राजा । पश्चादिमां मुद्रां तदङ्गुलौ निवेशयता मया प्रत्यभिहिता । एकैकमत्र दिवसे दिवसे मदीयं नामाक्षरं गणय गच्छसि यावदन्तम् । तावत्प्रिये मदवरोधगृहप्रवेशं नेता जनस्तव समीपमुपैष्यतीति ॥ १४४ ॥ तच्च दारुणात्मना मया मोहान्नानुष्ठितम् । 1 'Count [spell] hereon [i. e. on this ring] one by one each day the letters of my name until thou reachest the end. So soon, O loved one, (as thou hast spelt the whole name) a messenger, will come into thy presence who-will-conduct thee to the entrance of my private-apartments.' Nāmāksharam, cf. p. 53, 1. 6. Gaéćhasi, so reads the Taylor MS. as well as my own, supported by the Calcutta ed.; the others, gaććhati. Netā, the noun of agency has sometimes the sense of a future participle, and may govern the case of the verb. So vaktā vākyam, 'one who is about to speak a speech,' Draupadi-h. 32. Indeed the nom. masc. of this form of noun is identical with the 3rd pers. of the 1st future. ± ‘Verily (this). charming period (of expectation) was by Destiny made (to pass away) without-the-appointment-being-kept,' or 'Destiny caused that the delightful appointment-of-a-period (for the reunion of these lovers) should fail of being kept.' Vi-sam-vad is 'to fail in keeping a promise or agreement.' Cf. phale visamvadati, Vikram., Act II. 3 The Vidūshaka designedly uses the dialect of the fisherman; see p. 220, 1.4 sq.; p. 217, n. 2. Verse 144. VASANTA-TILAKĀ (a variety of SAKVARI). See verses 8, 27, 31, 43, 46, 64, 74, 80, 82, 83, 91, 93, 94, 95, 100, 104, 105, 108, 123, 124. b अदो एव तबस्मिणीए सउन्दलाए अधम्मभीरुणो इमस्म राएसिणो परिणए सन्देहो आसि । अहवा । ईदिसो अणुराओ अहिस्साणं अवेक्खदि । कहं वित्र एदं । राजा । उपालप्स्ये तावदिदमङ्गुलीयकम् विदूषकः ॥ आत्मगतम् ॥ 'गहीदो णेण पन्था उम्मत्तआणं । राजा । कथं नु तं बन्धुरकोमलाङ्गुलिं करं विहायासि निमग्नमम्भसि । अथवा । अचेतनं नाम गुणं न लक्षये & युज्यते । b न्मयैव कस्मादवधीरिता प्रियां ॥ १४५ ॥ अत एव तपस्विन्याः शकुन्तलाया अधर्मभीरोरस्य राजर्षेः परिणये सन्देह आसीत् । अथवा । ईदृशोऽनुरागोऽभिज्ञानमपेक्षते । कथमिवैतत् । तोऽनेन पन्था उन्मत्तानाम् । 1 Compare p. 205, ll. 12, 13, n. 2. 'गृही ± ‘How (couldest ) thou (allow thyself) to be immersed in the water, having abandoned that hand with (its) slender delicate fingers? But (where is the wonder? for) an inanimate-object may well not distinguish excellence. How ( was it that ) even by me (my ) beloved was rejected ?' Bandhura=unnatānata, 'undulating ;' = ramya, ' beautiful,' C. Athavā, see p. 30, n. 3. Verse 145. VANSA-STHAVILA (a variety of JAGATI). See verses 18, 22, 23, 67, 81, 114, 117, 119. 'साहु वअस्स । महुरावत्याणदंसणिज्जो भावाणुप्पवेसो । खलदि विच मे दिट्ठी लिप्पदेसेसु । d सानुमती । अम्मो एसा राएसिणो णिउदा । जाणे । सही अग्गदो मे वट्टदिति । राजा । यद्यत्साधु न चित्रे स्यात्क्रियते तत्तदन्यथा । तथापि तस्या लावण्यं रेखया किञ्चिदन्वितम् ॥ १४६ ॥ C ̈ कथं बुभुक्षया खादितव्योऽस्मि । b इयं चित्रगता भत्र । साधु वयस्य । मधुरावस्थानदर्शनीयो भावानुप्रवेशः । स्खलतीव मे दृष्टिर्निस्रोन्नतप्रदेशेषु । d अहो एषा राजर्षेर्निपुणता । जाने । सख्यग्रतो मे वर्तत इति । 1 'Why am I to be devoured by hunger (while he is apostrophizing his ring)?' A very characteristic remark, see p. 59, n. 1 in the middle. ± • 'The presence of the prevailing sentiment (love, rati) is delightful by its sweet abiding in every part. My sight stumbles as it were amidst the depressions and prominences;' i. e. 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. For anu-praveśa, cf. Raghu-v. iii. 22; and for avasthāna, Sahit.-d. p. 75, 1. 2. It may mean by the sweet position of the figures,' but bhāva means here rati. 6 3 ‘Whatever is not well ( executed) in the picture [whatever falls short Verse 146. SLOKA OF ANUSHTUBH. See verses 5, 6, 11, 12, 26, 47, 50, 51, 53, 73, 76, 84, 87, 125, 127, 130. & सानुमती । 'सरिसं एवं पच्छादाबगरुणो सिणेहस्स अणवलेबस्सअ । विदूषकः । " भो । दाणिं तिमि तत्तहोदीओ दीसन्ति । सवाओ दंसणीआओ । कदमा एत्थ तत्तहोदी सउन्दला । C सानुमती । अणभिलोक्खु ईदिसस्स रूबस्स मोहंदिट्ठी अअं जणो । त्वं तावत्कतमां तर्कयसि । d राजा । विदूषकः । 'तक्केमि । जा एसा सिढिलकेसबन्धणुव्वन्तकुसुमेण केसन्तेण उब्भिणस्सेअविन्दुणा वअणेण विसेसदो ओसरिआहिं बाहाहिं अवसेअसिण्डितरुणपल्लवस्स चूअपाअबस्स पासे इसिपरिस्सन्ता विअ आलिहिदा । एसा सउन्दला । इदराओ सहीओत्ति | * सदृशमेवं पश्चात्तापगुरोः स्नेहस्यानवलेपस्य च । b भोः । इदानीं तिस्रस्तत्रभवत्यो दृश्यन्ते । सर्वाश्च दर्शनीयाः । कतमात्र तत्रभवती शकुन्तला । • अनभिज्ञः खल्वीदृशस्य रूपस्य मोघदृष्टिरयं जनः । d तर्कयामि । यैषा शिथिलकेशबन्धनोद्वान्तकुसुमेन केशान्तेनोमिनस्वेदविन्दुना वदनेन विशेषतोऽपसृताभ्यां बाहुभ्यामवसेकस्निग्धतरुणपल्लवस्य चूतपादपस्य पार्श्व ईषत्परिश्रान्तेवालिखिता । एषा शकुन्तला । इतरे सख्याविति । Nevertheless her of perfect beauty], all that is wrongly (portrayed). loveliness is in some measure possessed by the drawing;' i. e. the artist has to some extent made a likeness, though very inferior to the original. Rekhā=lekhana, ‘a sketch,’ ‘delineation,' K. The Beng. have lekhayā. Mogha-drishti, cf. p. 76, l. 10, n. 3; Bhaṭṭi-k. v. 19. 1 2 'I imagine that she who is delineated as if a little fatigued at the side of the mango-tree, the tender shoots of which are glistening after her watering (of them), with arms extended in a peculiar manner, with a face having drops of perspiration breaking out (upon it), with locks of hair the flowers of which have escaped through the slackened hair-band—this (I imagine) is Sakuntala, the other two (are her) female friends.' Udvānta, राजा । निपुणो भवान् । अस्त्यच मे भावचिह्नम् । स्विन्नाङ्गुलिविनिवेशो रेखाप्रान्तेषु दृश्यते मलिनः । अश्रु च कपोलपतितं दृश्यमिदं वर्णिको च्छ्वासात् ॥१४७॥ चतुरिके । अर्धलिखितमेतविनोदस्थानम् । तस्माद्गच्छ । वर्तिकां तावदानय । lit. ‘vomited up,' here 'dropped off,' 'fallen down.' Udbhinna-svedavindunā, cf. p. 70, n. 3; hence in line 9 of that page, sveda-leśair abhinnam is a better reading than klesa-lesair. Viseshato 'pasṛitābhyām, it appears from a subsequent passage that she is represented in the act of warding off the bee mentioned at p. 32, 1. 4. Itare, nom. dual feminine. 1 Here is a sign of my passion; the soiled impression of ( my) perspiring fingers is observed on the edges of the picture, and a tear here [this tear] fallen from (my ) cheek is perceptible from the coming out of the colour.' However offensive to our notions of good taste, it is certain that in Hindu erotic poetry, perspiration is considered to be one of the signs of passionate love. So in the Vikram., anguli-svedena me lupyante aksharāņi; cf. also Raghu-v. vii. 19, svinnānguliḥ samvavṛite kumārī, &c. Varnikā (=varna) is the reading of K., supported by most of the Beng. MSS., which have varnaka. The other Deva-n. have vartikā, which may, like varti, mean 'collyrium,' 'pigment.' Varnikoććhvāsāt means 'from the brightness (i. e. coming out) of the pigment;' Prema-candra explains it by rangasya utphullatrat Kapola-patita, 'fallen from my cheek,' or perhaps ‘fallen on the cheek ' ( of the portrait). 2 Lit. 'pleasure-ground,' i. e. landscape; lieu de la scène, Chézy. |