INTRODUCTION About a quarter of a century back the late Maha- mahopadhyaya T. Ganapati Sastri announced to the world the discovery cf the lost plays of Bhasa,. a great dramatist of repute who has been men- tioned by Kalidasa in the Prologue of Malavikagni- mitra in respectful terms thus:—sfaqauar aad famaagatat sarratars aime: seas Raat ae agar: The plays attributed to the authorship of Bhasa by Mahadmahopadhyaya are thirteen in number and have appeared in the Trivandrum Sanskrit Series under his able editorship. Their names are given hereunder, 1. eanaraaeay, 8. ReqAsailT: 2. starter 9. gaara 3. afar 10. qasaeaay 4. aWesaq LL. share 5. -afaar 12. Hearrq 6. aftyerrsay 13. qeatay 7. qataRq The theory of Bhasa’s authorship of these plays was at the outset received with a chorus of applause both in the east and the west, and it seemed as though it had been conclusively estab- lished. Latterly heated controversy began to rage,ii SVAPNAVASAVADATTA @ vigorous opposition being led by Mr. K. Rama Pisharoti who is clearly of opinion that the Trivaii- drum Plays are but the products of the latter-day C&kyars or the professional actors of the Kerala stage. This gave rise to a third school of thought that the Trivandrum Sanskrit Series plays are abridged versions of the older dramas of Bhasa adapted by the Cakyars to suit the exigencies of their stage. The chief grounds on which Mahamahopa- dhyadya rests his theory of Bhasa’s authorship are these :— 1. All these dramas begin with the stage-direction argea ad: af@aa aque: and then the Mangala éloka is introduced. This is opposed to the practice obtaining in the later classical dramas including those of Kalidasa. The theory that this is a peculiar characteristic of Bhasa’s dramas receives support from the following observation of Bana in his Harsacarita — qraBaeeaazareyAs: | aaarsaait S% wat Fassia 2. The Prologue in all these dramas is given the nomenclature of Sthdpand instead of Prastavana as in the classical dramas. 3. No mention is made of the author or of the work in the Trivandrum Sanskrit Series Plays.INTRODUCTION iii In the Bharatavakya of every one of these ae there is the prayer uwfde: saeg a:. 5. These plays exhibit structural similarity and contain several passages common, For example: (a) waardfentamaana 1 ot % a @ye ah Aeraacae weq ga yaad 1 se TenfH—is found in all plays except Pratijfiayaugandharayana, Carudatta, Avimaraka, Pratima and Karnabhara. (b) The Bharatavakya is exactly the same both in Svapna and Balacarita, 4c) The Sloka—aarawaat aa: Teas weg | sarah Hei etait UTE: SME a: u—occurs in Pratijfia, Avimaraka and Abhiseka, and the latter half of the Sloka occurs in Paficaratra. {d) The principal dramatis persons are men- tioned in the Nandi Slokas of Svapnavasava- datta, Pratijfia, Pratimé and Paficaraétra by the device of Mudralamkara, (e) The following verse appears in the First Act of both Carudatta and Balacarita. fasqdla aatseiia aedrarsta wat: wergeraaa efsfrsneat wa u (f) The passage (% asada ca¥ aftagd % occurs in the Sixth Act of Svapna as also in the Fourth Act of Abhisekanataka and so on. & The drama Svapnavasavadatta is clearly asso- ciated with the poet Bhadga by Rajasekhara in his Saktimuktavalt as follows:—iv SVAPNAVASAVADATTA waaNzHaesl we: HA wife 1 BATTS TWeFSYR WAF: Ut %. Several Unpaniniyan forms are often met with in these plays which prove their Pre-paniniyan origin, A few examples of the unpaniniyan forms occurring in this play are set out hereunder :— i. fesxa (Page 6) The use of Atmanepada. ii, emgzene (P. 26) The use of Parasmaipada. ili, geniteeia -do- -do- iv. arsafaa (P. 49) The use of the Indeclinable past participle or the Infinitive of purpose in juxtaposition with ar or a is contrary to grammar. Other examples of the same kind are :— ar Parafaeat (Page 92) HS WAT TACT (Page 98) ar wat dag (Page 106) . wararag: (P. 82) The initial augment ar before afaafa is unusual. The correct form will be aaraiuga:. vi. aw (P. 90) isa mistake for faa. vii. gf (P. 93) The use of gq in the Mascu- line is not warranted by grammar. viii. saqfeaf (P. 98) The correct form will be says. ix. gequd: (P.107) The correct form will be geasal. x. Baa waa a (Page 107) Vide Notes. <INTRODUCTION v 8., The Prakrt of these plays is peculiar and therefore traceable to a very remoté age. Example :—azq for aa. 9. Before dealing with the real point in favour of the Bhasa theory we may notice one other argu- ment based on dramaturgy adduced by Dr. Max Lindenau. As evidence of the high antiquity of these plays he says:— ‘Against the teaching of the text-books on dramaturgy which the classical dramas follow, the author of these plays does not hesitate to describe death, and even frightful death on the stage.’ 10. References by rhetoricians unmistakably point to the same conclusion, (a) Vamana of the 9th century A.D. cites the following in his Kavydlankarasatravrtti (IV. 3)— i aeeearediter areas arfarft wUgisaag aad aaa | Svapna IV—8. Further in the same book (V—2) he cites the passage— ii, a aguce a a Gaia Pratijiiaé IV—2. In V—1 of the same book is quoted the Sloka :— iii, arat aieatala agezesat gaa arcantta freaqd: | aaa Gaeecaatguy d\srafs: aaft aizgqaracre: 1 Carudatta I—2,vi SVAPNAVASAVADATTA (b) Dandin of the 6th century A.D. in the Sécond Pariccheda of Kavyddarsa cites the first half of the following sloka :— faerdia vase aadarst Ta: 1 aragesaag eSfeneat war u Balacarita I—15 and Carudatta I—19. (c) Bhamaha of the Pre-Kalidasiyan era in illustrating Nyayavirodha in the Fourth chapter of his Kdvydlankara refers to the plot of Pratijfia. The following is an extract from Bhamaha on the point. Pirtiggeare wat ieeTAA | aaa wea: PTET TET WITH TAATHT ASE ATTT A | aanat aaTST AMA F ATTA aeartiad cer afaa: araaea 1 wat g afcar Sat wine aia Sie 0 au eeagaa aegararfary: | Rarer ateerer aeearaifa ssqar Nl easaa aa rar aa ga: fra aa meat airrqar war awa: th weaedl Rfarearsrangarawiaay | waneraoat 7 erydea: BTA | aaiseg Get age Asha saAaA | maaan vata aaa: aaa are ado ARiacE +1 fade Fe aaisit as fea ei a TTINTRODUCTION vii (d) Saradatanaya of the 12th century A.D. in the Eighth Adhikara of his Bhdvuprakasa refers to the Praganta type of play and cites Svapnavasavadatta as an example for the same in the following extract:— SMAWAAT aad ar AZT | Fara araTagERal Fa Rnasatay adisaieedant: aed Ga arya: aaat easy anes AeA v BMAUTATTAAATEUIAT J I aie youre amtearet vu Fae Jew (eR? sarare) Faaraed vq raeaey a ways aaRE Valet: qwaaa ae aes Taareaaiaad | Faaaraseaas sed Wager sar seahsaa et Asta | ue qaqa (?) # adie cag aeaaaaiasrarrsey TAGTA | MALTA AANA AAT Ul (aairerezrg—) Ravage: erat H atorar siaatiera: « at g aaa azarae aear Hea? Hau 1% @ ya: Sei gailares anagy aaa 1 anafesdenfrargaane4: The plot referred to in this extract and the plot of Svapnanataka are almost wholly in agreement. Vasavadatta is separated from theviii SVAPNAVASAVADATTA king and placed in the custody of the Maga- dha princess; the king continues to cherish his love for Vasavadatta, his lute Ghosavati rouses his memories of Vasavadatta and so on. The verse faaga: sat H is found in the Sixth Act of this play. Further the usual remark f& @ ya: Hagqietra which is found in later classi- cal dramas is absent here, and its absence is also noted in the extract. {e) Bhojadeva of the 11th century A.D. in his Srngaraprakasa mentions Svapnavasavadatta by name and deals with its plot which tallies in full with the plot developed in the Fifth Act of the present drama. SraaATa Terai A US THRTET Ta:, aaa ved a aeasiey ae wa wait ead | aaacdt a eNatan Tae | BATA TAATATATTATT Ui Translation :—In Svapnavasavadatta the king went to the marina-house to see Padmavatiin her illness. And on seeing Padmavati absent, he lay down on her bed and beheld Vasavadatta not in dream as though in dream, and in dream he spoke to Vasavadatta. : Now we shall examine how far the points adduced by Mahamahopaédhyaya in support of Bhasa’s authorship are tenable, In the first place it has to be borne in mind that neither at theINTRODUCTION ix beginning nor at the colophon of these dramas is there any mention made of Bhasa, In the face of this serious omission any argument either way cannot be accepted as conclusive unless it can stand the test of searching scrutiny. 1. Convincing proof is not yet forthcoming that the stage-direction arra-q aa: safe ara: preceding the Mangala sloka is a peculiar charac- teristic of Bhasa’s dramas, The word qqagart: in the famous stanza of Harsacarita holds good whether the Mangala precedes or follows the entry -of the Siitradhara. In the one case it is the Nandi Sitradhara, in the other the Sthapana Sitradhara. In either event it is the Sitradhara that begins, and Bana’s reference is applicable to both. Further the word qqaesarey: has been introduced by Bana merely for the purpose of substantiating an equi- vogue between temples and Bhasa’s plays. No theory can be definitely founded on it, A careful scrutiny will disclose that the entry of the stage-director prior to the pronouncement of the Nandi gloka is more a peculiarity of the manuscript than of the author. The Kerala manuscripts of evén later classical dramas begin with the entry of the Sitradhara, According to the South Indian recension, Bhavabhiti’s Uttararama- carita has the entry of the Sitradhara prior to thex SVAPNAVASAVADATTA Nandi éloka, Vide the recent edition of Bhava- bhiti’s' Uttararamacarita in the Sri Balamanorama Series, the reading adopted wherein is supported by the high authority of the commentator Narayana. The author of Sdahityadarpana states that in Vikramorvasiya several manuscripts place the entry of the Sitradhara before the Nandi sloka and that the reading there adopted is the more appropriate of the two. Vide the following extract from Sahityadarpana, oh aurea aa: ga’ eae i aad wT MRgGey AIA qt? gaaratea ‘“Farag—’ gale wahsead waa | aa Ta ‘aaa Gaus’ afa fad aeaa- afora: —arara qaat ef vtifiama, ga: wale aa aza- audiaa eff eats: afaa fai Saktibhadra’s Afcaryacadamani whose date is assigned to the earlier half ofthe 8th century A. D. begins with arg-a aa: siaaf gaa, and the Mangala gloka comes thereafter. 7 The following is a further list of the plays in which the entry of the Sitradhara precedes the be- nedictory stanza :—Mattavilasa of Mahendravikra- mavarman, Kalydnasaugandhika of Nilakantha, Subhadradhanatijaya and Tapatisanvarana by Kula- sekharavarman, Padmaprabhrtakam by Sidraka, Dhartavitasanvada by Isvaradatta, Ubhayabhisarika by Vararuci. Padataditakam by Syadmala etc.INTRODUCTION xi 2. That the word Sthapand is used_in the place of Prastdvana proves nothing. In Afcarya cagamani of Saktibhadra and Kundamala of Dinnaga the.word Sthdpana is used. This is also perhaps. a peculiarity of the South Indian manuscripts. 3. That the author and the work find no mention in the Prologue is no evidence of the antiquity of a drama. The Cakyars who were responsible for the dramas in their present shape perhaps chose to remain anonymous as they could not claim any high order of literary merit for themselves, 4. As regards the Bharatavakya, it no doubt shows that all the thirteen plays are of common authorship, but it goes no further. 5. The occurrence of several common pas- sages in these plays is explicable likewise. 6, It is highly doubtful whether Bhasa’s Svapnavasavadatta referred to by Rajasekhara is the same as the one we have. 7,8&9, The Unpaninityan forms on which much reliance has been placed by Mahamahopa- dhyaya as evidence of their Pre-paniniyan origin can be explained away as the solecistic lapses of the latter-day professional Cakyars of Malabar with inadequate literary equipment, The Prakrtic archaisms are more a peculiarity of the South Indian manuscripts, particularly those of Malabar, than ofxii SVAPNAVASAVADATTA any particular author. Saktibhadra’s Ascarya ‘Cidimani exhibits exactly similar features in Prakrt as the T. S, 8. plays. The violations of the rules of dramaturgy as propounded by Bharata are perhaps due to the fact that the professional actors of Kerala have occasionally indulged in such lapses. In fact the Fourth Act of Afcarya Cadamani which is admittedly not Bhasa’s presents on the stage the battle between Jatayus and Ravana, contrary to the rule of Bharata. 10. But the numerous quotations in works of rhetoric cannot be so easily brushed aside. Vamana, Dandin or Bhamaha cannot be expected to quote except from poets of accredited excellence. ‘Least of all can we expect them to cite from any original productions of the latter-day Cakyars of Malabar. By way of counter-argument which militates against the Bhasa theory can be cited the numerous quotations as from Bhasa made by great authors both in works of rhetoric and anthologies, which do not find a place in any of the manuscripts of the Trivandrum Sanskrit Series Plays. Some of them are set out hereunder, 1. afraerwae TA Bess | sera ar ster eeaad F TTASTINTRODUCTION xiii This verse is cited by Abkinavagupta in Dhvanyaloka Locana with the preamble am ay- qaaqaer azm to illustrate the fact that poets sometimes are carried away by their love for figures of speech to the detriment of emotion. The attempt of Mahamahopadhyaya to impugn the genuineness of this quotation is hardly convincing, It is inconceivable that the great author of Locana would commit a sad mistake about the source of his quotation, especially when he subjects it to adverse criticism. The passage in Dhvanyaloka on commenting which the above quotation is given runs as follows :—zazi 4 saqisaguitaraaara wayfera- war: gaeag. Vide N.S. P. edition of Dhvanydaloka Pages 151 and 152. 2. gemiraia gsafit asa az froraar 1 aa aifaigerdiar at egr aear wat U This verse is cited by Ramacandra in his Natyadarpana as from Bhasa’s Svapnavasavadatta. Vide the following extract from Natygdarpana:— 7a AEG BTA HBAS a UT Teara gent ser ae Areas aa alae at eer aear warn gard fee gaeagarag uv 3. aaa ae dey ATA ITT Haaqarasaas wet ways sau This is an extract from Saradadtanaya’s Bhavaprakisa, chapter 8.xiv SVAPNAVASAVADATTA With regard to these two quotations (2 & 3) qrarerarfa etc. & yaar etc., Mm. Ganapati Sastri attempts an explanation by arguing that they will ‘perhaps be found in the manuscripts yet to come ‘to light, and he bases his argument on the analogy of the two following slokas found in certain manu- scripts of Sakuntala and not found in others, a ay aq Bg aT: aATasAAAT agit warrtit quer: + aR ad eos sad aaa a& a figaara: agar: TU See: arava: wad dager Tea wr: PasreTasaTgARAT | Ua wagers Rewquiguat aerarg! etoraard aeaeg aiFa 4, Jagd [a wy] af a Ret ar wae waged Bz ae Fa: 1 ven wag az TIT Bs Sraa aa eat a faa o This verse is cited as from Bhasa by Abhinava- ‘gupta in his Abhinavabharati. He adds the follow- ing preamble to this quotation. aga df saaft—aa a waa 1 aA (ara) seoreara- ae: —aeaaata sata mreea fea: 1 ae a aa aaistt aaa eenaalt ara gar aa we Be: —ale seid, anata afaeare fear a gat) aeraiar waatt eas. ay sa: —3agw etc. Vide Gaekwad’s Oriental Series No, 36, Page 320.INTRODUCTION xv 5. In the Nétakaratnalaksanakosa of Sagara- mandin we have the following remark. aa anaes | Ae TAIT: seach wear Tatar ad ahaasgencn | (fasiet) ed ara aera aracrser usasaraad agar: aadtaaaaeansd | The above words cited from Svapnavasava- -datta are not exactly found in our play although the purport is there. We shall now turn to anthologies, 6. ae as Wa aalttareada wea saT | MIUNZWMAABTSAUTARATATT TT Wo TTET. This stanza is cited by Bhagadatta Jalhana in his Saktimuktavali under the heading eivnayada- ‘wala: 1 saz, Vide page 178, Gaekwad’s Oriental Series Vol. 82. This is cited also in Sarigadhara paddhati as Bhisa’s (No, 3292 of Peterson’s edition). Vallabha- deva’s Subhdsitavalt also cites this verse, but leaves it anonymous, (No, 1487 of Peterson’s edition) 7 ° ware arse: ga ef& avinte ara. wereasad Ratia a: eaafa 1 wares cere cua aaarseawaraie same aaezael fasaafe uv waeT. This is also cited in Jalhana’s Saktimuktavalt under the heading a-ireqacaq. This is cited in Sarrigadhara paddhati also as Bhasa's (No. 3640) with slight variations in thexvi SVAPNAVASAVADATTA Parvardha as follows:—#i® aint va oft adie uitaaetertaraaina at aaa | This is also cited in Vallabhadeva’s Subhasita- vali (No. 1994) as Bhasa’s. But Sadukti karndmrta by Sridharadasa ascribes-this verse to RajaSekhara. 8. galt aga: fiedieea: adhgaits agit aad are ani gag area | Bwara: WANs Tat aT ans waaay Rare AG a aay ara. cited in Saktimuktavalt, Page 182 under the heading efrasaiacaia: 1 gaa 9. aqaer aaa qgsar weEAAaT Sreaen yar Agar a-RsETMPSA I Hawa: gutegaaared cara warae aaa vaaRA rat eS: Rraraeg a: Aree. cited as Bhasa’s in Saktimuktavali, Page 23 under the heading anafralgqafa: 1 wadt 1 10. sqranaaretrar tarsacaaar eam oeigta fefaat werrTeraiay | aa Raatisetaratiat safara- gaetaaaieaa Afaisa: geusie: wae a: aa. cited in Saduktikarnamrta. 11. est waters as garfae: ag ease faafrarsag: | aia sdefa gate Praaea: art aftz ga ategife Te: ara. cited in Subhagitavali (No. 1821) under ATA;INTRODUCTION XVii also cited in Sarngadhara paddhati (No. 3907) as Bhasa’s with slight variations— Tava: for fuer: and aafaear for Rraaca: ; cited also in Saduktikarnamrta as Bhasa’s. 12. wy waaat wagageTaae: | Rasteasaret sia tarastast 0 were. cited in Saduktikarnamrta. 13. 9 Paxfeafraraastiaes farald frarada- dfmatrracigaa gaa 1 aaaqagqTrang: aiwaqa- TAWAAPVIRTT UAT: | ATaET, cited in Saduktikarnamrta. 14. Gar gu Haaarqaniaiy Ba: aaaSa az Fa: Baader Arad drigug ward a Prasat: 0 attributed to Bhasa in Somadeva’s YVasastilaka, Vide Peterson's 2nd report, Page 46. 15. ° afeaeea qu ert gasfaaas feala aad ard art aa: a arial 1 ame ava tags 3S a Tara wale sadl araraaat gaa wag | Aa. cited in Subhdsitavalt (No. 1619) under aafasegat. 16. sanqaaddraraeaearecafaaar Rraatad: aatarttargraad |xviii SVAPNAVASAVADATTA wag fied Here & aa oftware wenagal a fime: aaa ad Taq ATaET. cited in Subhasitavali (No. 1628) under aratifaseget. 17, geard aft g:Racr wale ar eB seer car wit Saga Dares ced gat aTTy are SS war: Sele Prgor aaa walt areal aPaat: wer ois: Sar aged war u waET. cited in Subhdsitavali (No. 1353) under faaeat sera. 18. wera at Afgaraqerat eat HAT AAMT AANA: wat ayqrelt ar graraaret a ait ar fafa RH sana ae: Uo ATARA. cited in Subhasitavalt (No. 1286) under fadeut sera. 19. afrenangaerer satsaaqt Aa: 1 Staqaiia: ad arrarara: area. cit in Sarngadhara paddhati No. 3330; but ascribed to Kalasgaka in Subhdsitavalt (No. 1529); and ascribed to Syamala of Kashmir in Saduktikarnamrta. One other argument against Bhasa’s author- ship of the T.S.S. Plays is vehemently put forth by Professor Mahamahopadhyaya S, Kuppuswami Sastri as follows:INTRODUCTION xix « Again, while commenting upon the verse aftad: afetier aed: eewA: | ahaa atrag afar: wae: tb Natyasastra, I, 74, Abhinavagupta says in his Abhinavabharati ‘aar Res a: Sara SAT TATA: BRST TI AIAATAAT ATA, | WaarAAAGawHay ’ Page 37, Vol. I, Abhinavabharatt Manuscript in the Govt. Oriental Mss. Library, Madras. Krida or hilarious merriment is the chief feature of the drama called Svapnavasavadatta according to Abhinavagupta. Would not this con- clusively establish that the Svapnavasavadatta known to Abhinavagupta must be materially differ- ent from the Trivandrum play of the same name?” Vide Ascaryacidamani, 2nd edition, Introduction, page 22, To sum up the arguments on both sides, we notice that out of the large number of quotations ‘from Bhasa cited in works of rhetoric and antho- logies by eminent authors some are found in the T.S.S. plays and some are not, Therefore, we have to conclude that the thirteen plays ascribed to Bhasa published in the Trivandrum Sanskrit Series represent the abridged versions of the original plays of Bhasa prepared by the Cakyars of Malabar to suit the exigencies of their stage.xx SVAPNAVASAVADATTA Svapnavasavadatta as a Nataka. Literature has been divided by Sanskrit thetoricians into two classes—zzq that which can be seen, and seq that which can only be heard. The zqaareq can be represented on the stage. It is also called a Rapakam, so called because the Ripa. or character of the heroes is ascribed to the actors. Ripakas are tenfold viz,,—Ndataka, Prakarana, Bhana, Prahasana, Dima, Vyayoga, Samavakara, Vithi, Anka and Ihamrga. The difference between these categories lies in the difference in the plot, the hero and the emotion. The following slokas may be perused with advantage in this connection. eqaneaeataa ga: wey fear AAA | : aad caries aga SIA | alze asa arn: sead fea: 1 sqrittaaaard dea gerTA TT Ul ae FAT TST HTT. Before dealing with the requirements of a Nataka as conceived by Sanskrit rhetoricians, it will be necessary to say a few words about agg, za and ara in general, in order to enable the reader to understand the full significance of those requirements. Vastu or plot is of three kinds—seqra or renowned by tradition, gq or cdnceived by the poet, and faa or partly traditional and partlyINTRODUCTION xxi eonceived bythe poet. Vide Dagaripaka :—seqiai- mraferaterientd waR. Rasas or emotions that are considered to be the soul of poetry are nine in number—2gsrz_ the erotic, zea the humorous, sem the pathetic, dm the furious, 4 the heroic, warm the frightful, afta the loathsome, aga the marvellous, and aa the quietistic. Vide the following extract :-- Sameera HEMT VACATE: | ahreargerarea ta: Gaeateat: According to Bharata, the founder of the Sanskrit dramaturgy, only the first eight Rasas are recog- nized to the exclusion of Santa. The author of Dagaripaka who follows in the wake of Bharata repudiates the Santa rasa and holds that though Santa has to be recognized in general poetry, it can have no place in a drama. adm azqarataanratr warrant: wae fae 1 aa anemones afwaararna 1 Consistently with his theory, Dhanika says that the dominant emotion in Nagananda is zarit and not arza. Vide preface to our edition of Nagananda. But the general trend of opinion among Alankarikas is in favour of the ninefold classifica- tion of Rasa as stated above. Rasa has been defined in Dagaripaka as follows :— Pratgaidas aitaseahranea: arian: Saget eae aay Ta ETA! MNxxii SVAPNAVASAVADATTA Rasa consists of a waa or sentiment which is ren- dered delectable by the cumulative influence of Renas, argquras and cafyaftaas, The nine efaaras or sentiments which make up the said nine Rasas are enumerated in order as follows :— aelee reer saree wat cars ayratwarar: ear 7a WAT A They are—love, humour, grief, rage, valour, fear, disgust. wonder and tranquillity. a or love is the basis of -ugrt. -zer or the erotic emotion is twofold— dart and fasarx, love in union and love in separation. dirtoent has been defined thus :— mage VA aay Penta adaersiadiet a dani qantaa: 0 By way of illustration Dasgarapaka cites the follow- ing two Slokas from Uttararamacarita :-— feafa feaft aeq a-qaranarma... Act I-27. ffaag waa a gaaia a gata a. Act 1-35. faseeaern is sub-divided into four classes—aait, ar, saa and #em, sdat7t represents the separated stage of loving couples before union, and the other three kinds of fasura take place after their union. ara represents a separation due to love-quarrels. sala is separation due to exile, of which the whole of Meghasandega is a monumental example. #anfa- sary refers to the separation of lovers one of whom departs from life provided they join later on. The story of Pundarika and Mahasveta in Kadambari is.INTRODUCTION xxiii an example of this kind of fayeeq. It has been de- fined as follows:— witwathay waahs sarcat gases Raaas ate: car waeTasaeTEA: This differs from aemvq inasmuch as the eifranra here is <4 or the mutual love leading to a re-union, whereas in Karuna are or grief is the enfrara and there is no re-union. The distinction has been pointed out in Sahityadarpana as follows:— aie: enftaar Bret Asararca ca: 1 fasare Uf: ane ga: aaTega: tv aizza_ or the heroic emotion has been treated under three heads—waaz as in the case of Yudhisthira, gaat as of Rama in Mahaviracarita, and zardi< as of Jimitavahana in Nagananda. Heroes in general are considered to belong to four different types—dniam, ites, diveisa and divaiea. Valour, magnanimity, strength of charac- ter, resoluteness and all other rare virtues are the characteristics of a Dhirodatta. Rama,’ Jimita- vahana and the like are examples of this type. Haughtiness due to strength and valour, love of power, self-glorification, emulation, greed and the like are characteristic of the Dhiroddhata. Paragu- rama, Bhimasena, Ravana and others fall under this category. Free from care, addicted to fine arts and love and easy-going is the Dhiralalita, of whom Vatsaraja, the hero of Ratnavali, is a typicalXXiV SVAPNAVASAVADATTA example. Dhiraganta is an average hero possessed of humility, sweetness, liberality and other good qualities, ordinarily a Brahmin, like Madhava in Malatimadhava. Vide Dagaripaka— aearaistaeait: eararaaaaat: | ead faayeréad attired eeaa: | qHaeayagy WareATTAT: | ditrareaeare seas) rT: I fafaedl dats: weram: get WE: aaragrgned dened ease: tt As to what are am-agus which every hero should possess, Dasariipaka says :— war fadial ageearai car: rare: 1 waa: Baasat weder: feat gar uv Fe TTA IA BSTAAaATSAT: 1 Qi tea sae wea sits: u Heroes for the purpose of love or -aRItalqHS as they are called, are also classified under four heads :—stqgs or one who is attached to one woman, zfirt or‘ one who accords equal treatment to several wives, ye or one who makes bold to appear before a woman when his affections are centred elsewhere, and a or one who secretly commits an atrocious act of infidelity. The definitions of the above four types of Nayaka are given in the following sloka, UHATASTRS: Ca, GEA HT eT: 1 SRP Tae: ASAT SS:INTRODUCTION XxXV Rama is an example of Anukila Nayaka. The following sloka of Uttararamacarita is generally cited to illustrate an Anuk@lanayaka. wad gagaaard aaieaerg 3- fear eqaer ay Tar aaErit Ta: aA aARUN HT BEAT Rat ng Tey gargyey Fras fe ares ty Act I—39, Vatsaraja and Agnimitra are examples of Daksina- nayaka. An idea of Daksinandyaka may be had from the following illustration in the Dasarapaka— aia fasia gasqrgar atissusteag: aa ware frar sae eat sara a saragigradi: a war aaa Maa Brarsfavieyeaaar fear: feat area: For Dhrsta the following illustration is given there waren Sazialta: Baa Ts ary aaaasa TAA AETHTTSTTE: | egr sofa avait saat baat Haarawaiae Brea: gear Aas Tar: And, for a Satha, the following illustration is given from Amarusgataka— qerqa: aaaiieraaeed aa Faas TUB yARAATAA: | agama gaagaaeaggaa- Pongeeat Peat a ae F vos Now we propose to consider what are the requirements of a Nataka as laid down byxxvi SVAPNAVASAVADATTA thetoricians. az® searafaftae, dtterdt a7s:, ER RTA TIEAT U In a Nataka the plot must be one already chronicled in the Epics or handed down by tradi- tion. Udayana, the hero of this play, is a popular figure in the legendary lore of ancient India, Somadeva’s Kathasaritsagara which belongs to the llth century deals with the history of Udayana, and it is in its turn traceable to a much older work belonging to the Ist century A.D.—Brhatkatha written in the Paigaci language by Gunadhya though the work is not now available to us. From the various references in the Meghadita of Kalidasa and Mrechakatika of Sidraka and other poets of eminence and in the numerous Bud- dhistic legends it is fairly certain that the story of Udayana was reputed by tradition. If we take Kathasaritsagara to represent the true story of Udayana as embedded in Brhatkatha, no doubt certain deviations from the source arrest our atten- tion in the plot of the story. In Kathasaritsagara, Pradyota is the name of the Magadha king, father of Padmavati, whereas in our play he is the father of Vasavadatta. Again the motive for the marri- age of Udayana with Padmavati as described there is the conquest of fresh kingdoms by Udayana whereas in the present play it is the retrieval ofINTRODUCTION XXvii the lost kingdom of Vatsas from the hands of his enemy Aruni. Whatever be the divergences in the plot between Kathasaritsagara and the present play, it is clear that the story of the present play has a historical background and as such it satisfies the first requirement of a Nataka, Nextly the hero in a drama must belong to the Dhirodatta type. Of course a strict compliance of this requirement cannot be expected, especially when the hero happens to be a king generally known as afaarqafala, one whose success is entirely dependent on his ministers. Perhaps in a way Udayana of this play is also a Dhirodatta in view of the enthusiasm displayed by him in slaying Aruni. Vide the following extract :— sta ariezgundlit amret qremadeey | Rerlasisawas agciak gfe ara u V—13. Our hero has a good many qualities which make for a Dhirodatta although in fact we notice very little of the heoric in him. The next essential laid down for a Nataka is that the dominant emotion of the play should be either Srnigara or Vira, Throughout the play the king is depicted as engrossed in the grief of sepa- ration from Vasavadatta, and as such Vipralambha $rngara or love in separation dominates the entire play. Vide notes at pages 164, 182, 191 and 213.XXVili SVAPNAVASAVADATTA Sthapana or the Prologue. waa, sera and arg@ are synonyms, The word sarqat is used generally in Kalidasa’s dramas and the later classical dramas whereas the word warqar is used in the thirteen plays attributed to Bhasa as also in Saktibhadra’s Agcaryactdamani. The Prologue is called Sthapana lit., foundation, because in it the Stage-director lays the founda- tion of the plot. Sthapana is defined in Dagaripaka as follows :— aaa vat ae are a aq warinegaaret Pasa FAaA | senaat a— In the Prologue the stage-director is expected to converse wittily with the actress or assistant actor or a clown for the purpose of introducing the play to the spectators. It is also usual in Prologues to make mention of the poet and of the work, and there will be also occasionally some flattery of the spectators, Precepts to that effect are laid down in works of dramaturgy. Bharata says in Natya- éastra as follows :— sara oF tag ara a aa weaat aa: Hara HeaseATATTA Similarly Saraddtanaya says in his Bhavapra- kasa: —INTRODUCTION Xxix aseeeTeY BCtsisETAT | eitanceara ar fear ita 0 and J aiaReaafisaaay | airaand aaareaara TEA Obviously none of these rules applies to the Prologues of the thirteen Trivandrum plays, And this point is made capital of by Mr. Ganapati Sastri to establish the antiquity of Bhasa. Viskambha and Pravegaka, These are the two most popular of the five methods by which the Siacya portion of the plot is indicated ina drama, The gfaga or the plot of a drama consists of two portions viz., aa and #qza. The portions that can be actually represented on the stage go by the name of Asiicya. On the other hand, a battle and other similar things which are prohibited to be acted on the stage, uninteresting incidents and incidents that cover an unusually long period can only be indicated, and these things fall within the scope of the Sicya portion of the plot. The indication of a Sicya plot is described by rhetoricians to take place in five ways. They are Praca, saga, qear, vgn and aga. Vide Prata- parudriya:— stad azanazd afa fafraq aaeaalt fades met Ti aq arte qaaren: galea: | aa TART PRA APS HEATER: ge.XXX SVAPNAVASAVADATTA Viskambha is that preliminary scene in any act -of a drama in which one or more middle characters take part and which briefly indicates past or future incidents. aeadtanorat eatarat Presta: 1 aaarkeg Raed erase: A Viskambha is of two kinds—gze and fax. In the Suddhaviskambha, middle characters ( a-qqras ) -alone take part, and the conversation is carried on -only in Sanskrit; whereas, in Misra low charac- ters (#raras) also take part, and the Viskambha consists of a mixed dialogue in Sanskrit and Prakrt. a ffaa:—ge: aia 1 Saadexama: ge:, depa- sipaafira: dater: A Praveégaka is also similar to a Viskambha in that it is intended for brevity and indicates past and future incidents. But there are certain salient points of difference between the two. In a Vis- kambha, one or more Madhyapatras or middle characters take part, and Nicapatras or low charac- ters also can be introduced; whereas a Pravesaka consists exclusively of low characters. And conse- quently, a Viskambha, if Suddha, can be carried on entirely in Sanskrit, and, if Misra, in a mixed dialogue of Sanskrit and Prakrt, whereas a Prave- aka is carried on only in Prakrt. A Viskambha can be inserted at the beginning of any act, but a Pravesaka can never be placed at the beginning ofINTRODUCTION XXxXi the First Act, perhaps because the exclusive intro- duction of low characters at the beginning is likely to detract from the dignity of the play and to im- press the audience unfavourably. aeafdsrarnat satarat rede: 1 sare Task Aaarrsaifra: 0 Another method of suggesting the link between a prior and a later Act is by making some person or persons speak from behind the screen, and it goes by the name of Calika. Scmetimes, the characters at the end of a certain Act themselves indicate what follows in the next Act, and this method of suggestion is called Ankasya. But where the later Act is so connected with the previous that it seems almost a continuation of it except for the fact that the poet has divided the plot into two Acts, the method followed by the poet is described by rhe- toricians as an Ankavatara. This is a residuary device, and in all beginnings of Acts where none of the other four exists, it is supposed that the poet has resorted to the Ankavatara. aradatardanaaarte aaa | ARFATATERAAAUESTTA | am wigaeErd: galgragdra: | AAAS THAI AAA In Svapnavasavadatta we have three Praveéga- kas in Acts II, TV and V, and one Viskambha in the VI Act. The Pravegaka at the beginningXXxii SVAPNAVASAVADATTA of the Second Act takes the form of a mono- logue entirely in Prakrt by a Nicapatra or an inferior character—-a servant-maid of princess Padmavati coming in search of the princess, Strictly speaking, there is no reference to past or future events except that Padmavati’s entry is announced, The Interlude at the beginning of the Fourth Act takes the form of a dialogue entirely in Prakrt between Vidisaka—a Madhyapatra or middle character and a Ceti. In it a past incident is referred to, viz., the wedlock of Udayana and Padmavati, In the Pravegaka at the beginning of the Fifth Act, two Cetis—Padminika and Madhu- karika, and Vidisaka take part, and the conver- sation is entirely in Prakrt. The Viskambha at the beginning of the Sixth Act is Misra or mixed, because the conversation is carried on bothin Sanskrit and Prakrt. The characters that take part in it are—the chamber- lain of Pradyota and the door-keeper of Udayana, For further details, see notes at the beginning of the respective Acts, NANDI. N4&ndi is another technical term that we meet with in dramas. It means the introductory bene- diction at the beginning of every play. Nandi con- sists in homage paid to the Deity, Brahmins, kingsINTRODUCTION Xxxiii or the like, coupled with an invocation for blessing. Sahityadarpana defines it as follows:— arhsaaage aiesersgsss 1 afaraadiat aearanedia afar uv In popular parlance, the word Nandi is used to de- note a preliminary ceremony for the propitiation of manes generally performed on the eve of any auspicious religious function like Upanayana, mar- riage etc. The word Nandi has heen derived by the author of Natyapradipa thus:— araqita Brea ahem: gatrear: aitaarear Aza: aad asaiaeqed? cee ar aiaae aredi ov ra eaiaia, seq gf ar ard. Etymologically, Nandi means that by which poets, niusicians, spectators or literary works are delighted or shine to advantage. The etymology of the word Nandi can also be explained in a different way, at is the bull of Lord Siva, and his back served z -stage formerly for the dance of Siva, which 4 played thé twofold varieties of Tandava and Lasya. Since the back of Nandi served as a stage, the worship offered with a view to entry on the stage is called Nandi. aed a: Hsia aeate wean fae @ a1 agragiea Bat g Tat adie at areqad aia 0 Nandi therefore means the Parvaranga ceremony i.e., the initial worship offered with a view toa cXxxiv SVAPNAVASAVADATTA successful staging of the play. And it is in this sense that it is used at the beginning of all the plays of Bhasa. But latterly it has come to denote the benedictory verses composed by the poet him- self, and in this significance it is used in the majority of plays beginning with Sakuntala. Siitradhara, qaqa: means the Stage-Manager. aq ( sige ) aad qrak: one who holds the conduct of the stage. This etymology is supported by the follow- ing authority:— areantacndlia qarardiad 1 aa meadeaet gaat fare tt Matrguptacarya gives the following elaborate definition of Stitradhara :— agudaaend staat: | TARTAR Aearadacaaa 0 ATA THTAaRTTE: mMeasaraiaga arated : ardaaracaa: TaaIaATT: | THA AMITSAIBHAAUSATIAT: 0 ara TarH sy AHMAR TT: | wt quate: qaaashreatag | The qualities required of a Sitradhara in the above definition are too many that it leads us to suppose that it refers to an ideal Sittradhara and not to all Sitradharas,{NTRODUCTION XXXV Sitradhara is of two kinds—Nandi Sitradhara and Sthapana Sitradhara. The duty of the former is to perform the Parvaranga and that of the latter to introduce the play to the audience, He is also called Sthapaka, because he establishes the foundation of the drama by introducing it to the audience. HF BSAUFSUTAT, CAAT: | As to the two types of Sitradhara, see the following :— qaes Parra arate Raa | SaRT ARTI: HeAAMTAAT: qaaaeg Fat a ga wazaait at In all the thirteen plays of Bhasa the Nandi Sitradhara confines himself to the Pirvaranga ceremony, and the Sthapaka pronounces the bene- dictory stanza of the poet and continues the Prelude down to its end. In the later classical dramas including Sakuntala the Nandi Sitradhara performs the Parvaranga ceremony and pronounces the mangala sloka, After his exit the Sthapana Sitradhara enters upon the stage and conducts the Prelude. The distinction lies in the fact that in the one class of plays the mangala sloka falls to the lot of the Sthapaka whereas in the other to that of the Nandi Sitradhara.ARGUMENT OF THE PLAY ActI. King Udayana’s minister Yaugandha- rayana disguised as an ascetic leads queen Vasava- datta disguised as a citizen girl of Avanti through a penance-forest of the Magadha kingdom with the object of entrusting her to the care of some sage dwelling in a hermitage, Two soldiers in the body-guard of the Magadha princess—Padmavati command the people to clear out, announcing the arrival of the princess. The chamberlain of Padmavati forbids the guards to clear out the crowd as such an order is ill-suited to a holy resort of hermits. Besides, he announces that Padma- vati, sister of King Daréaka, after visiting the king’s mother, is on her way back to Rajagrha, that she takes a temporary halt in that penance- grove and that the sages dwelling in the hermit- ages are free to follow their avocations as usual. Yaugandharayana recognizes that she is the self- same princess whose marriage with Udayana has. been predicted by seers. Wasavadatta also enter. tains a sisterly affection for her. A female hermit accords reception to the princess’s party. At the bidding of Padmavati, the chamberlainINTRODUCTION XXXvii invites the occupants of the forest to come forward with requests as best they like, In response to the announcement Yaugandharayana requests that Padmavati might take charge of his sister Avan- tika whose husband is in exile and keep her under her protection for a few days till he comes to take ‘her back. The princess, true to her word, undertakes the responsibility, and Yaugandharayana heaves a sigh of relief that the queen has been entrusted to proper custody. It is mid-day. A bachelor comes to the hermitage and meets with a cordial recep- tion from Padmavati’s party. The bachelor says that while he was in the village of Lavanaka in the land of Vatsas undergoing education in the advanced study of Vedas, King Udayana happened to stay there with his queen Vasavadatta, but that while he was out ahunting, Queen Vasavadatta was burnt in a conflagration, and in an attempt to wescue her from fire the minister Yaugandhara- yana too, was burnt to death. Yaugandharayana pretends surprise and asks for news about the king. The king on coming back attempted to -commit suicide but was prevented with difficulty by his ministers. He underwent unbearable separa- tion and was being attended to by his minister Rumanvan. The bachelor recounts the hundred ways in which Udayana was bemoaning the loss of his queen, Padmavati is deeply impressedXXxviii SVAPNAVASAVADATTA with the virtues of the king. The bachelor takes leave, and so does Yaugandharayana. The Sun is then seen to set in the west. Act II. Padmavati enters playing with a ball, accompanied by her retinue with Vasavadatta disguised as Avantika. Vasavadatta admires the beauty of:-Padmavati and hints that she is the cyno sure of the eyes of suitors, particularly of Mahasena’s son. Padmavati’s maid makes it clear that the princess does not relish an alliance with Pradyota’s son, but that she is impressed very much with the virtues of Udayana. The doubt expressed by the maid about the handsomeness of Udayana is cleared by Vasavadatta’s assurance which, she says, is based on the general talk at Ujjain. At this stage Padmavati’s nurse comes and announces that she has been betrothed to Udayana. Vasavadatta en- quires whether the hand of Padmavati was sought for by Udayana. The nurse dispels the suspicion of any initiative of Udayana in the matter by stating that the proposal was made by Padmavati’s brother Dargéaka and agreed to by Udayana at the request of his ministers and in deference to the commandments of scriptures. Another servant- maid comes in a hurry and takes Padmavati as the marriage has been fixed to take place on that very day.INTRODUCTION XXXIX Act III. When high glee prevails in the palace on the eve of Padmavati’s marriage, Vasava- datta remains care-worn in a corner, brooding over her fate. The servant-maid at the bidding of King Dargaki’s wife comesin search of Vasavadatta and delivers flowers to her, requesting her to pre- pare the wedding garland for Padmavati, In the heap of flowers there is a bunch of herbs known as ‘Ward- off-Widowhood,’ and it has the approval of Vasavadatta. The next bunch known as ‘Crush- the-co—wife’ is objected to as uncalled for when the co-wife is no more, Another servant-maid enters and urges the preparation of the wreath as the bridegroom is being taken to the quadran- gle where the wedding is to be celebrated. Vasa- vadatta prepares the wreath at once and delivers it. Both the servant-maids walk out in a hurry, leaving Vasavadatta in the midst of her cares, Act1V, The marriage has been celebrated. The glutton Vidiisaka feels uneasy by an overdose of dishes, A servant-maid comes in search of Vidtsaka to ascertain if the bridegroom has had his bath. Vidiisaka replies in the affirmative and permits her to bring unguents for the king and all other things as she likes save and except food whose thought is very distressing to Vidisaka. Here ends the Interlude,xl SVAPNAVASAVADATTA Padmavati and Avantika have a stroll in the garden and admire the beauty of the flowers appearing in plenty, A servant-maid plucks some flowers whose beauty attracts both Padmavati and Vasavadatta, Padmavati forbids the further plucking of flowers as she would like her lord to have a sight of the full bloom in the garden as and when he comes there. Interrogated by Vasavadatta, Padmavati admits her inordinate love for Udayana and doubts if he had entertained the same love towards Vasavadatta. Vasavadatté unwittingly remarks that his love for her was even greater but justifies that her presumption is correct, because otherwise Vasavadatta would not have left off her parents and fled away with him. The servant-maid suggests that Padmavati might also like Vasavadatta offer to learn lute-play under Udayana. But Padmavati discloses that the offer has been made only to elicit deep sighs of grief from her lover in recollection of his departed queen. At this stage Udayana and Vidigaka are seen entering the park observing the beauty of the bower, the pleasure-mound and the white row of cranes. To guard Avantika from the sight of the king, the ladies enter the bower. The king and Vidisaka sit on the slab outside. Vidisaka feels the slab hot in the sun and suggests an entry into the bower. But Vidiisaka’s attempt to do soINTRODUCTION xli is thwarted by the servant-maid inside by dragging down the branch of a plant and sending a troop of swarming bees to the annoyance of Vidtsaka. Worried by the nuisance of bees, Vidisaka and the king decide to remain outside. The garden is ‘quite lonely, and Vidisaka presses the king to answer whom he loved more—the deceased Vasava- datta or the living Padmavati. The king he- sitates to give areply. Vidisaka threatens to use force which is of no avail with the king. But in the name of friendship Vidisaka implores him to give a reply, and the king discloses that in spite of the beauty, character and suavity of Padmavati, his heart is already dominated by Vasavadatta. Then the king puts the same question to Vidisaka who, after an unsuccessful attempt to evade, gives his reply in dubious terms, The king says that he would report the matter to Queen Vasavadatta, but is reminded by Vidisaka that Vasavadatta is ‘no more. The king is carried away by grief where- as Vasavadatta is pleased by the confession of the king’s superior love for her which she heard incog- nito, The king weeps in recollection of his pre- vious love. Vdasavadatta advises Padmavati to go near the king and console him and accordingly walks away leaving her behind. Walking towards the king, Padmavati meets Vidisaka on the way carrying water in a lotus-leaf to wash off the tearsxiii SVAPNAVASAVADATTA in Udayana’s face. Questioned by Padmavati, Vidisaka says that the Kaga pollen wafted by the breeze caused tears in the eyes of his friend and the water is intended for wiping out those tears. Padmavati appreciates the solicitude of Vidiisaka not to wound her feelings and receives the water herself to present it to the king. Put on the alert by Vidisaka, the king ascribes the same reason for his tears. To the great relief of Udayana, Vidiisaka advises his friend to meet King Dargaka at once in accordance with his practice in after- noons. Pursuant to his advice, Udayana starts out. Act V. The servant-maid Padminika is much worried by the headache of her mistress Padmavati. Before proceeding to prepare the curative paste, she asks another servant-maid Madbukarika to inform Avantika of the princess's headache which she will allay by a narration of pleasant tales. And she also says that the sick-bed is laid out in the Samudragrhaka, After the exit of Madhukarika, Padminikai meets Vidisaka, divulges the same news to him and urges him to inform the king. In the Act proper the king enters brooding over the death of his beloved in the conflagration at Lavanaka. Vidisaka meets him and informs him of Padmavati’s headache. Both start for theINTRODUCTION xliii- marina-house where Padmavati’s bedding is arranged. At the threshold Vidisaka is terrified by a festoon dropped down rolling like a snake but is disillusioned by the king who has closer powers of observation. Vidisaka surmises that Padmavati would have come and gone. There too the king sets him right by referring to the undisturbed condition of the bed and the impro- bability of a patient having left off the bed in such a short space of time. They decide to remain at the bed and wait for the arrival of Padmavati. The king is troubled by sleep but wants tales to be told him to facilitate his sleep. Vidtisaka starts his narration with the city of Ujjain which calls forth the king's unpleasant reminiscences of Vasavadatta. For the diversion of the king, Vidi- saka begins another story. At the outset he bungles between the city and the king,—Brahmadatta and Kampilya. The king points out the confusion and ‘teaches him the correct names of the city and the king. Vidasaka repeats the correct names seve- ral times, but before he finishes the process he finds the king already asleep. The day being very cold, he walks out to fetch a blanket for himself. Vasavadatta comes into the Marina-house in search of Padmavati. Mistaking the king for Padmavati, she feels sorry that Padmavati is left alone in the bed-room, To show her affection to Padmavati shexliv SVAPNAVASAVADATTA ‘decides to sit by her side and is pleased to observe her regular flow of breath. The king mutters in a dream. He calls out for Vasavadatta, asks what is the cause of her displeasure and extends his arms to implore her pardon. At first Vasavadatta sus- pects she has been detected. Then she is relieved to find it was only a dream. However, though she is anxious to avoid detection, she restores the hands of her lord hanging down to the bed, and then walks out ina hurry. Before the king rises calling out for her, she is gone out of his sight. He strikes at a plank of the threshold and can proceed no more. Vidisaka is back with his blan- ket. Heis told by the king that Vasavadatta is alive; she actually roused him from sleep. But Vidisaka attributes it to an apparition or dream, but it is a reality to the king who continues to feel the pleasure of touch with the hair still standing on their ends. Vidisaka advises the king not to indulge in illusion any longer. The chamberlain’ enters and announcess that Minister Rumanvan has started on a march against his enemy Aruni and urges him to lead on the troops in battle. The king casts away all his previous thoughts and gets ready for the expedition with true warlike fervour. Act VI. Raibhya, the chamberlain of Maha- sena, calls at the gate of King Udayana who hasINTRODUCTION regained his lost kingdom of Vatsas and asks the doorkeeper to report him to the king. Earlier in the day the king has heard the lute Ghosavati played by somebody who in view of the kindly enquiries. of the king has parted with it in his favour. This has roused the king’s unpleasant memories of his bereavement. Accordingly, the doorkeeper sug- gests that this isnot the proper hour for seeking an interview. However the chamberlain presses his request since the errand with which he is charged relates also to the same matter. And the portress agrees to it. In the Act proper the king laments the lute Ghosavati in its sad separation from its mistress— Queen V4asavadatta. The doorkeeper announces the arrival of Raibhya and of Vasavadatta’s nurse Vasundhara sent by Angaravati, wife of Maha- sena. The king sends for Padmavati so that she might also hear the message of Vasavadatta’s ‘parents. _Though Padmavati doubts at first the propriety of her presence at the interview, she yields to the persuasion of the king. The king bids the doorkeeper admit the chamberlain and Vasavadatta’s nurse, They are taken to the king. He enquires of them the welfare of Mahasena, After the usual enquiry of welfare the chamberlain offers to Udayana the felicitations of Mahasena on the recovery of his lost kingdom, Vasavadatta’sxlvi SVAPNAVASAVADATTA , nurse communicates the message of Queen Angara- vati. Angaravati has fondled Udayana along with her own sons, She and her husband had intended in fact to give their daughter Vasava. datté to Udayana. But while teaching the lute, Udayana eloped with his pupil Vasavadatta in impatience, Since the formal marriage was left undone, the parents of Vasavadatta got the pic- tures of Vasavadatté’ and Udayana drawn on a board and celebrated their marriage on the picture- board, That picture-board has now been sent by Angaravati and is delivered to King Udayana by Vasavadatta’s nurse. Padmavati looks at the pic- ture of Vasavadatta and is struck with its simi- larity of features with Avantika. She discloses that the original of that picture was a friend of hers moving in the harem along with herself, who was entrusted to her care by her Brahmin brother. At this stage Yaugandharayana appears and demands a return of his deposit. He is apprehen- sive as to what the king will say though his efforts were crowned with success. Avantika is brought. King Udayana suggests the re-delivery of the deposit in the presence of Raibhya and Vasundhara as attestors. The nurse recognizes Vasavadatta, and when the king bids the entry of Vasavadatta into the harem, Yaugandharayana makes a show of opposition. The mystery has toINTRODUCTION xlvii be cleared. The curtain is thrown off at the bidding of the king. Yaugandharayana and Vasavadatta greet the king in their usual manner. The king fears lest this should also turn out to be a dream. Yaugandharayana makes a clean breast of his schemes and applies to the king for pardon. The king is justly proud of his statesman-like minister who had saved him from many a reverse’ by his own statesmanship, Padmavati feels sorry for having treated Vasavadatta as an ordinary friend, falls at her feet for pardon and is assured by Vasavadatta’s kind words. Yaugandharayana then unravels his plans to the king. The king is greatly astonished at the clever dissimulation practised by Rumanvan, Yaugandharayana points out that the well-being of Queen V4asavadatta should be immediately communicated to her parents. King Udayana implements his suggestion more fully by deciding that all of them together with Padmavati should go in person to convey their respects to Vasavadatta’s parents.DRAMATIS PERSON & waa: was: lat we: 5 alaeacrasr: aTeaazat BISZRA: (ATT Sét (varaar: ) arvell ward wearer artt (vara: ) fags: ust vente } qaraaraeit sera (fasrar ) art ( araazaran: ) agar: (wea)Ul STAASaT TTAISE: | (aaa aa: siaaia qaur: 1) aaa: — TEAATEFAAMATAAT AAS TTT TAT | qaraderga aaeaKaT BAT TATA 2 SVAPNAVASAVADATTA (The Vision of Vasavadatti) ACT THE FIRST (At the end of the Stage-benediction) (Luter the Stage-director) Stage-director. May the two arms of Balarama protect you, — the arms.which are akin in colour to the fresh Moon at her rise, which offer wine to his spouse, bear in full the impress of the glorious advent of Goddess Laksmi and are charming in the Spring. (1)2 SVAPNAVASAVADATTA waratia Aarane | wt, gay ae fiarqasay wer za aaa 1 oH, Tea (373) BALE RATE ATT, RATE | PATAATATAT:, TATA | ara: —aag, araq | zara fa: sear: | FORA TAATNTTTA TA! WR Ui ( fersaprea: 1) QaTTAT Thus do I inform the respected gentlemen. Eh! A sound is heard, as it were, when I am about to intimate! What is this? Comrade, let me see, (Behind the scenes) Move off, move off, gentlemen, move off. Stage-director. Well, I see— . The people occupying the penance-grove are all cleared out peremptorily by the devoted servants of the king of/Magadha attending on the princess. Q) (Exit) PROLOGUE,ACT THE FIRST 3 ( sf ) WATE ATE AzAT, TRUE | sardiiraaa:, Sata | (act: afmafa oarseaa area sataadeanteir aaaza 1) MEI! — (sei cea) warftergqearsas 1 Haz, dread irae wager aa Ge AER AAA AHTTTAA TATA | Steral Paretaged avzTeaa: alsa a fad attaafad aredtatrensrar 11311 (Entering) Two gqgurds. Move off, gentlemen, move off. (Enter Yaugandharayana in ascetic-robes and Vasavadatta disguised as a citizen-girl of Avanti) . Yaugandharayana. (Lending his ear) How isit? fven here; men are cleared out, Why is terror caused to the brave vencrable persons occupying the hermitages, living in contentment on the fruits of the forest and clad in tree-bark ? Who is this haughty person at the head of ruffians and puffed up with the smiles of fickle Fortune, who by the exercise of authority treats this peaceful penance-grove as an abode of rustics ? (3)4 SVAPNAVASAVADATTA TAIT — I, aT Tat waTehy | are, UT sara | WaeaaT:—waa, ar araicremaqareat Wag —sw4, Te wa age, oe A om semrcgasat aif fa | at, a aa apart, wealy ariaaerarcat aaraiifa | areas —aaia. canaaranis tasters | qraqeat—aer, ae ofreaar aftat op searete, we wet afta at, aa gfe: Wes arqeafa, wart aera: 1 aneawan:—aaaa wt faaaisawgar | ara Paear erat 1 Bate Vasavadatta. Sir, who is this that bids the clearance ? VYauy. Madam, he that bids good bye to right- eous conduct. Vas. Sir, T don’t wish to say like,that. But that I too am asked to clear out, Yury. Madam, this ishow deities unknown are insulted. Vas. Sir, suffering does not cause me grief as does this insult. Yaug. Madam, this is a matter tasted and rejected at will by you. You need care little for it. For—ACT THE FIRST “qa aareahad qaaaare- aged aficat gatiaaa wat | BORAT TTT aftaaarar THIS asta ATT: Ue | AAs ae, HATE | Sawaal, saa (aa: afaeria a5 gxI3: 1) FGA —As. Aa A AAA TAT qitetg war TINIE a FeTAAAATAT WaISaT | arraitaarg Fara qantas aafad waa 4 I Formerly you too had a coveted status like this; and once more will you rise to it with praise through the triumph of your lord. Like the array of spokes in a wheel does the array of worldly fortune moye round and round by the gradual operation of time. (4) Two quards. Move off, gentlemen, move off. (Enter the Chamberlain) Chamberlain. Sambhasaka, you must not indeed turn out the people, See— Bring not blame upon the king. No harsh word should be used to those that dwell in a hermitage. These noble persons have come to the6 SVAPNAVASAVADATTA Bass, ae) aed, ar (eared 1) aera --ea afar zig 1 ae, sqaqaeazay | Wag Ass, Te | art, war) TERIA: — (saa) we, aetrqeacar | RIsyata— areata | Aaeqan: Karan) ara ava aeaaar- ara: | stafeaarg a Baca & waft | BSGME Ar, TTT | TAT AS qafactieraa- Wrens weriaeaae vlad waradr art forest and live therein to escape the insults prevalent in the city. (5) Both. Sir, he it so. [ Brent Yaug. Ha! Enlightened is his vision, Child, let us just approach him. Vas. Well, sir. Yaug. (Going near) Eh! Who gave this order for clearance? Chamberlain. G sage. Yaug. (Tohimself) ‘Sage’ is -a word of merit indeed, but owing to lack of acquaintance it does not reach my mind with fitness, Chamberlain. Eh! Be it heard, Here is Pad- mavati, the sister of our great king who is calledACT THE FIRST aa ar aerisaat aerdiarmraenatarearaarn qawaat usgeva are | azenferarraty aTalshradise: | Raed, driizans ara: saat caiq at TET ATTA | qatar gaat a aad freeway geadnaqar tl & Fae T AT :-— (aad) wag | aa ar aTATITgGa TaT- adi arma, ar geraunfeteaaaeaer atid Ff ufacadifa_) aa:, Astrology Dargaka by elders. After mecting the Queen- Empress, the mother of our great king, who puts up in the hermitage and tiking leave of her ladyship, she will go back to Rajagrha. So she wishes to spend the day in this hermitage, and hence— You may freely take from the forest the articles of penance—holy waters, fuel, flowers and reeds, Fond of Dharma that she is, our princess will not like an injury done to the Dharma of penance-doers. This is her hereditary pledge. (6) Yaug. (Within) Is it so? This is the princess of Magadha, Padmavati by name, of whom it has been predicted by Puspakabhadra and other fore-8 SVAPNAVASAVADATTA HEN TAA A AHTNTIAT | woerfrenttearcat % aed qa | 9 I qraaeat—(and) ceraftefa gitar weftrenfa- oer fa H oer aoa | (and) usa var atheist Asa arat | (aa: sia Tana fare 32t a1) wi—rg ug ufzerfien, 22 weaag atag mag wigien, gravaaté ofa | (aa: siaaegatasr arr 1) aradt—arere rreraritere | sarra waantarat: 1 qaqat—( ard) zat a trateznterr | ats ged g & Faq | tell that she will become the queen of our lord. Consequently — Disgust or esteem springs from one’s own mentality, Keen as] am at making her the king’s wife, great is my affinity towards her. (7) Vas. (To herself) On hearing she is a princess, my sisterly affection for her swells up. (Enter Padmavati accompanied by retinue, and a Servant-maid) Maid. Princess, come, come, enter this herrnitage. (Enter a Female hermit sitting) Hermitess. Welcome to the princess.ACT THE FIRST 9 (ead) ga a usetar | aorargeEd sere ETH qaradi—aea, azar | a, aed atget—fet sta) afra ae, ora 1 aataonfir ma ska asttieg | [aieH i fea) sae wa, afer agian annfafaare qaadl — aig aie re, Aeaeria 1 efor agarr- qa sopTeTha i wag aaq | ant, fornia | ata agarrrataragetaa | qaaea—ieand) of ee cea, aren fF ™a aga | (and) a fe eat, aati were AgT | alqat—az, 2a ra wegera athe arf cer 3 arte? ag, gat saazqae wet eager a arate ? (To herself) his is that princess. Her beauty isin keeping with her birth. Padmavat?. Madam, | salute you, Hermitess. May you live long. Come in, child, come in. Penance-groves are of course the own homes of guests, Padm. Be itso, madam, I fee] quite at home. {am blessed by this cordial utterance, Ve (Within) Not only her beauty, her speech too is sweet. Fermitess. Good girl, has no king solicited the hand of this sister of our noble king?10 SVAPNAVASAVADATTA Aei—aker cen wrt ora segee | ay arcane BOY TTATS BUT 1 ae Us seta aritahea: | a aTeHe AMT TT art sith | qaqa —(areand) aig As car er arate aft agar | (aang) wag wag | wT arate age i aqdi—aer g set ongdh gare agai | sarertir usa agai fa ges | wel afeqaarginea agama | si waEe aeat aft qat qaadi—ans, fH fer Brae At rT | afragcraitn aatasay vated za at fe aq galt fa 1 at, f& 2a gfe aramagqatiag | adage aqtana softaeaat aaa &: Passat Maid. There is the king, Pradyota of Ujjain. He is sending an embassy for the sake of his son. Vas. (To herself) Well, well, She has now become my own kinsman, Hermitess. This personality is indeed worthy of this high esteem. Both the royal families are great. So goes the report. Padm. Sir, did you meet the sages to invite their blessings on me? Let the sages be consultedACT THE FIRST 11 RSVR AWs waar | a ah erecta qfaa:, Wwarg wary vara: | gerawadl waTa- usagat ata fardoataaeacar sara. faaraaa | BME HITT Bl AMTT ara arhaPat dat niaarg feos gazt qe MM GSS TIA TATA ag Tarte adiftad aga aa ware fe TraTZ Haeqa—eea Fo sort: | (saat) ah, seaelt | and pressed to receive gifts after their own liking, each one what he wishes. Chamberlain. As you desire, madam, Ye sages residing in the sacred grove, listen, listen please. Here the respected Magadha princess with trust begotten by the trust reposed by you, uppeals to you with presents in the cause of Dharma. Who is in need of a pitcher? Who is in quest of clothes? Does any one having duly finished his course of studies, require a present to be made to his Guru? The princess here, who is a friend of the pious, requests a favour. Let every one speak out to-day what he wants. What can be given and to whom? (8) Yaug. Ho! [have hit upon a plan, (Aloud) Eh! Tam an applicant.12 SVAPNAVASAVADATTA ‘qa —Reer aes F aaa | fen ane & adaahnaay t agdi—aggastanc 22 oeaagd | oreregao zion ered | aqearfiasaftzaangzy | anneqaata waasry | aeyRa—a, fe Pera | Ae RAT: — ss A aa | \aeaasaiaaiasses- qaqa ahaa WeaeTara | BAL, foe te AO LS BY AAA AT Te Se + Tle BTA AdeI: AT? | x ° Si Hey SeTTTANT ap ata tad a aiteat: 11 8 1 Padm. Fortunately, fruitful is my advent to the sacred grove. Hermitess. This sacred grove is one in which the sages live in contentment. This must be a newcomer, : Chamberlain. Eh! What can we do for you? Yaug. This is my sister. Her husband being in exile, I should like to have her kept under the protection of her ladyship for some time. Why? Riches are of no use to me, nor pleasures, nor dlothes. I have not taken up my red ascetic robes for the sake of a living. Sturdy in character und with leanings for Dharma so manifest, thisACT THE FIRST 13. araazat—(arand) 2 10 ze a forfafagara BIA AKITATT | Zs, Waanitar Har oT Beaks : Carand) mq ge at facqer arias: ; wag, waar wa a aie 1 wegqata:—uata, wed aeqer sagem | wi afastdia: 1 pat:, BANA az id FA ATT: | ag: | SAAT WAT FAT HAT TAMA No Ut qaadi—_ae7. ved zafier a fe safe & age aft franftg 1 Ft oat wos. & orylages ora at, saageig % efaeodiageladet farray | aaq wate azqiaears: | maiden is competent to safeguard the virtue of i (9) f) Ob, The venerable Yaugan- dharayana desires to place me in her custody Let it be. He will not do anything without examining its propricty. Chamberlain. Madam, he makes too big a request. How can we promise? For— Easy will it be to give away wealth, easy to give away life, easy to make a present of penance. Easy will be everything else, but difficult will be the safeguarding of a trust. (10} Padm. Sir, having first proclaimed ‘Who14 SVAPNAVASAVADATTA RTH —agewae wreniaieag | 3i—t stag afsarten ct aware | Ay stag wdantea acarai 1 aqai—ft stag az 1 AR stag aE aegata:—aata, aa) (sae4) ai, argqdaTa- wad afta: vftaeaaaagzar | Fie agéasa savas | Tw, FT aqaaraaty | qaae—(seaad ) er aE | car asst AeTATAT | (aaa) at af: 1 oat aearfa aeguem | qaraai— arg we | safer eet agar | wants and which,’ it is not meet for us to discuss jit now. So sir, do what he says. Chamberlain. These words are worthy of your ladyship. Maid. Long live the princess who thus keeps ker word, Hermitess. Long live the auspicious girl. Chamberlain. Madam, I shall do so, (Going near) Sir, the protection of your y has been agreed to by her ladyship. Yang. Iam highly obliged to her ladyship. Dear, approach the lady. Vas. (Within) What to do? Unfortunate that T am, I shall go.ACT THE FIRST 15 wag Wag | arated agar 1 aaat—ar std & ometi, zat fe cerarfterfa waft | 7 deren aata:, grate wazieete adarhr | ya—asze wea wns | ae fa aygayefa Year | =e ama watt | amrarguagata agate 1 aA! —(smaad) ea ai:, edward are | aat afeafa: ae aad, ar oitvafa: aa: afiee arfaf aaaadiq¢aaaLs serra are; usgal Aearaend afaeaft | Gaz, a Toad aaaHieht aA zor afara a: sat after | Padm. Let it he, let it | ao, «She has now become my own. Hermitess. Such is her personality. I should “think she is also a princess. Maid. Madam says aright. I too imagine he has had better days. Yaug. (To himself) Tiunph! Half the burden is over, {t has happened exactly as was decided upon in the company of ministers, Later when \ bring back the lady to the king as soon as he is re-established, the esteemed princess of Magadha will serve to inspire confidence. Becausc— that16 SVAPNAV ASAVADATTA aamang gateela & Rea ageata qeata a: qatar i 22 tl (aa: sfaafe aaa 1) SARI ssaaeies ) frat aera: | sealer afta var | wa ahaa wea arate | Csieaer) wag, =Bq | atraantiaaa afsasay | aarie— Raed ahorraterarRaT eaTAT Aa qa: eres: aagiaz: at zaiaat: ufag algeria WaewqwaeTaTTaT feat farts array gat fe TATA | 28 ~~ Padmavati is to become the crowned queen of our king. And this has been done out of faith in those by whom the calamity was first prophesied which has come to pass. Fate never transgresses the considered pronouncements of seers. (ib (Euter a Bachelor) Bachelor. (Looking above) Tt is mid-day. I am very much tired. Where shall I take rest ? (Walk. ing about) I see. This must be a sacred grove all round. Accordingly— The deer roam about in confidence, fearless and feeling sure of their ground. The trees are all tended with compassion, abounding as they do in branches laden with flowers and fruits. Riches in the form of tawny kine are found in plenty.ACT THE FIRST 17 maaan | (ser) wer aeraaee: are Wa: | (ead aaa) waar aTeasTArsera i Pagie- Bato | are Bisa: | BEWNI—at Bt waa wart) aaa AAAI ATA | aaaaa—é | Wadi—wa waaay ufterfe aca) wig, artarscatt gq zona | saat gerd otra | wag, qaitnedta: aa SET The sites are lacking in cultivated fields Doubtless this is a sacred grove where smoke issues forth from many a spot. (12) I shall just enter. (Walking in) Eh! Uncommon are these folks to a hermitage, (Looking in another direction) But there are sages also here, There can be no objection to my going in. Eh! Womenfolk ! Chamberlain. Freely, freely come in, sir. The sites of hermitage are common to all. Vas. Humph, Padm. Oh! The lady shuns the sight of male strangers. Be it so. My ward is to be looked after with care, 218 SVAPNAVASAVADATTA weqea:—ar, ga sae a1 sfrgearafafa ARTE | ; wean — (ares) wag wag i Raasiteaisite | TAIT: —AL, FI aE, w aed, HrVEra- are? FAA ai:, sara | UsTTETisia | afafravors RAYA SATs aa TTTATTATATAL Teaaea —( areas) eT Brarret oa | wraroveta- feat got odie ret A area | (areata) et eras ata | aaa gatdea ga Waa: | Chamberlain. Sir, we have come in first. Please accept the cordiality due to a guest. Bachelor. (Sipping water) Let it be, let it be. I am relieved of my fatigue. Yaug. Sir, wherefrom do you come? Where are you bound, and where is your abode ? Bachelor. Eh! Listen. 1 am coming from Rajagrha. There is the village Lavanaka in the Vatsa Lana. I had dwelt there for improving my Vedic education. Vas. (To herself) Ha Lavanaka! By the mention of Lavanaka, my torment is renewed, as it were.ACT THE FIRST 19 area: —as aiearar fra? saAi—a ay wag | Faraway: —aaaatear fren, Peart 2 waawi—aa aeateret saad aay | aaa: — arte 2 FAA —aazaay ara usr sfaaafa | TIT: — THe aaquargzaa: | fe a: ? aaat—aaaaraga araaga am wai ecafy- way fee 1 AA GIT —asasay | aaa: | Yauy. ave you finished your education ? Bachelor. No, not yet, Yaug. If the course is unfinished, why have you come away ¢ Bachelor. A serious calamity has happened there. Yau. What like ? Bachelor. There the king Udayana lives, Yaug. We have heard of the esteemed Uda- yana, What of him? Bachelor. $e was very much attached, it is well-known, to his wife Vasuvadatta, daughter of the king of Avanti. Yaug. Must be so. And then?20 SVAPNAVASAVADATTA TANI —Tate aafard owe maga a war | qa — (sant) atest aft g od 1 strain AFT | (anata) adteasite aetag | sitar aeqar 1 aeRO —atTa: | WAIN aaeIaE ATTA ATT Ata aeaasarat fata: | Qaqequag:—aa cia sf? area: | WPA —aa: slag us agared gear aaata- aarraramaraa ToT TawHasaratear wat ata 1 Bachelor. Then when the king was out ahunting, she was burnt by a conflagration in the village. Vas. (Toherself) False, false. 1 am alive, my unfortunate self. Yaug. And then? Bachelor. Then in attempting to_redeem her, the minister Yaugandharayana too fell into the same fire. Yaug. Truly fallen? And then? Bachelor. Then on hearing the news on. return, the king afflicted by their separationACT THE FIRST 21 area —(arand) sone soni saga AR aT ATT | (aad) sre aravarigae aft agate | FETT ATT: THIN wae: wrayer aco atearsa Ua WegITa: | aq—et! qa — (waa) BHAT TNT oreasearerTy az | (and) want gadtardatrearanit wag | Bai ubaie, Tee | et ear | agate, Oa aararat desired to give up his life in that very fire, but was prevented by his ministers with great difficulty. Vas. (To herself) 1 know, I know my lord’s ion for me. Yaug: And then? Bachelor. Then clasping the remnants of the ‘burnt ornaments wory by her, the king fell into a swoon. All. Alas! Vas. (To herself) Let the venerable Yaugan- wdharayana feel pleased. Maid. Princess, here the lady weeps. gomp22 SVAPNAVASAVADATTA qaradi—anmgeiae dest | argataa: wfaacray aaa: —waiseise | seer agate after 1 aaa: WAI —aAa: wa: ga: aise: AT: | qaraat—fgen axe | ae Tet Fa after gui ae H feerst | fren frat até aa gfe wear oars H ez7H PTE IAI— acters aaa — aa: a TTT néiro atten ign eaetes aeaiens a araaza ! er orafeacrargia ! er fia! ar Greater! gf feaft ag sefraara | fH agAT, Padm. She must have been moved by pity. Yaug. Yes, y merciful. And then? Bachelor. Vhen gradually he regained his senses. Padm, Fortunately he is alive. On hearing that he swooned, my heart became vacant. Yaug. And then? Bachelor. Then the king with his body gray with dust by rolling on the ground rose up all of @ sudden and bewailed aloud in a hundred ways, crying out—‘Ah Vasavadatta! Ah daughter of the king of Avanti! Ah beloved! Ah my dear pupil!” Why say more? By nature, my sister isACT THE FIRST 23 Mari TeaaTare Faraey hikaigenr: | oar at at at car ahr wat waeery at fe arareaaray ee TER G— sr we, ag Wada a shee qaaraaa: | FAANI—aes awa! sé TaAaiRANat qaaarafaa i a fe, WARN Teas TATVigqaaaTea: ait deat aritanga ota | The Cakravaka birds cannot now compare with him, nor others separated from their distin- guished ladies. Fortunate is that lady whom the lord holds in such high esteem. Though burnt, she remains unburnt through the affection of her ‘Jord, : (13) Yaug. Then sir, none of his ministers takes steps to keep him firm? Bachelor. There is the minister named Ru- manvan_who tries hard to cheer him up. Alike in denying himself meals, with face emaciated_by profuse weeping and bearing an embellishment of body that betokens a misery equal to that of the king, he attends day and24 SVAPNAVASAVADATTA fear ar wat ar oRaea aaa TT MONTY ATTA TMS TAAITA! 28 | aaaaai—(eand) Ror gaa eof azarsa | (aaa) fea git gartariga: | Tara: — wirand) wer aeRITasEhA waa | ST, aa Ga A: TAHAT TA afeq aaa f& avardtat aubra: i eh Ut (sat) ta a Waaenftea sari a tar? AWA alee a aa | ze a ae efay, ze night on the king with ceaseless efforts. Tf all of a sudden the king gives up his life, he too is no more, (14) Vas. (To herself) Fortunately, my lord is now under proper care. Yaug. (To himself) Oh! How heavy a burden does Rumanvan bear? For— i To my burden there will be relief, but his burden is perpetual]; for everything lies in him on whom depends (the safety of) the king. (15) (Aloud) Then sir, now the king has regained his stability ? Bachelor. I don’t know it now. He was wailing thus—‘ Here I laughed with her. Here IACT THE FIRST 25 awa ae ataq, se amae wifwaq, ge ar ae aftaq, gq aa ae afta, ead ¢ fret TaMAAaAE TAT TNE aE TATA aay qftat eared use siftaaeaaegina ats wofla: daa: @ ara:|1 aarseare faaarster 1 agedt —ar g araedt oma cen, at orereqaor FF. faa aoa qaetarle | BAG QUA ATH TT, 7 BRETT aTET! aqai—aeate Poopg au sferen ata set afAETTE | ays, fe gq aeaqe et aea cat afer | qaadi — (aad) aa fasten asa ag afeaz | (aang) wa eave ae aay chatted with her. Here I spent the day with her. Here I grew wild with her. Here I slept with her.’ And the ministers took him out of the village with great difficulty. Then when the king had ‘gone out, the village ceased to be attractive like the sky deserted by the stars and the Moon., So I too came out. : Hermitess. (Meritorious indeed is that king who is thus extolled even by a new acquaintance. Maid. Princess, will any other lady win his love (lit. get into his hands)? Padm. (Within) The idea has struck her as well as my mind.26 SVAPNAVASAVADATTA waa asa warat | aesATAT | s—aeaaatees | WAT — TART | (farsmrea: 1) Aaa: —arg, aeaft qaaaaragarat aegia- sorte | aS yR ae! —aasaragandt agate fe | qaradt «azar agitrer oro Arar vaftattare | atrer wfifrattin frieaftser® 1 Aiea —agaatanda aeeessata 1 (ag BATABIT) WESAMTT | Bachelor. Good-bye to you both, We shall go Both. Go your way. Godspeed. Bachelor. As you please, ( Exit) Yauy. Well, I too wish to go with the leave’ of her ladyship. Chamberlain. Madam, he wants to take leave of you and go. . Padm, Sir, your sister will feel anxious with- out you. Yaug. Having come into good hands, she wiil not feel the anxiety. (Looking at the Chamberlain We shall go.ACT THE FIRST 27 BPyRI— As WI gassars AeA — AIG | ( faemiea: 1) RWW: aay grasa ET qaadl —aee, ara | ari, ae avatar, aa afta wart wae 1 wa, aq aeat wale wer | aaa — ae, Teena sa Ae ant, aE arazey) agai — 97 & agit wat aaa aaa war aaTATsy | qaqa —ageetziat | agar a_view to meeting Chamberlain. Go, sir, wit again. Yaug. As you say, (Exit) Chamberlain. It is time to get in. Padm. Madam, I'salute you. Hermitess. Girl, may you obtain a husband suited to you. Vas. Madam, [ salute you. Hermitess. May you also ere long get bach your husband. Vas. Iam blest.28 SVAPNAVASAVADATTA weyers! agra | ga gat wale | safe fe, MM Wala: assarne glaswa: advise strata qt gary | aitast quatatty a aaah aq cae wala aaeaBaTT 1 ke it (faemizar Fa 1) SAATSE: | Sor Chamberlain. Come, madam, here, here, For now, Birds have come back to their homes. Sages have immersed in water (for their bath), The fire shines ablaze, The smoke sojourns the forest of the sages. Fallen far low, the Sun too with con- tracted rays, drawing back his chariot, alights slowly on the top of the Sunset mountain, *6) (Exeunt Omnes) End of the First Act.u fadtiise: ul (aa: sfaarie 3241) aai—saiic, gata, a we vera aearadr 7 ] wort, car ubeiter awedmaaosatee ead aegry aha? aa warlist saa- cane | (afteenadiaa) eat got aero safe Tong san HaraasaaeagaT afteaea- TaosracT Hen Hee sewed Sey asy aT armas | sat sataftqed | SMW, Hales, a a wdariear qaradt? fm wort, aa adania araioaaveqa geld: argha Stedifer? qaq udeniegwadiae 1 (dteeqadaer) wait gt wignier seeaigeaa sarees ACT THE SECOND (Eater a Servant-maid) Maid. Kuiijarika, Kufijarika, where, where is Princess Padmavati? What do you say” ‘Here the Princess plays with a ball by the side of the jasmine-bower?* Then JT shall approach: the princess, (Walking about and seeing! Oh! Here comes the princess playing with a ball, withSVAPNAVASAVADATTA wiarrenizedtta gaa agea srecdia canealt 1 araereaeae { (faessrar 1) Ta: (aa: sheer eegea sbresdt cad atitar araagaar az 1) STRATA — eat, Ca SHG | eer, wT A agA qaradi— ses, wig afi caret | ari, waftaeritaaraas Waa — ai, HAE sega ateser iserasg- qe Wate fer Fz eat Agar | a ext gods ear-rings tied up and face bespangled with drop: of sweat due to exercise, and lovely throug] exhaustion, ] shall just draw near her. (Exit) INTERLUDE. (Enter Padmavati playing with a ball, accom nvanied by retinue, along with Vasavadatta) Vasavadatta. Friend, here is your ball. Padmavati. Madam, we will stop here. Vas. Friend. you have played so long at thi bail and your hands have reddened so excessively that they seem to belong to another,ACT THE SECOND 31 adi— ting Vag wa algerie | freadig aa AS POOTATATATAT HTT | sreg Mteg araz wdaritar | Petetat araqa seara- HoT: BIT: qTaradt—-ae%, & aie a trees freer forsee | art, fikaet aravetegfra Rear | aaaga— ew aa, afer ot ae 1 ama far = ast awe Frane | af af@1 gat, afiena awit) afi ga asa aged ren t aaradi—aare | ar zit a street | ware | Ferdi araaza t TaAAEM—- wake gin wearaaTag | agit quiet wacraaary: | Maid. Play on. prince play on, Make the snost of this happy age of maidenhood, Padm.” Madam, why do you gaze at me as if to make fun? Vas. No, no, friend, you are unusually charm- ing to-day. 1 fancy I now see your lover's face ell round, Padm. Get away. Don't mock at me. Vas. You, would-be daughter-in-law of Maha. yena, I keep quict.32 SVAPNAVASAVADATTA ee . qaradi—ar eal aera ora) era aera TA qaaea — ae sseefietr cre gsial oa | ter aethtamtege oraéat weraot Ar sega ust sitdt aay wa aeateandst maraa aera aft 1 Qei— aeriten aor war aE aaed T=ahe | wdariter da ua ag ward azal® | aqaaaa—ae an gy ait afiaats | ay da aheaariiateda | qA—ate asacretr sererotr oar | azar aonfir aie- after afaaaty | a eas Seat AT | AT Toy waar | qMAGa — (aeand) east wat afiwals 1 (saat) For Beara 2 Padm. Who is this Mahasena? Vas. There isthe king of Ujjain, Pradyota by name. He acquired the name ‘ Mahdasena* (Big-armied) through the magnitude of his army. Maid. The princess does not relish an alliance with that king. Vas. Then with whom does she ? Maid. There is the king of Vatsas, Udayana by name. The princess is enamoured of his virtues.ACT THE SECOND 33 ( sam ) aiga wdiafaealt 1 (saat) Ba arte? qat— aparar fa) arama zi qaqeaI—( aieaad) aot tof | oret & sir one seariear | ( stramd ) rant craft serata wat wagearfer: | 3aj— akate, af at wen fawat waz | wages, ate a aon ed waa: araaeat— fe of 1 after asa | ale ate. zatira way qaradt -- et, ee ga sof) ae, ed a orn TWaITA — (area) eras azar ay- ara | te arte wives | aig, Et (sat) aw, ast Tae ToT Hatz | (ale) arigaqaTaaara: aya: | flare afeoniat wag, tea (sat) Fat, Tage ad AeA Vas. (To herself) She wants my lord for her husband. (Aloud) For what reason? Maid. He is so merciful, Vas. (To herself) \ know. 1 know, — This person too was likewise driven iad, Maid. Princess, suppose that king is ugly. Vas. No, no, he is handsome, Padm. Madam, how do you know? Vas. (Within) I have exceeded my bounds out of predilection for my lord. What shall I do now? 334 SVAPNAVASAVADATTA ~ ooo qaradi—are | mg wal saedignsel | asac- aoa gy ara oe | pra t aaety caldigda: adaaadifnd aq ‘Siremeg are (aa: siete arett 1) aat-—ag aerten 1 azarita, Roos 1 wag wearer | adanits, gan qaaga — ae, wet 2 al, wer? quit azsrera sz | amerazaart aaaga— Ae SAAT aT Te | wa Gast a war MA — Fast AT srerzt | aca aBarterr ass ot | BUN FATA: | TE agzrtan adie a qaagat—aaes! wenitay! so say the people of Ujjain, Padm. Quite likely. He is not rare in Ujjain. In fact loveliness attracts the minds of all persons, (Enter a Nurse) Nurse. Victory to the princess. Princess, you have been given, Vas. To whom, madam? Nurse. To Udayana, the king of Vatsas. Vas. Is that king keeping well? Nurse. He is well, and he has come here. And the princess has been betrothed to him. Vas. Iniquity !ACT THE SECOND 35 qeat—e cer raed? ferarenizaay? qlo—o ¢ Pea) ae ora aeataer sare ers FA a ay PP | war ara aacatzretat arate qat—a4, aeracseonitt gaara we gaareaeriir atta i amt, anamaaf qeareiaeaanth merged wate | Waa —aey, wet usa Io afer? wt, wqaraa aa ata? qos of 1 xoneqetrertin ge arerzeer afrstoy- PswTaseEst Was ast ay garam foo | afe afe 1 aeauaiaaaemaafaanaaraatedt gr waaHaA BETA TAT | AAA — (are) TS | HATS slit ce azasay | (areas) ma wag gaiaariga: | Nurse. What is the iniquity here ? Vas. Nothing, but that afterso much feeling grieved, he should become indifferent. Nurse: Madam, the hearts of great men are guided chiefly by the sacred precepts and get re- conciled with ease. Vas. Madam, did he apply for her hand himself? Nurse. Nay, nay. When he had been here on some other purpose. she was given by the great king of his own accord on seeing his parentage, culture and age,36 SVAPNAVASAVADATTA ( sfazaraer ) qai—aag aaig Ta eer) aa a fees ahi sad | AA UT Bgrage sest fr erarcr afgofr worries 1 avat avat wagal aa fee attra aera) sere Hqeage adores alsa aot qa — (ara) we Te gate, aE TE Bed aus F fests | (aad) gar war ata, war eee Heat | aei—eg eg afaifter |) | wag wigriar (fasereat: aa 1) teaarsgy: + Vas. (Toherself) Isit so? Then my lord is not to blame. (Enter another Maid) Maid. Hurry, hurry, madam. To-day itself the stars are propitious. Our queen says the auspi- cious function of tying the nuptial-knot is to be done this very day. Vas. (To herself) The more she makes haste, the more does she enshroud my heart in gloom. Nurse. Come, princess, come. (Exeunt Omnes) End of the Second Act,gdaiss: uu (aa: siaaala fafaeaaeat araazar t) qa Aaesage aera oftarer agar cq seria vara | ara ait arerd- afegd ga fama 1 (afeaes) et orafee 1 sara a oa WES agar) ara sarah | (3947) FET | AHA, A aootoTaear oT dae) 1 gad von gftaai) aaset Gea fe ofsor wore Sant weeATet | aredizdes aegaqgae tas varadhier- nara wazaty | safari aiafagd get At gay) (aie) act aaftagq 1 aigatsft aa ACT THE THIRD (Enter Vasavadatta musing) Vasavadatta. I have come away here to the park, having left Padmavati in the quadrangle of the harem, full of glee on the occasion of wedlock. I shall just relieve myself of the misery fallen to my lot. ( Walking about) What a calamity ! Even my lord has come to belong to another. I shall sit38 SVAPNAVASAVADATTA aRaeay:, aedieafariear a rafe 1 a aead soy qkasa | aga weamtata war crave ars nT 1 (aa: sive qearitt aatear aat 1) Sei — HE Y | aa Arar atraeaaAr | viewraadia) ara gt Feagsataen temnteraeqwer et wafsquest Fa arTeted Progra zalagt | ara saarcane® | (sta) wy, araftan, aT arial, GH aorarfer | & 7 ag Ta aaiatas | ( citaeaarsza) oat eT Rraeseqa dieqateaaredaiateaags Aq ae art fragfreraze sqlaer 1 aragvaaiit 1 (sta) art, svat, a: ate;, atabacrna 1 down. (Sitting) Happy is the she-Cakravaka; sepa- rated from her mate, she ceases to live, Whereas unfortunate that I am, I do not give up my life, but live in the hope of meeting my lord. (Enter a Maid, taking flowers) Maid. Where has the venerable Avantika gone? (Walking about and seeing) With a careworn and vacant heart and with an undecked but lovely form, like the digit of the Moon obscured by fog. ghe is seated on the slab at the foot of the rni- yangu tree. I shall just approach her. (Going near) Madam, Avantika, how long am I searching for you?ACT THE THIRD 39 araaea—feintes ? ehh? q—aarst ube wonft—aagecrge fafirer freon fat | za ara aigararsst Were Aza | vane wed uoft—aerpenqa fav gate 1 gat aaq aiganfmat qeqarat ? WaITA—ae ea fea afaaed ? aa ga feo after 3ei—ranst aBarftere | wend wearer 1 qWaIea ——(arana) og fe am ease Ah | wet AHEM | TAT | (arid) mee wen aaeravia | axel sere: MT: | qdi—ert, ar art asst Paras) ear orange Ronde gray | fav za qag azar | avi, dartacafaeafiear | my srarat Cen eT aid arag gear, Sowetusner Vas. Why? Maid: Our queen tells you thus—‘ You are noble-born, affectionate and skilful. Please string this festive garland.’ Vas. For whose sake is it to be tied? Maid. For our princess. Vas. (Within) This too has to be done by me. Indeed merciless are the gods. Maid. Madam, don’t be thinking of anything40 SVAPNAVASAVADATTA Tae — (anand) oo aegTT soot farag 1 (wart) eat, ( Peg aIETgaTt ? (aang) a vatereafeeatga | (sxe) eat, & eet arama ? . a2, Part ay 2 of Ai—ama, Ag vtaae Maen wart FiGE- wn st | ara, wat adaniara: arararg Bqyeea a arqaeat—aiieat araigatt 2 atesit aaa ? x A—aea, aor ara, 0 stat Aegaat | avg, aorfs ava, Feat cegas aaa —eat, woe aoe, zavtratt 2 ear, wa am, f alata? > ons AA ane qh ae wis acaraiot wrazal Fa else, The son-in-law is here bathing in the jewel- Jed room. Please tic it soon. Vas. (Toherself) 1 am not able to think of anything else, (Alowt) Friend, did you sec the son-in-law ? Maid. Yes, He was seen by reason of our love for the princess and our own curiosity. Vas. How is the bridegroom ? Maid, Madam, I do say, the like of him was never seen before. Vas. Friend, do tell, is he handsome ?ACT THE THIRD aay aig acargeta: erase ste TWaAGaI—elg Gast | wactoaas el— fairest ae 2 Ra areata? Wed —agi wyeaahaw ae | aah Tegel arTH | qatar Taz aay fart jaa fe yewarat afer qaaga — sat Dans) sore za; go Teens | rae area t adl—aag Ma | yaRrarat aaa (457 (asta aei—aaearert oa) atraaresoi are | sd ra sree Gh ona mapa th ana? fart ) re Maid. It can be said, he is the god of love without his bow and arrow. Vas. This will do. Maid. | Why do you stop me? Vas. It is improper to listen to a talk about a male who is a stranger. Maid. Then, madam, string the garland soon, TI shall string it at once, Bring it. Take this, madam. (Emptying out the flowers and seeing) s this bunch of herbs? Maid. This is one that prevents widowhood.42 SVAPNAVASAVADATTA area —(areand) ed ager aferred wa ot czar wale 1 (sari) su ara otrad fH ora? (aaa) a agait wemast aw a Varrer | (set) we araaryd fH ara? x ~~ a + - ans qdt—aatraet ora) aadtazt aa aaaga— ss 1 afazsy | gt a afer) aat— aia? sara? . WAIT a —saza sea we, Ft feregstisnt fr | Sa ser wat, afar | (afaearar ) algae gaz ae) cat oraraetr afaaarte sua sas Tass | vata aararat | mg sian separates waa | Vas. (To herself) This must be tied by all means, both for myself and for Padmavati, (Aloud) What then is this other bunch ? : Maid. This is one that destroys a co-wife. Vas. This need not be strung. Maid. Why? Vas. His wife is dead. Hence it is needless. (Entering) Another maid. Make haste, make haste, madam. Here the son-in-law is taken into the inner quadrangle by femmes covertes.ACT THE THIRD 43 WaAITAI—aAg, TNH, TE es | aft, aan, qeToa | qal— aes | oer, asaifit ara ae | Way | A, Weave araze (sa faemiet 1) Aaa — TT car) wet aaNet | aera oe qacst agar 1 afiar aca aa zee Frorete, aie fore aarti Taq | wet wemfeaay against ara qeairr: Asa: | baa aeat an tia arate, afz fagt wa ( facserear 1) awatats¥: | Vas. Ay, here it is, take it. Maid. Good, madam, I shall go ( Lxeunt Both) Vas. She has gone. What a catastrophe! Even my lord has become another's! Alas! I shall forget my misery on the bed if I get sleep ( Evit ) End of the Third Act.il qaaisE: 0 (aa: sfrate fees: 1) Aare — (seh) at! ger ads) | aeoursret ataqaaaragzraina srt fer 1 ar! ar ma et aot ata at aoabsaraa afar so seafaearat fr 1 zarfit wary adl- aft, aeteitfivay seats, iafrascgearanttt | arses asthe fa aoe sac BRA aq ayadiaty | wer g wera Ta, wa arent gg oo afioat 1 gesszore azare fore a matt, we arent orfrat fer aes weant | ar! gé orraratyd saasad 7 | (a@%) at! fea aawadl anrentigtareange- qaolia: ere ge: at: | at anasarfa— are saad ACT THE FOURTH ( Enter Vidtsaka ) Vidasaka. (Joyfully) Eh! Fortunately have I seen the happy occasion of the pleasant auspi- cious wedlock of the esteemed Vatsaraja. Oh!ACT THE FOURTH afeored after: greagena gf 1 gait meres. wage ama, satageg¢anni dtaerns Tare gerrediag Teed aagyay ioe: AG Reng Wa: waTER: qya ata, gasqaat azrt fagi a oH, aa aaatirrafra ga ada gf qeaia vit: ! ga amapfitiqansersd 3) (aa: afar ae 1) aai—ae gy gy net weagarael | (siewenadies) wat way searqaeasit | (zie) aa, qaeaor! Hl BTS, GA arene ea gag aa avtaaras: 1 ( vieeraraaay ) adt og araqaeas: | (S714 ) ary aaah, F: HIs:, cavaleaeais | Whoever knew that having fallen ina whirlpool of misery of that sort, we would rise up again. Now I put up in palaces, bathe in the fountains of the harem, I eat edibles, sweet and dainty. In short I enjoy the bliss of life in heaven, but with- out the company of celestial damsels, There is only one grave defect. My food docs not easily get digested. I don’t get sleep on bed well pro- vided with carpet. | feel as if attacked all over by rheumatism. Eh! No happiness when one is affected by disease and not free to feed as he likes. (Enter a Maid-servant) Maid. Where has the venerable Vasantaka gone? (Walking about and seewng) Halloh! Here is the revered Vasantaka46 SVAPNAVASAVADATTA Rare: —( eg) ihe we, a socteia | (gr) Refer az, araearcrt | qA—aanst afsoht wonfe—arhs great srarzett Fa ware wet worft—afe erat ararahe' frais aie, gai fairs watt, galt 1 Sei —Peaoot | gamraomet ororfis fa 1 Reaerq | gadiahegrranaits | grant aaa | aes orcs argh ahStet VstT | eR | aaa wadt aafyear vista | qe — Sint atts aero | fof anata tay aw HA Bea aiaatazg eT aracicagt agai | (Drawing near) Sir, Vasantaka, how long am 1 to search for you? Vid. (Seeing) What for are you searching for me, virtuous girl? : Maid. Our mistress asks if the son-i has taken his bath. ~~ Vid. Madain, why does she ask? Maid. What else? She wants to bring “flowers and unguents? Vid. His Highness has had his bath. Let the lady bring everything except food. . Maid. Why do you prohibit food?ACT THE FOURTH Av arte wa dfkerratratad za aitrafat aga: ai sizal wa aie dear wa fasas—arez adi sa ad Pr aad) werd ast | mag wadt | mazealy aaaaa: apa TTaTH | (famed 1) Taare: | (at saad arkar waadt malrazarantot aaa a1) Bei Peiied alenten wazag srera 2 aaa wgentar sazzaamat ? qaadt—am, ait ca aera Tare egret aro at i Vid. Unfortunate that Iam, my stomach has révolved like the eyes of cuckoos, Maid. May you be ever hke that. Vid. Go, madam, I shall also go to meet His Highness. (Ereunt) INTERLUDE. (Enter Padmayati datta ¢ Maid. What has brought the princess to the garden? th retinue and Vasava~ the guise of Avantika)48 SVAPNAVASAVADATTA eat, t waa aaisargede: wane paian ata aft Fei — aka. afr saan oe, varseaiese faa aifasreraeée azait agar + eae a gain aa, ware atin antennas: | auredt_—err, aft usa, fe aftr arate 2 zal, waa, award fewer? q—an fe cata are aguet ziaag utlz- anten | wa aé & sguraaet sxhr 1 aa afaa Rrenazk geteaahag wdenita 1 ara- qeaty Sqarras safe | qaadi—sr4, fe oer saftarar . ar, Rashard: 1 Waa —wes ag 1 wa wag (3H safaaa: 1) Padmavatt. Girl, 1 wish to see if those bushes of lily plants have put forth flowers or not. Maid. Princess, certainly they have put forth blossom. They are thickly covered with_ flowers" appearing /like pearl-pendants, int coral. . Padm. Girl, if so, why do you delay ? Maid. Then princess, please sit on this slal for a while. I shall gather the flowers, Padm. Madam, ‘shall we sit here? Vas. Be it so. (Both sit down) spersed* withACT THE FOURTH Ag 3A—( ca war) Geez Gag aftaiften srgaorfira- azefé fer defmoragae qitt ¥ aas | (sar Bar) wag weg Udaite andaafrerhs Rofemage: Tid Asafa qaadt—(eg) war esa egal! Geag Fae Bz | (gr) wa Afra sqaeny! cer gears | qlaaaa— wer zeaciisrar Hgarot ! wet waiter Eqarara ! qdi— arate, te ya vasyed | AGM, Pe aitsa scale 1 qaradi—ear, ar ar yar orazrirer wal, a aT Il qraagai—ear, feithrd area ¢ wor, fifa anata? Maid. (Doing so) Princess, behold, behold my united palms filled with Sephalika flowers. half-red like pieces of red arsenic ores. Padm. ( Observing) Oh! What a variety of hues have the flowers! See, see, madam. Vas. Ob! How beautiful are the flowers! Maid. Princess, shall I gather more flowers ? Padm. No, friend, don’t pluck flowers any more. Vas. Friend, why do you prevent it ? 450 SVAPNAVASAVADATTA qaadi—aeast ze orentar at squalate Sfeast aarfingr wet | aiga gemaai eqaaste to aaftar waa | araagar— ent, Rah Swen ra Bit el? qaradi—area, 1 oroftt | erator ceazr saltoe era 1 amd, a arama | artgao facBateafisar wait 1 qaaqat—(aand) tat | ag st) gt ora wot arate ( srerrd) gent aead BeA 1 qazafy ats weaT 1 adi—airné g afatene atai—frent F waht afin ay adaten aPad—fet & wate 1 qaadi—oa goa dae: | ows: ag Fae Padm. Ishould like to be favoured by my Jord with a look at this wealth of flowers when he goes here. : Vas. Friend, your husband is so dear to you? Padm. Madam,I don’t know that. But in the absence of my lord, I feel wretched. Vas. (To herself) Indeed I do an impossible thing. Even she thinks like this, Maid. Ina dignified way the princess has stated ‘My lord is dear to me,’ Padm, But I have one doubt.ACT THE FOURTH 51 araacai—ie fi? Re fi? qaladiI—ae AA seas, ae seq eam aTagz- ATG TA | aa aaMgaaaraian araazarar ER araagaI—arat f reat qaadt — %e gat aromas 2 Waa — (saad) é€, aearsageaars oizeret ASA | cot ara wfoed | (seat) AE sTegy fatal, at asot oo afaraiz | (sratd) ea, aagararrdaerest: aqara: | TT araginerie | (amet) raed: Ges, a saat a ofaale | qaradt— etst | wAracaq) aai—abaiee, are age ane — ere fe Fret fafraeanata | Vas, What is it? Padm. Whether my lord was so loving to- wards the revered Vasavadatta as towards me, Vas. Still more. Padm, How do you know? Vas. (Within) Humph! | have transgressed my bounds in my partiality for my lord. I shall say like this. (Aloud) If the affection was poor, she would not have left her kinsmen, Padm. Must be so.52 SVAPNAVASAVADATTA adam, arg walt wn — afrort Parte t qaradi—sat ae eas | set wariga: | aaa —aal fe aire 2 aa: & aloe? qaradi—eritta is feet freather agiett agai | aafireat ifae ate fewer qoute: aaa: araaaa—aat ot fe fror cafe 2 aed ira atafe ? qaadi—aaet ere araazae ai gutter afraongre wa sraray ot oiaie FI aderearatar arerarara gory eye error AAT wat a fede 1 ben respeg peux. aaa —( area) we g fe, we ost as aa: (araad ) ara aeata, aad at wate Maid. Princess, do tell your lord—‘T shall also learn lute under you.’ Padm. [have told him. Vas. Then what did he say ? . Padm.’ Without speaking: anything, he heaved a sigh and became mute. Vas. From that what do you imagine? Padm. I imagine that recalling the qualities of revered Vasavadatta, he didn’t weep in my presence out of courtesy. Vas. (To herself) Fortunate I am, if this be true.ACT THE FOURTH 53 (aa: sfaerit ust frgemer 1) fee—e a! sorntsaghaggaawarea- first qazaot say qa wa | at ft! aPagtaagsiaggqaaemaaoa sazaaq | garraRzarsy | WA—aIs, Waeas, AaTAAATSsNA | ue ate % alee Gi os : arreirareeti Tt ATT ATT BASTTST Td _ at Staatansaaat cays: TAA: Teel aaa etal ays yi figeet | L Y aaagieat agi gi gat a: fe: afta: rt qr: — steag Tat adel agaradi, waavSs mat aa, zal mamggaerat ITT OST (Enter the King and Vidisaka) Vidasaka. Ha! Ha! The park is fascinating through a thin Jayer of Bandhujiva flowers thickly grown and sparsely fallen. Here, please. King. Comrade Vasantaka, lo, here I am coming. Then when | got to Ujjain and came by a peculiar plight on meeting the daughter of the king of Avanti in confidence, Cupid shot at me all his five arrows, And my heart is still smart- ing with the pangs inflicted by them. And again J am shot at. If Cupid has only five arrows, how came the sixth arrow to be discharged ? qa)54 SVAPNAVASAVADATTA fear qeqehtaet ora Raraget ver a, ag afa- wagers Wag wa, wer oileata- aafeadas qeisazet ag wa | (selaadied ) & & awards acatea vaizarastaag- qashist anewaea ar saned aeoa Gaz ara 4a} Fag ag aa vasa caradt, saraved aa was, saret waneguatdt eneaatayisata gases are fremeé wat waa, sera ateageraescad waer waa, wrantitaannedse geass wat wa (H4- nade) dt dt aematdssenta sataastaagea- ata anand aq aantd aesedi gag aaa Ta a7e, rears , Vid. Where is Lady | Padmavati gone? Gone to the bower? Or gone to the slab known as the Mountain-spot (Parvatatilaka) which, covered as it is with Asana flowers, appears as though wrap- ped up in a tiger’s skin? Or else, has she walked into the highly fragrant grove of Saptacchada’ trees? Or, has she gone to the wooden hillock abounding in designs of animals and birds carved thereon? (Looking above) Ha! Ha! Just look at the row of cranes, beautiful to look at like the white- tinged arm of Baladeva, marching steadily in the white sky of the autumn.ACT THE FOURTH 55 a Aces asaiaat a Rei a adtaat + * _ anitdaget a fraddg | fy araanigetrioe ~ aataareaase asta i 2 Ul qei— wag teag uate cd sranzaasrqeEr- waist areas sia aANes aveiea | ara Uz! Was wg uaa cat ateaTATATqg waa aRaugy wag aaa asaedia | wet wat! quad —é aeasar! oa, wa Hreat rzasadat afte | ar ged tar medtasaraved afarat | ay aeiga:! at, at aiouaigagad mea 1 aga arararaaioaravsd oaara: | King. Friend, I see the row of cranes now marching straight and extended and now dispers- ing, now rising up and now descending low, now curved at the turnings like the constellation of the Great Bear and appearing like the dividing line of the firmament, white like the serpent’s belly when it casts off its slough. (2) Maid. Princess, look at this line of cranes, white and charming like a wreath of white lotuses marching on steadily. Ay! Master! Padm. Hum! My lord! Madam, for your sake, 1 shall avoid the sight of my lord. We shali therefore enter this Jasmine bower.56 SVAPNAVASAVADATTA Wega —ewersy eg 1 Ww wag! (aar gaa 1) Bae: —aadie sent ze Taese Peas 7 aavadl waadienra Petar waa | Usa — HF wary wrarla 2 faysai—anit aazzegait § wansargeaait qeuag aa wa | gamafarggan trmfeanresent Laat TRAM | Usa—ael fran gua qTarae ! aaaga— (anand) aaeare earn ae go Tron saat aarfr Fr (amatd ) seen gaalaie saheai ad aft Wa—aaeas, ataaada Breas waa wife sarad | Vas. Be itso. (They do accordingly ) “id. Lady Padmavati must have come here and gone. King. How do you know? Vid. Look at these Sephalika bunches with flowers plucked out, King. What a diversity of hues in thé flower! Vasantaka, Vas. (To herself) By the mention of Vasan- taka, I feel as if I were in Ujjain.ACT THE FOURTH 57 frava:—ai, ae | (seein) & 8 acorawaeat Sel MTA | aT ga TT ATediavsa TaTaT | wear | (saavirarr ) et zt aearediect gear wat: | aaa araeargaiaved sara: t WA AeA | Tera: 5 faqqp:—oed gig) eat wag ( 341 ofraraa: 1) qaradl— aed aed eae aerqaeaelt | A afr aver? admaes adam wvraasae: | efratt gal: ? ah aBaiie, od agaist amease ater agt aera | agent, vat agarihfidinnamsanaaaga wart areaeartiy 1 King. Vasantaka, seated on this slab itself, let us await the arrival of Padmavati. Vid. Oh yes. (Sitting and rising) Oh! The sun ‘is hot and.unbearable in autumn, Let us therefore go into this Jasmine bower. King. Alright. (+o in front. Vid. Be it so, ( Both walk about ) Padm. The revered Vasantaka wishes to dis- turb everything. What shall we do now? Maid. Princess, I shall prevent the master’s entry by moving this main supporting plant swarming with bees.58 SVAPNAVASAVADATTA qaradi—esa ae) at ge (32t ae BUA 1) faqrn:—srter ater, Peg Peg ta wa | aie wae, Req Req aazary ust —faatq 2 fqra—artiagaie agente veer far qengaigse: disse 1 Usat—ar ar waraag | ageTaara: aftard: | 797, Agagael aya wears: Hraheryer: | Trea aati Raa A He 3 aa artacaaz Padm. Do so, (The Maid does so Vid. Ha! Ha! Stop, stop. King. Why? Vid. I am tortured by the slave’s sons of bees. . King. No, don’t say so. Do not cause terror to the bees, See— The bees humming swect with the intoxication of honey and embraced by their sweethearts afflicted with love will be pained at the placing of our footsteps and become separated from their dear ones like ourselves. (3) So let us be here only.ACT THE FOURTH 59 faqra:—ed tig) tag ( sagqaiaara: 1) [ast (sri) VUTIRTETTT gear ay a¢ frarayq | ta aiisigerttat at ERI AEA TAT Ne uw adi — agate, zat gq aw aa adants, war: ay wl a7 I qaradt — faiger saragt azarsat 1 Reaate artga: 1 qa A—( aad ) feieer weeds aeagd (steaad ) Pea spfieaerds aiga: 1° al\—aatre, agua g ware fer) ~ watts, arg aearatar fe: Vid. Be it so. ( Both sit down ) [King. (Seeing) The flowers are trampledgupon by feet, and this slab is warm. Certainly somo lady seated here has gone away suddenly on seeing me. (4)] Maid. Princess, truly we are confined. Padm. Fortunately my lord has sat down. Vas. (To herself) Thank God, my lord is in a sound state of body. Maid. Princess, Her Honour’s eyes are filled with tears,60 SVAPNAVASAVADATTA THAN —ear | aged wma gHagKgat- go ofezor area & fag _ may agernatand atraegaign vata atest Fe: t qaradi—-gsz 1 gets ee—ai, gi q zé sara) gheqer fre aka) quot ward | Us — ssa: | fagya:—ar wadi fren, aarfit award araazar xantt agaradi ar? a waa: Bea, ageit aaaaat anrazat arti varaat ar? Tal — rari aoaes wef ae at rata 1 Vas. These eyes a mine are “filled with water due to the Kaéa pollen falling through the mischief of bees. . Padm. Natural. Vid. Eh! This park is lonely. There is some- thing to be asked. I will ask you. King. Freely. Vid. Who is dearer to you—Lady Vasava- datta of the past or Padmavati of the present? King. Why do you now place me in a grave predicament by asking about my esteem of both?