·११ श्रीरामजयम् ।।
महाकवि श्रीमासप्रणीत भासनाटकचक्रे
। दूतवाक्यम् ॥
(एकाई नाटकम्)
DUTA VAKYA
(of Mahakari Sri Bhasa)
(A Drama in one Act)
With Valaable Introduction, Lucid English Translation
and Explanatory Notes in English and Sanskrit.
BY
AN EXPERIENCED PROFESSOR
PUBLISHED BY
R. S. VADHYAR & SONS,
Raok-Sellers & Publishers
KALPATHI, PALGHAT-3.
5 INDIA

·विन्द ते
अ मृ
॥ वि च या
-
Sanskrit Study Made Easy Series.
Second Edition
-000-00-
ALL RIGHTS RESERVED
PAINTED AT
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PUBLISHER'S NOTE
We have immense pleasure to publish this Revised
Second Edition of Duta Vakya (out of the 13 most
interestisg and Famous Dramas of Mahakavı Sri Bhasa)
with a lucıd English Trapslation and Exhaustive Notes
in Sanskrit and English
This Drama, although a short one in onc Act, is
full of very interesting episodes, high humour, wits and
Moral Slokas with Dharmic Ideas Hence this will be
a good book for the beginning and Easy Study of the
Sanskrit Drama
It is our fervent desire to publish the other Dramas
of Mahakavi Sri Bhasa also in this form in due course
and thus to add to the Volumes of our Sanskrit Study
Made Easy Series and be contributing our mite for the
advancement of Sanskrit Learnung and Culture of our
Ancient Lore
Kalpathi, Palghat-3,
PUBLISHERS.
7--8-1960

·अनुक्रमणिका-CONTENTS
विषयाः
पुटसंख्या
5
१
1. Introduction to Duta Vakya
2. दूतवाक्य नाटके प्रविष्टानां पात्राणां परिचयः
3. दूतवाक्यम्--Text with English
Translation
4. Do Notes in English and
Sanskrit
४४
5. The Metres used in this Drama
6. Model Questions

·INTRODUCTION TO DUTA VAKYA Bhasa the Dramatist महाकवि श्रीभास was a reputed Dramatast of ancient India whose plays were very popular even in the days of महाकवि श्रीकाळिदास High praise is bestowed on him by कालिदास in the introductory part of his मालविकाग्निमित्रम् thus –'प्रथितयशसा भाससौमिह कविपुनादीना प्रवधानतिक्म्य वर्तमान कवे कालिदासस्य रियाया कथ परिषदोऽस्या बहुमान , Of the three authors referred to in the above line (भास सौमिल्ल and कवि पुन) भास is given the first place This may be due to the fact that is was the earliest and the most popular We know very little about alfita and fago who are said to have written two works-शूरककथा and मणिप्रमा, which are now lost Many later poets and critics have referred to भास in respectful terms and have quoted lines and verses from hts works महाकवि बाणभट्ट the famous author of कादम्बरी, refers to भास in the introduction of his श्रीहर्षचरितम्- सूत्रधारकृतारम्भ नाटकैबहुभूमिकै । सपताकैयशो लेभे भासो देवकुलैरिव ॥

·6 INTRODUCTION TO This reference shows that a wrote many plays with a; variety of characters and incidents Great critics like - नवगुप्त, रामचन्द्र and others have quoted verses from his works and have mentioned by name his best work, स्वप्नवासवदत्तम् । About the merits of this work, that remarks भासनाटकचक्रेऽस्मिन् छेकै क्षिप्ते परीक्षितुम् । स्वप्नवासवदत्तस्य दाहकोऽभून्न पावक ॥ All these references lead to one conclusion that th was a popular and highly honoured dramatist of India for many centuries It is very unfortunate that we know next to nothing about the personal history of this great author Even the word in does not appear to be his real name, but only his गोननामधेयम् । He refers to one राजसिंह in the भरतवाक्यम् of many of his plays, but we do not know when and where that king ruled THE WORKS OF BHASA In the 19th century, when European scholars came to India and gathered materials for writing the History of Sansknt Literature, they could not find even a single work of Bhasa They thought that his works were lost like those of life and alaga Forturately for us, the late Mahamahopadhyaya T Ganapati Sastry of Trivandrum Manuscripts Library succeeded in tracing some of the plays of spa and published them in 1906 The following are the works published by him and attributed to me — ·दूतवाक्यम् 7 1. 67891HGTE 8. 9991744 2. प्रतिज्ञायौगन्धरायणम् 9. 444 3. अविमारकम् 10. TITEL 4 चारुदत्तम् 11. 599735 5. afara 12. HTTC47 6. मध्यमव्यायोगम् 13. af 7. 777 e must have certainly written some more 'works, but they have not come to light so far The large number of these works, the wide range of their plots and the infinitc variety of the characters introduced, amply justify the tributes paid to him by Arf, zar and others AUTHORSHIP OF THE THIRTEEN PLAYS There is no mention of the author's name in any of these thirteen plays and yet the ablc editor, Sri T Ganapatı Sastry, attributed them to Bhasa on certain valid grounds. His vicw was gencrally accepted by the scholars in India and Abroad, but a section of Indian scholars vehemently attacked hus theory and contended that these were the productions of some Chakyars of Malabar, and not the works of the great भास. We do not propose to discuss the merits or defects of their arguments here It has now been generally accepted that these thirteen plays are the stage versions of Bhasa's original works carefully preserved by the Chakyars who used to stage them One thing is certain that these thirteen plays came from the pen of a single author who deserved all the praise bestowed on te by the early pocts and critics of India ·8 INTRODUCTION TO THE DATE OF BHASA भरत The date of He cannot be fixed with any amount of definiteness The archarsms and grammatical irregularit es found in these works and the serious violations of the rules laid down by #ta in his 712TTE, may lead to the conclusion that he flourished earlter than भरत and पाणिनि. prohibits the introduction of death scene on the stage, while has introduced death on the stage in two of his playsafatge and 36484 In प्रतिमानाटक, he refers to the Båta of right and not to that of alface This is an indication that he lived at a time when Chanakya's are was not written, or was not so popular as it became later These facts supported by the nature of his language and style help us to fix his date somewhere in the 4th. Century B C, which, we hope, will not be far from truth On THE TYPES OF SANSKRIT DRAMA Sanskrit Rhetoricians classify literature into twodiĝisions are that which can be seen, and y®4-- that which only can be heard भरत in his नाटयशास्त्र, has, laid down elaborate rules for writing and staging Thu 0747 which are also called E9, because the actors assume the form (6) of the characters they represent भरत analysed the Rupakas of his day and classified them into ten principal types They are-A7, 971014, 17 , , RH, 291911, 949997, 141, 91, and He or salzesti These Rupakas differ from one another in their length, plot, sentiments, and the nature of the heroes and heroines ·दूतचाफ्यम् 9 Among the Rupakas, 4124 and 4670 are the most developed forms with more than five acts, हिम and समयकार coming next with four and three acts respectively alat, T, 12:, ET and Jaize are one act plays and SEUN has no act-restriction PLOT AND HERO SENTIMENT There are three important factors in a 64%, namcly- वस्तु, नेता and रस, the Plot, Hero and Sentiment These three are again divided into various kinds The plot may be well known in the Puranas or History (ToplaFI ), or it may be a fiction (37979 -- author's own creation) or mixed (lūPPA) The Heroes are generally classified into four types-धीरोदात्त (Magnanimous), धीरोद्धत (Violent), धीरललित (Graceful), and TEIKT (Calm) Rasas arc counted as nine-->ZEIT (Erotic), alt (Heroic), EU (Pathetic), (Furious), हास्य (Humourous), भयानक (Frightful), बीभत्स (Loathsome), argja (Marvellous) and 2. (Quietistic) In the classification of the Rupakas into various types, the nature and devclopment of the thrce factors, FET ATT and 19, form the main criterion DUTAVAKYABI A व्यायोग OR A वीथी? In classifying the plays of Bhasa, one should remember that Bharata's definitions and rules cannot be fully and strictly applied to them The play a 4 can well fit in Bharata's definition of staat of aly Some scholars

·10
INTRODUCTION TO
prefer to classify this as a च्यायोग, which is defined by भरत
thus -
-
व्यायोगस्तु विधिझै कार्य प्राख्यातनायकशरीर ।
अल्पस्त्री जनयुक्तस्त्वेकाहकृतस्तथा चैव ।।
वहवश्च तत्र पुरुपा व्यायच्छन्ते यथा समवकारे ।
न च दिव्यनायककृत कार्यो राजर्षिनायकनिबद्ध ॥
युद्धनियुद्धाघर्षणसघर्पकृतश्च कर्तव्य ।
एवं विधस्तु कार्यो व्यायोगो दीप्तकाव्यरसयोनि ॥ [18-90-92)
Others prefer to classify दूतवाक्य as वीथी and hence we
give below Bharata s definition of alaſt also
सर्वरसलक्षणाढ्या युक्ताह्य स्त्रयोदशाभि ।
वीथीस्यादेकाड़ा तथैकहा- द्विहार्या वा ॥
अधमोत्तममध्याभियुक्तास्यात्प्रकृतिभिस्तिसभि । [18 -111, 112]
च्यायोग Is a one act play depicting the actions of one
day The plot is drawn from the Epic and the hero is a
well known king and not a divine person Few female
characters are introduced and many men are engaged in
a struggle Attacks, fights and insults are described in
such a way as to cause excitement The sentiment is att
or रौद (दीप्तरस) and the style is suuted to that
the plot is taken from the great Epic, महाभारत दुर्योधन, the
hero is a well known king Many men are supposed to have
been engaged in the struggle to bind ignore with ropes
Krishna's anger and the arrival of gesit cause great
cxcitement The incidents described take place on a single
In दूतवाक्य.

·दूतवाक्यम् day and the sentiment develaped is at. Those who consider this play as ateit, regard so as the hero and धर्मवीर as the main sentiment There are certain other facts in the play which support this vicw-Vide-our remarks on the character of दुर्योधन. THE PLOT The story of staru going to gafant as an Ambassador of the Pandavas with a view to make an eleventh hour attempt to avert a calamitous war, is elaborately told in ETH177-Jetre Chapters 72 to 150 The plot of पूतवाक्यम् is drawn from about 10 chapters in that section of the HENTIT known as tra91794 (Chapters 94, 95 and 124 to 131) STIE has introduced some important changes in the plot to suit his dramatic purpose These changes make the plot highly interesting and contribute for the effective delineation of the hero's character in such a short play We will now see how the story is presented in this work gafea dec des not to give even an nch of space to the Pandavas and prepares for the inevitable war He has gathered an army of eleven divisions (Breitfent) and has camped, with all his followers, near the battle field He consults all his chiefs and allies regarding the appointment of a commander-in-chief Tela suggests the name of a and gafua applauds it Just then, the chamberlain announces the arrival of 70 with a message from the पाण्डवs. दुर्योधन decides to insult कृष्ण and take him a prisoner He thinks that the quas, deprived of the ·12 INTRODUCTION TO on him wisdom and strength of us, could be easily defeated He tells everyone not to get up from his seat when कृष्ण enters and himself sits looking at the picture of taat being dragged by her hair and cloths by Tan Now कृष्ण enters, and all the councillors stand up in utter confusion gufaa blames them, but he himself falls from his seat when कृष्ण addresses him He thinks that encor has played magic कृष्ण asks दुर्योधन to take away the picture from the wall and he orders it to be removed Then he enquires about the health of the Pandavas greut now delivers the message of gfafgr that their due share in the inheritance should be given by them zafya questions the right of inheritance of the Pandavas and remarks that kingdoms are not obtained by begging and that they are not given in charity to requests zina to show pity to his kinsmen, to which he retorts .What have you done with your uncle ?! Krishna again appeals to him to forget the wrongs and love the qugas but he says firmly, 'stop talking about it Now or changes his tone and praising the valour of Bruja, says that the ar gas will take possession of the kingdom by force gafya is unperturbed He says that he will not give cien a bit of grass to the sons of 91. The mention of the grass enrages trop who scolds gafya. They cxchange hot words and Krishna starts from there Duryodhana asks the councillors to bind him but they fail Then Duryodhana imself talcs a rop: and tries to put the noosc on Krishna who at once grows larger and larger. Then suddenly he becomes sfiorter, then disappears, and ·दूतवाक्यम् 13 afterwards shows himself in many places Duryodhana, though fooled, does not get disheartened and asks each one to bind one Krishna They try to do so but find themselves bound up Calling this a magic, Duryodhana goes out (to bring his bow and fight with Krishna) Krishna, in his rage, calls his divine geile to kill Duryodhana Sudarsana reminds him of the purpose of his incarnation (IUITETO) and says that if Duryodhana is killed now, other wicked men may escape Krishna controls his anger and sends back Sudarsana By this time the other weapons of Krishna, the bow, club, sword, conch etc, and his vehicle as come there and they are also sent back by Sudarsana Krishna then starts to the camp of the giogas when tatie comes and falls at his feet to atone for his son's offence Krishna liſts him up and he asks for Krishna's favour This in brief, is the story of दूतवाक्यम् . DEVIATIONS In the Mahabharata, Krishna meets Duryodhana in alkanger before the armies are moved to the field Bhasa has shifted the scene to the army camp and introduces Krishna when Duryodhana has made all preparations for the war and is consulting his men about the appointment, of a commander in chief This makes the situation more serious and dramatic Duryodhana's order to the councillors not to honour Krishna, and lus looking at the picturc of Droupad's outrage and admiring it, speak volumes about his wicked nature With very few touches here, Bhasa has revealed those traits in the character of Duryodhana which have been described in so many ·14 INTRODUCTION TO In the heata, chapters of the Mahabharata There is good humour and excitement in the scene where the councillors and the king stand up, or fall in utter confusion, inspite of their determination to sit tight A similar effect is produced in the scene where Duryodhana and his councillors try to bind Krishna in vain The arrival of it and other weapons adds to the cxictement and provides the necessary stayata in the concluding part of the story धृतराष्ट and art advise Duryodhana to act according to the advice of Krishna, but he turns a deaf ear to their words Bhasa, by not introducing them in the council, saves Duryodhana from showing disregard to his parents These are some of the main innovations of Bhasa which invest the plot with humour, thrill and excitement and reveal certain traits in the character of the hero For more details of such innovations, the student may refer to our notes MAIN CHARACTERS OF THE PLAY दुर्योधन He is represented in this play as a boastful king of firm determination (atten type) never yieldıng to threats or intimidation In spite of the persuasive words and threats of Lord Krishna, he sticks to his resolve to fight with the Pandavas and not to give an inch of space to them. He is not disheartened when he fails to put the noose on Krishna and considers Krishna's exhibition to prowess as mere magic He goes out to bring his bow and arrows to fight with Krishna when he could not bind him While enquiring about the welfare of the Pandavas, he shows some nobility but very soon we realise that he is not sincere about it He reveals the true spirit of a 4 when he ·दूतवाक्यम् 15 says that kingdom are acquired by conquering the enemies and not by begging- ‘राज्य नाम नृपात्मजै सहृदयजित्वा रिपून भुज्यते, तल्लोके न तु याच्यते न तु पुनर्दीनाय का दीयते'। He is intelligent and shrewd and has a rady wit to retort When Krishna asks him to love his step-brothers, he retorts ('देवारमजैर्मनुष्याणां कथं वा यन्धुता भवेन्' This is a trait of many wicked men He knows that. Krishna is the mainstay of Pandavas and that, once he is taken a prisoner, the Pandavas will be fafatfear, deprved of guidance and support The dramatist, whilc portraying the merits of Duryodhana's character, has not failed in pointing out the other aspects as well Duryodhana is not as strong as he pretends to be Hc threatens to impose a fine on all those who stand up when Krishna enters, but is puzzled as to how to prevent himself from rising up In fact, hc falls from his scat in utter confusion when Krishna calls him by name. He knows that he can win the Pandavas only with the help of भौम, शेण and others and secure their co-operation, behaves very tactfully Even in the matter of appointing the commander-la-chief, he consults the councillors with a view to win their co-operation, He is concerted, wicked and pettyminded He tells Krishna that he would talk only to Kings of equal status and not to one of inferior status ry. Without to ·16 INTRODUCTION TO опе the least sense of shame, he gazes at the painting of Draupadi's outrage in the councıl hall and enjoys a devilish pleasure in describing it He decides not to honour Krishna who comes as an Ambassador and prepares to take him a prisoner For युधिष्ठिर, he has nothing but contempt नारीमृदूनि वचनानि युधिष्ठिरस्य । His resentment on Krishna being referred to as geving by the Chamberlain and his remark-mata sfà ? gal22, 377# AgFeie, reveal his petty nature Remarks -Most of the bad traits of Duryodhana's character which are elaborately brought out in the महाभारत, are effectively hinted here also But there is difference In the original story, the initiat ve for many of the wicked deeds is attributed to शकुनि, कर्ण or दुरशासन while here it rests with gafun himself In the original, the idea of gambling with dice was suggested by 79fd, the removal of Draupadi's cloth by go and the idea of binding Krishna originated from दुश्शासन, In ऊरुभ# and QTU, Bhasa has painted Duryodhana in better colours than the original, but here he has not done so This fact is a strong point in favour of taking Krishna as the hero of this play Bhasa would have certainly represented Duryodhana in better colours if he had intended him as the hero The title of the play also supports this conclusion श्रीकृष्ण Bhasa has portrayed Krishna as a magnanimous man possessing all the essential qualities of a first rate ·.... दूतवाक्यम् 17 Ambassador The title 'maran' (Ambassador's message) suggests the importance of Krishna's role in the play In Mahabharata too, this part of the story is styled TORTI Krishna comes to the camp of Duryodhana at a critical moment, with a genuine desire to avert, if possible, a major calamity which would cause the death of thousands of best men in the country and bring untold miseries He is aware of Duryodhana's wickedness and obstinacy, and also the probable result of his missioB, and yet he undertakes the job of an Ambassador due to his love for the Pandavas and the desire to bring peace and happiness to the world He says 'धर्मराजवचनात् धनञ्जयाकृत्रिममिनतया मयापि अनुचितदौत्यसमयोऽनुष्ठित । दुष्टवादी गुणद्वेषी शठ स्वजननिर्दय दुर्योधनो हि मा या नैव कार्य करिष्यति' ॥ To any one else, this would have been a risky Venture But Krishna is free from fear and is prepared to swallow any amount of personal insult for the sake of peace It requires great courage, wisdom and strength on the part of Onc who undertakes such a mission in so critical a time Krishna is really a 17 in the true sense of the word He has got a commanding personality which makes all the councillors rise up when he caters the ball, cyca though they were threatened with fine by 491. Even fua requires something to screw up his courage and orders the painting of to be brought, so that he an remain absorbed 18 gazing at it He too sets up in t ·18 INTRODUCTION TO confusion when Krishna greets him and orders the removal of the picture at the bidding of plahtu. Such is the personality of sitnout. Both in wit and in valour, silou is superior to gafua. When Duryodhana questions the right of Pandavas for the inheritance on the ground that they are not born to Pandu, Krishna asks him to remember how his father was born For all the haughty words of gafua, he, as a great diplomat, answers in a calm and calculated tone He has got a knack of driving his point without the aid of strong language All bus utterances are full of virtue and wisdom 'को नाम लोके स्वयमात्मदोप उद्धाटयेनष्टघृण समासु 'कर्तव्यो भ्रातृपु स्नेहो विस्मर्तव्या गुणेतरा' etc are some of the best words spoken by ilut He changes his tone and attitude when he realises that gafun cannot be converted by soft words casting off all sense of political morality, attempts to fetter him, he gets angry and calls his divinc discus One thing that श्रीकृष्ण cannot tolerate is अधर्म When he sees the painting of atat in the hall, he at once asks Duryodhana to remove it Even in anger he does not lose his discrimination When सुदर्शन reminds him of his mission on earth, he withdraws his order to kill gufera. When धृतराष्ट्र requests him to stay for a while and receive his adoration, he agrees This shows his gentle nature MINOR CIARACTERS 7774 has bestowed great care even in the delineation of minor characters xatie who is introduced at the end of When gufua, ·दूतवाक्यम् 19 the play is fully aware of the wrongs of his son, but he is powerless to check him So he wants to atone for the sins of his son by fall ng at the feet of rilantu and honouring him This is in conformity with the character of Tatir as portrayed in the HENTITAT. मुदर्शन is a powerful person to whom दुर्योधन is rather an insignificant man He is very thoughtful in his actions Though ordered to kill Duryodhana, he thinks for a while and reminds Krishna of thc purpose of his ergart and tells hım how that purpose would be defeated by killing gefaat NOW The Chamberlain knows the greatness of to and introduces him as gETAH. Later on, to please his master, he says that he was confused What a fine understanding of human psychology' There are many characters in the play who do not actually come to the stage, but, at the same time, leave a deep impression in thc audience They are introduced by the technical device of 311715TH1957 where a character on the stage addresses some one not actually introduced, pretends to hear his answer, and then repeats it for the benefit of the audience By this device the dramatist can avoid the introduction of characters who have little action on the stage, but whose mention helps the development of the plot and characterizat on 1717 has employed this device with great success in this play This is another point in support of the view that this work falls under the classification of पीयी।

·20 INTRODUCTION TO SENTIMENTS Taking itzu as the hero, the predominent sentiment in this play is That, since Krishna's efforts are mainly directed towards establishing & The sentiments of and Braua are also developed to a limited extent There is good humour in the scene where the councillors and curea rise up from their seats in utter confusion when श्रीकृष्ण enters In the binding scene where yra assumes many forms and in the arrival of sia and other weapons, there is excitement and wonder Dhritarashtra's arrival and Krishna's acceptance of his adoration give a happy conclusion to the Play STYLE Bhasa's style is generally simple and sweet, though in some places, it is strained His dialogues are crisp and highly suited for acting He is the one dramatist in Sanskrit whose verses too further the action of the play. Some of his lines are rather ambiguous and that is probably due to the omissions of some words by the editors who prepared to stage versions of his plays SOME CHARACTERISTICS OF SANSKRIT DRAMA Apart 1 All Sanskrit plays begin with a benedictory verse called Frel wherein the dramatist invokes the blessings of his favourite deity आशीर्वचनसयुत्ता नित्यं यस्मात् प्रयुज्यते । देवद्विजनृपादीना तस्मानान्दीति कीर्तिता ॥ [qlanar 5-24) It is recited by the Stage Manager (FETYIT) with a view to please the Gods, and through their favour, remove all obstacles on the way of staging the drama The word ·21 दूतवाक्यम् नान्दी is derived as नन्दन्ति ( देवा सामाजिकाश्च) अस्या (प्रयुकाया) इति नान्दी। In order to show that it is purely a prayer and not a part of the actual story or performance, सूनधार usually leaves the stage after reciting it and comes again to introduce the play In Bhasa's plays, however, the stage direction 'नान्द्यन्ते तत प्रविशति सूत्रधार ' occurs frst and then a verse which resembles a et in every respect, is recited This implies that te regarded some kind of worship or prayer held behind the screen before the entry of सूलधार as नान्दी The opening verses of his works can be taken as war, since they contain a hint to the plot or some main characters यस्मादभिनयोमात्र प्राथम्यादवतार्यते। हेय वागड़ाभिनयात्मकम् ॥ [नाट्यशास्त्रम्-5-27] सूत्रधार ॥ सूत (भरतसूत्र) धरति धारयति च इति सूत्रधार or सून प्रयोगानुष्ठान) धारयति (निर्वाहयति) इति सूत्रधार । He is the stage manager who knows the rules of dramaturgy laid down by tra and as capable of training the actors and conducting the performance It is his duty to see that the performance is conducted without any flaw He comes to the stage only to recite the नान्दी and conduct the स्थापना । स्थापना॥ Every Sanskrit Drama has a prologue where the सूत्रधार antroduces the play and the author to the audience in a brief but effective manner This prologue is called स्थापना-स्थापयति (काभ्यार्थ) इति स्याप्यते or अनया ( काव्यार्थ) इति स्थापना. It is also called प्रस्तावना o आमुखम् । The usual practice of thc) dramatists is to mention their names and the name of the work in the prologue, but he has not ·22 INTRODUCTION TO done it in any of his works Bhasa's prologues are very brief, and in most of them, the trait leaves the stage after introducing the character who is to enter next भरत, भरतवाक्यम्॥ All Sanskrit plays end with a verse expressing a general wish for the welfare of the King and the people This verse is called 70717471 It is recited by one of the actors on the stage in the capacity of an actor and not in the role of the character he represented till then The name taglay is given after the founder of Indian Dramaturgy Every Hindu religious ceremony ends with the expression of (लोका समस्ता सुखिनो भव तु) and T, who elevated the dramatic performance to the status of a rel - gious sacrifice, probably thought it fit to have a similar ending for the dramatic performance also We are not listing here the other characteristics of Sanskrit plays such as विष्कम्भक, प्रवेशक etc since they have no place in maitat i Our idea in writing this introduction is only to help the Readers for a proper understanding and appreciation of this text In conclusion we wish to record our indebtedness to Sri ASP Iyer, MA, I CS Bar at-Law and the Late Mahamahopadhyaya T Ganapati Sastry, whose works have helped us considerably in preparing this Edition 29.-8457 Author ·दूतवाक्य नाटके प्रविष्टानां पात्राणां परिचयः पात्राणि प्रवृत्तिः 1. सूत्रधारः नाटक कथा निर्वाहक: Stage Director 2. काञ्चुकीयः (वादरायणः) द्वौवारिकः मृत्यः Chamberlain 3. दुर्योधनः राजा - कथाप्रतिनायक: 4. वासुदेवः पाण्डवानां दूतः - कथामुख्य नायक: 5. सुदर्शनः वासुदेवस्य चक्रम् 6. धृतराष्ट्रः दुर्योधनस्य पिता - वासुदेवानुग्रहकाङ्क्षी आकाश भापित विधया उक्तानि अन्यानि पात्राणि. 1. द्रोणाचार्यः पाण्डवानां कौरवाणां च भाचार्यः 2. भीष्माचार्यः पाण्डवानां कौरवाणां च पितामहः 3. चिकणः मामन्तराजः - दुर्योधनसमायामंगभूतः 4. यदेवः 5. शकुनिः दुर्योधनस्य मातुल: 6. कर्णः दुर्योधनस्य प्रियमुदत् - अंगदेशस्य राजा 7. दुःशासनः दुर्योधनस्य भ्राता राभायामंगभूतः 8. दुर्मर्पणः 9. दुर्मुखः 10. दुर्बुद्धिः 11. दुष्टेश्वरः 12. शार्ङ्गम् : वासुदेवस्य धनुः - तस्य सहायाघमागतम् 13. कौमोदकी गदा 14. पाचजन्यः 15. नन्दका 16. गरुडः वाहनम् 17. अन्येक्षत्रिया: दुर्योधनसभास्तारा: आकाशभाचित A kind of monologue in which a person on the stage speaks or replied to persons not on the stage or bears soperaatural Toices. " " १ " " " " " " " " " " . " " ·w- ॥ श्रीरामजयम् ॥ । ॐ नमो भगवते वासुदेवाय ॥ महाकवि श्रीभासप्रणीत 'भासनाटकचक्रे' ॥ दूतवाक्यम् ॥ (नान्द्यन्ते ततः प्रविशति सूत्रधारः) सूत्रधार:- पादः पायादुपेन्द्रस्य सर्वलोकोत्सवः स वः । व्याविद्वो नमुचियेन तनुताम्रनखेन खे.॥१॥ एवमार्यमिश्रान् विज्ञापयामि । अये किन्नु खलु मयि विज्ञापनव्यग्रे शब्द इव श्रूयते । अङ्ग! पश्यामि । (नेपथ्ये) भो भोः! प्रतिहाराधिकृताः। महाराजो दुर्योधनः समाज्ञापयति । सूत्रधारः-भवतु, विज्ञातम् । उत्पन्ने धार्तराष्ट्राणां विरोधे पाण्डवैः सह । मन्त्रशाला रचयति भृत्यो दुर्योधनाज्ञया ॥२॥ (निष्क्रान्तः) स्थापना -00-000- (ततः प्रविशति काञ्चुकीयः) काञ्चुकीयः- -भो भोः ! प्रतिहाराधिकृताः ! महाराजो दुर्योधनः समाज्ञापयति- [---अद्य सर्वपार्थिवैः सह मन्त्रयितुमिच्छामि ।

·Sri Ramajayam AMBASSADOR'S MESSAGE -oooo- At the close of the stage worship (Nandı).] (Enter the Stage-Director) Stage Director May that foot of Upendra, the bestower of happiness to the whole world, protect us (the foot) by which, possessed of lender red nails, Namuci was thrown (kicked) up in the sky 1 Thus do I (wish to) inform the honourable gentlemen Ah! What is it? When I am about to make an announcement, a sound is heard, as it were Well, I shalt find out (what it is) (Behind the curtain) Ye men employed at the gate, (please listen)! His majesty, King Duryodhana commands Stage Director -Yes, I have understood In view of the enmity that had arisen berween the sons of Dhritarashtra and those of Pandu, the senant is making arrangements for holding counsel at the cormand of Duryodhana 2 (Exit) PRELUDE. (Enter Chamberlain) Chamberlain -Jemen employed at the gate, (please listen)! His Majesty, hing Duryodhana commands- • Today I wish to take counsel with all the vassal Lings'.

·भासनाटकचके तदाहृयन्तां सर्वे राजान इति । (परिक्रम्यावलोक्य) अये अयं महाराजो दुर्योधन इत एवाभिवर्तते । य एषः,' श्यामो युवा सितदुकूलकृतोत्तरीयः सच्छत्रचामरवरो रचिताङ्गरागः । श्रीमान् विभूपणमणिद्युतिरन्जिताङ्गो नक्षत्रमध्य इव पर्वगतः शशाङ्कः ।।३।। (ततः प्रविशति यथानिर्दिष्टो दुर्योधनः) दुर्योधनः-उद्भूतरोपमिव मे हृदयं सहर्ष प्राप्तं रणोत्सवमिनं सहसा विचिन्त्य । इच्छामि पाण्डवरले वरवारणाना- मुत्कृत्तदन्तमुसलानि मुखानि कर्तुम् ॥ ४ ॥ काञ्चुकीयः-जयतु महाराजः। महाराजशासनात् समानीतं सर्वराजमण्डलम् । दुर्योधनः-सम्यक् कृतम् । प्रविश त्वमवरोधनम् । काञ्चुकीयः- यदाज्ञापयति महाराजः। (निष्क्रान्तः), दुर्योधनः--आयौं वैकर्णवदेवौ ! उच्यताम् अस्ति ममैकाद- शाक्षौहिणीवलसमुदयः। अस्य कः सेनापतिर्भवितुमर्हतीति । किमाहतुभवन्तौ । महान् खल्वयमर्थः । मन्त्रयित्वा वक्तव्य- मिति । सदृशमेतत् । तदागम्यतां मन्त्रशालामेवप्रविशामः ·दूतवाक्यम् So, let all kings be called (Moving about and observing) Oh, here comes His Majesty, King Duryodhana. This king- A dark youth in white silk robe, shining with the royal umbrella and beautiful chowries, anointed nith anguents, and with a body brightened by the lustre of gems in the ornaments; appears like the full-moon in the midst of stars At your (Enter Duryodhana as described aboot). Duryodhana Thinking about the impending festival of war, my mind as though the anger has been cast off, feels delighted. I wish 10 smosh the pessle-lhe fusks on the faces of the best elephants of the Pandava-army. 4 Chamberlain :-Victory to Your Majesty Majesty's command, all the kings have been assembled. Duryodhana ;-Well done. You may go to the harem. Chamberlain :-As it pleases Your Majesty (Exil] Duryodhana :-Honourable Vikarna and Varshadeva, please tell me. I have got a vast force consisting of eleven armies (divisions) Who is fit to be the commander-inchief of this (vast force) ? What do the Honourable Members say? That this being an important matter, an opinion can be crpressed only after due deliberation ? This is worthy of you So picase come; let us cntcr thc councıl hall ·भासनाटकचके आचार्य! अभिवादये! प्रविशतु भवान् मन्त्रशालाम् । पितामह ! अभिवादये । प्रविशतु भवान् मन्त्रशालाम् । मातुल ! अभिवादये। प्रविशतु भवान् मन्त्रशालाम् । आयौँ वैकर्णवदेवौ! प्रविशेतां भवन्तौ । भो भोः सर्वक्षत्रियाः! स्वैरं प्रविशन्तु भवन्तः । वयस्य ! कर्ण ! प्रविशावस्तावत् । (प्रविश्य) आर्य ! एतत् कूर्मासनम् , आस्यताम् । पितामह ! एतत् सिंहासनम् , आस्यताम् । मातुल ! एतच्चर्मासनम् , आस्यताम् । आर्यों वैकर्णवर्षदेचौ ! आसातां भवन्तौ । भो भोः सर्वक्षत्रिया:! स्वैरमासतां भवन्तः । किमिति किमिति महा- राजो नास्त इति । अहो सेवाधर्मः। नन्वयमहमासे । वयस्य कर्ण! त्वमप्यास्व । (उपविश्य) आयौं वैकर्णवर्षदेवौ ! उच्य- ताम्-अस्ति ममैकादशाक्षौहिणीबलसमुदयः। अस्य कः सेनापतिभवितुमर्हतीति । किमाहतुर्भवन्तौ-अत्र भवान् गान्धारराजो वक्ष्यतीति । भरतु, गातुलेनाभिधीयताम् । किमाह मातुल:--अत्र भाति गाङ्गेये स्थिते कोऽन्यः सेनाप- तिर्भवितुमर्हतीति । सम्यगाह मातुलः । भवतु भवतु, पितामह एव भवतु । वयमप्येतदभिलपामः । सेनानिनादपटहस्वनशहनादै- . श्वण्डानिलाहतमहोदधिनादकल्पः ।

·दूतवाक्यम् Preceptor! I bow to thee, please enter the councilhall, Grandsire! I salute, may you enter the councilchamber Honourable Vikarna and Varshadeva ! You two, please enter Oh, Kshatriyas' All of you enter freely (unhesitatingly ) Friend Karna! let us enter (together) (Entering) Preceptor! Here is the tortoise seat, please be seated Grand father! Here is your lion seat please Occupy Uncle ! Here is your leather seat, please sit down Honourable Vikarna and Varshadeva! Take your seats Ye all Kshatriyas' Please be seated comfortably You too, What ? What do you mean)? That the king has not taken his seat? Ah' (what an exhibition of) loyalty Well we will take our scat Friend harna please sit down (Sitting) Honourable Vakaroa and Varshadeva, I have got a vast force consisting of eleven armies ( divisions) Please tell me who Is fit to be (appointed as the commander in chief of this (sast force) 7 What do you say That the Respectable King of Gandhara (saluni) will tell? Well let my uncle speak Whal say you, uncle That who else is fit to be the commander of the arms when the son of Ganga (Bhishma) is herc Welt sand uncle, let it be Le grand father alonc be (thic commander) c 100 **sh the same ·भासनाटकचके गाङ्गेयमूर्ति पतितरभिपेकतोयैः साधं पतन्तु हृदयानि नराधिपानाम् ॥५॥ (प्रविश्य) काल्चुकीयः-जयतु महाराजः। एप खलु पाण्डवस्कन्धोवाराद् दौत्येनागतः पुरुषोत्तमो नारायणः । दुर्योधनः-मा तावद् भो बादरायण! किं किं कंसभृत्यो दामोदरस्तव पुरुषोत्तमः १ स गोपालकस्तब पुरुषोत्तमः ? बाहद्रथापहृतविपयकीर्तिभोगस्तव पुरुषोत्तम ? अहो पार्थिवासन्नमाश्रितस्य भृत्यजनस्य समुदाचारः । सगर्व खल्वस्य वचनम् । आ अपध्वंस । (काञ्चुकीयः--प्रसीदतु महाराजः। संभ्रमेण समुदाचारो विस्मृतः पादयोः पतति) (दुर्योधनः-संभ्रम इति । आ मनुष्याणामस्त्येव संभ्रमः । उत्तिष्टोत्तिष्ठ काञ्चुकीयः-अनुगृहीतोऽस्मि । दुर्योक्नः इदानीं प्रसन्नोऽस्मि । क एप दूतः प्राप्तः ? कान्चुकीयः-दूतः प्राप्तः केशवः । दुर्योधनः-केशव इति । एवमेष्टव्यम् । अयमेव समुदाचारः । भो भो राजानः । दौत्येनागतस्य केशवस्य किं युक्तम् ? . .

·दूतवाक्यम् May the hearts of the enemy hings sink when the consecrated waters are poured on the head of Bhishma (son of Ganga), amidst the (deafening) sounds of the armies (soldiers), drums and conches which resemble the roar of the occean agitated by a storm S (Enter) Chamberlain -Victory to Your Majesty Here is Narayana, the best of men, come as an Ambassador from the camp of the Pandavas Duryodhana - Don't say so Badarayana! Is Damodara, the servant of Kamsa, your best of men ? Is that cow-boy a best of men to you? Is he your best of men who was deprived of all his lands, fame and pleasures (wealth) by the son Brihadratha (Jarasandha)? Oh ! What conduct is this on the part of a servant who serves the king closely? Insolent are his words Ah 1 You perish Chamberlain --Pardon, pardon, Your Majesty The proper etiquette was forgotten in my confusion (ralls al his feet) Duryodhana -You say confusion ? Well liable to confusion Rise up, rise up Chamberlain -I have been forgiven Duryodhana --Now I am pleased (Tell me) Who is this envoy that has come? Chamberlain -Kesava, the messenger has come Duryodhana --(You say) Kesava ? This is desirable This alone is the proper etiquette Oh! princes? What is the proper thing to do with Kesava who has come as an ambassador? men are

·“१०
भासनाटकच
किमाहुर्भवन्तः - अर्ध्यप्रदानेन पूजयितव्यः केशव इति ? न मे
रोचते | ग्रहणमस्यात्र हितं पश्यामि ।
ग्रहणमुपगते तु वासुभद्रे
हृतनयना इस पाण्डवा भवेयुः।
गतिमतिरहितेपु पाण्डवेषु
क्षितिरखिलापि भवेन्ममासपत्ना ॥६।.
अपि च योऽत्र केशवस्य प्रत्युत्थास्यति स मया द्वादश.
सुवर्णभारेण दण्ड्यः । तदप्रमत्ता भवन्तु भवन्तः। (आत्मगतम्)
कोनु खलु इदानीं ममाप्रत्युत्थानस्योपायः। हन्त ! दृष्ट
उपायः । (प्रकाशम्) बादरायण! आनीयतां स चित्रपटो ननु,
यत्र द्रौपदीकेशाम्बराबकर्षणमालिखितम् । (आत्मगतम्)
तस्मिन् दृष्टिविन्यासं कुर्वन् नोत्थास्यामि केशवस्य ।
काञ्चुकीयः--यदाज्ञापयति महाराजः । (निष्क्रम्य प्रविश्य)
जयतु महाराजः । अयं स चित्रपटः ।
दुर्योधनः----ममाग्रतः प्रसारय ।
काञ्चुकीयः- यदाज्ञापयति महाराजः । (प्रसारयति)
दुर्योधनः-अहो दर्शनीयोऽयं चित्रपटः । एष दुश्शासनो
द्रौपदी केशहस्ते गृहीतवान् । एपा खलु द्रौपदी,
दुःशासनपरामृष्टा सम्भ्रमोत्फुल्ललोचना।
राहुयक्त्रान्तरगता चन्द्रलेखेव शोभते ॥ ७ ॥

·दूतवाक्यम् What do you say? That Kesava should be honoured with offerings of Arghya ? I don't like it I consider it better to take him a prisoner I'hen Vasudeva is taken prisoner, the Pandavas will lose their eye sight, as 11 were Thus, when they beconie destitute of their refuge and gude, the n hole world, cleared of enemies, will be mme 6 Moreover, if any one will rise up (from his seat) to Teceive Kesava, he will be fined by me with twelve weights of gold (or twelve gold coins) All of you be steady (To himself ) What is the way to avoid myself getting up? Ah ! A way has been found (Aloud) Badarayana Bring that canvas portrait in which Draupad, has been painted in the act of being dragged by her hair and cloths (To himself ) Remaining absorbed by looking at it, I will not rise up for (receiving) Kesaya Chamberlain -As Your Majesty commands (Going out and entering) Victory to Your Majesty Here is that portrait Duryodhana --Spread it (there) before me Chamberlain -As Your Majesty commands (Spreads out) Duryodhana -Ah! What a splendid (worth sec.ng) picture Here is Dussasuna seizing Draupadi by her beautiful locks Here is Draupadi- Seized by Dussasana and her eyes "sde open in confusion, (she) shines like the digil of the moon caught berneen the 15 of Rahu ·१२ भासनाटकचन एप दुरात्मा भीमः सर्वराजसमक्षमवमानितां द्रौपदी दृष्ट्वा प्रवृद्धामर्पः सभास्तम्भं तुलयति । एष युधिष्ठिरः, सत्यधर्मघृणायुक्तो द्यूतविम्रष्टचेतनः । करोत्यपाङ्गविक्षेपैः शान्तामर्ष वृकोदरम् ॥ ८॥ एप इदानीमर्जुनः, रोपाकुलाक्षः स्फुरिताधरोष्ठ- स्तृणाय मत्वा रिपुमण्डलं तर . उत्सादयिष्यन्निव सर्वराज्ञः शनैः समाकर्षति गाण्डिवज्याम् ॥ ९॥॥ एप युधिष्ठिरोऽर्जुन निवारयति । एतौ नकुलसहदेवी, कृतपरिकरबन्धी चर्मनिविंशहस्ती परुपितमुखरागौ स्पष्टदष्टाधरोष्ठौ विगतमरणशकौ सत्वरं भ्रातरं मे हरिमिव मृगपोतो तेजसाभिप्रयातौ ॥ १० ॥ एप युधिष्ठिरः कुमारावुपेत्य निवारयति- नीचोऽहमेव विपरीतमतिः कथं वा रोष परीत्यजतमद्य नयानयज्ञौ । ताधिकारभवमानममृष्यमाणाः सत्याधिकेषु वचनीयपराक्रमाः स्युः ॥ ११ ॥ इति । एप गान्धारराजः, ·दूतवाक्यम् Here is the wicked Bhima, infuriated at the sight of Draupadı being molested in the presence of so many kings, measuring (in his mind) the pillar of the assembly hal] This Yudhishthira, Possessed of truth, righteousness and disgust (pity), with his intellect shrouded (lost) as a result of (defeat in) gambling, subdues the fury of Vrikodara with (significant) side-glances 8 Now this Arjuna, With his ejes red in anger and the lower lip shivering, cons dering that great circle of kings as (insignificant as) straw, slowly draws the string of Gandua, intent, as it were, 10 annihilate all the kings 9 Here is Yudhishthira preventing Arjuna Here are Nakula and Sahadeva With their robes tied up, taking the shield and sword in hand, 311th their faces rendered red (in anger), biting their loner lips and unmındfull of death, (they) suddenly march with a display of valour against my brother, like to Joung deer (niarching) against a lion 10 Here is Yudhishthira approaching the young boys and restraining them (saying) - I am really a wretch. Otherwise hot could my intellect be so peneried ? Endowed with the knowledge of the right and wrong ( policies), you should control your rage. Intolerant of the disgrace caused by gambling, you may subject your jalour for condemnation in the mdst of ponerful heroes Here is the king of Gandhara ·१४ भासनाटकचके अक्षान् क्षिपन् स कितवः प्रहसन् सगर्व सङ्कोचयनिय मुदं द्विपतां स्वकीया॑ । स्वैरासनो द्रुपदराजसुतां रुदन्ती काक्षेण पश्यति लिस्वत्यपिगां नयज्ञः ॥ १२ ॥ एतावाचायपितामही तां दृष्ट्वा लजायमानौ पटान्तान्त- हितमुखौ स्थितौ । अहो अस्य वर्णाढ्यता । अहो भावोप- पन्नता। अहो युक्तलेसता । सुव्यक्तमालिखितोऽयं चित्रपटः । प्रीतोऽसि । कोन ? काञ्चुकीयः--जयतु महाराजः । दुर्योधनः-वादरायण (आनीयतां स विहगाहनमावविसितो काञ्चुकाय:~-यदानापयति महाराजः । (निष्क्रान्तः) दुर्योधनः-वयम्य कर्ण ! प्राप्तः किलाय वचनादिह पाण्डवानां दौत्येन भृत्य इस कप्पमतिः स कृष्णः । श्रोतुं मसे ! त्वमपि मअप कणे ! कणी नारीमृनि वचनानि युधिष्ठिरस्य ॥ १३ ॥ (ततः प्रविशति यासुदेवः काम्चुकीयध) वामुदेवः-अप पलु धर्मगजपचनाद् धनञ्जयात्रिममित्रतया चादवदर्पमनुस्याहि गुयोधन प्रति मयाप्यनुनितीत्य- ममयोऽनुष्टिनः । अपच,

·दूतवाक्यम्
That clever gambler, the scheming politician, casting
the dice and laughing proudly, makes the enemies unhappy,
as 11 were, by means of his glory, and sitting at ease, he
is casting a malicious loof at Draupadi and is scribbling
(something) on the ground (with’lus dice)
12
Here are the preceptor and grandfather (Drona and
Bhishma), ashamed to see her (in that plight), sitting with
their faces hidden by the ends of their cloths What rich
colours! What wonderful expression! What fine drawing
Well drawn is this picture I am pleased Who is there?
Chamberlain :--Victory to your Majesty
Duryodhana -Let that messenger, puffed up simply
because he rides a bird, be brought in
Chamberlain -As your Mejesty commands (Ex11]
Duryodhana -Friend Karna!
Tha en minded Krishna has come non at the b dding
of Pandavas, like a slave Comrade you prepare your ears
10 hear Yudhishthira s words, as genile as those of a woman
(Enter Vasudeva and Chamberlain)
Vasudeus -On the request of Yudhishthua and owing
to my sincere friendship for Arjuna, I have taken up
to day the most unpleasant job of envoy to
Duryodhana, who is itching for war and who would not
listen to my words Moreover,
an

·भासनाटकचक्रे कृष्णापराभवभुवा रिपुवाहिनीभ- कुम्भस्थलीदलनतीक्ष्णगदाधरस्य । भीमस्य कोपशिखिना युधि पार्थपत्रि- चण्डानिलैश्व कुरुवंशवनं विनष्टम् ॥ १४ ॥ इदं सुयोधनशिविरम् । इह हि, आवासाः पार्थिवानां सुरपुरसदृशाः खच्छन्दविहिता विस्तीर्णाः शस्त्रशाला बहुविधकरणैः शस्त्रैरुपचिताः । हेपन्ते मन्दुरास्थास्तुरगवरघटा हन्ति करिण ऐश्वर्य स्फीतमेतत् स्वजनपरिभवादासभरिलयम्॥१५॥ भोः। दुवादी गुणद्वेपी शठः स्वजननिर्दयः । सुयोधनो हि मां दृष्ट्वा नैव कार्य करिष्यति ॥ १६ ॥ भो बादरायण! किं प्रवेष्टव्यम् ? कान्चुकीयः-अथकिमथकिम् । प्रयेष्टुमर्हति पद्मनाभः । यासुदेव --(पविश्य) कथं कथं मां दृष्ट्वा संभ्रान्ताः सर्वक्षत्रिया। अलमलं संभ्रमेण । स्वरमासतां भवन्तः । दुर्योधनः-कथं कथं केशवं दृष्ट्या संभ्रान्ताः सर्वक्षत्रियाः । अलमलं संभ्रमेण। म्मरणीयः पूर्वमाश्रावितो दण्डः । नन्वमानप्ता।

·FUE दूतवाक्यम् The fire of Bhima's a iger, who wields a mace strong enough to break the temples of elephants in the enemy armies, kindled by the outrage of Krishna (Draupadi) and (fanned) by the winds of Arjuna s arrows, will soon consume this forest of Kuru's family 14 This is the camp of Duryodhana Herein, The kings are provided with splendid tents (houses) as in the city of gods, the extensive armouries are filled with weapons of various descriptions, troops of noble steeds neigh (impatiently) in thstables and the elephants grunt all this great affluence is to vanish shortly as a result of insulting kinsmen 15 Alas! On seeing me, this D iryodhana who is evilspeaking, virtue hating, deceitful and cruel to kinsmen, will never do the right thing 16 Oh! Badarayana, shall I enter? Chamberlain - Yes, Padmanabha may enter Vasudeca -(Entering) How is it that all the Kshatriyas are confused on seeing me? Don t get disturbed Pleasc sit at ease Duryodhana --What is this? Why all shatriyas are confused at the sight of Kesaya ? Dont be confused Remember the fire already announced I am here the master ·भासनाटकचके वासुदेवः-(उपगम्य) भो सुयोधन ! किमास्से । दुर्योधनः-(आसनात् पतित्वा आत्मगतम् ) सुव्यक्तं प्राप्त एव केशवः । उत्साहेन मतिं कृत्वाप्यासीनोऽस्मि समाहितः । केशवस्य प्रभावेन चलितोऽस्म्यासनादहम् ॥ १७ ॥ अहो बहुमायोऽयं दूतः। (प्रकाशम्) भो दूत ! एतदासनमा- स्यताम् । वासुदेवः-आचार्य | आस्यताम् । गाङ्गेयप्रमुखा राजानः । स्वैरमासतां भवन्तः। वयमप्युपविशामः । (उपविश्य) अहो दर्शनीयोऽयं चित्रपटः । मा तावत् । द्रौपदीकेशाम्बरा- कर्मणमत्रालिखितम् । अहोतुखलु, सुयोधनोऽयं म्वजनापमानं पराक्रमं पश्यति बालिशत्वात् । को नाम लोके स्वयमात्मदोपमुद्धाटयेनष्टघृणः समासु ॥१८ आः। अपनीयतामेप चित्रपटः । दुर्योधनः-बादरायण! अपनीयतां किल चित्रपटः । काञ्चुकीयः-यदानापयति महाराजः । (अपनयति) दुर्योधनः-भो! दूत! धर्मात्मजो वायुमुतश्च भीमो भ्रातार्जुनो मे त्रिदशेन्द्रमनुः । यमीच तावधिसुती विनीती सर्वे मभृत्याः कुमलोपपमाः॥१९ ·दूतवाक्यम् Vasudeva --(Coming near) Hullo Suyodhana, how are you? Duryodhana (Falling from his seat, to himself) Certainly, Kesava has come Boldly I made up my mind (not to rise up) and firmly I sat down But by the power of Kesava, I have been displaced from my seat 17 Eh! This Ambassador has many tricks (Aloud) Messenger ! Here is the seat for you, please sit down Vasudeva - Preceptor ! Please take your seat, Bhishma and other princes' Please sit down We too shall take our seat (Sitting) Beautiful indeed is this picture No, it is not Draupadi is painted here in the act of being dragged by her hair and clothes What a pity! This Suy odhana, in his childishness, thinks thar the disgracing of a kin is an act of valour Which (decent) man on earth, with no sense of shame, expose his own crime In Public assemblies ? 18 Ah Let this picture be removed Duryodhana --Badarayana Let the picture bo removed Chanbalar -As Your Majesty commands (Romeurs) Duryodhang -Ehl Ambassador, I hope my brother (Yudhishthira), the son of Dharma, Bhima the son of Vayu, Arjuna the son of Derendra, and the well-behored twins the sons of Aswins, all of them with their dependents, are doing well 19 ·२० भासनाटकचके वासुदेवः-सदृशमेतद् गान्धारीपुत्रस्य । अथकिमथकिम् । कुशलिन सर्वे। भवतो राज्ये शरीरे बाह्याभ्यन्तरे च कुशल- मनामयं च पृष्ट्वा विज्ञापयन्ति युधिष्ठिरादयः पाण्डवाः- अनुभूतं महद् दुखं संपूर्णः समयः स च । अस्माकमपि धयं यद् दायायं तद् विमज्यताम् ॥२०॥ दुर्योधनः-कथं! कथं! दायाद्यमिति । भोः, वने पितृन्यो मृगयाप्रसंगतः कृतापराधो मुनिशापमाप्तवान् । तदाप्रभृत्येव स दारनिःस्पृहः परात्मजानां पितृतां कथं प्रजेत् ॥ २१ ॥ वासुदेवः-पुराविदं भवन्तं पृच्छामि । विचित्रवीर्यो विषयी विपत्ति क्ष्येण यातः पुनरम्बिकायाम् । व्यासेन जातो धृतराष्ट्र एप लमेत राज्यं जनकः कथं ते ॥ २२ ।। मा मा भयान्, एवं परस्परविरोधविमर्षनेन शीघ्रं भवेन पुस्तुलं नृप! नामशेपम् ।

·दूतवाक्यम् Vasudeva –This kind enquiry is worthy of you, the son of Gandhari Yes, they are all well After enquiring of your health and happiness in the body and kingdom, both inside and outside, Yudhishthira and other sons of Pandu communicate to you We have undergone infinite sufferings That stipulated time has also passed So, let our rightful share in the inheritance be gren to us 20 Duryodhana - What! What! Inheritance ! Eh ! My paternal uncle has cursed by a sage for a crime committed while hunting in the forest From that day onu ards, he left all desire for conjugal relations with his wives How can he be claimed as the father, bi thore who are the sons of others? 27 to be well versed in family Vasudeda You seem history I ask you Victravinya, being a voluptuar), died of consumption (without leaving any issue) Then hox could your father Dhritarashiro, born of 1 jasa by Ambiha, succeed to his Kingdom ? 22 Please don't (bring forward such crooked arguments) Thus by nating of mutual enmin, Olling, the family of Auru will soon be but a name, so, I! proper on your part to forget the spile anul act according to the offcctionare appeal of the Pandaras ·૨૨ .. भासनाटकचके तत् कर्तुमर्हति भवानपकृत्य रोप यत् त्वां युधिष्ठिरमुखाः प्रणयात् ब्रुवन्ति ॥२३॥ दुर्योधनः-भो दूत ! न जानाति भवान् राज्यव्यवहारम् । राज्यं नाम नृपात्मजैः सहृदयैर्जित्वा रिपून् भुज्यते तल्लोके न तु याच्यते न तु पुनर्दीनाय वा दीयते । काङ्क्षा चेन्नृपतित्वमाप्तुमचिरात कुर्वन्तु ते साहस स्वैरं वा प्रविशन्तु शान्तमतिभिर्जुष्ठं शमायाश्रमम् ॥२४॥ वासुदेवः--भोः सुयोधन ! अलं बन्धुजने परुषमभिधातुम् सि पुण्यसञ्चयसम्प्राप्तामधिगम्य नृपश्रियम् । १- (वञ्चयेद् यः सुहृद्वन्धून् स भवेद् विफलश्रमः ॥२५॥ दुर्योधनः-भो दूत, स्यालं तव गुरो पं कंसं प्रति न ते दया। QL (कथमस्माकमेचं स्यात् तेषु नित्यापकारिषु ॥ २६ ॥ वासुदेवः - अलं तन्मद्दोपतो ज्ञातुम् । कृत्वा पुत्रवियोगाता बहुशो जननी मम । वृद्धं स्वपितरं यद्वा हतोऽय मृत्युना स्वयम् ॥ २७ ॥ दुर्योधनः-सर्वथा वञ्चितस्त्वया कंमः । अलमात्मस्तवेन । न शौर्यमेतत् । पश्य, जामातृनाशव्यसनाभितप्ते रोपाभिभूते मगधरेऽथ ।

·दूतवाक्यम् । 23 Duryodhana EhEnvoy, you do not know politics. Kingship is got (enjoyed) only by brave princes who conquer their enemies It is never begged for, nor is it given in charity to the weakling If they are anxious to become kings, let them fight before it is too late Or, if they want peace, let them go to the hermitage resorted to 24 by sages Vasudeva -Oh ! Suyodhana. Don't be harsh in dealing with (or speaking about) your kinsmen Having got the royal fortune obtainable by means of Tood deeds of the past, one who cheats his friends and relations, will fail in all his undertakings 25 Duryodhana - Eh! Ambassador! You had no mercy for king Kanisa who was your father's brother-in-law How can we have it touards the Pandavas who have aluajs wronged us ? 26 Vasudeva - Don't take it (killing of Kamsa) as my fault + Causing misery to m mother, hy killing her babies repeatedly, and imprisoning his ofn aged father, he was Ailled by Death hinsell (for his crimes) 27 Duryodhana -Whitever you may say, Kamsa was really cheated by you Enough of your self praiso (boasting) That was not bravery Look When Jarasandha (the king of Ifugadha) was angered, heing aggrieved by the death of his son in-law (Kamsa), ·भासनाटकचके पलायमानस्य भयातुरस्य शौर्य तदेतत् क गतं तवासीत् ॥ २८ ॥ वासुदेव:-भोः सुयोधन । देशकालावस्थापेक्षि खलु शौर्य नयानुगामिनाम् । इह तिष्ठतु तावदस्मद्गतः परिहासः । स्वकार्यमनुष्ठीयताम् । कर्तव्यो भ्रातृपु स्नेहो विस्मर्तव्या गुणेतराः। सम्बन्धो बन्धुभिः श्रेयान् लोकयोरुभयोरपि।। २९ ।। दुर्योधनः-देवात्मजैर्मनुष्याणां कथं वा बन्धुता भवेत् ।। पिटपेपणमेतावत् पर्याप्त छिद्यतां कथा ॥ ३० ॥ वासुदेवः-~~(आत्मगतम्) प्रसाद्यमानः साम्नायं न स्वभाव विमुञ्चति । 28. (हन्त संक्षोभयाम्येनं वचोभिः परुपाक्षरैः ॥ ३१ ॥ (प्रकाशम्) भोः सुयोधन ! किं न जानीपेऽर्जुनस्य वलपराक्रमम् । दुर्योधनः-न जाने। वासुदेवः-भो । श्रूयता, कैरागं वपुरास्थितः पशुपतियुद्धेन संतोपितो वहः खाण्डवमश्नतः सुमहती घृष्टिः शरैइछादिता। देवेन्द्रास्किरा निवातकवचा नीताः क्षयं लीलया नन्वेकेन तदा विराटनगरे भीमादयो निर्जिताः ॥३२॥ अपिच, तथापि प्रत्यक्षमपरं कथयामि । , ·दूतवाक्यम् where has your bravery gone when you fled, sich nuth fear? 28 Vasudeda - Suyodhana! The bravery of those who persue the path of policy is suited to the time and place (circumstances) Let the ridicule concerning me stop with this You do your duty You please love your brothers and forget all their Hrongs (faults) Alliance with kinsmen is good both foi this World and the Next 29 Duryodhana- Ilow can there be kinship between the sons of gods and mortals' Enough of your beating about the bush (grinding what is already ground) Please stop talking about it 30 Vasudeda (To himsel) He won't change his (arrogant) nature nhen appeased Yes I will now prosoke him with harsh words 31 (Aloud) Suyodhana' Dont you know the might and valour of Arjuna? Duryodhana -I don't know Vasudeta Eh' Please hear In fight, he pleased Sua (Pasupati) who came i the disguise of a hunter He held of a heavy shower of rain by his arrows, when fire was consuming the Khandana forest Hith case, he wiped of Noatakan achas who caused afliction 10 Desendra Singlehanded he defeated Bhishnia and others in the city of I arata 32 I will tell you one more incident which you have personally witnessed (experienced) ·भासनाटकचके ननु त्वं चित्रसेनेन नीयमानो नभस्तलम् । विक्रोशन् घोपयात्रायां फल्गुनेनैव मोक्षितः ॥ ३३ ॥ कि बहुना, दातुमर्हसि मद्वाक्याद् राज्याधं धृतराष्ट्रज ! अन्यथा सागरान्तांगां हरिष्यन्ति हि पाण्डवाः॥३४॥ दुर्योधनः-कथं कथम् । हरिष्यन्ति हि पाण्डवाः । प्रहरति यदि युद्धे मारुतो भीमरूपी प्रहरति यदि साक्षात् पार्थरूपेण शक्रः। . परुषपचनदक्ष! त्वद्वचोभिर्न दास्ये तृणमपि पितृभुक्त वीर्यगुप्ते स्वराज्ये ॥ ३५ .. चासुदेवः-भोः कुरुकुलकलभूत ! अयशोलुब्ध ! वयं किल तृणान्तराभिभापकाः। दुर्योधनः--भो गोपालक! तृणान्तराभिभाष्यो भवान् । अवध्यां प्रमदां हत्वा हयं गोवृपमेव च । मल्लानपि सुनिलजो वक्तुमिछसि साधुभिः ॥ ३६ ॥ वासुदेवः-भोः सुयोधन ! ननु क्षिपसि माम् । दुर्योधनः-ननु सत्यमेवैतत् । वासुदेवः-गच्छामि तावत् । दुर्योधनः-गच्छ गच्छ ! पशुसुरोद्धतरेणुरूपिताको ब्रजमेय)। विफलीकतः कालः।

·the sky force दूतवाक्यम् Ruo During your (inspection) tour of hamlets (Ghoshayarra), you were set free by that Phalguna (Arjuna), when you cried (for help) being carried away by Chitrasena in 33 Why speak much Oh, son of Dliritarashtra, on my word, give (the Pandavas) half of the kingdom, or else, they will take the whole earth, extending from sea to sea, by 34 What (say you)? The Pandavas will seize (my kingdom) Even if the wind god fights in the battle in the form of Bhima, even if Indra himself fights in the form of Arjuna, Ohi on adept in using harsh words? I say that I won't give even a blade of grass from the kingdom held by my father and protected by my valour Vasudera --You disgrace of the Kuru race, seeker of infamy, are we talking about grass now ? Duryodhana -Oh ! Cow herd, you are fit to be add- Tessed only through (or about) grass With no sense of shame for having slain a woman' whose killing is prohibited, a horse, a sacred bull and the professional wrestlers, you wish to with good men (like me) ? 36 Vasudeva -Suyodhana, you are insulting me Duryodhana -What I say is true Vasudeva -Then, I return Duryodhana --Go You go to the cow pen with your body smeared with the dust raised by the hoofs of cons You have wasted my time .35 converse ·२८ भासनाटकचके वासुदेव:-एवमेवास्तु । न वयमनुक्तसन्देशा गन्तुमिछामः। तदाकर्ण्यतां युधिष्ठिरस्य सन्देशः। दुर्योधनः---आः अभाप्यस्त्वम् । अहमवधृतपाण्डरातपत्रो द्विजवरहस्तधृताम्खुसिक्तमूर्धा । अवनतनृपमण्डलानुयात्रैः सह कथयामि भवद्विधर्न भापे ॥ वासुदेवः-न व्याहरति किल मां सुयोधनः । भोः ! शठ! बान्धपनिास्लेह! काक ! केकर! पिङ्गल ! त्वदर्थात् कुरुवंशोऽयमचिरानाशमेष्यति ॥ ३. भो भो राजानः ! गच्छामस्तावत् । दुर्योधन --कथं यास्यति किल केशयः। दुःशासन ! दुर्मर्पण! दुर्मुख ! दुर्बुद्धे! दुष्टेश्वर! दतममुदाचारमतिक्रान्तः केशवो बध्यताम् । कथमशक्ताः । दुःशासन ! न समर्थः खल्वसि । करितुरगनिहन्ता कंसहन्ता स कृष्णः पशुपकुलनिगरामादानुजीच्यानभिज्ञः । हुतभुजबलवीर्यः पार्थिवानां समक्षं स्ववचनकृतदोषो वध्यतामेप शीघ्रम् ॥ ३९ ॥ अयमशक्तः। मातुल ! वध्यतामयं केशवः। कथं पराङ्मुखः पतति । भवतु, अहमेव पाशनामि । (पाशमुद्यम्योपमर्पति) ·दूतवाक्यम् Vasudeva --Let it be so We do not wish to go without delivering the message So, please hear the message of Yudhishthira Duryodhana You are unfit for being spoken to by me When the royal white umbrella held Oxer the head that was sprinkled with holy waters from the hands of highest Brahmins, I affirm that I will not speak to men like you who are (merely) the followers (servants) of my vassal kings 37 Vasudeva -Suyodhaga will not talk to me! You cheat, you unkind to kinsmen, you squintered crow, you yellow monkey! On account of you, the Kuru race is going 10 perish before long. 38 Oh Princes I we take leave Duryodhana - What? Now he would be off Dussasana, Durmarshana, Durmukha, Durbuddhe Dushteswara! Kesava has misused the privilege of an ambassador Bind him Why, you all fail 1 Dussa sana are you not strong enough? This Krishna, the killer of an clephant, a llorst and hamsa, untrained the proper behaviour of senants as a result of his stay with cols herds, and deprned of his strength and salour (by Jarasandha), has insulied us in the presence of these kings him be fortered soen 3y Hcis unabic Uncle, you bind this Kesava Oh ! He turns back and falls down Well, I myself will bind hin with a noosc (Proceeds with uplified noose) ·alu . ३० भासनाटकचके वासुदेवः-कथं भवितुकामो मां किल सुयोधनः । भवतु,, सुयोधनस्य सामर्थ्य पश्यामि । (विश्वरूपमा स्थितः) दुर्योधनः-भो दूत! सृजसि यदि समन्ताद् देवमायाः स्वमायाः प्रहरसि यदि वा त्वं दुनिवारैः सुराः । हयगजवृपभाणां पातनाजातदो नरपतिगणमध्ये वध्यसे त्वं मयाद्य ॥ ४० ॥ आ: तिष्ठेदानीम् । कथं न दृष्टः केशवः । अयं केशवः । अहो हस्वत्वं केशवस्य । आः तिष्ठेदानीम् । कथं न दृष्टः केशवः । अयं केशवः । अहो दीर्घत्वं केशवस्य । कथं न दृष्टः केशवः । अयं केशवः । सर्वत्र मन्त्रशालायां केशवा भवन्ति । किमिदानीं करिष्ये । भवतु, दृष्टम् । भो भो राजानः ! एकेनैकः केशवो बध्यताम् । कथं स्वयमेव पाशैद्धाः पतन्ति राजानः । साधु भो जम्भक ! साधु । मत्कार्मुकोदरविनिःसृतपाणजाले- चिद्धक्षरत्क्षतजरन्जितसर्वगात्रम् । पश्यन्तु पाण्डुतनयाः शिविरोपनीतं त्वां बाप्परुद्धनयनाः परिनिःश्वसन्तः ॥ ४१॥ (निष्क्रान्तः) ·दूतवाक्यम् 32 Vasudeva -Ah ! Duryodhana wants to fetter me.. Well, I will test his ability (Assumes his Universal form) Duryodhona-Eh Ambassdor! Puffed up with pride by killing a horse, an elephant and a bull, even if you exhibit divine niagic all round, or play your own incks, or strike with Irresistible divine missiles you will be fettered by me in the presence of these princes 40 stay there AbStop there Why Kesava is not found ? Here Is Kesava Oh! the shortness of Kesava! Now, you Why (again) Kesava is not seen? Here is Kesava Oh! The loftiness of Kesava! , Where Kesava has disappeard (again)? Herc is Kesava There are many Kesavas seen everywhere in the council hall What shall I do now? Well, (I have) discovered (a plan) Ye princes ! let each one of you bind one Kesava How is it that the kings fall down, themselves being bound in their own bonds? Well done, Oh Magician! Well done Let the Pandavas, with their eyes filled with tears and heaving deep sighs, see you taken to their camp, your whole body smcared with blood and wounded by the multitudes of агон discharged from my box [Exu] ·३२ भासनाटकचके वासुदेव -भरतु, पाण्डवानां कार्यमहमेन साधयामि । भो!! सुदर्शन ! इतस्तार । (तत प्रविशति सुदर्शन) सुदर्शन -एप भोः! श्रुत्वा गिरं भगरतो पिपुलप्रसादा- निर्धारितोऽस्मि परिसारिततोयदौधः । कस्मिन् खलु प्रकुपितः कमलायताक्षः कस्याद्य मूर्धनि मया प्रविजृम्भितव्यम् ॥ ४२ ॥ क्कनुखलु भगवान् नारायणः । अव्यक्तादिरचिन्त्यात्मा लोकसंरक्षणोद्यतः । एकोऽनेकरपुः श्रीमान् द्विपद्लनिषूदनः ॥ ४३ ॥ (विरोक्य) अये अय भगनान् हस्तिनपुरद्वारे दूतसमुदाचारे णोपस्थितः । कुतः खल्वापः, कुतः खल्लापः । भगति आकाशगङ्गे । आपस्तावत् । हन्त स्रपति । (आचम्योपसृत्य) जयतु भगवान् नारायणः । (प्रणमति) वासुदेव -सुदर्शन ! अप्रतिहतपराक्रमो भव । सुदर्शन ----अनुगृहीतोस्मि। चासुदेव -दिष्ट्या भवान् कर्मकाले प्राप्तः । सुदर्शन -कथ कथ कर्मकाल इति । आज्ञापयतु भगवाना ज्ञापयतु । .

·दूतवाक्यम् Vasudeva –Well, I myself will do the work of the Pandavas Oh Sudarsana' come here (Enter Sudarsana). Sudarsana I am here- On hearing the call of the Lord, I have hastened (10 this place), breaking the clouds by mºans of his great favour Against whome the anger of the lotuseyed (Lord) as directed ? Oa whose head shall I have to use my supreme power ? 42 Where is my Lord, Narayana ? Who is the source of tho unminifest (Prakrını), whose form is incomprehonsible, w 10 is engaged in th* protection of the world, wo, though one, assum's several forms, and who, possessing great splendour, is the destroyer of the enemy force (Seeing) Here is the Lord staying at the entrance of Hastinapura as an amussador Wagre can I get water ? Oh Goddess, the Ganges of heaven! Favour me with water Hal (water) flows (Sipping and going near) Victory 10 Lord Narayana, (Falls at his feet) Vasudca - May your valour bc irresistible Sudarsana -Blessed am I l'asudeva Fortunately, you have come just in time for action, What is it? Please Sudarsana -Time for action ? command, my Lord.

·३४ भासनाटकचके कि मेरुमन्दरकुलं परिवर्तयामि संक्षोभयामि सकलं मकरालयं वा । नक्षत्रवंशमखिलं भुवि पातयामि नाशक्यमस्ति मम देव! तव प्रसादात् ॥ ४४ ।। वासुदेवः-भोः सुदर्शन ! इतस्तावत् । भोः सुयोधन ! यदि लवणजलं वा कन्दरं वा गिरीणां ग्रहगणचरितं वा वायुमार्ग प्रयासि । मम भुजबलयोगप्राप्तसंजातवेगं P... अवतु चपल ! चक्र कालचक्रं तवाय॥ ४५ ॥ सुदर्शन:-भोः सुयोधनहतक! तिष्ठ तिष्ठ । (पुनर्विचार्य) प्रसीदतु भगवान् नारायणः । महीभारापनयनं कर्तुं जातस्य भूतले । • अस्मिन्नेव गते देव! ननु स्यात् विफलः श्रमः ॥४६॥ वासुदेवः-सुदर्शन ! रोपात् समुदाचारो नावेक्षितः। गम्यतां स्वनिलयमेव । सुदर्शनः-यदाज्ञापयति भगवान् नारायणः। कथं कथं गोपालक इति । त्रिचरणातिक्रान्तत्रिलोको नारायणः खल्वत्र भगवान् । शरणं वजन्तु भवन्तः। यापद् गच्छामि। अये एतद् भगवदायुधारं शाङ्गं प्राप्तम् ।

·दूतवाक्यम्
Shall I overturn the Meru and Mandara mountains ?
Shall I agitate the entire ocean (the seat of whales)?
Shall I hurl down all the stars (from the heaven) ? By your
favour, there is nothing impossible for me
44
Vasudeva -Sudarsana' Come here Oh! Suyodhana
Whether you hide in (go to) the salt water (sea), or in
the caves of the mountains, or in the path of the wind (sky)
where the planets revolve, you inconsiderate fellow I may
this discus, acquiring greater force from my hand, be your
wheel of death
45
Sudarsana -Oh' wretched Suyodhana' stop, stop!
(Thinking again) May Lord Narayana be pleased
You have descended on earth, Oh God! to lessen her
burden If this one man (Duryodhano) is thus disposed of,
the purpose of your mission will be frustrated
46
Vasudeva -Sudarsana ! In my anger, I did not think
about the main purpose You may now return to your
abode
Sudarsana -As my Lord Narayana Commands, How
(can you call him) a cow.herd? He is the Lord Narayana
who overspread the three worlds with his three steps
You
better go and seek his protection Now, I will go
Ha!
Here comes Sarnga, the powerful bow of my Lord

·३६ भासनाटकचके तनुमृदुललिताङ्गं स्त्रीस्वभावोपपन्न हरिकरधृतमध्यं शत्रुसबैककालः । कनकखचितपृष्ठं भाति कृष्णस्य पार्थे नवसलिलदपाधं चारु विद्युल्लतेच ॥४७॥ भो भो: । शाहू, प्रशान्तरोपो भगवान् नारायणः । गम्यतां स्वनिलयमेव । हन्त निवृत्तः । यावत् गच्छामि । अये इयं कौमोदकी प्राप्ता। मणिकनकविचित्रा चित्रमालोत्तरीया सुररिपुगणगावध्वंसने जाततृष्णा । गिरिवरतटरूपा दुर्निगारातिवीर्या वजति नभसि शीघ्रं मेघवृन्दानुयात्रा ॥४८॥ हे कौमोदकि! प्रशान्तरोपो भगवान् नारायणः । हन्त निवृत्ता। यावद् गच्छामि । अये अयं पाञ्चजन्यः प्राप्तः । पूर्णेन्दुकुन्दकुमुदोदरहारगौरो नारायणाननसरोजकृतप्रसादः । यस्य स्वनं प्रलयसागरघोपतुल्यं गर्भा निशम्य निपतन्त्यसुराङ्गनानाम् ॥ ४९ ॥ हे पाञ्चजन्य! प्रशान्तरोपो भगान् । गम्यतास्वनिलयमेव । हन्त निवृत्तः । अये नन्दकासिः प्राप्तः ।

·30 दूतवाक्यम् This beautıful bow, the God of Death to the enemygroups, endowed with the features of a woman being slım, soft and graceful, held in its centre by the hand of Hari and having its back covered with gold, shines by the side of Krishna like a streak of lightning near a fresh (dark) cloud 47 Oh I Sarnga 1 The wrath of Narayana has been subdued You may return to your abode Well, he has turned back Now, I will go Ha! Here comes Kaumodakı (the club) Shining with gems and gold, covered with multi coloured garlands, eager to crush the bodies of demons (enemies of gods), resembling a mountainpeak (precipice) in shape, irresistible and mor powerful 11 goes fast in the sky follored by the clouds Oh! Kaumodakı. Narayana's anger has passed away Well, it has turned back Now, I will go Ha! Here comes Pancajanya (the conch) - (11 15) white like the full moon, the jasmine floker, the interior part of the water-lily and the pearl string, and is faoured by the locus like face of Narayana hearing hose sound resembling the roar of the sea in deluge, the Asura women abort Oh ! Pancajanya ! the anger of the Lord has ceased You please return to your abode Well, it has turned back Ha' the sword Nandala has come ·भासनाटकचके वनिताविग्रहो युद्धे महासुरभयङ्करः। प्रयाति गगने शीघ्र महोल्कर विभात्ययम् ॥५०॥ हे नन्दक ! प्रशान्तरोपो भगवान् । गम्यतां स्वनिलयमेव । हन्त निवृत्तः । यावद् गच्छामि । अये एतानि भगवदा- युधवराणि । सोऽयं खड्गः खरांशोरपहसिततनुः स्वैः करैनन्दकाख्यः सेयं कौमोदकी या सुररिपुकठिनोरःस्थलक्षोददक्षा । सैपा शााभिधाना प्रलयपनरवज्यारवा चाफ्यष्टिः सोऽयं मीरघोपः शशिकरविशदः शङ्खराट् पाञ्चजन्यः ।। हे शा!ि कौमोदकि! पाञ्चजन्य ! देत्यान्तकृन्नन्दक! शत्रुगढे! प्रशान्तरोपो भगवान् मुरारिः स्वस्थानमेगात्र हि गच्छ तावत् ॥ ५२ ॥ हन्त निवृत्ताः । यावद् गच्छामि । अये अत्युद्धृतो वायुः । अतितपत्यादित्यः । चलिता पर्वताः । क्षुब्धाः सागराः । पतिता वृक्षाः । भ्रान्ता मेघाः । प्रलीना वासुकिनभृतयो भुजङ्गेश्वराः । किन्नुखल्विदम् ' अये अयं भगतो वाहनं गरुडः प्राप्तः। सुरासुराणां परिखेदलब्धं येनामृतं माविमोक्षणार्थम् । आछिन्नमासीद् द्विपतोमुरारेस्त्वामुददामीति वरोऽपि दचः॥५३ ·३९ दूतवाक्यम् In its feminine form, this sword is a terror to the most powerful demons in the bottle Flashing through the sky, now it shines like a meteor 50 Nandaka ' The anger of the Lord has passed away Please return to your abode Well, he has turned back Ha' These are the powerful weapons of Now, I will go the Lord Here is the sword called Nandaka that has sanguished the Sun by means of its own brilliance This is Kuumodakı that is capable of powdering the hard chests of the demons (enenues of gods) This is the bow called Sarnga, whose rang sounds like the thunder of clouds 'at the dissolution of the world Here is the deep soundıng king of conches, rancajanja, wite like the rays of the moon 51 Oh! Sarnga Koumodaki, Pancajana and Nandaka the hiller of demons and the fire to the cnemies ! The wrath of our master, Murari, has passed away You may please go back to your abodes 52 Well, all have returned Now, I will go Ha! What -27 violent gale' The sun is excessively hot, The "mountains arc rocking The seas are agitated The trees are uprooted The clouds are scattered Serpent lords like Vasuki and others are hiding What does it mean? Oh! Here is the cigle (Garuda), the vehicle of the Lord, coming The nectar got by the 101 of both the gods and demons has carried away hy hint from his chems (indra) ro ser his another free, and a boon was granted (by him) to Vishnu fike killer of furo) that he (Gorudu) would carry him (l Islu on his back) $3 ·मासनाटकशके हे काश्यपप्रियसुत! गरुड! प्रशान्तरोपो भगवान् देवदेवेशः। गम्यतां स्वनिलयमेव । हन्त निवृत्तः । यावद् गच्छामि । एते स्थिता विपति किन्नरयक्षसिद्धाः देवाश्च संभ्रमचलन्मकुटोत्तमाङ्गाः। रुष्टेऽच्युते विगतकान्तिगुणाः प्रशान्तं श्रुत्वा श्रयन्ति सदनानि निवृत्ततापाः ॥५४॥ यावदहमपि कान्तां मेरुगुहामेव यास्यास्मि । (निष्क्रान्तः) वासुदेवः--यावदहमपि पाडवशिविरमेव यास्यामि । (नेपथ्ये) नखलु नखलु गन्तव्यम् । वासुदेवः-अये वृद्धराजस्वर इव । भो राजन् ! एप स्थितोऽस्मि । (ततः प्रविशति धृतराष्ट्रः) धृतराष्ट्र:-कनुखलु भगवान् नारायणः । कनुखलु भगवान् पाण्डवश्रेयस्करः । कनुखलु भगवान् विप्रप्रियः। कनुखलु भगवान् देवकीनन्दनः। मम पुत्रापराधात् तु शाङ्गपाणे ! तवाधुना । एतन्मे त्रिदशाध्यक्ष ! पादयोः पतितं शिरः ॥५५॥ (पतति) वासुदेवः- हा धिक् । पवितोन भवान् । उत्तिष्ठोत्तिष्ठ ।

·दूतवाक्यम्
87
Oh Garuda, the dear son of Kasyapa' Our mastery
the god of gods, has subdued his wrath You may please
return to your abode
Well, he has returned Now, I
will go
These (divine beings), the Kinnaras, Yakshas, Siddhas
and Devas in the sky, whose splendour was lost, and whose
croins slipped from their heads in confusion when Krishna
kas angry, now return to their abodes, free from anxiety on
hearing the news of) passing away of Krishna's wrath 54
I too will now go to the beautıful cave of Mount Meru
[Fxit]
Vasudeva -I too shall go to the camp of Pandavas
(Behind the curtain)
Please don't go, don't go
Vasudera --Ah! It appears to be the voice of the
aged King (Dhritarashtra) Oh King'I am still here
(Enter Dhritarashtra)
Dliritarashira --Where is the Lord Narayana ? Where
is the benefactor of the Pandasas ? Where is the dear onc
of the Brahmins ? Where is the joy (son) of Devak,
The wielder of Sarnga and the Lord of Gods! For the
fault of my son, (now) i prostrate (my head falls) at your
fect (Prostrates
SS
Vasudesa --Alas! You have fallen (at my feet).
Please rise up, rise up

·४२ भासनाटकचके धृतराष्ट्रः-अनुगृहीतोस्मि। भगवन् ! इदमध्य पाद्यं च प्रति- गृयताम् । वासुदेव:--सर्व गृह्णामि। किं ते भूयः प्रियमुपहरामि । धृतराष्ट्र:-~-यदि मे भगवान् प्रसन्नः, किमतः परमिच्छामि । वासुदेवः--गच्छतु भवान् पुनदर्शनाय । 'धृतराष्ट्र:- यदाज्ञापयति भगवान् नारायणः। (निष्क्रान्तः) (भरतवाक्यम् ) इमा सागरपर्यन्तां हिमवद्विन्ध्यकुण्डलाम् । महीमेकातपत्राकां राजसिंहः प्रशास्तु नः ॥ ५६ ॥ (निष्कान्ताः सर्वे) . ॥ दूतवाक्यं समाप्तम् ॥ ॥ शुभं भूयात् ॥ ॥ समस्त सन्मगळानि सन्तु ॥

·दूतवाक्यम्
Dhritarashtra - I have been favoured Lord I Please
accept this Arghya and Padya
Vasudeva – I receive everything What more favour
shall I do for you?
Dhritarashtra -If the Lord is pleased with me, what
more can I desire ?
Vasudeva --You may please return for meeting again
Dhrtarashtra -As Lord Narayana commands (Exit)
EPILOGUE
May our king Rajasimha (Lion like king),
undunded sovereignty, rule over this Earth gut by the seas
and adorned by the Ilimalayas and Vindhyas serving as (a
pair) of ear-rings
56
.
(Exeunt Omnes)
END OF DUTAVAKYAM

·11 2TR II भासनाटकचके दूतवाक्यम् Notes and Grammatical Instructions दूतस्य वाक्यं-दूतवाक्यं, उपचारेण, तदाख्यं रूपकमपि TFTH I Jaimeans 'the words of an Ambassador' and by transference of epithet (1971), the play is also called दूतवाक्यम्। The advice of argea as an Ambassador is the central theme of the play and hence the title. It is the common practice of Indian writers to begin their works with a prayer which is known as मङ्गलाचरणम् । Threekinds of मङ्गल are recognised They are—TTART: (Benediction), नमस्तिया (Salutation) and वस्तुनिर्देश (Mention of an auspicious thing). The purpose of cof is the removal of impediments that may stand on the way of completing the work undertaken. The 53 at the beginning of a Drama is called art. Vide: Introduction, Page 20 for further information about arti Page 1. Frid-Nandi here refers to the worship conducted behind the curtain. It is a part of gå (stage preliminaries) to be conducted by the Stage-director or:-Stagedirector. He appears on the stage for introducing ·दूतवाक्यम् -NOTES the play to the audience. Vide: Introduction, Page 21 for more information about thc functions of Sutradhara. Verse 1 Prose order: EITHER A (i) yfa: (aanii aer:) (171) caifers: (iga:) A: JUSET Filmtiptet. T I. TTUTETI Here the dramatist invokes free in the form of a to confer his blessings on the audience and also hints to the central theme where the same God. in the form of Krishna, is striving to bring peace and happiness to the world This verse can be taken both as Nandi and Rangadvara Dide Introduction, Page 20. Ta-Benedictive Mood, 3rd person singular of the root or to protect. FT-Vishnu born as the younger brother of Indra to subdue grafo He IS also called TIHTI BERI TE: G OUT-May the foot of Upendra protect you. सर्वेपा लोकाना उत्सव. (HT) deciliteaz — The giver of happiness to all the Worlds, qualifies 97.1 The story of Vishnu in the form of चामन approaching महावल and begging for space sufficient to cover in three steps and then, assuming a mighty form cover ing the whole earth with one step the sky and the heavens with the second and planting the third step on th head of Balı himself, is well known. That foot off in his mighty form is an object of veneration for pious Hindus. It is ·मासनाटकचक्रे spoken as hiature because it restored the rule of Indra over the universe by subduing the demon Bali The student may compare this with the result of teftat i --Past passive participle of the root lete with fã and a 1-to pierce, to throw away. न मुञ्चति इति नमुचि.-A demon who was slain by Indra In the Vedas, agfe and other demons are spoken as residing in the clouds and preve nting the rain water falling on the earth. Indra killed them and released the rain water. Vama na's foot which covered the entire space of the sky must have pierced the body of water with the nails of its toes In the Puranas, the story of agiz is told in different ways Once ag fer captured Indra in a battle and let him go on condition that Indra promised not to kill him by day or by night, with wet or dry', Indra later on cut off his head at twilight with the foam of water According to another version, refer sucked up the strength of Indra and made him quite imbecile The Aswins then supplied Indra with a Vajra and with that Indra cut off the head of the demon. The incident of Namuci being thrown away or thrust by the foot of Upendra is not found narrated in the well-known Puranas Bhasa is probably refering to the Vedic account of agra where there is every possibility of this incident taking place.

·दूतवाक्यम्-NOTES Taal: CT: RaagSaan adjectival to पादेन। तनु-small. ताम्न-red. उपेन्द्र being a short boy, this description of the 77 is quite appropriate. #-In the sky. The reference to are not one who does not release) hints to the attempt of Duryodhana to fetter Krishna, and the foot of Vamana covering the sky and piercing or wounding Namuci hints to the Viswarupa of Krishna and Duryodhana's failure in his attempt to bind him. yra was not killed by site and secur too did not kill getan. After reciting the art and conducting the TETT (both combined in one). Sutradhara now introduces the play to the audience. --Thus, in the manner contemplated in the mind of FII ATTATITThis is a term of address used towards respectable gentlemen. Here the stage-director is addressing a cultured audiencefor at the end of a word denotes respect. feraty. यामि लट् प्रथमपुरुषैकवचनं of झा with वि-causal, I wish to inform. -An interjection denoting surprise, anger or sorrow. Here it denotes surprise. EET promised to announce something, but suddenly he is interrupted by a sound behind the curtain. This is a technique of the dramatist to cut short the introductory speech and give a quick start to the actual play. FI 18–What is this? Afa FATTALÀ (afa) When ·& 82 भासनाटकचके I am about to announce (my intention), T57 a qua-some sound is heard. इव denotes the indistinct nature of the sound heard ; i. e. the sound heard is not clear. rd-Passive care of -to hear. (48) 737: PTT-Passive. Juf-Active, denotes excitement. Sutradhara now pretends to be in a flutter to know what the sound is. Ter-I will now examine. AT-This is a stage direction meaning behind the curtain '. ATET strictly means the make-up or the dressing room. Tārt 7:15 TT:- Ta EDAT:-Men employed at the gate, gatekeepers. Heinret til CIF:-a great king. TT ETT T7 at the end of a meget compound takes a final अ and becomes अकारान्त । महत् becomes महा in a कर्मधारय compound. (trar etka FATTI Afraid FCUHAITT:). 3+1:17: EAMITAR- Duryodhana (the eldest son of port com. mands. Some one is communicating the order of His Majesty, King Duryodhana to the gatekeepers. Sutradhara does not wait to hear the actual command. He understands what it is and hastens to inform the audience about it because it has a direct bearing on what he wished to announce. ac, fatall-Well, I have understood. Tea, is used in the sense of Fluent, proper time. Sutradhara considers the sound in the green-room made at the proper ·of Falt-NOTES ge time because it is in agreement with his intention. fanta-p. p. p. of er to know with fer. Verse 2. 37.–Arisen, p. p. p. of or with उत्। धृतराष्ट्रस्य अपत्यं पुमांसःधार्तराष्ट्राः, तेषां पाण्डोः अपत्यं gara: 18:, à: H-Between the sons of acre and the sons of groti facto gà (alà) ---When a hostility has arisen, भृत्यः-the servant, दुर्योधनस्य STTTr-at the command of Duryodhana, rari TTST- 72Trst, ai-the hall for holding a counsel, रचयति-arranges, लट् TE-to arrange. Sutradhara announces to the audience that a war is certain between the Kauravas and the Pandavas and that Duryodhana, the head of the Kauravas, is taking steps for deliberation about matters concerning the war. He further states that a servant is making arrangements in the hall for holding a counsel. Thus the time and place of action and the character of the play who is to enter next, are all introduced to the audience in a brief and effective manner. It is the usual practice of the Sanskrit dramatists to mention the names of the work and the author in the introduction, but Bhasa has not done it in any of his works. Fan-A Prologue. It is also called a parar or Sort i l'ide: Introduction, Page 21. Having conducted the furgar, Grer leaves the stacc.

·दूतवाक्यम्-NOTES च तत् छत्रं च सच्छ चामरेपु वरौ (श्रेष्ठौ) चामरवरी, सल्छन The TTET (ED) :-he who has the royal insignia of an excellent white umbrella and a pair of good chowries, fara: 35CAT: I A:-who is anointed with sandal paste and such other unguents, धीरस्यास्तीति श्रीमान्-possessed of royal glory. dignified, feritong huta: daisufalù: Tienda ETA TET whose limbs are brightened by the gems in the ornaments worn by him, 727 TUTI मध्ये (स्थित)-remaining in the midst of stars, पर्व (fürni) ya: (919:) Tain-entering the day of fullmoon, TTT (tal-shines like the moon. Duryodhana in the midst of shining umbrella, chowries and glittering gems is compared to the full-moon in the midst of stars. rerfafe-As described in the above verse, It should be noted that Duryodhana alone is introduced on the stage and his attendants holding the umbrella and chowrics are only to be imagined. Many things that are actually shown in modern stages were only suggested by descriptive verses and gesticulations in the stages of Ancient India, This accounts for the many descriptive verses in Sanskrit Dramas. Verse 4. दुर्योधन is entering the stage thinking about the impending war. He has a dccp rooted haircd towards the Pandavas and he now feels happy because an opportunity is ·1 भासनाटकचके Hilgertz-A Chamberlain He is generally represented as a wise old man employed in the ladies' harem. The word langleiter is gramma tically irregular. The correct form is fogait which is derived as कञ्चुक अस्यास्तीति-one who wears a long robe Bhasa uses the irregular form काञ्चुकीय in all his works 49-Indeclinable meaning to day or ‘now? gferat frati aifant, ac fait, à --With all (vassal) kings afeg--Infinitive of purpose of the root मन्त्र-~to deliberate इच्छामिलट् of 9 (576)- to wish for Page 2 तत्-Therefore आहूयन्ताम् Impera tive (2) 3rd person, plural of T (KI) with all passive. Let (all kings) be called, invited waist राज्ञ आह्वयत (यूयम् )-Active इति denotes the end of the direct speech परिक्रम्य and अवलोक्य are stage directions meaning moving abcut and observing' denotes surprise at the arrival of दुर्योधन T-Here itself, towards this direction अभिवर्तते-लट् of वृत् with 70-to come forward 44 --refer to guia whom the per describes in the succeeding SO soon verse Terse 3 In this stanza the poet describes the majestic personality of King Duryodhana श्याम - Dark (in complexion) सितेन दुकूलेन कृतं उत्तरीय येन स -who wears a white silk robc. सत् ·e now feels happy because an opportunity is दुर्योधन is entering the stage ccp rooted hatred towards the Pandavas and दूतवाक्यम्-NOTES च तत् छत्रं च सच्छत्रं चामरेपु वरी (श्रेष्ठो) चामरवरी, सेन्छ। TATOTT TTET (FT) The who has the roya. insignia of an excellent white umbrella and a pair of good chowries, tiga: 35 : TA #:-who is anointed with sandal paste and such other unguents, fceTIFIA AFT-possessed of royal zlory, dignified, fatorg #or: agi cyfalar: tarlar महानि यस्य सः-whose limbs are brightened by he gems in the ornaments worn by him, 27TIUTI ध्ये (स्थित)-remaining in the midst of stars, पर्व gfüthi) Ta: (919:) gaina:-entering the day of fullnoon, Tare SET (agat)--shines like the moon. Duryodhana in the midst of shining umbrella, howrics and glittering gems is compared to the ull-moon in the midst of stars. surfafae-As described in the above verse, t should be noted that Duryodhana alone is ntroduced on the stage and his attendants olding the umbrella and chowries are only to le imagined. Many things that are actually hown in modern stages were only suggested by escriptive verses and gesticulations in the tages of Ancient India. This accounts for the vany descriptive verses in Sanskrit Dramas. Verse 4. hinking about the impending war. He has a ·भासनाटकचके near at hand to wreak vengeance. उद्भूतः रोषः येन -Adjectival to it, the mind by which the anger has been suppressed. a denotes the presence of the anger which has been temporarily overcome by the joy caused by the thought of fulfilling his long-cherished desire of crushing the Pandavas. उदूत p. p. p. of धू with उत्-to shake off. Tu 17 3772-utati, 741 The war is spoken as a festival because he derives pleasure from it thinking that his enemies would be wiped off. refers to the war, the thought of which is uppermost in his mind. Acer-Indeclinable meaning 'all at once' or 'pear at hand, fafaraz Indeclinable participle of faran with foi ao-army. TTT: (gr) TatarTOTT: (TTFTT:) Targitur: agi i Frat: gazt a Fraget:-pestlelike tusks, goat: (FEAT:GagaGT: fa, qualifies मुखानि । उत्कृत्त-cut, broken. कतुं-Infinitive of purpose of the root --to do. Note the true Kshatriya spirit of Duryodhana and his confidence in victory. FUT #CITI3- This is the way in which the servants and subjects should greet the king. TIE-command. The king is referred to in the third person to show respect. Taraftai-p. p.p. of 71 () with and at, here used as predicatc. Hoge-group, circle. Trei HVE&S ITIHO, तत् राजमण्डलं च सयराजमण्डलम्-The entire circleof ·दूतवाक्यम्-NOTES vassal kings. Every dange-well done. The king is happy to note that the Kancukin has done his duty well. StarCTET-The ladies' harem, Kancukin's place of duty. Asking Kancukin to go to his place of duty is only to send him away from the stage because he has no more action here. A dramatist should see that no idle character is retained on the stage. Tistifa HETETST:--A phrase expressing obedience. fertiup and ruce are the names of two kings who are supposed to be on the way to the council-chamber. They are not actually introduced on the stage. Duryodhana pretends to sce them and then begins to address. This is a stage technique known as 779ilatatora where a character on the stage addresses some one not actually introduced, pretends to hear his answer and then repeats it for the benefit of the audi- Bhasa has made great use of this technique in this play in order to avoid the introduction of many characters who have little or no action the stage. Vide:-Introduction, Page 18. JETTIT-Please tell, Imperative passive of the root georg-to speak. Having decided to wage war with the Pandavas, Duryodhana is now seriously thinking of the person who would be the fittest commander-in chief of the army. He wants to hear the opinion of his ministers ence. on ·भासनाटकचके and vassal kings before taking a final decision. In the place of विकर्ण, some read वैकर्तन । एकादश अक्षौहिण्य एवं वलानि एकादशाक्षौहिणीवलानि. तेषां समुदयः -A gathering of an army consisting of eleven divisions. title is a large division of the army consisting of 21870 chariots, as many elephants, 65610 horses and 109350 foot-soldiers. दुर्योधन is said to have gathered eleven such divisions on his side while the Pandavas had only seven. The choice of a worthy commander of such a huge army is an important matter on which are seeks the opinion of others. gargr: qfa:- darila: Supreme commander of the army. Faqata-fit to become. Acarat-What do you say? दुर्योधन is pretending to hear the reply of fàof and orice and repeats it for the benefit of the audience. T:—Present third person duel of the root to speak, second variety--TE, SET:, ATE: BTEUI, WEY:s get! Sentia gali, JA: I महान् खलु-This is the reply of the two kings now repeated by दुर्योधन. अयमर्थः-This matter, i.e. the choice of a commander, har ag-is indeed very serious. Haitar-T- TIFTETT of forei-Potential participle of the root it to speak. An opinion can be expressed only after careful consideration. This reply of faoi and que shows that they ·Jalu-NOTES are wise men who bave understood the seriousness of the matter. So the king is complimenting them saying-HERTHAT, this reply is Worthy of you. आगम्यताम्-Imperative passive of 7 with an #ARTIGIHE TERTIA: 1 This indicates that they are all on the way to the council-chamber. Page 4., Duryodhana now stands' at the entrance of the council chamber and receives the prominent men who come there on his invitation. Note the respect shown by दुर्योधन to द्रोण, भीम and such other great person- -alities. आचार्य-Preceptor, द्रोण. पितामह-The grand-father, 17707. ga—The uncle of (gita, Tesla). -Freely, without any hesitation. -Friend. Fi-Entering the hall, Duryodhana is offering appropriate seats to the chiefs. Faftri ZTIARRATAA seat in the shape of a tortoise. This is suitable to Drona who is a man of great self-control. One who has withdrawn his senses from external matters is compared to a tortoise which contracts its limbs. Vide: Thatari फर्मोहानीय सर्वश। इन्द्रियाणोन्द्रियार्थभ्यः नस्य प्रा galgari [Gita, 2--58). Ach is most appropriate for 17, the great hero who could not be defeated cven by ric! The leather seat is fit for Tora who is a chcat. A Icather article ·मासनाटकचक्र and vassal kings before taking a final decision. In the place of fauf, some read a final q$16T अक्षौहिण्य एव बलानि एकादशाक्षौहिणीवलानि. तेषां समुदयः -A gathering of an army consisting of eleven divisions. treut is a large division of the army consisting of 21870 chariots, as many elephants, 65610 horses and 109350 foot-soldiers. दुर्योधन is said to have gathered eleven such divisions on this side while the Pandavas had only seven The choice of a worthy commander of such a huge army is an important matter on which are seeks the opinion of others. सेनायाः पतिः-सेनापतिः-Supreme com mander of the army. Flatafa-fit to become. Aggirarat-What do you say? दुर्योधन is pretending to hear the reply of farof and 2009 and repeats it for the benefit of the audience. आहतुः :-Presept third person duel of the root to speak, second varietyIE, TIET, ATE: 377727, HEY:, 27 | BA TI A: HIT -This is the reply of the two kings now repeated by दुर्योधन. अयमर्थः-This matter, i. e. the choice of a commander, har ag-is indeed very serious. #aforcar-caTTT• 1797447 of FaithTİ ---Potential participle of the root Fet to speak. An opinion can be expressed only after careful consideration. This reply of विकर्ण and वर्षदेव shows that they ·CAT1747-NOTES are wise men who have understood the serious- Dess of the matter. So the king is complimenting them saying-FETĀTI, this reply is worthy of you. antar-Imperative passive of गम् with आ। मन्त्रशालामेव प्रविशाम: This indicates that they are all on the way to the council-chamber. invitation. Page 4., Duryodhana now stands at the entrance of the council chamber and receives the prominent men who come there on his Note the respect shown by plan to go, and such other great rsonalities. Ti-Preceptor, tot. faalne-The grand-father, भोप्न. मातुल-The uncle of (दुर्योधन, Tula). Freely, without any hesitation. TET-Friend. Tart-Entering the hall, Duryodhana is offering appropriate scats to the chicſs. Katti आमने फर्मासनम् -A seat in the shape of a tortoise. This is suitable to Drona who is a man of great self-control. One who has withdrawn his senses from external matters is compared to a tortoise which contracts its limbs. Vide: Tårtori फोऽहानीय संबंश.। इन्द्रियाणोन्द्रियायेंम्यः तस्य प्रमा cigar (Gita, 2--58). facrara is most appropriate for 70, the great hero who could not be dcfcated cven by gig trai Thc Icather scat is fit (or ia who is a chcat. Alcather article ·मासनाटकचके may pinch at any moment. TH- Passive 3rd person singular of the root re-to sit. Flat-DE-Active 3rd person duel of the same root. Ai, Tari SITETI ETTET, आसाथां, आध्यम् । आसै, आसाव है, आसामहै ॥ fofafa fafafa-Why, what is the reason ? This denotes the surprise of Duryodhana to see that no one has taken his seat. He quickly understands the reason that they are standing. because the king is not yet seated. Note the etiquette of the councillors. TET-An interjection denoting pleasure or wonder. सेवाधर्म:- Loyalty. By introducing only one character on the stage, Bhasa has representd here a beautiful scene with so many people duly received by the king, entering the hall, standing there for sometime and then taking their seats after the king sits down. The whole picture is to be presented to the audience by the skilful acting of the person who plays the role of Duryodhana. 77 atat HEITT etc. are terms denoting respect. गान्धाराणां राजा-गान्धारराजः-Sakuni.मातुलेन (aa) fifatuate-Passive. Argo: (a) fatig- Active. TERT: 37471 JHTT-07154: -Bhishma who was born of Ganga to Santanu. Sret:-who else; in prowess, wisdom and age, Bhishma is the foremost and therefore Sakuni says that no -one else need be thought of for the post of the ·galu-NOTES supreme commander when Bhishma is here. This is a diplomatic move on the part of Sakuni to secure the full co-operation and help of Bhishma against the Pandavas Duryodhana applauds the suggestion of Sakuni and says that he also holds the same view. 48f-We too, note thc royal' we'. Page 6. Verse 5. Tvà mismo quaIT: -Violent winds, à: STET: (agitated). Aciret 1-AETIT:- the great ocean. 5041a rura अस्मिन् इति उदधिः-The word उदक is changed into I HEITT: atq: (sound, roar) afT ATEIT:-HERTETATE 9:-eg is a suffix added in the sense of ITequal. darat: faara:--the sound of the army, the battle cry of the soldiers, rerni FTA: --the noise of the drums, Terai 91:-the sound of conches, a: (gale):---accompanied by the sound of the soldiers, drums and conches which resemble the roar of the ocean agitated by a violent gale. adjectival to find: { STET fofaat: 277 mill: Arg-Along with the consecrated waters poured (fallen) on the head of Ganga's son, Bhishma. (TT) Fierai qua faca-May the hearts of enemy kings sink (with fear). Duryodhana feels that the enemies will lose their spirit when they hear the news of Bhishma's appointment as the commanderin-chief. Just then the Kancukin enters and ·भासनाटकचके announces the arrival of tentot as an ambassador from the Pandavas. पाण्डवानां स्कन्धाचारः (army camp) TiusaerTatt: TEATRI TETRA. दौत्यं-The office of an ambassador. पुरुपेयु उत्तमः- The best of men. Kancukin knows the greatness of francut and refers to him as artigo the best of men. Duryodhana who has a hatred for Krishna does not like this reference to Krishna as the best of men, He angrily asks the chamberlain not to say so--AT alat ! Then he questions the chamberlain how he dared to introduce Krishna as पुरुपोत्तम। बादरायण is the name of the chamberlain. RT IT:-Servant of Kamsa, being a subject in the kingdom ruled over by Kamsa. A st Thu : THIET:-An epithet of Krishna who was tied with a rope around the waist by Tatier or who used to tie the ropes of cows around his waist while grazing the cows. Tl: Truyatia aittia, saat ingre: 1915:--A wretched cow boy, another epithet of Krishna. Duryodhana shows his contempt to Krishna by referring to him as दामोदर, गोपालक and , and asks the chamberlain how he -could speak of such a silly man as the best of men. यूहद्वथस्य अपत्यं पुमान वाईद्रथः-Jarasandha, the father-in-law of Kamsa. UA TENT: fy:, sifa: HITI TRI F: (COT:)-Whose kingdom, ·दुतवाक्यम्-NOTES glory and all riches and pleasures were forcibly taken away by Jarasandha. When Jarasandha heard the news that his son-in-law Kamsa was killed by Krishna, he marched to the city of #yt with a huge army. Krishna filed leaving the kingdom and all his possessions and took shelter in the island TTFIT I Duryodhana is alluding to this incident to show that Krishna is a coward and does not deserve the title gantan et here denotes surprise in the behaviour of the chamberlain. A servant is not expected to praise one who is hated by his master This what Duryodhana means when he says-get Tree समुदाचारः। समुदाचार means proper conduct, etiquette. Erta-insolent, showing haughty disregard to others. TT:- An interjection denoting anger which springs from his hatred for the Pandavas who are helped by your ATA-TIE TREI Agafi- 777 of it with 2-to perish, to go away. The root te is strictly 'Atmanepadi, but here it is used in Parasmaipadi. Ganapati Sastry remarks— TARTOTETTA FRITTATA TEET I Trio in this context means - don't stand before me, go away. The wiso chamberlain quickly :understands his mistake and hastens to correct himself. 614-The repetition shows his eagerness to , wees....

·६० भासनाढकचके please the king' fren:--Forgotten. He attributes the mistake to his confusion and begs the pardon of the king. :-denotes the re-collection of a general truth. HECT MAECE A:- This is a wise statement coming from the mouth of Duryodhana. It is a human.weakness to get confused on certain occasions and in such a confused state, men are liable to forget the proper conduct Such short-comings are to be excused. In the place of agterui some read Tuti which means weak men. Duryodhana is now pleased and asks the chamberlain to state who has come. The chamberlain knows. the purpose of the king's question and cleverly answers-दूतःप्राप्तः केशवः। He mentions the mere name Ta without any adjective. Sama here: can be taken in the sense of one who has beautiful hairs. FETT: TT: JET E: Batati, TETSFTTTET' gfa ETAIT: HTETUTAI Vide: Sri Sankara's Bhashyam on विष्णुसहस्रनामस्तोत्रम् ॥ पपितुमहं पटव्यम्-Potential participle of इप () to wish for. Duryodhana considers this mere mention of the name quite agreeable to him. FTA-What is the proper thing to do? Personally guta does not like to show any respect to cut but he wants to know the opinion of others before expressing his views.

·दूतवाक्यम्-NOTES Page 10. Freiarti-He pretends to hear the reply of the councillors and repeats it. FEÜET Fra, a framan-By offeţing worship. Taft (T) -materials of worship consisting of water, flowers, rice etc. et garaaga'i gafari : CarTaGT: 1 7 # tad-The root 6 governs the Dative case of the indirect object # (Esuperfai SITTATO). The direct object aq (qui) is understood. 299-here, under the present circumstances. Since Duryodhana has already decided to wage war, he thinks better to fetter Krishna so that the Pandavas, deprived of his help, could be easily defeated. He makes this idea clear.in the succeeding verse. Verse 6. वासुभद्रे-Here धासु stands for चासुदेव on the principle of a part representing the whole like भीम for भीमसेन । भद्र at the end of a name denotes respect or affection like रामभद्र । हतानि नयांनि येषां ते हृतनयनाः-deprived of eyesight, blind, set-as it were. PT Framfatal, anti theny-destitute of their refuge and guide, (Krishna). aftrato atrasthe entire earth, hata (nat)—being cleared of enemies, HA (99) pag-will be mine. The last line can also be interpreted as मम अखिलापि क्षितिः-the entire kingdom of mine, 2846 và will be free from cnemies. In the Mahabharata, Duryodhana at first shows respect to Krishna and the idea of ·भासनाटकचके binding him comes only later on when Dussasana makes a suggestion. प्रत्युत्थास्यति-Future tense of स्था with प्रति and 30-to rise up for greeting Apart from his plan to imprison Krishna, Duryodhana wants to show disrespect even when he enters the hall garai TT - Gauthit, laat Equ177 aar-With twelve weights of gold. It is a weight equal to 2000 Palas. Eu is a gold coin weighing 16 Mashas Ganapathi Sastry takes arqTgqu as a gold coin and explains the compound word to mean 2000 palas of such gold coins It seems to be better to take it in the sense of gold equal in weight to 12 gold coins.' fis realfa दण्डय -One who deserves punishment अप्रमत्ता careful, vigilant SATA is a stage direction when some one wants to hide his feelings from others and communicate the same to the audi ence, st I thing उपाय-Having threatened others with a heavy fine if they get up from their seats, Duryodhana is now thinking how he could sit tight when Krishna comes This shows that he is not as bold as he pretends to e denotes joy on the discovery of a plan to keep himself engaged 4174-This is a stage direction when some one speaks aloud after आत्मगतम्। चिनपट -A painted canvas, a portrait, aty is here used as a vocative particle ~ I say.' ziarama-Passive ZET--Active be.

·६३. an दूतवाक्यम् -NOTES केशानां अम्बरस्य च आकर्पणम्-केशाम्बराकर्पणम् । अम्बरcloth. दृष्टेः चिन्यासं दृष्टिविन्यासम् । अग्रतः-in front of. प्रसारय-spread, ए (सर) with a causal लोटू ।। द्रष्टुमर्हः दर्शनीयः-Worth seeing, beautiful.. Duryodhana now examines the picture and admiringly describes it in detail. केशहस्ते-In the thick locks of hair. हस्त, पाश and पक्ष used after om denote thickness of the hair which is a mark of beauty-पाशः पक्षश्च हस्तश्च कलापार्था कचात्परे।। गृहीतवान् --Past active participle of गृह-to seize. दुःशासनः द्रौपदी गृहीतवान् --Active. दुःशासनेन द्रौपदी गृहीता-Passive. खलु is here used as expletive-धास्यालङ्कार । Verse 7. परामृष्टा-p. p. p. of मृ with परा- to seize संभ्रमेण उत्फुल्ले (विस्तारिते) लोचने यस्याः सा- संभ्रमोत्फुल्ललोचना । राहो वक्त्रस्य अन्तरं गता-राहुवस्त्रान्तर गता । द्रौपदी seized by दुरशासन is compared to the digit of the moon seized by TTE during eclipse. Note the devilish pleasure of दुर्योधन in describing the outrage of द्रौपदी दुरात्मा-Duryodhana considers. Bhima as his worst enemy and hence he refers to him as दुरात्मा। अक्ष्णोः समीपे समक्षं-Before the eyes, in the presence of सर्वेषां रामां समक्षं-सर्यराज- समक्षम्। ययमानितां-molested. disgraced. प्रतः ). Page 12.

·भासनाटकचके it is painted as gazing at the pillar angrily thinking whether it could be used as weapon to crush the Kauravas then and there. Verse 8. grafic is painted as checking Bhima with significant side glances. Through the mouth of दुर्योधन, भास is giving here agraphic picture of the incident of द्रौपदीवस्त्रापहरणं along with the reactions of the Pandavas who were witnessing that horrible sight. This clever device of describing the past incidents through pictures has been effectively copied by भवभूति in his उत्तररामचरितम् । सत्यं च धर्मश्च घृणा च ACTATEUTTA, atfa: Gatite potr-Pity or disgust on seeing the violation of staina laagra TAT TEU #qualasta: 1a-gambling, here it means defeat in gambling. faze-lost, shrouded. haar -intellect or spirit. It is a common experience that one loses his thinking power and spirit when defeated in gambling. अपाङ्गस्य विक्षेपेः -By sigaificant movement of the end of the eye. T: A4: TEU AQUATAUHI Since grige is truthful and virtuous, he is trying to subdue the anger of # evevn though there is provocation. The irate nature of HR and the calm disposition of great are beautifully "hinted here. Verse 9. The reaction of Arjuna is described in this verse. tour TOTT TET A:

·इतवाक्यम्-NOTES रोपाकुलाक्षः। अक्षि takes a final m at the end of a बहुचीहि compound. स्फुरित अघरोष्ठ यस्य सः स्फुरिता- घरोष्ठ:~-whose lower lip is shivering in anger. तृणाय मत्वा-considering as insignificant as straw. The object of the root takes the Dative case optionally when disregard is meant--'मन्यकर्म- ण्यनादरे विभापा अप्राणिपुर। उत्सादयिप्यन्- --Future participle of the roots with a causal-wishing to annihilate. मर्वे च ते राजानश्च सर्वराज्ञः। It ought to be Fêtars since TTEC TET would take a final अ at the end of a तत्पुरुष compound. Ganapathi Sastri remarks:-FATETET AFCÚT अनित्यत्वात्। सर्वराजान् इत्येव कचित्पाठः। शनैः-slowly, .gracefully. गाण्डिवस्य ज्याम्-गाण्डिवज्याम् । Gandiva is tha name of Arjuna's powerful bow. Our bow-string. This reaction of Arjuna is in conformity with his heroic qualities Verse 10. The reaction of the two young boys. Nakula and Sahadeva, is beautifully des. cribed in this verse. कृतः परिकरबन्धः याभ्यां तो। परिकरवन्ध-Girding up one's loins and getting ready. चमं च निरिसंशय चर्मनिस्त्रिंशी, ती हस्तयोः ययोः तो चर्म-shield. निस्रिश-sword. परपित-rendered harsh. दए-bitten, p. p. p.of दंश । साए यया तथा दप्टी अधरोष्ठी ययोः ती। मे भ्रातरं-My brother, Dussasana. घरि-lion. 'पञ्चास्यः फेमरी हरिः' [ममर], हरियातार्कचन्द्रेन्दयमोपेन्द्रमरीचिपु' [विश्यः] The two young boys attempting to overcome Dicencana ·भासनाटकचके are compared to the young ones of the deer trying to pounce upon a lion. The simile is significant. Verse 11. 34777 here repeats the words spoken by gforge to it and a teqara:- yferie is taking the entire blame for their suffering on himself. ar is here used in the sense of ai-otherwise, if I am not a 1, i (276) faqrafai (20)-how could I become one with perverted intellect? He means to say that his pervertion has caused all the trouble and therefore he is at 1 His pervertion is the zeal for gambling. A177 99 Terat, at sala: fazar ont-knowing the right and wrong policy. geta fra «fa quarter FITT:, started or caused by gambling. #ra-insult. TTTTATOTT: unable to put up with and thercforc rctaliating. a firati tratti, ag-In the midst of those who are powerful. Traia: T: Bain whose valour is sensurable. The second hail of the verse means if you retaliate now, un. able to bear the insult caused by gambling your untimely display of valour will be condcmoned by great hcrocs.' Valour displayed in the proper time and placc alonc is praiseworthy and not otherwise. Page 11, l'orae 12. #UTT-Thc dice. RETTE Present participle of fire to throw. f7 10:- ·दूतवाक्यम् -NOTES clever gambler. सङ्कोचयन्-reducing, causing to fade. स्वैरं आसनं यस्य सः स्वैरासनः । ईषाक्षं काक्षम्- half closed corner of the eye. अक्ष means इन्द्रिय and here the चक्षुरिन्द्रिय । It also means a dice. कुत्सितः अक्ष काक्ष तेन गां भुवं (ground) लिखत्यपि। He alse writes something on the ground with his dice. The look and the scribbling described here show the malicious nature of the cunning शकुनि. लज्जां वेदयेते इति.लजायमानौ-Feeling a sense of shame. The word St is to be included in the सुखादि group for adding the affix क्य in the above sense by the सूत्र-सुखादिभ्यः कर्तृवेदनायाम्'। पटान्तेन अन्तर्हिते मुखे ययोः तो। This indicates the disgust felt by द्रोण and भीम. The whole picture of the scene of द्रौपदीवस्त्रापहरणं which is the root cause of the greatest battle fought in कुरुक्षेत्र, is vividly brought to memory by the introduction of this portrait scene. Et denotes admiration घणः आढयः वर्णाख्यः तस्य भावः वर्णाढ्यता। आढ्य-rich. भाव-expression of feelings. भावः उपपनः (युक्तः) भावोपपनः तस्य भायः भायोपपनता। युक्तः- appropriate, proportionate. लेप-drawing. दुर्योधन is now gratified to see his enemies in a miserable plight. He further thinks that his gazing at this picture when erreicot comes will be another insult to him. विहग पर यादनं or पिगरूपं पाहनं-पिहगयादनं, तन्माण विस्मितः (गर्यितः) पिगयादनमात्रयिस्मितः॥

·भासनाटकचक्र Verse 13. कृष्णा मतिः यस्य सः कृष्णमतिः-Evilminded. tur means black which stands for anything bad. सजय-prepare. keep ready. नारीणां (वचनानि) इव मृदूनि-नारीमृदूनि-Adjectival to वचनानि । दुर्योधन contemptuosly refers to the words of युधिष्ठिर as gentle as those of a woman. This is a hint to the future conduct of gufera towards श्रीकृष्ण and the Pandavas. युधिस्थिर:-युधिष्ठिरः- an instance of अलुक्समास । The of स्थिर is changed into (हलदन्तात्सप्तम्याः संज्ञायाम्, गवियुधि- भ्यां स्थिरः) अद्य सलु-श्रीकृष्ण now enters thinking about his great mission and the likely reaction of दुर्योधन to his advice. धर्मराज-Yudhishthira. धनञ्जय -~-Arjuna, so called because he brought enormous wealth after conquering the kingdoms in the north. अकृत्रिम-not artificial, sincere. माहवे (युद्धे) दर्पः (अहवारो) यस्य तं-one who is eager to wage war. उकं गृहाति इति उक्तग्राही, न उक्तमाही अनुक्ताग्राही, तम् । मुष्ठ योधयतीति सुयोधनः-another name दुर्योधन। अनुचित-unsuitable. improper. दोत्यसमय:-the role of an ambassador. धीटप्ण says that his present role is not suited to him because ifun will not listen to his words. Yet he has accepted it out of his sincere friendship with aja and his inability to turn down the request of grafit Page 16 1erse 14. कृष्णयाः (द्रौपया) परामयेन मूतः or भपतीति कृष्णापराभयभूः सेन । (भीमस्य) कोप एप शिती ·दूतवाक्यम्-NOTES lafa:) àa-By the fire of Bhima's anger kindled by the outrage of द्रौपदी रिपुवाहिनीपु (श सैन्येपु) ये इमाः (गजा) तेषां कुम्मस्थल्या (मस्तक्स्य) दलने (पाटने) तीक्ष्णा या गदा तस्या धर. तीक्ष्णगदाधर, तस्य-adjectival to भीमस्य । दलनं-breaking. तीक्ष्ण ~ fierce पृथायाः अयं पार्थ (अर्जुन ) तस्य पनिण एव (शरा एय) चण्डा- fast:, :-By the violent winds in the form of Arjuna's arrows. कुरूणां घंश एव वनं फुरक्शननम् ---- The forest of Kuru's family Ganapati Sastri takes it as कुरूणां घंश पर वंशग्नं (bamboo forest). चिनष्टम्-lost Since दुर्योधन is not likely to take his advice, the destruction of the price race is certain So श्रीकृष्ण says that it is already lost शिविरम्-Tent, army camp भास has shifted the scene to the army camp in order to make the situation look more serious and critical than in the original story Verse 15 In this stanza fizicot speaks ab out the large gathering of men and material which will soon be wiped off as a result of Duryodhana's unbending attitude स्वच्छन्दं चिहिता ---Provided according to their taste शत्रशाला.- armouries. यहुविधानि करणानि (व्यापारा) येषां ते. शस्त्रै)-weapons of diverse use उपचित-filled हेपन्ते-neigh. मन्दुरा-stable. तुरगवराणां घटा (rows) तुरगवरघटा । हन्ति-grunt करिण -elephants स्फीतं-enormous. आसन विलय. (नाश) यस्य तत् आसन्नयिलयम्। श्रीरण is really pained to note ·vo भासनाटकचके that this great afluence is to perish as a result of gutaa insulting his kinsmen. Verse 16. :-Here it denotes pity. Tento is here summing up all the bad qualities of दुर्योधन. दुष्टं वदितुं शीलमस्य इति दुष्टयादी। गुणान् द्रुष्टुं शीलमस्य इति गुणद्वेपी । 79:-deceitful, wicked. Fol is here used in the sense of right thing'. अथ किं denotes approval. पम नामी यस्य सः- An epithet of श्रीकृष्ण. When श्रीकृष्ण entered the hall, all the councillors automatically stood up and were in a flutter because they were ordered not to rise up. Krishna's personality was so commanding. Not knowing the reason for their flutter: श्रीकृष्ण asks-कथं कथं......etc. अलं PU-Enough of your confusion, don't get disturbed. as in the prohibitive sense governs a noun in the instrumental case. It should be remembered that no councillor is actually on the stage and their confusion is to be suggested only by the clever acting of the actor playing the roic of Krishna. He gets angry when others rise up and reminds them of the fine imposed. 2onfera:-announced. I have issued the command and I won't tolcratc its violation. Page 18. FRI-Are you doing well ? fi पुराली पतंसे! कि can be taken in the sense of फर्य in which case it means "how do you do' ·... दूतवाक्यम् NOTES U? too is unable to cling to his seat when addressed by श्रीकृष्ण and gets up in confusion. मुव्यक्त ...ala:-Only after falling from his seat, he realises that often cut has come. He recognises the greatness of recor inwardly but soon consoles himself thinking that it is after all the magic of frescut. This is the psychology of the haughty wicked men who sometimes try to deceive their own conscience. For the audience, there is good humour in this. Verse 17. CETEA is here used in the sense of 'boldly';'free from doubt. Afarar-Having decided what I should do. Sarela:-Present participle of सद् with आ-to sit down. समाहितः- Firmly, with a steady mind. Tart-greatness TET HIT TRT :- 5417:- A man of many tricks. आचार्य-Before taking his seat, श्रीकृष्ण asks द्रोण, भीम and others to sit down. गायः Tye: gi a TITTĄCT: | 1-At first sight. frescor is attracted by the beautiful colours of the painting and he admires it. Soon he understands what is painted there and condemns its exhibition in public. areta-It is not worth seeing. The prohibitive particle at is here used in the sense of the negative न. अहो तु खलु denotes surprise on the conduct दुर्योधन Verse 18. स्वजनावमानं पराक्रमं पश्यति-Considers, the insulting of a kin as an act of valour.

·V भासनाटकचके allegat-due to his childishness or wickedness. No sensible or decent man will gloat over it because it only reflects on his evil nature. aca-would proclaim. aer gutt FT #: FOTO:- one whose sense of shame is lost. दुर्योधन committed a great sin in disgracing staat and instead of being ashamed of it, he exhibits that in the public assembly elencor orders the removal of the portrait at once-अपनीयतामेषः। gutara has no courage to disobey Krishna's command and asks the chamberlain to remove the picture. This shows that gutent is not really as bold as he pretends to be. Verse 19. दुर्योधन now formally enquires about the welfare of Pandavas. faster (FT) SEIS: (TOTI) FT (TFSHIUT, 94:) Qti sa Fremtim-the gods who are supposed to be always about 30 years in age. T1-Twins staat Ayat: 1 uur is here rcfering to the Pandavas as the sons of thi, gig, and afiant just to indicate that he does not recognise them as the sons ofपाण्ड. He will make this idca clear later on. In the Arta, Tag is present when ziyat comes and to him ulg,cor first communi. cates his message. Then, on the request or गृतराष्ट्र he addresses दुर्योधन.

·wise woman. Taler-NOTES ७३ Page 20. सदृशमेतत्-Taking the enquiry of दुर्योधन as sincere, श्रीकृष्ण compliments him saying that this kind enquiry is worthy of Gandhari's son. Trrett is a virtuous and याह्याभ्यन्तरे च-Both inside and outside of the body and kingdom. SATRIA Absence of disease, good health and happiness. पाण्डवा:-Krishna's reference to युधिष्ठिर and others as the sons of is intended to be an answer to Duryodhana's reference to them as the sons. of धर्म वायु etc. l'erse 20. 2017T-Undergone, experienced HT:-the stipulated time, 12 years in the forest and one year of life incognito. धर्मादनपेतम्-धर्म्यrightfull. 7: (ga) QT TÉ (truereT) TORT- Patrimony. 7 is derived from the root अद् to eat, to enjoy. विभज्यताम्-लोट् passive of भेज with fa-to devide. Now gutara objects to the claim of inheritance on the ground that they were not born of the Verse 21. faz: 7771-1969:-Paternal uncle, Pandu. Tiet: 4:-la the course of hunting. Tas means 'being engaged'. F: TIET: F: HATTE: 1 The fault referred to here is the shooting of the sage for and his wife who were having conjugal relationship taking the form of deer. मुनिशाप-किन्दम cursed Pandu that ·भासनाटकचके he also would die if he had any conjugal relationship with his wives. 'प्रियया सह संवा प्राप्य काम- विमोहितः। त्वमप्यस्यामवस्थायां परलोकं गमिष्यसि ॥ म.भा. अदि. 188-31]. दारेषु निःस्पृहः--one who had lost his desire to have conjugal relations with his wives. परेषां (धर्म-घायु-इन्द्र-अश्विनीदेवाना) "आत्मजाः (पुत्राः) तेषाम्-युधिष्ठिर and his brothers were born of the gods ari-arry etc. by the power of a मन्त्र given to कुन्ती by दुर्वासस् । Note the insinuation contained in this line. पुरा (पुरांवृत्त) वेत्तीति पुरावित्, तम् । This is spoken sarcastically. If the right of Pandavas is questioned on the ground mentioned above, Krishna retorts that the right of the for the kingdom of Faferaat also can be questioned in the same way. Verse 22. विपयी-Being a sensualist, विपछि -यातः--died. अश्यिका is the name of one of the wives of विचित्रवीर्य। अम्बिकायां व्यासेन जातः धृतराष्ट्र:- धृतराष्ट्र was begotten by व्यास in अम्बिका Krishna asks-If the Pandavas born of gg and others by the wives of Pandu have no right of inherit. ance, then how can your father, born of व्यास by the wife of विचित्रवीर्य, inherit the kingdom of falazatú ?' According to Sastras, such •sons (क्षेत्रजाः) have full right of inheritance. Vide:-"अपुषण परक्षेत्रे नियोगोत्पादितः सुतः। उभयोरप्यसौ रिक्थी पिण्डदाता च धर्मतः" ।

·दूतवाफ्यम्--NOTES U Krishna does not like to continue this kind of arguments and says-AT AT HIRT ( 2 ung). Please don't bring forward such crooked arguments, This will only create bitterness which may cause the ruin of Kuru's race Versc 23. TEYC-Each-other , : and such pronouns take reduplication (EFT) in the sense of each other.' ufaer part याच्ये'। शिप्यत इति शेप , नामैव शेप यस्य तत् (कुरुकुलम्।. The family of Kuru will remain only in name with all the members killed Page 22 7434-Having removed, sub dued प्रणयात्-Out of affection. श्रीकृष्ण advises gutata to reciprocate the love of Pandavas and thus save his family from utter destruction. TTFUTTERC-Politics, state craft दुर्योधन means that those who know the usual practice of kings in acquiring Kingdoms will not go and beg like this Note how it is addressing Krishna only as a to show his contempt. Verse 24. Al-Indeed Fatê -By the loftyminded. राज्य--Kingship रिपून जित्वा भुज्यते । न तु तत् याच्यते--But never is it begged for. न तु वा पुनः para atua-Nor is it given in charity to the weak or poor काझा-desire अविरात्--soon, before it is too late big-Force, a daring act, meaning war. WAIT-For the sake of peace;

·4 ७६ भासनाटकचके note the idiomatic use of ageff i Trasfat:-By those who have a calm and peaceful mind, the sages. --resorted. If the Pandavas cannot fight for their kingdom, hermitage is the proper place for them. Whether right or wrong, gufTT has shown the spirit of a true gira in these words. परुप-Harsh. अलं अभिधातुं-Enough of speaking, i. e. please don't utter harsh words. sa in the prohibitive sense governs the instrumental case or the indeclinable participle by the rule अलंपल्वोःप्रतिषेधे भाचां परवा.' Bhasa has used it with the infinitive of purpose aitari which is ungrammatical. It ought to be ar trert i Verse 26. guarai auta ŠTIATH-Obtained by an accumulation of good decds of the past. संप्राप्त should be taken here in the sense of संप्राप्यां -obtainable. Otherwise it becomes a repetition or out having obtained. Ganapathi Sastry explains अधिगम्य as स्थीरत्या यायेत्-Potential mood of पञ्च् to deceive. सुदः यन्धयः च UFFETT: ITT! fa-Fruitless, -cſtort, undertaking. This is a warning to the chicct that he may even lose his share. Verse 26. ott: fi afa-Towards the brother-in-law of your father, i c. 47, the brother offerti 'fora TT: HTTi Egito Fai'1 first met: Farsangat. sg-lyho offend ·अल दूतवाक्यम्-NOTES always. guia asks-'When you had no mercy to your own uncle in whom you killed, how can you ask me to show mercy to the Pandavas who have done many wrongs to us?, ## ETA-HE 27:-Due to my fault. --Please don't think so. The killing of कंस should not be considered as my fault. Verse 27. garconi ferartita zai-gailestraf- कस killed the sons of देवकी one by one as soon as they were born and made her life miserable. FT:-many times (here six times) Feet face- His own father, Jaða I atat-Having imprisoned He became king after putting his aged father in the prison. bryati Faria -Was killed by Death himself (for his crimes). What frecut wants to impress is--the real cause of Kamsa's death was his own misdeeds and flancat was only a alatt, an instrument in the hand of God gaita does not agree with this explanation of flancur and says that it was cheated by him TAFOR-Note 7 governing qatari PICH स्तव-Self praise. न शौर्यमेतत्-In the opinion of दुर्योधन, the killing of कंस is not an act of valour because श्रीकृष्ण is not so powerful पश्य-दुर्योधन is pointing out to an instance where your behaved like a coward It will be noted as to how ·७८ भासनाटकचक्र दुर्योधन is now attacking श्रीकृष्ण deviating from the main topic. Verse 28. जामातु: नाशेन (यत्) व्यसनं तेन अभितप्ते-- Afflicted with grief caused by the death of his son-in-law (कंस). मगधेश्वरे रोपाभिभूते (सति)--When जरासन्ध became angry and marched towards मथुरा (Mutra) Page 24. पलायमानस्य-Who fied (with fear). भयेन आतुरः तस्य-Sick with fear. तदा तय एतत् वीर्य क गतमासीत्--Where was your valour gone then. If there was killed by valour and was not cheated, you should have displayed that valour against जरासन्ध also. देशं करल अयस्यां च अपेक्षितुं शीलमस्य इति देशकाला- यस्थापेक्षि (धीर्यम् ।। नयं अनुगन्तुं शीलोपामिनि नयानुगामिनः, तेपाम्। Those who follow the path of policy, adjust their valour according to the time, place and condition. They won't display their valour indiscriminately. If I did not resist the attack of TTTEOT then, it was because I considered the time was not suited for that. This statement of stator is a good rebuff to दुर्योधन. Realising that they are deviating from the main topic Krishna says-'द तिष्ठतु.... स्थकार्यमनुष्ठीयताम् । अस्मद्त:-concering me. परिहामः ridicule. स्कार्य-your own duty. Verse 29. गुणाः इसरे येभ्यः ते गुणेतरा:-Faults (lit. those from which virtucs arc different). If .......

·U दूतवाक्यम्-NOTES this is taken as a argou compound, the form would be gurati Hera:-alliance, association. With a desire to Save the world from a cala-- mity, श्रीकृष्ण is politely advising दुर्योधन with words of wisdom. Verse 30. ten repeats what he said before and asks CUT not to speak about it any more. foregur-Grinding a thing already ground. This is a phrase (curo) denoting repetition of the same thing which would produce no result. Calea quae-This much is enough. 1997-The talk about giving a share of the kingdom. छिद्यताम्-Let it be stopped. कथां छिन्धि- Active. Verse 31. FATTA1A-Being appeased. HTFTby mild words. Ágitaali-I will provoke. When yot was asked to stop talking about the affair of the Pandavas, he realised that appeasement would not change the heart of 4. He then decides to adopt the expedient of - threatening. veya TTRIA TE9777147-Valour supported by might. Krishna reminds at of the great prowess of far so that he may yicld, but in is firm: Notc how the dramatist is gradually developing the situation to a climax.

·मासनाढकचके f KVerse 32. In this verse sfilescos refers to four Xncidents where asja fought with formidable foes and won everlasting fame. फिरातस्य इदं फोरात ag:--The form (body) of a hunter, atfertim who has taken up. uitati gft:-Siva. stia pleased fere who came in the form of a hunter, in a direct fight and got from him the most powerful weapon-formalapLn67a1- Taratatara FETIT:39]. 01039 is the name of a forest which was completely consumed by Fire God with the help of asja who prevented the heavy shower of rain released by someone with his arrows and allowed the fire to burn the whole forest. The famous bow trota was presented by ofiar to अर्जुन on that occasion [Vide: #TAT. af attr: 222 to 227]. STAT:--Present part of the root अश to uthar-covered. are difárialfa facci: i fan-trouble, affliction. Fararanaat: A group of powerful demons who were residing inside the sca. They were three crores in number. At the request of me gja fought with them and killed them in the battle [ROTATTO TATO. 168 to 175). The three incidents mentioned above rclatc to the fight of Arjuna with the Supreme God Siva. thc Devas and the Asuras respectively. The fourth incident relates to his fight with consume.

·दूतवाक्यम्-NOTES human heroes which was witnessed by gutta *himself agt-Atthat time, when gaiara himself was present. भीष्मादय -भीम, द्रोण and other gaints were defeated single handed by mja 10 the city of विराट तवापि प्रत्यक्षम् अपरं-Another incident which you have experienced in such a manner that you can never forget it) Page 26. Vere 33. fragt—The king of Gandharvas, नभस्तलम्-Sky. विक्रोशन्-crying aloud tiqarTi-During your inspection tour of the hamlets. Under the pretext of inspecting the hamlets, grin with his family and friends went to the forest to see the Pandavas suffering On the way he was captured by FT with his family and brothers and was carried through the sky, mga, being ordered by युधिष्ठिर, faught with the Gandharva King चित्रसेन and got the release of tim and his family (#. HT. Tat. 274. 236 to 251) This is an incident which gut cannot easily forget because he even decided to fast unto death on account of the shame of being rescued by his enemies. This speaks of Arjuna's superior might and serves as a warning to दुर्योधन. f. TUOTE--This is a term used when one wants to cut short his speech l'erac31. ENTERT *7747-On my advicc. राज्य अध राज्याधं तम् । By अघ, cract half is not ·भासनाटकचके meant here. In the sense of exact half, the compound word should be TH! In the महाभारत, श्रीकृष्ण tells that Pandavas will be satisfied even with five villages. FNTT: यस्याः ताम्-Having the ocean as its boundary Timearth arafrat will take by force. If their share is not given now, they will seize the whole kingdom. कथं कथम्-दुर्योधन gets irritated on hearing the threatening words of fretur. Verse 35. gutan says that even if the Gods इन्द्र and वायु, fathers of अर्जुन and भीम, come and fight assuming the forms of their sons, he would not yield to the threats of siteiros. Alga: Actia -If the wind-god strikes. Haet Trifa i FTEITI in person. 7-Indra. gegaan 2T-TTTTTTTTTTT means skilful, adept. दास्ये-I shall not give. एणमपि ~even a bit of In the original story says that he won't give even a little ground sufficient to thrust a pointed needle. font fondi -- enjoyed by my father. atür Tatoprotected by (my) valour. qurfa is a term denoting contempt which makes after or lose his tempor. He now scolds 107. Toni FITI PRET stain, disgracc. 777F-infamy. -greedy, cager sceker. अपमासि सुन्धः। फिल here denotes question. (9) 27-TT: (TE) CITAT: TET ममिमापका मन्तर is to be taken here in the scnse grass.

·<3 दूतवाक्यम्-NOTES of 'related to'. guitza said that he would not give even a blade of grass. eftetur asks-'Are we talking about anything related to grass ? He means that Duryodhana's reference to the grass is irrelevant. अभिभापक-One who speaks (An Advocate). TITTO - This epithet is used here to show that he is fit to be talked about grass. तृणान्तरेण TRICT: -Tipat HTCT:-One who is fit to be -spoken about grass. Ganapati Sastry takes this word in the sense of one who is fit to be addressed through a grass'. तृणमन्तरतः कृत्वैव CHEAR HATtz., a Atenec figIT: 1 In this interpretation prat means 'through', CUTETT 11 Verse 36. Eri af TETT A JEZT7--221-The killing of a woman is prohibited in Sastras. THT-a woman This refers to the killing of पूतना by श्रीकृष्ण. हय-horse, here it refers to the Asura ft who came to kill antur in the form of a horse. Tag-A bull. This refers to the demon afte who came in the form of a bull in the midst of cows with a desire to kill zracus The story of eftertot killing these two demons who were sent by ## is told in chapters 36 and and 37 of the CTETZT in PREMIAT I HETI Professional wrestlers. श्रीकृष्ण killed चाणूर, शल and तोरालक three great professional wrestlers who were engaged ·भासनाटफच by de to kill him in a wrestling contest. PATTR killed with and re. [ facra FATHETIKETTI, 43-44) UR-With no sense of shame. The means that he should ſccl ashamed for having killed a woman, a hossc, a bull and the professional wrestlers. arma-With virtuous mon like mc. A shameless sinner has no right to converse with good people ETTE #You are insulting me (which I cannot bcar any longer). tyria-What I say is only a fact,- (and hence it will not amount to an insult). पशूनां पुरः उता: रेणयः तः सरितानि अगानि यस्य #:1 gr-hoof. fram-smcarcd 111-Cow pen. gura considers that alone thic proper place for Tentos forraltas-Jyasted, since no useful purposc has been served by this talk. Page 28. IIIIn spitc of great provocation, uiter.cop speaks calmly that he would go to the cow.pen but only after delivering the message of it. It is not clear what this message of grist is. vit has already delivered the message of the Pandavas in verse 20. Is thoscany more message sent by Trust in particular? If there is one, what is that ? Since no answer is found in the availablc lcxi, te have to prosume that some lincs in the lett are missing, orialcthese ſour lines fouod in certain cditions alonc As spurious.

·दूतवाक्यम् -NOTES अमाप्यः न भापितुं अहः-Not fit to be spoken to. Verse 37. पाण्डरं च तत् आतपत्रं च पाण्डरातपत्रं, अवधूतं पाण्डरातपत्रं यस्य सः। द्विजवराणां (ब्राह्मणयेष्ठानां) हस्तेपु धूतैः अम्बुभिः (जलैः) सिक्तः मूर्धा यस्य सः । सिक्तsprinkied. अवनतस्य नृपमण्डलस्य अनुयात्रैः सह-With the followers (servants) of kings who pay respects to me. श्रीकृष्ण is here spoken as a servant of his vassal kings. कथयामि-I say, I afirm. न भाषे--I will not talk. Thus दुर्योधन closed the door giving no room for further talk. श्रीकृष्ण now provokes him by calling a crow, monkey etc. Verse 38. काक-A crow because he talks harshly. केकर-a squint-eyed man, because the does not even look at श्रीकृष्ण directly. काककेकर can be taken as a single word काकवत् केकर-काक- केकर। पिङ्गल-Yellow monkey, being mischievous by nature त्वदर्थात्-On account of you. अचिरात् नाशमेप्यति-This is the final warning of श्रीकृष्ण. भो भो राजानः-श्रीकृष्ण now takes leave of the princes present and starts. यास्यति फिल-दुर्योधन did not expect this sudden departure of श्रीकृष्ण. He is now in a hurry to carry out his plan and calls his brothers. दूतसमुदाचारमतिमान्तः-One who has misused the privilege of an ambassador. This is the excuse for fettering him. In the महाभारत, मीम, विदुर, द्रोण, धृतराष्ट्र and गान्धारी request दुर्योधन to act according to the advice of धीरुप्ण. गान्धारी ·भासनाटकचके is brought to the council hall specially to persuade nista but he walks out 'angrily with दुश्शासन, शकुनि and कर्ण. Then they consult with each other and decide to take frescor a prisoner. The idea of binding oftentur comes only when दुश्शासन tells that श्रीकृष्ण may persuade भीमद्रोण and others to bind them and hand over to the Pandavas. Fue standing at the gate understands the intention of guiga and his associates and communicates that to those in the hall. Then sticot assumes his universal form. भास has not introduced धृतराष्ट्र, विदुर and TIFTIT. Though in and alus are present, they remain silent. The decision to bind mentor is also taken by gutea beforehand. Verse 39. From: (IFT) TIETEar-The Killer of an elephant and a horse. The elephant referred to here is Farsants which stood at the entrance of Kamsa's palace and attacked eftermon. Stiaa: (UTET) EST SITETET I a IT: part. I STIFTELFT STAFHET:- One who does not know the proper behaviour of servants (because he lived with cow-herds who are not trained in it) 70 Tati T , Ed (arza) Hati यस्य सः। This refers to the attack of जरासन्ध already mentioned in verse 28. स्वस्य वचनैः रतः 14:27 #-One who has offended us by his words. FTE TE TE FTO.-One who has turned his face backward. ~a noose.

·८७ दूतवाक्यम्-NOTES Page 30 भवितुं काम यस्य स-भवितुकाम -Desi. rous of binding Instead of भवितुकाम , some editions read वडुकाम । विश्वात्मकं रूपं-विश्वरूपम्-- Universal form. Verse 40. दुर्योधन considers the विश्वरूप of ftator a magic show and continues his effort to bind him. समन्तात्-All round. देवानां माया- The magic of Gods स्वस्य माया-one's own tracks. दुखेन निवारयितुं शस्या दुर्निवारा -Irresistible 'जात दर्प यस्य स-Puffed up with pride मया त्वं. चध्यसे-Passive अहं त्या बध्नामि-Active. श्रीकृष्ण now plays with दुर्योधन changing his form and sometimes becoming invisible. This scene which is a creation of भास, 1s full of excitement and fun. हस्व-short. जम्मक-A magician, one who can delude others Even though fooled by श्रीकृष्ण, दुर्योधन does not get disheartened Verse41 मम कार्मुसस्य (धनुप) उदरात् (मध्यात्) विनि सूतानां याणाना जालै (समूद), विद्ध (wounded), अत एव क्षतजेन (रक्तन) रसितानि (rendered red) सर्वाणि गानाणि (अश्ययानि) यस्य तम् शिविरे उपनीतं त्यां, पाप- तया याप्पै द्धानि नयनानि येषां ते तथा भूता, परिनि यसन्त (सन्त ) पश्यन्तु । Failing to fetter कृष्ण, दुर्योधन now says that he would defeat him in a fight and goes out, as if to bring his bow Here cods the part of guiar in this play In the original too, Krishna's mission as an .

·<C भासनाटकचके ambassador practically ends with his faszrat- प्रदर्शनम् । After that धृतराष्ट्र pleads inability to control his son and placut returns taking leave of भीष्म द्रोण and others. मास also introduces Jare at the end of the play, but before that he has created a new scene which adds to the excitement and provides the necessary SUTATE (wonder) in the concluding part of the play. In · this scene, भास makes सुदर्शन, the Disc of कृष्ण come to the stage in human form, and introduces other weapons through the technique of आकाशभापितम् | In the महाभारत, these weapons are said to be standing in front of frescor when he assumed that I ‘अग्रे बभूवुः कृष्णस्य समुद्यतमहायुधाः । 7571 TENTATIF FEFT: 11' [tit. 131-10)- He must have taken the clue from this for creating a full scene with these weapons. Page 32. Tari The work of the Pandavas, i.e. killing of the For now calls his disc gain for that purpose. Since sztett has gone to take his bow, it is quite proper on the part of oftentos to call for his weapon. Refers to Eria himself. Verse 42. One who possesses the six qualities known as 49. They are terier समनस्य घीर्यस्य यशसः श्रियः । ज्ञानवैराग्ययोश्चय पण्णां भग - ·दूतवाक्यम्-NOTES इतीरणा ॥' विपुलश्चासौ प्रसादश्च तस्मात्-Owing to his great favour. He is attributing his power to break the clouds and come so quickly to the favour of कृष्ण. नितरां धावितः निर्धारितः अस्मि-I have come fast. परिवारितः (विक्षिप्तः) तोयदानां (मेघानां) मोघः (समूहः) येन सः। परिवारित is here used in the sense of scattered around, kept at a distance. कमले इव (कमलदले इब) आयते अक्षिणी यस्य सः-Whose eyes are long like lotus petals. Note अक्षि becoming space at the end of the Trentie compound. प्रविजृम्भितुं अहं प्रविजृम्भितव्यम्--Potential participle of जृम्भ-to exert, to display. सुदर्शन wonders against whom aflatot is going to employ him. नाराः अयनं यस्य सः नारायण:-One whose abode is water, an epithet of flestur. Fria now speaks about the greatness of cus according to Vedantic conception. Verse 43. अव्यक्तस्य आदि:-The source of the unmanifest primordial element which is known as प्रकृति । 'महतः परमव्यकं अव्यक्तात्पुरुषः परः' इति [श्रुतिः] अचिन्त्यः आत्मा (स्वरूपं) यस्य सः-Whose real form cannot be comprehended by the mind because he has no attributes. "अव्यक्तोऽयमचिन्त्योऽयमवि. कार्योऽयमुच्यते' [गीता] एकोऽपि अनेकवपुः-though really one, he assumes different forms. द्विषतां (शत्रूणां). वलं द्विपलम् तत् निषूदयति (हिनस्ति) इति द्विपछलनियूदनः । दूतसमुदाचारेण-In the role of a messenger. कुतः खल्वापः-He is searching for water to wash.

·भासनाटकचक्रे his feet and purify himself by nama before approaching the Lord. आचम्य-Sipping water three times repeating three names of God. अप्रतिहतः पराक्रमः यस्य सः-Whose valour is never repelled. फर्मकाले-In time for action: Page 34. Ferse 44. मेरुमन्दरयोः कुलं (range) 'मेरुमन्दरकुलम् । नक्षत्राणां वशं (group) नक्षत्रवंशम् । तव प्रसादात्-This modesty and devotion of सुदर्शन coupled with this great prowess make him a fascinating character. Verse 45. श्रीकृष्ण says this in anger calling दुर्योधन aloud. लवणजलं-Salt water, sea. यदि प्रयासि should be connected with this and the next two objects, फन्दरं and वायुमार्गम् । ग्रहाणां गणेन चरितं चायुमार्ग-The path of परिवहयायु--ज्योतीपि वर्तयति व प्रविभक्तरश्मिः... तस्य परिवहस्य मार्ग'शाकुन्तलम् ]. भुजवलेन योगः संबन्धः तं प्राप्त. अत एव सातवेगं एतत् चर्क। कालस्य यमस्य चक्र कालचक्रम् ॥ सुदर्शन now understands why he was called and starts to march against दुर्योधन | Then he thinks for a while and reminds vlcer politely that this is not the time to kill दुर्योधन. Verse46. मद्याः भारः मद्दीभारः तस्य अपनयनं tremoval) महीभारापनयनम् । अस्मिन् एवं गते-If this दुर्योधन is disposed of in this manner the other wicked men will escape and the purpose of your मयतार will be defcated. Only when most of the wicked men arc killed in a war. the burden of .

·दूतवाक्यम्-NOTES
the earth will be lessened, and for that, दुर्योधन
should not be killed now. Some editions read
अस्मिन् एव गते-If दुर्योधन alone is killed. श्रमः-
(your effort. विफल-fruitless.
श्रीकृष्ण now subdues his anger and asks
सुदर्शन to return. समुदाचार here means the main
purpose.' ia tells the councillors that
श्रीकृष्ण is Lord नारायण and not a mere cowboy
and advises them to seek his protection. त्रिभिः
चरणैः अतिक्रान्तं (लचित) त्रिभुवनं येन सः त्रिचरणाति-
कान्तत्रिभुवन । त्रयाणां भुवनानां समाहारः त्रिभुवनम् । When
in prepares to return, other weapons of
श्रीकृष्ण शाङ्ग (the bow), कौमोदकी (the club), पाञ्चजन्य
(the conch), नन्दक (the sword) and गरुड come one
by one. Eta asks them to return saying that
Krishna's anger has been subdued, and lastly
he also goes back to his abode. This is a scene
full of excitement and thrill. आयुधवरं-आयुधश्रेष्ठम् ।
शाहू is the name of Krishna's bow. It should be
noted that these weapons are not actually
introduced on the stage.
Page 36. Verse 47. तनु, मृदु, ललितं व अङ्गं यस्य
तत्, स्त्रियाः स्वभावेन उपपनम्, हरेः (कृष्णस्य) करेण धृतः
मध्यः यस्य तत्, शत्रूणां सधस्य एकः (सुरव्यः) कालः, कनकेन
(स्वर्णेन) खचितं पृष्ठं (उपरिभाग) यस्य तत्, शाङ्गम् धनुः।
पार्श्व-By the side (of श्रीकृष्ण) The bow with its
back covered with gold and remaining near
ftatue is compared to a streak of lightning near
i fresh dark cloud.

·९२ भासनाटकचके Verse 48. मणिभिः कनकेन च विचित्रा, चित्रा (चित्र. वर्णा) मालेच उत्तरीयं यस्या सा, सुराणां रिपवः (असुरा:) तेषां गणस्य गात्राणि (शरीराणि) तेषां ध्वंसने (विनाशने) जाता तृष्णा (अभिलापा) यस्याः सा, गिरिवरस्य तटः गिरिवरतटः तस्येय रूपं (आकृतिः) यस्याः सा मेघवृन्दं अनुयात्रं यस्याः सा कौमो. दकी। गभसि-in the sky. व्रजति-travels. The descriptions of the weapons are so graphic and realistic that they create a deep impression in the minds of readers. Verse 49. पूर्णेन्दुश्च फुन्दश्च फुमुदोदरश्च हारश्च पूर्णेन्दु कुन्दकुमुदोदरदाराः, ते इय गौरवः (गुरुवर्णः), नारायणस्य माननं सरोजमिव आननसरोजं, तेन कृतः प्रसादो यस्य सः पाशाजन्यः माप्तः । यस्य प्रलये (प्रलयफाले) यः सागरस्य घोपः (शम्दः) सेन तुल्यं स्वनं निशम्य-having heard, ममुरादनानां गर्भ- सायो भयति । Note thcalliteration. Page 38. Verse 50. पनितायाः (स्त्रियाः) विपदः (रूप) यम्य सः, नन्दकनामा असिः (महा), मदान्तः ये भमुराः तेषां भयहरः गगने शीघ्र प्रयाति । महोल्का इय-like a big mctcor ; JET also means a fire-brand. Verse 51. पराः (तीक्षणा:) थंशयः पस्य तस्य (सूर्यस्य)- धपद्दसिता तनुः येन सः, अपदग्मिनग्यंतचरित्यर्थः। गरांशोः ननुरित्याशेषान्ययः। म्यः फर:-By means of its rays. मुरेपूणां ममुराणांफटिनागि उरःम्बलानि.गणेशोदे (माने) दक्षा (ममयों)। प्रलययनरयसयतः ज्यारयः पम्या: पनcloud, gi-bow string, ry-sound. TIT: africa- नापति:--The slender bow. शशिर उप विगतः (पयला), गानां राट-The king (best) of conches. Verse 2. दायानां यन्तं फरोतीनि दायातरम्। मुरम्य (नासः मगुरम्य) मरि (प.) गुगr:-An ·दूतवाक्यम् NOTES cpithet of acut. Sera ya: WYCIT:I Seura la Tita ar Tafa afaayfa , TT:-P. p. p. of T-to agitate.la:-to hide, to disappear. Verse 53. Oferta *-Obtained by their combined effort in churning the milky-ocean #ra: ferataară-to set free his mother formar from bondage of any her co-wife. asa-taken by force. Ta:- from the enemy, F. gett:-- to go. The allusion here is to the story of 3773 bringing a to set free his mother. Once Fre, the mother of serpents, defeated feratat in a contest and made her a slave. The serpents told T3 that his mother would be set free if nectar was brought and given to them. The refused to give siga to 753 who fought with the gods and carried away the pot containing nectar. On the way he met forros (SUE) who, being pleased with him, granted a boon. 1795 too, in return granted a boon to face that he would carry him on his back. [ETHITA STR. PETIT 33) Page 40 Verse 54. The first line of this verse and the word an in the second line are supplied by Ganapathi Sastry since they are lost in the original. SHTAT TUANZIA STATE (farcifa) tai ai qeyd e-When aitor was angry, farma: Frau: taj who lost their splendour. श्रयन्ति--resort to. सदनानि--abodes ·९४ भासनाटकचक्र mai-agreeable, beautiful. After the departure of gia, also starts. Just then धृतराष्ट्र comes to pacify कृष्ण ॥ न खलु न खलु। धृतराष्ट्र comes at a distance requesting to not to go. Ut recognises his voice and stops. Note the respect shown by श्रीकृप्या to the aged king. पाण्डव श्रेयस्कर and faatat are significant adjectives. Verse 55. Try falls at the feet of you to atone for the sins of his son. 8: TOTT TET Eti, Agri I 28789-m-a leader, a head. Though TIG is old in age, he prostrates at the feet of कृष्ण because he knows that कृष्ण is Lord नारायण himself. By this prostration, TATO is pleading his inability to control his son. हा धिक्-This denotes the pain of कृष्ण when an older man falls at his feet. 787-Scc notes on page 10. 97471-water for washing feet. Offering to and i form part of a worship of पोडशोपचार. धृतराष्ट्र is eager to please एप्ण. फि ते भूय मियमुपहरामि । In the concluding part of a Sanskrit Drama, it is the usual practice to put such a question in the mouth of person who is responsible for bringing the plot to a happy end. In reply to this, nothing parti cular is asked for since what is desired has already been accomplished. Tig wants only the favour of by which has already been ·दूतवाक्यम्-NOTES bestowed by the acceptance of his worship. पुनदर्शनाय-to meet again. Friends and relations usually say this while departing. भरतवाक्यम्-The final benedictory speech. Verse 56. सागरः पर्यन्तः यस्याः तां-Extending as far as the ocean. हिमवांश्च विन्ध्यंश्च कुण्डले यस्याः तां-having the mountains हिमालय and विन्ध्य as ear-riogs. The earth is conceived as a lady by the poets एक (एच) आतपत्राङ्कः यस्याः ताम्- bearing the mark of a single umbrella, i.e. not having a rival umbrella raised, राजा सिंह इव राजसिंहः। प्रशास्तु-लोट् of शास् with प्र-to govern. राजसिंह might refer to a king who was a contemporary of He or to any king in whose regime the play was staged. The same भरतवाक्यम् is found in स्वमवासवदत्तं and वालचरितम् । End of Dutavakyam. The Metres (वृत्ताः) used in this Play. (1) अनुष्टुभ् श्लोफ लोके पप्ठे गुरु शेयं सर्वत्र लघु पञ्चमम् । द्विचतुः पादयोः स्वं सप्तमं दीर्घमन्ययोः॥ This metre is used in 22 out of 56 slokas in this work. They are:-1, 2, 7, 8, 16, 17, 20, 25, 26, 27, 29, 30, 31, 33, 34, 36, 38,.43, 46, 50, 55, 56. (2) उपजाति-स्यादिन्द्रयन्ना यदि ती जगी गः उपेन्द्रयना जतजास्ततोगी।

·भासनाटकचक्रे दूतवाक्यम्-NOTES अनन्तरोदीरितलक्ष्मभाजी पादौ यदीयाधुपजातयस्ता ॥ This metre is used in seven slokas which are'-9, 18, 19, 22, 28, 52, 53. (3) वंशस्थम्-जतौ तु वंशस्थमुदीरितं जरौ। Verse 21 (4) पुष्पिताना-अयुजि नगरेफतो यकार युजि च नजी जरगाश्च पुप्पितामा। This is an अर्धसम metre used in verses 6&37. (5) वसन्ततिलकम्-उक्त वसन्ततिलक-तमजाजगी ग । This metre comes next to HTH in prominence having been used in 13 verses--3, 4, 5, 11, 12, 13, 14, 23, 41, 42, 44, 49, 54. Both अनुष्टुम् and चसन्ततिर कम् are very suitable for acting and hence this preference of RT (6) मालिनी-नमयययुतेयं मालिनी भोगिलोफै । This is cmployed in seven verses--10, 35, 39,40,45, 47, 48 (7) शार्दूर विमीडितम्- स्यांश्च मसजा स्तनाः मगुरया शार्दूल विमीडितम् । Verses 24,32 (8) मुपदना-दशेपा सताभ्यपदमि मरमनययुनो म्ली ग मुपदना-Verse 15 (9) स्रग्धरा-प्रयांनां प्रयेण निमुनियसियुता सम्परा पीर्तितेयम्-Verse 51

·Model Questions.
२. 1) Sketch the character of श्रीकृष्ण and दुर्योधन,
2) Write a critical note on the deviations in
the plot of दूतवाक्यम् ।
3) What is meant by आकाशभापितम् ? Discuss
how Bhasa has used that technique to
further the development of the plot.
4) Write short notes on-(1) नान्दी (2) सूत्रधार
(3) स्थापना (4) भरतवाक्यम् ।
5) What dramatic purpose is served by the
introduction of the portrait scene?
6) Give an account of the part played by
सुदर्शन and point out its dramatic value.
7) Write a note on Bhasa's humour and style.
8) Give
a critical account of the talk
between श्रीवासुदेव & दुर्योधन.
9) Discuss whether दूतवाक्य is a वीथी or व्यायोग
and justify the title.
Annotate the following:
1) वाईद्यापहृतविषयकीर्तिभोगस्तव पुरुषोत्तमः?
2) आ, मनुष्याणामस्त्येव संभ्रमः?
3) ऐश्वयं स्फीतमेतत्स्वजनपरिभवादासन्नविलयम् ?
4) को नाम लोके स्थयमात्मदोपमुदाटयेत् नटघृणःसभासु।
5) तल्लोके न तु याच्यते न तु पुनीनाय या दीयते ।
6) यन्वयेद्यः सुहृद्वन्धून स भवेद्विफलश्रमः ।
7) देशकालावस्थापक्षि खलु शौर्य नयानुगामिनाम् ।