श्रपि च तुरगखुरहतस् तथा हि रेणुर् पतति परिणतारुण प्रकाशः शलभसमूह इ॒वाश्रम॑द्रुमेषु ॥ ३२ ॥ तीव्राघातप्रतिहततरुस्कन्धलग्नकैदन्तः पादाकृष्टव्रततिवलयामङ्गमञ्जातपाशः । मूर्त्तो विघ्नस् तपस द्रव नो भिन्नसारङ्गयूथो धर्मारण्यं प्रविशति गजः स्यन्दनालोकभीतः ॥ ३३ ॥ राजा ॥ श्रात्मगतं ॥ श्रहो धिक् पौरा अस्मदन्वेषिणस् तपोवनम् उपरुन्धन्ति । भवतु । प्रतिगमिष्यामस् तावत् । 1 'For the dust, raised by the hoofs of the horses, like a swarm of locusts shining in the fading glow of sun-set, falls on the trees of the hermitage, having bark-garments, moist with water, suspended (to dry) on the branches.' For valkaleshu see page 17, note 2. Aruna is the glow either of sun-rise or sun-set, more usually the former. Parinatáruna, as explained by Káṭavema, is the evening [sayantana] redness of the sun, in contradistinction to the arunodaya or dawn. Salabha-samuha = patanga-nivaha, an assemblage of ' grasshoppers.' ± — An elephant, terrified at the sight of the (king's) chariot, enters the sacred grove, scaring the herd of deer, a corporeal interruption, as it were, of our penance; having a (kind of) tether, caused by the clinging of the hedge of creepers dragged along, by his feet; having one of his tusks fixed in the trunk of a treo, struck back with a violent blow.' Such is the reading of all the Devanagarí MSS. The Bengálí have tivrághátád abhimukha-taruwith a violent blow having broken one tusk skandha-bhagnaika-danta, Verse 32. PusHPITÁGRÁ, containing twenty-five syllables to the line, each line being alike, the first and third half-lines ending at the twelfth syllable. Verse 33. MANDAKRANTA ( variety of ATYASHTI ). See Verse 15. मख्यो । अज्ज इमिणा प्रारभ्रषुप्त्तन्तेण पज्जाउल ह । श्रृणुञ्जामख्यो । आर्य अनेन श्ररण्यकवृत्तान्तेन पर्याकुलाः स्मः । अनुजाकाहिणो उर्गमणा । नीहि न उटजगमनाय । राजा ॥ ससम्भ्रमं ॥ गच्छन्तु भवत्यः । वयमप्याश्रमपीडा यथा न भविष्यति तथा प्रयतिष्यामहे । ॥ सर्व उत्तिष्ठन्ति ॥ मख्यो । अन्न असम्भाविदादिविकारं भूप्रोषि पेक्खाणिमितं मख्यौ । श्रर्य असम्भावितातिथिसत्कारं भूयोऽपि प्रेक्षणनिमित्तं । लज्जेमो श्रज्नं विषषितुं । लज्जामहे श्रार्यं विज्ञापयितुं । against the trunk of a tree standing in his way.' For páda Kátavema reads kroda, ‘the breast.' Valaya = veshtana, anything that surrounds and encloses; as a hedge, a fence :' vratati-valaya is the hedge of creepers surrounding the hermitage. Pása = bandhana-rajju, a binding-rope : ' Schol. Murto Murto = murtiman, possessed of a body, incarnate ;' as opposed to the spiritual obstruction caused by evil spirits, etc. Bhinna-sárangayuthah is a Bahuvríhi compound, in agreement with gajah, i.e. an elephant (yena) by whom (sáranga-yútham) the herd of deer (bhinnam) has been scattered [vikirnam]. Kátavema observes that it may be inferred that this was a wild elephant [vanya-gaja], and not an elephant belonging to the king, from its being frightened at the sight of the royal chariot [syandana]. Compare a scene in the Ratnávali, page 27. 1 — By this forest-incident.' Vrittánta often has the sense of ‘incident,’ ‘event,’ ‘occurrence.' ว There is no dative case in Prákṛit, the genitive is used to supply its place. Vijnápayitum is properly, to make a respectful representation,' as from an inferior to a superior. Here it governs two accusatives, like verbs of telling, informing, etc. The phrase sambhávitátithi-satkáro bhúyo prekshana-nimittam, ‘Adequate hospitality to a guest is a cause of seeing (him) again,' was probably a proverb. The two friends, wishing to quote this राजा । मा मैवं । दर्शनेनैव भवतीनां पुरस्कृतो ऽस्मि । शकुन्तला । अणस्रए । श्रहिण्वकुमईए परिक्खदं मे चलणं । कुर शकुन्तला । अनसूये । अभिनवकुशसूच्या परिचतं मे चरणं । कुरवववाहापरिलग्गं च वक्कलं । दाव परिपालेध मं । जाव णं मोवर्कशाखापरिलग्नं च वल्कलं । तावत परिपालयतं मां । यावद् एनन् मोआबेमि ॥ इति राजानम् एवावलाकयन्ती मव्याजं विलम्ब्य सह सखीभ्यां चयामि ॥ इति राजानम् एवावलोकयन्ती सव्याजं विलम्ब्य सह सखीभ्यां निष्क्रान्ता ॥ निष्क्रान्ता ॥ राजा । मन्दोत्सुक्यो ऽस्मि नगरगमनं प्रति । यावद् श्रनुयात्रिकान् समेत्य नातिदूरे तपोवनस्य निवेशयामि । न खलु शक्नोमि शकुन्तलाव्यापाराद् आत्मानं निवर्तयितुं । मम हि proverb as an argument for a second visit from Dushyanta, said that they were ashamed to do so, as the hospitality they had shown to their guest had been asambhávita, inadequate.' Translate —— We are ashamed to represent inadequate hospitality to a guest as a reason for seeing (him) again.' ‘Nay, not so ; I have received all the honours (of a guest) by the mere sight of your ladyships.' Puraskrita = satkrita, 'hospitably entertained.' ± — By the point of a young kuśa (leaf).' Suchi, 'a needle,' is here used for the long tapering point of the leaf of the kusa grass. The needle-like sharpness of the blades of this grass has been already noticed, page 18, note 1. A species of Jhintí or Barleria, with purple flowers and covered with sharp prickles. 'Pretendedly delaying,' i.e., Making some pretext for lingering. 'I am become indifferent about returning to the city. Meanwhile having joined my followers, I will make (them) encamp at no great distance from the penance-grove' Manda, in composition, has the sense of 'little.' The verb ni-vis, — to enter,' 'take up a station,' is often used in reference to the encampment of an army. Manu, vii., 188. Raghu-vansa, v., 42. • — From occupying myself about śakuntalá' Sakuntald-gochara-pravartanát: K. Sakuntala-vividha-cheshtitatwát: Ś. गच्छति पुरः शरीरं धावति पश्चाद् श्रसंस्तुतं चेतः । = ॥ प्रथमो ऽङ्कः ॥ 6 '(My) body goes forward (towards my retinue); (my) heart, not being in harmony (with my body), runs back (towards Sakuntalá), like the silken flag of a banner borne against the wind.' Purah, i.e., Agratah senám prati, "Forward towards (my) army.' Paschát, i.e., Prishthatah sakuntalám prati: K. Asanstutam aparichitam, avasam, unacquainted, unrelated, not under the control (of the body).' The verb san-stu is properly to sing or praise in chorus.' Hence asanstuta probably means, 'not harmonizing,' 'not in concert.' The Bengali MSS. read asansthitam (= avyavastham) 'restless, unstable, illregulated.' Chinán'sukam = china-desa-bhava-vastra-višeshah, ‘a kind of cloth produced in China,' 'silk,' 'muslin.' ॥ अथ द्वितीयो ऽङ्कः ॥ 11aa: ufâufa faqet fagun: 11 विदूषकः ॥ निःश्वस्य ॥ भो दिवं । एदा मिश्रश्रासीलस्म रणो विदूषकः ॥ निःश्वस्य ॥ भो दिष्टं । एतस्य मृगयाशीलस्य राज्ञो 0 la वत्रस्मभावेण णिब्बियोग्धि । श्रश्रं मिश्री । श्रश्रं वराहो । अयं सहूलोत्ति वयस्यभावेन निर्विष्णोऽस्मि । श्रयं मृगः । श्रयं वराहः । श्रयं शार्दूल इति 1 The word Vidúshaka means 'a witty, merry, facetious person;' a goodnatured jolly fellow.' In dramatic language it is the title given to the jocose companion and confidential friend of the náyaka, or hero of the piece. This character acts the same part towards the king or prince who is the hero, that her female companions and confidantes do towards the heroine of the play. He is his constant attendant, and, by a curious regulation, is to be a Brahman, that is to say, of a caste higher than that of the king himself; and yet his business is to excite mirth by being ridiculous in person, age, and attire. Sankara says that he is to be grey-haired (palitah), hump-backed (kubjah), lame (khanjuh), and with ugly features (vikritánanah); that the chief part of all that he says is to be humorous and nonsensical; and that he is to be allowed access to the female apartments (antah-pura-charah; see Wilson's Dramatic System, page xliii). In fact, he is a species of buffoon. His attempts at wit, which are never very successful, and his allusions to the pleasures of the table, of which he is a confessed votary, are absurdly contrasted with the sententious solemnity of the despairing hero, crossed in the prosecution of his love-suit. The shrewdness of the heroine's confidantes never seems to fail them under the most trying circumstances; but the clumsy interference of the Vidúshaka in the intrigues of his friend, only serves to augment his difficulties, and occasions many an awkward dilemma. As he is the universal butt, and is allowed in return full liberty of speech, he fills a character which is very necessary for the enlivenment of the otherwise dull monotony of a Hindú drama. He is called by Sankara the upanayaka of the piece, or the náyakasya upanáyakah, a kind of sub-hero, or assistant to the hero: see page 46, note 3. Kátavema says, 'The Vidúshaka |