·PREFACE. This edition of Sri Harshadeva's Priyadars’ika prepared on the same lines as my editions of the atnavali and the Nagànanda that havo been lready published, with a view to supply the University tudent with a text-book that will meet all his equirements. Care has also been taken to make 18 book uaeſul to the general reader as well. A rief but sufficiently explanatory new commentary Sapskrit bas been added containing the solutions of fficult compounds, derivations of difficult words, &c. c. Another feature of this edition is the Introduction herein all that is necessary to be known about jo author and the play has been succinctly put gether for ready reference and systematic bludy. e figures of speech and the various technicalities Sanskrit dramaturgy are not given (except in a casas) as they are not of much use to the nior University students. I have used the editions Jivananda Vidyasagar, V, D. Gadre (1884), Andit R. V. Krisnamacharia: (1906), T, V, Sreevasachariar (1908) and that published by the olumbia University 1923; and I am beholden to le editors of all these for help of one kind or another drived from them, specially to those of the last entioned work. My thanks are also due to Mr. ..S. Bhandáte B. A.S.T.C. who helped me in writing at tho latter part of the introduction. Any suggestions u to improvement &c. will be gratefully received. 1 + BosnAY, June, 1028. M, R, KALE, ·X bed-side of bis dying father. Harsha's mother, Queen Yas'omatt Immolated herself on the funeral Pyre of ter basband. Rājftyardlane who bad detoated the Hadas, returned as 100% he board of his father's death. He was at once proclaimed king though his own desira was to turn out so ascetio, leaving the throne to his younger brother. Misfortunes still dogged the footateps of the two brothers. Their brotherin-law, Grahayajmā, the ruler of Kananj, the basband of their sliter Rajyas'rî, was slain in battle by the king of Malwn. The widowed queen was most orcelly treated and kopt * prisoner at Eananj. Rajyavardhana at onoo marched with * picked forot against the king of Milws and succeeded in his carapaign of vengeance by inflicting upon him a arushing defeat. But Rajyavardhana wag lured into a private conference and treacheronly murdered by Hasámka, the King of Ganda (Oentral Pengal), the ally of the Malaya King. The nobles ananibangaly obopo larsba as their sovereign and assamed the las of Bororament in 606 A, D., a date which is marked as ke boginning of the Hareka era.' Haraha, who was in doop grief owing to a boccasion of domestio mlofortones, accepted the throno with great relactance. He did not addome the Sitle of king for some years, but called bimself simply Rajaputra stlladliya (Son of Virtue). Mi, 0. V. Vaidya 1278 Lat Haroba WLS not relactant to ascend the throne of Tbaneshwar bat bo badooraples to accopt the throne of Kaukaj, ince the rightfal heir to that thions was his widowed Sister, Rajyasri. Harsha was only sixteen whon bo anaumed la responsiblities ot govorniog a large kingdom. He had first two great duties to accomplish, the recovery ot bis Widowed sister and avongiog the murder of kle older brother. 11. succeeded in recling bis aliter who had fed into the Vindbyforeli and was at this time contemplating aloido. Bbo afterwards assomod the yellow robo and became tho dovoted companion and counsellor of bar royal brotkor. A Yegards his second object of popisbiog Saslonka, king of Guada, be seems to bare tocceeded in 10 fat that bo forced ,'him to Roknowledge bli lazoralaty. For nourly six yeurs after his accontion Banshs mus odgaged in locoulant warlara * with a low to bringing the whole of Dorthern India andor ono domination. Whoa Darba bad unbiagated the whole of appor Indl, szcept tho Panjab, ko ww formally crowned and } ·XII W&D a anned the title of Jabatajadbirkja, For the best thirtyfive years Haruka deroled most of bis energy dad tima ta the arts of peace and works of pioty, Bat he did not enjoy complete pace or respite from ar, In 620 A. D. be advanced against l'ulakesin II, the groat Obalakya king of the Deccan, but was defeated on the banks of the Narmada. This was the only failure is Ilarsha's career of unbroken military scootel. After thia Harsha was content to accept the Narmada as ble southern boundary. His last military exploit was the conquest of the district of Ganjam on the coast of the Day of Bengal in 643, Hariba's empiro at the time of bis death extended on the west op to the valabhi kingdom in Seurd:htra ( Ka. thiawar) and on the east to the borders of Adam. Ita southern boundary yas the Narmadā whilo in the north it included the whole of apper Indis except the Padjab. Hun suzer" ainty was acknowledged by the powerful rulers of Kimarapa Annam), Valabhi (Gujarat ) and Nepal. His court became well known in distant Bodahlst conntries and he exchanged orbasslos with the Chinese Empire, Harasha was a strong, vigorous and benevolent roler, Like Asos he Iodolatigable in the discharge of his duties and was always touring through his dominionn, tapervising the work of his nervants. Education was widely diffared and Baddhistis monasteries at Naland and othor places, and ashramos of learned eages were liberally endowed by the King. He built numerous monasteries and erected stupas in hie dominions Ho aleo bailt rest houses throughout his dominions, whoro Dot only food and drink were provided to the people, but dostors attended upon the sick. Haruhs was naturally of & Teligious bent of mind and davoted several bours every day to religious exercises. Ho was originally a worsbipper of Śiva bat in the latter part of his life he was strongly polined to Baddhism His widowed sister Rájyasri, who had embraced Baddabratia tsith, Inteised grest inimapce on his mind. Bnt be divided his patronago between Brahmanism and Buddbism apd did not enforca his religlons views on his sabjects. He was tolerant of all faitheHe probibited the slaughter of any living animal and the use of flesh as food on pain of death. A Chino'o pilgrim damod &roan Ohuong or liean Tiang, who visited India during the reign of Harths, in quest of { ·addhletic scriptarri, atszed in larsbe'ı dominions for your 535-243). In his account of blo travel tzil Chinein laddhlutic popk Las graphically described the illo and rork of llarla sed the roligious, social ard political cooditlon I ladta at the time. Barebs fell ouder the pell of lesa *9138, In Lovo bonngr ho held brand nerbiy at Estetj. bo capital. The object of bolding this *14erably proclaim tho doctriper ol Mabeyan lladoliin, 15 cipounded sy Illego Trang, called the Jaiter of the Law. At than opslavlon of this assembly Illaan Tr50g **s Invited to kaotbor great allembly Eold at Prayag at the condence of t. Ouage and Yamord Tbio wis tlo sixth of the goin. grennial 11tomblies la blch Husbs giro awas bio accomulated tremiuro to all the holy men of the Yarloo. Indian Tell glodt, Hudddiss, Brabminical, eat Jain and to the poor ked the dentltute. It w Hareba's caston to give away freely als accemulated wealth overy Ave years. Tble ansembly bild in fils was the lart, sinco Barba did not liv. to bois #sother soch oelebration. Harsta us not only a great warrior, 18 alle administrator and prealzar bat also an erecerpfloked clolar and on of letters, llo wrote three play., Prisadurelke, 16a!carell out gaard and a low rainor pouds, ll. W** *01011 lberadairon of leared men and mottoti. Prowia.o! Ataong Lose who Ircolved petronez, frem flareds and 90911 Led at 11 court Wetelko poeti Biņi and Joyurt. 1o, in til Alitorla! tema:collarbo-but'u givet en 4c:9131 ol 15. early life and died of Lis ration 11. Win alt ute of mollistopby, as to ofered from 2!3 pipettare il crite] tl. woll.com Darkters plale. llonte dont le toon ot Kantor Lloorpul ex terend It lato a magiftrat ety, adored 119 1ty bullint, lake and gardes, Til kira mor* delle A. D. et, nult. tefli tutust water isk15 autre of unlope vai ***, Xaleta bost trete:: ymı, Han!. u. brfulgt 41 litlullt ! Serdan 1:lle 11. 11 d talla on entrals pe!!++ 4. tes ·xiv Dul 2 EARSRA AS AN AUTHOR ( Contropornes regarding hus Authorship ) The three play, Ratnayall, Priyadarsiks, and Nagānand are attributed to Sbrl Harsha or Haraba devs of Kansoj Hargha's anthorabıp bas been questioned by some acholer Indian al well as European In the first place some even doubt whether the same author wrote all the three play: Now & perg'al of the three dramas onght to lead ovory on to the conolusion that all the three plays are the prodact of the same mund, The prolognes in the three plays are exactly the same in wording, barring slight variations necessitated by the fact of the plays being different In the prologue of each play Shri Harshs Deva to mentioned & the sothor of the play feta TUTTIMET TATA TEHT I-Wita अपूर्वपस्तुरचनालकृता प्रियदर्शिका नामनार्टका ना-श्रीहपदेषन अपूपरचनालस्तं विद्याधरजातकमाननिबद्ध नागानन्द नाम नाटक कुनम Besides the closing benedictory stanza In Pnyadere 1ks and Rátnivali la tho samo and two identical etansas occnr in Priyadaraka and Nagán Anda (Priyandara ika III-3, Nagananda IV-1, Prıya III 10, Nága I. 14 ) In addition to thoso wo notice similarity of style and tone, parallels in situations, repeated phrases and expressions which unmistakably prove the common authorship of the three plays Nor the next question is who in thua éri Harsha-Deva that ia mentioned in the three plays P Mr K M Pappikar fo bis monograph on Shri Harsha of Kanan) mentione fito Harabes as being known to ancient Indian History Tha Grut is the balt mad tyrant of Kashmir who ruled that state from 1089.. 1101 The second is shri Harsha, the grand father of klog Bloga, of Dhérapagar The third ls Vikramaditya Farshs of Ujjain, at whose court Málfgepta lived Tho fourth is tho author of Naiskadbiye-Charlta, and the fifth, the author of Katyapradipa. (1) Harshe Depa King of Kisbmere cannot be conceived of being an author of any literary work, judging from blo career und churacter Desidos do literary work is attribetod to bir () Bbri Harta of Dlārānager and grandfather of Bhoja lived in the earlier halt ol the 10th century Dinoder Gapta in his work called Kuttanimala gives at length the story of ·Ratnárali, quotes the 24th verse of the let Act and praides it 19 a work of great merit. Now this Damodar Gupts lived under Jajāpida ot Kashmir (A. D. 779-813). The play of Ratnávali seems to have been widely known at this time, that is, the eighth century. It is impossible, therefore, tbat a klog who lived in the 10th centary could bave written a play which had become fairly old and attained celebrity in the 8th centary. This argument oan be advanced with equal strength against the authorship of Harsha-Deva, king of Kashmir. (3) Vikramaditya Harebs of Ujfalu cannot be the same 29 Buri-Harsha, the Bathor of the three plays, because the latter la uniformly known as Llarsha without the title Vikramaditys, Il the anthor of the playo had possessed the title he would Burely not have neglected to Barome it. Besides Harsba Vikramaditya was an orthodox Brůhmana, while the author of the three plays shows A strong Badablatio leaning in the Nágánanda. (4) (5) With regard to Shri Harsha, the author of Nalobad. klya Oberita, and Earsha, the author of Kivyapradipa, Mr. Pannikar dismisses them sommarily on the ground that time places them out of the oontroversy. Harsha, the anthor of Naisbidhiya Charita, who flourished ander Jayachandra of Kadauj, lived about 1150 A. D. Among the works which he mentions as being composed by bimsoll ho does not mention any of these three plays. Besides his style, which is marked by crookedness of expressions, overstraining of words and distressing artiGciality, is a marked contrast to the implo and elegant style of Ratpūvall and its ploter playı. Barides Haroba of Naisbadhiya-Oharita was not a king bot simply a post who flourished under the patronage of the king of Kashmir and afterwards of the king of Kananj, while the Horoba of Ratnivall and its vister plays was Bovoreign Lord, ' with princos from various kingdoms dependent on his Jotos-like faat, Bee boto or TT5 &c. P. 2. Now there remalna Sbri Peroba or aroba-pardhans of Kapadj ( 606-848 4. D.) A carolal stamination of both the external and intersal sildence lesde os irresistibly to + STRERIT Eurott UTITE! निपुणीक्षकदष्टं रामनि रनावलीरलम् ।। . 1 ·XVI tho conclasion that this Bbri Torebs of Kanaoj must be tho Hathor of these play. First, Bana, a grout cont poet of Shri Hatebe, la his blography of his master (77), speaks la ealogiatio terms of bis learning and poetical genlar"(1) 14 TUTELARUT2979" (2) "What ar FIFA" &c Allowlog for tho partiality of a protego for his patron and poetlo exa6coration, it esplot be doubled that Shri Boroba was a scholar and author of some works Secondly, the Obiueso pil grim I thing. who visited India in the last quarter of the 7th century, wntos aboot king Shri Iaroha," King Biladitya (1 King Haruhs) Was exceedingly fond of literature. Ee yeruified the story of the Bodhisatts Jimitavabans (Cload borno) who surrondered himself in place of a Nāga Thu version was set to masia ( lil miring and pipe), ha bad it performed by a band accompanied by dancing and moting, and tbus popolarized it in his time" (Takataso, I–Iring, p 163) This statement clearly shows that the author of the play Naguband io klog Harsha, who livod in the 7th contury Tatrdly, as we have pointed ont baforo, Damodaragopta wbo flourished at the court of Jay&plda of Kashmir (A D 779- 813), quotes terres from Ratnārall, and praises the play as a work of great beauty, in bio work called Katta-imata Tłe play is arcribed by him to a king, wbo, it 1. quite clear, most be Sbri Harsba, who lived in the 7th centary Fourthy, Boddhala, wlio lived in the 11th century AD, in bza Udaşa #andarikatus, mentions Harsha along with Vikramadilya, Manje, and Bboja, as being both nuts (king) and TFE (prince of poota) presiding over a literary court (HMI) Iu apother pas gage Sodd ha la punningly refers to Harsha (Joy) as the glorioso Harsha' (algt) whose joy lay in words (169) In his own gesem bly (Rutan) The paesaga runs as followe pocas Y नाव केवलमजायत वस्तुतस्तु । गीहर्ष एष मिजमसदि येन राना सपूजिन कनक FESTA 11 Fiftlly, the famous poot Jayadora, who lived in 11th century AD mention. Harsha AR & poet with the earlier poets Bhāsa and Kalldás, and with bus contemporaries Badu and Mayurk He punningly calls Harsha the joy of Poetry Sixthly, Madhusudan the editor of Mayara 8 ataka; writig about A D 1654, says that Blon and Mayns word the court poets of Bhri Harsha and calls Haraba Tha chief of the race of poets and the author of tla Natikâ called Ratnávalı, Sıztbly, in segeral Sanskrit anthologies, ench as ·XVII on to * Babháshitúvati' and BadaGktikarni orta? Eladzis under the name of Karabs aro quoted. Segonthly, there are epigraphia records which prove that Harsba was an author who not only wrote dramas, but also stray verses. The inscription: on the woll-known Ban.kbera and Madbaban plates are indisputabls his own compositions. In the Banskhera plata (628 A. D.) which bears Hartha's own sigpatora we find "It is the own hand of me, the Paramount Lord, the Glorious Harsha ( TE 99ETUIMMT-3f1-ESTET )." Among the verses inscribed on the plates, thore is one which is pery beautifol and runs thus :ERUT AHL a rai ma 1774 i stata समाख्यातं धर्मार्जनमनुत्तमम् ॥ Lastly, two short Bapskrit poems Badahistic spirit aro attributed Harsha. One of theso is named, UTA, a morning hymn in praise of the Baddha and the other is called 342997an E- Hi, a hymn to the olght Great Buddhist Shrines. These poems thoroughly harmonize with Haraba's acceptance of Badahistio doctrine in the latter part of bis life. It is, howoror, Deceeary, to mention and relate the theories started by some scholiasts that Harsha did not biggelt writo these plays but got them written for him by a court poet of his, who was amply towarded for his labour. This theory is banod tpon a contence in the Kayyaprakāba of Mammata, who lived about 1100 A. D. Mammata speaking of prey or pootry says that it leads to the acquisition of wealth, as in the 0498 of Dbayaks and others from Bhri Harsha and the like- Cen14197977 1. Several commentators have interpreted this text to mean that a poet, Dháyska wrote & play by name Ratna call for Shri-Haraha and obtained wealth from bim. The commentator Någoji Bhatta comments on the sentence thn.=15: 54: 8 là ngay tới đi bán kệ v 3 4ata EL 1" In the manuscripts of $549377 found in Kashmir, the passage is read thus:- The original taxt of Mammata, "ITEM=169 Or seng UFAUTE" it fatarpreted astarally without reading into it say pre-concolyod idea, would mean that poots like Dbawada or Bång obtaloed wealth from thelr patron, Shil Harsha for their literary works. In other words these poeta were liberally Towarded by their patron, King Flarsha, Tbin interpretation is datural and correct and is lo conformity with tho tradition which asoribes Rattarali apd its sister plays to Shri Darabs. Tho latérpretation of the commentators, who lived soveral ·XVIII centuries after the dramas had been written, does not satisfy & bistorical or critical test There is no pontive evidence in favour of the statement that Dhıyaka 18 the author of Rato & Fali No litorary work ander the name of Dbavaka han come down to as Besides nothing 10 known aboat Dharaka Bo the theory that Dhávaka 11 the entbor of Rattâpalt is not tezabla ig the face of the overwhelmingly strong avldence in favoar of the suthorship of Herske of Ratnávali and bls other two play. Another theory, tbat Bana do the author of Ratnivalt as based on the Tatjant reading of the passage in Kávyaprakia, spre " This theory which was set forth by Dc Dall in bie introduction to Vasayadattá is not tonable other In the first place Bina's style, as at 10 seen in his great works, Kadambari and Iarsobanta is quite dissimilar to that of Ratnāvali Besides Ratnivall nowhere betrays that high kind of poetry which is abundantly soon in Kādambarı or Harohachanta It Is also difficult to believe that Bina eold Ratnávali of all his works when he could have struck & much botter bargain by solling his Kadambari Then again it has been proved that the author of Rattāpali is also the author of Nagananda and it is impossible that Bing who was a stnet Bråbrane wrote Nágānanda which Blonfies the Buddhistio dootride. There is yet another theory which attributes those plays to Bhasa, who 1: praised by Kaldára and whose plays have been recently dlecovered and published This theory was first propounded by Mr Narayan Sbâ tri of South India and afterwards upheld by Prof SM Paranjpe of Poona Xfr Sb&stri baaos his theory on # Page from the fact ot राजशेखर Bat tho paesage quoted by bla edeurs to be sparious and Ita authenticity cappot be provod, hls theory based upon it topples down Mr Parsdjpe does not rely on this passage but argues independently to proto that Bb ága li the real an. thor of Nagananda and the other two play. His whole position is based upon some parallel Ideas, cimilar grammatical pootlarities and litorary devices, which he has picked ont from Dbása's plays and the two play. Neganand and Priyadarski Bo Deremiasity of ideas and septiste, and of grammatical and literary peculiarities has little yolae anlere it is supported by othor contiocing argumente Parallel Ideas, and parallel literary dovlees or pecolarities are occur to the works of authors belonging to different ages and ·XIX to different countries, 80 tbly argument of elmilar Ideas, and of slmilar grammatical and literary peculiarities is not sound, especially when we and that the style of Bbisa is widely diffor. ont from the style of Priyadaršiks and its later plays. The style of Bbása is crado and is not ologant or gracelal; while the stylo of Ratpåvall and Its later playı Is refined and gracelal. The plays of Blisa evidently belong to a moro distant aga The olmilarity of ideas &c. can be explained on the ground that the author ol Ratnkrall and the two plays might have road Bbása's plays, as Le dia Kulfdisss also, and tried to imitato him in cortalo points. Bo this theory about Bb&ss's anthorobip of the threo playı lo question, is also notenablo. 6oo aloo our Iotrod, to the Ratparoli. W. have tha. disposed of all the theories abont the anthorship of the thros play, Priyadarsiti, Ratnārall, and Nagoand. W. hare alio Iamined the internal as well as the external evidence that is available to us and we are led to tho irresistible conclasion that Ehrl Harsha of Kananj, who roigned from 606-048 A. D., is the anthor of Ratovali and tho othor two plays. (3) HARSHA AS A POET AND DRAJATIST. Ilarblu morlta as a poet and dramatist aro certainly great. Dat lo can be placed only in the second clust among Benokrit Authori. Like many othor playwrights he does not how originality to the forontion of the plots of his drumus nor prout 1&111 or delicacy in the portraitar, of chunter, Dot bo show) considerable olla be creation of incidents and situations necemmary for dramatio afloet le bu netbor the imagination, the tancy and the grace of Kalliss, nor Bhuyableil's loftlders of thought and depth and forco of raslon. Ata dno tlo artist and mutor of the language also be la interior to either of them. Dat ho bus the great merlt of simpliolty of espreulon aod thooght. liit atylo le free from the articlality, overatrololog of words, 41185uration of tboogbt and optiment, which chanoterlu later fiokrit literature, lits featkrit is elegeat and preciso und ble ute of Agares of speech and thought, is on the wholo roinloed and a good tunte, Ooming u be doet efter kilder • Ser inte oer merkt on tbe voerea of the plot ·AXII Garmont nud cries out to Indivariká for help Indirarki was at some distance away from her. 8o Vasantats ad viges the King to run to her rescue The King does Bo and gets an opportunity of ombracing hor. Bat Instead of remaining elent ho addresses her in a flattering stanza A'ronika, who supposed that she had been helped by Iadıvarik, is startled to end that her resquer is kiog Vatsa. Bho 19, bowever, glad to find that it was bo to whon her father had promised her in marriage. She, bowoyer, calls to Indirarka in alarm and when the latter comes the King bas to go away and hide himself. Aranyikā departs with her companion, with a vad besit, smitten with love TL. king too departs, full of deep longing and anxious to meet again the object of his now love Act III --We learn from the monologue of a female atten. dant paned Manorama that a little play composed by Bamkrtya yol, a learned friend of Queen Virayadatta, 28 to be perforned for the annsement of the Queen The play repro sonted an epuode in the courtship of Queen Vasavadatta And King Vatusraja A ranyikā is to play the part of Queen Vasavaiatia and tho Qaten'a attendant, Vadotamā, is to appear in tho role of King Valea Manorams while searching for A'ransika in the garden finds her in ber love-sick condition Shp overhesta A rangikā Ismenting her hopolesa passion for thy Klug Honors ná tries to cbear her up At this very mom-nt the Vidushaks arrives thoro in march of Aranyika by the King's command The two malde overhear tho King 'n cop Glast and learn of the King's pussion for Aranyada In the conversation that follows between the Vidasuaks and Jisootamī, tho lalter wbispois ta bime device for bringing about the mooting of the losers Noxt comes tho notne of the Minie pisy It is to be performed in the play. hodie Attached to the palace Queen with ber Attendants and Elokutyayani comes to witness the play Arangli eppeszt 10 the rolo of th. Queen Bat Banorami does not play the part of the Klas l'or according to the der es made known to the kiog through his comparlon, it is arranged that the King obalt pisy bl. ow put instead of laboratza't plaglog it. Tko King tben enten secretly and bogios to sct bii part in the simio play. To ploisg bli purt be asker advanco, to Tte ·XXIII Arapgikā in auch a manner as to roase the suspicion of tbe Qaeon. The Queen sises from her seat in a Gt of displeasure upablo any longer to witness acting of that kind and goes out. Slo fud. Vastataka who has been asleep in the adjoining room. Thinking that the King may aleo be there, she ronges him, when he reveals the trath in his drowsiness. The Queen thog comes to know, the whole triok and in her angor breaka ap the play She then orders both A'ranyikā and Vasantaka to ba imprisoned and doparta without listening to the apology of the King. Act IV.-agorans enters and is sorely grlaved to see that Arnyika has still been kept confided by the relentless Queer. The poor girls she says is in deep despair, not because of the Lardships of the prison, bat because sbe is not able to see the King. Just thon Kanchanmāla, the Queen's attendant, entora and Informs Manorama that the Queen has been in deep distress since she recelvede letter from her mother, Angeravati, informing her that King Drdhavarman, hasband of 'ber mother's sister, bas been beld & captive for more than Ayoar by_tho Kaling: King, and tagating bor for King Vatsa's not baying litted A finger to rescue him In the next scene Vasavadattá appears, heated in the ivory-tower of tho palace, attended by Simkityāyani. The latter tries to comfort the sorrowfal Vannvadatta, maaring her of the faithful affection of the king. At this time the King onters with the Vidashaka, talking about the moins of conciliating the Queen and setting A'radyika free from her captivity. Ho approsehos Vásayadıtts and trios to appeaso hor, Being informed by Samkrigájani of tho real cause of the Queen't borrow, the king informs her of the expedition sent by ular egalost the Kalinga king aad bow the latter's armies karo boon derestod and bor ho expeots shortly to hear of tho comploto overthrow sod destration of Eslinga. At this momont Vajajasons, the victorious general,jazd the chamberlata ot Didharamp sro Doogooed. The chamberlain Informy the king bor Vijyalone dofosted and elow ths accorso a klag of Kalinga la battle and restored bio master Drdbaraiman to bis klogdom. 1. then barrutes box Drdbavarman's daughter Priyadariti ly lost truco ot her can bo tound. At this moment Hanorami korriollty eaters with the red nows that roogikā tas drank polton. On bearing tbla Vesatadatta lo talt:n with pesitenes and DO ·XXIY and at once orders her to be brought before the king who witb his knowledge of magic spells, will save her life A rangi Is then brought on the stage in a dying condition The Obamborlain recognizes ber and tells V&svadatta tbat abe is the lost Priyadarska the daughter of bue master, king Dedbavarman King Vates repeats bis magic formulas which counteraet the effect of the pp1901 and A ravgiki 18 gradually restored to life Válavadatta is delighted to and that A ranyika, who 1 no other than her cousin Priyadarslar oleo called Priyadarsida is restored to life She tbon place her consin's hand in the hand of the King to ind cate that she 11 bus lswfolie, in stoordance with the promise of Drdba VATman The play thoi ends happily with the customary benedictory stanza, praying for Vitoral pea o prosperity and contentment (2) THE SOURCES OF TIE PLOT OF THE PLAY The plot of the Priyadarsıká, la Its general outline, 1 derived from the semi legendary life of King Udayana A. given in the Brbatkatbá of Gandhya The story of the loves of Udayans, king of Kausam also called Vat8416ja, and Va savadatta and of hus romantio adyentures, seems to bave been exocodingly popalar in ancient Indis judging from tbe fact that it has been referred to and tarned to literary Account by maty Banokrit poats It is referred to be Kalidase in bio Moghaduta — 98417157093171996 and 72T Courant पसरानोल ज and by Sudrake in ho Mrrobcbakatika - WTITUT TE W Bbála, one ol the earlier poeta, kos takon the love intrigace of Udayana for the theme of two of hteplays-स्वप्रयासवदत्त and प्रतिज्ञायोगधरायण Subandhu intla woll. known V&8etadatta desls with tbe adventures of Udayans in the aoqui ltion of Vsayadatta In the way of F997 who lived in the 11th century, the story of 37 is related at ength Udayana was the son of Babalss Dika (ree note on Vataara ja P 3 > Sahasrådika tortied Mrebrati tbe danghter of kytararmır king of Ayodhja When Moga vala was pregnant she bad a desire to bathe in a pood of blood wator Whila batblog obe was sustoked away by . bird of the race of Geruds and left on the R sing woaptala A young sage BW her there lamonting and took her to ·XXV an the hermitage of the cage Ja'madagoya. There ahe gave birth to her son, Udayana, who was taken care of by Jámadagoya there. Udayans wbile atill a boy, once rescued the rerpent Vasunemi, the elder brother of Vosaki, from & enake-charmer. The serpent, in gratitude, took Odayana to Pa'tals and bestowed upon him a late and come unfading garlands and brought him back to Jimadagoya's hermitage. Udayana after his ascension to the throne indulged too much in hunting, especially in taming wild elephants by the music of his Inte Ghobavati. He set ble heart upon marrying Vgavadatta, daughter of the powerful biog 703487 (Also called ita) ot Ujjain and his queen Angraysti. Chanda also wished to bestow his daughter in marriage on Vate. But the enmity between the two klogs prevented such & ndion, by negotiations. Afterwards USPETÈT bad Udayana reized ard brought captive by a stratagem to Ujjain. Be was kindly treated and ordered to teach music to Và avadatto Thus Udayana had opportunity of making love to Vásayadatta. But he was a pritoner all the 82me. His astute minister tutur contrived a plen of rescuing his royal master and one night Udayana fled away with Vásávadatta who had been won over to him without ber father' knowledge, and safely came to Kaas'ambi. In tho 77931ht of Kshenedia, written also in the eleventh century, the story of Udayan, cours and diferis little from that related in tho Xatbásariteágara. The only Variation is that young Udayana was taken to Pa'tala by the serpent whom ho had rescued and there bo married a Na'84-damgel ( APT**T) and obtained the lota Ghosbavati, Now the opieode in Udayana's courtsbip of Vasavadatta, which is dramatised in the Embryo--Act, agrees with what is related in the Katha.; but the episode which formg the theme of tho present play, viz. the love of Udayana and A'ranyiki, a captivo princess, the daughter of the forest King Vindhyaketa, is not mentioned in the story of Udayana as related in the latem. But the love intrigue of Udayana with a captive princere, Bandhuwati, which is briefly mentioned in the Furatit, resembles tbe plot of the Priyadaraka. We quote from the frame the following passage relating to Bandhumati :- किंच बन्धुमती नाम राजपुत्री भुजार्जिताम् । गोपालकेन महितां कन्यां व्या उपायनम् ।

·XXVI तथा मलिकत्येव नामानेष गोपिताम् । अपरामिव रावण्यजलधेरुद्रता भिपम् ।। यसन्तकसहाय सन्ष्ट्वोगाने लतागृहे । गान्धर्वविधिना गुप्तमुपये मे स भूपति ॥ तच वासपात्तारप ददर्श निभूतस्थिता। प्रकोप च बद्धा च सा निनाय वसन्तकम् ॥ मत प्रवाजिका तस्या सखी पितृकुलागताम् । स सारुस्यायनी नाम शरण शिश्रिये नृप ॥ साता प्रसाद्य महिपी तथा सैव रुताज्ञया। ददौ पन्धुमती राजे पेशल दिसतीमन ॥ ततस्त बन्धनादेवी सा समोच वसन्तकम् । सचागत्याग्रतो राज्ञी इसचिव जगाद ताम् ।।* (Kathssantshgarau C 67-73) But weather the कथाप्तास्सिागर Hor the वृहत्कथामअरी can be the source from which Larsla derved his plot of the Priyadarska, since those two works, which are profopgedly abridgements of the 19, were whitten in the eleventh century, while ont author Tot in the 7th century Moreover we know that the story of 34 was kaown to old writers like FIR ad ag and even to moro ancient writers uke Sadraks and Bhasa The sopros from which all these authors derived their knowledge of the history of Udayana Vatsarája must, thorofore, have been ancient work, called my, composed by 371 who lived about the lat century AD This वृहत्कथा or the large collection of stories was written in the de language ( a low Prakrat dialect) and consieted of one last of votees This great work was the inexhaustible storehouse of stories, from which many Sanskrnt witors like Bhara, Kalidas, Bava, Shri Harghe, Bhavabhati and others, derived the plots of their works Thoongival वृहत्कथा 19 not availabloat presentbut we bare two excellent sannanleg of it, the CRM hy 9 and the कथासरिसागर by सोमश्व, which hayo mentioned an YB •The King in the paasages Udayanatho sovereignoftha Vatsaa the Queen is b18 consort Vasavadatta Goyilas 13 her brother and Jasantats in the Kinge merry companion ·XXVII above*. The story of Bandhamatî resembles that of Priyadars'ıkā, as the stadent can see from the passage from the TETETT quoted above, the names 377, UT, ***, Tihakai and mer1411, being common to both. Honce ve conclade that Harsh& took for his basis the meagre story of Bandbumatí, perbaps written in greater detail in the 14, and worked it up into the present charming play. it was (3) TIME ANALY815 OF TIE TLAY, The action of the Priyadarská covers & period of a little over a year, from the eutumn (FTF) ot one year to the Autumn of another. For we are told in the Vishkambhaka of the first Act by the chamberlain of Drdbayaman, the king of the Anga country, that his master was already a captive of the king of Kalinga and from the olosing peech of the same chamberlain wo learn that the season of the year is Butumd; for ho speaks of the uncommon roverlty of the automnal beat and of the sun having paseed from the zodiacal 915o virgo to libra. From tblawe know that the month was A'ovina, in which generally the san i. in libra. And we lourn from the montage sont by the Queen Angérapati to bør daughter Vasavadatta (20 p. 40 ) soma days after the evoats of the third at which happened on the full moon-day of Ašvina that moro than a your slace Dedhayarman was takon a captiva, so the action of the play spreads over a period of a year and a few days more. Act I. It is not possible exactly to for the time of tho action of the 1st Act. It begins in the forenoon of somo day in the mouth of A'svine bomo two hours before noon as the Aot clotes et mid-day (see $1. 12). The King is introduced as holding conversation with his companion Vedantaka some day after bis escape from prison and return • Thoro is also a third and a more faithful abridgemont, which is also earlier, of the IBthatkathi, known as the Bihatkatbla'lokasangraha, by one, Buddbabya'min. It lo, lowsver, in complete, only 28 caotos bolog extant. In this also the events coquected with the burtb and early years of Udayana bro osrrated including his visite to the city of the Serpents and bis acqninition there of tho magic lute, Ghoabavati 'and of the art of taming elephants Col U. Ed. Iotrod. PP lxs, lxxi.

·XXVIII to Kangambi with Vásávadatta We learn from this conversation that Vatsarkja was incoased when he heard that Drdhavarman was taken prisoner and kept in custody by the King of Kalinga. Bo the news of Drhavarman's captivity 600t have reached Kaus'ambi by the timo the Kanchuki in the Visaksabbaka reaches Vindhyaketn's capital. Again in the same aceno when Vijayasena parrates the account of his conquest and utter destruction of Vindhyakett, We Are told that he reached the abode of Vindhyakotu after a forced march of three days and that the attack was made at day. break. And we know from the speech of the Kanchukt in the Vis kambheks that all was over by the timo' bo returned to Vindysketa'a place from Agastya-tirtha where he had gone to bathe and that no trace of the attackers was found. So it follows that the battle was of short duration and Vijayasena, had left the place by or shortly aftor noon.; for when tho Kanchuk arrived on the scope the sun was still very hot. Now Vijayasenn must have taken at least three days to return to Kaus'ambi, so that he must have reched it on the seventh day from hib atarting from it. So the events mentioned in the Viskambhaka, viz. Vindbyaketo's dagtraction, the loss of the princess and the Chamberlain's rololro to go back to bio captive master, must have taken place four days before the aventa uf the first got. Act II An interval of at least ono 5667 (or moro) operates the events of the first Act from those of the second, and for the following toasons. (1) It is clearly said in the Pravos'ake of the fourth Act that DrdhavaYMAU was in custody for more than ono year, and this intorvaI can only be placed between the Grst two, Acts, as the third sod 1bs fourth Acts follow pretty olosely upon the second. (?) From the onversation between Indivariks and Aranyika wo learn that A great Intimaoy had grown ap between them. Again from the game conversation we farther learn of the Qacen's Intention to inform the King that A'rangiti had resobed toarrlageable age, in accordance with hl. owa bidding thst ho oboold bo omlnded when obe reached that age. And in the Tune Icebe when the King roes A'royiha and discovora thit the l: Vindjakota's daughter be ezclaims - Ob we bave 2008 baan robbed " All this points to a loog istoryal. (3) From the King's description of the begatifol sono presented by the ·XXIX garden attached to the Dbáràgrha and the tank in it, it is cloar that aatum, had just set in ; and that can be the autumn of the next year. The timo of action of tho second Act therefore, io somo dsy in A'arins, as is evidont also from the Queen's observing a fast in honour of the great age Agastya and her intention to give a Srastivágana on that occasion which is done after Bhadrapada, (see p. 24 sad com. therson,) and the events mentioned therein take place Jate in the afternoon, as it is goneet when the King retires to his palaca after bis unexpected mesting with A'rangika. Act III-pens with the entrance of Manorama, rather late in the afternoon of the fall-moon-day of A'avica. For lo her speech Manorama tells us that the remaining portion of the play composed by Samortybyant is to be acted before the Queen on the Kaumudi festival, which falls on the afteenth day of A'-'VIDB, and that her friend A'raggiká being abzontminded cowolttod a balstako in her acting on the day. A'ranyika theu orters and appears from her conversation with her confidanto Manoramaå to have been deeply affected with love for the King and piolog for bia company day and night. And from the lips of the Vidúsbaka who enters next wo learn that the King aleo is love-sick, passes his nighta elooplessly and finde plorare in nothing but dovising mcaos to obtain a night of A'royika'. This obown that wo mast sllow a period of five or els days at least to intervene between the sesond and the third Acta to account for the deep impression made on the minds of the lovets by each other's sight at their first meeting. Wben Manoram noen Vasantaka and learns from him bow belpless his friend wis on account of her friend Aranyiks. oho tells bim bow their proting was to be brought about tbat very nig when the acting was to bo performed before the Queen. Vidagbaka then leaves bet, sad sue starts to go to the play-bouse with A'ranyiks, and by the time they outer lt, the twilight is already past (1H101 A1 p. 31). So the notion of the third Act begin late in the afternoon of the day and ends when it is bed time, after the breaking ap of the Mimic play, by the Queod. Bea p. 44, King's apeocb. Act IV. A few days' interval sepaistos the fourth Act from the third. For in the opening peech of Vapora. ib. complalos ot the Qason's long continuid cogor and of the burdinipa of confinement to wbleh ber friead has been abjected.

·1 XXX Thus thome that Arnsiki wa in prison for some days Agilt froz b, conyeration betroen Saulputyagani and Vissradatta ** learn that the A rioyasi-love affair was a reint erant And Vidürbats obzorous $1ggestion to the King to obsorto Topth's fast to gun ido Queen' favour and 21: Fordt fartdar on TRT y fr- *7*701716H P 10, obow that of many days, even a weak could bata olapad after the eronts of the 3rd weet so the infetyst separstide ibe third from the fourth Act mot be Very abort one But we bare no means of determining the exact hour of the day when the action of the fourth Aot be- ន៖ It lasts for a period of about tåree honr: (1) OEOORAPLY OF TIL PLUS Soe Notes P 49 TECHNICAL RIBLARKS Je will be easily seen that the Priyadarki does not plovely follow the corious canon found in the Sans treatises on dramaturgy, such as the Dasarnpska ond the Sahityadarpana, as the Rstodveli dong The Sandhie are zot elaborated and woll proportioned The Stingâratasa, the mara sentiment of the play, is not woll developed in its two parts an and Für. In this respect the Mal is far superlor to it In it the king's P139106 (PET) which is compared to a plant 19 gradaally developed as declared by the post homselt 12 the words , 6(1971), 97 (5611,) and 40A, Ice IV. 1 A detailed desorption of the eandhis and their angas ir not attempted here as il 13 not of mach ge to the junior students A, # Natiks the Priya conforme to the role of dramaturgy on broad lire A) regards the thro: cbiet requisites, the TED 15 TEATT as the story of Udayana and Viskvadatts was popular at the time the play wag monitten The Nets or hero 13 Gia (see ante p ) The Heroine belongs to the variety known as grey (defined as gred 5999 200 4 T F Ds, R I 16 ). The objet sentiment शद्वार or love Thuto ja OVURDonal infusion of Kerana a: za the lament of a'ronyiks (sea pp. 15,24 ) and when she drinka ponod, in order to pat an end to her muorabla existence (808 p. 54) There is also a slight tings of the हास्यरत Rs when the vide says एने वर राजानी an ·XXXI स्यापि मत्यन्ले (238), or advises the King saying मातोपवास TT &c. (P. 48). As regards the denouement and the general setting the play opons with the usual pet. Tho is not in its usual style bat rather on the model of Bh458, 69 no other character tban the Balradbára is introduced ia it. In it the gatra. Informs the audience of the name of tte author, the title ol the play and the occasion of its perform ance. Then there is a Viskambhaka in which the chamberlain of Dşdhavarman, King of the Ange country, briefly barrates tbe part of the story, a knowledge of which is necessary for the understanding of the events related in the play. The Bija or seed is also cast when the Kanch, Bayı-a m (TTTER 741 Fuftratü &o. 868 p. 4), Tho Makhasandhi begins where the King commits Aranyika to the care of VAJAvadatta and terminates witL the close of the 2nd Act. The Bija germinates and spronts up when the King tees A'ranyika (p. 18) and afterwards clasps hor at the neck (p. 20). The si Kau begins with the 3rd Act (cco com.) wherein wa bave tho TTROT AINO. In the go there is yr for the attainment of tho Phala or the final object; but to havo It farther postponed the poot has used the devics of a F1ZT,* which brings to light the King'a intrigue and thus hinders the progress of love. In the fourth Act wpion is introduced by a Pravesake, wo bave tto 87T and the Green Sandbls fased together, wherein tho final object is attained; and the play closcs with the usual Bharatavákya, (6) CRITICAL REMARKOx HJARSHA'S TIREE PLAYS. of the three plays of Haralia, the Ratpirali and tba Priyadars'il å have the same subject matter, i, ., the lovo intriguo of King Vatss. l'our characters ato common to both of thcso playa, namely, King Vatsa, Qacen Vâ aradaitā, her attendant Kanchanstal and tbo Vidurhika Vatantaka Rumauvat, the usual general of the King's army is mentiooed 4427 xlso called ( ap act containing & play in it) is defined 11-tirane (TETU 51TATT 1 373 g * ttpraft: Sal. D. VI. 20A Sccoodaty Act, 1corporated into principal Act and baring the characteristics of play in brief, such it prelimioanes, iatrołuclios, its Bija and its final ead, to called it. This desice has been pued by Bharabhati iu bis Uttar, act VII and by Bijus'kbara in Lin raforamiyets, ·Nitra nollar sebemes tre dorited for the meeting of the Jorets by Varsatsks and maid rattant Other similar episode to the foark Act of both the plays are the imprisonment of V1210laka and or the princer R1 and their rocoa by the king in one cure from polron and in the other from firo, and the Golmapction of the Queen to the manage of the Heroine of each play with the Hero Other minor similarities and pointed out in the potes . Tko Peljadaroita, korrater, bears a closer teremblanco to the Malavikagolmitra ot Kaluliis in the general ontline of its plot, both being based on tto story of Bandbumati (10 supra P TIS) Thus the hand of the Pridects Prya 2 promised to king Vatss by her father while in the Bit *o alllacco 18 acught with king Agalmitra by Midhata ena by giving him in mamigo his sister Malavika Both Madhav code and Dşdharaiman, Priy's father, Aro takon pigonera by ziral kingsod both are finally record by the Heroes of the trys drama Matbatasena's bolalator tries to brog M& to 10g Agalmitrs, while it to Dpib s chamberlain who trica to bring Priya to king Vatea Both meet witt acclients the beroide of the MA is brought by Trasena, the keeper of a border fort and given in charge of Dhanni, Agoumitra's Queen, while Tnya is brought by Vijaya9ods, the victorioty commander of the army ol Vates, to bus mastor, who in bus torn orders her to be committed to the care of Lus quoen 14&vedatts Both the Heroines are taght decit., C10E10 e, and bath are accidentally seen by the respectiva Kings, and loro aprings up between the heroes and the heroinos of the two play. To bring about the meeting of the two lovers tko mino play is arranged in the Pry, whilo, dancing exhibition 11 arranged in the MAI Malaika is seen with her attendont 10 a garden by the King and his confidant And so 18 A'rangiks in the Priyadarsika We have Kausiki the loor of Madhavasona's midistor, in the role of a religious lady, appearing at a fnend of the Quesa in the Mal, and so we bava Sámkriyiyanl 10 tba tbird and fourth Acts of the Priy The Vidu 's careless talk 10 bleep in the Mal betrays Wilavıka's meeting with the King, while Vabantala's talk in sleep dunog tbs course of the Mimac play brings to light the uso used for bringing aboat A'radyaka's meeting with the King in the Prıy. The mogu use of the ring bsanng & enke ·XXXV figure which countersets the effect of poison in the cale of the Vide who feigas to be bitten by a serpent in the fourth Act of tho Jal. bag its reflex in the King's counteracting the effect of poison on A'ranyika by mans of a charm. And finally wa bare tbe tros identity of A1. revealed in the MA in the last Act as that of Aranyitá in the present play. Tło similarities of ideas, expressions &c, found between the Prig. and tho Yogauscda wo have pointed out in the notes. The Nagananda is a Nataka ia five Acts and stand. on n higher plana than the other two plays which are mere courtcomedies. The play is ol x unique typo, since it depicts the grandeur of self-racrifice in human life. A, Dr. Keith Temarke, “ [1879b8 tere riges to the :k of depicting the emotions of self-sacrifice, charity, msgnadiraity, and resolation in the face of death" Tae Hero, Jimútaváhana, panetrated with the ideals of Baddhism, is convinced that to sacrifico ourself for the good of others is the highest daty. He has accepted the doctrine of non-violence and adheres to it so firmly that he will not make war even mpon his enemy who hay deprived him of his kingdom. When his friend and brotherin-law, Mitrarasa, assures him of an easy victory over his enemy and the consequent restoration of his kingdom to bum, Jimutavābanı replies: स्वशरीरमपिपरा य ख दयामयाचित' कृपया। राज्यस्प ने म कथ पाणिवपक्रोयमनुमन्ये । • I will give my own life for the sake of another in compariou nasked, how then can I consent to the crnel laughter of men merely for winning & kingdom.” Here Hargua reveals himself in ottering these sentiments Harshe who had been once tbe bero of hundred battles and who by his brilliant victories over his enemies had become tho Paramount Lord in Hindustad, was in the last part of his lifo & steuach follower of the Badabishtio doctrice of non-violence (MIĘET). (7) TRE PRINCIPAL CHARACTERS ON THE PLAY. VATSARAI (TIE HERO). Tbo Hero of the play Priyadarsika, Vateatája a king of Kausambi, bas many charming logends sod stories woven round his name. It seems that his lito fall of romgutte adventures, made a deep impression on the popular mind in old ·VXXVI days, as 11 clear from the remik 12 the 2771971 of the play, WAT B7 Am77 " Hence there are no references to his great deeds in this play sayo one ad fonture, as , h13 escape from his captivity, in which he was kept by the powerful moparch, shagens Pradyots, of Ayantı, add bus carrying of tho latter's daughter and making her bis Queen And pince the poot chosa to write a Nátká it was not his object also to prosent hva hero in any of tha berions aspects of his charactor Bound by the hard and fast rules of Sans Dramaturgy he hay cost his characters in the conventional mould He has taken care to show big hero in the enjoyment of courtly life, the starring events of bu pablo life having already won for hinn great popularity Wo cancot, therefore, compare him with Agaimaitra, the hero of the Malaşıkågnimitra But compar Atively speaking the character of Vatsa 18 not go well developed in this play as it is in the Ratnavalı Bo belongs to the class of beroes called slip,-Furm, gay, and tender- Liearted' He is courteous and affectionate to bio Queen while engaged in a new love adventure As soon 33 be sees a charming young maiden, he falls in love with her and thanks of nothing but meeting her sgain and making love to her Ilu 18 helped in his love intrigue by bus companion, tha Vidushaka, and Manorama an sttendent of the Queen In the Mario play in which by & Capuing device ho 15 519en an opportunity of meeting A ranyikt, be proceeds to act towards ber so each an ardent manner that be ropues tbe saspiciou of his queen Våga vadatta When the Queeu knows the wholo truth and breaks ap the play in auger, be apologises to her in all bumility and even falls at her feet Though his Quaen doea not accept bus apology or relent, ho tries hio utmost to CODculato her And wben the Queen Losing thet Aranyika is her cotta Priyadarsiks, places the latter's band to the King's hand, he with deli&icy withdraws his hand saying that ho is ratified that his Queen is recopelled One noble trait of lus character, bowever 23 bronght out when bo appreciates the polarr ol bra fallen energy and apgrodgingly bestows praise og him in the words- 90a) my मिन्स्यकेतो साथ । सयुरुषोचित मार्गमगरनी पम घोटिना एक पर्य विय- Amira (Act I) ·XXXVII A'RANYIKA' OP PRIYADARS'IKA'. Priyadarsila is the Heroiae of the play, as the very, dame of the play clearly shows it. She is called 310*up to the time of the denouement, because she was found in a forent. Priyadars'ila la a colourless character, possessing no utriking intellectual or moral qualities. She bolonga to the variety of heroides koowa &s grei, who is defined as-get 7714F T4141 DE' She is represented as a young maiden ot rate beauty. As aoon as the King catches right of her bo barsts into a panegyrfe of her beantg THCLGA117AAT antite fel &.(Act II, 6). When she sees the King she falls in loro with bim and remarks that her father was right in promising her to him, thus preferring him to other suitors (rý & FIT: I TETTE FITTEN I 141+ WY NITE WETT. 1). Sho ie extremely cimid and sensitive, Ske laments that her pagsion is hopeless and will never find it, fulfilment. She therefore longa for death tbat would relievo box of hor sorrow- KUT HTO HURT 97: À CET 71 Azia: Fortnnately she is cboored up and helped by ber friend spirit. But she gives way to sorrow and despondency to such an extent that the actually takes pollod. Thos Priyadaršiká opinces none of those qualities which constitute a great character, Thero is, hopever, one admirable trait in her character 8180. She does not reveal ber identity to the last, even to her confidante Manorama and this apeak. bighly for her keen zen:e of family honour, VA'SAYADATTA'. Vasavadattá is the chief Quean, elderly and majestic Her 10vo for her lord is sincere and deep and bor jealousy proceede from her true deep love. In the Aimle play, when the King make love to Afranyikā, playing the part of the Queen, with groat ardour, hor suspicion is arougcd. And when she learns tie trath from the lips of the Vidushaka, who gave out the secret in his drowsiness, sba breate op the play in anger and orders both A'ranyika and the Vidashaka to be imprisoned as being accomplices in the plot. She purns tho conilciation and prostration of the king. She is truly a mat (proud nelf. repeating women). She keeps Aranyikā for a pretty long time in prison. She is not easily appeased. When, however, she learns that A'rsylka bas taken poison, she is as once atruck with penitencs and immediately orders her to be ·*XXVIII brought into the presence of the King, who 13 42 expert in the treatment of poisons and magio formulas, for being restored to lile She is an afectlocato nioce, to: yo see her plonged in doop griet at the news of the long imprisonmont of her aunt's hashaad ( Act IT, Tbe sobility of her mod 19 seen when she gladly bestows the Land of A ranyłku, whom she now knows to be her cousin, Inyadarsika, pa the King fulgiment of her father's promise In fact the picture of the Qaeen drawn here, though not to magnGcent as that of Dainai jo tie Aal (668 T 19 ) 18 quite 10 Lepog with the requirements of a Natika in Do 1 80 TIE VODUSTAKA The Vidåsbaka is a toon co.npanion of the King wboamoges him in his lonely hours Ho 13 A Brahmana but without , great wit or wisdom Le 14 greedy and ever eagox to receiva gifts He excites laughter by his appearance, quait remarks and movements II. helps the King in bus lovo atrigne \ben Arabyiks is attacked by beer and covering bør face with a mantia calls to her friend for belp, ha cleverly advises the King to run to her rescue erlently so that she may clasp bim zaistaking hina for hor friend accomplice in the schon, by which the King gets an oppor tunity of meeting and making love to Arayika in the Mimic play Dut he is light headed and grog out the truth of the whole plot in big drowsy condition Be, however, sometimes maksa very clever and appropriate remark When the chamberlain of Dşdhavarnan informs the King that tho Kaling king was killed and Drdbayaran restored to buy throne, tbe Vidushaks says in the hearing of the queen, इशे अभ्युदये अस्मिन् राजकले एतत् करणीयम् । (राजानं निदिग्य वीणावादन गाटयन ) गुरुपूजा (आत्मनो यज्ञोपवीत दर्शरद ) ब्राह्मणस्य सप्त ( trou*1 ETAT) TURHA FÉI When the King succeeds In restoriog A ranyika to consciousnes, the Vaduskata again sigbuficantly reminds the Queen, "We वैद्यत्य पारितोषिक विस्मृतम् ।

·DRAMATIS PERSONAE, :0:- MALES. TUTT: -The stage manager. ITA: (347:)-Tho Hero, king of Kansambi, 674F: ( TAFAF: )-A Brafmain, the Elero's companion and confidant, Tinister of Vatsarája. ATE:--The commander of the army of Vaterrája, Gang:--The chamberlain of Drdlevardman. FEMALEB. STITOTTET – Whoge real name is TETET, also called queiar) The Heroine, daughter of king Drdhavarman. THEAT--Tho Queen, wifo of Vatsaraja and daugbter of Mahasona (also called Pradyota ), king of Ujjain. 12ITATH-An attondant-raaid of the Queen Tar--A maid-servant, confidante of A'ranyika. fafter-A maid-servant of tho Queen. Watt (THT)-The female door-beeper or portress of Vatsaraja argugat-A -An elderly Loly lady, agzaciato of Vasavadatte. PERSONS &c. MENTIONED. TOT --Tko chiot minister of Vatsarija. Tork-King of the Angn conntry and father of the Eferoide, bard, and Retinue of Visagradatta, SCENE. L'rarešaka of Act 1.-soma part of the Vinduisa forest, Rest of the Play-Edimbi, the capital city of Udayaon.

·भूमिका। यस्याश्चोरश्चिकुरनिारः कर्णो मयूरो मासो हाम: कविकुलगुर कालिदासो बिलासः । हो हो हदयदगतिः पयवाणस्नु घाणः केपां नपा फथय कविताकामिनी कौतुकाय ॥ -जयदेवस्य । इह राल राकलविद्या कलाग्लागादिपोटेऽस्मिन्मारते व निजयश.मुरभीकृतदिगन्त- रालाः प्रतिभाशालिनः परमानाः कपीश्वरा भामकालिदामादयः स्वरत्याभरणामधू मण्डयन्ति स्म । सेपो च केचन प्रपन्धप्रमोदितरसिकमण्डलाः शन्दसगानितोर्जित- यशस्था विदग्धपुरीणाः प्रतापगंतापितारियन केवयार्जयमुत्यादयन्तरवर्तिनी राजानोऽभूतमित्यही नवनवाथर्यनिर्माणयानुरी विधेः । श्रीमरस्वत्योः स्यातनिर्ग भिगारसदयोरप्येकरयानं फरय हि सहायरस घेत. पुनहलितं प्रमोदनिर्भर चन पुर्यात् । एतेषु श्रीमदकयशाचर्मभीमटमोजादिषु कवितृपेवप्रेगरीभूतः श्री. भिवः पानेश्वरेभरः चक्रवर्तिश्रीहर्षवर्धनाल्पया पुरारतकोविदेष्टम्यमाणीति- मुंपतिरिनत्रयोदशमातापेभ्यः प्राग्भारतभूमण्डलं प्राशाम । यस्य च प्रियदर शिका-रत्नायली-नागानन्दरामाश्य रूपात्रयमय यारामिटान्नापरण. प्रदानान्मनो निर्मानुयथार्थनामा प्रत्यापयासिकाना हर्षे संरयामाट नियन्धे गुणानाल्यातरीयनि । यस्य चेयस्य ग-यो गयविमूर्धन्यपदवीमारूर: वाद- भयोः प्रणेता धीमध्यानः सस्वामिनः शस्य यदान्यस्य शिन्तस्योशरचरितम्य कारितमागापिकास्पेग गुरिनपदया, नियन्ध । सोऽयं पित्तवमन्वारी दर्प- चरिताम्यो गयमन्ध एव धीहपनपनारनियतादिरिमाने प्रधानतया महायता समुनगरति प्राचीनतानांविविदितगामिति विदितमेर मुधियाम् । कचिन नव्य. गिक्षिा नागानन्दादिस्परात न श्रीहर्षरधनपत: कि नुकम्पाप्म्य तर- जुनीक्निः कोरिनिमन्यमाना: मानदे प्रत्यानिहन्त । तेरि भिन्नभिगमनप्रास्या माती निसक्षेविषयोतिनिपातः धीमो भगम्य, धन्ये - पर्धनाधिपतिस्विनामे इतनस्य पायरस, भरे पगारनिर्दिगी मागस्य सोमाय न चिकी तावीदरम्य नियमिद सामालिन मानारंपरानुसरगनाला यम्म्यमानाः परन्ति पेतः निरागम् । मौर्य गो. उगो न नीयतामामा सविना विमग्मिन्यमा- निशी मात्र परमाते। सामना गांव भागाशक्षिा दिमहारशियामार: MAY मेरी निमामि एमेणापत्रम् । स 2074 पिकामाम-~"मनमा पार गरमाममि. म.

·- (११) रीतिः कृतिनावदेति सौभाग्यलाभप्रतिभूः पदानाम् ॥" इति । प्रसाद श्रेषमाधु- यादिकाव्यगुणैदिगुणीकृतसरसत्वमस्य प्रबन्धये सर्वत. समुहसतितराम् । पो हासमस्तपदप्रचुरपचाराद्धे न सरलाया. सुस्पष्टाया घाचो निबन्धना कविरयं भवभू- त्यादिपश्चात्तनम्व्यपक्षेया सुतरां समानार्ह इति संमतमेव विपश्चिताम् । एतदीयप्रवन्धप्रये परस्परानुगुणगुणगणनामेण रत्नावलीसमाख्या. नाटिकर शेखरीभूता 'सामुद्दिदयाह कुटनीमते श्रीदामोदरयत--- " आलिष्टसविन्धं सत्पात्रगुवर्णयोजितं गुतराम । निपुणपरीक्षदृष्टं राजति रत्नावलीरत्नम् ॥" इति । तदपेक्षया प्रियदर्शिका अतीय न्यूनगुगा । नागानन्दं वस्य क्वे' चरमैप कृतिर्भवेदिति तस्य शान्तरसप्रधानाद्वस्तुस्वरूपात्मुव्यक्तमेष । नाट्यदृष्टया गुणपोलोचने मध्यस्थतामारूडं च 1 प्रियदर्शिाया नाटिकात्येन चत्वार एवावा । अत्र नायरः मुविष्यातचरितमौरभो वृहत्कथादिषु वर्णितहारिवृत्तान्तो वत्सराज उदयनो नाम धीरललित. । तस्य च उज्जयिनीनृपतेमहासेनस्य प्रद्यातेत्यपरनामधेयस्यात्मजा वासवदत्ता पत्नी यात्र देवीति शब्देन व्यवहृता । नायिका च दृढवर्मनाम्रो राज्ञो दुहिता प्रियदर्शिका यस्या अर आरम्भिवतिनाना व्यवहारः । सा च मुग्धा । रसोऽत्र प्रधानः भृङ्गार एवाही । इतिवृत्तं बास्या वृहत्कथावर्तिवत्मराजचरितं बधुमतिचरित चोपजी. व्योपनिबद्धम् । अस्या च नाटिकायामुपवर्णित कथावस्त्वद्वानुस्मतो विभक्तं सारांशरूपेण अध्येतृणों सुखाववोधायानोपनिवध्यते- प्रथमाझे तावनान्दीपाठानन्तरं सूत्रधारभाषणे नाटिकाया अस्या कर्नामनिर्देशा. देसन्यास ततो विष्कम्भके दृटरमपतेः कञ्चुकिन प्रदेशातन्मुसेन पूर्ववृत्तस्य बस्तुन- किमपि निवेदनम् । तयथा-अनाधिपतिडवर्मा मनाध्यमानापि स्वदुहिता कथमनेन वत्सराजाय दतेत्ति बतानुशयेन परसराजो वपनान निवर्तते इति च धरन्फ्रेण कलि- राजेन सहसागत्य वलावतच गारदारजर्जरीतो बन्धन नीत सदश्य तस्मिनवस्व- न्दसम्भ्रमे दिटया कयंविद दृष्टा तनुहिता प्रियदर्शिका 'अतःपर नान स्थायुक्तं यथा- चिदेवा व सराजायोपनीय स्वामिनमनृणं करिष्यामीति मन्वानेन तत्वञ्चुफिनापा दृटर्मिणो मित्रभावान्वितस्याटविरस्य नृपस्य विन्ध्यरतोगहे स्थापिता । स च कञ्चुरी नातिदूस्थमगम्यतीर्थ भानार्थं गतः । यदा स नितम्तदा तस्थाने यरपि सह विन्ध्यो- तुना स्मनष्यता नीतमपश्यत् । ततः स्वामिनभेव गत्वा तत्पादपरिचर्यया जीवित सपळरि- ध्यामीति सोपि निर्गतः । तदनन्तरं वराराजविपश्योः प्रोशे धन्सराजेन भृत्यादीनामा- स्मन्यविचला निष्टा या वासवदत्ता च श्रीरलमासादितमिति यमनमा । ततोविन्य- देतोपरि यन्यद्दानि विजयमेनस्य प्रेषि-स्य न चाथापि योपि तमाशादागत इनि चिन्तापराय राज्ञे प्रतीहारी प्ररिश देव विजयरोनोऽमात्या मायाप्रतीहारभूमिमुपरिद- ताविति न्यवेदयत् । प्र लयातो व तो प्रविश्योपारिसनाम् । दालनानंतर जयगेन फयय विध्ययनातान्तं विस्तरतः योनुमिन्छामीति राजदिये विजयगेन्ना यथावान पातर निलो पलस्य नुगुलफलकादेन प्रतियुध विष्यतेनुः फेगरीय विन्ध्यवंदरागिन्य गया निहिताविषयमहायः सन् गुयुधे मया च नि शोषित राहाय ·(४३) एक एव विमर्दिताधिकबलकोधवेगो दारुणतरं संप्रहारं कृत्वा शत्रुवलत्रितयमाकुलं कृत्वा शत्रपहारशतजरितोस्वक्षा युधि निहतस्तथा सर्वमान्यत् । व्यापयन्ध देय सबन्धुपरिवारे हते विन्यकेती शून्यीभूते तरस्थाने हातात हा मातः इति कृतकृपणप्रलापा विन्थ्यकेतोवदमन्युपलब्धाभिजात्यानुरूपा कन्यका तहितेत्यस्मा- भिरानीता द्वारि तिष्ठति । ताप्रति देवः प्रगाणमिति । तत एतां यासवदत्ताय समर्पय । वक्तव्या च देवी भगिनीयुध्या खयेयं सर्वदा द्रव्या विशिरकन्यकोचित नृत्यगीतादि सर्व शिक्षयितव्या चेति प्रतीहारीमादिदेश । वासवदत्तापि तामरण्याव्येत्यारण्यिकाशब्देन ध्यपदिष्टों स्वान्तःपुरेऽस्थापयत् । तदनन्तरं वैतालिकेनावदितमध्याहसमयः मानार्थमुदति-. छनरपतिः । माह च ग्मण्वन्तमभ्यन्तरं प्रविश्य कृतयथोचितक्रियाः सत्कृत्य विजयसेन कलितोच्छित्तये नेपयाम इति । द्वितीयाङ्के तावत्प्रथमं राज्ञो विपकेण सह प्रवेशः । तत्र गृहीतरतागुपवाराकृशा स्वप्रिया द्रष्टुं सोत्कण्ठो वत्सराजो घयस्येन वसन्तकेन सहोत्कण्ठाविनोदनार्थे धारागृहो- घानं जगाम । भना-तरे अगस्त्याय महर्षयेऽयं दातुकामया देव्या शेफालिकाकुमम- माला लघु गृहीलागच्छेत्याज्ञप्ता इन्दीवरिका नाम चेटी धारागृहोद्यानदीर्घिकायाः कमला. न्यवचित्य लयागच्छे.यादिश्या आरज्यिकया सार्धं तदेवोद्यानमागतवती । यावञ्च धारा. गृहोद्यानत्रिया स्कुटपजकान्तिहारिण्या हंसस्वनपुष्पसौगन्ध्यादिना रम्याया दीर्धकाया दर्शनेन चाह्लादितचित्तो नृपो वसन्तकेन सह संभापमाणस्तियति तावदारम्यिका तमा गता प्रत्यक्षाचरीवोद्यानदेवता विदूपण दृष्टा । राशे निवेदिता च । किंन्वियं नागकन्या भवेदाहोस्विन्मूर्ती कौमुदीत्यादि वितर्कयन्नृप इन्दीवरिकारण्यकयोमिथआलापाता विव्य- केलुदुहितेति ज्ञातवान् । अभवच तस्यामनुरक्तचितः । तदनन्तर कमलान्यवचिन्वती मधुकरैरायास्यमानाऽरण्यिका तन्निवारणार्थ स्वसखीमाह्वयत् । तथा ता दृष्ट्वा विदूषको- पदेशादाजा तूष्णीमुपगसार तमवालम्बत च रासीबुद्धयाऽयिका । वत्सराजाhिat कण्ठे जग्राह स्वोत्तरीयेण भ्रमरामिपारयितुमारेभे च । राजानं दृष्ट्वा ससायसं दूरमपमृता आराज्यका ते सस्पृहे पश्यन्ती स्वगतमाह अय स महाराजा यस्याह तातन दत्तास्थाने सलु तातस्य पक्षपात इति । भनान्तरे राखीगाहाम्यार्थमागतामिन्दीकरिको दृष्ट्वा राजार- मन्तकश्च कदलीगृह प्रविश्य स्थितौ । निर्गते चेन्दीवरिकारण्यके । वत्सराजोप्यारम्यिकया हृतचितः फ उपायः पुनरेता द्रष्टुमिति चिन्तयन् परिणतनायं दिवगं दृश सवयस्यों गृहाभ्यन्तर प्रविवेश तृतीयाके तावत्प्रथमं 'हने मनोरमे यः स साङ्कृत्यायन्यायपुत्रस्य मम च वृत्तान्ती नाटोपनिबद्धस्तस्य नर्तितव्यशेपमद्य युप्माभिः कोमुर्दामहोत्सवे नर्तितव्यमिति देव्या वासवदत्तयाशप्ताया मनोरमायाः प्रवेशः । सा च यःसल आरस्थिकया प्रियसण्या शन्यहृदययान्यथैव नर्तितमद्य पुनर्वासवदत्ताभूमिकया तया यदि तथा क्रियते ततोतयं देवी कुप्यति । अतस्तामन्विध्योपालस्य इति मनसि कृत्वा धारागृहोद्यानदीपिंगामा- गतवती । अपश्यच्च ता कदलीय प्रविशन्तीम् । ततस्तस्या विश्रधभाषणात्सनृपेनु- रक्तमिति ज्ञात्वा तामुपमृत्य समाश्वास्य मदनसन्तप्तगानायास्तस्याः शिशिरोप- चारेण संतापं लघुक प्रायतत । अत्रान्तर रण्यिकायो हडमनुरसेन यत्मराजेन प्रहितो ।

·(४४) परान्तस्तत्रैवाजगाम। अवर्णयश्चात्मन मुहृद आरण्यिवाया कृते जाता दुरवस्था साचा रमन सत्यास्तादृशीमवस्या तस्मै। तनोवमन्तवनातिटनाला ते प्रियससी तलथमेतयो समागमो भविष्यतीत्युक्ता मनोरमा-अथ रामावस्माभिर्भगदया सात्यायन्या ऋतिरुदयनचरितं नाम नाटर देन्या पुरतो नर्नितव्यम् । तत्रारम्पिका यासवदत्ता भवि ध्यति । अहमपि वत्सरात । तचरितेनैव सर्व शिक्षयितव्यम् । तदापत्य स्वयमेव स्वा भूमिना कुर्वाण समागमोत्सवमनुभवतु महाराज । इति तस्य वर्णेऽक्ययत् । धमत- गोपि हृष्टो यावदेव युवा नेपथ्यग्रहण फुस्यस्तावदेवाई वयस्य गृहीत्वागच्छामीत्युक्त्या स्वभरन्तिक्मयात् । मनोरमापि स्वराम्ब्या सह प्रेक्षागृहमगात् । तत प्रत्ते गर्भनाटके मर्तुरभिनयातिशयमसहमाना कुपिता वासवदत्ता भगवत्याधिक कल्पित काम्यामिति सरोपमुक्या माधनमालासहिता प्रेक्षागृहानिर्गता । दृश्य तया चित्रशाद्वारे मुप्तो घमना । ततो राजाप्यत्र भक्तिन्यमत एत बोधयित्वा पृयामीति कोगमालामुषन्धा तथा पूवा रामपृच्छन् । सोपि मूर्धिमुप्त मलमे तन्त्रमापुनीतवान् । पासप दत्तापि यध्यनामयं द्रक्ष्यामि तावदस्य प्रेक्षणीयमिति मनोरमामुक्त्वा मृत्यन्त राजाने गया आरपि च हस्तेनाकृष्य इन्दीवारके गृहाणेमामिति दासीमादिश्य राश पाद. पतनेन प्रसाशमानापि अकृत्वैव प्रसाद गता । ततो बसराजोपि शयनीय गन्या देव्या प्रसादनोपाय चिन्तयामीत्यनिधाय निकान्त । चतुर्था प्रोगके मनोरमा प्रथम देष्या दीर्घरोपना स्वसरयाया भारम्यि यायाध चिरवधनमधिकृत्यायन उद्वेगम विकरोति । ततस्ता मिलिता पागनमालेय मक्यमन् । अद्य देन्या स्वमानाद्वारखया प्रेषितो लेपाधिगत । तस्मिथ रिसित- मामीन-तब मातृस्थाने स्थिताया मम भगिन्या भर्नुपर्मप समधिय सागर पति- इतकेन परस्य । तम युधमेत मान्तं ध्रुवापि ममर्थस ते भवमादासिन्यमवर जितुमिनि । तदाचना प्रति दुर्मनायमानैव देवो तिम्तीति । तदनतर देय्या सह मात्यायन्या प्रवेश । तत्र या गादत्यायनी नेशो यगराज न्यादिवचन पन्यागेन देवी मातयति तायनस्या एव प्रमादनाथ पन्गराजेपि तनोस्थित । तत सार- सायन्या अवगतदेवीवेमनरसंहगरात्र आइ-देवि नाहमस्मिविपये ददागीन थासम् । अनिमदारापार मम करितोच्छिमये विनयने प्रेशनत । पतिपया- न्यप्यहानि राम्माद्वानं या धारवाया । अय श्वो वा करिहा युदे यान या धोय- नीति । तरट्या पागवदना यावदेवा मन परितोष दयति तव निदाकरितो रदर्मरम्नुरिना विनयरगुना गती विजया योगानुन एल्य रामान पनि पय स्थित निटि फपिना रागध्ये प्रसिरितम्य सरमन वरदान पर गदेश । भवान्तर मनोरमा गर्मभ्रममय मानिधारमा सत्यनिरगत वित या प्राण्मये वनेने इनि दामनाये योदयन् । राती देण्यापया तासारदिशा नागरारहीन यासगीन चिकिमाना यामुभा रुपमा गा विनय में राजपुत्री प्रिपदराने . निपांगमाया भार ! सानिन नीरा देवी पर रामे हम्ले दिया सनन परिसीमाम् । उम्मना पनदिशा भरतनना।

·श्रीहर्षदेवविरचिता। ॥ प्रियदर्शिका॥ ॥ मथमोङ्कः॥ धूमव्याकुलदृष्टिरिन्दुकिरणराह्लादिताक्षी पुनः पश्यन्ती वरमुत्सुकानतंमुखी भूयो हिया ब्रह्मणः ॥ सेा पादनखेन्दुदर्पणगते गङ्गां धाने हरे स्पर्शादुत्पुलका करग्रहविधौ गौरी शिवायास्तु यः॥१॥ अपि च । कैलासादावुदस्ते परिचलति गणेपूल्सत्कौतुकेषु कोडं मातः कुमारे विशति विषमुचि प्रेक्षमाणे सरोपम् । मोलो पुण्यपघाहा सरसरिदमला राजते यस्य वांनो कालः कण्ठे तनो पा विभुवनभयद्यश्व भक्तातिहारी। पश्चेपुर्यस्य शधुर्भवति भगवतो मंदनी घातिशस्त- स्तरमै सन्धराप प्रणतिरसिशयानददाय मेस्तु॥९॥ अथ तत्रभवान् महाकनिः श्रीहर्षदेवः प्रियदर्शिको नाम नाटिका रिचयिपुः प्रारि- प्सितस्य प्रन्यस्याचिनसमाप्त्यर्थं महलस्यावश्यकर्तव्यतया पूर्वरङ्गप्रधानागभूनामष्टपदा गान्दी श्ोषद्वयेन तावदुपनियनाति-धूमेति । गौरी पार्वती व सामाजिकानां शिवाय कल्याणायास्तु । कीदृशीत्याह- करप्रहविधी विवाहमले धूमेन हूयमानशमी- पाठवलाजादिसपोद् वैवाहिकाभिसमुत्थितेन व्याले दृष्टी नयने यस्याः सा तथोका। पुनः इन्दुकिरणैः शिवशिरस्थचन्द्रमयूखैः आह्लादिते प्रमुदिते अक्षिणी यस्याः सा तयोक्ता । तथा च उत्सुपौलष्ठिता सती वरं पतिं पश्यन्ती । भूयः ब्रह्मणः पुरोधसश्च- तुर्मुखात् हिया लजया आनतमननतं मुखं यस्यास्नादशी । पुनश्च पादयोः नसाः पादनखा इन्दव इव पादनसेन्दवः। ते एव दर्पणानि तानि गते प्रतिफलिने गवां दधान हरे सेया। रापलीदर्शनेन जातासूयेत्यर्थः। पुनश्च रपर्शाद् हरफरस्पर्शादुपुलका जातरोमाया । शाई- लविक्रीडितं वृत्तम् । तदक्षणं-सूर्याश्वर्यदिमः सजो सततगाः शार्दूलविक्रीडितम् ॥ इति ॥ १॥ विभाहुल्यशङ्कया पुनरपि मङ्गलमयतारयति-अपि चेति । कैलासेति । कैलासाद्रो बैलासपर्यते उदस्ते रावणेनोक्षिप्त परिचलति कम्पमाने सति । गणेषु प्रमादिषु उसदाविर्भवतौनुकं येगा तथा सत्सु । कुमारे कार्तिकेये मातुः क्रो भुजान्तरं विशति सति । विषमुचि शिवस्याभरणभूने सपै सरोपं रिमिदमिति प्रेक्षमाणे । १ पश्यन्तीय समु.२नतमुखी. १ भूपयोदिया.

·प्रियदर्शिका . पादावष्टम्भसीवपुपि पशमुखे याति पातालमूल कुद्धोऽप्याम्लिष्टमूर्तियघनमुमया पात तुष्टः शिवो नः॥२॥ नान्यन्ते) सूनधार:-(पसिम्य।) अद्याहं यसन्तोत्सवे सबहुमानमाहूय नानादिग्देशादागतेन राज्ञः श्रीहर्षदेवस्य पादपभोपनीविना राजसमूहेनोक्तः। यथास्मत्स्वामिना श्रीहर्षदेवेनापूर्णस्तुरननालंकृता प्रियदर्शिका नाग तथा च पादस्य हरपारणस्य अयाटम्मोन निर्भरनिोशनेन सीदत् विधमान पपुर्यस्य तस्मिन् दशमुरो पातालमूल याति राति । रावणचेटितेन कुलोपि भयेन पन रखें यथा तथा उमया आलिटापूर्तिरस तुष्ट प्रीत शिप प पातु ॥ खग्धरा वृत्तम् । सालक्षणं-सोना प्रयेण त्रिमनियतियुता सग्धरा यातितेयम् । इति ॥ २ ॥ लोकपादरयापि पदल्याभ्शु- पगमादष्टपदेयं नान्दी । तदुर माट्यप्रदीपे-लोरपाद पदं पेचित्गुप्तिहरामथापरे । परेवान्तरपाययेरस्यरूपं पदधिरे ॥ इति ॥ नान्दीलोपरयादुगयोरादो भूदेवताको मगण प्रयुरास्तेन गणशुद्धि । उ प भागहेन । क्षेमं रार्पगुदसे मगणो भूमिदेयत । इति । नान्द्या मना पाय्यार्यसूचनं कर्तव्यमित्युसत्यापविनापि तथा गृतम् । राधादि प्रथगश्लोके सात् गोराशब्देन नागियारण्यका धूमप्यायुलरिरित्यनेन सस्या रापिनु- उपमेण पलङ्गहतराषिपत्तिको विपार इन्दुफिरणेरिस्यने तरया पशुपिना पृतमामपाने गुहापरथ रिभ्यनारायलाभातर्ष पश्यन्ती परमित्यनेन तस्या. यादृच्छिक यसराजदर्शने तदुरपणे सारामागगौसुपय लिया प्रमाण इत्यनेन रवानुरागस्य राश्या परिजनशानपरिजिहीर्षया गोषो रोमादिगा गर्भनाटके मनोरमाया. स्थाने देवी- विप्रलम्भपर्ने स्वयमेव भूत्यता राज्ञा संगतामारण्यका दृशा देव्या असूया पादुपुल्पा इत्यनेन नायिकाया द्वितीयाः यष्टपित कमरमाननमित्यान सूचित रापुर मल्लमित्याद्य- थंगात सूषितम् । द्वितीमश्गेवगतेन च बैलासादापिरयादिना बलिराजाते दृद्धधर्मणो राज्यपरिभ्रंश पादावरम्भेत्यादिना पलिनृपस्य य सराजसैनिकाकान्तनिपयस्य दुर्ग- प्रवेशास्तद्विनादराव आटिष्टमूर्तिरित्यनेन वर्मण पुनाराज्यप्राप्त्या परितुष्टाया राश्या राशो हस्ते प्रियदशि समर्पगमित्यादि प्रवधार्थ राचिरा ॥ नान्द्यन्त इति-नान्दीलमणमादिभरते-आशीनमस्त्रियारूप ओर काय्यार्थ- राम । नान्दीति मध्यंत तस्या पदादिनियमोवि या। नान्दीपदिशभिरटाभिमायले. कुता ॥ इति । एतनिधिर्नाटरप्रदीप-नन्दन्ति पाण्यानि पवीन्दरगाः सुशील्या पारिषदाय सन्त । यस्मादल राजनसिन्धुसी तरगादियं या कथितेद नान्दी ॥ इति । सून प्रयोपनानानं धारयति मूत्रधार । त धणे-मासस्य यदान तसूत्र स्याला. योताम् ।रदेयतपूशास्त्रधार उद्दीरित ॥ असूत्रय-गुणामेनु परविन पा। रहप्रगाधनौः सूत्रधार होच्यते ॥ इति । गाना दिशो येषां ते नानादिन से प दशावतेभ्य भागोन । भरियमानं पूर्व यस्याः सा अपूर्ण । आपूष यामा इतिगत ताप सा पटना सया भगना । प्रियदर्शिता नामेनि । मागि सदा ·प्रथमोऽङ्कः । नाटिका कृतेत्यस्माभिः श्रोत्रपरंपरया श्रुतम् । न तु प्रयोगतो दृष्टा ! तत्तस्यैव राज्ञः सर्वजनहृदयाह्लादिनो बहुमानादस्मामु चानुग्रहबुद्धयाँ यथावत्प्रयोगेण त्वया नाटयितव्येति । तद्यावन्नेपथ्यरचनां कृत्वा यथा- भिलपितं संपादयामि । (परितोऽवलोक्य । ) आवर्जितानि सामाजिमना- सीति मे निश्चयः । कुतः । श्रीहर्पो निपुणः कविः परिपदप्येपा गुणग्राहिणी लोके हारि च वत्सराजचरितं नाट्ये च दक्षा वयम् । यस्त्वेकैकमपीह धाञ्छितफलप्राप्तेः पदं किं पुन. मद्भाग्योपचयादयं समुदितः सर्वो गुणानां गणः॥३॥ (मेपथ्याभिमुखमवलोक्य । ) अये । कथं प्रस्तावनाम्युद्यते मयि विदितास्मद- भिप्रायोऽङ्गाधिपतेर्हढवर्मणः कञ्चुकिनो भूमिका कृत्वास्मद्रातेत एवा- भिवर्तते । तद्यावदहमप्यनन्तरभूमिकां संपादयामि । ( इति निष्कान्त ।) इति प्रस्तायना। नायिकाभिविशेषणम् । इत्युक्त्या नायिकाया नाना नाटिकानिर्देशः । नेपथ्य नाट्योचित- वेषकल्पनं रगभूमितस्य रचना । नेपथ्यं स्याजवनिका रङ्गभूमिः प्रसाधनम् । इत्य- जयः। आर्जितानि अभिमुखीकृतानि वशीकृतानि वा समजन्यस्मिञ्जना इति समाजः अधिकरणे घम् । समाज समवयन्ति सामाजिसः । 'समवायान्समवैति' इति ठक् । श्रीहर्षइति। श्रीहर्ष कविः निपुण रमणीयकाव्यनिर्माणकुशल । एपा परिपदपि गुणग्राहिणी । लोके वत्सराज उदयनः तस्य चरितं हारि मनोहरम् । वयं च नाट्ये अभिनयेनावस्थानुकृतौ दक्षा निष्णाता । इह नाटिकाप्रयोगविषये उक्तेषु गुणेषु था। एकैकमपि वस्तु वाञ्छितफलस्याभीष्टार्थसिद्धेः पदम् । किं पुनः मद्गाग्यस्योपचायत्र- कोत्समुदितः अयं गुणनों गण- फलप्राप्तेः पदं स्यादिति वक्तव्यमित्यर्थः । शाईल. विक्रीडित वृत्तम् ॥ ३ ॥ अद्याहमित्यारभ्य भारतीवृत्तिः । भारती संस्कृतप्रायो वाव्या. पारो नटाय. । इत्युक्तलक्षणा । तस्याश्चत्वारि बानि । प्ररोचना वीथी प्रहसनं प्रस्तावना चेति । तत्र प्ररोबनेयम् । काव्यापत्तिरलंकारः। प्रस्तावनाभ्युद्यते प्रस्तावना प्रयुजाने । कञ्चुकिना-अन्त पुरचरो राज्ञा, वृद्धो विप्रो गुणान्धितः । सर्वार्थ- कुशलः कञ्चुपीत्यभिधीयते ॥ मातृगुप्राचार्या अपि आहुः-ये नित्यं सत्यसम्पन्ना कामदोपविवर्जिताः । ज्ञानविज्ञानशलाः कञ्चुकीयास्तु ते स्मृता. ।। इति । भूमिका वेषप्रणम् । प्रस्तावना-एतक्षणं-नटी विपको यापि पारिपार्श्वक एव वा। सूत्रधारेण- सहिताः संलापं यत्र कुर्वते । चिौर्वाक्यैः स्वरार्योत्यैः प्रस्तुताक्षेपिभिर्मियः । आमुख तत्तु विज्ञेयं नाम्ना प्रस्तावनापि सा ॥ इति ॥ अत्र कर्नुमिपि प्रस्तावना न कृता । ना. १२ पयो । बुद्धया पा ४ सामाजिकाना. ५ निश्चय कृतः. ६ आग्न - परिकाञ्चुकभूमिकामादाय. ५ अरमत्ताना, ८ अन्नर, नद.. ।

·४ प्रियदर्शिकायां प्रथमोडू। (ततः प्रविशति कञ्चुकी।) फञ्चकी-(संशोकश्रम नाटयन् । निश्वस्थ । ) कटं भोः कष्टम् । राक्षो विपद्धन्धुयियोगदुःखं देशच्युतिदुर्गममार्गखदः । आस्वायतेऽस्याः कदुनिष्फलायाः फलं मयतचिरजीवितायाः ॥m ( संशोक राविस्मयं च ।) तादृशस्यापि नामाप्रतिहतशक्तित्रयस्य रघुदिलीप- नरेतुल्यस्य देवस्य दृटवर्मणो मत्मार्यमानाप्यनेन स्वदुहिता वत्सरानायें दत्तेति बद्धानुशयेन वत्सरांनो बन्धनान्न निवर्तत इति च धरन्ध्रेण सहसागत्य परिगहतपेन विपत्तिरीशी कियत इति यत्सत्यमुपपन्नमपि न श्रद्दधे । कथमेकान्तनिष्ठुरमीदृशं च दैवमस्मासु । येन सापि राजपुत्री यथाकचिदेना वत्सरानायोपनीय स्वामिनमनृणं करिष्यामीति मत्वा मया तादृशादपि प्रल्यकालदारुणादनस्कन्दसंभ्रमादपवाय देवस्य दृढवर्मणो मिनमावान्वितस्यैवादविरस्य नृपतेविन्ध्यकेतोगुहे स्थापिता सती मानाय नातिदूरमित्यगस्त्यतीर्थ गते माय क्षणात्कैरपि निपत्य हते विन्ध्यकतौ रसो- भिरिव निर्मानुपीकृते दाधे स्थाने न ज्ञायते क्त्यामवस्थाया वर्तत इति । निपुण च विचितमेतन्मया सर्व स्थानम् । न च ज्ञातं किं तैरेव दम्युभिर्नी- ताथवा दग्धेति । तल्कि करोमि मन्दभाग्य, ( विचिन्त्य।) अये। श्रुतं मया कधमापरिभष्ट प्रद्योततनयामपहृत्य वत्सरान: कौशाम्बीमागत इति । तामन्तरेणापि कन्चकिप्रवेशसूचनात् । अत प्ररोचनैपेयमिति बोध्यम् । राज्ञ इति । राज्ञ मरस्वामिनो दृढवर्मण विपत् । बन्धना पियोगस्तेन दुसम् । देशात् च्युति प्रधश । दुर्गमे दुस्सचरे मा मार्गगमनेनेत्यर्थ । खेद श्रम । कटु दुर्विपाका रुक्षा वा निष्फला च या चिरजीविता दीर्घायुस्व तस्या एतत्पल मया आस्वा द्यते ॥ उपजातिवृत्तम् ॥ ४॥ अप्रतिहतमकुष्ठित शाक्य यस्य तस्य । प्रभुशक्ति उस्साहशक्ति मन्त्रशक्तिश्चेति शक्तित्रयम् । बद्ध अनुशय दीर्घद्वेषो येन । अनृणम विद्यमान ऋण यस्य तथाविधा । तदिन्छामनुवयेत्यर्थ । अपस्कदोगियोगस्तस्य सभ्रमात्सरस्मात् । अटव्यो भव आटविकस्तस्य । विचितमन्विष्टम् । दस्युभिचारै । प्रद्योत उन्नयिनीनायक महासेन । मगधेश्वर इति स्थासरित्सागरे । कौशाम्पीमात्मने । शोक, सशोक भम. २ सशाकवि० ३ नहुष. ४ मप्रार्थने ५ यत्सराजस्य. ६ राजोपि दृढवधने वतने विततया मापि न ९ अथा किामहव. १. एव श्रुत- ·प्रथमोऽङ्कः। किं तत्रैव गच्छामि । (निःश्वस्यात्मनोऽवस्था पश्यन् । ) किमि हि राजपुच्या विना तत्र गत्वा कथयिष्यामि । अये । कथितं चाय मम विन्ध्यकेतुना- " मा भैषीः । जीवति तत्रभवान्महारानो दृढवर्मा गाढप्रहारजनरीकृतो बद्धस्तिष्ठति ।" इति । तदधुना स्वामिनमेव गत्वा पादपरिचर्यया जीवित- शेपमात्मनः सफलयिष्यामि । (परिक्रम्योलमवलोक्य।) अहो अतिदारुणता शरदातपस्य । यदेवमनेकदुःखसंतापितेनापि मया तीक्ष्णोऽवगम्यते । धनबन्धनमुक्तोऽयं कन्याग्रह्णात्परं तुलां प्राप्य । रविरधिगतस्वधामा प्रतपति खलु वत्सराज इव ।। ५॥ (इति निष्कान्तः।) इति विष्कम्भकः। (ततः प्रविशति राजा विदूषकव।) - भृत्यानामयिकारिता परिगता दृष्टा मतिमन्त्रिणां मित्राण्यप्युपलक्षितानि विदितः पौरानुरागोऽधिकम् । नियूँढा रणसाहसव्यसनिता स्त्रीरत्नमासादित निर्व्याजादिव धर्मतः किमिव न प्राप्तं मया बन्धनात् ॥६॥ नगरीम् । कुशाम्भेन राज्ञा निर्मिता कौशाम्बी । जर्जरीकृतं विह्वलतामापादितम् । धन- बन्धनेति । घनाना मेघानो बन्धनमुपरोधस्तस्मान्मुकः पक्षे धनं दृढं यत्प्रयोतनृपकृतं बन्धन तस्मान्मुक्तः कन्यायास्तदात्यराशेः महणारप्रवेशाटरमनन्तरं तुला तुलाराशि प्राप्य । पक्षे कन्यायाः प्रयोततनयाया वासवदत्ताया ग्रहणात्परमूज़ तुलामुत्कर्ष प्राप्य । अयं रवि. । अधिगतं स्वधाम स्ववेश्म कौशाम्बीति यावत् । स वत्सराज इव प्रतपति नितरां दहति । पक्षे प्रतापवान्भवति । लिष्टोपमा । पथ्यायोत्तम् ॥ ५॥ विष्कम्भकः । वृतवर्तिष्यमाणाना कथांशाना निदर्शकः । संक्षेपार्थस्तुविष्कम्भो मध्यपानप्रयोजितः । एकाने कृतः शुद्धः सकीर्णो नीचमध्यमः ॥ इति तलक्षण दश- रूपके । शुद्धः केवलमध्यमैः । पात्रै प्रयोगो भापत्रयातसंकीरें नीचमध्यमै । आदी विष्कम्भकं कुर्यात्नाटकेपु महाकविः । अपेक्षितं परित्यज्य नीरस पस्तुविसारम् । इस्याद्यन्यन च । भृत्यानामिति । भृत्यानामविकारिता विकृतत्वाभावः । स्वामि- भक्तिरिति यावत् । परिगता ज्ञाता । मन्त्रिणा मति: प्रज्ञा दृष्टा । मित्राणि उपलक्षितानि यथार्थतया ज्ञातानि । पौराणां मयि अनुरागोपि अधिक यथा तथा विदितः । रणे साहसं तत्र व्यसनिताक्तिनिव्यूढा अनुष्ठिता । स्त्रीरत्ने वासवदत्तारूपमासादितम् । निया- जानिष्कपटत्वेन फलाभिसन्धिरहित्येन वा अनुष्टितात् धर्मत इव बन्धनान्मया किमिव न प्राप्तम् । सर्वमपि प्राप्तमित्यर्थः । शार्दूलविक्रीडितं वृत्तम् ॥ लक्षणमुक्तम् ॥ ६ ॥ १ अइह राज.) किं कथ०.२ परंतु गाद.. -चर्यया. एततेय.५ प.

·aor प्रियदर्शिका . विपक:- सरोयम् । ) भी वयस्य । कथं तमेव दास्याः पुंनं बन्धनतकं प्रशंससि । तदिदानी विस्मृतम् । यत्तथा नरग्रह इव गर्नपतिः खलखलायमानलोहशृङ्खलावधप्रतिस्खलचरण. शून्यमुखपुष्करापेशनित- द्धृदयसंतापो रोपवंशोत्तम्भितदृष्टिगुरुग्करसोटितधरणिमार्गो रननीप्वप्य- निद्रासुखमर्नुभूतोसि । (भो यअस्स ! यह त एप दामीए उत्तं यन्धशहदर्भ पसससि । त दाणि विमुमरिद । ज तह णवागही विक्ष गवई सलखराबमाणलोह- सिझरायधपडिसलापरणों गुण्णदुरखरपिमुगिदहिगभरादावो रोरावगुतम्भिददिंडी गुरुभफरफोडिअधरणिमग्गो रमणीम वि अगिहापुह अणुहूदोसि ।) राजा-वसन्तक दुर्जनः खल्वप्ति । पश्य । दृष्टं चारफमन्धकारगहनं नो तन्मुन्दुतिः । पीडा ते निगलस्वनेन मधुरास्तस्या गिरो न श्रुताः। झूरा बन्धनरक्षिणोऽद्य मनसि स्निग्धाः कटाक्षा न ते दोपान्पश्यसि बन्धनस्य न पुन प्रद्योतपुञ्या गुणान् ॥७॥ विदूपा-(सगर्वम् । ) मो.। यदि तावईन्धन सुखनिवन्धनं भवति विदूपक-नायकसदायान्यतम । तरक्षणम्-कुमुमवसन्ताद्यभिध कर्मवपुर्वपभाषाये । हास्यकर क्लहरतिर्विदूषक स्यात्स्वकर्मा ॥ इति। विस्मृत किमिति का. ितद्विस्मर्नु शायमिति भाव । खलजलायमान तथाशब्द फुर्धन् र लोहशृङ्गलाबन्धस्तेन परिस्खलन्तौ चरणो यस्य स । उभयत्र समानम् । शून्य यन्मुरापुष्कर मुराकमल तेन पिशुनित सूचितो हृदयसन्तापो येन । पक्षे मुरपुष्कर शुण्डायम् । रोपवशेन कोवाधीनत्वालोधावेशेनेति यावत् । उत्तम्भिता दृष्टिन स । गुरुक धुर्म करो हात गुण्डा च तेन स्फोटितो धरणिमागों येन । दृधमिति । अन्धसरेण गहन निबिड चार कारागृह त्वया दृष्टम् । मनास्तिमित्यर्थ। 'चारक बन्धनालय ' इति पैजयन्ती । तस्या वासपाया मुखेाति वदनय कान्ति नो न दृष्टा निगडसनेन सहलाशब्देन ते पीडा । मधुरास्तप्त्या गिर भाषणानि न श्रुता । अद्य क्रूरा पन्धन रक्षिण कारागृहरक्षा तब मनसि स्थिता । न ते तादृशा लिग्धा स्नेहपूर्ण कटाक्षा नमनप्रान्तविलोकितानि मनसि स्थिता गोचरीभता । एक बन्धनस्य दोषात् पश्यसि न पुनः प्रद्योतपुत्र्या पासवदताया गुणात् पश्यसि ! अवधारयसीत्यर्थ । महुगुण समुदाये अपदोपा मन्च तीति भाष । शार्दूलविक्रीडित वृत्तम् । लक्षणमुक्तपूर्वम् ॥७॥ रात (द) (नमिदानी) विस्मर (विशुमेह). यूथपति (जहबइ) मृत्य- दुकरपिशुनपट्ट (मुण्णदुस्वरपिटाणिजन्नहि.) पटिरधिगतवरणिपृष्ट (अहिगधरणि. पिहो) अनुवाचयसि (अणुचाचेति), निद्रानुस्ख न मानो ( निहाराह ण पासि ) छावकारनिगटबचन सुखचन्धन (निअल सहय.)

·प्रथमोऽङ्कः। ७ तत्कस्मात्त्वं दृढवर्मा बद्ध इति कलिगराजस्योपरि रोपं बध्नासि । (भो । जइ दाल बन्धणं मुहणिवन्धर्ण होइ ता कीस तुम दिढवम्मा बद्धोत्ति कलिङ्गरण्यो उकार रोसे पन्धेसि ।) राजा-( विहस्य । ) धिमूर्ख । न खलु सर्वो वत्सराजो य एवं वासवदत्तामवाप्य बन्धनान्निर्यास्यति । तदास्तां तावदियं कथा । विन्ध्य- केतोपरि बहून्यहानि विजयसेनस्य प्रेषितस्य । न चाद्यापि तत्सकाशा- स्कश्चिदागतः । तदाहूँयतां तावदमात्यो रुमण्वान् । तेन सह किंचि- दालपितुमिच्छामि। (प्रविश्य ।) प्रतीहारी-जयतु जयतु देवः । एप खलु विजयसेनोऽमात्यो रुम- ण्वानपि प्रतीहारभूमिमुपस्थितौ । (जेदु जेदु देव्यो । एसो क्खु विजअसेणो अमचो रमण्यो वि परिहारभूमि उवठिभो ।) राजा -त्वरितं प्रवेशय तो प्रतीहारी--यदेव आज्ञापयति । (जं देवो आणवेदि।) (इतिनिष्कान्ता।) (ततः प्रविशति रुमण्वान्विजयसेनश्च ) रुमण्वान्--(विचिन्त्य।) तत्क्षणमपि निष्क्रान्ताः कृतदोषा इय विनापि दोपेण । प्रविशन्ति शकमाना राजकुलं प्रायशो भृत्याः॥८॥ (उपमृत्य।) जयतु देवः । राजा—(आसनं निर्दिश्य । ) रुमण्वन् । इत आस्यताम् । रुमण्वान्-(सस्मितमुपविश्य । ) एप खलु नितविन्ध्यकेतुर्विजयसेन: प्रणमति । (विजयसेनस्तथा करोति।) राजा-(सादरं परिष्वज्य । ) अपि कुशली भवान् । विजयसेनः :--अद्य स्वामिनः प्रसादात् । राजा-विनयसेन उपविश्यताम् । सुखनिबन्धन सुखहेतु । तत्क्षणमिति । भुत्या राजसेवकाः तत्क्षणं तस्मिन्नेव क्षणे गृपतिपोनिकान्ता निर्गता अपि दोपण विनापि कृतदोषाः कृतापराधा व शङ्कमाना सभयाः राजकुलं प्रविशन्ति । स्वभावोत्तिः आर्या छन्दः ॥ ८ ॥ १ग्दहप्ति (उबहारी). २ दिवसानिआइयतामा विन्ध्यकेतीविजेता.५ स्थीयताम् ) ·प्रियदर्शिकायां (विजयसेन उपविशति ।) राजा--विनयसेन कथय विन्ध्यकेतोवृत्तान्तम् । विजयसेना-देव किमपरं कथयामि । यादृशः स्वामिनि कुपिते। राजा-तथापि विस्तरतः श्रोतुमिच्छामि । विजयसेना-देव शृयताम् । इतो वयं देवपादादेशाधादिष्टेन करितुरगपदातिसैन्येन महान्तमध्यध्वानं दिवसत्रयेणोडवय प्रभातवेला- यामतर्किता एव विध्यकेतोरुपरि निपतिताः स्मः । राजा-ततस्ततः। विजयसेनः ---तत. सोऽप्यस्मद्वलंतुमुल्कलकलाकर्णनेन प्रतिबुद्धः केसरीव विन्ध्यकन्दरान्निर्गत्य विन्ध्यकेतुरनपेक्षितबलवाहनो यथासंनि- हितकतिपयसहायः सहसा वनामोद्धोपयन्नस्मानभियोद्धं प्रवृत्तः । राजा---(रुमण्वन्तमवलोक्य सस्मितम।) शोभितं विन्ध्यकेतुना। ततस्ततः । विजयसेनः-ततोऽस्माभिरयमसाविति द्विगुणतरवद्धमत्सरोत्साहै- महता विमर्दैन नि.शेषितसहाय एक एव विमर्दिताधिकालत्रोधवेगो दारण- तरं संप्रहारमकरोत् । राजा-साधु विन्ध्यकेतो । साधु साधु । विजयसेनः--किं वा वर्ण्यते देव । संक्षेपतो विज्ञापयामि । पादातं पत्तिरेव प्रथमतरमुर पेपमात्रेण पिष्टवा दूरांनीत्वा शरौघेहरिणकुलमिव वस्तमश्वीयमाशाः । यादृश इति अतिदारुण इत्यर्थ ।पादाभ्याशयो पुरो युद्धार्थमलति यानीति पदाति ।सुमुल रणसकुल । कन्दराद् गुहाया । अनवेक्षित घल सैना माहनानि धरिनुरगादीनि येन । यथा सनिहिता कलिये सहाया यस्य स शोभित शोभन नमित्यर्थ । भावे लः। अतिशयेन दो गुगो यस्मिन्स द्विगुणता यरिमन्यमणि तद्यथा तथा इति वातिया बद्धो मनार उत्साहय यैरते तयोचा ते मिई कदनं नासोका । विमर्दितेन खसहायाना विमर्दनेन अधिो वृद्धि गतो पलस्य क्रोषस्य च पेगो यस्य स तथा । सप्रहार युद्धम् । पादातमिति । स विन्ध्यरेख पति पदाति एप सन् प्रथमतरमुरसा पक्षमा यः पेपः मर्दन सन्माण एवं पादातं पदातिसमूहम् । मिदादिभ्योऽम्' इत्यम् । विष्ट राये । शरोथै शरमर पल हरिणमिव अभीयमामदभगमूहम् । 'फेयाभ्यो ययावन्यतरस्याम् ' इति छ । गाइरमाशा दिसा नीत्वा । दुई तिव्येत्यर्थ । सत्र पा फरकार समुदो०.३ अमियोर्मु.४विण्णद. ५.. -- ·प्रथमोऽङ्कः। सर्यत्रोत्सृष्टसर्वप्रहरणनिवहस्तूर्णमुत्खाय खड़ पश्चात्कर्तुं प्रवृत्तः करिकरकदलीकाननच्छेदलालाम् ॥ ९॥ एवं वलंत्रितयमाकुलमेक एव कुर्वन्कृपाणकिरणच्छुरितांसकूटः।.. शस्त्रप्रहारशतर्जरितोरुवक्षाः श्रान्तश्चिराद्विनिहतो युधि विन्ध्यकेतुः ॥१०॥ राजा-रुमण्वन् । सत्पुरुषोचितं मार्गमनुगच्छतो यत्सत्यं वीडिता एंव वयं विन्ध्यकैतोमरणेन । रुमण्वान्देव त्वद्विधानामेवं गुणकपक्षपातिनां रिपोरपि गुणाः प्रीति जनयन्ति । राजा-विजयसेन अप्यस्ति विन्ध्यकेतोरपत्यं यत्रास्य परितोपस्य फलं दर्शयामि । विजयसेनः-देव इदमपि विज्ञापयामि । एवं सबन्धुपरिवारे हते विन्ध्यकेतौ तमनुस्मृतासु सहधर्मचारिणीषु विन्ध्यशिखराश्रितेषु जनपदेषु शून्यीभूते तत्स्थाने " हा तात हा मातः” इति कृतकृपणप्रलापा विन्ध्यकेतोर्वेश्मयभिजात्यानुरूपा कन्यका तदुहितेत्यस्माभिरानीता द्वारि तिष्ठति । तां प्रति देवः प्रमाणम् । सर्वामु दिक्षु उत्सृष्टोः मुक्त. सर्वेषो प्रहरणानामायुधानां निवह समूहो येन स तथोक्तः। सूणे शीघ्र खड्गमुत्खाय कोशादाकृष्य । उत्पूर्वात्खनतेर्त्यप् । पश्चात्तदनन्तरं करिणा कराः गुण्डा एव कदत्यस्तासा काननं तस्य छेदस्य लीला केलिम् । अनायासेन राण्डनमिति यावत् । कर्तुं प्रवृत्तः । स्रग्धरावृत्तम् । लक्षणमुक्तम् ॥ ९ ॥ एनमिति । एवमेक एव बलत्रितयं त्रिविध करितुरगपदातिरूपं सैन्यमाकुलं व्यापलं कुर्वन् । कृपाणस्य खड्गस्य किरणैः छुरितो रूपितः संसकूटोऽसशिरसरदेशो यस्य स तपोत्तः । शस्त्रार्णा प्रहारशतेन जनरित विभिन्न मुरु विशालं वक्षा यस्य रा तादृशः । चिराच्छान्तः विध्यकेतुः युधि विनिहतः । उदात्तालंकारः । वसन्ततिलका छन्दः। उता बसन्ततिलका तभजा जगौगः । इति लक्षणम् ॥१०॥ सत्पुरयोचिता- तदुक्तं द्वाविमौ पुख्यौ लोके स्वर्गमण्डलमेदिनी । परिवाड् योगयुक्तम रणे चाभिमुखो हत ॥ इति । प्रीडिता लजां प्राप्ताः । एकस्य बहुभिर्यातादित्याशयः । वन्धवय परि- धारच तैः सहितः सबन्धुपरिवारः तस्मिन् । सहधर्मचारिणीपु तत्पत्नी । कृतः कृपणः दीनः प्रलाप आतरवो यया सा । आभिजात्यं कुलीनता तस्यानुरूपा । देवः प्रमाण १ रुधिर. २ झरिन.३ ३.४ पशु विनटेप, ५ नात. अभिजातरूपा.

·प्रियदर्शिकायां राजा-~-यशोधरे गर्छ । त्वमेव वासवदत्तायाः समर्पया वक्तव्या च देवी । भगिनीबुद्ध्या त्वयैव सर्वदा द्रष्टव्या । गीतनृत्तवाद्यादिषु विशिष्टकन्यकोनितं सर्व शिक्षयितव्या । यदा वरयोग्या भविष्यति तदा मी स्मारयति । प्रतीहारी–यदेव आज्ञापयति । (जं देवो आणवेदि ।) (इति निष्क्रान्ता ।) (नेपथ्ये वैतालिकाः।) लीलामजनमङ्गलोपकरणस्नानीयसम्पादिनः सर्वान्तःपुरवारविभ्रमवतीलोकस्य ते संप्रति । आयासस्खलदंशुकाव्यवहितच्छायावदातः स्तन- रुत्क्षितापरशातकुम्भकलशेयालंकृता स्नानभूः ॥११॥ राजा--(ऊर्ध्वमवलोक्य 1 ) अये कयं नमोमध्यपध्यास्ते भगवा- सहस्रदीधितिः। संप्रति हि। आमात्यकीशुतापक्रयादिव शफरोद्वर्तनैदाधिकाम्भ- छत्रा वृत्तलीलाशिथिलमपि शिखी धहमारं तनोति। यथाकतव्यनिर्णये इत्यर्थः । विशिष्टकन्यवोत्तमकुलपसूता कन्या । पैतालिफ इति । विवियन तालेन चरतीति वैतालिकः बोधरः । चरति इति टन । विविधताला प्रयोजनमस्य इति का ठन् । एतक्षणं भावप्रयाशे-तत्तत्प्रदरक्योन्ये रागैस्तत्काल- वाधिक लोपः । सरभसमेव विताल गायन वैतालिश भाति ॥ इति । लीलेति । ते तक स्नान लीलया सवितासं यन्मदर्भ ग्रानं तदेव मलं तस्य उपकरणानि यानि स्रानीयानि सानोपयुक्तगन्धचूर्णादीनि तानि सम्गदयितुं शोलमस्येति तस्य । सो योऽन्त पुरसम्बन्धी वारविक्रमातीलोरः पाराइनाजनस्तस्य । मायारोन श्रमेण स्सलद् यदशुक तमोतीयं तेन अव्यपहिता अनाच्छन्ना या छाया पान्तिः तया अपहात: मोरन्देन माममानः । छाया ये ते तथा अवदाताध रिति या । स्तनेः । उदियमा अपो शातम्भस्य मुपर्णस्य कलशा यस्यां सा तथर । सम्प्रति अनाना । उप्रेक्षा. लंकारः । शाईलपिीडिनं वृत्तम् । लक्षणमुकं प्राइ ॥ ११ ॥ आमातीति । दीपिकाया टवानवाप्या जलं रसगां मत्स्यविषाणामुर्ननकर यानः । अमितापेन सूर्यकिरणोन्मशा व्यदिवाभानि । सिनी मपूरः । मृतलीलया शिथिल सिम्तं । नृत्तलीलया मूर्यनापात् शिथिलमिति या । पईभार मागपूई . गागमा.२मरमान. फरएर, ·द्वितीयोऽङ्कः। ११ छायाच तरूणां हरिणशिशुरुपेत्यालवालाम्बुलुब्धः सद्यस्यक्त्वा कपोलं विशतिमधुकरः कर्णपालींगजस्य॥१२॥ रुमण्यन् । उत्तिष्ठोत्तिष्ठ।प्रविश्याभ्यन्तरमेव कृतयथोचितक्रियाः सत्कृत्य विनयसेनं कलिझोच्छित्तये प्रेषयामः । (इति निष्कान्ताः सर्वे ।) इति प्रथमोऽङ्कः॥ ।। द्वितीयोऽङ्कः॥ । (ततः प्रविशति विदूषकः।) बिदूपक:-ननु भणितोऽस्मीन्दीवरिकया यथा-आर्य उपवासनियम- स्थिता देवी वासवदत्ता स्वस्तिवाचननिमित्तं शब्दोयतेति । तद्यावद्धारा- गृहोद्यानदीपिकायां स्नात्वा देवीपार्श्व गत्वा कुक्कुटवादं करिष्यामि । अन्यथा कथमस्माभिः सदृशा ब्राह्मणा राजकुले प्रतिग्रहं कुर्वन्ति । (नेपथ्याभिमुसमवलोक्य) कथमेप प्रियवयस्योऽद्य देव्या विरहोत्कण्ठाविनो- दननिमित्तं धारागृहोद्यानमेव प्रस्थितः । तद्यावद्वयस्येन सहैव गत्वा यथो- दितमैनुष्ठास्यामि । ( णं भणिदोझि इन्दीवरिआए जह अन्न उपवासणिअमहिमा देवी यासवदत्ता सोस्थिवाणिमित्तं सद्दावेदित्ति । ता जाव धारापरुनाणदिग्धिभाए ण्हाइअ देवीपासं गदुअ कुक्कुटवादं करिस्सं । अण्णहा कई अह्माणं सरिसा ब्रह्मणा राअकुले पडिगहं करन्ति । कहं एगो पिशवायो अन्न देवीए विरहुकण्ठविणोदणा- णिमित्तं धाराघरमाणं एब्ब पस्थिदो । ता आव वअस्सेण सह एव्व गदुभ जहीदिदं अणुचिस्सि।) छनाममातपनकर तनोति विस्तारयति । हरिणशिशुः आ रामन्तात् लबान् जललवान् आलातीत्यालपालम् । तस्मिन् यदम्बु तत्र लुब्धः सन् तरूणां छायाचक्रमुपैति । मधुकरच गजस्य कपोलं सद्यः स्यात्वा कर्णपाली प्रोत्रपुट विशति । छायार्थ- मित्यर्थः । स्वभावोक्तिः । बग्धरा वृत्तम् ॥ १२ ॥ ततः प्रविशतीति । स्वस्तिवायन स्वस्तिवाचना, मनोपायनम् । शन्दायत आह्वयेदित्यर्थः । कुक्कुटवादं दम्भाथै वेदमजानन्नपि उचैः पठनम् । पुस्कुटोनृतवादः स्थात् इति मेदिनी । उत्कण्ठा अभिमपपूर्व स्मृतिः। सन्दियमुहास्वादो यशस्नाच- भिमन्यते। तत्प्राप्तीच्छा ससङ्कल्यामुत्कण्ठा कवयो विदु.॥इति ताक्षणम् । तस्या विनोद. नमपनयनम्। धारागृहं धारायन्नोपेतं गृह धाराम्ह धारागृहयुक्तमुवान धारागृहोद्यानम् । १ कहतकोच्छि०. २ शब्दापयेत्. २ पयोटि (जहोदि.)

·प्रियदर्शिकायां । (ततः प्रविशति सोत्कण्टो राशा ।) राजा- क्षामां महलमात्रमण्डनभृतं मन्दोद्यमालापिनी- मापाण्डुच्छविना मुखेन विजितप्रातस्तनेन्दुद्युतिम् । सोत्कण्ठा नियमोपवासविधिना चेतो ममोत्कण्ठते तां द्रष्टुं प्रथमानुरागजनितावस्थामिवाय प्रियाम् ॥१॥ विदूषकः-( उपसृत्य । ) स्वस्तिं भवते । वर्धतां भगवान् । ( सोस्थि होदे । वाद् भवं।) राजा-(पिलोक्य । ) वसन्तक । कस्मात्प्रहृष्ट इव लक्ष्यसे । विदूषकः-अर्चति सलु देवी ब्राह्मणम् । (अचदिक्षु देवी श्रद्धाण ।) राजा-यद्येवं ततः किम् । विदूषकः--( सगर्वम् । ) भोः । ईदृशः खलु ब्राह्मणः । यश्च- तुर्वेदपञ्चवेदपढ़ेदब्राह्मणसहस्रपर्याकुले राजकुले प्रथममहमेव देवीसकाशा. स्वस्तिवायनं लभे । (भो। ईरिसो क्षु बह्मणो । जो चउवेदपञ्चवेदद्ववेद- यम्हणसहरमपनाउले राअउले पुढर्म अहं एव देवीराआसादो सोस्थियाआण ल्हेमि । राजा-(विहस्य । ) वेदसंख्ययैवावेदितं ब्रामण्यम् । तदागच्छ महाबामण । धारोगृहोद्यानमेव गच्छावः । विदूषकः-यदेव आज्ञापयति । (जं देवो थाणवेदि । ) राजा-गच्छाग्रतः। क्षामामिति । नियमार्थ व्रतार्थमुपवास• तस्य विविनुष्टानं तेन हेतुना क्षामा पृशाम् । मङ्गलानि कण्ठसूतनासामणिताटवादीन्येव मङ्गलमात्राणि मण्डनानि विभीति साम् । गन्दं यथा तथा उद्यमेन प्रयलेनालपतीति तथा ताम् । आपाण्डुः छविः कान्तिर्यस्य तेनापाण्डुना मुखेन विजिता प्रातस्तनस्येन्दोद्युतिर्यया ताम् । सोलण्ठां च । अत एव प्रथमानुरागेण जनिता अवस्था वृशत्वादिलक्षणा यस्यास्तामिव ता तथानुरा- गिणी प्रियामद्य द्रष्टुं मम चेतः उत्कण्ठते उत्युकं गति । उपमास्तभावाक्योः संसृष्टि- रलकारः । शार्दूलविक्रीडितं वृत्तम् ॥ १॥ चत्वारो वेदा येपा ते चतुर्वेदाः । एष- मन्यन । पञ्चवेदेत्यादि परिहासार्यमुत्तिः । महाब्राह्मणेति उपहासार्थम् अत्र महच्छन्दो निन्दापरः । तदुक्तं-शंखे तैले तथा मांसे वैये ज्यौतिपके द्विजे। यानाया पथि निदायां महच्छन्दो न दीयते ॥ इति। १,मन्दोद्यता. १ प्रचया.. ३ मपपपत्र लभते. ४ षाचनं. ५ पाराधरों. " 1 ·द्वितीयोऽङ्कः। - विदूषकः--भो एहि गच्छावः । ( परिक्रम्यावलोक्य च ।) मो वयस्य पश्य पश्य । अविरतपतद्विविधकुसुमसुकुमारशिलातलोत्सङ्गस्य परिमल- निलीनमधुकरभरभग्नचकुलमालतीलताजालकस्य कमलगन्धग्रहणोद्दाममारुत- पर्यवेबुद्धबन्धकबन्धनस्याविरलतमालतरुपिहितातपप्रकाशस्थास्य धारागृ- होद्यानस्य सश्रीकताम् (भो एहि गच्छझा भी वअस्सपेखि पेक्ख । अविरदपदन्त- विविद्दकुसुममुउमालसिलाअलुच्छङ्कस्म परिमलमिलीगमहुअरभरभगवरण- जालअस्स कमलगन्धगहणटाममाता पूजन्यणस्रा अविरलतमालतरुपि- टिटानस धारापरलाणस्स सस्सरीमों।) राजा - वयस्य साध्वभिहितम् । अन हि। वृन्तैः क्षुदप्रवालस्थगितमिव तलं भाति शेफालिकाना गन्धः सप्तच्छदानां सपदि गजमदामोदमोहं करोति । पते चोन्निद्रपद्मच्युतबहलेरजापुञपिलाङ्गरागा गायन्त्यव्यक्तवाचः किमपि मधुलिहो वारुणीपानमत्ताः ॥३॥ विदूपका-भो वयस्य एतदपि तावत्पश्य पश्य । य एषोऽवि. रलपतस्कुसुमनिकरोऽद्यापि पत्रान्तरगलद्वर्षावसानसलिलबिन्दुरिव लक्ष्यते भविरतं यथा तथा पतन्ति यानि विविधानि कुमुमानि तः मुकुमारः मृदुस्पर्श मनोहरो वा शिलातलस्य उत्पनो मध्यप्रदेशो यत्र तन् त्सक तस्य । परिमलेन निलीनाश्च ते मधुकराध तेषां भरेण भग्नानि बकुलाना मालतीलताना जातिलताना जालकानि पुष्पगुच्छा सरिमस्तस्य । कमलानो गन्धस्य ग्रहणेन उद्दामा उत्कटो यो मास्तस्तेन पर्यवबुद्धानि विकसितानि बन्धूगना बन्धूकपुष्पाणां पन्धनानि दृन्तानि यस्मिन् तस्य । अविरलाध ते तमालतरवथ ते. पिहिती निवारित आतपप्रकाशः सूर्यालोको यस्मिन् तस्य । वयस्य- चयसा तुल्य वयस्यः। नीवयोधर्म' इति यत् ।वृन्तरिति । शेफालिकानो निर्गुडीकुमुभाना वृन्तः बन्धनै तल भूमितलं दै. प्रवालैः अपैर्विदुमरगण्डै स्थगितमातमिव भाति । सप्तच्छदान गन्धः सपदि क्षण गजमदस्य य आमोदः परिमलस्तस्य मोहं भ्रान्ति तनोति जनयति। उनिदेभ्यो विकसितेभ्यः पाभ्यः च्युत बद्दलः रज पुतः तेन पिङ्गः पीतवर्ण: अगरागः अद्गवर्णो येषा ते 1 यहलरजन्युज एव पीतोद्गरागो येषामिति वा । वारणीपानेन पुपरममधुपानेन मत्ता अत एव अध्यक्तवाचः एते मधुलिहो मधुकराध किपि गायन्ति । उत्प्रेक्षाभ्रान्तिमत्स्वभावोक्तीनां संसृष्टिः । सग्धरा वृत्तम ॥ ३॥ अविरलेति । अविरलं निरन्तरं यया तथा पतन्युसुमनिकरी यस्य सः। अद्यापि पत्रान्तरेभ्यो गलन्तः वर्षापसानमलिलबिन्दवो यस्य स इव लक्ष्यते। तं पश्येति मम्बन्धः । १ पहनो (पहणवा.). १ प्रतिबुद्ध (पहिचु.). ३ बाल ४ कापिला. प्रपत्रा (णिभर भगाप).६ पसानसमयसालि.( वताणसमभ०).

·१४ प्रियदर्शिायां - ---ग. सप्तपर्णपादपः । (भो वास्स । एद पि दाव पेस पैक्स । जो एसो अविरलपान्त- कुमुमणिभरो मन वि पसन्तरगळन्तवरिमावसाणसलिलविन्दू विअ लक्खाभदि सत्तवष्णपाको ।) राजा-वयस्य सम्यगुत्प्रेक्षितम् । बढेव सदृशंजलदसमयस्य।तथाहि । विभ्राणा मृदुता शिरीषकुसुमश्रीहारिभिः शालैः कल्पितकुट्टिमा मरकतक्षोवैरिव क्षालितः। एपा संप्रति वन्धनाद्विगाल-romकरे- रद्यापि क्षितिरिन्द्रगोपकशतैश्छन्नेव संलक्ष्यते ॥ ३ ॥ (तत प्रविशति चेटी।) चेटी-आज्ञप्तास्मि देव्या वासवदत्तया । हले इन्दीवरिके अद्य मयागस्त्यमहर्षयेऽ| दातव्यः । तद्गच्छ त्वम् । शेफालिकाकुसुममाला लघु गृहीत्वागच्छेति । एपाप्यारण्यिका धारागृहोद्यान पिकाया यौवदेव विकसितानि कमलानि नास्ताभिलाषिणा सूर्येण मुकलाय्यन्ते तावदेव लघ्ववचित्यागच्छत्विति । एषा तस्विनी तां दीर्घिकां न जानाति । तद्- हीत्वा ता गमिष्यामि। (नेपथ्याभिमुग्यमवलोक्य । ) ईत इत आरण्यके एहि। (आणत्तमि देवीए वासवदनाए । इन्दीपरिए। अज्ज मए अगत्यिमहेसिणो अग्यो दाबो । ता गच्छ तुम । सेवालिभावुसुममाले लहु गोष्हिअ आअच्छत्ति । एसावि आरण्णिा धाराघजाणदीहिआए जाव एल विआसआई कमलाई ण अत्याहिला- विभ्राणेति। शिरीषकुमुमाना श्रिय शोभा हरन्तीति तै शाद्वले शादहरितप्रदेश मृदुता कोमलता विभ्राणा । क्षालित निर्मष्टै मरकतक्षोदै मरकतखण्डे सद्यस्तत्क्षण कल्पित- कुष्टिमा इन स्थिता । एषा भूमि सप्रति यन्धनाद्विगलितै बन्धूकपुष्पाणामुत्करै पुज अद्यापि इन्दगोपकशतै छना इव लक्ष्यते । शार्दूलविक्रीडित वृत्तम् ॥३॥ हजे इति चेटी प्रति सम्बोधनम्। 'हण्डे हले हलाहाने नीचा चेटी सखी प्रति' । इत्यगर । अगस्त्य महर्षये । अत्र-अप्राप्ते भास्करे कन्या शेपभूतलिभिदिने । अध्ये दारगस्त्याय गौडदेश- निपारीिन ॥ इति ब्रह्मवैवर्ते । भीमपराक्रमोप-यस्तु भाद्रपदस्यान्त उदिते कलशोवर्द्र। अयै दद्यादगस्त्याय सर्वान्कामौल्लभेत स ॥ इति । पद्यद्वयमुद्धृतं श्रीकृष्णसूरिभिः । अरण्ये भवा आराग्यका । भरण्यान्मनुष्ये' इत्यनेनारम्यशब्दागुन् । प्रत्ययस्थामात्'• इति इत्त्वम् । मुकुलाम्यन्ते मुकुलबदाचरन्ति मुकुलायन्ते तथा क्रियन्ते। स्कुच्यन्ते इत्यर्थ । १ सम्यगुपलक्षिन वपस्थेन । अत्र हि नदेव २ अ दातव्यम् ३ पुष्पाणे ल..४ याव- देव अस्तासूण न मुकल्यन्ते फलानि (जाव एव अत्या. णमुउलारिजन्ति कमलाई) नावदेवावचित्य.५ प. आरण्यि ६ इन एहि आ ·द्वितीयोऽङ्कः। सिंणा सुनेण मउलाविजन्ति ताव एव लहुरं अवचिणु बाअच्छदुत्ति । एसा तव- स्मिणी तं दीहि ण जाणादि । ता गेण्हितं गमिस्स । इदो इदो भारगिए एहि ।) (ततः प्रविशत्यारम्यिका।) आरण्यिका-(सवाप्पोद्वेगमारमगतम् । ) तथा नाम तादृशे वंश उत्पन्न यान्यजनमाज्ञाप्य स्थितया सांप्रतं परस्य मयाज्ञप्तिः कर्तव्येति नास्ति खलु दुष्करं देवस्य । अथवा ममैवैप दोषो यन जानत्यापि न व्यापादित आत्मा । तत्कि सांप्रतं करिष्यामि । अथवा दुप्परमिदानी मया चिन्तितम्। वरमेवैतदपि । न पुनरात्मनो महार्य वंश प्रकाशयन्त्या मया लघुकृत आत्मा । तत्का गतिः । यथामणितमनुष्ठास्यामि । ( तह णाम तारिरो वैसे उप्पण्णाए अण्णजण आण्णाविन हिदाए संपदं परस्स मए आणत्ती कादव्येति पास्थि पख दुफरारं देवरा । अहवा मह एच एसो दोसो जेण जागन्तीए वि ण वारादिओ अप्पा । ता कि संपदं करिस्सं । अहवा दुक्खरं दाणिं मए चिन्तिदं । वरं एच एवं विण उण अप्पणो महापं घमं पासअन्तीए मए लहकिदो अप्पा । ता का गई। नहमणिदं अणुचिहिस्स।) चेटी-इत एह्यारण्यिके । (इदो एहि भारण्णिए ।) आर०--इयमागच्छामि। ( श्रमं नाटयन्ती।) ले दूरे किमद्यापि दीर्घिका । ( अं आअच्छामि । हसे दूरे कि अनावि दिग्घिया।) चेटी-६ --एपा शेफालिबागुल्मान्तरिता । तदेहि अवतरावः । (अवतरणं गाटयतः ।) (एसा सेहालिआगुम्मन्तरिआ। ता एहि ओदरा ।) राजा--वयस्य किमन्यदिव चिन्तयसि । ननु ब्रवीमि बहेव सदृशं जलदसमयस्येति । (विभ्राणा मृदुतामित्यादि पुनः पठति ।) विदूषकः-( राक्रोधम् ।) भोः त्वं तावदेतदन्यच्च पश्यन्नुत्कण्ठा- निर्भरं विनोदयस्यात्मानम् । मम पुनाह्मणस्य स्वस्तिवाचनवेलातिकामति। तद्यावदहं त्वरितं दीत्रिकायां स्नात्वा देव्योः सकाशं गमिष्यामि । (भो तुमं दाय एवं अष्ण अपेक्सन्तो उमण्टाणिभर विणोदेसि बप्पाणं । मम उण ब्रह्म- णम सोस्थिवाअणवेला अदिगदि । ता जाव अहं नुवरिभ दीहिआए हाइस देवीए सआसं गमिस्म) ताशे सुप्रसिद्ध परं मनाविप्रयम्।महागुदारम् लघुकृतः लघुता नीतः। गुल्मः स्तम्वः । १सबाप्पमात्म., २उत्पना दासजनमा. साप (उप्पण्णा दासजण आणाविस संपर्द). पंग्तिष्ठसि-४ देवीसकाश.

·प्रियदर्शिकायां राजा-ननु मुर्ख पारंगता एव वयं दीपिरायाः । एवमने- केन्द्रिय खातिशयमनुभवन्नपि नोपलेक्षयसि । पश्य । श्रोत्रं हंसस्यनोऽयं सुखयति दयितानूपुरद्वादकारी दृष्टिप्रीतिं विधत्ते तटतरुधिवरालक्षिता सौधपाली। गन्धेनाम्मोरुहाणां परिमलपटुना जायते घ्राणसौख्यं गात्राणां हायमेते विधति मरुतो वारिसंपर्कशीताः॥४॥ तदेहि दीषिकातटमुपप्तावः। ( परिक्रम्यावलोक्य च।) वयस्य पश्य पश्य । उघानदेवताया स्फुटपहजकान्तिहारिणी स्वच्छा। दृष्टिरिच दीधिकेयं रमयति मां दर्शनेनैव ॥५॥ चिपक:-( सकौतुकम् । ) भो वयस्य पश्य पश्य । कैपा कुसुम- परिमल्सुगन्धवेणिमधुकरावलिविद्रुमलतारणहस्तपलवा उज्ज्वलत्तनुकोमल- बाहुलता सत्य प्रत्यक्षचरीवोद्यानदेवता स्त्री दृश्यते । ( भो बमस्स ऐक्स पेख । का एसा कुमुमपरिमलमअन्धवर्णामहुअरावली विददुमलआरुणहत्यपल्या उज्ज- लन्ततणुरोमलबाहुलदा सन पञ्चक्खचरी विअ उज्जाणदेवदा इत्थिा दीसह।) राजा-(सकौतुक विलोक्य ।) वयस्य निरतिशयस्वरूपशोभान- नितबहुविकल्पेयम् । यत्सत्यममपि नावगच्छामि । पश्य । पारगतारतीय पासा । अनेकानि च तामि इंद्रियाणि तेषां सुखातिशयमतिशयित सुखमित्यर्थ । तदेव दर्शयति-श्रोत्रमिति । दयिताया प्रेमस्या नपुरस्येव ह्राद शब्द करोतीति तथा । दयितामीरशिजितसदृश इत्यर्थ । भय इसस्पन श्रोन की इत्यर्थ । मुखयति । तटतहणा विवरेभ्यो लक्षिता घटा सोपपाली तस्विताहपक्तिटे नयनयो प्रीति मुद् विधत्ते । अम्भोरुहाणा परिमलेन पटुना स्फुटेन गन्धेन सौरभ्यण प्राणस्य सौख्य जायते । एत वारिसपण शांता मरतो वायव गावराणा हाद विद- धति च । स्वभावोक्ति । सन्धरा छद. ॥ ४ ॥ उद्यानेति । स्फुगना वित्रसिताना परजाना कमलाना कान्त्या हरनीति हारिणी मनोहरा । दृष्टिपक्षे कान्तिवत् हारिणी । स्वच्छा उद्यानदेवताया टि इय इय दीर्षिश मोदननैव रमयति लिटोपमा- ल्कार । आयोपगीति ॥५॥ कुसुमेति। कुमुमानो वेश्या धृताना परिमलेन मुगधा वेगिस्तत्र मधुरावली यस्या सा। पले कुमुमानामुद्यानस्थानां वेशिभूता मधुरावली यस्या सा। विदुमलतेन प्रवाल स्तेव अरुण रक्त हस्तपलको यस्या । पक्ष हस्त दव पालनो यस्या । उज्वलन्ती तनु कोमला च बाहुलता यस्मा । निरतिशया चासो सरपझोभा च । तरा। नितिशय स्वरूप चशोभा च ताभ्यामिति वा । जनिता बढ्दो विकल्पा कल्पना यया सा मुखमनः २ लममै सहाद माला.५ गावस्या ६सस्पर्श. का पुनरेषा ( का उण,) ।

·द्वितीयोऽङ्कः। ७ पातालामुयनावलोकनपरा किं नागकन्योत्थिता मिथ्या तत्खलु दृष्टमेव हि मया तस्मिन्कुतोऽस्तीही। मूर्ता स्यादिह कौमुदी न घटते तस्या दिवा दर्शनं केयं हस्ततलस्थितेन कमलेनालोक्यते श्रीरिव ॥६॥ विदूपक:--(निरूप्य । ) एषा खलु देव्याः परिचारिकेन्दीवरिका । तद्गुल्मान्तरितौ भूत्वा पश्यावः । ( एसा क्खु देवीए परिआरिआ इन्दीवरिआ । ता गुम्मन्तरिआ भविअ पेक्खा।) ( उभो तथा कुरुतः।) चेटी--( कमलिनीपत्रग्रहणं नादयन्ती।) आरण्यके अवचिनु त्वं पद्मानि । अहमप्येतस्मिन्नलिनीपत्रे शेफालिकाकुसुमान्यवचित्य देवीस- काशं गमिष्यामि । (भारगिए अवश्णुं नुमं पदुमाई । अहं वि एदस्मि णलि. मीपत्तम्मि सेहालिआकुममाई अवणुभ देवीमआसं गमिस्मं ।) राजा-वयस्य संलाप इव वर्तते । तदवहिताः शृणुमः । कदा- चिदित एव व्यक्तीभविष्यति । (बेटी गमनं नाटयति ।) आर०-हला इन्दीवरिके । न शक्नोमि त्वया विना मुँहूर्तमप्यत्रा- सितुम् । (हला इन्दीवरिए ण सक्कुशोमि तुए विणा मुहुत्तवि एरय भामिदं ।) चेटी-(विहस्य !) गादृशमद्य मया देव्या मन्त्रितं श्रुतं तादृशेन चिरमेव मया विना त्वयासितव्यम् । ( जादिर्म अन मए देवीए मन्तिदं मदं तारिसेण चिरं एब मए विणा ए आसिदव्यं।) तथोक्ता। पातालेति। भुवनस्य महीलोकस्यावलोकनपरा नागकन्यका पातालादुत्थिता किं स्यादिति विकल्प 1 नैतत्स्यादित्याक्षिपति । तन्मिध्या खळ । मया दृटमेव हि । रास्मिन्पानाले ईशी लावण्यसम्पना कन्यका कुतः । इह मूर्ता मूर्तिमती बौमुदी स्यात् । एसदपि न । तस्याः कोमुद्या दिवादर्शन न घटते संभवति । केयं तर्हि या हस्तलिस्थितेन कमलेन श्रीः इस आलोक्यते । सन्देहालंकारः । शार्दूलविक्रीडितं वृत्तम् ॥ ६॥ यादशं यत्रकारकम् । त्वद्विवाहसम्बन्धीति गूढम् । मन्त्रित भाषितम् । तादृशे न तदनु- । धिपा. २ कुनस्वी ३ रिका आगच्छति ( आश्रच्चदि), ५ पतनागिन बहुप पुस्तके. ५ तादृशं (नारिस ).

·१८ प्रियदर्शिकाया आर०—( सविष दम् । ) किं देव्या मन्त्रितम् । ( देवाए मन्तिद।) चेटी-एतत् । तदैपाह महाराभेन भणिता यथा-यटैपा विध्य केतुहिता वरयोग्या भविष्यति तदाह स्मारयितव्य इति । तत्साप्रत महाराज स्मारयामि येनाभ्या वरनि तोपर्याकुरो भविष्यति । ( एव । तदा एसा अ६ महाराएण भणिदा रह नदा एसा वियफेदुहिँदा बरजागा मावि स्सदि तदा अह सुमराइदम्बात्ति । ता सपद महाराज मुमराबमि जेण से वरचिन्ता पनाउरो भविस्तादि।) राजा-(सहर्षम् । ) इय सा विन्ध्यरेतोर्दुहिता । ( सानुतापम् ।) चिर मुपिता स्मो वयम् । ययस्य निर्दोषदर्शना कन्यका खेल्वियम् । विश्रब्यमिदानी पश्याम । आर०-(सरोप को पिधाय।) तद्गच्छ त्वम् । न मम त्ययासब प्रलापिन्या प्रयोजनम् । (ता गच्छ तुम । ण गह तुए भरावद्धप्पलाविणीए पभोभण।) (चेव्यपस्य पुष्पादचय नाटयति।) राजा-अहो सुतरा प्रकटीकृतमामिनात्य धीरतया । वयस्य धय खल्वसौ य एतदङ्गस्पर्शसुखमाजन भविष्यति । (आरयिका कमलावचय नाटयति ।) विदूप: भी वयस्य पश्य पश्य । आश्चर्यमाश्चर्यम् । एषा सलिलचलत्करपल्लवप्रभाविस्तृतेनापहसितशोभ करोति कमलवनमवचि वती । ( भो वअस्स पैक्स पक्ख । अचारेज अच्चरिश । एसा सलिलचलन्तकर पालनप्पहावित्यिदेण आहरािअसोइ रेदि कमलदण अवचिणन्ती।) राजा-वयस्य सत्यमेवैतत् । पश्य । रोधादित्यर्थ । सानुतापमनुनापेन पचात्तापेन सहित यथा तथा । विसन्ध यथा तपा। असम्बद्ध सदर्भरहितमनर्थ कमिति यापत् । यदा वरय ग्या भविष्यतीत्यादि प्रलपतीति तथा तया । एपा नर्मोति । एव शाकुन्तलपि इमामसम्पप्रापिनी प्रियवदामार्याय गौतम्यै निवेदयिष्यामाति शकुन्तलावास्यम् । एषा कमलानि भवचिन्वनी सलिले जल चान्ती । परपाठवस्य प्रभा तस्या विस्तृतन विस्तारेण प्रसरणेनेत्यर्य । । तदाह मा यथावा. पदा २ तास.ए.) चिरमु. । एन नास्नि काचित् ५ विशुलिन (विन्यरिदण) ६ कमल "स्वल्प ·द्वितीयोऽङ्कः। अच्छिन्नामृतबिन्दुवृष्टिसदृशी प्रीति ददत्या देशां याताया विगलत्पयोधरपटाद्रष्टव्यता कामपि अस्याश्चन्द्रमसस्तनोरिव करस्पर्शास्पदत्वं गता नेते यन्मुकुलीभवन्ति सहसा पद्मास्तदेवामृतम् ॥७॥ आर०–(भ्रमराधा नाटयन्ती।) हा धिक् हा धिक् । एते खल्बपरे परित्यज्य कमलिनी नीलोत्पलवनानि समापतन्तो निपुणतरं बाधमाना आयासयन्ति मां दुष्टमधुकराः। (उत्तरीयेण मुसं पिघीय समयम् ।) हला इन्दीवरिके परित्रायस्य मा परित्रायस्व माम् । एते खलु दुष्टमधु- कराः परिभविष्यन्ति । ( इद्धि हृद्धि । एदे पर अवरे परिचइअ कमलिणी णीचप्पलवणाई समापदन्ता णिउणअरं साधता आआसअन्ति मं दुइमहुभरा । हला इन्दीवरिए परिताएदि में परित्ताएहि मं । एदे या दुदमहुअरा परिभविस्सन्ति ।) विदूपका–भो वयस्य पूर्णास्ते मनोरथाः । यावदेव गर्भवास्याः सुता नागच्छति तावदेव त्वमपि तप्णीको भूत्वोपसर्प । एपापि सलिल- शब्दचितेन पदसंचारेणेन्दीवरिकागच्छत्तीति ज्ञात्वा स्वामेवावलम्विप्यते । (भो यस्य पुष्णा दे मणोरहा । जाव एव्य गगदासीए गुदा ण आअदि दाय एव्व तुम वि सुण्डीको भविस उत्सप्प । एमा वि सलिलसइमूदण पासंचारेण इन्दी. परिआ माअच्छदिति जाणिअ तुम एल ओलम्बिस्सदि।) राजा-साधु वयस्य साधु । कालानुरूपमुपदिष्टम् । ( इग्यारम्यिक । समीपमुपरापैति ।) अच्छिति । दशा नयनाना पशतामितिशेष । शेति पाठे अवलोकनेनेत्यर्थः । मच्छिना अनवरना या अमृतचिन्ता पूरिस्तस्याः सदी प्रीतिमानन्दं पदत्याः । विगलन्यः पयोधरपटः स्तनांगुकं तम्मालामपि अनिर्वचनीया एव्यता दर्शनीयता यातायाः । चन्द्रमसः पक्षे विगलनपगतः य पयोधरो मेघः स एव पटस्तामात् । भाभन्दमरतनोरिव अस्याः परस्पास्पदवं हस्तगपस्य पक्षे किरणममर्गस्य भास्पदवं स्थानतो गता एते पमाः म्लानि : या पुंसि पसमिति पुलिंगता । महसा न मुलीमान्ति इति यत्तदेवातम् । विशेषोक्तिः । शाकिदिनं पृतम् ॥ ७ ॥ अपरे मुमगनायरप्याकृष्टाः प्रथमे । एते अन्ये इत्यर्थः । समापतन्तः संभूयाभिग. एन्तः । निपुगतरं समधिकम् । हिगुमनमिति माधीयान्याः । परिभरिष्यन्ति मामासम्येयुरित्यर्थः । पन्तलेषि-हला परिमाये मामनेन दुधनीनेन मधुशरे. टिपान. २ शा. मार्थ, मादरनि. १ परिच फपरातो पलानं ममात. विनामापा (पिनि कमणीमा पर्ग समादिगार मपिधान. ससी (रसा दासी)..पुतेन (सजिदेग). ८ सयमेशा (मान).

·२० प्रियदर्शिकायां आर०-(पदशब्दावर्णन नाटयन्ती ।) इन्दीवरिफे लघूपसर्प लघु- पसर्प । आकुलीकृतास्मि दुष्टमधुकरैः । (इन्दीवरिए । लहु उवसप्प लहु उयसप्प । भाउलीकिदामि दुइमहुअरेहि । ( राजानमवलम्बते।) ( राजा कप्ठे गृहाति । आरथिकोत्तरीय मुखादपनीय राजानमपश्यन्ती अमरावलोकन नाटयति ।) राजा-{ स्वोत्तरीयेण भ्रमरानिवारयन् ।) अयि विसृज विपाद भीरु भृक्षास्तवैते परिमलरसलुब्धा वकपो पतन्ति । विकिरसि यदि भूयस्त्रासलोलायताक्षी कुवलययनलक्ष्मी तत्कुतस्त्वां त्यजन्ति ॥८॥ आर०-(राजानं दृष्टा साध्वस नाटयन्ती 1) कयं नैपेन्दीवरिका । ( सभय राजान त्यक्त्वापसरन्ती।) इन्दीवरित । स्वागछ रवागच्छ । परित्रायस्व माम ! (कह ण एसा इन्दीवरिआ । इन्दीवरिए । लहु आमच्छ लहु भाअच्छ । परित्ताएहि म।) विदूषकः-भवति सकलपृथ्वीपरित्राणसमथेन वत्सराजेन परित्रा- यमाणा चटीमिन्दीवरिकामाक्रन्दसि । ( होदि राअलपुडवीपरिताणरामत्येण पच्छराएग परित्ताअन्ती चेति इन्दीपरिभ अकन्दसि । (राजा "अयि विस्त-" इत्यादि पुन पठति ।) आर०-(राजानमवले क्य सस्पृह सलब चारमगतम् । ) अयं ग्वलु स महाराजो गस्याह तातेन दत् । स्थाने खलु ठातस्य पक्षपातः । (आकूलला नाटयति।) (अभ क्यु सो महाराओ जस्स अह तादेण दिया साणे क्तु तादास पखवादो।) णायास्पमानामिति । गर्भादारभ्य दासी गर्भदासी । सूष्णीक मौनी । लमु शीघ्रम् । अयोति । अयि भोह रिपाद सुध । एते परिमलरसे सोगध्यात्वादे लम्धा भृक्षा तव कृपये पतन्ति । नासन भयेन लोले चले आयते दीर्घ अक्षिणी यरया सा स्व यदि भूय कुव च्यवनलक्ष्मी इतस्तनो टिपातेन विविसि तहि त्या कुत परित्यजन्ति । न त्यजेयुरेव । मालिनी वृतम् । ननमयययुतेय मालिनी भोगि लोके । इति तपक्षणम् ॥ ८॥ स्थाने युक्त । पक्षपात अतिशयित प्रेम १ इति रा.पतन्ति. पल्टागच्यागा, भुवन, माणनिकिटीमा.

·द्वितीयोऽङ्कः। २१ । चेटी-आयासिता खल्वारण्यिका दुष्टमधुकरैः । तद्यावदुपसर्य. समाश्वासयामि । आरण्यिके मो विभिहि । एपोपगतास्मि । (मामा- मिआ क्तु आरग्गिा दुइमहुअरेहिं । ता जाव उदसविन रामस्सासेमि । आरणिए मा भादि। एसा उवअदम्हि।) विदूषकः--भोः अपसरापसर । एषा खल्विन्दीवरिकागता । ऐत वृत्तान्तं प्रेक्ष्य देव्यै निवेदयिष्यति । ( अट्टल्या निविश्य 1) तदिदमेवर कदलीगृहं प्रविश्य मुहूर्त तिष्ठायः । ( भो ओसर ओसर । एसा क्तु इन्दी- वरिआ थाअदा । एदं उत्तन्तं पेरिसभ देवीए णिवेददस्रादि । ता इमें एच कदलीपरं पविसिभ मुहुर्त चिम) (उभी तथा कुस्तः ।) चेटी-( उपत्य कपोलो स्पृशन्ती1) हले आरज्यिके । कमलम- शस्य तव वदनस्यायं दोपो यन्मधुकरा एयमपराध्यन्ति । ( हस्ते गृहीत्या ।) तदहि गच्छावः । परिणतो दिवसः । (हो भारगिए कमरमौरसस्य तुइ वभ- णम मोदोमोज महुअरा एवं भवरज्झन्तिाता एहि गया। परिणदो दिअहो।) (गमनं नाटयतः।) आर०-(कदलीगदाभिगुरुमवलोक्य ।) हसे इन्दीवरिके अति. शिशिरतया सलिलस्योरुस्तम्भ इस समुत्पन्नः । तच्छनैः शनैर्गच्छावः । (हो बन्दीपरिए अविसिसिदाए सलिएस्स करयम्भो विभ समुप्पागो। ता सपिभ गणिभ गच्छद्म।) चेटी--तया । (तह) (इति नियान्ते।) विदूपक-भोः एहि निष्कामावः । तां गृहीत्वैपा दाम्याः मुतेन्दीय- रिका गर्ता । (भो एहि गिरमा गन्हिा एका दागीए मुत इन्दीवरिमा गदा।) राना-(निश्वम्य ।) कथं गता । ससे वमन्तक ! न खत्तविक मभिलपितमधन्यः प्राप्यते। (पिलेपय।) साते पश्य पश्य । AIIT गोरिमा । वास्तु शिवरादयम् । भरिश्मभिदिनमि- पाउन्ननेपि-दो सिपया प्रतिामियः । इति । मी: मानम (म माहिरमा ममाप्र). १ नो (मार). कार: अमरना मुमताप्रावि पापपू. .

·२२ प्रियदर्शिकायां - आबद्धमुखमपदि कण्टाकतं कमलकानने तस्याः। सकुमारपाणिपल्लवसंस्पर्शसुखं कथयतीव ॥९॥ (नि.श्वस्य । ) सखे । क इदानीमुपायः पुनस्तां द्रष्टुम् । विदूषकः-भोः त्वमेव पुत्तलियां भक्त्वेदानी रोदिषि । न मम खलु ब्राह्मणस्य वचनं करोपिा (भो तुमे एवं पुतलिभ भागमा रोदिसि ।ण मह क्तु बह्मणस्स नभर्ण करेसि।) राजा-किं मया न कृतम् । विदूपका-तदिदानी विस्मृतम् । यथा तूष्णीको भूत्वोपसर्पति मया भैणितम् । अतिसंकटे यदवान्प्रविश्यालीकपाण्डित्यदुर्विदग्धतया ॥ अयि विसृन विपादम् ” इत्येतैरन्यैश्च कटुवचनैर्निभयं सांप्रतं किं रोदिपि । पुनरप्युपायं पृच्छसि । (तं दाणि विमुमरिदै । जह तुहीको भविभ उक्सप्पत्ति मए भणिदं । आदिसंकडे ज भवं पविसिभ अलिअपंडिच्चदाबदद्धदाए भर विसिज विसादेति एदे हैं अमेहि अ बहुअयअणेहिं णिम्भचिन सपदं कि रोदिसि । पुणो नि उवा पुच्छसि।) राजा- कथं समाश्वासनमपि निर्सितमिति भाणतं मूर्खेण । विदूषकः-ज्ञातमेव कोऽत्र मूर्ख इति । तत्किमेतेन । अस्तमया भिलाषी भगवान्सहस्ररश्मिः । तदेह्यम्यन्तरमेव प्रविशावः । ( जागिर्द एल्व को एत्य मुक्सोति । ता कि एदेण । अस्थमाहिलासी भयं सहस्सरस्सी । ता एहि अन्भन्तरं एष पविराहा।) राजा-(विलोक्य ।) अये परिणतप्रायो दिवसः। अहह । संप्रति हि- हत्या पद्मवनयुर्ति भियतमेवेयं दिनश्रीर्गता रागोऽस्मिन्मम चेतसीय सवितुर्विम्वेऽधिकं लक्ष्यते। आबद्धति । इदं कमलकाननं पद्मानं लावद्धं मुकुलितं मुसं यस्य तदावद्ध- मुसमपि । वयक्तिं सातपटक सरोमार्य च सन् । तस्या आरष्यिायाः यः मुकुमारः पाणिपत्र. तस्य संस्पर्शन जातं मुरी फ्ययनीव । उत्प्रेक्षालंगारः । पच्या वृत्तम् ॥ ९ ॥ पुत्तलि पाशालिगम् । अतिसंकटे इति सोपहासम । अलीरूपाण्डित्यं मिथ्यावदग्ध्यं तेन दुर्मिदग्ध साभिमान पण्डितमन्य इत्यर्थः । तस्य भावस्तत्ता तया । अस्तमयमभिलायतेऽमावलमयामिलापी आमनास्तमय इत्यर्थः । कृरवेति । इयं दिनश्रीः पयानस्य कान्ति शोभा हवा प्रिया आरधिमा र गला । अस्मिन्पुरोसमाने सपितुर्विम् मम चतमि इस रागो रतिमा अनुराग अधिक १ अभ्युपाया २ मे हलग्य (मे मुरखरम ). मा मणिमाथि 'पि... फदुपपने भरला मन.५ पृहीतं.. हिमरा (विषमभरो), ·तृतीयोऽङ्कः। २३ चक्रादोऽहमिव स्थितः सहचरीं ध्यायलिन्यास्तटे संजाता सहसा ममेव भुवनस्याप्यन्धकारा दिशः॥१०॥ ( इति निष्कान्ताः सर्वे 1) इति द्वितीयोवः। तृतीयोऽङ्कः । (ततः प्रविशति मनोरमा।) मनोरमा---आजमास्मि देपा गासवदत्तया हजे मनोरमे यःस साङ्कृत्यायन्यार्यपुत्रस्य मम च वृत्तान्तो नाटकोपनिबद्भस्तस्य नर्तित. व्यशेषमद्य युष्माभिः कौमुदीमहोत्सवे नर्तितव्यमिति । ह्यः खल्वारण्यि- कया प्रियाप्तख्या शून्यहृदययान्यथैव नर्तितम् । अय पुनर्वासवदत्ताभूमि- कया तया यदि तथा क्रियते ततोऽवश्यं देवी कुप्यति । तत्कुत्र तावत्ता प्रेक्ष्योपालप्रये । ( विलोक्य 1 ) एपारण्यिकात्मनैव किमपि किमपि मन्त्र- यमाणा दीर्घिकातीरे कदलीगृहं प्रविशति । तद्गुल्मान्तरिता भत्वा श्रीप्यामि तावदस्या विश्रब्धनाल्पितानि । (आणत्तमि देवीए वासवदत्ताए हो मणोरमे जं तं संकिचायणीए अबउत्तस्स मम अ उत्तन्तं णाइओवाणिबद्धं तस्स चिदन्यसेस दृश्यते । नकाहः चकवाक: अमिव सहचरी ध्यायन् नलियाः तटे स्थितः । दिशः मम इव भुवनस्यापि सहसा अन्धकाराः अन्धकारवत्यः। अनालादकरा इत्यर्थः । जाताः । भरी आदिभ्योऽब्' इति मत्वर्षीयः अच् । उपमा। शार्दूलविक्रीडितं वृत्तम् ॥ १०॥ इत आरभ्याङ्कसमाप्तिं यावत्प्रतिमुखगर्भमन्धी । तत्रादी वत्सराजारम्यिकाममा. गमहेतोरनुरागयीजस्य द्वितीयाङ्कोपक्षिप्तस्य मनोरमाविषकाभ्यां शायमानतया किंचितश्यस्य धारावदत्तयाज्ञाततया चालश्यस्य दृश्यादृश्यरूपतयो दः प्रतिमुगसन्धिः। सांकृत्यायनी नाम साचित्परिवाजिका अन्य निर्माणकुशला वासवदत्ताया विनोदयित्री । नर्तितन्यशेष नाटयितव्यशेषम् । यौमुदीमहोत्सवे आश्विनस्य पूर्णिमायां नियमाणो सवे शन्यमन्यविषयगत हृदयं यस्या. सा । हृदयेनासंनिहिनेत्यर्थः । तया । भूमिका येपः । उपालप्स्य दोषं दास्यामि । मन्त्रयमाणा भात्मना म्याहरन्ती । गुल्मः लतागहनं तेनान्तरिता पिहिता । विद्यधजल्पितानि स्वैरभाषितानि । १ यन्साच परत (चरिद ).२ दासवदनाया ये क्या नया ननिने देण्याः कोगे भविष्यति ( दनाए यस फझ नह णरिदे देवीए पोशे विरमदे). - ·२४ प्रियदर्शिकीयां 1 अन्न तुबेहि कोमदीमहसवे णचिदबंति । हिओ क्खु आरग्गिआए पिअसहीए मुण्ण. पहिअआए अण्णहा एब णचिदं । अज उण वासवदत्ताभूमिाए लाए जइ तह करी- अदि तदो अवसं देवी कुप्पदि । ता कहिं दाव ता पेक्खिा उबालम्भिस्सं । एसा भारष्णिआ अप्पणा एव्य किं वि किं वि मन्तअन्ती दिग्घिआतीले कदलीघरम 'पविसदि। ता गुम्मन्तरिआ भविअ मुणिस्सं दाव से विसद्धजप्पिदाणि।) (ततः प्रविशत्यांसनस्था कामावस्यां नाटयन्त्यारण्यिका ।) आर० -(निःश्वस्य ।) हृदय दुर्लभननं प्रार्थयमानं लं कस्मान्मां दुःखितां करोषि । (हिअअ दुलहजणं पत्थअन्तो तुर्म कीस में दुक्खिद करेसि।) मनो०-तदेतदस्याःशून्यहृदयत्वस्य कारणम् । किं पुनरेगा मार्पयते। अवहिता तावन्योप्यामि । (तं एद एदस्य सुष्णहिअअतणस्स कारणं । किं उण एसा पत्येदि । अवहिदा दाव मुणिस्म ।) आर०-( सालम् । ) कथं तथा नाम सौम्यदर्शनो भूत्वा महाराग एवं संतापयति माम् । आश्चर्यमाश्चर्यम् । (निश्वस्य ।) अथवा ममैवैपाऽभाग- धेयता । न पुनर्महाराजस्य दोपः । ( कह तह णाम सोम्मदंसणो भविग महाराओ एवं संदादि में । अचरिअं अधाराअहया मह एव एसा अभाअहेअदा । ण उण महाराअस्स दोसो।) मनो०-(सयाप्पम् । ) कथं महाराज एवास्याः प्रार्थनीयः । साधु प्रियसखि साँधु । आभिजात्यसदृशस्तेऽभिलाषः । ( कह महाराओ एव से 'पत्थणिनो । साहु पिअसही याहु । अभिजाअसरिसो दे अहिलासो।) आर०-कस्मै तावदेतं वृत्तान्तं निवेद्य सह्यवेदनमिव दुःखं करि- ज्यामि । (विचिन्त्य । ) अथवा अस्ति मे हृदयनिर्विशेषा प्रियसखी मनो- रमा । तस्या अप्येतलज्जया न पारयामि कथयितुम् । सर्वथा मरणं वन- यित्वा कुतो मे हृदयस्यान्या निर्वृतिः । (कस्स दाव एवं उतन्तं णिवेदिभ सम्झवेअणं विअ दुखं कारइस्सं । अहवा अस्थि मे हिअअणिधिसेसा पिअसही मणोरमा । ताए वि एवं लज्जाए " पारेमि कहिदं । राबहा मरणं वज्जिअ कुदो में हिअअस्स अण्णा गिदी।) दुर्लभजनं वत्सराजमित्यर्थ । प्रार्थयमानमभिलपत् । अवहिता सावधाना । अभागधेयता मन्दभाग्यत्वम् । हृदयानिर्गतो विशेपो यस्या सा 1 पारयामि शक्नोमि।नितिः सुखम् । रत्यारण्यिका। (आ--कामावस्था नादयन्नी मिथस्य ।). २ शोमन (गोहण.). . ३ साधु पियसखि. ४ इदानी (दागि).

·तृतीयोऽङ्कः। “मनोरमा--( सास्रम् 1 ) हा धिक् हा धिक् । अतिभूमि गतोऽस्या- तपस्विन्या अनुरागः । तल्किमिदानीमन करिप्यामि । ( हद्धि हद्धि । अदि । भूमि गदो से तवस्सिगीए अणुराओ । ता कि दाणि एत्य करिस्स ।) आर०-(साभिलाषम् । ) अयं स उद्देशो यस्मिन्मधुकरैराया- स्यमामावलम्व्य महारानेन समाश्वासितास्मि भीर मा विभीहीति । ( अओं सो उद्देसो जस्मि महुअरेहि आआसिजन्ती बोलम्बिा महाराएण समस्सासिदहित भीरु मा गआहिति।) मनोरमा-(सहर्षम् । ) कथमेपापि दृष्टा महारानेन । सर्वथाम्त्यस्या जीवितस्योपायः । यावदुपसृत्य समाश्वासयाम्येनाम् । ( सहसोपमृत्य । ) युक्तं नाम हृदयस्यापि लजितुम् । ( को एसा वि दि महाराएण : सच्यहा अन्थि से जीविदरग उवामओ | जाव उपसभिल समस्सासेमि णं । जुत्तं णाम हिअअस्स वि लगिदु।) आर०—(रुन्नमात्मगतम् । ) हा धिक् हा धिक् । सर्वं श्रुत- मेतया । तदत्र युक्तमेव प्रकाशयितुम् । (प्रकाश हस्ते गृहीत्वा । ) प्रिय- सखि मा कुप्य मा कुप्य । लजैवात्रापराध्यति । ( हद्धि हद्धि । सर्व मुद एदाए । ता एस्थ जुनं एव पआस« । पिअसहि मा कुप्प मा कुप्प । लजा एव्ध एथ अवरज्मादि ।) मनो-(सहर्पम् । ) सखि अलं शङ्कया । एतन्म आचश्व । सत्यमेव त्वं महारानेन दृष्टा न वेति । ( सहि अल संकाए । एद मे माअपरा । सचं एव तुम महाराएण दिशा ण वेत्ति 1) आर०—(सलजमधोमुखी) श्रुतमेव प्रियसख्या सर्वम् । (मुद एष पिअमहीए सव्वं ।) मनोरपा-यदि दृष्टा महारानेन त्वं तदलं संतापितेन । स एवे. दानी देशनोपायपर्याकुल्ने भविष्यनि । ( जइ दिया महाराएण नुम सा मलं संतम्पिदेण । सो एन दाणि दंगणोवाअपनाउलो भविस्मदि।) अनिभूमि परी कोटिम् । तस्विन्याः अनुकम्प्यायाः । पराक्या इत्यर्थः । हृदयस्यापि स्वहृदयादथ्यनिरिक्ताया ममेत्यर्थः । आत्मगत, प्रगश-सर्वश्राव्य प्रकाशं स्यादधान्य सगत मतम् । इनि दशरूपके । दर्शनोपायपर्याकुल: दर्शनोपायचिन्ताव्यमः । १ नाम जि.वयस्य-सखीगतस्य. २ लजा नाटसन्नी आ..नषदर्श ·प्रियदर्शिकायां - .: 'आर०अयं सखीननः पक्षपातेन मन्त्रयते । यि सखि- पक्षपातिनि । देवीगुणनिगडनिबद्धे खलु तस्मिञ्जने कुत एतत् । ( अभं सहीअणो पक्खवादेण मन्तेदि । अइ राहिपकरावादिणि । देवीगुणणिअलणिबद्ध क्बु तस्सिं पणे कुदो एएं।) 3 , मनोरमा--(विहस्य।) हला अपण्डिते कमलिनीबद्धानुरागोऽपि मधुकरो मालती प्रेक्ष्याभिनवरसास्वादलम्पटः कुतस्तामनासाद्य स्थिति करोति । (हला अपण्डिदे क्मलिणीबद्धाणुराओ वि महुअरो मालदी पक्सि अहिणवरसास्सादलम्पडो युदो त अणासादिदि रेदि।) ॥ आर०-किमेतेनासंभावितेन । तैदेहि । अधिकं खलु शरदा- तपेन संतप्तान्यद्यापि न मेऽङ्गानि संतापं मुञ्चन्ति । (किं एदिणा असंभा- विदेण । ता एहि । अहिलं क्ख सरदादवेण संतप्पाई अब वि ण मे अट्वाई संदावं मुञ्चन्दि ।) मनोरमा--अयि लज्जालुके न युक्तमेतदवस्थां गतयापि त आत्मा अच्छादयितुम् । (भालनालए ण जुत्तं एदावत्थं गदाए वि दे अप्पा पच्छादिदु ।) (आरष्यिका मुखमवनमयति।) , मनोरमा--अयि अविश्रम्भशीले किमिदानी प्रच्छादयसि । निश्वा- सानिभविनिर्गतो दिवसं रात्रिमपि तवानुरागोऽविरतपतत्कुसुमशरशरनि- वहप्रवृत्तहुङ्कारशब्द इव न मणति । ( आत्मगतम् । ) अथवा न खल्वयं काल उपालम्भस्य । तद्यावन्नलिनीपत्राण्यस्या हृदये दास्यामि । (उत्थाय देवीगुणा एव निगड लोहवन्धस्तेन निवद्धे । मालती जातिपुष्पम् । लम्पटो लोलुपः । स्थिति करोति स्वास्थ्यमेति । लमो लाति इति लज्जाल । 'मितद्रादिभ्य उपसत्या- नम् ' इति वार्तिकेन दुः । सैव लाजालया। भविभ्रम्भशीले प्रकृत्यात्मन्यविश्वासिनि । निवासनिभविनिर्गतः निश्वासच्चलेन विनिर्गतः । अविरतं पतन्यः कुमुमशरस्य मदनस्य शारनिवहो वाणसमूहस्तस्मात्प्रवृत्तः हुंकारशब्द इव।नभणति न तवावस्था कथयति किम् । १एनद्वाक्य नास्ति पुस्तकान्तरे. २ सखीजनपक्षपातेन मन्वयसे (सखीअणपस्व- वादेन मन्नेप्ति).३ एतन्नास्ति क्वचित. अस्य स्थाने-वासनिभान्निगमो दिवस रात्रिमपि वानराग। अविरतपनन्मन्मथशरशनदहारशद इस ।। (सासणिहा णिगमिझो दिमई रनिंवि तुझा अणुराभो। अचिरमपडनमम्महसरसअहंकार सदोष)नि पथ कचित्, ५ तत्तापक ·तृतीयोऽङ्कः । क्षार्षिाया नलिनीपत्राणि गृहीत्वारण्यिकाया हृदये दंदती 1) समाश्वसितु सखी समाश्वसितु सखी । (पद अविसंम्भसीले किं दाणिं पच्छादेशि । णीसासशिहः विणिग्गओ दिअई रति वि तुज्ज्ञ अणुराओ अविरदपडन्तकुमुमसरसरणिवहपउत्तहुँकार. सदो भिणभणइ । अहवा गहुअों कालो पालम्भस्म। ता जाव गलिणीपत्ताई से दिए दाइस । समस्तसदु सही समत्ससटु सही।) (ततः प्रविशति विदूषकः।) विदूपक:-अतिमहान् खलु प्रियवयस्यस्यारण्यिकाया उपर्यनुरागः। येन परित्यक्तानकार्यस्तस्या एव दर्शनोपायं चिन्तयन्नात्मानं विनोदयति । (विचिन्य । ) कुवेदानी ता प्रेक्षे । अथवा तत्रैव तविद् दीपिकायाम- विष्यामि । (परिकामति ।) (अदिमहन्तो वयु पिशवभस्सस्स भारगिआए उपरि अणुराओ । जेग परिधताअकनो ताए एव्य रणोवा चिन्तअन्तो अप्पाण विणोदेइ । कहिं वाणित पेसे । अगा तहि एल दाव दिम्पिआए अण्णेसामि ।) मनोरमा-(आकये । ) पदशब्द इव श्रूयते । तत्कदलीगुल्मान्त- रिते मूत्वा प्रेक्षावहे तावत्क एप इति । (पदमदो विश भुगादि । ता कदली- गुम्मन्तरिदा मविक्ष पेसा दाव को एसोत्ति।) (उभे तथा मृत्वा पश्यतः 1) आर०—कयं स एव महारानस्य पार्श्वपरिवर्ती ब्राह्मणः । (कई सो, एव्य । महाराअस्म पासपरिव बद्मष्यो।) मनोरफा-कयं वसन्तक एव । (गहर्षमात्मगतम् ।) अपि नाम तथा भवेत् । (यहं वसन्तओ एव । अवि गाम तह हवे।) विदूपका-(दिशोऽवलोक्य ।) किमिदानीमारण्यिका सत्यमेवें संवृत्ता । (किं दाणि आरणिआ राचं एब रीयुत्ता ।) मनोरमा-(सस्मितम्।) सति राजवयस्यः खलु ब्राह्मणस्त्वा- मुद्दिश्य मन्नयते । तत्तावदचहिते शृणुत्रः । (सहि राश्रदअम्मो यातु बनायो सुमं उद्दिस्मिा मन्तेदि । ता दाव भवहिदा मुणाम।) (आरयिका मरहं सलज्ज व गणोति।) विदूषकः-(गोद्वेगम् ।) यदी तावन्मया गुरमदनसंतापनिरमह- तपा भर राजाज्ञयारण्यकान्वेषणार्थमागतो भयदित्यादयः। गुष्टुभरः मदनर्गनापग्लेन सम्वि समामिहिसमा सकृ. इनिए.. राग, सरपियका. या नाचम्मया इति मारिलयुम्नकाली। .

·प्रियदर्शिकाया - शरीरस्य प्रियवयस्यस्य वचनेन देव्योर्वासवदत्तापद्मावत्योरन्यासा च देवीनां भवनान्यन्विप्यता न सा दृष्टा तदौ यत्र दीर्घिकाया दृष्टेदमपि तावत्प्रक्षिप्य इत्यागतोऽस्मि । तद्यावदिहापि नास्ति । पिमिदानीं करिष्ये । ' जदा दाव मए गुरमअणसदावणीसहसरीरस्स विअवअस्सस्स दवणेण देवीण बारावदत्तापदमाव- वीण अण्णाणं अ देवीण भवणाइ अण्णेसन्तण ण सा दिवा तदा जहिं दिग्धिआए दिशा इर्द वि दाय पेक्खिस्सं ति आअदोधि । ताजाव इह वि णथि।कि दाणि करिस्स।) मनोरमा-श्रुतं प्रियसस्या । ( सुद पिअसहीए विदुपका--(विचिन्त्य । ) अथवा भणित एवाहं वयस्येन । यदि तामन्वियेन प्रेक्षसे तत्ततोऽपि तावद्दर्यिकातस्तस्याः करतलस्पर्शद्विगुणि- तसुखशीतलानि नलिनीपत्राणि गृहीत्वागच्छेति । तत्कथमेतानि ज्ञातव्यानि । (अहवा मणिदो एच आई वअसण । जह से अण्णेसन्तो ण पेक्ससि ता तदो कि दाय दिपिआदो ताए काअलपरिसदिउणिअमुहस्सीअलाई गलिणापत्ताइ गोहिल माअच्छत्ति । वा कद एदाइ जाणिवाह ।) मनोरमा-अयं ममावसरः । (उपसृत्य विदूषक हस्ते गृहीरवा 1 ) वस- तक एहि । अहं ते ज्ञापयामि । (अअं में अक्सरो। वसन्तम एहि । भई दे जाणावेमि) विदूषकः-( सभयम् । ) कस्य वं ज्ञापयति । कि देव्या । न खलु मया किमपि मन्त्रितम् । ( करस तुम जाणावेसि । किं देवोए । प्य हु मए किवि मन्तिद।) मनोरमा-वसन्तक अलं शङ्कया । यादृश्यारण्यिकायाः कृत आत्मन. प्रियवयम्यस्थावस्था त्वया वर्णिता ततोद्विगुणतरा भर्तुरपि कृते मम प्रियसख्या अवस्था । तत्पश्य पश्य । (उपसत्यारण्यिका दर्शयति ।) (वसन्त अल सकाए । जादिसी आरण्णिआए किदे अत्तणो पिअवअस्सस्स अवत्था तुए वण्णिदा तदो दिउणदरी भरिणो विक्दैि मम पित्रसहीए भवत्या । ता पेल्स पेरण।) निस्सह दुर्बल शरीर यस्य तस्य । अस्वस्थवचनेन इति पाठे पर्यापलबचनेन भस्वास इति वचनेन वा । इदमपि दीपिकास्यानमपि । तस्या करतलस्य स्पर्शन द्विगुणि- तसुखानि च तानि शीतलानि च । २ देव्या वासवदनाया प्रेमावत्याध्र ३ तदा या दीषिकाया हटा इति भारित कर, ५ अन्वेषयन्, “सर्शमुख ६ • दर उग (नर पुन ), । 1 १ अलस्था- ·तृतीयोऽङ्कः। २९ - । 'विदूषकः-(दृष्ट्या सक्षम् ।) सफलो में परिश्रमः । स्वस्ति भवत्यै । (सफलो मे परिस्समो । सोस्थि होदोए।) (आरज्यिका सलज्ज कमलिनीपत्राण्यपनीयोतिष्टति । मनोरमा-आर्य वसन्तक । तव दर्शनेनैवापगतः प्रियसख्याः -संतापो येन स्वयमेव नलिनीपत्राण्यपनयति । तद्नुगृह्णात्वार्य इमानि । (भग्ज वसन्तभ तुह दंसणेण एव अवंगदो पिभसहीए संदावो जेण स एव्य •णलिणीपसाई अवणेइ । ता अणुगण्हादु अज्जो इमाई।) आरण्यका-(सागम् ।) अयि परिहासशीले । कस्मान्मा लज्जयसि। (किंचित्पराइमुसी तिष्ठति।) (अब परिहाससीले । कोस म लज्जावेसि ।) विदूपका—(सविषादम् । ) तिष्ठन्तु तावन्नलिनीपत्राणि । तिलजा- लुका ते प्रियसखी । तत्कथमेतयोः समागमो भविष्यति । ( चिद्रंदु दाव लिणीपत्ताई । अदिलज्जालुआ दे पिअसही । ता कई एदाणं समाअमो भविस्सदि । मनोरमा—(क्षणं विचिन्त्य सहर्षम् । वसन्तक एवमिव । (कर्णे कथ- यति।) (मसन्तभ एवं विभा) विदूपका-साधु प्रियसखि साधु । ( अपवार्य ।) यावदेव युवां नेपथ्यग्रहणं कुरुथस्तावदेवाहमपि वयस्यं गृहोत्यागच्छामि । ( इति निफान्तः ।) साहु पिभसहि साहु । जाप एव तुम्ने णेदच्छग्गहणं करेत्य दाव एक मई वि वभस्सं गेहि आअच्छामि ।) मनोरमा-अतिकोपने उत्तिष्ठोत्तिष्ठ । नर्तितव्यमस्मामिस्तस्यैव नाटकस्य नर्तितशेषम् । तदेहि । प्रेक्षागृहमेव गच्छावः । (परिकम्यावलोक्य ।) इदं प्रेक्षागारम् । यावदेहि प्रविशायः । (प्रमिष्टकेनावलोक्य 1) साधु साधु सर्व सजीकृतम् । देव्यागन्तव्यम् । (अदिकोषरे । उठेहि दि । पषिदर्य अोहिं तस्स एच पाइअस्स पाश्चिदसेस । ता एहि । पेक्साघरं एञ्च गठन। इद पेक्लागारं । जाब एहि परिसन्ना साई साहु । सर्व राजीकिदै । देवीए आअन्तर्व। (ततः प्रविशति देवी साहकृत्यायनी विभवतय परिवारः।) नेपथ्यप्रहणं पासवदत्तावत्सराजयोः येषग्रहणमिति यावत् । १ भौगदो. सजापतिः । सात पिमसहि पथिक (मानम्म.).५.पर. साधु सन्नी..

·प्रियदर्शिका -- . } वासवदत्ता--भगवति अहो ते कवित्वम् । येनैतवृत्तान्त नाटकोपनिषद्धं सानुभवमप्यस्माकमार्यपुत्रचरितमदृष्टपूर्वमिव दृश्यमानमधि- कतरं कौतूहल वर्धयति । ( भवअदि अहो दे कवित्तण । जेण एद गवतन्त गाडओषणिवद्ध साणुभर वि अयाण अजउत्तचरिद अदिःपुवं विअ दिसन्त अहिअ अर कोद्दल बटुअदि । साकृत्यायनी--आयुष्मति आश्रयगुण एवायमीदृशो यह सारमपि काव्यमवश्यमेव शृण्वता श्रवणसुखमुत्पादयति । पश्य । पायो यत्किंचिदपि प्रामोत्युत्कर्षमाश्रयान्महतः । मत्तेभकुम्मतटगतमेति हि शृङ्गारता भस्म ॥१॥ वासवदत्ता-(सस्मितम्) भगवति सर्वस्य वल्लभो जामाता भवतीति ज्ञायत एवैतत् । तत्विमेतेन कथानुबन्धेन । वर तदेव नर्ति तस्य द्रष्टुम् । ( भअवदि सन्यस्स वल्हो जामादो होदिति जाणिअदि एव्व एद । ता कि एदिणा कहाणुवर्धेग , घर त एव्व चिद्व्व दुदु ।) साङ्कृत्यायनी -एवम् । इन्दीपरिक प्रेक्षागृहमादेशय । चेटीएतु एतु भट्टिनी । (एड एदु महिणी )( सर्वा परिकामन्ति ।) साङ्कत्यायनी-(विलोक्य । ) अहो प्रेक्षणीयता प्रेक्षागृहस्य । 'आभाति रत्नशवशोभितशातकुम्भ- स्तम्भावसक्तपृथुमौक्तिकदामरम्यम् । अध्यासितं युवतिभिर्विजिताप्सरोभि' प्रेक्षागृह सुरविमानसमानमेतव ॥३॥ कवित्व काव्यनिर्माणनेपुण्यम् । गूद तत् । नाटकोपनिनक्ष प्रयोगाई फूतम् । प्रेक्षागृहं गायशाला । माय इति । यत्किचित्रि मार मादाम्मरहित वापि वस्तु महत श्रथयात्सम्बचायाय उलमीत्वथ्य प्राप्नोति। भन्न स्यन्तमाह-भस्म भसारत्वेन प्रशिद्ध मतेगस्य मताजस्य गुम्भतटगतं सुस् गुमा रता र भूपर्ण गजमण्डनविशेषो या तता सानोनि हि ध्रुवम् ॥1॥ आमातीति । नाना पातानि रनमातानिने दोभिता पातम्भस्य पुवर्णस्य स्तम्भारो अवसधानि पृथूनि मातिरदामानि मुतामागस्तै रम्यम् । विजिना स्वस्वरूपतिरसना इत्यर्थ । अपारसो याभिन्तानि युवतिमि अध्यापितमेन प्रेक्षाग्रह मुरविमानसमानमाभानि । वसन्नतिन वृत्तम् । लक्षणमुच्चम् ॥ २॥ यतीति, २१२, दिद - गृत्तान्त यस्य M ·तृतीयोऽङ्कः। . मनोरमारण्यिके--( उपसृत्य । ) जयतु जयतुं मट्टिनी । ( जेदु जदु भहिणी ।) वासवदत्ता-मनोरमे अतिक्रान्ता खलु, संध्या तंद्च्छतम् । लघु गृह्णीतं नेपथ्यय । ( मोरमे अदिकन्दा क्यु संझा ता गच्छद । राहु गाहह णेवच्छं।) उभे-यद्देव्याज्ञापयति । ( इति प्रस्थिते ।) (अं देवी थाणवेदि । ) पासवदत्ता--आरण्यिके एतैरेव मदङ्गपिनबैराभरणैनेपथ्यभूमि गत्वात्मानं प्रसाधय । (आभरणान्यनादवतारिण्यिकायाः समर्पयति') मनोरमें स्वमपि नलगिरिग्रहणपरितुष्टन तातेनार्यपुत्रस्य दत्तान्यामरणानी- न्दीवरिकासकाशादृहीत्वा नेपथ्यभूमि गत्वात्मानं मण्डय येन सुसदृशी दृश्यते महाराजस्य । (आरणिए एदेहि एज्य मदनपिणद्धेहि भाभरणेहिं णेय. च्छभूमि गदुअ अपाणे पसाहेहि । मणोरमे तुमं विणलगिरिम्गहणपरितुदृण तादेण भज उत्तररा दिण्णाई आभरणाई इन्दीवरिभासासादो मेहिल षछभूमिअंगदुभ अप्पा मण्डहि जेण मुमदिसी दीससि महाराअस्स 1) (मनोरमा इन्दीवरिकासकाशादाभरणानि गृहीत्वा सहारष्यिकया निकान्ता।) इन्दीवरिफा-इदमासनम् । उपविशतु भट्टिनी । (एदं भासणं । अविसतु भहिणी।) वासवदत्ता आसनं निर्दिश्य । ) उपविशतु भगवती । (उपविमदु भअवदी।) (उभे अविशतः।) (ततः प्रविशति गृहीतनेपथ्यः कञ्चुरों।) फञ्चकी- अन्तःपुराणां विहितव्यवस्था पदे पदेऽहं रखलितानि रक्षन् । मदनपिनमंदरे यः । धारतरित्यर्थः । प्रसाधय मण्डय। नलगिरिनाम इन्ददत्तः प्रद्योतस्य गजः तस्य आलानमुत्याज्य प्रभ्रटस्य ग्रहणं तेन परितुष्टस्तेन । अन्त:- पुराणामिति।भन्त पुराणामवरोधानीणा विहिता व्यवस्था भ्यपस्थापन येन सः। पदे पदे प्रतिपद स्पलितानि प्रमादान रक्षन् परिहरन् । राजदारान् प्रमादेभ्यो रक्षमित्यर्थः। संप्रति जरातुरः दण्डनीत्या दण्डेन नीतिस्तमवलम्ब्य गमनं तेन मृास्य सर्वचरितमनुकमि विडम्बयामि । नृपो पुराणामन्त प्रजानां स्थितिपालनादिरूपी म्यवस्था करोति । प्रजाः १एनमानि पुस्तकान्तरे.११.१आसनग्रहणं मारयन ·प्रियदर्शिकाया . जरावर समति दण्डनीत्या सर्व नृपस्यानुकरोमि वृत्तम् ॥ ३ ॥ भो• आतापितोऽस्मि विमानिताशेषशत्रुमैन्येन यथार्थनाना महासे नेन समादिश्यतामन्त पुरेषु यथा-श्वो वयमुदयनोत्सतमनुभवाम । अतो युप्माभिरुत्सवानुरुपवेपोज्जलेन परिजनेन सह मन्मयोद्यान गन्त यमिति । साङ्कृत्यायनी-(कम्युक्किन निर्दिश्य । ) राजपुति प्रवृत्ता प्रेक्षा । दृश्यताम्। कञ्चुकी-तदेवदादेष्टव्य परिजनेन सह गन्तव्यमिति । ने गृहीत- नेपथ्येनेति । कुत । पादपुरिभिनितम्बफलकै शिलानकाचीगुणे- हारापादितकान्तिभि स्तनतर्दै केयूरिभिर्वामि । कर्णं कुण्डलिभी कर सवलयः सस्यत्तिकैमजे- देवीना परिचारिकापरिजनोऽप्येतेषु सदृश्यते ॥४॥ न खलु किंचिदनापूर्वमनुष्ठेयम् । केवल स्वाम्यादेश इति मत्वाह समा दिष्टस्तदाज्ञाशेप राजपुत्र्यै निवेदयामि । (पारकम्यावलोक्य थे।) इय प्रमादेभ्यो निवारयति । दण्डनीत्या अर्थशासानुसारेण प्रजा रक्षति पदण्डनीतिनिरतिस्तु दूपरेन नीयतेचेद दण्ड नयति वा पुन । दण्डनीतिरितिक्ष्याता मान् लोकानतिवर्तते । इति। लिटोपमालकार (वृत्तमुपजाति स्यादिन्द्रवन्ना यदि तो जगौ ग । उपेन्द्रवना जतजा स्ततो गो। अनन्तरोदीरितलममाजौ पादौ यदीया तयस्ता ॥ इति तलक्षणम् ॥३॥ विमानितानि तिरस्कृतान्यशेषाणो शत्रूणा सैन्यानि येन । महासेनश्चण्डमहासेन इत्यपरा भिध उनयिनीहए । प्रेक्षा वृत्तम् । प्रेक्षाधीरीक्षण वृत्तम् । इति हैम । पादेरिति । नपुराणि मजीरा एपो विद्यन्ते इनि नपुरिणस्तै पादै । शिशाना शब्दायमाना काञ्ची गुणा मेरालादामानि येषां येषु वा तैस्तथोक्तं नितम्बफलकै प्रशस्तनितम् । हो मुक्तासरे आपादिता निर्मिता कान्तियेषां ताशै स्तनतटै । केयूरिमि अनदसहित बाहुभि । कुण्डलिभिः कुण्डलधारिभि कणें 1 रावलथै पङ्कणयु करे सत्यत्तिकै स्वस्तिकास्यलिङ्कारधरे । स्वस्तिक महल द्रव्यविशपो पा सटुक्त । मुर्धने फेशपाये उपलक्षित । देवीनां पूज्याया देव्या । पूनार्थे बहुवचनम् । परिचारिकापरिजन सेवकवर्गोपि एतेमु अत पुरेषु दृश्यते । पूर्वमेव तिनेपथ्यो वर्तत इत्यर्थ । शार्दूल- वित्रीडत वृत्तम् ॥४॥ २ गृहीत मादष्टम्यम्, ने दक्षान्वलनात समाविष्ट ।

·तृतीयोऽङ्कः। . सा वासवदत्ता वीणाहस्तया काञ्चनमालयानुगम्यमाना गन्धर्मशाला प्रविष्टा । यावदस्याः कथयामि । (परिकामति।). ततः प्रविशति गृहीतवासवदत्तानेपथ्यासनस्थारयिका वीणाहरता फाचनमालाचा) आर०–हला काञ्चनमाले कस्मात्पुनश्विरयंत्ययापि वीणाचार्यः । (हला कयणमाले कीस उण चिराअदि अन्न वि वीणाआरिओ।) काञ्च० -भर्तृदारिके दृष्टस्तैनैक.उन्मत्तः । तस्य वचनं. श्रुत्वा चित्रेण भावितोऽपहसंस्तिष्ठति। (भटिंदारिए दिवो देण एको उम्मत्तो । तस्म सुणि चित्तण भाविदो ओहसन्तो चिछ।) आर०—( सहस्ततालं विहस्य । ) हले सुष्ठेतं पृच्छति । सदृशाः सदृशे रमन्त इति द्वायत्रोन्मत्तौ। (इसे मुठु एदं पुरदि। सरिसा सरिसे रअन्तित्ति दुवे एत्य उम्मत्ता।) - साङ्कृत्यायनी-राजपुत्र्याः. सदृशमाकारं पश्याम्यस्यास्तादृशेना: कारेणावश्यं त्वदीयां भूमिका संभावयिष्यति । फञ्चुकी-(उपसृत्य ।) राजपुचि देवस्लामाज्ञापयति । श्वोऽव- श्यमस्माभिर्वाणां वादयन्ती श्रोतव्या । तत्त्वया नवतन्त्रीसज्जया घोषवत्या स्थेयमिति । आर०—आर्य यद्येवं लघु वीणाचार्य विसर्गय । ( अय्य जइ एवं ददु. वीणाआरिभ विसग्नेहि । कञ्चुकी-एप वत्सरानं प्रेपयामि । ( इति निष्कान्तः।) आर०-काञ्चनमाले उपनय मे घोषवती यावदस्यारतन्त्रीः परीक्षे। (कपणमाले ३वणेहि मे घोरावदी जाव से संतीओ परिवरोमि ।) (काचनमाला पीणामयति । भारम्यिकोत्सद्रे वीणा ला सारयति।) (ततः प्रविशति गृहीतवत्सराजनेपथ्या मनोरमा i) पासवदतात्र वासवदत्तावेषधारिणी आराध्यका ज्ञेया। गंधर्वशला प्रेक्षागृहम् । चित्रण भावितो वैचित्र्यहतचित्तः। राहस्ततालं हस्ती प्रताध्य । सदृशाः सदो इ.-सर्वः सगन्धेगु विश्वसिति द्वादप्यमारण्यको। इति समानार्थ वचनं शान्तले । ताशेन राजपुन्युक्तिन ।। घोषवस्या वीणा सहितया । स्यु सीम् । समदनायस्थो राजा स्वमनोवस्थामाह- रशियतेय. रमणि लेण मारियो हसलो (भाषितासन् ). परने (मगीसाई)-रजम्नीनि- राजपुधि शशमाका...

·प्रियदर्शिकायां मनोरमा-(स्वगतम् । ) विरयति खलु महारानः । किं न कथितं वसन्तकेन । अथवा देव्या धिमेति । यदीदानीमागच्छेत्ततो रमणीयं भवेत् । (चिराअदि क्वु महाराओ किं ण कहिदं वसन्तएण। महपा देवीए भाअदि । जइ दाणिं आअच्छे तदो रमणिज्ज हवे.) (सत प्रविशति राजावगुप्टितशरीरो विदूषक्थ।) राजा- संतापं प्रथमं तथा न कुरुते शीतांशुरचैव मे निवासा ग्लपयन्त्यजस्लमधुनवोणास्तथा नाघरम् । संमत्येव मनो न शुन्यमलसान्यद्गानि नो पूर्वय- दुःखं याति मनोरथेषु तनुतां संचिन्त्यमानेष्वपि ॥ ५॥ वयस्य सत्यमेवोक्तं मनोरमया । ययैषा मम प्रियसखी महाराजम्य देन्या दर्शनपथादपि रक्ष्यते तदयं समागमोपायः। अद्य रानावस्माभिरु- दयनचरितं नाम नाटक देव्याः पुरतो नर्तितव्यम् । तत्रारण्यिका वासव- दत्ता भविष्यति । अहमपि वत्सरानः । तच्चरितेनैव सर्व शिक्षितव्यम् । तदागत्य स्वयमेव स्त्रा भूमिकां कुर्वाणः समागमोत्सवमनुभवविति । विदूषकः-यदि मां न प्रत्याययस्येपा मनोरमा तय वेष धारयन्ती तिष्ठति । तदुपसृत्य स्वयमेव पृच्छ । ( जइ मंण पतिआअसि एसा मणो- रमा तुह वेस धारभन्ती विह। ता उवसपिअ स एव पुच्छ।) राजा-(मनोरमामुपसृत्य।) मनोरमे सत्यमिद यद्वसन्तकोऽभियते । मनोरमा-भर्तः सत्यमेवं । मण्डयतैराभरणैरात्मानम् । ( इत्याभर- णान्यवादयतार्य राज्ञे समर्पयति।) (भा संर्व एव । मण्डअ एदेहि आभरणेईि अप्पाण) (राजा परिदधाति ।) संतापमिति। दातिशु चन्दमा मे मम प्रथम पूर्व यथा सतापमारोत् तथा भयरन पुरते। तथा उग्णा निवासा अधुनैव प्राम्यया तथा अजममनवरतगपरं न ग्लपयन्ति। सम्प्रत्येव पूर्ववत् मन न शून्यमहानि च नो नालमानि । तथाहि मनोरथेषु सचिन्त्य- मानेषु सम्पमप्राया इति चिन्त्यमानेष्यपि दुस मनस्ताप तनुता याति हस्वाभाति ।। शार्दूलविक्रीडित छन्द ॥५॥ निभृतेन निगूटम् । उद्देश कयासदर्भ । वीणा यादयन् वीणावादनशिक्षणप्रसझेन । मयनुरागं अनयित्वोयर्थ । पटाक्षेपण जवनिकामानिप्य। आकस्मिकप्रदेशसूचनार्थमिदम् । । म ·. ) मुसंनिहितमिति पाठे सम्यगंनिधौ स्थापितम्। योगन्धरायण उदयनस्य प्रधानामात्यः। तृतीयोऽङ्कः। विदूषकः--एते खलु राजानो दास्यापि एवं नय॑न्ते । अहो कार्यस्य गुरुता । (एदे.क्खु राणाओ दासोए वि एवं णचापिअन्ति । अहो कन्जस्स गरुअदा।) राजा विहस्य 1) मूर्ख नैप कालः परिहासस्य । निभृतेन चित्रशालां प्रविश्य मनोरमया सहारमन्नृत्तं पश्यता स्थीयताम् । (उभौ तथा कुस्तः।) आरण्यिका-काञ्चनमाले तिष्ठतु वीणा । प्रक्ष्यामि तावत्किमपि । ( कयणमाले चिदु नीणा । पुच्छिरसं दाप कि वि।) राजा-शृणोमि तावत्क्तमोऽयमुद्देशो वर्तते । (इत्यवहितः शृणोति।) काश्चनमाला -पृच्छतु मर्तृदारिका । ( पुच्छदु भटिंदारिभा । आर०-सत्यमेव तातो मन्त्रयते एवं यथा यदि वीणां यादयन्न- पहरति मां वत्सरानोऽवश्यं बन्धनान्मुञ्चामीति । ( सञ्चं एव तादो मन्तेदि एवं जह जइ वीण वादअन्तो अवहरेदि में बच्छराओ अवस्सं धन्धणादी मुञ्चेमित्ति।) राजा-( प्रविश्य पटाक्षेपेण सहर्षे वज्रान्ते ग्रेथितं बनाति।) एवमेतत् । का संदेहः । सपरिजनं प्रद्योतं विस्मयमुपनीय वादयन्वीणाम् । पासवदत्तामपहरामि न चिरादेवोति पश्यामि ॥६॥ यतः सुसंविहितं सर्व गौगन्धरायणेन । वासवदत्ता-( सहसोत्याय । ) जयतु जयत्वार्यपुत्रः । ( जेदु जेदु 'अच्चउत्तो।) राजा-(स्वगतम् । ) कथं प्रत्यभिज्ञातोऽस्मि देव्या । साङ्कृत्यायनी-( सस्मितम् । ) राजपुत्रि अलमलं संभ्रमेण । प्रेक्षणीयकमेतत् । प्रथितं वनाति शुभशफुनं दृष्टाऽभिमतसिधिसूचनार्थे वस्त्रपलवग्रन्थिबन्धन लोकरीतिः । सपरिजनमिति । वीणा वादयन् मनोहारिणा वीणावादनेनेत्यर्थः । प्रद्योतं महासेनं सपरिजनं विस्मयमुपनीय प्रापय्य । वासवदत्ता न चिरादेवापहामि अपहरिष्यामीति पश्यामि मन्ये । एतदुत्तरार्ध मृतलक्षणाननुसारि गातिमनोहरं चेति व्यक्तम् ॥६॥ १दामीब (दास्य इष ). २ प्रन्थि, ३ वनापाहरणमपि दचाहरण, पदयाम्यह. ४ मसनिहिनं.

·प्रियदाशकाया राजा- -(आत्मगत सहर्षम् ) इदानीमुच्छासितोऽस्मि ।. वासवदत्ता-(सविलक्षस्मितमुपविश्य । ) कथं मनोरमेषा । मया पुनतिमार्यपुत्र एष इति । साधु मनोरमे साधु । शोभनं नर्तितम् । (कहं मणोरमा एसा । भए उण जाणिदै थनउत्तो एसोत्ति। साहु भणोरमे साहु । सोहण चिदं।) •साकृत्या -रानपुत्रिस्थान एव कृतो भ्रान्तिस्ते मनोरमया । पश्य । रुपं तन्नयनोत्सवास्पदमिदं चेपः स पयोज्ज्वलः सा मत्तद्विरदोचिता गतिरियं तत्सत्त्वमत्यूजितम् । लीला सैव स एव सान्द्रजलदहादानुकारी स्वरः साक्षादर्शित एप नः कुशलया वत्सेश एयानया॥७॥ वासवदत्ता-हले इन्दीवरिके बद्धेनार्यपुत्रेणाहं वीणां शिक्षिता । सदस्य कुरु नीलोत्पलदानकेन निगडनम् । (शिरसोऽपनीय नीलोत्पल्दा- मार्पयति ।) (हो इन्दीवरिए । यद्धेण अनउतेग भह योण सिमसाविदा । ता से करेदि णीमुप्पलदामरण गिअलंगम् ।) (इन्दीवरिका तथा कृत्वा पुनस्तत्रैवोपविशति।) आरण्यका-काश्चनमाले कथय कथय । ननु सत्यमेव मन्नयते तातो यदि वीणा वादयनपहरति मा वत्सरानस्ततोऽवश्यं बन्धनान्मुच्चामीति । (कमणमाले कहेहि कहेदि । ण सध एव म तेदि तादो जद पौण वादअन्तो अव- हरोदि म बच्छराओ तो अवस्न बघणादो मुश्चेमित्ति।) काञ्चनमाला-भर्तृदारिके सयंम् । तथा कुरु यथा वत्सरान- स्यावश्य बहुमता भवमि । (भन्दिारिए सच। तह करेहि अह वचाराअस्स अवस्स बहुमा होसि ।) रूपमिति । इदं दृश्यमानं गृहीतान्मरान भूमिकाया मनोरमाया नयनानन्दार रूप तसराजस्यै । तभिनय । उग्नल देव स एव । इयमनया प्रास्ता मत्तद्धि- रदस्य मत्तगतस्योचिता तन्महशी गति सैव । उदयनस्यैव । अति अतिमहत सत्त्व मनोगाम्भीर्य पौरख या तशा रीग सेम। सान्द सरल य जरदस्तस्य साद स्वनस्तमनुरोतीनि तया। तुमा । स्वर स एव । एर पुराच्या नाव्यच नुरया सनया एप पसेश एव न दर्शित । शानविकीटित वृत्तम् ॥ ७॥ १स.२रमा सरकारिता भ्रान्तिमनो.. गि- ५ नत्र. सत्यमेव. - ·तृतीयोऽङ्कः। ३९ काञ्चनमाला-(आरपिकाया आसनं निर्दिश्य ।) इहैवोपविशतु उपा- ध्यायः । ( इह एव्य उपविसदु उवझाओ।) राजा-( उपविश्य। ) राजपुत्री वेदानीमुपविशतु । काञ्चनमाला-( सस्मितम् । ) इदानीमेव भर्तृदारिका विद्यामानेन तदर्हत्येवैपोपाध्यायपीठिकायाः । ( दाणि एव्य सिदा तुझेहिं । तामहदि एल एसा उवज्झाअपोठिआए।) ईयमर्धासनस्य ! रानपुत्रि स्थीयताम् । यिका कायममाला पश्यति।) अस्मितम् । ) भर्तृदारिके उपविश। कोऽत्र दोषः । (भाविदारिए उवविस । को एत्य दोसो। सिस्मविसेमा । 7 यिका सलज्जमुपविशति।) बम्।) भगवत्याधिकं कल्पितं काव्यम् । न खल्लहं पुत्रेण सहोपविष्टा । (भअपदीये अहिश कप्पिदं एकासणे अज्जउत्तेग सह उपवित।) नः श्रोतुमिच्छामि । वादय वीणाम् । मतम् । ) काञ्चनमाले चिरं खलु मम वादयन्त्याः निःसहान्यानि । तन्न शक्नोमि वादयितुम् । अन्तीए परिस्सगो जादो। दार्णि हिस्सहाई हाई। ध्याय सुष्ठु परिश्रान्ता भर्तृदारिका । कपो. लतलचद्धस्वेदलवायाः पश्यास्या वपेते अग्रहस्तौ । तत्समाश्वस्ता मनतु मुहूर्तम् । (उतज्ज्ञाम गुष्टु परिहान्ता भटिदारिआ । फयोलतलयद्धरोअलवाए पेपर से वेवन्ति अग्गहत्या । ता समस्मत्ता होतु मुहुप्त।) राजा-काश्चनमाले युक्तमभिहितम् । (हस्तेन प्रहीतुमिच्छति ।) (आरम्पिका हस्तमपसारयति।) भस्मादित्युपायायः । विद्यामानेन गानरियानावाश्यप्रशंगयेत्यर्थः । कपोलतले सा स्वेदमा यस्याः । सो च तो हम्तो च इति वर्मधारयः । हरतामहात्योर्मुगुमिनी भेदाभेशादिति घामनः। पियागपरिक+यायनप्रकार. २ पहिया (उपरिषना). ३ पेरणजालमा हस्ते.

·प्रियदर्शिकाया वासवदत्ता-(साप्सूयम् । ) भगवति अधिकमेतदपि त्वया कृतम् । न खल्वहं काञ्चनमाला काव्येन पञ्चयितव्या । ( भअवदि अहिल एवं वितुए किंद । ण हु अअंकघणमाला कव्वेण पदया।) साङ्कृत्यायनी-(विहस्य ।) आयुष्मति ईदृशमेव काव्यं भविष्यति ।, आर०-(सरोपमिष । ) अपेहि काञ्चनमाले अपेहि । न मे बहु- मतासि । (अवेहि कञ्चणगाले अवेहि । ण मे बहुमवासि ।) काञ्चन--(सस्मितम् ।) यद्यह तिष्ठन्ती न बहुमता तदेषा गच्छामि । ( इति निष्कान्ता।) (जद अहं चिन्ती ण बहुमदा सा ऐसा गच्छामि) आर०-(ससभ्रमम् । ) काञ्चनमाले तिष्ठ तिष्ठ । अयमस्याग्रहस्त. समर्पित । (क्यणमाले चिठविछ । अहे से अग्गल्यो समप्पिदो।) राजा-(आरष्यिकाया हस्त गृहीला।) सद्योऽवश्यायविन्दुव्यतिकरशिशिरः किं भवेत्पाकोशी हादित्वं नास्य मन्ये सद्दशमिदमुषस्येव वीतांतपस्य । मुञ्चन्त्येते हिमोघं नखरजनिकरा पञ्च किं सोऽपि दाही ज्ञातं स्वेदापदेशादविरतममृतं स्पन्दते व्यक्तमेतत् ॥ ११ ॥ अपि च। एतेन बालविद्युमपल्लवशोभापहारदक्षण । हृदये मम त्वयायं न्यस्तो रागः स्वहस्तेन ॥१२॥ सद्य इति । अय मया गृहीत कर सद्यस्तत्वाल य अवश्यायविन्दुना नीहारकणाना यतिकर सम्बधस्तेन शिशिर शीतल पद्मकोश कमर मुकुल भवेकिम् । नैतत्सभव तात्याह । अस्य नीहारपणसनाथस्य पप्रमुफलस्य अधुनाह्वादिलमानन्दकारिल न मन्ये । यत नीतातपस्य लातपरहितस्य । पोतातपस्येति पाठे गृहीतबालातपस्याबस्य उपस्येव सदृश योग्यम् । उपस्येव पद्मश माहादको भवेदिति भाव । वितको तरमाइ एते पश नखर ननिकरा नखग्दा हिमाघ नीहारसदोह मुघति किम् । तदपि । यत सोपिरजनियर दाही विरहिणा दहनशील । न तु सर्वदानन्दकरो यथायम्। तलिमेतत्स्या दिया निर्णयमाह--ज्ञात मया सम्यगवगतम् । एतद् स्वेदापदेशात्रवेदव्याजेन अमृतम विरत स्यन्दते स्रवति । एतत् व्यक्त स्पटमेव । सदेहापहतिसीर्णोत्प्रेक्षा । शार्दूल- वि० वृत्तम् । एतेनेति । एतेन वाल य विद्रुगम व प्रवागाररतस्यशोभाया अपहारे मोपणे दक्षेण । अयत तसदृशेन स्वहस्तेन पया मम हृदये अय राग रधिमा अनुरागश्व न्यस्तोऽर्पित ॥ १२ ॥ मह २ पीना ·तृतीयोऽङ्कः। आर०- (स्पर्शविशेष नाटयन्ती।) हा धिक् हा धिक् । एतां मनोरमां स्पृशन्त्या अनर्थमेव मेऽङ्गानि कुन्ति । (हद्धि हद्धि । एद मो- रमं परिमन्तीए अणत्थं एव्व मे अङ्गाई फरेन्ति ।) C वासवदत्ता-(सहसोत्थाय । ) भगवति पश्य त्वम् । अहं पुन- रलीक न पारयामि प्रेक्षितुम् । (भभवदि पेक्ख तुमं । अहं उण अलिअंण पारेमि पेक्सिदुं ।) साङ्कृत्यायनी–राजपुत्रि धर्मशास्त्रविहित एष गान्धर्वो विवाहः । किमत्र लज्जास्थानम् । प्रेक्षणीयकमिदम् । तन्न युक्तमस्थाने रसभङ्गं कृत्वा गन्तुम् । (बारावदत्ता परिकामति ।) इन्दीवरिका—( विलोक्य । ) भट्टिनि वसन्तकश्चित्रशालाद्वारे प्रसुप्तस्तिष्ठति । ( भाद्वेणि वसन्तओ चित्तसालादुवारे पमुतो विइ ।) वासवदता-(निरूप्य । ) वसन्तक एवैषः। (विचिन्त्य । राज्ञाप्यत्र भवितव्यम् । तद्वोधयित्वा प्रक्ष्यामि तावदेनम् । (प्रबोधयति ।) (स. न्तओ एब्ध एसो । रण्णा वि एत्य होदन्वं । ता चाधिअ पुछिस्स दावणं।) विदूषकः-( निद्राजमुत्थाय सहसा विलोक्य । ) मनोरमे कि नर्तित्वागत: प्रियवयस्यः । अथवा नृत्यत्येव । (मणोरमे किं पश्चिम आअदो विभवअस्मो । आदु णश्चदि एच ।) वासवदत्ता-(सविषादम्।) कथमार्यपुत्रो नृत्यति । मनोरमेदानी कुत्र । (कह अज्ज उत्तो णचदि । मनोरमा दाणिं कहिं ।) विदूषकः—एगा चित्रशालायां तिष्ठति । (एसा चित्तसालाए चिट्ठद।) मनो०-(सभयमात्मगतम्।) कथमन्यथैव हृदये कृत्वा देव्या मन्त्रितम् । एतेनापि मूर्खचटुकेनान्यथैव बुद्धा सर्वमाकुलीकृतम् । ( यह अण्णहा एव्व अनर्थमिव मेङ्गानि कुर्वन्ति कोपि दुःसहो मनोविकारो मेकानि प्रचलत्यतीत्यर्थः । विकुर्वत इति पाठे मदनविकारवशानि भवन्तीत्यर्थः । अलीकमवास्तवम् । गान्धर्वः- सदुप-क्षत्रियस्य तु गान्धवा विवाहः श्रेष्ठ उच्यते । इति । अन मनुः दन्छयान्योन्य- संयोगः न्यायाम घरस्य च । गान्धर्वः स तु विज्ञयो मैथुन्यः कामसंभवः ॥ इति । अस्थाने अकारणे अनुचित काले वा । कुत्सितः बटुः बटुकः । कुत्सायों कन् । जीए भग्महत्येण एक किरम्ति (न्त्या अप्रहालेनैव विकृयने), ·प्रियदर्शिकायों हिभए कारभ देवीए मन्तिदं । एदेण वि मुवसबहुएण अण्णहा एव सुद्धिा सर्व आउलीकिद ।) वासवदत्ता--(सरोष इसन्ती 1) साधु मनोरमे साधु । शोभनं त्वया नर्तितम् । (साहु मणोरमे साहु । सोहण तुए णश्चिद ।) मनो०- समय कम्पमाना पादयोनिपत्य । ) भट्टिनि न खल्यहम- त्रापराध्यामि । एतेन खलु हताशेन बलादलंकरणानि गृहीत्वा द्वार- स्थितेनेह निरुद्धा । न पुनर्ममाक्रन्दन्त्याः शब्दो मुरजनिपिान्तरितः केनापि श्रुतः । (भटिणि ण हु अहं एत्य अवरज्झामि । एदेण तु हदासेण भलादौ अलकरणाइ मेहिन दुवारद्विदेण इह णिरद्धा | उण मह अकन्दन्तीए सदी मुराणि- ग्योसन्तरिओ केण वि मुदो।) वासवदत्ता-हले उत्तिष्ठ । ज्ञातं सवम् । वसन्तकः स्तल्वार- प्रियकावृत्तान्तनाटके सूत्रधारः । (हले उहि । जाणिद सव्वं । वसन्तयो क्तु आराणिआउत्तन्तगाइए सुतधारो।) विदूपका–स्वयमेव चिन्तय । कुत्रारण्यिका कुत्र वसन्तक इति । (स एण्य चिन्तहि । कहिं आरणिआ कहिं वसन्तोत्ति।) वासवदत्ता--मनोरमे सुगृहीतं कृत्वैनमागच्छ तावत् । प्रेक्षणी- यमस्य पश्यामि । (मणोरमे सुग्गहीद करिअ णं आअच्छ दाव। पेखणीभ से पेक्सीि।) मनो०-(स्वगतम्।) इदानी समाश्वसितास्मि ( विदूषक करे बध्नाति । प्रकाशम् ।। ) हताश इदानीमनुभवात्मनो दुर्नयस्य फलम् । (दाणि समस्ससिदनि । हदास दाणि अणुभव अत्तणो दुण्णअस्स फल ।) वासवदत्ता-(ससभ्रममुपसृत्य । ) आर्यपुत्र प्रतिहतमेतदमङ्गलम् । ( इति पादयोनीलोत्पलदामापनयन्ती सोत्पोसम् । ) मर्पत्वार्यपुत्रो यन्मनोरमेति कृत्वा नीलोत्पलदामकेन बन्धितोऽसि । (अज्ञउत्त पडिहदं एवं अमनलं । मरिसदु अतिउत्तो ज मणोरमेत्ति करिअ णीलपलदामएण बन्याविदोसि ।) (भारष्यिका समयमपमृत्य तिष्ठति ।) आरम्भिाया. वृत्तान्तो नृपेण समागम इत्यर्थ म एव नाटक तर सूत्रधारो योजक शुर- होते सुद्धम् । दुनै यस्याटित्नीते । असमीश्यकारिताया इत्यर्थ अन्यदन्ययापरिणामि। १ मुरग्व(सर्वनि.), मर गाहन्दिावे . दरिदो (पान्तरितो) केण वि सझे रमाअापेक्ख से पेस्खदा ३ अपनयनि। ४ (सोत्यास) मर्पयतु इत्यादि रामा लक्ष्म नादयते'हयेनस्य परस्नानाट्यने पुस्तमनरे। जपत्र तुपं पाच ·तृतीयोऽसः। । राजा-(राहसोत्याय विद्यक मनोरमौ च दृवात्मगतम् ।) कथं विज्ञातो- स्मि देव्यो । (लक्ष्य नाटयति।) साङ्कृत्यायनी--(सर्यानवलोक्य सस्मितम् । ) कथमन्यदेवेदं प्रेक्षणी- यक संवृत्तम् । अमिरियमस्मद्विधानाम् । (इति निष्कान्ता ।) राजा-(स्वगतम् । ) अपूर्वोऽयं कोपप्रकारः । दुर्लभमत्रानुनयं पश्यामि । (विचिन्त्य ।) एवं तावत्करिष्ये । (प्रकाशम् ।) देवि त्यज्यता कोपः। वासवदत्ता--आर्यपुत्र कोऽत्र कुपितः । (भन्नउत्त को एत्य पुविदो) राजा-करं न कुपितासि । स्निग्धं यद्यपि वीक्षितं नयनयोस्ताना तथापि धुति- माधुर्येऽपि सति स्खलत्यमुपदं ते गद्गदा घागियम् । निश्वासा नियता अपि स्तनभरोत्कम्पेन संलक्षिताः फोपस्ते प्रकटप्रयत्नविकृतोऽप्येष स्फुटं लश्यते ॥१३॥ (पादयोर्निपत्य । ) प्रसीद प्रिये प्रसीद । चासवदत्ता-आरप्रियके त्वं कुपितेति संभाषयमार्यपुत्रः प्रिये प्रसीदेति प्रसादयति । तदुपसर्प । (इति हस्तेनाकर्षति ।) (धारगिए तुम अविदत्ति संभावअन्तो अजउत्तो पिए पदित्ति पमादअदि । ता उनमाप।) आर०-(मभयम् 1) भट्टिनि न खल्वहं किमपि जानामि । (भरिणि गहु भह कि वि जाणामि ।) वासवदत्ता-आरपिके त्वं कथं न जानासि । इदानी ते शिक्ष- यामि । इन्दीवरिके गृहाणेनाम् । (भारगिए तुम कहं प मासि । दामि सिमलातमि । इन्दौगरिए गेह एद।) विदूपका-भाति अय कौमुदीमहोत्सरे तव चित्तमपहतुं यय- स्पेन प्रेक्षणीयमनुष्ठितम् । (दोदि भग्न गोमुदीमहगरे दुइ पितं भवरित पभरमेण पेपगणी भाचिहिद।) बिग्धमिति । यति मिर्ध प्रेदपूर्ण वीक्षितमीक्षणं रुपाधि नयनयोः पूनिः तामा। सामने कोमामा मायरिबातो मधुर भारमागाया भीत्यर्थ गते टर गमदा भरसुदामान बागानुपदं परेप पनि । निधागा निवना निला भाष सानयो. उनम्न लिरिल यः । एरमेर से सोमः प्राप्टेन एटेन पग्लेन ज्तिमान एट प्रमालालम्॥१तालिमाटु सारपनापंमिस्पधः । लमपवित... .

·प्रियदर्शिका वासवदत्ता-एतं युप्माकं दुर्नयं प्रेक्ष्य हासो मे जायते । ( एवं तुदाणं दुष्णों पेक्खिा हासो में जाअदि।) देवि अलमन्यया विकल्पितेने । पश्य । भ्रभगः क्रियते ललाटशशिनः कस्मात्कलङ्को मुंधा वाताकम्पितबन्धुजीवसमती नीतोऽधर कि स्फुरन् । मध्यञ्चाधिककम्पितस्तनमरेणायं पुनः खिद्यते कोपं मुञ्च तवैव चित्तहरणायैतन्मया क्रीडितम् ॥ १४ ॥ देवि प्रसीद प्रसीद । (इति पादयोः पतति ।) वासवदचा-हम्ने निवृत्तं प्रेक्षणकम् । तदेहि । अभ्यन्तरमेव प्रविशावः । ( इति निकान्ता)) (हशे गिजुत्तं पेक्सण । ता एहि । अम्भ- न्तर एव्व पविसर।) इति गर्भनाटकम्। राजा-(विलोक्य । ) कथमकृत्वैव प्रसाद गता देवी । स्वेदाम्माकणभिलभीपणतरभ्रूमगमेकं रुपा नासेनापरसुप्लुतोत्प्लुतमृगन्यालोलनेत्रोत्पलम् । उत्पस्यसमग्रतो मुखमिदं देव्याः प्रियायास्तथा भीतश्चोत्सुकमानसश्च महति क्षिप्तोऽस्म्यहं संकटे ॥१५॥ तद्यावदिदानी शयनीयं गत्वा देव्याः प्रसादनोपायं चिन्तयामि । (३ति निफान्ताः सर्वे ।) इति तृतीयोऽङ्कः । अन्यथाविरुल्पितेन अहमारम्पिकायामास इत्यादिसशयेन । भूभरिति । फस्मारकेन हेतुना ललाटमेव शशी तस्य धूम. रोपजनितभूविकारः मुघा व्यर्थ- मकारणमिति यावत् । क्लङ्कः क्रियते । ललाटशशी मलिनीक्रियते इत्यर्य. । कि किमय स्कुरन् कोपाकम्पमानः अधाः पातेनाकम्पितं यद्वन्धुजीवकुममं तस्य समता तुल्यता नीतः। करमाशुनः अयं मध्य. अधिक बलवत्कम्पितौ यो स्तनी तयोः भरण सियते खेदं प्राप्यते । कोपं मुञ्च यतो मया तव चित्तहरणायवैतत् क्रीडितम् । शार्दूलविकीरितं वृत्तम् ॥ १४ ॥ स्वेदाम्मः इति । सा झोधेन हेतुभूतेन उत्पन्ना ये स्वेदाम्भ कगा धर्मजलबिन्द. यस्तैः भिनं चितं च तत् भीषणतरा अतिशयन भीपणा तथा भूभा यत्र तादृक् च इदं पुरोदृश्यमानं देव्या मुसमेरम् । त्रासेन भयेन उत्खनोरडतो वेगोदनं धावन्यो मग- स्तस्येव न्यालोले अतिपयले नेनोत्पले नेरकमले यस्य तादृक् प्रियाया भारण्यिवाया हृद्मपर गुरागमत उत्पायन विभावयन् अहं भीतश्च उत्सुकमानसथ सन्महति संम्टे क्षिप्तास्मि । शाईल. वृत्तम् ॥ १५ ॥ इति तृतीयोकः। १निकलनेन. अधुना. ये । पुन. पा. ५ निकालः ग्रीवर्गा मिश, मृगी, ·॥ चतुर्योऽङ्कः॥ (ततः प्रविशति मनोरमा) मनोरमा-(सोद्वगम् । ) अहो दीर्घरोपता देव्याः । एतावन्तं कालं' बद्धाया अपि प्रियसख्या आरण्यिकाया उपर्यनुकम्पां न गृह्णाति । सा तपस्विन्यात्मनो बन्धनस्य क्लेशेन तथा न संतप्यते यथा भतुर्दर्शननिरा-- शतया । ईदृशं चास्या दुःखं येनाद्यैवात्मानं व्यापादयन्ती मया कथमपि निकारिता । एतं वृत्तान्तं भर्ने निवेदयेति वसन्तकं भणित्वागतास्मि । (भद्दो दिग्घरोसदा देवीए । एलिअं कालं पाए पिअसहीए आरण्णिआए उवरि अणुकम्प ण गेहद । मा तस्मिणी अत्तणो बन्धणरस किलेमेण तह ण संतप्पदि जह भनिगो दंसगणिरासदाए । ईरिसं च से दुरा जेण अग्न एव्य भत्ताणं घावादअन्ती मए कई वि णिवारिदा । एदं उत्तन्तं भटिंणो निवेदेहित्ति वसन्त भणि आभदमि।) (ततः प्रविशति कायनमाला । ) काञ्चनमाला-कथमन्विप्यन्त्यापि मया भगवती साङ्कत्यायनी न दृष्टा । (विलोक्य । ) तदेतामपि तावन्मनोरमां प्रक्ष्यामि । (उपमृत्य।) मनोरमे अपि जानाप्ति कुत्र भगवती साङ्कृत्यायनीति । ( कई भगेसन्तीए वि मए भगवई सविनाअणी ण दिशा । ता एवं वि दाव मणौरमं पुच्छिस्म । मणोरमे भवि जाणासि फ िभगवई सविचाअणित्ति।) .मनोरमा-(विलोक्याभूणि प्रमृज्य 1 ) हला काञ्चनमाले दृष्टा । किं पुनस्तया प्रयोजनम् । (हला कयणमाले दिदा । किं उण ताए पोअणं ।) काञ्चनमाला-मनोरमे अद्य देव्याहारवत्या लेस; प्रेपितः । तस्मिन्वाचिते बाप्पपूर्णनयना दृढं संतप्तुमारब्धा देवी । तद्विनोदननिमित्तं तस्या भगवतीमन्विष्यामि । (मणोरमे बाज देवीए अवारवदीए लेदो पेसिदों। सस्सि याचिदे यापपुग्णगअणा दि संतपि, आरदा देवी । ता विगोदणणिमित्तं ताए भभवदि अण्णेसामि।) अथ चतुर्था के अवशिष्टये अवमर्गनिहणमन्धी निदिने । तत्र निष्कान्ता मनोरमा सतः प्रविशति मनोरमया धृता सविश्वेगमामानं नाटयन्ती भारम्यिा एन्येताव- पर्यन्न वासवदत्ताप्रमत्या निरपायप्रियदर्शिरापास्यवगायामाऽजमशंसन्धिः । पागादत्तारादमिटतो यसराजस्य प्रवेश सूचयितुं प्रवेशस्मारमने ततः प्रविशति मनोरमेति । तपस्विन्यनुगमही । भारवती प्रयोदस्य पनी यामदत्ताया माता। तदिनोदननिमितं तस्या दुःराम्यापमार्जनापनित्यर्थः । १पदंपनिमा तार पिओ०. शमियो. - अथ ·प्रियदर्शिकायां . N मनोरमा-हला किं पुनस्तस्मिल्लेख आलिखितम् । (हला किं उग तम्सि लेहे आलिहिदं।) काञ्चनमाला-या मम भगिनी सा तब जनन्येव । तस्या भर्ता हटवर्मा तातस्ते । तत्तव किमेतदास्यातव्यम् । तस्य समधिक संवत्सरं कलिङ्गहतकेन बद्धस्य । तन्न युत्तामेतं वृत्तान्तमनिष्टं श्रुत्वा समीपस्थि- तस्य समर्थस्य भर्तुस्त एवमुदासीनत्वमवलम्बितुमिति । ( जा मह भणी खा तव जणणी एव । ताए भत्ता दिढवम्मा तादो दे। ता तव कि एद भाअक्सि- दव्वं । तस्स समहिअ सबच्छरं कलिमहदरण बद्धस्स । ताण जुत्तं एवं उत्तन्तं अणिडं सुणिअ रामावदिदस्स समत्यस्स भत्तुणो दे एवं उदासीणतण ओलम्बिदुति।) मनोरमा-हला काञ्चनमाले । यदा तावदयं वृत्तान्तो भट्टिन्यै न केनापि विज्ञापितव्य इति भाज्ञप्तं तत्केन पुनरिदानी स लेखः (हला कच्चप्रमाले अंदा दाव भअं उत्तन्तो महिणीए ण केण वि । भटिणा आणत ता केण उण दाणि सो लेहो मुणाविदो।) काञ्चनमाला-अनुवाच्य तूष्णीभूताया मम हरू मेव भट्टिन्या वाचितः। (अणुवाइअनुष्हीभूदाए मह ा भक्षिणीए वाइदो।) मनोरमा तेन गच्छ त्वम् । एपा खलु देवी लभ्यां तिष्ठति । (तेण गच्छ तुर्म । एसा क्नु देवी • होए चि।) काञ्चनमाला-तेन हि भट्टिनीसफाशंग न्ता।) (संगै हि भहिणीसारां गमिस्सं । ) मनोरमा--चिरं खलु म निर्विण्णा सा तपस्विन्यात्मनो जीवितेन । तत्तत्रैव गच्छामि । ( इति निष्कान्ता । ) (चिरं । थाअदाए । दिदं च णिविण्या सा तवस्मिणी अत्तणो जी.. भो। ता तहिं एब गच्छदि।) (इति प्रवेशक) समर्थस्य प्रभाववत । दन्तबलभी हस्तिदन्तरता - महामतिरनियमित्यर्थ प्रवेशर तदेवानुदात्तोक्त्या १ भइणिमा.२ युमन अनापविभ समीक। (यन'. बालमो (वाचयिनम्या).५ना (नन ). " 1 ·चतुर्थोऽङ्कः। . (ततः प्रविशति सोद्वेगासनस्या वासवदत्ता सात्यायनी विभवतच परिवारः।) साङ्कत्यायनी-राजपुत्रि अलमुद्वेगेन । नेदृशो वत्सरानः । कामित्थंगतमपि भवत्या मातृप्वम्पति विज्ञाय वत्सरानो निश्चिन्त स्थास्यति । वासवदत्ता-(सायम् । ) भगवति अतिऋजुकेदानीं त्वम् । यस्य मया न कायं तस्य मदीयेन कि कार्यम् । मातुर्युक्तं ममैत- दालिखितुम् । मा पुनर्न नानात्यद्यापि तादृशी न वासवदत्तेति । तव पुनरेप आराप्यिकावृत्तान्तः प्रत्यक्षः । तत्कथमेतन्द्रणसि । ( भभवदि अदिग्नुिआ दाणि तुर्म । जस्म मए फज्ज तररा ममकरण किं फरजं । अग्नु- भाए जुत्तं मम एवं आलिदिदं । सा उशण आणादि भग्जवि तारिसी ग यासबद- तेति । मुह उण एदं आरगिए उत्तन्तं पथासं । ता कई एदं मागागि।) साङ्कृत्यायनी-यत एव मे प्रत्यक्षं तत एव प्रवीमि । तेन ननु कौमुदीमहोत्सये त्यां हासयितुं तथा क्रीडितम् । वासवदत्ता--मगवति एतदन सत्यम् । तथा हासितास्मि येन भगवत्याः पुरतो लानया कथमपि तिष्ठामि । तत्किं तदीयया कथया ।। नन्यतेना पक्षपातेनैनावती भूमि नीतास्मि । ( इति रोदिति । ) ( भादि पदं एथ सर्प । सह हामिददि जंग भवदाए पुरदो लयाए फ वि चिहामि । सा तरकाए पहाए । एदेण एम पागलादेण एप्तिम भूमि जोदक्षि।) साङ्कृत्यायनी-अ रानपुनि रुदितेन । नेदृशो वत्सरानः । (विलोक्य ।) अथग प्राप्त ऐयायं यस्ले मन्युप्रमाननं करोति । वासवदत्ता-मनोरथा इदानीमते भगवत्याः । (मोरहा सानिएदे भभरतीए। (ततः प्रविशनि राजा तिथ) राना--वयम्य क इदानीमभ्युपायः प्रियो मोनयितुम् । विपफ:--मो ययस्य मुग विषादर । अहं त उरायं कयि- प्यामि । (भो आम मुग पिाई।बई दे उभं रहारम।) प्रोमोपरफानो गनायो:: हनादेन मममममानानन्यः । ममा में मारपसी भरविका indi पारमा म सपनुगम GISTनपान। भिगमनकर...(लामा प.. H ·प्रियदर्शिकाया राजा--(सहर्षम् । ) वयस्य त्वरिततरमभिधीयताम् । विदूषकः--भो वं तावदनेकसमरसंघट्टप्रभावबाहुशाली । पुनरप्य- नेकगजतुरगपदातिदुर्विषहवलममुदितः। तत्सर्वत्रलसंदोहेनान्त.पुरं सुपीडित कृत्वेदानीमेवारण्यिका मोचय । (भो तुम दाव अणेअसमरसपटपहावबाहु- साली । पुणो वि अणेभगअनुरगपाइदुबिसहवलसमृदियो । ता सम्वबरसदोहेण अन्तेउर सुपोटिभ करिअ दाणि एव्व आरणिनं गुघावेहि ।) राजा-वयस्य अशक्यमुपदिष्टम् । विदूपका-किमनाशक्यम् । यतस्तानत्कुम्भवामनवृद्धकचकि- वनितो मनुष्योऽपरो नास्ति तत्र । ( कि एत्य असा । जदो पार पुमपामण बुरचुस्पाजेदो मस्सो अवरो पात्य तहि । ) राजा-(सावक्षम् ) मूर्ख किमसंबद्ध प्रलपसि । देव्याः प्रसाद मुक्त्वा नान्यस्तस्या मोक्षणाभ्युपायः । तत्कथय कथ देवी प्रसादयामि । विदूपर --भो. मासोपवास कृत्वा जीवित धारय । एल देवी चण्डी प्रसत्स्यति । ( भो आसोनपास फरिभ जीवि थोरेदि । एंकर देवी गन्दी मौदिस्सदि।) रामा:-(विहस्य 1 ) अट परिहासेन । रथय श्य देवी प्रसादयामि । धृष्टः किं पुरतोऽवरुध्य विसन्यमामि कण्ठे प्रियां किंवा चाटुशतमपशरचनाप्रीतां करिष्यामि ताम् । किं तिष्ठामि कृताभलिनिपतितो पेयाः पुः पादयोः सत्यं सत्यमदो न घेडयनुनयो ऐप्या. फर्थ स्यादिति ॥१॥ भनेक मगर मया शामि पतप प्रभार যাবাে यातुभ्यो दातागो । पाटान्तरे अनेागमरमपं ये प्रहारा दिस या मार गर्नतरल रम्सस । भनो मते गरम पदाटप पतससे दुनिया समुभि सोमाम्य महल ना तेन मारित यु टनोपा। पण देर रमादापन । युजा परमा पमना गर्ग या परीस। गरि दुईन इन्य प्रगति प्रगट इति। " दादा पुरन मिना यानीनारयनिगम At मारभनो मादेनीराम ...पा (मपरम (:.14 सम्पनीमा ·चतुर्थोऽङ्कः। . तदेहि । देवीसकाशमेव गच्छायः । विदूपका-भोः गच्छ त्वम् । अहं पुनरिदानीमेव बन्धनात्क- थमपि परिभ्रश्यागतोऽस्मि । तन गमिष्यामि । (भो गच्छ तुर्म । अहं दाणि एव्य बन्धणादो यह वि परिम्भेसिअ आअदोसि । तो ण गमिस्नं ।) राजा-(विदस्य कण्ठे गृहीत्वा पलानिपतयनि । ) मूर्व आगम्यनामा- गम्यताम् । (परिफम्यापलोयय 1) इयं देवी दन्तबलमामध्यमध्यास्ते । न्यायदुपसामि । ( रालनमुपसपैति ।) (बाराबदत्ता ससेदमायनादुत्तिष्ठति ।) किं मुक्तमासनमलं मयि संभ्रमेण नोत्थातुमित्यमुचितं मम तान्तमध्ये । Eष्टिप्रसादविधिमात्रदतो जनोऽय- मत्यादरेण किमिति क्रियते विलक्षः॥२॥ वासवदत्ता-(मुसं निरुम्य । ) आर्यपुत्र विलक्ष इदानीं त्वं भवसि । (अमाउत्त विलायो दाणि सुमं होसि । राजा-प्रिये सत्यमहं विलक्षः । यत्प्रत्यक्षदृष्टापराधोऽपि भवती प्रसादयितुं व्यवसितोऽस्मि । सात्यायनी--(भारानं निर्दिय।) महाराज क्रियतामासनपरिग्रहः । राजा---(आसनं निर्दिश्य । ) इत इतो देन्युपविशतु । (यासवदत्ता भूमायुपविशति ।) राजा--आः कथं भूमानुपविष्टा देवी । अहमप्यत्रैवोपविशामि । (इति भूमायुपविश्य कृतालिः ।) प्रिये प्रसाद प्रसीद । किमेवं प्रणतेऽपि मयि गम्भीरतरं कोपर किंवा देव्याः पुरः पादयोः निपतित निष्टामि । देश्याः प्रमादने प्रतित्तिमून. भई रात्यं सत्यं देव्या अनुनयः कथ स्यादिति न नि । शालवि. वृत्तम् ॥१॥ कि मुतामिति । कि स्किारणमागर्न मुक्तम् । मयि मम्भ्रमेण उपचारवग्या भलम् । राम्भ्रमो मारत । हे सोनाम ये तान्तः गहरा मध्यो यस्याग्नाशि । समुन्धान नोनितम् । दृष्टिः मयि रियान एवं प्रमादस्तस्य विधिना करणेनेर केवलन हतः भामगातोय जनः । अदमित्यर्थः । अन्यादरेणानिमम्मानदशेनेमेन्यर्थः । सिमिनि विलमलमाफियते । यमन्तनिक वृतम् ॥२॥ निश्प्य निपुर्ण हा । गम्भीररार. मन्यास्ट गहमापनेनुमशायमित्यर्थः । १मा गमि..२ म.पधारने.मसालि पुस्तकातो.४ गभीर.

·प्रियदर्शिाया घूमद न करोपि रोदिपि मुहुर्मुग्धक्षणे केवल नातिप्रस्फुरिताघरानवरत निश्वासमेवोज्झसि । याच नापि ददासि तिष्ठसि परं प्रध्याननम्रानना कोपस्त स्तिमितो निपीडयति मा गुढ महारोपम ॥३॥ प्रिये प्रसीद प्रसीद 1 ( इति पादयो पतति ।) वासवदत्ता-अतिग्वितो नन्वमि । किमिदानी दुखित जन विकारयसि । उत्तष्ठ कोऽत्र कुपित । (अदिमुहिदो पसि । दागि दुक्खिद नग विरिति । उहि को एथ पक्टिो।) साङ्कृत्यायनी-उत्तिष्ठ महाराज । किमनेन । अन्यदेव तावदु- द्वेगकारणमस्या । राजा-(समध्रमम् ।) मगवति स्मिन्यत् । ( साङ्कत्यायनी बणे क्थयति ।) राजा--(विहरया) यद्येवमलमुद्धेगेन । मयापि ज्ञातम् । सिद्ध एवास्मिन्प्रयोजन देवीं तु दिया वर्धयिष्यामीति नोक्तम् । अन्यथा कथमह हटवर्मवृत्तान्ते विखब्वस्तियामि । तत्कतिपयान्यहानि तद्वार्ताया आगताया । इद च तन वर्तते । अस्मद्वलैविजयसेनपुर सरेस्तै राकान्तवादविषयो विहतप्रताप। दुर्ग फलिहतक सहसा मविश्य प्राकारमात्रशरणोऽशरण कृतोऽसौ ॥४॥ भूमहामिति । हे सुग्धेपणे चारनयन । तदपि मयि प्रभङ्ग न करोषि । सो भ्रटिं न बध्नासि । केवल मुहु रोदिति । नानियस्कुरिताउचरो यस्यास्नादशी अनवरत मगध निश्वासमय उससि मुखति । वाचमपि न ददामि पर प्रयुत प्रयानेन प्रकृयचिन्तया नसमानतमानन यस्या तयासि । एव स्तमिनो यदिदतरकाशस्तर कोप गून प्रहारस्तनापमा यस्य तमाशा वा मानिस यति हिनातिनराम् । दाईल वि.पृतम् ॥ ३ ॥ अतिमसिन इति सापारम्भम् । मिझ एवेति अस्मिता ल्य गिभिरेवास्मि । देवा तु सास्गिनिराद्ध इति राय । इन्वर्गवृताते हत्यमयापद्गते इत्यर्थ । आमलेरितिाते प्रसिद्ध विजयसेन पुर गसे येया ते अरमाने भावान्तो व्यामो बाझो विषयो यस्य स । विहत प्रतापो यस्य स य तथोक्त समौ कलियासो हताय कठिकहता अशरण भगाता रान् सहसा दुगै अविश्व । स्थित इति शेषोऽन्यया रयवनुपरत । प्राकारमात्र कारण रश्चित यस्य तथा कृत । वसन्ततिर १गोरिपी. अतिर उनिष्ठ ३ देस तुज्याण फिटनेस ·चतुर्थोऽङ्कः। वन तं दिष्टाकान्तमन्दं प्रतिदिनविरमवीरदासरवृत्त शश्वसंशीर्यमाणद्विपतुरगनरक्षीणनिःशेषसैन्यम् । ग्ध श्वो वा विमाने, झदिति मम वलैः सर्वतस्तत्र दुर्गे सति बद्धं युद्धे हतं या भगवति न चिराच्छ्रोष्यसि त्वं कलिङ्गम्॥५॥ साङ्कृत्यायनी-राजपुत्रि प्रथमतरमेव भवत्याः कथितं मया स्थमप्रतिविधाय वतारानः स्थास्यतीति । वासवत्ता-यद्येवं प्रियं मे । (जइ एव्यं पिभ में।) (प्रविश्य ।) प्रतीहारी–जयतु जयतु भर्ता । एप सलु विनयोनो दृढचर्मक- ञ्चुकिसहितो हर्पसमुत्फुल्ललोचनः प्रियं निवेदयितुकामो द्वारे तिष्ठति । जेदु जेदु भटा । एमो का विअअसेणो दिटवम्मकञ्नुईसहिदो हरिससमुप्पुटलोभयो पेभं णिवेदिदुकामो दुवारे चिछ ।) वासवदत्ता-(सरिमतम् ।) भगवति यथा तर्कयामि परितोपि- आरम्यार्यपुत्रेणेति । (भअवदि जह तकेमि परिदोसिदाशि अनउत्तेणेति ।) साङ्कृत्यायनी-वत्सराजपक्षपातिनी खल्वहं न किंचिदपि ब्रवीमि । राजा-शीघ्र प्रवेशय तौ। प्रतीहारी तथा । (इति निष्फान्ता ।) तह । (ततः प्रविशति विजयसेनः कञ्चुरी च ।) विजयसेनः---मोः कञ्चुकिन् । अद्य स्वामिपादा द्रष्टव्या इति यत्सत्यमनुपमं कमपि सुखातिशयमनुभवामि । नृत्तम् ॥ ४ ॥ निर्दिष्टेत्यादि। हे भगवति शान्यायनीमुद्दिश्यैनन् । अद्य श्रो वा मम चले. तत्र तस्मिन् दुर्गे झटिति शीघ्रं मर्वत. विभग्ने विश्वस्ते लं कलिद कलिगराजमचिरादेव युद्ध बद्ध हनं या प्रोष्यति। कथभूतमित्याह । निदिनोपरिकथितेन आकान्नेन अभिदवेश मन्दं निम्तमाई । निर्दिष्टाकन्दमन्देनि पाठे निर्दिये य आनन्दी दारणो रणःआफन्दो दारणे रणे इत्यमरः। प्रतिदिन दिनादने विरमदीयमाणं वीराणां दागेराणां विकराणां च । भृत्ये दासरदासीय इत्यमर । पृत्त युद्धादिव्यापारो यस्य दम् । शादजय शीर्यमाणा ध्वस्यमाना द्विपा गजाः दरगा नरा योधाध यस्मित् । अतः धोर नि यल मैन्यं यस्य तम् । सम्परा वृतम् ॥५॥ वत्मराजपक्षपातिनी एतेनेर पक्षागतेनत्यादि वासवदत्तावरनं मनमि कुर्वन्याः सोन्युटनोक्तिरियम् । १.२ रापंसं.१पापि, ·प्रियदर्शिकाया कञ्चुकी--विजयसैन अदितथमेतत् । पश्य । सुरनिर्भरोऽन्यथापि स्वामिनमवलोक्य भवति भृत्यजन । किं पुनररिबलविघटननियूदप्रभुनियोगभर' ॥६॥ उभौ—(उपमृत्य। ) जयतु जयतु स्वामी । (राजा उभावपि परिवरते।" कञ्चुकी-देव दिष्टया वर्धसे । हत्या कलिङ्गहतक शस्मस्यामी नियेशितो राज्ये । देवस्य समादेशो नियूँदो विजयसेनेन ॥७॥ वासवदत्ता-~-अयि भगवति अभिमानास्येत वञ्चकिनम् । (अद भअबद अहिनाणामि एद कञ्जुइ ।) साइत्यायनी -क्य नाभिजानामि । ननु स ९१ यस्य हस्ते. मातृप्या ते पत्रिमिनुप्रेपितरती । राजा-साधु विनयसेनेन महान्यापारोऽनुष्ठित । (विनयसेन पादयो पतति ।) राजा-देवि दिष्टया वर्धसे । प्रतिष्ठितो राज्ये वृद्धवर्मा । वासवदत्ता-( सहर्षम् ।) अनुगृहीतार्मिं । ( अणुग्गहिंदामि । ) विदूषकः-ईशेऽभ्युदयेऽस्मिन्रानफुल एतत्करणीयम् । ( राजान निर्दिय वीणावादन नाश्यन् । ) गुरपूना । (आत्मना यगोपवीत दर्शयन् ।) ब्राह्मणस्य सत्कार । (भारण्यिा सूचयन् । ) सर्वबन्धनमोक्ष इति । (दस्मेि अभुदरा अस्मि राघउले एद वरणिज्ज । गुस्पूआ । यह्मणस्स सकारो। सधबधणमोसमात्ति।) राजा-( वासवदनामपवार्य छोटिका ददत् । ) साधु वयस्य साधु । अविनय गन्यम् । सुसेति । अन्यथाणि मह प्रभुशर्यकरणमारेपि स्वामिनमालोक्य भृन्यजन मुखन निभर नितरा पूर्गा भवति । कि पुन अरिवलम्प विधानेन चमेनेति या निव्युट सामन्यनाट प्रभानियागस्य निर्दिकार्यस्य भर येन स । मुपनिभरोभरेदिति वक्तयामि यथ ॥६॥ त्वति । विजयसनेन लिहता हला अम्मम्मामी राज्ये निशेशन प्रतिष्टापितो हि । दवस समादरा निन्यूर सनुप्टिन च॥ ॥ अभ्युदये इटसम्पादनोगमायाम् । गुरूपूजा इटार्थनिदिनन स गर । छोरिया अदुश्मण्यमयो परिति मंधानन्यो ध्वनिविष । तिनाति पुस्तकाना २ सोमत् अम्म म्यामिनि निशिने । स्यात दादिपमपिना ५ फाद्धय-युगम् ५ महान ६ अरमास जयतु भारत्र (जे अन्य बुनो) पधिक पुस्तकातर ·चतुर्थोऽङ्कः। ६३ विदूपक:-भवति कथं त्वं न किमप्यत्र समादिशसि । ( होदि कहं तुम ण किं वि एत्य समादिससि।) वासवदत्ता-(साङ्कृत्यायनीमवलोक्य सस्मितम् ।) मोचिता खलु हताशेनारण्यिका । ( मोइदा क्यु हदासेण आरणिआ।) साङ्कृत्यायनी–किं वा तपस्विन्यानया बद्धया । वासवदत्ता-यथा भगवत्यै रोचते । (जह भअवदीए रोअदि ।) साङ्कृत्यायनी-यद्येवमहमेवं गत्वा तां मोचयिष्यामि । ( इति निष्कान्ता।) कञ्नुकी-इमपरं संदिष्टं महाराजेन दृढवर्मणा । त्वत्प्रसादा- सर्वमेव यथाभिलपितं संपन्नम् । तदेते प्राणास्त्वदीयाः । यथेष्टमिमान्वि- नियोक्तुं त्वमेव प्रमाणमिति । ( राजा सलजमयोमुखस्तिष्टति।) विजयसेनः-देव न शक्यमेव देवं प्रति प्रीतिविशेष दृढव- मणः कथयितुम् । कञ्चुकी-यद्यपि तुभ्यं प्रतिपादितायाः प्रियदर्शिकाया अस्मदु- हितुः परिभ्रंशान मे संबन्धो जात इति दुःखमासीत्तथापि वासवदत्तायाः परिणेत्रापि त्वया तदपनीतमेव । वासवदत्ता-(शास्त्रम्।) आर्य कन्चुकिन् कथं मे भगिनी परिभ्रष्टा । (अन कञ्चुइ कहं मे भइणी परिन्गा ।) कञ्चुकी-रानपुत्रि तस्मिन्कलिङ्गहतकावस्कन्दे विद्रुतेप्वितस्त- तोऽन्तःपुरजनेषु दिष्टया दृष्टामिदानी न युक्तमत्र स्थातमिति तामह गृहीत्वा वत्सरानान्तिकं प्रस्थितः । ततः संचिन्त्य तां विन्ध्यकेतोहस्ते निक्षिप्य निर्गतोऽस्मि । यावत्प्रतीपमागच्छामि तावत्कैरपि तत्स्थानं सह विन्ध्यकेतुना स्मर्तव्यता नीतम् । प्रतिपादितायाः संकल्पदतायाः परिभ्रंशात्स्वहस्तस्पलनादिनाशाद्वा । कलिङ्गहतक- स्थावस्कन्दः अभिद्रवः तस्मिन् । दिष्ट्या मुदेवात् । संचिन्त्य कार्ययुचता विचार्य 'प्रतीपमागच्छामि परापनामि । १ मेष नाचम्मोचयामि. २ शस्यने प्रीतिविशेष: - ·प्रियदर्शिकायां राजा 1:-(सस्मितम् ।) विजयसेन किं कथयति । कन्चुकी -तत्र चान्विष्यता मया न प्राप्ता । तदीप्रभृति नाद्यापि विज्ञायते क वर्तत इति । (प्रविश्य मनोरमा।) मनोरमा-भट्टिनि प्राणसंशये वर्तते सा तपस्विनी । (भरिणी पाणसंसए वहद सी तवस्सिणी।) वासवदत्ता-(सासम् । ) किं पुनस्त्वं प्रियदर्शनावृत्तान्तं जानामि । (किं उण तुम पिअदसणाउत्तन्तं जाणासि ।) मनोरमा-न खल्वहं प्रियदर्शनावृत्तान्तं जानामि । एपा खल्वा- रण्यिका कल्यव्यपदेशेनानीतं विषं पीत्वा प्राणसंशये वर्तत इत्येवं मया निवेदितम् । तत्परित्रायता भट्टिनी । (ती पादयोः पाति।) (ण हु अई पिअदसणाउत्तन्तं नामामि । एसा क्यु आरणिआ कलव्यवदेसेण भाणीद पिस पाइभ पापसंसए दित्ति एवं मए णिवेदिदं । ता परिताभदु भटिणी।) वासवदत्ता-(स्वगतम् । ) हा धिकू हा धिक् । प्रियदर्शनादुःख- मपि मेन्तरितमारण्यिकावृत्तान्तेन । अतिदुर्जनः खलु लोकः । कदाचिन्मा- मन्यथा संभावार्यप्यति । तदेतदत्र युक्तम् । (प्रकाश रारांभ्रमम् । ) मनोरमे लम्विहैवानय ताम् । नागलोकाद्गृहीतविषविद्य आर्यपुत्रोऽत्र कुशलः । (द्धि हद्धि । पिअदंसणादुक्ख वि मे अन्तरिदं आरणिआउत्तन्तेण । अदिदुञ्जको क्खु लोओ। क्दाइ म अण्णहा संभावइस्सदि। ता एदं एत्थ जुत । मनोरमे लहु इह एब्ध आगेहि तं । पालोआदो गहिदविसविनो अवउत्तो एत्य कुसरो।) (निष्कान्ता मनोरमा । तत प्रविशति मनोरमया धना राविषवेगमात्मानं नाटयन्त्यारयिका।) आरण्यिका-हला मनोरमे कस्मादिदानी मामन्धकार प्रवेशयसि । (इला मणोरमे कोस दाणि में अन्धार पवेसेसि ।) मनोरमा-( सविपादम् । ) हो धिक् हा धि । दृष्टिौप्यस्याः संकान्ता विषेणैव । ( वासवदत्ता दृष्ट्वा । ) भट्टिनि लमु परित्रायस्व लघु प्रियदर्शना प्रियदर्शिश । मनोरमावास्ये सा तपस्विनी इत्यत्र सेत्यनेन कञ्चुरियोका राजकन्येव परामृष्टा इति मन्यमानाया उक्तिरियम् । कल्यव्यपदेशेन कल्यं प्रातराश तस्य व्यपदेशेन मिपेण यदा कल्या इति संस्कृतं तत्र कन्या मद्यम् । कल्यं प्रभाते की स्यात्... । उपायवचनेपि स्यात्रिषु मयेतु गोपिति । इति मेदिनी । अन्यथा सभाव- यिष्यति अनयैव तस्य विर्ष दत्तमिति तयेत् । १ नत , २ तत प्रविशनि म०, ३ सा. १ रनम्नालि हरिद पवृष्टिदेशे आक्रान (दिहिदे से अकन्त.) - ।

·। चतुर्थोऽङ्कः। परित्रायस्थ । गुरुभूतमम्या विषम । (हदि हरि । दिहि वि से संकन्ता विमे- पोश्च । भरिणि लहु परित्ताएहि लहु परित्ताएहि । गुलमदं से विम।) वासवदत्ता-( ससत्रमं रागाने हरले गृहीत्वा ।) आर्यपुत्र उत्ति- छोत्तिष्छ । लघु विपद्यते सल्वेषा तपस्विनी । (म पश्यन्ति ।) (अवटन केहि देहि । लहु विवजनद यतु एसा तवस्सिणी1) फऽचुकी-(पिलोक्य । ) सुप्तदृशी खल्वियं मम रामपुठ्याः प्रियदर्शनायाः। (वासवदतां निर्दिश्य । ) रानपुत्रि कुत इयं कन्यका । वासवदत्ता-आर्य विन्ध्यवेतोर्दहिता । तं व्यापाद्य विनयसे- नेनानीता । (भम विझके उणो दुहिंदा । ते यावादिअ विजयसेणेण आणीदा।) फञ्चुकी-कुतस्तस्य दुहिता। सैवेयं मम रानपुत्री। हा हतोऽस्मि मन्दभाग्यः । (इति निपन्य भूमायुत्थाय 1 ) रामपुनि इयं सा प्रियदर्शिका भगिनी ते। वासवदचा--आर्यपुत्र परिमायस्व परित्रायस्व । मम भगिनी विपद्यते । (अनउस परिसाएहि परिताएहि । मन भदणी विरबद।) राजा-समाश्वसिहि समाश्वसिहि ।पश्यामम्नानन्। कष्टं मोः कष्टम् । संजातसान्द्रमकरन्दरसा फ्रमेण पातं गतच कालिका कमलस्य भृङ्गः । दापा निपत्य सहसैव हिमेन चांसी यामे विधी न हि फलन्त्यभिवाञ्छितानि॥८॥ मनोरमे च्ज्यतां ताकि ते बोध इति । मनोरया-ससि किं ते बोधः । (गानं पुनधालयन्ती1) सरिख ननु मगामि कि ते मोघ इति । (गदि किदे बोधो । महिप भणामि कि पोधोति ।) मियदनिका--(भपिम्पटम् ।) यदेतदवम्यायापि मया न महारानो दृष्टः। (इस्पोंके भूमी पती)(भास्थानं गदाए माप महाराओ दिहो--- गुम्मसम् । संमातति । कग प्रमयपरिण भरगरवमेयमानाः संमार मान्नः निषि: मरगन्दरमा पस्यानोपमतम्य रसिका पार्नु गधरिमैना- देष पदमा नियमो लिनदपायाहीयनरी कास सोगारदाता- कामे प्रामीभिरश्मिनि नफरनिनिस्पन्ति विनिवनापास मी.(तरप.) पर।

·५६ प्रियदर्शिका राजा-(सासम्।) एषा मीलयतीदमीक्षणयुगं जाता ममान्या दिशः कण्ठोऽस्याः प्रतिराध्यते मम गिरो निर्यान्ति कृच्छादिमाः। एतस्या' श्वसितं हतं मम तनुनिश्चेष्टतामागता मन्येऽस्या विषयग एक, हि परं सर्वं तु दुःखं मम॥९॥ वासवदत्ता-(मायम् ) प्रियदर्शने उत्तिष्ठोत्तिष्ठ । पश्यैप महाराजस्तिष्ठति । कयं वेदनाप्यस्या नष्टा । किमिदानी मयापराद्धम- नानत्या येन कुपिता नौलपमि । तत्प्रसीद प्रसीद । उत्तिष्ठोत्तिष्ठ । न खलु पुनरपरात्स्यामि । (ऊर्वमवलोक्य । ) हा दैवहतक । किमिदानी मयापकृतं येनैतदवस्थां गता में भगिन्यौदर्शिता । ( प्रियदर्शिशमा उपरि पतति । ) पिभईसणे उठेहिं उद्वेहि । पेखि एसो महाराओ विइ । कहं वेभगा दि से गा । किं दाणि मए अवरज्ञ अआणन्तीए जेण युविदा णालबसि । ता पमीद पसीद । कोहि हि । ण हु पुणो अवरन्सिस्स । हा देव्यदा किं दाणिं मए अन. किंद जेण एदावार्थ गदा में भदणी आदसिदा।) विदूपका--भो वयस्य कथं त्वं मूढ इव तिष्ठसि । नैप विषा- दस्य कालः । विपमा सलु गतिविपत्य । तद्दर्शयात्मनो विद्याप्रभावम् । (भी वअस्स कह तुम मूदोविन चिसि । ण एसो विमादस्स का विसमा बस्नु गई विसस्स । ता दसैहि अप्पणो विचापदाव । ) राजा-सत्यमेवैतत् । ( प्रियदर्शिकामालोक्य 1) मूह एवाहमेतावती वेलाम् । तदहमेना जीवयामि । सलिलं सलिलम् । विदूषका--(निकम्य पुन प्रविस्य । ) मोः एतत्सलिलम् । ( भो । एवं सलिलम् । (राजोपमूल्य प्रियदर्शनाया उपरि हस्त निधाय मन्वस्मरण नाटयति । प्रियदर्शिका शरत्तिरति ।) वासवदत्ता-आर्यपुत्र दिष्टया प्रत्युजीविना मे भगिनी । (भवडत दिनिआ पनीविदा मे भइणी।) बसन्ततिला उत्तम् ॥ ८॥ एपेति यशिया शिवानया सगयुग मालयति। दिशो मम अन्धा जाता । अस्या कष्टः प्रतिरुध्यतेनो निरभ्यते उमा मम गिर शब्दा. कृयात्रियन्ति । तस्या सिनं हतं मम तनुनिश्रेरना निव्यापारला- मागता । अतः अस्या विरोम र मन्ये परं गौ तु दुय विश्वेगना पीडा मम । असतिग्लकार । ईल. वृतम् ॥९॥ १हन.२ मषि.३मा (मनारप्पा : भगिनी विवाशना. ।

·चतुर्थोऽङ्कः। विजयसेनः--अहो देवस्य विद्याप्रभावः । कञ्चुकी-अहो सर्वत्राप्रतिहता नरेन्द्रता देवस्य । प्रियदर्शिका--(शनेस्त्यायोपविश्य च जृम्भिको नाटयन्ती सविपादमवि-- स्पटम् । ) मनोरमे चिरं खलु सुप्तास्मि । ( मणरमे चिरं सु मुत्तद्मि।) विदूपक:-भो क्यस्य निर्वृद्धं ते वैद्यत्वम् । ( भी वअस्स णिबूट दे वेदितण।) (प्रियदर्शिका साभिलापं राजानं निरूप्य सलग्नं किंचिदधोमुखी तिष्ठति ।) वासवदत्ता—(महर्षम् ) आर्यपुत्र किमिदानमिप्येपान्यथैव करोति ।। (अन्नउत्त । किं दाणि वि एमा अण्णहेन्च करेदि।) राजा-(सस्गितम् ।) स्वभावस्था दृष्टिर्न भवति गिरोनातिविशदा- स्तनुः सीदत्यपा प्रकटपुलकस्वेदकणिका। यथा चायं कम्पः स्तनमरपरिक्शजनन- स्तथा नाघाप्यस्या नियतमखिलं शाम्यति विपम् ॥१०॥ कञ्चुकी-(प्रियदर्शिका निर्दिश्य । ) राजपुत्रि एष ते पितुराज्ञोंकरः। ( इति पादयोः पतति ।) प्रियदर्शिका--(विलोक्य । ) कथं कञ्जुस्यार्यविनयवसुः। (सास्त्रम्।) हातात । हा मातः । (कहं कई अनविणअवसू । हा ताद । हा अज्जूए ।) कञ्चुकी-राजपुत्रि अलं रुदितेन । कुशलिनौ ते पितरौ । वत्स- राजप्रभावात्पुनस्तदवस्थमेव राज्यम् । वासवदत्ता-(गाम्रम् । ) एडलीकशीले । इदानीमपि ताक्दगि. नस्नेिहं दशेय । ( कण्ठे गृहीत्वा । ) इदानी समाश्वसितास्मि । ( एहि अलि- असीले । दाणि वि दाव मइणिआसिरोह महि। दाणि समस्यन्यम्मि।) वेदना चेतना । मुदः कर्तव्यतानभिज्ञः । नरेन्द्रव प्रभुत्वं विषवैद्यता च । नरेन्द्री वातिक राज विपवये च कथ्यते । इति विश्वः । स्वभावस्थति-अस्या दृष्टिः स्वभावे प्रकृतौ तिटतीति स्वभावस्था न भवति गिरो वाचो नाति विशदाः परिस्फुटः । प्रकटाः स्फुटं दृश्यमानाः पुलका रोमाधा. स्वंदकणिकाच यस्यास्तथोक्ता एपा तनुः सीदति ग्लायति । यथा च अस्या स्तनभरस्य परिवेशः पीडा तस्य जननः कारक कम्पस्तथा । अद्यापि अस्याः असिल विषं नियतं न शाम्यति । अस्या विष. वाधाद्यापि गारल्येन नापनीतेत्यर्थः। शिखरिणी पृनम् ॥ १०॥ समाश्वमिनास्मि मनः- १निरूदे दे मन्तवादिनण (निरूट ते मन्त्रवादित्व). २ विस अपत्य कोटि (मिम- गरपो फोनि ).२ गिग मानिविदा. करः प्रणमानि. ५ अरे.

·५८ प्रियदर्शिकायां विदूपक:-भवति त्वं भगिनी गृहीत्या कप्ठ एवं परितुष्टाप्ति । वैद्यस्य पारितोषिक विस्मृतम् । ( होदि तुम भइणि गेहिअ कण्ठे एवं परितु- हासि । बोदिन पारिदोसिअ विमुमरिदं।) वासवदत्ता-वसन्तक न विस्मृतम् । ( वसन्तअ ण विमुमरिदं। विदूषकः-(राजानं निर्दिश्य सस्मितम् । ) वैद्य प्रसारय हस्तम् । मगिन्या अग्रहस्तं ते पारितोषिकं दापयिप्यामि । (वोदिन पसारेहि हत्यं । भाणीए अम्गहत्य दे पारिदोसि दाविस ।) (राजा हस्तं प्रसारयति।) (वासवदत्ता प्रियदर्शिाहस्तमर्पयति ।) राजा-(हस्तमुपसहत्य । ) किमनया। संप्रत्येवक्थमपि प्रसादितामि। वासवदत्ता-कस्त्वमग्रहीतुम् । प्रयममेव तातेनेयं दत्ता । (को तुम अगहिदु । पुढम एव तादेण इअं दिण्णा ।) विदूषकः-भो माननीया खलु देवी । मास्या. प्रतिकलं कुरु । (भो माणणीआ पषु देवी । मा से पडिऊलं करेहि।) (पासवदत्ता राज्ञो हस्तं बलादाकृष्य प्रियदर्शिकामर्पयति।) राजा-(सस्मितम् । ) देवी प्रभवति । कुतोऽस्माकमन्यथा कतुं विभवः। वासवदत्ता-आर्यपुत्र अतोऽपि परं किं ते प्रियं क्रियताम् । ( अनउत्त भदो वि पर कि दे रिभ करीअ ।) राजा-किमतःपरं प्रियम् । पश्य । निःशेष हवयमणा पुनरपि स्वं राज्यमध्यासितं त्वं कोपेन सुदूरमप्यपद्धता सधःप्रसमा मम। जीवन्ती प्रियदर्शना च भगिनी भूयस्त्यया सङ्गता कितत्स्यादपरं प्रियं प्रियतमे यत्सांप्रतं मार्यत॥११॥ स्वास्थ्य सम्भितास्मि । विभवः सामर्थ्यम् । निशेषमिति । इटवर्मणा पुनरपि नि दोष स्वराज्यमयासितमधिष्टितम् । कोपेन मुद्रमपहना त्वमपि सद्यो मम प्रगन्ना । प्रियदर्शना भगिनी जीवन्ती सती लया भूयः पुनरपि सकता। अत हे प्रियतम कि । जस्म परिदत्य. १ न स्यात् ·TRANSLATION. ACT I. I May Gauri be propitious onto you ; she, who at her marriage rite had her sight troubled by the smoke (of the naptial fire ), but again whose eyes were gladdened by the rays of the moon ( on Siva's head ); who looking with longing at the bride-groom, bad again her face hang down through Brahma's shame; who was fall of jealousy at ( when she beheld ) Hara, reflected into the mirror of the moon-like nails of her feet, bearing Ganga ; and whose hair stood on end at his touch ( as he seized her hand ) 1 Moreover, may Siva, who-though angry as the mount Kailasa, being apheaved, quaked, when, the ganas had their amazment rising, when Kumara (Ka'rtikeya ) wag lurking under the lap of his mother, when the serpent (on the body of Śiva ) was looking about with rage, and when the ten-hoaded one (Ra'vana) with his body groining under the firm planting of his foot (to press down the mountain ) was sinking to the depth of Patila-as yet delighted at being closely crabraced through fear by Umá, protect us !! ( At the end of the Benediction ) STAGE-XANAGER( After walking round ) To-day, at the spring-festival, I being very respectfully called, have been thus addressed by the multitude of kings, dependent on the lotus feet of the illustrions king Srihareba, and bere arrived from the regions in different directious “We have heard it, coming from ear to ear, that our master, Sri Harshadeya, bas composed a Natika, Priyadarsiks uz vme, guced with a wozel 4772ngement of plate But we have not seen it staged. Out of great deference, therefore, to that very king, the delighter of the hearts of all people, and with a disposition on your part to favour us, you should represent the same with proper ·pp. 3-4. 2 [Act I. performance?. I will, therefore, in the first place arrange the costumes (or the tiring room ) and then do as desired, Looking around) I am quito convinced that the minds of the spectators have been won over (or favorrably disposed ). For, Śrı Harsha is a skilled poet; and this assembly too is appreciative of merits; the story of king Vatsaraja is attractive ( popular ) in the world, and we, on our part, are expert in acting : each one of these circumstances is, by itself, the source of the attainment of the desired object; how much more so must then lie this combination of all excellences that has come about through the greatness ( lit. increase ) of my good luck! (Looking towards the tiring room), Ah, how now I Then I was just about to begin the prologue, my brother, having knowa my intention, has assumed the purt of the chamberlaio of Drdhavarman, king of Angas, and is coming bitherwards. I will also then pat on the costume of the character to cater nost. [ Exit ] End of the INDUCTION. ACT I. (Enter the Chamberlain ) CHADE ( Jesticulating fatigue accompanied by sorrow, and sigking ) Alas ! Ol, pity! The king's misfortune; grief caused by separation from my kinsfolk; exile from the country; and the fatigre of a difficult journey-thus is tasted by me this fruit of my longevity of lifc, that has been bitter and fruitless. (4). ( With sorrow and amazement ). That such a disaster should have been brought over even auch a one de king Dribavarman, who-e three regal powers were nnobstructed, and who was 8 peer of Raghu, Diltpr and ·Aat I) 3 pp. 4-5. Nala, with & Badden attack, by the cursed king of the Kalingas, who had cherished a feeling of regentient at the thought thnt he had betrothed ( promised) his -daughter to Vatsaraja, although solicited for himself by him, and who found an opportunity (lit. a weak point) in that king Vatsa did not return till then from captivilty -this, to tell the truth-I do not believe though it has come to p189. How is it that fate hus been exceedingly cruel and thus disposed (adverse) towards us! For, that princess I bore away from the tumult of the Agsanlt of that sort and terrible like the destruction time of the world and placed in the house of the forestking. Vindhyaketu, conuected with a friendly bond with king Drdhavarman, thinking that I might some how tako her to king Vatsa and thereby frco my master 'from his obligation (lit. debt of promise ). But when I had gone to Agastya's holy pool to bathe, as it was not far off, somc pcople fell upon Vindhyaketa in an instuut, blew him, and depopnlating the place like demons, burat it; and it is not known in what plight the princess too now is. The whole place was carefully searched by me; but I did not find out whether she was carried off by those marauders or burnt by them. So what am I, lacklcss onc, to do ! (Reflecting ) Ab! I have heard that Vatsurája has escaped from imprisonment and retumed to Kaujambi, carrying off with him Pradoyata's daughter. What I shall I go just there then ? (Sighing and observing his own condition. ) Bat what sort of thing shall I say, going there without the princess ? Ab! Vindhyaketu had said to me to-day —“Don't you fear. His honour, the great king Dşdhavarma, is alive; and is in captivity greatly disabled by severe wounds. I will, therefore, go to my inaster and make the reiuaining part of my life blissful (lit. fruitfal ) by serving his feet. ( Going about and looking up ). Oh the extreme rigour of the autumnal saul since it is fouud to be extremely severe even by me heated as I am by many afdictions. This bug that is freed from the screen ( lit. bond ) of clonds and has reached Libra after occopying Virgo, is ·Pp 5-6 4 Aot I. indeed, blazing fiercely, having regained his effulgence, as Vatsarája, freed from close imprisonment 18 sliniog pre-eminently, having nttained enunence after securiag the princess and regained his own abode ( e. capital or power ), (5) (Evrt) End of the Viahkambhaka. 8 (Enter the King and VipůssASA ) KING-The constancy (lit. the being unaffected) of my servants was known, the talent of ministers was witnessed, even friends were observed (&B regards thour sincerity), the affection (loyalty) of the townsmen was realised all the more, the passion for adventures in battle was quite satisfied, and the jewel of women was obtnined what, indeed, have I not obtained from captivity, ng from piety practised without bypocrisy (sincerely)? (8) VIDU,-(with displeasure) Ofriend, how do yoz praise that whore's son, cursed Captivity' And that 18 forgotten now, 0-IOT you, liko zewly captured lordly elephant, with feet (steps ) stumbling On account of the shackles of clanking iron chains, with the burning of the heart indicated by the pale lotus like face (the dry tip of the tronk ), with eyes ap-ruised and steady owing to the force of rage, and with the path along the ground cleared with the logo hands ( torn up with the huge trank ), did not get the comfort of sleep oven during the Digbts. KING-Vasantaka, you are, indeed, a wicked man Biark- Yon Baw the prison gloomy with darkness but not the splendor of her moon-like face, you felt pain at the cland of the chains, bat heard not hor sweet accents the crnel priood guards are present to your mind to-day and not hor loging side glances you behold the faults of coofigement but not the merits or Pradyota's daughter. (7) Vu -- Iith an air of pride) If at all confidencat brogs 10 1t8 train hnppiness, why do you then falten ·PP. 7-8. Aot I.] 5 your wrath npon the Kalinga-King for having taken Drdhavermou a captive ? KING-(Smiling;) Fie upon you, fool! Everyone is not Vatsardja who can escape in this vay from prison takiag A Vásayadattá with him. So let this matter (lit-topic ) be dropped. It is many days since Vijayasena was seat against Vindhyaketa. And no one has come ( brought tidings, ) from him till now. Let therefore, the minister Ramanwan ba called at once. I wish to say something to him. (Tüaving entered--> The Portress-Victory, victory, to Your Majesty 1 Here are arrived at the door-region Vijayasena and the minister, Ramenvat. KING-Qaickly asher them in. Por.--As Your Majesty commands ! [ Enter RUMANPAT and VIJAYASENA. ] Ruma. Pusing.) Although gone out the very moment, Bervants generally enter royal palace, full of apprehension, as if they were guilty, even though without gailt. (8) ( Approaching ) Prosperity to Sire ? KING-Pointing to a seat ) Rumaņvat, be seated here. ROMAN.-( Sitting down, with smile ). Here is Vijayabcna, the conqueror of Vindhyaketa, bowing (to you ). VUA.-( does accordingly. ) KING. Embracing him graciously.) Is Your Honour well? Vwa.(I an) to-day by Sire's favour. KING-Vijayasens, please be beated ( VIJAYA, sils doton ). KING--Vijayasena, tell Vindhyaketa'a acount. VA-Sire, what more can I tell? It is as it should be when Sire is angry. Kix-Still I wish to hear it in detail.

·pp 8-9 6 [ Act I. name E מן וויון VIJA.-Aay Your Majesty hear-Starting from here according to Your Majesty's order, with an army of elephants, cavalry and infaptry, as directed, we traversed the ronil though long in three days, and inespectedly fell apon Vindyshetu at the time of day-break KING --Ther, then ? VIJA -Then roused by herring tbe tumultuous din of our forces, he, Vindhjaketu, too, rushed out like a lion from a cave of the Vindhya mountain and without Farting for (the mastering of) his army and conferinces and having a few followers that happened to be at hand, proceeded at once to engage us, proclauning hus KINO.( Looking at ROMAAVAT with a smile) Tbut was creditably done by Vindhyaketu What then? VIJA.-Then when his companions were killed to a fierce onslanght hy us, whose envy and energy were doubled at the thought-'Here 18 he,' he, with the fury of his anger and strongth enhanced by the crushing blow, fought in a still fiercer manger KING—Bruvo, Vindhyaleto i Excellent, excellent ! Y1JATA---What description can be given, Sire! I will tell in brief- Having first of all, himself fighting on foot, crushed the foot-soldiers by merely strikiug them hard with bis chest, and dispersed the torrified cavalry like a herd of deer in the quarters with rolleys of arrows from afar, he discharged on all sides the whole stock of bis weapons and then quickly npsheathing his Birord, proceeded to enjoy the sport of catting of the plantain grove of the mass of elephants' tronks (9). Makiog baroc, single-handed, in this way in our threefold army, with his towering shonlders covered with the rays of his sword, Vindhysketu, with his broad chest shattered by haodreds of weapons, and exhiosted after a long time, Tas slaid in the battle (10) Kna-Nama FAA, to tell the truth yo aro qnite pat to shamo by the death of Vindbyaheta, following the path proper for worthy (!! brave ) persons ·pp. 9-10.4 On account of the leapings of the Safaras; Act I.) 7 ROMAN.-Sire, even the merits of an enemy produce joy in persons of your type who side with virtties alone. KING-Vijayasena, has Vindhyaketa a child, whereon. I may bestow (lit. show ) the fruit of gratification ? VIJAYA.-Sire, about this too I will tell you. When. Vindhyaketu had been thus slain with his kingmen and followers, and his wives followed him in deuth, when the country people had taken shelter on. the peaks of the Vindhya mountains and the place had been desolate, there was & maiden in Vindhyaketa's house whose beauty was in keeping with her high birth and who was uttering the piteons lament-oh father, oh mother! She is brought here by os being taken to be his daughter, ud ble is waiting at the door. Your Majesty is to decido with regard to her (f.e. as to how she is tobe dealt with ). KING.-.Yas'od harå, go yourself and deliver her overto Vasavadatta and say to the Queen-She should be always looked upon by you in the light of a sister and shonla be taught everything proper for a Inaidon of high birth, singing, dancing, playing upon instruments and other accomplishments. And when she becomes fit for being given away in marriage, you should remind me. PORTDUSA --As Your Majesty commande. (Behind the curtain-A BARD). By the breasts, gleaming with their beauty disclosed owiug to the garments slipping down through exertion of the multitude of courtezans in the haren, getting ready the auspicious articles and cosmetics necessary for your plensnre-bath, your bathing room is adorned (as if ) with other kinds of raised golden pots ( 11 ). Kixo-(Looking uptoards) Ah! how now! The divine Buin is occupying mid-heaven.' For Dow; The water of the ponds (in the gardens) appears to be boiling as it were with the heat of the rays of the san the peacock spreads out bis tail looking like an t ·PP 11-12 8 ( Act II. umbrella, though drooping from his sportive dance, the fawn covetons of the water in the basins seeks the circle of shades of the trees; zad the bee, having at once left the cheek of the elephant, larks (lil. entere) under the lobe of his ear. (12) Romanyan, get up, do get up Having just entered the inner apartment and performed the nsual rites, we will honour Vijayasena and dispatch him for annihilating the king of Kalings. (Exeunt Omnes. ] End of ACT I ACT II (Enter VIDU SEAKA). Indivarka has, indeed, said to me-Noblo Sır, Qneon Vagapatta, who las been observing tho vow of a fast, might call you to receive the Scastivdchana I will, therefore, bathe in the pond attached to the shower house and having gone into the presence of the Queen will utter something in the manner of a cock (s. 6. in gradually raised voice ) Otherwise, how are Brahmanas lile ng to accept A donation in the royal palace ? ( Looking towards the timing room) Ah ! Here my dear friend liss started to go to the very showerbongoferden to disj the longiog caused by the queen's separation So I will go with my friend himself and do 8( I said.). (Enter the lore-sick Kro) Bly mind yeams, today, to see that beloved of mind who is anotted, who arf ly the surpris ornaments, who speaks slowly and with effort, irho sublace the beauty of the morning moon by her face laring a palieb boe, and who is full of loogos owing to the obeertsace of tho ralce of her fast, ag 11 ako Tore in the condition prolaced by first love.

·Bay Act II.) 9 pp. 12-13 VIDU.-(Approaching) Hail to your Honour ! you prosper KING.--(Looking at him) Vasintaka, for what do you appear to be delighted ! Vidu.--Because the Queen is going to honour a Brahmana. KING.If so, how does it benefit you? Vidu.-(With pride) Oh, such a Brahmana, indeed, that I get the Svastissichana-present first from the Qaeen ik tho palaco crowded with thousinds of Brahmanas, Forgod in four, five or even six Vedag. KING.—(Laughing) Your Brilmanaship ( Vedic scholarship) is shown by the number of the Vedas (mentioned by you). Conue then, great Brahmana. To the slower-house garden itself we go now. VIDU.--As your M. jesty commands. KING.- Lead the way. VIDU.Come, oh! Let us go. (Walking round and looking on) O friend, see, the loveliness of the showerhouse-garden, the surface of the stone-slah in which is soft on ncconnt of the various kinds of lowers ceaseless ly falling npon it, therein tho banches of the Bakala and the Jasmine flowers are broken by tho weight of the bees buried in the fragrance, where the cape of tho Randhaka flowers are opened by the breezes richly clinrged with the perfume of lotuses, and where the light of the ann is obscared by the denso tamala trees. KING.-Triend, you have well describod it. For, here, By tho stems of the Sephalikt flowers (scattered nhont) the ground appears as if covered with small bits of corale; the scent of the Saptachhada flowers at once gives ribo to the filee idea of its being the odour of the rut of elephants; and these beeg here, having the colour of their bodies tawny with (or having the tawny 98- guonts of) the thick mass of pollen 'dropped from the oxpandai lotages, and intoxicated with the drafts of liquor (honey ), aro lamming something in indistinct accente. (°).

·pp 13-15 10 [ Act II VIDU Ofriend I look, look at this too-thia Saptaperne treo hero, the mass of the flowers of which is anceas ingly falling and which, therefore still looks as if it has the drops of water falling through the interstices of its leaves at the close of the rainy season (or at the end of 1 shower ) King -Frend, happily observed There is much that 18 like the rainy Benson (yet) For Bearing softness ( of surface ) by the meadows which rob (poggese or sorpass) the beauty of the Sirisha flowers, and therefore having at once & parement m'de with the washed pieces (or powder) of emerald the ground here, on account of the keaps of Bandhaka flowers dropped from their stems, now appears as if covered with hundreds of cochineal insects (3) (Enter a MAID) DAID --I am ordcred by Queen Vasavadatta-Girl Indivarıka, to-day I have to present an Argha (offering of worsbip) to the great sage Agastya Do you go then and come back quickly taking with you a grrland of Sephalıká flowers Let this Aranyika, too quickly gather the full blown lotuses from the pond in the shower bouse garden before they are closed up by the gun when going to act and come back The poor girl does not know that pond So I will take her with me (Looking towards 11e scenes) A ranyike, come this way (Enter ARANYIKA ARANYIKA -(With tears and dejection, to herself) That 1, who was born in that sort of ( so high a ) race in that way and who lived commanding others should now do the bidding of others! So it must be said that there 18 nothing difficult for fate to bring about Or rather at ia my fanlt, since knowing this I did not destroy my self So what shall I do now ! Or it is now difficult for The paggage msy slao be joterpreted as–Or why? A bard thing I have thougbt of 207 ( 12 con anitt og sniade) I will do as I salu (1 e kull myself) But thra does pot appear to be intended See notes This way ind go ·Adt 713 ) 13 pp. 18-192 Bbioald be reminded of thnt", 80 I will put the king in in mind of that, so that he will be engaged in thonghts about a husband for her. • Kina.(Pith joy) This then is that daughter of Vindhyaketa. (With regret) Long havo ve been foiled! (or, robbed of her sight). Friend; this is indeed, 'a maiden, to look at whom is not sinful. We shall see hor now without hesitation (or freely). Áfran.-( Angrily stopping her ears) Go yon tben. I. have nothiog to do with you who talk nonscase. ( The maid-serrant goes and gesticulates the collecting of Kouers. Kisa. Oh, her nobility of birth has been greatly. manifosted by ber firmness (of mind), Friend, blessed, indeed, will be ho who will bo the object of tho happiness of the touch of her body. (ABANTIKA' acts the collecting of lotuses ). Vidu.- friend, mark, mark; ponderfal, wonderfall As sho placks the lotuses, sho pats into the backgronnd tho begaty of the lotur-beds by the spreading Instre of bor badd moving in the water. KIxo-Friend, this is quite troo. See -- Having bocomo the object of the touch of the hand of her, who gircs delight by her glances similar to that of (siren by) coatinnons shower of the dropa of nectar,, and who has assamed a peeglisr lorelinent owing to the aliprios of her breast garment, as of the rays of the body of tho moon that gives delight with a fitting shower of nectaregas drops nod that becomes peculiarly charming oring to the sell of clonda being remored, it is wonder: Sal, indeed, that there lokoses do not become closed ap' at oncr. (0) , A'RANT:-(Gesticulating torrent from bera) Oh fel og At Tbon other wicked bece, greatly manopiog tao ay they alight on the beds of blas loturs, after leaving the lotat plant, torment me bere. (Corting der face !

·1 pp. 19-20- (Act II. with her upper garment, in alarm) Friend-Indfvariks, Bave me, Bayo me. TheBe horrid beos-will, indeed, assail me VIDU -Oh friend, your wishes, are fulfilled. Beforo that daughter of a born slave comes, you too, being silent, approach her. She, on her part, kuowing Indirarikå to be. coming from the movement of feet indicated by the sound of water, will just cling to you. KING.-- Bravo, friend, bravo! Your advico 19 opportune. (He approaches ARANYIKA'). A'RANY. (Gesticulating the hearing of the sound of foot- #teps) Indivarıki, come to me quickly, come to me quickly. I am harassed by these wicked bees. (Clings to the KING). (The KING clasps her at the neck. A'BANTIKA', removing her upper garment from her face and rorthout seeing the KING acts looking at the beees.) KING.-( Keeping off the bees with his upper garment ). yoa, give ap this dispiritedness (depression of spirits): 0 timid one, these bees, drawn by their liking for perfome light on the lotus of your face; if agsin with your long eyes agitated throngh fear you will still difase the beauty of a bod of blue lotades, bow will they leave you? ABANY.-(Eskıbeting flurry on seeing the Kixa). How now! tbis 18 not Indivurika 1 (Leating the King and moding aside in alarm). Indfyariká, come quickly, come quickly prote t me. VIDO -Lady, when you are protected by Vaterája, able to protect the whole world, you call out for the maid-servant, ladirarika ? (The King repeats you, gice up do.). *A'RANT.(Cooking at the KING with longing and bashfulness, to herself). This is the great king to whom I was given (betrothed) by my father. In the right place was my father's preference, indeed t .

·44 . Act II.) 15 PD: 21-22. -Jan-A'rangikk is, indeed, baragged: by 'the 'wicked beeg. So I will at once approach hor and comfort her. Aranyiki, fear not; here I comc. Vmu.-Move away, 0, move away. Here Indivariki is just coming. Seeing (if she gees) this affair, she will inform the Queen of it. (Pointing with the finger). Só having entered this plantain-bower to shall wait for 4 while. (Both do accordingly). MAID. (Approaching and touching her cheeks). Friend A'raayaka, this is the faalt of your face resembling a lotus that the bees thas come to be gailty. (or, the offenders-i.en, torment you). (Taking her by the hand) Come then; let go. The day has drawn to its close. (They gesticulate departure). A'RANY.--(Looking towards the plaintain-bower) Friend ludivarika, owing to tbe extreme coldness of the water my thighs Beem to be benambed. So slowly, blowly, we shall go. MAID.-A8 you say. (Ezeunt boih). Vidu.-0, come ; let us issue forth. Having taken her with her, that slave's daughter, Indivarikå, has gone 3 way. KING.(Sighing) What, gonel Friend Vasantaka, not indeed is the desired object gained withoat impediment by those who are not lacky. (Looking) Friend, mark, mark 1 The bed of lotades, although its lotages are closed op, yet being thorny (horripilatod) tells, as it wero, of the pleasuro derived from the touch of her tcader sprout-like hand, (u), (Sighing) Friead, what is the meaas now to see ber again? Vmv.-Sir, baring yoarself broken the doll you are crying now; you do not act according to the words of me, & Brahmana. K1x0,-What did I not do! .

·Pp. 22-23. 16 [ Act III VID --That you have forgotten DOW. For I said Be silent and approach her. : Since you, having entered into a very critical position, reproved her, in yonr effected wisdom due to vain knowledge, sayiog-Ah you, sive up this 'dispiritedoesg, &c., and sach other worde, why do cry now? And again ask me the means to sca her. Kind Oh, how does the fool call what was comfortgiving & reproof I Vmu.It is just known who is a fool in this case. Then why go on with this? Tho divine one having & thousand rays (aan) is about to get. Come then; let 18 enter jast the insido (of the palace). KING.Looking). Aà, the day has almost drawn to its close. Alas! For Row The splendour of the day, like my beloved, has gone, taking away the beauty of the groups of lotageothere in observed a greater glow of Rage (redbess--passion) in the orb of the sun .as in this heart of mine; the wheel-named bird (raddy goose) like mo, is atanding on the margin of the lotus-pond, thinking of his mate ; and the directions have been suddenly darkeped (void of interést) to the world also, as to me. (10). (Ercunt Omnes) End of Act II. 5 + 5 1 ? ACT IIL (Enter MANORAMA') MANORAMA —I have been commanded by Queen Và savadattá bsyiog-Manorami, my girl, to-day on the occasion of the Kaamndi fostival you have to perform the remalaing part of the episode about my hoaband and myself which bas been dramatised by $&mkrityayani. Yesterday,.indeed, fer part 1918' wrongly played by my dear friend, A'ranyiks, being absent-minded. Bat it again tho kame be done by her today when appearing la tbe role of V&nuvadatts', the Qacen will acessarily got angry. Whore shall I find her then and reprove her?

·Pp. 23-25, . + 17 [Act IIL (Looking on). Here is A'ranyika ,entering the plantainbower on the bank of the pond, saying something to herself. So hiding myself behind a bush I will listen to her parestrained (free) atterings. (Enter AR'NYIKA', seated and acting love-sickness.) AR'ANY.—( Sighing ) My heart, seeking an anobtainable person, why dost thon afflict me ? MANO-This is then the cause of her absent-minded- 2088. But what again does she long for? Being attentivo I will hear her. AR'ANY.-(With tears) How does the great king, being of a pleasing appearance in that way, thus torment me (now)! Wonderful, wonderful! (Sighing) Or rather, thia is my misfortune, and not the great king's fault. MANO.(Fearfully) How now! the great king himself is the object of her longing! Noble, dear friend, noble ! Your desire is in accordance with your high birth. AR'ANY.–To whom, indeed, shall I relate this matter and make the pain of my misery Bomewhat bearable ? (Reflecting) Or why! I have my dear friend, Danoramá, who is not different from my heart. Bat to her even I IN not able to tell this tbrough bashfulness. All considered, whence can there be solace to my heart other than death 1 MANO.(With tears) Alas! slag! the poor girl's pas sion has reached its climax. So what shall I do in the matter? ARANY.-(With longing) This is the spot where, tormented by the bees, I was supported by the great king and comforted in the words "O timid one, be not afraid ". MANO.—(Joyfully) What I she also is seen by the king! Then by all means there is & way for her to live., I will then at once approach her and cheor her up. (Suddenly adoancing) Proper, indeed, it is to be bashful even towards one's heart. Ar'any. ( Bashfully to herself) Oh fio, fie! Every thing has been heard by bor. So it will be quite proper ·Aot Iit.) 1B pp. 25-26. to disclose all to her. (Aloud; stizing her by the land). Dear friend, do not be angry, pray do not. It is 618- fulness that is at fault. Maxo.-- (Joyfully) Friend, away with hesitation: Tell me this. Fars you been really seen by the king or not? An'ANY.-(Dashfully with face hung down) My dear friend has already heard everything. MANO... If you have been seen by the king, then don't you be worrying yourself. Do himself will bo eagerly engaged in devising some means to see you. AR'ıxy.---Thig my friend speaks with partiality. O you, lover of (blinded by loro for) a friend, how can this bo (oxpected) from a person who is, indeed, bound by the chains of tbe Qucen's Tirtues. MANO.--(Laughing) Oyon, eilly girl (Zit, wanting in clever perception), althongh the bee has its love for tlo lotus plant, how can it, when it has been the DÀJati (jasmine) and is eager to taste its new flavonr, Tost quiet withont obtaining it! An'ax. That is tha nga of talking about this which is impossible? Come away then. Ily limbs, which are all the more tormented by the satamunal heat, do not give up their beat even now. DIANO - poa bashful one, it is not proper for you, even when reduced to sach a plight, to conceal the real state of yoаr heart. (AL'ANYIKA hangs doton her face.) MANO.- yoo naturally anconfiding are, wbat can you conceal now! Does not your passion, manifesting itself (lit. coming out) day and night, in the gaise of sighs, as though it were the hun sound caused by the incessantly falling shower of the shafts the flower -arrowed God (Cupid) tell it. ( To herself) Or rather, this if not,'indeed, the time for chiding her. So in the first place I will put some lotus-loares op her boson. (Rises, mand kanng taken some totus-leates from the pond places -them on 'AR'ANYAKA's heart.) Let my friend take comfort, Jet my friend take comfort, ·pp. 27-28. 19 (Act III. ; (Enter :VIDU'sDAka)»'! 'VIDU'.- Very great, indeed, is my dear friend's 'pas! sion for Ar'anyika'. For having set side thé''affairs of state he has been divertiug himself by thinking about a remedy to obtain her sight only. (Reflecting) Where shall I find her then? Or why; I will search for her jast thoro, on tho margin of the pond. (IYalks on). MANO.--(Hearing) A sonnd like that of foot-steps is heard. So becoming concealed in the cinmp of plantains. we shall see who is this (that is coming). (Both dom accordingly and see). AR'AA.—Ah, he is the very Brahmana, who is always - at the side of the king. MANO.--How, Vagantska himself! (Joyfully to herself) May it be that way (i.e. 28 I wish it)? VIDU'. (Looking in all directions) What! Has Afran-- yikà really become Ar'anyikà (acting like a forest-bred girl; or, gone to a forest, as she is not found here) pow. Mano.(With a smile) Friend, the king's companion, the Brahmane, is talking with respect to you. So let us'. listen attentively. (Ar'ANTIKA' listens eagerly and bashfully.) Vidu'.-(Dejectedly) When in the first place, at thebidding of my dear friend whose body has become languid owing to the very great torment of love, I looked for her at the residence of the queens Vābayadatta, and Padmavati and of other queens, and did not find her there, I came here, thinking I should search the place also where she was seen at the pond. But then she is - not here also. What shall I do now? MANO.Did my dear friend hear this? Vidu'.—(Reflecting) Or why! It was already said to - me by my friend - If you do not find her, after searching, for her, then come, taking from that very pond at least. the lotus-leaves that have had their pleasure-givings coolness doubled by the touch of her hand. Then howam I to know these?

·Act IILI 20 pp. 28-29, MANO.-This is my opportunity. (Approaching and taking Vide'. by the hand). Vasantaka, come on, I will Blow (also; expose ) you. Vro'.(In alarm) Expose me I to whom? To the Queen? I have not, at all, said any thing.' Maxo.--Vegantaka, dismiss this fear. As you have described to have been the condition of yoar dear friend on account of Aranyika, double of that has been the state of my dear friend on account of our lord. So Bee it, 899 it. Vop':-(Seeing, es!! joy) My labour hsg borne froit. Hail to your ladyship! (ARANYIKA' bashfully casts of the lotus-lender and rises). MANO.-Noble Vacantaka, at your mere sight my dear friend's affliction has Fanished, eo that she is herself removing the lotos-leaves. So your noble self shonla favoar them (by taking them). AR'ANYIKACIYiti agitation), O you given to joking, why do you pat mo to shame? (She stands with her face slightly turned back). VIDU.-(1:1) dejection) Let the lotuses romain. Your dear friend is extremely bashful. So how is their union to take place? MANO.-Mfusing for a moment, joyfully) Vasantaka, in this way, it scotas. (Sko whispers into his tar). T100.-Escollent, dear friend; cleverly snggested I (Asidd) By the time you two pat on yoa: costames, I will come taking my friend with mo. (Eril). Blaxo. O passionate cno, get up, got up, wo hayo to act tho remaining part of that pery play. Como then; let os go to the play-housc. (Walking round and secing) Here is the play-house. Come then; let us enter in. (Genticulating entrance and looking abouty, Well done. Foll done! Every thing is got ready; the Qacea mast bo coming (Enlır the QULEX, SAYKRITTATAYE and the retinte according to rank.)

·'Pp. 30-31. 21 (Act Ir. VA'BATADATTA-Revered lady, how wonderfal is your poetic genius I For this story of my husband, with its secret incidents, although & mattter of experience, boiog dramatised (by yon) raises our interest in it all the more, when being seen, as though it had not been Been before. SAK-Oyoa of long life, the merit of this sabject is such that a poem though withont excellence insipid) necosgarily causes delight to the ears of its hearera. Sco, Generally even an insignificant thing attains ominence by its connection with what is great; for even ashes como to be a decoration when applied to the broad tomples of o ratting elephant. (1) VABATA.-(With a smile) Rovered lady, it is a patent fact (lit., is bot known) that the son-in-law is loved by every ono. So what is the aso of than coatinuing the conscreation ? It is better to see the very samo representation. SA'MKI.Jaat 30. Indirarika, lead the way to tho play-honse. DIAD-Come, como, my Qaeco. (They all walk on.) Sa'xk.-- Looking on) on the loveliness of the playhonso 1 Charming with the hoge strings of pearls hanging from the golden gosta decked with londreds of jewels, and occopici by the youthfal damscla that hero conquered (aurpass in beauty) the nymphs of heaven, thla plat-bouro appears like tho (aerial vehicle, or) euideace of the gods. (*). Blaxo. nad ARAN.Approaeling) Prosperity, prus Terity, to the Queen ! VABATA.-Manoramas, the trilight has indeca, jmoved. Go you thes, and quickly put on your costanes. Born-Astbe Qasen commande. (They start to go). Vinn.- Aranyiłt, go to the drering room and decorato yoornell with these ters oraiments that art pat ry non. (Sit metres (Merce! front le ponen ·Act IIL 22 pp 31-32 1 dinds then over to A'ran.). Manorama, yor too take from Indiyarika the ornaments that were given to my Lusband by my father when pleased by his capture of .Nalagiri and decorate yourself, so that you will look quite like the King. (MANORAMA' takes the decorations from INDITANIKA' and erit with ARANYIKA'). INDIVARIKA' –Here is a seat; may your Majesty sit down. VASAYA.-(Pointing to a seat) May your reverence sit down. (Bota sit dowon). (Enter the CIAMBEMAKS haring put on his dress). Looking after the management of the inner apartmonts, guarding aguiost stamblings at orery ster, and FROW led by a staff, being broken down by old age, I imitate all the actions of a king, who, following the rciesco of government, maintains order within citics and avoids errors of policy at erery stop. (3). I am commanded by Mahasena, who bears a Bigoificant name and who has put to chagrin (ororpowered) all tho armies of his enemies, to inform the ladies of the harem thog_Tomorrow Te aro to celebrate tho Udayana festival. Therefore you are to ropalr to the garden, of Love with your retinae splendid with dresses befitting rthe fostiral. SA'x-Pointing to the CnAX.) Princess, the play bas commenced. Please see it. CMAX So this is what I hard to tell them that thoy should go accompanied by their atteadaots and not attendants with their decorations put on. Tor, Among theso (iamates of the barem) otca tho pertants of the malds-in-atteodanco of the queens are conspicuous trith their feet adorned with sokicts, with their broad hips haria, gingling girdle-lagds, with their large breasts dcsked with (lil, baring beauty imparted to them by) pearl Decklaces, with their armı batia Keycras (armlets) on them, and with their ear farnished ·Dp. 32-3. 23 [ Act III with Kundalas, their hands with bracelets and their Lair with Swastikas. (4) Thore is nothing, indeed, unusual that is to be done hero. Thinking that it is my mister's order, I will simply communicate the remaining part of the king's order to the Princess. (Walking about and seeing.) Here has that (priucnos) Vasarndotta entered the music-hall followed by Kanchanamáls, late in hand. I will jast tell hier. (Walks forth.) (Enter d'RANTIK&, in VASATADATTA's costume, sea'ed, and KANCHANABA'LA, soith a lule in her hand). A'RAN — Friend, Käuchananal, why again in the music-master tarrying even today? KA'NCE--Princess, he has seen & crazy fellow ; 401 overpowered by wonder at hearing his words he has Etayed there enjoying the fun (lit. laaghing at him). A'RAN.-Daid, well does he ask him. Both are mad mod, as it is baid--The like take pleasure in the like." SAKR—I see that her form is like that of a priocena; 40 with such a form she is sure to act your part voll. Chax -(Adtincing) Pribceks, His Blajesty sends word to you-To-morrow we are sore to bear you playing the late. So you should be ready with Ghoshayati fitted with now string An'any-Sir, if so, quickly send the masic-mister. CRAMD.-flere I send Vat-sråjs to you. (Eril). A'RAYT ---Kanchanamala, bring mo the lut (Ghobharatt). I will just examine ito strings. (KA'XCIIAYAXA'LA' land ocet the lure.) A'RANTIKA puts it or ler lap' and strikes (or, a pa!:) the string). (Tien enter HARORAYA daring put on VATSARATAS decoratione), ALAXOfAUA'To krull) Sarely the King larrica. Iu it that Valiotak, did not tell him, or is die afrai! T. 3 ·Pp 34-35 Act III.) of the Queet ? If he comes noty it will be A nico thing [Enter the King, and Vida shaka torth his bod, celed] KIN—The cool-rayed one (moon) docs oot causa affliction to me just to-lay us at first, not only hot Bighs do not purch my lip as they did constantly before , just now my mind 18 not vacant nor are the limbs Iadgurd as formerly, and mor torment becomes reduced eren as the desires of my heart are thought of (ng near fulfilment) Friend, did binnorami really say—“Since my dear friend 18 kept even out of the path of the king's Bight by the Qneen, this 18 the way to bring abont their UD1011 To-day at night we are to coact before the Queen the play called Udayanacharita In at Arnsils will be Vagavadotts and I too Vatsarija. Everything 18 to be learnt (acted) according to bus own doings So having come and acting his part himself, let bin enjoy the pleasure of her coinpany Vida -If you do not believe me, bere 18 Manorama waiting, wearing your costume So approach her and agh her rourself Kino-- Approaching DIANOREXA) Manorama, 18 that Vasintahth says true? MAYORANA -Sire, quite true Decorato yourself with the so Oras ments (That there words she tales of the ornamen's from her person and hands them prer to the Kro) (The Kng pula tlemon) Vidd -Here, fodeed nre kings thas made to dance (act) cren ly a mall sortant Oh the importance of Lasine83 (the olject to be achieved)! KING ( Laughing ) l'ool, this is not the time for joking Silently enter the factaro gallery and suit tbero mth Manoram? bololding our acting (Burn acl accoril ngly) ACAST -Kanchantmilá, let along the late. Jast I wish to ask you something 17 } ·PP. 35-36 [ Act 111. Kixo-Let me bear (to know) which part of the story is being acted. (IIc listens attentitely). KANCH-May the Princess ask. A'RANY.-Does my father really Bay Bo, riz."JI playing on the late Vatsarija captivates me I will necessarily free him from captivity." KING-( Intering till a loss of the curtain, joyfully lies a knot in the hem of his garment). Thas it will bo. That doabt is there? Jaring filled Pradyota with his attendants with wonder by my performance on the late, I sce that ere long I shall take A Fay Vászradatta. (C) For all things have been tell arranged by Ynogandharliyane. Va'data.-(Rising at once) Prosperity ! prosperity to my husband : KING- To himself) How is it that I am recognized by the Queen ? 8A'NN.---(171) a smile) Princess, away, away with this liurry (or, confusion ). This is a play. Kixo-( To himself joyfully) No I am mundo to lorenthe freely. VARAVA:-(Silling doien irith a smile of enbarrassment) What I this is Manorama 11 thought it 139 m habland, Braro, Janorami, urnro. Excellently arted. SAMKE...Princess, rightly, indeed, as confusion ennsol in pon by Janorami. Conailer- Hors is tunt sumo form (of Vatsiraja), the cause of delight to the cr¢&: the sime is the epleadil costame : *c1f-*1mo is this her bait here, that claracteris:4 an intoxicate) elophaot; the kane is the eiceedingly lofty dignity: ber grace the same, and the rery simo is Ther voice that resembles the mombie of water-charged clouds: liere is prebrated before as, in his rert person, the lord of the Vatrae birasoll ly her, clerer (in acting). (7) ·Act III. ] 2G Pp 36-37. 23 VA SATA.- Indivarka, I was taught to play on the lute by my lord in fetters, so fetter him with this garland of blae lotabes. (Taking of from her head the garlanıl of blue locuses sic gires it to her (I DIVARIKA does as directed and sils down in the samo place. A RAV-Kanchanamili, tell me, pray tell me. I ask- Does my fitler really say tlus, ciz --"If Vatsar&ja captivates me by his playing on the late, then I will necessarily eet huu free from captivity KA'SCIA.—Princcse, he does, rcally. Act in Bach A way that, as a matter of fact, you will be highly esteemed by Vatsaraja. KING-Kanchanamals has actually brought to pres what was then desired by mo. A RANY.-If so I will play with carc. (Plays upon the lute, singing). Observing the sky densely crowded with chains of clonde the royal swan longs to go to the Manreu lake, his residence, taking with him his mate. The swan Among kings-Vatsarija -seeiog the prison vult closed ap with thick chains, desires to repair to bts own abode, taking he beloved with him in order to reach (please her heart) (8). (Vrou,- gesteculates sleeping). MANO.--(Shahing him with her hand ) Vasant tha, see, see, my friend 18 playing berjurt VIDU -- Anynly) Slave's daughter, you too do not allow rue to sleep! From the timp my dear friend saw A'runyka, I llave not seen, along with him, what sleep So I will go to some other place and sleep (Goes out and sleeps) (ARANYIKA sings again). Hurled into (powerfally affected with) & now p285100, hy the perverse Kāma, the female bee pibes, eagerly longing to gee her mate, of & charming sight (9) IS ·Pp. 37-39 27 [Act III. KING- Hearing the song the tery moment and suddenly going forth ) Commondable, princess, commendable ! How charming the singing, low charming the playing (on the late)! For, Distinctness has now been attained hero ( in this performance) by the Vyanjana mode of playing (on the late ) in all its ten parta; this laya (tempo) here, distinguished by its three varieties of quick (allegro) intermediate (moderato) and slow (adagio) has been clearls marked in three rays; all the three pauses, Gopuchcha' and the rest, have been accomplished in das order: and the three modes of plasing on instruments have been properly exhibited. (10) A'RANY.-- (Clasping the lute rises from her seat and longingly looking at the King) Preceptor, I bow to you, KING--(With a smile) May you have that which I wish for you! KA'NCI.--(Pointing to A'BANYIKA's seat) The preceptor should please bit just here. KING-(Taning sat down ) Where should the Princcessit cow? KANOE.(With a smile) The Princess has just now been complimented by you with commendation of her akıll. So she deserves to share the seat of the preceptor. KING-Let her sit here; she deserves (to occupy ) half of the goat. Princess, sit down. (A'RANYIKA' looks at KA'NOKANAYA'LA'). KANO.--(Smilingly) Princess, sit there. What is wrong in this ? (ARANYIKA' sits down bashfully). Vasava. (Blushingly). The subject-matter has been added to by your reverence, I did not, at all, ait on the same meat with my husband at that time. Kixo-Princess, I wish to hear agaia. Play on the late.

·Act III ] 28 pp. 39-41 AR AXY (With a smila) Kuincharamild, having played for a long time I feel oxhausted So I gal not be able to play KANON --Preceptor the Priucrbs 18 greatly fatigued See how drops of perspiration are formed on her cheeks and 1 er fingers (or fore-bande) tremble So let her be refreshed (by resting ) for a short while King-Kanchanımáls you have said what is proper (TT 13hes to sci o her by the hand A rany withdraws her hand) Vacava --(Sarcastically ) Lady this also has been overdono by yon I am not cortainly Kanchanamall that can be misled by (such) composition [Or I should not be deceived (misrepresented) by Kanchanamall's dramatic speech) SA MER (Smiling) O you of long life dramatic composition must be of the asture A RANY - Vita seeming anger) Go away Kanchan go Wy I do not like you KA NOD - Jith a smile) If you do not liko me standing here here I walk off (Starts to go ) AR ANY -( In confusion) Kanchana stay stay here is the fore-hand offered to him KING—(Taking the hand of A RANYIKA) Can it be a lotas bud at once cooled by the contact of dew drops ? Not such methinks is its power to delight (now) at has it at dawn only when it ia left by (frec from) the son are therc five moong in the form of fingers shedding & shower of coolness (or dew) Even that (the shower) burns (causes afliction) I know it--this clearly ambrosia flowing under the guise of perspiration (11) By you moreover is implanted in my heart this Raga (pabbion-redness) with your hand clever in robbing the tender coral sprout of its beauty (12) A RANYIKA --(Erhibiting the peculiar sensation of touch) Oh fie oh fiel my limbs commit a hayoc in me (experience a thrill of overpowering emotion) as I toach this MARorama 16 ·PP 41-42. 29 [ Act IIL Va'savada:-(Rising suddenly) Revered lady, you get the representation. I, for myself, cannot bear to see What is false. SA'MKR.—Princess, this Gandharta form of marriage is stuctioned by the religious codes of law. That is the matter for shame in this? This is a dramatic representation. So it is not proper to go away caasiug a break in the interest when there is no occasion for it. VA'BATA.—(Valks away). INDIVARIKA' (Looking on) Your Highness, Vasadtaka, is lying in deep sleep at the door of the Picture-gallery. VA'sava--( Obsercing carefully) This is Vasantaka, indeed. (Reflecting.) The King also must be here. So having.roused lim I will jast ask him. ( ales him up. ) Vint. Rising dull with sleep and looking up suddenly) Dlanoramā, kas my dear friend come back aftor having played his part; or is he acting still ? VA'BAVA.- Vith dejection) What! Bly husband is acting ? Where is Danorámá not? VIDA.--Here, writing in the Picture-hall. DIANORAMA'-( With alarm, to herself) How Tas it that the Queen asked him taking quite a different view of the matter; and this foolish follow too understanding her in quite a different may spoiled the whole matter? VABASA.- Laughing angrily ) Bravo ! Manorami, bravo i nicely baye you acted ! MANORAMA Falling at her feet, trembling witk fear.) Your Highness! It is not, indeed, my fault in this 050. By this rascalls fallow standing at the door I was detained here, after taking the decorations from And agaio, my voice, as I cried, was not heard by anyonc, as it was drowned in the sound of the tator. YA'ITA.-Get up, girl, I know it all. Tasantaks is tho chief manager in the play-The story of mo.

·Act III.1 30 PP 42-43 Vinn Just think yourself-where is A ranyika and where Yasintaka ! VA'RAVA --Dlaporams, having well-secured him jast come after me The acting he has arranged I will see no. MANÓRABA-( To herself) Naw life 16 put in me (Binds Vedu by the hand and then aloud) Miscreant, now rerp the fruit of your evil policy VASAVA -- (Approaching in a hurry) Bly lord, may this erl be averted ! (Remoliny with these woords the garland of blue lotuses from his feet, cronically-) My Lord should forgive me that I, thinkwg that it was panorama, caused you to be bound with a garland of blue latuses (ARANYIKA stands, hating mored away in fear) KING --(Rising suddenly and seeing MANOIMA, and VIDUSETAKA, 10 himself) How am I discovered by the Queeu ? (Acto being abasker) SA MKTTYA YANI --Secing all, worth a smile) How lins the representation turned out to be quite a different thing? This is not the prope- place for persone of my BOTE (EX) KING- To kımself) Unusual is this way of showing anger $ soe that reconciliation is difficult to be brought about in this care (Musing) I will do thug (Aloud) My Queen, let onger be set aside. VA BAVADATTA -Hasband, who i apgry here? KING-How, are you not apgry? Although your glance le affectionate, still tbe lastre of your eyes 18 red, thus your choked voice, though there 18 sweetnesa 10 it, falters at every word, jour hard breathroge, thongh suppressed, are well ougerfed from the besyjDg of yoor full bosor BO this your unyer, though restrained with tvident effort, is clearly Been. (13) (Falling at her fect) Be plezsed, my dobr, le pleased.

·Pp. 43-44. 31 (Act III. VA'AFA.--A'ranyika, thinking that you are adgty, my Lasband is saying to you-" Be pleased, my dear, be plenued. So approach him. ( With these words shc pulls her ). A'RANTIKA' (in fright) Your Highnees, I koow nothing of this. VA'sATA.-A'rangiki, how don't yon know anythiog? Here I will teach yoq. Indivarikà, seize her. VIDA.Madami To-day it being the Kanmndi festival, my friend performed the acting to disert your heart. VA'BAVA--When I sec this misbehavioar of your both, lam moved to laughter. KING--Dry Queen, sway with misconception. See- Why for notbing is this spot produced on the moon of your forehend by the knittings of the eyebrows ? Why in this throbbing lip made to resemble the bandhujica flower shnken by the breeze? And again this your waist is oppressed by the weight of your breasts throbbing nll the more : gire up your anger towarde me: for the anosement of your mind alone this acting was performed by mo. (14). Qncen, bo plcn«ed, le please l. (le falls at her YA'NAVA -Girl, the playing is over. Come tbeo ; lct als enter tho iquer apartment. (Ezt). End of the inimic Play. KING-( Looking ) How is it that the Qucen has koue without shoring (irour? When I look at the faco of the Queen and also at that of my beloved licro pictared beforo me: the one streaked with the particles or por piration and with cse-broffs rers fiercely contracted througli aoger, and the other with its lotus-like eyes frently agitated throogh fear like those of a gazelle bonnding with great speed, I, alarmed and get buring my mind full of longing, are thronn iato a great dificultr. (15).

·Act IV.) 32 Pp. 44-46. So I will just now go to my couch and think abont the means of propitiating the Queen. (Exeunt Omnes. ) END OF ACT III. ACT IY OOO this (Enter MANORAMA') MANORAMA -Oh the long continuity of the Queen's anger! She does not take pity on my dear friend A'ranyikà, though confined for so long a time. The poor girl is not distressed so much by the herdehips of her own imprisoument as by her deepair to bce tho King. And such is her amiction that to-day I prevented her with great dimiculty from killing herself. I have come having asked Vasantaka to communicate the matter to the King. ( Then enter KANCHANABA'LA ). KANCHA --Strange that I did not find the revered Sàmkritàyant though searching for her. (Looking on ) I will then ask Banorarà ( Going forth ) Manoramà, do you kuow where the revered Samkrityayani is ? MANORAMA ( Looking at her and wiping off her tears.) Friend, Kanchanamála, I have seen her; but what havo yon to do with her ? KANCHANA –To-day a letter was sent by her Highnese Angåravati. That being read, the Queen, with eyes filled with tears, began to feel greatly pained. So for her diversion I am searching for the venerable lady. MANORAMA -Iriend, but what was written in that letter? KA'NOLANA. --She who is my sister is just like yonr mother; and her husband is (as) your father. So Deed this be told to yoa ? It is more than a year since ·Pp. 46–47. 33 [ Act IV. he has been taken & captive by the accursed king of the Kalingas. It is not proper, therefore, for your husband, who is his neighbour and powerfal, thus to obeerve indifference on hearing of this undesirable оссаrrеnсе. PANORAMA'.-Friend Kanchanamála, but trho read the letter to the Queen when, indeed, it was ordered lig our lord that the matter should not be communicated by any one to Her Highness. KANCIANA..As I remained silent after reading it to myself, the Queen took it from my hand and read it herself. DiagonaXA --Then go yon; here is the Queca sitting with the very lady in tho nprer ivory chamber. KANCHANA.—I will go there to the Qacen. (Erit). DIAXONASA'. It is a long time since I came learing Ar'aagiks. The poor girl is quite tired of her life. Something disastrous might perchance happen. So I will go just thero. (Frit.) (Cnler seated VA BALADATTA' in distress, SA XERITYA'TANT and the retine in order of rank.) Sa'aknit.-Princess, arag with agitation. Vatenedja is not ruch. lor can Vatanrijs rest nnconcerned on knowing very well thnt the husband of your mother's sister is in auch n plight? VA BATAPATTA'.-IIoly lads, now roa are cxtremely aimple-minded. What can he, who has nothing to do with me, have to do with one connected with me? It WAS meet for my mother to write to mo about this. Int sho does not know that TÁSundatts is not sach now (18 mho tras before ). This Amngiki nilair again has been witnc sed by yon with your owA CJCS. HOW do ron ray this the ? SAMKNIT.-Since it was witoessed lor me, for that TOMOR 1 HT 80. Be surels acted that may at the Kanmali festiral to make you laugh (enjoy tho fan). VA'Dara.-lloly dame, this maach ja true bere. I Was to made to be laughed at that it is with didiculty ·Act IV.) 34 pp. 57-48. that I stand before your reverence through shame. So wuy contigas that topic? Sarely it is by this partiality that I have been raised to sach a high level (rcdaocd to this state). (Ieeps). SA KBIT.- Do not yeep, Princess. Vateardja is not sach (as vould remaja indifferent). (Looking adout). Or why; here comes he who will himself temore your BOTTOW VA'ALTA.--These are now your ladyship's fancies? (Enter King and VIDUSAAKA). KING.--Friend, what is the way now to get my beloved Teloased ? VIDU.Friend, give up your dejection. I will tell you the way. KING.-(With joy) Priend, mention it very quickly. Ymu.-Friend, in the first place you are distinguished by your two arms that have proved their valoar in conflicts with your enemies ju many a battle ; apil again rendered more potserfal by (or, and again poesees) an irrejstable army cousisting of numerous elephants, horsemen and foot-soldiers. So having now hard pressed the horen with the whole bulk of your forces, get Aranyika free. KING.-Friend, you have advised what is impracticable. Vp0.- What is impracticable in this (since there is surely not a single man there have the bench-backs, dyarfs, and the old chamberlaiu. KING.-(Despisingly) Fool, what nonsense yon talk 1 Excepting the Queen's favour there is no other means to procare her release. So tell me how I shall gain the Qneen's favour. TIDU.-Sir, sapport your life observing 1 month's · fast. Thus will the fierce Deyl (wrathful Qaeen) be pleased. KING. (Smiling) Do not joke. Tell me how I should propitiate the Qaeea ? . .

·Pp. 43-50. 33 1 Act IV Shall I, being Lold, obstrnct her (conrse) standing. Lxforo hor and smiling, clasp the dear one at the neck ? Or shall I cante ber to be delighted by framing n speech conched in handreds of flattering expressione? Or shall I remain with folded hands having fallen before the Qucon nt her feet? Trals, trnly, I know not how the Qacca's conciliation is to be eTectel. (1). Como then ; let as go into the Qacen's presence. Vidu'.-Go yon, yourself. As for me I bare come jnst now having cociped from confidencat with difficnity. So I will not go. KING.—(Smiling and clasping him by the neck, mahes him turn back by forcc.) Fool, como on. (Ma'ling round and looking on.) llcre ia tho Queen sitting in the centre of the irors-cu unler. I will approach her. (Approaches abashed). (Vasisadatta' rises from her acat languidly). Why baro son left roar scat? nwis with this horny to show reapeet to me. It is not proper thus to stand for me, O you with ronr saict tresried (thereby). Why is this person, who is fon over by the faroar of thic mcro crating of a finoce, inade to feel abashed by CICCBirc courtesy ! ). Varura.-(Closely obserring hur countenance.) Ha-band, you nee now bached (to leel)! Kixo,-sly dear, I am really alınslel. Por, nitkongh my guilt at visibly sien, I am enicaronring tourname yon. SANKT.IT.- (Torhry to 2 1431.) Sirc, plenr: sit doa. KIN.-(Pointing to a grav.) let the Qaren sit here. VARAA.sila calhe groani. KNA.Oh, the Qneta hsa sit on the ground. I tous will it jur! bers. ($2n!!iva tle ground, mit folded Aind's.) Valores, Impleme!, I plan. Why do you cherit this deepmale 1 1056, vlen 1 bare thes Lore! to you? o fra mitt letitcling eyes. you Jo Do: kait gedt Lion). lat olosl! p *ztin and 741 vits rest ·Act IV.) 36 Pp. 50-51., lower lip not much qnivering you heave sigbs without cessation; you do not giro a reply, bat remain with your faco hung down in deep meditation : your suppressed anger greatly pains me like a hidden stroke (i. e. wound caused by it). (3) My beloved, be pleased. VABA.--You are surely very happy. Why do you now torment an afflicted person ? Rise, who is angry here? SA'AER.Get up, sire; what is the use of this ? Quite different is the cause of her affliction. KING. (In haste.) Revered lady. what is that other C&018e ? (SA'M BITYA'TANI tohispers it in the ear. ) KINQ.-(Taugkıng.) If so, away with sorrow. I too knew it. But I did not gay (anything about it) thinking that I shonld greet the Queen after the purpose had been accomplished. Otherwise how could I remain unconcerned in this Dörd bayarma matter ? So several days have elapsed since tidings about it reached (here). This is the state of things there. With his outward territory overrun by our forces led by Vijayasena, and his power destroyed, the accorsed Kalinga, rendered helpless, has heen forced to seck protection from the rampart after having at once entered his fortress. (4) And him, Kalioga, thus sitaated, rendered powerless by our attack as described above, with the activities of his warriors and servants decreasing day by day, and having his entire army routed as his elephants, horses and men aro falling so as to be destroyed you will hear before long, O revered lady, as being either captured or glain in the battle, when in a day or to his fortress is levelled down from all sides by our forces. (6) SA'MKRIT.-Princess, I told your ladygbip, at the earliest, that Vatsardje would not remain without making a counter move. VABATA.-1f so, that is gratifying to me.

·PP 51-52 37 (Act IV. his eyes (Enter Portress). PORTRE88.-Prosperity, prosperity to your blajesty! Here is Vijayasens, accompanied by Dşdbavarman's Chainberlaio. waiting at the door, with expanded through joy and wishing to communicate Bomething agreeable. VA'Hava With a smile) Revered lady, as I guess I am entirely compensated (lit., satisfied) by my lord. SA'HER. I am, indeed partial to Vatsarija! So I Bly nothing, KING.-Qaickly ask them to come in. PORTRESS-I wil (Exit). (Enter VIJAYAgena and the CHAMBEELAIN.) VIJAYA.-Dear chamberlain, at the thought that I am to see my moster's feet today, I am traly oxperiencing an 'ecstacy of joy, indescribable and beyond comparison. CHANDER.–This is true. Sec- Eren ordinarily (lit., otherwise) a gerrant is filled with joy on beholding his master : how mnch more then must be ho who bag fulls carried ont the responsible task ontrusted to him by his lord, by routiug the enemy's forces? (0) Boru.-(Approaching.) Victory, victory, to our master! (The Kixo embraces them both). CRAXDRT.-Sire, my congratulations to you. Having sinio the cursed Kalinga at your Diajesty's command, Vijfagens, the conqueror of the foes, has set our master on the throne. (7) YAM199.- My rerered lady, do yon recognize this chamberlain ? SAXKR.-IIof gholl I not recognize bim ? Surely this is he by whom your atat sent the letter to Yoo. KIXO.-A monentons besiness has been accomplished by Vijayasen A. (VIJATASEXA falls at his feet). Kixa.- Qncea, I congratulato you. ndbaratman basleen reinstated on histbronc, ·Act IV) 38 pp 52-53 QUEFN.--(With joy.) lt 18 a favour to me. VIDV.-At the time of such good fortano, tbig must be done in this royal palace-(Pointing to the King and acting playing on the lute) worship of the Preceptor, (showing his sacred thread) honoar to a Brahimags (indicaling AR AXTIXA ) and the roleast of all in custody KING -(A8ide, thith a fillip) Well done, friend, well dono! VID - Mladam, how is it that you do not pass any orders in this case. VADATA -(Looking at SA SKRITYADI, with a smile) The lave bas, indeed, got A runsala out of prison SA MKE What is the use of keepiay the girl ja custody? VA SATA - Jast as your reference likes S4 MKR --If so, I myself will go and set her frec. CALDERLALN-Here 18 another message bent by Drdhavarman--By your favour everything has been accomplished as desired So this my life is yours (86 your disposal), you have the right to use it as you please (The King remains with his face keng down phrough modesty ) VIJAYASCNA.-Stre, it is not possible at all to describa the great affection Drdhavarman feels for Your Majesty. CHAMNENLAIN --(Continuing ) And although pain was caneed to me that there was to slance formed with yon on account of the loss of my daughter, I'rivadareakú, who vis affianced to you, still the site has been removed by you as the husband of Vásnysdattá VA FAVA ---(Tearfully) Noble chamberlajn, hoy TB my cousin lost? CBAMBERLAIX Princess, when in the course of the attack bs the accarsed Kalioga the inmates of the harem had tled bere end there I took her who was fortanately seen by me, and thinking. It is no longer adrigable to stay bere DON', started to como to ·Pp. 53-55. 39 [Act IV. Vatsarája. Then after due consideration I committed her to Vindhyaketn's care and went away. Just as I returned I foand the place mude, along with Vindhyaketn, a matter of memory by some people. KING.-(With a smile.) Vijayasena, irhat do yon say (to tbis)? CHAIBEUL AIN -There although I searched for her I did not find her. And from thát time to this day it is not know where she is- (Enter MANORAYA'). PANORAMA'.--Your Highness, the poor girl is in danger of life, VA'Bava. (IVeeping.) What! Do you know what has happened to Priyadars'ana'? MANORAMA -Certainly I do not know what has happened to Priyadarg'ona'. This A'ranyika here drank the poison brought to ber under the guise of wine and is in peril of life. This is what I humbly taid So your Highness should save her. (Falle at her feet weeping). VA'BASA To herself.) Oh fie, fie ! my brief for Priyadars'anı hag been hidden (eclipsed ) by this account of A'raayiku. People are, to be sure, extremely Wicked. They might, perchanco, mis-jad go mo. So this is proper to be done in this case. (Loudly and with concern. ) Manorami, bring her quickly just here. My Lusband who has learnt the art of poison-curing in the world of the Någas is an expert in this matter. (Exit Manorama; then enter Aranşıká, supported by Blanoraman, and exhibiting herself as sufering from the effects of the poison.) APRAKTIKA.Dear ManorAIDÁ, why are you leading me into darkness? DIANORAMA,-(Wilk dismay.) Alas, alaal Tier eight also is affected by the poison. ( To Vasasadatta ) Mistress, qnickly dare ber, quickly sure her. The poison has affected ber seriously. VA'SATADATTA' - Taling ths Kixg by the hand, in ·Act IV. ] 40 pp 55-56, agilation.) Riso, rise, my lord. The poor girl is fast dying CRAMBERLAIN.- Observing her.) She surely resembles very much our princess, Priyadars’iká. (Referring to VA'BATADATTA':) Princess, phenco is this maidea? VABATA.-Sir, she is Vindyaketa's danghter, brought here by Vijayasena after slaging him. CHAMBER.—Whence conld he have a daughter. This in the same, my princess. Alae! I am andone, a lackless mani (Falling on the ground and rising up. ) Princees, this is that Priyadars’iká, your consin VABAYA'.-Husband, save her, save her. My cousin is dying *KING --Be calm, be calm, Let me see fiest. (Aside) Pity, ob pity 1 The bee in its course went to drink the lotus bad having abundant floral jnice formed in it; and at the Namo time it was scorched up by the front having suddenly fallen on it. When fate is Adverse desire bear no fruit. (8) (Aloud) Manorama, ask her if she has consciousness. MANORAMA'.-Friend, are you conscious! (Shaking her again, with tcars.) Friend, I say, I ask you if you are conscious. PRIYADAR.-( Indistinctly. ) I say, even sach og I am, I did not see Bis Drajesty. (Vith this half-ultered she falls on the ground.) KINO.-- (With tears, asule.) She is closing this pair of her eyes (bat) the quarters bape been dark to me; ber throat is choked ; thege words of mine escape me with dificulty ; her breathing has stopped ( lit. is taken away ); my body bag become paralysed (lt. come to bo ja & stato of motionlessne89); I think the effect of poison only is hers; but mine is all the afliction cansed by it. (0) VABAYA. - Teeping ) Priyadars'ans, ribo, oh riso. See; here is the King aitting. How is it that her con. sciousness is also lost? What wrong have I doup you 1 ·pp. 56-57. Act IV. naknowingly, angry at which you do not talk to me? Be pleased, then, be pleased. Arise, arise. I will not giyo offence again, Ah, .careed fate! What evil deod Wis done by me Row that my cousin is presented to me reduced to this plight? Viou.—My friend, why do you stand like one bewildered ? This is not the time for dejection !' Very serious, indeed, is the working of the poison. So show the power of your art. KING.---This is quite true. (Looking at PRIYADANG IKA'.) I remained stapefied all this while. So I will restore her to life. Water, water. Vidu.-- Going out and coming back again.) O here is wator, (The King advancing and placing his hand 07 Priyadara'iks, acts the silent repeating of the incantation ; Priyad'arsika' slowly rises up.) VA'BAVA.-A1y lord, thank God, my cousin has revived. VIJAYABena.--Oh the power of his Majesty'e knowledge 1 CHAMBERLAIN.-Oh, unobstracted everywhere is the power of His Blajesty 18 Narendra (sovereign- Poison-physician) I PRIYADARS'IKA :-(Slowly rising up and silling, in.dicates yawning, then with dejection indistinctly.) Manorama, I have, indeed, slept long VIDU.--0 friend, your skill as a physician has been fully proved. (PRIYADARS'IKA', gazing longingly at the KINO stands up baskfully, her face hung down a little.) VA'BAVA.-Hasband, why does she still act differently (like one not fully restored to sepse)? Kixg.—(Vith a smile). Since her eye-sigbt is not restored to its natnral state, her Tords are not very distinct ; tbis ber body zeels, with lörripilation and the drops of perspiration clearly ·IMPORTANT ABBREVIATIONS. 1%, Amara.--Amaratoła. Vagi.--Meghadtta*. 39.-Bbagavadgita Mſich.-Mțiobohbalaţikn. Bðar,Bhartřihari's katakas rudra-Hadrézikshsss*, (N. and y.).* Nág-Negananda.* Blatti -Bhattikärya (1.-V.).* Paſchar.-Paficharátra of Bruh.-S --Bțihateamkita, Bhása. Col. U. Ed.-olumbia Uņi- Priy.--Priyadaršiká. versity Edition of the PL. -Pavchatantra.* Play. Ragh.-Raghuvamsa. (I.- X.)* CJ.-Comparo. Ran.--Rémáyapa, CA.Chapter. Ratn --Ratnåvall. Br , 21--Bpkatkatbámadjars. Rilus.- Bitusembira." Com... Commentary; comment- 8.- Batta, tator, sak-Sakuutala of Kalidega. D. R.--Dašakımáracharita." S.-D.-Sahityadarpana. D.-R.--Daša-Rapake. Sid.- Kou.--Siddhanta- Gft.-Gitagopinda. Kaumudi. Kitap--gitopsdeśa.* Sret sreenivasachatear. Kád-Kadambari. S'id.- Sšapklavadba. Kastá.Kathiuaritsgars, Sudha.-Subbasbits. Záo, K.-D-Karyadarsa. Soop-Vêt-Svapnavigaya- K-P.-Rávyaprakssa. datta of Bbá a Kum Kumarasamblaya. Uffar.-Uttazarémacharita.* (1 --VII)." Fart,- Vårttika, salad.- Malarikágrimitra. Malli.--Mallin&tbe Vani, Yepisamhára. fal. Nádhati. Vikr.- Vikramoryaslya,* mbays. Fikr. Ch.-Vikramiokadera- 21.-S.-N&30$riti. Emrits of Bilbata. 40tated by the Editor.

·NOTES. GOON AOT I. P. 1. ATEITE1–Properly the Dame of the beroine ; it then metaphorically (by the metaphorical transference of an epithet HITT) signifies the play of which Priya, is the Heroine. The poet's other play, Ratnávalſ, is similarly named. Following the custom of previous writers the poet begins his work with tho usual Dangala, which consists of a salutation to the favourite deity or a benediction, and which is believed to have the power to remove obstacles in the way of, and to Jead to a gafo completion, the work undertaken. This is technically called Nundt in the case of draujas. Tho efficacy of a Mangala is thus stated by Patanjali in his Mahâbhâshya- मङ्गलादीनि मालमस्यानि मगलान्नानि च शास्वाणि प्रशन्ने धीरपुरुषकाण्यायुष्मत्पुरुषकाणि * ******** T Sriharsha bas glorified Parvati ana biva in this play, as he has done in the Ratná, also. He pays his veneration to Pârvati first, owing to her being the more respectable of the two, as boing the mother of the world ( RTETYTT as remarked by Malll. in his com. on Ragh, I. 1.). Ś1 1. The sl. describes the emotion of Gauri (Parvati ) at the time of her marriage with šiva, wherein Brahma, as was meet, was the officiating priest joining their hands. Cf. Śiva Pu-aaria F1997 AT SINI TE H faruri- FT 1........ Heateni 9797 17664 Tierea, 11 &e Construe- विधौ धूमव्याकुलदृष्टिः पुनः इन्दुकिरणे. आह्वादिताक्षी उत्सुका वर पश्यन्नी भूयः ब्रह्मणः FEMT Pago grona TT TTGT QUAN HET TE JA : शिवाय अस्तु । REUT -The smoke was due to the offerings made into tbe fire that witaegsed the match; for the offerings ef. TITETI. Prout gou: Fani Ragh. VII. 26. sur pained or disturbed. This was because the bnde is required to inhale the smoke. HIFTEÅ FA 991 ha yale: 1 CS Ragh. VII. 27. BETYRUT (KATE); Bee Kam. VII. 81, and of. for the smoko Par. p. 1.1. 23:-When she looked up the pain tag removed by the soothing rays of the moon on Siva's head. JUFT-This description is rather conventional, The bride is sozion to see her husband and gets the first opportanity to boc him after the removal of the cloth held between the two when the Mandalashtakae are over, Bat in ·2 Gaori's case she had already cech Siva beforo the marriage द्विपा--She falt shame tor fear of being observed by Brahms who was there serving as the uniting priest. आनत-may also be Neparated as नता. भूयोहिया may also be taken as a comp. word (through excessive shame); but this is not very satisfactory. f-Full of jealousy; for she saw Gangå on the head of giva's image es mirrored in her brigát nails. At first she had not seen her as she dared not look long at Siva in the presence of Brahma. Parvati is often represented as jealous of Gangs regard. ed as her co-wite C. Mud. I.1 तयुक्तं बहमार्गगां मम पुरो मिलज- चोदुस्तव, Ratra. I. 1. between 2 and 3. पादनखेन्दु-For comp. 400 com.; the doublo comparison is rather unpootio. Btrangely enough Sane. poets represent the nails of fine ladies and also of men) as lustrom enough to take in imsges. C. सिअन्यगिनूपुरपुटेन ....अहुष्ठेनाहत इव चरणारखेषु निपशन | Kad. p. 292. स्पर्शादुलका-The standing of the hair on end caused by touch is one of the eight Satvika Bhivas (or involuntary manifesto tions of strong feeling ). It is considered as the first outward indication of love and is ofton reforred to by poets; ef. Vik, I. 115 Kum, VII. 77 (रोमोदमःमादुरदुमायाः), Ragh. VII. 22. &e. c. with thisal. आदी प्रेमकमायिता हरमुखव्यापारलोला शने दामारविनिता मुकुलिन। धूमोगमव्याजतः । पत्युः संमिलिना दृशा सरमसव्याधनव्याकुला पार्वत्याः परिणीतिमहलविधो दृष्टिः शिवास्तु वः ॥ Pir. p I. 1. कैलासादौ &c. The referenca here is to Rávane's lifting up the mountain Kailasa wbon it was shaken to its foundation, carsing alarm to Pârvati and others who hred on it. To quiet Pârvati's fear S'i va pressed down the mountain with his foot and Ràpaña escaped being crashed andor it only by pacitying the deity. This is also constantly referred to by poets of. केलासश्रियमिष दशमुखोन्मूलनक्षोमनिपतिता; Rad. p. 2113 समुक्षिपन्यः पृथिवीमृता बरं परमवानस्य चकार शूलिनः । असमुपाराद्रिसताससंभ्रम- स्वयंप्रहाश्लेषतुखेन निष्क्रयम् ॥ Sis. I.50; गत्वा चोर्ष पशमुखभुजोडासितारपसन्धः कैलासस्पko. Mog. I.814800 also Rami, Uttar. K. caato xVI. Constrno सबस्ने कैलासाद्रो परिचलनि सनि गणेऽ उनसत्कोतुकेषु सत्सकुमारे मातुः को विशनि सनि विषमुचि सरोमं पश्यनि सनि पादा दषि दशपुरखे पानालसूलं यानि सनि कुद्धोपि उमया भयधनम् आसिष्टमूर्तिः अतः तुष्टः शिवः यः पातु. • उदरते-Trown or torn up. गणेपु-The gatar are the atten. dants of gira, being a mase ol demigods called Pramadhas sud ander tho saperintendance of Ganess, one of the demigods, They -are the described in the Kaike P,-विचित्रपामरणा जटापन्द्रमणि- नाः । आकाशमार्गे गच्युन्नपणच्यन्नि नित्यशः ।। ध्यानरुप परिचर्यन्ति सलिलादिमिरी- भरम । मानाशयधराः शम्भोगणास्तु प्रमपाः स्मृता । ker प्लस-Their ·3 curiosity was roused by the sadden shaking of the mountain. FT-Kárttikeya, when an infant. faraula_ o. through fear. firefo-The serpent on the body of Siva. Śiva is described as having bage serpents on his person, coiled round bis Dock, or arms, &c; cf fa AlfaT Yopami siyan Etat Meg. 1. 63; FT That Kum. V, 66. 4311*: STARTOTT: B'iva P. P. 2. 41927-19 277247:—supporting i. o. steadylig it by the ( pressure of tho) foot., 71; or 1974 At the firm planting ot. B'iva planted his foot firmly on the mountain to make ut steady, which presged down Rávana and hence in whose body was pained or smicted. Targ ---He was sinking down to tho surface of Påtala under tbe pressure exorted on the mountain by Siva's foot. He was angry that his mountain should have been torn up and his peaco disturbed. Evfär: 7ta -For idea of the śl. from Sis, quoted above... TT-re is the stanza or stanza9 of benediction, 'For its difinition des com; it is dorived as a T211a ret; fr. Ho and aft, 9(37) with tho fem & added. Another way isfingat perifer '; ta fra: by adding a (01) Frif ( Wife) T.: Part sic As the drame developed the cumbrous preliminaries of the prelude () were dispensed with, are the most important of them being retained. It then formed an essential part of the prologue. This Nandi 19"ot four kinds, vis. FIFIER art. 145 747 1 tret av ACT izate This subject matter of the plot ought to be glightly indicated in the Nándî; and it is done in the present Nandi algo Thus ghala gnggests Priya.'s long sorrow cansed by her own state and her father's overthrow by tho Kaling, a-king. Fracat: &c.-refera to the delight caused to her eyes by the sight of the king and later of her father's chamberlain, Eurat refers to her looking longingly at the king Vatsa, and hor 'desire for å union with him. 37795a how that she bad to observe reserve for concealing her love from the Queen and hor Heryants. The second sl. refers to Dşdhayarman's overthroty and buy being restored to power agala by the laterference of king Vatsa; as also to the queez's anger and ber final reconcil. ation with him. Sce coin नान्यन्ते सूत्र-supply आह, बेते or some such word to complete tha senge. Now the question arises-Who recited the Nândi? If the Satra., according to the precept.-TUTT: TT स्तरमाभितः 1 नान्दी पदेदशभिः &c. (Nét, Sů. V. 98 ), his name should have preceded the šlokas of the Nandi ·4 To explanations and offered The Damne of the Satrak is not pat first because nothing but auspicious words can begin a work. Cf in this connection the Sutra of Pan, age which begins hus अष्टाध्यायी (and not आदेवृद्धि like अदेइ गुण The other is.The Sutra or manager of the greated the Nándi And he having retired, the manager of the play ( 12 ) entered and began the play Bat as the discussion is immaterial to the ordinary reader we do not farther enter into it here Cau-The cbiet manager of the play, who held as it were the threads of the business of the play He assigoed to the various actors the parts they were to play, instructed them and took a feading part in the prologue Taaraa-The Temal festival Beems to have been one of the OCCAS1009 on which plays were publicly staged The spring festival was formerly relebrated from about the middle of the bright half of Ohatra to the full moon day to mark the return of spring, when Kamadeva or the god of love was worshipped with great pomp According to some, the festival began from the 5th of Mágha and lasted for about two months It is now dontifod with the Holi festival in which people of all grades of society mu with ono another and make merry The Bhavish yottara Parks gives a full description of th us, for wbich bet Wilson's H T p 264 The passage from rute to att 797 14 almost the game in all the three plays of the poet, with palat instead of T ( Wluch 14 &o optional reading there also ) in the Nagapanda. 166 -For Harsha seo Introd, $769-2 fr. lat to shine ongivally meant one sliding or brilliant, then it came to mean in god (Lat doue), sod lastly come to bo added to the names of king as a term of respect and greatness, of Vikramadeve, Vikramsokadeve, le 11743710-luviog or subsisting by (tho support of the lotus kko-feet Lema respectful way of saying —tho homblo sortants or vassals of TT-This rcfors especially to the eighteen kings that owed allegiance to Haraha and his two allies the king of Valabhi and Bhitazavarman, klog of Págiyotisha (Assem) goes with an, such as has not been shown belore, novel, extraordinary ve cannot tsko set as qualityong 40 tlo thome of tha play was not 1o Tented by the poet 1991 is the skilal arrangement of the various parts and incidents leading to a charming end. The poet meads that bo hus torrowed the theme bat presented it is now ·5 charming way. FEITEI-named after f90, the princess of Anga, and tbe heroine of the play. P, 3, TEI-se: Introd. Sec I, IT-is a word by iteell ( eragina 96 ) meaning a series or succession of. 70-coming from ear to ear, hearsay. ga-7 r. L ie bad 83 it cannot be syntactically connected with a owing to the presence of hai or sifat ought to be dropped. 491- TH-FUT is the representation or exhibition on the stage. 37196year-With the thought or object of, i. with the wish to favour 13. Cf. 97 9,17447 UGOTFTUARIO 1 &c Vik, 1. 2. qua-separately.in due form, in proper way; or 19 compounded (9179.), representation in toto, or eh it is; leaving out nothing. ATeoretAt-The word #gry is derived as (ntu. eye ) ora: (a > good, pleasing or boneficial to, and meang-(1) dress, or (2) decoration, it also means, (3) the tiring room ( whore the decorations are made, or the actors pat on their dress); and (4) the drop cartain (1997). -There ) the arrangement of the tiring room (such as the assignment of parts to the actors, giving tbem instructions as to costamo, acting and so on ). Nafa-p. p. p. of TT CALL with a to incline, &c.; drawn to us, attracted. HTAT:- Those who gather in an assembly, the audience; ** (**) iB added to a word denoting combination in the sense of those who a.99omblo thera'; Or 7 TROGI those who koep an assembly by their presence. fagurskilled in the art of poetry, i... having the skill attained by the observation of the ways of the world and by the study of the Sastra snd good poems; cf. TATAMI Tar141- COMTE Kår. Pro. I. 2. Qurant-otherwise our skill will bo vainig exhibited. This is an encouraging fact cs. " And as you sto kdown, the first and happiest hearors of the town," Shatespeare'. Henry VIII, Prologue. afiskt balorally attractive; tho wond is generally used as the last part of a comp., as Rigi, gri frasoft Et Dh. N. 25, &c. ORTR-at 1911 #3: the king of tho Vatss country (for wbieb, 19 Iatrod, geography of tho play). This was tasyarı, tho 1on of Sebasrisita, a ting of the lunar race. This gencology is thas given in the Kittis 477-3771 ---7-7-7-7-757. Accord. lag to iba Tiskoo P., de was the son ol * pcord Subsratka, ·to 19th in succession from Janamejaya, which appears to be moro probable Mahksena, also called Chanda-Mahasena, the king of Ujjayini, had a daughter of exquisite beauty, named Vasarad atta, whom ho wished to 52 Ten marriage to Vatsaraja (According to another account to 8 king named Sanjaya, see the quotation, from M41 Mad below) With this objeet ho opticede Udayana to his city and kept him a captive thoro Deing engaged to teach music to Yasavadatta ho guided ber heart and by the advice of his minister Yeugaud hardyang managed to escape with her to his capital They were afterwards married in great pomp For the fall neconnt €Eaths Lambaka II tar 11, 12 of affa-This 15 proved by the various referoncos his Damo, ef माप्याषम्तीनुदयमकथाकोविदग्रामवृद्धान् । Mes I 30, TUTTEU GO ra B Ibid I 33, 3GTA UN RA210 Tur 08474 TG 1 Mrch IV 26 MAGUI T U HT44 BET TAIMI- Are 700 MQ Med II a bere means dramauc representation -by thig ho refers to hiraself and the other actors T-a thing, an atom this 18 different from me in 29991 abovo एक-एक repeated as to bo taken nya Bah comp (by 4 TEATTTI Pan YIII 1 9) and dissolved as **, the cage torr of the first word being dropped in Lcing compounded ofie-18 hero reputation and money man abode, .. source of 97-implios aurat ( what then when &c) Harri Here he refers to himselt ag ho is the principal person coacernod Total-Favourable circumstances, advantages CS 944f fhy et Hit I This sl. is quolod in the Såh D and D-R as an Instanco of *** (or that whick attracts the attention of tho andionco to the representation by a commondauod ot hbo poct, the play, tho + Mabased though an enemy of Udayade, wished to give his daughter Våsayıdatta la marriage to him, but doubting it bo would accept her, be thought of tbe following expedient for bringlag about the union Sociog that Udsgras opent die dag end night. la the forcata ho thought of porking him a prisodes, and with tole view ho cacscd . woooden elephant to be made and concealed some armed en la it It was then placed in the forest When Odiyada cima acron it, the armed mer came out and seeing bir alone reized and made imprisoner 16 was then brought beforo Maltocat wbo guro his daughter Yinersdatts la hcbarge and told iim that bo would bo vet at liberty when Lo give bie daughter lostreet oou nad tralslog la music (Free) Gadre, ·7 T4. proficioncy of the actors, &c.) one of the angas of immigrat, which is thus defined--ATER ART 1991: : 7: समायाश्चिजरअनम् । कविकाव्यनटादीना प्रशंसा च मरोचना ।। o-Towards the curtain or screen (that separated the tinog room behind the stage from the stage itsell. 340-shows surprise. --engaged in, busy with; this reminds one of Bhaga, who begins como of his plays with a Fiore fet , (see 8rap., Pancha., Med. Vgé, &c.). *FTWO For Anga, see Introd. gordim does not seem to be the name of & real historio personage. It is probably invented by the poet. AFT-part. 316H star-In the Ratna, also the younger brother of the Bútra, is introduced a3 assuming the character of Yaugandharayana. This form of introdaction is called - प्रस्तावना-प्रस्तावयति (that which introduces the subject matter ) इति; fr. प्रस्तु+अन (युच्) addod कर्तरि, with the fom. आ. The wetto is also called 371a; for its definition, see com. TL 45770 here is a simple affair, as in the plays of Bhga, no other character than the sutra being introduced. P. 4. art—The Kanchuki forme almost & necessary character of Sans. plays. He is generally introduced as an old man lamenting over his misfortune, having to serve even when worn out by age. Cf. Vik. III 1, Wud. III. 1, &c. He was probably so called from the long cloak () he wore. HO was the saperintendent of the female epartments of kings, was a Brahmana by caste and had various good qualities-seo com. HAT-ray &c. are used to indicate that the Actor shows that he does something or represents by some conventional gesture or expression & particular state of feelings or mood. Te-shows how sincerely the Chamberlain loved bus king. - tego there was, but to make matters worse, bo had to pass through tractless rogions, as bo had to bear with bim secretly the princess. Stut—this, f. 6. marked by anch hsppenings. कटु-यदुः अत एव निष्फला. कटु cannot be taken separately, as the happenings mentioned above were not the result of his long continued od aga Śl. quoted in Dhanika's com. on D. R. IV. 9, as an example of dojection canged by misfortune (271). नाम-as was well known (प्रामाश्ये); or it may be कुल्हने ( and yet, ob irony of fate ), famUnobstructed, always enccesstale fat-The three regal powers, viz. 49692 or 4 Y ·8 आट the power arising from an efficient army and a good treasary (स प्रभाव प्रतापश्च यत्तेज कोपदण्डज Amara), मन्त्रश• or the power arms ing from good counsel (. 1919 ministry ) and an or the personal energy of the king or was the celebrated son of Dilipa, ts king of Aishade-Dames well known to the Indian student aar-earnestly sought, Aolicited PETEO..who entertained a deep feo ing of resentment FEUcitur-ho fondd a loop hole, & weak point s Vatearaja was not expected to come to Dşdhe 23523 tanee ETTOFor af g see Introd , कलिङ्गानां जनपदाना राजा फलिन स चासो हतक। i-To speak tho truth, truly 39961-Although come to pass or happened, a facteur-Lat & circumstances would permit, sotne how 317T-Free from debt Ho believed that hry master bad contracted a debt as it were, when he promised to 6150 bus daughter in marriage to king Vatra and that he (Knoch) would free him from it by taking the princess to king Vatsa 31UFUFTEFTA--The finery and confusion caceed by the attack the comparison to get shows that the attack was sudden and caused terrible hapoo -The object us at () विषस्य-अटव्यां मव आर्पिक rehng orer storest tract, a forest king fangeti-Vind. scoms to have been a petty king ohus he was to 04911g roated. Site watu-appears from the context to be some holy place in the Vindhya regions, near the hormitage of Agaatra described by Dane in bra Kada An Agastyatirtha, a place of pilgrimage, is Jocated in the proridca of Thotovolly In the extreme sonth of India. Agro-Daring attacked. ay By maranders oz tobbers erg is ope of the old Vedic words ( a class of demods or enemies of gods and wen, saio by Indrs that remain in classical Sans OTT-Another name of Sabasens or Obanda mabl, eo say the commentators on Kau'. Beg 1 34 wherein there is a reference to this king- TORT THE ) and this appears to be correct from Bhiss'. Srap V. According to the Katha, Pradyota was the king of Magadh, and a person different from allscas The Demo of his daughter also wu Padmarati Roo Kathi XY 10 20 and our noto on it at Heg I 94 a74-the capital of tha Yatsa country, was opce s doariasing city, thoagla Dow remaining us an Insigailcant sillage Soo Intro P 6 * -Packed or terribly disabled by, muoglod Taga-4 denom from TT (77) TTT #TEU--Tho aatumbal Leat is decribed as yery Dorca nu- Not, buraids ·9 S'i, 5. &e.--This and the other words in this SL. Are parodomestic (PoE); ef. for a similar use of ślesha, Rat. I. 8. Cons.-घनयन्धनमुक्तः कन्याग्रहणात्परं तुलो माप्य अधिगतस्वधामा अर्थ रविः पनयन्ध० स्वधामा पत्सराज इव प्रतपति। धनब०-(1) The covering or screen formed by clouds; (2) cloas imprisonment. () entering into the siga Vurgo; (2) The seizing of the Princess. Ti si o. I.--the sign libra coming next after ret; () High eminence, sapreme greatness. 3T TATTO-(1) who had regained his usual brilliancy; (2) who had come back to his abode or country Hagia--(1) buras fiercelyi (2) shows his power eminently. Seo com, *** --For def. seo com; it is an interlude at the beginning of an act, bricfly indicating tho events past and those to come. It is called S'addla when introduced by one or more minor characters (मध्यपाव) and सकीर्ण when introduced by minor and low (1944) characters. See also note on get infra Act IV, p. 46. fatyki-The confidant and constant companion of the hero and ono of the necessary characters of the Sane, plays. Although a Bráhmana Le 1s represented as ngly in appearance, fond of food and easily falling asleep. He generally assists his chief in lovematters; but his principal duty is to atir langhter by his fantastic dro3a, &c. Hoo com. śi. 6. In this s1 tho king states how his temporary icprisonment was beneficial to him in more ways than one. Wilb. the feeling of satisfaction expressed bere ef. Rat. 1. 9 and Nag. I. 7 अविकारिता-विकार पामस्तीति विकारिणः न पिका. अधिकारिणः । RIT: A the state of being anaffected by disloyalty, &c., honce sincere loyalty, steady love. efna-Fally known; for this sense cf. qfiri i STR12 | Veni, III. P. 15.89991- 746 r A Ragh. VII. 71, mfa:- inental ability, insight in political matters. Ati-Eco Kath. II. 4. 34, 35. for- Fully carried ont, put into execution. रणसाहस-sea com. tunar-Extreme fondness for, love of. Pautala–Free from gaile or hypocrisyi practised with sincere devotion to God: ef. v: Ana : &c. Bhag. P. I. 1. 1; FETT a A-For (religious morit obtained by the proper performance of religious rites ) leads to the accomplishment of every thing. CS, aut फोपि धर्माय सर्वभिप्रेतहेनरे; and tah. Bhir. त्रिप!यं धर्मपूतो नरेन्द्र राज्य at FRI The rhetorical fig. in this sl. is Vabkiyan.. P. 6. Ret: -may also be a comp. word. Thero is an optional 37% of the Ged, when censare is implied and the word ·io पुष forms the second member (पटया आकोशे । पुरे अन्यतरस्याम् । Pan. VI. 3, 21, 22 ); It. whore's son, used Lumourongly by the Vidd. as a term of contempt; that corsed ( imprisonment). It is used with persons or with inanimate objects as here; of.ca 91 4T gar Ur47af: &c. Mich. 1. p. 13. PETITAT-This and the other epitbets apply to the king as well as to the storia. hereT4917 is the pres p of the Atm. verb formed from man onomatopostic word, by adding (1) A fdal 371 (7) is added to the final half of a word indicating sound when the word consists of at least two syllables; and words ending in Hi tako the denom. afl - (FIE) by alfanatix: F41 t Pan. III, 1.18. For comp. 896 COM प्रतिस्पल-stumbling steroy atop. शून्यproperly lonely, solitary resoura CH TETTUITEIT), frat animal slaughter and aff. (49); horo (1) 7 without animation, dejected, gagert lotus like face or countenanco; (2) T4 dry, devoid of moistare ya cavity 464 173i the tip of the trunk; नेन पिशुनितः Indicated, हृदयसंतापो यस्य. The passage here Is somewhat obscure. Mr. Gadre following Jiv.'s ed reads 4**T (gar) 347074; bat es remarked by him, it is difficult tô Aspigo a meaning to this. It is explained as a unaffected by ang feeliog go** experiencing pais, (fare. Si la 3- 790% indicatiog internal affliction (779 PT1T396) ET संतापो यस्य. But this is not satisfactory. शून्यदुष्करहृदयसन्तापः ... is also equally unintelligible. It may be explained as 748 gon57. gfiffra-raised and fixed aptards. 757T-(1) bago arma, (2) large trook. 3IUTATYTO -- 1. (1) lying op tho baro ground, (2) throwing bimself on tho surface of the carth. STERNTEE-may also be taken as an adv, comp.; Sari Ratud for 411411 It is also explained as ATT TETund (u141441414.). The reading of the Mad. ed. MS1967 af 1s easier, **TV-may • mean-you repeatedly spoke of. aa-This Daune occurs in the Rat also and, is taken from the story of Udayana, 61. 7. é-sleo mas , a prison; soe Das ch. p 59 FAME game as for a chain, lottora, may be substituted for & Tho sl. shows how the impression made on the king's mind by the charms of V&ss. quite overshadowed the hardships of imprisonmegt. And this was a fact, ef. Trint garat 1314 HEHE ay R174442 44 4794277 1 Katha II, 4 29.48-Because he thought that he could Lers hit the king on his ow, ground. Mark the pon on the word पनाप्ति. , ·11 P. 7, MYTETIn the Rat. it is Vijayavarman (the con of Rama's sister) who figures as A general under Ramadyat. Why the expedition was sent against Vindhyaketo is not stated here. Káli., when he makes his hero Agnimitra send an expedition against an enemy fornishes a reason for it. HARU. FRO-Roma. spoken of here as a minister appears in the Rat. ( see p. 92 ) and elsewhere as a general of king Vatsa. In Bhâsa's Sva. Vås, however, he is called 378174; 3 $40977472 477917 &c. I. In the Kath&ger, he is mentioned as a general assisting Ysugandharayana in state matters-414002454 4914 TTATE I 9 FAI (19EET: 1 Lamb. 111. 1. 4. TEGUTA &c.- It is asual with ministors and othor forvants) to pour forth auch a complaint when going into the presence of their masters. This shows that even in ancient times the ministerial office was 49 Dot a rosy bed. cf. Rat. I. 7, IV. 20 last lines; Mod. v. 12; and for & similar thought Mál. BTENEET TAH6471 TARTE 14- TTTHET 1914 99 HET I I. 11. DAT-The force of safe is this--though the interval between their first visit and the Dext be extremely short and so there is very little chance of their Laving committed a fault, still. P. 8. DET: &c.—This is meant as a compliment to the king. He means—as disastrous as can be expected when he is angry. ulaga-A Karm. Comp. Etia-Tema Telaga ena: a toot-soldier; from पाद changed to पद (by पादस्य पदाज्यातिगोपहनेषु Pân. VI, 3.52 ) and it to go with aſiz 31 ( 31). The mention of the threofold army here shows that tho nee of the chariots in battle, the fourth element of the ancient Hindu ermy, was abandoned at least in Harsha's time. 8-Tumultuong. Walk-army; 2167 vehicles, convoyances; cf. for this sense अपवर्जितं च कोशवाहन P. 63, तत्कोशवाहनमवशी] P-201, Des.ch. I, VIII; or infantry and aia horse, 6. . cavalry; for 918 meaning a horse of. Can Elit 3747! Herasi Mud. VII, 17; Ragh. I. 48, IX. 25. ISTATO-. I. Without inspecting and equipping &c. TUIHITTOFor comp. eee com, HTI- 941-It was customery for warriors to declare their names before engaging in combat; for it was held derogatory to the dignity of a hero of family to fight with 8 pameless person, TAR-What is worthy or creditable. #YAN-. e. at the eight of one whom we had to conubilate, fa-Hardpressing. Hear By a fierce attack, or charge. fat- To & man, totally. TEGEED-fi is ased as a doun bere;

·12 by the wholesalo slaughter (of his followers ) for comp seo com. MER-fight, battle, or striking, dealing out blows, of FIET TERENER Uttar YI 7 (where #11: may bave both the meanings ), HAE TE RI Bhattı II 36 ŠIO 71a-Tho body of foot-soldiers, fr gana and aff af ( 31 ) by Pan IV 238 See com. Ta-standing afar, 7 7 19 not good as tho idea 13 included in ITT Arar paracavalry, by Pån. IV 2 18 (ace com ) the affixes J (6) and us ( s ) are added to Y; SO * also P 9 Huta-Cf for these 19+FTTVERKIEW at i KAD I p 26 GET-Havog drawn oat or unsheathed F7*** ET-Miot ( the sport of ) at 28 equivalent to your cutting of with the e839 with which &o, ef Ragh. XII 98 (तो कूटशाल्मली चिच्छेद कदलीमखम), SI 10 -8ee com gia-inlaid or covered with . : . pious lito And chest would be equally possible according to the rules of Sang grammer though not of Hindu chivalry CJ MBL IX 60 61 Ool El P 100 gara-Worthy of a man leading & A warrior killed while fighting face to face with an enemy also attung heaven ses com and of Ragh VII 51 aga-Bocause he fought valiantly like a true hero and foll only when overpowered by odds Bee com Care Followed him in deathe immolated the uselves along with the dead body of the husband FTVHSTOA wife RTT 19 one of the principal objects of a Hunda marriage husband and wife ( 2 7974) must perform the holy ntes together of नदिय प्रतिगृह्यता सहधमचरणाय । Sak VP 125 FETTETETT-The constr Is जनपदेषु विध्यशिखाश्रनषु The additional Toading freg (had fed away ) makes no good sense for the whole will mean when the people of the country who had already fled to the peaks of the Vind, mountain had fled array Bat we are not told that they were parler by the victorg yu--miserable pituable आभिज्ञाया०-endowed with & beauty in keeping with or befittiog her noble birth sqft F17ET 1 -- possessed of excellent beauty aría-As regards her how ghe is to be dealt with or what is to be done with her TT-This is the name of the Portreng भगिनी -in the light of, considering her as, your exstor It will be P10 ·13 1een in the last Act that this the turns out to be. frago These are the first three of the 14 arts often referred to by Kinda writers and mentioned by Vatsysyana in his Kámasútras, For these see our notes on Bha. Nita Sat. p. 42. 79-ig different from It and consists of the rhythmical movement of the body ( without gesticulation) and is regulated by the marking of musical intervals and time (A TRAW Dag. R. I. 9). By sure may be meant painting (1) and others. These were considered as a necesgary part of the accomplishments of a maiden of high family. Parfe -A bard or midstrel, whose principal duty in ancient times it was to announce metrically the close of the divisions of the day; vid. Vik. II, 1; Rat. I, 23, &c.; sometimes two bards are mentioned; see Śák, V. 7, 8; Mudr. III. 20- 23; &c. Ál. 11. The cong, is aangia mtar.. Hea: f... FTU : Fa: afarate Fit: 7 SETT, For comps. See com. 39- TU-Articles necessary at a bath tarara-Uogients or perfumed powders to be rabbed against the body; or a bathing garment; or a garment for wiping off the body after a bath, as at MAI. V. 12 (691). anawaat- & multitude; 'विभ्रमरती a womanhof. पिलासवनी; bence वारवि.- woman of the multitudo, a courtezan or harlot; Te with any word meaning it has this songe. The courtezans formed also a part of the attendanta of the harem. Cf. Kantılya's Arth. I. 20. HITTExertions in the discharge of their several duties, dropping or slipping down a-pot concealed, exposed to view. Truita-o. l spreading out. Urt-splendons, glean, artiwhite, fair. Tam-gold; or golden; fr. nga gola (said to be found in the Ten mountain ); in the latter case the form should be an according to some. Their ancorered breasts on accouat of their size and colour looked like other pots of gold. For the presence of courtezans at the king's bath cf. 113: 9712TETS-TT*: Erigeron 4A: 1 Kad. p. 32, garra:- Thu, of that which sbides za auta: fem , s ray of light. 34T EX &c. We have almost the same words in th: Någa. introducing a description of the snidday-son with which the first Act of that play as of this closna. Fere the poet has died the device of introduing a bard, as done by his great predecessor 2 ·14 Kálıdáss in his Mal II 12 to announce the pud-day wbleh euables the king to bring the Act to close sl 12 9-shows the intensity of the summer heat, of तप्त पारि रिहाय &o ViR II 23 - small fish, very motive and sparkling Tai darting or tarning upwards of. Euronila Meg I 43. gif&F1-A large pond oblong 10 shape contgining lotus plants and attached to large bongas, of RTIRTAI TAI Ragh IX 37, also SVI 19 want छत्रस्य इत्र आगा यस्य or bottor उत्रेण सदश, a nityasarnosa, of Amara--a figura TETTHET I TEA & a peacocks tail hence बहिन्, पहिण a peocock,-भार the mags of feathers, plumage P 11 - 31+9+a to tako with 311 and afix 15 . 31) a basis for water round the root of a tree of Ragh 1.51, also Vik II 23 0917--to which it was attracted by the presence of chor thero Forgrethe lobs of the ear प्रविदया The midday was the time when the king could retiro to the interior of the palace and enjoy his leadre according to us pleasure of षष्ठे भागे बमपि दिवसस्या मनश्छन्दवर्ती । Vik II 1 TAMPAI FT - Batung, offering worship to the deities, Lc, seo K&d P 33 SNOSTO-of FIRST Rat I p 8 fra 194TH --The reason for this expedition and tho gucco9$ achieved by Vija are mentioned in Act IV See PP 46 50 52 AOT II -A form of address for a Brahmara, & mituister and an older brother, AT91 919 FT81741 &c D Ro 399TO-Qaccoy are often mentioned as observing a fast and abiding by it: attendant rolog A TTT 13 given on such an occasion and the Vidu being a Brahmapa and a companion of the king naturally comes to be its recipient See Vuk III 12, Rat I pp 17, 20 STATUS algo -7*) fr Fría (Indec meaning a bless Ing')and पम् can and afi ल्युत् (अन) सलि वाच्यते अनेन that by which one 18 msdo to pronounce a blessing Primarily it refers to a ogromoss preliminary to tho performance of a religious rite or some soloun observance in which tha Brahmas say ·15 per to the Yajamáns, and secondarily to the gift accompanying such a ceremony. It alo refers to present (called -in Marathi air-for tbe Prikrit af is also rendered as any in Sans. ) which consists of a small quantity of rice, A cocoanut, a piece of cloth for a bodice, & comb, &c; or sometimes of sweetmeats onls-sod is given to a Brahmana by a married woman whose busband is living ( a ). For other particolars, 400 Rat. I. p. 17 and our noto on the word; Vik. III. pp. 77, 79. *7**Tyda-will call: fr. 378 +379 the taking op or atterance ot; शब्दापं करोति शन्दापयति by adding णिच् (य) in the sense of antil; sed com. If the Prakrit @ be rendedred १. शब्दायेन then it is derived from शब्द and the affix क्या (य) which forms Atm. verbs (727747 ) by TM61771 Pån. III. I. 17. GITA summer bouge or a large bath-room; lit. a house furnished with wator jets or fountains of water. cf. - malasmaa Parquesajaqr. ! Ragh. XVI 49-ET--The gardon containing the धारागृह. क्रुफुटवाद-Uttoring anything imitating the cry of a cock in the morning (i .. gradually raising the tone and protracting the voice ) so as to give it the appearance of a Vedic passage. See Pån. I. 2. 27. Vidů, means that he would recite somotbing assuming the Vedic tone when receiving the Vayana. For Vidů.'s knowledge of the Vedas, comp. the king'a remark below, Editur &o. p. 12. saat-hes the technical sense of the acceptance of a gift by a Brobmana (which is his peculiar prerogative), see Manug. 1, 88; YAj.s. 1. 118. 01-An eager desire to see or a great louging for, a leloved person. Fontenatif, Free Tradicaftig 74104. I P, 12. ŚI. 1 HIJATE-For comp. see com, there are certain ornaments and things, wbich are considered as anspicion, ( being the emblems of Sanbhigya ) and which & Hinda wife cannot discard onder any circumstances. These are the mangalasutra (a wreath of small glass beads with gold ones, the Komkuma mark on the forebead, glass bangles, &c. Hence the queen is described as presring thoso even when under a row, when other gaady orzaments are to be dispensed with. Cl. Vik. III. 12 (featya EPT). FITATS V.I. मन्द यथा नपा उद्यत आलापो यस्याः speaking in words gently uttered (on account of the weakness caused by festing, ). 941- Te gives rise to an awkward comp; tho comp. may also 1 ·16 I Bes com be taken as ACE & TH; 340 Eur, in either case it indicates extreme emáciation - is affixed to adverbs of time in the sense of belonging to that time', 17h, urtaa, U14, &o-tra-of TURIU TOATE 1 MAI Mad. IV 4 fcrmo-18 to be taken with strat and tho other accusatives TORISTITO-For the effects of first Jovo not gratified and a maiden's bezug more attractive thon, of. 4174147447, 371441 patay na santa Sak IV 8 *a-Tho pres in tho sense of 'immediate future, -19 going to honoar with gifts s &c -19 evidently meant to be jocular For comp FIGUU-26 the Veda atvia (Pau VI 2 59) Ba chiana (Pån VI 2 92) a arcu, au , Vedic scholarslıp AETATISTE-HET when prefixed to such words as a EHU, I, 19 depreciatory (1474) Sain the Rat 1911- ( HTT) ET 1979 EPICO +T49779T I L p 45. P 13 sa-Ceaselessly, incessantly HEAToft to touch; or secondarly, charınıng 34-the surface or upper part otho दृषदो वासितोत्सद्रा Ragh IV. 74, or उत्सद, the vieanty of, fata-stuck fast also called ST 23 a large and tall tree having darkısh green leaves and small tonnd flowers of a pale-brown or white colour and sweet sinelling मालती-मां लक्ष्मी लातीनि takes ap, or मालं . garland ननोति, fr नन्+: .. अ) also called R71 (as at gratifies the mind by its emell) is a kind of Jasmine (119mm glandsforam) having flowers of an exceedingly pleasing smoll Its oil 19 much prized as a perfume BEAT- 19 (free from tho fastening string, • • restraint), or 577 91* **T ( may be 3171 or- ), moving unchecked, freely, or proud, strong, the wind is poetically fanced as proudly moving being charged with the fragrance of 019-completely ! ) opened बन्धूक-also called मधुजीवक-बधुरिष जीप जल यस्य) 15 an erect growing plant having flower of a bright red colour which expand at noon and drop next morning CS Ragh XI. 25 ( wherein drops of blood sre compared to the myrir flowers), Kur IV. 7 y the cases or stems of -A dark barked tree but having white flowers पिहित-20 अपिहित the s of अपि and are being optionally dropped real-Ls! its belog poesco-ed of beauty, grandeur, loveliness, 80 Rat I det at HARIRIES Alsatt tp 11 7-tiny pieces of coral Fri 1971 beds , a emall tree with sough scabroas leares bat fragrant ·17 flowers; of. 141.41936TRATETTO R6, III. 14. FEET a leat, hence also called 91, 95 &c. having seven leaves per twig) Alstonia scholaris, is a large tree often referred to by poets as having the strong odour of the ichor of elephants, Cf. ant. Taguint film of Ragh. IV, 23. ATAT he is not appropriate with ; it simply means scent' here. रज पुनपिग-अङ्गराग unguent or paint applied to the body, 27t-Liquor is the form of the honey of flowers. For a similar thought, of. fiatastris YT: ht: gaaruit 97 Trafica: I.......... Ferrata : 11 Nag. III. 8. Fathethe Prákrit og should rather have been translated by "एतं as it refers to सप्तपर्णपाइप, which is mas. अविरल-In quick succession, or, in clusters. 991:-fem. pl. 61. 3. Tan-Tho Nora. qualify faiantil may also be taken separately. Farfre-ie a tall tree, attaining the height of thirty feet. Its flowers are known for their extreme delicacy. Cf. Kun. I, 41. Ita fowers are worn by young ladies as ornaments on their ears; ef. Šak. I. 4; Ragh XVI, 48; Meg. II.2. P. 14. mai-T722 Fl; expressed metaphorically. siarfift:-which possess (or, sorpass ) the beauty of, the Sıristis flowers being also of a darkish green colour; cf. 41919-4717- | Kir. IV. 36. grae which usually means 'powder" must be taken to mean pieces or fragments bere, as the adj. sten: will be inappropriate otherwise grati-beaps, collections. RT0—the Indragopa ( cochineal) insects which appear in clasters in the rainy season are also of a bright red colour end hence the Utprekaha. -A vocative particle used by a lady when addressing a maid geryant. Bee com.; Ps is used between females of equal Tank or position. TERTAE40—see the two quotations by Pandit Krishnamachariar given in the com. 37:-A respectful offering or oblation to a deity or a venerable person, &c. consisting of rice, water, robbed sandal, &c. The usual ingredients are -आपः क्षीरं कुशाग्र च दधि सर्पिः सतण्डुलम् । यवः सिद्धार्थकश्चैव अष्टांगोत्री प्रकीर्तितः॥ Bo these flowers must be added to these, as in Yaj. I 289, as they are specially mentioned here some translate pret by 374; this is got by adding a to s by rafat 1 Pen. V. 4,25. 26: Fiat U 58442fg | Bid. Kau. According to the second sl. quoted in the com, as Arghya onght to be offered to Agastya at the close of Bhidrapada ( August September ), when ·18 Agastya (the bngbt star Canopas' of the constellation Argo Naves in the Southern celestial hemisphere ) rises, for the attainment of all desires Varih in his Br Sam says that a king should offer an Arghya to Agastya for the attainment of great power, wieleent jarigoti 997 YTT Ich XII 15, for other particulars seo 16-18 अस्ताभि०-Lit desiring • about to set, occurs again at p 22 JF-Pres pag. of Fall, denom from ac are closed, lat nyo made to assamo the condition of bads agitant-Lit a female ascetic, and as asceties require protection from otherg HT lecondarily means one helpless or deserving pity, poor', S ETATET 08197 Huds III P 62 Sak p 95 P 15 Fotogte--90 Jam Taren 21 TT, TT agitation, mental pain or distres 9 ATA-18 AT TITLE FUTUT-wko used to commend, mwith the gerund shows contundity of the act 99 019-51% 34151 TT, that I havo to oboy others Sagarik& also emularly refers to ber misfortuce Cliat alie has to serve, but not with regret as she had obtained a night of the king (TTTTTH shatay at 9 * 1 P 27 ) tragrât &c --Tlus at first appears to mean .I have thonght of doing a hard thing Committing suicide But this does not Boem to bo intended Arany finds it neccssary to yield to her misfortune aud saya 41 ( ased samt) or why Galert ** 1t 18 diff colt to carry out my rogolro Again Stity after 20 years will have no forco Sha wonld rather profer servitude than avoid it by revenliog bier bigla birth Had the first meaning been intended sho would have said 74 491lor farther on also will be meaninglese She has not said any where that she would kill hersoll (although liko Sagarika sho Hays it furthor on, ace p 24 ) Bo A mast bo takon to mean as ordered by the Queen', and this she proceeds to do lo what follows HET-517 376 96, ut of high value, Lenco noble, exalted T-Yhat coordo or bolp is tbero ? this most bo done -thucket or clasler -Vol with, fall of (at the end of a comp) P 10 $14 Now be abows how the tour intet (tho fitb, topgor, being cxcludel ) aro gntified by tho totcral things Connected with the tank Depom ir uur, art Film, sceording to the Ganasutra na TIETO- ! Is not gocd, in tlo first place 777 will hato to bo taken in this secondary sesso of 1913, odly the word PT 1, sejandarta .

·19 the idea is expressed by Traia; thirdly the word occurs in the fourth line and such repetition is not poetic, atat-o ( chanam paint ) HT : ( also i ) a mangion (i... 37 being added in the sense of possession ); et a row or series of, or rather qef may mean the skirt or edge of'. qfTATTETT strong, or excellent by, or clearly perceived owing to, its perfume. Śi. 5. Astfa-Splendour, beauty;-gif-(1) Attractive or charming by; (2) attractive like. By a hold metaphor the ar is compared to the gre of the goddess of the garden, For a similar comparison of. TEATERGATE 9 RT1417- Mtät F2144: 11 Vik. IV. 31. STATIAGO-This and the other epithets apply both to af and ; for these see com garr, the reading uy is bad; for we cannot have the foals as the smell is not invariably connected with the Vani, now see com.; row of bees was attracted by the perfume of lowors in the braid of hair. This is clear from the use of the word 379 (n) further on, see p. 19. In the second caso di laurar: having the line of bees for her braid of hair.ruuat--Glowing, bright, radiant. The comparison of the tender and slender arm of a woman to a creeper is common enough in Sang. literature. fa#-Different thoughts or surmines. Tee-Which is the truth; treated as an indec, meaning to tell the truth, to be enre, surely.' P. 17 śl. 6. 7-The world of mortals, the earth, o91-7154441. #T. 97 at the end of a comp. means having anything as the highest object; honco sololy dovoted to, intent on, &c.' C. Aſtair Ragb I. 91 a41-A Nága damgel. In the Naga it is the Vidů, who wonders it Malayavatı can be a goddess or a Nága maiden; &c., see P 18. and ef. I. 15 Tho Nagas, according to the Puranas are a race of semi-divine beings, inhabiting the nether world or Patala. They are generally identified with serpents, the offspring of Kadru, a wife of Kasyapa; as in the Nágá., where Viguli is spoken of as their king, though the Bhg, makes a differenco bet woon thean; 100 X, 28 ( agiosien rah#:); 29 ( 37 aimat). They are described as having human form with the expanded hood of A cobra, and sometimes as having the tail of a serpent. Soo Nách. V. 17. Their females are described as exquisitely beauti. fol(of. Nig. I. 15 where the face of a Nagi is said to be as lovely as the moon ), and as sometimes interpartying with men {g, Uldpf marrying Arjuna ).

·20 Iliatorically the Nagas were a race of people who have left many fraces bound them Nagadwipa was one of tho soven divisione of Bh&ratavarahs King of this race reigoed at Mathura, Padmavati &c and the name, suiviven in Nagapur They were probably a ruce distinct from the Hindus Seo Dow&OD CI Dic p 213 FACTI &C-re She 19 superior to a me in beauty C - This allodes to Vatgazája & visit to tbe Nága-world, described in Brh K madjar (II 56-60 ) and referred to in Act IV (777 thereetaaaa &c ) haping & bodily or corporal form, PPP of suf in this senge, JA fainted) FR- Byalar marked by, the instrumental cannot bo takon gat () she looked like Lakshmi not because she had a lotus in her hand, but because she was beautiful like her and also had the lotus in her hand Lekslm 18 represented as having a lotus in her hand, of Kad AT CAT7691, r 24 MEGET DETT, P 02, &e TA-048 n shit a lotus plant, explain similarly wait सलाप इव प.- अये दक्षिणेन पुष्प être $947sak I p 18 P 18 EI TE-1, to those care the maiden was commit ted a &c Thas refers to tho kuog's words e Trat &c -at p 10 ante - Solely engaged in, busy with afar - Docezved, deluded, of fie = 217 TBIT , Rat IV S citar &c. ET 414967 i Nága 1 p 17. HTY-17 &c - It 19 natural for a Hindu maiden of high birth (coe the king's remark below) to display outward anger and to biash at the talk of her marriage by & friend, ef Sik 1 Tan-() Host & p 34 fautgravity, firmness of mind hence dignified domeanour WU -The same thought is expressed by Kali in rich poetic strain when he makos Dushyanta say—MAT &c #t The agreyttuta Sak. II 10 विस्तृतेन-Used as a noun for our for tho spreading lustro or splendour feagtar VI -19 bad, ag fu would add to the beauty of the lotuses PID SI 7 afeca-Uninterrupted, continuous - The Moon's body also sheds nectar E-By her sight . glances or looks ET ? to the eyes of the beholders The formor 10 bettor as it farnishes the cause of pleasure She gives delight by the succession of glances as the Moon does by the shower of nectar Read in the text iti for at which has mamained through operaight frau --Owing to the breast garment slippug off ; (2) owing to the drifting of the screen (L** घन्प .

·21 cloth) of clonds. At-The poet days 77: and not #24: and very happily, as he wants a lem, noun to correspond witli For it is the sensation of pleasure caused by the touch of a male or female that makes the other close the eyes ; bence the use of पद्म in the mas. also iof. निमीलताक्ष एव स्पर्श रूपयित्वा Vik. IV. p- 110; ITEM 29aizi qfi og 4 : Kum. III. 96. - (4=790-7*(1) Band; (2) rays. Heretaula-A Chor. formation; assamo tho stato of buds, i... close up. RrHi-This is doubtlessly evggested by the scene in Sa'k, whore Saku is troubled by a bee. The influence of Kali., not only on the thoughts and ideas but on the language also of Harska is observable in many places in this play, si... other than those that gathered round her braid, attracted by tho emell of flowers worn thereon; see above p. 16. AT-Ooming in groups. Tafafa-The sense of .defile or pollate me' by their touch is also implied. miątra: A born slave; Deo com. BAT–This is Vidu's humorous way of referring to maidservants ; see poto op 27897: gall above, p. 6. 77--for afaa is not a good reading as it gives rise to an awkward comp. (TTTTT) and one has to be taken in the secondary- (La'kubanika ) sense of the -P. 20. 29-Quickly, without losa of time for this senseef gay ingat 992 Bak. II, p. 54; he ha Ibid. IV. P. 93; readings. TATAY-This she did without turning back, orfoqraft &c.-As the king clasped her round tho neck A'ra, took off her upper garment from her head in orderto ward off the bces by its hem, as women ara wont to do. $1. 8. qfHTO-THE 4; #: fondess for, love of; now- Bec com. The finc may be of the flowers in her Veni, or better still, of her brestb; cf. 41 164914940yalarai &c. Vik, IV. 22. This will also indicate her el. 19:-- Abundantly, profusely. HII - Sang. Toets deacnbe long eyes as a mark of beauty la the case of females. CJ. Flat 2014 Yik, I. 5; 144797 met Ragh. XII. 16. gifts—ses supra, p. 18. 1. 6. 377 is a benattial fitez-lily (1) Trurot 49 3119*tet) and is given in A, K. as & synonym of 43. But it is generally used in the sense of a bine lotus, श्याम शितिकण्टनील कुबलरमिन्दीदरं प नीलाम्नम् । नाममाला- TXT-Agitation, perturbation; or fear. 1 ·22 Heit &cof Sak I BITTE -11 TOY*** स नन ममीप धनते । P80 पक्षपात -A strong Teaning towards or liking hence partialty, here choice P 21 तव वदनस्यार्य दोष -Of for a similar thought भत्र ST 7 340457 Gak. 1. P 20 क्दलीएडा-In the Sak Sakuntala addresses the bower of creepers whero Dashyanta lay conrealed at the approach of Gautamı see p 89 35TAFA — numbDegg or benumbing of the thighs FT-Complete in activity or torpor of limbs is one of the eight sátrika bravas dne to strong emotion for wbic& ses 88k Der IL 235 The 35654 was really due to the thrill cansed by the touch of the king a hand but A ran badog tho truth bv aying that it was due to the benumbing effect of the water This was a ruse used by her in order to be able to look longer at the king in the Kadalıvana of Sak 1976TI24T TART (o &C r 39 reading RETT & -f kl 4 frica 1 Sak III P 84 P22 si 9 F00-2035T ATT TEST E added by T4 75717&c Pán V 236 Having thorns on, with the hair bristling, hornpılated, and hence 24419 कमल०-Here कमल stands tor This is the effect produced on a lover by tho touch of the loved one of the guest Ragh VII 20, and Vástyayana- 40 let ya goy na 7917 Kamasutras AR E-VI 29 perhaps better he saye 80 becanso the king had called him a fool above , seo P10 ante rettigeTo-Thug A retort fladgit the king by Vidu for having called him a fool. De means you only affect learning (915') you do not possess it f 18 what 19 well barnt burbished, or polugbed henco refined, Jearned, wise, gli one pot really skilled or les rel yainly proud of u নুরুথ ven III Argi something encouraging or comforting, fart-Reproach & chidide STEHT -gotting (of the snn) tr यात and अय (from अयु togo)-अभिलापी-desirous of 1 about to get this bas occurred bofore 81 10 AH-Lake the beloved one (A rab ), the splendoor of those lotas facs sorpassed ( eclipsed) that of tho lotades The idea occurs in Rat देषि मुखपहूजेन शशिन शोमातिरकारिता TEGA AS AT FERTIT TI I 25 M-(1) passion, lore (3) redness पनmar 36 ·23 P.23. चक्रालः-चक इत्याहा name यस्य; the bird usnally called " ( which also means the same thing fra ), hence it is also called 17147, 141, &c. It is the ruddy gooee generally decoribed in Sans poetry as condomned to pass the night in separation from his mate. Henco separated lovers are cumparod to a pair of Chak, birds at night. Fry :-used here as an ad), TT (1) being added 4 by Pán. V. 2. 127; see com. Tur atat la dark, void of interest. 18:--cf. for a similar thought differently, oxpressed.--It-Tã Qazaliy ti (after the departare of Urvasi); Vik. II. p. 54; and And leayos tbe world to darkness and to me;' Gray's Elogy, stanza I. There is a succession of similes in this 81, Mark how the king Lalls a victim to the influence of love at the very first sight of the heroine. Kali does not make bio boro08 piold so easily and helplessly to the power of love. AOT III. HO mist-appears from this play to be a lady of high rank and learning as sho speaks in Sans, and is treated with respect even by the Queen. That she composed the limio play in a good style is clear from the Queen's specch below, see p. 30. The part played by her in this play is similar to that of the larivrajika in the Mál. She is mentioned as a friend of Vagavadatta in the Kath, Bar; see Tar. XIV. 71 ( 71: Flat 1791: F# पिनलागताम् । म सांकृत्यायनी नाम शरणं शिश्रिये नृप.॥) नाटकोप-नाटके 39117: made the subject matter of a play, dramatised, same as hefuzuni, 7:1 Uttar IV. p. 110. Tiha-The great autunnal festival celebrated on the fall-moon day of A'švina, when the moonlight is very bright, the sky being clear after tho cessation of the rains and the disappearance of the clouds. It corresponds to tho Kojågari festival and has been often referred to by pocts; 900 Madra, III. p. 73; It precedes the Vasantotsava or spring festival referred to in Rat. I. #gfr moon-lgot 1 denved as A777777; tr..? and 371 ( 37 ) with the fema, affis , it is also derived as # of earth 127 TITE JA EI TE I Malli. on Ragh. III. 1 (wbero tho reading is 47 also ). aasi-Here it has the technical sense of actiog, representing on the stage, and does not menn ·24 “simply daneing' अन्यथैव नर्तित-Cf. for a milar mistake in actiog the slip of tongue of Uryasî when acting the part of Lakshmi, in the Vik when she sud 96 instead of 7779 Orfesto-A talk in full confidence that it would dot be over theard by sny one P.24 प्रविशति भासनस्था-This might appear trange, but पषिश् has a technical meaning It simply means to appear on the stage So this means A ra la discovered seated, the eartain being removed or lifted up हृदय दुर्लभ जन &c -So Sagarika- हृदय पसीद प्रसीद मिनेनायासमात्रफलेन दुर्लभजनानुस् धेन । Rat II P 30. हृदय निरपलम्पादनिभूमिलपिनो मनोरथाविरम । किं मामायारायसि । Mal III p47 अभागधेयता-msfortune, in luck मारित भागधेय यस्या सा अगागधेया नस्या भाव, धेय 1s added स्वाथ to माम, f रूपमेय and नापश्य आमिभास्पसदृश &c-Kh, bowerer, makes Prayamvada con. gratulate her friend in language more elegant and impressive when he makes her add सागर पर्जयित्वा कुछ पा महानयवतरति &c, see Sat IIT P 72 सपवेदनमिव दुस &c-cf निग्धजनप्तविभक्त हि दुख सह्यषेदन भवति। 6k II P70. हृदयनिर्विशेषा-not differing from, identical with, my heart ( like my second heart) of exprossions like सतनिर्विशेष ( Ragh V 6), अपत्यनिर्विशेषाणि (Sak. VII P 185), जाननिर्विशेषा (Uttar III P 78) तस्या आप- कुतो विभव खिग्धजनस्येम वृत्तानमाख्यातुम् । न जाने & Mal. IIIP 43 सर्वथा मरण &c-fदुलभजनानुरागो प्रियसखि मरण धारण Rat It 1 P 25 अतिभूमि-Tho highest point or pitch, climax उदयस्पापि-1 of me who arn your very heart-refers to A rag speech निर्विशेषा Kc पर्याकुल -Solely engaged in thoughts about. अय सखीजन &c -Thus spoooh ought to bo रवगत, or we should adopt the reading in the foot note सखीजनपक्षपातेन &e पक्षपातन- सौहार्दमेव पश्यति, snd मिया खल अहं तय MAI III PP46, 53 देवीराणनिगड ke-c[ सखि देवी विचि य न व मम हृदय विश्वसिति । 11 III.p b3 कमलिनीवशानुराग &c.--Thts doubtless an echo of अभिनवमधुलोलुप Sak V 1 मालती पेक्ष्य- &c मालती Jasmine, 90-मालविकापि अनुभुनमुनेत्र मारनीमा म्लायमाना लक्ष्यते । II p 38 लज्वालुका-रज्जार 19 to be denved hko पातु by adding उ (ड) t० लज्जा+ला (as in the case of मिनदु) by tho Vartt on Pan III 2 180 (res com), added to express paty आत्मा प्रच्छादपितुम्-Lark the use of thoant with verbanko सुज, शक् &c, the cons being आमा प्रच्छादयितु न युज्यते | Cf युक्त मामायमशोने वामपादन ताडयितुम, Mal IIIT Bhe means-you should not dissimulate do not say शरदानपेन sey मइनानपेन .

·25 I know it. For the difference between torment caused by TT and 977 ef. Sak, III. 7 (7 a mi URATUÉ Ag. ). HTR-One pot habitually coolding; because A'r. only Lung down let face and did not admit the truth in plain words. Gua-Here bas the sense of pretext or guise of. fra may have been suggested by # 94: Flame 71719 31518 Śak. III. 14. Tho Teading man is grammatically inaccurate कुसमशर-Kama is often apoken of as Fu 5-8747, goat* &c. tora-a question, does it bot say, not proclaim your tre state? free. rcado this pas age in a metrical formi ses the foot-note. This is perlaps better and more poetical-as if it is the sonnd Ilun ( duo to &o and implying your love-torment). affatic- Lotns-leaves and lotus-stalk-rings are among the cooling remedios used for allaying love-lever; cf. i 27770FA 17-1976 FOTZ79061 Rat II. p 42. Fai yri info I sak. III. p. 65. P, 37, gutta-So vị H4+ girginiqi Sik II p 45 Valofa--s. e. be fuls pleasure is nothing else. 3 AIRwould hat; I hope that, ag ia-i. Tea-may it be liko that, i can it ba that he has been sent to scarch for A'ra, by the love-sick king? FUTET Trias &c --f., has 1ccome really forest-maiden by not acting like a city-maiden ; olso slio should tavo known that the king was smitten with lovo for lior and beca within reachable distance; or, Las slc gono to forest - Tuc rcading 747 16pt is eimpler. far-Qaito unnerred, drooping 1 28 TEYTTÄVI. is bad. I cannot directly quality so It will tave to be taken as a Geo. Tat. (a 797), it has no propriety after QATIT. KRTET --Padmavati, the second queen of Vataraja was the rister of Dato'aka (also called Ifarhaka ). king of Jingadha and a contemporary of Udayana. Tko sloty ol Ler marriago is given by Dhits in his Sva Vas. The kingdom of Udayana was sarped by a kias amed Arani, a riral of his To regain it Yaugandharayana wanted to secure the asistance of the powerlal king of agedta: and Yan.'s anytlo intellect suggested to him a stratagem. U. cansed a report to bo spread that Yksavadall perlebel inn firo at Laranaka and thus parel the way for the artigo of his master with l'adpisati, Wtor Udayıda visited 'Ajmerka, the capital of Baghadba, to seek to belp of Dars'ıks, 3 ·26 Padmavati was offered to bim in marriage and le readily gave his consent !=YT# T Le-The Kaths docs pot refer to any otber qaeeds of U ayada यत्र तदापि-The cons 13 un 947 स्थानम् Or ne may bo treslated as at ( en) FI &C – This indicates the intensity of the king's passion, any thing connected with the object of his love is comforting to him Dashyanta similarly derives consolation from the right of the arbour occupied by the love-sick Sakuntals See Śak III 24 Dis.olvo Frasia eura 2017 na 29 iacia, 13 an adj bere of it yar, Ragh III 14, also 29 सुख may be derived as सम्बयनाति मख from वर denom from सुख or better still 1 FOG A TETT 347777 38 TITÀ–Vasi, misonderstands ler and thinks that lie will tell the Qaeen that he was in search of A ran and that there was some love-intrigue P 29 Becaaso her love-affected state tres brought to Vidu B notice by Manorama Srco omits 1&20777, sec readı gs or em ETIR-Mark the dramatic device need hero to avoid en enrls disclosure ol the plan which 19 at forth later on (see ifra p 34 where the king repeats what Yanorami whispored into Vasan's ear montioning also the name of the play that was to be enacled that tho interest of tho audience in the incidents to follow may be sell sustained suggested wna that the king himselt should act liis part in place of Manorami in the Garbhanataka A rad playing the τole of tbo prices Tasavadatta 319041—The bloge direction ( opposed to FFT) is used when a character says something asido so as to be heard only by the porion addreesel excluding others with the tripatala hand (. all tho Angers excopt the thumb and the one vear the little finger raised so as to form three bsoners as it were ) -8981970--Here BTTT incans the costame proper for a particular character maaga-Tlus sko sags because A ra got angry with ler for saying in UAT 19977914 above to Ht a house for exhibition or representation, a play honse It was a ball or a boule attached to the palace, usnally used for in traction in Tansic, singing and dancing and occasionally for the axlibitor of dancing or the respresentation of laya It is slo rclerců to in the MSL, I, 220 22 Tho plan & ·27 1. 30. l-espresses admiration. This praise of courso refers to the first part of the play that bad beon already acted. See p. 23. Tho 2nd part it recms yras not seen by tho Qacen, as she finds much in it to be found fanit with, as will appear from the subsequent representation. TET0-qualifios anosaii. *19498f-and 80 likely to proro ipsipid and without interest. for af is quite out of place. Rrogo_The husband is addressed or referred to in drarns as arigt (the son of the father-in-law ). sgcha-This is a sort of blessing. Young people are to be addressed by elders as भायुप्पत् or-जी. 3120T &c.-3119' the subjoct, the person or tbing on whicla apyling deperds or resia; here tho King and the Queeu. CY. THE THIN 1969:1 Hal. I, O. BIG TI- 97271 Gira Ragh ILI. 27. HET-Locking excellenco; or pitby sentences, charmice finge; ef. for this senge gate 91989 Fara in zajora03771 *** Et and its at 17 What A. wita: Vik. OL, I 7; 28. $1. I, tičeft-Triling, adimportant or uninteresting. *1*01#-Cs. 2014 dana dana 1994416976 tot FTCÊ NA Kabemcodra. Faz-Tho rorfsce or skirt of; or a liko Ara may be 476; the largo temples, It is aifficult to coolho propriety of the epithet ; perhaps cha poot means that an infuriated clephant only is likely to bott agaibst . bear of ashics and get his templea besmeared with the gamo. TH ATAIT #6-It is not clear from the play whethe- Sankr, was some elderly near relative of the Queen or simply ono bell in oneh ruvorenco by ber as to be called a mother. Rini aged bero la the sen o of dramatic representation. Errofam--wed to correspond lo sound with it ( F ). $1 :. - 1. 11. wong asy, festoorca with. gafar-It seenis the performazca * to be wildesreal bir the fair of the city; hence ROOIKOA wus to play iLo role ofito king and not a malo, taras-Which is also ry and orcupied by tho nyopbs of bcaten. It may bran an deris) car, or a large louse (fist 74 757). Tko Louitrin greutateleng citly me largo, and mayo decorated li slitgi of getos and crowded with be soules 1bat Hrallel the simply of keatas. cf. AFFATTIST RATE ***Intiem; 49; forint ITI Bani I 7.

·26 20 Padmavali ras offered to him a marnage and ho scadıly gare his congent 0187 CCThe Kath& docs not refer to any other queens of Udayana, a719-Tha cong, is 77 UA TX स्थानम् Or a may bo translated as al (fi) Fras &c- This indicates the intensity of tho kiog'o pagsion, any thing connected with the object of his loro 19 comforting to bim Dushyanta similarly derives consolation from the night of tho arbour occupied by the lo75-91ch Sikuntals Sea Sak III 24 Dussolvo 77 31 lagrima 7 791 can ameria, PTE 13 80 adj lero, of 461 JE, Ragh II 14, also 19 may be derived as सुम्बयनाति सम्ब from मुग्वय् denom from एम or better still a Tona 14 977 377 À yrguri - Yas misondorstands I er and thinks that glio will tell the Queen that he was in search of A ran and thint thero was somno lovo-intngue I 4.–Because her loro-aficated stato was brought to Vidd 's notico by Manorama Srco omits igua, seo radu g EU gin-Yark tho drapsatıc dovico brod horo to aroit an early disclosure of the plan tyhich is set forth later on (aco afro p 34 where the king repeats what Sfanorama whispored into Vasup 's car, montonieg also the name of tbo play that was to bo cnacted) that tbo interest of tto audicto in the incidents to follow msy bo well sustained Tio plan suggested was that the king himsoll should act hus part in place of Manoran. In the Garbhanitaha, A'ran playing the rolo ot the princess Visaradatia M7114-Th, stage direction (orpoel to FT) is used bea character sava momething suide so as to bo heard only by the poreon addrcesel cxcluding others with tho trijntsia hand (.all tho Angers except tho tbomb and the one near the little finger talsol so as to form three bsaders as it wero) 36960950-Hero 3725 Deans the costamo proper for a particular character fact97-This ele gass bresaso Ar gol angry will lcr for #aying ** (TIT **1759201 LOTO rai-rek In a loans for exhibition or ropresentation play lonso Wita hall or a locso allacbed to the pulsor, vially used for in traction in mnaic, singing and darinzand oraslonally for the ahisting of dancing or the resproectation of play 11 It also referred to in the 161 111cp 29 ·27 I, 30. 981-expresses admiration. This praise of courso refers to the first part of the play that had been already acted. See p. 23. The 2nd part it seems was not seen by the Qacen, as she finds much in it to be found faplt with, as will appear from the subsequent representation 150-qualifes Teit. HITHAG—and 80 likely to prove insipid and withont interat. for ft is quite out of piaco. 7-The husbanů 19 addressed or roforred to in dramas as 70 (the son of tho father-in-law) sigtig--This is a sort of blessing. Young poople aro to bo addressed by elders 83 angsaz orát. 311400: &c.-31144 the subject, the person or thing on which anything depends or resta; hero tko King and the Quero. CJ1701477 mai a 1449199: Bal 1. 6. fal (@71- GRATTK Ragh III, 27. AIA-Lacking excellence; H'! pitly sentences, charmics sensc, ef. for this sense qui faith Hill ej 64871 #138a9da **; and for saia Hitam erat wisi 97. Wita: Vik, Oh, I 7, 28, si. 1. viet-Triding, animportant or eninteresting. HIYOFAO-Cf 24 taniona tu fag I STC TT GOT A Kobemendra. Fikaz-Tho surface or skirt of; or ir liko sa may be it; the large temples. It in difficult to soo the propricts of the epithet 97; perhaps the poot means that an Infuriated clephant only is likely to bott against a beap of asbes and get his temples besmeared with the same. vet IRMY #It is not clear from the play bethe. Simkr, was somo elderly dear relativo of the Queen or simply ons Leld in such turcrenco by ber ns to be called s mother. aina-Is used bero in the tenia of dramatic representation, R040-el to correspond la sonad with 961 (). Śi. :. ETTER-S 1. 11. Hubadg up, festoored wilh. guaraz-It seems tho perlomasco was to be fiteeceed bis the fair of the city benso Janor2311 Fis to play the role of tl. king and not , male. परविमान:-Wach in also रत्नावशोभित and occupied by the nympha of lcsren. It mig mean in sesias car, or a large loato (Part 4 **57). Tko kousen in great eccient cling wera Isrps, and wess decorated with strlegs of Eros atd stonded will lastin tuist drallel the aposhs of braves, Ch. ***77*45* i *F**WAGON n: fine contro i lart! I 1.

·28 P. 31. El also me) fastened, 1. worn on CJ 7 पिनद्ध मण्डन (01) मेमसादीन &c Rat III p 61 मनोरमे &c -- Manorams was chosen to act the king's part as her features very elogely resembled those of the king Les infra, ” 30 $17 Tortif-called 7 fit according to Katha , see Lam II Tar 13) W29 & powerfal elephant in the p <3€992on of Ling Mah&gona It was riding this elephant that Pslaka, a sou of Mahasena, pursued king Udayapa, after he bad ded with Vasavadaita, under cover of sight having mounted a ehe elcphant AGU-It 19 gaid that Nadagırı once bolted away tearing off the Trost to which he was tied and made torriblo hayoc in the city, whea king Udayana was asked to arrest his progrees by the maglo influence of his luto, seo Veg I 34 2-Thu 18 the Kanch of Mahasena, king of Ugyayına" appearing in the mimic play, part of which had already been acted beforo Vayadatta SIS In this by using epithet, having a double application tho Kanchaki says that he discharges i daty similar to that of a king. gu—(1) The inmates of the harem, (2) STTH in tho cilieg of bis kingdom ofta-(1) Mistakes or breaches of daty through carolossness, 737-preventing or not disclosing or gaving out, of सर्वत्र स्खलितेषु दत्तमनसा यान मया मोहत, Vent II 1 A good kng elso (fa) prevents his subje ts from young astray, ef Ragh VI. 39 FICT-When referring to a lang may be taken in the sense of outstand eager to win pralke But it 10 not necessary to do so P 32 दण्डनीया-Cf Sak 3 आचार इत्यवहिनेन मया गृहीना या त्रयष्टिरवरोधपहेषु गन । काले गते बटुनिधे मम सैत्र जाना प्रस्थानविलवगरवलाच- 1971 (1) Bs being guided with a slick, having to support mysolk on a stick, (2) दण्डनीनि दण्डी नीयने अनया इन polities or the arience of government, administration of justice It is ono of the four locs or Vidyae by which panishment 13 meted out to culprits Of आन्नी क्षकी त्रयी शार्ता दण्डनीनिश्च शाश्वती विद्या होनाश्रनस्वस्तु ले कतस्थिनिहेतय ॥ आन्वीक्षियों तु विज्ञान धमाधर्मी प्रयीस्थिनो । अर्शनी तु qafat Fusical +97767 | Kim Mit This 61 19 the same as Nág IY 1 fan-Discomfited, pat to shame, bence defeated, over powered सैन्यम-shonld rather have been सेनेन (सेना येन) and so महासेनेन (मदनी powerinl superior, सेना याय). The Kanch being an elderly person simply sya महासेनेन without any 9 ·29 hovorilc epithel. 39#line-festival instituted to celebrate the captare of Udayana or rather his marriage with Vasavadatta; or perhaps the reading may be hace and hence the order to go to , ane gre. Ti yakarar: &c. --Representation. Aai-Here we expect the stage-direction (347igt 2014) Karm, comp. śl. 4, gira --aget staan sa PNEUT. : having anklets op. Explain grata:, z14:, &c, similarly. fari*7*-AFRI MAT: (broad and extensive ) 57, OF TOT farat: f7791; Words liko , TE, MA (6,9 TRIS), &c. express 977&cy or excellence when forming the second member of Karm, comp. ETSHtinklingi pru. p. of last 2 A. to sound (like anklets ). Frauer - the girdle bands. Stiga-reduced, generated सस्वस्तिक-स्वस्तिक a kind ot mystic disgram denoting good luck and auspiciousness; 176 Foto: fr TF1* to sound I P. and affix (39); Pân, III. 2-3. Hence anything like a Sva., as a house, &c; here a kind of head-orpancutor a particular syzbol made with ecented rice flour sod triangular in shape. 17: 45@zeu a nogayonTATE 1011FITTERA Pandit krishnanachariar, যাকাঙ্কিা—এহাকাঃ the maids in immediate attendance on the queens एतेपु-cil. 19.9. 37#-Becanze adornment of the person in the case of tho inmates of the harem was an ordinary thing. &c.--Tbo sentence may end with #ne:, I was ordered ly the King because the royal command must bo giren; or the constr, may be समादिष्टोई स्वाग्यादेश इति मत्वा &c. P. 33. sturt-Popularly called Biņa or the Indian lato ist stringed instrument with a largo round bollow bowl, a body of thin wood and a neck with troing pego and metallic strings, nnd with a hollow gourd attached to it on the other side of the body. FIUTATE?—as the attendant of Vássradatta in the palace of Jalâns and followed ber as bet principal maid also after her marriago with Udayana in the Garbhandtaka she kersell plays her own part - the same as tlo E2PTUR. SITÀ ARU-19 is discos cred, seated. radi. Vatsardja. TE JAH:- This undoubtedly refers to Yaagandhatajana, tko devoted minister of Falsståja, who is Sce potes 1. 34.

·30 > the guise of a mad man, with Vasantaka, saw bis master in hus person in order to effect his release and gave him instructions ag to how that was to be done 1997-wonder, astonishment intrare - ecized completely, or entirely overpowered by te &c --The reading in the foot-note is better TNT सदृशे &c-cf सब मगधेषु विश्वसिनि। द्वारपवारण्यको। Sak VP 132 199541 Co-This speech is addressed to Yasavadatto we expect here the stage-direction-arrata तन्त्री-The string or wire ot e musical instrument --& VIDA Here the name of the Viou presented to kiog Udayana by Vasuki, See Katha XI 3, Seo, however, Intro, the legend about Udayana Flora-Adjasts, puts into tune, or strikes to see if they were in good order TADIG H-Because the conld not have vuited for tho king pory long SI सताप &e -Construe शीनाशु यथा प्रथम सतापमानिया अद्यय म कुरुत, 8mmJarly उष्णा निवासा यथा पूर्वममममधामग्लपयन नया &0 अजन-Constantly or continually, fr जस् with न (न जत्यति) aod nff. t which is added to 78, 9, 114, FL, &c (Pån III 2 107 ), 76, 779, ce te is always preceded by 3r (77) SI ESHTA TI 359 kariety 1 Sid Kar This 18 AD Hartùy Thought of as bemg pear accomplish ment cfforn similar thonght आशसापरिकापनाश्यपि भष पान दसा द्रो त्य । Mal Kid V7 वदुपलभ्य समपियां मियां हृदयमुटुमित मभ पिल्लवम् । xal if 43 and for the dea somawhat differently expressed अभिमुग्वीजन फाशतसिद्धिए मजति निईनमेकप३ मन 1 Vik II 9 Tor an opposite idea of नीम स्मरसतापोन नपादी पाधते यथासन्ने । Rat III 10 संघ तचरितेनैव &c-चरितन----his own deeds शिक्षितन्य tobe learned by way of acting Blo mean'-As the king knows lus own achs thod it will be easy for him to play his con part withont 10-truction Nothing will go amuse, and tho Qacen will not detect the fraud P35 FRETT Fure - This speech of the Vidu ought to be taken as 59 (mesnt to be heard by the king alone) -Weightidess, importanco (which makes a kuug bumoar unaid. terfonte oren), for, #eft primili a " aap Bh St 81 Sree reals दास्य sr and explauns बास्तोगशिफाइन नार्य नेनननमान क्रियाने। fan-Adr sorotls, bobb codicaled, or silently, or it may be an ad, qualifying 1771 far -A picture gallery acemi to be bere ose a ljoining to the consert ball witFTY ·31 &c.. 'This spoech of A'ro. is to be read directly after us front Fra Fitaifai The entrauce of Mororatra, the king and Vida., tho participants in the intrigue being coneidered as aside. SÈFT:--Part of the story, context ( 30 that ho may know where big part begins ). STIETTA At-Transports me with joy, fascinates or infatnates mo. Tho king overboars lior and understands 1981 in the songo of Lakes me away.' 1–bo object being . sa-i. e, on tho stage of the Garbhadhtaka unseen by A'ra, Vasa, and Kán ofvá a -It seems from this to have been an old custom, which still prevails in many parts of India, to tio a knot generally at the end of a garment when there is somo pronoubcement or an auspicious ouien in favour of ove's desired object, and is theruforo callod 775 (Tanz in Marathi ). It is also tied when one is determiced or definitely undertakes to do a thing () and wishes to bo reminded of it. $1. Q. HORTA-39Fiqih, pres, in the sensa of immediato futuro. 319879619979015 the whole line, lowover, is motrically faulty; but it is so found in almost all the printed editions. Srconivasachariar reads.-Alpro afstigatia uma, but this scems to bo & conjocturn) emendation, and is also syntactically in. accurato. We cannot connect 79-fit with 3196701 tipless WO supply feat-7984 feca #91. & after it is dropped as a ussless addition, that might have originally got in through tho carolesgness of some bcribe. Exfat# ## &c. Well arranged and brought withio roach, .. 1. mado practicable. oo- TETET OTT4 9974; tho son of Yugandhara, who was the chief minister of Vataa's father, Sahashnika. Similarly the fathers of Rumanyat and Vasantata also were bis fatber's sorvants. Soo Br K, U. II. 12, 13; ea gaTTERIDRipralluma: 8909 मुम्नीपस्य दिनस्य च वसन्तकः॥ योगन्धरायणो मन्त्री हमण्वान्बाहिनीपतिः वसन्तको THETATI 1 Ibid. 38, 39. Yaugandharayana •ras tho dovoted minlstor of Vatsargja, the purpose of whoso Itlo as to sco bus master olorated to tbo rank of an emperor. TVhen bo Loard that lay master was put into custody bo, Jessing to carcs of the kingdomn to Ruinabrat, to Ujjain with Vandtaka to concort a plan for his master's escape. Tbere he naton, tha metery, not by the Loln of a friendly Brahmarakshasa, callcd 147, bo changed his own form loto that of a dwars old Lunch-back, and garo Vasantaka a deformal sbapo with a protaberent belly and projecting teeth and foand access by camo ·32 that means to the apartment of the Princess. There the two made themselves known to Vatsaraja Thon YaugandharyaDa informed the king of the arrangements made for bis escape with Vásavadatta (see ante notes P O foot-noto) and keeping Vasantaka there for his amugeinent retarded to Kaus ámbi ETCAT (HE472)—V&av forgets that she was one of the spoctators and that A rangka was playing her part in the mimic play and suddenly rises at the sight of the king This of course hag & different effect on the king who has a gulty conscience Le thought that the fraud was detected सधमेण- * barried respect or hurry to show respect cf, for this meaning गृहमुपगते सभ्रमविधिः Bh Nit F4 STUTTO-Bo V&-a in the Ratnivali-4 fin (r 71) when she goes disguised ag Sågarka to the rendezvous Tarote-Samk means--why do you r180 n a hurry, thiº 13 not the real king T Tertia-I am made to breath a sigla of rolicf lifo is put in me (by Samk ); tlag he says because he dreaded the anger of the queen affinatoria विलक्ष विलक्षेण स्मितेन सहित यथा नथा, with a smals of amazement or wonder, विलक्षो विस्मयावित Amara , or विगत लक्ष यस्मात् तद्विलक्ष, with & Amile of embarrgement or bewilderment 36 si 7 a of Vatsatája नयनी सवा -राध्यान्वयेनि Taloftia, Mál Mad VI 17, algo II 3 He which characteriges king Vatsa ARIETTO a stately and majestic or dignified gut Hit-dignity, or firmness, vigoar, substance ( inferrable from one's outward bearing or doportmont) f कियासिद्धि सत्वे भवति महना नोपकरणे Sub, #71 0714 TETT AUF a &c, Mud III 22 Tha--great, PPP of 3 10 cl to become strong or powerful Dense, filled with water 974611T-A deep loud sound is the characteristic sign of a grest man, di Taman स्वरयोगोऽस्य रुदन भूयते। Kad P 123, नयजलधरध्यानगम्भारया गिरा Ibad p 129, Uttar VI 17 ad-9e0 anto I 5, and Vidu 's speech on P नीलोत्प०-निगलन-निगलन ame as निगडम charning, retlerio, * from the dom por! 579. P 37 fattiga &c-Tbis spcoch of tho king is of courso (TTT It is not heard by A ran. or Käuch तदाऽस्माभिः-Tho अभिल. vas that Vása shonld secure Vatea's love The reading 379 for morTo 15 not so good as it does not agreo well with frien ·33 Śl. 8. *EFTRO-This epithet in faze; the sl. having e side-meaning; see I. 5 supra (1) corered or occupied by a dense hog of clouds; (2) hidden from view by the compact or closely hemmed in prison walls. Sreekri. takes you in the sense of the dark prigon (TAHNE FT *); In this case 87. will mean well secured by the clogo fastened prison doors. HTAR (1) the lake Mpasa* on mount Kailasa- to which swans are described as migrating at the approach of the monsoon; see Meg. I 11; Hagb. XIII, 60, (2) the mind. IRRAT-cf. 917H 169TAT TIFFH1 Rat I, 9. TITE---(1) A svan; (2) tho best of kings, Vatsarája. Fig. THETARIETI. 17--For a similar use of. 1104107 ka zg ramai All sak. VI. 22 T Kad. p 289. tiši-A Dwandis comp. the nasal added to me is by 19TAT ( irregular ), see Pap. v. 4, 77; or wat er-Vidn.'s fondness for sleep is often referred to by poets, of. Sak. II. a 774 107 Ho domotimos botrays the Becret of his master and thus pats more impediments in bia way by his prattlings in sleep, as bere. Cf. in this respect his speech in the Mal. IV p. 83--fa-(35714a) 7 nima&c For an instance of prattling in sleep comp, the scene wherein Vágavadattá sleeps in Bha'sa's Sva. Vas. V. Śl. 9. #4--Now, hitherto unknown. freer--hurled into, 4. & canged to be suddenly or forcibly smitten by passion. TRÈ--Káma is represented as an acting perversoly, as taking + porson love one that is unattainable. Cf. q@ : : Das, Oh. , and 914 71 9641 &e Rømk. Sand, K. XXII. 4, whore the Com. gays 19. goud: ha anat PITI ##1#r-Sans poets represent even a female bee as longiog for the company of her loyor and enjoying strorong sports; cf. Kum. III. 36. and omg 11001 ......HITT NÄR HY &c. Sak, VI. 19. Spa &c.--Cf. for tbe same thought differently expressed Mala.'s words नाथ मां पराधीनो त्वयि गणय सतृष्णाम् ।। MAI, II, 4 Herein also we havo the 27969795FT as Vága.'s. lodging for the king is indicated by implication, l-expresses astonisbient at tho skill shown by V&sa, in playing on the Vînâ and at her proficiency in singing. are Performance or playing on the late; fr. 977 and the Unidi affit * So called being created by Bralms with bis tind. T- # 179 fan f I TOT ET 4175 FT: U Rámi, ·34 see coni इत्र by भूतादिगम्यो णित्र Properly पावित्र, also called आतीय refers to the four kinds of musical 103truments, tu 1) strogel instru Dents gach as the Viná, Find anstraments ench ag an, instraments with months covered with hide, such as tho it, and zostruments beaten, such as cymbals (164, &c ). P. 38 SI 10 This contains many technual terms of mngic, STYTUTone of the four modes of pleging on a late. These are ſârzit, FUT, ST and A, see com , read @tartFlome &c. E-Properly an element tbat prodaces anything, Lere the aut of producing musical notes or tapes by striking the strings of a musical instrument, see com Tor its ten foma distingaished by the different ways of striking the strings wath the fingers, TT- 1 for fir means tho relation between tlo vocal and instrumontal pusic as the one or other 19 principal or subordivate, ses com Mr. Gadro qnotes Raghavabhatta on a TITUT ( gâk I) who says TRIOT Strigar 977 and ways that u may mean Raga, the Rágas being ten, according to sono authority 4-seems to be nsed here for I though there 18 a technical differenco between the two 215 18 musical measure or time (a FF4181) whilo 4 19 tho union or agreement of song, dance and instrumental music 29. hon ever, falls onder the general category of 213-- A CTATE FARArrakani THE FITAT I mit-715T a 97 arintyfi 7T I ET MOGITIGT AT quoted from the con. on the Mallı kâ marta by Gadre The threo kinds of poor tempo aro y or rapid ( allegro ), u or uniddlo ( moderato) and faren or slow (adagio ) corresponding to which are tho three panes समा,स्रोतोगता and गोपुच्छा See Net Sa 31231 338 igu.—Read Tirgul9yra? 791 (so called Lecanso it k sembles the tail of a con-sco com ) T 9791 911ge31887 77, 3119 and at are the three modes of playing on a CIU (0) see com , read in the com muiat instead of 1970) lor other particulars seo the extract from $ıvarimas com on this g1 in the Nágánanda, 2 ven on p 60 3918919 - Seacom, fr with Tu and aff * (T) Properly spiritual teachar Beo Šak v p 118. I 1709 917 191141946 Tour JET 11 Lenco a teacher or preceptor in general EGESTA (c - This apparently means-mas you to an adept in mosie as I wisle you to te, the real praplog 14--085 3OU bo my qucen as I wish you to be This is probably soegested by Kás yapa's words 51731774 in Sak IV rito ·35 P. 99. fgrria—By being honoured for her proficiency in the art. TET-seat. ioona 197—ETITIE M distinguished among pupils; an excellent pupil. Cf. Io Sak. I. Tato &c. ETU-Subject matter. HIV- exceeding or not in the original, & you have overdrawn the original This brings outthe extreme modesty of Vásave, as a high-born and well-bred girl. She does not like to be so represented even before tho inmates of the harem, P. 40 Vai-Vis making the king seize her hand, --a composition, benco poetic art, She means- Kincla, may be deceived and speak in the way she is made to speak, but I cannot bear to see each falso representation. Some read the two words 99 compounded. Then the meaning is--by the worde put in Kán.'s month. I should not bo placed in a false position by Kench's speech. The Queen does not appear to have suspected any intrigue yet, to which Bámkri could have been a party This she does Jater on, when she discovers that it was the king who acted his own part. Fredracula-sbe meaps poetic art requirog such additions for stage effect. 3110- 1999-A'ran , *3 was becoming a princess whom who was representing shows outward anger, geeing a bint to the king to teizo her hand in Kanch.'s specch-HATI NTT above Aran, however, was innocent as she did not know that it was the kiug himself who was playing his part, as is clear from her speech below-car TAI FEST741. &r. Also because the plan was arranged without her knowledge by Manoramá, who whispered into Vagantaka's ear wlist sag to be done and Vasantaka's suggostion t, her was aside. See p 20. Śi 11, 399:-dew व्यतिकर-contact. पद्मकोश:-A lotas bud The hand with its fingers closed and covered with drops of perspiration is compared to a lotus bad drenched in dew-drops. Flere &c - Construe--974 ( TTT) ETA AZATI In 3969 a hitet MIYE IN 5 (1., which is now felt by me) हादित्व भवति । The rending पानातपस्य is bad as there is no SAT at dawa, ATRÍO--The comparison of nails to the moon is annual it not unpoetical # HIT-, e fa: (shed by the moon.) -Burning; of course to love sick persons; or to persons in separation, selamat Perikanazuna: 1 Šak 111 3, and stunni FETETT FÅ ETT festi@a: Sis IX, 68 39 Pretext, guise Cj. 97-941 arat TTT: I Rat. II. 18. Tho figures in this sl. are 3T, 3511, AY7 and Tatt.

·36 common senso $i 12 पाल-tender अपहारदक्षेण-Clever in robbang .. fully resembling 19 -(1) redness, (2) passion P 41 Baahtima-, o feel au overpowering thrill through them This was becaque it was the touch of a real male -Falso she feels that the scene was perpozely 80 ar Tanged raat ho-A marriage brought about by mataal congent, it was much in vogue among the ancient Kshatriyas It is one of tho eight forms of marriage recognised by Dioda law girers US As' Grh I. 5 An ## TaTE39 RT! and Manu III 26, 32 quoted in the com REUTA-Lut at an improper place, when there 13 no occa 1on for at -the interest Awakened by tho acting rucom- . thinking that I might have allowed the kug to act in my place ùa thinking that at was A simple question, not hnving the sagacity to divide the Queen's real object STIERE-For the fact that Monorams was wartoon thero showed that she was acting in leaguo with the king at implies Coueuro (5091 ), the foolish follow having no Tant a &c-Mark how ready witted Mano TAMÁ 19 She casts the net on Vidu full sure that he would save her oven at tborsk of incurring tlo qucen's displessuro P 42 EPATITIV I 19 bad Forge can only refer to Vidy, but then at not Meno 'scries, the loud vouco of Vid& would have attracted attention yr - ohe bas arranged the whole bu310039 फुत्र आरण्यकाकुर &c-कुत्र repoated like कक shows the great disparity between the two Where is Are, your doryant and where poor Vagantaka Eow can he dare take part ja auch an intrigue? OTGĦET &c --Let me see how he enjoys the acting he 89 arranged shall just go to kung and expo9o the hole affair MT Gadre compares tbe Maratha expr931D TE na TEJ TEJA 5019 3TH & Mark again how the sagacious Manorama says this to In]l all snspicion on the part of the Queen that sho was in tho intrigao SPYR - caused to be bound or tettered, P P P of ay cau P 43 #ufarer - The kıpg 18 surprised ga he did not expect that Manoramas would be seen by the Queca and the ruse discovered afta-Samkrityayani wants to show that she berog a holy personage should not be in a place where deceit was practised ·97 Aud 80 śl. 13. TAS-PP p used as a noun (ANT), cf, with this भूभने सहसोद्नपि बदन नीनं परां नम्रतामीपनमा पनि भेदकारि हसित नो बगे निष्ठुरम् । अन्नध्पनीकृतं प्रभुनया चक्षुर्न विस्फारिन कोषध प्रस्टीकृतो इयिनया मुमशन मश्रयः॥ Rat. II. 21,. haid #TEI.-CI A singgan: Bal. IV. p. 84. maara-Hera Vága.'s jealousy is well brought out. In this sceno she is represented as ainulaar. Bhasa does mot degrade ber down to the level of ordinary women. But the cannons of dramaturgy require the chief queen in 2 Nátika to be jealous at every step. Soo Intro. p. 9. SITT1004 AT &c.—This was true; see supra note on MTRE p. 40. Teraat -- In the Rat also Ságarika and Vidâ. are similarly treated Soo Act III p. 79. Ha ar at &o.--This defence of the King by his friend, thouglı ridiculous in the eyes of the Queen, has some point in it from Vidú 's own stand point. Hlo moang--This being the time of the Kaumudi lestival romo liberty of actiou may be allowed to men. my friend acted that way just to see how you would take it and thus to enjoy the fun Hence the king finds in this a crutch on which to lean. See 8! 14, last line *P. 44. --ill advised course of conduct, mischiovons or wrong policy, misbehaviour, Bhe says go becange ghe knows that Vida. (whom she has already called the HET) is the King's principal accomplice in love-intrigues. faxfam-P P P used as a noun; wrong supposition, suspirion of a thiog). śl 14. :-: : : the knitting of the eyebrowe; a frown. 1997: the repeated knittings or frowns Tho frown diefiguired her fair faco. eri --osaſt that is pow spotless bod so superior to the moon. The comparison shows that the moon meant here is the moon of the 8th day of the bright half of a unonth; cf tears शकलाकार ललाटदेशमदहन्न Kid. p. 10,26. बन्धूजीयममां-The rig. flower is bright red and bence the lip is compared to it; de supra p. 13, note on K. HET --ffers paio, is oppressed the idea of क्रीडन्त्या' पीडत्र लनभरwith the burden of; for विनमग्मायभवानपक्ष | Rat. 1. 16. rda #1* &c.-The king oses the same words in the Rat. when Viss leaves bim without mlodiog his prostration at ber feet; toe Act 111. p. 77. 4 ·38 3797- & of 61 16 99-Broken through, streaked with, or mixed with, qualifies are 6. of the Queen A ratyiku rrettobounding repeatedly • ¢ with great force and speed the same as Xál 's zeta Sek I 7 The RT (repetition ) shows the intensity of the action 394A8 I look up to this 1 e standing before my eyes as fancied or pictured by my mind The cons 13 FT EFIT & F, SET 59 TX977 &c Compare with this tbe conclading Si of RAT TIL wax-Here the two : bave the sense of and yet' or at the same time ava-And so the ku g in the Ratnayali- प्रसादयितुमभ्यन्तरमव प्रविशामि | Rat III p 84 AOT IY OX P45 vicar-11 064 FT 1997 ANT 1777 HUNAI I Tarta - TOUTATU TACTIERT I 01 TT - Queen of Hahasena and inother of Vasavadattá She was the daughter of the Asura Amga raka and the most beautiful maiden of the time By boon conferred ul on him by the goddess Darga Mabascna got her for his wife after killing the demon चाङ्गारवती नाम कायो चैलोक्यसु दरीम् । अङ्गारकासुरमुनी शीम मार्यामवाप्स्यसि 11 Katla II 39, and for the story the 3 lokas 43-73 T 46 OF FR wifiat-Tho vame of Angárutati a sister, the wife of Drdhayarman, 18 not given here, zor 18 montion made of her in the story alluded to above So che Bocms to bo a creation of the poet-thus berFc3 a double dramatic purpose It makes the Queen readily give up her anger towards the king and also pares the way to the marriage of Asanyiks (who tarns out to be Priyadarsluka, the daughter of the Queen's aunt ) with the k og विज्ञापषिताय -thould be told Mark the nse of the verbs आज्ञापय und विज्ञापय् wiuch are used respectively when something 19 said by a person superior 10 rank to ons inferior in rank, apd by ono inferior in zaak to one guperior in rank अनुषाच्य-Mark the sense of अनुपाचम् which means to read to oneselt before readiog alood of IT3414 &c Sak I p 36 9-ART ANT I BUTA 1 Vik II p 56 Tagu-a-4 in the uppermost room of a bousc, (bero of tho palace and built of Ivory) It is also mentioned in Rat. III ·39 A 73 TR... Tent fa 1 p. 62. It is written with a short इ (as in तां कस्पांचितवनवलभीfog. I. 41) or long ई (as in दृष्ट्वा दृष्टुवा HERKUTTET I Mál. Madh I. 15) where Jagaddbara saysang at fiz: 1) Strea-atâta fit for it ATERE a great calamity; or a rash deed endangering life TER महाभीतिः कर्म जीवानपेति च Amara, 10- This gives bint which prepares the audience for A'ra.'s swallowing poison further on in the Act;, see p. 54. 1:47. ht:--not such i,,, indiferent. The scene opens while SAm. and Vasa are conversing. Tbis is a reply to Vasavadattâ who in her provions speech must have charged her husband with being indifferent to the calamity that bad overtaken her aunt's busband. Rh- not only an, when he knows very well. Arra-i.. the sole object of his love. Ata gor &c.--She means--you have seen how the King has transferred his love entirely to A'ranyiká. JA VT À fai-Samkr. means—Because I witnessed it myself 1 know what it all really was. Vatsarája wanted to enjoy a joke by playing his part himself and telling you in the end how you could not discover who the real actor was and thus to make you laugh Had there been a love intrigue he would have taken care to keep Vagantuka and Manorgmá out of the way. Of course this does not convince the Queen. EFATITE--The Queen puns upon the word at which means 'made to langh' and 'caused to be langhed at', using it in the latter sense. TUT-Because the King manifested his love for Aranyika so openly. Even ber maid-Servants knew that she was no longer loved as before by the King. Farat * &c.is lrunical, She neans—I have been reduced to such a sad plight. To says--these are your sweet fancies; what does the King caro for mo now? This she says as Similarly Deshyanta 8879 to Vidu, in the sak. Fit ang 724999 (V.10 ). P. 48. Five-Collision, close or hard fight. area:- possessed of; or reddered more powerful ( lit. elevated, lofty). fifca grat &C.-Tbis suggestion of the Vidů, which is radiculous on the very face is meant to stir langhter. FACIAT &- Thcge with the Kirktas (sea Rat. p. 36.) formed the nigdal male attendants of the harems of ancient kings. For their bravery ef. Rat, 11. 3. - 1894 VIETO Ace Tat. taipogi There is a pan on the word get wbich means wrathful and is also ·40 an epithet of the fierce goddess Durga whose tavour Is also obtained by fasting. एट-has here the sense of shamelessly told,of कृतागा अपि नि शङ्कल्लनिनोपि न लज्जित । दृष्टदोषोप मिथ्यावाफ कथिनो धृष्टनायक || Sah D. arg-Pleasing or coaxing words , flattery, words of blandighment (especially those addressed by a lover to his beloved ) of प्रिय प्रियाया मकरोनि पादुम् | Rat VI I2 पिरचितचाटुवचनरचन चरणचितपणि पातम् । Git. 11प्रपञ्च-extension fr पच (पञ्च) 1 A to be clear or manifiest (प्रपञ्चने इति), and aff अच् (अ) P49 सखेद-खेदेन (fatigue, languor ) सहिन यथा तगा। SI.S माय-मद्विषय, with regard to me for me, the loc is वैषयिकी मम-मदर्थम तान्त-vearned, Ianguid, p p p ol नम् 42, to be exhausted, &c, C ललितशिरपपुष्पहननरपि नायनि यत् । M&lMad, Y. 31, and as the fatigue may be due to olendornoss तात may secondarly mean slender' दृष्टिप्रसाद &c-For a suunter idea of प्रसादमाकाक्षनि यस्तवात्सक सकिं त्वया दासजन प्रसाद्यते। Vik. III 18 बिलक्ष-abashed or put to shame, or embarrassed आर्यपुत्र विलक्ष &c -1stronical She means-you are not पिलक्ष ashamod b & FUN embarpragged, being an admirer of Aranyike. सत्यमह पिलक्ष- देवि एव प्रत्यक्षदृष्ट पलीक भिसीमि । आनामनामप. नयामि विलक्ष v &c Rat III 14 P5083 -This is the first sign of anger, CJ 8ak. V 23 स्तिमित PPP of रितम् 4 p to become fixed or rigid, ateadied, held ap, not allowed to manifiest itself, and hence causay pain inwardly गूढमहारो०-गुदभासी पहारश गूढपहार स उपमा (In the sense of उपमान ) यस्य | or उपमानि इन उपम (का. अ being added to मा कर्नर), पहार उपम यस्य, प्रहारस्य or-रेण उपमा यस्य 18 Inadmiyaible,aa Pan does not ganction such a Vyad Bah, A third way •प्रहारेण सदृश , उपमा beang trented ho मफाश, निभ, &cr-adityasamisa एसित -सुखमस्य सजानमसा सखिन, explaun similarly बित विकारयास-turment afiret सिद्ध एवास्मिन्ध-As that would have caused the Queen surprise and given her grester satisfaction 141-1so well known for their bravery पायपिप- .. the territory outside the fortress दुर्ग &0-Constru अशरण सहसा दुर्ग पविश्य स्थित (wluch must be supplied) असौ परिवहनफा प्राकारमायशरण कृत । प्राकार (here the rampart of the fort) प्राकारमानं, now eo com P 1 817 निर्दिष्टा-निर्दिट mentioned abore आमा attack (Ppr used as a nonn आझाति which is also a TAnant here) लेन मन्द ·41 discomfited, with his power etippled (विहतमनाएं ). निर्दिष्टाफन्दमन्द V.I.-bere 31 means a battle, see com. GÀ:-Bervanto 184135174 Fier. by adining (TF) which is added to words of two syllables ending in a fem, afh. (re: Pán Jy. 1.'121 a: lurerarent Tr Sid. Kan.); ne a Pio IV. 1. 131; when tho female is of a low character (5) is optionslly affixed; BO TIÊti and nati; 34T: 3758171: Time 7181 ANTTIS.d. Kau. pret thns cty mologically moans a person of a low origin, and then a servant; and it is in this sense that the word 18 osed here. Seo A.K. quoted in the com. The word is used for alliteration. The working of, i... the schemes or activities of. The comp. may also be taken as editie a U ( his slavish warriors) according to grow roa: Pán, II. 1. 53. But that will not do bere; as the king, who is an admirer of tho boroic deeds of his enemies ered, is not likely to speak di:- parangingly of the warriors hero. 77: foot soldiers. Barrurethat 19-without taking mengnreg to avenge the wrong done to Dydhavarmen, at: Hero T E-This is the chamberlain attached to the court of Drobaverman, who had been serving his master in his captivity (seo p. 5) Dow comius to sco Vatsaraja with a message from bis royal master. 99 TETASITT: -#-Jork the contrast this give with $i 8 Act I. Tho Toason is given in tho zest al, by the Kanchuki. Vijaya. feels happy leru, because Lo lias schioved a great military feat that mag guro to bo hailed with great delight by the King and Queen, Tho conquest of Vindhyadeta wag A comraratively insignificant matter. CS Rat. IV OTT:-Tua 379 BFT med tranzit7 107797647173541 p 100 $1.0. Aft-Excesa; Ê Gr. 7 gift fufc; DOR FOO com. HrTur-Even when he has pot executed a command; ordinarily. TARTE-Fully carried out; completely created. faenar-The responsibilty of a doty; hence, an onerous task or momentov, Lusiness, cntrasted to bim fl. 7. TV : c-This readid. is preferable to TE WHAT71 &c, as it brings out wore prominently the rignal serica nodered by Vijayasena. Ona til Tiolates the more and also is not appropriate. #titogir I is bad, as we are tot told soywbero In tho play wly ito two girls wero sot, nor is there a reference to them in what follow 571-llere lucrelers is tlo Kios us Viraalatu's Garn ·42 FÅTTTÀ - It was customary to ret prisoners free on an occasion of great joy, such as the birth of & son and heir to & King, a great victory over an invading powerful enemy, &c, of Homadrı on Raghu III 20-TETIT TRIE Ta Gar Gurgail of Mal Vp 106, where the kig, on hearing of the victory gained by bis 801 (al 15 ) sayem 11764 TT YT | Also IV P. 73, where Vidu pays- देवचिन्ल कैनिज्ञापिनी राजा सोपसग वो नक्षत्र सर्ववचनमोक्ष कियतामिति । Res Also Mrch SP Difet-Snapping the thumb and the middle finger together P 53 0 &c - The impatzent Vidu wanted Va savadatta to give tho order for tho relcaso of Ara at ozco TUV Family connexion AUTHT Titara &e - The pain 19 removed at the thought that you, as the husband of Va sava are connected with our family arra-Thinking it to be a wise atep Fasual Ha-reduced to the condition of being remembered, modo a matter of memory-a phrase often used in the 80290 of utterly destroyed' Cf 37 PUTT Kum IV 13 For this see the Chamberlain's introductory speech in Aet I P 54 fra IF &c - The king aske Vijayasena significantly He knew that. A renyaki was meant sroristų vaais an imminent danger of life) Thas spoecb of Manorará 19 do introduced as to be taken in connection with and ecryo 43 a reply to the Kanchuki's words 7 SIRET 1t 18 not knowo where she 18...he is in great danger of life This 19 A kind of what is called in dramataigy Patákásthápa Tour different kinds of at are mentioned in tho Sah -D Ona occurs when & apeech 10 Bo arranged that it should serve as a roply to one preceding it, though nttered in a different content Seo Sal D VI 48 face faseems to be another name of Priyadars ikk wine, Ree com Fria-Not because she was faclided to love Payadar but because she feared that people might uspect her hand in the matter of tbe administration of tho poison. अतिदुर्जन TEC Uttar I rent 721 19 Hai (s! 5), u halt eft tota ! ATTEITTT & It is not mentioned in the Katha ibat Udayang wis tanght the art of canog spake bites and other kinds of poisons by moras of 10cantations and dress, when in Pitila It is probably al invention of the poet to enable the king to renascitate the heroino and thas to 149136 in tbe de noue nent in the last Act ·43 विपवेग-The circulation or offeet of poison. अन्धकारं प्रवेशपसि- As her brain was affected by the poison her eight was bedinmed and all things appeared to be dark to her. P. 55. aqua--dies; cf. for this senge 24191 Uttar. 1.44; TT 17 ST. Poi om Mal. Mad. V. p. 107. śi. 8, Tax-791 7-The repetition of here expresses the simultaneous occurrence of two actions. #-These apparently appear to be contradictory terms or to be wanting in what is called A4 (ätness or power to oxpress a moaving) a9 af forena which is absord, But here agl is quite intelli. gible, as the effcots of extreme cold and heat on plants, foliage, flowers &c, are similars of. TFT area asia mara Ragh VIIL 35. H—Adverse, unfavourablo; ef. for a simílar description-100a hta a gitá FTTY CATTOM: fivis tratafia i fauna Tatra TUTTI &c. Mal. Mad IX. 39. Fakat aru.-Have you consciousness, are you aware of anything? P. 66 ŠI, 9. The poison was working on Priya , the effects were produed on the King, as he says. This was because their hearts were linked together by love; cf. EITH'tgan fizisi Uttar, V. 17. This indicates the intensity of tho King's passion. The fig. of speech hero is smagia which occurs when a canee and its effect are represented as totally different, or separated (or in which there is an apparent violation of the relation between cate and effect ). ETC i cattuma: 1 $ Jut: 11 AT: 71 Kova, fiziente ai con greh #147 af. ET FAU19: 11 Kav. P .. 011-Feeling or gensetion, powor of porception fan-Adverse, alarming. THTV-mental recitation Archie, by the movement of the lips, looking at the person &e , accompanied by the sprinkling of water on the person operated on. P. 57. Thr-Tho word 75 bere is PE (paronomastic). It means & king and also a fa a physician skilled in coring poisona, ef. anat a la za 7: Bus. 11. 88, where the word is used in both the senses. Faire-Eren now, C., although revived. trar-Cafet) Becange the king knew that. ter bewildered condition was dao to tbe action of love at the sight of her lover. For the effects mentioned in the sl. are also due to love affection; ef. VAL. Båd. III. 8.

·P 69 A terstalelsely obsorring teatre or affocuing modesty, has hare the force of thou nabghty or ubetinato gul.' PGB KARATEH TUITI In the Rat the King says- - I ARTS ar & -Thu is the usual opresion merking tho clogo of a drama (the Bans dramas Always having a good end) This is called stat, Si 11 Anotlior feature of tbo Sanz drama is to enamorato good rcsulta attained in the stanza preceding the Bharatava'lya, f. Rat, IV 21 स्व कोपेन &c-80 in Rat देवीपी नमुपागता WT7--Lut The peocl of tho actor (HU technically called az It is a sort of stage direction. It refers to the concluding sl of a play containing an expros 100 of good wishes put in the montla of too chief actor, as member of the dramatic party and not in the rolo of a dramatic personage, all acting being over or the Vaky& enjoined by Bharata, the founder of dramatic art śl 12. This 51. occurs as the closing stanza of the Ratnavalt also with soins ranauons in tlo last two lines DETH दाम उगतान उद्दामानि Pralh Tat growing unchecked, ¢ luxur Antly or abondantly, now see com AIRE-A Dame of Irdre It Is variously derived ns-घसो अपय पुमान्, or वसवो देवा पनि IR AT BTTT PA, STOL ( 31 ) being added to in the sense of pos3e33100 (974) Indra 19 the ruler of the firmament and too dispensor of rAm C नव भवतु रिौजा माज्यवृद्धि प्रजासु Bak VII 34 Er desired, timely and suffcient for the growth, of corn te --By facrifices, here 18 wºrd nga nout in tho sense of zia, a (# ) being added to Twit (to form an abstract noun) reag -The gods , eo com stora gratification, pleasure This 13 done by offering oblations to them in 88crifices ६ इटा भोगान् हि धो देवा दास्यन्ते यज्ञमाविता । By III 12 and Sak 74 @ THETAAN (TER the gods > 1) TYTI VII 34 fe-Learned Brahmsnas, जमना ब्राह्मणो ज्ञेय सस्कारर्टिज GIFT a RET TETTII IEFTIT-Kalpa 1a tbe period of the daration of croation It catcody orer one thozsand cycles of the four yogas स्थिरसमु०-In1le Rat we Laye समुपचिनसुख सगम agree com , sticking hard to the miod, leaving a permanent impression on the midd Talo 11 kind of gine, 90 called because things joined by means of it reman stuck together permanently For 't see Yara's Brb ch 57 ·45 APPENDIOES I The Subh ishitas occurring in the Play ( The figures refor to the pages of this edition) प्रविशन्ति शङ्कमाना राजकुलं प्रायशो भृत्याः। 8 गुणैकपक्षपातिनां रिपोरपि गुणाः प्रीतिं जनयन्ति । 9 नास्ति खलु दुष्करं देवस्य । 15 न खब्वविनाभिलषितमधन्यः प्राप्यते 121 प्रायो यत्किचिदपि प्राप्नोत्युत्कर्षमाश्रयान्महतः। 30 सदृशाः रादृशे रज्यन्ते। 33 दुःखं याति मनोरथेषु तनुनां सङ्कल्प्यमानेष्वपि । 34 अतिदुर्जनः खलु लोकः। वामे विधी न हि फलन्त्यभिवाञ्छितानि । 55 II The flowers and the trees mentioned in the play. अम्मोरुन-A lotus, or wster-ily in general. उत्पल-A lotus (Nymphaea*) in general, refers to कमल (see- Ragh. III 36 ), फमुद, &c. 44. कदली-The plantain tree. 9,21,23,27. कमल-A lotus (Nelambiam Speciosum) in general, क जलं अलनि (beautifies), or काप्यते इति what is desired owing to its beauty; from कम and Unb. sf अल). 13, 14, 17,18,22, 55. कुचलय-A synonym of उत्पल as given in Amarak; generally meang 'a blue lotus 20 तमाल-Name of a trea having a very dark bark and leaves but white filoner13 नलिनी-A lotus plant, a tank hsvirg lotuses in it. 17,23,28, नीलोत्पल-The blue water-lity (Nymphaea cyanes) 19, 38, 42, पज-Alotus. 16 97-A lotus, generally one blooming at sonrisa, 2, 13, 17, 10, 20,ko, पकुल-Generally called Kesars, ( Mimusops Elengi) बन्धुजीव-Same as बन्धक. 44. * The L. sanes are taken from the Col. U. Ed. 13

·46
AF-Au troct growing plant ( Peatapetoi phoonieca ) Los
Jargo fowers of a bright red colour which expand at
poon; their jaico is cooling and lated in some
dictases, 13, 14.
Awa-A kind of jasmino (Jasminum ftandidoram) called
1.13, 20.
ferie-A fragrant but very delicato lawes, also the name of tho
troo (Mimosa sirissa also called Aca-ia speciora ) 14
1971-A charming small treo (Nyctanthes arbour-tristes)
the flowers have a delicions fragrance which is
oranoscent. 13, 14, 15, 17.
hreren Altonis scolario. 13, 14.

·III The Metres used in the Play, their Definitions and Schemes, Buta लघु 1. Sanskrit porse is regulated by quantity, and not, as in English, by accent. A qz (stanza ) consists usually of four 41% (quarters). A nis regulated either by tae number of syllables (), or of syllabic instants ( 977719 ). When the qiąs are all similar, it is called a faza, to which type most of the actres conform. There are an F9, wherein the first quarter corresponds to the third, and tho Becond to the fourth, called respectively the odd (fata) and even ( 79 ) quarters. A third class comprises are, but these Aro very seldom used. 2. The vowels 37, 5, J, F and are short, and the rest long. The quantity of a syllable is determined by its vowel. A syllable with a short vowel is called Ag (light'), and a syllable with a long vowel 19 called TF ("heavy') syllable is considored 28 F if it is followed by an anusvára, or a pisarga, ora conjunct consonant, or when it comes at the end of aपाद.' 3. A set of three successive syllables is called a stor foot). Merking a short syllable as and a long one As, the different Tors, which are 8 10 number, may be exhibited 39 follows - ----vi-vi * -u --, ---; and ruuv. In the definitions which are given below, & short syllable is indicated by the letter and a long one by T. 4. The Priyadarśiká contains 49 slokas in all, of which two only are in Prakrit; and there are only goten different metros employerl. So numerically and as regards the variety of metre, it is infenor to the other two plays, The Ratná. contains 7 Prákrit statzas and 78 in Bads, in 13 defferent metres, while the Nigé bas 123 stadzag in 12 different matres. 1 सानुस्वारश्च दीपंध विसी च गुरुभवेत् । वर्ण सयोगपूर्वश्च नथा पादान्लगोऽपि वा ।। 2 आदिमध्यावसानेगु यरता यान्ति लाघवम् । भजसा गौरवं यान्ति मनौतु गुरुलाधषम् ॥

·48 भार्या-Det यस्या पक्षमे पादे द्वादश मात्रास्नया नृतीपेऽपि । असाशा "द्वितीये चयके पश्चाश सार्या ॥. This belongs to the class of metres which aro rogaiated by the number of Alat or syllabio iustants. The four padas contain fuspectively 12, 18, 12 and 15 HET I 6, 8, IT 5, 9, III 1,3,9,12,1V 6, 7,Giti-II 8 उपजाति-De स्यादिन्द्रयवा यदि नौ जयोग उपे द्रवजा जनजालनोगो।] अनन्तरोदरिनलक्ष्मभानो पादो यदीयानुपज्ञानयस्ता ॥ इर्भ दिलान्यास्वपि मिमिनाम् पति जानिषिदमेष नाम । An Jyota 18 & mixture of one or moto pidas ot इन्द्रपजा [ 11 syllables, Scheme-T, त, ज, ग, ग], with one or more of उपेन्द्रवजा [11 syllables Scheme-ज, न, ज, ग, ग], so as to form one stanza a mixture of other metres also, in this mauver, called an उपजानि The student should scan and find outinench cass whether spida 1s in इन्द्रनबा or उपेन्द्रपमा I 4,III 3 मालिनी-Def ननमयययुनेय मालिनी भोगिलोके 15 Syllables Bcheme-न, मामय, य The pause occurs after the 8th syllable 1I8 घसन्ततिलका-Det उता चसन्ततिलका तभजा जगी ग 14 Byllables Scheme-त, म, ज, ज, ग, ग. I 10 III,IV 2,4,8 शालविक्रीडितं-Det सश्चियदि म सजी सतनगा शार्दूलविक्रीडितम् । 10 Syllables Scheme-म, स ज, स,ते,त,ग The fause cocars after the 12th syllable The metre is very irequently ased in this play I 1, 3, 6, 7, 11, II 1, 3, 6, 7, 10, III 4, 5, 7, 10, 13, 14,15, IV 1,3,9 11, शिखरिणी-Det रतै स्ट्रेच्छिन्मा यमनसभलाम शिखरिणी । 17 syllables Scheme-य, म, न, सभाले, ग. The pause oceare atter the oth syll IV 10 स्रग्धरा-Dek अनर्याना प्रयेण त्रिमनियनिपुना नग्धरा कीनिनियम् । 21 syllables Scheme-मरम, न, य, ,य The pauses occur after the 7th and the 14th syllables This is the longest metre 21 ordinary use I 2,9,12,112,4,III 11, IV 5, 12, - ।

·Its capital, Killageyes, was al toma distance from the 128 coast and was probably si Rajassbendii, Bar Righ. IY, 33, NOTE ON THE GEOGRAPHY OF THE PLAY. Thoacana of the play is laid a! the pelsca of Vaterája in Eaušavbi, the capital of the Vatis country. Vatra id thus described is tba Kathasaritragara FF 1 Ferrata 7. 931791 Tira fifa 2 Kaośimbi $femors und very tourishing city la ancient times and is mentioned in the Raniyans of Valmiti. The Katha, thus desoribes its grandeur-Titra FFI (II, 1.0) Of. alio Bat. 1., 10. It was founded by Kuśmba (con of Kat's), tentb lo descent from Patūraza. In midy Oolozesa books it is bamed as one of the nineteen ospital cities of ancient Indis, Its dceline begin after the Christian era and its rain was completed In the Malanmaden times; End Dow it is represented by the comparatively iosignifiasat village of Kors on the river Lymuda, abuut ihiny plus abure Allstabai. Angs-Tho kingdom of Ang wes situated on the right bank of the Googes and to the roath of Ksasika Bachcha. Its capital wus Ohamps, also called Angaparl, Loxspådepari (alter King Lomapida), Kaspari cspital of Kams) and Walini According to Hionen Thsaag it stage on the Gauges abant 24 miles west of a rocky Islaca and is, therefore, CORsidered to be the same as ex situated very near the modern Bhagalpae. VOL. . sue Northem Circats, ·. INDEX OF IMPORTANT WORDS, ( The figures refer to the puges of this Edition ). अंशु 10 अविरत 13,40 अंशुरू 10 अविरल 52 अमहस्त 39,40,53 अविधम्म 26 अराग 13 अभीय 8 अजर 3.1 असभ्यद्ध 48 अतिशय 51 आकुल 9 अश्यादित आकान्त 50,51 अनर्थ भार 37 अनवरत 50 आयास 10 भनुगत 38 भायासिन 21 अनुनय 43,45 भालवाल 11 अनुवाचय (verb) 46 आवर्जित 3 अनृण 4 इन्दगोप 14 आन्तरित 54 अन्तिक 53 उपल 86 अपदेश 40 11 अपराध ( verb) 21,25,56 14 अपहार उनम्भित 6 उगरीय 20 मभूमि उसल 10 भक 22,11,57 उरस अवगुटिन 31 उत्तर 13,33 भानय 18 36 भरदात 10 माह 8 भरपाय -10 उदासीनत भामर 28 याम 13.59 अपणान 13 उमेश 35 भवरन्द 4,53 न 10 17 43,0 10 उधि 18 40 33 m 3 40 अभिवाय 3 43 1 भारत ·(52) - 36 26 59 36 उपपन्न उपाध्याय उपारम्भ उर्वी ऊर्जित प्रजा भोष फन्दाक्ष पद्ध फराकित 6 35 15,17,23,27 34 35 5,37 30 23 48 48 38 6 वर्णपारी कल्य पलिका काचीगुण कुसमुटवाद कुटिम 22 8 11 54 55 32 11 14 48 20 9 56 9 9 32 10 गहन गुस्ता गुन्म गोपुच्छा प्रायत घन घोषवती चशाह चण्डी चाटु चारक चिरशारा छवि छाया छुरित छोटिसा जर्जरीकृत जम्भिरा झटिति तत्व तन्नी तपस्विनी तान्त तीक्ष्ण तुमुल तुग विष्टप दण्डनीति दन्त दासन् दासेर दात्या पुत्र दिश्या दिव्या वृध् can दीधिति . । कुवलय कूट कृपय कृपाण केयूरिन् कथत् क्षामा क्षोद खलखलायमान खेद 48 12 10 9 52 5 57 51 38 33 14,46,5455 49 5 8 5 59 32 46,49 42 51 6 53 56 10 12 14 6 गति गद गन्धर्वशाला गम्भीर गर्भदासी 49 37 56 43 33 49 19 ·(53) दीपिका दुर्ग . दुर्नय दुनिदग्यता शुति 19 3 5 5 38 53 16 13 12,18,25 22,40 S धातु धामन् धारागृह धीरता 10,11,14,16 50,51 4 42,44 23 22 38 36 38 5 11 18 48 57 23,34 6,25 36 6 35 43,57 521 18 52 पयोघर परंपरा परिगता : परिचर्या परिच्छन्न परिभ्रंश परिमल पर्यवयुद्ध पर्याकुल पदव पादान पारय पाली पिशुन पिशुनित पीठिका पुतलिका पुलक पुवर प्रस्ट प्रतिस्पल प्रनिग्रह प्रतीप प्रतीद्दार प्रत्यक्ष प्रयमिहान नरेन्द्रना नर्तितम्य निगड-ल निगडन निवन्धन नित नियत नियोग 16 59 6 39 22 57 6 57 6 11 53 निर्भर 17 35 48 निदान नि! निःसद नपर मृग नेय 3 5,52,57 26,39 16 10 3,31 20,26,47 8 17,10 10 प्रमार्जन प्रयोग प्रास पति प्रगान प्रमा प्राण 3 13 29 41,18,19 3 १ 30 पोश पानि 8 ·(54) 35 32 29 29 5,6,37 13 10 5. प्रेक्षणीयफ प्रेक्षा प्रेक्षागार प्रेक्षागृह बन्धन बन्धुजीव बन्धूक बह घोध ब्राह्मण्य भावित भिन भूमिका भूभह मकरन्द मजन मध्य मन्यु मनोरथ मरकत महाबाह्मण महार्य मानस मालती मुकुलाय् मुग्ध मुधा मुरज मूर्त यत्सत्यं यति 12 38 38 59 46,49 2,3 37 37,55 48 10 13 59 8 16 44 50 89 16,40 49 लम्बित लय पसलेप चलभी वस्तु वादिन वामक वामन पारविभ्रमवती वारणी बासन याहन विकल्प विमल्पित विकृ caa. विद्यामान विद्रुम विधि विपत्ति विपद् विभव विमर्द विमर्दित विमानित विलक्ष विशद विधब्ध विषमा विषय विपाद वीणा वृन्त वेदना वैतालिक बैलक्ष्य 33 44 3,23,39 44,50 65 10 10,38,49 47 34 14 12 15 37 26 14 50 44 42 17 9,16,51 4 58 8 8 32 35,49 57 23 53 50 20,41,47 35 13 50 10 43 88 राग 22,27,40 20,54,55 26,29 लन्नाका ·(5) . 38 38 ध्यक्ति व्यजन व्यतिकर व्यपदेश व्यसनिता 40 A व्याकुल मीडित शार शब्दाय शरण शाताम्भ शद्वल शिजान शिशिर शीतांशु 54 5 1 9 10 11 50 10 14 32 40 34 34 13,14,15 14,22 48 36 48 13 1+ 5 48 समाश्वासन समुदित संप्रहार संश्रम सत्रीकता सहधर्मचारिणी सान्द्र सामाजिक सारय् सीदत् सेयो सांध स्वलित स्तिमित स्थगित स्नानीय स्फोटित स्वस्तिक स्वस्तिवाचन हताश हारिन् 22 3,48 8 35,49 13 9 86,55 3 33 2 1 16 31 50 13 10 6 32 11,12,15 42,52 3 55 49,50 16,30 16 40 शेफालिका संघ संदोह सप्तच्छद सप्तर्ग हाद समर