a प्रियंवदा 11 fafany 11 । #हला । मअणलेहो से करीअदु । इमं देवदासेसाबदेसेण सुमणोगोबिदं करिअ से हत्थ a हला । मदनलेखोsस्य क्रियताम् । इमं देवताशेषापदेशेन सुमनोगोपितं कृत्वास्य हस्तं प्रापयिष्यामि । The same (rendered) scorching from internal fever night after night flowing from the outer-corner-of-my-eye which rests on my arm, slipping, slipping down [i. e. as it constantly slips down] from the wrist, without pressing on [catching on, hitching on] the scars (that are caused) by the friction of the bow-string, is repeatedly pushed back by me.' Vivarṇa-maṇī-krita, lit. 'made into a colourless gem,' ' made so that its jewels are devoid of colour.' Apanga netra-prānta. Pravartibhiḥ=skhaladbhiḥ. An-atilulita=anatisakta, 'not closely adhering,' K.;=nābhilupta, S. and C. word occurs at the end of this Act, where allusion is made to the flowery couch of Sakuntalā, sarīra-lulita, which her body had pressed.' One sense of root lul is certainly to 'adhere,' 'stick,' 'cleave.' The Deva-n. MSS. all have an-abhilulita with the same meaning, unsupported by K. and the other scholiasts, and the oldest Beng. MSS. Through emaciation and disuse of the bow (cf. p. 70, 1. 8, with p. 67, 1. 12) the callosities on the fore-arm, usually caused by the bow-string, were not sufficiently prominent to prevent the bracelet from slipping down from the wrist to the elbow, when the arm was raised to support the head. This is a favourite idea with Kālidāsa to express the attenuation caused by love (cf. Megha-d. 2, kanaka-valaya-bhransa-rikta-prakoshthaḥ, 'having the fore-arm bare by the falling of the golden bracelet).' The Beng. have anatilulita-jyā-ghātānkād, agreeing with mani-bandhanāt, which would appear at first sight to be the better reading. I have followed K. and the Deva-n. MSS. in making this compound agree with valayam. It may, however, as K. observes, be taken adverbially. Mani-bandhana, ‘the place for binding on jewels,' 'the wrist.' 1 'Let a love-letter be composed for him. Having hidden it [made it hid] in a flower, I will deliver it into [cause it to reach] his hand under the pretext of [as if it were] the remains (of an offering presented) to an idol.' Madana-lekhaḥ ananga-lekhaḥ, C.;=smara-bhāva-sūćakam lekham, S. Sumano-gopita kusuma-sangupta, S. Devatā-śeshāpadesena, the Beng., supported by S., read devatā-sevāpadesena, 'under pretext of honouring a divinity.' K. reads devata-vyapadesena, with the word prasāda inserted in the margin. Devatā-śesha is supported by Ć., and a अनसूया । * रोअइ मे सुउमारो पओओ । किं वा सउन्दला भणादि । 'तेण हि अत्तणो उबलासपुवं चिन्तेहि दाव किम्पि ललिअपदबंन्धणं । शकुन्तला । dहला । चिन्तेमि अहं । अवहीरणभीरुचं पुणो वेबइ मे हिअअं । राजा ॥ सहर्षम् ॥ अयं स ते तिष्ठति सङ्गमोत्सुको । b सखी * रोचते मे सुकुमारः प्रयोगः । किं वा शकुन्तला भणति । नियोगोऽपि विकल्प्यते । ललितपदबन्धनम् । मे हृदयम् । • तेन ह्यात्मन उपन्यासपूर्व चिन्तय तावत्किमपि हला । चिन्तयाम्यहम् । अवधीरणभीरुकं पुनर्वे पते d explained by him as nirmalya, 'the remains of an offering of flowers presented to an idol.' Garlands of flowers were so offered. A love-letter was one of the four recognized modes of encouraging a lover (see P. 109, n. 3). 1 ‘This very injunction [suggestion] of my friend is weighed (in my mind),' i. e. I must consider before I can consent to it. This is the reading of the two oldest MSS. One, however, has sahi or sahī. ± • Therefore just think of some pretty composition in verse, accompanied by an allusion to yourself.' Upanyāsa-pūrva, lit. 'preceded [headed] by an allusion.' Lalita-pada-bandhana, cf. lalitärtha-bandham, Vikram., Act. II ; pada-bandhana, lit. ' the connection or composition of quarterverses,' cf. padāni, ver. 68 of this play. a लभेत वा प्रार्थयिता न वा श्रियं श्रिया दुरापः कथमीप्सितो भवेत् ॥ ६७ ॥ * अयि अत्तगुणावमाणिणि । को दाणिं सरीरणिवाबइत्ति सारदिअं जोसिणिं पडन्तेण वारेदिं । b शकुन्तला ॥ सस्मितम् ॥ ओइदा दाणिंहिं । ॥ इत्युपविष्टा चिन्तयति ॥ अयि आत्मगुणावमानिनि । क इदानों शरीरनिवापयित्रीं शारदों ज्योत्स्नां पटान्तेन वारयति । b नियोजितेदानीमस्मि । 1 ‘That very one, O timid one, from whom thou apprehendest a refusal, stands pining for a union with thee. The lover may or may not win Fortune, (but) how, being beloved (by her), should he be difficult-tobe-won by Fortune?' Sr=Lakshmi, ' the goddess of beauty and fortune,' here identified with Sakuntalā or with the object of the lover's hopes and aspirations. The commentators throw no light on this passage. The meaning seems to be, 'There is always a doubt whether the suitor will gain favour with Fortune, or with the beautiful maiden who may be the object of his love, but when it is certain that he is beloved by her, how can she have any difficulty in gaining him? for there surely will be no doubt of his being willing to accept her favours, however uncertain may be her encouragement of his advances.' The verse which follows this in the Beng. MSS. is probably spurious. ± ‘O thou undervaluer of thine own excellences, who now would ward off with the skirt of a garment the autumnal moonlight, the cooler of his body?' i. e. (according to S.) this prince is too sensible to be averse to a union with one so beautiful as thou art. Nirvāpayitrīm, cf. nirvāpayitā, ver. 65, and see p. 97, n. 1. Patāntena, cf. in Act V. patāntena mulcham āvritya roditi. s ‘I am now (acting) under (your) directions,' i. e. it is by your orders that I do this; niyojitāsmi bhavatībhyām gīti-karane, 'I am directed by you to compose verses,' S.; 'I am only following your directions, therefore you are responsible if I meet with a repulse,' S. Verse 67. VANSA-STHAVILA (a variety of JAGATI). See verses 18, 22, 23. राजा । स्थाने खलु विस्मृतनिमेषेण चक्षुषा प्रियामवलोक यामि । यतः उन्नमितैकभ्रूलतमाननमस्याः पदानि रचयन्त्याः । कण्टकितेन प्रथयति मय्यनुरागं कपोलेनं ॥ ६८॥ शकुन्तला । #हला । चिन्तिदा मए गीदिआ । ण क्ख सम्मिहिदाणि उण लेहणसाहणाणि । प्रियंवदा । * इमस्सिं सुझदरसु उमारे एलिणीपत्ते हेहिं णिक्खित्तव करेहि । а * हला । चिन्तिता मया गीतिका । न खलु सन्निहितानि पुनर्लेखनसाधनानि । b अस्मिन्शुकोदरसुकुमारे नलिनीपले नखैर्निक्षिप्रवर्णं कुरु । 1 'Fitly, indeed, do I gaze on my beloved with an eye that forgets to wink, because the countenance of her composing [whilst she is in the act of composing] verses has one eyebrow raised; (and) by her thrilling cheek she discloses her affection for me.' Vismṛita-nimeshena is very expressive of a fixed, earnest gaze. Chézy translates, 'O spectacle enchanteur ! dont je serais jaloux que le moindre clignement d'œil me privât un instant!' Kantakita, lit. ' having the downy hair of the cheek erect like thorns' (= pulakāñcita). The erection of the hair of the body (pulaka, roma-kantaka, romānćana) indicates exquisite delight, according to the notions of the Hindūs. Cf. Vikram., Act I, mama angam sa-roma-kaṇṭakam ankcuritam. 2 ‘But the writing - materials indeed are not at hand.' Most of the MSS. have hu for Sanskrit khalu. Lassen (Instit. Prāk. p. 192) shews that kkhu is the proper form after a short vowel. 3 Engrave the letters [make engraving of the letters] with your nails Verse 68. ĀRYĀ or GĀTHĀ. See verse 2. -|--| -०७ ||−००|--|०-०|००-|- शकुन्तला ॥ यथोक्तं रूपयित्वा ॥ #हला । सुग्णुह दाणिं सङ्गदत्थं ण वेत्ति । णिग्घिण तबेइ बलिअं तुइ वुत्तमणोरहाइ अङ्गेाई ॥ ६९ ॥ • हला । शृणुतमिदानीं सङ्गतार्थे न वेति । c b अवहिते स्वः । • तव न जाने हृदयं मम पुनः कामो दिवापि रात्रिमपि । on this lotus-leaf smooth as a parrot's breast.' Śukodara, ‘a parrot's breast,' it also means 'a leaf of the Tālīśa tree' (=tālīśa-pattra); in Vikram., Act IV, the colour of a scarf is compared to the same thing (sukodaraśyāmam stanānśukam), and in Maha-bh. ii. 1035, the colour of horses (śukodara-samān hayān). The Prākrit is answerable for nikshipta-varnam kuru. This is the reading of all the Deva-n. MSS.; the Beng. have padaééheda-bhaktyä nakhair ālikhyatām. 1 ‘Thy heart I know not, but day and night, O cruel one, Love vehemently inflames the limbs of me, whose desires are centred in thee.' Such is the reading of the Taylor MS. and my own. The other Deva-n. agree, but give maṇorahāim for manorathāni, in concord with angāni. Manorahai and manorahae may both stand for the Sanskrit gen. fem. manorathāyāḥ (in concord with mama), and both are equally admissible into the metre (Lassen's Instit. Prāk. pp. 304, 305, 147). The interpretation of Ćandra-sekhara supports this reading (nishkṛipa tapayati balīyas tvad-abhimukha-manorathāyā angāni). This verse is called by Kātavema the upanyāsa or 'allusion, ' see p. 116, n. 2; see also the next note on verse 70. |