राजा ॥ शकुन्तलां विलोक्य । आत्मगतम् ॥ किं नु खलु यथा वयमस्यामेवमियमप्यस्मान्प्रति स्यात् । 2 अथवा लब्धावकाशा मे प्रार्थना । कुतः । नेपथ्ये । भो भोस्तपस्विनः। सन्निहितास्तपोवनसत्त्व रक्षायै भवंत । प्रत्यासन्नः किल मृगयाविहारी पार्थिवो दुष्यन्तः । तुरगखुरहतस्तथा हि रेणुर्विटपविषक्तजलार्द्रवल्कलेषु । it is to be held back?' i. e. what power have you to send me away or keep me back? Kā=na prabhuh, avaśā, K., i. e. you have no right or power (see p. 34, n. 2). This use of gen. for dat., and of the fut. pass. part. for the verbal noun, is peculiar to Prākṛit. The idiom of Sanskrit would require visarjanāya rodhanāya vā, ‘for loosing or binding.' 1 • My wish has found (free) scope,' i. e. I am at liberty to indulge it. Prārthanā=manoratha, K.; see p. 4'7, n. 1. 36 ± Kutah, ‘whence? ' ' why so?' often used where a reason is about to be given in verse for some previous statement. Translateable by 'because.' 'Although she mingles not her speech with my words, (nevertheless) she places her ear directly opposite to me speaking [when I speak]. Granted that she does not stand with her face towards my face, (still) her eye for the most part is not fixed on any other object.' Thus he was free to indulge his hopes, without being actually certain of their realization. Dadāti [nikshipati, K.] karnam, i. e. avahitā, tatparā asti, 'she is very attentive,' S. Kāmam, ' well !' ' granted!' see p. 24, 1.ro. * 'Be ye near at hand for the protection of the animals of the penancegrove' Sattva = jantu, 'an animal, S. Boehtlingk translates it by Wesen, — being,’ ‘existence, ' ' weal,' which is a legitimate acceptation of the word. Verse 31. VasĀNTA-TILAKĀ (a variety of ŚAKVARI). See verses 8, 27. अपि च । पतति परिणतारुणप्रकाशः तीव्राघातप्रतिहतत रुस्कन्धल मैकदन्तः पादाकृष्टवततिवलयासङ्गसञ्जातपाशः । मूर्तो विघ्नस्तपस इव नो भिन्नसारङ्गयूथो धर्मारण्यं प्रविशति गजः स्यन्दनालोकभीतः ॥ ३३ ॥ ॥ सर्वाः कर्णे दत्त्वा किचिदिव सम्भ्रान्ताः ॥ 1 For the dust, raised by the hoofs of the horses, like a swarm of locusts shining in the fading glow of sunset, falls on the trees of the hermitage, having bark-garments, moist with water, suspended (to dry) on the branches.' For valkaleshu, see p. 18, n. 1. Aruna is the glow either of sunrise or sunset, more usually the former. Pariņatāruṇa, as explained by K., is the evening (sāyantana) redness of the sun, in contradistinction to the arunodaya or ruddiness of dawn. Salabha-samūha= patanga-nivaha, 'a multitude 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 a coil of creepers dragged along by his feet; having one of his tusks fixed in the trunk of a tree, struck back with a violent blow.' Such is the reading of all the Deva-n. MSS. The Bengālī have tīvrāghātād abhimuksha-taru-skandha-bhagnaika-danta, 'with a violent blow having broken one tusk against the trunk of a tree standing in his way.' For pāda K. reads kroda, 'the breast.' Valaya = veshtana, 'anything that encircles.' Pāśa = bandhana-rajju, 'a binding-rope.' Mūrta=mūrti-mat, 'possessed of a body,' 'corporeal,' as opposed to the spiritual obstruction caused by evil spirits, &c. Bhinna sāranga-yuthah is a Bahuvrihi comp. agreeing with gajaḥ, 'an elephant by which (yena) the herd of deer (sāranga-yūtham) has been scattered (bhinnam = vikirnam). This was probably a wild elephant (vanya-gaja), from its being frightened at the sight of the chariot (syandana), K. Cf. a scene in Ratn. (Calcutta ed., p. 27). Verse 32. PUSHPITĀGRĀ, containing twenty-five syllables to the half-verse, each halfverse being alike, the first and third quarter-verses ending at the twelfth syllable. Verse 33. MANDĀKRĀNTĀ ( a variety of ATYASHTI ). See verse 15. अज्ज | इमिणा आरण अवुत्तन्तेर्ण पज्जाउलम्ह । अणुजाणाहि णो उडअगंमणस्स । राजा ॥ ससम्भ्रमम् ॥ गच्छन्तु भवत्यः । वयमप्याश्रमपीडा यथा न भविष्यति तथा प्रयतिष्यामहे । ॥ सर्व उत्तिष्ठन्ति ॥ b सख्यौ । अज्ज । सम्भाविदा दिहिसक्कारं भूओबि पेक्खणणिमित्तं लज्जेमी अज्जं विषबिंदुं । राजा । मा मैवम् । दर्शनेनैव भवतीनां पुरस्कृतोऽस्मिं । c शकुन्तला । अणसूए । अहिणवकुससूईएं परिक्खदं मे चलणं । * आर्य । अनेनारण्यकवृत्तान्तेन पर्याकुलाः स्मः । अनुजानीहि न उटजगमनाय । b आर्य । असम्भावितातिथिसत्कारं भूयोऽपि प्रेक्षणनिमित्तं लज्जामहे आर्य विज्ञापयितुम् । • अनसूये । अभिनवकुशसूच्या परिक्षतं मे चरणम् । 1 c ‘By this forest-incident.' Vrittānta often means ' incident, ' ' event.’ ± There is no dative case in Prākrit, the genitive supplying its place. s Vijñāpayitum, ' to represent respectfully' to a superior (with two accusatives). The phrase sambhāvitātithi-satkāro bhūyo prekshananimittam, 'adequate hospitality to a guest is a cause of seeing (him) again,' was probably a proverb. The two friends were ashamed to represent this as an argument for a second visit from Dushyanta, as the hospitality they had shewn him had been a sambhānvita, 'inadequate.' 46 — Nay, not so ; I have received all the honours (of a guest) by the mere sight of your ladyships.' Puraskrita = satkrita, ' hospitably entertained.' 56 By the point of a young Kusa (leaf).' Sūći, 'a needle,' here used for the long tapering point of the leaf of the Kuśa grass (see p. 19, n. 1). I & hall fast कुरवसाहापरिलग्गं च वक्कलं । दाव परिपालेध मं । जाव णं मोआबेमि । सह सखीभ्यां निष्क्रान्ता ॥ ॥ इति राजानमेवावलोकयन्ती सव्यानं विलम्ब्य राजा । मन्दौत्सुक्योऽस्मि नगरगमनं प्रति । यावदनुयात्रिकान्समेत्य नातिदूरे तपोवनस्य निवेशयामि । न खलु शक्नोमि शकुन्तलाव्यापारादात्मानं निवर्तयितुम् । मम हि गच्छति पुरः शरीरं धावति पश्चादसंस्तुतं चेतः । चीनांशुकमिव केतोः प्रतिवातं नीयमानस्य ॥ ३४ ॥ ॥ इति निष्क्रान्ताः सर्वे ॥ а as avail freur ॥ प्रथमोऽङ्कः ॥ कुरवकशाखापरिलग्नं च वल्कलम् । तावत्परिपालयतं माम् । यावदेनन्मोचयामि । 1 A kind of Barleria, with purple flowers and covered with sharp prickles. 2 'Pretendedly delaying,' i. e. making some pretext for lingering. 3 “ I am become indifferent [slackened in my anxiety ] about returning to the city. Meanwhile having joined my followers, I will make (them ) encamp at no great distance from the penance-grove.' Ni-vis, 'to enter,' 'take up a station,' 'encamp' as an army (Manu vii. 188; Raghu-v. v. 42). 4 • From occupying myself about Sakuntala.' Sakcuntala-gocara-pravartanāt, K. Sakuntalā vividha-ceshtitatvāt, S. 5 ‘(My) body goes forward (towards my retinue); (my) heart, not being in harmony (with my body), runs back (towards Sakuntalā), like the silken flag of a banner borne against the wind.' Puraḥ, i. e. agrataḥ senām prati, ‘forward towards (my ) army. Pascat, i. e. prishthatah Sakuntalām prati, K. Asamstuta = aparidita, avasa, 'unacquainted,' 'unrelated,' — not under control (of the body ) . ' Sam-stu, properly 'to sing or praise in chorus. Hence asamstuta probably means, 'not harmonizing, ' ' not in concert.' The Beng. MSS. read asamsthitam (= avyavastham), ' restless,' — unstable,’ ‘ ill-regulated' Crnānsukam=éīna-desa-bhava-vastra-viseshah, ' a kind of cloth produced in the land of China,'' silk,' 'muslin.' Verse 34. ARYA or GATHA. See verse 2. -००| ৺- |--||-|--|-|--| - |∨०००|--||৺৺-|--| 1--10 # भो दिट्टं । एदस्स मि आसीलस्स रणो वअस्मभावेण णिविलोम्हि । अअं मिओ । अअं वराहो । अअं सहूलो * भो दिष्टम् । एतस्य मृगयाशीलस्य राज्ञो वयस्यभावेन निर्विशोऽस्मि । अयं मृगः । अयं वराहः । अयं शार्दूल His 1 Vidushaka, ‘merry, ' facetious,' 'good-natured,' is the title given to the jocose companion and confidential friend of the nāyaka, or hero of the piece. This character is to the hero, what the female companion and confidante is to the heroine (nāyikā) 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; yet his business is to excite mirth by being ridiculous in person, age, and attire. S. says he is grey-haired (palita), hump-backed (kubja), lame (khanja), and with distorted features (vikṛitānana); that the chief part of all that he says is humorous and nonsensical; and that he is allowed access to the female apartments (antahpura-cara). In fact, he is a kind of buffoon. 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 Vidushaka 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 very necessary for the enlivenment of the otherwise dull monotony of a Hindū drama. He is called by S. the upa-nāyaka of the piece, or the nāyakasya upanāyakaḥ, a kind of assistant to the hero (see p. 47, n. 3). K. says, 'The |