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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. Ālikhita=niśćala, K.; ran.ga applies to the audience as well as to the stage. Prakarrana, a subject,' 'story,' 'poem.'
3 •By your reverence;' ārya-misraiḥ 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 UDGATHA or GiTI, used in Prakrit. 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.
uculuu-l-uul -- lluuluculuu-1
-- | - | -|- - - || - | -|The first syllable of the second foot [Cumbiā] is short by a license peculiar to Prākṣit prosody. (See Colebrooke's Essays, new ed., vol. ii. p. 65, note.)
miérāḥ, respectable and intelligent persons,' occurs as an epithet of the audience. Miśra, 'mixed,' in a compound of this kind has the force of 'gentleman.' A-jnapta, 'ordered,' 'arranged,' 'announced.'
Adhikriyatām=prakaț7-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, l. 15, nātikā prayogena nāțayitavyā.
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 b. SLOKA or A.NUSHTUBE, consisting of four Padas of eight syllables.
JuJolu--oll JoJolu-uo The first four syllables and the last syllable of each Pāda may be either long or short.
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-drishtishu. Pravishțaḥ pūrva-kāyam is equivalent to pravishța-pārva-kāyaḥ, lit. 'entering the fore-part of his body,' a Bahuvrīhi compound analogous to baddha-drishțiḥ and kīrnavartmā. In regard to Darbha or Kuća grass, see note to verse 15.
[With surprise.] How now ! the deer has become visible with difficulty [lit. with effort] to me pursuing (him).' Dr. Burkhard reads this line thus: Sa esha katham anupadam eva prayatna-prekshanīyaḥ samvrittaḥ.
3 'Because the ground is full of hollows, I have slackened the speed of the chariot by drawing in the reins.' Utkhātinā, lit. full of excavations.'
4 'Separated by a longer interval or distance.' 6 The expressions nirūpya and nāțayitvā, which occur so frequently in Verse 7. SRAGDHARĀ. See verse 1.
---- --|ooooo-|- -- -
the stage-directions, are synonymous, and may both be translated by ' acting,' 'gesticulating,' 'exhibiting by gesticulation. The properties and paraphernalia of the Hindū 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 câmarī 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 Vikramorvasī, titrārambha-viniśćalam hayasirasi Câmaram. There is some difficulty in nibhřitordhwakarşāḥ. The commentator explains nibhrita by niśćala, 'motionless.' The most usual sense of nibhrita is secret,''modest,' depressed,' 'low' (Gīta-g. ii. ii, ii. 21; Hitop. passim). In Raghu-v. viii. 15 the sky is described as nibhřitendu, '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