Chapter 1 - Notes and Analysis of First Act

NOTES ON ABHIJNANA SAKUNTALA. The First Act. It is usual for Sanskrit poets to begin their works with a benedictory verse generally known as Mangala. The Mangala sloka at the beginning of a drama is called a Nandi. The object of Mangala is the removal of impediments that may stand in the way of the completion of the work begun. Mangala can be divided into three classes - asis, namaskriya and Asis is the invocation of a deity to confer blessings on the reader, poet or spectator, and this is invariably resorted to at the beginning of Sanskrit dramas. The Nandi sloka of Sakuntala is an example of this kind of Mangala, for it invokes Lord Siva to protect the spectators. The second kind of Mangala, Namaskriya, lies in paying homage to the Deity nearest at heart to the poet. A typical example of Namaskara-mangala is the opening verse of Kalidasa's Raghuvansa: - vagarthaviva samprktau vagarthapratipattaye | jagatah fqazi aza gadiqza11. Vastunirdesa, the third kind vande parvatiparamesvarau || . of Mangala, consists in a mere reference to some sublime object or a mention of some auspicious word or words. A typical example of this kind of Mangala is found in the opening stanza of Kalidasa's Kumarasambhava :- astyuttarasyam disi devatatma himalayo nama nagadhirajah | 1

purvaparau varinidhi vagahya sthitah prthivya iva manadandah || Here the sublime Himavan who is almost on a par with the gods is referred to. Page 1 ya srstih etc. isah vah patu May Lord Siva. protect you. That : refers to Siva is obvious from its adjectives. va: Accusative plural of yusmad refers to the spectators. patu Imperative mood, 3 rd per son singular of to protect in the sense of or Benediction. How is isah ? pratyaksabhih astabhih tabhih tanubhih prapannah He is endowed with the eight visible forms. tanu A body. Amara : - striyam murtistanustanuh astabhih Instrumental plural of here used in the feminine, being an adjective to tanubhih . Of course astan has got only plural numbers Decline :- a a astabhih astabhyah astabhyah astanam astasu . Note the alternative forms throughout :-ata asta abhih astabhyah astamyah astanam astasu . The asta forms are the same in all the three genders. prapanna = pra - pad + ta Active participle ta added to Anit roots ending in changes to 7, and the final of the root itself also changes to nu . Vide Panini : - radabhyam nisthato nah purvasya tu da: Other examples :-vid klinna, khid khinna, chid chinna, tud tunna, nud nunna, bhid bhinna, svid svinna . tabhih tanubhih By those bodies. This correlates to the seven adjectival clauses set out in the first three feet of the verse. (1) ya srastuh adya srstih The first limb consists of the first creation of the Creator viz., water. g: Genitive srastuh singular of srastr Brahman adau bhava adya . srjyata iti

ACT I-NOTES 127 srstih Vide Manu : - apa eva sasarjadau tasu bijamavasrjat (2) ya (tanuh ) vidhihutam havih vahati The second limb is constituted by the one that carries offerings made in fire according to sastras to the respective gods viz., agni Fire. (3) ya ca hotri The third limb represents the sacrificer viz., the soul. (4) ye he kalam vidhattah The two which create time viz., the Sun and the Moon. vidhattah Present tense, 3 rd person dual of a 3 rd conjugation with fa, to do or make, in the Parasmaipada. Conjugate : dadhati vattah dadhati, davasi dhatthah dhattha, dadhami dadhvah dadhmah . (5) ya sruti- visayaguna (sati ) visvam vyapya sthita srutih means the sense of hearing. sruteh visayah The sound. srutivisayah gunah yasyah sa srutivisayaguna . The special quality of akasa or ether is sound sabdagunakamakasam . Each one of the five elements has got a peculiar quality of its own visvam vyapya Pervading the universe. Unlike the other four elements Akasa is vibhu All - pervading. vyapya Indeclinable past participle of with and to pervade. Indeclinable past participles are formed of simple roots by the addition of tva ( ktva ) and of roots prefixed with Upasargas by the addition of ya ( lyap ) sthita stha + ta. stha changes to sthi before the suffix tva or ta. Panini :- dyatisyatimasthamitti kiti . ( 6 ) yam sarvabhutaprakrtiriti ( santah ) ahuh The body which wise men declare as the material cause of all beings, viz., Prthivi, the Earth. In the place of sarvabhutaprakrtih the reading adopted by the commentator_Raghavabhatta is sarvabijaprakrtih . But the reading sarvabhutaprakrtih is adopted by the commentators

prakrtih iti ahuh will have to be If iti were Katayavema, Satavadhanam Sreenivasacharya and Rama Pisharody. The epithet applied to the Earth brings out the special feature conveyed by this adjectival clause not used, the base used in the Accusative. But since the Accusative significance is conveyed by ₁, the word is used in the Nominative. So goes the maxim:-faqaara- hite karmani na karmavibhaktih ahuh . The subject santah or budhah is understood. : Present tense, 3 rd person plural 1 of to speak, 2 nd Conjugation in the Parasmaipada. Note that the root in the Present tense takes the substitute 3 in all the numbers of the 3 rd person and the singular and dual of the 2 nd person. Conjugate : - braviti aha brutah - ahatuh bruvanti - ahuh, bravisi - attha bruthah- ahathuh butha, bravimi bruvah brumah . The poet stated in the first adjectival clause that water is the first creation. Here he says that the Earth is the root-cause of all Bhutas. How to reconcile the two statements? The answer is-ca here means living beings which are classed under four heads, viz., jarayuja, andaja, svedaja and udbhija Born of the womb, eggs, perspiration and those sprouting from the earth. ( 7 ) yaya praninah pranavantah The body by which living beings are endowed with breath. viz., vayu Air. Page 2. Here begins the Prelude to this Act. The preceding sloka is called Nandi. For an

ACT I-NOTES 129 explanation of the terms nandi and sutradhara see Intro duction. nepathyabhimukhamavalokya Looking towards the dressing room. nepathya is defined thus : - kusilava kutumbasya sthanam yadati- sobhanam | varnikagrahanasthanam nepathyamiti tadviduh || nepathya means also & dress. The Sutradhara and Nati should address each other by the term. Vide Dasarupaka:- vipramatyagrajacarya natasutrabhrtau mithah || nepathyasya vidhanam nepathyavidhanam Dressing. Past passive participle of with aar is tvaya 3/4 to complete. changes to f before the suffix r. Vide Panini : - dyatisyatimasthamitti kiti itastavadagamyatam . / itah = idam + tas here used in the Locative significance . tavat is a mere rhetorical flourish agamyatam Imperative mood of with p in the Impersonal form. understood. Changed to the Active voice, will read as tvam agaccha or bhavati agacchatu In Sanskrit there are three forms in which a predicate can be used, - kartariprayoga or the Active voice, karmaniprayoga or the Passive voice and or the Impersonal form. sakarmakadhatu s or Transitive verbs can be used either in the Active or in the Passive voice or Intransitive verbs can be used either in the Active voice or in the Impersonal form. The Impersonal form resembles the Passive voice in formation, and it denotes mere action. Note that the predicates in the Impersonal form can be employed only in the 3 rd person singular in the respective tenses or moods. 9

. Page 3. 3 addressed by the Actress to the Stage-Manager, conforms to the rule already men tioned. After arya iyamasmi some editions add anavedu ajo ko nioo anuciththiatu tti (ajnapayatvaryah - ko niyogo'nusthiyatam iti ). The Actress speaks in Prakrt in conformity with the rule that female characters.speak Prakrt in Sanskrit dramas. Vide Dasarupaka : - strinam tu prakrtam prayah saurasenyadhamesu ca . abhirupa A learned man. Amara : -- praptarupakharupabhirupa budhamanojnayoh . bhuyistha Superlative of bahu bahu Positive. bhuyas or bamhiyas Comparative. bhuyi g or bamhistha Superlative. bhuyistha Panini : - bahorlopo bhu ca bahoh abhirupaih bhuyistha abhirupabhuyistha Here the assembly is praised. kalidasena grathitam vastu yasya tena kalidasagrathitavastuna Whose plot is woven by Kalidasa. natakena For an explanation of the term natakam see Intro duction. asmabhih upasthatavyam We should wait upon them. patre patre pratipatram An Avyayibhava compound. patram means a character yatnah adhiyatam Passive Imperative tvayam understood. Change the voice : tvam yanam adhatkha vihita Past passive participle of dha with vi . Panini: -- dadhaterhih suvi- hitah prayogah yena sah suvihitaprayogah An instance of Bahuvrihi compound. tasya bhavah suvihitaprayogata . A noun takes the suffix va or ta ( tal ) to denote an abstract quality, and the noun thus formed by adding takes the neuter gender, and that formed by adding takes the feminine gender under Panini :- tasya bhavastvatalau, tvantam klibam and talantam striyam . taya suvihitaprayogataya aryasya Since your honour has undergone thorough practice. Of course the practice here refers to staging. na kimapi

ACT I-NOTES 131 parihiyate . This is a karmakaraprayoga of ha with pari to omit. bhutartha Truth. Page 4. a paritosat etc. vidusam a paritosat . The Indeclinable 31 meaning-till, as far as, governs a noun in the Ablative case Panini : - amaryadavacane and pancamyapaparibhih prayogah Acting. prayogasya vijnanam prayogavijnanam Skill in acting. nadhu na manye . balavat Highly api siksitanam cenah atmani na vidyate pratyayah yasya tat apratyayam (bhavati ). In this verse the Sutradhara expresses diffidence notwithstanding his high training in the art of staging. tas . The Actress then asks what next is to be done. The Sutradhara directs the Actress to sing. asyah parisadah sruteh prasadanam tasmat srutiprasadanatah formed by adding the Ablative suffix . The Ablative is due to juxtaposition with anyat kimanyat What else? nanu an Inde clinable calling the attention of the addressee. naticirat pravrttah tam Which has started recently, adjectival to grismasamayam giyatam Imperative of mem in the Impersonal form. Of course the root can also be used in a Transitive significance. to be taken along with the succeeding verse. Verse 3. divasah The days (of summer ). salilasu avagahah salilavagahah, subhagah salilavagahah yesu te Wherein a plunge into waters is pleasant. patalayah kusumani patalani, tesam samsargah, tena surabhayah vanamya vatah yesu te The forest-breezes in the days of summer are fragrant by the contact of Patali flowers. prakrstra chaya yasmimstat pracchayam A shaded site.

\ 132 SAKUNTALA pracchaye sulabha nidra yesu te . In summer sleep is easily got in shady sites. pariname ramaniyah Towards the close of the day, the days of summer are fascinating. Ha understood. In this verse four characteristics of the days of summer are set out. Page 5. bhramaraih isat cumbitani Kissed a little by bees. sukumarah kesaranam sikhah yesam tani . Both these are adjectival pramadah Gay women. dayamanah to sirisakusumani Accusative. satyah With compassion. Compare parallel:- nadatte priyamandanapi bhavatam snehena ya palavam Act IV - 9. avatamsan kurvanti avatamsayanti Convert into ear-rings. avatamsa An ornament,. also an ear-ornament in particular. aho An Interjection denoting wonder. ragena baddha cittavrttih yasyah sa Possessed of hearts captivated by the melody. Everywhere. Here is used in the Locative significance. *: The stage, here refers. to the spectators. katamat Accusative singular of katama . Bases ending in utara and utama and the bases anya, anyatara and take the final augment in the neuter Nominative and Accusative singulars. Panini:-aza -addatara- dibhyah pancabhyah prakriyate iti prakaranam A term denoting all Rupakas-works presented on the stage-dramas. asritya enam Accusative singular of etad masculine which refers to which occurs in the previous sentence. ga changes to in all the numbers of the Accusative, in the Instrumental singular and in the Genitive and Locative duals when anvadesa is intended anvadesa

ACT I - NOTES 133 means a subsequent reference to something which has occurred in a previous sentence. kimcitkaryam vidhatu- supattasya karyantaravidhanartham punarupadanamanvadesah . The change of eta to ena is laid down by Panini : -- dvitiyataskhenah . aryamisra refers to the spectators. misrasabdah pujyavaci sakuntaih lata | sakuntala sakuntala is so called, because she was fed and nurtured by birds when she was cast away by 1 her mother Menaka until she was picked up by Kanva. sakuntalam adhikrtya krtam sakuntalam formed by adding the suffix ag under Panini :- adhikrtya krte granthe- abhijnayata aneneti abhijnanam, abhijnanapradhanam sakuntalam abhijnanasakuntalam A compound formed by the dropping of the middle word on the model of sakaparthiva . A work dealing with Sakuntala in which a token plays a prominent part. Though the story of Sakuntala is already contained in the Mahabharata the ring as a token is invented purely by the poet's imagination. apurvam natakam prayoge adhi- kriyanam iti This bidding of the audience is not actually set out previously. But it can be gathered from this statement that the Sutradhara has come upon the stage after receiving the bidding of the audience. Hence it is that he has stated previously -- adya khalu kalidasagrathitavastuna navena natakenopasthatavyamasmabhih . This presumption is strengthened by what follows viz., the Sutra- .dhara's statement -samyaganubodhito'smi . Page 6. kutah indicates that the reason follows. Verse 5. harina tava gitaragena prasabham hrto'smi prasabham An Indeclinable meaning forcibly. harati (manah ) iti hari

Enchanting. The enticement of the Sutradhara by the melody of music is substantiated by an analogy set out in the second half of the verse. atisathitam ramhah yasya tena atiramhasa adjectival to sarangena sarangena By the deer. saranga sara + anga formed by the merger of two vowels. into one under the Vartika : - sakandhvadisu pararupam vacyam, tacca teh and sarangah pasupaksinoh, sarango'nyah esa dusyanto rajeva Like this. King Dusyanta. This suggests the immediate entry of the actor playing the part of the king pursuing a deer. The introduction of a play by an actor in the Prologue by comparing himself or his colleague with a character that enters first, goes by the name of prayogatisaya in Sanskrit dramaturgy. niskrantau Both the Stage - Manager and the Actress walk out prastavana Here ends the Prologue. For further details see Introduc.. tion. ayusman A vocative by which term a charioteer. should address a king Vide Dasarupaka : -- rathi sutena cayusman . Verse 6. krsnasare adhijyakarmuke tvayi ca caksuh dadat (aham ) mrganusarinam pinakinam saksatpasyamiva . adhigatam jyam adhijyam Fixed to the string, an instance of pradisamasa . karmane prabhavati karmukam A bow. Panini :- karmana ukan adhijyam karmukam yasya tasmin adhijya - karmuke . dadat Present participle of da, 3 rd conjugation in the Masculine form. The absence of c is due to. to Panini : - nabhyastacchatuh mrgam anusaratiti mrganusari tacchilye asyastiti pinaki The Pinaka- tam pinakinam . saksat In person. pasyamica I ninih tam mrganusarinam pinakah Siva bowed ; --

✓ ACT I-NOTES 135 see as it were. Once Daksa performed a sacrifice to which he invited all the gods except his own sonin-law Siva. Daksayani, his daughter, however obtained the permission of her lord and attended the sacrifice. But when she was not received with due regard by her parents she put an end to herself by her Yogic power. Enraged at the happening, Siva came and created chaos at which the gods, invitees,. sacrificer and others were thrown into confusion and driven off. The sacrifice itself took the form of a deer and took to flight. Siva pursued him with his bow and killed the sacrifice. This story is alluded to in this verse. Verse 7. This verse gives a true presentation of a deer fleeing in fear of a hunter pursuing him. 3 the subject of the sentence is outside the verse. grivayah : bhangah, tena abhiramam adverbial adjunct. anupatati syandane yg:, del afu: ba a: agcfe: 47 This refers to the gallop of the deer bending back his neck and casting his eyes often at the chariot anupatati adjectival to syandane . In the place of there is also the reading dattadrstih aparah arthah pascarthah . The substitute pasca for apara takes place under the Vartika :- aparasyardhe pascabhavo vaktavyah . pascardhena By his hind half purvam kayasya purvakayah An instance of ekadesisamasa in supersession of sasthisamasa Vide Panini:- purvaparadharottaramekade sinaikadhikarane tam purvakayam sarapatanabhayat bhuyasa g: He shrinks the hind half of his body into the front half. Past passive participle off with

ph ava to devour artham avalidhah taih ardhavalidhaih The Darbha grass was only half eaten sramena vivrtam mukham, tasmat bhramsibhih darbhaih kirnam vartma yena sah kirnavarma . kirna Past passive participle of kr to scatter. krsabdasya dantatvat ' vrto va ' iti vetutvat 'yasya vibhasa ' iti nisthayaminnisedhe 'rta iddhatoh ' iti itve 'hali ca ' iti dirgha ' radabhyam nisthato nah purvasya tu da: ' iti pratyayatakarasya natve rasabhyamiti natve kirneti rupam . Other examples : - gr girna, cu cirna, ju jirna, tr tirna, dr dirna, pr purna, su sirna . The deer strews the path with half-cut darbha grass slipped from the hollow of his mouth in fatigue udagram plutam yasya tasya bhavah tasmat udaplutatvat viyati bahutaram As he jumps high he seems to travel more in the sky. urvyam stokam prayati Runs on earth less. stokam means alpam . This verse has been cited in Kavya Prakasa to illustrate Bhayanaka Rasa, the frightful emotion. The figure of speech is svabhavokti . 1 Page 7. yatnena preksaniyah yattrapreksaniyah That can be seen only with effort. utkhatani santyasyamiti utkhatini Rugged . There is also the reading udghatini . amandah mandah sampadyamanah krtah mandikrtah Slackened viprakrstam antaram yasya sah viprakrstantarah One whose intervening distance is long. samadesavartinaste To you as you come to the level ground. duhkhena asadayitum sakyah durasadah abhisavah Reins. Amara Amara : - abhasuh pragrahe rasmau . mucyantam abhisavah rendered in the Active voice will read as abhisun munca . Verse 8. This verse describes the horses in their gallop. rasmisu muktesu satsu When the reins are let loose nirayatah purvakaya yesam te nirayatapurvakayah With the

ACT I-NOTES 137 foreparts of their bodies elongated niskampah camaranam sikhah yesam ne The tops of chowries fixed to their heads stand steady in their speed. nibhrtah urdhvah karnah yesam te Their ears stand steady and erect. atmana utthitairapi rajobhih alanghaniyah Incapable of being overtaken even by the dust raised by themselves. As if out of intolerance at the deer's speed. ami . ratham vahantiti Horses. The suffix is added under Panini :- hrti rathayugapranangam dhavanti The plural makes it clear that the number of horses is more than two. Page 8 haritah harin Green horses, or haritah and refer to two distinct ideas. is the name of harit the Sun's horses. Hence the Sun is called aft refers to Indra's horses. Hence Indra is called harihayah However we think harita refers to the green colour, and as such the green horses of the Sun. as a whole refers to atitya vajinah vartante Our Indeclinable past horses surpass those horses. participle of s with ati tathahi is a pair of Indeclinables that suggests that a preceding statement is substantiated by a succeeding one. Verse 9. yat aloke suksmam That which is small at the first sight. tat sahasa vipulatam vrajati It suddenly assumes a large magnitude as a result of the speed of the chariot yat ardhe vicchinnam bhavati That which has gaps in the middle like trees, boughs etc. It becomes as if joined together. which is curved by nature. tadapi nayanayoh samarekham bhavati It iafya yafa That

appears to be in a straight line. kimcit ksanamapi na dure na Nothing is either far or near for a minute. What is far off comes near in a moment. What is near goes far off in a moment. Due to the speed of the chariot. vyapadyamanam means hanyamanam nepathye A voice is heard from behind the scenes. It is of the hermit about to enter. The voice forbids the slaughter of the deer. banapate vartata iti banapatavata The antelope stands. within the range of your arrow. antare Between the deer and yourself. Page 9. atmana trtiyah suggests that three hermits. enter on the whole. It is a compound word. Vide Panini :- atmanasca . vikhanasa proktam adhite veda va vaikhanasah A hermit; one who studies or knows the code laid down by Vikhanas. vaikhanasa is defined thus : - puspamulaphalairvapi kevalairvartayetsada | kalapakkaih svayam sirnairvaikhanasamate sthitah || hastamudyamya The raising of the hand is for prohibiting the king. Verse 10. As the deer belonging to the hermitage should not be killed sadhu krtasamdhanam sayakam pratisamhara Withdraw the arrow which has been applied to the string. Why? : The weapon of you, Ksattriyas. artanam tranam tasmai artatranaya Is there for protecting the distressed. na vidyate agah yasya sah anagah One free from guilt; inoffensive. Your weapon is not for striking at a harmless one. of purpose of with to strike. FATT Infinitive

ACT I-NOTES 139 Verse 11. yasya tava purorvamse janma ( tasya tava ) idam yuktarupam prasastam yuktam prasamsayam rupap . Puru, an ancestor of Dusyanta was born of Yayati and Sarmistha. At the request of his father Yayati who longed to enjoy the pleasures of youth Puru exchanged his youth for his father's old age. Such an obedient son was he, and you are born in his race. evam (bhutaih ) gunaih upetam cakravartinam putram amuhim May you obtain a son born to be an emperor and possessed of like qualities. putah trayata iti putrah A son ; because he redeems his parents from the hell known as put . cakre vartitum silamasyeti cakravarti One who moves in the midst of kings ; an overlord of kings. Or cakram (rajacakram ) vartayatiti cakravarti One who moves the host of kings. amuhi Imperative mood, 2 nd person singular of ap, 5 th conjugation. Vide parallel : - putram labhasvatmagunanurupam bhavantamajyam bhavatah piteva Raghu V - 34. Page 10. kulapati A head of sages. An extravagant definition of kulapati runs thus : - muninam dasasahasram yo'nnadanadiposanat | adhyapayati viprarsirasau kulapatih smrtah || malini is said to be a tributary of the Ganges somewhere near Hastinapura malinyah tire anumalinitiram An Avyay:bhava compound. vibhaktyarthe avyayibhavah . Verse 12. pratihatavinnah ramyah tapodhananam kriyah samavalokya On seeing the pleasant ritualistic performances of sages free from obstacles. jnasyasi You will know. Know what? maurvyah kinah ankah yasya sah maurvikinankah me bhujah kiyat raksati iti kim parimanamasya kiyat . Panini :- kimidambhyam vo ghah .

api samnihitah api is a particle of interrogation. idanimeva Just now. This suggests that it may take some time for Kanva to return. duhitaram sakuntalam atithi- satkaraya niyujya This indicates that Kanva has no son to whom the duty of receiving guests can be entrusted. asyah pratikulam devam samayitum To counteract the evil influence of an adverse fate affecting her. This faintly foreshadows the future repudiation of love by the hero. somatirtham gatah . Somatirtha is equated with Prabhasa, the holy place of pilgrimage where the temple of Somanatha is situate in Kathiawar. The poet has advisedly procured the absence of Kanva to bring about an interview between the hero and the heroine, and the length of journey involved in travelling to a distant place facilitates their frequent interviews. and growth of love for the period of a few months so as to result in the pregnancy of Sakuntala. Since Sakuntala is to receive the guests of the hermitage she has absolute freedom of action. viditabhakti mam maharseh kathayisyati kathayisyati is replaced by karisyati in a different reading. sadhayamah from sadhu to go sisyabhyam saha vartata iti sasisyah niskrantah The hermit makes an exit along with his two pupils. Page 11. : etc. This verse refers to the characteristics of a penance-grove observed by the king. The first is the grain strewn underneath the trees. sukah garbhe yesam tani kotarani, tesam mukhebhyah bhrastah nivarah tarunam -adhah santi nivara A species of wild corn. prasnigdhah Glossy. d

ACT I-NOTES 141 ingudi a kind of tree yielding fruits whose juice is used for healing wounds. Compare : - yasya tvaya tranaviropana- mingudinam etc later on, Act IV - Verse 14. ingurdaphalani bhindantiti ingudiphalabhidah upalah sucyanta eva The stones used in crushing the Iagudi fruits report themselves. sucyante ityatra karmakartari lakarah . mrgah visvasopagamat abhinnagatayah (santah ) sabda sahante The deer do not shy at the sound of the chariot, but walk complacently owing to the growth of confidence toyasya adharah toyadharah Water-pools. tepam panthanah toyadharapathah The tracks leading to the reservoirs of water pathin at the end of a compound changes to patha . Vide Panini : - rkpurabdhuh pathamanakse valkalanam sikhah, tasam nisyandarekhabhih ankitah Marked with the lines of drippings from skirts of bark-garments. It is to be noted that this verse brings out vividly the features of an ancient penance-forest. 1 Page 12. uparodho ma bhut . In juxtaposition with the particle ma ( man ) a root can be used with the luna suffixes to convey any tense or mood, and it does not take the initial augment a (at ) usually prefixed to the predicates in the Aorist tense. Vide Panini:- mani lun and na manyoge etat parimanam asyeti etavat tasmin etavati, pradese understood. yavadavatarami . In juxtaposition with yavat or pura a root takes the terminations of the Pre-sent tense in the future significance. Panini:- yavatpuranipatayorlat . vinitasya vesa iva vesah yasya tena vinitavesena pravestavyani One should enter dressed humbly. tapovanani nama . nama indicates repute. tapasah vanani tapovanani vajinah

ardra prstam yesam te ardraprsthah kriyantam The king directs the charioteer to bathe the horses during his absence. santa AKAA, The Verse 14. idam santamasramapadam This is the tranquil site of a hermitage. =+. The lengthening of the penultimate vowel in Set roots ending in a nasal is due to Panini : --anunasikasya kvijhaloh kiti . Other examples: -kam kanta, kram kranta, klam klanta, cam canta, tam tanta, dam danta, bhram bhranta, vam vanta, sram sranta . Whereas Anit roots merely drop their final nasal before the suffix a. For example :- gam gata, nam nata, yabhu yata, ram rata . bahuca sphurati From the context a refers to the right arm. throbbing of the right eye, arm, thigh or foot is auspicious for males as that of the left for females. asya phalam iha kutah How can there be any significance for it in this hermitage? The throbbing of the right arm indicates a union with a sweetheart, which can be prompted only by love, whereas a hermitage affords no scope for the actions of love. Or rather. bhavitavyanam dvarani sarvatra bhavanti Those which are bound to happen will happen anywhere. Page 13. : Come, understood. (daksinana An Indeclinable formed by adding ena ( enap ) to daksina Words ending in enam govern a noun in the Accusative case. Panini Panini : - enapa dvitiya . Hence the Accusative in. To the right side of the vrksavatikam . batch of trees. svapramanasya anurupaih In keeping with their size or strength. With the jars used in the sprinkling of trees.

ACT I-NOTES 143 Verse 15. : A royal harem or a court of ladies. Scarcely available in the harem. idam vapuh Such an uncommon form or beauty. asramavasino janasya yadi (bhavati ) If people dwelling in hermitages have such beauty. khalu Indeed. udyanalatah vanalatabhih gunaih durikrtah The plants of gardens correspond to the ladies of the royal harem, sylvan creepers to the girls resident in hermitages. Page 14. Engaged in the work previously mentioned viz., the watering of trees. a term of Vocative towards a female friend. Amara :- hrnde haje halahane nicam ceti sakhim prati alavala A basin at the foot of a tree for holding water. samane udare sayitah sodarah . The change of to in the compound is due to Panini : - vibhasodare . mpayati Gesticulates katham expresses / wonder sadhu na pasyatiti asadhudarsi Devoid of judgment. tatrabhavan and atrabhavan are terms of respect. The adjectival clause etc. provides the reason for attributing lack of judgment to the sage. derived from with fa, 7 th conjugation. niyunkte Page 15. idam etc. avyajamanoharam Sakuntala's body is possessed of natural fascination without the aid of ornaments or equipments of toilet. g: Accusative. tapasah ksamam tapahksamam sadhayitum To make it fit for penance. icchati sah rsih The sage who desires to subject the girl to the rigours of penance. nilotalapatrasya dharaya By the edge of the blue lotus-petal. samilatam chettum vyavasyati Strives ya

144 to cut a fuel-plant SAKUNTALA samitratam is substituted by sarmalatam vyavasyati in a different reading. A hard plant supposed to contain fire within. Present tense, 3 rd person singular of with ₁ and 3. The figure of speech in this verse is. Vide definition :- vakyarthayoh sadrsayoraikyaropo nidarsana . This verse is cited in Sahityadarpana to illustrate Nidarsana. Confidently, as he is screened by the trees. pinaddha Past passive participle of nah with api to fasten. The initial of the prepositions and sometimes drops optionally. Vide Karika :-are gia4- vapyorupasargayoh Examples : - avagahate vagahane, apidhanam pidhanam . A tree-bark worn for a petticoat on the breasts. priyamvadaya niyantritamsi . This brings out the character of Priyamvada as a lover of fun in the view of Sakuntala. The commentator Satavadhana makes the curious remark that this presumes. the binding of the knot of the petticoat at the back. The request to Anasuya shows that she is a more responsible friend than the other. Priyamvada in a jocular strain gives her own reason for the tightness of the petticoat viz., the expansion of Sakuntala's breasts every moment. atra In this matter. payodharayoh vistarayitrkam Which expands your breasts. atmanah yauvanam upa Censure your own youthful age. This idea is popular among poets. Vide parallelageron- -pratiksanavijrmbhana- durbhayabahukulamkasa stanatrutitakancukam namata yauvanam yositam . This conversation between Sakuntala and her friends overheard

ACT I-NOTES 145 by the king is calculated to rouse his admiration which develops into love for the heroine. Page 16. Before some manuscripts have the following addition in the king's speech:- idamupahitasuksmagranthina skandhadese stanayugaparinahacchadina valkalena | vapu- rabhinavamasyah pusyati svam na sobham kusumamiva pinaddham pandupatradarena || athava . This seems to be superfluous. an Indeclinable meaning granted or admitting. Amara:- akamanumati kamam na pusyatiti na . The double negative affirms the positive. Verse 17. aa za afai A lotus. Though moss and other things are also sprung from a tank the meaning of the word is fixed to a lotus by yogaruti . sarasija an Aluk Samasa under tatpuruse krti bahulam saivalena anuviddhamapi Though mixed up with moss. anuviddha Past passive participle of vyadh with anu malinamapi . laksma refers to the black mark in the middle of the moon which poets sometimes refer to as a hare, deer and so on. himamsoh laksmim tanoti Increases the splendour of the moon. After setting out two Upamanas the poet comes to the Upameya, the subject of the context. iyam tanvi valkalenapi adhikamanojna . The fascination of the damsel though clad in tree-bark is substantiated by a general reason set out in the last foot of the verse. Agami akrtinam kimiva hi na mandanam Which thing is not a beauty to beautiful things? The figure of speech is face, the substantiation of a particular idea by a general 10

statement. In the first three feet of the verse the figure of speech is prativastupama . vateritapallavangulibhih The tender leaves moving in the air are identified with fingers with which the Asoka tree seems to urge sakuntala to honour it. sambhavayami The honour is of course the act of pouring water at its basin alpo vrksah vrksakah muhurta For a while. latasanathah Accompanied by a creeper. Page 17. atah khalu priyamvada True to the etymological significance of her name, Priyamvada, it may be noted, generally indulges in pleasing talks as distinguished from wholesome talks which characterise Anasuya. priyam vadatiti priyamvada na punah priyamvada Not one that merely speaks sweet. priyamapi tathyamaha proceeds on the maxim-- hitam manohari ca durlabham vacah . Verse 18. adharah, kisalayasyeva rago yasya sah kisalayaragah An instance of upamanapurvapadabahuvrihi . bahu . komalavitapam anukartum silam anayoriti komalavitapanukarinau . asyah angesu kusumamiva lobhaniyam yauvanam samnaddham . The word asyah which precedes the verse is to be taken along with adharah, bahu and angesu . The three similes set out in the verse suggest the conception of Sakuntala as a creeper . To sakuntala conceived of as a plant, the lower lip, hands and youthful age correspond to a sprout, tender branches and flower. sahakarah A mango tree. svayam (atmanaiva ) vrnite iti svayamvara . svayamvara ca sa vadhuva svayamvaravadhuh A bride that chooses her

ACT I-NOTES 147 that husband of her own will. In relation to the corresponds to a bridegroom the jasmine creeper is treated as a bride, on whom the name of Vanajyotsna has been conferred by Sakuntala herself. vismrta . Here the suffix which is usually a past passive participle is used in the Active significance. karmaketi sutre cakaradvyavamitapratipannadidhvapi kartari ktah iti vamanoktya fareaina zak m: So vistrta means vismrtavati vyatikarah means. That a union between the creeper and the tree was brought about at a proper time is brought out in the clause beginning with. The fresh bloom of Vanajyotsna corresponds to the youthful age of a damsel. Similarly the mango tree, as it puts forth foliage, is one that is fit for enjoyment. Page 18. This query of Priyamvada brings out further her jocular mood. Anasuya is more prosaic and admits her ignorance as to why Sakuntala looks so keenly at the jasmine creeper. Priyamvada clarifies the joke she had in her mind. She attributes a longing on the part of Sakuntala to get a suitable bridegroom in the same way as i Vanajyotsna has got hold of the mango tree. 34 api is a pair of Indeclinables and conveys a question involving a wish. Potential, 1 st person singular of c. Sakuntala then imputes a longing of that sort to Priyamvada herself. asavarnam yat ksetram tasmin sambhava . varna means a caste. samanah varnah yasya tat savarna Of the same caste. Of a different caste. A wife.

Amara :-ksetram patnisarirayoh asavarnaksetre sambhavah yasyah sa asavarnakse azcaɩ. The king surmises at the outset that Sakuntala. might be the daughter of Kanva by a wife of inferior caste. It is to be noted that the marriage of a man of superior caste with a woman of inferior caste is recognised among unequal marriages in the Dharma sastras. Verse 19. Here the king argues within himself and infers that Sakuntala is fit to be wedded by him. Bar Doubtless, adverbial adjunct. understood.. ksatrasya parigrahah, tasya ksama Fit to be married by a Ksatriya. The reason is set out thus : - yat aryam me manah asyam abhilasi Since my noble mind is longing towards her. To describe his own mind as noble and as such not liable to go astray can hardly be deemed a piece of vanity, for it represents the truth. So says Dandin:- svagunaviskriya doso na tu bhutarthasamsinah . Further Dusyanta is only thinking in his mind and not giving expression to it in the presence of anybody else. It is only a sincere argument in support of his surmise. His reasoning is substantiated by a general rule set out in the second half of the verse. To men of good pursuits. In matters which are the subject of doubt antahkaranam Mind. karanam means indriyam Apart from the five Jnanendriyas-external organs of sense, there is mind which is the sixth and internal organ. antahkaranasya pravrttayah The propensities of mind pramanam Are authority. pramiyate aneneti pramanam . The word pramanam is used

ca ACT I -- NOTES 149 always in the neuter singular irrespective of the gender and number of the uddesya . Example : - vedah pramanam . pramanam An instrument of true knowledge. As to what constitutes Dharma or righteous conduct, Manu says -- vedo'khilo dharmamulam smrtisile ca tadvidam | acarasvapi sadhunamatmanastustireva ca || Here atmatusti - the satisfaction of one's self is referred to as one of the Pramanas of Dharma. And that is the idea which underlies this argument. This idea is referred to by Kumarila Bhatta in Tantra Vartika when discussing the Pramana or authorities on Dharma in the course of which he actually cites the second half of this verse. Vide the following extract therefrom. yatha rumayam lavanakaresu mairo yatha vojjvalarukmabhumau | yajjayate tanmayameva tatsyat tatha bhavedvedavidatmatustih || evam ca vidvadvacanadvinirgatam prasiddharupam kavibhirnirupitam | satam hi samdehapadesu vastusu pramanamantahkaranapravrttayah || This verse is quoted in Dasarupaka to illustrate or longing as the first of the ten stages of 3-love before union. Page 19. tathapi etc. Not content with his own inference, the king seeks its corroboration by other data. madhukarah me vadanamabhivartate The bee haunts my face. The suggestion is that Sakuntala belonging to the Padmini type, smells sweet like a lotus. Vide definition :- bhavati kamalanetra nasikaksudrarandhra aviralakucayugma carukesi krsangi || mrduvacanasusila gitavadyanurakta bhavati ratirasajna padmini padmagandha || The idea of a bee revelling in the face of a Padmini type of lady is popular among poets. Vide -

150 : SAKUNTALA Vikramorvasiya : - madhukara madiraksyah samsa tasyah pravrttim varatanugtha- vasau naiva drsta tvaya me | yadi surabhimapasyastanmukhocchrasagandham tava ratira - bhavisyatpundarike kimasmin || IV - 32. Verse 20. The king expatiates on the good luck of the bee and grows envious of him. he madhukara O bee. calau apangau yasmin karmani tattatha calapanga adverbial adjunct modifying :. You are seen by Sakuntala with her moving side-glances, the highest privilege a lover would cherish. Secondly, you touch her as she quivers. vepathuh asya astiti tam vepathumati refers to Sakuntala. Thirdly, you whisper something in her ear as a lover would do rahasi bhavam rahasyam, tat akhyatiti rahasyakhyayi iva As if communicating a secret. karnayorantikam, tasmin caratiti karnantikacarah san Moving in the vicinity of her ears. mrdu khanasi You hum gently. Fourthly, karam vyadhunvatyah adjectival to tasyah understood. vyadhunvati Femi nine present participle of dhun kampane 5 th conjugation with vi and a. As she waves her hand to prevent you. rateh sarvasvam ratisarvasvam adharam pibasi . Poets generally refer to adharamrta . adharapana is kissing avara or the lower lip of ladies represents the all in all of their enjoyment. After describing the good luck of the bee, the king sets out the contrast between the bee and himself in the fourth foot of the verse tatvasya anvesah tasmat tatvanvesat By reason of search after truth; by enquiring after her birth and eligibility for marriage with a Ksatriya and such other considerations, vayam hatah We are frustrated tvam khalu krti On the other hand you are

ACT I-NOTES 151 fortunate. In the place of there is also the reading calapangam drstim, in which case calapangam and vepathumati are adjectival to drsti, object of sprsasi . You touch the tremulous eyes of the lady which are possessed of moving side-glances. Page 20. paritrayetham sakuntala calls out for help. The female friends make fun of her and urge her to seek the help of the king. Now the king decides to present himself before the girls. kah ko'tra bhoh is the king's usual call for an attendant. The king ityathokte desires to conceal his identity. epa dustah This impudent one viz., the bee na viramati ram prefixed with vi or a takes the Parasmaipada terminations. Vide Panini :- vyanaparibhyo ramah . anyatah preceding gamisyami means anyatra . Likewise itah means atra . Verse 21. The king suddenly approaches ostensibly for checking the villain that attacks Sakuntala. durvinitanam sasitari A chastiser of villains, adjectival to paurave . puroh gotrapatyam puman pauravah tasmin vasumatim sasati (sati ) Locative absolute. When a descendant of Puru rules the Earth. mugdha = muh + ta (kta ), an alternative form being mudha . Vide Panini : - va druhamuhasnuhasniham . mugdhasu tapasvikanyasu ko'yamavinayamacarati Who is this that commits outrage against innocent maidens of sages? Page 21. atyahitam Danger. Vide Amara : - atyahitam mahabhitih iyam nau priyasakhi refers to Sakuntala. no Greni tive dual of asmad an alternative form being avayoh . In ,

akulikriyamana and kataribhuta we have abhutatadbhave cvih akatara katara sampadyamana bhuta kataribhuta . api tapo vardhate . api is a particle of interrogation. The unimpeded growth of penance is the first thing to be enquired in a hermitage. sadhvasam Timidity. idanimatithivisesalabhena to be read along with a a imported from the king's question. atithivisesah means visistatithih Treatment of guests with hospitality is the foremost penance, and when a distinguished guest is accorded a reception the penance grows all the more. su (sobhanam ) agatam svagatam Welcome. aryaya The simple word arya is used since they do not know that they are addressing the king. arghaya idam arghyam Water used in worship or reception padarghabhyam ca iti yat idam before padodakam refers to the water in the jar already in hand. Sakuntala is directed to bring Arghya, because she is the principal party entrusted with the duty of receiving guests. Sweet and true. Amara:- sunrtam priye satye . atithaye idam atithyam Cordiality. Vide Panini : - atithervyah . Amara : - kramadatithyatitheye atithyarthe'tra sadhuni . Page 22. prakrsta chaya yasyam sa pracchaya, pracchaya ca sa sitala ca pracchayasitala Shady and cool. saptaparna is a tree whose leaves generally stand in groups of seven. sapta parnani yasya sah saptaparnah kvacidvrttivisaye samkhyasabdasya vipsavacakatvam . sapta in the compound therefore means sapta sapta - groups of seven. vedika A platform. yuyamapi Not only myself, but you too. anena karmana By this work of watering the trees. - parisrantah The idea is that they too should sit down.

ACT I-NOTES 153 tapovanasya virodhi vikarah refers to love. gamaniya means prapya . samabhyam vayorupabhyam ramaniyam suhrdo bhavah sauharda, 'hrgasindhavante purvapadasya ca ' ityubhayapadavrddhih janantikam Certain speeches of characters in a play are asravyam - not to be heard by anybody or niyatasravyam - to be heard only by particular persons. The direction for the former is generally svagatam or atmagatam, the idea being that the character concerned thinks within himself or herself janantikam on the other hand is an instance of niyatasravyam . Its definition is given in Dasarupaka thus : - tripatakakarena- nyamapavaryantara katham | anyonyamantranam yatsyajjanante tajjanantikam || In the context Priyamvada speaks aside to Anasuya, not to be heard by the king or Sakuntala. Page 23. catura gambhira ca akrtih yasya sah caturagambhirakrtih . i refers to the sweetness of tone, and to the sweetness of ideas prabhavan same as prabhuh, means a king. kautuhalam Inquisitiveness. mantrayate Causal of mantra to speak, 10 th conjugation. Your sweet speech emboldens me to speak. bahunam madhye kah katamah . The suffix utamac is due to Panini :- va bahunam jatipariprasne, The three questions refer respectively to the king's lineage, his country and the purpose of his visit. virahena paryutsukah janah yasmin sah . atma Body. tapovanagamane parisramah, tasya patratam upanitah ma uttamya Here ma is a negative particle but different from man . Hence the Aorist termination is not added to the root. uttamya Imperative, 2 nd person singular of tam with ud to be excited tvaya cintitam mantrayate Voices forth the query in your mind.

Page 24. kathamidanim etc. idanim Now that the question has been raised and calls forth an answer. atmanam nivedayami If the king discloses his true character, the three girls will cease to speak with confidence. If on the other hand he suppresses it, he will have to speak a lie. atmanah apaharah atmapaharah Suppression of one's self evam tavat In this dilemma the king hits upon a via media. dharmadhikare niyuktah Engaged to supervise the conduct of varnasramadharma . asramah esamasti asraminah Dwellers in a hermitage. avinnah yah kriyah tasamupalambhaya To see that the performances are free from impediments. dharmasya aranyam dharmaranyam tadarthe sasthisamasah nathena saha vartanta iti sanathah Possessed of a protector. dharmam carantiti dharmacarinah Performers of Dharma. generally exhibited by turning the face downwards, scratching the floor and so on. yadi tatah samnihito bhavet The idea of Sakuntala's friends is that father Kanva, if present, would offer the hand of his daughter to the guest. tatah kim bhavet Sakuntala resents the suggestion of her friends. jivitasarvakham is a covert reference to Sakuntala herself. Page 25. apetam Imperative, 2 nd person dual of i with apa to get away. vayamapi The king expresses his wish to know something about Sakuntala. anugrahah Both the friends welcome the query. bhagah asyastiti bhagavan . * refers to six qualities mentioned in the following verse : - aisvaryasya samagrasya viryasya yasasah sriyah | jnanavairagyayoscaiva sannam bhaga itirana || Vide Amara : -bhagah srikamamahatmyaviryayatnarka kirtisu . A different interpretation of

ACT I-NOTES 155 bhagavat is given thus : - utpattim ca vipattim ca bhutanamagatim gatim | viti vidyamavidyam ca sa vacyo bhagavaniti || bhagavan is a holy personage possessed of intuition kasyapah While Kanva is his name, Kasyapa refers to his Gotra; descended from Kasyapa Prajapati sasvat bhavam sasvatam Permanent. brahma the Supreme Being. savane brahmani sthitah The idea is that Kasyapa is a perpetual bachelor iti prakasah Such is the renown. atmano jana atmaja A daughter kathametat How to reconcile the two opposites: krtam gotrasya namadheyam yena sah krtagotranamadheyah Who has given his name Kausika to the line descended of him. mahan prabhavah yasya sah mahaprabhavah . mahat when followed by a noun in a Karmadharaya or by a noun qualified by it in a Bahuvrihi changes to maha . Vide Panini : - anmahatah samanadhikaranajatiyayoh namaiva namadheyam . The words bhaga, rupa and naman take the suffix dheya in svartha . Vide Vartika : - bhagarupanamabhyo yah kusikasya gotrapatyam puman kausikah Kusika's son is Gadhi, and his son Visvamitra. raja rsiriva rajarsih . The analogy between a king and a sage is later on fully brought out in the verse - adhyakranta vasatiramuna Or raja casau rsisca rajarsih One who is both a king and a sage. This appellation is generally used to denote any righteous ruler. Page 26. prabhavati asmaditi prabhavah A source ; a father in the context. ujjhita Abandoned. sarirasamvardhanadibhih Kasyapa is the foster - father. pura kila Anasuya narrates the episode of Visvamitra's union with Menaka. kimapi jatasah The Devas grew apprehensive of Kausika's penance. anyah saranti apsarasah Celestial nymphs

· 156 SAKUNTALA sprang from water at the churning of the milky ocean by the gods and demons. niyamavinnakarini To obstruct Visvamitra's austerities. bhetum silamasyeti bhiruh Panini:- bhiyah kruklukanau anyesam samadheh bhiravah, tesam bhavah anyasamadhibhirutvam The state of being afraid of another's penance is · generally a characteristic of the gods. Vide parallel : amum sahasaprahiteksanani vyajardhasamdarsitamekhalani | nalam vikartum janitendrasankam suranganavibhramacestitani || Raghu XIII - 42 and caratah kila duvaram tapastrnabindoh parisankitah pura | prajighaya samadhibhedinim harirasmai harini suranganam || Raghu VII - 79. vasantodarasamaye This is the -Sanskrit rendering adopted by Raghava Bhatta. But all other commentators favour the rendering vasanta- catarasamaye . Raghava Bhatta feels the difficulty caused by the sequence of words in the compound. For udara- vasantasamaye will be the proper order. However he explains that there is no rigid rule of sequence or in Prakxt. vasantodarasamaye In the charming season of spring. - vasantavatarasamaye At the advent of the spring unmadayitrkam Maddening. rupam preksya With this she cuts her speech in the middle, the rest being not proper for a young woman to address a young man parastat jnayata eva What followed can be easily known viz., the union of Kausika with Menaka. 'Yes.' atha kim This phrase meansVerse 22. prabhaya taralam prabhataralam jyotih refers to the light quivering with lustre ; lightning. Page 27. me manorathah The longing for sakuntala. labdhah avakasah yena sah labdhavakasah Because it is definitely

ACT I-NOTES 157 known that she is fit to be married to a Ksatriya. dvabhyam prakarabhyam dvidha, dvidha bhavah dvaidham, 'vrtam dvaidham yena sah vrtadvaidhah, adhrtadvaidhasya 'vrtadvaidhavat bhavah vrtadvaidhibhavah tena kataram dvaidhibhava refers to the doubt as to whether a bridegroom has already been fixed or not. 'srutadvaidhibhavam ca tat kataram ca ghrtadvaidhibhavakataram me manah . The sentence etc. is omitted in the Bengali editions. But all the authoritative commentators have it in their readings as also all the Bombay and Madras editions. samkhyah parihasidahrtam varaprarthanam refers to the previous statement of Priyamvada - yatha vanajyotsna anurupena padapena samyojita evam nama ahamapi atmano'nurupam varam labheya . na vidyate niyantranam yasya sah aniyantranah anuyogah yasya sah aniyantrananuyogah To whom questions may be put without restraint. tapasvijano nama Since sages have no likes or dislikes they will not get offended by being put any number of questions. before in the king's speech means regarding the matter which follows.' Page 28 vaikhanasam etc. anaya By Sakuntala. vaikhanasanam idam vaikhanasam vratam The austere conduct of Vanaprasthas. It consists of celibacy and restricted diet and religious austerities. mulaireke phalaire ke puspereke drdhavratah | vartayanti yathanyayam vaikhana- samatasritah | a pradanat Till she is given away to somebody in marriage. nisevitavyam Is it to be followed ? How is vaikhanasavratam ? madanasya, vyaparam roddhum silamasyeti vyapararodhi Which impedes the engagement of Cupid; which prevents all scope for the actions of love. is indicative of a different alternative. madayitum silamesamiti madirani caitani iksanani ca taih vallabhabhih adjectival to harinanganabhih samam Along

Throughout her life. with the she-deer. nivatsyati 2 nd future, 3 rd person singular of vas with ni . Vide Panini :- sah syardhadhatuke . Is she to be married or is she to be a lifelong virgin? : refers to Sakuntala. From Priyamvada's words the king comes to know that Sakuntala's foster father has the idea of giving her away in marriage. Hence he thinks that his wish is not beyond his reach. duhkhena avaptum yogya duravapa . Verse 24. The king addresses his heart. sabhilasam bhava Be hopeful. samprati samdehanirnayo jatah The doubt about her fitness to be married by a Ksattriya and about whether she is to be given at all in marriage has been cleared. yat agnim asankase That which you mistook for fire. tadidam sparsaksamam ratnam It is a gem worthy of contact. Page 29. asambaddhapralapini Priyamvada is described as indulging in irrelevant talk. The remark is made by Sakuntala to Anasuya who is the more serious of her two friends. Of one's own free will. Will. Anasuya gives a dignified reason to dissuade Sakuntala from going away. It is not proper for a dweller in a hermitage to leave a guest unhonoured and go. an Interjection of wonder. cestayah pratirupika A counterpart of external actions. kamijanasya manovrttih The operation of a lover's mind. aham to be taken along with the succeeding verse.

ACT I-NOTES 159 Verse 25. munitanayam anuyasyan Future participle of ca with anu to follow. sahasa At once. vinayena varitaprasarah With my course checked by decorum. The first half of the verse refers to the two ideas involved in the previous stage-direction - grahitum icchan nigrhyatmanam sthana- danuncalan api Though I have not moved a bit from my seat. gatva punah pratinivrtta iva It seems as though I have gone and come back. Hence a lover's mentality plays the counterpart of gestures. Page 38. dharayasi You owe atmanam mocayitva Priyamvada apparently insists on Sakuntala's discharge of debt consisting of two waterings of trees. Of course the real purpose is not to let her go. Verse 26. asyah bahu Her hands. ghatotksepanat By lifting the water-jar of drooping shoulders. atimatram lohitam talam yayostom Possessed of palms highly reddened pramanena adhikah asyah svasah adyapi stanavepathum janayati This refers to the gusts of breath which continue to cause a tremor of her breasts. karnasirisa rodhi Obstructing the Sirisa flower worn on the ear. gharmambhasam jalakam Drops of sweat. vadane baddham Have collected on the face. bandhe sramsini sati As the knot of hair got loose. murdhajah ekena hastena yamitah She tries to bind up her hair with one hand, because the water-jar is in the other hand. : Dishevelled. This verse vastom amsau yayostau trastamso Possessed gives a graphic picture of Sakuntala's fatigue. Page 31. a fan W 577 1 To. relieve angulau Sakuntala of her debt king offers his ring. 3

bhavam anguliyam . Panini : --- jihvamulanguleschah namamudraksarani The letters of the king's name inscribed on the ring. anuvacya After reading. parasparamavalokayatah They see at each other, of course under the impression that the guest was no other than the king. etc. The suggestion is-Don't mistake me for the king. thH que: ayam parigrahah . The ring which I own. rajnah Belongs to the king. The idea is that a king or a king's officer both can handle the king's property. umqaaia Priyamvada releases Sakuntala from the debt by the very words of the king interceding on her behalf. Page 32 yadyatmanah prabhavisyami If I am master of myself vivastavya and roddhavya in the context signify visarjana and rodhana . ka tvam You cannot dictate. yatha vayamasyam Just as I am towards her; loving. aaaa A question by Kaku or intonation. c begins a new alternative. labdhavakasa me prarthana My wish is fruitful. Verse 27. This verse sets out the data to justify the king's inference that Sakuntala is as loving towards him as he towards her. iyam me vacobhih vacam na misrayati Though she does not join her words with mine. mayi bhasamane sati When I speak. karnam abhimukham dadati Applies her ear towards me. mama ananam madananam, tasya sammukhi kamam na Though she does not stand actually facing me. asyah drstih bhuyistham anyavisaya natu Her glance is largely direct ed towards me. The first and third feet of the verse bring out her bashfulness while the second and fourth

ACT I-NOTES feet betray her love. In the place of 3 rd foot, Raghavabhatta reads sammukhina sammukhinah yathamukhasammukhasya darsanah khah . 161 in the sammukhasya darsanah madananasya sammukhina Turned towards my face. Of course there is no difference in meaning. Page 33. bho bhoh etc. is the utterance of a forester It cautions the sages to guard the animals of the forest against the hunting expedition of the king. kila It is reported so. Verse 28. tathahi . turaganam khurah, te hatah Raised by the parinatah yah arunah tasya prakasa iva prakasah yasva hoofs of horses Both are sa: Shining ( red ) like the evening sun. adjectival to renuh vitapa Branches. visakta Sticking. vitapesu vipaktani jalardravalkalani yesam tesu The wet bark-garments of sages are spread on the branches of trees for drying asramadrumesu patati Falls on the trees of the hermitage.. is a species of flies that fall into the fire and become extinct. salabhasamuha iva Like a swarm of fireflies. Verse 29. This verse describes the flight of an elephant in panic syandanasya alokah, tena bhitah gajah Ar elephant that took fear at the sight of the chariot. dharmaranyam pravisati Enters the holy grove. How is gaja- titrena aghatena pratihatah yah taruskandhah tasmin lagnah eko danto yasya sah The elephant dashes against a tree into whose stem one of its tusks gets entangled padaih akrstam vratatinam valayam, tasya asangena samjatah pasah yasya sah In his hurried flight he draws the creepers lying low on the ground with 11 #

: his feet round which they form into coils as a result of which the elephant appears to be in shackles. tapasah murti vighna iva Appearing like obstruction embodied to our penance. Further, bhinnam saranganam yutham yena sah bhinnasarangayuthah Dispersing a herd of deer. For, they in their turn take to flight at the sight of the elephant. Page 34. senam samavayanti raksanti va sainikah Soldiers. Disturb, Present tense, 3 rd person plural of with 39, 7 th conjugation in the Parasmaipada. a Imperative, 2 nd person singular of with to grant leave, 9 th conjugation in the Parasmaipada. sarve uttisthanti sarve refers to the three ladies and the king. The masculine gender is based on the rationale of the laid down by Panini:- puman striya . uttisthanti under Panini : - udo'nurdhvakarmani . stha when prefixed with 3 takes the Atmanepada terminations if the sense of upward action is not intended. Here upward action is intended, and hence no Atmanepada. Page 35. etc. This is a polite way of urging the king for a fresh interview. Hoqi fay Sakuntala delays a little under a pretext. Though the pretext is not specifically mentiond here, it is set out later on in the Second Act by the king himself in his talk with Vidusaka thus : - darbhankurena caranah ga gaura ai etc. Act II-12. Sakuntala pretends that her foot is pricked by a thorn and her bark-garment sticks to the branches of trees.

ACT I-NOTES 163 The king's zeal to return to his city has abated by reason of the love affair anuyatra prayojanam esamiti anuyatrikah Followers tadasya prayojanam iti tham natidure An instance of supsupa compound nivesayami Causal of vis with ni to put up. The use in the non-causal form will be p- yacikah nivisante . Its causal form is anuyatrikan nivesayati . Likewise is the non-causal use. Its causal form will be atmanam nivartayati . atmanam nivartayitum To turn back my mind. Page 36. etc. The preceding goes along with sariram and cetah in the verse. mama sariram purah In front ; towards my army. Acquainted; asso- : My mind which ciated with the body. looks as though dissociated from the body. qara araia Runs backward. Note the contrast between and. The one moves forward, whereas the other runs back. To the mind running back an analogy is furnished by the second half of the verse vayoh pratimukham Against the wind, an instance of Avyayibhava compound. niyamanasya ketoh cinamsukamiva Like the silk cloth of a banner carried against the wind. To the body corresponds the flag-staff, and to the mind the flagcloth. In the place of the Bengal recension asamstutam has asamsthitam Restless. The End of the First Act.