सूत्रधारः । किम् अन्यद् अस्याः परिषदः श्रुतिप्रसादनतः । नटी । अध कदमं उण उर्दु अधिकरिश्र गादूस्मं । । नटी । श्रथ कतमं पुनर् ऋतुम् अधिकृत्य गास्यामि । सूत्रधारः । नन्विमम् एव तावद् श्रचिरप्रवृत्तम् उपभोगक्षमं ग्रीनसमयम् अधिकृत्य गीयतां । सम्प्रति हि सुभगसलिलावगाहाः पाटलसंसर्गसुरभिवनवाताः । नटी । तह ॥ दूति गायति ॥ इममिचुम्बिश्रादं भमरेहिं सुउमारकेसरमिहाहूं । even who are very well instructed has no confidence in itself.' Balavad sushthu: Ch. 1 Equal to sravanendriya-tarpanàt : K. Some MSS. insert sangitat karaniyam. 2 = 1 Lit., 'having placed over,' 'having made the prominent subject.' Hence, adhikritya krite, ‘about,’ ‘concerning,' ‘with reference to:' Pán., iv., 3, 87. So, in the next sentence : ' Assuredly let a song be sung concerning this very summer season, (so) suited to enjoyment, that has not long set in.' As to nanu, sec Pán., viii., 1, 43. 3 — For now (are) tho days, on-which-there-are-gratoful-bathings-in-thewater (and) on - which-sylvan-breezes-are-fragrant-from-contact-with-thetrumpet-flower: (now are the days) on-which-sleep-is-easily-induced-in-veryshady-spots (and) which-are-delightful-at-their-close . ' Prachháya, etc. ; prakrishta-chháyά yatra tat sthánam prachháyam tasmin sulabhá nidrá yeshu to tathokták: K.: sce p. 36, note 2 of this book. A short vowel is the substitute for the crude of a fem. noun, when compounded with such prepositions as pra, ati, etc.; thus pragriva from grirà; atimála from màlà. See Lagh.kaum., 1003. Parináma = viráma = sáyankäla, the evening : ' K. — :' • ‘Loving [amorous] fair-ones make car-rings of the Sirisha-blossoms that ओदंसन्ति दश्रमाण पमदाश्रो सिरीमकुसुमाई ॥ श्रवतंसयन्ति दयमानाः प्रमदाः शिरीषकुसुमानि ॥ ४ ॥ । सूत्रधारः । आर्ये । साधु गीतं । अहो रागबद्धचित्तवृत्तिर् श्रालिखित दूव सर्वतो रंङ्गः । तद् इदानीं कतमत् प्रकरणम् आश्रित्यैनम् आराधयामः । नटी । णं श्रव्जमिस्नेहिं पढमं एव्व आणत्तं श्रहिणाणमउन्दलं नटी । ननु श्रर्यमिश्रैः प्रथमम् एव श्राज्ञप्तम् अभिज्ञानशकुन्तलं णाम अपुव्वं णाडनं पश्रएण अधिकरीश्रदुत्ति । नाम अपूर्व नाटकं प्रयोगेण अधिक्रियतामिति । सूत्रधारः। श्रार्ये । सम्यग अनुबोधितोऽस्मि । अस्मिन् क्षणे विस्मृतं खलु मया । कुतः । are-very-gently-kissed by bees (and) the points-of-whose-filaments-are-verydelicate.' According to Sankara, kesara = kinjalka, and the whole compound is a Bahuvríhi, agreeing with sirisha-kusumáni. There is an allusion to the blossoms of the Sirísha being thus used in Megha-dúta, 67, chárukarne 'sirisham; and Raghu-vanśa, xvi., 48, 61. Compare also karna-sirisha-rodhi, at the end of Act 1. of this play; and Ritu-s., ii., 18, kṛitávatansaih kusumaih, etc. 1 'On every side, the audience, having all the feelings of its soul fixed on the melody, is as if formed into a picture;' i.e, motionless or riveted with attention. àlikhita = nischala : K.; ranga applies to the audience as well as to tho stage. 2 ± — By your reverence;' árya-misraih is here an epithet of the manager; the respectful plural being used. In the Vikramorvasi, árya-vidagdha-misráh, ‘respectable and intelligent persons,' occurs as an epithet of the audience. Misra, ‘mixed,’ in a compound of this kind has the force of ‘gentleman.' › Adhikriyatám = prakaṭi-kriyatám: K., i.e, let it be made the subject of exhibition,' ‘let it be brought prominently forward : ' see p. 5, note 2. Some read prayoge: compare in Ratnávalí, p. 2, 1. 15, nátiká prayogena nátayitavyá. Verse 4. A variety of ÁRYÁ called UDGÁTHA or Gírt, used in Prakrit. It consists properly of four half-lines, containing eighteen instants in the fourth half-line as well as in the second (see Verse 69 ). But in this example the line is divided irregularly. The first syllable of the second foot [chumbiá] is short by a license peculiar to Prakrit prosody. [See Colebrooke's Essays, vol. ii., p. 71, note.] The first four syllables and the last of each half-line may be either long or short. 'In the Hindú drama every piece commences with a prologue, which is preceded by the Nándí, invoking the favour of some deity. Bharata says, Sutradharah pathen núndim madhyamam [prathamam: Ch.] swaram á'sritah, 'the Sútradhára may recite the Nándí in a tone neither high nor low.' The stage-manager was generally a Bráhman, and therefore qualified to recite the Nándí in his own person. He did so, however, as a Bráhman, and not in his character of Sútradhára, or manager, which he did not assume till he had concluded the Nándí. Nándyante sútradhárah is therefore equivalent to nándim pathitwá sútradháro vadati. So Chandra-sekhara, Nándi, etadante sútradháro vadati, nándim pathitwá anyad vadati ityarthah. Hence, the word pravisya, 'entering,' is not required; the reciter of the Nándí remaining on the stage in the character of manager. [Iti nayena nándyante sútradhára-praveso 'pástah: Ch.] If, however, the manager happened not to be a Bráhman, he seems to have had no right to the title Sútradhára, nor to have been qualified to recite the Nándí, but in that case some Bráhman pronounced the blessing, and the Sthapaka then entered as Sútradhára. Such, at least, seems to be the meaning of Bharata's aphorism [ranga-pújám vidháya ádau sútradháre vinirgate sthápakah praviset paschát sútradhára-gunákritih] though all the extant plays make the Sútradhára first recite the benediction, and then carry on the dialogue. The Sáh.-darp., p. 137, has the following: Idáním púrva-rangasya samyak-prayogábhávád eka eva sútradhárah sarvam proyojayati iti vyavahárah sa sthápakah. The blessing is usually followed by some mention of the author of the piece, an appeal to the favour of the audience, and a short dialogue between the manager and one of the actors [paripár'swika]. In the present play, the actress sings a song for the amusement of the audience; and in every case, the conclusion of the prelude prepares them for the entrance of one of the dramatis-persona. Hence, the manager exclaims, 'I was forcibly carried away by the ravishing melody of thy song, like king Dushyanta here by the very fleet antelope.' Verse 5. ŚLOKA or AnushȚUBн, consisting of four half-lines of eight syllables. ॥ अथ प्रथमो ऽङ्कः ॥ ॥ ततः प्रविशति मृगानुसारी मशरचापहस्तो राजा रथेन सूतश्च ॥ नूतः ॥ राजानं मृगं चावलोक्य ॥ श्रयुग्मन् । कृष्णमारे ददच् चतुम् त्वयि चाधिज्यकार्मुके । म्मृगानुसारिणं माचात् पश्यामीव पिनाकिनं ॥ ६ ॥ राजा । सूत दूरम् श्रमुना सारङ्गेण वयम् श्रकृष्टाः । श्रयं पुनर् इदानीमपि ग्रीवाभङ्गाभिरामं मुहुर् अनुपतति स्यन्दने दत्तदृष्टिः Chandra ' ' 0 long-lived one! a respectful mode of addressing kings. sekhara quotes a verse of Bharata, Vaded rájním cha chetim cha bhavatiti vidúshakah, áyushman rathinam súto vriddham táteti chetarah. Adhi-jya, 5 — Casting (my) eye on the black-antelope and on thee with-thy-strung-bow I behold, as is were, Sira visibly present chasing the deer. ' — having tho string [jyä] up;' at the end of the chase the bow would be sithila-jya : see verse 10. Sa-jya is used like adhi-jya. Pinakin is Siva, armed with his bow or trident called Pináka. [So the bow of Vishnu has a name Sárnga, and that of Arjuna, Gándiva: Megh., 48, 50.] In illustration, Kátavema refers to Raghu-v., xi., 44, Dhanuh, yena vṛisha-dwajo vánam asrijad vidruta-kratu-mrigánusárinam. Siva, not being invited to Daksha'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 Yajna, the lord of sacrifice,' who fled in the form of a fleet deer, overtook and decapitated him. The Váyu-Purána makes Śiva create a manifestation of himself as a monstrous being named Víra-bhadra, who pursues Yajna in the form of a deer: see Vishnu-Purána, p. 65. Verse G. SLOKA OF ANUSHTUBH. See Verse 5. दर्भैर् श्रर्द्धीवलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवर्त्मी पश्योदग्रभुतत्वाद् वियति बहुतरं स्तोकम् उर्व्यांीं प्रयाति ॥ ७ ॥ ॥ सविस्मयं ॥ कथम् अनुपतत एव मे प्रयत्नप्रेक्षणीयः संवृत्तो ऽयं मृर्गः सूतः। श्रयुग्मन् । उत्खातिनी भूमिरिति मया रश्मिसंयमनाद् रथस्य मन्दीकृतो वेगः । तेन मृग एष विप्रकृष्टान्तरः संवृत्तः । सम्प्रति हि समदेशवर्तिनस् ते न दुरासदो भविष्यति । राजा । तेन हि मुच्यन्ताम् अभीशवः । सूतः । यथाज्ञापयत्यायुनान ॥ रथवेगं निरूप्य ॥ श्रयुमन | पश्य पश्य । ''There he is now, gracefully by the bending of his neck casting a glance ever and anon at the chariot which pursues him, by (the contraction of) the hinder half (of his body) repeatedly drawing himself into the fore (part of his) body through fear of the descent of the arrow; strewing the road with grass half-chewed which drops from his mouth kept open from exhaustion. See! by reason of his lofty boundings he goes chiefly in the air, and little on the ground.' Pravishtah púrva-káyam is equivalent to pravishta-púrva-káyah, lit., entering the fore part of his body,' a Bahuvrihi compound analogous to datta-drishtih and kirna-vartmà. In regard to the darbha or kusa grass, sce the note to verse 15. 2 '[With surprize.] How now! the deer has become visible with difficulty [lit., with effort] to me pursuing (him).' · Utkhàtini, lit., — full of trenches, excavations, or hollows;' i.e., ‘hilly,’ undulating.' The deer when running in the hollow would be visible with difficulty. • ‘Separated by a longer interval' or 'distance.' 5 The expressions nirúpya and náṭayitwá, which occur so frequently in the stage-directions, are undoubtedly synonymous. They may both be translated by ‘acting,’ ‘gesticulating,' 'exhibiting by gesticulation. The properties and paraphernalia of the Hindú stage were as limited as the scenery; and though seats, thrones, weapons, and cars were certainly introduced, yet much. Verse 7. SRAGDHARA. (See Verse 1.) |