Imatges de pàgina
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a

* ईसीसिचुम्बिआई भमरेहिं सुउमारकेसरसिहाई । ओदंसन्ति दक्षमाणा पमदाओ सिरीसकुसुमाई ॥ ४ ॥

सूत्रधारः ।

आर्ये । साधु गीतम् । अहो रागबद्धचित्तवृत्तिरालिखित इव सर्वतो रंङ्गः । तदिदानीं कतमत्प्रकरणमाश्रित्यैनमा

राधयामः ।

नदी ।

b णं अज्जंमिस्सेहिं पढमं एव आमत्तं अहिलाणस उन्दलं

a

* ईषदीषचुनितानि भ्रमरैः सुकुमारकेशर शिखानि ।

अवतंसयन्ति दयमानाः प्रमदाः शिरीषकुसुमानि ॥

b नन्वार्यमित्रैः प्रथममेवाज्ञप्रमभिज्ञानशकुन्तलं

1 — Loving [amorous] fair-ones make ear-rings of the Sirisha-blossoms that-are-very-gently-kissed by bees (and) the points-of-whose-filamentsare-very-delicate. According to San-kara, kesara = kinjalka, and the whole compound is a Bahuvrīhi, agreeing with sirisha-kusumāni. There is an allusion to the blossoms of the Sirisha being thus used in Meghadūta 67, ćārukarne sirisham; and Raghu-v. xvi. 48, 61. Compare also karna-śirīsha-rodhi, at the end of Act I. of this play ; and Ritu-s. ii. 18, kxitāvatansaik kusumaik, &c. Avatansayanti is a nominal verb from

avatansa.

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2 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. Alikhita=niścala, K.; ranga applies to the audience as well as to the stage. Prakarana, 'a subject,' 'story,' 'poem.'

3 — By your reverence ;' ārya-misraik is here an epithet of the manager, the respectful plural being used. In Vikramorvaśī, Act I, ārya-vidagdha

Verse 4. A variety of ARYA called UDGĀTHÃ or GĪTI, used in Prākṛit. It consists properly of four quarter-verses, containing eighteen measures in the fourth quarter as well as in the second (see verse 69 ). But in this example the line is divided irregularly.

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The first syllable of the second foot [ćumbia] is short by a license peculiar to Prākṛit prosody. (See Colebrooke's Essays, new ed., vol. ii. p. 65, note.)

a

* णाम अपुत्रं गाड पसरण अधिकरीअति ।

सूत्रधारः ।

आर्ये । सम्यगनुबोधितोऽस्मि । अस्मिन्क्षणे विस्मृतं खलु

मया । कुतः ।

तवास्मि गीतरागेण हारिणा प्रसभं हृतः ।
एष राजेव दुष्यन्तः सारङ्गेणातिरंहसा ॥ ५॥
॥ इति निष्क्रान्तौ ॥

॥ प्रस्तावना ॥

* नाम अपूर्व नाटकं प्रयोगेणाधिक्रियतामिति ।

misrāḥ, 'respectable and intelligent persons,' occurs as an epithet of the audience. Misra, 'mixed,' in a compound of this kind has the force of 'gentleman.' Ā-jnapta, * ordered,' ‘arranged,' 'announced.'

1

1 Adhikriyatām=prakaṭī-kriyatām, K., i. e. 'let it be made the subject of exhibition,' 'let it be brought prominently forward;' see p. 6, note 2. Some read prayoge; compare in Ratnāvalī, p. 2, 1. 15, nāțikā prayogena nāṭayitavyā.

2 The rule is, that the conclusion of the prelude should prepare the audience for the entrance of one of the dramatis personæ. 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.' Prasabham, a kind of adverbial indeclinable participle from an old form sabh (=rt. sah) with pra, and meaning 'forcibly,' 'violently;' (see Gram. 567.)

Verse 5. ŚLOKA or ANUSHȚUBH, consisting of four Pādas of eight syllables.

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The first four syllables and the last syllable of each Pāda may be either long or short.

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॥ अथ प्रथमोऽङ्कः ॥

॥ ततः प्रविशति मृगानुसारी सशरचापहस्तो राजा रथेन सूतश्च ॥

आयुष्मन् ।

सूतः ॥ राजानं मृगं चावलोक्य ॥

कृष्णसारे ददच्चक्षुस्त्वयि चाधिज्यकार्मुके ।
मृगानुसारिणं साक्षात्पश्यामीव पिनाकिनम् ॥ ६ ॥

राजा ।

सूत दूरममुना सारङ्गेण वयमाकृष्टाः । अयं पुनरिदानीमपि ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बडदृष्टिः पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम् ।

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1 ‘O long-lived one!' a respectful mode of addressing kings. Candrasekhara quotes a verse of Bharata, Vaded rajnim ća ćetīm ća bhavatīti vidūshakah, āyushman rathinam sūto vriddham tāteti tetarah. Cf. Manu ii. 125. 2 'Casting (my) eye on the black-antelope and on thee with-thy-strungbow I behold, as it were, Siva visibly present chasing the deer. ' Adhi-jya, 'having the string [jya] up;' at the end of the chase the bow would be sithila-jya : see verse 40. Sa-jya is used like adhi-jya. Pinākcin is Siva, armed with his bow called Pināka. [So the bow of Vishnu has a name Sārnga, and that of Arjuna, Gāndīva, Megha - d. 48, 50.] In illustration, Kātavema refers to Raghu-v. xi. 44, Dhanuh, yena vrisha-dhvajo vāūnam asrijad vidruta-kratu-mrigānusārinam. Siva, not having been 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 Vāyu-purāņa makes S'iva create a manifestation of himself as a monstrous being named Vira-bhadra, who pursues Yajna in the form of a deer: see Vishnu-purāna, p. 65.

Verse 6. ŚLOKA or ANUSHTUBH. See verse 5.

C

दर्भेरधवर्लीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवमी पश्योदयद्भुतत्वाद्विर्यति बहुतरं स्तोकमुर्व्या प्रयाति ॥ ७ ॥

॥ सविस्मयम् ॥

कथमनुपतत एव मे प्रयत्नप्रेक्षणीयः संवृत्तोऽयं मृगः ।

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सूतः ।

आयुष्मन् । उत्खातिनी भूमिरिति मया रश्मिसंयमनाद्रयस्य मन्दीकृतो वेगः । तेन मृग एष विप्रकृष्टान्तरः संवृत्तः । सम्प्रति हि समदेशवर्तिनस्ते न दुरासदो भविष्यति ।

तेन हि मुच्यन्तामभीशवः ।

1

राजा ।

सूतः ।

यथाज्ञापयत्यायुष्मान् । ॥ रथवेगं निरूप्य ॥ आयुष्मन् । पश्य पश्य ।

1 ‘There he is now, gracefully by the bending of his neck fixing 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 springs forward chiefly in the air, little on the ground' For baddha-drishti, compare Raghu-v. i. 40, syandanābaddha-dṛishțishu. Pravishṭaḥ pūrva-kāyam is equivalent to pravishta pūrva-kāyah, lit. ' entering the fore-part of his body,' a Bahuvrihi compound analogous to baddha-dṛishṭiḥ and kīrņavartmā. In regard to Darbha or Kuśa grass, see note to verse 15.

24

'[With surprise.] How now! the deer has become visible with diffi culty [lit. with effort ] to me pursuing (him).' Dr. Burkhard reads this line thus: Sa esha katham anupadam eva prayatna-prekshaniyaḥ samvṛittaḥ. 3 'Because the ground is full of hollows, I have slackened the speed of the chariot by drawing in the reins.' Utkhātinī, lit. ' full of excavations.' • ' Separated by a longer interval or distance.'

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5 The expressions nirūpya and nāṭayitvā, which occur so frequently in Verse 7. SRAGDHARĀ. See verse I.

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मुक्तेषु रश्मिषु निरायतपूर्वकाया
निष्कम्पचामरशिखा' निभृतोकणीः ।

आत्मोडतैरपि रजोभिरलङ्घनीया

धावन्त्यमी मृगजवाक्षमंयेव रथ्याः ॥ ४ ॥

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the stage-directions, are synonymous, and may both be translated by 'acting,' 'gesticulating,' 'exhibiting by gesticulation.' The properties and paraphernalia of the Hindu stage were as limited as the scenery; and though seats, thrones, weapons, and cars were introduced, yet much had to be supplied by the imaginations of the spectators, assisted by the gesticulations of the actors. Thus, though the car of Dushyanta might have been represented on the stage, the horses would be left to the imagination, and the speed of the chariot would only be indicated by the gesticulations of the charioteer.

1 'The reins being loosed, these chariot-horses gallop along as if with impatience of the speed of the deer [i. e. impatient or emulous of its speed], having the fore-part of their bodies well stretched out, having the chowrie which forms their crest motionless, having the ears erect yet firmly fixed [or bent backwards], not to be overtaken even by the dust raised by themselves.'-The camarī or chowrie, formed of the white bushy tail of the Yak or Bos Grunniens, served for whisking off flies; and was used as an emblem of princely rank. It was placed as an ornament between the ears of horses, like the plume of the war-horse of chivalry. The velocity of the chariot caused it to lose its play and appear fixed in one direction, like a flag borne rapidly against the wind. A similar idea occurs in Act I. of the Vikramorvaśī, titrārambha-viniśćalam hayasirasi tamaram. There is some difficulty in nibhritordhvakarṇāḥ. The commentator explains nibhrita by niśćala, 'motionless.' The most usual sense of nibhrita is 'secret,' 'modest,' 'depressed,' 'low' (Gita-g. ii. 11, ii. 21; Hitop. passim). In Raghu-v. viii. 15 the sky is described as nibhṛitendu, 'having its moon nearly set' (=astamayāsannaćandra). Hence might flow the acceptation 'bent backwards.' The ears of a horse while running at full speed would be not only erect, but probably bent backwards so as to present the least resistance to the

Verse 8. VASANTA-TILAKĀ (a variety of ŚAKVARĪ or ŚAKKARĪ or ŚARKARI), containing fourteen syllables to the Pada or quarter-verse, each Pāda being alike.

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