Vol.

i (Dramas)
 WORKS
OF
KALIDASA
Edited With an Exhaustive Introduction, Translation
and Critical and Explanatory Notes

C. R. DEVADHAR

VOLUME I

DRAMAS

MOTILAL BANARSIDASS
Delhi Varanasi Patna Madras
 First Edition 1958,Reprinted1972,
1977,1981,1985,1986

MOTILAL BANARSIDASS
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 CONTENTS

1 Abhijfldna Sakuntalam

Introduction i-xxx
Text with Translation 1-247
Notes 249-354
Metrical Table 1-4

Vikramorvaiiyam

Introduction i-xxvi
Text with Translation 1-187
Notes 1-110
Addenda et Corrigenda 1-2

3. Mdlavik&gnimitram

Introduction i-xiv
Errata 1-2
Text with Translation 1-167
Notes 168 to 308
Appendix A: 1-2
Appendix B : Metrical Table 3-4
 PUBLISHER’S NOTE

The best productions of the Indian drama are nearly a

dozen in number, and date from a period from about the
beginning of the fifth to the end of the eighth century A.D.,
embracing something like four hundred years. These plays
are the compositions of the great dramatists Kalidasa and
Bhavabhuti, or have come down under the names of the royal
patrons Sudraka and Sriharsa, to whom th^ir real authors
attributed them.

The greatest of all is Kalidasa, already known to us as the

author of several of the best Kavyas. Three of his plays
have been preserved, Abhijhana S&kuntalam, Vikramorvaixyam and
Malaoikagnimitram. The richness of creative fancy which he
displays in these, and his skill in the expression of tender feeling,
assign him a unique place among the dramatists of the world.
The harmony of the poetic sentiment is nowhere disturbed by
anything violent or terrifying. Every passion is softened with¬
out being enfeebled. The ardour of love never goes beyond
aesthetic bounds; it never maddens to wild jealousy or hate. The
torments of sorrow are toned down to a profound and touching
melancholy.

We have collected in this volume, the representatives of the

romantic drama of India, Abhijh&na Sakuntalam and Vikramorva-
$iyam> dealing with the love-adventures of two (amous kings of
ancient epic legend. Mdlavikdgnimitray on the other hand, is a
story of contemporary love and fancy.
abhijNAna-SAkuntala
OF

KALIDASA
 PREFACE

“ The tastes of men differ as much as their senti¬

ments and passions, and in feeling the beauties of art as
in smelling flowers, tasting fruits, viewing prospects
and hearing a melody, every individual must be guided
by his own sensations and the incommunicable associa¬
tion of his own ideas.” This is what Sir William
Jones, the first to translate and interpret to Europe this great
classic of India, remarks regarding the appreciation of a work
of art. The charm of a great classic as a work of art, in com¬
mon with all great works of art, lies in its eternal freshness
and novelty ; and to each and every mind a great work will
reveal a new meaning and a new charm which alone arc the
source of all the enjoyment one derives from reading it.
How far it has been possible for us to reveal all the mani¬
fold charm of this great work of classical antiquity, it is for
the reader to judge. We have spared no pains in bringing to¬
gether all the accessaries to his enjoyment, selecting the best
of all possible variants, giving a rendering in English of the
original which is as literal as the idiom allows and adding
critical, exegetical and rhetorical notes to aid the readers’ un¬
derstanding of the text. This is all that we have done ; and if
the reader docs his part well, he will surely be able to under¬
stand and enjoy the book. For after all “ We receive only
what we give.”
In preparing this edition, we have in the main followed
the Devanagarl recension of the text as represented by Monier
Williams. We are, indeed, very greatly indebted to that schol-
aily edition of the classic. We have further availed ourselves
of all printed texts and translations, notably those of Sir William
Jones, Ryder, and also of the stage version of the Sakuntala
prepared by Das Gupta and Laurence Binyon, with its illuminat¬
ing introduction by India’s greatest living poet We have
further consulted much of the vast literature on the subject
and we here make our grateful acknowledgments to all these.

C. R. Devadhar
14th June, 1934
N. G. Suru
 INTRODUCTION

Kalidasa, his date, life and work*.

Howsoever overlaid with fantasies or encrusted with a mass
of isolated events separated in time and place, a widely circu¬
lated literary tradition contains within itself a germ of his¬
torical truth and can be set aside on pain of doing serious harm
to that truth. Thus it is with king Vikramaditya of Ujjain, the
liberal patron of learning and arts, of whom the great poet
Kdiid&sa was a contemporary. This tradition forms the starting
point and the basis of the numerous theories regarding the
age of Kilidasa. Of these two rival theories may hoe be stated
as those deserving of consideration. According to one held by
moat European scholars, the VikramAditya of the tradition is
no other than the Gupta king Candragupta II who assumed the
title of VifcrainAditya and Moeeded his father Samudragupta
375 A.D. and made Ujjain his capital. Vincent Smith in
his early history of India (P. 304, foot-note) expresses the
view that the earlier works of Kalidasa were composed before
413 A. D. during the regime of Candragupta and his later
works were written under Kumargupta I (413 A. D. to 455 A.
D.) and that possibly his literary career extended even into
the reign of Skandagupta (453 A. D. to 480 A. D.).
Some are inclined to suggest from the reference to the
conquest of the Huns by Raghu in his Digvijaya, that Kalidasa
must have lived after the victory of Skandagupta over the Huns
half a century later than the date suggested. But the evidence
has no probative value. “ There is nothing to indicate any
reference to reality in this account of the exploits of a king of
long ago, and if Kalid&sa had lived in the reign of Skandagupta
when the fortune of the royal house was evidently tottering to
 •• •
11

a fall, it would be difficult to understand the calm contentment

with the established order which marks all his works.”
The other view held by many Indian scholars puts Kali¬
dasa in the first century before our era, and makes him a
contemporary and a protege of King Vikramaditya the founder
of the Samvat Era—57 B.C. That there is nothing implausible
in the assumption is clear when on the strong testimony of
Patanjali’s Mahabha$ya it has been possible to put back the
beginnings of court poetry in general by a few centuries of the
Christian Era. And “ Epigraphy not merely confirms the evi¬
dence of the Mahabha$ya that artificial poetry originated before
the commencement of our era but shows that that poetry conti¬
nued to be cultivated throughout the succeeding centuries.” Al¬
ready in the days of Kani$ka (78 A.D.) Asvaghosa wrote his
Buddhacarita in the artificial style and called it a Mahakavya.
In connexion with this writer it is interesting to observe
that there is a striking resemblance between his poetry and the
poetry of Kalidasa. Not only is there a close parallelism bet¬
ween a few isolated passages and descriptions, but between ideas
and expressions fairly distributed over the pcem. As Prof. R.
N. Apte has observed these close resemblances warrant the con¬
clusion that “ one of the poets is using the other.” It must
be remembered that Asvaghosa is a philosopher first and a poet
afterwards ; while Kalidasa is an original poet. The proba¬
bility, therefore, is that Asvaghcsa is the borrower
and Kalidasa his original. Cowell’s theory of Kali¬
dasa's indebtedness to Asvagho$a rests upon the view that
Kalidasa belongs to the Gupta period. The hollowness of this
view, has, however, been shown by Prof. Shembavnekar in an
article on ‘ the Date of Kalidasa’ contributed to ” the Journal
cf the University of Bombay” fVol. I, Part VI, pp. 232-245)
who points out that the Gupta theory is based on the assump¬
tion that Chandragupta II was the first monarch who bore
 Ill

the name Vikramaditya, whereas on the testimony of the Raj¬

put Chronicles and the Kathasaritsagara the first king to bear
that appellation was King Vikramaditya of the Paramara
dynasty, the hero of countless legends, the ruler of UjjayinI in
Kalidasa's day. It is held by many that the title * Vikramo-
rvaSJya' is chosen by the poet in order to glorify and im¬
mortalize his patron’s name. According to Kathasaritsagara the
father of Vikramaditya was Mahendraditya. It is curious to
note that the word Mahendra as an epithet of Indra is repeated
by the poet no less than fourteen times in the play and in one
place it is particularly significant to find the names of the
lather and son linked up : ( ftwritSTT 3**%
i ) It is possible, as Prof. Shembavnekar suggests,
that the play was written at the time of the intended retire¬
ment of Mahendra from active life, and the coronation of
Vikrama as king i Kathasaritsagara XVIII. 59-60). The last
act of the play, therefore, where prince Ayus is installed as the
young king is but a poetic reflex of the actual course of events
of the timen-.
There is nothing in the arguments adduced by European
scholars which is repugnant to this theory that Kalidasa lived
in the 1st century before our era at the court of King Vikrama
of UjjayinI who founded the Samvat era. Prof. Keith’s view
that the conclusive evidence displayed in the works preserv¬
ed to us of elaborate training in all the learning available to a
Brahmin student of the Gupta era from the science of politics
to astrology and the Kamasutra... .everything points to his
flourishing in the time of Gupta glory ” is only a dogmatic as¬
sertion. With regard to the astronomical terms, such as the
names of the signs of the Solar Zodiac which are supposed to
be of Greek origin and on which European critics lay so much
emphasis, it has already been proved by scholars like S. P.
Pandit. R. N. Apte. that there is nothing to show that they
 IV

were unknown to the people of India a few centuries before the

Christian Era. While the occurrence of un-Pai)inian expressions
and grammatical forms such as
in Kalidasa can be satisfactorily explained only
on the assumption that he belonged to a time when the Panmian
grammar had not obtained a complete vogue.
The foregoing discussion is enough to justify the truth and
the vitality of the age-long tradition that the poet belongs to
the days of the glorious King Vikram&ditya of UjjayinI—the
founder of the Samvat era (57 B. C).
With regard to the external details of the poet's life, we
know next to nothing; the numerous legends told about him
are but empty figments, and only bear testimony to the great¬
ness and extreme popularity of the poet in the land of his
birth. “ The truly great stand upon no middle ledge; they
are either famous or unknown.” But Kalid&sa is both famous
and unknown. We look in vain m his works for knowledge
about the facts of his life. The impression that we gather ab¬
out him from them is that of a man, deeply learned in lite¬
rature and philosophy and other traditional lore of the times,
and more deeply learned in the book of natuie. UjjayinI was
the city of his heart and he is delighted to sing of her glories
and of the romantic loves of her maidens. He sings of this Gem
of AvantI, rich with the storied legends of Udayana and the
consecrated past, this radiant bit of heaven, with her flower-
sweet balconies, and black-eyed maidens ; of the dread shrine
of Siva, Mahakala, of her rich gardens and lotus-lakes that
send their fugitive sweetness through the dark; and his fond¬
ness for the city is so evident in his loving and lingering descrip¬
tion of her varied charms that one might legitimately conclude
that the poet must have spent at least a part of his life in this
city. Further he was a widely-travelled man and was a keen
observer of nature—not only of her sublime and wild aspects.
 V

but also of her mild and minute manifestations. “ Rarely has

a man walked our earth who observed the phenomena of liv¬
ing nature as accurately as he, though his accuracy was of
course that of a poet, not that of the scientist.”
He was essentially an eclectic in his religion and philosophy
for if the Kumarasambhava is distinctly Sivaistic, the Raghu-
variiSa is no less distinctly Vi$nuite in tendency ; while Vedantic
monism or Sairhkhya dualism, or the active devotion of Yoga
equally engaged his regard; so that, as Ryder says, “ Kali¬
dasa moved among the jarring sects with sympathy for all,
fanaticism for none.” A pleasing trait of his personality is
his modesty which Coleridge recognises as a sure sign of great
genius. Above all, his writings are coloured with the suffu¬
sion of a charmed equanimity and give the impression of a
man who walked the earth with a serene and god-like tread,
with mind and senses keenly responsive to every form of
beauty, and accepting life and the good things it offers in a
spirit of sublime acquiescence.
Of his seven works which have come down to us, three are
dramas, two epics, one a lyrical piece and one a descriptive
poem. It is possible to fix the chronology of his dramas, the
Malavikagnimitra being the composition of his salad days, the
Vikramorvaslya coming next, and the Sakuntala composed when
he was in the prime of his manhood. There can be no reason¬
able doubt that the Rtusaiiihara was a juvenile piece ; while
with regard to the two epics Raghuvaiiisa and Kumara¬
sambhava, opinions differ, for whereas the introductory stanzas
of the Raghu suggest that it was written before Kumara, the
abrupt and undignified ending of it suggests that the hand
that wrote it was cold before it was finished ; but then we have
to remember the tradition that in its original form it consisted
of twenty-five cantos, of which only nineteen have come down to
us. In general it would be only reasonable to assume that the
 VI

great works on which his fame chiefly rests—the Sakuntala, the

Raghuvamsa, the Kumarasarhbhava and the Meghaduta—be¬
long to a period of his life when his genius had attained to the
fullest maturity of its powers.

The Story of &akuniala in the Mahabkarata.

We shall now proceed to give the original story in full in

order to realise how wonderfully baser metal is transmuted
into gold by passing through the crucible of the poet’s im¬
agination.

Once upon a time that strong-armed king accompanied by

a large army entered a thick wood. There he chased various
beasts and killed them by the hundred. Then pursuing a
deer, he came to a beautiful hermitage on the banks of the
river Mai ini. He left his army on the skirt of that tranquil
resort, add laying aside the insignia of royalty, entered the
place alone, and sought the sage Kanva ; but finding no one
there he cried aloud “ Who is there ? ” until the forest resounded
with his cry. Hearing his voice, a beautiful maiden, dressed
in hermit's garb came out and hailed him with words of wel¬
come. On being asked his purpose he told her that he had
come to pay reverence to the holy saint Kanva. Did she know
where he had gone ?

Sakuntala said, “ My blessed father is gone to gather

fruits in the forest. Please wai awhile : you shall see him
when he returns.”

Then, in the absence of the sage, the king seeing this

lovely maiden of the fair hips and charming smiles, shining in
her radiant beauty and youth, and her penance and self-res¬
traint, said to her, “ Who are you ? Whose are you lovely
maid ? Why have you come to the forest ? You stole my heart
 Vll

at the first glance. I wish to know more of you. Lovely maid

answer me.”
Thus asked the maiden smiling said in her sweet voice.
“ O Du$yanta, I am the daughter of the sage Kaijva, the high-
souled, austere, and self possessed saint.”
Dusyanta said, “Bui he is chaste, gentle maid, pure
and holy in the world’s regard. Even virtue may swerve from
its couisc, but he would never swerve from his hard vow.
How were you born his daughter, for you are so fair ? I am
filled with doubt about this. Pray answer me.”
She then told him the story of her birth as she had heard
it from the saint. Once, Indra, afraid of the austerities of the
sage Visvamitra, sent the nymph Menaka to tempt him. She
went to the sage and made reverence to him and while she was
sportively moving about the hermitage her garment was carried
away by the wind ; the sage was disturbed and called her to
him. They stayed together for a Jong time and a daughter
was born of the union. Menaka deserted her on the banks of
the Malinl and returned to Indra’s court. The child was cared
for by sakuntas (birds) and hence was called Sakuntala. The
saint found her there and reared her up as his foster-child.
Then Dusyanta said, “ So you are a princess, auspicious
maiden ; be my loving bride. Tell me what I may do for you.
Let the whole of my realm be yours today ; be mine by rites of
Gandharva marriage ; become my wife, sweet maid.”
Sakuntaia answered, “ Promise me truly what I ask you
in secret. If the son that will be born to me becomes king
after you, then, O Dusyanta, I will marry you.”
So be it,” the king said without thinking and added
“O my bride of the charming smile, I will take you to my
city." He, then, married her duly according to the Gandharva
rite and dwelt with her. Then on the day of parting, hi com
 • ••

VJU

forted her and repeatedly promised her that he would send

a large army to bring his sweet smiling bride to his capital.
Having thus promised her, the king returned to his
capital, his mind filled with thoughts of the sage Kanva, and
wondering what he might do on hearing the news. Sometime
after he had left, Kanva came back to the hermitage, and
Sakuntala durst not approach him for shame. But the great
saint knew it through his divine vision and he was pleased and
said, “ Dear child, that you lived secretly with a man, for¬
getting me, is as I see it, not against the law ; for the
Gandharva form of marriage is declared to be the best for a
K$atriya, when both love one another, and no consecration
by holy chants is deemed necessary. Dusyanta is the best
among the men, noble and law-abiding ; and since you have
found a loving husband, you shall give birth to a noble son,
mighty in the world. ”
Sakuntala then begged of the sage to think kindly of
Dusyanta, her husband.
She gave birth to a boy of unmeasured powers in the
hermitage ; his hands were marked with the quoit, and he
quickly grew to be a splendid boy. When he was only six
years old he rode on the back of lions, tigers and bears near
about the hermitage and tamed them and sported with them ;
so that they gave him the name ‘ Sarvadamana ’ the ‘All-tamrr.’
Then seeing the child and his more than human deeds, Kanva
said that it was time the child was consecrated as Yu vara ja
and calling to him his pupils he bade them take Sakuntala and
her boy to her husband’s home. For people do not like a mar¬
ried woman to stay long among her relatives, as it is against the
law, and destroys their character and reputation.
They then set out with Sakuntala and her son for Hasti-
napura, and drawing near the king who instantly recognised
her, they led her into his presence. She bowed to him and
 IX

said, “ This is your son, O king, install him as Yuvaraja, even

as you promised before, when, we met.”
Hearing those words, the king, although he remembered
everything, said, “ I know not whose you are, you vile hermit-
woman ; I do not remember to have wedded you for duty, plea¬
sure or wealth. Stay or leave as you choose; do what you
like.”
Having heard those words Sakuntala was nigh fainting
for shame and grief and stood motionless like a pillar. Her
eyes became red with grief and anger ; her lips quivered, and
she looked obliquely at the king seeming to consume him with
her glances. Concealing her feelings and controlling her anger
she held in check the magic power that her penance had given
her. She thought for a while and looked at her husband in
rage and grief, and said passionately to him, “ How do you say
“ I do not know ” like any ordinary person when you
know everything, O king ? ’’
“ I do not remember the son born of you, O Sakuntala.
Women are ever such liars. Who will believe your words ? Are
you not ashamed to talk to me such incredible things ? Go,
you vile hermit-woman.”
■Sakuntala made answer, “King, remember truth is the
highest divinity; do not break your promise. But if you
cling to a lie and believe not your own self, I must go away.
There is no union with a man like you. Even without you my
son shall protect the foursquare earth adorned with the lofty
mountains.”
So saying, Sakuntala started, when a’bodiless voice spoke
to Du$yanta, “ Take your child, Du$yanta, do not scorn your
wife Sakuntala. You are indeed the father of her boy.
Sakuntala tells the truth.” Having heard thus, the king joy¬
fully said to his chaplain and ministers : “ Hear these words
 X

of the angels. For if I were to receive my son, solely relying

on her words, he would be suspected by the people, he would
not be pure.”
Then he received the boy and lovingly embraced him. He
then honoured his wife and comforting her, said. “Our mar¬
riage was a secret one ; so to save your reputation, I hesitated
thus, my Queen ; for the people would have thought that it
was a woman's passion that brought you to me. I gladly for¬
give you the harsh words which in an excess of passion you
spoke to me, because you love me.” Then Dusyanta gave the
name * Bharata ’ to sakuntala’s son. and made him crown
prince i Yu vara ja).

The changes introduced by the poet.

Such is the story in its original form set forth with a con
siderable concision of all extraneous elements, into the dry
bones of this bare and unromantic tale, the poet has breathed
the life of poetry and lifted it from a story of sordid passion
into one of the most moving and ideal of loves. Into this
matrix of the old the poet’s dramatic imagination has fitted in
such new elements, transforming, adding and reshaping it as
to sublimate it into the very essence of poetry.
The fatal flaw in the original story is the rejection of
Sakuntala by Dusyanta for reasons which are anything but con¬
vincing. They give him the character of a rake who would
fain hide the folly of his youth, and degrade his love into lust,
rank and disgusting -a mere diversion in the enforced separation
from his harem-love. Thus the Dusyanta of the epic is de¬
cidedly contemptible.
So the first great change which the poet introduces into
the story is the cur>r of Durvasas which Clouds the king’s me¬
mory—a supcrnatuial element whose influence is of a compul¬
sive kind and we feel it ha* icmoved the king’s capacity or
 XI

responsibility for dealing with the situation ; so that what is

base and unconscionable betrayal of trustful innocence becomes
only a tragic error involving no conscious breach of right—but
on the other hand accompanied by a full conviction of right.
We thus feel that “ Men fight blindly in the dark ' themselves
the authors of their proper wee,’ and the power that works
through them makes them the instrument of a design not their
own ” This influence of the supernatural thus saves the king
from moral responsibility in his repudiation of sakuntala. But
the recognition-ring which Du^yanta gave to Sakuntala might
have saved the situation ; so the play of chance which has
such an appreciable influence at the most critical point in the
action. It is just an accident that sakuntala drops her ring in
the holy water at Sakravatara. before that fatal moment of
her encounter with the king. The curse, however, is so modi¬
fied as to exert its baneful influence for a time only until the
king secs the ring—so miraculously recovered from the maw
of a carp which a fisherman opened. Here perhaps in the
matter of the curse, and its modification which to the Indian
mind are matters of frequent occurrence a foreigner will have
to exercise what Coleridge happily describes as “ that willing
suspension of disbelief which constitutes pot tic faith” ; although
i.t must be remembered that ” the poet has delicately managed
the matter as not to shock even a Modern and Western reader
with a feeling of strong improbability."
Sakuntala is certainly charming in the epic ; she is direct
in her simplicity and fearful innocence. So also is the king’s
proposal of marriage a direct one—he is nqt troubled by those
doubts by which a lover’s heart is assailed. Straightway they
go to the job, Sakuntala feels no qualms in telling the king
the story of her birth ; and like practically minded parents
who arrange the dowries and the destinies of their children,
she bargains with the king for the destiny of her offspring
 and only after she has secured the promise does she yield
to his importunities. How drab, how prosaic is this tale of
the wooing and winning of the bride! And how wonderfully
has the poet transfused it into the very quintessence of ro¬
mance and poetry! Their meeting, the story of her birth, the
rapid growth of a mutual passion, the ecstasy of his adora¬
tion, the rapturous confession of their mutual love, and the
final winning—how the minds of both are followed through pas¬
sion, doubt, despair to exaltation and intense love. And yet
“ the ardour of love is not allowed to go beyond aesthetic
bounds/’ The story of Sakuntala’s birth is most skilfully woven
into the conversation of the king with her two friends, and the
promise as to Sakuntala’s future destiny comes spontaneously
from the king and is not extracted from him as the condition
of their union. And both these have been managed with ab¬
solute delicacy and grace, ^akuntala with a maiden’s exquisite
modesty and shyness playing the part of an interested listener.
Thirdly Sakuntaft leaves her forest-home for the palace
before her son is bom > and lastly the final union takes place
after a long period of suffering and remorse.
Besides these changes, the poet has added largely from
his imagination some very beautiful scenes and characters. As
Ryder points out “ only acts one and five, with a part of Act
VII rest upon the ancient text, while acts two, three, four and
six with moat of seven, are a creation of the poet” It is obvious
that a drama cannot be successfully written with such a meagre
number of characters as in the epic—Du$yanta, Sakuntala and
Kapva with the small boy somewhere in the background. To
these Kalidasa has added from the hermitage, the palace and
the street, and finally from the “ Elysian region which is re¬
presented with vague precision in the last act.”
And yet it is interesting to note how minutely the poet
has utilised his sources, how many are the epic suggestions
 xiii

which he has incorporated- into his play. These it is worth

listing together “ to show how keen is the eye of genius.” A
careful student will not fail to notice for instance that the
king lays aside the insignia of royal office, that SakuntalS
appears in a bark dress, and the name Sakuntala itself is used
in a very beautiful and effective way in the recognition scene
in Act VII. Kanva’s power of divination which saved the
heroine from telling herself of her union with the king, the
marks of imperial birth on the hand of the child, his rough
play with the wild animals which earned him his nick-name
” All-tamer ” these and many others have not only been pre¬
served but utilised with very great skill and delicacy.

Construction and analysis of the plot.

As Tagore remarks there are two unions in Sakuntala
and the central motif of the play is the progress from the earlier
union of the first three acts with its youthful beauty and ro¬
mance through an interval of separation, and intense and
speechless agony to the ultimate union in the Elysian regions
of eternal bliss described in the last act. The play, therefore,
naturally falls into three divisions each having a distinct at¬
mosphere of its own—the first four acts constituting the first
division, the fifth and sixth the second, and the seventh act
the last.
For the first four acts the scene is laid in the hermitage.
The poet has already^ in the prelude intimated that it was
the time of pleasant summer, and even within the precincts of
the sacred grove every tree and plant is touched by its magic
fingers so that “ the wild-wood bloom outglows the garden
flowers.” No poet had a richer and fuller sense of sensuous
loveliness or a more masterly command of the resources of
suggestive incidents, imagery and pictorial phrasing such as
would reveal that loveliness in words. Thus along with the
 XIV

exquisite peace of the place, the king feels what the throbbing
of his arm has intimated to him, the presence of “Beauty
that takes all peace away.”
Then come the maidens on the scene, with the lovely
Sakuntala in the centre, delicate as a jasmine blossom, who
waters her leafy sisters and takes delight in that duty : whose
dawning youth is slyly suggested by her friend remarking that
it was youth that had given her bosom its lovely swell. The
Kesara tree is beckoning to her with his leafy fingers as it he
means to speak to her and as she approaches him she looks a
lovely vine that twines about him ; her breath-taking beauty
is obseived by thg king who remarks how “youth with all its
magic charm blossoms within her blood.” How lovely was the
reason for the union of ‘ the moonlight of the forest \ “ all
flowers now. all youth, and like a bridegroom newly dressed
the mango takes and holds her to his breast.”
Thus as Tagore has remarked the poet “ has fully painted
all the blandishments, playfulness and fluttering of the into¬
xicating sense of youth, the struggle between deep bashfulness
and strong self-expression.” Nature is not something outside
of man with a*life-spirit and purpose of its own; but it is
a background for reflecting human emotion. This which is
felicitously described as “ atmospheric subjectivity ” is one fea¬
ture of Kalidasa’s nature poetry.
How skilfully is the king introduced to the heroine : the
bee has left the jasmine and is trying to settle on sakuntala’s
face ; she calls for help and her friend playfully suggests that
she had better call on Dusyanta, the king, whose duty it was
to protect the hermitage. This gives Dusyanta, who so long
had been eagerly watching them, his cue. He enters, and
Sakuntali feels a strange flutter in her heart at sight of him.
She had not known Cupid before ; and hence ' her heart was
bare of armour; she could not distrust either the sentiment of
 XV

love or the character of her lover ; but there wa< no nerd

to aim herself against the sentiment or to distrust the lover’s
character. For in the subsequent conversation between her
friends and the king, it has been very artistically revealed that
he was in every way worthy of her, and her friends too feel that
if father Ka$va were present he would do honour to the guest
and offer him the one possession he prized most. Dusyanta’s
doubts regarding her birth are stilled when urged by him
Sakuntala’s friends narrate to him how she was the daughter
of Vigvamitra and Menaka and is being reared not for the
religious life but for marriage with some one worthy of her.
(Sakuntalia in feigned anger rises to leave when Priyamvada
detains her saying she had promised her the watering of two
trees and she could not leave before she had paid her debt ;
at which the king most gallantly gives her the ring to redeem
her debt. This is the fatal ring which failed Sakuntala just
at the critical moment, and whose recovery restored the king's
memory. The ring episode has indeed been very skilfully
woven into the texture of the play and forms a sort of an
organic filament in the whole fabric.

Their conversation is disturbed by the alarm of the ele¬

phant, which very beautifully signalises the storming of the
peaceful and serene forest-retreat by the importunate forces
of love and the outside world.

Act II shows how the king now pines for love, which
allows him no rest at night and deprives him of all his zest
for the pleasures of hunting. He recounts his feelings to his
unsympathetic friend, the Vidu$aka, and gratefully receives the
request of the young hermit to protect the hermitage against
the attacks of the demons. Then comes a messenger from the
palace requesting the king’s presence at a festival there, and
this gives the king the opportunity to dismiss all his retinue
B
 XVI

and the Vidusaka, assuring him, to prevent a scandal, that his

remarks about SakuntaLa were not made in earnest
The third Act intimates to us in its introductory scene
the love-stricken condition of Sakuntala. The king has already
driven off the powers of evil, and dismissed by the hermits,
now yrks his love who spends those hours of midday heat
with her friends on the vine-wreathed banks of the Malini.
There she is discovered reclining on a bed of lotus-leaves, writ¬
ing at her friend's suggestion a love-missive to the king. How
careful is the poet to show that Sakuntala in her maiden shame
has not revealed her passion even to the friends of her bosom
for long; it is only now when importuned by them that she talks
of the desperate state to which she has been driven by love.
Then follows a scene of ideal passion which is enshrined in syl¬
lables of imperishable fire; Sakuntala. has composed a song
which breathes of the keen anguish that fills her heart, and the
king who has overheard all comes on the scene and assures
them of his deep devotion for the fair Sakuntala. With
rare skill, the poet makes Sakuntala jealously remark that they
should not tax the great king’s-courtesy—is he not separated
from the fair eyes that long await his return to the palace ?
Upon which comes the confession of his passionate love for her.
But they have heard that kings are prodigal of their love to
many, Anasuya remarks—whereupon the king assures them
that in spite of many a wife in the palace courts, henceforth
this dear friend of theirs shall be the chief glory of his throne.
The friends now make excuses and leave and the lovers are
left to themselves. How gracefully, how delicately is the love-
scene drawn; “ a kiss unkissed is the climax beyond which
the affair does hot pass.” As already remarked the poet does
not allow love to go beyond aesthetic bounds. The scene is
ended by the arrival of Gautaxnff who oomes to take away
fiakuntafik to the hermitage.
 xvu

The fourth act is lull of the shadows of the coining doom.

Anasuyd expresses her fears that surrounded by the bright
ladies with their courtly ways, the king may not remember
SakuntaU or the hermitage. Priyamvada, however, assures
her that persons so noble are not changeable; what troubles
her mi the other hand is to know what Father Kaayva will say
when he knows at the union. Then comes the dread DurvOsas
to the ASrama. ftoor Sakuntalft is far too deeply burdened to
notice him. Care has already come and nested in her bosom ;
then like a knife an the innocent lamb falls the fierce impreca¬
tion of the choleric sage, which, however, is modified through
the intercession of the agitated Priyaspvadft. He graciously
grants that although dakuntafi shall be clean razed from her
husbands memory, yet at the sight of the recognition ring the
spell shall break. Happily the king has given Sakuntala his
signet-ring that the friends feel will save her; they decide to
tell no one of the incident; for poor $akuntala ought not to
be troubled; who would sprinkle boiling water on the jasmine
flower and scald it?
The next scene opens in the tearful glimmer of the languid
dawn, where in a very suggestive stanza a pupil of Kanva
compares with the simultaneous rise and fall of heaven’s
brightest luminaries, the strange mutations of human life.
Kaova by now has returned, and a divine votoe has informed
him of the marriage of Sakuntala and her approaching mater¬
nity. He decides to send her under the escort of his trusty
pupils and Gautami to the king. And now follows the scene
of leaving-taking which is drenched through and through in
the heavy dew of long and living sorrow at* the severance from
a Paradise of love, innocence and vital memories— a Para¬
dise which for ever vanishes from the picture. Hard of heart
must he be who can read the act without mist in his eyes or
catch in his voice! What tender leave-taking of the trees and
 XVlIl

plants, of the deer and peacock of the Vanajyotsna, of the doe

that is slow by the weight of her young, of the fawn, her foster-
child, that would fain prevent her going and catches the end
of her garment, and lastly of the friends of her girlhood and
her father. What lingering farewell! Who can tear the fond
parent from his beloved child ! How the truth of the Prakft
verse comes home to us ^fspsrf
.frsft smt otP-r ll i
... fspft srat infer rpwiJj; tl With a mind galled and bleeding
^ukuntala finds herself between two worlds the one now lost
to her, and the other dark and uncertain. The friends are
already filled with apprehensions and tell Sakuntala to show
the ring in case the king is slow to recognise her, and with her
father’s words of consolation and advice in her ears, and with
a heart heavy with grief she bids fare-well to the forest-world.
Here the lyrical element of the play reaches its climax.
It is a most luminous picture of a great experience of life
passed through the recreative process of expression and its
pathos is profound and almost lacerating. And here again nature
not only echoes the feelings of the persons and even the pro¬
gress of their thought —but actively partakes of man’s joys and
sorrows and gives a foreboding of the approaching catastrophe.
We now come to the second division of the play. “In
passing from the Fourth Act to the fifth we suddenly enter
a new atmosphere ”—as Tagore remarks, “ from the ideal
world of the hermitage we go forth to the royal court with its
hard hearts, crooked ways of love-making, difficulties of union.”
Now the poet momentarily draws aside the curtain from the
king’s love affairs ; we hear a woman’s voice singing in an
impassioned strain : it is a taunt to the king for his forgetting
of Hamsapadika, on account of queen Vasumatl. Tagore des¬
cribes it as “ a small rent in the veil through which wFe can get
 XIX

an idea of the royal sin Of course, he is judging from pre

sent day standards, imputing moral obliquity to Dus yam a
when nothing of the kind is ever intended. What he calls " the
tear-strained song of a stricken-heart ” is nothing more than a
part of the give and take between the king and the women
of the harem. It gives us a rude shock without doubt. The
beauteous dream of the hermitage has already vanished. The
two hermits who are escorting Sakuntala at once feel that
they have entered an altogether new world, “ a house lapped
in flames of fire/’ peopled ■ with folk “who are unclean and
manacled and fettered as slaves.” By such touches as these
does the poet prepare us for the crisis, for which he ha>
now secured an effective setting.
Hamsapadika’s song has caused a strange disturbance in
Du$yanta's soul, as if it sought something it could not find -
the shadow of something dearly loved in a former and for¬
gotten birth. And in this mood, with a heart, filled with a
longing like sweet pain, he comes to face Sakuntala- and the
hermits. What a fine and moving irony is there in that sweet
song which tells of the effect of music, and of beauty.
The repudiation scene is one of the most masterly scenes
in the whole range of literature, and we clearly feel how the
avalanche is loosed and is coming inch by inch until gather¬
ing force it hurtles down with a tremendous force and crashes
upon the dear head of the devoted sakuntala. The king denies
having had anything to do with sakuntala. he does not recog¬
nize her when her veil is removed ; and by a most fatal chance
the ring of recognition has already been lost. Thus when
direct evidence ( sRqjgr SWT°T ) ^ai^s l)0or Sakuntala makes
the pathetic attempt of reviving his memory by verbal testi¬
mony ( 5JT5* jjqjTjy ) The irony of the king’s remark
cuts like a sharp knife, when everything
fails her, with a mind tom between the pangs of despised love
 XX

and the anguish of remorse, she bewails that in the innocence

of her heart she should have given her honour to a man whose
mouth drops honey, but whose heart is filled with poison!
Aarangarava has a few spars with the king, and roundly
abusing both Dusyanta and Sakuntala, bids them
leave. “With rare poetic insight Kalidasa has declined to
restore Sakuntala to Kanva’s hermitage. It was impossible
for her to live in harmony with that hermitage in the way she
had done before. .A mighty silence was now needed, worthy
of the mighty grief of the mourner/'
The fifth Act with its painful and tense tragedy has strain¬
ed our nerves to the utmost, and we stand in need of relief. So
with a rare judgment the poet gives us at the beginning of the
sixth act, a scene drawn almost raw from life, but one which
is of vital importance to the play. For it describes the re¬
covery of the ring from the maw of a carp which a fisherman
had opened, and in the main act the poet describes how the
king recognizes the wrong unwittingly done and of his heart-
wrenching agony at loss of his beloved wife. He seeks to con¬
sole himself with a portrait he had himself drawn of his love,
when the jealous queen Vasumati is reported to be coming
to him ; but her presence would have been altogether out of
place in a scene of severe penitence and tenderness, and the
poet very skilfully avoids it by making the thoughtful queen
give precedence to affairs of state. The minister obtains from
the king the decision of a law-point involving the right of in-
heritance—an episode which only deepens the King’s regret by
reminding him of his childlessness.
The screams of the Vid<u$aka, who has been roughly
handled by Matali, awaken the king from his despair. This
is necessary as Matali explains “ for bringing the king back
to the realization that there are duties superior to private
feeling.” Indra requires his help in quelling the demons—the
 XXI

brood of K&lanemi.
We come to the last division of the play; and from the
gross and stifling atmosphere of the court and the capital, we
escape into a divine and rarified atmosphere. What a contrast
does it present with Kanva’s hermitage. “We have there a
hermit’s daughter in the exuberance of youth, her two
companions running over with playfulness, .the bee in-
toxicated with perfume..” From this Eden of bliss,
flakuntala, one of Eve’s daughter, is exiled in disgrace.
“ But far different was the aspect of the other hermitage
where Sakuntala. the mother of Bharata and the incarnation
of goodness took refuge... .There a single boy fills the loving
bosom of the entire forest-world ; he absorbs all the liveliness
of the trees, creepers, flowers and foliage”. Now as before
when he was about to enter Kanva’s Asiama, the arm of
the king throbs presaging his approaching fortune. He hears
the matrons chiding the unruly boy and finds him dragging
.at the touselled mane of a lion’s cub. The anagnorisis is the
most skilfully and delicately managed of scenes. “What fire
is in the child ! ” the king remarks. His heart goes out to
him; then as he stretches his hand, the marks of imperial
birth are revealed. And then as the matrons say to him “Is
not the §akuntala lovely the most wonderful and effective
use of word-play ever met with in literature— the child begins
to look about for his mother Sakuntala. When at last, in despair
they call him to help them with the unruly boy, they are amazed
at the "Speaking likeness” between him and the child, and
tell him that the child belonged to Puru s line, that he had
a heavenly nymph for mother who was cruelly abandoned by
her heartless husband-—a very beautiful instance of the use of
irony in Kalidasa—yet all this is not enough for the king. It
is only when he touches the magic amulet, and is told by the
matrons that none but his father or mother can touch it with
 XXI!

impunity, that he realises that his dearest hope has come true
Then comes Sakuntala on the scene who may be described in
the words of Bhavabhuti as' SRliWf £Kf5q$hr~
“ Pathos incarnate or the very pain of severence embodied * "
the heart of the loving wife is full of understanding, of for¬
giveness ; she blames only her fate which had been fixed foi
her by some former transgression of hers, and under the
auspices of the divine pair Sakuntala and her boy are united
to Dusyanta ; and even if 44 there is one Paradise lost ” yet
there is “ another Paradise regained."

Sdkuntala, its inner meaning :

Starting with Goethe's words that the Sakuntala “ blends
together the young year's blossoms and the fruits of its decline,
that it combines heaven and earth in one, Dr. Tagore re¬
marks that the Sakuntala according to Goethe 44 contains the
history of a development—the development of flower into fruit,
of earth into heaven, of matter into spirit." The drama 44 was
meant for translating the whole subject from one world to
another—to elevate love from the sphere of physical beauty
to the eternal heaven of moral beauty." "One sudden gust
of youthful impulse had in a moment given her up to
Dusyanta, but that was not the true the full winning of her ;
the best means of winning is by devotion, by Tapasya. There¬
fore, the poet has made the two lovers undergo a long and
austere tapasya that they may gain each other truly, eternally."
44 In this drama Kalidasa has extinguished the volcanic fire of
tumultuous passion by means of the tears of the penitent
heart"
litre is a poet’s interpretation of a poet, and howsoever
j ru’ifui it may be, it should not blind us to its oentral defect
u regards the first union of the lovers as a moral lapse. There
is nothing to show that the poet ever regards the lovers as sin-
 XXlll

ners, nor do any of the characters in the stage so regard it.

On the other hand, every one commends the union and blesses
it. Love is a beautiful passion of the soul, and youth a stuff
that will not endure ; do not, therefore, despise love; cherish
it, and cherish the noble, and generous impulses of youth. Ah!
but youth and love are not all; the gods are jealous ; “ like
flies to wanton boys are we to the gods, they kill us for
their sport.” This tragic circumstance of our being is illus¬
trated in the drama. Sakuntala is happy and apparently se¬
cure i but suddenly a total reverse of fortune comes upon her
—the calamity descending on her from the clouds with light¬
ing swiftness. It makes us feel that man is blind and help¬
less, the plaything of an inscrutable power.
Character.
As already remarked, the poet has added to the meagre
number of characters in the epic tale very largely from the
grove, the city and the heavenly regions. It is remarkable that
with great insight the poet gives but little part to the conven¬
tional Vidu$aka in this play than in the others ; he has abso¬
lutely very little place in so serious a play. In the Malavika,
he plays a principal part and arranges all the intrigues ; in the
Vikramorvasiya, although he plays secondary role, yet his
presence contributes greatly to the humour of the play and also
to the complication of the plot. In the Sakuntala, however,
he sinks into utter insignificance. Yes, he knows the love-
affair in the grove; but addlepatted that he is, he believes what
the king says at the moment, viz. that his love for Sakuntala
was all a joke—and never again speaks to the king about it.
Here is irony—a literary expedient which Kajidasa has very skil¬
fully used in the play. Had he been present at the repudia¬
tion he would have spoken, and the tragedy averted. He is
very cleverly dismissed on other business in Act II, as his
presence would have spoilt the beautiful love idyll.
 XXIV

The two companions of Sakuntala are drawn with deli¬

cate taste. How well are they differentiated, Anasuya grave and
sensible, Priyamvada playful, vivacious, and yet both are
equally devoted to Sakuntala ; so also are the two pupils
Parangarava and Saradvata skilfully distinguished—one proud
and haughty, not afraid to rebuke the king severely, and the
other more reserved and calm. Kanva, the loving hermit, and
the motherly Gautami, too, both brimful of affection for Sakun¬
tala are excellent creations. While the divine pair Marica and
Aditi are wonderfully contrasted with them with their solemn
majesty, and with their unwearied contemplation of the world,
intervening to set it right whenever necessary with disinterest¬
ed zeal. “ The small boy in the last act" as Ryder remarks
“has magically become an individual in Kalidasa’s hands.”

The fisherman and the policemen are drawn with no less

skill in the opening scene of Act VI. They are drawn ‘ raw
from life” ; their unjust, overhearing conduct to the fisherman
representing the spirit of those in office generally, who are
made giddy by power

Very grave injustice is done to Dusyanta by representing

him as a bee that ever seeks fresh honey. The fact that he.
had many wives in his harem, and therefore, as is natural,
there are intrigues in the palace to win him and oust the rival
from his affection does not necessarily show moral depravity
when it is remembered that polygamy was so common in those
days and is current to this day in India. Dhanamitra, the sea¬
faring merchant was a rich man; “ he must have many wives,”
Dusyanta remaiks. This shows that polygamy was quite an
accepted fact in those days. Kalidasa has taken very great
pains to save him “from his epic shabbiness.” He is a worthy
hero, the ornament of the Purus, full of noble impulses, and
careful to see that there is nothing in his conduct that is
 XXV

against the law. He is very brave and exerts himself nobly in

the interest of his subjects. He is commended on all hands,
by the hermits, by Kaajva, by Marica, the divine father of
creation, and by the office is in Uie palace—and this is no
mere flattery of the kin^. With scrupulous care does Kalidasa
show that he would not entertain any immoral thought about
women. We have only to think of the apprehensions that
filled his heart when he realised that. $akuntal£ had already
captured it. His intuition was infallible ; no unworthy thought
would receive quarter in his mind. And it turns out that
what he feared “ as fire was the jewel of his desire.’" He relies
upon the genial sense of youth. To him “ love is an unerring
light, and joy its own security.” His later rejection of Sakun-
tala also is not due to the fact that he despises her, but his
fear that in accepting her whom he does not remember to
have married, he would have committed an egregious sin.
And what words, will adequately describe the noblest and
the loveliest of poetic creations the sweet Sakuntala ? She
" dominates the whole play. She is actually on the stage in
five of the acts, and her spirit pervades the other two, the se¬
cond and the sixth.” “ So noble a union of sweetness with
strength is one of the miracles of art.” Bred in the hermitage,
amid the plants and trees, there is an innate simplicity and
purity in her character. She yields to the impulse of love, and
yet with a maiden’s modesty would rather suffer in silence
than speak of her passion. There is struggle in her soul “ bet¬
ween deep bashfulness and strong self-expression.” She
is trustful; that gives her strength in her distress—the rigid,
tearless endurance of the blows of circumstance. She is for¬
giving, and kind to her husband, in spite of the cruellest breach
of her confidence.
Her character grows under our very eyes—from the sweet,
loving girl she has been developed into “ the model of a de-
 XXVI

voted wife, with her leserve, endurance of sorrow, and a life

of rigid spiritual discipline.” She has passed through great
experiences of life—love, friendship, motherhood, most cruel
humiliation and suspicion, and finally reunion with her hus¬
band. Like a flower meshed with the grey dew to the end she
appears as a vision of sweetness, purity and strength.

The Title of the play.

Like the ornaments of Vasantsena in the Mrcchakatika,

the signet ring has been used as a dominant motif in the play.
In the first act Dusyanta offers it to Sakuntala's friend to re¬
deem the debt she owes her ; and in the fourth act, after the
curse of Durvasas, when Anasuyfi goes to appease his anger
and he modifies his curse by saying that the spell shall break
at the sight of some token of recognition, Priyamvada tells us
how the king at time of parting put the ring, engraved with his
own name, in Sakuntala’s finger to remember him by , and that
will save Sakuntala. Here Kalidasa has most skilfully em¬
ployed dramatic irony ; the well-meaning friends, with the de¬
sire to spare the feelings of Sakuntala decide not to speak
to any one of the episode of the cutsc. although towards the
end of act IV they merely drop a hint Dy saying to Sakuntala
that should the king be slow to recognize her, she should show
him the ring. Supposing they had explained, the tragedy of
Sakuntala s cruel rejection would well have been averted. “ Our
deeds are ours their ends none of our own.” We know how the
fatal ring fails Sakuntala at the most critical moment in the
court scene in the fifth act; and in the opening scene of act
VI we hear of its miraculous recovery from the maw of a
carp-fish opened by the fisherman. At its sight, memory
is revived, and Dusyanta is now consumed with remorse. He
reviles the ring; but the Vidusaka consoles the king by point¬
ing to the ring as one that shows that incredible meetings do
 XXV11

take place. Filially in the seventh act when Sakuntala

sees the ring, the king tells her how at the sight ot the ring
his memory returned. He offers to put it on her finger, but
Sakuntala would not trust it; she would rather have the king
wear it.
Thus it will be seen that <his episode of the ring whose
loss prevents the immediate recognition of SakuntalA is very
effectively conceived and woven into the texture of the play.
Aptly, therefore, is the play given the name “ Ahhijfiana-
Sakuntala.”

Kalidasa repeats himself.

•

If we compare the three plays of Kalidasa, it will be seen

how many incidents are repeated in the three plays; but in
the Sakuntala these incidents are handled with far more per¬
fect art. Thus the pretty idea of the king concealing himself
and listening to the confidential talk of Sakuntala and her
friends is found in Act III of the Malavikagnimitra. When
leaving Sakuntala makes the pretext that her foot is pricked
by a sharp blade of grass, and casts a stolen glance at the
king; even so does Urvasi in the Vikramorvasffya pretend that
her garment is caught in the branches to delay her going. Both
express their love by letters. While Ayus has a peacock to
play with, Bharata is given a clay peacock to induce him to
give up his rough play with the lion’s cub. The love-intrigues
in the harem which figure so largely in the Vikramorelya and
Malavikagnimitra are simply hinted at in the Sakuntala.
Hamsapadika sings her song hinting at the king’s inconstancy
and queen Vasumatl in a jealous fit snatches the box of paint¬
brushes from Caturika, the maid, who was taking them to the
king. However, these are never brought on the stage. With
true poetic insight Kalidasa has avoided the temptation of bring¬
ing any other woman into competition with SakuntalS.
 XXV111

S&kuntala, its recensions.

There is no wonder that several recensions of the play

should have become current in India. Of these four are
generally distinguished from one another, the Bengali, Deva
nagari, Kasmiri, and south Indian; but in point of fact we
need take into account only two recensions the longer one be¬
ing the Bengali, with 221 stanzas with the commentaries of
Sankara and Candrasekhara, and the Devanagari with 194
stanzas with Raghavabhatta’s commentary; the Kasmiri gives
an introductory scene to act VII, but is no more than a com¬
bined version of these two, while the south Indian with the
commentary of Katayavema, closely follows the Devanagari.
The text represented by Sir William Jone’s translation as also
that of Ryder is the Bengali, and Ryder remarks “ I find it
hard to believe that any lesser artist could pad such a master¬
piece and pad it all over, without making the fraud apparent
on almost every page. The briefer version, on the other hand
might easily grow out of the longer, either as an acting text, or
as a schoolbook.” This is also the view of Bollensen. Pischel
lays Stress on the more correct Prakrit of the Bengali, but, as
Keith points out, this argument from the Prakrit is not con¬
clusive, for it may be due to the superior knowledge of the
copyists in Bengal from whom the Bengali version ultimately
issued. Nothing conclusive can be said in regard
to which of these recensions gives Kalidasa’s text cor¬
rectly. However, the erotic passages in Act III in
the‘Bengali recensions are out of taste and mar the delicacy
of the love-scene and as Weber points out, some of the
Devanagari readings are distinctly better, and some
of the Bengali stanzas are mere repetitions of others
found in both the versions. We are, therefore, inclined to give
priority to the Devanagari text.
 XXIX

The law of inheritance.

From the VI act of the Sakuntala we get some idea of
the law of inheritance prevailing in the days of Kalidasa. The
prime minister, the noble Pisuna, sends the following report of
a case which he refers to the king for decision “ A sea¬
faring merchant named Dhanamitra has been lost in ship¬
wreck. He dies childless, and his immense property becomes
by law forfeited to the king’'. Now the king’s reply is “As he
had great riches, he must have several wives. Let inquiry be
made. There may be a wife who is with child" And when
he is told that one of his wives—^the daughter of a merchant
from Saketa is soon to become a mother, the king decides that
the child shall receive the inheritance. The unborn child has
a title to his father’s property.
From this passage it is clear that in the days of Kalidasa
a widow was not entitled to inherit her husband’s propery.
The king directs an inquiry to be made, not whether there are
widows of the merchant but whether there is a child in the
womb which is entitled to its father's estate. The prime minis¬
ter had simply inquired if there was a living child, and not
whether a child was conceived, and thus a very nice point of
law has been raised. This shows the poet’s acquaintance with
the laws prevailing in his time, and it follows, therefore,
that in his days a widow was not entitled to her husband’s
property, though the right of the unborn child was admitted.
The widow’s right to inherit as Prof. R. N. Apte shows,
was gradually recognized. “Manu, Apastamba and VasSstha
do not recognise her as heir. Narada makas provision for her
maintenance. .Brhaspati 9eems to admit her right for the first
time. .Sankha, Likhita and Yajfiavalkya also admit her right.
If this is the gradual development of the right of a widow, and
this right is not recognized in the case before Du$yanta, we
may place Sakuntala before Brhaspati and after Manu
 XXX

or Apastamba.” So Prof. R. N. Apte concludes, that as the

probable date of Brhaspati is the 1st century a.d. Kalidasa
must be placed before this date—a conclusion which accords
well with the date of Kalidasa already suggested.
The law of theft.
The opening scene of the VI act is a scene of rollicking
humour in Kalidasa. The fisherman is handcuffed and led by
two guards and the officer; for they find the king's signet¬
ring in his possession. The punishment for theft is death and
already the fingers of one of the guards are itching to kill
this cutpurse. Thus, it would appear, that for theft of a
gem there was capital punishment in Kalidasa’s days. So also
in the Vikramorvasiya the vulture who has carried away the
Sangamanlya jewel is spoken of as cpwT^r i
“ The winged thief that courts his own death.”
Prof. Apte observes : “ Tracing the law of theft from the
times of Manu down to those of Yajnavalkya we find the
punishment for theft of a gem has gradually been reduced
from death to fine”. Manu and Apastamba say that such
an offender shall suffer capital punishment. Brhaspati recom¬
mends that a fine shall be imposed equal to the value of the
property stolen, or double the amount, or the thief shall be
executed to prevent the repetition of the offence. Yajnavalkya
does not give any hard and fast rules, and.says that capita)
punishment may be inflicted, but all circumstances of time,
place, age and health of the offender should be taken into
consideration in giving the punishment. Here again there is
a gradual tendency to lighten the punishment from death in
the timds of Manu and Apastamba to an option between fine
and death according to circumstances in the days of Bjrhaspati.
"It appears therefore, that the law of our poet’s days had
not reached this stage of which the representative is the smrti
of Brhaspati.”
 <=^oo^=>

ABHIJNANASAKUNTALA
 m

aiftHPRIlf-rkW. I
—• :<8*8>o-—

gfg<raT fgfq$a gt sfagf =3 st'IT

$ & CTef favr?n gfaftrgggon gi ftgm sn«g Br«r*^i
HTJJTg: q&taWfficfcttr got snfoR: snoprci:
JtaiSjUfir. gtW'Wafingg q^nfiTCglfirffeT; II \ II
(sirarer)
i) gfi[ ^nmRiqw-
*Wfe?m j WfdM^HIWMMJL I

( gftw)
3TSRP5T, Hi {is i sgafcj 315ft aft foi^taft ang-
foststf fa I ar4a!r, pra%i i snsrmtf: «t ftgtfti
3Btanfaft t
qspEiTC:—grr5, qfigfrgn i srer
^nhransroifseiara^ srofcata-
TOwiii I afafirngflTvftgrri gw i ,
g£t—nfasst«pfteigrc srawr ot f% ftr qftsumfi»
, gf¥??mten^ g fegft qftsiwi I
gjTgtr:—«n9, giggrfa it gjat^n •
*rr qftgtoifaggi * nrg «g>iflnwi.i
TOggPr fafaamiwgiiwi $«: ti \ h
ABHIJNSNA^SKUNTALA
<a^s>©^s>
That which is the first creation of the Creator ;
that which bears the offering made according
to due rites; that which is the offerer ; those
two which make time ; that which pervades all
space, having for its quality what is perceived
by the ear ; that which is the womb of ail seeds ;
that by which all living beings breathe ; en¬
dowed with these eight visible forms, may the
supreme Lord protect you ! (1)
(At the end of the benediction)
The stage-director (Looking towards the dressing-
room). My lady, if you have finished with your dress¬
ing. pray, come here.
(Entering)
An actress. Here I am, my lord ; let my lord direct
what I am to do.
Stage-director. My lady, this audience is for the
most part composed of learned men. To-day, we are
indeed to entertain them with a new' play, composed by
Kalidasa ; so please bestow great care on every part.
Actress. As your arrangements are well-made,
nothing will be wanting.
Stage-director. My lady, I will tell you the truth :
Until the wise are satisfied, I cannot feel that
my knowledge of acting is sound ; the mind of
even the best-trained (persons') is loth to trust
itself. (2)
 «

ad—asr, m ot^i aa«wa><f&isi *ta «rat ata-

af I a$, aoW. i aaaKwift am# awma i

Bta»t3[ren: affcnp gfirarenrcaa* I aftafo

aiaafatasagaataari iflmaaaafagfa *ftatnai i
asfa ft

gwiafeawatgi! atAW&i^tyftiaaaani i
aagiagaafasa fijaar. afaataretofan n 3 II
ad —rTf l am i ( sfa nrafa i )
fdtia^Raait *m<fi i
ataaafcr aaamn aaarat BtOasami » « II
sab §$mt%«tf?raTf* t
3Tf<ra#cI ^TRTRr: SOTtl: RRfafgmH II v it

goranR—at9, arg araa. i ad inm-afe-q^fei-

afsfaa ta a^d qp i afford aaataatotatfisi-
;rRRTaa«na: I
ad—'of asrrircdff R^R H3R 3Ttora affooiIHa^^a
<nta ag«a araa a sit tot afaadagfa i aawfaa:
asRi^TOowtiPairfsjia araiR# area stalnailRtaafirfiifft i
^aaro—ad, aatagarfaatefta I aftaajft Brega
^gaatlfa; I
aaifta daqfta stftat statf ca: i
- a* writer ^aat: arejpmfatgai it ^ n
( i )
tfa amiaai I
 wmtSf: H
Actress. So it is. Let my lord now command
what is to be done next.

Stage-director. What other than to please the ears

of this audience? Therefore, sing about this very sum¬
mer-season, (so) enjoyable, which has just begun.
For now.
Come the days so delightful towards their
close, when a plunge in water is so grateful ;
when the fresh-breeze is fragrant from contact
with the Ratala flower ; and when sleep is easily
induced in deep shady places. (3)
Actress. Right. (Sings.)
Tender-hearted ladies make ear-ornaments of
the Sirisa-blossoms with delicate filament-
points, that are very gently kissed by bees. (41
Stage-director. Well-sung, my lady. The theatre
on all sides has its mental activity arrested by your
melody and sits as if painted in a picture. So now
what play shall we give to entertain them ?
Actress. Why, the noble audience has already
given the command that a new play called Abhijnana-
Sakuntala should be staged.
Stage-director. My lady, well have you reminded
me. For the moment I had quite forgotten. For.
I was forcibly carried away by the charming
melody of your song like king Dusyanta here
by the very fleet deer. (5)
(Exeunt.')
Here ends the Prologue
*
V

(w. aftgfa <rai rt* qjra I )

*ra:—(naai «j«i |) angaiR,

anfog<W>lffii I
gang^nftri aaraji^sanirt ft:nrt*H ll ^ 11

TTHT—g?T, $Rggr ^tnfai qqwt.ec i art

^rtRrtrtrt

artra^ifarcri ggtgqrart avert:

tow arte: ercutwwn^TOT «j4wa I
aviovaaftt: aartfagacafiErfic ^tartwl
agat e<irt»grtl awfa II v* II

( aftwae i) ewrageaa na aa^r&snrfire: «^?c I

ga;—ang^R, avifiirtr grtftrt aat ^rtaertaanpiee

wg£f.<?t %*r: 15R ga <n rtaftepa*:: #fec i rtart
*nrt5rerilrt*?t a frm^t art«art i

nafT—fe gvj^rwwrTia: i

gf»:—a?rwea?aig«wR i ( rtF* ) aigaR,

TOT TOT I

g%g scrtag
rt^Ewnarfarerr fscfaHhroc i
 SKHrttf: I 9

(Then enter king in a chariot, pursuing an

antelope, how and arrow in hand and
his charioteer.)
Charioteer (Looking at the king and the antelope").
O long-lived one,
When I cast my eye on that black antelope
and on you with your braced bow, I see tbefore
me) as it were the Pinaka-wielder in person,
chasing a deer. (6)
King. Charioteer, the antelope has given us a long
chase. Even now he from time to time,
Looking back gracefully by the bending of
his neck, at the car which follows him ; now,
through fear of a descending shaft, by his
haunches drawing himself mostly into the fore¬
part of his body,.strewing his track with grass,
half-chewed, which drops from his mouth, kept
open from exhaustion, mark, how by reason of
his lofty boundings, he moves much more
through the air. and but lightly skims the
ground. (71
(Wonderingly). How now the deer is scarce dis¬
cernible to me though I have been pursuing him ?
Charioteer. Long-lived one, seeing that the ground
was uneven, I pulled up the reins and slackened the
speed of the chariot. But now that you are on level
ground, you will not find it difficult to overtake him.
King. Well, then, loosen the reins.
Charioteer. As the long-lived one commands.
{Exhibiting by gesticulation the speed of the can.
Long-lived one ! look ! look !
the reins being loosed, the chariot-horses run
along as if impatient of the speed of the deer.
c

Wmoft qmwiqwfrq WJt: II < II

<rai—(aitfqi)«wqi *aSm fftat sflw
wftw i war fir
<m«& qjsif irafir Bftssni
farfaBw «n% fwM«u*Pra aq.1
sirui vw& trcfg <wwn>
$ ftfMywft * <n»3 wjRmn.ii * »

qp, »nM wmvnnH.1 (ifa w#jr areafe i)

(*p*i)
wk *it tnq, onnntritai u t*nait * **a*»i: i
q«:—(«n%wilj<i>w *I) aqgoiq, «wi wg It «ra-
vrafifo fiwwuwt^ 1

tnH «rts»m i) ?w ft spirit snfsR! i

qn:—qqr l( # w w«nrfa |)

(aw. »I«mi**mi ^bpw-. i )

Miror.—(i) tram., *nww|*ital q yauit

qq^asvii
ji arg * wg aro: qfiwitiftgutRw^
qjpt intidl u*nT3nftqif)i: i
■ ww (ftoreistf rfkfirci
■ « MtalRl'll«: q«fncr: *TO^ II *o ||
 *■

with the fore-part of their bodies well stretched

out, with the chowrie-crests motionless, with
ears erect and steady, not to be .overtaken even
by the dust that they themselves raise. (8)
King (With joy). Truly, the horses are outstrip¬
ping the horses of the sun and those of Indra.
For,
Objects which to my sight appeared minute
suddenly become large; what was really divid¬
ed, seems united ; and what was in truth bent
appears straight to my eyes. So swift the
motion of the chariot, that nothing even for a
moment seems either near or distant. (9)
Charioteer. Behold him as I kill him. (Acts fixing an
arrow in his bowstring,)
(Behind the scenes)
O king, that is a deer of the hermitage : he must not
be slain, he must not be slain.
Charioteer (Listening and looking). Long-lived one,
here have hermits advanced between you and the
antelope that presents a fair mark for your arrows.
King (Hastily). Well, then, rein in the horses.
Charioteer. Very well. (Stops the chariot,)
(Then enter a hermit with two others.)
Hermit (Raising his hand). This is a deer of the
hermitage; this must not be slain, this must not be slain.
Not indeed, not indeed, must this arrow be
allowed to fall upon this tender body of the
deer, like fire upon a heap of flowers. Compared
with thy sharp-falling adamantine shafts, how
weak must be the very frail existence of
fawns! (10)
■i • sifasnsrcrrf-al?
%

sn&Jimra m sns * nsgiwmfa « \K u

?:t3n—qa strata: i (sft s«rHr sslft i)

Iwtros—^naafj^'^infTtreJi wri: I
3r?n qw grK^aPi^a^ l
jaMfjniftff ^scgranwafe 11 ^ it

(sti| 3?j«i i) ^repot 3*msfs i

<T3n—(ssr°'mq i) nfa^staq I

q^rsrci:—TT3q, ^ft^lgtur-q qfaaai sraq I q<?

ii«wr fwcifRgaifasMuTnsrai: i *r
Rrora:, awfl^ srfaqgjamrfcrcfcT: i srfq xf i

T»at«nft«WRT afrwafErax: foar: i

srrcafa w
jftCrfemf ?i% n ii

TTsn—s*fa 'sifaifatssr $.W4fa; i

^5TH?i:—f^RW? ^fgrTC ^SrlStmfaRj^R^FFI

fsrjjJi qf^fs? srafag nn: I

trat—*rag i stira ^wnfit i w »sg faf^?rafc*ft

«5$s ?raiWk i

—?H*wrosflTqq 1 ( ?R» 'rr&qf fcosrer: i )

ttsit—qq, xfaursgiq i ditKkUM

tprat i
 TOfftefJl

Replace, therefore, thy well-aimed arrow.

Thy weapon is designed for the relief of the
distressed, not for the destruction of the guilt¬
less. (11)
King. Well, it is replaced. (Does as said.)
Hermit. This is worthy of thee—the light of the
race of Puru.
This is exceedingly worthy of thee, who art
descended from Puru. Mayest thou have a son,
adorned with like virtues, sovereign of the
world. (12)
Others (Raising their hands). Oh, by all means,
mayest thou have a son, the sovereign of the world !
King {Bowing). It is accepted.
Hermit. King, we have set out to collect wood for
solemn rites. And this, on the bank of the Malini, is,
in truth, the religious domicile of the great sage Kanva.
If no other duty is interfered with, then enter and
accept the rights of hospitality. And, moreover,
Beholding the pleasing rites of those whose
wealth is their piety, performed without any
hindrances, thou wilt know how much thy arm
marked with the scar of the bow-string
defends. (13)
* King. Is the patriarch of the family at home ?
Hermit. Just now, charging his daughter sakun-
tala to perform the rights of hospitality, he is gone to
Somatirtha, in hopes of deprecating her adverse fate.
King. Well, I will see her ; and she, having observ¬
ed my devotion, will report it to the venerable sage.
HERMIT. Well, we will now depart {Exit with
his pupils.)
King. Charioteer, drive on the horses. By visit-
 qa:—(?fr >$r wW )

toto—(wpaw?ahpi i) qa, srcftratsfti irraa **

i

qji:—wifirai

*rar—ft; a «mRf wnqj w fij

sfNrcr: gqpnfa^gawsnercmasi:
afcror: i
V*
fefctiqlqaamfirarraq: «$*?* qnt-
^i>«nqKq<na *^gfiiqnPi«qHftqiif|Kais iHvn

^sanitfa: qqpraqth snftr-it *rNrq«r

fawt tht: l
or* =3ratg<ra5igfa
S3

awstfi sftoifcrsrat ^ri 11 ^ n.

q?i:—«4yqqwHJ

trar—(wtenatt nar i) fprfaafaarfttatgqrhit w

qqj whr w wm i qra^attfa i

^k—'far: awp: i sre?rtaiTfsHR(j

 swftsf: | n

ing the abode of holiness, we shall purify ourselves.

Charioteer. As the long-lived one commands.
( Again gesticulates swift movement of the chariot.)
King fLooking around). Charioteer, even with¬
out being told, ii may be known indeed that these are
the precincts of the sacred grove-
Charioteer. How indeed ?
King. Don’t you see ? For here,
Undei (yonder; trees are the grains of wild
rice fallen from the openings of the hollow-
trunks filled with parrots ; in other places are
seen the polished stones which have bruised
the fruit of the Ingudi; and the fawns, too,
from having acquired confidence bear the sound
(of our approach; without varying their course ;
and the paths of the reservoirs are marked with
lines by the drippings from the fringes of
bark-garments. (14)
Moreover,
The roots of yon trees are bathed in the
waters of canals which quiver as the wind plays
upon them; the glowing lusire of the fresh
leaves is partially obscured by the smoke that
rises from (oblations of) clarified butter ; and
here in front, these young fawns are leisurely
grazing without fear on the garden-lawns
where the sprouts of Darbha-grass have been
cut away. (15)
Charioteer. All is indeed true.*
King (Going a little way). Let the dwellers of
the sacred grove be not disturbed. Stop the chariot
just here, that I may descend.
Charioteer. The reins are held in. Let the long-
 ^ I ) *fcT, fWta^OT
eNl^ciift 5TO | c?r5pr^imTfl[ I (
,'?g*i>qsfoi I ) gjf, *rra^tsnraifesi: str^rnigm*^
aiggi^^gi: fe^?Tt gtfira: i

^jr:—?TOT I ( ?f?I PtBBIJfl: I )

cnn—(qfaaajraatw =? 1) TCumusiuj, t *n3tsrflrenfkr i

( stfapj i ftfori i)

5npafH^fli««q< $?n »ftwfagigi 1

surer srforarrai arofSr srafor ^111 \% 11

( I )

^ srsfart I cr ?cf: h?4t i

oar—(srf 1) an*, ^rofa f^raife^wiam re

1 «N<ii sresrfo 1 (iftsHiraaNpi ^ 1) ar$, naire-
qferewran: wjrnnmg^: #resrhfein^wT: ret
^tgftrr reufrre^t 1 (fta"i 1) 3u^t, n^nrat

sgnarerftRt 3Fire 1
fftgai: gfl^qiaigMI re55?llfa: II l* II

qi«rtfrri grawrfare srtStarwnflt 1 < fosirefres: 1)

 JPTlftsf: |

lived one descend.

King (Having descended, and looking at himself}
Charioteer, sacred groves must indeed be entered in
humble habiliments; therefore take these. [Giving his
ornaments and how to the charioteer >. Charioteer, by the
time I return after visiting the inmates of this holy
sanctuary, let the horses be washed and refreshed.
Charioteer. Very well. (Exit
King (Walking round and looking). This is the
entrance to the hermitage. Let me enter. (Entering
and acting as if he perceived an omen).
Tranquil is this hermitage, and yet my arm
throbs; whence can there rise the fruit of this
in such a place ? But yet the gates of predestin¬
ed events are in all places open. (16)
(Behind the scenes)
Come hither, my friends, come hither.
King (Listening). Ha ! I seem to hear voices to the
right of the grove of trees. So I will proceed. (Walking
about and observing i. There are some damsels belong¬
ing to the hermits’ family coming in this direction, to
water the young plants from water-pots of different sizes
proportioned to their strength. (Eyeing them closely).
How lovely they look ;
If such the beauty of maids, who dwell in
woodland retreats, the like of which is not
easily to be found in the recesses of a palace,
then indeed are the garden-plants well surpassed
in merit by the woodland creepers. (17)
So I will stand in this shade and await (them).
(He stands gazing at them.)
 H

[ era: afiraft qatasatann ag aqftvq} gg^aar i ]

gi$*awf—g^t ggt argfait 15ft ger: a?at l

apt^n—gm *ra?g&, gq^at ft aigq><*raw *m-
flVHsewr fqsagaftr ?ftifir I Slot ft
gq qqtor aqgqraitot ftqqjr I gar gt$ra&, ranlsfa
araatgqagqwnsqaif: faqaa gfa a%atfa i ^r
rara^tararaaia^St Rg^i t

gigprat— at V.5TO aiqfotsiRit q^ I srfr«x d gjftg-

Rruigt ft q^fj l (gft gsrcNa aaqfrt i) a %qa arafaqta «jq i
arfer if afqwqgfs^ag i

arm—qrofaq gn qroqgfgar i mqigiggfl ^<3 ?nm-

qreagqq:, q gqmrcroqS fogf 1

gq ftsrsqraqaftq qj-
gaq:gni Hraftg q gagft 1
§q *r •ft^ff<R5qqrenrqr
gmteai d'ggfts^q^qft 11 \< 11

*iqg 1 qrqqpafta qq ft»q*a} atq^a’r qgqtft 1 (gfa

aqr wt&i)
5T5>h«i—13ft amtgpr, atfqftoEgq q$$or ftaiqqiq
ftsrffaqRg I RtftRft qrq of 1 a% sraqjf, qHHaaira af^ra
feqqqqg ftqpaaifta i fafaaq aiq^aq 1

siqgjn—a? I (gtr fgiiqaqft 1) aan

ftqqqi—( agraqi) qeq T^tgcfteqTTgqm arqgoff
siRqur qqr&g l jt ft: qqtajiffgg 1 ara aqtagftangftg arraraf
qiqagaiaarq 1 at fogaraafi 1
 spwftsfj: |

{Then enter Sakuntala occupied in the manner

described and her two friends.)

Sakuntala. Come hither, my friends, come hither.

Anasuya. Friend Sakuntala, I think the trees in

the hermitage are dearer to father Kasyapa than your
own self, since he has appointed even you, who are
soft like a Navamalika flower, to fill their basins.

Sakuntala. It is not only in obedience to our

father, but I really feel the affection of a sister for them.

{Acts watering the plant.)

King. How ! Is this Kanava’s daughter ? Truly the

venerable Kasyapa has but little discrimination, since
he has allotted her the duties of the hermitage.

The sage who would make this artlessly-

charming form capable of enduring penance
would attempt, I suppose, to cleave the Sami
tree with the edge of the blue lotus-leaf. (18)

Well, concealed by the trees even as I am, I will

gaze on her without diminishing her confidence. {Does so.)

SakuntalA. Friend Anasuya, I feel quite tied down

by the bark-garment which Priyamvada has too tightly
fastened. Pray loosen it.

AnasOya. Very well. {Loosens it.)

Priyamvada {Laughing). In this, you better re¬

vile your youthful prime which gives your bosom such
a swell; why do you blame me.
arfa. Sir. ^
u

TT3W—qwfrumig I

wrgwqftowregrRwr N^rfH i
wgrfiRWweor. jwiRr *wi «r sitari
Stawliw Ph® <no§niN*oi II l«> ii
srowr ^rwRg^qnwi wgot wsow w gwr^rearfcpr
w yarfw l $w: i
wfairogfirg sl^nifo wt
wfewwfa fgwfefafar aeiff cntfa i
swafaswsitaT wss&nfa twwt
PrPh fe *r»®5i 5WsgtJnH.il r® ii
St$55RST—( amdsoafto I ) irot Wt^R^OtSWJf^ft
gwtfg few w <>>«<. wwt i 3ww or #wrafir i ( ?fct <rfan-
trft i) tiq of i ora^r
g^n^iw i
fitfaigt—I3ST 3T3>g& «*cW gfrTW f%2 I
shi am ara^f^ filg i
—f^fojfira i ftfaffrew. i
faowarr—3ww go; www^rn g^rerorrat fear ar«f %^k-
ovtaaif? l TOwtqocrai amwsiw 1014
oftwfct I
wf.*rit!n—*pg PrsfcRr fa gw 1 am: 03 fa^fe
rag 1-
5TOT—fspxrtfq ?r«?mt5 sr^HGsi fowwgr 1 3T¥ot: wrg
w faj=i55<rnw: ^twsfosugsiRoft mg; 1

SPSwfiiw srWnw 4>ti«wjfg ^rewj1 ^ •>

 Jbtatsf: i

King. She speaks well.

This her youthful body, by reason of the
bark garment tied with delicate knots upon the
shoulder, and covering the expanse of her twin
breasts, does not exhibit its own charms, like a
flower enfolded by a pale leaf. (19)
Or rather, granted that the bark-garment suits but
ill her figure, yet it really does possess the charm of an
ornament. For,
The lotus, though moss may overlay it, is,
nevertheless, beautiful; the spot on the moon,
for all its darkness, heightens the charm of the
moon; this slender (maiden) is more lovely
even in her dress of bark : for what indeed is
not an embellishment of sweet forms ? (20)
Sakuntala (Looking before her). This Kesara-tree,
with its fingers of leaves, which the gale gently agitates,
bids me hasten as it were (towards it). I will just
attend to it. (Moves about.)
Priyamvada. Friend Sakuntala, just stand where
you are for a moment.
Sakuntala. Why ?
Priyamvada. For, with you standing near it, the
Kesara appears as though possessed of a creeper.
Sakuntala. Hence indeed are you properly named
Priyamvada.
King. Though agreeable, still it is the truth
which Priyamvada says to Sakuntafe.
Truly, her lower lip glows like a tender leaf,
her arms resemble flexible stalks. And youth,
bewitching like a blossom, shines in all her
lineaments. (21)
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 swiftsf: | *1

Anasuya. Oh, Sakuntala! Here is the Navamalika,

named by you the Light of the Grove, the self-elected
bride of the mango tree. Have you forgotten her ?
Sakuntala. Then I shall forget even my own self!
{Approaching the creeper and looking at it). Friend,
at a charming season, indeed, has the union between the
pair—the creeper and the tree—taken place. Vanajyo-
tsna shows her youth in her fresh blossoms; and the
Sahakara his readiness to enjoy, in his sprouting young
leaves.
Priyamvada (Smiling). Do you know, my
Anasuya, why Sakuntala is gazing so intently at Vana-
jyotsna ?
Anasuya. No, I cannot guess. Pray, tell me.
Priyamvada. “ As the Vanajyotsna is united to a
suitable tree, thus, may I, too, hope for a bridegroom to
my mind.”
Sakuntala. This is, indeed what you want for
yourself.
{She tips her water-pot.)

King. May I hope that she is the daughter of the

patriarch by a wife of a different caste ? But have done
with doubt.
Surely, she cannot but be fit to be wedded to
a Ksatriya, since my noble soul has longing to¬
wards her : for in matters beset writh doubts,
the promptings of the heart are to the good an
authoritative guide. (22)
Nevertheless, I wull ascertain the truth about her.
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Sakuntala (Excitedly). Ah ! Rising through the

disturbance caused by the sprinkling of water, a bee has
left the Navamalika and is fluttering rourtd my face.
(She shows herself annoyed by the bee.)
King (Looking longingly).
In whichever direction the bee turns, in that
direction she turns her rolling eyes. Arching
her brows, she is learning to day coquettish play
of her eyes through fright (only) and not
from love. (23)
Moreover, (A bit jealously).
Frequently dost thou touch her throbbing eye
with its outer comer trembling; approaching
her ear, thou murmurest softly, as if thou wert
whispering a secret of love; and while she
waves her hands, thou sippest her lower lip
which contains all the treasure of delight;
whilst we, O bee, through search after truth are
disappointed, thou hast gained thy wish! (24)
Sakuntala. This importunate bee does not stop. I
will remove to another place. (Stepping aside, and
looking about her). How, now ! He is coming this way
too! Save me, friends, save me from this ill-mannered
bee which hath quite baffled me.
Both (Smiling). What power have we to deliver
you ? Call upon Dusyanta. Indeed holy groves are to
be protected by the king.
King. A good opportunity this to discover myself;
fear not (When half through these words to himself). But
my royal character will be known to them. Well, I
will speak thus.
Sakuntala (Stepping aside and looking about). How
even here he follows me !
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 SOTTtsf: I

King (Quickly advancing.)

While a descendent of Puru, a chastiser of
the ill-behaved, governs the world, who is this
that is so rude to these artless hermit-girls ? (25)
(All are slightly confused at sight of the king.)
Anasuya. It is nothing very dreadful, gentle sir ;
but this our dear friend was teased and frightened by a
bee. (Indicates Sakuntala.)
King (Turning to Sakuntala). I trust your devo-
.tion prospers.
(Sakuntala stands speechless through embarrassment.)
Anasuya. Now through the arrival of a distin¬
guished guest. Go to the cottage, Sakuntala, and fetch
an offering mixed with fruits. This will serve as water
for the feet.
King. The rites of hospitality have been perform¬
ed by your sweet and sincere words.
Priyamvada. Then, sir, pray sit down for a while
on the raised-seat under the Saptaparna tree which is
cool and deeply shady, and beguile your fatigue.
King. You, too, must all be fatigued by this work.
Anasuya- Friend Sakuntala, it is proper for us to
wait upon our guests. Let us be seated here. (All sit
down.)
Sakuntala (To herself). How is it, that at the
sight of this person, I feel an emotion scarce consistent
with a grove devoted to piety ?
King (Looking at them all). How delightful is
your friendship with the (charming) equality of your
ages and of your beauty.
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PRIYAMVADA (Aside). Who can this be, my Ana-

suyS, who combines liveliness with dignity in his mien,
and seems to be endowed with majesty while speaking
to us sweetly ?
Anasuya. Friend, I am curious, too. I shall just
ask him. (Aloud), Your sweet speech gives me the
confidence to speak to you. WThat house of royal sages
is embellished by your honour ? And what country
has its people grieving at your absence ? On what
account has your person, though very delicate, been
submitted to the weary journey into our pious grove ?
Sakuntala (Aside). O my heart! be not uneasy.
This Anasuya speaks your very thoughts.
King (To himself). How shall I reveal, or how
shall I disguise myself now ? Well, I will speak to her
thus. (Aloud). Lady, I am the person appointed by the
king, the descendent of Puru, to supervise religious
rites, and have arrived at this grove of piety to ascer¬
tain whether the religious rites suffer no obstruction.
Anasuya. Then the people engaged in acts of
piety have now found some one to lake care of them.

(Sakuntald acts amorous bashfulness.)

The two friends (Observing the demeanour of the

two, aside). Sakuntala, dear, if only father were here to¬
day—

Sakuntala (With anger). What would happen then?

The two friends. He would make this distinguished

guest happy, even if it took the most valuable posses¬
sion of his life.
*4

sifsaasr—i ffe fa ftnw ^3T ipjta I «r

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 ninitsf: i

Sakuntala. Go to ! you form some (absurd) notion

in your jnind and speak. I will not listen to you.
King. We, too, would like to ask something about
your friend.
The two friends. Sir, your request is as a favour
to us.
King. The revered Kasyapa lives in the constant
practice of continence; how then can this friend of
yours be, as it is said, his daughter ?
Anasuya. Listen, sir. There is a certain royal sage
of great majesty whose family name is Kausika.
King. Ah, yes, I have heard (of him).
Anasuya. Know him to be the source of our dear
friend’s being ; but father Kasyapa is her father, through
his having taken care of her person and such like acts
when she was abandoned.
King. The word ‘ abandoned ’ has wakened my
curiosity. I would like to hear from the beginning.
Anasuya. Listen, sir. Formerly, while the royal sage
was leading a life of stem austerities on the banks of
the Gautaml, the gods, becoming somehow alarmed,
sent the nymph Menaka to disturb him.
King. Yes, there is this jealousy of the gods
towards the austerities of others.
Anasuya. Then at the advent of spring, having
beheld her intoxicating beauty—(Sh'e stops through
bashfulness when this is half said.)
King. What followed is quite plain. So, she is
sprung from a nymph.
Anasuya. Exactly so.
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 swertef: i
King. That is, as it should be.
Or how could any woman give birth to such
a lovely form ? The light that sparkles with
tremulous beams does not rise from the surface
of the earth. (26)
(.Sakuntala hangs her head.)
King {To himself). My desire has found scope.
Nevertheless having heard of her desire for a husband,
mentioned in pleasantry by her friend, my heart is fill¬
ed with suspense and anxiety.
Priyamvada {Looking with a smile at Sakuntala
and turning to the hero). Sir, it seems as if you had more
to say.
(Sakuntala threatens her friend with her finger.)
King. You have rightly observed. From an eager¬
ness to know more of a virtuous life, I have another
question to ask.
Priyamvada. Do not hesitate. For hermits may
indeed be questioned without any reserve.
King. I wish to know your friend.
Is this monastic vow, so opposed to the ways
of love, to be observed by her till her marriage
only, or is she destined to reside for life along
with the female deer, her favourites from hav¬
ing eyes like her own ? (27)
Priyamvada. Sir, even in the practice of religious
duties this person is dependent on another. But it is
her father’s intention to give hereto a suitable bride¬
groom.
King {To himself, with joy). This desire indeed is
not difficult to obtain.
My heart, be hopeful; for now all doubt is
done ; what you dreaded as fire, the same is a
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 U
gem capable of being touched. (28)
Sakuntala (Feigning anger). Anasuya, I am going.
Anasuya. What for ?
Sakuntala. I am going to tell the venerable Gautaml
how impertinently Priyamvada has been prattling.
Anasuya. It is not proper, my friend, for you to
leave at will, before the rites of hospitality are done to
.an honoured guest.
(Sakuntald has already started without
saying anything.)
King (Wishing to detain her, then checking himself,
aside). Ah! the state of a lover's mind is an exact re-
flection of bodily movement; for
Thinking of following the hermit’s daughter,
all at once I have been held back from advanc¬
ing by decorum; although not moving from
my place it seems as if I had gone and turned
back again. (29)
Priyamvada (Detaining Sakuntala). Dear, it is
not proper for you to leave.
Sakuntala (Knitting her eyebrows). Why not?
Priyamvada. You owe me the watering of two
trees. Come then, you will pay your debt and then
you can leave.
(She forces her to turn back.)
King. Good lady, it is only by watering trees that
the lady, I imagine, is wearied. For,
Her shoulders droop, and the jJalms of her
hands are excessively reddened by lifting up the
watering-jar ; even now her breathing which is
heavier than usual causes a heaving of her
breasts ; on her face a collection of the drops
of sweat has broken out, impeding (the
aift. 511. 5
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 SUfffcf: I

play of) the Sirisa flower in her ear; and the

braid getting loose, her dishevelled hair are
held together with one hand. (30)
So I will pay back her debt. (Desires to give a ring.)
(Both reading the letters of the name on the
seal look at each other.)
King. Do not take me to be different (from what
I am ) ; this is a present from the king ; so, know me to
be the king’s officer.
Priyamvada. Then indeed this ring does not
deserve to be separated from your finger. Your word
has already remitted her debt. (Smiling a little). Well,
Sakuntala, you are set free by the kind gentleman—or
rather by the king himself. So you can go.
Sakuntala (To herself). If I have power over my¬
self ! (Aloud). Who are you to send me away or hold
me back ?
King (Looking at Sakuntald; to himself). Is it
possible that she feels towards me as I do towards her ?
Or rather there is ground for hope. For
Although she mingles not her speech with
mine, yet when I speak she turns her ear direct¬
ly opposite to me. Granted that she does not
stand with her face turned towards mine,
nevertheless, her eyes for the most part are not
turned to any other object. (31)
(Behind the scenes). Ye hermits, keep close at hand
to defend the creatures in the pious grove. For they
say king Dusyanta is diverting himself with the chase
in the neighbourhood.
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war a aafti frar gqRrmm% i
(at dftiaPn i)
«**-*»> Hreraiftgai^wrt ^ % ^wa-
MM Mbit ant fMnftj i ant, aj#nfoirittfi*M>it
»ptsfo stynAftti tmnfe ant ftBwftjn i
*BH—-ar ftan. I q&Aa Ra#ri I
wycnst—arorqjc aMM *t Ml
$<«awignftaiai v net i gra aRai&a at am <4
atantfft i
 mftsy: i

The dust raised by the hoofs of his horses,

red as the evening twilight, falls like a locust-
swarm on the trees of the hermitage having
bark-garments, moist with water, suspended
on the boughs. (32)
Moreover,
An elephant, alarmed at the appearance of a
car, enters the pious grove, scaring the herd of
deer, with fetters formed by the clinging of
Vratati coils dragged along by his feet; having
one of his tusks fixed in a tree-trunk, struck by
a cruel blow, a very interruption incarnate of
our penance. (33).
(All listen and are a little bewildered.)
King (To himself). Alas ! my officers are disturb¬
ing the holy grove in their search for me. Well I must
go back.
The two friends. Noble sir, this alarm of the wild
(elephant) has greatly frightened us- Give us leave to
return to the cottage.
King (excitedly). Yes, you go ; and it shall be
my care that no disturbance happens in vour hermitage.
(All rise.)
The two friends. Noble sir, we are ashamed to
request that you will give us the pleasure of seeing you
once again, since you have not now been received
with the hospitality due to a guest.
King. Nay, not so; I feel honoured by the mere
sight of you.
Sakuntaia. Anasuya, my foot is cut by the point
of a fresh Kusa-blade; and my bark-dress is caught on
a Kurabaka twig. Wait for me while I loosen it.
 wftnjFrcngpits

wfSprassqwn iftsja ^ i 3.«*?ii«ihR<ah =*

i arc^t, qfcnajra *tt qw^wfaqiSl i
(si% <nwwl+<Hft fiacat ag *rateit Efrsrerc i)

TT5TT—M^rgyft-Sftq WK«KW SlfcT I 4i^^4lBl-

qsr^foq snfii^c «<ifaiw< i si «ag wtfb
^lt>^dWIMKl^l^M~ fvMdfa'siH I JW ft

<iv>aRi jt: 5ifW: igrefa qsrr^H^a #9:1

%at: af?rara 11 \u 11

(gRr ftwspm: at 1)

gfa jwprtaj: 1
 (She casts a glance at the king atone and delaying
under pretexts goes out with the two friends.)
King. I am not very eager now to return to the
city. Meanwhile I will join my followers and encamp
at no great distance from the holy grove. I cannot, in
truth, divert my mind from occupying itself with
(thoughts about) Sakuntala ;
for my
Body moves onward, but my heart, (as if)
unrelated (with the former) runs back, like the
silken doth of a banner borne against the
wind. (34).
(Exeunt Otnnes.)

Here Ends Act One.

 (cT^T: 5Tf^5T% ftb|0u7l Rr^Epfj: | )

( fo’SPJ U aft I PwailftlWg

mnt ^anwreN (tnfsgtwrt fig I arsr fiiaff arai srtgt
am 1% wajwt RugRugiqmq-^iang qoititg
<K
anfgo^ajf^ <8# aisft i *8wte<g>qrait gsgant
PiR«iiiiMii qtaPcr i ggarcnjift angrct
a>^N? I ^tviRw fa fiwaw
^«i oifar i ?r?V wg^ ns* sTrefcoj^ «gfa-
apnmfai^Brglsqi qfaqtf^Rg i ufaqni 3if&r
fa qfar or farasnfa i rf^r nqg<*8 saR fafagan sffw i
faarf fan an%^ artgitg cTrretgt Ptan^rRor awim
qfasw dN«<t>wiaii «^<4f mum? ifa$i i
mi umwrm m «g fa ot gRfa i arar fa t ?r
*133: fantarnnn arsdtg <rwri anfa I «I*I^I sirat
R;<hkmR®4 ffanifit i (tfr ^ i) «rof
«j|uiw«ngcyift srawrtt ^s^ronnivnfaifWi >rftg^t
sgapsgfa Rrareareft | gtj | aqffljffannt fan
*tfav fafgisi i m **st fa mu fk&au ufru i (it
fan: ) t ?Sg I tTrfCT ^iqrafoSCT <Tgt ggpwfal
tfiMtsfw i apf qtsg TOffsjf it nmgsR ifNft<<wi<-
<rsmig gaqtnifogfasgfltssjfa i <m$mrctf«r ftft-
agtarait q|3p% i nfotffas angrct gafa i g<-
<n^im*r°i6^ ngrafa t$tf utesg arfer i at ae%g
a^«f gipff: 5^: 4l$l<ld*q344i<£W>t3lg&a iiRwlfirtiRfl i
<ffa a t«Rwt i at wpitaft ftfarw tmr I ®:
ftwwigwffig <mat qaigmfaiwM aftm aimnw
 ACT II.
(Then Enter Vidusaka dejected.)
Vidusaka (Sighing). Oh my fate! I am tired
of being friends with this king who is so addicted to
the chase. * Here’s a deer/ ‘ There’s a boar/ * Yonder’s
a tiger/ thus, even at mid-day, we wander about from
forest to forest, amid rows of woods with summer-thinn¬
ed tree-shades. We drink hot, stinking waters of moun¬
tain-torrents, astringent from the mixture of leaves. At
irregular hours, we get our meal (consisting) chiefly of
meat roasted on spits. And even in the night, I cannot
have enough sleep, as my joints are all dislocated by
riding on horseback (after the chase). Then at the
very earliest dawn, the sons of slave-girls—the fowlers,
wake me up with the din of taking the forest. And
yet even with all this, my troubles do not end ; (for)
then there is a (new) pimple growing on the old
boil. For, indeed, yesterday, while we were left behind,
his Majesty had entered the grounds of the religious
domicile, when as jny ill-luck would have it, a hermit’s
daughter named Sakuntala was presented to his view.
And now he has not even a thought of going back to
the city. Even to-day, while he was thinking only of
her, the (light of) dawn broke upon his eyes. What
help! Well, I will see him when he will have perform¬
ed his usual toilet. (Walking round and observing).
Ah, here comes my dear friend in this very direction,
surrounded by Yavana-girls holding bows in their
hands, and wearing garlands of wild-flowers ; well, then,
I will stand as if crippled by paralysis of my limbs, if
even thus I may know (some) respite. (Stands leaning
on a staff.)
va srfin!R*nf^res

a^aiar aw *mn*araar afifcrr i araa awaaata aa: awaft a

aatft i srgift a?a afor ftfsaalssat: saraaratet i q> ufo i
awi $aMK<tfcaa q^irrft i it* waraastarfaaaatfi^ajwRrar-
aiftatfa: tR?a sa qam^afa ftiwrca: i nag i Bnrasrfaaig **
»pn ercarfo I atraaft aw w«tf a^a i
(aa: sfNiRl aaiftfe’gqRaitl am i)
B3IT—
TOi firm a ubhi wreg a^iq^ghnwiifw I
w^ar^sfqr HafcrSr *fogHqai<&n ll \ 11

ftm t aawrt
femt sfffiiiigwqdteft gq% bht
ara aw Qdwi4t*ifeMi na? fqsiBTftq I
*n ht HI HI^W Baft
B§ gRqs« HtTOqnwd HUH* HH7IT M^aRl II R II
fa$qq>:—( aai Raa qqi) nt hbsb, or $ sfqqrwt
qawPa I hi qiwiftqrew stwrasaB l >it aata, a it fw-
aK srcrcft I agwai^a awfawift I
Ban—jsatsir mihImviw: i
fq^qar:—«ggfr Brb bb aragti WT3Btafet wag-
aotar 1 $a: ft® BaagN^%wigwc*t ^afa 1
Bait—h BgHHHsgtfe l ftntnSnfMfcgig. I
ft$qq>:—nt HBHB, ar %?Bt Rut wife n fk
Btrat qgifrw 1 or w*%3bb I aa«a, a|aa: *s*«Ster
ftawaRt, afcwnwa: aai^a 1 ag afttaw 1
 (taMts*: i v\

{Enter king with attendants as described.)

King. True, my darling is not easily attain¬
able ; yet my heart assumes confidence from
observing the manner in which she seems affect¬
ed. Even though our love has not hitherto
prospered, yet our mutual longing causes
delight (1)
CSmiling). Thus is the lover beguiled, who judges
of the state of his beloved’s feeling by his own desires.
It is thus
The tender look she cast, even while she
directed her eyes elsewhere; her slow move¬
ment caused by the heaviness of her hips, as if
for grace's sake; the angry words she spoke to
her friend who detained her saying 4 Do not
go ;'—all this was, no doubt, on my account!
Ah! how does a lover discover his own (every¬
where) ! (2)
Vidusaka (Still in the same position). O friend,
my hands are incapable of movement; therefore, by
words merely I will wish you victory.
King. Whence this palsy of limbs ? *
Vidusaka. How, indeed, having yourself troubled
my eyes, you ask what makes them weep ?
King. Indeed, I know not what you mean; speak
intdligibly.
Vidusaka. Well, my friend, when the reed imitates
the character of the Kubja plant, is it by its own act, or
by the force of the stream ?
V*

w—sroth i
fojjwss—jot & wi l »ratft mra; i
*crar—<«>aftra i
fojjre:—qsq traqrsrftt qqift#
gq 5^3# i gf *m qsBf
^«H^3ujfkj*iriMiui tm *ronor sroft^t % mgmt I mr
q«<iw*i fqrnfti^ *f qgir? fq qjq fqj-mfag I tpi wsr-
wl^k»tt3c!i«i angrasfc# mRXffam am qfopim i
>iai54 5tc*r5 WRra^; q#f*raqfw«nm tro
4tq: i asKiKPNift ftqftg aiq^firg^ |
trar—(amnu) auj 4qmg i wqft miynxgawg-
3OTtlft$q | $gs |
H JIJjftgwftrSJOTftJT srmr
q^^qrferaro; jylg i
^5^^rfdglr^r 3r: rsrarrcr:
?kt *q gOTftratfoqh%5u n \ n
ftgqq>:—(5i# gm ftatei i) armwq ft; ftmq mftar
OT^ft l mto# Jjq qftm am% l rnsramfouft sat
q^5f t 3tot m\ 3%rarala: l
war—( sferaq i ) ftraaig. I awfasKflufoi ft Jjiar-
qqfftfa ftmataft*! l
gfter | (5# iFgfit^a#) ftt afta i
max—gq^q, jfts I hot#* ft am: I
—mrutftj jot i anama »m, i
<rsn—ftwFftq jotot wirmqpn# mftftr
mftasq^ i
ftfjres—(% qtqarerftqgnq I elm ft and
aroit | ft i 5ta «4 gq#?r: «j»i: l
 King. The force of the stream is the cause of it.
Vidusaka. So are you, of pay (troubles).
King. How indeed ?
Vidusaka. That you should leave the affairs of
your empire, and live like a forester in a wild and un¬
frequented region like this! So that, truth to say, I am
become no longer master of my own limbs whose joints
are all shaken up by my daily running after wild ani¬
mals- I, therefore, entreat you to favour me with your
permission to repose but a single day.
King {To himself). He says this ; and I, too, when
I think of Kanva’s daughter, have little relish for hunt¬
ing. For
I am not able to bend this strung bow, with
the arrow fixed upon it, against the fawns, who,
abiding with piy darling, have taught her those
beautiful glances 1 (3)
Vidusaka {Looking at the king's face). You have
something in your mind and have been deliberating.
Mine is a cry in the wilderness.
King {Smilingly). What else ? I ought not to
disregard a friend’s advice; and so I stand here.
Vidusaka. May you live long ! {Desires to leave.)
King. Stay, friend, I have not done.
Vidusaka. Let the king command.
King. When you have taken .repose, I, too, shall
want your assistance in another business, that will
cause you no fatigue.
Vidusaka. Eating a few sweetmeats ? Well, then,
I accept the engagement.
V5

*rar—qrar asaim I sr: «t: i

(afa^r i)
cNlfoB:—[ i] *1511 arums-*ra? 1
^tsn—%3tafa*3ra5igqa rt^ i
gNlR^:—35 1 (|f?t ^nafcTCi rrs g*r: aHfipr I )
•TO* smonqarajsast fl£l ?5f usq fogfc t
3TO«Tj[ srat I a«rn mr 3?^^^ wa3t fctefa I
arowt: 1

^tarafas—-( namaataa 1 ) s^tatfqr rjnqr

301^ffrn I3«nf5 5^5

tfiifarcoi^rtgag 1
arof^awfa *irsf aqraarar^rea
55 3Pis aim^nt wrfS 11a 11

( 3^ai ) sjqg *amr 1 35fa5^i5wqn. t fofafir

wtaa1
*TaT—ip^n?: uatrfar gqqrqqn^r nra^a 1
#PnaRi:—(arcifrraa. 1) ^rar, ara 1 arc
dMrWiPw(a<igt^«aa(^ l (arram. 1) sraqraa !$q: t
33 snjiq P155RH.1

fr5*&5g5HC< 553 ara^wmrwr 33 :

^tqwwPi stsat fegfaafaat waastaat: 1
 King. I will tell you where. Hola ! Who is there ?
(Entering) Door-keeper. Let my sovereign command
me.
King. Raivataka, bid the General attend.
Door-keeper. I obey- - {He goes out and returns with
the General). There is his Majesty eager to give (some)
command, looking in this very direction ; sir, you will
draw near.
General {Looking at the king). Though reckoned
a vice, hunting has proved only an advantage in our
King. Thus his Majesty
Like a mountain-roving elephant possesses a
body, whose forepart is hardened by the cease¬
less friction of the bow-string, which is capable
of enduring the sun's rays, and is not affected
by the slightest fatigue; though reduced in
bulk yet is not marked (as such) by reason of
its muscular development, and is all life and
vitality. (4)
{Approaching). May our monarch ever be victo¬
rious. The forest has its beasts of prey tracked; why
then delay ?
King. My ardour has been all damped by Matha-
vya who has been preaching against hunting.
General {Aside). Friend, be firm in your opposition.
I will humour the king for a while. {Aloud). This fool
talks nonsense. Why, our king himself is an example.
Consider, your Majesty ;
The (hunter’s) body, with the waist attenua¬
ted by the removal of fat becomes light and fit
 siftomnsaid

H ^ vrfs^n fwwjPa 3^T qfe

ftsqq sq?r* ar^fscr <£uqi*ftgPqqft: 5^: II *» 11

fojqq;:—(wtaq) ailft * ggaigtgai 1 amaq qftft

aqqwit I gn qiq srgefcft aFtflf 3flftgg*ift oRJmfe-
aiistgqqq Qiwiftsg^r fa gt qfegaftf l aft^ *
y<«iftil* 1 arew^Fsnfirawre: 1 <jra53atatsisft>n%'>s*nsft at-
aift+icil^qw ^fW^sjp? witPr g% qfa«j% 1

cbjt—*n? %sn^, sny««P(*^ ferais *w: 1 ara^i

qqft qifiw^fa 1 sraaraq.

Jifs^r GwMuftwi
^wwA€<wai> rfaf^nwr^qg 1
fasiaq faqrTT q*15?lfafflJ§*aRElfa: q«q%
fasim snenfift « %pj33qrawwreR3gs 11 % n

#nqfa;—qfsrafa'afa *N?t I

nan—%*» ft ftq&i <|^»rapqsnnfton 1 <rai a 4

4Pw>Wx»q|q«igqaqr ft^csqi: I q^q I

srasrqftf aqfa^i
qj ft qiguuwrafei clan 1

^rcilg^ssr x* q^q>iwai-
w*-qdalsf5rnqianfcd 11vs11
 fWtftei i

for exertion; besides, the spirit of even the

beasts is observed to be affected with various
emotions, through fear and anger ; and that is
the glory of the archers, when their arrows hit
the mark as it flies ; falsely indeed do they call
hunting a vice ; no recreation, surely, can be
compared with it. (5)
Vidusaka (Angrily). Away, you inciter. His Majesty
has come to his senses ; but you chasing from forest to
forest, will surely fall into the jaws of some old bear
greedy after a man's nose!
King. Good General, we are staying in the vicinity
of a hermitage. I cannot, therefore, approve your
words. So for to-day.
Let the buffaloes plunge into the waters of
tanks struck repeatedly with their horns; let
the deer herding. together underneath the
shade chew the cud ; let herds of boar, undis¬
turbed, bruise the Musta grass in the pool ; and
let this my bow, take repose with a slackened
string. (6)
General. As it pleases your Majesty.
King. Well, then recall the forest-beaters that
have already left; and forbid my soldiers to vex this
hallowed grove. Remember,
Holy men, pre-eminent in the virtue of quie¬
tism, conceal within their bosom a scorching
flame, which, like sun-crystals which are grate¬
ful to the touch, they emit when assailed by
some foreign lustre. (7)
*!. *
H*

writ i
fojrc:—«rs® At ^RStagw i ^5ii ft t
«rs® *ft ^re*u:g3r i *facif a agHtwrei: i
( fir®6RT: ifcnqftl! I )

trat—(iftasf faster i ) mwiwj «j*rar^H.t

Nrw, rsrafft ^ PwlrH^ i
qfftasr:—gr ftqt onorftlft I (5% fasKirtr: 1) ofto wrafil«
fog #ra^T fotmfftgsf l^iqft 0.gfe« qf*-
TOBtarm: Qcwggffq^fotftqoftanq: straft
aro aflj <ft ^grcftoft ffrfft > $ft *ron raftfigror. I niswftdwi
oroissiorar faftaamtedFroteterararcift faftrg *mg, w#
gqRfcit wnfft 1
war—*t«®Bra: 1

fftfqq;:—q$ *re 1 qg *wi^ l

( ?gw l )
•jar—urasq, aBraKra^jsqratefa 1 fta ?qqi <qf4M *r

f€$qq»:—dr sfwigt ft qgfft 1513 *fTOW<ft ft oftft I

trai—q>KaareiW qgqfft 1 msraflBMUWdi

^iswwiwfftggf a^ffif t
f€$qq>:—( ) ^5 1 % wa^ft or 313^ l (awrm.)
«ft aorei, ft arraqranro 3f*a»idfon iftsifft 1 wrg 1
•Kurort 0 roft • *ft oJipr, ft aroro«wiwiftsft3i ??rft 1

3fw—a qftgift sregfft iflwit *w awSft>

 IMWbt i
General. As your Majesty commands.
VidujjAKA. Get 'away, you son of a slave-girt l You
have talked in vain about exertion (in the chase.)
(Exit General.)
King (Looking to his attendants). Put off your
hunting apparel; and thou, Raivataka, return to thy
post of duty.
Attendants. As our lord bids. {Exit.)
Vidusaka. So you have now cleared the stage.
Now be seated on this stone-slab, over which the trees
spread their beautiful, canopy of shade ; so that I, too,
will sit at mine ease.
King. Lead the way.
Vidusaka. Come along, sir.
{They walk about and sit down.)

King. Mathavya, you have not obtained the fruit

of your eyes, since you have not beheld the fairest of
all objects.
Vidusaka. Why, you are there in front of me.
King. Every one thinks his own as beautiful; but
I am speaking in reference to that same Sakuntala, who
is the ornament of the hermitage.
Vidusaka {Aside). Well, I Vill give him no
chance. {Aloud). Wdl, my friend, it appears she is a
hermit’s daughter whom you love.
King. Friend, the thoughts of Puru’s descendants
will never dwell on any forbidden object.
 ft® gftcqgi i
afcaitaft ftifag ggafaa aamfeai$!pnjl c n
%«m:—(ftsar)—sis area ft -a^Ri^aa
jftPaata afegfat1 aft, a? ^ara^aqfcaTfftaV *gRt
gmamm I am *Ewtfa fro^^fSraa fefcmmfftagt
a%t, a«n eftwqftaiMt w praajsfcn i

arsi—a awftai <mfa ftftaai^te i

—aa^aafa# s w=r^t fft H>^4
are® wfta a^atsfa ftareggreafa i

ajut-aaTi ft ^4*ii l

feft (ftftga qR.<sfoiaa-**iHai

aritafta aaat fIFftar ®ar 31
3<kM^fe<«TM afaarfa ax ft
aigftgsraafaaar aja aan: 11 *. n

fa^aa:—at nsft qai^at *rfft awrtW laftft sanftn

faaffamftam
aai-^ a ft wafa ar$ft 1
aaraia g^ft maaaaga ?rea$-
mi(ft4 aft *rg aamt^aifftara^ 1
aar»i gmiai agffta a asaaaa
a aift atasrt adftg agwaraafft ftfo 11 \o 11
 GNMtsf i
Sprung from a nymph of heaven, so it is
said, this sage's child was found by him when
she deserted her; like a Navamallika flower
loosened and flung upon the Sun-plant. (8)
Vidusaka {Laughing). This desire of yours, who
scorn the bright gems of women in your palace, is like
the fancy of a man who has lost his relish for dates, and
longs for the (sour) tamarind.
King. You have not seen her ; and, therefore, you
speak thus.
Vidusaka. That indeed must be charming, which
excites even your admiration.
King. Friend, what need is there of many words?
Was she delineated in a picture and then en¬
dowed with life ? Or was she moulded in the
Creator’s mind from an assemblage (selection)
of all lovely forms ? When I meditate on the
power of the creator, and on her lineaments,
she appears to me like a matchless creation of
the loveliest of women. (9)
Vidusaka. If that is so, she must render all other
handsome women contemptible.
King. This, moreover, is in my thought:
This immaculate beauty is like a flower not
yet smelt, a delicate shoot not tom by the nails ;
an unperforated diamond ; or fresh honey whose
sweetness is yet untasted; or the full reward of
meritorious deeds. I know not whom Destiny
will approach as the enjoyer here (of this
form). (10)
 ft*!W»—%0T ft 555 of WT | HT ft
gftftqft qf^afttiw«y<a«r eft 1
vs
f|a§ qfbrraEnifrr i m
V9

*<3rr—«roft ?wraft l g =e ft«lftfts* 3^as>: i

ft$H%:—are weft «pftw ftftft § ftftcrft 1 «w
SfPRWRft»I ^t«IWWI I

nar—PHM^wiigjTCtwfte^wnaw: 1 ?raift g
ftfrgft aft q'gflftfati

h ftfft aefte^ sifa: II U II

ft^TO*.—oj ftgirarei ge wj anrftft i *ig eg
mraw aes»ndsfa 1

qat-ftrsRft 5*5 smftsRPnft <Mwaft«$ft

ai«WsHIWHMU I 3TCJT ft I

‘sum: IrTOlft
a*ft ft«rar eiftftfte <P[rft asn 1

anftfeyrayn e ftft^rasft
srmtg a<»<M-mag>aft garum, 11 11

it *r*lfWW stt£ I fr? gpc ^rwor

aqta®i f% Cfrraufa i f* sgfcwifcft *ft » ewtart ^*ft-
wrfb 1
 si

Vidusaka. Let your Highness make haste, then, to

rescue her, lest she should fall into the hands of some
hermit whose head shines with the oil of Ingudi.
King. She is not her own mistress ; and her father
is not here.
Vidusaka. Well, what kind of feeling did her eyes
betray towards your Honour ?
King. The daughters in a hermit’s family are natu¬
rally (so) reserved ; yet,
She averted her eyes, when I stood facing
her and she smiled (as it were) from some
other cause (than love) ; hence love, whose
course was checked by modesty wras neither
fully displayed (by her) nor yet wholly con¬
cealed. (11)
Vidusaka. Surely you did not expect her to climb
into your lap the moment she saw you !
King. But, at our mutual parting, she did betray
her feeling towards me, though with modesty.
For when the slim (girl) had proceeded but
a few steps, she stopped all of a sudden, saying,
“ My foot is hurt by the points of the Kusa
grass ; ” and then she turned back her face (to¬
wards me), whilst (pretending to be occupied
with) disentangling her bark-dress from* the
branches of the shrubs in which it had not really
been caught. (12)
Vidusaka. Well, then, provide yourself with a stock
of provender ; you have made a pleasure-garden of the
penance-grove, I find.
 *rsn—q#, aqftqffr: i f^ra ara-
tow: i

«st ma&it i «r 3*t n»iT l aftairsa?-

ww 3>Hiui gqg^ % I ateritate l ag pj asni sfarc-
qwprawragqqfNIi* I

trat—g^, arwj^iaQqAciqi agri fgqafa, q$ta<wt-

afir f^iqrfiwarn i q^i i

agftmRi riftrit ynotr qfir aat.au i

aq-.q^flnraa^q <waw.«<q>i ft m n ^ 11
(^q«$i)

?RT, fasnSf ^5f: I

CRJt—( arf I ) 3R^

ftasqfH. I
( sf^q I )
ghnftqj:—3^ «5i i 5% qfesrojft
grafter I srag »ra'[ 1 $ ^gfafUKt afftgtgBigqfw^ |

qan—&a qftsfiaa a£feia 1

^riifia.:—»rot q#^fa 1 ( ?fa fts*«i ^ftyiKiwit a?
sRri ,1) f*t WFar 1 gq a%*pnfa 1 fa fat aq*& 1
( 35ft Traig firataa: I)

saw*—«ftt ^Rnrifrsfa ftwqariaiw a^s i writ

mwfauftwft snftfiwt qaft 1 5a: 1
 King. Friend, a few hermits have recognized me;
find out, therefore, some pretext for our entering into
that religious domicile once again.
Vidusaka. What (need of any) other pretext ?
Are you not the king ? (You can enter saying) “ Bring
us our sixth part of your grain.”
King. Fool, these hermits pay quite a different
tribute, which is welcomed more than heaps of jewels
see.
The wealth of princes, collected from the
(four) classes (of their subjects) is perishable;
but these hermits give us a sixth part of (the
fruits of their) piety which is imperishable. (13)

(Behind the scenes.)

O joy ! We have now attained the object of our
desire.
King (Listening). Oh ! These must be hermits (to.
judge) by their grave and (yet) calm voices.
(.Entering) Door-keeper. May the king be victori¬
ous ! Here are two hermit-boys arrived at the door.
King. Well, then, introduce them without delay.
Door-keeper. Well, I will bring them. {He goes
out and then returns with the young hermits.) This way,
sir, this way.
{Both look at the king.)

First. Oh! A majestic presence, and yet what

confidence it inspires! 1 Or this is quite proper in a
king who is very little inferior to a sage. For
<« sifirgratn&ad

3rs*rPKP?n
t'aPThTPCWft 3T. SRqj i
appnfa art Iflritl qfOT»KUIg>a<ftd:
3«<is 5r«d gfaftfa gjs to® ajspp! N ?y 11
ilRjta:—nNm, sm *r 5^3: 1
wot:—sr«i fto. 1

fcftq:—$*r fe

^rfesf afoft-
to*. $?to wituREnrt^sj^fo 1
an?f^?a «rstar fs |?V
agft Prto ^ to 11 \\ 11
ysft—(aw*? 1) itowiq qa^ I
^T3T—(ajraqtipnq 1) srftor^q «q?aj 1

-?B|fe| «wt i

(it q>gpgw. 1)

<rsn—( estoe qftwr 1) awwftgfirsOTfa 1

tot—wnrawtoiPww 1 «wa nrnw^ 1

9
arai—tenmt 1

tot—swots: wirfertfq^srrjr^ife q iffe

6>ag*«uy;«ifca 1 ato&wto sarcfirftotto «mai otit-
*flfto?IWROT ifil I
 fttfNNt i
He, too, now abides in that stage of life which
is open to the enjoyment of everyone; and
through his exertions for (our) safety he has
been accumulating the merit of penance from
day to day ; and the sacred title of Muni pre¬
ceded by the (word) Raja of this king, too,
who has conquered his passions, frequently
ascends to heaven, being chanted by pairs of
bards. (14)
Second. Gautama, so this is Dusyanta, the friend
of Indra.
First. Yes, it is.
Second. Then, indeed,
It is not wonderful that he whose arm is
long as the bar of a city (gate) alone protects
the whole earth bounded by the dark (green)
ocean. For the Gods, rooted in their enmity
with the demons, rely for victory in battles on
his braced bow and Indra's thunder-bolt. (15)
Both (Advancing). O king, be victorious !
King (Rising from his seat). I salute you.
Both. Blessings on you ! (They offer fndt.)
King (Receiving it with a bow),. I desire (to
know) your command.
Both. Your Highness is known by the dwellers of
the hermitage to be staying here ; and they, therefore,
implore your Highness—
King. What is their command ?
Both. In the absence of his Reverence, the great sage
Kanva, some evil demons are disturbing our sacrificial
 trit—i
fibres —(amiS i) q^n gi# a»«aa»si ?r *&&zm ►
q^TFftagfai %swpf:ir i
trit—( fotf s^n i ) &ra*jr, na^g-^rai «sirfo
WWRR Tq«J<l*<]m<iRl I
«fMrq>: —5T ^ft I ( ftwjiRr: I ) q^T BTOI«nrfir i
^)
ST^RTRTOT ^prSIT wl I
oiwi»w^ gtfsrerc; qrc$ qfcar. n
twit—(i) grt «iaMt I a««w»gMVH-
*ra q^r i
—fcaqra i (f^fpa) i)
TTsrr—-Hras^, aretfer q»$*agw§3) 1
fafjw;:—qsri TPrfNrt 3nfa I ^rf3t
I sura frrftwn^t. rpI! twraffiF&a
fe*§<fii snasHqa: i
thu—m ^r: i ag ncnrfft i
f^jw>s—«:h Tftqtgt fit[ i ^ awir-
fedsfor i
(sfa*q i)
Tmt «f|<>!t RnHwram a^araftt
«OT 3H aiaragt ^ftof <«imfcigT3ft ^<-nart anaagt I ^
Wt *rajfapjJIWRfl^I^ I WW I
thti—(qiqw. i) pCTiqrfir: sifai: I
^Nifa;:—are f i «w ft*u
THIH*3 S^pram. I
 fMNteg i *1
rites. Deign, therefore, accompanied by your chario¬
teer to be master of the hermitage, for a few nights.
King. I am highly favoured.
Vidusaka (Aside). Here is now a request favourable
to you!
King (Smiling). Raivataka, say to the charioteer
in my name, “ Bring my car and my bow.”
Door-keeper. As your Majesty commands. (Exit.)
Both. (With joy).
This well becomes you, who emulate your
ancestors ; truly the descendants of Puru are
the officiating priests in the sacrifices of deliver¬
ing from fear the distressed. (16)
King (Bowing). Go first, sirs; I too will follow
instantly.
Both. Be ever victorious. (Exeunt.)
King. Mathavya, have you any curiosity to see
Sakuntala ?
Vidusaka. At first it was full to overflowing ; but
now by this talk of the demons, not even a drop is left.
King. Oh, fear nothing : you will be with me.
Vidusaka. I am protected from the demons.
(Entering) Door-keeper. The car is ready, and
awaits my Lord’s advance to victory ; but here is Kara-
bhaka, just arrived from the city, bearing a message
from the Queen-mother.
King. (Respectfully). What, sent by my mother ?
Door-keeper. Yes.
King. Well, bring him to me.
 wdrfd;:—aw l ( sfit sadr a? sfe*r i ) qjaV
agl I aaqm I era ns7«ax i aro4 i

waaa:—^5 »gi i ^at awdd l arardfa a^ad-

*i\ gsdfinjg’iigwit aia -aaarat afawR: i ad wdia«m
aaaa aiaifaasat % l srag *rm i ^wrawflfir I wiiiWt
agplfiral gsrfa<«aia% aw aaiid aftwfir I aw Oal^awyi
sNiaidfir |

aai—srunaftaai-^ i sat j^wwwi i waaad-

a>a«iidH. I feaa srdfaaaa; l
d$aa»: —da aaro^ l fdiyfaRRd fire i

an—aeaarf<at:%atsfca I

5^: afawa ^ aita: aftatawt aar u Vs ll

(i) ad, ;awrai ja *fa afefciwta: i aat aai-
das afadfea aaftaaabaaaiaa arada aaaatfd?
ja^eaaggigawid I
d$aa;:—a a ajaftatad addr l ag as at sat-
*fa* I

<ren—(aftwm.) aada^ad afat«d I

d$aw;: —aw trensjua a*ad aw »F.«rd I am aaig-
3w *P=gaf era »R0ffit i
?m—ag aataafcrcta: af^wdfd sfa aaViigaid-
aiiWd *rw wrreft i
 fWNtef i ^
Door-keeper. Yes. (Goes out and returns with
Karabkaka.) Here is his Majesty. Advance.
Karabhaka. Victory to your Majesty. The royal
mother sends this command : On the fourth day from
to-day, falls the fast named “ Putra-pinda-palana ; ” and
on that occasion the long-lived one ought not fail to
honour us with his presence.
King. On one hand is a commission from holy
hermits ; on the other, a command from my revered
parent : neither may be neglected ; what is the remedy ?
Vidus aka. 'Stay suspended (between them both)
like Trisanku.
King. In truth I am (greatly) perplexed.
My mind is distracted by the difference of
the two places where the two duties have to be
performed, as the stream of a river is split in
two by rocks lying before it. (17)
{Musing). You have been treated by the Queen-
mother as a son. Do you, therefore, return from hence
and tell her how my mind is intent on this commission
of the hermits, and have the goodness to perform your¬
self the offices of a son.
VidOsaka. But you will not really suppose that I
was afraid of the demons.
King {Smilingly). How is this possible in your
Honour ?
Vidusaka. But I would go, as befits a younger
brother of the king.
King. Surely, I will dispatch my whole train to
attend you, for the pious grove must not be disturbed.
 nfrwwiijiMid

fofva'.—-rET fs f*5 gifSt 3fWt 1 %5f % gar-

^rm—( stTOTiem i) 55: 1 a^if^warfon-

TFci:q^«T: *rag 1 | (5^ g$st 1

sraTCIH. 1 ) 3fift4fcqT;(renT I *| 135 iBcqfrq

mro^q^rar Jmnfl^rr: i ngu i

§> as <Fd$w«?rot
^*J5Ilt: ^Wifsrat 5W I
qftgrafca&Kr
qnmfa *t «£®ai sras » \c it

( ftSRRn: wf I )

Jjpfaftsf; I
 fWWts*: I

Vidusaka {Proudly). Then indeed I am the

young prince.
King. (To himself). The fellow is a chatterbox.
He might disclose my present pursuit to the ladies in
the palace. Good, then; I will say this to him. (He
takes Vidusaka by the hand. Aloud). Friend, I shall
enter the hermitage (only) through respect for the
sages. Do not think that I have any real inclination
for the hermit-girl Sakuntala. Just think :
Where are we, and where a person bred with
the fawns, and a stranger to love! O friend !
let not the light words spoken in jest be taken
in earnest. (18)
Vidusaka. Yes, to be sure.

(All go out.)

End of act II.

arfa. sir. ^
 : I

( <RT: KWlfa JJWiRr: I )

few.—sftt, wsrg-fll^: qiffijt jsri! i wfaws

uaft *iqwnft i

TO TOK auroaii) gca: |

$to^N «igr. ^ ft n l u

4Mftw*)ft4j4«KU||«i g«wq|ft ( qftww-

a i ama$ i) fsrtfat, asqSftgitteig«M garaaEa
wtfe«ftMM'iPii jf>R5% i (gfcrafota i) f% gg^ft i TOaa-
srasnssaa^rosat u$«4to l aror* srcWaataar&ft l aft
jgfet irmatgi to *a?3 «aaa: torito
ftrag i arsaft aratroft^ gnag^TOi^ »fta»ft@eit
ft^ftwnta i ( ff?T ^sfTptT: | j

( cRT: Slfolfa ^WTORFRsft *RT i )

TT5IT—( l)

aift aaat ^ to arei atroftft ft ftftag. I

a ^ ftroifta *afe?i ftroft aat c^ag. it ^ N
 ACT III.

(Then enter the sacrifices pupil bearing Kusa-grass.)

Pupil. How great is the power of king Dusyanta!
Since his Highness had no sooner entered the hermitage
than we could continue our holy tiles undistuibed.
Why talk of aiming the shaft ? For by the
mere sound of the bow-string from, afar, as if
by the angry murmur of his bow, he disperses
(at once) our obstacles. (1)
Now, then, I shall deliver to the priests this Kusa-
grass to be scattered round the altar. (Moving about
and observing; in the air). Ah ! Priymhvada, for whom
are you carrying this USira ointment and these lotus-
leaves with stalks ? {Acting as if he has heard). What
say you ? “ That Sakuntala is extremely disordered
from injury caused by the Sun’s heat, and these are for
cooling her body." Well, then, go quickly ; for she is
the very life-breath of the venerable Kanva, the head
of our society. I, too, will send to Gant ami for her some
healing water consecrated in the sacrificial rites.
{Exit.)
Here ends the prelude.
{Enter Dusyantaf expressing the distraction of a lover.)
King. (With a sigh).
I know the power of penance : and I am fur¬
ther aware that the maiden is not her own mis¬
tress ; and yet my heart can no more turn back
from her, than water can from a slope. (2)
 Ran 9 foretftararaftr-
1 gra: 1

cR fT§W5m
3Rft^qq|ig: Jrfg^5 I

(fl^wn?t ftm 1 si^jm 1) srsfuww | gpjfli-

gi<&«<4a<a I (war 1) ari «rw I

ararfa ^

wwwn »w nflcsiRi
awmh; awfagwr 11 a 11

WOT—

ari^suifa wuftg&wl <?*WR%?tfinret 1

hc^r?pr*it sjk&Rt 11 ^ 11

(«t* <jft**i t) 5 g as»toi q^<4<w;

aragrewrerw 1 ( 1 ) (% g srcg 3
firei^Mwfr 1 qRfriwPst*tnfa i (sfowaire 1)
tmgwKRi %55r sn^ar ciflWciM^ Tufo^afig
anr ^if^cu <uwfl 1 n$g aratr^fii 1
 I

O divine flower-armed god, by you and by the

Moon, though each of you seems worthy of confidence,
the whole company of lovers is (cruelly) deceived. For
Your having flowery shafts and the Moon's
having cool beams—both these are observed to
be untrue for such as me. For the Moon sheds
fire (on them) with her dewy rays; and you
make your flowery-darts hard as adamant. (3)
(Acting as if he is ^afflicted by love; angrily).
Whence this sharpness of yours who are flower-armed ?
(Remembering). Ah, I know.
Verily the fire of Hara’s wrath even now
burns in you like the submarine fire in the
ocean; how else could you, O agitator of the
soul, who were consumed to ashes, be so scorch¬
ing to such as me ? (4)
Nevertheless,
This God, who bears a fish on his banner, and
who is incessantly giving pain to my mind,
will give me real delight, if he strikes me be¬
cause of her whose eyes are large and bewitch¬
ing. (5)
(Moving about in anguish).
Where indeed can I recreate my afflicted soul, be
ing permitted by those who took part (in the sacrifice)
at the conclusion of the rite? (Sighing). What else,
indeed, can bring me relief but a sight of my beloved ?
So I will find her out. (Looking at the sun.) Sakuntala
and her friends are probably passing this intensely hot
noon on the creeper-wreathed banks of the Malini. So
I will advance thither.
 sjrfw I) *f$t sranTTjwntssrg^rr: i
srwrcRr^pffl: mfo4teu&rnm i
8»tMyaQi^«HiRgijfg <wr! n % n

(<rfft»«inwM ^ i) 3ara*s^
am flfitasm^t a«n f* I (a* fofcra ■)

awjstai 3<sai**mm aamfaaiarai^ I

MPgfa*i>t «n<il|:£viforiw*i ii vs it

m*faaqpafrn*3tamfo l ( a«n $arr i ) *4,

3*4 «|siI»mSuih. I na 4 wlfdfiliidtii mumwffl
%3i<T£*if%iV4Mi wftmiwiCTt l *wg l aftuiimwi
farem<f%iaift i (# i)

(aer; sfeifir ^aWwiRi apral**r 1)

(aasftsa a*?n 1) *31 35**$, arf* ^

3fe*ft*3*im I 31 35^1%, s*4l %■ afeal'Bl'iRT! I

5i$*a3t—f% 4teraf5a 4 snrtert l ft atsracft 4 asfl 1

(ft*4 areferr ww^w: i )

i

33t—*3**f*f**lOil gl$*a3l «**?* I ( afeftni)

3ftwpnmw*l*s 303 1 aa mn 4 aaftr a^ 1 (mfSr-
sstffrW 1 ) aroar 3a' 4^a l
 : I

(Moving about and gesticulating that he feels touch).

Ah! this is a pleasant spot, with the fresh breeze
blowing!
It is possible to embrace closely, with my
limbs which are inflamed by the bodiless god,
the breeze fragrant with the lotuses and waft¬
ing the spray from the waves of the Malinl. (6)
(.Moving about and observing). She must be some¬
where in this bower of creepers encircled by reeds. For,
(looking down).
On the white sand at its door is discerned a
fresh line of footsteps, raised in front, and
depressed behind by the weight of her hips. (7)
♦

So I will look through the branches. (Walking and

doing so, with joy). Ah ! my eyes have been, fully grati¬
fied. The darling of my thoughts, reposing on a flat
stone-slab strewn with flowers, is attended by her two
friends. Well, I will hear what they say to each other
in all confidence. (He stands gazing.)
(Enter Sakuntala as described with her two friends•)
Friends (Fanning affectionately). Dear Sakuntala,
is the breeze from the lotus leaves refreshing to you ?
Sakuntala. What ? Are my friends fanning me ?
(The two friends look sorrowfully tit one another.)
King. Sakuntala appears to be seriously indisposed.
(Guessing). Is it the fault of the heat, or is it what
my heart suggests ? (Looking longingly). Or, I need
have no doubt.
 •a

firarar: m toPr *»3Ffar ^gft^n i

«*rearrs *wfajftw«HiH4>-
3 g srta^fcr fwflw gajftg n <s 11

fSpfcraj—() amiqcc, a^i imRjuTt m-

aircftsr q^gan fti l ftg ^
gfanfirat 3T3T 3mm$i nt I sn^ apr w*?: san<lMi<w«r
agtsfor sgscrei i ft g <gg a?aisTfof*ra>saaiaft ati i
aw^qi—qft, *roi% $ft*t «n^i ftarai^a i ttf1
gfesaai of 1 (s*rcra.) *rft, gfeg^ife ftfq 1 mi
«F^ t I aftr, nm<ftaai?i?r 1 wag 1 sremfo aratnn 1
afa, aessnfe ftafo 1 asa^ng % aaw: 1

5igw!R5t—( ’jafta naaigwrc 1) 531, f% qagqiwiRl |

* ??n, ft 1

angqjqi—5^1 *ra«?t, ^ ant w?nai^r

gqreret 1 (tf diRnt ffeginfuiqw^, wtawromii araan
grjpsjf% arMf t tq^nft 1 *tfi» ftftlflm t 1 ftaat
«pg q<%q4) arsnfoiar aroiiwt qfearrcwr 1 «ar *igsa%,
arawigft anarcr *k*hmw ffirapr 1 ftg aiHftfairefontf
gmawreiamarear 3jat am® aa <n*nfa 1 aw ftfafatt t aan: 1
font gg qroi^al^naraiw: aa^ma 1
araj—«H^wwig<ig| n^femsfc 1
1 ) sfeat «F*J t aiftPltet I Sift ft
anesn usiaf oj crarartft ffrtftg l aaapatg »tsfwfta?t: sspftafo
as&ratf gaatfo Gftafagu'
fipfcTO—sift sre^t, gi ocsn wmft 1 ft await
sS*

3iRljj gtyafa I augfeaig q^ qftgfaift 31$% I

ciiqwwi gran gat «f gsgft 1 sif5^, astar *mfo 1
 I

The Uslra salve has been applied to her

bosom, and her only bracelet of lotus-stalks is
hanging loose,; thus this form of my beloved
(thus) disordered is yet exquisitely beautiful.
True it is that love and the influence of summer
inflame (us) equally : still the disorder brought
about by the hot weather does not affect mai¬
dens in such a charming manner. (8)
Priyamvada (Aside), Anasuya, Sakuntala appears to
have been greatly affected since she first saw the pious
monarch. May it be that this her malady is due to him ?
Anasuya. Friend, the same suspicion has risen in
my mind. Well. I will just ask her. (Aloud). My dear,
I must ask you something. You are, indeed, greatly
troubled.
Sakuntala (Rising from her bed with the upper
half,) My dear, what would you ask ?
Anasuya. Sakuntala, dear, we are indeed perfectly
ignorant about matters relating to love. But I suspect
your case to be like that of love-sick persons described
in legendary tales. Tell us what causes your illness. For
without knowing the exact nature of a disorder, there
can be no application of the remedy.

King. Anasuya too has guessed my thoughts.

Sakuntala (To herself). Great indeed is my

attachment; even now I am unable to disclose it to
them all at once.
Priyamvada. She speaks the truth, dear
Sakuntala. Why do you neglect your malady ? Your
 3Ticlf5^^ I ^ I %T<3 OTWT^ft
*3Rl r=ft «T JJ^TRT I

’Jtsrr—aiftcrapa? faaa<i i <Rn ft I

^B^*l3iqtgfflWagC. ^ifewigrR^R
*r^: pjRtac aarafaaaprert gfts TTf^t I
tJHm =a ^r w^aljb^qwigiwiS
rewifiH aaat *$®r 55m ura# 11 «. 11

aJ^aar—«ft, a>«i ai aiwnw l amaura*-

ftrar acrfSr at yrflu^i 1 afe, ^panftr 1 araraWt-
^pft ^f afawjlfJT |
—3i^t usa a»5 ftisa^t feftigsmqfora ft
1

4<Hi ^tft 1 arfr ag ia^Na; 1 %«r3Fflstfa*ra %

§:ar awa^a aafa 1
*T5n—
2® s3a arat
a qgaft HH>*RWlftfegH. 1
ggt fty«r agffit^qvren <a<a«»i-
*rap?ft wwaami aalsftn 11 *0 11
®$?a5n—aft, ai^r qjft im «n**t
a4tauKi^<i tre#, ( sapfl%ia asrt areata 1) afa, aa:
sptfa an #mnw: a aataatf^ar aaft—
ad—«F^5 ftsTOft 1 WI3 fiiaaaft I
fri$^d<3i—a^T amftar awftnr «w<w*ifft
api I aa arawf as^tarfaaidStaaaaafar aiar 1
aat-( asSat. 1) $ja wtasq^i
 : I

limbs are wasting away every day, though your exqui¬

site beauty has not forsaken you.
King. Priyariivada speaks the truth. For indeed
Her face has its cheeks excessively emaciated,
her bosom has lost the firmness of its breasts ;
her waist is more slender (than before) ; her
shoulders are very much drooping ; her com¬
plexion is wan ; thus tormented by love, she
appears both deplorable and charming, like the
Madhavl creeper whfen touched by the wind
that dries up its leaves. (9)
Sakuntala. Friend, to whom else shall I relate ?
But I shall now be the occasion of your sorrow.
Both. For that very reason are we (so) importu¬
nate. For grief shared with affectionate friends be¬
comes bearable pain.
King.
Being questioned by the persons who share
her sorrows as well as joys, she cannot fail to
disclose the cause of her malady now hidden in
her breast. Although she turned round again
and again and looked upon me with longing,
nevertheless, at the present moment I am filled
with nervous fear to hear her (answer). (10)
Sakuntala. Friend, from the very instant the pious
king who guards our hallowed forest met my eye—
(She breaks off and looks abashed.)
Both. Speak on, beloved friend,
Sakuntala. From that instant, my love for him has
reduced me to this plight.
King. (With joy). I have heard what is worth
hearing.
 am: I
daa *aiy$aiW'Wm<a$ 3fiw«ts;*a II U II
si^aai—a as at agsg m as ass as mret tiafttoit
aagaatfitatt stfa i awtst fesra taada i
aafit aff-jAci aa a*u aim am aar <Nwgw-flai wnft t
smrcna^a rcraa Jr foskw, i
tiar—3sta«dd aaa^ i
fipfast—(^aferen, i) aqiqft, ftaagrogt a^aat %st
wagtareg I af&t asrmat astt^gt aawnjst atcata i
at ^rf ^ aflarat afeafssj I gj<immT*jrefoi
ara^mpr i mta^aai^ar a saagg: ,fk^rjimi i rr^Rmar af^t-
aretsftadga i
aa^at—as as aafa l am am *mfa i
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 ipSWtef: I
It was, indeed, love that caused my fever,
and it is love alone that (now) allays it; as, at
the end of summer, a day, grown black with
clouds, relieves the living world from the heat
which itself had caused. (11)
Sakuntala. Then if you approve (of it) so contrive
that the good king takes pity on me. Otherwise most
certainly (you will) sprinkle for me water with sesasum-
seed.
King. Her words end all doubt.
Priyamvada (Aside). Anasuya, she is far gone in
love and cannot endure any delay. He on whom she
has fixed her affection is the ornament of the Pauravas;
it is, therefore, proper that her love finds our approval.
Anasuya. Just as you say.
Priyamvada (Aloud). My dear, fortunately your
affection is placed on one worthy of yourself. Or rather
where could a great river flow if not into the sea ? What
other tree except the Mango can support the Atimukta
creeper with new sprouts ?
King. What wonder if the two Visakhfi stars
follow the crescent-moon ?
Anasuya. But by what expedient can we
accomplish the desire of our friend quickly and secretly ?
Priyamvada. Your “secretly” will have to be
thought about; the “ quickly ” is not hard.
Anasuya. How do you mean ?
Priyamvada. Why, the good king who has shown
himself to be enamoured of her by his tender glances
has been observed, during these days, to be wasting
through sleeplessness.
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 : I

King. True it is that I have become just so. For

This golden bracelet, which has its gems sulli¬
ed by tears which are hot from internal pain,
and nightly flow from the comer of my eye
that rests upon my arm, slipping every now
and then from the wrist without touching the
scars made by the friction of the bow-string, is
constantly being pushed back by me. (12)
Priyamvada (Reflecting). Well, she should write
him a love-letter. And I will hide it in flowers and
deliver it into his hands under the pretext of their be¬
ing the remains of an offering presented to some deity.
Anasuya. A pretty plan and I like it; but what
says Sakuntala to this ?
Sakuntala. What ? How may I doubt my friend's
injunction ?
Priyamvada. Well, then, think of some pretty com¬
position in verse beginning with an allusion to yourself.
SAKUNTALA. Friend, 1 will think out; but then my
heart flutters for fear he will despise me.
4

King {With joy).

Here stands the man eager for union with
you from whom, O timid one, you are appre¬
hensive of a refusal. The seeker may or may
not find fortune; but could fortune, seeking,
fail to find ? (13)
Friends. O scomer of your own merits, who now
would ward off with the edge of his garments the moon¬
light of autumn which can allay the fever of his body ?
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 it

Sakuntala (Smilingly). So now I have been

directed.
(She sits up and meditates.)
King. It is only proper that I should gaze at my
darling with eyes that forget to wink ! For
As she is composing words (for her song),
her face, with one creeper-like eye-brow lifted,
reveals her passion for me by her thrilling
cheeks. (14)
SAKUNTALA. Well, I have thought out a little song.
But we haven’t any writing-materials.
Priyamvada. Here on this lotus-leaf smooth as a
parrot’s breast, do you engrave the letters with your
nails.
SAKUNTALA (Acting as said). Friends, listen (and
say) if it makes sense.
Both. We are attentive.
SAKUNTALA (Reads).
Thy heart I know not : but Love, O cruel
one, fiercely inflames both by day and by night
my limbs, whose desires are centred on thee. (15)
King (Hastily Advancing).
Thee, O slender maid, Love only inflames
incessantly, but me he quite consumes : for the
day does not cause the lotus to fade so much
as it does the Moon. (16)
Friends (With joy). Welcome to (the object of
your) desire which presents itself without delay.
Slfir. «[1T. •••%»
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 (iSakuntala expresses an inclination to rise•)
King. Give yourself no pain.
Your limbs, which closely press the couch of
flowers, and bear the fragrance of pieces of
lotus-stalks which have quickly faded, being
grievously inflamed, must not be fatigued by
ceremony. {Lit. do not deserve to perform
the customary salutation). (17)
Anasuya. Let our friend favour a part of this
stone-slab here (by sitting upon it).
{The king sits; Sakuntala feels bashful)
Priyamvada. Your mutual love is (quite) evident.
But affection for my friend prompts me to speak some¬
thing superfluous.
King. Excellent damsel, that ought not to be sup¬
pressed. For to leave unsaid what was intended to be
said produces subsequent regret.
Priyamvada. A king ought to remove the suffer¬
ings of the distressed people living in his kingdom—
such is your duty.
King. No other than this.
Priyamvada. Then (understand that) this our dear
friend has been brought to this altered condition by the
divinity Love on your account. It is, therefore, proper
that you favour her and preserve her life.
King. Excellent damsel, our passion is reciprocal.
I feel favoured in every way.
Sakuntala {Looking at Priyamvada). Why should
you detain the pious king who must be afflicted by
separation from his royal-consorts ?
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 King.

Thou, with bewitching eyes, that art near my

heart, if this heart of mine, which is devoted to
no other, thou judgest to be otherwise, then I
who was slain by Love’s arrow, am slain once
again ! (18).
Anasuya. Friend, kings are said to have many
favourite consorts. You must, therefore, act in such a
way that our dear friend may not become a cause of
grief to her kinsmen.
King. Good damsel, what need is there of many
words ?
Let there be ever so many wives of mine,
there will be but two chief glories of my race—
the sea-clad Earth, and this friend of yours. (19)
Both. We are content.
Priyamvada (Casting a glance). Anasuya, there
is the eager young antelope turning his eyes in this
direction and seeking his mother; so come, let us help
him to join his mother.
(Both start.)
Sakuntala. Dear, I am in such a helpless state.
Let one of you come back.

Both. The protector of the Earth is with you!

(Exeunt.) .

Sakuntala. How ! they are already gone !

King. Do not be anxious. Is not this person, your
adorer, near you ?
 fife

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 49

Shall I set in motion moist breezes by means

of fans of cool lotus-leaves to dissipate your
languor, or shall I, O round-thighed (maiden),
lay those feet red as lotuses in my lap and press
them so as to relieve your pain ? (20)
Sakuntala. I will not offend against those whom I
am bound to respect.
(Rises up and desires to leave.) *
King. The day is not yet cool, beautiful one, and
such is your condition.
Leaving the couch of flowers w-here lotus-
leaves formed the covering of your bosom,
how will you go in the sun, with your limbs
rendered so languid by suffering ? (21)
{He forcibly draws her back.)
sakuntala. O descendant of Puru, keep within the
bounds of ynodesty. For although I am inflamed by
Love, yet I have not the power of disposing of myself.
King. Timid one, do not fear your elders. For the
revered Father of your society, who knows the law, will
not take exception to it when he sees it. Moreover
Many daughters of royal sages are heard to
have been married by the ceremony called
Gandharva, and (even) their fathers have ap¬
proved them. (22)
sakuntala. Leave me awhile * I will again take
counsel with my friends.
King. Yes, I will leave you.
sakuntala. When ?
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 King.
When the nectar of your lower lip, O fair
one, is gently stolen by me thirsting (for it),
as by the bee the honey of the fresh and un¬
touched flower. (23)
{Desires to raise her face. Sakuntala gesticulates
as if she repels him. Behind the Scenes)
O female Cakrawaka, bid farewell to thy mate :
(for) the night approaches.
Sakuntala (Hurriedly), Paurava, surely this is
mother Gautaml come to inquire after my health. Hide
yourself, therefore, behind the branches.
King. will do so. {Remains in hiding; enter
I
Gautami with a vessel in her hand, and friends.)
Friends. This way, venerable Gautaml, this way.
Gautami {Approaching Sakuntald). Child, is the
fever of your body a little abated ?
Sakuntala. Venerable mother, there is a change
for the better in me.
GautamI. With this water mixed with Kusa-grass,
your body will assuredly be relieved of pain. {Sprink¬
ling water on Sakuntala*s head) Child, the day is de¬
parting ; come let us both go to the cottage.
{They start).
Sakuntala {To herself). O mjr heart, even before,
when the object of your desire came* of itself so readily,
you did not find courage (to accept it) ; why then this
anguish now when separated and (consequently) filled
with repentence ? {Taking a step and standing still;
aloud), O bower of creepers that removed my suffering.
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 I bid you farewell (hoping) to be once more happy
(under your shade) * (Sakuniala departs in pain, with
others.
The King. (Returning to the former spot; heaving
0 sigh). How the accomplishment of one's wishes is beset
with obstacles!
For the face of that (maiden) with soft
eye-lashes, which had the lower lip repeatedly
covered by her fingers, which looked beautiful
as it stammered words of denial and which was
turned on one side, was somehow raised by me
but not kissed ! (24)
Where, indeed, shall I go now ? Or rather, I will
remain for a little while in this bower of creepers where
my beloved lay, but which is now deserted by her.
(Looking all around).
Here lies on the stone-slab her flowery couch
crushed by her form; here is the faded love-
missive committed to the lotus-leaf with her
nails; and here the bracelet of lotus-stalk drop¬
ped down from her arm—as I fix my eyes on
these (objects) I have no power to tear myself
away from this reedy bower, even though
deserted by her. (25)
(In the air). O king !
As the evening sacrifice is commenced, the
shadows of the flesh-eating demons, brown as
evening clouds, and scattered around the blaz¬
ing altar, are flitting about and* creating terror
in a variety of ways. (26)
King. Here I am coming. (Exit.)
End of Act III.
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 ACT IV

(Then enter the two friends, acting the

gathering oj flowers.)

Anasuya. O my Priyamvada, although my heart

is comforted by the thought that Sakuntala has her
nuptials celebrated according to the Gandharva form
and has now been united to a husband worthy of her,
yet there is still some cause for uneasiness.
PIriyamvada. How do you mean ?
Anasuya. Whether the pious king, who is dis¬
missed to-day by the hermits at the completion of the
sacrifice, will remember things here, when after entering
his capital he will be surrounded by his ladies in the
recesses of the palace.
Priyamvada. You need have no anxiety (about
that). Such distinguished forms as these can never be
opposed to virtue. But I cannot tell now what reply
the father will make when he shall have heard what has
passed.
Anasuya. As I see it, he will approve.
Priyamvada. Why do you think so ?

Anasuya. One can desire nothing better than that

one's daughter is married to a virtuous husband; and
if fate brings this about of itself, then indeed the father
has his desire accomplished without effort.
Priyamvada (Looking at the flower-basket). My
friend, we have gathered flowers enough for the
offering.
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 Anasuya. But surely the deity that watches over
the fortune of our dear friend Sakuntala will have to be
honoured (by us).
Priyamvada. Very well. (They act doing the same.)

(Behind the scenes)

It is I—Hola !
Anasuya (Listening). My dear, it sounds like some
guest announcing himself.

Priyamvada. Well, Sakuntala is near the cottage.

(To herself). But not near with her heart to day.
Anasuya. Well, these flowers will do.

(They start away.)

(Behind the scenes). Ah, thou that art disrespectful
to a guest,
He on whom thou art meditating with a
mind that is regardless of everything else,
while thou perceivest not me, rich in penance,
to have arrived, will not remember thee, though
reminded, like a drunken man the words pre¬
viously spoken. (1)
Priyamvada. Alas ! alas ! a very unpleasant thing
has indeed occurred. Sakuntala has, through absence
of mind, offended some one deserving reverence.
(Looking ahead). Not, indeed, any ordinary person !
This is the great sage Durvasas, so quick-tempered.
After uttering such an imprecation he is striding away
with a step bounding and irresistible through its impe¬
tuosity. Who besides fire has power to consume ?
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AnasuyA. Go, fall at his feet, and bring him back,
whilst I prepare a propitiatory offering and water.

Priyamvada. I will. (Exit.)

AnasuyA (Showing that she stumbles at the next

step). As I stumbled in my excitement, the flower-baskets
fell out from my hands.

CShe acts the gathering up of the flowers.)

(Entering) Privamvada. Whose entreaties would

this ill-tempered person accept ? However, I softened
him a little.

AnasuyA (Smiling). Even that is a good deal for

him : tell me.

PriyamvadA. When he would not return, I prayed

to him : “ Holy sir, considering it is the first time, this
one offence of the daughter, who did not recognize the
potency of penance, should be forgiven her by your
reverence.”

AnasuyA. And then—

Priyamvada. And then saying, “ My word must

not be recalled : but the curse shall be lifted at the
sight of the ornament (given her) for a token,” he
vanished from sight.
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 *qpifcg:i
Anasuya. We can now feel confident: at his de¬
parture the good king himself put a ring, engraved with
his own name, (on her finger) as a souvenir. In that
Sakuntala will be possessed of a remedy in her own
power.
Priyamvada. Come, dear, let us worship the gods.
(They walk about.)
Priyamvada (Gazing). See, my Anasuya, there is
the dear girl, with her face resting on her left hand,
looking like a painted picture. With her mind so in¬
tent on her husband, she is not conscious of even her
own self, much less of a stranger.
Anasuya. Priyamvada, let this incident remain in
the mouth of us two only ; we must spare the dear girl,
who is naturally (so) delicate.
Priyamvada. Who would sprinkle the jasmine
with boiling water ?
(Both go out.)
End of the introductory scene.
(Then enter a pupil of Kanva, just risen from sleep).
Pupil. I am bidden by the venerable Kasyapa, who
is returned from his pilgrimage, to find out what time it
is. I will go into the open air and see how much of
the night remains. (Walking about and observing.)
See ! It is the break of day. For
On one side, the lord of herbs is sinking
to the summit of the western mount, while on
the other the Sun heralded by Aruna has just
become visible. By the contemporaneous rise
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 to

and fall of these twin lights of heaven, people

are as it were instructed regarding the vicissi¬
tudes of their life. (1)

And again,
When the Moon is hidden, the same night-
lotus no longer pleases the eye, its beauty be¬
ing now only a matter of remembrance. Surely
the sorrows of a tender girl produced by the
absence of the loved one are beyond all measure
very hard to bear. (2)

Anasuya (Entering with a hurried toss of the cur¬

tain). However withdrawn from all worldly concerns
this person (I) may be, yet it is not unknown to her
that Sakuntala has been treated shamefully by the king.

Pupil. I will just tell the preceptor that the hour

of sacrifice is come. (Exit)

Anasuya. Although wide-awake, what shall I do ?

My hands and feet move not readily to the usual occu¬
pations of the morning. Let Love now enjoy his
triumph, who persuaded the pure-minded girl to repose
confidence in that perfidious man. Or does the impre¬
cation of Durvasas cause the change ? How else could
the good king say such (sweet) things and then not
send so much as a letter for such a (long) time? There¬
fore, we must send him from here the ring he has left
as a token. And who, among the * ascetics inured to
hardship, should be implored ? And because the blame
lies with my friend, I cannot, although I have made up
my mind, summon up courage to tell father Kasyapa
who has returned from his pilgrimage that sakuntala
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 »•*
is married to Dusyanta and is pregnant. What shall we
do then under the circumstances ?
Priyamvada (Entering; with joy). Hasten, my
dear, hasten to perform the festive solemnities at
sakuntala’s departure.
Anasuya. How is this, my dear ?
Priyamvada. Hear me. I just went to Sakuntala
to inquire if she had slept well. And then father
KaSyapa having of his own accord embraced her, while
she hung her head in shame, congratulated her thus :
“ O joy 1 the offering of the sacrificer fell straight into
the fire, albeit his sight was impeded by the smoke. My
child, like knowledge imparted to an excellent pupil,
thou art not to be sorrowed for. This very day I will
send thee to thy husband escorted by Hermits.”
Anasuya. But who told father KaSyapa what had
passed ?
Priyamvada. An incorporeal metrical speech,
when he had entered the fire-sanctuary.
Anasuya {Astonished). Tell me.
PriyamvadA. (.Speaking in Sanskrit).
Know, Brahmapa, that your daughter bears,
for earth’s prosperity, the glorious seed implant¬
ed by Dusyanta, as the Sami tree is pregnant
with fire. (3)
AnasuyA (jHugging Priyamvada). I am so glad,
my dear; and yet my joy is mingled with sorrow when
I think that Sakuntala is going to be taken away only
to-day.
 1M

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 t 1«H

Priyamvada. Well, my dear, we will dissipate all

anxiety. Only let the poor-girl be made happy.

Anasuya. Well, then, in this cocoa-nut casket,

hanging on the branch of the mango-tree I have
put a Kesara-garland which is capable of keeping fresh
for a time, with this very object. Therefore take
it in your hand : while I prepare for her auspicious
decorations such as yellow orpiment, holy earth and
Durva sprouts.

Priyamvada. Be it so done.

(Exit Anasuya. Priyamvada acts the gathering of

flowers. Behind the Scenes.)

Gautami, bid the worthy Sarngarava and others

escort Sakuntala.

Priyamvada (Listening). Hurry, Anasuya, hurry.

They are calling the hermits who are to go to
Hastinapura.

(Entering, with the decorations in her hand).

Anasuya Come, dear, let us go. (They walk round.)

Priyamvada (Observing). There stands our

Sakuntala, after bathing overhead at earliest sunrise,
while the hermit-women, who are congratulating her.
have the hallowed grains in their hands, and are invok¬
ing blessings on her. Let us advance to her. (They
advance.)
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 1

{Enter Sakuntala seated, and engaged as described.)

One of the hermit-women. (To Sakuntala). My
child, mayst thou receive the title of ‘Great Queen'
showing how well thy husband honours thee!
Second. Child, mayest thou be delivered of a
hero I
Third. Child, mayest thou be highly esteemed by
thy husband!
(Having blessed her thus, exeunt all except Gautami.)
Friends (Approaching). Friend, may it prove to
thee a happy ablution !
Sakuntala. My friends, are welcome : sit here.
Both (Taking up the vessels containing the auspi¬
cious materials, and seating themselves). Get ready, dear,
while we put on (you) the auspicious decorations.
sakuntala. Even this ought to be highly valued :
adornment at the hands of my friends will be ever so
rare to me. (She sheds tears.)
Both. You ought not to weep, dear, at this happy
time. (Wiping off her tears, they act adorning her).
Priyamvada. Your beauty which deserves (richer)
ornaments is disfigured by such decorations as we could
procure in the hermitage.
(Entering with presents in hand.)
Two hermit-lads. Here are ornaments. Let her
ladyship put them on.
(All are amazed on seeing them,.)
GautamI. Child Narada, whence come these things?
First. From the holy power of father Kasyapa.
GautamI. A creation of his mind ?
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Second. Not, indeed. Listen. The venerable

(sage) gave us his order “ Bring hither flowers for
Sakuntaia from the trees.” And then
by a certain tree was exhibited an auspicious
silken garment white as the moon; another
distilled the lac-dye so excellent to stain her
feet; and from others were presented ornaments
by fairy-hands extending as far as the wrist
that rivalled the first sproutings of delicate
leaves of those trees. (4)
Priyamvada. This favour is a presage of the royal
fortune which you are to enjoy in your husband’s home.
(Sakuntala looks bashful)
First. Come, my Gautama, come. We shall tell father
KaSyapa (who must have) returned from bathing, of the
service done by the trees.
Second. All right {Exeunt.)
Friends. My dear, we are never used to ornaments;
but our acquaintance with the art of painting will help
us to adjust these ornaments on your limbs.
Sakuntala. I know how clever you are. {Both act
adorning her.)
{Enter Kdsyapa returning after bathing.)
This day will Sakuntala depart: at such (a
thought) my heart is smitten with anguish;
my voice is choked by suppressing the flow of
tears; and my senses paralysed by anxious
thought. If such, through affection, is the afflic¬
tion even of me a hermit, O with what pangs
must they who are fathers of families be afflict¬
ed at the first parting with their daughters ? (5)
llo

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(Walks about.)
Friends. Dear Sakuntala, your decoration is com¬
pleted. Now put on the pair of silken garments.
(,Sakuntald rises and puts them on.)
GautamI. My child, here comes your father, whose
eyes overflow with tears of joy, as if (already) embrac¬
ing you. Just, therefore, do him the customary reverence.
Sakuntala (Bashfully). Father, I salute you.
KaSyapa. My child,
Mayest thou be cherished by thy husband, as
Sarmistha was cherished by Yayati. And
mayest thou bear a son, as she did Puru, who
shall be the sovereign of the world. (6)
GautamI. Holy sir, this is indeed a boon, not a
mere benediction.
KaSyapa. My child, this way go round the fires in
which the offerings have just been thrown.
(All walk about.)
KaSyapa. (Pronounces a blessing in the metre of the
Pgveda).
Let these sacrificial fires, whose places are
fixed round the altar, fed with holy wood, having
the Darbha grass strewn around their margins,
removing sin by the perfume of the oblations,
purify thee. (7)
Now set out (on thy journey.) (Looking round). Where
are Sarngarava and others ?
(Entering) Pupil. Holy sire, here we are.
KaSyapa. Show thy sister her way.
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 Sarngarava. This way, this way, lady.
(They all walk about.)
KaSyapa. Ye neighbouring trees of the pious grove !
She who would not drink water first, before
you were watered ; she who cropped not through
affection for you one of your fresh leaves,
though she is so fond of ornaments : she whose
chief delight was in the season of the first appe¬
arance of your bloom ; even that same Sakuntala
is going to the palace of her wedded lord. Let
all give their consent. (8)
(Acting as if he heard the note of a Koil.)
Sakuntala is given leave to depart by the trees,
the companions of her forest—life; since a song
to this effect, a sweet Koil-song was employed
as an answer by them. (9)
(In the air)
May her path, pleasant at intervals with lakes
that are green with lotus-beds, where the heat
of the sun’s rays is mitigated by shady-trees,
where the dust is soft as the pollen from the
lotuses, be cheered by gentle and pleasant
breezes and be (altogether) prosperous. (10)
(All listen with wonderment.)
GautamI. Child, the deities of the holy forest, who
are dear to thee as thy own kinsfolk, have given thee
leave to depart. Pay reverence to the holy ones.
Sakuntala (She walks round bowing; aside). Priya-
mvada, dear, long as I may to see my husband, yet in
leaving this hermitage, piy feet can hardly move for¬
ward.
3T^T. 3IT.
n»

—oi ^ ns* I gn
antanrei ft *i* *ra*sn qfcnc i si
wMfotlKB] Ifl#l I rl'MllRsraMl^ irflSR^snfq dMr«*MW
I
fasn qfiw^rmsum sifti i
s^ihR<«ii«^Mtii gsiRar ai^Rjai II U II
asfopprasai wq- mRcSNM&ii mgr- i
wikwiwtii g^a^srs^ifisr aw n

—( p^sh i) gnf, w^iofafuiai tiuuftfeft ^ra

I fflir, aaraffcit sRs^iair <n*KW«ifi)«l i
—ai%fJi ?t ?rc*ri <ik4£m^ i *4 aw^ferfoi I
9i$*ast—(amg^csf i) ynaffi^il, ^c^*rai fa it
sretfejf trains# I srar^Rc fwRqferft $
^| l *«r»4l«a>, sit sflifosiftswifsT: irasnsifir. I
arasprfr iwftsiia-ft ^ gg sifawfir i
aswro—
^f|q^ asm#* inn *rcrol
iraknRTORf gslt^i am i
5^ ^fsraatft
ireumt f#t =a shifir staffs II Vi II
(*: hRptow i
Wf.'flWl—(as?4t aft l) sal, *rai gMr *t f«t (Ow4>*t i
ftn/ipn g^rat&it fst^r. i
swft—mi mit «k**t gist wtftifl i (?ft mi ftpas i)
*4 sr: wt 5^ mri^r: l
 ^isf: l

Priyamvada. My friend is not the only one to feel

distressed at this separation from the pious grove. One
may observe the same condition even of the grove now
when the time of your departure approaches.
The deer let fall the morsels of Darbha-grass,
the peacocks stop their dancing, and the cree¬
pers, whose pale leaves fall (to the ground),
appear to shed tears. (11)

Sakuntala (Remembering). Father, I will just say

good-bye to Vanajyotsna, my sister among the creepers,
KaSyapa. I know thou lovest her as thy sister.
Here she is now to the right,
Sakuntala (Approaching the creeper). O Vanajy¬
otsna, although wedded to the mango-tree, yet embrace
me, too, with your arms, these branches, which are turn¬
ed in this direction. I shall be far away from you after
this day.
KaSyapa.
Thy merits have gained thee a husband equal
to thyself, who had already been originally de¬
termined upon by me for thee ; this Navama-
lika has resorted to the mango-tree, so that
now my solicitude for thee and for her is at
an end. (12)
From here, proceed on thy journey.
Sakuntala (To her friends). Frfends, this (creeper)
is a deposit in your hands.
Friends. (But) into whose hands shall we be left?
(they shed tears.)
 qnqqq:—are* l *13 ft*i®-
gfen gi^at i
( qq ifruufo i)

sif*a<!»—nsn s^aqsreraifc® *i**ni*q*J

ftarcg aw a)umm««n af i qlfq ftraftftqfqpt
ftorsitqag I cira qqteiqitaqriH *i4*t^q<i ^w^qraq-
sraqr *iqfrr qqr *??i qsrft fsqft^qfq^r* i
qqqqq:—4|^ ftqnftroro I

Vj^agl—(nravrw i) ® g ^ q^t ftiwft

St BStf I ( # *WmS& • ) ® 3 fora% ^ qsft I

qiRqqs—q?®,
«q*n
^ sqft«q?f g® swgftlftit I
qqwregfeqftqfSSra^t jtfeift
*t 3953 *;: qstff *i*H® II K\ D

qrj*agsr—wm, ft: qrctqrcraftstflft *i aiapufti I

qftpq^K «uiuftn fqoir g|W| qai I ^®i ft *w
ftqftqgtf <nqt I ftw®fe *rar I (qfaqqrft
aftqm i ) qn, ft ^wmVirf'W'f nmgwfa I aiftqaqjpn
atqsn fq*n qftq qq I qqpftaft wn fqcleiq pit qraft*ijiqwrftr l
ftq&qqiqq. I
qnqqq;—
7?T5fJTaftqq*iq^q^gff%
qr*t ftwa*n ftrang*pq^i
 : I 11*

KaSyapa. Anasuya, enough of weeping! It is you,

surely, who must cheer Sakuntala.
(All walk round.)
Sakuntala. Father, when yon female antelope
grazing about near the hut, who now moves slowly from
the weight of her young, shall be safely delivered of it,
then you will send me some one to announce the
happy event.
KaSyapa. I shall not forget it.

Sakuntala (Showing her movement is obstructed.)

Ah! who is it that clings to my dress ?
(She turns round.)
KaSyapa. My darling,

It is thy adopted child, the (little) fawn

whose mouth, when the sharp points of Kusa
grass wounded it, was sprinkled by thee with
the healing oil of IngudI, who has been tender¬
ly reared by thee with handfuls of Syamaka
grains; and who now will not leave thy
footsteps. (13)
Sakuntala. My child, why should you follow me
who must leave your company ? You were indeed bro¬
ught up by me when bereft of your mother shortly after
she was delivered of you ; now also, when separated from
me, will father attend you with anxious care ; go back
then. (She walks on weeping.) *
KaSyapa.
Be firm and check the rising tears, that
obstruct the free action of thy eyes, with their
upturned eyelashes. For here on this path
 nfa TOfa ^ ^ faroteraffa n l« n
5it$fra:—wro^, arfaWcf farat 3uite5»iras?i *fa
^5^ l afa^ i at* gfa*re;qtfa i
WTO—cm stwr qfoprearareragw I
( sS <TRSKni feral: | )

( aretrenr. ■ ) (% g «Rj ersrw^rat 5^*w

gSKTOHCHlftt: I ( ')
sif^aat—(awpfREn i) sat, twrar I orfeufaioraft^
fa c^ari sfawMV angq ww ancsfa ^«c «it
«F^fa fan 531, q^r cfsakstrafernfa ^wm^ivpt csr-
-fl^mYcr ^tr? i

ara^jn—cifa, *n Jratf? 1sfa, w *i*ra« i

<wi fa faro fa®n TO? caifa fawa^faatf I

*reai fa fa<ii^g? anwrait ^iffafa ii v* II

t?#j ftm fira «m% carat' feqi5cfe<i^ i

!#T fc^gfeWKIM**?: sucin II

wto—snifa*, ffa ?ro srapTOcH =*rsn

3<^k^ TOTO I
snjfra:—awiroj
r ^
i

fafarar cfatwngi: 5 ^ -au«3-

wtopw wue5W95iii ^fasrgfar i ?nn 1
 ^p3Ss*:| 1«

where the undulations of ground are not

discernible, they footsteps must needs be unequal. (14)
Sarngarava. It is a sacred rule, holy father, that
one should accompany a loved person as far as the
water's brink. Give us your message here, and be pleased
to return.
KaSyapa. Let us, then rest in the shade of this
Kslra-tree.
%

(All ivalk around and stop.)

KaSyapa (To himself). What message should be
sent by me that would be jnost appropriate for the noble
Dusyanta ? (He reflects.)
Sakuntala (Aside). Look, friend, the female Cak-
ravaka, not perceiving her dear mate when only
hidden behind lotus-leaves is crying in her anguish
1 How hard is my lot! ’
Anasuya. Friend, do not say so.
Even she, without her beloved, passes away
the night made too long by grief. The bond of
hope makes the pain of severence, however
keen, supportable. (15)
KaSyapa. Sarrigarava, when you present Sakuntala
to the king, address him thus in my name.
Sarngarava. Give your commands, holy father.
KaSyapa.
Having well considered us as rich in devotion,
thy own exalted birth and the free flow of affec¬
tion of this (girl) towards thee, which arose
in her without any interference of her kindred,
 wiRaf^iRfj^fipt ^ wit
*n«nqwra:qt ^ ^ dai^i wjvgfir. it K\ it

TOtqq:—qf%, I q4N>«frsfit
alfaqui qqq^l

Snjfcr.—* wg vftlRIT chfep^fqqql Sim I

qn$qq:—*n jqfim: <trft$*5 str^r

sj«r^ 3**$* fira^rtfirr

flgi^u^diRi <)Muirtqi m sn srfW *m: I
jjfqg sre qfait ^rp^qg^Rpft
qi^r ^feuiM gqsrat wrai: fssprraq: II Vs 11

qr sftmt «sq?i l

sftenft—ni%«t qganircq i ant, net ^s

aftvwtfe I ".awra*%wwta*ar- i wst, qfop*Kq I

ntnpms—n?#, qfanarw nr sretori ^ I

gt^rfi—nR, ret <re=i f% faarq^ifirenait

foraftiw^n l ?re, re ^ $ frererSwi: nsaft ftqtefaret I
 :I 1*1

look on her among thy wives with the same

respect (kindness) which they experience:
more than that depends upon the will of heaven,
and should, not indeed, be demanded by the
bride's kinsfolk. (16)
sArngarava. I have (well) comprehended your
message.
KaSyapa. My child, I must now give thee my
advice. Though I live in the forest, yet well do I know
the ways of the world.
SArngarava. Nothing, indeed, to the wise is out of
reach.
KaSyapa. When thou wilt have gone from here
to thy husband's home,
Pay respectful attention to thy elders ; treat
thy rivals as thy dear friends ; should thy hus¬
band wrong thee, let not thy resentment lead
thee to disobedience. Be ever courteous to¬
wards thy servants ; not puffed with pride in
thy fortune. By such behaviour, young women
become honoured wives ; but perverse wives are
the bane of a family. (17)
But what does GautamI say ?
GautamL This is the advice to be given to a young
bride. My child, be sure to remember it all.
*

KaSyapa. Come, my child, embrace me and thy

friends.
Sakuntala. O my father, must my friends turn
back from here ?
m «rf%nn>raif*i$

^nrs—fir arfq 1 * gwwwtem* *i*gn t am

515 jffarft i

gff*a<gi—( farwrfea i ) gig ?rrgffi atfKt

qfts«lT JTg3iaftqfe3n fea aflrfaai
«ntgg3 i ^*rSt5Pff did^ititMftag «<Mdil^ifeai
^5IRlt wW i

«re*P?:—S5%, fetpi SFRTClfa I

atfasMqrlt ¥jg: TO*** fwnTlfeofrfe
fearaapfa: gc%f?re? afiRjmroipi i
<wq*tfd<RgMtei% jt^ji ^ lira*
wji fefgai ?i <a s?# nqifirmfci II \c ll

( *ig>'tf<»i Pl3'- MK^J: Hdici I )

gayw—qfesgifa ^ 3553 I

gi^agi—( 1 ) gar, stftRWi «^i gft-

55T5T5 | B55T, % arftf *TT 'rft^*TR I

graft—( ?wr far 1 ) fife, 3ig «nre ^ gran T3|fe-

wimw^O w% ?nft ^ gtf argroipfeaifeaf aq^arai
^#fe 1 ara an n grar saRgPW»rd a^rer^naa-
J^tarr^PWfStajf #5 1

gi^^asi—gfemr gi&n arrafaggftg 1 anfr

wsft—m «ianfe l aifefeofef qrafift 1 m &ft; 1aris¬

es; imifh
 m
KaSyapa. These, too, are to be given away in
marriage. It would not be proper for them to go there,
but Gautamf will accompany thee.
Sakuntala (Embracing her father). Removed from
the lap of my father, like a young sandal tree, rent
from the slopes of the Malaya, how shall I exist in a
strange soil ?
KaSyapa. My child, why shouldst thou be so
anxious ?
When thou shalt be occupying the honoured
position of the consort of a nobly-born hus¬
band ; engrossed every moment in his affairs
important through his greatness; and when be¬
fore long thou wilt have given birth to a child
that will purify (his race) as the East brings
forth the Sun, then wilt thou think but lightly
of this affliction caused by severence from me. (18)
(Sakuntald falls at the feet of her father•)
KaSyapa. My darling, mayest thou have all that I
desire for thee!
SAKUNTALA {Advancing to her friends). Come,
friends ; embrace me, both of you together.
Friends {So doing). Friend, should the king be
slow to recognize you, show him this ring on which his
own name is engraved.
SAKUNTALA. My heart flutters at the apprehension
which you have raised.
Friends. Do not be afraid. Excessive love is apt
to suspect evil.
 suftaHnnyaS

?rnp^:—3*nsar*rress siftar I wawww<ft I

—(ansunftgsjft faraT l ) ar?, ^ 3 sjsft
atlftui ^Pww 1 tTRT, ^?r g gjrepffaR 5tfe^ 1

^ui^nri—$^<11^ 1

j;an fxRT? ^srgwgftwraft

#n»aiwtdi«l eurt 1
to figWrt^psrarnT ^ra
Tflpa gifcwiftl ^ 3ifCRililSftWl.il l*. II

sffenft—mg, qftgfaft sijtum«i 1 fttsraft ftgc 1

3Tg^r ftftm ft <j>JTt 30ft «ccsi «C55 waf«sft 1 ftra^rj
*ft 13n%, Tftsfoft n»m%55i 1 fwrr 1 •« g=T=
g-A^ sp5rftaj% 1 -nmsr 1

—dfa, gq^arel ^fttsggisw^ l

—(>p: faKHTf*M 1 ) gtmoi'ftfeg fllgcfftc I

<n W <nft^ri Jflf ft^ TSftSfJT. I iTWTTtfiH I
rl^lfr^ITr^ JPT f?T T^ferpT I

qRRSTPT:—( 1 )
SEIJTJRqft JTJT 5Tfa>: 3«j 3 3R% RT«H I
3T3l5lcft*.« sjfticqfe ft<»fti*T<H: II =<° ||

*1^3 1 ftrar?% qsqpr: 3*3 1

( hmmhi *t&n9pm 1)

—( 5If=T^T fedm 1 ) ggT g^t I WffftRpa

'T'JKIiH I Zl m, ?1 PT?. I 'spg%t ^PTOFSgl |
 i

iSARNGARAVA. The Sun has ascended to another quar¬

ter of the heavens. Let the worthy lady hasten.
SakuntalA (Turning her face towards the hermi¬
tage) . Father, when shall I behold this pious grove again?
KaSyapa. Listen.
When thou shalt long have been a co-wife
of the Earth bounded by the four cardinal-
points, and settled in marriage in Du§yanta’s son
by thee, a matchless warrior ; then with thy hus¬
band who shall have transferred the burden of
family-cares to him, thou shalt again set foot
in this peaceful hermitage. (19)
GautamI. My child, the (proper) hour of our jour¬
ney is slipping by. Suffer thy father to return. Or
since ever so long she will go on talking again and
again in the same strain, let the holy father return.
KaSyapa. Sweet child, the practice of devotions is
interrupted.
Sakuntala (Embracing her father again). Father’s
body is already worn out by his devotion. Do not,
therefore, grieve for me beyond measure.
KaSyapa {Sighing). How, my child, will
my grief cease, as I look at the hallowed rice-
grains formerly offered by thee, germinating
at the door of my cottage ? (20)
Go, may thy journey prosper.
?

{Exeunt Sakuntald and her escort)

Friends {Gazing after Sakuntala). Alas! Alas!
dakuntalia is hidden by the thick trees.
 «TCKf:—(?rfst:>aran i) wvjp, Trcnmt wt
ftnft i qitawawaawi wt srfera^i
Tfc—ww, Q’rof f%3T wwfavr *afc
qRiwrat I <rer, wRwiPKfitf se*tow aw af^ipr: i
wn—i ( «fr»1 hR*wi i ) «sw
awt:, gifreret qfas^ Pretgw gs^r^i«ft ^srrewwt, I gpi:
waft fe w«n ''rcafor <*w
wiww qftw&g: I
girat www farads wwuJ
HtoWawira wwkwh 11 u

( $ffl fenfcl'rll: ?Ff | )

^41^; I
 Kasyapa (Sighing). Anasuya, your companion is
(at length) departed. Check your grief and follow me
who am leaving.
Both. Father, how shall we enter the pious grove
which without Sakuntala seems a perfect vacuity ?
KaSyapa. So your love interprets. (He walks round
meditating). Ah, dismissing Sakuntala to her husband’s
home, I have regained my natural serenity of mind. For
In truth a daughter is another’s property ;
and having to-day sent her to her lord, I find
my soul has become quite clear as if after re¬
storing a deposit. (21)
(Exeunt All.)

Here ends Act IV

 WW I

( 33: Sjfojcqrcrcfsft 331 I )

ftFgjwr.—(i) wr ^3T^r, arsn^

i «K«f%g«TC ^rr^Tjft^rt gofauf^ i snot
s^raf^sn 3t»iraft3T3T 35^ f% 1 «r 33*3, 4*f)<rcii3Fefts3vn3
%% 1 «aRfy«rar *ft3: ?3«ra)«i: ?p?) 1 3ft 33333) iffiftst
3°jMft33 3iM& I

tian—q«off *ra 1 1

(stmt) iftjR) 1)

wftwwysftjgj) 33
3? qfe^RgST ^STOSlff: I

njarc ftr ot %& \\ \ 11

Srf333333tg333 331 lftgw>3 ^WST<t3 I

^3333^)313^)13) 3933 ft«T3)S#)f 333. II

3j3rT—3n[) <i*wf<5Tfat) *ftf& l

f^ros—f% 3333^) «w3rcwt i ft 3i^f)m

a?333)swi4: |

3TJH—($33 ff3t i ) *l$)$a30rate3 5W I 3^3T

3g*)<fta^\3) »iggqres*4 natsfo i mssq, na^rar-
f««ai i«qR3>i i fas<ir§Miw«'4)s*tf)f<i i
 ACT V

(Enter king seated and the Vidusaka.)

Vidusaka (Listening,) O friend, turn your atten¬

tion to the interior of the Music-hall. One hears har¬
monious notes blended in a sweet and clear song. I
believe the lady Hamsapadika is practising singing.

King. Be quiet, that I jnay listen.

{A song is sung in the air,)

O bee, how comes it that you who eagerly

long for fresh-honey, after having kissed the
mango-blossom in that way, should have for¬
gotten it, being now satisfied with mere dwel¬
ling in the lotus ! (1)

King. O, what an impassioned song ?

Vidusaka. But, do you understand the meaning of

the words of the song ?

King (Smiling). I was once in love with her, and

am now reproved on account of the queen Vasumatl.
Friend Mathavya inform Hamsapadika in my name that
I am well reproved.
srf*r. sir.-*.
n»

H war I (awn t) wt ntf*

*^r mu 'rcttaft **Ht arflawiwua a*®®-
arc aftvjmw Jaw *tf5r it 4>«wft I ajWMHHHfl i
»ft arow, rar «rca8tt& &®«s% amaRwrwre?
<HIW *<IWKl*fl *t HreSp. I

on—*i*® i snnRSfaf^mwni
f^w:—aw*it i(ft«w=a: i)a#i

<IW (wwnani) it 3 «g
f9SR WJ^>l«4dUlW I 9|V I

(*% a%aftas% i)
(as: siftafa «af# i)

SKsuft—wit a astlwto'an sfinrsftsfer I

s»

m rrr* i
w& *& 3ffo3 ^ITOT
jR^RPd "imi
to! ^i%i4wRwirt ww I wmtqmn w
pwwjpt. I wiwiwiSf wwiiwCJ I jeh I
 Witsf: |

Vidusaka. As your Majesty, commands. (Rising).

But now there will be no liberation for me when seized
by her with the hands of others by the crest-lock and
belaboured, any more than for a sage whose passions
are spent, if seized by a nymph.
King. Go, tell her in a courtly style.
Vidu§aka. What help ! (He goes out.)
King (To himself). Why am I filled with such deep
sadness when I am in fact not separated from any real
object of my affection, on hearing the meaning of the
song? Or,
When even a happy being is filled with wist¬
ful longings on seeing beautiful forms and lis¬
tening to sweet sounds, then surely without
being conscious of it, he remembers in his mind
the friendships of a former birth deeply-rooted
there in the form of impressions. (2)
(He remains deeply troubled.)

(Then enter a chamberlain.)

Chamberlain. Alas ! To such a state am I reduced !
*

This staff which I assumed as a matter of

form for the discharge of my duties in the in¬
ner apartment of my king, has, now when much
time has elapsed since then, become the sup¬
port to aid jny faltering steps. (3)
Ah, surely the king cannot neglect a religious duty.
And yet I have not the heart to announce to him, who
has just risen from his tribunal the arrival of Kanva’s
pupils which will again detain him. But, this office of
supporting the world will not allow any repose. For
 wig! **
*F**5: srarfcT i
5l*s ^$*iftwjfJwre:
o«reil^<.ffr «ra a??: ii «n

*wRrafrw3ftg?fa t (^ i) 07? ^r.

_ __ r*»

srats mns m ^

*j*?ft ^*?4 ?fa«dH:

sffci ftarT^^Hfa* ft^: II ^ II

( 3W*r 1 ) 31*3 31*3 ^*: 1 *St *rcg ft«f*ft*>Oco*>n»*-

*tftw «K*«l^wn^l* ^gfcKIWofttM; *iuiHi: I
^?*T ^**. U«l«l*i I

?T3T—( *pp*. I) a* WOO«'qftl*lRui: I

*Kg^—** ftni. 1

?rsn—It* ft wa^iRwimaig'irKiw; ^facia: 1

wraiwrofa*: ftftnr q**fr* gifoifa-
dHfrftfo 1 a*ft«n«eM>Rkl jftd ft*?r: nft-
qraotft 1

—<KWW*ft ^*: I ( ^ ftwBRT: I )

3I3IT—( 3WUT 1 ) %**ft, 1

 m
The Sun has yoked his steeds but once, the
gale breathes by night and by day : Sesa conti¬
nually sustains the weight of the Earth; this
also is the duty of him whose subsistence arises
from a sixth part (of his people's income). (4)
Let me then attend to my duty. (Walking about and
observing). Here is his Majesty
Attending to his people as to his own children,
he now, being wearied in mind, seeks seclusion ;
as an elephant, the chief of his herds, after hav¬
ing taken them round, and being heated by the
Sun, repairs to a cool place during (the oppre-
sive heat of) the day. (5)
(Advancing) Victory, victory to your Majesty l
Here are hermits with some women, come from their
abode in the forest at the foot of the snowy mountains,
and they bring a message from Kasyapa. Having heard,
your Majesty will command.

King (Respectfully.) Do they bring a message from

Kasyapa ?
Chamberlain. It is even so.
King. Well then, order the priest Somarata, in my
name : It is proper that you should give them a recep¬
tion in the form appointed by the scriptures, and bring
them (into the palace). I, too, shall await (them) here
in this place fit for the reception of hermits.
Chamberlain. As your Majesty commands, (exit.)
King. (Rising). Vetravati, lead the way to the fire-
sanctuary.
 stftad—#i wfa i
*xar—( fft^rnfct i 3tfsra*%<t ftw* i ) mflfan<5-
wfiww gaft #ra?t s?g: i tnri 3 wftanfai
f swtafta 1

%arRt gaqqflmsmffiifoi 1

aiRnwrcmww ?tot warn

*rm II \ II

( 1)
—^nprai 1

sram:—

^Igwprcfiism: flrere* ssfcfifcat:

afofcwrom % gforqfarsN 1
wgaafo ft y»ft qigq^ftagwi
giaqfaqftawgmrtl van

ftmrafo
asmaftr faarg <P5q^ r^nrra 1

wags araa: seg am

mPr g qflfcmitf mgsaf sonant II * H

mn-^ smnarcr: ga$#5?ti: w 1 ( $1 <rft-

<sroft 1)
 Mfltilsg: I

Portress. This way, your Majesty, this way.

King. (Moves about; betraying the cares of office).
Every one is happy cm attaining his desire; but to
kings, the attainment of their desire is only followed
by pain.
The attainment of one’s ambition destroys
only all eager longing; but the task of retaining
what has been secured gives extreme pain. A
kingdom, like an umbrella, of which a man
carries the staff in his own hand, does not so
much remove fatigue as it causes fatigue. (6)
(Behind the Scenes)
Two bards. May the king be victorious !
First.
Thou seekest not thy own happiness, but for
the people thou dost toil from day to day. Or
thus is thy very nature made. For the Tree
bears on his head the fierce heat (of day) while
his shade allays the fever of those who seek
shelter under him. (7)
Second.
Wielding the rod of justice, thou bringest to
order all those who have set out on bad courses ;
thou biddest contention cease; and thou preser-
vest thy people. One may have, in truth, a
number of kinsmen, when wealth abounds; but
in thee the duty of your subjects’ kinsmen to¬
wards them finds perfection. <8)
King. Now, wearied in mind that I was, I feel
refreshed. (Walks round.)
1U

«fwnfta4tn3q;
aifwrewonfe^t i 3JRK5 MV I wftH*rim*rasfa: sfa^ei-
j|4|^liw<«lll^: I 3TRr?3 ^r: I

exsi—( Bjrai qfttMkM'M^) I ) %5jgfcT,

WKMI W1Q4 slPrat* I

(% am yRniyMteamii Refloat %focr

feaftga arfaim^raifijarc^ i
an^ftaarera) waw-gR.$ffiafcittft stem-
^ jw: m •*. 11

m dftuiO—y^R*«iP*ui\ ^ snantfci
«h|tl I gaft5Hf^>r ^ eNajtfie I

(era: s%fci i^euftfr^etr: wrasse geese? g??: 1)

[je^rt «sffl gdfeeisn]

ras^t—fa ret »msa: 1

\a

r _
5njpt3!—3.1 R&d,

«nwi»u ecnf
n ^>RuauiMwm<w<m>a>5f^ *nr3 1
<wrfl< grwifiRiafaIMft* erarar
sruM ywgqfta 3<fc«r 11 K° 11
 TOfhf: I

Portress. Here is the terrace of the fire sanctuary,

which being newly-swept looks beautiful, and near it is
the cow that yields the milk for sacrifice. Let the
king ascend.
King. (Ascends and stands leaning on the shoulder
of an attendant). Vetravati, with what object has the
revered Kasyapa sent these sages to me ?
May it be that the penance of those who have
commenced a vow and stored up religious
merit, has been defiled by obstacles ? Or has any
harm been inflicted by any one on the animals
who graze in the hallowed forest ? Or my sins
have checked the flowering of the plants ? Thus
my mind which is assailed by many doubts, is
perplexed on account of its inability to
decide. (9)
Portress. I imagine the pious men have come to
pay homage to their king with whose pious rule they
are pleased.

(Then enter sages accompanied by Gautami.

leading Sakuntala before them; and in front
of them the chamberlain and the chaplain.)
Chamberlain. This way, this way, sirs.
Sarngarava. Saradvata,
Granted that this glorious king does not
swerve from rectitude ; and that none of all the
grades, not even the lowliest, seeks the path of
wrong : nevertheless my mind hating ever been
accustomed to solitude, I consider this (place)
thronged with men to be like a house all lapped
about with flame. (10)
 5nraa:—i*y.a«teTi <p-. ’afw: i aimfcr

arwrasUra «rcr. gPwgRaflw 933 ** gan I

*gfta g^^tjpwlfw n U II

5i$*a5n— ( ftftra gafast i ) arorfe, ft: Si qftft

ORTJf 1 81$, (% it siifircsflPT fajdit i

aifij qfer? amjfs i gsnc \

fa?rc«5 I ( $t i ) sn%, H&gcWflsraq. i gaift t
w<is«3w<ii f^R^a i

g^fep—( nan ftf^r i ) «taaqfow: srara**rat-

*q^swjntf <^Rn ante g<a>reA a: nfeqraqRi i
qqq&PU

wgiMi^iui, wwHa^Rpis^ftq^ i ?roifir

qqxnr ireq^n: 151a: 1

«gPa aarairq: q»«*Kifl-

&l*3fSwffifogfaat aai: I
3tgBE?TO ^3^1:
^spfTO qdq»iRmm 11 v*. 11
aaV?Rt—%q, q^wn^wm qtafar 1 wrorfii ata-
5qrstr wftait I H saagswit 1 atnift ftw«ro#
^5Ws l

tran—(m \) wwnwfl
 mhf: i m
Saradvata. Rightly have you become thus on enter¬
ing this city. I, too,
Look on these people here devoted to worldly
joys as a man (just) bathed on a man smeared
with oil, as the pure on the impure, as the
waking on the sleeping, or as the free man on
the captive. (11)
Sakuntala (Indicating an omen). Oh, why does my
right eye throb ?
Gautami.May the evil be averted, my sweet child !
May thy husband’s household gods confer happiness
upon thee !
(She ivaiks round.)
Chaplain. (Indicating the king). There, holy men,
is he the protector of the four orders and classes, who
having already quitted the seat (of justice) is awaiting
you. Behold him.
Sarngarava. O great Brahmin, this is surely com¬
mendable ; yet we do not think much of it; for
These become bent down by the abundance
of their fruit; clouds hang low when they teem
with fresh rain ; good men are never elated by
riches; this is the very nature of the benefac¬
tors of others. (12)
Portress. O king, the holy men appear to have
placid looks; so I think they come on an errand about
which they feel confident. ,
King. (Beholding sakuntala).
Who is she, shrouded in the veil, the loveli¬
ness of whose person is not fully revealed,
iv«

*r*t ?rihnpii f^ra^rfira qr^ronni^ H K\«

—^r, ^^4<44i4ntqff^t «n ft a«t «w<fic I of
3or # anfav^t os^orfsif^ l ^r, f^sn#i^ o ft
fffc sratfft i sig ^wV-ir jj«kwi i

^RH—«gg l ajfajofciq TOR&qqj

—(wgtfft i an^i^) f^arar, % opi
ftsfti I afswvwM *nft sfonfta? ^ spror gfft I iso,
fiftS ftoft 13n%5rco urn™ ’•fit moss i
S^fei:—( gft Ofoi i ) o$i fftfyd^PSdlWjfft^r. I
aifer ^fe^ngTTiSFre^r: i <i st^nffo i
sbw—srafggfsfw i
sr^ri:—(sranj
trsn—srawfira^ i
3fi<T*Ts—ife* 53STHTI

trai—orfq fa^rrawt ggo: i

jRTO:—

f^f «nS*?nfft5P sraf sfijaft ?sfft I

HmsUMlH snifaft n Vi n
srat—swiwwag ft srerei®*: i snj wraTgtatgwgpr
f^raf oasoq: i

5fjTO:—*tnvita$%i3\: l « sfrasjBWPW-
sm^hifftssTic i
 qmtsf: t

looking in the midst of hermits like a fresh bud

among yellow leaves ? (13)
Portress. Your Majesty, my reason, though im¬
pelled by curiosity, does not work ; but she appears to
have a lovely figure.
King. Enough! One ought not to gaze upon
another’s wife.
Sakuntala (Laying her hand on her bosom ; to her¬
self) . My heart, why dost thou palpitate so ? Call to
mind the love of thy lord and be firm.
Chaplain (Going forward). The holy men have
been duly honoured. They have some message from
their preceptor. Let the king deign to hear it.
King. I am attentive.
Sages (Raising their hands). Victory to you,
O king.
King. I salute you all.
Sages. May you attain your desires !
King. Has the devotion of the hermits been un¬
interrupted ?
Sages. How could the pious rites be dis¬
turbed when thou art the preserver of the
good ? How, when the bright Sun blazes, should
darkness make its appearance ? (14)
King. My royal title, indeed, is “not an empty one.
Is the holy Kasyapa now all well, to bless the world ?
Sages. They who possess miraculous powers can
command welfare. He first asks after your health and
then addresses you in these words—
 iv*

shijPOT—?pwj CTTOircpiT *Hw Jif^t vraigqw^i

?pjnn sffftirat a^tawan1f^s 1
f^H53i HI«W ^Sjsfsftr 515
<* W(c*li*ll I

Nt*st ans*i *i *ras srsnqRi: n ^ ii

«Rl^i4tAm«re^i sfirczgrat ^g®ri^toii«tf3r I
irhrat—a®, RbPt q’g^iHfcg i nr d qawmwfr
8#j | | aw, ftnfo wgwnfer i si if oshiwiHw»
OTfsrffl I
oir^ftarsfr gsaroft pter or g* fa gfgg^t *«£ I
Hfrasnsa ^rfe smmfa # u;»5r«w n ^ u
sn^rat gpnifsrar o isratfo saf qsg: i
qlsifa qft% *rnifir &&%«*. i
p$?asr—( wwra*i. i) fife 3 srarrot *nmfa t
ft g oreorfgaf *r>ira i
soar—fafccgqs^rea^l

qr$*a®t—(anmsrasr. I) qraait usit qamftqwmMf t

oms «Rofqs*ira: i
ptiMs—qwifa^ *n*r l *ra*?r ns 3?w gtayaret-
fwiaf! I

patafa wfas&wJawi
3RTS5HOT ¥RJJTm ro5TJ;d I
 roftsf*. i m
King. What does the holy one command ?
SArngarava. By reciprocal agreement hast thou
married this daughter of mine which I have with
pleasure approved. For
Thou art known, to us as the best of worthy
men; while my Sakuntala is virtue itself in
human form ; Brahman, who has now united
a bride and bridegroom of equal merit, has after
a long time incurred no censure. (15)
Therefore, now receive her, who is quick with child,
that she may perform, in conjunction with thee, the
duties prescribed by religion.
GautamI. Noble sir, I wish to say something. And
(yet) there is no occasion for my words. (If you ask)
how so ?
Her elderly relatives were not regarded by
her, nor were kinsmen consulted by thee.
The affair being transacted solely by mutual
(consent), what may one say to either ? (16)
sakuntala {To herself). What will my lord
say now ?
King. What is (all) this brought before me ?
Sakuntala {To herself). Like fire indeed are these
words he has uttered.
Sarngarava. How, indeed, is this? You yourself
know the world’s ways well enough.
People suspect a married woman, living
wholly in her kinsmen’s family, although chaste,
to be otherwise. Therefore, her kinsmen desire
 sra: wW nRii|gfi»ua
sw?r n n
asn—ft: nmra<ft wn qRifa^ii I
( «r<wi<w. i snswani ) ft«nn, \
-SIRIfl i f?r, nta-fr <r aiHIft I

f% ^Pivrfinrsft jffa fagaalfaai ar. I

asn-i
5tl#W—
fnnro: n^w^hriilg it u 11

asff—Rit(t>«mN^iw>5fta I
aftcnft—srft, gjaw *n aw I *wnwi ?w ^
j^^udui 13 ?t gw wft aifesnf&rcai? i (?& art wHI i)
31m, ggi tn i sn^nfit fn^^unwq. i <rawt «sfr-
firsiwfa i

gan—(' nkwiam, i)
^guwaiH nqwf&nsifci
swwftqfla’ ana i
gw ?n ftrai^ SFnwa^ja*
n *3*3*1 nftwfa; In mtfa ogg 11 ^ 11

(Iwwr.fe I )
wft?rct—anst wmSPWKi wf^oft i <mw gi>-
wi? nrf ynaw aft wwft farwiTft i qjfflifsrar nj: i
tai smr w m ssrs^t famaifa i
 quitef: i
a young woman to be with her husband even
though he love her not. (17)
King. And, was this lady married to me before ?
Sakuntala (Sorrowfully ; to herself). O my heart,
thy fears are justified !
Sarngarava.
Does it become a king to depart from the
rules of justice, merely because of his aversion
to a deed done ?
King. What means this accusation based upon a
false assumption ?
SARNGARAVA.

Such fickleness of disposition mostly takes

effect in those whom power intoxicates. (18)
King. I am reproved with too great severity.
GautamI. Child, forget thy shame for a while. I
will just remove the veil, so that thy husband will then
recognize thee. (Does as said.)
King. (Observing sakuntala ; to himself.)
While I am doubtful whether this unblemish¬
ed beauty which is thus brought near to me
may or may not have been formerly married
by me, verily I neither can enjoy nor forsake
her like a bee at the close of night, the Kunda
flower filled with dew. (19) ,
(Keeps reflecting.)
Fortress. How greatly is virtue honoured by our
lord ! Would any other man hesitate when he saw
such beauty presenting herself with ease ?
 sn#tn:—aft arag, fafafa aitanrenS i

arai—ateanhmT!, Fa*aqwft si «g ^ftwmai-

waan: =wift i a^sqfiwrafii^UTHtHjiWT nanrnni
$Br°ntrci$nn: srftnst i
^is^amt—(mwri i) 3W«t qftan: ns* i gggt
gift it faifoflfeuft sirar l an#r ifiw na i $fr
^uff ^ wSOiftwinii i

snipm:—an atari*
saiftmcfiiTgaamR:
gar swi am gPi^m-a: i
gs nldHie-tifli wtS
Misftjxi) S^Rqiftt II ^o ||

wcafci:—snj^ta, fen i ST^-aS, nras-

atgauranfiT: i srt-smmaarr^mT?; 1 ^taamsst smra-
mRhm»m* 1
v&wrei—( ami^ 1) *h amt*Fa< at arft# argjtm:
ft an g#raf^oi 1 awn gift S i-ftatoftaft far «tg 1
( ssrw. 1) ararsm, (1) m*n& gift qforc m >wft
mggmrd i ntaar, m gm mm t as gm wwmg$ msi-
g^ncuf^sTst *h 3ft ^aai^4 qaiftat ff^fi mWtfil
gwiwftw^ l ml ar#s^<Fl <% m anftata 1 an^Fflr
% «mf*fc|iW. I 3fl%5T | ^pff ^T «*jgWI<: 1
4ts, a ja am j <m $awM saHfctN$<qfta sw mrm^
JuroMtajt a^nrangn i
arm— (*rif foam i) gnmt nrargi
 Sarngarava. Why do you sit silent, O king ?
King. Ye holy men! I do not remember, much as
I think of it, to have taken this lady in marriage. How
then shall I receive her, bearing evident signs of pre¬
gnancy, when I have doubts about being her husband ?
Sakuntala (Aside). My lord even casts doubt on
our marriage. Where is now my high-soaring hope ?
Sarngarava. Do not indeed- —
Would you insult the sage who approved
his daughter who had been seduced by you;
and who allowing his stolen property to be kept
by you has deemed you worthy of the gift; as
one would a robber by allowing him to retain
one’s stolen goods ? (20)
Saradvata. Rest you, now, my Sarngarava. sakun-
tala, we have now said what was for us to say. His
Honour has spoken thus. Let a convincing reply be
given him.
Sakuntala (Aside). When such (great) affection has
suffered this change, of what use will it be to recall his
remembrance (of me) ? It is settled now that I should
deplore my own self. (Aloud). My noble Lord !— (When
half said)—This is not the proper form of address, now
that the very marriage is called in question. O, Son of
Puru, it is not becoming in you that having formerly
in the hermitage beguiled in that way this person (my¬
self) naturally open-hearted, after making an agree¬
ment. you should reject me with such words.
King. (Stopping his ears). Be the sin removed from
my soul!
1«<

MiiVwiKaRig *9 MiuPlgt), I
R^g: M«w«4.*iwidi) 9 II Rl II
gi$Bqgi—gtg I an MiwR«ifty(|;'m gp
t*sj <T3ri ai atfenmiului ffton gg aura^ aRnr^fl
*mg i aft tcti%: <Rqft«»f5iffin ari a^lfttnftaifta
a*Ki*R'RHnft i
trar—3^rc: *s<r: l
5J«Srf3U—( giOTR TOOT ) 5# I ajJ^amganTT ft
V3
l (»?kr*fta%& l) sr i
i
nfcnft—1«ijif \ ^=^-
morre q&x£ sTif^sT^t i ^ % wsr^rowRi^
•fOTPTPn: TOTO^teq. I
*nn—(«f<i*ran. i) r ?Ra?gpronfft sfrrfftfa argamft i
5i$?arat—-oti fftfam <t§toit i \
«rRw i am anrftfftar 5f$a sgsg. i am ft asrfOTifft i
tnff—i
—oi crsRfT fftmfc nttHrfa^wusift otfanft<ra-
viimiikk T5?3* 35 5?ft srrfftt l aa-
*nift*m°sft afftatasmnraaag^ aa 5# ^raflaaitfH 1
nan—*Bg*rearag 1
—d«Hdu'i ft g'qfe^aft ^Isnst mra
fftarft^^t | gn aaft 5ra asft fftasj Rr mojm-
fftrm garegRarefr ararapr 1 m \ arqRarsrpjt
^ara^t l qsgr afasi ^ src nfft^ ^jfefts ftm Rb^
qpiaft 1 ?T5i 3ft s?ft asR^Ct ffti 1 aas^t mr^ftg fft^rerR 1
gftfft oti aaiOTian Rr 1 asjft a ft gaga# <faki# am
saftcTE 3afi*ra: 1 amra arnawa ftaiftimggfmafa^afjaa' 3<%a 1
 IS*

Why seek you to sully your family, and, drag

me down, as a stream, that eats away the
bank, sullies its dear water and drags down the
trees on its banks ? (21)
SakuntalA. Well, if you act thus because you really
think me to be another’s wife, I will remove your
doubts by this token of recognition.
King. A capital suggestion.
Sakuntala (Touching the place of the ring). Alas !
My finger is without the ring ! (She looks sadly at
Gautami.)
GautamI. The ring must have in all probability
dropped (From thy finger) as thou worshippedst the
Satitlrtha at Sakravatara.
King (Smiling). This is an instance of the proverb
“ Women are ready-witted.”
SakuntalA. Here now destiny has shown its power.
I will tell you something else.
King. Now it has come to something to be heard!
Sakuntala. One day, in the Navam&lika bower, you
had in your hand water in a vase of lotus-leaves.
King. Well, I am listening.
Sakuntala. At that moment the fawn Diighaplanga,
my foster-child, came up. Then you took pity on him
saying “ Let hijn drink first ”, and coaxed him to drink ;
but as he did not know you, he would not come to
drink water from your hand. But later, when I hdd
the very same water, he liked it. Then you said in jest:
“ Every one trusts his own kindred. You are both fores¬
ters alike/'
1^0

5T I <T8?mf&^r m\
f*r; mm i rr^T ??rfe*r smf&dtefe i *A f^jMr » %&-
^nwwfaf?i i
tnai—<ttwtt^Rro;««gi4ftiiCTi>HW^<m<4tn4H^PTOg«»*^
fftnPnr: i
*ftoft—nfrow, of arcsffc ns# nf*ag i erataot-
afotfifwii\ 3fsi grift qsra*rea i nimm, aij^a
sRfftaH i frTNa#a$«ftsaf*rsfcf opt: %<w»rM i
fBIt—tTTTO^E,

ctepfft Iftfgtf ni; afa^ImfrU: l

anjcn: CR| ufrwPa 11 *« II

fu^iui—( *rcte*i i ) sforai, omoft featangaioiof
ftn«fo I «E* #lf6t 'arwft fanr-sg'WT-
fifilqww an l ant#, anmt f^ir-
g«n%5r <nafa i ar ?^p{|JF#t saigsffi
afawift i
cort—(aroww, i) nr raicnr:
mofct I <T?3T Sprat
fioftn fatacm<i<aOff4rg^|
f?tc?: aowrofirranfft i
$feaiftcRrelfefRfn
ant nrcrasfftraife^i <w.« ti ii
< 5toh, i) vift, sfat -gRdJtf, i franft# at &Wt l
w«wwi—gs #re »w ^f-is^'arRoft
sSf
an aft
^^tmn^noi gsptfoft fftaraftafflw^i swwref
 qntsf: t 1H1
King. By such honeyed falsehoods are voluptuaries
ensnared by (women) who seek to compass their own
ends.
GautamI. Worthy sir, forbear to speak thus. She
was bred in the sacred grove, and she does not know
guile.
King. Old hermit-woman.
The female’s untaught cunning may be
observed even in those that are not of the
human race; far more in those who are endow¬
ed with reason. The female cuckoos, it is well-
known, allow their young ones to be reared by
other birds, before they can soar in the sky. (22)
Sakuntala (Angrily). Wicked man, you.measure
(all this) by your own heart. What other man would
act like you, who wearing the garb of virtue, resemble
a grass-concealed well ?
King. (To himself). Throwing my mind in doubt,
her anger seems to be unfeigned. •*
For
When I. whose mental attitude was harsh
(towards her) from the absence of all recollec¬
tion, would not admit our secret love, it seem¬
ed that she, whose eyes were flashing red, bend¬
ing her curved eyebrows, fiercely snapped
Love’s bow. (23)
(Aloud). Good woman, Dusyanta’s conduct is well
known ; yet this is not found (in it),
Sakuntala. Well have I been made (to appear) a
wanton woman, who trusting Puru’s race put myself
in the hands of one who had honey in his mouth, but
 tlOWMIQpuV

l (# m2(^h pw dftfa i) w-««k^iR'^V

Sciifw smpiar g^asp^r gasrat^afarafawr i
anft<as—CTmagawafogfl *ams a?ft i

3Rn l
«ww«3««W Itterefa ^hmn 11
uat—sift «t:, faHyaa^gatqi^qitw^saatfllt
ftigv i
5i«Kq:—(tmgm. i) ^a araffrrwtercn1

ait srcts nnaroftifttat a-

aaaatsranir «ran anan I
TOf&NMUMtad *t-
t^fstfa ?t ?pg fearcren-g: n v\ n
am—aits «awift<, awgqaia ara^ififtqi^ i ffc
SqR«mld«yiA( awi^ i
snjfca:—ftftmas i
*rar—faftma; siM?r fft a srataa^i
airoas—ansfcn, f^a^qi i asgfgat gtfc tftars t
afafta^ml apoi, i (traRsfai)

a^nt ataas ansat ant lai sssm at i

3wsi ft afts agat mfcftgqH n \% 11

SWJ) •l»0Wtl! I
(*ia sft«rar: i)
 'rikWlsjf: I

poison in his heart! (She covers her face with the end oj
her garment and weeps.)
Sarngarava. Thus does one's own levity, if not
bridled, breed poignant remorse.
Therefore, a union, especially, a secret one,
ought to be formed with great circumspection ;
with those who know not each other's heart,
love thus turns to hate. (24)
King. O sir, would you rely on her, and reproach,
me with accumulated faults ?
Sarngarava (Scornfully). Have you heard (such a),
perversion !
The words of one who from birth has never
learnt deceit are to receive no credit; while
they, forsooth, who make the deception of
others their study, calling it a science, are to
be considered as worthy of trust! (25)
King. Now, truth-teller, we admit it for a moment;,
but what would be gained by deceiving her ?
Sarngarava. Damnation!
King. It is unthinkable that damnation would be
sought by Puru’s line.
Saradvata. Sarngarava, what avails you answer ?
We have executed the commands of our preceptor, and
we now return. (To the king).
Here then is your wife, (whether you) desert
her or acknowledge her. For 'the authority
over wives is adirtitted to be absolute. (26).
GautamI, lead the way.
(They start.)
 sfanrr fturaw ft* i g^: ft ^
I ( I ) focf^T ftsraasnfw I ^jwft
*tf *Tftc*F5W I

*ffcnft--( ftror ) sr^ ajp:q, aigq^aff

i ft sr ii
gfijan I to $n#w, atg^rsaato gg *r: 't.wftWt
515^1 <« i toi&r^ »rafi ft *r ^ gprft *da i

sriifci:—( i ) ft 3*t*nf*lfs», ma'aiiw-

«K3$I

( si$*to *ftai %q% i )

5S#cq:—-5J$sa&,

^ *roi «rRi f$if<ma*ir

?wft ft Pig^twi <sr«n i
am g itfNc gft aanwro
q%$§5 ?ra ?re?wfa sraq n n

fag i ^rapimt sr*rqi

*nn—flkcnferq, ftrravnraf raassB# I $s:
5TO^5 qftm shwHi i
qftrai fe WTftag#a<w<reH5ft gft: n ii
srrfF^:—g ^ratei^r wru-
m44V«: i

qm—wwitam gqgra^qsgtfo i
 Sakuntala. How have I been deceived by the per¬
fidious man ! But will you, too, leave me ?
(She starts to follow.)
GautamI (Stopping). Sarngarava, my son, Sakuntala
is indeed, following us, lamenting piteously ; or what
can my poor child do, when her husband is so ruthless
in rejecting her ?
Sarngarava (Turning back in anger). Well, wanton
girl, would you affect independence ?
(Sakuntala trembles in fear.)
Sarngarava. sakijntala,
If you are what the king makes you out to
be, what has father to do with you— a disgrace
to your family? But if you know your
(marriage) vow to be pure, it will become you
to wait even as a handmaid in the mansion of
your lord. (27)
Stay. We must return.
King. O hermit, why deceive the lady ? For
The Moon opens the night-lotuses only and
the Sun the day-lotuses. The feelings of those
who are self-controlled ever recoil from any
connection with the wife of another. (28)
Sarngarava. But wThen you have forgotten a former
engagement on account of union with another (wife)
how are you (to be regarded as), one who fears to
offend virtue ?
King. I would ask your reverence which is the
greater and which the lesser evil :
in

grewft wnwnst q^vwfanagt n v. n

ftlfta;—(fearf ) qft diaiN faqaiJ*. I

twit—*13511*3 Jri *raraj

Rug i gja
f*3«w 5% <*r wgfjrcfifs*. swwfar *a«K^Pi f*
arafowreftRr i ^ *ag3rwtqq*ft aftraftr,
zaffr&ti g:s:i*aft*T giftiftiarfa i Rtf& g ftgt^r:
f)rfW«TAid«<4ftqa^T t
cct—*wn g*wit *N?T i
jttffca:—ac&, argjT^ juj^ i
V&a&t—warafc agfe, tffc R feat l »mlct *g^,
*r faro. i ( wft aftarar i ftni^ii a? g^ret,
rraftaftra)
( flat affRRiPR^ ft-tWft I )
(^>j«n)
ansRJ^I
tun—( 3trj># ) <% g *Rg *aig I
(siH^r i)
gdfan—(ahwiH. i) 5a, w^a
>* n&
3f*m.i
trait—faftra i
 WHlsjf: I

In a doubt as to whether I be infatuated or

she speak falsely, shall I forsake my own wife,
or defile myself by having intercourse with the
wife of another ? (29)
Chaplain (Deliberating). Well, then, if this
were done—
King. Let the venerable one instruct me.
Chaplain. Let the lady dwell till her delivery in
my house. If you ask why I say this, (my answer is)
you have been told by the sages that at the very first
you will beget a son who will bear the mark of a dis¬
cus (on his hand). If then the son of the hermit’s
daughter bears that mark, then greet her and introduce
her to the female apartments But if the reverse hap¬
pens, it is evident enough that she must be taken
to her father.
King. As it pleases my worthy teacher.
Chaplain. Daughter, follow me.
Sakuntala. Divine Earth, open (to receive me).

(She is in tears as she starts; exit*with the Chaplain

and the hermits; the king, whose memory is still
clouded by the curse, ponders on something
regarding Sakuntala herself).

(Behind the Scenes).

A miracle !
King. (Listening). What could it be ?
(Entering) Chaplain (in amazement). Your Majesty,
a wonderful thing has happened !
King* What is it ?
1H<S

jnfpTJ—?«r, <ro^ra3 wito^is

fiRpeft wwh^hrw
<flge$Hj SRp^jj ^ gf^TT i
<T3IT—f% ^ I
3^(^:—

gfMNt WITH II ^o II
( Wf faWf fWlfof I )
*rai—wra^amfq *rts*RTfwT§: a«if^« n* I ft fw
a3»miP*ma I firsnwg «ri^i
g^tfcr- —(Prater i) fSrsureqr i (fPr f^RT--1)
*nit—-%5raf<r, Wfstefew i ^nwjpwj^rjn^ra 1
aeftsrcfr—^ fqt l ( ffa afwr: i) 53 fat if* 1
*rar—
*rr H?qrf%gi **rcrfir n qft*r4 ga*<mrqj
R55^t fjniR afsrcprata ai c^m. 11 11
( fief fewR-tfl: I )

qsratsf: |
 TOStef: I

Chaplain. Your Majesty, when Kanva’s pupils had

departed,
The young girl, blaming her fortunes, threw
up her arms and started weeping—
King. What then ?
Chaplain.
When a body of light, in a female shape,
snatched her up from afar, and went to
Apsaras-tlrtha. (30)
(All betray astonishment.)
King. Revered sir, we have already dismissed
that object from us. What need to reason more on it ?
Please rest you, sir.
Chaplain (Observing). Victory to your Majesty!
(Goes out. )
King. Vetravati, I am troubled. Lead the way to
the bed-chamber.
Portress. This way, yoUr Majesty, this way.

(Starts.)
King.
True I do not recollect this daughter of the
sage (now) repudiated to be my wife ; neverthe¬
less my heart being powerfully agitated almost
persuades me to believe (her story). (31)
(Exeunt Omnes.)

End of Act V
 I
( 5RT: S^lfd "TPltel: ^Jia: iMt * I )
( areter I ) ar& ffiffgan, <*# gn
*sT nfWq'gfa;wivi srsrcSta viff^hro sun-
o
sirf^n: i aft ffwRss, im m aftd^rfwtriWfrnifoi
tM^WjgdtoE WtWlRdH. I
5^:—( Hllddilidid i ) qsrfc^g i fit nr
jfewBwyWt I sRftei *n#wr: i ait i
mw—ffc ^ shift mfti% srfaar 55OTn qfem%
ftvft i # dtoft *mm ?% *njr aHraft ^ i
5^»s—gora srift i fir sreaistsywRcreJircft' share* i
t ait WMdKWttdlft sfcR: I
featu:—tJT3W55T, f% anfft «ir$ gj^ssr I VRSR,
fodWlfadTTd: 3SII
w*—^^3?, ^5 ,as^ aioj^vn i m at 3i«sn
l wg afr-fpm i sfopw i
aaft—^ aifft aunntf^ | *%ff | jRjgri anfmRi i
Wt I
5^n—4r^Rii<!ii<0% 51*^*
srcsft nftfir | ait 5n%ratRMd<w^>ift-. j^jswt
^tf*T I
^sn^s:—( Rspi i) fftgit srfft anshart I rags ssift-
JHafR: I
3^:—
Slfft fa® Sr jtrfftf*?R Vtf ^ fftarsraftatR I
qsjflusuiiMJKisjvl argswqifag ®c@9 sttfrw: it ? ii
 ACT VI

(Enter the King's brother-in-law (as) the chief of

the city-police with two policemen leading
a man with his hands bound be¬
hind his back.)
The Two Policemen (Striking). Now, thief, tell us
where you found this royal ring the setting of which is
engraven with his name.
The man (With a gesticulation of fear). Be pleased,
your honours. I would never do such an act.
First. Was it, then, a present given by the king,
thinking you were an illustrious Brahmin ?
The man. Hear me, now. I am A fisherman dwelling
at Sakr&vatara.
Second. Thief, we did not ask about your caste.
Syala. Let him tell the story in order, Sucaka. Do
not interrupt him in the middle.
Both. As the brother-in-law commands. Speak.
Man. I support my family with things you catch
fish with—nets and hooks and such like.
Syala (Smiling). A virtuous way of gaining a liveli¬
hood !
Master. Do not say that, master.
The occupation in which one was born, as
they say, how low soever, must not be forsaken.
The same learned Brahmin who is cruel in the
act of killing animals (for the sacrifice), is
yet soft with pity. (1)

arfir. sr.-i i
 ^ 5T i
q^im'4<wi) SkjJW l^«T sftfspr: 11
^n^:—cf^t ^ I <JTOcT: I
jw:—rofer ftsnfr ’unroft- $W%TOsd to «rf^
3to ^5r to55»«^ q# 3ijf^m
\i ifasrsf r
sagi 3i5% tearm nffeft nraftnalfe i mftc
ST gs% ST I 3T3T 5* anamfrpft 1 Tflsfclfrwl <jnrrt OfcWcWl
«nrr <i>G*ia) starr. a<4lw**i**K 55 <H«iig**i^Sl*i sjg i <rai5f sw
foBSW 5tfoPJ$3t SlSfoft: I JTR5S 5T ?JSS 511 aWKWHIWM: I
ctra:—anga?, stcst Haaswit sas
foi«i«3T I ajjjsftaiat^ai ^ fsHftrtT^ss I aj355 UBS
«rc9i4) i srg?, ftsnwft rtsi^f hot«fs 55 fMtepm. 1 3(^$|jh>-
5&TO.W fa«*iiW°5H. 1 *PSPT: I
tfijoft—Sf I *!«® sift sfcsftsat | S5H 550 art Bfar-
ft^Bi 1
( *rt TftihWRI I )
circs:—gaw, frt g^gsrrt ar*nmr sirens 1 ms
tft aijfsftan# agiwoi wf|aft farsf^ar s^t *rrcwi qfefcgai
'Ci

fo«Hifft l gs5;, & g^srtssw^ sfaiRKrag. 1 srafapwjafafc

BSPWB 35T: 5IIBR 8^ EfrCTrfa I
avft—sfasrf anfft griPmwwi I afawi^- Rifa-
SRH5T5 I
( f^RBPTTi ^na* I )
jw*b—angar, ^55tai^ ai»s% I aig*, ^raif scsgH: i
fe#t:—ft awrowtgwataftsn arariftt I BRBflTtraWfaT
<WWi I
*wnu—angar, jafer ft can cror sausc gnaft
fftai41 (sfit- ftfeift i) sig*, wt toms s^*re*r
gq»rct: *
 ritsf: i m
Syala. Go on, go on.

Man. Well, one day I was cutting open a carp

when in its maw I saw this ring, flashing with its gem.
When later I offered it for sale, I was apprehended by
your honours. Now kill me or leave me alone. (But)
that is the way I got it.
Syala. O Januka, he is doubtless a lisherman,
stinking as he does of raw flesh—this eater of alligators.
But the finding of the ring by him requires to be consi¬
dered. Let us proceed to the palace itself.
The Two Policemen. Just so; move on, you cut-
purse.

(All walk round,)

Syala. Sucaka guard him carefully at the city-gate,

while I tell the king how this ring was found, and
receiving his commands, come out.

Both. Let the master enter to receive the king's

favour.

(Exit Syala,)

First. Januka, the chief is indeed taking too lone

a time.

Second. Well, kings can only be approached at

their leisure.
t

First. Januka, how my hands tingle to fasten

flowers about the head of this victim ! (He points to the
man.)
 »rfvn8R5nf«i%

35^:—ot areggfi Vn# y^>w*nHiw<« *rf%j 1 =ntfe

flpffewiW'il »#331
f&ata:--( fetw 1) *ret srcgroi smn <mgc*r btw-
5imof sjfgfegs f^Vgt I Prs^# wf®R5lftr I
gaft gt ffirawrfa l ’TT 4t «uft <ra?# <mwrh
1 wfiwjftwifti, gift ®ir s^rfft 1
(affcpr 1)
^ii55i—garsu, ggg areterateft 1 sqerwft ^
g?r<a>3T^r snarot 1 ^k, g^rift^ an&pfrft 1 s'm; sa^r-
Vi

f#wiw 1
^e:—3i^ anfsft wmfc | 2T4I5# *FJT% I
wraqpi qftfifrac i (^rg^
q%^sr^R 1) ^ smw sftftw i
3^:—( m*t 1 ) *1®, ft snftfc 1
3T«r ^ 3Ipffa: I
vti&m si^araggqtMV TOnft fft
1 ( gsw4 sRi'^fd 1 ) XT?*
srcnftsfa 1
g^;—( wrm srfcPisi i) sr^f, srgwT^fi^ I *r&# 3^-
*Z$iftsfar 1
5Qj«r^:—ttffr oto srgwrf^ ft sr^ifoar

sfcmifaa: i
sngs*:—sur^, qrfe^H^rft sfar srgfgftaroir
v*

«f|«ft termtar ott4 I angn, qrfoilfafc wrafft ft-Hi|rfn3M

iflt: ft*(ftsr ifeffl, 1
 itsf: I IV*

Man. You would not kill a man without reason,

master.

Second (Observing). There is our chief, letter in

hand, who is coming towards us after receiving the
king's command. You will either be food for vultures or
will see the face of a dog.

(Entering) Syala. Sucaka, let the fisherman be dis¬

charged. This finding of the ring is indeed explained.

Sucaka. As the chief says.

Second. Here he returns, after having entered the

abode of the God of death.

(Unbinds the prisoner.)

Man (Bowing to Sydla). Master, how do you think

is my profession ?

Syala. And the king has further given him a sum

of money equal to the full value of the ring, {Offers
the man money.)

Man (Accepting with a bow). I am favoured by my

master.

SOcaka. He has, indeed, been favoured, who after

being taken down from the stake* has been set on the
withers of an elephant.

JAnuka. My chief, the reward shows that the ring

must be highly prized by the king.
 m

«t wftsr {% aWfc t
WOT gOTfa qqf|^ aifim^t a«ft tj,wiRl<ft I jp^ra* affa-
ftwwftcf {It qsggatoiamift srtftt I a afawrsif wr aS%aa-
fafa a&rrfa i aw ^{far *#cf*iaat sot wifta; i gf£ Jtffawfrrtsf't
a^giwM amffai
gwq;:—Stfqg nun sug^ot | afar amtgria i
aigar:—oi srmfe i swot arc nfOTawpjoftfa I
( ?fa swgMi iw% i ) ag *r»r i arw s% arfarortftfa l
jot:—wsrafc, # 3T5 gtjrfa g*mtgs? stg i aaw>,
fatal gwra gaatgar aag i
51134 ;:—q:w% 3$1T 1 tpafsalt 1

fara:—tjfcp:, ngOTt g« fqawawpafr gift? il ^igwt l

qnaparfcafqarai anwwt MdHMifeq 1 wr
«iflNja»mui ns5 ji-°«i4| 1 «ffa, ww faraawa; ffpft a
gw 1 *Kwflai%nwai% 1 a^faanwta
»PgCT: 1 (?fa fa«w*fi: aa 1)
Jf^s: I

(aa: sfaiwTOPrfar aigaat araraa: 1)

qngwat—wa: qwnaiftia^wfii^ arasn-
fidimlWsg gnw qigamOT 3lfo&aOTR5t Rt I aiqg
otot traqartaftOT 1 «t fraarrereafair
OTkgat ij l arc 31 gfegfoilirtf anf^gsqRf 1
(aaargaafar I) S> 3 q^ wj^alr Hr
Hrw wrest gten 1 arfcw H forat qflOTifan arsq qft-
wmg 1 fag wsta angat wn jnoiwswt 1 stg 1 fHFi
asarumfealpr ft<qwRuftqfe-*a«i» mot^RwR
 *ds*:|

Syala. I do not think that the costly gem in it

was prized by the king ; but, at its sight, the king re¬
membered somebody he loves ; and although naturally
firm, he became for a moment agitated in mind.
Sucaka. Our master has given (the king) extreme
pleasure.
Januka. Rather say, for the sake of this chief of
fishermen. (Eyes the man enviously).
Man. Let half of this be the price of your flower,
master.
Januka. That is right.
Syala. Fisherman, now you are the biggest and
the best friend I have got. It is desirable that we pledge
our first friendship over (some) wine. So let us get
along to a wine-shop.
(They all go out.)

End of the introductory scene.

(Then enter in an aerial car a nymph named

Sdnwmtl.)

SanumatI. Attendance at Apsaras-tfrtha which is

to be performed by turns, during the time the pious
people have their ablutions, has been performed by me.
I will now see with my own eyes what the good king is
doing. Sakuntala has, indeed, now become a part of
myself, through my relation with Menaka. And she
has already sent me on this commission on her
daughter’s account. (Looking about). How even at the
festival of the season, no preparations for a celebration
 l (femr i) fa#T?T m\ qark-
^Rc^3^rww^b^T55 i ?fta-
<rror ^i^rst^RT sRaJfaftenfa i ^ ifa*n3*n^r sRtoipr ^
snf5tT«i i cT«n ^ i fl» 3 *m wiW
%«RRW7^r *F3Tf55 I 3Tfer ^ ft*FT. Slftr-ITO B# qftfH-
iR I t% 3 5fll^d WT JII^Tsq: I *1*3 I 3W^taTCMT&-
^feR^Fftoft5#^5IT qpifcf&ft I
( <ra*. srr^iHr 1 stw *r !£swww 1)
warn—
arrawrsfi^qu^ ittzmmm 1

f^llr fe ^hkar gri totoB? II ^ 11

^tsftr ?*i srar^rii? 11

fedteii—^f% *3C3^Tfoft 1 1%,

swror—Tj^^foar ^terar s**Tf*j3ir q*-

3f^3?r l =^jfet ^r^rrr Tr^ffor 1

ferfan—(*!?* <**#1^ 1 ) qjf 4TfHmt I

^'^gTf^rrt i
sremT—JTfgffto:, rra *rot
ift^ror 1 jrpri*%, ***Hr *33 r^r 1
featai—srfe, ^qsrsr 4 1 *nsi gTWTqptfIgTT *ifeas
^qifoai Jrf^g? qiFR^iWT q£fa 1 *rc-fr, 3f*««r** *ri m-
*sro*re*rm w 5Rdw 1

sr»ain--in[ 4W f% ^ ar^ aroonrasw l Jnrrft

 <retaf: I

are to be seen at the palace ? I might learn everything

by exerting my supernatural power. But respect must
be shown to (the desire of) my friend. I will make
pay self invisible through my supernatural powers and
standing near these girls who take care of the garden,
will find out.

(She acts descending, iand stops).

{Then enter a maid gazing at the mango-blossom,

and another behind her.)

First.
O mango-blossom, a little pink and green and
pale, the very essence of the life of spring, thou
art seen by me, and I beg thee to favour (me),
thou blesssing of the season. (2)

Second. Parabhrtika, what are you talking about

to yourself ?

First. Madhukarika, when a female kokil sees the

mango-blossom, she goes crazy with delight.
Second (Hastily advancing ; with joy). What, is the
spring really come ?

First. Madhukarika, this is the time for your wild

and graceful songs.

Second. Hold me, dear, while I stand tip-toe and

take the mango-blossom to worship God Kama.

First. If mine would be half the reward of the

worship.
 V»o

sniftt ft <*3 Hftsne *rgt n» n?a oft

^ft^ shi for I (treffrrcgsat fwai ^nff wifr i)
are, awftgjfr ft nw ^rirajratrft stft i
3raPr%s^Ri?a>Rj% jrt 3t aftfar foil ft»jff sifta*. i aft,
araf^stsfir gruraater ^wt?rg^w5^f?i i
('fcNkiSW* i)
g fo m: ^f< ftoojt ww nf^rgsu^t i
qsgsflft^ €tft II ^ II
amfo »rar ^n|r to sumr i
qftiwrcgsjf^sr: <raiwrfw *id »w n
(slct grrnp %ifa i)
(ffar:)

ssfft—hi aing. i araicHt, ^a nftfast awateft

ftHior^ i
—(al%) ar^t i amigfoaiafr 3n% i s#-
ssrc: 1ara^tat*? 3TRm i
*&$&—a ftra ipt gairoi aarciftft*aHfircft ^aro
siraa nmufl»d agisiftfa: aftfasr I aarft
^aiai ftifcpfcuft awift a ^ or:
agft foft $toh awk^iaqaai i
hi^5 wRm a?tsft ftiftft g^lfareiai Ha
si$ w?»ft wteft afoa*gpin%t II a «
aJf—orffH i agimgiat i arffer i hht-
jraialrnrS: i
 1*1

Second. That goes without saying, dear; for our

life is but one, though our bodies stand apart. (Stands
leaning on her friend and takes the mango’blossom). Ah,
the mango-blossom though not opened, is yet frag¬
rant as its stalk is cut. (Joining her hands together).

O mango-sprout, thou art offered by me to

God Kama, who has taken up his bow. Be an
arrow jnore splendid than (his) five, having
for thy marks the girls whose lovers are
journeying. (3)
(She throws down the mango-sprout.)
(Entering with a hurried toss of the curtain; angrily)
Chamberlain. Don’t, thoughtless girl ; the king hav¬
ing forbidden the spring-festival, how have you started
breaking off mango-buds ?
Both (frightened). Please, sir, we did not know
about it.
Chamberlain. You knew it not! When the king’s
command is obeyed even by the vernal trees, and the
birds that dwell in them ! Thus
The mango-buds, which have long appeared
do not yet form their own pollen ; the Kurabaka
(flower) also though all-ready to bloom, remains
in the state of a bud; the voice of the
tnale-cuckoos, though the cold season is gone,
falters in the throat; while* I suspect even
Smara, being awed, replaces the shaft half-
drawn from his quiver. (4)
Both. There is no doubt of it. The pious king pos¬
sesses great power.
 gggr—am gift ftarwt angiof tarenggan <f£gat
gftait qtax^a gft^tni | %ai g oft ggggatm g|«*u|g;wi
Wlftft I Hi 3Tj3T?53T^a: awgqgttft sn$ft ggt
ifg»rlt I 3TI^, 3>fg ftropxjmMlfjlR^n {pft4®I *nf: agJJji
5i»to4): i s?*f g ^ sw^sraOT arwrat xrofficru i ggn^gagr-
ga^t gigngi^g wra i
giSJ^t—ggg l g gsftst ggffigsgqj
a^-sia, ^f5! ait I aft tfgair gfiiai gftsg gftg
gg ftfarfira gfton ggfggggt gftftrst I gtf, %sa
4t 1 ggfc g%g Mta»r ^q^rg gg?
aUtfare? 1
gigggt—m^nfui an gqj ggmi 1 30m gnpcalar
gftsg 1 agigfagr: xag gg^m 1 gw g*5** gfaasag. 1

g^jgt—ggahjaaraRg; g g;«g& I faggggxgt: gm-

gg xngra gt^a5ggrgftgi<hl<atgH 1
g$—3^ ^axggi^t srm ajjpsstgaftgiaT | gg xreto
•2*

g>S3^t—Irg B5g gigfogagq, I ggg gig aglftwlggr

g^tgiggg»3g g%g gmggggi a ggwrat *ifa 51$-
f?m gftt?a<giftiifa 1 ggispjstg ginwamj|g*ia> gg: 1
ggtft 1
rt4 itfe gang*! g$ftf*i3 g?g? $sg?t
SPgTgi?af^ttf§*TOg<gftg gg gigr. 1
gifting ggif?t g|ggfg?iw?g:gbgt ggr
gt^g mfeagagi ggft g gtsrfgssifsrcj^ 11 ^ 11
gigggt—fgg g 1 fa4 jt 1
 TOts**. I

First. Noble sir, but a few days ago, we were sent

to the feet of his Majesty, by Mitravasu, the king’s bro*
ther-in-law, and were entrusted with the duty of keeping
the pleasure-garden ; thus being strangers, we have heard
nothing of this affair.
Chamberlain. Well, you must not do so again.
Both. Sir, we are curious. If we may know, pray
tell us what induced our sovereign to forbid the spring
festival ?
SanumatI. Men are, indeed, fond of festivals ; there
must be some weighty reason.
Chamberlain. Why should I not tell it, when it is
generally known ? Have not your ladyships heard the
scandal concerning Sakuntala’s rejection ?
Both. We have heard it from the mouth of the
king’s brother-in-law up to the point of the recovery of
the ring.

Chamberlain. Then, I have a little to add. When

at the sight of his own ring the king remembered that
he had indeed secretly married the lady Sakuntala, and
had rejected her under a delusion, from that time the
king was struck with remorse. Thus
He abhors everything pleasurable; he is not
daily waited upon by his ministers as in former
times ; spends sleepless nights in tossing about
on the edge of his bed and when by courtesy
he addresses suitable words * to the ladies of
his palace, he blunders in their names and be¬
comes for a long while abashed with shame. (5)
. SanumatI. This is very pleasing to me.
 srfSnrannfaifc

sremanraat taaaqigaw a<*n*«Has I

i i

(i)

*cf "cj *j* i *p*h; •

(irf f?ra I) 3T^, fa t».yrfwy<fci ^q: I .^»a-
wgstqawf l

aSr—as I (ffrr fara>F%) erar i

(era: aftafa qqrai>ra?5ilqt ara R®rk ueftfrft a i)

«E^ft—(aarararam i ) arst qaFwy*«m& muftqgf-

»ws>ftRiSiqiram. I inigegratsfa Rrar#at i aaiffe I

waiifia^iflqywsafyffeiafag^giWtt
fasieyaaaaSrada aaa satrataararac: i
^♦aMwenadiaaqy^jftauiKicyy:
wswPHRa #ntsft arasqt 11 \ \

Hignat—(aara r^fti) arat a^j qraRfraf%HtRrar

faaa aa*f@« fcgswf* l ag aeqV.ifoiiPidiwre
ref a$vw

trat—(rairapf qftw ) i

srari raR5fRr5TT ffraar gRmtaraiaaft

aigfiqj-.rax^ faffg sinfa fa$KH« «11
 I

Chamberlain. By reason of this deep mental de¬

rangement the festival has been forbidden.
Both. It is proper.
(Behind the scenes).
Let your Majesty come.
Chamberlain (Listening). Ah, his Majesty is coming
here. Attend to your duties.
Both. All right. (Exeunt.)
(Enter the king in a dress indicative of re¬
morse ; the Vidusaka and a portress.)
Chamberlain (Observing the king). How charming
are noble forms under all conditions ! Thus his Majesty
has a pleasing appearance even in his affliction. For.
Rejecting special modes of decoration, he wears
but one golden bracelet fastened on the left
fore-arm ; his lip is faded by sighs ; his eyes are
very red from sleeplessness caused by thought
(of Sakuntala). Yet through the excellence of
his own lustre, though he has grown emaciate
he is scarcely observed to be so, even like
a magnificent diamond ground away on the
polishing-stone. (6)
SanumatI(Looking at the king). No wonder Sakun-
tala languishes for him even though he dishonoured her
by his repudiation of her.
King- (Walking round slowly in meditation).
This my blighted heart which previously slept
even when it was 'Wakened from sleep by my
fawn-eyed beloved is now broad awake to feel
the anguish of remorse. (7)
 ^trgwft—or fft-arfat qaftaofta arrotfcarrfa I oaft-
eaift aoftosji wftwPr i
—(smt# i) nat ■ *jait fa a^ai-
arfaon i or anflt ffafafag?^ *ifa^ifa i
ths^—(groan ) srag stag *a: I ushui, vm-
wntwryw i qmn>wrrerren faafaqqwifa
JTKTO3T: I
<Rn—%?r*fa, *tgoRispn?n*tfafa3isi afa i fa<aai-
ara rraTfaaaW^Rsr rwfcwrrmiR-rg^ • awwfllfakl
rft<a>ifo«<fai ayramfrq I
aatgift—3f ^sft <hiuhR i (P»hwi i ) ofc arniT-
oofit i
oar—araraa, raafa 3# faafrwqg4 3^ 1
—qqwnwfa %a: 1 (# Ehm: i )
fa«gw»:—fa* arew mwrfagw 1 #1* farfercRta’sd-
arcwfto: yrfet ga^ag^# amrof Ttitwfe 1 t*r aqar
Mfifcq. 1 ntaa (?l(?KWM«^<H»n3liR^'SW<('i^!U arCTff
wSRoftr 1

rjsn—sprpi, gqsftqPnftwtsrwH ifa

aasofararft aor: 1 $a: 1
g^iaraora^^H^ar
wr h ga>fa* awar aa: i
awfasta a# nsftoaat
*rgfa ^reroa Pfafera: 11 c 11

fa^rs:—fag ara 1 rcfoon ^s^foi ar^aiaiof oirt-

?«nfa 1 ( sfct gwtwaqwi ^tif* ■ridttflffhdft 1) ffo
aaa 1 afar 5»#n%a sirafitMiir 1
 *$>**: I 1

SanumatI. Such is also the fate of the poor girl.

Vidusaka (Aside). He is again seized by his Sakuntala
sickness; and I hardly know a remedy for his illness.
Chamberlain (Advancing). Victory to your Majesty!
The grounds of the pleasure-park have been inspected.
Your Majesty may visit its pleasure-spots at will.
King. Vetravati, tell the minister, the noble Pisuna,
in my name, that owing to long sleeplessness, it was
not possible for me to sit in the tribunal to-day. What¬
ever business of the citizens the worthy sir may have
investigated, should be written down and dispatched to
me.
Portress. As your Majesty commands. (Exit.)
King. And you, Vatayana, attend to your business.
Chamberlain. As my king commands. (Exit.)
Vidusaka. You have not left a fly in this place.
’Now you will amuse yourself in this part of the
pleasure-park which is cool and delightful by the
mitigation of heat.
King. Friend, the proverb ‘ Misfortunes rush through
the weak spot* is an infallible one For
No sooner does the darkness that clouded the
remembrance of my love for the sage's dau¬
ghter, lift from my mind, than the God of Love,
preparing to strike, puts the shaft of mango
blossom to his bow. (8)
Vidusaka. Wait a bit, while I destroy Love's ar¬
row with my stick. (He raises his stick and desires to
strike down the mango-shoot.)
3rf*L sr.-'R
 —(rRwir. i) *rag i 55 hs<i4^ i 5i%, iNfftm
Bmwp aaig gft [Swlflqrfft i
fe£TO:—«i ^wwmRanRan -J^ftan 9551 %ftj| I
mn4&«8% fR 55i arf^«ufg4^i i aft ft fftre'csmnt
•M8^lKlft< a^isfefta 553**WI<5 qftfttft anftftftr i
«mw»nR*iR'M ^sjft+i *prar ftftet nrra«ta«8R gut ftsmftRig%% i
515 ft ft54wWlrfi W«5fof*KIT MBt WSRESFH--

5535—fVlRMftWMH I 551^5 nrfwft^R I

fogWB—^ wf I 9f *RR I
( 3^ft sRq>mn: l ttl3*(H3«r-»(cl I )
ftf55»—«rot wNftrercsaiwiigl fflgfowral 35-
fK<«fui«5lR. ftre^wi waftoi ftar oft I at
mRiR-kh f&reft^5 W3 l tfq nflifiknqfrMwi«ft rw^ot ot-
«Kwft*Rrai foftaft 4t srfi;mfii 13555(595 wr. i
( 3% aftft i)
■aigw^t—oHi<jR*<5t ftPpa55i ^15 5ft>5 qfafaft I
55 V % «^oft 555 * 55 CW 1 (?fft fr*fi m\
(5*535 1) amftfiiRi 9?n@r <ww?i; 1 ci^s^n R|4gg5-
Rgnft 1
55355—5i%, 5*roftr 55f?agi5i: aqH^awH. >
tPwmiiRn 55ft 9 1 5 *rapS5ift5i%SRl 5r5nftq*rat
5T5ft?^ I 5 5551 MlfcM&H&i 35*15*51 555 5
5»N5gtft5 ft5^55Wftt 55ft^ I
fft?55>j—5 i ftg 5535 «ftar 55511%
35 g«c qRgunffta^qaft n^ft or ij^ftfer an^ftw^ r
*W fft fftfV*5Rr>IT 5f 5ai aftft | 9C5T qfopaqt
 I

King (Smiling). Enough ! I have seen a Brahmin’s

power. Now, friend, where shall I sit and recreate my
sight with the slender shrubs which bear a faint resem¬
blance to my beloved ?
Vidusaka. Well, have you not told Caturika, your
attendant, that you would be spending this hour in the
Madhavi bower, and that she should bring you there
the picture of the lady Sakuntala which you yourself
painted on a tablet ?
King. Will such a place divert me ? Well, lead the
way to the same place.
Vidusaka. This way, your Majesty, this way.
{Both walk round; Sdnumati follows thcpi.)
Vidusaka. This Madhavi bower furnished with a
marble slab with its lovely flower-offerings appears to
bid us welcome. Let your Honour enter and sit.
{Both enter and seat themselves.)
SanumatI. Concealed behind the creepers I will
just see the dear girl’s picture. Then I shall be able to
tell her how sincere her husband’s love is.
{Does so, and pauses.)
King. Friend, I now remember all the previous
affair with Sakuntala. And I have spoken to you
(about it.) You, however, were not present near me at
the time I disavowed her. Nor did you ever before
mention her ladyship’s name. Had you forgotten her
even as I did ?
Vidusaka. No, I did not forget. But after telling
the whole story, you said at the end that it was all a
joke and that there was no truth in it. And I who
mg i *r fownfir i % ssifawwraft g=rew ift-
srafwr * ipR ^nramwL i HAift ^fiqosffis-n ^ ^l?mi
amr gfarasrat tag si5*geft I
qrjHd>—ol? I I
<rat—(«ngrT i) mprcm I
finjms;!—aft, f% ng I aunpmm mg g? I m*t
fg mtem-amiuft "i sH^er i of ft fStsim
ftdaft I At:, I atgrot aptsi I a^ifa sgmt
#*TOiwH~t a aart i =tg swritefa Pih*ai ftw i
aa^t, ft*w><«nft&<twis ftmrn:
i *n (|
tn: ngn^n^RTTOgnsg sqgftim
gjftg&g^gfg gmmil I
<pifl mm«wm»gmwW<Hi<ft
Aft ^ AmwaRwPm q&z ssfe mu n«. n
^ngsmt—srrat i cramrogi i «&v*N
3T? onPi l 3fd i tsft erwfocrr 13^ ^fti^ni ^ i
ftfmms—aft, 3jf?«r ^ awt i %«r ft rrasfcd apt-
^wiflm mftftr l art:, atfer % a%: i %Aift 5rw^p*<wmiR»ii
=ft%f?T I
crai—m: Mf<i^awms qnn|flrH^ I Ipto ft«5
mmrcft w^yf^fd apmgftn I msnpmfcflfi*: sraft
h I^frT it mimwfft i
^tg«dt—witgl mg ftm^Ptrait «u qftratast i m

ftWTftAt A SlfMt«f: I
3ST n«i scfN mg ^marat ?m-
g^n I aftwfef m mntf: $#A ePPPAIf I
 *dsf: I 141

have no more intelligence than a lump of clay believed

it. Or rather fate is powerful.
SanumatI. It is even so.
King (Meditating). Friend, help me !
Vidusaka. Oh, what is it ? This is indeed unbe¬
coming in you. Never do great men give themselves
up to grief; the mountains are calm even in a tempest.

King. When I remember my beloved’s condition

who was greatly affected by my desertion I feel quite
forlorn.
When I rejected her from here, she made an
attempt to follow her kinsfolk ; and when her
father’s pupil, revered as her father himself,
repeatedly cried “ stay ” in a loud voice, then
once more she fixed on me, who had become
inexorable, a glance bedimmed with gushing
tears ; (the idea of) it all bums me like an enve¬
nomed shaft. (9)
Sanumati. Dear me ! Such is one’s regard for one’s
own interest that I delight in his pain.
Vidusaka. O I have a guess that her ladyship was
carried away by some heavenly being.
King. Who else would dare to touch rudely a wife
to whom her husband is a divinity ? I have heard that
Menaka gave birth to your friend. And her companions
have, I imagine, carried her away.
SanumatI. His delusion is, to be wondered at, not
the awakening from it.
Vidusaka. If that is so, you will meet her again
after a time.
 ^ren—i
—nr «F5[ fl^Rfarfai^fa-tsK gfat
IPNi^ I 3 33 *)Mifta?l n<iR«4l«ij:feTf 5%at 5g
TO33: I
53511—33*3,
*3n* 3 Jiwt g nfira^t 3
• (|^ 3 3T33B3&3 S»3*[. i

3ak«ai 3m srasmrais n K° u
—3133* | oj ajJF^tsrai ccs* fu^ni 33**T-
«rf* arfepaforrfl' *m[3mt sift f% i ^ i
wwi) wftl^ i
*T3T—( 3^41* i ) ar$, r 3i33ggm-
wwftr sjWstan i
33 gqftawffsfor 33

333 35*3 famm?* <3&a i

5335335333*553133*31-
*533% ssswt 335^5 ll ll II
gigHcft—3H apw|g333 «% *W 3«3 ^afars* 33 I
<WM3WJ|f| H%RRq^3 saM** 3^3 I
—3*, ?3 aimg^l %3 3mtnr 3*tgt<*3. 33T-
^*P3 qrf^l I 3t:, S* 5113351 %3l3l^3 335*3*5 gW5&fl
SlftcTT I
3333#—33 fa ^js^n sunmft^t 33t i 33iftr
*&HHlRd 33: I
331—^3313.13333533 3^33 3T Rl3l *nm33l* I
famfafrmag*: hRw(% <i*33*fti i
—3^t 3?t I fRJ3)3: I
 q&f: I

King. How so ?

Vidus aka. No father and mother can (long) endure

to see their daughter separated from her husband.
King. Friend,

Was it a dream ? or an illusion ? or the infa¬

tuation of my mind ? Or was it that my merit
having borne me that much fruit, was exhaust¬
ed ? It is gone, never to return : these my hopes
are like falls from a precipice. (10)
Vidusaka. Do not speak thus. Is not the ring it¬
self a proof that there may be an unexpected meeting
with that which must necessarily happen ?
King. (Looking at the ring).
This, indeed, which has
fallen from a station hard to gain, deserves my pity.
Verily, O ring, thy merit like mine is proved
to be but slight from (thy) reward ; since after
finding a place on her lovely pink-nailed fing¬
ers thou hast suffered a fall. (11)
SanumatI. Had it found a way to any other
hand, its lot would have been truly deplorable.
VidOsaka. With what object was the ring placed in
her ladyship's hand ?

SanumatI. He, too, seems to be impelled by the

curiosity I feel.
»

King. Listen : when I started for the capital, my

darling wept and said : After how long will my lord
send me news ?
Vidusaka. Well, what then ?
 oral—qwifewi *pn ?w^G§t famram <rat wrafiiftra i
■ttaror ftnS fora# n^W
nwnjt now nngf#nra«Faii,i
nrafrS^ n^nttero?s%5f
Star wrera ^nftqgfhnaHlf H ^ H
aw ^reonmai oral nt^rengfen^i
wigntff—oioftnt **3 ora4> fnftnr fa#m$$i ra-
fffto: awofaftfaoi I
fn^raw:—n>4 vj)<i3^iwi sl^niosw 3^w
?a#nn# i *E*r vfltK+Rncrw (IfedwmWiwaK amta; i
^rai—3i-«ft<R§ ^nwwu wonreft e^ra^frataf#
qfrawj
&$0W:—I g®i^ i
—owt «*w <iraRgi>4ta wi4
^oft pwt wRriufi qfitno: #%?t «nfti i oicntffcst
oigqaft nftmuoi l oaj faw «c£ i srt «*>t aofawr.
njeraot a?*rMJ*taw ofr# ^5 amfft 1 nofeaJs-
snotsfnsH*## 1 wfi$d< 1

f%$nws—(nwicw. 1) nct^t o|or q*wi awramor 1

<ran onwwiH. 1
trsn—
oaf 3 4 nogufcl4Migl%
ok fograrfa ftmwmfa 1
oram 1

«t#ori aw goi n agpf-

m$a osnraantftar 6rai 11 w n
 King. Then, fixing this ring on her finger, I
said:
Count one by one every day the letters of my
name on this (ring) ; as soon as you reach the
end, my darling, the messenger who is to lead
you to the entrance of the inner apartment, will
come into your presence. (12)
And hard-hearted that I am, I failed to carry it out in
my madness.
SanumatI. A charming interval, indeed, which
was, however, marred by fate.
Vidusaka. How did it get inside the maw of the
carp cut up by the fisherman ?
King. While your friend was worshipping Sacitlr-
tha, it must have slipped from her hand into the stream
of the Ganges.
Vidusaka. It is explained.
SanumatI. It was hence that the king, who is
afraid of doing anything unrighteous, doubted his mar¬
riage with poor Sakuntala. And yet such love does not
require a token. How could it be ?
King. Well, I will now reproach the ring.
Vidusaka (To himself).(So) he is (again) going the
the way of madmen !
King.
How couldst thou leave that hand with its slen¬
der delicate fingers and fall into the water ? Or
a lifeless thing may well not appreciate ex¬
cellence. But how could I scorn my beloved ? (13)
 —(snwRtu i) fi*
w gg^ aifepatefa i
trar— arwmqRtq^
5PP 3*(<VIi)^ |
( fti|4><*KWI I )
^gft<W—faj RctCT^i ^rf|nft I ( foiiis? *&i% i)
^ faron af^ft i
SPIttl, «5<Wrq |U| +J|q|UJUJ-
I faar (frwym*|OH%;%f| | am %*m,
ng<wi'K&*M awi«jn^5i: i aswcfte a cfeWyltwa^tg i
tngprat—amit ttn trafaoit i anSt
arwrcft Jr i aril ^ <wtfPi^rai i sn% awwl ^
a^cf ?f?T I
trail—
ai^chivj a tmEsra?* ?rwc«w •
atnftr atm aimm *tenn fafa^an. n \v n
tITjJJTaT—tlfttl q««4KNgW) fentg^i ainm^-
ar I as^roraNgrr: ^senaa&rar a i
—wt, ^rf&r raftor a<«ntl'(teTt ^tiBa l trsqiaft
3? ^tnftanait I «R^m sw aqnsHt tras^sw I #., «pft
faa^anaaait sfrT i a%sj t asrara amorfr *u=aar i
tngnat—srofwwTt ^ $fetitti «?reti 4tgR{> awt
aianr I amBnr: aa^tenra aaar alvifk^- sh: i
trair—rq aimasrai a^qfti i
—a^Br an <ttn fafegfotimq’gsmaf^frn
afctrafrl afsrrwi^aift^m qsntnt fatltmt aikr(l*uft
qisrft sra^srMbiga^gma^ttr ^arqiaratti qi% *ftr-
qfttti^ar faai anBsf&i tn tra^ssi l Rtiart tiflaftfa l
 Vidus aka (To himself). How ? must I be devoured
by hunger ?
»

King. (My darling) abandoned without reason,

let me, whose heart is stung with remorse, be once
more blessed with a sight of thee ?
*

(Entering with a toss of the curtain, tablet in hand).

Caturika. Here is our lady in the picture. (She
shows the tablet )
Vidusaka. Excellent, my friend! How beauti¬
fully are the feelings represented in this lovely posture !
mine eyes stumble as it were over its uneven parts.
Sanumati. * What great skill the virtuous king
possesses I My friend seems to stand before my eyes.
King.

Whatever is not well executed in the picture

may be (retouched and) improved; and yet (even
then) her loveliness will be possessed by the
picture in some measure only. (14)
Sanumati. This is befitting an affection increased
by remorse, and absence of conceit.
Vidusaka. There are to be seen three ladies now,
and all are beautiful. Which one is the lady Sakuntala ?
SanumatL What use are his eyes to this man who
is ignorant of such beauty ?
King. Which one do you think ?
Vidusaka. Ithink that she who is represented as if
a little fatigued by the side of the mango-tree whose
young leaves are glistening after her watering, with
 u<

atiqift SfaT %«l’d>ilCfciH3qA'$4l

AstaalsmawiT sngwipra^BfeKRronqg^Ji ^kwi <n3i
taaftsiF^nfoftEff ar i ^rit waiifof-l i
aar—foyft aamj ai^TrJr araRnsaj
RaMIftfofqRltliul framing wm?t afea: I
aig g onit^aRig* cmfM[ MK^-cgwi^ n m n
at^tfeRnd^gfeift^qwq, l *m® l aRret
3R30FW I
^{jR^>i—a*l Jliam, am«ISm R»yWid«i 3IR 3l|Sl-
ggitii i an^ araar, sh<a»«i« fttiaiw* qra^m^siSl i
TT5IT—3Tgilfa^lg*fr I ( JpfRft I )
{ («l**Mnl %fl I )
*rar—ar? fs
araaRsraigqaamgm ^
fcratftai s^Rhi *g nrnam: i
aitatatf afa fMraaaaimftm
ana: sanominsfaiaraiq, n \\ II
—(aiicfliwn i) oat amran oific
fanfafigati aamt i (5reKm.i) at, amt ft am feft-
l mNtewiwflJiftmai sjn^fmt «*rt. i at:, wt foaa

mgmft—3»t at q$at ^nfta: R aftant a a aife-

ftgaaflt aft I at a: a^i: aoa ^sfmaai twifofajywTl
»^a.i
*nn—*jaai*u
 q&sg: I

arms drooping in a peculiar manner; with a face on

which drops of perspiration have broken out; with locks
of her hair the flowers df which have dropped down
from the loosened braid ; that is Sakuntala. The others
are her friends.
King. You are clever. Here are proofs of my love.
At the edges of the drawing is seen the soiled
impression of my perspiring fingers; and here
is to be observed this tear that fell from my
cheek from the swelling of the paint. (15)
Caturika, this source of my consolation is but half
finished. Therefore, go, get me a brush.
Caturika. Worthy Mathavya, hold the picture-
tablet till I get back.
King. I will myself hold it. (Does as said.)

(Exit maid.)
King. I, now.
Having first rejected my darling who had
approached me in person, and now again and
again doing homage to her drawn in this pic¬
ture, have become, O friend, possessed of a long¬
ing for the mirage, after passing by a river on
my way having plenty of water. (16)
Vidusaka (To himself). Here is his honour, having-
passed by a river, gone to a mirage. (Aloud). Oh what
else is to be painted here ?
SanumatI. He may be desirous of painting every
spot that the dear girl loved.
King. Listen —
 mfgFTt
PinuuisRuh jfKtajil: m^n: i
^U«wli*(fl<4«s^WW =5 5*tRfl%&ISSHTO:
sj^ qwwwW *p>#J«wr g*Ttg ii *« ll

RffW—(wron, i) 315 3!t ^«H»llil <jR^35 ofcn

Rw»i><a«t <a*5$wi dPrenai i wi? q?nf*r #-
fism^r ftsjMwW Wf^fsit fUTOPtf I

im—mm, 3r«m gt$*?uani:

Rlvjflwnl^! i

fafro:—H; fear i ftfer i

sngji#—5P»rara«t Ht otps« st sr aft?f *if%-
I fHTOI*!| ^'TIW 5 I

*I3JT—

(grflqHWqgfa<aft*&'Mtl^ |

gmi5W|5 tRret *?raia?R II \< ll

lit, (% «g aTist^t rwf^swrg^tfiruT
««wi3<fr"» 35 airatRai fearr i (m %rt
?^n ) «n, *rat erate jrft *ppiTw^tf ?w5t^
^frof JTfWt I «t:, fife 3 iW# TOffWittM-
SHIRhW^RN g^WKlt ■'llVrtfibSq fc*MI I an:, IJf <;mi:
35: | n^FTOftraffil 53^: 1
TO- 5g m&lftq I
 1*1

The stream of MalinI ought to be drawn with

a pair of swans resting on its sands; and on
both its sides must appear the sacred hills at
the base of the Himalayan ranges, where the
deer are squatting ; and I wish to draw, under¬
neath a tree that bears some bark-garments
suspended from its boughs, a doe that rubs
her left eye on the horn of a black ante¬
lope. (17)
Vidusaka (To himself). As I imagine, he will fill
up the picture with multitudes of long-bearded hermits.
King. Friend, I have forgotten to draw another
of Sakuntala’s ornament which I had intended to draw.
Vidusaka. What is it ?
SanumatI. Such as becomes her forest life and her
delicacy.
King.
A Sirisa-flower with its stalk faotened over her
ear, and its filaments waving over her cheek, has
been omitted, O friend ; nor has a necklace of
lotus fibres, soft like the rays of the moon of
autumn, been drawn between her breasts. (18)

Vidusaka. But why does the lady stand, as if she is

very much frightened, covering her face with the palm of
her hand glowing like the petal of a red-lotus ? (Looking
closely). Ah ! Here is this bee, this son of a slave, this
thief who robs the flowers of their honey, attacking her
ladyship’s face.
King. Drive off this impudent (bee).
 —Wf Uo*r aiftoiftiof yiR^i fti^i srrcdf <h-
fawft I *Rn^nMtcIHt WferTIFT ^R®t JWfautRl I
trrn—ajsqit I aift sit:, ft*r* ift-
iREWNwawiftl *
«r*i $.^,hPimwu ^fenfir iat» wMnawa i
uRmiacfa a »?ng ng ft^r mn ftarft n ^ n
yigHflt—3R» ar^at^ ^ crert 3iftst l araifinna
«a^'i ^iRcr i
ft^ro:—qftftrcn ft 3im <roi ai?t i a^nn
3llft: i
*rsn—wt:, ar i» snsft ftsft i i|«rai aft *raft i

il'W
«M mn qywft i
ftum* ^iRn ^CTllftqHH-
wmft *> ^° n

ft^o^;:—q?a Rwq^qg^i ft oi sntsoft i (a??! i

aiWOdH, I ) <J^t ^13 'JW'flt I 5*4 ft ^jfOT CR<rt-
gooif ft*r ^rgrit i ( srarcn; i ) wt, ft^t it i «&
fftwspr ft a i tjr aia^^ra: i a^natoFr ^
9W: I ^t:, fta *lc3d< I
<rai—wt ftra^i
ait ft aift aiown^i, ft 3oi annfe-
«cat I aiprW'ffaaoociraf, ft ga^«nftftin^iw>«i: i
qan— q*rer, ftfiftnaftt 4><Nu«m, i
 I

Vidusaka. Your honour alone, that punishes all

offenders, has the power to drive hirii off.
King. True. O welcome guest of flowering-plants,
why undergo the trouble of hovering round here ?
There, perched on a flower, is the female bee
who loves thee, and though athirst, is waiting
for thee still, nor without thee will she taste
its honey. (19)
SanumatI. For once now is he kept off quite in a
courteous manner.
VidOsaka. This kind is perverse, however it may
be warned off.
King. Thus, then, thou wilt not obey my command.
Well then listen ;
Shouldst thou touch, O bee, the bimba-lip of
my darling, sweet as a virgin leaf on a tree, the
lip from which I drank delight in love-feasts,
then I will make thee imprisoned in the hollow
of a lotus. (20)
Vidusaka. How should he not be afraid of one who
gives so severe a punishment ? (Laughing, to himself).
As for him, he is quite crazy, and I too am just as bad,
from keeping him company ! (Aloud). O, it is only a
picture.
King. How ? A picture ?
SanumatI. I, too, did not realise the fact; how much
less he who is experiencing what he has painted!
King. Friend, why have you done such a wicked
thing ?
srfo. ai.-l \
 ivi

asnftn spftsi I
mfawRuii mfti ft gsnjft fcftlgai qnsai II *.K II

(ifinm i)

qiawft—g*m*KElft£l 3»JS5t «rot i l-foT-

Wtaqjl tp? Iftiisnft: i
Trar—n^'W, qwrftnfflftwFajsqRigsRTfft i

U4|4KllrU«ft^d*d43i: «ft «WI«: I

qi«re3 si ^i^sri srg ^rasranrtft n R'< n
*H3*iftV—«s*5t <rafaft 3^ <a^am i
*t#*n twil^M ?wr si$*wir: i

(srfft^r i)

^gfoa—ft$ ftf 5dSt I s|(|au<b<u^4 ftfasu f^t-

55 qfftjRftg | 5W3 3Pig *rai I •ifif+m'W.
afararfw i

trai—Rbh i
ft 554Kt wan atfesm^^airc Mta
si? 'j^ry^a <% i&t&mii si^ i
it ft aww*w aftawfetorar ft®*n
WMIrW* U^f: |
^ftw 3ft gw l ftwr 4 gw i
■*«$j(vW—s*w sft-
an m (fti«nil^ sum I feqangaftsf ercfftw
ifrisfa arawn fftsfifer wott i
 *dsf: i IV*

While I was enjoying the rapture of behold¬

ing her as if she stood before my eyes,
with my heart completely wrapped up in
her, you have, by reviving my memory, again
transformed my darling into a picture. (21).

(Sheds tears.)
SanumatI. Quite without a precedent is this way of
(one in a state of) separation, involving as it does an in¬
consistency between what preceded and what followed.
King. Friend, why do I thus experience unremitt¬
ing grief ?
Union with her is prevented by my sleepless¬
ness ; and my tears will not suffer me to view
• her even in this picture. (22).
SanumatI. You have completely atoned for the
pain you caused Sakuntala by repudiating her.
(Entering) Caturika. Victory victory, to your
Majesty ! I had started in this direction with the box of
paint-brushes-
King. Well ?
CaturikA. When on the way it was forcibly snatch¬
ed from my hand by queen Vasumatl who was accom¬
panied by Taralika ; (the queen) saying “ I will take it to
my lord myself/*
Vidusaka. Fortunately you were let off.
Caturika. While Taralika was disengaging the
queen’s upper garment which had been caught by the
branch of a shrub, I took myself off.
m stifaopwn&aft

*nrr—qq*q, sqfemi qr TOfam

srfcT^?fcr *gig i

fo^ro:—^ttiot f% srunfe i (%rc*5qan®%TO q i)

3T* qq
toii% ^r%f|-1 (iprct tew-1) anwwftft m i
ckt rrf srcn% jis^rra i

^irg*4d1—3rHTO^^ft3T3Tt & TOTO?HTO 3T^Rgf% I

i^fearete'Cl qnGif TOt 13ifw^s«4hft i
ferfqg#!!^ ^Rfjfftq: I

(srf^r qq^n i)

si<ft$iCt—^5 %qfr i ^sj i

xxm—%*%fe, 5f TO rTO |
snftiift—are i i w®«f ri qrSfoiro I m
$3* I JTt ^T qfrTtelT I

qm—«ct4^ & q£g*fa i

—qq, 3T*rot f^or^ i arantiqro touii-
qjsqre qA <*sq qlro^S aretfroq cf ^qt totc£ to-
TOftq&g fti l %a, aroicqt terqf% i jrw|iA-
ifa cR[® Stcq^jft'Mlic'ifti I

*T3lf—qftrKT q^rq I
f

(i)
am—(ajjrFar i) m*p^ i aggmtttifl amnrt sfi-
fWt aw *N<rcft faw: i awww fow aroft i asr-
 TOtSf: I

King. Friend, the queen is come, and she is rend¬

ered arrogant by (my) great attentions to her. Do you
take care of this picture.
Vidusaka. Say 44 yourself/’ (Taking the picture-board '
and rising). If your honour is freed from the bane ot
the inner apartments then call me in the Meghapratic-
chanda palace.
(Goes out with hurried steps.)

SanumatI. Although his heart is transferred to an¬

other he yet cares for his first love. His love has very
much lost its ardour now.
(Entering, letter in hand) Portress. Victory to your
Majesty.
King. Vetravati, did not you meet the queen on
the way ?
Portress. Yes, I did. But she turned back when
she saw me carrying a letter in my hand.

King. She knows (the importance of state) busi¬

ness, and avoids interrupting my duty.
Portress. Your Majesty, the minister requests : On
account of the heavy work of counting the various
items of revenue, only one citizen's suit has been at¬
tended to ; let your Majesty consider the same which is
committed to writing.
King. Give me the letter.

(The portress brings it.)

King. (Reading). How ! The merchant Dhanamitra
who had (extensive) commerce at sea had been lost in a
 i«u

nnft asapSrsraa frftaqwafrr i (aftwr. i) a>£

eiSWWMJ I d§v*.MI£$,<TMl&d cmicfftT »^RI3mi.l
fa-yi4di aft «hiP4<m«««i asa *naftj sai?^ i

Ji^ftift—^a, ^rf3i a:«a sn3atw*i #f^nt gftarr

ft^-d^u snart sT sjf&raft i i&, w<(ft<t yi&Ra
Stfssrt slat fttdgtw«u swift *£# i

srtt—5*3 n& fasa fcraalfa I aaaBTFl aft i

Jitfftid—si ?fat artnftft I (sft aftrat) a^a ansimfa ■

srsn—aft arart i

sraftist—^srfft 1 saafra i

srsn—fan-to siaftsfer aisatft i

*ra ftrjjaf^ snrn fep^ra «pgar i

st si aiare% htstt 5^r»a sft g«a?nn. ll '<% ll

saftist—asa am atsuam i ( i ga: afow i)

soft ait ftar arftafft^ ^assr snsram. I w am ataftwaa i
a# a*jafiiwiBHf^fi Wft airaaa. i

srat—(aHgwr a ft:*TFr i ) at at: siaRi^^RisasT-

mwi figrai issjsarasTT^ #n? asgaftsftr I *wtft5%
gsafeiftra: aa fsn?a: I
shipwreck. And they say that the poor man had no
child. All his accumulated wealth reverts to the king;
thus the minister writes. (Sorrowfully). It is indeed
dreadful to be childless. He had great riches, he must
have wedded several wives; let an inquiry be made
whether any one among his wives is with child.
Portress. Your Majesty, it is reported that his wife,
the daughter of a merchant from Saketa, has even now
gone through the Pumsavana ceremony.
King. Surely the child in the womb has a title to
its father’s property. Go, say so to the minister.
Portress. As your Majesty commands.
(Starts to leave.)
King. Come for a while.
Portress. I am here.
King. What does it matter whether he has or has
not left offspring ?
Let it be proclaimed that whatever dearly
loved kinsman any one of my subjects may
lose, Dusyanta will supply the place of that
kinsman to them, the wicked excepted. (23)
Portress. Thus surely it shall be proclaimed (Going
cut and returning). The royal decree was welcomed
(by the people) like a timely shower.
King. (Heaving a deep and hot sigh). O, thus it is
that the wealth of families which are bereft of support
through the failure of progeny passes on the death of
the representative of the progenitor, to a stranger.
When I die, such will be the fate of the wealth of
Puru’s line.
 I 5T&|cnW3fc5^ I
*rsn—i
^ngjRft—arowi ^fk **&t fkwz sfer ffrfccjt otar
I 3TWT f^TT I

*1311—
wiNn^UltflH ^IJHcm
ttost tot ow i^afoat i
qsftqwwwi <rsto
g^pra *m t^itofcn ii ^a n

’argjrff—TOftf^gwm gift $ vrfcrofg I wqft-

—(ooifarear. i) ana: sfauir <-wtqigfT»^ui

^3^s^3Tt Hft | of ifcuifWwl TOf Tria¬
s' $fi*g3T arjansg I arfit, sisfa feii“]$il oof i
kpwi’HKifts *ta>ilch®«*iv4 W&M I

aalaiO—fj$ florrfe I (?ft ftasran i) g<§ ooft i

si
031—3l5t £^WWI WIOKI^.51: ftwjtwnn I I

«KHk*K TO TOT#I *PpHi%

^ sis 5% fsmroif% i
30 aqfafro^o tot nftreft
fror; ftraPa ii r\ ii

(tUsgror: 1)

mgftai—(oOwra^n 1) auroras fl?i 1 owning oof

 TOSf: I *•!

Portress. Heaven avert the calamity!

King. Fie on me who despised the happiness that
had offered itself.
SanumatI. Surely he has the dear girl in mind
when he thus reproaches himself.
King.
Verily my lawful wife, the glory of my family
was forsaken by me, although my own self was
implanted (in her) like the earth sown
with seed at the right season, when she pro¬
mises the richest fruit. (24)
SanumatI. Now your line will never be interrupted.
Caturika (Aside). The merchant's story has doubled
our lord’s remorse. Go to the Meghapraticchanda palace
and fetch the noble Mathavya to comfort him.
Portress. A good idea. {Exit.)
King. Ah me! Dusyanta’s ancestors, who claim
a share in the funeral offering, are brought to a critical
situation. For,
Thinking “ who indeed after this (man) in our
family will offer us the libations prepared ac¬
cording to scriptural precept ?” my ancestors
verily drink such of the water offered by me,
who am destitute of progeny, as remains to
them after washing their tears. • (25)
(Faints.)
Caturika (Looking about in haste). Take heart,
my lord.
 arfirajiawyafe

Old«ia>—ggT I «wy(ui*lS«H «rot

apqreofto aigttf^ I aRf . ^rf3i (Spg^ a;dfit I
arere gq *re o-are^ oa^oroa^afa afrqreirnita g-
st^f aiwrreartagre =^re a? ajujf^f^oPa are
an^or artrerf^ftr wfr arfltnf^o^fa i m g*i «r£ reaS
qfeqifeg i rea ^Urm gre^or ftarcrfg ow«rr3fa i
( f^RH 5IW-
i ar^ftto’ffta Ma retfir i awar spf
rerr y*-drii anraRPRJJt fl^aaan grearunltigw ^ar ^
?r*n3BTCarfRT aiprpff ^ftrcf^'arcflft t afafta *sra
s^NiaSian i 4w^h w^cw ISuw<«iT rerawwift i
* (1 )
arorewi ~^5^tgntri | 3^spjqj^ 3raaiTOm i
nan—( ncW<hii»i: ^fsm ) a?^, rea°re£re<feqo |
res ifts* wt: I '
(ala^r i)
refarft—(aarem i) aftorarg Wt rjoareq qareo I
ifiwi Applet area* i
ore—%rerere*it rearer;: i
reStBPft—safeq^at ^at f% gafca rel^qtfaar Hl<q-
fe^arerer reoreao areigRr rettfafo I a^s^r %arfr
srare^nrejSiaiftfrer: i
ore—( araia i) re arret, I rertfa orldirgq^ gst: I
awtre i
are^s^rerea «sq rere
reig narewfea a arere* I
wrei a>: %a are rerrat-
re$rreft qftgflfrer refre: ii ii
( ar*a i )
art.qarao, arfare aifafi l at wi, 3^ srfqigr i
 TOtsf: |

SanumatI. Alas, alas ! Though the light is there he

is suffering the evil effects of darkness by reason of the
intervening .screen. I can make him happy even now.
But I have heard from the mouth of the mother of the
great Indra as she was consoling Sakuntala, that the
Gods themselves, longing for their portions of the sacri¬
fice, will so devise it that before long the husband will
welcome his true wife. It is, therefore, proper to wait
for this period. In the meanwhile, I will comfort the
dear girl with the news. (Exit by flying through the sky.)
(Behind the scenes)
Help, help!
King (Coming to himself \and listening). Ah, that
sounds like the distressed cry of Mathavya. Who is
there, ho!
(Entering) Portress (Confmedly). Let your Majesty
save your friend who is fallen into danger.
King. Who has humbled Manavaka ?
Portress. Some invisible spirit, who having
overpowered him took him to the top-most floor of the
Meghapraticchanda palace.
King. (Rising). This must not be. How, even my
house is infested by evil spirits! Or,
Even when the mischiefs occasioned by one’s
own negligence from day to day are scarcely
known, how then can one have the power to
know fully what path each of my subjects is
treading ? (26)
(Behind the scenes.)
O friend, alas ! alas !
<•»

<rai—(i) <»#, *i Srcistf *r ^raan^ I

(^T=% I )
(g«refet ifest i) «t «u wt?«f i to ft q^swwr-
grercig* rr^ ftar f^5¥nf I w jt JM* i t?r jtf
'«WK»wfiKWKftgftw fswjf i
<rai—(?rcfe^ i) vrgqare^1
(irftnFr wftgan i)
<ra#—«sr, nS ganawrfM «<wwl i
<RT%3 WKPHl I
( <MI TOC I )
( %T*% I )
•w t3pftwqq>qggfWftiai4fr
gnfes: igfifei s^w i
snafai swiw^gnKivjJai
f'sjsrraaa trot waiSr^rata^ II =<\s it
<rar—( ’rct'ro; i ) aai mnaiffotfa i smmsw,
a i (wNifcq i) ^sisfir, «lww«rf-
*n^rr*r i
sreftsd—ret ret %at I ?a ?m ‘«: i
( 3~rcg>mNr i)
<i3n—(suRtriretre i) «afe<ren i
(i)
3lfa?T arfagt I 3T5 3Kt«SPa Wlli I 3*T H «H
«pafa I fesr forcrat <Jg
<if^t I sri% arfq?r i arresw^i q^nfe i 3 »rt 5i q^rfa i
fqsia^tat ijjqq: ?q Fta^sfer aftfqa are= i
<rat—«tfeK<*ftoftiT<sfa, «at*r wa <ar l

at gftmfi a«t ari <stf reifa =a fean i

ft ?£t<sre% aPmn a&iaw it n
 i

King. (.Moving round with an altered gait). Fear not,

my friend, fear not. (Behind the scenes.)
(After repeating the same). Fear not ? There is
some one trying to break me . into pieces violently like a
sugarcane having bent back my neck.
King. (Looking about). Hola ! my bow—
(Entering, bow is hand) Yavani. My lord, here is
the bow with the arm-guard.
(The King takes the bow and arrows.)
(Behind the scenes) Now, thirsting for the fresh
blood from the neck, 1 will slay thee struggling
as a tiger (slays) a beast. Let Du§yanta now,
who takes his bow to remove the fear of the
oppressed, be thy protector. (27)
King. (Angrily). How, he even refers to me ! Stay,
carrion-eater ; you shall die now. (Stringing his bow).
Vetravati, show the way to the stairs.
Portress. This way, this way, your Majesty.
(All advance in haste.)
King (Looking around). There is, indeed, no one
here.
(Behind the scenes.)
Alas! Alas! I see your honour, but you see me
not. I despair of my life like a mouse caught by a cat.
King. You, who pride yourself on your power
which renders you invisible, my weapon will see you ;
here I will fix an arrow.
Which will slay you that deserve death and
save the Brahmin who deserves to be saved.
The swan drinks up the milk and leaves the
water which has been mingled with it. (28)
(sarai i)
(aa; srfei® *THfe: I )
nrafes—
S3T: *;^n <Mi^T:
grereia Klgm<nfow i
*wi^4te»riS| srai qs«ra
<ra£s g$j!% *i ^reoiis 5TO: ii v, II

srai—(1) arai%: I *ai*i?f ntsjf-

Birq^l
(sri^fsr i )
Q$N4>i'—ait tffcigai* srawi «i<si^iir
| 3»? ^feq^fiR *nfet: «ts^t i
wrafe:—(nfwrq i) snsj'W^, ^raar gfonr
swcwwi af^ra: l
nai—amfeatefei i
nrafe:—3il% shiaslfinqftj&ft srh ^nanar: i
sTsn—sifei i jwi «ii<4h, i
niafg:—
giasKateasg-
sa*a ai sTnfsrcfa safat fa^sar I
a’sdg wrafa sra ^rerafa-
II %° II
^ a«iMiTnu<si Ra *<iaf a4?»i.<y*n*>B4 (asraar af^g-
aa^l
sjsir—3i3^5>ats?aspn aaaa: ^baaaat i awr maaf
afir aaar s^rh. i
 sirs*: i
(Aims his arrow.)
(Then enter Matali leaving the Vidusaka.)
Matali.
The demons are made by Indra thy mark ;
against them let thy bow be drawn. The good
cast not cruel shafts, but eyes soft with kind¬
ness on their friends. (29)
King. (Withdrawing his arrow). Ah, Matali! Wel¬
come to the charioteer of the great Indra.
(Entering) Vidusaka. What, he by whom I was
being butchered like a sacrificial animal, is greeted by
him with a welcome !
Matali (Smiling). Hear, long-lived one, on what
errand I am dispatched to you by Indra.
King. I am attentive.
Matali. There is a host of demons, called Durjaya
—the brood of Kalanemi.
King. Yes ; I have heard so from Narada.
Matali. Thy friend Indra, it is said, is un¬
able to quell them ; but that thou wouldst smite
them in the front of battle. That nocturnal
darkness, which the Sun is not able to dispel, is
scattered by the Moon. (30)
Therefore, grasping thy weapon thus, mount the
car of Indra, and set forth for victory.
King. I am grateful for the honour which Indra
shows me. But why did you act thus towards
Mathavya ?
 *pu#anro-
g<4imwi eg: i *T*n ®?rh-
*rf%R I 5<T: i
-dfetUfcHUiiriWg^a: qwr: <roit |
aw Jiftruw f% 3r: ii v. n
*T3n—( aRlfcreg. i ) TO^l, awfowtafal ftwt&MR l
qfc«wi«i aareqiywwfiigri fffc i

jifawfaqiiwi R*i^)4(ui stn^i tggs ll Vi n

tfti i
ft^nR:—it *ra l ( ?fct ft<*>i-ri: i ) ^mwi-
<wfi» I
«wfe:—3TI5*4<IH«IflRtS'g I
(*rai sn2?i% i)
( tff i )
«lgtsf: |
 qdtar. i

Matali. I will tell that. I perceived that by some

inner sorrow caused by one thing or another, the long-
lived one was distressed. Thereafter I acted thus to
provoke the wrath of the long-lived one. For
The fire blazes when the fuel is stirred ; the
serpent, when provoked, expands its hood ; for a
man generally regains his proper greatness,
under some provocation. (31)
King. (Aside). Friend, inviolable is the command
of heaven’s lord. So acquaint the minister Pisuna with
the matter and tell him in my name—
Let thy wisdom alone secure my people from
harm, (while) this braced bow has a different
employment. (32)
Vidusaka. As your Honour commands. (Exit.)
Matali. Let the long-lived one mount the chariot.
(The king acts mounting the chariot.)

Exeunt Omnes

End of Act VI

SIT.—1*
 OTTSf ♦ I

(eras erai rnerflw i )

<rm—hfi^, aiaHiafa&itefa wwa: ^ffr;qifa$i-

*HdMg!*»iPi«n<mM i

flieiffe:—( «%ra«. i) gypumwftaW wwfc i

swiliftM q^eenr:
srf^RUT gg WIR,I

wra» «tsfq *r ^ef^OTTgoiR^li ? 11

*cran—-ma#, *n, i « rag wnteqwwai^faPS-

«fcuqHEroacw<.: i *m % Mtarai ^nw;wvifa«ftq%fei<M^i

ra?a»ferai4*n#?tw#
arasragaEter »afcnefri i

jp^PWBt wRrat Pwbj II '< II

HRlfoK—f^fJra H1MigcUHM<MK|Mll{Pl i «wpr i

 ACT VII
(Then enter king seated in a chariot that flies
through the air, and Matali.)
King. Matali, although I have executed the
mission which Indra gave me, yet considering the spe¬
cial welcome he accorded me, I think myself to have
been of very little service to him.
Matali (Smiling). Long-lived one, t think neither
of you is satisfied.
Your Highness considers the prior benefit
(conferred by you) on Indra as trifling (in com¬
parison) with the honour (done by him to you);
while he reckons as of little account the special
honours (bestowed) on your Highness, being
filled with wonder at your heroic achievement. (I)
King. Matali, no, say not so; for the honour done
me at parting surpassed my warmest expectations. For
making me sit on half of his throne before the eyes of
the gods,
And smiling to see Jayanta, who stood near
him, filled with an inward longing (for the
same honour), a wreath of Mandara flowers,
marked with the yellow-sandal from its rubbing
on his breast, was by Indra placed about my
neck. (2)
Matali. But what does not the long-lived one
deserve from the king of the gods ? See
SIS

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 asuftsf: I m
The heaven of ease-loving Indra has been
made free from the thorns of Danu’s race by
two (means) : now by your smooth-jointed
shafts, and formerly by the daws of the man-
lion. (3)
King. In the present case, really, the greatness of
Indra alone deserves praise.
That servants succeed even in great enter¬
prises—know that to be the effect of the honour
shown to them by their masters. Could Aruna
dispel the shades of night if the thousand-rayed
one had not placed him in front (of his
chariot ?) (4)
Matali. That is quite worthy (of you). (Going a
little distance). Long-lived one, see the full exalta¬
tion of your glory, which (now) rides on the back
of heaven!
With the residue of colours used by nymphs
of heaven to adorn their persons, these dwellers
of heaven are writing your exploits on vest¬
ments of the heavenly trees, thinking out verses
suitable for singing. (5)
King. Matali, In my eagerness for battle with the
demons, I did not observe the way to heaven, while
ascending the sky the other day. In what path of the
winds are we now journeying ?
Matali.

They call this the way of the wind Parivaha,

which is freed from all darkness by being the
second step of Visnu, and which bears the
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 I

triple-streamed river flowing through the sky,

and causes the luminaries to roll in a circle
diffusing their beams. (6)
King. Matali, that is why my inner self, with the
internal and external senses, feels a pleasurable repose.
{Looking at the wheel of the chariot). We have descend¬
ed to the region of the clouds.
Matali. How is that perceived ?
King.
This your chariot, with the rims of its wheels
bedewed with spray indicates by the Catakas
flying through the interstices of its spokes, and
by the horses lapped in lightning-flashes that
we are now moving over clouds pregnant with
showers. (7)
Matali. In a moment, the long-lived one will be in
the land under his rule.
King. (Looking down). Through our quick descent,
the world of men appears a wonderful sight. For
The earth appears to descend from the sum¬
mits of mountains that emerge upwards; the
trees no longer appear to be enveloped in their
foliage, as their trunks heave in sight ; the rivers
whose waters were lost to view from their narr¬
owness become visible from tjie expansion (of
their waters). Behold the earth is being
brought near me as if by some one throwing
it upwards. (8)
Matali. Well-observed. (Looking with reverence).
How grand, how noble is the earth \
 *lT®=r JiquRy: q^WHkilq^a |

«IHlf«i: OU^UR^, vm GtyttHM&l-

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(-fi^l«(WrOutf i)

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 Gtmtef: I *1»
King. Matali, what mountain is seen yonder, that
dives into the eastern and western sea, dripping with
liquid gold, like a bank of evening cloud ?
Matali. Long-lived one, this is the mountain Hema-
Kuta of the Kimpurusas—a place where the powers of
penance are fully attained. See,
That Prajapati who sprang from Marici, the
son of the self-existent, father of the gods and
demons, practises penance here along with his
wife. (9)
King. Well then (opportunities for obtaining)
blessings must not be neglected. It is my desire to pro¬
ceed after walking humbly round the holy sage.
Matali. An excellent idea.
(Gesticulate descending.).
King. (Wonderingly).
The rims of the chariot-wheels produce no
sound; nor does dust appear to be raised ,* and
the chariot, as you rein-in (the steeds), is scarce¬
ly marked to have descended to the earth, when
it has really done so, on account of its not tou¬
ching the surface of the earth. (10)
Matali. That is all the difference between Indra
and the long-lived one.
King. Matali, where is the lioly retreat of Marica ?
Matali (Pointing with his hand).
There where stands yonder sage, facing the
Sun's orb, inmovable as a pollard half buried in an
ant-hill, with his breast closdy encircled by the
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 slough of a serpent; his neck is heavily squeez¬
ed by a coil of the tendrils of old creepers ; and
he has a mass of matted hair that covers his
shoulders and is filled with the nests of birds. (11) v
King. Bow to thee of such austere devotion.
Matali (Drawing in the reins of the chariot). O king,
here now we have entered the sanctuary of the Praja-
pati, in which the Mandara-trees are reared by Aditi.
King. It is place more delightful than heaven; I
seem plunged in a pool of nectar.
Matali (Stopping the chariot). Let the long-lived
one descend.
King. (Descending). But what of you, now Matali ?
Matali. I have stopped the chariot. I too will
alight. (Doing so). This way, long-lived one. (Walk¬
ing round). Behold the holy retreat of the rever¬
ed sage.
King. Indeed I am looking on with amazement.
Here in this forest of Kalpa-trees, they draw
from air life's necessary sustenance; in waters
yellow with the golden dust of the lotus, they
perform ablutions for religious vows; on jewel¬
led slabs, they meditate; and restrain their
passions in the midst of celestial nymphs : they
practise penance in a place which other sages
by their austerities seek to win. (12)
Matali. Verily the aspirations of the great ever
mount upwards-, (Walking about; in the air). O Vrd-
dhasakalya how is the holy Marica occupied ? What do
you say ? Being questioned by Aditi respecting the
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 witef* i

duties of a faithful wife, he is explaining them to her

in company with the wives of the great sages ?
King (Listening). Ah ! We must await the leisure
of saints.
Matali (Looking at the king). Let the long-lived
one rest at the foot of the Asoka tree; in the mean¬
while I will wait for an opportune moment to announce
your arrival to the father of Indra.
King. As your Honour thinks. {Stands.)
Matali. Long-lived one, I will depart. {Exit.)
King {Indicating ian omen).
I do not hope to obtain my desire; why, O my
arm, dost thou vainly throb? Happiness that
was scorned before, surely turns into pain. (13).
{Behind the scenes)
Do not be so wild. What! Gone already to your
own nature! .
King {Listening). This is no place, surely, for any
rudeness. Who can be thus rebuked ? {Looking in the
direction of the sound; in surprise). Who is this child,
closely attended by two female-ascetics—a child that
possesses not the strength of a mere child ?
He forcibly drags towards him, for sport, a
lion's whelp that has but half-sucked its
mother's dug, and has its mane ruffled by pull¬
ing. (14)
{Enter a hoy acting as described, iand two
female ascetics.)
Boy. Open thy mouth, lion, that I may count thy
teeth.
 stow—fk oft awmforfMtenRir
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 wftsfi i
First. Naughty boy, why dost thou torment the
animals whom we cherish as if they were our own off¬
spring ?. Ha! thou art getting more wild. Aptly have
the sages named thee Sarvadamana.
King. Ah, what means it that my heart inclines to
this boy as if he were my own son ? No doubt my
childlessness makes me soft-hearted.
Second. This lioness will surely attack thee, if
thou release not her whelp.
Boy (Smiling). Oh, I am indeed dreadfully scar¬
ed ! (Pouts his under-lip.)
King. This boy appears to me to be the germ
of heroic valour and looks like fire in a tiny
spark waiting only for fuel (to blaze up). (15)
First. Child, set at liberty this little lion ; and I
will give thee another plaything.
Boy. Where is it ? Give it me. (Extends his hands.)
King. How, he bears the marks of universal royal¬
ty ! Thus his
Hand extended in eagerness to grasp the
coveted object, with fingers connected by a
web, appears like a single lotus, the interspaces
of whose petals are not visible, b]own open by
the early dawn with its glow enkindled. (16)
Second. Suvrata, it is not possible to stop him by
mere words. Go ; in my cottage you will find a painted
clay peacock that belongs to the hermit-boy Markan-
deya. Give that to him.
First. As you say. (Exit.)
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 : I

Boy. In the meanwhile, I will play with this. {Looks

at the hermit-woman and laughs.)
King. How my heart goes out to this unmanagable
child !
Blessed are they who, carrying their sons that
fondly seek their laps, with bud-like teeth that
slightly appear in their causeless smiles, lisping
their charming inarticulate prattle, are soiled
by the dust of their limbs. (17)
Hermit-woman. Well, he does not mind me. (Looks
back). Which one of the hermit-boys is here ? (Look¬
ing at the king). Come, gentle sir, and free this lion-
cub being tormented in childish sport by this child
from whose grasp it is difficult to disengage it.
King. (Approaching ; smilingly). O son of some
great sage.
Why is it, that by thee acting in a way oppos¬
ed to the hermitage is befouled, from thy very
birth that virtue of forbearance which delights
in the protection of animals like the sandal tree
by the black-serpent's brood ? (18)
Hermit-woman. But, good sir, he is not the son
of a sage.
King. His actions, indeed, which are conformable
to his appearance bespeak it. But I took that view
from the evidence of the place. (Acting as requested,
and feeling the boy's touch, to himself).
If it gives me such delight to touch the limbs
of the child who is the scion of some stranger’s
family, what rapture will arise in the heart of
that happy man from whose body he sprang ? (19)
srftr.
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 SOTtsf: I

Hermit-woman (gazing at both). Oh wonderful!

King. What is it, holy woman ?
Hermit-woman. I am astonished to mark the
resemblance between your form and the child’s. Ana
although he had no (former) acquaintance with you,
yet he did not take any dislike to you.
King (Fondling the child). If he is not the son of
a hermit, what is his family ?
Hermit-woman. The family of Puru.
King. (To himself). How, he belongs to the same
family as mine ? That is how the lady thinks he
resembles me. For this is the last family-vow of the
descendants of Puru.
To them who dwell at first in palaces which
abound in all the pleasures of sense, for protect¬
ing the world, the roots of trees where the one
vow of asceticism is rigidly observed serve as
homes afterwards. (20)
(Aloud) But the place is inaccessible to mortals by
their own power.
Hermit-woman. As the good sir says. But in
consequence of her relationship to a nymph, his mother
brought him forth in the pious grove of the father of
the gods.
King (To himself). Ah, this is a second ground of
hope. (Aloud). What is the najne of the virtuous
monarch who claims the noble lady for his wife ?
Hermit-woman. Who, indeed, would think of
speaking his name who rejected his lawful wife ?
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 King. {To himself). This story, really, points at me
alone. Suppose I ask the name of the child’s mother.
But it is against good manners to inquire concerning
the wife of another man.
{Entering with the clay peacock in her hand). Hermit-
woman. Sarvadamana, look at the bird’s beauty—
the Sakunta-loveliness.
Boy {Looking about). Where is my mamma?
Both. Tenderly loving his mother, how he is de¬
ceived by the similarity (of the sound) to her name !
Second. Dear boy, thou wast asked to see how
pretty the clay-peacock was.
King. {To hi?nself). What, his mother’s name is
Sakuntala ! But names are alike. Will it be that the men¬
tion of a mere name, like some mirage, would in the
and lead to bitter disappointment ?
Boy. Mother, I like this fine peacock. {Takes up
the plaything.)
First (Looking; with alarm). Oh, the amulet is
not on his wrist!
King. Don’t *et alarmed. It was dropped while
he was struggling with the lion’s cub. {Desires to pick
it up.)
Both. Don’t take it. How he has already picked
it up !
(They lay their hands on their bosom and gaze
with surprise at each other.)
King. Why was I forbidden ?
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 : I ni
First. Listen, your Majesty. This is the herb
Aparajita given at his birth-rites by the holy Marica.
They say, that in case it fell to the earth no one but the
parents or the boy himself may touch it.
King. And supposing he takes it ?
First. It becomes a serpent and bites him.
King. Did you ever see it thus transformed ?
Both. Several times.
King. (With joy; to himself). Why then do I not
welcome my hope fulfilled at last ? (Embraces the boy.)
Second. Suvrata, come let us carry the news to
sakuntala who is engaged in the observance of her
vows. (Exeunt.)
Boy. Leave me that I might go to my mother.
King. My child, thou shalt go with me to greet
thy mother.
Boy. My father is Dusyanta, not you.
King. (Smiling). Even this contradiction convin¬
ces me.
(Enter sakuntala wearing her hair twisted into
a single braid.)
sakuntala. Clearing that Sarvadamana’s amulet re¬
mained in its natural form, even when there was an
occasion whefi it ought to have changed its form, I
could scarcely trust my fortunes. Or perhaps as Sanu-
matl told me, this is possible.
King. (Looking at Sakuntala). Ah, here is the lady
Sakuntala. She who,
Wearing two dark-grey garments, having a
face worn by her vows, and wearing a single
 jw fttgad ii it
V$*d<dl—( 'rarawfoi'? asrR P511 ) «r ^
fear 1 «cafr gift ^rcar »ra«y-
**N | * JsIHragil 5*t I 3c|: * «?» ^pff sfrdiltflffiffa
^ 'IPTSTCl’Tor <t<Mftf I

was—(1) aisrn, u^t gfa=it w 5^%

anfoyfo 1 »n5r:, t?T q^sfa g^t »ri gsr »mfoftRi 1

trm—fir%, ^ufir S #|-

1 qqigfWft awfinnaaiww M?nfo i

gl$mgt—(ansman ) fgatar, <uwfw wre«« 1 qfrw-

mu^ftqaifig %5^m 1 sranrfTt «p^ mat l ?^t,
wn*qfa% eawft% 1 q Rrq-*fcqdA|,ii;i+ftq<iifw 1 arragsr.
ai^r: 1

TI3TT—fll$,

agp# Rqgifa t 1
yHMIl-d 51%*! MJJlMMI dftoft *%!**. II s« II
5i$f?re5t—$3 515 ^«H-dl l ( «ii<wA
%*f* 1 ) 3Pig ^qrtrfg^: 1

^RIJ—
*Hw}U| nfnR«aSfq fjjd TOT I
ma ggfl^yCTt qrestggt g*m ll ll

*T55:-arOTt, mat I >H5T:, q> I

—**g, ^ wajfeant geSft I qw, % «TPi^jnft 753 1

 WTtef: I

braid of hair, and pure in her conduct, is under¬

going a long vow of separation from me who
have been exceedingly cruel to her. (21)
Sakuntala (Observing the king pale with remorse).
Certainly he does not look like my husband. Who then
could he be that sullies with the contact of his body my
child protected by an auspicious amulet ?
Boy (Advancing to his mother). Mother, who is this
man who calls me son and embraces me ?
King. Oh my beloved, even the cruelty I showed
to you has come to have a happy conclusion, since I find
that you have recognized me.
Sakuntala {To herself). Be comforted, my heart;
fate, no longer envious, has taken pity on me. This is
indeed my husband.
King. Darling,
By the kindness of heaven, O lovely faced one,
thou standest again before me, the darkness of
whose delusion has been dispelled by recollec¬
tion. The star Rohini at the end of an eclipse
rejoins her (beloved) Moon. (22)
Sakuntala. Victory to my noble lord! {Tears
choke her voice when this is half-said.)
King. Lovely one,
Though the word victory be suppressed by
thy tears, yet have I gained victory since I
see thy unadorned face with its red lips. (23)
Boy. Mother, who is he ?
Sakuntala. Ask thy fate, my child.
 <un—( 5rf&TTPI I )

gag gaat?gtai%gt5q<-a<riM<lg %
fagfa n?rat: gatgt Jr a^r ggaiagg, i
gagagqfftagtat: gitg gfrro:
^nrofa ftrrsawp f^rai gattafirgrfar 11 *<j n
rji^agt—3^3 srscrar I *jjoj it gafJ^rafta'aa
gcifo? ^g F^srkg aftmagt arfa $a grgastgt ft
arsr^at a? fttgt «gat l Tfagaragsr: i g* if ggfenria-
ga$^ ag %*tg aftirurgmia'ttra aigaWs^t^gat ai%
ter: afft: i
(aatfmft i)

gi$?agi—atg art 'h«t3t|u( gaft^t gwarf

3T3T 3T0Tt | 3JST WW-itfw f^-Tt g-.aaiatf 3R: I

trat—saaftatasrsa;
■i araft^arfa I

afepaar gag <jagafsraa?t

at ara?a*g*at aftanaara: i
a araai$feaa«aftg?ia?i
ana gjpa ftaaig^tat aaag 11 v*. il
(# aaRragraaia i)

ai$'d<<si—(aragat ?<^r i) srsra^, aa ^ a^staa l

*Zt

3TT%^T, l

ST^pcT^!—fesm Tt*% OtOT 3T ^^TTrr^T qwr^T^I^

5^t srifa i frw f^w^PT 3?rKr%wr sfempfta i
 mtiis#- i

King (Falling at Sakuntala’s feet).

O fair one let the unpleasantness caused by
my desertion of thee depart from thy heart; for
at that time a violent frenzy somehow over¬
powered my soul. Such, for the most part, is
the attitude towards good of those in whose
minds the darkness of illusion prevails. A blind
man shakes off even a wreath of flowers thrown
over his head, mistaking it for a snake. (24)
Sakuntala. Rise, my husband ; surely some (evil)
deed of mine in a former existence coming in the way
(of the action) of my virtue, was in those days appro¬
aching fruition ; since my husband, who is so kind at
heart became unfeeling towards me. (The king rises.)
Sakuntala. But how did my husband remember this
unfortunate woman ?
King. I will tell thee when I shall have plucked
the dart of sorrow.
Fair one, the anguish of my heart shall cease
by wiping off the tears that now cling to thy
slightly curved eye-lashes the tears which
formerly paining thy under-lip were neglected
by me through mental delusion. (25)

(Does as said.)
1

Sakuntala (Seeing the signet-ring). My husband,

this is the ring.
King. It was the recovery of this ring that restor¬
ed my memory.
Sakuntala. It has acted wickedly, since it was not
found at the time of convincing my husband.
 v&wai—°r # fiR^renfti i ns# of siftj i
aren i an%5f t^rawi i
(?m: afasifa arafs: i)

srrafo:—fcqnt jnpr^sfita ^i^hi<

i
srsn—t water: i wra%, a
apg W^aterarcprstBT f^tm: i
snafei—( aforcm, i) f%jft>a?3iiir qrte^ l nwig«HH^ I
wwaparcte^a #5R fiprcfa l
trat—3Pi3is?rai 3a: i ear 3**?r wa¬
gs# ggPre-arfa i
5tjf<rai—feftaiftr arsRrete *pg i
f&gaaragsW a? ’jsstfW nsgn i
<ren- -arerrafcfrqw *g#q *.mi i u&fe i
( #r qfPBHTTar i)

(<Trf- awiwfewt arfarcrcr^t artta; i)

TTPNj:—( I ) ^nnfar,
JSRn # <.uifelWWmH«<fl
3«r*a fsrfaftrat waJ i
qrto «Rn fafagfifanri aia
a?stfs*pffe?wiwm wata: ll Vk ll
wf#fa:—#wreuftwi’ijwigi £ wifcfc I txHHWmarar-
I
 SIPTtef: I

King. Then let the creeper receive her flower as a

sign of her union with spring.
Sakuntala. I do not trust it. Let my husband
alone wear it.
(Then enter Matali.)
Matali. I congratulate the long-lived one on
reunion with his lawful wife, and on seeing the face of
his son.
King. My desire has "come to attain a sweet fruit.
Matali, was not this event really known to Indra ?
Matali (Smiling). What is unknown to the Gods ?
Come, long-lived one. The divine Marica gives you an
audience.
King. Sakuntaia, take our son by the hand ; I
wish to see the holy one, leading thee into his presence.
SAKUNTALA. I am ashamed to go before my elders
with my husband.
King. But that is the custom on (such) happy
occasions. Come, come.
(All walk round.)
(Then enter seated Marica and Aditi.)
Marica (Looking at the king). Aditi,
This is he that marches foremost in the front
of thy son’s battles! named Dusyanta, the ruler
of the earth, through whose bow that edged
thunder-bolt of Indra, all its wofk being accom¬
plished, has become (a mere) ornament. (26)
Aditi. His greatness may be inferred from his
appearance.
 HRrfe:—3ng«n^, 5^31 fMt-
oraf [t|<Hi5ij|m*dH53il5i35t i di^wi i

?jan—*ira% 33J

nrpfasrqi ftqar^ gwf 5%5ra: *>rcof

*rarc 353*533 gg% 53w*n»>»53^ i
*r%rauiTO3is *dsPt *
533 53 ;5*3131535

5*5 55nrctf*roi*3fii^ 355 ^ 33* * . II rvs

35 1 11

urafes—3wr ft^i
5nn—( 353*3 i) 3wr«mifor 3i3t3T35fcr3l 5*3*3:
inrofft i

urcta:—3<5t, f*5 ate I $pJ5f 51355 i

arf^pj:—3T«ifgc|t flfl i 553 arafar^t m i

5I$*5<3I—5TC3raf?5t 5t 5155*501 3&f3 I 5TC5>3%IT

51 5155*53 Wife I
JlFCta:—35$,
3»P5<^353«Tt 33^ 33*5m($3: 5J3: I
3irak*5T 5 % 3t»5l qtesWtelSSft 555 II '«. II

arf^r—3n%, flwiit 3rfipi5t ?W? I **35$. 5^13:

5^oit 5g31$gtU|«5»ll 5Tf I 55^315 I 515, #cf335TT
55 I 5555 ^3%553 335f55*53f 35g I 3315513 I

( 35 33n3l%3ffl3 33i55lf*3 I )

*H5t=5:—( V&. ftf&FT I )

f^23l 51^*5351 35*51 3T55r5f*>5 «5R. I

»5t fir33 353W133*! II ^ II
 Stwtsf: I

Matali. Long-lived one, these parents of the gods

are gazing upon you with an eye that betrays parental
affection. Approach them.
King. Matali,
Are those the pair, sprung from Daksa and
Marici, at one remove from the Creator, whom
sages pronounce the fountain of glory apparent
in the twelve forms (of the sun) ; who begot
the lord of the triple world, the lord of the
(gods who are the) sharers of every sacrifice,
the pair whom Visnu, who is higher than the
self-existent himself, chose as the source of his
birth? (27)
Matali. Yes, quite so.
King. (Approaching). Dusyanta, Indra’s servant,
bows to you both.
MarIca. Child, mayest thou live long ! Protect the
earth.
Adit i. Be thou a matchless hero.
Sakuntai.a. I salute your feet along with my son.
MarIca. Like Indra is thy husband ; and like
Jayanta thy son ; no other blessing would be
suitable to thee. Mayest thou be like Pauloml 1 (28)
Aditi. Child, be thou highly honoured by thy
husband. May thy child be long-lived and unfailingly
be the joy cf both the families. Sit down.
(All sit down around Prajapati.)
MarIca (Pointing to each of them by turns).
The virtuous Sakuntala, her noble child and
your Honour—here fortunately are combined
faith, fortune, and action. (29)
 wat—wrag,, srmfir&sfafe: I I srats^;
^3*T5! I $5P .1

'3^fn ^ fin!
sstfasr: nw*K*a< mu i
fSrfim^fiifi’reratag =fin-
^ra srar^i g«g #ig: 11 v> h

wife:—03 fawn*: sra)#cr l

trar—-wigg, ?«TTOTsrwd ^ w«r«h>T fagtgfafa-

■ilnm-q ferrety mgRtTRteri sgMtfaswacqT-
ft5F5PTO5tsft*i ?nrayat gwwfryvT i tsit^-
' a^ferormratesg I afaafey it
afawtfd i

mn *iat ¥?r wisreft

ftftjRttiKtHRl *I5W mng i
mafsr sff g flmsrcftfe-
^renftvit Jr f^rc: ii ii

JUdg:—ytij, arewnwwq*Wlf<« i ^nirgtsf^ m&(-

3W5r: I sarnm^l

*m—arafgatsfor i

UlO-y:—-M^yi'-^yCWlUHfHUIIrUcyiy^^Mi 5If?tR5l-
*ngw fcro ^iqnqoftg'WfU atg agwumiaUftit ggfom:
 King. Holy one, First came the fulfilment of my
desires, and afterwards, the sight of you; thus the
favour you showed me is without parallel. For
First appears the flower, then the fruit ; first
the clouds and then come the showers; such is
the regular course of cause and effect; but for¬
tunes came before your grace. (30)
Matali. That is how the creators of all beings show
favour.
King. Holy sir, I married this your hand-maid by
the Gandharva ceremony and when after a time she was
brought to me by her kindred, my memory failing me,
I rejected her and thus committed a grievous offence
against the venerable Kanva who is kin to you. But
afterwards on seeing the ring, I perceived that I had
married his daughter. This strikes me as very won¬
derful.
As if a man were to say 4 This is not an ele¬
phant* when its form was before his eyes; and
when it has marched past him, were to doubt
(what animal it could be) ; but conviction were
to take place on seeing its foot-prints; of such
a kind has been the change that had come over
my mind. (31)
MarIca. Cease, my son to charge thyself with an
offence; nor is infatuation explicable in thee. Listen.
King. I am all attention.
MarIca. Even when Menaka took Sakuntala whose
distress was so evident, from the steps of the Apsaras-
tirtha, and brought her to Aditi. at that very time I
giraiRq' aqftq^ft ^yqrhuftqft spit sanfasi arerctfd t
^ dWJw^qq^Wwiq: i
\&
qsn—( *Np* I) qq q^jftqFgphteftq I

5I$S?G51—( PTOiq i) Rtfean ai<M<umt|i^ «t 3J5T-

iq | fm aram gsftfa i qfqt *mt qq qr fc
RKfta<wifea»amn or feftqt l ^ ggffe^fegfig
*rgnTt qjfstoq ^isqsq ffc i tesnwrouM ji%»: i
* ^tg iiH«ic«w wnft i aprar aiqt mq % wft ft<wat<wi
* fafer: I am: qftsrfp? 5#SR!lq« I
Witter:—q?R, qfiawfo I <aftm$diRui qRi q <sri
nag: qa*l: t qqq I

vimkRh nfagai gafaClq^

wS jfraaqfe agai a#q I
3TCI it iJS^fq *MlM5dM'HK
gt g qtfuwS n v>. ii

ttut—q*n? «*rap^ I

qrftq:—qw, qfaqfiwPrd^Mi RrRiq^’WiiRw^-

feaauaw? gq qq qn^sa^q: I

vm— wiqg_, qq *r§ R qqraftBT i ai® wift i

•HlO-q;—d*n qifqq^si qqiqRNqqqqgjj qqi^l qqq I

g»J *ERriftqf qq^ qf^qiqqftrq: |

 :I m
perceived through my powers of contemplation that
this thy poor dutiful wife was repudiated by thee in
consequence of Durvasas’ curse, and through no other
cause; that curse was to terminate at the sight of the
ring.
King. (With a sigh). So I am free from blame.
Sakuntala (To herself). Happy am I that my hus¬
band did not repudiate me without cause. But, indeed
I don't remember I was cursed. Or I did not know I
was cursed as I was absent-minded through separation ;
for my friends advised me to show the ring to my
husband.
MarIca. Thou knowest, my daughter, the whole
truth and must not give way to anger against thy right¬
ful husband. Remember
Thou wast rejected in consequence of the
curse, thy husband being cruel to thee through
the obstruction of his memory; but now when
his mind is freed from darkness, thou alone
wilt rule him. As an image has no effect on a
mirror whose surface is sullied with dirt, but
on a clean one finds an easy access. (32)
MarIca. Child, have you greeted this son whom
Sakuntala bore (to you) whose birth-rites have been
duly performed by us?
King. Holy one, in him is the hope of my family.
MarIca. Know that he will be a universal monarch
in days to come.
First, a matchless warrior, fie will cross
the ocean in a chariot whose motion would
be steady and free from jolts and conquer
the earth consisting of her seven islands; here
 A***? wtt^ ii ^ it

TOT—TOTO! gtTTOKft I

a*f^:—*J3Ki, ^Jnn ^Upmh^q^c fir

^firemt t ^r«n rs ^
totoA i *pm. apw sfe^reww ctft^-
tT^fIK: f^RT* l *fcF«T«[ fc^fcf I

5!f»eiac—(1) *ro>A toi & *to-

t irctor- ^ ^ qflrat i

WF&5K—tWisnfrrsucsr^i r-rSfo citoto: t

TO!:—3m: ^ TO sirfiT^ A gfit: I

^rrcten—-TOT^rA fstroTOfir; to3*t: t ^ afts* As t

( sfcpr i)

ftn^s—wraq^, airofeT t

fasTroiT ttc^i to tohtto*

^TPT &TO!^r I TOT 3TOH> 5!3^cR5! <T^!q-
fiifA scrota srfaroAfir i

ftran—TOWR^rft totojj (*% t^ert-. i)

TONr:—TO^, tTOft TO!«TO3[K«feTi *P^<l<aug-

TOITTO & TO^rw! stfirg^r t

TOT—^TOITORr TOTO*J
 he is called Sarvadamana, because he forcibly
tames all animals ; but (later) he shall acquire the
name of Bharata, because he shall sustain the
world. (33)
King. I anticipate all (this) from him for whom
the purificatory-rites were performed by the holy one.
Aditi. Holy one, let Kanva also be apprised of all
the circumstances of the attainment by his daughter of
all that her heart desired. Menaka, who is (so) fond of
her daughter, is here in attendance upon me.
Sakuntala (To herself). The holy one has, indeed,
given expression to my heart's desire.
MarIca. But the holy one knows the whole matter
through the power of his devotions.
King. Hence it is that the sage was not very much
angry witl\ me.
MarIca. Nevertheless, he must be questioned by
me about this happy event. Ho, who is there ?
(Entering) Pupil. Holy one, here I am.
MarIca. Galava, fly through the air at once, and
inform the holy Kanva of the happy event, in my name :
That Sakuntala with'her son is accepted by Dusyanta
when his memory revived on the termination of
her curse.
Pupil. As the holy one commands* (Exit.)
MarIca. My son, thou too now ascend the chariot
of thy friend Indra along with this wife and child, and
set out for thy capital.
King. As the holy one commands.
arfifts—^ i

?rcr ft&ar: aw^fs: sraig

faafa f%?raanst: afttf sftonw i
^l»IO>)R<wfti|*)«Il«l®(5-
Wigwa«faig«WH W«ifl: II \M II
*rar—aaroft i

mtNr:—a^i, ft *tg*r: ftqgqqxtlii I

*rsri—ara: qorf^ Buiafei l m<imiP«4
agfarreg i ( wm; i )

sraaaf 5T*lSl?ar*T Tif^Sa:

g?m?5ii i
mnw =a pqa ateasHga:
gsnfe aftirretftai?w|j n \\ 11

( ?ia f<ii=hitii: sa )
 MarIca. Moreover,
May Indra send copious rain for (the benefit
of) thy subjects; and mayest thou with fre¬
quent sacrifices please him. Thus pass periods
of hundreds of ages with reciprocal friendly
offices laudable on account of the benefits con¬
ferred on both the worlds. (34)
King. Holy one, I shall strive, as far as I can, to
attain (that) felicity.
MarIca. My son, what other favours can I bestow
on thee ?
King. Can there be any favour greater still than
this? As (however) the holy one desires to bestow a
favour then let this be (fulfilled). (Epilogue).
May the king apply himself to the attain¬
ment of the happiness of his subjects. May the
speech of those who stand high in their know¬
ledge of the Veda be honoured, and may the
self-existent Siva whose energy is immanent
in all things put an end to my rebirth. (35)
{Exeunt Omnes.)
End of Act VII
Here ends the drama Abhijnana-Sakuntala.
ABHIJNANA-SAKUNTALAM
NOTES

ACT I

P. 1. From the NatyaSastra we learn that before the

commencement of a drama, an elaborate series of preliminaries
( ) had to be performed, consisting chiefly of the SRqifFC
which would announce the beginning of the performance, the
3WWI', when the musicians enter and take their places, the
3TRWT when the chorus try their voices, and the 3n3T=n*T when the
musicians try their instruments, and so on up to Nandi.
All these preliminaries are performed by the who then
leaves the stage and his place is immediately taken by another
similar person called who introduces the play to the
audience. This elaborate practice, was however given up later
on, and we And that the alone performed both the
functions of the preliminaries and of the prologue. Cf.

p USPWlft 3T11 <ww» III. 2-3.

I. 1. This benedictory stanza praises god Siva and invokes
his blessing and protection. He manifests himself through his
eight different forms, for the support of this universe. These
eight visible forms corresponded to the eight different manifesta¬
tions of god £iva called Rudras, viz. sc, tsmr, qgqfa,
3TT and . “ Brahma assigned to them their respective
stations: water, the sun, earth, fire, air, ether, the officiating
Brahmana, and the moon; these are termed their visible forms
( cr^p ) ”—ftqaanw. cf. ziwfom
250 sAkuntala [1.1-

hr*‘ i I. i. Also $*rr° V. 26. 4r w rrat ?r ^

st*R: t *rg ^rt: ii Also
I ^Whftwwft II ibid. V. 76.
3T 9TTCIT —Which was the first creation of the Creator
i. e. water. According to the Pauranic conception of the
creation of the universe, water was created first. Cf. 3T<T tR
wrerft <ng ii *r° i. r
ftftgcf cf^-Which carries the oblations (to the various
gods), offered with due rites. Agni does the duty of delivering
the offerings to the various gods. He is thus a carrier of
oblations-a veritable portman. The significance of the adjective
is best understood when it is known that the offerings
not so given are not delivered unto the gods, but are reduced to
ashes. ( wfowfa ). % | sfb ftw-The two, who
make time viz. the sun and the moon. The Time or Kala is
infinite, but then the divisions of Time and its reckoning are
possible because of the two luminaries. The day and night,
the fortnight, the month, the seasons, the year etc, into which
Time could thus be divided, are to be calculated by the sun and
the moon, and therefore, they make (jeterer: ) Time.
f^R-’ (5!^:) gop q^qr: ^-Characterised by the object
of hearing viz. the sound. anqjRt or ether, invisible as it is,
has its characteristic gor of conveying sound from the place of
origin to the sense of hearing. Cf. 3PTRR: gujfr-*
f^UlUR: I XVIII. stsfarafr^r-The source
of all seeds viz. the Earth, 5RRf^ is the
or the source. Cf. H^rf? gpHT SIPScft (I
IX. 37. Note the other reading , which
is also good. W 5H«|iRi;-By which, the living beings are
endowed with snw i. e. vital breaths. Beings have life in them
because of these five vital breaths in the body. They are:—5nw,
3RR; ®qR, and SPT is the all-in-all of a living being,
the essence of life, as is illustrated by the Upanisadic parable in
the form of the dialogue between the various senses and Prana,
-1.1] NOTES 251

in the 3N»T:“ Endowed with, i. e. manifested

in those eight visible forms. ‘ Known i. e. inferred to exist. The
existence of is inferred from his eight forms ( aflnPl: )
which are directly perceived ('—Ray. Note the other
reading, 5JTO * Pleased \ With this reading, the meaning
would be c May god Siva, pleased, protect you with his eight
manifested forms. *
5TRP%. At the end of the Nandi or benediction. The
verse, explained above, constitutes the which is defined
thus-Wt^m^Wr: i. e. * a verse or verses of the
form of a salutation or a benediction and suggestive of the story
of the drama. It is called because by the praise which it
contains and is a source of delight to the gods. Cf.
I Its another characteristic of suggesting
the Kavyartha has led commentators into ingenious attempts to
find out far-fetched fantastic allusions to the elements or the
various characters in the drama. Thus the expression an
etc. refers to that paragon of beauty, who has been
described as 3TOT in the II Act, or in the terms of the
Meghaduta, may be described as I while the expre¬
ssion ^ etc. refers to the two friends of
^MR:~The principal stage-manager who arranges the cast
of characters, instructs them in their different roles, and is thus
responsible for the successful performance of the drama—“ The
threads of which he holds in his hands, as it were.” According
to HT<iiJHHr4 he must have the following accomplishments:-

«h<Alfcr*d: II IPRT^IT: I dMSQdl^W4^ldl«Sl<4-

n
^r^n^g^-Towards the tiring or the dressing room. The
word means 1 the Dress or Costume * (Cf.
252 SftCUNTALA [1.1-

i w° I), or the dressing room, the space where

the actors attire themselves, which is always behind the curtain.
WHf-Arrangements in the tiring room or the dressing,
finished, P. P. of n/^+^T. fozfhT -Task, duty assigned.
m or ^j^r-Mostly
consisting of wise men. 3n^7T means here * Learned, enligh¬
tened'. qfarerAn assembly, audience. Rf... ^-*br&'<rcto
3R3T <T?frThe story of which has been woven into the
plot (of this drama) by Kalidasa. 3Tft$M3I$^d<!5l^‘-called the
* Token-^akuntala * or * Ring-( recognised ) £akuntala. ’ The
word is thus explained:-3?fii^i^r
a compound of the type, where we get the elision of
the second member, and which has to be supplied while dissolving
the compound. fScT (5TR& ;
3if^...5rf55 zwm I aqpCTfl«fflrPot. pass.
part, of + W ‘ To wait upon, to serve \ <fl%-For
every part or character. arptffaRTT ^fi-Care should be taken, effort
should be made. gftflcfsratacW l-on account of the fact that the
performance ( spfhT ) has been well-arranged. *r
Nothing will be found to be amiss or wanting. If the Sutradhara
is overcareful in his eagerness to see that nothing goes wrong,
his wife Nati is in a self-complacent mood and wants to
compliment her husband on his efficient management.
SRJjpfc-the truth, the true state of the case. Cf. SRSJ^t ajpw
*rr i in.
I. 2. 5i%lf^RJ^-the profound knowledge of acting. ^5e|tfr
Adv. greatly. Lit. mightily ; to be construed with I
SHcHft aiM^f’ijHrd1 ffident in itself, wanting in one’s own confid¬
ence. The $J5psTK means that it is no good flattering oneself with
the thought of one’s own proficiency, which must stand the
test of public criticism, which alone proves the inherent merit, if
there is any. It is for this reason, that even the wisest men
tremble in their shoes with feelings of diffidence, when they have
to face the general public.
-1.4] NOTES 253

P. 2. - what has to be done next i. e.

immediately ( 3RRft ). i-^^^Kt^IRrbesides
pleasing the ears ( of the audience); the Abl. governed by 3F3
ace. to the l II. 3. 29. OT^^R-Fit to be
enjoyed, suited to the enjoyment of pleasures. an^tfR^-Lit.
* Having placed over; having made the prominent object
about, with reference to.
/

I. 3. (fem )~wn Wlf|: ^5 %-On

which a plunge ( awif ) in water is so delightful. R355.-.TOT:-
TO55Rt wm p?f: 3^-When the forest-breezes are
( rendered ) fragrant by their contact with the trumpet flowers.
The flower has a red hue and possesses sweet fragrance.
g^TT f^T ^J-When slumber is easily
induced in a thick shady-place. or
3tf^TOTT-M-^JT^I ^fRT-Charming at the
close. *rftoiR-Lit. means ‘ Ripening, development, ’ here it
means * evening, the closi x of the day. * Cf.
^FSRT: I
*tm: It 313° 1i

I. 4. t^.-.^^Rnl^-Very gently kissed ( by the bees ).

They sip the honey very softly without harming the flower.
mm.fitemV^RT: %^KFTt fitW* (zmm:) ^5 Sift
\ )-Witli tender tips of the filaments, 3RT<t^fRf-A
denominative verbal form from meaning ‘an ear-ornament/
3PRHT:-Compassionate, tender-hearted ; a present Part, from...
a^I. A.4 To take pity on. * 5R^T-A youthful lady. Note that
the verse is a Prakrit song, a or a couplet, having thirty
3RRTs in each line. It is being sung by the 4 to the tunes of
the^RS? melody, which has proved highly captivating.' ^R...
3I%:-?Ffar 5T5T *f:-With all its mental activity aiTested
by the melody ( of the song ). The Com. RIWE: solves the
compound thus—sr§r *T-“ ‘ Having all mental
activity fixed on the melody. ’ 3jrfef$R:-Painted, drawn in a
 254 SEkuntala [1.4-

picture. *w*.-The audience, the assembly, topic, a

subject of representation ; a play in general. The word is
usually used with reference to a particular type of a drama,
like the or JTmtfhTPW, which has a fictitious plot,
arpfsifr:-* By your reverence, your respectable self. ’ It should
however be taken as an epithet of the audience meaning the
noble men in the audience. ’ Cf. arraiftsir^ It
te® I. fosr is a honorific title, ( usually affixed to the names of
great men and scholars, e. g. ). argstt^RT:-
Reminded.
I. 5. frfarr—(i) With reference to ravishing,
captivating* (ii) With reference to *TR%or-‘luring, drawing
away * (into the forest). 5RR-forcibly. tf: Wf
Sf: ^-Having a great speed (i^). 3R^r-By the antelope or
the spotted deer; “ by the gp3T melody of the song (JftcRF^T ).**
Prof. Ranade’s Wtft P. 4.
Here ends the or the Prologue called also
which generally consists of an introductory dialogue between the
^spjn* and or one of the actors. After giving an account of
the author and his qualifications, it introduces the incidents of
the drama. Cf. ^I
i sKdEHT it n hi. 8. Also
tnfaflfo t^r sit i stem m $4% ii
1cm f^r n Of the sm-
q*fT there are three varieties, according to (or five
according to *irf|o*[<?fol) of which or particular presen¬
tation is one in which a character is introduced by a remark of
the stage-manager. ^felKiWWd: I
WV- II \ II Thus the 5RcTR*rr of our drama also is of
the M4l*nfcteFr type. vHlg^PIrA respectable mode of addressing
kings. Cf. ‘3ng**H/ V$ fjjfa g%’-Com.
I. 6. )-Having a strung bow,
$15% w- i The word 3Tl^T means ‘ having the string
-I. 7 ] NOTES 255

up*; aroflwft or arfoSOT 53T fonfo^is an epithet of god

Siva armed as he is with his bow called The
expression has a reference to the following mythological episode.
* Siva, not having been invited to ^f’s celebrated horse-sacrifice,
was so indignant, that with his wife, he suddenly presented
himself, confounded the sacrifice, dispersed and mutilated the
gods, and chasing ^isr,' the lord of sacrifice’, who fled in the form
of a fleet deer, overtook and decapitated him.’ Cf.

\\ ^1* XI. 44.

I. 7. The verse gives a fine description of the pursued

antelope. iffaT.^CPT-To be construed with «<<^.:-In a
charming manner because of the bending, of the neck (jffaT).
3TjfTdf^-Loc. Sing, of aigqrcf^-a Pres. Part, of n/ aig + to
rush behind, to pursue.’ Cf. WTSTdd ^ SPRH^IWf: Wf: I.
3SE£fe:,-With his eyes fixed (upon the chariot). Note V. L.
which, with the word gg: suggesting frequent interru¬
ption in the steadfast look, is to be preferred. For 5R5S&, com¬
pare- I qj° I. 40, qsiwsr-by hinder half (of the body)
3m: 3pj: q^r: i Cf. mm ‘ sm^iTfcf wnqt »r. i
^mq-The fore-part of the body. )-
dropping from his mouth forced open ( f^fcr ) through
exhaustion, tf:-whose path was strewn
( with grass ). S^SFsgd^Tfi’. By reason of his lofty bounds
(<§cT) in the air. ^ta^-are^-Very little. ^ang-I-oc. Sing,
of ‘the earth’. The poet means that because of his high
boundings, he appears to be traversing the distance mostly
through the air, and very little on the earth, which he has-to
touch while taking leaps one after another. 5RpT$&F’fcr:-To be
seen with effort. d'^rf^ft-Bumpy, giving shocks, causing jolting
( of the chariot). The reading would mean ‘ Having
ups and downs, uneven.’ 3Rtt 3FT
Separated by a long interval or distance.
 256 SSkuntala [1.8-
I. 8. 3TRcT: %^-the fore-part
of whose bodies has been fully stretched out.
^TTRunt f^t^rr ^T^-With the ( decorative ) chowrie-crests
( between the two ears ) standing motionless. The great
speed taken by the horses had made them stiff and
unmoving. Cf. I f^o I. 4.
ftwWi:-With their ears erect () and steady ( f^EcT ). -

P- 8. Raised ( 335d ) by themselves. Pischel reads-

i. wmiw ar^w-Out of
impatience, or intolerant jealousy of the deer's speed. For this
line Pischel reads-«rn#ff cRfcr 3 I “ These horses,
they gallop on the road, no, (I should say ) they swim along. ”
fff?f:-Acc. plu. of a bay horse of the sun. horse
of Indra.

I. 9. This verse gives a realistic description of the king’s

experience in a fast-moving chariot—an experience, the like of
which every one gets while going in a train. ap^ cut in
half; Note V. L. 3R& ‘ really ( 3raj) disconnected
fRTSNR rfftwhich is joined. ^Straight.
^rror^T:-Standing within the range ( q«r ) of the arrow. V. L.
?ntTO=refS?r: which is not good.

I. 10. 4ftW4:-which should be allowed to descend upon.

V. L. The reading to be preferred.
SRT...^-implies great incongruity between the two viz. the frail
tender life of the deer and the hard-hitting arrows. arf&fcSM-
Extremely frail. ^tcTftTOTi-'ftf^r: ftTO: ^TT^-coming down
with piercing sharpness. ^ *Tft: ^-Having
the strength ( *TR ) of a thunderbolt

I. II. ancNrrro-For the protection (srprr) of the distressed

( ) apTFl^r-Loc. Sing, of 3RF7^-‘ One who has not offended,
harmless, innocent.
-L 15 ] NOTES 257

1 ‘ 5RT?TRi 5ITO:’
highly befitting. l
On the bank of the Malini river. 3RT • • • RR1“^ vw4w sjftmcis-A
transgression of other (more important) duty, 3Trf^^:-3Tfaf*r3
^13:-good for guests, cf. qT°

I. 13. !^$M%IT:-The disturbance from which has been

removed. 4|cfi&ur(f: ( gar: )-4fe#. favr: arf TO ^’.-Having a
mark of the bow-string OfftT ). s[ct®fc<5 ^wftgJ^-Herein we get
the first inkling of the tragic situation in V Act. «^-modern
5RTFFT, acc. to some, a holy place in the Kathiawar, near the
temple of Somnath. Others, however, locate it near Panipat,
* between and a holy place near i^^T. ’ P. 12
afPTPT:-Premises, precincts.

I. 14. *PT TO^-cfT^lRt g%WT: S|®r.-

dropped down from the mouths of the hollowtrunks with parrots
inside. ^nr^O'Mft^-used in crashing the Ingudi fruit. This
>3

fruit was commonly used by the ascetics for extracting oil, which
was used for lamps and also for toilet. 3TT%Pld'^: without
breaking their ( slow) gait into a run. They are not disturbed
by the noise of the chariot, because of the sence of security
created in them by the affectionate behaviour of the sages.
dtTOKH*TT:~The paths leading to the reservoirs of water. TOES...
f|cm-TO*5Hr fitenwr *r- to an: ,dTf*r: (°q^rr: )-
Marked by the lines of dripping water from the fringes ( RIM: )
of the barkgarments.

I. 15. ^rNh%:~by the waters of canals ( ). 4ld'^l:-

with their roots washed (qfa). f^RT.-The red tint of
sprouts is diversified. The smoke has partially obscured the red
lustre. 3T^t^-3Tt^T:-In front, near. where the
stalks of Darbha grass have been mown ( by the grazing fawns ).
Free from timidity ( arRlfT). This fine verse has been
rejected by annotators like Ray, on the ground that it does not suit
3Tfa. SIT. I'*
 258 gSKUNTALA [I. 15-

the context, and gives a repetition of the features already noted in

the preceding verse. The latter describes, however, the
or the precincts of the forest-grove. May we not suppose that the
king has moved on further in his chariot, and has now come
nearer the hermitage, though not actually in it, and that in this
verse he describes the features of the vicinity of the hermitage ?
The verse has this justification and should not be rejected.

;rora:-Disturbance. The hermits are sure to be disturbed in

their daily routine by the unusual advent of the king in his chariot.
surfT:-Reins. P. 14. f^d^N'-In a dress of a humble ordinary
gentleman; would not like to enter as a king in state
having a gaudy attire, but as an ordinary gentleman. Note his
regard for the feelings of ascetics. STRS’jgn-Lit,1 wet-backed' i. e.
watered and refreshed. foWfi-An omen; it is the throbbing of
the right arm, which, in the case of man, indicates union with a
beautiful woman.

I. 16. The king means that a tranquil hermitage is certainly

the last place where such romantic omens prove effective ; and
yet, who knows, how fate will work to find out openings for
predestined events. They are to be had everywhere. ^fads^WWl.—
of things or events that are to happen ffticllftOT-To the
right of the grove of trees. governs the accusative as also
the genitive. Cf. T£T<TT fefRT I I 9FT
siPNtf I ^Wmg^:-Suited to their own size or stature ( 5WT°T);
or better still 4 suited to their strength ’ Cf. qafrq&TOKN
l *1° XIV. 78. q^t q^-Cf. the Marathi idiom

I. 17. The king gives expression to his feelings of wonder

and admiration in a figurative manner. He never expected such
beauty of form to reside in forests, their proper resort being the
secluded harem in the city, where alone, like creepers in a garden,
beauty is developed and nourished. If, therefore, such forms are
-I. 20 ] NOTES 259

met with in the woodland retreats, then it clearly signifies a defeat

of the garden-creepers by the forest ones, untended and uncared
for by human beings, as they are. -Harem. ^JTf^T:-Surpas-
sed, excelled. The figure is which is defined as

P. 16. ^sr...^rr-Delicate (^55«rr) like a Jasmine flower.

SUW3-A basin. <UI«^£:-A sisterly affection s^T^ff-one who
sees not aright; wanting in discrimination.

I. 18. The king explains why spisr, according to him, lacks

discretion. arszrrsPRtlt-Artlessly ( 3T®3FT ) beautiful. ^nn^R-Fit
to undergo penance. $|Jfl<$dl-The tree, which is very tough,
and which is supposed to conceal fire within. Cf. 1-
VMWil III. 9- This verse is a fine example of
arf^te^T-fastened too tightly. f^T3g- P. P. of
<riroi^5!Rf^-which swells the bosom.

P. 18.1. 19. The king means that the bark-garment is not

a fitting apparel for such a lovely form whose charms are
definitely marred by it. [-secured with delicate knots
(JlfcT). * .x^lf^TT-covering the fully developed orbs of her
two breasts. arte^-Fresh, in her prime of youth,
3^ft”does not develop the fulness of its own charms, qivf...
fofij-Enveloped by a calyx ( ^ ) of pale ( ) leaves.
3T*RT-The particle introduces the other alternative, or q^fRR.
the preceding verse, he has given it as his opinion
that she does not look charming with the bark-garment on. He
changes his mind, and reverts to the other alternative.1 Although
the bark-garment is certainly not a suitable apparel for such a
form, I cannot say that in her case it does not heighten her
physical charm; indeed she does look beautiful even with a
bark-garment. *

1.20. 3fi3^B3fl[~Intertwined or overspread with moss

( ftad, Cf. Mar ). <5$?rffn.-the speck or spot. cRt&-
260 SSKUNTALA [I. 20-

Increases the glory. JRtjU-Lovely, charming. Lit. atPUfiT

^TT-One who knows the mind; a clever, attractive woman.
«T»3^-Decoration, ornament, embellishment. This is a fine
illustration of wherein we get a generalisation based
upon particular instances or vice versa. ffelT:
Trsf 3?^j?zr:-cTTI%:-With his sprout-like fingers moved by
the breeze, shall honour him (by granting his
request). The suggestion, in this sentence, is that of a loving
friend beckoning her to come near and do him a good turn. Cf.
55 wifrwft i i
55T II Com.
3Rn*RPT:-In the company ( SHFT) of a creeper.
is imagined to be a creeper, and the two together thus present
the sight of a pretty couple. This idea lends greater charm if we
believe that gszRT is standing just behind the tree all along,
and was associated with the tree in beckoning her to him and
grant him his request. f&WI-one who talks sweet.

I. 21. was likened to a creeper, and the idea has

caught the king's fancy. He, therefore, tries to analyse her charms
to see in what respects they agree with the creeper's charms.
55 w.—Having the red glow of a
tender sprout ( ). ■ .^rfcft-Resembling tender twigs
(tor). ^RM-AIluring, covetable, bewitching. 3?#5
Pervades her limbs, is fully developed in all parts of the body ;
4 is arrayed in the limbs -Ray. ajsnjtfwft 55^

P. 20. ^fcf ^RT-flT =5 5^5-who has

elected herself to be the (bride of the Mango tree), self-elected.
f^Rm^rr-Named. f*f 5W I Cf. ftgsf qfcftfiqcr
^FT: 55^fT ^ I II
53° VIII. 61. oqft'b<:-Union, blending, intertwining, intermingling.
-I. 23 ] NOTES 261

sfR-would that I How I wish that l ^T...irt!5[qT:-The

joke of Gtf'W has really gone home, and hence such a reply.
For we cannot believe that 3akuntala had no such romantic
thoughts of love and union. Her appreciation of the pretty couple
of the andeRsftoT clearly indicates how in her mind
youthful charm is associated with the pleasure of union.
^ 3R2JT: *ft-Bom of a wife belonging
to « caste not his own; sprung from a wife dissimilar in
caste. If were daughter bom from a Brahmin
wife, gORT, a egrfcannot marry her as she is ineligible as
^I’s wife. If, on the other hand, she is his daughter sprung
from a wife the class-a custom sanctioned in those days-then
gBjRT had no legal or religious difficulty in marrying her.
Cf. ng» III. 13. ^ ST 5? RT ^ I ^ RT
% JEW 5IW RT ^UnWPT: II

I. 22. (3sr...egpn-sraw TftJif: (auftarc: )-aw quit

( )-Fit to be accepted as a wife by a tjfiR. 3Tt4 JR:-
My noble heart, my honourable soul. Sffiraift-filled with a
longing. ^TcTt H[ etc. The meaning is * That I was conscious
of a sudden liking for her is a clean proof of the fact that
she is eligible for me a ; since such a feeling of sympathy
could only arise towards a legitimate object. The inner
voice or the secret prompting of the heart is always decisive,
in >’ 'ase of men of a higher and nobler mind/ drid*-In
reality, in her true nature. shall ascertain. P. 22
3^...-dislodged by the disturbance caused in the sprinkling
of water.

I. 23. 2RT- Directing her

tremulous eyes, ftqfifipij-who has bent or curved her
eye-brows (through fear ). Sf^RT-uninfluenced by love. The
poet means that the coquettish movements of the eyes are
due to the inspiration of amorous feelings. In the case of
3!gRR5r, that was Impossible. It appears, however, that she is
 262 sXkuntala [ I. 23-

taking lessons ip that art, which she has very soon to exhibit.
Cl^W.-The playful movements of the eyes.

I. 24. The king is jealous of the bee and addresses this

verse to him who is taking so much liberty with her. The
bee is represented as an aggressive lover, having no scruples,
and paying little heed to the delicate sentiments of his beloved.
Such a type has succeeded, however, while he, a cool calculating
rational lover is left in the lurch to witness their amours taking
place before his very eyes. 3TW- (51RWPT-)
flT dP^-With its tremulous outer comer.
Trembling, possessed of a tremor ( etc.
Cf. I II. the
lip ) which has the all-in-all of amorous pleasure.
(3PRT: ) of her who is waving ( her hand ). Pres. Part,
of J fef 4- an + 3-dcdP%n?fc-In our attempt to ascertain the
truth viz. the real character of ^<j|. Cf. cft^rT
| ffdf:-Undone, ruined, frustrated (in our desires ).
^Wl^flf^-One who has done i. e. accomplished his
purpose; successful. ^:-P. P. of v^-Impudent, presumptuous.
The Prakrit is ftft, corresponding to the Marathi sfte.
ill-trained, ill-behaved. 3rf%*j3j*n*fl^“Being assailed or overpo¬
wered. % andt qf^rii- 4 who are we to protect ? We are as
weak and helpless as you are’. Apparently they make slight of
the fright of caused bv a mere bee.

P. 24. I. 25. $TRfTrf l }--Loc. Absolute construction.

While a descendant of Puru is governing.' Note how he
refers to himself in an indirect manner.
‘Who is this that practises rudeness/ The king tries to show
that he had just come on the scene, having casually heard
of ^akuntala’s cry, and that he knew nothing of the bee
episode. fWifc^ ^5JPdT*--They are slightly confused, because the
king entered as an ordinary humble man. a?c*ITfef-A great
calamity or danger. ATT ^NHU’-Does your piety thrive? * This
 -I. 25 ] NOTES 263

was a regular form of salutation on meeting a Brahmin.

Through nervous excitement Without speaking a word.
Note that throughout the whole interview, she has not exchanged
one single word with the king. ...^r^T-When Sakuntala gave
no reply to the king’s question, she has filled in the gap by coming
forward to answer the king’s question. “ Yes ; now indeed, does
Tapas prosper by the acquisition of a distinguished guest. ”
Observe how Anasuya, elderly and senior amongst the three,
directs the interview on their side. 3T§r or 3rczjj£-A respectful
offering to a guest of rice, Durva grass, flowers, fruit etc. with
water in a small boat-shaped vessel. ‘ The rites of hospitality
were enforced amongst the Hindus by very stringent regulations.
The observance of them ranked as one of the five great
sacraments (JTDR^r) under the title of -RUT or the man-
sacrament.’ Brahma, Prajapati, Indra, Fire, the Vasus and the Sun
were supposed to be present in the person of a guest and to
partake of the food that was given to him. If a guest departed
disappointed from any house, his sins were to be transferred to
the house-holder, and all the merits of the house-holder were to
be transferred to him. ” Monier Williams, This water
( brought by us for watering the trees ). focHBy your kind
yet sincere language; complimentary and friendly words without
flattery, (ftp*l^-On the raised-seat under
the tree. It is quite an ancient custom to construct platforms
or raised-seats ( Cf. Mar. PR ) round the trunk of big trees.
f^Hl^':-Removal of fatigue. <T§MRMH^-Lit. sitting by the side, waiting
upon. fttKfS JpRTPfT-Susceptible to an emotion
which is out of place in this forest-grove devoted to piety.
A particular attraction she has felt for the king at his first sight
and impulse the like of which she never felt for any man in the
hermitage so far. This is the first awakening of love, which has
unnerved and excited her a little. Innocent as she is, however,
she is not able to explain her feeling. ^...^PfcT-Pleasing because
of equal age and beauty of form. ^ffT^-Friendship; abstract.
 264 jSkuntala [ L 25-
noun from gf?, P. 26. =3^ I J-4Ur$'(3: -Possessed of a form*
smart () and dignified. SRl^n^-Possessed of majestic glory
( 5WR ). Pischel reads this sentence differently thus:—# g ^

( )-f^T qsf-The people in which are left in anxiety

on account of your separation. 3TW ^ You
have exposed yourself to the hardship of the journey, etc.’ nr
Be not impatient. * OTT f^Pdrflft-She too was very
eager to know these details about the king. She, however, kept
silent, lest her emotion should be detected. ancJTR^R:-conceal¬
ment of ( my) identity. hU3,ji ^TsTT may as well refer to his father
as to himself. He would like, however, to introduce himself as
king Dusyanta’s official, appointed to supervise the penance-
forests and guard them from disturbances. In case he is found
out to be the king, it is open to him to say, that in speaking
thus about himself he has not spoken a lie because had not his
father entrusted him with the sacred duty of looking after the
sages ? |: -Possessed of a lord and protector ( VTPT ). A very
clever suggestion is made by in this her remark—fRPTT
qjfcuflyr: I devoted to the observance of piety, has
now found one who could be a JTPT-also meaning ‘ husband *
to her. This fully understands, and hence the stage-
remark >2WT^rr fawrfa I sriTO ftfeerr-Understanding the
gestures of both who appeared to be enamoured of each other.
3TFKR-means ‘ the outward appearance, accompanied with various
gestures, which indicates the inner state of mind. ^fij^RT^^T-With
the all-in-all, the most valuable treasure of his life, i. e. 3akuntala.
Cf. 3T *PT3RT: 1 Act III. Anasuya suggests
that their mutual love is apparent; and if only father $T£PT had
been here, this guest would have been made happy with the gift
of

P. 28. g^rf 3Pte|i£-* Get off with you! * As a girl would say
in Marathi. =5fR5Rr sfT I g^fNf-About or relating to
( iRf ) your friend. Cf. 3TWRPII. STOfa-In perpetual
-I. 27] NOTES 265

celibacy (= 3TlctRn-His
own daughter ; bom of himself. 4Nhw^T*--4!%®T *n-
Having a family name of i. e. The famous royal
sage f^TfiteT. :3TTcT3l%:-Frightened, for what reason we
cannot tell ( ). aRWTFRRtef The dread of the devotion
( SfflTPT ) of others. During the charming ( )
Spring-time. Prakrit expression may also be
translated as During the season of the advent of
spring*. ^mft^-Maddening, exhilerating.

P. 30 I. 26. ^I^i^-Amongst mortal females. 5Wld'<^

^ ft:-The tremulously radiant-flash i. e. lightning.
3RRJRI: 5far-Which has found scope ( ar^RI). He has
ascertained now that she is eligible, and therefore he feels he
could entertain a desire for her hand.
'blrKH^Nervous or anxious because of the suspense. The
king refers to what said before, viz.
9^ ®Tt l, and he apprehends the possibility of her mar¬
riage having been not only contemplated but perhaps fixed
up already. Hence, says he, his mind is in suspense.
tf:-With a desire to speak. This was
more or less intended to tease Sakuntala, and hence the
stage-remark I out of
a keen desire to hear the life of the pious people.’ Really
speaking, the king only wanted to know whether Sakuntala
was likely to be married, and if so, to whom, arft...%T:-5T
ZfFT-dTSST: 3T5#T: *3: ( cNl%T3R: )-To whom
a question ( ) may be asked without any restraint or
reserve ( ).

I. 27. I^ro-Relating to a ft^RRT or hermit,

3T 3RT I A vow which is
performed by him or enjoined on him is called and
that consists in always living in the woods. ’
*• e. Up to the period of her marriage,
266 S&OJNTALA [ I. 27-

«bK!mrf^ciu^-Prohibiting indulgence in the ways of

love. er^^Fd^-For all time, for ever. (iffalT-
If^nfvr*. )-dear ( ) to her because of their eyes like her own
{ 3TR*TCR5T). TOT <TT: °^lT:-aT?r 3TO:-t1T1%: l
It may be optionally resolved into 3TTTO?%srraRT: TO^T*. 1 In
that case it would mean * with these (female deer), of whom
she is a favourite for having eyes like their own. anft-A
particle of doubt, is used or i. e. antithetically, in
stating an opposite alternative. <FC«reT:-dependent on another,
under the control of another i. e. the sage ‘.-Intention,
thought. ^-.^tM-Difficult to obtain. 5ITO I STPfar
Desire, longing ( for ).

I. 28 *q^nt-That bears a touch, fit to be touched. He means

the lustre of this gem-like first dazzled his eyes, and
made him suspect that she was beyond his reach and like fire
must remain untouched by human hands. It transpires now that
he can reasonably covet her hand, which if touched will not
only not burn him, but will prove a veritable Kohinoor in his
possession.

P. 32 ar^r^SBTf^ft-Prattling nonsense or absurdly (3^355 ).

She refers to the action of f34eKI in volunteering information
regarding her marriage etc. ^g^f:-At (your) sweet will.
fT^.^cTOtCrV. L. 3cTO fjpjyffcT ^5T Rising up as if
desirous of holding her ( and then) restraining his intention. ’
%Tsifa#tei srgw arw m sr^^ftw-A
reflector, a counter-part. *TT-^foST ( . .#f:)
Having a physical action ( ) for its counter-part; presenting
itself as reflected in a physical action. As the stage-direction
informs us, when 3[ff?TO left the place, the king almost felt
impelled by an inward powerful impulse, to go after her and
bring her back. That would have looked highly improper and
absurd, if not actually indecent. He has therefore restrained
-I. 30] NOTES 267

himself, and in his cooler moment, reviews what happened a

few seconds before. The mental inclination of a lover is found
reflected in a physical action. * The desire to restrain ^|$RP55T was
so powerful that I feel what I desired has been actually translat¬
ed in physical action ( ).’

I. 29. ^uture Part, of About to or

on the point of following/ qiftdSRH 5FR: 3FI ^T:-Whose
movement was checked. Two waterings of trees. *
* You owe me the labour, according to our agreement, of
watering two more shrubs/ The delicate 3ffFT55T, on a former
occasion, could not complete the watering of a certain number
of trees, fixed for each one of them. f£|3fa^T, therefore, helped
her, on the understanding that was to pay back, on
demand, this debt of labour. Very cleverly therefore,
has thought of that, with a view to detain her on this pretext,
when even Anasuya’s reasoning of propriety failed to stop her.
3TRJTR jft^rfefl-Releasing yourself ( from this debt).

I. 30. ( sri^ )-With the palms ( excessively

red (). JWFITftpfr -More than usual or
natural; abnormal P. 34. ^J^-formed. sn^TO^-Lit. A net-work,
a collection. Cf. ^ I
IX. 68. ^rf^- The knot ( binding the hair) getting loose.
M-i/i^-Dishevelled. ar^oiT-Free from debt.-( 3if^pTR
3T). L. STEfaf.-A gift. ..ir^PT-He means that
the ring should not be taken as evidence for his identity as ^Rf.
It is a gift he has received in his capacity as a which
would thus have a two-fold meaning. ^FTg^T-( i) *TfT: 5^:-A
King’s official, (ii) 5[Fn =«rFJT royal person, which gszRT
is, while the ring he obtained was a gift from his kingly father.
3FRT shows clearly that the king has not succeeded in
deceiving f$Pfa3[T at least. .. .SR^WW-She means that
the king’s company has so much hypnotised her that she has no
268 5SKUNTALA [ L 30-

power left over her body to move away, Cf.

SWqnfr I I. ftffsqgq 3T-( To decide ) what should
be allowed to go and what should be restrained.

I. 31. ip? — i. e. 3R%3T, smr 3Tfer-is very attentive.

Cf. Mar. =ER to*r: Wtf: ^-Having a differ¬
ent object (to observe ).

P. 36. L 32. tor...<ftq&g ( o 5^5 )-f^% 3R5RK&T

4W3TPI l ( The trees ) on the branches of which were
suspended () the bark garments wet with water.
’Tft.-.SPOT: ()-Shining (sRJRl) like the twilight glow.
3TW is the glow either of sun-rise or sun-set, more usually the
former.

I. 33. 3TT: ^TFf-One of who i tusks

was fixed in a tree-trunk. The Bengali Mss. read~cfl4NId-
1 * with a violent blow, having broken one tusk
against the trunk of a tree standing in his way. ’ <nqj...qren-*rto
anffclft 3fiWR- qRP ST:-with fetters
formed by the clinging ( STRUT ) of creeper-coils dragged along
by his feet. 3?4-By this forest incident viz. of the wild-
elephant. 3RPTf...?R^lt--To whom the due ( rites of ) hospitality
were not profferred. —Hospitably entertained;
received. $$lf£pT:-The needle-like point of the Ku§a grass.
qftqT^Td-wait. some pretext ( ) For lingering.
Cf. artr ?5dT mi i to® i.
P. 38 3?t^4 3R3T TT:-Whose eagerness (to
return ) has slackened ; grown indifferent. follower.
PfasWlft'-Causal of \/ ft+tormeaning ‘ to enter, to take up a
station, to encamp * as an army. oSigqRTcfrFrom busying
or occupying myself with thoughts regarding SljfWjRST.

I. 34. -Unacquainted, unrelated. He means,

the connection between the mind and the body is severed as it
-I. 34 ] NOTES 269

were, both going in diverse ways and not working in harmony.

The word also means i. e. not under the control ( of the
body); V. L. meaning * restless, unstable. * 3fr«ri3P>'-A
silken cloth from China. Even in those days, there was great
export of silk from China. srf^lcf-Against the wind-current.
 ACT II

P. 40. Oh my ( evil) destiny, my fate !1 Some

translate by ZZ, to mean almost the same thing, Z8 and a^s:
being two kinds of fate, one referring to its visible working, and
the other to its secret or invisible working. -Tired,
disgusted, (^-.-Friendship. =*(T%5:-A tiger. 3TT%^eq%-Pres.
Passive, III sing, of J 3TT + to wander about\
Astringent () from the mixture () of leaves. ^r-
Pungent, bad-smelling. f^FTT ^f&T
cRT“At irregular hours. -mostly consisting of roast-
meat, i. e. meat cooked or roasted on spits. 3J^zr is explained as
with my joints bruised or dislocated () by
having to ride in pursuit on horse-back. ^I’PUd^^-enough
sleep, comfortable lying down (in bed ). JTflfr Sr^-At the very
earliest dawn. Cf. Mar. *fta^T 3%:—is the same
as :, being one compound. The genitive in this compound is
used in reviling and abusing ()• ^If*f^pjRi:-Bird-hunter, a
fowler. ^Wf^f-Beating the forest *, surrounding and taking
possession of a wood for the purpose of hunting the animals it
contains. 3rlHdT—‘ with this much \ ip*3^r.-.^rTT-Note this
Sanskrit idiom. It means * A small boil or a pimple ( fof&gsKT or
ftebf ) has grown on the (old) boil ( *1^ ). ’ or accord¬
ing to some means ‘ a pustule, a pimple, a small boil.9
Cf. 4 To add misery to misfortune. * 3?^^-q5iTc£ qf^j-Left
behind; dropped behind. ar^P5RRT-Through ill-luck or misfortune.
*R: «T Does not form or fix up his mind. snricWRftctj-
i. e. *flUd: or NhldT I The day dawned on
his eyes (wide awake). an^KSlH: qftqw Sfr tf:-who
has finished the usual or customary routine (of the morning
duties). V. L. °m Toilet, decoration after bath I
WTTOsMRRR-A bow. zi^ft-A native woman of or Arabia.
-n. 2] NOTES 271

The word is also applied to the Greek or Ionian maiden. Wilson

remarks that Tartarian or Bactrian women may be intended.
The business of these attendants was to act as the bearers of the
king's bow and arrows, and during war-time, she gives weapons
to the king. 37W*Tff#^:—Crippled by palsy or paralysis of the
limbs.

P. 42. II. 1. Deriving encouragement from the

observance of her gestures. V. L. —‘ Exerting to
observe her (favourable) gestures* is not so good, as it implies
that the favourable indication in the form of gestures may not
exist, in which case, whatever he says later on—‘ f^JTcf ^T.
has no proper justification, based as these remarks are on
the assumption of the existence of the favourable gestures.
Even if love has not achieved its object viz. union with
the beloved. —Longing for both, love felt by both.
lift ^-gives delight; Cf. srfawwr
3TT 5T& | SRRRTCIlSfo II
hi. 15. (sffgtferr)—an^r: arpftwr fonfoiT
*T:—Who judges of the state of feeling of his beloved
,pne, by his own desires (arftsipf). —Is deluded (to find
that he was wandering in a fool’s paradise.)

II. 2. fapvj—Adverb going with qft%cT—Tenderly,

softly, full of love. —As if through dalliance.
It is one of the Bhavas caused by love and is thus ex¬
plained:—I ffi m- Do not
go. * iTT:-Aorist form V with the augment dropped because
of the particle RT. L. SH'WII; By her who was
obstructed. sn^p^-Angrily, disdainfully. ’it
^ i Chiefly meant for me. He means that all these gestures
like the soft look, the graceful slow gait, the disdainful remark
were all intended for me, to convey to me her inner feeling.
3Tft-denotes wonder (3TPSPT). qpft ^qRTT q^r^'-How a lover sees
himself everywhere. In every movement of his beloved, he tries
 272 S5KUNTALA [ II. 2-

to discover the influence of his own love. 5RRfcT-Do not move

i. e. are paralysed. words merely ( and not by the
usual Anjali, or the joining of two hands and raising them to
the forehead). STRRfr-Causal, Pass. II sing. ofV %.
ftW-speaks by a turn of the speech, probably quoting some
proverb. The Com. explains it thus:—w
wiraift c^t i
f^Wr^-^a^-Distinctly, clearly ; V. L. —Reed ; $*3T-
5$t3>IRj-The gait or character of the hunch-backed, gwsr means
‘ hump-backed (cf. Mar. jfffgT); it is also a name for a crooked
aquatic plant, also called 3TfT° or ‘ To appreciate
pleasantry in comparing himself to an upright reed, accidentally
transformed into a crooked plant, we must bear in mind that
his natural form was that of a lame hump-backed man. -Monier
Williams. te^mr-Irnitates, copies. P. 44. an$555I^Hn a wild
region. Some read in addition Unfrequented. ’
3J?Elc4~To tell you the truth, to speak the truth, The
tendon or ligament binding the joints together. ’ 3RRi:-3ra*j:-
Not a master, i. e. one who has lost all control.
Causal, Future I sing, of J g+ ^ It means ' I beg of you to
favour me.9 *£*Wift-Disinclined or averse to hunting.

II. 3. 311 QirMHI3TT%cT: *TRT$: ^f^H’t.-With an arrow ()

fixed upon it gHftwiftta-A lovely glance. 3TW...?fp£-( It
means:) I have cried in wilderness (where nobody listens or
replies); a kind of a proverbial phrase. Cf. I
3FR>° 76. 3i»(|chMiM14~*which cannot be set aside or disregarded
^%d*-With a remnant, with something left
( unspoken yet). 3MPffd (^f&r )-* 3fP7m: Where no
physical exertion is involved, which would give no physical
trouble. 4l<v*><dP^I-Bits of sweet-meats. V. L. In
eating sweet-meats. * §*z^r. ^r:-I have pledged my word, I
accept the invitation. 4 The phrase has origin in a formula; used
in connection with the ceremony. A Brahmin is duly invited
-II. 4] NOTES £. * o

to attend the ceremony, and he uses this expression, when he

accepts the invitation. =EiI9% I <J
SRoft^T: 5TT^ ^TT^TI ?T TvT
SiBWPflcffeR^r STlrT fesr: || Cited by Pandit from #f$° 16.— The
person who addresses in the words of the formula (the v4\43jrV)
is said to give the 8Rr» and the Brahmin to whom it is addressed)
to take the JFfor, in the language of ignorant priests. Hence be¬
cause the word is so often used in the formula, so has come,
in the common parlance of Brahmanas, who subsist mostly upop,
occasional dinners at Sraddhas, and to which class our
belonged, to signify ‘ an engagement at Sraddha, which, when
once begun, must be carried out, on pain of incurring sin. ' It
may be observed that Vidusaka’s way of expressing his obliga¬
tion to accomplish what he has undertaken is perfectly in
keeping with his character. * SpJF * is still used in Marathi in
the sense of ‘ pledging one's self for the performance of a thing’-
Pandit.

P. 46. 31 i^lcH«hc^A:~eager (to speak out) words of com¬

mand. ^h?T: STT ( JJJRT ) I Found fault with,
observed to have evil effects. is looked as one of the ten
vices which a king has to avoid. Cf. m«W£TT:
*l*t It Jig® VII. 50.
II. 4. 3PTTO- ■ ( *TM )-3T?ITOT qgsqrqT:
cfc^-The fore-part ot which was tough because of
the incessant friction ( ) of the bow-string. ?T%^3-capable
of enduring. Read the slightest fatigue. The reading
is possibly a misreading of in the Mss. 3Tq^r^-Reduced
in bulk Because of the muscular
development; -coming from the same root means this.
51T®rait( JIRf)-which is all life and energy. Sim: TO ftsRTST.
cffij-with vatality alone left behind. amit^f-one who speaks ill.
or censures. -Persisting in opposition, persevering in
throwing obstacles in the way. fool, blockhead.
3Tf^T. 511. *1 c
274 gSKUNTALA [ II. 4-

l*f^#n£-IHustration, example. Cf. ^ ^f^PT

*TdT l
II. 5. 2TPT cTOrWlth the waist
attenuated by the cutting down of fat. 3<*n4-Activity, exertion.
^dTHr^gft fafTfofp-of creatures. f^^fof-Their
minds undergoing various changes () or affected by various
emotions under the influence of fear and anger. P. 48.Excel¬
lence, glory. Succeed in hitting a moving target.
(). Men practising shooting will realise how difficult it is to
shoot a moving target and what delight it gives when they succeed
in doing so. one who incites or encourages one to
action viz. hunting. ’ 5if»fcPnw-Has come back to his normal,
healthy state of the mind, ( hunting mood being looked upon as
an aberration). is the natural quiescent state of the soul, as
opposed to fcfe'ft, explained above. \jflufa^^-of an old bear Cf.
vmr q&mr ?ntet i ^i^(°

II. 6. iipna.*-3nfR':-A reservoir or trough near a well.

OTT. •.^5} ^-Forming a group in the shade.
jp: »p<r$«f or ^l^-Ruminating, chewing
the cud. qrcnCflfflf^-By the herd (cflct) of the boars. V. L.
31^4 fd fa: I. g^n^Tlrr:-Destroying or uprooting ( qfa ) of the g^TT
grass. ‘ g^ft-is a sort of fragrant grass, eaten by swine and
hence are they called ‘ g^. *
stf^ip-With the bow-string loosened.
II. 7. 5RR: 11 °5P*HT: %f~By whom
self-control or exemption from all passion and feeling is regarded
a9 the summum bonum or everything. ^Ag^s~agreeable to the
touch. t£4«bl*rr.-The sun-gem, a shining stone, a sun-crystal. It is
supposed to emit lustre, when touched by the sun's rays. Its
properties thus resemble those of a glass lens. It is also called
or <IhN<$ ; and corresponding to it, there is the or
tf^lui which is believed to be oozing drops of water when the
moon’s rays fall on it. Cf. ZR^cRtSftqit: Qg: I
-II. 8 ] NOTES 275

II *TtJ° ii- 30. 3^...^^ Through

the opposition of other forces or lustre (^t^T-Emit. The
root ^ ‘ to vomit * is one of those objectionable ones which
should not be used in good poetry, unless in a secondary or
figurative sense. Cf.
II ^TS2|T0 I. The Bengali reading is—
W#^l 9J5^ci'AsfiWcn,f^f^! I He means that the
sages, though outwardly calm and quiet, and given to the
subduing of passions, have a latent destructive energy with them;
and if they are provoked by wanton insults, will not fail to des¬
troy those who molest them.

50. v^Tcft-. .frfRT:~Let all your agreement to (provoke the

king) to action prove futile. ^^-Fulfil your office or
post of duty i. e. Stand at the door. SRfloT*.
clear of the flies i. e. free from all people.
(OTRlt) pleasant with the canopy of creepers formed above.
^ Who has not obtained the
fruit i. e. the benefit of the eyes. worthy object of
sight, V. L. gngoZTRt The best of things worthy to be seen l
He means that unless and until $|$*d'<3T is observed by him,
he may consider his eyes to have been created in vain. Cf.
i qfo ^ i fos® i.
retorts saying that he has observed the most
handsome person in and thus has obtained the reward of
his eyes. r~who serves as an embellishment of the
hermitage. ?5c5PT-3T^W- ornament, decoration ar^TC «T
I shall give him no opportunity (3TTOC) (to speak about )•
% dmu+^+T... £33%. He means that a hermit’s daughter can
never be a proper object of his love-a fact which it seems he
has overlooked in his ardour for w R$l4~Fit to be
avoided.
II. 8. Ite * So goes the report, so I hear * ( ).
fFJT sfam <raT<T. (gfoTT) Found by the
276 SftKUNTALA [ II. 8-

sage after having been deserted by her i. e. by the celestial

nymph ifclTT. On the sun-plant. It is a large vigorous
plant with medicinal sap and rind ( Mar. ).
severed from the stem. Jfcr-HiicHl is a tender delicate plant, which
as a creeper requires some other tree for support. Note the
correspondence of words in the first line with those in the second.
with gft with m, 3TOT with with
ftlfsfo, and #Pl?r with =^?r. ^f^T. WnM 51TRRT:
Disgusted or tired of eating the dates; MftrFft or V. L.
Tamarind. Mar. f%=«r. slighting the jewels amongst
women.

II. 9. The king imagines that in creating 3I§^5T, either of

these two methods must have been used by the Creator. N^...
%iIT-Having first of all painted a faultless figure on the canvas,
he breathed the principle of life in it. qft...tfa-trffofcTd':
%i: qrqit-Who wasendovved with life (^). combina¬
tion of the various properties of being and life. ^qt...*j-Or may
it be that having collected into one ideal model all excellent forms,
she was created by mind (without the touch of hands),
-By a collection of all‘exquisite forms, or
models of beauty like the moon etc, for the creation of one
ideal perfect Beauty. 3T?RTr () ^Rtf-Formed by means of
the mind. 3T?r Tj$
•m: I Com. W®. Cf. =3 c;>TW?|fed\
iMPTfon; spw i tf ft
mft ^T!<T: i Tit0 I- By the Creator. A
matchless or extra-ordinary (3fTfr) creation of the loveliest of
women. 3tfRT“is also interpreted to mean ‘ last ’; the idea
would be that by creating the Creator has said the last
word in the matter. lt*pt-Omnipotence. 5To^^ij:-The eclipser,
fhe supplanter; one who throws into the back-ground. Cf.
W-tlfcPM ^ 5KT: i I. 3$# 5Tf!)fejj| 5<wffdWi:
fw I %B« I.
-II. 11 ] NOTES 277

II. 10. The verse gives beautiful Rupakas or metaphors for

the beautiful form of the nails.
-Not cut, unplucked. ?s?r-P. P. of V ‘ to cut\ 3Mffr4
Unperforated, not pierced ( by a diamond pin ) Cf. JT®ft
ir*Tlfr: I ^5° 1. 3. Honey) whose
flavour is yet untasted. yuaiHi BPsPi ^-Unimpaired or complete
and perfect reward of the meritorious actions ( done in former
life.) He means the beauty of represents a full and
perfect development of all the merits of her former birth. 3Rtr-
Faultless ^ i. e. JjWrRfcpfr-With reference to this form.

P. 54 #f ^-whose head is
greasy (f^ur) with the Ingudi oil ( applied to the head ).
cPTft=IH:—of some hermit;' of some wretched rustic ’_M. Williams.
€fe<FT: or ^JJFP. means * love as betrayed or displayed by the
eyes. * s^s^^yr-About you, with reference to ( ) you.
governs the Accusative. STIFF*?:-Not bold, shy, modest,
reserved.

II. 11. 3Rr...^ )-3??^T f^T^T fR?T:

( feigned to be ) raised from some other cause (than love ). As
a matter of fact, says the king, love’s influence was the cause of
her smile. T^rRT...ffrT*- ( JT^T: )-TO^T ffcf: Sp-Love
which was checked in its manifestation by modesty. ?r falrp *T
Love) was neither fully manifested (i^fr: ) nor was
it fully concealed (). Note how cleverly has the poet
delineated love’s manifestation in a typically Indian girl. ^ ..
3ntfffcT-f^R> means that it is just the way in which girls
normally would behave under the influence of love. Surely he i. e.
gGZRf never expected that at his very first sight, she will come
straightway and sit in his lap ! tar:5l^Tl%-At our mutual
departure, when both of us took leave of one another and
departed. *ll^Md41-Through modesty ( sir^M'dT)- Cf.
gpift I *TR5° IV. The word is generally
278 SSkuntala [ II. 11-

explained as ^n^mtrft^T-one who is fit to enter an apartment

of a house i. e. well-behaved, shy.

II. 12. 3OTfc~3ftH3^-Suddenly. %fl^*n-Having turned

her face back (towards me ). The verse has a reference to Act
I. ^ I ^
I I and the stage-remark
tNiHJwAwfl fere? si srefrwrr ft%Rii i sttcprr^r:-
*TTW afa tf:-One who has supplied himself with the provisi¬
ons of the journey. «n*fa-a stock of provender. 1^1$ means
that the king will have now to stay for a longer time. He should,
therefore, make provision for this lengthened stay. Note how
is anxious mainly about the provision. -JM'cfH-A pleasure-
garden. A place of piety has been turned into a pleasure-resort
by the king. P. 56 Pretext, excuse. *fMK^^Fl~The
sixth portion of the produce of the forest-grain. A king was
entitled to receive as tax, a sixth part of liquids, flowers, roots,
fruit, grass etc. But from a Brahmin, learned in the
Vedas, he was not to receive anything although dying
of want. Cf. JT3® vii. 131-133. vfFT^T:-4_Share, tribute.
TTcf I Cf. ^p. I. q^fczp-From the four
classes of people viz. and ^ift-Perishable
Impossible to perish. Cf. I.
fosplt -who have accomplished their object viz. the king’s
interview. 3ftl§*RT:-Resplendent, possessed of majestic lustre.
He means that the king’s form, although endowed with kingly
glory, does not repel but inspires confidence in the minds of
those who approach him. Cf. % ^^Tsftf^rnij i
It I. Proper.
HIfdfflvT-Who is not much different ( in character )
from the sages. V. L. Resembling a but with a
degree of inferiority/
P. 58. II. 14. 3m^-*ii^--In the order ( of
house-holder) which is open to every one for enjoyment.
-II. 15 ] NOTES 279

3T5TORTT-Taken up, accepted. Like the sage the king also

abides in an 3TWT. By reason of ( #TTcf. ) the
protection he offers to the subjects. This is a form of penance
which he observes. ^K^^nd:-*T^W^H^fd:-Sung by a pair
of Gandharvas, or celestial-choristers. ' These beings were the
musicians or minstrels of Indra’s heaven, just as the Apsarasas
were the dancers and actresses; and their business was to
amuse the inhabitants of Svarga by singing the praises of gods,
saints and heroes.*—M. W. Preceded by the word CT5FL
He is therefore twgft a TT^T^f. Cf. WWTT
i <5® XI. 4rf|^rH^:-The friend of i. e. Indra who
crushes armies with his thunderbolt.

II. 15. .T: WTT- With

its boundaries darkened by the oceans. 5PK...31g:-TO^T <rfor:
$$ 3^1 ^.‘-Having long arms like the iron-bar of a city
( gate ). qftsr-arfe-The iron-bar to secure a gate. * In a
city-gate it was both massive and long (W and 3?Nr), and
therefore an object of comparison highly significant of muscular
strength. It should be borne in mind that length and vigour of
arm were prime requisites in the ancient hero, whose fame
depended on his skill and power in managing a bow. Hence
the appropriateness of such epithets as and
M. W. an^r^-expect, long for ( victory ). g**n$cR:-Groups
of Gods. «tfff<T:-In constant enmity with the demons.
V. L. Sorters etc. where would mean ' in
battles.* Another reading is etc. of the Com.
who remarks thus
a«jft*fWPSWM'W I TOfft qrt-On ‘the
thunderbolt of 3^f?T i- 6. Indra (lit. invoked by many gJjfiT:
). inhabitant of the hermi¬
tage. Note the construction of this sentence, where is used
with the genitive. +fdWr3-for a few nights. The demons
caused trouble during night.
2v" jHkuntala [ II. 16-

P. 60. II. 16. (your) predecessors. arTT...^-

^nf^renvrt the sacrifices viz. giving security to
tin-' di'rreined, ^faTi-consecrated, initiated.
overflowing, flooded. Cf. STfcifoqT (
','-vu III- m W:-Aorist II sing, of V'4t‘to fear,* with the
uiigmcut 3f dropped, because of the prohibitive particle Tfl. Ttct
fl'.PTfd: etc. V. L. trer rT^f | ' Here I will guard the
wh.vl of your chariot.’ A march unto victory.
- Hearing a message of command.
P. 62. The ceremony of) cherishing the body
of u r,nn ; this ceremony seems to be akin to the birth-day
ceremony and on this occasion, as the commentator «fjic!3nfa
observes, various presents are to be given to the son, in the form
o' >wer.*t meats, clothes etc. The V. L. g^W^tl qfasfffd »
My last will be coming to an end ( on the fourth day) ’ is not so
satisfactory as our reading, which mentioning the definite
ccietnony, proves the importance of the king’s presence for it.
^Wfft’df^I’-Should be honoured by (your) presence.
f-ike a just and a pious prince who aspired to celebrate a
great sacrifice, hoping thereby to ascend the heaven in his mortal
body. He first requested the sage to officiate for him ; but
being refused, he then applied to the sage’s hundred sons, by
whom he was cursed and degraded to the condition of a Candala.
In this pitiable state, he had recourse to who undertook
to conduct the sacrifice and invited all the gods to be present;
they however, refused to attend. Upon this, the enraged fctojrfasf
I * -.reported fcRTf to the skies, whither he had no sooner arrived
thou he was hurled down again, head foremost, by Indra and the
goo’s; but being arrested in his downward course by
n mained suspended, between heaven and earth, forming a constel¬
lation in the southern hemisphere.’—-M. W. bet ween the
two.
li. 17. jvt^i|r^rd~On occount of a difference or divergence
in place ( 33T) JUrl^f-Driven back, made to recoil by a hill
-II. 18] N0TEJ5 281

( fte ) in front ( g*:). Gen. Sing of ‘ a river. ’

Disturbance to the penance grove. Very cleverly has
done away with his retinue which was a source of disturbance
to him also, Restive, fickle, lacking control over his tongue.
* A lad, chap.*
II. 18. To whom the ( ways of) love are foreign,
one who has had no experience of love. JjnsTFT A young one of
a deer, a fawn. ^TP-Tcf: Bred up. He means, the association
of such young creatures as fawns has left her thoroughly innocent
of the working of love. (which amounted to) mere
prattling in joke t should not be taken
in earnest i. e. as representing the true state of things ( ).
 ACT III.
P* 66. *r: i Of great prowess.
ftWWfft-free from obstacles; some have which gives
the same meaning, 3^34 an obstruction. Cf. sps^cr^wt:
5T3TT: 5T3rHI«r cTTf^T II *3° II. 48.

III. 1. qjT^TT what talk, or mention; what account i. e.

where is the need of fitting the arrow to the bow when the mere
twanging of the bow is enough to expel the demons who impede
their rites, in the same way as the roar (gro) of some fierce
animal suffices to scare away those who hear it. Cf.
^TPfcrqf srfcftKisfa n T^rt° 1.srqfiflW from 3?<t+33[-
dispels, removes. formed with the affix
of which nothing remains; one sacrificing at prescribed times,
also means a priest who officiates at a sacrifice. aTFGR^tbis is
an example of 3TR5RPTlf^l^-a speech addressed to some person
off the stage, the actor at the time fixing his eyes in the
air; the answer which is supposed to be given is also
and is not heard by the audience-the actor on the stage pretending
to hear it ( ) repeats the imaginary reply with the
words snflR Cf. T% T^TT m ST^ftfo ^ I
Th^^^fT^I4)l4Wlf^d^ II Zjfo is a kind of fragrant grass
called 3T55T in Marathi. aiwq^ldldCrfrom injury caused by the
heat. 55f to leap over also signifies as here “ to inflict some
injury. ” ftqjquiR-for cooling, from to extinguish; after
this Monier Williams gives i|cHTF£ I Let her be
nursed with care ’. fedHrhfe-breath—as precious to him as his
own life, %d-l^dMfiwf^T pertaining to a sacrifice (ftdM).
4IFt^<4»-5TR2r4 3^H.l water which has the power to allay fever,
to soothe and comfort. hNw an introductory monologue or
dialogue so called from its compressing (into a short
space an account of those secondary incidents of the story which
-III. 2 ] NOTES 283

are not enacted before the audience, but a knowledge of which is

essential for comprehending the action of the play. Cf.
WWWWWMi WSlRt I. It is two-fold-
55 when in Sanskrit by a middling character or characters
() and when in mixed Sankrit and Prakrit by chara¬
cters belonging to the middling or lower rank ). It
may come at the beginning of any act, even the first, immediately
after the When, however, the characters are exclusively
of an inferior class, and speak Prakrit only, it is called a ST^RI,
which can come at the beginning of any act except the first.
WHWMMW-others give *W<dl«IW I 1 The form
: is used by Kalidasa elsewhere :
WMPP1T 3*515. I) I Although the
regular form is yet this form can be defended on the
ground that the rule prescribing the augment 5 (JpTPHT) is not
universal.

III. 2. V. L. 3T*55$fI cTdt cRsrrftr M 1 etc. I am

not able to turn my heart from her. The reading we have chosen
is ^ fjfcrrfcr ^ Am I This reading is supported
by the commentators.

P. 68. —Because the one has only

flowers for his arrows and the other has cool rays that
distil nectar. Stanza 3. TO^T^-is explained as T^FTtfcTf^H. having
a contrary effect. The live arrows of Cupid are ^
^eRTk-Hl l ^ I Some substitute
other flowers in the list; while sometimes other kinds of arrows
are mentioned : I
cT»xr tot: II In erotic poetry, the cooling rays of the moon
or the cooling objects such as sandal or Southern breeze etc. are
often spoken of as having a heating effect. Cf. in this connection
UrvSai's love-song in act II-H*WHTOT arft *JTOT ^TrftWTT: |
or the king’s remark towards the end of Act III. tr^
TO5 I etc.
284 glKUNTALA [ III. 4-

III. 4. The story of the burning of Kamadeva from a scorching

flame issuing from the third eye of Siva is well-known and given
fully by our poet in the Kumara, Canto III. For the idea. Cf.
& ^ I dFT U
^TOFT^-act III. Submarine fire also called
according to the legend given in the Harivam4a 3M is the son of
the sage who had gained great power by his austerities, and
who was requested by the gods to beget children to perpetuate
his race. He consented but warned them that his offspring would
consume the world. So from his thigh he created a devouring fire
which would have consumed the world, had not Brahma
assigned to it the ocean as its habitation and the waters as its
food-^Ff rftvm 3?Nr: i

HI. 4. The God of love so called because of the JRKT

or sea—monster, subdued by him, painted on his banner
^ etc. anything, even affliction and restlessness are
welcome to him if they are caused by Sakuntala or have a
reference to her. After this Stanza the following is given by some
editions:-*FRrC. I I
^TJFTW fRTT I =3FT
ll~The passage, however, is not supported by many of
the Devanagari Mss. although it is found in a few, and in all
Bengali Mss. ^Jfrvr-after the sacrificial rites are concluded,
finished. I d: I The superinten¬
ding priests or simply those who took part in the rites. P. 70.
after d%T dR^JF^5rfr, some read 3FRT
I ^T:-dJ-rfl^fnT I SltT-l^qT-
«JTFft ^•■d' II This is a beautiful example of 3igJTRT-
553FPC which is frequently used by *TTCT and $Ti&'<RT but it is not
supported by all Devanagari Mss. SRId:-5l^: ffld: l
III. 6. etc. used impersonally. <RT. 3HRH, is
equal to q^RFT 3TTR5SR 5RRfflrwhere the act of embracing
( 3TTra^T ) implied in the infinitive goes with the predicate 4ieWH~
-III. 8 ] NOTES 285

hence the neu. Cf. rtf % WRrft SIT I

III. 22 or WFi Wt srf^Pl »• The full significance
of the stanza which is here implied is clearly brought out in the
following from SRHjrjfs WSfct0.
T5R wt II I- 41.
III. 7. Here again is an instance of The idea
is also found in tWTI0 IV. q$?T5JcIT cRTtS^T
ii. The full bliss of my eyes,
ftcrfui lit. ‘ What is blown out ’ refers to the state of release, to
the Ved antic idea that each who se.ems a separate whole fuses
all the skirts of self and again remerges in the Absolute.
That is the highest happiness, the “Summum Bonum.” Cf. SR|%
TftrfTT II TTHfa0 111*1. Denom. from
in the sense of giving comfort.
P. 72. III. 8. ^Fr^TT#C and are to be
taken adjectivally with ^-implies the extreme
tenderness of the wearer; a single lotus-bracelet was all she could
bear, so weak she had grown, fatrft indescribably—hence, ex¬
quisitely. 5R^*-“action,influence. There is figure as
and are compared and then the superiority of over
is pointed out in ike last line. g*TJf <3TTSR?=affecting a pers¬
on in such a charming manner. q^JcgqiT-greatly affected by
love. Cf. qfcpj OTTfo FfTOH * WTfa 3R5RT II
° II. 16. 3nc[f languish, malady, painful condition,
-not acquainted with, perfectly ignorant about; lit. not inside. Cf.
3# 5Fftirwj*K: I II. VrfmiW or 5#^R^"-both
forms are correct. srfejR-* = from 5#f? + the affix qsf.
The ending' vowel of a preposition when following by a word
formed with the affix and not denoting ‘ man * is optionally
lengthened-3WM So we have or q^fTf:
Tftro-* or qttm-'. 3T^rr:-Some read 3T$^rft 3?WT: I
which we have followed in the translation-but which through
mistake was not printed in the text. The former means, “ my
guess has also occurred to Anasuya. ” attachment.
 286 SXKUNTALA [II. 8—

37^:-mark tlje idiom tbou art abandoned by thy limbs-hence

thou art wasting away. gRT-your exquisite beauty-3RT
here means 3>lfor: complexion, your lovely complexion. P. 74.
afftcT^-thus derived : forjct <r*TT Wf ^ ^ fowl,

III. 9. ^TOTRT° 3fffe&“the repetition implies excess. It may

also imply the idea of becoming gradually more and more
emaciate, ^(a^g^-the Bengali has g’tff-but that is not correct
because the loss of firmness is a sign of weakness, sjfofuta means
^ftjifrur-that dries up.
III. 10. ^:^g%^~Cf. I VII. 65. Cf.
also SRISsT: flfacfa *TT JPpmRlJ^ I I. TOT properly a girl
sixteen years of age. 3TTOft is l. is one
of the four ways by which a maiden encourages the advances of
her lover. According to TO1 they are ^TPR,
and Now he was encouraged by ^akuntala by
because she again and again turned round and looked
longingly at the king. But now that she is actually going to confess
what she felt, the king’s mind is in an agonising suspense. TFT
Came across the path of my sight-quite a common
idea; Cf. q&m S t^RTT WT faff: i
I. 9.
P. 76. III. 11. T^rnrftrrr lit. the extinguisher ; hence allaying
the fever. dMWf at the end of Summer 3TSnRT*T:-Some
read 3r^3OT-‘partially-dark# half obscured which is not quite good.
The days are very sultry when the clouds come; but these
clouds allay the heat by their grateful showers. Thus we have
in ftTO II. Water
with sesamum seed-she means that her friends will have to
celebrate her funeral obsequies-for these, such water is poured
OUt. <^«iq*ir+i4T Cf. • I 'ftWHl0 IV. ft*•..
i^jl% etc. the two friends of 313x1 d>I are here compared to the
two stars in the constellation ftsiRsTT and herself who has
-III. 13 ] NOTES 287

grown so emaciated to ^RTTf^T- Cf. the remark of in fefrsft0

Act i. ^
sp7cff^?5[ 3*Tft«TdT ITXft' II. The union of the moon with the cons¬
tellation of is described as particularly charming by our
poet ; so also with %TT as in II *5°
I. 46. because in summer the and fcf^lT^T shine very brightly.
t^TFl. feraPIrAccording to “ ” we have the
accu. indicating that the king did not sleep even for a moment.

P. 78. III. 12. This gives a picture of the king as pensively

he rests his head upon the palm of his hand sideways, so that the
tears which. trickle down from the corner of his eye (
) soil the gems in the golden bracelet which constantly
slips down from his wrist ( ) and is not prevented
from slipping down because the callosities on the forearm are
not sufficiently prominent. This is a favourite idea with Kalidasa
Cf. 1 ^T° JlftPFER is “ the wrist ” so
called because it is a place round which jewels are bound.
£Nm3&N“The remains of an offering of flowers presented to
some deity. It was usual to offer these in the way mentioned.
STTofR: ^m^RHi^-preceded by a reference or allusion to yourself.
in II. 14.

III. 13. sff: Laksmi or fortune ; when she herself seeks a man,
how could she fail ? A man seeking fortune may or may not find
her. Similarly the suitor may or may not win the beautiful
maiden ^ie loves-but if he is loved by her, how can she have any
difficulty in gaining him ? Cf. the same idea in V. 45 ^
% clef, I one who undervalues,
scorns her own virtues or merits. ^Fff etc. This is
characteristic of Kalidasa’s style. An apt parallel to the situation
in question which constitutes an illustration or () and
gives the figure of speech or according to some
rhetoricians.
288 SSKUNTALA L III. 13-

P. 80. frzftfafdT so now I am directed by you-I do this by

your orders—so that you will be responsible for the consequences
feWdfirfr^°T~which has forgotten winking-very expressive of an
earnest longing gaze. Cf. q^t
11 *1° II. 19.

III. 14. ^rto°==^r^RTT w SPOT *m dfl[. I having

the hair erect like thorns, the same as g<3ta-the hair starting up
erect on the body is a sign of exquisite delight or some
pleasurable emotion. Cf. ^ q<*
m 53rqr ^ II 3T55qjR^q. Cf. also II
spsqJT: #5fTdT: am I ( %)• ^dd^-the subject-matter of
the song. q^: *m cT^ I the syllables of which
are transcribed. d*idPftirwell-connected in sense.
III. 15. better read *1rlftq which gives which is
better than for the accusative implies the ceaselessness of
her torments by the rule f^TteT | fdq%qrft-
Monier Williams reads frPPTRqFlT1 l I whose desires are centred
on thee.
III. 16. Here is a beautiful ; naturally therefore, there
is f^yfaRwHrq-the king and aud qqd are compared
respectively to 5^(ff ; f^cff and He means that he is
affected by love far more violently than Sakuntala herself. So in
the king says q^ET dT d Wfa
g^qd dqd l She is filled with anxious longing but he is distrac¬
ted on her account. 3ri^5ffc*M: fRkdW ‘ the desire of the
heart, which does not delay ’ refers to Dusyanta by d^PHT-Cf.
amm 5ftfrd+ldqrqif3 II JTBte. III. 7. where the
king refers to tfiftltai as his very life ^'NdH, l
P. 82. III. 17. from to press the teeth closely
together, bite, hence “press closely, come in close contact
Cf. XVI. 16. Cf. also the word dqd:
which means “a pair of tongs ”. 3TT^° ad^RTT: d ftddWT: %:
-III. 19 ] NOTES 289

I OTWHHui the usual salutation, STT^R; die need not give

up her recumbent posture and rise to receive him. g«uraroft«fr-
She was going to tell him how her dear friend was affected by
love on his account; but their love for one another was too
evident; her words, therefore, were superfluous-i. e. simple
repetition of what was already well-known; Cf.
g^R^r I JpW lit.what is said again, repeated,
has further acquired the sense of “ what is superfluous, ” or
“ unnecessary, *’ and hence at times simply 4 additional.' Cf.
i III.
gsflWltfc: U V. f3ppri^n^Rlr *W^-engaged in the affairs
of life as M. Williams translates it; but the proper meaning
is those living within his territory—hence his subjects.
distress. 37<ftqRKH.^Klfadl reduced to this altered condition;
3TS3TT I—an alteration from her normal healthy
condition. favouring her; Cf.
u iv. 25 sm-.-cf. fn.
16^ll^TlSqg^t: W II ft-.- 1-Mark this sly remark
of £akuntala; 44 Tax not his courtesy too much—for he must
be eager to join the bright ladies at his court *\
ill. 18. 3FRjo TOtpJT q^T^which has nothing else as
its highest object, which is devoted to no other, O
thou that abidest in my heart. 3|^*T
is properly wine-hence by SSgvTT-intoxicating like wine;
JR-qp.-Having eyes intoxicating like wine-hence fascinating
or bewitching eyes; an epithet of common occurrence-and thus
defined I gfeflfar
II. He was already killed by love's shaft; and this her
unkind remark, therefore, slays him agai(n. etc. kings
are prodigal to many of their love-hence this request with
which Cf. request to in act III. of
For f5|some read
III. 19. How naturally in the ardour of his love does the
king give this promise—not as in the original Mahabharata
290 SStCUNTALA [ III. 19-

story—is there a bafrgaining for her future. 5lf^ij-5lfc[0T-a cause

of stability-but here cause of renown, “ chief glory. ”
V. L. oy^^iHT-the sea girdled, the sea-girt earth. ^RM^-lit. let
us cause it to join its mother-lead it to its mother; obviously
this is a mere pretext. They want to leave the lovers to
themselves-Cf. -*M IU - I 3TCP5; also-
tn? u'uwft rNr \ tr%
HTR5° IV. ^KlHft’dl-your adorer, worshipper of
a deity, hence implying adoration as well as service.

P. 86. III. 20. is the part of the hand between

the wrist and the fingers; it is better however to understand 5R?r
to mean by a part of UW an elephant; i. e. the trunk of
an elephant, so that the thighs are rounded and tapering like the
trunk of an elephant. 5? apfi: ST l the affix 3; ( f ) is
applied to &C when it is the second member of a compound,
and resemblance is implied. Cf. I. 36. or of
IV. 17. =TJTFPfW5 etc. I will not make myself in fault with
those who are worthy of respect i. e. with father Kanva and the
elders. 3pTftfosrf<rr: Lit. quite extinguished-not yet cool; it was
still very hot.

III. 21. UfaraFtel4incapable of bearing hardships/ M. W.j

but the proper meaning is 41 rendered languid through suffering.
is substituted for ^5%: in the Bengali. ^ arf^Rp^-some
read =T 3TRTR: snraifr-she was not mistress of herself
f^fifdqpfr-who knows the law. because at the end of a
compound.

III. 22. *TP#»r etc. the nprf is one of the eight forms of
marriage which are ffisgt SSg*: i JTPTff *1ET-
3&T \\. *TPT# is thus defined
m&t ^ \ up*#: 3 3 Wt II *3° III 32. It is the
marriage of a maiden and a young man at their sweet will concl¬
uded without any ceremony and without the consent of the elders
-ID. 24 ] NOTES 291

STjpPTftrafr-from the causal of 3T!5*P£t0 cause or induce to assent

—hence take counsel with, to ask the consent of.

P. 88. III. 23. etc. a flower untouched, uninjured

and fresh. The reference here is to the ^TSfcT which is often
spoken of in Sanskrit erotic poetry-Cf. ^T:
I 3?TO ftTOciT etc. Desid. from 7T to
drink. Cf. Act *• 24*Mark how in his depiction
of love-passages Kalidasa does not go beyond aesthetic bounds—
“A kiss unkissed is all beyond which the affair does not pass.”
'fRi^^r-How delicately and cleverly are the lovers warned! The
Cakrawakas are models of constancy and connubial affection.
They keep together during the day, but are doomed to pass
the night apart. There are frequent allusions to the habits of
these birds in Sanskrit literature. Cf. cSRrgd'fa-
ii’terf0 IV..20.
i fa°. afoi qgferoii*i°
VIII. 56. 4 J-H lij - to inquire after my health, ascertain
the state of my bodily health. ScfPT: cTTf^T Whose
fever is abated. 3?f^T ^ is idiomatic-there is a change for
the better in me. <Ul«j*wRwftdW~is contrasted with §#^TrT~the
desire of her heart came so readily and brought with it
happiness ( ^ yq*id ) but the separation comes and brings
3T3$RJ repentance, or regret with it. 55cTRT33T etc. A double en¬
tendre is intended, one meant for and the other for the
king.

P. 90. III. 24. The first two lines are to be construed adje¬
ctivally with in the third line-.3Tf*jf&fir: ^ drf I
5TlfftsiT0~ SRHrfa ilg t£T 3rfSp[i^-looking
beautiful as it simply stammered forth, could not utter distinctly
the words of prohibition. 3f$ T^% ^ Wfadlcf l <R*T55 is <RJT+
the affix & ( having soft, beautiful eyelashes,
qrftgcfi: <TSn^ g^: I ^K^&cff-crushed by her body. 3rrcpsr-
*TH whose eyes are rivetted or fixed. III. 25, gpftH
292 SSKUNTALA [ IU 24-

—belonging to the evening—rPT is applied in this sense to adverbs

of time. Cf. ftfrdd, STCR*. TftcT: governs the accusative arfap
| *ppf^-sacrificial rite, sacrifice. As
the demons were stalking about, their shadows, dark-brown like
evening-clouds, fell on the altar where the sacred fire was kind¬
led. ftAdl3MMiq;~the eaters of raw flesh ( Pifita raw flesh+SRR).
apppf etc.-Observe the use of apr “ this one ” with the verb in
the first person. Some read however appigwraffr l
 ACT IV
92. according to mftft III. 3—40 I
The root ft takes the affix qr (^) when the sense is " taking
something with the hand ” except when the thing is stolen. Thus
the proper form i9 because q (*0 causes Vrddhi in the
root-vowel. However the rule implies that the thing so taken
is quite within reach; and so the commentator defends the form
3CT3ZT by supposing that the flowers were not quite within
the reach of the girl9. The defence, however, is evidently
very weak. This is rather a case of poetic license.
p. p. of -4-^-effected, accomplished,
is happiness, good-fortune; here used in the sense of marriage
on which so much of man’s happiness depends; " having her
nuptials celebrated. ” ftfep£-Happy, comforted-p. p. of ftj+f.
3n$tctft5taT'* etc.—Distinguished excellent forms; tNfan or
Whose distinction lies in their noble form.
This prepossession in favour of beautiful, excellent persons is
pretty commonly expressed by Sanskrit poets-the outward form
is an index to inward worth. Cf. 9 $933 I
dc. 16 gprr i.
WWWMWIMWiU *2*®° ft S^TO^t-ft 3Tf^WRqfir-What he
would say, what reply he would make; or ft swqr<ftBq|&“what
he would think. SPOT: The first desire of his heart, hence
the best desire as in 5T*r: —than which he can wish
nothing better.
P. 94. A^IJq^adf-The deity that presides over her fortune
and welfare; the tutelary deity. 91% *9i: l
The p. p. is used as an abstract noun and is neuter. STf^farf-the
plural to show respect; some honoured guest announcing himself.
Some read srf^ftuiT («HRtfa*fT) but that is not the Devnagari
reading. Wft feflT-With her heart, she is not near, her heart
294 gSKUNTALA [ IV. 1-

is far away with Dusyanta. ^RwifaPf-One who slights,

scorns, or is disrespectful to a guest. No punishment was
thought too severe for one who violated the rites of hospitality.

IV. 1. 3M^n«NJI-3ffcp<Tii ^
^TT; *TT I. One whose mind is regardless of everything else,
thinking of him to the exclusion of all other objects. «TlftdlSfa-the
full significance of this word comes home to us in the fifth act
where £akuntala tries to revive the king's memory by reporting
to him of some of the incidents of their privacy. *TRT
'Jcg/eS from 3^4 to leap-hence bounding through its
impetuosity. The other reading is
^^K^T-with a step (JT^fT) tremulous, bounding and difficult
to be checked through its impetuosity. Some have af£Ud<YK-
= 3tJc(^«n<coR4r~but it is too tame a description of the
choleric saint bounding away in anger #Sa}t etc.-a fine
The wrath of a Brahmin is frequently compared to fire.

P. 96. 3TT%IWr^rf^T iW-owing to her steps stumbling

through her excitement. 3T5if5^!Ttf-a very puzzling compound
explained thus: afWFtilr where one is and the other
; but these are not identical while in a such as
^ rHT. =^-both the members of the compound
refer to one and the same object. The defence, however, is that
both and prf may be regarded as identical on account of
the relation of the part and the whole between them ; and thus
the compound is a qrfqrw. Some however explain-f[^T^-3T3Tf{-
and account for the °I ^HT by putting the
compound in the class, but this rule of
applies to compounds, hence the first explanation is better.
Here is an ill omen; the poet is preparing the ground for the
tense feeling of this and the tragedy of the next act.
must not be falsified, hence must not be recalled. Refirfuj^-
curse and its modification are altogether so common in the Paur-
anic tales.
-IV. 1 ] NOTES 295

P. 98. is possible to take cheer or comfort-feel

confident. ^l4l4tqpff-She will be possessed of a resource or
remedy in her own power. §$1^ «1*J ^ 3^ etc* mar^ tra8ic
irony; with the best of intentions the friends resolve on a course
of action which only helps on the tragedy. Had they revealed
the incident, $>akuntal& would have been more careful about the
ring and perhaps the tragedy may have been averted. RHMU
Really speaking this is with its Sanskrit and Prakrit.
But perhaps the characters are all middling fRT, while
requires *T^r and characters. a^i-R^a^^Wf'Open spot, open
air. ^rf-Here shows surprise.
IV. 1. af^r-It is believed that there are two mountains the
in the West and the in the East-and the rising
and setting of the sun and the moon depends upon their going
behind the 3T*cTRc5 and corning from behind the
HP^-One of the names ’of the moon is l is
explained as a plant which dies after the ripening
of its fruit, hence any medicinal plant. These are supposed
to thrive under the influence of the moon hence the moon
is aflqtflcffa;. Really speaking the plant is described in
the Veda as the king of plants; but when later became the
appellation of the moon,—the latter too received the epithet
Even the lord of medicinal herbs which revive and
help to live-dies-such is the beautiful-suggestion.
etc. V. L. etc. But this requires us to suppose
that is used in an active sense-3fRt%r.
trsRT*. l We have to supply this word 3TW
the herald of the sun is the dawn personified ; according to the
Puranas is the son of ^hPTT and Rndf and the elder brother
of jtw. His mother is said to have prematurely broken the egg
which was to be hatched for a thousand years, and so the child
was bom thighless: later on he became the charioteer of the sun;
hence the latter is called people are
guided as it were; restrained or governed i. e. people are taught
296 SSKUNTALA [IV. 1-

the lesson that when even the highest suffer rise and fall how can
mortals escape it. The stanza beautifully suggests the reverse
of fortune which is to come over 5akuntala. The <ffiRUTf&Mhe
various vicissitudes of life are alluded to in thw well-known verse

IV. 2. Whose beauty is now a matter of

remembrance. The poet here beautifully refers to the condition
of the heroine in the absence of The last two lines give
a generalisation, and so the figure is apqfcrcarRr.
hurried toss of the curtain-a stage-direction indicating the sudden
entrance of a character who is flurried through joy or sorrow etc.
tTqf JTR-etc. the passage is very corrupt and variously read.
She is referring to herself by the word
she was averse to, withdrawn from all f^spr
worldly concerns ; one unacquainted with them
3PTT#-as a noun-ungentlemanly conduct-what is unworthy of an
3TR. dfofd^-The usual duties, from “ usual ” the word came to
mean “proper”. q&PT: ^pff etc. Cf. |
w«fFir: $*ft U II. 11. L.
I ^ «MRd!-caused to have dealings with, repose
confidence in. Cf. qqq | <F3T
fflrffoEl I UT^r° III. 14. 3. also qpttff sr^f t
ll VI. 14. the
genitive irregularly for the accusative. <|:*srsft%-they are inured
to hardships-hence either it would not be proper to trouble
them any more-or they would not be able to sympathise with
£akuntala and her friends as they are rendered callous to
sufferings. Or, who are hard to please, bad-tempered and hence
cannot be easily induced. although I am resolved,
have made up my mind. 3JFrWf3T-3TlW. STrcp () 3R3jf1 A
pregnant woman.
P. 102. festive solemnities auspicious
ceremonies that attend the departure. Cf. apr ofed
-IV. 3 ] NOTES 297

flhSRT qri%: I VIII. 1; where is explained as

or as SSaqsr. " R?f% ^ $3gMfa WR: l In the
jpTff. Ill we have both and OT55 combined-arffa
sigftt l-where the reference is to the
auspicious ceremony of the tying of the nuptial thread
^ *J4sl*RW ■3TRT *TT ST I ^PR + ^+the
affix ogas; (3FF) -f a?T. There is also the form
Raghu X. 14. etc. Both the comparisons are very
appropriate in the mouth of Kanva. a common idea.
Cf. the Nirukta passage f^SJT f % 3n^FPTP3piT*T I 4|*IW nt
f*n$T I etc. atfh^liui the fire sanctuary-the house ( 5R<4=q£)
where the sacred fire is kept. Cf. later 3t(fRKuII&*5 in Act V.
IV. 3. ajcRT for earth's prosperity, suggesting that the
child would be *Jl44w. 3TTWTT i-for the idea Cf. SPflftfaT-
1 ^5° HI. 9. Agni who bore the seed of £iva at
the request of the gods felt a consuming fire spreading through
his body-so he entered the Saami tree ; when the gods discovered
him there, they assigned the tree to him as his permanent abode;
the story is told in the chap. 35. Sc$udWTOKuIH-
mingled or mixed with anxiety. Cf. WWP3T-
fwnftS: I II. 42.
P. 104. dM(^l*n-the poor girl, the helpless one; one
deserving pity. A small box or casket. ^RT^RT” yellow
ointment, the concrete bile of deer used as such. *RRRRlf*T-
Here decorations; properly 3RR5WR is besmearing the body
with ointments-SRRWf ^ZRR: l At the
end of a compound has the sense of tpzr respectable-as also the
additional sense “ and others ” So called because it
was founded by the great grandson of rrt . thus it is an
anachronism to call ^Rf’s capital by that name.
meaning with her hair (fifaT) combed or cleansed, yicffed-
Consecrated or halJowed-or placed in i. e. carrying, having in
their hands. w£Hl (^‘.-invoking blessings on her, wishing
to pronounce blessing on her. fen^T: 1
298 S5KUNTALA riv. 3-

also means a present given to Brahmins for blessings from him—

but that sense is not appropriate here.
P. 106. an instance of the gerund
in 5 leaving Gautami, except Gautami.
etc. 3TTVRW and 5TETPFT are contrasted-the former meaning rich
costly ornaments from the root 3TT + implying opulenee-the
latter simple decorations such as garlands etc. JfWtfT ftft: a
creation of his mind-created through the superhuman power
acquired through Yaugic practices.
P. 108. IV. 4. $W^-8jJ?Prr: teK:-8JJTT is flax or silk.
JTHFeap^-auspicious—it is explained as ?nvj: but the form
would be l; so it may be explained thus
by applying the affix a? ( \) i. e. without any change
of meaning. T^TcT: distilled—lit. vomited: but it is not araffa
when used by in a secondary sense (
i ) “ A red dye prepared
from an insect analogous to the cochineal insect ” arrrt0 'T^TPT
wflftfrM-as far as the wrists.
|-The hands of the fairies were as red
as the fresh sprouts of trees. L.
The girls were taught the art of painting or perhaps they would
put the ornaments on her person even as they have seen
them in pictures.
IV. 5. WS&Hrnot simply touched, but smitten powerfully*
affected, etc. W ZWm ffa: gffa: cPIT
WWWRf, I. lit. the sight, the sense of vision-better
I hence he felt ail his senses paralysed.
3RwfhB?r:-3RW{ arto: 3^q-Cf. The argument
employed is what is called %gfctaP3Pf-a fortiori and the figure of
speech is
overflowing with joy-with tears of joy.
IV. 6. zmft was an ancient king the father of gs from
whom Dusyanta himself derived his descent. He had two
-IV. 10 ] NOTES 299

wives and 311%T the daughter of by her

superior charms won the heart of qq#. She like had
married qqrf^t by the *Tfqf form-the simile is thus appropriately
chosen. sqftuflgw is a f^forn^sprcTT q%of Siqffot l i
5r^N ^-hh i. Cf. p
I ?5° II.- 71. walking round an object worthy of one’s
veneration keeping it to one’s right. ^ffi^TT-the metre is
f^gT which is so common in Rgveda; it consists of 11 syllables
to a and is irregular in arrangements.
IV. 7. fasoqrft %qf-whose places are fixed round,
the altar. 5TRf° the ^4 grass was strewn round their margins
to give additional sanctity, ggqifrfr; etc. for this virtue of the
smell Cf. l 1.53. SHc^TT
^ 55f^TR?TlcRT II *g. XIII. 37. qfiten: the genitive
is to be taken objectively; show thy sister her way.
P. 112. IV. 8*9 3Ttfl%$-when you were not watered-lit.
before you have had your fill of water—or when you have not
drunk. This describes how dearly this daughter of the forest
loved her brothers and sisters-the trees; they were her
the friends or kinsfolk that surrounded her in forest-life. Cf.
III. 8. 3?TT aift snMt % I. or q^: w
the koil, so called because the female is supposed to leave her
eggs in the nest of a crow which unknowingly hatches them.
Cf- <Wmm- ^ Wffa I Act.
V. 22. Cf. for a similar idea
font: II II. 9.
IV. 10. The four lines beautifully describe her path.
q^q i “ Having its intervening spaces
delightful or charming, ” 3&qT#:-3iqraqit: ^:-5R^o
$qteiq°-with the dust (^3:) soft like the pollen ( ) of lotuses.
^ ffo I + qfr -f the affix 3T (according to
I qrf&rfo0 III. 2. 15. It is an 3)^ ^FRRT. There is
some difficulty with regard to the construction. If the STRfTCIT is
300 &KUNTALA [IV. 10-

to be taken as repeated with each attribute—thus qTOTi

*KJRR: ^^-^T^TT^I^TnT: and so on as the commenta¬
tors do, then the ^ would have to be repeated every time and
not twice only. This shows therefore that there is of
two sflRRTTs only-may her path-described as above-be *IMIj£g^5-
q^T: and filq: I So that the first three lines give the only
and the last line the l^far. *IWr3fw3° Cf.
II *1° I. 42. because such a wind is a good augury
for the future fulfilment of the desired object. (Sfasj qTOT: l~a
phrase commonly used as a parting benediction; the usual
‘phrase is (Star# I. 3TT(cl^n^nT%:-Dear to these
(faTO) as thy own kinsfolk-the same idea as expressed by
I Of Stz. 9. P. 114. ^mqW^^WTSiFTT-the same
condition. Cf. *|J® VIII. 41.

iv. ii. q^r*. qrot m \

means the same as of the Bengali-ejected from the mouth,
dropped from the mouth. Cf. with this ^g® XIV 69. which
expresses the same sentiment JPJJT: fgHTfa ISjJT: q*if«iwraH.
i citot* sFiir u
sisterly affection Wifi ^ #^T:-she looked upon her as
her sister. Cf. ddUtfiW is the same as qif :-the
feminine form as M. W. observes is more appropriately joined
with

IV. 12. sftdf%^r.-3tcTT TO" I Mark how Kanva not only

has no resentment that £akuntala should have not consulted him
but that he had in mind as the husband who was in every
way worthy of ^akuntala.

P. 116. 1^1 1-rendered firm, hence cheered.

:qTfaifr—grazing about the hut—in the neighbourhood (<l4«n )
of the hut, 3rTO5RiqT-3?ro: 5RR: TOTH m\ Will have^ happily
brought forth, safely delivered of her young. Cf.
WST^Vmfafa# II ® XIV. 75.
-IV. 15 ] NOTES 301

$*£-the same as KHf One who conveys the good

tidings.
IV. 13. ^iR^quiHf-qualifies ^-that which heals a wound-
causes a scar to cicatrize-hence healing oil. 5T®f > from
the causal of ft^g+the affix 3R ( } in the sense of the agent.
qft3ftd«fc:-the affix m used in the sense of 3j^|-or in
endearment. *Tft^RT:-tenderly reared. ^hd$l:-f>f^pr:
gsf: t Adopted son.

IV. 14. The first two lines should be thus construed SdJWh:
*l*T fridTjq*-'* $5 I. firmly make the
tears cease to rise or cling continuously in thy eyes with their
upturned eye-lashes-obstructing their action. sfTjppq:
whose continuity i. e. continuous fldw has Stopped.
this is to be connected with in the compound
which is rather loose-the action ( ) of the eyes is impeded
by the rising tears. 3|'tf%dT: HdlMdT: ^iuiT: ^ qualifies
3H^-fiq^«lPd“become unequal, are liable to trip or stumble.

P. 118. +SWW H * as ^ as water’s

brink. 3J3%-It is enjoined by i. e. scripture-it is a
scriptural rule. lit. milk—tree—a kind of fig-tree
which yields a milky juice and is large enough to afford
abundant shade. ^VR^^—Cf. Act I. 12; II. 16.
is here a SRapr, the word is not a compound.
Precisely the same sentiment is to be found in the
*!*& **3 ^ I
A few lines before this passage the cry is compared to the sound
mi mi-it is possible that the harsh expression may refer
to this peculiar cry. “ Hard is the lot I suffer ” “ Hard is my lot.”

iv. 15. fan^Kfcrcr-Cf. m* 3 <Tftforftdsqi 11

|%Ml° III. 4. siRn^T: sroprfct-causal-the bond of hope causes,
helps us to bear. Cf. the parallel passage in 12. $g*t-
sn^.wwrat OT?qifir srrftr f^r faswft mfe w
302 SSKUNTALA [ IV. 16-

IV. 16. thinking well of us who are rich in self-

control. f^f^^-He asks to think of three circumstances-
think of him who was selfcontrolled-implying by it that he was
worthy of respect; think of his own family-implying that he
would acquit himself well and worthily ; and her love for him
which was spontaneous-implying, therefore, that he should be
very kind to her. is respect;
S^STRrthe word at the end of a compound often denotes the
manner in which anything is done-so the meaning is WJlWSifct-
qvqi-with equal respect qftg-the word is mas. plu.
Acquainted with worldly affairs. ^ sfaraf-Thi9 is a
generalisation—which supports the previous remark of 4»TW-
the figure would be thus Such generalisations are ip
the characteristic manner of and

IV. 17. not only father or father-in-law. but elders ;

any male relation that is entitled to respect. frq^<sfi$ffl-acting the
part of a dear friend towards them treating them as dear friends.
rTT: I according to q^pf qmfipt l qr® V.
I. 33. the word qfclr takes the augment ^before the fern, affix f
when participation in a sacrifice is meant-hence qpt is one who
is entitled to join her husband in the performance of religious
rites. a?g^Mr-Cf. II. 54. WU--
Perverse, those of an opposite character. 5Rf)q^f4l qRT I 3HR: i
the sr implies that the thing is given once for all and
cannot be taken back. ” P. 122. qwjriat°-How very appropriate
the simile ; the sandal-tree transplanted from its native-soil—the
slopes of Malaya, may not thrive in another place ; that is the
image for ^akuntala leaving her forest-home.

IV. 18. arft'iwq'fl: possessed of a noble birth, nobly-born,

fImportant from his dignity or greatness; so that
every moment she will be fully occupied with them. SFft-is
often poetically represented as the mother of the sun and the
moon. Uc4fttlM3r*-qrc: slow to recognize. Mark that the incident
-IV. 20 ] NOTES 303

of the curse was kept a secret by the friends. But they are
careful enough to warn £akuntala about the ring, who
unfortunately could not understand the full significance of the
warning, qmretf-Cf. Sw i SRer. IX.
70. Love sees causes of alarm although without found¬
ation. P. 124. jpiRtf-gii is according to some equal to a s^c
“ a divirion of the day comprising one eighth of the sun's
diurnal revolution, or three hours ; according to others
space of: four cubits.

IV. 19. ^^RW^qr^-the earth bounded by the four

(quarters), the entire earth. =51^: q&T: ?EfT I
i by
means a warrior who fights from a chariot; having no rival,
having no antagonist. l*f%^~Having caused to marry, having
settled in marriage. Cf. c^T W I XI. 57.
enr i i
etc. How beautifully the same thought is expressed in the
SiffiF verse, vide intro. XX. *TT 3<3>fi5sj-gives the sense of FfT
the infinitive is thus combined with tft and idiomatically
used in the sense of the imperative. This use of the infinitive is
rare ; but in *TRT it is common enough.

IV. 20. etc. “ or is a particular kind

of offering identical with the ijcT^nr-i. e. a sacrifice for all
creatures, but especially in honour of those demigods and
spiritual beings called <yj&3dT: household deities-which are
supposed to hover round and protect house-holds-( JT3° III. 80 ).
This offering was made by throwing up into the air (q^<> HI. 90)
in some part of the house generally at the door ( rr§° III. 88 )
the remains of the morning and evening meal of rice or grain."
M. W. The reference here, however, is not necessarily to the
as Kanva speaks of the germination of the seeds, it must
be uncooked grains scattered about the threshold. Generally
this is consumed by crows, dogs or insects; hence
304 &KUNTALA [ IV. 20-

as the names of a crow, or a crane; such of the grains as

escaped being devoured by them would be likely to germinate
about the threshold. Cf. qrat srofe
ftaasjs i di^r gsrfr <Rrfir
||. 3^0 I.
P. 126. -Rather unusual-*' friend in religious
duties;” it means a wife. etc. the course of affection
views it thus—thus your love interprets, f^f-is an exclamation
of joy. —natural serenity of mind-I feel as if a load of
anxiety is taken off my mind.
IV. 21. is the husband and ifftsif is the
wife. Lit. one who accepts; while a wife is one who is accepted.
|^l^:-Serene, clear, tranquil. SRPPt=aTc^^-the Bengali reading
is andtSfar I ft I II A deposit is a
source of very great anxiety because it is another’s property held
in trust. Cf. gmK 5^ SPIT: dT. I §^n*RTj|^Hr
mi ii I. lo.
 ACT V
*Wfif3fB[“SQft and clear. is generally explained as ststot-
sweet and indistinct. A combination of harmonious
sounds. The blending of harmonious notes required by a
particular Raga or melody, -Acquaintance with the
Varnas; practice in singing. The word means * The order
or arrangement of a subject in a song (JfTcT$i\).' Cf. TOfNW
ftwta:... I |IIR0 V. 56. Where J7IpRT«r quotes ^51^-
* It may also mean * a musical
mode. ’ Cf. JftfrTS TO I cPPT TOtf TO
I TO^R- tr|% qjfro: I Com. W-
V. 1. arfir.^fc^q-'-Eagerly longing (#g<T) for fresh honey.
TO qrRjg«z|- Having kissed in such a manner i. e. so ardently.
TO35... fTOT:-^^qR#: |rTO3fo#T:-Being altogether
contented or satisfied by merely dwelling ( may be, without enjoy¬
ment ) in the lotus. Past Passive Participle used actively.
The song of i^TT^RT, as the king remarks, has a veiled reproof
for the king, who after a brief period of amours with her, left her
in favour of his Queen. The king has been represented by her as
the bee who flies from flower to flower in his eager search for
fresh honey. is her own self who has been the victim of
his momentary passion (Cf. ), while the lotus, his usual
resort in the evening after the day’s wandering is over, represents
the Queen Observe how skilfully the poet prepares the
audience to face the tragic catastrophe of the repudiation of
SUFtrar, that is soon to follow. qffaTI^ift-Ipipassioned, overflow¬
ing with feeling or passion. Cf. TOT I Act II.
sr^rcr«fc-The meaning of words, (lit. of the letters.).
fflTOP-gffs TOT: Sfar *r:-Who made love. (to her). If apt 3Rr:-this
person is taken to refer to then it would mean * who
was once loved * (TOT: ). n?r:-Become an
3rf*F.
 306 gSKUNTALA [V. 1-

object of taunt or censure. ?^:-By the hands of others i. e.

through her servants. seized) by the tuft of hair. Mar
9TWMT (y&ftg) 5ftrRPTFr-Uke a sage who was free from
passions, but who has been ensnared by a celestial nymph. This
reference ordinarily ought to suggest to the king the name of
who owes her birth to such an incident. The hint falls
flat, however, since it rouses no such recollection. i) Escape;
(ii) liberation of the soul from further transmigration.
In a polite or courtly manner. * a city-bred man, who has
developed politeness of manners. It also implies * insincerity, as a
man shows exaggerated attention to his first mistress, while he
is courting some one else. *—M. W. Even without
(^) the separation from a beloved person. Note how
cleverly the poet suggests by the expression that the curse of the
sage Durvdsas has proved effective in obliterating all trace of
^l^d^l from the mind of

V. 2. —Becomes filled with ardent longing.

gfisRf:-Happy in every respect ( Wlcf )-without any
definite knowledge of the particulardetails of the object of recolle¬
ctions. Cf. l Com. Which re¬
mains clinging (to the soul) in the forms of impressions *n%: sTHHTfa:
I. -Friendships of the other i. e. former
births. The doctrine of cpPRT or the transmigration of the soul
is an essential dogma of the Hindu religion, according to which,
the soul migrates from one body to another, taking with it, in the
form of impression, all associations of its former life, and its
deeds, good or bad. The present condition of every person
derives its character from the virtues or vices of his previous life,
while very often vague recollections of occurrences and associa¬
tions do cross his mind dimly, without his being aware of them
in a definite form. Our present ties of friendship could also be
thus traced to the former associations of intimacy existing between
the two souls. K£lid£sa refers to these ideas very often. Cf.
I *1® XI. 22. qssig^TT:
-V. 4] NOTES 307

3JTCWTT: *)W<T: 5FJ^HT 0 ° I. 20. JRT ^ Sf^rRR^llclH^ I

VII. 15. or a chamberlain is an attendant in the royal
harem, an old man, a Brahmin endowed with numerous good
qualities. He is to enter the stage as a decrepit old man, tottering
with age and lamenting his hard lot in the harem. srPTft
Thinking it to be customary, or a matter of form.
in the harem or the inner apartments. ^5prfe:-~A cane staff with
a gold or silver knob, used as a symbol or badge of office.
<R*r: I. The affix 1%«T indicates
measure or length of time. Cf. iffsps 1.
SW# *ljcrff*r-With a faltering or tottering step while
walking. V. L. i 3fSR5WMI*ii-wgnHPI
(Become indispensable) for support. Which ought
not to be neglected or s$t aside. Cf. sr %^OT?flffqTcT: etc. Act I.
«P#fl*t-The seat or judgment where the king sits to hear the
grievances or complaint of the people and administer justice.
^-.-Knowing no rest or repose.
faW-_The office (an^K ) of governing ( ^) the people-Cf.
5RT: 3TSTI: ^ cF5T$olT I V. 5.
V. 4. I who has yoked the horses
(to his chariot) once for all, ( ) and he knows no rest, but
drives on eternally, f^T =sr-day and night.
ipqqf:-Lit. the carrier of fragrance; the wind. aufepj^lR:-
e?T%rT: ajifc w. sr.-who has placed ( on his head) the burden
of the earth. i. e. 3FRT, a mythological serpent, the
personification of eternity (SRSfffiT) and king of the Nagas or
snakes who inhabit the lowermost of the seven Patalas or infernal
regions. His body formed the couch of reposing on the
waters of Chaos, whilst his thousand heads were the god’s
canopy. He is also said to uphold the world on one of his heads.
He has become incarnate at various times, especially in the god
TOOT, the elder brother of fwrM. W. tl%:
TOT 9:-The king who lives on the tribute given by the people viz.
one-sixth of the produce.
308 &CKUNTALA [ V. 5-

V. 5. <3T: 5T3TI: ^r-Like his own children. d^rfaffl-Having

ruled or governed. V cbr—has also the sense of4 Maintaining or
supporting (as a family)’. STRpprp.-with a wearied mind. V. L.
«RPHT:- with a peaceful or composed mind ’ is not so good.
f4fa*eti-A secluded or solitary place, Having led or
conducted the herds ( J; Lit. 4 Having caused to move about
or graze/ fcrK. e. rpsTTST-At mid-day. afffc
the slope of the mountain, a lowland at the foot of the mountain.
with (two) women (accompanying). According
to the form prescribed by the scriptures (gift), ^ftc! F*fdf~The state of
having obtained everything desired by them ( i.e. kings).
<Wf&r|T-V. L. judMiN 4 painful, encompassed with
trouble or worry/ He means that the interval between the des¬
ire and its attainment, accompanied as it is with keen effort to
win the object and its phases of hope and disappointment, is in¬
deed a very lively period in man's life. This is however denied
to a king who has everything at his disposal, and has nothing to
wish for. This very condition, however, is positively painful
to him.
V. 6. srf^jjr-The high position, the (royal) glory, the dignity
jfk^H l. M. W. Understands it in the sense of ‘the
attainment of the object of ambition' agreeing with
or ^crT^Tl. ar^Tr^nft-satisfies. 3PTCTPP?tft—V. L. Terminates,
finishes; he means that the dignity of a king, by which he gets
everything the moment he desires it, destroys even the eagerness
or the anxious longing ( ) for that object, because it is
so easily attainable. Cf. 3
Mfa iWfft dri(£W<3MI3 I I W..
:—The duty or the (King’s) function of preserving whatever
he has obtained. Not so much conducive to the
removal of fatigue-' The king's position, because of its accom¬
panying worries of preserving his kingdom intact, is not calcula¬
ted to give him any physical or mental relief.4 Uneasy lies the
head that wears a crown. ' 2p?T sr?PT-As it is ( positively) for
-V. 8] NOTES 309

causing fatigue or exhaustion (by its cares and anxieties). Note

the other reading-H rftrwtTWWW sr =* WTPT. ‘ Is not for the rem¬
oval of great fatigue and not for fatigue i.e. royalty does lead to
fatigue. * ^—The handle of
which is .held in one’s own hand parasol, umbrella.
* The Indian parasol or 95f, from the shelter it affords, has been
chosen as one of the insignia of royalty. It is very heavy and
being fixed on a long pole, greatly fatigues the person holding it.
It is always borne by a servant; but here the king is figuratively
made to bear if himself, so that he cannot give shelter to him¬
self and others, without undergoing great personal fatigue.' M. W.
tnfN»:-A herald, bard, a panegyrist. * He was a kind of a her¬
ald or crier whose duty was to announce, in measured verse,
the fixed periods, into which the king’s day was divided. ’

V. 7, STpfcTO Wf *T:- Having

no desire for personal happiness indifferent to your own ease,
you ) exert, toil. A fine illustration of ?ERT.

V. 8. fawrfMYou) restrain, curb, punish. 3?M^:-3TRT:

SfrT *T:-Who has assumed the sceptre, the symbol of punishment
and justice. l§faT^:-Dispute, quarrel. ^P^-You are fit for or
adequate to (the protection ). 1%^%5-In great ( srag )
prosperity, in affluent circumstances. JTR-in the sense of
‘ as it is well known. ’ <Tft*TOH-In you is perfected, is fully
comprehended. ’ «Fg*Fc4-The duty of a kinsman. He means that
the king stands as the chief kinsman to his subjects, the so-called
relatives being with man only during his prosperous time. Com¬
pare the king’s declaration at the end of the VI Act-3fcr 1%^-
ST3TT: I *T qTTT?^ dlW II Cf.
also 5T5rr=Tt I far : 11
1. 24. rfoft^cf:-Refreshed. aflS*...
( iSwg ) Beautiful after its recent purification by the
sprinkling of water. 3nfr..-f%^:-A terrace ( ) of the
fire-sanctuary.
310 SSKUNTALA [V.9-
V. 9. ascetic, a hermit. ?TT:
3T:-who has accumulated or hoarded (a store of) penitential
merit, marred, frustrated. For this idea, compare
«T cTT V. 5. 3?^-wrong,
harm, injury. 3nftt^ra^-used in introducing generally a third
alternative. 3?T4ftd'-A misdeed, a sinful action 5PW:-The
flowering or the blossoming of creepers. f^f^fcf:-Paralysed,
checked. The line (etc.) has a reference to the belief
that the king’s sins are visited on his subjects in the form of
various calamities. Cf. * «<*TWfg*£<ywlft I 3TTC*
ii. Also, m&rzmi *ri srsrr:
«Jlfacflfedl: II Quoted by 3TI^y. • (*FT: )
( 4Mfdl: ) arf^T: 3jftjp^cTr£-In which various conjectures had
arisen. aprft^^l^s-Perplexed with an inability to decide.
3rrft^S<v-want of decision. ^KM"ftti-To congratulate, to
greet. Cf. fciWJjft I 3m° I.

V. 10. Kanva’s pupil feels extremely out of sorts,

when he finds himself in the midst of the swarming multitudes of
the palace, and he tries to discover the causes thereof. JTfTSTFT:-
eminent in virtues. l^T5fT *T:-who has not
broken away from the right path, not swerved from rectitude.
He means that this uneasy feeling of his cannot certainly be
attributed to the unrighteous policy of the king’s behaviour,
which is absolutely correct. 3F?fflZiSft-Even the lowest ( of the
four classes—epnfaf )• STT^-The wrong path. The word is
always neuter, gd^ltfd-enveloped in the flames of fire. ^-i. e.
^mtvf-This royal court before my eyes. He explains
his feelings. Accustomed as he was to seclusion, the crowd
of the palace has made him restless, and he feels something out
of the way has happened; the palace is as it were on fire and
hence the throng of people.

V. 11. The other pupil SlRgrT has a similar experience. He

feels, he is in an atmosphere of sin, impurity, uncleanliness of
-V. 11 ] NOTES 311

mind and body, of moral depravity, Anointed with oil.

He ia regarded as unclean until he has bathed. Cf.
I (I -Kale.
33V TO 5H*5“Men who rise early in the morning have generally
the tendency to look down upon those who get up late after
sun-rise. Addicted to pleasures. It is this fond
attachment to or thirst for material pleasures that characterises
the city people and that gives him this feeling of sin and impurity.
While has taken a horror of the city-life and would like
to run away far from the madding crowd, WC5& only pities
them for their insatiable thirst for happiness which involves
them in sin. ftr$rt-The bad omen viz. the throbbing of the
right eye, which is most inauspicious and evil-foreboding in the
case of woman. Cf. |®TT flfrhWt l TO#
11 Cf. rTW: 3$*# IK
<T^TT I aTWTCW$ m ^ II
XIV. 49, where tftaT too had a similar omen before she was
cast away by 5rirTfd etc.-The sentence is commonly used
to express the speaker's desire that the evil be averted. Cf.
Mar. ffT anmas q®r. fadl^-May give. #TWIToif
^Rfl-The protector of the four classes () and the four
orders or stages of human life viz. anp#, and
fcqwf. *tf[fflTSW-There is a tinge of sarcasm in this expression,
which we do get when the word is prefixed to such words as
implying T^r or censure which amounts to the absence
of the real qualities. is slightly provoked by the Purohita’s
flowery description of the king as the protector of the Varnas and
dramas and as one who favours them, as it were, with an
interview. JM^fi-Unconcerned, indifferent. He means he has
nothing to ask of the king, no suit to urge, no petition to present.
This benevolent trait in the king is therefore more to the
advantage of the than of him.
V. 11, q>3|#: -better than V. L. q»3Tjg$:. -Han¬
ging far { too low ). is&Wtei: 1 V. L.
312 jSkuntala [ V. 11-

3?g^fi:-Not elated, not puffed up.

^■-Having a serene, pleased facial expression.
Having a quiet and easy business, (Lit. which inspires con¬
fidence ).
V. 12. who possibly \ particle of question
and doubt. ftqf^|% l3cMf> i 3Tqgosqqicf--Possessed of a veil (stqg&sq)-
It shows that ladies of high family used the veil in ancient days.
• «T 3fld4Rt3»'i 55iquq qprr*. ?TT~whose loveliness
of the body is not fully displayed ( being obscured by the veil).
$4g3TOiN fed ) OT%?T,-“Full of curiosity, being
hindered ( by the veil etc. ). ^3ought not to
be gazed at. MR^-IH-Having reflected i. e. called to mind,
the (intensity of ) the feeling.
V. 14. rTT(% ^f*ii~Loc. Abs. when the sun is blazing. Cf.
sFk^tT gr4 dftsf I V. 3??faH-Full of
significance. Cf. qqT aRTPTPrmt qqT I
fnrr 5r$icU»4Hld, ll. *3° IV. 12. ^rgqgiq-For the welfare ot the
world. The sage's health is conducive to the world’s welfare.
FTr=fFT$5ld|: - who have prosperity in their power. *fT4fq51 $q—
3RTO3T£T: <jq ^-preceded by the question of health
( 3T*fWJ4-Lit. Absence of disease). Cf. srrST3! srif gxffc-
I *73° II. 127. Ap*: wqid/ By mutual agreement (?7JR7).
d4Ntd~Aorist III. Sing, of \'3q+q^ ‘to marry’.
V. 15. 37fdf StnEf*K':-The chief of the respectable ().
^•.pjcrtSfo'-is esteemed by us. gjrfrpfr ?T^RqT-Virtue incarnate or
in person. *JRFRR-Bringing together, uniting, tj^rguf-g^sri:
!Fn: 3FT fffiH The two ) of equal merit, q*8*
(Trrraft: ) r^-q^qt-a compound. After a
long time, qr^q q JTrT:-Has not been exposed to censure, has
incurred no blame. He means that so long every marriage was
a union of two incompatibles, there being some flaw either in
the bride or in the bride-groom. No couple was found to be
a happy one in all respects. In the present union, however, the
-V. 18 ] NOTES 313

creator has succeeded in bringing two suitable persons together—an

event which has saved him from blame for the first time after
such a long period. ^W^c=lT""?TTOft-Quick with child. Cf.

the joint discharge of religious obligations. A wife has to take

part in all religious rites that the husband performs.
The rites here may be certain fefts to be done conjointly for the
child before and after birth, toft etc. tolfs speech conveys a
veiled censure for the king’s action in secretly marrying
without consulting her who was almost a mother to her.
?T it-. There is no occasion for me to put in a word on
behalf of when on a former occasion neither you nor she
herself thought it fit to consult me/
V. 16. ?r referred to.
when the affair was transacted quite privately (
Lit one with the other, and no third person was there )
fair%$-what can I say to any one of you i. e. either to
or to you also. V. L. ~ *Pn<J I
* what has each one to say to the other. ' HTO:—The
import of the speech <^fcftwirdT:-well versed or fully acquainted
with the ways of the world.
v. 17. (trsr) Ttsp: qm- sr-who
solely resides in the family of her kinsmen fflft-relatives of the
family ofbirth-aRfsjT fasff^-suspecl (her) to be otherwise i. e.
unchaste. fiPJTto ^r-Liked or disliked ( by him ) ; V. L.
* although disliked by him. -Correct, proper, justified.
V. 18. f Through dislike of a thing done!' He
means that the king seems to be repenting of his sojourn in the
hermitage that led to a marriage with , and hence has he
turned his face away ( r^pldT ) from Duty viz. the acceptance
of his lawful wife. sftdT ^TsT.-Is it befitting a King ? V.-L.
Sijt snfr wilful disregard. 3T0c$m:
5R*T:—A question based upon a fabrication of false-hood.' The
314 SlKUNTALA [ V. 18-

very assumption of marriage is a great fraud being falsely

invented. What of this question based upon this false-hood ? *
Take effect, grow strong. T^^qyj-Intoxicated with
sovereignty, arf^T^Sfer-The arf^T or censure though
worded in general terms is especially aimed at me. I am the
especial target of this censorious remark viz. It may
also mean * I am greatly censured or rebuked. *

V. 19. T£r 3*Rft-Thus presented to me ( without any effort

on my part). 3RRSriH*U Or e. in a pregnant condition * to
correspond with l (^T)-Of unblemished
loveliness, Accepted (in marriage) before
Unable to decide ( Vfc+3pr+gr). V. L. Deliberating,
trying to decide/ afR*gw~3RT%: gw: 3FT W~* With the dew-
drop inside/ The dew-drop covers the honey and keeps off the
bee by its cold. The king also has to keep his hands off SIgRISFT,
because she is now pregnant. icTHRf-Cf. ar^T ^WT?T

^frRR^rmr i q^%rrr-con-
sideration or regard for virtue, Silent. —^ra0r°lf—an^Tsar-
^RTT*t ) VWWft W Whose signs of pregnancy are
clearly manifested. -Suspecting myself ( with
regard to her ) to be only a ^R^the owner of the field, as
opposed, to i. e. one who sows the seed in the field, The
figurative language was used in the law-books to refer to woman
as * Field \ while the man who begets children from her was
called «ftf*Rj-in cases where the husband differed from
procreator of the child, there arose the controversy as regards the
child’s ownership, and the position of the who claimed the
child simply because he happened to be the legal husband of the
woman, was greatly deprecated. The king, in this case, therefore,
has his own scruples about the similar relation he would bear to
the child and hence he hesitates to accept her. Cf. ^rg*. gsf fttaiprfccT
ffidN g i aiipynqfc
-V. 21 ] NOTES 315

l I) *3* IX. 32 ff.

High-soaring.

V. 20. tit cTUffiCrMay be taken with fcupaf: in the verse.

* Way not the sage be insulted by you ?-Why, yes, he must
be insulted etc.* Cf. ?TT Wf%^T
^ I AT f^TRI'. 5T l^TTPFfPT: l § (5mw3ta t£T I
It may also be taken separately; ‘ enough, no more of this vow.'
In that case the first line will have sarcastic twist, meaning
‘The sage forsooth deserved to be thus disrespected by you,
since he consented to your dastardly outrage on the modesty
of his own daughter etc. ” The second interpretation is certainly
preferable. *TT-Who was
seduced or ravished. g£... ifa-Construe :~ifa (g$far) g& (arft
ft\) P^TTTOT & ft 3f% I The sage's action could
be thus compared to that of a man who, finding his treasure
robbed, invites the robber, and honourably makes him a
gift of that very stolen treasure. MrWtfftWdHr-A convincing reply;
a reply calculated to produce conviction. sjRsfrajr-To be sorrowed
for. V. L * I myself am now to be cleared (justified) by
myself; I have to vindicate the purity of my conduct."
In doubt. gg^RR:-Mode of address. ^-<*1 *•
3fwr~cFT~( This person) who by nature is open-hearted.
^W»f-unreserved., frank. Tirp^r^-After a formal agreement
( ).

V. 21. S27q^j-6i|«T^^ ^FT 5fi I The

designation, the litle or the name ( of the family ). The family
is of sifirFST and not of the king, as is clear from the simile of
the river making its own waters turbid. TOft^-To bring
down, to ruin. m dCTflfoO-Scratching the

banks. q»??:-A capital idea, a good proposal. SWMdKl-

^rptf^-Within the is an epithet of Indra, and
^IWdK is, therefore, some sacred place of pilgrimage where he
descended upon the earth. 3FRTR~ means also a descent into the
316 SSkuntala [ V. 21-

river, a landing-place of stony steps (Mar. tc

holy bathing place, sacred to wife of Indra.
etc.-The king thinks the reply of ifTtfif! to be the work of
a quick flash of imagination, and a masterly example of
woman's instinctive ready wit. Wfr: 3CT
^-Ready-witted. *fljj[:-i. e. -Womanhood.
5l^ra;-Power, sovereignty. ^Cfl^-What was to
be seen ( ) just a minute before, has now turned into what
has to be heard ( sftrfHj ). Evidence of the eyes has changed
into that of hearing.’ Note the tone of contempt and mockery in
the words of the king, who feels now fully convinced that he is
tried to be duped by this pack of scoundrels in the garb of
ascetics, who want to force this pregnant woman into the
seclusion of his harem, and father the illegitimate child on
him. Let us hear; ( go on).’ Clearly indicating
that he is not going to believe a single word of what she
will say. -Adopted as a child. fOT^-Lit.
‘made a son.’ J^rflcW-The fawn, (mentioned in IV.
rRIT etc. ). ^%^~5T?5Tl¥lcT:, 3R*TRP!J 5fftfl:-Was
coaxed or enticed to drink water. conciliate
privately by flattering or coaxing language. ’ Cf.
i v. 58. ^Tiv^-prrajfrt---
Near your hand; M. W. understands the word to mean ‘ Lit. the
use of the hand. i. e. stroking with the hand, caressing/ with
3TOL "t0 approach for fondling, to allow to be caress¬
ed, to entrust one’s self into any one’s hands. ” igupp.
$?T:--Showed a favourable disposition; evinced bis desire.
-Laughed in a joke. *rn^-*ra3°--or -Relative,
kith and kin. Accustomed to accomplish one’s
own purpose/ M. W. takes it to mean 4 Turning (voluptuaries)
away form their own duty/ a?$d*M3I^fvj-The honey of false
words. 4dWJ 3RfV^:-Unfamiliar or unacqainted with roguery.
fllTOaj-TO AT^fT-t^dW^t-or as we have it daccording
to qr#rf^° II. 2. 38., although the former form would be more
-V. 22 ] NOTES 317

usual. Note the king’s harsh and jeering tone in the use of this
expression with reference to
V. 22. srfijf^l^-Untaught cleverness or inborn
cunning. CL foRT % JTPT *sK%T l 3W^f 5 qTfogR
II IV. 3mr^l5-Among non-human species of ’
creatures, i. e. in lower creatures. f^ffd-'How much more’.
snftW^:-fin«F3|’. - gifted with intellect, endowed with
reason. 5trq> ‘ Before’, governs ablative. q^WT-A female cuckoo.
In this verse, the king has unconsciously alluded to the story of
fI3PT55T’s birth, by the use of words which have a double
meaning, i. e. <HKI^T5-may refer to the celestial nymph,
the mother of aR^f^PW*ild,*-would refer to her flight to
heaven, after the birth of $T$nTC5T, her 3TqR*n'fi which is left in
the care of a l^sr i. e. the Brahmin sage, sfjosr. The expression
that refers to her mother, is T<?2cH i- e. ‘ fed by others, a courte¬
zan/ which in reality the Apsarasas are. All these invidious
suggestions must have been read by who was exaspera¬
ted to find that the king knowingly refers in this to her own story
heard in that very 3jTfc?tr, and still repudiates her having full well
recognised her; that he goes to the indecent length of almost
abusing her own mother by calling her a harlot (q^IcfT), and
further he reaches a climax in insulting her by suggesting, even
who too is no better than a has come down here,
in imitation of her mother’s conduct, to father her own pros¬
pective offspring on him. It is here that she feels convinced of
the fact that the king is a liar and a scoundrel, and hence in her
next sentence, she bursts out in a temper to call him an 3rt^,
pRTjflFto-By the measure of your own heart, by an inference
drawn in comformity with the ( wicked and villainous feelings
and impulses of) your own heart. -Putting on
(Lit. entering into or hiding himself underneath) the cloak or
garb of virtue, ^--Resembling a well covered or
concealed underneath the grass, calculated to entrap innocent and
unsuspecting creatures. 3T^f# 5#7c^’-will act in imitation of
318 » g&CUNTALA [ V. 22-

yo ur conduct; will be so low and degraded as to act like you.

jtf*£~Makini me doubt my own judgment.
Unfeigned, genuine. The following passage is read by Ray,
before etc. 3^W^T: #Tt I
r&ftrt trttsft qwsrt 5r mwfo >
fan# gr ^ qy ynfar u.
v. 23. farrsfa^ m ofaraH on
me) who exhibited a dreadful state of mind by my loss of
memory, TO An affair of) love that happened
In secret ( ). spft: $qi<t-By the knitting lit. by the parting
of her eye-brows, •rftw-'hu'ough excessive anger.
fq-'It seemed as if the bow of Cupid was
snapped asunder even against me/ The two curved eye-brows
with the bridge of the nose in between present the appearance
of a bow in their normal attitude, and have often been
imagined to be Cupid's bow, while the glances are likeness to
arrows discharged from it. Cf. cR^TT: 3l6l$l%Mft|Sfd'«i qirf^TiWt-
i at afaR gtawgwH*: gqfa n f?rr°
1. 47. Now, when these brows were parted from each other, being
knit in a frown, they appeared like two pieces of a bow broken
in the centre. Note also the double entendre in the word which
means ‘recollection,* ys well as ‘the God of love.* fq-this i. e. wicked
treacherous conduct, ^xSF^rfHHa self-willed woman, wanton,
one who acts on tin impulse of the moment.
tf-.-a^r-Who has honey on his lips. Cf. qrf% qifwt ffc
l also II anpl^cf-Self-
committed (without consulting any one else). srsij^fci-When not
checked or counter-acted. hasty action, a rash act. v@t
Brings on repentance, leads to remorse.
V. 24. The first line is variously interpreted thus:-
(i) wrirt ^Tct s&jw. i Wrt
I Therefore a union, especially (when) in
private, ought to be formed with great circumspection, after
-V. 25 ] NOTES 319

having made proper inquiry, and investigating each other's charac¬

ters and circumstances. ’ (ii) Ray- Hence secret union has to
be made after having specially () tested ( each other )*
®HHRT-. • Thus does friendship become enmity, between
those who know not each other's hearts. ’ A fitting advice indeed .
to those who play with love indiscreetly. It is not, as Kale
suggests, a stricture on love-marriage. Accumulated
accmatioiM. V. L. =T
its 3R% I-With words
full of accusation. arf^^TT^-Reproach. V. L. f^ir-Harm,
injure. *fl?jip£-Sarcastically, ironically. ^)
** hitR Ascendancy of the low, placing that at
the top which ought to be at the bottom. ’ The word occurs in
the Manusmriti, where it means ‘ a confused and contradictory
statement. Cf. ^ q: I
II *T«f0 VIII. 53. It would mean here 4 Inversion
of the proper order of things, something made topsyturvy, a
perversion of things. ’ The sentence may therefore mean, being
addressed to all the people assembled in the sacrificial hall,
“ Have you heard of such a perversion ? ” M. W. understands
the sentence as addressed to the king, with reference to the
ironical statement in the succeeding verse. Hence the meaning
may be 4 you have been taught upside down or backwards. ’ In
other words,4 The usual definition of the fourth sfrtut viz. $5^ as
ajltyqicfq, you would make it the words of an improper
person.' Ray takes the expression to mean 4 a preposterous
suggestion,’ remarking that wants the audience to note how
the undeserving <|«2RT appears deserving and the deserving
as undeserving. The Com. takes it to mean 4 a
base answer.' 9

V. 25. deceiving of others. ft%fc\'-As a

fine ( honourable ) art. He probably refers to the king’s study
of works like 3T*feiTW, dealing with politics, wherein the
320 S&CUNTALA [ V. 25-

is taught to employ even questionable methods to gain

his ends. ^ ^1^ %-Whose words are ( as
authoritative ) as those of an stih* ariH is defined as one who is
trustworthy and who speaks the truth and is thus reliable.
W^RIT. ^ —Let them,forsooth,
be considered as men worthy of belief! * Note the ironical tone
of He exposes the perversity of the situation, where
innocent people are being branded as liars, while professional
cheats have the high honour of authoritative worthies. fefoqTfl:-
Ruin, destruction, down-fall. Com. takes it to mean
fegTOT" What is the use of replying, no use bandy¬
ing words.*
V. 26. . .^RTT-Saying this, after all argumentation,
has proved that he is not going to believe the king. He
has faith in 3i$3cT&r whom he looks upon as the king’s lawful
wife. The Bengali Mss. read instead of qjRTT.
^RRT'- ^T-All-sided, in all respects, of every kind, unlimi¬
ted. Lit. Facing all directions. ~ Wailing or lament¬
ing piteously. -Harsh or cruel by his rejection of her.
<j{tolfll'l*t“Voc. of ^r+ntot-a wanton, perverse person. ’ The
word first means ‘one who takes the first share or
more than his proper share ’ ( *TRT: ZTFT W- ) i. e. a grasping
character. Gf. in rg ssmiflWtfa ttfRfciftr I tqqj® III. Hence
secondarily it means ‘ a censorious, malevolent person. * It has
also the sense of * one who is given to the habit of finding faults
with others. * Cf. jfrfaFft I Even this sense holds
good here. wanting to suggest that 3|f;^R5T could easily
call her own husband a rascal ( )_, while she has absolutely
no sense of her wifely duty to abide with him in any
circumstances. wife has no independence or
initiative of her own in her husband’s house. Cf. ftrtt
Wft #1% I ^T% 3 5ft RTcf^^lrl U IX. 3.
V. 27. 3?f5!T-3cE|?RTr or $55 W flT-Fallen from
the family. marriage-vow, conduct. sn7^-#^~Fit,
-V. 30 ] NOTES 321

proper. M. W. takes it to mean ‘ supportable. * f%...f^5RW?$—

Why do you deceive her into the belief that she will be retained
by me in my house-hold as my wife, if she persists in staying on
here!

V. 28. etc. Cf. 1 3m°

TO*T 'Tftrrr. 3TFOT qn^tr-Recoiling or
turning away with abhorrence from the embrace of another’s
wife, ^ VfTT. l An abstract noun from
3333, a §5 compound, the taking place in the second member
of the compound instead of the first. It means * the greater and
the less, the heavier and the lighter (sin).’ The king wants to
know from the Purohita, which of the two courses, viz. rejection
of a lawful wife, or acceptance of another's wife as one's own
wife, would involve less sin.

V. 29. ^-Infatuated. -Defiled ( Lit.

soiled with dust) by contact with another's wife.
^TTf^:-Already informed. V. L. 3^:-Declared. ^cwf^-A
Universal monarch, a sovereign ruler-Lit. One who stands at the
head of the circle ( ) of princes round-about. M. W. .takes it
to mean 4 one who has the mark of the ( or discus ) in his
hand.' When the lines of the right hand formed themselves into
a circle, this was the mark of the future hero and emperor. The
word also means 4 one whose empire extends to the horizon
(=Hr*s ) or from sea to sea.' aTTPi g^-The
son of the sage's daughter. Note the argumentative style of
Purohita's speech, who is more expected to be well-yersed in
Nyaya and Vedanta than in Kavya. f^t-Entrance, admission.
She means, she wishes no longer to live in,the land of the living.
Cf. mi i xv. 81.
Whose memory was obscured by the curse.

V. 30. sf^RT-Ari' instance of gerund.

Throwing up her arms.' ^W^R-fwg: 3$ (3TPUR:,
322 gSKUNTALA [ V. 30-

atq-mftrijHO ) ifpr fratrHaving the shape or form of a woman.

atKKT.~~ ‘Near/ governs accusative.
V. 31. Construe:-^ t
I admit ( ) 1 do not remember the repudiated sage’s daughter
to be my wife (). ^PTR-Being troubled, being agitated,
jjf 5R2n^pRfrqr-Forces me as it were to believe her.
 ACT VI
5RRFfj:-See note on Act III, IV. M. W. places this
Prave§aka, not at the beginning of the VI Act as is done by
almost all the editors, but between the two Acts V and VI. Cf.
3PT I M. W.*s edition, P. 217.
Superintendent of the city-police; or |
is the (King’s) brother-in-law, acting as the Police
Superintendent, a character often introduced in the plays. Cf.
or ftffcRP-or V. L. means ‘ a thief. ’
Cf. i fag* n. also 3rd
*rf^Pn IV.
strpN' 3R3f“The setting of which is engraven with his name.
* jri&RWR usually meaning a * wrist ’ ( cf. Ill) has here the sense
of the ‘setting or the collet of the Jewel which formed the Mudra
or the seal of the ring. q#T: W&ft JTf&RPR: I. The
name might have been engraven on the stone itself or on the
gold in which it was set. 3c^M~Engraven, excavated, inscribed.
V. L. <dl$wwWTcHd$ I Note the dialect spoken by the
Policemen. It conforms to the characteristics of the Magadhi,
and is to be distinguished from the language of the SRfRff or the
other Prakrit-speaking characters, who give us the dialect.
5ric!srf:-A present, gift. qT2SR;:-A thief, a robber; explained as
TOSRC^pRfif-one who'moves about by breaking open the walls.
jtf|Rsft^-from VsilcT + to interrupt. 3TT^R5I^T:-With
fishing nets (str) and hooks (^55). JRPR5^RtqA:~With contrivan¬
ces to catch fish. very pure*; said, of course, ironically;
The or the fisherman’s caste was looked upon as the
lowest cf. S3«x. 46-48. 3TF3fNr:-Profession.
VI. 1, ^sr-Lit. bom along with (the person ), »
faR5-As the saying goes, as they say; he refers possibly to the
popular quotations from the WfjEiT like I^R
324 sXkuntala [ VL 1-

I II 35 or better still, *T Rita; II

XVIII. 48. -censured, found fault with. The sense of aift
is understood after this word. srfiSpri-A learned Brahmana, one
well-versed in sacred learning. Cf. sffrt sn^rnt %3p. *teblt&4
3^1% I f^RT 3TI& folR frfo: ^TflPT II qg.. .sftfspn-He means
that even a learned Brahmin, although soft-hearted and tender
with pity (for creatures in general) has to be cruel or dreadful
in his slaughter of the sacrificial animal—a thing which ordinarily
is an object of public censure. dflcH-'Lit. * Red-fish’ is a kind
of carp, found in lakes and ponds in the neighbourhood of the
Ganges. It grows to the length of three feet, is very voracious,
and its flesh, though coarse, is eaten. Its back is olive-coloured,
its belly of a beautiful golden hue, its fins and eyes red *-M. W.
q#R:-Cut. arfer WT^-Smelling of
raw meat (i^T). ANl^t-An eater of *Tr<TT i. e an alligator. Some
read the Prakrit as i. e. a cow-killer ; and as cow¬
killing is looked upon as a heinous crime, the word is applied as a
reproachful epithet to any rogue or low person. Thus in
the is called or \ M. W. *rrwr:-A fish-catcher, a
fisherman. fa^lftd®^-Ought to be investigated or closely
inquired into, jtrji^fc-Lit. ‘ knot-cutter or knot-breakera cut-
purse. V. L. which means the same thing. Read 5RftR
for SRfl^q-Having received \ 3TT^xT:-Brother-in-)aw. ' 3TT^#
qfit:’ 3RT° 3T^RtWRRT: -That could be approached (only) at
the proper time. ftta^H^-to bind flowers into a wreath round
the head of the victim. It is evident from works like the
and the that a person about to be executed or offered
as a victim to a deity like Siva or Durga had a wreath of flowers
bound round the head. Jpr j^r^r- will see the face of a dog*.
The two policemen have no doubt about the fact that the fisher¬
man guilty of such a criminal theft of the royal ring will receive
capital punishment, and that he is soon to be executed. After the
execution is carried out, his body will be thrown out, to be preyed
upon by vultures or by dogs. If any doubt exists, it is only in
-VI. 1 ] NOTES 325

regard to his later disposal by the vultures or by the dogs.

4 Dr. Boethlingk has adopted an emendation, ft^yorr i. e.
and translated, * or thou wilt see the face of
(thy) child (once more)/ There is, however, no authority
for such an emendation. According to Ray, this refers to
execution in which the condemned man is buried upto the
neck under ground and dogs are then let loose to tear him up •
The victim can see ( ^rf^T) the dogs coming because he is not
dead yet/ srfSfasfMI-who maintains himself by means of a fishing-
net. OTT?T:-Justified, confirmed, found true. 3^f...^rfi^T:-com-
mensurate with the ring’s value. ^|ftcT:-P. P. of the causal
of J ^r-‘ caused to be given, bestowed through me/ t^r ?TW etc.
V. L. tt^ JtpngSf: etc.-* such indeed is the favour/ 3J§5-‘ A stake
for impaling criminals. ’ -.-Mounted or seated on
an elephant i. e. elevated to a high dignity, was given a great
honour. Elephants, as we know, were used in triumphal proces¬
sions. Highly favoured or prized. V. L. Sjppfcr. Read
tRT: instead of I ‘ Excited in mind. ’ The V. L.
smr==:’PTSpPR*.-* With tearful eyes * is also very good.
()-For the sake of this chief of the fishermen. The Prakrit
word can be translated by ‘For the sake of the husband
of the female fish ’-said rather in vulgar joke and smacks of
contemptuous envy. V. L. ^“‘ For the enemy of
the fish. the value of a flower i. e. as insignificant as
a flower; compare the Marathi idiom, ?nff $55Nt M. W.
looks upon this utterance, as an ironical remark with, reference
to their earlier comment on his profession—l.
In fact he has taunted them before by his remark vr$:, 3PT
q aflafic): i jj^Ri-Bigger, greater. The Mar. word J^RTRT owes
its origin to this comparative form of
Srf^fT ^(W<cf5rWith liquor () for its ( i. e. friendship’s )
witness. $T^<t-Wme distilled from flowers.
The liquorshop. Lit. the shop of a wine-seller ( ). P. 168.
M Which is to be carried out in turns (TOfa), or
 326 SSKUNTALA [VI. 1-

rotation. For similar duty assigned to the celestial nymphs, Cf.

l T%° III. 3^kT:-News, incident, circumstances.

^KK^ii-A veritable body, my own self.
J-KHTdr Bereft of preparations (3?TW ) to celebrate the
the festival ( of spring ). 4 The eRRita-R or * the vernal festival *
in celebration of the return of spring and said to be in honour of
' the god Krishna. Originally his son Kama-deva, the god of
love, must have been the object of worship in his festival. It
is identified with the Holi or Dola-yatra, the Saturnalia, or rather.
Carnival of the Hindus, when people of all conditions take
liberties with each other, especially by scattering red powder and
coloured water on the clothes of persons passing in the street as
described in the Ratnavall Act I, where syringe and waterpipes
are used by the crowd. Flowers and especially the opening
blossoms of the mango, would naturally be much used for
decorations at this festival, and as offerings to the god of love.
It was formerly held on the full moon of the month of Caitra, or
about the beginning of April, but now on the full moon of
Phalguna, or about the beginning of March.J M. W. Hr
deep mental concentration; profound meditation. T^RT:-power.
3TT^:-Eagemess, keen desire (that I should see the king’s condi¬
tion with my own eyes ). covered by a magic
veil. is a magic art known to the divine beings, who
employ it for the purpose of making themselves invisible to the
mortals. Cf. Com. who explains this expression thus
qf^5?rr I
VI. 2. sftro^r-The essence or the all-in-all of life. V. L.
^cf^U'+i-The mango-blossom. ^Hff'tf-The auspicious
thing that opens the season, srcn^nft-causal of «s/sr+H^rI
entreat you to favour ( me). ’TOkfatf-A female cuckoo.
A female bee. These are also the names of the two garden-
maids, and significant as they are, they fit in with the atmosphere
of spring which the poet has created and where the cuckoo is
-VI. 4 ] NOTES 327

prominent with her sweet warbling and the bee by its humming
and hovering over the fresh mango blossoms.
songs of love and intoxication, srsrf^pp-not fully bloomed.
-fragrant after the cutting of the stalk ).
4»$ld4W4»-The word ^IcT, originally meaning 'a dove or a
pigeon, ’ is technically applied to ' a mode of joining the hands
together, in an humble entreaty, respectful representation, or
fear. ’ Cf. 1 %
^ SfSRl* II. Com. ?m.

VI. 3. ^d^-J^-The compound correctly should be

To (the God-of-Love) who has taken up the bow,
(now that spring has set in, and he is supplied with his shafts
viz. the mango-blossoms).
^p.-Having young women whose husbands have gone
abroad, as the target. qs3TWjf^j:-The best of the five.
l. 3HTR3fT-3nRR ?r flT-One who knows not her
•own- self i. e. a silly thoughtless person.
-unacquainted with the incident ( of prohibition ).
dWfeH-Belonging to the season q^RT, i- e blossoming in
spring. y^p41^hci—‘ Looked upon or admitted as authority, received
as a rule. ’

VI. 4. etc. Cf. t^g^’-^n^felT ^ 5RT mt\ l

f^l>0 II. 7. ^Fffij^-Fully developed and therefore ready to
blossom. Cf. WT&l I Act I. W-The warbling,
withdraws. qfBPOT?: ^RT$:-The king was believed to have
power to direct or prohibit the advent of any season. Cf.
wiftft i dfoapi ? gRifegrift»
IV. f^nft-a few days; to be construed with the
predicate hdlft. apip^dT-The condition of being a stranger
( 3TR^») dcd^t^fT*.-fond of festivals. dg^jRrSpread far and
wide; known to all, become notorious, The range or the
path of ears. scandal, an evil report; derived
from $3‘a family', and may signify ‘report relating to family
328 SffKUNTALA [VI. 4-

or private matters, ’ family scandal. also means ‘ a group of

people* and therefore, what is talked in a group is also very often
nothing else but a scandal. ( ).

VI. 5. everything ) delighting or pleasurable. 2PTT

g^T-As before. :-Rolling or tossing about on the
edge of the bed. f^T 3FT *f:-Whose sleep has
fled away, sleepless. $NT-A night. ^l^JtRf-courtesy, politeness.
It has also the sense of * outward politeness lacking in the
sincerity ofloveCf. ^ I
^ II -blundering
in the (proper) names. Due to his absence of mind, he calls the
particular lady by the name uppermost in his mind ; viz. that of
3l$5c!&l. This is a common idea with Kalidasa. Cf. W$T m
^9<Aljj3iw II III. 8. also an#,
feRTT aiwftcff II fop® II.
srFft II ibid. Ilf. pfl^ri^r:-Embarrassed by
a feeling of inward shame. spmp.-Abl. of 5PT=F!frArising, over¬
powering, I^R^Tj-Abstract noun from JR: ^ST ?f: I
Dejection, mental depression. etc. Compare arff
=tott i n.

VI. 6. fl:-Who
has scorned all special forms of decoration. f^jf^-Pres. Part, of
V^-to wear, i Wildly I Rd -Placed on or fastened upon the left
fore-arm ( STO ). Read ^RTPR^dm: -aflffc 3T5R^T: 3m: ^ Sf:-
Whose lower lip became discoloured i. e. bloodless on account of
(hot) sighs. ^ *-~Rubbed or ground on a polishing
stone. The word refers to the act of polishing as also the
polishing stone. The poet means that the king, although
attenuated in form, does not appear to be such because of his
magnificent majestic lustre, as is the case of a gem, which when
polished loses its portion and yet shines brighter by its innate
lustre; similar idea, Cf. I Act II.
jgparfo-Pines. ^f-etc. Sanumatl means that the king is so
-VI. 8 ] NOTES 329

charming that there is no wonder that should pine for

him, although insulted by his rejection of her. Any woman
would feel the loss of such a lovely husband.

VI. 7. ^|^P^-This wretched or accursed heart When so

prefixed has this sense. Cf. fqrgfrffi 1 XIV.
anpffl:—Remorse, repentance etc.-* Such is her lot,
poor pitiable girl! ’ Sanumati observes how unfortunate was the
life of who was repudiated when she had gone to her
husband in person, while now when he remembers everything,
she is far away from him, deeply merged in grief.
Attacked, seized, overpowered. Cf.
l Act III. ftf^Wld'oyit-who should be treated after a
diagnosis of his disease. is diagnosis and cure. 5R3?%i^RfT:-
Thoroughly examined or inspected. This has to be done to
ensure close privacy*for the king as also to see that no danger to
his life comes from an assassin or a hostile person. qspflflQj-
Putting (it) on paper, committing that to writing. The king was
always the final authority to give judgment in cases which the
minister would investigate. ^ SfTdMFf =*
-Lovely because of the absence of ( excessive ) cold
and heat. Cf *PWT: 1 Com. *m°. Ray takes it to
mean ‘ lovely in the interval (%% ) between winter and summer,
i. e. spring. TO4 PTf'tarfcfr:-Rushing through the ( first) hole ( frH )
they can find ; the word meaning * a hole * signifies ‘ a weak
point in man. ’ Cf. \ or the English idiom,
* Misfortunes never come single. ’ cfd’-which
never fails, which is invariably true, having no exception.

VI. 8. Note the use of =ar-^r which^ signifies simultaneous

occurrence. (d*PJT)-which obstructed the memory
of my love for the sage’s daughter. l-Wishing to strike,
desirous of striking, a Future Part, from Vstt-f. Compare for a
similar sentiment, 3T^ l.
m\ fa%r: t i ^
330 SffiKUNTALA [ VI. 8-

r^TcTTO^h II IV. 3. 3T^T etc.-This reminds us of

^udraka’s or $1%^ in the who too is ever ready to
help his friend with his crooked stick. V. L. I
^#:~The Brahmanic lustre; said ironically in
view of his ridiculous attempt to destroy the arrows of love.
( ^5f ) ajfcNfsfifcSj’-I shall pass ( my ) time.
picture tablet. | *T:-furnished with a jewelled marble
slab. 3*fi|rc:-An offering of flowers. portrait, a
picture. qi^FET: ■ - - ^rn?:-Note the dramatic irony of these
remarks. The very words which he had said to to stop
him from babbling his affair with 3r$3cftti to the inmates of his
harem, are being returned to him by in such a tragic
manner. ^fcT^fl^:-^T ftvs-: ^ *r:-Having intellect
like a lump of clay, ‘where understanding is as dense and lacking
in receptivity, as a clod of earth ; ’ clod-pated, block-head Cf.
STOTcT I ZxK* II. TOrThe
acute pang of remorseful meditation on 3l$*r1?5T has become
unbearable to him. TO 3TTWT W; Whose
hearts have become receptacles ( TO ) of grief, who have given
themselves up to grief. V. L. ^It^=W®^:_yields no sense. Ray
incorrectly translates as Abode of grief. ’
5Rn%Sf^ etc. Cf &*ftfT^di zfe TOT % =^5T: I *
VIII. 90. ^TO^n-has the same sense as arqpPTT, * plight,
miserable condition. ’

VI. 9. sjj^focIT-Tried (to follow), made an attempt (only).

ggftdlrfcl etc. refers to the words of 3[[&<d, *
I* 41*MSRK<h^|f-Bedimmed with the flow of
tears. Devotion to one’s own cause, absorption in
one’s own object. * Sanumati means that her eagerness to
accomplish her purpose for which she came, viz. to witness the
Icing's condition after £akuntala’s rejection, has so much affected
her, that she feels actually delighted to observe the king’s tragic
plight and his outbursts of grief. q-fcfc<rdT_crf& (l£T)
-VI. 10] NOTES 331

3T~‘ To whom her husband is a god, a chaste, faithful wife/

M. W. translates it with an Englishman’s outlook, thus “ The
idol or the goddess of her husband ” or as we should say,4 a wife
idolised by her husband." To touch, to hold, to outrage
the modesty of. 3\ The source of birth, gw: ?T-
of your friend i. e. of the king’s friend,
is being spoken of by the king as his wife’s friend. Cf. STT^T
MW1' I etc. 3g%...5rict^T:-Sanumati
means that it is indeed a great wonder that this king should have
been under such a delusion as to forget everything about
Sakuntala ; that he remembers her now, the cloud of forgetfulness
being lifted off his mind, is nothing to be wondered at. *T TOZRT:-
Are not able.

VI. 10. The blissful period in the hermitage in the company

of Sakuntala was so uncommonly delightful that it appears,
when recalled to the mind, to be a dream ( ) as it were.
But it cannot be such a vision, since I am sure, I was not under
the influence of sleep. Was it magic (IIPTT) practised on me by a
juggler ? But it cannot be that, either, since there was not the
slightest tinge of unreality in the whole experience, followed by
the tragic repudiation of the real Sakuntala. In the same manner,
the idea that it was perhaps some mental delusion or halluci¬
nation, has to be dismissed. If then real, it was so short-lived,
possibly because the store of my merit which gave me this much
reward (cTR^ ), was meagre and got exha¬
usted (), by this much experience, as a result of it. Cf.
gwiFTT q*5ii*dT I) Act II. In this strain does the king
argue about the nature and the causes of his love’s period with
Sakuntala. JfPIT-Magic, illusion ; used in the Vedanta philosophy
to signify 4 The imagining of something which does not actually
exist, super-imposition of one thing upon another.* For
the purpose of never returning, never to come back.
r

flflSiqraT:-All the fondest hopes of meeting Sakuntala once

332 S&ttJNTALA [ VI. 10-

again are veritable crumblings of the river banks () or like

falls from a steep precipice, i. e. are to be ruthlessly frustrated
and crushed. M. W. reads trftWTOdZMSUdi- And so (it-?Rj has
become the steep precipice () of my heart's fondest hopes.
Ray reads-cf^rffd'^% I *^*WFTd£5lMkU: * according to him,
refers to the four possibilities, like ^sr etc. while the last line
means, * These are the precipices for my wishes () to
drop from. ’ The reading and the interpretation given above is
supported by the com. who remarks:—3TcT:
wn TOWTRT *RTC«?T: » « 3T^T »
d- cT35PTPrr 5% fww i arm

irsftr rfcd: i fr^reBr

Example, illustration. srg?WT0 . 5T&-3Tgs*nr[; WRfRt cITr
which slipped away from a place which was ordinarily beyond
reach or inaccessible. sn^fRP^-Fit to be lamented.
VI. 11. 5^ftcf-good action, merit. f^fT©aftMs to be
inferred by its result (). 3TW.)-( The
fingers ) charming with its rosy nails ( 3T§ut ). 55s^q^-^f
iffi rT^rwhich obtained a place.^JcT.-Reference, allusion; or
occasion, ftor# all innocently wants to know what occasion
was there for the king to give her the ring. f¥teR3T-( By me )
who was putting (the ring on her finger ).
VI. 12. ^cTT-who will lead you to the entrance of
my inner apartment. The ring had the king's name <p2RT
engraved on it, and it will not, therefore, take more than three
days for the king's servant to come to the hermitage to take away
Sakuntala. 3rqfa.—Period, interval ( of expectation ), the
appointment of a period. Wdfftdi-made to fail in keeping up
the promise, frustrated. itHIrfrf MMT:-etc.-And these were
the very words said by jffrPtt in explanation of the loss of the ring,
that were jeered at by the king. How could it be
explained that such (deep) love stands in the expectation of a
token-ring, for the beloved to be recognised by her lover.'
-VI. 13 ] NOTES 333

VI. 13. ^
With its lovely delicate fingers. 3RRT?r etc. He means
that the ring is after all an inanimate object, and is not likely to
use any discretion and appreciate excellence ( gvf). He was,
however, more to blame since he, endowed with %FTr, rejected
her when she had come to him of her own accord.
Whose heart is scorched with remorse (3T33R). $4 ftiprdT
The entrance of with the picture of 31^1^7 just at a time
when the king is craving for her sight, is very opportune.
H%3R:-The representation ( 3T«jS|%3t) of the various feelings ( of
fear, bewilderment, curiosity etc. ) is very charming because of
the lovely posture (sraRR ) Cf. Com.

^r4*. • M. Williams translates it thus: ‘ The presence of

the prevailing sentiment (love-^ct) is delightful by its sweet
abiding in every part. * - S&g-My sight stumbles, as
it were, over the uneven parts of the body. Lit. on the depres¬
sions and prominences. * The relief or appearance of projection
and depression in the picture is so well managed that my eye is
deceived, and seems to follow the inequalities of surface. ’ M. W.

VI. 14. f%i[ ;t ^fffiCrMay not be well drawn in a picture,

falls short of the real because of the painter’s lack of skill.
fsfcRMs improved upon, having been retouched. M. W.
translates it thus, ‘ whatever is not well (executed) in the picture,
all that is wrongly portrayed ). rpsnfo-In spite of ( ail the
retouching that is done to the picture ). rf^r.f^cPT~Her
loveliness is exhibited in the picture, in a slight measure i. e.
very faintly. He means that with all his effort and skill that he
could bring to bear on this painting, he has failed in bringing out
her natural loveliness which could be imitated very faintly.
The sketch, the delineation. quotes the following
to define ^5% gfa i mfcrfcm
^sCT TT1*. 3Hcf&T:-Absence of conceit. For the remarks of
334 SEkuntala [ VI. 14-

viz. etc. compare, R® •

flWRicl5W«loiJI QTT^TOT I which shows how has no eye
for beauty. 59|sRfij:-Having eyes in vain, possessed of sight, which
serves no purpose. Some read dull-sighted. * ugpcf-
—the flowers from which have been thrown out (lit.
vomited). drooping down very much. 3T^.
R^PT-With its fresh foliage glistening with the sprinkling of
Water. MT«fPfgHL~A sign of love, an indication of passion.

VI. 15. f^9{r...^t:-Theimpression () of the perspir¬

ing fingers. the edges of the picture. 3?^-
A tear-drop fallen on the cheek ( of Sakuntala in the picture ).
As he was drawing her portrait, the overpowering grief filled
his eyes with tears, one of which dropped down on the picture.
qi^fer-A painting brush, a pencil. «I$#^WI<-By the swelling
(in colour) caused by the brush with which the drop was tried to
be removed. V. L. fPr (tf) ifa^KfldL-from the coming out or
puff of the paint; cf.

VI. 16. «l|'fl^PTR:~Thinking much, showing so much regard,

river. f^PT^rar—Having plenty of water.
full of love or desire. ^TTOT g«nT 3T^rt-ST %T
—Mirage. This is a fine illustration of Rt^Nt. arf^RBTT:—
favourite.

VI. 17. The picture was only half-drawn, and these details
have to be supplied to make the picture complete. §3«T...fSl*pTT-
With couples of swans resting unnoticed on the sandy bank
(fNrcT). fl^wi|ftp||S-With the deer sitting or reclining.
qT^T:—The sloping hills of the mountain Himalaya, lit. the father
of Gauri or Parvati. ^wfacT.-On both the sides of the river.
wm 3TT55f*3Rnt% ). On
whose branches are suspended the bark-garments. 3PFPH 5P^T-
*?HT-Scratching or rubbing her left eye. Note how the king wants
to create an atmosphere of love in the picture. The river Maiini
-VI. 20 ] NOTES 335

with the mountain by its side, the pairs of swans and last of all,
the picture of the female deer rubbing her left eye on the horn 6f
her mate, the black antelope will certainly lend a peculiar charm
to this picture of Sakuntala. ^Wd^f^-Having long beard.
Decoration.

VI. 18. 3TTO ^ With its

stalk () placed on the ear 3TfW.)
fcT$far«f: %OT* 2R2T dd’-With its filaments banging down up to
the cheeks. ( The lotus-fibre ) soft like the ray of the
autumnal moon. Between the two breasts, in the midst
of her bosom. Cf. cW 5t^R- l
3TCI ^TJpTFT d^T 11 £*TTC° I 40.
^Tl%^r-As if greatly frightened or scared. *r trq v^'
1 Act 1. STT^fRTRt STT&dT-The chastiser of the impudent,
reminds him, as it were, of his own words (
sflPPlfd SlTftTdft ^RbftdMTtf I Act I.) said by him while introducing
himself to the girls. gsgiRdlte-deai unto the flowering ere-
epers. iR'TdH^-Flying or hovering about.
VI. 19. yfdMWkf-Waits (for you). arfosnd-Politely, nobly,
in a courteous manner. dTOT“ Wanton, perverse.
VI. 20. 3Tf^...^:-3T!^j5E: 5TR5: $WM't dfef -
Alluring or enticing like an unfaded fresh sprout of a tree. Cf.
3PR: foWsRRPT: etc. Act I. “During love’s festivals or
love’s banquets. TOdTR-I shall get you thrown
in the prison of the hollow of a lotus. A culprit guilty of
molesting a woman is punished usually b> imprisonment ; and
the same punishment will therefore be meted out to the bee as
well, both in his capacity of a king and as her husband. In the
first Act (Cf. =5R5I<Tf§T SET etc.), the king’s position was different.
Both of them, were on equal footing, although later, as a king
he steps in to ward off his successful rival. Of
you, giving such a severe punishment ’—said, of course, ironica¬
lly. now realises that he too like the
 336 i&KUNTALA t VI. 20-

mad king, had transformed himself into the atmosphere of the

picture, where the whole scene, he felt, was actually being enac¬
ted before his eyes, ar^ransft-one who had not understood the
thing, viz. that it was a picture. V. L. 3RqFnrflT«lf-would mean,
41 too realised it just now. ’ 3vR #Rr-
*n*rc?J£-Mischief, a wanton, ill-natured act.

VI. 21. TOPfa if^rr-With a heart fully absorbed (in the

picture). r^fifkff-Was turned into a picture. He means, he had
rescued her from the lifeless picture, by the power of his mental
absorption, and made her live and move before his eyes; by rem¬
inding him that it is a picture, has again turned her into
the picture ^#R&<|vft-Involving a contradiction between what
preceded (*$) and what followed ( 3FTC). She means th.t his
actions before (i. e. when he did not remember her and conse¬
quently most cruelly discarded her) bear a strange contrast to
his moping attitude of grief and bereavement. He was stern like
steel, before, and soft like wax now. The Com. takes it
differently thus:- f^THM *TR

VI. 22. NcfcpfrT:—prevented, barred. —Do not

allow me to see (her in a picture). Note the idiom, which is very
much like the Marathi expression, qrg; The tears obstruc¬
ting the lover s view of his beloved drawn in a picture, is a
favourite idea^of Cf. ...
facl II. ^THR:
I) II.

err m to *
II. 10. Wiped away, fully atoned for. ■SRRT-On the
way, midway, 3TtcR f*RTj^cf:“I took rnyself off. I made my esc¬
ape. Lit. my own self was carried off ( by me). ^g^lNdl-
Puffed up or elated with vanity, because of the great attention
( SfRR ) I show to her. 3TC*TR U$r§) m-Vfrg&i is afraid
-VI. 23 ] NOTES 337

of his own safety more than that of the picture.

From the bane or the deadly poison (4>|<£<3»<i) of the harem,
(which is full of bitter jealousy and hatred ). V. L.
«ngtRr:-‘ From the noose of perfidy of the harem. *
Respects or shows his regard to his first love. It is read
as one sentence by some. Cf. 5TFRT
*T<|foT II fa*»° HI. QT^f^Trar— The various items of revenue; Ray
‘ several receipts. * faqsr:-died. cFT^T-Poor man ! 3|T-
qr^fRi:-Polygamy, especially among the rich, was the rule of
the day. He had as it were a right to marry many wives, because
he had ample wealth ! £fat-A merchant from Saketa i. e.
Ayodhya. The rite performed on the quickening of the
foetus* with a view to secure the birth of a male child. It is second
of the 16 ^Rs, coming next after the JTOT4R ceremony, and
performed generally in the third or fourth month after conception.
Cf. 53^% i m
I) The ceremony consists in placing ajq’ grain and
two jtp? grains ( representing the male organs of generation
on the right palm of the lady, who is to swallow them, along
with some cream, to the accompaniment of the sacred Mantras,
ftfq—Property, wealth.

VI. 23. q-fWcM i ) except it be a sinful relation; for

instance, that of a husband to a widow, (ii) The wicked
excepted ; i. e. if the man is a sinner and a culprit, and
therefore deserves no patronage from the king.
( Of families) that are supportless by the lapse of progeny (that
would have maintained the continuity). At the end
i. e. the death (ar^lR) of the representative of the race or the
original stock, would properly mean the original proginitor
but here it means * the stock-man, the eldest surviving son.'
^TERT and M. W. read pSRPteR* *
eRlfocT-.. .■Hlfa^-^ll^Rf W- 3T^RI% Who despised
the bliss that waited on him.
 sXkuntala [ VI. 24-

VI. 24. 31WH Although myself was implanted

m her womb), she was sown with myself, i. e. she bearing my
'ocoiul self in her womb/ This refers to the belief that a child
i. wi incarnation or a reproduction of one’s own self. Cf.
TOKfaTOd i aficfrr % gsRrarfcr *r sfa u-
' i > qftror i tobtiwk tot?# y&m
;T-Trf 5?r: II JT3°; fasfirgT-The stability of the family. 'W-At the
[ roper season; if 3rei%-is read, then it has to be construed with
K’-HT, meaning ‘ forsaken at a wrong time, when just the harvest
wj\. ready. ’ <4,|Ri^,w|-< Uninterrupted.' She knows that he has
.1 : on from Sakuntala Have reached a critical state,
1 when they have become apprehensive as regards offerings to
them in future, after me. ’).

VI. 25. d3JT2£FT ^pJcTlRh-prepared in accordance with the

viiiptuial texts. f^W^lf^-Libations. frirssJi^-Offers. V. I,.
fa'+M-destitute of progeny, deficient in offspring.
>4Fir^T-Remaining after being used for washing the tears
' caused by this galling thought), ^Tf^WT.-This shows how
keen was the king’s anxiety, caused by an implicit faith in the
prevailing notion of the Sraddha ceremony and its efficacy.
^JTTR^FTFT-By the fault of the intervening curtain that obscures
tin* view. Slu* means, the king has a son, but because of his
r.noiance of this fact, he bewails his childless condition, like a
mi ;!' ;_noping in the darkness, the light being obscured by the
kuvu. Read -Happy, satisfied. ..c*pr-Eager to have
then -hare of oblations in a sacrifice. The kings used to perform
ar sacrifices in celebration of joyful occasions like marriage
ctt. and India as also the other inferior gods were invited to
partake of portions intended for them. The mother of
lndra v'u. sTT^, who was the wife of 'TOT 3T|Wr<-J:-aflrT: iFqp-
-Who has his pride removed, humbled, insulted. Cf.
I XIII. 7. m-An evil spirit, ( *j?t ).
is used in Masc. Plural to denote,4 a house, or a wife. ’
-VI. 30 ] NOTES 339

VI. 26. 5WI■“* blunder through carelessness, a false

step through heedlessness. question asked, with
a peculiar change in the tone which is suggestive of the reply.
This is called a qfadtrT $3*? I 3T^T or aTT^Tr-
( ) used in calling for assistance. 3R-
Whose neck is bent backwards. V. L.
* yeW^dfad'STt which means the same thing.
efhlFWir~who is being cut violently (cft^JT) into pieces. V. L. ftwr-
W~ftRW-cut into three pieces. protection for the
hand or fore-arm, a leather band, ahandguard.
VI. 27. %EJ?rcr{-Struggling (to escape). ^if-Refuge,
protector. Cf. wffofr 1 W.
3T:~An eater of dead bodies, a carrion-eater.
VI. 28. ffc-A royal swan or a flamingo is supposed to
have the power of separating milk from water ; hence we have
the iwtftism. Cf. Jr ?wf gwrafoftift sr%BT
n is. ^ etc.i
¥TT° ftr® I. 13. Jffflrf&i-is the name of Indra's charioteer.
VI. 29. s^wr^-A mark, a target. ^foiT-By Hari i. e.
Indra. ST9RC etc. Construe gpaft wti tRTFd‘,
JT 3TCT: (<RTfcr ) I yW*ft^rft-Softened with kindly favour.
*&TS*nnjrA gerund used with the 3WT viz.
‘ Beaten like a sacrificial animal.* Cf. I g©
X. 89. Son of the demon He had
hundred arms and as many heads. These %3fs were sometimes
called from their mother who, as well as was
one of the wives of and daughters of ^ST.9 M. W. 5^:-
A celebrated divine sage, usually reckoned among the ten SRTTf^s.
first created by 3T$TT. He acts as a kind of messenger of the gods.
VI. 30. s:-i. e. The host of demons, called ^^r.-ajopar.-
^5 3RPPf:-Invincible, unconquerable. Cf. I.
It should be distinguished from 3?iriT:-%5 arqfaj: I 5icPK<J:-An
epithet of Indra, meaning ‘ one who has performed hundred
340 S5KUNTALA f VI. 30-

-ncrifices (5jyj ’ He is so called because the rank which he

occupies is unattainable excepting through a hundred spqifurs or
horse-sacrifices’. Cf.
?T7 5T- IJ 75® III. 49. *vrfSrr%-rn the fore-front ( ) of the
haltle, at the head of the fight. Read Acted, behaved.
HPFT ^-.-Having some reason, ( which
1 did not know ).
VI. 31. 5^ 3RPT With its fuel stirred.
;i: provoked, molested. expands its hood. V. L.
■fi’-’i. clWPT-Through provocation. V. L. #TT?f. f^^Ff^f:-The
i )id of the heaven, i. e. Indra. qffaRTPT «p3T-Having acquainted
the minister ) of this circumstance.
VI. 33. %^5T-Single, unaided (by my bow). °3TCJ?T“
!* mployed, engaged.
 ACT VII

P. 210. 3fN>ftWW~The aerial path. qR-also means a

1 conveyance*. -3T3fecT: l l One who
has executed or carried out the orders given to him. -
f^qfT^-Because of the high mark of respect or extraordinary
honour. 3f«jT^4-i. e. 3^*4^. Unworthy, not deserving.
The word JTOcT: can be construed with both srgf^r0 and
Mark the modesty of the king. He is illustrating
the saying 3?^^: ^ • 3VRRft-etc. But both
are dissatisfied with what they have done. The king feels
that the respect shown to him was out of all proportion to tl.i*
services rendered while Indra feels that he could not adequately
reward the king for his timely and generous services.
VII. 1. 5R*Tftf>?i-The previous obligations: i. e, thy
signal service you rendered to the leader of gods. sri^TFT:-
Honour. Amazed at (your) heroic deed. 3fq<^w+J -
A valorous deed. A feat. etc. the king did
expect that he would be honoured by Indra for the great feat of
arms achieved by him in vanquishing the demons. And so he
was so to say anticipating some reception. But what actually
took place far exceeded his imagination and so he says that the
reception was beyond even the pale of imagination or expectation.
By even the most powerful stretch of my imagination 1 could not
have hoped for the honour I received. Beyond
reach. T^RPR-Dismissing. Bidding fa rewell .3fgp-| 414 dRtd ‘ -etc.
Seated on half of the throne of Indra.-Sharing the throne with
Indra. This was supposed to be a very* high mark of honour
for the mortals and many even in the Durbar of Indra craved for
it. Cf. arafast i
VII. 2. 3Rpfef5lT^5n^-Etc. jfZRT, The son of Indra, wiio
was standing close by, was inwardly-in the heart of his
342 sSkuntala { VII. 2-

hearts-longing for that garland. Indra knew that and hence

Etc. He simply cast a glance at his son and smiled.
3TT^~Rubbed. “Marked by the yellow sandal.
Fastened.
VII. 3. aprc^-Etc. This explains why Indra often used
lo take the aid of his mortal friends to oust out the demons.
There is of course the other reading which absolves
him from this draw-back. f?rM“The heaven. 3*$T:-The word
is generally used in the singular: here it is a peculiar use
5<pT° Etc. With the thorns in the form of demons extracted.
?FTT^l+f: I By the flat-jointed ( arrows ) or
smooth-jointed: «j$M%flRu|:-The reference here is to the
fourth, Man-lion incarnation of Visnu. The king is compared
to this particular Avatara of Visnu in that both freed the
heaven from the tyranny of the demons. 'Hie arrows of
are on a par with the claws of Nara-Sinha with
which he tore to pieces the demon Hiranya-Kasipu father
of Prahlada.
VII. 4. T^rfci-Etc. But the king would not admit any
such idea. The servants succeed in mighty enterprises only
because they have the moral support of their master's. Their
ability is only like reflected light. —The quality
of ‘ Thinking well oi or honouring giving patronage.
or ytvfpT—in the forefront-3T^T or Dawn by himself could never
have been able to dispel the darkness but for the patronage it
receives at the hands of the sun. Cf. also-sn^W tnf 414*1
i^q?Tr W&Q I Etc. . The glory of the king
had already reached the heaven; and the celestial bards were
already busy composing panegyrics about his wonderful feat of
arms. *TFT: 1 Sublimity-beauty or grandeur.
VII. 5. 3^: W); ^1 ^1 The denizens of
heaven. ftfesfhsrcf-The remnants or residues of the paints.
fa'fcgfH-lit. means * cutting off.? But it has also the sense of
 -VII. 5 ] NOTES 343

4 Paint' or rogue. +c*Wl^3-on garments in the form of the

leaves of the desire-yielding tree. The vestments or tapestry.
The writing material was provided by the
Materials—verses-capable of being sung, or set to music. The
» V. L. 3Hhp=r would mean-' T^s.9 They choose only melodious
expressions which could be sung. On his way to the heavens,
the king was not in a mood to indulge in sight-seeing. And so
on his way back he wants to visit all the different charming spots.
• on a previous day. iRrcTt the course of
the wind. “ According to Hindu mythology, the heavenly region
is divided into seven Paths of Courses, with a particular ^ or
wind assigned for each. The first of these seven v&yu—margas
or vayu-pathas is identical with the bhuvar—loka, or atmospheric
region, extending from the bhur—loka, or terrestrial region,
[ comprising the earth, and the adhO—lDka, called Patala J
upwards to the sun. The wind assigned to this Marga is called
avaha, and its office is to bear along the atmosphere, clouds,
meteors lightning, etc. The other six make up the swar-loka
or heavenly region with which Swarga is often identified in the
following order i—The 2nd Marga is that of the sun, and its
wind, called pravaha or pravaha, causes the sun to revolve; 3rd
that of the moon, its wind samvaha or samvaha impels the moon;
4th that of the nakastra, or lunar constellations; its wind,
udvaha, causes the revolution of these asterisms; 5th that of the
graha, or planets; its wind vivaha bears along the seven planets
6th that of the Saptarsi or seven stars of the Great Bear; its
wind parivaha bears along these luminaries, as well as the svvar-
ganga, or heavenly Gangas [ saptarshi-chakram swar-gangam
shashthah parivahas tatha : not as Dr. Boehtlingk suggests
gaptarshi-chakram swarga-gah, etc. ] : it Appears from the next
verse that this was the Marga in which Indra’s car was at the
moment moving ; 7th that of dhruva, or the polar star, the pivot
or axis of the whole planetary system, to which, according to
the Visnu—Purana [ pp, 230, 240, Wilson 3» &11 fbe celestial
344 S&CUNTALA [ VII. 5-

luminaries are bound by aerial cords, and are made to travel in

their proper orbits, being kept in their places by their respective
bands of air. According to the Bramhanda-purana, from which,
as quoted by Katavema, the above account is taken, the wind of
the 7th Marga, causing the revolution of the polar-star, is.
paravaha [ or paravaha 1. ”

VII. 6. f^#?OT-5frfoj- 3W: *TT MfclT: » The triple

streamed river-i. e. the Ganges. Cf JIWT felWTT 1 It has
three courses (1) Flowing through the Heaven and identical
with the Milky way and named Mandakini. (2) The second is
on the Earth named ‘flFfR/ifr and (3) third is in the Patala, the
residence of Daityas and Nagas-and named
Located in Heaven. It is possible to
interpret it as WHCT MkftjTR. the glory of Heaven. srfet-
l duly distributing
their rays. ^T^-Tft^nT^'Revolves. ^Icftf^ The luminaries.
fi}rftJ'!rf ftw*fcH“^tc. The reference is to the Dwarf, or incarna¬
tion of Visnu. The story is told thus: A particular demon named
TF7 had become all powerful and reigned over all the three
worlds. To relieve Indra of the oppression of Visnu went
to him in the form of a dwarf, wfo was performing a sacrifice
and he had declared that he would give to all the suitors.
But here was a curious demand of only 4 three steos ’ which was
granted immediately. But then, the dwarf assumed gigantic
dimensions and pervaded the whole of the Earth only with his
one step. The second pervaded the entire heavenly region. And
now he asked for room for the third step. But knew
now who the suitor was and in his great joy he offered the Lord
his head for the third step. Visnu pressed him down to the nether
regions, but being pleased with his devotion, he gave him
the Sovereignty of Patala and himself remained as his doorkeeper
in the form of the dwarf. Thus, the region was rendered absolute¬
ly pure-it was in fact consecrated by the second step of Visnu.
-VII. 7 ] NOTES 345

1TO»T:-Treading of step. It is for this that Visiju is named as

f^rr^ |^Tfl^~Com. qw<fei I The thirds
and fouth lines are read differently—

tot srtot ^ m

The only difficulty is regarding the name of the wind.

According to this reading, the region or Path would belong to the
second course and not to the sixth.

^RFST^Wn-With internal as also the external senses. The

sense-organ, according to the Samkhya system are divided into
two classes-Internal or external. and The
latter are again subdivided into two-flT^f^s and each
having five subdivisions. The Internal organs are three-*RH.
and 3^IR;-Individuality or self-consciousness. the
heart or the organ of feeling, sometimes is added to the list. For
the expression Cf. also. 1 IV.
ifTO^T-The path of clouds. But this means that the chariot has
descended with the speed of lightning-traversing the four inter¬
vening inns within no time. The Bengali reading ‘ * in the
preceding stanza for removes this difficulty as the
transition in that case would be from one JTFf to the other.

VII. 7. Through the interstices of spokes. ^TcT%:

etc. The -TO4. birds, it appears, could conveniently fly through
the interstices of spokes of the chariot. The ^TcFFs are classical
rain-birds, -Names of Indra’s horses. Cp. 1. Act.
etc. <sT^RT *TT TOT ffT- I frW » The horses were shining
because of the flashes of lightning. or Tin¬
ged with, covered with. 1 —Indicates. ^T:~
The rim. $flTO|j5r-Bedewed with drops ( of water).
3^Clf&T ^rt ^ 1 ^TfvT4R^-In the land within ( your )
jurisdiction—which is under ( your ) control.
TOT W-1 curious to behold.
346 SAKUNTALA [ VII. 8-

VII. 8. The king is now giving the description of the earth

as he sees from a great height. It is an aerial pen-picture.
^RrO^-Rising upwards. Shooting up. At first when the king
was at a great distance from the earth, the earth and the moun¬
tains appeared to be on the same level. But as the king began to
descend down rapidly, the earth appeared also to have slipped
down from the mountain-tops. -.-Because of the rise (i. e*
coming into sight ) of the trunks. ^*^d<<4tddl-The state of
being enveloped in foliage. The trees had worn so to say the
veil in the form of thick foliage and so could not be disting¬
uished from a great height. *RTRTc£-From expansion or contin¬
uity. ^^-Manifestation. 3TFFTT: 3TTT arpfcr q-ggfoi
l Rivers. 3rf?$TOT_By one throwing up. The earth
appeared as if it were being thrown upwards by somebody.
I-Plunging, merging in the eastern and western Seas.
Cf. ijstfqfr WS7 I fnrrc®. spairat spar: l Evening
cloud. qftsT'.-A bar. ^JT^-Or * the golden-peaked ’ one of the
sacred mountains among the Himalaya chain. It is adjacent to
Kailasa and inhabited by PFJpqs or the servants of ffift. pfeg^tfp.-
3W: l I These are so called because they are said
to have the body of a man and the head of a horse. They are
also called or

VII. 9. i
I -From the sun of the self-existent one. Kasyapa is the son
of ( and so called rntR) and the grandson of He is
called srsmf^-or the lord of creation, but he is not one of the
seven original ifstrafas nor of the ten mentioned by *t«j. He is
here said to be one of the jRFTltls, who were Brahma’s sons,
created by him to supply the universe with inhabitants. He
married the thirteen daughters of but the eldest one
was his favourite with whom he is practising penance here.
rfTO# like is a denominative from fTTft. 3R^?T^fFnFI
%faiffr-The fortunes or blessings ( which can be acquired by
-VII. 12 ] NOTES 347

paying homage to these revered ascetics ) cannot be passed by.

In the first act also he just has the same feeling
<TRT^Ic*IM ’ where he meets Sakuntala for the first time.
Now also, his reunion with her is due to his reverence for these
ascetics. 3PPT: «Fc*T.-A noble resolve, or a fine or capital idea.
Cf. 3XR: »
VII. 10. P, from + Commenced. T^psRT:-
of thee-checking the speed. The chariot glided down on the
earth without making any sound whatsoever. This is the differ¬
ence between the car of Indra and that of mortal kings.
VII. 11. We get a very vivid description of the sage who is
much absorbed in his austerities that he has lost all regard for
his body-which is covered over with an anthill. The instr.
is 5c«n^T^^t-shovring 3T^5r=T. fl^£-closely sticking or encircled
by. 55d nsTdR-cRTTy d M circles of creepers-coils. ^<>^1 fa-covering
the shoulders, filled with. can take it as
an 3T52pfr¥ncj or as two separate words. dT: WT I
l of severe austerities, VRFT what about you ?
What do you intend to do ?
VII. 12. fffp-sustenance. i. e. Proper, suita¬
ble, habitual. ° I Even when there were
desire-yielding trees. ^rfa^T~Brown. -self-control. The sages
already possessed the things which are eagerly sought by others.
^c#i«f|-Soaring high, lofty. ^2TRI<nt-The daughter of ^af-Aditi.
etc. - The saints must be seen at their leisure: i. e.
we must wait till an opportune moment to see the
saints-i. e. should not visit them at an odd hour or when they are
otherwise engaged. Cf. <TdTH: i-Theking, therefore,
is conscious that others also have.their own engagements.
There is the reading ^ —The subject matter
deserves some waiting ( on our part): i. e. The sage would
take some time before he would finish his discourse on the
'ffiwIN^-and so it would be better on the part of the king to
348 S5KUNTALA [ VII. 12-

see him after a while. 3Ri’<rt®fi~Seeking an opportune moment.

PtHh}-An omen.

VII. 13. *RfaTPl—WU^TO-g-To obtain (my ) desire-viz.

Sakuntala. i. e. I cherish absolutely no hopes of obtaining her.
^fi^fi^-Slighted-spurned before. §:*§r % 1) Misery
alone surrounds me or ( 2) The bliss is turned into misery.
^[^-Naughtiness, wilfulness-Cf. The sense in in
II. 3T»J^*lFr:-Being closely followed by, from 3?5+^r-
' flying after \ closely following\

VII. 14. 3TPR^~Rough-handling. Hard pulling.

Not different from (our) children. Just like (our) children,
affair-one of the 12 kinds of sons, enumerated by Manu.
TOT: STlrT: l 3H464fdl Etc. The king is here generalising
a great truth. Generally those who have no children crave
eagerly for them. They then shower all their affections on
the children of other people. Childlessness is a sort of a
gap in life which these men try to fill up with small children
belonging to strangers even. Denominative from
3TSR! very fine touch of child-psychology. The child
wants to Tidicule the woman who tried to scare it. is
sign of contempt.
VII. 15. Trv^sr—waiting ( only) for fuel.
(The boy ) so to say (possesses) the germ of mighty energy
(or spirit). The child is the father of man and so the king
could judge from the undaunted spirit displayed by the boy that
he is destined to be an eminent personality. The child is not
to be easily outwitted. It is not prepared to give up the thing in
hand for something which is simply a promise. It stretches out
its hand to get the toy-when the king gets an opportunity to
notice the lines on its hand.

VII. 16. o -Desired or coveted object, wr-longing,

eagerness or craving. WUsrfifclT: TOT
-VII. 20 ] NOTES 349

{The hand) whose fingers were united together by a web.

* webbed hand ’ is indicative of great valour. awiHJMSnMWr
etc. The hand is compared to a lotus-whose petals rannot be
(distinctly) seen—( because of their closeness).
or ;q^ri: ?TT I if we take it as an adjective to
3^TT, otherwise which made the lotus red.
The redness of the lotus and the hand are to be compared.
solitary or single lotus I
Unmanageable, difficult to be coaxed or naughty. Cf. fipBJT*
where the king applies the adjective to his eye-OTRSgTIg

VII. I”. Here we get a fine picture of those who are blessed
with children, ansre^-slightly perceptible. 3rft$|?|gl$k-By
their innocent smiles •* lit. for no reason. 3To3^fi-indistinct.
Y,sM5t*f:-longing. the grasp of his hand which
is very difficult to loosen.
VII. 18. ( ^ppT*. )-( Forbearance )
that takes delight in giving protection to (all) animals.
V. L. 3RW-of thy father.-Lit. of the source, used for
■jfTTpT; grit:. Cf. the word ^ which is also used in
this way. ?r l etc. The simile in the
second line is not, however, quite a happy one.
owing to the reliance in the place.-Circumstantial evidence. The
whole incident-viz ^^Fd’s seeing the boy is psychologically very
interesting. He experiences a sort of paternal feeling for the boy,
but he dare not express it even to himself. He says it only in a
round about way. Resembling the form.’ 3ttJ|cF4ftT- ~
Not averse. Not untraciable. UT^TfJT-Lit. * against the course
or direction of hair. ’ o?rrVr;^Family, pedigree. Cf. o^rT^prrfe-
etc.
VII. 20. ^j<4%g-Abounding in pleasures of senses. V. L.
gqrfe%5~white due to chunam. from TO. to wish. T?fa?T-
zpj-Where the vows of asceticism
350 SXkuntala [ VII. 20-

alone (are practised). It was a common practice with ancient

Indian kings to retire into forest and lead the life of a hermit
after they had reigned for a sufficiently long period-entrusting
the whole responsibility to their sons. 3nc*Plc*IT-By their own
means, I The difficulty is that no mortal could of his
own accord, reside in a place like this-viz. the part of heaven.
Hence the query. tswfwr-Relationship. etc. to indulge
in a gossip regarding the wife of another is ungentlemanly; Cf.
i.' The king was anxious to know the name
of the mother of the boy. But his sense of propriety does not
allow him to put a blunt question. Now he knows the name—
and once more there is reason for him to hope-that after all the
boy might he his own son. ’ HfWTO'WTO:—mere mention of the
name, - *3T5ft I Elder sister. ^rfR^f^Hj-The amu¬
let or the talisman. also means a herb. This might
have been a sort of a locket worn on the wrist. This picking up of
the TOTTO is the last and convincing incident. Now there remains
no doubt whatsoever in the mind of gszRT-after he is acqu¬
ainted with the history of the amulet by the two ladies.
The natal ceremony. It is the fourth of the twelve Samskaras
or purificatory rites described by Manu and the first after the
child’s birth. It is performed by giving the child honey and
clarified butter out of a golden spoon, before separating the na¬
vel string. f^fsfrqi-The change-transformation ; contradic¬
tion, dispute. This contradiction is convincing. H«b3vfiW"The
single braid is a sign of mourning. A Hindu woman is supposed
not to comb her hair in the absence of her husband. Cf. Megh. V.
90. 3TRIT etc. £akuntala had given up all hopes of reunion
with 5*2RT. Hence, she cherishes no hope even when she learns
the incident. The news is too good to be true for
her; gf^-Natural state. T^R-Change. 3rcrcTT-etc.
it appeal*, had however prepared the ground.
VII. 21. etc. This shows her absolute indifference to
outwardly appearance. ®taw-Emaciated. She
-VII. 25 ] NOTES 351

is observing this ' vow of separation' for me-who was so harsh

to her. 3jg$$iii^URW-Taking a favourable turn, ending favou¬
rably. Sakuntala at present is in a tight corner ’ so to say.
She could not recognise the king in whom remorse had wrought
a complete change. Then she h^d great misgivings regarding
her fortune. She, therefore, thinks twice before accepting even
facts.
VII. 22. tTtfrR^-Darkness in the form of delusion. 3m.NI-
Eclipse. was the forth of the twenty seven daughters of
Daksa and most beloved spouse of the Moon.
VII. 23. -Unadorned, i. e. without any i.e.
toilet, etc. Sakuntala, instead of giving a direct reply, asks the
boy to consult his destiny. This is the height of pathos. The king
also could not contain himself any longer and so he begs her
unconditional, sincere apology-and not content with mere words,
even falls prostrate at her feet.

VII. 24. o^-F-Grief. Unpleasantness. 5T«T€Rf fraIHr^hose who

are completely under the sway of delusion. r^STRn:-“5lRor I
Mostly such, such for the most part. qT^TT*. <TcT%-Some
commentators make the king fall down at her feet before repeat¬
ing the stanzas, which would mean that the king repeats the
verse falling prostrate at the feet of Sakuntala and she also listens
patiently and then asks him to rise up. But this would be very
unnatural. Opposed to virtuous conduct: <TR'J|W -
g?3^-Drawing towards its issue, on the point of becoming mature,
about to ripen. Sakuntala is after all a Hindu lady and rather
than blame her husband for having repudiated her, she blames
her own fate !
VII. 25. <j^-Formerly, i. e. at the time of repudiating her.
3TT$fc5—Curved, m i ajgspr-remorse. 3T*T%?cr:-The tear¬
drop. fS^-It acted adversely, % etc. the king wants to
see the ring once more in its proper place. So he says ‘ let the
creeper bear the fruit as the mark of the union ( or advent) of
352 SSKUNTALA [ vn. 25-

the season ( of spring ). Here the ring is the fruit, the

creeper and g«*RT-the Vernal Season. But Sakuntala had enough
of the ring. She is not prepared to trust it again!
VII. 26. % i. e. i His bow having accomplished all
the work, the thunderbolt of Indra is merely an embellishment for
him. fa Pto I del-Turned away from-resting from its work.
Prowess. indicative of.
VII. 27. 5133TOT ItTO etc. This refers to the solar
light: There are supposed to be twelve anfac^s for twelve
months and are described as the sons of affafa and The
gods Visnu and Indra are reckoned amongst their sons : According
to the commentator gj^gqT-refers to the twelve digits of the sun.
flg^PNfHfThe lord of a share in ( every ) sacrifice, or qgWTI:-
Gods-those who enjoy a share in sacrifices Indra
also is said to be their son. STTrJpj^'. qr-~ Higher even than the
self-existent (Brahman ). V. L. 3TEJTW“The self-existent one.
This seems to be better: i. e. though there was no necessity for
him to be born, still he chose this couple as his father and
mother, qy: gw The Highest Being, g^-gft I-That
which sleeps or abides in the body. —The servant,
faqfcssr-The king wants to imply that he is but an humble servant
of their son.
VII. 28. I The Wife of Indra.
VII. 29. SRJT-Piety or faith. —Represents Sakuntala. fafp^-
Wealth = aro^-The offspring. fanr-—The Precept, or practice,
(represents Cf. the same idea in l
Raghu II. 16.
VII. 30. fafaffi-The cause. %fafaq>-The effect: The
cause must always precede the effect. But here the order
was reversed. And hence the favour is 3Tg^-unprecedented.
fasnffR*.-Creators, ordainers. 3nsrnFft-Hand-maid, servant.
This also is a fakWtffc. Cf.-qiwfqtw etc. q&rfat
-VII. 34 ] NOTES 353

$R5^--After some time. 3*HctPll5R^(-of the some as

you SWR %5f 8^ ^ I But was the originator of the
race; we have, therefore, to take it as simply ' of your Gotra ’ i.e.
your descendent. is all along feeling uneasy for his repu¬
diation of Especially the fact that he spurned her when
she went to him of her own accord and later on began to pine
for her-is inexplicable to him. So at last he asks the sage to enli¬
ghten him on this point. 1) whose distress was
personally witnessed by her (i. e. by Jta«Kl) or (2) who has
clear marks of distress (on her face). -Terminating with.
This removal of misunderstanding was of course very essenrial.
Otherwise the memory of 'it would have haunted them both
throughout their life. q^fisf-Blame; *

VII. 32. grci-The image or reflection. «r *jx*S(ct-has no

effect. Cf. 5T \ Raghu II.
34. g^iPP5Rir-It finds easy access to...Cf. The idea in

■UwRtel-The stability or performance of (my.) family. cRT

afflftfaJ^-Destined to be like that.

VII. 33. ar*jJ5Rr-Absence of uneven ground. Cf. ^ a?*p5Er-

g^T-Raghu. II. 72. jgpcr *Rf^-will conquer. cpr used with the
present tense has the sense of Future. Cf. 3TRt% % g*r I
etc. 5Hr° According to Hindu mythology, the Earth
consisted of seven islands; the one inhabited by human beings
was called ¥PTcT so named because of his being the univ¬
ersal supporter. This same ¥RcT was the ancestor of the Kaura-
vas and Papdavas. arrenw^-* we expect ’-is better than we
invoke (all blessings). The news has got to be communicated to
$0? and so an aerial messenger is dispatched.

VII. 34. sn^RfS&J-SRqr (abundant) 1 very liberal

in sending down showers, fsfaef-stretched out. Spread over.
02HT:-with long-spread sacrifices. 5rfozp^-V. L. sft«rqre»£ i
354 JsSkUNTALA t VII. 34-
°qfa#-Cycles, revolutions. In this way by reciprocal friendly
acts, pass the time etc. Cf. Bhag. % ^TT mi
TOUt &T: II III. 11. OTT* The two worlds. Cf.
also Raghu. I. 26. VKtfgPRlHfTbe (formal) closing stanza of the
drama containing blessings to all and put in the mouth of some
venerable person entitled to give such blessing; it is named in
honour of TOT the founder of the science of dramaturgy and
music. He is also supposed to be the author of •naftlTOf and is
said to have superintended the exhibition of the drama Laxmh-
Swayamvara of Saraswati-in Indra’s Heaven.
VII. 35. SRTFTcfr-The Muse of Learning and Speech. sjcUhtdlHf
great on account of their knowledge of veda. fl^dT^-Be
honoured, i. e. Let those, who are masters of learning be
properly respected. Jfl^feds^An epithet of £iva; blue and red.
This is variously explained: 3[f^WFT Stftd1: I or
wk wlfcra I and so on. qfokWlfri: (i) qfardT 3JTHT
qTOt-^T | *The wives of the deities were supposed to
personify their energy or active powers. * or (2) It might refer
to the eight S>aktis of Siva, or (3) sifaj-Majesty-prowess in
general. So exemption from further transmigration is the
Summum bonum-which the writer asks for. The play begins
and also ends with a prayer to £iva-who had a large temple in
Ujjayini-The city of Vikramaditya and the abode of the poet.
* Both actors and spectators would probably repeat the prayer
after the speaker and appropriate it to themselves. ’ (M. W.).
 i

^31%: l
ST I
w*SHT JPW
Metrical Table

1
24, 26; VII. 2. 5,
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21; IV. 11,15,20;
 INTRODUCTION.
Kalidasa, His Data Life and Works.
Howsoever overlaid with fantasies or encrusted with
a mass of isolated events separated in time and place#
a widely circulated literary tradition contains within it¬
self a germ of historical truth and can be ■set aside on
pain of doing serious harm to that truth. Thus it is with
king Vikramaditya of Ujjain, the liberal patron of learning
and arts, of whom the great poet Kalidasa was a
contemporary. This tradition forms the starting point and
the basis of the numerous theories regarding the age of
Kalidasa. Of these two rival theories may here be stated
as those deserving of consideration. According to one
held by most European scholars, the Vikramaditya of the
tradition is no other than the Gupta king Candragupta II
who assumed the title of Vikramaditya and succeeded his
father Samudragupta 375 A. D. and made Ujjain his
capital. Vincent Smith in his early history of India ( P.
304, foot-note) expresses the view that the earlier works
of Kalidasa were composed before 413 A. D. during the
regime of Candragupta and his later works were written
under Kumaragupta I (413 A. D. to 455 A.D.) and that
possibly his literary career extended even into the reign
of Skandagupta (453 A. D. 480 A. D.).
Some are inclined to suggest from the reference to
the conquest of the Huns by Raghu in his Dig vi jay a, that
Kalidasa must have lived after the victory of Skandagu¬
pta over the Huns half a century later than the date
suggested. But the evidence has no probative value.
" T here is nothing to indicate any reference to reality
 II

in this account of the exploits of a king of long ago;

and if Kalidasa had lived in the reign of Skandagupta
when the fortune of the royal house was evidently totter¬
ing to a fall, it would be difficult to understand the calm
contentment with the established order which marks all
his works.1'

The other view hold by many Indian scholars puts

Kalidasa in the first century before our era, and makes
him a contemporary and a protege of King Vikramaditya,
the founder of the Simvat Era-57 B. C. That there is
nothing implausible in the assumption is clear when on
the strong testimony of Patanh*;* Ivlahabhashya it has
been possible to pat ba~k the beginning of court poetry
in general by a fsw centuries of the Christian Era. And
"Epigraphy nc* merely confirms the evidence of the Ma-
habhashya that artificial poetry originated before the com¬
mencement of our era, but shows that that poetry conti¬
nued to be cultivated throughout the succeeding centuri¬
es." Already m the days of Kanishka (78 A. D. ) Ashva-
ghosha wrote his Buddhacarita in the artificial style and
called it a Mahakavya.

In connexion with this writer it is interesting to ob¬

serve that there is a striking resemblance between his
poetry and the poetry of Kalidasa. Not only is there a
close parallelism between a few Isolated passages and des¬
criptions, but between ideas and expressions fairly distri¬
buted over the poem. As Prof. R. N. Apte has obser¬
ved these close resemblances warrant the conclusion that
#vne of the poets is using the other." It must be remem¬
bered that Ashvaghosha is a philosopher first and a poet
afterwards; whils Kalidasa la an original peet The
 Ill

probability* therefore, is that Ashv&gho&ha is the borrower

and Kalidasa his original. Cowell's theory of Kalidasa’s
indebtedness to Ashvaghosha rests upon the view that Kali¬
dasa belongs to Gupta period. The hollowness of this
view, has, however, been shown by Prof. Shembavnekar
in an article on * the Date of Kalidasa * contributed to
“the Journal of the University of Bombay” (Vol. I. Part
VI. I\ 232-246) who points out that the Gupta theory
is based on the assumption that Candragupta II was the
first monarch who bore the name Vikramadifya, whereas
on the testimony of the Rajput Chronicles and the Ka-
thasaritsagara the first king to bear that appella¬
tion was King Vikramaditya of the Paramara dynasty,
the hero of countless legends, the ruler of Uj jay ini in Ka¬
lidasa’s day. It is held by many that the title 'Vikra-
morvashiya’ is chosen by the poet in order to glorify and
immortalize his patron's name. According to Kathasarft-
sagara the father of Vikramaditya was Mahendradltya.
It is curious to note that the word Mahendra as an epi¬
thet of Indra is repeated by the poet no less than four¬
teen times in the play and in one place it is particularly
significant to find the names of the father and son linked
up: (srgHj) It is
possible as Prof. Shembavnekar suggests, that the play
was written at the time o! the intended retirement of
Mahendra from active life, and the coronation of Vik-
rama as king (Kathasaritsagara XVIII. 59-60). The
last act of the play, therefore, where pnnee Ayus is in¬
stalled as the young king is but a poetic tedex of the
actual course of events of the times
There is nothing in the arguments adduced by Euro'
pean scholars which is repugnant to this theory that
 IV

Kalidasa lived in the ist century before our era at the

court of King Vikrama of Ujjayini who founded the Sa-
m\at era. Prof. Keith's view that ‘the conclusive evi¬
dence displayed in the work preserved to us of elaborate
training in all the learning available to a Brahmin stu¬
dent of the Gupta era from the science of politics to as¬
trology and the Kamasutra everything points to his
flourishing in the time of Gupta glory" is only a dogma¬
tic assertion. With regard to the astronomical terms,
•

such as the names of the signs of the Solar Zo¬

diac which are supposed to be of Greek origin and on
which European critics lay so much emphasis, it has al¬
ready been proved by scholars like S. P. Pandit, R. N.
Apte, that there is nothing to show that they were
unknown to the people of India a few centuries before
the Christian Era. While the occurrence of un-Paninian
expressions and grammatical forms such as qrd^T JPOTTO;
sfcPPlR, in Kalidasa can be
satisfactorily explained only on the assumption that he
belonged to a time when the Paninian grammar had not
obtained a complete vogue.
The foregoing discussion is enough to justify the truth
and the the vitality of the age-long tradition that the
poet belongs to the days of the glorious King Vikrama-
ditva of Gjjayini-the founder of the Samvat era
(57 B. C.)
With regard to the external details of the poet's
life, we know next to nothing; the numerous legends told
about him are but empty figments, and only bear testi¬
mony to the greatness and extreme popularity of the poet
in the land of his birth. “The truly great stand upon
no middle ledge; they are either famous or unknown."
 V

But Kalidasa is both famous and unknown. We look in

vain in his works for knowledge about the facts of his
life. The impression that we gather about him from
them is that of a man, deeply learned in literature and
philosophy and other traditional lore of the times, and
more deeply learned in the book of nature. Uj jay ini was
the city of his heart and he is delighted to sing of her
glories and of the romantic loves of her maidens. He
sings of this Gem of Avanti, rich with the storied legends
of Udayana and the consecrated past, this radiant
bit of heaven, with her flower-sweet balconies, and black-
eyed maidens; of the dread shrine of Shiva, Mahakala, of
her rich gardens and lotus-lakes that send their fugitive
sweetness through the dark; and his fondness for the city
is so evident in his loving and lingering description of
her varied charms that one might legitimately conclude
that the poet must have spent at least a part of his life
in this city. Further he was a widely-travelled man and
was a keen observer of nature—not only of her sublime
and wild aspects, but also of her mild and minute mani¬
festations. “Rarely has a man walked our earth who ob¬
served the phenomena of living nature as accurately as
he, though his accuracy was of course that of a poet,
not that of the scientist."

He was essentially an eclectic in his religion and

philosophy: for if the Kumarasambhava is distinctly
Shivaistic, the Raghuvamsa is no less distinctly
»

Vishnuite in tendency; while Vedantic monism or Samkhya

dualism, or the active devotion of Yoga equally enga¬
ged his regard; so that, as Ryder says, “Kalidasa moved
among the jarring sects with sympathy for all, fanaticism
 VI

for none." A pleasing trait of his personality is hfc

modesty which Coleridge recognises as a sine sign of
great genius. Above all, his writings are coloured with
the suffusion of a charmed equanimity and give the
impression of a man who walked the earth with &
serene and god-like tread, with mind and senses keenly
responsive to every form of beauty, and accepting life
and the good things it offers in a spirit of sublime
acquiescence.

Of his seven works which have come down to us,

three are dramas, two epics, one a lyrical piece and one
a descriptive poem. It is possible to fix the chronology
of his dramas, the Malavikagnimitra being the compo¬
sition of his salad days, the Vikramorvashiya coming next,
and the Shakuntala composed when he was in the prime
of his manhood. There can be no reasonable doubt
that the Rtusamhara was a juvenile piece; while with
regard to the two epics Raghuvamsha and Kumarasam-
bhava, opinions differ, for whereas the introductory
stanzas of the Raghu suggest that it was written before
Kumara, the abrupt and undignified ending of it suggests
that the hand that wrote it was cold before it was
finished; but then we have to remember the tradition
that in its original form it consisted of twenty-five
cantos, of which only nineteen have come down to us.
In general it would be only reasonable to assume that
the great works on which his fame chiefly rests-thc
Shakuntala, the Raghuvamsha, the Kumarasambhava and
the Meghaduta—belong to a period of his life when his
genius had attained to the fullest maturity of it*
powers.
 VII

Vikramorvashiya: its Sources.

The romance of Pururavas and Urvashi, which Kali¬

dasa has dramatized in the Vikramorvashiya, is one of
the most ancient and popular stories that we have in
the literature of India. For we find it recorded in the
form of a dialogue in the Rigveda, which is regarded as
the oldest literary monument of Indo-European civilization.
And although, in the course of its transmigration of
thousands of years in Indian literature, it has undergone
several changes in single points of detail, it has remained
almost the same in all its essential features—so profound
has been its hold upon the Indian mind.

Let us here consider the oldest and the most poetic

form of this beautiful romance—the one that has been
preserved to us in the Rigveda (X. 95).

King Pururavas, a mortal, and the Apsaras Urvashi

find themselves irresistibly in mutual love. Urvashi
consents to live with Pururarvas on earth as his wife,
but only on the definite agreement, that she should
never behold him divested of his apparel. This agree¬
ment (gqz() is the central point of the whole story and
at the same time the rock on which the matrimony
must sometime be wrecked. After the loving couple
have lived together for a period of four years, giving
themselves up entirely to the enjoyment of conjugal
happiness, the Gandharvas, who have a more ancient
claim upon Urvashi and who do nob wish her to stay
away from themselves any more, come one night to the
residence of Pururavas and produce a sound as of the
bleating of lambs. Urvashi fancies that her pet lambs
 VIII

are being stolen away by some one and calls upon

Pururavas to rescue them. As soon as Pururavas jumps
out of his bed in order to pursue the supposed thief, the
Gandharvas send forth a flash of lightning, and in its
light Urvashi sees Pururavas stark naked. The compact
is broken and Urvashi ruthlessly abandons Pururavas,
whom she has loved loyally and sincerely so long, and
vanishes forthwith.

Full of despair and frantic with grief, Pururavas

wanders about here and there in search of her, until at
last he meets her accidently. He implores her to come
back to him, dwelling, in plaintive numbers, upon the
memories of past happiness in her company and pleading
with her by her duty as a wife and even by a threat of
suicide. She, however, cold and relentless, rejects his
entreaties, saying that she is hard to catch like the wind
(^’FTT 3RT l St. 2). With scant ceremony she
asks him to go back to his house as it is impossible
that he should have her again TOJPT: I
St. 13), and advises him against laying violent hands
upon his life for the sake of a woman. “ For ” says she,
" with woman there can be no lasting friendship: hearts
of wolves are the hearts of women !" Though at last
she yields to compassion and comforts him with the
hopes of a distant future happiness, the story remains, as
indeed it is bound to, a tragedy—the tragedy of love
between human and divine.

We find this very romance of Pururavas and Urvashi

narrated with more or less variation in details, in the
following and several other texts:
 XX

(i) 11, 5.
(ii) fofrOftW, (a commentary on the
of the Rigveda by ffljjsftisi), introductory
remarks on Rigiveda X. 95-
(iii) ffthr, X. 26 ff.
(iv) Q«33fpn, IV. 6.
(v) siPratl, IX 14.
(vij JTfFigKTT, XXIV.

Some of these texts (e. g. Rwjjjtm, sn’iw)

give us, as it were the previous history of the romance.
Mitra and Varuna had received consecration for a certain
sacrifice and were consequently bound to observe Brahma-
carya. But then the Apsaras Urvashi appeared there on
the scene, and was rather guilty of a human weakness to¬
wards the two Gods. Enraged there at, they cursed and
banished her from heaven to live in the world of mortals to
expiate her sin. And then she fell in love with
Pururavas.

In many of these texts again (e. g.

fftfcr, *rmcT), the original story suffers a very
important change in that its tragic character is entirely
given up, and we are told that Urvashi, taking pity
upon Pururavas, allowed him to visit her once a year, or
that Pururavas performed a certain sacrifice, and as a
consequence of that the Gods allowed Urvashi to live
with him to the end of his life, or that, finally, as a re¬
sult of the same sacred rite Pururavas was exalted to
the position of the Gandharvas and remained there never
again to be separated from. Urvashi.
 X

Such is then the beautiful romance that Kalidasa

has dramatized yi the Vikramorvashiya. Considerations of
art have of course led him to make several deviations
from, and modifications in, the original story. In the
first place one will not fail to notice, that in consonance
with a tendency which had already set in as early as
the time of the ggiaqqgnflqr, and in obedience to a very
important rule of Indian dramatic technique, according
to which a tragedy is strictly forbidden on the stage,
Kalidasa had to change the original tragic story into one
of blissful union between the hero and the heroine. Other
important changes introduced by him in the original sto¬
ry are: (i) The abduction of Urvasbi by the demon Keshin
and her deliverance by Pururavas; (ii) The episode of the
love-letter, the enragement of the Queen and her final re¬
conciliation; (in) The episode of the heavenly drama, the
curse pronounced upon Urvashi by the sage Bharata and
its modification by Indra; (iv) Urvashi’s flight from Pu>
ruravas in a spasm of jealousy, her metamorphosis into a
creeper and her subsequent recovery through the power
of the gem of reunion; (v) The incident of the loss of
the gem and the restoration to Pururavas of his son Ayus,
occasioned by its discovery; and (vi) The Anal removal of
Urvashi’s curse even in its modified form. The bungling
clown the artful "Nipunika, the whole parapher¬
nalia of the royal court, the celestial friends of Urvashi,
the venerable Cyavana, the old Tapasi, the sage Narada
all these owe their existence entirely to the inventive
genius of Kalidasa. In short he has done all that was
necessary in the interests of dramatic art to turn the an-
 XI

cient tragic story into a noble drama of intensely human

interest.*

The Vikramorvashiya: Its Recensions.

The immense popularity which this drama has enjoy¬

ed in India has given rise to numerous divergences in
the transmission of its text. These divergences are of
such a fundamental character, that we can easily distin¬
guish between two recensions: The northern Recension
repesented by Bengali and Nagari Mss., and the Sou¬
thern Recension represented by most of the South Indian
Mss. The former is commented upon by Ranganatha,
who wrote his in 1712 (Ca. 1656 or
1790 A. D., according as we take it to be the Samvat or
the Shaka era), while the latter by Katayavema, the Mi¬
nister of the Reddi Prince Kumaragiri of Kondavidu (Ca.
1400 A. D.). Katayavema calls his commentary
after the name of his King and patron. In the
Northern Recension the play is called fifrsifrisft and is
spoken of as a In the Southern Recension, however,
it is called and is designated as a 5^. ( On
the meaning of the word vide ''Technical Names.**)

On comparing the two recensions we find,, that gene¬

rally speaking the Northern Recension shows a marked
• The version of the ftory of PururavRs and TTrvaehi as found in
the Matsya Purana shows a good many affinities to the. dram* of Kali,
dasa. As. howevp?, the age of the Puranas in general is unsettled
and as their texls have been tampered with by later writers, one cannot
say for certain that Kalidasa used the Uataya Purana in writing the
present play. On the contrary it is qnite possible! that the version of
the story as contained in the Mataya Purana is a Pauranic adapta¬
tion of the drams of Kalidasa.

I
tendency towards amplifying the matter contained in the
southern Recension. This is the case especially with se¬
veral prose passages which appear in a terse form in the
Southern Recension, while in the Northern we find them
swollen and amplified by means of the addition of words
which scarcely improve the sense. In regard to metrical
portions the Northern Recension shows considerable devia*
tions from the Southern Recension. Thus in the Nor*
them Recension we find the following four stanzas in
excess of those appearing in the Southern Recension :

(1) After in I» 2.6

*mrci stwrtsu m 1
sftTTct sn$: wftm: w
(2) After in I. 5.4

^ »rf^TT5^TT: u

(3) After qrfe in IV. 29.5

(4) After. V. 24.

*&etT3 5»iff*r *rcT «WifSt <wg i

In addition to these stray stanzas we find in the

Northern Recension in act IV, thirty-one stanzas in Ma-
 XIII

Iharashtri and Apabhramsha (six in Maharashtri, and twenty-

five in Apabhramsha ) in various metres, as also directions
in prose as to the way in which they are to be sung to
the accompaniment of music and danoe. In the Southern
Recension, however, we have nothing corresponding to
these.
The existence of these Maharashtri and Apabhramsha
stanzas in the Northern Recension alone raises a very
important problem in the textual criticism of the Vikra-
morvashiya. It is a problem that has not yet been solved
finally. Most of the scholars ( S. P. Pandit, Th. Bloch,
H. Jacobi etc.) think that the stanzas in question are
spurious. Mr Pandit (Ed. Vikramorvashiya, Introd. p.
8 f. )> for instance, gives the following reasons :
(1) Throughout his commentary on the fourth Act, Kata-
yavema observes complete silence about these stanzas,
showing thus that he was not aware of their existence.
(2) Many of these stanzas are obviously to be recited by
the King. But then it is unwarrantable to put
Prakrit stanzas in the mouth of the King, who,
being an must not speak in Prakrit.
(3) In several cases these stanzas are superfluous, since
they only repeat the sense of Sanskrit verses
preceding or following them.
(4) Many of them, though obviously forming part of the
King’s soliloquy, are full of indirect description, vague
allusions and references in the third person to some
one in the situation of the king rather than to himself.
(5) But the strongest reason for holding these stanzas as
spurious is that not only are they superfluous to the
action of the play, but several of them also seriously
 XIV

interfere with the free and natural flow of the senti¬

ments expressed in the Sanskrit stanzas.
Sten Konow (Das Indische Drama, p. 64.) urges
against the genuineness of these stanzas the further con¬
sideration that in none of the many later imitations of
this very Act («. g. Malatimadhava, Act IX; Balaramayana,
Act V; Prasannaraghava, Act VI; Mahanataka, Act IV,
etc.) do we come across any Apabhramsha stanzas.
It must however be confessed, that all these conside¬
rations have no probative value at all, and, for aught we
know, these stanzas may have come from the pen of
Kalidasa. If it is true, then we must say that from
the very first they were never intended to be recited by
the King at all, but that they were to be sung, from
time to time by some one behind the scenes to the
accompaniment of music and dance, in order just to
create the proper atmosphere that was so very necessary
for heightening the effect of the mournful lamentations
of the King plunged in grief for the loss of his beloved.
Development of the Plot.
We shall now consider how very skilfully the poet
has developed the story. In the first act which is a sort
of induction setting forth the circumstances in which the
germ of the love finds soil, the two lovers are fond of
each other and we at once see the end in the beginning—
for we know that such a reciprocity of passion must lead
to union. Yet there are several obstacles to be got over
—several problems to be solved; and these problems are
not thrust on the reader but they come as natural issues
of the story, though often the reader is taken by surprise
by these issues. Thus at the end of the first act we are
 XV

sure that the lovers will meet and have their desire. But
as soon as we proceed to the second act and listen to
the dialogue between Nipunika and Manayaka our interest
deepens; for now we begin to realize the problems raised
by the love of the King for the nymph of heaven—one
of them being how the chief Queen, the sole wardress of
the King's heart, will receive this reckless errantry of her
husband. Here again there is considerable ironic humour
.in the King's dearest friend being tricked by the aitful
maid into betraying the secret of the King's passion and
with breathless interest we await the issue.

There are also other complications in the story.

Urvashi to assure her doubting lover of her feelings to¬
wards him, writes her love message on a bhurja leaf and
throws it towards the King before revealing herself.
Secondly when the two meet and are feasting on the
presence of each other, there is announced the mandate
of heaven's lord that Urvashi was to be back to swarga
to dance to the tune of her master’s humour. In the
meanwhile the addle-pated companion of the King has
carelessly dropped the missive of love and it falls into
the hands of the Queen. Armed with this documentary
evidence of her husband's breach of his avowals of fidelity,
the already incensed Queen confronts that delinquent; and
he has no recourse save to yield, to confess, and sue for
pardon. The Queen leaves him all in a tantrum only to
be afterwards reconciled to the superior rival in her
husband’s love, which she does apparently with a good
grace in the third act.
Thus in the second act we see that there are two
difficulties to be solved: How was the celestial damsel, if
 XVI

their union was to be permanent, to be free to act her

own will and follow the lead of her heart, and secondly
how was the King to pacify the irate Queen, the rival
of his love.
The third act resolves these complications. The Queen,
who conforms to the Hindu ideal of a wife, is weighed
down by the enormity of her crime in insulting her hus¬
band and gives him freedom to indulge his vagaries; while
the curse which is pronounced by Urvashi’s preceptor in
heaven for her unconsious substitution of her lover's name
in the rehearsal of her part in the drama, Lakshmi-swa-
yamvara, which was represented by herself and her
aery companions before heaven's lord, is a blessing in
disguise; for thereby she could find joy in her lover’s em¬
braces till she was with child by him.

The end of the third act has a finality' about it, and
the reader is likely to suppose that the drama comes to
a close with the union of Pururavas and Urvashi. He
thinks that no thread now remains to connect the sequel
with the stor\ so far as he has followed it. But this
will be only a hasty conclusion. We know that the union
of the lovers is but the memory of a sweet dream, for
it is conditioned by what lovers at that stage of their
love would regard as an accident of their union—the
birth of a child; and the poet has to see that the be¬
loved is not tom from the embraces of her lover by any¬
thing save their own desires. Secondly the connection
appears still more organic if we look to the character of
Pumravas of which more anon.
The fourth act, which is unique in several respects
finds that Urvashi has left her mortal lover in a spasm of
 XVII

jealousy and while wandering in the dull stupor of her

own distress has entered on proscribed grounds and im¬
mediately been transformed into a jasmine creeper. The
King, all woe-begone, with his frail reason snapped by
the shock of his sudden misery, wanders in search of her
and at last finds the jewel by whose touch she is brought
back to herself, and together they enter the city of Pra-
tishthana to enjoy each other's company.

In the fifth act we team that Urvashi has a son,

and that her term of life with him comes to a close; the
revelation of this fact is skilfully managed by the short
episode of the vulture pouncing upon the Sangamaniya
jewel and carrying it away. The vulture was killed by
an arrow on which was incised the name of SftgfT, the
son of Fururavas. Then white the lovers are lamenting
the perversity of fate and while the king is resolving to
take to sack-cloth and ashes, there enters Narada on the
stage and announces the pleasure of Indra that Urvashi
was his to the end of his life and the action of the
drama comes to a close.
Thus from act to act our expectation is ever upward—
our interest never flags. In every ac<- we feel that we
are on the verge of a catastrophe and find it skilfully
averted; and what at first sight looks a simple story opens
up so many complications which are still natural.

The Vikramorvashiya: Time Analysis.

The only indication of time that we get in the first
Act is that its action commences in the early morning,
as is evident from the following words of Pururavas:
rww snifter wrcii 3^ ifai
 XVIII

(I. 3-8). He is returning just after paying his morning

visit to the sphere of the Sun.
We have absolutely no means of determining the
interval of time that passes between Act I and II. 'the
incidents of the second act commence on a morning in
early spring and close slightly after midday. That the
spring has only recently set in can be gathered from the
following passages among others: II. 6. 6. (faff*: I
BfpnfircwRi i); II- 7.
aft e e.); II. 6 etc.) and II. 19. 24
33*cTfsi3 *Tc54rf*to I ) alluding to the Malaya breeze.
That the action of the second Act commences in
the morning and ends slightly after midday is shown by
the following passages:
n. 1. 5 ( 1 %n
| ). The King is just returning from the coun¬
cil hall. It must, therefore, be at least 10 A. if. int he
morning, as Mr. Pandit suggests (Notes p. 38).
II. 2. 15- ( fHjre: I TO wm&ikw
ftiffif etc.) This shows that preparations for the midday
meal are going on apace in the kitchen.
II. 17. 7. ( irm l m faster 1 ) II- stanza
22 which describes the moon.
The dialogue between the pupils of Bharata. which
takes place in the first scene of the third Act shows, by
a remark occurring towards its end. that the evening is
approching. Witness III. 1. 45 ( i aPKRfT
1 The arftrta is here of course the evening. Vide
III. 1. s- wfor.Q® 1 ) and Iir*
stanza 2 ( 3c$frlf etc). It is the first or second day
 XIX

in the dark fortnight since the moon has not yet risen.
See III. 5-9- ( I I )
And when the- moon rises, her orb is not full and com¬
plete but with a slight portion of it broken off. See III. 6. I
(, ft^F: I (f # I ^ Sfafr X&\
fjfsrrcfcu^ I ) We learn from a remark of fofttaT to¬
wards the end of the third Act (III. 17. 6.) that the spring
is drawing to a close and that |;the summer is close at
hand ( srrTMFcrt OTfltrt WSPfL Sjjff I ) It
would appear from this, that the action of the second
and the third Act takes place within the space of two
months covered by the spring season.
*

From a remark of in the first scene of the

fourth Act (IV. o. 45), we learn that the rainy season has
jiMt set in ( sjifJT 3<VSl«lft<>rT WKfrl affl-
qfiftHl |). The second Scene of the fourth Act
further contains numerous references to the rainy season.
From this it becomes clear, that only two months covered
by the summer season separate the third from the
fourth Act.

Several years elapse between Act IV and V. Ayus,

the son of Pururavas and Urvashi, who is introduced to
us in the fifth Act. is already a grown up-lad, capable of
bearing on his body the heavy coat of mail ( eftWW?:
£ftf: | V. 12. 16) and thoroughly educated in the different
arts and sciences ( I ibid). This becomes still
more clear from the King’s remark at V. 12.16. ( arfit q^g
wet l fR WR: I ). Ayus
has already passed through the first Ashrama (viz.
and is now of an age to enter upon the second {viz.
SIWlWf).
 XX

To sum up the whole thing we can say, that the

I *
interval between the first and the second Act is not de¬
finitely indicated. The incidents described in the second,
third and fourth Acts transpire within the space of
four months covered by spring and summer. The inter¬
val between the fourth and the fifth Act is several years.
Characters.
Pururavas, the hero of the present play, is the type
technically known as vftfNflfT *•
pururavas. Valiant, dignified, and considerate in his
loves. According to writers on dramatur¬
gy, a hero of this type possesses several qualities such
as nobility of heart, patience, modesty, aversion to self-
flattery, self-possession and extreme courteousness towards
the fair sex. To any careful reader of our play it
cannot but strike that Pururavas possesses all these qua¬
lities and many more besides, and thus answers in every
respect to the conception of the hero.
Let us now, see how some of the more important of
these qualities are evidenced in the play in connection with
the character of Pururavas, by making reference to a
couple of striking incidents.
His high sense of chivalry and courtesy towards the
fair sex is shown by his impatience to learn the details
of the misfortune that has befallen the Apsarases, the
readiness with which he volunteers his services in order
to deliver Urvashi and Citralekha from the power of the
demon and the anxious concern that he feels for Urvashi’s
recovery from her swoon. He is extremely gentle and
polite in his address to the Apsarases as also to his
Queen. He is ever solicitous not to hurt the feelings of
 XXI

the Queen and seizes the first opportunity that he gets

to make truce with her.
Next to his chivalry and courtesy his humility and
aversion to self-flattery claim our attention. Although he
himself has overpowered and crushed the demon Keshin
by the might of his arm, he gives the credit for it en¬
tirely to the all-saving prowess of Indra qfcn fjj
iftpr: l ) I- 5; see also I. 15.
His self-possession is in evidence when in the second
Act Urvashi is called away to heaven immediately after
he meets her. With wonderful self-restraint he gives her
permission to depart, though not without much reluctance
(cf. II. 18.10 snffeu I I ).
We can continue the examination of the play in the
same way and find ample evidence in it for many more
admirable qualities in the character of Pururavas. But
all the same we cannot fail to notice an important weak¬
ness in him viz. his sensuousness. From the very first
Pururavas strikes us as extremely sensuous and the
nymph so airy “ so pure a thing, so free trom mortal
touch.'* In the whole cf the play we miss very much
indeed the virility or the sani y or the judgment of a
Dushyanta in our hero. He scarcely does anything save
bewail his state and grow sentimental. He longs for the
sight of her face, the touch of her hand, the pressure of
her lirnbs; in all this he ir, so morbid, and this is a
trait in his character which ultimately develops into
madness in Act IV. Thus with true psychological insight
the poet has from the very beginning prepared us for
the abnormal state of mind in which the hero comes on
the stage in Act IV.
 We see, then, that although Pumravas answers re-
makably well to the description of the
Urvashi. conventional hero in Indian drama, his
character reveals on further scrutiny cer¬
tain repelling features such as his sensuousness, his morbid
sentimentality and the earthly character of his passion
for Urvashi. Not so, however, the case with Urvashi,
the heroine of our play. She is perfectly free from the
earthly part—the grossness of that passion. She finds
that she could scarcely live in the stifling atmosphere of
Indra’s court. Her attendance on him was the forced
homage of an unwilling vassal. It was only when she
saw Pururavas that she awakened to life. Love is the
element of her being. And she is only too jealous of her
love; for she considera^jjb sacrifice too great when it is
made for the sake of love. She will not look upon her
son’s face, for ever so many years, for fear that their
union will cease to be. Some will say hard things about
her on that account; but they scarcely understand the
intensity of that all-consuming passion. And besides she
has chosen between two evils; if she were to disclose
that a son was bom to them she had instantly to fore¬
go both son and lover; if on the other hand she kept
that fact concealed, she could enjoy her lover's company,
while her son was brought up and educated in the severe
discipline of the Ashratna. Kalidasa has thus given us
in Urvashi altogether a rare and lovable type of wo¬
manhood, for woman is at her best when she loves and
deems no sacrifice too great but she may go in for it.
The only other character in the play that invites our
attention is the Vidushaka, the boon com-
Vidushaka. panion of the King. He does not of
 XXIZZ

course help the King in attaining to the fulfilment

of his passion for Urvashi. a If at all, he only
serves to make matters worse for the King by falling an
easy prey to the trickery of Nipunika and divulging the
secret of the King's love for Urvashi; by dropping down
Urvashi's love-letter, and thus supplying the already
suspecting Queen with a written proof of the King's
infidelity; and by uttering all sorts of foolish things cal¬
culated to expose the King in her eyes. He creates a
good deal of humour by making constant references, in
time and out of time, to the dainties of the table of
which, it would seem, he is a connoisseur. He is so
occupied all along with thoughts about food and drink,
that almost each and everything he sees about himself
has no meaning and reality to-him except in terms of these.
The rising orb of the waning Moon appeals to him
simply because he can liken it in his mind to a round
mass of sweetmeat with its apex broken off. (Vide III 6. 2.
t £ 1 ^ ■ ).
Paradise with all its pleasures and attraction fails to
charm him since, as he says, the pleasures of the table
are denied to the denizens thereof ( See. III. 17. 11.
ft 3T ^ SfasaiH j * I )

We thus see that the Vidushaka does not stand in

any vital relationship with the action of the play. He
could well have been dispensed with by the poet, had it
not been for the fact that his appearance on the stage
and the humorous remarks that he makes from time to
time serve to offer to the reader or the spectator
a much-needed relaxation in the midst of the sentimental
effusions of the love-lorn King.
 XXXV

Some Technical Name*.

Sutradhara:—
He is the principal stage-manager who arranges the
cast of characters, instructs them and takes a prominent
part in the Frastavana. describes him in these
terms:—

sfrffonniTqrraftfr u

epniMSKitan ^ i
: f£rWT*tsfwMl II
Prastavana or Sthapaha :—
We are told in Natyashastra that before the com¬
mencement of a drama, an elaborate series of preliminary
rites (tJjFCfr) to he gone through, of which srpft
formed the concluding rite. These were performed by the
who then left the stage and his place was taken
by another similar person called who then intro¬
duced the play to the audience.
HVRItt WM*WI I

Later on, with the reformation of the stage, these

preliminaries were considerably shortened, and the
Sutradhara alone performed both the functions of the
and of the prologue.
 XXV

This prologue or («n»pfr) or fqmt, a* it k

called in some plays of the Bhasa group, is an introduo
tory dialogue between the qpvrR and the or one of the
actors. After giving an account of the author and his
qualifications it introduces the incidents of the drama : of.
qjrarct itt »n* i
wsra sigtu$ifa H
Of the many varieties of this prologue we are con¬
cerned with the ‘‘ particular presentation " in
which a character is introduced by a remark of the stage-
manager:—

aft spfct 5pW1sto: i

fcr jHitoitorit n
It is an explanatory scene, so called from its conci¬
sely compressing ) into a short
Vishambhaka space those subordinate parts of the story,
not enacted before the audience, but a
knowledge of which is quite essential to the compre¬
hending of the action of the play. cf.

It is a monologue, or a dialogue, and in the latter

case it is performed by two persons or more, of the
same or different classes, according as it is or (ftv).

It may occur at the beginning of any of the acts,

even the first, just after the g{3T3«n.
 XXVI

This also is an explanatory scene serving the same

purpose as the fomsgqi, only with this
Pravsshaka difference that the characters taking
part in this scene are exclusively
of the inferior class who speak the Prakrit dialect. It
must come between two acts; thus unlike the
its existence in Act I is not possible, cf.

it

The Trotaka, which is one of the eighteen Uparu-

pakas, is a drama having five, seven*
Trotaka eight or nine acts. It deals with the
doings of Gods and men and the
Vidushaka makes his appearance in every Act. cf.

wte* m mag: u

The rule that the Vidushaka should be presented in

every act of a Trotaka is not, however, strictly observed.
For example, in the (Vikramorvashiya which is regarded
as a Trotaka, the Vidushaka appears only in Acts II,
III and V. Besides the Vikramorvashiya, there is also
mentioned as a Trotaka a seven act play called
TFm,, which, unfortunately, has not come down to us.
 PREFACE TO THE SECOND EDITION

The notes are thoroughly revised and amplified where

necessary, and a part of the Introduction is recast;
otherwise, except for the arrangement of printing the
translation side by side with the text, the present edition
retains most of the features of the ist edition. Our

sincere thanks are due to Prof. K. V. Abhyankar, for

going through most of the proof-sheets, and to Mr.
R. P. Kothari who so readily agreed to bring out this
revised edition.

Fbhgusson College, C. R. Devadhak*

Poona. M. V. PATWAKDHAN.
ft *it
VIKRAMORVASIYA
 junftf: i
spiral ftwf
qftwiftWT TfWqfimt w*rf rarawtqrct l
_ « _fy « _fs rs. » n
i f" ir. cJi r ■ r.I1«i1: i ir.If1 f1 i r1

«r*«ng: rat nil

[ ?hrf% ]

^rraro— [ ] mfar ^fjn^ i

[ nf^r «nfiptp&ra: ]

raifongSrar.—lira wrafoi i
qjrrare:—mftra ra^sreg ^hf srratraf
rs; rarafcrra*ra:« ^tora1 fararat&fW rarai^S
rare^ rarattf^ i rageram <Ttras«t: ra^g ra*l3

mftraf«4*>t—ramratrarafo rarira: i
£ *1% R«bwh ]

ffrranraratfh i
[ Mftraw i ]

rarafag rar raifqynraKtrarat TOq^mrai^i

sjspj raratf«rcraft£b faraiffimi fif^ww m
 VIKRAMORVASIYA
. T..
PROLOGUE
ACT I.

May the Eternal One who is attainable by firm

faith and meditation; who is hailed as the Supreme
Spirit in the Vedanta, who pervades and is present in
the whole of heaven and earth; to whom alone the
name of Lord, not signifying any other being, is
properly applied; and who is sought within themselves
by those desirous of salvation by restraining the
vital breaths Prana and others, bestow upon you the
highest bliss. [ I ]
(At the end of the benediction)
The Manager—Ho ! Marisha, come hither.
(Entering)
Actor—Here I am, sir.
The Manager—Marisha, many a time has this assembly
witnessed the compositions of former bards. I, therefore,
■s s
propose to stage one not hitherto exhibited, the play
Vikrama and Urvashi. Speak to the actors, therefore,
attend carefully to their respective parts.
Actor—As you desire, sir. (£4»f)
The Manager—I have now to make (this) request
to the noble audience. (Bowing). ,
Listen to this work of Kalidasa with attentive
minds. In consideration of either your regard towards
(ug), your humble servants, or your respect for the
eioettont hero of this play, [a]
V fa'SKWtWfa

i qfarraf qftrTtwg att 3*-'nFW-cn$

$ sreer st wwT-wi* «Ht«i i iRwwt mAhkmI
w: gswwitft *if*r fi aw# i
^ifTTC:-- [ spfi f% 3 nfsarro-
^ffaiiRra aimfr «r»^: | [Rfw^i]
«^3 i i

4>«4i9T 3^: 3T«ft

^5T5|srT«I5»T^«I ffR&TTSIT I
v^t*m fkivjujfflf^wTn
srcoiirwsrT u ^ il
[ ?% fNBIW ]

awiSRT I

* [ aw aft^rf^T 3TWTCa: I ]

*raf; — ^ftrrT3T3
3TW gr aw^c-aifs irft 3rf?5j I af^tprai aftawdi
$ *r. ^ ft wfr# -nf^+fef i
[ <Rt: aftaifa TTWI T*|W TgTW I ]
TT3TT—aR5*raJTT3^^%ST i »imT*«rTWTn
gfECTO Higfrcq ^scw fTcft <W5*|: qff^m^T
?f?r i
KVtn—I 3^<T-7^rrt i
f? ron—ffc yKgngi>*ra w^ftwurm^i»
stowiT—S>«3 witmaft i m ?rat-fireNf-qfi3T%-
gamt «fe<^w i «resn^fit *w-n-
V*. fa*ta i sKtarct h«iw i wr "ft
 roftsf: I s
(Behind the Scenes)

Help! Help ! Whoso is a friend to the gods, or has

power to move in the space of heaven.

The Manager-(Lis/em«g). What sounds are these in

the air, as of the female ospreys, that break in upon my
words ! (Reflecting) Ah ! I know.

The celestial nymph, sprung from the thigh of the

sage, the friend of Nara, is, while returning after her
attendance upon the Lord of Kailasa, taken prisoner
on the way by the enemies of the gods ; that is why
this group of Apsarasas is crying for protection. [ 3 ]
(Exit)
END OF THE PROLOGUE.

(Enter the nymphs of heaven).

All—Help ! Help ! Whoso is a friend to the gods

or has power to move in the space of heaven.

(Enter King in his Chariot and the Charioteer)

King—Cease your cries. Come to me, Pururavas, re¬

turned from my attendance upon the Sun, and tell me
against what do the ladies seek help.
t

Rambha—Against a demon’s violence.

King—What wrong have the ladies suffered through

the demon’s violence ?
 rTOifTuR

qwreft MlWnfemmi qnwftiftt«i

ft<wi'3<¥iRiuii fcfeoii ^rn^or

wit tfc* vi^Hiii nft^r i *HRT»: i *r

avfatwRwltiiw gjflR sm$ i sm^nt
iwfliwn Sw i wnid r)i?i i 91 «k fiiint iWi
mRiR^^MWI «BW%^5T HK-W^iRWI t$HT
vrifr aj^w wf5^*mg siftar i
9T»r—wfa f mft *aft« fiiMift* «wn snfrewtfft i

utwi--3*1*1 ti i i<fTfl*>r i
IW-ft* ft ftgetiOT Ft*r*: I qfftaft V
MWUWqw I
wri—urof ^ m«^<w i 9?s *g

qu-« jptff «ramt nftrarsrftrafnr i

> «qf:—*«f&? tn^rr-fagt I qdfew. i
*nrr—qpr tariff fftgr gft ‘jfvnMHTaqwu-n i
qjr:—q^igiqq^i^nK [ ^ **tf<r 1 1
i Tiirr-t^ ] *113 qnjj i »ft* «iftftq
ntufcqa ftHftqwmw^ftf f% yFRnrwnftt
jratq: i irar ft
«m qrfs?r <,qqq tgqqtff OTT

l t ti> r I r: t£ 1 tl E
qgra v *nf ftwh «ww! niff *■ ft*nfft»m.iWR
[ !3»^iRfr it* irsrr *g»q ]
 intnfts*: i «
Menaka—Listen, your majesty: our dear friend
Urvashi, the delicate weapon of the great Indra when he
is frightened by the excellence of Tapas, who shames
proud Shri’s loveliness, who is heaven’s ornament, was,
while on her way from Kubera’s mansion, taken captive,
along with Chitralekha, by the demon Keshin of Hirany-
apuia, who came upon us all of a sudden.
King—Know ye what direction the wretch took ?
Sahajanya—The North-East.
King—Well then, banish your fears. I shall endea¬
vour to restore you your friends.
Rambha—That is worthy of the descendant of the
Moon only one degree removed.
King—Where will you await my return ?
All—Here, on the peak of yonder Hemakuta.

King—Charioteer, urge the horses on to the North-

East that we may speedily go.
Charioteer—As my lord commands. (Does as bidden).
King—(Looking at the speed of his Chariot). Well,
with this speed, 1 may overtake Vainateya even if he
has the start of me; what then of this offender of Lord
Indra. For,
These heavy clouds, being pulverized, are rising
before the chariot like dust; the revolution oi the
wheels is creating as it were another set of spokes within
the spokes; the long streamer is standing on the heads
of the horses as motionless as in a picture; and by
the wind (produced by ) the great speed, the ban-
nen-cloth spreads out evenly between the top-point
of the flag-staff and its own end. {4 J
 \ t >V*V

wn—«55T arc-furf^i w>m»ft l tw *m-

* sfofr ^emw: i

$tot:—?nt i cwi i [ f frt spif: lran?R« sraf^ar f^Rn: J

twn—«if* «rm wt wg^i: ffcarw-
s aig I to 5 Trsrf^: fqroirog i

ftsrosT—m % arcrat itg i -a«iTwS«u.i4li

jrfsfnr-atarrft mfrmui armrf^s? ?f *»? faar-
^ ar-^on-g^: faaftirfg i »n ^ tor* i sqftw-
wirofr *#5t frarotro-
g% RNtara% i

ih towt—5iTOTr te; faarf «tgi wf*n ^f^nfr^iagi

«53>w4i—[ fro^n ] est qureww i «u-
wrcrai sarfl^-*fW%*«*»?r«r<raRi«tt
^ i or Tjj «v arfa^at finr-
l far wufiRr TOiraftKt i t?r j*(JmeRoiV
ehtoto «u«wt tot ?to% i *t
<\c R[<it3wi?i i [ ?raf i]

[ <rt: srf^if% tfsti gpsj i wM-

femqft'iHRft i ]

’n finr^rarc-anprerag ^wEi-rag I
«TO^3 TOn’qfta &TORft I
etstt—srwT»afef*[ I
 rafcff: I %
(Exit King with Chariot and the Charioteer.)
Rambha—Now, friends, let us proceed to the place
pointed out.

Others—As you say. ( All gesticulate descending to

the mountain-peak and making a halt.)

Rambha—Will the royal sage be able to extract this

dart from our hearts ?

Menaka—You make no doubt of that. For even the

great Indra, when hostilities are imminent, honours him
and bringing him from the world of mortals, appoints him
to the command of his conquering hosts.

Rambha—May he succeed in every way in the pie-

sent case.

Sahajanya—Friends, take heart, take heart. Here

is to be seen his chariot, Somadatta, with its deer-embla¬
zoned banner dancing in the wind. Surely he will not
return before accomplishing his object.

(All look with eyes upturned.)

(Enter King, Charioteer, and Urvashiwith eyes shut

in fear and supported on Chitralekha*s arm.)

Chitralekha—Take cheer, take cheer, my dear friend l

 rs-NjLfA,

wfkm R qPym: i
=a^rnnT
«4lri»4 W^Ntfttl tfftrft II Ml

rwWf—3RK i? 35^ra^“^rjf~*TW[f wni

*Rr*nf *r qfirasafo i ^ orcnfa
* 3fT 5T sf^i I

TTST—qR^-tar I ?TOT ffe

gsiftr w wrarar^t: ygiiwraBgH sapm i

*npr gRy^a qawmlite^ifaar *f*mn. ii^ii
Rm%«i—ws!T «T3rar«n%fe sraro i ^qreg<i
faar if qfggiRt l i^wm anam«^ 1 amrcr
} ** ^ Mfrt-Hlf^l I
toit— «*Rr ^ i T5*i

anftai^ *rfarfa ?war jj«nn%a trRr-

tfere*i&5?n£aw RssrajRnjijwT i
^l^snawC^ft^ ijTAitoMi
*twt *tsr.<ra«rarg»tT *w<ffcr srerr^ II $ H
Rm&gn—qfg aiterscr ytfs; i qmjjtr *5 faa(«-
i|RwR*Jufi C3TCT I fw^l *i?r I TOHjn: ®3
^ ftTO'lftlftFrt fcmsi: I
wkvt—[ *g>ft 3=«fa*r ] ffcovra-^RroiT «fcV* i
ft 5j*n^ft«n i

s RrreSwr—«r nfv^ar i «ft^-«feng»n%'n

 wrote*: i U
King—Fair nymph, cheer up, cheer up.
Gone, timid one, is the fear caused by the demons;
for, indeed, the three worlds rest secure in Indra's
greatness. Open those big eyes, even as the lotus-plant
at dawn its big lotuses. [5]
Chitralekha—Alas i How does she not recover con¬
sciousness yet, in whom her breath alone is what is left
of life ?
King—Greatly is her ladyship troubled. For,
Behold, her heart (fluttering) like a flower on its
stem does not yet forego its tremor, which is indicated
by the sandal-smearings rising up between her two
breasts. [63
ChitralekhA—Friend, do compose yourself. Meseems
you scarcely look a nymph of heaven.

( Urvashi recovers herself).

King—Lady, your .dear friend is coming to herself.

Look, The fair one seems well-nigh relieved of

her mental stupor like the night freed from darkness
when the Moon appears, or like the flame of evening
fire from which the smoke has been mostly removed,
or like the Ganges regaining her clearness after her
waters have been soiled, bv the crumbling in of her
banks. [7]

Chitralekha—Friend, have no* fear. Vanquished

are those wretches, the foes of heaven.

Urvashi—(1Opening her eyes) By the great Indra who

sees through his divine power ?
 sfimr i * i gt5SHresng*n%*r a^r

". g|grt—[ g^n* i sngpran ] ggfcg rj gm-

I 3Tig<T ^ig : i
^orr—[ st^Ffrcqrgl# i ^»mn ] gtn^ «g
t =t STTOaotJjfcT fggrvrq?Hreg%g4*TOTfinTT W
zfrfem: *tgf 3f«5Kfr sfir i 3t«t gr gqf^gg:
^fg^ggfRr i ?mt %
3T**n:srnfgsft JurrTfirojjg^ 3 ^rersnr:
sjwrc^ar: 3 w^gt umt 3 y'n^: 1
tgnansrinr: g>«i 3 fireqsqi^Trafcfest
fimfg a,g%?ag\g<fn^ ^;q grroit gfir: lieu
^sff—5^51 srf H?r-3r<wt gtfs *5 *t% t sat g
IF ^g 5#!, 1

3 fersittetr—gsrcrart argar-grt snmtfif 1 nfrcnr:

snpRisff hhiR 1

*nrr—[ wfiwwi+sH. ] irsfir fipn^ g£% 1

■mg «ra?ft
gc^ggr ?g
nfij ftqw *re*r sbraf: 1
?gm f%Hi gtfg *r%<^
fagcnsE^r^: 11 *. 11

;rfsrf--[ smra ] arising nj % g*m 1 «fn

spgr^f aiBrtff fir f% ^?«r aregftaf [srawg]
3 3f^t «*sg tH j gsrcf^ it ffcaro 1 gf*nn#
 i tx
CHiTRAtCKHA—Not by Mahendra; but by this roval
sage who in his prowess is the equal of Mahendra.

Urvashi—{Looking at the King, to herself) Then have

the demons obliged me !

King—(Looking at Urvashi who has regained conscious¬

ness, to himself) How very proper that the nymphs of
heaven while endeavouring to entice the sage Narayana
were put to shame as they saw her spring from his
thigh. Or rather, she cannot be the creation of a poor
ascetic ! For,

Was the moon of lovely brightness her creator ?

Or Madana himself who joys in love and love alone ?
Or the vernal month ? For how could an aged an¬
chorite who has grown dull through the study of the
Vedas, and who lias withdrawn himself from all worldly
pleasures, fashion such a lovely form ? [8]

Urvashi—Where are our friends, my dear?

Chitralekha—The King.our protector, knows.

King—They are greatly distressed. Look dear lady.

Even he, O fair one, within the path of whose

fruitful eyes you but once moved, will feel a yearn¬
ing in your absence: what then of your friends, ever
full of love ( for you) ? [9]

( Exit King with Chariot and the Charioteer)

 t-s_N t_

i «r*rai ■mrngaftrfa ftiiwrin i ara

t?t* £%g cTOi ^ i
5 TTSTT—[ f^PT *sWt ]

*arc 903 gw % wwr: »rwifi?r fcw^giwn: i

uwHiaucn* w^ifiwhigwagwg m K° n

finr&wr—*sn ^*w 1 mipn

[TT5TH *t*g$ 'TPRft] Sm-J'fW* fil*T **
* w «ra®rft I WJ5?Sr: farefa «Wl^m I
firx&wt—[ ] «ifir wt i srfer *: 1

wfa-WW* I W#sr: I

$ **w—[ ^5^ ] fira^cr-sfifair j«rf%r

atfisp* fo*n3T-wrfta-*TfF firw w*$t
l tpr Rw«w*fl<i*Rj
\ ?? =^: 3»rfWTt THtf^: I

^iT«r— [ ft*®* ] 5% fir oft1 fimrfir sornfifiri

f.# i«(oft^r «5t anrwarqrFwr^trrsroaitfin
% apaiwi fS'sr I 5*1 SRR[5ft?tT ST# at4
JT5TTPT 1

W53RII—S5 WWlfil I swart m SCPMt I Wi

*rnftr 1 s&n: «g i

*Fsn—g?r r gn&afawcg. 1 arorr&ri rw 1

ggrs—mnr<M«ig*«H [ ^ wfr* ]
n< scnn—[ =aset^ra i arwrag,]
ftrwwro 1
 l IH
Urvashi—(Aside) How noble his words 1 Or what
wonder that nectar (should flow) from the moon t (aloud)
That is why my heart is eager to meet them.

King—(Pointing by his hand).

These your friends are watching your face—O

fair one—from Hemakuta, like the Moon emerging
from an eclipse. [io]

Chitralekha—Dear friend, look.

Urvashi—(Longingly looking at the King) Equal in

suffering, seems to drink me up with (thirsty) eyes

Chxtralekha—(Significantly) Who, my dear ?

Urvashi—This group of my friends.

Rambha—Here comes the royal sage taking Urvashi

and Chitralekha with him, as if he were the Moon
attended by the Vishakha (stars).

Menaka—(Looking closely) We joy in both the

things—here is our friend restored to us, while his majesty
is unhurt.
Sahajanya—You speak the truth; for the demons
are hard to quell.

King—Charioteer, here is the peak of the mountain.

Bring the chariot down. •
Charioteer—As my lord commands. (Does as bidden.)

Kikg—(Gesticulating jolting of the wheel, to himself).

Ah, not vain my descent on this uneven ground :
w rawiwn

tqtawwtann: i
*1?: ^remfsTfaraw^fr?! ii Kl II

sfcrt—[ m41sh. ] 5551 fiff Br «TC5t 9^55^ I 5%

ft.tffl 'KrflMHf I
< f^rsr^n—[ «^k, ] oirg *=mr i =n? irar t
<wrr—vr 5T*n%*5 i[ ^ ^
WlWaiWI +1 I

s wn—^ai <511*1 m*r^ mm i

*11^ 3*fo# ^WTc^^TfvT: «yt|5>l I
spstfipiffa #i% ^nfa; sftfer^^n \\ n
[ ^frfcr | ]
5rafs—f^ffesn srsm^rt faaww i
} ■RSKISlt t5^R *p5% |
irsn—irowaar sreJtafwmito i
gjgft—[ ] 5«5I H*J
w ’rft^^ra^f i or^ir airai snfe 5nffr-
aro ^f^555 fk I 5**r 'Ff »ri qft<£pr«m i
a €j5 m 3nimfk. ^sfir si^wfifa i
S hR*^ t
5HJT-55®15T ««*l-¥r5l5 55<% »n553|s?ft-
*3 I *mT J5?i5T3t: ^romRf <g*rf Mwfaai **Erg i
i= *in:—ang’^ra; ’j^rf f^fsr jt5?tt 5«iMt3ta5-
%w:
«w 5i wwrn airawtanw*: i
wiitafSr Wtw afeflrifN atav n l* n
 switeli i t*
That my shoulder shotild have nibbed the
shoulder of that lovely damsel in the joltings of the
chariot, so as to thrill me (with joy) looks as if love
hath sprouted (within). [ 11 ]
Urvashi*—(Bashfully). Well friend, will you move a bit.
Chitralekha—T cannot.
Rambha—Come along—let us honour the royal sage.
(All approach).
King—Charioteer, stop the chariot.
So that like the beauty of spring coming to the
plants, she—this fair one—may hasten to meet her
eager companions. [12]
(The charioteer does as bidden)
All—We congratulate your majesty upon your
victory.
King—And your ladyships too (are to be congratu¬
lated) upon the recovery of your friend.
Urvashi—(Helped by Chitralekha with her arm, alight¬
ing from the chariot). Friends come press me closely.
Little did I hope to meet my friends again.
(They quickly embrace).
Rambha—May the King protect the earth a hundred
Kalpas !
Charioteer—My lord, from the East is indicated the
sound of a rushing chariot.
And here is some one descending to the peak of
the mountain from the sky—his armlet gleaming like
heated gold, like a cloud (adorned by) lightning. [13]
(The Nymphs look).
2
u

[ i ]
—«npjt | arf f*nw I
* [?RT: f%srw: » ]

fer*w.—t mr wytHH. ] f^ww nl^

^tcqqf^m fawwftw *«Br *mt* i
s <ow— «Fnfontt [ ] m# Hwh
[ wart weft wra: ]
finw-ww cargttf srn^ryryn
^ n?«nnwpfr»TWw: snwcjsrr *iw»l%m wirrf^vf i
?r^t *»r*wero srrrSfvtree^a ar^twKfri «s?<tr
bMifaewg'imflc i ^ vrenftsf w*»-
n wnftr&wrcr 3T§*dtf?r i wi^ *rg aenwnrt
jt^t; Bum^fg^ *es?u i n**r
jtt sntnift^iJTfa^Br wscsfc i
eanfir n Ui
*T3T—*TT I
*13 gftmr «nr
faawsfr f&Mfll q^wr 'nprt: 1

srf?rar^rf(i *^f*Rf% wwt< 11 ^ 11

Rr*tq;—3^5%?r<^ l wg ftpfim4s.il: 1
<rat—w% *iroPi8d *m ^j^i ?q%-
* «n**ra?ff inikfere arm 1

Bnro:—«mn asorcc 1 wr *»t «raw: t

[srara: sRsen: 1]
 xnrahnfs i ^
Axx—Behold ! it is Chitraratha.
(Then enter Chitraretha ).
Chxtsa&atHA—(Looking et the Kmg respectfully), ]
congratulate you on the greatness of your prowess which
auficeth to confer obligations on the great India*
Kihg—Ah, the King of the Gandhartas. (A&gftting
frem his ckeriet), Welcome. ay dear friend.
(Thgy touch eeck ether's heeds ).
Crztraratha—Friend, having heard from Narada
that Urvashi was abducted by Keshin, India ordered the
army of the Gandharvas to her rescue. So on our way
we heard your panegyrics sung by the bards end now
come to wait upon you here. It behoves you therefore, to
meet Indra with us, taking her with you. Great is the
service you have rendered to India. See,
Formerly she was presented to Indra by Nara-
yana—and now is she being presented by you, his
friend, by rescuing her from the demon's violence. [14]
King—Do not think thus.

It is, indeed, Indra's might that enables bis friends

to conquer his foes: the very echo of the lion's roar,
as through the rocky caves it spreads (and deepens)
appals the mighty elephants. [15]
Chitraratha—That is proper. Humility is ever
found the ornament of valour.
King-—Friend, I do not think this a proper occasion
for me to see Lord Indra. Do you, theiefore, take this
nymph to my Lord.
’ Chitraratha—As my friend thinks. This way,
ladies, this way.
 fs ^ t
IwlWw

% sWt—[ wnftwi ] ^55T fireifc ^gfTRqr Rr

inrcfti *r *qratf* «nn5%3i m gtfftgi i&fin
f^T >iWRui4|R TTSrfif 5f ^F«Htfir 3fWJ^ft5R 1
\ <TK ?t *W *P* ^ I
ftrsrSwrr—[ <mm{jV-i ] ww RiwiURt
«hkw»t ar*ar^qun^» g*gifii flr«r-*riir f*«c
hh *nftT3T5w *rfas*-«iW 9t^ fir i
QjIN-qRt HSRRtST SIM^MI fs)^l«<flfi|«l
*T5RT^^T 3tKT 4$-5rfl4 itgW?t |
i1-. *rar—*i*qai 3*f§5RtTO i
[ *pp*rd aiwircftiWfH vwfot i ]
J*Hn—[ 3 ?PH3Tlf ] arwt% c5^T-%rt if
•*c ^aira55t»wn i wf«n^ft«Fwqri
3?£t «nifq*^ WHT | JTNpT abVilH. I
[ *)R*M*<. J *f 55WTT I fWTt3TT.f^3T
hi qfwfr i st3 arf^B ib^wi $*rf-
^.fpH stPmifa i ^ qf^t 511^ i
qrfolft—jjw\f| 8»^uf> trsni t w firi¬
n'* tKiwfr *
[ ftra^ar *frq3 qrzqffr i ]

htsit—[ ]
Rram^rfr^ ^ f^n if

MR^nS^qft *rarar tot ii f«, n

 mnitef* i Ht
(The nymphs set out).

Urvashz—(Aside). Friend Chitralekha, I cannot bid

adieu to this royal sage even though he is my benefactor.
Do you, therefore, speak for me.

Chitralekha—(Approaching the King ). Friend,

Urvashi requests leave of my Lord to take with her to
heaven, as a dearly cherished friend, your fame.

King—Adieu, till we meet again I

( All gesticulate flying up into the heavens).

Urvashi—[Showing as if she is impeded in her flight).

Oh, this my necklace has got entangled in the thicket
of creepers. (Turning round). Chitralekha, do ex¬
tricate it.

Chitralekha—(Smiling). Seems too deeply entangled

to be set free. Well, I will try.

Urvashi—Be mindful of your words.

{Chitralekha acts as if she is extricating it).

King—(To himself). A kind turn vou have done

me, O plant, by causing a moment's obstacle in her
way. For thus I could behold her once again, with
her sidelong glances and her half-averted face. rx61
 rwuwf

*_
htir vtfi< nvrifcnn i
^

«w«wd wcfa yr&

*rtK*i; *ar«Bni nfrgn H 11

kt*t—Iht iw’fr’ra mn^^ifa i

[ Wipjnqfo i mti :na^T hwtw: i
Km thH R«1<m flfshWJl Wt W^tl (*l«SMI f^9R.«W IJ

’em—[ ] «rit g ^ Tj&jnftrfaWt

mm i
mintit Jmtf srfkn*
fag: qg »rmwjpqas*ft I
5^1RT ’Wm
^ qmi<aifaq <rsis*ft ii %c it
[ *f*r ft’wwr; s? ]
<¥wil3MBi jti3% sraifa: ?rarm: n
 sranVsi: W
Charioteer—Koya 1 sir.

Having hurled deep in the salt ocean the de¬

mon foes that offended against the King of the Gods,
this Vayavya shaft now comes to rest in your quiver
as comes the snake to its (wonted) covert. [17]

King—Well then bring close to us the chariot, so

that we might ascend.

{The charioteer drives the chariot close to the King.

The King acts ascending it. Urvashi sighingly looks at the
King and departs with her friends and Chttraratha).

King—( Looking after her) What unattainable object

doth Love attach one to !

This nymph of heaven bears off my heart for¬

cibly out of my body, as through the mid-region of
her sire she flies; so flies the swan with a fibre from
the lotus-stalk, the end of which is broken. [18J

[ Exeunt Omnes].
HERB ENDS ACT ONE.'
 t

[TO: i]

fir^ro—it it 4t finwraitawSm wait ft«r

* Sfurnt or arrgoSr «nmt
ati afawj i m 3rT5t aravri *rsw«t "samonq)
srgr* wiw i«i<«-*ror-ywm wnij^wf-
s qfisft fafg^i | [ i|Rwo farer: ]

(ft wf fijp5rotqra^!( *n®w rrarf^r

Wlwl a TOBffit anaSt^ arerot f^t *%gm
^ toito. iwwi 5raw: arafepnsRrefa arcas#Pt %*i-
ORtiqnt fiWHtcTOOf^ WT Wfit I

[sfta* i] ^ft-anoroftE Wta TOftr-^tar-s^

aa fonw 3r^t-orj^ *rar*r^t orarctr wair<w
*f<at qfirfoiiBt wramiiV ?r^t "mfsar goor-
ftarwt farai asvoftarf^ i m :arer fqar-gar«TT^t
arar-moRaiTit srrarrfi w #■ wow-ww* Rr i
aifojfraft i sr*?n ftrcs-
m-mh fast anrwanaf«s& fat rrflcr ?cret or
m fa&fr i war * anataiftr [ oftawt araatro =t ]
•rot a«ifafaft worn firw fa far gfoi-aj^t
aranwawaftfagfr t JtW arwwr«Ttfa[wqrq1 arg
aa W^lHi I *hhiRhX*n wtfl<i'*3«n (p& ftgftfe TOm(g%
*wro: arWowM t*Hl sftfrtn «H%WM 8(RWf qpTfad
 ACT. li.

( Enter Vidushaka ).

Vidushaka—Bursting as I am with the King's secret

like a Brahmin with the presents he has had at some

invitation, I shall not be able to set guard upon my

tongue when in company. So I will bide here in the

presincts of this Vimanaotsanga palace, but spairely atten¬

ded by people, until my friend comes forth from the

council chamber.

(Walks about and stands apart).

(Enter Nipunika, an attendant).

Nipunika—My Queen, the daughter of the King of

Kashi, has bidden me: Girl Nipunika, since my Lord
returned after his attendance upon the Sun, he looks
absent-minded.
 fwift’sjfft

^ 55^ | ^ clFf fflWWV

TOwW I ^ «PTT gr^i^n^: I 3mt
fa<dki«i^(iw 3T^iw^rfw^ f%t * fctefa i
^r^T?rf^n^r i rn* anfo%ert ^r ?jwff^r:
9n^^m^%fg% i qKVfflWtiMffft i 3?tSi gr% i
fopw—srfNr 4t^u [snwpi^]
WNiar n nvrnz** ftsrar faf^sr fovjpift l
*• [ jitoth: ] fforafanc sfssrar arft
qrlw^r fir l ft% Wfr i $*u era; rrsr-
f^rTT I ^mff^NK^f^ffc^T
M IS 5#q^T% I

ftsftnrrr—qrarator arsf i ^it

3TT^r 5^^ |

\S ftfro:-—ft> cRnst^ arnn%ft i f% i

ftjfiroi— xm\f% ^r fir arsat *nc qTO<sn#
nr if arg^-^sr^T-^^ l ^
^ Harare? *rf% ’jmrrff z ffa r
sffcr&q; ] ft? *t qrar^N
qfk^<A arrarfS^ i f% st etsnraRqT.* aRt^a-
Y^ qwRdH. 1

fatgf^T^KT—«T53T *-ftrftpft *T£T SlrfM* *11*

tffrgan* aiw^qr ir%»rr ^ ^wRrqr i ^
nftfori Herf ^fcc1F!^i: ftffT ^TR^R 3Trarf*frfT 1

firfw*—[ *rar*sqr *r*ntwsT *^pt-

ffefr i ft? ^rftr ait tfkj-w*€$to
 Afirateir> i v*
Do you, therefore, know the cause of his
anxiety from his dear friend, the noble Manavaka.
But how may I trick that fool of a Brahmin? Or rather
a secret can rest no longer in his breast, than morning dew
upon the point of a thin grass-blade. I will, therefore, find
him out. ( Walking about and looking). There is he sitting
silent owing to some cause or other, the very picture
of a monkey. So I will go to him. (Approaching). Arya
Manavaka, 1 salute you.

Vidushaka.—Prosperity attend you ! (Apart). How the

King's secret is bursting out of my heart at the sight
of this wicked girl! (Aloud) Well, Nipunika, where are
you going leaving your practice of music ?

Nipunika—Just to see you, at the Queen's bidding.

Vidushaka—What are the commands of Her Majesty ?

Nipunika—The Queen says that you have been ever

a friend of hers, and therefore will not be indifferent to

her in her present anxiety which is due to some unusual
distress.

Vidushaka—(Guessing). May it be tfiat my friend has

done anything to offend her?

Nipunika—Noble Sir, the King addressed the Queen

by the name of the very woman who has been the source
of his anxiety.
** wgwift i [ swsm. ] % «n«fonr
9«mA fti i 39«><n wwsra m ferir
w^rcitft w ft ftvfrf-ftgvt 59 qftft i wr
■O ?T5fVRai ?W^: 55t: I foli($l4Ut4 fJlfFPriH
;:«nr^<iiR) i ftwqfcrai awnft i ami ^5*Pr
3=*nf5?I5rl9*WR *t ?|5WSRff *TOfa
\< VI <fts4Rl I

ftgfararr—[ aiwra^ ] ft>5 tfW-

5*959 [ SRiram, ] 9wt ft 5m Mft ftiftft l
ser *pha?r5f%^1

ftroftffe ?nratf5 1951ft 5wr

ftauftftfan^t fal9%3 9959 95* 59
%° ^ft«59 ft 1 fagf®r% %TTO I ^Rt
*Fi?|fan^rai f^rrf^j 5wft mt sr^nft% i
fsrjf&pKr—*r arsrt afrroritf^ i ^rm amnW^ i
M »]
[irq^t ‘IrTTf^F*: \] 3PTg I
«TT ufctaLdhtityirHI^li snn*ri
g**iteit*TTO formal *mt *: i
Rrsc^r ^pmrRtqfdvHilPiMi wftHnqfr
<r% m*t f^rfq S w K n
&5jw>:-[ w to ] TOt 4?vNmi'JII$ ^f|ft^
^r 3IT«P^[ ^3T^Ht 3TF* % qTO^rft dftr 1
* I]
3»RlfcHI$lc*RT ^cf ^ ^TP1^5%9PJ^: J t|pMf
toSt 1
 ORrataft i V,

Vidushaka—(To himself). How has His Majestv let

out the secret himself! What need that I should suffer
by putting restraint upon my tongue ? (Aloud ). What, did
he call the Queen-Urvashi ? Ever since he saw her he has
been out of his senses, and has annoyed not only Her
Majesty but me also by setting his face against all
recreations.

Nipunika—( To herself). Here have I made a breach

in the fortress of the royal secret. (Aloud). Noble Sir,
what may I say to the Queen?
Vidushaka—Say to Her Grace : •! shall endeavour
to wean His Majesty from this (chase of the) mirage, and
then will X see the Queen's face

Nipunika—As the noble sir says. [ Exit ].

( Behind the scenes a bard ).

Glory to the King!

Your power and that of the Sun appear to us to

do similar work—for you suppress the evil tendencies
of your subjects all over the world as the Sun drives
away darkness beyond its confines (for the benefit
of the people); the Lord of luminaries rests for a mo¬
ment in the middle of the sky, and you too follow
your own inclination in the sixth part of the day. [ i ]

Vidushaka—(Listening). My friend has left the coun¬

cil-chamber and is coming in this *very direction ■ so T
will join him. f£jrrf]
END OF THE INTRODUCTORY SCENE.
m nm<mf

t |

[era: aftqft srasffeat *f*i f^ro* |]

tniT—
*tt mBui «rr % np>n i
wifilsr vwmfaqaRritfeT II ^ M
ftiw-[ wsnran ] CTftftfr g ^rsr ?raft*nfr
*i&KH**n i arg aianaafepft mfKiayft i
} tTHT —«rf^T KflRt I
ftjTO-[ «ftaiSWWMH. ] eft eft
Be «*refBc i aiwren «r ereft *®t g«af^ i
$ *i fas *r 3rf*rafipfrs%r i apaai sr sraw ^
JSBfa i
<tst—[ aro** ] f% awfoyfciwft i
«. Bqgw>t «c«i «r^ BwBae fte * vrvft Br
error qfiraawi «r %Br i ^ *rai Emfrren faw a*,
wfflla *iwi sRi4^ *t eeifit i
ih *rerr—3***. i am Miftrncwwi fofacfo'ni, i
—»T4im*T TOPV I *r*n* *B0!*: I
*TST—f% WK I

fojrot—-wffc 'Ht-Brrer arwrarowi ^rof-

wnw ^rfam im-wmutft: era <jsn>sr frofcj *
<pr wfaw arwnvm aw<riWww #3^rt j)iam<Mi*ial
\c wipw f^URisM, i
^TSTT—[ ^Tf^rTH ] «WWt
wn 5^*wrt*r: enmn faftqBrror; i
 i U
^ Enter King in a love-lorn condition and the Vidushaka)

King—Ever since I saw her, that celestial one has

enthroned herseslf in my heart to which access was
given to her by the unerring shafts of Love. [2]

Vidushaka—(Tohimself). Surely the poor (Queen)

daughter of the King of Kashi must have been deeply
annoyed.

King—I hope you keep the secret entrusted to* you*

Vidushaka—(RuefuUy-to himself). Alas i Alas I I

am excellently tripped up by that wench. How else
would my friend ask such a question?

King—(Alarmed). How I you are silent ?

Vidushaka—I have so ( effectively ) restrained my

longue, that I cannot answer off-hand even your inquiries.

King—Well done. Where shall I divert myself?

Vidushaka—We shall proceed to the kitchen.

King—What for ?

Vidushaka—There the very sight of the preparation of

the five kinds of dishes with all their materials put to¬
gether will be sufficient to dissipate all distressing thoughts.

King—(Smilingly). There you will surely find much

diversion, because what you covet will be at hand. But
with my heart longing for an unattainable object, how
may 1 find diversion?
v- iwmwT<9

—<* ni iraOita nsnfflnimn-nirniti

*3 nrigpraagu f&rri »ig: |
aa Tmr—mr: fan* i
nr *jj «r 501 fa mn?gtfw i m ng «r
5«i»f3 qipfa i
am—1qfrTtglnnqvii4gin. i
fafros—mfaafr natwfrm arafr nfofftTligg i

fa wwitit nwrcft arjf^an n^rm «ri fan

fagaif w I qaia^tr-^nffniiw *regt qft?r ir ^ni
ft <ra*Hfg4?ff ai%?teT srafim f9**^TT*!T i
mjii—wnw sRwraBWTwii nufafs i
\° WtiWit: aragni l
fajqnr:—ft? i n*%ft%n
arm—

annanfarraatf rroragfait: luduvufeitq: i

gnmnmnrfa n% sr?gq*ng nj^g^iT: n ^ il
i
fa^nn:—nit ^nggr fasn-a^rfgsnfaon nrf-
msgi *lfai I am; mg w fts^mnfiimrftin nra-
\ mam I
arerr—fafagswft mrwr^g^^r ^rrmnl^T i g^
ngrn. snrfqamTtfnfafrng i
s fafw.—[ 5n*n ] m aift [ smrcm. ] fit fit
nrn [ qfitmwi ] farm ne¬
urit nn rnmagarf ffWn-mafanr i mi nft: i
^ fg ?rft *rarg; i vjfa anfammrff^a agsimt nampFgmt
qfgnnrcfo i
 fafrfcfI I n
VXDU6HAKA—Has the lady Urvashi seen my friend ?

King—What then ?

VlDUbflAKA—Why, then, I should think her not quite

unattainable.

Kino—‘Remember, this is your partiality for me.

VidushakA—What Your Highness says only adds to

my curiosity. What f Is she without a peer in beauty
as I in deformity ?

King—Manayaka, I assure you, words cannot paint

the loveliness Of each part of her body; so hear her
( described) in brief.

Vxdushaka—I am all attention.

King—Her form is the ornament of ornaments,

an excellent decoration of decorations, and, my friend,
a standard of comparison to the (accepted) standards. [3]

Vxdushaka—That ia why you have taken the vow of

the Chataka % yearning as you do for heavenly drink.

King—To one smarting under love’s pain, there is no

other solace than solitude. Do you, therefore, lead the
way to the Pramadavana.
VidushAKA—(To kimSetf). What help ! ( Aloud). This
Way, this way, my Lord. ( Walking about). This southern
breefe, as if deputed by the Piamadavana advances to
greet you, its guest.
\
 rs,
iTOnfWWf

*nrr—ywv«n«ft:t «wffc
fofasn; OTsftftm srarr «^hff «r *&rat1
^fts^rfsrnrctqW^ qnfttq sfirmfir I* u v n
raj^:—iKwi w t «fitnntwi mt^wr-
a%=T ] «ft qwgqw-jqrc i qfta$ *rft I fro
^ craifijft%Bt *R5 I tTfi^ SJRiHgKH. I Hfawg I
<rar—ufftsrnrcr; i
3^ stfavd: !
ttjtt—[ aroft ] qq^q wur n srrj wn-
RxcTJTTTrsrrft^rc fisss nw^r^rr^n%?i gfft i
ftrFqsj^qr ^gg-R gpjTTFg^ i
qftsrtsrqtemisreq JT^tgar^T fc 11 ^ n
fft^qq*:—*ns fa^T iwfcflr I
*T3rt--
y^CTggy^gnTqyn gHraK
srgsmfa *Rt ft q^m: f^rortft I

jgq3WHgq>ftffirft**^fts it ^ n
w«j qftftfftftor i «n^w ft gfft®«r-
tfqrgg^rift aroint qsq gggt I «ts
* qf&ftfw i 3»^or <r<r fa^n^rar aw* qq gwft i
scrar—qfinrffcj arnuw^n i
iRmw i
% fft^jr*: —ft*wj *rft qw*glv<q«r*r «rfftcrwqro
qsrgsru^ i 'wa W'dMdKgqwftrcH*4
WMS-WW i
 I Y*
King—( Looking ). This is but a proper epithet lor
this breeze. For,
Impregnating this Madhavi creeper and making the
Kaundi dance, he appears to me like a lover, as he
combines in himself love (to one) and kindness
(to the other )• [4]
Vidushaka—Let your love also be such and no other.
( Walking ) . Here is the entrance to the Pramadavana;
please you to enter.
King—Go ahead.
( Both enter ).
King—( Looking ahead ). Well, my friend, I was not
right when I imagined that to enter this Pramadavana
garden would yield relief to my affliction.
For the thought of entering this garden so
quickly to dispel my* anguish is (as vain as) the swim¬
ming against the current by one who is borne back¬
wards by the stream. [ 5]
Vidushaka—How so ?
King—Already the five-arrowed god has pierced
my heart which is difficult to be withdrawn from its
desire for the unattainable: what then when the
mango-trees of the garden, whose pallid leaves have
been blown away by the Malaya breeze, are
showing fresh sprouts? [6]
Vidushaka—Away with your lamentations! Before long
this very Love will be agreeable to you by yielding you
the object of yo\lr desire.
King—I accept these words of a Brahmin.
( They pace about).
Vidushaka—Let my friend notice the beauty of this
garden (Pramadavana) heralding the advent of spring.
 tnnr—»T3 gfqm'tqftqwa’H.gifo i to ft
to qft*H*m*<* $wf ^nw 5«n*r?TOt-
«tereft!g^t5n*ig*nT ^tnjil RtoRt i
fyggcsr-^mwgftqi ^ tot
ipvroTO q,qft^qq,^i%*rftw2«ft:ftq,artll'SII
ftjro:!—1<wt irfor fror-q^aa-TOftt «rftgw-
gHiawTOl TO<-TO5-ififtft §;gfcft aatf ft«r
* ft^tesrrct to^ qfrogft I argHtigtai^'
TOlt I WT 4f3lRwiqt**MW: Vfdg'ttMd W4l
Erlt: $g$: mfire saiwkI *r^g nrfl-^uft i <ngg-
% mat msftg: i
rrati—tot «a& =ctq% i [ qfcwitafotf ]
%% gfTOTT W w^-f^-TOTIT^-
s nn»WMuh Tsgfft-n^ ^g«s ftorft$ i 5? tot-
aftsft w=t dlrid^dift^Mdld-WT: ^Wl'ldigWii
1

m nan—[ ]
aw $gftmroft 9% <ft«ra4<roig *i«ft«<aiy 1
q^Tmfa ajft dSMIdl^jARMH. u < u
trjrofwTOcri w gwwwWt aftroc. 1
Tw^ffit—[ w|W J ^TilVgl fTJJW! WWW
TO#T53f5^<IW STW^t «lt ft ji W
\ mvmzn \
wm^TN gi^n^mT 1
«nrr—m &*m. 1 arfaafts: srro^sff 1
< ft*w—qat f*r%Br 1 m to to
 llttMtefi | v»
King—Well! I mark it on every tree. For.
Here is the Kurabaka flower red at the tip like a
woman's nails, and black at the sides; the young
Ashoka bud charming owing to increased redness, is
ready to burst (into flower); the new blossom of the
mango is yellow at the ends as the pollen is yet
imperfectly formed ; (thus) the Beauty of spring
stands, my friend, between childhood and youth. [7]
Vidushaka—The Jasmine-bower yonder, with its slab
of marble, seems itself to present you with flowers which
have been dropped down by the bees coming into con-*
tact with them, and offers you welcome. Please you
to favour it.
King—As you please.
(They walk about and seat themselves y
Vidushaka—Now. seated comfortably in this place*
you may dissipate your longing for Urvashi with your
eyes captivated by these lovely creepers.
King—( Sighing). My eye, grown fastidious by
looking on her charms, does not And any pleasure in
these garden-plants with their branches bent, although
they have now flowered.* [8]
So, think of an expedient to secure me the object of
my wishes.
Vidushaka—(Laughing). Well, the physician to the
great Indra who was enamoured of Ahalya, and I to you
-pining for Urvashi, both are madmen in this affair.
King—Nay, do not say so. Genuine affection ever
‘Counsels wisely.
ViDUSHaka—Well, I will turn the matter over in my
mind ; but then you must not disturb my meditation by
your sighs.
 wnK» vrflwBfa [ farsat ftRraiftr t
•it gn: jjh a*nP? *isw% i

\ *T3IT—[ frftRT qpRtHI 3HTOKIH. I ]

W 33HTT *W»%?3g«ft V g?T

arfinjrtTpzm mFfraforfrs
mrf?r f*iT|f?r^T7% *m: ji ^ n

[ anaraf^rsfa i nn: sfifticnrarcrat^r aroi ftrej^ni * | ]

gsr a>f% arfirt^a^igtfi •Ktftaifg l
*31 <K Slftf^HWM TORI I

«fif tTgT ^T-fatifor amt-

fWPu^NU^IUuf 4 3Ttgf*I3T ftt ^ffor I
I a% tkt a^z^JT g^rftf^rawRrmpif •ngr-
TOT fififtPTPff JBB% I

f^rertir—ftt tot ro&rart gram

\ irf?«I^I far I ft TOt Haft: g*ITO: awS 5ll|tRTI% I

a&ft—ara ft awgfcmg-great ^r«iart I art nn

3W6%TOafl ^Wfira: I
n f^*iN?T—3TTT argta jgw ^fagt I *: gsr:
awn s*rt jI%t: i
Rfaraz I f^rt. I
va f«rsr&«i—aw aw aitf #ngrfta»3 gw I ara*rt
aig fcrei&it aran. i
a foft—warnt ^ rf faraftafg i ft? a?« arrrsrr-
 {Vidushaka acts as if he is meditating ).
KING—(Showing that he has perceived an omen, to
himself).

The damsel with her face lovely as the full-orbed

moon, is far beyond my reach ; and yet here is this act
of Love for some reason or another; for, all of a sudden,
my mind feels relief as it would when the fulfilment of
its desire was nigh [9].

( Feels hope revived within him. Enter Urvashi and

Chitralekha in the air).

Chitralekha—Tell me, dear girl, whither we are

going for some unknown purpose.

Urvashi—How can you ask me such a question,

friend, having chaffed me at that time on the peak of the
Hemakuta, where owing to the branch of some plant I
felt a moment’s obstacle in my flight in the sky ?

Chitralekha—Are you going to meet the royal sage,

Pururavas ?

Urvashi—Yes, such my venture, and I have thrown

to the winds all shame about it.

Chitralekha—And, pray, whom hath my friend sent

ahead ?

Urvashi—Well, my heart. .

Chitralekha—Think well, beforehand, yourself.

Urvashi—Love leads me on : what is there to be

considered ?
n«s l jrh: 013 in (Nfrrofir i four 6?rm4% i
Rra&ori—ar^t % v*rt I «rcr: ot oifti

>1 ftor f* anfygftors nwft 311 rwpMWi

»r*ro«ft or *rft i 3r *1 anf^rai *n*Jf not 000-
•wUtkkiI *r *i^ i
\* fsnrftorr—srfs otersT stfc I or vrantfr %*-
55°n o<Kirr orm fesi-o»yoi-h**
fgTsr-qfiramtw <n«*tftmnn o^ryi oftrfinreot
m i ng ¥tira?it %«igCTt amtftrctf nm ftreresonfNn-
g'tf^rcu ftR*rafto$n?i amfosfto «: i
snkft—3T5t BfgwFrsf ft fftorft i attf f^Faft «w
*« i
[ %s;j?iArraro i ]
«t$ war^ta 3T^oTT-wmr-
fft%^r-7raftg ^rfisftg aftsNrerea fow orw-
3* orft oYgroror fftsnsrcor-ajjc <i«rfcroft nrvft w-
l%^5 I vm&u *mfh**iT
53 3iTc*TH SlftBWW

^ *s?gqfoir &: \

] ot 3inrarc-*i*t
fa i [ fNri ] xm !$i^ TOwiwiiO
*1% I 5*3 3^*3 ^4T«TFcfT5rTcT: I fc5T it g *Q

fa^*5fr—qrgyiMifrgfrfr fa? vif-rt1

v\ ar^ftar 5TTfaRHi«V i mta *3 suwft
3*33^4 fn*3T3: I
 fWfrftar i w
Chitralekha—Well then* 1 make no further question.

\JltvASH?—Advise me, then, which way we should

proceed, so that we may not meet with any impediment
on our way.

Chitralekha—-Have no fear, dear girl. Have nbt

we two been made inviolable of the enemy of the gods
by the revered preceptor of the immortals by imparting
to us the mystic art of tying up the hair called
the Aparajita ?

'Uuvashi—How could I be so forgetful !

( Coming to the path of the Siddhas ).

Chitralekha—Here have we come to the palace

of the royal sage, the crest-borne gem of Pmtlfthana,
which appears as it were to look at its own reflection
in the waters of the divine Ganges, rendered particularly
holy by her confluence with the Yamuna.

UrvASHI—(Looking). Rather it should be said

that the heavens haye been transferred to another place I
(Reflecting). Rut friend* where shall we find him~-that
pitying friend of the helpless ?

Chitralekha—Let us first alight in this Pramadavana

which looks like a part of the garden of heaven, and we
shall find out.
« rwwffW

[ 3^ snrara: i ]

*H fcr*%«t-—[ mi ] f?5T TOt g

flw =3Fft «tyff fa ai git qfaggfa I «%
«g spuftf^r sRt: ?^t p=ftw% i
»« 3f5ft—[ ft-ftw ] 555T fifa gnT-f^mift ®rfa-
%$ fa«if?T<iTt JTimait qfagrfa i nfe s^pft
smf&nf fim^sS-ft njrow: sfcWiRt i

Hi faraft'w—3fafa i m qfa aiwH l 5*^1 »

SWlfa: I

3$sft— f?rc*Rift»»ft-<iF*®3wiir $ xifaar

H» gf&rai i insr-ifaffarorr «r* faaifc
fid fa fsrgFf i PR^fiR^nsTfcp.^ai <n4*rar
«ra »g?r wtrailir dm. i qraiRdfifai ^rcrad *r? ftsft
S'* ftiifa *rapww%ref?t i

fara%3n -3ns 3f *t«sfa l [ *pNsn3fiiwr: i ] *wr

% tft% i
S° fii^nr*' «fr fafarft *ra3^-raorrjft-*Tin*nft-
TOft I *fr: f%f^?T?ft w 5^»mf3pftwn>nitqra: i
[*rar 11

U «r 3 ^ «cfn ff?«xan sfiwr <Tr*ft«mp>n

araratf fa^refrfa i w a nAv sft afcsi 3t*^iiri
anrant i

\S fa*%WT—fa» tot mgwiw fasrrftswfa I ft 39-

 ( Both alight).

Chitralekha—( Looking with joy ). Friend, here

is he expecting you, like the newlv-risen moon expecting ’
moonlight.

Urvashi—(Observing ) My dear, does not he look

more graceful now than when first he met my gaze ?

Chitralekha—Quite so; well then, come along, let

us approach.

Urvashi—Let me for a while remain hidden by

the power of the tiraskarini charm, and approaching him,

listen. He seems to be talking something to his friend
who is near, in this solitary place.

Chitralekha—As you like it.

( They do, as said).

Vidushaka—Well, friend, I have thought out a

plan for securing you an interview with the person you
love, although she is inaccessible.

( The King remains silent )■

Urvashi—What woman thinks much of herself

*

(that she should hold out) evert when made love to,
by him?

Chitralekha —But why do you act the part of

a mortal ?
TO ftranrWtaftft
TOifft ocn tow# fronrj I fWfl*
5RnaTC. R?[5jH. I
fftfros-^ TOifft farfa# to# f* i =T3 vnSr
W^rra i

*ror—ftsr fit wrap*. i

fft^ros—ftrRm-wiTaw-anftffT ^tj 1
*rpn ti?to#* 'JukM <rfftfi»fi8[ *nftsfa«i
fftf l %l «ctii
3W^T tPR^c?r Hldt'f'iijlfcW'.-M 3H<il+afaB 1

—[ bsSt«* ] 5>oi-fr« f?sr3i Hw^sra tot-

\»< tost i flsrcrw TwtPjffcf^ snrpulsiffc i
stot—w«TOli«Wfm i

W^lwafa smwtowp wwTOfro *wt

cqgqair fin? ^ twwwfclUiDu I
st *r n«n*i*<isNfrffr fiwnrewrai m
TO H««TtfU»ft|wTO sr *rfftwrf?T II \o II

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 Urvashi—But I fear too soon to know through
my power.

Vidushaka—Well, I say, I have hit upon a plan.

King—Well then, tell me.

Vidushaka—Let Your Majesty enjoy a nap, which

will effect your union in dreams; or delineate a likeness
of the ladv Urvashi and remain gazing upon the picture.

Urvashi—( With joy ). Be of good cheer, my timid

heart.

King—Both are impracticable, (I fear).

For the shafts of love are ever rankling inside my

breast * how then can I enjoy sleep which in dreams
might effect our union ? And even before I have com¬
pleted the picture of the beloved one with the lovely
face, tears would surely not fail to start in my eyes, [i i]
CHiTRAleKHA—Have you heard ?

Urvashi—Ves I have; but that scarcely sufficeth to

comfort my heart.

Vidushaka—Well, my ingenuity extends only so far.

ktNd—( Sighing ).

Perhaps she does not know the very keen anguish

of my heart; Or knowing my love through her superna¬
tural power, she but despises me. Let the God of the
five shafts feel happy bv making my desires of union
with that person void of anv pleasure on account of their
fruitlessness. [11 ]
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Chitralekha—Have you heard ?

Urvashi—Alas ! Alas! He takes me to be thus 1 I

cannot confront him and give him answer; so I desire to
make answer to him by means of a Bhurja leaf which I
will produce through my power.

Chitralekha—I agree.

( Urvashi takes it in haste and does as said ).

Vidushaka—( Seeing ). Holla ! What is here, in front

of us, that looks like the slough of a snake ?

King—( Looking closely ). This is some letter written

upon a Bhurja-leaf.

Vidushaka—May it be that the lady Urvashi, unper¬

ceived, has overheard, your lamentation and has sent
this letter indicating therein her equal love for you ?

King—There is nothing to which desires do not

soar. ( Takes and reads it; with joy ). Very happy was
your guess, my friend.

Vidushaka—Please to favour me ; for I desire to hear

what may be written on it.

Urvashi—Well said, sir; you have proved yourself a

town-gallant. t

King—Listen. (Beads ).

“ Lord, if I am indeed, what in your ignorance,

you make me out to be, towards you who love me, how
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 is it that even the heavenly breezes are felt to be so
hot to my body even while reclining on a bed of crushed
Tarijata flowers ? [ 12—13 ]

UrvASHi—What, indeed, would he say now ?

Chitralekha—Has not he already said, with his

limbs acting the part of the lotus-stalk ?

Vidushaka—Fortunately now my friend has as much

cause for comfort as I should have if I receive a present
(just ) when I feel hungry.

King—How say you ! cause for comfort ?

This song of the beloved one, indicative of equal

love, and charming in its import, which is put on this
leaf, is, as it were, the face of her, with its upturned
eyelashes and its bewitching eyes, coming close to
my face. £ 14 J

Urvashi—Ours, then, is a case of reciprocal love.

King—Friend, the sweat of my fingers might soil

the characters; do you, therefore, hold this my beloved's
autograph.
»

Vidushaka—( Bolding ). Will the lady Urvashi, now

when she has shown you the blossom of your desires,
fail to show you the fruit thereof ?
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 facsMtS* I
Urvashi—Well,friend, while I compose my heart which
has grown faint at the prospect of meeting him* do you
disclose yourself and say what is proper about me.

CHXTRALEKHA—( Removing the Tiraskarini and ap¬

proaching the King). Glory, Glory, to our Lord !

King—(With joy,). Welcome, dear Lady. Fair lady,

In the absence of that dear friend of yours, you

give me no more joy than does the Yamuna, first
seen at the confluence, in the absence of the Ganges. [15]

Chitralekha—Well, the clouds come first, and then

the lightening.

Vidushaka—(Aside). How I This is not the lady

Urvashi; but the dear friend of Her Ladyship 1

Chitralekha—Urvashi bows down her head before

the King, and makes the request—

King—What are her commands?

ChitraLekha—That in her (former) peril caused by

the enemy of the gods. Your Majesty gave her protection;
she, therefore, prays that on this occasion, too, when
fiercely assailed by love that has arisen “at your sight.
Your Majesty should take compassion on her.

King—Dear Lady,
t

You tell me that the fair one is pining in love*

but you do not see how Pururavas is afflicted on her
account. Alike is our request to the God of love;
hot iron deserves to be welded with hot iron. [16]
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 Chitralekha—( Approaching Urvasht). Come, friend;
seeing that Love afflicts him /more relentlessly than he
does you, I have become • the messenger of your beloved.
UrvAShi— (Removing the Tiraskarini). Ah, how
suddenly have you deserted met

Chitralekha—1 will soon see who deserts whom.

But now offer you* salutation.

Urvashi—( Bashfully). Victory to the King !

King—Fair Lady,

Surely have I triumphed, since the word * victory *

which from your lips has never hailed any other
person save the thousand-eyed Indra, has now been
used by you for (greeting) me. [ 17 ]

( Takes her by the hand and leads her to a seat).

Vidushaka—Fair lady, here is the dear friend of the

King, a Brahmin, who remains unsaluted.

( Urvashi bows to him smiling).

Vidushaka—Prosperity attend you!

(Behind the scenes a messenger of the Gods )—

Chitralekha, hasten Urvashi.

The Lord of the Gods, together with the

guardians of the quartets, desires to witness to-day the
play, (so) gracefully acted, which the sage Bharata
has taught you, and which contains (all) the eight
poetic flavours. [18].
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 (Att Listen; Urvashi gesticulates disappointment).
Chxtralekha—Has my dear friend heard the message

of the Gods* messenger ? So take your leave of

my Lord.

Urvashi—I cannot speak.

Chitralekha—My Lord, this person is subservient

to another's will; hence by My Lord's leave she desires
Hot to offend the Gods.

King—(Composing his speech with great difficulty).

I do not wish to interrupt the task which your Lords
assign you. Only do not forget me.

(Urvashi gesticulates sorrow at the parting, and

departs with her companion).

King—(Sighingly). In vain, indeed, are we now

gifted with sight.

Vidushaka—(Desiring to show the letter) Why, this-

( When half through the words—to himself). Why, bless
me, I was so fascinated by the presence of Urvashi, that
I did not mark that the Bhurja-leaf slipped unconsciously
out of my hands.

King—Friend, you were about to say something.

t

Vidushaka—Let not my friend yield to despair.

Urvashi is firmly attached to you; she will not relax
her attachment towards you.
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 King—My mind, too, is filled with the same hope*
For at the time of departing, she.

Not mistress of her own person, seemed to lodge

her heart in mine, free as she was to dispose of it,
through her sighs indicated by the panting of
herjbosom. [19]

Vidushaka—( To himself ). How my heart trembles

lest my friend should now mention that Bhurja-leaf I

King—What shall now console my eyes ? [Remembering).

Well, friend, give me the Bhurja-leaf.
Vidushaka—(Gesticulates despair ). Dear me, it
not to be seen—has gone after Urvashi.

King—A blundering fool, everywhere 1 Wijl you not

search for it?

Vidushaka—(Rising). May bei it is here, may be*

it is there.

(Gesticulates searching it).

(Enter Queen, the daughter of the King of Kasi,
together with her retinue).

Queen—Girl Nipunika, did youtell me the truth

when you said you saw my noble Lord entering this
arbour with the noble Manavaka ?
Nipunika—Have I ever told a falsehood to
my mistress ?
Queen—Well, then, screening myself behind the
creepers, I will just hear his confidential talk—whether
what you me told is right or not.
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 Nipunzka—As the mistress commands.

Queen—( Moving about). Girl Nipunika what could

this be that is driven along towards us by the southern
breeze—looking like a tattered shred of a garment ?

Nipunika—(Looking closely). Mistress, this is surely

a Bhuija-leaf on which are to be seen some characters
when it is turned round (by the wind). Why, it has
clung to the end of my mistress* anklet. How ! Shall
I read (it) ?

Queen—Read it to yourself. If there is nothing

objectionable, I will hear it.

Nipunika—( Doing as bidden ). Mistress, it is that

same (story )-what looks like a scandal. It seems to
me to be some song of Urvashi addressed to my Lord.
It has fallen into our hands by the heedlessness of the
noble Manavaka.

QuEEN-Well then, I should like to know its contents.

( Nipunika reads what was formerly read out by the King)*

Queen—Well, I will see this nymph-enamoured person

here, with this very present.

(She goes round the arbour along with her retinue).

Vidushaka—Well, friend, what do you see yonder at

the edge of the pleasure-mound near the Pramadavana ?

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 King—( Rising). Noble breeze of the south, the
friend of spring,

You may remove from the plants the flowery-pollen

produced by spring for (scattering) perfume ; but why
mainly rob me of those characters written through
love by my beloved with her own hand? For surely
you, who are known to have loved Anjana, know that
a love-affiicted person lives on such means intended
to solace his heart. [ 20 ]

Nipunika—Mistress, they are searching this

very thing.

Queen—I see.

Vidushaka—O, I was deceived by a peacock-feather

of the colour of a faded Kesara flower.
King—So I am ruined everyway!

Queen—(Approaching). Noble Lord do not grieve.

Here is the Bhurja-leaf.
King—( Confusedly) Oh, the Queen. Welcome, Queen.
Vidushaka—(But) now it is the reverse of welcome.

King—{Aside). Friend, how to meet the present

(situation ) ?
Vidushaka—How can a thief answer for himself,
when caught with a portion of the stolen article on
his peison ? »
King—Queen, this was not the object of my search;
but I was searching some other object.
Queen—It is but proper to conceal one's good fortune.
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 fcMtisi w
Vidusbaka—Madam, quickly get ready his dinner,
which will be an effectual remedy for his bile.

Queen—Nipunika, how well has the Brahmin consoled

his friend I

Vidushaka—Madam, don't you see even a ghost is

laid by dinner.

King—Blockhead, how falsely you represent me

as guilty 1

Queen—It is not your fault. It is I that am at fault,

since I stand before you even when my presence is dis¬
agreeable. I will go from hence.

{Gesticulates anger and starts to go).

King—I confess my guilt; be pleased, O fair one,

curb vour resentment; for when the master is angry it
cannot be but that the servant is at fault. [ 21 ]

( Prostrates himself at her feet ).

Queen—( To himself). I am not so light-hearted as

to take his importunities seriously. But I am afraid of
the remorse that would be caused by my incivility
(Leaves the King, and departs along with her retinue).

Vidushaka—Like a turbid river in the rains. Her

Majesty has gone off in (high) dudgeon. Rise.

King—( Rising). Friend, this is not unreasonable.

The solicitations of a favoured person although

full of hundreds of flattering compliments win not
 nrfarrftr * wftptf
ufaft* «finro*i<rf5nr: 11 rr r

Rl?jwr.—«rg3^ *?***$ ^ i <n | «far-

gfqqrjt wffcgfc sntf^
* tpRt. i *t qfti*j% <taftmt i

nut—*it *m** | qfrtfNqmwiffr s qq ^*pf

qfww i fttg wfttqiatgf^mt'4<»4l^4n<MR<»% i

s firjs qra ’sfh^r i

nsgor^r sfffat ^rasws *r? l *rmft ^ *ito-
WtSTJT I fcl23 <TOS. Wt *ftal | fgf^W)
bph»ibi 3ftf^cPR3wn srer^ i wra: qg swirai 9ft an. i
ttstt—[ ] *rcmv f^rcrer i

4 must fcfVl fgtfK'Fa a<|4<a'M*ii& fsiqft

f*tI*IWMT< 4>fvnRK^<<iiMii«n^ i
«rtl qrfr fintw
iflqifrvjfa %rq qarcgq;; jfrat sra qrofr mu

[ ?ft ft"RRn: | ]

Tfa fa^fHtf: I
 OpfMta i V'
touch a woman's heart In the absence of (real) love;
just as a gem artificially coloured finds little favour
with those who are the connoisseurs (of that art). [22]

Vxxhjsbaka—This is quite agreeable to you. For a

person whose eyes are dazzled will not bear the lamp-
flame in his face.

Kjdg—Do not think thus. Although my heart is

given to Urvashi, yet I retain my former regard for the
Queen. Only I will face her courageously now, since
she has so disdained my prostrations.

Vidushaka—Talk not of your courage. But please

to sustain the life of a famished Brahmin It is indeed
(high) time to bathe and eat.
4

King—(Looking upwards). Half the day is over.

Exhausted by the heat the peacock now rests

in the cool basin round the root of (yonder) tree;
the bees tie snugly inside the Kamikara buds, having
forced them! open at the top . the water-fowl leave*
the heated water and lurks in the lotus-plant on the
brink; while the drooping parrot in its cage in the
*

pleasure-house calls for water [ 23]

(Exeunt Otnncs)

HERE ENDS THE SECOND ACT

 [ ?ra: sf^rat wafcwfl i ]

l JTOR:—?r% qg^ 4|«tj#4>wiv<nita

ararrcri qfinnfipr: i ^nft-
atapi • «m: $%9if(r I arfq ad: iraHN
^ r^HJT wW^TOWRfl I
fie#*:—»irew "i an9r arrcitg^i or qfcr i wfta
qor «wr|-%^-orsq arc#-*r3fe& Stg
% %g wrqrtg nww anfa i f% * ard
STTOfiRTT * I FrfWT g*: WH?fl*<M>l«i;<tMt ^Spft-
wwt ?ig ag wrHftg ?Rpft ni*fter. i fa 5—
JTOR: —fq ^ qrqqdq: I
fcfWi -«mr i irft gam q*n^-«rerfej[
onfd 1 anq. 1 ^ swprr’sfafwpfar 1
*m St*PT: —«K*lfiiq 1
fifcfai:—?S«#-gRraTO qpnoir 3sq*ft qr®oft-
gfirorra qywywpr ftofsnq jfagqT 1 sif* wimm
i£ dcfttwgsfdsn fnt^rar afrr-qissr t qsqnfar %
mqiftMd f% t a^fhj^rat aaflwr sir# to-
aftqBrerai #nFrai ^wn ?zr 1 qftr omro? %#•
*1 «wggw «Wn WWR5?: 1 «a*rffcr# wnfafa^r tfp 1
qsawr—atrenr: 1
fjpftq:—rrd ?ro fftsitarfr ffc *rf^%
 ACT ni
(Enter two disciples of Bharat a ).

First—Friend Pallava, you were asked to cany the

seat by our preceptor when he had gone to Indra’s palace*
while I was left behind to keep watch over the holy
fire. That is why I «isk ; Was the assembly of the Im¬
mortals pleased with the performance of our master ?

Second—I do not know whether it was pleased or

not. But then it quite lost itself in the various emotions
of that play of Lakshmisvayamvara composed by
Sarasvati. But—

First—The rest of your sentence seems to imply

that there is something wrong.

Second—Yes, for Urvashi stumbled in her part.

First—How was it ?

Second—Urvashi who played the part of Lakshmi

was questioned by Menaka who played Vamni's part 2
Friend here are assembled the best men in the three
worlds—the guardians of the spheres together with Keshava
To whom inclines vour heart ?
*

First—What then ?

Second—Her reply should have been * to Purushotta*

w % imn[t i «ww gRiww (for xftia^r 3?
1
^Wlm Tww! |Wt 1
nfv C - % .

tow:—»faTOngfsnsmft»ftPgqiftr 1 n ng am-
t» fayft gc: 1
fWfou—w ^ aror wgiTO 1 wtk+Va *«
<1311^1 1 ht «5fswr mcm^ri<nt4t«r gaa-ptflmi
i> nqir--«<ifin r
fipflw:—5t* *w g* gff^i ?fcn or ic
sm efawfr % tos^ww anwt 1 aft-
U sSpw to ^TO«fTOiir «wTOvg<t qfim
arfro towtwt ftr w«r ^ w-acraw tuc-
flpnt fcw wnj 1 an gw gas-
sj, asac TOf%s an «V g* f^snrwrart *Jtf% far 1
TOrorero HfNgam =r 3i ft?a wr *ifinzRft%
«TORTPt ®m: t *rf-i(oi <ga: asnappmr wsnaaaigaft
at nf*ra? a<R*K aawwrRr naa nromaa anilf: fiPwrr
TOftan 1 nr ?a *mm .yaangqRigaa aiarr w wft
?f^RT aaF^r 1
«a hik hvv gwwnfa^l «%*nw 1
ftafN:—tot-toiN an%fe *w*w
arfirilw-^WT apg ^mapaw 1 matffc % wr-
«*< arftwfawt (la 1 awisaitR awnftmwn aiRrta&w
a^Mi«<iiaw 1 g^area wSaftafMI *rm: 1
[ (Rr Prwipfll 1J
 3KftitSf:» Vv
ma,' but instead, the words * to Funiravas' escaped
her lips.
First—The senses are but the slaves of destiny.
Was not our preceptor highly displeased with her

Second—Yes, he denounced a curse upon her , but

she found favour with Mahendra.

First—How so ?

Second—‘ Since you have forgotten my instruction,

■you shall lose your divine place; ’ that was the curse of
the preceptor ; Mahendra, however, at the end of the
performance said to her as she stood with her face bowed
in shame, “ The royal sage on whom you have set vout
heart, my ally in battles, is entitled to my favour. Do
you, then, as you desire, remain with Funiravas till he
beholds the child you will bear him. '*
First—This was like Mahendra who knows other
men's hearts.
Second—( Looking at the Sun). In the course of the
talk, we have indeed passed over our preceptor’s time o*
bathing. Come, then, let us approach him. (KXrtini)
END OF THE INTRODUCTORY SCENE
 g*-..
NS® IfWWw

[fRt: srf^lfa I

*W: qqfa qqfr a«Jflqf:r f 3^

wi^9iqta*K: qreq?t fSnrarq I
«ww 3 nfwfqqfira mqqsift 5T^

sfoimm qflorfa*** jrftg mitfamg: h ? 11

[toss* 1] aufi^fei mftqmn *t a^sqi H?r

#mpn3 >rar iipiSt^ ^
* qifejft M5KI3T: 1 qqq BJ^pn^ fiTOTT^fir |
qiqfqqisftqqfmqtfeqraTO nsrcni qqqrfw 1
[ ifm -sw^ts q ] ^qqftq: mg i^qmiqmiqg-
i, 1 ic ft

3<qftnri *q qrmqfqg ftsnfajficSRT

mimKuqa: wyqqfeg ^*n%g gtfqranfc

*»IW|f?5^tfiraBT fqqmq aqiisqfmiqq*. 11 Mt

[ ^nsnfiqq ?^n ] aft tq qq- sp*q?ft \*f- l

qfatqqfqqiqmfltaifiT:
qftfw qq fqmft ffiqmifa; 1
fnftftq qfitacqqw^qr-
^?re5Pq«mffiqfH?if«» h * u

qwfrqqqg><wmfi ftq?r. nftqigqift I

f qq: aftsRi rofqfifrft *rj i }
i cnrr—[ wpiqq ]
 arfWtaf51
(Then Enter a Chamberlain)
Chamberlain—As long as life is vigorous, a
married man strives to acquire wealth, and afterwards
relieved by his sons of the burden (of family cares)
he takes rest; but to persons like us old age is a
veritable servitude that sajjs the body every day !
Alas, for the duty of watching over women 1 { I ]
(Walking about), I have been told by tlie
daughter of the King of Kashi who lias engaged her¬
self in a vow, that for the fulfilment of that vow she
having laid aside all sense of pride, has already requested
His Majesty's presence through Nipunika. 1 nave been
now asked to make the same request on her behalf. So
I will see my Lord who has now finished ‘ his
evening -prayer.
( Walking about and observing). The scene at the
palace at the close of the day is certainly so delightful
For here.
The peacocks drowsing at the approach of night
look like sculptured (figures) on tlieir perches;
the pigeons on the terrace-tops arc scarcely
disting shable from the incense that flows through
the lattices : and the o Id matrons of the inner apart¬
ment ready to perform the customary acts (of the hour)
are distributing in places adorned with flgwer-offer-
mgs the auspicious lights of evening that are
burning brightly. f2 ]
(Looking towards the curtain) -Ah My Lord is coming
hither.
Surrounded by the torches borne in their hands
by the female attendants, he looks like a mountain
moving because its wings are ttnclipt, that has the
tall, thin, K&rnikara trees in fuil blossom on both
its sides. * [3]
I shall, therefore, keeping f\im within sight, wait
for him.
(Enter King as dmcHbtd and Vidushaka).
King—(To himself).
 iwKvonf

fM swt i
a:a g qfa<Uiftl<|fefrl ■ « •

ar^WT—l 3VW* ] wag wag M* I MV ft*l-

«nrfir afuitwi^ i aw fritter
%M afMiwftrgfswBifiiaiag aHMtwdN *flr i
arar—airf aia«i ftwimar MV tret «r? gfo i
araMt—wpsmafir Ms i
[ Sww: ]
mji tw fk sRsnsw m Mr wftWt-
awwt: i
fa^aars—at a$Br aig-airogtai araaVat «p-
tow w«wn^-^n,r vwj-iwr w i
VTt: cf&nfo cn<TTOI^Tta cW^rfr 3ftmK»R W!:
a
5|f«m»-

na*tR na?|*fofa .
arait-saM wawnr i war %
•waaamfawim: wi?M'a»taa*witsBt i
Brg«*5iraa*:?T aBwigaowafeisr: i s i
ayMia afwssagswnTg. >
fil^aa;:—-a*V *$t wa i ifwai nwi-naw-wfM-
ftoTir afeasfa- wtaifrar amtsrj wi a^tanar-
wamfarsr afagfaw i sn s<fi srawc i aw *aa-
<H3re*ft}wr «f2**tfaaw£jsr amK^aaia. JKivrw»*pfta
afagnq i
twn—wrdamw: i
f a* mqpna*r?«r i ]

fosaws—[ ftwtaa 1 at awrewM <a* straw

 srfms*: i
I c^uld pass the day without much difficulty as
the cares of state drowned all anxious thoughts
of love; but how am I to pass the night which,
on account of the absence of any diversion, will
be ( drearily ) long in its watches ? [4 ]
Chamberlain—{Approaching.) Glory to our Loid ! Her
Majesty requests : “The terrace of the crystal pavilion
affords a glorious view of the Moon; so in the presence
of My Lord I desire to wait there till the Moon enters
the asterism Rohini.”
King—Noble Latavya, say to the Queen. “(Do) as it
pleases you.-’
Cmambhrlaxn—As Your Majesty commands.

( JO¬
KING—Friend, do you think it is really on account
of a vow that the Queen undertakes these proceedings?
Vidushaka—Well, my view is that her ladyship,
stung with remorse, wishes to efface the indignity with
winch she treated vour prostration, under the pretext of
her (present) vow.
King;—You speak the truth; for,
Proud women having slighted the prostrations of
their lord, are subsequently filled with repentence;
yet with all this they are secretly ashamed of doing
any acts conciliating their beloved ones. [5]
ViduS-HAka—This way, this way, sir. Here, up the
flight of ciystal steps gleaming ( white ) like the waves of
the Ganges, do you, sir, ascend the crystal palace which
looks so loyely at eventide.
Kxng—Do you ascend first.
(AH act ascending the flight of steps )
 i 315 ftrf»n:-^f*TODT gsg-fipar-gii an-
55tbJ-g?8T SR*IW<R -vsfaflp WHI

*nn--hwiis *rai* i
ayntjEOTnurdfariHWwfet%tFSm; jrfaartftft i
gi->n3 5<Pt ft gfcqmfo;gya*i,

fcr^«ra::—st i\ i wt
rfsrx ^an^nt 1 sO ^Vnm: op v^rmTimh*
afigi ?i^( %5ntftj?w i

JCT3fT—[ srfwm ] fraat?fta;a*i sTMt^grlaPr

fgf»T?r [ aiafe sri«im' ] vrn^srmrr-'j

wat Fsott^ apwr awr ^n=5 Rraar i

?r*raf fk% *Esaf R?rf% s^Tifaffmm* *«** iivaH
[ 3faf% ]

fil^jWR:—at aapuswifw^w^m % Pq^iwlui

\ aiK^gnnTT?T 3iraat-f|^r stf? 3rra *xk rr gsr-
aftoft wtfir i nr: srT^oT^Tfen^TOT
HT^nf^Rfr v& rnnnr i

% KHU—[ qfr*i*l &qtm: \ itR‘h* ftwr^T ]

gifasji^rqt ^Pg«swr fa» ^Pi^wisfw^sf i
fircnw*g vmw- i

MpliW—3T idfC!%^ I *K %sr HlfritRlft »

{ f*T®BRT: l]
 Vidushaka—O, the Moon is just about to rise since
the Eastern horizon, relieved of darkness is so lovely
to view.

King—You spoke the truth.

For, now that the ( evening \ gloom retires before

the rays of the Moon that is hid behind the rising
mountain, the face of the East captivate? my eyes as
though her ( masses of) hair are pound up. [ 6]

Vidushaka—Ha! Ha! Yonder riseth the King of

the twice-born, looking like a broken ball of sweets!

Kinc- -(Smiling). A gourmet thinks of nothing else

but food everywhere.

( Bowing with folded hands) Divine Lord of the Night

Bow to you w"ho dwell in the sun to enable the

righteous to perform the religious rites; who regale
the gods and the Manes with ambrosia; who destroy
darkness prevailing at night, and who have placed
yourself in the crest of Hara. [7]

( Rises)

Vidushaka—Sir, through this Brahmin to whom he

communicates his words, your grand-sire bids you sit,
that I too, may repose myseli.
»
King—( Saying ‘yes sits; looking at the attendants).
-When the Moon shines splendidly, why the superfluous
light of lamps ? Rest ye.
Attendants—As Your Majesty commands.
( Exeunt)
 nwwiww
rrat—[ ’■'Wtottowi ] w* ^cwfwnnrw
ih iron i wq^ wufawrrfif tottotohi i
furors—1or «*«w *n f« 5 mft« *rg?rw
^frorw «r® wifn-w^w wwiwwiig 1 sigeprc
W m f% 3 TOTO^TPr 8jHT JPFWrenTO* '*13114
wftgn 1
wnn—to&to. 1 wwwiw. gw»fcr wmMwnw: 1
win to nwriff farwfwrarTOnrTOf&wiln: 1
fflwTOwnw^iit mifcrcrar: wwgnrhrofei 1101
fw^ro;—anri wfij&mToirfi wifi wfcw wfcsftr
w*t wf^ fircr-w<n<m if ^ronfcr 1 to >n<£ra-
3 *wisTf4« to vr'f fro?wm n T^nfa 1

TO—[ Wftm ] wtost

wwtf*rowrnR^$wrfaw g^wmq; 1
*ra *ri TOf^rofgri»TOgwT?r ^f$rn; it «. n
—nr 5 siwtot IHIW WWW I =r ^ TO
STTOW E1W5BT I
T [ THtt TOTOfelSfa ]
[ afire? «’<i« wfifcnftairo ^srt *1 1 ]
[ wto* fro^? ] to faw%i wfw ^wfw
^ % ww if woiuT^tn-wjfrot wlw$»-wft*TOf
nitwftni-irif 1 to f%*%% ftw4 N % 3to-
wTO^rit !ftai^+’iRa?tfiiw#w%«r: 1
«, Prr^n—wfrw % inwr-frowt wnfef 1 to g
 qKfefcgs i we
King—(Looking at the Moan). Friend, the Queen
will be coming after a while; so now* in this solitude t
will describe to yon my condition.
:

Vidushaka—Why, that is so manifest. But it is

)x>ssible to keep up your spirits with hope considering
the intensity of Urvashi's love for you.

King—That is true; and yet severe is the agony of

my heart.

My "ond desire becomes more fervid as ( fresh)

impediments Obstruct the pleasure of union, as the
current of a river, checked by uneven rocks, splits
itself into hundred streams. [8]

Vidushaka—Since even with limbs attenuated you

look more handsome* therefore, I argue .that your meet¬
ing with the beloved is not far distant.

King—(Showing that he perceives an omen.) Friend

my right arm by its pulsations soothes me that am
heavilv suffering* like you with hope-inspiring words. [9]

Vidushaka--Surely the words of a Brahmin will

never be falsified

(The King is filled with hope revived).

( Enter in the air Vrvashi dressed as an Abhiearika

and Chitralekha).

UrvAShi—(Looking at herselj ). Now dear Chitra¬

lekha, what say you t.# these blue robes of an Abhisarika
thus scantily trimmed with ornaments?
vsc
fw*?tfw i aift orm g«<in w%w ft i snfta
Jf sifaw: srerfagg i g Rwjwnfir i o#t toi?
\* gww w%*Wa I
3#srl—«ft wgnit % gw wm%ft ! fa*«r Stt*
w to ^p~w«r w^rft i wg cTOBimf^ i
H sfto srw wi nwr iw'ww •swftnr i
fVsr^rr—or «ci gftwiftg fta* %wraP«ri:
ftwgwgw % #rw *5 I =f%=t<i 'rfHfSirfira
n« %KraftHsrt foiawwi ^ »mg7'iH «: i
—5|-<*r ft; *r*Twgt sroifft gtw w;ft sit ww
ftwwwtct f% gt arqfifsft fil l ^ fe swwg
w4H5f fTMT. s w wq f«qqrr f% 3igPreiftfs i
Rnrfctn—[ «*rai i wwng ] wtj grw
■31*1 [ srctqg ] gsn w*rt iniiR:«-55st-pTWT-*Twr-
\* arw ^j# stnjew^rt T*itw-wwft wfwt&ftsfti
*wg qsrfar^qrfif *wfrrvn i gwj ng w^nwa^innnxw-
wwigw*wTOtnTOswsRt f«re% I
qwifit 11
•ftnr%ar-g^ wit^nr wwntftrwrr ftwf-^rwrww^w i
g»^ *t g^rot firer firaraqr»wrcq i
1° 3$nt—{ wt^rag ] wgftwef if ftww »
wgfa'fr ^ sgqg j
fo*%«ic—[ firwte* ] w^rf wfot-iftwsr-wgf gww
ita-^rcrwt .1 wt wft Tw«im «r i
tjw wf9iK«pisit wmwrwwfim wwfif: i ' awrfa
<?«gi
^ W5RR5H I
tott—*si«n *re ftf**ft w*wwiOn
 qOdtey. i ^
Chxtralekha—Words fail me to describe it. But
this is what is in my mind Would that 1 were Pururavas l

Urvashi—Dear, Love himself bids you-take me quick

to that loved one’s dwelling.

Chitralekha—Here we come to your lover s palace

which looks like the summit of Kailasa changed into
another form

Urvas —Know, then, through your power where he

is, that thief who - has stolen my heart, and what
employs him.

CtfiTRALEKHA—(Contemplating io herselfWell, I
shall chaff her a bit. (Aloud) Friend, here he is in a
place fit for enjoyment, happy in the company of his
beloved whom he has obtained according to his wishes.

( Urvashi expresses despair ).

Chitralekha--Child, but why any other thought about

the company of the beloved ?

Urvashi—(Sighing). My unkind heart becomes

suspicious
Chitralekha—Here is the royal sage with his friend
as his only attendant in the crystal palace. So come let
us advance towards him.

(They descend).

King—Friend, how do the torments of Love increase

with the night I
<o
fN.t X «V
fwraJW

srfert—grfqifarwif^qr tfirorr wftsr «rw»faq*

^ ft fftww i vmfoQ w gvror ft jftMH' aim
oft stfa i ariMffonftn sftst 5Frft? 3V%
sr*r $<yqn i aF=rf*rr rr=r n%i: *31 wrap? bpr'-
If? cRO: mWHWt *Rf?I I
famftmT--* ft ftarfa l *ra; a <R* i
fft^w::—ot fft safim-nswr ft4fc»r-a ****-*1*1I
3% *lftn aPplW: fpaeai ^MRI: I
nm—na^q uTiamf^fityg'jytThigm^! i qrr I
$U*wmsi sr smm «r ^biw^t
ST V KfWW sssrflftof * =HT nfoisrcsr: I
smfararaar s=n m fip*n vngnrrtf^sT-
awsft—*t *r anrtr i « srmi i
<f«I-

T*fft ^tift^EBn ^T <r*rsrfil®n «*n li t® I

9

—fftsssT snfvr *r sfijpir rft ftasftm g*

’Art BBTSbI I ST* T^pff S!I5f^TTHT ^T: PBiRR 3*11
\ najmaww. i
ffts^r:—arnr l ifq anp ffts-sfi^sft-sw-sftanf
«r aft a*r v qrsisRTt wfa’BMStft srimftfa i
<■ ann i sicnft snp ftmftsfoi'raft** *r «ft fraff narr
hppwm: trtfaHWHfefir >
• •

QVT—UTO %$ TOT: I
s, fii^ws;—spj fir n snfaft.gr rnfitmrfft i srnHftr
*nnfcrtir arofa \
 wfrtat* I Ct
Urvasei—My lugut is all in a flutter at these dubi¬
ous words; let us, therefore, remain invisible and overhear
his unreserved utterances till doubt be all dispersed.

Chitsalekha—Just as you please/

VxduSbaka—You should enjoy the rays of the Moon

that are charged with ambrosia.

King—Friend, small is the power of such remedies

to mitigate this malady. Mark,

Neither fresh flower-beds, nor the rays of the

Moon, ncfr sandal-smearing all over the body nor
jewel-necklaces will allay the pangs cf Love; she alone -
that woman divine can do it-

Urvashi—And who else?

King—Or secret converse regarding her can

mitigate {the suffering). [io]

Urvashi—-My heart, now have you reaped the fruit

of having gone over to him after deserting me.

"Vjdushaka—Quite so. I too, when 1 do not get a

dinner of dainty venison, but feel a desire for it, take
comfort in Speaking about it.

Kty.—But you get that.

VxduSbaxa—And you too will get it in a short time.

 rWwTIR

m fkafrwi—gg mrgfc 55 1 **S «dgk **a 1

ftjaaf!--«t Rnr 1 <wft* 1
tnrr—
ari trot awjitvrKaatert fkitretr: 1
aa>; i^ft kaww git we 11 it n
fkakm—fk vftrfiraMtafiti ftfiRnff ftwwfin
apfftja ] wst wait fk w <rr
i m<Dw wu <(ra<n i pi wsw mt uni
3TOffr P npna: |
fka«tan—[ «rfN?m ] «rf^jf*ftk agBrai«-ftFC-
% vatofNt fk 1 aRwft?i 3»3%ffK>twftii«nft 1
[ kpk 1 ] fit fit *rffc»rt 1 t* *it aif i
[ w I]
[ afoft ^ w?*n Qm<wii i J

s fafa*.-.—afro wfksr ^tItt kit 1 m wk-

snrt irff 1 after after ^4?n^ti aa.qiiaitmi
arant—wawfk wgdusrcwream. 1
skirt—5«t fk aw mfkiri iw fkwwikgi
^ "V ♦. *V ^ _» ,
HV8Q!—3T5J I «F8TO[I ^11 IMW-
fkmikm arsfk-af&ft it«fk i «i m am
«n far: i amrilk* i aaifta aw» i sro*
i^umi rniffafaft i?®i i wi a fat tqrnft i
r<ra= afiafa 3frnrrftafw#spn kft 11
<\e kit—[ swifta a ] ck fksfka wit
tuCT’wTO sntt*wn ww <3cmi
 qrfNtf: i a
King—-Friend, I think that-
Chitralekha—Hear, unsatisfied that you .are, hear.
Vxdushaka—What ?
King—This shoulder that was pressed by hers
owing to the jolting of the chariot is the only limb
that exists with reason; the rest is a mere burden to
the earth. [i i]
Chitralekha—Why do you delay now?

Urvashi—(Suddenly advancing) Friend, although

I stand in his presence, he deigns not to regard me!
Chitralekha—(*Smiling). O impatient one, you have
not put off the Tiraskarini.
(Behind the
This way, mistress, this way,
(All Listen).
(Urvasht and her friend feel despair).
Vidushaka—Holla, the Queen is here: you had
better be mute.
King—You, too. should conceal the expression of
your face
Urvashi—What may we do now, dear?
Chitralekha—Don't you worry. We are invisible.
The Queen of the royal sage wears R dress befitting the
observance of a fast: she will, therefore, not tarry here long.
(Enter Queen rviih attendants carrying
materials of worship).
Queen—(Walking about and seeing). Girl Nipunika
€i

id fogM* tpr titxm *m*t

\\ iWWR: I

W~*IW"WTO VT iwK-UIMI l>ll«wraj

*3 VUlffon *raf ft$towiV.«: I
w fftgqa-.—{c^T]«t « amrffc tMfe-ftwt
^ fa «T5 awfr qq mq^ftn git-tan qfa-
qiq-»fft qnfi« jna fa «fv «fqqfr* gi-
4wit i * wsnftr wftmra* am
«# gwftm nftnmHrsq* mifaifa *m
qqq*it: gqqfrn W i
x- tr»n -[ «%nrc ] Tnuft q*fr i mnft1 arom
q® <mwfo far wmt nftr *nf?r i qqronft
faqra^i wTf^mq^mT
qftq^nTi^sifiwwgq;11

qfq q*rm qjqq »qqfc I U I

8^1—1 ot)*h ] *3 %5 «Rnmt t qqg m®

*n$gq: i
l qfam:—3rg *5 »rp • ang qqg qrf I
fqgqq>:—«f?q I wfa qqft |
na—mini ^ [ at twi q<lst afa% j
«i ajqft—car ga zA qqirftqfg i
fl. ft

ti ni wtiwn win mvf^ni I fwi

MtqsfcitWfa i q ftqfir qftfcft qmi qtqfferaqr i
 OPuft I
this union with the constellation of Rdbini yields new
brilliance to the divine Moan.

Attendant—Does not His Majesty in the company

of the Queen look so beautiful?

Vxdushaka—11 do not know whether became she is

to offer a present* or beoftuse using 4ha occasion of ths
vow to lay aside her anger she (in fast) wishes to oblite¬
rate the recollection of her contemptuous treatment of
your prostration-hut iler Majesty to my eyes looks very
charming teday.
>

Klift;—(Imking). Both are likely; but what yon

said last appears to my mind to be the truth; her ladyship*

Clad in white garments, wearing only ( a few)

auspicious ornaments, and with ,tha tresses of her
hair marked by the sprouts of holy Durva grass, ap¬
pears to be reconciled to me by Jtler very bodily
appearance which lias dismissed its haughty bearing
under the pretext of a vow. [is]

Queen—(Approaching) Glory to my noble Lard I

Attendants—Glory to our Lord 1

Vidushaka—Prosperity attend your Ladyship!

King—Queen, welcome. (Takes her by the hand

and leads her to a seat).

Ukvashi—Friend, how properly is she called *' Devi**;

for she does not fall short of Shachi in dignity.
 fan&gf—*fat* a s?g
anrowg^s **few*^ i
^—WffWT JpJ fTw CT W ^"WwIT w?
i ?rr 8ji wtif tsrft^n i *n%$r
^tfq gKTfijfrft *PIT I W, OTSyrftw:
OTcirn^ i
acnrt—*n i aig»5: *t*r&vr: 1
ftjwr:—fftat iTORft wjasft
**3 I fro: ^ffeniWTgrrliifr *5# *f?3 > '
tntr—ffenpq*f^?r^ ^1 .ar?m 1
[ Mi 1]

BljfnnBi—wp ftangproi^if «m*r 1 *ifc fiw>3-

sRn^st «iw 1
*nCT—[ M? ] qvqg

»TT* *ftM«H?<W>lWH, I

b ffe war ’traaw srarcr^ » « li

grWt—nvr^t ^ & mfet *f-*TTOt 1 **Ft

*3c<rsr vci^i aj*|R: }
1 fiwftw—git a»wit-^wr-^*4n«ft onwRwi
atftm ^Uuwil irfitr i art* *p* wsrtWRAnwt
hhiR%i aif^ ^mr 1
^ft—[ «ftnw ] «ft **q« Bf-qfKmcw b*
q*rot af qf%rrt *wnf^ ■rareBt i *p%aw bt-
"iRnpst art srom: «iVim. »ifc*Ri sn^gw: 1
 qtftvtl-1
Chztraierha—Good* you speak without envy.
Queen—I have to fulfil a certain vow with my noble
Lord's help: bear with the moment's inconvenience it
may cause.

King—Do not speak thus. It is. Indeed* a favour and

no inconvenience.

Vxdushaka—Would that such inconvenience often

befell, that I might each time receive presents!

King—What is the name of the Queen's vow ?

(Queen looks at Nipunika),

Nipunika—My Lord, the conciliation of the beloved*

%

King—(Looking to the Queen ). if that is so,

Then it is needless, O fair one, to wear this form,

delicate as'the lotus-stem, with this vow. How, do
you propitiate this slave of yours who eagerly seeks
your favour! (13)

Urvashi—Great indeed is his regard for her.

Chitralekha—You simple one, these citizens when

they transfer their affections to other women, become,
indeed, very courteous (to their wives).

Queen—(Smiling). Such the effect of the vow that

My Lord is made to speak thus.
<C ffwIWH

% Rrfjwfj—fircJTj i »* wm-
ftj i *rh;' i 5* g*nAft ngnftiR i
^~fnw^f wrtra <N(iM vn Hft—
xx i *ifro imn a*H»-
fiR* qm. nAqpj«wl«mm^w^Rt i
mRjW-— **rt I TO TOIJ3-
x<t ni!|W. i
—[ sn^R »ptig«<iAf«w^;NRH'Hpj ]
ow-vnrnvnnMii iv nw*
•)« ^TOlftTOtTOWlfalTO* 3WPI |

qfem—^ «rro%ft i tow-wtow «ro to*

% I apt.?!’#* ajnrmffT i aiAnnw v&n. eirai % i
ft$«WR—[ 4>TO>xm4 ] 4)(ri xfrfc i wf-
<K)jy ^ 39TOt Stj I Wfei TOR I XJMkWIXIV-
xwit «ng i
x1* W-«rarw TOt i «n4spr WW4 I
TOT—«wnftwr I
W—[ W: qfrwfipRq sns^rfe: ufoiror ] mr X(
^ wfwjur iii^hnwr-a^gjwi
«tv-xm wg«wftft i «mr-«nft H iM
«Cg«g<at art <n«a^xi*M *H»n«wmmTOft
*• wk ** *ftft-TO^"r ft i toi* torAs*
TOfigR «n%M^>Knx«Ar t tnwnjRr
«rt ffemris?: hiWi m snlipra TOtrorofiFft toi
II mi AfaA* afihwBiflr i
 CK
Vidushaka—]Forbear, my friend. You ought not to
oppose auspicious words.
Queen—-Girls, bring to me the materials of worship*
that I may worship the rays of the Moon that have
streamed into this crystal palace.

Attendant—Here are materials of worship—sandal

flowers and others.

Queen—(Acting worshipping the rays of the Moon

with sandal. flowers etc.). Girl* offer these sweets used in
the worship to the noble Manavaka.
Attendant—As the Queen commands. Noble
Manavaka, this is for you.

Vxdushaxa—(Taking the platter of the Sweets). Pros*

parity attend your Ladyship 1 May your fast bear mani¬
fold fruits I

Queen—My Lord, please to come nere.

King—Here T come.

Queen—(Acting worshipping the King, and bowing

with folded hands). In the presence of these twin
divinities—Rohini and the Moon—I now conciliate my
noble Lord: henceforth whatever woman attracts my
Lord's regard, or desires union with him, will be treated
by me with kind complacency.
 »4aft—1«nnr ffe-gi. | garni Rm urn
gar 4tarcr-fta$ fag* arf*f i g$ a aft ft*
$$ m *aap>ft i aa aaflarafta* *aa *rea •
—flfi W9(IW u(^'4^n iffifj-
waig* <w<w:nil % fim aawrwil tftaarfg i
^ afar ariaami aftaaat swjpw: aaaroa^i feraar-
agt afcaft i
nftpnu.—18i* j iiv-i?iitwtor nuror-
v* «n*v<t [ m+wh.]
*W^ ft? mftot Pi at gggg i %*feit aift
aajfi& f^ar tffcift gaft ggf gf^rcftfn i aafi?
v*\ ft aisa; 8wh«hh i

W—*gi at ^ argofl giraai^a awt

Fui*5^«ft< anj rssrfw i gfti«c«r f^r4ift gig
ve ftg* aaRi i *£? 3?i ggareaa: g^wiftn sn%a
ftylSlW. ^S|VB|f% | Ngpt 3Ra.fiNt a %% I
g«-

gig ** gggfcr *w*ggt arjfft at gran i

art jsrorm *g van fc ai vr^t ata n Vi ll
Wt—fMi arrm an argT-ftifgigwiifiw ftag-
gpraigui ag i giRatwfl gg *re»n l [ aftiar
I ] aa at ai ai i aaiftt^a aaif^ BWTgaara^
aa»j i giffti aa aasia: i
TTarr—fin* a areg gqtffratfia gfg tfaftrftiig
\ graft i
 Urvashi—Welt I am scarce able to divine her pur¬
port# yet mightily do these words assuage the apprehen
sions of my heart.

Chxtrale aha—Friend, nothing will anymore impede

your union with your love, now that it is assented to by
this lady of such an exalted spirit, who is such a devoted
wife

Vxdushaka—{Aside). When the fish has broken

loose from his hand the fisherman in despair says ‘ A
meritorious deed would be recorded in my favour. \Alotta).
What I Is His Majesty dear to you in that manner ?

Queen—Fool, desiring to promote my Lord’s happiness

I have resigned my own. Think from this whether he
was dear to me or not.

King—Yours the power to give me away or

make me a slave to another. But I am indeed not
what you—O timid one-doubt me to be. [ 14 ]

Queen—You may be so or may not be so. I have

accomplished the vow * conciliation of the loved one * as
prescribed. Girls, now, come along. (Queen starts to go).

King—My dear. I am indeed not pleased it you

leave me now and go.
 atew «nrffa-gwt «* fe«nit i wig*
wgfrqqqjjff IWT faw »
\ [ fiWRn wtoro W ]
^Ssfr—issi &v-rowfV iwft i «r wr fkw*
PtiWj wyftBi I fw BNw* ^»: i «r s*i*i
ih ftanfira outfit 1

RrriMi-fk w* gat farram fawrafNfc 1 ft

gawrar ftnwt 8ta$l 1

CTHT—t vraagto ] vvei w arg «nrr %#> 1

tqjnR—war vies it fe vg-snrt 1 «w*il
ftr %£«r wr.$<t fte get war ereitflv i
s< *m wfisr apia^w-' t «i«m ffa fa wt
JW *iaiWiW<MI I
TT3TT—«fa anst^fft—
ai v&ft—am fwfrar w% I *wr saw! art* 1
<nrr—
ijiT ^praapneif^ il %i*A gw Mwftg.
vwftw fnr. a^fisprirt ftffer w wte% i

ftaffttr vfis qfejcvt eenaratm^rw^myn

vfeft—m fw & J4<nt<i ewifffw 1 [ jwl
*ian vftaiapl 4eit%] f®t f4arafe*t!fW^,iiff^'*nSr 1
\ [ fatas <9*mfr 1 ]
<nn— [ ] e% WKMftfiwi W
v^rtP 1
 wtohfj i
Queen—My noble Lord, never before have I broken
a sacred rule.

( Exit Queen with retinue ).

UrvASht—Friend, the royal sage is fond of his wife."

and yet I am not able to reclaim my heart.

Chxtralekha—But why should you despair and

withdraw ?

King—(Approching his seat). Friend, the Queen

indeed has not gone far.

VidushAKA—You may say whatever you wish, safely

enough. You are fairly given over by her ladyship, like
a sick man in despair by his physician.
King—Would that Urvashi—
Urvashi—Find her happiness to day I

King—Herself concealed let fall the sweet music

of her anklets in mine ear! Or that with her lotus-
liands, as lightly she stole behind me, she veiled my
eyes! Or descending to this palace and yet delaying
to come through fear she were brought to me, step
after step, with ( welcome ) violence by some clever
friend * £ 15 ]
Urvashi—Friend, let me grant him his desire.
( Going behind him, cavers the King's eyes ).
( Chitralekha makes a sign to the Vidushdka ).
King—( Showing that he feeds the touch ). Friend*
this is that fair lady sprung from the lap of the sage
Narayana
 IWIWw

% av in i art twiwwafii »
trsn—fip*nr inn* i
gw^«Ji « t aswwfu i
^^fafanaaffowarertflaiafa: Ifn «WH
a^aft—■•[ miraafia afcrefct i Pkfa^Maw ] fcf %5
mmiij 131*13 ^raa nvttrar: i
*ncr—taman. t aaiaa 3^T*iftr ]
fira%aiT—wfn uk ^«ww i g*$ t«ww ■
tranr—vfn|mvi( i
% TOUT—TOT TOR TOT TOFTOT • TO TO TO-
«ra^ fan ?r(k-€n* *i* Be i m %* Tbt-
tnifa wwitfk i i«i ^=n «nnn: i wita
*. jroaatfta trfftStfi *raifamn ag art wrSaan
Br?aa;j—ast kk 3am jmM «mrf*rft uart i
wfife ^apfruaRM: 1$: l
v* trai—[ ^SnsflaasNa ]

%sat m tfir ni^ «pait aarfarfc srfftsfenti

atm *«TCTt%Hfr atfi;a%cT<^ mar can*!. n i» n
fara^i —a^mn ftra^raar i naa a* fawra
giftiU I aata fttaftr i aura *w fitirro wrauj. |
\ TmT-ttafertBa i
farafsatt—ansannraB: ant-anm *wa uaat
an aawft^sat i m aiKf fa fiw-wft an*t-
i ma aapt^fK to nwaata ana<a i taanaaft
3*®rira3» qsff jwrqafaai: i at. *pW *f Bkraan
aafa htw*s?t ?T4T ™* T^aja i
 VfWlf: I Vt

Vidushaka—-How do you know?

King—What is there to be known t
None else would give such delight to the body,
afflicted by love, through the touch of her hand
The Kumuda wakes not at the touch of the aolflr
ray as at the touch of moonbeams. [16J
Usvashi—( Removing her hands and rising—slightly
approaching). Glory to the King!
King—Welcome, fair one.
( Makes her share his seat ).
Chitralekha—I hope my friend feels happiness.
King—Why it just comes to me.
Urvashi—Friend the Queen has given (me) His
Majesty. So I approach his person-like his loving wife.
You will not regard me as officious—will you ?

Vidushaka—How. has the Sun set to you even here ?

King—(Looking at Urvashi).
If you approach my person, because the Queen
has presented me to you, who was it that first
granted you permission to rob me of my heart ? [ 17 ]
Chitralekha—Friend, she can proffer no reply.
Now listen to my prayer.
t

King—I am all attention.

Chitralekha—After spring, in summer, 1 have to
wait upon the divine Sun. See to it, therefore, that you
behave in such a manner that my dear friend does not
long for heaven.
A* ^
M iTOwWi

\ ft; ar sr*»t gwftyqi wr aT «maftarf%

or ai «ft*rfa I orfoifillrft: OTSTOtft jfton
I f% or i sr or sr *r
aX «ftO?| I feo*53F% I
scnrr—a*
**n: a;*a fax-atxfemfa i
org«wiflm«uwft ^H-r^irwr: <jMai: ii \c ii
f%a%a«—argafaa fts i sar aaafa am^cr
afaa faasirfa w l argrr^nftr i far a4% araraxr
3 »eot f4a4a stot i
g&ft—[ fta^at ] sgf? HI >3 H fafj-
nftfa I a% ar ag at fearc I
\ fcra&m—[ aferaa ] aaaator anaT gw ^*r o#
aoc arftrasgr i oaaR ttsrt c=t*r ir*. aar arftasar i
f^ros*—f^fsm noftrs-^fq^ft: a^fa aa i
\ ftOTT SpltXWTfOT *R1S£ I
soar—*a aiar^ ffafor i aw i
xawsa»ftflmfii«:f^B;rwar$-
ttaMMrNUei^j aar sovran i
or^rr*. aToratsasna aaar-
*u«iita><faafaa*a aar $ar£: n tx. ii
a$sft—orf?a ^ faeat aat fasaat «Paj i
safer ^ foaa: aa: fifeiat asaftga i
\ aran—[ 5^rtxtsswi ] 3T^tBregoaa4a ff^r-
?R8TOT «n*T I
 5?Wtf: I W
VxduShaka—What Is there to remember of heaven ?
They neither eat nor drink in that place; bat they only
mock the fish by not clotng their eyes even for a twinkle.
King—Fair lady.
The heaven is a place of joy ineffable ; who can
efface its memory? But Pumravas will be a slave
unto no other woman than her. [ 18 ]
Chitkalekha—I am beholden to you. Friend
Urvashi, summon up courage and bid me adieu.
Urvashi—{ Embracing CJritrdUkha ). Friend, you
will not forget me ?
Chitkalekha—(Smiling). That I should rather beg
of you now that you are united to my friend.
( Bowing to the King, departt).
Vxdushaxa—I congratulate you on the accomplish¬
ment of your desire.
KikG—It is true, I reach the'height of joy.
See, I do not feel so blest by the sovereignty of the
earth in which none holds the royal umbrella save
myself and in which the royal edicts are illumined
by the light of the jewels in the crests of the
feudatories, as I do by obtaining the fair position
of a slave to her feet! [ 19 ]
Urvashi—I have no words tb give expression to
sentiments dearer than these.
King—[Holding Urvashi by the hand). How won¬
derful is the accomplishment of one's wishes^ giving rise
to contraries I
*
 <nw ** srftnn a<wfia *rre
nroror «3f i
Arnr^wFfm g-*ft qqqHfft
c^rwi^q *nr <iqft«iijiftaq n *• n
dfcft—awregfig ftrc-^tftqr ararjqwr l
'
tott—m W* i
<K. <K._% __ _ __• _ _ _

S^* <$W^TVt I
fsrafmm <resgwr eraw ft ft$tar: H *1H
ftjjw;:—&ft*r «r*tar-*3*»»ftm q**-qtqr i
«w«t ^ k qrci-tn:-q%«*H i ^f- %f^n«: ssjtar-
T iHtansaRWRT: l tow: ^3 ^ 4KNiW<Uiqt l
tfstt—ftsr ft *r«n# wfotftsur i
ft^jwi:—^ v$ *re*t i [ spr ft’^swficr ] m ffft
S *mt i
KTalt—*«rf»TCn*ftHWt*PU t
3$5ft—** ftsr i i
*> TT3n-
srfifimcniftww ^jfr
■sragfaltq *rai *ra ftqmn i
*jft g ?nr fmw^ aqq
wsnift ^ II ** II
[ ftsSRlT:^ ]
WJ1H: II
 ssfWte** i v.
Those very moon-beams soothe my body* those
very shafts of love are now agreeable to my mind;
whatever, O fair one. was harsh (as if) through
anger seems now to be reconciled to me through
your union. [20]

Uxvashi—I have wronged my Lord by causing delay.

King—No, not so.

The joy that follows grief gains richer zest;

the traveller who has been schorched by the fierce
day can better t«ll how sweet is the shelter of
the tree. [21]
Vxdushaka—Well, sir. we have enjoyed the moon*
light so lovely at night. It is high time now for you
to retire to the inner apartment.

King—Well then show your friend the way.

ViduShaka—This way* this way, your ladyship.

{They leave).

King—Beloved, this is my request now.

Urvashi—What is it ?

KlNG-Dearest, before the fruition of my most

cherished desires a hundredfold were my nights pro¬
longed I If that were the case .now that we are
together, I would be happy indeed. [as]
(Exeunt Omnes.)
END OP ACT III.
 igShe t
[ wit: sifNrfr * i]
H|4NI—[ NRCww wR J Wf WiWlOT-W[-
1 ww Rr? % grer «i«t ftiww iww^
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ic *f«rofr gw»
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ficroq ^ q «g tow «SwnP <• u *m swnffc-

s* m-wwii—[ smu l qftfr^r Rw I ^ra^ar i

(%*&«ni—3«reft Ra» ?i dg-w« mRr wr-
«%g f%%ftig-3»-5,t %R*w nwqmgsr-**
RlfRj *igr I sWt f%w t <Ri«ti4 <i«ft«wiftg
-i^rd ^la^iinpR^ r,*kii i
 vg&it11 <•1
Act IV

( Enter Chitralekha detected in mind and Sehajanya),

SahaJAmya—(Locking at Chitralekha) Your face, look-

tag like a faded lotus-flower, speaks the sadness of your
heart. Tell me, then# the cause of your distress. I wish

to share half your grief.

Chxtkalekka By the turn of service incumbent

upon the nymphs, I was engaged in attending upon the

Sun, and, therefore, I felt a deep longing for UrvasbL

Sahajanya-I know your mutual love. Well what tbmf

Chztbalsksa—Then desiring to know how it wee

with her during all these days I put myself in contem¬

plation and discerned a calamity.

SahaJahya—{Feelingly). Of what sort ?

Chitralekha—Urvashi took with ' her the King, her

companion in her pleasures, who had put the yoke ol

the kingdom upon his ministers, and went to disport In

the Gandhamadana Groves.
 rv n »v
l©*
wfawri—pit «rm aatat A mft&fj I
« «at «at i *TW[ ^forfait sfts&S I nci'Wfl- |
fkmkm—afig ^ snathe nat faraar-
ama-%5ftf* ufoawwr fasrnrc-atftaT a*aaat
\* arm %«r aafawr ftreanc* far jpfta* amrfh
«a as Jp«rf*«n: 3^3 wrt feasnaltTOsfrfir: afaRfr
J *FT Trsrf^^n fSr»sjT?i%
*" aia^i- ffcsa i sgrrast »5 awat ^<35<nt i
araft I nfttiwm I 751*5: *tg smra: apr^: i?raaKT:|
c^t Mt&m ^ifjjui^qr innm^hiuvijj^-
33 TO-^^-uEW fTr’iarT-SnJT -fffwWRI fUK-
aw sap i a%«Tui*ff<: a am«ham-afai-aaT«T-
& I wHV q^prwwuHwwHi ?TRnr-
} % *rsTrrrr sfnwqf^iflq sfirer • wrurat a
wnftiW'.i RwrTwrq* wq i
aiamr—1«f?a Rtftwl aaffira* i sta agpa-
v aaa w wm aa-a% ffcat aro^at i *n fww-
artit at aredt i *nffei •f^ttwsrfrta i aan^ww
«rt mr ijaia i^irspi: i am fimw a *fsrf$: i
v* faa&ai—afla am arrnrtt faaa* fafa«nxft-
•hot ®rn{TOH J v*wr m xmwm im
aa«ai-aifaar itaHaw ^amrttat aftnaf^i
ai=rt rsuHHt f¥^paanrt»iaw)<rtis^ | i$f» 3*-
ft|<iwwP) 3Wiw.iftnr irtte=OT aprat^rtt afaa% 1

wpmn—aft mfcar wTfirf^-fa%at 3*a-

v< wntwt a irfNr 1 aaa^f f% Fr argpni-FSifira
 Sahajakya—That is indeed enjoyment as is obtained
in such places. What then?

Chitralekha—There, the royal sage looked intently

at Udayavati, a Vidyadhara damsel, playing with (making^

mountains of sand on thr banks of the Mandakim, and

that angered Urvashi.

SahaJAnYA—That is possible; for intense love is so

intolerant. What next ?

Chitralekha—Then not accepting the apologies of
her husband and with her mind darkened by the curse

the preceptor had denounced her with, she entered the

grove sacred to Kumara, which is forbidden to women. And

after she had entered it, she was transformed into a

creeper on the skirt of the grove.
Sahajanya—There is nothing that fate may not

assail. Alas! that such dire calamity should have all of

a sudden befallen such affection l And, pray, what is.
the condition of the royal sage?
Chitralekha—He is in that sime forest passing days
and nights in searching her.

SahaJAnya—Friend, but such excellent forms do not

tmdejgg misery for long. Surelv there will befall some
 fir «m*m-«pcoT tfiraafq i m n-
4*fW«er &grm «V*c i «%
M aifw tngtilfNMitt yararfint n niter i ftajft
«qn?Rr^ri jjWt gwww.H’O ^«ift t (AH a^tag-
m mraw: qjtar awiA *$•• 1
■a*a [ ffit RmA 1 ]

S%3W: M

[ ?m: SrfjRtfrT TTSfT | ]

'ac oan—wn £<i«h rvRrg firo 1 «■ H firowr-

unw nWfe 1 sm iwnawn
mowfufireffir 1 [ ]
________ • ^s. — * _, - _f»>.._ .
'TORWi WfiHT n €HWW<:
fj<v4^R^ face * <aw v<i«*h i
«nmfe eferfaaRT 5T »raq<iRi
ce«Rewftr»vn firm *r mftihtft HfH
[f^5?n] K|«| ami.
cfmror^ tmwFqfgm (fan m f^rffc
mrfm?«rf?r?nc *ii|^*<n4 jswnfritwwr wm 1
m RieftetsRf »e it era>i: gftqf54f
HT vj|r<IW^ ipnWwmci ftS*l Ww IRI

t f^its^m 1 flfrwaq 1 ] «A noyqmnifrmii

f:A f.WljjPq 1 gpp 1

auiftvA mn fmitm firmrr'rmr: fpijf^i

*«nnr<M<tfeifg\f*i^Ra»q 9 Pkwm w*%: h>r
 vgvtsf: I ton
event making for reunion caused by some favourable cir¬
cumstances. So come along, let us worship the divine
Sun* that is just about to rise. (Exeunt).
END OP THE INTRODUCTORY SCENE.
( Enter King dressed as an insane person).
King—Hold, you wicked bend, hold Where axe
you going, taking my beloved ? Ha, from the mountain-
peak up-flying he rains showers of arrows on me. (Look¬
ing closely).
This is a fresh cloud ready to shower, and not
a haughty fiend girt in armour- This here is the hea¬
vens rainbow striding a vast length and not a
(warrior's} bow stretched out, and this a pelting shower
of rain that is so sharp and not a velley of arrows;
while this is only a flash of lightning gleaming
like a streak of gold on the touch-stone, and not
my beloved Urvashi. [i]
(Reflecting)—Where can the fair one have gone?
Has she through her power remained invisible in
anger? But she will not be angry long. Has she
flown up to the heavens? But her heart yearns in
ever fresh love for me. While even' the foes of the
immortals cannot wrest her, while in my presence.
Arid yet she is quite invisible to mine eyes 1 What
fate is this? [a]
[Looking into space, sighing). Ah! How one upea
another calamities whelm those whom once misfortune
has assailed ! For,
While all of a sudden I have suffered severance
frqm my beloved which is unbearably painful, here
the fresh clouds appear making the days so genial
by mitigating their intense heat. £3 ]
 [ ftfW ] WTO: I
TOT gwwtsfa BWHt<.Rw TTST ^iTPTW «EKfflfwfa I
1 TO, faw* totohw w gwriFyinnr i to m
mgfrwi\«i fa^Ntw TTvgnrwn:: awftr i TOfwa I
«iir?rTR MHTS
«m%q*3i fw’^rtW^Fw^^iMtrFar i
afo^fiq^ ii£a<fii<l wfapit w>^gi«st
sircmrctawwwtra wwwiwngwrci: u w n
wag .1 faila qf<-Mg^[TOTOT i wm^Rwh. analr
at fitaiw*%aarfw [ R^ic^ ] ?f?fT &«mfaa*a ^
T aKtawfwa toto 5?r:

wnrTOTfirfwfTw fifaan& i
«twiTOTwf^ awTwf?r rt atw% w?wr: u ^ II
fat wttfcT to g aawaat war j^wfaroiT i
TOwi agwat af* at gwiat
i
«iMi«ar gafwa*aaar aatsaai
cfita wigMyi»fa><wa>a>iai a \ m
[qfiTOi a^'4i«w -a «f$n i ]
aroi: aft<wwt wnftsgrftwtt i
fala-uitHaHRfipgfw-
ftwwi*>fwqafo|<fia<t i
«ga awi ftrwnttTOfpf
fi^tarwrrefw* Taamro ii a n
 wyjfcfs« t®*
(Laughing). Or, in vain do I bear all these troubles
off my mind. For even the wise say that the King is
the lord of time. Why should I not countermand the
rainy season ? Or rather the signs of the rainy season
are the only insignia that are doing me royal honour.
Here the clouds spread my splendid canopy, shot
with the gold of lighting streaks; The Nichula trees
wave their (tufted) blossoms as chowries; the peacocks
growing clamorous, now that summer is gone, are
my bards; while the clouds are the (rich) merchants
that proffer me tribute of rain-showers. [4]
But let it be. Why should I laud my paraphernalia ?
So I will search that love of mine in this forest.
(Looking).—Dear me ? As I set about it here is
something that aggravates (my troubles).
This fresh Kandali plant with its’flowers streaked
with red veins, and with water inside them painfully
reminds me of her eyes with the tears starting
inside them. [5]
flow am 1 to know that her ladyship has gone hence
If she were to touch the earth with her feet here
in these woodland spots whose sandy soil is showered
over by the clouds, then would I trace her lovely
footprints marked with the Alaktaka dye, pressed
deep in the soil at the back owing to the heaviness
of her hips. [6]
(Walking about and looking with joy).—Here have I
found a sign by which I can infer the way, the irate one
has gone
Here is the scarf covering her breasts, dark-green
like a parrot's belly, which assuredly must have
slipped down as in anger she stumbled on, and mark¬
ed by the tears of that fair one with a deep navel-
tears which falling first upon her lips earned with
them their red paint. £7]
 i] iron i 8iTOigrff«<^M. i pft
3 03 fiW9r *%• firn ju^fis< jiwftwE*rr [ iji ]
«i% ^wi^faati&qigfcftqwiwtiw

%«nraer fewt ^crtrfsfr*? %*}>'* h < a

[ 3^W l] 4||C|M M%aJ|fa

w
|

ww HwTOf wSHE^ <IWdl ?w I

sfrofanfi ftmrnw to cftsjm *t%=tn h ^ it

«TOfWT affltj-eifl sifarg u^i: 1 ffc 3 wg

*3q>i<w«»<4 1 [ fsrf^ J *wg 1 Rif^alta^ 1

gfroffafirat *Hw»nii frosrn^

aim: 1
tfSrRpTfssro^ gfcros
wfw % *nctH)«i ^f 11 to n

«mg 1 <Hsoy«if5iyi si ^Ffllfii [#w]

TOmrnRr^f^TTO angfromnn^ TCjmi
Iwh>3 mF>«h Jiififat 1 mfir

wf «nF«*
nwwigffF^yw cmmtww^rw 1
<imwi faowwr mi *tt Riftir
nt <rr to*j orawnWm *r* «i*m n u »
[ot?.t*i 1] fame wrcfti «*» nii^N|(A Am
WT I .^p*TT5 Uqm I
 I W
(JLooMng closely).—How, this is fresh sward with the
bdagopt insects! Where indeed can I get the ixxteUU
fence of my love in this lonesome wild?
(Seeing).—-Ah* here, perched on a stone in the rocky soil*
height-looking on account of rain-showers, is a peacock.
That looks (proudly) at the clouds with neck
out-stretched and clamorous with rapture, his
crest waved by the breezes blowing in his face. [8]
(Apfrocking).—So I will inquire of him.
O blue-necked peacock, with eyes white in the
comers, have you seen my love-lorn lady of broad
big eyes in this forest ? For her charms deserve your
face. [9]
How he deigns no answer hut simply treads a
manure. What could have exhilarated him? (Reflecting)
Well I have it
Owing to the disappearance of my love, hisbean-
tifuL thick plumage, divided by the gentle breeze, is
now without a rival; but where would be his boast
before the excellent tresses of her hair decked with
flowers, when loosened in amorous sport ? [10]
Let be.—I shall not ask him, who seems to be
happy in another's .misfortune. (Walking about). Here is
a Koil sitting on the Jamba tree, her passions inflamed
at the end of summer. She is a wise bird among the
winged flook. So I will request her.
They call yon the lover's mesaenger of love—
the mfewib able to 'break down pride; do
you, O sweet-tongued, bring my dearest to me, or
lead me to where she is. [XI3
What do you say? ‘How did she leave you when
you were so devoted to her 7* Hear,
 r> - k t

*fPt?TT *f g <RlMCK<Ji WWTOC, I

W ^PRT$ w HrKT I

TCJ:# ^ftrT5% yWJTTrj:

sTBrcmumfafqt gwffnwgaw I
arvjrfjm w^r;*n qigif^x srffn
^>«nf*rg^i7r». «ra-*mg»H«i u « u
^«i«i^5p> Bf^ it roreftftr * t
iR^llfldVl I ] 3?% ^q&tn
1 BiMWonBiwralNft ggcw i *rra^sr «i-m»fii i
[ «if^! J ai^t f*re> i

ilawim f^jft wtTOt^^^wam I

ftfafn KT3r«¥n»n *ti gg<fafcprg 11 tw n

*nqj i roftjt qaffcron ^rrat^r-

wPw wra%^r»«t! fa*nggftreg«mf3mwn i [ ]
\ *rt *rt jMtwnw*

qsiict w *rf^ ^rfw^rfa WR*f ?r3

tn«r^g^rH fir^ utnid 35: 1
STT gWggC S^t ^RlflWfWT
*rai ggtf<f smifM^kld 11 ^ a
NkSI^MIm ^I*Ru?5wT Wf W wl^n*
<W awimc 1
 Angry I find her, but I do not remember to have
even for once given her any cause for offence. The
fond tvrannv that women exercise over those who
love them aoes not require any deviation from love
for them to get angry. [12]
How now ! She seems to mind her own business and
not heed our conversation.
It is well said that Howsoever great another’s
woe, a stranger will not be in the least affected by
it Thus she disregards my request and lot speeds
to yon excellent Jambu tree to dnnk the (luscious)
Juice of its now ripe fruit, as one intoxicated (by
the draught uf love ) to sip the honey of (roseate )
Hi* [13]
Although it is thus, yet I scarcely feel angry with
her as she nas the sweet voice of my love. Hence we—
( Going about end listening). Ah ! from the South I hear
the jingle of anklets indicating the tread of my Love's
feet. £0 I will proceed thither [Moving about). Oh, fie !
This is not the chime of tinkling anklets, but
the cooing of swans who. seeing the space darkened
with clouds, are filled inwardly with a longing to go
to the Manasa lake. [14]
Well, while these birds, filled as they are with a
(passionate yearning for the Manasa lake, are not flown
from the lake, let me get from them news about my
Love. (Approaching). You, prince of aquatic birds.
After a while, you will begin your journey to
the Manasa lake ; forego the provender of lotus-stem;
you will have that again. Do you first redeem me
from despair by imparting some tidings of my
beloved; for the good regard it- worthier to render
kindly offices to the suppliant? than be mindful of
one's own business. [15]
Since he looks up he seems to say that in his Ion
(ring for the Manasa, he has not marked her.
m itoIWtoTm

af* vcMimn *iwf!

fifcrr Sir i
mranrat mi 3 aw
mm? m c*ror tiifldH. >i \\ 11

«m—
is mm ii m»m <ifam»*<qqi far 1
fiwrfiftsftiM anrPqgwfr || tvs II
[ Biw ] 1 <cv -jUi^vr^ft *a$rffr mngmfftm 1 [sft-
•m ] «mftrs{T^f RtaTOVwneffiqrm 1 anfaf

imfir 1
wnpim wpr ^^nwrsfwTO i
*rar wit w^bRt n^r«ro?tfcr: 11 i< 11
«i«!S swn* * *n aim* 1 ssg ftfqprtsv
mv 1

sjih*ywn vim swwuftflisil 1

«i W- qftrBttangfor v i§m« m iwi
mi njrft fNm 1 *wg 1 wnso^ arafom 1
TOE? TOnWfwnr WI«mMW|!
<13 ms^rff ^ urn W373SS: 1
(nr w *rem iwiwi^ ^rerfwntron
wfir w *n*r: m«aw^ftm<jfsm ir®ii
«rfm wi^TRi «i«in^fliumni smwn 1 «w-
mmramwra«n% »t 'noj^ fimi ] mg a aw^
«i«wfi< 1
 wynis i
Well, O swan, if you have not seen my love
with her arched eye-brows, on the bank of the lake,
how could you. O thief, have wholly taken her gait,
elegant through youthful pride? [ 16 ]
Therefore.
O swan, give me my Love; you have stolen her
gait. He who is proved guilty as regards a part should
restore the whole of what is claimed. [17}
[Laughing).—He has flown up fearing that a King the
chastiser of thieves, is herb [Walking about). Here is the
Chakrawaka with his mate. So I will ask him.
O Chakrawaka. this wanior. here severed from
his broad-hipped Love and filled with a hundred
longings, asks you. [ 18 ]
How does he say " Who ? ” “ Who ? ' Don't do that
It seems he knows me not.
The Sun and the Moon are my grandsires on
both sides; while I am the self-chosen Lord of Urvashi
and the Earth. [ 19}
How. he keeps quiet! Well. I will remonstrate
with him.
If by so much as a lotus-leaf thy mate is screened
from sight in the lake, thou wilt pour out thy plaints,
all yearning for her. thinking her to be far-removed.
Thus art thou apprehensive of thy mate's separation
through thy fondness for her. Why, then, friend,
dost thou seem so averse to giving me news about
my Love, even when I am so distressed ? [ to J
In every respect my fortune has oeen so perverse to
me. So I will go to another region. (Stopping atter 0
atop). Well. I will not go
4
Htf TwwWIf

fft wwRc wf winwa^fiwwjLimn i

mm f«rat trere aatm*fowpmg ti at it
wag1 aftatta awwr**nRrfif n^; saftrc*
aftat i nit aawigwat mr gjFaftr i
aga* nf^npn: qher m aaftr
[ ft*n«i » ]

fca ?m am ft i

«a *Rx:gfaajn gwa^tfe faaftwa. *W»

anaamaarag, £ 'tf^nftra^r ] ga sftggawafaa-
wjiw«t: wRwtasw aiagnrRawa i oami,
fila>V<Hili«|wt t j aag a ran anafi
aaala-ftgaugagq^ta fsaaRggafra I
<tfSreag aiwTwag<f*KM qa^tawa « ** »
[sroara fwnT i} 5»a atf1«*. i wag <rsgrf®r i
agara gwfersrfear;®! aagaa gfw«raw8%ndt i
Rarabtar Rom it ^tratfts garetar n u

[swO a%a fw<ag»%a nf3i^Bwt«rawroRnn

*gm*aiRiatsRa i «m*ata ?afgit aroit rfH&i
_ ^ ^ rv w gs .*s. _ -
Jp*nj: UmiWTUT
awtRaargagRi aaat am aarcfag i
wwj WHTTOT wTOft fff ?m WB1
frt amgftfggrRsgaf ?*g «aai wqg? iit^tt
 i us
This lotus, here, amidst whose petals the bees
are sweetly murmuring, arrests me; it is thus like my
beloved's face, murmuring protest at my somewhat
rudely sipping its lower lip. [ai J
Well then, I shall woo this honey-sipper sitting on
the lotus lest 1 should regret when 1 go hence.
Bee, give me the intelligence of that fair one
with bewitching eyes.
(Looking closely ).
Or rather, you have not seen that fair Love of
mine; for had you tasted the fragrance of her deli¬
cious breath, you would certainly have scorned the
lotus. [ 22 ]
1 will leave, then. ( Walking about). Here is the Lord
of elephants with his mate, resting his trunk on the stem
of a Nipa tree. I will get news of the dear one from
him. (Looking). Let him be. 1 should not be in a hurry.
Let him eat the bough of the Sallaki with its
newly-appearing shoots and its rich fragrant juice
offered to him by his dear mate. [ 23 ]
(Waiting for a moment). Well, now he has had his
meal; so I will ask him.
Lord of elephants, charming with the pride of
youth, have you beheld ( even) afar off that beautiful
one, blooming with eternal youth, like the crescent
Moon among (the stars of) women, her hair decked
with the Yuthika flowers ? [ 24 ]
( With joy). I am ( mightily ) consoled by this kind
and gentle roar conveying some intimation of my Love.
And great is my love for you because of our likeness.
For while they call me the lord of kings, you
are the lord of elephants; your bounty sheds the
frontal ichor profusely without break, while my wealth
is lavishly showered on the needy; Urvashi is my
Love among the jewels of womankind, and this
gentle one your mate in the herd ; thus everything of
yours accords with mine. May you, however, never
know the pangs of severence from your beloved. [25]
IW iHmUMVW

9fm«ri «n^i hw<iwwwh.i [<n>fcft?fe

w j Hm g’CmWJ^r «pr i«fw<4iuiiv* wj*
x mmMr i faqwranHKwn i qfq «im gir-
a^^WiCiqiaMg*^^ I f 'rf*«n» araatwq j qw-
*wiW51 qqg i i \pw
\ q^^IfK^rqRon&w^tsftr qragqiqjfq: (
TOtft fag^qrq^ffq^gqT q fMfo’:^ I

nw WRimsjfqifiJttOTfir ijia qirtiri

fq*T*rif<ift*n£«l?qT jgfaqiq fqqiqqtft qq mu

qsiI qwftnT<ft I 51^ fqn«n£t q gj«faMft I qnft-

^<rtpr n?qT jqfci jsstfir [ <if*q*q ]

qrifqtftvjqi qrv xtet qgrfqg^qpft i

rmr qqrqtsftqq; nqi fqrcfqmrqqr ii^wi

[qw*n qxni] q>q q«n«q q^?mq l qqiqft

«nr: finrert nofta i r. qfq *m fimam i [
x qfcw$ o qi Rxqj I qfhnq qpqptgqiftqpff afft-
qnq: l [ ft«n$ ] wrotafar I qqqreaiq^
PlRqqreifft faKi«w.iq»«qil>fq<fr I *qi qqt-
% sav^qraRr qfcftqif qqqat $ tb** qq: i

wonwiwr xgfirqftqqfifuKWi
ftqraqft %«i TOqfqq ^oqftifqw^ l
qqiftqf Mift xuRtoim^ mix v|qt
q<tan%W ^nmvnr w qR<xm n v n
 wgifrqp i %X9
May you rest in peace. I will go. (Looting at his
side). Here is the mountain * Surabhikandara, * particular*
ly lovely and a loved resort of the nymphs. May it be
that the fair one is to be found on it ledges ? ( Moving
about and observing). Oh, how is it dark? Well, I will
see with the flash of lightning. What a ( sad) result of
my sins that even the clouds are bereft of lightning I
Still I will not return without making inquiry of this
mountain.
Does she, of close breasts, and full m the joints,
and plump in the hips, resort the interior of this
forest, sacred to love, O large-sided mountain ? I26]
How is he silent? I am afraid he does not hear me
being at a distance. I will approach him and ask him
again. ( Walking about).
O Lord of mountains, have you seen that lovely
woman, beautiful in all limbs, in this charming forest,
severed from me ? [ 27 ]
(,Listening; with joy). How* in the same order, he
said *1 have seen'! May you, too, hear sweeter words than
these. Where, then, is my beloved ? ( Hearing the .same
words from behind the scenes ). Ah, bless me! This is
only my voice reverberating from the mouth of the cave.
(Showing despair). I am tired- So reposing on the hank
of this mountain-stream I shall enjoy the breezes from its
waves. My mind is chaxmed as I look upon this stream
although it is turbid with fresh water.
The rippling wave is her arching brow * the flut¬
tering line of birdsher girdle ; drawing along its foam,
which is as it were her garment loosened through
anger. it flows meanderingly, avoiding the many ob¬
stacles in the way, like my beloved who stumbles
along as she remembers my faults; so surely that
irascible one has been transformed into this river. [28]
 -A«V-

*wg i t ■«■& w ]
wfn fikrafa:
wmutwngrtwi »
<I<III<NOT BW BIBrel
rUJify HiPifa grenni «wr- n W h
w« «ft biotS i *r wgWt |MWM-
*ncm B?5prrfwmfb>it i «iwg i
qwuqifui wttife i s^si «r«wfw *n»
I mrwt: gsra^r i [ Bto** «m«ibb j
5*w gggq«n°T ’upn mi« I
BBBwgw; sW finrar uhCmvIw I
fB Ibwhwih n>oii

[ftatan i] %n ?mra finrortfmiinrw ui<.|ni#

»rew4t* i

{, uiibj jil ssl wi wwfiwt I

J4Wt«fWMta(4 BTIg TB VlRuil II M II
[fN*w i ] f« i wg wwratgw;
I [ TOBI i]

ifcrfiwnjt^ ftig»w wwiMm ^*ft BTBtr i

»H*i w?r% ww firarr 8T%

B5*J*»xfw <TJT^S!r»T 5J5I I

gBii <T«IB W? Mlfa II U II

 «s4fr-1 w
WelL 1 will implore her. (Folding hi? hands).
I am devoted to you, ever speak agreeably to you
and have a heart that has never deviated horn love •
*o what fault* even the slightest, have I committed
that you fly from me so wholly yours 7 [29]
Or, rather this is really a stream; for surely Urvashi
will not quit her Pururavas for the Ocean. So let it
be. Fortune crowns those who yield not to despair. So
I wiH go to the place where the fair-eyed one was lost
to me. (Walking about and observing). Ah, now I see
this indication u to the way she took.
Here is the Raktakadamba tree, one of whose
flowers, uneven on account of its filaments being in¬
completely lormed and suggesting the end of sum¬
mer, was used by her to deck h«;r hair. *[30]
(Observing). I will now request the antelope squat¬
ting yonder to give me some intelligence of my love.
That one, seen yonder, of black and variegated
hue, looks as if it is a glance cast by the sylvan deity
to observe the beauty of the forest [31]
(Seeing). How, disregarding me, he has turned his
face in another direction ? (Seeing).
A doe approaching him was obstructed by her
suckling fawn. So with a bent neck he is intently
looking at her. [32]
O Lord of the herd,
Have you seen my beloved in this forest ? 1 will
give you her marks, listen. Even as your broad-eyed
mate looks charmingly even so does she cast beauti¬
ful glances. [33]
 wbwiot vwiittyii dm: i i
wmtw^ i wt n>H 'iRwniaV<
\ «n#w ] fWftmrnrmr faftam«tmii> i
swrftrtft am cfcempiqmfftmsm
W^VuMufftfe gafim* i
[ ftaro i ]
*ft wfoTO
qij«s3 gm uwRm em«sftmwEtt new ii
5^4 ft *l*r: I mm«ft <U4%«IH I mam

W4Kg«kRNlRl4l<li *W5rt: fiwimwuifoftMH

*w fam mifa g&m ft feftaw wlvea ^rtfft »y\n
[ i j qm */*iai anant i
ffir wfor; rama n><.miaqtfircqH. I
-Mwefd m^rnm gnmifircm firmafta n w ii
thtt—T rnsr ] 3 arg mftmrjaiifay I
rfqwt^HtiR \] sift wgsreqft m ^Tw*n«wi|0 ifr
> ftam* i wi^ ^ggfr'ftsmqejmftqn^ aimn i
[ aftmm* j jet mimffo
am fag-area fmnromm
srfmufe ?a afa «timq ft »
aa: ^fcrnifa wmamrna*.
ftrmwfft msfftftfjrftMn:: n *« ■
[qfcna awatsa ai]e?ft fa;5
aarfiim qqqat ft qfaemswn 1 mam emft
* waftm wftm^ 1 ^ fk
 How* heedless of what I said he turns towards his
mate I But that is proper; lor a reverse of'fortune sub*
jects one to insults ; so from here-I-(WoJAtffg and looking).
What is this to be seen in the rift of the rock ?
This could not be a piece of the flesh of deer
killed by a lion* since it is covered with lustre;
nor is it a spark of fire for the sky has (just) rained.
(Looking closely);
Ah, this is some gem gleaming like a bunch of
Ashoka blossoms* and the sun seems to endeavour to
clutch at it by stretching forth his rays. [34]
How it captivates my heart! I will have it.
Or rather my beloved whose hair fragrant with Man-
dara flowers should be adorned by this (gem) is now
lost to me ; why should 1 then soil it with my
tears ? [35]
(Behind the Scenes). Child* take it, do take it.
It is the Samgamaniya jewel, sprung from the dye
applied to Gauri's feet; when borne, it brings about*
within a short time, union with the loved one. [36]
King—Who is this that instructs methm? (Looking
in space). Some holy ascetic living the life of a deer feels
compassion for me. Revered sir, T am obliged to you
for this advice. [Taking the gem). O gem of union.
If severed as 1 am from her of slender waist*
you unite me to her, then surely I will make you
my crest-gem, even as Ishvara his crescent-moon. [37]
( Walking about and observing). How is it that my
mind is charmed even by looking at this creeper* albeit
bereft of flowers? Or rather, it is proper it should charm
my mind. This is
W iwnww

^wc iroiwf $hjww i WHrronflw!

wtwfatw f*«i*o«*itKNi i
fe-* ^ --

^fnsiT ?^wfr «tpm

imra^tr «rrr»fow awnggrfti m in<n

<n«q««ii: fawig*nfic«<n: nftnipiTOft «mfe i

[ ffif WlWlf^Jfl^ | TO: SlRwRi aiWR I ]

CHIT—[ ftjftferof TO *1$ »<|R|«I ] 4i#IN-

4roEff*v ftf» it i aqtffr *r fn%

s fwm: l 5F?r: I

B«m fir*»r aftr

srfitw •cftsriH'swuat i
«mt firfwij
«» *TOrfw*nRmfinT: ii v*. II
[ wwwgrofog i ] wro CTwita fira?raT l

3$qft—[ *m ] afj Irj l ww?

| WTO TORtw: i

*TJIT—

crfror *rar wwfe «wt i

fiicin gTgtT^qnfa %?ftw *rnigsn u «® it

»Wt—*nm*aT-«sOTrTC *w q»roit-fwr*-5wit
w minwt I wwptKWrai *Pn 5TOeftf?tWTO: «3
l mraw: i
 wrflis i tm
That slander one. and the tender leaves wetted
by the clouds her lower lip washed by her tears; not
decked with bloerom, as it is past its time of flower¬
ing. it is she with her ornaments cast aside; since the *
bees are not humming to it, she has been silent in
anxious thoughts. So it is that irascible one, who
having spumed me, now seems to be stung with
remorse. [38]

I will therefore, press this likeness of my beloved to

my heart. ( Embraces the creeper ).

( Enter Urvmski at that very place ).

King—( With eyes yet closed, showing that he

Perceives touch ). Alu how the fever of my body is allayed
as at the touch of Urvashi’s person? Still my mind mis¬
gives me, For,

Whatever 1 fancy as belonging to my love turns

to be otherwise a moment after. So will I not open
my eyes.all of a sudden, (though) I recongnize my
Love through touch. [39]

( Slowly opening his eyes ) How ! my Loveforaootbt

UxvASHX—(Shedding tears). Glory to my Lord !

King—O slender one, while I was sinking in the

darkness caused by your ldss, I have fortunately
recovered you, as a person dead might recover life.[4o]

UxvASHX'—With my senses lying hidden in me. 1

witnessed the plight of my Lord.
Wi wWWw

uw—nwBwwtifif *i nj it w*n*Wfti i

g<Sgft <wwd i ftf Afro qnjftfs q<ro«ft if

s, wwt yfrtrcf n?iw «raw»a<?nfil$t mwpft i
wfawirfi? i anin. sreftiRj «hhi-iT1 «p»wi
’mi H!nww( snfWt qfRpr: i

«. mu—y*q?fin * tiuhts aw^ftw; i «np6-

jwv: uiniMiiKun mPTOiT i vn
«K«rfiw*i TOwmfrom nr finu vunff i

gwrif wsmwt i toai^t sm^nr

$ottot TO^ut «irw TOnnro-TOBt
angrfeffft «r to Bnft i wfti *nRnc i
I", WHI JHR!ra ?Zfli3T SIB? TO-
*?Rsnf*0bss?I^Rr: SiAb fafa: l

TOT—AR W I

^rft—3ft t* *fw«n «rfrof* *n «m-

*rr%®r irfrofarofifi *frft-TO*-*nri wfti fain
w?ft «r gfrogfa far i mi *j«-TOM#»gHi-
tot i^cr-mmfa^wfin wifopgror gro-
fW TTW|T I TOWRrcW^WT^t ^l^TI
m v& sft$r fft g%«ifa m **i?*ir^ |
*^6*4* jtPt f^n rv$t sf *ft^cr t mi
f^rr 4^ faro* ai^ftcngsfur $*ttcsr srfro | sw-
qfifcufta aroRft ?5cn sun i
 i w»
King—I really do not understand what you mean
by *' the senses lying hidden.**

Urvashx—I will explain. But let my Lord forgive

0

that yielding to anger I wrought so sad a’ change in

my Lord.

King—Fair one, you have not to beg my forgiveness

For your very sight has brought gratification to mv soul
together with the external and internal senses. Tell ine,
how you could live without me so long.

Urvashi—Let my Lord hear. The warrior God, vowing

eternal celibacy, dwelt in the region, bordering on the
Gandhamadana, called Akalusha; and he made this rule.

King—What is it ?

Uarvashx—Whatever woman entered this regiou,

would be transformed into a creeper; and she would not
be restored to her form in the absence of the gem sprung
from the feet of Gauri. So, as my* memory was oblitera¬
ted by the curse of the preceptor, I forgot the rule pres¬
cribed by the deity, and not accepting your entreaties,
entered the forest sacred to Kumara. And the moment
I became a Vasanti creeper.
m irnnviv
«cnrr—»
*tt sto^ w ji«w mwm
*n w fift wfcwr: w4 wfW IwcHuTUm iiww
ft ^rawifa* w^wfafinB gfrymm nftr-
wnwifwiftm wr*ne*nfW; i [ *rf*r >^raf?t ]
3 yfort—areft sn«"fi4(i i wft g wfitww w-
ratffWif yw»ifl(cn rn l
^ mtfn ] e?ft iFmsfat: i m: m& *fTfw*? «nfw-
t ftrawi^r agffoqrfgr wii i
’cnn—T»^f gwrfr qmirnr *<frnng i
fa*^ftwfat flits nui&ngfoffnwi i
Fw^gaffTr gw % sisnritwwii&fv . vh ii
Tanft—JTfr^n sg wist 5f Hfsisift wi
«Pl*fwr 4 qftsfNt i *n fitgwif i «wm.
| JjRlSMM. I Mljpfil 3fW i
?nSft ftaafait i
fnn-sfiwmfii ssiit I
% f^wt—ws sfroait *r»g r^trff. i *.*i <srcnft
i
TIW —
— — rs-i^N_Ntt ^
^n^wrir^Mnn* 'witwit

nfir^r ttOTsw i%*unai

*ro m swflr mitgwi n vf n
[ fft firwRir: wf i]
<*gwTf: «WH: II
 I U*
Klmg—Everything is explained.

You who would regard me as gone away on a

journey, when I would be merely sleeping , overcome
by fatigue of love-dalliance, how could you (other¬
wise) bear long severance from me ? (4i)
Here then having learnt from the sage, as already
narrated, this gem to be the cause of my reunion with
you, through the power of this gem I recovered you*
[Shows the gem)

Urvashi—Oh, the gem of union l that is why I was

restored to myself the imoment my Lord embraced me*
[Takes the gem and holds it on her head).

King—Hold yourself, O fair one, hold a moment thus*

Irradiated by the glow of this gem placed upon
your brow, your face looks as splendid as a lotus
red-gleaming in the morning light. (42)
Urvashi—It is a long time that we left Pratishthanaj
surely the subjects must have been incensed against me*
So come, let us return.
King—As you command. Lady.
Urvashi—How will it please my Lord to travel?
King—Take me, O stately of gait, to my place
on a cloud turned into an aerial car,* with the flashes
of the evanescent lightning for its banner and the bow
of Indra for the fresh paintings that beautify it. [43]
( Exeunt Omnes )

END OP ACT IV
 f: I
T an: siftaft HffenO few: i ]

—f^fgan t% KW
* «Rpit-fe«iT-wi5%g ftcfc»r 'jftifil-
jwt PrBT-a3T^ft i asreranftwan^flc
flfE KTif I a^RTPJRnn qfsre
< «r fk fg & i «rsr fjrfs-fHfcat f% w-
^Nt *iwf-^rshnT«t aaft faanfkftait
wr$ »rRrst i m srra a^raar^t «ra-
\ «<t««innw feQ^ar-1% amr-wft stftr [ *%
flftwrafe ] f^OTi ffe^Pt ^Wfe?rat •^■Rasg^rg
%rorc<>3isftfpr sfitf^isa: fferaap?: i f^Hf *wr*.idnrait:
ng asfeftngrKWHt psa $dfa i aiaaiaR a ftafa
■IW <l*m i aro fefirfa^fe gfa *prarfen*TngH3rt: ferif
%tffir: an »difi)«!'+,: amagaWi sfts: s at, araa.
nH aapiaa: arsfMwmFt aigsfeaniPi aanjaft aarfe i
Pn*^ i ] wft vft i $35g*rc«g^; are-frazmft
fmfapafir»r nfcraiart w vi^nJt aaswsjrc-fam-
femt-ntfls-Tanir-fe^nTtwoft anftiP-pf|;»nT firgai
«ifa=srnt i ?t *r ft^ i ara?*amT^
fef^r jfawRt jpjt afa-
nBnroffcai ^SpnfijH: i

fafjre—[ *4 srt ] «rsqif|<j i «n{

 ACT V.

( Enter Vidushaka who seems satisfied ).

Vidushaka—Fourtunately, my dear friend has now

come back, after spenaing a long time enjoying with
XJrvashi in the gardens of the gods, Nandanavana and
others. Now he 'rules, well pleased with his subjects
who treat him with honour and respect. With the excep¬
tion of his childless state, there is nothing wanting to
make his happiness complete. To-day being an
auspicious day. he has bathed at the confluence of the
Ganges and the Yamuna along with his queens and has
just now entered his tent. So while he adorns himself
let me partake of the first portion of the flowers and
perfumes. ( Walks about)

( Behind the scenes)

Alas! .Alas ( Here has a hawk borne away the ruby,

taking it for a piece of flesh, the ruby which well would
adorn the crown of our Lord’s dearest Queen, when I was
taking it along in a silk-covered box of palm-leaf.

Vidushaka—{Listening). What a mischance l That

was the crest-gem of reunion highly prized by my friend.
u® rroiWTO

www omwfNt •mw *j*r-sraft i ^

s* ^ «TO*m-fc*«wt tow «n««n^t sfsw
■OT »mmft i atwr «t mmunfa i wsifjwi. i
<rt WgTO: «a * TOW frwrflaft 5TPT Tjrmftr: l am:
"*» «g awwiH^'wmTO^wwwigwra rr u<n«raifo •
sjw^gwrfRt i
[ TO: Hft*lftl «T^»WftTOt Trait i ]
\<> ttst—
wnrwrot w*nraf *ra^ f*i*<M4*r. i
ifc* awnm ^ « t u
fgHHft—TOt O^it >3 g5-^tf%-3TO-%W-grTO
wftrunx «nf55t'?rt ftar aim qfgwnifif i ^
* t;* «sg gw^fcro^^pn arfSrar aufmfira am#
wf>«nfil |
THU—1qymfrHH i
arcft gwi3fimfiw?|4r firewwfot i
3Tgmw^gfgTt feguwgi<»X<am«<T TRtftr ir«
fk 5 Ǥwrn i
f%£Wi:—[ 3^TO ] «ra *m ftuR I fWKTfl
} WW'uftaft I aroro 1TOT t amrtqRFfa: I
ttsit—wwrni* <n^ i *>j33«gwq. i
[ fraCRIT MdrfHan HWft I ]

4.U11—ww ®i *w« ni’K i

*$t «ra*i$t siwwftait $m-
TfltaWTt I fift afewv&i anro: wftv i»N«faRi l
 feiirsr < tt*

Tint is why* before finishing his attire, my friend leaves

his seat and comes here. Sg I will approach him.

( Then enter King with attendants in flurry).

King—Where is the winged thief that courts his

own death and presumes to violate for the first time
the dwelling of his own protestor? (i)

A forest-woman—There is he hovering in the sky. and

scratching it as it were, with the gem. the golden thread
whereof he holds in his beak.

King—Yes I see him.

As quick he flies in swift circles, with the gem

the golden chain of which is in his beak, the bird
seems to be hemmed in a fiery ring, by the circle of
its flashing lustre. (2)

What indeed, is to be done ?

Vidusaka—Banish compassion in the present case.

A culprit deserves tc be punished.

King—You counsel wisely. A bow, a bow.

f Exit a Yavani—a bow-bearer 0 the King )

t

King- Friend, the bird is not to be seen,

Vidusaka—He has flown away in the south, this

carrion-feeder that ought to be punished.
 wwiwT

\ TOT?—[ ] WM I
»*

warosftfcarat antft nftrar vr i

«roh<re«rvlftq « * #
[ Sfl^T '^TTCRTT SR*ft I ]
*nrtt—«5t iwwni-gfM atrcm i a&
* lyiAWHI'WfW WKHK I

Tnrr—fafinrsff agar i aroaairaJft: sri*-

yfoia: i war ft i

annfo afiiftfwV ^rTwafr^f aafouu sft?r: i

a^laa ^ft?rrR: TOvaa^^jj-*: nan

[asgfttf ft®*** ij ^ciosa asasng^mi amfab:

am ftai«%<Hi VW M<im fttn^RRi i
3 —«rptn*j(s ^ i
[ ftappa: ]
ftjaa:—aaftag sm tf<i$ i aft *r^t twr-
% *wrte*ft «ra$ aranu^t gfwaaft i aqfroa.
»HR aferaH i « »rat Wi<fwfk^t aat: srrcraK. |
TOH—pSrSj&oj i]

mfoft *f *w nftaa: *wft fiiara ftfrimft& I

firoar ftsnftn aaasfft* $*rftm: 11 h ti
m
ft^aa;—»ir qfta^aV fft fa$t aa^r 1 *3 «rf*-
»rai*tffm *Rrar 1
[ rTcT-- sfolft *!5T# afSlUI^Pl *f.«ftfr | ]
aapft—aajj %*: '
 4wte|t i m
King—( Turning and looking ) Now I see.
With the gem looking large owing to its flashing
lustre the bird seems to adorn the face of the quarter
as with an ear-ornament made of a bunch of Asoka
flowers. [3]
(Enior a Yavani, with a bow in her hand )
Yavani—My Lord* here is a bow with an arm-guild*
King—What use is the bow, now? The vulture has
flown beyond the arrow's reach. For

That excellent gem, as it is carried further by

the bird looks like Mars clinging to a strip of a
thick cloudlet. m

(Looking towards the chamberlain ) Latavya, say to

the people in my name, 'Do you trade this thief of 1
bird at night to his tree of perch/

Chaxbeklaix—As my lord commands.

Vidushaka—Rest you my friend now. Wheresoever
gone, this thief of the gem cannot escape your punishment*
King—( Sitting along with the Vidushaka ).
Merely as a gem I have very little regard for
the precious stone snatched by the bird; but to this
gem of union, I owe reunion with my love. [5]

Vidushaka—Well, you have already told me so.

( Enter Chamberlain bringing with him the gem and

an arrow ).

Chambkbiatn—Victory to my Lord !
tw
wf HwRiy* WT
xW«r & m4mm *hNi

«iflfc<«: qfaxr: q?nft il \ il

[ a? ftwa XJTOftr I ]
^ajqft—arf^f: mmfaal sifni: «R^ «<0«dlH, I
\ naif—w*<if5i nfiiga^si f?at s^fra I
ftmfft—^ *Tff afroiH^ [*fa ufaMDftffl f%**RH i ]
«K vjrif angMitfa i
< nan-^rasiT arfq3inftff*rara'^nif<ianwiifiri
nspft—wnffrift gvrftggifqftfiwK^mi tfikt
<i«i—«S| ^<TO 5FCH I
% [ tpn sr^t i ]
[ ttstt 5ji*n^ti"^gai«i i ^rresrai i ]

ftsBFfT:
ftrfrc:—f% vni fgarr^; i ft *rm; Rrh^% i
nsn—srg main. jrsjsrtmgnfor [ amfit ]

gwimng^f am: gtvffiq Mi u vs n

—[ <wf<rftiH. ] Rfi^sn nmdror awftr

na l ftwr *t?h i
< narr—grciilrar?^ i aiwr* gfiftraarntfegaEt-
g^$vn i si « *mi sr»Hqfa<igfVai i
ggpi: i f% g
 tfriiteg: I UPt
Pierced by your anger turned into an arrow* the
bird that deserved death, having thus met adequate
punishment, has fallen from the sky together with
the crest-gem. [6]
( All express wonder ).
Chamberlain—To whom shall this gem, cleaned with
Water, be given?
King—Ho, forester, purify it in fire and keep it in
its box.
Forestwoman—As my Lord commands.
( Takes the gem and departs ).
King—Latavya. know you to whom the shaft belongs t
Chamberlain—There is some name inscribed upon
it, but my eye-sight cannot distinguish the characters.
King—Well, then, bring the arrow to me.
( The Chamberlain does as bidden', the King reads the
letters of the name and he is a father.)
Chamberlain—-In the meanwhile, I will attend to
my business.
( Exit ),
Vipushaka—What are you thinking ?
King—Hear the name of the striker.
" The arrow of Ayus, the archer who strikes at
the life of his enemies, the son of Urvashi and
Pururavas.” [7]
Vidushaka—( With satisfaction ). I* congratulate you
upon your having a son.
King—Friend, how is this ? I have never been
away from Urvashi, but for the interval of the sacrifice
performed in the Naimisha forest. And I never marked
that she was carrying. Whence then this child ? But,
TO WlllfOW

mf^r f^mfs s^ojjx fcsswgdrxw nxsr. n <£ n

Rt?w.--*r vra sM mg<ti-^rw f^«ng wn-
%5 1 mwfuwjjghi to flftpi 1 *n «isi< ^t
* nigtftad Rsjng tomg 1 iwMft<i<nft mar *Rfflft 1
mn—areg ms%4 sm wntre 1 sw4hw%
ffcfare straw Er»*rewt: 1
Rrj*«:—%sy-<A*WX grgsrewfr. I «t tan-
_ ^__y_f\._ _f:i_

IfWIW WWW I

[ uf^t*i spsa^a 1 ]

^ sra^t—rotg trog %s»1 its ■Bsssrww^gwrt

*pf^si <ttm«\ Outfit %4 T^resfar 1
sian—swssfs «rftatfis« stars 1
n S»3g«|jt—ssuFwfs tan 1
[ *f«r strs^r $srt«i crnw * s* 51%: 11

xs xst *ms?rt 1 [ »»Rwn% 1 ]

ih fajw—[ tta>ra ] ft; «i g ^ «c«V tnnri
wfow-^mrart arexr smfgfr ftar-TOSi-%dfc
ar^-tnmaft I sx qot sssr 1 ft*
<8s<n ctwfi qflragnwst sw TOiffcm qsggta>
artarcrs: 1 ?wt «T5?rt srewgsdft 1
xiiit—s«nta*t. 1 sir. wg
swrafl ftafam *m xftaftas
SIWR«wfN| f^S WSi TOtig: 1
 During those days, her breasts had their nipples
darkened, and her cheeks grew pale as the Lavali
leaf, and her eyes were full of lassitude. [8]
Vidushaka—You must not suppose that the heavenly
nymphs betray the qualities of mortals* They can keep
their doings hidden through their power.
King—it may be as you say. But why should she
have concealed her son?
Vidushafa—Who can fathom the mystery of the
celestial beings?

( Enter chamberlain ).
Chamberlain—Glory to our Lord ! a hermit-woman
has come from the religious domicile of the sage Chyavana*
with a boy, and desires to see Your Majesty.

King—Usher both of them without delay.

Chamberlain—As my Lord commands.

(Departs, and then enters leading the boy with a bow
in his hand, and the hermit woman).

Chamberlain—This way, madam, this way.

( All move about)

Vidushaka—(Observing). Could this be the Kshatriya

lad, to whom belongs the arrow that hit the vulture ? To
be sure, he looks your image to a great extent.
King—That is possible. And hence ?
My eyes are dimmed with tears as they rest on
him, my heart is filled with tenderness,, and my mind
 frwjifir 9«ra^7 qfU^tfr: « ^ «

an^t—vm^rfa 4*it«i<r»H i

tun—»»** i
< wrwfr—wbt-wt iiftri
[ enw'MH. ] an^t wiMpH^fa firmn^t *wwr
^RftnJTt wrJHt w astrot i [spsran]
S an^ qonr ^ 55 l *tsram qftrfeifireirrfon *r i ^
sRmRfrtqr %ft: a«*r n^ojMeih^r: 1 ^ira sm
% 55H. 1
% [ twrcww&wffe 1 ]
»nn—*?* 1
9 «KS—[ ywrarj; ]
«if* sr^fijej w?5t fqaT surra *prTS5w^fir 1
g*j5 *T%t^ ^TFTSK II \o II

*rit—»r«i*f?r fam*nMsnit3nn* 1
aroft—30113 1 «rat ffigiJ, stts srr*-
* fa^fa forfire 3T%fcon<T nw
3?«t orreft-rov^t 13T mRra-strrcarccr in?-fwmfic
Rreni £ ^ «T3t33T owfrm «*%*! arg^rfs^ »
\ nfir?~foat 1 **% mw- »
w fo»fgag*fcwra 7^1 ftjrfi *rn
jqrtftffr: | «rc. erBpifsircw arraWf* fan* 5f^J
 tmwtrfs i w.

becomes serene. Seized by a tremor, and my equa¬

nimity gone, I desire to clasp him close with my
limbs. [9]

Chamberlain—Revered lady, here pause.

( The hermit woman and the hoy stand ).

King—Hail, holy dame !

Hermit-Woman—Fortunate one, may you continue

the line of Soma. (To herself) Ah, without being told,
one may tell that the royal sage and Ayus are bound by
ties of blood. (Aloud) Boy, pay your homage to vour
father.

(Joins his hands in reverence, still holding th* haw in them).

King—May your years be many !

Boy—(To himself). If such my love on hearing that

he is my father and I his son, how great must be
the love of those who grew up fondled in the laps
by their fathers ? [10]

King--Revered lady, what brings you here?

Hermit-Woman—Let my lord hear. This long-lived

child was for some cause confided to my care by Urva-
shi, the moment he was bom. The rites of birth and
other rites proper to the warrior-lad have been duly per*
formed by the sage Chyavana. After having learned the
sciences, he has been trained to archery.
W° WwTww
\ ^3pi awMgfeag i gtfeifitft *ig3RiR»ft*n<i; i
Tntr—^siro: mg i
wmtft—ar» s^FH^Rntm yfa-ymctfg w
« *T^t»i tfimn ar^w-Rrgg anaiftt i aw garofiM-
ai ai^pf 3^1 UHWtRwWhlffaH. I
fw^ro: -[ €1%^ ] ffe fijai i ftfaa i

ih —*ifg*(fi«ii fas ftraft <n^r-ftn&

ftraftamToit toTO srort-fagt aimw i ?&nfirc:
OT: <n^MfiWI^ ftrifoWHtsSFT Raftf^Tt *T>I*U
1c [ ^HJHWtWfri I ]

g|3IT—!RR?T5TS I

«iroat—?rgt *sr5t-t*rN *t3itoi araftm arc

TOnfggr i firenfrfg gw-on^fir i m grotfe
%f% y«*f% ^frorg I an jwmnHW <araSw
ait «mRsi i fSrafera jw^iwRifri i gf^arfJr Vty&fl
*fwgn i
arm—%st fg *nq*waqna i
(amft 3R!iRr aireft i )

*T3!T—«MflM| angwra^f? 1
—4tlll|J4ro t
[ gf?r fsi«BRT: ]
^ glut—[ 1 iftfg TO »
*r*W«Ts TOtfc g?ITO Bro %W HIHTO^W I
aiwggTO OTg*r?gqrcsren»i*afiiv n U ii
 foRtaft l W

King—So he had a protector indeed.

HERMiT-WoifAN-Today while he had gone out to fetch

flowers and wood with the boys of the ascetics, he acted
in a way to violate (the sanctity of,) the hermitage.

Vxdushaka—(Hurriedly ) How ?

Hermit-Woman—They say that he aimed an arrow

at a vulture that carried a bit of flesh and was
perched on a tree-top.

( Vxdushaka looks at the King).

King—What next?

Hermit-Woman—Then the revered Chyavana who>

learnt about it, bade me ! return your deposit. So I wish
to see Queen Urvashi.

King—Well, please, holy dame, take a seat.

(The Hermit-Woman occupies a seat brought for her).

King—Latavya, call Urvashi.

Chamberlain—As my Lord commands.

(Exit).

King—(Looking at the prince), tome, child, come.

The touch of a son's person, they say shoots

dcstasy through the whole body: therefore come and
gladden me, as the moon's ray, the moonstone, [ill
 t\__
IwTTOf

—ang fert i amr ffon** i

[ jurc: <MMyi«iu| HK^ | J
3 ararr—[ s»m ngtfft *Ma* ] am vreaw
fag: faarwaa wmanwHEal l
fafw—f% fir mt%«rfa i m«w-mrcMi&fa«&
s gag rnofimt I arffcw* i amwmftf^ra x*a
VHMWK I
jnRrn::—[ ^Rhhh, ] tot i
«. fa^am:—mfro aregt i aaffer *i?% i
[mr: sfryfij diaft wst * i]
ms|aft—gw gat i
aa glsft—[ $w<*h<*Vi ] mt 3 g gmt m-gwre«ft
<ng<ift wgKww 4wft«wnm-faga«afr
fa^fg [ amff ?®n] *r*wt ^jjanat
as mrs i wg»<ft gj ngait i [ tfawfii ] g »aatg
wmw: aro Ramspr <toM4*iMfii««a*rwwKi i
aigt «wrfHip(fTT jw g?w ang: | qfm arg t
ac <nn: —(saaft 5®n ]

T*T 3Rsft sum T«HW>%naeM<l I

&gggHfaKwg«,TTft TamgaK^ ii i* ii
TOWT—m *m| tf^giim® ni^ i to ft
sqifb toi^ i
[ SUIT 3$# *$*«■& I ]
mWfr—«wa qTg-wrw m^fa I «ma <ngwa# sftfe»
 Hermit-Woman—Child, gladden you* father.

( The prince approaches the King and touches his feet).

King—(Embracing the prince and placing him on

the foot-stool). Child, here is this Brahmin, your father's
dear friend. Bow to him without fear.

Vidushka—Why should he fear ? He has been f&mie

liar enough with monkeys during his stay in the hermitage.

Prince—Father, I bow.

Vidushaka—Fortune attend thee.

(Enter Vrvashi and the Chamberlain ),

Chamberlain—This way, Queen, this way.

Urvashi—(Looking at the Who is this*

prince).
armed with the bow and seated on footstool, whose crest-
knot is being tied by my Lord himself ? (Looking at the
hermit-woman). Ob, it must be my son Ayus, as Satya*
vati's presence makes clear. ( Walks about).

King—(Seeing Urvashi ).

Here comes your mother boy, her gaze .intently

fixed upon you; and her breast-scarf all wetted with
the milk distilled through a mother's love. [12]
»

Hermit-woman—Child, come, meet your mother.

( The prince goes to meet Urvashi).

Urvashi—Mother, I reverence your feet.

 W IfWIITOW

—9«9 i xst *^5?r?n

< Dtl
3P*JTt:—WPf «rRwi«p)l I
—[ 3*wjivft<w<<s ] 9«9 Rrg* arm-
\ <TP9*t gtfgl [ trsrng^i ] ^5 H3 ngm*?! I
to FfePC*n<(»rRt^i »re i area arag qgKM: 1
«orarr—399?^ 1 t*t mrom [ arafcra ]
XX [ 3VXTT 3Tf^lfr[ I ]
wrwft—nfgg-Rrart anas 9.99-gafr
939ft 1 9399 ^ «TOh hh# Rranfipft g^arfir-
x*i 9%9t 1 m Rreit^ gggrfft 1 sr^-nut ft 9999-
99ft I ^ aig: whra %*=*&■■ #?9: 1 a%ro
cl nj: war fsfcjfPtcfr imkf^re: 1 ere. RwSPfljjfiMJifii 1
1c 9»ITOk IWWTflS: t
U9lft—srsr ftfroar arfftaxgv aftftffttrs-
ftg I or 9$»ntfft fft9f*r£ 1 anroft 1
xi *T®95 araiT yift-^mTa .1 fixmiai mi aftreara-
R^wnf^ 1 jt ^isBrfJr Ra®n 1 smpreg'rctxra 1 r*®-
reraf «pi^iwi«< 1
xv nat-to* ^ww art nRniran 1
mnsft—991 «rt5 1 9* *9? ■
fro—arS 9?ft *1% fro?^ Jsmfft ansni k§-
x» wgfy s
*rin—arfft 9?9 sfftar nwr^^ffcnrraft 1 fgaftn-
wmifafl arar am: 1
 WSfWtS*: I WH
Hwimit-Womam—Child, ever may you retain your
lord's highest regardI
Piisce—Mother, accept my salutations.
Ukvashi—( Embracing the prince, whose fe&e is up¬
turned ). Child, may you ever please your father. ( Ap¬
proaching the King ). Glory to my Lord I

King—To the matron, honour t Please to sit here.

(Gives her half his seat).
( Urvashi sits; all take their proper seats)

Hermit-Woman—This Ayus, who has been taught

the sciences, is now old enough to wear the armour. So
I have returned this deposit in the presence of your hus¬
band. So I wish to take my leave of you. For, my
duties in the hermitage suffer.

Urvashi—Having seen you after such a long time,

I feel particularly eager (to see you). I am not able to
give you leave to go. But it would be on the other hand
unjust to detain you. So may you go now to meet again.

King—Mother, bear my reverence to the holy

Chyavana.

Hermit-Woman—It would be so.

Prince—Noble lady, if ‘you are really going, will

you not take me to the hermitage ?

King—Well, child, you have already lived the life

of a student. It is now time you enter the second order
( the life of a householder)
to
 aw#—w* 35# waa agftrs 1 ant sdiaa«
agfire 1
saw—%a ft

as fWnrenpwtrom^r: 1
a ir aiaaaw sa afiwwaa ftrftw^ 11 w a
an^H%t] aw n&fir 1 a$a#f gwn* 1
«bOf*l 1 #ar »ag 5WW*r 1
^ ftawar 1
tnrt—awwfa
stow sftamw aqftatgai aa 1
aa#a 5^: 11 n
[ 3&ft war 1 ]
ftf*a:—fa 3 *3 aast^t aw-a* «rcg-gfl
\ H|W 1 f% 3 ag oti# 3iai 1

ft* 5s# aaftarfa a#tww

tiwfiwkfaumantfo aaft 1

arKw^fttaaraaaivKaw a tH n
[ a*raan: srarfft 1 ]
a##—gaif aam# asw aa ja-aaila
% fagafol fft 1 ^rf«r aft?5-<jfaaftm an# me
ftaa araiftft 1 warn: swtf jp:
RtHsllfa 1 #3rtWft$PT HJ# »W fwaraanflt i
 qvibfti m

Heriut-Wouam—Child, follow the bidding efyont

father.
Prince—Well then.

Send me the peacock Manikanthaka when he

will have grows his plumage, the peacock that
feeling happy at my scratching him about the exeat
would go to sleep in my lap. [ 13 ]

Hermit-Woman—(Smiling). That I will do. Peace

unto all. (Exit),
King—Fair one.

By this excellent son of yours, 1 think myself

the first among fathexs like Indra by Jayanta, the
son of Paulomi. [14]

( Urvashi remembers end weeps )•

Vidushaka—How all of a sudden • the face of my
lady is veiled with tea s ?
King—(Hurriedly).

When great joy has come to me through the

perpetuation of my race why should you, my dear¬
est, weep, thus rendering superfluous the pearl-string
by your tears that roll upon your heaving breast.?
[ *5 ]
( Wipes away her tears).
Urvashi—Listen, my Lord. I forgot awnile at the
sight of this boy; but now the name of the great Indra
Kring« to my mind the decree that pains my heart.
w niwNinf

% <nn «Fwmi aw; i

st? g*j ncTtTw-Jiftflf-firwaTt nH^or
wroair-a* ga mKWUPmwi amjifan-
«> nart-ftfiift i
agr *m faraMad <it-*-Tr gr «g-
•iwtoi irer-apwa gc «gr g* gait
^ %wr amta awassi % i #s<t agmar-
Rrata-dagm sngitd asa fwma-fafWr
aaad siaaaa w«w-<J^ «nwn «aad*W*t
'•H «mra!*i forfaamti asr fagat airTga-aaad
agal fa asasda ftranf^gt ^ fUrs i ar
afaat it U5RWW ««T«t I aa1? *w firaam *ra-
« fifeafii h&mww wreqpj g« <^r mi
«m wfn«Hi<t*qBifti i aat aw acRMftafrnfte'W
jinwki tp fiwFiRf^ftrti *i,iTO*mFn*wn% arafar:
mu aOTiii ftfsa; «ra ftgtrfMwrf; #jn ^r
*srprh fwtffoft w srhrfg' l *HwSM t

[ ?S firei* t

crm—[ aft:’**** ] aid ^aamfiia i gaa* i

aissrftraaa aa am ^vm«hi
mreaar at frdgfr faad*r. i
wiwKiarawi: aaaTsiggai
fSiaa %aw OTfirwfaidCTU N W u
wpfj—w wht
 i w
King—Tell me vb&t decree.
Urvashi—-Formerly when my heart was lost to my
Lori, I was bidden by the great [ndra—

King—What was it ?

Urvashi—"When this my dear friend, the royal

sage, sees the face of a son that you will bear him, who
will perpetuate his family, then will you again oome
back to me." So afraid of severance from my Lord, I
secretly put him, the moment he was bom, in charge of the
holy dame Satyayati in the hermitage of the sage Chya-
vana, that he may be initiated into the sciences. Thinking
that this day he is of an age when he might give joy
to his father, she has brought him back— this my long*
lived boy. So my stay with my dear Lord extends no
further.

(All gesticulate softest).

King—(Sighing). How hostile to man's happiness is

fate!

Scarce have I known the blessing oi a son.

when my fair one is snatched away from me, as
though the blasting lightning should* fall on a tree
just when it revives from languishment in the blaze
of heat, as the young rain descends upon it. [16

Vtdushaxa—So this is how good fortune is followed

by a series of misfortunes. 1 should think now that my
 wr* irst-roir n*%s* fir i
** arofgTO: $ct : i tfsm er&rifo tr&mi tor
I d*rt^ *P<!«il5|fit i
zmt—w Pi fo%-RtmTOH
•wiwit anrfo^-wsac utrcrift
| ¥TmM% I WUfa *R«W SSlfTOW ^sm gWH^
^Ptf^T 3|sr%TTOT JffFTsr: ffl^Wl I
*nrr—*t fte,*r
* fir spwrftratnT
snrofir tow wwi finj *# *
TO*rPi to ^jroigfqr ^roroi^it
ftwRa^pnipniMiTOrfr n it
fWK: —TOT: gTOSITftTOlt
WtuftjfJH |

\ *xmt—«ifir *ro

TOHlfJl uanwwjK n^iftpr: "^^nrtsfq wt.

*n»fir ijarr %<ftqu Tgpft*ifenftf<i«m i
gv*firarfl4f^!«i4Mh«-<i'& qft<fag
* wg «m«i ai^*<w «rr: n \< u
ww <ia-«Miq«M*4jijft.w4 sfif
ffir i
( —I [ (ft jrftRTt ft**RT; ]
[ wf dtorftv^ vn^ri ]
*f*t—[wwwrfi«]fiE3*^ft<ii Br^nram: i
 w
land should wear barks and betake himself to some
holy forest retreat.
Urvashx—Will the King regard me—unfortunate that
1 am—as one who has done her task, when I shall be gone
to Svarga, now that I have got back my child who has
finished his education 1
Ring—No. not so.

It is dependence, which, making severance only

too natural, does not allow a person to have his
own way. Do you obey your Loid. For me, I will
' resign my throne to your son Ayus and retire into
the forest where herds of deer freely move- [17]

Prince—It is scarcely meet that father should pvt

an inexperienced bull to a yoke borne by a veteran.
Ring—Ah, child

Even the cub of an excellent elephant soon sub¬

dues other elephants; the infant snake produces dead¬
liest poison; a king even in his childhood is en¬
dowed with power to protect the earth. It is nature*
therefore, and not age that gives each this fitness to
hear his responsibility. [r8]

Latavya, bid, in my name, our ministers to prepare

lor the coronation of Ayus.

Chamberlain—As my lord commands.

( Departs in sadness).

(All show as if thetr eyes are dazed).

King—(Looking to tne sky). How, a lightning-dash
in a lair dry t
t orrcft i n$
'jHL I

*fjrr—*rtr »mK i *r «rr

ggtgqfr grferggiwg4ta^g; i
gg> rgm iRrar<wfrgw"«ggt-
^mrcfc *9 gi*w>grgq: ii t\ ii
i
mn^OTKFt ] fsr «rgq% tuRcuii i t#
3 *nra%s%»TT i
{ ?Rf: gftqfir 5fR5t: I ]
—ft arum jrawglgqig: i

crar—[ 3^ftsw!5*W*wi MR?ar ] unwHun^ i

—g«rg mnmfa i *ph^ smiftr t

JTTT^:—wftrfeft ^T?ft J£ll*fll«iJ

s serai—[ srwran ] gftr suite [ srarag i
aw.-tnfi^ ] a?g gsrermfirai^g^g i
$iih:s—*r*r*gte$ra anj: u«i«fa i
smy—■aw^mtefti i
ctht—«te f*i«05jg8igm i
[•IR^wWSre: I

Sft l]

grop—w«wrf pfax&tr. i

tnrr—wnwuRJi i
 <m%7> i ih»
Urvashi—{Observing). Afc, it is Narada.

King—Ah, the holy Narada t Who with his

matted hair bright yellow like a streak of Gocochana
on a touchstone, his sacred thread pure as the crescent
of the moon looks like a moving tree of heaven
profusely adorned with wreaths of excellent pearls,
and growing shoots of gold. [19]
Bring materials of worship for him.
Urvashi—(Bringing what is asked for). Here is offer*
ing for the holy sage.
(Enter Narada)

Narada—Hail to the Lord of this middle sphere!

King—(Taking the offering from Urvashi and pre¬
senting it). Reverence to the sage !
Urvashi—My homage to the holy one.
Narada—Never be wife and husband disunited !
Ktng—(To himeelf) Oh, might this be i (Aloud, em¬
bracing the prince ) Child, pay your adoration to.the holy
sage.
Prince—Holy sir, here is Ayus, the son of Urvashi*
paying his homage.
Narada—May your days be many 1
King—Please to honour this seat.
(Narada takes his seat. Others , occupy their seats
after Narada.)
Narada—King, listen to the message of the greit
India.
King—I am all attention.
« inrgp—mm^ff mrar «*wumw owjfit *r»-
nwjtnRat i
<ian—ftnmrrwfw '

wr^t i srarw srig»ffa: ««rot *f; 1 f***r w

Offer i thrift «rra^rgw* «**-
fv Wlftefil i
grfcrft— [ arraii ] «rm%~ «f| Jfffcwn^r
faff | 3lft flf$ >T I
^nrr—Trawfer ^%*a^«r i

4R*:—

*tto: gpif^ rtf ^ \

^j}: ^i>V444rnRwfigT: ^jjk ^ ^T^T \\ *o R

[airojTOOTRTi J 3qifcl?TT «4<I*1

fW^TOPjpit 4WrMI lfa^Rs I
I [ siRst tottoto \ ]

«R9^r:—*T3t£ ^ stfiretef-wiTO \
i
% snKT*—^i%^mr«T3^rR: wspffo»
WTT—TO t
9(IT^:—[ $ur<*q ^fn v^srorrai ] tnfr ftWal
% fafan i
qytfT—[ qifrtR M*5 ] 3^5 q«TJT *T*ll*fl HI^T*
Rr^ i to sm toto nwifrot =3 i
 TOPltnP I W
Narada—Indra,
who knows through his divine power,
bids you who have made up your mind to retire to tho
forest—
King—What are his commands ?
Narada—Sages, who can see the past, the future,
and the present, have foretold hostilities between gods
and demons. You are our worthy ally in the wars. There¬
fore, do not relinquish vour arms; and this Urvashi shall
be your wife as long as you 2;ve.
Urvaski—(Aside). A barbed arrow has been extracted
from my bosom I
King—I am subservient to the will of the King of
the Gods.
Narada—It is wisely said.
Indra will work your good, and you too will act
according to his wishes; the Sun sustains Fire with
light, and Fire too with light nourishes the Sun, [20]
(Looking to the sky)* Rambha, bring the materials for
the coronation of prince Ayus as Yuvaraja. which great
Indra himself has prepared.
(Enter nymphs carrying in their hands the materials
mentioned ).
Nymphs—Holy sir, here are the materials of
coronation.
Narada—Let
the prince bo seated on the holy throne.
Rambha—Come here, child- (Leaas the prince to the
seat).
Narada—(Pouring water from the ewer on the head
of the prince). Rambha, complete the rite.
Rambha—(Doing as bidden) Child, pay you adora¬
tion to the holy sage and to your parents.
 rs v t _isa.
WRJWuw

H snrafa i ]

»ro?N
^nn—yagtvrd *m i
Vt —ffrgft «IMMWW> gfrf%l fofliH.wfiRn aw I

[ 5r>r«3r i)

wa*r:—firsrom grow i

*ra goraW^pw-
Tfirarfirfir crarm ro >mfcra# n n
P>. ft
Wwi—

?m faerft: gwugw<rwT
f^*I^rafgr V f^flrPT re«nm>wi$t t
arfii)r*»T<f«m«fl Trawr
fs*mf?r srasft ^ srorafa* *iwt ii « 11
«THHT«:—[ ] f^fgaJT g?re*l g^-TTW-
r«m w^ort <nfa<.frm wfe i f^wi gro-
* *fmt sugrf^"! ^ |

grf^ft—rot si*g^*t i [suit defter]

ro* 3tg-*nr* *fwF%fg i srai^r twfcg?®r:i
* TOT ^8W<!K*tfi«~*W I
[ 5»m: af^t i ]

<nrc- -Rth i wiiU a*q*yn: qiwnKaw<t

 <ngril5gi i
( The prince bows in due order)
Narada—Blessing on you.
King—Be you the foremost of your family.
Urvashi—Be obedient to your father.

( Behind the scenes, bards )

First Bard—-Glory to the young King.

Like the Divine sage Atri of Brahman, or the

Moon of Atri, or Budha of the moon, and our King
of Budha, so do you be worthy of your father by
your qualities which are dear to the people. For in
your roost exalted family-all blessings have indeed
reached their highest pitch. [21]

Second Bard—
Now royal glory shines more bright divided as
it is between your father, the foremost of the exalted,
and yourself whose fortitude is unshakable and who
are so upright, like the Ganges whose waters are
divided between the Himalaya and the Ocean. [22]

Nymphs—{Approaching Urvashi) We congratulate you

upon your son's coronation as Yuvaraja and upon your
union, without fear of separation, with your husband.
Urvashi—This happiness is commonto us sM.{Holding
the prince by the hand). Come, child, pay ^our reve¬
rence to your elder mother.

( The prince starts ).

King—Wait. We shall all go together to her ladyship.

* mrsp—

wrnprt wiiwiwavi i
arfwrPj* «nrr%w &1111& wwai il ^ n
wsrr—HtiN^Oa) *i*nrsT«Bw^qtwiV*iRn«tRri
*rrc^:—% »jpr: (nrorar fw«i i
* *jwr—>rf* % «vmi hww: from: qcFu^grfw i

[ Jirwnpm i ]

w>w!RKiRiwftWww i
g*r?f WIhm^c'II 4aJ>s*5j n Vi H
[ Kt«*reil: I ]

II ffa WXi will: ||

II WflHM fiPRftl’iftq *T2«f>H II

 wvfcft I w
Narada—This installation as Yuvaraja oi your
son Ayus reminds me ol the coronation of Mahasena
by Indra* as chief of the heavenly host. [23]

King—When so favoured by the holy sage* how

could he fail to prove worthy ?

Narada—What further favour would you ask of

Indra?

King—If Lord Indra is pleased with me, what more

can I desire? Still let this be my prayer.
(Benediction).
May learning and wealth* that oppose each other*
unite in one common abode* which is ever so rare,
to bring prosperity to the good. [24]

(Exeunt Omnes).

END.
 Appendix—A.

yfo ww 'i-'* •flcPFft nwiglf v^

sA ^-s» sit ^faw, nf^zr
«waT4«if»gHt 3-n BTTw^rw^ v-3:
9ff^r KSWf^c*%ct: v-v} amn% *rfrrf%^ta: h-y
9TCf: 5^ar ang’Tt afcrurepft: V^3
Tmt gBrm 3^: v-t* ^rw<Tf^{fi-EiHL
WfirtwrtK'Wl 3-^* 3ff<yil4^fd rtt3[T*£ Y—^
lEArtgg-’ ^S: 3-1* airtT^F?n?r sif^r \-\
3T«fteim ^tt^r 3Tf^S% 5!%A
eA* «f«aafii 3-^3 anfWrthsRTPR[ ^-vc
©At AfiflFRTg: H-5 3TT^rf%cTP? R*T V-^3
wcrsft rt *rt ^
3Tfq v-33
3ffa 5?Rreng*f rt & ;3nrtt h-<r
owrcgAfenfisr: v-^n srtfarf TOT 3~^
«rt ^ ?pwreftsfq ^-*13 \-%
art ?ren 3-^3 g$^te«ww«i[ v-*
iWWfifd'^MIg^ v-^3 ^wrrg: f$r%^ v-M
wt*><A craT *-3 b*OTI srtow 1-3
awfflriftiwi: 3-H W: 5^3 3^
art* t^f Jlift ^ 5RRP[
aipnArwianrtt x-3\
up: *rSfN* n-* f% wffi stfwfe H-1H
gfclT 5T 3 ^ iftSWS S^feTOT Y-S
<PB3f 3*9*girtRn y-*
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Appendix B—Metrical Table.

1
as iO a*
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30,32,36,41,42;V.4, m^X f%0X

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5, 8, 10, 11, 13. 29 1 _
Verses 12 and 13 o£ act II are Prakrit Gathas.
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Appendix C.
Text of Act IV according to the Northern
Recension.
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gt-*rfr-?fte-*T»jg*TO<iTO i
atfg-gg-gfiftaro on ii 26 II
[ jfefown* i ]
3TO-f^«r-wnn»i-«atg*naT-wn[^
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«rt?qnc *sr for toWw5 «ro-Hg*ngj ii26ii

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rt|N TSTRTn! immrqxi

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«wt qmmfafcftmmr 1 *f «fS5%dl s^ww

iw ^igjusrenTW wwrt i mg i iii^*
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[ xfow*: i sngwrt fa?n i ]
fcWIVH%tvftqU4fi qqqfc ^Wlfaqi I
qwlhuraataiq vziqr qq qifam n ^ n
t ftstax ] i fq> 3 wg qTqqsfrcqfqq qjqeftgxr:
*Tqs i [i®n i]

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f xffori qaft I ]
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aff ftnfB^TRRifrmq am n 28 •
[ qsqfa xq*i i ] jqt *jqqq
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8?l &JS f^T $3$* swtfil
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firww ^ s<kH. i «<nft a 3*K.fet
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nswa i *a *ra aaft^s aaroat a
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*raa t»?iaaanatf snfcrat *reara: 1
r

am—aremfa a areas naTsfaaar. 1 rea^m-

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[ «naft a4o 1 )
atft arjsr *xwa
afe na maa arf^a ¥*va 1
jppK nrcoT aaa»~
at a I jtnroa at *ta®a* ii 3i u
 IwnvOpT
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siHnfe: qfcn flftg 90m: II
TIP W'lMK'Sf SPRIT I
<st =r wg set »tot a*gr 11 31 it
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tt3tt—finfr «rar:q>raiftrf?r *r ^rara»i*wfii 1
50113 JigKT^I 1 srar^r fr*n^or arrer^
itfogsr 3T*:tg«f orro ns^mgsr-^s^
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p’tottt aanH *rw<t ytuaa >zft?m Brsgqf «ipt *P«pn-
^^sshsnftRT: sasur fijfa: 1
OTT-H w I
3#rff—3TT f*r gftqsiT pfa«fa ?TT 3gT-
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?fat or gfe«ifa Fa 1 «if *re-*Tra-wra-fir»r*w
^rgT-smw fagwftw vifcgngor*ri 5mx-wk
pfasi 1 q%«|pr«8rc ms* sgi «5«i 1
at trt s^r aft nffoflt pi ssamr^r efafalfll I ofa-
jiPt ftar <raf sr ifM?r *fct 1 grorww-
^tpt ^prrprI fNsw srsffcngsrar $*m*l sfon 1
awii«wK.ifc apRft aai arm 1
OTI—Wjfl<Rlll 1
i-fafliggmift wf surt m swranrerf*. 1
pnsfirl vA wfr* farcfirafrm. nvti
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a*nanwift<n wwufti i [ af«r i]
atfft—*roit ^mwwftwt i atir ^ mi<ifw
anfeflfg^aiai qftsftrei fif «garr [ aPwnw
wift Sffa l ] sift #rwpfht: I sra: ag afKI^H anfi*-
tfraam atm i
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«g?cm fa^ftafat aat&mnsfaffegwr n
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atff ftattfst i
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sgSlrafe i
fOTT—
afaraaifagfelft: Mfltfaat

nfafta traaat faataai

am at ata arcrfa q^lg-at n a^ it
i aift i ]
arfaar-fimwft-flawsjt garar-ircnfla-srfaTait I
$^r-aar-ttaiasft favcf u 32 u
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itawinfiMut u 32 ii
[jit a^ra<*n fSnaiaft]
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 NOTES.

ACT 1.
The prologue.

[ The play is introduced with the Prastavana or pm*

logue which opens with the usual benedictory stanza calb*
ed Nandi* after which the Sutradhara or manager makes
his appearance on the stage. He then calls his assistant
and tells him that as he is going to stage the new
play of Kalidasa called ffctfrfafta, the actors should be
advised to attend carefully to their respective parts. The
Sutradhara then requests the audience to hear and wit*
ness attentively the play of Kalidasa about to be staged.
Just then the screams of heavenly nymphs crying for
help are heard from behind the scenes. The Sutradhara
concludes that the heavenly nymphs must be screaming
and crying for help as their friend Urvashi has been ab¬
ducted by the demons. Thereafter he makes his exit ]
In consonance with the time-honoured practice of
Indian writers. Kalidasa opens his play with a benedic¬
tory stanza (the so-called «ns^)» invoking the grace of
Shiva. According to the science of Indian Dramaturgy*
an elaborate series of preliminaries (called the cfjfcfg)
had to be performed before the actual commencement of
a drama The last of these preliminaries was called the
which consisted of a stanza or stanzas in glorifica
turn of some deity. The sipft was regarded as the most
important part of the so that although in the
course of time the other preliminaries were conveniently
2 VXKRAMORVASXYAM. [I. I.—

omitted in practice, the stpft was always attended to

and religiously carried out (cf. Bharata: qqqqnrfi agr
;T!2% I ?TOP3T^i 5TP^ MmSIM*! l). The
two other plays of Kalidasa open with similar
benedictory stanzas in praise of Shiva. The Raghu-
vamsha too opens with a salutation tc Shiva. In the
Meghaduta and KumarasambhaVa also, we come across
several appreciative references to the same deity. All
this would make it seem probable that Kalidasa was a
votary of Shiva. But it must not be forgotten that al¬
though Kalidasa had a particularly soft comer in his
heart lor Shiva, he was still by no means a bigot in his
religious views. If we read Raghuvamsha X and Ku-
marasambhava II* we find that his admiration for Vishnu
and Brabmadeva was as great as for Shiva. Altogether
he was a man thoroughly catholic in his religious per-
suasions and by no means a bigoted fanatic. Vide Intro¬
duction p. V-VI.
I. i. Construe: * (Ml fMmreSW* WJ* I
srffeflciw fftr uuraferc: | «r: * PnRrt-
nwiftffr: wg: ftrswr-
HCT I %^T5^5-In the Upanishads. The Upanishads are
tsalled %3fRT* because they form the concluding portion of each
Veda* which consists of four parts, df$ir> ingJW, sfRifrfi
and Chronologically, too, the Upanishads are the
last compositions in the literature coming under each
Veda. Doctrinallv again they represent the culminating
phase of Vedic thought. — The Supreme Spirit,
or Being, which is the one without a second
as the Upanishads put it. fcRfK— who com¬
pletely pervades the two worlds viz* heaven and earth.
—I* i.] NOTES. 3
For this use of the root along with the absolutive
form of another root cf. Shakuntala I. i srftfai|j|qn m
faflT aqFWffam cf. also the Furushasukta (Rigveda X.
90), stanza 1: fosrcfr tsi arafass.
The Lord or Ruler. The word is derived from the root
fa (II* A.) to rule + the suffix which we find also
in such words as spur, etc. 3Rstffa*:--qr fa!
an: fin: (*Rq?fa n i not signifying anything
else, exclusively applicable to Him alone and none else.
Other gods are called fa* only by sufferance and cour¬
tesy, but Shiva alone is called fa* with the fullest justi¬
fication, as he possesses all the qualities signified and
Implied by that epithet. (sifa arafim-
Sffrfl) ajannf&r ff; (an**) literally true, significant to the
letter, cf. II. 17 infra: ipsrfs^: ,
where pqiJ?r^=3RRlflw 1 ffaftdMI"llf|fS|: gggfw: —
by spiritual aspirants (literally, those who are desirous
of salvation) who have restrained the five vital airs*
snw, and others. In Yogic physiology the vital functions
of the body are analysed into the five vita) breaths of
airs snw, aWR, s^R, and and the spiritual
aspirant is recommended to hold these under control and
to regulate their movements while practising abstract
contemplation, igijsg is a desiderative adjective from the
coot used in the sense of a substantive, within
l.e. in the mind or heart 9R% m). faoi%4tagg*i:^
This compound may be variously explained : (1) far:
4Hfaqt*I: fat I faTOffafal:, I (2) fa# arffaftm
fat I faroffafa?:, §: HWT: I (3) fafa arffaftfa 33*: I
(4) fa*I *1%:. afa: («siFf) W ffiwit 1 means
the same as arffaw - the path or way of devotion, sftu
4 VXKJtAMOKVASIYAM. [I.I.I.—■

by itself means abstract meditation. from the root

fgL It literally means that which stands, that which is
stationary. Hence, immovable, eternal, abiding. As an
epithet of Shiva it means the Eternal One. ft&SRTRl «RQ—
May he conduce to your highest good i.e. salvation.
ft&RTO means that which has nothing superior to it,
hence the highest welfare or spiritual well-being in the
form of Iftagr. faSw (i.e. sfftqqri) TOirat TO
or according to the ‘ The
final tf in this word is laid down by Panini V. 4. 77.
Li.i. —At the end of the benedictory stanza.
*F<f is defined as *srfa: qmmgps: »• a.
stanza of the form of a salutation or benediction which is
suggestive of the story of the drama. It is called ;ypft
because it is a source of delight to the gods. cf. tpqfSSa
fWUt flWRFftfa The commentators
and others take special pains to show how the stanza
of our play hints indirectly at the subject-matter,
refers to Pururavas, the hero of the play; sqro fart fort
hints at his world-wide reputation. The second line of
the stanza suggests that Pururaval alone deserves the
title on account of his unique prowess. The words
in the third line are supposed to hint at the
fact of Urvashi having of her own accord decided to
seek his company. The commentators proceed in the
same strain to show that the remaining expressions in
the stanza are suggestive more or less indirectly of the
subject-matter of the play. But it must be said that
such attempts on the part of the commentators are
purely fantastic, and one wonders if the author of the
play ever intended the stanza to express such a
deeper meaning as the commentators try to read into it.
 NOTES. 5

L 1.2. ^ the direction of the tiring or

gieen room. The word fosr means here
^qfigjjmaq^the space behind the scenes, where the
actors dress themselves and do their toilet, nrRq Tbit*
is a term of polite address used by the Sutradhara in
addressing his assistant, cf. ^jrsft i|R: 5*^?**
info » and also I
HlfoSt qifiqpSHWftfo I

1.1* 3, qifofo (or according to wqfo *nfoffo)

—the assistant of the Sutradhara. The word is derived
from qfo$+the suffix erer (in the sense of n*
) qfo5 TO <nfo$: ^ trar qffapfo: l If» however
we adopt the form qifoffo, we shall have to derive it
from qfo4-+«f(^). vide Panini 1V * 29- and
He is characterized as follows by TOT in his snaftTO-
fgraroJ <tp5
qifofe:

I. i. 4. ^na—Exalted sir. When an inferior person

addresses his superior, he uses the word to; cf- thc
quotations given above under info *•I>6* dra*
matic composition, play, 5Wrii:t
singular is used here for the plural. We have a variant
reading : vstfmr: sm\: 1 Here sffH would mean a dra¬
matic composition and spfbi would. mean ^theatrical
representation. The Nimayasagara Ed. reads qft®r*?qi SENS
TOTOSIW^T. In this case would mean a
dramatic composition abounding in emotional flavour.
TOOT* s* «n«* I All these leadings are good l in
their own way and it is difficult to say which is the
f VIKRAMORVASEYAM.

^ Assembly i. e. the audience or spectator.

esfryfH We know from the that wm,
ilfts, *5^3* etc., were among the predecessors of Kali-
<*aaa* fltsfc.spfts% I This is virtually equal to
.sm& * Therefore shall I exhibit on the stage.
• Therefore' i. e. because the audience have many a
time witnessed the plays of former poets,
The title of our play is explained in two ways: (i) fa*
** sa ). Hare
<W is taken as a name of 3*t«tr (fawsf: $<RW: fal
S&T <tara: l «R^)f), although there is no authority'for
taking the word in that sense, beyond the (tradi¬
tion or convention) referred to by The form is
explained on the analogy of such formations as
etc. Vide Psnini IV. 3.38 (2) ffciN
(»rcn*'T) «?s«n «n ?nn eifaptr «nz*n | on the
analogy of artSmwi|$.n<*H.. I" the former case the title
would mean (The drama of Pururavas and Urvashi,* while
in the latter case it would mean * The drama of Urvashi
won by valour/ The latter way of explaining the title
is open to the objection that the rescue of Urvashi by
Pururavas, although it starts the action of tne play, is
by no means its central theme so as to justify its giving
the name to the play after itself. Whatever the way in
which we explain the title of the play, the hidden
allusion to the patron of the poet is unmistakable, cf.
C. 13- 5 (frwraffot spfo nsri* ) and I, 15. 1 (arg&o: WS
fgeaWOTK:), where also there is a similar secret allusion
to the patron of the poet. 1$ Ft® tft I
which has not been staged here-to-fore. For sfTSd wo
“*-I J NOTES. 7

g«t in the Northern Recension the reading sjtefc, ifte*

is only a variety of <nm. For the technical meaning of
the term, see Introduction* Technical Names, XXVI.
I* i- ii. stF&ftvn*!.—the noble audience. The word «n$r m
itself means noble or honourable, ftps is simply an
honorific addition, cf. Ranganatha : ftww fm-

I. 2. srwfirg-sm: Ml «: uroft | 5m means au

humble request, a petition, iwfttt means a servant,
a supplicant, courtesy, regard, generosity of dis¬
position. g*sr: ^g^r: i sfi (stom:)
tufggw | ^ Wg*TR: I 3^ means *fip|TT
or the plot of the play, means fauf-woik,
dramatic composition.
I. 2. i. -Behind the scenes. Here means
curtain or scene. q^rqifi^ - a friend, one who is favou¬
rably disposed, a sympathiser. jj%: unimpeded move¬
ment. - Through the sky - along the surface of
the sky. I. 2.6. an osprey-what is called Titavi in
Marathi. It is a bird often found in the vicinity of
rivers and lakes and is only too well-known for its shrill
and yet plaintive tone. cf. XIV. m qftftPS «mr-
ft-HRiwq firm jsto i; also maRftirmV.20
MwfajfeMfrlitMK: I After I. 2.6, the Nimavasagara
Ed. gives an additional stanza: iftTHt gjprctlsr qzq^FTT
****$« n* i mumnT ft
•rrS: mfim: I Vide Introduction, p. XII. Rang¬
anatha comments upon it. Katayavema passes over it in
silence. The stanza contains three guesses put forward
by the Sutradhara in the process of identifying the
mournful sounds, which he has only recently heard. It
8 VXKBAMOXVASXYAM. [1.2.1.—

is only after these probable guesses that he comes to the

definite knowledge that the sounds in question aw the
wailings of the Apsarases. That the stanza is an inter*
polation is quite evident from the improbability of the
Sutradhara indulging in three guesses one after another
especially when he has heard a shrill and plaintive cry
(as of an osprey) indicative of some one in distress. Fur¬
ther the wording of the stanza is very faulty* especially
because in the first two lines* the particle Ifc has got
to be supplied. I. 3. Construe:
lawftmgwm ftqfatFn ttten, am: an>(
amtOt »W: arc»i asafrt I means not “The wile of a
god,” but “ A divine or heavenly woman or a nymph”,
cl g<KMI used in this very sense in 1.18.
(source) zp&y; or 33^: (birth, springing into existence)
^ I mmm—oi the friend of Nara. jtk* mv mm:,
according to 2W I Panini V. 4.91. wKRg
means jfRTCW. m and ;fTrw<n were two great sages of yore*
who used to practise penance together and were great
j

friends of each other. In later mythology ^ came to be

Identified with Arjuna and *nropr with $wr or f^ag. ^
and wiKigw figure amongst the *5% or poets of the Rig-
yeda. In regard to the sage HRW”I3 it is said that while
he wcs practising austere penance, Indra, alarmed at his
penance, sent a band of Apsarases to him in order to entice
r&d seduce him. The Apsarases came to him and tried
best to allure him by their seductive charms. itRluw,
however, was not to be lured away by these, and he put
them all to shame by producing from his thigh (gflg) a
damsel of surpassing beauty, whom he sent as a present
?< Indra. cf. I. xa. infra. This damsel was none else but
 .3*2. ] NOTES.

5^, sod she is therefore called here -mi, L_»> _

^'-Tirnn.^' *** *W{Rm~Kjlbera “rd^not’sw!^

approached l^ha

awfa (predicate) W“ **«

rtfAt *\i£ESr
JS5J *2*J* e“emies of °>e Sods i. e. fi? STns.'
^ 011 comPany of Apsarases. The Apsarases
are so called because they are believed to have sprun®
*T * ™Ur of thc «*■» when it was churned by the
gods and,demons(an water^from 5 to wove, to start)
*=*& ones for help or protection. This reading is to

***’ **" * direc% ^n* o» what

mean «• Cries in a'riT*8 Were for‘W ^"ould
fore ve^UeidPltuerrtrmer " "* WOuM * “«*

caUed'3OTLTT'Zlhe PrelUde or Prol°Bue. It is also

“ued anger or Introduction. The «»»» i. ^ ,
kmds_The one that we have here in our play is^*,

—ama £<£*■ *- ^
the main scEirg,
The first Act is easily divisible into six scenes
as follows:—
(i) FIRST SCENE Ik the sky.
for beta and who are Cryh»

ia%Ks:^
 10 VXKRAMORVASXYAM. [ 1.3*2.—

meet 3333^ and inform him of the nature of the outrage.

Pururavas at once sets out in pursuit of the demon.
(2) SECOND SCENE: On a peak of the
Hemakuta Mountain:
The Apsarases in the meanwhile descend from the
sky on to a peak of the Hemakuta Mountain and rest
there for sometime awaiting the King's return, specula¬
ting about the chances of his success in rescuing Urvashi
from the demon when they see in the distance the
returning chariot of the King in the sky.
(3) THIRD SCENE: In the sky, near tk peak of
the Hemakuta; the king moving in His chariot.
The King makes his appearance in his chariot along with
333ft and ftn&tli. The King and EreftjSeU try to comfort
and cheer up 333ft, who has fainted away on account of
the outrage done to her. After some time 333ft regains
her consciousness and learns from her friend that
she must thank King Pururavas for their deliverance from
the demon. The King and Urvashi exchange mutual
glances and straightway fall in love with one another.
(4) FOURTH SCENE: Peak of the Hemakuta.

3HI, and HtreRlT are very much delighted to see

the King return triumphant and unhurt along with
333ft and
(5) FIFTH SCENE: In the sky and then on the
ground; the king's chariot still in motion.

At the command of tjie King, his charioteer lands

the chariot on the peak of the Hemakuta and drives
over the uneven regions of the mountain to where the
Apsarases are waiting for the King,
—1.3.12.1 MOTES. K1

(6) SIXTH SCENE: On the peak of the hemakuta.

While the Apsarases and the King are rejoicing at

Ihe rescue oi and are congratulating one
another, the chief of the Gandharvas, who was sent
by India with an army to rescue Urvashi on learning about
her abduction by Keshin from Narada, descends upon the
peak of Hemakuta, having learnt on his way about ‘the
deliverance of TJrvashi by Pururavas. He offers his con¬
gratulations to the King and requests him to see India.
The King, however, declines the request, whereupon
leaves with the Apsarases. Urvashi departs slowly, with
a parting glance at Pururavas. The latter also makes
his exit in a sad and depressed manner.
1.3- 8 nfrtftfpp*—Just returned from (t. e.
after performing) attendance upon the Sup. —At¬
tendance upon, service. It appears to have been the practice
of King Pururavas to pay visits to the Sun—his great
grand-father on the mother’s side—from time to time and
to wait upon him. King Pururavas, although a mortal*
had access to heaven and his assistance was called upon
even by Indra whenever a war with the demons arose;
•cf. 1.4.7. and V. 19.20ff. infra. The reason why he men*
tions his own name and speaks of himself as haying just
returned after waiting upon the Sun, is to inspire confidence
in the minds of the frightened Apsarases. They already
know the fame and the might of Purftravas arms. cf.
1.4.7-9 and I.4.13 below. 1.3. 11—are&q violence, out»
rage. 1.3.12 ft <p:.uproot 'But say in what way
(fegsftg have your ladyships suffered from the de
mon’s violence V Pururavas wants to know the exact nature
of the outrage committed by the demon or demons, before
12 VTKRAUOKVASIYAU. [ 1.3.12.—

be can dart off in his pursuit of the same.

is an impersonal construction, meaning f^cT: 1
I* 3. *9- m*ut 5nprt rriNw—Indra, the
lord of the gods, is always represented in classical mytho¬
logy as being Jealous or intolerant of an excess of penance
practised by any one on earth. He at once sends down a
band of nymphs in order to entice the person practising
penance into vice and immorality. This is a trait in
India's character often referred to in the works of Kalidasa,
cf. Shakuntala I. arffer tr^ I an*
Raghuvamsha VIII. 79 cN:
5pcj 1 af^TO 1 sgwf-
a weapon delicate enough in appearance but dangerous in
its consequences. Indra’s usual weapon is his 331 or bolt.
But is is extremely hard, while 343ft *s a very tender
weapon in the armoury of Indra. gc3Ti&r.' ‘One that obscu¬
res or eclipses, puts to shame or throws into shade,*
* Obscurer.* —of Laxmi the goddess of wealth and
beauty. 1.3. 21. —seen by accident or chance
iMe. seen all of a sudden, unexpectedly, cf. riicsfqqg
III.19.32 qwiffrggq t: qffaSfr t; also Raghu. VII. 23
and Kumara VII. 75. —Having f%^Ki foe
her second 1. e. together with 1 cf. srWt
above (1.3). qtj: 3p£to: i (m) path, becomes qpf
at the end of a compound according to Panini V. 4. 74
1 • Was taken captive.*
is a gerundial formation from (m. captive) and
the root qf to seize + the suffix 01555 ( ), according to
Panini III, 4. 45-46 ^ \ 4,41^5
The meaning is the same as (stanza 3 above),
niften wflffi-eCqafr 1 1.3. *3- W1W: Villain,
-I-*] VOTES. 13

wretch, miscreant. 1.3.24 qgffrrfo In the North-eastern

direction, ^q: w f^i: aFTOiwgrs <p>CK:|
Vide Panini II. 2.26. 1.3. 25 Qqj^; Distress, fear. 1.3,27
Worthy of. becomi>igs=^f^|2ftni^i Re-
moved from Soma (the Moon) only by one degree.
Pumravas was the son of Budha and the grandson of
Soma (the Moon). Cf. III. 7. 2. and V. 21 below.
f**: aRR 5ZR55TM 9?^r i The Nirnayasagara Ed.
reads which is evidently secondary since it
simplifies the sense of Moreover our reading
is supported by VRX&ft.
1.3.31. trqrnft f^g Tne direction presided over by
IrrH * e. Shiva, the North-east. Cf- above, 1.3.24.
1.3. 32 literally “ Oh long-lived one I" The word
is used much in the sense of “ My lord, ray dear sir.”
I* 3- 33- The stage direction (gesticulating
speed of the chariot) is used because actual speed such as
is described in the following stanza is impossible on the
stage, and has therefore only to be gesticulated.
cfWT: gTOC The son of Vinata, wife of Nashya-
pa, t. e. Garada. who is regarded as the king of birds
and is perhaps the fastest member of its class, anflrqfrw-
I shall approach «. e. overtake, started in ad¬
vance of me t. e. having the start of me. spqrin
The offender against Maghavan i. e. Indra. This refers to
the demon Keshin who had kidnapoed Urvashi and thus
offended against Indra.

I. 4. construe: spft W taw. T*m

| SRRrtj aP*m SRnlB SRTRfa I 3»UPl«W.
wftnfa *«i4W4< smt or
IV
*4 VXKSAMOKVASXYAM. [M.-

wrw3z.*3Wft 3 §TF%3 «ft Hwi: i 3*#W53t 3sr?:

The heavy clouds (gg as an adjective means, solid or
heavy) that are being reduced to powder under the pon¬
derous tread of the horses. ^3^ dike the particles of
dust. 3|h grffts rise or are rising before the chariot.
333q(-the rapid revolutions of the wheels.
BRFflfo in the intervals of the spokes. 3R m. means the
-spoke of a wheel, srk ft. means space between or in¬
terval. SKMtifa means, therefore, the interstices between
the spokes, sfmm gRflcfte-produces as it were an¬
other series or set of spokes. Any one who has observed
a revolving wheel will remember that the space between
the spokes becomes less and less as the rapidity of the
revolutions increases, so that at la^t the number of spo¬
kes appears to be doubled or trebled. Hence it is said
here that another series of intermediate spokes is produ¬
ced as it were, by the revolutions of the wheels,
gffftqr—‘The long (tall), chowries (fixed on the heads of
the horses as ornaments). The singular wwt is used for
the plural. gR* means a mass of the bushy tail of the
deer, used as an ornamental fan, a chowri.
(singular) is used for the plural 33^:3 fgg*qfrffiNl3«*q(
4 Motionless as if they were painted in a picture.* The
idea is that on account of the wind produced by the
high speed of the horses, their tall ornamental chowries
were held erect and motionless. Cf. grfcFJ I. 8 fgc^qgr-
| the banner-cloth, gg %RT;
stands straight*, even, level, without a single fold upon it.
333ft 3 5tP% 3 between the top of the flagstaff (3
and its own skirt (gp3). But for the powerful wind «pro-
duced by the high speed, the banner-cloth would have
—1.5.3 NOTES. 15

fallen down parallel to the flag-staff. Here, however, it

is held in an out-stretchea and horizontal position on
account of the wind produced by the high speed* We get
a various reading for in the first line*
Ranganath explains it as follows:

Mis^ l ^Qjqsfqf znf^r means u Behave like par¬

ticles of dust*' (^53^ anwtfsff, 3T | ) Kalidasa
is very fond of giving realistic descriptions of rapidly mo¬
ving objects. Cf. 1-7 (the high speed of a deer),
1.8 and 9 (the speed of a chariot), VII.8 (an aerial car
making a rapid descent to the ground). I. 4.2.
sftqr- To the spot pointed out (by us to the King) i.e.
the |«Ff»zf$rcvT. I. 4-4- The nymphs were all this while
in the air and hence the stage-direction that they gesti¬
culate descending to the mountain-peak.
I. 4.7. " Whenever hostilities are immi¬
nent." sqf^RT: (approached) (gjj) ^ f Like
Pururavas, Dush^anta also was called upon to help the
Gods in their hostilities against the demons. Cf. Shakun-
tala II. 15, VI 29, 30. f%5f'3g%4lfl§-—" At the head of his
victorious or conquering forces."
I- 4*H‘ 1 “ Having its deer-embla¬
zoned flag proudly lifted on high.** («) means •* A
flag-” "A flag having the figure of a deer upon
its cloth." The flag is proudly lifted up awfad or
(v. 1.), because the king is returning victorious.
*■ 5- *fhs. ” Oh timid one," fSrc5N*#T ifon fg qf^or: i
iMark the humility of the King in attributing the delive¬
rance of Urvashi to the all-saving prowess of Indra.
Vide 1.15 below, wg: Large eye.” Singular
16 YlKRAMQtSVASIYAM. [ 1.5*—

again for the dual, jgjjgs? (*)» " Morning ”, "Dawn”, ••Day¬
break.'* qftfsft "Lotus plant'*. The Nimayasagara Ed.
reads “ This reading has the
advantage that fiqregft exactly corresponds to ^
The night is to the lotus plant what the
demon's violence is to Urvashi. But then, as Mr. Pan¬
dit points out, by itself does not match well
with As each of the two readings has one
point of advantage, it is not possible to decide which is
the better.

I. 5-1- —” Whose vital activity

consists only in her hard breathing” " Alive only
because she is breathing out.” means "Breathing
or respiration.” Ranganath reads:
“Who is supposed or believed to be living only on acco¬
unt of her hard breathing.” *jgr "Consciousness”,
gfaq^—“To recover consciousness, to come to one's self.”'

I. 5.4. Adverb, "Powerfully”, "Exceedingly”, CL

glfagffl f. 2 qssqqft fafeflWTH. I and ibid III
Ki I The Northern Recension adds here the sta¬
nza etc., which we have given in our In¬
troduction p. XII. It contains almost the same idea as
that of stanza 6.

I. 6. Construe: q^ | ager: igmweari fTi («^) w-

wHyftqi flffrwfrt (w§) * am.
(•nR) mft i
ipnmi trot “ Her heart tender like a flower.”
This is *>e subject and qn (tremor) is the object
-17] VOTES. 17

3*3—-"Whose stem is delicate like that

of a flower/' seems to mean here “ Structure, con¬
struction/* ** Whose structure is as delicate as that of a
flower/* Cf. Meghaduta 1 9. “$§roc^.....9PRftiq.
|n (n) " Yellow sandal." Here •• Paste or
smearing of yellow sandle." “Heaving up
and down between her breasts.*' The Nlmayasagara Ed.
reads this stanza as follows:—
g*sfa * fgrefra \

Although the expression is more direct than

the word spoils the whole sense and so
the reading has to be rejected.
I. 6. 1. —" Compose yourself.**
3Rt^| ^si qq Sffarrffc—“ You strike me as if you
were not a nymph, although you are really one.*' ftgtksn
means to say that in being so much overpowered by
fear Urvashi behaves like a human being rather than
like an Apsaras, who in her nature must be above fear.
ST^imafo— " Comes to herself, regains consciousness/*
I. 6. 4. STfrfflg auqpi7-"To recover consciousness."
t- 7* Construe : xft: fg,
erf% Ttarqsms*? mi wit
^dg:3RT: I
hsw |rrg^: aiflh: " Like the flame of a noctur¬
nal fire." gfus; gjr: mi: m I
“ From which the smoke has been mostly removed or
or from which most of the smoke has bees removed."
fbt:<RPW>§Fn—" Turbid on account of the tumbling in of
the banks.” mi —“Regaining-her natural clearness
18 T1KIULU0BVA8B IT AM, [ I.7—

or purity." 9R|: (=fsfif) rj%r guswro “ Almost relieved

of her mental stupor." The suffix has the sense of
“Almost* for the most part." Cl Panini V. 3. 67.
I Thus • *. gwmrar.
We get a v. L gmqwi which conveys the same sense as

I* 7- I- Asm “ Of good cheer* cheerful/’ ggiw:

" Wretched, vile, accursed.” “ The oppo¬
nents or enemies of the Gods." fdfttg literally “The thrice
ten " is a name of the Gods collectively. Mallinatha on
Kumar III. i. explains the word as : aufWT: 33F
“Whose number is thrice ten."
I. 7. 4. f% | Marx the naturalness
and extreme innocence of Urvashi’s question. As soon
as she hears that the demons have been defeated* she
most naturally thinks that India and none else must
have been the cause of their overthrow.
“By the great Indra who saw (the whole thing 1. e. the
outrage committed by the demons) by means of hit
divine power (spur).” *5 efow* W*sr TOOTC# l
I- 7- 9< 99 3F&—Urvashi thinks that in com¬
mitting an outrage-upon her* the demons have obliged
her, for how could she otherwise have had the privilege
of seeing the King* and coming in such intimate contact
with him?
I. 7* n. SffKtar “Completely recovered.*' “Come to
herself." mg etc. Vide notes on 9HW TOEHW
etc. above p. 7.
I* 8. eiWWiy: “ Of lovely light."
“ In creating." srmft: “ Acted the part of the
creator" 3 expresses the sense of ruess or conjecture.
 XUTES. *9
(Cf. 32 titaft). tiaftmra: '! Cupid, who excels in the
graces of love, or who joys or revels in love and love
alone*” qg: ipj $fg 1 g*lfW mm “The month
which is a repertory of flowers 1. e. the venial season-*-
*Prin«-” yJtajRWWT: I g*wt gfif: "The ancient
ascetic* the ascetic of yore” referring to the sageinnaw,
who is supposed to have produced Uxvashi from his thigh.
” Made blunt or dull by his constant lucubra¬
tions over the Vedas.” “ Whose curiosity
has been weaned away from the pleasures of the senses.”
ftahrar: wnfH jhgg %rn m I The idea is : Urvashi, being
a damsel of surpassing beauty, presupposes & creator
equally beautiful and charming, so in her case either the
Moon or the Vernal season or the God of love himself
must have been the creator, and definitely not that old
sage ivroaw, who has lost all zest for sensual pleasures,
on account of his constant application to the study of
Vedas. Cf. mmttmn I. 21.
wifir wmqgt w
I. 8. 3. emaqffft—** Who has given os protection from
danger." «ppt (a) means •• Security or protection."
I.9. Construe: | mrfi, *** «npmut: ifk
Ufugar hmH g: ufo Mar fan mtpsm 1 mi-
h fHftw fap I mwi “By chance, accidentally"
ipq—** FiruitfuL foitunate, luckyit is the opposite of
qvwr “ barren " (Cf. gfg in Marathi and Gujarati.) qft
%gT "Stood within the Sange of the eyes." ggggg; "Full
of deep longing." mb&fX'.-mk cfttf a«. " Whose af¬
fection for you is ever fresh." fftyq (a) "Friendship or
affection " from qp^"A friend."
20 TlKRAtfOBVASHITAM. [ I- 9- X—

I- 9-i- ajfiNlflU—"Noble, dignified/'3*31^—“Speech,

maimer of address." 3OT[~The Moon is believed
to be a repository of nectar or ambrosia, if £3$ rTCd—»
“My heart hastens or grows impatient."
I. to. --“Released from eclipse." m«aR-
STHT^i n tf: "Who has regained
his clearness."
I. 10.1. Chitralekha wants to direct Urvashi's atten¬
tion to Rambha and Sahajanya who are standing on
the summit of Hemakuta. Urvashi obviously understands
her meaning, but all the same she continues looking at
the King with steadfast gaze and says ** 3^^:
jtf 5PJRf?wnt£ I" These words apply to the friends of
Urvashi as well as to the king. Urvashi does this in order
to draw the attention of to her own feelings
as regards the King, and she succeeds m calling her
friend's attention to that fact. For in 1.10.4 asks
her " %: ” Showing thereby that she has become
aware of Urvashi's state of mind.
I* xo.7. foircmpffcTCT: (to be construed with
“Standing in the vicinity of the constellation fg^nWT. *’
fifcflRT! is the sixteenth lunar mansion consisting of two
stars. Pururavas who is accompanied by and farsf-
%HT is compared to the Moon accompanied by the two
stars of the f^rTOT constellation. Cf. HI. " ftapf

I. 10.12. si^nftdT—" Brought back or restored to us."

I. 10.15. Sahajanya means that the demons are
really so powerful that there is every reason why they
should rejoice at the victory and safe return of the King.
I. 10. 18. whgnj ‘sqfSfcgr—“Acting as if he recei-
—I I. II. 5 ] worm. 21

ved a jolting of the chariot-wheels.** fcqqwdK: “Beseem

upon an uneven (nigged) surface.’* wusi-V* *** iR-
"Not vain, not futile.'* is a particle expressing joy.
I. n. Construe: ^ *rt ( ) »R: WmtfRli:
■ftfor «dnQfSkn *p: (*fi%£r aifRdfife * *«rt$rrt—
"‘Jolting of the chariot’*. irtbfflifrtft seems to be ellipti¬
cal for “Whose hips are round like the wheel
of a chariot’*, “Fair, beautiful.*’ Cf. IV. 18.
) ufirt to to—
“So as to cause horripilation on the body.** We have
to supply before 3f$f(?T ZT3%3f«ft i The construction
is : art art:.*Tdf&R aifferftsr I “ That
my shoulder was touched by hers so as to cause horri¬
pilation upon the body seems like the sprouting of love.**
The fact is that at the thrilling touch of Urvashi’s
shoulder, Pururavas felt a horripilation upon his body.
This horripiUtion is fancied by the poet to be the sp¬
routing of the future tree of love. Cf. for this represen¬
tation of the emergence of love as the sprouting of the
tree of love, qraflwfilfipr IV._ i. The Nimayasagara Ed.
reads: « I
Uffid || Katayavema reads:
for affftd In this case would be
an adjective qualifying This reading gives a sim¬
pler grammatical construction.
I. ii.a. ffcifi) toi: sraft “Hove a little further**
Urvashi says this because she feels rather ashamed
that her shoulder should have brushed against that
of Pururavas.
I. ii*5* TOTOH’.—“Let us honour or greet or pay
our coneratiilptions to.’*
 nnuomutuK, [I.M-

I. 13. aw* “So that." 4$ “Having beautiful eye-

bfows", "Fair". nlS|; —“Hay join her friends."
rffc “ Vernal beauty “ en£4t (spit: ^ ffl&ft)
#4Of the season (viz. Spiring)** i. e. ‘‘Vernal**.
1. 12.7. used adverbially—“Hard, powerfully*
closely.**
m
I. 12.10. asFTOaffsr “For hundreds of Kalpas.** WV
is a fabulous period of time equal to 1000 Yugas or 432
millions of human years. qftg^T qigfiRTI —One would
naturally expect here ufqsitf: qfgfcren; but that is prohi¬
bited by Panini II. 3. ^9. * 1
!• 13-3-4* “Sufficient to oblige the
great India*** “Capable of laying the great Indra under
obligations.** —“The greatness or excess of
valour. ”
f: “Touch each other’s hands.** Tou¬
ching or shaking or holding by the hand was a mode
if greeting among Hindus of ancient times. Mr. Pandit
gives the following quotation from the WWW <|<M X. 65.51
iftarent qwtwwtifoftB » fiWRi gamM ^
q^qfiRTf; II which mentions the practice of gfqng.
I. 13-10. sRitl “In the mean-while." vfff “Abard,
minstrel or panegyrist." panegyric in vena
beginning with some such word as ornamented
with alliterations and containing all the eight cases of
Nominal Declension." To give the reader an idea of
what a iJiqVqiyi is like, we quote in hill the following
tfanza from the <K|<qi of «gi ft-
i onw
m: n twwnfer wn tor titoi ^ataropjc w*t ftw-
tro I, inn u cf. Raghu. IV 78.
 *5- *7 J VOTES. *3
where Mallinatha explains the word as follows: av*
mm: I. 14* 50 TOwWWH, etc. vide Notes
on 1. 3 above. HfRriMFRTO. TO3FI is a title of Indfa.
means a god in general, and nqwt. means “ Lord of the
Gods”, i. e. Indra. In the Rgveda, the are the
storm-Gods, and Indra is their lord; hence he is called

L 15. " Shatters or pats to flight.** Mark

again the modesty of the King. Cf. I. 5 above, and
Notes ad. loc.
I- i5-i- aT3?%«: fWRforc: means “Humi
Uty, modesty, freedom from pride or vanity.” fitestreftl?
"The ornament of valour. ” In choosing the word
ffiKJj alone of all those that express the idea of valour
(e. g oftt?, etc.) the poet no doubt wants
to make a hidden allusion to the name of his patron,
the illustrious Cf. also 1. 13.4. and Note on
the title of the play, under I. 1.4 above. For the idea
Cf. JftfiRRPS 82. tffrfojT mn: !
I- 15-9- & ^ spt 11 "Be you my mouth” i. e.
"Speak for me or on my behalf.”
L 15-13* forcwftftw wmm*
This is a round-about way of asking for the permission
of Pururavas to depart “ I wish to take your fame to
the world of Indra " means "I wish to have your per¬
mission to go away.”
I* 15*15 TORlt Mr. Pandit compares the
French expression *'au revoir-
I* 15-17* "Acting as if her flight
{3*rcw) was suddenly obstructed.
1 We have a very parallel situation in Shakun-
34 TISmAMOftTAftHITAlC, [ L 15. *0-—
tala Act I, where while Shakuntala is about to leave
Dushyanta* her foot is pricked, by a thorn and her hark-
garment becomes entangled in the branches of a fine.
Th|s is of course intended by the poet to enable the
heroine to cast a parting glance at the hero, qcwdt
"A single string of pearls.”
I. 15*20. s* erg am 1 yffgaftm %n * u dnlia-
fekha says this smilingly She of course intends
to convey the idea that Urvashi has fallen desperately
in love with Puraravas.
I. 15. 23. cm eneg. 3T1HH: \\ " Remember these
words of yours/' referring to qfttir mm, U Urvashi
asks Chttralekha not to forget her promise (expressed in
the words “ wig, mm, |”) to help her in her love
lor Pururavas. Cf. U. 9.6-7. below.
I. 16. ant«i^sn —According to V. S. Apte this expre¬
ssion means “Having her eyes turned towards their comers.”
TO GT ll arrbr m. means •'The comer of the
eye.” The expression would therefore ultimately mean '‘Ca¬
sting side-glances." Rangan&tha takes mqfn in the sense of
Cupid (the bodiless). awfofoll mesas then,
“ Having love-darting eyes.” gsnfa 9m “ Once again for
the last time, this day.”
I* 17- iferea is an irregular expression
having the sense : yrffranKPtHl it We come across many
such instances in Kal dasa's works. CL Raghu. VI. 20
mftyiwf ll Mallmatha observes:
ufagaift mmm, **m: u A missile
weapon (shaft) presided over by the deity mg/’ The
idea b that the missile weapon is to be hurled against
the enemy with a spg or incantation eddremed to the
Qed Ulg.
 VOTES. «5
I* 17. 1. gifim *' Bring here.*’
i-17* 4* n g&fr «ff5#firo& 3$r g4-
\\ “ Bent upon the unattainable " ». e. ‘'Cau¬
sing one to long for an unattainable object."
I. 18. fqg: ipqit "The middle footstep of her
father" «. e. the sky. We have seen above that the
sage sfrcftOT was the father of Urvashi. In latter mytho¬
logy this STTCraw was indentified with f^ig. Here ftg:
means f|a{|; ^4 11 " The middle foot¬
step of Vishnu." In the Rgveda ftag appears as a per¬
sonification of the sun who is said to traverse the whole
world in three steps. These three steps refer to the
three stages of the sun in his daily march from the
East to the West. The first step corresponds to the rise
of the sun on the eastern horizon; the second to the
zenith position of the sun at midday; and the third to
his setting behind the western horizon. Thus the second
or middle step of fipag means the sky. In classical My¬
thology also the sky is regarded as the second (or mi¬
ddle) of the three steps that took in the 4f4MH?1K.
The sky is, therefore, often called in Sanskrit. Cf.
Raghuvansha XIII. 1. awwr: 315513^ gqg: V3 fiwiM
flrnfRR: n V$\ —"This heavenly damsel". qjrn—
"The fibre or filament in a lotus-stalk".

ACT II.
[ The Second Act opens with an introductory scene-
technically called 113313;, followed by the main scene.
Introductory Scene ■' Precincts of the
palace of the King.
Vidushaka, the boon companion of Pururavas, has
learnt from the latter about his amour for Urvashi.-
 26 TIKXAMOIITABJnTAM. [ ACT II—

The King has however charged him to keep the matter

to himself. Vidushaka is carrying on a heroic flight with
his extremely communicative nature. Nipunika, the
maid-servant of the Queen makes her entry and in the
course of a soliloquy tells us that the Queen (fiRftd-nyft
altas afttferfl) has .noticed a great change in Puniravas,
ever since his return from his qauqpgR and that she is
considerably worked over it. At the Queen’s instance.
Nipunika wants to know from Vidushaka what the mat¬
ter is with the King. She approaches him and by using
a very ingenious trick succeeds in screwing out of him
,the secret of the King's passion for Urvashi. A bard an¬
nounces the hour of midday, which is the time for the
King to leave his council-chamber for bath, meal, etc.
THE MAIN SCENE.
The main scene in Act II contains as many as 7
sub-scenes, as shown below:—
1. FIRST SCENE : the palace.
The King enters with his friend Vidushaka. The
King is suffering severely from the pangs of love for
Urvashi.
2. SECOND SCENE the pramadavana
To divert his mind the King goes to the SCT333. He
however finds that the beauty of the ii^ff instead of
ptffering any relaxation to his mind. >nly augments his
love-longing.
3. THIRD SCENE : the in THBHRqqar.
The King and Vidushaka while wandering in the
HSfgq? reach the enter it and take their
mats within. At the request of the King, Vidushaka
begins to meditate and think out some means of bring-
ing about a meeting between the king and UrvaabL
The king has a good omen and his mind is filled
with hope.
4* FOURTH SCENE: IN THE SKY.
Urvashi and Chitralelcha, moving in the air, reach
the region where the King’s palace is situated. They
move on in the air to the region of thejnpR.
5- FIFTH SCENE: the again.
They get down from the sky and see the King in
the garden with his friend. Urvashi approaches the King
unseen in order to overhear his talk with his friend.
From what she hears, she is convinced of the King’s
deep love for her. The King blames Urvashi for her
indifference to him, whereupon Urvashi writes on a
Bhurja-patra (birch leaf) two stanzas expressing her deep
love for Pururavas and drops it before the Kif\g. The
King is overjoyed to read Urvashi** protestation of love
for him. He hands over the love-letter to Vidnshaka
for safe-keeping. In the meanwhile Chitralekha goes to
the King and communicates to him the prayer of Urvashi
that the King should take pity on her and accept her
love. The King only too willingly gives his consent to
the proposal. Urvashi also now reveals herself to the
King and greets him with victory. The King receives her
and seats her by his side. Just then a announces,
that Urvashi and Chitralekha most return to heaven im¬
mediately, as their presence is required there In connec¬
tion with the staging of a drama composed by the sage
Bharata. Urvashi being helpless leaves the King most
reluctantly. The King now wants some consolation and
asks his friend for the love-letter. But Vidushaka ha
a8 YixBAMaTABftarrA.il. [ACT II—
In the meanwhile dropped It and allowed it to be Mown
away by the wind. He begins to look for it here
and there.
(6) SIXTH SCENE : Backsipz of the
Enter Queen and Niponika. The Queen, who has
learnt bom Nipqnika that the King has gone to the
ftBgftftBWftt along with Vidush«ka wants to over-hear
him and to see if she can get any confirmation for the
report brought by Niponika about the King's amour for
Urvashi. As she is about to hide herself behind a bosh
she sees a scroll of birch-leaf blown along by the wind*
which at last clings to her anklet. On further scrutiny
it proves to be a love-letter from Urvashi to the King.
The Queen takes hold of the letter with a view to con¬
fronting the King with that irrefutable proof of his
illicit love.
(7) SEVENTH SCENE: The ftifege^wsrr once again.
Vidushaka is still looking for the love-letter but to
no purpose, and the King is grievously disappointed. Just
then the Queen enters, with the birch-leaf in her hand.
The King is able to give only a lame excuse by saying
that it is altogether a different birch-leaf that has been
missing and for which be has been looking and not the
one the Queen has brought with her. But this does not
satisfy the Queen. Vidnshaka tries to defend the King
but only makes matters worse. The King begs the
Queen's pardon for bis crime-in-love, winch he can no*
longer deny, and prostrates at her feet. The Queen how¬
ever leaves him in a rage in utter disregard of bis pros¬
tration. The King is stung with a sense of humiliation
at the scant ceremony with which the Queen has treated
—IL a 3» 1 29

Us apology, though he still continues to hold her in

loving regard.—The midday hour having now approached,
the King repairs to the palace for his bath, meal etc.
n. o. 8. trreff “ In the midst of a crowd ”, "When in
company with others.” «n#%=3Ft#7l3lr. (Katayayema)
tRafo* "The seat, sitting on which he settles disputes and
dispenses justice•• Council hall;** ** The seat of judge-
moat” UMdMTd: TO 1 "Which is but
slightly frequented by people.” faqMWfrwfaft—“In the
precincts of the palace called fgpfFfofo ” Katayayema
reads as the name of the palace. Ranga-
natha reads as its name. In the Sh&kuntala the
palace of Dushyanta is called Whatever the
reading that we adopt, this much is certain that it is
the name of a palace.
II. o. 21. e, Aushinari, the queen
of Pururayas. ugjyq: “ An unworthy, wicked, vile Brah¬
min.** It is used as a contemptuous term. WgffsyfajtV*
Amarakosha. It is to be explained as: qgf
tFg: 3^ 1 nnpw:, * 3 «rWt an^n^r m [

anfefer: 3FR: & ‘‘The very picture of a monkey.**

The fi|^p(j is usually an ugly, deformed man and so
ftgfuiW calls him "The very picture of a monkey.”Cf. V.
11. 6. below. %qfq qynt «Jjt: " Sitting silent for some
reason or another.'*
an4i||UN^: The noble, Manavaka. is the name
of the Vidushaka. He is of a short stature and hence
gets the appropriate name qroqi- a dwarf, manikin. gift
eFRi-aww: i
IL a 32. ddhfwiNRH " Your practice of music." Nip-
15
30 VXKXAMOmVASBIYASfc. [ IL Ow 39—

xptik* was not a mm attendant Upon the Queen, but

was also an accomplished woman*
II. o. 39: q£r tr^prKft "Favourably disposed towards
me, a friend of mine.”
" Distressed or afflicted by an unusual suffering.'*
It must not be forgotten by the reader that the Queen's
message delivered by Nipunika to the w nothing
but an invention of her own brain.
II 0.45. anafan "Was addressed. ” The
suffix is added to «nif without any additional sense.
Thus qwfru means the same thing as
Ii. o. 51. By restraining my tongue."
IL o. 6t. Mirage. Here the mirage is of
course the attainznent-of Urvashi.
II. o. 64. Bard, minstrel." flliter UW-
%nfv^S: The duty of the was to announce
to the King the different periods of the day, by means
of suitable descriptive songs in praise of the King. The
?nro«ro describes* the as follows :—

II. I srr i^URTTi^ etc. applies to the Sun as well as

to the King, an ritaRIRt (i) " Driving
to away the darkness oppressing the people, beyond the
confines of the world." (ii) •• Suppressing the criminal
tendencies of the subjects all over the wide world.**
means (i) cpftarm: "The obscuring and oppressing
activity of darkness." (ii) atjtgw. " Criminal or evil ten¬
dencies of the people." "In the sixth
part or division of the day." According to works on
Politics (s&ltvr). * king is recommended to divide the
—II. 2. aj vans. 3*
day (4.«. from morning to Mbg) into eight parti*
each part being then equal to one hour and a half. Dif¬
ferent duties axe assigned to these divisions of the day.
The sixth division commences at atxrxt 1-30 P. M. and
lasts till 3 P.M.The King is recommended to pass this period
of time according to his will 4. e, he is not required to do any
particular or set duty, but is allowed to spend that time ac¬
cording to his pleasure anuR: gsgqfll etc. does
not refer to the time of the day when the king rises
from his judgment seat. It is said only in a general way
to bring out the comparison between the Sun and the
King. The King has to pass a very busy day in the mid¬
st of various engagements and gets rest only in the
sixth part of the day. So too the Sun stands and resits
for a moment when he comes to the zenith-position, and
then again commences bis rapid course westwards.
—For the technical meaning of this term, see
Introduction, Technical Names, p. XXVI
II. S. Construe: sraswrTOR
^ «i an esflra. s$zi (wffci) | " The
dolphin-bannered God" i. e. "Cupid" whose banner is
adorned witn the figure of a fish (qqac). (SdL
Wlfar) " Infallible, unerring, unmissing in its aim"
| " Access to which
was given" " A breach in which was effected."
II. 2.%. "Poor, miserable". A term of commiseta
tion. Sorely afflicted or pained a't heart." Vidushaka
has already promised tliat he would try his best to
dissuade the King from running after the mirage. Now from
the speech of the King he sees that he has fallen over head
and ears in love with Urvashi, and therefore commiserates
the Queen in the words etc....
s* vxkramorvashiyam.

II- 2«3* qn MTh* secret entruat-

ed to you/’
II. ss.6. “ I have been outwitted or over*
reached'*, “By that wench, slave girl/1
II. 2.10. wf3T 'Off-hand, without due consideration.**
Hark the presence of mind shown by the Vidushaka in
answering the question of the King.
II- 2.17. qwftww | Katayavema gives the
following as the five varieties of articles of food, (l) wfg
Things to be thoroughly chewed before they are eaten,
such as bread; (2) aftwar Things to be eaten without much
chewing, such as boiled rice; (3) Things to be licked,
such as liquid condiments and soups; (4) afNr Things to
be sucked, such as mango-pickles; (5) Things to be
drunk, such as milk, etc. Or the expression might refer
to some five specific food-preparations, corresponding
perhaps to Marathi qw qwm, " Having all
the requisite articles or materials brought together.**
“Preparation**, 3W5T I This is a
contamination of two constructions:
and gppgr » Ranganatha justifies
this irregular construction by citing a precedent for it
from no less an authority than the 'Wfr
ilMfalfifiKfi ga *3W»5r
WH II Cf. also III. 23.
n* ffc JPPWft AT fftBT II means to
remove, drive away, beguile.
II. 2.20. 3&Hsn*W: “ Desiring or longing for an object
difficult to be had.** or
sn^pTT 3FT \ Here ftsftgu means to di¬
vert, amuse, entertain, please.
—HM ] VOTES. 33
II. 2.20 ^ etc. The Vidush&ka means to say
44 K Urvashi has but once scon you, she cannot help fall-
®t ® Jove with you and making a voluntary offer of
herself to you, so handsome and lovable you am."
IL 2.24. oaMKffcRH milting 44 h you choose to pay
such a compliment to me, though, as I very well know,
I am unworthy of it, it is your affection for (WW;-
partiality) me that is responsible for it."
II. 2.28. a|g$pr $%Wil 1 As remarked above the Vi-
dushaka in the Sanskrit Drama is always represents so
an ugly and deformed person.Cf.
quoted by frro.
II- 3- I ct- Kumara. I.42. qpscv M

II3- *• faawufikufaurr toto qgtan, 1 TO^mm, means

'The vow of the Chataka bird’*, which, it is said, does
not drink water lying on the ground, however thirsty it
may be, but always looks up towards the sky and cries
aloud piteously until at last rain-drops fall Into its mouth.
Cf. «ft raw* 121: q$sn rT^ t?afa TO*gft IJsit: quffib**: 1
also 551 ^ ^ TO* TOTOTOT etc.
is used here in a double sense. With the Chataka
it means “ Longing for heavenly water, water ooxning
directly from the clouds" With the King it means “Long¬
ing for heavenly love i.e. the love of a heavenly nymph*9.
T*T means both water and love.

II* 3-4- 3K3* “Love-sick, love-lorn". ftftwpf'Solitude"

WtqSH The name of the pleasure garden attached to the
King's palace. Literally “The garden of pleasure'*.
34> VIJCAMORVASHIAII. [ IL3*6—

II. 3.6. n fife: “What escape ( is there ) from the

King's command ? I must obey it against my wilt*'
anftff "Deputed, sent lorward”. *n«isge: “ A guest "•
gtyuMjiUM Hfjqfwr: "Your Honour is being received with
respect by the southern wind (i.e. the Malaya breeze). Cl
III. to: Mas thrift: qiPfe^Mir:
VRVta wrgg* nfeife i afe + 3^4- n**m
**To rise and go forward to meet or receive a guest".
II. 3.11. The King understands the expression gfepr-
used above by the Vidushaka in a second sense also,
besides that in which it was used by the Vidushaka.
He says “This cool breeze here, is fit to* be called gfepr-
TOT, not only because it proceeds trom the south, but
also because it is. generous or considerate, solicitous to
oblige, attentive to ladies" as is shown in the following
Manza. gfePf means “Southern" and also Solicitous to
oblige, attentive to ladies" The epithet gfew is usually
applied to lovers ( «ffesr: ) who even when they
really love one lady, do not fail to please others also by
their kindness and solicitous attention. Ci. afeafU mfevg
wfobw j&trgqgff gfewt *m: (sairofa).
II 4. In this stanza the King compares the Malaya
breeze to a lover (qmtt). Like a Jover, who, while really
loving one lady, is solicitous to oblige others also, the
Malaya breeze too, while impregenating the gpgaft creeper
with honey-drops ( ftfegpf ) and thus showing its genuine
bv® ( ^5 ) for the same, makes the creeper dance
and thus shows its kindness and solicitous attention
( glffeeg ) to it. The ivwft is a creeper flowering in spring.
It is otherwise called Off means “ Spring " or the
“ Vernal season ” and so the creeper that flowers in
—HA 1 ms. 35
spring comas to be called in# ( or ) “The sjarag
deeper ndefr (Also celled m# ) Is a creeper flowering
two months before the In the month of Magha:
By tbe time that Malaya breeze sets in, the #1$ creeper
is no longer in flowers, having outlived its day. So the
best attention that the Malaya breeze can show unto it
is to make it dance. In this stanza the ifwft creeper is
compared (suggestively though) to a young sweet-heart
end the to an elderly sweet-heart who has already
passed the pink of youthful loveliness and perfection.
II- 4- 2-3. a wfaftttar: dig I erfiiftta means
** Determination ’* The Vidushaka means to say that the
King must henceforth behave himself just like the Malaya
breeze, i.e. while he may love Urvashi, he must not be
indifferent to Queen ajhftstft, but must do his best to
please and placate her. It will appear in tbe sequel*
that the King in fact acts up to this advice of the Vidu¬
shaka. Cf. II- 22 4-5; III 4. 4.
II. 4. 6-7- ST *ng smfifaq; ” 1 was not right in
imagining that etc. ” “ A remedy against dist¬
ress or afflction. ”
II- t>. 1 (Abla¬
tive) fsfaTO 5% 1 “ Very difficult to be withdrawn
from its longing for an unattainable object/’
“ Even as it is, even already.” qwur&n-The five-arrowed
or five-armed God " i. e. Cupid, who is supposed to be
armed with the five arrows mentioned # in the following
stanza:—creftroita =* ^ ** l sftwfrra =*
gmi: II ftga etc. Because the sight of the
mango-trees with their fresh tender sprouts and the touch
of the gentle Malaya breeze are very potent excitants oi
56 VXKKAMOKVASKXAM. [ E6.J—

the passion of love and Immensely intensify the tormente

of the already suffering, miserable victim of Love.
II. 6. 3. h^t etc. Cf. Sh&kuntla III*
ff if* ^ erm: I end HL 20 below*
II- & t- ffftftlfM Referring to the belief
that the words of a Brahmin axe bound to be fulfilled
although they might have been uttered casually and off¬
hand Cf. uwftuifAfjft HI. 1 ggftaft UWldt ( Scil
MfM ) eWWRH, M imr 1 uf&ofM mgsife f|
ii- 7* sftroffiswin 1 ffrto (ar%T, snft^ «n ) iftii
gMRH. U 3fofg|<Wl I " Ready to burst or bloom or open
JtS^C^rtWWSRtn I fv2&: aft ( atmvft ) tftll 1
«ftvr~ " Yellow " *F*&m =ff efafflff * g'ft, " On the bord¬
erland between childhood and youth
II- 7- 4- qftfigaravgRra: *• Furnished with a marble
( fffafSfsr crystal) seat ” or “ Furnished with a jewelled
stone-seat. M | |»ff: OTUTC: N I “ Honouring (you)’*.
mftagfd “ Recevies •• (you) The hovering bees dash
against the delicate flowers & cause tiem to
fall down. The poet fancies that the bower is
as it were receiving the King with honour by maVing an
offering of flowers.
II- 8- $ffftd is derived from $33 + thetennina-
tion |ffw () according to Panini V 2-36 ff^m
^ 11 $g<nfa dmmft srem:m jgfiim (am) i
tfift “ To take delight in ” '* Fastidious, hand
to please by anything else. ”
II- 8- 5. m: “ The physician
to the great Indra who had fallen in love with «fgm. 99
'Who the physician to Indra is cannot be ascertained
Perhaps the reference is not to any particular physician
—11.8.5*] NOTES. 37

of lndra but only in a general way to any physician in

the service of lndra whom the latter must have consulted
in his wasting love-malady Caused by his unfulfilled pass¬
ion for Ahalya. According' to the Ramayana, Ahalya
was the first woman to be created by Brahma. She was
given in marriage to rfal*. lndra however became enam¬
oured of her and seduced her by assuming the form of
Gautama. When Gautama came to know of this, he
expelled Ahalya from his hermitage and caused her to
become a stone and to remain in that condition until
she should be touched by the feet of Dasharathi Rama.
Mad, helpless ” " At our wit’s end. 1
II. 8. 5. We read in m F3* before m§
following four of Mr. Pandit's eight Mss. We
think the words are absolutely necessary to connect the
preceding speech of the Vidushaka with the following
remark of the King. Cf. IV. 6. wfrfafow

II- 8- 9- li fsrfim Katavavema observes

I w “An omen i.e. the palpitation or
throbbing of the right eye.” Cf. also III. 9. w...* I Such
a construction shows the contrast or incompatibility bet¬
ween the two things described. I Referring
to the omen which he has had just now* ** This (omen)
inspired or produced by Cupid, ’’ "Unaccountable”
etc. These two lines describe the condition
of his mind immediately after the perception of the
good omen.
II. 9. 6. etc- Cf. I- 15. 17-22. above.
II. 9- II- arofferamai: An undertaking or
adventure in which 1 have cast aside all sense of shame.’*
3& VIKRAMORV ASHI AM. [ II.9.16—

srqffeRT is the past passive

participle from the denominative " To take hands
off a thing M hence “ To abandon, give up, cast away. ”
II. 9. 16. &rqi$cTt cir^" Think well beforehand
(?IWO whether you are right in going to him ” (tlTOO
first of all, beforehand.
II. 9. 18. Urvashi means to say that if she were
going of her own accord then it would have been proper
for her to consider whether it was right to do so. But
she is going to Pururavas at the command of Madana
(Cupid) and so it is not her business to consider the
propriety or otherwise of what she is doing,
smiftlfll 5TTR : The mysterious lore of
tying the hair, called 1 The invincible’/* It seems
the preceptor of the Gods-f^j% had taught the Apsara-
ses this mysterious lore of tying the hair to the accomp¬
animent of certain magic charms whereby they could make
themselves inaccessible to the demons, the enemies of the
Gods.
II. 9.29. Bfgt fapfri it This shows that Urvashi
was so deeply engrossed with thoughts about Pururavas,
that she forgot the fact that she was under the influence
of the mysterious lore aroifarcrr. Well indeed has Prof.
Ryder said ^bout her : “ She is too much of a woman.
to be a nymph.”
8TOWJ I 41 Coming down to the path of the
Siddhas.” f^s are semi-divine beings possessed of super¬
natural powers and capable of flying in the sky at a short
distance from the surface of the earth, amntj,
then, means that the Apsarases come down and move
across the sky at a short distance from the surface of
'the earth.
 11.9.68.] NOTES. 39

11.9.34* —Modern Allahabad was. the capital,

of Puraravas. It stood at the confluence of the Ganges
and the Jamna, Cf. 5RPV I
3TT* 3llg4Wft Hfagft mmu: II ftH9Wt<n»gT “ Being as it
were the crest-ornament (of afflgH ).”
II. 9* 40. 3?r^r^pft. " Friend of the distressed " anTOHt
^ i This refers to her recent deliverance by
Puraravas from the power of the demon Keshin.
n. 9.47- softer?! “ Is waiting for you, is expecting you/*'
II. 9- 55* I 4* Hidden or concealed by
means of the fasn”. is a magic lore
by means of which a person can make himself invisible
at will. 44 For a while, just for some time/*

" In a retired, solitary place."

II. 9. 62. <jjjuftqfl%-because his mind is too much occu¬
pied with thoughts about Urvashi, to allow him to hear
attentively the words of the
II. 9.65. 3TTNTH I " Boasts of herself," “Remain*
stubbom and indifferent in her pride or haughtiness/’
II. 9. 66-67. ft “ But why do you
act the part of a human being ?’* “ You are not a human
being, but an Apsaras. So you can, by consulting*
your supernatural powers, easily find out who is the sub¬
ject of the King's thoughts. Why do you behave like a
poor, miserable, helpless mortal?'* fgfcnre “ To imitate, to
act like/'
II.9.68. But to this Urvashi says that she is afraid
of knowing by means of her supernatural powers some¬
thing that is most unpalatable to her. For, who knows,
the King might be entertaining thoughts about some other
40 VIKRAMOKVASHXAM. [ IJ.9.7&—

damsel than herself? And if it were true, what a great

shock wduld that revelation bring to her? Here again
we see that Urvashi is too much of a woman to be a
nymph.
II. 9.78. “ Oh timid heart.*’ (n) means
■** Courage.**
II. 10. sf q etc. Construe : | <rf fifcnn
aRWMTfa 5RR«ir; sgro? ? ? i. e.
1
aRTOTOifi? " Even before finishing ” {her likeness in the
painting), “ Being flooded with tears.” The
•construction is ungrammatical, for the gerund ( )
must have the same subject as the principal verb
Here, however, is the subject of SftiqTO and
is the subject of The correct construction would
■be: at JW etc- or at
fsPHfC 3TT&fc%
(i%) n For a similar idea Cf. VI. 22. STSTTOT—
fwfop: ^P=T fWFWf: 1 ft f^PlTOftril
Also irwgr 11. 45. etc.) wdtam 1.35-
II. 11. spin? means divine, supernatural power. aiasq-
3|W4qw«fr<fn: flR " Vain,
because of their failing to get their object.*' n?§
igrft, The King means to say that he is quite powerless
before the all-conquering shafts of Cupid, and that if
Cupid wants to regard himself as triumphant by frustra¬
ting the desires of the King, he should by all means do
so and glory himself in having killed a poor victim. For
the King is sure to die, if his desires are frustrated.
"In regard to Urvashi" ftft 41 Victo-
[II. 12-13— NOTES. 41

II. 11.6. “Produced by means of divine

power/' because no natural one was at hand.
II. 11.9. or a|f^7 An interjection showing
surprise and fear at the sight of something never seen
before. ); 1*150*1)
II. 11.13. “A writing", literally “Arrange¬
ment of letters".
II. 11. 14. 3^Tf^r VRfa—“Letters may have
been sent (to you). " a^rnf^T "Syllables, letters."
II. 11.18. sn%[ arn^r: Cf. Kumara. V. 64.
*Ffrc*n*!Wofa5 1 "There is nothing inaccessible or too
high for desires/’ afspn^r “Reading to himself." Cf. II.
19.33. and V. 6.10. sraw "Happy, felicitous, correct."
II. 11.21. \ The Vidushaka makes a
pun upon the word ggw used by the King in II n. 18.
He means to say, “The guess has shown itself to be
5KIfl i.e. correct; now be yourself stm i.e. pleased to read
out the contents of the letter."
II. 11.22. qHififo—“Belonging to the town, urban,
clever, ingenious" as opposed to “Rustic."
II. 12-13. Construe : | ^ OUT 3HlTcfT M
3*1 ^rrf^T mi m ( sop* ) (df|) og ^
3?fa aigwil T I 3?9TTcfT-
“Being unknown to you", “Whose heart or feelings or
sufferings are unkown to you". In stanza n, Pururavas
has made a serious allegation against Urvashi, viz. that
Urvashi is indifferent to him although she very well
knows how he is pining for her. To this allegation
Urvashi replies in this stanza: “If I am really indifferent to
you as you imagine me to be, then how is it, that even
4* VXKRA1IORVASHIAM. [II.13-

when I lie upon a bod strewn over with Parijata flowers,

my body exposed to the delightful breezes of the Nanda-
navana. I roll about restlessly and do not And even a
moment's relief from the oppressive pangs of love 7" She
means to say that the King does not really know the
state of her mind; hence she speaks of herself as qgRlT.
If, on the other hand, the King knew that she is con¬
stantly pining for him, he would never make such an
allegation against her. (SciL *rfafo) »
I Compare with this, the
love-letter written by Shakuntala in Shakuntala III. 15.
g*: wft thrift TPsnsrft 1
fMk gfwftomii a?n# 11
II. 13.1. f% 3 ^ M nfawifa i That is « Will
he say that he loves me or will he say that he does not
Jove me ?”
II. 13-4* 3m: 1 “By means of his limbs
that have become thin and flaccid like a lotus-stalk’’,
on account of his deep yearning for you. Chitralekha
means to say that it is not >at all necessary that the
King should say verbally that he loves Uryashi. His
emaciated body itself bears eloquent testimony to his
Jove for Urvashi.

5*33 ’ fRr qaRH:

5n^l, drft mqFIT: ‘3T«3^ “ qqfa 3| ”
qs% l fcl ymewawfo;
|| *’ Raddi Shastri. is the same, as
gwmpTqsf. It is a rite performed immediately before
any solemn observance, in which the Brahmins sprinkle
-n.14] NOTES. 43

water over the Yajamana and invoke blessings on him

by means of jpgys from the scriptures. The Brahmins
receive, in return for their services, sweet-meats,
presents etc. Hence the importance of the to
the iafww literally means “Invocation of good
fortune ** by means of the repetition of sacred mantras.
Hr. Pandit, however, thinks that the Sanskrit equivalent
of the original Prakrit qlfwtW is and not
would mean “A present offered to
a Brahmin in order to secure his good wishes and bless¬
ings at the end of any religious ceremony.** OTWTORW
" Consolation, encouragement.' *

II. 14. Construe: ^

fsramr: tm:
^Firar: aiFR wrafiN1 —
“Indicating a love as great as that of mine for her."
afomqyqqt. “ Fnll of charming meaning.** SfsfaP*:
fR. I —“ Utterance, expression;** more cor¬
rectly here “ Song, piece of poetry./ t&( " Co¬
mmitted to writing on the Bhurja leaf.** 4|f^3ju|| “Having
bewitching ( jff^ = ) eyes.** mi " Of me
(who am looking at it) with upturned or raised up eye¬
lashes/* i. e. " Of me (who am looking at it) with staring
eyes.** V. 1. g?!W5-Agreeing with cTC^T: SfFR^-means
the same thing: Vide Translation, fcqr: TO
1 " Her face has as it were come into contact
with mine.** The King means that his reading the letter
of Urvashi is not simply a consolation to him but that
it is as if her face came into contact with his own. For
the words coming from her mouth and committed to
44 VZXRAMOS V ASH I AM. [II. 14-1—-

writing on the Bhurja leaf, are devoured by the King

with his eager eyes.
II* 14.1. 3TST sfrfa: WTfifiywr—“ Here i. e. now,
is our love of equal shares ” i. e. “ Now it is proved be¬
yond doubt that we love each other equally."
II. 14. 3. l —Perspiration is one of the
eight involuntary manifestations of inner love. ( gTfTTOWfS
as they are called), era fitaTOT: “ This autograph
of my beloved."
II. 14.6-7. The Vidushaka thinks that the King has
asked him to preserve the autograph of Uryashi, as a
written evidence of her avowal of love that could be used
against her in case she denies her having ever made
such an avowal. Therefore he asks the King whether it
is possible that Urvashi will ever disappoint him, having
made such a confession of her love. The King of .course
wanted the Vidushaka to preserve that letter simply as
a valuable hand-writing and memorial of Urvashi
“ To fail to fulfil any promise, to disagree, to fail to pro¬
duce an expected result/’
II. 14. 11. Mark how human Urvashi is in her attitude
towards the King. She is afraid of placing herself directly
into his presence all of a sudden. So she first sends
as her agent.
II. 14.13. fd<wRuftH Wfar—" Casting aside the veil
of invisibily'*—“Withdrawing or removing the influence
of the ftRgEftuft spell/*

II. I5» wfe? etc. “ Like the Yamuna first seen

in confluence with the Ganga, but then afterwards seen
without the Ganga ” as a person proceeds upstream along
—II. 18 ] NOTES 45
the river-bank; i.e. The Yamuna by herself is not so
charming as she is when united with the Ganga.
II. 12. 531ft—Referring to her encounter
with the demon Keshin. 531ft (n) “ Misfortune, calamity ".
II. 15. 15. ^3% “ Oh sweet-faced one 1 ”, i. e.
" My good lady ”.
II. 16. '! Fair one ”. —" Afflicted on
her account, pining for her spirt: “ Prayer, solicitation,
humble request ”. sift " Unto the God of
love siCT (n) “ Joining together ". Mr. Pandit translates
the third line as follows: “ This prayer proceeding from
love is common to us both. ” But it is unwarrantable
to take sTO: in the sense of guftforo: sm: I We
therefore propose to take in the sense of ^ 51ft
and translate : This is our common prayer unto the
God of love The prayer that two lovers make
unto the god of love is, of course, that they should be
united before long.
II. 16. 3. ft^zirKH—“ Even more merciless (to
him) than to you."
II. 16.6. 353 *' Lightly, only too readily, willingly.**
left! 1 Because has now become the mes¬
senger of Pururayas, she has as it were given up Urvashi.
II. 16.9. en^F Slft^WUPf.— ” Observe first the
formality ( «n*nt),” (of greeting the King appropriately).
II. 17. arers?: am?r: gWFcRR-" The word
■* Victory ** which proceeding from your mouth, does not
greet any other being save the thousand-eyed God
(Indra).” Cf. awmftR: I. i-above.
II. 18. gftai 3K^tT—The sage Bharata who is regard¬
ed as the founder of the drama and the originator of

16
46 VXKKAMOBVASHIYAlf [II. 19—

the histrionic art. He is credited with the authorship of

that famous work on dramaturgy the Vh
siritn: ” The drama viz. ayfayfaf which forms
the substratum for the display and development of the
eight tos or emotional flavours/’ The eight which
were to be exhibited in the drama in question, are enu¬
merated in the following stanza: t
sfiA T€rr: tot?: i qwnrour, IV. 29.
The appears to have been a wonderful play
that afforded scope for the development of all the eight
<Cffs- fagm: ” Has been assigned ” (to your ladyships).
” Abounding in beautiful acting ” i. e. "Which
calls into play a good deal of very fine acting/' qvslq>9H:
“ Together with the i. e.( guardians of the eight
quarters of the world.” “ Is desirous of witnessing.”
II. 18.4. J?$rcrar: “Secure the assent of His
Majesty ” to your departure i. e. “ Take your leave of
His Majesty.”
II. 18.8. ap* “This humble lady here/'
“ Wishes to avoid offending
against the Gods/’ “ Wishes to make herself blameless
towards the Gods.” i.e. “ Wishes to go at once and thus
avoid offending them by disobeying their commands.”
II. 18. 13. gpqdifSfa ^rgjq: “My eyes are useless as it
were/’ since Urvashi has gone away. Singular for the dual.
II. 18.22. m gfrnft 3^3 “ Do not drop your
limbs through despair.” i. e. “ Do not give way to des¬
pair.” —(Denominative from “ Slack, loose”)
"To slacken.”
II. 19, $&{ " Her free heart,” “ Her heart of
which she was mistress.” The Gods were the masters of
-XL 20.] NOTES. 47

tier body; But of her heart, she herself was the mistress.
" Was left as it were *' (with me). The King
fancies that the sighs of Urvashi were due to the pas¬
sage of her heart from below her breasts to himself.
II. 19. 3- “ By this time M. agfas*
l
II. 19. 8. Qj jyn: “ Has gone to heaven
along with her ”, “ Has gone the way of Urvashi ".
II. 19. 9. “ A fool or blockhead ” I
45% aUH: I *&5f SWT# “ Bungles everywhere. ’*
cRf-' etc. The following scene in which Queen
sind her attendant are shown to be in quest of
Puraravas and in which the Queen happening to come by
an irrefutable evidence of the King’s infidelity, exposes
him at last and then leaves the stage in indignation
has a close parallel in Act III.
II. 19. 18. arsror “Falsely”, “Incorrectly”, “Have
I ever before falsely informed Your Majesty ? ”
II. 19. 21. “ Confidential talks ”
II. 19. 26. “Hitherwards”, “in this direction”.
II. 19. 29. " Which as it turns round
and round reveals some letters upon it $3^ I I
«* How ? shall I read it ? ”
II- 19- 33- “ Head to yourself ”. “ Un¬
objectionable ; not unfit for a lady's ears ”. *
II- 19- 37- “ Scandal ”.
II. 19. 42. 43. qar vfiflqfrcr i- e. “ Taking this
very letter of Urvashi as a present to him
II. 20. The King believes that the breeze has carried
away the and so addresses it. £3^ qhq ‘‘The
48 VIKEAM0RVASH1YAM. [ II. 20—

accumulated pollen of flowers flpan = “ For no¬

purpose, uselessly, in vain ffc etc. Construe :
(ai?t:) anwr waffcratfa twi>£ <^3:
W? 5R amfft 1 atawi srRt anafewarfa: " You
who are known to have-courted or made love to Anjana.”
Anjana was the mother of Maruti and the sweet-heart of.
4JJ (wind). t$srfi$: 1 “ By means of such
things (i. e. such memorials as a love-letter received from
the other party), intended to give some diversion to the
mind ( ** Consolation or diversion of the mind”)..
The King means, that the wind ( 373 ) having himself
experienced a romantic love for very w£ll knows
or ought to know the importance of such love-memo¬
rials to lovers.
II- 20. 5. “ Having the complexion
or appearance of a fading bakttla flower. ".

II. 20. 11. Vidushaka flays upon the

word which literally means “Well come", and says
" It is no longer a “Well come”, but an “HI come” i.e.
the antithesis of a welcome, meaning that the Queen
would hardly appreciate the King's welcome, but on the
contrary would resent it.
II. 20. 15. This remark of the Vidushaka must be-
supposed to be made (“ Aside, to the King ”),
although none of the Mss. gives the requisite stage-
direction. He does not of course desire that the Queen
should hear it. And further the question of the King to-
which the Vidushaka gives his reply here, is asked
" Stolen property aVif'rfla:
« A thief caught together with the stolen property i. e_
—II. 30. 36 ] H0TJB8 49
caught red-handed**. For the idea Cf. HI.
gwftgfrl ^^4 *R%n
II. 20. 16. Tj^ipp^on^n ** For the purpose of finding
out another (Bhurja-leaf) altogether The King admits
that he was searching for a Bhurja-leaf, but says that
it was not the one the Queen had brought.

II. 20. 19. “ Good fortune " viz. his having

received a letter from Urvashi containing a fervent
expression of her love for him.

II. 20. 21. “The Vidushaka tries to explain away the

conduct of the King by saying that the King is suffering
from a bilious attack and is therefore acting incoherent¬
ly like a madman. The bilious attack is due to the
fact that the King has not had any food till a late hour
(for it is midday now). The Vidushaka therefore suggests
to the Queen to arrange for the dinner of the King in
order to cure him of his bilious affection.
“Capable of quelling down the vitiated bile" (of the King).

II. 20. 23. ^ 4^: I " Very

well indeed has. the Brahmin come to his friend's help’*.
She says this of course ironically.
II. 20. 25. 3?T*JlRta: \ ) 44 Even a
ghost is pacified or conciliated " by the offering of food.
How much more then a bilious attack ?

II. 20. 26. “ You make me to be, you show

me to be We read so, instead *of 5rf^r7T^J% which
appears rather hackneyed and less idiomatic,
“ Forcibly ", “ Falsely ". The King does not approve of
.the excuse put forward by the Vidushaka. He wants to
50 VlKRAKORVASHXAlf. [ 11.20*26—

adhere to the plea that it was another Bhurja-leaf that

he was looking for. So he chides him in this manner-
II. 21. fef ST RKlwttf
4 * I Although the word 55 ends in a short still
when appearing as the final member of a compound* it
lengthens that g-. Cf. l $***113. " Give
up your anger, or wrath or rage ". ^r«T; etc. “ Is-
it ever possible that the master can get angry unless
his servant is in the wrong ?"
II. 21. 4. in ^ etc..“I must not in my light
heartedness be carried away by this supplication ( afspra
f**tf*T " But then, I am afraid 01
the heart-burning or remorse that will.be caused to me
later on by my hauteur in spuming the King's
supplication. " ayg^fepnr " Unkindness, discourteousness,
loftiness of manner". Later on (VideIII. 4. 11, 13 etc.),
the Queen does in fact feel the bitings of her con¬
science for her having treated the King's prostration
with scant ceremony.
II. 21. 7. arcrcrer (») "Turbid, muddy"; (ii) "Offended,
angry, in a rage ".
II. 21. 9. * This ' i. e. The fact that she has-
gone away unreconciled and angry. ■ “ *s not
wrong i. e. is as it should be i. e. it is not unreasonable".

II. 22. " Although couched in hundreds

of sweet words ** In absence of genuine
love ". 5rf%?lfgr " Boes not appeal to their hearts".
I " A lapidary who is expert
in his craft ". gfsytKiWfeld: This epithet applies both to
the jjffcr and the srgqaj. In the former case it means-
-II. 23 ] NOTES. 51

“ Possessed of an artificial redness 1. e. not possessing a

natural red colour In the latter case* “ Accompanied
only by a semblance of love ( feBmate ) i. e. not showing
any genuine feeling of love could also be
connected with jtfann ” Women, who are expert in
recognizing the genuineness of the supplications of their
beloveds. ” Of. IH-3-

smt qt mpt. qwrefcrft ffc mi»

II. 22. 3. •* With sore eyes ",

II. 22. 4. 9 11 The same ” i. e. as before.
“ because of her disregarding my pro¬
stration at her feet*', “ I shall assume an
attitude of stiffness or patient indifference towards her’*
Cf. Katayavema ‘‘ an* sstjsfa 3^FT
l " Or may be taken in the usual
sense of courage. ** I shall take courage as regards her
i. e. I shall no longer be afraid of her ", since she has
given me an insult in spuming my prostration. Cf.
in* 23. fsrarpwn: ^t: srmqRi««R
In other words, the King wishes to use the insult given
him by the Queen 11 Asa lever to secure his own purposes”.
II. 22. 8. " For some time eftcSR ” To sup¬
port, to sustain, ”
II* 23. junig; u Oppressed by heat.” Katayavema
4WlWf: I If is formed from the word according to
the Sutra > (quoted by Kata¬
yavema). The v. 1. 3wth§i is simpler and more direct, but
for that very reason, rather suspicious. gqR fstfjfa " Hav¬
ing pierced through or forced open at the top.’*
52 VXKRAMORVASHIYAM. [II. 15—

is* according to Mr. Pandit* the Pangara tree* which has

blood-red flowers in early spring* when it is still com¬
pletely shorn of its leaves. The bee is oppressed by the
heat of the sun and so resorts to the qififaK bud* having
pierced it at the top. The singular does not, at
first sight* appear to harmonize with the plural
and hence it has given rise to the v. 1. l
But if we consider the line a little more closely* we
begin to perceive that the plural is intentionally
used by the poet. One and the same bee hops from
bud to bud, pierces through and rests in each bud for a
while and again proceeds to another. Thus one single bee
visits several buds* one single bud not sufficing to give
it complete relief from the intense heat of the sun.
qiRqgcf: " A kind of water-duck. "

“In the pleasure house or pleasure-pavilion*’.

Cf. with this description of the noon JjrafifaiTftfiTSr 11. 12.

ACT III.

[Like the Second Act, the third Act also opens with
an Introductory Scene (technically called ), which
is followed by the Main Scene.
INTRODUCTORY SCENE:—Hermitage of the sage
Bharata.

We learn from a dialogue between two pupils of

Bharata, that the drama staged by Bharata
before the heavenly audience, would have proved a
complete success, but for one blemish which was due to
—III. ] hone. 53
• vety unfortunate dip o! the tongue on the part of
Urvashi, who, while acting the part of Lakihmi, said, in
her absent-mindedness, that her heart was fixed upon
Pururavas, when as a matter of fact she ought to have
said that it was fixed upon Purushottama. Bbarata
thereupon pronounced a curse upon her to the e&eet that
she would be banished from heaven, Indra, however,
took pity upon Urvashi and conferred a favour upon her
by allowing her to remain with Pururavas, his friend in
war, until Pururavas beholds the child that she would
bear him.
THE MAIN SCENE;—-The main scene really
consists of four sub-scenes as shown below:—
FIRST SCENEThe paiace of the King.
The King enters pining for the k>v® of Urvashi.
The Chamberlain (Latavya) communicates to him the
request of the Queen that the King should be kind
enough to go to the terrace of the qftygsj palace, where
she would meet him, and also to pass some thne there,
enjoying the beauty of the moon-lit night. The King
grants the request, but is surprised at such a softening
of the Queen's temperament and concludes that the
Queen must have been stung with remorse for her dis¬
courteous behaviour towards him. The King and Vidu-
shaka go to the qfiifij,
SECOND SCENEThe tberace of the
PALACE. »

The King and Vidushaka pass some time in enjoying

the beauty of the moon-rise. The King's thoughts, however;
return again and again to the all-engrossing theme of
54 VXKKAMORVASHIYAM.
VZKSAMORVASHIYAM. [ III—

bis unfulfilled love for Urvashi, and Vidusbaka again and

again comforts him with hope-inspiring words.
THIRD SCENE :—In the sky.
Urvashi dressed as an Abhisarika and Chitralekha
appear in the sky and move towards the terrace of
srfdngc^, where the King is sitting with Vidushaka.
FOURTH SCENE'The terrace of THE
PALACE.

Urvashi and Chitralekha get down from the sky,

and, remaining concealed by their divine power, over¬
hear the talk of the King and Vidushaka and secretly
watch everything that happens.
The King describes to Vidushaka his love-lorn con¬
dition and tries to give him an idea of the intensity of
his feeling for Urvashi. Urvashi is completely satisfied
about the ardour and sincerity of the King’s love for her
and is almost on the point of revealing herself to the
King, but is cruelly disappointed by the arrival of
Queen aflqffoO with her attendants.

The Queen explains to the King her object in

requesting his presence there at that time, viz. that she
wants to carry out the vow of fsfcngsren^sr (conciliation
of the beloved) which she has been observing. In con¬
nection with that vow, she worships the Moon and the
King and then gives the King an assurance that thence¬
forward she would treat with indulgence and toleration
the King’s love-affairs with other women. The Queen
then departs and the King once again falls into a fit of
love-longing, when he is very agreeably surprised by the
sudden appearance before him of Urvashi and Chitralekha.
—III.0.6] 55
The King seats Urvashi by his side. Chitralekha leaves
for heaven, requesting the King to take care of Urvashi.
The King gives expression to his sense of joy and
blessedness in being united with Urvashi, and then both
of them retire for rest. ]

As already remarked, this act opens with an inter¬

lude (technically called, or for the meaning
of which term vide, Introduction, Technical Names p.
XXV.) between two pupils of urs. Of these one viz. urr
speaks Sanskrit, while the other called uses Prakrit
). The reason for this discrimination is, that
is the senior disciple of while q$q appears to
be a novice and hence not yet possessing a facile com¬
mand over the Sanskrit tongue. This becomes evident
when we consider that *7^ when going to heaven en¬
trusts the management of the atfitoq to while, he
takes along with him as his seat-bearer (sirr
Compare in this connection Act' IV,

III. o. 4. c3|^ 9??g5T l " You were made to

carry the seat.'* It seems, Bharata had taken qgR to
heaven to carry his seat ( or ) wherever
he went to serve as his seat-bearer, so to say. arfpsRWs:
atfifqg or aififtiMi i. e. ** The place where the sacred Are
is kept," “ Fire-sanctuary." “Keeping watch over,
looking to." “Appointed." f^sqr “Thecel¬
estial audience." armful.11 Pleased, satisfied."
III.o. 10. qqa wwsfrqiw“Composed by
Sig 1 The subject is f^n

qfifaq^ appearing in III. mi TOMKlftl

thus stands for to “A sentiment; the
56 VXKRJJCQBVaSHlYAM. [I. 15. 20—

dramatic representational a sentiment or emotion.*’ fWWI

’’Deeply absorbed in."
III. o. 12. ^ gyp#*: M remaining part of your
sentence.” vfrWRTCi: SRWn qlUMWi:, fci
33 ( snfpf I) " Appears to imply a fault." in the dramatic
performance. “ Seems to hint at a fault."
III. o. 14. 3*33 wrcfa " (She) committed
a blunder in her speech “ Was guilty of a slip of the
tongue."
III. o. 19. " The character or part of sMt”
UTSeft appears to be the name of some Goddess, WI3T*
ftrfttfar " Fixed Jove." "Strong inclination of the heart."
III. o. 26. gEguifa frThe sense-organs
follow, or act according to, destiny—what is destined to
happen.
Ill* o. 37. fifsjt "Heavenly or celestial residence.”
" At the end of the theatrical show or drama¬
tic representation." 33 "Here, in this matter"!*, e. now
that you have been cursed to dwell amongst mortals,
rffu ggtfaw: 33% I " Sights or beholds the child you will
bear him."
III. o. 42. " Befitting, becoming to."
“Who knows or can read the hearts ( ) of others."
III. o. 45. srftfiin “Has been transgressed or exceeded,"
III. o. 49. The or chamberlain in Indian Dra¬
ma is always an old Brahmin of irreproachable character
in charge of the royal harem.
Ill, 1. 33% “ In the prime of life," “ In vigorous
youth/-’ “ Healthy, vigorous, youthful/’ 33: 555s#
4* Every married man." fsrwrnu " Is able to take
—III.I.I.] SOtES. 57
rest-’' “Old age *' "Wasting the
body* sapping the vigour of the body/* (supply
). “ Assumes the form of Servitude/' t, e. •• Is passed
m servitude." wmd m %arwpft*r i
?<* mtFFtil we get a variant sftgH*
which would mean, “ Effecting stability or fixity in our
position." For the older the man, the better is he qua¬
lified for the post of a
Katayavema reads flKNffrlffr: and explains:
qntWT: yqsiqgyi 1 Ranganatha also
has the same reading and explains: qsrewRqffa
3W, 5%: ffcllt sfKdtfa WZ- I But this
reading cannot be accepted as it fails to harmonize with
the purport of the stanza. For here the contrasts
the old age of ordinary people with the old age of the
class of men to which he belongs. While the old age of
others brings rest to them, his old age gives him no relief
So one expects to find a word meaning “ old age " to
appear in a prominent position in the last two lines.
This scarcely happens in the case of the reading adopted
by Katayavema and Ranganatha. The ^oes no*
in fact wish to make any statement about §31 (service),
but about “ old age."
Ill, 1. 1. "Who is observing the rules" in
connection with the vow of "Propitiating
the beloved." (See III. 12. 20) 1" Giving up
my sense of wounded pride." *fR means, the indignation
that a woman feels towards her husband when she finds
him attached to another woman (Cf. efHnfNfedl *fW:
fSfr 1 ). qsmnnm fl Evening prayers." gqpff:
" The scene or general appearance of things."
58 VIKRA1C0XVA8HIYAH. [ in.*—
III. 2. “ Perching rod.** ** " As if scu¬
lptured out." "The topmost parts of the palace,
the turrets,*' or according to Mr. Pandit “ The slanting
wooden supports or struts jutting out from the wall close
above the windows and propping up the projecting eaves »

of the roof.*’
Cf. tfrnsrA g fswft I bur: i
) *' In which the doves are confound¬
ed with ” the volumes of smoke issuing from burnt
incense. The doves have the same ashy colour as the
smoke issuing from burnt incense. "Old ma¬
trons of the female apartments." “ Clean or
holy by or intent upon, the performance of the custom¬
ary acts.’* In places strewn over with
offerings of flowers. " (subject gpr; ) “ Arrange,
place, distribute.’*

Ill-3- n%RT^-"In motion" ,

44 Because of its wings being unclipt.” Mountains, so we
are told in the Puranas, had formerly wings and could
fly at will. But when they began to harass mankind by
their wanton movements, Indra was forced to deprive
them of their wings, etc. 3*g<rt gfaffT:
I means 44 A thin tall. Kamikara tree.’*
The women holding lights in their hands are compared to
thin, tall Kamikara trees, which are covered with bright
red flowers.

III. 4. aperffa “ Shut out ". 1

I “ With its hours (
period of time equal to three hours ) tediously long for
want of diversion '*. Cf. II. 23. cWI
tfkk fwfrn: 1 ?n% xrift i ii
—”111.5 ] MOTBS. 59

III. 4. 2. qfofRifi The terrace of qf&rgdi, a palace

•o-called. •• Well visible
{ supply ). “ Until the Moon enters the asterism
of Rohini.*’

III. 4, 5-6. URnr: “ What the Queen has pro¬

posed to do, what she has set herself about.**

III. 4. 12. spff^jtrar “ Wishes to make amends for.**

III. 5. Construe: wgwftwKn: HiffiSTO:
(TO: ) stfongpi: (=ftgd )
Mr. Pandit construes ft*r$: with and under¬
stands the word ftgtf ( which always means “Secret, con¬
cealed **) in the sense of ‘‘ Open, manifest **. According
to him, the idea is : “Women who have spumed the syppli-
cations of their beloveds, although later on they might
be stung with remorse, are ashamed of openly conciliat¬
ing them**. He says : “ftw*| = ftatf filled, full.
ft?2ft is therefore=“Very fuil’*, i.e. “Complete, not half and
half, and hence open **. But such a distortion of the sense
of a word to make it yield a meaning which it never has
elsewhere, is, in our opinion, scarcely warrantable. We
get indeed a very good sense from the stanza by taking
fspsfh as an instrumental adverb (like
<KT%: etc. ) meaning “Silently, secretly, in their hearts**.
“Women, though stung with bitter remorse are in their
hearts ashamed of conciliating.their beloved ones. ’* For
adverbs taking instrumental endings see Whitney's Gram¬
mar sec. 1112. It must however be‘confessed that the
use of ft^R: as an adverb in the sense of is unpre¬
cedented and that one is, therefore, tempted to change
tinftsnui
60 VXKBAIIOSVASB1YAM' [ III. * 4-
III. 5. 4-5, “Beautiful like the waves ot
the Ganges’*, being made of crystal-steps rising one above
•Bother. «!fta~fsftiT nf|&: wftw: I We may also take
the expression to mean “Beautiful with the waves of the
Ganges", supposing that the qfiigs$ stood quite on the
bank of the Ganges.
III. 5. 12. “Charming to look at".
ni. 6. *r4t*gm{ * The
face of the East" because “Having yellow, tawny
ruddy horses" is an epithet of India and he is the lord
guardian of the East, 34^ here stands for 34411^ “The
rising mountain" i.e. the mountain in the East from
behind which the Moon appears to rise. ereu»wqpnf^4
“As if by the tying up of the hair or tresses", The
idea isSo long as the Moon had not risen, the face of
the eastern quarter (imagined here to be a woman), was
iitrouded with dismal darkness. Now this darkness is
fancied to be the loosely hanging tresses of the lady in
the form of the East. The Moon is thought of as the
lord of the East, and so long as he was away, the
East like a faithful Wife did not dress her hair, but al~
lowed them to hang loosely -about her face. (Cf. aftvt
tfN&CR •wwftww^m I *3$ wagftfafflfrw ft).
With the arrival of her lord—the Moon—she tied up
hair and her face brightened up.
in. 6.2, W«glfr*C99to "Appearing like a broken 1
Dissolve: vwifafrir |. The Moon has risen
some time after it has grown dark. So the orb cannot
be full and complete. The therefore compares it
to a which is white in Colour, and whose apex la
—111.7.3] VOTES. 6l
broken off. The is spherical in size with a small
suddenly tapering apex, or «rngw» may mean a wrg or
a ball of sugar. cr«! 1 “The Moon the Lord or
King of the twice-born.'* Cf. lOR:—ffcwrnr: *wrtft vqfllir:
l We get a variant, *nn aftwftw*, which also
would mean “The Moon, the Lord or King of the vege¬
table kingdom/' But in the mouth of the Vidushaka
who is a Brahmin proud of his own caste, the words
XCm f%sn?fbfl* have a peculiar appropriateness and so this
reading is to be preferred to the other.
III. 6. 4. aflqfob “A glutton, a gourmand, an epicure,
a lover of delicate fare".
III. 7- Kdt foro l This refers to the
UTOlW day, when, it is believed, the Moon enters into
the Sun. Cf. rfcfar *lgvr:—si an%®b
tigsriroftll 0n the sprramf day, certain Vedic rites and
sacrifices are performed by pious, religiously-minded
people. So it is said here, that the Moon promotes the
religious acts of pious people by his entering into the
Sun on the SfflNHm day. gw I It is
a common-place of Indian mythology, that the Gods
and the spirits cf departed ancestors (Sift: ‘‘The Fathers**)
derive their sustenance from the Moon, who is supposed
to be a repository of ambrosia ( gw or ).
g&TIH “Prevailing or waxing strong at night",
| It is well-known that the crescent Moon forms
the crest-ornament of Shiva.
III. 7. 2. % By your grandfather." See
I. 3. 28. and note ad loc. Cf. also IV. 19, and V 21.
“Who has conveyed his message to you
17
62 VXXRAHOBVASH1YAM. [III.7.7—

( 0T^R '"Letters, syllables") through a Brahmin (i.e. my*

self). The moon is *T3TT (III. 6. 2.) so it is in
the fitness of things that he should convey his message
to the King through the who is a Brahmin (i. e.
a ftsnfo Var excellence.). Dissolve: snftft qfflfSftllA SlQjioA I

III. 7. 7. Mark the skill of the poet in making the

maid-servants retire from a scene where they are no
longer required, " Superfluousness of lights
or lamps*' i. e. ‘"The superfluous lamps.**

III. 7-14. 33 *TT 1 “Why, it is only too

apparent or manifest**, “That of course is perceptible to
the eye.*' qr refers to the condition of the King's
health. The Vidushaka means to say, that the King
does already appear so pulled down that no comments
are required from him to give an idea of his state of health.

III. 7. 17. qcR£ “That is true.**

“Anguish, mental agony or suffering," as contrasted with
the physical suffering referred to by the Vidushaka above
in 5*3 TT3r m 1

HI* 8, l fWifesi: mz, ?Pf

%*I: 3^1 1 (n) “An obstacle, obstruction, im¬
pediment," Or era | Here
qsF.2 would be an adjective meaning “Crowded with,
hemmed in, full of." ftlHdtWHW&S: "Thwarted in the
enjoyment of the pleasure of her union or company."

III. 8. I. qf^qqH "Drooping, wasting, languishing."

The Vidushaka means that since the King appears to
him just then lively and cheerful ( arRps qft^%) in spite
of his physical and mental sufferings, the fulfilment of
—HI.9.25T NOTES.

fait desires cannot be far off.This has reference to a

belief that approaching good luck produces, mysteriously
enough, a sudden cheerfulness in a person, although he
is for the time being plunged in great sorrow.
III. 8. 4. fSrfipg {ffifangT Cf. II. 8. 9. above.
III. 9. enquire*: “With hope-inspiring words’*,
4/With hopeful speech." This refers to III. 7. 15. and
8. 3. above. ggHTOi “Whose suffering is intense.” «wn-
“Comforts, fills with hope, consoles, reassures.** Cf.
II. 9. above. Ranganatha thinks that the word gjfejjpr:
also means here “ Clever. He remarks ffc

III. 9. 3. 3c3?3tt means the same as au$f ‘‘Hope.”

i affrraififrrar %q; qq %q: qqm: l is a
woman who goes to meet her lover of her own accord
being impelled by her passion. Cf. jyqq
1 gftcgfrlBKtH q»!^ rn ll Quoted by
Katayavema.
III. 9. 8. ifosfgffijfitgg: 1 qf*sg: ( qfTOTC: )
1 “Consisting of a blue robe or silken garment.”
III. 9. n-12. aifqgui ggggT: I “l
I were Pururavas”, “Would that I were Pururavas”.
III. 9. 16. “ Of that blessed one”, i. e. of
Pururavas.
III. 9. 17. qfaffem qg—qfalflfcrg ( Kataya¬
vema) “Transformed as it were.** ,
III. 9. 21. “The robber of my heart.”
III. 9. 25. qftfgwnft rTJgt£ “I shall trifle with her for
a while.*’ m3ayyreg, \ This expression
is intended to bear two meanings, (i) “Enjoying the
64 VXKRAMOinfA SX YAM. [III.9.29—

pleasure of the company (or union) of his beloved (some

sweet-heart of his), whom he has obtained according to
his wishes." W! «TT fifOT im:
(ii) Enjoying the pleasure of the company of bis
dear one (i.e. Urvashi), whom he has conjured up in his
mind or by his imagination.” *T (*3 ^T:)
acar or fsmr etc. Or 555$ ^ i The
first meaning provokes a passing shadow of jealousy in
Urvashi's mind as already calculated by
III. 9. 29. 53^ *1 <p: etc. “But, child (or simpleton),
why do you entertain such a strange thought about the
company of the beloved* (which I have spoken of just
now) ?" 3FST-“ Strange unworthy, unreasonable." She
means to say “Why do you understand the word ftqr to
mean any other person than yourself ?**
III. 9. 31 “ Illiberal, unkind, ungenerous,
lacking breadth or generosity of out-look."
Ill, 9. 40. ayfafifapfe “Whose meaning is not clear,”
“Of doubtful meaning." SiRifwran “Is alarmed,*' “Is per¬
plexed." Urvashi's mind is full of apprehension, because
from the King's words it is not clear whether she herself
or some other girl is the object of his longing.
“His unrestrained, unreserved utterances."
III. 9.46. 3T3<r*J3T:- Incurable. an3$: “Malady, disease,
i- «. 1
III. io, I “Pervading, or
applied to, the whole of the body.’* gffifcKR: | “Strings or
necklaces of gems." «rflfign to a^ay* to set at rest, to
dispel. aTO3r(denominative from 33 “ Light, ") “ Might
lesson or mitigate,’* aqiftlAufl w "Some talk bearing
upon her.**
—ni.io.ia.] notes. 65
III. UK i- “Now that all your doubt! are die*
pelted.” ^r: = *nrft I
III. io. 6. i ”A dinner of dainty or
delicious venison ( gffrfftfa ).” Katayavema and also
Ranganatha read u W etc.” Ranganatha ex¬
plains ftpgRoft as follows:

ftfcren mvnw: II ftwrfWtis thu# a

very high-class preparation corresponding to our vfttiw or
ftrSRor, in Maharastra. j$m = «fwq>w i. e. “Mango-fruit”.
Of the eight Mss. collated by Mr. Pandit, two along
contain the former reeding, while all the six remaining
ones contain the latter. The latter reading appeals evi¬
dently to have owed its* origin to some late puritanic
Brahmins whose religious susceptibilities were rudely
shocked to find a member of their own caste showing
such a zest for meat. But if we refer to qnfrtFS Act II.
we find the in that play also taking meat. Ct
aiftzRftss anutf gsstfl I We therefore think
that * ftggft^qiTOnra^ * was the original reading and so
have adopted it in the text following Mr. Pandit.
UT&TOH. "Yearning for it.” —“Talking about it.”
WSftft | “I comfort myself,” “I take cheer.”

hi. io. 8. *^ as i “ Is easily

obtained.”
III. io. ii. refers to what the King is go¬
ing to say below in Stanza n. “I jthink that”, “I say.”
III. io. 12. I “Oh discontented one.” Urvashi
is not satisfied about the sincerity of the King's love for
her even after his passionate declarations in stanza io-
66 VXKRAMQKVASIYAM. [ III. 10.13—

She wants farther proof of his love, before she casts

aside the veil and shows herself to the King. fasyiPi?
therefore reproaches* her by addressing her as the
discontented one.
IIT. 10. 13. wni "What is it that von think/'
III. 11. “Pressied," “Struck against." —
“Blessed, fortunate, lucky" gat vft:—"A burden to the
earth" L e. existing to no purpose, in vain.
III. II. 3. *wrwi: | As Katayavema points out the
£enitive case is used here with the sense of “Disrespect":
Panini II. 3* 3®* ^ 11 Appears to be
indifferent to me; does not notice or mark me; does
not deign to regard me."
III. ii, 6. Slftofift "Oh you impatient or hasty one,"
" Not cast aside, " f?KH»Ruft—' ‘ Magic veil of
invisibility."
111. 11. 9. " One who has taken the vow of
silence." The afgCTf *n this word is prescribed by
Papini VI. 3. 69 * 1
m. ii, 11. adv- #‘On your guard, collected."
ajTOTC is the outward expression of the face serving as an
index to the inward thoughts and feelings.
III. 11. 15. aps^ "No cause for anxiety", “do
not be worried at all." "Wearing a dress
suited to the observance of a fast."
*nj|: eihglfaRH I ‘ ‘Materials of
worship." gw^rc^-Ranganatha.
III. 11. 23. syg “Why"—It is an interrogative par¬
ticle meaning fk sy "Is it not that etc."
III. II. 27. or as Mr. Pandit has
—III.X2.I2] HOTIB. 67
it, means "A present of sweetmeats given to a Brahmin
in order to receive his good wishes and blessing.'* Vide
Note on II. 13. 7. above ‘Cheerful, pleased in
her appearance.**
III, 11. 30. “Both (causes) are quite
possible.** trt srf?t “Appears probable to me.**
III. 12. tpRSTOHSOTT " Having only the auspicious
marks (such as the the etc.) as her
ornaments.*’ ’’Chequered* marked with**, qgfa
sraw —“Appears well-pleased towards me* even by
her very person.'* i. e. her bodily appearance itself bears
testimony to her change of heart.
(qualifying 334? ) “Which has given up its haughty de¬
portment under the pretext of a vow.’* A person who is
observing a vow has to give up all the passions that
trouble the human mind, such as anger, greed, pride,
jealousy etc.
III. 12. 8. pgi3r “ Deservedly,** “ It is but proper or in
the fitness of things that etc.** "Is hono¬
ured or greeted by the title “ Is addressed as
The word ^ means both <( A queen ’* and “ A Goddess."
The King uses it in the first sense ; Urvashi, however,
understands it in the second sense. 3 “Does not
lag behind,** " Is not at all inferior to/* “Does not fall short
of.** ejtatfcRrar “In regard to splendour/*

III. 12.9. adv. “Without the least sha¬

dow of jealousy/* “ In a manner aveifee to jealousy or
free from jealousy.’* “ You have spoken well."
“That is well said.**
III. 12.12. “ With reference to/* «In regaid
68 YlKBAJI0BTA8H1YA.il* [ in.w.i7—
to" with the help of ggftg Tfd^s "A moment's obstruc¬
tion or inconvenience."
III. 12.17. gifagumFI. " Accompanied by presents of
sweetmeats " (given to a Brahmin to receive his blessings*)
III. 12.20. > " Propitiation or conciliation
of the beloved one (husband).'*
ni. 13. eeevtvn^ “ Needlessly." qvntfcftgg svton^ " Your
person delicate or tender like a lotus-stem." iwfeffr "You
waste (your body)." is the causal form from the
foot 4 to be wasted, to^ languish, to wither. The form
KOTO is also met with. nmmt etc. Construe: «r
(twc) w srtHfn h f% swml 1 cf.
in. wSm m smSfiwT * er fern* \
fern giro wfrfeKft w%ui
tnd v. * fg it
in. 13.2. infer = tSTOT* Although the form infer
is not sanctioned by Prakrit Grammarians for the femi¬
nine gender (the correct form according to them being
Of mm ), still Kalidasa uses it here and elsewhere
also (in nftsftaftifita ), as Mr. Pandit points out. ugtfR:
4t Regard, respect, esteem." This remark of Urvashi shows
that her mind is apprehensive that she may fail to win
the King's love permanently. For although she is sure*
the King has fallen desperately in love with her just
now, who knows, his respect and love for the Queen may
not assert themselves in the long run? Cf. HI. 14.
11, below.
HI. 13. 5* sTFifer: = 1 “ Gallants." She
means to say that cunning lovers show exaggerated at¬
tention to their first mistresses or wives, while courting
—III.i3.39] NOTES. 69

others. “ Solicitous to please, generous, indulgent/*

SWRT sfrr l
III. 13.8. “ So much, this much ” t. e. “Thus."
It thus refers to the quality rather than the quantity of
the King's words in stanza 13 above.is the causal
past pass. part, meaning ** Has been made to say."
ITT. 13. 10. “ Auspicious or good words/’ srf?r
+ SflR? “To act against, to oppose." refers to the
words of the Queen in HI. 13. 8, where she says that her
vow has already begun to bear its fruit.
III. 13. 13. “ Touching 01
hissing the terrace of
III. 13. 14. “ Scent *' or “ Sandal ointment.’’
III. 13.18, " Sweet balls or sweets
forming part of the materials of worship."
III. 13.22. ggqjps: “Attended with immense success."
vjilenq: " Fast." The fast, in fact, forms only a subordi¬
nate part of the vow the Queen is observing.
III. 13. 31. “ In the presence of."
“ I seek to propitiate, please or win the favour of."
“Wooes." “With affection or friendship." ejfff-
rfagj^ = 37333 | “ The potential partic. shows futurity
with certainty." Pandit.
HI- 13-35- '‘Of what import." Ur-
vashi means to say that she does not know whether the
Queen is sincere and means what she says or is only
reproachful and sarcastic. fir»iWffiraT3f " At ease with con¬
fidence.” “ Clear, calm, untroubled.” i. e. delighted,
relieved of its tension.
III. 13-39* *T5T3*Tf^I "Exalted, noble.’’ “Du¬
tiful, single-minded in her devotion to her husband."
7o V1KRAK0B7ASH1TAM. [ m. 13-43—
Tit 13, 43. " Foiled in his efforts to catch,’"
** Baffled in his attempts to catch.” £jg as gywfalft *' Skill
of:hand” in catching the fish. 3fC3t: "To that extent, in
that manner, so much.” The Vidush&ka means to say
that the King cannot be so dear to the Queen, since she
is giving him away to other ladies of her own accord.
III. 13.48. affigpr: flgnufijhq “ At the cost or sacrifice
of my happiness (or pleasure).” "At ease or
happy in his body,” “Physically happy.”
III. 14. graif t " Or to make me your slave.’"
Katayavema has gjift for I In this case the sense
would be “ Or to take me back, your slave.”
III. 14.3. uurfiffitg^ ” As prescribed or laid down ” in
works dealing with vows and observances. This speech
as well as that appearing below. III. 14. 7, shows the self-
respect and loftiness of manner possessed by the Queen.
III. 14. 8. ngrfVfltgei: “ Never violated before.”
“A rule or restriction in connection with a vow.”
III. 14. 11. fsiq&l *’To reclaim, to turn away, to-
withdraw.”
III. 14. 13. fife g*: faTORT folcafa I Supply the
object ggu from the preceding speech. ** But say, why
do you withdraw your heart in despair?
III. 14.18. fgwsmi “ Safely, confidently, securely.”
“ Of her own accord.”
III. 14.20. Sffir TO ” May it be that; shall I hope
that; would that; how I wish that etc.”
HE. 14.21. “ May be happy or blessed, or
may accomplish her object.”
III. 15. " Charming, agreeable ” We have pre-
—III.16-5 ] 7l
ferred this reading of Ranganatha to Mr. Pandit's qjp<jT
(beloved), which is rather inconveniently separated from
the word with which it is syntactically connected
as its adjective. SPSPTOMt; “ Moving slowly or
slackening her pace, through fear." qqi^ qqtj—“ Step
after step, step by step." qwjqpf^TCT “ Would be dragged
towards me (by her friend)/* “ Would be brought or led
up to me by force."
Ill, l§. 2. " At once, forthwith."
III. 15.3. Makes a sign or beckons to," in
order to acquaint him with the fact.
III. 15.4. HiwfadqqT “ The fair off-spring of
the thigh of Narayana."
III. 15. 7. I “ What is there to be known?’*
i. e. it is as plain or evident as anything can be. Mr.
Pandit has ftqwitfcR " What is there that cannot be
known?" The sense of both the expressions is ultimate*
ly the same.
III. 16. “Tormented, afflicted by love." The
is a species of the lotus that blooms in moonlight
only—such is the convention of poets. We read
instead of ‘qqqifcrfsgftr: as Mr. Pandit does. With our rea¬
ding the contrast between ^qqf%^r: and aigfa:
becomes emphasized as it ought to be
III. 16. 3. On the same seat as he himself
occupies." So that his body comes into contact with that
of Urvashi. Cf. III. 16. 9, below (qrffrwqff *RTlfw? I)
III. 16.5. redoes not refer to but is to be
connected with >iqmn in the 9ense of “ Just now."
^qqm^ “Attained, obtained." The King means to
72 V1KRAU0SVASH1YAM. [ III.I6.9—

say “I was not happy before I met but now that

has come to me, 1 may say that I am really happy/*
III. 16. 9. arcq " Like his beloved or loving
wife/' “ Officious, obtrusive, meddlesome, for¬
ward/* g^nqrrfb^ means " One who takes the first share
or more than his proper share,” hence “One who meddles
in another’s affairs, obtrusive, presmptuous. meddlesome/*
III. 16. 11. ^ I Mr. Pandit
translates “ What, have you been here since evening?**
According to him this remark of the is called forth
by Urvashi’s words: TYtTOW: I The Vidu-
shaka thinks that Urvashi and Chitralekha must have
heard the words ot the Queen in III. 13. 26. and must
have been there all the evening though remaining invi¬
sible all along. But we think that this is not at all
a satisfactory explanation. From III. 16. 3 and 16, 7, we
see that Urvashi and Pururavas were sitting quite close
to each other. And we may presume even that Purura¬
vas began to toy with Urvashi by way of fondling and
caressing her and that she too returned in her own way
his fondlings and caressings, cf. HI. 17 below. Now this
appears rather shocking to the Vidushaka and he says
in his usual light-hearted vein ; “I wonder, how the Sun
has set to you even here i. e. even in the presence of
myself and Chitralekha.” “How the Sun has set to
you” means “ How do you openly carry on these fond¬
lings and caressings, which ought to be done in strict
privacy, ajter the Sun has set ?*’ In the present case of
course the Sun has already set. Vidushaka*s point, how¬
ever, is that they must not do these things openly.
1IL 17. sqrvR sisrf*? 1 (Ranganatha explains eajraTC as
—XII.I7-1 HOT £8. 73

•nfiwnf^-*TR?«q) “ Take loving liberties with my person."

" By whose consent.'*
III. 17. 2. “ Request/' ‘‘Prayer."
III. 17.6. “ Following the vernal season or
spring." grq^TRW: I 3*?+^ “ To wait
upon, to attend upon, to worship."
III. 17.12. arfaffrt: *forr: fqszsqsft 1 “ Fishes are
mocked with winkless eyes." It is believed that the denizens
of heaven never close their eyes, even for a moment in
winking.
III. 18. 3Tf5rq^5rg^: 1 " The happiness in which is in¬
describable." atfMfcq = 1
III. 18. 2. sTOfcftf “ Banishing all fear or appre¬
hension from your mind."
III. 18.10. ffisf: “Good fortune."
Ill 19- SffRwftfe etc. Dissolve : iflfog if
TC ifatfl *INWH. («i|mn) *5* (IftiWllMK* Erf)
I “ Having the distinguishing mark viz. that the royal
edicts (mandates or commands) are tinged with the gems
in the coronets of the feudatory princes." i. e. are hum¬
bly borne on their heads by feudatory princes, and are
implicitly obeyed. —“A borderchief, a tributary
prince," who obeys the commands of the universal
soveriegn. u«Md<W* 3R^: Snjr^l (Cf. qqiraq^ l
Raghu. II. 47.) “ Sovereignty of the whole world, charac¬
terized by one single umbrella." A universal monarch
alone possesses the privilege of using the 3fRq9f or fjr5f.
SiRRC. “ charming servitude,"
III, 19. 2. «n%r ^ fiw etc. Urvashi means to say
that she ought, really speaking, to return the compliment
of the King by saying something more beautiful in ad¬
miration of the King. But .she cannot excel the King
74 VIKRAMORVASXYAll. [ HI. 19-3—

in this matter-so exquisitely fine is the sentiment expre¬

ssed by the King.
III. 19.3. feiytiq&T; “ Giving rise to contraries or
paradoxes."
III. 20. “ Those very i. e. those that used to
pain or torment me." SRtSfffWl: 11 Pleasant or agreeable
to the mind." This reading appears to us better than
WUdlftK adopted by Mr. Pandit, because it stands in
clear contrast to *17^ in line 1. “ The rays of
the Moon delight the body: the shafts of cupid please
the mind." (tawm i “ Harsh (as if) through
anger or malice." ajgtfcm " Is oacified or
appeased as it were."
III. 20.2. ‘Delaying, tarrying."
III. 21. ‘Obtained." Literally “Which
comes to one's share.” “More agreeable. "
“Complete or supreme happiness, satisfaction, gratification.**
313 “Scorched by the heat of the Sun." Cf.
I. 5^ ff I I
III. 21.3. “Inner apartment," “Bedchamber."
III. 21.7. a|vq^T-“ Earnest wish," “Eager desire."
-SragfacTT 54 ‘.‘As if it were drawn out in length or extend¬
ed a hundredfold, “ As long as a hundred nights."
Katayavema reads 4 *TcfT I and explains:
TTi^T^r: *lfn 1 “ Attained as it were to
hundred-fold-ness."
§31 Vocative sing. According to mforfHy the form
ought to be §»:. But Sanskrit poets often use the form
§«. Cf. *8w*VI. 11. V.43. JITOftnPR HI. 8;
Mallinatha sets forth the pros and cons of the case in
his comment on V.43.
 [The fourth Act opens with an Introductory Scene
^technically called which serves the purpose of
narrating the events that have transpired since the
union of Pururavas with Urvashi as described towards the
conclusion of the third Act, and of introducing the
reader to the main scene of the Act.

Introductory Scene:—(Locality not indicated.)

The introductory scene contains a dialogue between

two Apsarases, gfasgi and foySgn—friends of Urvashi
From their conversation we ltam that Urvashi and Pur¬
uravas bad gone to the Gandhamadana Grove for their
honey-moon. But before they had passed many days
there, a strange mishap took place resulting in their
separation. Pururavas once came across a beautiful Vidya-
dhara damsel sporting on the sands of the Mandakini,
and was so fascinated by her charms, that he at once
began to devour her beauty with his eyes. When Ur¬
vashi saw this, she was so enraged that she spumed all
his apologies and prostrations, and, in the frenzy of her
jealous rage, rushed into the charmed and forbidden
Grove of Kumara and was immediately trans¬
formed into a creeper. Pururavas has gone mad
with grief at her disappearance and has been
searching for his lost beloved day and night, in every
nook and corner of the Grove. The Apsarases hope and
pray that the King be restored to his beloved before long.
The main scene of Act IV is for the most part, a
soliloquy of Pururavas gone mad over the loss of Urvashi.
7$ YIKRAMORVASlYAM. [ACT IV—

In the words of Prof. Ryder it is a long lyrical mono-

logue addressed to the various creatures and objects of
the forest and inspired by despairing passion. Kalidasa
was perhaps the first to introduce such a lyrical melo¬
drama in the ancient Indian Theatre. It is a song play
within the drama. Later dramatists like
Act 9), («n«<WRi«r, Act 5), inqifa (srerom.
Act 6), Jgpm ( Act 4), and ( i’Hm )
have tried to imitate it with some degree of success.
Its pre-eminently musical character has been perhaps
respnosible 'lor the insertion of Apabhramsha stanzas and
the stage-directions for their recitation. (Vide Introduc¬
tion, p. XII-XIII.).

The main scene of Act IV contains very little of

dramatic action. The locality appears to be somewhere
in the neighbourhood of the Gandhamadana Grove. It
is a rainy day in summer. The King is presented in a
frenzied and woe-begone state—almost on the verge of
madness and raying—addressing the various objects he
comes across—animate, sensible or insensible—birds and
beasts, trees and rivers, rocks and mountains, clouds and
lightnings—and beseeches them to assist him in his
search of Urvashi. He indulges in all sorts of specula¬
tions and fancies about the sights and sounds he comes
across, but is cruelly disappointed by them one and all.
At last he lights upon a very bright precious stone
which is announced by an invisible voice to be the
famous gem, which, when worn on the body, is
capable of restoring a person to his lost beloved. The
King holds it in his hand and embraces a creeper which
is immediately changed into Urvashi. The King is
 —IV. 0. 10.] MOTES. 77
overjoyed by the incident. Urvashi greets him with
happiness and victory, and relates to him how she had
been transformed into a creeper, and how as a creeper
she had witnessed his sad plight all along. Pururavas
shows her the gem which she wears on her head.
Urvashi reminds Pururavas of their long absence from
their capital and requests him to return. Pururavas
agrees and both of them depart for in an aerial
car improvised by Urvashi from out of a cloud at his request.
It should be noted by the reader that although
Pururavas is represented as having gone mad, there is a
certain method in his madness—a certain coherency and
reasonableness about his utterances. It is much more
of a poetic madness than a real one in the strict sense
(f the term. The King behaves like a madman only
in so far as he seeks informatior in all seriousness about
his beloved from sources which are least of all ever
likely to give any -uch information. In all other res¬
pects he appears to be quite normal in respect of the
powers and functionings of his mind and brain. A
similar type of madness is to be found also in the case
of the Yaksha in the Meghaduta. ]

IV. o. i. "Sad, uneasy at heart1”.

IV. o. 5. "Complexion, appearance”.

irregular, since the root is Parasmaipadi and not
Atmanepadi. We should better have “Dis¬
tress. anxiety". *1 wish to partici¬
pate in your sorrow”.
IV. o. 10. ticgfoRqqifiOT "Ia the course of the
rotation or coming round, of the turn for the Apsarases".
18
78 VIKRAHOftVABHl YAM. [ IV. 0. 1$—
TO: “The time or turn of doing anything”. TOfa: “Ro-
Ution» coming round”, qfa * qim 1*
Wm 1 “Reverent service of or attendance upon the
feet of the Sun”. We are told in the efluro and qj3$
Puranas, that the 9gfaif n*TOs, 99s and Apsarases have
to attend upon the Sun by rotation. The reason why
foffetVI feels sore anxiety and yearning fot Urvashi is
that she misses her very much while attending upon
the Sun, alone, and further that on account of her con¬
tinuous engagement for two months in the sphere of
the Sun, she is prevented from paying occasional visits
to Urvashi.
IV. o. 15* “During these days”. This
is accusative of time, according Panini II. 3. 4, WBTO*
I affrqwfatflqi “While I stood in meditation,
put myself in contemplation”, JHWffan “A great danger*
misfortune, calamity”. Strictly speaking the word ought
to be The second 8f seems to be lengthened
on the analogy of the word (which is really
equal to fytfspr ). ”1 preceived, or learnt”.

IV. o. 21. “It would seem or appear that etc.”

ifiwgw “Companion in love-sport (*%)”.
JkMiUTO (m.) is the name of a suburban grove of SftqRr-
Sf&t the capital of ffo|gq. Cf. VI. 46, 3R*
( afafastgfFl ) wfoM TO l
IV. o. 24. * TO “That indeed is an ideal
enjoyment”.
IV. o. 28. TOiftsfr “The celestial Ganges”,
44Sandy bank”, fatwenci? “Was gazed at”* “Was looked at
intently"*
—IV.o.53.] worts* 79
iv* o. 31. fwff: mm mm*: 1 Cf. m.
15

IV. o. 36. ^44llty$}t|44l i*'With her heart bewildered

by the CUfse of her ptectptot sage 3^7.'’ Urvashi being
a nytnfjh ought to have known by her supernatural
power tf&ftt the grove of that she was about to enter
was forbidden to women. But on account of the curse of
het memory was so stupefied, that she could not
know the prohibition in regard to the grove of $tn?.
Cf. IV. 40. 14^25. below. 4?|snft4Rr...ctc. Katayavema
reads fficwrarcfoefifal, while seven of Mr. Pandit's eight
Mss. read The meaning is: “Which
would cease to be (fdqfifat) or would undergo restora¬
tion ( )» through some unknown cause". But
if we adopt this reading, the remark of ggapqi
) io IV. o. 52- becomes
redundant.
IV. o. 40* "Beyond the reach of." Cf.
•HHHfolPM I. 23- I ijwft "All of a
sudden. ” OFni: “Dire calamity, misfortune”.

iv. o. 45. aijUmH 1 ;nBps anihisr: 1 Acc. of

Panini V. 4. 87. m: |
dWnsrRgn | cf. I. 3 SftFft-
s«aF^nsftr 1 Also IV. 3 below.
IV. o. 52* SHtfaftfai: "Noble, excellent forms *. e.
persons". Kifetftal ftStal: I WlFPh
^onq' | The word could be taken either as
a tRgW or as a compound. In the former case
the sense would be: "Some cause of reunion, which
would bring about the termination of the cutse.*1 In
So VIKRAMORVASHXYAM. [IV.O.58—
the latter case the meaning would be: "Some cause
of reunion brought about by the termination of the
curse'' “3*;pg ( lit. favour, kindness ) is the same as
or i. e. "The termination of a curse." The
curse in this case is the or (i. e. prohibitive
condition) referred to in IV. 40. 23 below. gRreqifrq reads
l "About to rise.”
I\. o. 58. aw: s&fa f^qicT: 1 an: is an exclamation
of anger. "Alas."

I\.i. (i) " Fully equipped *’ for showering

down, ready to shower, (ii) fully armed or accoutred ”
for battle. (i) extending far and wide " (ii) "stre¬
tched to its utmost." n JIUT " Not indeed as I imagined".
73: "Violent, quickly descending, pelting."
I " Glistening like a Streak
of gold on a touch-stone." Cf.
I 1‘ 3C>*
IV. 1. 1. " Whose thighs are (full round and
fair) like (the inner part of) the plantain tree "
IV. 2. fqf|nr = aif^dT " Concealed, hidden." =r
The dative acc. to Panini II .14.
\

^ II " Dripping with affection, Saturated

with love." c|its4 f%fnr: "What a .(queer) fate is this"
" What an act of fate is this!"
IV. 2. 1. TOf*PRT*T^?|Wl** I tRTfri or 4^: d
i " From whom fortune has turned its back"
"Closely following upon."
IV. 3. For the construction with two see Apte’s
Guide Sec. 273. argtfvf: " The days are sure to
be" " Pleasant on account of the passing
 -IV .4. ] NOTES. 81

away (diminution or lessening) oi heat.1* reads

i foftar were** wwft ?nfa i
rTTf^r ^ I R: t “ Pleasant on
account of the intensity of heat having passed away,”
We have, however, rejected this reading because it is
cumbrous as compared with I

IV. 3. 1. v|f?r[N$fisr: “The growing distress of

my mind.” gsRrtsfa etc. Cf. j|gT*IR<T V. 132.16.
?Erat ST *T3TT *7 ^T<*$R*T^ | ^ 3 RW J?T TTUT
qiTRFT H SR^lf^T “To order back, to countermand
or counter-order.” 3754^7 etc.supply 77*7373 alter 4sj%.
" My royal paraphernalia consist of or are constituted by
the signs (tokens) or accompaniments of the rainy season.”
snifq wrrft sn'^nft b 1
IV. 4. ertfiirTHT^ “A beautiful, splendid canopy.” f?rf53:
“A kind of reed.” ’HTRffiU
“On account of the passing away of summer.” qg "Shrill
sharp-sounding.” srfq^m. "A bard, panegyrist, minstrel.”
The peacocks are well-known as being overjoyed at the
advent of the rainy season, which they welcome with
loud shrieking and gay dancing. '^RRRIVFRMMTI:—This
applies to the clouds as also to the merchants ( 377771; ).
(i) mraiWl d?RT: I " Bringing down showers
( WAR ) of rain ( *7737 ).” (ii) *qRRtf ( SR** )
33777: 1 “Presenting streams of wealth ” (by way
of the payment of taxes). We read ,^n*3*lf7. for R3*RT:
This latter reading does not harmonize with ijrtor, which
means “ Showers of rain.” Moreover in adopting it we
fail to get the conjunctive particle ^ which is badly
wanted to make the sense complete.
8? VIKBAMOftYASHlYAM. [»IV. 4. I—

IV. 4.1, *' Paraphernalia, external *pptn&-

ages q! royalty* royal insignia." sawfeqgu it 11 As I makft
up my mind to search her out." “ Aggrayatioiu
intensification.”
IV. 5. is what is called in Marathi. The
yellow variety of this plant has red lines upon the petals
of its flowers. Yfftr “A streak or line." ttfiswijf: ‘‘Sur¬
charged with water, areiufrft “Suffused with tears."
Hi “Makes me remember painfully; reminds me
painfully of.” Cf. for a similar idea Y!ffor XIII- 29.
IV.5.1. qjm “To trace out, to ascertain.”
IV. 6. “ If she were to touch.” gsfsqsft “ Forest-
ground,” '* Forest-site.” ywivrtv “ Sunk or depressed to¬
wards the heels.” “ On account of the heavi¬
ness or stoutness of her hips.” Cf. suffix III. 7. efwju-
cTT ar^TOT I etc. “ Lufe
of beautiful foot-prints.” “Tinged with red lac
( SANTEE He means to say that if Urvashi were to
touch the ground with her feet, it would be possible to
have some trace of her. But she being a nymph—a cele¬
stial being, capable of moving unsupported in the air—
there is very little possibility of her walking so close to
the ground as to leave behind her foot-prints.
IV. 6. 1 Tqwsjror^ “Mark, sign, vestige.”

IV. 7. Construe : fiRHfflld:

(trai ;jfero ) fipnrfe: (ara ) gjfatnr:
ai%j, w fWft: si^i^ww w.|ly4 (wrfa) 1 ^rttnn
•'Mp-rouge.” faqraatfw “ Having a deep navel.” Depth
of the navel is regarded by Sanskrit poets as a sign of
beauty in women, gqr “Moving with faltering
—IV.io] VOTES

stops through rage/’ ftur " Dark-green ’* gavtfflin

** Breast-garment” or “ Breast-scarf."

IV. 7. 1. “ A fresh green sward or lawn.'*

CTifa m. a kind of red insect. *f% ” News.” «rTOf^R|nn~
fNhr “ Lonely, desolate.” “ Rocky
soil.” " Emitting or sending forth vapour on
account of rain-showers,” Cf. XIII. 29. sn^r
“Perched or mounted upon.”
IV. 8. SW5tj{YeTcT " Violent frontal wind.” srfifo “ Set
a-dance.” Mr. Pandit reads <nfgp[ " Struck, beaten.”
“ Crest.” " Out-stretched ; elongated ”
“Full of shrieking notes.” qp&f “With his neck
etc.” The Instrumental is according to Panini II. 3.21.
I ( '3tTs5^t ^RffaT I )
IV. 9. TWl ^T^T: ST I “ With a promi¬
nent.” “ Having far stretched eye-corners ” i. e.
** Having long and large eyes.” %5TRT*l “ Having white
eye-corners.” ^5^1 qp|f “Worthy of
being seen.” to l “ May I hope that you
have seen?” Mark the alliteration in this stanza.
IV. 10. 11 Dishevelled or ruffled by the
gentle breeze” ” Disappearance reads
qf^iqrfqsplWKl II “ His thick and charming
plumage.” f^rgqrT: “ Without a rival, rivalless ”, %$FP<T:
“ Excellent hair The words qiqjf q^T and maw
when combined with convey the idea of excellence
and abundance. “ Become* loose in the course
of amorous sport This corresponds to \\
SrA “ pecked with dowers " If it were cresent
or existing here i.e. “ In the presence of, by the side
84 VIKRAMORVASHIYAM [IV.IO.2—

of, in comparison with qaftfq my | " What would

this peacock have to boast of then ? '* Cf. IX. 67.
IV. 10. 2. eiPTqpcf “ The termination or close of the
summer season " Inflamed *’. “ Passion *’
IV. 11. "The messenger of Cupid*'. The
impassioned notes of the cuckoo bring estranged lovers
together as they cannot hold out any longer and there¬
fore the cuckoo is called Cupid’s messenger. Strictly
speaking the word ^ffr ends in long §. But Kalidasa uses
it often with short evidently metri causa. Cf. ijgaRy
XVII. 53; XIX. 1P, 23; fJTRW IV- l6>
" Skilled or dexterous in breaking down or taming the
pride of women awTOH “ Unfailing weapon. ”
Cf, IX. 47 and HI- 32.
TV. 11. 1. fifijnf etc- This is what is technically
called “ Speaking in the air to some one and
answering his imagined questions ”.
IV. 12. " Existing in me ”, " Arising on my
side ”, “So far as I am concerned ”, sy^y ” Ascendancy,
tyranny, dominion ’*. «yre^yfenf«T " Deviation from faithful
love remarks : 1 ^ Bytygya "Does
not wait for, does not stand in need of \
IV. 12. 1. ” Cutting short or interrupt¬
ing our talk (conversation)
IV. 13. <*Tg: "It is well said that ”. ^fay^
*• Cool ’* i.e. not painful. 3nq?!rT ” Distressed, in misery
" The royal (i. e. best kind of) Jambu tree
" About to ripen
IV. 13. 1. iTc^ldsfiy " Even though it is so ”, " Never¬
theless '* ?<ft Hence away we (go) *'. Fspyre*<n-
 —IV.18.I ] NOTES. 85
fafrqqreft *' Indicating the tread of my beloved *\
" To my right M or “ Towards the south, in the south¬
ern direction. *'
IV. 14. » Cf. “ f*fl-
ffcrer ^ tSTHT *RTT g?TT:

*TR*nto sfirfsr: 1 ’’ J?ffe=n*i on ir^r I. IK

IV. 15. qrcfcfc " Lay aside (for a while)
the lotus-stalk-your provision for the journey grifa from
tjfiRk-qfJf “ Good for, serviceable on, the way ”,
hence “ Provisions for a journey Vide Panini IV. 4.
I08. ?n^ “ First, before doing anything else ”. sfOTftrf^T
" Service to the suppliant or petitioner “Fulfilling
the desire of the pretitioner
IV. 16. 41 Having arching brows ”.
"'Consisting of steps graceful through passion", “gait”.
IV. 17. etc. The person with whom only
a part of the stolen property has been detected is liable
to restore the whole of that property.
IV. 17. 1. Tfarrpngft "chastiser or punisher of thieves”.
IV. 18. fa 3^ 5TTIT l
“ Whose name contains the word ^ which is expressive
of a limb or part of a chario ”.
” Whose hips ( snfafiNr ) are round like
a chariot-wheel ”. Cf, I. 11. xti “An eminent warrior'’.
^cT: “ Filled with, overflowing with *\ Mark again the
alliteration.
IV. 18. 1. e»: «; fNTg I The bird cries out q>:f of
its own sweet will and without intending its cries to
have any meaning for the King. The King, however, under¬
stands g: to mean “ Who are you ? who are you ? “
86 VlKRAMORrASHIYAM. [IV. 19—.

and proceeds to answer this imagined question is deost

19* QT MWf " That won't do Cf. Marathi: awn% m(t
if mm\i
IV. I9> qjtfqwft «*c. The genealogy of gqroff is as
foUpws: on his father's aide he was the son of who
himself was the son of the Moon. On his mother's side he
was the son of gar, the daughter (originally the son)
of ft* or the Sun. Thus the Sun was his gmwf ( gi^:
faTT ) and the Moon was his faring ( fap fan ). Iff:
etc. .cf. III.19. \ 5r»
whff soft ^ ffiftfain t
XV. 19. 1. gmimfr “ I shall remonstrate with him. "
IV. 20. W...lfSr W etc. •* Although..and yet."
qMijfegfcHftW " Timidity in regard to separation." qrc:
“Attitude, disposition,” qogggt: “Averse* to." fai*
“Separated foam my beloved." The belief is that the
qfoqpE is so very fond of its mate that it does not brook
even the least separation horn her. It goes on crying
plaintively even though its mate is accidentally screened
from its view by a lotos-leaf at night.
IV. 20. 1. sn*ig: “The result of the re¬
versal of my fate." We have thought it fit to reject
Mr. Pandit's reading: fkqjhw xmxmt: l on
account of its clumsiness.
IV. 21. gqfa “Stops, holds hack* prevents from going
away." gdtaTOf 1 “Murmuring or hissing."
IV. 21. 1. gggt nerfag ufWfc* “I shall implore or
beseech the bee (lit, the honey-gatherer).
IV. 22. efg 3PTC3: "If you had drank i. e. enjoyed.'
We get a variant epn^g: "If you had obtained."
*— 1*25 1 NOTBS.

IV. 22. I. *n*VR: I “Let us go away.'* ^ “To

go away.*' “Placing or resting his
trunk on a branch of the ^ tree." The «frr blossoms
and bears fruit in the rainy season.

'IV. 23. “Newly sprouted," “Bearing

fresh shoots." <KRVa^<f4KtHi "Full of juice as fragrant
as honey ( avrar^; or liquor)." “A twig or branch
of the gjpft tree'*, of which elephants are believed to be
very fond, “Hay he desire (i. e. enjoy, taste)."
IV. 23. 1. anflpam "Heal, daily food.”
IV. 24, zppcc? “Ruttish, infuriated through rut." This
is addressed to the elephant. gqfd*lfjl4>gT “The bright
lunar digit among the stars of young women.*' We can
also take as one compound word mean¬
ing: “The bright lunar digit in the midst of young
women uttering sweet, gentle, inpassioned sound. " gffar-
“Having her hair bedecked ( ^UB-chequered )
with flowers." “Of stable, enduring,
abiding youthfulness." Agreeable, pleasant to
look at." feRTT “Has she stood within your dis¬
tant sight ?" i. e. have you seen her even from afar ?
Mark the alliteration.
IV. 24. 1. ,JSweet and deep." *rawf$RT:
“Reassured, comforted." “Intimating his
having come across my beloved."
IV. 25. s|Ti| “An elephant." (i) liberality,
charity, (ii) The ichor flowing down from the temples
of an elephant. (i) Proceeding uninter¬
ruptedly and in abundance; (ii) flowing down uninterrupt¬
edly and in abundance or profusely. 8?$fj (i) In regard
88 TIKRAM0RVASH1YAM. [ IV.25.4—
to suppliants; (ii) in regard to the bees. 3$n “A mate."
“Everything belonging to you resembles mine.''
IV. 25. 4. TTO^T-8^: aiRWT ajfr: "The precincts of
a mountain." etc... ^4^4tfTfif-These words
do not appear in Mr. Pandit's text. But their presence
is absolutely necessary, as otherwise the words etc.
become quite abrupt. 33$^ “Lightning."

IV. 26. 3^fWRr*i-aR*T sp^RTt: 9|5^ 3W. " Having

very little space between the breasts, i. e. with fully
developed breasts." The variant does not give
a good sense, j^TcTT “Having well-rounded and fleshy
joints." “This forest-region."
“Which Cupid has made his residence," “Which is the
property of Cupid," and which must therefore be very
beautiful. qf^Tf “Property." “Having extensive
sides or slopes."
IV. 27. This stanza contains the question of the
King, as also the reply* given by the mountain in the
form of an echo. In the first case it is to be read with
an interrogative intonation. “ The question is jrj
f5R%TT *WT ccRT ?iST? The answer is: ^RT f^ffm fPRT
WH OT l
IV. 27. 1. “ Just as I said. "
“Something more agreeable." f“Mountain torrent."
“I shall enjoy the breeze passing or
blowing over the waves (towards me)." “Tur¬
bid or muddy with its new waters."
IV.28. srsfa “Arching of the eyebrows in anger."
IjfcRf “Frightened." “Loosened or disordered
through huny and confusion." “With uneven
 -IV.33 ] NOTES.

steps, crookedly, tortuously.’* *gsg: wfes&tfwm (i )

"Thinking again and again of (brooding over) my offen¬
sive conduct.” (it) "With reference to, on account of,
the many interruptions (the rocks in the bed),”
"Unforgiving, relentless.” The last line contains the
conclusion proceeding from- the considerations given in
the first three lines. We should supply "Therefore'1
before to correspond with 3W "Since” in line 3.
IV. 29. "Whose mind is averse
to any breach of faithful love.” sproft = in
IV. 12 above.
IV. 29. 2. (il "Flowing towards the sea,”
(ii) going up to meet the sea (her lover) like an
Wlife 1 f^f^snszirfor * v&fa. "Good fortune or
happiness is not be attained by sorrowing or by despon¬
dency. Ci affipfe: fash *|55H 1. After the words
Northern Recension has the stanza
<£JlKHfacT etc. which we have given in full in the Intro¬
duction, p. XII.
IV. 30. ^TrNt5T% "Indicating the close of the hot
season." "Uneven owing to the iilaments-
not being fully developed.” frpgnTCTOg "Ornaments for
the hair ( %3?r ).” The red blossoms in the rainy
season.
IV. 31. "Having a dark, variegated com¬
plexion.” jwnqr: "Side-glance.”
IV. 31.1. aRfcfUflfsH “As if disdaining to hear my suit.”
IV. 32. Cf. Raghu, IX. 55. appr "Turned, bent.”
IV. 32.r. = 3IWF?W. Vocative particle.
IV. 33. fpfR “Looks charming or attractive.”
90 VIKRAMOSVASHIYXM [IV.3*—
l With our reading the meaning would
be ‘‘Looks in a charming manner.”
IV. 33.3. ftwifar " The cleft of a Mck.”
IV. 34. gvgM) *' Surrounded with lustre, casting radi¬
ance. ” tiNfaret! ” A piece of fle£b." *fflM4(f)|tw M The
sky has rained down.” leads WgmiftfltH " This
forest^«xte is drenched on all sides by faifc.” u Bu¬

nch, cluster.” ttfptjft etc. The gem sent forth its bright
rays in every direction and the poet fancies that the
sun is eadeavouring to lift up that jewel with his hands
(^r-rays).
IV. 35. stf^n%rrC?H. “ Perfumed or scented with 45TC
flowefs.” ” Soiled with tears.”
IV. 36. *mt i 1
tram: ?T*n 1 " Pro¬
duced from the red lac applied to the feet of qr^ft.”
snqgftt ” Brings abotft, effects.”
IV. 36. 2. jjfir: “ Some revered ascetic
living the life of a deer ” i. e. feeding upon grass and
roaming about like a deer, reads

IV.37. ftwtOTWim “Having a slender waist.” Cf.

I* 39- rn %f^fq*5m«ra 1 Ranganatha reads
fjjjpHiiuim. But as means “ Sunk, depressed ” and
not “ Slender,” it cannot be applied to the waist.
IV. 37. 3. q«iUm “ Gladdener of my heart.”
IV. 38. sftmwtT " Having her lower lip washed (by
tears).” ” On account of the passing away of
its season or flowering-time.” ffoflmyqhflm “Without
flowers.” practisihg or resorting to silence
-IV.3&a.] 91
on account of anxiety.’' “ That irascible woman.’*
iCTgsi “ Having slighted me.’’
IV. 38. 2. ■q^dnyinft “ Desirous of aa embrace, long¬
ing for an embrace/'
ftft i. e. the creeper vanishes and Ufvfcshi
appears in its place.
IV. 38. 5- “ overjoyed, delighted ” «T «t%T
“I cannot believe it/’
IV. 39. •* I think or fancy or believe.” fftatf ftfa
= fwnfrft “ lb regard to, as having reference to, my be¬
loved.” sparer? 44 Turns out otherwise/* This refers
to the various disillusionment® in regard to Urvashi, that
Pururavas has had in his search of her. \*ide IV. 1. IV.7
IV. 14 etc.-%f^| “Opened.” ftsnftm
f^foTT fsfaT i|*r V: \ “ Who has known definitely that it
is his beloved by the (peouliar) touch (of her body)/’
IV.40. gftfig “Darkness, gloom, stupor.” «mgftr-*RVi:
am: ( SIR?: ; m ft:, l “A dead person.’ efemr
“Consciousness, sentiency/’
iv. 40, 1. wrrfir mr: m 1
“Having the senses lying hidden or concealed within.”
Urvashi means, although her outward form was changed
into a creeper, she retained her inner consciousness
intact and could preceive all that the King did in her
absence.
IV. 40. 7. %t, ftgrtrar: sKfaa
\ ‘‘May Your Majesty please to pardon me this-”
The transitive use of ft + is remarkable indeed.
IV. 40.9. “ To be implored for pardon/*
ftWIftttft*”?: “Together with the internal and externa]
92 VIKB AMORVAS HZ YAM [ IV.40.i5—

organs." areftiwi •' My inmost soul." stun: " Is overjoyed

delighted, pleased."
IV. 40. 15. srwjd yfK^dH. “ Peipetuai celibacy. "
fWIRaRTH =■ II 44 The bordering region
or outskirts of the grove," f^fa: “Rule, restriction
prohibitive order." It is the same as the * app¬
earing in IV. 40. 25.
IV. 40. 25. *' The rule or prohibitive con¬
dition laid down by the diety (viz*
44 Not accepting i. e. despising your solicitations."
IV. 41. "Fallen into sleep on account of
the fatigue or exhaustion caused by amorous enjoyment."
ix)tential " How could you have borne " that is to
say 4< If it were not that your separation from me was
due to your metamorphosis into a creeper.’
^ cT^ "This thing here," referring to the fowHin
jewel which he shows to Urvashi. cdcflTOTftRrd 3^:
= 3%: sfirTT 1 " Having learnt from
the ascetic that this was the means of your union (with
me)” "As related by you, as said by you."
This refers to the words of Urvashi in IV. 40. 25
wara *rfor faRT crtt * I
IV. 41.6. sr?fcft«n " Restored to my former state."
IV. 41. 7. frgSfa " In this very position of the body.'*
IV. 42. Construe : 55?5I2^ffdFT
^ ^1 5?j HHKWWrfg ftRm 1
" Cavered with the gleaming (literally, " vibrating,
flashing.") redness. " Morning sunshine." 43(3 *< a
white lotus."
IV. 42.3. 14 Might feel jealous about
-IV. 43] VOTES. 93
me/* since I have led you away from your city for such
a long time.

IV.43. arftromr “Lightning.** “Flashes.”

“Rain-bow.” t£T
i cnif^T i rdfJTTflTrrt Ttfqfo ** Transformed into a
celestial car (balloon). ^5*1^ “ Oh you possessed of
graceful gait.**

In making Fururavas request Urvashi in this manner

the poet evidently wishes to impress upon the reader's
mind that although Urvashi has behaved herself so long
just like a mortal, she is after all a nymph—a divine
being—capable of working any miracles; that in other
words, she is too much of a nymph to be a woman, as
Prof. Ryder remarks.

ACT V.

[Unlike the preceding three Acts, the fifth Act has

no introductory scene. Nor are there any sub-scenes.
The whole of the act forms one continuous scene in the
King*s palace.
From a brief soliloquy of at the beginning we
learn that King Fururavas has come back to his capital
with his beloved Urvashi after a rather prolonged honey¬
moon, and that he is quite happy now all these many years
in every respect, except that he has no issue. Just
then a great commotion is set afoot in the palace in
as much as the much-valued gem has been
snatched off by a vulture. The vulture is still seen
whirling round in the sky with the gem in its mouth.
19
94 VIKRAMORVASHIYAM. [Act V—

and the King is almost on the point of shooting it down

when it flies away beyond the range of sight. The King
is greatly worried by the loss of the gem. At this juncture
the Chamberlain brings the report that the vulture in
question was found dead transfixed with an arrow* and
hands over to the King the gem and- the arrow. The
King reads the owner's name inscribed on the arrow
and is extremely surprised to find that the arrow belongs
to one Ayus—son of King Pururavas and Urvashi. The
King is much perplexed to know when and how Urvashi
could possibly have given birth to a son without his
knowledge, seeing that he has never been away from
her all these many years except on the occasion of the
sacrifice long ago. He is also at a loss to know,
why on earth Urvashi should have concealed from him
the fact of her having given birth to a son as well as
the son himself. Just then a Tapasi (called Satyavati),
belonging to the hermitage of the sage is introduced
along with a boy. The Tapasi tells the King that the
boy accompanying her is none else but the King's son
Ayus, who was responsible tor shooting down the vulture.
She further tells the King, how it was Urvashi herself
who, for some unknown reason, had entrusted her son
Ayus to her care immediately after his birth and how
Ayus was brought up with paternal care and affection
and educated in all the civil and military sciences and
arts by the sage Chyavana. She says in continuation
that on that particular day Ayus violated the discipline
of the hermitage by shooting down a vulture and that
therefore, the sage no longer wishes to retain him
with himself. She has therefore come there to hand
—Act V.] NOTES. 95
over the boy Ayus to Urvashi and wants to see her in
that Very connection. Urvashi is accordingly sent for
and comes in a short time. She is greatly surprised and
no less delighted to find her child, now grown up into
a fine boy, sitting by the side of Pururavas. The King,
Urvashi and Ayus greet one another. The Tapasi now
explains to Urvashi the reason why she has deemed it
fit to return the boy Ayus to her and then takes her
leave. Urvashi then explains in detail to the King why
she has so long concealed her son from him. Her
only object in doing so was to prolong as much as pos¬
sible the period of her stay with the King, for, as she
tells him now, Indra had allowed her to stay with Puru¬
ravas only until the latter should behold the face of
his son bom of Urvashi. As this has happened now she
must leave the King immediately and return to heaven.
The King is extremely grieved at the prospect of his
separation from Urvashi and makes up his mind to resign
his throne to his son Ayus and retire to forest-life, though
much against the latter's wish. He forthwith issues
orders for the coronation of Ayus as King. Just then,
however, Narada comes down from the sky with a mes¬
sage from Indra that Pururavas should not resign his
sceptre and sword as his assistance is likelyto be required
in the near future by the Gods in connection with an
impending war with the demons, and that further in
consideration of these likely services, Indra is pleased to
ordain that Urvashi might stay with*Pururavas for life.
Both Pururavas and Urvashi are extremely delighted to
hear this message from Indra. Narada then performs*
at the wish of Indra, as he says, the ceremony of instal-
96 V1KRAM0BVASHIYAM. [ V.O.Q—

ling Prince Ayus into the position of heir-apparent

( 3^!*f ). All shower their blessings upon the young
prince and the play is rounded off with a prayer lor
compatibility and reconciliation between wealth and
learning.]

V. o. 9. %eRTprc%3. In IV. o. 22, we were

told that Pururavas and Urvashi passed there honey¬
moon in the grove. The scene of the fourth
Act is the Gandhamadana grove. So one should expect
to get here instead of OTPGT-
3T«JF??HTR: “ Highly pleased with his
subjects who are honouring him with respectful homage
( f* plural. “ The subjects of a state."
"A special day, a peculiarly sacred day."
Ranganatha has the singular I f-
“A tent." Cf- XVI. 73. aisWift “The
first sharer in the perfumed pastes and flowers." 3|«|§|?'T
means any perfume like sandal, yellow pigment, saffron
etc. reduced to the form of a thick paste, “A flower"
-‘Flowers collectively." ^ ^
(a compound). The is a Brahmin and a
personal friend oi the King, He, therefore, rightly claims
to have a share in the scents and flowers used by the
King, and further, to receive it, not after the King has
finished his toilet, but while he is still doing it.
V.o. iq. TOiseiRrft ft%czr “Having placed it upon a
fan or basket made of palm-leaves ” (n) means
a fan made of palm-leaves. I “Covered with
a pie<;e of white silk " ^£55*^ ‘3rl^s5^: (covering) I
" Dearest wife '• i. e. “ Inti-
—v. 2] MOTES. 97
mate, dearest/' “Fit to be worn as the jewel
in the crown (rftfe J/' i. e. “ Which was used as the
jewel in the crown." The vulture mistook the
jewel for a bit of bloody meat, because it appeared un¬
usually red against the back-ground of the white silken cloth.
V. o. 25. *• Misfortune, mishap/' “ What a
mishap!" MgiFrT: "Highly prized or valued/'
q«j: 1 srarw I “ Who has not finished
his toilet," i. e. “ Without finishing his toilet."
“ With his attendants in a hurry, or in a
confused state of mind, or agitated."
V. I. 3?rf?ff ‘ Bringing on i. e. courting
his own death." It would seem from this as also from
the in Shakuntala Act VI, that theft of costly
things was capitally punished in the days of
I Rfn: ir=r I “ The thief of a bird," “ The
winged thief." 5PW, dcSWq, ^1^ | “ The first theft."
rifcjj: ^ “ In the house of the protector (of mankind
i. e. the King)."

V. 1.3. ^
** Whose golden thread or chain is caught in the point of
his beak ( apraitfe lit. “ The point of the mouth " i. e.
the beak), anf^Pirfin “ As if drawing or tracing
lines in the sky." The gem, as it was being carried by
the bird swiftly in the sky, cast about its red light in
the form of shooting rays and so the bird appeared to
draw, as it were, red lines on the surface of the sky.
V. 2. 31*55% “Held, caught." I WG&h
) &3f qftsi: 1 “Moving or flying
rapidly in circles." Ranganatha reads ’’
98 VIKRAMOHVASHXYAM. (V.3.7-

gsfrfii "Draws or describes a circle of the

red lustre of the jewel/* "Resembling the
circle described by a fire-brand (3fc5TcT^) which is
rapidly turned round/*
—Ionian Greek girls were employed as
servants in the courts of kings in ancient India. In the
Shakuntala also (Act II) we find that King Dushyanta’s
retinue consists of several Ionian Greek girls and in the
sixth Act of the same drama we have an Ionian maiden
whose duty is to carry the bow of the King wherever
he goes.
V. 2. 7. "In the southern direction,** "To¬
wards the south/' "Fit to be punished/* "A
culprit/’ "Corpse-eater, carrion-eater.** $*pt:
or c£tjrpT*T "A corpse."

V. 3- (5wn (wxmm:) swrws^i:

)=3W!n 1 "Increased in size by its effulgence/*
The idea is that the gem appeared swollen as it were
on account of the rays it emitted in all directions*
"An ornament for (the face of ) the
quarter of the sky in which the bird is flying/*
"A bunch or cluster of 3ft[fcR flowers/* which are red in
colour.
V. 3. 3. : "An arm-guard." It is a leather
band for protecting the arm against the strokes of the
bow-string.
V. 3. 4. qfHW "The range of an arrow, bow-shot/r
in V. 2. 7. above. "Raw flesh,
carrion."
V. 4. jjfiifcj jlq: "The excellent gem/' “The
—V.ii. K0TE5. 99
planet Mars/* It is so called because of its reddish
appearance, q^q ‘‘Thick dark.*’ “A piece or
patch of a cloud.” “Closely attached to i. e. con¬
cealed behind.** “By my order, at my command,**
•‘In my name.** “Chief police officer of the city,
the Kotwai.'* fSfarcrs^nft 4 ‘Sitting upon its perching
tree.** * ‘Let him be searched out.**
v- *• 7- aieT: vpm: STORcf. “Going where
can he escape from your chastisement ?'* i. e. where
can he go so as to escape your punishment ?
V. 5- f^W supply ^nfer: =
V. 5- 1. qf^tffirq fr “To inform a person of something,"
“To acquaint one with somethiig.*'
V. 6. qcq: “Doomed or condemned to death.*’ qpWflf
“Transformed into an arrow.’* “Hav¬
ing received or met with the punishment which he
deserved for his crime.” The word 3iref«TH> must be sup¬
plied after aroiqifeur 1 “Together with the
crest jewel, **
V. 6. 3. tfeq; (m. n.) “A safe."
V. 6. 7. srmif&T: “Bearing a name upon it.’* qqfqqj.
”Able to decipher or recognize or make out the
letters.** We know from III. 1, that the is an
old man.
V. 6. 10. argqreq “ Reading to himself.** OTJWtf
This is a very strange direction. One fails to see
how this piece of acting was done so as to convey to
the audience an idea of the King’s fatherhood l
V. 11. feftoH sj^jR $ “To go about or attend to
one’s business/* This is a clever device to withdraw a
100 V1KRAM0RVASH1YAM. [V.6.14-

character from the stage, when its presence is no

longer necessary.
V. 6. 14. jflgg: "Of the striker."
V. 7- jjwra: iprw | ^5=3^^ who was the
son of by sp*. "An archer, bowman." ‘ sn|j:
“The destroyer of the lives of his enemies."
V. 7. 2. sfopi (in* n.) “Progeny, offspring."
V. 7. 3. 3pjj5f "Except on the occasion
of a sacrifice in the forest.'* ^5f is a sacrifice
lasting from 13 to 100 davs. is the name of a
sacred forest in which sacrifices used to be performed in
ancient times and in which narrated the and
the 3ms to the holy sages. The name is thus derived

rrfejfrj?: “Sign or revelation of pregnancy." an^f^cT! “Marked,

noticed." “Offspring, progeny, issue.'* This
refers to occurring in V. 7. 1. Pururavas means to
say that in the first place he knows of only one occasion
when he was separated from Urvashi, viz. when he
performed a sacrifice in the $f*T forest. How could
then Urvashi have given birth to a child without his
knowledge ? In the second place, even supposing that
Urvashi was delivered of a child just when Pururavas
was staying away from her in connection with the
sfaifhTOT, how could he have failed to notice any decid~
ed signs of pregnancy before that ?
V. 8. “Dark** ( jif^r ). ratqynm “Nipple."
Ranganatha also records the variant * * 3TT«ftv^i ",
which means the same as our reading,
qpiu arra^ra! cRt ll *imtoimi "Com-
—V.8.3] notes. ioi

plexion of the face.** is a kind of tree with pale-

green and whitish leaves. 31ft ffowfo "During those
days/' This is Accusative of time. We get a variant
"For a few dajs." afisIfeJTOf. "With dull,
languid eyes.** The words f% 5 show that Fururavas
regards these signs as only superficial and not decided
or certain.
V. 8. 3. Vidushaka means to say that the Apsarases
are mysterious in their ways and habits and that they
cannot be judged by human standards. It is therefore
wrong for the King to wonder why he could not see
any definite sign of pregnancy in her.
V. 8. 6. | "Who can un¬
ravel the mysteries of divine beings
V. 8.10. " A female ascetic.**
v. 8. 18. "The venerable prince
of the warrior-class." gflgsyqifrffi "Which pierced its
mark viz. the vulture.** "A crescent-shaped
arrow *’ i. e. “ An arrow having a semi-circular edge."
V. 9. " Sheds or emits tears/' This is a de¬
nominative from the word which means "Tears/*
according to qrfqfif HI. 1. 16. || gf|; "Eye/’
I " Full of affection."
( STF^I ) " My mind becomes calm or tranquil; becomes
gratified/* sren^: *' Calmness, composure, serenity of mind."
reads “ srcrT^H l ” for “ srcn^:”
qgf^r; " Seized with tremor/' vjf^FraqjtefTi: " Giving up all
patience,, firmness of mind or self-control.** " In
a cruel merciless manner ** i. e. " forcibly or powerfully/*
V. 9.1. " Thus *' i. e. " Here, in this place/’
102 VlKR4H0RyASHXYAM. [ V.9.6—

V. 9. 6. ‘‘ Lengjfcbeuer,” “extender,” « in¬

crease.” ajfogr: dxptt: “ Paternal relation.”
V. 10. %f$t{ “ Affection, love.” (to be construed
with ffaQ “ Such, so great.” ” Brought
up on the lap,” “Grown up on the lap.”
v-10. 7. srftwra: " As soon as born.” $$ squfepff:
"Was entrusted to me, was committed to my care.”
WIcflwrfRt “ Sacred rites such as the birth ceremo¬
ny.” “ Having mastered all the learning.”
“Was instructed or trained in.'* “The
science of archery.’1
V. 10.10. “ Furnished or equipped or provided
with a protector.”
V. 10. 13. “Contrary to (the rules or disci¬
pline of) the hermitage.”
V. 10.17. “ As they say ” for the ftppA had not
actually seen it herself. “ Holding flesh in its
mouth.” This flesh was in fact the jewel as we
saw above in V. o. 26. 35$aft$^r: “ Was made the
target ol his arrow ” i. e. was shot down with an arrow.
V. 10.23. " Return, make over.”
“ The thing placed in your hands i. e. entrusted to
your charge.”
V 10. 25. sjkhh srgng “ To favour a seat, to oblige
a seat i. e. to be pleased to take a seat.”

V. 11. ^RFfror: “Pervading the whole of the body

with a thrilling ecstasy of joy,” fcs, 111 have heard it
said.” fcr “Therefore.” “By coming near me.”
The past, pass, partic. gqqfl is used here as a noun in
—V.ii,i6] NOTH®. 103

the sense of “Approaching.” is to be construed

with enOT**? I
V. 11.4. gftjfogf: ‘‘Without any fear.
V. 11. 6, The means to say that there is no
reason why his sight should frighten Ayus, since he
looks neither better nor worse than a monkey ( qiusn^u)
with which Ayus is already familiar in the course of
his forest residence.
V. ii. 16. means “The tuft of hair on the
crown of the head.” “Indicated by (the
presence of ) (the )”
V. 12. “Eager or impatient to see
you” or “Fixing her gaze upon you.”
“Saturated or wetted through and through with the flow
of affection,” i. e. with the milk oozing from her breasts
owing to her affection for her son. literally means
“Broken, pierced through.” “Breast-garment.”
V. 12. 2. sTcffitg “Rise up to receive.”
V. 12. 5. “Highly esteemed.”
V. 12. 10. fq?r<n euRT^ffT “The gladdencr or delighter
of thy father.” The genitive is prohibited by Panini
II. 3. 69. * <a\4,io44fTOTO«5&£rot 1
V. 12, 11. yraw “To the blessed mother of the
son.” There is a peculiar appropriateness in the King's
addressing in this manner now.
V. 12. 16. ” Of an age , fit for bearing
the heavy armour upon the body.” Vide III.2.10.
^ 1 The form would be if age is not
meant. used in a passive sense “To be dis¬
missed.** “Is interfered with.”
104 VXKKAKORVA SHI YAM. [V. 12.21—
V. 12. 21. “Desirous/1 “To
come in your way and cause you inconvenience/' “To
detain you/' gsr^fPI Cf. I. i5« I5* above.
Y. 12. 24. ttt sif^qfcW “Convey or present my
salutations."
V. 12. 18. l l
“To enter upon, to step into/'
V. 13. m who used to sleep. 45^^ “Scratch¬
ing." hkhwhmh “Who has grown his plumage." nfeost-
the name of the peacock.
V. 14. She was the daughter of the
demon g&frr. {:==%%: “The destroyer of the enemies*
forts" g* 3*nJWTT STTOfor SK^cftfeT I cf. *3^ HI. 23.
V. 14. I. *tf^-“Weeps" i. e. silently and inaudib-
ly. Hence it is that speaks of her as
^'Shedding tears, having her face suffused with tears."
V. 15. Construe: | 3PT *T£fct
swr^ snnSr ( 3#:
f% Sltf^n 3f% I arf^BTiff “On account
of the attainment of the stability of the family"
means “Stability of the family," hence "What brings about
or leads to the stablity of the family i. e. a son who
perpetuates the family."
“Bringing about the superfluousness or repetition of the
pearl-necklace" i. e. causing another necklace by means
of the continuously flowing tears and thus making the
pearl necklace superfluous. Cf. III. 7* 7* above: BfftjpnKRli
ft I “Begun
to weep/'
v. 15- 5- ftwilffc! that is to say ^ or c011"
—V.I6.6] MOTES. 105

dittos referred to in the following sentence and in V.

15. 17. below. qfogdqfiffifr “By the mention of Indra's
name;” this refers to V. 14, where STdt and
are mentioned, aflqwrafgr “Pains or torments me.”
V. 15* 7* ’IZeSta “Captivated, borne away.”
V. 15. 18. ifarewr “Of a son, the perpetuator of the
family." t his was the real reason why
Urvashi kept away her son in the 3flwr.
this is the pretext under which she entrusted her son
to the care of the am-TOH “Secretly.”
“This much,” “Thus far and no farther.” '
“Residence, dwelling with."
V. 15. 24. §?§T5i(?lfisRIT “Hostility or adverseness to
the happiness of human beings.”
V. 16. siTOtferaSJf “Comforted, gratified.” Mark the
force of the particle qw which here means “Just, no
sooner than.”

I smfifan STRICT ( =31RNi*TT ) ^ ^ \

“Whose suffering caused by the summer-heart has been
removed or allayed." 3*%* ‘‘Lightning-fire.”
V. 16.2. “Good fortune” viz. gcftvuftq.
“Followed by a series or succession of mishaps or mis¬
fortunes.” ajggnj: “A series or a chain or a succession/'
This refers to the loss of Urvashi which the thinks,
is sure to be followed by the King's retirement to the
forest as a recluse. the potential pass, partic. is
used here in the sense of the Future, = I
V. 16. 6. etc. Urvashi means to say, that this
is another link in the chain of misfortunes alluded to by
the in V. 16. 2. that the King is likely to mis-
106 VIKBAllOBVAdHlYAH.

understand her in that he will think that Uivaghl IKft

him the moment that her son was well-educated and
was restored to the King, as if her selfish object was
fulfilled, and as if it was no longer necessary for her to
remain with him,
V. 17. gswfifeftni totjt "Dependence or servitude in
which separation from one's beloved is only too easy
or natural and to be expected at any time."
("Dependent*') ^ \ angft 1 “En¬
trusting the government of the kingdom, delivering the
charge of administration, to Ayus. ftwftflgnqyft "in¬
habited by herds of deer," "Wherein herds of deer roam
about. “The King assures Urvashi in this stanza that
he will not at all misunderstand or think unkindly of
her as she fears he will, for he is only too painfully
aware of the wrechedness of the state of servitude.

V. 17. 1. gfi “ To the yoke drawn by a

mighty bull or steer." '* A young bullock who is
unbroken to the yoke and who requires a good deal of
training and experience before he can be safely harness¬
ed to a carriage."

V. 18. '* Scent-elephant." ft*: 1 His

ichor or rut emits such a strong odour that other eleph¬
ants run away at its smell, being afraid of encountering
him. Of. * fite&T sf^qT: l 3 t
S!OT iyWiwmSK' n 14 Subdues, puts down." $8*;
" A young cub." I 3^3*^ "Deadly or virulent
bv its circulation; %*i; means the circulation or taking
effect of poison.** W "pre-eminence which
enables one to discharge one's duty or task howsoever
-V.t9.5l NOTES 107

difficult." "By one's very birth" yqffa “Rooted

in ones very blood, not in one’s age." Cf. Raghuvam-
sha XL feral ffc N TO l JfflWqNfim " The council
of ministers." "Let preparations be made for."
"To bring things together."
v.
18,4. gfj&feiqid "Show as if their eyes
were da2zled."
V. 18. 5. "In the cloudless sky.” fifafflTO: “Flash
of lightning, descent of lightning."
V. 19. iftjNHMi; faro ftro 1 N y* fqg:
Ndl^aw: ^ I is a kind of bright yellow pigment
derived from the urine or bile or the head of a cow.
means “A touchstone." It secondarily means a
streak or line on a touchstone.’’ Cf. IV. 1 yrofaqflfcfjqr
etc. 1 5T%r*5i ^ aw* sftaqjr nft 1
"The sacred thread." gfKrgojetc.
ffSKigoTHt % |
" Heightened, enhanced. ” “ Excellent
wreaths of pearls." Or may be conntected with
" Extremely heightened or enhanced." This is to be
construed with 3*w**q^: femdf:-fewiT: SRT$T: I
Having golden branches." 3WJ “In motion." Cf filfffi?
in. 3. With this description of the ap¬
pearance of Cf. 1.4-101
3r4q “ A respectful offering consisting of water,
scents, flowers etc. made to a distinguished guest on his
arrival." 3T*%s*& I
V. 19. 4. sffon “ Worship " i. e. “ Materials of wor¬
ship."
V. 19. 5- *' The world of mortals."
 108 vxkramorvashiyam [V.19.6—

V. 19. 6. " Letting down " soil, the materials

of worship/* “Offering the materials of worship/'
V. 19.9. ajftjr sjot tt^ " Would that it were so/'
V. 19.11. «WW g»lH. according to
<nfoifa iv. 1,92- frerniwu. 1 Cf. JijShr, l^pr, etc.
V. 19.13. fas*: "A seat." Cf. V, 10.25 above.
V. 19. 18. cfHnqJTPI "Resolved to take to the
forest." sfs^nfcf "Advises."
V. 19, 21. Construe : gfSrfcn
l Br^TS^rf^r: " Seeing i. e. able to know the
past, the present and the future " vffeft “ About to take
place in the near future/’ anffoz "Predicted, foretold/*
Q13: " Skilled or well-versed in warfare."
See Panini IV. 4.98. and 92 : m%: l sffrsRifqwi:
I. " Partner in the performance of religi¬
ous duties.
V. 19. 26. " Removed, extracted," ^ is to be
construed with f*A dart as it were" here means
"the painful thought of the imminent separation."
V. 19.27. q^ars^ " Dependent."
V. 20. “ Should help you." cWf %ss({
" Should act up to his desire." "Causes to
blaze," " Supports with splendour." The idea here
expressed is that the sun deposits his splendour in the
Fire at sun-set. The Fire does the same at sun-rise
with reference to the Sun. It is this mutual helpfulness
of these two Deities that keep9 the world going. Cf.
IV. 1; also m w ssfocs siftsfa 1 arffr m snfifcn:
spI sf^5r% 1 Also L 13.
—V.a2] MOTES 109

" Collected, put together." dfatTOlfqft*:«

I “ Materials for installation as a crown-
prince or heir-apparent."

V. 20.6. = t*nf*iT\,ftsn " A stately seat for

auspicious purposes.”
V. 20.8. nrqaj <f Pouring down or emptying the con¬
tents of the SKtqvs or jars containing sacred waters." The
sprinkling of water ( aofqfo ) forms the central and the
most important part of the coronation, and it is there*
fore performed by himself; while Rambha is directed
to do the remaining minor ceremony ( ft$f ftfc )

V. 20. 14. *' Pre-eminent in the family."

V. 21. “ The immortal or divine sage, the

godly sage." = 5^ “Mercury." “His Majesty.”
3$r: fqij; ai^q; “Worthy of your father by reason of
your excellences.” aft " In your exalted family,"
3H%a: ^WTHT trg All blessings am indeed already fulfilled,
are already attained or realised." Cf. Raghu. V. 34,

V. 22. Construe, serawt 3*^ <pr

faffafcT wfd ^ %JRf?T iTrf^ =sr
dm fa ffrthf MfoWR X&ti \ The expression
mKIHfl gfWTrl. f|qft applies to the mountain Himalaya as
wen as to the King; while and apply
to the Prince anjn as also to the Ocean,
fam (>) standing at the head of the exalted (ii) standing
in the forefront of the lofty. (i) observing
or the rules of right conduct (ii) observing i. e, not trans¬
gressing the boundary. affiremAq (0 of unshakable courage
(ii) whose calmness is imperturbable, wrawflei “ Having
its waters divided or distributed," Cf. Raghuvamsa V 66.
110 VIKKAMORVASHIYAM [ V.22.2—

V. 22. 2. tprcq "The glory of heir-apparent-

ship belonging to your son."
V. 22. 5. grew*Common. " She means to say
that her good fortune was their good fortune also, as the
Apsarases were but her sisters. *• c* Queen
Aushinari.
V.23. who was placed by Indra
at the head of the heavenly forces on the occasion of
the battle with the demon
“Installed as commander-in-chief" of the army of the
Gods. l Vide
canto XIII.
V. 23. 1. " Being thus favoured ” i. e. by
sprinkling upon his head the sacred waters of the coro¬
nation ceremony.
y« 23* 2. mmrc: \ m *n% 1 Indra the slayer
of a demon called q|f».
iTO3foFU£-The finil benediction or epilogue at the
end of a drama called in honour of the
founder of Indian Drama.
y* 24. the hostility between Wealth
and Learning is proverbial in Sanskrit Literature. Cf.fhgufiv-
5^ ’f 1 15- VI. 29.
Very hard to find in one and the same abode."
“Union."
After this the Northern Recension has the stanza
tfeng etc. which we have given in full in the
Introduction, p. XII.
 Addenda et Corrigenda
to the Text and Translation.

Pack Like Fox Reas

io Stanza 6, line 2,
%
(3 last line Drop the Stage
direction ‘Exit king etc.’
15 Stanza 10 After the word ‘eclipse.’ add
’ and regaining its brightness.’
so line 3 *F3rf*
_Cr
22 line 8
*4 line 10 WWlfit
25 line 7' presincts precincts
25 line 7 sparrely sparsely
26 line 2 from bottom TO* TO9
32 line 10 from bottom
40 line 9
46 line 2 from bottom **
57 line xi Dear m Dear me. It is
57 last line you me told you told me
73 line 9 from bottom repentence repentance
8x last line it her
82 line 5 1* %
91 line 7 from bottom another yourself
94 line 5
96 line 11 from bottom
96 line 2 from bottom 3s*
99 line 9 schorched scorched
too line 8 from bottom qf&wm
102 line 5
 2

Face Line Fok Read

105 line 14 velley volley
105 line 4 from bottom severence severance
106 line 4 fls? fiv
107 line 7 lighting lightning
107 Mne 17 from bottom Add 4 through anger/ after 'them
109 fine 15 eX federated exhilarated
no line 9 tftsnnst
VII
i line 3 from bottom one's their
1*3 tine 15 Don't do that That will not
do

I15 last line

line 7
Severence Severance
after 4 me,' add fallen at her feet
Y3
t27 line 5 Severence Severance
ip7 line it from bottom we you
163 line 14 people prefect
136 line 3 from bottom
144 line 1 W
MALAVIKAGNIMITRA
OF

KALIDASA
 INTRODUCTION.

Kalidasa—the Poet.
What De Quincy says of Shakespeare meets the
case of Kalidasa far more appropriately than that of the
English poet. “That, he lived and that he died and that
he was a little lower than the angels," this pretty
nearly makes up the amount of our undisputed report
of the great poet. Tradition has given us numerous
legends, but they are no more than a mere farrago of
absurd anachronisms. Modern research has done a
good deal indeed to lift the veil from India’s past, and
yet an exaot and authentic account of the author is yet
to be given. Of the numerous theories advanced by
scholars regarding his age, only two seem now to have
the support of indefeasible evidence both internal and
external. There is the strong testimony of the quotations
in the Mahabhasya of Patanjali which goes to prove that
Sanskrit court epic dated from before the time of the
Christian Era, and the same is now’amply corroborated
by the recent epigraphic researches of modern scholars.
This lends feasibility to the traditional legend of a king
Vikrama the founder of the Sariivat Era—67 B. C. who
had at his court a circle of nine gems including Kili-
dasa, Varahamihira and Ghatakarpara.
•

It is on the other hand contended that a comparison

of the inscriptions which are mostly panegyrics of kings,
and which employ the Gupta Era which was. first used
by Candragupta Vikramaditya II, with the classical
 11

poems proves that the poetical style of the inscriptions

prevailing in the fourth and fifth centuries did not
much differ from the style of the KSvyas; and on
the strength of this and similar epigraphic evidenoe
it has been sought to prove that Kalidasa must have
flourished under Candragupta II who assumed the title
of VikramSditya and succeeded his father Samudragupte
in 376 A. D. and made Ujjain his capital. Vincent
Smith in his early history of India (p. 304, footnote) ex¬
presses the view that the earlier works of KilidSsa were
composed before 413 A. D. during the regime of Can-
dragupta, and his later works were written under Ku-
mSragupta I (413 A. D. to 465 A. D.) and that possibly
his literary career extended even into the reign of Ska-
ndagupta (456 A. D. 480 A. D.).
This is the sum of our knowledge of the external
details of the poet’s life; and yet it may be asked : Are
the few broad bare facts of life the only thing one
should prize ? Is not the poet known to us in the far
richer world of his imaginative creations ? He neigh¬
bours us on every side, rouses our intellect, moves our
passions, and stimulates our activity. It is well said,
“The magnitude of life is not as to its external displace*
meats but as to its subjective experiences. ”
The impression that one gathers of the poet from
his works is that of a man, deeply learned in literature
and philosophy and other traditional lore of the times,
and more deeply learned in the book of natare. A
charming trait of his personality is his modesty whioh
Coleridge reoognises as a sure sign of great genius. He
was a widely-travelled man and was a keen observer of
nature. N»ot only did:the sublime and wild aspects of
nature stir his imagination, but the milder and minuter
 Ill

manifestations also caught his fancy, and he is very fond

of describing to us how the garden-plants bend to catch
the beauty of spring, or how the inarch ot seasons
affects them.
But above all he is a student of the human heart
and is rarely excelled in his “delicate appreciation of its
most refined and tender emotions and his familiarity
with the workings and counter-workings of its conflict¬
ing feelings.” Particularly he exoels in depicting love
“from the first suggestion in an innocent mind to the
perfection of passion.” All the three plays sing of love
happy at the last and ( havened after tempest.’
Of his three plays, MSlavikignimitra was the earliest
written and Sskuntala came last, while the Vikramorva-
siya belongs to his middle period. We have merely to
compare the prologues of the three plays to be convinc¬
ed of this; for in our play the author deems it necessary
to explain away what would seem presumption in a
contemporary poet to have offered his play for exhibi¬
tion before the elite to the exclusion of the plays of re¬
nowned writers. There is no such diffidenoe in the next
two plays; moreover it will be observed from a com¬
parison of the three plays that “ his ethical outlook on
life was becoming progressively deeper and more spiri¬
tual.” And lastly in spite of the frequent curiosa feli-
citas of his diction, we do not come aoross that smooth¬
ness and rounded perfection and inevitable grace that
mark the mature style of the poet.
The political background of tHe play.
The MSlavikagnimitra is a drama of court intrigue.
King Agnimitra is a historical character of the second
century before Christ; he was the son of Puspamicra-.*
 IV

Tho commander-in-chief—who killed his master Brha-

dratha Maury a and established himself as a sovereign of
the Maurya dominions, thus founding a dynasty known
to history as that of the Sungas (188 B. C.). As the
seat of empire was in Pataliputra, and as Agnimitra’s
capital is Yidisa—tho modem Bhilsa-it is possible that
lie was appointed as regent of certain provinces during
his father’s lifetime. In the later years of his reign,
Puspamitra was threatened by serious danger. Menander,,
the Greek king of Kabul and the Punjab wanted to
emulate tho exploits of Alexander and at the head of a
formidable force annexed the Indus delta, the peninsula
of Saurastra (Kathiawar), Mathura and besieged
Madhyamika (Nagari near Chitore) and Saketam in
southern Oudh, and threatened even Pataliputra, the
capital. This invasion (166-158 B. C.) was repelled by
Puspamitra after a severe struggle and Menander was
obliged to retire to his own oountry. The fight with the
Greek cavalry force in our play seems to be an echo of
the struggle with Menander from whose repulse in 168
B. C. until the bombardment of Calicut by Vascodagama
in A. D. 1602, India on joyed immunity from attack un¬
der European leadership.
Tho war with the king of Vidarbha also seems to be
a historical occurrence, in which Yajnasena was worst¬
ed by king Agnimitra> as a result of which Yidarbha was
divided between two provinces, separated by the river
Yarada ("Wardha) which is now the boundary between
Berar aud the central Provinces. Agnimitra appointed
Madhavasena to the southern and Yajnasena to the
northern principality.
The poet has very skilfully utilised these historical
events for the purposes of his play. In the last act we
 V

get a report of the victory won by Agnimitra’s army

over the king of Yidarbha ; among those who camo with
the good news were two girls who recognized Malavika
as the Yidarbha princess ; and this served to remove all
objections, if indeed there were any, to Agnimitra’s
marrying below his rank. Secondly the communication
by Puspamitra of the victory won by Yasumitra (his
grandson, and son of Agnimitra and Dharini) over the
cavalry of the Yavanas who had captured the sacrificial
horse let loose by Puspamitra is an event of great joy to
Dharini and to the ladies of the king’s household, and
in the moment of her elation, the queen unites
Malavika with her royal lover.
Analysis of the plot.
Act I. After the invocation, the manager tells his
assistant how he has received from the spectators the
order to act the play ‘ Malavikagnimitra * at that spring
festival; and when the latter wonders how the specta¬
tors could have passed over the compositions of famous
poets and done such great honour to the work of a
modern, the poet Kalidasa, the former tells him that it
is all right. ‘ For a poem is not good because it is old;
nor is every new poem to be blamed because it is new;’
he then bids him make haste and help him to carry out
the order of the spectators.
Then enter Kaumudika and Bakulavalika and we
learn from their conversation that king Agnimitra
has seen in the pioture-gallery a new pointing of queen
Dharini and her attendants. Among them is Malavika,
who is so beautiful that the king is smitten with love,
but the jealous queen takes especial care to guard the
original from the sight of the king. Then enters Gana-
 VI

dasa, the dancing-master from whom Bakulavalika

Lt arna that Milavika has proved to be an exceedingly
t.;uv::r and intelligent pupil; and on his asking whenoe
such a choice attendant is secured by the» queen she
inform8 him that the queen’s brother of.inferior caste,
Virasena byname, in command of a frontier fortress,
sunt this girl as a present to his sister.
In the main scene of the act, the king is discovered
listening to a dispatch from the king of Vidarbha, who
had imprisoned the king’s cousin Madhavasena together
with his wife and sister and in response to Agnimitra’s
demand that they should be liberated, he declares that
the sister had disappeared in the confusion of the cap¬
ture, and that M&dhavasena would be released only if
Agnimitra set at liberty his brother-in-law, the Maury a
minister. This letter so angers Agnimitra that he
orders his army under the command of Virasena to
inarch against the king of Vidarbha.
At this point, Gautama enters and informs the king
that he devised a plan for bringing MaiavikS into the
king’s presence. He has set the two dancing-masters by
the 63rs,who soon appear on the Btage, each abusing the
other vigorously, and claiming for himself pre-eminence
in his art. It is agreed that eaoh shall exhibit his best
pupil before the king,the queen,and the learned Parivra
jika, Kausikl. The queen raises a number of difficulties
and disfavours the whole proceeding, but her jealous
opposition is overborne. The sound °f the drum noW
is heard which was a signal for them to proceed to the
conoert-hall of the palace where the orohestral arrange¬
ments are by now made ready.
Act II. The scene is laid in the concert-hall. The
PanvrajikS, the mistress of the oeremony, directs that
 vu

GapadSsa shall exhibit his pupil first; upon whioh Mill-

vik5 enters in thin stage-costume and she dances and
sings a song which pretty clearly expresses her own
passion for the king. The king is almost transported
to find that she is lovelier than the picture; the Vidusaka
manages to detain her for a little while by pretending
that he has observed a serious flaw in her performance
and when she is Anally permitted to depart, both she
and the king are deeply in love. The hour of noon is
now announced, whereupon the exhibition of the other
dancing-master is postponed.
Act. III. The scene is laid in the Pramadavana
garden. Prom the conversation of two maids we learn
that although both'the teachers are thoroughly acquain¬
ted with the science of dancing, yet the teaching power
of GanadSsa was ranked the higher of the two on
account of the admirable qualities of his pupil,
Malavika. The king is now desperately in love with her
but in order to spare the feelings of DhSrinl*. he makes
no use of his power to behold the object of his desire.
We are further informed that a favourite Asoka tree is
late to blossom, and requires, so the belief runs, to be
touched by the foot of a handsome woman to be induc¬
ed to burst into blossom.
After this introductory scene, the king and the
Vidusaka enter. The former describes how desperately
he is in love with Malavika, whereupon the Vidusaka
his confidant asks him to possess his soul in patience be¬
cause as a matter of fact he has devised an expedient for
ensuring the end that he wished to attaifi. He then re¬
minds the King of his promise to joinlravatl and pass the
day enjoying a ride in the swing with her in the garden.
Both now enter the garden, but before Iravatl’s arrival.
 Vlll

Malavika enters, as she is commissioned by DhSrini to-

touch the Asoka-tree with her foot and thus induce it to
blossom;t'or the queen herself is disabled to perform the
ceremony, as owing to Gautama's carelessness she has
had a fall from a swing and is not able to move her feet
in consequence. The King and his confidant now hide
in a thicket. Presently Bakulavalika appears on the
scene and while she adorns Malavika for the ceremony
she engages her in conversation about the King. A third
pair, Iravati somewhat flushed with wine, and her maid
Nipunika, now enter, and they also conceal themselves
to spy upon the two girls; the two girls believe themsel¬
ves to be alone,and Malavika talks freely of her love and
Bakulavalika tells her how the king also is pining for
her. The King now starts forward and expresses his
love for Malavika, whereupon Iravati, mad with jealousy
joins the group,dismisses the two girls and rudely snapp¬
ing at the king and not accepting his excuses, such as
they are, leaves him with words of stinging jealousy to-
inform Dharini of what is going forward.

Act IV. The Vidusaka informs the king that Mala¬

vika and her friend with fetters on them are locked in
the cellar by queen Dharini who has given orders to the
door-keeper that they shall be let out. only on presenta¬
tions of her signet-ring bearing the seal of a serpent.
He, however, has a plan in his head, which he will pre¬
sently employ to release them. The king then pays
a visit to the queen to inquire how she is doing, when
the Vidusaka rushes into their presence, pretending that
he has been bitten by a venomous snake on the finger,
and shows them the two marks of the teeth. Then im¬
ploring the king to take care of his helpless mother ho
awakens genuine sympathy in the queen who readily
 IX

parts with her signet-ring bearing a serpent-seal, as it

was required by the poison-doctor to effect a magical
cure. He thus procures the freedom of MalavikS and
her friend and leading them to the summer-house brings
about a meeting between the King and Malavika. The
love-scene is again interrupted by Ira vat I; but the time¬
ly news that princess Yasulaksmi has been terribly
frightened by a brown ape and would be comforted only
by him, extricates the King from a very embarrassing
situation indeed. The act ends with the announcement
that even before five nights have elapsed from the time
of the ceremony, tin* Asoka tree is covered all over with
bloss )ms.

Act V. The nueen has sent word to the King that

she desires him t<» go with her to behold the beauty of
the Asoka in blossoms; the maids announce that the
avenging forces of the King have subdued the King of
Yidarbha. The King and the Vidusaka now proceed to
the garden where they find the queen and her attend¬
ants including Malavika waiting for him under the
Asoka tree. At this point the chamberlain comes
with a message* from the minister that the present
sent by the king of Yidarbha included two accom¬
plished maidens who were till now not introduc¬
ed because they represented themselves to be fatigued
with the journey. They are now brought before the
group gathered under the. tree, and give considerable sur¬
prise to everyone by falling prostrate before Malavika
whom they address “ Our princess They inform the
King that Malavika was the younger sister of prince
Madhavasena and that when he came into the power of
his kinsman, the king of Vidarbha, Malavika was secret¬
ly carried off by Sumati, the minister of the captive
 X

prince, while attendants like them were left behind. At

this pointy the ParivrftjikS takes up the tale and declares
how her brother who was the minister of MSdhavasena,
had rescued her and Mslavik& from the king of Vidar-
bha, and had started for Agnimitra’s court; but they
were set upon and overpowered by bandits; her brother
was killed and she herself separated from MSlavikS who
came from the power of the foresters into that of Vlra-
sena and was sent by him to the queen. She, for her
own part, assumed the red robes and made her way to
Agnimitra's court where she found MSlavikX again.
She, however, forbore to speak of this, because of a
prophecy that MSlavikS would have to endure for one
year only the position of a slave before she obtained a
husband of equal rank. Agnimitra now issues orders
regarding the terms to be granted to the king of
Yidarbha, half of whose territory he now assigns to
MSdhavasena the brother of Malavika, their dominions
to lie respectively north and south of the VaradS river.
Now a letter arrives from Puspamitra announcing
that Yasumitra, Agnimitra's son by DhSrinl, who was
appointed as the defender of the sacrificial horse let
loose by Puspamitra, his grand-father, has won victory
over a cavalry squadron of the Yavanas. Puspamitra
further invited the court to be present at the sacrifice
which he would now offer.
The queen DharinI, overjoyed by the news of her
son’s victory, now sends an attendant to the ladies of the
harem w ith the glad news and asks her to tell Ir&vatl of
the promise she had made to Malavika when she de¬
puted her to perform the ceremony of fertilizing the
Asoka,aml of her birth also.Iravatl communicates,though
somewhat ungraciously, her concurrence in the arrange-
 XI

meat and queen DharinJ now presents Malavika to

the king. The play concludes with the king’s express¬
ing the hope that he may ever retain his queen’s regard
and that his subjects may never suffer any calamity
while Agnimitra was king.
Appreciation of the plot.
The plot of the Malavikagnimitra is a masterpiece
of clever construction, where the interest is chiefly con¬
centrated on the central story of the king’s love for the
maid, and every incident is subordinated to the main
theme. The element of conflict, which is of the very es¬
sence of drama is mainly external; we see how the queen
almost feebly and pathetically opposes the king’s attempts
to secure the sight of Malavika ; but finding that the
forces ranged against her were too strong for her, she
decides to go along the current and make the better of
its course rather than endeavour to stem the tide at the
risk of a capsize. She cleverly withdraws from the con¬
flict, realising it was her November to the young rival’s
May, and hopes forlornly that her ohanoelies inplaying
one new favourite against another*. The irascible IrSvatJ,
flushed with wine and with the grapes she has gathered
in Cupid’s vine-yard, next comes to disturb the noon-day
tryst, and succeeds fora while to veil the sky with clouds,
but a clever ruse of the Vidusaka and the queen’s
serene though not yet quite frank and open acceptance
of Malavika combine to lift the cloud and the lovers are
finally united to the discomfiture of the irasoible Iravatl,
who none too calmly resigns to the inevitable. The final
stages of the action are cleverly managed and the
anagnorisis is a clever piece of concentrated and brief
narrative, where from the maids the thread is cleverly
taken up by the Parivrajika.
 Xll

It will thus be seen that the plot is essentially co¬

herent and organio; there is nq bye-plot, so that our
attention is focussed upon the central theme. There is
further a clever selection of incidents which are present¬
ed on the stage, the remaining being relegated to the
entr’ acts which are brief narratives put in the form of
dialogue linking up incidents of the previous act with
those of the succeeding one. These scenes—the ‘scenes
a faire ’ the scenes which had to be done, which if
shirked would cause dumb disaDpointment in the spec¬
tator if they take place behind closed doors and if they
are only narrated—these scenes are chosen with a view
to arouse and sustain the interest of the audience, and
present to us the spectacle of the contending forces
at close grapple. These are the great dramatic moments
of the story ; and there are also those scenes which have
been chosen from the beauty of the spectacle such as the
music-hall soene where the lovely Malavika draped in
diaphanous garments,a vision of sensuous beauty,bursts
upon our sight, or the garden-sceno where the clever
BakulSSvalika artfully pours love’s sugared delights into
the ears of the eager maiden and the romance of the lo¬
ver’s noon-day tryst is rendered with all the tendorness
and incisive vigour the poet could command.
Characters.
King Agnimitra is commonly criticised as an un-
heroio hero. He is an elderly person whose ‘ yeasting
youth * is by now expected to clear itself and ‘ crystal
turn again1, when love’s little follies are laid on the shelf
One nas however to remember that the poet is here deal¬
ing with a historical person and is only furnishing artis¬
tic raiment to traditional matorial. He has given us
studies of men not in life’s moments of stress and strain
 Xlll

but in its 1 seoludod pleasances and verdurous wooded

ways.’ And here is a pioture of an oriental monarch, de¬
voting his hours of gilded leisure to the pursuit of love
and beauty, for benign providence has preserved his
father to pursue his ambitious oareer of oonquest and
given him a son who even at that tender age has given
a foretaste of his masterful and vigorous manhood. So
the king has provided himself with a philosophy of ten¬
der frailty. “Women are angels wooing, things won
are done, joy’s soul lies in the doing.” The lovely
but irascible IrSvatl is passed over and the .handsome
M Slavik a who has “ a very shower of beauty for her
earthly dower ” now takes her place. He believes what
the English poet has said:—
“ Who loves but one lassie, just rides for a fall:
The ladies, God bless them! There is safety in
numbers;
Love one, love fifty, I have room for them all.”
The king does, however, realise that mere lounging
and larking is not enough. Witness the quick decision
he takes in dealing with the king of Vidarbha, and his
last prayer is quite significant. “ There is not a blessing
that will not be secured by his subjects, while Agnimitra
is their protector.”
Malavika. By birth, beauty and accomplishments
in the fine arts, the triune of perfect starriness, Malavika
is the most attractive of the young maidens drawn by
our poet. Her love for the king is as natural as the break¬
ing out of blossoms, and it is this devotion of an innocent
and pure maiden that hallows and elevates the love-story
above the sordid pruriency of a vulgar liaison. She is
extremely clever and intelligent and shows considerable
acuteness when she boldly tells the king how she had
 XIV

reason to be afraid of the queen, considering the great

fear in which the king himself stood of her. In MalavikS
the poet has given us a rare vision of sensuous beauty.
‘ Awake for ever in a sweet unrest’ that pretty correctly
pictures the temper of her mind almost throughout
the play.
With regard to the other female characters of the
play it may be remarked that although there is very little
scope for the development of character, yet every one
of them is very carefully individualised. Dliarinl poss¬
esses dignity and forgiveness, and Iravati the pass¬
ionate jealousy and virulence of a co-wife. The Pari-
vrajikft is the female counterpart of the scheming
Vidusaka and considering that Malavika was her prin¬
cess, there is nothing vulgar in her joining the plot of
the Vidusaka.
The liveliest character of the play is the Vidusaka
who is not merely invested with the traditional frippery
of the conventional confidant, but is a being of flesh and
blood,ready-witted, quick of disoernmont and resource¬
ful. He takes almost the principal part in securing
Malavika for the king : he sets the dancing masters by
the ears,cleverly detains Malavika after her performance,
causes queen DharinI to suffer a fall from the swing;
and pretending to be bitten by a snake secures the
queen’s signet-ring in order to liberate Malavika and her
friend from imprisonment. He is not the conventional
Vidusaka of the Sanskrit play who is continually to be
knocked over and set on his feet again for the cheap de¬
light of the audience; and yet much of the humour of
the play comes from his witty remarks, from his off-hand
manner and from the little audacities of address which
he affects from time to time.
 ERRATA

0
P*ffe Line for Read
57 21 ts see is seen.
65 21 to invite to imitate
71 5 foliage, this gifl etCt foliage, and Hash*
ing with the lustre
of the nails, this
girl efco.
80 9 ft

111 14-15 affectinate affectionate

113 4 blurred, blurred by the knit¬
ting of the brows*
115 1 appears before me appears before me
in a dream.
4 slips away from them, slips away from
them , ( frail)
woman though
she be*
119 3 She moves etc* Trembling, she
stops my hand
with its fingers
moving about
the girdle*
»» 18 of our dear friend, of the dear friend
of my husband
 11

Page Linei for Head

119 26-28 Silly girl...husband. Silly girl, my hus¬
band is no longer
what he appears to
ho in the picture.
Hi has transferred
the devotion of his
heart, to another
woman.
123 2 Who can ever ete. What sire begot this
accursed rogue 1
wonder!
125 16 the frogs eroak ? The frogs croak ?
You may ask tne
king as to what I
have done.
132 10 °f^rnuTTc»TW 0fa#tUJTTcJTUt
134 44
156 14
160 17
*H55fNrfSrftr3r* i
Malavika and Agnimitra.
 II «ft: ll

faratsft 5joj^h5«k% m <orf ^wt«t:

«F?n^fii«^frsc*r^nRTOt m i
3reiflrfar srtf gqqft hiAuim;
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(JJFSF^ I )
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( Hft*T I )
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qBRK:—arfafeatsfa «Krfe?rcmf«ta?rcg ure-
^ sim q^Fafcsft l

qiftqiPfa.—»rc ara^i sfaww

^ qcf*nHq>>: frqrfaqi
?s
'O
qro <#*$ qsqpr: i
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STTOftftf * STf «#
IT *T«f SRWWq^ I
 Malavika and Agnimitra,
PROLOGUE.
May the Lord who, though enjoying absolute
sovereignty from which result many blessings
to his votaries, yet himself wears an elephant-
hide ; who although united in body with his be¬
loved, yet excels the ascetics whose minds are
free from (pleasures of) sense; in whom there is
no pride, although with his eight-fold forms he
sustains tho universe—may he remove your
state of ignorance that you may behold the
right wAy. ( 1 ).
( At the end of the Nandi)
The stage-manager. (Looking at the curtain). Ho !
xnarisa, just come hither.
( Entering )
Actor. Here am I, sir.
Manager. 1 have been asked by this assembly to
stage the play Malavild&gnimitra composed by the poet
KSlid&sa, at this spring-festival. Therefore let music
be begun.
Actor. Nay, not so. How do the spectators pass over
the plays of poets of established repute, such as Bhasa,
S&umilla, Kaviputra and others, and do great honour to
the work of Kalidasa, a present-day poet ?
Manager. You speak thoughtlessly. See
Every old poem is not goud simply because
it is old ; nor is a poem without charm, because
it is new ; sound critics favour the one or the
 anasftraiiftiPia
?Rr:
qti II * ll
flftflft*:—airfftari: JOT<>w I
13WR:—fla ft srcat I
Riwt snTK^i^iiTifnH^siiH ftwft i
^«fT If friW: %fif«|t ffoRta* it | ii
(ftopp^ I )
srermu
(?ra: aftaftr Ml i)
V %£fc—armfft ^<ln arfota a^wra^nfcH ■*&* mw
Olfai ap^or araftstfa oisraif^af apsmm^i
f 3^051 w aira B»ft5ei3n«lft 1 (aft afonafo 1)
[ amnnfet l»n rafter afMggafrifoi afari aw am-
aafta a&rtt araflftft aiaaiaifrariaaara sga. 1 aar-
ara^tlfnowt iwmPi 1 ]
(?ra: aftatamaman ftaftar Ml 1)
JTWT (fMlai *w)—-gar fal * ** ftar l
^ ar *rtftoi ft a arftwiat ftft <a 1
[ afa afaftfe, ffira aa <4tam l aorfftaift awfiwra^dl
tft a aarfa 1 ]
?H fttfPTT—w*al asaraftat 1 aft r Sflf fafaaar-
ard wHft oiragawinc ain?ftarai ftfai fapauRft
SI gai@*3t qftaftc l [ «nft ayMaWww 1 afti aalwn
< c ftiftraaroiapfla aiagstaawafjpfla* AN Ptraraaft
aa>na*fc aftatfta 1 ]
ff3RI%*T ( ftafca *—sfo « ft# | fftojr
 [H
other, after (proper) examination ; while a
blockhead is guided by another’s judgment. (2)
Actor. Tou speak the truth, sir.
Manager. Well then, make haste.
I long to carry out the order of the spectators
whioh I have already received with my
{ bowed ) head, even as this attendant of queen
Dhirinl, intent on serving her. (8)
( Exit).

End of the Prologue

( Enter a maid ).

Maid. I am ordered by queen Dh&rini to ascertain

from the noble Ganadasa, our dancing master, what
degree of proficiency M&lavikS has attained in the
Calita at which she is lately taking lessons. 9o I will
prooeed to the music haiL (Walks round).

(Enter another maid with an ornament in her hand).

First. ( Seeing the other) Hola, KaumudikS, what

makes you so serious that you do not see me although
you pass so close to me ?

Second. Ho, BakulSvalikS ! Friend, I was intently

looking at this ring with its serpent-seal, ( just) brought
from the jeweller's, and so I fell under your reproof.

Bakulivaliki. ( Observing ) It is but proper that

 •nM«r^r gfowftwwfrqfri t;gft£( ft* ^ *"v$l
qft*nft | [ wft *5 treafli ift: I ■*t*-u*a<#l«4-?lfti«»-
tv fti*ftraM $s(*m p to**r. afiwift I ]
^ff^T—**Tg* «f|qftrcife|
<rrf% i ]
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^vs OT^annit qftfcft I [ Mri 4W*{-
wiwTO* s^gwW win HI®MW I J
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*wh]
tf^iMOiw—arr^Mtt wi£i #t *4t ft% ft£n
[ atm. Mm wfrra: m araftft ie: I ]
^ qftgffrc—tar ft* i [wftti]
ffgwftra—8°nfl l farm® *151 Mr iwm«hi9
farS* an^tsRft fa faft i rrffcr *=tft miftSl mi i
[ h$ i frnnot *rar Ml ftwrftwl taftnrarfN***
Pr fiwfit i afewRR gqfrwl *raf i ]
^gf^KT—<rct nSi| [wwrt*.i]
—3t«mi«l*« <<*iyuTHft%® *flf**far-
•rot miwwi? *rcjwFm*i«w tw®* Mr
gfa^r i [ -jwwh^<^%rwT^.< *n? Pwawr Mnt
vt ^■wBnyKnnwuMR^iHaff eejrr Ml m 13
IIJlMI—Wn i [ wWra i ]
ff3l<n%%l—*g*i (t Mfa gi »wi
I<*li<i (PlWtwi f[w «i^w $m*I WWW
WnWTO I J
 STOStSf: [*
your eyes were rivetted on it. With this ring, with its
filaments of rays upahooting, the palm of your hand
appears to have bloomed.

KaumodikS. Friend, where axe you going ?

Bakulivaliki. I am going by the queen's orders to

the dancing-master, the noble G-anad&sa to inquire what
sort of pupil MSlavikS has shown herself.

Kaumudika. Friend, how could she have been

seen by his majesty, though she was kept out of the
way by suoh an employment. ?

BakulSvalikS. Why, she was seen in a picture,

painted by the side of the queen.

KaumudikS. How ?

B&kul&velikS. listen, the queen had gone to the

painting-hall and stood looking at the picture
(shining) with the freshly-laid odours. And at that Tory
moment entered his majesty.

KaumudikS. well, what happened next ?

BakulavalikS. Then after the usual salutations, his

majesty sat down in the same seat with the queen, and
saw in the picture, among the queen's retinue, a maid
‘lose to her, and asked the queen—
»

Kaumudika. Pray, what?

BakulavSliklL 4 What is the name of this extra¬

ordinary girl painted close to you, my queen 7
 «nftfcft%3g ar^ft q* qfcft i
v* [ qsnyRiftiftsiw. qq qrtlfir I atrean: i ]
• *fgrafo*l—a$r atqflfenraft *wt tf*£r g»it
g5t fopqftrj q3%|5nq $ft ofqftftqiqqnrtqqgas-
>i \ arrqftqrq enara qeTHisftarftr | [wifeanARaa^ll
*raf qiftat ^ 3=?: jaftl*j qfa: i qiqftt a qwffr
aiq<f*raf qa^waiaqitwian urt wrafq%ftr i ]
’utaftlftw (afera*) $ qremtqqe i aitr qq a^ft i
[ toi <sg aigMww i »ra: awq i ]
—ft 3t°°i I sfr: areftarr aft&j »#%
q*PnW?fr Wftaift I
[ftapq^l arwa aiaftan afatiq ai&hqasqqSl I ]
vtgft[CT—d*i argfts araoh faaftai J aff ft <R
\o ar»Jjcftsf3f ^frq gqairer | [ atafanwh Prctaa.1
aRa^TO^pflqqf ^*qr I

( qfa ft«*Far i)
M 413T9&TO—(qfopqweUq ai) # oiparffcft
ananoRj^t qifar ftwa? i ana % aram
5%fa I [ qq hi«i^i4 aiftaaqa: aq*farowia qqrtt
PmiiRi i awaaqiww qfatft i (qftr qftawfa i)
(qftw) qqp^: — aga >ag qlwift gystftqi arwn |
a gsraaw apq aft ffcartKaa. i js:
jsnr: VF^ X& IT^
^mPfVNnvR Fly nfC It'd I
 Kaumudika. Surely such forms of surpassing love¬
liness engage one’s admiration. Pray, tell me further.
Bakulavalika. But finding that his words were not
heeded, his majesty grew suspicious and began to im¬
portune the queen. And when the queen would not
reply, the princess Vasulaksmi made answer: “ Brother,
this is Malavika.”
Kaumudika. ( smilingly ) How like a child ! Tell
me what happened next.
Bakulavalika. What else, but that now MSlaviki
is particularly guarded from the sight of his majesty.
K&umudika. Come now, do your errand. I, on my
part, will take this ring to the queen.

(Exit.)

Bakulavalika. ( Walking round and looking.) Here

is the dancing-master, the noble Ganadasa, just stepping
out of the music-hall. So I will show myself. ( Walks
round.)

( Entering.)

Ganadasa. It is true that everyone regards very

highly the science affected by his family ; but then the
importance I attach to the dramatic art is not without
foundation. For
sages look upon this as a sacrifice that is
pleasing to the eyes of the gods; Rudra has
divided it into two parts in his own person which
is blended with that of Um£. Herein are to be
observed the actions of the people prompted by
\® j msnwmm

to* mnrrj^iisu
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4

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 [U
the three qualities, and exhibiting various senti¬
ments : the dramatic art is the one chief amuse¬
ment of the people, albeit they have diverse
tastes. ( 4).
Bakulavalika. (approaching) Noble sir, I salute
you.
Ganadisa. My good girl, may you live long.
Bakul&valika. Noble sir, the queen inquires if
MtlavikS does not cause great trouble at her lessons.
Ganadasa. Say to the queen that she is very
efficient and clever.
Whatever gesture in the mimetic art is
taught by me to her, that the girl, ae it were,
teaches to me in return by improving upon
tt. (6)
Bakulavalika. ( To herself) she seems to me to
surpass Iravatl. ( Aloud) Your pupil may well be looked
upon as a success, since her teacher is so well satisfied
with her.
Ganadisa. Good girl, as such people are very
difficult to' meet with, I ask from where did the queen
secure this rare person.
Bakulavalika. The queen has a brother of inferior
oaste, Ylrasena by name. He has been placed, by his
majesty in command of a fortress on the frontier of his
kingdom on the banks of the NarmadS. He it was
who, thinking that the girl was fit to receive instruction
in the fine arts, sent her on to his sister as a present.
GanadSsa. ( To himself) Assured by her distinguished
appearanoe I judge that she oomes of a noble family.
( Aloud ) Good girl, I am sure to suooeed (with her). See
 ST^fal grKTO33f ll^ll
ffsrqf%q>T—q;ft qrft qt f&gt i [ *i4 j^Fft
q: fawtr l ]
q tjortW: —s^sftqq q^Tjfiftqqgqfoq qqt ft«t«fett-
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^ —s?rat g# i arigfa ^sft: ww n*3ifo l
(scfa ftwnMt i)

( aa: qfor^sraiftqgqftaRt qpqon ^^NpqjgwHf gait I)

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gqisqgt^qf qtifoasq’ | era qt q fafer qggqifira-
^5 gft£j git i arater urara: ^rqfta-
 JKTOtSf:

The skill of a teacher imparted to a worthy

pupil attains greater excellence, as the water of
a cloud is turned into a pearl in a sea-shell. (6)
Bakulavalika. Noble sir, where is your pupil, now?
Ganadasa. Only a moment ago, after instructing
her in the five-fold ways of acting, I gave her permis¬
sion to retire, and she is now enjoying the sweet gentle
breeze from the window which commands the view of
the lake.
BakulavalikS. Then, noble sir, give me leave to go,
so that I might stimulate her zeal by informing her how
well the noble teacher is satisfied with her.
Ganadasa. Well, then, go and see your friend.
Meanwiiile, now that I have leisure I will go home.
(exeunt both).
End of the Misraviskambhaka.
(Enter king, with hie attendants standing apart and
his minister, holding a letter in his hand, in attendance.)
King. ( Looking at the minister who has read the
letter) VShataka, what does the Vidharbha king think
of doing ?
Minister. His own ruin, your majesty.
King. Well, I would like to hear the dispatch.
Minister. This is what he writes in reply. “ The
revered sire orders me that Prince Madlmvasena, my
uncle’s son, who has promised alliance with yourself
was, while going to you, attacked on the way by my
frontier-guards and put into prison ; and that I should,
out of regard for you, release him alorilg: with his wife
and sister.” But you know very well that kings act in
this way towards their kinsmen of a common extraction.
And therefore it. behoves you to remain neutral in this
r

^ I ftrer I a<p^wq jwftiwt i

aror«rcqfo ww&t: <j^t qfafaasq:, sroaraft*fi^f: i

4li<fa»%4 *ro vrra* i

tfnsT *rre?rctf ?Rfts?jrf^ TOsrrctra: ” iivsii sft i

^T3fT ( ^Ri^t.)—SR qiTafaftwar aft sqaKSFn3W: |

^TfcT«, mfsrifct: af^!3^rfr =a %3?t: i a«nasqq%
^ faaw ^qg^qvfpqag^^nq 3rc>R5fg<i aps^aurm i
3PTTC3:—q^imqqfa ^a: i

frar—■wqt ft *targ. *pact i

^ 3Wr^I:—qjrersgws I 5*T.
aifaflfafegrcrar: ?jf: l
gw sgitu ii < ii

—eta srftrc rRTW'-WH. i ftformi^ra

sgsteaaf IrcTqfa: i

\ 3RTW:—<rar l
( qftr ft^spa: I tfiSRst qqpqm ^Rrairfta: ft*ta: i)
(nftpt) f^q$:—arm^iPc a^qtsr {wm i «itaa
^ qrq 3aw 3T5^l 3rfc«3Tftsqftft*t araftair qqyaa;qmt
iitqfoaatftq i ana%f&i^fti(*fit Mfon«tfti)
anaatsfor aaaaar aar i *fta* fa*aa arayna aar it
matter. As to his sister* she disappeared in the confusion
that ensued at the time of his capture; and I would
make every effort to recover JsfcTr Vow if you desire me
to release Madhavasena, then listen to (my) terms:—
if you release n&f brother-in-law the minister
of Maury a who suffers imprisonment (at your
hands) then would I instantly release Madhava¬
sena from confinement. (7).
King. ( Furiously) Would the fool bargain with
me by exchange of services ? Well, V&hataka, this
king of Vidharbha is my natural enemy and dares to
oppose me. So give orders that our army, already kept
ready under the command 6f Vtrasena, should extirpate
him, now that he stands in the position of an ( open )
enemy.
Minister. As your majesty commands.
King. Well, but how do you think (about H )#
Minister. What your majesty says well aocords
with the teaching of politios; for
an enemy who has just come to the throne
and therefore has not secured the devotion of
his subjects is like a freshly planted tree that
has not struck its roots deep into the soil: both
can with ease be extirpated ( 8).
King. If that is so, may the dictum of the politi¬
cians come true. With this as the cause ( of hostilities)
let our commander-in-ohief get ready to aot.
Minister. As your majesty oommands. ( Exit.)
( The attendants stand round the king, engaged in
their respective work.)
(Entering)
Vidusaka. His Majesty has ordered me: Gau¬
tama, do you devise means to secure me the sight of
Milavika in person, whose likeness was just by chance
«j HiwironiOT
^ ww^i »weftfir i mtft *wrar
isira.1 wwft i ]

narr (ft*?* i*jr)-apwrc: w^^w^trswigq^fr: i

^ R\kh>: (w)—*15 *w i [^f *mH,i]

*rar (Bftrwm.)—f?r arrerai^ i (3<ifte:i)

n^T—WW anja % HfT^g: i

—T^aiftrft 3*3 I [ spNfafa; s*b i ]

*!3TT—I

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(^^)

8I3H3 «f| f^ifcq | *!*: |

* *mr—i
fogTO:—%& fa ^fa«wi% i [to*#! mfai]
(!ra: rftaft *53<ft I )

$ ^ «roi^r fafmfa 13fgferr swta«T | #

g*ifea»n»Ri3t
 seen by me.’ And I, on my part, have done it. So 1
will speak to him. (Walks about).
King. (Seeing Vidusaka) Here comes the minister
who looks to another branch of our affairs.
Vidusaka. (Approaching ) Prosperity attend your
majesty.
King. ( Nodding his head) Sit. here.
( Vidusaka takes a seat.)
King. Well, friend, is your eye of wisdom engaged
in finding out means for the attainment of the desired
object ?
Vidusaka. Rather ask about the success of the
enterprise.
King. What do you mean ?
Vidusaka. ( Whispers in his ear.) It is thus.
King. Good, my friend. You have begun wisely.
Now I feel inspired with hope for the sucoess of this
venture, albeit success in it is so difficult to attain. For
only with the help of some friend can one
attain an object which is beset with obstacles ;
no one, even though he has the use of his eyes,
can see an object in the dark without the help
of light. (9 ).
( Behind the scenes. )
Enough of bragging. In the presence of his
majesty it will be decided as to which of us is inferior
or superior.
King. Friend, here has bloomed a flower on the
tree of your fine intrigue.
Vidusaka. You will see the fruit also.
( Them enter the chamberlain.)
Chamberlain. King, the minister begs to inform
you that your order is carried out. Now these two
gentlemen Haradatta and Gapadisa,
2
w j m&nwmm*

!j*n^nrr^ qrerenforat i
ggfiEgg? qWSWlfol II t» II
fl^T—gtSPI ^ |
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\ gfaq i) ia $at l
(<i*H*ra#R)—artr 5?red usrefttir i ?raift

* ^ * <lfti%s?t * ^idRnr*
arfoggffit ?WTfo 'TT^aiW I
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ffitHMIWW* SltlTO^ I

4ffqrea Jn%nftsftsftj n ^ n
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srft ( I )—ftraftt |
^ SRI—J^wn^ i (ift vi i) aiRft
I [ a4l MR«3lvft<wKwi«Mlvi|5i(i1 i ]•
srai—faflft fci«ft«ft5ra;ft gnq^w4i»qfqwq; i
% TO0W—wrap*. i m ctofftforefaqr ftrftm i
<KM<fa«nfa i ^3 ^*n =q qfortft: i
 both teachers of acting, each eager to gain
victory over the other, desire to see you—as if
they are two dramatic sentiments embodied. (10)
King. Usher them in.
Chamberlain. As the king commands. (Goes out
and then again enters with them.) This way, gentlemen,
this way.
Haradatta. {Looking at the king) How awe-inspiring
the majesty of the king ! For
not that he is not familiar to me, nor is he
not accessible, and yet I am all in a flutter as
I advance towards him ; though the same, he
seems to chango every moment before my eyes,
like the mighty ocean. (11 )
Ganadasa. This is a great luminary masquerading
in human form. Thus
although the door-guards allowed my entranoe
and I am advancing towards him with the atten¬
dant that moves about his throne, yet without
words of prohibition, I feel forbidden by his
Splendour that repels my gaze. (12 )
Chamberlain. Here is his majesty; advance,
gentlemen. . .
Both. (Advancing ) Victory to his majesty.
King. You are welcome, sirs. ( Looking at the
attendant) Bring seats for the honoured gentlemen.
(Both occupy the seats brought by the attendants.)
King. How comes it, that both of you come here
together, at a time when you should be instructing your
pupils ? *
Ganadasa. Listen, your majesty ; I have learnt the
*rt of acting from a noble teacher and I have given
lesson in that art and your majesty and the queen have
favoured me.
*>]

jcri—« anft \ aa: ft* i

^ *F»R[rcn—tfraPHpn ®q%q qqRgqqansm
qroagift gw f9rt^%fr: i
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sr$ft %qig i qq <*q #r f^rq?: snfe: i
f^^St—HRfq qfewnrq | [<w5 ufiRtran i ]

?H*I®KRn—«m: q;?q: i 3Rl^r 3q: *rgq£fa i

*rt—fiisg amg^ i qsjqiaqq ^t q«ft i awm qfe-

ashtRrqqr g%irar: gqejqq wiwt watK: i
?<£f^q$:—gs§ «re *p»nft i [ si qqra.qqft i ]
arrsnff—*»W i
*RT—4lsw, arg n*arq qftqaqhfaqqr ai$-
^ ^wgqat ^ft i
^sqjqft—qqiaiqqft | (qft fa«pq qqftaifaqqr
^ qq sPraq i) ?a ?at i

RVfaft ( f&m )—qarqfc, fqqaqa qoRI«R

af a?Sr q? faqtfa i
[ qqqfit q^qqrcq qtnqwsq q q«r qsqfe i ]
^sfonfo^T—*3 wronraiqqiaqwT i aqfaflqanEr-
qoiqte: i
—ar* fa q«q ae fa qrqrqfca^r % q^Towor aq*qfa i
^o[ qqfaq q»nflr qqqftqqtsw qqrqqgqqtfil | ]
 King. That I know fail well. What of that?
Ganadasa. And yet I was grossly insulted in the
presenoe of prominent oourtiers by Haradatta with the
words: 1 Yon are not the* equal of the dust on my feet.*
Haradatta. King, it was he who started abasing
me saying ‘ Your reverence is to me what a puddle is to
the ooean V So your highness should examine us both
in the theory and practice of the art; for your highness
is the only discerning judge of us both.
Vidusaka. A fair proposal that.
Ganadasa. A capital idea! Let your highness
listen to us attentively.
King. Better wait. The queen may suspeot partiality
in the case. So it would be only just to decide the matter
in her presence and in that of the learned Kaudikl.
Vidusaka. You speak proper.
The teachers. Just as it pleases your highness.
King. Maudgalya, speak to the queen of this matter
and call her along with the learned Kausikl.
Chamberlain. As your majesty commands. ( Goes
out and then enters along with the queen and the
Parivrdjikd). This way, this way, queen.
Queen. ( Looking at the Parivrajikd.) Severed
lady, what do you think of this contest between Hara¬
datta and Ganadasa ?
ParivrajikS. Have no apprehensions regarding the
success of your side. For Ganadasa is not inferior to
his rival.
Queen. Even if that is so, yet the king’s favour
gives him the advantage.
^j jfM(44kinii«fji
qfaniXrw—®rf*t wflwsi^wqFraft <nqfa?wa
*w?ft I q*r
3n%qmrg*r$ jojfir i
ftvnfltyjfaiutxii
fX^ro:—aifasr «^5i 3«tH?i «fl3«»^«r qfe5«£iftw
3*N»§ar Xft i [ a»facr «t%i 3<jft«raT qtenfXsr ^a-
^ g«s?i X$r i ]

*rar—'mr^nfl i *tor
^i«fpi *nfir stfXnFTT qftXwr i
**ft qipwreiftm ii ?v u
<rfoni%f;r ()—foprat X* i
?T5fT—>mfX affifcnsX I
X ifonfirer—

qfftqfl^qiflwfofa »raf u
X^—X5 ersrarrt | [ wwnfcn \ ]
frai—wra X$ I (’Jfonfrwf ft®l« i) *t»hi%
^ fihqarcHEW<rtfrt: | («X i)
smqatfejmoRwqt: <rc*rc(X*i«ra«3f
an?i: i *i*w«n gtfXm>qgignfta«»m*\ i
\ qfonflw (sfera*)—«3gqi3wft t q^r fXwnX-
sfX qft wqflsjr t
 atnftsf: [U
ParivrSjikS. Ah, bethink yourself that you have a
right to the title of1 Queen.* Don’t you see
that if fire attains its extreme refulgence
through the Sun’s favour, the Moon tqo acquires
greatness when favoured by the night. (18)
Vidusaka. Holla, holla, here comes the queen along
with her oonfidant, the learned Kausikl.
King. I see her, who
being deoked with auspicious ornaments, and
accompanied by Kaiisikl in the garb of an
ascetic, looks like the sacred triad embodied,
accompanied by the science of’metaphysics. (14).
Parivrajika. (Advancing) Victory attend your
highness.
King. Revered lady, 1 salute thee.
Parivrajika.
May you be, for hundred years, the husband
of queen DharinI and of the Earth,—the one
who has given birth to a heroic son and is pos¬
sessed of great forgiveness, and the other that
yields abundant crops owing to plenty of show¬
ers and is equally forgiving. ( 16 )
Queen. Victory to my lord !
King. VP elcome, queen. {Looking at the Parivrajika )
Revered lady, please to take a seat.
( All take teats in due order. )
King. Revered lady, there is a dispute between the
noble Haradatta and GanadSsa as to which of them is
superior in point of learning. So the revered lady should
act as their judge.
Parivrajika. ( Smiling ) Enough of your taunts*
When a town is near, would you have a jewel tested in
a village ?
vt]
TOT—*n thm i qfaa*?lftw!l <&g *rcatft i <naqiftar-
^ qaqfai ^ *r i
4Ml4t—^3: i *rawT goftrit a:
qft^gaift i
? ^^T5IT—ft wyidl far*: i
*rft?ltfft*T—^ JwtnsraR ft araqgrera i fern
<w«rcgfaa i
3HTOT—^ ai a*ft i
^ a spafe qstft ft*Kf n&i <ji Si ftaift |
[ qft wt naftftqi* cjt a i» i ]
? ^TO^TCH—*r at WRft^cf: qftaspfcmgj^iftft |
3**i#*ft i ft; 351 ^aiaiefiJrq 1
[ m3 asm 1 ft 5m Icraqft;; 1 ]
^ —ft 1 [ *3 vaffttftsft 1 ]
—ar^ia | aawftroRraftsift irasaflft ^5^%
arfftftft q^r 3^e$r 1 [ *n araa. 1 arsjfsrawftcr^ri?.
fct grow: 1 ]
TOT—*13 ^ate*rf*Fraga4feRft *m?fr 1

qftamft^T—arc ftw: 1
^»TOT—afepfraa: q? ftrcrrct nanaftasqa 1

—fftq aagararfa 1

ftSBT fiWT
*Rf*lfoTOW ft^jq^Tfcl t
 HtnJrsf: [
King. Do not say so. For the revered lady should
not forget that she is the learned Kausiki. We two,
the queen and myself, are not free from bias towards
them.
The teachers. His majesty speaks the truth. The
revered lady being impartial deserves to gauge our
merits and demerits.
King. Well then, why not start the disputation?
Parivrajika. Your majesty, the dramatic art is
pre-eminently a practical art. What use is a mere
verbal disputation ?
King. But what is the view of our queen V
Queen. If you ask me, I do not relish an argument
itself between them.
(ranadasa. The queen should not. consider me as
ono who is likely to suffer defeat from one who is only
my equal in learning.
Vidusaka. Well, then let us see the fight of the
two rams. What is the use of giving them wages for
nothing ?
Queen. You are ever fond of squabbles !
Vidusaka. No, not that. But where can there be
peace until one of two wild elephants that have been
quarrelling, is completely vanquished ?
King. But I believe the revered lady has witnessed
the graceful acting exhibited by them in their own
person.
Parivrajika. Well, what of that ?
King. What more have they to bring forward by
way of proof ?
Parivrajika. That is exactly what'I desire to point
out.
Some exhibit acting very well in their own
person; while others show greater skill in im-
 «]

JR*fM m$ h ftwni
# *fagi<rf*rc*r iw n \\ n
f^5$:—i? narefc* «uiot aiSrffc | <# Ftps^I
3«t&R9®lal faan^tfe | [ ga sra?mpftw?m t
RfSsm^: (Mr ?fa | ]
51^*—*KgBm sf: |
*l»T?ra:—3ft R*?cpj. i
—5RT 30t *F<$fI fifttH 3^ ufoolft 35T
9fT3(^3TO ^tgt <n | [ TO SpifrfHtIT reNfa&t »T}SEJT*ri%
aaratfet <Wt 3 I ]
^rar—3ft ^stw* i
*l"RRr:-R^g<^^5isfq jwraqfa i
(mag.)—aR? ?j(8t | (>nrcre fassfaq spnfcromj)
\ ^3fp5 3f5f3rRB ^rfWJT (TOK? 1^3) | (WRT I) fa?R
foR^arrtr aiR*Hi^r i
[ i «R5nrfgrot<aTf1im satw ^?®n I ftw
? Kf5rc*fo>rciwig. i ]
f^s:—§j§ ctCt wnrft i «i aoiajg gsn’tei'KSro
m^fcgrajnpfcans wimw f% \ §®5lSt»n|pi
\c ftar>t 1
[ g| *ra^t *r>rffr I J?l aiisja gfftaiq^lg TOaqrmaflt?:-
*jfa airca: f% a s^wtftntot 1 ]
R? *TO?Rn—gsrtpftaraf 1 ?i*rawTOwre-
flfcpu

^‘•1.
 sncmtsf: [w
parting (that art) to another ; he who excels
in both these qualities deserves a pre-eminent
place among teachers. ( 16).

Yidusaka. My noble friends have heard the revered

lady. So then, this is the sum ( of what she says): the
decision will be given after judging of your teaching
through its exhibition (in a performance).

Haradatta. That is quite proper to us.

Ganadasa. Queen, so it comes to that.

Queen. But if a dull-witted pupil brings disgrace on

the teaching, will it be accounted as the fault of the
teacher ?
King. Yes, that is how it is, my queen.

Ganadasa. But the acceptance of a bad pupil shows

the dullness of the teacher’s intelligence.

Queen. ( To herself) How now ? (Looking at

Ganadasa, aside) Do not fulfil the desire of my noble
lord which will only inflame his passion. (Aloud)
Desist from'these vain proceedings.

Yidusaka. The queen speaks well. Ho, Ganadasa,

why should you trouble yourself with this disputation
where you will easily suffer defeat, when under the pre¬
text of your musio, you well enjoy the presents of
sweets offered to Saraswatl ?

Gapad&sa. This is exactly what her highness

means. Now listen to this which is proper to say on the
oooasion:—
 ’RJtPW
STCT*f fftR II ?vs It
^#r—arsataftftr ^ ffcar | ar 3raftftfi^a 3«ft-
aW 3JD0IT3{ qaaft |
a [srfrtaftat ^ ft™ 1 aaqftftfareftq&RaFaFa ir&rj. l]
itorr:—ara qa ftfca: 1
^—?far ft ft aara^ft aa^a ^as 1

a [ <ta ft siafo aaafar arts a&iaa 1 ]

'Tft3lf*ni5T—-\ft %a=^i*aa 1 ai?ai!'^a;rf%^r
ftftaRjaaft dara 1
«. ^aV—( anam«m I) g% ft; a apaft ft gft ftar
a^ftt 1 (aft araa TOa^t 1 )
[ gft ft ai art# gmfta **tfa 1J
?^ ; aar ^ff qftarftqal a&jft l)
Tforrfa^T— (ftstaa 1)

fo*nwa: »mf3# *nn% 1

sra^^sft f| a^5 5ft»Rtan $ffapr: 11 Uw
f^t$:—ft attaaftt q^a araftt qaftv aftar?«ft ftr 1
(Jmata ftslaa 1) ftfprr ^asar^ aftarfr aa 1
a gfaftsd ft a*ft sa^a^aft or fftaftt £rft 1
[ ag sfircai^a atwa: a# *ftr?pa aft 1 ftgai #qsqifta
^sar qftarat aara. 1 gftftralsft a4 sqfrrc^ft a ftgat
a aaft 1 ]
 SWTtSf:

a man who shrinks from contest on the ground

that his position is secure, and (calmly ) suffers
insults by others, whose learning only serves as
a means of livelihood, is called a mere huckster
that traffics in knowledge. (17)

Queen. Your pupil has but lately been put under

your charge. It would, therefore, be unjust to exhibit
knowledge which is not yet well assimilated.
Ganadasa. That is why I insist.
Queen. Well then, show your skill to the learned
XausikI alone.

Parivrajika. That is hardly fair, your highness.

Even an omniscient judge may deliver a wrong judg¬
ment if he delivers it alone.

Queen. ( To herself) You simpleton, how do you

take me to be asleep when I am wide awake ? ( Turns
away in a pet )
(The king draws the attention of the Parivrajika to
the queen.)
Parivrajika. (Looking) How without cause do
you, O moon-faoed lady, turn yourself away
from the king ? For although wives may have
power over their husbands, yet they require
some cause before they fall out with them. (18).

Vidusaka. Why, the cause is plain: she wants to

uphold her side. ( Looking at Ganadasa.) Fortunately
for you, you have been saved by her majesty, under
this pretence of resentment. For although one is very
learned, yet one may not possess skill in imparting
knowledge.
\o]

ipiRTCn—^ft sprang i swt wft l afotff

f%wr^ f^*rr«f^iPaJiR*R: I
*rf ^ng5TRTi% iffarafts^wnE wn ii^ii
( 3JTCRT5<%Bfir I )
i) 5R[ nf i (ireraaj) q^qft anar-
Rrwatoiw |
q [ m qfci: i sw^rarS: fawrasreq i ]
*WRrcr;-ftiwft: 3tft;aisrc» |( ^raw^qatoq) atgfta
^«n i aajsiqqg \q: i qrf^ajfS^qq^jq^ ^fa-
^ «nft i
*F5TT—qatlftqrft wq?ft |
*lftmf*ra;r—ftroft ^qi naft qSer | ?r=-3%aift»? i
^ —a<q ftfSS | OT q^ft^g 3RTafr qi^fH I
[ 33 Rrasqq. I 513 fprfa'qtwnw. <?fta:Rq | ]
TT5U—33 %ft |fc |
\R ^5fr —33rqft fl'q SHOT | [ nirqft untqrttq I J
qftsfffo^T—^q^q ar%3 I'qqtag^ftr i a%-
qii^gsrqgqqt: qqrn q?qrq: | arqctr triqa qqmqat-
?<\ ?q^TFcT^ |
gift—a^ftiqqft wqcft i
f^qsR: —rr<q ft §> ft q*m faGisrcq efft^amr q^ar
lc airr^f ^ ^«3pg I arcar ftajffaift qsq ojr asra*-
wft i
£%q ft"srqfa q«ff ifearal sifrawqf.fRiqviqaf $<t Sqqanu
arqqr qq 3 giqiqftcqft 1 ]
 gtwlsgi [M
GanadSsa. Please to hear me, queen. This is how
people will think. So now,
if you will not permit me, although I am will¬
ing to show my skill in teaching in this contest,
I would understand that, you have deserted me. (19)

( Rises from his seat. )

Queen. ( 2’o herself ) What help ! ( Aloud } The
^eacher has every authority over his pupil.

Ganadasa. I was filled with vain apprehensions so

long. ( Looking at the king ) So the queen cousents.
Let the king give orders: in what particular piece of
acting should I show my skill ?
King. As the revered lady commands.
Parivrajika. There is something on the queen’s
mind. So I am a bit doubtful.
Queen. You may speak without fear. 1 shall cer¬
tainly have power over my servants.
King. Say also over mine too.
Queen. Revered lady, speak then.

Parivrajika. The chalita which depends upon four

verse-quadrants is accounted to be difficult to act. Let
us, therefore,witness the performance of both, by one and
the same piece of acting. That will show clearly the
difference in the teaching of both the gentlemen.
Both. As the revered lady commands.

Vidusaka. Well then, let both the parties arrange

all the accessories of music in the theatre and send a
messenger to his highness. Or rather the sound of the
drum will be a signal for us to rise.
^ —arai i (i) (>fri# $#f fWreafa i)

—"11 f^aiqwfaoft ai^sRH I ftarf eHi I

[ a *3§ fitsrast?iP^»npn4CT i faspft *ra i ]
(sjfcrat l )

^ ifollftaT—faen«t^i<Sf i
g'Tffr—( 3T: |
^vs —■ft'frnftoft stfrfa i ^fctftanfJr-
sJRRif fowstqwiq'l: qmqt: ET%?liSfg |
arrercr—| (ffit Pi^t^r i)
30 atff (<taRq*i«to 1)—a? f3 fR^fr sai-
aif&iaoKr 3r»i3Ttw aep #goi s3 1
[ aft nsRRi^fie^Rftgqai^sa^ <na stIvr 1 ]

33 *RH—
mv*w\ ^f?r
ST TJ5 SHT%ft vn JTSrRfiin?* 1
ffFT: TPnsrfan:
TOrorofThrun: 11 R® 11
( 3t*% I s3 ^4 ^frT 1 )
<rifalf*tfRT—5*<T 5Tfrt eSffaW*. | <wr SNT

f^^f7ftW«TTORN«rT
unftn iRtflr 11 11
CTCT—^ emrf^r *wr:
 smJTtsy; [^
*

Haradatta. Let it be. ( Rises. Canadasd looks at

the queen.)

Queen. I am indeed not against your gaining

victory. May you be victorious.

( Both start
\
to learn.)

Parivrajika. Here, please, professors.

Both. (turning round ) Here we are.

Parivrajika. I speak in the capacity of a judge.

Let the actors enter in thin stage-costumes in order
to exhibit the graces of all their limbs.

Teachers. That need not bo told us. (Exeunt both.)

Queen. (Looking to the king) If my noblo lord
shows the same command of means in political affairs,
it would bo to much advantage.
King. Do not misjudge me; this is not my
doing, proud lady. Generally persons of equal
learning are envious of ono another’s fame (20).
( The sound of drum is heard from behind the
scenes; all listen.)
Parivrajika. Why, they have already started music!
For this
sound of the drum, dear to the peacocks and
answered by them with upstretchcd neck as
they suspect it to bo the rumble of clouds, deep¬
ly resonating, and set to the middle note, de¬
lights the mind ( 21). *
King. My queen, let us join the audience.
8
W]
A
)—aitr atl^r |
^ [ aid «ifcra anrtjpreq i ] ( «^ )
f^T«:( **«n$ i)—to $\i *1*0 i an aa$i$
mfaft i P

* [ *it «PR*f >9r jthj i jit ?ra*re5r <*rMt feqqrcftmfa | ]

<n«if—
^ ^-»S-
?***ifa *rt 5T^mrm>s^ i
3PRFRTJ
li ii
[ Tfir ftwBRiis aS l ]

?f<r swfc$: l
 swtfrsf: [ y*
Queen. ( To herself) O this indecorum of my lord!
( AU rise.)
Vidusaka. (Aside) Keep calm, my friend, lest
the queen Dhariol should countermand (the whole
proceeding).
King,
The sound of the drum makes me impatient
in spite of my efforts to keep oalm, as though it
is the voice of my own desire that is treading
down the path of fulfilment. (22)

Exeunt Omnes.

End of Act One.

 (qq: lOTrpmRCT: sq*reqt oti
qfcnft qfoifaqq fa*RRTar qfcm: l)
3 ?T3tt—wrier am^q^RRi^qt: qjcrw sra^q^i
i
^ftsrrfir^T—*5 w%sfq fiqqtqra w^is^i^ra:
$ awsuwift I
TJ*{\—cffi fl qWq qqqqqqriiriqsr ®s
$$\
—q^iriqqi% \n: \ ( ft«RFcn)
^ ( qfaR ) Y[Qf^ra:—^ qifqgRH: ^cjsqqjl
cRqi'^g^q^ sratoww. ^gq^fri \m [
TI^TT—91™^ qfqWT^qfl^isRq l ( ft«PRit »RI^WS I)
{\ l\m-( WFd^q.) cR*q

5w^R*rararaf^!>«a?ti ?ren: i
&9&r4tarar ii?ii
—(srrera i) «i ggft? oi3ioini i g(&ni??3j-
fq^3f a? i ay 3jcqq€r siftfi *?q i
3 [ sqfrqa qqqqg i qfafecwfa^ =q i assurer ssrf!
sr^gRTT wq, i ]
( cm: aiq^Tcqrqrqq^q^q^T’iiT^lgqT urefon )
^ T^TTO: ( wi^pq.) m \ q ^
qftstofs qf^T I [ §mi qqm i q m*\w\: afci'S^i^
qfaftqf* q^ar i ]
 ACT II.

( Then, after orchestral arrangements are got ready, enter

seated the king with his friend, Dharinit Parivrajikd,
and attendants according to their rank. J
King. Revered Madam, of which of the two vener¬
able teachers shall we first witness (the skill in) teaching?
Parivrajika. Although they are equally old in
learning, yet Ganadasa deserves precedence on account
of his being the elder.
King. Well then, Maudgalya, do communicate this
to the gentlemen and then go about your business.
Chamberlain. As the king commands. ( Exit )
( Entering)
Ganadasa. King, there is Sarmisth&’s composition
of four parts and sung in medium time; it behoves the
king to listen to the performance of one-fourth of it
very attentively.
King. Well, professor, I am respectfully attentive.
.( Exit Ganadasa.)
King. ( Aside ) friend,
mine eyes, eager to behold her who is now in
the tiring-room, are as it were proceeding to
remove the curtain owing to their impatience. (1)
Vidusaka. ( Aside ) Friend, the honey of your eyes
is come, but the wasp is close by; so be vigilant
and watch.
( Enter Malavika with the teacher contem¬
plating the grace of her limbs ).
Vidusaka. Behold, Sir. I am sure her charms do
not fall short of the picture.
^ HIT ( senftwO —WW

fiBPrcmrprert $rFafryfi<^i% Jr i
SWrfcT f$ff*R*RTfa *T?% yr?Htfef^dl U R II
nursw—^ gttwr^gr e^wr w t
tRT ( «TR»TOm) — ai£r aIwwrww *5^ i

sf^aro ftfafowwai^ «n$ spit *f i

w«r: <nfrtflrcrt firafi* ^r m$wi<ai$|»<-n
w^t if^fag^rf *hi% fist ^tt^tt: *3: H3li
in^^T—(^g«K *m uraft)

ftart <rfis f^nr fircre

an^fr aprjfaft % f$ fa WR^Tt l
«Wt # farcfat* *i
oilf if *Rlfm g* ifor* Hfa*t II « ll
(*fii q«m«wfiwfo i)

[ IStaclfa^ W 53?T fa^RR.

^ «i£r errrjf^l J| srcs^fa fawfa qws: i

qq g fires-. wrejffiaaJr
gm m qgtfgf aft nopi w°iw. ll ]
^fa\q$i (qqrfcwg)—gt g*wg ^q^gar <gntf-
q?$sr g? gqftsrat fisr ar*n ggttfrq i [
^a»Ki<a» srilisq wi»gqfeH trow aqwu i]
 King. ( Aside ) Friend,
when I beheld her picture, X thought she
would belie the loyeliness of it; but now I
think that the painter who limned her like¬
ness had not secured full concentration. (2).

GanadSsa. Child, give up fear and be composed.

King. (To himself) How flawless in every part is
her form !
Her long eyes ; her face lovely like the moon
of autumn; the arms sloping at the shoulders ;
her compact bosom with the plump and swelling
breasts *, her sides as if polished ; her waist
measurable by the palm of the hand ; her hips
expansive; her feet with their ourved toes; her
whole body thus seems framed to suit the fancy
of her teacher of dancing. (3 ).

Malavika. ( After a preliminary trying of the notes

she sings the musical piece of four lines. )

The dear one is far above thee ; my heart,

despair. Ah, how the comer of my left eye throbs
somewhat ! How should he, seen after a long
time, be approached ? My lord, helpless that I
am, know me to be filled with passion for
you. (4)

(She expresses the emotion through acting.)

Vidus aka. (Aside) Ah, my friend, taking occasion

of this musical piece of four parts, she seems to have
given herself over to you.
a® ] uraftarfinfft
(3Rrf5{t*q.)—3R*n

sraffrwajrfc

JiwTRrJT^r ’^TTHtaffcrcw-
ssffa gnRsrwns^iRriTB: ll H ll
(»n®faw iSrsfifajifa^sfir I)

—4ifa fafs | f% f% fagqft^ qjifast I <t

\ 3H | [ *raft fire i ftrofa at fa?»ja: arc$?; i
a araamtPr i ]

ipiRfrcr:—a<% i ^qfcafagsr l
(wisfNtf ffcrar i)
v9 ^nn (arwran:)—at£r gatercwig =ar^T ^tnrt
q«Ti% i ?rar f| i
fl4 ffpqfaft'l'ftw *R*T 5# Ora^t
^rr twrortoH^r winfc fcfrn* I
^ifggr^f^rfgtr ff|^ qrfiran?
5JtTRW: ft^TcRRRRi «IRr%«RITOP$3 ll^ll
^^ »il5a^3?or fa arat fa3^ awfa | [ ag "W-
a^Rfl'araf 5^ aRffa ]

^ «I»RRU—^fa w tog. 13[WOTi^Fit5«fa qsfRsfiftm

4a<Ra 1 q^r 1
 King. (Aside) friend,such the state of onr hearts. For
“ Know me to be devoted to you, my lord
as she accompanied these words of the song
with gestures in which she pointed to the dif¬
ferent parts of her body, she seemed to address
me under cover of the graceful plaint, as she
could see no other way of showing her love for
me owing to Dharini’s presence. (5)
(Mulavika makes as if she would leave at the end of
the song,)
Vidusaka. Wait, lady. You seem to have forgotten
somewhat the proper sequence. I will, therefore, ask
about it.
Gapadasa. Stay, child. You will leave, when your
performance will have been declared to be flawless.
( Malavika turns round and stays.)
King. ( To himself) How loveliness gains fresh
charms under all conditions! For
the left hand with its bracelet resting on the
wrist, placed upon her hip, and the right hand
hanging loosely down like a branch of the
Sy ama creeper; the eyes cast on the pavement
where the flowers are pressed by the toes of her
feet—this her posture, with the upper part of the
body stretched upright, is far more attractive
than her dancing ( posture ). ( 6 )
Queen. Now, sir, would you mind the words even
ui Gautama ?
Ganadasa. Not so, queen. Owing to the confi¬
dence which the king reposes in him, it is possible to
expect acute perception in him. See
 <R3*fcr TO II «tt
(f%^K Wtai) jgg$t faaf^rewnfci i
(»r>rsre fttstaa i)—gfra# <pa I q*a?
^ ^ awij$r ^3$ a affiw i [ awRj'a r
<wrat >131 ®ftSRt: 3 afliTOTft I ]

*PH^RTJ—*mfo, aaiSBaftsffaai 3*31 *f *T l>

* «ift*nfa$T—«m?fa g&aaa^ i fa: i

sj^a: stow
'TT^amt 94H^4MU«4|<lt4 #3 I

WTWt *TFf 3^T% S W l| * !5

qui^iq;—^a: aw aw?* |
W3T—»wrcre, <aa% Rifawftatat aa #jrtr: i
\ *FRTO—sw a^foarfta i

aa^r t%^: *Rr«ra«i^R: I

a 3^tt§ m aaaro'innfirs ii a. it
—ftftan aftaaiamJiaioi arffcaf aaa* aj^t I
[ ftjgar 'rftaaraa^aiftpE a4a sn4: I ]
 even a dull person becomes sharp of intelli¬
gence by association with the wise, as turbid
water attains transparency by oontact with the
mud-removing fruit. (7 )
( Looking at the Vidusaka) We should like to heai
what the gentleman wants to say.
Vidusaka. (Looking at Ganadasa) Ask the judge
in the first place. Afterwards will I speak of the viola¬
tion of sequence which I have observed.
Ganadasa. Revered lady, speak out whatever you
observed, whether merits or defects.
ParivrSjika. Everything was blameless and in
accordance with the rules of the art.
The meaning was well suggested by her limbs
that were eloquently expressive ; the movement
of the feet was in perfect time, and she was
perfectly absorbed in the (various) sentiments ;
the acting was delicate—of which the instru¬
ment of expression was the branch-like hand ;
and while in the successive exhibition of its
various shades one fleeting emotion seemed to
drive away another from the field, yet the
main sentiment ( of love ) remained the same
throughout. (8 ) s
Ganadasa. What does his majesty think ?
King. I no longer hold the same high regard for
my protege.
Ganadasa. Now (I feel) I am in truth a professor
of dancing.
Wise men consider .that the instruction given
by a teacher is pure when the same is found to
be without any fault by such as you, as they
consider gold to be pure when it does not get
blackened in fire. ( 9)
Queen. I congratulate yoi^, sir, on being so fortu¬
nate as to satisfy your judges.
 mswRri trots

^ *Ion?ra:—^ ifi&g: i (ft??* fastoq i)

nfaq, qiferff q% qq% q^et |
gsq s*&m qan i
^ gr &r ft fftjqfer | [ swft'ftsrajfo q*m arawpi qjtr
q^qr i ai qg ft fftgqr i ]

qftqTlftqtf—af?t stqlniwFcR: srci: |

-31? ft 3P7T | qft3J<305ft ft
aremi gq ft qrmnfa | qgoaiq^q^rftftft wndft
qsr°i *fti%3H^ | [ «iPr iPsaqft, i *f< ,q>qr>q-
\^ ?i ft 5inift i qqqq^mqna& fowifoaM.
ftqqq i ]
(aiftai; i waft^r =q q«cfera qftft i)
?nir C anww*0—sqrerarcsjgqr *qftw. i q^r
^iRinwTw^n:
pr* i
arcnnrcwFPisre-
31^ ^ II \° II

iroRfRTJ—qcistrerq, q ^qarcHficreiRftq. | epqqr

qft enq^ftq q[ft*l«t;q: |
^ fr^qs:—qq <qtq gsqrcqqi ftar gq<sra<qni§5ft «^-
Rf% srsqM | [ *rt qm 5*srqra%s|q g«q>qqq-
araqRfaeq. I ]
^ qfom%$T— 1
 Ganadasa. The queen’s favour, too, is responsible
for my good fortune. ( Looking at the Vidusaka ) Now,
Gautama, say what you have in your mind.

Vidusaka. The first time that skill is exhibited a

Br£hmana must be honoured ; and that, you have for¬
gotten to do.

Parivrajika. Ha ! Ha ! What a vital point in aoting!

Vidusaka. What else, you conceited woman! What,

indeed, do you know, when you are not able to break
even balls of sweets ? You merely frighten these people
here by your abundant hair that are white like the clear
rays of the moon.

( They all laugh; Mulavika too gently smiles. )

King. (To himself) my eye has perceived the most

beautiful of the objects of sight. For

it has beheld the smiling face of the long-eyed

one, lovely with the teeth but half visible, like
an opening lotus with its filaments partially
seen. (10)

Ganadasa. Great Brahamana, this is not a musical

piece in regular stage-costume. How, otherwise, could
we have failed to do you honour who deserve to be
honoured ?

Vidusaka. I, indeed, like the simple Cataka had

asked for a drink of water when the dky was filled with
the rumble of a rainless cloud.

Parivrajika. Yes, even so.

a*3 iTOwnFifunw
—qaraft, qfossqftde'qarqr or wit an# i
si? qarq?ftq 3i*oi ?q Ir qrfcrtfaaf qq^afa i
<?, (qfir qqt wwwiA i) [ qqqfii, qPBqqfinlqsRqqr
5J3 ^st sqfir: I qfit qqqrqr 5fr«r=r qfini <ra *<«<$
arfchfai qqagift i ]

X —f%f (^5 i gapcri aranarot fq>fo gq ansqir

^ I [ Rib fire i g»iw<qi*HPM>ftfii renraw q?of% i ]
—«r&*aj % q^ar i [ 'rcafaftfir i^t i ]

( arrqtf Riwl+q ]—api wnsra, oj

%WT | [arri 4|»KI«, 5J3 qfSata^iT q: fawn I ]
«l<il4IH :-q*& jrfite^rqtq. i(«nHf^«5rqftq firearm)

X $: ( ^tstr foslqq i qqifancq. i)—^i%ait >» qfc-

f^r qq^s Kfirjq. I [qaiqnft nfirfanat nqH fcfqgq.il
?RT (*qrf*n»q i)—araq® qrN&n i aw ft

wroaiw q^RqqmRf^ i
srcftaHftq ^qiferc^'jpj; iiUii
ft^qas:—qif gn angft ftar a^q gaPi«qqq
arte? I [ «rg re qfat ang* *q ItRTnftqwR-
^qhwftagfir | ]
(qfo^r i) 5??rr:—^q q^qftqpfigq^qiqq^Rftg
ftqqf toi?: i
^TRI (qmnraq.i)—arafoat fc q&n»i: I (refarenq-
»*«q i torr.1 ) st^g, qg q$g*r apr qqq. I
 fw
Vidus aka. Severed lady, those who are ignorant
have to depend upon the satisfaction of the learned. If
you commend her, here would I give her a present. ( So
saying, he draws off a bracelet from the king’s hand.)
Queen. Hold, hold. How could you bestow the
ornament before you have known a different kind of
merit ?
Vidusaka. Because it belongs to another.
Queen. (Looking at the professor) Noble GanadSsa,
your pupil has indeed exhibited her proficiency.
Ganadasa. Child, you may leave now. ( Malavikd
departs with her teacher,)
Vidusaka. ( Looking at the king, aside ) Thus far
only can my ingenuity help you.
King. Have done with setting a limit to your
power. For now
I regard her disappearance to be like the
obscuration of the prosperity of mine eyes, or
like the end of the great festivity of my heart,
or like the closing of the portals of my joy. (11)
Vidusaka. Ah, well! Like a poor patient you
desire the physician to procure you medicine.

( Entering)

Haradatta. King please now favour me by witness¬

ing the exhibition of my skill in teaching.
King. ( To himself) The object of my vision has
vanished; (Courteously, aloud) friend Haradatta, indeed,
we are so eager !
«<]

5^:—agaCiatsfa |
^ ftsraaf ^t: I aqrsci a«n?: i aarlfc i
^-3Rig tm ifi^r^T ^i%in%3ffaf
f^^qiPqmti! qforafa ftnsft
fllf#: ^qjjStefa^ IIIRII
<%^WJ—stftfT srftcr I SPC°R9 aiaoftar gpit I
ara£l$r ft | ar^aiftsft ftiftffgan da 3^T5*i% I
fti^iftrwnfa i [ aftsi ^w?t i maro
qwi ^fTir i arwratsfq i sftiga*-
*ftr l i^t, foifo^Fff aaft l ]
5,5*5[tk—aifer *i as5Frwi«R*irasj;reits5 i
*T5rr (wwwfcn i)—aa ft si^fagT^ *h a4
^qtn: i ft«r«ig *rap*. i
^5^:—asramft 3a: I (5ft Proat: i)
^ff-|0I5^%5 3f33T5at »153I0lftft | [Pft&Rai4sft
jrearcftfag I ]
?3l3p£TC>:—Sift, ft^ta vffapjj g^tftg l [*raft,
ftsfta tfrift |]
qfoiiftHCT (3«ra i)—wfei asft i
(5ft sqfaaar ^qj a? ft^spat)
fq^r%:—at <s 3w@ faft ft ars^ftr aisftair t
[ 4t: a %a*i ftr^s'qfttffar areftar I ]
 Haradatta. I feel favoured.
( Behind the scenes )
A bard.
Viotory to our king! It is mid-day. Thus
the swans with closed eyes nestle under the
shadows of the leaves of the lotus-plants in the
ponds; while the pigeons hate to be on the
terrace-tops on aocount of the blazing heat; the
peaoook dashes to the revolving water-wheel
desiring to liok up the splashing drops; and the
sun too, endowed with all his rays, as ydu with
kingly virtues, is shining brilliantly. (12)

Vidus aka. 0 confound it! It is time for this

Brahmana to feed himself, so likewise for your majesty;
and the physicians warn us that it is a grave mistake
to transgress the proper time. How do you think,
Haradatta?
Haradatta. There is no occasion for words other
than these from me.
King. ( Looking at Haradatta) Well, then, we
shall witness your instruction to-morrow. Best you.
Haradatta. As the king commands. ( Exit)
Queen. Let my noble Lord finish his bath.
Vidusaka. You will be particularly quick in get¬
ting the meal ready.
ParivrSjika. ( Rising) Blessings on you.
(Leaves along with the queen and attendants.)
Vidusaka. Sir, not in loveliness alone, but also in
the art is she peerless.
4
 ]
UTPn—
gf f^TRR srf§3R 4V434I I

tftafcRfr f^nrr *mi «pwpt ftqfaw:iiun

ft *5^T, f^TpldsqtsRn 3 |
i^*:—fa ait I faj ^ fa^faRi^ faar sar-
| [ *i*M|ujtHj ts »ag fW>ra^fta^Twi-
55R I ]
TT3TT—*w*. c^nq, |
i ft: 5 frgra^lggalgr f%ar
'm^Rgon cra£i£r .wsfaarr i *re fa gofaftatfr f>re?r
faaf anftg^afr *ft?^r ar | m arni^t *rfaar qsart^c
^qc«ppat t» ^ I [ jtfaearotsfai I f% g Jwa^sfsat-
wftJRski cnrtra^t wiaftaiT i *iaisift gjjW*a^
w ^ anPra^tg^r i <rcwT^ng^ jjj^i
\ ^Jn*fa*irct i ]
TT5TT—wmigd flfa®nfa i qgj

Jifir Oiisii^^i i
m ^n»?fhRT *T ii ?«ti
(sfa Pron^: ^ i)

fetfWtsf: i
 faAfci>
Kins:. Friend,
the creator now by uniting this knowledge
of the fine arts to her artless charms has surely
devised a shaft of love smeared with poison. (13)
*What more! You have ever to be solicitous about me.
Vidusaka. You too about me. For the inside of me
is grilling like the frying pan in the market-place.
King. Even so, do you be quick to accomplish your
friend’s desire.
Vidusaka. 1 undertake the venture. But like moon¬
light veiled by clouds the sight of the lady Malavika
is dependent upon another ; while you, like the vulture
wheeling over the slaughter-house, desire the flesh yet
fear to venture. I shall, therefore, much appreciate your
exercising patience while you seek success in this venture.
King. Friend, how can 1 curb my impatience when
that sweet-eyed beauty has become the one
centre of the affection of my heart which has
withdrawn its interest from all the ladies of my
liarem ? (14 ).
( Exeunt Omnes,)

Here ends Che Second Act.

 («ra: nftstfa qftarfSwrer: qftarfao i)
—anoraf*^ *i3wfa i g^rrainitq sftsp^ar
Vtf^ar 3tT3rn$8r i ?n ana qn?5tojqif^3f uproar
ajo&rerfil I (sra£m =q |) <*gr crqdfrarratar
affatapcft faf? | an* or gsrg^ I [ arramfar mwwi i
^‘3>TFRT^ ^31^ tfir 1 <KJH< sm^ROlfeorf
l ojtr rH^frrrot^o^rto^t firefit i

(<ra: «R4icJj<4iHml>»*T i )
9R^f%^r ( 3>w l)—q§aiRq arfl gft ^ ganqscti-
sn^t i [ afa §^r 3wnm: i ]
? —3f*^t q*§£arr i er«r? \ i [awt
q^Hicrat i afa ^r*ra ?t i ]
q^g=RT—c®t flarq^r an<n^ ejft?iqi!oron ap?iR*r-
\ ^at^ior a^rti^ i ?n sfiarpqcr g^gRr^
?«@piR% i [s*q, *wq<qramict ‘«iftTPnn>i^re«is4M%^
awrcft &r scg^n i afrsnjj^ir gsjfojfSRgrfir’ ?flt | ]
K q~r sftappar ^qaroojr-
oorgf R£fcl°i onrarRanot 3^ ^{^3T #i^T *rarq<^
qgRr^t | [^3 «f»iffcti»q I q>*ro aio^sJrsr-
^ $ s^aqlqlsn^iqqrtq^r- esqr airRt *nrapn iRifeci: I ]
ft ft® w»ftm q^jarf&rsoir ar 1l%£
Rr^argoila^or gooifq^r qurcrar i [ srafa
^sjqq'rqftS'jft =q i g fliwngoift^or ggpmt quRjm; i]
 ACT III.

( Enter the maidservant of the Parivrajika ).

Maid-servant. I have been ordered by the reverend

lady to fetch for her a fruit of the citron for offering as
a present. I will, therefore, find out Madhukarika, the
keeper of the Pramadavana garden. ( Mooing about and
looking). Here she is, looking at the gold Asoka tree;
so I will go to her.

{ Enter the keeper of the Garden. )

Parabhrtika. : ( Approaching ) Madhukarika, I hope

you find your work in the garden quite pleasant.

Madhukarika. Ah ! Friend Parabhrtika, you are

welcome.

Parabhrtika. Friend, the reverend lady says:—

people like us ought not to approaoh the queen with
empty hands. I, therefore, desire to make her the
gift of a citron and wait upon her.

Madhukarika. Oh, here is a citron quite at hand.

But tell me which of the two professors of dancing that
had quarrelled was praised by the reverend lady after
she had witnessed their skill in teaching ?

Parabhrtika. Both are, indeed, known to be very

learned and skilful teachers. But Ganadasa was adjudg¬
ed the superior of the two, owing to the excellent merits
of his pupil.
 —at* areftaiPTf *kMot *K5 §oft«ft |
[ aPI fll<*fa%Hlij ft* ^ I ]
^'»,R’|f<reT—*fear i sifter *m afita i
aiftoft^ £rer faaFat araort qpmi or i maftan
ft ftaftg ar^gar ftar are^tam ftaraaion
^osft^arf^ | ar% at*a «not i ftg^rfaa i [asag.aig
mfasrit aa? trcata. I %aa Mr atfaatfaa «raaaat
ag«a a i f^N3^jig#.q «i<4<n*U4>i
^ V^anaar I ara: ai a aft i ftWa ata.i ]
^ wsraaftr *t3r^3r M i [ «gren*i-
aafk sflarjj^ Ji^pir i ]
^'TPjfiteT ( ai^w s*Rat)—sat ga ft a* assart
aigarai^qpR sk« qift^r &ft i [ far arafa *a: <rc
faaa* mgaassjatai: <*a aim aa i ]
fs (ffa aftarn i)
q^rffor—eft: aa <?a a*s*5 i er? ft fate ftrorar-
aioifggmaw aa^iaratarea ftoor-
» ^%f*l | [ eftr aaira nama: l aifmata faaaaroi§ga)sa?a
<w»flai«U*q alfaftftra ^ ftamtfa i ]
fsrfl aiftantt ^ gfi [g5*ft!3rft*R:
y<\ ai§ aa i ] (fft ft«nH> i)
TOP* I
( aa: aftarft a»waanwfl flat ftjaq;« i )
ycfrar (awH ft«t<w)—
srfrc wrir w?^rfir sfaraifefsrpl
m*fa a m wra *flr i
 SdWtef- [ v*
Madhukarika. Well, but what is this scandal
about MalavikS ?

Parabhrtika. The king has conceived a strong

passion for her. Only out of regard for the feelings of
queen Dharinl, he does not exercise his power. M&lavikS,
too, during all these days has grown pale like a jasmine
garland worn and cast away. Beyond this I know
.nothing. Well, allow me to go.

Madhukarika. Take the citron that hangs on

yonder bough.
Parabhrtika. (Acting as if she picks up the citron)
Ah, may you get a far more glorious fruit than this for
your readines&Jbo serve the saintly lady.

( Starts to go.)
Madhukarika. Friend, we will go together. For I
want to request the queen regarding the longing of this
gold Asoka tree which is delaying to burst into
blossom.
ParabhrtikS. Quite right. Indeed, it is your duty.

(Exeunt both.)

Here ends the introductory scene.

( Enter the king in a love-lorn state y and the Vidusaka.)

King. ( Looking at himself)

The body may get emaciate in the absence of

the pleasure of the beloved's embrace, and the
eyes tearful, as they do not get even a moment's
 ott orcwnpn 3 «^MI
fawfo qffcmr mfa 11 ? H
—aja 3351 VK? 31% sr qfi&ft8to \ fcfi
*U aTftr^tq qrafonq ftaH^t Hagiafeaq | goiifiqi
^af qq 3f qq^I H^Sg I [ on* 33<il «ffcll3f)«MI 3ft^-
f%to? i m q*ti 3333311 qrqft3T3T: ftomqft 3$3i3ft3>T I
qrftoiT =3 wqr 3^331 qfcgq. i]
^TTSff—aa: fogtraar i
f£rcq$:—qjit 1aijjqCigf2? fft°ir fri^oi |
ft; 5 hi 33^30(1 ^flq aiflarct iftgawion HiaRfi^r^
^3r faigr or gs hrihi^^i 3i%nfc i 3f ft qs^n ft i
[ tom qshq. i ‘ qgqCiqrftn sftq Praftq I ft a
ai arfepft ^sqr qfaqaf wn 3mi%3 K3 ftftof
? ^S<s 3qi3iqrtoian qft'qra t 3«iri*t 3«ft«nft ’ qfa i ]
^T3fT—3333. Hfq^qqft, afN^qq^ft ftq*t*3ffift%q
3Hi qftf% qqr 33tsq qqsiHTOjft 3 qqft i (qftnft)
* *3U f^*T!WTPnft q> =3 % I
m <fa?ira* «T5«r% *F«TO 133% ^TIRII
—of wft 3% Hlfftl*! 3!% ft£i qq
H3I3ft33%3r | HI q533?3T3£ qq 3Rim | [ qg HHlfa
qqftqq nrasfft qft $at «%iftw%q: i a*mfcK*ima
331313333. |]
—3ftq ft3HHq#l38qFmftg%3%3HT«R 3 g$
^qiqqift i
—of qq 3PH gqq 3H^KIHJ3I3n? *HIHt-
331301 jffoaf tqqqyr^yqiq^jui ^|3^q
 [h®
glimpse of her; but, my heart, never art thou
severed from that fawn-eyed one: how then
dost thou suffer agony even when thou gettest
the highest , bliss ? (1)

Vidus aka. Do not give up fortitude and lament. I

have seen Bakulavalika, the dear friend of the lady
Malavika. I have also conveyed to her your message.

King. What was her reply to that ?

Vidusaka. * Bequest the king: I feel favoured by

this command. But the poor girl is being more care¬
fully guarded by the queen like a treasure by a cobra,
and, therefore, will not be obtained with ease. Still I
will do my best/
King. Oh revered God of love, although you impel
me to long for an inaccessible object, yet you smite me
so sorely that I am not able to brook any delay. ( Won-
deringly)
What great disparity is there between
this heart-wrenching ache, and your weapon
seemingly so harmless ! What is described as
both soft and piercing hard—that indeed is see in
you, O love. (2 )

Vidusaka. Well, I say, I have devised means for

the (attainment.) of the object desired. Do you,therefore,
oompose yourself.
iting. Where shall I pass the rest of the day when
my mind feels such aversion for my proper duties ?
Vidusaka. Well, you have already heard through
KipunikS the request of IrSvatl, who taking occasion
 ^ftraftajigtor qftnfr i arnra^ftr gc ®tarft*lsqr
sjg^5 % I eq^t ft % qftomft | cjr qtRqft q^
n«a*C I [ *3 >wh< jpw mwrcaKjpTift <*i*ite-
q5tarr»gqm fcr wren Pta^wia^H
qrf%: 1 q*g|»Wg3m «? 3»eifriTyregq£i3H. ’ qfa I
*T^5fP=wl srfiWRR. i <Rjpres^ra »i«@ra: I ]
?H Trsnr—*r «jqftq^ i
ft^TOJ—qft ftar | [ |]
qRT—qqer ftrerfftg»m: ftrq; i qre qrcpqesqjrats-
? c qgq^isq^qft ft sqft e sesft^ft i aia: q^fa I
sf%cr: srorn ftFg
q**: ft to: I
STOTftftRJrftFtiRt
er g fvtafoftsft hn%^: ii * ii
ft^re:—<qT55ft *ft «%qqft%t qfNiwi q^ft
f%5t qrc| i [ qftfit *ran. qftwiiqsft
*>&. i ]
*nrr ( ftf^q )—ffa ft sriRqswpfaftsre I
ft^:—*ft i [n qfit *rarq.i ]
( 3»ft qftsnra: I )
—<q q? qqqqft qsmfe^ift qgqgqflflt
garmft ftaj *jsp£ | m qftgg *w | [ ^%asm^T
^qqsral^nfts 'ff^i^pStPre^RTi^ tow. I asifcis
eqiq.1 ]
of spring’s advent has first sent you as present the buds
of the red Asoka tree indicative of the arrival of that
season : “ I long to enjoy sitting on the swing together
with my lord/’ You too have promised her. So we
shall proceed to the Pramadavana garden.

King. That is impossible.

Viduska. How do you mean ?

King. Friend, women are naturally so ounning.
Ho you think she will not notice—spite of all my love—
caressings—that my heart is devoted to another ? there¬
fore, I see clearly

that it is better to decline this request, al¬

though it is a proper one to make at this season,
for I know many excuses for declining it than
to go through the form of showing regard to
these proud women, may be, with greater
fervour than before, when one feels not even a
shred of affection for them. (B) *

Vidusaka. You ought not all of a sudden to throw

aside your unfailing courtesy to the ladies of your
harem.
King. ( Reflecting) well, then, lead the way to
the Pramadavana.
Vidusaka. This way, this way, my friend. ( Both
move about.)
Vidusaka. Here we come to the Pramadavana
which seems to beckon you to hurry up with its fingers
of leaves waving in the wind ; so please to enter.
V ] qreftarftoftft

—(srifs’i wftsir I)—arftsTRT: TOrT: I

?R q*q
arnniHt wg<^:
sigscNr sirat gsgfo i
ar# gssrawgjfa^fiiaft ir
3F3ST& 5RR3 ** *ns?rt Jir^T ll # II
—qft I qftfl ftFgftstStat | [ nfe I «faq
PrSjWmpt i ] (31ft Jifaqa: i)
^ atsrsrqq ftf? Ift | qa 1
ft®i5?5fraiq gqf^nssrerar qflafguft-
q?q qfti; | [ *Tt 5RPt qqstftq I Ujtiqs *TPii
ftstaftrs^mq vr^^ri *jqfir^3sift<i+ «RRjf§h^-
'T«T S^iR. l ]
qjsiT—*15 ftgwKqgforqrft 1
?Wr^^rr ftSifargon j^wrapi

arr^FcTT T%^T%*TTfo
Hwtq pnronRfrft sffafoft *fTmig iihii
(gqiprotof ftwra: 1)
( aa: q^rg^T nrsfaw 1)
—arftoqr^ftqq «ft? aRtqi ft
atq srarft 1 far ftstr %(8t5sif|aiq*g ?*t g?RT
arraffttjti I 01 anq arqSrqpqsq ^tq ^ii%3{ SKI#
^qapft q q^gft | ( qeq I ) q:(| g §
qftraPf l (ftf^r) art ^ftq q? ‘ qreftq
qftqqiqsr^r iteiqR*Hgiq ^i^rr nf q^qi i gq atq
 King. ( Gesticulating that he feds the pleasure of
touch) How noble is spring : see friend,
by the sweet notes of the slightly intoxicated
koii, he seems to be compassionately inquiring
whether I can bear the torture of love; while the
south breeze with its soft touch and its incense
of mango-blossoms is like the palm of spring's
hand stroking my limbs. ( 4)

Vidusaka.Come, enter and repose yourself. ( Both

enter.)
Vidusaka. Look attentively, my friend. Surely the
presiding goddess of the Pramadavana desiring to allure
you has put on the garment of spring-flowers that puts
to shame the dress of a young lady.
King. Indeed, I behold it and am filled with
wonderment.
The gleaming red of the Asoka excels the
paint that is applied to the bimba-like lip ; the
Kurabaka with its (variety of colours) dark,
and bright, and red, surpasses the paintings on
the forehead; the Tilaka blossoms with the
bees clinging to them like collynum, have
thoroughly grasped the art of adorning the fore¬
head with the tilaka mark; thus vernal beauty
seems to hold up to ridicule the art of adorning
the face as practised by women. (5 )
»
(Both of them observe the beauty of the garden. Enter
Mtilai ika in a state of longing.)
Malavika. How I feel ashamed of myself for being
in love with the king, whoso heart is unknown to me r
 ^aaoftangfaRB qts® fSi«alft i at? st jga
ssft a£t ars 35 ( spot ftaaa) arf^re^fiar tois
sr?aa ’ ft i at ana fftarrartjft gsn nsr sift i ana
^a?3<rc ns a^ojre^rcstnr^ ag^taftan^ anapaaa |
qff&ftae 51a ftwt girrari (aft aftanaft) [ atftana-
caa W^nfips^Rjmn^tsfii i $ar ftaa: ftaaaaft-
?«\ aa^a sapaapsarsa. I a sift arafftanarref lant
foa^a ana at =Pafa l fa g *m afinarfta I
ana. nPasifta ^ar aar ‘ ai®ft% nkaataata; aNi-
\C nftsrgrar: aaat aa aaift i fa fnaa'ftiarefraifn alia
ft$5a i aft a nsnapaaft $ga asfaft frats? aa
(spaa ft;a?a ) arfasiasjftsa; srena araaifa ’ aft i
\\ aaiafitala^ft ana aar aarft i aiaagaa aa aaar-
sssRCfaat afaiaftamr ampasaa. i aia^ ftaiwi
5£fon.l 3
(^n)—& ?n i sftinrsftftqw
a^gfean gaojqr i [ t tr aa ats aftgaftftftata apa-
ftaan aaaai l ]
^vsTnn—*ft i
—<j[tn <a onftqwfrftdi qaagan ftar <*an?oft
araftan at^t as? | [aar aig aiftqafaW #a%a aan-
?oftftt aiaftaa ^ a£t I ]
?Rf («?*0—aw araiaatt i
R^?—aiS ? I [aw ftn.]
? ?aT3T—amftqpiwiimanaaftwH. I
t'lJ’RW (TO
m Rto i
Where have I the courage to speak of the circumstance
to my dear friend ? I do not know how long will love
submit me to this irremediably severe agony. (Moving
a few steps) Where, indeed, am I going ? (Reflecting)
Ah, the queen has ordered me : ‘ MalavikS, having had
a fall from the swing owing to the heedlessness of
Gautama, I am still suffering pain in my feet.
Do you, therefore, perform the ceremony of fulfilling
the longing of the golden Asoka. If within five nights
from this time it shows flowers,then will I (Heaves a sigh
in the middle of her speech) bestow on you a favour which
will gratify your desire.1 I will, therefore, first proceed
to the place where I am to perform this duty. For
immediately after me will Bakulavalika come with the
ornaments to adorn my feet. Let me then for a while
freely bewail my state. ( Moves about. )

V idusaka. ( Observing ) Here is treacle offered to

you who have been troubled with drinking wine.

King. Ah, what is this ?

Vidusaka. Here is Malavika, not far ( from us ) but

scantily dressed, who looks like one afflicted, and all
alone.

King. ( With joy ) How? Malavika?

Vidusaka. Certainly.

King. Now it is possible to support my life.

When I learnt from you that my beloved

was quite close (to us ) my distracted heart ( at
onoe) revived like that of a thirsty traveller,
 qftns^ir famra:
ansig n $ n
arq « fRR^cfr |
—qqr or' a^qawr^i Prapm qsq
^ qlWtfi 3?g? i [ w qg ctwf%nam%®PT^tr sa 03
_r»_g «v . n
RiwfiTRr 1 J
qrar—qq*q q^qp^nq;
fag# «n4 Hf5{cr f^rt: 1
arr^pra ^nrtr^r aftRraittwwifa « 11 11

asRacft 1 aqr 1
qftftgrmou 1
*n«rqqftoi^«mT qsfirrofgfcr f^crr h«h
f^qq.:—qer
*A
ft w ftar qatoissmton qtffogr qfoflft 1
[ crorfSr qorftq qqqarrfaqr oqqgr qfaorftr,]
^Rr—€i?K*ft q^rft 1
qr^fq^T—3f3f «r g3qR<fo®ftr?ift atnfeqfgqoi-
qf»ri ^fqifosq q argqRft ergt^r 1 ana q«grar-
Rr^iqsq ftra°3ir araiuj ftq^fa 1 [^« §f«n-
qfaaM araCRtfgqjtawt 5<q»l»»g<« qrqgqRterata: 1 jjri-
%^pr sj^srcafta^ Pw™»nwR fqqtqqifJr 1 ]
fa^qsp:—gq qqqr 3qq;f°55f*si% erast^ ufo;* |
[ ga qaar aafifagareftfa aaqa?n qfctaq. 1 ]
? ^qrsTT —%crrqm qq*a usr?^ q^ 1 $cr: 1
gm^srcri faqsqggSMtaflyra: i
arftfiWTgwsmfo arcqra *r$*rwi^s^ u^li
 when from the ory of the Sires* he gathers that
some river surrounded by trees is near. (6)
Well, where is she ?
Vidusaka. Here she emerges from the rows of trees
and seems to be turning in this very direction*
King. Well, friend, I see her.
Ample in the hips and thin in the waist,
uplifted in the bosom and very broad in the
eyes she, my very life, is ooming. (7)
Friend, how she seems to have changed from the
former state! Foi
scantily deoked, her broad oheeks pale like
the stalk of a reed, she resembles a Kunda
creeper having its leaves ripened by spring and
with only a few flowers. (8)
Vidusaka. It is likely that she too like yourself is
affected with love-sickness.
King. It is only friendship that sees thus.
MSlavika. This Asoka awaiting the fulfilment of
its delicate longing, and not assuming its robe of flowers,
seems to invite me in my love-sick condition. So I will
sit on the cool slab under its shade and divert myself.
Vidusaka. Did you hear ? She said she was in a love¬
sick state.
King. That is not enough to assure me of the
correctness of your inference.
This Malaya breeze laden with the pollen of
the Kurabaka flowers, and oharged with the
drops of water issuing from the opening folds of
the tender sprouts, produces longing in the heart
without any definite cause. (9)
6
 flnfrnMn

( 30ftgT i)
TOT—amw wihiR^ »m: i
ft* *$ eaftft I [
«m i]
^nr—? ft awftsR cctt qififtgft HWM: i
% (gftr i)
nwftw—ft** PlWMftr sofagigl ftw i ft *
arran^fe | [gw fawsui^Hkaiftia i ft maniaafe i]
\ wp^ l )
*raT (anspran.)—6ft «w aracrt fcgw i
afi*gf*ftg ftl"l>ft * r*
Wl**™# * S& I
3*lfo WtV ^5?T3^r-
mwRfaf qfteftarai^ n \o ii
mgt force** afaeft 115m *forc-
**orciftar ftft% * ajaiafearr gaftgr 1 [aftra
Pnaaa afowfir 1 nmftwwaAai fofWR ag
<H»i*il«4ail'4fi*)tii I ]
^—*ft wKergwrfcn*. I
^ftP5w:—*ft> *3ft ^*t 5rcfl<* gsr gg *1** efte
ftgaflfeaft 1 ** ft gr* gnft *&. °r ftga>ft 1 [ ftfr-
wftJm grew gar a* gw a3a teaftmft 1 agaft
^ aiaftwifta a ftWKift l ]
( jjPro -<k»ii«*k?wi afaraftar 1)
fpn^t^Rr—*ft gi *<r 1 [ *ft 3* awn 1 ]
 ggft#tst» [ Vs
(Jkfalavika sits down.)
King. Friend, oome here, let m hide behind the
creepers*

VidQsaka. I think Ir&vail, toe, is not far from here.

King. But the elephant reoks not of the alligator,
when he sees a lotus-plant.
( Stands gazing.)

MalavikS. My heart, oease from cherishing this

fruitless longing. Why should you torture me ?
( The Vidusaka looks at the king.)

King. ( To himself) Beloved, look, how perverse

is love.
You do not reveal the cause of your longing
nor does conjecture invariably give the truth ;
nevertheless, fair one, I regard myself as the
theme of these lamentations. (10)

Vidusaka. 'Now will be dispelled all your doubts.

For is not that Bakulivalika to whom I gave your
message of love arriving in this solitary place ?

King. I wonder if she remembers my request.

Vidusaka. How would that daughter of a female

slave forget your weighty message i\ow ? Why, even I
.remember it perfectly well at this moment.

(Enter Bakuluvalikd with ornaments for the feet

in her hand.)
BakulSvalika. Is my friend happy ?
 wwwWiwn

? RHrefter—9r*$r vasrwtearr i ^ tnar* \ \ i

[ awft a$wraf§w i «i% wnra % i 3tfar i ]
ff<AM&+l( soffco )-fsi g^ sw sr# ^ #w-
?rn foratn i ^sot gaoift; i an* igrcwar
gout *?di> i [ far w araftanfi ^wr oN?m ftjw *
at* % wisono i whews* arasj wti% 11
\ )—ft«aj «® ifitem ««■ ftt#
| ^5 51# araroi oN<*ai i anpi
H? ft'^qosui I [ 5fT a# afaaam aw
r% foot 3'ti%i<h<3i l ^ofatnftnnoR *iN^r i awar na$a
it acg»r>*^ afawfa t J
f$3T71§W-fif» ftw}# | 3^f3H § <^w twofc
R vwerafw $gg"ft ^5f> | [ ft faarcafor t 3*§aa aia^aw
erFftarsiitaw fgotsit ^r I ]
ijzn—aw*i5Tt^$n?ffift€rs!TRRi*T: i

—ft 3l °r anon# atarreon^r X*ft F aj%-

3#a#oi or RsrraifR## | [ f% g atg a aiwtft
swRirre^ tot apn’-saao^o a wrtsifowtftfit l ]
3 o*TT55#^T (OTtsat^ft )—5^T nf#fe ?!# | [twi
o'iatr=ffa. i ]
—*f trtlt #^r | (on*m awrwfRniwH)
W [ arft trtfcoft & i ]
Trsrr— wiraftffirat Oram:
Rtnt <re*r *ni^n* i
*WHTfar 'nmrajft
fWTO infoRgro n ? ? it
 MSlavika. Ah I Bakulavaliki is come! Friend yon
are welcome. Sit down.

BakulavalikS. ( Sitting down ) Friend, yon have

indeed been appointed by the queen, owing to your
fitness. So give me one of your feet; so that I might
lay on it the Alaktaka die and put the anklet on it.

Malavika. ( To herself) My heart, do not be happy

that greatness comes to you. How can I secure my
freedom ? Or rather this will serve as the ornament to
adorn me at death.

Bakulavalika. ’Why are you hesitating ? The queen

indeed, is anxious that the golden As oka should burst
into flowers.

King. So all this preparation is due to the longing

of the Asoka!

Vidusaka. Why ! Don’t you know that the queen

will not without reason make her put on the attire of the
harem ?

Malavika. ( Bringing close her foot) Friend, please

to pardon me*

Bakulavalika. You are indeed as dear to me as my

very body, t She gesticulates adorning her foot.)

King. Friend, look at this streak of wet paint

laid upon her foot, which is like the first bur¬
geoning of leaves on the tree of love consumed
by Hara. (11)
*•]

*f|antr aatertfl i
[ TOnfw< «s fra*nrar *rf^rc g^fiw: I ]
3 TRT—SFw/fcffcr *waT |
??4%^<KI<tU|Him^ *RJT
^?RWRT d I
3rf3fa?W#I ds^fasPTT ff
sfllffcrffos 3T ^F?RT3^m^ II? ^11
fir^:—qrcp«f% arTft^q era^ | [<mfarafir av
*rarar awi^gji. I ]
\ *rar—staffer «rar: w5pto i
(fra: irtoffT gfEn<r Tfrafft ^€i ^ i )
{TOFcft—?% fallow; §&nfa *ist foa ^fawsr-
^»R9 fa i aifa arar etarai^f | [ w>
ftsP>i% »CTrfa *$sft »?a: fow aftaRCT fttraB®*afafti >
fif^CT ®wrara: i J
^fjf^io}^!—gs4 #taw^r ^ i «®r gar e'g^r (
[ sm C3 i ara 351: arm: afa: 1 ]
—are* *i? f^Vr 1 fit araas stem
\ ^3^ »i$r *1ef% 1 [ a# aflr St* 1 fa wtflwra ^I®t-
*zi u*m frat *t3fir 1 ]
RfM^T—era|S»5t?r qoran^r 1 [
$ ^sretfefjrarorara, 1 ] t
f <l^rft—ans^raiH | iPffqs^rfBfaf *Wlffc 1 [a*® Sara ►
**q**rat fiffrar 1 ]

? —w^rataraBl^oi 8i®rate$oi 1 sprcj

jrfjjofr 1 [aa^wgis^raffag vfam. iwaat 1}
 fsfWtsji [«t
YidOsaka. The queen indeed has laid upon her foot
a duty of whioh it is worthy.
King. Yon speak well.
With the toes of her foot red-hued like young
foliage, this girl deserves to smite two objecta-
the Atoka awaiting the fulfilment of its longing
before, it would blossom, and the lover who,
having only recently given offenoe, stands with
bowed head. (12 )
%

YidOsaka. You will soon be able to give worn®

offenoe.
King. I accept these words of a Brahmin who
prophesies success.
(Enter Travail in a state of intoxication and an
attendant.)
IrSv&tT. Girl NipunikS, I heard it often said that in¬
toxication is a special ornament to women. Is there any
truth in this popular saying ?
NipunikS. First it was a popular saying merely*
but now it has become true.
IrSvatl. Have done with this affection towards me.
How did you know that my lord went first to the house
in whioh the swing is ?
NipunikS. From my unfailing affection for my
mistress.
Irfivat). Give up this servile attitude—speak like
one independent.
NipunikS. It was the noble Yasantaka, greedy to
receive presents offered in the month of spring, who
told me so.
 —(rororo oft**! i) g% win ftstawtor *
^?3rsT3^6Jt fcsrai g«eftft t ^on 301 e*i or «?€Kf% |
[ ?sf sftq saiqurat JTRiq'gqq^ cqq wife I wh 3*
qft * jrrtt: i ]
=*vfirjfar*r—^ e«qe*C SteW* | [ *3 wft Rt 5teT-
*m i ]
ftroft—ftraftiq OI qR arstTar ;(le? | [ ftjpift
^wsmrfjqt w^r i ]
—aifcSi^ *#jr | qftsrefotfte *f£ ft jjsoi
efiNr *ft*r i aj% ft *»i ftai^a^raftft^Tt 3rel3ii%-
^ oerosai qftfltg | [ »HWFi>qg eteft i qftiraftfora jqift
«$si *rtf efcra*qn l anqnrfto faq^p»aMKi%TProfo-
fii«lHfe<b qftqriq: I ]
W (xeqdt qqr q^Ha I)
(<rfi%sq ftafcq I )—JiftofU
ftpjRflOT Of'^TOT fttffeanft 5S |
<w^o»qa eteft I ^i^f< ftftsqwftm4l: Mfaqit-
fateu]
Siwfi—ft; ft* i [ ftftWr.1]
ttftsflrw— <$n srewrftan aretaroisRo-aiarrq ereft-
*rq ^sonsfii ftpqfft I [ ust qfsrafon awifa-
fw^arqrct snsftqimwoTaiii ftroft i ]
(oft i)—-ar*i?ft far msftan^ i ft>
I ( onjfaftq sriaaftmi: I ft Hftfe I )
ftgftnUT—a*ft €t3nR*«5T^ ggar^^oin? aretar-
qi*ftan% i sp»nr quj sti e*
 gqWl*f:
IrSvati. (Moving in a manner befitting her condition)
Girl, my heart hastens me that have grown languid
through intoxication, to see my lord ; but my feet do
not move on the way.

Nipunika. Well, we have come to the house where

the swing is.

Iravati. Nipunika, my lord is not to be 3een here.

NipunikS. Look about you, my mistress ; for the

king, simply to make fun, may have lain hidden. We
too shall sit down on this slab of stone under the A$»oka
tree which is twined round with the Priyangu
creeper.

(Iravati does as described. )

Nipunika. ( Moving about and observing ,< Look,

mistress. While searching for mango-sprouts we have
been bitten by ants.

Iravati. What is it ?

NipunikS. Here is BakulSvalikS adorning MalavikS’s

foot in the shade of the Asoka tree.

Iravati. {Expressing doubt) This is not a plaoe where

M&lavika oan have access. What do yon think, then ?
»

Nipunika. J think that the queen, having had a fall

from the swing and got pain in her feet, has appointed
M&lavikS to perform the ceremony of fulfilling the long-
vw] NHHHUIWIII

arffa qfaorcs arg3n(®fcaft I [ a^ftrfft qfti-

qforeqT-moRRopn for «rolmt«tft*ft Pqw Jirwfft-
v<: ftft i shwt *4 Mt w4'*ifai *3*351® qfoi«wimMft]
|<w4l—*«*# *g § *F*n*on 1 [ j^?ft wwjt-
1 ]
^tftsftrcr—ft> 3°t °r «n"tefo*rft *si 1 [fts^P*-
«ft *nft 1 ]
^Tyft—£ft ft ^nr anwi$ oj 1 *i<nt ft ft>
^»ft ftarilft | i?W «Ri »lftw I ( wsft^t
ftW «m«ra*i ) srft s ft ftaw I [ *#r ft
moiPRrat si nMft 1 aritsfo ftwft fr^Rsrft 1 owi¬
n'* ffcwo aim *ilft*qi1ft 1 wift «® 1]
ftfBKftm )—C3I m®ftq afft
}l3fft ^ 3T3T ^ORTaftftftwn# | [ f®T *n@ftft ajfft
\« ftso moRPlftsnftsqre: I ]
qi?yft^T—araafr ^sopi?h% assrft or toI% j 1 qftft
%or qetforc®iq 3iftfto(fcrfft 1 [ omwwura qfft aft
q* u?t jrcrfagq. 1 %5f oom^«TomPi^fran% 1 ]
^ 1 *#nt fewftr 1 [*w ^ «&
fewnfin 1 ]
^ —a^ft snft g«5ftmnq 1 [ mftqpff 3*
qftorft 1 ] *
ftlftffaT—ft(|3iT 01 qftqajtfft | [ ftpor q nftanftr l ]
^ qfaiqfeftl—gqftstgsift mftr ®ftqar 511ft nfosr
eftsj I (mrani) f5a|%^ft^|| ( ftwfco
jtcrr 1) eft qurer 5 ^®»Re «wfft& narlftqftft 1
ing of the Asoka tree; how, otherwise, could the queen
allow a mere servant to wear the anklets worn by
herself ?

IrSvatl. She has, indeed, been highly honoured.

Nipunika. But why should we not seek the king ?

IrSvatl. Well, girl, my feet do not move from thin

place, and my mind too is filled with some suspicions; I
shall first get to the end of them. {Looking afMalavika,
to herself) It is but proper that my heart is filled with
fear.

Bakulavalika. (Pointing to the foot) friend MSlaviki,

how do you like these lines of paint on your foot ?

MSlavikS. I am ashamed of praising it, as it is on

my own foot. Tell me who taught you this art of
decoration.

Bakulavalika. I am the pupil of the king in this (art).

Vidusaka. Be quick now to receive the present due

to a teacher.

MSlavikS. Happily you are free from oonoeit.

Bakulavalika. Surely I shall be full of oonoeit, now

that I can exhibit my skill on worthy feet. {To herself)
O joy, my mission is done. (Looking at the paint, aloud)
VS*]

«R gpnast I atc^r <rmsr q®* aoi «£# i

[ 3<r$5nf5^ *n5t asxar x^pff uSar ufamift I *s«,
firs ir i «j% H ^ircara£f<fl i %a®
a’Sflreat amfopti: | aiaar srara o^jq q&r: i ]
TraT—h% q?q q?q i
afTjfRRWJTFTr^ ptiw ^ftirfog* i
sfaw jwwt: ««n% %5nrercfi ^ n \\ u
—J5f \ atggair i f%t «q^r r£ qftoi aig-
ii^sq | [ $?rets35PT: | fai H^gf^^navtfsraspi i ]
5 5fgrai%$I—ed ftar #513; \ I
gs-qgr niftnr a^rfaftaft sn'l | [ «i% smsraq^fiw
sNci a ^ith, l a**n *ra i]
% ( T^iqa'r I )
*nn—vfaqreft: i
Hl^f^T—5®t arcajoftar I [*»f aw^nfte
^ w^tat i ]
5§*5T5l%$T—*>&re*a qsq qq qfos i [ M'jPkwJh
*rar nf^reui l ]
XR 1 8JC 35 I [ftm mn m I ]
5^T1I%«T—°T *M«5 *»? I [ * jih ]
insyffoT—r^W *n arwiffl I [ ar^rcq l ]
X\ 5$3T5T%$T—3"ii aiftloRi^n tfftni ft I [3*1-
<aflift%rerct *t#n<r l ]
*TTc5R^I- arfaai *PfH% I Rt R** a? OTI^T I [ anifl*
t< *psra% i *tfa snfei i ]
55j31W!%*T—*W 35 I fo%g
 gtfWtSf: [ V99
Friend, I have finished laying the paint on one of yonr
feet. Only it requires to be blown upon by the mouth ;
or rather there is a good breeze here.

King. Mark, my friend, mark.

Here is an admirable opportunity for me to
wait upon her by blowing upon her foot with
the breath of my mouth—her foot which has
the paint still wet upon it. (13)

Vidusaka. Where is the occasion for regret ? Soon

you will be enjoying (ihis privilege) for a long time.

BakulSvalika. My friend, your foot looks as lovely

as a red lotus. May you, by all means, sit in the king's
lap.

( Iravati looks at Nipunika's face,)

King. To me it is a blessing.
Malavika. Well you are ohattering absurdly.
Bakulavalika. I have said what 1 ought to say.
Malavika. Surely you love me.
Bakulavalika. Not only I but—
M Slavik a. Who else V
Bakulavalika. The king also who is attracted by
good qualities.
»

Malavika. You don’t speak the truth ;/or I haven’t

secured the king’s love.

Bakulavaliki. You haven’t indeed ! Only it is to

 «5$8 I [ br sfc snfer i n|s fiig g^wr^^is
i ]
—gsflnfoi. ftar ^reft «rat i [ sw*nrt*ra-
PR fWRIRT I ]
f$STft%^T—3T3W& 3I3WI SPTO-
wafoj qntoflq&ft | [ qftfegai gsra*-
bbb am#f« i )
^■a «5^Tt 3% iFftl% | [ ftnwrapfrl
*P>PI% I ]
ff3Ri%$T—"tft o?ft I >#% i qwRwft
^ o rwwRsi? i [ ;tft sift i **£: gg^nft
ft«IMR<ilM«Srcrf% i ]
JTraf^RT—5«t fai%3f q it ftajai ftw-aft i
^ff FVil^PtWfl B it C?R • ]
gt ww:?5*3T«trf%

Ift °I atftsiS^ | [ g>^ «fl«TRR W?H-

t% i% b =^jtsraats3?reRfas i ]
tfTSfa^T— 3<5 SW | tft 3 *55 ara^gpfoft ft » 6

[ R br^ ^iffct jraiRi^iPpft *r i ]

^ -ft*5?^6 B33RT%3ir ^ 3ft I [
g*Pt$jbr^i <a^5n I ]
*rar—w| if«rsr i
JT^Pr
si<aj*g*H% *n$srata i
*«rrfarr fiftft
iriftts ftifort ^refar: ii \v ii
 grtfcf* [<*.
be seen in the beautifully pale and thin limbs of the
king.

NipunikS. How the accursed wench gives her

answers as if she had got them all up beforehand.

BakulSvalikS. You must accept the words of the

good people as authoritative: love is tested by love.

If Slaviks. How do you talk as suits your fancy ?

BaknlSvalikS. No, no ; these are but the words of

the king eohoed by me which are so sweet through love.

MSlavikS. Friend, my heart grows diffident as I

think of the queen.

BaknlSvalikS. You simple girl, is the mango-shoot¬

spring’s all in all not to be used as an ear-ornament
because bees are clinging to it ?

MSlavikS. But, surely, you will help me greatly

in my distress.

BakulSvalikS. Well, am I not a Bakula garland

which gives out fragrance when orushed ?

King. Good, BakulSvalikS, good.

Surely she has held her to her purpose by her

words which were spoken after ascertaining her
feelings, and which effectively answered all her
objections; it is quite proper that the life of
a lover is dependent on a love-messenger. (14 t
€* J TOWflfliwI

I3«rf)r—of fa® fa® i ®tffat <?f <*s(?& sa^w-

/%3fTq; qs qraftarr i [p^r to to i ^iR^taRnq, ffwr-
\ qfa^qr <15 Jrr^f^r 1 ]
f^fol^T—*ri|ftl fafearres ft Siarsrsnwt gqtsh |
[ *rf|fa Rtft«R«i,-3*tjqwii'iW« gq^t: 1 ]
$ fTORft—-w*t «i%t *» few I ife*H «°F?R ffaa|*i I
[ wRt mlR il SPnj. I q({Rnqi5Rw 1 ]
7ff3t3f%«T—fait gtt®t ft g«raqft®*qt t ®«®t 1
q, arcs 5ft ft *A3> SKlfa 1 (srcaR =un3<i«qig-R l) i«t
3|f| faK aret3tft3HQ?rT3f fti^rar 1 (3$ 31%*
w. 1) [ cs fs.<Srqtsfa gjnwfrRm? § =qr»r: 1 qiq^ irafc
* * 333ft *qrfo 1 par 3i%b l aigi%B ?*s»it anfitoftwftg*!
fMinq. 1 ]
—it fafa f5i^(3{lf% gjiSt 1 [ ga ^an Rmtn
*3*tfRr:nJi 1]
qf3raf3$T—fait aqwsrrait gq^iaiwqt g*tt t ttaf 1
[ nq 3qi?3«3 3>mt»ita3: 3«iet i]
t CWTSffaflr ( «*fa)—ftfi [ftwifl]
*$3TS#*T (afara*)—or si* ust 1 fait araiarar-
5R3*«ft qgqj]«dt | SIS ® | [3 3R3fcfi I nats-
’ tsitawtRssft qTOjs®: 1 aprasq siq^rw 1 ]
f^TO:—®ft it w?t 1 [ sqfa «r vraar 1 ]
*nn—®% qqfafaiqai qirffaT^ 1

roojfecfcvwt: *rftr®raT
wmfcnft fa%4 *rt sftr t
«revHsrfaPKigat$<
srfRJmfM* fnnawwlt 11 11
 Ir&vatl. Mark, girl, mark. Already has she made
Mfilavikft aspire after him.
NipunikS. Mistress, even a person free from pas¬
sion would become restless by such teaching.

Tr&vatf. I was rightly apprenhensive. After getting

at the facts, I will think (what to do).

BakulSvalikS. I have finished painting this your

other foot also. So now I will put anklets on them.
(Acting loosening the pair of anklets) Friend, rise, do the
queen’s bidding of causing the Asoka to blossom.
(Both rise.) »

IrSvatl. So how we learn that it is the queen’s

bidding.
BakulSvalikS. Here before you stands one flushed
( of increased redness, passion ) and fit to enjoy.

MSlavikS. (With joy) What ? The king ?

BakulSvalikS. ( Smiling ) Not the king, but a
spray of leaves on a bough of the Asoka. Make an ear-
ornament of it.
Vidusaka. Did your highness hear ?

King. Friend, this muoh is enough for lovers.

For to me there is no pleasure in the union of
lovers one of whom is ardent and the other in**
different, although it may be successfully accom¬
plished ; better it is that those whose love is
equal pine away through despair of seouring
their union. (15)
«] HUllMilfillWl

(srnsftw ^ftarawtawi wflwwilw <rr<5 I)

frar—to»t <m i
arw[TT qdifaqgqtttmfom i
3*ro>: ggqftft<pnqK<iM nun
HI3fo*l—a«fe ®IW arnroj pro ^«®T t% I [ *ft
*ira »rmt: «»nm awt *tai • ]
34g«nfe<W—car °#r \ ^ frpjpfr er«r aratafr
aif fggsJi^d 3r ffa ■wrcwrc «|| i [ i®r
•nta IT ftfoihqaato: jgwftepR^t star $wr
A^rewrc i ]
*rar—
arfo qgimn pi^m^ou
^"fcl spanfor: i
3Rft^
ht stot «ftMtaftrawiwg u t» 11
ft^TO:—<# or qfaraftq i [ «i!tart <rftiwta*nPr i ]
3 (3^1 star fsn: I)
—*rfti6t *rsr <?«r qftaife I [ *?HPr *raf
qta utaafti t]
^?TT^t—R *?* jct fafo* ft«r^pi I [ w *nr m
fafNra csta I ]
fora$: (swqpt)—ftf% ara orw arctft^t ftapwra^i
^af#aJt ar« SWlfcoi aiftj I [ *wf% 3^ 5inin*mt
fJww3%swN%sq siuatar w»ftgq.i ]
gft (wsm)—ep$t *rr | *raf I ]
 [ <\
(Malavika after arranging the tender leaves into
an ear-ornament gracefully raises her foot
towards the AsoJca.)
King. Friend, see.
Having taken a sprig for the ear of this
(Asoka) she is presenting to it her foot. By this
mutual exchange of similar gifts I feel that I
have been deluded. (16)
Malavika. Will this honour rendered by us to the
Asoka bear fruit ?
Bakulavalika. Friend, it won't be your fault; for if
after receiving this honour from your foot, the Asoka is
tardy in blossoming out, it would be devoid of any good
qualities.
King. Honoured with her foot delioate as a
fresh lotus and loud-tinkling with the jingling
anklets by this slender-waisted one, O Asoka, if
you are not immediately covered with blossoms,
then in vain do you cherish the delioate longing
which is also cherished by sportive lovers. (17)
Friend, I desire to show myself when an opportuni¬
ty for 'interposing a remark presents itself.
Vidusaka. Gome I will make fun of her. (Both enter,)
Nipunika. Mistress, here comes the king on the
soene.
XravatL This was what my heart had already
anticipated. *
Vidusaka. (Approaching) Lady, is it proper to strike
with the foot this Asoka, the dear friend of the king ?
Both, (confusedly) 0, the king t
 iTC gft^PTO fRe ajftoiai ORPtfr
ft e£r "I faoifat I [ oj®raft% tot sflmfcn <wt-
gift i% *r»jft * ftoiftar l ]
( JtlBf^T to *roft l)
—flUioj tost i% qgn atsrcteftor | [
TO ft JJ^TOpWfato | ]
\ —*TW VP5? ajooitT fafawft I [«R«f >W!-
toot fttoofa i ]
—an* <*er ^ ft«N wgftgft i
«ftssl OWO to I ’Rfftg TO I [ «ni bjit tor
ftftTOgftgft i TO^fan, i nftog *raf I ]
( otttot aftoroft i)
39{T1T—iftoTOTOsifo l 3l%g *ft i (wta uNt-
wmft I)
—gosr? i ^ wo^^an | [ §sft i to*
^v» nuftdwn i ]
TOTT (fttoO—
ftmTOqaftfigTfoft ftftato nepiw% l
TO>TW sr % TO TO*ft *into *nn* II II
( TOfto swt snzofit i)
gTORft (wroO—-«$t arftofteftarat g sisra^H
$[ orft wftftruw OTOl%t: i ]
HWfiWSf—oacwft^ | agf& opioitftftsi tooj
ftfrto I [ ojsrafa* oft l orgfsTOirot ftftn to
^fttotra: l ]
3g«rei%iCT—^oi ft ftouftft jujr ftg^lft ft |
[ to ft Itoro toR ftoftfir I ]
 feftfcft
Vidusaka. BakulSvalika, why did not you, who
knew it, prevent this your friend from doing the im¬
modest deed ?
(Malavika gesticulates fear.)
NipunikS. Mistress, see what the noble Gautama
is about,
IrSvatf. How else could that accursed Brahmin find
a living ?
BakulavalikS. Sir, she is doing the queen's bidding;
she oannot help this transgression. Let the king be com¬
passionate. {She makes Malavika how along with herself.)
King. If it is thus,you are innocent. Rise, good girl.
(Takes her by the hand and raises her.)
Vidusaka. That is proper ; for the queen must be
respected.

King. (Smiling)

Fair one, full of graces, I hope you have not

hurt your foot soft as a young shoot by placing
it on the hard stem of the tree, now. (18)

(Malavika gesticulates bashfulness.)

Iravatl. (Angrily) How wanton in thought is my
lord.

Malavika. BakulavalikS, come,let us go and report

to the queen that we have done her bidding.
BakulavalikS. Well, then request the king to give
you leave to depart.
^ TRT—trcafo i *n aiaiaq^iawaffa «r*Rn^ |
af^Taf^toT—araf&i gonfc i sn»it$ asr i [ *a-
I^til ^I'JJ I «titim^<J *1511 i ]
w—
sfai'wnifir 5raf «r=nf^ * anrtf ftwwfflr i
vhiwi? upt sfa5»renqw«Tfr%: it ?<*> n
yiffl ( )—ijtfi I sr^raft §§a i&ft
or ar i arar 3®r <535 ar 1 [ sja spr 1 orata*
fgw aaiaft a ar 1 aa ja: sprier Tssfir =a 1 ]
( at matt a^n aaaran: l)
^ trar (aw)—aa*a air srftqftna 1
—ft: apwi | aaaia® q«a 1 [ fisa^n*. 1 a^at-
aata l ]
^ ffTtift—aassraft^ erg g<? 3ws 1 areftq; ga ara
a$f$ mssqpjot arssra^ 1 [a^ar^t arg 5aaW*iMa. r
ar»ft% ?a araa. ja aassartaaitjaa. 1 ]
t ^ 3"»ft—atfag afgoft 1 aKT an* aiT^oft qoraraRwnw 1
[ attag ateft 1 % anal aj: nunaftassr 1 }
(aft ft«sp% r)
CTarcft—arir arftaggoftarr gfotr 1 m, a^j araot
a^«m arf3ropti%an^ eftoft^ (tar ara%?i^ or ftoonar (
[ arat arftwsftai1! saar: 1 aar areaaaat araar aaraaatt-
\t fiRTEar alfrtarcifttiai a ftarar 1 ]
ftgTO: (aai^saai)—qftafltft ft; ft arffi t f%
oioot apa*ifSt°r g?*fteqqr yPa^aroj %ftaiitft£%
^ K aapa inf 1 [ afiNNa ftatkitla. 1 fta*rg, a*Mtta
fwftsta aPa^aa fafaatrstlft a^«a aafir 1 ]
 fwWPg* [m
King. Fair one, yon will go ( presently ). But lis¬
ten to this request whioh is proper to the oooasion.

BaknlSvalikS. Listen attentively. Let the king

command.

King.

I too have not for a long time borne the

flower of happiness; with the neotar of touch
do you satisfy the longing of one who has relish
left for nothing else now. (19).

IrSvatl. (Suddenly presenting herself) Satisfy,

satisfy ; the Aioka may or may not bear blossoms; but
this on the other hand not only flowers but also bears
fruit.

(All are confused at the sight of Iravati.)

King. (Aside) Friend, what is the reoourse now ?

Yidusaka. What save taking to our heels ?

IrSvatl. BakulSvalikS, you have begun well t

MSlavikS, do you fulfil my lord’s longing.

Both. Be pleased, mistress. Who are we to receive

such favours from the king ? ( Exeunt)

IrSvatl. What traitors men are! But, guileless

like a deer attracted by the hunter’s song, I did not
realise my deception.

Yidusaka. ( Aside ) Invent something now. What

else: a burglar caught red-handed should say that he was
but learning house-breaking.
cc ]
TOT—*r *» nisfajrot i «wi «t far-
stfrfcr twKwf^qwr fcitfor: i
fTT^fr—f^raoftaJt Rt | *r? Of I^toir: fftfl faoft-
ajsra^or 303ifrT I 9PJI8T >F?*ltfOftn q»4 of
^vs %sr* | [ ftwisTNtsftr | nxr q: ftaiddtea ftdfrvwa^xi-
^Sfrjfrsreqftft l orwt x<xiI*mi 03 ? Ppi% i]
—nr aracter ai^ctr <frawi«t wit*
*nm| l Hw^rt%>f qftaioioi fa «n[ ew-
*i£r 5rfa*fa gn qmoi i [ m am-
naat ^fa’mwNifa *ph i anwfatld ^»ns iftafan a<-
«nftr wiw m sftn jf*n«m. i ]
—or hwoito st^ifaifa araroi afrofref^ei
[ Jig aowr smt j«3 i I ]
[oBTsferari]
TFsrr (arga^o—srcfaj narft i
[ «HmPw-<H'*ll sra?fa | ]
^ TOT—9s# *T oNrt siotfaafa faflraar i
$TO?ft—«?, arfawfloftarisarsft fa I [to, arfawrtta-
ssntsm i]
V* TOT--
33 {Rr Kft 3iq^g%
qftfrrcw’JUmi frfr i
ywqftwi 5T 3f*3 ?rt
fagsifo JrarorfT ®nf^n n n
yiyft—?af fa ITU ?rn ^ argrcrcfa | [ rmfo
tarn t<n*l<iga<Ri ij
 King. Darling, I care not for MalavikS. I was
just amusing myself as you were late.

Iravati. You are to be relied upon. I did not

know that my lord had secured such a means of amuse¬
ment ; otherwise luckless that I am, I would not have
acted thus.

Vidusaka. Let not my lady by her words repel his

oivilities. For if mere conversation with the queen’s
attendant met by chance is put down as an offence,
then you should direct (what is proper and improper.)

Ir5vatl. Be it mere conversation! Why should I

worry myself ? ( Starts to go in anger.)

Kling. (following ) Be pleased my lady—

(Iravati moves .although her feet are entangled by the

girdle.)

King. Fair one, it is not good to be indifferent to

a lover.

Iravati. Traitor, you are wholly unreliable.

King.

With the word, traitor, you may show your

usual scorn of me ; but why not give it up, Oh
angry one, although besought by your girdle
that has fallen at your feet ? (20)

Iravati. How this aooursed one also sides with you ?

M]
(5ft <miai5ia ?raR aiaftaPwft i)
*RT—Wt <^T ft
fi«nHm ^*nBT3#r?p»k

^ ^gH^gKTT »lt
ft^iwr Wts^ Rr«j^ n \\ ii
^TT^ft—ft; *>f ■‘i^t ft aja*5 a^fa I [ft wt ^jilsar-
TO5t **tfa I ] ( 5ft WRt 5ftaia«*8% I )
TRTl~
awifiift nf*t fogsra i
ftraftrcf sr sftMJiwsr ^ 11 ll
( smmrarO aaftarsfrogfiaj*, | (5ft areat: aaft I)
fHfdV—°t a^ f*f areftan^ aresoii *r \ a;%5ft3
\ I [a arsftaaarsjr'jft ^ & wKlaa
«[jft*aa: I ] ( 5ft *T5t€r ft^ET^IT 1 )
l^np:—3|ft i fa^rcrrct fa i [ 3fts i sairai-
Aarsfa i ]
. TRT (g?aia 5*Tatffta*an. I)—aft lift fiftr I
w^PRi-a’Wl^ft ?IW 3jft°I3iW aronf^r ftiaftoil I
a,5Ta faiw aiaawn anaatjfrw *rfa ftar at argaaa;
<a afft I [ aa*a ^<wiftaa<aia«ifiaT fta*a<ni I aia-
VI ^ftwumwia: aiaaHH^l aifafaa at aqa^ a l]
5RT—ar^l aa1^5fta«m |
*nft fimitmwremi: jrftnpRf* Srt* i
^ smatft m *ri% wrgV^i fftcn ir^ii
(5ft alftna Proian: *1)
3$rateg: u
 [m
( Takes the girdle and desires to strike the king.)
King. Friend,
This angry lady, shedding streams of tears,
is ready to strike me ornelly, with the cord of
her golden girdle slipped accidently from her
ample hips, as the row of clouds, full of show¬
ers of water, strikes the Vindhya mountain
with the streak of lightning. ( 21)
Iravati. Why drive me to offend you a second time?
(Catches hold of the girdle.)
King. Why withdraw the scourge uplifted
against my guilty self, O ourly-haired one ?
While (thus,) you add to your charms, you are
still angry with your slave here. ( 22)
(To himself) Surely I shall find favour now. (Falls
prostrate at her feet.)
Iravati. Surely these are not Malavika’s feet to ful*
fil your longing to be touched by them !
( Withdraws along with her maid.)
V idusaka. Rise, you have found favour.
King. (Rising and not seeing Iravati) How, my darl¬
ing is really gone ?
Vidusaka. The gods have, indeed, removed the
constraint in these your improper relations with MalavikS.
Let us speedily depart before she comes back again,
like (angry) Mars retrogressing to his mansion in the
Zodiac.
King. How perverse is love!
With the mind attracted by the loved one, I
consider it a favour that she has slighted my
prostration. Yet I should not neglect her, al¬
though she is so very angry with me, as she is
so much attached to me. (28)
(All walk about and exeunt.)
Here ends the third Act.
 I

( srfasrfa q^g^l 331 =31)

TRT (3TT3T333.I)-
^mrf«r^i ^qwmn^prr
<wimrat ggHffrni wwiwre* i
gjerercfifffeq re reTEfljita*ren3
fqfrgrei *r^ <s^r n ? n
(sreran.)s% *ftera j
. JRftsrft —^5 *151» arafar&t »itaRt 1 [ *raf 1
^ ara6tft3r nhw l]
?J^T ( JJresffoTf^RRTHTO Sffat: I
f^R»:—( w3vt ) 33 | [ 333 H3T3,1 ]
^ TRT—sruflfe: aire. « q#»ft src 3r^r-
=3?g|rSU^3W ?f?r 1
JRftfFfV—i anoftft | [ 3^3 arramfcr 1 ] ( sfif
S ft3RI3T I )
TT3JT-HtcR 5fit f3FcW35TO33JI^I *R3T: |
^? T^:—tr fasrenfen* qjff^an^ 1 [*fr frersgft-
t S3T3I: <R3fa333T: I ]
SRI (3ft3R*)—|
—Ht ^ 33%jnft 3T? TOU^-
^ faggc ft* fdrfcgmi 1 [ 3r »ai 3<?fa5ft 3*3 ftir-
551331 3T5«3"3^ftgt q.tgy3 S3 ftfiSTCTT I ]
*RT—*13 «K*Fra£gq3JWT 1
 ACT IV.
( Enter king in a lovesick state and a door-keeper.)
King. ( To himself)
The tree of love which had for its object the
lady about whom I had heard, struck its root
when I felt interested in her; and when I saw
her it put forth the shoot of passion ; when I
touched her hands it blossomed as my hair stood
visibly erect through delight; may that same
tree of love make me, weary that I am, taste the
flavour of its fruit. (1).
(Aloud) Friend Gautama!
The door-keeper. Victory to the king! Gautama is
not here.
King. ( To himself) Ha! He has been sent to
get news about MalavikS.
(Entering)
Vidusaka. Victory to your honour!
King. Jayasena, go and just ascertain where queen
DharinI is, and how does she beguile herself, now that
■he has pain in her feet.
Door-keeper. As the king oommands. ( Exit).
King. Gautama, how is the lady—your friend?
Vidusaka. Very much like a ouckooseized by a oat.
King, (despondently) How is that ?
Vidusaka. The poor lady has been flung into the
cellar where all precious things are stored up, as if into
the jaws of death by that fiery-eyed one.
King. Was it because of her meeting me ?
\<rf%^:-3T5 ? i |>qftq.i]
^tstt—’flan a; qa ftggtswra; ^|
ft^TO:—5*11$ *rif l #5m^ran q a&ft i ftaft ft^
q ?<ra£i<& ?m% sanftsfqaraoj ^ft gsgftsarr anar^r i
[ *OTtg vrqrqj it atqqft i & ft® qqqatft
t^ft i<asf*gaq amrar i ]
q»qn*r—acrera: i
ft^s:—^ftq w 3^^ fa 3oi sfoatf mzz-
oi>(% i a£r atq f?f at ^ aaarrft | ^ ^ qRajoiw
^«qg«Ttat anorrfr ft 3*0(%(% i [ 3# m ssr ft
qq&ftft qB*RR ?ft i acreralar fat ar it ^rarc: i aria
afenta qssqft fsa^tfa i ]
—ftqfas&sft qTaftqnqraqgqwtre: sr$qft i
atreta: i
—a$ aiq argaPaaimTanq aa$ arftois*
q 3 3f;rt><q qRaifeau fti^i ^ | [aa^prrgamflHar qaats-
ftwi=Tt>T qftqftaptf f*n i ]
qntT—3lt( ?Sq^qaT aaqaeqT: | ara: q? a;qq I
^fqs[W—ft; arc* at i areftarr aasraftaa at ftjais-
q<i3ft arftjsgsrqr? qKiaaie onara^wrarf ftaj
aj<g£if% l [#ftna:TOi l *n^fta>t af^iaftaq ^ ftq®-
3q awinega?fata aratware arqa>«i% saraaaa! i ]
*T3T—S&H. I
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 Vidusaka. Exactly.
King. Gautama, who indeed hateB me so that he
makes the queen angry with me ?
Vidusaka. Listen, sir! The ParivrSjikfi tells me as
a fact that yesterday the lady IrSvatl oame to inquire
after the health of the queen, whose feet are disabled
with pain.
King. “What then ?
Vidusaka. Then the queen asked her “ Have you
seen the loved person lately ?”, whereupon she replied;
“why this formality when knowing as you do the way
he loves (me) your servant, you ask such a question ? ”
King. This mode of speech must have made the
queen suspect MalavikS even when it is so vague.
Vidusaka. And when the queen importuned her,
she informed the queen of your misdemeanour.
King. How unforgiving is that Lady! Tell me
what happened next ?
Vidusaka. What happened next! MSlavikS and
Bakulavalika are now in fetters, and are now enjoying
residence in the underworld where not a ray of the sun
penetrates, like two snake-maidens.
King. Alas! alas!
The sweet-voiced cuckoo and the bee clinging
to the opened mango-blossom have been driven
to seek a hollow by an unseasonable shower
preceded by a strong gale (2).

My friend, can there be an opening here for any

stratagem ?
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 Vidusaka. How oan there be ? For the queen has
commanded Madhavik& in charge of the treasure-house:
you will not set free M&lavikS and Bakul&valikS unless
you see the seal of my ring.
King. (Sighing and musing.) Friend, what shall
we do in the matter ?
Vidusaka. (Reflecting.) Yes, there is a remedy for
this.
King. What is it?
Vidusaka. ( Glancing around .) Somebody might
overhear; so I will whisper it in your ear. (Draws near
and whispers in his ear.) It is thus.
King. Excellent! Put it in execution and may it
succeed.
( Entering)
A door-keeper. • King, the queen is reclining on a
couch in a breezy place, her foot smeared with the red
sandal resting in the hand of her attendant; and she is
being regaled with stories by the reverend lady.
King. This is a proper occasion for me to enter.
Vidusaka. Well, then, you go. I too will provide
myself with some present and see the queen.
King. Speak to Jayasena and then go.
Vidusaka. All right. ( Whispers in her ear.) Lady,
it is thus.
(Exit)
King. Jayaseni, lead the way to where the queen
reclines on a couch in the open air. ,
Door-keeper. This way, this way, king.
(Then enter the queen reclining on a hedy the Parivrdjika
and the attendants at a respectful distance.)
7
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 Queen. Revered lady, the plot of the story is so
interesting. What next ?
Parivr&jikS. (Looking about her) I shall tell you
farther on some other occasion. Here comes the king.
Queen. Ah.! my lord ! (.Desires to rise.)
King. Do not worry yourself with the distressing
formality.
Sweet-voiced one, it is not proper to trouble
your aching foot, unused to the severance from
anklets, and resting on the golden foot-stool,
and cause me much pain. (B)
Queen. Victory to my noble lord!
ParivrSjika. Victory attend the king !
King. (Bowing to the Parivrajilca and taking his seat)
My queen, I hope you find the pain bearable ?
Queen. I feel better now.
( Then Enter Vidusaka in a hurry, his thumb
tied up by the sacred thread. )
Vidusaka. Help, help! I am bitten by death in
the form of a serpent.
( All are distressed.)
King. Alas! alas! where were you wandering ?
Vidusaka. As I wanted to see the queen, I went
to the Pramadavana garden to oolleot flowers for the
customary offering. #
Queen. 0 fie! fie ! That I should have been the
cause of putting his life in danger !
Vidusaka. Asl stretched forth my hand to get
at the cluster of Aeoka flowers, I was bitten by death in
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 «g«nsis
the form of a serpent issuing out of its hollow—why,
here are the two marks of its fangs. ( Shows them.)
Parivr&jika. Then, indeed, they say that the first
thing to be done, is the excision of the bitten part. Let
that be done to him.
Excision of the bitten part, or the burning
of it, or letting off blood from the wound, these
are the remedies to save the lives of persons
just when they are bitten. ( 4 )
King. Now it is the work of a doctor who specia¬
lises in the treatment of poison. JayasenS, quickly
fetch Dhruvasiddhi.
Door-keeper. As my lord commands. ( Exit)
Vidusaka. Ah! How accursed death has seized me!
King. Don’t lose heart. May be, the bite is with*
out poison.
Vidusaka. How can 1 help being afraid ? How all
my limbs are tingling with pain! ( Gesticulates the work-
ing of poison.)
Queen. Alas! alas! the bite shows itself to be fatal.
Help him, ho!
( The attendants hurriedly support him.)
Vidusaka. ( Looking at the king ) I have been your
friend since childhood. You will therefore have no
hesitation in looking after the welfare of my old mother.
King. Do not be afraid. The ppison-doctor will
speedily cure you. Be composed.
( Entering )
JayasenS. Your majesty, Dhruvaiiddhi requests
that Gautama should be removed to his place.
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 King. Well, then, take him into his presence borne
by the eunuchs of the harem.
Jayasena. As your majesty orders.
Vidusaka. (Looking at the queen) Queen, I may or
may not live; I beg (therefore) to be forgiven whatever
offence 1 may have given you while serving the king.
Queen. May you live on to a good old age.

(Exeunt Vidusaka and door-keeper.)

King. The poor fellow is nervous by nature. I
hope Dhruvasiddhi-rightly named the infallible one-
will succeed.
( Entering)
Jayasena. Victory to the king! Dhruvasiddhi re¬
quests that something bearing a serpent-seal should be
found out for putting on the water-pitcher. Do, there¬
fore, make a search.
Queen. Here is a ring with a serpent-seal. Later
on give it back to me only. (Offers it, Jayasena makes
as if she takes it)
King. Jayasena, quickly bring word that success
has been attained.
Jayasena. As the king commands. ( Exit)
ParivrajikS. King, as my heart tells me, Gautama
is cured of poison.
King. I hope so.
(Entering) Jayasena—My lord, cured of the effect
of poison, the noble Gautama after a while beoame quite
his usual self.
Queen. Happily I am free from blame.
 jfittAwRilwl

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 JayasenS. The minister V&hataka now requests: I
have to discuss a good many affairs of the state, and so
I seek to be favoured with an audience.
Queen. May my lord leave and attain sucoess in
his undertakings.
King. (Rising) My queen, this place is exposed to
the sun, while this requires a cooling remedy; so let the
bed be removed to a different place.
Queen. Girls, carry out the command of my lord.
Servants. As you bid.
( Exeunt queen, Parivrajikd and retinue. )
King. JayasenS, take me to the Pramadavana by
the secret way.
Jayasena. This way, this way, king.
King, (moving about) JayasenS I hope Gautama
has finished his work.
JayasenS. Just so.
King. Although I think the devise to be
decisively the best for the accomplishment of
my purpose, yet my timid heart feels dubious
about its attainment. (5)
( Entering )
Vidusaka. Victory to your highness. Success
attends all our auspicious, undertakings.
King. JayasenS, you too attend to your duty.
JayasenS. As the king commands.
( Exit).
King. Friend, Msdhaviks is such a dullard ; did
not she hesitate a bit ?
 nnAciMI

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 [ to*
Vidusaka. How could she hesitate at sight of the
Queen’s ring ?
King. I do not talk of the ring. But she should
certainly have asked as to why these prisoners were to
be liberated; and why to the exclusion of all her attend¬
ants, the queen commissioned you to bring the message.
Vidusaka. Indeed, she asked me; and I immediately
with a ready wit told her.
King. Tell me.
Vidusaka. I said—the astrologers told the king
that the constellation presiding over the king’s fortunes
was possessed of a malignant influence. Therefore let
all prisoners be set free.
King. What then ?
Vidusaka. On hearing that, the queen with a view
to spare the feelings of Iravati ordered me to release
them and give out that the king wanted them set at
liberty; she granted my request, saying that it was
quite all right.
King. (Embracing the Vidusaka) Friend, you,
indeed, love me.
For not only by force of intellect does one see
how to promote a friend’s interest; love too
points out the narrow path to success in ones
undertaking. (6)
Vidusaka. Let your highness make haste. I have
put Malavika and her dear friend in the Ocean-pavilion
and have come to meet you.
King. Well, I will honour her. Do you go ahead.
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Vidusaka. Gome, your highness. (moving about)
Here is the Ocean-pavilion.
King. ( Apprehensively ) Friend, here oomes
CandrikS, the maid of your friend IrSvatl, her hands
engaged in gathering dowers. Let us, therefore, hide
ourselves behind this wall here.
Vidusaka. Ah, thieves and lovers have to avoid the
moon-light.
( Both do what was said,)
King. Gautama how must your friend be awaiting
me ? Come, let us watch her from the window.
Vidusaka. Well.
( They stand looking in,)
( Enter MalaviJca and Bakuldvalilcd.)
Bakulavalika. Gome, friend, salute the king.
King. I think she is showing her my likeness.
Mslavika. ( With joy) I salute you. (Looking at the
door, with disappointment) Where is the king ? Friend,
you deceive me.
King. Friend I feel delighted at the lady's joy and
disappointment both.
For in a moment the face of the lovely faced
one has assumed the two appearances of the
lotus—that which it wears at sun-rise and that
other which it wears at sunset. (7)
Bakulavalika. Well, I say, here is the king in the
pioture.
Both (Saluting) Victory to the king!
Malavika. Friend, at that time when I stood faoe
to faoe with the king, I was not so well satisfied with
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 *s*fl*t» tm
his beauty as at the present moment with looking at
him in the picture.

Vidusaka. Has your honour heard ? The lady says

you did not look as you do here in the picture. Vainly
do you bear the pride of youth as a oasket a store of
gems.

King. Friend, women, though filled with curiosity,

are yet by nature so bashful. Observe,

they do desire to study completely the features

of those whom they meet for the first time and
yet the long-eyed ones will not allow their eyes
to fall full upon the beloved persons. (8 )

Malavika. Friend, who is this with her slightly

averted face whom the king is regarding with an affecti-
tnate gaze ?

Bakulavalika. Surely this is IrSvatl at his side.

Malavika. Friend, the king seems to me to be some¬

what rude, that he should neglect all his queens and fix
his glance on her face alone.

Bakulavalika. (To herself) She takes the king’s

picture for the king himself and exhibits jealousy to¬
wards it. Well, then, let me chaff her^a bit. [Aloud)
friend, she is beloved of the king.

Malavika. If that be so, why should I trouble my.

self in vain ? (Turns away pettishly).
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TOT TOTOTOt wqfi i)
ftffig:—ft to aqr^uTl f^ar i [ ft TOia^ftn to i ]
R TRft—arf^gsfrTOTOTOre* I
—*rr to I aratrtr gc arft^raoftsrr i [ *n
giro. I TOTOrft TO#TO^3T I ]
 King. Observe the face of your friend.
As in anger she turned her face away from
the (pioture) so that the tilaka mark on the fore¬
head was Dlurred, and the lower lip was made to
quiver, she.seemed to exhibit the graceful ex¬
pression taught her by her teacher as being
appropriate in the fits of anger caused by the
faults of a lover. (9 )
Vidusaka. Prepare yourself now to propitiate her.
Malavikft. And the noble Gautama too is waiting
upon her in this place. (She again desire* to turn away
in another direction.)
BakulSvalikS. (Preventing Malavikdt) Surely you
are not angry now.
M&lavikS. If you desire me to be angry for long,
here I recall my anger.
King. (Advancing)
Oh Lotus-eyed one, why should yon be angry
thus at an action represented in the pioture ?
Do I not here stand in my own person, a slave
devoted to you alone ? (10 )
BakulSvalikS. Victory to the king!
MslavikS. (To herself) What ? Did I get angry
with the king in the pioture ?
( With an apologetic expression, she folds her
hands together.)
( The king acts as if he ts distracted with love.)
Vidusaka. Why do you appear to be so apathetio ?
King. Beoause your friend is so unreliable.
Vidusaka. How ! Do you distrust the lady ?
8
Utt] wsmvvfpt
^ *!*!—fR»PU
qflr snnpft: ft*F*T *rit ftrfanrft **n$
erfa aim aifuN* mrmn wft i
wfitasan %ih*h» «M!*mnmT
wdfa s% ftr«i*»i wftaf m%% yrt 11? w

«r$sifift^r—e& *i# fts §r ft°J»^ *nr i m

*w arai ftweftnit mfrar? i [ «fer qpr: fcw mr
\ teaivfr i agragRur fowrifa: ft^wm.]
qreffeT—eft rr m>r R^Rijolft feftnwwnwt ft
ef£qt jgfti anf^f | [ jut <jh4^*#prk wrrrt-
$ imtsf*r *?£$&? an^ i ]
i|ai<ii^4i'—RJt e ■ae<. | [ *nrf ^rhr^rt
33^1 ]
^ttst—
a^ftor ftw&f R3fRFufiWTi%^ i
W iwr a %«*: SftST **: II \RII
f§3!Wft!$T—’if'feft I [ i]
( ifolTO <Hi*«RR. I)—R33lRft^ ^ RI3tef-
^appfRRe qgRrt ?farr ssftsj^ arrareft | ftwrfo q i

Rft ftro <*rr.» ]

MJdMRMM—e? I [ a«n I | ( *Rt stforar i )
^T—^Ws^Ri RRWRraftffR’ efta^ i
ft^T$:—^ ft RftRT q #^qft | [ u^*fa ifenft
^ *3 «Pa*ft 1 ]
 [W*
King. Listen: your friend appears before me
and yet in a moment she vanishes from my
sight; and though clasped between my arms,
she suddenly slips away from them; how can
my mind repose any trust in her while I am
■afflicted by the anguish of love oaused by a
delusive union ? (II)

Bakul&valikS. Friend, often has the king been

deceived ; so now prove yourself to be a person worthy
of trust.
M£lavik£. But, my friend, unluokly that I am, I
find union with the king even in a dream so hard to
obtain.
Bakul&valikSL. King, please now to give her answer.
King.
What is the use of making any answer ?
For in the very presence of the fire of love have
I given myself over to your friend. I am not
her master, but her servant in secret. (12)

Bakulavalika. I am beholden to you for this answer.

Vidusaka. Walking round) BakulSvalikS, here is

a deer, cropping the shoots of the young Asoka tree;
let us drive it off.
Bakulavalika. Very well. ( Starts off. )
King. Friend, even thus must you be on the look¬
out at this moment when we deserve to be guarded.
Vidusaka. Does Gautama require to be instructed
thus ?
 ->v v

Wf—«rsr *Tt^t 3|f araw% ftfift I g*

pi«W3?t lift | [ *>4 nhra Rwfo i m
?RSTRS8ffil*PJ i ]
—3®t? I [ ! ] ( fttwai afgttfett I)
=* 0—ft tra 'KfetRja | an-
l ^loi'r tifa I (fi*jr ?rt i) 3itt i«%f?e57 I
[ x.i fTRfPTn?^»i3H. i sntftft *mrf*r I sift gfRmfai
ftRSTfaiPm 11 (finrpRt)
(*rei<3rar firafir i)
-

f^|3r i^fr *t?»nrcn«rcT

35T fatftJPjfa I
*t§ ff^rcaf
«rofa5xF.S?TT^TT^ Ufa II II
*TrafafiT—-"NH ajrlOTi ft ftsf *1$ oj qW*l |
[ ^sn ^kwitsfa ftpi ^if =t TR^rfir i ]
^TTSTT—^ft * |
qreffor—°i fa *?q faHh&fa ftssmffa
*?ft si| [ fa ^ n war fafefa-wft fg*ra«rcfa
^ *ra? :rg l J
T13TI—
5lf«M 5TT*T fa*TTfa %fapEHt I
cfst $«rfr% 3r Jnfaifa ^wfsnn^n:il?«ll
fawjjrfa aw: | ( ffa i
qftffat i)
 WpiSf: [ U*

Bakul&valikfi. (Walking about) Noble Gautama, I

shall remain hidden from sight, and you will guard
the entrance.
Vidus aka. That is quite proper. ( Exit Bakithl-
valika.)

Yidusaka. In the meanwhile I shall lean against

thisorystal column. (Doing as he says.) How pleasant
the feel of this delicious stone ! (Falls asleev.)

( Malavika is overcome with fear. )

King. Give up, Oh sweet one. this fear of

union, and now that I, who hav»* for long been
devoted to you, have become like the Mango-
tree, do you assume the part, of i.he Atimukta
creeper towards me. (13)

MSlavikS. For fear of the queen. I cannot do

what even my heart approves.

King. Well, you need have no fear.

Malavika. I have witnessed the courage of

the king, who is now so fearless, in the presence
of the queen.

King. Politeness indeed, Oh Bimba-lipped

one, is the family tradition of the descendants
of Bimbaka; nevertheless what life I possess
depends entirely on the hope of thy favour. (14)

So favour me who am for long enamoured ot thee,

(Goes close to her; Malavika averts him.)
 J lIRWfITPri

l^rar (arowrany—riftra: nnranmnf n^Rmi-

mt-. i ^rr ft i
*w «Mi^i,m<3l«ifg#
# jnrfa wnq^gi*m&3j»q<THT «ren^ i
«ng qfH^punqg: qNtotwwi
*r n ?y ii
(?ra: nftnfir rraft ^ i)
—fir ftsftq fw gq gftf "qftsanq ngrrc-
3 anf^sq arsjntgtft qan? ftflftr | [ ?% fagfoft a?i
srai nfae =aiSrRnr nasrerft^ nrcntan ce
fftl]
5, ftrjftlfJT—apwifr «fif m$Jfiq ftooiqfo [ [amm w
nffcft ftmiaift i ]
STTCcft—%or ft aft qsq n«a*f i flgarftt g^ *#ft
^ ft^3R« trftqrj ar I [ ?ln ft <ftn n^gre: i wsrapg®
n£: ftnron &fag =?r i ]
ftrjftr^T—ftaf nlMq aapij | [ nfMtaftn
?q nft«n n^nn.1 ]
—3fi»^ | ftremf nri TOftj I [nrn. i faw
*raft jrarqftgn. i ]
\y ftsftw--atf frfft nr qs*f ft: or <r*qgoft3rft |
[ arWfTnSfo ft n nmgsfrft I ]
f7Tf^—gttsnftnt ftrernfl nr oiaiffiSi ^r i ejoore^-
? ^aftarajt arsra€r | ftaa snanriSfcn qnftsnj at*paj aor
arrcnitr • [aft nrnrftmat *raf nmsr usri nsra^Btm-
fsn airfans l wni^wnwwqnwn: I ]
 [m
King. {To himself) How sweet the stepping of
yonng women into the province of love; for
she moves about her hand, and stops my
fingers as they move about the girdle; she covers
her breasts with her hands as perforce I em¬
brace her; she turns aside her face wpth its eyes
possessed of long eyelashes, as I try to raise it
that I may sip it; thus does she grant me the
happiness of enjoying the fulfilment of my
desire even under a pretext. (15 )

( Then enter Iravati and Nipuriika.)

Iravati. Nipunika, my girl, did CandrikS really
tell you that she saw the noble Gautama alone on the
terrace of the ocean-pavilion ?

Nipunika. How otherwise should I have ventured

to tell your highness so ?
Iravati. Let us then proceed there that we might
inquire after the health of our dear friend resoued from
imminent peril—
Nipunika. Your highness seems to have something
further to say.

Iravati. And also to beg of my husband in the

picture to forgive me.
Nipunika. But how even now you don’t endeavour
to gain him over ?
Iravati. Silly girl, a husband who has transferred
the devotion of his heart to another woman is no better
than the picture of a husband. My present purpose is
therefore to atone for my transgression of the proper
decorum.
t*»] urofatRifMSft

* I [ W Nt *rffeft | ]
(afc qft^roa-1)
(afeij)—| N't *ronft i oi 5» mat
R a *?*-;?? w i gc ^ signm af^g; oarftean^ ?r?
f&i3T3^s^6i ftisr maftafi i sr* argnodjfo arara^r ft
35 ftooiftw i m gf a Hojrfef% i [ arcs
I Nt Haifa—3 if <jj? jtwws <sr®: i a* »?tg
sfflH Nfag ^R<wr «* Uprsspw ffat wtbINt | «raa-
srsft arftywft ?w s*r PrawPwiP» i «re%s ctjot
* «*fir l ]
;tl<4<fl—ojraiRi?, ftwftft *#f3r fti^r-
I ^apnfoiwT^ijr e^t ftd>$ i aaa ht «oors
^ Vra^t a»3f atoft waftftr i [ fNm Nth.i *t
N nfNt Ppft«iftgni qftaafimN hPi N&a: %: t
ipm toiNr ant snia vft I ]
^5%fr—a* I [ a«n I ] (fft ft**Fm i)
.. . j'W l)—j#oft <^r faia-
«a5i agww ftaftpr^r ftar ge*t 3j33i»fftft
|^9n#nt <pa ftnparft i [ nfeft <zh gHtai^yt a^jjgw
fNflpra tn fan ar^ftaw amffa c?r ftspft I ]
HWft—fmr/fc<j i oj ^ eralraftfjftan^ h> i
»^r owrdaH. l h ati qwjuiPwftwO hN.1 ]
—TOgoigjt afa? i arft ar «rc%i%on faf¬
fed i m « arafiBM qra i [ ireargatt writ i wfc
^ gaftftar fafltftra: I aasa araf^ft onh. i ]
 'ijpital* [w
Nipunika. This way, your highness, this way.

( Both walk round. )

(Entering)

A female servant. Victory to your highness! The

queen says “ My time o£ showing jealousy is past and
therefore only with a view to increase the great respect
( in which you are held ) that I put in fetters MSlavikS
and her friend; if you give me leave, I will request my
husband on your behalf Let me therefore know your
wish. ”

IrSvatJ. NSgarika, tell the queen : who am I that

I should commission the queen to do my bidding ? She
has shown great favour to me by punishing her servants;
indeed what other person has shown mo such favours ?

Servant. I will do so. (Exit)

Nipunika. ( Walking round and looking) Your

highness, here is the noble Gautama sleeping even in a
sitting posture on the threshold of the ooean-pavilion
like an ox in the market-place.

Irivatl. What a pity! Surely it cannot be that the

effects of the poison still remain.
»

Nipunika. The expression of his face is serene.

Besides Dhruvasiddhi has ministered to him. Therefore
we need not be afraid that his life is in peril.
W] nwftfifirtw
(-dwiHwa i)—arefo* i
[ *rafo i]
»<iftgf<faST—§< I fa # araoftort f^rat
fa;$T | ^f ^ ^fe^PTrarorototfi jfaai
«*q? srefaai gi^faorfafc: i [ ga ’rfe^JT i
snapfftt sarer: foaa: i a&urfffid s«r taftrorarotei:
ffifr 'jj^^r «ro% wsfoarf -i<*ciHi^ i ]
ft^TOt—frraR arlsssm^t itf$ i [ wwflufo-
«M# ’PTWSxfY *13 I ]
ftjfSTW—§£ <£ ar?arf|* | gai@iufl?3f sPfS^g
fftoir }j3f?fTfi%30T ?d^%dt swrafor vrfaar Jflaaif*^ |
**»[ wrta^nflan i mw^Ji^sr gafafftfo;!
?a*«paftai *j?3t i ]
—R# wssfa fai^t wmm i T ssfeffa
^o ftera: «>iw i ]
( ftjfawi srasfit i )
— (*S*t sn%3*r i) ajfafj arflcr | flt 5s*-
^^3Rt ij 33fa qfl^r | [ «fa*T 9T%I I *ft *t 3>tf*
qfira: I ]
^T3JT (WPSWfW I )—flfa 3 ^a«T 3 irsERP*. |
—(arg?^) hit m ?ia sgHTfaraR i
wn^ | [a^: «T ar%qgar i a$ ?fit *rnrfcr i ]
*ns?ft—cfe fi% m i [ v fH * fa*
rr us sraft i ]
<& I anEsoj^^
an t& aiftar ?r*h faar l^r airf^fai
 vgqfclt [M
Vidusaka. ( Talks in his sleep) Lady M&lavika—
Nipunika. Did your highness hear ? Who can ever
trust him to do anything commissioned to him ? This
aooursed wretch, constantly filling his belly with com¬
plimentary sweetmeats given here, is now talking in his-
sleep about Mslavika!
Vid Osaka. May you supplant Iravatl.
Nipunika. Heard this pieoe of ill luck ? I will hide
behind the pillar and with this stick of mine, which is
crooked like a snake, frighten this vile Brahmin who is
afraid of serpents.

TrSvatl. Surely the traitor deserves some misfortune.

( Nipunika hurls her stick at the body of the

Vidusaka.)

Vidusaka. (Suddenly waking up) Woe is met

Friend, a serpent has fallen upon me.
King. (Rushing out immediately) Do not be afraid,
my friend, do not be afraid.
Mslavika. (following) Husband, do not. rush out all
of a sudden ; he says there is a snake there.
Irfivati. Alas ! alas ! my lord is running in this very
direction.
Vidusaka. (Laughing aloud) How now ? This is a
mere stick. But I think this is the just reward for the
blame I had the presumption to cast upon a serpent by
imitating its bite with Ketakl thorns.
 K rs V
*w] ITTwIVniiiln

v*q [ q®TOrafoaq i arc tppafa «p*wt %a^fo»qq»imi qn

?^T «4#i qa: fa: a?Efaafafa 1 ]
( aa: nftaftt qzr^ftn af®iqftqq 1 )
vsqgfSigfeqiT—nr qm *sr qfo?| 1 ?f fftsat g«$r
fa* I [ in arqq aaf nf^rg 1 qq fftanfic
qq eto 1 ]
C ( aaia aqaftfai )—*fa fafiqntnaft«y ftqi-
faf°R?? | [ 9^ faftnnatinf fcqpftat fagaa? 1]
( a? qaqtff qq>n amnai; l)
c »?T5TF—fsfa ar'pfsqgq'ar?: 1
—qsaiqfeq ftlt*r qmft3H*%3{[ #gwi|T ^
aftwn l [qfnwfifli ftgnr ^qf^RTi^qqra^lt aftar 1]
—q?fi?5^#jft 1 ft; gi q§n qrq*t%fat
^qt jqft fag*?>ft 1 1% aq faiqft ^qt afaaqsqt [ n$r-
qg afeft 1 ft 3 aig q£a sm^cftft ^q: sfa* ftsrcft l
V ft nnt faftft ^q: npq: 1]
—arqrq | sr^q q?mn%ai arewq qfaiqrqs»qor
fagaftqr 1 gftt 3* apsr ft qfnq 01 *ftrft 1 [ m nraql
M qqan qqfaaftarqqqTa. sPma»fqn ftaja: 1 *rq# 3ns
sraift sraiq a ^inft 1]
fqiwrft—ffaqt ft qnSl ft; q;R*e 1 [ fftai»flqi41 ft
nqqfaanft 1 ]
qrar—awft ^tq fftaqsrqq^ <qft j ant ft—
i# srog q>i*«iis<J
aims qmqfl $iqqm<nn, i
 [m
(Then enter Bakulavalikn with a hurried toss of
the curtain J

BakulivalikS. Do not enter, Oh king; for it soems

it is a serpent going in a zigzag bourse.

Irivatl. (concealing herself behind the pillar and

advancing towards the king)'Did the oouple find their
mid-day meeting yield them the desire of their heart
without any obstruction ?

(All are confused at sight of Travati.)

King. Darling, this is indeed a novel form of

greeting.
IrSvat!. BakulavalikS, I congratulate you upon
your making good the promise of acting as a go-between.

Bakulavalika. Let your highness have compassion

on me; for does Indra cease to shower rain on the
divine earth because the frogs croak ?

Vid usaka. Please, don’t go on in thi* way. For

merely on beholding you his honour forgot your re¬
pudiation of his humble prostration; but gnu would not
be friendly with him even now.

Iravati. What can I do now even though I am

angry ?

King. It is not proper for you to be angry with¬

out cause. For
fair one, when did your faoe exhibit anger
without cause? Would the night have the orb
W] wrartfranfluStW

Rqrrfl *«ct *t *rft«rflr 11n

—*gr»h% 525 *nft? arsra^mi 1 woref%g
ar*tm «T3f^ srr 30T j^3T 3ff **ar ffasrct. 1
* [ stwr ^fit sg tqnaarfgUm 1 vtm-
W>3 ^ 3*: witef irerr
<TRT—(VHWr wqwf% | «fi g*T: aeaifora «lqwfit
CR«nfi» I gw:
siRft fsiTO^strowf^s qfopft 1
*flr «nM gforcfad mywft * 11 ?«11
yiffl—foraft** «r*» ftwRffc 1 fig ^ffe; q*sr-
rni^oi «rsr ftr 1 [ fajM* w Wl ftim 1 ci
3 wnflawWti 1 ]
Prgfasr—at 1 [ fwi 1 ] (1)
ft^TRK smwnaq.)—anlr gg$r 1
%*raataajT f^nfesrn^ <rf*£t 1 [ ^ «r>4: i
^tTagt qfita: 1 ]
Rgf^r-(sftw) sftfa arcftaiR air*-
^<3? K4 ?J I < «*r «F»niftr 1) [ itffcfir
qg-mregqi TOforaremaq.—nM <a<&afafcif*iRt 1 ]
fTOFtft (owwwi)—3wn 1 ^^ff^nrgl^wTr
I (ftatw iwwnil ) far jriirrt-
uft$ I [gqqw 9^1 iwnpgjflte^t Jtn%i: I ri-
? H HCT «twa>qgftww sftfo: I ]
ft^re:—a? oft^t^ yx ft «rcstt qtsr ati <*r
 vspfclp [t*»
of the moon obscured by R$hu except on tbe
full-moon day ? (16)
Ir£vatl. ‘ Mot proper *—that is a proper expression
used by my husband. For now that my good fortune
has passed on to another, I should only be making my¬
self ridiculous if I were to get angry again.
King. You take it differently ; but I, on my part,
really do not see any cause for anger.
JTor it was in obedience to the precept
that on festive days attendants ought not to
be punished even when they have committed
an offenoe, that I let them free and now they
come to pay me thei” respects. (17).

IrSvatl. Nipunikfi, go and inform the queen that 1

have to-day witnessed her partiality.

NipunikS. Very well. ( Exit.)

Yidusaka. ( To himself) Alas! a calamity has be¬

fallen : the house-pigeon has escaped from confinement
( only) to come within sight of the cat.

( Entering )

NipunikS. (Aside) Queen, Madhavika whom I

happened to meet informed me that it happened thus.

( Whispers in her ear.)

Iravatl. ( To herself) I have it now. Surely this

must be an intrigue of that scoundrelly Brahmin’s
planning. ( Looking at the Vidusaka.) This is the policy
of this minister versed in the treatises on love.
 ]
»naiRi ft fagjftsr | [ sfteri ssraaraR q&i
?<:aat a3 aiq*fmfti ftwVw. I ]
TT3TT ( <3»ra*l)—*TR H ^3 efZf?W?ff»fa hN-
RtRifa i
^ ? ( sri%*q ) 3Rtl?T (w^O-% gwftags’sft fi^ai
arg^eft f^rngqjaftor afaar atrif^r afffrrewin
qqr^gss* ftaj tsmum <nf3t fa qfafa m qfaqarf j
3 s [ ^q f*rc(t qggqjft: qi^qgqjq^ f)f»ram.ftg
qgqjgnftraiifirawn ^n: nqiaftsraqftq 5<whi jqisft-
w?q affS a nfcnra& | ]
R'S^RT—^CTC.'KER I SIlcRt ai3J?iq: |
^ISRfr ( afa»R)—3R| gsRj Siara^t or e*TOR^t
nr ?ra % g^ra^faiafr f^sriiY resg 1 [areaf: frotmrf-
3 o gq nat am'aiafagH. I ht aiaagn: a^naafadl ftqqtl
q$aR 1 ]
*T5fr—3J8^5Ti flsgmffa 1 ( aare qffcpmfa 1)
(arnnaan)—sis > ftsngamrc Hif 1 g?§
Tfosi^i 3^ 9^5i$r I [ «ig 3 fignsaH* arg \
31 qftqiaaqqi a*zi3 w 1 ]
35 ( frsPFct: aqqtat qrair c^ratfi fagftajr =tar ^ 1)
*TrePT3»T—S^i ^ Brfoar ^afe *1 ftarar | oj anfa
3f5i R 1^ afglT^sq gfa*tfi%% I [ 5®! ^ f^afcar
3S. *t c^qq. I a 3H^ ara*. q< ft«3*ifaasq »ifaRtftfa l J
(3qfa)
ar'-sfoi 3!®3foi | afgooi qaq q^% ggrSft
»R €001^ ercotfafratat 1 anst ^ fat>fafa | [«n«4im.
 «3*A**5 [W
Yidusaka. Lady, if I were to read but one syllable
of policy, I shall forget the GSyatrl.
King. ( To himself) How on earth may I get out
of this sad pickle!

(Entering)

JayasenS. (Excitedly) King,princess Yasulaksml while

running after her ball was terribly frightened by the ape
Pingalaka;and now although reolining in the lap of the
queen is trembling like a spray in the breeze and does
not regain consciousness in the least.
King. Alas! How very timid are ohildron t
IrSvatT. (In consternation) Let my husband hasten
to console her. Let not the illness produced by the
fright be aggravated.
King. I will soon bring her to consciousness*
(Moves about qpickly.)
•

Yidusaka. Bravo ! Pingala ape, bravo! You have

indeed saved your side.

(Exeunt king, the VidUsaka, Iravati and

the female door-keeper.)

M&lavikS. Friend, I am all in a flutter as I think

of the queen. I do not know what I shall have to en¬
dure next.

(Behind the scenes.)

A Marvel! A Marvel! Even before five nights have

passed from the time of the Dohada ceremony, the
9
K\«]

M. i us qawft uftaw g$& asawmfarcfta: I

ur^ Pi%<«nfii i ]
(3$ jew jftfr *raa: i )
ijfglW^KT—owrai ftarcftr i *wrftwn i
[ eut'Hfoa Untrtfr i aeroHm ^ i ]
v* qwftw—^°T ft q*i33®PnfeafR %tr aim | [ fa
ft Jw^uuritesWTs astfl aura: i ]
—?WT I [ am i ]
H? (*ia Prepar: aS i)

II *fir : ||
 *g*itei: [ KM
golden Asoka tree is covered over with buds. So I will
inform the queen.
( Both are delighted on hearing this.) *

BakulSvalikS. Cheer up, my friend, the queen will

be true to her word.
MftlavikS. Well then, let us follow the keeper of
the pleasure-garden close at her heels.
Bakulavalika. All right. ( Exeunt.)

Here ends the Fourth Act.

 wrrsfM
(era: gftnffiiHmftq>i i)
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 ACT V.

( Enter the female keeper of the garden.)

The keeper. I have got constructed an eHer round

the gold As?oka-tree which has been duly honoured. So
I will inform the queen that I have executed her order.
( Moving about.) Ah! Fate should really take pity on
MSlavika, so that although the queen is highly incensed
against her, yet she might be inclined to favour her on
account of this incident of the Asoka putting forth
flowers. Where is the queen ? ( Observing) Ah! the
hunchback SSrasaka, one of the servants of the queen,
is just issuing out of the quadrangle with a oloth-oover-
«d box sealed with a lac seal. I will ask him.

( Enter the hunch-back as described. )

The keeper. (Approaching) S&rasaka, where are

you going?

SSrasaka. Madhukarika, the Brahmins versed in

the sacred lore are to be given their daily dole. So I
•will put (it) into the hands of the revered priest.

M adhukarika. What for ?

Sarasaka. Ever since the queen learnt that prince

Yasumitra was appointed by the general to guard the
sacrificial horse, she has been bestowing on those who
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 im
are worthy of the dole, eighteen golden pieoes in order
to secure him (long ) life.
MadhukarikS. That is as it should be. Where is
the queen ? How is sh9 engaged ?
Sarasaka. Sitting in the holy house, she is listen¬
ing to a letter sent by her brother Yfrasena from the
country of the Yidarbhas, read out to her by the
scribes.
Madhukariki. What could be the news from the
king of the Yidarbhas ?
Sarasaka. It is reported that the victorious army
of our king led by Ylrasena and others has subjugated
the king of the Yidarbhas, and his relative M&dhava-
sena is set free. He has sent many presents of very
valuable jewelled vehicles, and some attendants, mostly
maidens accomplished in the arts ; and has dispatohed
a messenger who is to see his majesty tomorrow.
Madhukarika. Go, attend to your business; I for
my part will see the queen.
( Exeunt^)
Here ends the introductory scene.

( Enter the female door-keeper.)

Door-keeper—the queen who is engaged in doing

honour to the As oka tree has given me this order: tell
my lord I desire to witness for myself in the company
of my lord the Asoka tree in its glory of flowers. So I
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 'rarfrsf: [
will now await the king who has been occupying the
judgment-seat.
( Moves about.)
( Behind the scenes. )
Two Bards—Hail to our king who by the mere
strength of his army tramples the heads of his enemies.
First Bard—In the gardens on the banks of
the Vidisa, vocal with the sweet warblings of
the cuckoo, delighted, you spend the spring like
the god of love assuming a body ; while your
power ever waxing.O giver of boons, the enemies
have been bent down together with the trees
on the banks of the Varada, which are used as
the tying posts for your victorious elephants.(l)
Second bard—O god-like (king), the acts of
these two, sung in verse by the wise out of their
love for heroes, have been well known all over
the Kratha-kaisikas—of you who by means of
your forces took away the glory of the king of
the Yidarbhas, and of Srikrsna who by his
arms as puissant as iron has forcibly carried
away Rukminl. ( 2)
Door-keeper. The king is coming here, his setting
forth being announced by the shouts of victory ; I will
now step aside from his direct path and stand under
the arch of the main terrace. (Stands aside.)
(Enter king with his companion.)
King. As I think how difficult it is to secure
my beloved and as I hear of the -subjugation
of the king of the Yidarbhas by my forces,
my heart feels both happy and sad, like a lotus
in the sun when it is struck by the streams (of
a rain shower.) (8)
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 'raflTtSf: lW
Vidusaka. As I see it, you will surely be blessed
with perfect happiness.

King. How do you mean ?

Vidusaka. To day queen Dharinl said to the

learned KausikI: Revered lady, if you pride yourself
upon your skill in decorating, then put on MSlavik5’s
person the wedding-attire used by the people of the
Vidarbha country ; and she too got Malaviki splendid¬
ly decked. It is, therefore, likely that her highness
grants you your desire.

King. Friend, this is quite possible, to judge from

the former actions of Dharinl who has always followed
my inclinations and has been utterly free from jealousy.

Door-keeper. (Approaching) Victory to the king!

The queen makes this request: please to make my
undertaking fruitful by coming to witness the beauty
of the gold Asoka-tree in flowers.

King. Surely the queen is there, is she not ?

Door-keeper. Yes. After dismissing the lad;es
of the harem who are pleased by being honoured accord¬
ing to their deserts, she is waiting for my lord with her
own attendants headed by Malavika.

King. (Joyfully looking at the Vidusaka) Jayasena,

do you go ahead
Door-keeper. This way, this way,’king.

( All move about)

Vidusaka. (Observing) My friend, in this Pramada-

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^ fg*t?agqfi gaoftangtafr I aftgtqj ga | [ arat am a
<a^i«g fa $gggta&aq«flgRilgi: arasitaaa gatq, l ]
fRT—wt% gtsaa agaa^gtsg^ |
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 <raifctsf: [ \n\
vana-garden here, spring seems to be somewhat past his
youth.
King. It is even as you say.
Here before (us) the youth of spring now
attaining its ripeness, with the Kurabakk flowers
scattered, and the mango tree bursting with
fruit, fills the mind with longing. (4)
Vidusaka. (Moving about) O, thin gold Asoka-tree-
appears to be attired in a vesture of clustering flowers.
Look, your highness.
King. It was quite proper that it was tardy to
blossom. For now it stands matchless in its loveliness*
See,
it appears as if the flowers of all other
Asoka-trees that first exhibited the wealth of
spring, have been transferred to this tree, now
that its longing is fulfilled. (5)
Vidusaka. Be quite at ease; for even when we are-
near, Dharinl allows MSlavikS to attend her.

King. ( With joy) See. my friend,

the queen rises to greet me respectfully, attend¬
ed by my beloved, like the Earth waited upon
by royal Glory who has forgotten to hold a flower
in her hand. (6 )
( Then enter The queen, MalavikZ, Parivrajika and
the attendants at a respectful distance.)
MSlavikS. ( To herself) I know the reason of this
nuptial attire ; and yet, how my heart quivers like water
on a lotus-leaf ! And my left eye, too, is throbbing
frequently.
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Vidusaka. My friend, the lady Malavika looks so

lovely in that nuntial dress.

King. I see her decked in those ornaments-she who

wearing a short silk dress and with scanty
"Ornaments, appears to me like a night in the
month of Gaitra when moonlight is imminent,
with the clusters of stars free from mists. (7 )

Dharinl. (advancing) Victory to my lord !

Yidusaka. May your highness be prosperous !
ParivrSjika. May the king be victorious!
King. Revered lady, I salute thee!
ParivrSjika. May you attain the object you desire!

Dharinl. (Smiling) my noble lord, here have we

turned this Asoka-tree into a trysting bower for you to
«njoy the company of young ladies.

Yidusaka. Come, friend, a great favour has been

-conferred upon you.
King. (Bashfully walking round the A&oka-tree.)

This Asoka-tree really deserves to be made

the recipient of such favours inasmuch as it
disregarded the command of the goddess of
vernal beauty and evinced its respect for your
exertions by bursting into flowers. (8)

Yidusaka. Gome, be confident, and look at this

blooming young—
DhSrin!. Whom do you moan ?
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 'HStait [lift
Vidusaka. Beauty of the flowers of the golden
A&oka.
(All Bit down,)
King. (Looking at MalavikS, to himself ) Alas! I am
at the present moment separated though near.
I am like the CakravSka bird, and my belov¬
ed like his mate, while Dhirinl who does not
permit our union, is like the night. (9)
( Then enter a chamberlain.)
Chamberlain. Victory to the king. The minister
says that in that present sent by the king of Vidarbha
were included two accomplished maidens who, as they
were fatigued with the journey, were not then present¬
ed. Now they are in a fit state to appear before the
king. Let the king, therefore, direct in regard to this
matter.
King. Introduce them.
Chamberlain. As the king commands. (He goes
out and then reappears along with them,) This way, this
way, ladies.
First. ( Aside ) Ah, Bajanika, although I am stepp¬
ing into this palace quite unknown to me before, yet
my inner self is filled with delight.
Second. JyotsnikS ! I have exactly the same feel¬
ing. You know indeed the well known proverb: the
state of the heart foretells approaching happiness or
misery.
First. May it come true on the present occasion.
Chamberlain. Here are the king and the queen;
may you advance, ladies.
10
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 *
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( Both ddvatiM, M&avikB and On ParivrqjfbS mehalige
glances on seeing these two attendants.)

Both. (Prostrating themselves) Victory to the

king! Victory to the queen!

King. Sit down.

( Both sit down.)

King. Ladies, which art have you practised ?

Both. We are well versed in music, your majesty.
King. Queen, take one of these ladies.

Queen. Look here, MilavikS. Whioh would you

like to have to accompany you in singing ?

Both.(Seeing Malavikd) Ah! The princess!

( Prostrating before her) Victory to our princess! ( They
weep with her.)

( All look on in bewilderment.)

King. Who are you, ladies ? And who is this ?

First. King, this is our princess.

King. What do you mean V

Both. Listen, king! This is tf Slaviks the younger

sister of prince MSdhavasena who was rescued from
prison by you by conquering the king of Vidarbha with
your victorious army.

Dh&rinl. She is a princess! How have I been de-

 J TOWTOrllwi

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filing sandalwood by using H as a slipper!
King. Well, then, how was this lady reduoed to
this state ?

MslavikS. ( Sighing, to herself) By the deoree of

fate.

Second Maiden. Listen, your majesty. When our

prince MSdhavasena was captured by his kinsmen, his
minister, the noble Sumati,. secretly carried her away,
leaving behind attendants like us.
King. I have heard this before. What happened
next ?
Both. This is all we know. We do not know what
happened afterwards.

ParivrSjikS. I will now relate, wretched woman

that I am, what happened next.
Both. Princess, we seem to hear the voice of the
noble Kausikl.
MalavikS. Surely.

Both. It is difficult to recognize the noble Kausikl

in the garb of an ascetic. Bevered lady, we salute you.

Parivrajika. Blessings on you!

King. What, are these your kinsfolk ?

Parivrajika. Yes, it is so.

Vidusaka. Please, revered lady, relate to us the
rest of her story.

Parivrajiki. (PatnfoiUy) Listen then. Know that

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sftwfiiw—ffil: a »«M:
gut <TOftmwm i
»nftirat wW4«*wwgMfl: n U u
mpn—® 5?t gntf i[rm: info i ]
ft#TT—« *forft*nq qanffcft *nwqr atm i
^[srasmj a^<iR*imi qmnlt mm #fjti]
(wm ftfafti i)

ll
 ****** [W
M&dhavasena’s minister, Sumati, is my elder brother*
King. We understand; pray, go on.
ParivrijikS. He oarried off along with myself, this
lady whoso brother was rodeoed to such a state, and
desiring to marry her to your majesty joined a caravan
that was going to the Viditft oountry.
King. What next 9
ParivrSjikK. And then
there appeared a host of yelling bandits, arm¬
ed with bows, whose breasts were crossed by
the quiver-straps, and whp wore tufts of peacook-
tails hanging down to their heels, and whose
on-slaught was so irresistible. (10)
( Malavika gesticulate fright.)
Viduaaka. Lady, do not be afraids for the revered
lady is relating something that is past.
King. What happened next ?
Parivr&jikl. Then the warriors employed by the
leader of the caravan joined battle for a moment with
the robbers, but were soon put to flight.
King, fevered lady, the sequel to this, which we
have now to hear, must be painful.
ParivrajikS. Then my brother
endeavouring to save from the ruffians this
lady who was afraid of violence at their hands
—my brother who loved his king so well—paid
with his dear life his debt to his king. (11)
First maiden. Alas! Sumati is killed!
Second maiden. That is how our princess is reduoed
to this state.
( The ParivrUjikR sheds tears.)
 TOT —snaft agaauteqft a>m i a sTt^Raanara
I aa: |
qRarfR^T—sat ati narf qrneagigqaJr araRn
f^rcSfar etsr i
«>TOT—SKt. ^ anawi i
«fRiflRw>l—sat «ng: qiftwfittntfrai ga&ftfstasq-
j:?ri aqr »r$4 &nra?fl4 *4 ^nt4 \
K RTOT—3W4.1 <F*rr: i aa^aa: |
iRsiDj^T—%qarcR4»*4t 4ft%a 4fe$«n44t *iar
44tqfe s«ajR?WT wt gai^aerroia aanar: i
?'MTRlR<r (^naaraa,)—fa g§ w «!fi wirR |
[ fa 3 >sf anna naf nafit |]
TOT—at$r qftaaiqsiftaft ftfaqisr: i fa: |
fcreftjf hpW ^fhsr^w ntfr i
«n4taifcnr toHIi aropa^ 11 \r n
qrRoft—naraft gq atRamft niafa* aroimqgaftq
SRpqa faa I [ *nrafa tqqtfJpanatff *u«af3>-bmHW*ai»i-Mi
\ ararura sftq. i ]
qRmfosi—qnar qiq 5ii*a qiqa, i an^ta nqt
4 wia®fWi i

VilRaft—fa ft«r arw i [ fafta ^rcan. i ]

IFR—WW ^WcTH. I
 »!»$«*•* [ W*
King. Revered lady, that is the lot of mortals.
Yon must not lament for yonr noble brother who showed
he had not eaten his master’s salt in vain. Well, what
next?
ParivrSjikS. Then I fainted, and by the time I had
recovered myself this lady was nowhere to be seen.
King. The revered lady has indeed passed through
a severe calamity.
ParivrSjikS. Then I burned the body of my
brother, and with the sorrow of my widowhood renewed
I came to your country and assumed these two red gar¬
ments.
King. Quite proper ; this is the way of life that
pious men adopt. What happened next ?
Parivrajika. This lady came from the power of the
foresters into that of Ylrasena, who sent her on to the
queen ; and so was again seen by me when I obtained
admission into the queen’s palace. This is the end of
my story.
Mftlavik&. ( To herself) I wonder what the King
will say now.
King. Alas ! How indignities are heaped on those
that suffer calamities. For
this lady having a right to the title of queen
has been treated by us as a slave, as a silken
garment is used for the purposes of a bathing-
cloth. (12 )
Dharinl. Revered lady, you did wrong in not tell¬
ing me that Malavika was of noble birth.
Parivr&jikS. Heaven forbid ! I had indeed a very
good reason for adopting secrecy.
Dhfirinl. What is the reason like ?
King. If it is proper to toll, then do tell us.
 qfigrfiWT—**ratn.i r* afaft %?nfa ^wnsr-
^n^si f&5rr<&a grgar *K8Wjmt%r I 1 swsrcura W-
^TPWg^ 5RT: qfawfo’ | a«HWRW
Hff^qu&flwwqrcsiwn qftwaq%Fi q;reJi?ft5SPfl
?rwtt srg qw^ I
rrsn—i
(gftre)—qwi^on^ftaft^qHT^ fairro-
? V?(a i ‘ wqrftawwft-. i ^wq arwtfiww
£rjjft*grf*l ’ i

? <sPraq;mrsf^R i
m %vwwulfeij|*i<<M<|W I
4HM%Wfrl II ^ II
qwwarofiq^ %mtfo i
( <T5tt aT^gsqrgjpq^ l Ptort: <t>^<$\ I)
^!TW ( awrfowq. )-vrfl^lfar f^%3jr qf&R«T 9FSr
^ qf^j I [ tor q&iwstefri^
qfitBf qfaqfit I ]
—qfoar a5*ret®i ^ sfifoassafr^r gat |
[ c^mriHSi *T??i5q qsfrfemrepg^: i ]
sRg^t (srrasq)—ftswat \i: | wot %fqqft |
^aftf q^tTaft 5%: | qfeqfrsr^tS&qiH i^ag, | fa;
fifcfT f^TWt f%R15S^
g* Tgr^g Hfinflg: i
m *grc«rarcfr s»pft f5fc%
mWIWiAflilfl II ?»II
 [ W\
ParivrSjikS. Listen. This lady, while her father
was still living, was told in my presence by an infallible
and saintly seer, at a fair held in honour of a deity,
that she would have to endure the position of a slave
for just a year, and would then get a husband of equal
rank. Seeing that the inevitable prophecy was being
fulfilled by her continuing to serve your feet, I wait¬
ed far the appointed time and I think I acted rightly.
King. It was quite proper to Wait patiently.
(Entering) A chamberlain. King, the minister
tends the following message which I oould not deliver
before, as another matter had cropped up in the mean¬
while : we have considered what ought to be done
with reference to Vidarbha. But I would like to know
the view of the king.
King. Maudgalya, I wish to appoint the two
brothers Yajnasena and MSdhavasena as joint rulers:
let them rule separately the north and south
banks of the Yaradfi like the Sun and the Moon
that divide between them and rule the night
and day. (13 )
Chamberlain. King, I will communicate this your
view to the council of ministers.
f The King shows his assent by a movement of
his finger. Exit Chamberlain.)
First maiden. ( aside ) fortunately the prince will
be established in half of the Kingdom.
MSlaviks. Even this I ought to consider as a great
thing that he has been rescued from peril of his life.
(Entering) The chamberlain. Victory to the King t
The minister says * How auspicious the King’s view !
The council of ministers too hold the same view ; for
bearing up their fortune divided between
them, like the horses of a chariot the yoke put
upon them by the charioteer, these two kings
will be ruled by you, not being distracted by
mutual conflict. (14 )
W]

—bn ft nfNqffcs jft i 4idfcn*r

ftfraW ftpraiftft i

—*T^frW^ I (*fir Prowr qgma» ^

rufat ga: sftw i) aRftm Jmfcnrr | aw gsrfapff
fcaiqel: garfisw «q>pmcQjn^wt W- urtr: |
^.5rc*^ft^tN5T i
( ^ijit ^[BtCTPT grew #rerc qfcar ftrcfe fsar qfcswrariqfai
fc# ^ snator gteqft i)

•MJTftnft—awft a^tgc ^ *» ftaraf | gfifcg ^pj

SsarogswropfK 5?r« qgftrfw ag^a i arftnft ^
%orm?Dir f&ra^r *r gaarr [ awifc aaisaJR Jt gsro. 1
t R wt’srrfJr <nq^ gaaRfwpprR ggw agPww t^WH. I
arfcwft ag jmwftqi ftg^t Jr g^: 1 ]

*T3TT—(3'rPta awnfir 1) wfer 1 qiRwmr^sjTqft:

\ ggqig^paqftftg fts^frsqaqigs&jfa 1
fefewg 1 qtsat ysrrjqg^tftrR nm aagsreraqfrta
n>att agfowftw aqc?rctara&flrat ftafetgwl ftgg:
? <jh g?»raFfftw qqawi jnflfa: 1 as
a»tfr: ^Fwl$fRrcfiaiw& 1
* (*tMr ftqw 1)

R ? fl*lT—gpru. 1 (Sro gqqfsnrftr 1)

<RK »TCFq*Tfaw Wgffifror qfcRI |

jrw ftwft It srfoaart frrifa: 11 ?h u
 'HriUf* [ l*v*
King. Tell the council then that written orders to
the effect should be sent to Vlrasena, the commander-
in-chief.
Chamberlain. As the king commands. (Goes out
and re-enters with a letter accompanied by a present) The
king’s order is carried out. But this letter along with a
present has arrived from the commander-in-ohieff king
Puspamitra; let the king look at it.
(The king rises quickly, puts the present respectfully
upon his head and then hands it Jo the attendants ;he then
makes as if he opens the letter.)
Dh&rinl. Ha, how my heart is eager to learn the
oontents of the letter ! I would learn, after the news of
the health of my father-in-law, how my son Yasumitra
has been doing. Surely the commander has put a very
heavy duty on my son.
King. (Sits down and reads) May fortune attend
thee! From the sacrificial enclosure, the commander-in*
chief Puspamitra sends this mesage to his long-lived
son Agnimitra who is in the Vidisa country, affection¬
ately embracing him : be it known to thoe : I, having
been consecrated for the Rajasuya sacrifice, let loose a
horse, free from all restraint, which was to be brought
back at the end of a year, and appointed Vasumitra as
its defender, girt round by a hundred princes ; the same
horse "while wandering on the right bank of the Indus,
was claimed by a cavalry squadron of the Yavanas.
Thereafter ensued a fierce: struggle between the two
armies.
( Dharini wears an expression', of despondency. )
King. How could it be so ? ( Reads the rest of the
letter.)
And then Vasumitra, the mighty bowman,
having repulsed his foemen, brought back my
excellent horse which was being forcibly carried.
off by them. (15)
 ttlftoff—awwar 5> ftarw i [
Hraferftr J( | ]
^*T3IT ( wfil | ) #5fJ»?pfhi3pj^ *W{: (ffioj
sraremtfi «n& i af&iWuiHHW fowiMwi *wm
W3|3pr Hr ^WrqRSrlWfftfrl |
—argqtfaisfito |
qrforcflter—ftwr g5rflraiuraR?tfr«i5?r I (fcff fMtai)
*ra?fa ^Rifrat wwnrt wrftar gf* i
(HmWg'frra: n ?* n
—ctft arg»i?t i [ *rafit
TOggTSRJI fMd^fl^dT *RB ot I J
^TTSTI—^aiR «a$ qjwRrtgiR: i

TOTOIT *mW3I**Rnr
ftrow ;tt frowns^ i
snwwa^-
n ?»11
fT^T—%**? g^t # i
<FPgqft—q^urmfo ffr: i [ ]
—3rai%R ^ HT«tftagst<JT 3f^iR g?r?F
fiarara^RT IGNfcffc i [ sprcft ’ps®
g^rof g«rei firswraiR ftfog i ]
^Jnfhnft—fif | [ a«n i ] ( i)
vrrftoft—gfe ?ra i [ <jft i ]
gfrgift—( nftfoiR ) *ajfo[ [ rrefei I ]
 'WTSf: [

Dharinl. Now, that relieves my heart.

King. ( Reads the rest of the letter.) So that now
I will offer a sacrifice, having, had my horse brought,
back to me by my grandson, oven as Ansumat brought
back the horse to Sagara. So, now, dismissing anger
from your mind, you must forthwith come with my
daughter-in-law to witness the sacrifice.
King. I am indeed favoured.
ParivrSjika, I congratulate tho couple on the vic¬
tory of their son. ( Looking at the queen )
By your husband you have been established
in the commendable position of the foremost of
the wives of heroes; but it is your son that gives
you the title of the mother of heroes. (16 )
Vidusaka. Your highness, I am well pleased that
the son takes after his father.
King. Maudgalya, indeed, the young elephant has
imitated the leader of the herd.
Chamberlain.
Not even by such great display of valour does
he produce astonishment in our minds, whose
irresistible and lofty source yon are as (the sage)
Aurva is of the fire that consumes water. (17)
King. MaudgalyS, let all prisoners including the
brother-in-law of Yajnasena, be set at liberty.
Chamberlain. As the king commands. (Exit)
Dharinl. Jayasena, go and give the news of my
son’s victory to Iravatl and other ladies of the harem.
Door-keeper. As the queen orders. ( She sets off)
Dharinl. Come here a moment.
Door-keeper. ( Turning hack ) Here I am
 J
—(aRiftPR.) 3 *i^ areteRtfgfitart^ qfemns
HTSlWiq % ardajoi ar frftfcar Hf qaiotoj fflqft
ajgdlfe I fSR i fl'MIMj °T qR«tQf3N% I C q^wV
KR afinmi tnsftsft aqwt arfMri =q fJfor *w
^yunKiiggqq—ott5 spiui i]
^ *#>tt anqftfl: i (iftt ftwewt p: sfaa i)
{vijifar g-#f3f<^r arforerqft&tim at^im ajprcoiro
?3roitP3jBf^E q^tti i [ ’FEteqromfa i «if^r g*-
ismsprorot <<*w*aqifer sT?m]
? <^m—ft ^ atHjfaf I g arcuoft frig j?c ar qst
af^aft | [forararfu R3aNK«[«i8TJTO%qts*g^?:|]
jftrtgtft (*wfawO—*rftf<*t i srca
^ ?1 ^ftq q^qtfiq 35 qat°i gsqtf^fa* or amp
q>!5 [ fastrcqft i aeir aig %»ns wwsn-
^ 5?=^r swreiffcra h gsqfcwRi^fiiRi | ]
—ww$ 3^ aigwmp aragn^qr
ggqflqrfa? a?aarafrcs qnsfaar qfeqftj | [ *mafir
mrgarar ?ssiwn%HfiRi wro*nfan*rp#g3RJi ma-
q a fret Hfanrefflgq. i]
qi^mstor—fafoaiw: $mai% |
qTftaft—(wsfasf 5# q*Nr i) arsra^r ?* ftarftfoun-
qif^lffcai qrS'sgj i [ an%* ?i

qrftgtflaj Kcft^a i ]
(trar atf}* 3iton& I )
—(sfeRm) ft h apareat i
[ mrfgq: i ]
 [w
Dh&ripl. ( Aside ) Tell Irivatl from me what pro¬
mise I made to Malavikfc at the time I appointed her to
perform the oeremony of fulfilling the longing of the
Aaokft, and tell her also of her noble birth, and entreat
her that she should not cause me to deviate from truth.

Door-keeper. As the queen commands. (Going

owl and again returning) Queen, look, I have indeed
become a jewelled oasket to hold the ornaments (presen¬
ted to me) by the ladies of the harem who have been
uniformly gratified at the triumph of your son.
DhSrinl. What is there to astonish us in this ? For
this triumph is as much theirs as mine.

Door-keeper. (Aside ) Queen, IrSvatl says ; quite

befitting is the promise whioh,all powerful that you are,
you have already made and it should not be changed.

Dhflrinl. Revered lady, with your consent I desire

to bestow MSlavikS on my husband, for whom she was
originally destined by the noble Sumati.

Parivr&jikS. Now, too, you have full power over her.

Dhirini. ( Taking hold of MGlavika's hand.) Let

my husband accept this present as a fitting reward for
the good news he has brought me.

( The king remains silent and abashed.)

Dharinf. ( Smilingly) Would my husband now

repulse me ?
11
 —i*fi s# fi or# ®ri-
[ *Rfa oj* s^wRfR: «4fsft ^ wmr-
# *R*ftfll i ]
(KRI I )
^ft^re:—>nafiR arawrqftin-
tff *«»fi [ *PRT f#4ta*4.i «T8ftW*R*RT^
ufiunffafasaRr i ]
V^nfNt—<*5R tfsrefffclR arf|#ui <*aj fit#
| fii goi#ot I [ tJSRtrr SERfftwi Rfosi#*
#ts$ #taR: I ft tpnftft | ]
»h <rfiwTfir«r—wtta»u
aprowiRy *fanflK4<y« i
smrcfo swmft * ft u \c n
tftftuft—*>fid$*RRO I apg^ajtOT^sru^oi |
sfar^ot »i*01 3$ ?R <*#armW l [*rf-
3*»5 «t|# I apgswRT JPBJJT ^ aftan | an# ir*g i
w sfteigq?* I ]
SRffttft—ar tsfi# anofifi I (tfit Owsr m<W <i<>hi
?3p: Jtfaw I ) t^ I [ qftftnwruiRl I 03^1 ]
qrftgft—(<trwfoii»Rg»ag) eafir ar^3€> |
[ w4>m4a<>t wft*aa I ]
«.*rar—sp«@igsn?ji^RT «rc»*. i
llRlfiil—I*® BM'ASMI I
ft^Tv:—arir arggreRr i [# %*m atgfggi i]
W ( qtfluft ttftawn&MRRl i)
qftjR: <nt5fr«3fctt )-5r5 t#>ft I [ang^i ]
 »W*irsf* [ wi
Vidus aka. Lady.it is oommonly observed that every
new bridegroom is overcome with bashfulness.

( The king looks at the Vidu&aka. )

Vidusaka. Or perhaps his highness would accept

her after the queen will have honoured her with the
title of Queen.

DhSrinl. Her very royal birth itself entitles her to

that honour. Where is the me of repetition ?
ParivrajikS. Hay. not so.
Even though sprung from a mine, yet a jewel,
0 noble lady, is not worthy of union with gold
until it is polished. (18)

DhSrinl. Pardon me, revered lady, that I should

have forgotten, owing to the news of the victory ; go,
Jayasena, and bring her quick a silken veil.

Door-keeper. As the queen commands. ( She goes

out and returns with a silken veil.) Here it is, queen.
DhSrinl. (Investing Malavika with the veil. ) Let
my husband now receive her.
King. Queen, your order leaves me no reply to make.
ParivrajikS. 0 joy ! She is accepted.
Vidusaka. Dear me, how very graftious is the queen.

(Dharini looks at her attendants.)

Attendants, (Advancing towards Malavika.)
Victory to the queen !
W]

('*tM5 qf^nrf ftWifir I)

?*VTftmfasr—%afara frafa I fct: i

sfarctonfa <rfsr ^t^^rst: *n«*r: i

3RTHR?Tt 51<nfa T? *Tg5*U: JTT'R^fsvr^ || $ <ui
Rgforai (aft*f)—^|*r?i i ?{rq<0 ftoo^ft st5t%
35T3fi*rfSs$<ii fosraraisrq or qq jr^ojr •313355 arcstf^ (
^€*q? gooriroTHSOI ^lt“IT 3T5 ft TOI^ttor ft givrraf?-
sen% | [ ora§ q?ft i wratft fqqimfci i q«n ft grraro-
fci*ft,n prow 3 qqr *r#t3^5oraftrm. i sima 3^-
5*wk»te *ntf 3T?nft sraRtn^i wnoPrawn sfir ]
snftoft—ftidoio ar^e mq a^r %ft| spsram
srrfiRflft i [ ftsfaft; 3pwo freor: %ftgwr4^i
qqrreofa i ]
fo^furer—* Vft anoftft I [ otsoramofir i ] (qfa
fSp^rai i)
? q<rffarfa*T—ergugsri qrqwpfo ■rafap? nnre&r
«qT3rft3fq*@rft o^«l ?ra tot?: |
snf^oft—qapift nipaift q/^3 | [mrarfir ra 35-
?VTCqH MftWgH. I ]
qHTT—qs(ftq %ira eramracr eqigft^q ^pmrrar-
esrarfoir qrafa«qfa 1
\ <i*Tftmi%«ET—3^: %|ra q*qrqq arra: 1
qiftoft—arroiqj ars^g^i ft; ^jratft fair argftrsrfl} 1
[ «rrarmfqi%q: ft ^rsft fimaRigifr 1 ]
R?*T=TT—ftjqra: qwiq ftqqfts 1 raqi<fftq*g 1
 •Hffltef: [ W*
( Dharixii looks towards the Parivrajika. )

Parivrajika. That is not surprising in you; for

good woman, who. are devoted to their hus¬
bands,serve them even by making rivals to them¬
selves, as rivers take hundreds of streams along
with them to the sea. (19 )

( Entering)

Nipunika. Viotory to the King ! Iravatl makes the

following request: I have offended my lord by failing to
show him courtesy and acted contrary to his wishes.
But now that my lord has obtained his wish, he should
honour me only by showing me his favour.
Dharinl. Nipunika, my husband will surely see his
way to grant her request.
NipunikS. As the queen commands. ( Exit.)
Parivrajika. King, I now desire to pay my respects
to Madhavasena, who has obtained his object by becom¬
ing your relation, if you favour me.
Dharinl. Revered lady, it is not proper for you to
leave us.
King. Revered lady, I will send in my letters to
him your complimentary messages.
Parivrajika. Your kindness makes me your depen¬
dent.
Dharinl. Let my husband command what further
service I can render him.-
King. What could be dearer than this ? But let
this also be mine—
 nsnvinim

( vHcWI+^H. I)
?? 5r srei^spft »rcr faw-
*rai#r fq% srft^sjicft: i
flWlWftftffrflPPift JRRt
*ftfft% ?r faaft snfirfat ii R° it
[ tfii ftwpwn: a* l ]

ii tft wftsf: it
 (Benediction)
Do thou, Ob angry one, ever look upon me
with a propitious countenance; so much do I
desire in the interest of thy rivaL For as long as
Agnimitra is the protector, there will not be a
blessing such as the removal of any calamity,
whioh my subjeots will not secure. (20)

(Exeunt Onnet)

Here Ends the Fifth Act.

 NOTES.
—o—

ACT I.

From the Natyasastra we learn that before the

commencement of a drama, an elaborate aeries of
preliminaries.( ) had to be performed, consisting
chiefly of the which would announce the begin¬
ning of the performance, the when the musicians
enter and take their places, the when the chorus
try their voices, and the enw*T when the musicians try
their instruments, and so on up to Nandi. All these
preliminaries are performed by the who then
leaves the stage, and his place is immediately taken by
another similar person called who introduces the
play to the audience. This elaborate practice was,
however, given up later on, and we find that the
alone performed both the functions of the preliminaries
and of the prologue. ( Vide fajsw’s ). Cf.
I af^r «iMi<rwipft«R: I
*1# *r gtf aiswaift ar 11 w. in
m

I. 1. In this benedictory verse, god Siva is first

praised in terms of apparent contradiction, and then is
170] MALAVIKAGNIMITRA [L 1-
invoked to favour the audience with the inward vision
of spiritual knowledge, which would remove all darkness
of ignorance and make them see the Right Path clearly.
He is. for instance, the Lord of this universe, establi¬
shed in absolute supremacy, and yet what he wears is
just an elephant-hide! Lesser beings than Him, enjoy¬
ing inferior glory of kingship are seen to be strutting
about in fine robes and splendid costumes and thus
offer a great contrast to this wearer of elephant-skin,
the supreme Lord of this Universe. * He stands
foremost of all sages who have removed their
minds from all sense-pleasures and therefore would
avoid all contact with women and yet in Him we find
woman forming the counter-part, the complement of
his body! He is manifested in this world in eight
forms with which He supports the Universe; for this
however, He feels within Him not the slightest tinge
of vanity! The only explanation for this contradiction
is that He is not to be judged by the existing standards
with which we judge men, since He is far too divine
and spiritual to be weighed in human balance.

*£%^9...«ryi5%-Fixed or established in absolute

supermacy, calculated to yield a great many rewards or
blessings to tlfe devotees (SfflRT ). or supremacy is
endowed by the possession of eight-fold supernatural
powers, known as Siddhis. They are :—srt&RTT snfiU
arena* i ^ ^ u (1) arfa*rr,
the power of assuming a minute form of the size of an
-LI] NOTES 1171
atom, (2) srflnn, the power of reducing the weight of
the body to the minimum, (8) gift: the power of get^
ting everything, (4) srnn*g, irresistible strength of will,
(6) gftgl, the power of magnifying the body, (6)
Lordship, Majesty, (7)gftrcg,power of curbing the senses,
and (8) «Wnrcnfitar-power of satisfying one’s desires.

I. ( the skin, hide ) W ^‘.-Hav¬

ing the elephantrBkin as his garment, god Siva is fre¬
quently represented as being fond of wearing an ele¬
phant-skin. Cf. | L 38-
Also, =* l and
jfsgift gr n jut* V, 67, 78.
There is another reading 3PKH£6H:, whioh
too is not bad. It would mean, * established in i. e.
possessed of one sovereignty and yet conferring many
blessings etc.5 the contrast being in and
«TSrn...^[:-^Rrin W *r: I He who has
his beloved viz. Pirvatl blended within his body. God
Siva is often represented in his form of
wherein his better half is not put off from his body,
but forms a literally fitting complement of it! g srft-
Thus he stands in ascetic excellence far
ahead ( jronct) of all these Yogi ns or sages who have
completely detached their minds from all objects of
the senses.
fluron W sift aiflg-
glftl *Rtl% —whose minds are dissociated from
172] MALAYIKAGNJMITRA [1.1-
the sense-objects. The reading 'TOftKt is also good.
It means ‘ beyond, higher than.’ s?^fa...snftCTR:-The
eight forms of god Siva through which he manifests
himself for supporting this universe are-earth, water,
fire, air, ether, the sun, the moon and the saorificer.
r «

They are referred to in the N&ndt of SSkuntalam, an €fe:

etc. Also $UN VI. 26 fafot tt ^TTsri sr %
wni i sig g^r: l< where Siva him¬
self speaks of his eight forms solely intended for the
weal of the world. He has, therefore, the epithet of
aiBgfcf. Even with such a big task which he achieves.
He had not the slightest feeling of pride ( arfotTR ), feel¬
ing which is too commonly met with among men who
would accomplish comparatively trivial and insignificant
parposes. ^F*nrfr...rft^r:-May that Lord (|$r) remove
your mental outlook of utter ignorance or illusion with
the light of wisdom, and enable you to see the right path
(flpgrf) of liberation. gwCf gf?r = ffag |
cWg according to the philosophy, is one of the
three Gunas viz. STW, and cWg. flr* is explained as
virtue, purity, goodness; is explained as dust, mist,
passion or movement; and ewg means darkness or igno¬
rance and is of endless variety, such as disgust, misery,
sloth, drowsiness, intoxication, etc. A state of mind
in which cWg preponderates is therefore opposed to vir¬
tue, purity and knowledge, and hence it musfc be done
away with, before true vision dawns in the mind.
I. 1. 1. * At the end of the NSndl or bene¬
diction.’ The verse, explained above, constitutes the
-1.1.1] [173
Nandi, which is defined thus Wfi: «isjn5-
i. e ‘ a verse or verses of the form of a salutation
or a benediction and suggestive of the story of the
drama.’ It is called efaft because by the praise which
it contains it is a source of delight to the gods. Of.
^cTT *m\ ^f&TT 1 Its another charar
cteristic of suggesting the story of the drama has led
commentators into ingenious attempts to iinfl out fax*'
tastic allusions to the main elements or incidents of the
drama. Our commentator also suggests that
epithets like SWWy&S, etc. refer to a king, while
the expression may allude to the long
cherished union with the object of his love, and the
word in tfsgpftdteRTO points to a particular kind of
acting. Cf. 3T3T

aiw sforrcicT i
5TW I
53fWI^:—The principal stage-manager who arranges
the oast of characters, instructs them in their different
rules, and is thus responsible for the successful perfor¬
mance of the drama “ The threads of which he holds
in his hands, as it were. ” According to he
must have the following accomplishments;—

i*rc«r: it wm5fsi#Rn ^ 1 gwfts-

11
174 ] MALAVIKAGNIMITRA [ 1.1.2-

I. 1. *2. *nfta:—A principal actor in the drama,

the same as who serves as an assistant to the
flpWW, and therefore addresses him as *TW i. e. sir, your
honour. Ordinarily it means “ A learned or venerable
man.’* Towards the curtain. The word
js used in a variety of meanings. It means
( 1 ) Dress or costume, particularly that of an actor,
and is used in this sense in our drama Cf.
«nsr$[: SfWtsg \ Actl. (2 )The tiring room where
the actors dress themselves, ( which is always behind
the curtain) Cf. fact 15TT® I.

I. 1. 6. <rftq^-An assembly, tne audience.

...^ (snrt) ufasr ^ W whose story has
been woven into the plot (of this drama) by Kalidasa.
The word means the story or the subject-matter of
the play. \
A drama composed with reference to nrsrf^n (the heroine)
and 3fWftRr(the hero); compare the expression

q*Rftc*T2r:-The festivities that hailed the advent of

spring were formerly celebrated on the full-moon day
of the month of Caitra. They were marked with great
hilarity and baisterousness, men and women equally
taking part in these celebrations. For these descrip¬
tions see Act I. On such occasions, dramatic
performances were also exhibited in competitive tests,
and merit was rewarded by means of prizes. These
festivities now take place on the full-moon day of the
Sipnth of PhfLlguna, and are identified with Holi cele-
-1.2] NOTES [175

Tbrations. ^nfcreiT-Music; triple symphony, singing be¬

ing accompanied by instrumental music and dancing.
Cf sd <wrr mt i
I. 1. 8. slf^RT etc. The *nft<TTf?r3 strikes a discordant
note of difference, when he says that compared to the
work of famous writers like *rrer, and the
work of a modern playwright will not catch the people’s
imagination. People generally have a tendency to
praise things of the past, while deprecating the present
ones. A budding writer, therefore, of the present age,
not yet known to the people by his writings, has few
chances of securing the people’s approval in face of the
works of the well-known dramatists of the past. About
and we have very little information. Re¬
garding *TRT, however, there has been lately a keen con¬
troversy as to whether he should be looked upon as the
author of those thirteen plays published in Trivandrum
Series by T. Ganapati Shastri.
I. 1. 9. 4cinM«bfa-A living poet- a poet belonging
to the present age. f%JTT-work, composition, writing.
Cf. I I. 2.
ftsn^cT^-Thoughtless, unreasonable, literally-4 from
which reason has retired. ’ fatfRT: 31&T3. |

I. 2. The Sutradhara repudiates the q7ft*TT$fa’s

suggestion that the audience may not favour the work
of because he happens to be their contemporary.
The people assembled here are all good critics and know
how to judge of the merits of the play, after a thorough
1T6 ] MALAVIKAGNIMITBA [L 2

examination of its features, good or bad. They will

thus, independently and with a clear, unbiased mind,
examine this work, and in it they will not be swayed
away by the convictions of others. In their eyes, there¬
fore, just as age is no favourable feature,of a work,
similarly its modernity also is no demerit or a disquali¬
fication. Of. *RT: I etc. I*
10. awspj-Fit to be condemned, censurable <R... JT*-
gcgSfcr 5teT whose judgment is guided by the
convictions of others.

I. 2.1. afpfftwi:-Respected or revered sir. ft* is

an honorific suffix, always used 4in the plural. It is
addressed to the spwr* and not to the audience as sug¬
gested by some. here accepts the authoritative
judgment of his superior, in a matter that had made-
him anxious regarding the success of the play they
were going to enact.

I. 3. The asks him to expedite and make a

beginning for the drama, because he is very much eager
to execute the order of the spectators, received by him
already with#a bowed head (ftwi). And he compares his
eagerness to that of the queen’s maid-servant, who
appears to be so keen on doing her servioe (ifWHfcr) and
is coming thither. Very cleverly has the poet linked
up the prologue with the interlude of the main action,
having introduced the character that comes on the
scene immediately.
-1.8] NOTES [177
Here ends the Sftcnq^T or the Prologue called also
siFjqr. which generally consists of an introductory dia¬
logue between the and or one of the actors.
After giving an account of the author and his qualifica¬
tions it introduces the incidents of the drama. Cf.
g5psntr 5f£r *n$ qw aroqT*
ipsPff 1srenqqr qr ii. III 8. Also *£t qift qrftqi^
trq qr 1 g5P*ft«r *!%TT: ^31* m II W>lglA:
i eng# ag qiwn srerwnfo qr 11 Of the
JJWRdf, there are three varieties, according to qSFSTO (or
five according to STfltcqqfo) of which SfifanTfaW or Parti¬
cular Presentation is one in which a character is intro¬
duced by a remark of the stage-manager.
qspsTRstfmcT: I qm'Nlt q*q mi II \ II Thus the
5RqTqqT of our drama also is of the S^PnftTCRT type.

Next is a °r ai^ interlude in which we have

a conversation first between the two maids of queen
Dharini and then between one of them and twqiu, the
teacher of dancing. It tells us that a certain beautiful
girl by name grsffoT was sent as a present to the queen
snfitft by her brother that she was given in the
charge of the teacher <iuiqi3 for being trained in the art
of dancing; that by chance she was observed in a pic¬
ture by the king who was greatly impressed by her
charms; and that hence the jealous queen is scrupulously
guarding her from the king's observation. Incidentally
it refers to a ring with the seal of a serpent engraved
■

on it, which plays an important part in Act IV.

12
178] MALAVIKAGNIMITRA [1.3.7-

I. 3. 7. The wfaft dance in which

instruction was given recently. The Prakrit ajgjj can
also be translated in Sanskrit by the word SffTT,and then
the expression srf%JC3iuSt«^r woulr1 mean * lessons in
which had commenced recently/ read also as
9f&?T in some editions, is a variety of dancing in which
the dancer, while acting the part of another, gives ex¬
pression thereby to her own sentiments. Cf. cf^cf^l&cl
*T«T | 1) eRffor-
About, with regard to ; it always governs the Accusa¬
tive. *TI**fa$T-how fares; how far srraffor
has progressed. 4Hfic!3ll<Ar. The concert-hall.

I. 3. 13. Why this seriousness or

gravity \ means a serious mood of mind when the
person is lost to all sense of what is passing around.
Cf. tfr wm, I *n \ and
also fofaafofirft *rt pji 1.22.
$taiwr I eu%rei ^i^Y.

I. 3. 18. %ft<R-A goldsmith, ah artisan. sTFTg^T-

SFTO-Possessed of a serpent-seal. The word cttw ori¬
ginally meaning “ with a lord or protector 11 retains
only the sen$e of ‘ with \ cwMkW ssaraFTW
| SETT •» I. feRW ftsSHRft-Observing closely
or intently. I fell under your reproof;
I exposed myself to a taunt from you.

I. 3. 22. It is but proper ”. ^rarfcf ?H:-The

eyes get fixed or rivetted. The ring with
-L3.46.] NOTES [179

its up-shooting rays appearing like filaments.

^ * Fulllof blossoms ; flowered ;the derivative
is obtained, by the addition of the termination {ft? in
the sense of I or «p*<dh
l The extremity oi the hand; the palm. The
idea of the sentence is that the rays which have shot
forth from the .ring, and which appear like the filaments
of a blossom, have made it appear that the palm of the
hand has flowered as it were*

I. 8. 80. ftjfr...enft-Even when she was kept away

by such an engagement. If in the queen’s attendance,
it would have been easy for the king to see her. She
was, however removed from the queen by her present
employment as a student of dancing in the charge of
TOglg, and yet the king sees her! The reading ftw in¬
stead of is certainly preferable. SET f%&qr gsft-' It
is rumoured that she was observed by the king eto.f
Then the reply with the particle of assent, 3T ‘yes’
fits in very well. I. 3. 31. <rr£*T5T:-By the side. g spt:
4That person/ refers to *Tl«$(tol. I. 3. 36. frsrenarT—A
picture-hall. 5RgU...fe^sTT-The drawing of the picture
shining with freshly-laid lours. The word
means 4 sketch or drawing Of ggifa cftgr 5iT3«q
I VI. 14. I. 3. 41. OTTO-The customary
obeisance or homage. Cf. jpjqftcnglft g % grgl«f?gT*gif% |
gn® III. 18. engWgftgTWl-standing close ( to her ).

I. 3. 46. anjjd-Extraordinary, uncommon V. L.

afrfsqT- of uncommon charms ’ is certainly better. I.
100 ] MiLAVIKAGKlMlTRA [I. 3. 4S-

8* 48. «|$RtMhr-A distinguished form ; a form possess¬

ed of extraordinary loveliness, enqft: ^(tft-Res-
pect finds access, enters. I. 3. 61. wrsfift^rsr^r:—
Whose words Were ignored or connived at. srf$TRf:—
Suspicions. importune, to ask again and
again. Cf. 'fiwfter I
XIV. 82. snjfti-A sister’s husband; brother-in-law.
I 1.3.66. ^iswn?W*r~Quite proper
or suited to her child-like nature, a mere child*
was not expected to know why her jealous sister, Queen
Ulftoft, was refusing to reply to tire Sing’s question. I. ,3,
68. frflvR^-With special effort. f&r...*$Uct-she is being
safely kept away from the king’s sight who has already-
taken a fancy for her, merely by observing her picture.
Xhe Queen is, therefore, guarding her from his sight to
avoid further complications. J. 3. 60. Mu-Errand,
task. 1.3.68. ene^-Granted, admitting, ufef..
Everyone thinks.highly of the lore ( fWftOT ) which he
has inherited. The profession of the family is always
highly valued, and one would always have nothing
but praise for it in preference to all others. In ancient
days in India, trades and professions were handed down,
amongst families from one generation to another,and no
body, therefor#, even thought of giving up his legacy
for which he had all respect and feelings of sanctity.

I. 3. 69. U JU..Ganadasa says that he, too*

has a high regard for the art of dancing and dramaturgyr
not merely because it happens to be his hereditary lore,
 -I.*l [ in
because of its intrinsic value and utility. His re¬
spect and admiration for this science is not
undeserving, but is fully justified by the high merits of
the science.

I* 4« The verse describes the merits of Nfcfya, »ts

divine association and its great utility as the highest
form of reoreation for diverse people, frJmd.. .‘VTlfflU
Oonstrue-^R ^ (snai) hwt «i*d tnjt WJWHriSfr I Wise
men look upon the NStya as a sacrifice which is pleas¬
ing to the eyes of the gods. Every human activity
should have, besides its secular purpose, a religious
purpose also. All sciences and lores have been associated
with the final spiritual goal of man, knowledge thereof
being conduoive to it. Similarly, this soienoe of dancing
and histrionics has also a religious element in it. It is a
form of worship of the Gods, & veritable sacrifice, more
charming and delightful to their eyes than a real sacrifice
where the sight of poor innocent animals being bu¬
tchered is certainly disgusting. Uffi-^qwg^-Viaual,
optical, to be experienced by the eye. WRT-Delightfui,
pleasing. Mr. Pandit observes that “ the epithets VT7&
and jg 1 lovely and agreeable for the eye to see ’
doubtless are intended to imply that the spj proper was
neither WRT nor ^ijg, and refer us to a time when ani¬
mal sacrifice had come to be regarded with disfavour,
as being horrid and disagreeable to the eye | a time,
that is to say, when Buddhistic ideas of the Vedic
sacrifice predominated.’' The idea of looking upon snug
182] MALAVIKAGNIMITBA |L4-
as a form of sacrifice has its origin in the belief that
this science has been evolved out of the essential portiogos
of the four Vedas, •which teach sacrifice. Cf. 4 MUM
-uyfwM laufruflfci i UKftwrift
*rof(5l I ^hwnfanl | ereu-
TOftit ii draw sufy ►
eiafty atwfc ugfoiywfcwM. ii;smr^ qianqflui^ WtaSl*
* I ejpewUH'ii 11 ureiMt *«i<*wi ►
*HH«I Mini wffefliyw n . ,^r. This line speaks
of the saored association of stt^T with god Siva, the pri¬
mordial dancer. The dual manifestation of the God,
with the male part combined with the female one
( already referred to in I. 1) Represents the two-fold as¬
pect of dancing viz. 5R3T * the graceful dancing1 and
OTTO? * the rough and violent form of danoing ' of which
God Siva is very much fond. He has thus divided OT2?
into two parts in his own person which is blended with
that of Uma or Parvatl. 3WT.. ( fcr^h ) OTOT f*r:
OT%^-His own body which is united
with that of ParvatT. The word TOfSfa* means ‘ Union \
Cf. ig^TOOTTOeii^a^^^gt | ?| yrqfo \ ?:
I dts? ftorfct %?cri$5|g: jot: ii from
%JTOt.. .OT^V-People behave, actuated by
various motives and sentiments, good or bad, sinful or
otherwise. All these tendencies of the mind aie a result
of the three-fold division of the Sattva, Rajas and
Tamas, elements or portions of which enter into the
mental and physioal constitution of man and shape his
thought, action and speech, life is thus varied, on account
-I. 6 ] NOTES [ 183

of these various feelings and passions prompting man to

act. ^fli^^-characterised by various sentiments.
are nine, including I
*iz^ wis Wi! i ffifo wiflmijlsfta sn»q>s
ft sra^r w ii
5n2$...tMKHW*(. Yet*even in this diversity of life
and difference of tastes which people betray, the Nstya
or the dramatic representation is found invariably to be
the one form of recreation in which all people take de¬
light and find pleasure. Drama is a picture of life and
therefore all people of diverse tastes find this as a high¬
ly delightful entertainment which appeals to their heart.
[Swsfo-ftnm ^HftS-Possessed of different tastes. Of.
T ?PT*=ft * 3gr fimsftfl | VI.30.

I. 4. 6. Does not trouble you much. A

dull pupil is always a source of great worry and trouble
bo the teacher who is required to explain a lot before
the lesson he teaches penetrates his brain.

I. 4. 6. Highly efficient or skilful. The

skill is manifested in the practical aspect of dancing,
the theory of which is first taught and then the pupil
is required to exhibit the theoretical lessons in actual
dancing, where graceful and perfeot movement would
count for efficiency. Irerftift. Intelligent; quick to
understand ; clever. f% wpT. Why say more ? In short.

I. 5. ?ilRN>. A graceful movement or gesture, cal¬

culated to express a certain feeling or sentiment (*rw )
184 ] MALANIRAGNIMITBA [ I. 5-

He means to say “ In acting (stfpftraft ) whatever

movement, which brings out the sentiment within, I
teach to her, she does it to perfection; nay, she im¬
proves upon it; and thus it appears that she teaches
me in return as to how best it should be done. My
lessons fall far short of the aotual exhibition on her
part, and I feel that I learn much from her in that art.”
improving upon ( the lesson taught to
her ). I. 6. 3 Surpassing, excelling.
is one of the wives of king etAPw. She was also taking
lessons in dancing from the teacher. $3TtJ$-Silccessful;
one who has accomplished her object. Teacher's satis¬
faction is an index of the high success of the pupil.
1.5.6 5rft^T...c«n^r Since .persons of this sort ( )
are difficult to meet with or hard to secure.
f^TT gw; wri-cTT*. i grenj-A worthy person, a
gem. cf. JTOFflt sift ftisqgnsng: 11.6.1.5.11.
3W*-Inferior in caste ; born of a mother
inferior in caste viz. or |pr. swmaj^-A fortress
guarding the frontier of the kingdom. V. L.
wftdAppointed ; kept in command. Some Mss. read
in the place of sv&n|&. We cannot accept
that reading, however, as Wtfcft i. e. the river Ganges
was far away from the country which lay dose to
srftftsr’s territory. 1.5.12 ftrcqiftrofc aNn-Fit to receive
instruction in fine arts, means a fine art or accom¬
plishment. They are 64 in number and include the
arts of music, dancing and acting. iftdl-was sent
as a gift or present.
-1.6. 3 ] NOTES [ 186

I. 5. 14. 8TTf^...5l?araTg;. Being convinced of the

fact that she has an excellent fonn, I imagine that she
Tin.*! elements in her whioh are not at all inferior—
i. e She comes of a high stock or family, the blood of
nobility is in her. literally means ‘element, or
stuff.’ This is a common idea with Sanskrit poets.
Cf. q 5nOTT enffaftfcrer I 1^-
qyaft <n4ft qrqfT3& Sf I jpn* v. 3.6.

I ZTKo IV. «r Wlffo: J’BPOT 1£E®° IX.

The reading ‘Judged by her fair exterior
and modesty’ is also good. I. 6. Construe
301^ l

The teacher’s ( SJWJ:) skill imparted to a worthier pu-

"pil attains greater excellence ( JplRR^ ). A good pupil
would always show to a greater advantage the teach¬
ing of his master, which would thus shine brighter
than it did before. It is like the drop of .water from
a cloud falling in a sea-shell in the ocean and transform¬
ing itself into a lustrous pearl. It is a belief that the
water-drops of a shower getting into sea-shells during
the wft turn into pearls. Cf. tiHKgftMTanrfctfr
Wlfa* | I. 6. 3. <raTfiTTfaiiar The five-fold
acting. The oommentator snSftw notes the five vari¬
eties of acting which are:-sjTT, and tffa. Some
take it to mean‘the five-limb movement* or actingin which
the five parts of the body viz, the mind, eye, eye-biow,
hands and feet, are employed. . .«Mi«Wdl-sitting
at the window, commanding the view, of the tank.
186 ] MALAVIKAGNIMITRA [ 1.6.8

^WfoT-An artificial tank or lake. ^-A round air-holp

or window, looking like a bull’s eye. ( ). 5JTO-
ifftHWMI-Enjoying the fresh air or the breeze.
ot: ST:—Having got leisure. 5f®T means 1 leisure*.
The Marathi word 3W meaning 1 a holiday ’ comes from
this word.

f^»*W.-It is an explanatory scene, so called

from its concisely expressing (\/ )into a short-
space those subordinate parts of the plot, not enacted
before the audience, but a knowledge of which is quite
essential to the comprehending of the action in the rer
mainder of the play. Of. I
U I. 116. It is thus a
monologue performed by one person, or a dialogue per¬
formed by two or more, of the same or different classes,
according as it is or Cf.
ii or *tt 'n^n^rr I 55;
5 11 Thus we see that only the
middling characters can enact a T^a&WRJ, and again it
may be soliloq y by one character, as in f$Ui3D?N»T, or
a dialogue by two or three, as in or in our
drama. It may occur at the beginning of any of the
acts, even the first, just after the SI^TRRT. Cf. «TT^I
3TT | wRc^
<KT II III. 28-29.

The main scene of the Act opens now,with the king

discussing with his minister the political situation
created by the letter of his neighbour, the king of the
-i. a 12 ] [187
Country of Eelations between erilrfirer and ibis king
had latterly become very strained, had already put
in prison the brother-in-law of this king. Prince
the cousin of the king of had promised a matrimo¬
nial alliance with sffsfrfer, by offering his own sister to
him in marriage, and it was for this purpose that he
was going over to srftf*? with his wife and sister. He
was however seized on the way by the frontier-guard,
and in the scuff?e that ensued, the sister of the
proposed bride of was lost. e?f?lrfa3r, therefore*
demanded the release of his friend and ally
along with his wife and sister. To this demand of his,
the king of has sent the present reply, in which
he first asks him not to interfere with his private affairs
since was his uncle’s son. If, however, taking
his side sriStfhsr would demand his release, then he
would meet his wishes on one condition viz. that arfitfSpt
on his part must set free his brother-in-law, the minis¬
ter of jf}^, who has been kept in prison by him. This
has grfeatly upset erfjrfa^r, who, as we see, dispatches his
forces under the command of the general sfMfcr against
the king, and we hear of the result of this cam¬
paign in the last act of the drama.

I. 6. 11. ...crfcsrsr;-With his attendants stand¬

ing in a corner or at a distance. I. 6.12. Pro¬
poses to do ; says in reply, sriltfasr had demanded in
his former letter the release of The letter which
the minister had in his hand was a reply to his
188 ] MALAVIKAGNIMITRA [1.6. Jft-

letter. He, therefore, wants to know what the ftqp&king

intends to do, in order to meet his demand. Mi-Lit.
belonging to the Icing of the ftol oountry, the
same as modem Berar. I. 6. 14. sn^rftsno^-His own
ruin. He means to say that his reply is so offensive
that it would provoke ejfoftra to declare war against
him and in that oase nothing short of destruction would
be his lot. f^far-The specific reply; the dispatch
actually committed to writing. I. 6. 17.
This is a portion of letter, reproduced for the
purpose of giving a definite reply to the demand con¬
tained in it. Uncle’s son, cousin.
nfitjjfcf: 3ft fT:-who has promised an alliance. SCTffW
—Having been attacked, he was captured or taken
prisoner. iftifcftT-Out of regard for me i. e. etftfaw* if
you oare for my friendly relations with you.
Along with his wife and sister.
qfcpft-CTTH ^ir-Bom from the same womb,
sister.
I. 6. 19. sr sft ftfer-Not that it is not know tp
you; you know it full well. Two negatives give
an affirmative sense. gft sfth I 3pnf3jg*rj...
tre$-Towards #relatives of a common extraction,
who are therefore likely to put forth their claim for
the kingdom, this is the way how kings behave. The
king is trying to justify his action of seizing and
imprisoning his cousin iptfttft, who by this relationship
was likely to prove a menace to his own position and
authority. If, therefore, he has oaptured him and put
-7,7] [ 18&
him in prison, there is nothing wrong about it. In fact,
this is hbw kings are sedn to behave towards their re-
lations, who wanted to thereaten their kingship. The
reading sif%; is accepted by Mr.
Piaadit who understands it to mean the ‘ conduct of
kingp towards kings who belong to the same family
should be like that of the earth i. e. one of perfect im¬
partiality.” What is meant possibly is since both ifiitfipjf
and the king enjoy an equal status as kings ( JSSR-
ftspr), sffttor should not try to heckle him and bring
him to book for certain things which he i. e. the fapS
king has done in his ] own interest. Like the earth tole¬
rant of everything, ;a king ought to be patient and im-
partial. He should stand aloof and should not try to
meddle with the other king’s affairs. I. 6. 20 erdtSST...
Therefore, you i. e. srftfrv should remain neutral
in this affair between me and ’ It is a
dispute between two ■ brothers, and an outsider
like sfflHSrcr should not interfere. The king
censures mildly the conduct of in taking thfe
side of as against him. :-Indifferent, neu¬
tral. irdf fagfa w. | The confusion at the time
of the capture. eWT...3TP6tfl%:-‘'Now if you must secure
the freedom of iTTtFlfbf, then hear my condition/ *TP3R-
would be released by me, only on one condition of
mine i. e. of the king. Note the sense of the par- *
tide * Ifr. srtffcffa: —condition; terms.
I. 7. The verse sets forth the terms of the
king. 4 The release of iTrodsT is dependent upon the
MO 1 MALAYIKiONHilTRA [ 1.7-
Telease of my brother-in-law, the minister of the*
king/ According to some it is a proper name.
If that is not correct and he was the minister of the
king of <n£fajsr, it seems probable that he was im¬
prisoned by srftfifr to prevent him from exciting the
people to rebel against his ( tfftfaf’s ) father jeriSta,
who had murdered the last of the Maurvas, fgzpr, and
usurped his tnrone in his son’s favour. The imprison¬
ment of Jrrarafr, the intended brother-in-law of erfhftar,
by his cousin the king of was only a retaliation
for his brother-in-law’s imprisonment by srfWk?T.:‘ ^RT-
Imprisoned. —A brother-in-law; of. the word
^n*5T. RfatTT-First Future 1st per. sing. ‘I shall release.’
1.7.1, —Exchange of services, 3RfR*Rr:—■
3TTc*TR sf 3THic4<Jl-One who knows not one’s own self,
i. e. a fool, —A natural enemy. By the very
disposition of his territory which is adjacent to me, he
is my-natural enemy. Cf. IT5TT
I cW arftSffchl.ajWRRtf
JJfJp&rfasi: cp^lT^«^Ef§*T: I of® YI. 2, A prince, accor¬
ding to Kautilya, is a and must always cherish
the ambition of becoming a supreme monarch. The
first king to subdue would be his neighbour, and that
king, therefore, by the very situation of his kingdom
is a source of trouble and hence an enemy to the
©having in opposition to me. ancf«l-
f^RT-Standing in the position of an enemy who des¬
erves to be attacked (). Ordinarily, though a
neighbour, and therefore likely to be a danger to arffr-
-i. a 1 ] NOTES [ 191
fSfeT, he need not have been attacked. But now, since
relations of hostility have developed by reason of his
having gone against him (sri^^rrtt ), he i. e. king
must be assailed and subjugated.
The forces or an army headed i. e. com¬
manded by already kept in readiness.
For the purpose of uprooting or extirpating him. I.
7. 6. igWOTTl^-The minister says what the king has
proposed is strictly in conformity with what the science
of politics teaches. Treatises like the 3f*fen5T
were in the curriculum of princes.

I. 8. The minister explains further what the poli¬

tical science would lay down on this point. It says
definitely that an enemy newly installed on the throne
does not enjoy the confidence of his subjects and is there
unstable like a tree newly planted ; and hence he could
be easily uprooted. srf%.. *T:-
who has newly acquired the kingdom. . .c^Tc^. By
reason of his not being firmly established among the
subjects ; with reference to the tree, it would
mean ‘ Not having struck deep root in the soil( 3T3?T%
W-—A. tree that is unstable or loose,
having been freshly planted. g^ -Very easy to
uproot.

I. 8. 1. ^sriiTI-The writers on the science of poli¬

tics. The sentence should be taken in the
imperative sense, or the sense of the future, supplying
Jvrftcqft as the predicate, which the commentator
192 ] MALAYIKiLGNlMITRA [ 1.8. B-

does. ( the general ) be made ready to

act. I. 8. 4. aw*4WR3J-In accordance with the service
which they were rendering to the king.

jester, fun-making, merry fellow, who

enjoys the intimacy of the king, because of his.
constant attendance on him to keep him lively
with his jokes. Very often, we find, however, that be¬
sides thi3 function, he greatly helps the king in his
love-intrigues, by devising methods to bring about
the union of the lovers, as is the case in our
drama, or in and He cornea
now to inform the king of his success in a plan
to give the king an opportunity to see in^ffoT. I.
8. 6 ...f>1^\ OT ST-whose por¬
trait was seen accidentally (arcwu ). I. 8. 11 WK'
—Another counsellor helping in a different
branch of affairs viz. those of love, ( while was an
advisor in politics ). In the third Act he is called
The title «T*fcn%r also ‘a minister of fun* is very
often given to fajw. I. 8. 14
!T!55ft,l»HEro8■W—dMIn visualising a re¬
medy to bring about the desired object viz. the sight
of *TT®f^FT. S^n5^:—The eye of wisdom or imagination..
^l^J-Note the use of the particle which means * I hope’.
I. 8. 15 5W)*Tftn8 What of merely thinking ? I have
progressed much further.“Rather ask me about the succ¬
ess of the enterprise. ” I. 8.17 was too shrewd
to speak of his plans openly. The audience thus are
-I. 10 ] NOTES [ 193

left in the dark about it, though their curiosity in th

matter is very soon satisfied.
I. 8.18 ftjuigq^il^^you have commenced cleverly.
5*.. .**$t-In this venture where success is so difficult to
attain. snw. i We hope for
( success ). Cf. CTtara i 5TTo YU.
I. 9. With all the resources at his disposal, a man,
howsoever powerful, cannot dispense with the help of
a friend in the attainment of an object that is beset
with difficulties ( ). He is like a lamp in dark¬
ness when one cannot see an object, though endowed
with eyes, unless the light of the lamp helps him. The
figure of speech is SBFfiT, complete in all details. 31**...
ft^sar-The particle 3T*wr meaning * enough * is always
used with a gerund or a noun in the instrumental case.
f%+q*^-To brag, boast-3TUTftTC©^Pkl:-A decision as to
who is inferior ( ap^ ) and who is superior ( ).
I. 9. 3 . .WPT-The tree of your fine intrigue
has put forth a blossom. The two teachers quarrelling
clearly show that your plan has succeeded.
This blossom is a precursor of the fruit which also you
will soon see. The reward will be the sight of JflcsfifajT,
which the king will soon get as a result of this quarrel.
I. 10. q*w;...^-Striving to gain victory over the
other. There is another reading qpeTpsrttfqufr-Desiring
to get victory etc. tfr$TT^.. .srtrftyfr. The two dramatic
sentiments, as it were, in bodily form ( ). They
were teachers of acting in which the inner sentiment
13
194 ] MALAVIKAGNIMITRA [ I. 10
is fully Drought out. The poet means that here they
represent the two sentiments, as it were, in bodily form.
L 10, 4. *l3r*fft*n-The king’s greatness or majesty
fills one with awe whioh makes it difficult for one to
approch him.
I. 11. explains his feelings at the sight of the
king. He feels a flutter of excitement in his heart as
he approaches the king even though he is familiar with
him, and the king is always accessible to him. Every
moment, the king changes as it were and appears new
to his eyes, like the restless ocean which is never the
same at any moment. ^...^P^j-oonstrue:—
•T, spnsr ^ q Not that I am not acquainted or familiar
with him i.e. I am familiar with him, nor that he is un¬
approachable i. e. he is approachable. Instead of 3pT*q,
Some read aftsq. 5rf%d-Tremblingly,with a flutter of fear
in the heart, —The ocean changes its as¬
pect every moment, without losing its freshness and
grandeur ; the same is the case with this king who, too,
maintains his dignified majesty and charm, even though
he appears to be changing every moment. An object of
beauty is thus defined by
i Cf.dt dURwf jrf^n i
ii XIII. 5.*for
i it
1.16.gw^Tt —This great lustre in human
form.The king is all splendour that has assumed a human
form. Cf. cfcrcr: | q:
spjs* sppnft ii <* XI. 63.
 -I- 12* 15 ] NOTES [ 195

I. 12. *imm says that by the flood of majestic

splendour he feels he has been pushed back as it were,
even though he is trying to approach the king in the
company of his attendant, after having been duly ad¬
mitted into his presence by the door-keepers,
jA: ?if*r *r:-whose entrance was per¬
mitted by men appointed at the door.
=TC3Hft-An attendant moving about near the throne.
^...d^TTch-which repel the gaze; which dazzle the
eyes. ^T^T^-even though no verbal order forbidding
to enter was given out; without any words of prohibi¬
tion. I. 12. 3. The king himself orders the seats for
the two teachers. This only shows the high regard that
he has for them. gtrq^-At one and the same time;
simultaneous. I. 12. 6. sacred preceptor; a
venerable teacher. 5ns#l*T^for-And I have also given
practical lessons in the art of dancing. -Favour¬
ed, patronised. I. 12. 9. possessed of such
•qualifications viz. a pupil of no ordinary teacher, hav¬
ing good experience of teaching the theory and the
Art, and in addition enjoying the patronage of Your
Majesty. si^RJ^q-Prominent courtiers, principal per¬
sonalities. 3rfe%H:-was insulted, ufar <Tfar^R:-began
abusing me. means * censrure, abuse. * qc«RJ-a
puddle, f^fjj-should examine. mf^»:-A dis¬
cerning judge; a critical examiner who would under¬
stand the difference in merit of the two. I. 12. 14. frmf
stfNricpr-very well suggested ; a fair proposal that. I. 12.
16. sr*R: q^q:-A capital idea; an excellent (swr) alter-
 196 ] M1LAYIKAGNIMITBA [ I. 12. 16-

native. Cf. 3^: iw: i WTo V. I. 12.16. <tojqRT-Partia-

lity, favouritism. If the king alone would decide and
if it happens that the decision is given in favour of
4W1, the king’s^man, the Queen favouring would
naturally suspect it to be a case of partiality.
SJIWSR’.-The conduct of the examination would be just
and fair. Not deviating from justice.
I. 12. 20. sifcTW-the present dispute; the matter under
dispute. I. 12. 22. qfomStar-A female ascetic. 1.12. 24.
fl*WT-struggle, contest. w ^r%-what do you antici¬
pate to be the result ? Who will win ? I. 12. 27.- f^q...
i. Apprehension or fear
about the defeat of your side or party. literally
means ‘ sinking, dropping down, losing/ «r gfet-
5i%5f:-is not inferior to his opponent. Cf. arrafowqi «T
qftftecl Q&n: I \o HI. I. 12. 30. ®^...$tfcf-The fact
that he is patronised by the king brings him into pro¬
minence or gives him a great advantage or superiority
(sraw?f). I. 12. 31. *T*fl...Wfj-just remember that
you too are the recipient ( ¥rfaPr ) of the title of ‘ the
Queen.” If the king’s patronage brings to the
forefront, also will not be lagging behind, since
he has been favoured by you, the Queen.
#

I. 13. If the fire receiving the lustre from the

sun, exhibits the greatest refulgence at night, the moon
too acquires greatness, being favoured by the night,
favoured by tiie King is compared to ajJRy being nourish¬
ed with his lustre by the sun while patronised by the
-I. 14 ] [ 197

Queen, resembles the moon as favoured by the night. If

therefore the moon is eqally brilliant as the fire, there
is no reason to fear will suffer in the oontest.lt is
a belief that the sun Teposes his lustre in the fire at the
end of tiie day. Cf. fcfRt ?fsr: JpWFn I
iv. 1. Commenting upon this, JrffesfTO observes, 1 ?!W:

anf^r: *rw gfarfi ’ 5%: 1.1.13. 2. qt%t or

better still is an interjection meaning ‘help, help,'
used in calling for help in danger. qfeqi^fcT- ‘ A lady
who assists the heroine in securing her lover’.
i

refers to the man who assists the hero in his love-

affairs. Of. fe&rcf =rw jw: |
Com. of erfSftw. We shall see how greatly this qftgnSteT
like TOFrtt in the was instrumental in brin¬
ing about the union of the king and JnsfSfajT. An ascetic
woman, she is greatly cultured and wise, speaking the
Sanskrit language. assigns a definite place to
such woman as a companion or a help-mate of the he¬
roine, styling her as i&T^*RT, and the qualifications she
should have are:— SttSlJ %T SfW sfta: sn*T?wrcwre!3°n

I. 14. The Queen wearing auspicious ornaments

and accompanied by the ascetic appears like the
triad or the collection of the three 'Vedas embodied,
coupled with the spiritual lore.
2PTT rWf eis^n. “Decorated with such dress and ornaments
as she must wear as the wife of a living husband j Cf,
198 ] MALAYIKAGNIMITRA [ L 14

qfwiwgwr.” ffc$l»UI.l& (S.P. Pandit), spft-

The three Vedas areand mifa. *r*n?*nW--The
Upanisadic lore or teaching. The knowledge of ane^ or
i, e. the Supreme soul. Possessed of a bodily
form ( ).

1. 15, The qRgrf^T gives the king a blessing. May

he be lord for hundred years, of the Queen snWt and
of i. 6. the earth, the supporter of the creation.
Two epithets are used to describe both the Queen and
the Earth. - 1 The Queen who has given
birth to a heroic son; qglttK*. ( lit. of great strength,
powerful ) SWf: wn: *TT I . 2 The earth yielding
abundant crops (3TCW) owing to plenty of showers
(3TOITC )• OTWPTT- Possessed of equal forgiveness or
patience. As Pandit observes The epithets are in¬
tended to flatter the Queen, and the blessing that the
king may have none but Dharini and the Earth for his
consorts is doubtless meant to remove from Dharnl’s
mind the remotest suspicion that she ( the Parivrajika )
was or was going to be an abettor of the king’s intri¬
gue. ” It might as well be taken as a hint to the
Queen to be ^broad-minded and forgive the mo¬
mentary breaches of the marital bond on the part
of the king ! For a similar idea Cf. It
fif srcft =* yr^ffcn^ii. *n® III. 16. I.
15.4. ’K.. - A conflict between the two teachers
as to which of them has superior knowledge ( ftgR ).
3nftmf^-The position of a judge or an examiner. 1.15.
-I. IB 18. ] NOTES t 109
6. taunt. The town being near,
would you have a jewel tested in a village ? ” She
means that when the king, so well-versed in all arts, is
available, it is foolish to ask her, an ignorant lady, to
be the judge. The king represents the town, while
she represents the village Cf. <n
wjt i f*riir m *r jrwt
faun T%55Tq5T3T I. 1.15.9. Jr^TOIF-Impartial,
disinterested. jprflql qR’e&^-To measure or gauge our
merit and demerit. I. 15. 12 —Dispute, discus¬
sion. The king proposes forthwith a theoretical disous-
sion to test the knowledge of the teachers. He knew
full well what the plan was, and yet he says this to
avoid rousing any suspicion in the mind of the queen.
I. 15. 13. 5R)*T...lSTTSTlT . The dramatic science is pre¬
eminently a practical science. A theoretical dis¬
cussion, therefore, will not do. verbal dis¬
putation 5 a wrangling in words. I. 15. 17. ITT etc.
This clearly shows that the queen has begun to smell
the plot. I. 15. 18. «r “ The queen should
be pleased not to allow me to suffer defeat from one who
is only my equal in learning. is in no way
superior to me, and yet if I am not given a ohance
by the queen to prove my merit, who is
at best my equal in learning (* SOTRfal) would
certainly assume airs of superiority and insult me.
The queen should therefore allow me to enter into
the contest.’’ The reading 4 st iff am^ffolKTS
*8 given by Mr. Pandit who interprets it thus;-
200 ] MALAVIKAGNIMITRA [ I. 15. 18-

‘1 pray you not to think that 1 may be beaten in the

art of dancing.’ I. 15. 19. ft*wn<T-A fight of two rams.
The likens their contest to a ram-fight which
must be staged by them, if they want to deserve the
wages they get! I. 15. 21. liter: ft:
One who likes quarrels, fond of squabbles. I. 16. 28.
protests against the queen’s allegation saying in
spite of his efforts to the contrary the two teachers will
fight to a finish. The instance he gives is that of an
elephant-fight which would never stop until one of the
two is thoroughly vanquished. Quarrelling
with each other. : ftftTft: 8|^ ft: I ftftftft:-
Silence, peace. I. 15. 24. ^l^*T...sTft-The graceful acting
exhibited in their own person. 1.16.27. ftft..
‘What more should they exhibit to convince us of their
merit ? ’ * What further have these (teachers) to satisfy
us about ?’ Notice again the attitude of the king who
shows as if he is so solicitious to cut short the whole
dispute now, without any further tests, what the
has seen of their acting being taken as suffici¬
ent exhibition of their art. ‘ In reality, of course, the
king only pretends to be indifferent and makes the
qi^pni^sfiT say ^fhat is necessary to judge between the two
disputants.’ I. 15. 28. TO: ftT. Desir¬
ing to speak out. I. 16. The qftmfoftn explains why
she cannot rest satisfied with the performance of the
two teachers alone, but she must see how their pupils
also acquit themselves before she decides in the matter.
l%ST...ftftTT The individual performance of some in the
-1. 16. 10 ] NOTES [ 201
dramatic art is very well done. i. e. some excel as
actors when they act personally, but are not able to
teach others how to act well, fassi. Done properly. Some
read f$rer-‘ Excellent ’. ftwfT-Acting, performance. enc*T-
^-Restricted to one’s own self
individual, personal. *Nnfer., .yKT-while of hers distin¬
guish themselves in transferring their art to their pupils.
Some show superior skill in imparting ( TOifer) that
skill to another. He certainly is the best
teacher who combines in himself both the merits viz.
personal acting and imparting it to his pupil. He des¬
erves to be placed at the head ( ) of all teachers, gfi
lit. at the yoke. ‘Just as the most powerful bull ( ynr )
is chosen from a herd of bulls to be put to the yoke
i. e. chosen for the place of honour, so such a teacher
should be put in front of or given the first place among
all teachers.’ I. 16. 3. —The sum and sub¬
stance, the essence. I. 16. 6. -Dull-witted.
*Tf&?Hn%-Discredits or brings disgrace. I. 16. 9 %fa...qcT.
The king shows as if he agrees with the queen’s objection.
1.16.10. Ganadasa, on the other hand, answers
the queen’s objection. No doubt, a bad pupil discre¬
dits the teacher for no fault of his. But can he not
make a proper choice of his material ? Acceptance
of such a pupil of inferior stuff betrays a want or
dullness of the teacher’s intelligence. 3Rf©4-A bad
material, an inferior stuff i. e. a bad pupil.
Inferiority of intelligence. The sentence is interpreted
by some in another way. “ The improvement ( )
202 ] MALAVIKAGNIMITRA [ I. 16. 10-

of a dull pupil shows the superior talent ( S5T^T=^Nl5ir )

of the teacher ( ), v The word cannot, how¬
ever, bo taken in the sense of i Improvement. * What
means is that there is no harm in judging the
merits of the teachers by the performance of their pu¬
pils. If the pupil selected happens to be inferior,
that should reflect on the teacher, since he could have
acted wisely in making a selection.

I. 10. 14 what to do now? The

queen is chafing inwardly to find that all her attempts
to frustrate the plot of are being foiled by her
own protege Wt?tf-The king’s desire
to see if fulfilled, will only inflame his passion,
or will encourage him for further endeavour.
Wn?[-Stop this vain effort. It is useless to proceed in
the matter and arrange a demonstration in acting. To
the teacher, it does no good, since his position is not
going to be harmed in any way.

I. 16. 19. tries to provoke him further, when

he saw the Queen was dissuading him.
Under the pretext of music. UK.*ft?^inft-The
sweet balls offered as presents to the Goddess of
Learning ( by the inmates of the harem ).
Where defeat is easy. Defeat, vanquishing;
in NySya philosophy, it means ‘ a flaw in argument
or a fault in syllogism by which a disputant is put
down in argument.7sarcastically says to him that
should do well not to carry the dispute further*
-I. 17. 4 ] NOTES [ 203

as the Queen has suggested. It would only endangor

his present comfortable position, where now he can at
least enjoy the delicious presents of his pupil;*. As the
chances of his defeat are greater, he would then lose
everything! I. 16. 21. 3reTOJTfTigr-which the occasion
demands

I. 17. is greatly provoked at the sordid

picture which has drawn of him, and he, there¬
fore, strongly protests against his insinuations. c5®qT...
llF^-of a mail whoputs up with insults, shrinking from
a contest for fear of losing the position which ho has
secured. if? 3:-one who has obtain¬
ed a position. ftft^pTOT-suffering, tolerating.
W^ft-The knowledge of such a man wanting in the
dignity of learning serves only as a moans of livelihood
to him. Ho demeans himself and his knowledge which
he prostitutes for the sake of eking out the bare means
of subsistence. He is thus a huckster, a trafficker
in knowledge, a Bania dealing in the commodity of
learning—a position which, says, he can never
tolerate. I. 17. 3. Lately initiated, recently
given over to you for instruction. The Queen turns to
another objection now. The pupil is raw, having been
very lately put under his charge, and, has had no time
to assimiliate the instruction properly. It is therefore
unfair and unjust (ar^nsar) to ask to give a demon¬
stration. (srcHSsr). 1.17.4. 9RT...i%if«r:-And that is
exactly the reason why I insist on having a practical
204 ] MALA.VIKAGNIMITRA [ I. 17. 4-

demons .ration. The fact that the pupil is new is a

point in my favour, and hence my insistence (AW.).
I. 17. 6. The Queen releases her final shaft. ‘Well then,
let the alone view the exhibition of both. The
other audience is not needed.” This completely upsets
the plan of the and the king who feel that every¬
thing is lost now. however, comes to the rescue
and saves the situation. 1.17. 8. Shr..It is un¬
fair to throw the whole responsibility of decision on me
alone. I admit I am a judge, but I must have some one
to consult before taking any definite decision. Even an
omniscient judge (^4?) may give a wrong judgment, if
he does it alone and unaided/ 1.17.11. f%...q»ltfo-‘Why
do you take me to be asleep, when I am wide awake
to all that is passing round.* The Queen feels thorough¬
ly vanquished in her attempt to stop the exhibition.
Even her own people have gone against her, and this
naturally irritates her. STl^T-in angor, in a pet.

1. 18. —whose face is turned

away. 5nT...T^T:—wives no doubt have a full sway over
their husbands ; yet for getting angry with them, there
must be some reason or justification for it. qjRvretan—
qftqt zrrcft 5!I:. qfi3lT§N>T mildly censures the queen’s
peevish attitude towards the king for which she says she
i. e. the Queen has no reason whatsoever. Women rule
their husbands, but there must be some sense in their
moods and attitudes. 1.18. 4. Fortunately, luckily.
qftqwnsbT under the pretext of resentment, takes
-I. 19. 10 ] NOTES r 205

this opportunity to provoke GanadSsa still more. Her

apparently unjustified anger is a cloak under which, he
says, she wants to save him the ignominy of defeat
Not every learned man is good or skilful in
imparting his knowledge. I. 18. 7. trq ^»T^. This is
how people understand or rather misunderstand. They
think, for instance, that I am an incapable teacher and
am being shielded by the Queen against inpending
and certain defeat, by hook or crook !

I. 19. is greatly enraged at the attitude o£

the Queen and dealares that if he is not allowed to give
a practical demonstration of what he has taught, he
would take it that the Queen has given him up once
for all. fosnsranfcrr-Skill in imparting the instruction in
acting, —Deserted, abandoned, given up. I. 19.
1. *11% Course, alternative. The Queen has to yield
at last and give her consent to the exhibition. I. 19. 4-
qrfadtsR*!. I had entertained doubts when there wa9
no scope for them ( ). qjforsr 3rft>*nrcgi%-In what
particular piece of acting. I. 19. 7. 2iqT...q%T. Note how
the king refuses to give any suggestion, though he has
much to say in the matter. He is thus in a position
to say to the Queen later on ‘ q ^ iri srjqrfT
\ with a shrug of the shoulders,
also hesitates to make any suggestion. 4 There is som
thing hanging heavy on the Queen’s mind, which base
made me afraid. ’ I. 19. 10. Freely, confident¬
ly. I shall certainly have power over my ser-
206 ] MALAVIKAGNIMITRA [ I. 19. 10-

vants, who are at my disposal and will'act as you order.

I. 19. 11. Note the coaxing or the flattering
tone of the idng. ‘ You have power over me as well. ’
It would also mean ‘ you have power over my servants
also. I. 19. 18. The ST&d ( the same as
9

) depending upon four verse quadrants or lines,

is declared to be a very difficult piece to act ( jwta ).
( 5Rn*T ) - The demonstration of one and the
same piece of acting. I. 19. 20. wsff The two parties
or sides ( representing the two .teachers ).
Arrangement. of all the accessories of music.
Will make us start to go ( to the Concert hall ). I. 19.
22. - Opposed to his success. She tries to
explain her position as one who opposed the exhibition1,
right from the beginning. Her opposition was not
prompted by her desire to see defeated. There
were other motives which, of course, she cannot explain.
1. 19. 27. I speak in the capacity or the au¬
thority of one who has been called upon to give a
judgment. For the purpose of revealing
to the view (ernfcqfai ) the graces of all the limbs.
l Wearing thin stage-costumes.
Note the shrewd romantic suggstion of the ParivrSjika,
who by this i/ants to enable the king to observe
at the height of her physical charms, so that at the
very first sight he may be enamoured of her. I. 19.
82. The Queen levels a taunt at the king, before leav¬
ing the place. If he would show such resourcefulness
( ) or gtmius in political affairs, as he has be-
-I. 19. 32 ] NOTES [ 207

trayed in his love-intrigues, he would certainly achieve

wonders.

I. 20. ^t^i-misunderstanding- A
proud lady srra:...*n*n:—Generally men of equal learn¬
ing are envious of one anothers fame. Colleagues are
jealous of each other. q*..
?rqT*n yfrnn-Envy, jealousy, fault-finding ( qlfo-
) I. 20. 2. particle implying joy or surprise.

I. 21 Construe sftART.far
^r...c«n *13$ irrfcn l • The
sound of the drum, resembling the rumble of clouds
has attracted the peacocks who look up with upstret-
ched necks and reply the sound with their own notes.
Thus reverberating,the sound gladdens the mind. sfojET...
f%fa:-5ft*jRTHf cT-%: 3far...fa: | The peacocks
who suspected it to be the thundering ( ^Tl3cT )of clouds.
The peacocks are greatly delighted and begin to dance
and cry at the appearance of the thundering watery
clouds in the sky Cf. %q»U |
srqpner: wfaq ii it® i. 22. 5*-
qrfW*r qT^d \ : 11 I- 44-
-5RT*. | watery cloud. 3&jqT:-
with upturned necks 3^cTT sTt^t Cf, qsftfSfciJTT:
1 tRFaraqiftsft: %*bt \%?n faw:
qjo I. 39. J^W-The drum which received
in reply or was answered by the notes of peacocks.
-Eeverberating, echoing, resounding. Cf.
% l *ro 1. 58. 3q...*q*fon-3q-
206 ] MALAVIKAGNIMITRA [ I. 21-

cP^T | Arising out of i. e. beginning with the middle

tone, set to the middle note. The reading
^tc*TT would mean ‘ in which the middle has gained in
intensity etc.’ *n^?TT-*TT^5TT means the sound of the
drum, and this particular high pitched sound, har¬
monising with the middle note is dear to the peacocks,
for which reason it is called fl^fct-Delights,
maddens. Note the alliteration of the sound if in the
last line. I. 21. 1. tfUTTiSbETS-members of the audience.
1.21.8. -Indecorum, immodesty. The queen did
note how impatient and restless the king was to go to
the theatre; and he had the audacity to hasten his wife
also to the place where he was expecting to see the
object of his love! I. 21. 6. has noted that the
queen is watching the king’s excitement. Therefore he
cautions him to be more patient. ifrt *T^-Go with
patiencfc, ‘ put on a grave mood and walk slowly.9
fotaT3n3^ft-will countermand the whole show; will
thwart the plans. Mr. Pandit takes it in a different way;
‘ Lest the queen should find you inconsistent with
yourself i. e. lest she should discover by your impati¬
ence to go to the that the innocence you have
claimed with fegard to the origin of the dispute and
the indifference you have shown as to the result of the
contest of the two masters of dancing and music was
merely assumed and that an intrigue lay at the bottom
of the affair.”
I. 22. The king says that howsoever he might try
-n 0. 9 ] [ 209

to be calm, the sound of the drum hastens me on, as

if it is the stand of my desire ( Lit. the rattle of the
mind-chariot) descending on the path of fulfilment.
-Observing patience or a calm attitude. Ibffcqir.-
q*q?t-The path of fruition or fulfilment.

ACT n.
The second Aot is a continuation of the First, or as
it is technically called, an sfoURirc, hinted by persons at
the end of the preceding Act, and therefore we have
the same characters here and no interludes.Cf.trq

%!f tiwuwr '«n *r

wVJn <rnrA jnwnpsjPBwnft i <mr-
... Marginal note in a Ms, oited
by Pandit. HRKta—of whioh of the two. i
is used
while referring to one of the two, and one of
many. Cf. * Air: pencil i ^ *n j|
aSjs | Wl* II. 6. II. 0. 5. gWfg-Old in knowledge,
advanoed in learning, as opposed to meaning
advanced in age. JtWH-Preferenpe, precedence. 11.0. 7.
qriWW...Occupy your place of duty (fcthu) vacated
by you, fill in your post left vacant.
II. 0. 9. wflfarari —The composition of sriftfT,
the daughter of and the wife of king irorft who
loved her deeply. Cf. «Rlibfta HffltT *l^|ircTT I SRft
14
210 1 MALAVIKAGNIMITRA [ IL 0. 9-

gjprengffc it *n® IV. 6. twresn-wi* *r«n

^rarawrpn-Havmg or to be sung in medium time, mr
means ‘Time in music’; cTraRTTTW^cft Hi W $ftr: |
It is of three kinds, }pT, *T^T and Gf. wreidl war-
aqifer? \ ITT® II. 8. The medium time is selected for love-
songs. Cf. ere I <rer sffoR arofft-
I ^5«RI Having four parts, «R*rft
TOft *Rn: *n I sreffi-Performance or repre¬
sentation with reference to the fourth theme ( «R?J ) oT
stanza. sprint sraJrir i “ We must sup¬
pose that the poem (of ^nSfgr) consisted of four stanzas,
each embodying a separate themo (^g)”-Pandit.trq?iHT:-
With a concentrated mind, attentively.

II. 1. The king tells how very eager he feels to

have a sight of The curtain, still hanging, sepa¬
rates her who is inside the green room (). His
eager 6yes have, however, stepped forth, as it
were, in their impatience to brush aside this curtain.
-The curtain, the screen. wprf&cnST-Is busy, has
set out. II. 1. 3. sresreg-The honey of the eyes. The
delicious sight of is as sweet as honey. Of.
ism® 1.38, *n%fieii ariSret ^er^-withthe
wasp hovering near ( the honey ). The wasp or the bee
is none other than Queen tfiftaft, who is guarding waffol,
as the bee would, the honey in the bee-hive, spratl:
watchful, vigilant.

II. l. 6. w^r..wfipi«nrMt $itf

?ren:fn-Whose grace of the limbs was being minutely
-H. 2 ] NOTES [ 211

observed by the teaoher. He was anxious for the succ¬

ess of his pupil and therefore he wants to see every¬
thing: dawless. The word means ‘The elegance of
the body. The proportionate and graceful development
of the various parts of the body. * Cf. sfUT anfWT
eravfflftta; I anrret \

W|: sfa II Com. II. 1. 7.

Her loveliness, I am sure, does not fall short of the
picture. The king had seen her portrait. fag*
reminds him of it and says that the king will surely
not feel disappointed while observing her in person now.
Very often pictures inprove the appearance which in
reality is not so good. Such is not the case, however,
with

II. 2. In his praise of the beauty of *7®fan, the

king, however, goes to the other extreme. It is the
painting that falls short of her real charms. He started
with doubts first, regarding her form, which he thought
would fail to come up to the mark of the picture, being
possibly overdrawn. But now he feels doubtful about
the painter’s skill, who, possibly, was distracted and
hence could not secure enough concentration to do full
justice to her. T%5r..«gW[-So long as was to me
what I had observed of her only in tlie picture, I had
a misgiving in my heart that her pictured loveliness
would fail to have a real existence, i. e. would not be
in consonance ( fatal* ) with what she actually is.
212 ] M1LAY1KZGN1MITRA [ II. 2-
fotfhn. Now I must -change my opinion ; and I feel
that the painter who has drawn her was greatly dis¬
tracted in his concentration ( ). For a simi¬
lar idea Of. JRTCJ STf * flftr STO fatfT I oqrrft 9911
ftflrcfrwiqu tn* vi. 14.
Leave off all nervousness (9TOW). ffWUT- composed, in
(your) natural element. ( mi ). II. 2. 2.
flawlessness or perfection in every part or limb ( ).
Pandit reads 3PPTCRTI which means “ Faultiest-
ness in all conditions.” This reading cannot be accept¬
ed, as the king refers here to the perfect beauty of the
various parts of her body, and not to the different
conditions. The next verse makes it clear.

II. 3. trefe ( sptf )-3fNf tot 3^- Having long*

eyes. Possessed
of the loveliness ( ^rPcT) of the autumnal moon, which
regains her lustre, being freed from obscuring olouda.
starts aA Arms sloping at the shoulders, bent oi
curved at the shoulders. TO- Compact bosom.
ftfWltWW* ( TO TOal ^ *a*l Jrftgsr-Having thick
), swelling ( TO<T ) breasts, The two
sides as if polished | lit. * as if they were planed off ’
like boards th&t are thinned off by the plane and ren¬
dered smooth. in*fc <nfoftrcr:—The waist was so thin,
and small that it was measurable (ftft), or could be en¬
compassed, by the palm*of the hand. Cf. ffa-
Ijiqfesf W I vfe* I. 80. Wtefw-m
qfai wrt urrc *m i. 39. pfafo ()-
n. 4 j [ 818
Qwnjjut i- *Kwif3«fl-«Rwi wjftren A (y
with carved toes. •*?!...WJJ- Her body is so framed that
it would suit any form of dancing which the dancing
teacher may fancy that she should perform. W^r-Will,
fancy. ft^-**lft~conforming, suited. Of. i%et Hph
ISWfelRWW I I. 16. For the description of the beauty
of qraftan’s form, Of. eppf owyti Wilfrid otawr
wroi v*9 INftwn* m <m^i
fowl d#T»rcfflq ft 3 arwNr in* |
^r*f wi»i ctftr i III. 19.
OTlfif—A preliminary humming of notes of the requir¬
ed melody. The other reading 3TOR, explained by the
commentator as ^profit, means the same thing.

II. 4. A maiden’s love for her lover whom she

has not yet won is the predominant sentiment of the
song. She gives expression to her feelings of despair,
hope, anxiety and helplessness, in suooession. In the
first line, for instance, there is the mood or feeling of
despair () on account of the faot that she realises
her lover to be beyond her reach. All at once the
comer of her left eye ( ) has begun to throb.
Well, the twitching of the left eye in the case of woman
is a very good indication of a prospective meeting of
ihc lover. In the second line, therefore, there is the
feeling of joy mingled with surprise* (). “ But
then meeting after such a long time, how should he be
approached and wooed ? ’* The difficulty of the situa*
tion creates a feeling of anxiety, whioh is expressed in
214 ] MALAYIKXGK1MITBA [ II. 4-

the third line. The anxiety deepens, as no way out of

the difficulty is to be found. A feeling of helplessneaa
( ) comes over, and the last line gives expression to>
this sentiment. Thus we find, though the dominating
sentiment of the song is love, it gives expression to
these various subordinate feelings. Cf. vr
torn V* HWMTwynHj*-
wnflfter: swrflfcn l
II. 4. 1. Gl -Brings out the emotion
through acting. As the two stage directions, one via.
$cST preceding the love-song and
another viz. TOlWflAwft show, HiBftyrt sings the song'
first and then begins dancing and acting, so as to re¬
veal the emotion of the song. The form of dancing is
or in which, while acting the part of another,,
the dancer gives expression thereby to her own senti¬
ments. qftjfn9t^n,the sister of VI wAffl's minister,knew that
m&ftm was promised in marriage to king arfafav, and
also knew further that she i. e. stltfftal loves the king.
She has, therefore, selected this particular song of snSfgT,
that it may serve as an appropriate medium to express
her own feeliiyjs for the king. The sentiment of the song
is, as the Com. Bays, I i. e. love
in separation of a maiden who has not yet secured her
lover. Cf. are I ersnfMfaawn
i...wx-4csribi zvmkt whrW sroAr n II. 4*
B. grftfW-Making it a medium, (Rfa) SIWIT Wf^HJ-She
has as it wer surrendered herself to you. II. 4. 3.
-II. 5 ] NOTES [ 216

tn^fc^-Suoh is the present condition of onr hearts j

that is how in our hearts we 'feel for each other.

II. 6. Construe9
wifn.arft5RR*T sm-
»lffcre^T! Jf.3Tj | —This person.
JfWftol refers to herself in the third person Cf.
Iff! wrffasl IV. —To
be taken as an adverbial compound with BfffMflsw—
Acting this expression of the song with proper ges¬
tures, pointing to ( fSfa ) her own body-p^flftft: 5TCTTO-
I 5R*T...^-Finding no other way by which to
express her love for me, as the Queen was
present in person. The presence of urftvft deprived her
of all direct ways of expressing her feelings for me,
and, therefore, she had recourse to this indirect and
suggestive method of revealing her love. gjJ*TKHl$NT-
snafcn ^ sarra: ct*tt (ani
^ )-An adverbial compound. She addressed me,
as it were, under cover of this gentle plaint or request.
The song incorporates a soft request of a maiden to
her lover to succour her, helpless as she finds herself
to be. This lover of the poem is a different person
than the king. The king says that also finds
herself in the same predicament and it appeared that
she was pouring her own heart, and that her touching
appeal was addressed to me and not to the lover of the
poem. The word is taken by some in the sense
of 4 a youth, * meaning thereby “ under the pretext
216 1 MALAYIKA0KIMITBA (H.
of addressing the youthful lover of the poem/’ II. 6.6*
is trying to detain as she was going
away after finishing her part. JBiftq;-The proper se¬
quence of things to be done. II. 6. 6. gvftofty&i-
flawless as regard the performance. II. 5. 7, GanadSsa
has asked her to stay back, as she was going away4 She
turns round instantaneously and there stands in a very
charming posture, which elicits this remark of appre¬
ciation from the king. €raf...Jplflt-Beauty, under all
conditions, develops fresh charms. In every posture,
the beauty and loveliness of the form is always seen at
an advantage. Of. aftt Wf Ifcffk H$iq w |4^|
*n« VI. ftftq ft nywt n w* I.

II. 6. The king describes her standing pose in all

the details of the charm. The attractive features that
he notes are—(i) The erect upper portion of the body,
(ii) The position of the left hand on the hip, while the
right is hanging down loosely, and (iii) the eyes cast
down in bashfulness at the toe of her foot that is
pressing the flowers on the pavement. (fflf)
gait atfna* faffor *552f: TO «: I The hand
the braoelet^of whioh are motionless or resting on the
wrist. _,fttffo(-Making the other i. e. the right
hand, whioh resembles ( in tenderness ) a branch of a
3TO? creeper, hang down loosely ( The body
of a beautiful woman is often likened to a creeper, the
hands resembling the delicate branohes and tender
sprouts the lips. Of. etc. II. 87. also OTCt
-n. e. si [ 217
ftwww <rt« I. 21. wwy«ra»i-«ref
MM *WI Wlfit WQt g^. Hanging down loosely. Some
take it to mean 41 from which the pearls have gone.” !
WT...<rfSMhe pavement inlaid with jewels, the flowers
on whioh were being pressed ( sngf^T ) by the toe of
the foot. The right part of the body was relaxed, and
she was standing with her eyes oast down, in the
natural bashfulness of a girl who would not stare at
the audience, all the time trying to play with the
flowers scattered on the pavement, with the toe of
her right foot. «rrf?l?n$r T§TcT-the standing posture in
which the eyes were cast down. The fourth line
should be construed thus :—a^n:
OTiqi srf&rcf f^RFT-the standing posture. A
Past Passive Participle is used as a noun, according to
Panini’s Sutra, 3RT: \ 3R3*l3Rn$S[-in which
the upper part of the body (sn^Rn^-Lit. the long half)
is straight or erect. A full view of the body could be
had only when she was standing erect, whioh she could
not do during the movements of dancing, sifiterct VRP?
Is more charming or attractive. II. 6. 1. A sort of
a tussle is going on between the Queen and the
He wants to detain her on the stage as long as possible,
while the Queen would like her to go at once, Henoe
she remarks to that she is surprised to find that
the words of a fool like Gautama are taken so serious¬
ly by him. II. 6. 3. frlgc^H^-owing to the confi¬
dence whioh the king has in him. The king's confi-
218 ] MALAVI&AGNIMITRA [ n. 7-

denoe ie certainly not misplaced. ^ppfflfetr-A subtle

insight, acute perception.

II. 7. ^-Leaves off the dullness of in¬

tellect, becomes sharp of intelligence. wise
man. The simile is that of a mud-removing ( )
fruit of the tree, which frees the turbid ( anfa® )
water of its mud by contact with its powder or paste
( ) and secures transparency for it. We should
understand to mean ‘ power or paste of the 3ROT
fruit..’ Similarly, argues even a fool like
may have gained in wisdom by his association with the
wise king. —What is intended to be
spoken. II. 7. 1. -The witness, a judge, used
with reference to <ri^*rn*toT. He means that the judge
should give her opinion first, and then he will point
out the flaw noted by him. II. 7, B. just as
you have observed. An outspoken plain criticism,
whether with reference to the flaw or the merit is soli¬
cited. II. 7.6. 3PTI^R*T-In accordance with the rules
of the art. The reading means the same thing.

II. 8. The qftsn^RTT explains how the exhibition

of tuafcir fully ^conforms to the standards of danoing.
3?^&...3535b-by the various parts of her body which
had words concealed in them, i. e. which are eloquently
expressive. The ideas of the song were very
wttll brought out in acting by means of the silent
movements of the various parts of the body, whioh
thus suppressed the actual words of the song within, Cf.
-n. 8 ] NOTES [ 819

•poftftonft wnft InUdt: wnWh I

«m «mNNBwimt wr i
«Wfflg*Tfl?-Conformed to the time of the song. In per-
feot time were the movement;* of the feet. 5FJRT3
She could be perfectly one with the sentiments of the
song, like despair, joy, surprise, etc. She could be per¬
fectly absorbed in these sentiments. The
acting was soft and delicate {*2$), in which the branch¬
like hand ( fTTOT ) was used as the instrument of expres¬
sion. *TT^Ttft:-*TPsn SPCT: TO ^-Proceeding from
the branch-like hand ( ^rrarr ). The graceful movements
of the hand resemble the movements of a branch of a
creeper. Some interpret STT^T to mean ‘ a measure of
the hands in the dance.’ Cf. SIMT =TW ^T$*cTHT TO5RTO I
g w tot n
In the successive exhibition of the different shades in
acting. en^TTO <TFT 3rg$i%: i TOt...
ftf*rra[~One emotion seemed to drive away another from
the field ( f^fSTTcf.). What she means is this: Various
emotions pertaining to the one sentiment of love had to
be acted by her ; at one time, there was despair, and just
the next moment there was joy mixed with surprise.
That gave place to anxiety, which was followed by des¬
pondency or a feeling of helplessness. While acting
in a variety of ways to suit these emotions, she could
successfully create the proper atmosphere of these varied
emotions, which followed one another in quick succes¬
sion, like the scenes in a movie. Cf. to: afl^farTO:
flfotffc anwrm i sfetrat wifor i *n<
220 ] MALAVIKAGNmiTRA [ II. 8-

hNiIW swwftfa l fgfil-Drives away, dispels. Cl

*Ft gg% qwigfift g*n wr$ i 1.10. g ipr-Yet
the main sentiment of love remained the same through¬
out, The various emotions exhibited were but the
resultants of love, and -therefore this basic sentiment
also was fully revealed in acting.

II. 8. 2, Wttfr feltelftgnflJ-Losing the same high

regard for my side ; feeling diffident regarding the suc¬
cess of my side. II. 8. 8. ejg ^fctalftg-To-day, after
this success in the performance which has elicited suoh
conpliments from the judge, I feel I deserve the posi¬
tion of a professor in the art of dancing.

II. 9. g ^gJglgfr-A denominative from the adj.

^glg-Which does not turn black, which maintains
its flawless quality. Gold is tested in fire and
it turns black, if it is impure. Similarly the
instruction of the teacher must stand the scrutiny of the
judge, and is declared good only when found flawless
by him Cf. 3 gW^gtefeg: i ^sqfgfr
n if® I. io, snqRdtaiftpt g gif
gio i. 2. II. 9. 2. ten gtfo ggrg.—I
congratulate you upon ; lit, you propser with the good
luok of etc,. Cf. ten wfr ffTflWjfog g gjft gglg.1
VI* VII. 'tftarcrcndg-having pleased the judges or hav¬
ing satisfied them. II. 9. 3. fj$fcj;-The cause of good
fortune i. e. suooess. II. 9. 6. the time
of the first exhibition of the instruction. He means
-II. 9. 15 ] NOTES
that the beginning of every function of some consequ¬
ence must be attended with the worship of a Brahmin,
and the same should have been done here. II. 9. 8.
«T$T spftanaRTC: SW:-“Oh ! what a relevant question! what
a vital point in acting is being referred to ! ” She
means that his question is quite irrelevant and beside
the point, having nothing to do with the present matter
in hand viz. the exhibition given. II.9.9. qfiWwsin-One
who thinks oneself to be a wise person, a conceited
woman. 3TJWR *TT I 9flfr...%5Nrah-With your
abundant hair shining white like the clear (SRHff ) rays
of the moon. »TT5T after a word signifying ‘hair’ means
‘ abundance, mass, quantity/ Frighten. II. 9.14.
iR|ft(R^-a gentle smile, mentions six verities of
gwr, viz. fern, fftfcr, strfftRT, croti&r and erfilffar,
and among these, the first two are to be noted with
reference to the ianew characters. The in which
the teeth are slightly visible, would accordingly corres¬
pond to the variety. Cf. feraftf RciRlHiFT Ww-
ft* g fMfcr it
« 3t It
^1 %mi II W* IY. 76-77. II. 9.15. ^n...fttRs-
My eye has perceived its object possessed of the essence
of glory or loveliness ( aramw ). is a Past Passive
Participle from ^q+sn-KT, meaning 1 Has taken out, is
possessed of. ’ The object of the eye is <R. Here is an
object, the lovely smiling face of moftCT, however,
which has the greatest oharm about it. Cf. cWHWffi-
I SPTT ST I W II.
222 ] MALAVIKAGNIMITRA [ II. 10-

II. 10 The king compares the smiling £aoe of

Risrftet, with its teeth half visible, to^ an opening lotus
whose filaments are partially seen. WHIR-A Present
Part, of I. A. ith the charm
of teeth( ) slightly revealed. Cf. QTI^g^gfgR-
l RT® VII. 17. R^rerat-Blooming, opening.
( otr J-rrot tot ^ \
with its filaments not completely visible. The fila¬
ments correspond to her small teeth in the simile.

II. 10. 1. *Rp3nRR-A great Brahmin, said ironi-

oally. Cf. * RSWRJR, I m* V. sta
OT*T- A musical or dramatic performance in regular
stage-costume, done in public. This however being
a private affair, it was not necessary to observe
the preliminary worship of some deity' and Brahmins.
II. 10. 3. iRT_fJfe^-Like the foolish rtot bird, I ex¬
pected a drink of water from the sky resounding with
the rumble of rainless clouds. I thought, such a fun¬
ction commencing, I would be given an offering of
sweet things ; it proved to be, however, a vain hope of
a silly RIOT bird who foolishly expects to get a few
drops of water to drink from dry clouds. Cf.
OT ♦ RT® II. The RIOT bird imagined to be
living on rain-drops, is often alluded to by the Poets. Cf.
Rieritsfo u cj® V. 17.^
^ riot otriwwi fittr srtf i erwlta ri%
sfo u Vfa* rn i
r ott ott *n 5$ *r: iir$® I. n. io. 9.
-II. 10. 16 ] NOTES [ 223

-Depending for their decision on the

satisfaction of the learned. says that he is inoap-
able of pronouncing any judgment regarding the merits
-of this teacher or the other one. He depends in this
matter on what the learned persons like the qftaifofri say,
and would then form his own opinion accordingly; Of.
^r: | I. 1. «KT«-A braoelet. STftRsrffcfr-You
said it was good, you commended her. II. 10. 3.
<piWtH-aiH^-When you do not know the merits of the
•other teacher i. e. ; Without knowing how
the pupil of has acquitted herself. The
expression may also mean * The excellence
of skill or merit, Of. <TT5tf%3jqwj3Si J^RTt z^rfct |
I. 6. Then the sentence would mean ‘ When you
are unable to appreciate the excellence of skill in act¬
ing, why should you offer this reward, which is best
given by really worthy men.5 The Queen does not
like the idea of the king’s bracelet going into the
hands of 3TTi${^£i as a gift, which, though outwardly a
reward, is clearly intended to be the lover’s token of his
love for the girl. 11.10.14. ffc^T-A nice retort
to the queen. * Why, where is the harm, says he • after
■all, he is not to lose anything. He takes the credit for
having given as a reward what belongs toothers Cf.the
Marathi saying ’ II10.16,^g...
iSfan-She suggests to to send aw.ay his pupil now
that she has finished exhibiting her parts, rail¬
lery with the obvious intention of detaining gTSs/faiT was
becoming intolerable to her and hence this hint of hers
224 ] to
MilAVIKXGNIMITBA [ n. 10. 10-
to UTO*J. II. 10. 19. t??n...%ft55-I have exhausted my
power of ingenuity now 9 only thus far can my ingen*
nity help you ; I can think of no other way to detain
her any longer. II. 10. 20. 'rfcsi^T-Db not set
any limit to your genius. If you mean, you oan still
help me to achieve my object. Note the flattering tone
of the king.
II. 11. The king explains how sad he feels, when
3?l«fa+T has disappeared from view. Rkwyi^-disappear-
ance, vanishing from sight. *TTO...feel as if the
sun of the good luck of nty eyes has set. <5...ftta-The
heart’s great festivity of joy has come to a close
(aURTFf). £!*...*ffo-The door of pleasure ( ) has been
closed as it were. also means * Fortitude, courage/
4 The portals of fortitude have closed as it were.’ 11.11.
2. ollgt:-troubled with illness or disease. ftfTO means
that the king is like a poor patient who" has no money
to pay to the physician, and yet expects him to bring
the medicine for him. The king would not take any
trouble himself, afraid of the risks. He wants ftfTO
to arrange everything for him with a view to seottre
II. 11. 6. fsfaplh-when has
been seen, the purpose of the exhibition is finished,
*pftpi|*[-outwaifl. politeness without any sincerity. Of.
TOfll TO | VI. 6. II. 12.9.
iuilfttH-A bard, a minstrel. It is his profession to
praise the king, and also to announce the hour of the
day, in apt verses. TOTO-Developed, grown. HTTOlH-
TOTO-the mid-day.
-h. 12.6 ] [225
II. 12. He describes how the mid-day heat of the
son affeots the various birds. the shade of
lotus-leaves, gjfetfppnt ^Stt-the swans have half-closed
their eyes; lit. with their eyes in the form of a bud(*jjw).
«hU|-a great palace, a big mansion. (ffalft)
qrcrem
tfrll 1 The pigeons have
come to hate flocking together ( ) on the terrace-
fops ( gssft ). The pigeons flocking on the roofs or
terraces of the houses is a common sight. Cf.
VBBWt qHMKHdWiq I sfofT <1ft fopg-
ftfWKl it I. 88. Accumulating, flocking.'
It also means * Acquaintance, contact or association;’
in that -case it would mean ‘ Hating their contact with
the roofs.’ f^lgs ftreft-the peacock desires
licking ( fang: ) the splashing water-drops.
flies to, dashes to. revolving water¬
wheel, known in Marathi by the word KgiCTigif. 3$;-
by the rays. *rcwft:-a god having seven horses, i. e.
the sun. ^fa^-blazes, shines brilliantly,
Just as you (i. e. the king ) shine with the kingly vir¬
tues. II. 12. 4. the oroper time of
taking food is transgressed or allowed to go. ftfcccrc:-
A physician. gISftT...wfif-What have you to say to
this ? Would you like the king to miss his lunch-time,
which would be so bad for his health?’ ftfTO thus
suggests to him not to insist on his • show being exhi¬
bited just then. II. 12.6. infe...* -There is no scope
left for me to make any other proposal. I have got to
15
226] MALAVIKAGNIMITRA [II. 12. 11-

bow down to what f^rf» says.’ II. 12. 11.

The act of bathing, the usual or customary bath.
II. 12. 17. sr %^5J...ft^T-As in her personal charm, so
in her skill (%q*t) in dancing, she has no second. flfQttfta-
Matohless, peerless, unrivalled.
II. 13. The king means to say that giaftvr is al¬
ready so beautiful that by her personal charms alone she
oan strike the heart of one with feelings of love. Now
the additional accomplishment of this graceful art has
lent her greater power,and she is a deadlier shaft in the
hands of Oupid who has steeped it in poison as it were
to make it more dreadful. Artlessly beauti¬
ful, naturally charming without any artifical make-up.
fit ^Nw-Uniting her with i.e. endowing her
with the knowledge of the fine arts* <vfc#ffl:-M*de
ready, devised, prepared. gnwv Uiw:-The shaft of Cupid.
A beautiful woman is looked upon, by Sanskrit poets,
as a shaft or weapon of the god of love. The verse is a
good example of the MhutflK.

II. 13. 1. %-You have to pay seri¬

ous thought to my condition. Love has made him its
victim and therefore his malady has to be carefully at¬
tended to by bim. II. 13. 3. cauldron or
a frying pan in the market place (ftqft). II. 13. 5. fg-
. .rogtff'Make haste in the cause of your friend, in
the same way as you would be doing to pacify your
hunger. II* 13.9. gjjlfiipiisftu-l have pledged my word;
1 have undertaken the venture. ‘The phrase has origin
-II. 18. 13 ] NOTES [ 287
in a formula, used in oocneol ion ivith the VTH oeremony.
A Brahmin is duly invited to attend the oeremony, and
he uses this expression, when he aooepts the invitation
w srer » «n% 5 wfnn
ii $ Mijlcj vwftfilr i HHW-fl-
^frcTWT sn% ft*tt li Cited by Pandit from
j
16.—
1 Tho person who addresses in the words of the formula
(the;sn4J$^ ) is said to give the $r&r and tho Brahmin to
whom it is addressed, to take the qpr, in the language of
ignorant priests. Hence.because the word OT is so often
used in the formula, so it has come, in the common
parlance of BrahmaDas, who subsist mostly upon occa¬
sional dinners at Sraddhas, and to which class our
belonged, to signify 4 an engagement at a Sraddha,
which, when once begun, must be carried out, on pain
of incurring sin.’ It may be observed that VidQsaka’s
way of expressing his obligation to accomplish what
he has undertaken is perfectly in keeping with his cha¬
racter. STO is still used in Marathi in the sense of
‘ pledging one’s self for the performance of a thing ’—
Pandit. to * I Like
moonlight obstructed or veiled by the clouds.
Hovering over the slaughter-house ( $*TT ). srrfaflharo—-
Greedy of the flesh ( anfora). Like the vulture, you too
eagerly want to snatch the object of your love but, are
afraid of snftsfi. swig*:-Patient, calm, jmexcited.
...ifafc-He means, there are hundred and one difficulties
in the way of success for which you have to wait pati¬
ently. I would very much like yon to exercise pati.
228 ] MALAVIKAGNIMITBA [ II. 14-

ence while you eagerly solioit snoeess in this venture

Note the wise counsel of ft^liS to the king.

II. 14. Construe :HinL.t4TO % JWsNsn «l

t )K!-Of me who have lost all heart
in the activities of the ladies of my harem. Thinking
of fflBffcr alone, I have ceased to feel any interest in
the harem. TOWta*n—Possessed of lovely ( TO) eyes.
She has become the sole centre of my
affection. is a ft* form ( ft*:|). thtosI
One abode, the sole resort.

ACT m.
III. 0. 1. *ft*lft*iT-A female attendant. III. 0. 6.
^to£($-The fruit of oitron, known as in Marathi.
—The female keeper of the 5W*** garden*
Her name is lit* meaning ‘ a female bee,’ while
that of qftsnfttSiT’s attendant is tR’-gTcftn meaning literally
• a cuckoo.’ The same names have been given to the two-
female attendents in the snjcR*, where at the beginning
of the Sixth Act they are carrying on a lively dialogue in
the garden of : -The golden aretrotree, so
called because of its bright yellow blossoms. III. 0.11.
sift...-The particle sift, thus used at the beginning
of a sentence introduces a question. Are you having a
happy time while doing your work in the garden * ?
III. 0. 16. snwru'dtiTl-4 Without empty hands-’
-in. o. so ] NOTES [m
means that she must have some present to offer when
she would visit the queen. She oaimot do so empty-
handed. We have a meeting between the queen and
tfftnrftneT in Act IV, but it may not be the same referred
to here. Shall we suppose that (jRaiRnu made it a point
to see the queen as frequently as she could, with a view
to see how the wind was blowing and &1bo to remove
the suspicions, if any would be entertained by the queen
as regards her hand in the quarrel between the two
teachers ? jjsjf$gi|-To wait upon, to serve, III. 0.21.
srMtewwiWff-Mutually quarrelling, disputing with
each other. #3TRT: 3!CT t. One who has a dispute.
Compare a similar expression, in Act I.
Of. also 3ftqfaU ^siTcT: I ActI. III. 0.24.
«rprfo£t-Possossed of theoretical knowledge ( sn*R ). f%j
_But then UURpfl has the palm or is adjudged
to be the superior of the two, because of the excellent
merits of his pupil. the pupil of
showed superior skill to that of the pupil of (TOff, and
hence is ranked higher(3Vri?ft).This means that the.
king kept up his promise of witnessing the performance
of S^’s pupil next day, and only afterwards was the
decision given in favour of III. 0. 26. qflsfrt—
^ srra-Lit. belonging to a family, or arising from a
group of people ; a scandal, gossip. Of. qftefapfl&r 52ftT-
fircsrr * fa %^§cn f *5® XIV. 84. ** How
is that ( scandal) to be heard ; What is that ? * III.
O. 30. : - greatly enamoured, strongly or
deeply attached. Cf. faqqft fa: | *ru
330 ] MAIAVIKAGNIMITRA [ HI. 0. 30-

I. 2. f%rl —Having regard for the feelings of the

queen j out of consideration for her feelings. a?R*R:
Sg?# sr qpforft-He does not exhibit the strength of his
power or authority (jigtf). She means that the king,
being so deeply attached to fnftlfcr, could easily have
got hold of her through his kingly authority. He does
nothing of the kind, however,because he would not like
to wound the queen’s feelings, who would certainly
take suoh things to heart. eijqjcT.... -Fading
or pale like jasmine wreath, worn and cast away
(5ps). «fjgagU5!-3n$ sggEIT WFQ^T-Enjoyed first and
then thrown away. She means th&u glottal also seems
to have been affected by a reciprocal feeling of love, ae
a result of which she has lost the fresh lustre of her
face latterly.
Ill, 0. 34. rntfct 8 Hanging on
the branch. taaRtf-Sofccr, more tender than this citron
fruit. ggppftar has been of much service to qfeffitaTj
in securing for her the required piesont. This service will
not go unrewarded. The present of a hard fruit will yield
to her a softer reward in the neat future. What does
she refer to ? Some happy pros]*sci of the king’s or the
queen’s favour^ Or was she to be lucky like *7i&fta?
in winning the king’s love ? The expression 'you
too ’ favours the latter suggestion. Ill, 0. 42. &JCW...
-Begarding the longing ) of this gold
tree which is delaying to put forth its
blossoms. Sanskrit posts curiously imagine in their
romantic fancy that the trees have various cravings or
-in. 0.46. ] NOTES [ 231
longings like those of a pregnant woman, and only
when they are satisfied, they would burst into blossom.
We have a beautiful verse which mentions the different
cravings of the various trees. wfld.
l wrattiiwta
*Pfrft irf*wpng qggfFMiMgwh i ifknuWif-
sfin^r | According to these conven¬
tions, the trail* tree, when it withholds its flowers, is
believed to desire that a young and beautiful woman
should be deoorated with ornaments, dressed beautifully
and should then kick it with her foot which should it¬
self be nicely decorated. This ceremony is called the
$tTO*r or gratifying the desire of the Asoka.

5&TO:-This is an explanatory scene serving the

same purpose as the only with this difference
that the characters taking part in this scene are exclu¬
sively of the inferior class speaking the Prakrits. It
must come between two Acts; and thus unlike the
W*, its existence in the first Act is not possible. Of. ug-

The Pravesa&a tells us, among other things, that

the king is now deeply in love with HT&ftar who too re¬
sponds to his feelings in a similar way, and that he will
not use his authority to gain his ends, out of respect
for the queen’s feelings, which thus makes him depend
soley on the efforts of ftgy* and his friends. The cra¬
ving of the Asoka tree, on par with that of the king is
also significantly referred to, as it gives an opportunity
282 ] MALAYIKAGNIMITRA [ III. 0.47-

to to satisfiy both. This information is neces¬

sary for the audienoe to follow the action of the main
scene which commences now.

III. 0. 47. OTWRTV* *W STS I

In the condition of a love-lorn person ; in a love-sick
state. III. 1. Constant thinking of the object of jhis
love; viz. srroffcl and the acute pangs caused thereby
constitute the theme of this beautiful verse. He cannot
understand, says he, why his heart, which has its high*
est bliss i. e. tn&ftar enshrined within, should suffer so
much torment! One suffers for want of the object which
one cherishes. The body gets thin, not having obtained
the pleasure of her embraces. The eyes may be in tears,
because deprived of her sight. But the heart, which
has stored within itself the precious treasure of love viz.
iR&ffcl, from whom it is never separated—that this
heart should suffer great agony is something whioh is
very very strange ! srw-Thin, emaciated Of. SffWTT etc.
n. sro-si&s sfei—full of tears.
*WT: SIT-Having eyes like those of an antelope
( OT)j gazelle-eyed, siwft ftfM-when the highest bliss
is so olosely connected or associated ( with the heart).
srew-closely adhering to, olosely connected, su¬
preme bliss, highest felicity. Cf. i# I tBT*
III. It is also a philosophical term meaning * absolute
extinction or annihilation of individual or worldy exist¬
ence * and refers to the final state of liberation or the
ifar according to the Buddhist philosophy. The fourth
-III. 1.13 ] NOTES [ 233

line gives us the notion of apparent contradiction or

ftqfa has also the sense of4 the means of extinguis¬
hing fire etc.’ ( When the heart is equipped with the
means of extinguishing the fire within, why should it
bear this torment of scorching agony?*. III. 1. 4.
qft^ftd-Lamentation, bewailing. snfan-was made to listen,
informed. ^T*frTT tffezu-Your massage. Apparently the
king has tried through fcRTC to take the
queen’s maid, into confidence, and he wants her to speak
the message of his love to irrcrffol. III. 1. 10. eigqfcRnfer
.. .ftqftq-I feel favoured by this mission entrusted to me.
The mission is that of a messenger of love or a go-
between. cTOI^Ffr-The poor pitiable girl, having the
sense of the Marathi expression i or *Ttrw €1^.*
wmqiSRj I $*51® «iprci%<T f* fti%:-Like a valuable
treasure guarded by a cobra sitting on it. *r
will not be easily secured, cannot be easily obtained.
qzfotJTlftr-I shall try to unite or bring about a union. Cf.
qrflfeftgqs I faj® IX. 87. ^nq-
U II. 16. It has also the sense of ‘ accompli¬
shing an object or effecting a purpose. ’ Of. dSW
TOrfSt ^ *1* qr *rai?r i I. 14. III. 1.13. OTsqtifa:-
Born of fancy or thought; whose source is thought.
It is an epithet of the god of Love; Cf. epithets
qpJhCT, qraftrar, etc. affoft^-Having made
one attached towards objects that are fraught with diffi¬
culties (sritfrag). ’SRtSq^-This person i. e. I. The king
refers to himself in the third person. «T
Is unable to brook any delay; cannot bear any delay
284] MALAVIKAGNIMITRA [ in. 1. 14-

(). Of. awaH i qn- III. The

king means that it was the god of love who impelled
him to love an inaccessible object like *n«sffor, and now
tortures him so much that he cannot brook any delay
in tfie attainment of his object.

III. 2. The king wonders at the disparity that

exists between the tender weapon like the flower and the
acute heart-rending agony which it produces. g$£|U<nfoA
JOTtsnfa *n-A heart-wrenching agony.
urg^ngr-A weapon like the flower which is seemingly
harmless, which rouses no suspicion as being harmful
or dangerous. The god of love has five arrows with
which to strike the lovers, and they are:—W
^ TOrffNn 1=er qwfqrw srfgt: ti
seN^i: | n. The
two particles and bring out a great incongruity or
disparity between two objects. The king says, for in¬
stance, * Look at these two objects, Cupid’s weapons
viz* flowers, and the agonising torture they effect.
What a great incongruity or inconsistency exists between
the two ! There should be some proportion between a
cause and its effect. Here there is none. The effect
is absolutely disproportionate to the cause. 1 Cf.
fg*n*pr, w ftwfanwri srfjtagfrflt
i f«r: i n

*«Hl{lW)ft It and further fytiyra I WT«

111* 2. qj A delicate thing is often most pier-
-III. 3 ] NOTES [ 285
ring. 33ro~Cupid, the god of love-®R* Stt l
?qft-In you is illustrated the saying that a tender thing
is often the sharpest. III. 2.3. 3q$fq:-
Deviaing of the remedy or means. Compose
yourself; ’be at ease. III. 2.5. ^RWT-
with a mind disinclined or averse to the proper dutieE.
W apqqffe-Where should I pass the rest of the
day ? V«nq^-The causal of *rr ‘ to go. ’Of. *? g SJg...
ftqtqqTft \ *!• III. W^...*rt?nft-Th6 buds
( ita* ) of the red Asoka tree, indicative of the arrival
or advent ( WRTflC ) of spring. Sitting on the
swing. III. 2. 17. ftsrSftjpn:-Instincti vely shrewd or
clever.Cf.^mi?rfgRW7?w»ng^f2 ftgcr *n; srictfhnrq: i
qrr* V, 22. ftrai ft qftan: » IV.19*.
&ERi gqaf 2TR whose heart, is trans¬
ferred to another ( woman ). 3q«51«HRm-Fondling,
coaxing, caressing. qrtf...5f wqsfirtqftr-4 How will she
not detect? * The king hays that his hoart is already
given over tc tfwfita, and it will be therefore very
difficult for him to conceal hi a love when in the company
of In spite of all his fondling and caresses 5^PKf),
with her instinctive rhrewdness of a woman, will easily
eee through and discover his love for another w oman. Cf.
sRftai^'birp’rt sn^fcn ayft* 3ftn»n {ft* *111.
i qti* VI.

III. 3. The king says that all these considerations

to refuse fyer proper request by giving various plausible
excuses would be far better than allow himself to be
236 ] MALAVIKAGNIMITRA [ in. a-

caught in a compromising situation where he will have

to pretend ,to keep up an appearance of an ardent lover,
even though at heart he has not the slightest attach¬
ment for her. : SPR:, «K*(-It is better to decline
( ) the request ( 5J0R ) which is quite proper for
this occasion. TO:-Many excuses to refuse
( ) the request are seen i. e. are known to me. He
means that any number of plausible excuses, such as
urgent calls of state affairs, can be invented for the pur¬
pose of saying ‘No * to the queen 3TO*...$RT:-
But a formal behaviour of courtesy with these clever
women, even though full of greater ardour or tervour
(qjffwrftfo: ) will certainly be found out to be lacking
in the sincere feeling of love, ( *TT«I^R ) and therefore
it will not do for the present occasion when it is far
better to refuse her request. Of. ftwwqffltsft
i srfarft && * affect qrfofor it
faRo II. 22. JR^ftift-objective genitive. 3RT:<jTOftf&tT
^li^PR-Your courtesy which is a constant or unfailing
feature in your behaviour towards ladies of the harem.
■^vft-All of a sudden. ^f*T-to keep it back, to
throw away. He means that the king was never rude
to the ladies who were always sure of his courteous,
•chivalrous behaviour. It will not do for him, therefore,
to shake off his courtesy all at once and disappoint
the ladies in their legitimate demands. III. 3. 9.
W^-Tlie idea underlined is that of a man beckoning
a friend of his to come near quickly, with the fingers
of his hand. Of. Tjq iff »: I
-in. 4 ] NOTES [ 237
HTr» I. III. 3. 11. -Noble, high-born, nobly sym¬
pathising. * On the meaning of this, compare also the
following of quoted in the JgWIW*8[:-5HR STOfi

*?rc mi i jwrftRTd
jgqqft II’—Pandit.

III. 4. The king says that like a noble person

the Spring who feels so much for him in his present
suffering, first inquires of him in gentle soft words, as
one would do an ailing friend, as to how far his malady
is bearable ; and then strokes him gently by way of
encouragement. The words of the Spring are the sweet
notes of cuckoos who have found their voice at the ad¬
vent of Spring, while the fragrant southern breeze re¬
presents the stroking of his hand. Construe the verso
thus :—3TWrfi5?T ^TI%55Rr tfGRTt
tfTJSHrer S^TT $1 *TT*#T =^T.. qftwt mW;
(^%oi:) ^ Wk i ^urgvpV: $T%^:-The warb¬
ling ( ^JT%cT ) of euc-koos agreeable or charming ( )
to the ear. Cf. | Ito
Ill. OTJ^OT-Cum passionately. *?5ffit-The en¬
durable nature of love’s malady ( ^). 3fftn*WTW-The
southern breeze coming from the Malaya mountain
which teems with the sandal-wood forests. Such breezes
are looked upon as one of the chaVming features of
spring. Cf. J^TRT fttrgwiwft ft*5^or I
1 j® hi. 2B.
 238 ] MALAY IK AGNIMITR A [ III. 4.

^RWTJWTT H I. 20. The word *%®r has a double

meaning, referring to as well, in the sense of‘The
palm of the right hand.’ ‘^W^yft-Fragrant with
mango blossoms. *pfr: *r;-The word,
means ‘ close, intimate it also means ‘ soft, pleas¬
ing' : both the senses will do well here, san^r:-Applied,
used for the purpose of stroking. wqifr-TO'rft.-By the
Spiing. III. 4. 2. For getting happiness
or pleasure. All the Mss. read f&Tsjfeyrfrar, which ap¬
parently seems to be a direct Prakrit translation of the
Sanskrit form fttfcteWT*. We should, however, expect
a genitive form for the Sanskrit Dative, since the
Prakrit has lost the dative case.

III. —With a desire to tempt you.

[II. 6. The Vernal Beauty ( Jmwfl ) is imagined to
be a lovely lady who has put on the various face-de¬
corations supplied to her by the spring, and in that she
surpasses the other women. A lady’s toilet consists of
the red lac-dye which she applies fro her lips, the vari¬
ous paintings to be drawn on the forehead, cheeks and
' the bosom, and the reddish-black markon the forehead
in saffron mixed with musk ( w*gQ ). The Vernal Be¬
auty has all these supplied to her by the spring, and
she appears to be looking down upon this art of adorn¬
ing the face, as practised usually by women. fiftfcfTOT:
...afllf:—the red lac-dye ( fHWRrW ), applied to the
lower lip red like the fit* fruit seems to have been sur¬
passed ( )* The red colour of the lips is often
-III. 6.14 ] NOTES [ 239
compared to that of the ripe ftv fruit. Cf. fifa-
I II. Slc?n...^m-Theblossoms
exhibit a variety of colours, dark, bright (ai*Rld) and red.
They thus throw into the back-ground ( ) the
charm of the creeper-like painting on the face or the
cheeks. The word or more often re¬
fers to these creeperlike paintings on the face or the
cheeks. Of. 1
jpr: ftjSTOFrrat ii $*n* III. 33. For the
Idea of the f blossoms serving as such paintings on
the face of vernal beauty, Compare, f*fcfc?TT
ftwwftrwr ** qsrWiWT: i njfoti
nj: u IX. 29. .—
By the blossoms of the &isq» tree, with the bees ( )
clinging to them like collyrium ( ajiR). fctvWftHflft
UWFRfT-The decoration of the saffron mark on the fore¬
head is superseded or excelled. Cf. 5Jirfti«f»rarwr%l^Sf ffit
* i Tftn h
fin® III. 30. Also
ftff: i sr sfftwfet m «r xmfk* h *j®
IX. 41. fnq|CT...?itft3f^-The vernal beauty ridicules as
it were ( STOP ) the art of adorning ( SSnVT ) the face
as practised ordinarily by women ( ). III. 5. 2.
T-In a state of anxious longing, in an excited or
agitated condition. Cf. <?§?g*>T fkwfert at I ftc®II.
16. nft feift qjegy ij* «nw i fm® IV. 28.
III. 6. 14. ftw -Power, courage. She means that she
is denied the relief that she will have, if she will com-
anuioate the whole thing to her affectionate friends. Cf.
240 ] MALAVIKAGNIMITRA [ III. 6. IB-

5s* mwtft \ *tt* III. III. 6. 15.

The agony which is severe because it
has no remedy ( snftal! ); for it is next to impossible
that I shall ever secure the king’s love.’
is so much engrossed in her thoughts of love,
that she has forgotten where she was to go.
Through the mischief of Gautama i. e. Perhaps
it was a part of his plans to see that the Queen
sustains a fall from the swing, which he
might have specially contrived. This gives an
opportunity to to serve as a substitute
for the Queen in fulfilling the cravings of A&oka,
and thereby get a chance to meet the king. Note how
very deep-laid are the plans of with a view to
help the king in his love-affairs ! III. 5. 20. fr;-
^|W-A sigh in the middle oi her speech and just before
what she is going to say gives a diferent construction
to the whole sentence. It is tantamount to an expres¬
sion of doubt as regards the queen’s promise, which
thinks, she will never be able to fulfil. “ The
Queen said to me, that if I succeed in getting the
Asoka to blossom within five nights, she will gratify
me by giving me what I cherish most in my heart!
And what efse is that but the king’s love ? Will the
Queen ever gratify me on that score ! It is impossible.
The Queen’s promise, therefore, is all vain and can
never be fulfilled by her.” A series of such thoughts
is suggested by this stage-direction, which thus lends a
beautiful totob to the whole situation, Im~
-in. 8 ] NOTES [ 241

mediately after me TO I TOnTOTOTOi-With the

ornaments of the feet, each sfe red lac-dye, anklets, cos-
tome and other ornaments of the body, HL 5.86 jftyniftl-
fait* TO*?%*T—Sugar for one who has become helpless
under the intoxicating influence of wine ()•1
Dnn is e kind of fine auger, so called because it is
soft and yellowish-white like sand and is composed
of globules like the eggs of fish (TO* 1*1 ) v. The use
of sugar is noted as an antidote against intoxica¬
tion by liquor. Cf ** *tffT *ft m TOTOfaWt tfot
inrot i TO*ft * j u4 irroift yfartfarft a $mm, cited
by Pandit. Afjrv means * the sight of wmft«T will now
certainly serve as a cure to your love-malady, under
whose influence you have far gone.9 III. 6.29. snfa*t&-
ta-Insufficiently or scantily dressed, fo iTOT: m \

III. 6. TO^*fam-Revived, taken in a fresh breath,

was refreshed. ftfrt-Afflicted, distressed.
TOW^-The king compares himself to a thirsty ( ftqwffi: )
traveller, who is anxiously looking out for water, and
feels revived as it were, when he hears the cry of the
cranes which indicates the existence of water some
where in the grove of trees. TOfal-Crying.

III. 8. TO sflftjfan-Pointing to TOiftWT, the king

says that hfo very life embodied in her is coming toward
him. ftd*ft**-The word fa* means any round or dise
like surface; the whole word would mean, therefore,
‘ Round hips.1 Cf. TO I* it *1 ft i ftrot
16
*242 ] MALAVIKAGNIMITRA [ m. 8-

^rr OTft uMt Hjnfr $R«t ar u n. 28. ug^d-swelling

uplifted, dc^niKi-stretched far, very broad. III. 7. 8.
WIN^iwi-8he has developed a change in her condi¬
tion. She has grown pale and wears a few ornaments ;
thus she looks like a Kunda creeper in spring with all
its leaves ripened and a few blossoms left.

—*rer-*K*i*4 vm wwa 3RE*n: Sl-whose broad

<cheeks(uvrf«|^) are pale like stalk of a reed(TC).qrftfan«R«n-
with measured i. e. few ornaments. znTOTRoRTTO-UTqfc-
■TOnft TO# iren: ur-whose leaves are ripened
(*jfareT) by spring. The ripened leaves correspond to the
pale cheeks and the blossoms to the ornaments. Cf.
wfa: TOJJT I TOWlfiN Slftaft iIWT | ^T» III. 10.
III. 8. 3. Agr^-Friendship, The king means that the
infers her condition to be due to love-sickness,
on account of his great attachment for him. A friend
looks at every thing with a favourable eye and tries to
put a construction suited to his own interest, even in
the absence of proper evidence for it. Of. ufc
I tJTo II. III. 8. 6. aft...ercN>:-The Asoka imita¬
tes maftan in her love-sick condition. Both of them
have their delicate longings to be fulfilled and both have
not put on the flowery robes ( Stow). ITOftgfteft-rendered
cool by the thick shade (srorer). Cf. 3ft graft aMJHralftmft
srataHh» w i. m. g.
12. ^cT7_*P%-witli this much i. e. simply because she
said that she too feels a longing in her heart ( ^
I cannot assure myself with the thought that your con-
-m. 10 ] NOTES [ 243
jecture that she is love-sick is correct. smrcrfc:-srcnr:
*FW -Whose inference is clear or accurate*

III. 6. Vague longings are produced in the heart

by the fragrant cobl breezes in spring. $ter-a noun of
agency from by the addition of the termination
OT; ‘ One that carries along.’
fafin: <H3*id:i Accompanied by the particles of water
issuing from the opening folds of the tender sprouts, ayftfa*
filgc«rot-Causeless, vague longing. III. 9. 1. WffRTfcft-
iRflft: eFdf^-Screened or concealed by the creepers,
m. 9. 5. Jflf-A shark, crocodile, The king means that
lie would risk any thing for the sight of tn&ifer and if
he sees her, he would not care for anybody. We shall,
however, see later how this proves to be an idle boast,
of the king, who is at great pains to conciliate
III. 9. 8. fti*3**l^-Vain, fruitless, the basic object of
which is beyond reach. III. 9. 9. ftjifr looks at the
king, meaning to say ** Look ! here is additional evi¬
dence for what I conjucture. Don’t you feel convi¬
nced? ” III. 9. 10. Wcrt-The perversity of love
which never runs a smooth logical straight-forward
course.

III. 10. The king tries to bring out the perversity

•of love. “ Here is JTTsrffa?! in a state of anxious longing,
but she has not spoken of the object of her love, for
whom she is pining so much. has put forth a
conjecture with reference to me-a conjecture which does
not always arrive at the truth. Very often we see how
244 ] MALAVIKAGNIMITRA [III. 10-

inferences go wrong. And yet in spite of all this* I

am flattering myself with the thought that I am the
object of her love and these lamentations are with refe¬
rence to me and none else. Thus is love perverse, in
that reason or no reason, the person clings obstinately
to the object of his love and tries to feed himself with,
baseless conjectures even. ” For similar idea Cf.

JffltHWlil Wit II *TT* II. cRWt?h»Hr:

-whose chief or essential feature is tlie as¬
certainment of the truth. Too much reliance cannot
be placed on inference which often is not accurate^
***to-**in means a plantain tree; the expression means-
‘ a beautiful lady having shapely round and tapering
thighs like the interior stem of the plantain tree. * Cf.
anWcfV. lik«II. a^-Target,object,
theme. III. 10.3. en^fcW^T^fn-au^c;: I
To whom the message of love is given or entrusted for
being communicated to srraShn. III. 10. 8. 5TOIK fpn—
The daughter of a slave; a term of abuse. Ill 10. 16.
fkjRIT-You have been appointed by your fit¬
ness ( ). Mr. Pandit interprets it in an differ¬
ent way thus;—•• You are now invested with an equality
with the Queeif (^wn: 3f)«PT*JT )j you are now made an
equal of or yc*i have been appointed to do a work
fit to be done by a queen. ” III. 10. 20.
Do not feel happy, do not flatter yourself with the
happy position etc. She means that she cannot forget
that she is after all a slave. The present glory is but
-in. 12] NOTES [ 245
momentary and, who knows, may serve as the last.
igqnvCT-The funeral decoration. Married women who
die before their husbands or even virgins are decorated
before their body is removed to the funeral pyre. She
means that the unrequited love wiU surely cause her
death, and in that case no additional decoration will be
necessary for her! III. 10. 30. par*
don me To all appearances grefifor was a maid-servant
and therefore on an equal footing with She
has no right to claim such servioes from her and there*
fore asks her forgiveness for this impropriety on her part.

Ill, 11. *pftsrn$-The wet streak of the paint,

scmri.. .*TO-The tree of love was consumed to ashes by
God Siva. It has however revived now, and the
lines of the paint appear to be the first sprouts of that
tree. or the God of love was burnt by the wrath
of Sivi, when he first tried to infuse in his mind feel¬
ings of love for qiicft. The third canto of gives
a beautiful description of this incident. III. 11, 2.
arffcrc ( OTftnr: ) The duty has been assigned. V. L.
arawt: ()-which would mean * quite a fitting
decoration ( of the paint and anklets ) has been laid on
the foot of this lady ( fllPWWTS ) i- e. sfl&Tfcf. *

IIL 12. The king observes, in his romantic ferv¬

our, that she deserves to kick two 'things with such a
beautiful foot—-the Asoka tree and her lover who has
given her a fresh offence, epsng-dike it would
mean4 the fore-part i. e. the toes of the foot. 1
246 ] MALAYIKAGNIMITRA [ in. lfe-
witli a flashing lustre of the nails.
a bowed head, with his head plaoed at the feet of his
mistress. whose offence is wet i. e. fresh or
recent. The offence generally consists of infidelity
on his part, as he is observed turning his eyes on* to
another girl; and the punishment meted out to him is
a straight kick from his beloved, which he accepts un¬
grudgingly, nay, for which he seems to be longing in
a way. Cf. x&: qyrraw i if* II. 8.
III. 12. «m#wri%-You will be able ( to offend her and
get a kick in return ). What he means is that very soon
mufrbi will be enlisted as his beloved with whom he
will play the gallant. The sentence is read differently
by some thus :—SWTedt I 1 Very soon
she will strike you also, ( after she has finished with
the Asoka ).’ III. 12. 3 —One who foresees
success. Cf. Hlfatflcf gumuKin u 11

III. 12. 4. jpw^T-In a state of intoxication. The

introduction of in such a condition coupled with
her youthful exuberance, explains her insolent beha¬
viour with the king. III. 12. 7. —This
youthful intoxication is a feature that lends special charm,
to women. Cf. ^ i arofcT
mwtom swuwinyi H««ri u jpn« IV.12.111,12.10.
SR#.. .^ITTt-'Popular sayings or maxims very often have
little truth in them. This saying, however, has become
true because of you. The state of intoxication has really
lent you a peculiar charm.’ III. 12. 11. W
-m. 12.11 ] [ 247

l III. 12. 14. sroig;—Because

of unfailing love ( for my mistress ). She means that
the king loves her so much that he would never
fail to keep this engagement. HI. 12. 16
3n3T...*ro-Enough of this flattery. (%mn Lit. servile
attitude ); speak with an impartial attitude ( JTQTWTl).
III. 12. 19 qTCRftaRRWtajV-Greedy to receive the gifts
of spring. III. 12. 30 qftgrciftrftaiT. To n}ake fun of
us; for the sake of joke. III. 12. 36. while
searching for the king, ftjitifor has sighted muftm
being decorated by Such a sight was most
unpleasant and was very much] like the biting of ants
{ ftqflfN&T ) for one who is up on the tree to find out a
mango-sprout. f'Wfi&ti* The red ants living on trees.
They are known in Konkan by the name of The
mango-tree is a very favourite abode of them. They
configure itsleavesinto hollow globular nests for them'-
Pandit. The sentence could be interpreted in a differ¬
ent way also. The Prakrit expression is which
would gererally be translated by the Sanskrit word
l the sentence would be-^n^gt ftfiRlc*h<n4t:
TWl&wfife or as some Mss. read fWlSmifimgr. It
would then mean * We see the red ants as we are in
search of the mango-sprouts. The red ants are a sure
indication of the existence of the mango-sprout in the
vicinity, as smoke is that of fire. Similarly, since gRfft^l
is here with the king also must be near¬
by.' King's fondness for mufti! was an open
scandal, being talked about by the inmates of
248 ] MA.LA.VIKAGNIMITRA [ IIL 12.42-

the harem, ftmft alio knows it, m she says Inter

(tlfRt I. III. 12. 42.
WfwltTOrT:-‘ A maid like flvilftof cannot have access to
this garden meant for the queens. This is therefore
not a proper place ( ) for her to be in! Cf. iVfMft-
lUfcWl I ITT* VII. We cannot however believe that
even maidB like iviwftat were prohibited from entering
into the gind*. If ftjffan can come, why not glfl/fci ?
In the at the beginning of this Act, the maid of
qfovrfhnv moves about in the garden unrestricted. A
better way of interpreting this sentence would be this
* This is certainly not the proper role for imftvi to
play. Being waited upon by who has deco¬
rated her feet and dressed her as befits a queen,
UWftaT is thus transcending all bounds proper to a
maid-servant, and playing the part of a queen, which
is highly improper tor her ( Vfift ). ” III. 12. 49.
ftOTRT-Honour. Some Mss. read
4 It is a great honour done to nu indeed 1 ' said, of
course, ironically. {{Wft means that the queen UlWl
has shown the greatest disrespect to her in asking her
maid-servant to play her role, instead of asking her,
the queen18 equal, to play that part. In her jealousy,
The queen has shown to great disrespect. III.
12. 57. 9VBt...|f*3-She has observed the charming
figure of and then said this sentence. (It is
but proper that my heart is filled with fear. The king
certainly will desert me for the sake of suoh a girl/
III. 12. 60. **!*...frU^-The drawing of the different
-III. 12. ] NOTES [249

lines of the red paint on the foot. III. 12. 62. snPR...
sitiftigf. I feel so awkward to appreciate your skill,
just because you have exhibited that on my foot. I am
afraid it would appear I am praising my own foot and
not your skill.

III. 12. 66. quick now to receive

your reward as a teaoher. has made you her
teacher in this art; and very soon she would gratify
you, her teaoher, with the nice present ({ftwi) of
ivmfrvi ! ' It can be interpreted in another way also,
as a remark of in answer to the ingenious in¬
vention of in representing the king to mwfr&T
as her teaoher. 1 Well then, if that is the case, make'
haste to repay the obligation by giving him his due
reward. Be quick to give your teacher his reward. ”
III. 12. 67. It is so good of you that you
have not the slightest oonceit j you are prepared to
give the credit where it is due. ’ This indicates her
regard and love for the king. III. 12. 74. ^
I have succeeded in my mission ! sussffoT has clearly
indicated how she feels for the king, and the way has
been paved now for success in my enterprise as love-
messenger. She is a soft soil, and I can hope to get
immediate success. * III. 12. 75. aJUTCTOt »**tf*RW:-
It ought to be dried by blowing on it the wind from
the mouth ( gSPTOT )» TO: U:—Windy,
having a good breeae.
260} MALAVEKiGNIMITRA [ XXL 1&-

III. 18. The king1 says that a very’nice opportu¬

nity has come now to offer his first services of love to
inwffcr, viz. helping her foot to dry up by blowing on
it the wind from the mouth, and he is sorry that
he cannot avail himself of it. 3PTOH: —An ex¬
cellent ( srartRfl ) occasion for doing service. III. 13. 1.
sflJfRi-Begret, remorse, grief, fat_You need
not be sorry for having lost this opportunity. You will
get many such occasions in course of time. III. 13. 4.
A red lotus having hundred petals, sra'jftqtifcf)-
Boiling about on the lap. Note the clever and bold
way in which works up the mind of graftal*
in favour of the king. III. 13. 6. .
looks at faj?§NJT,with a feeling of surprise at such a bold
blessing of and also with a view to indicate
that their suspicion proved correct. III. 13. 8.
*F5pfa-You speak absurd things which you ought not
to say ( sprang ). Cf. ffTgfclg 1 fogft |_
also i *n«I. HI.
13. 12. fifan._gg. We can also take it as a question. ‘Do
you love me ? 9 III. 13.15. .g^fr-The king also
loves you, drawn towards you by your merits for which
he has great attraction (srftftfar). III. 13.18. T^fcrgfa
infar-‘I havent that in me i. e. the king’s love. Surely I
know the king loves me not.’ v&Q may also refer to
merits. I have’nt that i. e. merit in me. m&ffcr Bays
this to draw out gjgttiqiCtai who, she thinks, is ex¬
pected to know more of the king, being his pupil
and thus coming into closer contact with him. III.
 HI. 28. 85 ] [ 261

18. 20. wt,.m!!-* you have'nt that indeed!

this she says a bit ironically. She means ‘ who would
believe that you have not the king’s love ? It is fully
betrayed by the thin and pale limbs of the king.’ Cf»
ej tffaAf II. III. 13. 22.
Considered or thought well beforehand. (OTOT-Lit. a
disappointed creature. It is a term of abuse in the
sense of * Accursed, wretch,’ approaching the Marathi
expression III. 18. 25. aq...$*-*And now follow
the authoritative dictates of the wise in this matter—
Love should be tested by love** If you have any doubta
as to what I have said about the king, you can realise
that for yourself ; if you express your love to him you
will soon find that your love is responded by him. III.
13. 27. eiiw^w^T-From your fanoy or imagination.
The king’s love for me is your own invention and
therefore not true. III. 13. 80. ftfWRiftenft SfflRlft-—
Words that are being echoed or exactly reproduced
( by me ). She means that what she has said in this
matter is an echo of whatever the king has spoken ; it
is not her invention, vgwffewr has thus dearly hinted
that she speaks under instructions from the king whose
message of love she is communicating. III. 18.38.
...fafftft-iireflan feels convinced of the king’s love, but
then there is the insurmountable difficulty of the Queen,
which fills her heart with diffidence in any love’s enter¬
prise that she would undertake. III. 18.85. . jresfaf:—
She means that the fear of the queen should not deter
from loving the king. There may be some
 MALAVIKAGNIMITRA [ III. 13. 35-
risk, but nobody leaves off the pursuit of one's cheri¬
shed object because of such threatening dangers.
The swarm of beesj or the dread of bees ’
•HRfapfa:-Should be put on as an ear-ornament (antftr)
Pot. Part, from 3W?RI$-A denom. from arofa; Of. aPRt-
sums i *n« I. 3. III. 38.
* If any calamity befalls me in this enterprise, at least
you will help me through.1 qisfan has consented to
respond to the king’s love, and hence she appeals to
her to help her in the perilous situation, if any would
develop later. Jifa-Peril, calamity; cf. mr
jafa ^ \ $%• II. hi. 13.39.ftn<ftfr.-
Fragrant when crushed ( ). She puns on the word
UjaiffcvT i. e. a garland of VJW dowers which would
emit greater fragrance when crushed. Similarly she
says that gTVtf^ai would find her at her best when she
is faced with danger or oalamity.

III. 14. The king admires the skilful way in which

has tried to win over nraffar to her purpose.
*IW...3W<jfa Wta-the words ( in the message of love )
which began to speak ( sregtt ), after having
ascertained her love for the king (*n*JCT).
(f n5fa)-xyhil« pleading she gave proper replies to meet the
objections ( JTCUnprW ) raised by mtf&VT. fk Wife!!
thus was inaftar brought round or won
over to her (afTOlfewi) purpose; made firm
in her own purpose. Wt3t...ifai:-It is quite proper that
a lover’s life is in the hands of his love mossengor.
-III. 14. 17 J NOTES [ 258
Everything depends on her and the way in which she
would manage the affair. The suocess is assured if
the pleading is done skilfully. III. 14.
tnsftVT has already been induced to get access in him
i. e. to yearn for him, to love him. She has already
been made ready to embark on love’s adventure. Cf.
forcrawrefr eftr q* i *n* IV.
III. 14. 6. KlJiwsmfa-Even of a person who is un¬
affected by passion tries to put the whole blame
on who, says he, is encouraging innocent
»naftirT in this affair. III. 14. 7. 4 My heart
was rightly apprehensive. I don’t think is
solely responsible, also has a hand in the matter.’
She is not so innocent; She thus refuses to accept
%%*T’s reading of grwftw. -Who has ascertain¬
ed all facts. III. 14.11. Whose decoration
(trftvfrt) has finished. qftvf^-Decoration, toilet,dressing.
i ^n° II. III. 14. il. yt...*r^-
* So now it turns to be the queen’s bidding, iftnfan is
not here of her own accord, but because the Queen
has sent her on some mission.’ 4 has been suspecting
that qTftsft herself is at the bottom of the affair, and thinks
that she is now satisfied that her suspicions are correct
and that she wants to know no more.’—Pandit*
III. 14. 17. ^t...S^-This speech is so worded that it
refers both to the bunch of sprouts of the Asoka tree
\

as also to the aing. With reference to the king, it

would mean 4 Here is he, greatly enamoured or Hushed
with passion (gqiwm ) and fit to enjoy-—( )
254 ] MlIiAYIKlGOTMITBA [ HI. 14. 1&-
m. 14. 18. ft mfr-The trick of has succeed¬
ed and grafter who understands her remark with refer¬
ence to the king, dearly declares her love for the king.
UI. 14. 23. qqftff...qn(te3~This is quite enough ( q^rfhf )
for lovers. A lover is 'amply satisfied to know that
hislove is returned by his beloved. The actual union
may or may not take place.

in. 15. ewijjltefawil: tfSRlte-By the union of

the two in which one of them is very eager while the
other is indifferent ( 3RTij* ). ufosaRTTfa-Even if it suc¬
ceeds. The king means that he would feel no pleasure
() in a union‘in which one of the lovers is panting
with love while the other is utterly indifferent, q*...
^prifr:~On the other hand, requited mutual love cares
not for the bodily union and would not mind even if
death ensues through the despair of securing such a
union. It is far better to die loving each other though
not actually united rather than be wedded to one who
is utterly indifferent. ‘erfRrftsfa *RT%Sr gftywwfai |
qrr* II. 1. -Whose love is equal.

III. 16. Because of this mutal ex¬

change of similar gifts. The Asoka tree has given her a
red sprout for an ear-ornament, while she in return gave
"him a kick of her T&d foot. The exchange of gifts is
thus of like objects. SfiWH qf^RT —* Both of them
have thus satisfied each other, while I stand looking on.
I feel 1 am deceived in my love for the girl/ Cf. te
-III. 17. 22 ] [ 266

ftIKri vto mt« I. 20. m.16.6.

dull, unappreciative, devoid of the good qualities of a
gentleman. $gjfi&W*K:-Slow to put forth blossoms.
III. 17.3«t...fan-gqft: f&: i loudly
tinkling with the noisy or jingling anklets, gpvntf
craving that is in common with that of the
gallant lovers, who too cherish a kick from their be¬
loved. is explained by Mr. Fsndit as 'a person
fond of the graceful actions of young women* iflfkafaRT-
fowwgfto: m u III. 17.1. sw* Creating
an opportunity for speaking.* ‘ I should enter after
ouch an occasion to speak has been created.’ HI. 17. 6
^...f^T'-did anticipate that in my heart, I had already
suspected the king to be hovering about on acoount of
his love for this girl.’ III. 17.18. cTO ^0fll4si-you who
know everything. Ill, 17.18. gd...sftft*efa~How other¬
wise should this wretched Brahmin live ? It is thus
that he makes his living by pampering to the king’s
tastes and providing him with what he wants’. Mltj:-
A contemptuous term for a Brahmin; an unworthy
Brahmin. Cf. the Marathi word ^d<«n. III. 17. 22. q*
...?n£ She has not acted independently on his own ini¬
tiative in this transgression ; she depends on another
via. the queen who has ordered her to do this. TOKfi*
Depending on another. f!TWT»T<Iwfti?lifr f%ft-
^ i gio III. l. tor. tor* to srfhfwrcftd i
VII. 81.

III. 18. Construe-ftwiftfk WTSta, f%f!TOg$U % TOfg

266 ) MALAYIKiGNIMITBA [ in. 18-
WW Hm WfH*w ntf^V fWWi Hfl «T r Iwltw lull of
graces, charming, sportive, qriftq-Oh one possessed
of lovely thighs. III. 18. 9. «ltl...;pT:-‘ How immodest
is my lord! ’ The king*s appearance on the scene, his
raising her by her hands, and then such a question
were too much for {{mft who saw in it nothing but his
indecent flirting with the girl. There is another good
reading TOffogqs: ' Possessed of a heart as soft as
butter; ’ in her caustic sarcasm she means, * What a
soft heart my lord has ! It melts like butter at the si¬
ght of a tender foot kioking the hard stem of a tree,
while totally forgetting the engagement he has given
to me’! III. 18. 9. romrat »lf%ff*[-My request whoso
occasion has come.

III. 19. The king means that in his case also, as

in that of the Asoka, the flower of happiness has not
bloomed. He too has a craving viz. the nectar of touch.
Will she satisfy this longing, since he has no desire
left for anything else now ? The flower of ple¬
asure or happiness. * mUt-has not borne, sqfa-
for & long time.
qw Si flW-Having a liking for nothing else or for
no other woman. III. 19. 4. «R...swrftT W-He i. e.
the king will not only flower but will also bear
fruit. In the case of the Asoka there is a doubt
as to whether it will put forth even flowers.
But if the king ii satisfied by you in his craving, he
will bear both the flowers and the fruit. As Pandit
-III. 19. 21 ] NOTES [ 257
observes, this is certainly a coarse allusion to the fact
that would bear children to the King and thus
reap a greater* advantage. * The coarseness of the allu¬
sion is in keeping with the condition of who is
under the influence of wine.’ III. 19. 7. 3f^TO«y-The
strength of the legs ; taking to the heels. We must try
the strength of our legs and vanish. III.19.10.*nj...s?r*l-
‘ You are carrying on very wellshe says this, of
course, sarcastically,, as one would say in Marathi, 3T!
OTT 1 III. 19. 13. %...***-* Insignificant,
maids that we are, who are we to receive such a favour
of love'from the king ?’ III.19.17. TO...%Tcn-I did not
realise the deception ( ) that was being practised
on me,being all the time unsuspicious {afljrfaflqr) like the
deer charmed ( ) by the hunter’s song. The deer
is believed to be very much fond of the hunter’s whistle
or music, with which he beguiles the innocent creature
into a trap. Cf. anfa I I. Of. also
the 5*TTfar;-*rer i
*i<J I Similarly, says that she
was being deceived by the king with false pro¬
mises of love and engagements, while out here
he was carrying on his flirtation with another girl.
III. 19. 21. sfiRtare-Devise, plan. .wft _
If a thief is oaught in the very act of thieving
( )> the only plausible defence that he can sub¬
mit is that he was there learning the art of cutting or
digging holes in the wall (srfN’sfcpr ). Cf.
17
258 ] MALAVIKAGNIMITRA [ III. 19. 21-

srfct^R^ I ffo* III. means, you

have been caught now in the very act of flirting with
*Tiarf«N»T, and you have therefore to give some sort of
defence that will absolve you from the guilt of infidelity
and prove you to be innocent. Like the thief who,
caught red-handed, would say that he was only taking
an academical interest in the art without any personal
motive of actually committing the robbery, can you
not also say that you have no personal interest in
whom you chanced to meet and therefore tried to pass
away your time in some light-hearted conversation
with her? III. 19. 23. ^-Interest. vcm ftilfar:-I
diverted or amused myself. III. 19. 27.
* I should cartainly believe you she says this of course,
ironically, foft^rejaE-Such a means of amusement
viz. The repetition of is for the purpose
of giving a sarcastic retort to the king’s expression
SFW...ft*Ict-Had I known that you had suoh
a nice means of amusing yourself, I would certainly
not have done thus, unfortunate that I am : I would
never have interrupted your amusement. * III. 19.31.
Ik) not say anything that would repel his
courtesy.1 means, ‘The king is all along behaving
with you witdfcf the utmost politeness. Remarks like these,
however, will only provoke him unnecessarily and would
drive off all courtesy from his mind. ’
words calculated to put a stop to the considera¬
tions of courtesy. OTI.SPOT^-Mere matter-of-fact
talk with the Queen’s servant met accidentally can
-in. a). i] NOTES [259
mot be looked upon as a serious offence. Is it so ?
I ask you as the best judge in the matter ? ’
talk, conversation. III. 19. 88. TO*lti%HWI~with her
feet fettered or entangled ( ) by the girdle ( XSR\ ).
It had dropped down from her waist in her angry ex¬
cited condition that caused hurried movements. III. 19
39. l^I$$RTT-utter disregard, indifference. III. 19. 40.
415.*—A rogue, a cunning lover who affects his love for
one lady while secretly loving another-qgftiltavt: I.

III. 20. qfV^Tc^WJii-It could be interpreted in

two different ways ; (i) The usual
scorn.’ The king says that he has often met with such
treatment of utter disregard from her; it is not a new
thing to him or to her. (ii) wffaon-Disrogard
shown to a person who has been too familiar. * Fami-
liarily breeds contempt.’ It is nothing unusual, there¬
fore, if she behaves thus towards one who stands too
intimately related to her. Such is not, however, the
case of the girdle, which is prostrate at her feet for the
first time, ^yr etc. construe—=3rcyrq%<RT
i at ( ) q faffarfa-The girdle is at your feet,
pleading for mercy on my behalf. With a male com¬
panion, you could be rude ; but not so with your female
companion, the girdle (itaKST Fem.). Still, Oh angry one,
you do not leave off your scornful attitude. ian*3^-A
hot-tempered lady. Cf. mmqp qrrqqfar anaigaw q*n i
It is also read by some as an&saf-' Angry attitude,’ to be
oonstrued withIII.20.1. *q...*kfa-‘Thiswretch-
260 ] MALAVIKAGNIMITRA [ III. 20.1-

ed girldle also sides with yon.’ It too appeared to

be working for the king, since it would not. allow Rwft
to leave the place quickly, but wanted to detain her
with the king.

III. 21. in tears, striking the king with

the golden girdle is compared to a row of shower¬
ing clouds smiting the ftysq peak with lightning.
to be taken with both and ; ansn* means ‘a
shower.’ —dropping down unexpectedly or
accidentally, jpg I-Prepared to strike me hard
or cruelly ( ). Spsfflfir-Row of clouds. III. 21. 1.
Again, for a second time. Already before she
had raised the girdle to strike him; See the stage-direc¬
tion 5ft 5*131*1151* 5T3TH aisftgft^ft | This was the
second time.

III. 22. xm V* ft ^1%-Why should you tako

back ( ) the whip (viz, girdle) raised against me ?
anfclft ftsffcd-You increase your charms. 55Tq?fr, flushed
red with anger, and ready to strike the king with the
girdle, was a fascinating sight for the king. III. 22. 1.
This will be now permitted. 'She would not
now object to my falling prostrate at her feet, which
torm of conciliation, she will receive with favour, in
her present mood.’ III. 22. 4. **^55 -which
will fulfil your craving for the touch. It is a sarcastic
reference to what the king had demanded of tncrffal-
‘srcM* ypt 1 III. 19. III. 22. 6. sfas
says jokingly. ' The favour has been
-in. 22. 9 ] NOTES [ 261
shown to you,’ that is she has made her exit, and thus
removed the source of disturbance ! 111. 22. 10. ^...
ftitavrT'fCHVcft served as a great check in his affair with
TO&ftaT. Somehow she has departed, and it is therefore
a matter for rejoicing. The gods have shown us a
great favour in removing this great obstacle in the way
of your improper relations with fetal. Mr.
Pandit reads differently thus-fts*U aurcnftflT
*TcTI. ‘‘It is good that has erred by going away un¬
reconciled and has thereby furnished the king with an
excuse for paying his court to *TT?rftaT; if she had not
done so, it would have been so very difficult to disre¬
gard a loving and unoffending wife as Pandit.
This also is a good interpretation. Even though the
king’s motto is-«T ft he can
now pursue the object of his love without feeling the
qualms of conscience regarding as in her case he
had done everything he could reasonably do to recon¬
cile her. She has spurned his prostration and thus
lost some moral advantage in her favour, and weaken¬
ed her case. A feeling of repentence comes over then,
and the woman tries to conciliate her lord Cf.

III. 5. For a similar remark of

Cf. aqjtwwrad erfStjt
I ft*»® II. III. 22, 9. ..vtrft-^-before she comes
baok like the planet Mars ( afuiiq ) retrogressing to his
mansion ( tffir ) in the Zodiac. ' In certain positions
planets are said to look towards you and in others to
262 ] MALAYIKAGNIMITRA [ III. 22. 9-
I

turn away from you. When they have turned their back
on you, they are said to be unfavourable, and when
they are looking towards you, they are favourable.
Mars is the only exception, because when it returns
and looks you in the face, it is unfavourable. In the
present instance, fOfSft who has gone unreconciled and
and turned her back upon the king is more favourable
to the king’s paying his attentions to grafteT, than she
would be if she were to return and be reconciled, as
that would make it difficult to disregard her.* III. 22.
Id. JRftraiW^-The perversity or inconsistency of love.

III. 23. The king means that in his present con¬

dition of the mind which has been solely captured by
^Eft’s spurning of his prostration is a definite
service rendered to him by her; for even though she
loves him, she has departed in anger. He can therefore
safely ignore her for the time being. sfrNEOT^U*r-The
slighting of the prostration. etc. Construe-gfr SOT-
aflEft ( seft ) ffofT ST I. ‘ It is possible to
connive at or neglect her though full of love for me,
since she is in such an angry mood.9 Cf. f% g sntifaM-
^4*W«*P**3l i ffoo II. The perversity of love
lies in the fact that he feels like ignoring the one who
f

loves him ardently while the one towards whom he is

drawn is away at a distance and almost inaccessible to
him. The translation has been given with the follow¬
ing reading—SFWWfrr ffT gffc WTffrftg fftm i
 IV. 1 J NOTES [ 263

ACT IV.

IV. 1. The king enters in a love-sick state all the

time thinking of grafts'and brooding over the possibi¬
lity of his being able to raste the pleasures of love in
his union with her. His love he compares to a tree
which first strikes the root, then puts forth a shoot,
then blossoms and lastly yields the delicious fruit*
Similarly the feeling of love for gltfffof was rooted in
his heart when he first heard of her and felt interested
in her. When he saw her, love appeared to have put
forth the shoot of passion. The touch of her hands
sent a thrill of horripilation through his body, a veri¬
table blossoming, as it were, of this feeling. Will ho
be lucky now in tasting the joys of love, as one would
the delicious flavour of the fruit ? glglfacg-
* Resorting to her who came to my oars i. e. when I
merely heard of her, as the tree gets planted in the
soil.’ gT5*fiN»T represents the soil. |lfltaggcTT dt ajlf
l. CTTOT-Interest, attachment.
Trg sjsttw; g:. The tree whose sprout of passion was
put forth. ggffiTft 3|*?r-with the buds
produced on the tree ; ;for a similar idea in this line?
Cf. II ffao I. 13.
With the horripilation ( i. e. the hair standing on their
ends ) becoming manifest ( at the touch ), .. .<G*n=g-“
Construe-gJri%HcR: 5Tgr# gf \ 11 feel
now weary ( ) at heart; will this tree of love
enable me to taste the flavour of its fruit ? TO|r:-TO
264 ] MALAVIKAGNIMITBA [ IV. I. 6-

—Who knows i. e. tastes the flavour. Some

read €RT for meaning * a lover. ’

IV. 1.6. *n»ire<*rr*l<l-Because of her aohing feet.

IV. 1. 11. ^...wn-Jnwffor fares now as does a ouckoo
seized by a cat, which means she is now ruined once
for all. IV. 1. 16. ft^roi^t-The queen having eyes,
which turn to reddish-brown colour under the influence
of wrath, oiw W*lftaii“In an under-ground cellar where
all precious valuables or treasures ( 91^°? ) are stored.
It is a veritable death-trap for her. IV. 1.17.
My contact; meeting me. IV. 1. 10. ft«g3T: efipnVT
Averse to us, opposed or ill-disposed towards us. IV. 1.
23. ftf^cT-Lit. Handless, i. e. disabled, incapacited,
made powerless. Cf. gg«5 i
^5° V. 49. ^rsfiFcflfcf-Inquiring after health.
IV. 1. 28. f^-‘Have you lately seen the loved
person i. e. the king ’? Mr. Pandit who has the same
reading, interprets it thus, * Why have I not seen the
beloved one i. e. you, ? y The Commentator *KTCT-
'k* reads differenlly-ft g WT5R: I VI. 1.29.
Why this formal questioning, when you
know full well, how far your servant i. e. myself enjoys
the king’s lovp * ? She means that ought to know
that the king does no more care for her question
therefore proceeds from mere formality and possibly
smacks of some sarcasm also. Another way in which
it is interpreted, “ Why this formal courtesy, knowing
full well that the title of the * beloved one ' belongs
-IV. 2 ] NOTES [265

now to your servant i. e. JTT&fan ?” Mr. Pandit reads-

1 This is either an affront ( lit. arrogance ) or an

empty form, since you ask the question, knowing that
the belovedness belongs to your maid-servant.’ IV. 1.
30. ^-Without distinct or direct mention,
€ without a giving out ( ) of the name of
3V*ans;-Suggestion, reference. Cf.qrcw^rw tp* i
W V. IV. 1. 33. arjvwpnvn-Being importuned or asked
again and again, being pressed. *TOt...$ffl-The Queen
was made acquainted i. e. informed about ( )
your indiscretion ( 3?f^RZT ). IV. 1. 35. —Long-
continued, persistent anger. IV. 1.39. chained
in fetters. 31£S...3Fffi:-They are enjoying their residence
in the nether world where the sun’s rays ( W ) are not
visible, as if they were two snake-maidens («niw;?arl> ).
The <TTcnw or nether world is supposed to be inhabited
by the ^ins or snakes whose maidens are belived to be
very beautiful.

IV. 2. rf^T^-Olinging to the full-bloomed

( ) mango-blossom. swsjltaRWT anPl^fgtri-By an un¬
timely shower preceded by (j^r) a strong gale. J&TO is
understood by some to mean ‘the front or the opposing
wind.* nfi^f-are driven to the hollow of a tree (shst)
the love-messenger, is compared to a cuckoo
whom the Sanskrit poets style as Cupid’s messenger; Cf*
l ft* IV. 11; and *7»ftw is made
to resemble the female bee. The king represents the
966 ] MALAVIKAGNIMITRA [ IV. 2-

mango tree while the hollow is the cellar. Thus the

metaphor is complete.

IV. 2. 1. -Scope for some plan or stratgem

IV. 2. 6. TO_ifomsin-Prof. Tawney remarks on this,
1 It is clear that the head queen exercised in some de¬
partments an amount of authority that would have de
lighted the soul of Mr. J. S. Mill. ’ IV. 2. 12. It
€TOTT%-A sinlilar devise as in the I Act is introduced
here, and the plan speaks highly of the inventive brain
of the IV. 2. 16. smeared with the
red sandal paste. This application was to serve as an
embrocation to the foot. The other reading
is interpreted as ‘ an oil of red sandal wood.’ IV.
2.22. TO&n...*FcS-the king asks to take his female
attendant also into confidence. She lias observed
the whispering some secret in the king’s ears,
and hence this precaution. Her assistance was also
necessary for putting into practice the dodge for bring¬
ing the Queen’s ring to liberate TOSfifaiT and her friend
IV. 2. 33. TOTO^FTOI-tlio restraint imposed
by the conventional formality; the worry of the etiquette.

IV. 3. 55^:
The foot whose separation of the anklets is unusual,
unaccustomed to leave off the anklets, which were re¬
moved because of the% paining foot. TO?nftfr-Talking
in a sweet voice; Cf. TOTCJ TOUlfofa TO *»RTT I ft5***
IV. 11. IV. 3. 4. if -There is a definite
-IV. 4 ] NOTES [ 267
change for the better. The same expression occurs in
$T!p III* IV. 3 6. ?l%m<ftW£l^30:-with his thumb tied up
by the sacred threadthe sacred thread worn over
the loft shoulder and under the right arm ; originally it
was the ceremony of investiture with the sacred thread*
thef^TC* resorts to this first aid with a view apparently
to stop the circulation of the poison of the snake by
whiohhe pretends to be bitten. tf?gRT:-Exeited,agitated.
IV. 3. 11. sTRT...®n^-for the purpose of collecting flow¬
ers for a customary offering. Such an offering is
given to the deities or to great persons when one visits
them. Cf. qfcfr^r: | *gr®
II. 10. had already provided for his pretence
when he said just before that he would find some pre¬
sent for the Queen whom he was visiting shortly Cf*
I. He refers to it again in
this sentence with a view to make out that
he has risked his life for the Queen who in a way is
thus responsible for this disaster. IV. 3 13. aflfttWOT-
f^fiftt-The cause of danger (^w) to his life. IV. 3.19
^r^-The two marks of its fangs. These were in reali¬
ty the pricks purposely caused by means of the pointed
tips of the plant. Observe how cleverly the
has arranged for the whole make-up.

IV. 4. -Excision of the bitten part, ampu¬

tation. Bleeding the wound, taking off
the blood from the wound ($r%:). ^gtrowr-Immedia-
tely after they are bitten, anjtt -Remedies
968 ] MALAVIKAGNIMITRA [ IV. 4-

< sftTCftt ) to save the life. Of.

It 1H5W aiwicl I VIII. The remedies have
been suggested by qftsnf^PI, because as Mr. Pandit
says, inftoft should not suspect her. For we can
suppose that the must have settled his
plan in consultation with the before she
went to the Queen and he came over to see the king.
Her presence with the Queen was necessary, as in the
first Act, for the purpose of removing any suspicion of
her hand in the matter and also to help in induc¬
ing the Queen to part with her ring. * It is also in¬
tended to give her a character for learning and know¬
ledge of medicine.’ The remedies referred to here are
found mentioned in the medicine manuals of authors
like 3TWR and others. The ^3^134 mentions the follow¬
ing in this connection—g l
foi ii. iv. 4. 8. —
Tingle with pain. This is an onomatopoetic or imita¬
tive verb, expressive of a tremulous and aching sensa¬
tion, probably convulsive. The corresponding Marathi
form ftiqftWdld comes from this Prakrit word. IV. 4.11.
e?5pt.. .ftsnfa. The trouble ( of the snake-bit ) has taken
a bad turn, seems to prove fatal. qf-Look after
the welfare. means ‘ a fresh acquision of things not
obtained already while is ‘the preservation of what
has been acquired.’ #IW I Of. cforf
yiHt I IX. 22. The Prakrit word
may be translated into Sanskrit in two wayss-(i)
without hesitation ’ or ( ii ) aift^ftwr-Without
-IV. 4. 37 ] NOTES [ 269

any change (in behaviour). IV. 4. 17. —

treats you, cures you. IV. 4. 19. g*.It
is necessary that must leave to effect the
release of iroffaT and from the prison.
Having, therefore, arranged the plan, either he or the
<rfani%*rr must have spoken about it to the king’s physi¬
cian before coming to the garden. IV. 4. 21. affa^-a
euhuch, an attendant in the women’s apartments. 1$-
ur: or also means the same thing. IV. 4. 28.
of one whose name is significant or true to its
sense. The name of the surgeon meant ‘ one
who gets a sure success, an infallible doctor. ’ IV. 4.
82. 3^_^rf^2R|-For performing the magic rite of
something bearing a serpent*seal ( )
has to be utilised. The 3^*rf%i*r5r
<4
rite has been men*
tioned in works like the as a magic remedy
against serpent-bites. A jar is filled with water and
certain Mantras are repeated. The enchanted water is
then sprinkled over the part bitten by a snake, repeat¬
ing the same Mantras again. It is assured that the’
poison of the deadliest serpent is thus counteracted.
The reading means ‘ for the purposing of
covering the jar.*

IV. 4. 87. ^4l%^-When the treatment has proved

successful; refers to the treatment of the doctor; Cf.
i, snftafa:-* News,information. The same
sentence oocurs in <g?no IV. Cf. also
gift i *n« VI. It may also be taken as a hint to
270 ] MALAVIKAGNIMITRA [ IV. 4. 40-

*rei|3n to tell the king when the plot has succeeded and
has-been released. IV. 4. 40 —
The qftgrforo puts on an air of one who is thoroughly
ignorant of the plot and makes this remark which bears
these different interpretations, (i) ‘As my heart tells me,
is by now cured of the poison, or (ii) ifhw has been
bitten by a non-poisonous snake/ To the king she sug¬
gests ‘the snake-bite is a hoax and is simply pre¬
tending the effects of poison of which he has nothing.’
IV. 4. 43. STOiclW-snpcft fct&fa (Ti-came back to the nor¬
mal, his usual self or his natural condition. IV. 4. 45.
g^ftntfrFrom the censure or blame of having been in¬
directly responsible for the death of the poor Brahmin*!
IV. 4. 49. .,ftgITO%-This is again another falsehood
invented to enable the king to leave immediately
without rousing her suspicion. Note how the innocent
soft-hearted Queen is being successfully duped by a pack
of scoundrels around her ! IV. 4. 6£. and'fraiFd'.-Full of
the sun’s heat. *fta.. .SITOTT-A cooling remedy ( tffcrftgT )
is to be preferred for this i.e. for your aching foot. The
king affects a deep concern for the Queen that she may
be lulled into an unsuspicious mental slumber.

IV. 5. Absolutely good, ^n^rg-doubtful.

•diffident P, P. of + f^. The king feels doubtful
whether would succeed in releasing jgTafaqjT. IV.6.
1. All auspicious ceremonies,’ referring
humorously to the very undertakings like the release of
gTftffcl and the bringing about of another meeting bet-
IY. 6 ] NOTES [ 271
ween the two. IV. B. 6. JR^I-Insignificant, worthless,
dull-headed. IV. 5. 13. JicJcT^Ifr^-Ileady-witted; also
Scgwwfa: I. IV. 6. 17. ^C^RTCi-An astrologer,
ST. l. Calculated to give trouble, having
a malignant influence. €4...%«rcTT^-All prisoners are
to be let off for the purpose of appeasing the evil star.
IV. 5. 22. <regc*T...**ftr%-It was at the instance of
that the two girls were imprisoned. Now, says,
to iTT^i^T, if the Queen taking advantage of this oppor¬
tunity of wholesale release, would liberate *n«*f*N»T and
also, would feel greatly displeased. The
Queen therefore does not want to take that odium on
herself, but wants to represent that the king gave
direct orders for their release, and hence she i. e.
has dispatched me to to the prison-house with this ring. ’
j%T! ?SR*TT-With a view to spare the feelings of
and keep her pleased.

IV. 6. Mere intelligence is not enough. It must

have an element of deep love for the friend, to goad
it on and invent the subtle means of .ensuring
success in a friend’s undertaking. The king means
that because loves him so much, therefore
he is able to work thus in a subtle matter to
aooomplish his purpose. —Visualising of
the means to promote a friend’s interest.
qip.-The subtle or the narrow path leading to succes in
an undertaking. IV. 6. 2. *T*P£Wtf-A summer-house
built in the midst of water; an ocean-pavilion; so oalled
272 ] MALAVIKAGNIMITRA [ IV. 6. 7-

from some ponds of water being attached to it, what

we might call in Marathi arertfifc IV. 6.7.
With her hands busy in gathering flowers. IV.6.11.
puns' on the name of the attendant. 1 Yes,
we must avoid this maid-servant The moon¬
light () has to be avoided by thieves and lovers
who have to work unseen.’ IV. 0. 16. % *p£f-The king
always refers to while speaking to as
‘Your friend.’ Cf. arft if* II.
27. JV. 6. 20. sm*T *mk*£-In the was a pic¬
ture of the king and his many wives. The king was
portrayed as gazing at the face of as will be clear
from the later remarks. srfwr. refers to the picture;
but she is purposely vague in order that she may enjoy
herself a little at her friend’s expense. IV. 6. 24.
*IU7% Jtf-you deceive me. did not notice the
picture first and thought that the king had arrived.
Hence her joy followed by disappointment when she
could not see him at the door.

IV. 7. The or the white day-lotus blooms

at sun-rise and closes its petals at sun-set. The face
of Wttftai also beamed with joy to hear that the king
had come, but wore immediately a sad look of disappoint¬
ment when she did not find him there.
Within one moment she presented both the conditions
of the lotus. IV. 7. 6. UVt...U?ft-8he means * that when
she met the king for the first time near the Asoka tree,
she could not satisfy herself by having a full look of
IV. 8 ] NOTES 1 273

him; various reasons like maidenly bashfulness, excite¬

ment of the occasion and the sudden interruption of
deprived her of the pleasure of observing the king to
her heart’s content. But in this place she could see
him in the picture uninterrupted and she feels now
fully satisfied. Mr. Pandit completes the first sentence
after 3TO, and reads the nexc sentence
as a separate one. My thirst for his
sight was not quenched; I did not feel satisfied. IV. 7.
11. fppsjST-A casket, a treasure-box. purposely
puts a different construction on this sentence to ridicule
the king and remarks,1 See what says. In vain
do you think yourself handsome. You did not appear
to her half so charming while bodily present as you do
in the picture. And yet you are proud of your person¬
al charms which are not at all striking on the exterior.
It is the pride of a casket or a box which contains the
charming jewels inside, while the exterior of it is all
dull and unimpressive.’ IV. 7. 13. ftg^ffifott-modest
or bashful by nature ( ). Cf.
<rirTO"Y: l tn* II. The word is generally explain¬
ed as one who is fit to enter an
apartment of a house i. e. well-behaved, shy.

IV. 8. The particles mean 1 though...yet.’

^napfsT.. .OTWffFfHJ. Although women• desire to observe
in full or completely ( ) the features of their
( lovers ) whom they meet for the very first time (
274 ] MALATIKAGNIMITRA. [ IV. 8-

wnnrfHw-^ wi ?wt * =<.. .ftdw-

^nfJr-yet broad as their eyes are, they do not fall fully
(*T $nrnqT?W*r) on their lovers. Their eyes are not
direoted full in the face but are half-averted or cast
down through shyness. There is fa^tenffWI between
and * wnwRftft. Cf. arftgtr n# i
*n<» II. 11. also *TfaH^h
i flfafiffiii weft** ri^fr glw ii fin*
III. 68. IV. 8. *%&&•-*£ «$*r ^ nt-who has
fixed his gaze on the face. iithAtt, while observing
the picture minutely, gradually transformed herself
into the atmosphere and the scene of the picture
and has begun to think that the king with his
many wives was actually present. In the picture,
of course, the king would be constantly looking at
In an atmosphere of reality, however, she
thought it rather strange of the king and hence her
remark. We have such a devise in the also,
where in the VI Act the king forgets that he is observ¬
ing a picture of 3Tf5&T and begins addressing her and
the bee hovering about her. IV. 8.11. <rc*n4~In reality,
as present actually and not in a picture, TTcfaT-
I’ll make fun of her.
•
IV. 9. (sin* )—«r*n^V: fair: faw.
an^l-The face on which the saffron mark on the fore¬
head was broken i. e. disfigured by the knitting of eye¬
brows. (affair) The face the lower lip of which
was tUrobbing in anger. The two expressions may be
-IV. 11 ] NOTES [ 275

taken as adverbial phrases going with <ro*&Rarr. wrtt

ote. Construe s—fiftg: ftnsrr w
| She gave an exhibition, as it were, of her tea¬
cher’s lesson in graceful acting appropriate in fits of
anger oaused by the faults of a lover. IV. 9. 1. 3tfTO:~
Conoiliafeion, propitiation. He means that the king as
her lover, should step forth now to conciliate her. IV.
9, 4. SfA.».t$*Sj[-The king has two sources of distraction
One is It whom she can hope to supercede and the
other, this ftfgf who rarely left the king alone. She
feels jealousy even for and hence she turns in
another direction pettishly. eHfa i. e. near the king.
IV. 9. 8. gfDitaft i. e. WflNft-Is left off, abandoned.

IV. 9. flwPfafolin. at an action ( %sr ) shown in

a picture. ftJNfflft should be split up as 1% ^ erft. If
we split it up as ft t^r then the verbal form of\/$^,
whioh generally governs the dative, will have to he con¬
strued with the locative. a??RKrrerc*r:-Not claimed by
any one else, not oommon ( tfPTRpf ) to others, devoted
to none else. IV. 10. 4. «ST<f}-Nervousness, distraction.
IV. 10. 5. ^rtftsrs-Indifferent, apathetic, unconcerned.
IV. 10. 8. apr...5fon-To be taken as a question. Pandit
reads-Wfronw aVffogTCi 1
IV. 11. The king explains why he has lost all
faith in gi&ftfiT who plays hide and se~'k with him in a
dream and therefore he is not sure whether he has
really got her, she being so deceptive,
vanishes from sight, disappears. Some read ftqefT
276 ] MALAYIKiGNIMITRA [ IV. -11

in place of ftror ‘ Having oome repeatedly. * Onr

reading is better. wtfft-Slips away, darts off. sitoi
Weft Though she is a weak woman. He means that
WTwftaT a frail creature though clasped between my
powerful arms slips away suddenly. toRm etc. Cons¬
true- TOfoarror ffciwr it to: tr# wtottottot tot sifcr
TOffc* TOKf ? I am already afflicted by the pang of love;
and in such a condition she plays with me with such
a delusive union. How can 1, therefore, repose any
trust in her ? WTOITOTTOl can also be taken with %£WT.
IV. 11. 5. TO...TOft^-She means, ‘My condition .ia
•

even worse and therefore more pitiable. The king is

lucky enough to have at least a dream. To me, how¬
ever, even the sleep is denied and therefore there is no
oonsolation of meeting him even in a dream * Cf»
TOTO!^ WWt TOITO: I WTTOJ * TOI^Ult
TOWft II WT* VI. 22.

IV. 12. has asked her to give a reply.

The king says ‘why should I give a reply? I give my
own self to her, and for this ceremony the fire of love
stands as the witness.’ In a marriage ceremony, the
bride is given to the bride-groom in the presence of the
sacred fire. I» this, the fire of love represents this di¬
vinity. sr %*is *$:-* No longer am I her master. I
am her humble servant who would offer her this service
of love in secret.’ It is a clear hint to the and
TOTOtfewi to clear off! Cf. TOTOfTORTlft TOlffcr *TW: |
V* 86. IV. 12. 4. TOflft browse upon or to
-IV. 13. 2 J [ 277

crop the tender sprouts. This is a pretext to go away

with wjaiqftw, leaving the king alone with iri&ftar.
ITor a similar devise which fitfTO uses with a view to
go away with «f*f$<ll leaving and to-gether,
Of. swjfa aft* arwwfcwfa l ttffc S$t-
W* ipri| l III. IV. 12. 7. Tja^-Even thus i. e. as
you are watchful about the Asoka tree, in the same
way should you guard us. IV. 12. 8. Cf. |
I. IV. 12. 11. snroift-In the dark, hidden from sight.
IV. 12. 16. Crystal pavement. IV. 12.18.
OTWSI-Full of nervousness.

IV. 13. cRT...3|»l^?5%-may either bo taken with

4*TOl**d or with *rfr. 4 Leave off your
nervousness of union with me who have been so eager¬
ly yearning for your love For the seoond interpreta¬
tion, see the translation. ^W-Assume
-the part or the behaviour of the creeper towards
me who have become a mango-tree ( ). He asks
her to embrace him closely. The afftgtRaar is seen to
ooil itself or grasp with its tendrils the mango-tree on
which it is propped up. The plant is identified with
what is known in Marathi by the name of jfliO or*Kfsjft-
For such tender associations between the mango-
tree and the sfftywsst, Cf. ftf*
^ ifftA I VIII. 6. l. « tmsroRfamagffroat
ltn« III.IV.13.2. anoriisftiW-Suoh*thing
■viz. embracing, which I would like ao much.' Itjmay
also refer to her love for the Itiig which her heart
278 ] MALAVIKAGNIMITRA [ IV. 13. 6-

approves. IV. 13.6. ^...sig-She means, it does not lie

in the mouth of the king to tell her not to be afraid of
the Queen. Just recently she had witnessed a scene in
which she saw how confused and frightened the king
was when surprised them. (Cf. f|T tolRTT:)
If, therefore, the king would be bold enough to accept
in his beloved before the Queen, she too would
have no fear in acting in response to his love. It is
indeed a very nice thrust which gmlfai boldly levels at
the king.

IV. 14. The king explains that it was not fear of

but traditional courtesy of lovers that dictated
him in such a behaviour with her. He should not,
therefore, be misunderstood. He loves her alone to the
exclusion of all. His very life now depended on her.
^ft?TOT-of the descendants of a name of one of
the forefathers of eiiSfosf. family vow or
tradition of behaving with uniform politeness with
ladies. ‘ A is a family custom inherited from
generation to generation and has to be observed by
every member of a family even when divided.’ (Pandit).
3TTOI Sustained entirely by
the tie of hope of thy favour or love. IV, 14. IB.
^-Descent of young women into the field
or the provinoe (ftqpr) of love $ their first step into the
atmosphere of love.

IV. 16. «TOTCft-Trembling through nervousness.

TO.. .*[1$ tfct TO&-She obstructs my hand as its fingers
-IV. 16.10 ] NOTES [ 279

move about to loosen the girdle ( )• Cf. 5TTT^5T-

TOTOTT ^ TOT TC I 3FTT* VIII. 4. <TTg etc.
construe- q$g<s^gTRW <ng TOTOcT: TO ^Rl^tltcl-she averts
or turns aside ( ) her face as I raise to sip
it-her face having long eye-lashes ( q^TO ). For a simi¬
lar idea Cf. gfiffiNrtnreftg I g^ro*
q^roi^n*. wfiM g ii qn* III. 26. w#r-
^ifcr-Makes crooked, turns or bends aside. Cf.
rr^Jt i j*tt° III. 68.
Even under the pretext of refusing to satisfy my desire.
He means that TOsfifaST showed as if she was refusing to
grant me my desire of embracing her • and yet with
all her show of resistence, she has gratified me. Cf.
i %2TOTrofa fstt TOiffer-
srietfKT qguro n jttt® VIII. 8.

IV. 16. 4. 3ff&5^:-A terrace before a liouse-door.

While on guard on the crystal pavement, =qf^qjT seems
to have observed ftgqqg. She reported the matter to
who in her turn lost no time in carrying the
news to her mistress ! A similar expression occurs
in f^Ro ii. {Sr ctoi sn^ror^-
TORTOfW 3TI%2^T ^ ^ I IV. 16.10. *r$$ra*r-with some¬
thing more important (f^q) that remains to be told. The
reading TORfa is better. Cf.TO^ffo I TO: HOT®II.
After speaking out ?for.. 3rf$rg stopped in hesi¬
tation, although ordinarily she should have continued
further. Hence this remark. Instead of Mr. Pandit
reads jjfofj i. e. sigg-‘ To inquire of the king’s friend
280 ] MALAVIK&GNIMITRA [ IV. 16.16-

about his health etc.’ IV. 16. 16. sft...*toj?l—Why go

to the picture to ask for forgiveness ? Why not approa¬
ch the king himself when he i9 at hand ?

IV. 16. 19. The translation in our edition was

given with the following variant reading of this
sentence—snwrfasprS* Wt 3THT tpr eMitblili’dCS* Bnijgl-
A husband drawn in a picture is the same as a
husband who has transferred his love to another.
Here is he transferred to the picture and there
transferred in mind to the woman. There is no
difference between the two. Hence I select the pic¬
ture. This is of course said in bitter sarcasm. Our read¬
ing of the text is however better. . .antfjp*—She
means 1 The picture will make it clear that when it was
drawn, the king deeply loved me. He is there looking
at me in the presence of all his wives. He has not re¬
mained the same () now. He loves another viz.
trrefSfaT. If I go to him now, it would be like approach¬
ing a different person and not my lord. Hence 1 select
the picture.7 %*«*...3TTW-4 And I am doing it. i. e.
approaching the picture to ask for forgiveness, because
I spurned his prostration and I feel it was a transgres¬
sion or violatien (a^9Rg)on my part of the proper deco¬
rum that should be observed by a wife towards her
husband. This apology is therefore meant to wipe out or
atone for (5PfT$) the sin and thus satisfy my conscience.
I know T do not stand to gain anything thereby.’ Cf.
-IV. 16 46 j NOTES [ 281
!?• III. IV. 16, 28. qgurt With ft view
to inorease that great regard in which I hold you.*
WlWt means that for herself she has no jealousy left in
her mind. That time has already gone. She imprison¬
ed JViaftal apparently to spare the feelings, of fCffRft, or
out of regard for her as her oo-wife. She knows the
king pretty well and therefore it is useless to thwart
his wishes, however unreasonable they may be. qpg...
would also intercede and request the king on
your behalf if you allow. I have come to know, to my
grief, of the recent happenings which have brought
about an estrangement between you and the king. If
you therefore permit me, I would speak to the king
and request him to be reconciled with you.’ IV. 15.40.
frailer fW:-Like a bull in the market-place ( ftqfa ).
The bull here referred to is the qt® or let loose as a
part of funeral obsequies. He is held sacred, feeds fat
on the grain offered to him in religious charity and has
the fullest liberty everywhere. He is usually found
squatting lazily near some shop and dozes away without
any fear of being disturbed. ‘Even the Cattle Trespass
Acts do not trouble him, because the people willingly
put up with him. It does not seem that much
change has come over the institution of these bulls
since the days of qnleiqftj ’—Pandit. IV. 15. 41.
disaster, calamity. IV. 15. 45.
qiq-Evil, danger to life. IV, 16.46. ifaffl
-ftfVC is raving by instalments. He has said this,
and falls into sound sleep again. During this interval
582 ] MALAVIKAGNIMITBA [ IV. 15. 51-

ftjfawn has her observation. Again he blurts out

IV. 16.51. m..-whoseson(anSTsfR:)
is this accursed rogue ? By what ungrateful sire was
he begotten V The translation- is given with the
following reading :—WPf *
*rl.. .3cfTO3%-*The ingratitude of the is fully
betrayed in that he feeds himself on the sweet presents
of and constantly thinks of promoting the in¬
terest of her rival *n^T®N>T even in his dreams. IV. 15.68.
- A snake, ^ff means the expanded hood of a snake#
IV. 15. 72. 3Tt...^^criiffcT-The two tooth-marks which
showed to the Queen as those of a serpent were
really the pricks of the %?T^T thorns. says, 1 At
that time 1 managed to obtain these marks from the
thorns and falsely represented them as the marks
of the serpent’s fangs. It was in a way a mockery of
the snake. Observing this stick, therefore, I thought
that my action of ridiculing a serpent has turned upon
me and has given me the punishment I deserved(q>f&fl*r).
refers to ‘ the common notion that a person
who falsely pretends an evil is visited by the fates
with a reality of it in retribution. * IV. 15. 73.
TOrSfto-Tossing aside the curtain. When a character
has to enter tffe stage in the hurry of excitement with¬
out previously indicating its entrance, this is the devise
used. IV. 15. 79. ..gyicMhas scented the
arrival of on the scene, and hence this veiled
hint. IV. 15. 82. f^TCf%cT:-The mid-day engagementor
meeting ( ). IV. 16. 84. er|£ ^Rll:-An extraordi-
-IV. 16. 89 ] NOTES [283

nary form of greeting. IV. 16. 86. sn%*T-

your promise ( given to the king ) in your capacity as
a go-between. IV. 16. 89. 1% Does the god
of rain forget the earth because frogs croak ?’ She tries
to flatter by comparing her to the earth, while the
attempts of trreffar and to win over the king
are compared to the croaking of frogs. When the rainy
season is eminent, the frogs begin croaking, and there¬
by appealing to the god of rain as it were to send them
a few showers. Now the god of rain may do so to
satisfy their thirst and stop their croaking, but that
can never take his mind off the earth whom he has to
gratify by his fertilising showers. Similarly UlSfflteT may
try to divert the king’s attention towards her by her
language of love and she may succeed in it for some
time. But these attempts of insignificant frog-like»rea-
tures like tn&ffcr can never make the king forgetful of
his chief love viz. firadl, dignified and honourable as
she is like the earth. The sentence can be in¬
terpreted in another way also. 1 Frogs like may
croak and squeal in thier pettish jealousy; will the king,,
however, forget his present chief beloved 1
says thus, being touched to the quick by the
ironical congratulations of on her success in the
mission of a go-between, smarting, as she was, under
the recent insult of imprisonment. There is another
reading- f% *f?<| fU^-Does the god reme¬
mber to send his showers on the earth, because the
frogs crook ? He does this of his own accord, with-
284] MALAVIKAGNIMITRA l IV. 15.94-

out being reminded by the frogs Similarly he loves

gittffcr out of a spontaneous impulse of his heart, not
because urges him by her suggestions. Some
further read...«rfitg ffarfll-Does Indra oease to send his
showers on the earth, because frogs croak ? Will the
king stop loving WftftaT, because every time
makes a scene by way of protesting against his love for
? IV. 15. 94. srenraf sr *fg!fd-you do not assume
your loving friendly nature, you are not reconciled. IV.
16. «prih%-When it is not the full-moon day. is the
day of the full moon and the new moon. Here the
eclipse of the moon is referred to and therefore the full
moon day is meant, as the moon’s eclipse is to be had
only on that day. *5$§^F5*W®l-With the moon’s orb
obscured or clouded by the JTf i. e. the planet who is
supposed to bring about the eclipse by swallowing the
moon for that period. The full-moon justifies an eclipse j
so also there should be some justification for
theft’s anger. For a similar expression Cf. TC
WIW I fST* V.
44. IV. 16. 4. adt.Then I should be an
object of laughter or a butt of ridicule. * fusd) pur¬
posely misinterpretes the king’s expression aftirft VtVi
and means tfiat when she is no longer being loved by
the king, she has really no reason to be angry with him
for loving another. She has lost all claim over him and
therefore her anger would only be laughed at, in¬
stead of mending matters. IV 16. 5* *f**l*n %<r^Hj-you
-IV. 17. 7 ] NOTES [ 285

take it differently, you misunderstand. The presence

of qiafan with me here is being misconstrued by you.

IV. 17. The king tries to account for giaffct's

ooming over to 93533 and meeting him.
festive days. IV. 17. 2. The Queen’s partia¬
lity for me has been witnessed to-day.’ She means
* the queen always professed an amount of love for me
i. e. TO5cft; very recently she said that she imprisoned
tnvffcr for my sake. ( 95 etc.). So long,
however, there was no evidence for it and 1 axp glad to
say that to-day I got a very convincing proof of her
love for me/ She says this in a bitter ironical manner.
Some interpret it thus 1 the Queen’s partiality i. e. love
for the king is visualised to-day. The girls were impri¬
soned apparently for my sake, but here they are
released for the sake of the king for whom she is
more solicitous.’ The first interpretation is to be pre¬
ferred, as it is in keeping with the sarcastic manner of
her remarks, which she has maintained all along. IV.
17. 7. 5*95...‘ The house-pigeon let loose from
the cage is sighted by a car. sn&ffcl successfully releas¬
ed from her confinement is immediately seen by fftiqtft/
It may also refer to the Queen has sent
the whole report of this meeting to the queen, who will
surely deal with rnwffa? very severely now/ Some
understand it as a reference to the king. ‘The house-
pigeon viz. the king has somehow extricated himself
from the clutches of angered by him. On hear-
 286] MALAVIKAGNIMITRA [ IV. 17. 7-

ing of this-report, however, the Queen also will

be enraged and the king has now to save his face with
her.’ The reading fawror: 3% would mean fallen
into the beak of a kite/ IV. 17. 10. ^OTTOT-Met by
chance, seen accidently. Of. wmfa&Ff. IV. 17. 13.
j«5Wta>-The intrigue has been evolved or planned.
^W#wftn:-A minister well-versed in the science or the
manuals on love IV. 17. 17. . .ftSJft^-'If I were
■to read but a single syllable of policy I shall
forget the nrosft is a sacred verse of a Rgvedic
hymn in praise of the Sun, and is incorporated in
the SandhyS prayer of a Brahmin. The verse is as
follows:—*«fF 1 fWt sritanni
R. V. III. 62.10. swears an oath that he has not
conned a single syllable from the treatises of love and
as such knows nothing of its policy; if what he
says is false, he incurs the sin of forgetting
the nrcpft, the sacred treasure of a Brahmin. Another
way in which it has been interpreted by some is I
am such a block-head and so short of memory, that it
is with great difficulty that I have learnt by heart the
verse; now if I were to put an additional strain
on my memory by trying to learn a single syllable of
other works like the manuals on love, I am afraid I
.shall forget the nwsfl and therefore lose my Brahmin-
hood ” IV. 17. 2B. ^5iq|5pRmi-Terribly frightened.
STOftssurfa* ^TOW-Trembling like a tender sprout in
a gust of wind. ftl^lTTO-A brown monkey or the
-V. 0. 10 ] NOTES [287
monkey of the name of ftyw. IV. 17.35. your
friend, your caste-fellow/ for his mischievous
characteristics is not only regarded by others as belong¬
ing to the fraternity of animals, chiefly monkeys, but
even he himself does so in keeping with his character
as a buffoon. Cf. l ^ STOT-
^r: i fop® II. IV. 17. 43.
A period of five nights, swnj:-Equipped with, covered
with, pervaded with. ( sang: ). IV. 17. 47.
The queen will be true to her promise of fulfilling her
desires, if the Asoka would blossom within five nights.

ACT V.

V. 0. 9. 3P!T§ta:-An altar or a dias cover¬

ed with a roof round the Asoka tree has been laid i. e.
created ( ). The gcSSRfafa or the honour done to
the Asoka refers to the kicking by JTTcsfifaT. The tree
very soon put forth blossoms and when it was re¬
ported to UTlfaft, she gave orders for erecting this altar.
V. 0. 10. arft should interpret the
sentence thus :—4 Oh ! After all it was Fate whioh took
pity upon her. The other opposing forces were all rallied
round her, but she could at last provoke feelings of
compassion in her Fate which favoured her by getting
the Asoka to blossom. And now the queen, though so
muoh enraged, will be certainly disposed fa to vour her.
5Rn*3i#-with 8 benign pleasing face inclined to show
288] MALAVIKAGNIMITRA [ V. 0.11-

favour. qf^3RTWRR:-One of the servants, arggrostfear

^ta*;qg-A package in some cloth ( ) marked i. e.
sealed (ftftdcr) with a lac ( gjg ) seal. V. L. ^fapfalJli-A
leather-box. ^RJ:fjnw-A quadrangle enclosed by four
buildings. j«3T: 9R3$:-A hunch-back servant by
name OTCOT. Generally the servants selected for the
harem were dwarfs ( tors ), eunuchs ( *TOCs ), hunch¬
backs, or foresters ( fi»TRTs ) under the command of an
old chamberlain ( ! V. 0. 20. %^touistT-To (the
Brahmins ) well-versed in the Yedic lore. The reading
ftalMTOTO ^Iffitocri-would mean * who are performing the
sqgR or the religious rite, consisting of the recital of
vedic hymns for a certain number of times within a fixed
period for the purpose of averting a calamity or danger.
V. 0. 27. %TOl1cRr-By the Iwjqft i. e. the father
of SffrftPT. 1 He still retained his title of ^RWrfil of the
kings, the last of whom he had deposed,and usurp¬
ing whose throne, he had put his own son srftPw on it.
This is analogous to the title of <Nrt by the late rulers
of the Deccan, who instead of being the Peshavas or
the ministers of the descendants of Shivaji, were in rea¬
lity their masters.’ : -The saorificial horse let
loose without restraint. He was permitted to roam
about freely iif all countries,followed by a strong escort
o I the king who desires to establish his supremacy over
all kings. A king in whose territory the horse enters has
either to submit or to give a fight with a view to try
his strength. After the world-wide tour the angta
sacrifice is performed. For the description of such a
-V. 1 ] NOTES 1289

horse, see Act IVv sn^ter*^-Makes

the Brahmins, who are worthy of such gifts, receive
the dole ( 3fi^p*TT ). V. 0. 34. An apartment or a
part of the palace for sacred purposes, where possibly
the gods were worshipped ; like the modern f&fa-
A clerk, a scribe or a writer. V, 0. 43.
Very valuable jewelled vehicles. The word
is taken by some to mean ‘ A vessel ot gems,’
while Prof. Tawney translates the word as ‘ waggon¬
loads of jewels.’ ( qftsR )-sorvants mostly
consisting ( ) of maidens accomplished in the arts.
Cf. 3n%^T»i!%T ^To I. The compound should
be solved as *JT%r: or \.

Here ends the Pravosaka which is introduced to in¬

form the audience of the great victory won by over
the king,as a consequence of which is set free.
Out of gratitude he sends, among many presents, accom¬
plished maids, and we are told that a sacrificial horse
is let loose under the escort of prince sfgtfhr, the son of
*rtWb-V. 0. 57 WifreR-The judgment seat. V. 0. 69.
5^k-By force, by the strength of the army. Among
four political expedients (viz. *rw Peaceful negotiation,
gift, SfcT split and qm Force), the last one alone is
being utilised.

V. 1. The verse means while the king is enjoying

the spring in his gardens on the banks of ftfon i. e. in
his own capital, his armies have vanquished the king
19
290] MALAVIKAGNIMITRA [Y.l-
of on the banks of *rc...*l*t-construe-ii *...^5
arrays <4 »nm(arft ) arajr ** «raf% I anrnft:-
anw ’Pftfll ^fet: jfiirt: ^M-You who take delight ( in the
gardens); the king is compared to 8MJT or Cupid, the
«

body-less, so called because god Siva burnt his body to

ashes. The word can be taken with ()
anjf also, in which case it would mean * who had taken
with him his wife ifo,
having himself assumed a body
(amro;). zarfa) ^f%3RT m&x
^f-Vocal with the sweet ( ) warbling of
cuckoos. Some construe it witharm^ft-.-The king finding
pleasure in the utterance ) of the dependents i. e.
bards. fai^TT.-‘The river Vidisa isinMalwa and Professor
Wilson identifies it with the Bess, a small stream that
joins the Betwa where the modern Bin Isa (supposed to
be the same as the ancient city of the name of
is situated.*—Pandit. you whose army
( ^55 ) is powerful.’ 8fl@Wri:-( ) The trees which
seive as the tying posts ( 3TTc?NT ) for tho victorious ele¬
phants. The wortl sn^isr means a post to which an ele¬
phant is tied * Cf. aricsft n^Jcf HI. It also
means ‘a chain or a rope and in this sense, the reading
1
3n55l«TT$J having marks of chains * would be better. It
should bo noted that in ancient warfare, a squadron of
elephants constituted an essential part of the fighting
forces. SSIctoW Oh giver of boons.’ ..m
fijj'-lt is a good illustration of the figure of
speech The heads of enemies were humbled or
bent down along with the tops of trees by your victori-
-V. 2 ] NOTES 291

ous elephants. TOT is the modem Wurda, a tributary

of V. 2- Construe :—% §i)NOT,
to*: ***cm folftTO ( an% ) i TOT*%:
fa«i Tfd^r: i srcw ( ¥^rt:)
=* | The bard says, 4 that the poets sing of the glo¬
rious achievements of these two heroes over the Vidar-
bhas ; formerly it was who forcibly carried away
the daughter of the king and now it is
you who have snatched the Vidarbha king s if lory.
^ftcT fafan^-The poets have celebrated or sung
the exploits in verse. 1
Mr. Pandit observes ‘ It appears that in the time of
there were extant, written by learned scholars,
memoirs ( offers ) of king in whioh his victory
over the Vidarbhas was celebrated. These memoirs
would appear to be other and older than the accounts
found in the Puranas, be cause is a modest term,and
is not applied to the authors of the Puranas which pre¬
tend to have been composed by the Rishi % yasa.
^rw-God-like. ****** -Putting the
in tli© middle, while on both the sides were the two
heroes sfTf^T and i- ©• ^ ***fo*B were the
common enemy of both over whom victorv was obtain¬
ed; an i even in songs the common or the middle factor
was the ior the eviploit8 of both and
TO$»ftr*s are the same as fopls. TOf*i:-By
means*of your armies ( wM ). *^:-With
arms as powerful and long as an iron bar of a gate
(qftt). Cf. tr?c: i vr- II. 15.
 292] MALAVIKAGNIMITRA [ v. 2-
or WWir^-Foroibly. sflft is an epithet of ffwj
who was the grand-son of the ?TT^ king by name.
The story of the kidnapping of is well-known.
She was first betrothed to ftrygg against her will. She
however, loved |>wr and secretly sent him a message
requesting him to carry her away. ftwr successfully
took her away just on the wedding day, after
a severe fight with her brother and the forces of
V. 2. 4. pnfe^^Ktfr-The arch ( ) of the
main ( ) terrace.

V. 3. a^T:-Whose uni¬
on is not easy ( §55*ftTC-other than easy
'
) to secure, e’:-
'O

*3T3Rl-Feels grieved or sorry, Denom. of 5:^. The king

says that the joy he feels at the news of his victory is
not unalloyed, but is mingled with a feeling of sadness
at the thought that JTT^i^r appears to be still unattain¬
able. His heart, full of such contrary feelings, he com¬
pares to a lotus in the hot sun being sprinkled with
cooling showers. g^TgcT-Enjoys happiness. has
the sense of simultaneous action of two things. V. 3. 2.

Tr^T^gt%cTS-Absolutely or perfectly happy without the

slightest distress on account of *TT55f^i. V. 3. 9,

wedding-dress which it is customary for

the women in the country to wear. Perhaps it is a
speciality of the people. .
means, ‘ it is not with any idle curiosity that srra/for is
thus attired in the w edding-costume. The queen in¬
tends possibly to celebrate your marriage with sn&ffci/
-V. 4. B ] NOTES 1295
V. 3. 22. ..^B^-What you say is not impossible
judging from her former actions ( ), since she
is known to adapt herself or conform to my expecta¬
tions which she has never thwarted. The queen
did not object to my marriage with on a
former occasion. She is thus free from jealousy
(), and is always willing to surrender and sub¬
ordinate her wishes to mine.
or as a compound *T3^nan: ^npTT: ^TT-
cTW: I The word may thus be looked upon as Instr. Sing
or Gen. Sing. V. 3. 21. inwffoiyiita <ri^fo-With her
retinue of which JTIW^r is the foremost
*TT. ). It is not without any suggestion that this detail
is mentioned by the STrftflft who knows full well the
king’s maid and knows also that the king is sure to
hasten to the place on hearing this.

V. 4. 8W In front of us, on the outer side of the

tree. ( 5t«FT )—
ftfovsnsn: *nwi-In which the flowers were
scattered ( in front of us ), and the mango-trees were
bursting with the net-work of fruit. There too are
the indications of the advanced state ( <4Rum) of spring.
The reading «R553nwi^HRi5r.. .would mean, bending
under the load of fruit etc.’ tJcg3»2ff^-Fills the mind
with eagerness, at the thought that the spring coming
to a close,the days of enjoyment will be very soon over.
V. 4.5. a?5..,3^ftr-Unlike others, Asoka was late in
blossoming and therefore now when all others have lost
294] MALAVIKAGNIMITEA [ V. 4.6-
the glory of their blossoms, this A^oka with its Dohada
satisfied, has burst into an uncommon or extraordinary
splendour of its blossoms.

V. 6. —The other Asoka tree©

which exhibited the wealth or glory of spring. Some
read g$BTl% 1 buds * instead of V. 6. 2. ftwfr
means that the present behaviour of
iflftsfj who allows *TT^f%^rr to be with her even though the
king is approaching, offers a contrast to her behaviour
on earlier occasions when she made a special effort to
keep her out of his sight. Does it not indicate that
has reconciled herself to your love of and
would no longer put any obstacle in the way of your
winning graftal \

V. 6. The Queen is imagined to be the earth

( ) while JHdRtFT by her side is compared to
The Goddess of wealth bereft of a lotus in her hand.
Laxmi is always represented as having her seat on a
lotus and also a lotus in her hand. The poet fancies,
however, that on this occasion it appears as if she has
forgotten to equip herself with it ( ).
There is another reading fi*Wiq?jStaTT ftggT. ‘ My beloved
who rose immediately after the Queen*. This reading
is also good, and it cannot be argued that this action of
is contrary to her position as a maid. Possibly
glfWl saw the king coming first and when she rose
from her seat, gitsffai noticed the king and she also
-V.7 ] NOTES [296

immediately left her seat. For some read fafyr

meaning * with an expanded lotus in her hand.’ This
reading would require also to have a lotus. For
this association of a lotus with 9^, Cf.
dnwi fapr^riTOT 11*3® IV 6.

V. 4. 3TRlfa etc. I know the reason of this

festive deooration (). The was, of
course, the festive occasion that was beiilg celebrated
by the queen, because the Asoka had put forth blossoms.
It cannot be, as some imagine,the prospective marriage
of with the king. The Queen will never will¬
ingly consent to it, unless forced to do so. She
argues, therefore, that the reason is such as has noth¬
ing to do with me personally. And yet ( ) my
heart flutters and my left ( ) eye twitches often,
a good omen indicating the fruition of my desire viz.
union with my lord. Throbbing of the left eye is consi¬
dered a good sign, suggestive of a prospective union
with the person loved. The opposite is the case with
men.
V. 7. SOT...Wearing a silk garment (5^5) not
hanging too far ( aprfit&ft ). OTft; —with a few
ornaments, 3*31%: should also bo construed with
‘ with a few clusters of stars.’
=qf^T ST-( )-The Oaitra night with the
moon-light imminent. The first quarter of the night is
indicated. nafft:~free from the (enveloping) mist. The
ornaments correspond to the stars while the light which
296] MALAVIKAGNIMITRA [ V. 7. 5-

the rising moon spreads beforehand beautifully represents

the pale-coloured sdk dress. V. 7. 6.
Note the blessing of who thereby hints at. the
prospective union of the twolovors. V.7.8.
-This tree is fixed as a try sting bower or a rendez¬
vous where lovers should meet by appointment. It is
the vory tree which was the scene of the first meeting
of the king and The Queen knows this and
therefore she’clearly indicates thereby that far from
resenting the king’s latest adventure, she is in a mood
to favour their union and thus reconcile herself with
the king. V. 7. 9. You have been propi¬
tiated or won over. The Queen is trying to make
amends and win your favour.’

Y. 8. JiTJy etc. Construe—arif amte: SCTTimf

5T !frr: (sft) ST 1 ( arfr star: TT* ). This areto tree
must be made the recipient of such honours of favours,
like the construction of the altar etc.
"Who treated with contempt the injunction of the god¬
dess of vernal beauty i. e. who did not flower
at a time when spring demanded it, but waited for your
efforts in the matter. The king means that since the
tree showed so much regard for you' by putting forth
blossoms when you favoured him, he deserves to be
honoured by you. V. 8. 1. fasrMft etc. A similar devise
like the one used by (III-14.16) is used here
by who uses vague language bo that this remark
may refer to as also arftfqNhvn. And when con-
-V. 9. 3 ] NOTES [ 297

fronted by snftvft m to whom he means, he replies with

his ready wit that he referred to ! V. 8. 6 ,
Separation in the very presence of the per¬
son whom you love. Though the beloveds is near, the
presence of other people makes it difficult to take any
liberty of even touch or talk with her, and therefore
for all practical purposes, it amounts to separation.
Compare the varieties of in the drama of
of the Marathi dramatist Gadkari.

V. 9. 5WT WT tfi-The
bird who is named after a part of the chariot i. e. the
wheel. The convention about this bird with Sanskrit
poets is that the male is separated from its mate at sun¬
set to be reunited when the day begins. The distance
betwoen the two may not be more than that of a leaf.
It imagines however, that it is far away and cries pite¬
ously for the whole night. Their love for each other
is proverbial. Kalidasa has used this convention so
often in his works. Cf. WPRrcftftr
TOTOWTJT11?® III. I
*3Tcfr 13TT* III. \
f^TI^cfT II V. 26.
**tt*rhr f^gdt I arc rci ii
ftsp* IV. Similarly here the queen who repre-
sents the night has practically brought about, a separa¬
tion of these two lovers though they are very near each
other, since she would not permit their mutual contact
( 3Rprcrci^ ) V. 9. 3. With their persons
298 ] MALAYIKAGNIMITR A [ V. 9. 11-

languid ( ) owing to the fatigue of the journey.

V. 9. 11. -My inner self feels delighted.

V. 8. 14. erwn%...^M&-The approaching happiness

or misery strengthens the heart accordingly. The heart
gets fortified beforehand to receive the shock of cala¬
mity or joy. *Wtffa$%-Strengthens, is fortified, having
for its subject 5# qi. It can also be taken in
another way ‘the heart indicates or foretells the coming
happiness dr misery/ TO*ffa>$T% however has not the
sense of indicating and hence the first interpretation is
to be preferred. Here it is an agreeable indication and
therefore some delightful event is to happen. V.9.24.
ariMfot:-Application, special study, proficiency. V. 9. 25
WFrft-welL-versed, proficient. Cf. sgRt WWfliW
fTFRTBf » STT* HI. V. 9. 43. R^4...fM-She means that
a Princess, was treated by her as an ordinary
maid. A sandal wood which ought to be better used
for sacred purposes, was defiled ) by her,
being used ( ) as a slipper ( qTjqiT ). V. 9. 58.
Voice, lit. a combination of sounds. V. 9. 61.
fa*n«3Rt-Is recognised with difficulty ( ). V. 9.
71. ^qiq?TSrT?|3»r-cf«mrcT: 5FRTI To: ST-whose brother
STT'WWf was reduced to such a plight viz. imprisonment
at the hands of the king. qfaTOT*l-A group of
travellers, a caravan. V. 10. The main sentence is-
while the other compounds go
to qualify qfcwft gaTFcTWlft
whose chests (lit. the intervening space between
-V. 11. 10 ] NOTES [ 299
two arms) were encircled with the quiver-straps
( ). an.. .*ift anqn®r ftn%srt nfaww wnfr to-
wearing tufts of peacock feathers (), reaching
down up to the heels <Tffag an%r^-with
bows held in hands, armed with bows. l%3f^t-Shouting,
yelling, apfafe a host of highway-man or bandits
WlJWStfl-aTNTn*. (attack, our laught) jpraf: (Irresisti¬
ble, hard to stand or endure) ajfJT. V. 10.1. warftaT
CTTfiMnwfiNn, in her timidity of heart, feels as if
the incident of which the memory is fresh,is happening
at this very time and hence her fright which she gesti¬
culates. Compare a similar situation in the
where in the first Act, tficTT also is filled with fear as
she observes the various pictures in the Pioture-gallery.
Y. 10. 6. M{]f*J*sO#<1i:-Were turned back or routed.

V. 11. itltg: -Desirous of rescuing her from

the ruffians or barbarians. Jsnf^t-A wicked tribe. V. L.
jsrffo—‘In this disaster. ’ *TcT:-Paid back the
debt with his life, i. e. was killed in the scuffle. V. 11.
5. wfajnsn Such is the lot, lit. the way of life, of
those who have a body or mortals ( ) Cf.
Kg* VIII. 87. fr^TfKj^i^i-Who made
the food (ffe) he had eaten of his master yield a fruit,
i. e. who proved true to the salt he had eaten. Y. 11.7.
^rr-consciousness. V. 11.9. ^^-Distress,misery V.ll.
10. gai^feTtwgj^Rn-Whose sorrow of widowhood
(«nre ) was revived. The death of my brother renewed
my grief for the loss of my husband, whioh so long I
900] MALAYIKAGNIMITRA [ V. 11.13-

had managed to suppress, but whiob now revived with

greater intensity, as I felt forlorn. took
to these yellowish-brown garments i. e. I renoun¬
ced the wprld and turned an ascetic woman. It may
not necessarily refer to the Buddhist order of nuns.
Even Brahmanic Sanyasins used to wear these coloured
garments. Of. 5TTj wm:\ when
taking to these robes is certainly not a Buddhist monk.
We may,therefore,-look upon qftsrrfStoi, not as a Buddhist
nun, but an ascetic woman of the Brahmanic order. V.
11. 13. str^¥:-A forest-dweller $ a derivative noun
from arcfr. e^TR-End V. 11. 15. The force
of 4 now * is that is afraid lest the king should
refuse to marry her, because she was without protection
during the time that she jjassed from the wild men to
VIrasena, and from the latter to the Queen ”—Pandit,.
A similar situation we get in the as well. The
message of has been given and requests
the king to accept his legal wile. At this 3P$tTc5T
remarks to herself. ‘ Jsleqjijsfl «T*lfcT I *TT* V. V. 11.
17 ftftqffiTi-calamities which bring
on indignities or humiliation ( ).

V. 12. s«aftu^“The position of a servant who could

be ordered about (Sfar). ^W^-is used to
serve as a bath-towel. q^r$T*[-wove-silk, a silken gar¬
ment. No man of some sense would use a silken
cloth as a bathing towel.Similarly a Princess, worth the
title of a queen should not have been treat-
-V. 14. 11 ] NOTES [ BO]

©d as a maidservant. V. 12. 8. arafcRMrotor—im¬

proper Y. 12. 5.^5r*T-Abstract noun from f^qcT-Secreey.
Y. 12. 8. ^TWRfr-who had oome in the course of an
idol-procession. ^rarsn—A procession in honour of a
deity going from place to place, just like the anqrft msn
going from Alandi to Pandharpur. V. L.
4 who had come down to the state of a mortal.’
whose prophecy (3*i^r) was infallible. .
When I saw that the sure prophecy was proving true,
(qf^TJT^r) as she was here serving at your feet as a maid,
I thought I had better bide the ( qn?55T$i$?T) time and I
think I did well acting accordingly. V. 12. 13.
waiting. Some take it to mean 4 Bespoct for prophecy.’
V. 12.14. ^«rta?»ltclftd“Put off or side-tracked by another
episode or matter. The stage-direction appears
to be unnecessary, as the chamberlian was all along
on the stage. Y. 12. 17.I^T^t-Doube rule,joint kingship.

V. 13. fq?gT*[-Let the two brothers rule. Imper¬

ative II Dual of\/*TT?. ‘to govern.’V. 13. 1.
The council of ministers the cabinet. V.13.9. 51%:
Benevolent, generous mind. ^S*f^~Yiew, opinion. Y.
V. 14. OT#g:-of the charioteer ; it should be construed
with^pf you.theu controller or chastiser.’ The two bro¬
thers and gi*wffa,with no one to put them up, were
fighting. Now under your control,they will be peaceful.q*.
TOBm^ftftelft-unaffected or undistracted (ftffarft) by mu¬
tual squabbles. V. 14. B. TOlUJcFP:-Accompanied with a
present (sn^T). ^te^-loosens, opens. V. 14. 11. a?fl-
302 J MALAVIKAGNIMITRA t V. 14. 11-

3^—Turned in that directions. ert3*rft-In a great

burden, in a heavy responsibility. V. L. 4 in a
responsible post.’ Y. 14. 14. *f%-A letter in Sanskrit
always begins with thip word. 3frerc?TT<t-From the sacri¬
ficial compound, noting the place whence the letter was
dispatched. ^T^S^r&’cfa-Consecrated for the sacri¬
fice. It is a great sacrifice performed by a universal
-monarch (in which the tributary princes also took part),
generally at the time of his coronation as a mark of
liis undisputed sovereignty. ei^-Who
has performed the consecration ceremony for making
.himself fit for performing the sacrifice,
which was to be brought back after a year,
■w it ho ut restrain or check. ^nTr%-Oii the bank. 3F<?T*fi3»'T
5Jlf$cr;-was claimed i. e. seized by the cavalry.
st-ruggle, conflict. V. 15.3. *pr*:-Like whose
horse was brought back by The horse of king
Sagara was carried away by to the nether world,
where the sixty thousand sons of traced him in
the territory of They attacked the sage who
enraged burnt them all to ashes. The horse was
later brought back by his grandson While
brought the heavenly *Tir to the eartii and thence
to the to purify his ancestors. Without
any delay or loss of time. f^TcrtP^fcTCU- With a
mind free from angor. Various views have been given
about the causes that laid to the strained relations
between the father and the son Mr. Pandit conjectures
that ‘ ar&farST had disapproved of his father having sent
-V. 17. ] NOTES [303

out the boy as champion of the courser.* This

is not probable, however, as the qrflpr kings instead
of resenting did always exult in suoh adventures.
u The ,real ground for anger seems to be due to the re-
*

ligious opinions of the two. was indulgent to¬

wards the Buddhists while jpifira tried to uproot it out
of India.”

"V. 16. irfaTftnn says that by her marriage with

the queen iRiWl has already been the foremost
«faCRc*fl; and now by such a valiant son, she is to get the
title of a 3ik*TKTT. trcgi-W ^n-Onewho gives birth
to a hero. V. 16. 8. RJ553T-A young elephant. Some
rightly put this sentence in the mouth of <rft2nf*PET; the
king could not have referred to himself in a such
boastful Language. ^rrfcti-The leader of a herd of
elephants.

V. 17. 3rc-fafftftTiT-By such an unfolding of valour,

such heroic display. an-ar sppf:-
Whose source i. e. father ( 51^: ) you are,
unassailable ( TOTf"*: ) and lofty ( —SfTcT: ).
The means ‘ with you as his father,
it is no wonder that he has displayed such
heroism. What else is to be expected ? ’ er?f
3555P3TF—Like the thigh-born sage Aurva
who is the -generator of the subterranean
1

fire that consumes] the oceanic waters. The

legend about the} sage efii is as follows:—The
RiT&ft$s or the sons of destroyed all the descen
304] MALAYIKAGNIMITBA [ V. 17. 11-

dants of for the purpose of appropriating their rich

treasures, and they even went to the length of killing
children in the womb of their mothers. One of the
women concealed her embryo in her thigh, and the son
who was thus born came therefore to be called
( Thigh-born ). To have his revenge, he produced a
fire-flame which blinded all the and proved a
great menace to the whole world. He was therofore,
induced to cast the flame into the ocean, where it lies
hidden with the face of a mare ( lienee called ).
It is believed to be responsible for keeping the ocean
within its fixed limits, the additional annual supply of
water being consumed by this fire. Y. 17. 1.
Including ( tlio brother-in-law of the same as
referred to in Act I. ). V. 17. 11. W
s^icT-4 Entreat her on my behalf that I should not be
forced to fail in keeping my promise/ The Queen had
given her word of honour to before she was
asked to fulfil the longing of Asoka. The time has now
come when she must gratify ?nc5Tl^Ts desire of uniting
her in marriage with the king. And in that, no objec¬
tion should be raised on the score of her low birth be¬
cause it ha6 been amply proved now that qisffet is a
Princes^ therefore is to be requested not to oppose
the queen in fulfilling her promise given to Hl«ffa?-vix...
wrtfa i. V. 17.17.
whose joy is undivided i. e. equal to your joy.
tffflT-She means that she has received so many orna¬
ments as presents from the ladies for having told them
 V. 17. 40 ] f -306
the glad news, that she has beoome a veritable casket
or box of jewels. V. 17. 22. means
that was highly worthy of the Queen to have given
such a promise before; she is all powerful, being the
chief Queen; and now, therefore, it should not be re¬
tracted. Note that she first gets a formal consent of
before proceeding to celebrate the union of the two
lovers. Mr. Pandit observes, * Iravati’s message is not
altogether cordial. She is a little bitter as shown by
ffWRill ( which is equivalent to : ‘ what is the use of
consulting me ? You are so powerful that you will do
what you wish ’ ) and sivprctafttJd ( which means ; ‘what
is the use of asking me now ? You have already ar¬
ranged it ’.) V. 17. 26. Already destined
before. V. 11. 30. reward
highly befitting the good news regarding qgfcr’s victory.
No other prize would be so fitting as this V.17.
3 2. ^TOl#-sits silent ( ). V. 17. 33. ft...JSft-Th©
Queen knew full well that the king will never refuse
such a reward. Jokingly, therefore, she asks bin.
this question. aWsftetfrT-Despises, ignores. V. 17.36,
^l€«3f«lfrc:-a common custom of the world. V. 17. 40,
'who has been honoured by the title of
Queen. He would not like her to be treated as an
ordinary wife, but on equal footing with the Queen
qnfaft not only by reason of his marriage with her but
by her high birth as well. Kings possibly had two id ammo
of wives ; one class recruited from lower grades of
20
306 ] MALAYIKAGNIMITSA [ v. i&-
society, inferior to the king in rank and nobility of
birth, while the other class was recruited from royal
families.

V. 18. «irewr||?lfn-Sprung from a mine ( ).

Sflftfen-unpolished. *rRretf-gold. means that
though bom in a royal family must first be
dubbed a queen before she is married to the king. *n»-
fita represents a jewel while the king is the gold.
V. 18. 4. silken veil. 4 means that
in the joy of the news she forgot to dress sn&fito as a
princess, to honour her with a <T$TTO as a princess ou¬
ght to be. V. 18. 9. cTewrar...^[-The king shows as
if he is reluctantly accepting giaftaT, simply because
such are his Queen’s orders. Y. 18. 10. f^r-A particle
expressive of joy. She is delighted that the ambition
so long cherished has been fulfilled, and her attempts
have borne fruit. Y. 19,12. looks up towards the
servants indicating to them that they should now greet
their new queen with a customary saluation. V. 19.
14. When the formal greeting is offered to iflsffcl,
vnftoft looks at 'rffcriStoT to see what view she takes of
her action.

Y. 19. siifaqphft-Even by creating a rival for

themselves. She means, in their deep love for their
husbands, they are prepared for any sacrifice; even at
the risk of having a rival for them, they would willingly
consent to a marriage of their husband to another woman,
simply out of consideration for the pleasure and happiness
-V. 20 ] [ 307

of their lord. The case of the big rivers which carry along
with them many smaller rivers illustrates the point very
well, *tkA river. V. 19. 6. sKnqgtepfl-
Only reconciliation and pardon. means that the
provocation given by her should now be forgotten by
the king since he has secured what he desired most,
and that he should at least show her a favourable dis¬
position devoid of any ill-feeling, although all expecta¬
tion of love is at an end now. V. 19 8.
He will certainly see his way ( ) to oonform to
her request. The reading would mean ‘ will
grant her request. ’ V. 19. 12. art:
*T:-Who has accomplished his purpose; Cf.
I *it® VII. To pay my respects
Cf. i wtrs*
il I.; also fWrsrftjiTFm: I W*
V. fPfnRwroM-Complementary words. He means that
need not personally go to congratulate him;
her compliments will be conveyed to qmta’ by the
king in his own letters. *TOfi«HH-The verse in a dra¬
ma, a sort of benediction, said to be in honour of ?ftcT,
the founder of the dramatic science. The remark
generally occurs at the end of every
Play.
t

V. 20. <$...^l-The king means, ‘ Angry as you

are, you should always be disposed to favour me by re¬
conciliation. In the interest of your rival, this is what
I bog of you.* The request looks raher strange. The
B03 ] MALAVIKAQNIMITRA [V. 20-

king would not like to impose any restrictions on Him¬

self in matters of love; his wife, however, should have
a conciliating attitude always, though there might be
fits Of anger and jealousy. She should always look
with a favourable eye on his amorous activities in which
he would have no restraint! cfraw-A
blessing such as the removal of national calamities
( {fts ); they are, excessive rain, drought, locusts, rats*
birds and foreign raids, ^ * iPTCR^-So
long as king is their protector, these blessings
will surely be secured for the subjects.

This WWW should really have been pronounced

by an actor as an actor and not as king eiftftrsf. Hero*
however, the king speaks it. According to the com¬
mentator qravzta only the last two lines of the verse
constitutes the Cf. q* ( i. e. after the first
two lines) swremrr \.. .*fr*r*
3y5r srstrat armiwfofe
flC^lt9^3flqryOTT^T% ||
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Appendix B- Metrical Table.

rH CD 00 CO H i—l»—I kO Ol

<3* rjt *-» OD ^ 00 **

w. H H H _j •
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 •■ ••> *• •> ►

2,3,6,7,10,17 ;
19. 22.28, IV.
& -a rH GO GO
. 10 £* rH *■ tH
oi ^ »C,A>

V. 4,6,6,19.
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