a शकुन्तला । # सहि । जदो पहुदि मम दंसणपहं आदो सो तबोवणरक्खिदा राएसी । ॥ इत्यर्धोक्तेन लज्जां नाटयति ॥ स्मर एव तापहेतुर्निर्वापयिता स एव मे जातः । & सखि । यतः प्रभृति मम दर्शनपथमागतः स तपोवनरक्षिता राजर्षिः । यतु प्रियसखी । | • ततः प्रभृति तज्ञतेनाभिलाषेणैतदवस्थास्मि संवृत्ता । b कथ experience an uneasy - anxiety for hearing (her reply).' Jana=sakhijana; though used in sing., it may have a plural signification. Samaduhkcha-sukcha, ‘one who has the same joys and sorrows' (cf. sama-duhkhasukhaḥ piyate loćanābhyām, Vikram., Act I). Bālā, properly 'a girl sixteen years of age,' S. Na na vakshyati=vakshyati eva, S.; two negatives give intensity to the affirmative (dvau nishedhau prakṛitam artham gamayatah, S.) ; see p. 24, n. 2. Mano-gatam=hridaya-stham, see p. 38, n. I. Atrāntare=asminn avasare, K. Sravana-kātaratām= Śakuntalā-prativaćana-śravaṇa-bhīrutām. According to Bharata the four ways by which a maiden encouraged the advances of her lover were lekhaprasthāpana, ‘sending a letter ;' snigdha-vikshita, 'a loving glance ;' mridubhāshita, ‘soft speech ;' and dūt-sampreshana, ' sending a messenger, ' S . Although Sakuntalā had favoured her lover with one of these tokens, yet he was fearful that, when about to reply to her friends, she might through carelessness (pramādatas) confess to an affection for some other person, S. 1 ‘ Met my eye,’ ' crossed my sight,' lit. ' came across the path [ range] of my sight. Cf. yasya netrayoh pathi sthitā tvam, Vikram., Act I. ‘Love, indeed, the cause of my fever, has himself become the cooler of Verse 65. ĀRYĀ or GĀTHĀ. See verse 2. 2 a शकुन्तला । * तं जइ वो अणुमदं । तह वट्टह । जह तस्स राएसिणो अणुकम्पणिज्जा होमि । अहा अवस्सं सिवह मे तिलोदअं । * तद्यदि वामनुमतम् । तथा वर्तेथाम् । यथा तस्य राजर्षेरनुकम्पनीया भवामि । अन्यथावश्यं सिवतं मे तिलोदकम् । it; as, on the passing off of the heat, a day dark with clouds (which was at first hot, becomes afterwards the cooler) of living creatures.' This refers to the clouds which rise and disperse at the end of the hot season, making the air fearfully close and stifling; until at last a downpour comes and with it cool weather. Smara, 'the ideal one,' is one of the names of Kāma-deva, from smṛi, 'to recollect;' see p. 100, n. I. Nirvāpayitā, ‘the extinguisher,' 'refresher,' 'cooler' (see p. 97, n. 1);=sukha-hetuḥ, 'the cause of pleasure,' S. Tapātyaye=grīshmānte, ‘at the end of the hot season,' K.; K. and S. quote a parallel passage from the Ratnavali (p. 64), tapati prāvṛishi nitarām abhyarṇa-jalāgamo divasaḥ, 'in the rainy season when the rain is near at hand the day is especially hot.' Some of the Deva-n. MSS. read ardha-śyāma, ‘half-obscured,' which is not supported by any of the commentators, nor by the oldest MSS. 1 Then if (it be) approved by you, so act, that I may be commiserated by the royal sage. Otherwise most certainly (it will happen that you will have to) pour out for me water with sesamum-seed;' i. e. you will have to celebrate my funeral obsequies. Oblations to the spirits of deceased relatives, called Srāddha, generally consisted in offering a cake made of rice and milk (pinḍa-nirvāpana), or in pouring out water (udakadāna, udaka-kriyā), or water and sesamum seed mixed. In the latter case it was called tilodaka-dāna, tila-tarpana, &c. The ceremony as performed by Brahmans is described in Manu iii. 203, &c.; see especially iii. 223. Dattvā sapavitram tilodakam, 'having poured out water with sesamum seed and Kuśa grass.' See Indian Wisdom, pp. 208, 253, &c. K. refers in illustration to a verse towards the end of Act VI. of this play, where Dushyanta says, Nūnam prasūti-vikalena mayā prasiktam dhautāśru-śesham udakam pitaraḥ pivanti, in all probability my (deceased) ancestors are (now) drinking the only offering-of-water that is left to them, (consisting of) glistening tears poured forth by me destitute of posterity.' Sinéatam nirvapatam, K. Vartethām, sometimes vṛit has the sense of 'to behave,' 'to act.' संशयच्छेदि वचनम् । राजा । प्रियंवदा ॥ जनान्तिकम् ॥ अणसूए। दूरगअवम्महा अक्खमा इअं कालहरणस्स । जस्सिं बभावा एसा । सो ललामभूदी पोरवाणं । ता जुत्तं से अहिलासी अहिन्दितुं । प्रियंवदा ॥ प्रकाशम् ॥ सहि । दिट्टिआ । अणुरूबी से अहिणिवेसो । सारं वज्जिअ कहिं वा महाणई ओदरइ । को दाणिं सहआरं अन्तरेण अदिमुत्तलदं पल्लविदं सहेदिं । а अनसूये । दूरगतमन्मथाक्षमेयं कालहरणस्य । यस्मिन्बद्धभावैषा । स ललामभूतः पौरवाणाम् । तद्युक्तमस्या अभिलाषोऽभिनन्दितुम् । b तथा । यथा भणसि । • सखि । दिष्ट्या | अनुरूपोऽस्या अभिनिवेशः । सागरं वर्जयित्वा कुत्र वा महानद्यवतरति । क इदानीं सहकारमन्तरेणातिमुक्तलतां पल्लवितां सहते । 1 — She is far gone in love, and unable to bear loss of time,' i. e. her love has reached that point which brooks no delay. Cf. dūrārūḍho 'syāḥ pranayaḥ, Vikram., beginning of Act IV. Vammaha or bammaha is the proper Prākṛit equivalent for manmatha, according to Vararući ii. 38, iii. 43. Lassen, Instit. Prāk. p. 245, although the MSS. give mammaha. 2He on whom she has fixed her affections is the ornament of the Pauravas [p. 15, n. 1], therefore her love is fit to be approved,' or ' it is proper that her love should meet with our approval.' Yuktam is here used like sakyam, see p. 103, n. 3. Baddha-bhāvā, cf. yasmin baddhabhāvā asi tvam, Vikram., beginning of Act III. 3 Where should a great river end its course excepting at the ocean ? What (tree) excepting the Sahakāra [mango] can support the Atimukta [Mādhavī creeper] with (its) new sprouts ?' Ava-trī (properly ‘to descend ' or 'alight') is here applied to the disemboguing of a river into the ocean. Yathā mahā-nadi samudram pravisati, tathā rūpavati tvam Dushyante राजा । किमत्र चित्रम् | यदि विशाखे शशाङ्कलेखामनुवर्तेते । अनसूया । a # को उण उबाओ भवे । जेण अविलम्बि सहीए मणोरहं सम्पादेम्ह । बिहुअं अ fugei * कः पुनरुपायो भवेत् । येनाविलखितं निभृतं च सख्या मनोरथं सम्पादयावः । evānuraktā, S. The Sahakara is described p. 28, n. 1. The Atimukta is the same as the Mādhavī or vernal creeper, called also Vāsanti and Pundraka (see p. 108, n. 3). The beauty and fragrance of the flower of this creeper give them a title to all the praises which Kālidāsa and Jayadeva bestow on them. It is a gigantic and luxuriant climber; but when it meets with nothing to grasp, it assumes the form of a sturdy tree, the highest branches of which display, however, in the air, their natural flexibility and inclination to climb,' Sir W. Jones, vol. v. p. 124. 1 'Why need we wonder at this, since the constellation Viśākhā courts [goes after] the young-moon?' i. e. if the constellation Viśākhā (or the sixteenth lunar asterism, which is frequently written in the dual Viśākhe, as containing two stars) is eager for a union with the Moon, why need we wonder at Sakuntala's desire to be united with a prince of the Lunar race? Śaśānka-lekhā is properly a digit of the moon,' or the moon in its most beautiful form when quite young. A complete revolution of the moon, with respect to the stars, being made in twenty-seven days, odd hours, the Hindus divide the heavens into twenty-seven constellations [asterisms] or lunar stations, one of which receives the moon for one day in each of his monthly journeys. As the Moon [Candra] is considered to be a masculine deity, the Hindūs fable these twenty-seven constellations as his wives, and personify them as the daughters of Daksha. Of these twenty-seven wives (twelve of whom give names to the twelve months) Ćandra is supposed to shew the greatest affection for the fourth (Rohiņī), but each of the others, and amongst them Viśākhā, is represented as jealous of this partiality, and eager to secure the Moon's favour for herself. Dushyanta probably means to compare himself to the Moon (he being of the Lunar race, p. 15, n. 1), and Sakuntalā to Viśākhā. The selection of Viśākhā, rather than Rohiņi, may perhaps be explained by a reference to p. 6, 1.6, where we learn that the summer-season had barely set in at the period when the events of the drama were supposed to be taking place. If a " णिहुअंति चिन्तणिज्जं भवे । सिग्धंति सुअरं । C प्रियंवदा । अनसूया । प्रियंवदा । 'णं सो राएसी इमस्सिं सिडिदिट्ठीए सूइदाहिलासो इमाई दिनहाई पज्जाअरकिसो लक्खीश्रदि । राजा ॥ आत्मानमवलोक्य ॥ सत्यमित्थम्भूत एवास्मि । तथा हि इदमशिशिरैरन्तस्तापाद्दिवर्णमणीकृतं निशि निशि भुजन्यस्तापाङ्गप्रवर्तिभिरश्रुभिः । अनतिलुलितज्याघाताङ्कं मुहुर्मणिबन्धनात्कनकवलयं स्रस्तं स्रस्तं मया प्रतिसार्यते ॥ ६६ ॥ c C ननु & निभृतमिति चिन्तनीयं भवेत् । शीघ्रमिति सुकरम् । b कथमिव । स राजर्षिरस्यां स्निग्धदृष्ट्या सूचिताभिलाष इमानि दिवसानि प्रजागरकृशो लक्ष्यते । therefore the season corresponded to the middle of May, the month would probably be Vaiśākha, and Viśākhā would, therefore, be appropriately chosen before Rohiņi. This passage may also be interpreted, but not so consistently with the fable, by referring viśākhe to the two female friends, and saśānka-lekhā to Sakuntalā. The meaning would then be, 'It is not to be wondered at that these two friends should follow Sakuntalā and assist in carrying out her schemes, any more than that the two stars of Visakha should go after the young moon.' Anuvartete=anusaratah, K. Cf. in Vikram., Act I, Citralekhā-dvitīyām priya-sakhīm Urvaśīm grihītvā Viśākhā-sahita iva bhagavan Soma upasthitaḥ sa rājarshiḥ. 1 (Your) "unobservedly" will require thought, (your) "quickly" (is) easy.' This use of iti in quoting previous words is noticeable. 2 For this golden bracelet, having its jewels sullied by the tears Verse 66. HARIŅĪ (a variety of ATYASHȚI), containing seventeen syllables to the Pāda or quarter-verse, each Pada being alike. vvvvv-|----|~-~~-~ |