सूत्रधारः । आर्ये । अभिरूपभूयिष्ठां परिषदियम् । अद्य खलु कालिदासयथितवस्तुना नवेनाभिज्ञानशकुन्तलाख्येन नाटकेनोपस्थातव्यमस्माभिः । तत्प्रतिपात्रमाधीयतां यत्नः । 'looking behind the scenes.' Nepathyam=vyatiriktam yavanikāntaritam varṇikā-grahaṇādi-yogyam naṭa-varga-sthānam, K.;=bhūshaṇa-sthānam rangād vahiḥ-stham, C., S. In a Hindu theatre, a curtain [apați, pata, yavanika] suspended across the stage, answered the purposes of scenes. Behind it there was the space called nepathya, where the decorations were kept, and where the actors attired themselves and remained in readiness before entering the stage; whither also they withdrew on leaving it. When an actor was to come on hurriedly, the stage-direction is paṭākshepena or apati-kshepena, with a hurried toss of the curtain.' When he was to say something whilst hidden from the audience in this space behind the curtain, the direction is nepathye, '(a voice) in the postscenium.' As to nepathya-vidhānam in the next line [=prasadhana-kriyā, S.], it may be translated, 'the act of decoration,' 'making the toilet,' or perhaps, 'the arrangements of the tiring-room.' Nepathye yad vidhiyate tan nepathyavidhānam. Kāṭavema has naipathya. Nepathyam vidhā=nepathyam rać or nepathyam kri. Compare Ratnāvalī, p. 2, 1. 16. For the most part (composed of) learned [educated] men.' The audience consisted chiefly of good judges [abhirupa = vidvas, pandita, K., Ć.] So rāshṭram sūdra-bhūyishṭham, Manu viii. 22. 2 With the new drama called "Token-Sakuntala," or "Ring-(recognized) Sakuntalā."' Abhijñāna-śakuntalā is an anomalous compound (Gram. 775); not one in which the terms are inverted, but one in which. there is uttara-pada-lopa or madhyama-pada-lopa, 'elision of the second member.' On the authority of Ćandra-sekhara, the second member to be supplied is smṛitā, 'recognized;' and abhijiāna is 'the token of recognition-the ring.' The compound will thus be equivalent to abhijnänaṣmṛitā Śakuntalā, ‘Sakuntalā recognized by the token.' So śāka-pārthiva, 'the king of the era,' is equivalent to śāka-priya-pārthiva, 'the king beloved by the era.' 3 Therefore let care be applied by each to his own part [or character],' let pains be taken by all in their several parts.' Pratipatram=pātre pātre, K. Tat=tasmat, K. So sveshu sthāneshv avahitair bhavitavyam, Vikram., Act I. नदी । " सुविहिदप्पओअदाए अज्जस्म ण किम्पि परिहाइस्सदि । सूत्रधारः । आर्ये । कथयामि ते भूतार्थम् । आ परितोषाविदुषां न साधु मन्ये प्रयोगविज्ञानम् । बलवदपि शिक्षितानामात्मन्यप्रत्ययं चेतः ॥ २ ॥ नटी ॥ सविनयम् ॥ एव्वं णेदं । अणन्तरकरणिज्जं दाव अज्जी आणबेदु । a * सुविहितप्रयोगतया आर्यस्य न किमपि परिहास्यते । अनन्तरकरणीयं तावदार्य आज्ञापयतु । b एवं न्विदम् । 1 'By reason of your honour's good assignment of the parts of the play (to the several actors ), nothing will be wanting ;' i. e. ' by reason of your skill in casting the characters, nothing is likely to go amiss in the acting;' or, ‘by reason of ( our ) good acting, nothing will be wanting to your honour;' or, ‘by reason of your honour's (skill in the) management of the play,' &c. Such are the various interpretations of Kātavema, Candrasekhara, and Sankara: the first seems preferable. So yaḥ prayogo bhavatīshu nibaddhaḥ, Vikram., Act II. [prayogam nibandh=prayogam viras]. 2 Bhūtārtham=satyam, S.;=satyārtham, K., ' the real truth,' ‘the true state of the case. ' I do not consider skill-in-the-representation-of-plays to be good [perfect] until (it cause) the satisfaction of the learned (audience); the mind of those even who are very well instructed has no confidence in itself.' Balavad=sushthu, C. A-pratyaya, 'distrustful of,' (with loc.) Verse 2. ARYA or GATHÃ, in which there are thirty Mātrās or measures (a short syllable containing one, and a long, two) in the first half-verse, and twenty-seven in the second. Each foot must contain four measures, except the sixth of the second half-verse, which contains one; and the half-verse must be divided by a pause at the end of the third foot. a सूत्रधारः । किमन्यदस्याः परिषदः श्रुतिप्रसादनतः । नदी । अध कदमं उण उर्दु अधिकरिअ गाइस्सं । सूत्रधारः । नन्विममेव तावदचिरप्रवृत्तमुपभोगक्षमं ग्रीष्मसमयमधिकृत्य गीयताम् । सम्प्रति हि सुभगसलिलावगाहाः पाटलसंसर्गसुरभिवनवाताः । प्रच्छायसुलभनिद्रा दिवसाः परिणामरमणीयाः ॥ ३ ॥ 1 śruti-prasādana-tah=sravanendriya-tarpanāt, K. Some MSS. insert sangītāt karaniyam. ± Lit. ‘having placed over, ' ' having made the prominent subject.' Hence, adhikritya=krite, ‘about,' ' concerning, ' ' with reference to, ' Pan. iv. 3, 87. So, in the next sentence : ' Assuredly let a song be sung concerning this very summer season, (so) suited to enjoyment [ upabhogakshama], that has not long set in.' As to nanu, see Pāṇ. viii. 1, 43. 3 ‹ For now (are) the days on which-there-are-grateful-bathings-in-thewater (and) on-which-silvan-breezes-are-fragrant-from-contact-with-thetrumpet-flower: (now are the days) on-which-sleep-is-easily-induced-invery-shady-spots (and) which-are-delightful-at-their-close.' Praććhāya° =prakrishṭa-échāyā yatra tat sthānam praćthāyam tasmin sulabhā nidrā yeshu te tathoktāah, K.; see p. 37, note 1 of this book. A short vowel is the substitute for the long final of a fem. noun, when compounded with such prepositions as pra, ati, &c.; thus pragrīva from grīvā; atimvāūla from mālā; see Laghu-k. 1003. Parināma = virāma = sāyankāla, 'the evening,' K. "ईसीसिचुम्विाइं भमरेहिं सुउमार केसरसिहाई । ओदंसन्ति अमाणा पमदाओ सिरीसकुसुमाई ॥ ४ ॥ सूत्रधारः । आर्ये । साधु गीतम् । अहो रागबडचित्तवृत्तिरालिखित । । इव सर्वतो रंङ्गः । तदिदानीं कतमत्प्रकरणमाश्रित्यैनमा b राधयामः । नदी । 'णं अज्जंमिस्सेहिं पढमं एव आसतं अहिमाणसउन्दलं а • ईषदोषचुम्बितानि भ्रमरैः सुकुमारकेशर शिखानि । अवतंसयन्ति दयमानाः प्रमदाः शिरीषकुसुमानि ॥ b नन्वार्यमित्रैः प्रथममेवाज्ञप्तमभिज्ञानशकुन्तलं 1 ' Loving [amorous] fair-ones make ear-rings of the Sirisha - blossoms that-are-very-gently-kissed by bees (and) the points-of-whose-filamentsare-very-delicate. According to Sankara, kesara = kinjalka, and the whole compound is a Bahuvrīhi, agreeing with sirisha-kusumāni. There is an allusion to the blossoms of the S'irisha being thus used in Meghadūta 67, ćārukcarne sirisham; and Raghu-v. xvi. 48, 61. Compare also karna-śirisha-rodhi, at the end of Act I. of this play ; and Ritu-s. ii. 18, kritāvatansaih kusumaih, &c. Avatansayanti is a nominal verb from avatansa. 2 ' On every side, the audience, having all the feelings of its soul fixed on the melody, is as if formed into a picture,' i. e. motionless or riveted with attention. Ālikhita=niśćala, K.; ranga applies to the audience as well as to the stage. Prakarana, 'a subject,' 'story,' 'poem.' 3 — By your reverence ;' ārya-misrain is here an epithet of the manager, the respectful plural being used. In Vikramorvaśī, Act I, ārya-vidagdha Verse 4. A variety of ĀRYÃ called UDGĀTHÃ or GĪTI, used in Prākṛit. It consists properly of four quarter-verses, containing eighteen measures in the fourth quarter as well as in the second (see verse 69). But in this example the line is divided irregularly. The first syllable of the second foot [ćumbia] is short by a license peculiar to Prākṛit prosody. ( See Colebrooke's Essays, new ed., vol. ii. p. 65, note.) तवास्मि गीतरागेण हारिणा प्रसभं हृतः । ॥ प्रस्तावना ॥ * नाम अपूर्व नाटकं प्रयोगेणाधिक्रियतामिति । miśrāḥ, 'respectable and intelligent persons,' occurs as an epithet of the audience. Misra, 'mixed,' in a compound of this kind has the force of ‘gentleman.' A-jñapta, ' ordered,' ‘arranged,' ' announced.' 1 Adhileriyatām=prakatī-kriyatām, K., i. e. ‘let it be made the subject of exhibition,’ ‘let it be brought prominently forward;' see p. 6, note 2, Some read prayoge; compare in Ratnāvalī, p. 2, 1. 15, nātikā prayogena nātayitavyā. 2 The rule is, that the conclusion of the prelude should prepare the audience for the entrance of one of the dramatis personæ. Hence, the manager exclaims, 'I was forcibly carried away by the ravishing melody of thy song, like king Dushyanta here by the very fleet antelope.' Prasabham, a kind of adverbial indeclinable participle from an old form sabh ( = rt. sal) with pra, and meaning 'forcibly,' 'violently ;' (see Gram, 567.) Verse 5. ŚLOKA or A NUSHTUBE, consisting of four Pādas of eight syllables. The first four syllables and the last syllable of each Pāda may be either long or short. |