 19. L. 2. दिव्यरस...'--दिवि भवः दिव्यः. Here दिव्यरस has two meanings (1) heavenly love viz. that of Urra i and (2) Heavenly water viz. that from the clouds. चातकत्रतं.--(चत् to beg, solicit) चातक is a bird supposed to live only on raindrops. cf. 'एक : कृती शकुंतेषु योन्यं शक्रात्र याचते-' कुवलयानंद. मल्लीनाथ says 'चातकस्य जलदेंक शरणत्वं ' because “धरणी- पतितं तोयं चातकानां रुजाकरं.' The bird though thirsty never drinks the water lying on earth but remains expecting the drops from the clouds. "You have taken Chátaka for your model.?.W P. 19. Ll. 4-6. विविक्तात् ....--विविक्तं (विविच् to separate ) a lonely or solitary place. cf. 'निषेवतेऽशांत मना विविक' S. V. 5. ऋते, 'without' governs Ablative. G. 81. प्रमदवन, (प्रमदा-वन) a pleasure-garden attached to the royal harem. स्यादेतदेव प्रमद-वनमंतःपुरोचितम् . (प्रमदोचितं, प्रमदाभ्यः, प्रमदार्थ or प्रमदानाम् वनम् ) 'विज्ञेयं प्रमदवनं नृपस्तु यस्मिन् शुद्धांतैः सह रमते पुरोपकंठं।' In case of words ending in आ and ई the final vowel is generally shortened when the compound noun is used to denote a title. See G. 19 (a). ARPATTUT--By this is not meant that the king did not know the way, but it simply means, to lead the way and walk be fore him in order to remove obstacles, if any, from his way. गतिः- Course, alternative. का गतिः is often used in dramas to mean ' can't help, I inust do so.'

·ΑΟΤ Η. 115 This unwillingness here on the part of Vidishaka is quite in keeping with his wish to dissuade the king from running after the mirage (na na Itaguparat: Gaasiad agei. P. 16 L. 10.) P. 19 L. 8. tinea-() Deputed, sent forward.' TFT:- (9YFA to advance towards one to meet, as a mark of respect ;) cf. quaHa Hiữa :R. v. 2. (where commentary age gat I FELTÖ 57FEIT). To greet or welcome a guest. cf. Tag arar' P. 88 L. 11. Here Vidúxhaka means- here is the cool brecze that appears to have been sent forward by Pramada-rana to welcome us, its guests. P. 19. L. 10. 397... Well suited is the character of the breeze.'c. . That is a fit epithet for this breeze.' P. This refers to the worl'OT' in Vidúshaki's last speech. It is capable of two senses. (1) GTI TITA southerly and (2) 2775s, solicitous to please; cf. gran al qanda. A lover is said to be great when he loves one and also tries to please another sweet-heart by solicitous attention (Fra). (In Bha. I. 39 arte grej 7 Tirai #ra' arragua means 3177). In his speech lidúshaka has used it in the first But the king in calling it an 3795 TTT understands it in the second sense and uses it especially as such in the following verse, because the condition of his mind is suited to understand it otherwise. cf. अयि मुग्धे, अन्य संक्रांतप्रेमाणो नागरिका भार्यायां अधिकं दक्षिणा भवंति.' P. 49. L. 13. sense. P. 19. L. 11. 770—This verse has a double sense, one applicable to the Wind as a wind and the other to the Wind as a lover. farha--(1) HYATTİ **, for when the south-wind blows the 41 or spring-creeper flowers and pro luces honey. (2) Impregnating Taaraat in. Thus the breeze shows F (act of prodlucing honey) to माधवी, and दाक्षिण्य (southerliness) to कोंदी which simply moves or dances with the southerly breeze. Na owing to the combination of. • With all the impassioned fervour of desire, and graceful ingenuity of love.' W. “When a kami has more sweet-hearts than one, he sings with one, dances with another, dines with a third and so on, so as to be agreeable (lakxhing ) to all. There is a somewhat objectionable play on the word sikeha which means love and also somen.' P. P. 19. L. 13. STT: HTTP:0— May such anil no other be your determination too.' P. अभिनिवेश is love or attachment. cf. 'कतमस्मिन् ते Tarvigt.' P. 38. L. 15.

·116 NOTES. Here Vidíxhaka is pleading the cause of the queen, and tells the king to be like the Váyu i.e. to show devotion ( sneha) to the queen, while he may love Urrasí; and let it be noticed that the king does so : '-AT AT TH| THÌS À 5a 271 26417,' 'P. 37. L. 4., which is a sincere remark since it is spoken to Vidúshuku in the absence of all, P. 19. L. 19. ATTET: *** --qag : from the desiderative base of विश् to enter. प्रतीप, प्रतिकूल contrary; from प्रति+अप् water, against the water or stream. 37 changes its 3 to when preceded by an gh ending in 5. (cf. 19, HT) Tatar: 3779: 72 FIT 7278. • I feel like one contending with the stream, And still borne backwards by the current's force.' W. Mr. Pandit reads the verse thus: 'fāraatst nigarai T Tiah I aa- HTUNFT Taigati HET' and translates— The garden which I was lesirous of entering so quickly does not afford me peace, any more than cloes the swimming-against-the-current with great effort to him who is being carried down by the stream. But in this (1) the simple assertion in the first line aa sia is a superfluous repetition of the idea contained in the previous prose passage a &c.' (2) The islea in Mr. Pandit's realing is not good, it is incongruous and there महत् has no propriety. Besides he takes महत् in the sense of €, with great effort, –a sense which is no where found. In our rearling errar, since certainly. The king's seeking peace of mind in the garden was like making an attempt to swim against the current, for whatever he saw there, instead of pleasing his mind, excited his passion for Urruší ani male him more mail with love, (which is expressed in the next verse). P. 20. Ll. 4-6. STO--GATE 35 H aedia of Tiefar (19) AETT: (abl.) gwarch. cf. 'P. 18. L. 5. 91:-- The five arrows of cupiil are ' 3 TH TH TH Tatrages og art #17:'. In Bhâ. II. 119 Cupid is called Erhart (where दशार्ध is half of 10 viz. b.) किमुत--See our note on किं पुनः P. 4. L. 2. HATTO "--cf. 217 2 Tur ai ai I 474TTajar ata arar: baiar: 11' Bhâ. II. 28. Malaya is the name of a mountain range in the South of India, abounding in sandal trees. Poets usually represent the breeze from that mountain as wafting the olour of sandal trees and other plants growing thereon which peculiarly affects persons who are smit with love. The king here is alreauly suffering from the shafts of love and on entering the garden he is male more miserable by the many exciters of passion (FTTITAI) about him. The Malayarúta is the breeze blowing from the South in Spring. cf. 'Tag वसंतप्रिय दक्षिणवायो.' P. 34, L. 11. P. 20. Ll. 7–8. protago--Locative absolute expresses the sense of When, While &c. G. 123. qirarga... Past passive participles ending ·ACT II. 117 in are often used as neuter abstract nouns. G. 153. BTT: T7--cf. 7 a 974 STERET:' P. 55. L. 12. and स्मर एव तापहेतुनिर्वा- antara sa Ara:'S. III. 9. Agre:-friend, while FIEITI = friendship Káma is calleli nanga because once he aimeil his arts at Slankara who in resentment burnt his (physical) bouly (anga) to ashes. P. 20 L. 10. grauerao--(arah to accept as a present). This refers to the belief that the blessing of a Bráhmana is sure to have its effect. Here the king feels obliged to Vidushaka for the blessing. "I accept the gooul omen from the Brálmana's lips." C. cf. grand T: I.' M. IU., in a note on which Mr. Pandit says- *This does not refer to any knowledge that Vidlúxhaka possessed of the art of foretelling, but simply to the notion that a blessing given by a Bráh mana is fulfilled by the gods.' P. 20. L. 12. Tharzarto_lleralling the presence of the spring.' W. With the Aratára of spring revealed.? C. All editions read the Sanskrit'adanart' but they differ in reading the corresponding Prúkrit, P, reading ahaart' and others "Talagit'; but later on (P. 23. L. 23.) the latter read 31ICIT (or 375 37) for araaif jast like the former. Why, Mr. P. himself in M. III reals वसंदपुढमावदारसूअणि for वसंतप्रथमावतारसूचकानि. From this fact and from a similar case in S'ákuntala, it appears that both the Prákrit forius apalagit and agaist are to be translated by the Sanskrit afaraalt. In S. I. the Prákrit form 'arazita?' occurs: it is variously rendered as 'ahalaal-Hair-or STTÀ.' But after carefully examioing several MSS. l'rof. P. N. l'itaakar in his notes on s. says. But the correct translation avargatha is given by the older copies P. 20. LI. 15-18. T-(F little ra honey) (latiti, P. reals TETIT. 15means 334. go-grari. JHET FETC. (3995 bring about, increase, store up. 12-9.) cf. 'n na naai salaati (âårat CITA' S. V. 9. where 19747 says 'Sh 30 आधिकं । इपोढः कथितोऽत्यूढे समापने विवाहिते।' -- to form, arrange ) cf. '71 # 998 112827877' S. II. 6 and 'Farai चिरानिर्गतापि कलिका बध्नाति न स्वं रजः' S. VI. 4. where the says 'n Thalia ai nilia. 97... Car--Brown with the yet scanty pollen.'C. gry70--The first two lines describe simple childhood and the third youth. We think the worils (1) F8, (2) th, and (3) 75: may respectively have the secondary meanings of (1) Smallness or childhood (means a kind of rice or grains which are of course small), (2) feeling of love and (3) rigata or puberty.

·118 NOTES. P. 20. L. 19. मणिशिला''प्रतीच्छति--cf. 'एष मणिशिलापट्टसनाथः माधवी- मंडपः उपहाररमणीयतया स्वागतेन इव नौ प्रतीच्छति.' S. VI. सनाथ, lit. having a lord, but in dramatic literature it is often found to have been used in the secondary sense of yukta, having or furnished with (usually in compounds.)' cf. 'सति कसुमसनाथे के हरेदेष बहीं' P. 64. L. 13. अतिमुक्त, अतिमतः माधवीलता which attracted becs by its honey. See our notes on निर्षिचन्०' P. 19. L. 11. संघपतितैः, some read ‘संघविघटितैः.' संघट्टः ineeting (from संघ to strike, come in collision with). कृतोपचारः, as if the bower were intentionally (we would say consciously-Ed.) honouring you.' P. उपचारः, (उप चर् approach, serve). Paying respects to, hence ‘n.eans of showing respect, articles of worship.' tategra, ( gra ze to welcoine) expects. P. 21. Ll. 46. रोचते--In the case of रुच् , the person or thing satisfied is used in Dative case. G. 61. विलोभ्यमान --Here विलुभ् cas. to divert, amuse, entertain; (and hence, as in ऋषिं विलोभयंत्यः P.G. L. 18., it means to charm, allure). Here Vidúshaka means to say that the creepers are as good as (or even better than) Urrasi and so the king can divert himself very easily. But the king (lenies this in the next verse. P. 21. L. 10. धृति--धृतिः 'धू प्रीती इति धातोः' प्रीतिः, आसक्तिः, संतोषः धृतिर्योगांतरे धैर्य धारणावरतुष्टिषु'--विश्वः cf. “साहं कथं माम तवाचरेयं आराधनीयस्य qarãqra'R. XVI. 82. (where yrā means "Good pleasure”) “The eye can't find its rest' C. दुर्ललित, (lit. fondled too much, spoilt by fondlings) wayward, unruly, haril to please. Some read the 4th quarter thus 'तदंगनालोकदुर्ललितम्.' रंगनाथ--कुसुमितासु इति अनेन लोचनलोभनीयत्वं, उपवनलतासु इति अनेन अनायास लभ्यत्वं, नम्रविटपासु इति अनेन प्रच्छायशीतलत्वं, व्यज्यते । काटयवेम--अत्र कुसुमानि आभरणस्थानीयानि, विटपाः बाहस्थानीयाः, लताः अंगयष्टिस्थानायाः; आसां लतानां उर्वशः रूपसादृश्ये विद्यमानेऽपि तथविधसौभाग्याभावात् प्रीत्यभावः । P. 21. L. 12. अहल्या०...--सचिवः, friend (from सच् to follow, assist, be associatell with). JFHÀO, (Dull-healed, ignorant, unsuiteil, useless), the meaning is similar to that expressed in 'अस्थाने द्वयोरपि प्रयत्न Mudrárúkshasa II. To Mr. Panulit, Vidisha ka seems to complain that he is considered an idiot (3=47:) and used as an instrument by the king to accomplish his desire ; but we think that Vidúshaka means that he is not the proper person to whom the king should appeal for help in such a case, which the king denies in his reply, 'अतिस्नेहः कार्यदर्शी' it. Tidishaka being his intimate friend is likely to know what to do. ind is, therefore, a proper person.

·ACT II. 119 In his marginal note Mr. V.8. Apte prefers the reading 19: to , but confesses' yet it is a defect in the reading that 19: should be inanimate and are animate.' His objections to the reading à a: are (1) that à : is not in the story about the seduction of art and (2) that a à is never appealed to for help by lovers. Bat our reply is (1) If IT: is not in the story, fi also is not. And da may be connected with the story by understanding, by the term, the Moon (aftaraftaret:); for Mr. Apte himself says in his Dictionary, under the word 3781, There is another story which states that Indra secured the assistance of the Moon to seduce Ahalyá? (2) To his second objection we reply-If a àd is never appealed to for help by lovers, that is exactly what makes Indru's appeal out of place (i. c. to an improper person) in Vidishaka's opinion. Now as to Foll-The story in the Purúnax is that a god Indra seduced a woman Ahulyú, wife of Gautamır. But the real conception of the Vedic poets is that Ahalyú is the Dawn or Night which disappears when day comes (Hera | garr). The Dawn is spoken of metaphorically as the wife or sister of the San. (cf. 'FET FIT geza.'Friſgar. VI. 55-4.) She grows feeble and feeble and finally disappears when the sun rises and therefore the sun is metaphorically called the jára of the Dawn (or Night). . In later times. however, this word is literally taken to signify a paramour. This meaning of it has given rise to several stories in the Purúnas about the supposed immoralities of the gods based on the apparent but misunderstood authority of such passages.' Prof. S. G. Jinsivále's Notes. Let the readers notice what the old celebrated मीमांसा-scholar कुमारिलभट्ट (who lived about 6th Century A. D.) says on this point in his AT-- TOATE- तेजाः परमेश्वरत्वनिमित्तइंदशब्दवाच्यः सविता एव अहनि लीयमानायाः रात्रः अहल्या- शब्दवाच्यायाः क्षयात्मकजरणहेतुत्वात् जीयति अस्मात् अनेन वा उदितेन इति अह- स्याजारःन परस्त्रीव्यभिचारात् .' P. 21. Ll. 14-18. STEFT:0--Great intimacy, you see, knows what to do.? P. i. e. enables one to see what the remedy is. A-- · But do not again, I pray you, break the threail of iny thoughts by your complainings.' C. Fare: m. (1 to place together, to compose or collect the mind). Profound meditation, concentration of mind on one object. निमित्तं The निमित्त here is a good omen viz. दक्षिणाक्षिस्कंधदिस्पंदनं.' In the case of a man a quivery sensation in the right eye or shoulder was and is supposed to prognosticate a good omen such as the meeting with a beloved person. cf. af1474TH 91 gFhir aig :-4910 I. 27. and * api at fiicaaigua :' P. 43. L. 13. The opposite was and is the case with a woman. This belief need not be called a superstition, for have not you my rcaulers ! had any such experience and also observe the fact that when we (having consciously felt or not some such sensation) ·120 NOTES. begin to speak about a friend he comes there at once though we never expected him at that time? Similarly if we note similar phenomena, rashly callel superstitions by those who have never studied them, we shall surely find that they are really connected with the events they foretell. But the present materialistic science has not investigatel those hidden laws of human nature, and therefore the civilisell' sceptic workel laughs at them. We, for ourselves, are unable to explain them, but we think they are cases of suggestion or thought-transference, which the western Science will soon prove to be a fact in Nature, for says Prof. William Crookes F. R. S. in the Fortnightly Review for February 1892, in his essay on Some possibilities of electricity – Here then is revealed the bewildering possibility of telegraphy without wires, posts anl cables...... This is no mere dream of a visionary philosopher...... In some parts of human brain may lurk an organ capable of transmitting anl receiving other electrical rays of wave-lengths hitherto umdetectel by instrumental means. These may be instrumental in transmitting thought from one brain to another. In such a way the recognisel cases of thought-transference and the many instances of coinidencex woull be explicable.' cf. (57195 qeraiaiar: asia ca:17 ai gref=hat: Arà l' V. VI. 12. and the following lines quotel by Col. H. S. Oleott. P. T. S. in his . Old Diary Learex It is the secret sympathy The silver link, the silver tie, Which heart to heart and mind to mind In boily anıl in soul can bind! P. 21. L. 19.40--The moon-faced mail is far beyond my reach, Then why should love impart such flattering tokens.' W. What then means this sudden portent which Káma works within me.' C. #s, full, having all digits ( #T:). Spätia areat, deed, play or act of Madan, viz., the twitching sensation which the king feels in the right eye and the right shoulder. Ara, some translate this byó unaccountable, indescribable atigig.' With the first two lines cf. 'Tia CA17793 Fría alk: FT: STĀSIET.' S. I. 14. and 'Tr7 arsit rin at FIÇÀ Dr.' S. VII. 13. --, is frequently repeated with two assertions in the sense of on the one hand-on the other hand,' to lenote antithesis. G. 273. Tagalgo, my heart suddenly feels a sense of gladness as it would when the fulfilment of a desire were near;' probably the plural is used for the sake of the metre. cf. 'Hate ÄTETÈN TETO TH178TTTTT:'S. I. 19 and see our note on rafata' P. 21. L. 18. TiT, ind. all at once, suddenly. My heart in a moment hath attained serenity, as though the bliss, which it sighs for, were really present before it.' C. In the first line, some wrongly read 'E' for pesor. In a 54 there is a fault technically called अविमृष्टविधेयांश,' अविमृष्टः प्राधाम्येन अनि- ·АСТ II. 121 दिष्टः विधेयांशः (prelicate) यत्र. Here the negation (सुलभा न) being emphatic, the negative must have a separate and principal position; in the 7169 compound (276775976) the negation assumes a subor linate position contrary to what is desirel and hence the fault. For more particulaysisee काव्यप्रकाश (वामनाचार्य exlition) Pp. 296, 297, 319, 324 and 325. · Here the «lenial (in 34954) bearing, as it does, the character of a prominent Negation ought to be directly or emphatically expresserl. As it has been said-When the affirmation is not principal, but the «lenial is so, the latter is termel a Prominent Negation ( FT) in the case of which the Negative associates with i. e. qualifies the Verb, 1. 9. 79F7UT:#731574 THÔTET: (our text. P. 60. L. 15. Ed.) --The Mirror of composition. P. 281. P. 22. LI. 4-7. Frary:o--Remains hopeful of success or gratification (cf. artxa.) 12TO--- enter in the air.' W. 37813775 in such cases does not mean any celestial car or balloon, but simply * Passing through air like a birid,' as they coulil do by their 9979. FREE TO --Without a lefinite aim. (fie to point out, mention, letermine.) Tell me your purpose.' W. AT...TigarilyoThaio-- क्षणं वित्रितं आकाशे गमनं यस्याः. In this speech the allusion is to Act. I. 19TEC sa Ar,''370 Origina' P. 11. LI. 15 and 17. P. 22. Ll. 10.--13. T-See our note on that woril P. 6. L. 20. FTET, (lit. having appearance; present.) used alverbially in the sense TY TN-- What else, yes.? G. 245. 3TTEIE53, Tehral Tikar E TEH. À T4777, about which all shame is laid aside. (अपहस्तित, Past P.P. from the Denominative of अपहस्तः the hand placed on the neck to drive out a person). 531AT:, (TTÀ, to strive.) resolve, un lertaking, alventure. 97:-- But, (on the other hand, however).' 6. 287. Jigar, sent (to inform him of your coming).' of near. P. 22. LI. 14-16. 770—None but my heart.' W. For 7 see our note on that word. P. 4. L. 16. stara.--2 I 1 THİ ystà art ar zīlizaral. ara, while you are not yet gone. "Pause a while and consider.' C. After araa some ad 'F: 97: Fai 19 ( 39 TË OBITE ).' AT: 70--Love truly orilers me forward-how can I then stay to consider ? C. P. 23. L. 2. Tegelir:--(i... 39: dual). P. reails 'TEXT: (*) singular. But we can't suppose Urvasí to be so selfish as to wish safe passage only for herself; and the dual is in keeping with भलंघनीये कृते R:'(dual) in the next speech of Chitralekha. Please note that for Tech (chun!) the Prálirit is T (Teghai) 11 ·122 NOTES, plural, for there is no dual in Prákrit. For some other peculiarities of Prákrit see our note on hacah 'P. 16. L. 8. P. 23. LI. 2-5. Batry:--3jat+ To go between, stand in one's way.) By zjarre here she means a misfortune similar to that which befell Uroasi and Chitralekhā at the beginning of Act I. देवगुरुणा--Here देवगुरु is बृहस्पति the teacher of the gods.. (When T5 means father, a 18 is 779, the father of the gods). Petería--Here qa means, a spell or in cantation. (With 37 Trihal cf. 'Tar Trifa TH STAT: S. VII). • The hair-tying-mystery... The idea appears to be that they were taught certain charms which they were to repeat, and as they repeatedl them they were to tie their hairs. As long as the tie remained undisturbed they were to be proof against all molestation from the demons' P. They were taught this ridyú after the recent outrage by the demon Kesin. This charm was not the same as तिरस्करिणी referrerl to in 'तिरस्करिणी- graal TOTTÀ 'P. 24. L. 7. by which, we think, they could be invisible to any human being they wished but not to the demons, who also, being equally powerful with the gods, were masters of charms superior to the orlinary farenitoſt. See our note in small type on te &c. P. 12. L. 16. P. 23. LI. 6-7. Tieto-- rendered safe from.' C. (isg to pass over, insult, attack, injure). STET ETEN --So deeply engrossed was she in her thoughts about the king that she altogether forgot it. cf. * 37-4āta IT aegãi 4917'S. V. Please note that Kálidúsa uses the past passive participle of in an active sense. G. 152. P. 23. LI. 8-10. 05979:--Some read this stage direction thus 'सिद्ध मार्गमासाद्य'; a सिद्ध is one who is skilled in magical acts or has acquired the 8 (supernatural faculties called Tees viz. Tar महिमा चैव गरिमा लघिमा तथा । प्राप्तिः प्राकाम्यमीशित्वं वशित्वं चाष्ट सिद्धयः॥' आत्मा- 7795aa:--es ar saw the city reflected in the waters. 'It is considered as leading to the acquisition of religious merit to look into sacred water as in a mirror so as to see oneself reflected in it' P. For the sacredness of a river see our note on 'care ETC:'P. 80. L. 7. P. 23. Ll. 10-11. प्रतिष्ठानस्य--This प्रतिष्ठान cannot be the पैठग of Tarza, because Paithana is not at the confluence of Ganga and Yamuna and besides the Paithana of S'áliváhana is only two thousand years old. The Pratish hána of our text was the capital of Purúradas situated opposite Prayaga or Allahabad. It is said in the Harivans'a to have been situated on the north bank of the Ganges in the district of Prayiga. 'FT Bari ETÀ ATT01:1TFİ FT99T17 all' ·ACT II. 123 Here Kálidása places it at the junction of Gangá and of Ganga and Yamuna (cf. '717 791747711 arslaaia:'). "It is however possible that Kálidasa was less attentive to perfect Geographical accuracy.' Prof. P.N Patankar. शिखाभरण-शिखा+आभरण. 'crest-borne gem. W. cf 'स्वलोकस्य Nar:... 197979.' Bhá. I. 57. P. 24. Ll. 2-4. Yanea:...-Risen frst or before its light.' In simple words the whole means “He who is like a waits for you who are like age. The idea is that sia and Her are separate things (having a separate existence) which is well expressed in ai haina Enigăra' which is a variant for our 'TÀI 77478 azalt is P. 29. L. 18. cf. tigrar i alla pagi.' Ku. IV. 33. and TTT garai hitet 97 R. VI. 85. hat, Fra i 7817eala. But it is popularly ilerived from earth and ag to rejoice, thus' ħt Aija जनाः यस्यां तेनासौ कौमुदी Har.' gaiagra, See our note on that woril P. 21. L. 2. 1950o-- The kin: appears more agreeable to Urras'i for, in her mind there is more eagerness and more love for him now than before. P. 24. L. 7. atenTTT-(from far: # to cover; it literally means a cover or magical veil. But properly) it means a vidya or charm by means of which one can render oneself invisible to anyone. (sayfa arear ). Being visible to the audience but invisible to the indiviiluals on the stage is to be met with even in the plays of Shakespeare where the ghost of Hamlet and Ariel in the Tempest enter invisible. But in the Sanskrit plays fatero does not certainly mean - wardrobe...a dress of light rauzy texture'as l'rof. Wilson supposes, but mere mesmerie or hypnotic power (spell, charm); and to remove the carefit of means to withdraw the spell. These things or phenomena can be performed by men (as has been and is being proseed experimentally at Nancy in France by eminent physicians like the late Dr. Charcot) whose will-power (animal magnetism) has undergone a particular kimi of training. Human will is capable of a development unknown to and even in.lreamt of by the present official science and therefore slenied by it. Please see our note on STT &c. 1. 12 L. 16. Mr. P. omit. Talagtasa' from this spech of Urraki and real it thus 'तिरस्करिणीप्रतिच्छना पार्श्वगता अस्य भूत्वा श्रोष्यामि तावत् । पार्श्वपरिवर्तिना वयस्येन Hata #99917: jasa i Mr. Pi's distinct sentence Naar ...7991T: asia,' from which the word giã is absent, is an emphatic assertion, which can only be male by her when she hears their conversittion indistinctly from a listance and is certain that they are speaking at taht time. But this is not the case ; for Vidushaka is contemplating ·124 NOTES. (rerai aizer P. 21 L. 17.) and the king also is silent ( Frare: larſā P. 22. L. 4.) thinking of Urrasi and continues to be silent (TIFIETSOTATE P. 24. L. 13). In our reading Urrasi means I shall listen to what he is speaking (if he is speaking at all, as I think he may be since he is sitting alone with his contilential friend)' , (lit. in a retired place but generally) used as ini. meaning Privately.' P. 24. LI. 13-15. Ziara --Still continues to be silent; for being engrossed in thinking of Urvas'i he did not hear what Vidúshaka said. He has been silent since P. 22. L. 4. (Hrarstrādā). TEHT Ergia- P. reads 'आत्मानं विकत्यते,' where विकत्थ् means to boast or be perverse by holding out or remaining inaccessible. But in the sense of boasting is Intransitive and is used with instrumental, as âm là 'he boasts of his learning. Under The Mr. Apte in his Dictionary quotes " का खलु अनेन प्रार्थ्यमाना आत्मना विकत्थते ;' (but under विकत्थ् he quotes का खलु अनेन प्रार्थ्यमाना विकत्थते. Both are correct). With Accusative means to speak ill of (Sre la ry in M. W.'s Dictionary) cf. '4917 3767Taitā --Hla; however, possibly through oversight Mr. Apte in his Guide $ 140 quotes ....THE leà' and translates . what woman boasts of herself being sought after by him': but his marginal note on this assage is 'आत्मानं विकत्थते is not yourt : the realing आत्मानं कृतार्थfra is better.' We have not adopted either of the correct forms ( 72 27ihar età and 912zararlarà ) because 317 1 maretta yields at good sense, and making the epithet 7 more significant is certainly appropriate. P. 25. L. 2. rå H175210--W. reals this speech thus erant in saiaà'--Why do you hesitate to discover the secret by your divine faculty of meditation ?-C. In our reading Chitralekha means to say, why do you not try to know who the woman is by your Prabhára-livine power?' Urraši vloes not like to do so, for if the woman turns out to be one other than herself she will be disappointed but too soon. #274--4457 457417:1157 ha कि विचारयास, राज्ञा प्रार्थ्यमानां तां प्रभावतो जानीहि इति अभिप्रायः । बिभेमि (in Urraši's next speech) fra 379 44 RIOT trangar af ya pia giall. aga, 10 U, to imitate, resemble. P. 25. LI. 3-8. _'I fear to know it too quickly by my power.' C. Agar-See our note on 'hisar ATA 'P. 17. L. 15. 91-'why, I say,'-G. 286. FTARANTO--Fa 14 arrara ai. (: m.) · Let your honour be an assiduous votary of Sleep, for it is Sleep who brings lovers together in its dreams.'C. afagara:-- ( reflected image.

·ACT II. 125 Likeness) picture, Th. Taari--From which courage has departed. (हनि from हा, left by, destitute of. सत्त्व n. m. सतो भावः life, spirit, strength, courage). P. 25. L. 11. हृदयमिषुभिः.."--न-न, used to express an assertion eunphatically positive. G. 281. The king means, tears will come out. and certainly spoil the half-drawn picture; or the eyes being unable to see I would not be able to finish it.' असमाप्य, is agrammatical error, for it has no agent. As it now stands, उद्राष्पत्वं becomes its agent, whiell is wrong. The meaning is चित्रं असमाप्य उद्राष्पत्वं न भविष्यति इति न i.. चित्रं असमाप्य संपूर्ण अनालिख्य उद्बाष्यत्वं भविष्यति एव. For असमाप्य (before finishing) some real समवाप्य i... after finishing. the picture. But it is better to have a reading which will make the (finishing of the) picture itself impossible ( 371993 as the king says ). With the whole cf. (१) त्वामालिख्य प्रण पकुपितां धातुरागैः शिलायां आत्मानं ते चरणपतितं यावदिच्छामि कर्तुं । अस्रेस्तावन्मुहरूपचितैदृष्टिरालुप्यते मे क्रूरस्तस्मिन्नपि न सहते संगम नौ कृतांनः॥ Me. II. 42. (b) मत्संयोगः कथमुपनयेत्स्वान नोऽपीति निद्रां आकांक्षती नयन तलिलोत्पीडरुद्ध वकाशाम्. Me. II. 28. (c) 'बायपूर्णन यनया मया अत्र लिखित्वा द्रष्टुमपि न पार्यते.' Ru. III. If the reading समवाप्य be adopter and if after finishing the picture the looking at it becomes impossible, cf. प्रजागरखिलीभूतस्तस्याः स्वग्न समागमः | बापस्तु न ददात्येनां द्रष्टुं चित्रगतामपि । S. VI.22. P. 25. LI. 16-17. पर्याप्त - arlequate ; sufficient.' (पर्याप् to be con:- petent or able). Taranto-'I can suggest no more (thiril) remedy.' No further reaches my ingenuity:' C. “Thus far the flight of my genius and no further : this is all I can suggest.' P. 26. L. 3. नितांत०... सा, in the place of सा, simple grammatical arijustment requires यो ( यः जनः...तस्मिन् जने Breal line). वापि, वा अथव मम अनुरागं प्रभावेण विदित्वा अपि मा अवमन्यते. lespises my poor love which her divine insight reals.' C. काट रवेम says 'अपि शब्दः शंकाया। meaning or perhaps. It shows doubt or uncertainty. G. 247 (5). समागममनोरथं, P. reals plural 'अलच्यफल नीरसान् "समागममनोरथान्'but it is not necessary. अलब्ध०--न लब्धं संपादितं फलं येन स चासौ नीरसव, फलाभावे तु मरणमेव वैरस्ये निदानम्. कृती, P. reals सुखी, but कृती is obviously preferable. cf. 'काम इदानीं सकामो भवत. 'S. IN. Mark the propriety of the quî meter here. In this verse the king means he woull certainly die if he would not get the desired object, for the influence of love is too strong for him. He feels that he is a poor victim before the shafts of love and that if káma desires to regard himself victorious by killing him, he is welcome to do so.

·126 NOTES. P. 26. Ll. 8-9. मां-me, who am so anxiously waiting only to know what he thinks of me, before declaring my own love for him. एवं, मानसीं रुजं न वेत्ति, अथवा ज्ञात्वापि अवमन्यते, एतादृशीम्. प्रतिवचनस्यः-- Some read thus 'अमr mor-ar आत्मानं दर्शयितुं.' In our reading we think the Prakrit Genitive से पडिवअणस' should rather be rendered by : Sanskrit Dative 'अस्मै प्रतिवचनाय' i.e. अस्मै प्रतिवचनं दातुम्. For, G. 65 (a) gives that when the sense of an infinitive of purpose is suppressed in a sentence (as is the case here, for mark दर्शयितुं in the other realing) the object of the infinitive in put in the Dative case. Moreover G. 66 says that the root क्लप , to be adequate to, and roots having a similar sense govern Dative. However, for want of corroboration we could not make up our mind to make this change in the text. P. 26. Ll. 10-14. भूर्जपत्रेण-She is thinking of creating a भूजचत्र by her divine power, for no natural 45697 could be had then and there. 5 is a kind of birch tree, the leaf of which is used as paper in some parts of upper India, as that of the palm in Southern India. अनुमसं--See our note on मतः P. 16. L. 16. अविधा-आक्रोशे, 'Helpy help’; An interj. used in calling for help in danger. À ATT:, (from निर्मुच् to loosen.) Nirmoku is a hide or skin, especially the cast-off skin or slough of a enake (who in some seasons sets loose or casts off his worn-out skin after he gets a new one). P. reads this and the following two speeches thos- विदूषकः--अविधा अविधा । भोः किं नु खलु एतत् भुजंगनिर्मोक इव संमुखे अस्माकं निपतितम् । राजा-भूर्जपत्रगतोऽयम् अक्षरविन्यासः; विदूषकः-न खलु अदृष्टया तत्रभवत्या उर्वश्या भवतः परिदे वतं श्रुत्वा समानानुरागसूचकानि अक्षराणि विसृष्टानि स्युः। Our rearlers can easily compare these with our readings. P. 27. L. 2. नास्ति अगति:--Nothing is inaccessible to desire. When a man has an ardent desire he thinks that anything possibly may happen to fultil it-why, even God might come down for him. The king says that Vidishaka is very anxious for him and so he suproses tbat even such an impossible thing as a letter from Urraść may happen. cf. Ku, V.64:- तपः किलेदं तदवाप्तिसाधनं । मनोरथानामगतिर्न विद्यते ॥ . and this asceticism is but a miserable means of attaining it (high dignity) but there is nothing to which desire and hope will not resort through delusion.' Rev. K. M. Banerjea : on which मलिनाथ says-मनोरथानां कामानां अगतिः अविषयः न विद्यते, न हि स्वशक्तिपर्यालोचनया कामाः प्रवर्तते इति भावः। cf. also 'मनोरथानां अतटाः प्रवाहाः.' S. VI. 10. (v1.) streams of hopes have no banks, they flow unimpeded in every direction.

·ACT II. 127 P.27. L1.2-6. अनुवाच्य-अनुवच् caus. to read to oneself, before reading aloud. cf. निपुणिका-ननु वाच्यतामेतत् । देवी-अनुवाचय तावदेतत् । P.33. L. 12. YHT:--Thy conjecture has come true.' C. conjecture viz., that it might be a letter from Urvasi P. 26 L. 17. नागरिक:०-- I admire your shrewdness. C. (नगरे भवः) (Town-bred, polite, clever, shrewd). This refers to his requesting the king to read the letter out. cf. 'गच्छ । नागरि- कवृत्या संज्ञापय एनाम् ' S. V. (Skilfully, in a gentlemanly way). P. 27 L. 10. स्वामिन्०...--In the third line, for our 'किं मे' P. reads 'ननु मम.' For ललित he reads लुलित which makes the compound कर्मधारय or बहुव्रीहि. (1. लुलितानि तापलुंठनात् व्याकीर्णानि पारिजातानि यस्मिन् तस्मिन् शयनीये. 2. पारिजातशयनीये यत् लुलितं तत् लुलितपारिजातशयनीयं शरीरम् , तस्मिन्.) She means—The flowers of Párijáta and breezes of Vandana tronble me and so it is plain that I must be suffering from ardent love for you. If I did not care for you then how is it that these things do not please me? It is not true that I do not care for you even after knowing your love for me. The fact is I do not know whether you love me, but loving you I pine away among flowery beds fanned by heavenly breezes.' Cf. the message ( नलिनीपत्रे नखैः निक्षितवर्णः मदनलेखः) of शकुंतुला, III. 13- 'तव न जाने हृदयं मम पुनः कामः दिवापि रात्रावपि । निघृण तपति बलीयस्त्वयि वृत्तमनोरथान्यंगानि ॥' P. 27. L. 15. ननु भणितं०--(कमलनालायमानैः कमलनालवत् आचरभिः). Chitralekhá means to say-You want to know what he will say, whether he loves you or not, but do not you see that the affirmative) answer is already given by his limbs which have become thin through his yearning for you! P. 28. LI.2-4. स्वस्तिवायनं- (वा 10 P. to be happy. To honour, worship or to grant. Mr. Pandit says it is a corruption from उपायन) a present of sweetmeats offered to a Brahmana on festive occasions, observance of fast &c., when he pronounces blessings by reciting verses from holy writs. Some read 'सस्तिवाचनिकम्' which has the same ineaning. समाश्वासमं... उच्यते= ' Why dost thou call it but a (inere ) solace (in words )?'C.-it is soinething more (substantial) than that. .. P. 28. L1. 5-7. पिशुनं- सूचकं (पिश् to adorn, enlighten, make known) उदाहरणं वाचिकं, उक्ति : Declaration (a declaratory song or poem ). Message. cf जयादाहरणं P. 10. L. 11. उत्सर्टमणो = 'This leaf-borne declaration of this inessenger of her responding love,...is as my adored one, ·128 NOTES. though my face, with open eyelids, were close to her's, with those eyes bright like wine !' C. Mr. Pandit reads the last two lines thus:- उत्वक्ष्मणा मम सखे मदिरेक्षणेन । तस्याः समागतमिवाननमाननेन ॥ ut that मदिरेक्षणेन should go with आननेन of the king is the height of absunlity, firstly because the king would not praise his own beauty and secondiy lecause no male can have मदिरेक्षण (माद्यति आभ्याम् इति मदिरे अक्षिणी यस्याः) of. 'नार्यो मादरलोचनाः' and what the poet Ilurrict Shelley says to his beloved • Wilt thou not turn Those spirit-beaming eyes and look on me.' In S. III. 16 शकुंतला is callel मदिरेक्षणा and our king himself calls उर्वशी 'मादिराक्षी' (मधुकर मदिराक्ष्याः शंस तस्याः प्रवृति. P. 69. L. 11.) In his commentary on S. III. 16. राघवभह says मदिरादृष्टिः तस्याः ईक्षणमिव ईक्षणं अवलोकनं यस्याः । मदिरादृष्टिलक्षणं आदिभारते-आघूर्णमानमध्या या क्षामा चांचिततारका, दृष्टिविकसितापांगा मदिरा तरुणे मदे ।.' About the reading we have adopted we found a humorous remark in a Note-book 'In adopting this reading we are impartial: we give one adjective to her and one to him.'! P. 28. L. 9. समविभागा प्रीति =Some read ‘मतिः' for प्रीतिः and translate 'our sentiments accord.' But Urvas'i' is obviously thinking of love. In our reading Urrasí means—Now I can safely say that we love each other equally.' She means that after this avowal of the king she is sure that he loves her as much as she loves him. अत्र, here, at this stage, P. 28. L. 13. कुसुमं दर्शयित्वा०= Will she deceive you in the end as to its fruit ?' 'Will she break her promise in the fruit?' C. See our note on अंकुरितमनोभवेन P. 8. L. 14. विसंवद् , to fail to fulfil one's promise, to cause disappointment. cf. 'रमणीयः खलु अवधिः विधिना विसंवादितः' S. VI. With the whole cf. the following from Ru. II.- वासुभद्रः--सखे, प्रथममंकुरितः मनोरथद्रुमः त्रुटित इव । विदूषकः :--मान्यथा संभावय, उपरि स्फुटं भविस्यति ।......... वासुभद्रः--सांप्रतं मनोरथद्रुमः पल्लवितः । विदूषकः--महाब्राह्मणस्य मम अनुग्रहेण कोरकितः, कसुमितः, फलितश्च भविष्यात । P. 28. L. 15. अस्य दर्शयित्वा=Can not the Prakrita Genitive 'से' be better rendered by अस्मै (Dative) than by अस्य (Genitive) here ? We actually find that in the Nirnayasagar edition of M. (P. 6.) 'जाब से दंसेमि' is rendered by यावत् अस्मै दर्शयामि. क्षम= (क्षम् to endure; क्षम, enduring, patient, suffering, resisting, able, fit for ; hence) Becoming, proper for.

·ACT II. 129 P. 29 LI. 2-3. pasraha--This may mean that he looked at each of her or his own sides, to see if Urvas'i also had accompanied Chitralekhá and was standing somewhere to a side, out of bashfulness. But finding that Chitralekhá came alone he is very sorry and says 'ào...' * He looks at her side as for another.'C. 7 apro...-9971 Tegalo means 'qgar which was (once) formerly seen joined with #jot at the confluence.' O happy one! thou dost not now so gladden my sonl, thus coming without that friend of thine, like war, when parted from for if we had first seen it united.' C. For our Taqi P. reads gåter' which is not grammatically correct. Cf. fariĝagai P. 33. L. 4. and here aga P. 52 L. 1. P. 29. LI. 6-15. TT --See our note on that word P. 7 L. 12. दुर्जाते-टुर्जातं is misfortune, calamity ; cf. टुर्जात बंधुः a frieml in neel or alversity. Vid 570 ,--aw: (lit. bavlly or inauspiciously born) qemio--Mr. Pandit's rearling is the same but he translates thus :- You say that that fair one is exceeilingly restless, but lo not know that Purúraras is afflicteil on her account. This is the cominon prayer of us bothto Smart that the hot iron deserves to be united with hot iron.' Mr. Pandit un lerstands pranaya to mean prayer and he takes the prayer to be from both to Smara, but we think that the word means longing of love and that the fourth line contains it prayer from the king to Chitralekhú, in response to which she at once yoes to her friend and says "11778E7 à çat ATIH ÅTT.' From itara's år we can cather so much-FATTT 90T7: F: (पीडा) साधारणः, यथा मम तस्यां तथा तस्याः अपि मयि इत्यर्थः । अतः, झटिति 7677: (1971) #4: 3a 4/7: L Acconling to Mr. P.'s interpretation 371 in the third line refers to the prayer in the fourth line; according to ours, it refers to the longing of love in the 1st and 2nd lines ris.. her being och for him and his being and for her, and the fourth line by itself contains a prayer to variar indirectly expressed in the form of a maxina ( a ). Some real the verse thus- पर्यत्सुका कथय से प्रियदर्शनां तां आतिं न पश्यसि पुरूरवसस्तदर्थाम् । साधारणोऽयमुभयोः प्रणयो यतस्व तां को मुदीमिव समागमद बंबे ॥ Here the noun a la is not symmetrical with the adjective afari, which qualifies ai ( sist ), therefore strä...GETF is better. Then again in qe ai 14' the idea is indecent and absurd, and besides, an indirect request in the form of a maxim (Ta a &c..) is better than a direct one contained in de.

·130 XOTES, Please notice that afi* is a stronger expression than qemi. दुष्यंत says a similar thing --'ità anh 47 Fra HIT A gata' S. III. 14 (where obviousiy दहति is strong. than तपति). From the fourth line in our reailing ( 7 &c.) Prof. Wilson infers The art of welling iron was, therefore, known to the Hindus.'! 1. 30. LI. 3-7. - 1. P. to go.) A go-between, a female messenger (also spelta. Para till exar') cf. 'Fara Fior: #1 Hai F4- War: M. III. 14. In his zipi on ku. IV. 16.art says 9747911 - TÊTIT: STEI ETO--P. omits 3711 an, which means the same thing as apaga, without having regard to (my feelings). Carelessly. Without waiting to consult me. Quickly. 34407777, 3atan 49 fra Tel.' 710--Some real 371*io, (usual countenance.) i. e. 'compose yourself. Keep up your spirits.' C. P. 30. L. 11. HO—To be sure.' G. 283. The king means I am certainly rijayi to lay for I have got what I wanteil. You usually greet your lorii Inelra alone with the words 'FT HEIT/T:' but tolay in greeting me with the same worils it is clear that you have accepted me as your lorl anl husband. For 3fita: some real 3717a,' come, transferred ; in which case giviai refers to the king himself (37=7 967); but 317: obviously yiells a gool sonse (“which never falls to the lot of a person other than Indra.') as the realers may see from our translation, Faret, is an epithet of Indra (lit: having a thousand eyes). The Indra of mythology solucot Thalyá, the wife of Gautuma. The curse of the sage impressed upon him a thousand marks resembling the female organ and he was therefore callel सपोनि or सहस्रभग. But these marks were afterwards changed into ryes and he is hence calleu artiâ or HEUT. P. 30. L. 14. F:0—Why is a King's friend, and he tou a Brahmaņu left unsaluted ? P. 31. L. 2. fa--467 an ancient sago, supposed to have been the founder of the science of music and dramaturgy. His 3775 ICT treats of dramatic composition; the term Bbarata is also applied to his work which appears to have been a body of Sútras or rules relating to every branch of dramatic writing and theatrical exhibition ; althongh said to be lost it is constantly quoted by the commentators on the Sanskrit dramas. The chief object of his science of music was not to entertain and amuse the curious but to edify the pious. cf. • The second Upareda (i.", Gandharrareda or music ) was invented ·ACT II. 131 and explained by Bharata : it is chiefly useful in raising the mind by devotion to the felicity of the divine nature.' Works of Sir William Jones. Vol. IV. P. 94. P. 31 L. 3. STETAT-Only eight sentiments are represented in dramas ; the 9th, Tiata, is excluded. The eight rasas are: ITIT- हास्यकरुणरौद्रवीरभयानकाः, बीभत्साद्धृतसंज्ञो चेत्यष्टौ नाटये रसाः स्मृताः'-काव्य- 9. IV. 29. * The S'ántarasa (tranquility) is very consistently excluded from dramatic compositions, although it is allowedl a place in moral or didactic poetry. It implies perfect quiescence, or exemption from mental excitement and is therefore uncongenial to the drama, the object of which is to paint and inspire passion. The alvocates for its exclusion suggest a compromise and transfer it from the persons of the play to the audience, who are thus fitted for the impressions to be made upon them. It is highly proper, it is urged, that they should exhibit the Sluntaraxi and sit in silent attention, their tempers perfectly passive and their hearts free from every external influence.' W. P. 31. LI. 3-5. :o--Which the sage yra made you skilled to perform.' C. मरुतां, see our note on मरुत्वते P. 10. L. 14. लोकपाल- M. W. and W. say that 1915s are «leities appointed by Brahmá at the creation of the world to act as guardians of different orders of being. But the word is generally used (as by our poet himself in his R.) to mean the Dikpalas or guardians of the 8 quarters, riz. 'a पितृपतिः नैकतो वरुणो मरुत, कुबेर ईशः पतयः पूर्वादीनां दिशा क्रमात् ।' This scene of the heroine's being called away at a time when she most wishel to be near her lover for some time, reminils us of the scene in S. III. where the moment Dushanta and Sakuntulá come together, the heroine is callal away by Gautamé. Like the Drulúta here, a Female Friend says in 8. III. '17 (757) 37109TH HETI (558) i Stear Toft (the old lady llant). P. 31. Ll. 7-12. Tarai-T417 a 19:. 3719 to permit, but caus. to ask permission. 977-577:-riz. sagt. 37795, see our note on P. 2. L. 22. TÄ, Self' used as a reflexive pronoun. It is always used in the masculine gender and singular number though the noun to which it refers be in any gender or number G. 140. FR*** gegru — I will not stand in the way of your executing the command of your lord.' 'I would not interrupt your lord's commands.' C. 490 is a defendant but it is here used rather in the sense of 372ff or complainant. With the whole. cf. My master calls me; I must not say, no.' Kent in Shakespeare's King Lear. P. 31. LI. 15–16. 91:-P. reads '09' which would do as well, ·132 NOTES. if we take it to mean "each eye' or 'sight' (the faculty of seeing). 71 ag...= at meant to say—75 Dacia i aq qila: 997: चक्षुषोः वैयर्थ्य न स्यात् । अधुना तत्प्रेक्ष्य विने दयतु भवान् आत्मानम् । विस्मितेन, • Amazed,'· While I was gazing in my wonder at the sight of gazit.'C. TAIT, has unawares dropped from my hand.' C. P. 32. L. 2. STIFTO= Let not thy limbs droop'. C. Do not drop clown your limbs through despair. Do not despair. gara, Ta means * directed to, referring to (you)'—usually in compounds. This speech of Vidíxhaka is directly connected with the king's question Carê H14:'; this connection is not well brought out in P.'s realing which onits 'gi 9 TRIỆA' and 'ra' from Vidushaka's speech. In this speech c. translates 19 T41910--thus · Urrasi's whole existence is now fast bound up in your own.' P. 32. Ll. 5—7. aure= , 'because'. G. 271. (5) STATO-- governs Genitive. G. 113. was the master of her person. FTTİ, yet her free heart, manifest by the heaving of her bosom, seemed as though lodged within me by her sighs.' C. Fato, the king thinks that the trembling of her breasts was caused by the Heart in its passage to him from its seat below them. Cf. the following lines quoted by Wilson : My fluttering heart, tumultuous with its bliss Would leap into thy bosom. T', reads 'T' (flowers) for $97. His imaginary «lifficulty is . It is not natural that a woman's breasts woull xhake when she turns round and goes,'! Our realing is certainly appropriate and therefore better. P. 32. L. 8. Ai i _Some read 'FETİ HTTİ.' 'My heart treinbles at the thought, how short the interval may be ere he drops some mention of the birch-leaf.' C. qerai, 'I am sure he will ask me'; sometimes Potential participle indicates the future with certainty. G. 157 (b) cf. araz. P. 50. L. 15. P. 32. L. 14. HÆH--38 (from 3g life, thought, grief; displeasure at the happiness of another, envy) anger, indignation. cf. *7519 AL HET Hát' S. II. 2. 99:--( ranr, quz ya aja; liable to be ruled ; doing the bidding of another; servant who has no free will, hence) Idiot, fool. HIT THEO-- Thou art always a thoughtless idiot.' C. Cf. 'प्रलपतु एषः वैधवेयः;' S. II. where राघवभट says-क्वचित् ait: ga 973: 1 # THIS FT*:. 3Ī ATTUATO:.' TAT: --- well (why do you stand).' G. 286. P. 33.

·ACT II. 133 P. 33. LI. 4-6. 9728r-Untruthfully. cf. 'Hagnh Mã 379* Fier- तपूर्व.' Ru. II. वत्वया कथितं--In the प्रवेशक of this act, we have seen that Nipuniká sees Vidúshaka in the private garlen of the king near the palace, and that there she learns from him the cause of the king's anxiety. We have seen also that as soon as she leaves Vidúshaka, the king leaves the Court and comes to the garden. We can, therefore, infer that the Female Serrant on her way back to the queen has seen the king, from a distance, going to the garlen, and then towarls Pramadarann accompanied by Vidúshaka alone. When therefore the queen now says taga, what was told her by Vipunikú must be something like this-- I learn from Vidúshaka that the king is in love with a nymph called Urcasi, and that he being mad with thoughts about her, talks about nothing else to tidlúshuka ; who therefore is now taking him to Prawadurana to divert his mind, where they now must be conversing about nothing but Irrasi. This the queen wants to ascertain for herself. P. 33. LI. 10–14. TTATO-- On which (leaf) there appears to be some writing which becomes visible or known on account of its being turned round by the wind. FOTĀZI--P. rearls 'grizar:'(Genitive) but we think the Prákrit Genitive TETASIT should here be translated by Sanskrit Dative. See our note on 31 magam P. 16. L. 8. T9--See our note on TITET P. 27. L. 2. and cf. lati 3779154'P. 83. L. 19. (and then a apa P. 84. L. 3.) To-- (Allowed, proper,) not indecent; not objectionable. • Look into it first; I shall listen if it contain nothing unseemly --C. a- Hi or Feierta. (some say FETTAVA, hasa Hi TË). Lit. report about a family. Any bad report. '$a alled to this means born of. na ha esla:; wita: of a good family.' K. G. & 238. But it has changed its meaning. Fira 17:': Nipuniká means-The same scandal manifests itself here This Bhurja patra seem to me to have a dirret connection with that scandalous report about which I have already spoken to you.' For gratia some read and, which C. thus translates. Here is that rumour all pen now. P. 34. LI. 4-6. Triari--Lit. one who has understood the matter. Knowing the meaning or sense. cf. & 217, matters of messages. T*--Now. cf. 277 27121: Tatra' P. 28. L. 9. and see our note there on अत्र. 3914--Present, gift (such as one takes to the king when he goes to see him, 39-3). P. 34. Ll. 12–13. Urriar-ATT:89: the season of spring. Some read 'सुरभि यत् ,' but सुरभिणा makes significant the epithet of the वायु in 12 ·134 NOTES. वसंतप्रिय दक्षिणवायो.' वीरुध्, from वि रुह, a spreading creeper. किं कार्य--न किंचित् प्रयोजनं इत्यर्थः. P. reads किं मिथ्या. Worts like किं, कार्य, अर्थः, प्रयोजनं, गुणः, expressing use or need, govern Instrumental of that which is user or nee led and the Genitive of the user: e. ५. तृणेन कार्य भवतीश्वराणाम्. G. b. P. 34. L. 14. मनोविनोहनशतैः०-- Are sustained by a hundred such pleasures as these.' c. P. reads 'मनोविनोदनफलैः,' in which case some noun as qr9: is required to be taken as understood, tilfarct those dai at: (उपायः). The king means to say that a man who is afflicted with love preserves his life by memorials like Blúrjapatra since they please his mind in distress; :n that Táyu must have experience the truth of this when he made his losto (i.'. courtel).injani. P. 34. L. 15. अंजनां प्रति-Some read the fourth line thus 'कामात जनमंजसाभिभवितुं नालंबितप्रार्थनम् '. रंगनाथ has this reading, and भवान् for मनो in the 3rd line, and comments on the last two lines thus- 'लेखहरणे तु ते न केवलं न लाभः प्रत्युत मा दृग्विधवधाधर्मोऽपि प्रसज्येत इति न त्वया एतादृशं विधेयं इति भावः । हि यतः भवान् एवंविधैः विनोदनशतैः हस्तलेखचित्र- फल कादिभिः धारितं विहितजीवनम, आलंबिता अंगीकृता प्रार्थना येन तं कामात जनं अंजसा तत्त्वतः अभिभवितुं पराभवितुं न जानीते । अभिभवितुं न जानीते इदं अंजसा सत्यं इति वा । अतश्च अवश्यं लेखो न नेयः इति भावः । निजदा क्षण्यरक्षणाय अपि न एतादृक् विधेयं इति रहस्यं । अंजसा तत्त्वतर्णयोः इति विश्वः ।' Yes, but it is certain that if the Wind be reminded of his love to Anjana, the rem:urks of the king would go directly to his heart and he, realising the king's distress vividly, would at once be inclined to sympathise with him. SITAT ( 311 to be beautiful) mother of Muruti. She was the wife of a monkey Kosarin. One day the god of wind being enamoured of her beauty assumed a visible form and asked her to yiell to his desires. She requestel him not to violate her chastity to which he consentel; but he told her that she would conceive a son equal to himself in strength and lustre by virtue of his amorous desire fixel on her, anul then disappearel. In course of time Anjanú conceived and brought forth a son who was called Maruti being the son of Miruta (Wind). P. 34. L. 15. आलक्षितप्रार्थन:--(आलक्ष् to behold) who (you) are known to have loved ( अंजना ). दृष्टाभिलाषः P. 35. Ll. 2-9. मलायमानः--This speech of Vidishaka is connected with his own last speech 'किमेतत् दृश्यते' (P. 34. L. 9.) before uttoring which he must have seen a feather of a peacock and taken it for the ·ACT II. 135 ; Bhúrjapatra. straigt. BTTTT-31āt, uneasiness, as shown in the king's last speech'ader Fällen.' 377f47, 3780a sia giá tā 9721 संबुद्धिः । 'उढायां देवि दयिते पुमानाह प्रियां प्रति । आर्यपुत्र च जीवेश नाथ साप्याह TBYI'-- HITTIFI. Tİ--See our note on that word P. 10. L. 6. अपवार्य-For अपवार्य and जनांतिकं see our notes on those words P. 7. L. 12. and P. 11. L. 4. grafu--( talay to remedy or to take steps against). We think the king here means-- What is to be said now by way of explanation or excuse ? for, विदूषक replies 'अस्ति वा प्रतिवचनम्'. P. 35. L. 10. TO-- What excuse can he offer who is taken in the fact? W. Little indeed has the thief to say when the stolen goods are the evidence that detects him.' C. We think that those who translate this phrase, as it is in the text, by caught in the act,' confound it with the other phrase ' Hazara-Caught in the at of comunitting theft. , (the same as ala or "3 which comes froni लुप् to cut. ) from लू to cut, stolen property. चोरितद्रव्यांशः, here the भूर्जपत्र. ifrei,--the same as Fr (from@; and ha, at, an 6. 10. P. to split, to break ) one who breaks into a house. I, a particle indicative of question and translateil by 'Possibly' I should like to know.' In this sense it is generally (not always ) alileil to the interrogative pronoun. See G. 302 (b) where this is not quite clearly stateil. P. 35. LI. 13-14. Trào--Some read this part of the speech thus : a 8 argă la 879 7977 14:,' where C. explains 4999 by a portion of the l'edas,' but we think it means 'a letter of state or political affairs (as opposed to love-affairs ).' yrudo-- The queen (loes not wlmit the king's plea, and says that it is but natural for him to try to hile the good fortune consisting in his being loved by a heavenly damsel. This is Hindi or Hezarfi, ridicule or sarcasm. सौभाग्य is good fortune consisting in man's (or woman's) caining favour and devotion of a woman (or man). cf. 99g #417755 I 7 al' ku. V. 1. (11170 1972!11. ) and 'ÊT À 4T aterak171 sjajar' Me. 29. (where मल्लीनाथ says-सौभाग्यं सुभगत्वं । स खलु सुभगो यमंगनाः कामयते । ). P. 35. L. 15. TITT770--race accounts for the impropriety observed by the queen in the conduct of the king, by suggesting that he was at the time suffering from bile due to hunger and was therefore acting incoherently. He thus, trying to hush up the matter, indirectly but cune ningly admits that the king is guilty. P. 36. LI. 2-4. So ---This refers to a method of exorcising a ghost that has taken possession of a person. A kind of yellow dinner ·136 NOTES. of rice is prepared and offered to it with prayers and the ghost is then supposed to leave its victim alone.' P. 379-Baqtr. 39 one who has committed a fault (used in an active sense). W. translates, · Not your's the offence my lord ; 'tis mine who tarry Here where my presence is not wished.' P. 36. LI. 6—9. Teg14:--plural, because she was fanitari' P. 32. L. 18. TH Hra--(T4 to act rashly; HT4 to be angry). Words denoting at (cessation, refraining ) govern Ablative. G. 76. q-here shows condition, if (a). T, often compounded with an interrogative in the sense of Possibly, indeed. G. 285 (a). In the second line the king calls himself a disa of his queen, firstly because he wants to conciliate her and secondly because there is. (in his opinion which he expresses in P. 65. L. 16.) 'THAT THE Tiai.' W. translates the second line tlus : . When monarchs are incensel, it cannot be But that their slaves are guilty.' P. 36. L. 11. REFOTO-- Light of purpose’. W. My heart is not so credulous as to trust in the homage you offer.' C. Not that I am so light-heartel as that I care for this supplication, but I fear the regret that shall be causel to me by my unconciliatory concluct. P. She is sure that the king is not sincere in his professions, and so slie feels justitiel in rejecting his supplication. But true to her character as a Hindu wife, she fears she will afterwards regret that she did not show gentleness, Nevertheless let me go' she says. In Act III. we see that she does repent : cf. '97:, akan Fraquara747a1' P. +1. L. 9. For afgiraron see our note on CNTT P. 19. L. 9. P. 36. LI. 14–19. TIIS--7179 f. rainy season (9179 to rain). Nă 977997--That she has gone unpacified is not at all unreasonable. She is justified in going so displeased for the reasons given in the following stanza. 19277757:0--For W7 P. reals Ta, but a makes the verse regular, for it corresponds to the participle arma in the fourth line. 77, hundred, is not so poetic as a which means expressed in. altri, Thadi i. e. (1) pirakaat hai and (2) HTCHFITIH. (TT, also may have a double meaning i. e. (1) affection, and (2) redness or colour. With this verse cf. 'उपचारविधिर्मनस्विनीनां न तु पूर्वाभ्यधिकोऽपि 2779-77:' M. III. 3. Cf. C.'s translation-'a lover's salutation, with worls of affection, but without affection itself, enters not the skilled woman's heart, like the gem that has only factitious colours'.

·ACT III. 137 P. 37. LI. 2-5. gag--viz. the fact that the queen has gone away without being reconciled. भवतः अनुनयः तस्याः हृदये न प्रविष्टः इत्येतत्. अक्षितुःखितः-अक्षिदुःखितः इत्यत्र प्राकृते पूर्वनिपातानियमात् दुःखिताक्षः इति विधेयम्. धैर्य अवलंबिष्ये०-- I shall not yield'. He says-Although my love for her now is the same as before, still (किंतु) I neerl not yiel.l and go to her; for, I am sure that she will regret her haughty conduct and with repentance will come to me and consent to my making love to Urrasi. Thus the प्रणिपातलंघन will be of use to me. cf. 'मन्ये प्रियाहतमनाः तस्याः प्रणिपातलंघन सेवा'. M. III. 2). काटयवेम--प्रणिपात- लंघनात् प्रणाम-अनंगीकारात् अहं देव्यां धृति अवलंबिध्ये । अत्र प्रगामोपाये व्यर्थ सति अपि उपेक्षा नाम उपायः प्रयुक्तः इति अनुसंधेयम् । यथोकं 'उपेक्षा धैर्यधारण' इति । P. 37. L. 6. धीरता--धैर्यावलंबनम् (referring to the king's last wordls धैर्य अवलंबिष्ये). P. 37. LI. 10-11. उष्णालुः--उष्णं म सहते, उष्णासहः, unable to bear heat. Suffering from heat. मुकुलं व्यालीयते षट्पदः--Some real 'मुकुला- न्याशेरते षट्पदाः' (मुकुलानि and षट्पदा: both plurals). P. reads 'मकुला- न्यालीये षट्पदः' (where to have षट्पदः singular and मुकलानि plural is certainly an awkward construction). But seeing that the 1st (आलवाले-शिखी), Bral. (नलिनी-करंडवः) and 4th. (वेश्मनि-शकः) lines have all singulars, we have a lopted a new and symmetrical realing on our own responsibility, for no elition has it, nor P.'s footnotes. Seeing that there is no plural in the whole verse, we venture to think that our realing must have been the original. one; and hesiles व्यालीयते (विशेषेण आलीयते) yields a good and appropriate sense. Act III. P. 38. LI. 4-5. पेलव--P. reauls पल्लव. Some read पैलव. उपाध्यायः, ( उप+अधि+इ, उपेत्य अधीयते अस्मात् .. त्वं आसनं प्रतिपाहितः-The आसन is the skin of a tiger or leer. Not un lerstan ling this eminently oriental idea of आसन, C. translates the passage thus-'lle barle you take a seat with him in his chariot.!!! In forming the passive construction of canal verbs the principal object (त्वां ) in the active traual construction (त्वां आसनं ग्राहयात) shily is the subject of the verb in its primitive sense ( Tini TOEI ) is put in the nominative case () and the other object ( frai) remains in the objective case. G. 47. P. 38. Ll. 5-8. अग्निशरणं-(श्रि to rest in) 'शरगं गृहरक्षित्रो'-अमर, ·138 NOTES. The place where sacred fire is kept. (The same as अग्न्यागारं or अग्यारी) लक्ष्मीस्वयंवर--A drama composed by #TER ( Fretara) and taught to the nymphs for the purpose of representation by भरत (मुनिना 9: Ti, vaqECHT agt: P. 31. L. 2.). Once upon a time, the Deras and Duit yas churned the ocean for Amrita (nectar). Before they obtained imrita, many gems came out of the ocean, one of them being Lakshme. (Várunk, the goddess of Suru-wine came at the same time with Lakshme out of the ocean and therefore in Line 14 she calls Laksh má her friend-Sakhi.) The gods as well as the demons wished to have the possession of Lakshmi. It occurred to Indra that if they would begin to quarrel for that bone of contention the churning would stop and no nectar could be got. He proposed that they should go on with their work of churning till Amrita was got and then Lakshmi be disposed of by Sruyamrara. In Srayamrara, she being helped by her friend Váruni chose Vishnu. • It was common in the Hinlu society of former times for princesses and women of rank to select a husband for themselves. The candidates for the hand of the ladly were invited to her father's house and after previous festivities for some days, were collected in a hall rounl which the damsel passed and selected her future lord by throwing a garland round his neck. The marriage rite was then celebrated as usual.' W. P. 38. Ll. 8-11. gore--P. reads 7-9 which is incorrect. ATO--ma interrupts his friend and says-You qualify your statement by ma, which shows that in the remaining part of your speech you are going to mention some fault. प्रमादस्खलितं--अनवधानेन विपरीतकरणं. P. 38. L. 13. AT-A character in a play. Pacita: 377456- SETET TIT: HTTKT.' TTEOTT, See our note on saatjat P. 38. L. 8. FATTET:o, The poet omits to mention Daityas who also must have been present according to the legend given above in our note on erit- Fiat. igrati, See our note on that word P. 31. L. 5. P. 39. L. 4. Tagalo-- They follow what is destined.' He means-That must have been her fate and therefore such words unconsciously went the way of that fate. For इंद्रियाणि some read बुद्धींद्रियाणि. P. 39 Ll. 4–12. T --Here ay is used in the sense of Inquiry, as a softened question— I should like to know if ...'G. 271. (3) (Was he angry with her ?). Hi, past passive participles of intransitive roots are used in an active sense. G. 152.7 à faszio--You will lose heavenly residence. You will go and live among mortals. TTHEUTOcf. 'HAY ATTEIT :'P. 94. L. 9. 979, i.c. In this matter of your ·ACT III. 139 attachment to him. 47, m. n. a son (from 69, one who continues a family'a son or a daughter.' M. W. D.) P. 39. LI. 13-14. goniato--Knowing other persons i.e. their hearts. Here 964 or individual is Urvas'i. She uttered the name of Purúradas, and then Indra, by his prabháva, read her thoughts and knew what was in her heart. अपराद्धा--Not used actively as in 'अहमेव अत्र अपराद्धा' P. 36. L. 4. P. 39. L. 18. ***:--This is a rhy or HoT ras#** because in it there is a mixture of two characters who do not both speak the same language ; one of them (गालव who is a मध्यमपात्र) speaks संस्कृत, while the other (पेवल who is a नीचपात्र ) speaks प्राकृत. The scene of this Introductory Dialogue is laidl at the hermitage of 47a. A ac*** is an interlude between the acts of a drama and it is performed by one or more characters, milling ( 749 ) or inferior (a) who connect( asi to bind firmly together) the story of the drama and the subxlivisions of the plot by briefly explaining to the audience what has occurred in the interval of the acts or what is likely to happen later on. Def: वृत्तवर्तिष्यमाणानां कथांशानां निदर्शकः । संक्षितार्थस्तु विष्कंभः आदावंकस्य दर्शितः ॥ मध्येन मध्यमाभ्यां वा पात्राभ्यां संप्रयोजितः । शुद्धः स्यात्स तु संकीर्णो नीचमध्यमकल्पितः॥ P. 40. L. 2. *-*9: ( a flowing robe ) ata qet. cf. 31Trilajā ar akz7 372337TTA ! Kâ. Def: 'अंतःपुरचरो राज्ञो वृद्धो विप्रो गुणान्वितः । उक्तिप्रत्युक्तिकुशलः कंचुकीत्यभिधीयते ॥' 'ये नित्यं सत्यसंपन्ना कामदोषविवर्जिताः। ज्ञानविज्ञानकुशलाः कंचुकीयास्तु ते स्मृताः॥ His character is that of an attendant in the inner apartments, an old man, a Brahmana endowed with numerous good qualities and a clever man of business.' Godbole and l'arab. The scene of Act III. is laiil at a part of the garden of the king's palace at Pratishthana. P. 40. LI. 4—7. --( to impel, urge on ) aran, gåTTA इत्यर्थः. कल्य free from sickness, healthy. लब्धं, P. reals भोक्तुं (to enjoy pleasures of life) but is better and more natural; and A requires that a should mean pleasures,' which meaning is inappropriate here. FTTT, 'Becomes fit for. The result brought about is used in Dative case with having this sense. G. 66. Aryziato, P. reals 'सादयंती शरीरं' (daily wasting the body) but साधयंती प्रतिष्ठां is more appropriate and helps to make the contrast more glaring. To, Some read al 15: (Until our very voice be changed from the sorrow of the servitude-C.) where rh means change of voice due to emo tions which meaning is quite inappropriate here.

·140 NOTES. P. reads thus har trarrafaret', Firerai yra afa: OFT: HT, • we end our days in prison as it were.' But our reading | (Har ) is well contrasted with faticar (à layar ). P. has three objections to the reading we have adopted: (1) hafa does not mean old age, (2 ) If It is hat mich the form ought to be #artoft. and (3) If it means ÀTI ETT the subject and predicate would change places i.e. सेवा (subj.) अस्ति कारापरिणतिः (Pred.) would be सेवाकारा (Pred.) अस्ति परिणतिः (subj.). Our reply is (1) परिणति does mean close of life or old age(see A.D. where TTTAS. IX. 3. is quoted). (2) We don't take सेवाकारा to mean सेवा करोति but सेवारूपा as opposed to विश्रांतिरूपा. (3) Yes, they may safely change places since परिणति has the sense of old age. With the second line cf. 647 agida THT arif, sia FTSTÊ që BATTÀSIERT.' S. IV. 19. P. 40. L. 7. RE:--- Full of trials and difficulties. Please mark the despondency in the speech of the Kanchukin. Despondency seems to be always attributed to the Kanchukin in our plays.' K. T. Telang, in his notes on Mudrárákshasa P. 15. "The Kanchukin generally on his first appearance on the stage alludes to his old age and the vicissitudes of his life to impress upon the audience an idea of the influence he is entitled to weild in the royal household.' Prof. P. N. Pátankar in his notes on S. P. 35. It is his old age that makes our Kanchukin unable to read the name engraved on the arrow, in Act v. (7 À quartare: P. 83. L. 17.) P. 40. LI. 8–14. FUTU--AITHT, observing the rules of a sacred vow such as not to eat without worshipping &c. These rules were in connection with a vrata (ceremony) she was going to perform. cf. 'faisaiaga TIGHED Fita;' P. 47. L. 11. 'शौच्यमिज्या तपो दानं FILTER: I aÀTH & Fira TAL GET in (where उपस्थनिग्रह means restraint of sensual passions). व्रतसंपादनार्थ, to finish the vow (in the presence of and by propitiating the king). Ari, #17: anger excited by jealousy; indignation at the king's making love to gazt. 49a, see our note on agà, P. 15. L. 5. Hafa: :-P. reads Tiara Ferragna:-- TIP Tara 37 HT: as opposed to the slumber at midday. yà, plural is used to indicate that the fumes of incense were coming out through several windows or in several columns. Here instead of taking 19 to mean incense (smoke) we would have preferred and adopted the reading a'if any edition supported us. Als, an eye-hole or window. 542, (a to cover) asíð: is a sloping roof. cf. T9=7772fargia harteliairaana. M. II. 13. P. takes ·AOT III. 141 apy: to mean "Struts or wooden supports of the projecting eaves of the roofs. 'In वलभि (also spelt वडभि-Ed.) the मराठा will recomise the origin of his wond 930'. P. in his notes on M. p. 130. P. 40. 'L. 14. TEO--Higur fistar: qreraar: 917. It was difficult for the people to make out whether what they saw was the fumes or the wild pigeons.• The doves, as they fly to their turret tops, can scarce be distinguished from the fumes of incense which escape from the windows.' C. P. 40. LI. 15-16. 312ga:- Engaged in their duties. C. But P. takes this to mean arī qaz, clean owing to the customary act of washing the face &c.' But 175197 says IT 947: 97:' (Devout, zealous). And in this latter sense the epithet is appropriate and signi ficant. There is nothing poetic in saying they hal washed their hands &c. #sha--#+ geqares, having offerings of flowers gset- पहारसहितेषु--काटयवेम. But P. takes it thus सपुष्य+बालि, having offerings (such as of reil powiler &c.) accompanied by flowers. sa, विभकान् करोति, तत्र तत्र or स्थाने स्थाने निवेशयति इत्यर्थः, शुद्धांत वृद्धो जनः--P. reads 'Igiaa:' and translates The matrons of the house." His objection to our reading is 379 is used at the end of a compound to signify the plural, but not, I think separately from the noun wont.-E.I.) to which it refers. Our reply is--17: ix separately used to signify the plural. M. W. D. says-377:, a person, is used collectively in singular as well as in plural e. g. 57, the souls collectively. And Mr. Apte in his Guile. $ 336, quotes assietara i' and translates colit people suffer hundreds of miseries.' Our realing is better because it is more natural and because it includes both males and females. Tajā teha:--the aged amongst the residents of. "A strange enumeration is given of the male characters al missible as tenants of the interior of palaces, as eunuch, mutes, foresters. and barbarians' W. P. 40. L. 20.57iga--Some have the synonymous realing arqatiga! The mountains could move before before their wings were cut off (लुप्) by इंद्र. The epithet गतिमान् is justified by अपक्षलोपात्. The conception of the Vedic poets was that Indru (the sun) as the giver of rain, broke open the clouds and sent down fertilizing showers of rain. These clouds, seen near the mountains, were poetically said to be the wings of mountains by the writers of the Purúmln. P. 40. L. 21. :o-The female attendants, having torches in their hands, were as thin and tall as the Karnikára trees having red bright flowers.

·142 NOTES.. Here the king is compared to a mountain in motion; in Act V. Narada is compared to a tree in motion, 'हेमप्ररोह इव जंगमकल्पवृक्षः'. P.93. L.8. a P. 40. Ll. 24-26. आः-'स्मरणे आ अपाकरणे कोपसंतापयोस्तथा.' का- waitarai — When sorrow was lost in occupation' afarta (from अंतः and इ to go; hidden.) removed. कार्यैः राजकृत्यैः अंतरिता स्थगिता उत्कंठा यस्मिन्. कृच्छ्र, m. n. (कृञ् to draw, to draw into one's power; to overpower). अविनोद०, अविनोदात् दीर्घाः यामाः यस्याः सा. यामः. (यम् to regulate) a watch, a period of three hours. For 914 and for the opposite idea cf. 'अविदितगतयामा रात्रिरेव व्यरंसीत्.' U. I. 27. With the whole cf. (a) गमयति रजनी विषाददीर्घतराम्. S. IV. 15. and (b) सव्यापारां अहनि न तथा पीडयेन्मद्वियोगः । शंके रात्रौ गुरुतरशुचं निर्विनोदां सखी ते ॥ Me. II.25. P. 41. Ll. 3-7. सुदर्शन:--सुदर्शनः शोभनदर्शनः, सुखेन दृश्यते इति वा.- रंग०. 'We shall have a good view of it when in rises'. It does not mean that now it looks so beautiful, for the moon has not yet risen. ( प्रत्यासनेन चंद्रोदयेन भवितव्यं P. 41. L. 19.) रोहि- णीसंयोगः--रोहिणी lunar asterism personified daughter of Daksha and regarded as the most favourite consort of the Moon. (Feminine of tir a red is trigar or Tilbot, and the principal star in the constellation is red). किं परमार्थतः०--The king means-'Do you think that what the queen is going to do (आरंभः) is really for the vow; or can the coming fulfilment of the vow have something to do with her treatment of me and can it be due to repentance ?' (cf. देवी--किंतु अदा- क्षिण्यकृतात् पश्चात्तापात् बिभमि. P. 36. L. 12. and राजा--किंतु प्रणिपातलंघनात् अहमस्या धैर्य अवलंबिष्ये. P. 37. L. 5. and see our notes thereon). P. 41. L. 9. व्रतापदेशन...प्रमाटुकामा-अपदेशः (अपदिश् to pretend ) excuse. cf. 'व्रतापदेशोज्झित गर्ववृत्तिना' P. 48. L. 8. He means to say-She being stung with remorse wishes to make amends for her contemptuously treating your prostration (भवतः प्रणिपातस्य लंघनं ) under the pretext of performing a ceremony in fulfilment of a vow. This is but an excuse to bring you to her presence, when she may efface the recollection of the indignity with which she treated you. W. cf. 'इरावती--अन्यसंक्रांतहृदयः आर्यपुत्रः । केवलं उपचारातिक्रमं प्रम? अस्माकं आरंभः' M. IV. P. 41. L. 12. अवधूत०--P. reads तथा हि before the verse, अपि for हि in the first line, and निभृतैर्व्यपत्रपंते for विविधैरनुतप्यन्ते. Mr. Apte in his Guide, Lesson VI., quotes this verse as read by P. and translates it thus-Proud women, though they, having first slighted a prostration, are subsequently stung with remorse, are nevertheless ashamed ·ACT III. 143 of the secret conciliatory acts of their beloved ones. This translation itself shows that the reading adopted by P. is not good. He translates differently -Self-respecting women ( TE FT: GEIT: HT HET-Ed.) having contemptuously treated a prostration at first, though they are subsequently stung with remorse, become nevertheless only secretly ashamed by the conciliatory acts of their beloved ones.' This meaning looks apparently consistent. But jataat: is never used as an adverb. Mr. Pandit is quite conscious of this, for he says “Take qua: either as an adverb or as an adjective in the sense of acting silently. But what is the meaning of acting silently' and what does the adjective qualify? If it qualifies 2777: and if aya: agrù: means by the secret conciliatory acts then si loses its force. If it qualifics 37TT: (a variant for 3777, 'lãąà: è: grgaiãozł 3 WIFI:'--*To ) then in that case the idea of 37979 (repentance) is superfluous since it is already containeal in 'पश्चात्संतप्यमान मनसः' and अपि is still open to the same objection of being meaningless. By way of explanation, P. says Women are too proud at heart to come forward and openly show their regret. From this it appears that he lays particular stress on 31997 in the speech and on anyà: (=not openly). But to us it appears that the point of the king's remarks is that women slo at last repent, ils prophecied by himself a Taragara SETT I 3770- ao P. 37. L. 55. ) and as he himself says elsewhere. sizi 14:17 agião Falgaga Ai' P. 76. L. ... Thus the principal idea is not scoret remorse but repentance which alone the king has all along been anticipating. We do not mean that 37933T has nothing to do here. We admit that the vow is a pretext, ( and consequently the king says 'Taraclisstate- Al' P. 48. L. &.) but we only say that that is not the principal idea here : for even where he says '97192 Tistancar Far' there too he immediately adds in the principal lause 91 agha Jatà,' (which is consequent upon reputuner ). P. 41. LI. 15-20. Traito--i.c.-White and gently rising one above another, not abrupt and high.' P. I, (Perhaps from # 39177, #+ 39+7.) 4— Charming, lovely,' because the moon is about to rise. With the speech cf. 'ariant: " Hai.' Bhâ. II. 56. P. 42. LL. 3-6. TEO-ITA ITT: 7: The 367 or the imaginary eastern mountain is not a fixed place. It is such a place behind which the sun or the moon is seen to rise.gaz à vifaa 791 549: Fa:.' Thus 364, we think, can best be renlereil by erstern horizon. grai, P. reads 'grina,' but the eastern mountain was not so mar as to justify 57. : would do but it does not suit the metre and gtai ( 717--11To ) is certainly more poetic. EratETTET=The East ·144 XOTES. which is prosi lel over by Indra, who39 horses, two or inore, are tock nically called me (i. o. Kot or (TT:). The Sun being called it to shing or be powerful ) by the Velic poets, it is a natural supposition that it (tho sun ) presides over the east. With the whole verse c£ 'जाताः शतकयां ककुभि कतिपये भांति ITT:' Ru. II. 2. • The east is here compared to a young wunan who during the absence of her husband (here the mon-El) in a distant place lets dowa her hairs uncoin bed and untiel which bang about her face, and who ties thern up at his arrival and whose face thereupon beco nes visible and brightened.' P. Cowell appears to take मखं as a separate word--यथा (मी.) मुख अलक- #991 ja rato--and translates And Indra's quarter gla idens my eyes as though it were a ham in countenance parting the locks from its for:-head. But in the last speech of ridiishakı atin' is obviously one compound and so to keep up the sa ne figure of speech we can't a propriately separate that same compound in the King's speech as Cowell seeins to have done. P. 42. LI. 7-9. (TK--03: m. treacle or molasses partially Iriel. Canlie 1 sugar. Hafara, of the twice-born, namely 19T, 197 and :. The moon is so called because he is identified with Soma (see our note on HP. 3. L. 12.) who is also called king in Veda ' A , İ #1:, -İ TIF 3A 31.' Some say the gras are the stars for they rise and set. Some real teha. We ask, can not ras mean the plants, being first born from the soil and then nourishel by the moon ? H (CF:--Bãi gã kĩ qEL H. ta đi, Department, sphere, element, peculiar province. With a glutton, fool bucomes in every case his propər scope or province i. e. even his similes ani motaphors are derived from fool.' Mr. Apte's note in his guide, Lesson I. Here the prelicate (97: retains its natural gender and agree with the subject 3p775lif only in case. G. 11. For tidúshurka's referring to eating, ': HTTÀ 173717:' P. 17. 1. 18. and his next spoeh at the same place; HT TUTTI ETIÈTITTO' P. 28. L. 2. 'SET TATRY på 3711 a.' P. 337. L. 6. al' 91 AZHAJÍT. P. 16. L. 4. cf. Wilson's metrical translation : "Oh base similitude. Your thoughts my friend Have rarely nobler prompter than your stomach.' P. 42. Ll. 10.-11. --( 9 night from the caus. of a to destroy, trabzt, stops activity). Some real **(15. (* & star).

·ACT III. 145 targeo--adj. of (in the 4th line) a Dative governed by 74:. For three nights the moon is near the Sun (R. VII. 33.). 379 governs Accusative of the place of residence. G. 32. In ancient Europe, especially in the Jewish nations the moon was supposed to hide herself in the cave of a mountain. cf. Milton : • The sun to me is dark And silent as the moon, When she leserts the night Hid in her vacant interlunar cave. P. 42. L. 11. wat -- I TOTORTRAI Gązaitza. Certain sacrifices, Velic rites or funeral obsequies are to be celebratel when the moon is in conjunction with the sun, as at the new moon or अमावास्या day. * The Hindus are enjoinel by the Velas to offer a ball of rice, which is called rŐ3, to the chosts of their ancestors, as far back as the third generation. This ceremony is performed on the way of the new moon in every month. Charles Wilkins in his notes on Tar P. 192. P. 42. L. 12. 910--(, À to drink; 9-11 the beverage of the gods; tho nectar). The gols and the manes (i.c. the souls of the departel ancestor's ) drinh lifferent parts of the moon and are thereby gratifiel. This drinking of the moon is the cause of her crasual waving from day to day. ci. That EHITTE, 41977: JETTÈ if à' R. V. 16. cf. also प्रथमां पिबते वन्हिः द्वितीयां पिबते रविः । विश्वेदेवास्तृतीयां तु चतुर्थी सलिलाधिपः ।। द्वादशी पितरः सर्व समं प्राभंति भागशः । त्रयोदशी धनाध्यक्षः कुबेरः पिबते कलां ।। हुतमग्निषु यज्ञेषु पुनराप्याय्यते शशी । दिने दिने कलावृद्धिः पौर्णमास्यां तु पूर्णता ।। "All this childish myth about the moon being rank......... its originio the identification of the moon with the Sobeverage.' P'. P.42. LI. 13-19. HUTIO--ārsts at 199H A Thiraz . ( to grow, becoino dense). 77510,--E117 GIT HET FETA: 371541 gra: ET F:. The got Siva wears the moon in his crest. Igaza,-- STE21, to pray, is only Â. TATANATO— By a sign declared to a Prah mana like me I know that your grandfather has favourably lisznissoil you.' c. paraan, see our note on HITRITET. P. 3. L. 12. and cf. EITHÂN GET HIJ HET FEI' P. 68. L. 15. 1761:- A courteous form of aldress (not necessarily implying respect). G. 128. · P. 43. L. 2. qi azafa—1, after, governs Ablative. G. 82. Some translate this passage thus, ' The queen will come just after a moment 13 ·146 VOTES, 80 I shall speak to you in private after she has come and gone. But in the very next verse the king does tell his stafell, and so qi upala must mean “after sometime yet.' Cf. Wilson's metrical translation :- · I think we may not yet expect the queen ; Ind now we are alone I would impart My thoughts to you.' For FSSTIÀ some read 277, and both show the close proximity of a Future action. G. 213. P. 43. LI. 5-8. T210--- Keep up your spirit with hope.' W. cf. tára arat: Bih: a hirta.' S. IV. 15. “But since we have witnessed her reciprocal affection, you may well support yourself hy hope.c.ga:0--On the other hand.?G. 287. fã TATTO--Whose speel is impecleil by the obstruction offered by big stones. 2 (FC to surround) avlj. beset with, hemmed in. aanaaaa. cf.iai negaSTÀ विंध्यपाद विशी.' Me. I. 19. मनसिशयः,--An अलुक् of the Locative, (मनसि in the mind ). शतगुणीभवति.--(Please correct the mistake that the worils Taroîr hala are separately printed). AT-formation. See our note on aika P. 2. L. 11. Here Tarihara is to be construed with both TIE: as well as 217. The word of means, repetition denoting folis or times, usually at the end of compounds after numerals, as in * TIETTI ETTEIT TERATAI ITI OGTT 5778179 #WEIT: 99:11' ETT. Mr. Cowell rcauls '' for 77 of aml translates the verse thus- Like it river's current, whose dashing stream is hemmed in by rugged rocks, -0)--though the joy of union be obstructed.---my love still bounds onwards. following its native impulse. P. 43. L. 9. y...91—-Since...therefore ' . In as much as...I foresee therefrom a speedy meeting.' C. Sometimes war is omitted. l'oets are foud of describing that lovers, though their limbs may drool, have a sort of graceful appearance which indicates their approaching union. The king here does not appear dejected, but on the contrary Vidúxhaka tinis him the more lively and cheerful. From this he concludes that the fultilment of his lesires is approaching. This refers to an idea that unexpected .beerfulness is a precursor of approaching good luck.' P. P. 43. LI. 11-14, arhi-viz. ATTEFİTİ. 37TATIO, --cf. (3āja 9 3 374 FINIA TH'TAHA. Antecedent good omens are the harbingers of coming happiness. cf. Coming events cast their shadows before.' G. p. LVI. ITT:,0-this word may be taken with both walk and arg:, thus (1) Tat: qar: 454 ++, ( 2 ) SETT: 31954: 3Tİ CET. CETT, (to be able; TH expert, gia clever, dexterous : right, not left. probably applied to the right hand, foot &c. as the ·ACT III. 147 cleverest br most skilful.) न...अन्यथा-- Are never other than true.' C. These last three speeches are intended to prepare the minds of the audience (or realers) for the arrival of Urves'i. See our notes on Art P. 21. L. 18. cf. 'किं ब्राह्मणवचनानि अन्यथा भवंति.' P. 27 L. 4. and see our note on प्रतिगृहीत. P. 20. L. 10. Here however Tidlúxhaku boastingly says that his words will turn out true as he is a Brál mani, amil he is emboldened to say so by the auspicious signs the king observes. P. 43. L. 16. अभिसारिकावेषा--अभिसारिकायाः वेष इव वेषो यस्याः । An अभिसारिका ( अभि सृ ) in woman who either goes too meet her lover or keeps an appointment male by him. (a ) 'अभिसारयते कांतं या मन्मथवशं- वदा । स्वयं वाभिसरत्येषा धीरैरुकाऽभिसारिका ॥' (1) 'कांतार्थिनी तु या याति संकेतं HET.' Some idea of the dress proper for an IATCRT is given by Urussx next speech 'अयं मम अल्पाभरणभूषितः नीलांशुकपरिग्रहः अभिसारिकावेषः' IP. 43 L. 18. (where some real 'मुक्ताभरणभूषितः,त्यकभूषणः तथापि भूषितः, मुक्ताफलरूपाभरणं इत्यर्थस्तु अंधकाराभिसारिकायाः विरुद्धः). P. 44. Ll. 2-4. नास्ति वाग्विभवः-- Worls cannot praise it enough.' C. 5 STATIO--Mr. Paulit gives a wrong realing 'सखि, मदनः खलु त्वां आज्ञापयति शीघ्रं नय मां तस्य मुभगम्य वसतिं इति' in which certainls (since there is no indirect construction in Sauskrit) Hi refers to 454thus 'मां (मदनं ) नय इति मदनः आज्ञापयति.' Therefore इति must the omitteel. If इति be retained मां should be एनां or उर्वशीं which is the formshich मदन will directly use in giving the comment (T. 'तदिदं क्रियतां अनंतरं । नन मां प्रापय पत्युरतिकं ।। ' KI. IN... ... car! this speech of Truthu- 'सखि, असमर्था खलु अहम् । त्वमानय तं शीघ्र । नय मां तस्य वा मुभगम्य वसति.' .f. ' तामानय प्रियतमा मम वा समीपं । मां वा नयाश कलभाषिणि यत्र कांता ।।' . . L. 10. P. 44. Ll. G--13. परिवर्तितं-रूपांतरंग परिणतम्.प्रकाश--'सर्वश्राव्यं प्रकाश स्यात्.' मनोरथ०--चित्रलेखा wants to plast (jest, क्रीडिष्यामि ) with Uies', anml so she plays upon the words 'मनोरथ.'. (1) The apparent meaning with which she wishes to vex Treas' is--lle is enjoying the company of another woman obtaineal arcording to his arrishes. लब्धः मनोरथानुवर्ती प्रियासमागमः तस्य मुख. But (2) the real meaning is He is enjoying his belovel's (Ura.s'/'s) company in his imajinction. मनोरथेन मनस्तरंगेण न तु वस्तुतः लब्धः यः प्रियासमागमः उर्वश्याः संगमः तस्य मुखं. For प्रयासमागम, P. reads प्रियसमागम.स जनः--अन्यप्रियाजनः (to whom Chitralekha amrently refers and) “who may really have been thus favoured by the king. Such ( A ) as is blessed with the choice of the king and is not enjoying his company' ·148 NOTES. P. 44. L. 15. til ga: praro--She means—- You have believed in the apparent meaning of my words, but I assure you that there is no ground for your fear that he may be enjoying the company of a woman other than you.' P. reads 07:37-2 mal ZAMET' and translates But what other thought about the company of the belovel i. c. why do you entertain an unworthy thought regarding the company of the beloved I have spoken of ?' To suit this realing P. translates the following speech thus. Because my unkinil heart doubts him.' This interpretation is not in keeping with the context and it leaves the stage direction ( FA4, heaving a sigh of relief) out of account. P. 45. L. 2. LETUJO---- My perverse (uncivil) heart loubts it or has misgivings.' She is now sure that Chitral klú is right in saying that the king will not think of any other woman than Urrusi, but she molestly hesitates to believe it and says formally, I still doubt the truthfulness of what you have said riz. that he cannot possibly be thinking of a ibeloral other than myself. P. 45. L. 7. ST12--Ainbiguous; for the king without naming any lady simply says 'GT 497714--My love increases. But- · Love for whom?'--that's a question with Uru í staréa--dual. (In Prákrit we have the plural form sjaltari, for there is no cual in Prakrit. This form afarar, Mr. Panlit translates here by Baita ani on P. 47. L. 11. by zjarta. We have preferred aiara in both places.) Remaining invisible or protected ( siar ar ) from view by something: which something is of course तिरस्करिणीविद्या (anl not शिखाबंधनविद्या P. 23. L. 5.) for, referring to this very state Chitralekha say's further on • TRI THỊTIÊgith: P. 47. L. 2. P. 45. LI. 8–14. 19--( T free, Fift to go). When F is followel by ईर and ईरिन् , वृद्धि substitute takes place) (स्वेन ईरितुं शीलमस्य) K. G. S 14.3779741:--371967. 39 H to cure or heal (as wounds) trañ,--(a to live in distress) it: fare: all. Pain or affliction (of the mind). 'stra Thaqiara 1. si--See our note on 7770 P. 20. L. 6. HOTTIE:, m. f. Hit: EIT: or traias. A necklace or string of jewels. cf. 19Tieſaar.' R. XIII. 54. 71--ar, ar when repeated has the sense of either-or.'G. 303. 31,-An Infinitive of purpose is used with words (like 37 ) meaning able. G. 177 cf. Wilson's metrical translation : She, she alone, The golless I adore, or secret converse. That ever speaks of her, can yield me rest.

·ACT III. 149 P. 46. Ll. 2-4. --Now that he has definitely referred to her in सा दिव्या' and not when he had only indefinitely ( अनिर्भिन्नार्थ ) said THE 4971' P. 45. L. 6. STIHO--This remark is suggested to Vidushaka by the king's words 'lo 20! He means to say to the king-—- Just as in the absence of Urvas'i, mere Katha about her will satisfy you, so in the absence of any substantial food I content myself by repeating the name of that food.' PIATO- Others real 'यदा शिखरिणी रसालं च न लभे' (शिखरिणी, curds mixel with sugar and spices. THIS:, mango or sugar-cane.) in which there is no reference to flesh-eating by Vidishoka a Bráhmana But from S. II., it appears that Vidúshoka, though a Brahmana, dil eat flesh. Cf. एतस्य मृगयाशीलस्य राज्ञः वयस्यभावेन निर्विष्णोऽस्मि । वनराजाधु आहिंड्यते, malapina fria, siapa a T193: 3ITEIT: 1577. It is very natural that modern Dráirmune should make Vidiesivak more fond of the harron than of venison, though in reality he only cares for the latter, and should have change the ruling accordingly. P. P. 46. LI. 6-12. 5921 obtainel 77, "lowever, whereas, on the other hanıl. G. 287. ,-. e. fool H7 777,-by you, as lesired by you, (in your case). Ta 70-The object of - is the following verse ef:...', to which çi refers. I TO--lear what he is going to say.' STİ AFETO--cf. 6991 Chat teil- 7927931' P. 8. L. 13. W translates 71 11o hy All clse a lifeless ioul that buthens carth. P. 46. L. 15. Ar--Iul. ( Instrtamentai of Hamn. forc, violonco) All at once: so hastily that she forgot to take oil her magic veil by which she was concealel. (aſta ITT: P. 15. T. 8.). This will be more clear fron (hitralole's next speech tafta, reza- CERT. 47 FarT: Genitive absolute. 'start To The Genitive Ab is user when contempt or disregard is shown, and is translatel hy. Although ', 'In spite of. (. 122. 36:,--( 37 378 To sit separate or away from; not to show interest in ). P. 47. L. 5. 37 gara-The verb understoo: inust bo . Sometimes the verb is expressed, aa ca aantal Rn. II.; but when the verb is omitted, vocative is found to be usel, as '7 HESTÀ Ru. IV. and 'A 175H'. S. VII. P. 47. LI. 8.-11. -An art of the Accusative. (also 759, 9u to control). "Put a seal on thy lips.' C. cf. 'fach a 4579:29H' Bhá. IV. 42. spari--One who conceals all ·150) NOTES. signs of feelings. 37/are, appearance, (particularly) expression of the face as giving a clue to one's inward thoughts or mental disposition. farzaza--cf. 'TITETSFH 4471 FILETTIFTST' P. 40. L. 8. and see our note on H1971. Her appearance is thus described below P. 48. L. 6. 'Mai Thi ÅTEHITET I quangaikraigareth II'. Theyteen will not stay long here, for after worshipping the moon and performing the ceremony which ought to be performed in the presence of the king. she will go to take her meals after the whole clay's fast and to tinish the rest of the ceremony connected with the vow. P. 47. LI. 15-18. The na--See our note on tilaTATIST: P. 41. L. 4. ETTİya:--( 979241 also ) -Spotted like a deer.' or 'affir- Cateriaa97: HI ETTİST:'3797750 II. 53. Freaalhi--See our note on that woril P. 28 L. 2. P. 48 L. 1. art.--cf. #1, KTÀ FIAT FT Thai ga 1997 497: TOMASTİ 791ā' P. 41. L. 9. and see our notes thereon. Here Tidúshaku asserts that the queen looks well-pleasel on this occasion. He :ccounts for it thus : It may be that she appears well-pleased because she is going to give me sweetmeat ; or it may be that she is no more angry with the king and therefore appears so well-plea-erd. P. 48. LI. 6-9. realTal--llaving plain white clothes. The first fine gives the requirements of the solemn observance. ATAITETTI - Titan Ta TIT TEZI:. Having only such ornaments and such decoratious as every marriel woman must have, as marks of auspiciousness (75) or of her being not a widow. They are a red mark on the foreheal, saffron besmeared on arms, and a wreath of glass-beads round the neck.at --fine ends of Dirrá grass are offered to go Is as flowers (an? therefore they are called qa) anıl the remnant is put in the hairs by nar,--aulj. of ager. When any vrata is observed it is enjoineil by the Scriptures that the person observing the vow should be free from , &c. In order to avoid the appearance of fickleness on her part, the queen has taken advantage of this vow to keep aside her anger which she really has. Aga 20,--Mr. Pandit reads agat anul explains it thus '$799 999 Taa 3a età, THAT aura.' So far as her personal appearance is concerned she looks as if pleased with me (i. e. in her mind she may or may not be).' He thus makes the king to be strictly logical. Now about the reading we have adopted he says, a may mean, (1) By her boily only and not in her mind. (2) Even by her person and of course by mind also, which the king has no right to suppose and (3) By her very bodily appearance; but bodily ·Аст ІІІ. 151 appearance is a requisite of the observance anl the state of min I can't be correctly inferred from it. Our reply is (1) We don't take ga to mean only and, (2) anl (3) We can't expect the king to be logical. He is not in a state of mind fitteil to say logically-Well, in her mind she may be please l or may not.' He only takes the favourable or bright side of the question, and takes it for granted that she must have been pleased in mind, anl the bo lily appearance is an index to it. cf. 47 faga quiaTT: Biathl. P. 77. L. 10. and tira: ga 3174197 STARTTIA,-Her very form leads one to infer her being superhuman? G. p. LVIII. The king means-her very appearance looks so conciliatory that I feel sure that she has really forgiven me and is reconciled with me. P. 48. LI. 14–15. Firo--See our note on that word P. 6. L. 17. शच्याः,--some real शचीतः (तम् has the sense of Ablative). शच्याः is also Ablative. Worls having the sense of comparison (as itar here) are used with the Ablative of that with reference to which the comparison is made. G. 74. Here Urrasi means—The queen not being inferior to 6 (IT ), the title at which can be applied to Ti alone is properly applied 10 the queen also. There was strictly applicable to IT as 5773754 to $5. ( 5775734: Hatua 3477: geriat. l'. 30. L. 12.). P. 48. LI. 16-18. An--- Well done, you have spoken without jealousy: It is creclitable to you that you have male il remark (about the queen, the wife of your lover ) which is quite free from jealousy.' TEUTO-- I have to accomplish a certain yowmler your Jigless' auspices.' C. See our note on CEKET P. 10. L. 12. JT12: -- 61 pray you bear with the inconvenience a moment.' P. 49. LI. 6-14. igaragara FA-This 914, namel, is an adverbial particle and is not compoundel. That which is compoule is the noun नामन् . Thus we have two forms (1) दशरथो नाम राजा, not दशरथनाम Prer, and (2) Taarni tl. G. 282. 7599- to fa le away. (raus. ग्लपयति or ग्लापयति, but प्रग्लापयति). बहुमानः--simply respect, reverence.' M. W. D. Fra:--(at 49; a polite or courteous man ) a gallant; one who shows exaggeratel attention to liis first mistress while he is courting some one else. TT,--see our note on 39990 P. 19. L. 10. cf. W.'s metrical translation, . When the leart strays, the tongue is most promise Of bland professions to the slighted wife.' P. 49. L. 17. NO-- It is not proper tu leny what the queen ·162 NOTES. says.' (सुभाषितं, a fine speech, a witty saying. a good remark). For प्रत्याचरितुं some rend प्रत्याख्यातुम्. P. 50. Li. 2-9. औपहारिकं--'पूजासामग्री'--रंग०. शराव-m. n. tray or a shallow (lish ( ti cream or water. 377 to hold). - to enclose- Fa anything enclosed, limited or settled; a law, rule, rite; observance.) im. n. a row or a vowel observanee. For व्रतं P. reads उपवासः P. 50. L1. 13-15. साक्षीकृत्य--i.e. in the presence of. वर्तितव्यम्,--Here the Potential participle shows ths future with certainty. G. 157. (b) • I shall act thus without fail; I solemnly promise to act thus.' cf. यहीतव्यं P.32. L.9. A similar secne occurs in M. V. where the queen goes so far as to herself otter in marriage to the king the hand of Malavika-his beloved : --प्रथमसंकल्पितां मालविकां इच्छामि आर्यपुत्राय प्रतिपादयितुं । (मालविका हस्ते गृहीत्वा।) इदमार्यपुत्रः पारितोषिकं प्रतीच्छतु । P. 51. L. 2. किंपरं--कस्मिन् अर्थे तात्पर्यवत् । अनुनयपरं वा आक्षेपपरं वा इत्यर्थः।--काटयवेम. (Whether it is sincere or sarcastic. Urvak wants to know if the queen is really in earnest when she makes the promise. P. 51. LI. 2-8. विश्वासविशदं०-- But my heart is now brightened with confitlence.' C. cf. 'जातो ममायं विशदः प्रकामं' (अंतरात्मा ) शिशुपाल• IN 21. (=This my soul is completely at ease. G. p. LII.) cf. fastā ar RTË मनः' P. 22. L. 3. पतित्रतया--पतिः व्रतः यस्याः सा. व्रत m. n. object of devotion. cf. 'यांति देवव्रता देवान् पितॄन् यांति पितृव्रताः' गीता. IX. 25. अनंतरायः,--See our note on अंतरायः P. 23. L. 2. भिन्नहस्ते०-Locative Absolute. G. 123. हस्तः hand or possession. हस्तात् भिन्नः भिन्नहस्तः. P. reads 'छिन्त्रहस्तः' (धीवरः), 'With a broken arm, armless.' But then there is no propriety in qariga for an armless person will always say so; and besitles 'छिन्नहस्तः धीवरः' looks all prosaic. Anil the queen simply finds hiin uncontrollable भिन्न हस्तः (or असाध्यः P. 52. L. 8.) and so छिन्नहस्त cannot be properly appliel to the case of the queen. धीवरः-- nilsherman' who has to show much skill (धी ) in catching fish. धर्मो tacura --- This will be an act of charity or piety on my part.' With the whole. cf. To nake virtue of necessity.' तादृशः प्रियः--' Is that the sort of love you bear to your lord ?' He means to say-From the readiness with which you give him away to mother lady, it appears that you do not love him. P. 51. Ll. 9-14. मूढ-- Wise Sir.' W. सुखावसानेन,- I desire my lord's happiness, even though it be by the end of my own.' c. To ·ACT III. 153 promote his happiness I have resigned my own.' W. 3FFFFÀ--P. reads ‘Truth' which is uncourteous and less general. The king would not say so. *ā, P. Teads ' but it has no propriety as regards the present occassion and mi is more natural. Farg,--P. reads rå, but raja is palpably better. ff, --surely.' G. 307 (2) E-i. e. 9;THARI- भीरु. In .ying नाहं तथा त्वयि &c. the king speaks the truth. cf. 'उर्वशी- 790 2 47:' P. 37. L. 4. TO-- This speech would sho nough to wa mwill reconcilet.... he has sufficien self-respect tay long where she was not most welcome...The pain and perhapsat reproachful consent, given by her to the king makin. love to US regardly the author (... the Pact-1.) as sutlicien to satisfy the king's conscience and justify the rest of his proceedings.' P. P. 52. LI. 2—4. Siga:—To stay with her husband now wa to break some rules of the observance. She had perhaps yet to worship her family-rols and to take her meals after the whole lay's fast; so she asks him not to tempt her to stay there. In Hait, laat wants to worship the sun, when her husband a comes there, and so her friend pas says-- HTETIT: 399: IR FASETT: 40:1'. 1939:-- *** (wife) qed. Eu ariat,-cf.‘ža: * 724 59971 #M. l. and 'अलमम्मि ततो E4 TI Å Gardi. S. III. 2. This part of Trei's speech shows the timiility of her nature as well as constancy in her love to the King The simplicity of the story loes not almit of much day of character bui the timill monstery of Orris is of happily contrail with the irresolute hauhtiness of ihe ce. The i troles she bindi na macquainted with the springs of miriin his omaloob relations of the sexes in deinesti lii: really just w P. 52. LI. 9-10. STIAT:-( 31 at to injve.) ono suliering from disease. Fat, socow note on Fan P. 45. L. 8. Tíg fifi sifi- For 3719 19 see our note on that won! P. & L. 1!. Here the king expresses a wish container in the followin. Se, who sentence being 'AH gan aTTT À à arata co. ongerly puts in her own wil after the kings word 'TH 3 ani she wishes the whole sentence to be 'BTI 1714 SÄTT 347 bare ha' (= ittain the object of her existence!). Before 375 Fareti ya , some real ( 31799a )'but it is not necessary for. (1) Chitralekha was free to hear it and 2) they both being still faterio se: , they were not only invisible to the king and Finúshala but their worls also could not be heard by them. P. 52. Ll. 13-15. nia --P. reads piar. But if it means beautiful it ·154 NOTES. On has no propriety here since she has to be rel (invisible); if it means wife' it is superfluous for the word 'get' in the king's last speech, which is directly and immediately connected with this stanza, is the proper subject of the verbs in it. :--Softly stealing behind me.'C. HÀ,--(perhaps from #+, falling down, losing). With the stanza cf. भर्तुस्तथा कलुषितां बहुवल्लभस्य, मार्गे कथंचिदवतार्य तनूभवतीम् । सर्वात्मना रतिकथाचतुरेव दूती, गंगां शरत्रयति सिंधुपति प्रसत्रां ।। P. 52. L. 17. Härre --Mr. Pandit assigns this speech to Ureas'i, thus 'gami--ESIA 71 362 Half ErST ( tar TFT 71, #tira 1). But this is not in keeping with the modesty of Urrai ; and that the suggestion should proceel from Chitralekhá is natural and looks very elegant. In the stage-direction (1. -2. L. 19.) before cat tal, and before lan #71991ā, in the next stage direction ( P. 53. L. 2.), we have in. serteil, on our own responsibility, the words 'latest fit'; we cannot understand why Mr. Pandit and all others have not seen the necessity of inserting them. for उर्वशी and चित्रलेखा are both concealed by तिरस्करिणी, cf. ajara 5a T7. P. 45 L. S. 377. IhTeritor arrê. P. 47. L. 2. jatea Teri 312!P. 17. L. 11.) which they have nowhere yet removed. similar occasions in Act. II. (P. 28. L. 16. and I', 30. L. 4.) all editions have those words. P. 53. LI. 2-6. Fizio--By making a sign, to lay with her finger she asks him not to tell to the king the name of the person (Errasi) covering his eyes; for in order that the #lgt ( jest ) should become successful, it was necessary that the king should try to deteet the person covering his eyes. Hence it is that Viilushakı asks only 'का पुनः एषा' without mentioning her name. स्पर्श रूपयित्वा--Gesticulating the pleasure of touch. ATTIINTIFO--cf: 'gegar TTHCET HÀ: Frei' P. 2. L. 9. and see our notes thereon. ilta:,--Some read atit: But though both forms are correct, ze is more usual. A--(Since ar uses 37715Jia, stariji would, we think, be a better substitute here for 74). P. reals '31'. With the next verse cf. 'aula i ateich fälgar a EAThis izria:' U. VI. 12. anl '91-19 11: Haaraha.'S. V. 28. Wilson translates the first line thus : . No other band could shoot such cestacy Through this emaciate frame, Seme read the first line thus : '37=27721149 977 #150 AH 1* #T- Fratia.'

·АСТ II. 155 Or P. 53. LI. 12-13. वयस्यस्य--चित्रलेखा now calls him वयस्य which shows more familiarly. In Act II. (P. 28. L. 17.) she calls him FETIST: as well as in Act I. Similarly in S., Act I, the friends of Tas cali the king आर्य, but in Act III. one of them says to hiin 'इतः शिलातलके- Gİ RO 9767:'. 77...3999 --Some translate this (happiness ) seems possible now. It has already com'C. Wilsoa has 'nai- Be the king blest! TF-I feel I am already'. P. 53. Ll. 14–15. Eur --She refers to the queen's worls i Tiga: 77T HE raama ară 277'P. 50. L. 14.: which she had heard remaining invisible by Facesitt. TFC TT-977: 15: 77: Fr; P. P. reads 3TETT: TTTTi' where Teti:, of course, refers to the queen. There are three objections to Mr. Pandit's realing. (1) 7ta is usually used with reference to males and it does not go with females. (2) If at all a feminine form may be allowed, it inust be at: and not 3767T:, for she is speaking of the queen who is not present there. And (5) what is the meaning of 37: 777 ? It can only inean. The friend of the queen,' but can a friend of the queen approach the person of the king (TAITĀTĀ Tarles )? Argiristato--(TTTTAT, forward, taking the first share taking a share before it is due). You cannot say I claimed a part in him, Before the right was granted mo' W. She means-Do not please suppose that I am officiously and impatiently claiming the king as my Lord, but I am doing so because he has been alrearly given over (in inarriage ) to me by the queen. gtaraati is is the commentator's plain it. alath, he who sores only the faults and not the virtutes of thother i. r. one who is serions that she will run down the compli-lunents of mother and tracte tion to herself...llence the word comes to mean, meddling in other peoples affairs, making love to a mun that is married.' P. P. 53. L. 16. :-- What! were you here when the sun set ( and heard the queen's speech ) ?' C. This appears to us to be the correct sense of the passe pojí hearing Urrab's words : HEIT/F:', Vidúshaki naturally inters that Urra i and Chitralekhá must have been there when the queen sic! ai 3ga: grezao' P. 50. 1. 14. and obviously even before i bat time: so he exclaims. Oh, then I am sure you must have been here (at this place) ever since the evening. This is not a question, but an exclamation. and therefore it requires no reply from Urras and Chitral, khú. (cf. 2 O dr. P. 29. L. 6, which is also an esclamation not requiring a reply ). Mr. Pandit gives a litfrent explanation, and it is to this ctfct : N:

·156 NOTES. the sun set to you here (at this time)? Are you going to act as if the sun were set now! Are you forgetting that it is not night yet?' He adds • This question would have been proper if the scene had been laid in daytime. The act commences from the sunset, and so there is here a slip of memory on the part of the poet. (1) Mr. Pandit takes it a question, but how is it that Vidúshaka gets no reply? Therefore it can't be a question. (2) Mr. Pandit takes you (grūt:) to refer to Urrasi and the king, but the king has said or done nothing to leserve such a remark from Villúshaka. Therefore you must refer to Urvast and Chitralekha. (3) Mr. Pandit first fixes the meaning and then giving it the form of a question he says The question is improper': quite so, it is improper as a question, if it were a question. But it is not so. (4) He again says that it is a slip of memory on the part of the poet and that Vidůshaka is not conscious of the time. That the poet has made a mistake is a gratuitous supposition and the hypothesis that such a shrewd and cool-headed fellow as the Villisika is unconscious of the time and takes the cool moonshine to be hot sunshine is quite untenable when we take into consideration that just afterwards Tilúshuka himself says haar: TTTTTTTTTTTT: 1'. (P. 55. L. 19). Mr. Pandit further adds. The question is suggested to Vidúshaka by Urrasi's words terCHTB Taner by which he (Vidúshaka) understands that Urvaší wishes to enjoy the king's company alone and gives a warning that Vidishaka and Chitralekhá should leave the place.' We humbly ask (5) How is it that Urrass words 371 TRÌ HEITIF: suggest no such question to Tidishuki as-How did you come to know about the 17- which Vilúshala ought naturally and necessarily to ask? (6) Mr. Pandit says that Vidlúshaku censures Urraši and the king for wishing to enjoy each other's company before the sunset. But if Tidúshaka were disposed to censure them, how is it that soon afterwards he himself makes a request to that effect "#47: GE À JATETTE'. P. 55. L. 19. Some support Mr. Pandit's explanation by referring to the conventional symbolical expression area which indicates that the mention of sunset gives the idea of TT, TTETETT and hart to fit, ait, and 37797 (religious men ) respectively; and they apply this to Vidáshuki's words Stearaat. But can he suppose Urras and the king to be अभिसारिका and जार anl can he call their company आभिसरण, when he knows that by the queen's [17, they have a right to live as husband and wife? Lastly Mr. Pandit adels. Bollensen is obviously wrong in translating- Have you been here from sunset ?—and there can also be little doubt that it is a lapsus memorive (a slip of memory--Il.) on the part of the poct.' No, Mr. Pandit! Bollensen is not wrong, nor is there any slip of memory on the part of the poet!!

·ACT III. 157 P. 53. L. 19. tigo-- shows gentle address, STÅTO. P. reads the fourth quarter thus 'चोरितमेतत्त्वया हृदयम्,' but is not अयि appropriate, elegant and poetic ? Cowel translates the stanza thus If the gift of the queen is the claim you put in for my person, by whose consent then did you steal away my heart before ? Wilson translates the 2nd line thus - Who was it that first grantel you permission To rob me of my heart?' The sentiment in this verse is įTIT, but mark how delicately it is expressed ! 'sirt or love is a very lealing principle in the Irama of the Hindus: the love of the Hinclus is less sensual than that of the Greek and Latin Comely, and less metaphysical than that of French and English tragedy. The loose callantry of motern Comely is unknown to the Hindus and they are equally strangers to the professel a loration of chivalric poetry ; but their passion is neither tame nor unlignitiel. It is sufficiently impassionel to be exempt from frigidity and it is too trnilor to degra:le the object of the passion.' H. H. Wilson. P. 54. LI. 5—6. hariato--See our note on 37 ITT P.57. L. 11. In the present case ('hitralekhle makes the request to the king because she would not be able to come to see Urrasi for sometime, since at was her turn to attend upon the Sun in the hot season succeeding the Spring. Fariz TCRT--JEK governs Dative and Genitive, therefore the Prikrit Genitive 'ATTER' nay be renlererl either hy Friet or by Fr. ( 383 also governs Locative. 'Tach aaaa : #ca'). With this reuest of Chitralekhu compare the following ones made on similar occasions : (a) of अनसूया to दुःयंत on behalf of शकुंतला 'वयस्य, पथा नौ प्रियसखी बंधुजन शोचनीया न भवति तथा निर्वर्तय' S. III. (b) of नव मालिका to 7/47 on behalf of nî'3011, j a agi 721 7 TEHTA hara 725'. Ru. IV. P. 54. LI. 7---9. Fisi--She means ---I beseech you, therefore, to take all care that my frien l woulul not be sorry for having lost Sorrya. F...FATE--He means-Why will she be sorry, if in fact there is nothing in heaven worth remembering. अनिमिषः०--(निमिष् to shnt eyes) It is believe that inhabitants of Srarya never shut their eyes, which are therefore as twinkleless as those of fishes. • The souls are supposed to be exempt from the momentary elevation and depression of the upper eyelil, to which mortals are subject, and to look with a firm uninterrupted gaze. Hence a leity is termel Animisha or Anim slu, one whose eyes lo not twinkle. Various allusions to this attribute occur in poetry. When gni, Varuna and Indra all assume the form of Vala at the 14 ·158 NOTES. marriage of Damayanti, she distinguishes her mortal lover (Nala) by the twinkling of his eyes, while the gods were Stabdhalochana, fixed-eyed. The notion is the more deserving of attention as it is one of those coincidences with classical (the ancient Greek and Roman-Ed.) mythology which can scarcely be accidental. Heliodorus says—The gods may be known by the eyes with a fixed regard and never closing the eyelids—and he cites Homer in proof of it. The marble eyes of Venus are probably the Stabdhalochana, the fixel-eyes, of the Hindus, full and unveiled even for an instant like the eyes of a marble statue.' H. H. Wilson. P. 54. L. 12. 37772tarfræft:--Yet, nymph! of this be confident, my soul Shall know no other sovereign than your friend.' W. We think the word atêr is a significant word here. He promises to be a GTA of no other are but he will still be (even while serving Urvas'i) a TE of his other कुलस्य प्रतिष्ठा, namely पृथ्वी (the earth) who is not a नारी. cf. 'Fii aa: qanai girti ayar :' P. 68. L. 16. and also get- 451safa FASEU À 1 Tahar si hata patitu II'S. III. 17. (where राघवभट्ट says-तत्र उर्वीप्रतिष्ठाहेतुः गौरवहेतुः चतुरुदधिमेखलायाः तस्याः आचंद्राकै तद्वंशेन पालनीयत्वात् ). P. 55. Ll. 2–4. raggro--See our note on that word P. 9. L. 9. grino --( Hrda: 3pT: ; piaga:; 999#:; ETAT: HIT, HSS- 7:) In the first line, for itsargos. P. reads ifhtaix (=hiatriese À HTTÀ: liha 371Fi aga 31: 19 = 467aa. Distinguished by this mark that many potentates obey my written order &c.) But in his reading (1) #T, written order, excludes oral orders, and he himself says, (2) '31 is superfluous.' In our reading the first line gives a general idea of obedience, and 919 in the first line very well corresponds to TT, in the third line : the Sámantas bow to his feet, and he is ready to serve the feet of Urvas'i. And besides, the colouring of the foot-stool is a very natural idea. P. 55. LI. 5—8. para--(3179a ataria srcà ra saqsi an umbrella ). The umbrella is one of the insignia of sovereignty and the exclusive privilege of using an umbrella is a sign of universal rulership. cf. 'TRIATH FTTT: quá.' R. II. 47. STIFTETO,—- As I am this day, when the dear right is mine of doing her commands as a slave at her feet.' C. FIFA... TRT--I have not words to speak my gratitude.' W. The king's sentiment is so beautiful that she can't find one superior to it: she knows no words to sufficiently thank the king. The idea is that a kindness should be reciprocated by a greater kindness, and since she is unable to do so she chooses not to give any roply at all. cf. 'arara apa: 1977 TTI' P. 71. L. 18. which is a blessing by way of thanking the mountain. When a kindness is shown to anyone, etiquetto ·ACT III. 159 requires that the recipient of it should repay it by a greater one than that which he received.' P. P. 55. LI. 9—12. Farah:-. e. bringing about contrary effects. "How changed is all the current of my feelings?.W. Some read arancia:fa: (=presenting things in their usual or natural aspect) which in effect means the same thing, but is not in keeping with the force intended to be brought out by a ga in the next verse in which the main idea is "The same thing which before gave me trouble, now gives ine its contrary (as), namely, happiness.' cf. alê and 39=: in arti- द्रियाणि सकलानि तदेव नाम, सा बुद्धिरप्रतिहता वचनं तदेव । अर्थोष्मणा विरहितः पुरुषः #97, : 2017 yaaa aaaa | lar:--P. reads ' HITS : , but we reject it because 44 includes both body (TE) and inind and therefore in the first line would be superfluous. In our realing Á represents the outward senses in the first line, and in the second line TT: represents the inner senses, and then in the fourth line 44 stands for both of them together. P. 55. LI. 15–17. ETTEI... STET--379714 to offenl governs the Genitive (and sometimes Locative) in the sense of the Accusative G. 100 (a). gierao-afgiat, after suffering misery. cf. 'JOR 5:21-974729 Hà i gaisartist siagua ll' z. I. 10. cf. Wilson's metrical translation of the whole speech of the king : ' Nay, say not so, the joy that follows grief Gains richer zest from agony foregone; The traveller who faint pursues his track In the fierce (lay, alone can tell how sweet The grateful shelter of the friendly tree. P. 55. L. 18. ferry--(har to cease to blow or be extinguished) ait is complete satisfaction or pleasure. In philosophy it means eternal bliss; emancipation from matter anil reiinion with the Supreme spirit. As belonging to the Buddhistic philosophy it is inisunderstood to mean annihiliation, or absolute extinction. It may mean extinction of individuality as of a drop of water when it falls into the ocean, but it can't mean absolute vanishing away, for Lord Gautama, the Buddha, attainel Nirvana fifteen years before his death "Can that spirit, which gives life and motion and partakes of the nature of light, be reduced to nonentity'? ask the Pythagoreans. However, we choose to give below some quotations and then let our readers be free to think for themselves and form their own opinion about the idea of Nirvúna :- (1) Enlightenment with spiritual peace.' The Buddhist Ray.

·1610 NOTES. () 'It literally means the blowing out of the mind. The extinction of the passions or mind reveals the higher consciousness.' The Light of the East. August 1894. (3) It is a sublime state of conscious rest in omniscience.' A. P. Sinnett, quoted by Prof. P. X. l'âtankar. (1) When the Buddhists affirm that their great saints have realized Nirrúrur, they mean by that a state of rest and quietude in the bosom of the ocean of eternal beness, which is both consciousness and bliss. The Jowrnal of the Maha-Bolhi Society, September 1894. 6) It is a state to be realized here on this earth: he who reaches a particular stage of holiness consciously enjoys the bliss of Nirrána.' H. Dharmapala. Bil. (6) It means the rrüninn of the spiritual entity with the universal spirit. It can never mean annililation, as that would mean eternal separation.' The key to Theosophy, by H. P. Blavatsky. P. 114. (0) And then these lives of continual effort for others bring at last the evolved Man to the point where perfection is reacher and triumph over deatlı secured...... He stands on the threshold of that state of consciousness so mis. understood in the West, called Nirrúru, that mighty state of all consciousness and all knowledge which no words can syllable and no heart of Man conceive. Mrs. Annie Besant's speech at the Parliament of Religions. P. 55. Ll. 20-21. arga--Inner apartment of a house. cf. - FIT a ta arī Tiz:' U. I. 7. FEIT: À--Mark the use of hai. cf. (a) 981 A HEZTE Har! S. VI. said by gooja to la about it. (b) 'TEATË Valcaret hár Me. II. 25. said by the 9 to his friend the Cloud about his own wife. P. 56. LI. 4-10.3721ar-Here means wish, and not request. cf. the similar use of trai and AST in S. II. 'TSH TS: 1 RETI अस्मत्-प्रार्थनां अंतःपुरेभ्यः कथयेत् । भवतु, एतं एवं वक्ष्ये । न खलु सत्यमेव तापस- कन्यकायां मम अभिलासः'. शतगुणिता--For गुण see our note on शतगुणी- alà. P. 43. L. 8. -- : 967: a night consists of 3 watches or praharas, i.e. about 9 hours, the first and the last half prahara being excluded. TYThe Vocative singular of : (a lovely woman) is strictly : but the form is used by Kálidása, Bhavabhúti and even by Ê (VI. 11. Et Qa: FT TU).' A. D. But the form Hy is thus defended by Jayamangala in his Commentary on Í VI.11. 'पुनः नियां उछ । अंतदिवच्चेति पूर्वप्रत्यंतवत्त्वात् प्रातिपदिकत्वम् । अतः संबुद्धौ 48 ·Act IV. This act has some peculiarities all its own. It contains a long soliloquy of the half-mad king, who resembles the mad King in Shakespeare's King Lear.' Another peculiarity is that the king speaks in Prákrit (verses) as well as in Sanskrit. But about the Prákrit passages there are two opinions : that I. They are written by Kálidása himself, and that II. They are not of Kálidása, but interpolated by others. We reject the first theory, and for the following reasons :- (1) Some of them cannot be assigned to any particular speaker. (Sce verses 1 and 5). (2) The first two verscs, if genuine, would have attracted the attention of Chitralekhá andl Suhajanyá. (3) Some of the Prákrit verses, have little connection with the context : they are mere repetitions of Sanskrit verses immediately following or preceding the Prákrit ones. (as verses 7 & 8; 20 & 21; 32 & 33 ; 15 & 16; 50 & 19, 51 ; 59 & 60.) (1) If the king sometimes speaks Prákrit because he is mail, (a) why locs he not speak Prákrit prose, (b) why does he speak only one Sunskrit verse in maciness, (see verse 56.) and (c) why again are Prákrit verses put into his mouth when he is no more mad. (verses 7.2 & 70)? (5) Many MSS. (o not have them. and (6) The strongest argument against them is that they interrupt the free and natural flow of the sentiments expresseul in Sanskrit passages. Therefore we reject the Prakrit passages as spurious. Still we have given the verses alone in Square brackets [ ] and removed the spurious stage directions to the Notes. W. & C. appear to have acceptol the verses as genuine, but our objections «lo not seem to have occurred to them. * This act is without a parallel in any of the dramas yet met with. It is almost entirely in Prakrit, and the Prákrit is arranged not only in metrical forms peculiar to that language but according to particular musical rhythm, as intended to be sung. Again there are stage-directions for the measure to which certain gesticulations are to be performed, so that it partakes both of the operatic and melodramatic character.' W. • In Sanskrit dramas heroes talk Sanskrit...Now. through the greater part of the IVth Act Kálidása makes his hero use Prákrit instead of Sanskrit and this artistic change of dialect shows that Purúraras was departing from Viraraxa or the ideal of heroism. He is mad but his madness is not that of Lear, for we are in the world of the soft contempla- ·162 NOTES. tive Hindu; and wherever we turn in Indian poetry we find the gentle feelings of the heart but not the fiercer. The reader must bear this in mind as he follows Purúraras through the forest and forget for the while Lear's desolation in the storm.' C. The scene of Act IV. is laid at the forest of Akalusha on the skirts of Gandhamádana on the Himalaya mountain. P. 57. LI. 3-6. FUAEO--After the first verse the stage-direction is ( grâ Aazh aparatūT: HITITI arah ) i.e. Tam pre- À 914 ofia, an air or song sung while a character is approaching the stage. arHTE,-(artos HIFA Ta ) a red lotus. TETICHTT,-- on the bosom of the lake.' C. SHT, surface or bank. --Before the 2nd verse the stage-direction is (fagara Fiat TC INSTIT291) 'द्विपदी or द्विपदिका is a Prakrit metre.' A. D. आलीढं,-(आलिह to lick, eat up) Wounded. Hurt. Consumed with.' C. P. 57. Ll. 9-11. Tai--(95, a petal or a leaf of a flower). - giero..., -because 'FETYTĖUGO Haci vara.' S. III STATarterit--arrafy is the coming round of the turn. 37#Ti art: Tai 92199. art:, -appointed time of service (often used in plural). Besides 3CATE s, the arts, siuas, 98, &c., serve the Sun each month by turns. The Purúņas mention the twelve nymphs who have to serve the Sun cach month, beginning from 7:- कृतस्थल्यप्सरोवर्या तथान्या पुंजकस्थली । मेनका सहजन्या च प्रम्लोचा च द्विजोत्तमाः ॥ अनुम्लोचा कृताची च विश्वाची चोर्वशी तथा अन्या चपूर्वचित्तिःस्यात् अन्या चैव तिलोत्तमा॥ रंभाचेति द्विजश्रेष्ठाः तथैवाप्सरसः स्मृताः । From Chitraleka's speech in Act III. P. 54. L. 5. 'ahara JETE 77917 af: 41 997734:,' it appears that in tne hot season viz. 578 or TICE she has to attend upon the Sun ; but in the list given above, it is the turn of Monakú and Salajanyá to attend upon the sun in those months. Now Chitralehká is neither mentioned in the list nor can she be identified with Jenakú or Sahajanyú, all three being distinctly mentioneri in our play (Act I.). It is probable, therefore, that Chitralekha and her turn of service in the hot season are a creation of our author,...he being indebted to the Puranas simply for the idea that the nymphs have to attend upon the Sun by rotation.' P. P. 57. L. 12. TFYRİ--See our note on HaiTFTIT P. 2. L. 19. 90,-P. reads J. See our note on Fanta Traia'. P. 54. L. 6. Chitraleká misses Urraš much. If Urras had been in Srarga, she would have accompanied her in attending upon the Sun; or if Chitralekhd had not had to attend upon the Sun she would have often gone to visit Urraś at Pratishthúna.

·ACT IV. 163 P. 58. LI. 3—9. gorraia--( para meditation in which attention is fixed upon one object, TOTUT to fix upon.) When I employed my power of bringing absent objects to my view.' W. cf. 'HTI - arrêa afya: furata na ITFL'. S. VI. 87 TIFå,-(acia arreca' artarto atstoa afer). Fort--- As I see by my me litation. G. 269. (1). AFRI,-some say accompanied by love or objects of pleasure only.' STATE91,4 lit. Intoxicating with fragrance.) The forest on the mountain Gandhamádana, which is to the east of Meru and is renowned for its fragrant forests. AFT:--Herbal (from The n. a stream, AC 3 going slowly.) originally the name of a small tributary or feeder of the Ganges, afterwards applied to the Ganges itself. harqdao--cf. arazo: 57 kararaanei Giga HOTTTTTTal 4T #T: || Me. II. 4. P. 58. Ll. 10–12. farte-(“magical-knowledge holder) a class of gods, or some spirits attending upon the gols (CHITT). Faluralsirkal, çer. (to look steadfastly or intently at) cf. aasta निध्यायंती'.M. कुपिता,-The past passive participle of an intransitive root has an active sense. G. 152. This aroused the jealous wrath of Urvazí.'W. @a51--Some take it in the sense of Destiny is inightier,' (W.) and say that it should be onnitted as being out of place. Mr. Pandit also takes it to mean · That is fate. But we take it in the sense of It must be so '(G. 157. a) and as being directly connected with the following a which means for. G. 271. (5). P. 58. L. 14. STITI STTTT Ar---She rejecteil all her husband's conciliations.' C. अनुनयं प्रतिपद् , अनुनयं ग्रह, anl also प्रसाद ग्रह are used in the sense of “allow oneself to be reconciled. cf. FATF #: garat: ET 377) Tataaria.'S. IV. TESTITÀGETU--If owing to the curse, Urvasi had not been deprived of her memory, she would have avoided the forest either because she knew the garagh already or because she would have known it then and there if she had not been deprived of her divine nature. Really speaking this loss of memory and Urrast's being turned to a Creeper ought not to have been caused by the curse as it is mentioned by the poet, viz.'7 a last Fri naoa' P. 39. L. 8. by which she lost only her residence in heaven, and which does not refer to anything else. We suppose the poet has in view the different versions ( See our Introduction Pp. xi. and xii.) of the story given in the Puranas and does not scrupulously stick to his own narrative. (See note on P. 59. L. 3.) P. 59. Ll. 2—3. Tama:--The rule laid down by the deity कुमार or कातिकेय. cf. 'पुरा भगवता कुमारेण शाश्वतं कुमारबतं गृहीत्वा अकलुषो ·164 NOTES. नाम गंधमादनकच्छः अध्यासितः । कृतश्च एषः विधिः । या किल भी इमं प्रदेशं प्रविशति #garaa artikara Era I'P. 78. LI. 2—7. Tiagra- P. reads 'कारणांतरपरिवर्तिना लताभावेन' where कारणांतरपरिवर्ती means to be re-changed by some cause.' But if she knew the cause she would have had no anxiety, and besides the poet would not so abruptly tell us what is to follow. To avoid these objections, P. translates it thus : • restoration from which will depend on some unknown event, if any, which I do not know,' a meaning which is not warranted by the words of the text and the context. Now let us answer his objections to the reading avlopted by us. He says- (1) If it be taken to mean that she entered into a creeper which already existed, the words would not favour that interpretation. Our reply is- No, the words do not favour that interpretation and so we also do not take that sense. Our meaning is that Urraxi vanished and a (new) creeper manifested itself in that place. (2) His second objection is—the word sata is inapplicable here since Urraść did not vanish in the vicinity of the forest but within the limits thereof, since she had entered it before her metamorphosis. Our reply is that here sia ilocs not mean vicinity from outside, but vicinity from inside, as looked at from the present position of the Creeper-gázt in the forestie. within the limits thereof, since she had entered it before her metamorphosis.'! We have already said that our poet gives the curse only thus à Fri Hatha' (P 39. L. 8.) therefore we think the change of Urvas'i to a creeper must have been suggested to him by a Pauránic story about Urvas'í in which a vessel presented by her to the king was tansformed into two Trees, as well as by the version of the curse as given in the Matsyapurana where it is said "Bharata cursed her out of Searga and sentenced that even on earth she would be separated from the King and for 55 years be transformed to a Vinc.' (see our Intro luction, P. xii. b.) P. 59. LI. 3-4. Fa-mark the propriety of the word. Her form or body alone was changed but not ‘aja:ATTIÊ '(31541: and 478); for, remaining there as a creeper, Urva't could by her internal organs see the mad king as he was wandering in the forest. cf. 'Jay--3p2- ETT 491 92arnia: TETETT:' P. 77. L. 5. Stogarejo- That can't be reached, violated or injured by. cf. How vain the hope to shun the will of fate.' W. • The personages and the situations of the superhuman portion of the chrama are both elegant and picturesque. The chief charm of the piece is its poetry. The story, the situations and the characters are all highly imaginative. There is another peculiarity in the drama which identifies it with the dramatic compositions of antiquity. Trivial as the incidents may appear, unimportant as may be the loves of the hero and the heroine, both ·ACT IV. 165 persons and events are subject to an awful control, whose interference invests them with a dignity superior to their natural level : Fate is the ruling principle of the narrative.' W. P. 59. Ll. 5-10. STRICT:--Not deserved, unworthy. cf. a1945:- कथं अन्यादृशः ईदृशं लिखेत्.' Ru. I. किमवस्थः, का अवस्था यस्य सः अहोरात्रान् -- ATITIS, m. and n.) drops the final vowel and adds 31, in a İt when preceded by 375:--as BETIF:' Dr. Bhândárkar's IInd Book. XIX. 6. (c). 74:,-748 the sky (as connecting heaven and earth from 76 to bind or connect ; some say, from 5 to reni asunder or be broken up into clouds ). Agregao,—This refers to the effect which the appearance of clouds has on the minds of lovers, especially those who are separated from their beloveds. cf. 'मेघालोके भवति सुखिनोऽप्यन्यथावृत्ति a: 1 KG9971016 h i qarTII'. Me. I. 3. * The rainy season of the Hindu poet answers to our (European) Spring, being as full of tender associations. C. --Before the 3rd stanza the stage-direction is (अनंतरे जंभलिका ); जंभलिका is a kind of song. P. reads जंभालिका which appears to be incorrect.' M. W. D. P. 59. LI. 12–13. ait, 730--Before this speech of Sahajanyá some read-'HEUT-ita horsi AAM:19C-TCTeta HHHV asrgar wars r:#711972: 1.' We reject these speeches because our poct would not so broailly «eclare and anticipate what is to happea at the end of the act, and because they woull lessen the interest of the audio ence (or readers) in the soliloquy of the king. 9791AAT-37777 af 761. 'Some event of reinion caused by the antidote against the curse.'P. She means that the curse of the diety Kumara, ) inust have soine antidote which will undo the effect of the curse. P. 60. Ll. 2-9. fara To--Before the 4th stanza, the stage-lirection is (अंनतरे खंडधारा). खंडधारा is a kind of dance or air प्रवेशकः--For Definition &c., see our note on that word P. 17. L. 4. After this, the scene is laid at another part of the forest. TET--After the 5th stanza, the stage-direction is ( ma aqu QETTA: Tarth Sthal). See our note on प्रियसखी० P. 57. L. 3. गहनं,-A deep or impenetrable forest ( 16 to enter, connected with ITE). Fratti, -(qiz foremost; the top of a mountain.). The front or fore part (of anything.). T:--(ra, Twa fa: 37EAT. But “Vedic tal to hurt, tate n. injury.' M. W. D.). Here the king looks at the cloud having lightning and shower, and takes it to be a demon carrying away Urras'i (lightning) and shooting arrows (shower) at him as he fled. P. 60. LI. 12-15. Trenica --With a pang fixed in his heart for the loss of his love.' C. Before the 6th verse the stage-directon is ·106 NOTES. (fiat TCUT RISTIR 1) yaga:-flapping or shaking his wings 4759797FATTO, Drenched in or bedimmed with tears. T:—(HTE to bind or prepare oneself for any action) $75 armoured or fully equippod. Ready for battle. cf. lateraturi oqata ri.' Me. I. 8. (where #77--1. 7THYSENISHATTHAT CATATA:--AICĪGeoft. 2. plaa-41a11. 3. Thou being at work.' K. B. Pâthak). Mr. Pandit translates the verse thus: This one that is visible is a new cloud, not a lustful demon girel in armour. This greatly bent thing here is the rain-how, not an archer's bow. This thing here too that is so shary is a shower of rain, not a volley of arrows. And this thing here that is as bright as a line of solid on a touch-stone is the lightning, not my dear Urrus. Here mark how he construes the adjectives. In the last three lines he construes them with the preceding nouns in the lines, while he takes #7 with the following noun Alat and with that alone. We object to his cloing so), and for three reasons: (1) In Me. I. 8., quoted above, our poet has used #7 with reference to a cloud and so in the present case we can safely take it with ISHT:. (2) Symmetry requires that if in the last three lines सुरधनुः, धारासारः, and विद्युत् are respectively qualifiel by (and Mr. Panlit also takes them so) दूराकृष्टं, पटुः, and स्निग्धा, then नवजलधरः in the first line must also have a qualifying adjective and (3) Fc4ày whom Mr. Pandit closely follows throughout his notes says '17: HEAL अयं पुरोवर्ती नवजलधरः एव । दृप्तनिशाचरः न भवति.' In our opinion the best way would be to repeat cach of the four adjectives thrice, thus : This that looks 9 (readly-armel) isa 875 (ready to shower) cloud & not a 17€ (ready to fight) demon. This here that looks so (bent) is a gre (extended over a large space) rain-bow and not a OTTE (greatly bent) archer's bow. This again that is felt so 9(sharp) is a 99 (m.) (ilriving) shower and not a 9. (f.) (sharp-pointel) series of arrows. And this that looks ifrat (golden bright) is 17:48 (shining) lightning and my FFTEIT (beautiful) Urraść.' P. 60. LI. 16–18. Ar--Some read aeq' for 714. aa,-(FL- 6- to scratch. 19: a touch-stone, a streak or line of gold made on a touch-stone). cf. “Àicha #7 RAY gaaf.' Me. I. 37. P. 61. Ll. 2-4. Her Frio--Before the 8th verse the stage-direction is (taga: gata i 4 Jeera A:YET ). Tat-also spelt annat. :--One whose thighs (56: m.) are like plantain tree (PHT). "She whose thighs are as full, round and white as the inner part of the plantain tree.' P. P. 61. LI. 5-9. ragae--Between the two clauses for at not ·ACT IV. 167 प्रभावपिहिता' and 'दीर्घ न सा कुप्यति' there ought to be some words connecting them. But since without their presence the full sense of the line and the connection between the clauses is clearly understood, their absence is not a fault. On this 1679 First says अत्र न्यूनपदं न गुणः न 29:1' fatiga...jartar' fraaidat 't gaa97:'ota: cà: gè: a haga: अकरणात् न गुणः । उत्तरा प्रतीतिः पूर्वी प्रतिपत्ति बाधते इति न दोषः।." स्वर्गाय, Fig. When the sense of an infinitive of purpose is suppressed in a sentence, the object of this infinitive is put in the Dative case. G. 65 (a). न च मे,-some read ‘हि न मे', but in that case हि, as well as in the fourth line cannot be properly construed and are grammatically wrong. In our realing the two as are idiomatically used; they are repeated in the sense of on the one hand...on the other hand, “Though...yet.' G. 273 (1). Tİ,-Some read irai which we reject as being ambiguous and therefore inappropriate. i means both invisible' i.e. not visible though standing near, and also beyond the sight i. e. not clearly seen because it is too distant to be seen. In the second sense it may not apply here. gidigierto--( 37 to follow) one misfortune closely follows another. Sorrow comes fast bounil to sorrow.' C. cf. Miseries never come alone.' 'TÈT, PİSİ targ: regg as, 697 693 3779a.' Ki. P. 61. LI. 11-14. STYRO-Here in the 10th stanza the use of the two as in the 2nd and 4th lines is worth noticing. Although we have rendered them by on the one hand...on the other hand, they rather show that the two events happen in immediate succession (G. 275. 2.) and may both be translated by and at the same time.' aszi---Will surely be.' Sometimes the Potential pas. part. shows the future with certainty. G.157 (b). cf. Tai P. 32. L. 9. and agai P. 50. L. 15. Fatraco--P. unnecessarily prefers the reading 'atraare where afraid means “excessive heat.' For, surely apaga gives the idea of excess also, and traga does not mean total absence of heat. Our poet himself has not found it necessary to add any such word as #lin ( aplagia P. 64. L. 15. and in) qizgra' below (stanza 13) where Je does inean the absence of the excess of heat. cf. aizsarad arvadlarak tas ta:'--. II. 90. In the 10th stanza the king mentions two causes of pain: the swelen separation from Urrasi and the simultaneous appearance of clouds making the day pleasant and therefore painful to him by making him think of his beloved Urrasi. P. 61. LI. 15—21. SAYTO--Before the 11th stanza, the stagedirection is (apiat all). Se is a kind of song. With the idea in the last two lines cf. 98777 ET 1a parayi 77-EST ETT I BJEhia- ·168 XOTES. धदुर्लभया यदहं प्रियया परिष्वक्तः॥' मृच्छ• v. मुधा--(from मुह ). राजा कालस्य०,-"The source of seasons. C. The poet has taken advantage of this quotation from Mahábhárata and has used it in the literal sense, * the maker of time i. e. days, hours &c.; bringing another season in the place of the existing one.' (So also in S. VI. 'देवेन प्रतिषिद्धः वसंतोत्सवः । तरुभिः अपि देवस्य शासन प्रमाणीकृतं. See. S. VI. 4.) In the original it ap pears to mean 'altering the circumstances and not yielding to them.' 'कालो वा कारणं राज्ञः राजा वा कालकारणं । इति ते संशयो मा भूत् राजा कालस्य कारणम् ॥'. प्रत्यादिशामि,--He means that it was owing to his com-mand that the monsoon season had set in, and so he now wishes to (प्रति- STIET ) counter-mand and tell it to cease its course. P. 62. Ll. 2-5. TEATEGO--Before the 12th stanza, the stagelirection is ( अनंतरे चर्चरी । ) and after the stanza, (इति नर्तित्वा ।). सूर्य,- m. or n. (तूर , तूर्यते ताडयते यत् ). 'गीतैः तूर्यः इति उपलक्षणे तृतीया'-गनाथ. प्रसृत०,-प्रसृतेन इतस्ततः संचरता वायुना उद्वेल नशीलः चंचलःपल्लवनिकरः किसलयसमूहः यस्य सः । एतेन पल्लवनिकरस्य करत्वं गम्यते-रंग०. कल्पतरुः,-'Wish-yielding tree' (क्लप to wish). The king describes the Kalpataru's dance which takes place in the Spring and thus by the hypothetical presence of the Spring he wishes to frighten away the monsoon (जलदसमय ). How vain the hope of the mad king ! It is said that the Chinese, when the epidemic of cholera breaks out, at once begin to celebrate the festivities of some happy season corresponding to our Diwali, thus hoping to scare a way Cholera : to these Chinese and to the mad king Purirarar, our Tidúshaku would (literally ) say 19 347 J-HT.' P.21. L. 13. This verse is obviously an interpolation, because the next words अथवा न प्रत्यादिशामि' are immediately and directly connected with 'किं न प्रत्यादिशामि.' P. 62. LI. G_8. राजोपचारः-उपचार means external show. From the following verse (13) it appears that राजोपचारः here means the same as राजोपकरणानि, the paraphernalia of a king or the insignia of royalty. विद्युल्लेखा०--अभ्रं cloud (अप् भृ filled with water ) (1) विद्युत्-वत् लेखारूपं कनकं, तेन रुचिरं श्रीवितानं । (2) विद्युत्-एव लेखारूपं कनकं तेन रुचिरं अभ्रं । A. D. under वितान quotes 'विद्युल्लेखाकनकरुचिरीर वितानं ममाब्दो,' but in it the adjective is not applicable to both वितानं (n.) and अब्दः (m.); still वितान being m. anal n. one may read thus 'विद्युल्लेखाकनकरुचिरश्रीर वितानो ममान्दो' if any authority would support it. With the first two lines cf., · The floating clouds their state shall lend To me; for me the willows bend.'-Wordsrorth. P. 62. LI. 10-11. घर्मच्छेदात्-उष्णकालस्य ग्रीष्मसमयस्य नाशात् गमनात् ।

·ACT IV. 169 बंदिनो.-P. reads बंदिनो but see our note on बंदिग्राहं P. 3. L. 7. The bards form a distinct class sprung from a Kshatriya father and a S'údra mother. WITTEITTO--P. dissolves the compound thus BTT a EITT:' but we think it is better to dissolve it as 'ATTET TE TIETTI: (presents)': नैगमाः, वणिजः traders (from नैगमः a way or road); or निगम वेद, then ata: m. good conduct; from this, perhaps, #TA: citizen may have been derived. Bome read the fourth line thus, 'धारासारोपयनपरा नैगमाश्चाबुवाहाः।' where धारासारः वर्षप्रसरः । पक्षे धारारूपं सारं धनं तदानयनपराः। If this reading be accepted we shall have to take are in the first line to mean Sky and not a cloud, because cloud will be spoken of in the fourth line (aigat). But we can't take any to mcan sky there, since it was not the whole sky that was विद्युल्लेखाकनकरुचिरं. P. 62. Ll. 12-17. gftasy--m. (rezę to cover ; qiieglā aaa staret: JKT). E.cternal appendage, (as opposed to that--my beloved--which is connected with my inmost soul, and is therefore more important). ai,- Whom I have lost.' raro-Before the 14th stanza, the stage-direction is (972=Uztia 76:1) : is the name of a musical mode or pro. fterita:, Please notice that अनुगत here means 'full of, filled with. A. D. cf. am Tahi HE'--ANHA. yala-u za 277EIT:'-67. We have inserted it in the text itself for the sake of convenience. P. 62. L. 18. HOTTT.--P. says, “ Tiere is an encouragement to persevere in the search which I am resolved to make for her. He means that no sooner he resolved to inake a search than he meets with an object which encourages him to inake that search.' And c. translates * Ah, ah, my resolve has prosperel. But we beg to differ from them; we think that in the next verse ( 15 ) the king says that the Howers looking like her eyes touch his heart and trouble him more, for he will be satisfied with nothing less than getting his beloved herself or a thing belonging to her or any trace of the way followed by her. Hence cita appears to mean that which augments his grief. (And we are supported in this by the causal form for in the next stanza, 15. See our notes on Fira. P. 63. LI. 2-4.) We don't think that @rqa does ever mean encouragement in a good sense. W. translates the passage thus Ah, ah, whatever I behold only aggravates my owe.' “Here is an auginentation to my distress when I resolve to do so.' Mr. V. S. Apte, cf. 37 raäicara: 89a1 ga gic61.' (they only serve to inflame grief. G. p. lviii.) P. 63. Ll. 2-4. STRICT :--Sonie read ISTA:' for TISTA, 15 ·170 NOTES. but it is inappropriate here, since the flowers of a co do not have rel edges ( कोटि ) but rel streaks on thep. 'द्रोणपर्णी स्निग्धकंदा कंदली भूकदल्यपि'-शन्दार्णव. Please notice that in connection with a कदली ( singular ) the plural कुसुमैः is used ; but a plantain tree has only one Hower: so we think that the poet looks upon the boat-shaped leaves of the flowers as its petals and poetically calls them flowers (कुसुम) instead of merely petals (पत्र ). Or is कदली a plant other than a plantain tree ! With the whole stanza cf. आसारसिक्कक्षितिबाष्पयोगात् मामक्षिणोद्यत्र विभित्रकोशैः । विडंब्यमाना नवकंदलैस्ते विवाहधूमारुणलोचनश्रीः॥'. R. III. 29. स्मरयति-(Usually स्मृ has स्मारयति-ते as causal; but स्मृ to remember with regret has frarâ ) causes to remember with regret. This yres against Mr. Pandit's taking संदीपनं ( P. 62. L. 18.) to mean encouragement. सूचयितव्या-- (सन् 10 U. to trace out ). Here we may Kav--- यत्र यत्र तस्याः गमन कार्य पदपंक्तिरूपं दृश्येत तत्र तत्र, अनेन एव मार्गेण, सा गता इति अनुमातुं शक्यं स्यात् ! Such a sign, therefore, he nov directs his attention to find out. P. 6. Ll. 5-7. वनस्थलीष--स्थली is natural or forest ground, while स्थलं is artificial पश्चान्नता०-The heariness of the hips of beautiful women is a favourite subject of allusion, and a lovely woman is called नितंबिनी, नितंबवती (P. 71. L. 1.) cf. 'अभ्युत्रता पुरस्तादव गाढा जघनगौर- कात्यश्चात् । दारेऽस्य पांडुसिकते पदपंक्तिर्दृश्यतेऽभिनवा ।।.' S. III. 5. P. 63. Ll. 11-14. हुतोष्ठरागैः०--इदं यत् दृश्यते तत् असंशयं निमग्ननाभेः तस्याः, निपतद्भिः अत एव हतोष्ठरागैः नयनोदबिंदुभिः अंकितं, रुषा भिन्नगते(ablative) च्यतं, शुकोदरश्यामं स्तनांशुकं भवति. The ओष्ठराग is the red paint (dye or lac, लाक्षारस) applied to the lower lip. That a kind of redd paint was applied to the lower lip may be seen from the following quotations : (a) 'रागेण बालोष्ठ मलंचकार.' (बाला girl) Ku. III. 30. (b) 'विसृष्टरागादधरात्रिवर्तितः । कृतोक्षसूत्रप्रणयी तया करः ॥' Ku.V.11. (c) 'यने दृष्ट मसंस्कारं पाटलोष्ठपुटं मुखं.' S. VII. 23. (d) 'रकाशोकरुवा विशेषित- गुणोबिंबाधरालक्तकः।.' M. III. 5. where in his notes P. says 'बिबाधराल तकः must refer to the red lac women apply to their lips.' TUTTO--In compounds 397 drops its drops its न्. भिन्नगतेः,--going with great striles, going quickly. ef. 'गतिभेदेन परिक्रामन्.' S. VI. (where राघवभट्ट says-गतिभेदेन क्रोधोद्धतगत्या इत्यर्थः।) श्याम-That श्याम means green like grass (नव- शाद्वल below ; P. 63. L. 16.) or emerald is clear from the following quotation-'कनकशलाकानिमितमपि अंतर्गतशुकप्रभाश्यामायमानं मरकतमयमिव पंजरं गृहीत्वा.' Ki P. 63. Ll. 16-19. सेंद्रगोपं--This Adjective of 'नवशालं' (which ·ACT IV. 171 corresponds to PÅ FAITÄ in the last stanza) accounts for the red paint (ओष्ठराग ) first (mistakingly) seen by the king. इंदगोप is a small insect of red colour to be seen only in the rainy season (इंद्रः गोपः रक्षक: अस्य, वर्षाभवत्वात् तस्य ). cf. 'श्रद्दधे त्रिदशगोपमात्रके, दाहशक्तिमिव कृष्णवर्त्मनि । R. XI. 42. (where 'त्रिदशगोपः इंद्रगोपः, वार्षिकः लोहितः कीटविशेषः'--मल्लिनाथ.). शालं, --A grass-plot ( शादाः संति अत्र. शाद m. young grass). कुतो नु खलु०--Mr. Pandit translates-( And that is right ) for how is any news about my beloved one to be obtained in this lonely forest ?,' thus connecting this with the preceding passages. But this does not seem to be correct. It (as interpreted by P.) shows that the king is convinced of the impossibility of getting any news : if so, he would not have continued the search. Moreover this question speaks of the war (news) and so can't be connected with the preceding passages which refer to उपलक्षण (trace). We think that this is a simple and independent question like the first one 'कथं नु तत्रभवती मया सूचयितव्या.' P. 63. L. 4. In the first stage of the search the question refers to the trace of her way, in the second it refers to the news about her. (When the third stage is partially reaches he asks for his belovel herself: 'हंस प्रयच्छ मे कांतां' P. 67. L. 20.). The present passage, therefore, means Whence then shall I find any tidings,--how shall I gain tidings-of her ?' Some read it thus—'तत् कुतोऽस्मिन् विपिने प्रियाप्रवृत्ति आगमयेयम्.' उच्छ्रसित-- (used actively. G. 152) emitting or sending out vapour. Refreshed. आसारेण [आसारः धारासंपातः वेगवान्वर्षः] उच्छ्रसिता शैलेयस्थली. cf. 'आसारसिक्त- क्षितिबाष्पयोगात्.' R. XIII. 29. ताडित--Some real ' नर्तित.' P. 63. L. 22. संप्राप्तविसूरणः०-Some render the Prakvit word 'विसू- रणओ' by खेदः but there is a Sanskrit word विसूरणं (or णा) and it better suits the metre. (सूर 4. 1. to hurt). विसरणं-णा--sorrow, distress. fore the 19th verso, the stage-lirection is ( 37 at 5:) :unt before the 20th, it is (खंडकांते चर्चरी।) and after the 20th it is (चर्चरिकया उपविश्य अंजलिं बद्वा ।). खंडकः, 'u metre, launce, or n tunc.' I. W. D. परवारणः-- • The drearl of all his rival jves. W. वारण n. opposition or opposer. (and वारण m. an elephant; but we can't translate परवारणः by 'agreat elephant ' since in the 2nd line we have गजवर:. For both the senses) of 'न भवति बिसतंनुर्वारणं वारणानां--' भर्तृ० II. 17. P. 64. Ll. 4-7. मृगांक--See our note on मृगलांछनः. P. 47. L. 15. With stanza 20 cf. stanza. 60. ममोत्कंठा--मम उत्कंठाकारणभूता. But रंग:- 'दृष्टा भवेत् इति मम उत्कंठा अस्तीति । इत्यस्ती अध्याहार्यो.' दीर्घापांगा--आकर्ण. पूर्णनयनांता. सितापांग--धवलदृगंत; see our note on अपांगता P. 1:2. L. 9. दृष्टिक्षमा--दर्शनयोग्या. cf. 'उपभोगक्षमे.' P. 44. L 12. रंग०-- 'दिष्टिक्षमा -- Be.

·172 NOTES. इत्यपि कचित् पाठः । तत्पक्षे दिीष्टं कालं समते सा । जीवन्ती इत्यर्थः.' We object to the reading दिष्टिक्षमा (alive) for two reasons : (1) The king can't sus poot (and he nowhere speaks of ) her death, she being celestial; and (2) for the sake of alliteration aimed at in the stanza, दृष्टिक्षमा is better. (cf. and see our note on ferreraal. P. 73. L. 21.) However see the latter part of our note on it below P.64. L. 10. P. 64. L. 10. मत्प्रियाया विनाशात्-P. reads 'मप्रियाविप्रणाशात्'. She being celestial, विनाशः means, not death, but disappearance. 'नाशः क्षये तिरोधाने'-अमरः. वामनाचार्य in his edition of काव्यप्रकाश P. 312. says विना शान् अदर्शनात्, अद्य प्रियारहिते जगति.' For नाश meaning disappearance ( and forgetting) cf. 'गता नाशं तारा उपकृतमसाधौ इव जने,'-मृच्छ V.25. अत्र विनाशः मरणं अमंगलं ।.' Some also say 'पूर्व श्लोके दिष्टिक्षमा जीवंती (sce our note on दृष्टिक्षमा P. 64. L. 1.), अत्र च विनाशात् मरणात्, इति राज्ञ उन्मादातिशयः विप्रलंभपौषकः, इति न कश्चित् दोषले शावकाशः.' From this standpoint, then, the reading great in stanza 21 may be preferred and @au may mean death. P. 64. Ll. 11-12. घनरुचिर-'घनः निबिडः'-वामनाचार्य but ' beautiful like a cloud.' C. A. D. quotes this under घनः cloud. We also think that since the कलाप is compared to केशपाश, its cloud-like darkness is the point of beauty and comparison and not its being thick or dense. भस्य,--Some read अद्य, but since there is 'सुकेश्याः केशपाशे' we must have अस्य कलापः' to correspond to it, for the sake of the completeness of the figure. बहुविगलितबंधे--We have unhesitatingly substituted the world ag for a sexual enjoyment) which the teacher blushes to read in the class and the students to hear from the lips of the teacher. When we see that in England the plays of Shakespeare taught in schools and colle. ges, and especially those editions of them which are prepared for being reant in the family circles, have all the obscene passages expunged from them, we trust that no thoughtful person will blame us for making this change in this Prurtical elition. रतिविमलितबंधे-got loose in the act of amorous enjoyment. - Fallen all loose in the hour of joy.' C. A. D. gives बंध: a hairband or fillet, in this stanza, but we think it rather means "arrangement, 'बंधः प्रथिः'-वामनाचार्य. In R. IX. 67. (which we quote below) the commentator says 'विगलितः च्छुटितः बंधः रचना यस्य तादृशे'. With the whole stanza (22) cf. R. IX, 67:- अपि नुरगसमीपादुत्पतंतं मयूरं । न स रुचिरकलापं बाणलक्ष्यीचकार । सपदि गतमनस्कश्चित्रमाल्यानुकीर्णे । रतिविगलितबंधे केशपाशे प्रियायाः॥

·ACTIV. 173 P.64. LI. 12-16. केशपाशे-P. reads 'केशहस्ते'. 'पाशः पक्षश्च हस्तश्च कला- पार्थाःकचात्परे'. In compounds with कच, केश &c., the words पाश, पक्ष & हस्त mean ' abundant or ornamented hair.' कं हरेत्०-P. reads 'किं करोत्येष aff.' but our reading yields a better sense. Some read al for at but बर्ह meaning peacock's tail is generally of the neuter gender. 'बहीं इत्यत्र बर्हः इति अपपाठः। पिच्छबर्हे नपुंसके इत्यमरात् । पौनरुत्यापाताच्च ।' वामनाचार्य. In this stanza मृदुपवनविभित्र corresponds to बहुविगलितबंध ; but why has केशपाश another adj. viz. कुसुमसनाथ?--of course for the purpose of completing the likeness. कलाप includes the idea of eyes (in the peacock's tail) and hence केशपाश is furnished (by the poet) with (eyes-like) flowers. कलापसाम्याय केशपाशस्य विशेषणद्वयं आह । चंद्रकसाम्याय कुसुमसनाथत्वोक्तिः ।' वामनाचार्य. परव्यसननिर्वृत- Who thus rejoices over other's ills.' C. संधुक्षित-संधुक्ष् to be kindled. 'संदुधुक्षे तयोः कोपः.' भट्टि XIV. 109. विटपं अध्यास्ते--आस् to sit, with आधि, governs the Accusative. G. 31. पंडिता०-cf. 'रतिदूति- पदेषु कोकिला मधुरालापानसर्गपांडता । .' Ku. IV. 16. P. 64. LI. 17-20. विद्याधर-See our note on विद्याधर P. 58. L. 10. Before stanza 23, the stage-direction is (अनंतरे खुरकः।) and after stanza 23, it is (खुरकांते चर्चरी ।) खुरकः is a kind of dance. उत्पीड:- (पीड् to press ) a pressing out, gush or gushing How. अंबरमानेन--(अंबरं sky, अंबः शब्दः तं राति धने for 'आकाशं शब्दगुणं') अतिविशाल इत्यर्थः-रंग०, 'Majestic, as sails the mighty cloud.' W. P. 65. L. 4. भ्रमंती--Mr. Pandit reads भ्रमंति and takes कांते and भ्रमति as vocatives ; but it is more proper to take कांते (locative ) as an adjective of नंदनवने, and as to भ्रमंती cf. 'गगनोज्ज्वल कानने मृगलोचना भ्रमंती.' P. 73. L. 22. P. 65. Ll. 6-9. मे-P. reads मम (Genitive), but though in Prakrit, 'महु' is genitive, still it should be rendered by Sanskrit dative मे (मा) for आचक्ष् ‘usually governs the Dative of the person.' A. D. मदनदति The cuckoo is called the messenger of love &c. because when she sings, lovers (forget their quarrels and ) return to each other. cf. 'स्थाने प्राणाः कामिना दूत्यधीनाः' M. III. 14. Poets say that चंद्र, भ्रमर, scenterl things, and कोकिलरव excite love. cf. 'रतितिपदेषु कोकिला मधुरालापनिसर्गपंडिता।' Ku. IV. 16. Andl 'परभृतपटहाटोपप्रकटितविभवो मनोभवो जयति।' Ru. I. 22. मानावभंग०,-A mistress angry with her lover gives up her anger and priile and comes to him as soon as she hears the song of the cuckoo. 'Skilled to tame the proudest heart.' W. With the stanza cf. Ku. III. 32:- चूतांकुरास्वादकषायकंठः पुंस्कोकिलो यन्मधुरं चुकूज । मनस्विनीमानविघातदक्षं तदेव जातं वचनं स्मरस्य ॥

·174 NOTES. Kálidása 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.' Alexander von Humboldt. P. 65. LI. 12-19. किमाह--'किं ब्रवीष्येवमित्यादि विनापात्रं ब्रवीति यत् । श्रुत्वे- वानुक्कमप्येकस्तत्स्यादाकाशभाषितम् ॥'. न अपेक्षते०-Does not require, ie they (young women) get angry without any fault of their husbands. कारणाभावेऽपि तासां कोपः संपद्यते इत्यर्थः. “ The tyranny of women over their lovers waits not for intentional offences.' C. कथाविच्छेद०-Rudely interrupting me in my story.' P. But we think that here my rather means talk. Conversation. discourse. speech, as in 'स्मरिष्यति त्वां न स बोधितोऽपि सन् , कथां प्रमत्तः प्रथमं कृतामिव ।'. S. IV. 1. With 'स्वकार्ये व्यासक्का, सुखं आस्तां भवती and साधयामस्तावत् (below) cf. 'स्वस्त्य- स्तु ते याम्यथ किं ब्रवीमि । स्वभाग्यनिष्ठो ननु सर्वलोकः।।'-बालभारत. VIII. i. 123. P. 65. L. 21. ajo--- All coldly listen to another's sorrows.' W. सम्यगाहः-- But well runs the proverb.' C. प्रणयं--प्रार्थनां. See our note प्रणयिषु P. 1. L. 18. अधरं पातुं--अधरं पा is a phrase often used in the sense of To kiss.' In translating the last two lines Mr. Cowell appears to have taken ATİNT separately (as if it were काचित् मदांधा स्त्री) as he onee (in हरिवाहनदिङ्मुखं P. 42. L. 6. : see our note there.) took मुखं to mean स्त्रीमुखं. He translates- * The bird is absorbed in sipping the fruit, as a woman blinded with the intoxication of love, her lover's lip. But here too he can harily be justitiel by the sentence and the context in translating thus. P. 66. Ll. 5-10. साधयामः--साधू. 5. P. caus. to go 'प्रायेण ण्यंतकः साधिः गमेरर्थे प्रयुज्यते,' (in which we remember to have read somewhere नाटके for ण्यंतकः ) cf. 'साधयाम्यहमविनमस्तु ते.' R. XI. 91. दक्षिणेन.-- words showing direction and ending in 57 govern Genitive and Accusative. G. 112 (a). वनधारां--'धारा पंक्तिः'-रंग. an avenue, (by which probably the swans-see stanza 30-making a sound like न पुररव, were concealed from his view: therefore we read two words दक्षिणेन वनधारां instead of P.'s one word 'craat'-to my right). cf. ar garota quo वाटिका आलाप इव भ्रूयते.' S. I. विसंष्ठुल० (वि+सं+स्था.) Going unsteadily, tottering, staggering. "His feet tottering under his insupportable anguish.' c. Just after the stanza 28, the stage-direction is (इति ककुभेन षडुपभंगाः।); ककुभः, name of a राग or musical mode. उपभंगः, a division or a member of a verse. P. 67. LI. 2-8. पतत्रिणः--(पत् to iy. पत्र n. or पतत्र n. a wing).

·ACT IV. 175 प्रतिगमिष्यसि.--Some real two separate words प्रति गमिष्यसि. मानसं-A lake between Himalaya and Kailasa. It is the special resort of the wild grey goose at the beginning of the rainy season.' Mr. K. B. Pathak. पायेवं--(पार्थि साधु हितं भोज्यं वा ) पथ्यतिथिवसतिस्वपतेढञ्' i.e. the termination एय (ढ) is added to पथिन् , अतिथि, वसति and स्वपति in the sense of useful in, good for: (आतिथेयं hospitality. वासतेयं a habitable place. स्वापतेयं property, स्वपतेः आगतं ) K. G. $ 238. Cf. 'आकैलासात् बिसकिसलय- च्छेदपाथेयवंतः । संपत्स्यंते नभसि भवतो राजहंसाः सहायाः.' Me. I. 11. where मल्लिनाथ-'कालांतरे मानसस्य हिमदुष्टत्वात् , हिमस्य च हंसानां रोगहेतुत्वात् अन्यत्र गताः हंसः पुनर्वर्षासु मानसमेव गच्छंति इति प्रसिद्धिः।' प्रहणाय०--गृहीतं बिसं मृणालं उत्सृज्य ममेोत्तरं दत्त्वा पश्चात् तत् पुनः गृहाण इत्यर्थः।. स्वार्थात्-- The care of their friends is dearer to the good than even what concerns themselves.' C. (for प्रणयिन् see our note on प्रणयं P. 65. L. 22.) cf. 'परोपकाराय सतां विभूतयः'; 'आपन्नार्तिप्रशमनफलाः संपदो ह्युत्तमानां.' Me. II. 3. and 'परार्थ- व्यासंगादुपजहदथ स्वार्थपरतां'--Bha. I. 79. W. translates :- • Tis worthier far To render kindly offices to others Than meanly labour for a selfish gool. P. G7. Ll. 11-21. रेरे०-- We have put together the four lines of the spurious stanza 32. In other editions they are thus given : the first line is given before stanza33, the second before 34, and the last two before 35. मदखेलपदं--मदेन खेला कामक्रीडा येषु तानि पदानि यत्र or मदेन खेलं migħ qŠ TEHT. 'In whose every step Love sports.' W. Ta, Past pas. part. ending in a have sometimes the sense of neuter abstract nouns. G. 153. अभियुज्यते-अभियुज् to accuse, charge, claim (as in a law suit.) • Thou must surrender what is thus laid to thy charge.' C. If the Swan has stolen only that, how should he return (restore) his whole piar? But the 2017 (popular maxim) is that he who is proved guilty (विभावित) as having in his possession a part (एकदेश) of the whole property stolen, must return (restore to the owner) whole property claimed (यदभियुज्यते). P. 68. LI. 5-6. मर्मर...मनोहर--'Soul-ravishing with the sounds of the rustlings of the leaves.' C. मर्मरः, (शुष्करर्णधनिः), an onomatopoetic word. रणित,-P.P. used as abstract noun. G. 153. Before stanza 35 there is a stage-direction (अनंतरे कुटिलिका), before its second line (मळ घटी), before its third line (चर्चरी) and before stanza 36, (द्विलयांतरे चर्चरी). कुटि- लिका, a peculiar movement or gesture. मळघटी, a kind of dancing or gesture . लय, a pause in music. कुसुमित...पळवे-' In groves of tall trees with bright blossoms blooming.' W. पलवः, 'blossom.' A. D. cf. कुसुमावले. P. 62. L. 16.

·176 NOTES. P. 68. Ll. 9-15. गोरोचना-A bright yellow pigment prepared from the urine or found in the head of a cow. चक्र-the चक्रवाक bird. मधुवासरे क्रीडंती-Sporting through these honey days.' C.धन्या-P. reads धनिका (=a young or virtuous woman) which has no propriety here; ay is better: मधुवासरे क्रीडंती and therefore appearing धन्या, fortunate to all (even to. चक्रवाक). रथांगनामन्--Lit : named after a part (अंग) of a रथ, viz. wheel, . Some read rett TH; See our note on See our note on नाम, named. P. 49 L.6. वियुत--त्यक्त. वृत-युक्त. कः कः :-The bird's cry being अर्कः-अर्कः-अर्कः 'अर्कः इति चक्रवाकरुतानुकरणम्'-काटयवेम. सूर्याचंद्रमसौ-'आनङ् देवताद्वंद्वे' पाणिनि. VI. 3.26. When the names of deities represented as being in constant association with each other are compounded, 3r is substituted for the final vowel of the preceding word except in case of वायु. मित्रावरुणौ, सूर्याचंद्रमसौ.' K. G. $ 123. मातामह,-From the mother's side, the king was thus descended from the Sun : सूर्य's son was मनु, मनु's son was the king ; this as once entered a forest where, owing to a curse, he was turned into a woman (इला) with whom Budha (the son of the Moon) fell in love and the issue was the king Purúraras. Thus we see that the Sun was the maternal great-grandfather of l'urúravas, So the word HTATA (grandfather) is a little difficult to understand. In calling the Sun the Harne of the king, (1) The poet may be inaccurate or (2) Manu being the first king of the Solar race is identified with the Sun, and thus Manu being FIATH of Purúraras, the Sun is also said to be so; or perhaps (c) The poet uses the term मातामह in the sense of the (maternal) grat-grandfather. This difficulty does not seem to have occurred to Mr. Pandit who explains the relation by saying "His mother's name was lá the daughter of Súrya,' which is inaccurate. Wilson says-'Purúra rux is a king of high descent being sprung by his mother Ilà from the Sun, and his father Budhu from the moon, being the grandson of the latter (the Moon) and great-grandison of the former (the sun).' रंगनाथ says-'कृतयुगादौ सूर्यनप्ता, मनोः पुत्रः, इलः नाम राजा मृगयासंगात् हरनिवारितं उमावनं एकाकी प्रविष्टमात्रः स्त्री (इला) बभूव । तां एकाकिनी सुंदरीं दृष्ट्वा बुधः कामातुरः सन् आश्रमं नीत्वा तस्यां पुरूरवसं पुत्रं अजीजनत् इति भविष्योत्तरपुराणे.' P. 68. Ll. 15-21. पितामह--The moon was the paternal grandfather of the king, thus : ब्रह्मा--अत्रि--चंद्र--बुध--पुरूरवस्. cf. 'सोमात् एकां. तरस्य.' P. 3. L. 12. and see our note thereon. उपालभे...एनं-Instead of this some read 'तत् युक्त तावत् आत्मानुमानेन वर्तितुं । कुतः।.'- You might measure my afliction by what you feel.' w. Fargo--cf. afsafgaiarta- मपि सहचरं अपश्यंती आतुरा चक्रवाकी आरटाति (vl. आरौति ).' S. IV. Chakra ráka birls are the type of constancy and connubial affection. The The ·ACT IV. 177 real s& male and the female keep together during the day, but owing to a curse, are separated at night. hyr-(from 394 to hurt, or fastar 4:971) ayr:@gth: : Lovelorn. Suffering separation from his beloved. The king means- Your mate hides herself in sport and your separation is temporary, while I am suffering from actual separation which might continue for a long time yet : therefore you ought the more to sympathise with me. iar--Some insteal. Mark -- in line 3 anil 4. See our note on -- P. 21. L. 19. P. 69. Ll. 2–9. PTERIO-ET1927 ipt:' cf. 377 ara fara gra qura.' S. V. Some real 'HITTAI @9871Tİ 310 qua:'- • This is wholly the effect of my reverses of fortune.'c. Ho Here the bees may be many although he just below (L. 8.) says "T (singular). cf. 'TIFTË FTAT...qat:...(plurals).' P. 66. L. 19. and P. 67, L. 2. and just below (L. 4) ŠTATIS' (singular) #TERT:-'A murmur of joy. ous love.' C. A sound made by <rawing in the breath through clothed teeth expressive of murmur &c. RENDERITA 751174; . When the lip of my belovert has been somewhat too rudely sipped by me and she sweetly protests against such violence.' W. The lotus here must have been open, for it is an open lotus that looks like the mouth of a woman. HÊ- --cf.'**Hataja: T. P. rearts 'STETTA', but our realing better gives the ilea expandal below in · तव रतिरभविष्यत्युंडरीके किम- Tên Stanza. 42. . ren less the Prái vật “gfff” by % TART IT97'-0). On sudden.' ('. Before stanza 11, the stage-direction is (neriat Bahan:1) Hz. TEF is a mole of gesture in dancing. 24: 3 Taka fari parala sarah: sia seua I'--foto. P. 69. LI. 12–13. Tato--JÀ means that’ (the other meaning of अदस् ). P. reads the 2nd line thus 'वरतनुरथवा ते नैव दृष्टा प्रिया मे which does not appear to be a natural construction ; 901 Tel is better and more natural than ते दृष्टा : and with वरतनुः, प्रिया is unnecessary. यदि... STIFT:-- The conclitional is used when the nonperforinance of an action is implied, or when the falsity of the antece lent is implied as a matter of fact : as at 372167.-If you had felt (which you clearly have not ).' G. 216. P. 69. LI. 19-21. TIETO-- This means that the juice flowing down the elephant's temples attracted to itself by its smell the bees which then hovered about him.' P. but he reads TAYT' which can only mean ‘Driving away or repelling the bees by the strong scent of his rut'- moaning which runs counter to his explanation. Ia ·178 NOTES. Ti-We have inserted these two words in the text for the sake of convenience. See stanza 14. करेणुः-: also, f. s fomale elephant (के मस्तके रेणुः अस्य, करेणुः m. an elephant.) With the stanza ct. 'स्थानमानिकमपास्य दंतिनः सनकाविटपभंगवासितम् ।' Ku. VIII. 33. For भभिलषतु some read अभिलेटु. The elephant spoken of in stanza 41 is the same as is referred to in the prose line before stanza 43, but he can't be the same as is described in stanza 43 : for that in 43 is कारिणीविरहसंतापितः while the other one is कारिणीसहायः and has his करेणु near him to give him शल्लकीभंग. P. 70. L1. 2.9. कृतान्हिकः-- He has finished his repast. C. आन्हिकं, (अन्हि भवं ..। अन्हा निर्वृनं ) anything to be done daily as bathing, taking meals ac. Daily food. शशधर०-- Haring marks like a bare.' M. W. (cf. शशांक and see ur note on मृगलांछन !'. 47. L. 15.) मदकल-Voc. qualifying गजयूथप. 'मदोत्कट'--काटयवेम. Ruttish, furious, under the influence of rut. P. reads 'मदकलयुवतिशशिकला,' (मदेन कलाः युवतयः तासु शशिकला), but मदकल, ' speaking sweet with love,' has no propriety when beauty is the point of description. रंगनाथ says 'युवतिशशिकला,' युवतीनां तारकात्वं । शशि- कला इति अनेन निष्कलंकता द्योत्यते (for spots are not seen on the new or young moon.) P. 70. L. 9. शबलकेशी-श बल spotted or variegated. Beautifiel. • Having hair brown as the yellow jasmine, golden or auburn-8 very strange idea for a Hindu'-Prer. II. II. Itilson. Quite so, Professor! the idea is strange if 175 means brown or yellow here. which it really does not!! P. 70. Ll. 10-17. स्थिरयौवना-So called because she is a celestial woman. पृथिवीभृतां०--In the first line, we think, there may be intended a verbal साधर्म्य, thus-पृथिवीभृत् means a mountain नग, and so पृथिवीभृतां अधिपतिः नगाधिपतिः or नगाधिराज, while the elephant is नागाधिराज ; but we admit that this is farfetched. aray--(connected with 7 mountain or perhaps from न+अ+ग • not that he can't walk altogether') दानं--'दानं गजमदे त्यागे'. वशा-(1) a female elephant (2) वश् to long for, and henco वशा=a wife. सर्व मामनु०-cf. रकस्त्वं नवपलवैरहमपि श्लाघ्यैः प्रियाया गुणैः त्वामायोति शिलीमुखाः स्मरधनुर्मुकाः सखे मामपि । कांतापादतलाहतिस्तव मुदे तन्ममाप्यावयोः सर्व तुल्यमशोक ! केवलमहं धात्रा सशोकः कृतः ।। P. 70. Ll. 20-22. प्रियचायं मप्सरसाम--It appears to us that in ·ACT IV. 179 writing this, our poet has in view the vedic story about Urvaší (see our Introduction P. xi. a.) which says—The king failed to keep his promise, and go Urrasi left him and went to heaven. The king's grief was so intense that it affected his intellect and he long wandered over the world in quest of his bride. Once he came to Kurukshetra where nymphs often used to come for bathing. There he searched for Uarasi amongst the nymphs, and at last saw and recognised her. 39 qart.24 is added to 99 and 3.' K. G. s. 238. Ta-ET-- the lightning, và EST: GETİ. R7 m. a ray of light. Please note that WETTI means "Thunderbolt' where it m.=sound. P. 71. Ll. 2—3. tą--Before stanza 48, the stage-direction is (rada). ait is an air or tune in music. :--Unwavering.' C. =' fit:'--iTo. fastaro-- Intent on the object of his search.'C. i. e. kaligayatri Bardhi, ca îna-ETATI: --'97 ATEIC:'--TO. Overcome with passion.' C. But we think it means (वनगहने लीनः ) · having entered into.' कोलः--(कुल to proceed or go uninterruptedly. A hog can easily run only in a straight line ). cf. W.'s translation of stanza 48 :- . With horny hoofs and a resolute breast The boar through the thicket stalks ; He ploughs up the ground as he plies his quest In the forest's gloomiest walks.' P. 71. LI. 5-12 Tę star--312Tai sar. The sense is that all her limbs were full... The bones at the joints such as the kuee, the elbow, and the wrists, did not show themselves out but were fully covered with flesh.P. faggia--(ar to draw away, to remove.) P. reals are:', but we think the Ablative case-form brings oui the canso into stronger relief. (G. 73). But if the reading 2: be insisted upon, please remember that it is used in an active sense, it being the past pass. part. of a root implying motion. (G. 152.). FETO-Before stanza 50, the stage-direction is (Brit). TET:--here means a garland of flowers worn on the head. cf. 'F87#teaia hai auara.' TTTTSO XI. 46. C. translates are thus whose peaks are garlanded with a thousand various flowers.' ( where alla=embellished, and Jar = summit). --(lit: a bad or deformed man ) a mythical being with a human figure and the head of a horse ( 12 ); in later times reckoned among the गंधर्व s or celestial musicians. cf. 'जयोदाहरणं बाहोर्गापयामास PTT.R. IV, 78. P. 71. L. 15. aastalato--In this stanza, for 'miasieta' P. reads 'वनोद्देशे.' But it is evident that this वनो देश or वनांत is the game ·180 NOTES. as the 'वनांतरं' in stanza 49. In it we see a demonstrative pronoun (इदं ) used with reference to a वन (वनातरम् इदम् ) even though it isat a distance (विप्रकर्षात् ), how natural, therefore, is it to suppose that ho will use a demonstrative pronoun (अस्मिन् ) now that he is nearer to the saine ( समीपे ). Stamail is technically callel 'त्रिगत.' 'त्रिगतं स्यादनेकार्थयोजनं अतिमात्रतः' It is first a question addressed to the Mountain. When the same is echoel back, the king takes it to be a reply from the Mountain. When it is a Puestion to the Mountain, (1) सर्वक्षितिभृतां नाथ means सर्वनगाधिराज. (2) दृष्टा intrwluces a question and is connected with त्वया (त्वया दृष्टा किम् ). (3) मया--विरहिता, त्वया--दृष्टा?. But when it is a (supposed) Reply from the Mountain to the king. (1) सर्वक्षितिभृतां नाथ means सर्वराजाधिराज. (2) दृष्टा is a part of the assertion and is commecterl with मया (सा मया दृष्टा आस्ति). (1) वया--विरहिता, मया-दृष्टा ! अत्र प्रभवाक्यमेव उत्तरत्वेन योजितं । प्रभे सति मया-विरहिता त्वया-दृष्टा किं?। तत् प्रतिध्वनौ सति त्वया-विरहिता मया-दृष्टा ! इति उत्तरवत् भाति । शेषं उभयत्र समानम् ।. P. 71. Ll. 17-18. दृष्टा इत्याह--Here it is that the stanza is to be rendered as a reply. fuai Tora--This is a blessing to the mountain by way of thanking him. cf. 'नास्ति मे वाग्विभवःअतः प्रियतरं मंत्रयितुम् ' P. 55 L. 8. and see our note thereon. क मे प्रियतमा०--(Please note. that कतर्हि is wrongly printed for व तर्हि). After mistaking the echo for a reply the king says to the mountain-Well if you say in reply that you saw ( दृष्टा ) my beloved, tell me then (तहि ) where she now is.' He then with a joyous hopefulness repeats the same question, but hearing the echo again (with closer attention to catch all the words which the mountain would now say in reply) finds out that it is nothing more than his own words cchoed back ;-which Wilson thus sings. * Alone I hear the echo of my words As round the cavern's hollow mouth they roll, And multiplied return. P. 72. Ll. 3-6. रमते मन:--Some read ‘स्रोतोवहां पश्यता मया रति- रुपलभ्यते.' तरंगभूभंगा--(भ्रूभंग or भ्रूभेद is a frown or the contraction of the eyebrows.) cf. 'तीरोपांतस्तनितसुभगं पास्पसि स्वादु यस्मात्, सभ्रूभंग मुखमिव पयो वेत्रवत्या श्चलोमि ।' Me. I. 24. ' The rippling ware is like her arching brow.' W. क्षुभित०--- The propriety of क्षुभित is that being frightened the birds make a rattling noise and that noise resembles the jingling of a woman's zone when she walks away in anger.' P. यथाविद्धं याति--आविद्धं स्खलनपूर्वकं वकं कुटिलं. Some read ‘पदाविद्धं यांती' which can't be preferrel, first because it is not applicable to both (the ·ACT IV. 181 river and Urvasi), and secondly because the description has to be primarily applied to the river with reference to which, 991 is meaningless. P.'s old edition has ac ac giai' where fas also is objectionable, since it is stid that means crookedly. Forca-(1) The stream avoids many interruptions. (2) She frequently stops in her course to think of his faults and goes crookedly. * The stream is obstructed repeatedly by the rocks in its bed, and stopping at each interruption avoids it and goes crookedly instcal of in a straight line. And the imaginative king sees in its interruptel motion the steps of the offended Urraži, who wholly engrossed in thinking of the offensive conlvct of her husband, is repeaterlly stopping and going crookedly.' P. P. 72. Ll. 9-18. Tato--Before stanza 53, the stage-ilirection is (it was T 1) and before the next, (hierastia gari I). On प्रसीद, रंगनाथ says-'मत्कृतनमस्कारेण नदीभावं त्यक्त्वा आलिंगनादिना मयि अनु- ग्रहं विधेहि इत्यर्थः ।'. क्षुभित०-नमस्कारादिना नदीभावापनयनप्रवृत्तं मां उदीक्ष्य स्वाश्रय- विनाशशंकया क्षुभिताः प्रियागतिस्वरायनुकरणेन मत्पीडकत्वात् अकरुणाः विहंगमाः हंस- पिकादयः यस्यां तत्संबुद्धिः । सुरसरित्०--cf. 'न वारयामो भवती विशंती, वर्षानदि zah 57285112: 1. Bhâ. I. 45. Cafarar:--In his madness the king supposes that he is now standing by the side of a sea. The casterly wind blows violently and causes waves to rise and strike against the banks. The sea throws up its waves as a dancer his hands. :-- The king is looking at the supposed sea (really a river), and therefore he must not be referring to the clouds above is the limbs of the sea. Ein: must mean with his limbs of a cloud like colour or in the form of the clourls' ----since, of course, the clouds were rellected into the water. ... 479:--The birds crying alout and accompanied by the conch-shells of suffron-rolour, looked like the jingling yellow or rollish bells tied 19 the dan rr's feet. Mr. l'amit says-- It is doubtful what is meant by 54 if in is not some bird or some shell that makes a jingliny or rattling Boise, But we think 54 (-listening-W.) may be taken as an adjective of sia in the sense of redelish or of the saffron-colour ; : then the compound may mean . baving 314TT (feet-ornaments) of rouldish ia accompamical by हंस-biris (or हंस arl other bivals ): हंसविहंगमयुक्तकुंक मशंखैः कृतं 3714TO FT.' Pito--As a dancer wears garlands, so the supposel ) sea wore wreaths of lark-blue lotuses at whose bottoins were alligators and elephants.—(“alligators resembling elephants ?-P.). In the 12 the sea is called 'TTTTTET:'--armed with monsters as with sword and club (age n. a sea-monster ). TO--The waves striking against the bank at regular intervals appeared to beat the time to his dance. According to our translation the lissolution of the compound is वेलायां सलिलस्य यत् उद्वेळितं आघातः तेन दनः हस्ततालः यस्मै सः, but रंगनाथ has 16 So ·182 NOTES. येन for यस्मै in which case the translation would be who beats the time to his own dance by means of &c.' उद्वेलितं, Past P. P. ending in त are used as neuter abstract nouns. G. 153. अवस्तृणाति-An independent descrip tion of the cloudy sky. 'Meanwhile the new rain-clouds (the monsoonclouds) are spreading in all directions and giving the sky a gloomy appearance.' P. P. 73. Ll. 2-8. स्वयि०--In the third line P. reads मम for मयि, which necessitates changes in the first two lines-'त्वयि निबद्धरतेः प्रियवादिन, प्रणयभंगपराङ्मुखघेतसः ।,' but मयि is evidently better. अपराधलवं-The काव्यप्रकाशकार says (P. 405.) that the poet has committed a fault in not using अपि after अपराधलवं. Without अपि, the meaning will be-Tell me what small fault you have noticed in me-of course a great one you may have !' अत्र लवमपि इत्यर्थः अवश्यं वाच्यः, अन्यथा लवनिषेधे स्थूलप्रती- तिप्रसंगः, 'अपराधलवं न पश्यसि, किंतु महांतं अपराधम्.' अभिसारिणी--"Going or flowing to.' It also indicates acting as an अभिसारिका. (on which see our note P. 43. L. 16). अनिवेदप्राप्यानि-निदेन न प्राप्याणि. ' Fortune crowns those who yield not to despair.' W. cf. (a) अनिर्वेदः श्रियो मूलं.' (1) · Faint heart never won fair lady.' (c) 'साहसे श्रीः प्रतिवसति.' (d) — Fortune favours the brave.' and (e) • We fail. But screw your courage to the sticking place And we will not fail. Shakespeare. P. 78. Ll. 9-16. तिरोहिता--P. reads 'तिरोभूता.' सारंग--सारं अंग यस्य. (सार spotted). सार+अंग--(1) सारंग an antelope with a spotted skin, but (2) सारांग, one with a beautiful skin. K. G. $ 15. ऐरावत-(Also ऐरावण.). Name of Indra's elephant, (produced at the churning of the ocean ; इराः आपः तद्वान् इरावान् समुद्रः तस्मात् उत्पन्नः ऐरावतः). योऽसौ-- connected with 'इमं आसीनं सारंग' P. 73. L. 10. नवशस्यावलोकाय--P. reads 'वनशोभावलोकाय' but (as काननश्री and वनशोभा are synonymous) our reading is evidently better since it avoids the repetition of 'काननश्री and वनशोभा'. कटाक्ष--कटं गंडस्थलं अक्षति व्यानोति इति कटाक्षः. The idea is that the dark antelope looking about appears as if he were a soliditied glance of the Beauty of the forest. With the verse cf. स्तनांतर्गतमाणिक्यवपुर्बहिरुपागतम् । मनोऽनुरागि ते तन्वि मन्ये वल्लभमीक्षितुम् ॥' Bha. II. 126. (where ' स्तनांतर्गत माणिक्यवपुः स्तनद्वयमध्यगतमाणिक्याकारम् '- L. R. Vaidya). P. 73. L. 19. भुग्न-(भुज् to bend). With stanza 58. cf. R. IX. 55. तस्य स्तनप्रणयिभिर्मुहुरेणशावैः, व्याहन्यमानहरिणीगमनं पुरस्तात् । आविर्बभूव कुशगर्भमुखं मृगाणां, यूथं तदप्रसरगर्वितकृष्णसारम् ॥

·ACT IV. 183 For stanza 58 which is in the arruf metre, M. Wm.'s edition reads one in the अनुष्टुभ् metre ; 'अयमंतिकमायांतीं, शिशुना स्तनपायिना । अनन्यदृष्टिस्तामेव, मी i Alla u P. 73. LI. 21-22. fgreitaar-With youth unfading crowned.' W. because she is a Brit. It may be seen from this that the king (although mad) is full well conscious of the fact that Urvas'i is a grec (a heavenly damsel) and “crowned with undying youth. He will therefore never think of her death. This justifies our reading THAI (P. 64 L. 7.) and our explanation of Qara (P. 64. L. 10.); see our notes thereon. Thai, P. reads ar (car). Before stanza 59, the stage direction is (gā atkal arê 1 ). P. 74. LI. 3-10. 119--In the beginning of a sentence, 3g introdu ces a question. G. 247 (4). Some read the fourth line thus '47... afcha' meaning "She is seen by others or) appears beautiful.' With stanza 60 cf. stanza 20. TITHET--When words like ri, 37/ETC Sc. are used as predicates, they are always in the singular number and neuter gender. G. 11 (6). Tia:--The red-flowering Kadamba tree puts forth buds at the roaring of thunder clouds. 'रक्तकदंबो हि वर्षासु कुसु- मितो भवति.' And therefore its flower is significantly called धर्मातशंसि. P. 74. Ll. 13-17. hafi--(Please mark that in the first line on is wrongly printed for 1). cf. 97471.' P. 75. L. 18. P. omits stanza. 62. But aralari's e lition of #1778157 (P. 469) has 'Th117 इति विक्रमोर्वशीये चतुर्थी के विरहिणः पुरूरवसः उक्तिरियम् । एवमेव वैद्यनाथनागोजी- 473177:1'. 41--'falsely,” which the king justifies in the next two lines. araua--suffering from the attack of gout or rheumatisin (really the tree was being shaken by the wind, 977). Trecia --The red-flowering As'oka tree is said, accorsling to the convention of the poets, to put forth flowers when struck by lalies with the foot decker! with jingling anklets. Tigretarg na is: Fighara. “THIFI--38 HG Transam Khai HH FIT. Ru. II. P. 74. Ll. 20-23. Tey--P. reads TET. He reals the second line thus 'FBIT: FICHIERTE ETTE' but in the first line the king says '31195a: 7' and so in the second line's art is better. The idea in गहनं अभिवृष्टं is more natural and better than 'गगनं अभिवृष्टं.' Please mark that in P.'s realing HTË is used actively and intransitively. G. 152. (In ours it is transitive and passive.). In the third ling P. reads 'Tam for स्तबक' for प्रसव, but then he shall have to take अशोक to mean the flowers of a Ta' and in that case 7 has no pro cf.

·184 NOTES. priety. --(49,99 to increase or grow). 497 m. The presiding deity of the Sun. P. 75. Ll. 2-12. fragt:--C. and W. take a to mean stopped, withheld. · Withheld from attaining his beloved.' 0. Despairing his love to meet.' W. We prefer ritary's interpretation T019-7İ afro 97.' taro... yarat: ath: {TT: 1: उत्पत्तिहेतुः यस्य सः. We must suppose that some mountain rivulet bathed the lac off Párrate's feet and deposited it in the crevice of a rock, so that it ultimately became the brilliant gem that it now is.' P. P. 75. L. 13. 5.--For the ancient truth underlying the idea expressed in the second line cf. With the ancients a jewel was an amulet, that is to say an object posses. sing the property of warling off bal intluences and endowell with the power of attracting good ones.... It is well known that a gem will acquire the talismanic property directed to it by a magician's will, in exact proportion to the energy of the will, which absorbs a planetary influence in order to project it into the stone rulel by that particular planet.... I salute thee O emerald ! for thou favourest works of love (as in our text-Ed.) and divination.'—Sydney V. Elge. (in the Theosophist, June 1894, P. 545.). P. 75. LI. 15-23. qrant-- Deer-disguised –W. But this is incorrect here. It means the same as 'हरिण इव वनवासनिरतः' Ka.i.e. feeding upon grass &c. Katayarema says that this Muni was no other than Náráyana the father of Urvas'í. For मृगचारी some read मृगचर्मधारी ; and others मृगराजधारी (=the moon). अनुगृहीतोऽस्मि०--Thus he thanks him, but takes no more notice of him, perhaps because he was unacquainted with him, or because he is still absent-minded, being wholly engrossed in the thoughts about Urvas'i. Tiba--Having an exceedingly thin waist, as if the sides stuck-a-to each other). cf. TTC. P. 74. L. 13. FYT--Justly, Properly. G. 304.—The reason being that she looks like Urvas'í. TAI cannot here mean "beloved' for he knows that it is a creeper, '3767 (@rozi, P. 76. L. 6. See stanza 68, where he fancies that the creeper is like Urvas'i now struck with remorse. P. 76. LI. 45. Ali --The ideas in the 2nd and 3rd lines here are expresseil in Bhá. I. 19. by the use of it having two senses, 'itara ig CA Arhiaia A7997:(whereH= 3775 å *** . L. R. Vaidya). cisto--or T, means an angry woman, and it is also a term of endearment applied to one's mistress. regracio--cf.

·ACT IV. 185 'अदाक्षिण्यकृतात् पश्चात्तापात् बिभमि.' P. 36. L. 12. 'संजातपश्चात्तापा भवतः प्रणिपा- तलंघनं प्रमाटुंकामा.' P. 41. L. 9. and Act III. st. 5. In this stanza (68) a creeper is looked upon as a woman. While in Bhá. II. 90, a woman is lookal upon as a creeper - स्मितं नैतकित प्रकृतिरमणीयं विकसितं मुख ब्रूते को वा कुसुममिदमुद्यत्परिमलम् । स्तनद्वंद्वं मिथ्या कनकनिभमेतत्फलयुगं लता रम्या सेयं भ्रमरकुलनम्या न रमणी ॥ P. 76. Ll. G-10. परिष्वंग०-- Let me pay my respects to her by an embrace.' P. 'I long to embrace the creeper which can give me such an iimage of her.' C. निभ्रांति--Some read 'निर्धति', निर्गता भ्रांतिः यस्यां क्रियायां यथा स्यात्तथा--रंग०. कृतांता-स्वविरहेण पीडादायिका. कृतः अंतः सुखस्य 491 H (cruel, like pain, the god of death). cf. W.'s translation of stanza 69 : • And might relenting fate restore To these fond arms the nymph I mourn Ta bear her hence. anal never more To these forbidklen haunts return.' P. 76. LI. 15-17. समर्थये...अन्यथा--He refers to IV. 7. 'कनकनि- कषस्निग्धा विद्युत्प्रिया न ममोर्वशी.' ; IV. 17. 'शकोदरश्या मामिदं स्तनांशुकम्.'; P. 63. L 16. सेंद्र गोपं नवशादलमिदं.;' IV. 30. 'कूजितं राजहंसानां नेदं नूपुराशंजितम्.'; P. 70. L. 11. 'अनेन प्रियोपलंभशंसिना गर्जितेन समाश्वासितोऽस्मि.'; P. 71. L. 20. 'हा धिक् मम एव अयं प्रतिशब्दः.'; P. 73. L. G. 'अथवा परमार्थसरिदेव एषा.' In all these cases he was at last lisappointed, finding that those several things had nothing whatsoever (अन्यथा ) to do with his belovel, though he first had imaginel them to refer to her, directly or indirectly. विनिद्रे--उन्मीलिते. We give below a stanza which may be read after' HTTZahr.' 1'. 76. L. 19. We could not make np our mind to insert it in ihe text. Regarlimg it, वामनाचार्य says ( काव्यप्रकाश ।'. 1:35)-'क्वाकार्यमिति विक्रमोर्वशीये चतुर्थांके उर्वशी दृष्ट्वा पुरूरवसः उक्तिरिय इति जयंतमहेश्वरनागोजीभट्टादयः ।.' Nome say- शक्र कन्यां देवयानीं दृष्टवतः राज्ञः ययातेः इयं उक्तिः.' That stanza is : 'क्वाकार्य, शशलक्ष्मणः क्व च कुलं ! भूयोऽपि दृश्येत सा ! दोषाणां प्रशमाय नः श्रुतमहो ! कोपेऽपि कांतं मुखम् । किं वक्ष्यंत्यपकल्मषाः कृतधियः? स्वप्नेऽपि सा दुर्लभा ! चेतः! स्वास्थ्यमुपैहि, कः खलु युवा धन्योऽधरं धास्यति ! ॥ which Pramadadisa Mitra thus renders in his translation of साहित्यदर्पण-- ·186 NOTES. P. 137.0, a bad action (994141 39), and the offspring of the moon !-how inconsistent !-May she be seen again !-I have my sacred knowledge for the removal of my faults ;-Oh ! how lovely her face even in anger !--- What will wise men say, those whose sins are purged off ? O! she is hard to obtain even in a dream ;-My mind ! be thou tranquil ;-0 what fortunate youth will suck her under-lip ?'( 474, 7 3781a CH4). It contains a mixture of sentiments— 217 @HATAÍTEACTÉRIS- भ्यधृतिचिंतानां शबलता.' P. 77. L. 5. Tamariter--The body of Urvaší was transformed, not the internal organs. cf. qTTAFAT 1997.' P. 59. L. 3. and see our note thereon; and again TTTT À €49.'P. 78. L. 10. The spirito or अंतःकरणं is the internal and spiritual part of man. 'मनो बुद्धिरहंकारः चित्तं करणांतरम्.' According to the Sánkhya philosophy the organs of sense are external and internal. The external ones are ten, viz:-The 5 ms (throat, hand, foot, organ of excretion and the organ of generation) and the 5 TAS (ear, eye. skin, tongue, nose). The internal ones are three viz. 45 (organ of thought ), are organ of apprehension ) and 3TË FIT (organ of self-consciousness ) to which three, the 7 (heart or the organ of feeling ) is sometimes added. P.77. LI. 11-16. Talaia:TT:0-cf. 'TST-AIT, ora:cg aarala:- TT: ARVATEAT teica.'S. VII.yo-How' i.e., not in what manner, but for what reason (what made you to remain so), as will be clear from the sequel. Taar--P. reads 'qua: (m.)' but it seems to be inaccurate, for cf. ‘zy jarazi 371 qruar' P. 64. L. 15. and the sequel: (qrya, argè, la waat &c.) from which it will be seen that after the IC (stanza 21 ) the king requests the great (f.) and not qua: (m.) as P. reads. Some read qua which means a crowo' and is therefore a totally wrong reading here. To- of whom have I not sought tidings with tears?' C. P. 78. LI. 2-9. SATTY --Some read 'ATLÈT.'14--( Lit. undefiled or not to be defiled ). ma: f:-- Fixed this decree.'C.“ Framed this law.' W. TETTO--See our note thereon. P. 58. L. 14. 2: --:, 44: (4 , coming together, coming to a mutual understand - ing; conventional rule ; rule, order). Stuetara01-cf. H: 27776 aragrar.' P. 58. L. 14 P. 78. LI. 12-15.30--By # the king means—How you disappeare i, how you remained so long without me, how you may have ·ACT V. 187 witnessed my movements by aja:ft, and how at last the jewel help ed me to get you back.' HÈO--Our Poet has that ( sexual enjoynent) for श्रम. See our note on 'बहुविगलितं.' P. 64. L. 12. यथाकथितं --Refers to the following words in the last speech of Urvasi-i आपांतः गौरीचरणरागसंभवं मणि विना ततो न मोक्ष्यते इति, संगमनिमित्तं--संगमस्य निमित्त कारणम् ॥ P. 79. LI. 5-6. giren-See our note thereon. P. 23. L. 10. 6991798 ieri ATÅSÅ ATTA'-- i to startozih ---I shall incur the angry censures of the people. W. 2ąc governs the Dative. G. 63. P. 79. Ll. 13–15. Tha-- voc. THT. HITTAA. But C. translates the third line thus-converted into a balloon for our happy journey.' "To waft us swift and lightly on our way' W. Lenz render --In its wavy motion.' C. ... motion.' C. 74...TATT–With verbs indicating motion, the conveyance becomes the instrument and is used in the Instrumental. G. 51 (c). Taro--r caus. to adorn or embellish. cf. 'Thuaſh: ghala :.' P. 18. L. 17. cf. W.'s trans lation of stanza 76 - The ardent swan his mate recovers And all his spirit is delight ; With her aloft in air he hovers, And homeward wings his joyous flight. Act v. P. 80. L. 2-7. 1:--The scene in Act V. is laid at the palace of Purúracas. TF3--forra, Freira. 'retra auga 974 378777 '--179743. Hari -- Deficient. Not possessed. What he did not possess was संतानत्व. So, P.'s reading 'असंतानत्वंहीनं' is inaccurate. He was wanting in i. e. he wanted naa. If the reading असंतानत्वं be insisted upon, we must prefer शोचनीयं for हीनं, and then 'táarcarent would mean · Except the want of children (a son-El.) he has nothing to grieve for.' W. atral is a gerund having the sense of a preposition. G. 161. Parti: --some days of the year are looked upon as sacred and are set apart as such by all nations. It is also a belief common to all nations that waters of rivers acquire sacredness for some reasons which pertain to the spiritual science. We prefer to give below three quotations and let our readers be free to judge for themselves :-- (a) 'Sacred streams acquire special holiness on special days. P.

·188 NOTES. (1)) An angel went down at a certain season into the pool, and troubled; whosoever then first after the troubling of the water stepped in was made whole of whatsoever disease he had.' The Holy Bible. The Gospel according to St. John. V. 4. (). There were really religious festivals and there were men of noble spiritual life and great spiritual attainments; and when they went to sacred rivers with all spiritual life in them, (which means spiritual magnetism), they gave to the water of that river a magnetic value which then passed on to others. This was the custom of spiritual teachers. The magnetic atmosphere made the life of the people purer. That is the ancient truth.' Mrs. Annie Besant, in Bombay, (March 15, 1894). P. 80. LI. 9-12. 39 arifo-( 3rf is a royal tent, a tent of royal state राजयोग्यं पटभवनं, पटालयं. उपक्रियते उपकरोति वा इति उपकार्या पटमंडपादि- राजभवनं.)cf. 'स्नात्वा यथाकाममसौ सदारस्तीरोपकार्या गतमात्र एव । दिव्येन शून्य agoa albatta TTİ .R. XVI. 73. (where the 2nd line means- He found his arm without his celestial armlet before he had put on his dress.' Our king too before he has put on his dress will soon find that he has lost his priceless jewel). यावत्...अप्रभागी भवामि- Then I shall secure a share of the flowers and perfumes prepared for him.' W. With a used as an adverb, the Present has the sense of the Future, when certainty is indicated. G. 190. The Vidúshaka means to say—If I go there in time, I shall surely get flowers and perfumes first, since I am a Brahmana and a personal friend of the king' o- उत्तरच्छदः यस्य तस्मिन् तालवृंताधारे पटलिकाविशेषे. P. supposes that the silken cloth was red, but we can't agree with him. We think it must have been white, against which back-ground the red jewel shone ont clearly. That the jewel was red is clear from IV. 63. (377 FONTSTAATITI HOTEL) and V. 4. ligait ça.' Against the reil cloth (if it were red) the red jewel would never have been noticed by the bird. From the word geTT (agaie compound, adj. of asjatuit) it appears that in the basket the white silken cloth was first placed and then over it the red jewel ; the servant girl was carrying it thus to Urraść x tent who had given it to her for safe custody when going to bathe in the river. The servant girl mentions that she was carrying the jewel in a basket in order as it were,' says Mr. Pandit,' to justify the mistake of the bird, flesh being usually brought from the bazar in such baskets.' P. 80. L. 15. THTHA:---7547, simply valued, cf. HETTA 37ETİ 25 17:'P. 49. L. 12. and agind.' I. 2. and see our notes thereon. P. reads ‘qi aghai' P. 81. LI. 5-14. F:--See our note thereon. P. 17. L. 4 ·ACT v. 189 -- a formar i reta Tema Fura.--. ciro-- • Where is the winged thief that rashly courts his own destruction.? W. facra-carrara negra sa. Mountaineer. manata:- #AT#arafta Rapidly flying around in rings.' W. P. 82. L. 2. -A a woman. Froin Sanskrit dramas it appears that Yavana women were employed as attendants on kings, particularly to bear their arms—bows and quiver. cf. 'a ATHTE qarfl: qrtaa: ga ga artera 1994RT' S. II. The attendance of females on the persons of kings is a national peculiarity. It is not confined to inner appartments alone.-W. Some say that by Yarana the poet refers to the Mahomelans; and since their rise dates from the 7th century A. D., Kálilása must have lived after that date. But please notice that this is not a sound argument. The work Yarana does not everywhere stand for a Mahomedan : therefore the correct method is first to determine the date of the poet anil then give the suitable meaning to the worl Yarana. It may refer to the Mahomedans, the Greeks, the Ionians, the Tartarians or the Bactrians. See Appendix III. (a). From what we now know of the age of the Poet, we can safely say that by Yavana, he means not the Mahome lans, who did not then exist, but the Greeks or most probably the Ionians. P. 82. LI. 4–9. BTT:--A vulture (79 m. n. dead body. Corpse ). Taga-- @eaa. Overspread or glowing with lustre. HT-an ear-ring; cf. the idea in galioqrrq3: at: kiai Ta'. Ka tarat:--Taarto a finger-guard or an arm-guard, use! by archers. (Lit: hand-bracelet. 371919: bracelet, 3779 to fit in, or insert). P. 82. Ll. 11-14. Artyhala:--Gone past bowshot. apata is userl actively with the Accusative. The Past p. p. of intransitive roots are used actively. G. 152. 527:1157-51 raw flesh. qarT-See our note thereon. P. 67. L. 2. ligai:-The (red-bodied) planet Mars. TOT --thick anl therefore dark. (The red jewel corresponds to the red Mars, and the black bird to the dark cloud). With the «lescription of the bint here (stanzas, 2, 3, an«l 4) cf. the following from Shelley's Sky-lark :- • Higher still and higher From the carth thou springest ; Like a cloul of fire, The blue deep thou wingest ; And singing still dost soar, and soaring ever singest!'

·190 NOTES. P. 82. LI. 17-21. trifa:--'ATTEIT: '-- T. (cf. oter notes thereon. P. 27. L. 6. and P. 49. L. 13.) Eri-ind. a to bring to an end. The evening brings the day to a close.) fasteni-- (watch or be on the look-out). • Let the bird be tracked and followed to his perch.' W. Fy:--Thief or robber (probably connected with STA, the destroyer of the good, from gf to destroy. In Vedic hymns, çe meant an evil spirit ; hence, a cruel man, an enemy, a thief. The barbarians and the aborigines were also called दस्युड, दासs, and अनार्य). gift:--See our note thereon. P. 35. L. 10. P. 83. LI. 3-6. Trao -- With stanza 5 cf. 'Farfat arogantna HETE रत्नं भर्तुः बहुमतम् । तस्य दर्शनेन अभिमतः जनः स्मारितः ।.' परिगतार्थः- That Vidushaka was already told about the pro and was aware of its importance is clear from his speech in the beginning of this act: qTH647: HIFTET HTETT 7TH STAW: P. 81. L. 2. gígaro-It is only for the sake of convenience that the art is brought on the stage so quickly, though reasonably it cannot be expected to be brought there so soon. For the bird was in the sky only two minutes ago. Before it is brought in from the C'h yaranásrama many things have to happen, as the sequel will show, but the poct, faithful to his art, has passed over them in imagination. (The bind goes to the hermitage of the sage Chyarana, sits on a tree and is killed by a boy. It falls on the ground with the Jewel which is found by a citizen and handed over to the constable who brings it to the palace.) After Kanchuki goes out with the king's message and before he returns with the jewel, some speeches intervene, which are intended to allow some (though not sufficient) time between the flying away of the bird and the Jewels being brought to the palace from Chyarancsoma. In this, Prof. H. H. Wilson sees much more art in the conduct of the business than' in other plays where a character is sent out and returns immediatly instead of any lialogue filling up the interval: as in S. VI.:-TFT-Go and proclaim to my subjects that I am cvery relation to every one (arara pa). प्रतीहारी--Yes I lo so. (निष्क्रम्य and at once पुनः प्रविश्य.) Your majesty's proclamation was hailal by your subjects like a timely shower! P. 83. L. 9. IT--P. reads 'a', but we think that is more appropriate. The thoughts of men are real things and being very powerful, they do greater work in the world than human actions. See our note on 31 Sc., in small type P. 12. L. 16. and cf.- • Thoughts are things upon their own plane and Eastern science knows this. Man is the producer of thonghts, therefore of things. A man may sit at home and feel satisfied with himself that he has done no harm; but he thought angrily of his neighbour, and sent forth from himself, formed of his own substance, a winged thing to go out and work evil.' E. T, Sturdy's Theosophy and Ethics,' p. 5.

·ACT у. 191 Our poet's idea is that the king's anger went out and assuming the solid form of an arrow worked an evil in the shape of killing the bird. P. 83. LI. 10-20. Tagtrita--P. reads arhiate and translates "Having come to another tent.' But how natural and poetic is the idea contained in our reading – Your anger followed him and he at last got his due.?! qra:--being the Past p. p. of an intransitive root it is used actively G. 152. goraneo-- pair being old could not read the letters on the arrow. See III. 1. and our note on RE: P. 40. L. 7. cf. “Were all thy letters Suns, I could not see'--Shakespeare. Stare4--See our note thereon P. 27. L. 2. --(1-4 unattended.) cf. ' ta ta anà Fila 27Tİ 55.'S. II. i.e. look to your office, go about your business. P. 84. LI. 4-7. Ja--(3141: 37950 IHTT TAS: geral: TT #T: Daht: 379:). 75:--Some read 'Hedi.' jacaro-For the idiom cf. 'fazar FEITE OFT97 aa' P. 9. L. 9. and see our note thereon. 37747 WATATO--Words meaning other than govern the Ablative. G. 81. For these two worils, some real 3THETI where achat means talaar a celestial damsel, but the mention of the sacrifice serves a purpose, explained below, and so afhaT is to be rejected as being not appropriate. arai was the name of a sacred forest celebrated as the residence of certain sages. (The name is thus derived यतस्तु निमिषेणेदं निहतं दानवं बलं । अरण्येऽस्मिन् ततस्त्वेतत् नैमिषारण्यसंज्ञितम् ।।) In that forest a sacrifice was performeil, callel Mah.' This' says Wilson · lasted for 12 years according to Harit.' From the sequel it will appear ihat the king's song is now about 12 years old. (#27ET: P. 39. L. 2. Qattiva2: P. 91. L. 9.) But how came he to be so old and when did 12 years pass! Let is state our difficulty more fully:-(1) From Tidashuka's speech mal ETET FOR प्रतिनिवृत्तः प्रियवयस्यः । प्रविश्य नगरं इदानीं राज्यं करोति | अद्य तिथिविशेषः इति ref Tail' in the beginning of the act, it is clear that between the King's return from the Gianellamádana forest and the present scene (of losing the Jewel and seeing a son 12 years oll) only a few lay must have passel. And it is plain that the king is not go to the Vaimixleyu-satra direct from the authamálanu forest leaving trai there alone for 12 years. Therefore the 12 years' absence for the sacrifice must have been before their going to the Gandhawúdana forest. After the marriage, that is to say, they for a time lived together in the palace, then came the Satra for 12 years and after that period they went to the Giandhamalaun forest. But : Kálidása, here as in Kumársambhava VIII., sends the wwly married air to enjoy their honey-moon to a retired and delightful place.' P.

·192 NOTES. to If then they went to the Gandhamádara forest just after the marriage, as is natural, (and if after a few days they return from the forest and see a son 12 years old) no opportunity is left for a 12 years' absence for the Satra and hence no possibility of seeing a son 12 years old. (2) Now from another internal evidence we shall show that between the marriage and their going to the Gandhamádana, 12 years can't have passed. ( That they can't have passed after the return from the Gandhamádana forest, we have already shown above from the T'idúshaka x speech). In Act III. (P. 54. L. 5.) Chitralekhá asking her leave of the king just after the marriage says 'वसंतानंतरे उष्णसमये भगवान् #: 491 T1173j: (s0 must go) and in Act IV. (P. 57. L. 11.) conversing with her friend Sahujanya she says 'अप्सरोवारपर्यायेण सूर्यस्य उपस्थानं वर्तते इति बलवत् खलु उर्वश्यै उत्कंठितास्मि । ततः एतेषु दिवसेषु को वृत्तांतः इति प्रणिधानस्थितया मया अत्याहितं उपलब्धम् ।.' In both of these speeches the season must be the 36074 of the same year. for Chitralekhá wonld not have waited for 12 years know how Urrasi was doing at the palace ( apia: ). Thus it appears that Chitralekhá left Urrasi just after marriage; after a month or so JSTEH4 came and then she learnt. while attending upon the Sun that Urraść was turned to a creeper. It will be seen, therefore, that between the marriage and the present scene in Act V. there can have passed two months at the most! But verily our poet is a Poet and has the privileges of a Poet. कविसृष्टि is unfettered (निरंकुश) and is not bound by the laws of ब्रह्मसृष्टि. Well may we declare- नियतिकृतनियमरहिता, हादैकमयी मनन्यपरतंत्राम् । नवरसरुचिरा निर्मितिमादधती, भारती कवेर्जयतु ! ॥ in the passage under discussion, Kalidasa, remaining true to his dramatic art, passes over a period of 12 years in imagination, and makes a mention of Náimisheya-satra in order to give an appearance of reality to the whole. The king thereby means to say-- Before I went to the Naimisheya-satra she appeared to be pregnant. During the 12 years, I had to live a single life according to the rules of the Scriptures. She, in my absence of 12 years, might have given birth to a son and sent him to some place (probably a Guru's) before I returned from the Naimisheya-satra.' P. 84. Ll. 10–11. STO--Stanza 8 gives the outward marks of pregnancy. Some read trafien' (where 79means the nipple of the breast). But what is alles in pregnancy is not the 34 (which is a point) of the चूचुक but the चूचुक (=पयोधराग्र) itself. पांडुरा. 990-cf. प्राची लोध्रपरागपांडुरमुखी गर्भे रविं @ura.' Ku. II. 1. aia ·ACT V. 193 दिनानि- few days before I left her to be absent from her for 12 years. P. reads 'तानि दिनानि', some read 'कतिचिदहानि.' With these signs of pregnancy cf. 'अहमपि खलु कदा समुपारूढगर्भभरालसा आपांडरमुखी आसत्रचंद्रोदयामिव पौर्णमासीनिशां देवीं द्रक्ष्यामि । ......शनैः शनैश्च प्रतिदिवसं उपचीयमानगर्भा मंद मंदं संचचार । मुहुर्मुहुः अनुबद्धजूंभिका जिभितलोचनं सालसं निशश्वास । स तथावस्थां च तां अनभिनंदितपानभोजनां श्यामायमानपयोधर- मुखी केतकी इव गर्भपांडरां आलोक्य इंगितकुशलः परिजनः विज्ञातवान् ।......सुतनु यदि मदीयेन वचसा तव त्रपा वितन्वते तदयमहं स्थितो निभृतं, अस्य तु किं प्रतिविधा- स्यसि पांडरतामापद्यमानस्य वर्णस्य, अनयोश्च श्यामायमानचूचुकयोः पयोधरयोः, अस्य च प्रतिदिनं अतिगाढ तामापद्यमानेन कांचीकलापेन दूयमानस्य क्राशमान मुझ्झतो मध्यभागस्य ।' Ka. P. 84. LI. 14-16. अस्तु तावत्--I grant, says the king, that owing to her power I could not notice her advancing pregnancy—but why did she not show me the child ?-If I could not see it, she ought to have shown. मा वृद्धां०--This humorous speech of Vidashaka and the next one of the king, Mr. Pandit omits. Please mark the Prákrit word 'git' for वृध्दा. मा, the prohibitive particle, is joined to the Future or Potential mood, in the sense of lest, that not. — Lest you should desert her.' C. P. 85. Ll. 2-10. च्यवन--'The sage च्यवन is the son of भृगु by his wife पुलोमा. A demon attempted to carry off Puloma (while pregnant) and the child was prematurely born, whence his name, from ay to fall from.' W. अर्धनाराचः-A crescent-shaped iron-pointed arrow. नाराचः, an arrow (नरान् आचामति or नारं आचामात, नारं being a multitude of men. Some derive it from नीर-नार water and अंम् to bend.) भवतः अनुकरोति --अनुकृ governs both the cases (the Accusative as well as the Genitive) in Sanskrit G. 118 (a). Therefore the Prālerit word भवदो (a genitive) may be rendered by a Gen. or an Aec. P. reads भवंतं. P. 85 LI. 13-20. वात्सल्यबंधि०-- My heart proclaims a father's fondness.' C. वत्सलस्य भावः वात्सल्यम्. वात्सल्यस्य प्रेम्णः बंधः यस्यास्ति तत्. Displaying or evincing affection. मनसः प्रसाद:--' My niind feels a happy calm.' C. cf. 'राजा--किं नु खलु बालेस्मिन् औरसे इव पुत्रे स्निह्मति मे मनः.' S. VII. अंब-(अंब् to sound) अंबे is (Velic) vocative used to address a deity. 3ja is now used to address a respectable woman or mother. सोमवंशविस्तारयिता--A noun ending in तृ is used with the Accusative when habit is to be shown. But here no habit is shown, therefore the dissolution is सोमवंशस्य (and not सोमवंशं) विस्तारयिता. G. 118, The Tápasi knows that the king has got a son and so her blessing ‘May you have a son to continue the race' is quite appropriate. अनाख्यातोऽपि०-- Mr. Pandit omits 'आयुषश्च' and translates — Ah ! This royal sage has 17 ·194 NOTES. found out even without my telling him his paternal connection.' But we humbly beg to differ from himn. From the appearance of the king, it is impossible for the Tápasí to guess so much ; if she can see anything at all in the appearance of the king, it must be the similarity between the faces of the king and the boy. Whatever is rara, is a fra to the speaker i.e. the artit. cf. '71-37@aisa mita ga er ma91a7kt al. S. I. and 'arget--3769 at masa #cat arma: sta @ Eligare —This is exactly what is signified by the present passage also. It is probable that Mr. Pandit was misleil by the following incorrect translations--(a) · The holy king recognises the ties of blood, even untold.' C. and (b) Now, methinks, The king has inward intimation given him, That, I bring him here his son.' W. We think the Tápasí means to say— The fact that îyu is related to this royal sage as a son, can be very well known to any one though not communicated—I can clearly see without being told by any one that this king is the father of this child'. According to this interpretation, the two sentences 'विज्ञातः औरसः संबंधः and प्रणम गुरुं' are logically connecterl, anal the first of them justifies the other. "Salute your father'—and how does she know him to be his father!-Why, because, says she . It is plain from his very appearance that he is his father ; I can easily ascertain, as I now do, from the very appearance of the king that he must be the father of Ayu, and therefore I need not hesitate now to ask this boy to salute him, telling him that he is his Guru-father'. Thus having satisfied her own mind she says' TTH à 15'! P. 86. LI. 6-10. FEHTAarai --Some read 'Jihaarai.' Hari STÀ 4-- For some reason or other.' C. (a to have in view. ) The reason was that the king should not see his son's face, for as soon as he did so, Urrasi was to leave the king and go back to heaven ; for the order of Indra to her was--- 7217H TETTĖ garagh 490 # par 7zzart via, P. 39. L. 12. 4 4 4 : 44 HH0364 44 88 94 ag aaraa HHG priaug.' P. 91. L. 5. For 31047, some read 31927, intending.' prani--A sacrifice or a ceremony performed after the birth of a child. cf. argan zargailah gg - TT.' S. VII. In his notes on R. III. 18, P. has a long note on this word, which is to this effect. -The Játakarir, like many other ceremonies is an unmeaning rite in most of its parts. The moment a son is born the father shall see his face and take a bath. He shall then cause the baby to be placed on the lap of its mother and say— 4 STET FAITET MATYTIT Jaaf #fish. He then shall perform a Sráddha to nine ancestors. He shall then put some honey in the baby's mouth with this Mantra -9 à gây ra yra ·ACT V. 195 SIEHT. Then with cold water he shall wash the right breast of the mother and make her suckle the child, P. 86. L. 11. rialaq: --- Having learned all other knowledge.' C. First he received a general education and then was taught the special and professional subject of archery. cf. * The ceremonies of his martial birth The pious Chyavana has duly ministered, Taught him the knowledge fitted to his station And lastly trained his growing youth to arins.' W. para or is archery, which is always put for military science in general. That archery was the predominant branch of that art and a principal part of clucation among the Hindus is evident from this use of the term and from all «leseriptive account of heroic education. This furnishes a remarkable analogy to the practice of the ancient Persians and Scythians.' W. P. 86. Ll. 12-16. Fary-Here are rather means ' a means of protection.' --Against the rules of his 37/21 (797f) though not against the rules of his art (az). Theyat was taught to him for using it in his įEE211974 as a Kshatriya after he returned to his father's house, but not while he was living with his Guru in the Brahmruhárí-uts'rama or student-life. He acted against the rules of that ásrama (and hence also against the rules of the hermitage whero the Guru taught the Brahmachurins or students) and so Chyarana was annoyed at his conduct. --- As I hear, as is reportel.' G. 269. Here the ripress is speaking from hear-say alone or as she heard from the #16 Arts. It appears that the dead bird was not brought to the Chyacanásrama at all. The arrow, the bird and the jewel were picked up, (not by the F* who did not care to do so, but) by a citizen who happened to see them fall down from the tree and who must have handed them over to the constable in obedience to the proclamation. P. 87. LI. 6-12. Tito--i.e. till she comes. Ain:-Thrills throngh every limb. C. 3917--i. e. fuig Tita Hari &c. Some real '71' i.e. TT 9 E7377. ia--The moonstone, supposed to ooze away under the influence of the moon. cf. la ETÈ na'. U. VI. 12. P. 87. LI. 17-19. STITATIFT-3512199 Ta. Ilere Tidishak means---- The boy will not be afrail of me although I look like a monkey (Thai) because he must have seen monkeys and been familiarizeil with them while he lived in the îs'ramı (hermitage of Chyarana).' cf.' TE ZET 177 39 371091775: azā. P. 14. L. 15. तात-पुत्रे पितरि पूज्ये च तातशब्दो बुचैः स्मृतः'-केशवः.

·196 NOTES. P. 88. L. 4. 27:"BTRPATO-cf. Wilson's metrical translation: "What youth is this, Who armed with bow is sitting Upon the golden footstool whilst the king Is fondly playing with the twisted tresses.' P. 88. L. 10. FETF750-4979:, a stream or flow as of milk. cf. Fachada EATEST Parătar.' R. I. 84. Upheaving the scarf of her bosom which bursts open with the gush of her love.' C. cf. 963993- ETT Tataga.' Ka. C. quotes Tennyson: * The sacred mother's bosom, panting, burst The laces towards her babe.' P. 88. LI. 11-16. Fra-la: a son, but 17 (m. voc.) is used as a term of endearment, dear boy' oh my darling' &c. (f. Fà). gen. गच्छ-See our note on प्रत्युद्गतः P. 19. L. 9. भर्तुः बहुमता--Past participles ending in ñ are used with the Genitive when past time is not meant to be indicated. G. 115 and 115 (a). igata rato- * Always keep thy father pleased.' Nouns ending in a are used with the Accusative instead of the Genitive when habit or disposition is intended to be expressed. G. 118. (In Horanterar P. 85. L. 19. no habit in meant, therefore HT HTET ETitigar. See our pote thereon). P. 89. LI. 2-16. 07795T:--TECTER: (of the age at which armour may be worn. G. 143.) old enough to wear an armour. Has come of age. ar#379EITTT:. Urvasi's words 'QatarY428:"(P. 91. L. 9.) are a mere paraphrase of कवचहरः. cf. 'सम्यग्विनीतमथ वर्महरं कुमार, aprête that taraflarA I. R. VIII. 94. i --Sometimes the Imperative is used just as the Potential i e. in showing probability, obligation of duty' &c., extending to the future. G. 193, 197, and 198, and 198 (a). cf. yarroft 291' P. 94. L. 10. and see our translation of it. Oo--Thou hast performed the duties of thy first order.' . द्वितीयं०-(The 4 orders or आश्रमs are ब्रह्मचर्य, गृहस्थाश्रम, वानप्रस्थ and संन्यास ). cf. 'कालो ह्ययं संक्रमितुं द्वितीय, सर्वोपकारक्षममाश्रमं ते.' R. V. 10. - Dative. (construed with 999). P. 90. L. 7. gratar--Wife of Indra and daughter of a demon Puloman. gier:--07:( Tini gT: A Tr@ grtna. Indra is the Sun, his enemies are the evil spirits that withhold rain, and their towns are of course the clouds which Indra the Sun, breaks open and gives us rain). With stanza 14 cf. R. III. 23 'ठमावृषांको शरजन्मना यथा, यथा जयंतेन शचीपुरंदरौ। तथा नृपः सा च सुतेन मागधी, ननंदतुस्तत्सदशेन तत्समौ।'

·ACT V. 197 P. 90. LI. 10–15. 87 yaeto-- Well; but why is her highness's face suddenly suffused with tears ? C. The reason for Urvasi's sorrow and consequent weeping was her being reminded of the order of Indra, at hearing the name of Indra viz. Purandara, the last word of stanza 14. See our note on '' P. 86. L. 9. and cf. That FAX: #47:' P. 90. L. 18. Tata -- P. reads '1999. 'ghario-- i. e. producing another necklace of pearl-like tears and thus making the first one of real pearls quite superfluous. P. reads the last two lines thus : 'पीनोत्रतस्तनविसर्पिभिरानयंती । मुक्तावलीविरचनापुनरुक्तमः ।।' P. 90. L 18. HET BR--This refers to 'gier:' the last word of stanza 14. #2:-The decree or order is given below. P. 91. L. 5. For etymology see our note on #4 P. 78. L. 9. P. 91. Ll. 5-13. : Fung:-For H: P. reads 69, which cannot be eorrect, for the king was not present when Indra gave out the order. See 'art :' P. 39. Ll. 10-11. which Mr. Pandit also reads. fortarafAT-3717, acquisition. This was the apparent cause or pretext. It appears that the real cause was not told to Satyavati', for if she knew it, she would not have brought the boy direct into the presence of the king, but would have secretly delivered him to his mother to enable her to conceal him elsewhere if necessary. However, we think, that from her words 'Ga 39' P. 86. L. 9. (where she does not say THA) it is clear that she was not satisfied with the avowed intention of Urvas'i but must have suspected (though sho charitably consented to keep hiin,) some other motive, since the boy- A prince-was handed over to her as soon as he was born (la ga) and even before his A** was performed. BITTY TAHF:--cf. and see our note on'T' P. 89. L. 2. 312813--(Lit: an unbrahinanical act). In dramas usually found as an exclamation uttered by & Brahmaņa in the sense of to the rescue.' " Help, help, '& horrible deed has been committed,' P. 91. LI. 15-18. STET Tentacaro-Adverse fate Is still intent to mar my perfect joy.' w. Alas that destiny should delight to check human joy.' C. figreli, hostile ; cf.'allen H7 1179572.' P. 31. L. 12. 919-No sooner than, scarcely when.' He means that the आश्वासन was apparent, not real G. 284. (1). ST677--9171964 corresponds to feeling the want of a son (असंतानव) and अभ्रवृष्टि to the सुतोपलाधरूपं Bag. P. 92. LI. 2-4. Atsef:--The (happy) event viz. gargaat. 9774f- 4:-- This event will have some foolish, accompaniments.' C.;

·198 NOTES. ( 3470: continuity, series, chain) to be followed by successive calamities. Vidushaka apprehends at least two calamities, the first is the loss of Urras'i' (which he does not mention in words) and the other is the king's retirement to the forest. To these two, Urvas'i' adds one more in lier next speech ( Hi 39o, where a means “and one more calamity is &c.' ATAGO... --She means to say—My son has returned after finishing his education and I am going to heaven in obedience to the order of Indre. But I fear that the king will think that I have now obtained my end and do not care for him any longer, and so am going. Hatto is connecteil with the previous speech of Vidúshaka. Thus- This is another (STI) link of the chain of misfortunes. This too is another-a third-nuisfortune that the king will thus think of me.' • The king, I fear, will think that at this moment of my recovery of my son, now that his education is over, I return of my own choice to Swarga as having accomplished my purpose.' C. P. 92. LI. 9-11. STEIGO--P. reals the 3rd line thus 'tafa na Faralgia = FAT/FT:,' but in our realing 317 gives a good idea- • Even today-without delay-without any loss of time.' Freioer is frequently combined with the Infinitive in the sense of prayer, • respectful entreaty. G. 180. :--Thrî: ) HEH:. By na here is meant very able, elderly and experienced kings. Some read 1997.' EFT:0-(C4 to tame) a young bullock requiring training and experience. (Tanfrakt: afs: Tihat:). cf. W.'s translation :- Excuse me sire, my years are all unfit Tor such a burthen, one so long uphell By such exalted merits. P. 92. LI. 14–17. sajan:--Lit. The scent-elephant.' an elephant of the best kind. यस्य गंधं समानाय न तिष्ठति मदद्विपाः । स वै गंधगजो 719 g 27178: Il.' TTTÖ--394 (370 371 789, lofty, fierce,) intense, deally. aici, ait: Jİ . Deadly by reason of its quickness of circulation. Deadly in circulation or effect. 313--375 in the sense of able to do is with the Infinitive of purpose or the Dative ; G. 117, 67. FICO-naturally,' cf. ahtai 7 27: FÁraza. R. XI. 1. ' erat at: heta. Ku. V. 16. and Tour: Fiera Trog 7 a les 999: U. IV. 10. cf. also kHIT HITTA HIT: 1 Fantazh ara # 11--31WEIT's gaita. T:--This superior power of being equal to the task. (some read 17t:,-37| 145: ITT: 1917:). * And the king though a child can guard the carth ; for the power'r, that rises equal to every duty, is innate in the blood, not the years,' C.- Kings are in boyhood monarchs, and endowed With power inborn to rule the race of man- Nature, not age, gives fitness.' W.

·ACT V. 199 P. 92. L. 13. peragra--Some read retaana. Their eyes were dazzled by the shining lustre of Nárada who was coming from above. P. 93. LI. 3-7. नारद:--See our note on 'नारदात्' P. 10. L.). गोरोचना---(See our note on गोरोचना P. 68. L. 9.) गोरोचनायाः निकषाः (कषपाषाणाः, लक्षणया तत्स्थाः रेखाः) कषपाषाणस्थरेखाः तत् पिंगः जटाकलापः यस्य. वीतसूत्रं--(वीत, उपवीत, put on or worn.) मुक्ता--'whose beauty of adornment is effected (संभृत) by.' मुक्ता गुणैः मौक्तिकसौः अतिशयेन अत्यंत संभृता कृता मंडनश्रीः भूषणशोभा यस्य सः, or मुक्तागुणानां अतिशयः उत्तममौक्तिकसरै संभृता मंडन श्रीः यस्मिन् (वृक्षे) सः. Similarly in Slišu pálaradha I., Náradit comes to Krishaa with a message from Indra. Tbe poet there very minutely describes how he appeared to the people of Druralú and how Krishna recognised him only gradually. We quote below only the principal stanzas : श्रियः पतिः श्रीमति शासितुं जगत् , जगनिवासो वसुदेवसानि । वसन्ददर्शावतरंतमंबरात् , हिरण्यगर्भागभुवं मनि हरिः ॥ २ ॥ गतं तिरश्चीन मनूरुसारथेः, प्रसिद्धमूर्द्धज्वलनं हविर्भुजः । पतत्यधो धाम विसार सर्वतः, किमेतदित्य कुल मीक्षितं जनैः ॥ २ ॥ चयस्त्विषामित्यवधारितं पुरा, ततः शरीरीति विभाविताकृति । विभुर्विभक्कावयवं पुमानिति, क्रमाद नारद इत्यबोधि सः ॥ ३ ॥ (1. थियः पतिः--श्रीकृष्णः हिरण्यगर्भ गभूः--नारद, son of ब्रह्मा. 2. अनूरुसारथेः- सूर्यस्य. This that is coming down can't be the sun for the Sun's path is तिरश्चीन--horizontal. 3. विभु:-कृष्णः). But why that brightness about Narada? What is that dazzling halo of light (lue to! Is it all a myth or reality? Those that know say that it is a reality in nature, that it is the light of the soul within and that such brightness can be seen about the person of a fully illumined Yogin and that of a saint like Narula. Through the clay lamp of the boily, the inner light of the awakened spirit shines efful gently.' Col. II. S. Olcott. P. T. S. 'शमप्रधानेषु तपोधनेषु गूढं हि दाहात्मक- मस्ति तेजः ।.' S. II. 7. cf. the appearance of the sage Jabali'अहो प्रभावस्तपसां, इयमस्य शांतापि मूर्तिः उत्ततकनकावदाता, परिस्फुरती सौदामिनीव, चक्षुषः प्रतिहति तेजांसि ।'--Ki. A poet says-- " Thy Self a ray of Heaven's light Thy Self but God's image,...... The little Spirit--light thou hast Fan gently on to more.' For the information of our readers anil to throw more light on this idea, we quote below two passages from Col. I. S. Olcott's old Diary Lele..'

·200 NOTES. being publishel in the Theomphist: (a) describing the portrait of a friend of his who haui maile a considerable progress in the practice of Yoga and (1) describing the appearance of a living Hindu Saint who once favoured the old Colonel with a visit in America, (:) Imagine if you can my surprise at the sight of a picture, in colours of a most extraordinary character. There was an excellent portrait of the head only. From the crown of the head shot out spikes of golden flame, as the poets and painters of all ages have depicted in their sublimer lights of spiritual peremption. This Tejax or soul-light shines out through the mystic's face lighting it up with a glow. It is the shining countenance of the Biblical angels, the glory of the Lord, the light that leamed in the face of Moses when descending from the Mount, with such splendour that men could not bear to look upon his countenance. The pure spirits and pure men glow with white light : the vicious and evil ones are veiled in Wackness.'! (1) 'I was quickly realing with all my attention centered on my book. All at once there came a glean of something white in the right hand corner of my right eye. I turned my heal, dropped my book in astonishment, and saw tovering above me me in his great stature an Oriental clad in white garments. His eyes were alive with woul-rire, eyes which were at once binignant and piercing in glance, the eyes of a mentor and julge, but softened by the love of a father who gazes on the son necting counsel and guidance. He was so grand a man, 80 imbued with the majesty of moral strength, so luminously spiritual, Bo evidently above average humanity that I felt abashed in bis presence and bowed my head and bent my knee as one does before a god or a godlike personage. A hand was lightly laid on my head, & sweet though strong voice bade me be seated and when I raised my eyes the Presence was seated in the other chair beyond the table. He told me he had come at the crisis when I needel him ; (please mark our Nárada too comes at a crisis--Ed.) that my actions had brought me to this point ; that it lay with me alone whether he and I should meet often in this life as co-workers for the gooul of mankind; that a great work was to be done for humanity and I had the right to share in it if I wisheıl.... At last he rose, I wondering at his great height and observing the sort of splendour in his countenance-not an external shining but the gleam, as it were, of an inner light--that of the spirit.'!! My dear readers ! just think of that. P. 93. LI. 9—17. mai--(from 37) 37: corracha ng if toj amet. A respectful offering to a god or A venerable person. माल्यादिसंयुकं उदकं अर्घ्यमुच्यते.' TÁ 37edyaga.' Toy--( ardo also. From ) Provisions of worship. Cant. 31 Fia-We have added these words as they are necessary. Thoy must get up to honour him: and moreover Bee below P. 93. L, 23, HỒ TIGH 4933. THOA- .

·ICT V. 201 See our note on HA P. 4. L. 17. भावj-Pouring down the contents on Nárada's feet. (aprast to turn; caus. to bend down, pour ont, offer) faticato-- Never be wife and husband disunited.' W. 941-m. dual. art. tureart-Benedictive 3rd person dual ; 3rd p. sing. occurs in ‘Å TA A ACEST: CETÀ walk.' which is a v. l. for our V. 24. (I. TAH-FT-FH. II. T: 694-47. III, V, POTEATA, LTE: ). Sa #A-See our note thereon. P. 4. L. 14. P. 93. LI. 20—23. gr--Imperative 2nd p.s. of 3 (BAN 4.4.ga, ETT FH. BED, EHIA, AT ). fact:--(Same as (@Fati. aeg to spread out. Any thing spread out) a seat. TEAT-35 after, governs the Accusative. G. 37. P. 94. Ll. 6—12. STET ---Says. Advises.' अनुशास्ति is less strong than 375gr. pigia:-( Ngã TÒ : ) Warlike. Chivalroos. Skilled in war. And thou must be our ally in the fight.' C. AFTroff 777--For 447 see our note thereon P. 89. L. 9. “And Urvas's shall be through life united, With thee in holy bonds.' W. T4170--(With this speech cf. 'Thr-9999fizia STEH.S.VII.) The 7 consisted in the fear she had of incurring the blame of the king, which (fear) she has already expressed in her words a HEHE... Tara Fröl AETTIFT: Fligula.' P. 92. L. 4. P. 94. Ll. 13–16. Tarto--araq ready to obey (used with the Instrumental or the Locative of person). The king means--I am his obedient servant and shall obey him when he tells ine not to go to the forest. Whatever Indra wills, I shall obey.' W. Faro--(ÀY 1. A. to increase. caus. to feed or supply with) अग्नितेजो हि दिने सूर्यमनुप्रविशति, रात्रौ सूर्यतेजः अग्नि इति पौराणी प्रसिद्धिः'--रंग०. cf. 'स राज्यं गुरुणा दत्तं प्रतिपयाधिकं बभौ । दिनांते निहितं तेजः सवित्रेव हुताशनः ॥' R. IV. 1. (Where at, he shone). Let him fulfil his duties towards thee, and do thou fulfil thine towards him.' C. * The fiery element sustains the sun The sun returns his rays to nourish fire.' W. P. 94. LI. 17-21. ad T44--Some nymphs accompanied Nárada, but have been standing in the sky invisible until Narada calls Rambhá, their leader. TCT:--Tas Can'--fo. "To these may be added all good grains, all juices, all seeds, all flowers, all sacred grasses and so forth.' P. Yle-40013 is a chair of state or a special auspicious seat. It appears that here the Bhadrapitha also was sent by ·XOTES, Liri. cf. 'तनं हेमकं भेष संभृतेस्तीर्थवाभिः । उपतस्थुः प्रकृतयो मापीठोपवे. शनम् ।।' :. .NIH. 11. 'हैनं च राजतं तामं क्षीरवृक्षमय व वा । मद्रासनं प्रकर्तव्यं सार्धहस्तस मुधिरतम् ।।.' P. 45. Lt. 4 पितरी--i... पिता anl माता. P. reals. 'मातापितरौ, माता पिता. liut strictly speaking the order should be, as is given by our realing, viz., 1. भगवान् .:: पिता.3 माता. For when the boy salutes them in or ler ( 749 ) they bless him in the same order viz. 1 नारदः,' राजा, उर्वशी. स्वस्ति भवते--- Unvarsing fortune wait upon thy reign.' W. कुलधुरं- धरो भव-- Masost thon he the exalter of thy race.' C. 'Sustain the hour of your lineage. W. We think it rather means कुले धुरंधरः the foremost or the pre-eminent person in the race. पितुराराधको भव- • Do still obedient to thy sire.' W. Mr. Paniit reals'ha: 3TITTY 41:' but in order that the ilea of alırays (habit or disposition) may be expressel, it is necessar: that the noun आराधायेतृ (in P.'s realing) should he construal with the Accusative. G. 118. cf. 'उर्वशी-पितरं आराधयिता भव: l'. 88 L. 16. and see our note thereon. In our reading (which is giren by P. MS. GK') the noun आराधक does not end in तृ and so may be construed with the Genitive; when the idea of always is to be express- M. Wm.'s elition reals trvasi's speech thus 'पितुस्ते वचनानि भवंतु'-- May thy father's worls come true-( father's mords viz. कुलधुरंधरो भव). Gara-Sve our not thereon P. 16. L. 13. P. 05. LI. 12-21. अमर-ब्रह्मणः अनरूपः अमरमुनिः अत्रिः । अत्रेः अनुरूपः इंदः । शिशरांशाः इंदोः अनरूपः बुधः । बोधनस्य बुधस्य अनुरूपः देवः पुरूरवाः । तथा देवस्य पुरूरवसः अनरूपः त्वं भव । The first two lines give the genealogy of Printens on his father's sile. (See our note on मातामहपितामहौ. P. 68. L. 15.) 375:- Be like thy father by thy qualities which are dear to thy people. P. Still in the son may we tho father trace.' W. अतिशयिनि---अतिशयनि सत्कर्षशालिाने ते वंशे समस्ताः आशिषः सन्ति एव. lle means The best blessing that I can wish to you now is that you may become like your father (भव पितुरनरूपः०) for all (समस्ताः) other blessings, that one can possibly think of are already (77) in your family. And all blessings are fulfilled in thy pre-enuinent race.' C. स्थितिमति--स्थितिमान् preserver of traditions and customs handeld by ancestors. Virtuous. (Iestā=Steadfastness in the path of luts). IR. III. 7. a king is (ullkul स्थितेः अभेना='मर्यादापालकः, एतेन स्वाचारनिष्ठन्योक्तिः'. f. 'महाभागः कामं नरपतिरभिन्नस्थितिरसौ ।' 8. V. 10. Tato-- The royal prosperity slineth vet brighter than ever: like Gangú, who rolleth her waters at once in the llimúlaya and the ocean.

·ACT V. 203 syfta ---Divided. (ope to divide into parts). face-Sec our note on दिष्टया. • P. 9. L. 9. With this speech cf. frares:-Za 7 FAITH gioca7 TYSarkara.' S. VII. For GATFT some read 'ya:- 0897.' P. reads the speech thus—'TET GIFT YAT/Teftai atra- रहेण वर्षसे.' P. 96. LI. 3-8. Foghal--Of course the queen Ausinart. fago- *Stay ! let us all approach her together.' C. Mr. Pandit assigns this speech to Nárada thus-:-- I HÙ 77497271: A TEĦ,' (where #47=at the proper time). We think that here the king very naturally proposes that all should go together to see the queen. स्मारयति-See our note on स्मरयति P. 63. L. 3. अभिषिक्तं०--Mahasence is Kumára the son of Sankara. cf. W.'s translation · The splendours of your son's inauguration Bring to my memory the glorious time When Hahásena was annointed chief Of all the heavenly hosts.' This event is fully described in Ku. XIII: -Indra invites Körtikıya to become the commander-in-chief of his army and to go against Tárakásuru. Kártikeya after receiving the invitation, takes leave of his parents and goes to heaven. All go Is welcome him and leal him to Intri'x palace. There he is blessed by gods and god.lesses and by sages anıl their wives; and then in the presence of all, of whom Nárada must have been one, he is given the charge of the army : समेत्य सर्वेऽपि मुदं दधाना महेंद्रमुख्यास्त्रिदिवौकसोऽथ । आनंदकलोलितमानसं तं समभ्यर्षिचन्पृतनाधिपत्ये ।। ५० ॥ P. 96. LL 10—14. T.--- Say, 0 king! what further boon wouldst thou have the Lord of fulness bestow on thee'.c. 39 to place near, provide for, do, render. P. reads' Fira.' cf. 149:--, a 19:19 JT*TIÀ.' T TĦ7:-- Indra is so called because he killed a demon by name q1h. #971--- The Lord of fulness, (see C.'s translation of sud, above P. 96. L. 10) HT, gift, present; wealth (Vedic ). Hence 48799--the liberal Indra i. e. the Sun, the giver of plentiful rain and consequently of wealth in the form of harvest &c. However see our note on 4T17: P. 4. L. 3. a--Last verse or verses in a drama; a sort of benediction said to be in honour of Bharata the founder of the dramatic science. (See our note on H7 P. 31. L. 2.) Writers on Sahitya say that a work should conclude with a benediction favourable to its hero. "The piece closes as it began, with a characteristic benediction or prayer, which is always repeated by the principal ·204 NOTES. personage, and expresses his wishes for general plenty and happiness.' W. 'वरप्रदानसंप्राप्तिः काव्यसंहारः। भरतवाक्यं नटवाक्यं । नाटकाभिनयसमाप्तौ सामाजिकेभ्यः नटेन आशीर्दीयते । प्रस्तावनानंतरं नटवाक्याभावात् अत्र भरतवाक्यं इति उक्तिः।-- सघवभट्ट. P. 96 L. 15. TTETTO-cf. W's translation "May learning and prosperity oppose. No more each other, as their wont, as foes ; But in a friendly bond together twined Ensure the real welfare of mankind.' This remark is, perhaps, due to a very bitter personal experience on the part of our poet. cf. 'ñafhaIETGĦRUFU STEHT HTF l.' R, VI. 29. cf. also 77 NYTT gai: aisal arafat: l.' P. 96. L 18. 9:0—P. omits this stanza. cf. ' a : Ag, at #TĀTATT: 1 # Tarot Grig, 7 RE: a.' Wilson says-- The Hindu plays never offer a calamitous conclusion, which as Johnson remarks was enough to constitute a Tragedy in Shakes. peare's days; and although they propose to excite all the emotions of the human breast, terror and pity includel, they never effect this object by leaving a painful impression upon the mind of the spectator. The Hindus in fact have no tragedy. The absence of tragic catastrophe in the Hindu dramas is not merely an unconscious omission ; such catastrophe is prohibited by a positive rule......... The chief end of the Theatre is to disguise by the insidious sweet, the unpalatable, but salutary bitter of the cup...... Dramatic writers, especially those of modern date, have sometimes violated these precepts ; but in general the conduct of what may be termed the classical dramas of the Hindus is exemplary and dignified !

·APPENDIX I. SANSKRIT PROSODY. Sanskrit composition may be in the form of Prose or Poetry. And from & Káriká by Dandin viz. Fraj To Usaigha Taifa, it appears that a Sanskit Poetical composition may take the form of Gadya-Prose, or Padya-Verse. (For, a Gadya or Prose is a Kávya if it satisfies the conditions of a Kivya i.e., let us say, if it has chariningness.) Prosody treats of the laws of Padya (metrical poetical composition) or poetry expressed in the form of Stanzas. In Sanskrit, Verse is regulated by quantity and not by accent as in English. A stanza or Padya is a combination of 4 Pádas or quarters, which are regulated either by the number of syllables (Akshara) or by the number of syllabic instants (Mátrá). A syllable (or Akshara) is as much of a word as can be pronounced at once, that is, a single vowel with or without one or inore consonants. A syllable is short, or Te, long according as its vowel is short or long. The vowels 31, 3, 3, #, & are short, and am, $, 5, 7, , , ail, and 3 are long. But a short vowel becomes long in Prosody when it is followed by an अनुस्वार or विसर्ग, or by a conjunct consonant, and then it is said to be Prosodially long. A short syllable has one Mátrů, a long one has two. The last syllable of a Piida is either long or short according to the exigence of the GET, metre. A Púila is livided into groups of 3 syllables, each group being called a fianu (and the remaining letters, one or two, are short, I [-], or long, 1 [-] as the case may be.) A metre regulated by syllables is called गणवृन or अक्षरवृत्त or simply वृत्त. If it is regulated by syllabic instants it is called it or a (e. g. an 31419). la is when all guarare similar ; A when alternate quarters are similar ; and fan when all are dissimilar. ters A Yatior (asura is the pause that may be made in reciting a quarter The Yati is of great importance in Sanskrit Poetry. It is a position convenient for the reciter's breath, for enphony, and for the hearer's clear understanding of the sense. It is not so happily placed in the middle as at the end of a word. No elision is tolerated in Sanskrit avowedly for the sake of metre. Omissions as well as changes of letters can only be governed by the rules 18 ·206 NOTES. of Sandhi. Grammarians, however, have granted the option of eliding the initial rowels of the prepositions अव and अपि (e. g.वगाह्य for अवगाथ) No liberty an be taken with a word at the option of the poet. 'Not that poets have not occasionally taken such liberties but they are held to be violations of grammar, and only excused in the case of Rishis or great anthors and hence called arsha,' (Rev. K. M. Banerjea.) The number of syllables after which. (sura or Yati occurs is symbolically given in the definitions of metres, e. g. Muni-9, Samudra—4, &c. There are eight Ganas, given in the verse-'मादिमध्यावसानेषु यरताः यांति लाघवम् । भजसाः गौरवं यांति मनौ तु गुरुलाघवम् ।।.' They are very conveniently given in a Marathi verse, words in which may be looked upon as symbols, viz :- य यमाचा न नमन त ताराप र राधिका । म मानावा स समरा ज जनास भ भास्कर ॥ Thus, य यमाचा means that यमाचा, is a symbol for य-गण; and so on. Let us now scan a Pada of इंदवना metre. e. g. IV. 65. 'मंदारपुपैराधिवासितायां'- मंदार पु पै र धि वा सि ता यां ~ ताराप ताराप जना स गुरु गुरु त त ज ग ग Thus IV. 65. is in a metre whose Pada has these Ganas त त ज ग ग ; and then apply the Definition 'स्यादिंद्रवजा यदि तौ जगौ गः' (where नौ-त त, जगौज ग, गः ग.) METRES OCCURRING IN THE TEXT. There are in all 21 kinds of metres in the Vikramorva Kyam. We shall first name and define them and then give the metres of separate stanzas, act by act. (1) प्रहर्षिणी--'याशाभिर्मनजरगाः प्रहर्षिणीयम्'. (2) पृथ्वी-'जसो जस- यला वसुग्रहयतिश्च पृथ्वीं गुरुः'. (3) अपरवक्त्र--'अयुजि ननरला गुरुः समे । तद- परवक्त्रमिदं नजो जरौ ॥. (4) वैतालीय--'षविषमेऽष्टौ समे कलास्ताश्च समे स्युनिरंतराः । न समात्र पराश्रिता कला वैतालीयेऽते रलौ गुरुः॥'. (5) इंद्रवजा- 'स्यादिंद्रवजा यदि तो जगी गः।'. (6) पुष्पितापा-'अयुजि नयुगरेफतो यकारो। यजितु नजी जरगाश्च पुष्पिताना ॥.' (7) शिखरिणी--'रसैरुदैश्छिन्ना यमनसभलागः शिखरिणी ।'. (8) मंजुभाषिणी--'सजसाजगौ च यदि मंजुभाषिणी ।'. (9) मंदाक्रांता--'मंदाक्रांतां बुधिरसनगेर्मो भनौ तौ गयुग्मम् ।'. (10) उपजाति-- When ipar and staf are Mixed in one stanza the metre is ·APPENDIX I. 207 called उपजाति'. 'स्यादिंद्रवजा यदि तौ जगौ गः + उपेंद्रवजा प्रथमे लघौ सा ।'. (11) द्रुत्तविलंबित-- द्रुतविलंबितमाह नभी भरौ ।'. (12) हरिणी-'नसमरस. लागः षड्वेदैह यैहरिणी मता।'. (18) औपच्छंदसिक--"The same as वैता- 10, with only a long syllable added at the end of each quarter'. 'पर्यते यौ तथैव शेषमौपच्छंदासकं सुधीभिरुक्तम् ।'. (14) वंशस्थ-'जती च वंश- स्थमुदाहृतं जरौ।'. (15) मालिनी--'ननमयययुतेयं मालिनी भोगिलोकैः'.। (16) शार्दूलविक्रीडितं--'सूर्याश्वैर्यदि मः सजो सततगाः शार्दूलविक्रीडितम् ।'. (17) वसं- ततिलका--'उक्ता वसंततिलका तभजा जगौ गः।'. (18) अनुष्टुभ् , also called श्लोक-'श्लोके षष्ठं गुरु ज्ञेयं सर्वत्र लघु पंचमम् । द्विचतुःपादयोर्हस्वं सप्तमं दीर्घमन्ययोः।'. (19) आर्या-'यस्याः पादे प्रथमे द्वादशमात्रास्तथा तृतीयेऽपि । अष्टादश द्वितीये चतु- र्थके पंचदश सार्या ।'. (23) Prikrit metres, being unusual are not given. (21) There is also an irregular Sanskrit metre in the text. Metres of the stanzas in the Play-(1) प्रहर्षिणी- I. 3. (2) पृथ्वी-II. 11. (B) अपरवक्त्र--II. 21. (4) वैतालीय--IN. 26. (5) इंद्रवजा-IV. 65. () पुष्पिताग्रा-III. 3. 2). (7) शिखरिणी-IV. 52. 63. (8) मंजुभाषिणी-IV. 60. 75. (9) मंदाक्रांता-I. 9. II. 1. III. 1. IV. 13. (10) उपजाति-I. 19. 20. V. 2. G. (11) द्रुतविलंबित-II. 9. III. G. IV. 49. 55. (12) हरिणी-II. 10. III. 10. IV. 7. 39. V. 18. (13) औपच्छंदसिक-I. 17. 18. II. 17. III. 7. IV. 10. 33. (14) वंशस्थ-I. 6. 11. III. 12. 13. IV. 17. G7- 70. (15) मालिनी-II. G. IV. 22. 27. 42. V. 17. 21. 22. (16) शार्दूल- विक्रीडित-I. 1. 5. 10. II. 7. 19. 22. III. 2. 15. IV. 9. 47.62. 68. (17) वसंततिलका-I. 4. II. 13. 15. III. 19. 20. 1V. 16. 25. 31. V. 9. 15. 16. 19. (18) अनुष्टुभ-I. 14. 15. 16. II. 4. 5. 14. 16. 18. III. 9. 11. 18. 21. IV. 21. 30. 34. 37. 38. 40. 51. 57.71. V. 1. 3. 7. 12. 14. 20. 23. 24. (19) आर्या- I. 2.7.8. 12. 13. II.2.3.8.20. III.4.5.8. 14. 16. 17. IV. 15. 18. 44. 46. 58. 61. 66. 73.74. V. 4. 5. 8. 10. 11. 13. (20) Prilbrit-[I. 12. IV. The rest, except the following. (21) Irregular-IN.56.

·205 NOTES, APPENDIX II. BOMBAY UNIVERSITY EXAMINATION PAPERS. 1865. 1. To what class of drumatic writing in the Vikramorra s'ya belong? Mention the culiarities of the class and of the statali vision in which it is four. II. on what natural polenomena are the legends of the likramare rasya fourlei: III. Give a brief outline of that Play? IV. Give a list of the works of kálium. V. Translate into english: (1) III. 1. (2) P. 40. LI. S II. (3) 1'.*". L. 12. (1) III.”. () P. 10. 1. 17. (6) III. 3. () P. I. 9. 11. Give the contents of the cand the Vixhambhaku of the ani VII. What is Trotokr. what a l'islikcomblaku, and what a Prur shui. 1868. I. Truslate into English the followin: -(1) P. 19. LI. 8-9. (2) P. 19, LI. 10-14. (5) 1,14 (1) 11.5l, anil'. il. L. 17-20. How does tho echo in this last pie bad the king to exclaim ** TË TET 13? IL. Simeundetine the species of dirumatic composition. to which, acconi. ing to the native crities, the Fikra worrusiya belongs. What minor incie dents in this play resemble those in Sakuntala? III. Explain the follow. ing, giving the context in cach cis (1) P. 1, L. 1. () P.IS, LI. -i. (3) P. 19. L. . (1) 1.31. LI. 6-5, 6) P. 31. Ll. -. What do What do you know of this Bharutu! Sime the l'ass alluciel to here. What is the usual number and which is or are omitted here! IV. Give about sepithets of the Gol of love you my have met with in Sanskrit works and explain their propriety. V. (:1) ATHÍAS ET 977@ai piatt: 13 OTA I HIT À चरणपतितं यावदिच्छामि कर्नु । अस्रस्तावन्मुहुरुपचितैर्दृष्टिरालुप्यते मे ॥. () सव्या- पारामहनि न तथा बाधयेन्मद्वियोगः । शंके रात्रौ गुरुतरशचं निर्विनोदां सखी ते ॥ In what pum'm do these lines oeur! Quote the stanzas from the Vikrumore Tuyu which contain the same ideas as these lines. 1873. 1. Translate into English the following:-(1) III. 19. ) 1V.13. (3) 1'.7.). L. 23. ad IV. os. II. Give the metre of each of the above verses. Dissolve the compounds Elina Arras PhotilaTu, mareli, TACO, YTTELTTI- 7979T, and #FAT&T8972, and state to which class each of them belongs. Give the meaning and explain the etymological formation of 271799, a SI, JT, 4, 913, giat, 47, HITT, arwar, ragg, and alon. Explain and illustrate the use of faga ? III. Explain the meaning and context of the following passages: (1) P. 39. L. 1. (-) P. 61. L. 20. (3) P.65. LI. 16-17. (0) P. 67. L. 11.) P. 88. L. 10. and! (6) P. 90. LI. 14-1.5.

·APPENDIX II. 200 1878. I. Translate into English the following:-(1) P. 1.1. L. 11-P. 16. 1. 13. Write a note on एवं in सखे एवं H. (P. 46. I. 5.). What is the object of in Chitralekhá's speech (l'. 46. L. 9.)! () 11. 10. (3) IV. 39. Write a note on the double use of in the list two yes. II. Explain in Sanskrit prose, IV. 26. III. Explain the allusions in (1) P. 68. L. 1.5. (2) P. 67. I. 21. (3) P.7. LI15-16. IV. Explain (1) 1'. 39. LI. 1-3. () P. 338. l, 8 (3) 2. 40, L... (1) II. 16. (-) l', 40, 41, 13-14. (6) . . . . (7) P. 13. L. 3. () P. 19. L... (9 P... LI. 13-14. V. Criticise the manner in which Purúraran reconciled Jusuri tu luis making lure to Urras. 1882. I Truslate into English the following :-(1) P. 25, LI. 1-13. Dive and name the compounds, gizarjati, 37744, HİTTH. If the readings in the stanzito net yiellit Sense, mention others that you may know. Give reasons. Translate 1. 19. mame the metre. Sy why it. would be improper to real i instead of g in the last line of the stanza. II. Write notes on the following words and expressions :-EET, 37TİT- नेत्रा, पंचबाण, अपराजिता, an सिद्व मार्ग. III. Explain, viving context, the following: (1) P. 7. LI. 12-13. (2) P. 27. Ll. -:. () P. :39. L. 13. (1) P, 30 Ll. 1-7. (5) P. 33. Ll. 10-11. and (0) P. .15. L. 12. IV. Note brietly the resemblances in ideas occurring in Súkuntala and Vikru morrusiyır. 1887. I. Translate into Englislı-(1) I. 20. What is there in the first half that corresponds to disalura in the second half? (2) 11. 10. (3) III, 5. Esplain clearly the force of 39. Is a Hà: a satisfactory reading! (4) IV. 51. (both as a question by and an answer to the king.) II. (a) Was Sürypasthina of the king Purúracas mentioned in the first act a Vitya or a Vaimittika Vidhi' Give reasons for your answer. (b) What is the allusion in P. 16. L, 17? (c) What is generally believed to be the situation of Pratishthúna. Is this Pratishthánu one with the capital city of Purvrarux as described in the play ? Illustrate your answer with quotations. (d) What things are disclosed by the play which lead one to the conclusion that the celestial heroine was not jealous and recognised the superiority of the earthly heroine ? III (a) Criticise the forms and constructions--( TTT) FIATHÈ, 37THE * (Tue), THERE, AT (ATAT 549 ), (at To ) #7673. (b) Explain the grammatical forms , , 1874, 75. IV. Explain fully-(1) P. 8. Ll. 11-12. (2) P. 9. L. 12. (3) P. 11. LI. 4-5. (4) P. 12. L. 9. (5) P. 18. L. 3. (6) P. 22. L. 12. (7) P. 67, L. 21.

·210 NOTES. 1890. I. Describe briefly, (in English), the character of the hero of Vikramorrasilya and compare it with that of the hero of S'úkuntala. Make a note on the word Vikramorrasiya. II. Translate-(1) P. 40. LI. 4-16. (2) Compare the readings in III. 1. (3) Parse the words area, 3717- 1997, terain III. 2. III. Explain the following, stating the context in each case and noting any grammatical peculiarity or other important features-(1) P. 38. L. 10. (2) P. 89. L. 8. (3) P. 63. L. 16. (4) P. 37. L. 21. (5) P. 85. L. 20. (6) P. 53. L. 16. IV. Quote the words, if possible, or the substance in Sanskrita) of the description of any two of (1) The lineage of the king. (2) The likeness of the creeper and Urruil. (3)The likeness of the river and Urrasi (4) The noontide at the palace. (5) The evening at the palace. V. Translate : (Three stanzas not from the text.)

·APPENDIX III. ON KA'LIDA'SA. HIS LIFE, HIS STYLE AND HIS POETRY. The Life of Kálidása, as of Shaskespeare, remains almost a blank. In his works he has observed a painful silence about himself. The personal history'says Mr. G. R. Nandargikar, is thus involved in an impenetrable mist of obscurity. The late Dr. Bháu Dáji remarks that Kálidása was a Gauda Sarasvata Bráhmana, that he and Mátrigupta, King of Kashmira, are identical, and that his birth-place will be ultimately found in Kashmira. Almost all agree in saying that he lived at the court of Vikramnáditya of Ujjayini. Some say he was also patronised by Pravarasena, King of Kashmira. He was appointed Governor of Kasmira by Vikramálitya. He seems to have pleased both the Jainas and the Vaishnawas by favouring their tenets. From his works it is apparent that he was a llevoted worshipper of S'iva and Párvti. He appears to have been an admirer of field-sports and describes their beneficial effects with the exactness of a true sportsman.' His description of Ujjayini and its surroundings, and of the Himílaya, is very striking and exact. He was a great observer and an ardent lover of Nature. He is the only poet who ilescribes a living saffron flower, whose plant grows in Kishmira. From his writings it appears he must have travelled a good deal, like Buna. Ilis acquaintance with court-life appears to be thorough. From the devout prayer at the conclusion of Vikramoroas'iy, it is evillent that our poet must have suffered from the pangs of poverty and neglect. In his works, Kálid'sa has given clear in lications of his learning: he was acquainted with the Velas, the Upanisha ls, the Puranas and several systems of philosophy and astronomy. The Style of Kilidása is pure and chaste. It has not the laxity of the Puranas. It is also characterisel by brevity and perspicuity. Hig siiniles are appropriate and natural. Delineation of characters, faithful to the ininutest point and within the shortest compass imaginable, is the peculiar characteristic of his poetry.' (S. G. Deshpande. B. A.) His poetic genius has brought Sanskrit poetry to the highest refinement consistent with purity and without the extravagant colouring. In his writings we find an unaffected simplicity of expression : his language is simple and flowing, and rich in unparallelel similes and general truths. IIis metres and grammatical constructions are plain and generally known. He is justly praised for the happy choice of subjects, and 'the complete attainments of his poetical intentions, for the N.B.-The information in Appendix III, is gathered from various sources, We could not mention names in all cases.

·212 NOTES. beauty of his representations, the tenderness of the feelings and the richness of his imagination.' That Poetry which relates to Kálidúsa as a poet must be at once mysterious aud picturesque. Nature must be the life and essence of poetry: that it was our Poet's all in all can hardly be refuted. In this respect he may be justly compared to the great poet Wordsworth.' He is a very minute and accurate observer of Nature and every reader will be carried away with the subject before him while he is reading his description of the summits of Himálaya decked with the diadems of snow, the peaks of Kailása, the fragrant breezes blowing over eternal snow, the wilds where eager hunters roam, the peaks where sunshine ever reigns, the musk-deer, the magic herbs shedding light through the darksome night, the wild kine, the fierce elephant, the startled deer, the heavenly Ganges, the mountain lake, the melting snow and the cool gale. He shows great observation of and familiarity with the gorgeous scenery of Himalaya. “He shows an acquaintance with China pottery and silk, and refers to the true cause of eclipses and the influence of the moon over tides. He makes his heroines write their love-letters on the bark of birch-tree with mineral dyes or on lotus-leaves with their nails. The necessity' says Mr. S. P. Pandit of confining himself to the adventures of love of one man and his mistress in the dramas, affords little lattitude to the poet to indulge in dwelling upon some of his favourite ideas.' To the readers of the principal works of Kálidísa,—the same unaffected simplicity of expression, the saine lively imagination, the same richness of illustration, the same fondness for the scenery of the Himálaya and the banks of the Ganges, the same love of dwelling upon the peacefulness of the rural and hermitage life, that prevails throughout them,-is so striking that they show the sameness of their author. His works abound in pithy and pregnant generalisations which strike us with their vivid and impressive truths. They touch our heart and cheer us and are very instructive. THE DATE OF KÁLIDÁSA, (a) Eleventh Century A. D.-There was a time when many scholars believe that kuidúsa must have livel about the 11th century A. D. Their reasons were: (1) In his writings there is the word Jarana which means a Mahomelan, and as Mahome lans came to exist after the 7th century A. D. Kálidúsı must have lived some centuries after that late. But this is not a sound reasoning. We cannot fix the meaning of Varana unless we first tix his date from independent sources. It may mean Greeks or Tonianx. (2) There is a trailition that Kálidása was patronisel by king Bhoja of Dhará ( Ilth century A. D.). But if Bhoja were a patron of the poet, he would have glorifici and described him in his works ; and be- ·APPENDIX III. 213 sides, it is now known that king Bhoja in his writings quotes Bhámaha and others who lived in the early centuries of the Christian era and who, in their turn, quote Kalidása. Kanarese translation (of the 9th century A. D.) of Vikramorrasiya is now found. These facts and the following evidence will sufficiently show that Kalidasa lival long before the 11th century A. D. (b) Sixth Century A. D: It is now generally believed that Kálidása flourished in the 6th century A. D. The documentary and other evidence which prove this, though not conclusively, may be summarised thus. (1) There is a Poem called Pars'vábhyudaya of Jinasena, who has contrived to weave the whole of Meghaduta into it. And Mr. K. B. Pathak cleary points out that Jinasena composed Pars'vábhyudaya about 850 A. D. Before this late, therefore, Kâlilása must have lived. (2) A poet Ponna (about 945 A. D.) boasts in his works that he is superior to Kalidása, who therefore livel before 945 A. D. (3) Kshirasvaimi, quotes (about 750 A. D.) Kálidása, in his commentary on Amaralos'a, with awe and respect; and so Kálidasa lived long before 750. A. D. ( 4 ) In a work, Graudarah), (8th Century A. D.) Kálidása is quoted as the great Raghukára. (5) Kumšírilabhatta, (about 720 A. D.) quotes Kálidása in his Tantravúrtika. (6) Bánabhatta (about 650 A. D.) mentious Kalidasa in his Harshacharito. () In the Aihole inscriptions (634 A.D.) Kálidása is mentioned along with Bháravi. (8) Dandin 6th century A. D.) praises Kálidása. and his Setukávyo. (9) There is an inscription containing a stanza which mentions that Kilidasa and Varahamihira were in the court of king king Vikrama. And from the writings of Vará mihira it has been proved that he lived about 550 A.D. So, if the statement in that stanza he correct (which is questioned by many), Kálidása, being contemporary of Varáhainihira, lived about 550 A.D. (10). On the authority of the modern cominentator Mallinátha, Dr. Bhíu Dáji says that Dinnaga (Me. I. 14.) was an opponent of Kálidása. Anil lasubandhu, the teacher of Dinnga, lived about 540 A.D. Thus Kálidása livel about that date. (But the theory about Dinnága is doubted by many:) (11) Kálidása shows thorough knowledge of astronomy and judicial astrology ; and a theory is that since in Indian astronomy there are many Greek terms, they were borrowed from the Greeks, among whom the science reached its profection about the 2nd Century A.D. So, Ka'lida'sa liver after that century. Mr. K. B. Páthak says-In Ku. VII. 1. the word Ja'mitra is a corruption of the Greek word Diametron ; and in R. XIV. 40. the Poet offers the true explanation of a lunar eclipse. This knowledge he must have learnt from the works of Aryabhata (who lived about 475 A.D.) who, for the first time gives the true theory of the eclipes, ·214 NOTES. and whose works contain Greek astronomical terminology. But Mr. S. P. Pandit thinks otherwise. He says— In India, astronomy and a kind of judicial astrology formed, even in the most ancient times, & necessary portion of the sacred lore. Arabs learnt astronomy from the Hindus, and the Greeks from the Arabs. Jàmitra and Diametron may have a common origin, or Diametron may have been Greekised from Jámitra.' (12). In an essay, Dr. Bháu Dáji first says that Kalidasa is the same as Mátrigupta, the king of Kashmira, the predecessor of Prayarasena who ruled in Ka'shmira in the beginning of the 7th century A.D. But the Doctor himself objects to this identification on the ground that Rájatarangini', which gives the career of Mátrigupta does not say that he is the author of S'úkuntala. (13). Hiouen-Thsing found S'iladitya ruling at Kányakubja in 640 A. D. ; 60 years before him was Pratápašila, and his predecessor was Vikramaditya whose reign must have ended about 530 A, D. Thus if it can be shown that Kálidása lived in the court of this Vikramaditya, he lived about 550 A.D. (14). Dr. Bühler says that since no inscription is found containing Vikrama-era before 750 A. D., Dr. Fergusson's date (544 A. D.) of Vikramáditya, the patron of Kálidása, may be correct. But see below *C. 6.' (15). There is a Buddhacharita by Aśvaghosha, a Chinese translation of which of the 5th century A. D.) is found. That book and Raghuvan a resemble each other in many respects. If it be shown that Kálidása borrowed from Aśyaghosha, he lived after Ašvaghosha. (16). There is an interesting episode which makes Kalidasa a contemporary and friend of Kuma'radása, king of Ceylon, who ascended the throne in 515 A. D. It runs thus—The king Kuiåradåsa was attached to a woman. One day, on the wall of her house he wrote these lines :- कमलात्कमलोत्पत्तिः श्रूयते न तु दृश्यते । and promised to reward him who would complete the verse. Next evening, Kilidàsa, who came there on a visit to his royal friend, happened to take his lodgings, as chance would have it, in her house. He saw the lines and completed the verse thus : बाले तव मुखांभोजात् कथं इंदीवरद्र्यम् ।। ( Damsel ! from the lotus of thy face how have the two blue lilies of thine eyes sprung up?) The woman, hoping to get the promised reward as the author of the lines, murdered Kalidasa. But when next day, Kumaradása read the lines he would not believe they were composed by her. Being threatened she confessed her crime. On seeing the dead body of his friend Kálidàsa, the king was very sorry and burnt himself with the body of his brother bard. (17) The latest exponent of the theory that Kalidasa lived in the 6th century A. D. is ·APPENDIX III. 215 Mr. K. B. Páthak. He, in an essay, repeats some of the arguments given above and then very proininently brings forward the theory about the Hùna kings, which we briefly sum up. In R. IV. 66-68., Kálidasa says his hero invaded the northern countries (of Kashmira) and vanquished the Húna kings. Since no Húna kings are mentioned in Râmâyana, it is evident that these Hùna kings were contemporaries of the Poet and known to his readers. Kálidasa wishes to inagnify the glory of his hero, and so these Húna kings must have been very powerful. The most powerful Húna kings are Toramana and Mihirakula, who were rulers of Sindha about 530 A.D. When the poet says his hero lefeateil the llùna kings, be unconsciously refers to the political condition of his own age. We therefore conclude that Kálidása lived about 530 A.D.' In this way Mr. Páthak hopes to set at rest finally the much-vexed question of Kalidasa's date;' but we fear his hope may not be realised and his conclusions will not be accepted by many. (c) First Century B. C:--There are many Sanskrit scholars who are inclined to believe that Kálidasa lived in the 1st century B. C. They, however, want gool documentary evilence, and they hope to find it. (1) Dr. Peterson says— Kílilása stands near the beginning of the Christian era, if indeed he does not overtop it.' (2) Ilippolyte supposes that Kílilása was a contemporary of Aynivarna (described in the 19th canto of Raghu) and lived about 8th century B. C. Lut the style of Kálidísa does not so wilely «liffer from that of Bhavabhúti (about 720 A. D.) as to warrant this supposition. Mr. G. R. Sanılargikar says--The artificiality of diction observable in Bhavabhúti will only justify us in supposing an interval of 6 centuries between the two poets.' (3) Sir William Jones places Kilidísa in the 1st century B. C. (4) There is a tradition that Kálilása was patroniseid hy Vikramálitya who establishel Samvat era 56 years before Christ. (5) Froina Pa úrali by Merutungácharya, it appears that Vikrama reignel 134 years before Saka era. ( 134-78 56 B. C.). (6) Dr. Fergusson's theory was that Vikrama era commencel in 544 A. D. But having examined the evilenco before him, Mr. G. R. Nanılargikar conclu les-Dr. Fleet's discovery of Mandasör inscription has completely exploded Dr. Fergusson's theory' and proved that Sainvat era conimences from the year 56 B. C. (7) Rev. S. Beal says, a Chinese traveller carried to China in 67 B.C. copies of A vaghosha's Buldhacharita which resembles Raghuvana. From the language of the two works 'it appears' says Mr. G. R. Nandargikar " As'vaghosha may have lived some 75 years before Kálidása, and it is probable, nay, almost certain that Kálidása lived some 40 years B.C.' (8) Dr. Peterson says-The verses of As'va zhosha are saturated with the style of Kálidása.' Thus it may be that Kálidása lived before As'vaghosha ; and Rev. Beal has proved that ·216 NOTES. (11) As'vaghosha lived before 1st century A. D. (9) In Vikramorvasiya "IT'' ARIT:' and 'TT' refer to Vikrama (56 B.C.) the patron of the Poet. (10) Jyotirvidúbharana says Vikrama conquered Fredra. Some say the book was written by Kálilása and Carrera is Caesar (55 B. C.) of fa-Rome. The style of Kálidása shows that he lived many centuries before Bána and Bhavabhu'ti (7th century A. D.) who have monstrously long compounds anal artificial style. (12) Mr. S. P. Pandit says— Pushpamitra founded the Maurya dynasty in 160 B. C. His son Agnimitra (hero of Málarikugnimitra) was a historic person and contemporary of the Poet.' (13) Mr. Pandit says there is nothing to show that Kálilása was not patronised by Vikrama. (of 56 B. C.). (14) He further says that astronomical data can't prevent us from assigning 1st century B. C. to Kálidása. (15) Prof. R. N. Apte, M. A., L. L. B. is the latest and perhaps the ablest exponent of the theory that Kálidása lived in the 1st centnry B. C. From the Bombay University he has received an extra Mandlick Gold Medal' for an essay which is not yet published. However, we cannot conclude this Appendix without mentioning his points, with the help of a letter (5/7/94) and an article in the Indu Prakása (28/5/94):-(i) He proves that the Húna kings came to India in the 1st century B. C. and that Kálidasa lived at the same time. (ii) He minutely examines the history of the Kalingas and thence gets the 1st century B. C. as the late of Kálilása. (iii) He examines the law of inheritance in the days of Kálidása. According to it, the property of a male did not go to his wife, if there was no male issue, but to the king (as we learn from Súkuntala). The doctrine propounded in gaafi geardo (which is found in Yádnyavalkya Smriti, 7th century A. D.) was yet to be evolved. (iv) Kálidása refers to the Párasikas or the Parsis. From this Prof. Apte deduces, (of course on historical evidence) that Kálidása lived in 1st century B. C. (v) As’vaghosha lived before 1st century A.D., and his poetry resembles that of Kálidása. But as he was more a philosopher than a poet and as Kálidasa makes no mention of his following the style of As'vaghosha, while he distinctly states that he follows in the footsteps of the great Válmiki, we may safely say that As'vaghosha has imitated the peculiar similes and other figures of Kálidása, who therefore lived long before the 1st century A. D. Thus these Sanskrit scholars are engaged in proving that Kálidása lived before the Christian era. We are thankful to them and every Aryan will be proud of them. May their labours be crowned with Success!

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